Dung-Aw (1975, Lino Brocka)

The month of March is commemorated every year in the Philippines as Women’s Month. This week’s highlights seem to be unrelated at first glance…

March 16. Two days ago, Armida Siguion-Reyna, the feisty, octogenarian actress and movie personality, became the sole recipient of the Diwata award at the 20th International Women’s Film Festival.

March 19. On that day 280 years ago, a baby girl was born named Maria Josefa Gabriela Cariño in Santa, Ilocos Sur. She will later be known as Henerala Gabriela Silang.

What else bind both ladies aside from being Ilocana firebrands and, lower your eyebrows, Women’s Month role models?

Both figure in the historical/musical film Dung-Aw. The title refers to an Ilocano traditional verbal practice of highlighting a deceased person’s accomplishments. If you have seen the film Ang Paglilitis ni Andres Bonifacio, then you’ve heard of the Dung-aw chanted by the Ilocana shaman. The Ilocano word also means ‘to look (or peek) out of the window. ‘

Dung-Aw is a glimpse into the heroism of 18th century revolutionary leader Gabriela Silang (Armida Siguion-Reyna). There is an early magnificent shot that captures perfectly the dung-aw concept. With a dirge playing in the background, we see the corpse of Gabriela lying atop a horse. A superimposed image of a black-clad lady makes it appear as if Gabriela has risen from the death. For nearly three seconds, the powerful image it presents is that of a victorious Gabriela. The extolling of a dead person’s achievements is ultimately what a dung-aw is all about.

The accompanying dirge is somewhat similar to the Lenten songs of the progressive singing group Patatag. There seems to be not so much difference between a dung-aw and the pasyon. Both lamentations narrate life stories.

Scriptwriter Mario O’Hara makes do with limited information about Gabriela. He gets straight to the point with regards the reason behind the revolution of the Ilocano peasants. The Spaniards usurp the indulto de comercio to their advantage. They allow Ilocanos to trade but only at prices set by them. The landowning couple, Diego and Gabriela, resorts to bypassing the Spaniards. However, a Judas Iscariot betrays them for a pouch of money. The assassination of her husband Diego prompts Gabriela to lead the rebels despite overwhelming odds. She was eventually arrested and, just like Jesus Christ, was executed publicly. A young revolutionary named Pablo waits for the second coming of Gabriela.

I admire the filmmakers for their courageous artistic decision of shaping the film into a dung-aw. The film is informative and instructive just like a dung-aw or a pasyon. But, it is not satisfying and doesn’t peak. It stays monotonous just like the droning sound emanating from the Pasyon. The songs and performances are not memorable. Siguion-Reyna has a beautiful voice but is simply too mature to play the fiery Gabriela.

O’Hara takes another crack at retelling the life of Gabriela Silang by directing his own film. That project, with the working title of Henerala, is on my list of must-see films at the Cinemalaya 2011. Is this the second coming of Gabriela bruited about in the film?

Another thing that whets my appetite is a dream project of Siguion-Reyna. The Diwata awardee revealed that she wants to make a no-holds-barred account of the massacre of 57 people in Maguindanao. She doesn't care about possible repercussions. To paraphrase Siguion-Reyna, true courage is fighting even when death stares at you. Spoken like a true Gabriela.

Macho Dancer (Lino Brocka, 1988)

During the heady moments of the 1986 Edsa People Power Revolution, a film critic asked director Lino Brocka if he would be happier to see President Ferdinand Marcos kicked out of office. The feisty director said, "No, because I wouldn't have any one to fight against anymore."

It wasn't long before Brocka found another enemy to fight: the incompetent administration of President Corazon 'Cory' Aquino. The latter half of the 1980s saw Brocka with two excellent films, Macho Dancer and OraProNobis. The films denounced the dehumanizing poverty, widespread corruption, and rampant human rights abuses under the Aquino administration. Both films feature lead characters taking the gun as a last resort to rectify social injustices. Who knows what else Brocka would have recommended if he didn't die on May 21, 1991?

Macho Dancer is the first Filipino gay film to gain recognition around the world. However, it is more than a mere gay film. It is a scathing indictment of the Aquino administration. Graffiti in the male rest room reads 'We are for Cory.' Yes, the Filipino people sided with President Aquino. But, what had she done for the people and the country after two years in power?

Brocka showed that not much had changed since the 1986 Edsa People Power Revolution. Corruption is still rampant as seen in the scope of police officer Kid's illegal activities. Poverty continues to drive poor people to take squalid jobs such as call boys, macho dancers, prostitutes, and porn stars.

The movie is an eye-opener to the world of macho dancers and call boys. They are portrayed as fashionable and well-groomed men living in decrepit apartment rooms and doing despicable acts. In the first reel alone, the audience gets a glimpse of what happens inside a gay bar. A new recruit named Pol (Alan Paule) is being interviewed by the owner. The latter then asks Pol to take off his clothes and show his penis.

After the interview, Pol goes downstairs and sees the main show of the gay bar. Seven nude men are seated on stage. All of them are busy playing with themselves while horny foreigners in the audience ogle at them. A new acquaintance, Noel (Daniel Fernando), persuades Pol to transfer to another gay bar that has a 'cleaner' and 'less degrading' main act. It is 'cleaner' because two nude men take a shower together on stage at Mama Charlie's Bar.

Alan Paule and other actors playing macho dancers were trained by a real macho dancer for three months. Paule, in his debut film, did an excellent job portraying a naive-looking macho dancer. He was able to play a courteous character slowly getting jaded by the things he saw in Manila. Jacklyn Jose was effective during her character Bambi's breakdown scene. It was heartbreaking to hear her narrate how at a young age she was abused by her own father.

Daniel Fernando won a well-deserved Gawad Urian Best Actor award for his stunning performance. He was a natural during the carinderia scene. He was a lusty performer during his macho dancing/shower scenes. I doubt any actors today can do what he did so well in the film.

After a mammoth retrospective of Brocka movies at mag:net Katipunan in May 2009, another Brocka retro is being cooked up for Cinemalaya Cinco in July 2009. The late director deserves all the tributes and retrospectives he is getting these days. Macho Dancer is one of top films of Brocka that should be seen by moviegoers.