Scorpio Nights (Peque Gallaga, 1985)

Marriage story

Come finally to the notorious Scorpio Nights (Peque Gallaga, 1985), a quickie production reportedly mounted (by Regal Studios) to take advantage of the promise of censorship-free screenings at the Manila Film Center. Just to make the challenge that much more difficult, Gallaga had suffered a heart attack in late 1984 and was still bedridden when shooting began (he reportedly directed most of the film lying on a portable cot). 

Virgin Forest (Peque Gallaga, 1985)

Enchanted Forest

The film's opening minutes are stunning. Cinematographer Conrado Baltazar seems to take his cue from Vittorio Storaro's work in Apocalypse Now, capturing the vast seascapes and sensually textured sunsets of the Filipino countryside. A longboat glides down a river through thickets of mist (another callback to Storaro) while a narrator sketches details of the American Army's true-life attempt to capture President Emilio Aguinaldo.

Unfaithful Wife (Peque Gallaga, 1986)

Cafe flesh

(WARNING: plot twists and story points discussed in explicit detail!)

Comes the time to discuss the late great Peque Gallaga. The past few days have seen tribute after tribute; folks have expressed love and affection, not just for his films but for the man himself. His Oro, Plata, Mata (Gold, Silver, Death, 1982) is oft considered his best-known work, and one of the greatest if not the greatest Filipino film ever made.  

I'm not a big fan; yet why does he bother me so? Partly I think because even I can see he's prodigiously gifted--you can't look at the extravagant celebration that opens Oro and fail to acknowledge the talent--partly because I find him so undisciplined. Reportedly the film's original cut ran to five hours--it's said than Ishmael Bernal locked him out of the editing room to trim the length down to a merely intimidating two hundred and ten minutes. You wonder at the excess Gallaga must have proudly put on display before Bernal dragged the production back to earth; you also wonder about each and every one of his succeeding projects, on which would ultimately come out on top: the filmmaking or the recklessness?

Unfaithful Wife is arguably Gallaga's most earnest attempt at domestic drama, with generous doses of sex on the side to help sell the production. Crispin (Michael de Mesa) runs a beer garden with his wife Irene (Anna Marie Gutierrez); Fidel (Joel Torre) walks through the barroom doors and immediately Crispin's face lights up: he misses his longtime long absent friend.

Venganza (Vengeance, Manuel Conde, 1958)

Saith the Lord 

Precious little has been written online or on print about Manuel Conde save a book by Nicanor Tiongson (which I haven't been able to read, unfortunately, and is currently unavailable). The filmmaker is best known for his comic Juan Tamad (Lazy John) film series, and for writing producing starring in and directing a smallscale biopic on Genghis Khan that depicted the eponymous Mongol prince as an ambitious, charmingly inventive runt--the film competed in the 1952 Venice International Film Festival, the first ever Filipino film to do so.

Venganza (Vengeance, 1958) which Mike de Leon has made available on his Vimeo website (sans subtitles, alas) isn't as well-known and isn't the Conde we are familiar with: a straightforward drama about peaceful Simoun's (Mario Montenegro) vow of retribution when bandits led by Martinico (Eusebio Gomez) and Peklat (Scar, played by the always memorable Joseph Cordova) terrorize his village and cause the death of his newly wedded bride Pilar (Perla Bautista).

Ishtar (Elaine May, 1987)

Road to nowhere

Saw Elaine May's Ishtar again after so many decades. In my book still holds up (thank god), an early masterpiece of cringe comedy.

Once Upon a Time in the West (Sergio Leone)

Anti-social distancing

(Warning: story and plot twists described in explicit detail)

Locked down and stewing in your home, it can be a relief to view the works of Sergio Leone, particularly the later titles. The Good, The Bad, and The Ugly; Once Upon a Time in the West; Duck, You Sucker; and Once Upon a Time in America all have the expansive feel of a tale told of long ago, set in a mythological West (or America) so vast it makes the real thing (glimpsed at in daguerreotypes) feel claustrophobic. A pipe dream, in effect, concocted by your favorite nutty uncle sitting at the fireside with other kids gathered round, listening raptly. 

America, about Jewish gangsters in Prohibition New York, may be Leone's most sprawling ambitious work and possibly his masterpiece but West is arguably perfection, impeccably cast and executed. Even the stunt of using Henry Fonda as villain pays off-- as the young boy looks slowly about him Leone inserts shots of his decimated family; enter the killers to the blare of an electric guitar, emerging from the surrounding brush like wraiths. The killers approach, and at one point the camera following behind swings around to peer at one of the faces and it's Mr. Lincoln-- sorry, Mr. Fonda, not so Young anymore, as hired gunslinger Frank. The lined face the pale blue eyes, so iconic in American films, are pitiless here, faintly contemptuous even.

Patay na si Hesus (Jesus is Dead, Victor Villanueva)

One happy family

Tolstoy started Anna Karenina with the statement: "Happy families are all alike; every unhappy family is unhappy in its own way." I'll take that as permission to like Victor Villanueva's darkish family comedy Patay na si Hesus (Jesus is Dead), about a family taking the four or so hours trip down the coast of  Cebu, from the island province's capital to Dumaguete City to attend the wake of their estranged father, the eponymous Hesus. The setup is obviously Little Miss Sunshine--dysfunctional family piles into van to take cross-country trip--but the ingredients and resulting dish are so distinctly Filipino I'd call this a valid variation on the original.