The Bold Truth

When E-Male was just an E-Kid evolving into an E-Teen, he took great pride in finding himself on the artistic side of the decadent dictatorship. He patronized all the art films that reeled during the heydays of the Manila International Film Festival and patronized with patriotic zeal all the "for-art’s-sake" movies that bragged the home-grown acting skills of the so-called soft drink beauties — Sarsi Emanuelle, Pepsi Paloma and Coca Nicolas.

Not to miss on an Imeldific opportunity to indulge in "the true, the good and the beautiful," E-Male explored the boundaries of experimental cinema and had himself initiated — courtesy of Betamax tapes lent to him by his pants-on-fire pubescent barkada — to a new genre of coming-of-age foreign films. And at the curious age of 12, E-Male watched his first foreign, "for-art’s-sake" film.

Although he never understood a single word of the movie, he could honestly admit that he thoroughly enjoyed it. Up until his mom caught E-Male and his friends crowding around living room TV set, marveling at the naked splendor of blonde beefcakes and babes running the four bases and back scoring repeated homeruns in a bed sport not like baseball. E-Male’s mother didn’t know what came more of a shock — the fact that her son was watching The Bouncing Buns of Berlin (loosely translated of course), or that her 12-year-old boy and his friends were drooling like horny pugs.

The interrogation that followed was anything but pretty, but E-Male was let off on a soft-tapped warning, with his barkada knowing fully-well that their film critique session had been unwittingly compromised.

E-Male never was the type to spill any beans, but was quite disheartened to discover that the top drawer where he keeps his X-Files — no relation whatsoever with Fox Mulder and Dana Scully — had been permanently reinforced with a padlock.

"Bold films," his mother went on to exclaim, "are the work of the devil." And as E-Male conjured up ways of prying open that blasted padlock, he thought of them more as "works of art." Ever since his first (which implies that there has been a second, and probably a third and a fourth) encounter with The Bouncing Buns of Berlin, the world of cinema has captured E-Male’s imagination.

And though he may now have a predilection for German women with well-endowed qualities, he has since graduated from "adoring" foreign films (although he still remembers his residual fondness for Debbie Does Dallas) and decided to move back to a genre that hit closer to home.

E-Male would’ve expected a lot more enthusiasm for his patronage of Philippine cinema. Instead, he’s always met with dagger stares and cutting glances when he waltzes into cinemas — which feature movie posters of Rica Peralejo, Maui Taylor, Assunta De Rossi, Joyce Jimenez or Ara Mina.

And as E-Male takes his queue at the ticket booth, he’s always left wondering why so few people are in line with titles like Dos Ekis and Balahibong Pusa.

"It’s a bold film!" his mother echoed even after years of realizing that old habits die hard. But that’s the misunderstanding right there, claims E-Male. It’s art! A new trend of Philippine films sprouted in recent years, all of which revolve around themes of sexuality and lust — being crudely branded as bold films. Though bold may actually be the appropriate term, signifying a sense of courage in attempting to redefine an artistic form, pushing the envelope of film technique. Naked bodies on screen have been as controversial as the very people who support them. And only the Filipino can be so bold as to present such films to the public eye — alongside child favorites such as Harry Potter and Stewart Little.

It’s only proper that children be given access to the best of art at an early age.

A handful (or rather, a fistful) of individuals may contest E-Male’s stand on whether films like Lagarista, Syota ng Bayan, or Prosti are actually films of the artistic nature. However, E-Male has had his own share of art classes to know just enough about the true meaning of art (his kindergarten finger-painting class included). While the modern day movie critic points out the value of acting and performance, E-Male argues that too little emphasis is given on the aesthetics of a film — the pure, carnal, unrestricted, bodily aesthetics of a film.

After an evening with Gamitan, E-Male has had enough of that. As for performance, Philippine cinema has a lot of that on its own. Both in the bedroom, and out. Contrary to what most people would like to think, the Philippine film industry is hardly male-dominated.

The fate of entire productions lie on women — from Aubrey Miles to Patricia Javier, Maui Taylor to Priscilla Almeda, Maureen Larrazabal to Ina Raymundo.

The latest San Mig ad campaign really hit the mark when it said the most beautiful women in the world are in the Philippines. Unfortunately, as actresses, most of these women have yet to garner the respect they deserve.

Besides, it’s hard enough to perform in bed — even more so if the movie will be seen by thousands of strangers across the nation. Not only does it require talent, dedication and inhuman discipline to maintain a godly figure, they need a keen sense of looking sexy for the camera. And that is no small feat on its own.

Cinematography is also another important element to praise. The Filipino ability to capture a couple (or triple, or quadruple) lost in the throngs of passion is no easy feat. The task of treating the camera as an invisible character and yet as a character in itself is more vital than people would like to believe. The Filipino has elevated the camera from cinematic tool to sensitive lover.

When Viva opened up a slot for another camera man to do just that, E-Male’s résumé was at the top of the pile. Though having a particular finesse when it came to extreme close-ups, E-Male was politely turned down, realizing that cameramen require a substantial amount of self-control. Something E-Male doesn’t even have in non-substantial amounts. So much for a career behind-the-camera.

Still the critics are quick to attack the lack of plot and depth in these "bold films." However, it goes to show just how avant-garde Filipino cinema has come to be. Film was initially treated as a medium of story-telling, portraying a sense of narrative in a linear flow of frames. However, the Filipino has decided to break that stereotype and do without a decent plot altogether. Although there are still traces of character in some of the dark recesses of what most people would call a script, everything builds up to the beating heart of the film — the love scenes. Besides,

Filipino action movies have done without plots for years, so it only seems logical for many of these new films to follow suit.

"There’s too much foreplay in cinema these days," E-Male points out, "and not enough #@$!&$%."

In terms of depth, most bold films actually have more depth than the critics give them credit for. If there wasn’t any, then Mylene Dizon and Aya Medel wouldn’t be moaning in ecstasy in every love scene. But seriously speaking, "bold films" touch on relevant themes such as femininity, intimacy, sexual awakening and the repercussions of polygamy, just to mention a few. Then again, there’s always their educational attributes: appreciation of the female figure and the chance to learn a brand new string of sexual positions.

Of course E-Male does enjoy the archetypal art film every so often. He was disappointed to discover, however, that Zoolander and Romeo Must Die weren’t nominated for even a single Oscar. Yet he consoles himself with the fact that the Philippine film industry is on the up and up. That is, if people would only drop the taboo on cinema and just face the bold truth. But then again, E-Male could just return home and unlock that top drawer (which is now his), and enjoy another fine afternoon with The Bouncing Buns of Berlin.

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(Reactions from Rica Peralejo, Maui Taylor, Mylene Dizon and Aubrey Miles are welcome at argee@justice.com)