Lino Brocka after ‘Maynila’
By Nestor Torre
Philippine Daily Inquirer
First Posted 19:59:00 07/04/2008
MANILA, Philippines—After “Maynila: Sa Mga Kuko ng Liwanag” was screened to great acclaim in 1975, Lino Brocka shot “Lunes, Martes, Miyerkules, Huwebes, Biyernes, Sabado, Linggo” in Olongapo City. The film was unique in its own right, because it was a drama-comedy that cast the “legit” likes of Laurice Guillen, Mitch Valdes and June Keithley— as strippers!
Then came “Insiang,” with Hilda Koronel in the title role. The relatively small film caused a stir in festivals abroad, and Brocka was on a roll!
Unique drama
In fast order came “Tahan Na, Empoy, Tahan,” another unique drama about familial relations.
In 1978, however, Brocka has to “go commercial” again with the sexy “Mananayaw.” But, he quickly regained his artistic focus with “Ang Tatay Kong Nanay,” with Dolphy and child wonder, Niño Muhlach.
His next film, “Gumising Ka, Maruja,” was bigger and more commercial, as was “Hayop sa Hayop.” Brocka then ended the year with “Rubia Seryios,” which was also commercial, but had a more serious edge.
Thus, 1978 turned out to be Brocka’s busiest year, with five films on view. His constant shifting from “quality” to “commercial” serves as an instructive paradigm for his career.
Even more instructively, it shows how he was able to “survive”—and even flourish—in the generally “quality-disdainful” world of local movies.
Nineteen seventy-nine was another productive year, with “Ina, Kapatid, Anak,” “Jaguar” and “Ina Ka ng Anak Mo”—all estimable films. In particularly, “Jaguar” elicited more than its fair share of plaudits and was cited in festivals abroad, thus adding to Brocka’s growing reputation in international movie circles as an Asian director of exceptional talent, social commitment and artistic potential.
In 1980, however, Brocka “went commercial” once more to pay the (producer) piper, and megged “Nakaw na Pag-ibig,” and “Angela Markado.” But, he ended the year on the side of the angels of cinema with “Bona,” his superlative study of movie-fan worship, with the Nora Aunor superbly playing the title role.
Despite Nora’s other fine performances, it can be argued that “Bona” is her best film of all, because in it, viewers found the most seamless, perfect melding of role and actress.
Then, back to reality: More commercial projects followed: “Cover Girls,” Burgis,” “Kontrobersyal,” “Hello, Young Lovers,” “Dalaga si Misis, Binata si Mister,” “Caught in the Act,” “PX.” —Was Brocka giving up on “serious” filmmaking?
Not so fast: “In This Corner” was a quality respite, before other commercial movies followed—“Palipat-lipat, Papalit-palit,” “Cain at Abel,” “Strangers in Paradise,” “Hot Property,” “Adultery,” ”Akin ang Iyong Katawan,” “Experience” —Hey, maybe Brocka was going the way of all flesh—and flash!
Happily, he next came up with the felt Aga Muhlach drama, “Miguelito, ang Batang Rebelde,” before lapsing again with “White Slavery.”
Political realities
Then came one of his most remarkable artistic triumphs, “Bayan Ko: Kapit sa Patalim,” which was praised internationally for its stark rendition of harsh political realities in the Philippines.
The Brocka movies that followed weren’t remarkable—“Ano ang Kulay ng Mukha ng Diyos?” “Napakasakit, Kuya Eddie,” “Maging Akin Ka Lamang,” “Pasan Ko ang Daigdig,” “Tatlong Mukha ng Pag-ibig,” “Macho Dancer,” “Natutulog Ba ang Diyos?”
However, an exceptional film quickly compensated for them: “Orapronobis,” another searing political work. After two so-so movies, “Babangon Ako’t Dudurugin Kita” and “Kung Tapos Na ang Kailanman,” another political film, the savagely satirical “Gumapang Ka Sa Lusak,” delighted Brocka’s loyalists.
After that, mostly commercial movies followed—“Hahamakin Lahat,” “Biktima,” “Ama, Bakit Mo Ako Pinabayaan?,” “Sa Kabila ng Lahat,” “Kislap sa Dilim,” “Makiusap Ka Sa Diyos,” etc.
But, Brocka’s reputation as one of the country’s best film directors was already so strong that, long after his unexpected and most tragic death in 1991, he continues to be hailed as one of the most committed filmmakers the country has produced.
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