‘Gay films can save Filipino movies’ -Director Chionglo

‘Gay films can save Filipino movies’ -Director Chionglo

MOVIE REVIEW: ‘Twilight Dancers’

TORONTO–Can the gay flick genre save the day for Filipino cinema?
Veteran film director Mel Chionglo believes so saying the ailing industry needs productions with sure-fire box-office hit and popular in the critics’ circle.

“The gay element (in movies) is entertaining, funny, commercial at the same time it also brings a serious theme, a personal statement,” Chionglo states in an interview with The Philippine Reporter at the 2006 Toronto International Film Festival (TIFF) where his latest work “Twilight Dancers”
internationally premiered last September 8 at the packed Paramount Theatre. It was also previewed last September 11 at Cumberland and September 15 at Paramount.

“Twilight Dancers,” set for commercial release on September 18 in Manila, turns the spotlight on the ecstatic profession, exploitation and entrapment of Manila’s male whores. Their faithful patrons, mostly homosexuals, shine even brighter in this controversial motion picture initially Rated X by the Philippine censors.

A TIFF regular bringing six films to the Canadian and international audiences so far, Chionglo says the censors board unanimously recommended to “edit” “Twilight Dancers” that frequently features provocative scenes such as young men in thongs gyrating to sensual music, setting their bare butts in hypnotic motion, seducing their clients with their erotic pole-dancing. The most explicit is the “live show” demonstrating their bedroom antics on center stage.

Seemingly bewitched by the obscure world of hustlers in seamy red-light district, Chionglo also explored this reality in his two previous projects “Sibak” (Midnight Dancer) and “Burlesk King” screened at TIFF in 1994 and 1999, respectively.

The Lucena-born director is quick to admit that the trend was pioneered by the late great director Lino Brocka who brought his 1987 melodrama “Macho Dancer ” to TIFF and took Philippine movie industry to the foreign market.

Chionglo, with 26 films under his belt, explains that Brocka’s untimely demise weakened the industry momentum leaving it trailing behind those of China, Korea and Japan.

Chionglo describes his depiction of male flesh trade as unique in the sense that he pushes strong characterization of the third sex in contrast to Brocka’s style stressing on family drama. “The gay element was taken for granted,” Chionglo, who worked as screenplay writer with Brocka in “Ina, Kapatid, Anak-Mother, Sister and Daughter” in 1979, says.

A huge fan of Filipino performing arts and TIFF selection committee member, the late David Overby saw the global potential of the thriving Pinoy gay sub-culture on silver screen. This inspired Chionglo to create installments of this breed and reap international attention.

“Twilight Dancers” follows the sinuous career paths of Dwight (Tyrone Perez); his orphanage buddy and fading stripper star Albert (Allen Dizon) and former burlesque favorite turned bodyguard-chauffeur Bert (Lauren Novero). As they strut their way out of the flesh business, they find themselves drawn back to the world of sexuality, greed and abuse.

The enigmatic pull comes from temporary material convenience provided by gay individuals such as the loud but charismatic bar owner-pimp (Arnel Ignacio); generous overseas contract worker Cora-thon (William Martinez, whose passionate kissing scene with Perez seems never-ending); film directors who promise non-existent big showbiz breaks; transvestite performer Hazel (former child actor I.C. Mendoza) and the corrupt-closet queen mayor (Joel Lamangan who in one scene gamely dons a body-hugging party dress as he belts out “Happy birthday to me” in feminine vocal chord). They are employed by Chionglo to establish a balance between “Twilight Dancers’” serious socio-political content and comical infusion.

An Ateneo de Manila graduate, Chionglo also includes the colorful Madame Loca (Cherry Pie Picache), a straight female who is more gay than a real gay. Her rags-to-riches story is full of illegal but lucrative deals foremost of which is gun smuggling. She treats her favorite male prostitute like a disposable product. Such is the fate of Bert, who after a stint in the brothel becomes her accomplice. In the end, she stages his death.

Chionglo brings in desensitizing figure Miriam (Ana Capri), the estranged deaf-mute wife of Albert who encourages him to look for a decent and stable job. However, his friend Dwight, upon irresistible orders of Madame Loca, betrays him. He sets him up in killing Bert. He is put behind bars for a crime he’s innocent of. Dwight is still trapped in stripping in a bordello. He hopes to escape to Japan where he fathoms he can find the proverbial light at the end of the dark tunnel. As the movie title suggests, the light is below the horizon as sunset turns to nightfall.

Chionglo’s directorial star started to shine in “Playgirl” (1981) starring Gina Alajar. It hit TIFF as well as two other masterpieces “Lahar” (1997) with Dawn Zulueta and “Lagarista-Film Biker” (2000) with Piolo Pascual.

It appears that New York Academy of Theatrical Arts-trained Chionglo’s penchant for gay-related issues is still on a roll. He is in the process of completing projects chronicling the life of a childless housewife whose overseas contract worker-husband has a secret homosexual relationship and pursuits of transvestites vying for the coveted Miss Gay Philippines title.