Piolo Pascual

Heartthrob Piolo Pascual reportedly would have played villain to his arch rival Dingdong Dantes in the movie “Kimmy Dora” if he was not dissuaded by his manager.

In a meeting with Star Cinema recently, Piolo is said to have told the film outfit’s boss Malou Santos about his plan to play screen baddie to the Kapuso star.

However, Johnny Manahan, Piolo’s manager, reportedly discouraged him from doing so. Manahan is said to have cited Piolo’s status as one of Star Magic’s premium artists as reason.

The role eventually went to hunk actor Zanjoe Marudo.

“Kimmy Dora,” though under Piolo Pascual’s Spring Film Production, will be distributed by Star Cinema.

In a press conference for indie film “Manila,” Piolo shared that Dingdong was also offered to be an investor in “Kimmy Dora.” Piolo said Dingdong was interested at first, and even contributed ideas to the forthcoming Eugene Domingo starrer until he [Dingdong] decided to just concentrate on acting in the film.

As a producer, Piolo is thankful that his first project, “Manila,” has received overwhelmingly good response. The film premiered in the recently concluded 62nd Cannes Film Festival, was picked as the opening film in the 2009 Cinemalaya Independent Film Festival, and has been invited to the Moscow International Film Festival.

The budding producer’s dream project is one akin to “Ocean’s Eleven.”

If it materializes, Piolo said he will offer roles to Vhong Navarro, John Lloyd Cruz, and Luis Manzano.

The opening night of the 2009 Cinemalaya saw the Philippine premiere of Manila. Directed by Adolfo B. Alix Jr. and Raya Martin, it was first screened in the 62nd Festival de Cannes and the 31st Moscow International Film Festival. Co-producer and lead star Piolo Pascual presented the film and gave a short remark, which was applauded by hundreds of fans who were present at the event.

Manila pays tribute to Lino Brocka’s Jaguar (1979) and Ishmael Bernal’s Manila By Night (1980). Thus, the film is divided into two stories or parts showcasing the city’s landscape both by day and by night.

Contemporary moviegoers dislike the idea of a film being shot in black-and white. But Manila, which is shot on 16-mm black-and-white film before being transferred to 35mm, attempts to build a statement of artistic style but the issue of financial constraint is more considered because the film lacks the technical pulling power to involve the audiences.

For the first part, Piolo portrays a drug addict named William in honor of William Martinez who played the lead role in Manila By Night (but this segment depicts Manila by day). After a drug bust, he visits some of his pals who could satisfy his addiction to prohibited drugs but to no avail. While in the middle of his effort to score drugs, he tries to reconnect with his loved ones. The character is always seen running and wandering around, which is apt to describe the entire first part of the film. Most of the scenes are left suspended and lacks proper transition that guides the audience into the next scene.

The other half of the film, which is the night segment, sees Piolo as a bodyguard named Philip. The character pays homage to Philip Salvador who played the lead in Jaguar.

This second part is introduced by an opening credit that appears from nowhere. Some might think that it is still part of the first segment because of the established fact that most scenes in the first part of the movie jump into another scene without fitting transitions.

This time, however, the story is more comprehensible, it is perfectly narrated. Here, Piolo is a poor guy who works as a faithful bodyguard to a politician’s son who turns his back on him after a heated altercation. The squabble forces him to seek refuge in a mucky slum area where he meets his unfortunate end.

Both characters show how Piolo can deliver and act convincingly, but the technical part of the film does not convince the audience that Manila can make resounding critical and commercial success. In more than one occasion, the shaky hands of the cameraman in capturing simple shots tells us that this film has a lot more to work on.

He nearly spoke no words. All of the emotions were in his eyes and demeanor. The despair was in every step that he took. Hunched shoulders, head and eyes looking down gave him a look of defeat. The mean streets of Ermita, the alleyways of Sta. Cruz, the open but immensely crowded Plaza Miranda in Quiapo had broken him down. Perhaps no other actor of his generation could have pulled it off. We are referring to Piolo Pascual, the lead actor of “Manila.”

“Manila” by Adolf Alix Jr. and Raya Martin, required an onscreen presence that unquestionably demanded audiences’ attention. Each filmmaker directs his own portion of the two-part film. Both needed an actor who could convey feelings with a subtlety and economy of movement. They knew Piolo Pascual may be the only one worthy of their homage to Lino Brocka and Ishmael Bernal. And there it was on screen, for the first time it had come home to the Philippines by opening Cinemalaya 2009. A rousing standing ovation was given after the showing in a packed CCP Main Theater.

“Manila” was initially premiered to the world at the 62nd Cannes Film Festival. The film had its regular showing at Robinsons Galleria starting July 18. Cinemalaya Film Festival is considered to be the home of burgeoning local independent films, hence the homecoming. CCP President Nestor P. Jardin said, “Cinemalaya belongs to the filmmakers. Their vision here is free from the influence of commercial productions.” He credited the success to longtime support and participation of veteran film maker Laurice Guillen, philanthropist and patron TonyBoy Cojuangco and Film Development Council of the Philippines (FDCP) Chairman, Rolando “Jacky” Atienza.

The gritty black and white treatment of the first part recalls Brocka’s classic “Maynila sa Kuko ng Liwanag.” Bembol Roco was then starting his career, both of them ran and walked in the same side streets and dingy dark corners. Piolo, however, has that commanding presence that draws sympathy and even understanding for a character. Instead of searching for Hilda Koronel, Piolo looks for the young, innocent, yet sexy Angelica Panganiban. The other major character is a similarly strong performance of Rosanna Roces.

The brilliance of the film is in the ability to tell a story, via a journey, or a series of strolls in the city with a minimum of dialogue. Without the credible acting of Pascual, the whole movie falls short. There’s a biting realism in the simplicity of the visuals. Poverty, prostitution and drug use are all part of daily life in the city. They are shown without fan fare and glamour. In one scene where he takes “shabu,” his face is completely stoic and yet tears slowly stream down his cheeks.

The second part of the film employs dialogue but is not any less challenging for the young actor and producer. In one scene, he lies face down in a mountain of garbage, trying to elude police. In it he plays a bodyguard of his boss played by Jay Manalo. The seductive and sophisticated Alessandra de Rossi plays Manalo’s girlfriend. The second part is based on characters created by Ishmael Bernal, Ricky Lee and Jose Lacaba.

Pascual also produced “Kimmy Dora” the launching movie of Eugene Domingo. The trailer was shown for the first time before the screening of “Manila.” Pascual said, “We are very lucky that we were able to get Eugene to agree for us to produce her first starring role. There were a number of production outfits competing for the project.” Pascual also has a much-awaited telenovela entitled “Lovers in Paris” with KC Concepcion. Rachel Anne Wolfe plays Pascual’s sister in the show airing in early August.

The two directors also paid homage to another great filmmaker with a cameo appearance by Lav Diaz. In it he directs Iza Calzado and Jon Avila in a shoot. The seemingly behind-the- scenes portion of a telenovela gives a partition between the two distinct portions of the film. Fans approach Iza with fervor grabbing pictures with her using the ubiquitous cell phone. It creates a light interlude to separate an otherwise dark rendition of the city. Radio Active Sago Project provides a jazzy, but light ’70s inspired track in this sequence. Urian award-winning film editor Aleks Castañeda was credited here. Another Aleks signature is showing credits in the middle of the film.

The Cinemalaya filmfest is on its fifth year hence the title “Cinco” and the tagline “all roads lead to the big small film festival.” Cannes Best Director Awardee Brillante Mendoza is an alumnus of the festival. Mendoza talked about its importance in discovering new talents as reported in Manila Bulletin Entertainment. His film “Serbis” will also be shown during the filmfest on July 25. The masterpieces of Brocka, Doy Del Mundo, Maryo J. Delos Reyes and Peque Gallaga will also be shown in the festival that runs from July 17 to 26.

By JUDE BAUTISTA of MB.COM.PH
July 22, 2009, 1:41pm

MANILA - Introducing the men and women behind “Manila” before its full run at the Main Theater (Nicanor Abelardo) of the Cultural Center of the Philippines Friday night was no different from the rest of premiere showings in any commercial venue.

“Manila” was the opening film of the 5th Cinemalaya Independent Film Festival.

Part producers of the film, Arlene Cuevas and Edgar Mangahas, typically parroted speeches of past filmmakers, this time, players were of different set. Directors Adolf Alix, Jr. and Raya Martin thanked people who supported them in the endeavor, acknowledgments already hackneyed.

Members of the cast, Rosanna Roces and Jay Manalo stood like wallflowers, while their erstwhile fellow sexy star Cherry Madrigal, totally ignored by the emcee, threw her weight around. She literally went up the stage and presented her self just well enough.

At this point, young actor and matinee idol Piolo Pascual made a difference, not by his thank you speech, but more so by familiarizing the fans that CCP, as the primal cultural edifice of the nation, also belongs to them.

People from all walks of life trooped to CCP to watch “Manila,” a film about looking back and seeing forward the similarities and differences of the city of Manila from the vantage point of masters Lino Brocka and Ishmael Bernal and the vision of young artists Alix and Martin.

Mere mention of the name Piolo Pascual easily elicited shrieks and swoons from a big chunk of guests at the festival, a not so ordinary sight and sound at a usual decorous and still atmosphere of the center.

An equally behaved part of the so-called cultured, if not erudite, audience was just held in awe.

Presumably, mostly female students and budding, if not at all, new film artists, they were nonchalant in displaying their emotions and wits especially when Pascual popped up from the side, walked up the proscenium and stood before the audience.

The actor wore a semi-formal geometric vest-like top over a subdued long-sleeved polo shirt and jeans and snickers.

His mere presence on stage guaranteed a victory of the representations of the masses among the artists or lovers of art who flocked to the actor’s solo movie.

The fans couldn’t wait for him to talk, their screams, in between his pauses, drowned his smiles.

It was like reliving a not so long ago frenzy among Noranians, Nora Aunor’s ardent supporters, and Vilmanians, Vilma Santos’ dyed-in-the-wool followers, during local film events, like awards nights, when the rival actresses were nominated in a same category, also done at CCP.

These shrieking fans, the other night, made the CCP a common ground among the ordinary folk, to make them realize, it was first and foremost, theirs to savor artistic creations to enhance our understanding of what life is all about.

When “Manila” reeled off, the truest, the worst and the ugliest side of the city was once more rubbed in our consciousness.

as of 07/19/2009 9:34 PM

PIOLO PASCUAL can’t contain his excitement about the inclusion of “Manila,” his first venture as producer, in the Cannes International Film Festival’s Out of Competition/Special Screenings section.

“It really pays to wait,” he told us. “When we finished the movie last year, we considered releasing it locally, but we decided to wait for a big festival.”

You can’t get bigger than Cannes, he pointed out.

This has inspired him to produce more movies. Next in line is comedian Eugene Domingo’s solo debut, which he is producing with friends.

“I’m also planning to work again with Direk Adolf (Alix, who co-directed “Manila” with Raya Martin),” he said.

He hopes to attend the fest in France next month because “it’s the film’s world premiere.”

Philippine Daily Inquirer
First Posted 00:04:00 04/26/2009