Piolo Pascual

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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.

It is said that a minor vehicular accident happened along EDSA, Guadalupe caused by Piolo Pascual’s splendid, glorious Bench billboard where he displays a body, a face, a spirit (and yes, a pair of jeans) that’s so arresting, not even the stench of the Pasig River can rudely distract anyone looking at it.

“You’re causing some people to sin,” I asked. “I just do my job. It’s a Bench billboard. We follow concepts. And I don’t want people to sin,” he chuckled. Some actually suggested that Piolo’s billboard be pulled down as it distracts motorists. Piolo is clueless, does not know what to say because he genuinely knows in his heart that he has done nothing wrong.

“Rica Peralejo is getting married and if you were asked to be part of the entourage, would you accept?” Piolo, Rica and Joseph Bonifacio, her pastor boyfriend all come from the same church. I continued to probe, Would you take the role of a man who does not believe in God? “Yes. I don’t want to limit my range as an actor. For as long as there’s redemptive value at the end, I would do it.” Would you fall in love with a woman who does not believe in God? “Yes. And if that happens, she’ll believe in God,” he shot back laughing.

As a child Piolo lived and played in the streets of Mandaluyong. He was painfully shy. As the youngest of six siblings, he got the hand-me-downs from his elder brothers. His father was a disciplinarian. His mom was a doting mother. He went to school at St. Francis and the University of Sto. Tomas and found his way to Teatro Tomasino where he experienced the seductive power of theater.

“You and your friends are producing the launching movie of Eugene Domingo (Kimidora which opens in theaters nationwide on Sept. 1). Why is she the most deserving from among your many talented friends,” I asked. “It’s about time that a talent like Uge (Eugene’s nickname) is given a break. I believe in her and in her talent,” he explained.

Last week, Piolo’s indie movie Manila opened Cinemalaya 2009 at the Cultural Center of the Philippines. This movie is said to be inspired by Lino Brocka’s Jaguar and Ishmael Bernal’s Manila by Night. People who have seen the movie say that he delivers a sterling performance here.

“How much are you worth?” I looked at him straight in the eye trying to get a figure. “I work hard. I share. I spend my money wisely. I save. I am comfortable and I am grateful,” he enthused.

“Are you afraid to be a has-been? A lot of things have been said against you. Pero hindi ka pikon. What will make you see red? Will you ever leave showbiz? Are there days when you wake up feeling ugly?” I fired this series of questions.

“No, hindi ako natatakot na malaos. We all get there. I can’t complain with all the blessings I have. But I want to age gracefully. I am not afraid to grow old. Hindi ako pikon. I think after what I have been through, it’s hard to make me pikon. I’m fair game. I don’t think I’ll leave showbiz. For as long as the public wants me, I will stay. Oh yes, there are days when I feel ugly,” he answered.

I reminded him that “many years ago, you told me in an interview that you wanted to die early.” “Not anymore. I have changed in that respect. It’s God’s call. I’m grateful for the gift of life,” he declared.

“Some girl out there like Kimidora will come out and say, “Nabuntis ako ni Piolo Pascual, what will you do?”

“Lagot. Babatukan ko siya,” Piolo roared in laughter like the young man that he is who truly loves life with a passion.

DIRECTLINE By Boy Abunda Updated July 24, 2009 12:00 AM (PhilStar.com)