SCINEAP FINALS by Jeremiah De Guia
SCINEAP FINALS!
Exploitation cinema is an exploitation of trends that enable the marketeers to sell that which is thematically relevant at a specific time. This usually pertains to the trends of drugs, sex, and violence. Ironically, these are themes that never seem to expire, regardless of where a country or land politically leans (left/right), it never fails to use the trends as a selling point. In Machete Maidens, a documentary revolving around the filmmaking industry of the early 60’s up till the late 70’s, exploitation cinema is seen as something that of a small budget effort, with current trends as weapons.
The filmmakers in the documentary talked about using actors and actresses (in spite of their mediocrity) and how they go above and beyond with trying to come up with different angles to be able to sell their product. A noteworthy example of an outstanding exploitation film is Apocalypse Now (in a way). It was amazing how, during a time of tyranny (where critical minds were being murdered, and whistleblowers were being shut off), Francis Ford Coppola and his colleagues were able to convince then president Ferdinand Marcos, to assist them with the making of the film. By assist, we’re talking military equipment, military-grade vehicles, men (many men), and thematically-related locations.
The directors talked about how Filipino stuntmen were outstandingly putting their lives on the line for the movie’s sake. In one instance, a director told how a stuntman got injured and they sent him home with a P5 payment for his participation. With that being said, towards the end of the documentary, a Filipino director asks a rhetoric question that were along the lines of, “Did they really exploit our resources (men, jungles, women), or were we..yada yada” which is pretty absurd in my opinion. Uhm, sir, of course they did. I disagree with that rhetoric. Without a shadow of a doubt, they did. And why? Because they can, of course. They didn’t come to this country to see how beautiful it is, but rather, to exploit whatever they can for their own financial gain. That’s Americano 101.
Moving on, watching two of the given Philippine exploitation films were somehow disturbing but eye-opening in a way. Seeing Tuhog (2001), and then later on Scorpio Nights (1985). These were both similar films, both sexploitation films, both had violence as a partner to the sexual theme, both grounded in reality. A reality that is of then and now present-day Philippines. Scorpio Nights follows a story of a young peeping tom that enjoys himself through a peephole. He wastes no time in fantasizing about his neighbor, a married woman living below him.
They all live together in a compound that is not a pretty sight to see, but a sight of reality nonetheless. Danny, unable to control his desire for his married neighbor, takes a chance. He slowly crept on the woman, sleeping mindlessly, and proceeds to decisively rape (at that point) his neighbor. The second time, however, is a little bit different. As she awakes and finds him caught in the act. She then chooses to have him close and chooses to fulfill her desire for his meat.
As the affair goes on, so does Danny’s craving for sexual encounters. He decides to also start a relationship with another one of his neighbors with whom he has had eyes for in spite of her relationship. Despite all of the sexual and later on violent themes, the movie has noteworthy characters that still try to pull Danny to the light. These characters are a reminder of the Spanish idiom, “Soldado avisado no muere en guerra”, which means Forewarned is forearmed. One of which is his welder friend, who tells him, “pag hiniram mo, ibalik mo”. His friend, who’s been aware of what was happening, rhetorically asks, “Ba’t ka nagseselos? Wala kang karapatan magselos”. That’s the first.
Punto segundo, is the gay neighbor that tells Danny how he and his lover are both Scorpios. Which explains why both of them are “malibog”. Which is more often than not a symbolization of the superstitious culture of the Philippines. Moreover, he warns Danny that he might poison himself with his own sting, telling him, “Baka ikaw malason ng kamandag mo”.
This foreshadowing comes to fruition at the end where Danny and the cheating wife are caught by the legal esposo or husband. Violently shooting his wife and Danny during intercourse. The ending is a disturbing example of necrophilia, as the husband decides to have one last intercourse with his wife (who was dying or a corpse at that point), seconds before he decides to shoot himself with his revolver.
Additionally, it shows how people who are above, take advantage of the people below. As Danny is above, and his eventual and unsuspecting lover, is below. A bit of a class issue when we take a step back.
Last, but not the least, is Tuhog. Tuhog is an exploitation film within an exploitation film. A 2 in 1. Exploiting sex, violence, and incestuous realities in the Philippines.
It is a rather silent problem that the country has, according to Rappler (2017). In the Philippines, incest acts are commonly perpetrated by uncles and fathers. Of which, 99% of the victims are girls. Additionally, the sad reality is that rape is the most common form of sexual abuse, while incest comes in second. The incest rate comes in at 33%.
According to the DSWD (from 2011-2016), they’ve served a total of 2,770 incest victims out of a total of 7,418 victims. This is the grim reality of Filipino families. Tuhog, while a sexploitation film, also portrays the power of filmmaking. How it can sell something as sexy, cool, or trendy. In spite of the source material’s very dark genesis. An example of such is how both mom and daughter, while watching their supposed biopic, were left uncomfortable and disgusted while watching what was supposed to be the telling of their difficult struggle with an incestous pater.
A supposed defender became their biggest oppressor.
