“Kahit sa patalim kumapit,
Isang tuka, isang kahig
Mga kamay na may bahid ng galit…
Kasama sa buhay na minana
Ay ang maling akala
Na ang taliwas kung minsan ay tama…”
-Hari ng Tondo (Gloc 9 feat Denise)
On what turned out to be the most controversial film which marked the end of 2011, Manila Kingpin: The Asiong Salonga Story is worth every bit of publicity it deserves.
It may have raised a million eyebrows when it won as the Best Picture for the 37th Metro Manila Film Festival (MMFF), an award-giving body which has since been overshadowed by politics and the superficiality of such, but it does that not stop me from giving it the credit it is due.
Manila Kingpin: The Asiong Salonga Story has brought back my respect to the Filipino Film Industry.
It revived the caliber of old films which have set the standards of a great Filipino film in the making. To name a few: Sister Stella L, Oro Plata Mata, and Tinimbang ka, Ngunit Kulang.
I have not lived to see the films mentioned above, nor have I been able to watch the original story played by former President Erap Estrada, but education, knowledge, and the wide range of films I have watched convinced me that Manila Kingpin is a film made with so much expertise, creativity, and meaning.
I must give credit to the Director, Tikoy Aguiluz, for a job which is really well done. He may be embattled up until now because of production issues but that does not make him less of a decision-maker and an artist.
Surface-level moviegoers who label themselves as “critics” may well-judge the fact that the film was shown in black and white from start to finish. But what color would justify any film that is branded as a classic?
The elements of the film are well-designed. With the mere butt of cigarette in its last throw of smoke signifying the end of a rule, a life. With the slow spinning of a wheel remembering how life could turn into a very slow motion and end up in death, in nothingness. With the breaking of the glass signifying how frail the thread of friendship has become after the poison of treachery.
The actors have been chosen quite well. Biases to my most respected actor in the Philippine Film Industry, Jorge Estregan, who lead the film for the first time but whose caliber has been sown from the antagonist roles he perfected in the past.
Kudos as well to the actors who are consistently the best in portraying roles like they were most real in the context: John Regala, my revered Pinoy villain; Ping Medina, whose emotions are always intense and artistic; and Ronnie Lazaro, whose films are always with meaning and heartfelt lessons that any layman can fully understand.
But looking deeper on what has really made the film as excellent as I imagined it to be is the undeniable fact that it has presented a classic which is still quite true in our times.
I have not lived in Tondo, but the place is marked by rich stories of how the masses survived amidst the rotten system ruining the very fibers of a just society. It is in Tondo that I believe one could really see what has become of the Philippines because of selfishness and greed of those in power.
Manila Kingpin: The Asiong Salonga Story is so far unmatched by any recent local film. Its lessons are rooted deep down the roots of Filipino bravery and pride.
Violence is not always the best option. But in a system which serves only a few, it is a necessity – just as a Revolution.




























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