Perhaps the most endearing character to appear in the country's most recent films is 12-year-old Maximo Oliveros, scriptwriter Michiko Yamamoto's second baby after the equally unforgettable, loveable Pikoy, better known as Magnifico. Maxi wins your heart from beginning to end of this delightful film, from the moment you see him daintily pick up an orchid blooming in the garbage littering the street, to when you see him with a hint of a smile, walking away from the love of his life. It helps, perhaps, that Maximo is essayed skillfully by a virtual newcomer, beautiful (and yes, straight) boy Nathan Lopez.
Ever since I saw "Magnifico" (2003) on Cinema One (unfortunately, I wasn't able to catch it during its short theater run-then again, maybe that was all for the best because I'd never wept for a film as much as I wept for "Magnifico") I told myself I'd make it a point to catch all of Yamamoto's succeeding projects. Being an aspiring scriptwriter myself, I not only base my film choices (especially for local films) on the actors and the director. The scriptwriter is also a major factor. For example, even if he's disappointed me so many times, I still watch Ricky Lee's films. The same goes for Jose Javier Reyes. It was partly because of Yamamoto that I made sure to see "Santa, Santita" (2004)-and was I relieved that she was only part of a team of writers responsible for the script.
I was a little distraught that I wasn't able to go to the Cinemalaya Film Festival, and I thought I'd just wait for the DVD or the television premiere to see "Ang Pagdadalaga ni Maximo Oliveros," so I was beside myself in excitement when I read in the papers that it was going to have a commercial run beginning November 30. And you can bet your danggit that I was in line for a ticket for the first day's first screening.
What I love best about "Ang Pagdadalaga ni Maximo Oliveros" is that despite having a gay main character, it goes beyond being just a gay film. In fact, I see it more of a coming-of-age story with a protagonist that just happens to be gay. It's the first film I've seen wherein a homosexual is treated (by the filmmakers, both scriptwriter and director) as part of "normal" society, and not merely there for humor or shock value. Even more remarkable is that the treatment is light, and yet this doesn't undermine the despair in the situation of all the characters.
The dynamics of Maxi's family is also engaging. He's the rose among thorns-and real thorns of the society at that. His widower father and two older brothers are hoodlums (cell phone snatchers) by day, loving family members by night. I'm glad Yamamoto did away with the family conflict that's often portrayed in a family with a homosexual member. In fact, she did more than that: she showed more than once the depths of Maxi's family's understanding and acceptance of him. I admit the part of my brain that's been treated to stereotype after stereotype was waiting for a hint of abuse (since Maxi does all the housework, having taken on his dead mother's role), but I'm happy to report there was none. Yamamoto set the perfect backdrop for Maxi's story. As the two lead actors, Nathan Lopez and JR Valentin (who portrayed seamlessly the idealistic cop Maxi fell for) have been reaping well-deserved accolades. But I'd also like to praise the actors playing Maxi's family, especially Ping Medina, son of the talented actor Pen Medina. It's no surprise, but Ping is still a revelation. I'm looking forward to seeing more of his projects.
It's not news anymore that "Ang Pagdadalaga ni Maximo Oliveros" will be part of the Sundance Film Festival 2006, the first Filipino film to earn this honor. Please watch it! Email your comments to alricardo@yahoo.com.