Film review: Deathrow ; A powerful film, a powerful message

In the tradition of Rizal and Muro-Ami; GMA Films once again marks the Metro Manila Film Festival with an entry that delivers a message. This year’s model is called Deathrow. Producer Butch Jimenez explains the decision to spell the title as one word, "It’s creative license and differentiation. It looks and sounds better to link both words. We also wanted to differentiate the real death row from the deathrow that a minor experiences. Besides, strictly speaking, death row is a noun; and usually, nouns are one word."

As we’ve learned to expect from GMA Films, the elements are all in place. First, there’s the tackling of a social issue; in this case, the plight of minors inside death row, which is against the law. Then, there’s the portrayal of life inside death row. There’s a potent cast, ably directed by Joel Lamangan, who once again shows his strength in storytelling. What comes to immediate mind are Sidhi and Bulaklak ng Maynila.

The screenplay is by Ricardo Lee and Manny Palo; based on a story created by the collective minds of Butch Jimenez, Joel Lamangan and Ricardo Lee. The score is by Ryan Cayabyab; and from the opening credits, we know we’re in the sure hands of a film with substantial production values. The setting of the film is Bilibid Prison and to achieve verisimilitude, the crew went on location at the Sta. Cruz Provincial Jail, Laguna.

The story opens with the blood-curdling scream of an old woman in distress. Sonny (Cogie Domingo) is one of a gang of four who in committing a "thrill crime," witnesses another gang member shooting and murdering the lola. A very reluctant participant, Sonny is left holding (literally) the "smoking gun" as the police enter the household. Sixteen years of age, but in possession of a voter’s ID that places him at 18 years of age; Sonny is charged with Homicide with Robbery and is promptly dispatched to deathrow.

It’s here where the masterful handling of the material by director Joel is very much in evidence. All the characters on Deathrow, from inmates to warden and prison guards, are fully-realized creations. They’re all given distinct identities and we, the audience, readily recognize each one as they make their subsequent appearances. Primary among them is Eddie Garcia as Badong, the overaged inmate whose sullen acceptance of his fate is disturbed by the persecution he watches Sonny undergo, and by the persistent human rights lawyer who has never won a case (a stellar turn by Jaclyn Jose).

There’s a motley assemblage of characters on hand. There’s a "mayor" and his rival for "top dog honors" within death row. There’s a convicted governor who gets special treatment; with his own security and toilet, he also finances the drug trade within the prison. There are lunatics and an inmate who has a trained cockroach (Carmela; the cockroach, I mean). Pen Medina, Ray Ventura, Allan Paule, et al.; they’re a supporting cast giving us very strong performances. Angelika dela Cruz is on hand as the girlfriend of Sonny (Cogie).

The very hierarchical nature of prison life is evident, the negation of one’s humanity, the male to male rapes, self-mutilations and suicides, and the travesty of visitations by wives and girlfriends. We see in detail the three syringes of lethal injection: one to calm, one to induce sleep and one to kill.

The story line is punctuated by flashbacks; to show Sonny’s life before the fateful night of the attempted robbery and to showcase how Badong ended up in jail; Is it a coincidence that Joel Lamangan played a role in the film Markova: Comfort Gay; for as in the Gil Portes film, we have the characters of the present day entering the flashback scenes? Uh-oh; time travel, in this case via Walkman, is getting contagious. Thank God that as in Markova, the scenes are both effective and essential.

Disbelief is suspended and we appreciate the device for what it is. It neatly explains the constant presence of, and gives dramatic counterpoint to, the ubiquitous walkman machine of Eddie Garcia. In one such flashback, Ace Espinosa plays the young Badong with Jenine Desiderio as the lounge singer he loves.

As mentioned, the strength of the film lies in the characters delineated. Joel superbly handles the cast and the story. If there is one fault to be found, I’ll point to the rather hasty resolution of the film after Badong’s demise. It seems that they were not very confident of the movie rolling along without the presence of Badong. As a result, there’s a contrived "neatness" to the manner in which the film reaches its conclusion. It’s almost like out of the blue, we resurrect the element of deus ex machina, this time in the form of the human rights lawyer who… I won’t spoil it for you.

Just go and see this film. It’s powerful filmmaking; something we’ve been in short supply of.