Masahista delivers in more ways than one

If you want a "feel good" movie, one that tells you all is well in the world, Masahista is not one film worth your time and hard-earned cash. But if you’re one who appreciates a cinematic version of real life, no matter its harshness, this one should get your eyes hooked on what’s going on in the 2screen.

An invitation from A Centerstage Production to a private showing of Masahista or The Masseur in My Cinema at Glorietta 3 made me wonder if watching this first directorial effort of award-winning production designer Brillante Mendoza was going to be worth my while. That the young director has proved himself in one important aspect of film making somehow convinced me here was a promising talented guy who was going to deliver.

In many ways, the film delivered. For starters, the young actor, Coco Martin, was the right choice for the lead role. Although not too handsome in person, he looks very good on screen. If only for its commercial value, the cute face can be a plus point. And yet, that is being too simplistic. Coco, as a young masseur, is fittingly pleasant to look at. On face value, including a physique that is equally attractive, he is most likely to get the nod of a client in a massage parlor, especially if the latter is there for more than an honest-to-goodness massage.

Which was what Allan Paule, as the customer, had in mind, in the first place. Allan delivers a most convincing performance, simply because he is able to capture the cunning and trickiness of a lot of human beings who promise more than they deliver.

Of course, the film can be best appreciated for its intent to reflect reality in a typical Philippine suburbia. That it takes place in San Fernando, Pampanga somehow makes the film credible, if only because nearby Angeles, for a long time, was known for certain pleasures that could be had for a fee.

Interestingly, the film juxtaposes sex and greed with death. Again, this situation, as it evolves with the unfolding of the story, hints at an aspect of Philippine life that cannot be denied. Sex is not just for pleasure. It is also for business. A transaction initiates the act, but the details of the transaction are not necessarily conformed to by the parties concerned. Somehow, one exploits or fools, and the other ends up exploited, a victim of the situation, at first glance. But indeed, a victim of life, on the long haul.

Death, as it is portrayed in the film, where a parent dies, reminds us of its various levels of reality, both the physical and the cultural. Sadly, it is also an economic situation, not only because death can be expensive, with the funeral costs spiraling towards an all-time high as the dollar goes higher in value, but also because death, especially of a parent, signals new responsibilities for both mother and, more often, the eldest child.

It is unfortunate that the eldest child, portrayed by Coco, starts earning a living not only for himself but for his family even before his father dies. But this is not a new situation. It is Philippine reality glaring back at us and the country’s leadership.

Well, one does not go home philosophizing, and blaming the system, after watching this film. Again, the realities are all there for the watching, and it does not take a brilliant mind to know that these things take place. In coping with life, and in coping with death especially of a loved one, there is not much difference. Money is always a problem, and it is not always the solution, and the situation worsens long as there are people like the character of Allan Paule, gentle and meek at first impression, but a devil once the real self is uncovered. Allan Paule, no doubt, is most convincing. He was good in his past films, and he is equally outstanding in Masahista.

Although her presence in the movie is not very much felt, Jaclyn Jose lends her name and image as one of the country’s best actresses. But as a mother who is almost silent, if not dumb, she is not too different from mothers around us who, as losers in the game of life, suffer quietly and who accept the fate of their families with surrender. Loue Veloso provides the comic break in an otherwise too serious and sad film. Katherine Luna shines in her own way. Faces like tose of Paulo Rivero and Kristoffer King, along with a host of newcomers, merely confirm ours is a nation of beautiful and handsome youth. It’s not exactly unexpected, considering that we have mothers as attractive as Jaclyn Jose who, in the mist of poverty, manage to keep their physical gifts intact. At least, the faces and breasts hint a once-upon-a-time Miss Philippines materials.

It is worth noting that Masahista (The Masseur) has been entered in this year’s 58th Locarno International Film Festival in Lucarno, Switzerland, where it will have its world premiere. It is also the first digital film in competition. Brillante Mendoza takes a first too as the first Filipino digital filmmaker to compete with his first film in a major film festival.

Congratulations are in order not only to Mendoza but also to Gee Entertainment Productions, with Fedelyn Geling as producer and Ihman Esturco as line producer. Young talents in this country may be dime a dozen but somehow, the more than promising among them shine and glitter even in their initial try at fame.

Masahista delivers even fi it does not make you feel good, as it reminds you of the reality that you, as a Filipino, are trying to escape from. "Brillante", Mendoza!!!