The kind of movie moguls dare not touch

Film review: Ang Mga Kidnaper ni Ronnie Lazaro

MANILA, Philippines - Ang mga Kidnaper ni Ronnie Lazaro, written and directed by Sigfried Barros-Sanchez, may be the kind of film movie moguls dare not touch.

It may not send a shock wave. It has the earmarks of an indie film: Wry sense of humor, non-linear narrative, absence of romantic love, lack of formulaic elements or trite dialogue and visuals, no matinee-idol looks. It actually and definitely feels like an indie film — ’indi malaki ang funding, ’indi kikita, ’indi panonoorin.

Yes, in spite of the fact that it recently won Best Picture at the first Sineng Pambansa Film Competition in Davao City. It also received financial support from the Film Development Council of the Philippines (FDCP) and from friends. Its public screening filled the gigantic University of the Philippines Film Center.

Not that Barros-Sanchez does not care about making a killing at the tills. He wants to make money, of course. But what he values most is that the audience understands and appreciates his film, that he does what he enjoys against all odds, and that, most of all, he addresses neither foreigners nor film jurors but Filipinos — the intellectual, the poor, the ordinary Filipinos. In a way, Barros-Sanchez is similar to the Indian filmmakers who cater to Indian taste instead of following Hollywood standards.

The film is a spoof, a satire, a black comedy, a slapstick, a farce, a burlesque, and a critique of both commercial and indie films. The critique is reminiscent of Barros-Sanchez’s first Cinemalaya entry Lasponggols and of the super memorable Ang Babae sa Septic Tank, written by Chris Martinez and directed by Marlon Rivera.

Ang mga Kidnaper ni Ronnie Lazaro juxtaposes the film’s main plot with the story within a story. It begins energetically with a penniless and wacky bunch of characters out to get Ronnie Lazaro to star in their film. When Lazaro rejects the offer because he doesn’t like the hackneyed script, the six chums (Nonie Buencamino, Epy Quizon, Dwight Gaston, Soliman Cruz, Raul Morit and Hector Marcos) kidnap Lazaro.

Why Ronnie Lazaro? The movie projects Lazaro as the most in demand indie icon, and whether he likes it or not, and whether the characters have a sure-fire script or not, they’re dead serious in having Lazaro as their lead actor to attract viewers. The joke about Joel Torre, another indie favorite, masterminding the kidnapping is a howl. Because Lazaro dislikes the script, saying its plot has already been done, the amateurish kidnappers think of a story. The story they conceptualize teems with action. The pacing is fast, and the clichés of the action genre, which are easily detected, elicit laughter from the viewers. The Muslim in the gang gives a throw-away line: Why not make the lead character a Muslim for a change. Nobody listens.

Upstairs of the same rented apartment, a professional director tries to shoot by imitating European art films. Also alluded to are English-speaking call-center agents, self-appointed prophets, filmmakers who don’t have bright ideas to begin with, etc. Gags come one after another and rock the theater with laughter.

However, after the spry start, the energetic cliché action scenes, the passion of the inexperienced indie filmmakers, the film begins to droop. Repetitious dialogue and stretched agony of the characters drag and therefore the film needs tightening. This may reflect how the close buddies bumble on the road to realizing their dream of making a masterpiece. But this justification still doesn’t change the fact that the middle part of the film has to be shortened.

After the middle part, the life stories of each individual become an inspiring source for a script or a film. In the end, the moral lesson again reminds the audience that Ang mga Kidnaper ni Ronnie Lazaro maintains its humorous vein. The film springs to life again. It, furthermore, reunites the cast of Lasponggols and showcases a strong and vibrant ensemble.

It is, indeed, a fitting tribute to the incomparable late Comedy King Dolphy, the hero who made Filipinos laugh and feel good about themselves, in spite of everything.

Thus speaks Barros-Sanchez, who may not bring up original concepts all of the time, but manages to surprise us with his bright ideas almost always. Barros-Sanchez may be dubbed today’s enfant terrible of Philippine independent cinema.