Lonely is the Night

Normally, my first reaction to even well-meaning commentary from foreign sources on anything remotely Filipino is that of defensive outrage. My feelings range from irritated condescension ("Thank you kindly, but it's really something that doesn't quite translate into Western culture.") to incoherent yelling as an expression of outrage so elemental that it predates language ("@#%!"). However, Dr. Tilman Baumgärtel's reasoned riposte to our Filipino filmmakers' enchantment with the digital format is the sort of incisive commentary that we should take seriously, not because Baumgärtel is knowledgeable about Philippine cinema (which is true of most critics), but because Baumgärtel truly enjoys Philippine cinema (which one cannot always say of most critics). I always pay attention to those who are, either due to understanding or circumstance, forced to skewer, either in part or as a whole, that which they love. (Of course, I don't have to mention, as it is an entirely unrelated issue, and in no way can be considered relevant to the preceding statement, that I am married.) Here's an excerpt from Baumgärtel's article:

I don’t know any other national cinema where night scenes are given such importance as in Philippine cinema. Apart from the American film noir, Philippine movies must be among the darkest in the world. Consider the frequent reference to the pa-siyam (novena) lit by candles, or the attack of the aswang under a full moon, a gripping chase scene in the dark back alleys of Manila, or the lovemaking in a pigsty in “Himala.” In Philippine cinema the night is often among the principal characters. It can be haunting, as in Mike De Leon´s “Itim,” or full of pitch-black despair as in Lino Brocka´s “Maynila, Sa Kuko ng Liwanag.” It might ooze with sensuality as in Ishmael Bernal´s “Manila by Night” or serve as the appropriately gloomy backdrop as in Chat Gallardo´s “Geron Busabos.”

In no other area does digital cinema look as poor as in such night scenes, and there seems to be little improvement in this area, thus depriving Philippine cinema of one of its most important characteristics.

Much like any loved one, Baumgärtel makes observations about Philippine cinema that simply invite, for lack of a better term, reprisal. After all, when one is dealing with affairs of the heart, the worst perspective to adopt is that of neutrality. More often than not, great loves invite no less than the most extreme reactions on the part of the impassioned parties. I expect no less from our indie film community. Right, Joey?