May 30, 2010 at 10:24 pm 2 comments

One thing the Alexis Tioseco [Film] Internship Program spelled out for me is the unkind truth that I am no cinema Einstein.

This realization dawned on me in the thick of daily recondite discourse on film (care of the mentors of the internship program) peppered with cinematic jargons, screening of and lessons on films I didn’t know existed. With over a hundred films I have collected and enshrined in an ample space in my tall shelves, I have not really watched any, after all.

My so-called affair with cinema began the day I discovered a copy of Ricky Lee‘sBrutal/Salome (1981), the first book of screenplays to be published in the Philippines. I was 9, a third grade jailbait, and the stills of Gina Alajar as Salome in a uncompromising position with lover Dennis Roldan moved me, with a shaming curiosity of a child’s first observation of sex. The film stills, a far cry from my childhood picture books of stout animals with cartoon-faces locked in eternal grin and blushing princesses in a bed of blooms, introduced me to the reality of a mad, rubbished world.

So from then on, I watched films whenever I can but only had a serious yearning for cinema at age 13. I remember being happy enough to crouch outside the moviehouse screening Steven Spielberg‘s Schindler’s List (1993), only being able to listen to the bass of the film score signfying a plot tensity, a climax, because I was too young for admission. I was coerced to leave the room when the knife-wielding Norman Bates in granny garb entered the frame and Romeo and Juliet (Romeo and Juliet, 1996 by Baz Luhrmann) tongue to tongue beneath the latter’s sheets was an automatic signal for me to bury my eyes in my hands, even at age 16. The neighboring video rental shop which employed a delivery service proved to be a last resort, with myself posing as an older member of the household over the phone.

A film curriculum in college meant more films for me to feast on. Thus my introduction to Kubrick and his delinquent Alex (A Clockwork Orange, 1971);Scorsese and his super anti-hero Travis Bickle (Taxi Driver, 1976); Eisenstein‘sBattleship Potemkin (1925) which ‘The Odessa Steps’ scene is given homage by De Palma in his The Untouchables (1987); Brocka and his ill-fated characters framed in a backdrop of urban decay and so on and so forth.

Ten or more years of film appreciation, over a hundred titles acquired and treasured and I joined the internship still practically a cinema idiot.

But idiocy sure still beats the heck out of utter ignorance.


Listening to Coin Operated Boy by The Dresden Dolls ♫ ♪ ♫


Entry filed under: film, journals.

I wish I were into Dadaism with a toilet seat framed on my wall Dear Alexis

2 Comments Add your own

  • 1. Donya Reyna  |  June 4, 2010 at 12:06 pm

    I like your review very modern but it lacks something.

    • 2. Lou Lou  |  June 4, 2010 at 1:47 pm

      Hello. That is strange you saw it as a review when it is not at all one. Thanks for the visit anyway 🙂


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