Mainstream movies awaken from decade-long slump and slumber

“NO OTHER WOMAN.” Record-breaking feat.

After more than a decade in the doldrums, the local movie industry has finally been showing signs of renewed and revitalized life again.

The first strong sign of revival was last year’s Metro Manila Film Festival’s (MMFF) creditable showing at the tills. In terms of quality, the output may have been unremarkable, but droves of people did go to Metro theaters again, and that was all to the good.

Barometer

But, some observers scoffed, the MMFF happens only once a year, so it shouldn’t be taken as a strong and clear barometer of how the industry will fare throughout the next film year. It’s positive, “in-the-black” outcome needs to be seconded by some hit productions not attached to and associated with any festival or official film event.

That “second-the-motion” proof came soon enough, with the mega hit that “No Other Woman” turned out to be. In fact, the “romantic triangle” smash was so enthusiastically patronized by local film fans that it set a new record at the tills.

Also instructive was the fact that it starred not the usual superstars, but still young-ish leads, indicating some sort of “changing of the guard” in terms of stellar crowd-drawing “pull” and clout.

Another upbeat indication of better times up ahead for local movies was the good showing of two indie productions, “Ang Babae sa Septic Tank” and “Zombadings.” While they didn’t break any records, the two flicks did respectable business in mainstream outlets, unlike many other independent productions that languish generally unseen and therefore unappreciated, before expiring from “first day-last day” ennui.

Success

Then, just last month, a mainstream “gay” comedy, “Praybeyt Benjamin” hit it big in theaters, grossing more than P100 million on its opening week. If the sleeper hit keeps delighting viewers, it could match “No Other Woman’s” exceptional success.

Even more remarkably, the comedy flick topbills a relatively new film star, the unabashedly gay Vice Ganda. That a new lead can do so well is noteworthy enough; what makes Vice’s feat even more remarkable is the fact that he’s turning out to be the movies’ first and only gay hitmaker. In a country that has relegated gay entertainers to generally “support” and “comic relief” status, Vice’s success is well night unparalleled.

Sure, Dolphy has had his share of hits in transvestite and cross-dressing roles, but viewers know it’s all an act. Yes, some gays have starred in films, but they generally haven’t hit it big.

Viewing population

With just two hits under his belt, Vice is already the “queen” of the roost—and how and why the generally straight viewing population has embraced him should be discussed in greater detail in a future think piece.

For now, it’s enough to sum up by saying that the local movie industry’s (more than) seven years of famine appear to be ending—and that’s something we should all celebrate.

From a high of 200 films annually, the mainstream industry’s output has shrunk to as few as 30 or 40 movies a year, leaving many film workers jobless. So, the mere hint or sniff of better times ahead is most welcome.

But, have we learned the lessons that our decade of financial and artistic deprivation should have taught us? Or, now that our crisis has abated, will it be (lazy) business as usual again?

Will our producers go back to making glossy, formula quickies that take local viewers’ tastes and preferences for granted? —No, that would be too dumb and retrograde even for us (knock on wood)—!