Some movie titles’ catchy wordplay grabs viewers’ antic attention

Our recent compilation of witty titles for 2016 Filipino movies appears to have tickled the fancy of some film buffs.

They add their inputs to the droll discussion, pointing out that there is in fact a tradition of Filipino writers and filmmakers delighting in wordplay or coinage of catchy, new words or phrases to grab potential viewers’ attention.

In fact, some older buffs observe, the 2016 titles we happily cited are in fact relatively mild, when compared to older examples, especially during the “bolden age” of “bomba” flicks in the ’60s, ’70s and ’80s.

Many graphic “nudies and goodies” escaped the gimlet eyes of the film censors then, or were shown uncut in all their garish glory in small-town theaters in the provinces, and their titles were similarly graphic and “liberated.”

Earthy examples cited include hot-to-trot “crotch classics” like “Saging ni Pacing,” “Patikim ng Pinya,” “Room 69,” “Dingding Lang ang Pagitan,” “Gatas sa Dibdib ng Kaaway” and “Iputok Mo, Dadapa Ako.”

Less in-your-face but still winkingly, seductively subjective is “Diligin Mo ng Hamog ang Uhaw na Lupa,” the “hot and yearning” intimations of which drew sexy film aficionados to movie houses like a magnet.

The title caught our eye at the time, because it was able to combine sinuous seduction with “poetic” language.

Also memorable was the adult drama “Alas Singko ng Hapon, Gising na ang mga Anghel” (1976), which was more of a thespic than erotic showcase, detailing the troubled lives of play-for-pay girls.

The use of the word anghel to refer to the women dismissed as “mababa ang lipad” was an ironic juxtaposition that gave the title a bittersweet bite and edge.

It was impressive that some “commercial” movies starring big names in the ’60s and ’70s were able to also be quality productions with some substance and even dramatic irony to them.

It’s an unexpected combination that today’s filmmakers should strive to emulate and recapture, instead of peevishly dividing themselves into “indie” and “mainstream” groupies.

Another deft and droll standout was Mike de Leon’s “Kakabakaba Ka Ba?” a “very Filipino” play on words and sounds that hits the delighted film buff’s sweet spot. Will a 2017 indie production pay alliterative homage to it by titling itself “Bababa Ba”?

Other “tasty” and felicitous treats involving local movie titles—“May Lamok sa Loob ng Kulambo,” “Walang Malamig na Tinapay sa Mainit na Kape,” “Lulubog, Lilitaw sa Ilalim ng Tulay,” “Halinghing sa Likod ng Puno ng Saging.”

“Diligin ng Suka ang Uhaw na Lumpia,” “Ang Pagdadalaga ni Maximo Oliveros,” “Gaano Kadalas ang Minsan?” “May Pulis sa Ilalim ng Tulay,” “Pag-ibig sa Kapirasong Banig,” “Mga Anghel na Walang Langit,” “Ito’y Isang Baliw na Baliw na Daigdig,” “Kapag Tumabang ang Asin,” “Kapag Buhay ang Inutang,” “Kulang sa Init, Kulang sa Lamig,” “Sa Pagitan ng Dalawang Langit,” “May Daga sa Labas ng Lungga,” “Hanggang sa Dulo ng Daigdig,” “Bakit Madalas ang Tibok ng Puso?” “Huwag Mo Akong Limutin,” “Apoy sa Iyong Kandungan,” “Bago Lumamig ang Sabaw,” and “Nang Maghalo ang Balat sa Tinalupan.”

The best of the rollicking lot, in our view? “Nagalit ang Buwan sa Haba ng Gabi.” The film by Danny Zialcita is enhanced by its “impatient” title, which subtly and sweetly sums up the impermanence of “eternal” love—the lovelorn moon has a constantly wandering eye.