| Carla Abellana plays Salonga’s wife in the movie |
BARELY a week before the formal opening of the Metro Manila Film Festival (MMFF), the movie Manila Kingpin: The Asiong Salonga Story, again found itself in the middle of controversy. Its director, Amable “Tikoy” Aguiluz 4th, demanded that his name be deleted from the movie credits after a fallout with its producer and star, Gov. Jorge “E.R.” Ejercito of Laguna.
In a letter drafted by his lawyer, Angel Enrico Mira Jr., Aguiluz asked the production company Scenema Concepts International, to remove his name from billboards, posters and other promotional materials (including those posted in social media), since the final version of the movie can no longer be described as his film.
Aguiluz reasoned that some “additional scenes” in the film were allegedly shot without his knowledge. The filmmaker also claimed to have had no participation in the “reedit, reshoot, and music mixing” of the movie.
The letter added, “The producer disregarded the rights and prerogatives of our client to make creative decisions based on the original agreed version of the project. Therefore, he wants to obtain permission to make a ‘director’s cut’ of Asiong, which he can submit to international festivals.”
Finally, the letter stated that should his demands not be granted, Aguiluz would be compelled to file “criminal and civil charges.”
Online petition
Following the reports, an online petition has surfaced asking the producers to exhibit the director’s cut of the movie at the MMFF.
According to the petition (www.change.org/petitions/pinoy-cinephiles-release-the-directors-cut-of-manila-kingpin-the-asiong-salonga-story), the producers have taken Aguiluz’s film away from him and added scenes without his permission.
Citing a news article from The Philippine Daily Inquirer entitled “The Trouble with Asiong,” the petition stated; “There appears to have been a breakdown of communications between director and producer, to the extent that the producer has withdrawn control of the film from the director, and has altered the film substantially in ways that the director has not approved of.
“The film in effect has been changed in ways that the producer has seen fit; without the director’s consent; however, we have to assume that the producer has changed the film to make it more commercially viable, or—being the lead actor as well—to make his role more substantial, his character more appealing. We also have to assume that, without the director’s consent, these changes were NOT applied to improve the film’s artistry, or its cinematic values.”
The petition then mentioned several Filipino films such as Lino Brocka’s Insiang, and Mario O’Hara’s Mga Bilanggong Birhen and Sindak, which they said were altered without the director’s consent.
“We believe the Filipino people have long been hungry for a quality mainstream Filipino film, one that tells a well-made, well-written popular story, and we believe Mr. Aguiluz—with the help of Mr. Ejercito and everyone else involved—has done it. It is there, unaltered, already ready to be fed into the projector. We want to see that film, as decided by the artist best qualified to make that decision. We ask that you give us that film.”
Rave reviews
Interestingly, it was the reedited version of Manila Kingpin received a Grade A from the Cinema Evaluation Board (CEB), and has continued to receive positive feedback following its premiere screening at the SM Manila on December 17.
Gov. Ejercito said he was overwhelmed by the audience response, adding it was worth the movie’s P75-million production budget.
The governor then shared the reaction he got from Nora Aunor, who was seated beside him.
“Prangka niyang sinabi na kinikilabutan siya sa eksena, ramdam na ramdam niya ang tension ng bawat scene. Tuwang-tuwa si Ms. Nora Aunor sa pelikula, ang ganda-ganda raw.”
This and the other positive comments he said proves that reediting the movie was the right decision. He went on to say they didn’t like the first version because of the slow pacing.
“Hindi kami natuwa sa editing, so we decided to hire a new set of editors, mga bata, magagaling. Ni-re-edit ang buong pelikula kaya doble-gastos kami, pati music.”
Ejercito asserted they had informed Aguiluz of the changes beforehand.
“I told Direk Tikoy, I wasn’t happy with the first edit. Even the producers and my relatives who watched it didn’t like it as well. So we had to get a new set of editors . . . Kahit sino ang manonood, lahat ipinakita ko ang director’s cut, hindi maganda . . . sad to say.”
Ejercito believes they got the “A” rating from the CEB because of the latest edited version. “Pag sinabi mong A, maganda ang cinematography, maganda ang editing, music, sound—holistic.”
He said the reedited movie was a team effort by cinematographer Carlo Mendoza, Mike Idioma (sound), Jessie Lasaten (music), Jason Cahapay (editor), and Fritz Silorio and Joel Bilbao (production design).
The governor said he knew Aguiluz wouldn’t take it well, but that it was the prerogative of the producers to make their desired changes.
“Kahit si Boss Vic [del Rosario, Viva Films] nakausap ko. Si Mother Lily [Monteverde, Regal Films] nakausap ko. They told me that the producers had the last say with regards to editing, music and color grading,” he explained.
Still, Ejercito credited and praised Direk Tikoy for the visuals.
“Magaling na director si Direk Tikoy sa mga visuals, sa cinematography, maganda. Pero sa editing, trabaho ng iba ‘yan.”
Ejercito said he believes Aguiluz can even win the Best Director award. And despite their misunderstanding, he says he still wants Aguiluz to direct his next historical movie El Presidente, which he stars opposite Nora Aunor.
“Gusto ko pa rin si Direk Tikoy ang gumawa ng El Presidente dahil magaling siya sa visuals.”
As for the director’s request to have his name removed, Ejercito firmly stated that Direk Tikoy’s name will stay.
“Ang tinanggap na budget dito ni Direk Tikoy ay doble ng budget niya. May advance rin siya sa El Presidente, kaya hindi puwedeng tanggalin ang pangalan niya. Saka ayaw niyang pumirma sa kontrata.
“I was the only one who believed in him—the only one who gave him this big chance to return, saka ipinaglaban ko si Direk Tikoy sa mga producers ko,” he stressed.
Manila Kingpin is Aguiluz first film after eight years. Among his most notable works are Boatman (1984); Balweg (1986); Bagong Bayani (1995); Segurista (1996); Rizal Sa Dapitan (1997); Tatarin (2001) and www.XXX.com (2003).
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