Director: McArthur C. Alejandre
Amongst the members of the lowest heap of the pecking order, it is said that the community self-regulates itself. These guidelines, called social mores or morality, are allegedly laid down to steer the community to a virtuous way of living. This would appease the Gods as it is the correct thing to do. Its payback can be experienced in the afterlife or the next birth.
Paradoxically, the masters' perceptions of good and evil are different. In the eyes of the slaves, their aim in life was to usurp as much wealth as possible and immerse themselves in hedonistic activities.
The slaves scorn their master's attitude towards acquiring wealth and their aissez-faire outlook to morality but justify their own fastidiousness as a decree from the divine forces.
The unabashed desire for wealth is ostracised as greed. To yearn for the sumptuous spread of delicacies is labelled gluttony, and unsanctioned wanting of sexual pleasures without societal approval is termed sin. The fear of God is imposed upon them to toe the line. Curiously, these laws do not apply to the master class. It is said that because of this, the master class can thumb down their slaves to stay in power and assert dominance.
What we realise is that the social norms that the slave community imposed upon themselves are potentially self-defeating. It stifles their personal development but ensures that the masters have a constant labour force supply. Slaves remain slaves.
So, if the social mores are removed from the equation, would the society prosper? Perhaps not.
In a way, this film asks the same question. The film could draw audiences more for its explicit nature rather than the theme and storyline; yours truly tries to find wisdom where others find pleasure. t is the curse of the profession.
The setting is in the slumps of Manila. A son, JC, returns home to his widowed mother's home. JC is returning after years of being away. This time, he returns after getting into trouble with a gang in Baguio. JC has a girlfriend of three years with him. At home, the mother lives with her first son, Pao, and his wife. She had adopted a mute girl, a rape victim whom she picked up from the streets.
The theme around the household is about earning money. The aged mother is a street vendor, and the adopted girl helps her. The elder brother is a male exotic dancer and moonshines as a gigolo by the side. His wife used to be an exotic dancer but stopped after coming into the family. JC is slowly inducted into the same profession. Money is trickling in. Everyone is happy.
The apparent thing around the household is their lax attitude towards morality surrounding sex. The mother curtained off a small part of the bedroom for JC and his girlfriend to sleep together, knowing very well they are not married. The family is okay with the job everyone is doing. When Pao's rich client, a boyfriend, promises him a free pass to the USA in lieu of employment and residence there, everybody is happy.
So with all the restrictions against wealth acquisition and sexual freedom lifted off the agenda, everything should be hunky dory, right? Perhaps not, as is subsequently seen as the story goes. Anger, violence, and the desire to dominate and control ensure the member stays put. Like crabs in a pail, each will pull the other down to ensure it is status quo for everyone. The loser will be content to get stuck in the slime and censure the occasional budding sprout from escaping the muck.
Can money really be the panacea to solving all problems? In the immediate future, it could be. Only when one reaches his destination and lets a sigh of relief would he realise that life is no park in the walk. Something would saunter in the name of the black dog, waiting to pounce upon the generation next! We are advised to stick to routines and follow religiously proscribed guidelines or cookbook recipes. We need the occasional outlier to push mankind to a higher level.
