Maynila sa mga kuko ng liwanag

Over four decades later, Maynila sa mga Kuko ng Liwanag (1975) holds up as a tale of a city mostly unwilling to provide opportunities for its poorest inhabitants.

Julio Maldiaga (played by Bembol Roco), a man from the province, struggles to make ends meet in Manila, switching from one source of income to the next while dealing with all misfortunes that Manila presents his way. What keeps him going is the desire to reunite with an old flame, Ligaya, who moved to the city from their province in search of a better life.

Similar to Filipino film classics of the era, Lino Brocka's masterpiece does not hesitate portraying Manila as irredeemable--a city filled with exploited construction workers, prostitutes left with no choice but to sell their soul, thriving informal settlers, and people above their socioeconomic class who get to dictate how the world works. The angst against the Marcos-era social order is evident here, as Brocka shows the demonstrations in the streets, as well as anti-government slogans in the walls, as a backdrop of the decaying Philippine capital.

The final scene proves little has changed since Brocka's work came to life on the big screen in 1975. The Julio Maldiagas of Manila in the 21st century are often than not presented with the same demise: a literal dead end, with all the wrong decisions a person and Manila made for himself coming back to bite him.

"Manila in the Claws of Light" owes its distinct brand of cinema verite to Italy's postwar neorealist cinema of De Sica's contemporaries. It offers a realistic look at the titular city while also providing a universal story of life and death in the metropolis. Owing to its title, the film explores the fatality of being drawn to the light. Julio searches for Ligaya, the "joy" and the light of his life, but finds himself ruined in the process. He ventures into the city, the light that supposedly brings financial stability, and faces disillusionment instead. Mixing visceral, documentary-like realism with the narrative focus of Hollywood noir and melodrama, Manila in the Claws of Light is an emotional journey that will leave the audience floored by its ending.

It is the 1970's and Julio is a young man from the island of Marinduque. Searching for his long-lost girlfriend Ligaya, he travels to Manila, the capital of the Philippines. While there, he takes whatever work he can find; being constantly short-changed by the callousness and avarice of the Marcos regime. Struggling to survive on the cutthroat streets of the concrete jungle, he encounters the best and worst of humanity, and the boundaries of his dignity are tested. Whether or not Julio finds Ligaya, and if the two of them escape the city unscathed, remains to be seen in Lino Brocka's 'Manila in the Claws of Light.'

A powerfully understated film, 'Manila in the Claws of Light' is based on the novel 'In the Claws of Brightness' by Edgardo Reyes, with a screenplay from Clodualdo Del Mundo Jr. Gritty and moving, the story presents a sadly realistic portrait of extreme poverty that will resonate with many. The film serves as a barbed commentary on the corruption and insensitivity of the Filipino government of the 70's, as well as a thoughtful allegory of how the innocent can be corrupted by the iniquity of urban life. It is unremitting and occasionally quite hard to watch; though always impossible to ignore.

Superbly, subtly written, 'Manila in the Claws of Light' is also visually alluring. Mike de Leon's restrained, evocative cinematography is stunning, capturing beautifully the hectic street life of Manila. At times, he shoots the film similarly to a documentary, heightening the realism of the subject matter. During flashback sequences, his approach becomes more romantic and stylized, lending those scenes additional tone and power. Throughout the picture his work under Brocka's direction is inventive and striking; and many of his shots linger in the mind long after the credits have rolled.

The film features a score from Max Jocson which is deeply atmospheric and- if you don't mind the term- very 70's and full of catchy synthesized melodies. Also worthy of note is Ike Jarlego Jr and Edgardo Jarlego's editing, which is seamless and intuitive. The movie has a steady pace that never falters; even in scenes of contemplation or high drama. Additionally, Ricardo De Guzman's production design is rich and textured, contributing to the gritty visual aesthetic established by de Leon's cinematography.

'Manila in the Claws of Light' features a cast performing at the top of their games. Rafael Roco Jr.- also known as Bembol Roco- stars as Julio, delivering a strong performance of intelligence and emotional depth. He has the audiences' sympathy right from the start, and never loses it. Hilda Koronel is somewhat underutilized as Ligaya, though steals the few scenes she's in completely; and may just break your heart in one of them. Lou Salvador Jr does impressive work in the supporting role of Atong, as does Joonee Gamboa as the character Omeng. All underplay their parts, staying true to the tone of naturalism that runs throughout the film.

A haunting piece of cinema, 'Manila in the Claws of Light' is an accomplished piece of work in every regard. Sad, poignant and realistic, it offers viewers an unfettered view of extreme poverty and ennui in the city. Powerful and subtle both, with a story that is devastatingly true to life and full of social commentary, the film is well-acted, masterfully directed by Lino Brocka and boasts fine cinematography from Mike de Leon. In short, 'Manila in the Claws of Light' is an affecting, absorbing film unlikely to be forgotten by any who see it.

Lino Brocka's 1975 film The Nail of Brightness (aka Manila in the Claws of Neon) is first and foremost a showcase for the social ills of the Philippines, particularly in the urban center of Manila. The film's main character Julio is only recently arrived to the city having left behind his impoverished but relatively dignified and happy life as a fisherman in a small village to find his girlfriend Ligaya who had herself gone to the city at the promise of a job and some educational opportunities only to disappear completely a short time later. Julio's episodic experiences in the city give Brocka a chance to exhibit all sorts of social issues as Julio is robbed of his savings before the film even begins and is forced to seek employment at an unsafe construction site where he agrees to work for a low wage and fails to even receive the meager pay he bargained for; the construction company can get away with this because of a lazy, inefficient government that apparently does nothing for its working class people. As the film continues Julio's misery grows greater; more than one character is forced to turn to prostitution to make ends meet and several major characters are the victims of violent crime.

In spite of the didactic nature of the material, Brocka's film is a success because he builds sympathy for Julio through the use of subjective camera techniques. The narrative is peppered with brief, precisely edited flashback shots from Julio's point of view: the result is an unusually powerful evocation of memory. Brocka's subjective cinema transcends the established techniques of social realism and allows him create one of the greatest doomed characters in film history.

In all the long, hit-and-miss years of Philippine cinema, no other movie made an impact as much as "Maynila". This movie is proof that low-budgeted movies can truly be maximized by a beautiful, thought-provoking story. `Maynila' is the tragic story of Julio (Bembol Roco), a small-town fisherman who went to the big city to search for Ligaya, his sweetheart (Hilda Koronel), losing his innocence and humanity in the process.

The acting was not superb, but the plot and storyline carried the cast all the way, making each character as memorable as the next. Julio's journey through the streets of Manila is real. The direction was extraordinary. The climax and ending of the story is as surprising as 'Fight Club' and 'Seven', but will leave you thinking and utterly breathless, applause in seat. Never has a tragedy been as beautiful as this.

Also, never will the Philippines experience a movie as beautiful as this. Never again.