Manila in the Claws of Light (1975) User Reviews

Absorbing & Affecting

[reelreviewsandrecommendations · 8/10 · 15 December 2022]

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.

Julio's journey through hell....

[Falconeer · 9/10 · 9 December 2009]

Lino Brocka's masterful study of a man's loss of innocence is a centerpiece of great Filipino cinema. The tale of young innocents traveling to the infamous city of Manila, and losing their way, has been told countless times, but "Manila: In the Claws of Neon" was the first, and this unflinching look at urban decay must have shocked people at the time. Bembol Roco is heartbreaking in his role as the small-town laborer who travels to Manila in search of his beautiful girlfriend, who has vanished without a word. With his baby face and puppy dog eyes, he conveys the image of the ultimate naive youth, and Hilda Koronel possesses the same pure quality, as his lost love, Ligaya.

Once in the clutches of the decadent metropolis, Julio is forced to either let go of his innocence, or be swallowed up by the ruthless, hardened characters around him. This same theme returns in Brocka's equally powerful "Insiyag." 'Maynila' is more than a study of lost innocence, of course. It is also an honest look at third World poverty, and the desperation that causes people to do things that they might not do otherwise, in order to survive. One of the film's most harrowing scenes features a scared and sickened Julio, lured into working at a sleazy male whorehouse. The character is obviously not homosexual, and being forced into having sex with men is the beginning of his own personal demise. The bloody, shocking climax of this film is one of the most memorable disturbing set pieces in film, and was borrowed from heavily, by Martin Scorsese a year later for his classic "Taxi Driver." Viewed back to back it becomes evident as the scenes in the hallway of the dark apartment tenement are virtually identical. Brocka's vision came first, too bad so few people are not aware of this beautiful film. Thought to be lost, due to improper storage of the film, this has surfaced on the internet, which is where i was able to finally see it. This one, and some other Filipino films are long overdue for restored DVD releases. If you can find it, see it.

Tragic warts and all look at Manilla in the 1970s

[Quinoa1984 · 9/10 · 2 July 2018]

As always with a film like Manila in thr Claws of Light, context counts above all. This is a story that has a setting in the Phillipenes of poverty and a crushing sense of 'got to get by on the skin of my teeth', not to mention the exploitation of... Everyone, whether it be through work by day, by night, human and sex trafficking, the works (only drugs seem to be absent here, but im sure where were on the margins if not out in the open). The sense of repression in this society makes Italian neo-realist cinema seen quaint, and that is a strength of Brocka's film because he is putting up a lens through how he sees it: this is horrible, this is punishing, and the only thing that can be a light is if people care about one another.

Though the thrust of the story is if Julio will find his beloved Ligaya in Manila, we dont get to that resolution until two thirds of the way into the film. Primarily this is about how someone who is an outsider to the city as Julio is from a seaside village (though still very much of the culture and time and place), and so we are also those outsiders. This is not meant to be a subtle trip - the horrible boss of the construction workers, being paid 2.50 a day but on paper it's 4, often is munching on a cigar and has the boss ethic of any given sweatshop in history - but thats not really a detriment. We believe this setting because we believe the people. I assume most of these players are not professionals, and they do well under Brocak's direction and tight budget. So when Julio is out in the streets, or outside the building where hes mostly certain Ligaya is being stowed away, it doesn't feel like we are seeing something so set apart from a reality we can see. On the contrary, this is poverty and thr decimation of working class people everywhere.

Though criticism of the Marcos regime is not explicitly stated, it doesnt have to be. It's implicit in how so many of the people Julio comes across are mistreated (and of course some corrupt cops here and there who make no bones about stealing money and walking away help along the struggles), and of course for the women exploitation in the world of prostitution is exploitation of workers (just happens to be sex). Julio is as close as we can get to a moral compass - while his coworkers go one by one with a Booker he refuses, despite the pressure from the pump, for example - and his visions of the past are what he clings to. He doesnt see any life for himself without her, which makes for a good goal for the story, but is also his weakness - he loves this woman so much that nothing else can change for himself.

If I had a nit to pick some of the flashbacks, while effective when done in sorr of subliminal ways, become frequent to the point of repetition because what else would there be to put in this cut or scene (or it may be the flashbacks themselves don't vary, it's just the same image of Ligaya in the beach). And yet my one criticism is addressed in a way by the time the movie gets to her and the two are reunited. So many scenes, in scene after scene, almost it feels like a pattern deliberately where the idea is, "THIS is what is happening to this overworked/underpaid/tragic person being exploited by the ruling classes," and while it could easily dip into propaganda I dont see this as some negative in that Brocka's passion and intensity as a filmmaker, the commitment to realism, takes away a feeling of "this is an *agenda* as it"s about these people who exist. But all these scenes are really leading up to Ligaya, who was exploitated just about the worst of all - in one long take that seems to last for about seven or eight minutes, she tells her story to Julio in a bedroom, and it's wise to not cut away. We are here listening to her story, and unlike at other points there is no cutting away; we have to picture this for ourselves.

This is a sad and depressing story, but I didnt feel like it is a giant let down to watch because of the anthropological nature of how it's presented and how the melodrama escalates so believably. As Scorsese says in the intro on the criterion disc, this is a movie made for the people.

heart-breaking, thought-provoking, beautiful

[pope_innocentyears · 10/10 · 8 October 2002]

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.

Maynila: Sa Mga Kuko ng Liwanag - A film that Triumphs in Art and Social Significance

[BuddyBoy60 · 9/10 · 15 June 2017]

ABOUT: Julio Madiaga, a simple fisherman from the province (as played by Rafael "Bembol" Roco, Jr. in his first leading role) goes on a journey to find Ligaya (Hilda Koronel), the woman he loves, after she went away with a mysterious woman promising a better future in Manila. When he arrives, he becomes immersed in the city lifestyle and gets involved with its inhabitants experiencing extreme poverty, hard luck, and the daily pressure to grind for sustainment. While Julio relentlessly searches on for Ligaya, the city changes him little by little, becoming like an animal in a wild jungle that lives only for survival.

REVIEW: Maynila: Sa Mga Kuko ng Liwanag (Manila: In the Claws of Light), a film by the late great national artist, Lino Brocka, from the screenplay of Clodualdo Del Mundo Jr. (adapted from the serialized novel of Edgardo M. Reyes), is an examination of the dark side of urban life in Manila, Philippines. Brocka tackles the social issue of extreme poverty and its effects on the people experiencing it at the time.

The movie speaks about the harsh truth about Manila especially for the underprivileged that life in the city is pleasurable but only if you meet the high cost and that sometime you even have to pay more because what you can give is not enough. In end you may have to lose so much only to gain so little in value. Such is the fate of Julio Madiaga (main character) and basically every character in the story. He goes on a nightmarish journey to find his love one, Ligaya only to experience things go from bad to worse.

A ton of credit should be given to the casting and the performance of Rocco as Julio Madiaga. We go with him and we see everything happening through his eyes and we feel the same way that he does. He was able to portray convincingly a character that changes from being pure to being tainted as the film progresses. The screenplay also gave hand in establishing a strong connection between the viewer and the main character specifically with the use of key monologues that made us aware of his intentions.

Other characters aside from Julio Madiaga are well written and cast also, such as Julio's missing love one, Ligaya, a perfect example of Filipina beauty, Pol, as played by Tommy Abuel, his ever reliable friend, and the elusive Mrs. Cruz, as played by Juling Bagabaldo, whom he has a growing hatred for taking away Ligaya. Every character proves to be integral to the events presented in the film. No one seems out of place, not for a second.

Apart from the commendable writing, acting and casting, it is the direction by Lino Brocka that brought these aspects together film. His signature realism paired with his undeniable artistic talent behind the camera is what the material needed to produce an exceptionally well made film.

Though it has been over 40 years since the movie premiered, the social commentary it contains continues to be relevant up to know. This is coming from a citizen living in the said city. The underprivileged people in city at present are still affected by poverty among other social illness as it was then. Sure, it will make a fine exhibit for retrospection when discussing the era when Philippines was in martial law but more than that, because of what the film achieves both in art and social significance, it will continue to be watched by future generations.

FINAL WORD: With an flinching portrayal of what is wrong in the society at same time being able to showcase it in cinematic fashion, -Sa Mga Kuko ng Liwanag (Manila- In the Claws of Light) proves its triumph in film making. Only a few films and even less in Philippine Cinema have put together social significance together with art and produce a very satisfying experience as this film. With the recent restoration, the film can be seen in its grandest form and hopefully it will continue to be influential in the years to come. The film is highly recommended. Go see it. You can likely catch it in cinemas in the Philippines or as I have read, the Criterion Collection is planning to release the film in DVD/ Blu-ray within this year, so grab a copy when it becomes available.

More than just a social issues film

[timmy_501 · 9/10 · 9 April 2010]

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.

#1st Phillipino Film

[MaherabHossen · 9/10 · 8 January 2022]

"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.

A Good Movie About The Class Struggle

[boblipton · 6/10 · 23 September 2019]

Bembol Roco has come to Manilla to search for his girlfriend, Hilda Koronel. She was recruited to work in a factory in the big city, but there has been no word, so Roco has followed to look for her. He finds it a topsy-turvy place, where the poor are generous and the rich claim to have no money. As he gradually comes to get on his feet, he makes friends, some false ones who merely wish to use him, and a few who wish to help him.... and whoinform him she has almost certainly been recruited for the sex trade.

Lino Brocka's movie portrays Manilla as a ugly place. He also tells his story very efficiently, with Roco's young, blank face a perfect canvas for the Kuleshov Effect. I did not find anything particularly novel in this movie, causing me to wonder why it's on S.J. Schneider's list of '1001 movies you must see before you die.' I'll speculate it's because of its political message and he wanted to have one movie from the country on the list. It's good, but not spectacular.

A city with dead ends for the poorest of the poor rings true even today.

[dwightangelodeleon · 10/10 · 21 April 2020]

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.

The Light at the Window

[Screen_O_Genic · 9/10 · 16 June 2022]

Regarded as the greatest Philippine film made, "Maynila sa mga kuko ng liwanag" (Manila in the Claws of Light) is one of the most poignant and accurate depictions of the plight of the poor in the urban jungle known as the city. A young and wide-eyed man from the sticks brings nothing but his simplicity and knaivety to the capital in search of his beloved after she was lured to the metropolis with promises of work and education. Once in Manila the protagonist finds himself in the hellhole of real-life scenarios where he struggles to get by in order to attain his purpose. Scenes unfold as fate brings this tale of promise and hope into a spiralling tragedy. One of illustrious director Lino Brocka's most highly regarded films the movie features his distinguished direction with a youthful Bembol Roco (in his first major role) and an attractive Hilda Koronel leading the helm as the star-crossed lovers destined to tragedy. The memorable ending is one of the great climaxes of filmdom and is one of the most stirring and affecting fadeouts in cinema history. With its depiction of grimy poverty, dimly-lit streets and establishments and gorgeous sunlight the movie is a moving glimpse in motion of Martial Law era Manila. Although there are talky slow parts that lag the flick this is a good view from start to finish. Moving and unforgettable this is one of the most accomplished portrayals of life in all its complexities and is one work of art that will stay with you for life.

Manila in the Claws of Light

[jboothmillard · 5/10 · 27 August 2017]

This Filipino film, also known as Manila in the Claws of Brightness, is one I found listed in the book 1001 Movies You Must See Before You Die, and in the description I read it is considered by many as one of the greatest films of Filipino cinema, so I was interested to try it. Basically Júlio Madiaga (Bembol Roco) is a simple fisherman from the province on the island of Marinduque, in the Phillipines, who travels to Manila. Júlio appears to be just a young rustic who has to work in order to survive the conditions of the urban jungle, he lands a job as a construction worker, but is not used to such labour, and falls unconscious due to fatigue and hunger. On the site Júlio makes friends with fellow construction worker Atong (Lou Salvador Jr.), who was hired five weeks before him, and another worker advises him unless one has the income to enjoy urban comforts, life in the city can be quite difficult. Júlio slowly begins to observe the harsh reality of society, experiencing extreme poverty, hard luck, and the overbearing need to grind to sustain daily, and even witnesses the accidental death of one of the construction workers. One day, while Júlio and Atong are shopping for clothes in the marketplace, Júlio's attention is caught by a woman reminds him of Mrs Cruz (Juling Bagabaldo), the woman who brought his childhood sweetheart, Ligaya Paraiso (Hilda Koronel), to Manila for schooling. Júlio runs through a crowd and tries to approach the woman, but before he can say anything she screams in distress, he flees to prevent causing a scene, and leaves the marketplace with Atong. Many more chance encounters with Mrs Cruz follow, until eventually Júlio discovers that Ligaya was actually brought to the capital for prostitution, she explains everything when they are finally reunited. Júlio plans for them to get away and return to Marinduque together, Ligaya agrees to meet him at Arranque, however she does not appear at the appointed time. The next day Júlio goes to see his friend Pol (Tommy Abuel), who informs him that Ligaya fell down a flight of stairs, during a struggle with the brothel owner Ah-Tek (Tommy Yap), she died in the night. Júlio is enraged, he sees Ah-Tek at Ligaya's funeral and begins to stalk him, he is successful in dispatching his target. But a mob witnessed what Júlio does to Ah-Tek, they pursue and eventually corner him, the film ends with a slow motion close-up of Júlio's terrified face, just as his assailants are about to strike. Also starring Pio De Castro III as Imo, Joonee Gamboa as Omeng and Julie De Guzman as Asawa. I had to really concentrate to understand everything going, whilst reading the subtitles and watching the grainy imagery, I just about got the grasp of the story, it certainly works well with the melodramatic stuff, exploring the suffering of the disadvantaged, an interesting drama. Worth watching!

The best Filipino film of all time? Probably YES.

[Fru_is_Insomniac · 10/10 · 31 March 2006]

I'm not a fan of our local films here in the Philippines. I've seen so many cheesy Filipino films such as "Dyesebel", "Batang X" etc. But after I have seen "Maynila", everything changed.

The film is simply amazing. It really blows me away. This is very original concept of story I have seen in my entire life. Although some moments are like "Midnight Cowboy" inspired, the whole story is very original.

The characters are very memorable, though some acting needs some improvement. Thanks to the late Director, Lino Brocka for making this unforgettable, total human experience. Brocka is the greatest Filipino director, and I'm sure everyone will agree on me.

10/10

Big City Dreams, Small Town Heroes, in The Best Filipino Film Ever Made

[gonzagaext · 10/10 · 25 October 2006]

The 'provinciano' (literally someone from the provinces, or small town folk) is one of the most portrayed characters in Philippine cinema. With its sole megalopolis, Metro Manila, dominating the rest of the country, the economy included (with the possible exception of Cebu), the mass urban migration occurs day after day, depleting the agrarian countryside of its promising sons and daughters. The resulting drama is a great source of material for cinema: the evil, exploitative, capitalistic big city sucking the life out of the fresh, naïve, virginal barrio lad or lass. Furthermore, considering the history of Filipino colonial exploitation lasting hundreds of years by the Americans, Japanese, and Spanish, the story of the rich (yet morally lacking) exploiting the poor (yet virtuous) is one of the most enduring stories in Filipino culture.

"Maynila: Sa Mga Kuko Ng Liwanag", directed by Lino Brocka, the most critically respected and well-known filmmaker the Philippines has ever produced, from the novel by another icon, writer Edgardo Reyes, is the embodiment of the great provinciano film and has been hailed as the apex of so-called 'Third World cinema'.

The 'provinciano' in our story is Julio Madiaga, portrayed by film veteran (and later in his life the most famous bald Filipino), Bembol Roco. In this very first (and highly memorable) of his many cinematic collaborations with Brocka, Roco's neophyte status works well on the Madiaga character. He possesses a doe-eyed naivete that stands in harsh contrast with the bitter reality that is Manila. He braves the big bad city in search of his small town sweetheart, the so literally named Ligaya Paraiso (meaning Happy Paradise, as played by Hilda Koronel, at her virginal best), who has mysteriously disappeared after being promised a good job and an education by a woman who looks like a 'baboy' (pig). His maddening search dominates the film. Frustrated and disenfranchised, he gradually sheds this skin of innocence while a quiet sense of anger slowly brews under the surface. The 'provinciano' barely survives. Oppressed and emasculated, our hero is barely able to save himself from the neon clutches of the city, much less save his girl. Ironically, our savior needs to be saved!

Like Mira Nair's masterpiece "Salaam Bombay!", "Maynila" is an excellent portrayal of how man struggles to find his niche in the world or, more interestingly, how he ultimately doesn't fit in, no matter how often and how hard he tries. Julio, on the surface, isn't alone, for he easily gets along with his fellow laborers but, ultimately, he's among fellow misfits, society's disenfranchised poor living on the edge. Depressing as he can be, the perennial misfit is an interesting cinematic figure. It's this feeling of helplessness and the hope that maybe it will get better which fuels the film.

"Maynila: Sa Mga Kuko ng Liwanag", indeed, deserves its place among Filipino cinema's best of the best. Like Ishmael Bernal's "Himala" and another Brocka film, "Tinimbang Ka Ngunit Kulang", it's a celluloid legend that not only meets but surpasses high expectations. (Unfortunately, Brocka's "Insiang" falls short of these same personal expectations.) "Maynila" and "Himala" are most often mentioned as the best Filipino film ever made. Piercing, unforgettable portrayals of the human condition, they beautifully illuminate the story of the Filipino. And like all great films, they contain memorable, iconic scenes: film legend Nora Aunor's "Walang himala!" ("There's no miracle!") scene in "Himala" and, to a lesser degree, Roco's brief but haunting final shot in "Maynila". Between the former's increasing crescendo of Third World desperation, Aunor's tightly controlled performance, and false gods/true celebrities religious fanaticism, versus the latter's dark maze of urban entrapment, Roco's gradual withering of brown 'provinciano' innocence, it's a very close, tough call to make. Still, I have to say that "Maynila" is the more relevant, therefore, more appealing for me personally. As beautifully surreal as the deserts of Paoay are in "Himala", though Bernal's intelligent religious commentary connects with me strongly, ultimately, it's the simple story of the brown 'provinciano' swallowed by his sweetheart's big city dreams which affects me more significantly.

A beautifully done masterpiece!

[sactomojo · 10/10 · 20 April 2020]

Excellent story of a young man's struggle to survive in the gritty environment of mid-1970's Manilla only to encounter one heartbreak after another. Cinematography is breathtaking!

a searing social critique told through the jeremiad of a young fishmonger from a provincial island

[lasttimeisaw · 8/10 · 29 April 2017]

The linchpin of Filipino cinema, Lino Brocka's pièce de résistance has been received a well- deserved BluRay treatment, MANILA IN THE CLAWS OF LIGHT is a searing social critique told through the jeremiad of a young fishmonger from a provincial island, Julio Madiaga (the newcomer Roco purveys a deeply affecting performance as a new-in-town tenderfoot) arrives in the big city to search for his childhood sweetheart Ligaya (Koronel), who has been roped into shady prostitute ring from their hometown, only to be overcome by a society infested with moral turpitude and unspeakable vice, belonging to the lowest of the social rung, Julio is inexorably driven to a breaking point when he can only resort to the most radical method to express his fury and desperation, and his ultimate denouement is ominously preordained through the accretion of his violent impulse.

Brocka hones a critical eye in presenting the film's urban jungle milieu, shot in actual loci: the harsh conditions of those construction workers, one of them, Atong (Salvador, Jr.) with whom Julio befriends, lives in the squalid shanty with his younger sister (Mendoza) and their bed-ridden father (a landowner expelled out of his own property by wealthy foreigners), adjacent to polluted water, believe it or not, he is in a well-off situation (before the sorry fate catches on with his family); a chock-a-block local market where bargains for goods soon sour into personal attacks and that particular building where Julio suspects Ligaya is interned by a Chinese Filipino Ah-Tek (Yap), the rare seen ringleader, and its neon-lit signboard.

His pittance is shortchanged by the sleazy honcho and dangled by the intrusive oldest profession, sacked mercilessly when he is no longer needed, Julio witnesses accidental death befalls on the construction site, the indignant fate befalls on Atong and his family, still, he is too wet behind the ears, succumbs to the skulduggery of a policeman imposer on the street. The crescendo of injustice is which lends this film its cachet and its undimmed relevance, the whole drama probes an unyielding peer into the miasma of unrelieved depravity (just to plumb how pandemic this kind of pathology can reach with a deplorable cri-de-coeur), mirrored through Julio's nostalgic erstwhile memories (ultra-snappy edited), which we all but realize there is no way back.

An unexpected sortie in the rough trade virtually becomes the most benevolent segment among a concatenation of threnodies, where Julio reluctantly dips his toes with an epicene punter, which imbues a purely libidinous concern without any creeping malevolence, that is prevalent elsewhere. But, not everyone can find his feet in that line of business, the bar is quite high, actually. An non- judgmental take on the often pejoratively depicted subculture does flag up Brocka's unflinching resolution to spark more social commentary than he would be allowed.

Eventually, a chance meeting (a rather oddly conceived occasion wanting more context) reunites the star-crossed lovers, and Hilda Koronel recounts Ligaya's ordeal with palpable poignancy in the lengthy close-ups, only to be tritely weighed down by her inextricable maternal attachment, and spoils their final chance of a happier finale.

Upholstered with a perturbing score from Jocson, MANILA IN THE CLAWS OF LIGHT is as harrowing a story as one could envision, but under Brocka's stylish execution, it brims with an urgency to provoke, to shock, to jolt viewers into condemnation, only if he could have curtailed his exasperating anti-China slant, viewed 40-odd years later.

"I'm leaving tomorrow with Mrs. Cruz"

[evening1 · 10/10 · 23 May 2020]

Unassuming on its surface, this film really grabbed me. I had taped it months earlier on TCM, choosing to view more glittery productions before it, with no clue as to the profound experience that awaited me.

I am a decades-long film buff, with great interest in world cinema, so it surprised me to realize that I had never previously seen a Filipino movie. Director Lino Brocka is quite a discovery. It is sad to read on Wikipedia that this talented artist died prematurely in a car crash at only 58.

This powerful example of cinéma vérité in an Asian setting depicts the epiphanies of Julio, played by Bembol Roco in an understated and stunning debut. He has appeared out of nowhere, walking the grimy streets of the capital with nothing but the shirt on his back, becoming glued to the street-corner location of Chua Tek Trading Company, an address that holds the key to finding Ligaya (Hilda Koronel), his winsome love from the provinces, who waves to him from memory.

To feed himself, Julio toils for 2.5 pesos a day in construction,but gets less after the foreman takes his cut. Julio can accept lot, or quit. If not for the empathy of fellow laborers, Julio, more accustomed to a fisherman's nets, would collapse of hunger and exhaustion amid the rubble of the work site.

This movie's landscape bears the taint of past colonialism, offering zero degrees of freedom to the common man. Lack paperwork? Then the land your family has farmed for generations will be seized. Don't have money? Then the cops don't care. If you should wish to protest, think twice -- you could end up paralyzed, dying mysteriously in jail, or fleeing your burning home, with neighbors poised to pick through what's left. Julio had lost his love to the loathsome Mrs. Cruz, who had arrived in the village to recruit girls, especially the prettier ones, for so-called factory jobs and the promise of education. So Ligaya fulfills her filial duty, no questions asked. And, fatefully, Julio opts to stay behind and await her return. When a second letter never arrives, he sets out for that hell-on-earth of the urban environment, where it's each man for himself, and prostitution is everyone's last resort.

When our lovers finally meet, rather than joy there is a sense of foreboding to rival that in "Romeo and Juliet." We know their few minutes in bed can come to no good. And when Julio sets out for vengeance, we wish that we could protect him, while realizing that hope is futile.

This is a very dark tale of humanity, with a rare opportunity to hear it narrated in Tagalog.

Great but also wrenching but mostly great

[IamROCKAS · 8/10 · 11 June 2023]

The movie takes place in Manilla - the capital of the Philippines and one of the biggest cities in Far East Asia. Unlike the limited knowledge about the city, as I know it today in 2023, the movie shows the darker side of the city, filled with corruption, injustice, and corporate greed. It felt that around every corner there lays an issue with transparency, scams are present on a corporate level and those with high amounts of social capital are taking control over others - in other words, only those who partake in the system that feeds on previously mentioned corruption, injustice and greed are able to prosper. When thrown into such a hopeless situation, one would surely struggle with his morals, and as we've seen in the movie, even the strong with clear visions of what they want to accomplish, whether it is to take care of their family or find a loved one in a big city, are not safe from becoming victims of the system. What's even more heartbreaking is when you become a victim by becoming one with the system or losing your morals because of the system: as seen by the protagonist of the movie, the system and its cycle of hatred dragged him in and made him a tool that continued the cycle at the end of the movie.

This movie was a bit difficult to watch but not because it's sluggishly slow like one of Kubrick's pieces or not matching my taste at all - this movie was difficult to watch because it encapsulates vividly pleasing imagery with a slow plot that simultaneously makes you feel like you're at a bus stop just waiting for the bus and like you're listening to one of your favorite songs. Yes, a long wait for the bus is the best example I came up with as it is something I have to deal with a few times per week but I learned to appreciate that wait time with music, literature, or a downloaded episode of one of my favorite shows to keep me pre-occupied and the feeling I get during that period of time of enjoying something in quick bursts is the closest thing this movie as a whole makes me feel. Does that translate to this movie being bad? I don't think so, just because I'm used to more condensed cinema and appreciation through a different emotional spectrum, this movie gave me a different medium to experience myself in relation to cinema. This movie was difficult to watch because it's not the kind of thing I'm used to and the personal connotations that come from these kinds of movies are usually negative, so this kind of experience was like a hurricane in my mind that simultaneously attempted to enjoy the movie and tried to remind me why I don't like this kind of cinema. In the end, the part that attempted to make me enjoy the movie won and although some parts felt too slow, I genuinely enjoyed the movie.

Truly a classic!

[eminkl · 8/10 · 18 April 2020]

Tagged by some critics as "possibly the best Filipino movie ever made", Maynila sa Kuko ng Liwanag creates an atmosphere where viewers are called to look closer to one of the main characters of the movie - the city itself. This call leads to a deeper understanding of the characters and their significance in the story. Moreover, the plot is craftily designed to highlight the idea each character symbolizes. One cannot help but to pity Julio Madiaga (the surname translates to "patience") in his search to be reunited with her love interest Ligaya Paraiso ("happy paradise" in literal English translation) in the bustling city of doom that is slowly setting dawn on them. While the acting and editing may be considered so-so (at least to modern-day standards), the cinematography and music and their effects that each scene leaves to the viewers are nonetheless superb.