Immoral (2008) - Can a man have it two ways, his wife in one room, his boyfriend in another? Can a woman stomach the fact that she has to share her husband, not with a female rival, but with a kindhearted gay guy? Can a gay guy shoulder both a struggling male lover and the clingy wife?
To complicate matters, a sports bag full of cash becomes another bone of contention among the tortuous trio. (Paraiso plays a taxi driver, and the bagful of money landed on his lap). Adolfo Alix, he who gave us DONSOL (2006), NARS (2007), BATANES (2007), ROMEO AT JULIET (2010) and the ROtterdam International Film Festival Big Screen Award-nominee MATERial DOLOROSA (2012), audaciously twists the common cinematic love triangle, with unusually competent non-marquee actors.
To be sure, Alix has worked with the best of them (Angel Aquino, Sid Lucero, Jacyln Jose, Mark Gil and Bembol Roco for densely (2006), Jaclyn Jose, Jennyln Mercado, Agot Isidro, Coco Martin, Joseph Bitangcol and Jon Avila for NARS (2007), Iza Calzado, Coco Martin, Julio Diaz and international Taiwanese star Ken Zhu for botanist (2007), Anita Linda, Perla Bautista, Ricky Davao, German Moreno and Iza Calzado for ADELA (2008), Rosanna Roces for AURORA (2009), Piolo Pascual, Rosanna Roces, Anita Linda, Alessandra De Rossi, Baron Geisler and Marissa Delgado for MANILA (2009), that incomparable women-in-prison film, PRESA (2010), with Tetchie Agbayani, Perla Bautista, Anita Linda, Liza Lorena, Rosanna Roces, and Daria Ramirez, and Zanjoe Marudo, Luis Alandy and Asian star Ananda Everingham in KALAYAAN (2012).
But Alix is truly an indie actor's dream director (wit, Jiro Manio and the then-unknown Coco Martin in TAMBOLISTA (2007), Joem Bascon and Mike Tan in BATANES, Kristoffer King in NARS, AURORA and KARERA (2009), Jason Abalos and Arnold Reyes in ADELA, Victor Basa and Paolo Rivero in ROMEO AT JULIET, Ina Feleo in PRESA, Rustica Carpio and Evelyn Vargas in CHASSIS (2010), and Rocky Salumbides for KALAYAAN. His most recent film, MATER DOLOROSA, assembled big names such as Gina Alajar, Alessandra de Rossi, Rosanna Roces, Carlo Aquino, Cogie Domingo and Phillip Salvador, peppered with indie stalwarts Joem Bascon, Alwyn Uytingco, Kristoffer King, Felix Roco and Evelyn Vargas.
Here in Immoral, Paolo Paraiso (28) and Arnold Reyes (35) are equally matched, and it helps that both are hunks, and sensitive performers. Katherine Luna's acting style harks back to the heyday of a young Rosanna Roces, except when she loses herself with hysterics.
The conundrum of a bisexual triangle is tackled head-on, fearlessly and surefootedly, by Alix (his films DAYBREAK (2008) with Coco Martin and Paolo Rivero, and MULI (2010) with Sid Lucero and Cogie Domingo, were daring chronicles of homosexual love), and he pulls out all the stops. This is nominally Paraiso's starring vehicle, and just about time! How the cinematographer (Albert Banzon) lovingly photographs his subject, from head to toe, from torso to obliques. You truly understand why a man and a woman are playing tug-of-war over this Adonis.
Best scene in the movie: when Paraiso "magnanimously" divides his time between Ms Luna one moment, and then with Reyes the next.
Second best: when the two men make love, when they kiss. Alix helms this really tastefully - in the hands of a lesser mortal, it would be gratuitously soft-core porn.
Scene that falters: when the otherwise reliable Luna (cast by Alix previously in MANILA) gives way to histrionics, precisely when the two hunks go for restrained yet effective acting. Nevertheless, Luna was nominated by Gawad Urian Awards for best supporting actress 2009.
Support is lent by Perla Bautista, Kristoffer King, Angeli Bayani, Adriana Agcaoili, Cherrie Madrigal and Edgar Allan Guzman, and they all serve Alix well.
Ambiguous ending seems deliberate, but with a visionary like Alix, to leave a story hanging is to force one's self to question his/her principles, motivations, desires and actuations in life. Indeed, we all have our opinions of what we would do with a bagful of money that fell into our hands (or into our cab). Moreover, just like his two films dealing honestly and sophisticatedly with gay love, you never get the feeling of condescencion or mockery with Alix's take on bisexuality and bed-sharing. It is what it is.
To complicate matters, a sports bag full of cash becomes another bone of contention among the tortuous trio. (Paraiso plays a taxi driver, and the bagful of money landed on his lap). Adolfo Alix, he who gave us DONSOL (2006), NARS (2007), BATANES (2007), ROMEO AT JULIET (2010) and the ROtterdam International Film Festival Big Screen Award-nominee MATERial DOLOROSA (2012), audaciously twists the common cinematic love triangle, with unusually competent non-marquee actors.
To be sure, Alix has worked with the best of them (Angel Aquino, Sid Lucero, Jacyln Jose, Mark Gil and Bembol Roco for densely (2006), Jaclyn Jose, Jennyln Mercado, Agot Isidro, Coco Martin, Joseph Bitangcol and Jon Avila for NARS (2007), Iza Calzado, Coco Martin, Julio Diaz and international Taiwanese star Ken Zhu for botanist (2007), Anita Linda, Perla Bautista, Ricky Davao, German Moreno and Iza Calzado for ADELA (2008), Rosanna Roces for AURORA (2009), Piolo Pascual, Rosanna Roces, Anita Linda, Alessandra De Rossi, Baron Geisler and Marissa Delgado for MANILA (2009), that incomparable women-in-prison film, PRESA (2010), with Tetchie Agbayani, Perla Bautista, Anita Linda, Liza Lorena, Rosanna Roces, and Daria Ramirez, and Zanjoe Marudo, Luis Alandy and Asian star Ananda Everingham in KALAYAAN (2012).
But Alix is truly an indie actor's dream director (wit, Jiro Manio and the then-unknown Coco Martin in TAMBOLISTA (2007), Joem Bascon and Mike Tan in BATANES, Kristoffer King in NARS, AURORA and KARERA (2009), Jason Abalos and Arnold Reyes in ADELA, Victor Basa and Paolo Rivero in ROMEO AT JULIET, Ina Feleo in PRESA, Rustica Carpio and Evelyn Vargas in CHASSIS (2010), and Rocky Salumbides for KALAYAAN. His most recent film, MATER DOLOROSA, assembled big names such as Gina Alajar, Alessandra de Rossi, Rosanna Roces, Carlo Aquino, Cogie Domingo and Phillip Salvador, peppered with indie stalwarts Joem Bascon, Alwyn Uytingco, Kristoffer King, Felix Roco and Evelyn Vargas.
Here in Immoral, Paolo Paraiso (28) and Arnold Reyes (35) are equally matched, and it helps that both are hunks, and sensitive performers. Katherine Luna's acting style harks back to the heyday of a young Rosanna Roces, except when she loses herself with hysterics.
The conundrum of a bisexual triangle is tackled head-on, fearlessly and surefootedly, by Alix (his films DAYBREAK (2008) with Coco Martin and Paolo Rivero, and MULI (2010) with Sid Lucero and Cogie Domingo, were daring chronicles of homosexual love), and he pulls out all the stops. This is nominally Paraiso's starring vehicle, and just about time! How the cinematographer (Albert Banzon) lovingly photographs his subject, from head to toe, from torso to obliques. You truly understand why a man and a woman are playing tug-of-war over this Adonis.
Best scene in the movie: when Paraiso "magnanimously" divides his time between Ms Luna one moment, and then with Reyes the next.
Second best: when the two men make love, when they kiss. Alix helms this really tastefully - in the hands of a lesser mortal, it would be gratuitously soft-core porn.
Scene that falters: when the otherwise reliable Luna (cast by Alix previously in MANILA) gives way to histrionics, precisely when the two hunks go for restrained yet effective acting. Nevertheless, Luna was nominated by Gawad Urian Awards for best supporting actress 2009.
Support is lent by Perla Bautista, Kristoffer King, Angeli Bayani, Adriana Agcaoili, Cherrie Madrigal and Edgar Allan Guzman, and they all serve Alix well.
Ambiguous ending seems deliberate, but with a visionary like Alix, to leave a story hanging is to force one's self to question his/her principles, motivations, desires and actuations in life. Indeed, we all have our opinions of what we would do with a bagful of money that fell into our hands (or into our cab). Moreover, just like his two films dealing honestly and sophisticatedly with gay love, you never get the feeling of condescencion or mockery with Alix's take on bisexuality and bed-sharing. It is what it is.