Philip

A gripping realism in ‘Kubrador’
By Rianne Hill Soriano

‘Kubrador’ is an intelligent and insightful social commentary fronted by the infamous illegal numbers game ‘jueteng.’ With its gripping plot carefully rendered in well-choreographed handheld long takes and culturally-correct chronicling of the life of a ‘kubrador’ (bet collector), it shows the painful realities in living a life in a third world country without yielding to a preachy conviction. It merely portrays itself as an eye-opener to the stark reality in our midst, this time, with us as spectators relating to how the characters have been like us, whether literally, figuratively or both.

Director Jeffrey Jeturian maintains self-reflexive, documentary style images to reinforce the socio-political context and intensity of the film’s contemplative theme. The labyrinth of houses in the class D and E areas reflect the Filipino way of life – served with a bowl of social ills and riveting corruption. At the same time, to lighten the heavy premise, the film comically shows how dreams and events can be translated into pairs of numbers (reflecting how Pinoys tend to be really happy people despite the myriad of problems suffered). The film’s rawness and spontaneity support the mystery behind the undeniably intriguing form of gambling where people from various walks of life, from the slum dwellers to teachers to policemen to politicians and even the Philippine presidents, have been involved in it. Indeed, ‘Kubrador’ maximizes its grim realism with an engaging ride of allegories and subtexts.

‘Kubrador’ doesn’t follow the use of traditional plot. The treatment, cinematography and production design simulate rawness with realism. Bravely shot with a digital camera and keeping away from the boxed standards of mainstream filmmaking, this opus effectively draws the viewer to a story that is intentionally made subtle to render deeper levels of understatements.

Following the life of the ‘kubrador,’ Amy (Gina Pareno) generally represents the ‘Juan dela Cruz’ of today. Devoutly religious yet considerably left with no choice but to hold on to illegal gambling in order to survive the everyday needs to live, Amy is a hard-working wife and a strong-willed woman taking charge of her solicitous husband, her daughter and even her daughter’s family. In the story, she starts her day with a morning prayer asking for her protection from the cops. All clean and fresh, she places powder on her face and cologne on her hair. But early on, she accidentally steps on a pile of shit. Indeed, just like Amy being unable to help herself in patronizing cigarettes amidst her frequent coughing, such things clearly relate to the idea that: no matter how we try to keep our self good and clean, we tend to dirty ourselves every once in a while. Moreover, she literally walks with death while passing by the slums with roaming tricycles sometimes becoming monsters abounding the intertwined streets. And like any other criminal, she keeps her ass away from the cops as her job is illegal by default. Yet, as the cliché goes: “The show must go on.” She goes around the dirty pathways to collect the bets from neighbors who buy a tiny piece of hope in the coins and bills they have.

Every detail seems carefully executed in the film. Metaphors, no matter how big or small, are planted with justifiable meanings all over the story. The film further conveys how evident jueteng is in the society – from the civilians to the lowest rank of police officers to the politicians. And the paradox here is how such a community of illegal gamblers can actually have a heart down the line: a boss lending his own money to help a needy ‘kubrador’ who needs to pay her children’s tuition fees; a big boss putting bail to every ‘kubrador’ caught; Amy helping a fellow ‘kubrador’ caught by the cops; Amy justifying an unreported bet and borrowing money just to pay the price; and Amy automatically accepting a request to collect alms for a hit-and-run victim of the neighborhood.

The film is clearly humanist. Amy’s daily routines and the people she meets everyday are all representatives of the various aspects that affect our poverty-stricken country. From the slums to the piles and piles of money literally shoveled and deposited to the bank by the jueteng lords, jueteng and the many social issues accompanying it really reflect oppression, poverty and corruption. It justifies how difficult it is to eradicate the illegal game as everyone looks at it as a big opportunity to have a better life – taking risks by making bets and allowing bets.

Jueteng is a game that has been constantly linked to Philippine politics. As the film states in its OBB (opening billboard), jueteng has overthrown a Philippine President. And up to now, it hounds the current president whose husband and son are rumored to be linked to it. Other similar scandalous situations involving colleagues, families and other politicians themselves further prove this.

The film ends on All Soul’s Day where Amy’s family, just like any other Pinoy families getting a sort of reunion in such time of the year, visits the grave of Amy’s soldier son Eric. The device used wherein Eric occasionally visits Amy as a ghost is simple and yet every effective. The risks of becoming corny and unappealing are entirely eradicated with the treatment given by Jeturian. Feeling the mere presence of Eric makes us relate more to Amy as an aching mother.

The engaging chasing scene of the policeman and a ‘kubrador’ across the urban class D and E rooftops is in parallelism to the labyrinth-like walks of Amy getting lost within the grims of the small pathways and the impressive long takes that require great efforts to pull off. The camera movements work for the audience though at some minor points there have been just a few seemingly too choreographed background people that pass by the frame. Some minimal details have been quite overlooked, too, as the idea of making the sari-sari store of Amy and her husband completely unprotected from theft in such a criminal-stricken place (the scene where the couple is about to sleep, the door locked and yet the store just left wide-open for thieves of the night).

Like the lingering alleyways and the twists and turns that make the film a more watchable film as compared to those tiring contrivances that dominate Philippine mainstream cinema, the unpredictability of the film further elevates its quality. The impressive direction of Jeturian, the intelligent screenplay of Ralston Jover, the guiding hands of Armando Lao as script supervisor and the showcasing of the best performances of Pareno and the rest of the ensemble all go hand in hand. The producers and the collaborating artists for this production deserve to be recognized. This film sincerely shows how faith and sincerity can really keep us going amidst the dark path, and in our own little ways, come up with a spark to light the way… for the further betterment of the allegedly dying Philippine cinema.

Living a powerful note, Jeturian ends the film with Amy’s realizations in life. The squalor, oppression and inequality abound. But amidst all the risks everyday, life must go on. And just like jueteng being a game of chance, life is filled with all kinds of risks and chances in every tick of the clock. And all aspects being exposed in this film are carefully designed for the best storytelling efforts conveying its multi-faceted messages.

Without a second thought, I would have to say that, along with his collaborating staff and cast, there is a mere genius from filmmaker Jeffrey Jeturian as he creates such a world of sincerely realistic convictions. The technical and thematic achievements of the film have proved how a quality film can be done in a tight budget. However, may the recovery of the Philippine cinema from the pits of hell mark a more viable support from the government, institutions and the people as a whole so that this ultimately powerful medium serve its purpose as a means of expression of the artists, as touching eye-openers, as food for the minds, hearts and souls, and as a significant form of entertainment for the Filipino audience and even to the international scene – thus, promoting Pinoy arts and culture for the betterment of the country and the world.