REVIEW: A film cineastes and political observers should not miss (A Review of "On The Job")

By Randy Renier I. Espinoza

On The Job is probably this year’s most important film. There are some reasons why. It is a neatly made film that tackles corruption in the bureaucracy and the political system. It is Erik Matti’s career’s best work. It was screened at the 2013 Cannes International Film Festival in the Directors’ Fortnight section. It is one of Star Cinema’s grandest productions to date. It is slated for North American distribution by Well Go USA Entertainment this fall and is reported to have a U.S. adaptation. It stars two of local showbiz’s top heartthrobs. It features an award-winning performance by veteran actor Joel Torre.

Opening with scenes of local festivity disrupted by bullet shots from the trigger of Mario/“Tatang” (Joel Torre), the camera follows Tatang and his backup, Daniel (Gerald Anderson), along their journey back to their domicile:  the prison. What unravels is a complex web of characters and relationships that extend beyond the parameters of the penitentiary and involve power holders in government and the justice system. The virtual father-and-son duo of Tatang and Daniel draws some unlikely parallel with a partnership formed between NBI agent Francis Coronel Jr. (Piolo Pascual) and SPO1 Acosta (Joey Marquez), who form the “good” end of the spectrum. Tatang needs his job in order to win back his wife and send his daughter to law school. Daniel is being groomed as the heir apparent to Tatang, who is about to receive pardon. Coronel, meanwhile, whose father-in-law, Congressman Manrique, is running for a senate seat, gets assigned to take over a criminal case being handled by Acosta.

As witnesses get silenced for life, the investigation of the case is poised to throw relationships in disarray and even cause political turmoil, with loved ones as collateral damage. Realization comes to everyone. Tatang discovers that his wife has a boyfriend and that his incarceration has alienated him from his daughter, and he is told that he’s facing forced retirement from his job upon release from prison. Daniel learns that her mother is entertaining a new man in her life and decides to lure back his old flame. Coronel finds out that General Pacheco (Leo Martinez), a friend and party mate of his father-in-law, is at the top of the hierarchy that operates the crime syndicate that enlists inmates as triggermen. Acosta’s drug beats yield clues that point to his son being involved in drugs-related activities.

Conflict ensues as Coronel and Acosta have to make important decisions if they are to faithfully discharge their sworn duties as agents of the law. Coronel has to bear getting the disapproval of her wife and his father-in-law as exposing the truth means getting the latter implicated in the case, as he has hired the services of the crime syndicate twice. Acosta has to set aside his fatherly feelings as he attempts to take his own son into custody. As Coronel finally gets the resolve to do the right thing and is close to getting the truth exposed, he gets shot by Daniel. 

Loosely based on events that got exposed in the media, the film is a brave exposition of the corruption in government and the penitentiary system that lets inmates go in and out of prison to do criminal activities. Although some may see the film as a noir, a pessimistic depiction of the system, the production’s effort is laudable in that it offers hope in the persons of Coronel and Acosta. The former may have died and the latter may have been discharged from service, but their commendable commitment to their duty leaves rays of hope for some. Coronel and Acosta -- who is outraged by the wrongful death of the former and the obstruction of justice and goes on a rampage and chases the convoy carrying Pacheco and Manrique and shoots at their bulletproof vehicles -- are the faces of the few “straight” public servants who defy the odds to make a difference. Their efforts may have been snuffed out by the ruling system, but they symbolize hope, that there are still few men good enough to make things right, even if hope remains hope.

This thematic importance is matched by the excellence of the film’s technical aspects. Unabashedly conceived to appeal to commercial audiences, the film has the right mix of action, suspense, drama, and sex that can compete with Hollywood flicks. The script has successfully weaved different characters, relationships, and stories into a coherent mesh that is dynamic and pulsating with life and action. This interlaced plot is set in a canvas of light and colors that can be a tad dim at times, perhaps owing to the film’s dark theme, featuring Manila’s sights and streets, thus evoking the distinct cultural vibe of the city. There is balance in presenting the city’s squalor vis-à-vis the places and sights that do not offend one’s senses.

Torre’s sterling portrayal of a cold-blooded gunman is the focal point of the narrative. His performance reaches its highest point when he, compelled by circumstances, kills Daniel, who he has formed a special bond with. Anderson’s characterization lacks depth and has traces of his past rendition as a retardate in a soap, and Pascual’s clean, handsome features and inclination for grins in some scenes diminish the forcefulness of his character. Martinez is effective, but her short stature somewhat lessens the believability of his being a general (PMA has height requirements). Marquez appears to buckle in some spots and reminds the audience that he’s for most of his career been a comedy actor, but there’s a certain quality to his characterization that surprisingly lends a human factor to it and deserves sympathy. Angel Aquino gives a riveting turn as a cheating wife.

The film is Erik Matti’s first masterpiece that will define him as a filmmaker and will make people forget his previous experiments with the sex-drama, fantasy, and suspense-horror genres. It is an engaging potboiler with action sequences that are well choreographed and “highlight” scenes that are well executed, without compromising artistic merits. After attempts in the past to penetrate the international market via co-productions with American outfits, via the likes of Goodbye, America, American Adobo, and Legacy (starring David Hasselhoff), it looks like Star Cinema has finally come up with a project that will appeal to foreign audiences, utilizing and showcasing all-Filipino talent and expertise.

RATING:  9/10 

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