More on Pepsi Paloma

Award-winning actor Mon Confiado seems to be (smartly?) stopping himself from talking about his major role in the increasingly controversial forthcoming film The Rapists of Pepsi Paloma. 

Confiado portrays the optician Dr. Rey de la Cruz, the loquacious manager of the late nymphet actress who is the subject of the film written and directed by Darryl Yap. 

As De la Cruz, Confiado has a lengthy exposure in the second teaser for the film posted by Yap on his Facebook account, VinCentiments. 

That second teaser is longer than the first one since the second must be meant to be a trailer in cinemas. But it has never been submitted to the Movie and Television Review and Classification Board (MTRCB) for approval, so it cannot be shown in a theater after the main feature (that’s when it is called “trailer”). 

Yap could not avoid the inclusion of the De la Cruz character in the second teaser because the late optician (he died in 1999) was quite influential in Paloma’s career and was practically as famous (or infamous?) as the bunch of skin-flick stars he manages. 

De la Cruz was better known than Paloma’s real-life mother who seems to have been Yap’s main source  about Paloma’s private life in writing the film’s script. 

The De la Cruz character was belligerent in the scenes in the second teaser, which does not mention anymore actor Vic Sotto as having raped Paloma, unlike in the first one. 

Originally intended by Yap to be released in theaters on 5 February, The Rapists of Pepsi Paloma cannot be reviewed by the MTRCB because its charter stipulates that a film (as well as taped TV shows) will not be reviewed if there are unresolved court cases and administrative investigations about it. Yap was sued by Sotto for 19 counts of cyber libel on 9 January and the case is still being heard at the sala of Judge Liezel Aquiatan at the Muntinlupa Regional Trial Court. 

The hearing began only on 17 January. It is not known yet when the litigation will conclude. It will be only after the case has been resolved that the MTRCB can review the film.

But the verdict of a regional trial court can be appealed by the party who is not favored by the court’s decision. If an one between the contending parties files an appeal, that action can further prevent the MTRCB from reviewing Yap’s film. 

Would it not be best for Yap to shop for a streaming company to show his film since those platforms do not need MTRCB approval?

Meanwhile, Confiado seems to prefer to talk to the media and the vloggers about his comeback as the first president of the Philippines, Emilio Aguinaldo, in the upcoming historical biopic “Quezon.”

The film reportedly began shooting in late January with Jericho Rosales portraying the late Philippine Commonwealth era president, the illustrious Manuel Luis Quezon. Jerrold Tarog directs the film produced by TBA Studios. 

Confiado recently took to Instagram to share a photo from the film’s table reading, showing a printed script of Quezon and his nameplate as Aguinaldo.

Confiado first portrayed Aguinaldo in the historical epic films Heneral Luna and Goyo: Ang Batang Heneral, which he considers the biggest break he has had in his 25 years as an actor.

Confiado previously confided to media that there are pros and cons to playing iconic characters which may overshadow his other notable portrayals. Couldn’t his delineation of the gay De la Cruz become iconic, too? 

Intoned Confiado to the press recently: “Unless another important role comes along, people will refer to me as Aguinaldo until I retire. This is why I try to promote in my social media accounts the other characters I’ve portrayed in the past. As early as now, I already try to break out of the stereotype. I want people to see me as a versatile actor.”

Wouldn’t Confiado equally relish being referred to as Dr. Rey de la Cruz until he retires?

The character actor turns 57 on 19 March and really still in demand in the industry. Acting is in his blood as he is a son of character actor Angel Confiado who was active in the movies from the era of silent films of LVN Productions until 1997. The elder Confiado passed away in 2006 in his early 90s.

Confiado did include a photo of himself as De la Cruz in a recent Instagram posting of pictures of characters he has depicted. But he has yet to talk to the press and the vloggers about his involvement in The Rapists of Pepsi Paloma. 

Meanwhile, Quezon is a  continuation of TBA Studios’ cinematic Bayaniverse, a series of films based on Philippine history.

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National Women’s Month is in March yet, (which is actually just next month) but this early, we would like to suggest to Filipino women who write music and  lyrics to join Purihi’t Pasalamatan: The Fr. Eduardo Hontiveros, SJ Liturgical Music Songwriting Competition. The deadline is in April.

The competition is open to everyone regardless of gender. And yet, almost all song-writing contests, both secular and liturgical, are dominated by men as winners and participants. We find that weird since women are taken to be more emotional than men, and songs are basically emotional, including those sang during holy Masses. (“Liturgical” basically means “used or performed during the celebration of holy Masses”). 

Creative self-expression is a gift given not only to men but equally to women. if men can reap fame and fortune and make a living out of their creativity, so can women.

Sure, there are Pinays who write songs, beside the ones who compose for themselves and others and also record their own compositions. Cecille Azarcon and Odette Quezada are among those prolific composers, and the latter is also a superb vocalist who had a solo concert recently. 

Happily, there seem to be equal number of male and female pop vocalists and classical singers in the country. Even the number of all-female P-pop bands has been increasing, and at least one all-female group — BINI — is enjoying almost as much popularity as the leading all-male P-pop band SB19.

It’s really in the matter of creating songs that there’s a shocking disparity between the Pinoys and Pinays — and it’s true even for liturgical songs, as well as for inspirational/religious songs.

Along with being “more emotional” than men, women are also believed to be more religious (or spiritual) than men and yet most religious lay leaders and liturgical songwriters are males. The priests who hold masses are males but majority of people who attend masses are women. We are aware, though, that there are many church choir masters and,  for sure, a number of them can compose, and some have been doing so for their own church chorales.

So, Pinays, stop being reticent about exposing your songwriting gifts — do join The Fr. Eduardo Hontiveros, SJ, Liturgical Music Song Competition organized by the Jesuit Music Ministry (JMM) which takes care of a number of Catholic chorale groups, including Bukas-Palad Music Ministry, the Ateneo Chamber Singers, and the Young Voices of the Philippines.

The late Fr. Honti (that’s how he is fondly called by those whose lives and musical careers he has touched) is known as “The Father of Filipino Liturgical Music.” He passed away in 2018, leaving behind some 380 liturgical compositions, including “Pananagutan,” “Kahanga-hanga,” and “Papuri.”

Continuing its mission to preserve and renew the vibrant tradition of Filipino liturgical music is among JMM’s main goals in putting up “Purihi’t Pasalamatan.” JMM is the music division of Jesuit Communications (JesCom), producer of the celebrated movie Gomburza and the media arm of the Philippine province of the Society of Jesus.

“Purihi’t Pasalamatan” aims to inspire a new generation of composers to create original liturgical music in the vernacular, ensuring that sacred music remains a meaningful bridge between Filipino faith and culture. 

Winners will receive cash prizes: P100,000 for the first prize, P50,000 for the second prize, and P 30,000 for the third prize. All the finalists will receive P10,000 each. 

It is actually quite challenging to join the competition because each entry must comply with stringent requirements. 

Entries must be suitable to be sung by a choir for one of the following parts of the Mass: Entrance Song, Preparation of the Gifts, Communion, Recessional.

The entry must reflect any of the themes of the Catholic Social Teachings of the Church, such as Dignity of the Human Person, Call to Family, Community, and Participation, Rights and Responsibilities, Preferential Option for the Poor and Vulnerable, The Dignity of Work and the Rights of Workers, Solidarity, Care for God’s Creation.

As for musical style and tempo: the song may be slow or fast and appropriate for the celebration of the Holy Eucharist. The tempo should complement the liturgical mood and facilitate congregational participation.

The entry must be arranged for two, three, or four voices (mixed male and female voices). Harmonies should be crafted to support the liturgical nature of the song and encourage vocal participation.

The total length of the entry must not exceed four minutes, including the intro and extro. The song’s duration should also be appropriate for the part of the Mass it is intended for. For example, an offertory song is typically shorter.

The song must be interpreted by a choir with a minimum of eight members. This is to ensure the song’s suitability for communal and choral singing during liturgy.

Finer details of the contest mechanics can be found at jescom.ph/purihit-pasalamatan/.

Oh, yes, even in the field of classical music, female composers are outnumbered by males. It seems to be about time for women to empower themselves as creators of music and songs.