Dealing with the lives of the poor through narratives that are both dramatic but also quite entertaining was one of the traits of Lino Brocka, who, in this case, combines drama with exploitation in impressive fashion.
The story is based on the 1961 essay written by Nick Joaquin on the notorious 1960 Brown Derby shooting (as printed in Reportage on Crime) of Napoleon Nodecal, and revolves around Poldo, a lowly security guard in a publishing firm, who strives to provide for his mother and siblings, living in intense poverty. His life changes, however, when one night he defends the son of the owner, Sonny, from his frenemy, Direk who is enraged because the former stole his girlfriend from him. Poldo proves particularly tough, soon gaining the nickname ‘Jaguar' and finding himself hanging out with the rich Sonny and his friends, all of whom frequently indulge in drugs and intense consumption of alcohol. One night, the “gang” visits Direk's night club, where everyone is smitten by his new girlfriend, go-go dancer Cristy. Sonny does not waste much time before making his move, and soon Cristy is his, as she also begins to appear in the front pages of magazines on her way to a movie career. What is more remarkable is that Jaguar also enjoys some of her glory, as the two become friends, joined by their common past in poorness. Direk, however, is not happy, and soon his feud with Sonny escalates dangerously, with Jaguar finding himself in the possession of his gun and out of his depth, trying to find out who his true friends are.
Lino Brocka directs a movie that revolves around the concept of how futile and destructive the dream of becoming rich and famous can become for the poor. The main medium for this comment is, evidently, Jaguar, who is honest, strong, beautiful, kind, and healthy to the point of not drinking even, but has one significant flaw: he was born poor. This comment becomes even more pointy when Jaguar is compared to Direk, Sonny and his friends, who have nothing on him apart from being born rich, with particularly the latter's attitude, who repeatedly mentions his father whenever he is in trouble, being a distinct sample of this critique.
At the same time, Cristy, who also comes from a similar background as Jaguar, has a radically different path, with Brocka seemingly saying that women in particular could f*ck their way to the top, and in general, to exploit their looks to succeed in life. However, Cristy's path is anything but easy, and her attitude towards Jaguar is different from the rest, in an element that tones down the aforementioned comment, to a point at least.
The main cast, all of which give impressive performances, presents all the aforementioned comments excellently. Philip Salvador in particular is great in the titular role, highlighting all the phases Jaguar passes upon his meeting with Sonny. The scenes where he shows his discomfort are where his effort finds its apogee, along with the ending. Menggie Cobarrubias as Sonny is equally good, showcasing a villainy that derives not from him being evil, but just spoiled and ignorant, while his imposing voice will definitely stay in the viewer's mind. Amy Austria as Cristy Montes is a definite pleasure to the eye, with her sensuality filling the screen every time she appears on it. However, Brocka also gives her the chance to show her acting abilities, with the seduction scene and the one where Jaguar meets her in her house being particularly well-acted.
Apart from the social commentary and the drama, the film includes equal portions of action, violence, and sex (although not particularly graphic), with Brocka giving a masterclass on how social commentary and exploitation can be combined. Conrad Baltazar's cinematography highlights both aspects with equal artistry, with particularly the night scenes, both in the nightclubs and in the exterior shots, being quite artful. Rene Tala's editing also implements this approach in the best fashion, with the changes in pace mirroring the style of the narrative.
“Jaguar” is another film that proves how great Lino Brocka was, and one of those movies that all kinds of cinephiles can enjoy.
