What is pornography? Is it just the amount of skin that a film exposes which makes it pornographic? Is it the mere baring of breasts and thighs, of pubic hair and genitals? Is it simply frontal nudity? Thankfully not. Otherwise films like The Boatman (1984), Isla and Scorpio Nights (1985) could have never seen the light of day. Is pornography then the unabashed showing of the act of copulation, the exhibition of pumping on screen perhaps, or the realistic rendering of sexual intercourse, of fellatio, or of sexual orgies? Neither. Otherwise, the whole significant area of human existence that is sex would have to be shunned by our film and visual artists. Such a puritanical attitude could only lead to an unhealthy repression of a perfectly normal function and produce perverts of all persuasions. Where then does pornography lie? Not in the mere exposition of nudity or sexual intercourse, but rather in the manner in which the body or act is shown. In short, a pornographic movie is one which photographs sexual organs and movements with no other reason but to arouse the moviegoers sexually. Such movies subordinate all other elements of cinema, screenplay, acting, production design, cinematography, editing and sound to its overriding concern with sexual stimulation.
Clearly then, most, if not all, the penekula or pene movies megged from the mid 80's are nothing but pure undiluted pornography. Consider the most controversial penekula of all, ... Sabik Kasalanan Ba? (RJR Films International / Fantasy Films, International). This Lito de Guzman movie tells the story of Celia (Joy Sumilang), a young woman whose thirst was quenched by her stepfather, Miguel (George Estregan). She marries Mario (Tani Cinco), a workaholic who has been neglecting his wife's sexual needs. She then has an affair with Edgar (Gino Antonio), her husband's best friend until he mysteriously dies of food poisoning. In this, as in other porno films that followed, the screenplay failed to give the moviegoer any insight into the human situation, but merely provides a framework, an excuse for the several protracted episodes of torrid lovemaking, between Celia and her husband, and later her lover. Characterization is not taken seriously. In fact, only one aspect of Celia's character is given, without any explanation, she is obsessed with sex, sex and more sex. Mario and Edgar, on the other hand are nothing but studs, who alternate in feeding this insatiable Venus fly-trap. Lighting merely provides ample illumination for the love scenes, while the camera is perennially angled to highlight the acrobatics of fornication. Editing prolongs love scenes beyond logic and human endurance, while the moans and shrieks of orgasm are magnified to decibels fit for the deaf and dumb. Pornography and art are mutually exclusive of each other, and what is often called erotic art is really just well-made, or artistically executed pornography. Penekula openly pretends to be art and does not seem to succeed in whole or in part as an art film.
Directed By: Lito J. de Guzman
Screenplay: Armando de Guzman, Jr.
Director Of Photography: Joe Tutanes
Music By: Jennylee
Film Editor: Rene Tala
Produced By: RJR Films International And Fantasy Films International
Release Date: May 1, 1986
Video 48: 1986 The Year Of Pene Movies