Geradila, Josef Alec D.

2012 10720

The Maginoo, Barako and Lalake in Bakbakan: Masculinity in 1960s 1990s Filipino Film
Thesis Statement: Film media is one of the most direct manifestations of a socio-cultural idea and
of history. The history of Filipino masculinity and its portrayal in society has been showcased
throughout the years in Philippine Cinema, and has shown the multitude of masculine archetypes
in Filipino culture. This research shows the traces of the pre-colonial and the colonial influences
on Filipino masculinity and how it is necessarily portrayed in film.

Introduction
There exists a notion in Philippine society that exemplifies the nature of the men of men.
It is similar to the western Alpha Male, where in the world of manliness, a single individual
exceeds all others in terms of masculinity. In Philippine society, this is clearly manifested in our
desire to seek the noble gentleman, the Maginoo, and is cited in Filipino cultural traits. However,
this notion of masculinity has been continuously influenced by foreign culture, especially when
considering the more than three centuries of foreign domination and subjugation of the Filipino
race. Moreover, because of the nature of Philippine culture, essentially a tapestry of multiple
regional cultures held together by a series of shared experiences, interconnected environments
and an all-encompassing political entity, there exists a multitude of variations with differences of
little note, to those whose differences are of extremes. In seeking to understand Filipino
masculinity, we must also understand the depth of the word masculinity itself, for the direct
Filipino translation Pagkalalake as stated by De Castro1 has a deeper and broader meaning when
contextualized in the Philippine mindset. Western ideals of masculinity must also be examined in

1

De Castro, Philippine Social Sciences Review, 1995.

order for us to appreciate the varying complexity of Filipino masculinity, and in order for us to
study these concepts we must have a basis of observation that is wide and universal enough for
us to see these manifestations of masculinity in Philippine society.
In recent years, the medium of Film has become the physical manifestation of the cultural
attitudes and of the fabric of the homogenous identity of a people. In the Philippines, great actors
like Fernando Poe Jr. and Eddie Garcia have portrayed a wide variety of Filipino men, of all
religions and beliefs, of all professions and educations, and of all temperaments and types of
masculinity. It is therefore adequate for this research to use cinema as a window into the idea of
Filipino Masculinity.
Objectives of the Study
This study will use Filipino cinema, specifically those of the Action genre from the late
1960s to the early 1990s, as basis of observation and would focus on four specific actors who
exemplified masculinity in these movies, namely Ramon Revilla, Sr.; Fernando Poe Jr; Tony
Ferrer and Eddie Garcia. The study will use at least two films of each actor and will draw out
conclusions using semiotic and literary analysis.
This study has the following general objectives:
1. Identify and correlate traditional stereotypes and characteristics that are portrayed in
the films that indicate masculinity.
2. Relate the characteristics and stereotypes of masculinity with the period of portrayal.
3. Define the Filipino film conceptions of masculinity and its subsequent evolution
through changing times and societal atmospheres.

This study also has the following as specific objectives:

1. Identify common symbols of masculinity in Filipino cinema.
2. Compare and contrast the attributes of the villain and the hero in terms of the myth of
masculinity.2
3. Use textual analysis to identify masculinity in the dialogue.
Apart from these objectives, the paper also seeks to create an analytical model by which
future studies of masculinity in film may be based upon or may be improved upon.
Masculinity and the Colonial Ideal
Even before the arrival of the colonial powers, there already existed the Filipino concept
of masculinity in the ancient civilization. This is the bayani, or the warrior, and is evident in the
literature of early Filipinos such as in the Biag ni Lam-ang , the Ibalon and the Aliguyon. In
these epics, there existed the great and gallant warrior who upholds tradition and respects the
gods as per the dictates of tradition. It is no great leap of intellect therefore that this early
conception of masculinity is the basis of the most enduring ideal of the Filipino man, the
Maginoo, which in itself was a social status vaguely equivalent to that of nobility in western
civilization. The arrival of the Spanish heralded changes in the concept of masculinity in
Philippine society. The Spanish used traits to denote their feelings towards the Filipinos in such a
way that differentiates those who were loyal to them as brave and courageous while denouncing
those who opposed them as savage and barbaric. The Spanish also brought a new masculine
concept that is similar to the Maginoo but puts forward image before action. Machismo, as

Tolentino, Artista bilang kultural na teksto, 2000.

described by Alfredo Mirande3 is a double edged sword with good attributes such as devotion to
duty and bravery are coupled with bad attributes such as arrogance and pride. Machismo, due to
the extent of Spanish influence, has spread throughout various cultures and has evolved into
different ideals, albeit with the same core traits.
American rule further complicated the Filipino concept of masculinity due to their
multiple notions of masculinity.4 Their ideal of the Soldier, and the Frontiersman appealed to
Filipino sensibilities especially when coupled with the introduction of the motion picture into the
country by the early half of the American colonial rule. The western movies of John Wayne and
the sophisticated neo noir movies of Humphrey Bogart and James Cagney also brought about an
interesting evolution in Philippine culture. Due to the advent of the motion picture, a Filipino
cinema industry also blossomed, but unlike their foreign counterparts, they mainly showed
stories of country love and idealized conceptions of Filipino culture. A few foreign films did
portray Filipino masculinity during this period but masculinity in cinema really caught on during
the propaganda movies of World War 2 and the post war era. In particular, Eddie Romeros Lost
Battalion starring Leopoldo Salcedo and RKO pictures Back to Bataan starring John Wayne and
Anthony Quinn portrayed the men of the USAFFE and the Guerillas that operated after the fall
of Bataan and Corregidor. Of particular note is Anthony Quinns portrayal of the fictional
Andres Bonifacio III, whose main contention during the film was living up to legend of his
granduncle the revolutionary Gat. Andres Bonifacio. The idea of an American portraying a
Filipino whose lineage was of particular note and how Quinn expressed his innate masculinity
through gallant fighting can be seen as a mixture of the American concept of the Soldier and of
Filipino bravado.

3
4

Mirande, Men and Masculinity, 2002.

Gerzon, Mark. A Choice of Heroes. Boston: Houghton Mifflin, 1982.

Masculinity and Nationalism

As the colonial ideals of masculinity permeated the socio-cultural fabric of the Filipinos,
an indigenous idea of masculinity began to form parallel to the arriving machismo identity.
Based on the indigenized folk Christianity, and combined with the pre-colonial masculine ideals,
a form of masculine ethos was formed by the Katipunan. Contained within the multitude of
teachings of the Kartilya and of the other revolutionary works of Emilio Jacinto and Andres
Bonifacio, it called for respect for the female as an equal partner in sustaining dignity and
freedom. The use of the term Inang Bayan as representative of the Filipino nation shows the deep
affinity of the Katipunan towards the female. It necessarily sees itself as the sons and daughters
of the Inang Bayan and calls for courage and nationalism in the face of colonial repression.
While no particular idea came about as the Katipunan Masculine identity, a de facto ideal
was eventually conceptualized by later works in the form of the Supremo himself, Andres
Bonifacio. As idealized in later poems and stories, Bonifacio became the ideal Filipino man,
whose bravery and life is devoted to the country, whose courage can never be questioned, and
one who respects the woman as an equal in a period where patriarchy was the dominant form of
gender subjugation. As the revolution progressed and formal leadership of the Katipunan passed
over to the Illustrado Class, a new ideal of masculinity formed. Closely related to the western
gentleman masculine model, the Revolutionary Illustrado became an ideal in the image of Emilio
Aguinaldo, the Boy Generals Gregorio Del Pilar and Manuel Tinio and the educated Antonio
Luna. This ideal combines the nationalist spirit of the Bonifacio type of masculinity with the
European refinement of the Illustrado class. As the revolution and the subsequent FilipinoAmerican war drew to a close however, less and less Filipinos acknowledged and idealized this
particular masculine model, as it was overshadowed by the Americanized masculine ideals.

Masculinity in the Post War Period

After the granting of independence in 1946, Philippine society remained largely
Americanized and a new type of masculine ideal emerged from the tribulations of war. The
Guerilla Fighter, a symbol of defiance and resiliency in the face of overwhelming odds gained
prominence as the new manifestation of the old Maginoos and of the American Soldier combined
with the nationalist sentiments of the revolutionaries. Typified by the dashing ideal by Leopoldo
Salcedo in Eddie Romeros Lost Battalion and by Fernando Poe Jr. in Perlas ng Silangan.
Characterized by their selflessness, emotional vulnerability, loneliness and devotion to honor and
duty, these masculine forms became a standard for Philippine cinema from the 1940s to the late
1970s.
Another masculine ideal that gained prominence during the immediate post war period
was the Gangster, a symbol of honor and treachery in a society in its democratic infancy. Like
the American Gangster of the 1920s, the Filipino Gangster of the 1950s was portrayed as an
outlaw, but unlike the prevailing enemy of the state portrayal by American films of their
gangsters, Filipino gangsters enjoyed the affection of the public through their portrayal as Robin
Hoods from the poor neighborhoods of the city and of the poor villages of the countryside. This
is best portrayed by Joseph Estrada in (director)s Asiong Salonga and in (director)s Lo Waist
Gang.
By the 1960s, Philippine Cinema entered a Golden Age of technical and artistic ability,
with works competing with international films. It is also during this time when the Filipino
notions of Masculinity began to emerge from colonial ideals and form into an ideal based on
their own cultural constructions.

Filipino Masculinity in the Bakbakan Genre

From research done on a total of sixteen Filipino Bakbakan films from the 1960s to the
1990s, this paper has formulated four distinct types of masculinity that repeatedly appeared in
Philippine cinema. These four types were drawn from comparisons and from semiotic analysis of
the sample films and archetypes of masculinity were formed using universal traits and portrayals.
Filipino masculinity in film can be summed up in four distinct characters, the Maginoo, the
Barako, the Modern Man and the Hoodlum. In comparison of these universal manifestations of
masculinity, each character was partnered with an actor that best defined the traits and portrayals
of each of the types.
Fernando Poe Jr. and the Maginoo
The Maginoo is the epitome of sublime manliness. It is masculinity sans machismo, and
its most potent manifestation is action. The most common traits that the Maginoo portrays are
patience, integrity and respect. It is inherent for the Maginoo to be patient and forgiving, often
enduring unbelievable amounts of abuse and pain. The Maginoo is expert in the art of battle,
skilled but modest and humble; it therefore comes as a surprise to the unfortunate enemy when it
is unleashed. However, as is with any victim of injustice, there exists a limit of human
endurance, and when this limit is reached, the other side; the hidden side of the Maginoo is
unleashed. Those who have done injustice upon him and those he cared for suffered the
incomparable rage and determination of the Maginoo to exact justice upon them. This is one of
the most recognizable traits of the Maginoo in film, the act where the final line has been crossed
by the enemy, and the righteous Maginoo explodes into a frenzy of violence that ultimately
delivers the antagonist into judgment.

However, there are certain boundaries that the Maginoo will never cross. It is a cardinal
sin for the Maginoo to inflict pain and death upon women, even those who openly sided with the
antagonist. This is the chivalrous nature of the Maginoo, where eternal respect for women and
belief in fair fights is are magnified. The Maginoo also sympathizes with those who suffered
with him and will do everything in his power to help them in their plight. However, no amount of
fortune can entice the Maginoo to betray his beliefs, and at the end if he has committed a crime
and is wanted by the law, the Maginoo will always surrender to the authorities, but only after
ridding the world of the scum that forced abuse and misfortune upon the downtrodden. This is
the exacting moral fiber of the Maginoo in action, where he necessarily sees himself as a
sacrifice for the benefit of others. It is this set of boundaries that set the Maginoo apart from the
other models of masculinity in Filipino cinema. Unlike the Barako and the Hoodlum, the
Maginoo is quiet and unassuming. He does not seek notoriety nor does he see the need to prove
his manliness in forms of violence. Like the Modern Man, the Maginoo is gentle, but his
gentleness is complete and genuine, not opportunistic like the Modern Man. In Philippine
cinema, Fernando Poe Jr. is the actor most associated with this type of character in the Bakbakan
genre. Using the 1965 film Pilipinas Kong Mahal directed by Efren Reyes as a stand-alone
reference and as comparative reference the 1986 film Iyo ang Tondo Kanya ang Cavite directed
by Pablo Santiago, and the 1980 film Ang Aguila at ang Falcon directed by Armando Herrera
between the Maginoo and the Barako for the former and the Maginoo and the Modern Man for
the latter.
Starting with the stand-alone reference, 1965s Pilipinas Kong Mahal starring Fernando
Poe Jr and Susan Roces, showcases the best attributes of the Maginoo in cinema. Set during the
World War II in the Philippines, Poe sa Lt. Delfin Montemayor, is an officer in the Philippine

Commonwealth Army and Celing, played by Susan Roces, the real wife of FPJ, is his hometown
sweetheart. The scene where Delfin and Celing meet before they part ways as Delfin is sent to
Bataan and Celing is evacuated to Manila is a prime example of the kind and depth of affection
that the Maginoo shows for his loved ones.5 In the P.O.W. scene where the Filipinos first meet
the evil Colonel Nakamura6, we see the extent of abuse that the Maginoo can endure, and the
breakout scene that developed soon afterwards shows the unleashed rage from the abused
Maginoo. The emotion in the attack is clearly defined as the summation of all the suppressed
anger and frustration being unleashed at once7. In the scene where Delfin and the other guerilla
leaders with the US Officer and the confrontation between him and the Hukbalahap Leader,
played by Joseph Estrada, shows the deep sense of duty and responsibility that the Maginoo
possesses8.
In the comparison movie Iyo ang Tondo, Kanya ang Cavite, we see the similarities that
bind the Maginoo and the Barako in terms of their relationship with their respective communities
and the differences that they portray when confronted with situations that require violence. In the
eyes of Crisanto Baltazar, the Siga of Tondo, there is little need to show his skills to those who
are close to him, but when his fellow people from Tondo are abused or hurt, we see the
underlying skill and expertise that the Maginoo hides behind the faade of calmness and
coolness. In the scene where Crisanto kills the neighborhood gangster for racketeering from an
old Tondo native9, we see the legendary speed and precision that the Maginoo possesses. While
later on, when the grandmother of his child takes custody of his child fearing harm upon him due

5

See Appendix A.1

See Appendix A.2
7
See Appendix A.3
8
See Appendix A.4
9
See Appendix A.5
6

to his line of work, Crisanto voluntarily relinquishes custody of his child, even though against his
own will due to the order of the court10. In this case, we see the sense of justice that the Maginoo
has in context of the law being the highest rule and should be seldom clashed with.
Ramon Revilla Sr. and the Barako
The Barako comes from the tagalog word meaning exceptionally strong and rough. The
term originates from southern Luzon, around the provinces of Batangas and Cavite. It has
generally been used to describe men of very strong character and physical strength. It has also
been associated with beasts of burden, strong coffee and cattle rustlers. In masculine models in
Filipino films, the Barako assumes the same traits and generally has a short temper. Unlike the
Maginoo, the Barako is brash and unrefined. Short-fused, strong and straight forward, the Barako
lacks the modest attitude of the Maginoo and seems arrogant at first glance. When examined
closer, the Barako exhibits a specific moral value, where the ends justify the means but only just,
for the Barako is intimately aware of the wrongs which he is doing. The Barako sees the need to
defend himself from abuse, even through the use of violence, justified in the knowledge that is
wellbeing or those of his fellow abused will be better off with action than inaction. The Barako
has the unique trait of using or being under the protection of a talisman. The protection and
powers of a talisman are only bestowed upon those who are in need of relief from oppression or
those who shoe extraordinary compassion. However, it is not necessary for the Barako to possess
a talisman, for in some instances; his mere strength and wit serve as his protection. The Barako,
though abhors hurting women, if pressed to the limit of his patience will not hesitate to
physically hurt women. He also has a skewed sense of justice, where he sees the law as being
oppressive and believes strongly in vigilante style justice, akin to the concept of an eye for an

10

See Appendix A.6

eye and a tooth for a tooth. That being said, the Barako is normally on the wrong side of the law.
However, this does not mean that the public, especially the downtrodden, also rejects him, for
the Barako has an enhanced sense of community where he shares the spoils of his crimes with
his fellow poor and oppressed. It is the poor who sympathize and protect the Barako, seeing him
as a hero and a leader into relief and freedom.
In the period between 1960 and 1990, Ramon Revilla Sr. became the symbol of the
Barako. A native of Cavite, Revilla is also a true to life example of the Barako in the literal sense
of the world and continues to enjoy popularity in the southern tagalog provinces. As reference,
this study will use the 1989 film Bala Para kay Cris Cuenca directed by Jose Yandoc, and will
also use the 1986 film Iyo ag Tondo, Kanya ang Cavite directed by Pablo Santiago as
comparison between the Barako and the Maginoo.
In Bala Para kay Cris Cuenca, Revilla plays the role of real life public enemy no.1 of
Region 4 Cris Cuenca of Bacoor, Cavite. In the scene where Cris battles with four cattle rustlers
simultaneously, we can the stance as portraying the manly image of strength and stability in face
of overwhelming odds11. In the next scene, we can clearly see the power of the Santo Nino na
Walang Likod, the talisman which Cris beholds, and the protection that it gives him in the face
of imminent danger12. In the scene where he illegally flags down a jeepney to rob it13, we can the
the Barakos defiance of, what in his mind, the oppressive laws that fail to give him and his
fellow poor opportunities for success. In the torture scene14, we see the gruesome sense of
vigilante justice that the Barako possesses, especially for those who have caused pain and

11

See Appendix A.7

See Appendix A.8
13
See Appendix A.9
14
See Appendix A.10
12

suffering for him and his family, the use of the chainsaw to sever the Hoodlums in half is wrong
in his own mind, but as he said in the same scene, it is their fault as to why he has become a
sadistic killer.
In Iyo ang Tondo, Kanya ang Cavite, Revilla assumes the role of Salvador Bador Del
Mundo, the head of the smuggling operation in Cavite. He is seen as the godfather of the
province, where he attends to the smallest needs of the people. So much so that even children
wish to be like him when they grow up, as is shown in the scene15. It is this evidence that shows
the depth pf his connection with the people and the way he cares for them. In the scene16 where
he forces his son to get over his drug addiction by tying him into a chair and throwing cold water
into his face show the means by which he is capable of accepting in order to solve a problems. In
the scenes where Bador and Crisanto meet, first at the Tondo Docks17, where they have a warm
and friendly atmosphere, and later at the Cavite Salt Warehouse18 where the two are at each
others throats ready to pounce at the first sign of escalation. We see the subtle difference
between the Barako and the Maginoo. In the former scene, we see both as friendly and
welcoming, with good intentions and even greater care. In the latter scene however, we see the
polar opposite, where they are prepared to do battle and kill each other right then and there.
Tony Ferrer and the Modern Man
The Modern Man is the product of Filipino and Western cultures. Derived from the
western idea of the cloak and dagger, suave and sophisticated spy; the Modern Man is released
from the traditional notions of morality and justice that the Maginoo, Barako and Hoodlum cling

15

See Appendix A.11

See Appendix A.12
17
See Appendix A.13
18
See Appendix A.14
16

to. The Modern Man is western educated and follows western cultural norms, from dress, to
speech and to action. For him the accomplishment of an objective is the only concern and
everything that cannot be circumvented will become collateral damage. The law is the only
boundary that the Modern Man will not cross. Hurting women, killing enemies without remorse
and wanton destruction of property can be expected when the Modern Man is set on a mission.
However, this is not the only characteristic that defines the Modern Man, for he exudes
incredible charm and class. Fluent in many languages, cultured and thoroughly refined, he is at
home in the field or in the opera, whichever is required for the accomplishment of his objective,
for he blends seamlessly to his environment, as if he is invisible to all but the most curious
enemy. The advent of the Modern Man was in the 1960s, during the height of the cold war
between the Western Powers and the Eastern Bloc, and during a time when the likes of James
Bond and the world of espionage were only beginning to emerge from the shadows and into the
spotlight of the silver screen. The Modern Man traces its origins from this dynamic and
frightening period of world history, and is the Philippine cinema industrys take on the iconic
Gentleman Spy concept.
The most exemplary example of the Modern Man is Tony Ferrer who made famous the
character of Tony Falcon Agent X44, the foremost Filipino spy. Rich, jet set and educated;
Agent X44 will do anything in the service of the country by performing above and beyond the
call of duty. At times gentle suave and classy; his mood and personality can change in an instant
into a cold and ruthless machine, whenever the necessity arises. As reference for this study, the
1979 film Sabotage II directed by Efren Pinon will be used as a stand-alone example, while the
1980 film Ang Aguila at ang Falcon directed by Armando Herrera will be used as a comparison
between the Maginoo and the Modern Man.

In the 1979 film Sabotage II, the sequel to the internationally released and acclaimed
Sabotage, Tony Ferrer reprised his iconic role as Agent X44 of the Philippine Intelligence
Service. In the scene where we see the Modern Man accept his mission from his superior19, we
see him in the initial stage of his investigation, where he shows his amazing knowledge of the
current situation and his cunning. While in the scene20 where we see him socializing with
persons of distinction, we can see the Modern Man adapt to the environment that he is in. The
grace and class that carries over through his conversations enamor those whom he is talking
with.
In the 1980 film Ang Aguila at ang Falcon, Agent X44 partners up with Sgt. Medavilla of
the Philippine Constabulary, played by Fernando Poe Jr. Tasked with investigating a large crime
syndicate, which has ties with international terrorist organizations, the Aguila and the Falcon put
together their unique traits to get the job done. In the first comparison, we see the preference of
the two characters where the Maginoo chooses to fight alone21, armed only with a revolver,
while the Modern Man is armed with an assault rifle and is accompanied by police. We can see
this as the manifestation of the attitude that both characters put into their duties. For the
Maginoo, the act of attacking alone decreases the chance of friendlies getting killed and
maintains the element of surprise. He is confident in his own skill and is therefore calm and cool
in going in alone. On the other hand, the Modern Man sees the task and approaches it with the
appropriate amount of force that is necessary to ensure the success of the mission, regardless of
casualties. In the next scene, we see the way both characters treat women, where the Maginoo is
accepting and generally old fashioned when dealing with women, the Modern Man is outgoing

19

See Appendix A.15

See Appendix A.16
21
See Appendix A.17 & A.18
20

and active. It is shown in the fact that the Maginoo has a wife and the Modern Man spends his
nights off duty in discos22. Finally, in the actions and way of dress, we can see the great
differences that exist between these two characters. The suave and crisp Modern Man in his suit
and expensive car, and the rough and worn Maginoo in his denim jacket and old broken jeep.
The amounts of physical difference only pertain to the shallow perspective and hide the even
deeper differences that separate these two masculine models.
Eddie Garcia and the Hoodlum
Of all the masculine models that Philippine cinema has offered throughout the years
discussed in this study, the Hoodlum is the most intriguing and enigmatic of them all. A
combination of the Barako, Maginoo and popular culture, the Hoodlum began surfacing in
Filipino films during the mid to late 1980s all the way to the present day, reaching its peak
during the early 90s. Harkening back to traditional Filipino customs and cultures, the Hoodlum is
the adaptation of the Barako into the urban landscape, where the concrete jungle warps the
notions of justice and morality of even the strongest Barako, transforming their outlook from the
fighting the oppressed perspective to the survival of the fittest type of perspective. Defined by
being brash, uncouth and hard charging; the Hoodlum is the latest definition of the neighborhood
gangster. Clothed in hip and young fashion, using jargon and street talk, and regarded as the
community tough guy, the Hoodlum can come in a variety of different roles. However, the core
of the Hoodlum mystique is the ambiguity of the character, similar to the anti-hero type of main
character, lovable but despicable at the same time. There have been many actors to have played
this type of masculine model, from Philip Salvador to the Padilla Brothers, but for this study,

22

See Appendix A.19 & A.20

Eddie Garcia and his film Boyong Manalac: Hoodlum Terminator have been chosen as the
reference film.
Playing the role of the real life Boyong Manalac, former PC and mayor of Malabon,
Eddie Garcia portrays the essential qualities of being the Hoodlum. In the first scene, we see the
Hoodlum in a do-or-die battle against a rival hoodlum in the market23. Attached to each other by
a rope and armed with butterfly knives, the two battle it out among the stalls while people watch
and bet on the outcome of the fight. In this scene, we can the rough and ready attitude that
pervades all Hoodlums, where they see the necessity of bloodshed for their own personal
purpose. In the next scene, where he exhorts money from the neighborhood bookman24, we can
the level on which the Hoodlum is placed on the underground hierarchy. The act of swindling
money from an illegal operation shows the depth of character that the Hoodlum has, while at the
same time shows the comedic value of the ironic turn of events that unfolded.
Conclusion
According to Vivienne Valedor-Lukay, Masculinity as a concept in the Philippine
Context is categorized in three levels, the physical- meaning the sexual organs, the challenge
based- undergoing a process of becoming masculine, and heart- based on the self-orientation of
an individual25. Based on these levels, the most relevant in the context of Filipino cinema are the
first two levels, for it is the basic tract of film to show characters as they are and the narrative
that they traverse in response to the events that confront them as the film goes on. It is in this
perspective that the study can delineate between eerily similar forms and construct different
outcomes and models. Meanwhile, according to Leonardo De Castro, Masculinity is a

23

See Appendix A.21

See Appendix A.22
25
Valedor-Lukay, 2012. PhD Dissertation.
24

sociological and psychological concept. It is sociological because the role one plays in the family
and in society- even the expectations upon him- are formed by the social environment in which
he live in. It is psychological because the personal perspectives of the authority figures in the
society cannot be ignored and in the end it is only their own perspectives that define who they
truly are.26 This empowers the findings of the study wherein the construct of the masculine
models are based on the semiotic analysis of the surroundings that were portrayed in the
particular reference films, and as such only reflect the outcome of the masculine ideals that came
out from them. Furthermore, it must be stressed that masculine models that this study has
encountered are only from one genre of Filipino film, the Bakbakan or the action genre. There in
itself lies some of the reasons why the masculine models mentioned only apply to a specific type
of situation in film. Finally, in order to summarize the points made by the study, I once again
quote from Leonardo De Castro. The Identity of a person is not only seen in the appearance or
the physical level. It is more important to take into account the feelings and character of a
person, and not only the physical image that he portrays Therefore, it should serve as the main
indicator of identity the persons desire and strength of character, and actions. This should serve
as the basis of ascertaining ones wishes and future actions.27 It is based on this quote that the
study looked deeper than the physical appearance of the masculine models and found the
inherent and significant variations that separated and made them unique with each other. This
study also showed the changing face of the Filipino man in film as the Filipino man in real life
faced new and unexplored dangers, and new environments. From the post-world war II to the
post-cold war and the Martial Law in between, we can see the Filipino masculine models as the
reflection of Filipino culture and society through the turning points of history.

26

De Castro, PSSR, Jan.-Dec. 1995. p. 136

27

De Castro, PSSR, Jan. Dec. 1995. p. 139-140

References
Gerzon, Mark. A Choice of Heroes: The Changing Face of American Masculinity. Boston:
Houghton Mifflin, 1982.
Tolentino, Rolando. Richard Gomez at ang Mito ng Pagkalalake, Sharon Cuneta at ang
Perpetwal na Birhen at ang Artista bilang Kultural na Teksto. Pasig City: Anvil Publishing,
2000.
Deza, Alfonzo. Mythopoeic Poe. Quezon City: GBP, 2006.
Valledor-Lukey, Vivienne. Pagkababae at Pagkalalake (Femininity and Masculinity):
Developing a Filipino Gender Trait Inventory and Predicting Self-Esteem and Sexism PhD.
Dissertation. Syracuse University, 2012.
De Castro, Leonardo. Pagiging Lalaki, Pagkalalaki at Pagkamaginoo, Philippine Social
Sciences Review, Vol. 52 (January-Decenber 1995): 127-142.
Mirande, Alfredo. Macho: Contemporary Conceptions in Men and Masculinity: A Text
Reader. p. 44-72. Canada: Wadworth, 2001.
Film Sources
Fernando Poe Jr. Pilipinas Kong Mahal. Directed by Efren Reyes. Manila: FPJ Productions,
1965.
Fernando Poe Jr. & Ramon Revilla Sr. Iyo ang Tondo, Kanya ang Cavite. Directed by Pablo
Santiago. Manila: FPJ Productions and Imus Productions, 1986.

Fernando Poe Jr. & Tony Ferrer. Ang Aguila at ang Falcon. Directed by Armando Herrera.
Manila: FPJ Productions, 1980.
Ramon Revilla Sr. Bala Para kay Cris Cuenca (Public Enemy No. 1 ng Region 4). Directed by
Jose Yandoc. Cavite: Imus Productions, 1989.
Tony Ferrer. Sabotage II. Directed by Efren Pinon. Manila: Liliw Productions, 1979.
Eddie Garcia. Boyong Manalac: Hoodlum Terminator. Directed by Eddie Rodriguez. Quezon
City: Viva Films, 1991.

Appendix
A.1 Pilipinas Kong Mahal, 1965

A.2 Pilipinas Kong Mahal, 1965

A.3 Pilipinas Kong Mahal, 1965

A.4 Pilipinas Kong Mahal, 1965

A.5 Iyo ang Tondo, Kanya ang Cavite; 1986

A.6 Iyo ang Tondo, Kanya ang Cavite; 1986

A.7 Bala Para kay Cris Cuenca, 1989

A.8 Bala Para kay Cris Cuenca, 1989

A.9 Bala Para kay Cris Cuenca, 1989

A.10 Bala Para kay Cris Cuenca, 1989

A.11 Iyo ang Tondo, Kanya ang Cavite; 1986

A.12 Iyo ang Tondo, Kanya ang Cavite; 1986

A.13 Iyo ang Tondo, Kanya ang Cavite; 1986

A.14 Iyo ang Tondo, Kanya ang Cavite; 1986

A.15 Sabotage II, 1979

A.16 Sabotage II, 1979

A.17 Ang Aguila at ang Falcon, 1980

A.18 Ang Aguila at ang Falcon, 1980

A.19 Ang Aguila at ang Falcon, 1980

A.20 Ang Aguila at ang Falcon, 1980

A.21 Ang Aguila at ang Falcon, 1980

A.22 Boyong Manalac: Hoodlum Terminator, 1991

A.23 Boyong Manalac: Hoodlum Terminator, 1991