the sleeping typhoon
by Douglas Messerli
Kidlat Tahimik (screenwriter and
director) Mababangong bangungot (Perfumed Nightmare) / 1977
Just as the director reveals the
locally-made jitneys to be far more beautiful and useful than the Westernized
modes of public transportation (the Philippine jitneys, moreover, are crafted
out of war tanks and other leftover US weapons, machines of war being converted
into things of beauty), and as he suggests the narrow village bridge of the
small village of Balian to be just as wondrous as the great architectural feats
of Charles De Gaulle Airport, so does Tahimik demonstrate that his little film
is more pleasurably infectious and moving than many an grand American motion
picture—and at a far smaller cost!
Our hero, performed by Kidlat himself, is a naïve lover of the new, an
admirer of everything his economically backward community has no opportunity to
offer. Born in the 1942 Occupation of the Philippines, the character Kidlat has
spent his 33 years in “a cocoon of American dreams.” Working as a jitney driver
in his primitive village, he presides over a small group of young boys and
girls as head of the Werner Von Braun fan club, listens nearly every day of his
life to The Voice of America on radio, and dreams of visiting Cape Canaveral
and witnessing the wonders of American and European technology.
At the same time, however, the film slowly builds up a series of images
of daily life in Balian that convinces us that these simple people are living,
in many respects, a life richer and clearly more satisfying than many of us in
the Western world. Sacred white caribous stare down at the natives; a patron
saint, carried to the cathedral each morning, protects his community from evil;
All of these images, moreover, are accompanied by a lush score composed
of sounds, words, songs, and native music that utterly enlivens the narrative.
Even a rich American visits Kidlat’s small village, disguised,
outrageously as a boy scout leader who fails in his demand that he, who is
willing to pay money to the organization, be designated as the head of the
local troop, reiterating what we all know, that the US perceives itself as the
leader of everything, no matter how large or small.
Yet he takes a liking to Kidlat, promising to bring him and his jitney
with him when he returns to his castle in Paris. Suddenly the whole village is
buzzing with news of the event. Kidlat gets his picture taken for his passport
(posing with a charming smile that expresses the joyfulness he will leave
behind) and a celebration of their soon-to-be wayfarer—replete with marching
bands, dancing children, and beauty queens—is organized. One of the few people
of Balian ever to imagine flying on an airplane, Kidlat is suddenly the town
hero.
His first views of the West are just as he might have imagined, awed as
he is by walkways that move people forward without their walking, doors that
open automatically, and bridges, bridges everywhere he looks! Just as the
director had created a kind of travelogue in the Philippines countryside, so
now does he continue to film Paris: only the Paris he shows us, from Kidlat’s
perspective, is quite the opposite of what we know as the stately tourist city.
Everywhere he goes, things are crumbling; rooms are over-jammed with junk;
buildings are scaffolded, with pylons jutting up like ugly eyesores which block
out the view of the great cathedrals and even the Eiffel Tower. The American,
it turns out, is chewing-gum magnate, and immediately puts Kidlat to work
filling his ugly gum dispensers placed at tourist destinations (including
cemeteries) throughout the city. Kidlat’s Paris, in short, is the polar opposite
of the glamorous city of lights depicted in most films.
In his off hours, the likeable Kidlat seeks out the friendship, just as
he had back in Balian, of local workers, learning snippets of French and
befriending these figures by transporting them about the city in his jitney. He
becomes particularly close with an egg seller (each egg containing two yolks)
named Lola. Lola and her compatriots work at small carts parked by a mammoth
new building project, a supermarket which is also soon to be fitted with
several enormous plastic chimneys, that is also gradually eating up the space
of the fresh-food vendors. Lola tells him of a dream in which she has been
forced to close her stand.
Finally, Kidlat begins to ask a few questions he has failed to perceive
back in his unbeknownst Eden of Balaian. Why displace the beautiful produce of
these simple vendors with lower quality foods sold in a vast department store?
If the old chimney’s work, why replace them with a chimney big enough for 6
people to live in?
Yet Kidlat is still trapped in his “perfumed nightmare,” and granted a
several-day vacation, he heads off to Germany to visit the home of his beloved
Wernher von Braun.* There he discovers the community about to celebrate a
festival for which they each year they build, by hand, an onion-shaped dome.
The workers complain, however, that this may be their last year, since
factories are now making the same domes out of plastic. Kidlat still cannot
comprehend what he sees as their sentimentality: why would they prefer the old
to the new?
In Paris, he discovers that Lola in no longer among the remaining vendors. The American, knowing that the nearby chimneys will soon be belching their smoke in the direction of his castle, announces that he has sold his chewing-gum enterprise, and is planning to return to the US where he has purchased a company which manufactures blue jeans, the logical next step—so he declares—in his rise to become a munitions and tank manufacturer for the US military. Once more, he promises to take Kidlat with him, suggesting he’ll be the first of his kind to fly on the Concorde.
Before the two leave, however, this “ugly American” plans one final
celebration, inviting some of the world’s leaders, who have come to Paris for a
conference, to his castle.
Introduced to these grotesque figures, the normally amicable Kidlat
becomes terror-stricken, suddenly feeling that he, like Alice in Wonderland, is
growing smaller and smaller by the moment. In reaction to his feelings, Kidlat,
like his father before him, suddenly begins to blow up a typhoon, leveling all
those before him and destroying the American’s castle. With seemingly nowhere
to go, he escapes into one of the giant chimneys, closes it tightly, and flies
off in what now resembles a Martian space ship, back to Balian.
The following credits are presented on a series of letters and
postcards, each of them bearing a stamp from a small country that features one
of the US space ships, the last of them, a Philippines stamp depicting the
chimney in which Kidlat has returned, proving the assertion as he has repeated
throughout the film, “I choose my vehicle, and I can cross any bridge.”
And so too does Kidlat Tahimik prove that he can create a stunningly
profound film by his own means, without the help of wealthy financers.
This is surely one of the gems of the healthy cinema in Philippine
culture, and remains one of my personal favorites.
*Ex-Nazi aerospace engineer and
rocket architect, Wernher von Braun was brought to the US after World War II as
part of Operation Paperclip, to work with the US Army on an intermediate-range
ballistic missile program. He helped to develop rockets that launched the United
States’ first space satellite Exmpore 1 in 1958. Soon after, he worked with
Walt Disney of a series of short films that helped popularize his ideas of
space travel from 1955 to 1957. He became a hero in the late 1950s and early
60s, particularly when the Soviet Union began to enter the “space race.” Even I
as a child wrote, and received local awards, for delivering a Junior High
School speech on “Space, Man’s New Frontier.” In 1975, Wernher Maganust
Maximiliam Freiherr von Braun received the National Medal of Science for his
role of performing as “the father of rocket science” and the lunar program. He
also argued to a human mission to Mars.
Los Angeles, April 28, 2016
Reprinted from World Cinema Review (April 2016).
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