By JENNIFER CHAN
Bulatlat.com

Bakal Boys (Children Metal Divers), directed by Ralston Jover, is a documentary-drama about young boys who dive into the sea to scavenge for metal scraps. For the average Filipino, such a story is nothing new. However, Jover, along with co-writer Henry Burgos, have put a new spin to the film, making the audience sigh with wonder over the beautiful underwater shots and cringe with horror at the what-ifs that they have successfully planted in the audience’s mind.

The film, while touching upon several social issues (organ selling, unjust system, poverty), mostly revolves around the friendship of two boys—Utoy and Bungal. Utoy, the younger of the two, is a bit high-spirited while Bungal, tall and lean, appears to be calm and sensible. Both characters are played by real-life metal divers Meljon Ginto and Vincent Alvin Olano.

On one particular diving trip, the boys of Baseco find an anchor weighing around 80 kilos underwater. It is an amazing discovery and one that would probably fetch for more than the boys could ever hope to earn in a week. But at what price? As the boys surrender their shabby and makeshift diving equipment, they realize that Bungal is not with them.

Here, the award-winning film gives the audience crumbs to follow. The most logical train of thought would be to assume that Bungal has somehow drowned. However, talk of mermaids, mysterious voices and even organ selling make other suggestions seem plausible.

The rest of the brood seem unaffected but Utoy—and to an extent, his brothers— who does not give up searching for Bungal. A body has turned up—that of a boy—but it was not his friend.

It is a simple plot but simple is good. Besides, the cinematography is enough to capture the interest of the audience. Seemingly fond of wide shots, Jover really gives film viewers something to look at. The underwater shots are beautifully executed as is the shot of Bungal’s Grandma Salvia (played by Gina Pareño) and Utoy sitting together as the men from the community volunteer to search for the missing boy.

Some scenes stay onscreen for more than what is normally necessary though as indie films go, there is probably a reason for it (at this point, even not having a reason becomes reason enough).

Some of the most striking parts of the film are those without words. When Utoy’s brother realizes that there is no food in the house and so chops his bamboo coin bank with a large knife, the sound of bamboo hitting the table hits emotions hard. When Grandma Salvia hands Utoy her grandson’s swim board, the quiet is deafening and the feeling of loss and acceptance mingle. When Utoy digs up the metals rods that might have been stolen and throws them back to the sea, there is the feeling desperation and perhaps a trade initiated—a friend for the rods. The depth of emotion in these scenes is as deep as the sea that has claimed so many lives.

While Bakal Boys deftly twists the audience’s emotions, it also gives viewers the freedom to interpret each scene. In the end, it is not a film that dies along with the closing credits but one that lingers long after the audience has left the cinema.

 Save as PDF