Tikoy Aguiluz: A Master Filmmaker

Asiong Salonga: The Manila Kingpin Story

Feb 19, 2024

Tikoy Aguiluz: A Master Filmmaker

Ang Dalubhasa

Behind the scenes: The making of Manila Kingpin: The Asiong Salonga Story

Main Cast
Jeorge "E.R." Estregan as Nicasio "Asiong" Salonga
Carla Abellana as Fidela Fernandez-Salonga
Phillip Salvador as Sgt. Domingo "Domeng" Salonga
John Regala as Totoy Golem (Carlos Capistrano)
Ronnie Lazaro as Boy Zapanta (Ángel Zapanta)
Baron Geisler as Erning Toothpick (Ernesto Reyes)

Eleven years later, I still have not watched the film Manila Kingpin: The Asiong Salonga Story, the Best Film in the 2011 Manila Film Festival, and among other awards, it also picked the Best Director. I do not have a DVD of the film nor had the chance to see it on the big screen.

There are four reasons why I would like to see this Filipino obra:

Firstly, it is a Tikoy Aguiluz film. It was his imagination that created and made it harvest eleven awards. It was his sheer stubbornness and feverish passion that gave it flesh and clothed it with distinction and originality.

Secondly, Direk Tikoy had invited me to fly to Manila from Yokohama to join his creative team on the first day of filming and to continue writing the scenario at the film set. This is uniquely a Philippine style of filmmaking – shooting the key scenes while the scenario is still being written. The screenplay is never finished until the filming itself has finished.

Thirdly, I would like to see how the director interpreted the scenario. The director gave the writer the freedom to create scenes and dialogues. He was more concerned with the storyline and logical sequences of actions and scenes than the screenplay itself.

Here is a scene in the screenplay for Manila Kingpin: The Asiong Salonga Story. Joseph Estrada played the original role in 1961. Pres. Erap’s cameo role, I thought, would give the film more weight. Unfortunately, this scene was not filmed.

56. ASIONG in Bartolina.

Flashback of a childhood memory.

INT. BAHAY NI NINONG (Pres. ERAP). DAY.

The receiving room is simple but exudes authority and glorious past.

We see pictures on the walls: Pres. ERAP as a high school student, Pres. ERAP as a young actor, President Elpidio Quirino (LP), Defense Sec. Ramon Magsaysay (NP), and finally, a 1949-50 photograph of Malacanang Palace.

The furniture is minimal: a low table in the middle and four wooden chairs around it.

Pres. ERAP is sitting in a chair and is reading a copy of 1949-50 Manila Chronicle.

Young ASIONG comes in. He is carrying a toy gun tucked in his waistband. He stops halfway.

YOUNG ASIONG

Maligayang Pasko po, Ninong.

Pres. ERAP stops reading and stands up.

Pres. ERAP

Maligayang Pasko, Nicasio.

Tuloy ka.

Young Asiong takes Pres. Erap right hand and do the ‘mano’.

Pres. ERAP

Kaawaan ka ng Diyos.

He notices his toy gun.

Pres. ERAP

Ano ‘yan? Paskong-pasko, may dala kang baril.

Young ASIONG

Laruan ko po. Nagbaril-barilan kami kanina.

Pres. ERAP

Nicasio, tandaan mo ito:

Ang taong nabubuhay sa baril,

Sa baril din mamamatay.

Young ASIONG

Opo, tatandaan ko po.

Pres. ERAP

Heto ang iyong aguinaldo.

Pres ERAP gives him a box nicely wrapped.

Young ASIONG

Maraming salamat po, Ninong.

Pres. ERAP

Mag-iingat ka.

Young ASIONG

Paalam na po.

Young ASIONG leaves.

Finally, Manila Kingpin: The Asiong Salonga Story also garnered the Best Screenplay award. Roy Iglesias and I shared the honour. More than a decade has passed, and I still have not seen it.