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Barbara Perez, Ric Rodrigo, and Dolphy in Gigolo (1956)

Ric Rodrigo hustles his way into women's heart, finds true love at the end

&#39;Olive La Torre&#39; (qv) can craft women&#39;s films well, but GIGOLO (1956), based on the 1955-1956 comics serial penned by the prolific &#39;Francisco V. Coching&#39; (qv) has a man as the central character - a hustler, at that. Virgilio Labrador (&#39;Ric Rodrigo&#39; (qv)) has made women swoon and his latest victim, Doña Consuelo (&#39;Paraluman (I)&#39; (qv)), has killed herself after discovering his duplicitous crime. Gil relies on his sidekick Bugart (&#39;Dolphy&#39; (qv)) to aid in conning women, even their landlady... Enter the suicide victim&#39;s daughter, the beautiful Carina (&#39;Barbara Perez&#39; (qv)), who has vowed to avenge her mother&#39;s death. But who seduces whom? Will Carina learn to forgive this rogue of a man that has stolen her heart? Will Gil ever change his hustling ways? Will love triumph in the end? With a slightly tenuous premise that would have rendered the whole film ludicrous with lesser actors, La Torre megs GIGOLO well, giving the sole spotlight to the dashing Rodrigo, but allowing dramatic highlights for costar Barbara Perez as well. The machinations of Gil, aided by the comical yet dastardly Bugart, ensnare women in succession, the current one being Alicia (&#39;Bella Flores&#39; (qv)). In a clichéd subplot, Alicia&#39;s own husband, Don Martin, is also enjoying the feminine delights of another woman. Thus, Don Martin is blackmailed by the oily and suave Frankie (&#39;Eddie Garcia (I)&#39; (qv)), gigolo material to rival Gil. Where Coching fleshed out Filipino quirks in illustrated pages and delved into the human psyche, La Torre himself paints a canvas of conflicted characters that find redemption in the end. GIGOLO is especially brazen, for tackling such subject matter on film. Filipinos in the 1950s would ostensibly speak in hushed tones about such a &#39;profession.&#39; Today, with the fluctuating boom of ballroom dancing in the country, and with the advent of the Internet, such terms as &quot;gigolo,&quot; &quot;callboy,&quot; and &quot;dance instructor&quot; will just elicit giggles of curiosity. In the party scene where Perez, having been announced as the future bride of Rodrigo, exposes Rodrigo for what he is, aided by an incriminating piece of evidence (a photo album, with all his women victims), the partygoers are scandalized, and Rodrigo slithers away in sheer embarrassment. I just can&#39;t figure out why the gigolo would keep a photographic compilation of his victims! To gloat? To reminisce? Did he feel, after all, anything for any of the ladies? The cast fares well, Perez is a radiant leading lady, but this is Rodrigo&#39;s show and he gives an indelible performance, plumbing an emotional mine of greed, cunning, machismo, recklessness and, by film&#39;s end, a change of heart. La Torre (and Coching&#39;s story) especially scores well by having the two leads, seemingly having parted ways for good, reunite in a church, of all places. The movie thus reiterates that faith in one&#39;s self can redeem you, even as you think you have been drowning in the deepest, darkest and lowest of places.

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Gigolo

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Gigolo

Ric Rodrigo hustles his way into women's heart, finds true love at the end

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