Beystiman It's fun, it's light, [but] it has a hard time when its tries to get heavy.

ChicDragon It's a mild crowd pleaser for people who are exhausted by blockbusters.

Stephanie There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

netwallah A frank, sad story of the sex trade in the third-world. Pol (Allan Paule) leaves his small village after his American friend goes home, goes to Manila, and becomes a macho dancer at Mama Charlie's nightclub. He stays with Noel (Daniel Fernando), another dancer and call-boy, obsessed with finding his missing sister Pining (Princess Punzalan). They're assisted by beautiful call-girl Bambi (Jacklyn Jose), and find they're up against a powerful police-officer/gangster called Kid. Noel is shot while rescuing his sister from a tough brothel, and Pol stakes out the killer and shoots him on his doorstep. A newspaper headline reads "Sparrows kill Policeman." Along the way, Pol has had his first experience with a girl, fallen in love, and lost her—Bambi is certain there can be no happy endings, but she weeps after she has sent him away. Pining leaves Manila with the money Noel had saved for her; Pol goes home; Bambi stays in the life. This movie is not for the squeamish: it features soft-focus gay sex acts, erotic dancing, and violence both explicit and narrated. Pining, shaking with sobs, tells of being captured, drugged, and raped multiple times; the dancers talk of a boy killed in a motel room; the boys are kept in their place by threats of violence and the constant presence of powerful criminal/police; at a party two high, laughing boys flirt with suicide; and Bambi tells Pol how she got into the trade—her father beat her up and then forced her, paying her a nickel for keeping silence. This last scene is the most powerful moment in the film. Bambi faces away from Pol, jaw set, eyes brimming with tears, hands trembling, as she forces the words out with a hardened, dry tone. Now she is determined to be free—as free as a whore can be. Jose is compellingly beautiful, and her portrayal of Bambi is very moving. She's balanced by the open-faced innocence of Paule's face, especially his gentle smile. Nearly all the boys are innocent, even when they are at work—there's no sneering or crudeness, and no sense of shame. Some of the scenes take note of the sordidness of the trade, especially in a club where the entertainment consists of seven or eight naked young men sitting on high stools on stage caressing their genitals. Their faces are mostly distracted or blank. This serves to make the erotic shows of the macho dancers more accessible. Throughout the movie, finally, there is a marked absence of censoriousness about the sex trade itself, while the causes of virtual (and actual) slavery in poverty and criminal profit-making enforced by violence are always present in the background, and from time to time they erupt into the foreground to destroy or maim the innocent.

flowerboy First of all, I was amazed that such a bold film could come out of the Philipines, which I'd always imagined to be a pretty conservative state which would repress a film with so much Young nudity. India has never made such a film, though I have no doubt the story could be Indian too (the difference being that i know of no clubs in Bombay or Delhi or Calcutta which has naked boys dancing on stage - could that really be so common in Manila?). The boys here are of ambiguous sexuality. Are they gay? Or just horny? They seem to do it only with customers and not with each other. And they hang around with girl prostitutes who treat them as "one of us." The main protagonist is actually straight, it turns out, falling in love as he does with a female prostitute. But at the same time, he's perfectly comfortable being a gay rent boy - there's absolutely no angst associated with that and instead there's much bonhomie and fun in the changing room as he teenager prepare to go on stage for their "macho dancing." ! That, I think, was one of the most appealing aspects of this movie.

gftbiloxi Like the later and much glossier MIDNIGHT DANCERS, MACHO DANCER depicts the lives of male prostitutes in Manilla; unlike MIDNIGHT DANCERS, however, it is considerably more gritty and disquieting. The story concerns Pol (Alan Paule), a young man in the provinces who has drifted into prostitution with an American G.I. in order to help support his impoverished family. When his patron finishes his tour of duty, Pol's friend Greg (Bobby Sano) urges him to try his luck in Manilla.Once in Manilla, Pol becomes a "Macho Dancer," working as a performer and prostitute at a police protected club in the tourist belt--and becomes friends with fellow club worker Noel (Daniel Fernando) and upscale call-girl Bambi (Jacklyn Jose.) Although we realize they are motivated by poverty and lack of other skills (time and again the characters simply state "I was hungry"), the film paints itself in extremely tantalizing, erotic colors--and much more explicitly so than MIDNIGHT DANCERS--but as the story progresses the eroticism of the film segues into an extremely dark story of the foundations of the sex-trade: youth, poverty, hunger, and a corrupt police and economic system that preys on all three. By the film's conclusion one feels extremely guilty for having, perhaps, salivated a bit over the boys and girls--for it is precisely that reaction that creates the marketplace which so brutally preys upon them.The youthful cast members are extraordinarily beautiful, casual with their nudity and behavior before the cameras, and surprisingly talented in their ability to convey both the beauty that makes them so sensual and the dark, dangerous world through which they scramble. The entire cast is remarkable, and Jacklyn Jose is a standout--an extraordinary beauty and remarkably gifted actress. Although MACHO DANCER hooks its audience with titillating eroticism, it has a sharp jab that prevents that same audience from romanticizing prostitution in any way. All the more disquieting for it display of beautiful youth, after seeing MACHO DANCER it becomes impossible for one to think of prostitution as a "victimless crime." Recommended.Gary F. Taylor, aka GFT, Amazon Reviewer

Libretio MACHO DANCER Aspect ratio: 1.37:1Sound format: MonoAbandoned by his American lover, a naive country boy (Alan Paule) seeks his fortune in Manila, where he's drawn into a world of erotic dancing, prostitution and drug running, leading to betrayal and murder.Combining elements of melodrama and social commentary, MACHO DANCER marks a return to the subject of male prostitution for director Lino Brocka (MANILA: IN THE CLAWS OF NEON), who paints a picture of the Filippino sex industry as a dangerous arena, fuelled by drugs and police corruption, where innocent young men must compromise their virtue in an effort to stay alive. The densely plotted screenplay (co-written by Ricardo Lee and Amato Lacuesta) is filmed with genuine gusto, though Brocka fails to break any new ground on the subject (see also MIDNIGHT DANCERS and BURLESK KING, both directed by Mel Chionglo), and proceedings are stifled by Paule's amateurish performance as the gullible waif who struggles to keep his head while all around him are succumbing to the worst excesses of their unhappy lifestyle. More successful is ultra-sexy Daniel Fernando (star of Peque Gallaga's influential erotic drama SCORPIO NIGHTS) as a veteran 'macho dancer' whose association with a crooked police officer (Johnny Vicar) results in tragedy and horror, and Jacklyn Jose (YOUR WIFE, MY WIFE) as the stereotypical 'tart with a heart' who succumbs to Paule's dubious charms (yes, another 'gay' film in which the leading man falls for his leading lady!).The running time is padded with lengthy excerpts from the various stage performances, in which naked young guys oil each other up and gyrate to synth music (Fernando's dance sequence with co-star William Lorenzo is worth the price of admission alone!), though the film's sexual content is fairly coy by western standards. Some of the dramatic sequences are allowed to overrun, and the climax is predictably ironic, but the narrative still packs something of an emotional wallop, and while production values are modest, the film's mixture of beefcake, sentimentality and violence is frankly irresistible.(Tagalog dialogue)