The irony to this is shown in QWERTY, a film about the corruption and harassment that lurks in the Philippine police force. It revolves around a cop, Leo Concepcion, on his last day of duty before he departs for Qatar, yet due to unexpected unfortunate events, he gets caught up with the flawed system he works for. Unluckily, he has been wrongly involved in a torture video that went viral.
As it seems, QWERTY is based on the real-life police torture video in one of Manila’s precincts posted on YouTube two years ago, which caused worldwide indignation and has become the “talk-of-the-town” until today. The video showed a naked suspect with a string on his genitals, grimacing in pain as the Senior Inspector tugs at the string each time the victim fails to answer questions; it was reported later that the man died (Amnesty International, 2010).
QWERTY blatantly pinpoints the wrongs of the system and various mechanisms were used to achieve such.
There are several significant elements shown, which only proved how much depth and substance the film had, despite reviews and comments saying how pointless and redundant it seemed it was. Palpably, it is done in film noir style – in black and white.
There are several significant elements shown, which only proved how much depth and substance the film had, despite reviews and comments saying how pointless and redundant it seemed it was. Palpably, it is done in film noir style – in black and white.
Pure black-and-white films have become rare as digital technology emerged; thus, there are good reasons why directors utilize occasional black-and-white films. It is interesting to note that QWERTY was not a historical, “flashback” film, yet it was still portrayed in black and white to fabricate the expected film noir. Britannica says that a film noir or “dark film” is a style of filmmaking characterized by elements such as cynical heroes, dark, bleak lightning effects to enhance the drama. Normally, it uses high contrast lightning such as black and white (Encyclopedia Britannica, n.d.). Often, classic film noir create moods such as melancholy, alienation, desolation, disillusionment, pessimism, ambiguity, moral corruption, evil, guilt, desperation and paranoia. It appears that the film contains such atmosphere – dark, desolate and intense. Plausibly, the use of bleak colors, in this case, black and white, can help portray the QWERTY’s theme and narrative effectively.
The black and white element seen in the film seemed insignificant at first and was probably just an effect the director wanted to make it look and feel “dramatic.” However, it was also needed as reinforcement to the suspense and fear that the audience is expected to experience. In QWERTY, just at the beginning of the film, when the credits are being “typed” down just like how the cop types his crime report in the typewriter, one can already sense the invoked fear and bleakness that exists throughout the film, without prior knowledge of the plot.
The black and white element seen in the film seemed insignificant at first and was probably just an effect the director wanted to make it look and feel “dramatic.” However, it was also needed as reinforcement to the suspense and fear that the audience is expected to experience. In QWERTY, just at the beginning of the film, when the credits are being “typed” down just like how the cop types his crime report in the typewriter, one can already sense the invoked fear and bleakness that exists throughout the film, without prior knowledge of the plot.
Just the mere effect of the grayscale colors, the impact of the film’s violence and brutality is more heightened. For instance, in one scene when Concepcion was off to duty and was on his way to the precinct, he passes through a narrow alley, with the walls trying to cave him in, walking away from the camera. Without narration and dialogues and other explicit mechanisms, the mere contrast evoked the tension and the gravity of the drama. Because of the deep-focus shots, low-key lighting and especially the effect of black and white, such eerie atmosphere and suspense is experienced by the viewer. The high-contrast (black and white) lighting and contrast, therefore, is essential in the composition of the film noir style in QWERTY, bearing in mind that it portrays police violence and corruption. As a result, the brutality of several scenes is enhanced.
QWERTY speaks of polarities – black and white – good and evil. It portrays both the “familiar” picture of a violent, corrupt, inhumane cop like Dela Cruz and the “ideal” noble cops who abide by their principle – “to serve and protect the people.” Thus, although we all have the general perception that police men are corrupt, violent and inhumane, the film portrays that there are still seemingly “noble” cops (well, at least one cop) who disagrees and are displeased with how the “norm” within the police system is perpetuated. They cannot change the system themselves; they either conform anyway or willfully attempt to untangle themselves from it instead. An escape from the police force and a search for a better job abroad may be the only means to be free yet, on his last day of duty, he finds himself enslaved by the system. It seems that once you’re in, you may never be free. Such despair, hopelessness, frustration and extremities can be felt all throughout the movie. The black and white contrast is obviously a huge factor to these seemingly nuisances.
As much as grayscale colors are critical in conveying the message of the film and can indeed be a symbolic artistic expression, the title is also an important metaphor for one to understand the film in its entirety. QWERTY refers to the universal keyboard style used originally in typewriters, computers and mobile phones. It is said that the original keyboard style is not the most functional of designs but to change all keyboards in the world is no longer possible due to its universal prevalence, just like corruption in the police force (DJ Mojo Jojo, 2012).
The 2012 Cinemalaya featured a similar film, Posas. A significant amount of brutality and corruption is also portrayed in the very center of the institution that seeks to eradicate it. Posas contained the same anger and frustration evoked not just by the characters but also by similar dramatic elements such as low-key lighting and akin camera angles. While QWERTY was a full-feature black and white film, Posas did not have the same contrast; it was colored. However, the colors were also bleak and pale, highlighting the torture and the horror experienced by both the victims and the viewers. For instance, in Posas, the darkness of the torture room, where the suspect was gagged and drowned and soaked in, reflected the darkness of how they treated the prisoners. This obscurity can also be found in a scene where they tortured the poor man who was blindfolded and chained, where only sinister colors can be seen. In contrast, in QWERTY, from beginning to end and morning to evening, the colors were always gloomy, since it is black-and-white – probably an amplification of how impious not only the police force was but how the portrayed world is in reality. Moreover, both films also showed the darkness of the alleyways which revealed the many unknown things that take place therein.
Ultimately, QWERTY is an exceptional work of art. With the use of various mechanisms, such as monochrome contrasts, lighting and compositions, the message and the intended artistic expression are effectively expressed in its fullest measure, despite its predictability and redundancy. An intense emotional impact is inevitably cultivated in the experiences of the viewers, at least in mine. Such elements make it not only impacting but it also makes it more real than reality. That, I believe, is the measure of a well-crafted film.
QWERTY speaks of polarities – black and white – good and evil. It portrays both the “familiar” picture of a violent, corrupt, inhumane cop like Dela Cruz and the “ideal” noble cops who abide by their principle – “to serve and protect the people.” Thus, although we all have the general perception that police men are corrupt, violent and inhumane, the film portrays that there are still seemingly “noble” cops (well, at least one cop) who disagrees and are displeased with how the “norm” within the police system is perpetuated. They cannot change the system themselves; they either conform anyway or willfully attempt to untangle themselves from it instead. An escape from the police force and a search for a better job abroad may be the only means to be free yet, on his last day of duty, he finds himself enslaved by the system. It seems that once you’re in, you may never be free. Such despair, hopelessness, frustration and extremities can be felt all throughout the movie. The black and white contrast is obviously a huge factor to these seemingly nuisances.
As much as grayscale colors are critical in conveying the message of the film and can indeed be a symbolic artistic expression, the title is also an important metaphor for one to understand the film in its entirety. QWERTY refers to the universal keyboard style used originally in typewriters, computers and mobile phones. It is said that the original keyboard style is not the most functional of designs but to change all keyboards in the world is no longer possible due to its universal prevalence, just like corruption in the police force (DJ Mojo Jojo, 2012).
The 2012 Cinemalaya featured a similar film, Posas. A significant amount of brutality and corruption is also portrayed in the very center of the institution that seeks to eradicate it. Posas contained the same anger and frustration evoked not just by the characters but also by similar dramatic elements such as low-key lighting and akin camera angles. While QWERTY was a full-feature black and white film, Posas did not have the same contrast; it was colored. However, the colors were also bleak and pale, highlighting the torture and the horror experienced by both the victims and the viewers. For instance, in Posas, the darkness of the torture room, where the suspect was gagged and drowned and soaked in, reflected the darkness of how they treated the prisoners. This obscurity can also be found in a scene where they tortured the poor man who was blindfolded and chained, where only sinister colors can be seen. In contrast, in QWERTY, from beginning to end and morning to evening, the colors were always gloomy, since it is black-and-white – probably an amplification of how impious not only the police force was but how the portrayed world is in reality. Moreover, both films also showed the darkness of the alleyways which revealed the many unknown things that take place therein.
Ultimately, QWERTY is an exceptional work of art. With the use of various mechanisms, such as monochrome contrasts, lighting and compositions, the message and the intended artistic expression are effectively expressed in its fullest measure, despite its predictability and redundancy. An intense emotional impact is inevitably cultivated in the experiences of the viewers, at least in mine. Such elements make it not only impacting but it also makes it more real than reality. That, I believe, is the measure of a well-crafted film.
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