THE OFFICIAL ZINE OF WIKIPILIPINAS.ORG OCTOBER 2008

in this issue Faded Glories • Romantic Tandems We Once Loved • Unforgettable • Etched in Film The Lost Boys • No, The Other One • Controversial • Lav Diaz: Legacy Beyond Length History of Philippine Cinema • The Last Stand at Baler • Sulyap sa Isang Lihim • Unang Sibol PLUS! E-turo • Philippine Online Chronicles 2

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from the editors

Film is considered the youngest of the Philippine arts, having been first introduced in the late 1900s. Since then, Philippine films have evolved with vari- ous genres and techniques being used by local film- makers whose works continuously gain international premieres and recognition to this day. This October, WikiPilipinas presents the WikiZine Guide to Philippine Cinema issue to sit you through the scrolling credits of filmmaking in the . Rediscover the places that were once hubs for movie buffs. Take a peek at some notable Filipino films with ratings from R to General Patronage; from documen- tary to animation. Swoon over the love teams of the silver screen. Meet the equally famous ‘other ones.’ And recall the lines that lived through the decades. In this issue, you also get sneak previews of two of Vibal Foundation’s newest websites: The Philippine Online Chronicles and E-Turo. The Philippine Online Chronicles (www.thepoc.net) is an online publica- tion that presents the latest in politics, government, economy, sports, and entertainment from a variety of perspectives. Alongside it is E-turo (www.e-turo. org), a resource site for Filipino teachers and learn- ers that offers accessible educational materials for free. We hope that this WikiZine will serve as your guide to informed reading in WikiPilipinas.org. To- gether, let us read more, write more, learn more, and share more.

00 About this issue 01 About

Head on to the theatres; to the verge of the Philippine cinematic renaissance. Sit through the rolling of film—the scrolling credits. Now showing. Lights, camera, action!

4 Faded Glories

o r m o r e t h a n 300 years, the Philippines was under the auspices of the Church and the directives of the Spanish Crown. These years of colonization was also Fa period of acculturation and diffusion—the Hispanization of Filipino culture. Fili- pinos came to adopt the wearing of garmented clothes, eating bananas and planting tobacco, or veneration of the saints side by side with local anitos, and watching the- atrical plays like zarzuela. With the introduction of theater plays in the Philippines came the need for a complex where such form of entertainment could be performed on a regular basis. Hence the birth of theater and movie houses in the Philippines.

Opera house turned hotel as a phonograph parlor beneath the Ca- Dubbed as “The Theater with a Histo- sino España building along Calle Perez ry,” the Manila Grand Opera House was in No. 12 Escolta (now Santa Cruz, Ma- a defunct theater and opera house that nila), this theater was designed in prepa- used to stand along the district of San- ration for Pertierra’s first movie show in ta Cruz, at the corner of Rizal Avenue Manila in time for the Christmas season and Doroteo Jose Street in Manila. The of 1896. ground where it used to stand was first developed in the mid-1800s as an open First movie house track (enclosed by a circular wooden The Cinematografo was the first movie structure protected by a nipa roof) where house in the Philippines. It was built in local and foreign cultural and historical August 1897 through the initiative of presentations, like zarzuelas and plays, Antonio Ramos, a Spanish soldier from were conducted. Alhama de Aragon who arrived in the country with the Batallon de Cazadores First movie-theater house sent to end the revolution. He brought Established in March 1896 by a Spa- with him a Lumiere Cinematograph—a niard named Francisco Pertierra, Salon device which functioned as camera, pro- de Pertierra was the first movie-theater jector and printer all in one—from Paris, house in the Philippines. Initially built plus thirty film titles.

For the complete article, visit http://en.wikipilipinas.org/index.php?title=Defunct_Theater_and_Movie_Houses_in_the_ Philippines 5 fd

o c a l f a n movies are known blockbuster hits during the 1950s in the Philip- pines. It was the heyday of romantic flicks that have spawned phenomenal Llove teams who led a loyal following for decades. They have captured the heart of moviegoers and marked the golden age of Philippine cinema. Interestingly, some of these pairings turned from onscreen sweethearts to real-life partners.

Long-lasting love tion of Eddie Romero. Many other mov- team ies followed, mostly under Sampaguita Among the greatest Pictures. and most enduring love teams in the history of Top musical-comedy Philippine cinema, the of the 50s Carmen Rosales- The Nestor de Villa- tandem charmed a wide audience of Fi- love team lipinos who found their on-screen affair tops the list of unforget- kakakilig. Carmen was one of the most table romantic tandems coveted actresses in the 1930s, with her in the silver screen. Nida started her irresistible charm and talent as singer career in 1951 at the age of fifteen (al- and dancer; while Rogelio was listed though she was believed to be seventeen among the most popular matinee idols then) through the renowned LVN actress of the 20th century. Delia Razon and film producer Narcisa de Leon (a.k.a Doña Sisang). Nestor, Reel love team on the other hand, was discovered by turned real movie director Susana C. de Guzman and Pancho and scriptwriter Nemesio B. Caravana Magalona love team who did not have second thoughts about did not end with the tak getting him to take part in the movie of the movie clapper; it Dimas with big stars Rogelio dela Rosa was when the real romance started. The and Lilia Dizon. It was in 1952 when the two were first paired up in the movie movie industry gave birth to the Nida- Always (Kay Ganda Mo) in 1949, co- Nestor love team through their first film starred by Tito Arevalo, under the direc- together, Romansa sa Nayon.

For the complete article, visit http://en.wikipilipinas.org/index.php?title=Romantic_Tandems_We_Once_Loved Photos from video48.blogspot.com 6

PHILIPPINE CINEMA’S MOST ENDURING LINES

h e r e a r e movies so successful in in- “You’re nothing but filtrating the public’s consciousness T a second-rate, trying hard that decades after their release, people Cherie Gil, can still reenact specific scenes with the copycat!” lines intact. Case in point: the pivotal Bituing Walang Ningning (1985) scene in Himala, which has already been recreated and parodied a million times This scene is cemented inside every (and still counting). These memorable Pinoy moviegoer’s mind: Lavinia Ar- sequences have built careers, provided guelles (Gil) spluttering words and wine awards, guaranteed box office success, all over Dorina Pineda (). and spawned dance remixes. Here is a This is the ultimate catfight scene that list of those passages in our nifty re- would send the Gossip Girls scamper- minder of the most memorable lines in ing. Philippine cinema. “Akala mo lang wala... pero meron! Meron! “Trabaho lang ito, Meron!” Carlo Aquino, walang personalan.” Bata, Bata...Paano Ka Ginawa? Rudy Fernandez, (1998) Markang Bungo (1991)

A young Carlo Aquino rose to mov- According to the Film Academy of ie stardom after this 1998 film based on the Philippines website, the success of the bestselling Lualhati Bautista novel. this Rudy Fernandez starrer was attri- The line alone would seem ridiculous, buted to this particular line. Seventeen but when Carlo said it to years later, we are still saying it. with such anguish, we all believed him. 7

“Para kang karinderyang “Pumapatak ang metro.” bukas sa lahat ng gustong Rosanna Roces, kumain.” Curacha, Vilma Santos, Ang Babaeng Walang Pahinga (1998) Palimos ng Pag-ibig (1985)

The Star for all Seasons delivered this stinging line to in Corazon, a prostitute played by Ro- reference to the latter’s unwomanly be- sanna Roces, exposes her breasts to a havior. No, Bonnevie was not just gos- cab driver. After a few seconds, she co- siping. She was babymaking. That’s all. vers herself up. The cabbie complains, to which Corazon gives this witty reply that surely the driver can relate to. “Ayoko ng tinatapakan ako. Ayoko ng masikip, “Cheeta-ehhh... ayoko ng mabaho, ayoko ganda lalake!” ng walang tubig, ayoko ng (Echo: “Ulol! Sinungaling! walang pagkain, ayoko ng Panget! Panget!”) putik!” , Rene Requiestas, Kaya Kong Abutin ang Langit (1984) Starzan (1989)

This line uttered by Diamond Star A hilarious bit courtesy of the Maricel Soriano in this ‘80s classic parody Starzan, where comedian Rene could very well be the mantra of any Requiestas portrayed Starzan’s sidekick affluent person suddenly shoved to po- Cheeta-eh. He bellows to the forest how verty. Or not. good-looking he is, but the echoe of his voice proclaim otherwise. “Oo, inaamin ko, saging lang kami. Pero maghanap “Walang himala! Ang hi- ka ng puno sa buong Pilipi- mala ay nasa puso ng tao! nas, saging lang ang may Nasa puso nating lahat!”, puso! Saging lang ang may Himala (1982) puso!”

Mark Lapid, Apoy sa Dibdib ng Samar (2006) The pivotal scene in this Brocka The movie was a certified flop, but masterpiece shows Elsa (Nora Aunor) this (ridiculous) line (delivered ridicu- admitting to her throng of supporters lously by Mark Lapid) became a cult that there was indeed no miracle, much favorite (for its over-the-top ridiculous- to the chagrin of the people who benefit ness). It even spawned a dance remix from her staged spectacle. A remarkable that everyone enjoyed, even just a little. scene from a remarkable film.

For the complete article, visit http://en.wikipilipinas.org/index.php?title=Most_Memorable_Philippine_Movie_Lines 8

Etched in Film

i l i p i n o i n g e n u i t y in animation has been highly recognized in the global anima- tion industry. In fact, the past decades have seen a significant surge in demand Ffor world-class Filipino animators. This year, two major animation productions showcase Filipino talents by creating original full-length animated films.

Dayo movies (and the second movie of its kind Dayo (Wanderer) after Ibong Adarna which was featured is a full-length in 1997) that will be screened during the animated film 34th Manila Film Festival in December by Cutting Edge 2008. Productions. It reinvents ghastly Urduja images of Phi- Urduja, the first lippine mythical Filipino full- creatures into length animated heartwarming film, revolves characters in a young boy’s adventure. around the le- This $1.3 million (roughly Php58 mil- gendary warrior- lion) production involving over 500 lo- princess Urduja. cal animators features the “tra-digital This epic film of animation” technique which uses paper- love, war, and less 2D and 3D technologies. It uses 2D bravery is the animation for its characters and 3D ani- brainchild of “Eat Bulaga” producer mation for the backdrops. Antonio “Tony” Tuviera. It features the The production team of Dayo spent traditional hand-drawn animation of a several months developing the story, group of Filipino animators. mood, and digital animation. While This film, which is Tuviera’s dream writing the script, the writers consulted project, was first envisioned as a series of a book on local mythology by Maximo animated features to appear on television. Ramos entitled Creatures of Philippine However, due to financial constraints, Lower Mythology. Compared to the usu- the production had to be cut short. Tuvi- al three-year completion of a traditional era then decided to turn it into a film that full-length animation, this film aimed to took thirteen years to finish under APT be finished within a short span of two Entertainment Inc. years. Urduja features the voices of Regine Dayo is written by Artemio Abad, Velasquez, Cesar Montano, Eddie Garcia, Jr. and Eric Cabahug and directed by and Jay Manalo. It received an “A” rat- Robert Quilao. It is among the eight ing from the Cinema Evaluation Board.

For the complete article, visit http://en.wikipilipinas.org/index.php?title=Dayo_%28film%29 Photo: Dayo movie poster from www.dayomovie.com For the complete article, visit http://en.wikipilipinas.org/index.php?title=Urduja_%28film%29 Photo: Urduja poster courtesy of APT Entertainment at PEP.ph. 9

The Lost Boys

u n s o (Th e Yo u n g e s t ) is a 64-minute documentary that captures the lives of three young detainees in a provincial jail for adult prisoners. This film, createdB by Ditsi Carolino and Nana Buxani, was filmed through the Consuelo Foundation in its effort to reveal the state of the juvenile justice system in the Philippines. It was filmed in Cebuano and subtitled in English. It was in 1999 when Carolino and Buxani began making this film. They spent three weeks in six different jails in the southern part of the country. It was released on a limited screening in December 2004. Since then, it has been featured in numerous film festivals and has earned international awards.

About the film The film documents the day-to-day life stealing money in order to fund his ad- of thousands of child criminals who diction. live in horrendous conditions in over- Inside the jail, 157 minor prison- crowded cells with adult prisoners. It ers have alternate sleeping schedules highlights the experiences of 13-year- to fit in a space suited only for less old Anthony, 11-year-old Diosel and than a hundred persons. The kids could Tisoy (also known as Bunso) as they only get a shower when it rained. They struggle to survive inside the jail. All would fight just to get enough food to three had been accused of theft and eat during meal time. In this film, Ca- robbery. Anthony stole money to feed rolino shows how the kids gradually his siblings. Diosel was sent to jail by lose their innocence even as it draws his father after he got caught stealing attention to the lack of guidance from from a store. Meanwhile, Bunso, the parents and the failure of the justice neglected child, went from begging to system in the Philippines.

For the complete article, visit http://en.wikipilipinas.org/index.php?title=Bunso_%28film%29 Photo: Bunso movie poster from www.ma-yitheatre.org. 10

reatest Pinoy Movie S *The G idekicks*

h e y a r e the best friends, the alalay, the shock absorbers, the comic relief Tproviders, the shoulders to cry on, the kanang kamay. They are the sidekicks – the ones who laugh hardest at the lead comedian’s jokes, and the principal sup- porter of the dramatic actor’s choices. There are actors in the Philippine showbiz industry who make a living out of being “the other ones.” Legends they are so that even the top-billed stars feel like they owe a portion of their success to these thespians cast with them more often than their love team partners. Here is a list of those sidekicks that surely you remember. 11

Panchito comedy king discovered his natural Alfonso Tagle, Sr. knack for telling jokes, and then gave is Panchito Alba, or him a featured role on the television simply Panchito. He show Buhay Artista. Since then, Babalu is best known as Co- appeared in countless movies and televi- medy King Dolphy’s sion shows, and established himself as main buddy in most of one of the Philippines’ most respected their movies, playing vari- comedians. ous supporting roles in films like Ka- labog at Bosyo (1959), Pacifica Falay- Rene Requiestas fay (1969), and Bugoy (1979). Panchito Rene Requiestas was and Dolphy were famous for their Eng- one of the most suc- lish-Filipino song translation sequence. cessful comedic acts This partnership that crossed over to the in the late ‘80s and small screen would last until the side- early ‘90s. He had im- kick’s death in 1995. peccable timing and hu- morous delivery, coupled Dencio Padilla with that crazy hairstyle and No one personifies that toothless grin which made him very the word “sidekick” popular. Joey de Leon, his co-star in the more than Dencio ‘80s comedy classic Starzan, handpicked atest Pinoy Mov Padilla. Most, if not Requiestas to play his sidekick Cheetae, he Gre ie Sidek all, of the films where a character that would go down in his- *T icks* the King of Philippine tory as one of the funniest ever. Movies Fernando Poe, Jr. was cast as the lead had Padilla tagging Eugene Domingo along as the ally, the friend, the comic The brilliance that relief in the otherwise tense environ- is Eugene Domingo ments of action films. Some of their started as a dra- films include Ang Leon at Ang Daga matic theater actress (1975), Kahit Konting Pagtingin (1990), in Dulaang UP at the and Dito sa Pitong Gatang (1992). University of the Phi- lippines. But it was her role Babalu as the feisty maid Simang to Claudine Babalu is Pablito Barretto’s Angeline in Sa Dulo ng Wa- Sarmiento, another lang Hanggang that got the attention of Dolphy sidekick best the public. Then to solidify her career, remembered for his Domingo played Rowena, Ai Ai de las longer than normal chin Alas’ best friend in the hit movie Ta- that was part of his come- nging Ina. Now Eugene is best known dic charm. He first worked for this no nonsense, almost aggressive as the driver for Panchito, where the comedy that people dig.

For the complete article, visit http://en.wikipilipinas.org/index.php?title=The_Greatest_Pinoy_Movie_Sidekicks 12

h r o u g h o u t t h e history of the film industry in the Philippines, several filmmak- ers have produced projects which tackled Philippine political, sexual, social Tand religious matters which are considered sensitive and controversial. The following are some of the most controversial Philippine films which spawned heaps of rumors and comments from moviegoers and movie aficionados, were applauded; nearly banned, or totally banned in Philippine cinemas.

Toro (Live Show) was one of the most affairs with many men end up in a bizarre talked about films released in Philippine triangle of illicit romances. This sexy film cinema, such that it was even banned in all was almost banned, not because of its sexu- movie theaters. The movie dealt with a very al theme, but because according to the Phi- sensitive issue—the plight of the “toreros lippine National Police, it allegedly put the and toreras” or people who do “live shows/ image of policemen in a bad light. live sex” for a living. Orapronobis (Pray For Us) was Imelda is a documentary on one of the banned during the Aquino administration Philippines’ most popular personalities, for depicting political killings, the proli- the former First Lady Imelda Marcos. The feration of paramilitary vigilantes and the film explores Imelda’s complex persona, abduction of rebels or non-conformists. documenting her stellar rise to power and The plot was based on actual incidents in her plunge into notoriety. This film showed the Philippines. the controversial opulence of the Marcos family amid the poverty of the people they Kontrobersyal is a movie created by Na- enslaved. tional Artist for Film Lino Brocka in 1980 which deals with condemning and deplor- Scorpio Nights is a 1985 movie directed ing pornography. Ironically, it was also by Peque Gallaga featuring Anna Marie deemed pornographic. Most of the scenes Gutierrez and Dan Fernando. Aside from were deemed obscene and offensive to the its provocative scenes and excessive skin viewers and was almost banned in Philip- exposure, the film is also a metaphorical re- pine cinemas. presentation of Philippine society during the early 80’s. It received an X rating from the Tatlong Hambog is a 1926 silent film MTRCB, forcing it to be shown only in the which starred a race car sportsman Luis Experimental Cinema of the Philippines. Tuason and vaudeville actress Dimples Cooper. It was considered controversial be- Red Diaries tells the story of three diffe- cause it was the first Filipino movie with a rent women, all of them played by Assunta lips-to-lips kissing scene which was consi- da Rossi. One is a kept woman whose love dered scandalous at that time. For the complete article, visit http://en.wikipilipinas.org/index.php?title=Most_Controversial_Philippine_Films 13

Lav Diaz: Legacy Beyond Length

y creating films that run for no less His muse might be one of the only Bthan five hours, Lav Diaz has be- things he obeys. come one of the most notable inde- “My cinema is not part of the in- pendent Filipino filmmakers of the dustry conventions anymore. It is free,” past decade. Diaz, who also does not use scores in Yet it is not so much the length his movies, says in an interview on of Diaz’s films that make theC otabato greencine.com. “I am applying the native one of the most compellingly theory that we Malays, we Filipinos, unique figures in Philippine cinema are not governed by the concept of today. Instead, it is their depth and time.” breadth—and the equally unique vi- “I find long, long takes more emo- sion he pours into them. tional and more fulfilling in terms of Diaz, 40, whose full name is Lav- creating pathos. I could chop up a rente Indico Diaz, most recently made scene in so many cuts, but I find long headlines after winning a second takes very emotional or very deep,” he New Horizons award at the 2008 Ven- adds. “This is the framework that really ice International Film Festival for his gives me all the things that I want to eight-hour Melancholia, a tale about see in a film.I n that sense, I represent victims of summary execution. He my culture. That is what I want to share had been conferred a Venice Horizons as a Filipino.” Special Mention in 2007 for his nine- Diaz’s concern for capturing Filipi- hour epic on the aftermath of a catas- no culture and society on film makes trophic typhoon and volcanic erup- critics say he takes after the tradition tion in Bicol, Kagadanan sa Banwaan of legendary Filipino directors Lino ning mga Engkanto (Death in the Land Brocka, Ishmael Bernal, Mike de Leon of Encantos). and Peque Gallaga, who produced “I usually write the script while films that unflinchingly examine the shooting,” Diaz told the Philippine ills of Philippine society. In fact, as an Daily Inquirer, explaining the creative “artist-as-conscience”, Diaz has already process behind his lengthy movies. been hailed as an heir to Brocka—the “Sometimes I would see new threads very man whose Maynila: Sa mga Kuko and include them in the movie. The ng Liwanag (Manila: In the Claws of story constantly evolves. In the end, I Light) inspired Diaz to make use of the become a slave to the process. I have power of his medium. no choice but to follow.”

For the complete article, visit http://en.wikipilipinas.org/index.php?title=Lav_Diaz Photo by Ruth Ehrmann from www.taz.de. 14 History of Philippine Cinema

a d l y , the Philippine movie industry did not begin with Filipinos; it started when Sforeign merchants brought film viewing equipment to the country. First, the firsts Filipino movies were mostly copies of The installation of Manila’s first electri- American and European films. city-generating plant by Japanese engi- neers in 1895 was very important in the Propaganda development of cinema in the country, for When WWII and the Japanese Occupa- without power, film equipment wouldn’t tion came, filmmakers had to give up work. their equipment to be used by the Japa- In 1897, Señor Francisco Pertierra nese for propaganda campaigns. Filipinos used a 60mm Gaumont chronophoto- did not take very well to films the Japa- graphe from France to show a series of nese brought from their homeland, so the still photographs at his Espectaculo Cien- foreigners decided to commission local tifico de Pertierra (Pertierra’s Scientific talents—one of whom was Gerardo de Spectacle), which served as an appetizer Leon—to make movies about Philippine- to the showing of the first moving pictures Japanese friendship. that year by two Swiss businessmen. The first Golden Age Pinoys make their move The 1950s heralded the resurgence of the After the Philippine-American War, Fili- studio system, with the re-establishment pinos had more freedom and initiative of and LVN, as well to make their own films. These pioneers as the appearance of Premiere Produc- bought equipment from the American- tions. built film companies, and in 1919, Jose Film critics say that the 1950s is a Nepomuceno produced Dalagang Bukid golden age not because of the number (Farm Girl), which was based on a musi- of films produced but because it was cal by Hermogenes Ilagan and Leon Igna- then that local productions evolved from cio. While Nepomuceno is known as the simply being movies to become works “Father of Philippine Film,” Dalagang of art. Directors began to explore new Bukid lead actress Atang de la Rama be- techniques and styles of narrative. It was came the first star of Philippine cinema. also during this time that local films were By the 1920s, film had become one recognized in international film festivals: of the most popular forms of entertain- Manuel Conde’s Genghis Khan was ac- ment in the Philippines. Stars were made cepted for screening at the Venice Film and directors made their mark, but early Festival in 1952. For the complete article, visit http://en.wikipilipinas.org/index.php?title=Philippine_Cinema 15

The Last Stand at Baler

o s Ul t i m o s d e Fi l i p i n a s (The Last slowed. In 1970, he was fired from the of the Philippines) (1945) is a film set of Ringo Del Nebraska, after having basedL on a true story about a holdout filmed less than 10%, because the pro- Spanish army unit fighting Filipino revo- ducer did not like his slow and meticulous lutionaries. The unit serves as a symbol pace. He was replaced by Mario Bava, for the last days of the Spanish empire in his friend and protégé. Out of respect for the Philippines. During the time of the Román, Bava refused to accept credit for Spanish-American War, the commandan- the film. te of a Spanish detachment in Baler, Phi- lippines realizes that the native people of Legacy his district are planning an insurrection. In the 1990s, the 1945 film experienced He orders his troops to entrench in the a surge of popularity in Spain, with fre- village church. During their stay, which quent rescreenings put on by Instituto is prolonged for nearly a year, there are Cervantes and other revival festivals. In several incidents which show the tenacity American universities the film has been and heroism of the Spanish. studied by American cultural scholar Marsha Kinder as part of the Falangist Director/Writer movement’s drive to reinvigorate Spanish During the 1940s, Antonio Román was attitudes especially after the disastrous Spain’s most celebrated filmmaker and Civil War and World War II. went on to become one of the managers Filipino scholar Rolando B. Tolen- of the Cooperativa Cinematográfica Cas- tino in his book National/Transnational tilla. Originally planning to be a pharma- Subject Formation and Media In and On cist, he instead turned to film criticism, the Philippines (Ateneo de Manila Uni- writing for some of Spain’s most distin- versity Press, 2001) explained its recur- guished journals. By 1934, he had also ring popularity in Spain as being due to begun directing, starting with a few short “its conflation of imperialist desire and documentaries. His first full-length film, colonialist nostalgia.” While the mise Escuadrilla (Squadron) (1941), was made en scene takes place in 1898 with the es- in collaboration with Sáenz De Heredia. tablishment of the first Asian republic in Other features directed by Román include 1898, what Spanish audiences see is the Lola Montes (1944) and La Fuentovejuna mythologization of the imperial country’s (1947). Román went on writing reviews last stand in the Pacific. The film is read and directing films throughout the ‘60s by the Spanish public as the “valorization and into the ‘70s, although his output of the heroism of its colonial past.” For the complete article, visit http://en.wikipilipinas.org/index.php?title=Los_Ultimos_de_Filipinas_%28The_Last_of_ the_Philippines%29_%281945%29 Photo from Dennis Villegas collection. 16

Sulyap sa Isang Lihim

n g Tu b o g s a Gi n t o ay isang obra driguez) at ama ni Santi (Jay Ilagan). Kas- maestrang nilikha ni Mars Ravelo, intahan ni Santi si Jonee (Hilda Koronel). isangA batikang manunulat sa komiks noong May isang ipinakatatagu-tagong lihim ang dekada sitenta. Inilathala ang nobela sa mga Don na tanging ang matalik niyang kaibigan pahina ng Tagalog Klasiks at sinasabing ito na si Celso (Luis Gonzales) ang nakaaalam. ang kauna-unahang kwento na pumukaw Bakla si Don Benito at mismong siya ay sa isang napakamaselang tema kung saan kinasusuklaman ang katotohanang ito. Sa tinalakay ang isyu ng homoseksuwalidad puntong ito ay nakilala ni Don Benito si sa mga panahong napakasensitibong pag- Gracita (Marissa Delgado) sa isang club at usapan ang tungkol dito. kinalaunan ay naging “imbakan” din ng kan- Sa kabila nang napakarami nang pag- yang personal na problema. Kinuha niyang sasaliksik at pagpapaliwanag hinggil sa social secretary si Gracita upang pagtakpan “third sex,” bigo pa rin ang lipunan na ganap sa mata ng tao ang katotohanan hinggil sa na maunawaan ang mga pasakit na dinara- kanyang pagiging isang bakla. nas ng isang may pusong-babae na naku- Naging masalimuot ang relasyon ng long sa katawan ng isang lalaki. Ipinapala- mag-asawang Don Benito at Donya Emma gay nang mga konserbatibo ang ganitong sa loob ng halos isang taon na sumaksi sa kaso na nagtuturing sa kanila bilang mga pagiging malamig ng kanilang pagsasama. nagtatagong kriminal. Sa panahong isinulat Pinararatangan ni Donya Emma na namba- ang kwento, 1969-1970, ang kabaklaan ay babae si Don Benito at isa si Gracita sa isang natatanging lihim na hanggang ka- kanyang mga pinagsususpetsahan. Hang- matayan ay hindi maaaring mabunyag. Sila gang sa dumating sa buhay ni Don Benito ay kinasusuklaman, ikinahihiya, nilalait at si Diego (Mario O’ Hara), ang lalaking ginagawang sentro ng katatawanan ng mga nagmamay-ari ng maamong mukha at taong tinatawag na kumbensyonal. Ang pa- matikas na pangangatawan. Naakit si Don giging binabae ayon sa paniniwala ay isang Benito sa kakisigan ni Diego at inalok niya malaking kasiraan at eskandalo na nagdudu- itong maging personal drayber. Hindi doon lot ng malaking kahihiyan sa buong angkan lamang nagtatapos ang tungkulin ni Diego o lahi ng isang nirerespetong pamilya. sa matandang Don. Umabot sila sa sekwal na relasyon at humangga sa pagkahaling ng Lagom Don kay Diego na halos sambahin at idam- Si Don Benito (Eddie Garcia) ay isang bana niya sa pedestal. mayaman, matalino, edukado, respetable, at Hindi naglaon at lumabas ang tunay na ulirang asawa ni Donya Emma (Lolita Ro- kulay ni Diego…

Para sa buong artikulo, bumisita sa http://fil.wikipilipinas.org/index.php?title=Tubog_sa_Ginto Larawan: Tubog sa Ginto poster mula sa video48.blogspot.com 17

Unang Sibol

a p a n g u n g u n a ni Pedro Vera, itinatag noong 1937 ang Sampaguita Pictures, Inc. (SPI), ang pinaka-una at tinaguriang pinaka-prestihiyosong kumpanya ng peli- Skula sa Pilipinas. Kasama ang Lebran, Inc, LVN Pictures at Premiere Productions, Inc., binubuo nila ang “Big Four” ng industriya ng pelikula sa bansa. Kasaysayan Kasama ni Pedro Vera sa pagtatatag ng Nakaranas ng malaking problema SPI ay sina Hukom Jose O. Vera, Rep. ang SPI noong 1951, nang masunog Jose Zulueta, Col. Antonio Torres, Dr. ang kumpanya at kasamang natupok sa Catalino Gavino, Dr. Pedro Abecilla at apoy ang mga master negatives nito. Doña Apolonia Vda de Vera. Si Luis F. Gamit ang mga natira sa istudyo, gu- Nolasco ang napili nila na mamuno sa mawa ang SPI nang isang pelikula na paggawa ng mga pelikula. may mababang badget, ang Roberta, na Ang Bituing Marikit ay ang unang pinagbibidahan ni Tessie Agana. Naging pelikula na nagawa ng SPI. Pinagbida- matagumpay ang pelikula at nagpatuloy han ito ng “singing sweetheart of the sa industriya ang SPI, sa ilalim naman Philippines” na si Elsa Oria, kasama si ng pamumuno ni Dr. Jose R. Perez. Rogelio de la Rosa. Lumabas ang peli- Nang mamatay si Perez, sinundan kula noong 27 Disyembre 1937. Dahil siya ng kanyang panganay na anak na sa naging matagumpay ang una nilang si Marichu Vera-Perez Maceda, upang pelikula, ito ay sinundan pa ng iba’t patabukhin ang kumpanya. Sa ilalim ng ibang musikal na pagtatanghal, tulad pamamahala ni Maceda. Itinanghal nila ng Paru-parong Bukid, 1938; Madaling ang AKO Batch ‘81 ni Mike de Leon. Araw, 1938; at Dalisay, 1939. Huminto ang operasyon ng SPI mula 1942 hanggang 1945 dahil sa Ikalawang Digmaang Pandaig- dig, ngunit nagpatuloy namang muli sa ilalim ni Hukom Jose O. Vera noong 1946 matapos na mamatay ang presi- dente nila na si Pedro Vera.

Para sa buong artikulo, bumisita sa http://fil.wikipilipinas.org/index.php?title=Sampaguita_Pictures 18 19 20

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