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España En El Cine De Filipinas / Teddy Co

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España En El Cine De Filipinas / Teddy Co CINE España en el cine de Filipinas TEDDY CO Teddy Co nació en 1958 y es miembro de la SOFIA (Society of Filipino Archivists for Film). Ha visionado más de 25.000 horas de películas. El autor quiere agradecer la ayuda de Don Simón Santos y César Hernando con respecto al préstamo de los carteles y fotografías de las películas. España Si bien es cierto que la influencia de lo español en la sociedad filipina actual no se descubre con facilidad a primera vista, borrar la huella de en el cine de la cultura hispana en la mayoría de las manifestaciones artísticas de este país es un imposible. Teddy Co, genial cinèfilo, nos ofrece una visión única sobre el impacto de Filipmas la cultura hispana en el cine filipino. Traducción: María Jesús Rodríguez Olmedo Although it is not that easy to notice the influence of Spanish on current Filipino society, it is becoming even more difficult to erase the impact Un breve estudio sobre cómo la cultura española of Spanish culture on most of the artistic expressions of this country. ha impactado en las películas filipinas y en el sector Teddy Co, brilliant film expert, cinematográfico a lo largo de los años provides us with a unique insight on the indelible impact of Spanish culture on Filipino sine. DESPUÉS DE CASI cuatro siglos bajo En el libro pionero sobre el la colonización española, las huellas tema de Nlck Deocampo, Cine: Spanish Bagamat hindi gaanong kapansin pansin de la cultura española en la vida de Influences on Early Cinema in the ang impluwensiya ng mga Kastila sa Filipinas son Indelebles y fuertemente Phitippines (Cine: Influencia española kasalukuyang lipunan ng mga Pilipino, perceptibles, tanto en la lengua, como en en el comienzo de la cinem atografía en nagiging mas mahirap pang mabura la música, la Iconografía y la fe religiosa Filipinas, NCCA, 2003), se menciona ang mga impluwensiya ng kultura del país. Esta Influencia tan palpable se a un fotógrafo y hombre de negocios ng España sa mga pamamahayag sa bansang ito sa larangan ng sining. refleja con creces en el cine filipino, cuyo español, Francisco Pertlerra, como la desarrollo en sus principios se enriqueció persona que Introdujo el cine en el país Si Teddy Co, isang batikang dalubhasa sa pelikula, ang nagbibigay sa atin ng con las contribuciones de empresarios el 1 de enero de 1897 cuando mostró mga natatanging pananaw tungkol sa españoles y cuyos términos fueron cuatro cortometrajes en su Salón de mahalagang impluwensiya ng kultura préstamos de la lengua española: pelikula Pertlerra, situado en el número 12 de ng España sa pelikulang Pilipino. (película) o sirte (cine). Escolta, Manila. Además, otro hombre PERRO BERDE / REVISTA CULTURAL H I SPANO- FI LI P I NA 103 CINE I España en e le i de Filipinas PREM IERE PR O D U C TIO N S' silver anniversary spectacular ; s i I TODAY, SEPT. 4 , the picture that took u s th is long to make it this good! IfV Vü DOLPHY CIRIO H. CESAR LUCIANO B. ü'FELIPE PILAR PILAPIL SANTIAGO GALLARDO CARLOS SACDAIAN DOLPHY ■ PILARES PANCHITO PRODUCER DIRECTOR SCRIPTWRITER CAMERAMAN RRNCHITO ! AFT5ñ"PrN O Y,"rH £ , aotAZA DE TOßOS WILL* U ¡NEVE& BE THE SAM E* 1MÄEADÖR. ... - T AGAIN!’ PAN CIUTO STARRING FILM ED IN SPAIN JAVIERARR1A6A-NORMABUNCAFLOR-lOUSALVADOR.SR. rlLIV ' |NcO LO R FILM ED IN SPAIN ANDRES CENTtNERA’METRING DAVID*» RUBEN RUSTIA in GIANT ULTRASCOPE a n o COLOR Featuring: JOSE VErGARA BABALU * TINTOY CiNEMAT OfiRAPHY MU8XJ STORY AND SCRIPT PROOUCCR W RECTOR f t f W i r ^ im 'RESTIEUMAU’ UICIANO B.CAIUjOS'CIRIO H.SANTIAGO-CESAR6A1URD0 45* FELIZ VIAJE! de negocios, Antonio Ramos, filmó cuatro cortometrajes sobre por Parlatone-Hispano-Filipino y dirigida por el actor m estizo Manila en 1898, convirtiéndose gracias a esto en el primer Don Danon, el cual contrató a un elenco de actores españoles productor cinematográfico en Filipinas. locales para actuar en ella. El historiador Guillermo Gómez Rivera también ha señalado otras tres películas en español: Milagro del Durante la época del cine mudo que duró hasta 1932, Nazareno de Quiapo (Carlos Vander Tolosa/Parlatone, 1937), Las las películas que se exhibían se encontraban subtituladas en los dulces mestizas y Muñecas de Manila (de estas dos últimas no se tres idiomas: español, inglés y tagalog. El español era todavía tienen más datos sobre su proveniencia). el idioma predominante en las ciudades, y las producciones de Hollywood aparecían en español junto con la versión original en El historiador de cine español Miguel Olid ha mencionado Inglés. Tres cuartos de las dos docenas de películas realizadas que la mayor productora cinematográfica de entonces, CIFESA a escala local durante sus doce primeros años de producción (Compañía Industrial de Film Español Sociedad Anónima) abrió (1912-1924) lucían títulos en español, el resto en tagalog y una oficina en Manila en 1932 para distribuir no solamente ninguno en inglés. Durante la primera época del cine sonoro, en películas españolas, sino también mexicanas y argentinas. la que el español todavía estaba en uso, las películas filipinas recurrían a una técnica en la que los diálogos se grababan en Lo que nos lleva a señalar a algunos realizadores cuya tagalog y español (no en inglés) llamada con acierto de doble herencia cinematográfica abarca tanto a Filipinas como a escena, y mostrándose por tanto ambas versiones. La primera España. Aunque nació en Madrid, Lorenzo Pérez Tuells (1889- película hablada en español producida por filipinos fue Hágase tu ?) era de nacionalidad filipina. También poeta, realizó películas Voluntad (1936), dirigida por Agapito R. Conchu y producida por para tres de las cuatro mayores compañías hasta los años 50. Filippine Films. Esta película además, fue aceptada por Estados Ramón Este lia (1911-1991), hijo del compositor José Estella, Unidos para su distribución mundial. Es digna de mención era un políglota que hablaba con fluidez el español y quizá fuera una película filipina de 1938 en la que los diálogos se rodaron el primer realizador transnacional asiático, rodando películas completamente en español, Secreto de confesión, producida en varios países del sudeste asiático, Japón, Estados Unidos 104 REVISTA CULTURAL HISPANO- FILIPINA / PERRO BERDE f*T- España en el pine de Filipinas \seSt r 1 ---- ■ . ---------------- VIC VARGAS a m GLORIA ; AMPARO AMALIA FUENTES EDD3E GUTIERREZ /ERSI D IA Z 1M U NOZw PRODUCTIONS REY RJ ABELL AN A HUMBLY OFFERS ss PEPITO RODRIGUEZ hayop^gandas JOHNNY DELGADO JU IvvC 03 depila m ALVARO MUHLACH introducing UCELLE LAUREN JOSE OCLGAOO JMCNEZ CWCMMOQWPMYÍÜg'SLÍkw RICARDO Rf MIAS nurooNmACTDHi spoiwiitEnREÍlffilPPElDiHSPAIN ENTIREIYWEfiSTMftNCOLOR dwectodby ^ J.C. SfBASriAN a-jMMAMffltmiffiiM-mMIlOZ also starring JOHNNYMONTE®) ; NOM BLftNCAFLOR LEOîIELlE CiVE ST6NI * MAH5TWSLTER t VENCHFTO G M H M M M t KiRMZSYJMtDOROTHY JOY rlAMliLiHEBMOSA AND PÂQD1T0 SALCEDO fSHS®®««« M S M i b S o f f ia «■». î& holms™ DIfìECTION:BEN FE LE O e Italia. Peque Gallaga (1943-), el genial realizador de Oro, con Vllma Santos, Bongga Ka’Day con Nora Aunor, y Disco Madhouse Plata, Mata y de varias películas de terror rastrea sus raíces con Loma Tolentlno (ambas dirigidas por Maryo J. de los Reyes). vascas hasta sus bisabuelos que se habían establecido en Naga Santos y Aunor eran las dos estrellas femeninas en esta época. Una City y Bacolod varias generaciones antes. Un español acérrimo curiosidad: Júnior es el primo de las controvertidas hermanas Barreto aunque nacido en Manila en 1908, Antonio García Verches que del mundo del espectáculo, tal y como revela su apellido. Él hablaba estudió en Barcelona y trabajó en la tagalog con fluidez. Cinematográfica Nacional Española en Barcelona, volvió a Manila en 1940 La actriz española La actriz española Amparo y dedicó gran parte de su trabajo a la Amparo Muñoz, que se Muñoz, que conquistó el corazón de edición de películas llegando también los filipinos cuando se alzó con la a dirigir una, Palaris (1941). alzó con la corona de Miss corona de Mlss Universo en Manila en el año 1974, volvió en 1983 para Dos conocidas personalidades Universo en Manila en el rodar la película Hayop sa Ganda españolas del sector del entretenimiento, año 1974, volvió en 1983 (Qué belleza, Joñas Sebastian). llevaron a cabo películas con estudios La estrella que le acompañaba cinematográficos filipinos. Antonio para rodar la película no era otra que Gloria Díaz quien Barreto Morales, Jr. (más conocido como también había ganado el título de Júnior) nació en Manila en 1943 aunque Hayop sa Ganda Miss Universo unos años antes, en se mudó a Barcelona con su familia (Qiié belleza) 1959. Debido a envidias profesionales cuando contaba con 15 años de edad y a diferencias culturales, estalló una y saltó a la fama en España cuando se guerra fría entre ambas divas que unió al grupo Jump en 1957. En 1980 volvió a Filipinas y realizó terminó con Muñoz yéndose del país amargamente debido a las tres películas: Good Morning Sunshine dirigida por Ishmael Bernal y desavenencias surgidas por las desagradables circunstancias. Se PERRO BERDE / REVISTA CULTURAL H I SPANO - FI LI P I N A 105 CINE España en el cine de Filipinas A PARLATONE SUPER PRODUCTlfe | ARdlfiNDO suponía que la película iba a ser una donde crea literalmente su propia y divertida ROSA (YIARJll comedla ligera pero Muñoz se fue con fSlTA FAR1ÀS versión del idioma convertido en criollo. congoja, para no volver nunca a Manila. ITTARÏ0 DE COBDfltfA ItlARI D E L S O I. El chabacano es la lengua de ELISEO CARUAJAL Hay que mencionar que 300.000 habitantes de la provincia de JULIO GONZALEZ algunas películas filipinas también se Zamboanga. Ha desarrollado su propio cine, han rodado en España. Buenas noches el cual es una mezcla de español y bisayo.
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