Gina, Lorna, Hilda and other great actresses

Recently featured in this column were two of the country’s finest actresses, Nora Aunor and Vilma Santos, who were the brightest names in the ’70s. Lest readers think that Ate Guy and Mayor Vi are the only great actresses in the country, Funfare cites a few others, led by former child stars Gina Alajar and Lorna Tolentino.

By happy coincidence, both Gina and Lorna were molded by director Lino Brocka as child and adult stars, turning them into award-winning and highly-esteemed actresses.

Lino directed Gina in Wanted: Perfect Mother (1970) and Lorna in Lumuha Pati mga Anghel (1971).

When Gina staged a comeback in the early ’80s (after marriage and motherhood), Lino directed her in acclaimed films like Kapit sa Patalim and Orapronobis, among others. It must be said though that Gina’s comeback picture was Diborsiyada, directed by Elwood Perez and produced by Mother Lily Monteverde of Regal.

After Diborsiyada came excellent films like Mel Chionglo’s Playgirl, Laurice Guillen’s Salome, Marilou Abaya’s Brutal and Moral, Mike de Leon’s Sister Stella L (with Vilma in the title role), Gil Portes’ Andrea (with Nora in the title role) and Mulanay.

Lino also directed Gina in Kontrobersyal, Ano ang Kulay ng Mukha ng Diyos, Caught in the Act, (the last title a trilogy which also starred Amy Austria and Lorna Tolentino).

The most memorable Lorna starrer megged by Lino was Maging Akin Ka Lamang, where she played an anti-heroine, by love obsessed and possessed. Lino also directed Lorna in Kailan Mahuhugasan ang Kasalanan and Kislap sa Dilim. He died in an auto crash after doing Kislap sa Dilim.

The film which gave Lorna a grandslam (Best Actress awards from the Film Academy of the Philippines, FAMAS, Star and Urian) was Narito ang Puso Ko, directed by Chito Roño. She played a mother avenging the death of her son.

Other memorable Lorna starrers were Laurice Guillen’s Init sa Magdamag, Marilou Abaya’s Moral and May Nagmamahal Sa’yo, Maryo J. de los Reyes’ Diyosa and Sa Ngalan ng Pag-ibig, Carlo Caparas’ Somewhere (opposite husband Rudy Fernandez), Joey Reyes’ Luksong Tinik, Eddie Garcia’s Abakada Ina, Ishmael Bernal’s Aliw and City After Dark.

Aside from Gina and Lorna, who else followed in the footsteps of Nora and Vilma?

Amy Austria and Jaclyn Jose come to mind.

Amy was one of the build-up stars of Jesse Ejercito, launched to stardom in Ed Palmos’ Nang Bumuka ang Sampaguita.

Lino Brocka brought her to Cannes via Jaguar, which starred Phillip Salvador.

Other outstanding Amy Austria films (playing lead and supporting roles): Ishmael Bernal’s Aliw and Hinugot sa Langit, Marilou Abaya’s Brutal, Carlo Caparas’ Bubbles, Danny Zialcita’s Langis at Tubig, Chito Roño’s Narito ang Puso Ko.

Jaclyn is Chito Roño’s signature actress, the star of his first film, Private Show, followed by Itanong Mo sa Buwan.

Lino directed Jaclyn in two films, Macho Dancer and White Slavery.

Other memorable Jaclyn movies: William Pascual’s Takaw Tukso, Joel Lamangan’s Flor Contemplacion, Gil Portes’ Mulanay, Carlo Caparas’ Bubbles.

Gina, Lorna, Amy, Jaclyn – and who else?

Hilda Koronel, of course. While Hilda did not reach the popularity of Nora and Vilma, she was the nonetheless an equal in acting stature. The great Lino Brocka also molded her in the ’70s into an award-winning actress on the big screen and TV.

In Lino’s Santiago, Hilda played a deaf-mute, meriting her a FAMAS Best Supporting Actress award at 13, the youngest to be so honored.

Hilda starred in the Brocka masterpiece Insiang, the first Filipino film shown at Cannes. She appeared in the Brocka classic Maynila: Sa mga Kuko ng Liwanag, which launched Bembol Roco to stardom. Her other movies by Brocka: Tinimbang Ka Ngunit Kulang (which introduced Boyet de Leon), Angela Markado, Nakaw na Pag-Ibig, Hayop sa Hayop, Babangon Ako at Dudurugin Kita.

She also starred in Ishmael Bernal’s Sugat sa Ugat; Laurice Guillen’s Kasal, Tanging Yaman and Kung Mahawi Man ang Ulap; Mike de Leon’s Kung Mangarap Ka’t Magising; Mel Chionglo’s Nagsimula sa Puso.

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