MANILA, Philippines - At the industry observance of 92 years of Philippine movies, stars, officials and movie buffs made time for the musical historical celebration at the Cultural Center in the midst of pouring rain. Mounted by Mowelfund with the FDCP (Film Development Council of the Philippines), the CCP, and TV5, Pinilakang Tabing was a tribute to the small workers in the industry who brought it to its pinnacle in the ’80s and are now sweeping the cellar for crumbs.
Former President Joseph Estrada started with his litany of exes — being ex-actor, ex-mayor, ex-President, ex-convict. He then began tracing the history of Philippine movies from Jose Nepomuceno, father of Filipino cinema with the landmark Dalagang Bukid, 1919, culled from the hit zarzuela by Hermogenes Ilagan starring Atang de la Rama and Marcelino Ilagan. Nepo’s silent film version starred the same tandem with a live performance by Atang singing Nabasag ang Banga (Tex Ordonez & Justin Quirino onstage). Later Nepomuceno made the first Tagalog talkies Ang Punyal na Ginto (The Golden Dagger, 1933).
From detailing its beginnings, President Erap went to the first golden age of Manuel Conde, Bert Avellana, Gerry de Leon, Eddie Romero when the Philippines provided knowledge and direction in filmmaking to the likes of Hong Kong movie mogul Run-Run Shaw; then the second golden age dominated by Lino Brocka and Ishmael Bernal, to the coming of television with a few media companies controlling every aspect of media and advertising. Hence, the decline of the movies.
This is when he turned somber as he spoke of how the ordinary movie worker was most affected by loss of jobs. “From 300 films at our peak,” continued Erap, “we now have 20.” He related how he with friends FPJ and Dolphy were discussing the fate of industry workers which led to his establishment of the MOWELFUND (Movie Workers Welfare Foundation) in 1974 to address a crisis which continues to this day under the stewardship of kumadre actress and tireless fundraiser Boots Anson Roa.
The Mowelfund Film Institute that followed had such sterling alumni as Raymond Red, Brillante Mendoza, Nick Deocampo, Lav Diaz, Mark Meily, Bing Lao, Topel Lee, Aureaeus Solito, Ellen Ongkeko, Egay Litaua and Rica Arevalo.
Noticing the audience getting restless with his emotings, President Erap decided to call on Boots to start the musical evening with Nabasag ang Banga/ Iduyan Mo from Dalagang Bukid. Happily Jose Nepomuceno was represented by international bowling champion Paeng Nepomuceno and Hermogenes Ilagan by Liberty Ilagan, Baby Ilagan and Robert Arevalo.
Jun Urbano, son of Manuel Conde who electrified the western world by becoming the first Filipino to compete at the prestigious Venice Film Festival of 1950, came in to bridge the gap between the silent and the talkies until the establishment of the studio system of LVN, Sampaguita, Premiere and Lebran. Comedies from LVN starrers Galawgaw (Nida Blanca) and Alembong (Lita Gutierrez) were performed by Mitch Valdez and Bituin Escalante onstage.
Second generation actors Jinggoy Estrada (son of Erap) and Bong Revilla (son of Ramon Revilla Sr.) took the floor to tackle the years from the big four to the studios of Viva, Regal, Seiko, Octoarts and GMA 7 and ABS-Star Cinema. Film clips of the era, interviews from industry leaders entertained the audience like that of Manay Ichu Vera Perez Maceda of Sampaguita who took a swipe at the scandal-prone way of promoting movies today, thriving on controversy.
Enter new generation actors Bela Padilla and Aljur Abrenica tackling love teams through the ages from Rogelio de la Rosa and Carmen Rosales, to Vi and Bot, Guy and Pip (Tirso Cruz III was in the audience) to KC and Piolo, Lloydie and Bea, Kim Chiu and Gerald Anderson with video clips on the screen since none were available to guest.
Boots tells us that availability of live artists, even people to interview took a lot of time from Mowelfund and CCP staff so that the 90th anniversary became the 92nd anniversary. Those who gave of their time and talents were director Chris Millado, writer Floy Quintos, musical director-conductor Chino Toledo, the 63-piece Philippine Philharmonic Orchestra, choreographers Edna Vida and Nonoy Froilan, Ballet Philippines, Tanghalang Pilipino Company, video director Boy Vinarao, Hail Mary the Queen Children’s Choir. Original hosts and guests were unavailable like Manny Pangilinan for TV5, Kuya Germs whose sister had died that he requested Boots to read his spiel, Janno Gibbs, KC Concepcion and Eula Valdez who couldn’t get out of taping schedules, Charo Santos who was abroad. We spotted some who came despite the dismal weather like Doy del Mundo, Ricky Davao, Delia Razon, Rustica Carpio and Leo Martinez.
Boots estimates the entire production cost P3.8M with P1.2M coming from the FDCP, P800,000 in the form of venue and facilities from CCP, and a P1M straight donation from Pangilinan, who opened coverage to all other networks. Mowelfund provided for another P800,000.
The quartet of Jessa Zaragoza-Dingdong Avanzado and Gian Magdangal-Ciara Sotto performed a love song medley of Diligin Mo ng Hamog ang Uhaw na Lupa, Sapagkat Kami’y Tao Lamang and Saan Ka Man Naroroon. The Nida-Nestor de Villa hit movie Waray-Waray showed a well-rehearsed Jolina Magdangal’s prowess at song, dance and comedy. We waited for Cesar Montano to bring out his guitar and sing but he chose to simply introduce the segment on Visayan movies with Dulce singing Matud Nila.
We knew we were nearing the end when CCP president Dr. Raul Sunico came out to pose the question, Where are we now? He quoted National Artist Lamberto Avellana. “To put it bluntly the art, if any, and the science, which we never had, of cinema in the Philippines, is not only at a standstill. It is maintaining a constant state of retrogression, which, if allowed to continue, cannot but end in self annihilation.”
To think that 50 years ago, director Avellana saw it coming! But Dr. Sunico is more hopeful. It is up to us if we shall allow this to happen, he pointed out. Small budgets should not be a deterrent as the current breed of indie directors have shown.
On stage, the joyous medley of Pitong Gatang, Ang Pipit, Kung Ako’y Mag-aasawa, Kalesa have taken over as performed by Carlo Orosa, Arnold Reyes, JM Rodriguez, Tonipet Gaba and Jake Macapagal.
MTRCB head Grace Poe-Llamanzares reminded all of how the movie icons of which her father FPJ was the biggest should serve not only as mirrors of ourselves, but more importantly our dreams to become the heroes of our own lives. Dulce returns to sing Kahit na Magtiis.
National Artist Eddie Romero, the last surviving member of the first golden age gave a stirring observation that Philippine Cinema is today at the crossroads to either sink or swim. And two things will bear influence on us — the creative power of the Filipino filmmaker, and our shared history and memory of the films gone by. And with that, the traditionally cynical director hurls an oblique challenge to all who care to listen. “I am proud to have been part of the first 90 years,” he mused. “I am proud of those who will give their lives to the next 90 years.”
Silence in the audience and a blackout on stage was followed by the best performance we had ever watched from our favorite singer Aiza Seguerra with guitar magician Mike Villegas in Kahit Konting Pagtingin. Her interpretation that evening encompassed all the love and pain, hope and faith that only real devotion could muster.
Actors Guild president Phillip Salvador came out to deliver the appropriate message that “the next 90 years will be an adventure enhanced by technology, but directed by the human heart.”
(E-mail me at bibsycar@gmail.com.)