Eddie Romero gets 1st posthumous award

MANILA, Philippines - “You want to live forever?” veteran filmmaker Eddie Romero, 50, asked newbie screenplay writer Roy Iglesias, 18, why he does not smoke like him when they were introduced in 1974.

Iglesias recalled this in his tribute to the National Artist for Cinema awarded at the First Gawad Alon Para Sa Pelikula, the third edition of the Pamantasan ng Lungsod ng Maynila-College of Mass Communication (PLM-CMC) Film Festival, held on April 21 at the Tanghalang Leandro V. Locsin of the National Commission on Culture and the Arts (NCCA) in Intramuros, Manila. 

Romero, whose third death anniversary will be commemorated on May 28, was actually not concerned with eternal life. But in the 88 productive years he lived, he left behind a solid body of cinematic works that assured that his legacy to Philippine and world cinema will be with us perpetually.

Iglesias, who is now head writer of GMA 7 Creatives and Special Senior Lecturer at PLM-CMC, co-wrote with Romero one of the most significant Filipino films ever made, Ganito Kami Noon, Paano Kayo Ngayon? (1976), restored by ABS-CBN Film Archives.

Despite the age difference and smoking preference, Iglesias was also a leftist activist while Romero considered himself a humanist who disbelieved the Marxist ideology. Although political leanings came up in their discussions, the different positions in the ideological spectrum did not get in the way of the collaboration.

They discussed and brainstormed on the project. Their collaboration went through a process. Iglesias wrote the first draft of both treatment and script, creating the characters and the scenes. Their dissimilarity did not prevent a smooth collaboration. Romero treated Iglesias as a peer so that it turned into a synergy of two viewpoints.

A few days before principal photography, Romero gave its title which Iglesias did not like initially as it clearly called attention to its theme. “But I learned to like it later, especially now that its theme continues to resonate with us,” Iglesias added.

Vice chairman Teddy Co of the NCCA National Committee on Cinema, on the other hand, revealed that some of Romero’s films were made under a pseudonym: “He felt that whenever his film carried his name, it failed to turn in a profit. As it turned out, Ganito had a red bottomline due to its high production cost.”

Romero perpetuated himself by preparing his soul from physical lost. He lived a full life, unafraid to perish by a willingness to teach with an uncommon readiness to share abundantly his art and artifacts, thus he lives in all filmmakers that learn from him.

A former masteral student of Romero, Dean Ludmila Labagnoy of PLM-CMC, recalled: “His articulation, his wit and his kindness are among those I have seen outright. He has tremendously helped me in my master’s thesis as he was generous enough to give me more than what I hope I could get. I believe it is because of his inputs and those I have interviewed that garnered me a grade of Excellent.”

Romero was the only appointed consultant to the NCCA Board. He was the brains behind its Cinema Values Reorientation Program that helped in film education, film production and film archiving around the country. He was very consistent in getting help from the Senate and Congress to fund works by unknown independent filmmakers; various workshops for the improvement of film workers and audiences in general.

“And he was always highly supportive of film restoration and archiving,” shared Emilie Tiongco, consultant of the NCCA International Desk.

Elvert Bañares, PLM-CMC special senior lecturer and PLM-CMC Film Festival director, worked closely with Romero at the NCCA for a decade. Speaking of him in extraordinary terms, he said Romero was unafraid to show imperfections in his films and in its characters.

“He was a rare person — someone who was brilliant but had a wit that overflowed to balance it; someone who was so kind and understanding; someone whose vision encompassed both personal artistry and a better future for filmmakers, film viewers and the film heritage as a whole,” Bañares shared.

Ganito Kami Noon, Paano Kayo Ngayon? was followed by such noteworthy films as Sinong Kasiping, Sinong Kapiling (1977), Banta ng Kahapon (1977), Aguila (1980), Hari sa Hari, Lahi sa Lahi (1987) and the 13-part Noli Me Tangere series.

Romero was named National Artist for Cinema in 2003, joining Lino Brocka, Ishmael Bernal and Gerardo de Leon. His Gawad Alon Para Sa Pelikula award is an academic confirmation of his greatness.

Carol Romero, Romero’s wife, and director Joey Romero, his son as represented by wife Vivian Romero, received his first posthumous award.