A walk through Philippine cinema with Boots Anson Roa

"It’s Harvest Time," Declares Boots Anson-Roa who, at sixty-something, is no less active than when she began her showbiz career in her teens.

Over four decades in the industry have earned her enough esteem to merit prime movie and TV offers. In a voice a bit more audible than a whisper, she admits sans conceit that she belongs to a handful of senior actresses commanding the highest pay. Certainly, her role as executive director of Mowelfund (an advocacy which tops her priorities) makes her one of the most influential women in Philippine cinema today.

Achievement awards have become more abundant these days. The latest, the 2003 FAMAS Liftetime Achievement Award, honored her acting career which includes over a hundred films.

Her influence is further strengthened by another advocacy–teaching. Boots inspires the next generation of filmmakers, some of whom have made her proud as media practitioners.

The face of Merck Sharp & Dohme’s Life-to-the Max campaign certainly proves that one can live life to the fullest. Devoted to her family, Boots has cared for her father (veteran actor Oscar Moreno who died in 2003 after years of ill health), her husband Pete (a stroke survivor) and her eldest son Joey (a kidney transplant patient) without having to cut down on her other obligations. The proud lola of a 19-year-old girl (Katrina Cuevas, daughter of her eldest child Lea whose family is based in the US) considers her quiet home life her greatest achievement.

Fortunately, her non-negotiables (no on-screen nudity and no kissing on the lips) did not prevent her from becoming the favorite leading lady of movie legends Joseph "Erap" Estrada and Fernando Poe, Jr. It’s unsurprising her wholesome image has been compared to that of the Virgin Mary.

"It’s a blessing for me that my work is something I also enjoy doing," she says one summer morning at the Mowelfund conference room. "That’s why, to keep myself from stagnating, I teach. It’s a way of honing my skills. I learn from my students as well. It’s a very symbiotic relationship. And then, pa-cute nalang na by osmosis nahahawa ka sa youth nila," she smiles.

Boots’ fresh face first graced the small screen on ABC’s Dance-o- Rama as co-host to Pete Roa, who she later married. For years, producers courted her to do a movie. But it was only when she was already the mother of two children that she gave in. Nearly 38 years since she appeared on the big screen, Boots recalls for STARweek some of her most memorable films with behind-the-scenes anecdotes.

Her list of favorite movies reads like a brochure for the Mowelfund Museum. Despite being perceived even in her later years as the girl next door, Boots gained admiration for her substantial body of work. Here, she discusses intimate details about how her personal and professional life often converged. She mentions the most celebrated names in Philippine cinema in unguarded moments. More importantly, she reveals how her films continue to tell her story.

El Perro Gancho (1968) with Eddie Rodriguez. Virgo Productions "This was my first movie. It was sapilitan. Prior to that, I kept saying no to movie offers even from Sampaguita Pictures (the home studio of her late father). Nahiya pa nga ako ’cause my first movie was with another film outfit. But I was eventually convinced by Liza Moreno, the partner of Eddie Rodriguez, who kept saying, ‘Sige na, first and last na eto.’

"There was no problem with my husband. He just said that if this was something I believed would help me grow, it was fine with him. Meron lang kaming mga conditions such as to make sure that our children’s values and character formation would not be jeopardized. And the usual na wag ko daw pabayaan ang bahay which took its toll on me physically in terms of time. Ang nawala sa akin then and now is my personal time. I don’t get to watch TV very often. (The movies, if I get to watch movies now, it’s because I want to take Pete out.)

"El Perro Gancho was an Eddie Rodriguez production and direction vehicle. He co-produced it with Liza Moreno who was an action star. I was lucky because I became a leading lady right away. I didn’t go through being an extra. After that, tuloy tuloy na ang movie career ko."

Wanted Perfect Mother (1970) with Liza Lorena and Dante Rivero. Lea Productions directed by Lino Brocka. "This was Lino’s first movie. We started the movie one month after I gave birth to Chiqui. It was also memorable to Lino because, for many years, we were convincing him to do a movie. So ang binibiro nga sa kanya ng mga literati friends niya, ‘Ang tagal-tagal mong gumawa ng pelikula, tapos gagawa ka komiks material pa?’

"But Lino’s point was that it was a good story. That’s also what I tell my students about building your audience. So panay nga ang kantiaw kay Lino na ang ginawa nyang material mala Sound of Music lang. And Lino would say: ‘Let me build my audience first. I can do the Bertolucci stuff pero kung wala namang manonood e di what for? You won’t get your message across. Let me build my audience and kapag may audience na ako then unti-unti, subliminally, I will elevate their standards.’

Sa Wanted Perfect Mother, ang dami niyang ginawa doon na no other director could have done to komiks material. Magaganda na ang shots doon pa lang and the acting was also something he worked on. Marami siyang touches na cute pero may kurot sa puso. He infused the subtext kasi maraming directors, they don’t think of the subtext. Pinasok niya yun.

"We were very happy with the movie. It won a lot of awards and it made a lot of money. I was also nominated for Best Actress pero hindi ako nanalo. It was a landmark movie."

Tatay na si Erap (1972) with Joseph "Erap" Estrada. JE Productions directed by Augusto Buenaventura. "When they approached me to do the movie, they didn’t know that I was actually pregnant. Since the movie was supposed to end with me giving birth, they just waited a few more months until my stomach was big enough. That way, there was no need for me to wear a pillow to look pregnant. It was for Tatay na si Erap that I won my FAMAS Best Actress award.

"I had a rape scene with Ruel Vernal and Dick Ysrael and buntis na buntis talaga ako. Kunyari ihahagis pa nila ako sa kama. Talagang hinagis nga ako but they were ever so gentle. Apologetic nga sila sa akin. Sinasabihan ko nga sila na kailangan rough sila. Hindi ko na ipinaalam kay Pete yung mga ganung detalye. Yung director pinapagalitan na yung dalawa kasi takot na takot silang masaktan ako kaya walang sigla ang pang ra-rape nila.

"But you know, all my rape scenes in my movies, ganyan ang parating problema. My movie rapist usually ilag na ilag baka kung saan ka mahawakan. Kung hahalikan ako dito o aakapin ako, lalapitan pa ako para sabihing: ‘Sorry po, ha?’ So I tell them artista kami at shooting lang naman yun. I think they felt that way because of my Virgin Mary image.

"Ang magandang nangyari sa movie, sa ending kasi I gave birth and the closing scene was the binyagan. Pero timing na timing naman talaga. Call it serendipity or whatever, pinalabas ang movie on the day I gave birth to my youngest child, Ben, who is the inaanak of Erap and Ronnie (FPJ) and Sonny Osmeña and Tony Ferrer.

"Eh ang movie title nga ay Tatay na si Erap and it was a big hit. So yung mga taong nagpupunta sa ospital, ang hinahanap nila ang anak ni Erap. Panay chismis nga na baka totoong anak ni Erap yun. To Erap’s credit, he used to tell people that I was his lady luck. When we started doing the Erap series, sadsad na daw ang JE Productions. Yung movies namin ang bumuhay sa production outfit niya.

"But the chismis about me and Erap didn’t become a serious matter kasi di naman talaga totoo. Even Pete didn’t take it seriously since he was closer to Erap than I was. To me, it was a contrived thing. I made it a point na yung mga regular leading men ko naging mas malapit kay Pete kaysa sa akin. They go out drinking. I cannot go drinking with them naman so sila na lang".

Ang Agila at Ang Araw (1973) with Erap and FPJ under JE Films. "This movie was quite memorable because it starred both Erap and FPJ. If you’re an actress, parang status symbol mo na kunin kang leading lady ng either one. Eh eto, dalawa sila sa isang movie. I witnessed their closeness as friends. Hindi lang legendary yun; totoo talaga. At ang pagiging mabait nung dalawa sa maliliit, totoo yun. Si Erap lang talaga, roguish na pilyo lang. But he founded the Mowelfund.

"One day, Erap and Ronnie were supposed to be shooting a scene in Los Baños. Ronnie passed by the house at 10:30 a.m. He was going to talk to Pete and me about our next project. Sa umpisa, I was with them, but later I went out on an errand. Tapos nag-beer na sila. Inabot na ng 2 p.m. Tumatawag na si Erap dahil hinihintay na nila si Ronnie sa Los Baños. Big scene pa naman yun. E napasarap ang kwentuhan nina Pete at Ronnie.

"Sa madaling sabi, hindi na nakarating si Ronnie sa shooting. Nag pack up na sila. Si Erap nagpunta na sa bahay. Nakipag-inuman na din siya. Paguwi ko before dinner, andun na silang tatlo. After dinner, iniwan ko na sila. Naku, 2:30 a.m. andun pa sila. Merong isang case ng beer na nakalabas at isang bote ng Johnny Walker. Si Erap kasi Johnny Walker; si Ronnie beer. Pete had to drink beer and Johnny Walker. Lasing na lasing na tuloy siya."

Anino ng Araw (1973) with FPJ under FPJ Productions. "FPJ used to also tell people I was his favorite leading lady. Anino ng Araw was our third movie together. I played a mentally-deranged woman. Yung breadth ng role maganda kasi, usually, pag action movie hindi masyadong matindi ang role ng leading lady. Pero dito, pi-votal ang role ko and it called for some serious acting.

"There was this scene na tinakas ako ni Ronnie from my father’s house. My father kasi kept me in a dungeon so I lost my mind. So hinahabol kami ng mga tauhan ng tatay ko and we had to cross a river. Naka nightgown ako–pranela night gown, high neckline and long sleeves. Kinunan ’ata namin yun sa Laguna. Dapat matatapilok ako, mahuhulog at manghihina ako so bubuhatin niya ako at tatakbo siya. E si Ronnie, pag inatake yan ng laughing gas, tapos na ka n’yan, take seven kayo n’yan. Dead weight ako siempre plus my wet pranela night gown na mabigat. So the first take okay na sana pero natapilok siya so he started laughing. Retake! Everytime darating kami sa part na natapilok siya, tatawa na siya. So ilang takes kami noon. It was so funny."

Zoom, Zoom Superman (1974) with Ariel Ureta, directed by Elwood Perez and Joey Gosiengfiao. "This was a spoof of Superman and I played Lois Lane. It was a really campy movie. It did well in the box office. That was shown at the height of Ariel’s career as a TV host. The funny thing is that my niece eventually married Ariel over a decade after that. She was only 18 then. He started courting her when she was only 15 or 16. I used to chaperone them on dates. And I would complain to Ariel that ma-chichismis kaming dalawa since kami ang kilala.

"Zoom, Zoom was really fun to do. Among the villains were Celia Rodriguez (na pinakalbo), Rita Gomez and Gina Pareño. I remember that Ariel and I were being chased while riding a bicycle. Tapos nahulog kami sa swimming pool kasama ang bisikleta. This was shot at four in the morning. Kami mismo yun kasi gusto nina Elwood tuloy-tuloy ang shots kaya di pwedeng dayain. Naka-costume galore pa kami. I was also made to drive a Mercedes Benz sports car even if I didn’t know how to drive. Nag take two or three kasi stop and start ang kotse. Di pwedeng dayain kasi gusto ng directors from a close up to a full shot."

Mga Uhaw na Bulaklak (1975) with Lisa Lorena, Chanda Romero and Rosanna Ortiz. (This movie was said to have started the bold trend after martial law.)

"This was my controversial movie because they hyped it as ‘Boots goes bold.’ My bold scene was hinalikan ako sa neck and my spaghetti strap fell. I played a prostitute–a good prostitute since I was driven to it because my brother was sick pero prostitute pa din ako dun. Sa marketing medyo shocking ang role ko. I told the producer that the audience might feel short changed because I really didn’t go bold there.

"There were two reactions. Some felt harang ang movie. The others felt indignation about me accepting such a role. I got letters and telegrams from teachers and nuns. They were asking me why I played a prostitute. I remember one time Pete and I were walking in the parking lot in Unimart when one carpenter approached me. Sabi niya: ‘Ma’am Boots, ‘wag na kayong tatanggap na ganung role. Hindi po bagay.’

"That was one of the boldest roles I played as an actress. The movie did well but I won’t say it was because of me. Pero I think there was some curiosity about me going bold. Shock value nga kasi.

"I had to explain to my kids why I did the movie. I even brought them along to my shooting. Pete was there too. It was a beach scene with Rosanna Ortiz, Liza Lorena and Chanda Romero. We were all prostitutes. We were supposed to be cavorting on the beach. Naka bikini sila, ako naka shorts at long sleeves. I became the butt of jokes in the industry because of that. Lalo na with Erap and Ronnie. Parati nila akong niloloko: ‘Mare naman, magbo-bold ka rin lang naman imbes na mag bathing suit ka mag sho-shorts ka tapos ang shorts mo kasing haba ng shorts ni Frazier (that was around the time of the Ali-Frazier Thrilla in Manila bout). I did not hear the end of it from the two of them."

Boots’ film career took a backseat in 1982 when she accepted a diplomatic assignment in Washington, D.C. They relocated to Virginia where she led an even quieter existence.

In 1993, the Roas decided to return to the Philippines as swiftly as they had left. Things were comfortable in the US. The kids were grown and her job secure (she was then a top level executive at a bank). But daughter Chiqui insisted she was returning home where she felt she could do the most good. Pete, who was then sickly, agreed home was where they should be. Amenable but uncertain, Boots prepared for their homecoming. She was most unsure about her neglected acting career. To her surprise, she was welcomed with a deluge of offers to do movies, TV shows and even commercials.

May Minamahal (1993) with Aga Muhlach and Aiko Melendez under Regal Films. "I had just returned after my long stay in the US. This movie was memorable because I played a vulnerable role. She was a mother at the same time nakakainis din siya. Gray ang role dahil you understand her even if you hate what she does.

Blue Moon (2006) with Mark Herras, Jennylyn Mercado, and Pauleen Luna under Regal Films. "I was flattered that I was considered second choice to Gloria Romero for this movie. That’s how things have been lately. If she cannot accept certain roles, I’m the one who is automatically considered in her place."

Slowing down is farthest from the mind of Boots. The rise of digital cinema offers her new avenues as an actress. Though such projects are more challenging than mainstream films, the rewards are more psychological than financial.

"At the moment, Philippine cinema is at a crossroads," admits optimistic the Mowelfund head. "Instead of digital being considered a threat by the mainstream cinema, dapat maging complimentary sila. In terms of film output, there has been considerable decrease in local film production. Last year we only had 58 films produced. The year before that, there were only 53; the year before that 80. But the years before that, we were hitting 150 or 200 films. With the influx of digital technology, many more producers and directors are able to do what they want to do na hindi nila magawa pag mainstream dahil there’s always the concern kung kikita ba ang pelikula. Ngayon, napro-produce na nila ang film for only P1 million. Then, they can find another producer willing to convert digital to 35mm for another P1.5 million. Tapos gastahan na nila ng promotions and all. That means a movie can cost only P5 million now."

Even soothsayers are changing their tune about the fate of Philippine cinema. Boots believes it is evolving and not dying. This growth or decline, she further stresses, is dependent not only on film producers but the film viewers as well.

"We still under-estimate our film audience. Nag-e-evolve din yan eh. I was glad that Moments of Love did well even if I didn’t star in it. People were predicting hindi kikita yun dahil hindi siya kilig movie. So medyo risky ang project na eto. Predicted na nga na magagalit ang audience kasi hindi si Dingdong at si Karyl ang matched sa movie. But it’s a beautiful movie. For Mark Reyes who is a young director, may virtuosity ka nang nakikita. Andun yung romantic aspect na hindi love romantic but literary romanticism.

"Of course, people will always accuse them of plagiarizing but the producers naman have been very open about it being inspired by Somewhere in Time. Siempre meron ding flaws. I was glad when I saw for myself how well the movie did. I watched it with my sister and the theater was full. My sister had to sit on the stairs the entire time."

Just like her film audience, Boots wishes she too would be allowed to break out of her mold. But, thankfully, she acknowledges: "My blessing was that I didn’t have to compromise. I did not have to do special favors for producers to get roles. Pretty much, roles were handed to me. Yes, the no-kissing scene policy was a given so I gave up some roles because of it. And now that I’m older, I feel that I can do a wider range of roles. Yung roles na may vulnerabilities. Pero sinasabihan pa din ako ng mga producers na may mga roles na dapat silang ibigay sa akin pero hindi nila ginawa kasi baka mailang ang tao. But I tell them, ‘Matanda na ako kaya pwede na.’ Ako naman, with all the children grown up, I don’t have to worry about image anymore. I can do kontrabida or gray roles now. Hindi na ako parating martyr roles. That’s what I like nga eh, na I can break through.

"Ang feeling ko it’s been a while since I’ve had acting awards. I’ve been getting more achievement awards kasi lately. I think baka darating na din ulit ang acting awards."