SARI-SARING SINENG PINOY

Filipino Movies I'm Thankful For

'MERIKA (Adrian Films, 1984)
Directed By: Gil M. Portes

An affecting portrait of loneliness so thoughtfully realized by Nora Aunor's  touching performance and Clodualdo del Mundo, Jr. and Gil Quito's homely screenplay.

BATCH '81 (MVP Pictures, 1982)
Directed By: Mike de Leon

Ostensibly the story of seven young men who join a college fraternity, Batch '81 is an orgy of physical and psychological violence.  What makes the film classic is its use of the technical virtuosity displayed by Mike de Leon to convey political, social and philosophical meaning.

TUBOG SA GINTO (LEA Productions, 1971)
Directed By: Lino Brocka

Based on a Mars Ravelo serial, Tubog Sa Ginto dared to explore the life of a married homosexual, a bold pioneering attempt to treat the subject with honesty and compassion.

BILANGIN ANG BITUIN SA LANGIT (Regal Films, 1989)
Directed By: Elwood Perez

Regal Films' competent melodrama painstakingly deals with the discourse of love and the pleasure of romance, of true love even, it valiantly stands its ground and never succumbs to the facile polemics of orthodox feminism.

LILET (Velarde & Associates Film Productions, 1971)
Directed By: Gerardo de Leon

Using the simplest of resources, director Gerardo de Leon manages to convey the titular character's descent into madness where much of the imagery is memorably revolting or surreally disturbing.


KUNG AKO'Y IIWAN MO (LEA Productions, 1980)
Directed By: Laurice Guillen

Nora Aunor's performance in the film has been criticized as patingin-tingin lang. This was Ingmar Bergman's contribution to World Cinema, an understanding of the face develops the plot and lights up inward emotions obscured by verbalization.


BAGETS (VIVA Films, 1983)
Directed By: Maryo J. delos Reyes

Loyalty, moral values and philosophical outlook are all put to task in Bagets, a film that celebrates and chastises the decadence of youth.

MGA LIHIM NG KALAPATI (FLT Film Productions, 1987)
Directed By: Celso Ad Castillo

Just as riveting and engaging as the film's texture is its rhythm which is almost stenographic in movement and nervous in its flourishes. Complimenting Mga Lihim Ng Kalapati's consistency in visual design is the highly plastic rendering of the unconscious fears, premonitions, nightmares as it intercepts the lived moments of waking reality.

ANG PAGDADALAGA NI MAXIMO OLIVEROS (UFO Pictures, 2005)
Directed By: Auraeus Solito

It is a movie about family values, not so much about sexual orientation but about clannish relationships that underpin much of the Filipino's resilience and strength amid adversity. Poignant and deeply touching, Maximo Oliveros shows how innocence is no insurance against violence.

IKAW AY AKIN (Tagalog Ilang-Ilang Productions, 1978)
Directed By: Ishmael Bernal

Ensuing from the competing affections of two women over a man is a struggle that does not at all resort to conventional melodramatic tactics. Ikaw Ay Akin is filled with emotional rigor through which the affairs of the heart are dealt with and dealt intelligently.

THE PASSIONATE STRANGERS (MJP Productions, 1968)
Directed By: Eddie Romero

The Passionate Strangers exhibits visuals that capture the topography of the film's location and the lives of its damned inhabitants. It established progression in the narrative as well as nuances in the behavior, character and action of the dramatis personae simply by resorting to adept composition and minimalist camera approach.

EBOLUSYON NG PAMILYANG PILIPINO (Sine Olivia, 2004)
Directed By: Lav Diaz

Ebolusyon Ng Pamilyang Pilipino is a powerful movie. It is a movie that makes us abide by the torment and agony that is Philippine history in the last thirty years. It relieves the darkness of Martial Law, the dilemmas of the Aquino transition and the bedlam that constitutes the present. The movie explains much of the horror and confronts it.

BOMBA STAR (Regal Films, 1980)
Directed By: Joey Gosiengfiao

How Joey Gosiengfiao's Bomba Star situates Alma Moreno in confrontations and conversations with family and friends in various settings evokes an imagery that is heartfelt but valiant. This holds true of how the film sets up characters whose lives resonate with Moreno such as the one deliciously portrayed by Marissa Delgado.

BULAKLAK SA CITY JAIL (Cherubim Films, 1984)
Directed By: Mario O'Hara

The film's stylish film noir techniques breathe energy into the gripping story of a woman felon. Bulaklak Sa City Jail successfully creates a milieu that overflows with the whole range of human degradation and deprivation. The dark, folk-gothic lighting captures the perverse corruption  of the big city and the lives it mangles.

ONCE UPON A TIME (Regal Films, 1986)
Directed By: Peque Gallaga And Lorenzo A. Reyes

Once Upon A Time used the magic of cinematography and editing to give shape and reality to creatures of the imagination which continue to satisfy not only the childlike but also the mature viewer who secretly longs for the verification of his deepest fantasy.

COMPANY OF WOMEN (Athena Productions, 1985)
Directed By: Mel Chionglo

Company Of Women may be categorized as nothing but pornography which seems to be art only because it seems to be saying something important and because it was beautifully photographed on the whole and is well-acted in parts.

Happy Days Are Here Again

Happy Days Are Here Again (Sampaguita Pictures / LVN Studios And Premiere Productions) proves to cynics that there was a golden age of Filipino movies. From the pre-war era to the early 50's, the Filipino film industry produced movies with superior techniques and highly entertaining plots. These films were considered a national past-time not only by a common public but also by an elite group who looked upon its stars as peers. If moviegoers nowadays look upon their plots as overused formulas and their gawky sentiments as embarrassments, it is because these films expressed the spirit of their times, an innocence albeit hypocritical, which we have overgrown. Although limited to the output of three major studios LVN, Sampaguita and Premiere, the movie has many memories to offer. If we do let a tear fall, it's because there has been nothing to replace them. First and foremost of the excerpts is from Giliw Ko (1939), a musical with Mila del Sol being serenaded by Fernando Poe. The movie was restored by The National Film And Sound Archive Of Australia and the Philippine Information Agency in 1998 since most of the pre-war films are either lost or destroyed. Among the other outstanding excerpts are the finale from Nasaan Ka Irog (1957) with Letty Liboon, Diomedes Maturan singing The Rose Tatoo, Nida Blanca's singing and dancing in Batangueña (1953) and Waray-Waray (1954), Pugo and Togo in scenes from their comedies, Dolphy and Lolita Rodriguez as Jack And Jill (1953), Hollywood actor Don Johnson singing Close To You, a song popularized by The Carpenters to leading lady Nora Aunor in a deleted scene from Lollipops And Roses (1971) and the grand finale from Hawayana (1953).

In the Tuloy Ang Ligaya (1958) excerpt, the movie spotlights the advanced techniques of Manuel Silos, a neglected movie director who is not even known as the maker of Biyaya Ng Lupa (1959), a film justly celebrated for its visual beauty, striking images and powerful performances. It is surprising that Happy Days Are Here Again has no portions on drama and adventure, two genres in which Filipino movies excelled in. There is an overdose of musicals, a genre adulterated with foreign elements. The film after all owes its origin to That's Entertainment! (1974), a commercially successful MGM compilation film. Like That's Entertainment!, Happy Days' approach is more camp than scholarly, a disappointment to those expecting a more serious treatment. However, one refuses to quarrel with the film because of its noble purpose. It comes at a time when moviegoers have forgotten the technical mastery of our craftsmen in the 40's and the early 50's, a period when the whole of Asia including Japan looked up to the Philippines as the leader in filmmaking. As this journey of rediscovery has shown, some of our filmmakers have given us movies to be proud of despite of the industry's generally commercial bent.

Directed By: Cirio H. Santiago
Screenplay: Medy Tarnate And Tiny Lizaso
Researchers: Bernardo Bernardo, Cris Almario, Joel Apuyan, Emmanuel Moreno And S. Belbis Jose
Cameraman: Arnold Alvaro
Music: Danny Holmsen
Editors: Jose H. Tarnate, Ben Barcelon, Armando Jarlego And Jesse Navarro
Produced By: Sampaguita Pictures / LVN Studios And Premiere Productions
Release Date: November 15, 1974

Genghis Khan

Genghis Khan (Manuel Conde Productions) has not been shown since its release and was considered lost for the past fifty years. It was re-edited and translated with a prologue written by American film critic / screenwriter James Agee (African Queen, 1951) who sent the movie to compete at the 1952 Venice Film Festival. Genghis Khan, however, lives up to its legend. Even by today's standards, it is surprising and highly original. The movie stands all by itself in Philippine film history. Nothing before it prepares us and nothing after comes close to its achievements. In it's opening shot, cirrocumulus clouds roll like powder puffs across the landscape. Soldiers are shot diagonally. Manuel Conde as Genghis Khan poses in front of the camera in a low angle similar to Sergei Eisenstein's Ivan The Terrible (1944). This imitation may impress unfamiliar viewers, but it is the film's most negligible quality. What is outstanding are the fantastic set design, the superb black and white cinematography and Manuel Conde's own brand of provincial humor, beautifully controlled by a great warrior through tests that require tight paced editing. The film also boasts some fine acting by Elvira Reyes playing Princess Lei Hai, Lou Salvador as Burchou and Andres Centenera in the role of Temujin's father, Yesou Tai.

Genghis Khan is an epic about a foreigner with the peculiarly Filipino spirit of the bayanihan. It aspires simply to entertain and does not pretend to perpetuate any intellectual discussion on heroism and history. It concentrates on his youth, Genghis Khan as the plain Temujin before becoming the Great One. It is a dramatization of one of Conde's favorite themes, the rise to manhood which demands alertness, stamina and wit. His hero prefers brains to brawn. In a contest, he rolls a huge rock with carefully laid out sticks rather than strain his muscles by pushing it. He tattoos a map on the head of his follower so that it is concealed from his enemies. There are a few fantastic elements. He ingeniously devices a super-bow to shoot a long spear through four clumsy soldiers. One, however, marvels at the invention rather than balk at the incredibleness. There are some shortcomings such as Genghis Khan falling off a cliff to soft grass, but these are minor amidst many successes. Genghis Khan solidifies Manuel Conde's position as one of the country's finest filmmakers. His actions move toward Filipino slapstick but they are always informed with an unimposing profundity. He stands as an important cinema figure for his camera placements reveal a deep feeling for texture and movement. Manuel Conde's direction is richly assisted by Carlos Francisco's astounding set design. He does not fill the set with bric-a-brac, but uses only a few props to highlight an emotion, to bring out the inherent splendor. His production design is never glossy. Francisco combines both rags and riches to evoke a Genghis Khan whose majestic bearings are tribal in origin. There is an air of impoverished grandeur that surrounds the production. One must not forget the superb camerawork of Emmanuel Rojas, the most important black and white cinematographer of his time whose credits include Gerardo de Leon's Noli Me Tangere (1961). Genghis Khan is a testimony to three major artists of Philippine cinema and to an international figure whose contributions helped in its success.

Directed By: Manuel Conde (Under the name of Lou Salvador)
Screenplay: Manuel Conde And Carlos V. Francisco
Photographed By: Emmanuel Rojas
Music By: Juan Silos, Jr.
Edited By: Fred Buensuceso (Re-edited by Ray Heinz with narration written by James Agee and read by John Storm for the Pacific Film Association for foreign film distribution)
Production Design By: Carlos V. Francisco
Produced By: Manuel Conde Productions
Release Date: November 7, 1950

Addiitional information on Genghis Khan from The Cinema Of Manuel Conde by Nicanor G. Tiongson 
© 2008 University of Santo Tomas Publishing House

Biyaya Ng Lupa

Magbubukas ang Biyaya Ng Lupa (LVN Pictures, Inc.) sa pagdiriwang ng kasal nina Jose (Tony Santos) at Maria (Rosa Rosal). Nagmistulang piging ang buong bayan ng Santa Monica sa okasyong ito. Nagsipagtugtugan ang mga musikero, nagsipagsayawan ang mga dalaga't binata at abala ang mga panauhin ng bagong kasal. Ihahatid ng karitong hila ng kalabaw na napapalamutian ng bulaklak at dahon sina Jose at Maria sa bahay ng kanilang mga magulang upang tumanggap ng basbas. Sumunod na araw ay dinalaw ng dalawa ang kanilang magiging bagong tahanan bilang mag-asawa. Doon din ipapakita ni Jose ang mga punla ng lansones na ipinamana ng kanyang ama. Babanggitin ni Maria na dalawampung taon ang kanilang hihintayin bago mamunga ang mga ito. Hindi alintana ni Jose ang mahabang panahon, ang mahalaga ay pursigido siyang asamin ang araw na mamumunga ang kanilang mag lansones. Itatanim ng dalawa ang mga punla sa lilim ng mga punong niyog sa paligid ng kanilang bahay. Iniintindi rin ni Jose ang kanilang munting lupain. Iluluwal ni Maria ang kanilang panganay, si Miguel (Leroy Salvador), isang pipi at bingi. Sumunod si Arturo (Carlos Padilla, Jr.) at si Angelita (Marita Zobel). Mamamatay ang kanilang sanggol na nagngangalang Carmen. Si Lito (Danilo Jurado) ang kanilang bunso. Magpapatuloy ang masalimuot na buhay ng mag-anak hanggang sa mamukadkad ang mga bulaklak ng lansones. Matatapos ang pelikula sa pag-ani. Tutulungan ng buong bayan ang mag-anak na pitasin ang mga bunga sa puno at ilagay sa mga kaing.  Sa huli, makikitang umiiyak si Maria, hinahaplos ang araro, sabay dakot ng lupa.

Masasabing matagumpay ang pelikula sa pakay nitong isalunan ang hilahil ng mag-anak sa usapin ng lupa at pag-angkin nito ng mga komprador. Idagdag pa rito ang samu't-saring puwersang humahamon sa mga mithiin ng pamilya nina Jose at Maria. Matutukoy ang paghulma sa taumbayan bilang karakter at hindi lamang kasangkapan. Sila'y aktibong kumikilos sa pagsulong sa mga partikular na interes. Sa pag-usisa nito sa mga panlipunang isyu, natatanganan din ng pelikula ang usapin ng kasarian sa konteksto ng bahay at bukid. Ang pag-aararo at pagpapalaki ng mga bata. Bakit ang mga lalaki lamang ang maaaring bumungkal ng lupa? At bakit hindi ikinatutuwa ni Maria na pinaghihiasukan ni Jose ang pagdidisiplina sa mga bata? Gayunpaman, naipamalas din ng pelikula na ang mga nakamihasnang papel na itinalaga sa mga lalaki at babae ay natitinag din ng sitwasyon at kondisyong historikal. Halimbawa, naitaguyod din naman ni Maria ang kanyang mag-anak kahit wala ang kanyang bana. Susi sa temang ito ang maningning na pagganap ni Rosa Rosal bilang Maria. Nagpapamalas siya ng tatag ng kalooban, kahinahunan at marubdob na pag-ibig sa pamilya at magandang kinabukasan nito. Nasaling ng pelikula ang pinagpiptagang imahe ng pamilya bilang institusyon. Sinasabi ng pelikula na hindi naman abstrakto ang konsepto ng pamilya  o pati na rin ang banal na tradisyon ng kasal. Ito ay isang praktika na isinasabuhay sa konteksto ng mga espesipikong kondisyon. Nariyan ang pulitika ng pagtangi sa mga anak o ang isyung kung sino ang higit na nakalalamang sa puso ng mga magulang. Bagman hindi nagawa ng pelikulang pawiin ang lahat ng pait ng tradisyon ng melodrama, nakayanan naman nitong maghain ng bagong panlasa sa pagkonteksto ng domestikong usapin sa uniberso ng kontradiksiyong panlipunan.

Direksiyon: Manuel Silos
Dulang Pampelikula: Celso Al Carunungan At Pablo Naval
Sinematograpiya: Remigio Young
Musika: Juan Silos, Jr.
Editing: Enrique Jarlego
Disenyo: Teddy Carmona
Produksiyon: LVN Pictures, Inc.
Release Date: December 16, 1959