Some films mirror and reflect situations and scenes in real life that serves as the main purpose of that particular film giving us a glimpse of the real world. Some people say to understand a specific culture, group, ideas, history, etc. One must watch films in their entirety for appreciation. Most of the notable films either popular, blockbuster hit, or simply controversial give us this reason and Filipino film is no exception.
When you say Asian cinema, the world is stereotypical and prejudiced towards Chinese, Japanese, and Indian films because they are in the first place prominently being exhibited frequently in film festivals and cinemas around the world since the early 20th century from the 1910s till 1960s and that the energy, fun, pageantry, colorful production and thrill these movies evoke incite interests and curiosity among moviegoers and that other films including the Philippines were downplayed as having influenced by the American and other western countries films. What they do not know is that Filipino films, fusion as it may seem, have a distinctive flair of portraying and unraveling the beauty and mystery of the Philippines and the Filipino culture something unique from the rest of its Asian neighbors.
Philippine cinema has a long curtain history of colorful films which Filipinos enjoyed from the first few moving pictures namely, Un Homme Au Chapeau (Man with a Hat), Une scene de danse Japonaise (Scene from a Japanese Dance), Les Boxers (The Boxers), and La Place de L' Opera (The Place L' Opera)" shown on January 1, 1897, at the Salon Pertierra No. 12 Escolta, Manila to its glory days of the 1950s to 1980s until its decline in the 1990s. Filipinos have seen it all - the pageantry, prestige, rise, and fall of Filipino filmmaking. One distinct nature of Filipino films is the portrayal of Filipino culture, way of living, traditions, history, and personality. The plot and scenes evoke a picture of a typical Philippine scene and way of life and the stories are most often highlighted with intensity in drama, horror, and some comic relief. Most of these films inspire, flashback us to history, or give us an imprint of a quality film embedded in our memories.
If you want to learn more about the Philippines, these films are to watch.
Five years before the Philip cinema celebrates its 100 years, Watchful Eyes Of A Silhouette blog came up with the list of finest films in Filipino cinema that makes people not only surrender their emotions but most of all moved and inspired by its poignant scenes showcasing and manifesting the kaleidoscope of the Philippines, Filipinos, and Pinoy cinema. These films give us reel stills that we can never forget. Many of them had gone past with more or less appreciation when they are first released, yet they have endured the test of time. However, like all greatest and finest film lists, there is as subjective as it was biased, this list is no exception. Most of the Filipino silent films of the 1920s were presumed vanished forever during World War II and not a single copy exists. These crucial Filipino film selections have undoubtedly left an indelible mark on our lives and reflect many defining moments of the last 100 years. This list also includes some famous quotes and movie lines that left an indelible mark on the minds and memories of its audiences.
There is a reasonable consensus by most film historians, critics, and reviewers that these selections are among the Filipino cinema's most critically-acclaimed, significant "must-see" films. Some of these films here with Filipino language titles are given with direct translation or sub-titles as well as some of the most memorable classic movie lines in Philippine cinema. You can watch some of these films online most particularly on YouTube.
These are great epic films that define Filipino cinema. They might not be great in the eyes, minds, and hearts of others most especially the critics but these films speak about the Philippines and the Filipino people and the best talents, acting, and filmmaking the Philippines has produced.
Oro, Plata, Mata (1982) is a harrowing tale of the post-World War II effects on the landed elite and ordinary people
Oro, Plata, Mata (1982) Poster
Directed By: Peque Gallaga
Cast: Manny Ojeda, Liza Lorena, Sandy
Andolong, Cherie Gil, Fides Cuyugan-Asensio, Joel Torre, Mitch Valdez, Lorli
Villanueva, Ronnie Lazaro, Abbo dela Cruz, Mely Mallari, Mary Walter, Agustin
Gatia, Robert Antonio, Benjamin Delina
A tale set in World War II
Philippines about how a wealthy family copes up with the war and how the people
change amidst violence and death. Gallaga’s grandiose epic on the Second World War’s impact on the
country’s landed elite is a powerful commentary on ordinary humans' capacity
for evil.
It tells the story of a family who is
scared to be involved in the war and decided to go to the woods in which they
have created huts and rooms for their family but the longer they stay there
the nearer they get to danger. Set in the Philippine province of Negros during
World War II, it tells the story of how two haciendero families cope with the
changes brought about by the war. In translation, the movie is also known
either as "Gold, Silver, Bad Luck" or "Gold, Silver,
Death."
The title refers to an old Filipino
architectural superstition saying that design elements in a house (particularly
staircases) should not end in a multiple of three, in keeping with a pattern of
oro (gold), plata (silver), and mata (bad luck). The film is structured in
three parts that depict this pattern played out in the lives of the main
characters, from a life of luxury and comfort in the city ("oro/gold"),
to a still-luxurious time of refuge in a provincial hacienda
("plata/silver"), and finally to a retreat deeper into the mountains,
where they are victimized by bandit guerillas ("mata/bad luck").
Oro Plata Mata traces the changing
fortunes of two aristocratic families in Negros during World War II. The Ojeda
family is celebrating Maggie Ojeda's (Andolong) debut. In the garden, Trining
(Gil) receives her first kiss from Miguel Lorenzo (Torre), her childhood
sweetheart. Don Claudio Ojeda (Ojeda) and his fellow landowners talk about the war.
The youngest guest mocks Miguel's refusal to join the army and brands him mama's
boy. The celebration is cut short by news of the fall of the Corregidor. As the war
nears the city, the Ojedas accept the invitation extended by the Lorenzos,
their old family friends, to stay with them in their provincial hacienda. Nena
Ojeda (Lorena) and Inday Lorenzo (Asensio) try to deny the realities of war by
preserving their pre-war lifestyle. Pining for her fiancé, Maggie goes through
bouts of melancholy. Miguel and Trining turn from naughty children into
impetuous adults. Two more family friends a doctor, Jo Russell (Valdez),
guerillas and Viring (Villanueva) join them. As the enemy advance, the families
move to the Lorenzos forest lodge. A group of weary guerillas arrives and Jo
tends to their injuries. The guerillas leave Hermes Mercurio (Lazaro) behind.
Miguel endures more comments of the same kind when he fails to take action
against a Japanese soldier who came upon the girls bathing in the river. It is
Mercurio who kills the Japanese. Maggie comforts Miguel, who decides to learn
how to shoot from Mercurio. Meanwhile, Viring's jewelry is stolen by Melchor (de
la Cruz), the trusted foreman. He justifies his action as a reward for his
services. He tries to break the other servant's loyalty, but they force
Melchor to leave. Later, Melchor and his band of thieves return. They raid the
food supplies, rape Inday, and chop off Viray's fingers when she did not take
off her ring. Trining goes with the bandits despite all the crimes they have
committed against her family. These experiences committed Maggie and Miguel
closer together. Miguel urges the survivors to resume their mahjong games to
help them cope. Miguel is determined to hunt the bandits down and bring
Trining back. He catches them but his courage is replaced with blood lust,
driving him to a killing spree. An epilogue follows the violent climax. The
Americans have liberated the Philippines from Japan. A party was held in the
Ojeda's home to announce Maggie and Miguel's betrothal. The survivors attempt to
reclaim their previous lifestyle, but the war has changed the world, just as it
has forever marked each of them.
2. Himala - Miracle (1982)
Directed By: Ishmael Bernal Story: Ricardo Lee
Cast: Nora Aunor, Veronica Palileo,
Spanky Manikan, Gigi Dueñas, Vangie Labalan, Laura Centeno, Ama Quiambao, Ben
Almeda, Cris Daluz, Aura Mijares, Joel Lamangan, Ray Ventura, Pen Medina
Himala is a landmark 1982 film
directed by Ishmael Bernal. It tells the story of a young woman in a small town
in the Philippines who claims to have seen an apparition of the Blessed Virgin
Mary and suddenly begins to exhibit healing powers. More than a movie about
faith-healing, the film is an excellent commentary on Third World poverty and
backward and contradictory rural customs. The lead role is superbly played by
one of the country's premier dramatic actresses, Nora Aunor.
Himala is the story of Elsa, a barrio
woman whose visions of the Virgin Mary change her life and cause a sensation of hysteria in a poor, isolated northern village in the midst of a drought. The setting is a small town named Cupang, a
community set in an arid landscape. The townsfolk believed that the drought
they were having was a curse placed upon the town for driving away a
leper years before. During a solar eclipse, Elsa (Aunor) a local young woman allegedly saw an apparition of the Blessed Virgin Mary atop a barren hill, the
same place where her adoptive mother Aling Salíng (Labalan) found her as a
baby. Right after, she started faith healing local residents assisted by her
friends, Chayong (Centeno) and Sepa (Quiambao), who eventually became part of
her "Seven Apostles", including entrepreneur Mrs. Alba (Palileo).
Word spread around and soon pilgrims and tourists started arriving in Cupang to
visit Elsa's house, distinguished by the big sign "Elsa loves you,"
to see her. At the same time, enterprising residents of Cupang started
businesses like selling religious articles, offering accommodations, among
others, capitalizing on the sudden influx of local and foreign patients and
tourists. Borly (Spanky Manikan), a filmmaker arrived in town to make a
documentary about Elsa, interviewing her and people who personally know her.
Around the same time, Elsa's childhood friend Nimia (Dueñas), now a prostitute
returned and established a cabaret (a sleazy nightclub/brothel) for tourists,
which was later ordered closed by the Seven Apostles. One day, in the church's
confessional, Orly revealed to the town's Catholic priest (Lamangan) that he
saw two drugged youths from Manila raping Elsa and Chayong on the hill. The
filmmaker was holding a pang of tremendous guilt; instead of helping the two victims,
he continued capturing the incident on film, as he needed a scoop for his
struggling career. A cholera epidemic spread throughout Cupang, with Sepa's two
children dying after eating tainted meat at Elsa's house. Chayong then hanged
herself because of shame from the assault. Authorities quarantined Elsa's
house, closing it off from patients. Elsa blamed herself for all of the deaths
and decided to stop healing. Eventually, the patients and tourists stopped
coming, leaving the town the way it was before the hoopla. Elsa started showing
signs of pregnancy from the rape. Mrs. Alba concluded (erroneously) that it is
"Immaculate Conception" (when she really meant a Virgin birth) and
proclaimed that Elsa is truly blessed. At the exact moment, thunder started
roaring in the background, followed by pouring rain. The townspeople rejoiced
and played in the rain, convinced that the miracle has returned and that the
curse was finally lifted. Mrs. Alba and the crowd returned to Elsa's house and
called out to her. She commanded her followers to call everybody to assemble on
the hill.
In front of her congregation, Elsa, apprehensive at first, eventually professed that there were no miracles, no sightings of the Virgin, and pleaded that people themselves invent gods, miracles, curses, and such. In the middle of her speech, a gun pointed towards her, was fired, hitting her on her chest and a violent stampede ensued. The old and infirm who came to be healed, including children, were trampled upon in the mass hysteria. Injuries were everywhere.
Elsa gasped her last breath in her mother's arms, looking towards the sky while Orly and other reporters captured her last moment on their cameras. Wailing and crying ensued after the announcement of her death, and the crowd started gravitating towards her. As Elsa was being taken to a waiting ambulance, her followers lifted her lifeless body overhead, in a crucifix position, as the crowd wanted to touch her. Crowds were scampering all over the hill as they followed Elsa down to the car. Against her husband's will, Sepa shouted to the crowd, proclaiming that Elsa was a saint, a martyr for the world's suffering. She led the congregation in praying the Hail Mary on their knees going up the hill as the ambulance carrying Elsa drove away.
The film is centered on the issues of
religious faith and faithlessness, morality, and truth.
Ishmael Bernal's film may be read as
a parable of “art” and “life, “faith and fact, hope and despair, in a society
driven to desperation by widespread destitution. A filmmaker (Spanky Manikan)
plays a pivotal role in the unfolding of the story of a village “miracle-maker”
(Nora Aunor) who in claiming the Virgin has appeared to her, consequently
bringing the dying barrio to life. Bernal's parable is both philosophical and
political. The filmmaker seems to have been set up as a representation of the
artist who believes his art is a simple transcript of reality and finds himself
confounded by the morality of condoning “untruth” by his failure to expose the
outrage on the “miracle-maker.” The political aspect, in retrospect, is
Bernal's damning comment on the deceptions being foisted by the Marcos
dictatorship on the Filipinos-- the fiction that Martial law had brought about
the “miracle” of eradicating poverty and unrest in Philippine society.
The film's script was written by the award-winning screenwriter Ricky Lee based on a true incident of a teenage girl in Cabra Island in the province of Occidental Mindoro between 1966 and 1967. It broke trends in Philippine filmmaking by featuring only one known actress in the cast with support from unknown television and legit stage performers.
The film's international honors
include the Bronze Hugo Prize at the 1983 Chicago International Film Festival.
Himala is also the Manunuri ng Pelikulang Pilipino's choice as one of the best
films of the 1980s.
In 1983, became the first Filipino
film to be included in the "Competition Section" of the prestigious
Berlin International Film Festival. Since then, Himala has been exhibited in a
number of film festivals around the world.
She almost won the best actress prize
at the 1983 Berlin International Film Festival where the film vied for the
Golden Bear Award, having been personally handpicked by Festival Director
Moritz de Hadeln himself to be part of the official selection.
On 11 November 2008, Himala won the
Viewer's Choice Award for the Best Film of all Time from the Asia-Pacific
Region in the 2008 CNN Asia Pacific Screen Awards beating out nine other
outstanding movies (voted by thousands of film fans around the world). The ten finalists were chosen by critics, industry insiders, and
actors—including Bollywood stars Amitabh Bachchan and Aishwarya Rai.
Famous Quote / Movie Line:
"Waláng himalà! Ang himalà ay
nasa puso ng tao, nasa puso nating lahat! Tayo ang gumagawâ ng mga himalà! Tayo
ang gumagawâ ng mga sumpâ at ng mga diyos..."" - Elsa played by Nora
Aunor
("There are no miracles!
Miracles are in people's hearts, in all our hearts! We are the ones who make
miracles! We are the ones who make curses, and gods...")
Posters of Maynila Sa Mga Kuko Ng Liwanag (1975)
3. Maynila Sa Mga Kuko ng Liwanag - Manila In The Claws Of Neon Light (1975)
Directed By: Lino Brocka Story: Edgardo Reyes
Cast: Hilda Koronel, Bembol Roco, Lou
Salvador Jr., Joonee Gamboa, Pio de Castro III, Danilo Posadas, Joe Jardy,
Spanky Manikan, Edipolo Erosido, Pancho Pelagio, Purita Yap, Josephine
Gutierrez
Julio Madiaga is a probinsyano or a
simple countryside boy who arrived in Manila. From time to time, Julio would pass
by the corner of Ongpin and Misericordia as he stares at a peculiar building
from a distance. While pursuing his quest, he has to work in order to survive
the conditions of the urban jungle. At first, Julio lands a job as a
construction worker. Not used to such labor, he at one point falls unconscious
due to fatigue and hunger. On the site, he befriends Atong, a fellow
construction worker who was hired for five weeks prior to Julio's employment.
Another co-worker advises Julio that city life is quite difficult unless one
has the income to enjoy living off the comforts of the city. Julio begins to
slowly observe the harsh reality of society, even witnessing the accidental
death of one of the workers. One day, while Julio and Atong were shopping for
clothes in the marketplace, a fat lady dressed in black and wearing sunglasses
caught Julio's attention. The lady reminds him of Mrs. Cruz, the woman who
brought his childhood sweetheart, Ligaya, to Manila to study. Julio immediately
runs through the crowd to follow the woman. He successfully locates the woman
and approaches her. However, before he could even say anything, the lady yells
in distress. Julio instantly flees in order to prevent a scene to be made.
Julio runs back to Atong and both of them leave the marketplace. There were
other instances when he met Mrs. Cruz until it leads him into knowing the truth
that his girlfriend was a victim of prostitution. When he met his girlfriend
everything was narrated to him. He decided to come back to Marinduque so they
agreed to meet at Arranque when Ligaya has brought with her the baby. But
Ligaya was unable to come at the time set. Julio came back to Pol's house. The
next day, Pol told Julio the truth that Ligaya died last night. Julio was so furious he planned on killing Ah Tek whom he saw at Ligaya's burial. He
successfully killed Ah Tek but a mob had run after him and when he was cornered
and the mob was ready to attack him, the movie stopped showing Julio's terrible
face.
These gloomy stories are set against
a backdrop of barren soils, contaminated drainage, garbage-filled lands, and
slums — perfect to describe the filthy and ugly side of our country. These
shots are breathtaking — breathtakingly painful, suffocating, and depressing.
Brocka painted the picture of our society with power, emphasis, and dismal
energy that is crying for help and attention. Maynila’s ending is shocking,
poignant, angry, emphatic, and memorable. The film is based on a story written
by Edgardo Reyes and serialized in Liwayway magazine from 1966 to 1967.
During the dangerous time that is the
Marcos regime, Brocka crafted a film with a lot of courage. This is a brave
endeavor that deserves all the accolades it is receiving up to now. This is one
of the films that makes me proud as a Filipino — a masterpiece in every sense
of the word. This film won the Best Archive
Restoration/Preservation Title, FOCAL International Awards 2014 held recently.
4. Tatlong Taong Walang Dios - Three
Godless Years (1976)
Directed By: Mario O'Hara
Cast: Nora Aunor, Christopher de
Leon, Bembol Roco, Orlando Nadres, Peque Gallaga, Mario Escudero, Yolanda Luna,
Edwin O'Hara, Joey Galvez, Dante Balois, Soxy Topacio, Licerio Tabalon, Tommy
Yap, Nina Lorenzo, Estrella Antonio
The film, set during the Japanese
Occupation of the Philippines between 1942 and 1944, tells the story of Rosario
(Nora Aunor), a young schoolteacher engaged to be married to Crispin (Bembol
Roco). Crispin leaves Rosario to fight the Japanese as a guerilla, and in his
absence a Japanese-Filipino officer named Masugi (Christopher de Leon) rapes
her.
Masugi later returns to Rosario apologizing
for his act, bearing gifts of canned food and rice which Rosario at first
refuses. Matters are complicated when Rosario's father Mang Andoy (Mario
Escudero) is arrested by the Japanese and Rosario reveals to Masugi that she is
pregnant. Rosario must make a choice: accept Masugi's proposal to make her his
wife saving her father and ensuring a safe and stable life for her child or
reject him and with him the baby they have conceived together.
Rosa Rosal in one of her finest performances as an actress in Biyaya Ng Lupa (1959) seen here planting lanzones for their orchard with Tony Santos
5. Biyaya ng Lupa - Blessings of the Land (1959)
Directed By: Manuel Silos Story:
Celso Al. Carunungan
Cast:
Rosal Rosal, Tony Santos, Leroy Salvador, Carmencita Abad, Carlos
Padilla Jr., Marita Zobel, Joseph de Cordova, Danilo Jurado, Tony Dantes,
Miguel Lopez, Priscilla Ramirez, Mario Roldan, Mila Ocampo, Pedro Faustino
Maria (Rosa Rosal) and Jose (Tony
Santos) start a lanzones orchard. A young married couple, Maria and Jose (Rosa
Rosal and Tony Santos) starts life together creating a lanzones orchard in the
countryside. Four children are born to the couple - Miguel (Leroy Salvador),
Arturo (Carlos Padilla Jr), Angelita (Marita Zobel), and Lito (Danilo Jurado).
The eldest, Miguel, is a deaf-mute. Life is good to them and the children grow
up and bring joy to the community. But trouble enters their lives when Jose
incurs the enmity of Bruno (Joseph de Cordova). Bruno, a widower, is much
feared in the village, for it is rumored that he caused the death of his wife.
And yet he wants to remarry and is courting Choleng (Mila Ocampo), Jose's
niece. But Choleng avoids Bruno like the plague and one day, in trying to get
away from Bruno, Choleng slips and falls off a cliff and dies. The village is
outraged and Bruno hides in the mountains. There, he plots his revenge on the
village, particularly on Jose's family. He finds his chance one day when
Angelita brings food to her father and brother Arturo while they work in the
field. He ambushes the young girl and rapes her. Jose, with the help of the
entire village, hunts him down but is shot down in cold blood by Bruno.
Meanwhile, Arturo's mind is preoccupied with the possibilities of life in the
city. He dislikes working in the field, while his deaf-mute brother, Miguel, is
hardly any help and instead courts a pretty village girl, Gloria (Carmencita
Abad). Arturo goes to Manila, dreaming of unimagined riches, but suddenly he
returns and he is not alone. A typical Manila hussy is with him, all made up
and contemptuous of provincial life. Arturo does not have the riches he
promised and instead asks his mother to mortgage their rice fields, which she
does. Arturo returns to Manila. Bruno, in the meanwhile, is not through with
Maria's family, and now desires Angelita even more. He flees to another town
where a greedy landowner (Mario Roldan) hires him to destroy the potentially
rich lanzones harvest that Maria's family has waited twenty years for. One dark
night, Bruno and his men start their work but the family is ready and the
entire village comes to their rescue. Miguel, the deaf-mute, being the only man
left in the family, faces Bruno bravely and kills the bandit. Arturo, the
prodigal son, returns alone this time and penniless, begging for forgiveness.
Unforgiving at first, Miguel, refuses to take him back. But Maria brings about
a reconciliation of the two brothers. Peace returns to the family once more and
in spite of Jose's absence, Maria realizes that life indeed must go on. They
reap the fruits and blessings of their bountiful land. Biyaya ng Lupa won the
Filipino Academy of Movie Arts and Sciences (FAMAS) award for Best Picture in
1959, as well as Best Story for Celso Al. Carunungan. It gained international
fame at the Asian Film Festival in 1960 held in Tokyo when Leroy Salvador won
the award for Best Supporting Actor.
The famous scene in which Corazon de la Cruz (Nora Aunor) utters the line which left an indelible mark in Philippine cinema in Minsa'y Isang Gamu-gamo (1976)
6. Minsa'y Isang Gamu-Gamo - Once A Moth (1976)
Directed By: Lupita Aquino-Kashiwahara Story: Marina Feleo-Gonzales
Cast:
Nora Aunor, Jay Ilagan, Gloria Sevilla, Perla Bautista, Eddie
Villamayor, Paquito Salcedo, Lily Miraflor, Leo Martinez, Nanding Fernandez,
Luz Fernandez, German Moreno, Carlos Padilla Jr.
Minsa'y Isang Gamu-Gamo, (Once A Moth) is a 1976 Filipino film. It concerns a Filipino nurse, Cora de la Cruz, who
dreams of moving to America. When her brother was killed, her ideals change. The
film criticizes American military presence in the Philippines.
The de la Cruzes and the Santos are
two lower-middle-class families who live in Pampanga. Cora de la Cruz is a
nurse who dreams of living in the United States. Her papers are ready and she seeks employment at an American hospital. She hopes to get a green card
allowing her to stay, achieve immigrant status and then bring her family to
America for a better life. Cora's mother and younger brother encourage her but
her father, Ingkong disagrees. He believes that moving to America is a betrayal
of their country, typical of an old colonial mentality. Bonifacio Santos is
Cora’s fiancee. He intends to join the U.S. Navy so that he can be with Cora in
America. His mother and their maid are saving to help him with the expenses.
The families make no reference in their plans to instances of crime, including
murder, committed by American soldiers in the Philippines who are indemnified
against prosecution under laws of extraterritoriality. Bonifacio's mother works
at a commissary at an American base. She is mistreated by a Filipino female
guard, who strips Santos of her “smuggled” panties and waves them like a flag to
the delight the American male guards. Santos takes the matter to court with no
success and the guard retaliates by raiding her store. Bonifacio becomes
disenchanted with America and abandons his plans. Cora is appalled at the
failure of the Philippine courts to provide justice for Mrs. Santos but
continues with her plans to leave for America. On the night of her despedida
(farewell party), Cora's brother is shot dead by an American soldier while
scavenging in the garbage dump of the American base. Cora stays to seek justice
for her brother. She discovers that the case cannot continue as the soldier has
been reassigned to another country.
Knowing that the administration of
Pres. Ferdinand Marcos would not allow the public showing of any films
criticizing the American existence in the Philippines, the producers tapped
Nora Aunor to star in the film believing that the superstar has connection with
the president and his wife Imelda Marcos. The film, despite being critical to
the presence of the United States military bases, was indeed released due to
this factor.
Famous Quote / Movie Line:
"My brother is not a pig! My
brother is not a pig! Ang kapatid ko ay tao, hindi baboy damo!" - Nora
Aunor
7. Itim - The Rites of May (1977)
Directed By: Mike De Leon
Cast:
Charo Santos-Concio, Tommy Abuel, Mona Lisa, Mario Montenegro, Sarah K.
Joaquin, Susan Valdez-LeGoff, Moody Diaz
A Filipino word for black, this film
is a ghost story involving a botched abortion with haunting images and
masterful camera work.
During a return to his provincial home, a young man gets involved with a woman who is ultimately possessed by her sister's spirit, paving the way to revealing the painful truth about her unsolved disappearance.
De Leon's films are a full reflection
of the Filipino psyche that sought answers to questions on social class
belonging, political absurdities, and fragmentation in various forms. His
first major full-length work was, Itim (Black), in 1976. It was an in-depth
study of guilt and violence and shows de Leon’s delicate balancing of cinematic
elements to project mood and character. It was voted by the Philippine’s Urian
Awards as one of the Ten Outstanding Films of the Decade: 1970-1979. The film
also won him the best director award during the 1978 Asian Film Festival held
in Sydney, Australia.
This is the movie debut of Charo
Santos-Concio into the world of cinema and entertainment.
Compelling conversation between Christopher De Leon and leper Mario O'Hara in Tinimbang Ka Ngunit Kulang (1974)
8. Tinimbang Ka Ngunit Kulang - You Were Weighed But Found Wanting (1974)
Directed By: Lino Brocka Story: Mario O'Hara
Cast: Lolita Rodriguez, Lilia Dizon,
Eddie Garcia, Mario O'Hara, Hilda Koronel, Christopher de Leon, Alicia Alonzo,
Joseph Sytangco, Rosa Aguirre, Lorli Villanueva, Lily Miraflor, Joonee Gamboa,
Ernie Zarate, Mely Mallari, Estrella Kuenzler
The film is set in a relatively small
village, where Catholicism rules. The film, as the title suggests, explicitly
plays up on the Christian adage that one should not judge one's neighbor, but
makes the somewhat obvious case that human beings, however pious they might
claim to be, rarely follow that advice.
The story begins with a flashback of
Kuala's past. An albularyo (traditional/folk medicine practitioner) performs
an abortion on Kuala (Lolita Rodriguez), as Cesar (Eddie Garcia) watches her.
The abortion was a success, but when Kuala sees the aborted fetus, she becomes
disturbed. In the next scene, she walks in the middle of a grassy plain, and as
the heat becomes more and more unbearable, she becomes insane. As the movie
returns to the present, Kuala wanders about in dirty clothes and with mangy
hair. The townsfolk make fun of Kuala. She is pushed into a watering hole and
almost drowned. Bertong Ketong (Mario O'Hara), a leper lonely for female
companionship, attracts Kuala with a rattle and takes her to his shack in the
cemetery. Junior (Christopher de Leon) makes friends with them, defying the
prohibitions of his father, Cesar Blanco, a lawyer and a failed politician.
Junior asks Berto's advice concerning his problems with an eccentric teacher,
Mr. Del Mundo (Orlando Nadres), who has a crush on him. Junior has problems too
with his girlfriend Evangeline (Hilda Koronel), who flirts with her escort
during a Santacruzan. The jealous Junior leaves the procession and seeks the
company of Milagros (Laurice Guillen), who seduces him. The Asociacion de las
Damas Cristianas is scandalized to discover Kuala is pregnant. She is forced to
live under the custody of the pious Lola Jacoba (Rosa Aguirre). When Berto
makes a clandestine visit to Kuala, she tells him of his unhappiness. Berto
tells this to Junior, who resolves to help the pregnant Kuala make an escape
from Lola Jacoba's house and lead her back to Berto's shack. However, Burto knows
she will be taken away and returns her to Lola Jacoba, and promises to retrieve
her after she has given birth. Some nights later, Kuala experiences labor
pains. She finds her way to Berto's shack, at which point Berto rushes out to
fetch a doctor. When the doctor refuses to help him, Berto takes him hostage
but repeats he will not kill him. As Berto flees with the doctor, the doctor's
wife shouts for help, awakening the townspeople who rush to follow the fleeing
pair. Before Berto and the doctor reach the shack in the cemetery, however, the
doctor escapes and a chase ensues. A group of policemen come to the doctor's
rescue and shoot Berto. Junior sees this and is shocked; he holds Berto's dead
body and cries in front of the whole town. Junior then enters the shack where
Kuala has successfully given birth to a baby boy, but the labor has made her
weak. Her thinking becomes lucid, and in her sanity she recognizes Junior and
realizes that Berto has been killed. She also recognizes Cesar among the crowd;
she asks him why he killed their child, revealing his secret. Kuala then gives
her baby to Junior, and dies. As Junior leaves the shack, he stared hard at the
townspeople, his parents, his former girlfriend and to everyone who were unkind
to him, to Berto and to Kuala. He walks near Berto's body and stops by, as the
people look on in silence. Junior leaves the cemetery with Berto and Kuala's
baby. Their stories draw forth the true nature of hypocrisy in the small town
and the boy bears witness and participates in the various emotions that throb
under the seemingly quiet village life-prejudice, cruelty, forgiveness, and
even love. In Tinimbang, Brocka clearly shows man's limitations as a mortal
being, but sends a message of hope for the movie, and in the end, speaks
ultimately of rebirth and maturity. This film is an emotionally-charged and
stinging commentary on the evils of humanity, the kind of humanity that each
and every one of us are capable of, or at the very least, we turn our heads and
ignore, preferring not to think of such unpleasantries. The film was considered
by Lino Brocka as his first novel and also his first production for his own
film outfit. Actor Christopher de Leon is introduced in this film as his debut.
9. Evolution Of A Filipino Family
(2004)
Original Title: Ebolusyon Ng Isang Pamilyang Pilipino
Directed By: Lav Diaz
Cast:
Elryan de Vera, Angie Ferro, Pen
Medina, Marife Necesito, Ronnie Lazaro, Lui Manansala, Banaue Miclat, Sigrid
Andrea Bernardo, Joel Torre, Angel Aquino, Ray Ventura, Dido de la Paz
Lav Diaz's 11-hour epic, about a pair
of families living through the Philippines' tumultuous recent history.
Lav Diaz's "Evolution of a
Filipino Family" observes the collapse and hopeful revival of a poor
farming clan, meant to symbolize a nation's history spanning 1971 to 1987.
Eleven-hour running time, radically slow pace and hyperminimalist mise en scene
will excite international cinephiles at the most daring fests and showcases.
This film is completed in 11 years.
The pre-production was started in December of 1993 in Jersey City, and began
photography on 8 March 1994 in New Jersey. The Philippine shoot started in
early 1997 in Gerona, Tarlac. The shooting ended in April 2003. But more scenes
were added October-November of 2004, and finally stopped 31 January 2005
This is one of the longest films of
all time.
A boy was shot in the ruins of a church near the end of the film Anak Dalita (1956)
10. Anak Dalita - Child Of Sorrow (1956)
Directed By: Lamberto V. Avellana
Cast:
Rosa Rosal, Tony Santos, Joseph de Cordova, Vic Silayan
The story takes place in Intramuros where
there is a slum settlement. Vic (Tony Santos), a war hero from Korea returns to
find his mother dying. When his mother dies, he is befriended by Cita (Rosa
Rosal), a prostitute with a golden heart who takes care of him, but eventually
both fall into a deeper relationship. Since both are poverty-stricken, Vic
decides to work with Carlo (Jose de Cordova), a smuggler. Later, Vic and the
smuggler ends up fighting causing the death of the latter and the younger
brother of Cita in the crossfire. In the end, the area is resettled and Vic and
Cita find a new life in another settlement.
Child of Sorrow (Tagalog: Anak
dalita) is a 1956 Philippine crime film directed by Lamberto V. Avellana. The
film was selected as the Philippine entry for the Best Foreign Language Film at
the 29th Academy Awards, but was not accepted as a nominee because the Academy
believes that Japanese, Chinese and Indian films best represent Asian cinema
and are far more deserving to win than Filipino cinemas which were merely an
inspired and influenced greatly by the Western films. The film won the Best
Film Award at the Asia-Pacific Film Festival in 1956.
Some of the most intense drama scenes in this video clip from the movie Insiang (1976)
11. Insiang (1976)
Directed By: Lino Brocka Story: Mario O'Hara
Cast:
Hilda Koronel, Mona Lisa, Ruel Vernal, Rez Cortez, Marlon Ramirez, Nina
Lorenzo, Mely Mallari, Carpi Asturias, George Atutubo, Eddie Pagayon
A beautiful girl gets raped by her
mother's lover, and then learns how to exact revenge.
The story centers on a teenage
girl, Insiang (Hilda Koronel), who is trapped by a mundane life of poverty in
Tondo, a slum district of Manila. In the opening scene, countless pigs scream
helplessly against the shrill whine of machines carving them from living beings
into chunks of flesh. The image mirrors the brutal and callous world Insiang
faces daily.
Insiang is the only child of Tonia
(Mona Lisa), a market vendor abandoned by her husband. Insiang's mother sees
her only as a reminder of the irresponsible husband who left her for no
apparent reason. Mother and daughter live in a slum shanty with the parasitic
relatives of Tonia's husband. Tonia, however, has a "live-in" partner
called Dado (Ruel Vernal), a hoodlum who is also attracted to Insiang. This
causes Tonia to become jealous of her daughter. Insiang has a boyfriend,
though, named Bebot. The young girl starts to hate Tonia and Dado even more
when Dado stops Bebot from writing to her.
One night, Dado rapes Insiang. When
Insiang tells her mother, Tonya believes Dado's tale that Insiang seduced him.
The desperate Insiang asks her boyfriend to run away with her. After she and
Bebot make love in a cheap motel, Bebot leaves her. Disillusioned, Insiang
returns to her mother who accepts her but is determined to prevent Insiang from
"seducing" Dado again. With revenge in mind, Insiang yields to Dado's
sexual advances, and manipulates him into mauling Bebot in a garbage dump.
Meanwhile, Tonya grows more suspicious of her daughter and Dado. Spurred by
revenge, Insiang reveals her relationship with Dado to her mother and spurs her
on, until Tonia attacks the man with a large knife and butchers him. As a
result, Tonia ends up in jail where the formerly innocent Insiang visits her
and admits that she planned Tonia's downfall.
Trapped in the slums, Insiang finds
living with her disapproving, sharp-tongued mother, Tonya, trying. Tonya,
having long ago been abandoned by her husband, takes her bitterness out on
those around her. In a fit of anger, she finally throws out her husband's
relatives who have been living with her, but it's not for the sake of their not
bringing in money anymore, which it seems on the surface. She's making way for
her boyfriend, Dado, to move in. Dado, the town bully, is young enough to be
her son, and this new living situation becomes the talk of the town. It isn't
long before he forces himself upon Insiang. Tonya is at first outraged but soon
takes Dado's side and blames her daughter for her own rape. Insiang leaves home
to seek support and solace from her ardent would-be boyfriend Bebot, but he
proves to be another Lothario as well. Forced to return home, Insiang turns
this inescapable situation upon itself to exact revenge.
The film has been called
melodramatic, but emotionally stirring. Being the first Filipino film featured
at Cannes, Insiang and Koronel as the title character stunned French critics.
The film also enjoys periodic revivals at international festivals, such as the
New York Film Festival.
Famous Quote / Movie Lines:
Hilda Koronel: Hindi ko siya inaagaw
sa inyo. Ako ang mahal niya't hindi kayo.
Mona Lisa: Sinungaling!
Hilda Koronel: Magtatanan kami,
lalayo kami rito't pakakasalan niya ako. Wala kayong kwenta sa kanya! Mona
Lisa: Hindi ako naniniwala sayo!
Hilda Koronel: Alam niyo ba kung
anong sinasabi niya sakin, kung anong ginagawa niyo sa kanya sa kama para
masiyahan lamang siya?
Mona Lisa: Tumigil ka!
Hilda Koronel: Oo inay, alam ko ang
lahat! Pinagtatapat niya sa akin lahat!
Mona Lisa: Tama na!
Hilda Koronel: At nandidiri siya sa
inyo, kaya siya naglalasing bago pumasok sa kwarto niyo. Para masikmura kayo!
Mona Lisa: Tama na!
Hilda Koronel: Yun ang sabi niya.
Matanda na kayo inay. Kulubot na ang balat niyo. Kaya't paggising niya sa
umaga'y nasusuka siya. Nasusuka sa pagmumukha niyo!!!
12. Mababangong Bangungot - Perfumed
Nightmare (1977)
Directed By: Kidlat Tahimik (Eric de Guia)
Cast: Kidlat Tahimik, Mang Fely, Dolores Santamaria,
Georgette Baudry, Katrin Muller, Hartmut
Lerch
Mababangong Bangungot (Perfumed
Nightmare) is a 1977 independent film directed by Kidlat Tahimik, the chosen
nom de plume of independent underground filmmaker, Eric de Guia. This movie was
his first work and it won him an award at the 1977 Berlin Film Festival.
The story centers on a young man from
a small town who dreams of becoming part of something greater. The narrative is
told from the main character's point of view and has a touch of comedy and
drama. Tahimik portrays a jeepney driver serving as president of the Wernher
von Braun Fan Club. He listens non-stop to the Voice of America radio show
while dreaming of watching a launch at Cape Keneddy. Suddenly, he finds an
opportunity to fulfill those dreams. An American offers him a job in France,
then Germany and eventually in America. Sadly, the young driver discovers that
there is no promised land. His utopian fantasy becomes a "perfumed
nightmare." The extremely slow de-Westernization of Tahimik is charmingly
told (through his letters to his mother, through a roughly shot yet lovely
dream sequence in the end), yet you are drawn incessantly to his growth;
something I find invaluably rare in cinema nowadays. It is Tahimik's
generosity, his humble simplification of the world's complex worries that
carries Mababangong Bangungot from its low budget imaginings. Tahimik
exoticizes his culture without necessarily exploiting it. He also exoticizes
European cultures; and in a way, he dons the skin of a curious documentarian,
only with more humor and a drawing charm. Tahimik states that he initially
wanted this film to be the typical tale of a probinsyano (provincial man) who
is transplanted to city life. Somehow, the canvass blossomed into what it is
now; a flavorful ode to Filipino ingenuity and culture; a classy coming-of-age
tale of a fullgrown man (although childlike in his ways) coming to see the
world in his little nation's meager curious eyes.
Kidlat Tahimik (Eric de Guia in real
life), a prolific filmmaker, writer and actor whose films are commonly
associated with the Third Cinema movement through their critiques of
neocolonialism, directed this classic masterpiece.
13. A Portrait of the Artist As
Filipino (1964)
Directed By: Lamberto V.
Avellana Story: Nick Joaquin
Cast: Daisy H. Avellana, Naty
Crame-Rogers, Conrad Parham, Vic Silayan, Sarah K. Joaquin, Nick Agudo, Pianing
Vidal, Koko Trinidad, Oscar Kesse, Veronica Palileo, Nena Perez Rubio, Manny
Ojeda
Set in the Filipino world of
pre-World War II Intramuros of Old Manila in October 1941, the film explores
the many aspects of Philippine high society by telling the story of the
Marasigan sisters, Candida and Paula, and their father, the painter Don Lorenzo
Marasigan. Due to an artistic drought on Don Lorenzo's part, the family has to
make ends meet by relying on the financial support provided by their brother
Manolo and sister Pepang, who were urging them to sell the house. Later on,
they also had to take a male boarder, in the person of Tony Javier. Don
Lorenzo who refuse to sell, donate, or even exhibit his self-portrait in
public, was only content in staying inside his room, a stubbornness that
already took a period of one year. The painting has attracted the attention and
curiosity of journalists such as a family friend named Bitoy Camacho, and other
obnoxious visitors pretending as art critics. When one of the daughters, Paula,
elopes with Tony, a journey of personal liberation is set in motion, which ends
with a restoration of family relations which had been strained due to the
neediness of the artist's family. She also felt regret after destroying the
portrait.
The theme focuses on family conflict
and the amalgamation of old Filipino identity and cultural character with the
arrival of contemporary and Western ideals.
Magnifico (2003) measuring her ailing grandma's height and size for him to make her a coffin.
14. Magnifico (2003)
Directed By: Maryo J. De Los Reyes Story: Michiko Yamamoto
Cast:
Jiro Manio, Lorna Tolentino, Albert Martinez, Gloria Romero, Celia
Rodriguez, Mark Gil, Tonton Gutierrez, Amy Austria, Cherry Pie Picache, Danilo
Barrios, Susan Africa, Isabella De Leon, Dindin Llarena, Joseph Roble, Girlie
Sevilla
Magnifico is a 2003 Filipino FAMAS
Award-winning drama film directed by Maryo J. De los Reyes, written by Michiko
Yamamoto, and starring Jiro Manio, Lorna Tolentino, Albert Martinez, Gloria Romero.
Even though he is not good in school
and belongs to a poor and unfortunate family, Magnifico still have a big heart
and a large amount of optimism that enabled him to help not only his family but
also the community.
Set in an impoverished town, a couple
begins to lose hope and courage when faced with life's adversities - a daughter
who suffers from cerebral palsy, a son who loses his scholarship, and a young
boy named Magnifico or Ikoy, who is not so good in school. But Ikoy has a good
heart and a large spirit that allows him to give joy to hopeless people in
their community and magically transforms their lives for the better. With
Ikoy's grandmother is discovered to have stomach cancer which has reached
uncontrollable stage.
Magnifico gained international
acclaim as an indie film in major international film festivals gaining 31 wins
and 11 other nominations. It won the Crystal Bear for the the 2004 Berlin
International Film Festival Children's Category as well as the Deutsches
Kinderhilfswerk Grand Prix. In the same year, it also garnered seven major
awards in the FAMAS Awards, seven awards in the Gawad Urian Awards, seven
awards in the Golden Screen Awards and six awards in the FAP Awards in its home
country. In 2011, the Gawad Urian Awards Committee proclaimed Magnifico as the
"Best Film of the Decade". It received positive rave reviews from
foreign film critics. Currently, it holds a 63% "fresh" rating from
Rotten Tomatoes.
15. Anak (2000)
Directed By: Rory B. Quintos Story: Ricardo Lee, Raymond Lee
Cast:
Vilma Santos, Claudine Barretto, Joel Torre, Baron Geisler, Sheila Mae
Alvero, Amy Austria, Cherry Pie Picache, Leandro Muñoz, Tess Dumpit, Cris
Michelena, Hazel Ann Mendoza, Daniel
Morial, Gino Paul Guzman, Jodi Sta. Maria, Odette Khan
The main character is a Filipina
Overseas Contract Worker, one of the many residents of the archipelago who is
forced to leave her family and take a higher paying job in Hong Kong. While she
is working her employer refused to let her take a vacation, nor does he deliver
her mail to her. She is unaware, therefore, that her husband has died. When she
finally returns to the Philippines she is met with resentment and hatred by her
children. The movie studies how she overcomes these feelings and rebuilds the
relationship with her family. The film shows us the hardship, difficulties, sacrifices and the insurmountable odds the Filipino migrant workers faces working in foreign lands just to raise their family.
Famous Quote / Movie Line:
Bakit ang ama, makapag-trabaho lang
sya at maibigay ang pangangailangan ng anak mabuti na sa paningin ng iba?!…
pero bakit ang ina ginawa mo ng lahat… nagpakapagod ka, masama parin sa
paningin ng iba?!"- Vilma Santos
“Sana sa tuwing umiinom ka ng
alak…habang hinihitit mo ang sigarilyo mo at habang nilulustay mo ang perang
pinapadala ko! Sana maisip mo rin kung ilang pagkain ang tiniis kong hindi
kainin para lang makapagpadala ako ng malaking pera rito. Sana habang nakahiga
ka diyan sa kutson mo, natutulog, maisip mo rin kung ilang taon akong natulog
mag-isa habang nangungulila ako sa yakap ng mga mahal ko. Sana maisip mo kahit
kaunti kung gaano kasakit sa akin ang mag-alaga ng mga batang hindi ko
kaano-ano samantalang kayo, kayong mga anak ko hindi ko man lang maalagaan.
Alam mo ba kung gaano kasakit iyon sa isang ina? Alam mo bang gaano kasakit
iyon? Kung hindi mo ako kayang ituring bilang isang ina. Respetuhin mo man lang
ako bilang isang tao. Yung lang Carla…yun man lang.” - Vilma Santos as Josie
Agbisit
The weary and fearful Charo Santos disguising as a doctor finds a way just to talk to her boyfriend (Jay Ilagan) while his deranged paranoid father (Vic Silayan) is looking out for her in this scene from Kisapmata (1981)
16. Kisapmata - In Just A Wink Of An Eye (1981)
Directed By: Mike De Leon
Cast: Charo Santos-Concio, Jay
Ilagan, Vic Silayan, Charito Solis, Ruben Rustia, Aida Carmona, Juan Rodrigo,
Cora Alforja, Dindo Angeles, Edwin
O'Hara, Mandy Bustamante, Mely Mallari, Monette Alfon
Dadong Carandang (Silayan), a retired police officer, is the domineering father of Mila (Santos), and he is extremely jealous of the latter's suitors, never allowing them into his house. One day, Mila falls in love with Noel Manalansan (Ilagan) and they decide to seek Dadong's permission to get married. Mila finds out she is pregnant. Dadong agrees on the condition that Noel pays a ridiculously costly dowry as well as shoulder a luxurious wedding. Noel agrees and works hard to meet Dadong's demands.
After the wedding, Dadong insists that the couple stays in his house. Despite protestations by the couple, they acquiesce. The couple is not allowed to sleep together for various reasons, i.e., that Mila's mother Dely (Solis) is sick and Mila needs to comfort her through the night.
After several months of living in this misery, the couple decides to escape. They were hunted by Dadong, to no avail. One day Dadong changes his tactic and makes some compromises to bring them back. Eventually, the couple decides to go back to Dadong's house, but only to gather their belongings. Dadong pleads with Mila not to leave as it is revealed that he has been carrying out an incestuous relationship with his daughter all along, and the baby is his. When Mila and Noel stand firm on leaving, Dadong is driven to desperation and brings out his gun, shooting Dely, Noel, and then finally, Mila. Seeing to no longer consume himself in such obsession, he shoots himself.
Kisapmata is a 1981 drama film directed by Mike de Leon, written by de Leon and Clodualdo del Mundo Jr., and based on Nick Joaquin's 1968 true crime article entitled "The House on Zapote Street".
It was a breakthrough film as it was the first major treatment of incest in Philippine cinema. The movie was both a critical and box-office success, establishing De Leon as one of the great directors of the new generation. The movie garnered 10 major awards in FAMAS, was presented in Cannes in the Director's Fortnight, and was adjudged by the Manunuri ng Pelikulang Pilipino as one of the 10 Best Films of the 1980s.
The film deals with some strong themes including incest, murder, suicide, and parricide.
Though the plot was based on an actual murder case, the movie is an imagined recreation of what led to the homicidal incident. ic Silayan, a patriarch who carries more than mere fatherly love to his daughter, is the ultimate personification of evil here. Unable to accept the impending marriage of his daughter (Charo Santos) to beau Jay Ilagan, he makes life miserable for the pair. Ilagan slowly learns the hideous secret the family carries and despite his plight, is unable to stop it. The imagery and music add to an impending tragedy that awaited everyone. Great acting from Silayan, great directorial work from de Leon!
17. Ora Pro Nobis - Subtitle: Fight
For Us (1989)
Directed By: Lino Brocka Story: Jose F. Lacaba
Cast:
Phillip Salvador, Dina Bonnevie, Gina Alajar, Ginnie Sobrino, Abbo de la
Cruz, Pen Medina, Joel Lamangan, Gerard Bernschein, Ernie Zarate, Jess Ramos,
Obby Castañeda, Pocholo Montes, Bon Vibar, Raquel Villavicencio
The film title is a Latin phrase
which means "pray for us" alludes to the lead character of the film
which is a priest.
In 1985, in the obscure town of
Dolores, the Orapronobis, a cult under the leadership of Kumander Kontra
(Roco), murders a foreign priest who gave the last rites to an alleged rebel,
who was also executed by the same group. At the success of the 1986 EDSA
revolt, political detainees, led by Jimmy Cordero (Salvador), celebrate the
fall of the dictatorship. All political prisoners are released, including
Jimmy, an ex-priest-turned-underground revolutionary. Not long after Jimmy
marries a human rights activist, Trixie (Bonnevie). Jimmy becomes an advocate
of human rights. Despite Trixies protests, Jimmy and Trixies brother, Roland
(Lorenzo), go with a fact-finding mission to Dolores to investigate the latest
crime committed by the Orapronobis. Jimmy meets Esper (Alajar), his
ex-girlfriend. He finds out that he has a son with her, Camilo (Herrera). They
agree to keep Jimmys true identity a secret form the boy. Conniving with the
military, the Orapronobis step up their acts of terror.
Jimmys group is forced to evacuate
the townspeople to the town church, then later to Manila. Back in Manila, Jimmy
turns down a friend's invitation to rejoin the underground movement. Later, he
and Roland are ambushed. Jimmy survives, but Roland does not. He recovers and
shortly after that, Trixie gives birth to their child. Soldiers raid the
refugee center with a masked man who identifies several of the barrio folk as
rebels. The refugees and the human rights activists complain to the government.
Esper and her son are abducted by the Orapronobis who accuse Esper of helping
the rebels. She is raped and beaten up by Kumander Kontra in front of Camilo.
Fighting back, she shoots at Kontra. In a hysterical rage, Kontra goes on a
shooting rampage, killing Esper, Camilo and the captured barrio men. Later, the
military bring the casualties to the town where Jimmy weeps over the bodies of
Esper and his son. The film ends with Jimmy contacting his old colleague from
the underground.
The opening scene where Major Kontra
killed a priest, was based on an actual incident in 1985 where cult leader
Norberto Manero brutally murdered Italian Catholic priest Father Tulio Favali.
Vilma Santos in her career defining performance that catapulted her to greatness as the Burlesk Queen (1977) Chato in this famous dance sequence swaying her hips perfected in seven nights.
18. Burlesk Queen (1977)
Directed By: Celso Ad. Castillo
Cast: Vilma Santos, Rosemarie Gil,
Rolly Quizon, Leopoldo Salcedo, Roldan Aquino, Joonee Gamboa, Chito Ponce
Enrile, Dexter Doria, Yolanda Luna, Celso Ad. Castillo, Estrella Kuenzler, Pat
Ilano, Mervyn Samson, G.V. Misa, Rio Locsin
Burlesk Queen is a 1977 drama film
directed by Celso Ad Castillo about a poor girl who found herself working in
the world of burlesque performers in order to alleviate her family's poverty.
The lead role is masterfully played by Vilma Santos, who sheds her good girl
image for the first time in this role.
To support her paralytic father,
Chato (Vilma Santos) works as a utility girl for a burlesque star Virgie Nite (Rosemarie Gil). But when Virgie
gets drunk on the night of her scheduled show, Chato pitches in for her. And
she becomes an instant sensation. Enthused by the initial acceptance of the
audience, she defies her father's admonitions and presents herself to the
manager and thus, becoming the new burlesque queen.
Mang Roque (Leopoldo Salcedo) Chato's father learns
about the incident and declares that he will sell his soul to the devil but
never her daughter's body. Chato however is exceedingly enthused by her
acceptance of the theater audience she presents herself to Louie the theater manager and christens her Tzarina,the young goddess. Chato carries a young
romance w/ Jessie a typical rebellious youth ignores his parents and elope w/ Chato. Their romance leads into a brief happy life and when his mother traces
the couple and makes him choose between Chato and the parents he chooses the
parents. Chato returns to the theater w/all the frustrations behind her. She
succumbs into Louie's invocations of arts in order to make her dance again but
she is a few months on the family way, when she makes the grand performance, it
becomes also her last.
As the first Filipino film to be shown at any international film festival, Genghis Khan (1950) with its lavish production and stunning cinematography received rave reviews in Venice International Film Festival
19. Genghis Khan (1951)
Directed By: Manuel Conde,
Lou Salvador Sr.
Cast:
Manuel Conde, Elvira Reyes, Inday Jalandoni, Jose Villafranca, Lou
Salvador, Don Dano, Africa dela Rosa, Ric Bustamante, Ely Nakpil, Johnny
Monteiro
Genghis Khan or Ang Buhay ni Genghis
Khan is a 1951 Filipino Film Directed by Manuel Conde, based in the Narrative
Biography of the life of the Mongol Ruler and Emperor Genghis Khan.
Temuljin, who later became Genghis
Khan is wise, or sometimes cunning. He goes through several heroic episodes;
competing at the Man of Men contest, falling in love with the enemy commander's
daughter, and struggling to restore his demolished hometown. Meanwhile his
steps guide him to be a great conqueror. The film takes on Khan's witty,
humorous side in his adolescent years before he takes the throne.
This is the first Filipino film to be
screened and competes at an international film festival in 1952 specifically Venice International
Film Festival.
The prints of this film were found in
Venice Film Festival vaults and were restored at L'Immagine Ritrovata. On 6
September 2012, the film was screened in the festival as a special
retrospective of cinema classics among others.
20. Ina, Kapatid, Anak - Mother,
Sister, Child (1979)
Directed By: Lino Brocka Story: Mel Chionglo
Cast: Lolita Rodriguez, Charito
Solis, Rio Locsin, Ric Rodrigo, Raoul Aragon, Laurice Guillen, Lorli
Villanueva, Manny Ojeda, Sonia Valenciano, Venchito Galvez
Ina, Kapatid, Anak is a 1979 drama
movie directed by Lino Brocka about two sisters vying for the love of men. The
core of the film is the love/hate relationship of the central characters, who
are embittered with sibling rivalry.
Pura (Lolita Rodriguez) returns to
her hometown from the US to see her ailing father. Twenty years ago, she flies
to the United States in order to escape the pain of seeing her boyfriend get
seduced by and wed her half-sister, Emilia (Charito Solis). With Pura's return,
old wounds open up and the sibling rivalry is revived between her and Emilia,
who will not let Pura forget that she is a bastard.
Emilia, on the other hand, merely
seeks the love that her father always showed to Pura, the more favored
daughter. Both Pura and Emilia, however, cannot admit their inability to
control the love of the men they long for, and find it difficult to accept that
love cannot be possessed and must be given freely.
Their bitter rivalry escalates; and
despite their other accomplishments, they focus on the frustrations they seem
unable to live without.
Ina, Kapatid, Anak is the only
teaming of Filipino dramatic actors Solis and Rodriguez, who portray the
warring sisters with perfection. Their strong and natural performances were pronounced
stunning by critics. Charito Solis garnered a Best Actress Award from Gawad
Urian and a nomination from the FAMAS for her role.
21. Manila By Night - City After Dark
(1980)
Directed By: Ishmael Bernal Story: Ishmael Bernal
Cast: Charito Solis, Alma Moreno, Lorna Tolentino,
Rio Locsin, Cherie Gil, Gina Alajar, Orestes Ojeda, William Martinez, Bernardo
Bernardo, Johnny Wilson, Jojo Santiago, Sharon Manabat, Mitch Valdez
Manila By Night also known as City
After Dark is a 1980 Filipino Gawad Urian Award winning drama film directed by
critically acclaimed director Ishmael Bernal and starred Gina Alajar and
Charito Solis. Released at the height of the Marcos regime, the film uncovers
the other face of Manila by depicting the ugly aspects of life in the city -
unemployment, prostitution, drug addiction, and lack of decent housing.
Considered as one of Bernal's masterpieces, it is an epic multi-narrative of
people who have shady pasts and are trying to exist in an unforgiving world.
The hidden nightlife of ordinary
people living in Manila unveils. Lovers and families' conflicts are radically
pitted against each other as they live in the night streets rampant with drugs
and prostitution. The outstanding narrative explicitly unravels the various
characters and episodes. Actually named Manila By Night, this landmark film of Ishmael Bernal depicts the
darkness of city life so vividly that it was once prohibited to use the word
'Manila' on its title thus it was named City After Dark instead.
The film's events take place in the
course of several nights, involving various protagonists and the city itself.
William Martinez plays a folk singer from a rich family who becomes addicted to
heroin through the influence of lesbian pusher and pimp, Cherie Gil. Martinez's
mother in the movie, played by Charito Solis, is herself a reformed prostitute
who, like Lady Macbeth, is obsessed with cleaning her hands to remove the dirt
of her past. She does her best to be respectable after marrying an ex-cop
played by Johnny Wilson. Meanwhile, Cherie Gil's character is in love with a blind
masseuse, played by Rio Locsin, with two illegitimate children. Locsin lives
with Jojo Santiago, whose character fantasizes of earning American dollars
while working in Saudi Arabia. Another character, portrayed by Alma Moreno, is
a nurse who, in reality, is a call girl. Her live-in taxi-driver lover, played
by Orestes Ojeda, is fooling around with a waitress played by Lorna Tolentino,
who is the presumed girlfriend of a gay couterier played by Bernardo Bernardo.
As dawn breaks over the city, the bizarre lives of the characters of Manila's
nightlife seem like an alter-ego of the respectable, busy daytime world.
The fake nurse device of Alma
Moreno's prostitute-in-nurse attire was taken from a real-life motel slaying
case a year before the production of the movie.
Coco Martin looks upon the victim in the gut wrenching Kinatay (2009)
22. Kinatay - Butchered (2009)
Directed By: Brillante Mendoza Story: Armando Lao
Cast:
Coco Martin, Maria Isabel Lopez, Julio Diaz, John Regala, Jhong Hilario,
Lauren Novero, Benjie Filomeno, Mercedes Cabral, Allan Paule, Ping Medina,
Susan Africa, Lou Veloso
Kinatay (English: Butchered) is a
2009 Filipino independent drama film directed by Brillante Mendoza and stars
Coco Martin as a criminology student who accidentally joined a syndicate to
make enough money for his family.
A young man tries to make some money
so he can marry his girlfriend. He takes a job for $2,000 and then soon
realizes that this job involves killing a woman.
A criminology student, Peping (Coco
Martin) trying to make enough money for his family takes a lucrative job that
is offered by a friend of his, Abyong (Jhong Hilario). It turns out that he
actually joined a syndicate. During a night together, the criminal group abduct, rapes and kills a woman named Madonna (Maria Isabel Lopez),
butchers the body into pieces, and throws the pieces in various places out of
the car. In the morning he politely asks his boss to allow him to go home. The
boss understands that he has to get used to the practices, gives him some
money, and lets him go.
This film was nominated for the Palme
d'OR at the 62nd Cannes Film Festival and won the Prix de la Mise en Scene
instead. It also won the Best Director Award and Best Original Soundtrack at
the Sitges International Film Festival in the same year. This was the film that
angered film critic Roger Ebert and called it the worst film in Cannes history.
23. Bona (1981)
Directed By: Lino Brocka Story: Cenen Ramones
Cast: Nora Aunor, Phillip Salvador,
Marissa Delgado, Raquel Montesa, Venchito Galvez, Rustica Carpio, Nanding
Josef, Spanky Manikan
“Bona” is a story of obsession, the
tragedy of the fan turned fanatic. It delves into what causes an otherwise
sensible girl to throw discretion and self-respect to the wind to serve her
beloved. In the fanatical context of Philippine movies, it is a story that
needs to be told. To serve him utterly, she braves rain, hunger, the scorn of
her “decent” family, the illness and ultimate death of her father, the
subsequent anger of her brother, the pain of seeing her idol bedding other
women, the ordeal of having to arrange for the abortion of one of the girls
he’s so casually impregnated, and the shame of having to “service” him sexually
without the slightest reciprocation of love or even gratitude on his part.
In the end, the nasty man announces
that he’s leaving the country with his latest and wealthiest inamorata. Bona,
who has taken all the shit he’s casually thrown her way, can take no more. She
kills the bastard. In the process, she has hopefully killed her insane
obsession for him. Or maybe she has also killed herself. What a story! The film
is set in a fetid Philippine slum, but it is so strong that it may well have been
set in a theater in ancient Greece, where the most powerful and
incomprehensible of human emotions rivaled the monumental tantrums of the gods.
BONA loves Gardo. Gardo loves Gardo.
Gardo loves going to bed with almost any woman he can attract. Once -
apparently in the absence of anyone better - he even takes Bona to bed, but by
the next morning, the matter seems to have slipped his mind.
Bona is a grave-looking woman who
drops out of school to pursue her crush on the narcissistic Gardo by moving in
with him, more as a servant than anything else. Gardo, in the estimation of
Bona's enraged father, is either a second- or third-rate actor in Philippine
action movies.
The fortress which is Rosa, the only rose among the thorns shows her strength amidst difficulties and adversity in her family in Malvarosa (1958)
24. Malvarosa (1958)
Directed By: Gregorio Fernandez Story: Clodualdo del Mundo Sr.
Cast:
Charito Solis, Leroy Salvador, Carlos Padilla Jr., Eddie Rodriguez,
Rebecca Del Rio, Vic Silayan, Vic Diaz, Rey Ruiz, Linda Roxas, Johnny Reyes,
Priscilla Ramirez, Ramon Olmos, Nita Ramos, Levi Celerio
Rosa (Charito Solis) lives with her
mother (Rebecca del Rio) and four older brothers in the slums. When their drunken
father is run over by a train and dies, their traumatized mother wastes away in
guilt and alcoholism. Rosa is engaged to be married to Candido (Leroy
Salvador), a man who loves her deeply but cannot understand why Rosa chooses to
serve her brothers first, when they treat her no better than a servant.
Melanio, the eldest (Vic Silayan), is an obnoxious womanizer. Alberto (Carlos
Padilla Jr), is a man deeply affected by the unsavory reputation of his family.
Driven by desperation, he attempts to rape the girl he loves, and in despair,
commits suicide. The violent Leonides (Vic Diaz) killed a man and dies in a
bloody encounter with the police. The crafty Vedasto (Rey Ruiz) persuades Rosa
to work for a wealthy man (Johnny Reyes) who has desire on her. But the
youngest, Avelino (Eddie Rodri guez), is the only brother who is patient and
responsible enough to help bear the family's burdens. Directed by Gregorio
Fernandez, the film transcends the typical Filipino melodrama through the use
of sophisticated story-telling techniques and distinguished performances.
Rebecca Del Rio, a familiar kontrabida (villain), subsequently won the 1958
Asian Film Festival best supporting actress award.
25. Noli Me Tangere - Touch Me Not -
The Social Cancer (1961)
Directed By: Gerardo De Leon
Cast: Eddie Del Mar, Edita Vital, Johnny Monteiro,
Oscar Kesse, Teody Belarmino, Leopoldo Salcedo, Ramon D'Salva, Ruben Rustia,
Max Alvarado, Nelly Nayo, Engracio Ibarra, Lilian Laing, Veronica Palileo,
Joseph de Cordova, Manny Ojeda
Epic screen adaptation of the great
Jose Rizal's novel, Noli Me Tangere (otherwise known as Touch Me Not or The
Social Cancer and was taken from a Bible verse).
Noli Me Tángere (Touch me Not) is a
novel written by José Rizal, considered as one of the national heroes of the
Philippines, during the colonization of the country by Spain to expose the
inequities of the Spanish Catholic priests and the ruling government. The
title, in Latin meaning touch me not, refers to John 20:17 in the Bible (King
James Version) as Mary Magdalene tried to touch the newly risen Jesus, He said
"Touch me not; for I am not yet ascended to my Father."Early English
translations of the novel used titles like An Eagle Flight (1900) and The
Social Cancer (1912), disregarding the symbolism of the title, but the more
recent translations were published using the original Latin title. It has also
been noted by French writer D. Blumentritt that “Noli me tangere” was a name
used by ophthalmologists for cancer of the eyelids. That as an ophthalmologist
himself Rizal was influenced by this fact is suggested in his dedication, “To
My Country”.
Originally written in Spanish, the
book is more commonly published and read in the Philippines in either Filipino
or English. Together with its sequel, El Filibusterismo, the reading of Noli is
obligatory for high school students throughout the archipelago.
26. Moral (1982)
Directed By: Marilou Diaz-Abaya Story: Ricardo Lee
Cast:
Lorna Tolentino, Gina Alajar, Sandy Andolong, Anna Marin, Juan Rodrigo,
Michael Sandico, Ronald Bregendahl, Lito Pimentel, Mia Gutierrez, Christopher
Ng, Laurice Guillen, Dexter Doria, Claire de la Fuente
Joey, Kathy, Sylvia and Maritess are
not only classmates — they are the best of friends. Joey is a drug user who
sleeps around. Kathy is a mediocre singer who will stop at nothing to fulfill
her dream of the big-time. Sylvia is a liberated woman who finds security in
the love of her ex-husband who is now living in with another man. Maritess
plays the role of a conventional housewife, who is reduced to a baby-making
machine. In the span of three years — from 1979 to 1982 — the film traces the
lives of these four women through their seemingly desperate but also interwoven
experiences, and in their attempts to resolve their individual problems, are
mirrored the different faces of the woman in our society today.
27. Ganito Kami Noon... Paano Kayo
Ngayon? This Is How We Were, How Are You
Doing Now? (1976)
Directed By: Eddie Romero
Cast:
Christopher de Leon, Gloria Diaz, Eddie Garcia, Dranreb Belleza,
Leopoldo Salcedo, Rosemarie Gil, Johnny Vicar, Tsing Tong Tsai, EA Rocha, Jaime
Fabregas
A picturesque tale of Kulas a
country bumpkin or the Filipino film version of Huckleberry Finn, whose misadventures symbolize the search for the elusive
Filipino identity at a time when Spain was being replaced by the United States
as the colonizer after a short-lived period of Philippine independence. A
sprawling historical epic, which details the country's struggles in
establishing its cultural identity dating from the Revolution against Spain until
the Philippine-American War, as seen through the eyes of a provincial young
man.
The film is set at the turn of the
20th century and explores the adventures and calamities of a simple, provincial
young man named Kulas (de Leon) with the struggle for Philippine independence
as a backdrop to his story. Kulas is unwittingly sent to look for the bastard
son of a Spanish friar. Deciding to try his luck in the city, Kulas arrives in
Manila at the time of the Philippine Revolution against Spain.
Diding (Gloria Diaz) attracts Kulas
and he falls in love. Kulas befriends a Chinese merchant and together they
cheer the arriving Americans during the Philippine-American War. As Kulas
matures, he yearns to find the meaning of being Filipino by seeking and
determining his true nationality.
28. Karnal - Carnal Desires -
Subtitle: Of The Flesh (1983)
Directed By: Marilou Diaz-Abaya Story: Ricardo Lee
Cast:
Charito Solis, Phillip Salvador, Vic Silayan, Cecille Castillo, Joel
Torre, Grace Amilbangsa, Pen Medina, Joonee Gamboa, Rolando Tinio, Ella
Luansing, Vangie Labalan, Gil de Leon, Rustica Carpio
Narsing and Puring, a newlywed
couple, come home to the village of Mulawin to live in the ancestral house of
Narsing's father, Gusting, a land owner. Puring, his city-bred wife, resembles
Narsing's dead mother who had committed suicide after having been publicly
shamed and punished by her husband for her romantic liaison. Doray, Narsing's,
sister, has also been a victim of her father's authoritarian rule as she has
been forced to marry a man not of her choice.
Puring, feeling rejected by the
townfolk, seeks companionship with a deaf-mute who, like her, has remained an
outsider. She begins to develop a tender, emotional relationship with him.
Narsing, who works in the Kapitolyo, asks his father for his share of the
inheritance. But the father prevails upon him to stay. The couple makes a plan to
go back to the city.
One night, Puring, having overstayed
in the deaf-mute's hut, is hunted and dragged home by his father-in-law who present her to her husband for punishment. Narsing, however, reacts to the
father's brutality, especially after his wife informs him of the old man's
attempt to make advances on her. In the ensuing fight, the son slays his own
father. In prison, Narsing commits suicide. Meanwhile, Puring buries alive her
infant son believing it to be the devil's off-spring. At the end, Puring goes
back to the city while Doray seeks out her old sweetheart, with whom she later
bears a daughter who acts as the writer-narrator of the story and who pieces
together the episodes of the life of her forebears.
The film was inspired by "To
Take A Life", a true legal story by Teresita Añover Rodriguez published in
MR. and MRS. Magazine. The film was selected as the Philippine entry for the
Best Foreign Language Film at the 57th Academy Awards, but was not accepted as
a nominee.
Sneaky Danny (Daniel Fernando) peeping through a hole in the steamy Scorpio Nights (1985)
29. Scorpio Nights (1985)
Directed By: Peque Gallaga Story: T.E. Pagaspas, Rommel Bernardino
Cast:
Orestes Ojeda, Anna Marie Gutierrez, Daniel Fernando, Eugene Enriquez,
Amanda Amores, Mike Austria, Pen Medina, Uro Q. dela Cruz, Lore Reyes, Rafael
Salonga, Caloy Balasbas, Carlito Abrasia
It is about a love triangle between a young
man, a married woman and her husband who is a police who first got tangled because of their uncontrolled
urge to make love. The release of the film became very controversial but played
a key role in defining the Filipino erotic films during its decade. This is the
story of a forbidden love affair between a college student (Daniel Fernando)
and an unfaithful housewife (Ana Marie Gutierrez).
In a crowded, multi-apartment house,
a young student peeps on his neighbours making love and subsequently develops a
steamy affair with the neighbour's wife. The affair slowly becomes an obsession
and spins out of control.
The film happened in a shabby
apartment where a student resides just above the room of a security guard and
his wife. Every day, the husband goes home, eats his dinner, washes the dishes,
goes straight to bed and makes love with his wife. The student plays peeping
tom to the two and every night looks through a hole in his floorboard. Not able
to control his urges, he goes to the room of the wife where he does the same
things that the girl's husband does to her with no resistance. The two perform
the act repeatedly until they fall in love with each other. The security guard
husband finds out that his wife is cheating on her when one day he walks in on
them while having sex and shoots both. He then shoots himself after. The film is
considered one of the most controversial and important films during its time.
Not only is the movie provocative but it is also commended for its social
relevance. It portrayed the chaotic economy of that year when Ninoy Aquino's
assassination was still very much talked about, towards the beginning of the
end of the Marcos regime.
In one sex sequence where Anna Marie
Gutierrez had to spit her saliva straight into the mouth of Daniel Fernando,
the actress did not utilize her own but of Karo syrup used for pancakes.
Korean film Summertime (2001)
directed by Jae-ho Park is based on this movie.
30. Pagputi ng Uwak, Pag-itim ng
Tagak - When the Crow Turns White, When the Heron Turns Black (1978)
Directed By: Celso Ad. Castillo Story: Ruben Arthur Nicdao
Cast: Vilma Santos, Bembol Roco, Robert Talabis,
Joonee Gamboa, Angie Ferro, Olivia O'Hara, Mona Lisa, Mario Escudero, Fred
Panopio, Adul de Leon, Lito Anzures, Miniong Alvarez, Andres Centenera, Carpi
Asturias, Feling Cudia
As a young woman born in a
tradition-bound town but raised in the modernizing atmosphere of Manila, Julie
gropes towards maturity without benefit of guidance from understanding elders.
Home for the traditional town fiesta, she meets the poor boy next-door; Dido Ventura
(played by Bembol Rocco) whose passion and impulsiveness rush her into an
elopement but Dido’s family has a long-standing grievance against the
Monserrats who, through fraudulence in the past, had grabbed the Ventura
property. When the young lovers ask for permission to marry, Julie’s snooty
aunts make her choose between her present status as a rich single Monserrat,
and an uncertain future as housewife of Dido. In a moment of indecisiveness,
Julie gives up Dido and goes back to her music studies.
At the university, Julie is visited
by the elderly violinist from her hometown whom she idolizes. Maestro Juan
Roque (Jonee Gamboa) has learned she is pregnant, and he has come to tell Julie
that he is her father and then walks out on him. When she gives birth, against
the wishes of her aunts, Julie decides to keep the baby and give the baby to
its father. By this time, it has become impossible for the baby to have its
father. Dido has joined the band of Huks headed by Kumander Salome (Lito
Anzures). Driven by the desire to help his daughter out, Maestro Juan Roque
goes to the Huk hide-out to effect reconciliation between Dido and Julie. A
quick night visit for Dido is arranged, and the lovers rediscover each other.
Too late, for government agents have learned of the presence of the Huks, and a
bloody shoot-out affirms the nihilism of the film’s title.
31. Jaguar (1979)
Directed By: Lino Brocka Story: Nick Joaquin, Jose F. Lacaba
Cast:
Phillip Salvador, Amy Austria, Menggie Cobarrubias, Johnny Delgado,
Anita Linda, Mario Escudero, Jimmy Santos, Joe Cunanan, Fred Param, Nonoy de
Guzman, Eddie Gicoso
Jaguar is a 1979 drama film by Lino
Brocka. The title comes from the Filipino slang word or interchanged Spanish
word "guardia." Colloquially, the word means "bodyguard,"
the occupation of the film's main character, played by Philip Salvador, who
dreams of becoming an important person one day.
Poldo (Philip Salvador), a poor man,
fantasizes about having good pay, social acceptance by the rich, fancy clothes
and a good lifestyle, like most other Filipinos. He becomes a security guard in
a posh apartment house to help his family. Trouble ensues after he saves his
boss's son, Sonny (Menggie Cobarrubias), from a corrupt nightclub owner's
attack. The grateful Sonny offers Poldo a job as his bodyguard. Unbeknownst to
Poldo, his new employer publishes porno magazines and is just as corrupt as his
attacker. Poldo, however, is lulled because now he gets a taste of his boss'
carefree and extravagant lifestyle and believes that his boss accepts him as a
friend.
In one of the nightclubs they
frequent, Poldo meets Cristy (Amy Austria), a dancer whom Poldo is attracted
to. Sonny, too, is smitten by Cristy and aggressively pursues her, despite a
warning from San Pedro, the movie director with whom Cristy has had an affair.
Sonny and San Pedro fight over Cristy, while Poldo and Cristy act upon their
sexual attraction with each other. Soon after, Sonny and San Pedro fight. Poldo
comes to his boss' rescue and guns down San Pedro. Sonny, however, is unwilling
to risk his reputation defending a functionary from the slums, and Poldo comes
to the bitter realization that he is alone, abandoned, and betrayed.
Jaguar made the competition section
of the 33rd Cannes International Film Festival (1980) and was given French
recognition by being given the designation "A Film Noir by Lino
Brocka." With its main character trapped in an amoral world, Jaguar has a
true noir sensibility and mood of grim determinism.
32. Juan Tamad Goes To Society (1960)
Directed By: Manuel Conde Story: Jess Banguis
Cast: Manuel Conde, Tessie Quintana,
Charito Solis, Lita Gutierrez, Adorable Liwanag, Perla Bautista, Alfonso
Carvajal, Joseph de Cordova, Liza Moreno, Mila Ocampo, Patsy, Patria Plata,
Jose Vergara
Juan Tamad or Lazy Juan is an iconic
literary character in Philippine literature.
A comedy film about lazy Juan going
out into the society tackling different issues we are facing in a funny way. It
deals with social issues and lambasted and satirized politicians and mocked
society’s foibles, while instilling common sense and simple moral values and
virtues. Other equally noteworthy, memorable Juan Tamad series include Juan Tamad
Goes To Congress, Juan Tamad Goes To Malacañang and Si Juan Tamad at si Juan
Masipag sa Pulitikang Walang Hanggan.
In Juan Tamad Goes To Congress (1960), lazy Juan (Manuel Conde) is very
bold in his statement about politics and governance in the country. Garbed in a
colorful and intricately designed outfit (designed by Botong Francisco) with
various political placards in the background, Juan Tamad looks like a clueless
man in the middle of the chaos of everything else. The cleverly conceptualized
cover practically summarizes the story of Juan Tamad Goes to Congress, where
Juan Tamad, egged on by his creditors who imagined that the only way Juan can
pay off his debts is when he gets elected to Congress and is given the usual
bribe money that goes along with the position, campaigns and eventually gets
elected to Congress.
The unfortunate practice of padding
votes by having the dead vote (what we called ghost voters) is exemplified in
Juan Tamad’s fervent efforts in campaigning in a graveyard, with his wife and
sister carrying placards as the unconventional politician delivers his speech
with such seriousness that it is impossible not to chuckle at both the
strangeness and the wisdom of his political maneuvering. Upon Juan Tamad’s election,
the absurdity worsens as Conde portrays Congress with both the vibrancy and the
utter inanity of a circus show, with congressmen napping, fooling around with
their various mistresses, arguing over the use of the microphone, and being
visually bored and useless at what they should be doing. However, despite the
non-stop humorous attacks at our failed political system, Juan Tamad Goes to
Congress conveys a maturity that goes beyond the kneejerk effects of Conde’s
invaluable comedic timing. In fact, seeing it for the very first time five
decades after it was released and observing that each and every hilarious joke
still holds water up to this day is a frightening indication that we have not
progressed politically.
Democracy and the escapist intentions
of Hollywood cinema, the gifts of our generous American colonizers, are
conveniently married in our insistence to drown our collective disappointment
on our ineffective political system with laughter.
Official theme song of the same title featuring some scenes in the movie Bituing Walang Ningning (1985)
33. Bituing Walang Ningning - Star Without Shine - Lackluster Star (1985)
Directed By: Emmanuel H. Borlaza Story: Nerissa Cabral
Cast: Sharon Cuneta, Cherie Gil, Christopher De
Leon, Jay Ilagan, Joel Torre, Tommy Abuel, Chanda Romero, Lorli Villanueva,
Vicky Suba, Lito Pastrana
Aspiring singer Dorina Pineda (Sharon
Cuneta) is a simple woman with big dreams from a poor family who idolizes the
superstar singer Lavinia Arguelles (Cherie Gil). She sells sampaguita flower
garland during the day to help her aunt who is taking care of her and also to
save up to buy stuffs related to or attend events by Lavinia Arguelles. At one
of her gig, she was discovered and was helped by Nico Escobar to be a singer to
replace Lavinia who left for United States. Dorina is already popular and is
making a name when Lavinia returned to the Philippines and was surprised to see
her loyal fan becoming a singer. She put her to shame one time in one of her
album launching much to the dismay of everyone most especially for the hurt and
insult received by Dorina. From then on, she promised to revenge and surpass
Lavinia her idol and make it big time. In the end, she chooses love over career
while Lavinia chooses to be a superstar forever than love at the last concert
of Dorina Pineda. This was the explanation of the song of the same title for
Dorina Pineda.
Famous Quote / Movie Line:
"You're nothing but a second
rate trying hard, copycat!” - Cherie Gil as Lavinia Arguelles
“Sinira mo lang ang kanta, binaboy
mo! baliw ang nagsasabing isinilang na ang katapat ko. You'll never make it!
You're nothing but a second-rate trying hard copycat!” - Cherie Gil
“Noong una hinangaan kita, pero nang
makilala kita, sinabi ko sa sarili ko na hindi lang kita papantayan, lalampasan
pa kita!” – Sharon Cuneta
34. Serbis (2008)
Directed By: Brillante Mendoza Story: Armando Lao, Boots Agbayani Pastor
Cast: Gina Pareño, Jaclyn Jose, Coco Martin, Julio
Diaz, Kristoffer King, Dan Alvaro, Mercedes Cabral, Roxanne Jordan, Dido de la
Paz
This is a drama that follows the
travails of the Pineda family in the Filipino city of Angeles. Bigamy, unwanted
pregnancy, possible incest and bothersome skin irritations are all part of
their daily challenges, but the real "star" of the show is an
enormous, dilapidated movie theater that doubles as family business and living
space. At one time a prestige establishment, the theater now runs porn double
bills and serves as a meeting ground for hustlers of every conceivable
persuasion. The film captures the sordid, fetid atmosphere, interweaving
various family subplots with the comings and goings of customers, thieves and
even a runaway goat while enveloping the viewer in a maelstrom of sound, noise
and continuous motion.
A dilapidated Filipino movie theater
is the star of this film, but it's not a dark, haunted place like the cinema of
Tsai Ming-liang's austere Goodbye, Dragon Inn. Located in the city of Angeles
in the Philippines, this one, only partly ironically called "Family,"
is active, in fact overactive, and holes in walls leave it open to invasions
from goats and its lower floor is exposed to the noises of a busy street
crammed with pedestrians, motorcycles, cars, and trucks at all hours.
Serbis shows heterosexual porn movies
all day long while numerous gay hustlers ply their trade for the pleasure of
older gay men, performing fellatio or having it performed on them in the seats
and in the back of the big auditorium. "Serbis" means
"service" and is the rallying cry of the gay rent boys. The theater
is run by the Pineda family, who come and goes, they live upstairs, they run a
fast food restaurant on the ground floor, and they deal with such personal
problems as bigamy, unwanted pregnancy, possible incest, and a boil on an
attractive young male bum. This film, which includes clips of the porno, live
sex involving the family and the in-house prostitutes, is Mendoza's seventh
feature film and was an official selection of the 2008 Festival de Cannes.
Events happen on a "Wednesday
(the day for the novena to the Mother of Perpetual Help) in October (month-long
feast of Our Lady of the Rosary)"--I'm quoting from the distributor's
material. The rather regal Nanay Flor (Gina Pareno) has filed a bigamy case
against her estranged husband Tatay Edwin and goes to court to see the
years-long case finally decided. Alan (Coco Martin) is a young man upstairs who
paints busty nudes on the wall; he's the one who has a boil on his bum. He has
sex with his girlfriend Merly (Mercedes Cabral) and has just learned to his
dismay that she is pregnant. Nayda (Jacky Jose), who mans the theater while
Nanay For is at court, is married but drawn to her cousin Ronald, who is also
in the building. She sees to having the right movie posters up, and argues with
her husband, Lando, on the phone, because Mr. El Lobo, the soft drink
distributor, has to be paid. Lando (Julio Diaz) mans the little restaurant, not
always successfully; a young man cheats him out of 30 pesos and he can't get it
back. There is another brother, Ronald (Kristofer King). There's also a little
bespectacled schoolboy, Jonas, who's good in math. The things he sees! Nanay
Flor says that they had three theaters, but have had to close the other two
because they weren't making money, and this one is failing.
Nanay Flor loses the case, and to her
disappointment her youngest son, Jerome (Dan Alvaro) testifies against her. She
is further distressed to learn that the film rentals are going up. Serbis is
replete with actual details of this kind, and even shows Alan delivering reels
to a bus and picking up the new ones for the week.
Excitement happens when a
purse-snatcher tries to take refuge in the theater but customers, the family,
and cops all chase him. The lights go on exposing the many "serbis"
boys 'in flagrante.' When the thief is caught the lights go down, the film
resumes, and the "serbis" boys are back to work. At another point a
small white goat has escaped into the theater and appears just below the screen which is another chase. To recover from her horrible day, Nanay Flor takes a bath in the
shoddy bathroom (the Gent's is flooded), grooms herself and dresses in black,
and goes down to the ticket window facing out, ready for anything.
After symbolically popping his boil,
Alan has impulsively packed a bag and run away.
35. Bayan Ko: Kapit Sa Patalim – My Country:
Gripping The Dagger (1985)
Directed By: Lino Brocka Story: Jose F. Lacaba
Cast: Phillip Salvador, Gina Alajar,
Venchito Galvez, Ariosto Reyes Jr., Bey Vito, Mona Lisa, Aida Carmona, Joe
Taruc,Khryss Adalia, Louella, Gamay Arkoncel
Arturo and his wife, Luz Manalastas,
both work in a printing press. After Luz becomes pregnant, Arturo
("Turing") is forced to ask for a raise. When he does so, his boss
asks him to sign a waiver stating that he is not part of any Labor Union. Soon
after, his friends inform him that they are starting a labor union and that
they are inviting him to join them. Because of the waiver, he cannot. He is
branded by his mates as a traitor, and is treated badly by them. Soon after,
the printing press is closed down, and the hospital where Luz is confined will
not let Luz go until Turing comes up with the money to pay them. This leads
Turing to pursue a life of crime.
Turing Manalastas, a printing press
worker, and his pregnant wife Luz, also a worker, can hardly make both ends
meet. When a strike breaks at his work place, he refuses to join to protect his
job, thus eliciting the ire of his fellow workers. His wife's pregnancy and
eventually the enormous hospital bill he is forced to settle upon the birth of
his first child compels him to turn to crime. At the end, having been driven to
take matters into his own hands, Turing meets his tragic fate.
The story was loosely based on
incidents that made news in the early 1970s before the Martial Law era, such as
a strike that paralyzed Manila, the kidnapping of a businessman and the
shoot-out between the kidnappers and police. Thus, the film made censors uneasy
and its release was delayed with the intent of finding a way to keep the movie
from being released. All rally scenes were ordered deleted, as well as the
title song. Eventually, a few scenes portraying live sex shows were also cut
out, and the film was released. The film was then smuggled into France and was
shown at the 1985 Cannes Film Festival. A sensation was caused when Brocka
announced to the international media that Bayan Ko was banned in his homeland
for unexplained reasons. Due to this furor, the government realized that the
film was highly critical of the current regime and ordered Brocka's arrest. He
was eventually released.
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Celia Rodriguez (left) as the young lady who must confront her dysfunctional family in the eerily creepy psychological thriller Lilet (1971) under the direction of the great Gerardo de Leon (right)
36.
Lilet (1972)
Directed By: Gerardo de Leon Story: Pierre L. Salas
Cast: Celia Rodriguez, Ronaldo Valdez, Paraluman,
Vic Silayan, Lou Salvador Jr., Tita Muñoz
They know her. She doesn’t know them.
Lilet (Celia Rodriguez) enters her family’s mansion with dread and suspicion.
Each object is a trap. Each face is a mystery. A victim of severe amnesia, her
only linkage to an obscured past is fear. Her mother (Paraluman) welcomes her
with grave hesitation. Her grandmother (Tita Munoz), a striking woman despite
her being constrained within a wheelchair, and her father (Vic Silayan), meet
her with evident dismay. After a short reintroduction that evokes anonymity
rather than delight, she is dismissed.
That night, she becomes a woman on
the verge of insanity. She hears a familiar voice repeatedly calling out her
name. A mysterious machine chugs, adding to the cacophony that seem to force
demons out of her enclosed memories. A masked man with a pair of scissors
suddenly appears to haunt her. She is unsafe in her own home. Screaming, she
sprints away from the mansion, before a car nearly runs her over. Out of the car
is her knight in shining armor, Edgar (Ronaldo Valdez), her doctor and savior
from all the horrors that seem to debilitate her.
Gerardo de Leon’s Lilet is repetitive
in the way it portrays its titular character as a woman on the edge,
desperately clinging on the remaining shreds of lucidity while everything
around her pushes her to insanity. De Leon, a medical doctor prior to becoming
a director, shows a very astute understanding of mental suffering. While he
exploits Rodriguez’s peculiar features when in the state of shock to visualize
shock, he nevertheless utilizes logic in injecting fear into his disturbed
protagonist.
The film, surprisingly produced by
businessman-turned-evangelizer Mike Velarde, is astoundingly vivid in its
depiction of mental torture. Set mostly within the mansion that takes the form
of a cage gilded by expensive but overwhelming trappings, the film is greatly
reliant on De Leon’s ability to visualize terror. He maps Lilet’s descent to
madness with clarity, creating ominousness out of ordinary everyday things and
noises.
Beneath Lilet’s gothic surface
however is something more disturbing. Lilet is after all a film about women who
despite familial ties are all too willing to inflict mental torture on fellow
women all in the name of love. The love that is the center of the film’s
depravity is in fact even more depraved. De Leon paints the incest that happens
so often within the mansion with a certain flair that makes it even more
terrifying than the triggers that force Lilet to hysterics. Subtle gestures
grow into devastating revelations, exposing a very rotten core that may not be
endemic to Lilet’s melodramatic family.
Although Silayan’s father figure is
pathetic, the bare fact that he is the sole man in the mansion forces all the
women in the household to fight for his attention. His mother lusts for him.
His wife begs for his forgiveness. His daughter struggles for his attention.
Every other man is competition, whether it is his son or the doctor who sways
Lilet’s attention from him. Patriarchy is the original sin here. The rest are
just projections of a horrifically skewed perception of a societal wrong. With
Lilet, De Leon has woven a nightmare straight out of reality.
37. Trudis Liit - Small Trudis (1963)
Directed By: Jose De Villa Story: Mars Ravelo
Cast: Vilma Santos, Connie Angeles,
Lolita Rodriguez, Luis Gonzales, Bella Flores, Charlie Davao, Rodolfo 'Boy'
Garcia, Ely Roque, Matimtiman Cruz, Ray Marcos, Ven Medina, Venchito Galvez
Sampaguita Pictures' tearjerker about
a child named Trudis (Vilma Santos) who was being maltreated and oppressed by
her stepmother played by Bella Flores. Due to its charm, it was remade both in
movies and television.
Some of the scenes in Pinakamagandang Hayop Sa Balat Ng Lupa (1974) featuring Miss Universe 1969 Gloria Diaz in her sexiest film ever. Filmed at the famed Sicogon Islands in Iloilo.
38. Pinakamagandang Hayop Sa Balat Ng Lupa - The Most Beautiful Animal In The World (1974)
Directed By: Celso Ad. Castillo
Cast: Gloria Diaz, Vic Vargas, Elizabeth Oropesa,
Ray Marcos, Lito Anzures, Pedro Faustino, Mario Escudero, Ruel Vernal,
Flordeliza
Ang Pinakamagandang Hayop sa Balat ng
Lupa (although "The Most Beautiful Animal in the World" is the
official translation, the literal meaning of the title is "The Most
Beautiful Animal on the Surface of the Earth") is a 1974 Tagalog-language
film from the Philippines. The story was written by Celso Ad. Castillo. The
screenplay was written by Rafael Ma. Guerrero. The film starred Filipino actors
Gloria Diaz (1969 Miss Universe title holder), Vic Vargas, and Elizabeth
Oropesa. The film was produced by Gemini Films International and was shot in
Sicogon Island of Carles, Iloilo in the Visayas region of the Philippines, the
most popular beach destination then in the Philippines.
One stormy night, in a sea side
village, a childless couple finds a mysterious beautiful woman in the beach
without any consciousness; the next day the girl wakes up and introduces
herself as Isabel. She narrated that she is an orphan and that the night
before, she escaped from her uncle who tried to rape her. The couple took pity
on her and let her stay in the quiet sea side town. The moment she steps
outside, people immediately took notice of her beauty and allure. Soon enough
men took notice of her. They start to shun the women in their lives; even the
closest of friends are willing to kill each other just to have her. With these
turn of events, Isabel realized that she could use her beauty for her own gain.
One by one, she manipulated the men in town to kill the man who sexually
assaulted her, even if that man is their close friend. Because of what she did,
she earned the ire of all the women in town. The only man that sees her true
colors is Simon but ironically he is also drawn to her. Among all the men in
town, Isabel truly loves Simon but Simon is already betrothed to a local girl,
Saling, but even though Isabel knows this, she still seduced him to her arms
until he himself, starts to abandon reason. Saling is furious of her and
planned to attack Isabel with the town's women. They attacked her and left her
half dead, but what they did only made the men in town pity Isabel. The men
decided to leave the women in their lives. The women's families became
destroyed because of her. Isabel is like the tempest that brought her. She
single-handedly destroyed the peaceful town. The devotion of the people is now
to her. With Simon hypnotized to Isabel's spell and with no chance of getting
him back, Saling committed suicide in the sea. Because of this, Saling's mother
lost her sanity. Even the town idiot killed his adoptive parent because he forbids
him to see Isabel since he sees her as a bad influence. Even her adoptive
mother killed her adoptive father because he gave himself to her. The close
friends sued each other because of jealousy that their former friends are close
to the Isabel. Meanwhile, favors are continually given to her, that even the
church are losing its congregation because they are now drawn to her as moth to
flame, yet she still shows no remorse as if everything is normal. With these
events, Simon finally sees that Isabel is like Eve, who brought evil unto the
peaceful world or like Pandora, who opened chest full of death. He decided to
leave and to lead a new life far from the town and escape the poison that is
Isabel. But Isabel deems everything worthless without Simon. She hopes that she
can lure him to him as she did with the others; she mistook the sound in Simon's
house as him when she enters and she sees the town idiot who became more insane
because of her. He is carrying a bag full of dynamite that Simon's friends once
used for illegal fishing. The dynamites exploded with the town idiot and Isabel
inside. It turns out heaven itself interceded to rid of the earth of an animal
such as her.
The renowned Dinagyang Festival
(known as Ati-atihan at that time) winning tribe Last Warriors performed at the
closing end of the movie.
Defense counsel Luis Taviel de Andrade (Jaime Fabregas) interrogates Jose Rizal (Cesar Montano) in preparation for the mock trial in Jose Rizal (1998)
39. Jose Rizal (1998)
Directed By: Marilou Diaz-Abaya Story: Ricky Lee, Jun Lana, Peter Ong Lim
Cast: Cesar Montano, Joel Torre,
Jaime Fabregas, Gloria Diaz, Ronnie Lazaro, Gardo Versoza, Monique Wilson, Chin Chin
Gutierrez, Mickey Ferriols, Pen Medina, Peque Gallaga, Bon Vibar, Subas Herrero,
Tony Mabesa, Jhong Hilario
Jose Rizal's life and works are
recounted through a series of non-linear flashbacks which reflect on various
aspects of his life - as writer, propagandist, lover, friend, brother, doctor,
and the man that inspired a revolution.
Imprisoned in Fort Santiago under the
abusive Spanish colonization, José Rizal (Cesar Montano) was approached by a
young uneducated indio asking the importance of education during his life.
Meanwhile, in Balintawak, Andrés Bonifacio (Gardo Versoza) and his fellow
secret organization of Katipunan, commenced the uprising against the tyranny
created by the Spaniards by tearing their cedula as a sign of Spanish slavery.
Soon, a first lieutenant of the
Artillery, Luis Taviel de Andrade (Jamie Fabregas), visited Rizal. Taviel de
Andrade did not waste time to study carefully Rizal's case. In just a short
period of time, Rizal and Taviel captured each other's sympathy and eventually
became friends as they had usual meetings in Rizal's cell in Fort Santiago. Taviel
was even able to celebrate Christmas with Rizal in the cell where they drank
pan get and sang together.
After Christmas, Rizal was sent to
Royal Audiencia (the colonial court of appeal) to hear the trial against him.
Soon after, the magistrates decided to condemn him under firing squad on the
30th of the morning in Luneta.
At the night before the execution,
Rizal hallucinates, seeing his alter ego-protagonist Simoun of his novel El
Filibusterismo tempting the author to change the climax of the story.
On the morning of the execution, his
kin received a small alcohol stove (not a gas lamp as commonly portrayed) from
his cell containing the last poem "Mi Ultimo Adios." Stopping at the
place of execution facing the rising sun, Rizal asked the authorities for a
last request as he faces the firing squad but the request is denied. Calm and
without haste, he changed his request to save his head during execution and the
captain agrees. At the moment the shooting squad points at his back, he readily
uttered his final words: Consummatum est. (It is done.)
After the execution, members of the
Katipunan had ambushed a Spanish military company somewhere in Manila,
completely catching the Spanish forces off guard and seized their mounts,
munitions and their rifles. They had also captured a church and executed a
friar in an act of vengeance for the execution of Rizal. Bonifacio and his top
generals met in their headquarters to plan a new offensive seeking to capture
10 towns in a duration of a week from the Spanish. Rizal's picture can be seen
at the background of his headquarters.
Famous Quote / Movie Line:
José Rizal: Ikinulong nila, pinatay
nila, hinukay sa libingan, itinapon; ganyan ang ginawa ng iyong mga kababayan
sa karangalan at kasaysayan ng aking mga kalahi!
Luis Taviel de Andrade: Hindi naman
siguro ganoon kasama ang lahat Senor Rizal...
José Rizal: Ilang taon ka na ba rito
sa Pilipinas Taviel?
Luis Taviel de Andrade: Bakit?
José Rizal: Pareho ba tayo ng
nakikita? O meron kang ayaw makita?
40. Oliver (1983)
Directed By: Nick Deocampo
Cast: Tony Alvarez
This is Nick Deocampo's masterpiece,
a documentary about a gay nightclub performer with an especially lurid
"Spider-man" act.
Oliver is a female impersonator who supports his family by performing in Manila’s gay bars, in this first part of Nick Deocampo's trilogy of Super-8 documentaries about life under the Marcos dictatorship.
Oliver is a female impersonator who supports his family by performing in Manila’s gay bars, in this first part of Nick Deocampo's trilogy of Super-8 documentaries about life under the Marcos dictatorship.
Cesar Montano sharpened the new bolo he bought in The Cecilia Masagca Story: Antipolo Massacre (Jesus Save Us!)(1993) based on a true to life story
41. The Cecilia Masagca Story: Antipolo Massacre (Jesus Save Us!)(1993)
Directed By: Carlo J. Caparas
Cast: Cesar Montano, Dawn Zulueta,
Boots Anson-Roa, Angelica Panganiban, Romeo Vasquez
Based on a true to life story of
Cecilia Masagca, Antipolo Massacre is one of the most prolific, vindictive and
brutal films of 1993. Possessed by an evil spirit lurked into his soul
Winifredo (Cesar Montano) brought misery and affliction to his once happy and
contented family life. Cecilia (Dawn Zulueta) tried to save his husband from
committing murder but it was too late the Jungle BOLO seemed to have ruled his
being thus a bloody and gory ending. It was thought that the spirit lives in
the bolo with its dark past used in hacking the victims. It is nowhere to be
found now and is said to be possessed by another victim waiting to terrorize
again.
42. Bulaklak sa City Jail (1984)
Directed By: Mario O'Hara Story: Lualhati Bautista
Cast: Nora Aunor, Gina Alajar, Celia
Rodriguez, Perla Bautista, Mitch Valdez, Zenaida Amor, Maritess Rodriguez,
Gloria Romero, Shyr Valdez, Ricky Davao, Bella Flores, German Moreno, Augusto
Victa, Toby Alejar
The movie tackles the indictment of people who have wronged, made an offense, the wrongfully accused or those who were not given justice for their prison sentence as well as it portrays the worsening penal system in the Philippines.
43. Tubog Sa Ginto - The Gilt or Dipped In Gold (1971)
Directed By: Lino Brocka
Story: Mars Ravelo
Cast: Eddie Garcia, Lolita Rodriguez, Hilda Koronel,
Jay Ilagan, Luis Gonzales, Marissa Delgado, Mario O'Hara, Veronica Palileo,
Jimmy Morato
This is the first film to tackle the
then-controversial theme of homosexuality at that time when it was still a very
sensitive issue.
Despite the myriad of research and
explanation regarding the "third sex", the society still failed to
fully understand the trials and tribulations of a homosexual. The people
believed such indistinguishable gender to be a disease in their society, to the
point that they label homosexuals as criminals.
The story, written around 1969 to
1970, tackled the issue of "the third sex" which was still a taboo
subject matter during the day. Ravelo was quite critical of that notion that
being effeminate as belief was a big disadvantage and scandal causing great
embarrassment to the person’s family or the entire race.
Famous Quote / Movie Line:
"Tonight we make love in the
light" - Eddie Garcia
44. Pasan Ko Ang Daigdig - The World
Is On My Shoulders (1987)
Directed By: Lino Brocka Story: Pablo S. Gomez
Cast: Sharon Cuneta, Tonton
Gutierrez, Loretta Marquez, Rey PJ Abellana, Mark Gil, Princess Punzalan, Mario
Montenegro, Anita Linda, Raoul Aragon, Deborah Sun
Sharon Cuneta's magical voice is
worth the price of admission, but this movie is much more than a musical. Lupe
(Sharon Cuneta) is born into poverty but her dreams are for a better life. She
cares for her crippled mother who is also her harshest critic. Poor, crippled
persons normally engender feelings of pity, but Lupe's mother adds to the
burden and is the metaphor that represents the title of the movie -- Lupe
carries her mother on her back as she begs for alms ("Pasan Ko Ang
Daigdig" means I carry the weight of the world on my shoulder). Lupe tries to make her mother see that there
is still hope in life if she would just have the strength to believe in her own
daughter, Carding (Tonton Gutierrez) her childhood friend supports Lupe in all
of her ambitions and dreams.
Famous Quote / Movie Line:
"Gutay-gutay na ang katawan
n’yo... pati na ang kaluluwa n’yo, gutay-gutay na rin!" - Sharon Cuneta
45. Twilight Dancers (2006)
Directed By: Mel Chionglo Story: Ricardo Lee
Cast: Tyrone Perez, Cherry Pie Picache, Allen Dizon,
Lauren Novero, Ana Capri, William Martinez, Arnel Ignacio, Joel Lamangan, Jerry
Lopez Sineneng, Glaiza de Castro, JE Sison, IC Mendoza, Kris Martinez, Terence
Baylon
Twilight Dancers is the last installment of director Mel Chionglo and writer Ricky Lee's trilogy about Macho Dancers. The first part was Sibak: Midnight Dancers in 1994, and the second part was Burlesk King in 1999. The trilogy took inspiration from Lino Brocka's film Macho Dancer in 1988.
Twilight Dancers offers a disturbing
yet a humorous look at the country's social realities through the eyes of three
macho dancers or male strippers.
One of them is Dwight (Tyron Perez),
young and at the peak of his trade who loses the girl he loves to a
politician's son. Then there's Alfred, who at 28, is past his prime and is
kicked out of the club. Finally there's Bert, 30, who has long since given up
dancing and is now the bodyguard-driver of a corrupt businesswoman. But Bert's
boss, Madame Loca (Cherry Pie Picache), manipulates the events that push the
three dancers to fight for survival, and to finally confront issues of love, friendship
and betrayal.
Adding to these conflicts are a
deaf-mute wife who refuses to go back to her macho dancer husband, a director
who keeps promising stardom to a male dancer named Michael (Terence Baylon), a
transvestite performer who fakes being a virgin as well, a tyrannical mayor who
cross-dress at his birthday party, and a union leader who gets shot by an
assassin in broad daylight.
But as their club's manager Taurus
always says, "They are only here to serve the carnal desires of men. The
show has to go on." Twilight Dancers is the third movie from director Mel
Chionglo about Philippine's macho dancer industry.
Vilma Santos in this intense demonstration scene as Sister Stella L. (1984) a nun turned activist
46. Sister Stella L. (1984)
Directed By: Mike de Leon
Cast: Vilma Santos, Jay Ilagan, Gina
Alajar, Laurice Guillen, Tony Santos, Anita Linda, Liza Lorena, Eddie Infante,
Ruben Rustia, Adul de Leon, Malou de Guzman
Labor, politics and religion are the
issues that come in conflict in Sister Stella L. The film tells the story of
Sister Stella Legaspi, a nonpartisan religious, whose pacifist stance is
challenged by an older radical colleague, her namesake, and Nick Fajardo, a
concerned journalist, her ex-boyfriend, in response to the injustice being
perpetrated on a group of factory workers in Barrio Aguho. When a strike is
declared at the local oil factory, the young nun is thrown into the thick of
the strike and leaves her convent work to help the workers in their efforts
against unfair labor practices. While she looks upon the matter as an
opportunity to put into practice the teachings of Christ, the strikers on the
other hand are quick to realize the strategic advantage of having nuns at the
picket line. This utilitarian stage gradually develops into a relationship of
deep involvement. Sister Stella begins to think like a worker. She learns to
identify with their cause. Denounced by corporate officials, the strikers and
the nuns align themselves together to fight off harassment from management
and, paramilitary agents. Upon the order from the higher ranking official, the group's labor leader,
Ka Dencio, is abducted, tortured, and killed. But his death fails to destroy
the spirit of the protest. The workers, Sister Stella L, and the journalist,
resolve to carry on the fight.
Famous Quote / Movie Line:
"Katarungan para kay Ka
Dencio" - Vilma Santos
“Kung hindi tayo kikilos, sino ang
kikilos? Kung hindi ngayon, kailan pa?”- Tony Santos Sr.
47. Masahista (2005)
Directed By: Brillante Mendoza Story: Ferdinand Lapuz
Cast:
Coco Martin, Jaclyn Jose, Allan Paule, Katherine Luna, RU Miranda, Aaron
Rivera, Arianne Camille Rivera
This film is about a young man who
gives massages to gay men in Manila and had a relationship.
Masahista is a story about a young masseur named Iliac (played by Coco Martin) who caters to gay clientele. In here, sex is an immediate consequence of massage. One ordinary night, a gay writer (Alan Paule) becomes Iliac's first customer of the day. But once outside the parlor, his current gf (Katherine Luna), a bar girl who works in Japan, asserts her sexual dominion over him.
Not just another film about the
massage parlor antics created to titillate the viewer, THE MASSEUR (MASAHISTA)
as conceived and written for the screen by Boots Agbayani Pastor is a close
examination of the old conflict between father and son, expectations and disappointments,
needs and failures to fulfill, and in the end the mourning for a relationship
that never succeeded. Director Brillante Mendoza has found the balance between
sensual imagery and social comment that makes this little film work very well
indeed.
Illiac (Coco Martin) is a handsome
young lad who, because his alcoholic and carousing absentee father cannot
support his family, has left his home to work as a masseur in Manila, assuming
the financial responsibility of his family. Illiac works in a massage parlor -
rooms like closets so close that conversations are easily heard - where he has
his regular clients as well as newcomers, each of whom pays for massage and tips
for all the 'extras' the boys are more than willing to offer for a price. The film
moves back and forth between Illiac's home and his work in Manila and after his
father dies, Illiac must return home and be the one who must assist the
mortician in preparing his father's body for burial. This tradition becomes an
analogy for the work Illiac performs on the massage table and the conversations
and physical involvement between Illiac and client mirror the ministrations at
the funeral parlor in a powerful and deeply moving way. Illiac is able to cope
with both sides of his lot until he discovers some secrets left in his deceased
father's belongings. At this point the concept of the film becomes touchingly
apparent.
The film is in Tagalog with English
subtitles and though the DVD cover would suggest this is a gay film, in reality
it is a study of family life and the consequences of distance between father
and son.
48. The Vizconde Massacre Story (God
Help Us!) (1993)
Directed By: Carlo J. Caparas Story:
Efren Montano
Cast: Kris Aquino, John Regala, Romeo Vasquez,
Aurora Salve, Lady Lee, Eddie Fernandez, Tommy Abuel, Marco Polo Garcia, Robert
Arevalo, Dick Israel, Odette Khan, Jojo Acuin
The Vizconde Massacre Story (God Help
Us!) is a film based on the true crime story about the Vizconde massacre,a
sensational case that involves the multiple homicide of members of the Vizconde
family on June 30, 1991 at their residence in BF Homes, Parañaque City, Metro
Manila, Philippines.Estrellita, 47, had suffered thirteen stab wounds; Carmela,
18, had suffered seventeen stab wounds and had been raped before she was
killed; and Jennifer, 7, had nineteen stab wounds. Although the suspects
weren't named in the movie, it somehow revealed that those responsible were drug
addicts coming from rich and influential families which pertains to the rumored
suspects at that time, Hubert Webb and his friends.
Lauro Vizconde, Estrellita's husband,
and the father of Carmela and Jennifer, was in the United States on business
when the murders took place.
The lead suspect was Hubert Webb,
whose father Freddie Webb was famous as an actor, former basketball player, and
former Congressman and Senator. The other defendants were Antonio Lejano II,
Hospicio Fernandez, Michael Gatchalian, Miguel Rodriguez, Peter Estrada, Joey
Filart and Artemio Ventura. In the Trial Court (People of the Philippines vs.
Hubert Webb, et al., G.R. No. 176864), it became one of the most sensational
cases in the Philippines, becoming the "trial of the century". The
men were convicted by the Parañaque Regional Trial Court which the Court of
Appeals affirmed. Except for Filart and Ventura who had been convicted in
absentia, the men were later acquitted by the Supreme Court on December 14,
2010 for failure of the prosecution to prove their guilt beyond reasonable
doubt.
The reinvestigation concluded that
Hubert Webb was in the Philippines in 1991. Later, Hubert Webb is freed due to
lack of substantial evidence. The case still remains unsolved up to this day
with suspects who came from prominent, rich and influential family remain at
large and free.
Feisty and principled Princess Maila (Charito Solis) fights back those who insult and oppressed her primitive and old ways, habit and demeanor but shows her soft side when tragedy fells in Igorota (1968)
49. Igorota - Subtitle: the Legend of the Tree of Life (1968)
Directed By: Luis Nepomuceno Story: Cesar Amigo, Luis Nepomuceno
Cast:
Charito Solis, Ric Rodrigo, Mario Monte, Eddie Garcia, Fred Galang, Ben
Perez, Lanie Gentica, Eva Darren, Cachupoy, Tita De Villa
The story centers on the Igorots, the
ethnic group responsible for the construction of the 2000 year old Banaue rice
terraces. The movie tells the tale of an Igorot maiden who falls in love with a
man from the city. They insist on being married, despite the protests of the
families. The Igorot maiden suffers years of constant humiliation from her
Manila in-laws, who ridicule her provincial mountainside lifestyle and dress. Finally, the
couple moves to her family's territory where the groom is felled by the axe of
a clan member. This film earned Charito Solis a Best Actress trophy at the
Asian Film Festival in Tokyo, Japan.
50. Sa Pusod Ng Dagat - In The Navel
of the Sea (1998)
Directed By: Marilou Diaz-Abaya Story: Jun Lana
Cast:
Jomari Yllana, Elizabeth Oropesa, Chin chin Gutierrez, Pen Medina,
Rolando Tinio, Mia Gutierrez, Tanya Gomez, Ronnie Lazaro, Jhong Hilario, LJ
Moreno, Nini Jacinto
Pepito, growing up in a remote
fishing village in the Philippines is destined to become the successor of his
mother: the only midwife in the whole district, a job given from generation to
generation. As Pepito's mother Rosa who is a widow, becomes pregnant she tries
everything to abort the baby because of the shame this would bring. This fails
and she sees the only way to protect her son is to commit suicide. After a
while Pepito falls in love with a teacher from the capitol, Mrs. Santiago. But
this relationship cannot have a future.
In a remote fishing island in the
50's, Pepito (Jomari Yllana) grows up learning the trade of his mother, Rosa
(Elizabeth Oropesa), the only midwife capable of delivering the newborn babies
of their community. At first, the young son doesn't mind the unusual
arrangement, but as he grows older, he begins to resist the role traditionally
meant only for women.
In time, Pepito's coming of age
intersects with the lives of other islanders whose beliefs and struggles become
critical impetus to his maturity. Eventually, embarrassment and prejudices were
overcome by acceptance and love between mother and son. It was the Philippine entry for Best Foreign
Language Film in the 78th Academy Awards or Oscars.
Dreamy Hilda Koronel shows her sweet demeanor while in idyllic Baguio City in Kung Mangarap Ka't Magising (1977)
51. Kung Mangarap Ka't Magising - When You Dream And Wake Up (1977)
Directed By: Mike De Leon
Cast:
Christopher de Leon, Hilda Koronel, Laurice Guillen, Moody Diaz, Danny
Javier, Boboy Garovillo, Bibeth Orteza, Briccio Santos, Oya de Leon
Filmed in Baguio and Sagada in 1977,
it's the coming-of-age story of a young college student, Joey (Christopher de
Leon) who has lost all sense of direction and meaning in life, waking up every
morning to the same old day that went before; fruitless, senseless and lifeless.
He's a carefree kind of guy who just bums around with his friends. The only
thing that inspires him is music. The problem is, he has yet to finish writing
a song, which turns out to be the movie's theme song, and the theme song of his
awakening (hence, it's called "Joey's Theme", one of the reasons why
I also love this film!)
Then Joey meets Ana (Hilda Koronel)
and she immediately sweeps him off his feet. A very sweet friendship develops
between the two. All of a sudden Joey's world is turned upside down, and his
mornings are never the same again. It seems he's finally found the inspiration
to complete his song.
But the inspiration soon turns into
disillusion when he learns that Ana is married and has a child.
It was touted by many as the most
romantic Filipino film ever made.
Poster of the movie Temptation Island (1980)
52. Temptation Island (1980)
Directed By: Joey Gosiengfiao Story: Toto Belano
Cast: Dina Bonnevie, Azenith Briones,
Jennifer Cortez, Bambi Arambulo, Deborah Sun, Ricky Belmonte, Alfie Anido,
Domingo Sabado, Jonas Sebastian, Tonio Gutierrez, Anita Linda, Lilian Laing,
Bibeth Orteza, Ed Villapol
Temptation Island is a 1980 Filipino film directed by Joey Gosiengfiao starring four beauty contest titleholders: Azenith Briones (Miss Photogenic, Mutya ng Pilipinas 1975), Jennifer Cortez (Binibining Pilipinas-Universe 1978), Bambi Arambulo (Miss Maja Pilipinas 1977) and Dina Bonnevie (1st Runner-up, Miss Magnolia 1979). Written by Toto Belano, the film is about a group of beauty contest finalists stranded on a desert island without food, water, and shelter.
The film focuses on four young ladies from different social backgrounds and each for their own various reasons, enlists in the fictional "Miss Manila Sunshine Beauty Pageant".
The first of which is Dina (Bonnevie), a college student who entered the contest in order to earn independence from her family. Next is spoiled, rich socialite, Suzanne (Cortez), whose every whim is attended to by her maid, Maria (Sun), and who learned of the contest when fliers, dropped from a helicopter, interrupt her sunbathing at the family pool. Out of sheer vanity, she decided to sign up. Thirdly, Bambi (Arambulo), while planning her 18th birthday party, when she and her mother argue over the budget since her once rich family cannot afford the grand debut, Bambi is forced to settle for a much simpler party. But during their argument, Bambi falls on her birthday cake; when she sees the pageant's TV spot, her frustrations over her current situation inspire her to join. Rounding up the group is Azenith (Briones), a con artist who plans to rig the contest by using her and her boyfriend's sexuality to influence the judges into voting for her.
The ladies later became the finalists for the competition. En route to the evening gown competition, the ship they boarded catches fire, and the passengers scramble to evacuate. The four women, Maria, Joshua (the gay pageant coordinator played by Jonas Sebastian) and his boyfriend Ricardo (Ricky Belmonte), Umberto (one of the ship's waiters played by Domingo Sabado), and Alfredo (played by Alfie Anido) land on a desert island.
Famous Quote / Movie Line:
Bambi Arambulo: "Bitch...
Jennifer Cortez: "double bitch"
"Rub a dub dub, two bitches in a tub" - Jonas Sebastian
"I will sell my soul to the devil for a glass of freshwater." - Jonas Sebastian
"Careful Darling! Dahan dahan lang dahil baka masira ang beauty ng complexion ko." – Jennifer Cortez
Mag-alis kayo ng panty kung gusto ninyo but my panty stays right where it is!" - Jennifer Cortez
53. Manila Kingpin: The Asiong
Salonga Story (2011)
Directed By: Tikoy Aguiluz Story: Roy Iglesias,
Rey Ventura
Cast:
Jorge Estregan, Roi Vinzon, Danny Labra, Eddie Tuazon, Yul Servo, Amay
Bisaya, Ping Medina, Ketchup Eusebio, Gerald Ejercito, Dennis Padilla, Baron
Geisler, Phillip Salvador, Carla Abellana, John Regala, Ronnie Lazaro
Manila Kingpin is based on the story
of the notorious Tondo, Manila, gang leader Nicasio "Asiong" Salonga
whose true-to-life accounts had been portrayed in several movie versions since
1961 (starring Joseph Estrada). It is also the first Filipino major film
produced in black-and-white in the 21st century as well as the returning action
genre movie.
Tondo. The Ancient Gangland. The year 1950.
Gang wars were in. Violence was the name of the game. Gangsters carried
Thompsons and grease guns in a bayong. Police Characters were just too tough
resulting in bloody encounters. All notorious hoodlums dreamt to be the King.
But one smart and slippery hoodlum rose to power and reigned as King. He was the
youngest and toughest Public Enemy No. 1 (Criminal) the Tondo Underworld ever
bred. He was feared, respected, and loved. A legendary Robin Hood in his time
Tondo will never forget. His gang called him Hitler. Tondo remembers him by
another name: ASIONG SALONGA. He robbed the rich to give to the poor. He lived
and died by the gun. He lived fast and died young. This is his bloody career and
salvage true-to-life story.
A gay old man befriends a dog to be his company in his solitary life in Bwakaw (2012)
54. Bwakaw (2012)
Directed By: Jun Lana
Cast:
Eddie Garcia, Princess, Rez Cortez, Soliman Cruz, Bibeth Orteza, Joey
Paras, Allan Paule, Beverly Salviejo, Soxy Topacio, Luz Valdez, Gardo Versoza,
Armida Siguion-Reyna, Jonathan Neri, Roni Bertubin
Eddie Garcia stars as a lonely gay
man in his 70s who cares for a stray dog he named bwakaw.
Bwakaw is a drama-comedy about
growing old, and everyone’s fear of growing old alone. Rene is a gay man who
came out of the closet at age 70. Ailing in his twilight years, he thinks it is
now too late for love, even companionship, and that all there is to look
forward to is death. He has made a will, bequeathing his few possessions to his
even fewer friends. Everything is packed and labeled, ready for distribution.
He has even paid for a coffin, taking advantage of a funeral homes summer sale.
Nowadays the only companion Rene has is Bwakaw, a stray dog that hangs around
his house and follows him wherever he goes. As Rene waits for the day of his
death, he gets the surprise of his life when it is Bwakaw who suddenly falls
ill and is diagnosed with cancer. Rene is surprisingly affected, and he
realizes that he values Bwakaw more than he thinks. In his struggle to get
Bwakaw cured, Rene finds comfort in the most unlikely person: Sol, a tricycle
driver who helps him bring Bwakaw to the vet and befriends him. Buoyed by Sol’s
friendship, Rene starts living. Little by little he discovers simple joys. To
the surprise of his friends, he even has his hair dyed to look younger. One
day, he finally decides to make a move on Sol. The revelation that Rene is gay
and has feelings for him surprises and disgusts Sol. He rejects Rene and leaves
in anger. In the meantime, Bwakaw’s condition gets worse. Not even Rene’s
ancient Santo Entierro (a supposedly miraculous statue of Jesus Christ) can
save Bwakaw. Bwakaw dies, and Renes neighbors help him bury the faithful dog.
But Bwakaw’s death, even while it was still only imminent, has made a
difference. Rene has found a new appreciation for life and what is most important.
He decides to unpack the things that he has already willed to other people and
make his house more inhabitable. He is, after all, still alive.
The Academy Awards (AMPAS) or the
Oscars lost a gold big time in this movie by not including this in its foreign
film category as nominee.
55. Atsay (1978)
Directed By: Eddie Garcia Story: Edgardo Reyes
Cast:
Nora Aunor, Ronald Corveau, Armida Siguion-Reyna, Amy Austria, Roldan
Aquino, Bella Flores, Angie Ferro, Mona Lisa, Lilian Laing, Renato Robles, Roma
Roces, Nenita Jana, Ely Roque, Bomber Moran, Carlos de Leon
Nelia leaves her poor town to work as
a maid in the city. Perceived as a lower-class citizen, Nelia gets harsh
treatment that she does not deserve from her employer. She toils day and night
to fulfill the wishes of her family at the expense of working herself to death.
Ultimately, it is also in the city where she discovers an opportunity to move
to a better life in the arms of a lover.
56. Gumapang Ka Sa Lusak - Subtitle:
Dirty Affair (1990)
Directed By: Lino Brocka Story: Ricardo Lee
Cast: Dina Bonnevie, Christopher de Leon, Eddie
Garcia, Charo Santos-Concio, Bembol Roco, Allan Paule, Francis Magalona,
William Lorenzo, Perla Bautista, Anita Linda, Lucita Soriano, Timothy Diwa,
Maureen Mauricio, Ernie Zarate, Ray Ventura
A teenage boy befriends a starlet who
is having an affair with an ambitious mayor. As the elections are on the
horizon, the mayor's wife wants him to get rid of his mistress. The starlet
agrees to stop the affair on condition that the mayor helps release her
boyfriend from jail. The mayor does so, but wants the former jail-bird to kill
his political rival.
Dina Bonnevie plays a former movie
actress who is kidnapped, raped and later installed as mistress of a powerful
mayor (Eddie Garcia). As the election season nears, Dina becomes a political
liability to the mayor, so, egged on by his wily, domineering wife Charo
Santos, he tries to get rid of her. Meanwhile, Dina seeks the release of her
former boyfriend, Christopher de Leon, who is serving a term at the National
Penitentiary. While the mayor agrees to get him out, he orders his henchmen to
plot the assassination of a left wing leaning political opponent - with Christopher
as gunman. It is a practice believed to be common in our penal system and
corrupt political order. Having accomplished his mission, Christopher becomes
the mayor's next target - along with Dina. Thanks to Dina's new-found friends -
William Lorenzo, Allan Paule, Francis Magalona and Timothy Diwa - she is able
to reverse Charo's and Eddie's plan.
For a supposedly
"commercial" film feature, "Gumapang Ka Sa Lusak" takes up
pervasive social problems in the Philippines - power play and the evil of
politics and politicians. It is a roman a clef on the former dictatorship and
its evil legacy on Philippine society. A well-photographed, well- acted
dramatic thriller. — Butch Francisco, Philippine Star
Sharon Cuneta looking up the sky watching on the stars promising her mother for a revenge on their oppression by their rich neighbor in Bukas Luluhod Ang Mga Tala (1984)
57. Bukas Luluhod Ang Mga Tala - Tomorrow The Stars Will Kneel (1984)
Directed By: Emmanuel H. Borlaza Story: Nerissa Cabral
Cast: Sharon Cuneta, Eddie Rodriguez,
Pilar Pilapil, Gina Pareño, Raymond Lauchengco, Lani Mercado, Eula Valdez, Rey
PJ Abellana, Janet Elisa Giron
Rebecca (Sharon Cuneta) was born from
a poor family. Despite of their poverty, her only hope in life is her talent as
a singer. This became her motivation to uplift their lives from eternal misery
and to let his brother (Raymond Lauchengco) finish his studies. When Cuneta and
company are not singing, they are subjected to the most inhumane acts headed
by Pilar Pilapil, the rich neighbor together with her daughters (Lani Mercado
and Eula Valdez). Only the father, Eddie Rodriguez, understands the plight of
the poor. Rebecca could not even imagine
the oppression they receive from their rich neighbors and kept wondering why
they have so much hate in her family. The complicated past of her mother shed
light to it all and this cause the planned vengeance to those who oppressed her
family. A comic favorite Vangie Labalan and Manny Castañeda provides relief on
the melodrama.
Famous Quote / Movie Line:
"Ang mga tala… mataas, mahirap
maabot. Pero ipinapangako ko, Inay… bukas, luluhod ang mga tala!" - Sharon
Cuneta
58. Bulaklak Ng Maynila - Flower of Manila
(1999)
Directed By: Joel Lamangan Story: Domingo Landicho
Cast: Angelu de Leon, Christopher de
Leon, Jomari Yllana, Elizabeth Oropesa, Bembol Roco, Jake Roxas, Jim Pebanco,
Domingo Landicho, Joy Viado, Leonard Obal, Perla Bautista, Tony Mabesa
The film tells us that the dark and
harsh reality of life for the urban poor and how the weak become prey for the
stronger.
It's a world where crime is common
place but money is scarce. It's a place where the strong is king and the weak
is prey. Welcome to Ada's (Angelu de Leon) world. The daughter of impoverished
parents, Ada whose life becomes even more miserable when her father Roque (Bembol
Roco) is imprisoned after attempting to rob a bank. For them to survive Azun
(Elizabeth Oropesa) Ada's mother gives in to Timo's offer that they live with
him. A heartless usurer Timo rapes Ada. Azun turns a deaf ear to Ada's
complaint and she instead accuses her of being an ingrate. Forsaken by her own
mother Ada leaves home and becomes a sexy dancer to survive.
59. Roberta (1979)
Directed By: Lauro Pacheco Story: Jose Flores Sibal
Cast: Julie Vega, Hero Bautista, Alicia Alonzo,
Aruray, Carpi Asturias, Lina Crisostomo, Metring David, Van De Leon, Paquito
Diaz, Dudu, Angie Ferro
The film is about the travails of a
love-starved, misbegotten child. The original Roberta was made by Sampaguita
Pictures Inc. with Tessie Agana as Roberta in 1951.
Tessie Agana, the biggest child star
of the 50s, whose Roberta literally rebuilt Sampaguita Pictures from the ashes
after the studio was razed by fire in 1951. It saved the studio from
bankruptcy. Agana fondly remembers how the child star would only agree to shoot
if she was given a whole Max’s Fried Chicken --- “but ate only the wings.”
Agana was only 8 years old when she was tapped to do the lead role in Roberta.
Another child star, actor Boy Alano
was only 6 when he joined the cast of Roberta. Alano recalled that he had to
line up along with 40 other boys to audition for the role of Roberta's best and
trusted friend. He cried real tears during his audition because drama actor Van
de Leon hit him with a leather belt. “He brought a leather belt to the
audition," Alano recalled of the late actor De Leon. "He hit us with
it and watched our reaction. Doc Perez picked me because he said compared with
the other boys, I cried most naturally. Why wouldn't I cry that way when I was
hit in the thigh? It was painful." No other movie surpassed the success of
Roberta the year it was shown and Sampaguita Pictures was reborn.
60. Gatas...Sa Dibdib ng Kaaway (In
The Bosom of the Enemy)(2001)
Directed By: Gil Portes Story: Jose Dalisay Jr.
Cast:
Mylene Dizon, Jomari Yllana, Kenji Motoki, Ynez Veneracion, Mario
Magallona, Randy Wong, Nicole Hofer, Stella Cañete, Christian Joseph Leyson,
Airah Fabioni Ombajin, Richard Quan, Mon Confiado, Neil Ryan Sese, Richard
Arellano
After her husband was arrested from
being a Guerilla warrior, Pilar agreed to be a wet nurse to the Japanese
General's infant son whose Filipina wife died from giving birth. While
attending and taking care of the baby, an unintentional love affair developed
between Pilar and the General Hiroshi. She begins to be isolated from her
husband and her townspeople as she refused to help the Guerillas to conspire
the General's administration following the battle between the Guerillas and the
Japanese Soldiers.
Merika (1984) trailer
61. Merika (1984)
Directed By: Gil Portes Story: Clodualdo del Mundo Jr., Gil Quito
Cast:
Nora Aunor, Bembol Roco, Marilyn Concepcion, Cesar Aliparo, Boogie
Abaya, Chiquit Reyes, Marshall Factora, Brenda Duque, Telly Portes, Telly
Portes, Lynn Atienza, Sol Oca, Tony Marino
Aunor portrayed the role of Mila, an
Overseas Filipino Worker (OFW) who works as a nurse in America. Mila is in effect
living The American Dream, or at least the Filipino's idea of the American
Dream. On the contrary, Mila was struggling to fight loneliness and
homesickness in the foreign land. The film also tackles the story of Filipino
illegal aliens who will do anything just to get a Green card.
Portes tells the story (written by
Clodualdo del Mundo, Jr. and Gil Quito) of the Filipino émigré without the
usual embellishments of trite melodrama or vapid sensationalism. Instead, he
paints a picture of loneliness in a foreign land that is both moving and
memorable.
We see a fairly representative sector
of Filipinos living in America through the eyes of Milagros Cruz (Nora Aunor),
a nurse working in a New York City hospital. It is her fifth year on the job
and life for her has become a predictable routine of quick meals, subway rides,
Caucasian patients and late night TV. To augment her income, she holds a second
job at a nursing home. Although her two jobs keep her well-off, Mila harbors a
secret wish to come home to the Philippines. And while her wish is not an
impossible one, the decision involved is a difficult one to make.
For Mila, her decision to come home
or to stay is largely shaped by a circle of Filipino friends and acquaintances,
all of whom have changed in outlook and attitude towards their native land and
their adopted country. For the most part, knowledge of events back home has
become speculative while knowledge of the new land has become increasingly
material and resentful. An aging Filipino whom Mila befriends at the nursing
home becomes her surrogate father. The old man is angry at the manner in which
his generation was received by the Americans in the years before the war.
Mila's younger friends, on the other hand, are luckier in terms of present-day
opportunities. While some have remained honest, others have become callous,
even rotten, in adopting the American way of life. All have moments of pride in
terms of achievement but no one cares to admit the degradation one goes through
to earn that better life, Mila's final decision comes with much pain but its
one deed that's a tribute to human courage and determination.
Gina Alajar as Cofradia (1973) a dusky girl who is afraid to fall in love.
The original Cofradia (1953) was portrayed by Gloria Romero
62. Cofradia (1973)
Directed By: Mar S. Torres Story: Dominador Ad. Castillo
Cast:
Gina Alajar, Luis Gonzales, Gina Pareño, Rosemarie Gil, Jojit Paredes,
Cherie Gil, Maricel Soriano
The film is about the story of a girl
who was afraid to love because she was black. This is the remake of the
original movie of the same title, Cofradia (1953) starring Gloria Romero, Ramon
Revilla and Chichay among others.
63. Kaputol Ng Isang Awit - The
Missing Refrain Of A Song (1991)
Directed By: Emmanuel H. Borlaza
Cast: Sharon Cuneta, Gary Valenciano, Tonton
Gutierrez, Eddie Mesa, Ruben Rustia, Tyrone Victa
An unfinished song became the key
which brought together a family forced apart by the obsessive love of a young
woman for a famous singer. Years ago a man falsely accused of murder was
sentenced to jail for life. Disowned by his family his only link to his
children was a song he wrote. Sharon Cuneta and Gary Valenciano were famous
singers who came across the song. It was not finished. Unknown to them, they
would find the missing refrain through this prisoner and in the process led to
the unravel of the mystery in their lives.
Official poster of Salome (1981) a suspense thriller film
64. Salome (1981)
Directed By: Laurice Guillen Screenplay: Ricardo Lee
Cast:
Gina Alajar, Johnny Delgado, Dennis Roldan, Bongchi Miraflor, Bruno
Punzalan, Tony Santos, Lily Miraflor, Venchito Galvez, Edna May Landicho, Jimmy
Santos, Koko Trinidad
A persistent suitor is stabbed to
death by Salome, the wife of a coconut farmer. From the simple crime of
passion, three conflicting versions of the truth are given - by Salome herself,
by the people of the small fishing village, and by her own husband. Each
version contributes a piece and facet of the truth, and slowly reveals to us
the real character of Salome and her husband, and the true nature of their
relationship.
65. El Filibusterismo (1962)
Directed By: Gerardo de Leon Story: Jose
Rizal
Cast: Pancho Magalona, Charito Solis, Teody
Belarmino, Edita Vital, Ben Perez, Carlos Padilla Jr. Lourdes Medel, Robert
Arevalo, Oscar Keese, Ramon D'Salva, Joseph de Cordova, Paquito Diaz
El Filibusterismo (1962) is the 1962
film adaptation of national hero Jose Rizal's second novel, written in 1891. El
Filibusterismo is the sequel to Jose Rizal's novel Noli Me Tangere. The film is
also a sequel to the film Noli Me Tangere (1961).
Juan Crisostomo Ibarra has changed
his name and identity to a rich jeweler named Simoun. In disguise, he travels
the world amassing wealth, which he intends to use to topple the corrupt and
abusive regime in his native land. But Simoun's real motive is personal. He
wants to rescue his beloved, Maria Clara, from the convent and avenge the death
of his father. In a forest on Christmas Eve, Basilio, a medical student
recognizes Simoun's true identity as the man who helped bury his mother Sisa
more than ten years before, under a tree. Simoun is in the forest to retrieve
the gems he buried near Sisa's grave.
Basilio's fiancee is Juli, the
daughter of landowner Tales, a law-abiding man impoverished after a land grab
by a Spanish priest. Tales is kidnapped for ransom by bandits. Juli is forced
to sell her jewelry and go to work as a servant.
Simoun plots with Basilio, the
bandits and those citizens who have legitimate grievances against the
government and the Spanish friars to incite a general uprising. Hours before
the uprising is to begin, Maria Clara dies in the convent and Kapitan Tiago, the
adoptive father of Maria Clara, also dies a victim of drugs. The uprising is
aborted. Basilio, who freed Juli from slavery, is jailed, along with some of
the students. Juli seeks aid from a Spanish priest for Basilio's freedom. The
priest attempts to rape her; she jumps to her death from a convent window.
As the film progresses, all the
secrets and intrigues are revealed, and the plotters' plan fails. A good
Filipino priest throws Simoun's jewels away, thereby eliminating the greed,
violence and other evils they might have provoked.
66. Boy Golden: Shoot to Kill, the
Arturo Porcuna Story (2013)
Directed By: Chito Roño Story: Catherine O. Camarillo, ER Ejercito
Cast: Jeorge Estregan, KC Concepcion, Joem Bascon,
John Estrada, Tonton Gutierrez, Leo Martinez, Gloria Sevilla, Eddie Garcia,
Jhong Hilario, Baron Geisler, Roi Vinzon, John Lapus, Mon Confiado, Dindo
Arroyo, Dick Israel, Deborah Sun, Simon Ibarra, Gerald Ejercito, Dexter Doria,
Buboy Villar, DJ Durano
Boy Golden (also known as Boy Golden:
Shoot-to-Kill) is a 2013 Filipino film loosely based on the life of Arturo
Porcuna who rises through the Manila underworld in the 1960s until his murder.
67. Thy Womb (2012)
Directed By: Brillante Mendoza
Cast: Nora Aunor, Lovi Poe, Mercedes
Cabral, Bembol Roco
An infertile midwife and her husband
find a surrogate mother so that they can have a child.
The film competed for the Golden Lion
at the 69th Venice International Film Festival. Although it did not bag the top
honors, Thy Womb was awarded three special prizes by other Italian film groups
— La Navicella Venezia Cinema Award, the P. Nazareno Taddei Award - Special
Mention, and the Bisato d' Oro Award for Best Actress (for Nora Aunor) given by
an independent Italian critics group called Premio Della Critica Indipendiente.
The film has also been invited to the 37th Toronto International Film Festival
in September and the 17th Busan International Film Festival in October.
Scenes from the movie Nunal Sa Tubig (1976)
68. Nunal Sa Tubig – Speck In The Water (1976)
Directed By: Ishmael Bernal Story: Jorge Arago
Cast: Elizabeth Oropesa, Daria
Ramirez, George Estregan, Ruben Rustia, Pedro Faustino, Nenita Jana, Ven
Medina, Leticia de Guzman, Tita De Villa, Ella Luansing, Rustica Carpio,
Paquito Salcedo, Lem Garcellano, Carlos Padilla Jr.,
Employing a quiet, experimental
cinematic style, Ishmael Bernal's opus recreates the quality and slow pace of
life in a dying village surrounded by the sea, as it is caught in the eternal
cycle of love and hate, of fertility and pollution, of birth and death. A
bold—and successful— attempt to depart from the usual commercial fare, it
cryptically paints a large, bleak canvas showing rural fold and how their chances
at redemption and happiness are irreversibly decimated by poverty, ignorance,
neglect and the dark side of big business.
Life on a certain island in Laguna de
Bay is changing. The lake is getting polluted by nearby industries and many of
the fish are dying. While in the past the island was a tranquil place where
most of the people subsisted on fishing, now many of its residents are leaving
the island to seek other work. Mang Jacob, an elderly war veteran, laments
these changes, telling an ominous story about how the people of the island
moved there from a neighboring island called Kabilang Tabi (the other shore)
when life there had grown too hard, leaving Kabilang Tabi lifeless.
The island appears serene, with
traditional practices still maintained. The rhythms of everyday life seem
leisurely, yet there are many tensions behind this peaceful façade. Having lost
his sweetheart, Ligaya Paraiso, Julio Madiaga goes to Manila to search for her.
A pair of teenage friends, Maria and Chedeng, both falls in love with the
ambitious Benjamin. Chedeng is the daughter of the village hilot and learns
traditional techniques of birthing from her mother. She chooses to go to the
town center to study and practice midwifery. She returns to the island when her
mother falls ill, and takes her mother’s place, reverting to folk practices
despite her modern training.
Meanwhile, Maria stays on the island
and gets pregnant. Benjamin decides to go south to join the Philippine Navy and
is away when Maria gives birth to their child. Chedeng delivers the baby, whose
head gets injured in the process. Chedeng feels guilty for causing the death of
the child of her friend and rival. When a doctor who was her instructor in the
town center comes for her, she leaves the island with him. Eventually, Benjamin
comes back for Maria, who has grown withdrawn since the death of her child. But
though she starts a new life with Benjamin, she is never really the same.
69. Aguila (1980)
Directed By: Eddie Romero
Cast: Fernando Poe Jr., Amalia Fuentes,
Christopher de Leon, Elizabeth Oropesa, Jay Ilagan, Charo Santos, Chanda
Romero, Daria Ramirez, Eddie Garcia, Celia Rodriguez, Orestes Ojeda, Susan
Valdez-LeGoff, Johnny Delgado, Sandy Andolong
Daniel Aguila (Fernando Poe Jr.) in
his thirties, as a military officer stationed in Mindanao, during the American
Occupation. Directed by Eddie Romero, the epic movie spanned a period of 80
years, beginning with the 1896 Philippine Revolution up to the 70s.
Flashbacks encompass the history of
the Philippines as well as the life story of the elderly Daniel Aguila. The
Aguila family gathers to celebrate Daniel's 88th birthday, but the old man is
nowhere to be seen -- he has been missing for a decade. Suspecting that his
father is in Mindanao, one of his sons takes off for that region in a
determined search. Along the way, his memories of the nation and his father's
life tell the story of eighty tumultuous years of personal and historical
development.
Sisa (1951) a fictional literary character played by Anita Linda and made famous by Jose Rizal's novel Noli Me Tangere is a paranoid woman desperately looking for her two sons namely Crispin and Basilio
70. Sisa (1951)
Directed By: Gerardo de Leon Story:
Jose Rizal (based on the character he created on his novel, Noli Me
Tangere) Screenplay: Teodorico C. Santos
Cast:
Anita Linda, Reynaldo Dante, Eddie del Mar, Eddie Infante, Nati Rubi,
Tony Tolman, Pancho Pelagio, Ruben Rustia, Rosita Noble, Bebong Osorio,
Francisco Cruz, Fernando Santiago
Sultry lady Sisa (Anita Linda) is
courted by four young men. One of them marries her and sires two children.
Another one takes away the life from her husband. The third one murders one
child. The last one brings hope for the remaining child.
The classic film is a revisionist and
visually enticing story of Jose Rizal’s character, Sisa. It bears most of the
signature shots of de Leon. The first shot is a memorable close-up image of a
smiling Sisa enthralled by the singing of Maria Clara. Near the end of the film
is an equally memorable shot of a dark shadow cast against the walls of the
bell tower. In between are pieces of de Leon’s masterful mise-en-scene
compositions. An excellent example showed a glowing lamp in the foreground with
people on the background. Four people filled in the corners of the shot. They
speak one after the other in counterclockwise fashion. They were wishing to be
enlightened on the dark past of Sisa. The main theme of the film is enlightenment.
Most of the evil deeds in the film were done in dark places. These hideous acts
were later revealed in broad daylight or in a room lighted by a glowing
lamp.Scriptwriter Teodorico Santos blended his back story of Sisa with segments
from Rizal’s Noli Me Tangere. Amongst her four suitors, Sisa chooses and
marries Peping. A jealous guardia civil named Antonio arrests and imprisons
Peping. The latter is kept in a cell full of lepers. When Peping is released,
he is no longer the same. Later in the film, an idealistic young man named
Crisostomo Ibarra takes pity on the marginalized couple, a leprous man and a
crazed woman. More than any other film, Sisa was probably the main inspiration
for Mario O’Hara’s script Tinimbang Ka Ngunit Kulang. Another spurned suitor,
Sakristan Mayor Baldo, takes revenge by bringing trumped-up charges of theft
against Sisa’s son, Crispin. He fatally beats up the boy in the bell tower. The
boy’s body is then disposed off in a river. The fourth suitor, Elias, is a
faithful admirer of Sisa. He is instrumental in helping Ibarra to evade the
vicious authorities. He brings hope to Sisa’s surviving child, Basilio.
Padre Salvi and Donya Consolacion,
the inglorious bastards from the book Noli, are also in this film. Padre Salvi
is barely seen as the celebrant in Sisa and Peping’s wedding. Donya Consolacion
is in her villainous mode. She utilizes her being the wife of the alferez to
break up the party hosted by Ibarra. She hates the fact that she was not
invited at all to the party. Another scene showed the Donya ordering the
household helpers to close the window because she can’t stand the noise from a
religious procession outside. She becomes even more furious when she heard Sisa
singing. With a whip in hand, she orders Sisa to sing and dance for her. Then,
she whips her until the crazed woman escaped from her clutches.
Director Gerardo de Leon, while doing
this film, made an "aesthetic promise" to make a full-length feature
on the two other novels of Philippine national hero Jose Rizal in which he did
- Noli Me Tangere (1961) and El Filibusterismo (1962).
71. Badjao - Sea Gypsies (1957)
Directed By: Lamberto V.
Avellana Story: Rolf Bayer
Cast: Rosa Rosal, Tony Santos, Leroy
Salvador, Joseph de Cordova, Vic Silayan, Oscar Kesse, Pedro Faustino, Arturo
Moran, Tony Dantes, Gerry Gabaldon
This is a story about the Badjaos and
the Tausugs, rival Muslim tribes for centuries. The Badjaos, a group of sea
gypsies, ply the sea for food and for pearls. Hassan (Tony Santos), a son of
the Badjao chief falls in love and marries Bala Amai (Rosa Rosal) who is a
niece of Datu Tahil (Jose de Cordova), head of the Tausugs. At the urging of
Bala Amai, Hassan decides to leave his tribe and join the Tausugs. Eventually,
Datu Tahil learns of Hassan's expertise in finding rare pearls in the sea, thus
exploiting him for his own selfish interests. Hassan and Bala Amai resist him,
feeling that their self-respect have been trampled on. They decided to go back
to the Badjaos and lead a more humble, but nevertheless peaceful life. The
Badjaos accepted them with all their hearts.
Hassan, the son of a tribe chief of
the Badjao's, a pagan, sea-dwelling Filippino tribe, meets and falls for
Bala-amai, the niece of the chief of the Moros, an Islamic, land-dwelling
tribe. Although the Hassan is willing to give up his lifestyle for Bala-amai
and vice versa, the Moros plot to break up the union of the happy couple.
This film won four awards: Best
Direction (Lamberto V. Avellana), Best Story (Rolf Bayer), Best Editing (Gregorio
Carballo) and Best Cinematography (Mike Accion) at the 1957 Asian Film Festival
in Tokyo.
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The bloody and bruised Moises (Leopoldo Salcedo) was beaten to death in The Moises Padilla Story (1961)
72. The Moises Padilla Story (1961)
Directed By: Gerardo de Leon Story: Leon O. Ty
Cast: Leopoldo Salcedo, Joseph
Estrada, Lilia Dizon, Ben Perez, Oscar Roncal, Max Alvarado, Rosa Aguirre,
Robert Arevalo
Based on actual events, The Moises
Padilla Story is about a man's gallant stand, courage, and struggle to fight an
oligarchic governor who commands a private army to enforce his repressions of
freedom.
The film is a biography of a Negros
Occidental mayoral candidate who in 1951, was tortured and murdered by the
private army of the provincial governor after he had refused to withdraw his
candidacy. A town in Negros Occidental was named after him.
The film was selected as the
Philippine entry for the Best Foreign Language Film at the 34th Academy Awards,
but was not accepted as a nominee because they prefer popular entries than
this.
In this scene, Yolly (Nora Aunor) and Nona (Leni Santos) witnessed a crime committed by someone they thought it was Boy Rosas in Condemned (1984)
73. Condemned (1984)
Directed By: Mario O'Hara Story: Jose Javier Reyes
Cast: Nora Aunor, Gloria
Romero, Dan Alvaro, Leni Santos, Connie Angeles, Gina Alajar, Toby
Alejar, Ricky Davao, Rio Locsin, Sonny Parsons, Len Santos
Condemned, a 1984 Filipino film, depicts the cruelty of
big-city life, with a focus on Manila. The plot centers on the corruption of
society and abuses of power which is very true until today.
One of the most perfect Filipino noir
thrillers ever made, about a brother and sister struggling to survive on the
streets of Manila.
The story is about a brother and sister struggling to survive on the streets of Manila. Yolly (Nora Aunor), a flower vendor, and her brother Efren (Dan Alvaro), who works as a driver and hired hitman for ruthless money laundering lady Connie (Gloria Romero), live a hardscrabble and bleak existence in the underbelly of the tourist/fashion district of Manila. Escaping from a violent past from the provinces, the siblings' world collides with Connie's gang when Yolly witnesses a rape and murder perpetrated by Connie's son (Toby Alejar in his film debut) and Efren decides to double-cross Connie for her money. A nightmarish resolution between the hunter and the hunted on an empty cargo ship anchored in Manila Bay and a final confrontation between Yolly and Connie over the missing half-million dollars makes for a gripping film-noir drama.
74. Babae sa Breakwater - Woman of Breakwater
(2003)
Directed By: Mario O'Hara
Cast: Katherine Luna, Kristoffer King, Gardo
Versoza, Yoyoy Villame, Lou Veloso, Lucita Soriano, Amy Austria, Daniel
Fernando, Dick Israel, Rez Cortez, Odette Khan, Alcris Galura, Metring David,
Joey Galvez
In a poor village by the Manila Bay
breakwater, two brothers, Buboy and Basilio, come to the city to escape from
the violence at home. They meet a prostitute named Pakita and become close with
her when Basilio treats her wounds. All they want is to lead normal lives, but
the town's leader Dave has knavish interruptions that await them.
Babae sa Breakwater is a film about a
man Basilio (Kristoffer King), who escapes from the laid back life in Leyte province to the slums
of Manila with his younger brother Buboy (Alcris Galura). Residing in the
makeshift tenements beneath the tourist-infested breakwater of Manila, Basilio
falls in love with a prostitute Paquita (Katherine Luna). Their relationship is
troubled by the apparent poverty and the more impending threat of the slums' jealous
protector, ex-cop Dave (Gardo Versoza). This tragic tale is alleviated by the
ditties of Villame, providing a biting sense of irony to the plot and an
accurate summary of the unpredictability, the chaotic colors, and the dizzying
bevy of emotions that surround Manila life. This tragic tale covers a whole
plethora of emotions that surround Manila life. The film is a moving insight
into the squalor and poverty of inner city life in the Philippines.
75. Sawa sa Lumang Simboryo - Python
At The Old Dome (1952)
Directed By: Gerardo de Leon Story: Amado Yasona
Cast: Jose Padilla Jr., Anita Linda,
Tony Tolman, Ding Tello, Pancho Pelagio, Max Alvarado, Rita Gomez, Nello Nayo,
Boy Francisco
This is Filipino Academy of Motion Picture
Arts and Sciences (FAMAS) first Best Picture in 1952. Sawa sa Lumang Simboryo
is originally a komiks serial novel by Amado Yasona in the Mabuhay Komiks in
1950.
This is the great Gerardo de Leon
fantasy, about a legendary bandit and his python-guarded treasure trove.
Sawa sa Lumang Simboryo was first
serialized in Mabuhay Komiks issue on September 11, 1951, one of Literary
Song-Movie Magazine sister publication. The story starts featuring the main
character, Tulume, with many gold and treasure around him and there is also
some snake inside a cave. The story tells that Tulume was a
"Tulisan" (bandit) looting treasures and amasses wealth, money, gold and other important things in
every people in a town with his follower. After having all riches, they go back
to the cave and Tulume get all the gold and other treasures inside and talk to
his pet snake, named Lingkis, to guard the treasure and kill anybody who will
get inside the cave to have the treasures. After that, he went outside to get rest
with his men. The next day, one of his men said that he cannot go with them
because of his illness. Tulume permitted him to get rest while they went to
other places to loot more treasures. After that, the man gets inside the cave and has
a plan to get all the treasures but unknown to him, Lingkis is ready to kill
him.
76. Ina Ka Ng Anak Mo - You're The Mother Of Your Child (1979)
Directed By: Lino Brocka Story: Jose Dalisay Jr. , Leticia Fariñas
Cast: Lolita Rodriguez, Nora Aunor,
Raoul Aragon, Lorli Villanueva
Ina ka ng Anak Mo (lit. You Are the
Mother of Your Daughter) is a 1979 Filipino film and an official entry to the
1979 Metro Manila Film Festival.
This is Lino Brocka's masterful
melodrama about a husband who falls in love with his mother-in-law.
The story portrays the everyday life
of Renata (Lolita Rodriguez) and her daughter Ester (Nora Aunor), who is
married to Luis (Raoul Aragon). Unfortunately, Ester and her mother get into a
heated argument resulting to Renata feeling emotional about it. She then
confides to Luis about her problems, which results to one night of passionate
union.
This is Nora's first movie under the
direction of Lino Brocka and an entry to the 1979 Metro Manila Film Fest. It
was also the first and the only collaboration and acting duel between two of
the greatest actresses of the Philippine Cinema; Nora Aunor and Lolita Rodriguez.
This is a story of day-to-day living
by Renata played by Lolita Rodriguez, her daughter Esther played by Nora Aunor and Esther's husband
Luis (Raul Aragon). For his desire to have a better life, Luis would try to go
to Saudi Arabia to provide a bright future their own families but it is against
the will of Esther. When there is a dispute between the mother and daughter,
Renata was so disappointed of Esther's behavior. One time, she poured to Luis
her resentment to her daughter that cause temporary lapse in their own. The revelation
of their infidelity made the relationship between the mother and daughter
weaker.
Famous Quote / Movie Line:
"Hayop... Hayuuup...
Hayuuuppp" - Nora Aunor
77. Init Sa Magdamag - Heated Passions Till Dawn (1983)
Directed By: Laurice Guillen Story:
Raquel Villavicencio
Cast: Lorna Tolentino, Dindo
Fernando, Joel Torre, Anita Linda, Leo Martinez, Fanny Serrano, Wendy Villarica
This film is about a woman who changes
personality to please the man she's with, and about the man who brings her
sexuality to full bloom. Filmmaker Laurice Guillen and writer Racquel
Villavicencio's joint masterpiece, about a woman's sensual, self-destructive
urges, is perhaps the most erotic Filipino film and achieves this status
without even a moment of nudity.
Rogelio de la Rosa with Emma Alegre and children in Higit Sa Lahat (1954)
78. Higit sa Lahat (1955)
Directed By: Gregorio Fernandez Story: Mario Mijares Lopez
Cast: Rogelio de la Rosa, Emma Alegre, Ike Jarlego
Jr., Oscar Kesse, Jose Corazon De Jesus Jr., Vic Silayan, Eddie Rodriguez,
Cynthia Gomez, Rosa Aguirre
Shown at the Life Theater 10-19 May
1955, this LVN classic is a warm, poignant story of the supreme sacrifice of a
man for his loved ones. The plot focuses on the kind of domestic problem with
which we are all familiar: how will we earn enough money to make ends meet?
Although a scion of a wealthy family, Roberto inherits nothing when he married
Rosa, thus ending up as a hired helper in a factory of explosives. A truly
memorable movie, with five FAMAS trophies: Best Picture, Original Work (Story),
Editing, Sound, and Actor (De La Rosa). This film also won the prestigious Best
Director award for Gregorio Fernandez and Best Actor award for Rogelio de la
Rosa at the 1956 Asian Film Festival in Tokyo.
Isabel (Vilma Santos) is affectionately hugged by Sylvia (Nora Aunor) and enjoys sharing the intimate affairs in T-Bird At Ako (1982). This is one of the rare appearances of Nora Aunor and Vilma Santos together.
79. T-Bird At Ako (1982)
Directed By: Danny L. Zialcita Story:
Portia Ilagan
Cast:
Vilma Santos, Nora Aunor, Dindo Fernando, Tommy Abuel, Suzanne Gonzales,
Odette Khan, Leila Hermosa, Johnny Wilson, Dick Israel, Rosemarie Gil, Subas
Herrero, Liza Lorena, Baby Delgado, Rustica Carpio, Anita Linda
Lesbian lawyer Nora tried to assist
the accused dancer, Vilma with her legal battles and unexpectedly, falls in
love with her. The poorly written plot compensate with crisped dialogues and
fast paced editing from one of the most finest commercial director of the 80s,
Danny Zialcita.
Confused lawyer Sylvia Salazar (Nora
Aunor) is infatuated by the oozing charm of ago-ago night club dancer Isabel (Vilma
Santos) whom she has volunteered to defend in a criminal case. Sylvia’s
persistent and dedicated suitor (Tommy Abuel), another lawyer of intelligence
and a strong conviction, however, does not give up on her and resolves to
pursue her or wait for that time when she will be more receptive to a man’s
affections.
An interesting and witty play of
events and characters directed by avant garde filmmaker Danny Zialcita. The
story of a woman confused of her sexuality (played by Nora Aunor) who worked in
a man’s world as a lawyer. This is a chance meeting with a bar girl (played by
Vilma Santos) who would change the course of her life. The film portrays a
woman who runs and holds her life, but when matters of the heart are concerned,
she just lets fate takes it toll. She believes to be in love with the bar girl,
or she thinks she is! At the end, a sudden twist explodes making her more
vulnerable that she has ever imagined. A parody on the comic love and life of
people caught up in the middle of strange questions of gender issues. A
seriously funny picture of the drama of life!
Famous Quote / Movie Line:
“Hindi naman ako ipokrita…ke tomboy
ka, bakla ka, ok lang sa akin yon! Pareho lang yon! Kung saan ka maligaya duon
sila…huwag na nating pakialamanan…alam mo kung noong una sinabi na niya sa akin
kung ano siya hindi na kami nagkaganito eh…akala ko totoong tao siya!” –
Isabel
“Putik nga ito! Pero kahit ganito
ako, nagsisimba ako kahit papaano!…ang sabi ng nasa itaas, ang sala sa lamig,
sala sa init, iniluluwa ng langit, isinusuka ng diyos!” – Isabel
“…ano ba naman ‘to katawan lang ‘to,
‘konting tubig, ‘konting sabon, wala na…tapusin na natin ang kaso, pagkatapos
sabihin mo kung kailan, saan…darating ako, ang katawan ko!” – Isabel
"Bakit? Sino ka ba? Ano bang
ipinagmamalaki mo? Katawan lang 'yan! Saan ba galing 'yan? Hindi ba sa
putik?!" -- Nora Aunor
“Ang hirap sa’yo, sala ka sa init,
sala ka sa lamig. Isinusuka ka ng Diyos, iniluluwa ka ng langit.” - Vilma
Santos
80. Ang Pagdadalaga ni Maximo
Oliveros - Blossoming of Maximo Oliveros (2005)
Directed By: Auraeus Solito Story: Michiko Yamamoto
Cast: Nathan Lopez, Soliman Cruz, JR
Valentin, Neil Ryan Sese, Ping Medina, Bodjie Pascua, Elmo Redrico, Ivan
Camacho, Lucito Lopez, Jett Desalesa
The Blossoming of Maximo Oliveros (Filipino: Ang Pagdadalaga ni Maximo Oliveros) is a 2005 award-winning Filipino coming-of-age film about a gay teen who is torn between his love for a young cop and his loyalty to his family. The film competed under 1st Cinemalaya Film Festival in 2005. The film was the official entry of the Philippines to the 79th Academy Awards. It holds the distinction of being one of the very few digital films released in 2005 to do well at the tills. It also made the rounds of international film festivals.
Maxi (Nathan Lopez) is a 12-year-old
effeminate gay boy who lives in the slums with his father and brothers who are
petty thieves. The story primarily revolves around the conflict between his
love for handsome young police officer Victor (JR Valentin), and his family's
illegal livelihood. Neo-realist in orientation, the film is a tale of lost
innocence and redemption amidst the poverty of Manila's slums.
Maxi behaves like a girl, wearing
clips or hairband in his hair and bangles on his wrists and even wearing
lipstick. He is teased by neighbors and former school friends. His sexuality
is, however, fully accepted by his two brothers and by his father. One night he
is accosted by two men who attempt to molest him, but is saved by the
appearance of Victor. Victor does not have a girlfriend, and his sexuality is
never revealed. He rebuffs Maxi's advances, and when Maxi's father and brother
bogs' friends teaching Victor a lesson. Maxi came and rescues the pitiful Victor
and he cleaned Victor's wounds and cooks breakfast for Victor and felt sorry to
his friend. Victor became affectionately stoking Maxi's head even when the boy
steals a kiss.
After Maxi's father is killed by
Victor's boss, Maxi resists Victor's attempts to renew their friendship. The
closing scene shows Maxi walking past Victor who has parked by the roadside on
Maxi's way to school. He ignores Victor as he passes him, hesitates momentarily
as he crosses the road, then goes on his way. This last scene is homage to the
final scene of "The Third Man".
Can a 12-year old lad who wishes he
were a girl navigate the mean streets of Manila? Maxi cooks, cleans, and sews
for his father and older brothers who are petty criminals. He's sweet, clever
and hardworking, at ease with being gay, pinning a flower in his hair, swinging
his hips when he walks, vamping with friends. He's seen adults hug and kiss and
he's watched romantic movies, so on the verge of puberty, he develops a crush
on Victor, a kindly young cop. Maxi's heart and loyalties are on a collision
course: Victor is investigating crimes that lead him to Maxi's family. In the
land of the morning, is there a place for this child of the sun returning?
Besides the main actors, the other
people we see in the movie are the director's real neighbors.
81. Ito Ang Pilipino (1966)
Directed By: Cesar Gallardo Story: Augusto Buenaventura
Cast: Joseph Estrada, Barbara Perez, Mario
Montenegro, Gloria Sevilla, Johnny Monteiro, Vic Silayan, Jose Garcia, Romy
Diaz, Anita Linda, Eddie Garcia
82. Boatman (1984)
Directed By: Tikoy Aguiluz
Cast:
Sarsi Emmanuelle, Suzanne Love, Josephine Miguel, Ronnie Lazaro, Jonas
Sebastian, Eddie Arenas, Bella Flores, Mario Escudero, Alfredo Navarro Salanga,
Susan Africa, Dennis Marasigan, Eric Francisco
The first thing we see in Tikoy
Aguiluz's Boatman is the gleaming revealed blade of a balisong (a switchblade
knife made in the province of Batangas). A group of prepubescent boys line up
to an old man carrying the blade and a stack of leaves. The bravest one
presents himself as the first boy to be circumcized. Tikoy Aguiluz allows us to
see the details of the ceremonial passage to manhood: the old man pulls the
foreskin from the penis and attaches it to the implement before slicing it off;
the kid then spits the chewed leaves before jumping into the river. Aguiluz
cuts to the same river, and appearing from the river is Felipe (Ronnie Lazaro),
presumably the brave kid many years later now grown into an ambitious boatman
who delivers tourists from town to the waterfalls of Pagsanjan.
Felipe (Ronnie Lazaro) is a young
boatman who leaves for the big time in Manila to find his fortune but ends up
working in the red-light district of the city as the male lead in sex plays
called "toros." Playing opposite Felipe is Gigi (Sarsi Emmanuelle),
and the two not only become lovers in real life, but also garner great success
in their erotic shows and blue videos. In the meantime, Felipe has become the
clandestine hired boy-toy of Emily (Suzanna Love), an American with a fairly
nasty Filipino lover who is decidedly intolerant of bedroom competition. With
this scenario in place, the future does not look very promising for the former
boatman.
The famous scene in which Flor (Nora Aunor) is abused and tortured by the Singaporean police to force her to admit murder from this video clip taken from the film The Flor Contemplacion Story (1995) based on a true to life story of a Filipina maid who was wrongly accused and executed for the murder of a fellow Filipina maid and her employer's son in Singapore
83. Bagong Bayani: The Flor Contemplacion Story (1995)
Directed By: Joel Lamangan Story: Bonifacio Ilagan, Ricardo Lee
Cast:
Nora Aunor, Amy Austria, Rita Avila, Ian de Leon, Julio Diaz, Kristine
Garcia, Bennette Ignacio, Jaclyn Jose, Tony Mabesa, Ara Mina, Vina Morales, Frank
Rivera, Caridad Sanchez
A true to life story of a Filipino
domestic helper who is accused of murdering her fellow domestic helper Delia
Maga and her employer's son in Singapore.
The Flor Contemplacion Story is a
1995 film produced by Viva Films about the story of the Filipina domestic
helper who was hanged in Singapore for allegedly killing her fellow maid. The
story was chronicled in a film which operates on various personal, social and
political levels. Both controversial and critically acclaimed, it has brought
Nora Aunor numerous citations for her intense portrayal as the fallen heroine
of the story.
The Flor Contemplacion Story was
screened and exhibited in different film festivals around the world. The film
won the Princess Pataten Statue for best actress for its lead star, Nora Aunor
and the film won the Golden Pyramid Award at the 1995 Cairo International Film
Festival. The highest recognition a Filipino Film ever received. Aunor also
swept all the best actress awards given by the different award giving bodies in
the Philippines including the Best Performance by Male or Female, Adult or
Child, Individual or Ensemble in Leading or Supporting Role given by the Young
Critics Circle.
Just like many impoverished people,
Flor (Aunor) thought that by working abroad she could give her family a better
life even though it means sacrificing her own happiness. She decided to work as
a domestic helper in Singapore thinking that this could be the answer to her
problems. Unlike many other servants, Flor was well-treated by her employers.
However, in 1995, she was arrested
and was falsely charged of killing her fellow Filipina, Delia Maga and the
little boy that she was caring for. Unfortunately, all evidence points to
Flor's innocence. After a hasty trial, the Singapore government finds Flor
guilty and sentences her to death by hanging. Her predicament brings an
outpouring of sympathy from Filipinos, who refuse to believe her guilt. There
was also a national appeal for clemency and a re-investigation to be done. Even
the office of the President appealed to the Singaporean Government. However,
the Singapore Government remained steadfast with their decision.
Flor was executed in March 1995. The
film also examines the effects of Flor's absence upon her family. Her husband,
unable to stand the wait, begins an affair and then forces the two oldest girls
to marry.
Famous Quote / Movie Line:
“I… did not kill… anybody!” – Nora
Aunor
84. Lapu-Lapu (1955)
Directed By: Lamberto V. Avellana Story: Francisco V. Coching
Cast: Delia Razon, Mario Montenegro, Priscilla
Cellona, Oscar Kesse, Johnny Reyes, Ven Medina, Vic Silayan
This is a monumental film about the
first Filipino hero who fought against foreign (Spanish) invaders and the one who
killed Ferdinand Magellan.
85. Ang Tatay Kong Nanay (1978)
Directed By: Lino Brocka
Story:
Orlando Nadres
Cast: Dolphy, Niño Muhlach, Phillip Salvador,
Marissa Delgado, Lorli Villanueva, Soxy Topacio, Orlando Nadres, Larry Leviste,
Joey Galvez, Renee Salud, Inday Badiday, Fred Capulong
Ang Tatay Kong Nanay is a film with
the premise that homosexuality is not an issue when it comes to parental love.
The 1978 film stars Comedy King Dolphy and Child Wonder Niño Muhlach, directed
by critically acclaimed director Lino Brocka.
Dioscoro "Coring" Derecho
(Dolphy) owns a parlor and has been living with partner Dennis (Phillip
Salvador) for a long time when the latter suddenly leaves him for another woman
(Marissa Delgado). A few years after, Dennis returns with a child and leaves
the baby in Coring's custody, while Dennis himself pursues his plan of entering
the US Navy.
Nonoy (Nino Muhlach) grew up with
Coring acting as both his father and mother. In order to spare Nonoy from a
life of harsh criticism and terrible teasing, Coring hides his true identity
from the child and treats Nonoy as his own child. Soon, however, Coring learns
that Mariana (Marissa Delgado), Nonoy's biological mother, is planning to take
the child away in order to give him a better future.
Coring, a gay beautician, is left
with a baby by his former ward, Dennis (Philip Salvador). The baby grows up (the
boy is played by a very young Niño Muhlach) thinking that Coring is his real
father. Everything seems to be smooth until the kid's mother (Marissa Delgado)
suddenly shows up to claim her son.
Three women hired as Crying Ladies (2003) by a Filipino-Chinese family to cry for their departed loved one
86. Crying Ladies (2003)
Directed By: Mark Meily
Cast: Sharon Cuneta, Hilda Koronel, Angel Aquino,
Eric Quizon, Ricky Davao, Julio Pacheco, Sharmaine Buencamino, Johnny Delgado,
Raymond Bagatsing, Bella Flores, Lou Veloso
This film is a whimsical comedy about
three women who cry at funerals, professionally.
Kubrador (2006) short trailer
87. Kubrador - The Bet Collector (2006)
Directed By: Jeffrey Jeturian Story: Ralston Javier
Cast: Gina Pareño, Fonz Deza, Nanding Josef, Soliman
Cruz, Joe Gruta, Domingo Landicho, Neil Ryan Sese, Miguel Castro, Nico Antonio
The Bet Collector (Tagalog: Kubrador)
is a 2006 Filipino drama film that centers on an aging bet collector finds her
mundane existence suddenly transformed by an unforeseen series of events and
jueteng, the game of numbers dating back to the Philippines' Spanish colonial
period from (1521 to 1898).
In this starkly realistic narrative,
director Jeffrey Jeturian presents a captivating portrait of a once-proud
woman, haunted by memories of a dead son and hounded by the police, and her
fragile and lonely life as a "kubrador". An ordinary meaningless existence can
suddenly be challenged by the perplexing game of life, luck and death.
Amelita or Amy is an aging jueteng
kubrador (bet collector). Despite the regular crackdown on the illegal numbers
game, she clings to the job she has known for more than 20 years. She walks
around the poverty-stricken squatter’s neighborhood collecting bets from her
regular patrons every day. Her husband Eli, who is equally aging, can only
manage to help by manning their small sari-sari (variety store). Amy’s grown up
children have all left home. Her eldest daughter Mona works as a domestic
helper abroad. Her second daughter, Juvy, who is always pregnant, lives with
her in-laws. Amy’s youngest son, Eric, a young soldier, recently died on combat
duty in Mindanao.
88. Anak ng Bulkan (1959)
Directed By: Emmanuel I. Rojas Story: Cirio H. Santiago
Cast: Ace Vergel (aka Ace York in the film), Fernando
Poe Jr., Edna Luna, Ronald Remy, Miriam Jurado, Belen Velasco, Bruno Punzalan,
Joe Sison
Anak ng Bulkan is a 1959 Tagalog
movie starring Fernando Poe, Jr., Edna Luna, Miriam Jurado, Ronald Remy, and
Ace Vergel (then known as Ace York). Produced by Premiere productions, the
movie was directed by Emamanuel Rojas and written by Cirio H. Santiago. The
story revolves around the friendship of a small boy with a gentle giant bird
which is mistaken by people as an evil creature.
89. Anak ni Baby Ama (1990)
Directed By: Deo Fajardo Jr.
Cast: Robin Padilla, Amy Perez, Ilonah Jean, Allan
Paule, Rosemarie Gil, Bembol Roco, Eddie Rodriguez, Gino Antonio, Subas
Herrero, Romy Diaz, Romero Rivera, Jeffrey Veloso, Carlos Padilla Jr., Eva
Darren, Dick Israel
Marcial Ama gained folk hero status
when his biography was filmed in 1976 with the movie "Bitayin Si Baby
Ama" starring the late action star Rudy Fernandez and local sex siren Alma
Moreno. According to the film he was jailed for stealing money for a friend's
education. His youthful good looks have made him a target inside the jail and
he was eventually nicknamed "Baby" on account of his baby-face. He
was repeatedly sodomised and the final straw was when his pregnant wife was
lured to a small hut by a prison guard and was raped. The event proved
traumatic to the couple as his wife chose to commit suicide with their unborn
child.
That's where all hell broke loose. He
became a "hit man" inside the cell, rapidly disposing his tormentors
and eventualy becoming leader of his own prison mob. He was credited for
leading the biggest jail-riot in Muntinlupa Penitentiary history and was
sentenced to death via electric chair. And the movie "Anak Ni Baby
Ama" followed with the life story of his son Kevin "Baby Ama"
Calo, who was also sentenced to death via electric chair.
Additional Info: His given the nickname
"Baby Ama" because he is the youngest most notorious leader of one of
the rival gangs inside the prison in his time. His gang was "SIGE
SIGE" and his mortal enemy who was PRIMITIVO "Ebok" ALA of
"OXO" gang. Because of this two, the biggest and bloodiest jail riot
in Muntinlupa arised and led to them to be sentenced of death in electrocution,
Baby Ama was electricuted in 1961 at the age of 16 but "Ebok" is
given a second chance.
KEVIN "BABY AMA" CALO - he's
not the son of Marcial "Baby" Ama. He was named "Baby Ama"
because his life story inside the prison has a resemblance to Marcial Ama. He is
also became a leader in the same prison as Marcial Ama's prison, and they both
electrocuted in the same reason. Or in other word his like the resurrection of
MARCIAL "BABY" AMA
90. Burlesk King (1999)
Directed By: Mel Chionglo
Story: Ricardo Lee
Cast: Rodel Velayo, Leonardo Litton, Elizabeth
Oropesa, Raymond Bagatsing, Cherry Pie Picache, Gino Ilustre, Nini Jacinto,
Joonee Gamboa, Joel Lamangan
Burlesk King is the second film in
the gay-themed trilogy of Mel Chionglo and Ricky Lee about the lives of macho
dancers, men who work as strippers in Manila's gay bars. The first is Sibak:
Midnight Dancers; the third is Twilight Dancers. Other films exploring the same
theme are Lino Brocka's Macho Dancer (1988) and Brillante Mendoza's Masahista
(The Masseur, 2005).
The son of an abusive American father
and a Filipina mother, Harry escapes to Manila with vengeance on his mind.
After finding work as a Macho Dancer in the city's gay clubs, Harry creates a
nurturing circle of friends and finds the strength to confront the family he
left behind.
Harry went to Manila with his friend
James to exact vengeance on his abusive father who used to pimp him and killed
his mother. He ended up working as a Macho dancer in a gay club and became
involved with a gay writer and a hooker. When he set out to look for his father
to avenge his mother's death, he found him dying of AIDS in a shack in
squatter's area and told him that his mother was alive after all. He looked for
his mother and got reunited with her who taught him to forgive his father. His
father eventually dies.
Walter is forced for an anal penetration in this scene from Markova: Comfort Gay (2000)
91. Markova: Comfort Gay (2000)
Directed By: Gil Portes
Cast: Dolphy, Eric Quizon, Jeffrey Quizon, Tony
Bueno, Ricci Chan, Dexter Doria, Nanding Josef, Joel Lamangan
Markova: Comfort Gay is a 2000
Filipino biographical-drama based on the life of Walter Dempster Jr., the last
surviving Filipino comfort gay from World War II. The film tells the story of
his hardships during his childhood and his travails during the World War II
Japanese Occupation. The character was played by actor Dolphy, who played the
adult Markova while two of his sons, Eric Quizon and Jeffrey Quizon, played the
role of two younger Markovas in two more different phases of his life.
Gil M Portes (Miguel/Michelle, 1999)
tells the unconventional true story of Walter Dempster Jr. known otherwise as Markova. After watching a
documentary about the suffering of women forced into prostitution during the
Japanese occupation of the Philippines, Markova decides to tell his own painful
story to reporter Loren Legarda. Escaping the torment of growing up with an
abusive older brother, he and his friends found further suffering at the hands
of Japanese soldiers, forced into sex work to survive. But even after the war,
Markova's struggle continued.
92. Luksang Tagumpay - Grieving
Victory (1956)
Directed By: Gregorio Fernandez Story: Mike Velarde
Cast: Jaime de la Rosa, Delia Razon, Rebecca del
Rio, Eddie Rodriguez, Rudy Fernandez
This film is the first movie
appearance of Rudy Fernandez. Director Gregorio Fernandez hired his then
three-year-old son to appear in the movie.
93. Pagdating sa Dulo - At the Top (1971)
Directed By: Ishmael Bernal
Cast: Rita Gomez, Vic Vargas, Eddie Garcia, Zenaida Amador, Rosemarie Gil, Subas Herrero, Ronaldo Valdez, Joonee Gamboa, Elvira Manahan, Ernie Zarate
Bernal's film debut is about the film industry satire.
In reference to and was inspired by Guru Dutt's 1959 film, Kaagaz Ke Phool (Paper Flowers), Ishmael Bernal's Pagdating Sa Dulo (At the Top).
Ishmael Bernal’s Pagdating sa Dulo (At the Top) ends with a striking sequence that consummates the hypocrisy that was portrayed in the carnivalesque affairs of the film. Ching (Rita Gomez), scandalously tipsy after a day of lonesome drinking, and Pinggoy (Vic Vargas), who attempts to salvage Ching from further embarrassing herself in public, see a mob of adoring fans, separated from their fantasy world by a metal gate and obviously oblivious to the excesses of their fleeting limelight. Their faces transform. The once self-absorbed alcohol-glazed gestures of Ching and the guarded yet clearly affectionate concern of Pinggoy suddenly broke to give way to faces jolted by a sudden but timely awareness, of how far they have gone up and how far they have fallen.
94. Ang Lalaki Sa Buhay Ni Selya - The Man In The
Life of Celia (1997)
Directed By: Carlos Siguion-Reyna Story: Bibeth Orteza
Cast: Rosanna Roces, Ricky Davao, Gardo Versoza,
Allan Paule, Eva Darren, Crispin Pineda, Gigi Lacson, Renato del Prado
Ang Lalaki Sa Buhay Ni Selya (English
Title: "The Man in Selya's Life") is a controversial 1997 Filipino
film about a woman who confronts her own prejudice among the community of
intolerant and homophobic gossipers when she chooses between two men.
Selya is disappointed with Bobby who
only wants sex but no real relationship nor marriage. So she leaves and decides
to marry the gay Ramon who, she is convinced, is definitely different.
The story revolves around Selya
(Rosanna Roces), a schoolteacher. She wants more commitment from Bobby (Gardo
Versoza), with whom she has a sexual relationship, but Bobby refuses to give
her what she wants and he leaves her. Selya runs away and ends up in a little
town where she meets Piling (Eva Darren), who is also a schoolteacher, and Dave
(Ricky Davao), a closeted gay man. The townspeople are homophobic, and she
begins to hear vicious criticisms and unbridled gossip as she embarks on a
relationship with Dave. Selya realizes that things won't end well as Dave does
not want a sexual relationship with her, and she walks out on Dave even as he
proposes to her. Selya goes back to Bobby, only to regret her decision when he
gets her pregnant and still doesn't change. Selya then decides to return to
Dave and raise her child with him. Eventually, she becomes happy with her
decision to live in a civil union with Dave, though their relationship remains
platonic, and Selya realizes her worth as a woman. In the end, as Bobby tries
to take her and their child away from Dave, Selya confronts her own irony,
daringly exhibiting her strength of character as she conquers her physical
desires and chooses the more emotionally rewarding bond.
Muro-Ami (1996) poster
95. Muro Ami (1999)
Directed By: Marilou Diaz- Abaya
Cast: Cesar Montaño, Pen Medina, Amy Austria,
Rebecca Lusterio, Jerome Sales
Muro Ami (Reef-Hunters) is a Filipino
film that depicts one of the worst forms of child labor in the illegal fishing
system.
Fredo (Cesar Montano) is a fisherman
who has endured more than his share of hardship in life; his wife and child
both perished in a boating accident, and today Fredo approaches each trip to
the sea with the angry determination of a man out for revenge. Fredo commands a
crew of young people from poor families as he takes his rattletrap ship into
the ocean in search of fish that live along the reefs, snaring catch with an
illegal netting system. Not all of Fredo's youthful sailors are willing to put
up with his abusive arrogance, however, and even his father Dado (Pen Medina)
and close friend Botong (Jhong Hilario) have grown weary of Fredo's tirades.
Fredo's body is beginning to betray him as well, and as he and his crew damage
the sea's reef beds in search of fish, no one is certain how much longer he
will be able to continue.
Maestro Fredo, a tyrant captain, fixates
to claim the treasures of the sea -- no matter what, in whatever diabolical
technique for as long as he profits. He employs dozens of men, mostly children,
in his dangerous expeditions. Conditions aboard the ships are oppressive.
Children are often overworked and his crew is furious with the way they are
living. He blames the sea for claiming the lives of his family and he exacts
revenge by plundering its depths.
96. Maalaala Mo Kaya (1954)
Directed By: Mar S. Torres
Cast: Carmen Rosales, Rogelio de la Rosa, Patria
Plata, Precy Ortega
A classic love story about a
composer, singer, and the song they put together. Celso's (Rogelio dela Rosa)
mother is suffering from failing eyesight. An undiscovered pianist, he puts his
fortune to the test and goes to the city for his mother's sake, leaving behind
his true love Pilar (Carmen Rosales). A nameless figure in the city, he only
had with him a song, fruit of the labor of love between him and Pilar and his
funny friend Menes (Dolphy). He finds a producer named Patria del Mar (Patria
Plata), who becomes instantly attracted to him.
97. Galawgaw (1954)
Directed By: F.H. Constantino
Cast: Nida Blanca, Jaime de la Rosa, Eddie San
Jose, Nita Javier, Pianing Vidal, Priscilla Ramirez, Metring David, Pamboy
Galawgaw, LVN's Christmas offering in
1954 shown at the Dalisay Theater 16-25 December is a rags-to-riches tale of a
country lass, with a sprinkling of romance, comedy and music. Nida Blanca, in
the lead role, is truly an epitome of the word "galawgaw" -- impish
and so downright funny. Appearing opposite Nida is Jaime de la Rosa who plays
the dashing hunter caught in one of the former's antics.
98. Palimos ng Pag-ibig (1986)
Directed By:
Eddie Garcia Story: James Bridges
Cast: Vilma Santos, Dina Bonnevie, Edu Manzano, Laurice Guillen, Pepito Rodriguez, Ronald Corveau, Cherie Gil
On the outside, it looks like a
marriage made in heaven. But inside the thick walls of what they call home,
theirs is a relationship waiting to crumble. They have been wanting a child for
so long, but the wife does not have the capacity to bear a child. And when her
husband cannot take it any longer, he decides to end his misery once and for
all.
On the outside, Fina and Rodel's marriage
is a match made in heaven; but behind the thick walls of what they call home,
their relationship is on the verge of crumbling. For all their affluence, the
couple's lives remains empty. Devoid of a child to call their own, any attempts
they make to conceive may prove fatal to Fina (Vilma Santos) due to her medical
condition. In an act of desperation, Rodel (Edu Manzano) takes matters into his
own hands and seeks the services of a surrogate, Ditas. The plan goes awry when
Rodel becomes genuinely attracted to the younger and more alluring Ditas (Dina
Bonnevie); while Ditas, who lived a destitute life, finds the notion of
prosperity equally irresistible. The well-intentioned plan to resuscitate life
back into a dying marriage may become its undoing.
Famous Quote
/ Movie Line:
"Para
kang karinderyang bukas sa lahat ng gustong kumain!" (You're like a
restaurant that's open to anyone who wants to eat!) - Vilma Santos (In context
of prostitution reference)
Kurdapya (1955) played by Gloria Romero is a ugly lass with crooked teeth from a small town living with her tyrannical relatives is unaware that she has a beautiful twin who looks exactly the opposite of her
99. Kurdapya (1955)
Directed By: Tony Cayado
Story: Pablo
S. Gomez
Cast: Gloria Romero, Ramon Revilla, Ric Rodrigo,
Dolphy, Aruray, Eddie Garcia, Rebecca del Rio, Etang Discher
Kurdapya is an ugly girl with crook teeth and
is in love with a muscular handsome Ramon Revilla. Unknown to her, she has a
twin sister which is exactly opposite her - beautiful woman with very long
silky hair. The riotous comedy begins.
100. Batch '81 (1982)
Directed By: Mike De Leon
Cast: Mark Gil, Sandy Andolong, Ward Luarca, Noel
Trinidad, Ricky Sandixo, Jimmy Javier, Rod Leido
Batch '81 follows the experiences of
seven neophytes who are seeking acceptance into the Alpha Kappa Omega
fraternity through a difficult hazing process. The entire experience is seen
through the eyes of Sid Lucero, one of the neophytes. The film faced trouble
during the Marcos regime but was acclaimed by international critics.
This was the last film ever released
by Sampaguita Pictures before the latter closed shop. Gil's son Tim Eigenmann
turned a year old on the same year the film was released. Tim would go on to
adopt his father's film character's name Sid Lucero as his stage name when he
himself became an actor upon growing up.
One of the few films screened at the Director's Fortnight of the 1982 Cannes Film Festival.
One of the few films screened at the Director's Fortnight of the 1982 Cannes Film Festival.
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