We owe them much for their vision, the stories they shared in their films, the artistry they displayed in their cinematic masterpieces and the way their motion pictures nourished the soul and enriched our national culture
Carmen Rosales, Liberty Ilagan and Paraluman in Sampaguita Pictures’ ‘Estela Mondragon.’
Photographs courtesy of THE NATIONAL TREASURES CLUB
Dolphy in ‘John en Marsha ‘85.’
JAY Ilagan as Osman in ‘Aguila.’
VIC Silayan in ‘Kisapmata.’
It is fitting that the celebration of Philippine Film Industry Month this September highlights the artistic legacies and cultural contributions of the National Artists for Film and Broadcast Arts.
These giants of Philippine cinema include Lamberto Avellana, Gerry de Leon, Lino Brocka, Ishmael Bernal, Eddie Romero, Fernando Poe Jr., Manuel Conde, Kidlat Tahimik, Ricky Lee, Marilou Diaz Abaya and Nora Aunor.
We owe them much for their vision, the stories they shared in their films, the artistry they displayed in their cinematic masterpieces and the way their motion pictures nourished the soul and enriched our national culture.
In today’s The Diva View, I will share recollections about the men and women who once ruled Philippine show business, whom I fondly call the National Treasures Club. They have made significant contributions to the entertainment industry, enchanting audiences and leaving a lasting impact on Pinoy movie fans and lovers of Philippine cinema.
The Queens
These are ladies with attitude, grace, commanding power, respect and stellar billing, and the stories about them only add to their legendary status.
First is Carmen Rosales, the true Filipina movie queen in my book. During her heyday, she was like the superstar for all seasons. She was the only actress allowed by the Sampaguita patriarch to call him by his nickname and was the highest-paid actress, always billed first on cinema billboards, marquees and posters. In her last television interview, during a FAMAS awards night, she appeared in silhouette because she did not want her adoring public to see her in her senior state. She wanted them to remember the Carmen Rosales who once ruled hearts, minds and box office revenues.
Three prime kontrabidas were Bella Flores, Zenny Zabala and Carol Varga. These three femme fatales, glammed and styled to perfection, were the nemeses of all the damsels in distress in films produced by LVN, Sampaguita, Premiere and Libiran.
Also notable is the great Etang Discher, the most terrifying mother-in-law and always the mapang-api (oppressive) and mapang-mata (disdainful) donya (lady).
Among the most unforgettable beauties are Norma Blancaflor, with her widow’s peak and always the loveliest in her baro’t saya; Delia Razon, whose costumes made her devastatingly beautiful; and, of course, the legend that was Paraluman.
It’s no wonder the Eraserheads immortalized her beauty in their song “Ang Huling El Bimbo.” To me, she was like Aphrodite, the goddess of love and beauty, who chose to become mortal.
Our DAILY TRIBUNE columnist Alex Brosas had the rare opportunity to personally encounter this legend at her San Lorenzo Village residence when he was still a writer for the seasoned show business manager and journalist Bibsy Carballo.
In Brosas’ recollection of his once-in-a-lifetime meeting with Paraluman: “Graciosang-graciosa. And talagang kakaiba ang ganda. I met her, lola age na siya pero iba! Natulala ako. Na-star struck (Very graceful and truly unique in beauty. I met her; she was of grandmother’s age but still remarkable! I was speechless. I was star-struck)!”
The drama queens and rivals Lolita Rodriguez and Charito Solis were prominent figures in Philippine cinema. A YouTube clip features their different acting styles in a movie directed by Lino Brocka. These actresses also shared screen time and received stellar billing alongside Nora Aunor and Vilma Santos. Rodriguez starred with Aunor in the controversial film Ina Ka Ng Anak Mo, while Solis appeared with Santos in the MMFF movie entry Modelong Tanso.
Rita Gomez was an actress ahead of her time. She famously made Maria Isabel Lopez the Ms. Universe Philippines candidate when Lopez confidently and wittily answered Gomez’s question, “Iha, are you still a virgin?” Gomez was a favorite of Ishmael Bernal, and some of her most classic collaborations with him include Pag Dating Sa Dulo and Salawahan.
Before becoming beloved grandmothers in movies and TV, Rustica Carpio and Anita Linda were the favorite muses of Bernal (for Carpio) and Gerry de Leon and Brocka (for Linda). Another much-missed “lola,” Mona Lisa, shone brightly in Brocka’s Insiang and Cain at Abel, among other films.
Nida Blanca, of course, belongs in this list of queens. And yes, my all-time favorite, Ginang Milyonarya, and the adored comedienne Amparo Moya, whom we all loved as Chichay, are also included.
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The Kings
These fine gentlemen who comprise the National Treasures Club include the comedy king Dolphy, who made himself a household name and everyone’s favorite father figure and neighbor in John en Marsha and Home Along The Riles. My all-time favorite Dolphy movies are Lino Brocka’s Ang Tatay Kong Nanay and Peque Gallaga’s Once Upon a Time.
One of his most iconic lines, which explains why he never entered politics despite numerous influential attempts to persuade him, is: “Madaling manalo, pero anong gagawin ko pag nanalo ako, eh komedyante lang ako” (Winning is easy, but what would I do if I won, I’m just a comedian).
Vic Silayan also truly deserves to be in this enumeration. His masterful acting was showcased in Mike de Leon’s Kisapmata and Marilou Diaz Abaya’s Karnal. Silayan brought gravitas and a unique kind of sinister depth to his roles.
Eddie Garcia aged like fine wine, continually improving as he took on new challenges to bring both lovable and polarizing characters to life.
Dindo Fernando and Eddie Rodriguez made love triangle tropes delicious and satisfying. Their dedication to portraying their characters truthfully helped us accept the flaws of their roles.
Ending the list of Kings, Jay Ilagan made a memorable impact as Omar, the firstborn son of a Muslim woman, who fell in love with his father’s half-sister in Aguila. His portrayal of loneliness and solitary existence in Pio de Castro’s Soltero was profound. In Mike de Leon’s Kisapmata, his role as the angry and emotionally tortured son was never overshadowed by acting giants Silayan and Solis. And in another Mike de Leon classic, Sister Stella L, his portrayal of a former boyfriend turned journalist, opposite Vilma Santos, was unforgettable. The poignant scene where he and Santos were tormented by goons, and his voice trembled with the pain of not being able to protect Stella, was truly moving.
Ladies and gentlemen and DAILY TRIBUNE readers, these are the members of the National Treasures Club. May you not only remember their names but also take the time to research and watch their films and television shows, if available. These men and women made significant contributions to Philippine cinema.
