Whether in Philippine cinema or Hollywood, the lead star is often given a best friend or sidekick. Among local actors, Joross Gamboa is perhaps the most famous “pambansang best friend” to many leading men, thanks to his versatility. He can do drama, but he truly excels in comedy, where his impeccable timing shines.

There is also a long list of actresses in Philippine movies who became known as the “best friends ng bayan.” Matet de Leon remains one of the most effective. Three others frequently cast as the leading lady’s best friend are Melai Cantiveros, Cai Cortez and Chariz Solomon.

Best friend archetype

Back in the 1950s, Sampaguita Pictures also had its own stable of “best friends” for its queens, Susan Roces and Amalia Fuentes. The list included Nori Dalisay, Meldy Corrales, Mitos Seva, Amparo Lucas and Nelly Baylon.

I am most familiar with Nori Dalisay, who is thankfully still around because she was a mainstay in practically every Sampaguita Pictures production during the height of Susan and Amalia’s popularity. Early this year, I came across the film Mga Reyna ng Vicks on YouTube and found parts of it entertaining.

Sponsored by a cold and flu medication, Mga Reyna ng Vicks was originally a popular daytime radio serial in which women shared their tales of hardship with listeners. Whoever had the saddest story was crowned Reyna ng Vicks for the day. The DZRH radio program was eventually adapted into a film by Sampaguita Pictures in 1958. Directed by Mar S. Torres, the episodic movie featured Dolphy, Gloria Romero, Rita Gomez, Amalia Fuentes and Susan Roces.

While watching Susan’s episode, the actress playing her best friend caught my attention. When I checked the credits, I discovered her name was Nelly Baylon. I immediately thought: that girl had star potential. She was pretty and possessed a strong screen presence. Why, then, was she relegated to best friend roles?

From then on, I became curious about her. I even called one of the heirs of Sampaguita Pictures, Elizabeth Vera-Perez Nakpil, to ask about Nelly Baylon, but I got very little information. Elizabeth was still a child in 1958 and did not remember Nelly. Wikipedia? No, thank you. Surely there had to be better sources of information.

Then, last month, a Hollywood actress of Filipino descent visited the Philippines. Her name is Teresa Navarro. Her notable works include Sense8, Delirium, Enter the Fire and Birth of the Dragon. Teresa is also a writer, director and producer who is constantly searching for concepts that can be turned into films.

She came to the Philippines for two reasons: to sightsee and to gather information about her grandaunt, Nelly Baylon. Even before Teresa flew to Manila, someone had already advised her to seek me out because of my supposed reputation for knowing all the old stars of Filipino cinema.

That is not entirely true. But I do know pre-war actress Maria Tronqued, who later became the mother of National Artist for Architecture Francisco Mañosa. I am probably also among the few people left who still recognize names like Naty Bernardo, Horacio Morelos, Marcelino Ilagan Jr., Adelina Moreno and Eduardo de Castro — stars who began their careers before the Pacific War.

When I finally met Teresa, I told her I had already done some research on Nelly Baylon. I learned that she had fair skin and was undeniably a head-turner. At Sampaguita Pictures, however, she had to go through the usual rigmarole on the road to stardom. First came tertiary roles, then secondary parts, before the actual buildup process.

But here was the catch: elevation to star status depended entirely on audience reaction. If moviegoers swooned over an actor in a supporting role, that was the signal for the studio to push that performer toward stardom.