Cinema of the Philippines

Southeast Asian cinema

The cinema of the Philippines has a history that can be traced back to the early days of filmmaking in 1897, when a theater owner named Pertierra screened imported moving pictures.

1 History
2 See also
3 External links

History

The Pre-War Era

The first film produced by a Filipino is Jose Nepomuceno's Dalagang Bukid (1919).

The first sound film in Tagalog is Ang Aswang (1930), a monster movie inspired by Philippine folklore.

Some popular movie villains of the Pre-War Era:

MALE: FEMALE: 1. Bert Leroy 1. Nati Rubi 2. Fernando Royo 2. Etang Discher 3. Ben Rubio 3. Patring (Monang) Carvajal 4. Rolando Liwanag 4. Naty Bernardo 5. Exequiel Segovia 6. Ben Perez 7. Teddy Benavides 8. Manuel Barbeyto 9. Ernesto la Guardia 10. Jaime G. Castellvi 11. Alfonso Carvajal 12. Jose Troni 13. Nardo Vercudia 14. Andres Centenera 15. Fermin Barva 16. Fernando Po

The Second World War

During the Japanese Occupation (1942-1945), some Filipino directors were commissioned to make propaganda pictures.

During World War II, almost all actors and actresses of these war years depended on stage shows only, mostly on major Manila movie theaters, to provide for their livelihood.

The 1950s

The 1950s was the so-called First Golden Age of Philippine Cinema, mainly because at this time, the Big Four studios (LVN Pictures, Sampaguita Pictures, Premiere Productions and Lebran International) were at the height of their powers in filmmaking, having employed master directors like Gerardo de Leon, Eddie Romero and Cesar Gallardo and housing the biggest stars of the industry that day. The Big Four has been also churning out an estimated total of 350 films a year. This number made the Philippines second only to Japan in terms of film productions a year, which made it one of the busiest and bustling film communities in Asia. Nevertheless, Hollywood still has its grips on the Filipino audience mainly because all those 350 films are only shown in two theaters, namely Dalisay and Life theaters in Manila.

The premiere directors of the era were (but not limited to):

Gerardo de Leon
Gregorio Fernandez
Eddie Romero
Lamberto Avellana
Armando Garces
Cirio Santiago
Cesar Gallardo

The biggest stars of the era were (but not limited to):

Rogelio de la Rosa
Jaime de la Rosa
Carmen Rosales
Jose Padilla, Jr.
Arsenia Francisco
Ben Perez
Ben Rubio
Fred Peñalosa
Rosa del Rosario
Paraluman
Oscar Moreno
Carlos Salazar
Manuel Conde
Tony Santos
Fred Montilla
Oscar Keese
Bert Olivar
Anita Linda
Carol Varga
Evelyn Villar
Tessie Agana
Linda Estrella
Alicia Vergel
Cesar Ramirez
Ruben Rustia
Lauro Delgado
Eddie Garcia
Gloria Romero
Nida Blanca
Nestor de Villa
Luis Gonzales
Van de Leon
Gil de Leon
Mila del Sol
Rita Gomez
Lolita Rodriguez
Charito Solis
Rosa Mia
Rosa Rosal
Delia Razon
Eddie del Mar
Efren Reyes
Johnny Reyes
Nena Cardenas
Chichay
Tolindoy
Bayani Casimiro
Bentot (Cosca)
Vicente Liwanay
Pugo
Tugo
Patsy (Pachochay)
Lopito
Tugak
Pugak
Billy "Surot" Vizcarra
Chiquito
Oscar Obligacion
Dely Atayatayan
Andoy Balumbalunan
Levi Celerio

The Big Four studios produced most of the notable films of Philippine cinema during this era. LVN Pictures, under the leadership of the grandmotherly Doña Sisang de Leon, specialized in superproductions, rural comedies and musicals, but also produced socially-relevant films such as Avellana's Anak Dalita (1956), Tony Santos's Badjao (1957) and Manuel Silos's Biyaya ng Lupa (1959). Sampaguita Pictures mainly produced high-gloss, glamorous pictures such as Maalaala Mo Kaya (1954). On the other hand Premiere Productions released most of the action films of the decade, such as Sawa sa Lumang Simboryo (1952), Salabusab (1954) and Huwag Mo Akong Limutin (1960).

Due to the high production values of the motion pictures during this era, these movies started to win awards internationally. In 1952, Genghis Khan became the first film to be shown in the Cannes Film Festival, a feat that would not be defeated until the 1970s. In 1956, Anak Dalita copped the Golden Harvest Award (Best Picture) of the prestigious Asia-Pacific Film Festival.

In addition, the stars of these productions also won international awards. Lilia Dizon, for example, may have not romped away with the FAMAS Best Actress Award fo the time, but the prince of Cambodia, Norodom Sihanouk, presented her with the Best Actress Award from the Asia-Pacific Film Festival in 1954. Leroy Salvador was also recognized in his performance as Best Supporting Actor for the film Huk sa Bagong Pamumuhay (1953) in the Asia-Pacific Film Festival.

During this era, the first award-giving bodies were also established. The first award-giving body, the Maria Clara Awards of the Manila Times Publishing, Inc, was composed of film publicists and writers who voted for the exemplary achievements of Filipino motion pictures for a certain calendar year. In 1953, the Maria Clara folded up to give way to the establishment of the Filipino Academy of Movie Arts and Sciences, the Philippines' answer to the United States' Academy Awards. With this, the Philippines set a trend in Asian cinema; FAMAS was the first film industry award-giving body in Asia.

FAMAS has awarded its most coveted Best Picture Award to the following films:

1952 Sawa sa Lumang Simboryo (Premiere Productions and M.J. Vistan Productions)
1953 Huk sa Bagong Pamumuhay (LVN Pictures)
1954 Salabusab (Premiere Productions)
1955 Higit sa Lahat (LVN Pictures)
1956 Luksang Tagumapay (LVN Pictures)
1957 Kalibre .45 (Premiere Productions)
1958 Hanggang sa Dulo ng Daigdig (Premiere Productions)
1959 Biyaya ng Lupa (LVN Pictures)

The 1960s

Characterized by the so-called bomba pictures, James Bond and western spin-offs. It was also the era of musical films starred by mostly Sampaguita Pictures discoveries.

The 1970s to early 1980s

Touted as the Second Golden Age of Philippine Cinema, this was the period of the avant-garde filmmakers. Some of the notable films are as follows:

Lino Brocka directs Stardoom (1971), Tinimbang Ka Ngunit Kulang (1974), Maynila: sa mga kuko ng liwanag (1975) and Insiang (1976).
Ishmael Bernal directs Pagdating sa Dulo (1971) and Himala (1981).
Gerardo de Leon's Banaue (1975).
Mike de Leon's Itim (1976) and Batch '81 (1982).
Peque Gallaga's Oro, Plata, Mata (1982).

Late 1980s to 1990s

In 1993, a television station ventured in movie production. ABS-CBN's Star Cinema produced (in cooperation with Regal Films) Ronquillo: Tubong Cavite, Laking Tondo.

2000 to present

While formulaic romantic comedies have comprised majority of mainstream releases, independent filmmakers spur a renewed interest in Philippine movies with mostly digital films. Among the works:

Ang Pagdadalaga ni Maximo Oliveros (2005) by Aureus Solito, Kubrador (2006) by Jeffrey Jeturian, Todo Todo Teros (2006) by John Torres, and Endo (2007) by Jade Castro,