SUPERSTARstruck: The Nora Aunor Fanatics Blog

The Best of 1982
by Mina Paras

This year’s bumper crop of movies plus the inspired performances of old reliables and even, surprisingly, from greenhorns in the trade, made the task of critics and observers of the local movie industry a little harder than usual. Parade asked five critics, a television host-producer, and a prize-winning novelist for their choices as the pick for 1982. Not surprisingly, the Parade panel disagreed in some categories and were unanimous in others.

Wilfrido Nolledo
novelist, screenwriter, film critic

Ding Nolledo belongs to the Scriptwriters Guild and so, for the past year, has confined himself to reviewing foreign movies. “For delicadeza,” so he patiently explains, after having thought of choices for 1982 (which turned to be a list of imported films, a result of miscommunication).

Pressed for his opinions, though, he confesses to liking Himala “very much” but mentions that he hasn’t seen Oro Plata Mata.

Himala, Ding justifies, because the film exudes “raw power,” not to mention the excellent acting and the direction, which was like early Fellini, especially the middle part.”

Ding doesn’t agree with Moral’s rave reviews because “I’ve seen Moral in about 369 other films.” It’s not that original, he implies.

As for best actress, it’ll have to be Nora in Himala. “She reminds me of the young Anna Magnani. Besides, the script fitted her to a T. The role practically coincides with what she is in real life.”

Mario Hernando
film critic

Best Films:
(in the order of preference)

1.      Oro, Plata, Mata and Batch ’81
2.      Relasyon and Himala
3.      Moral

Best Directors:
(in no particular order)
1.      Ishmael Bernal for Relasyon and Himala
2.      Peque Gallaga for Oro Plata Mata
3.      Mike de Leon for Batch ’81

Actresses:
1.      Vilma Santos for Relasyon
2.      Nora Aunor for Himala and Uod at Rosas
3.      Sandy Andolong for Moral and Oro Plata Mata
4.      Gina Alajar for Moral

Actors:
1.      Mark Gil for Batch ’81 and Palipat-lipat, Papalit-palit
2.      Joel Torre for Oro Plata Mata
3.      Christopher de Leon for Relasyon

“Most movies are usually flawed, and those in my list are no exception. However, apart from the standard criteria I am applying to them (the classic from and content balance), I am giving much weight on impact and emotional power. So, my top two are Oro and Batch. Himala is an ambitious film and much flawed, but it has visual beauty and emotional wallop. Relasyon is more modest in scope, but I think is more successful on its own terms. Moral has many good things going for it, from direction and writing, to performances, but it does not match the four other films in impact (though it has some moving moments) and originality.”

Hammy Sotto
film critic

Hammy Sotto, Manunuri, must have been inspired by the witching hour (translate that into 1:05 a.m., 11th hour of presstime) so much so that he raves—and bewitching so—about his choices for the best of 1982.

Says Hammy on the phone: “I pick Oro Plata Mata as best film because it’s a landmark in Visayan dramaturgy. Never before has the carefree life of the sugar baron been so accurately and meticulously recorded on film.

“Peque Gallaga doesn’t pretend to any fixed ideology and the film can only be taken as a set of reminiscences of a ‘Golden Age’ forever gone. But Peque’s brilliant direction lifts the material above its nostalgia trip and makes out of it a vivid behavioral comment on the Saint/Beast known as the Filipino.”

His other choice is Batch ’81. States Hammy: “The most interesting aspects of Batch ’81 are the invisible ones. On the surface the film tackles the initiation of aspiring neophytes into quasi-tribal fraternities. But Mike de Leon consciously or unconsciously imbues the action with so much double meaning, the gory initiation rites become a disturbing metaphor of our times.

“I don’t find particular merit in any actor or actress but I must make special mention of Ariosto Reyes as a supporting actor in Uod at Rosas wherein his facial gestures measured to the milliliter the abrupt descent into suicide.”

Peque Gallaga as director turned out as a real surprise in Oro, Hammy claims. “This is the first film of Peque that I saw. He shows a very solid grasp of blocking and his camera angles were perfect.” Hammy explains that “the first things I look for when I watch a movie is the blocking and positioning of camera because to me that reveals directorial command.”

Hammy adds: “Peque was able to bring the movie to life with rich details culled from his own experience, which was not, could not have been, scripted. He gives it an energy that could only have come from experience and firsthand knowledge.”

Celso Carunungan
screenwriter, novelist

Celso Carunungan makes it a point to see a movie once a month however busy he is serving on seven boards, just to “keep in touch.”

He considers Himala the best choice for 1982 for a lot of reasons: “For one thing, I believe it has what’s been lacking in our movies for a long time—a good story. Lack of good materials, stereotype characters, and predictable plots have been plaguing the local movie scene for a long time, and most movies are strengthened only by bold scenes.

“Himala is beautiful in the sense that it’s never been done before and it’s honest. It reminds me of Biyaya ng Lupa, a movie I wrote during the Sixties.

 “To me, the acting of Nora is one of the highlights of the film. I didn’t expect her to act like that. She was very disciplined. There was no attempt to glamorize her and make her pretty. It was all honest.

“Dindo Fernado I consider the best actor in the land. It’s a pity that he’s never given a good vehicle.

 “For the first time, I’m opening the subject: I’m doing the story for a movie on Rizal with Samuel Bronston (producer of El Cid, 55 Days in Peking) and of course, he’ll get an internationally famous actor-star for the title role but I want to have Dindo in the movie. I haven’t talked to him about the project yet, though.

“There is a kind of artistic integrity in Dindo that I don’t find in others. It comes from his confidence, his maturity.

“I think Ishmael Bernal is the best director and I’m looking forward to work with him. He is more sensitive and more poetic than the others.”

Nestor Torre Jr.
film critic

Nestor Torre gave a pretty little speech of apology for “Not having seen most of the movies shown the past year since I’ve been busy with my stage and theater productions, “but of the ones he’s seen, he qualifies, he finds Batch ’81 the best movie made in 1982.

“The movie had something very important to say and it communicated it very well.” His choice of best director naturally ties in with his choice of film. “Mike de Leon did his job so well,” he reiterates.

As for his choice of best actor, it’s Mark Gil, “unless I’ve forgotten somebody else.” It’s Mark Gil because “he was perfect in that role as somebody who was waiting to discover the violence within him.”

As for the best actress, it’s Nora Aunor in Himala. “It was a good role, and she communicated it very well. At least, Nora wasn’t api here for a change, It was quite a complicated role, but she handled it very well.”

Other choices were Gina Alajar and Lorna Tolentino in Moral. “Gina was very good in Moral, and she would have been perfect, but the problem was her makeup and costume which made her look freakish in the movie. I mean, no one looks like that in real life.” (Just for the record, this writer disagreed. Try Angeles City.)

Vilma Santos, Nestor notes, is admittedly a “very hard worker but her physical structure really makes it difficult for her to be really effective—hindi malalim—and her voice is not that expressive.”

Nestor adds, though, that, once in a while, Vilma “transcends her physical limitations, as in Rubia Servios.”

Behn Cervantes
filmmaker, film critic

Behn’s choice for best movie of 1982 comes easy, with one qualification (he has not seen Oro, Plata, Mata). “It’s Batch ’81 because it was innovative and more daring. The technical aspect was also great. The cinematography was good and the film was very well edited. Everything in it was tightly woven in. Also, it’s the kind of film which leaves you gaping. I mean there are films which you can’t just watch and be satisfied with what you’ve seen. Batch ’81 is one such movie. You have to discuss it afterwards.”

Behn puts Moral in second place “because it presented a contemporary view not only of women in society but society as a whole.”

Behn’s third choice is Himala. “I enjoyed watching it. It had that certain texture, you know, the superimposition of the supernatural with the mundane. Further, it was a powerful reflection of capitalistic tendencies in society and of the materialistic greed that results from it.”

For best actor, “it’s Mark Gil, especially in Batch ’81. While Christopher de Leon is also one of my favorites, being very good in Relasyon, Mark showed more guttered reaction in Batch ’81 than Christopher did in any movie. With Mark, it seemed to come from his guts.”

As for the choice of best actress, “mahirap iyan,” Behn admits spontaneously. “It’s a difficult choice between Gina Alajar in Moral and Nora Aunor in Himala. Gina was beautifully flamboyant and effective as the funky character in Moral, while Nora was very cinematic in Himala. Nora is one actress who knows how to use her medium.

“Vilma is also good. She knows her craft, but somehow, at the moment of truth, physically she doesn’t quite hit me. There’s something very cutesified about it.

“As for best director, it’s Mike de Leon, of course. For me, the best film should tie in with the best director.”

Armida Siguion Reyna
film actress, producer

Armida has said it in her TV show Let’s Talk Movies and she’s saying it again: her choice for best movie not only for the filmfest but for the entire 1982 is Moral.

“It’s very ‘today,’ NOW. You really get to identify with the characters in the movie. Like, in any case, there is a little of myself in each of the four characters, from Gina to Lorna and to Sandy and Anna. Technically, there’s a little flaw, but the camera work was adequate; bagay sa movie and that’s what counts. Editing is good, and the music, although nothing outstanding, was okay. Overall, the script and acting were very good, and for me, the story and direction carry the burden of the weight of the movie.”

Certainly, Armida admits, the movie can still stand improvement, but she particularly rates Marilou Diaz Abaya, her choice for best director, for having been able to orchestrate the performers so well so that “you’re not aware anymore that they’re acting. You just get involved in the movie.”

Armida adds: “Marilou knows her medium, and she enjoys the advantage of having her husband as editor of the movie. She also handles her actors very well, she can compete with… no, she equals Lino Brocka already.”

After Moral, Armida chooses Oro, Plata, Mata and Cain at Abel, respectively, as among 1982’s best. She does not dislike Batch ’81, “it’s just that I don’t like those types of movies.” To her, one has to be able to identify with the movie. “It’s also a kind of instinctive reaction. If I don’t like it, I don’t like it.”

Armida chooses Vilma Santos as best actress for her performance in Relasyon. “I can’t explain my choice in the beautiful language of the Manunuri but I go by gut and alam kong maganda.” She is also more inclined toward Vilma because the actress made a number of good movies last year.

For best actor, “I choose Mark Gil in Batch ’81 and Palipat-lipat, Papalit-palit and Katas ng Langis. He was a revelation and he showed skill. He knows what tools to use, the techniques.” Armida sort of disqualifies Christopher de Leon from the picking “simply because napaka-competent na ni Chris.” ●

Tally of Scores for Best Actress

1.      Nora Aunor in Himala: 4 votes and 1 runner-up vote
2.      Vilma Santos in Relasyon: 2 votes
3.      Gina Alajar in Moral: 1 vote and 2 runner-up votes
4.      Nora Aunor in Mga Uod at Oras: 1 runner-up vote
5.      Lorna Tolentino in Moral: 1 runner-up vote
6.      Sandy Andolong in Moral: 1 runner-up vote

Source: Parade, January 19, 1983, 4-7

Himala vies for the CNN APSA Viewers Choice Award for All-Time Favorite Film from the Asia Pacific. (Link to the CNN poll)

I had the rare pleasure of watching Himala by Ishmael Bernal last night on Cinema One. Though I have seen the film more than ten times already, I never could get my eyes off it when I see it running on television.

In the sleepy, cursed and forgotten town of Cupang, a young simpleton named Elsa (Nora Aunor) announces that she has seen the Virgin Mary in an apparition and consequently demonstrates a newfound ability to heal the sick. The claim turned the impoverished village into an attraction for both the good and the bad. It has become an attraction as people come from all over for statues of the saints and bottles of the village's holy water. Soon, prostitution, drugs, crimes, politics and other forms of worldly corruption pervaded the otherwise sleepy village.

Made some 25 years ago, the film, arguably the best Filipino film ever made, has never lost any of its power. The film is worth watching for, among others, three important film elements.

First, Nora Aunor's now legendary performance as the visionary Elsa. Aunor plays Elsa with subtlety and holds back for the most part of the film until the last quarter where she explodes with an avalanche of emotions that will drown you. It is an otherworldly performance that can be played only by an actress of her caliber.

Second, Ricky Lee’s inspired and tightly written script. Comparable to the scripts of other Filipino classics like Insiang (1976), Kisapamata (1981) and Batch ’81 (1982), everything in the script is a necessary element for its cohesive wholeness. Nothing in the story is unimportant.

The third best element of the film, and perhaps its greatest achievement, is its direction. Ishmael Bernal uses all his cinematic genius to build crescendo, a frenzy of Third World desperation—poverty, sickness, death—with resulting tension that inevitably explodes in the end. From the start of the film, you can already sense a master at work. One could get a sense of the cinematic vision that he has for the story that he wants to tell and how he intends to tell it. When Elsa gathers her followers near the end of the film, we are awed by this vision that the director wants us to see.

Himala is a very good film because of its achievements in the aforesaid elements. However, what makes it not only a good film but a great one are the questions it dares to ask. Celebrity, religious hyprocrisy and commercialism, poverty, and fanaticism collide in Himala. In a country overwhelmingly spoon-fed with Catholicism, Himala dares to question the institutions and truths we've created and challenges us to do the same.

A story of the timeless struggle of man in his quest to find something to believe in, it is a serious commentary on how poverty and desperation make people cling to false idols in the hope that these can save them from their misery.

From A Life Less Ordinary Blog (posted on May 30, 2007)

Himala vies for the CNN APSA Viewers Choice Award for All-Time Favorite Film from the Asia Pacific. (Link to the CNN poll)

Nora Aunor shines as Elsa, in one of the most important Filipino films of all time. Aunor’s most remarkable quality is her ability to express a myriad of emotions through her eyes, without even saying a word. This quality is scarce, even more so at present, where new actors and actresses are born out of reality shows and thrust into the limelight by sheer looks alone.

Himala tells the story of religious fanaticism, faithlessness, and how people rediscover real faith.

Set in the desolate town of Cupang, where poverty-stricken residents await a miracle. Hope comes in the person of Elsa, who claims to have seen the Virgin Mary. With mysterious healing powers, she starts to cure the residents of their ailments. Her fame quickly spreads, and soon, an avalanche of tourists from all over the country visit the town to see Elsa. People quickly succumb to greed as they build businesses for the tourist’s money. Trouble escalates as a cholera epidemic takes the lives of children, while Elsa herself experience loss in the death of her friend Chayong, who hung herself after she was raped. Because of the deaths, the tourists leave town.

In her final act, Elsa gathers the people in the desert-like dunes where she had her visions. Before the crowd she finally confesses, “Walang himala! … Ang himala ay nasa puso ng tao …” A shot is heard, and Elsa falls to the floor, clutching her bloody chest. All hell breaks loose as a stampede ensues and many people perish.

With the loss of Elsa and the others, the people of Cupang finally pray and discover the true meaning of their faith.

From The Emancipation of Thaddie

Himala vies for the CNN APSA Viewers Choice Award for All-Time Favorite Film from the Asia Pacific. (Link to the CNN poll)

International Screenings

Opening Film
2nd Manila International Film Festival (1983)

Competition Film for the Golden Bear Awards
33rd Berlin International Film Festival (1983)

Official Selection, Filipino Film Week
Moscow, Kiev, and Alma-Ata, USSR (1983)

Exhibition Film, 13th Moscow Film Festival (1983)

Competition Film
19th Chicago International Film Festival (1983)

Competition Film, Asia Pacific Film Festival (1983)

ASEAN Film Week (Baguio City, 1984)

ASEAN Film Festival (Bangkok, Thailand, 1984)

ASEAN Film Festival (Tokyo, Japan, 1988)

Films from the Asia Pacific, Los Angeles Film Festival (1990)

Indonesian Film Festival (1991)

NETPAC Asian Film Conference (Manila, 1994)

World Cinema Centennial Celebration (Manila, 1995)

Exhibition Film, 21st Hong Kong International Film Festival (1997)

Exhibition Film, Philippine Film Festival (Austria, 1998)

Asia Pacific Film Festival (New York University, 1998)

1st Cinemanila International Film Festival (1999)

3rd Cinemanila International Film Festival (2001)

UCLA Filipino Film Festival, Classics of the Filipino Film (2002)

Special Screening, Robert Zemeckis Digital Arts Center, Los Angeles, California (2006)

New York Filipino Film Festival 2006 (New York, 2006)

Berlin Hot Shots Film Festival (2008)

Paris Film Festival (2008)

Dekada Cinemanila (2008)

Philippine Festival Screenings

8th Metro Manila Film Festival

Pelikula at Lipunan (1996)

Writers Studio Rated R Film Festival (1997)

Kasaysayan at Pelikula: 100 Years of Cinema in the Philippines (1998)

6th Pelikula at Lipunan: A Salute to Philippine Cinema (1999)

Pistang Milenyo Pilipino (1999)

UP Shots 6 (2001)

UP Film Center’s Commemoration
of Ishmael Bernal’s Birth Anniversary (2001)

Arts Club Ishmael Bernal Film Festival (2001)

Dangal ng Lahing Pilipino
Parangal sa mga Pambansang Alagad ng Sining (2003)

Cinema Paraiso (2003)

Best of the Best of the MMFF (2005)

PeLEEKula Film Festival (2005)

Awards

1983 Chicago International Film Festival: Bronze Hugo Award

1983 Asia-Pacific Film Festival
Special Achievement for Best Depiction of Socially Involved Religion

Catholic Mass Media Awards
Best Picture, Best Screenplay, Best Supporting Actor (Spanky Manikan), Best Supporting Actress (Gigi Dueñas),

8th Metro Manila Film Festival
Best Picture, Best Director, Best Actress (Nora Aunor), Best Story (Ricky Lee), Best Supporting Actress (Gigi Dueñas), Best Supporting Actor (Spanky Manikan), Best Cinematography, Best Editing, Best Production Design

Movie Addicts (MAD) Awards
Best Actress (Nora Aunor)

Joel David Awards for Excellence in Philippine Cinema (1991)
All-Time Best Performer (Nora Aunor)
 
Other Distinctions

One of the Ten All-Time Best Films from the Asia Pacific
CNN International

Urian Pinilakang Gawad
(One of the 10 Best Films of the ’70s, ’80s, and ’90s)

One of the 10 Best Films of the Decade, 1980-1989
Manunuri ng Pelikulang Pilipino

Best Filipino Film of the 1980s
Ang Pinaka ... QTV 11


Himala vies for the CNN APSA Viewers Choice Award for All-Time Favorite Film from the Asia Pacific. (Link to the CNN poll)

(CNN)—On 11 November 2008, at the Asia Pacific Screen Awards, CNN viewers will honor one Asia Pacific film as the best of all time.

The Asia Pacific Screen Awards, which celebrate the finest filmmaking in the region, will be held on Australia's Gold Coast at a glittering, star-studded ceremony.

Now, you can help your favorite win the award by voting in our poll.

(Link to the CNN poll)

Our shortlist of ten films was drawn up by critics, industry insiders, stars (including Amitabh Bachchan and Aishwarya Rai) and—most importantly—CNN viewers. Now, you can decide who will win the award.

Voting closes on Friday, 31 October at 1800 GMT.

Seven Samurai
Akira Kurosawa, 1954, JAPAN

Pather Panchali
Satyajit Ray, 1955, INDIA

Gallipoli
Peter Weir, 1981, AUSTRALIA

Himala
Ishmael Bernal, 1982, PHILIPPINES

Chungking Express
Wong Kar-wai, 1994, CHINA

Gabbeh
Mohsen Makhmalbaf, 1996, IRAN

Crouching Tiger, Hidden Dragon
Ang Lee, 2000, CHINA

Spirited Away
Hayao Miyazaki, 2001, JAPAN

Infernal Affairs
A. Wai-Keung, A.Siu-Fai, 2002, HONG KONG/CHINA

Old Boy
Chan-wook Park, 2003, SOUTH KOREA

(In chronological order)

Isa akong Noranian!

Alam iyan ng malalapit kong kaibigan. Hindi naman ako die-hard na talagang makikipagpatayan kapag inaalipusta si Nora, hindi rin naman ako closet Noranian na itinatago ang paghanga sa kanya. Kumbaga, nasa gitna ako.

Recently, nagkaroon ng feature sa PEP (Philippine Entertainment Portal) tungkol kay Nora. Yung mga myth sa kanya. Binasa ko iyon. At nagbalik sa isip ko ang kasikatan ni Nora noong kabataan ko.

Natatandaan ko noong elementary ako, nakatira kami sa Krus na Ligas, isang maliit na komunidad sa UP Diliman. Naabutan naming wala pang kuryente noon sa Krus na Ligas at ang tubig ay sinasalok pa sa poso sa di-kalayuan ng bahay na inuupahan namin. Dumadayo kaming magkakapatid (ako, ang nakatatanda kong kapatid na si Baby, at ang bunso na si Cecil) para manood ng Superstar tuwing Linggo. Siyempre, hindi sumasama ang kuya ko. Care niya kay Nora!

Alam na ni Tita Carmelita na ang sadya namin sa kanila ay ang Superstar show kaya pinapanood na rin niya iyon para makapanood kami. Binabalikan ko kung Noranian ba ang ate ko, pero parang hindi naman. Ewan ko kung bakit namin dinadayo ang Superstar. Pero ako, doon nagsimula ang pagiging Noranian ko.

Gustong-gusto ko siya. Gandang-ganda ako sa boses niya. Galing na galing ako sa pag-arte niya. Pero tingin ko, ang pinag-uugatan ng pagka-Noranian ko ay ang mismong kuwento ni Nora Aunor. Alam nating lahat na tindera lang siya ng tubig sa riles ng tren sa Bicol. Pero dahil maganda ang boses ay hindi siya natalo sa Tawag ng Tanghalan. Sumikat siya nang husto. Sikat na sikat.

Grabe ang mga kuwento ng kasikatan ni Nora noon. Hindi ko siya personal na nasaksihan dahil hindi naman ako dumayo sa studio para panoorin siya, hindi rin ako nakipagsiksikan sa premiere night ng mga pelikula niya. Kokonti lang ang napanood kong pelikula niya sa sine (Bilangin ang Bituin sa Langit, Himala, Till We Meet Again, Mga Kuwento ni Lola Basyang, I Can’t Stop Loving You—medyo marami rin pala). Wala rin akong mga plaka niya noong araw (although may mga long playing ang lola ko dahil die-hard Noranian din siya. May anekdota ako sa pagiging Noranian ng lola ko. Minsang nakasabay ko siyang manood ng Superstar show kung saan kumakanta si Nora kasama sina Kuh Ledesma at Zsazsa Padilla. Sabi ba naman ni Lola Pacing: “Wala pa rin talagang tatalo sa galing ni Nora sa pagkanta.” Napatango ako. “Saka sa ganda niya!” pahabol ni Lola. Napatingin ako sa kanya. Sobra naman!!! Magaling pa rin si Nora, oo, pero mas maganda naman sa kanya sina Kuh at Zsazsa.

Anyways, balik ako sa kuwento ng kasikatan ni Nora. Hindi ko nga nasaksihan iyon, pero nabasa ko naman. Mahilig kasi ako sa showbiz magazine at dahil sikat si Nora, maraming articles tungkol sa kanya. At lahat iyon binabasa ko (sabagay, binabasa ko lahat ng articles tungkol sa lahat ng artista). Talagang amazed ako sa kasikatan niya.

Merong isang mahabang article na hindi ko makakalimutan. Sabi roon, kapag nakakita ka ng tren, maaalala mo si Nora. Kapag nakakita ka ng tubig, maaalala mo si Nora. Kapag nakakita ka ng maitim, maaalala mo si Nora. Kapag nakakita ka ng nunal, maaalala mo si Nora. Kapag nakakita ka ng uling, maaalala mo si Nora. Kapag uminom ka ng Coke (naging endorser kasi si Nora ng Coke at may jingle pa itong ganito: It’s the real thing … si Norang maitim … pumasok sa dilim … paglabas ay uling) maaalala mo si Nora. Kapag gumamit ka ng Dial, maaalala mo si Nora.

Maaalala mo rin daw si Nora kapag nakita mo si Tirso Cruz III, si Manny de Leon, si Christopher de Leon, si Erap, si Sajid Khan. Kung sino-sino pa ang binanggit at kung ano-ano pa ang na-enumerate na makapagpapaalala sa iyo kay Nora. Pero ang talagang hindi ko makakalimutan ay ang huling linya ng article. Ito ang sabi. Kapag daw nakita mo si Vilma, maaalala mo si Nora.

Windang ako. Ang sakit-sakit nu’n kay Vilma dahil poor second lang siya kay Nora noon. At napaka-ironic, di ba? Maski sa karibal, si Nora pa rin ang maalala. Meron pa ngang cover noon ng isang magazine. Magpa-Pasko noon, nagsasabit si Nora ng mga palawit sa Christmas tree, nakatingin sa camera, nakangiti. At si Vilma? Naka-crop sa isang bolang sinasabit ni Nora sa Christmas tree. Ganoon kaliit si Vilma noon kumpara kay Nora. (Hala, lumalabas ang pagka-Noranian ko! Hindi raw die-hard, o!)

Karamihan ng pelikula ni Nora, sa TV ko lang napanood. Pero talagang kapag pinapanood ko siya, mesmerized ako sa kanya. Ang galing niya talaga! Lalo na sa Ina Ka ng Anak Mo. Hindi lang doon sa natuklasan niyang naanakan ng asawa niya ang sarili niyang ina, kundi doon sa mga sumunod pang eksena, pagkatapos niyang bitawan ang linyang “Idedemanda ko kayo.” Dahil pagkaraan ng mga bente minutos, mari-realize mo, Teka, wala nang dialogue si Nora, a. Kurek, ’yung mga eksena niya, mata na lang niya ang pinaarte niya.

May patawang anekdota rin sa kagalingan ng mga mata ni Nora sa pag-arte. Noong kasikatan daw niya, laging dinudumog ang mga shooting niya. Sigawan ang mga fans, balyahan. Kaya ang hirap-hirap mag-shooting. Kaya napagpasyahan nilang sa probinsiya mag-shooting. At inilihim talaga nila, para hindi sumugod ang mga fans.

Pero kakaiba ang mga fans ni Nora, parang mga insektong may antena, ang lakas ng pang-amoy sa Superstar. Pagdating ni Nora at ng production sa location sa malayong probinsiya, hindi na magkamayaw ang mga tao. Ang dami-dami raw talaga. Pero wala na silang magagawa, kailangan nilang mag-shoot.

Eto ang eksena: nagwawalis is Nora sa bakuran. So ayun, take na. Pero dahil sa dami ng tao, nahahagip sila ng camera, at kahit anong sabi at galit ng direktor at ng production, hindi sila masaway. Wild talaga. Parang mga hayok kay Nora.

Ang solusyon? Imbes na extreme full shot kung saan makikita ang kagandahan ng provincial setting, full shot na lang. Buong katawan ni Nora ang makikitang nagwawalis. So take na! Kaso ang mga fans, nadagdagan pa. Dahil ’yung mga nasa karatig-probinsiya, nagdatingan pa. Kaya maski full shot lang, nahahagip pa rin ang mga fans sa background. Nasira nga ang bakod.

Galit na galit si direk, gusto nang i-pack up ang shooting. Pero hindi puwedeng mag-pack up, dahil ipapalabas na next week ang pelikula (tatlong araw lang ginagawa ang pelikula ni Nora Aunor noon tapos the following week, palabas na). Kaya walang choice si direk kundi ituloy ang shooting.

At ang solusyon? Medium shot na lang. Ang kuha, mula sa bewang paitaas na lang. Mahagip lang ang walis. Pero maski iyon, hagip pa rin ang mga fans na lalong nadoble. Kaya ang solusyon, close up na lang ng mukha ni Nora. Ipakita na lang daw ni Nora sa pamamagitan ng kanyang expressive eyes ang pagwawalis. Game naman si Nora.

So ayun, action! Shooting. Natapos naman ang eksena.

Pero sabi ni Direk, take two!

Taka ang lahat! Bakit daw? Hindi ba naipakita ni Nora sa pamamagitan ng kanyang expressive eyes na siya ay nagwawalis.

Sabi ni direk, naipakita naman daw. Kaya lang, ang nagamit daw ni Nora ay walis-tambo imbes na walis-tingting!

Galing talaga ni Ate Guy!

From culprit_dime blog

(Photo from the collection of Mr. Albert Sunga)

Hanapin ang signature ni Nora Aunor sa ilalim ng crown ng Coke!

Ito ay para manalo ng kanyang colored photo.

Naulit bang gawing papremyo ng Coke ang larawan ng isang artista?

FHM’s (July 2008) 50 Greatest Modern Pinoy Films:

SOCIAL REALISM

Maynila: Sa mga Kuko ng Liwanag (1975)
Kapit sa Patalim: Bayan Ko (1985)
Manila by Night 91980)
Insiang (1976)
Sister Stella L. (1984)
Private Show (1986)
Minsa'y Isang Gamu-gamo (1976)
Hinugot sa Langit 91987)
Batch '81 (1982)
Live Show (2000)

EPIC
 
Oro Plata Mata (1982)
Himala (1982)
Tatlong Taong Walang Diyos (1976)
Aguila (1980)
Ganito Kami Noon...Paano Kayo Ngayon? (1976)

FEMINIST DRAMA

Salome (1981)
Moral (1982)
Brutal (1980)
Karnal (1983)
Kung Mahawi Man Ang Ulap (1984)
Bona (1980)
My Other Woman (1991)

DRAMA

Tatlo, Dalawa, Isa (1974)
Nunal sa Tubig (1976)
Ina Ka ng Anak Mo (1979)
Paputi ng Uwak, Pag-Itim ng Tagak (1978)
Relasyon (1982)
Hindi Nahahati ang Langit (1985)
Ikaw ang Lahat sa Akin (1992)
Sana Pag-Ibig Na (1998)

COMEDY

Kakabakaba Ka Ba? (1980)
Temptation Island (1980)
Working Girls (1984)
Bagets (1984)
May Minamahal (1993)
Bridal Shower (2004)

HORROR-SUSPENSE

Sigaw (2004)
Kisapmata (1981)
Itim (1976)
Feng Shui (2004)
Shake, Rattle & Roll 1 (1984)

BOLD

Scorpio Nights (1985)
Boatman (1984)
Segurista (1996)
Tuhog (2001)
Laman (2002)

INDEPENDENT

Ang Pagdadalaga ni Maximo Oliveros (2005)
Magnifico (2003)
Kubrador (2006)
Ang Kriminal ng Bo. Concepcion (1998)

Nora’s Sterling Performance in ’Merika
by Ernie Pecho

Super actress Nora Aunor gives another sterling performance in Gil Portes’s ’Merika. The entire movie is a veritable showcase of her amazing power to convey every emotion—in this case those called for by the script written by Doy De Mundo. It is in ’Merika that we witness once more La Aunor’s control of her craft.

Nora Aunor as the bored and lonely Filipina nurse, Milagros Cruz, in ’Merika is truly unforgettable. No other actress, not even Ms. Charito Solis, has delineated a movie role more flawlessly.

Movie critic turned scriptwriter Ricky Lee was also so impressed with Nora’s acting that he announced it was the superstar and nobody else he’d have for the lead female character in Minsa'y May Isang Pangarap. The award-winning script written by Lee will soon be filmed.

Even some movie writers known for being stingy with praise have been rendered speechless by Nora Aunor’s splendid portrayal in ’Merika. The same group of scribes is predicting that ’Merika will catapult the actress to the top once more.

Times Journal, 1984