SUPERSTARstruck: The Nora Aunor Fanatics Blog

Artwork by Mark Cruz

As a Noranian, I am overwhelmed to read all the news, articles, and commentaries about Himala’s latest conquer: the CNN APSA Viewers Choice Award for Best Asia-Pacific Film of All Time. It was an unexpected but nevertheless a sweet victory, especially that we were all involved in making it happen. It is a shame though that we had to wait for another international recognition to make us see again the light of day in terms of acknowledging the Filipino films that should make us proud but irrespective, and even with the presence of still nonbelievers, the Philippines and the great Filipino artists behind the film Himala had made another indelible mark in world cinema. 

Notwithstanding all the geniuses, artists, and workers behind this great film, I would like to make a special tribute to the true “face” of Himala, the only exemplary figure that everyone instantly associates the film with. Mr. Ricky Lee already said it, “Si Guy ang Himala.” Finally, finally ... due credit is given. And who else would contest this when it was the writer/creator himself who proclaimed it? So much has been said about Nora’s acting or “non-acting” in Himala and we can go on for ages discussing this so l will stop here. Let’s just say that Nora definitely deserves all those praises. The film itself proclaimed this too in the words of Ricky Lee as sounded by the character of Orly in one of his dialogues: “Mahusay na artista si Elsa.” Nora is Elsa. Elsa is Nora. Nora Aunor ... the greatest Filipino actor of all time, so far as I’m concerned. Well, I am a true-blue Noranian so enough said ...

Noranians rejoiced as this indeed is one of the best Noranian times. Suddenly, we were engulfed with a barrage of free publicity and reawakening of highest level for our dear Nora Aunor. I cannot remember the last time we had a true cause for a celebration like this. What is amazing is that Nora herself didn’t have to do a thing for all these to happen, not even a finger for her to lift. No publicity machinery from the Big production companies. How and why is this so? Because Nora has done all the magnanimous work already, 26 years ago. She has planted the seed and I suppose we can call this as harvest time now, which will go on for more years and future generations to come. I’m sure that Nora is elated and grateful about this new recognition though she would not be the type to brag about it or anything really for that matter. So we will let her sit back, watch, and listen as others like me feel proud on her behalf.
   
There were skeptics, sour grapes, and plain whiners. Better to ignore them, I think. I’d rather pay attention to what the more credible, reliable, intelligent, and most of all unbiased people have to say about Nora, especially those who even came forward to declare that they are Noranians, not in the fan-like way as I do, but in the name of true honest respect for Nora’s artistry. And their names will be added to the “elite” list, which by the way already included some National Artists.

An official “Noranian” admission from Ms. Imee Marcos is most welcome. She studied arts. Surely she would recognize a genuine artist when she encounters one. Also last night, I was able to listen to Ricky Lee’s interview in DZRH. The interviewer, the founder of the Philippine Educational Theater Association (PETA) herself, Ms. Cecile Guidote Alvarez, announced it for everyone to hear that she is also a Noranian.

But more than that, Ms. Alvarez recalled fond memories of working with Nora in theater during the times when they did Trojan Women. According to her, Nora did the play in an alternate actress role for FREE ... and this is in the interest of helping some organization. Also goes without saying—her passion for doing what she loves to do and doing it as one true artist would.
 
Hearing this sounded like music to the ears of a Noranian like me for this basically is what Nora’s detractors and nonbelievers have taken for granted all these years. Despite all Nora’s follies, she has that genuine concern to help. It was not put-on. And she will not tell. It will just unfold by its own free will. In time, I hope that more Nora anecdotes like this will be discovered and written. The True Life story of La Aunor—that’s what I yearn to read because then, I believe that it will all make more sense ... kung bakit “si Guy ang Himala.” I can’t wait for Mr. Ricky Lee, another humble artist himself and Nora’s official biographer, to start writing the first page.

Artwork by Mark Cruz
Qtv's Ang Pinaka ... episode first aired on July 8, 2007
Video courtesy of Ang Pinaka ...

Part 1 

Part 2

Part 3

Part 4

Part 5

Part 6
(You Tube videos posted by loonzhaus)

The Trophy
CNN APSA Viewers Choice Award for Best Asia-Pacific Film of All Time

Himala screenwriter Ricky Lee ceremonially accepted the CNN APSA award

Himala Special Screening: Highlights and Sidelights
by Ron Maceda
’Twas a fantabulous affair!

It was quite surreal for me and most likely for most of the Noranians present. I’m happy and fortunate to have witnessed the mini-reunion of some of the core people responsible for making Himala a timeless masterwork. I think they haven’t been in one room/place since 1982! The event somehow became a belated 25th anniversary commemoration/celebration of the film.

Sayang at nasa Amerika ang Superstar. At wala na sa ating piling ang namayapang pantas na Bernal.

Similarly, it was quite touching to see Vangie Labalan, Raquel Villavicencio, and Ellen Ongkeko-Marfil shedding tears altogether during the climactic scene.

Curiously, I couldn’t help but notice that Ricky Lee (who came in late and opted to sit at the back) watched the film and the attendant audience’s reaction with dispassion. Sadya lamang sigurong mahiyain ang ating pinagpipitaganang henyo. But he was visibly elated and quite emphatic during the forum.

Tapos na ang palabas nang dumating sina Imee Marcos at Ama Quiambao (na ang kabiyak pala ay si Gamaliel Viray, ang umawit ng “Tatlong Taong Walang Diyos”). Imee, in her endearingly loqacious and funny self, gave us an inside story/backgrounder on the film production, in partcular the conception stage. Nakakaaliw rin ang mga kuwento nina Vangie at Raquel tungkol sa mga di maiiwasang bangayan, mumunting tampuhan, at dramahan na naganap habang ginagawa ang pelikula.

It’s sad that Lotlot and Ian weren’t there to represent La Aunor. May taping ang dalawa. Marilou Diaz-Abaya was also supposed to accept the plaque of recognition in behalf of her best friend—the great Ishma—but had to beg off at the last minute. Joel Lamangan and Pen Medina weren’t able to make it due to prior commitments.

Some print and TV reporters covered the event. Per the organizers, around 100 people were present.

On a personal note, I was happy to see Nestor and fellow Iconians Marlon, Glorina, Maritess, Raffy, and Noey.

Architect Marlon Antolin accepted the plaque of recognition from
Titus Brandsma on behalf of Ms. Nora Aunor

From left: Ricky Lee, Vangie Labalan, Raquel Villavicencio,
Ellen Ongkeko-Marfil, and Trina Dayrit

From left: Amable Quiambao, Ms. Imee Marcos, Ricky Lee, Vangie Labalan, Raquel Villavicencio, and Ellen Ongkeko-Marfil

 
Himala Special Screening: Highlights and Sidelights
by Marlon Antolin

The special screening was a huge success and, truly, it was nostalgic and really touching to see Ms. Imee Marcos, Ricky Lee, Ama Quiambao, Vangie Labalan, Raquel Villavicencio, Ellen Ongkeko-Marfil, Trina Dayrit, Spanky Manikan, and Richard Arellano—the youngest son of Ama Quiambao in the film—together on stage.  How we wished Ate Guy was also there to share the victory.

I was also touched toward the end of the film when I saw Raquel discreetly wiping away her tears—I understood her well when she confided how “traumatic” her Himala experience was due to the artistic pressure on her as production designer (the film actually was her last film as production designer as she shifted gears after its showing and became an effective screenwriter and actress in her own right).  She said that she can’t help but cry because now she can truly say and declare how proud she is of her work and the film. 

Everyone applauded when Ms. Imee Marcos declared that she is a true-blue Noranian and that one of the major reasons that convinced her to produce the “unconventional” film Himala is the fact that Nora Aunor will be in it.

There so many insights and sharings:

Ms. Vangie explained why she had to hold on to her slippers while running after Elsa was shot—it’s her way of holding on to something during a time of great emotional chaos.

Ricky Lee declared that the audience was not ready for Himala then and that Nora as Elsa gave the better performance as an actress.

Ms. Trina Dayrit (after asking permission to declare the true production cost of Himala) shared that it cost them almost five times to produce Himala when the average cost to produce a mainstream film then was P600,000 (they have to spend a few extra hundred of pesos after the whole makeshift set was ravaged by a storm).

Raquel and Ellen took turns in describing the “production nightmare”—from finding a dry location during rainy season, setting up a whole barrio almost from nothing, the storm that hit the set and Ate Guy’s accident.

Ms. Imee and her team asking the temperamental Direk Ishma and Superstar Ate Guy to sign on their production schedule—page by page—and choosing Paoay, Ilocos Norte, as site to ensure that they can “hold on” the two divas so they can finish filming on time. The biggest surprise was actually that the two turned out to be so professional in fulfilling their commitment to the film. 

In the end, they were all one in saying how proud they are of the finish product and that, truly, Himala is the best film of all time.

Spanky Manikan and Richard Arellano

The crowd greeted the arrival of Himala "author" Ricky Lee
with a hearty applause

Mga Tala sa Open Forum sa Parangal ng Titus Brandsma sa Himala
by Nestor De Guzman

Sa panayam sa cast at staff ng Himala pagkatapos ng screening, inuna ni Ricky Lee na magpugay kay Ms. Nora Aunor. Sabi niya, “Kung may Himala, may Guy. Si Guy ang Himala. Alam kong kaisa natin siya sa pagdiriwang ng tagumpay ng Himala.”

Sa tanong tungkol sa higit na pagkilala sa Himala sa paglipas ng panahon, ito ang reaksiyon ni Ricky Lee: “Naggo-grow tayo. Noong panahon iyon akala natin hindi acting ’yung walang ginagawa. Hindi natin nakikita na ’yung artistang walang ginagawa, iyon ang totoong umaarte … Through the years naman, ’yung ibang kritiko na nagsabi na hindi maganda ang Himala noong panahong iyon o hindi mahusay si Nora noon—may naalala akong dalawang kritiko—nag-retract at sinabi na nagkamali pala sila. Gusto kong purihin ang mga kritikong iyon kasi hindi sila nahiyang sabihin ang totoo. Tama lang.”

Sa usapin ng pag-isnab kay Nora Aunor ng award-giving bodies noon, pinanindigan din ng screenwriter: “Ang paniniwala ko, noon at ngayon, mas mahusay si Nora sa Himala.”

Sabi naman ni Ms. Imee Marcos, ECP head: “Tunay na isang himala ang pagkagawa ng pelikulang Himala sapagkat hindi siya dapat talagang ma-produce, kung baga. Ang dami kong kaaway. Nagkaroon ng scriptwriting contest, kung saan ang baul collection ng ating mga scriptwriter ay biglang kinuha at nag-submit sila ng mga script na ayaw ma-produce. … Clearly, itis a material that would not have seen the light of day in a normal scenario. I was alarmed, hindi raw magagawa ang pelikula dahil puro crowd scenes. At isa lang ang artista—si Nora lang ang gusto. Sa kabutihang palad, ako ay die-hard Noranian talaga.”

Binalikan ni Ricky Lee ang kuwento sa pagkuha ng stampede scene nang isang take lamang: “Ang sabi ni Ishamael Bernal, one take lang pupuwede. Kasi may seven cameras na naka-platform at three thousand extras na binabayaran, so hindi puwedeng mag-take 2. Iyong speech sa huli, ni-rewrite ko ’yon nang ni-rewrite sa set. And then ibinigay nila kay Nora Aunor. Pumunta si Nora sa isang sulok, nagmemorya, ni walang todong instructions o guidance kay Bernal. … Nagawa nila in one take nang gayon kahusay.”

Binigyan ni Ricky Lee ng kaukulang pagkilala ang Experimental Cinema of the Philippines. “Although aktibista ako bago ko ginawa ang Himala, hindi kailanman nakialam ang gobyerno at ECP, in fairness. Hindi sila nakialam at all—not a single pakikialam. … Nagawa namin nang malaya ang pelikula. … ’Yung diwa naming lahat ang lumabas sa pelikula.”

Nang ipakilala, si Vangie Labalan ang tumanggap ng pinakamalakas na applause mula sa audience. “Baguhang-baguhan pa lang ako nang gawin ko ang Himala,” sabi niya. “Hindi ko pa alam kung ano ang blocking o motivation.” Ilang beses nagpahid ng luha si Vangie habang pinapanood ang pelikula.

Ayon naman kay Ama Quiambao, “Ang Himala ang pinakamasayang experience ko sa filmmaking. More than 20 years na akong artista pero Himala pa rin ang pinakamasaya sa akin. Walang makakatalo doon.”

Naging emosyonal din ang ibang staff ng pelikula: “Ang Himala ang huling pelikulang ginawa ko bilang production designer,” sabi ni Raquel Villavicencio. “Sa Himala, feeling kong nagawa ko na ang lahat bilang production designer … Naluha ako kangina nang pinapanood ko ang pelikula … After all the labor that we put into it, it was all worth it in the end.”

First film job naman ni Ellen Ongkeko ang pelikula, katatapos lang noon sa kolehiyo. Ibinahagi niya: “Marami na akong ibang ginawa, pero kapag alam n’yong maganda ang ginagawa n’yo—siguro nakatulong na magkakasama kami nang three months sa probinsiya—there was that warmth in our bonding, despite all the differeneces. Himala is really a meaningful film for me.” Nagpugay rin si Ellen Ongkeko kay Ishmael Bernal, itinuturing niyang mentor.

Gayon rin ang sabi ni Trina Dayrit, “Maraming lessons learned from the filming, but the bond that it has formed among the cast and staff, iyon ang kailanman hindi maglalaho sa puso namin. Kanina, habang pinapanood ko ang pelikula, medyo naluha ako. Nakakalungkot isipin na hindi na kailanman mauulit ang isang pelikula gaya ng Himala. I don’t think any producer today, kahit na isa pa sa big 3, will spend the kind of money that was spent on Himala, to create a film like Himala today. Ibang klase ang logistics ng Himala. It was really hard work.”

Naging pagkakataon ang forum upang mapahalagahan ang kontribusyon ng masa na bahagi ng pelikula. “Isa sa bida sa Himala, bukod kay Nora at sa mga artista, ay ’yong masa, from the start to the end—iyong faceless, nameless masa ng pelikula,” pagkilala  ni Ricky Lee. Dagdag pa ni Spanky Manikan: “Maraming remarkable performances tayong nakita. Pero ngayon ko lang talaga nakita muli na ang pinakamagaling na artista pala rito ang crowd. I have never seen such a better crowd in any movie in the Philippines.” Sa pamumuno ng aktor, inalayan ng masigabong palakpakan ang mamamayan ng Ilocos.

Nagtapos ang panayam sa mapagkumbabang suhestiyon ni Spanky Manikan na mas magandang tingnan na lamang ang parangal sa Himala bilang “isa sa better accomplishments in filmmaking in the Asia Pacific.”

Angkop naman dahil ang tunay na gawang sining, tulad ng Himala, ay may sariling buhay na angat at higit sa anumang mga parangal o pagkilala. 

Himala Exhibit Photo: The Masters Ricky Lee and Ishmael Bernal who, with Nora Aunor, are regarded as "co-authors" of Himala

Ms. Imee Marcos, whose more enduring legacy as First Daughter includes Himala and other ECP films

The First Daughter and The Activist:
strange but formidable associates in Himala

After winning the 2008 Gintong Aklat Award, the book Naglalayag (UP Press, 2006) by Irma V. Dimaranan was chosen as one of the four finalists of the 8th Madrigal-Gonzalez Best First Book Award.

The book’s inclusion in the shortlist for the award, jointly given by Likhaan: The UP Creative Writing Institute and the Madrigal Gonzalez Foundation, tells much of the outstanding quality and value of Dimaranan’s work.

The awarding ceremony will be held on December 5, 2008 (Friday), at the Pulungang Claro M. Recto, Bulwagang Rizal, University of the Philippines, Diliman, Quezon City.
 
The event commences at 3 p.m. with a Book Forum wherein the finalists for the award will give a brief talk about the biography of their book. This activity comes in congruence to the aim of the Best First Book Award, that is, to inspire budding writers to persevere in the art of writing, as well as to encourage publishers to consider works of young aspiring writers.

Way to go, Ms. Irma! From all the Noranians, Congratulations!

Nora Aunor's Princess Pataten Statue for Best Actress
(19th Cairo International Film Festival),
so far the most prestigious international award by a Filipino actor
(Photograph by Nestor De Guzman)

Daan-daan ang bilang ng “international” film festivals pero lalabindalawa ang may akreditasyon mula sa International Federation of Film Producers Associations (FIAPF) sa pangunahin nitong kategorya na Competitive Feature Film Festivals: Berlin, Cannes, Cairo, Karlovy Vary, Locarno, Mar del Plata, Montreal, Moscow, San Sebastian, Shanghai, Tokyo, at Venice.[1] Malaking karangalan kay Nora Aunor bilang artista na naging bahagi ang kanyang mga pelikula ng apat sa pinakaprestihiyosong film events sa mundo: Cannes, Berlin, Moscow, at Cairo.

CANNES
Sa bigat ng reputasyon ni Lino Brocka sa Cannes Film Festival sa pamamagitan ng Insiang (Directors’ Fortnight, 1978) at Jaguar (Main Competition, 1980), naanyayahan para sa Main Competition section ng Cannes ang Bona (NV Productions, 1980) bago pa man matapos ang pelikula. Gayunman, nasayang ang pagkakataon nitong makipagtagisan para sa Palme d’or nang hindi umabot ang NV Productions sa deadline ng pagsusumite ng entry. Abril nang dumating ang print ng pelikula sa Cannes gayong Enero pa ang deadline nito—wala pa ang kinakailangang subtitle.[2] Sa gitna ng malaking panghihinayang sa pambihirang pagkakataon, tumanggap si Nora ng telegrama mula sa Cannes Festival Committee na nag-aanyaya sa Bona na makibahagi sa Directors’ Fortnight.

May 1981, dumalo sa festival sina Lino Brocka, Phillip Salvador, at Nora Aunor. Apat na beses ipinalabas ang Bona sa Cannes, at bawat pagtatanghal ay dinaluhan ng superstar alang-alang sa kanyang mga tagahangang dumayo mula sa iba’t ibang siyudad sa Europa. Binili ni Jorg Richter, isang German producer, ang rights para sa international distribution nito.[3] Umani rin ang Bona ng mga papuri mula sa mga kritiko, pangunahin dito ang review ng Variety, na nagsabing pangkompetisyon ang kalibre ng pelikula at ito ang “best film to date” ni Brocka. Sinuri din ang Bona ng French critic na si Francois Cuel sa Cinematographe. Sabi ni Cuel: “[Nora Aunor] evokes Giulietta Masina in La Strada—a Gelsomina to keep company with the kid who acted superbly in The Bicycle Thief.”[4]

Habang nasa Cannes, lalong nabuksan ang mga mata ni Nora sa potensiyal na malaking merkado ng mga pelikulang de-kalidad. Naisip niyang gawin sa ilalim ng sariling produksiyon ang Himala, proyekto niyang nakabinbin sa kawalan ng prodyuser na may kakayahang sumugal ng tatlong milyong piso sa isang pelikulang walang commercial value, ngunit hindi rin siya nakakalap ng sapat na pondo. Gayon na lang ang inspirasyon niya nang matuloy ang Himala, matapos ang maraming buwang paghihintay, sa ilalim ng Experimental Cinema of the Philippines (ECP). Batid niya, noon pa man, na ito ay proyektong hindi lang pambansa kundi pandaigdig.

BERLIN
Hawak ng Himala ang distingksiyon bilang unang pelikulang Filipino na nag-compete para sa Golden Bear Award ng Berlin Film Festival.[5]

Bahagi na rin ng alamat ni Nora Aunor ngayon kung paano halos mapasakanya ang best actress trophy ng festival.

February 13, 1983, nakatakdang umalis sina Ishmael Bernal at Nora Aunor patungong Berlin. Hiniling ni Nora sa ECP na magsama ng isang chaperon, pero di pumayag ang ECP na sagutin ang plane ticket nito. Nakipagmatigasan si Nora, at sa huling sandali ipinalit sa kanya si Gigi Dueñas bilang delegado sa Berlin.[6] Naging kuro ng marami na pumabor sana kay Nora ang mga miyembro ng jury kung naroon siya mismo sa festival.

Kay Ishmael Bernal nagmula ang balita, naikuwento niya sa sulat na ipinadala niya sa mga kaibigan sa Pilipinas . Sa eroplano patungong Paris mula sa Berlin, nakatabi ni Bernal ang legendary French actress/director na si Jeanne Moreau, na tumayong pinuno ng jury. Naikuwento ni Moreau kay Bernal kung paano isa si Nora sa front-runners para sa best actress award. Sa huling botohan, lumamang lang nang isang boto ang Russian actress na si Yevgenia Gluschenko na nagwagi para sa pelikulang Vlublen Po Sobstvennomu Zelanig (Falling in Love on Demand).[7] Gayunman, konsolasyon ng marami ang isiping napansin ang husay ni Nora Aunor sa isa na namang tunay na pandaigdigang film festival. Hindi ito maliit na accomplishment dahil nakipagtagisan ang Himala sa 36 na pinakamahuhusay na pelikula sa mundo.

Ginanap ang European premiere ng Himala sa Zoo Palast cinema house sa sentro ng West Berlin. Dinaluhan ito ng celebrities, critics, at film enthusiasts mula sa iba’t ibang nasyon. Sa press conference pagkatapos ng screening, na dinaluhan nina Bernal at Dueñas, ipinaliwanag ni Bernal ang paralelismo ng buhay ng aktres sa karakter na kanyang ginampanan sa pelikula, kung paano si Nora, tulad ni Elsa, ay dinadakila sa totong buhay ng hukbo-hukbong tagahanga.[8]

Sa leksiyon ng Berlin, tila bumawi kay Nora ang Experimental Cinema of the Philippines sa sumunod na destinasyon ng Himala.

MOSCOW
Ipinadala si Nora ng ECP, kasama ang apat na iba pang delegado, sa Moscow International Film Festival. July 14, 1983, dumating si Nora sa Moscow, USSR, kasama ang mga manunulat na sina Hammy Sotto, Manny Pichel, Marita Manuel, at Baby K. Jimenez. Ipinalabas ang Himala sa exhibition section ng festival, kasama ng pelikulang Oro Plata Mata ni Peque Gallaga at Aliw ni Bernal. Ito ang debut ng mga pelikulang Filipino sa naturang festival.

Ipinalabas ang Himala sa Moscow Concert Hall, ang main theater ng festival. Ayon sa ulat ni Boots Pastor, sa screening ng pelikula, naging konsorte ni Nora ang malaking artistang Ruso na si Yehvgeni Zharikov, na siya ring emcee ng programa. Napuno ang 2,000-seater na sinehan. Walang subtitle ang Himala pero may mapagpipiliang dubbing ang audience: Russian, French, English, o Arabic. Walang tuminag sa upuan habang ipinapalabas ang Himala; lahat ay nakatutok sa pinapanood. Marami ang bumati kay Nora pagkatapos ng screening, kabilang ang Indian filmmaker na si K. Harihara, direktor ng The Seventh Man, competition entry ng India sa festival. Ipinahayag ng direktor kay Nora ang paghanga sa sensitibo at malalim nitong pagganap sa Himala.[9]

CAIRO
Maliban sa mga pagkilala kay Nora sa Cannes, Berlin, at Moscow, nakalaan sa kanya ang karangalan bilang unang Filipinong  magwawagi ng acting award sa isang festival na tunay na internasyonal ang sakop. Ito ay sa 19th Cairo International Film Festival (November-December 1995) para sa The Flor Contemplacion Story (Viva Films, 1995) ni Joel Lamangan, kung saan nagwagi rin ang pelikula ng Golden Pyramid Award.[10]

Katunayan, hanggang sa kasalukuyan (2008), nag-iisa pa rin si Nora  na may ganitong karangalan. Ang tagumpay ng sinumang Filipino actor sa international festival circuit, bago at matapos ang tagumpay ni Nora sa Cairo, ay sa mga rehiyonal o espesyalisadong festival. Maliban kay Nora Aunor, wala pang ibang Filipino thespian na nagwagi sa alinman sa top 12 festivals na kinikilala ng FIAPF.

Dumalo si Nora sa awards rites ng Cairo filmfest. Iniabot sa kanya ng Italian actor na si Franco Nero ang Princess Pattaten statue for Best Actress award. Kasama ni Nora na nagwagi ang Irish actor na si Stephen Rea para sa Ukrainian film na Josephine, the Singer and the Mice People (1994).

Binubuo ang international jury ng Cairo ng mga kinikilalang pangalan: Indian actress Shabana Azmi, Cannes Film Festival selection committee member Guy Braucort, Italian film director Antonietta de Lillo, Egyptian actor Husein Fahmy, Egyptian director Hussein Kamal, English actress Sarah Miles, Russian director Karen Shakhanazaroz, American critic James Ulmer, at Chinese filmmaker Wu Yigong.

Nakalaban ni Nora sa award ang mga bigating aktres na sina Gloria Pires (O Quatrilho) ng Brazil, Dominique Sanda (Burning Heart, The Chronicle of a Dream) ng France, Tatiana Lutayeva (Terra Incognita) ng Greece, at Lumi Cavazos (siya ring gumanap sa internationally acclaimed film na Como Agua para Chocolate) ng Mexico.

Muling nagpugay sa The Flor Contemplacion Story ang Cairo filmfest noong 2001 nang isama nila ang pelikula sa festival section na “Golden Pyramid: Best Films of the World” kaugnay ng kanilang pagdiriwang ng ika-25 anibersaryo.

Bukod sa Cannes, Berlin, Moscow, Cairo, naitanghal na rin ang mga pelikula ni Nora sa higit isandaang film festivals sa buong mundo sa loob ng tatlong dekada: 1980s, 1990s, at 2000s. Walang dudang sa hanay ng mga aktor, si Nora Aunor ang pinakamalaking kontribusyon ng sine Pilipino sa world cinema.

Mga Tala

1. FIAPF website, http://www.fiapf.org/intfilmfestivals_sites.asp.
2. Bibsy M. Carballo, “Bona Misses Cannes Deadline,” Parade, 1981.
3. Bibsy M. Carballo, “News from Cannes, New York, San Francisco, San Diego,” Parade, 1981.
4. Agustin L. Sotto, “Foreign Critics on Maynila and Bona,” Philippines Daily Express, 1981.
5. Berlinale Yearbook, http://ww.berlinale.de/en/archiv/jahresarchive/1983/02_programm_1983/02-Programm_1983.html.
6. Ricardo F. Lo, “Nora Not Going to Berlin,” Philippines Daily Express, 1983.
7. Ricardo F. Lo, “Nora Almost Made It in Berlin,” Philippines Daily Express, 1983.
8. Philippines Daily Express, “Bernal in Berlin,” 1983.
9. Boots Pastor, “Nora Aunor’s Moscow Experience,” Parade, 1983.
10. Cairo International Film Festival website, http://www.cairofilmfest.com/festival%20history/englishfest/19english.htm.

Filipino film Himala wins CNN APSA Viewers Choice Award
By CNN’s Mairi Mackay

LONDON, England (CNN) -- Filipino film Himala has been awarded the CNN APSA Viewers Choice Award for Best Asia-Pacific Film of all Time.

“The Screening Room” presenter Myleene Klass arrives at the Asia Pacific Screen Awards in Queensland, Australia.

Thousands of CNN viewers voted on “The Screening Room” Web site to honor Ishmael Bernal’s 1982 film with the accolade, which is jointly awarded by CNN and the region’s prestigious Asia Pacific Screen Awards (APSA).

“The Screening Room’s” Myleene Klass presented the award Tuesday in front of a crowd of over 700 film industry figures at a special ceremony on the Gold Coast, Queensland, Australia.

Bernal’s austere tale of a young woman who goes on a healing crusade after seeing a vision of the Virgin Mary, which stars Filipino actress Nora Aunor, took the prize with 32 percent of the vote.

It came in ahead of more widely known films like Japanese Akira Kurosawa’s Shichinin no samurai (Seven Samurai), which took second place and Wo hu cang long (Crouching Tiger Hidden Dragon) by Taiwan’s Ang Lee, which snared third.

Other films in the shortlist included Chan-wook Park’s Oldboy from South Korea and Japanese animation master Hayao Miyazaki’s animated film Sen to Chihiro no Kamikakushi (Spirited Away).

“Whatever the reason, I do feel we deserve this award,” said Himala producer Bibsy Carballo. “If only as a tribute to our people who in once a great while decide to come together as one, forget their petty squabbles and divisiveness, and make a declaration of support for this troubled nation, and its tremendously talented and good-hearted if unfortunate population. Long live Himala!"

When it was first released in 1982, Himala was picked for the official selection at Berlin International Film Festival, as well as a number of other festivals, and Nora Aunor was nominated for Best Actress.

A total of 32 films representing 17 countries from Kazakhstan to Korea and the Islamic Republic of Iran to India were finalists at this year’s Asia Pacific Screen Awards.

Kazakh picture Tulpan, by director Sergei Dvortsevoy, which tells the story of a family of sheep and goat herders, took home the main feature prize.

Other winners included Israeli director Ari Folman’s animated feature Waltz with Bashir, which took Best Animated Feature. Best Documentary was given to South Korea’s 63 Years On by Dong-won Kim and Achievement in Directing was awarded to Turkish filmmaker Nuri Bilge Ceylan for Üç maymun (Three Monkeys).

The 2008 APSA International jury which presided over the shortlisted films was led by veteran Australian director, Bruce Beresford known for films like Driving Miss Daisy.

Asia Pacific Screen Awards Chairman Des Power said: “There is a growing fascination and respect for films from this diverse region.

“It is a tribute to the filmmakers that they now have a globally recognised award and the broadcast reach of CNN International to promote their work.”

Watch “The Screening Room’s” Asia Pacific Screen Awards show at the following times: Wednesday 26 November: 0930, 1830, Saturday 29 November: 0830, 1900, Sunday 30 November: 1730, 1830, Monday 1 December: 0400 (all times GMT)

From CNN International’s The Screening Room

From Mr. Jojo Devera of Chicago, Illinois

“Nakausap ko si Ate Guy at gusto niyang pasalamatan ang lahat ng bumoto sa CNN APSA Viewers Choice para sa Himala. Gusto niyang ipaabot ang kanyang pasasalamat sa lahat ng patuloy na nagmamahal at sumusuporta sa kanya.”

Photo courtesy of Mr. Tim Capellan
Photography by Louie Aguinaldo
Graphics by Mark Cruz

Nora at Vilma ... ang Relasyon ng Himala
by Jojo Devera


Taong 1982. Kapwa lumikha ng ingay ang dalawang obrang nilikha ni direktor Ishmael Bernal. Kalagitnaaan ng taon nang ipalabas ang pelikulang Relasyon (Regal Films) na pinangungunahan nina Vilma Santos at Christopher de Leon. Sumilip tayo sa buhay ni Marilou, ang kabit ni Emil. Kadalasa’y kontrabida ang mga kerida sa pelikula na karaniwa’y ginagampanan nina Milagros Naval, Bella Flores, at Zeny Zabala. Taliwas sa imaheng ito ang ipinamalas sa Relasyon. Hindi maiiwasang magkaroon ng simpatiya ang mga manonood sa mga pangyayari sa buhay ni Marilou. Galing sa mabuting pamilya, may mayos at matinong hanapbuhay ngunit nadarang ang mapusok na damdamin at labis na nagmahal kay Emil. Ang masusing paglalahad nito ang buod ng dulang pampelikula nina Ricardo Lee, Raquel Villavicencio, at Ishmael Bernal na binigyang buhay ni Vilma Santos. Ikinagulat ng marami ang kakaibang eksperimentong ito ng batikang direktor. Hindi na bago dito ang uri ng materyal na kanyang tinalakay. Kung tutuusin, naipakita na ni Bernal ang larawang ito sa Dalawang Pugad, Isang Ibon (LEA Productions, 1977), ngunit sa Relasyon lamang niya nabigyang diin ang mga suliraning pahapyaw niyang tinukoy sa naunang pelikula. Kapwa si Vilma Santos din ang gumanap sa pangunahing papel sa mga obrang nabanggit. Dahilan sa limang taon ang naging pagitan sa paggawa ng dalawang pelikula, mas kinakitaan ng malaking pagbabago ang istilo ng pag-arte ni Vilma sa Dalawang Pugad, Isang Ibon. Makikitang inalalayan nang husto ni Bernal ang aktres sa pagganap na di natin nasaksihan sa kanilang muling pagsasama sa Relasyon. Tila pinakawalan lamang ng direktor si Vilma sa mga dramatikong tagpo sa pelikula. Walang humpay na pagsigaw at pandidilat ng mga mata ang ating napanood, kaiba sa ipinamalas nito sa Dalawang Pugad, Isang Ibon.

Samantala, sa taunang Pista ng Pelikulang Pilipino tuwing kapaskuhan, naging saksi tayo sa pagyanig ng Himala ni direktor Ishmael Bernal. Nang manalo ang dulang pampelikula ni Ricardo Lee sa isang patimpalak ng bagong tatag na Experimental Cinema of the Philippines, napagdesisyunan ng direktor at manunulat nito na walang ibang maaring gumanap sa pangunahing papel ni Elsa kundi si Nora Aunor. Kaiba sa karaniwang uri ng pelikula na ginagawa ni Bernal ang Himala. Maihahalintulad ito sa enigmatikong Nunal sa Tubig (Crown Seven Films, 1976). Tinalakay ng pelikula ang isyu ng relihiyon at ang naging epekto nito sa lipunang Pilipino. Ating napanood ang pagyabong ng isang maliit at tahimik na baryo dahilan sa pagkalat ng balita ukol sa panggagamot ni Elsa. Nakita natin ang ginawang pangangalakal ng mga negosyante at pagnanais na pagkakitaan ito. Pinalibutan ng iba’t ibang aktor mula sa entablado at radyo si Nora dito. Kung tutuusin, siya lamang ang malaking bituin sa Himala. Ngunit habang ating pinapanood ang pelikula, hindi si Nora ang nakita natin sa iskrin, kundi si Elsa. Dahil dito, higit na lumutang ang lalim ng kanyang katauhan. Pinagtibay ito sa pinagtagni-tagning tagpo kung saan kinakitaan ng kakaibang husay sa pagganap ang aktres. Mula sa umpisa ng pelikula at masaksihan ni Elsa ang aparisyon ng Mahal na Birhen hanggang sa pagpapahayag nito sa kanyang mga tagasunod na Walang Himala! ating tinutukan ang mga kaganapan sa buhay ni Elsa at ng mga mamamayan sa Baryo Cupang sa loob ng dalawang oras na ating inilagi sa loob ng sinehan.

Taong 1986, ilang buwan matapos ang Rebolusyon sa EDSA, sa ilalim ng administrasyong Aquino nagkaroon ng pagkakataon ang Writer’s Studio, isang pangkat ng mga baguhang manunulat kung saan ako kabilang mula sa pamumuno ni Ricky Lee na maitanghal sa kauna-unahang pagkakataon ang buong bersiyon ng Manila by Night na ginanap sa Tanghalang Aurelio V. Tolentino ng Cultural Center of the Philippines. Panauhin namin nang gabing iyon si direktor Ishmael Bernal. Matapos ang pagtatanghal tumuloy ang grupo sa Music Box upang magpalipas-oras at doon ay kinorner ko si direk Ishma at nangahas akong hingin ang kanyang opinyon kung sino kina Nora at Vilma ang nararapat magwagi ng karangalan sa larangan ng pagganap noong 1982. Walang kagatol-gatol nitong sinabing si Nora ang mas mahusay dahilan sa mahirap gampanan ang karakter ni Elsa. Kinakailangan nito ng malalim na pag-unawa sa buong katauhan ng karakter na kanyang gagampanan. Sinabi din niyang hindi pa handa ang manonood ng Pelikulang Pilipino sa isang sineng tulad ng Himala at sa paglipas ng mga taon lamang ito mabibigyan ng kaukulang pansin. Ngayon ko naisip na tama nga si Direk. Hindi siya nagkamali; ngayon ay kabi-kabila ang papuring naririning at nababasa natin ukol sa kakaibang kahusayang ipinamalas ni Nora bilang Elsa sa Himala. Nariyan ang disertasyon ni Nefertiri X.M. Tadiar sa kanyang The Noranian Imaginary. Gayundin si Joel David sa Performances of the Ages na nagbigay-pugay sa galing ng pagganap ni Nora. Marami ang nagsasabing hindi na malalampasan pa ni Nora ang husay na ipinamalas nito sa papel ni Elsa; maaring may katotohanan ito. Patunay lamang na makaraan ang dalawampu’t apat na taon, pinag-uusapan at sinusuri pa rin ang uri ng pag-arteng ipinamalas ni Nora Aunor sa Himala.At iyan ang nag-iisang katotohanan.

From Sari-saring Sineng Pinoy

ASIA PACIFIC SCREEN AWARDS WINNERS ANNOUNCED

Winners in the Asia Pacific Screen Awards, the region’s highest accolade in film in 2008, were announced tonight at a special ceremony on the Gold Coast, Queensland, Australia. More than 700 film industry luminaries from the Asia-Pacific region, Europe and the United States attended the ceremony.

Thirty two (32) films representing 17 countries were finalists in the Awards, with winners coming from Kazakhstan, Israel, Republic of Korea, Australia, Turkey, Islamic Republic of Iran, People’s Republic of China and India received Asia Pacific Screen Awards.

The Awards were determined by an International Jury headed by Academy Award nominated Australian Director Bruce Beresford.

The Best Feature Film award was won by TULPAN (Kazakhstan/Russian Federation/ Switzerland/Poland/Germany). The Award was accepted by Producer, Karl Baumgartner.  Karl Baumgartner shares the Award with fellow Producers Valerie Fischer, Gulnara Sarsenova, Sergey Selyanov, Henryk Romanowski, Sergey Melkumov, Bulat Galimgereyev, Elena Yatsura,  Thanassis Karathanos and Raimond Goebel.

Best Animated Feature Film was won by VALS IM BASHIR (WALTZ WITH BASHIR, Israel/France/Germany). Producer Yael Nahlieliaccepted the Award. Yael Nahlielishares the Award with fellowproducers Ari Folman, Serge Lalou, Gerhard Meixner and Roman Paul.

Best Documentary Feature Film wasGGEUTNAJI ANHMEUN JEON JAENG (63 YEARS ON, Republic of Korea).  The Award was accepted by Producer/Director Kim Dong-won, who shares the Award with Producer Lee SeungGu.

Best Children’s Feature Film was THE BLACK BALLOON (Australia). The Award was accepted by Producer Tristram Miall and Director/Writer/Co-Producer Elissa Down.  They share the Award with Co-Producers Sally Ayre-Smith, Jimmy The Exploder and Mark Turnbull.

Achievement in Directing was awarded to Turkish director Nuri Bilge Ceylan for UC MAYMUN (THREE MONKEYS, Turkey/France/Italy).

The Best Screenplay Award was presented to Suha Arraf for ETZ HALIMON (LEMON TREE, Israel/France/Germany).  She shares the Award with Writer Eran Riklis, who also directed the film.

The Achievement in Cinematography was awarded to Korean Lee Mogae for JOHEUNNOM NABBEUNNOM ISANGHANNOM (THE GOOD, THE BAD, THE WEIRD, Republic of Korea).

Israeli actress Hiam Abbass received the Best Performance by an Actress Award for her performance in ETZ HALIMON (LEMON TREE, Israel/France/Germany).

Iranian actor Reza Naji was on the Gold Coast to accept his award for Best Performance by an Actor for his performance in Majid Majidi’s AVAZE GONJESHK-HA (THE SONG OF SPARROWS, Islamic Republic of Iran).

Four additional major Awards were announced for outstanding achievement.

Yash Chopra, founder of Yashraj Films and a legend of the Indian film industry, has been awarded the FIAPF Award for outstanding achievement in film in the Asia-Pacific region. The Award is determined by FIAPF - International Federation of Film Producers Associations, and was announced by Andrés Vincente Gomez, President of FIAPF, who travelled from Madrid to be at the ceremony.

The UNESCO Award for outstanding contribution to the promotion and preservation of cultural diversity through film was decided by the International Jury and awarded to the Iranian documentary feature film TINAR (Islamic Republic of Iran), produced and directed by Mahdi Moniri. The Jury noted that the film was a rich evocation of rural life in the mountainous regions of Iran.

The Jury Grand Prize is presented at the discretion of the Jury. In 2008, the International Jury has decided to present two Jury Grand Prizes – to HONGSE KANGBAIYIN (THE RED AWN, People’s Republic of China); Directed by Cai Shangjun; and to THE PRISONER (India), Produced and Directed by Pryas Gupta and starring Best Actor nominee Rajat Kapoor.

Bruce Beresford, President of the 2008 APSA International Jury, said that: “I was very impressed by the quality and originality of the films – all of them – and I have thoroughly enjoyed the experience of being around so many extraordinarily talented filmmakers.”

Asia Pacific Screen Awards Chairman Des Power thanked Bruce Beresford and his Jury colleagues, renowned Indian Director and Actress Aparna Sen, US Producer Richard Luke Rothschild (whose production credits include Tender Mercies and The Truman Show),Chinese Director and Professor of the Beijing Film Academy Zheng Dongtian, and Hanna Lee, Producer of the 2007 APSA Best Feature Film, the internationally-acclaimed Miryang (Secret Sunshine), from the Republic of Korea.

Chairman of the Asia Pacific Screen Awards said: “The Asia-Pacific region is the emerging giant of cinema. The quality and depth of story-telling amazed not only our jury this year but is certain to attract more audience at the global level. There is a growing fascination and respect for films from this diverse region. It is a tribute to the filmmakers that they now have a globally recognised award and the broadcast reach of CNN International to promote their work.”

The CNN APSA Viewers Choice Award for Best Asia-Pacific Film of all Time, voted for by thousands of film fans around the world, at www.cnn.com/thescreeningroom, went to HIMALA, Ishmael Bernal's 1982 work from The Philippines.

www.asiapacificscreenawards.com