Tag Archives: movies

Penman No. 88: Whatever Happened to the New NAs?

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Penman for Monday, March 3, 2014

I GOT a series of messages from a fellow member of the Philippine Macintosh Users Group a few weeks ago, but it had nothing to do with Macs or computers; of all things, it had to do with the actress Nora Aunor and the National Artist Award. I thought it was interesting and compelling enough to take up in this corner, since I’d been wondering about some of the same things myself.

Before I go one line further, let me say that I was a member of a fairly large lower-level committee that was part of the recent selection process for the National Artist Awards. I signed a non-disclosure agreement when I joined that committee, so nothing I say here will be emanating from our discussions in that committee, which will remain confidential.

What’s no longer a secret, since it’s emerged from other sources online, is that a number of people, including Nora Villamayor (aka Nora Aunor), have been recommended for recognition as National Artists. The recommendations of our committee went up to yet another committee or council for final evaluation, before being forwarded to the Office of the President for proclamation, prior to the conferment of the awards themselves.

So far, so good. The prescribed process was rigorously respected and followed by the National Commission for Culture and the Arts, which oversees it (the board of the Cultural Center of the Philippines weighs in, I believe, at the last stage prior to sending the final list off to Malacañang). This was of keen interest to many Filipino artists and the cultural community—not just the names of the prospective NAs, but even more importantly, the process itself—given how the Palace, in the past and most recently in 2009, had cavalierly disregarded the rules and common decency to hand out the award to its favorites.

It’s been half a year, however, since that final list reached the OP—and so far, that’s where it’s been, gathering dust and gathering rumor. The loudest of these rumors has it that Nora’s run-ins with the law—presumably a question of morals—have held up her proclamation, as well as that of the others in her batch, and those before them. (Let’s not forget that, as a result of the infamous dagdag-bawas that happened under GMA, the proclamation of legitimately nominated National Artists such as the late Federico Aguilar Alcuaz and Lazaro Francisco—not to mention that of the eminent musician Ramon Santos, who was unceremoniously dropped to make way for others far less qualified—was indefinitely postponed.) Another bit of speculation has it that the Palace was betting on the late Dolphy, rather than Nora, to make it through the selection process, and that if Dolphy’s not getting it, then neither will Nora.

That will be a very sad and silly thing to do, if there’s any truth to the scuttlebutt. I respect and admire the work of both Nora Aunor and Dolphy, and myself would like to see them both recognized as NAs. I’ve even had the pleasure and the privilege of writing a couple of filmscripts for Nora (among them, “Ina Ka ng Anak Mo”) and of writing a back-cover blurb for Dolphy’s searingly excellent autobiography, released shortly before his death.

But if Dolphy—the comic genius, but also easily the popular and sentimental choice—was indeed excluded for whatever reason from the final list of recommendees this time, penalizing Nora with a similar rejection isn’t going to make things right. Instead, I’d be the first to sign on to a new campaign to endorse Dolphy in the next round of selections. Employing a moral argument is just going to make things worse, by introducing a spurious element into the issue. The religious conservatives won’t like it, but the plain fact is that artistic excellence and personal morality have never made a necessary if a happy marriage; let’s not ask of our finest artists what we don’t and can’t demand of our national heroes.

Early last month, my PhilMUG friend Don Rapadas wrote NCCA Chairman Felipe de Leon, Jr. a letter to inquire about the case, and he gave me his permission to quote from that letter:

“I am Zandro G. Rapadas of the Nora Aunor for National Artist Movement, and it is my privilege to write to you and thank you for the honor you bestowed on Ms. Nora C. Villamayor at the 6th Ani ng Dangal Awards held last Sunday, February 2. It was a well-appreciated and regarded state recognition for the international honors that Ms. Villamayor brought to the country in 2013, particularly for her Best Actress wins at the 7th Asian Film Awards in Hong Kong, and at the 3rd Sakhalin International Film Festival in Russia.

“With all her achievements to date locally and abroad, there is no doubt that Nora C. Villamayor’s time has come to be officially recognized and honored as a National Artist, hence our official nomination of her to the Order of National Artists in November 2012….

“The media and the public have known of the six artists endorsed for confirmation, proclamation, and conferment by Malacañang since early October last year, and we welcomed it with much rejoicing, because a new set of National Artists means the restoration of trust and respect for this state honor, which was unfortunately tarnished with the 2009 controversy involving artists added by Malacañang for proclamation and conferment.

“We believe it was fair enough to make this information known to the public because the decision by the Joint Boards of the CCP and NCCA has already been made and submitted to Malacañang, and what follows should be transparency in the final stage of the process and, on the part of the public, vigilance to help ensure that the transgressions of 2009 will remain a thing of the past. After all, this is a state honor, and the institutions involved operate on public funds, hence the public interest. Moreover, the deciding officials are public officials, and a ‘public office is a public trust.’ Certainly, no one can take us to task for being watchful this time.

“And watchful we have been. We know that after the Honors Committee convened to discuss the endorsement, they went back to your office and requested you to comment on issues raised about morality and past legal cases against Ms. Villamayor, your candidate for National Artist for Film and Broadcast Arts. And we understand that the NCCA has informed Malacañang that it does not take issue with the points raised, and that the Office of the Executive Secretary, who chairs the Honors Committee, has acknowledged receiving this reply early in January this year, and was passed on to the Malacañang Protocol Office for the information of other members of the Honors Committee. Since then and up until last Tuesday, February 4, the latest tracking of its status notes that it’s still with the Protocol Office.

“Why it’s taken this long, we do not know and we do not understand. But what we do know is that out there in the print and social media recently, many are already wondering what’s keeping the Palace from officially proclaiming the new set of National Artists. And included in this anxious waiting are some questions on why the NCCA and CCP have kept mum on the matter. I have attached in this email correspondence a few of these expressions of concern against the long wait.

“On a final note, I wish to underscore that this is not just about our anxious waiting for Nora C. Villamayor’s own cause, but more importantly our desire to see that the original dignity of the National Artist honor is restored with full respect and regard for its original intent and purpose, despite it being subject to political prerogative.”

Don Rapadas’ last point is an important one to note—this is as much about the process as the person. February, our National Arts Month, would have been the perfect time to honor our new National Artists—including the rightful ones from the previous batch; let’s not wait another year to make these long-overdue amends to Philippine culture’s overlooked heroes, and let’s hope Don gets his answer soon. 

(Photo from philstar.com)

 

 

Penman No. 4: Writing for Dolphy—Almost

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Penman for Monday, July 16, 2012

THE RECENT passing of Dolphy, inarguably the most talented and best-loved Filipino comedian of his generation, brought back some warm memories—not just of me as a kid enjoying Dolphy and Panchito do their “song translation” routine every Sunday on “Buhay Artista”, but also of what could have been a historic opportunity to work with this comic genius in a non-comic way.

The time was the late 1970s, and I had just started out in my screenwriting career with Lino Brocka, for whom I had already written some scripts. Lino and I would go on to do more than a dozen movies together, but the big one that got away was a project that Lino had lined up for Dolphy, Pilar Pilapil, and the very young Niño Muhlach, who had already been introduced as a dramatic sensation in Tahan Na, Empoy in 1977. Shortly after Empoy, which was a big commercial success, Lino was asked by a producer—Jesse Yu of Lotus Films, who had bankrolled Empoy—to think of a project that would involve Dolphy.

Lino then asked me to work up a storyline and a treatment, and we came to the agreement that it would be interesting if we took Dolphy out of the gay comedies he had become famous for (such as 1969’s Facifica Falayfay) and put him in a straight, dramatic role. After a week or so (that was all the time we had back then, when movies were routinely shot within a month), I came up with a storyline I tentatively titled Si Abe, Si Bugoy, at Si Pilar (yes, I liked Pilar Pilapil’s name so much that I decided to keep it for the character) where Abe was a kutsero driving his caritela in the Binondo area, Bugoy was his nephew and sidekick, and Pilar was a lady of the night. It shouldn’t be too difficult for you to guess the rest of the story from there (cut me some slack—I was only 23, and enamored of Fellini, neorealism, and all that jazz).

In any case, the movie never got made; the reason I heard, which could have been true or not, was that Dolphy thought it too abrupt a departure from the norm, his norm. I was crestfallen, but soon got busy with other Brocka projects like Inay (my personal favorite of all my Brocka scripts, a light domestic comedy starring Alicia Vergel) and Mananayaw (with Chanda Romero, breathlessly described by the movie blurb thus: “She’s Wild… and Dangerous! It Takes More Than Love To Tame Her!”). Meanwhile, Dolphy did go on to work with Lino and another very talented scriptwriter, Dandy Nadres, on the delightful 1978 Lotus melodrama Ang Tatay Kong Nanay, where Dolphy played a gay parent caring for a young son, Niño Muhlach.

I never did get to write a script for Dolphy, which was too bad (certainly more for me than for him). In those days I would’ve given my right arm for the love of art, and what the client wanted still mattered less to me than what my feverish imagination was urging; I had convinced myself, rightly or wrongly, that I could’ve written a script that Dolphy would have loved, once he had actually read and acted it out.

I don’t think that I ever got to meet Dolphy in person, either (not that I met all that many stars; despite scripting two dozen movies, I never became an industry insider, although I remained a lifelong fan of such fine actors as Dolphy, Nora Aunor, Vilma Santos, Gina Alajar, and Jacklyn Jose—and, of course, Sharon Cuneta, for whom I wrote three movies).

Well, I did get to write for Dolphy—in a way, in another capacity. When his autobiography—told to Bibeth Orteza and titled Hindi Ko Ito Narating Mag-isa (Quezon City: Kaizz Ventures, 2008)—was about to be published, I received a request to read the manuscript and to write a blurb for the back cover, and I was happy to oblige, a full three decades after our little Binondo project got aborted. Here’s what I said about that book, and about the man:

“This is an extraordinary memoir of an extraordinary man who has gifted generations of Filipinos with laughter, but whose own life has been a struggle to balance life and work, to meet the demands of family and fatherhood, to tame his prodigious passions. This story is told with searing candor and compassion, not only by Dolphy himself but also by the many people whose lives he touched (and, in many instances, brought forth)—his women, his children, his friends, his colleagues. I haven’t read a biography like this, ever, and the uncensored, unmediated first-person accounts strike home with a power and a poignancy you’d be hard put to find in any screen drama. There are moments of humor and irony as well, and all in all we gain a truly moving picture of a brilliant but complex man whom we feel like knowing, in many senses, for the first time.”

Today, with Dolphy gone, these words sound truer than ever, and I would urge you to go look for a copy if you really want to understand Rodolfo V. Quizon, beyond the well-deserved but familiar praises following his death. I was abroad during the book’s launch, but I soon received my copy, autographed thus: “To Butch Dalisay, Thank you for the extraordinary blurb. You are a gem of Phil. Literature. Mabuhay ka and God bless, Dolphy.”

I don’t know if Dolphy was just being his gracious self, or if he had actually read one of my novels or stories, but what I really wanted to tell him—forget the novels and the stories—was, “Naku, Dolphy, kung alam mo lang, I would’ve written you a script you would’ve been so proud of—sayang!” The sayang, again, was more mine than his, because he certainly didn’t need my skills to prove his acting genius. (One favorite Dolphy scene of mine—I’m not sure from where now—has his impoverished character sniffing a dried fish suspended over the dining table, and then sending the fumes down his gullet with a handful of rice.)

I’ve been asked since, “Does Dolphy deserve the National Artist Award?” I’ve always thought so, but it’s a good thing that the Palace didn’t succumb to the enormous pressure to give it to him in a hurry, just because it seemed like he was about to go. He’ll get it, in good time, for the right reasons. If he’s where most people seem to think he is, looking down at us with an arched eyebrow, he’ll see it happen, and crack a smile, tip his hat, turn on his heel, and saunter off, whistling.

[Dolphy’s pic from http://www.inquistr.com]