Expressweek Magazine/ March 18, 1976 /
to read the full text, click image to enlarge
Mario O’ Hara (writer and director) started his film career doing scripts in television (served as his training ground in script writing) and performing in stage plays under PETA (Philippine Educational Theater Association). He wrote the screenplay of most of early Brocka’s movies i.e. Cadena de Amor (1971), Lumuha Pati Mga Anghel (1971), Tinimbang Ka Nguni’t Kulang (1974) and Tatlo Dalawa Isa (1974). O'Hara also did some acting appearing in Santiago (1970), Tubog sa Ginto (1971), Stardoom (1972), Tinimbang Ka Nguni’t Kulang, Tatlo Dalawa Isa and Gumising Ka Maruja (1978). His close association and corroboration with the great Lino Brocka proved advantageous to him, as he went into movie directing via Moral , his directorial debut in 1976. Often overlooked (as far as film directing is concerned) and always in the shadow of directors Brocka, Bernal, De Leon, Ad Castillo, Diaz-Abaya or even Gosiengfiao and Perez, O'Hara, however, has produced a body of works that one would be proud of. Among his memorable works, spanning three decades, are Tatlong Taong Walang Diyos (1976), Kastilyong Buhangin (1980), Bakit Bughaw ang Langit (1980), Bulaklak sa City Jail (1984), Condemned (1984), all starred by Superstar Nora Aunor, Bagong Hari (1986), Babae sa Bubungang Lata (1988) and Babae sa Breakwater (2004).
Read: Mario O'Hara: Manila at the Edge of Realism by Noel Vera/
The Quiet Man by Noel Vera
Left- Moral (1976)- Stars Lolita Rodriguez, Rosanna Ortiz, Anita Linda and Dindo Fernando/with Darling Postigo better known as Julie Vega/ Written and Directed by Mario O'Hara
Right- Tatlong Taong Walang Diyos (1976)- Stars Nora Aunor, Christopher de Leon and Rafael 'Bembol' Roco/ Written and Directed by Mario O'Hara
Right- Bakit Bughaw ang Langit? (1980)- Stars Nora Aunor and Dennis Roldan/ Directed by Mario O'Hara
To Mama With Love (1983)- Stars Gloria Romero, Snooky Serna, Maricel Soriano, Janice de Belen, Julie Vega and William Martinez,/ Introducing Manilyn Reynes/ Directed by Mario O'Hara
Right- Bulaklak sa City Jail (1984)- Stars Nora Aunor, Gina Alajar, Celia Rodriguez, Perla Bautista, Maya Valdes, Zenaida Amador, Maritess Gutierrez, Shyr Valdez/ Directed by Mario O'Hara
Left- Babae sa Bubungang Lata (1988)- Stars Aya Medel, Mike Magat, Renzo Cruz, Randy Ramos, Allen Dizon and Anita Linda/ Directed by Mario O'Hara
Right- The Fatima Buen Story (1994)- Stars Kris Aquino, Zoren Legaspi, John Regala, Janice de Belen and Gina Pareno/ Directed by Mario O'Hara
Manananggal in Manila (1997)- Stars Tonton Gutierrez, Eric Fructuoso, Mike Magat, Aiza Seguerra and Alma Concepcion/ Directed by Mario O'Hara
Left- Sindak (1999)- Stars John Robert Porter, Jr., Rita Magdalena, Aya Medel, Gardo Verzosa, Mike Magat, Allen Dizon and William Martinez/ Directed by Mario O'Hara
Right- Sisa (1999)- Stars Gardo Versoza, Patrick De Guzman, Marcus Madrigal and Aya Medel/ with Evangeline Pascual/ Directed by Mario O'Hara
The Films of Mario O’Hara:
Babae sa Breakwater (2004)
Pangarap ng Puso (2000)
Sindak (1999)
Sisa (1999)
Ang Babae sa Bubungang Lata (1998)
Mama, Dito sa Aking Puso (1997)
Ang Babae sa Bubungang Lata (1998)
Mama, Dito sa Aking Puso (1997)
Manananggal in Manila (1997)
The Fatima Buen Story (1994)
Johnny Tinoso an the Proud Beauty (1994)
Johnny Tinoso an the Proud Beauty (1994)
Tatlong Ina, Isang Anak (1987)
Prinsesang Gusgusin (1987)
Takot Ako, Eh! (1987)
Halimaw sa Banga (1986)
Takot Ako, Eh! (1987)
Halimaw sa Banga (1986)
Bagong Hari (1986)
Bulaklak sa City Jail (1984)
Condemned (1984)
To Mama With Love (1983)
Uhaw sa Pag-ibig (1983)
Bakit Bughaw ang Langit? (1981)
Uhaw sa Pag-ibig (1983)
Bakit Bughaw ang Langit? (1981)
Kastilyong Buhangin (1980)
Marcelino pan y vino (1979) (TV)
Mga Bilanggong Birhen (1977)
Mga Bilanggong Birhen (1977)
Tatlong Taong Walang Diyos (1976)
Mortal (1976)
13 comments:
Simon:
Thank you for featuring Mario O'hara. He is indeed one extremely talented individual who is so underrated, almost unnoticed by the moviegoing public.
The first time I met Mario was at the YMCA in Arroceros Street in Manila. Both of us were swimming at the Y. He was no longer a radio drama talent by then because he already appeared in Tubog Sa Ginto and other Lino brocka films, such as Stardoom and Tinimbang Ka Nguni't Kulang. He also wrote some episodes for LINO BROCKA PRESENTS (where INSIANG was originally presented) and later on directed a film for Armida Siguion-Reyna, where one of the cast - an actress named Trixia Gomez, caused some "innocent ruckus" during the filming that ended Mario's directorial work almost at the film's tail end (and was continued by Romy Suzarra). I was already writing for Alindog and Ulila by then, so during our conversation I asked him if he would be interested to direct TV dramas. He said why not? And I told my producer, Rebecca Cabrera about it. I was so glad when Mario accepted the directorial job for both Ulila and Alindog. When he got the first episode of Alindog that he was going to direct, he told me how he was so surprised why my script's build up was exactly the way he would build up his own when he was writing for Lino Brocka. Because there was no disagreement, we worked as a solid team. We never had to revise the teleplays because like Mario, I also write my scripts pre-edited - that is, I begin a scene with the action already underway, and end the scene just before the secene should actually end. Those missing beginnings and endings in scenes are the ones that give the viewers time to think for themselves. We both agree as well that Alindog should have more risque scripts because Alma Moreno can actually be a fantastic actress - if the script is well-written and the director knows how to exploit her good qualities. Therefore, for its second season, Alindog became more risque and the time slot was moved to 9:30 pm.
Then Mario started calling me: "Mayaman". He-he. He was just baffled how I managed to write weekly teleplays for so many TV dramas when in fact I was also working as a Media Specialist for Imelda Marcos' PR office. When he was in the mood to tease me, he would call me "mayaman."
But what really pissed us off was an episode of Ulila, titled "Joselito". Chitang Nakpil, who was the head of TV censors that time, summoned me for a meeting at Broadcast City to discuss this particular episode because she claimed that it painted the RP government a not so flattering image. Of course I argued with her veheemently. So in the end, she approved the episode with a minor revision, and that is: "make the children characters not end up in the streets of Manila because the "government helped them". I told Mario about this and he was livid as well. So he asked me what I intend to do with the episode. I told him that there is no way people will see in the episode that the kids will be helped by the government. I suggested that Rosa Rosal will only say the statement in the epilog of the show. Anyway, Chitang didn't specify where to put the statement. And that was exactly what we did. And after the taping, all the three of us, Mario, Rosa Rosal and I - were laughing so hard because we found a way to defy the censors without changing anything in the script to make it a propaganda episode.
I really enjoyed working with Mario O'hara and Rosa Rosal because we worked as a solid team to make our show a TV drama worth-seeing. It was a pleasure knowing these two people who are so talented and who both remained low-key throughout their careers.
Thank you, JM, for sharing with us your experiences and memories (up close and personal) with Mario O'Hara. Did you also work or any experiences working with Brocka or Bernal?
Simon:
I think it was in 1974 when I wrote a teleplay called DALAWA ANG LANDAS NG PUSO, directed by Lino Brocka. It was a story of a youthful, dashingly handsome advertising executive who was torn between two equally good-looking individuals, a male and a female. Ha-ha. Lino loved this sort of conflict and this was what I wrote for him. The finale of this episode was absolutely scandalous. He-he. After reading it, he said: "Wow!"
Knowing him and the type of stories he wanted to direct, I wasn't surprised at all by his reaction :)
For Bernal, I'm not quite sure now, but I think I had written two teleplays for him. What I can recall is an episode called SA PAGITAN NG DILIM AT LIWANAG, about a young guy, a son of a siga-siga in Tondo. Despite his father's evil ways, the son refuses to become like his dad, hence the conflict with the duo. When the father got killed by his enemies, son began to teether over the edge of "to be or not to be". In the end, his common sense triumphed and abandoned his thirst for revenge. Played wonderfully by the very young DABOY and I think it was Lito Anzures who played the dad. It was eons of years ago (may gatas pa ako sa labi noon. LOL!). I could no longer recall the other one, but I think the lead was played by Daria Ramirez.
I also worked with another director who was so good but who never really decided to do directing full time – SOXY TOPACIO, who's also a very good stage actor.
I also worked with komiks writer RIC M. TORRES where he directed 4 of my teleplays. We had nothing but disagreement! He always wanted to make TV like KOMIKS! I told him finally that if he continued doing it like a comic book, the audience will fall asleep. The final straw was when he used my name as the writer but he wrote the episode komiks-style and I was horrified when I watched the show. It was dragging, the scenes were very disjointed, and it took him 5 sequences to say one thing. Well, I say three to five things in one sequence to make the flow constantly moving and evolving, then suddenly here I was credited with this nonsensical drama which I had nothing to do at all. I didn't want him to lose his directorial ambition, but it was BBC-Channel 2 management who decided to "Can" him.
I also worked with SALVII CASINO in a historical sci-fi monthly show called INFINITUS, starring the 12 year-old SNOOKY SERNA. Every episode, we had revisited characters from Philippine History, interacting with Snooky who was time travelling. I remember the first episode where Tommy Abuel played Rizal who meets Snooky in 1896 before he was executed by musketry. In this episode, the meeting breaks Rizal's heart when he realizes that the struggles of the Filipinos in the 1970s actually parallel with those of his own era: against corruption, colonialism and hegemony.
The taping of this particular show was a killer. We practically stayed in the studio (Bohol Avenue facilities) for several days just to wrap up one episode, until finally Mila Ocampo have had enough and decided not to sign another cantract. Besides, National Mass Media was spending so much money for costumes and period sets. The show ate up too much resources and all of us involved in it were so exhausted to say the least.
But, it was unfortunate, because the show was quite compelling and sometimes controversial because of the historical characters that were involved in it.
But then, it was time also for me to move to north America to study. I was about to leave the country when we did BEDSPACERS for Regal Films. After the film was released, I left the country to study in the USA.
BTW, have you heard of a guy named NICK LIZASO? My, my. Do I have a story to tell about this director, but I won't. He-he. Buhay pa kaya ito?
Sayang, JM, umalis ka pa!
Napakanibangan sana ng husto ang talent mo dito. Your great ideas are needed in the movie industry. Yes, I remember Nick Lizaso in the 70s and 80s' I think he directed the movies, "Sa Kagubatan ng Lunsod" and "Batuigas II." Well, sorry to say, not in the league or caliber of Brocka, Bernal or O'Hara.
You're absolutely right about this other director.
Anyway, he had a huge ego and the screaming on the set I find too annoying, and truly uncalled for. I just couldn't stand the guy, and to think that the end product of his petulance were just so-so, the hysteria on the set was like what Shakespeare would call: "too much ado about nothing."
Puro lang porma, wala namang sustansiya. Lol.
JM,
How about Mike de Leon and the Celso Kid, naka-trabaho m rin ba ? about Lino B. nakausap ko siya noon sa Coop sa UP Los Banos, mi play yata sila doon. Simple lang siya at naka tsinelas pa. What I remember about him is almost every sentence niya eh mi p-tangna ! napanood ko rin sa Ft. Santiago yung play niyang Hanggang dito na Lamang at Maraming salamat.
Is it true na taga Pilar/Donsol si Lino, at later na lang nagrelocate sa Nueva Ecija ?
Auggie
JM,
How about Mike de Leon and the Celso Kid, naka-trabaho m rin ba ? about Lino B. nakausap ko siya noon sa Coop sa UP Los Banos, mi play yata sila doon. Simple lang siya at naka tsinelas pa. What I remember about him is almost every sentence niya eh mi p-tangna ! napanood ko rin sa Ft. Santiago yung play niyang Hanggang dito na Lamang at Maraming salamat.
Is it true na taga Pilar/Donsol si Lino, at later na lang nagrelocate sa Nueva Ecija ?
Auggie
Auggie:
Ganoon nga, taga Pilar, Sorsogon ito.
No, I did not work with Celso Ad. Castillo. I didn't find his volatile personality palatable so I stayed away from the guy. Though I heard that when he was directing DA KING, he was well-behaved. He-he. Ang takot lang siguro niya sa Hari. Mike de Leon was active when I was no longer in RP. Although I can say that I am lucky to have worked with Mario O'hara and Joey Gosiengfiao. Both of them are just easy going. Mas vivo lang si Joey at talagang matatawa ka minsan sa kanyang mga kakuwanan. Madalas niya akong kumbidahin noon sa bahay niya sa Kamias, QC to have lunch or dinner. The guy was a historian. Magugulat ka sa mga nalalaman ni Joey sa History. What was sad, though. was the fact that he was labelled as king of camp but if people only analyzed his films more thoroughly, I'm sure they'll find some brilliance in there. I have always believed that ALMODOVAR copied Joey's style, because Joey was already doing it before Almodovar did his thing.
JM,
Ano na ang nangyari ki Joey G. si Mario O., are they still around ? Impressed din ako sa body of work ni Mario, lalo na yung Tatlong Taong Walang Diyos. Parang wala na silang movie assignments ngayon eh ,puro indie-indie na. Si Celso Kid wala na ring assignment. Bakit nga pala O'Hara, kano ba sila ?
Auggie
Auggie:
Joey Gosiengfiao died not too long ago.
Mario's half Irish.
True as well that the Filipino movies are mostly Digital and indies. But, when they enter the filmfest abroad, they transfer them to 35mm films. Just perfect for the RP film industry which is in recession these days.
Mario O'Hara's still around. Tanghalang Pilipino did a second succesful staging of his play Insiang. He's not making movies but he's still acting, far as I know.
Good stuff, sir, and thanks for the link. Would like to ask a favor, if I can use your pics on my blog. I'll give proper credit of course.
By all means Noel!
Hello! I'm Katrina Alba, story supervisor from Pilipinas News, the late night news program of TV5. We'd like to use the posters in this blog to air a Mario O'Hara tribute. We'll use the proper courtesy of course. You can contact me through katrinaelainealba@gmail.com Thank you very much!
Post a Comment