"Selosong Balo" (1954)
Release Date November 9-17, 1954/ Center
Direction Quin Velasco
Cast Pugo & Togo (ghost), Rebecca Gonzales, Eddie San Jose, Dely ATay-Atayan, Cris de Vera, Juanito & Sepa
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..."As for Ronnie's appearance in Multo sa Opera, I am not aware of this. When my papa passed away Ronnie was only 11 yrs old. The last movie produced by the Fernando Poe Production was Multo, my uncle Jose Samson produced this with the ok of my mumpy who didn’t know anything about the business. It was a last ditch to save the production and the studio but it laid an egg. We lost everything. It was Mumpy who produced Anak ni Palaris with the insurance money we got. As she said, it was the best investment she ever made. Ditto. Take care. God bless."On my personal assessment, Ronnie may have appeared in Multo sa Opera so as to acclimatize him in the world of cinema before going solo two months later. Since the director (Mario Barri) was his director in his supposed first movie, Anak ni Palaris and the producer, Jose Samson, was his uncle, there’s a great probability that he appeared in the said movie. Things could have been lot easier if FPJ was still alive today or if the film still exists.
While Zialcita began his career in the ‘60s directing action films like a few from the Palos series, and even dipping his feet on the bomba trend in the early ‘70s (he directed films such as Gutom and Hidhid when movie titles at the time were Uhaw, Hayok, Daing), his career peaked in the late ‘70s to the mid-‘80s when he started pursuing themes about marriage, adultery and homosexuality. His movies were famous for their kilometric titles—Nagalit Ang Buwan Sa Haba ng Gabi (or, as a joke said, Nagalit ang Buwan Sa Haba ng Title), Gaano Kadalas ang Minsan, Bakit Manipis ang Ulap?—and their dialogue: witty, poetic, delivered in rapid fire speed. His characters were always incredibly articulate, from the leads down to the yaya. “Bawal ang bobo sa pelikula ni Danny Zialcita,” says Mark Gil who starred in several of the director’s films including Sugat Sa Dangal. When Zialcita says “Action!” he doesn’t watch his actors do the scene, he turns his back and listens only to how his dialogue is delivered (Martin Nievera had to do 12 takes once on the set of Always and Forever. His line: “Goddamit.”). “For him, every dialogue is a song,” says Mark. “May intro, may refrain. You don’t go to the refrain right away.”
Consider this confrontation scene between Vilma Santos and Nora Aunor in T-bird at Ako. Nora’s character, a lawyer, has just expressed her romantic intentions to Vilma, a nightclub dancer, who responds to the proposition, quietly, with “Nandidiri ako.” Nora: Bakit, sino ka ba? Ano bang pinagmamalaki mo? Katawan lang yan ah, sa’n ba galing yan? Sa putik! Vilma: Putik nga ako pero kahit ganito ‘ko nagsisimba ako kahit papa’no. At ang sabi ng nasa itaas ang sala sa lamig, sala sa init, iniluluwa ng langit, isinusuka ng Diyos!
Source: Article of Jerome Gomez/ MetroHim (September 2008)
Courtesy of Film VenturesWhich takes us back to Mark’s statement. First, you have to be a competent actor to come to work without a script. Danny is famous for not doing scripts, only rough storylines and sequence guides that get revised easily on the set when a new idea strikes him. “I don’t want them coming to the set with a planned line, a planned movement. So that they can surpass their own,” says Danny. Second, you have to be an intelligent actor to deliver lines like the ones above, to convince the audience that the character is capable of churning out knockout philosophical punches at the tip of a hat—which, incidentally, people wore in Zialcita films.
(Uploaded by Frida Manalo)
From 1979 to 1986, Zialcita was on a roll, doing one film after another, pulling off nine hits in a row beginning with Gaano Kadalas in 1981 up to his sex comedies that include May Lamok Sa Loob ng Kulambo. He could demand anything from a producer and his wish would be granted. When Viva Films asked him to do Gaano Kadalas, he told Vic and Mina del Rosario that he will only do it if they get George Canseco to write the theme song (most of his popular films had songs by Canseco), and that Hilda Koronel would be one of the leads. Viva granted him both—even if it had to pay more for Hilda than for Vilma. “May utang ako kay Hilda eh, I took her out of Langis at Tubig.” He was in his late ‘40s and there was a time he was doing three movies all at once, all of them without scripts. Up to now, he seems amazed at what he was able to do. And it is amazing, especially when you are familiar with his films, and how complex the stories are, how six to 10 characters weave themselves into each others’ lives, how each one is able to make an impact. “Divine intervention,” he tells me now, seems the only reason he can think of.