THE WAR YEARS (1942- 1945): "THE GOLDEN AGE OF PHILIPPINE THEATER"/ JANUARY 5, 12, 19 AND 25, 1943

In 1943, stage revues flourished in Manila as major theaters formed their own entertainment companies. The Roque Stage Revue, led by the Roque family and directed by Carlos Vander Tolosa, became a prominent fixture at the Lyric until its closure due to wartime bombing. Other theaters such as the Palace, Strand (later renamed Premiere), Capitol, State, and Cine Star hosted various revue groups featuring well-known performers and directors, including Lou Salvador, Fernando Poe, and Jose Dayrit. Nearly all major theaters maintained regular stage shows, with top film stars also appearing live. With no competing forms of entertainment, these revue companies drew full-house audiences and rapidly multiplied throughout the occupation period.

(The Tribune, January 9, 1943)

(The Tribune, January 10, 1943)

(The Tribune, January 16, 1943)

(The Tribune, January 28, 1943)

THE 2025 METRO MANILA FILM FESTIVAL- "I'mPERFECT"- BEST PICTURE/ KRYSTEL GO- BEST ACTRESS/ VICE GANDA -BEST ACTOR

The movie, "I'mPerfect" won the Best Picture Award in this year's Metro Manila Film Festival Gabi ng Parangal, held at the Dusit Thani Hotel in Makati City City, Saturday, December 27. It also won the Best Actress Award for Krystel Go.

Vice Ganda won the Best Actor Award for  “Call Me Mother” and Odette Khan as Best Supporting Actress for “Bar Boys.” 

"Un Marry" took home the 2nd Best Picture Award and  Best Director Award for Jeffrey Jeturian And Best Supporting Actor for Tom Rodriguez.

The Third Best Picture honor was shared by two films: Call Me Mother and Manila’s Finest.

“I’mPerfect” centers on Jessica and Jiro, two people with Down syndrome who fall in love and journey through life and shared memories together.

“Unmarry” explores the intense emotional upheaval between two married couples—one facing annulment and a bitter child-custody battle, the other fighting to save a crumbling marriage.

“Call Me Mother” follows an adoptive mother’s struggle to hold her family together when her son’s biological mother reenters his life and forges a bond with him.

“Manila’s Finest” chronicles a police officer’s investigation into a series of brutal murders targeting the urban poor in 1960s Manila.

Here is the full list of this year's MMFF winners:

Major Awards

Best Picture: I’mPerfect

2nd Best Picture: Unmarry

3rd Best Picture: Manila’s Finest (tie)

Call Me Mother (tie)

Best Actress in a Leading Role - Krystel Go (I’mPerfect)

Best Actor in a Leading Role - Vice Ganda (Call Me Mother)

Best Director - Jeffrey Jeturian (Unmarry)

Best Actress in a Supporting Role - Odette Khan (Bar Boys: After School)

Best Actor in a Supporting Role - Tom Rodriguez (Unmarry)

Best Child Performer - Lucas Andalio (Call Me Mother)

Best Screenplay - Chris Martinez & Therese Cayaba (Unmarry)

Best Editing - Benjo Ferrer (Unmarry)

Technical Awards

Best Cinematography: Raymond Red (Manila’s Finest)

Best Production Design: Digo Ricio (Manila’s Finest)

Best Sound: Roy Santos (Manila’s Finest)

Best Musical Score: Frederik Sandoval & Emerzon Texon (Manila’s Finest)

Best Original Theme Song: “Sandalan” by Vehnee Saturno (Manila’s Finest)

Best Visual Effects: Santelmo Inc. (Shake, Rattle & Roll: Evil Origins)

Special Awards

Gat Puno Antonio Villegas Cultural Award: Manila’s Finest

FPJ Memorial Award: Bar Boys: After School

Special Jury Prize (Best Ensemble): I’mPerfect

Breakthrough Performance Award: Zack Sibug (Unmarry)

 

"I'mPerfect" (2025)

"Call Me Mother" (2025)

"UnMarry"" (2025)

"Shake, Rattle Roll: Evil Origins" (2025)

"Rekonek" (2025)

"Manila's Finest" (2025)

"Love You So Bad" (2025)

"Bar Boys" (2025)

THE WAR YEARS (1942- 1945): CORAZON NOBLE, JOSE PADILLA, JR., ROBERTO ROSALES, WITH VIOLETA HERMOSA, TEDDY BENAVIDES IN "LANDAS NA GUINTO" (1942)

"Landas na Guinto" (1942)

Sampaguita Pictures, Inc.

Release Date December 26, 1942/ Dalisay Theater

Direction Guillermo Mariano

Cast Corazon Noble, Jose Padilla, Jr., Roberto Rosales, with Violeta Hermosa, Teddy Benavides

THE WAR YEARS (1942- 1945): "THE GOLDEN AGE OF PHILIPPINE THEATER"/ DECEMBER 5, 12, 19 AND 25, 1942

Towards the last quarter of  1942, Tagalog stage plays enjoyed immense popularity and critical acclaim. Popular stars in the movie world performed in several biggest musical shows in several theaters around Manila. Rogelio de la Rosa, dubbed as "the greatest Filipino actor of all time," made its rare stage appearance in "Noche Buena," opposite Norma Blancaflor.

(The Tribune, December 5, 1942)

(The Tribune, December 12, 1942)

(The Tribune, December 19, 1942)

(The Tribune, December 25, 1942)

THE WAR YEARS (1942- 1945): FERNANDO POE, MONA LISA, WITH ANTONIA SANTOA, SALVADOR ZARAGOZA, CANULPLIN, LUPE VRLASCO, MANUEL LAREDO, JOSE TRONI, SONIA REYES, PEDRO FAUSTINO, MATI TORRES IN " PRINSESA URDUJA" (1942)

"Prinsesa Urduja" (1942)

X'Otic Films, Inc.

Release Date November 13, !942/ Ideal and Times Theaters

Written by Teodorico C. Santos

Music Prof. Francisco Santiago

Direction Eduardo de Castro

Cast Fernando Poe, Mona Lisa, with Antonia Santos, Salvador Zaragoza, Lupe Velasco, Manuel Laredo, Jose Troni, Sonia Reyes, Pedro Faustino, Mati Torres

THE WAR YEARS (1942- 1945): "THE GOLDEN AGE OF PHILIPPINE THEATER"/ PUGO AND TOGO AS "PUGUING" AND TUGUING" /UPDATED

Bald-headed comedy duo, Pugo (Mariano Contreras) and Togo (Andres Solomon) were a hit during the Second World War, where they poke fun of the Japanese. Their brand of humour consisted of short skits, slapstick, and funny dialogues where they performed live in Manila's theaters, most particularly Clover, Life and Avenue theaters. They changed their names to "Puguing" and "Tuguing" because Togo sounds similar to Tojo who was then the Prime Minister of Japan.

In one skit, Togo would ask the time and Pugo would hold up his wrist wearing four or five watches, satirizing the Japanese soldier's fondness for watches. In another skit, Pugo would ask Togo who he was waiting for and he would reply "Si Uncle", meaning Uncle Sam (the United States). In another skit, Pugo would give a monologue caricaturing a Japanese official proclaiming that he "love[d] the Philippines" but pronouncing the word "love" as "rob", making fun of the Japanese people's mispronunciation of the letter "l" and "r."

More often than not, the Japanese Kempetai would haul the two comedians to Fort Santiago for interrogation. After two or three days with bruises and cuts incurred from the Kempetai, the funny thing is that the Japanese always let them go.  (Source: wikipilipnas)

The popular comic duo appeared later as Japanese soldiers in the 1947 movie, "Tomadachi: Zona."

"Tomadachi: Zona" (1947)-Stars Patricia Mijares, Domingo Principe, Pugo & Togo and Katy dela Cruz/ Directed by Oscar del Rosario

THE WAR YEARS (1942- 1945): "THE GOLDEN AGE OF PHILIPPINE THEATER"/ NOVEMBER 7, 14, 21 AND 28, 1942

Almost all the major movie theaters had their regular revue companies, but the big name stars like Rogelio de la Rosa, Gregorio Ticman, Rosa Aguirre, and Leopoldo Salcedo were appearing in the big theaters. Perhaps Lou Salvador's group was the biggest of them all, appearing at one time or other in three different theaters---  the Dalisay, Strand, and the Palace. Thus the stage entertainment groups mushroomed one after another and all of them enjoyed capacity audiences since there was no rival entertainment. 

(Source: Philippine Studies: Historical and Ethnographic Viewpoints Volume 29 Number 1 Article 6 10-24-2018 Philippine Stage Performances During the Japanese Occupation by Motoe Terami Wada)

(The Tribune, November 7, 1942)

(The Tribune, November 14, 1942)

(The Tribune, November 21, 1942)

(The Tribune, November 28, 1942)

THE WAR YEARS (1942- 1945): "THE GOLDEN AGE OF PHILIPPINE THEATER"/ OCTOBER 10, 17, 24 AND 25, 1942

What made show business so profitable during the Japanese occupation? It may be because this was an abnormal period. People had a compulsion to live and enjoy, as if any moment would bring death. They needed entertainment. At the same time the streets were full of movie stars and directors who were deprived of work with the closing down of the film studios. They also had to earn a living, and many formed their own theater groups. The fact that big name movie stars made personal appearances on the stage was one of the strongest reasons for the popular acceptance of stage shows.

It was not until the middle of 1942 that the new stage groups began to organize. One of the first to emerge was the Filipinas Revue headed by Joe Climaco which opened on 23 May 1942. They had regular shows at the Life Theater and its featured stars were Katy de la Cruz, Tugo, Pugo, Lilian Velez, and Bimbo Danao. Later, many big name stars, such as Rogelio de la Rosa and Norma Blancaflor, joined them. It was called "Filipinas Revue" because it was a subtle reminder to the audience that the

Philippines was for the Filipino.

Others followed: The Sampaguita Revue headed by Lou Salvador at the Dalisay with its stars, Al Johnson, Angel Esmeralda, and Vicente Ocampo. At the Avenue, the Silos Follies headed by Manuel Silos presented music and comedy until Lamberto Avellana's Philippine Artists League took over in September and presented their first show "Tropicana." They had Dianna Prieto, Leopoldo Salcedo, and Mystery Singer as regular artists. The Lyric started with Thelma's Stage Show in September with Rosario Moreno, Ben Rubio, Martha Dizon, and Ruth Reyes. A few months later United Artists, headed by Ramon Estella, took over.

(Source: Philippine Studies: Historical and Ethnographic Viewpoints Volume 29 Number 1 Article 6 10-24-2018 Philippine Stage Performances During the Japanese Occupation by Motoe Terami Wada)

( The Tribune, October 10, 1942)

(The Tribune, October 17, 1942)

(The Tribune, October 24, 1942)

(The Tribune, October 25, 1942)

THE WAR YEARS (1942- 1945): "THE GOLDEN AGE OF PHILIPPINE THEATER"/ SEPTEMBER 1942

Amid the uncertainties, fans flocked to theaters to see their favorite stars perform live. With film negatives in short supply, stage plays became the lifeblood of those in the entertainment industry. New plays and shows were scheduled, and staged week after week.

September 5, 1942

September 12, 1942

September 12, 1942

September 19, 1942

September 25, 1942

THE WAR YEARS (1942- 1945): "THE GOLDEN AGE OF PHILIPPINE THEATER"/ AUGUST 1942

With the disappearance of negatives and raw stock from the shelves, most movie people transferred to the stage. Lamberto Avellana, Gerardo de Leon, Manuel Conde, Ramon Estella, Manuel Silos, Tor Villano and Gregorio Fernandez were some of the directors who worked on new plays, week after week. According to Avellana, “this was the golden age of Philippine theater.”

Some of these plays eventually got produced as movies in the post-war era. "Limpia Bota" (Shoeshine), the story of Ernesto Bohol, a former shoeshine boy who became a tycoon, started as musical at the Metropolitan. Manuel Conde’s "Ikaw Kasi" was a stage smash before it became a fifties box-office success for LVN. Bert Avellana’s Philippine Artist League first presented "Tandang Sora" before shooting it as a movie. Ramon Estella’s 1946 movie, "Angelus," was an adaptation of his stage play "Ave Maria."

Source: “War and its Aftermath in Philippine Cinema by Agustin Sotto

August 1, 1942

August 15, 1942

August 22, 1942

August 29, 1942

THE WAR YEARS (1942- 1945): ESCOLTA, MARCH 16, 1942

The Tribune, March 16, 1942

THE WAR YEARS (1942- 1945): LEOPOLDO SALCEDO, ESTER MAGALONA, CARLOS PADILLA, DEANA PRIETO, ROLANDO LIWANAG, MARY WALTER, TEDDY ALIERMO, LILIAN LEONARDO, CECILIO JOAQUIN, EDDIE INFANTE, MANUEL ELORIAGA, JUAN RODRIGUEZ, RAMONA PALMA, RAMON ROY, JOSE LUZ BERNARDO, NITA CARMONA, NARDO ZAMORA, JOSE MAXIMO IN "PRINCIPE TEÑOSO" (1942)

In a videotaped interview, Manuel Conde recounted the problems of shooting "Principe Teñoso." There was a scarcity of film stock as the local Kodak store had been looted by the rig-drivers of Binondo. However, they were able to salvage a few rolls from the stables. There was also severe film censorship. The Japanese demanded that every form of entertainment--- movies as well as stage plays and vaudeville---carried some form of Japanese propaganda. Conde’s problem was that there were no Japanese during the time of Principe Teñoso. How could you inject propaganda in a 19th century setting? He finally solved it by stamping the glass of milk the princess was drinking with a trademark: Made in Japan.

Source: “War and its Aftermath in Philippine Cinema by Agustin Sotto

"Principe Teñoso" (1942)

LVN Pictures, Inc.

Release Date October 3, 1942/ Ideal Theater

Music Jian Silos, Jr., Francisco Buencamino, Sr. and Jr.

Direction Manuel Conde

Cast Leopoldo Salcedo, Ester Magalona, Carlos Padilla, Deanna Prieto, Rolando Liwanag, Mary Walter, Teddy Aliermo, Lilian Leonardo, Cecilio Joaquin, Eddie Infante, Manuel Eloriaga, Juan Rodriguez, Ramona Palma, Ramon Roy, Jose Luz Bernardo, Nita Carmona, Nardo Zamora, Jose Maximo

THE WAR YEARS (1942- 1945): ELSA ORIA, FRED CORTES, CARLOS PADILLA, DEANNA PRIETO IN "NIÑA BONITA" (1942)

"Niña Bonita" (1942)

LVN Pictures, Inc.

Release Date June 19- July 2, 1942/ Dalisay Theater

Cast Elsa Oria, Fred Cortes, Carlos Padilla, Deanna Prieto

 

THE WAR YEARS (1942- 1945): ROGELIO DE LA ROSA, NORMA BLANCAFLOR, WITH PUGO & TOGO, CELIA MORENO IN "ANONG GANDA MO" (1942)

"Anong Ganda Mo" (1942)

RDR Productions

Release Date May 9, 1942/ Life Theater

Direction Gerardo 'Gerry' de Leon

Cast Rogelio de la Rosa, Norma Blancaflor, with Pugo & Togo, Celia Moreno