POST-WAR ERA TAGALOG MOVIES # 2: ROGELIO DE LA ROSA, ARSENIA FRANCISCO, JAIME CASTELLVI, EDDIE INFANTE, NATY BERNARDO, FIDEL DE CASTRO, CECILIO JOAQUIN, JUAN URBANO AND INTRODUCING ERLINDA CORTEZ IN "TAGUMPAY" (1946)/ UPDATED

"Tagumpay" (1946)
LVN Pictures
Release Date: March 28- April 7, 1946/ Dalisay Theater
Music Juan Silos, Jr.
Director Ramon Estella
Cast Rogelio dela Rosa and Arsenia Francisco/ Introducing Erlinda Cortez/ with Jaime Castellvi, Eddie Infante, Naty Bernardo, Fidel de Castro, Cecilio Joaquin, Juan Urbano

POST-WAR ERA TAGALOG MOVIES # 1: MILA DEL SOL, RODRIGO (BIMBO) DANAO, DOMINGO PRINCIPE, FIDEL DE CASTRI, HORACE CURRY, JUAN URBANO, GREG URBANO, GIL DE LEON AND INTRODUCING ELVIRA REYES IN "ORASANG GINTO" (1946) / A FILM BY MANUEL CONDE/ UPDATED

Unlike the pampered sugar industry, the film industry did not wait for war damage payments or U.S. AID to help it get back on its feet. Movie companies in 1946 “begged, borrowed and bought whatever they could in the way of equipment and film, and are now turning out pictures, despite all odds and impediments, at a rigid clip.” And all this in spite of the fact that the cost of producing a film had gone up to P75,000 as compared to about P30,000 before the war, and more taxes were being imposed on the industry by the government.

Using raw stock purchased from the black market, LVN Pictures produced the very first film that came out after the war. After quickly reorganizing in late 1945, LVN asked Manuel Conde to write and direct "Orasang Ginto," the first Filipino post-war movie. It was shown at Zest Theater , from March 4 to 12, 1946.

Based on a story of Doña Aurora Quezon, it highlighted the “tragedies and miseries of the Filipinos” during the war and the “historic sacrifices that made Bataan and Corregidor known to the world.” The film starred Mila del Sol and introduced two newcomers--- Elvira Reyes and Rodrigo ‘Bimbo’ Danao. Conde, who was then still a regular major in the Armed Forces of the Philippines, used, without permission from his superiors, an entire battalion for the war scenes in the movie, and for this, almost got court-martialed.

Source: The Cinema of Manuel Conde by Nicanor Tiongson

THE WAR YEARS (1942- 1945): THE MANILA MASSACRE OF 1945--- THE POES IN A CROSSFIRE

In late 1944, the Americans landed on Leyte with General Douglas MacArthur to drive out the Japanese. By February 3, 1945, the US First Cavalry entered Manila to the jubilation of the Manilenos. But the worst was yet to come when the Japanese troops under Rear Admiral Sanji Iwabuchi decided to entrench themselves in the city and wage a man-to-man combat as both armies rained cannon and mortar fire on the city, wounding and killing at least 100,000 city residents in the infamous Massacre of Manila.

(Image, from Internet source)

Fernando Poe’ s wife Elizabeth Kelley and her two-year old son were caught in the crossfire as they tried to cross Avenida Rizal to join Poe, who was performing at the Avenida Theater. When they got there, their hearts dropped upon learning that he hurried back to their Malate home to save them. Fortunately the tearful family was soon reunited. Others in the film industry were not so lucky. The popular actress Rosario Moreno was gunned during the Battle of Manila, while Corazon Noble’s baby was stabbed to death in her own arms by a Japanese soldier.

Source: An Exodus from Philippine Cinema to Live Theater/ Philippine Cinema 1897- 2020 by Gaspar Vibal and Dennis Villegas)

(The Tribune, February 2, 1945)

THE WAR YEARS (1942- 1945): THE MANILA MASSACRE OF 1945--- THE NEAR-DEATH AND HORRIFIC EXPERIENCE OF CORAZON NOBLE/ UPDATED

Corazon Noble, a popular pre-war movie star almost got killed during the so-called "Manila Massacre" in 1945. She was mortally wounded, stabbed nine times with a bayonet from a Japanese marine. Her ten-month old baby brutally killed with three stab wounds. Here's her story---
At 10 o’clock in the morning of February 10, 1945, a Saturday, Corazon Noble, 26, Patrocino Abad in real life, arrived at the Red Cross headquarters on Isaac Peral street (now UN Avenue) in Ermita from her Makati residence. She had with her, her 10-month old baby girl, her two brothers and several cousins. At about 5 o’clock in the afternoon, Japanese marines with fixed bayonets approached the main entrance of the building. They were bent on killing everyone--- men, women, children, infants--- in their line of sight. Finding it locked, one of them fired through the wooden panel. A small girl who happened to be right behind the door inside fell, mortally wounded. The Japanese outside continued firing until the lock gave way.

When the Japanese crashed through the door, Noble was in the foyer by the main entrance, her baby in her arms. She stood rooted to the floor and watched in horror as a Japanese marine came in and aimed his rifle at her. She crept behind a nearby medicine cabinet, clutching her baby to her bosom. The medicine cabinet hid her body, but her right elbow stuck out. The Japanese fired, shattering Noble’s elbow. Leaning against the cabinet, she slid slowly to the floor.

The Japanese walked over to Noble, stabbed her nine times with the bayonet. She was hit in the chest, in the abdomen, in the back, a rib was shattered, her legs were slashed, and her arms were pierced. She tried to parry the thrusts, twisting here and there, screaming fearfully. She did not notice that her baby, stabbed three times, was dead in her arms.

Romano Abad, Noble’s brother, was in the backyard of the building when the shooting started. He clambered over the wall into a nearby property. Noble roused herself and crawled out into the backyard. Her brother saw her over the wall and came down to pick her up.
(Source: “Sword and Fire: The Destruction of Manila in World War II” by Alfonso Aluit)

Red Cross building circa 1945
(photo credit: John Tewell)

On November 12, 1945 in a powder blue ballroom of the partly ruined Manila residence once occupied by a US high commissioner, Major General R.B. Reynolds of the American Military Commission sat as the presiding judge to the trial of General Tomoyuki Yamashita --the so-called "Tiger of Malaya."

The first witness was a pretty, 26-year-old Filipina. In her testimony, she recalled that on February of 1945, in what was infamously known as the "Manila Massacre," she had taken refuge with her ten-month-old baby in a Red Cross Emergency Hospital.

At the confines of the hospice, four Japanese sailors had trapped her. One raised his rifle, fired, and wounded her in the elbow. Then, they bayoneted her.

"I was stabbed nine times," she said. "The baby was stabbed three times. When they were gone, I walked out the back door and gave her to my brother. I couldn't stand it any more."

"What happened to your infant child?" asked one of the five US generals in the commission. "She died," was all she said. Forty-two days later, on February 23, 1946 in Los Banos Prison Camp, Yamashita was hanged for his war crimes.

The valiant mother, who sought justice for the death of her child and some 50,000 Filipinos in the 30-day battle for Manila, was Corazon Noble, pre-war movie queen.

Corazon was Patrocinio Decano Abad in real life -- wife to actor Angel Esmeralda, elder sister to former actress Carmencita Abad, and mother to the late actor and heartthrob Jay Ilagan. She was a native of Gapan, Nueva Ecija. (by Gypsy Baldovino)

THE WAR YEARS (1942- 1945): CARMEN ROSALES, NORMA BLANCAFLOR, LIWAYWAY ARCEO, WITH FERNANDO POE, ELY RAMOS, JOSE PADILLA, JR., PRECIOSO PALMA, PEDRO FAUSTINO IN "TATLONG MARIA" (1944)

After the reported success of "The Dawn of Freedom," the Japanese decided it was time for Filipinos to produce an alternative cinema---other than that of Hollywood that has been the model for most Filipino films. Tsutumo Sawamura was tasked by the Japanese commission with uplifting the status of local movies. Sawamura wrote an adaptation of the Jose Esperanza Cruz novel, "Tatlong Maria." Gerardo de Leon was chosen to direct the film which starred Carmen Rosales, Norma Blancaflor, Liwayway Arceo, Fernando Poe, Sr., Ely Ramos and Jose Padilla, Jr. The movie extolled the virtues of living in the province and featured grand musical numbers staged at the Manila Hotel and the Jai Alai.

"Tatlong Maria" was shown simultaneously in five theaters on October 12, 1944. It was much ballyhooed all throughout its shooting. The New Philippines News, a newsreel team assembled by the Japanese, covered the shooting, showing three hundred girls preparing for musical numbers in the Winter Garden of the Jai-Alai and in the Manila Hotel. While it was successful, the film was released at a time when the Allies were moving to Manila. Martial law was declared and a curfew was imposed. Screening hours were shortened and evening shows were cancelled.

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

"Tatlong Maria" (1944)

A Tatlong Maria Productions

Released thru Eiga Haikyusha

Release Date October 12, 1944/ Ideal, State, Times, Daitoa (formerly Capitol)

Direction Gerardo de Leon

Cast Carmen Rosales, Norma Blancaflor, Liwayway Arceo, with Fernando Poe, Ely Ramos, Jose Padilla, Jr., Precioso Palma, Pedro Faustino

The movie was advertised daily, for a week prior to the film's showing. 

(The Tribune, October 7, 1944)

(The Tribune, October 8, 1944)

Synopsis--- The film centers on three sisters—Maria Fe, Maria Esperanza, and Maria Caridad—raised without favoritism despite having different mothers. On the eve of Maria Caridad’s wedding to Andres Diwa, her two elder sisters disrupt the ceremony over inheritance issues and lure her to Manila, where she resists an unwanted suitor. After returning to the province to fulfill her dying mother’s wish, Caridad marries Andres, but the couple later loses their home and struggles in Manila before drawing inspiration to rebuild their lives on a modest inheritance. Years later, the fortunes of the two elder sisters collapse, leading them into poverty. Moved by compassion, Andres rescues them and brings them back to the province, where the family is reunited in a joyful celebration

(The Tribune, October 10, 1944)

(The Tribune, October 11, 1944)

(The Tribune, October 12, 1944)

 

THE WAR YEARS (1942- 1945): LEOPOLDO SALCEDO, FERNANDO POE, ANGEL ESMERALDA, NORMA BLANCAFLOR, ROSA AGUIRRE IN "DAWN OF FREEDOM" (1944)

In December 1942, the Japanese centralized film production and distribution under Eiga Heikusa to control imported films and promote war propaganda. Its launch featured "Toyo no Gaika," a documentary showcasing Japanese military victories in the Philippines. Film became a key tool in advancing the Greater East Asia Co-Prosperity Sphere by discrediting American influence, promoting Japan as Asia’s leader, and reshaping Filipino identity.

To further these aims, the Japanese produced a major propaganda film directed by Abe Yutaka, with Filipino filmmaker Gerardo de Leon as collaborator. Shot from March to August 1943 using Japanese actors and Filipino prisoners of war, the film dramatized the American withdrawal from Manila. Premiering in Tokyo in February 1944 under the title "Ano Hatte O Utte," it was later released in the Philippines as "The Dawn of Freedom" (Liwayway ng Kalayaan) and was officially premiered in March 1944 with prominent Philippine and Japanese officials in attendance.

"Dawn Of Freedom" (1944)

A Toho Super Production

Release Date March 8, 1944/ Lyric and Ideal Theatres

Direction Abe Yutaka

Cast Leopoldo Salcedo, Fernando Poe, Angel Esmeralda, Norma Blancaflor, Rosa Aguirre

Synopsis: The film begins with Manila being declared an open city. Three Filipino officers—Capt. Reyes (Leopoldo Salcedo), Capt. Gomez (Fernando Poe), and Lt. Garcia (Angel Esmeralda)—prepare to join the retreating American forces bound for Bataan. In emotional farewells, they part from their families. Before leaving, Lt. Garcia’s younger brother, Tony, asks for a keepsake: an enemy helmet.

As the Americans hastily abandon Manila in speeding vehicles, Tony is nearly run over while trying to snatch a Japanese leaflet. He is rescued by Ikejima, a Japanese soldier, who takes him to the hospital. Over time, a friendship grows between the two, leading Tony’s mother to develop trust in the Japanese.

At the front, Filipino soldiers suffer harsh treatment from their arrogant American superiors, causing unrest in the camp. Capt. Gomez eventually strays into a Japanese encampment and is struck by the compassion shown by those he had been taught to regard as invaders. Gradually, he becomes a vocal supporter of the Japanese.

The other two officers meet tragic fates. Lt. Garcia is sent on patrol and ambushed by his own suspicious American commanders. He dies clutching an American helmet, later recovered by Capt. Gomez. Capt. Reyes, meanwhile, is shot by retreating American soldiers who had taken refuge in a tunnel; as he lies dying, he manages to kill the treacherous commander.

In the final scene, after the Americans are successfully driven out, Capt. Gomez bids farewell to the Japanese soldier. He then presents Tony with the promised souvenir, bearing a note written by his late brother: “This is the helmet of the enemy.”

============================================

The movie was advertised daily for 2 weeks prior to the film's showing.

(The Tribune, February 22- 27, 1944)

(The Tribune, March 1, 1944)

(The Tribune, March 2, 1944)

(The Tribune, March 3, 1944)

(The Tribune, March 4, 1944)

(The Tribune, March 5, 1944)

THE WAR YEARS (1942- 1945): "THE GOLDEN AGE OF PHILIPPINE THEATER"/ JANUARY, FEBRUARY 1944

By early 1944, Allied forces were intensifying preparations for a major invasion expected later in the year. Even amid such uncertainties, stage shows continued. 

(The Tribune, January 15, 1944)

(The Tribune, January 29, 1944)

(The Tribune, February 12, 1944)

(The Tribune, February 29, 1944)

THE WAR YEARS (1942-1945): "THE GOLDEN AGE OF PHILIPPINE THEATER"/ NOVEMBER, DECEMBER 1943

Toward the end of 1943, despite prevailing hardships, stage shows remained active and resilient. Reports of air attacks were closely monitored, the public was instructed to follow precautionary measures, and air-raid drills were regularly conducted.

(The Tribune, November 10, 1943)

(The Tribune, November 30, 1943)

(The Tribune, December 18, 1943)

(The Tribune, December 31, 1943)

THE WAR YEARS (1942- 1945): "THE GOLDEN AGE OF PHILIPPINE THEATER"/ AUGUST, SEPTEMBER AND OCTOBER 1943

Stage shows continued to thrive and were still very much alive and vibrant during the latter part of 1943. As all theatres were fully booked with their series of shows, a new president, Jose P. Laurel  was elected on September 26 under a new government, known as a second Philippine Republic, a "Japanese-run state," which was established on October 14.

(The Tribune, September 26, 1943 and October 14, 1943)

(The Tribune, August 7, 1943)

(The Tribune, August 13, 1943)

(The Tribune, August 21, 1943)

(The Tribune, August 28, 1943)

(The Tribune, September 8, 1943)

(The Tribune, September 21, 1943)

(The Tribune, September 28, 1943) 

(The Tribune, October 2, 1943) 

(The Tribune, October 13, 1943) 

(The Tribune, October 26, 1943) 

THE WAR YEARS (1942- 1945): "THE GOLDEN AGE OF PHILIPPINE THEATER"/ JUNE AND JULY 1943

The show must go on, even amid uncertainty. Despite the ongoing war, stage shows remained vibrant and full of life.

(The Tribune, June 10, 1943)

(The Tribune, June 24, 1943)

(The Tribune, June 29, 1943)

(The Tribune, July 3, 1943)

(The Tribune, July 24, 1943)