"VIDEO 48" FEATURED IN ABC CHANNEL 5 "SAPUL SA SINGKO" MORNING SHOW

Video 48 was featured in ABC TV Channel 5 morning show "Sapul sa Singko," in the segment "Makata on the Spot." The show was aired March 9, 2011.

TV Clip Part One/ Courtesy of ABC Ch.5


TV Clip Part Two/ Courtesy of ABC Ch.5

50s MATINEE IDOL AND LEGENDARY ACTOR ARMANDO GOYENA DIES AT AGE 88

Legendary actor and 1950s matinee idol Armando Goyena passed away Wednesday afternoon (March 9) at age 88. Armando, best known for his titular roles in Kapitan Kidlat (1953) and Tia Loleng (1953), won the Famas Best Actor award for the movie Yamashita: The Tiger's Treasure in 2001. He was among the most-sought-after leading men in his generation. He is the father of Maritess Revilla and Tina Revilla, both popular stars of the 70s and grandfather of actors Bernard and Mico Palanca and models-TV personalities Bianca Araneta-Elizalde and Lexi Schulze.

Goyena, Jose Revilla in real life, was among several sons of well-to-do families who were drawn to the movies after World War II. There had been, before him, Pancho Magalona, Oscar Moreno and Fred Montilla. Orphaned by his father during the war, Revilla got a job in a department store. Wilfrido Ma. Guerrero the playwright used to frequent the coffee shop in the store and he and Revilla became such good friends that the latter was persuaded to try the theater.

Starting as the male lead in Guerrero’s play, Wanted: A Chaperone, Revilla became a regular member of the Filipino Players group organized by Guerrero. Later he joined the Barangay Theater group of the Avellanas. With the Barangay, his memorable was that of Tony Javier, “the magnificent heel,” in Nick Joaquin’s A Portrait of the Artist as Filipino.

When his mother died in 1947, Revilla became the sole supporter of his sister and younger brother. He had by this time graduated from De La Salle College with a college degree but an office job was the last thing he wanted. He remembered Dona Sisang, who had been his mother’s friend and panggingge (card game) partner.

However, the Old Lady was not interested in him. She preferred his sister Tessie who had earlier made a positive impression on her in the film Prima Donna which the former First Lady, Mrs. Aurora A. Quezon, had produced. But Dona Sisang did not discourage him. Wait for a good role, she said. He did not hear from her for two months and he thought that was it.

He had by this time been promoted to managership of the Araneta-owned department store. And then a call slip came. He was being assigned to play the second male lead in a Leopoldo Salcedo-Norma Blancaflor film entitled Puting Bantayog.

Dona Sisang had plans for him after all. He was going to be cast in one movie after another playing second lead to the brightest stars of LVN. His second assignment was with Jose Padilla, Jr., his third with Rogelio de la Rosa, his fourth with Jaime de la Rosa. In Revilla’s fifth film he was promoted to full stardom.

The Old Lady allowed her friend’s son to choose a screen name for himself. He had always like the sound of Armand and Goyena was his mother’s name. As Armando Goyena, he was the star in close to fifty movies over a ten-year period.
Source: Dona Sisang Filipino Movies/ 1977
See: Armando Goyena as Tia Loleng/
See: Armando Goyena as Kapitan Kidlat

Left- Puting Bantayog (1948)- Stars Leopoldo Salcedo, Norma Blancaflor/ Introducing Tessie Quintana and Armando Goyena/ Directed by Gregorio Fernandez

Right- Sohrab at Rustum (1950)- Stars Rogelio de la Rosa, Lilia Dizon, Armando Goyena, Rosa Rosal, Evelyn Villar/ Directed by Nemesio Caravana

"Pag-asa" (1951)- Stars Armando Goyena, Priscilla Cellona, Ike Jarlego, Jr., Rosa Mia, Paco Zamora, Naty Bernardo, Gregorio Ticman/ Directed by Lamberto Avellana

Pagtutuus (1950)- Stars Armando Goyena, Tessie Quintana, Alfonso Carvajal/ Directed by Gregorio Fernandez

Left- Harana sa Karagatan (1951)- Stars Armando Goyena, Delia Razon, Lila Luna, Enrique Jarlego, Jr., Naty Bernardo/ Directed by Joe Climaco

Right- Talisman (1951)- Stars Armando Goyena, Tessie Quintana, Tony Santos, Frankie Gordon, Eusebio Gomez,Gil de Leon/ Directed by Enrique Jarlego

"Tia Loleng" (1953)- Stars Armando Goyena, Tessie Quintana, Lila Luna, Nida Blanca, Frank Gordon, Rosa Aguirre, Amado Cortez, Arturo Moran, Etang Discher/ Directed by Manuel Silos


"Kapitan Kidlat" (1953)- Stars Armando Goyena, Evelyn Villar, Milagros Naval, Eusebio Gomez, Jose Vergara/ Directed by Oscar Del Rosario

Left- Hawayana (1953)- Stars Armando Goyena, Tessie Quintana, Jose de Cordova/ Directed by Manuel Silos

Right- Banda Uno (1955)- Stars Armando Goyena, Nita Javier, Manding Claro, Nenita Vidal, Alfonso Carvajal, Bayani Casimiro, Oscar Obligacion, Hector Reyes/ Directed by Tony Santos

Kidlat... Ngayon (1954)- Sequel to Kapitan Kidlat- Stars Armando Goyena, Evelyn Villar, Alfonso Carvajal/Directed by Oscar Del Rosario

Left- Tucydides (1954)- Stars Lilia Dizon, Armando Goyena, Milagros Naval, Cecilia Lopez/ Directed by Artemio Marquez

Right-Anak ng Berdugo (1955)- Stars Armando Goyena, Cecilia Lopez, Johnny Reyes, Oscar Keesee, Joseph de Cordova, Oscar Obligacion/ Directed by Richard Abelardo

Medalyong Perlas (1956)- All- Star Cast/ 4 Episodes/

Laging Ikaw (1956)- Stars Armando Goyena, Cecilia Lopez, Rbecca Del Rio and Vic Silayan/ Directed byRino Bermudez

Left- Abandonado (1956)- Stars Armando Goyena, Tessie Quintana, Leroy Salvador/ Directed by Rino Bermudez

Right-Dalawang Ina (1957)- Stars Armando Goyena, Emma Alegre, Carmencita Abad, Milagros Naval, Vic Silayan/ Directed by Susana C. De Guzman

Left- Chaperone (1956)- Stars Armando Goyena, Tessie Quintana, Alfonso Carvajal/ Directed by Tony Santos

Right- El Robo (1957)- Stars Armando Goyena, Delia Razon, Carlos Padilla, Jr., Jose Vergara, Oscar Keesee / Directed by Manuel Conde

Sanga-Sangang Puso (1957)- Stars Armando Goyena, Rosa Rosal, Charito Solis, Rosa Aguirre, Milagros Naval, Eddie Rodriguez, Jose Vergara/ Directed by Susana C. De Guzman

Left- "Mahal Kita Walang Iba" (1992)- Stars Christopher de Leon, Edu Manzano and Kris Aquino/ with Armando Goyena, Nida Blanca, Rosa Rosal, Ai-ai delas Alas, Sheila Israel and Jomari Yllana/ Directed by Ishmael Bernal

Right- "Yamashita: The Tiger's Treasure" (2001)- Stars Danilo Barrios, Camille Prats, Armando Goyena, Rustom Padilla, Carlo Munoz, Vic Diaz, Tetsuya Matsui and Albert Martinez/ Directed by Chito Rono

THE WAR YEARS (1942-45): PART TWO/ PROPAGANDA MOVIES

On December 21, 1942, the Japanese decided to centralize the distribution and production of films in one agency: Eiga Heikusa. It was to be responsible for the importation of foreign films, mostly Japanese and German, later Japanese war propaganda for local consumption. The agency was launched with the screening of Toyo no Gaika (Glory of the Orient/ Victory Song of the Orient), a documentary on the Japanese gains in the war. Footages of the Bataan and Corregidor campaigns were flaunted as shining examples of Japanese supremacy. “United States routed from the Philippines”, “Stars and Stripes downed forever in East Asia”, “a war epic which will live long in your memory” were some of the film’s claims.

Manila 1942

It was the Japanese policy to push the goals of the Greater East Asia Co-Prosperity Sphere. According to Rico Jose in his article, “The Dawn of Freedom and Japanese Wartime Propaganda”, the Japanese had three aims: to unmask the Americans as the real enemies and to eradicate their influences; to emphasize Japan’s role as the leader of Asia; and especially with regard to Filipinos, to recover the native character lost due to years of Occidental colonization. Because it was highly popular, film was used as an instrument of propaganda.

The Japanese Propangada Corps had planned a major film to push the three goals. Abe Yutaka, a noted Japanese director, was flown in sometime August 1942 to shoot a film based on the script by Hideo Oguni and Ryuichiro Yagi. He looked over a batch of Tagalog films and selected Filipino director Gerardo de Leon to be his collaborator. When advised of his selection, De Leon hesitated, saying that he preferred to practice medicine. A few years earlier, De Leon had passed the board exams for medicine. Yutaka paid him a compliment: “There are many doctors in the Philippines but only one director.”

Shooting of the film started in March 1943 with the arrival of the Japanese stars: Denjiro Okochi, Ichiro Tsuchida and Shigenobu Kawazu. Real prisoners of war were drafted as actors, a violation of the Articles of War. The shooting ended in August with the grand scene showing the American withdrawal from the city. Crowds gathered not only to gawk but also to fraternize with the prisoners.

The film was premiered in Tokyo on February 5, 1944. Originally entitled Mito Sakusan (Philippine Operation), it was changed to Ano Hatte O Utte or literally, “Tear down the Stars and Stripes.” For the Philippines, it was decided to use The Dawn of Freedom or Liwayway ng Kalayaan.

The Philippine premiere was set for March 5, 1944. It was hailed as an outstanding achievement by those who were present: Minister of the Interior Teofilo Sison, Minister of Information Arsenio Luz, Camilo Osias of the Kalibapi, Vicente Madrigal of the Philippine Red Cross and First Secretary Shintaro Kukushima of the Japanese Embassy.

Synopsis: The film opens with the declaration of Manila as an open city. Three Filipino soldiers, Capt. Reyes (Leopoldo Salcedo), Capt. Gomez (Fernando Poe) and Lt. Garcia (Angel Esmeralda) are set to join the American forces in their retreat to Bataan. In tearful farewells, the three bid goodbye to their loved ones. Lt. Garcia’s younger brother, Tony, asks for a souvenir: a helmet of the enemy.

The Americans abandon Manila in their speeding cars. One such vehicle bumps Tony who tries to grab a Japanese leaflet. He is saved by Ikejima, a Japanese, who brings him to the hospital. As the story progresses, a bond of friendship develops between the two and Tony’s mother begins to believe in the Japanese.

At the front, the Filipino soldiers are maltreated by their arrogant American commanders. There is widespread disgruntlement in the camp. Capt. Gomez wanders into the Japanese camp and is surprised to see the humaneness of their supposed invaders. He soon becomes the spokesperson for the Japanese.

The two other officers are less lucky and are betrayed by the Americans. Lt. Garcia is sent on a patrol and is ambushed by his suspicious chiefs. He dies clutching an American helmet which is later retrieved by Lt. Garcia. Capt. Reyes is shot by the retreating Americans who had sought shelter in a tunnel. As he lies dying, he shoots down the villainous commander.

At the end, Capt. Gomez bids goodbye to the Japanese soldier after the successful routing of the Americans. He hands over the souvenir to Tony with the note scribbled by his late brother: “This is the helmet of the enemy.”

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.

Synopsis: The film tells the story of three sisters: Maria Fe (Carmen Rosales), Maria Esperanza (Norma Blancaflor) and Maria Caridad (Liwayway Arceo). The mother of the first two died when they were still toddlers. The youngest is the daughter of the second wife, Dona Pilar, who raised the three without favoritism.

Maria Caridad is set to marry Andres Diwa (Fernando Poe, Sr,). On the eve of the wedding, the two sisters make an appearance and object to the marriage. They want a division of the inheritance and persuade Maria Caridad to join them in Manila.

In Manila, Maria Caridad is matched with Gregorio Reyes, a capricious millionaire. But she has no desire for his affections. Her only confidante is Maria Fe’s sickly husband, Felipe Goco (Ely Ramos).

One day, Andres Diwa appears at their doorstep and tells Caridad that her mother is dying. She returns with him to the province in time to hear her last words. Her mother asks the priest to unite the two in holy matrimony and expires after the ceremony.

It is a happy life for the couple until a stranger knocks at their door and tells them to vacate the premises. Maria Fe had sold the house to him. The two go back to Manila. Maria Fe rejects their entreaties. Depressed, they wander aimlessly in the city until they stop to rest at the foot of the Rizal Monument in Luneta. They look at the monument and draw inspiration from the example of Jose Rizal, the Philippines’ national hero. They decide to struggle hard with the impoverished plot of land left to them.

Years later, the two elder daughters suffer reversals of fortune. Maria Fe’s husband dies and she is thrown out of the Goco house for keeping a lover. Maria Esperanza’s husband is thrown in jail, and she also finds herself penniless. The two girls work with painted faces in a sleazy bar.

The priest learns of their fate and tells Andres about it. Without telling Caridad who has just given birth, Andres looks for them in the honkytonk and persuades them to join him in the province. The two meekly accede to his invitation. It is a happy Caridad who sees her two sisters with Andres upon his return. There is a joyous celebration in their honor.

After the war, Gerardo de Leon and his staff were imprisoned for collaboration. However, many guerillas testified to De Leon’s patriotism and involvement with the underground movement. His name was cleared, and he we eventually released.
Tatlong Maria was shown again in the post-war era, on October 3, 1946 under the title Sa Libis ng Nayon. The ill-timed screening provoked fisticuffs between some of its stars and the enterprising distributor.

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

Unfortunately, with the heavy shelling of Manila by American fighter pilots to flush out Japanese soldiers at the end of the war, Manila ‘s cultural heritage was destroyed forever--- and so was the legacy of film. Number of feature films from 1919 to 1944 was estimated to be at 350. However, only five of these survived the catastrophe: Giliw Ko (1939); Tunay na Ina (1940); Pakiusap (1940); Ibong Adarna (1941) and more recently, Zamboanga (1937), believed to be lost but found in the archive of US Library of Congress (thru the effort of Nick DeOcampo).

"BAGONG HARI" (1986): SOFIA'S NEXT FILM SCREENING AT CCP, RESET TO MARCH 12 (2011)

The Society of Filipino Archivists for Film (SOFIA) will be screening Mario O'Hara's Bagong Hari on March 12, 2 p.m. at Tanghalang Manuel Conde, Cultural Center of the Philippines. It was originally scheduled to be shown last March 5, but due to unforeseen circumstances, said screening was canceled. Released only in 1986, the original print of the movie, however was reportedly lost but luckily a video copy was found. The movie starred Dan Alvaro under Mario O' Hara's direction. Admission is free!

"Bagong Hari" (1986)- Stars Dan Alvaro, Carmi Martin, Joel Torre, Robert Arevalo, Perla Bautista, Celso Ad Castillo and Elvira Manahan/ Directed by Mario O'Hara

Synopsis--- Born into poverty, Addon Labrador (Dan Alvaro), a tugboat worker, is initiated to life's harrowing journey when his genial existence is ruptured by the sudden illness of his mother. Broke and burdened with a huge hospital bill, he reluctantly agrees to participate in a game of death which offers a large sum of money to the victor. Defeating his opponent only earns the ire of Rex (Joel Torre), the murderous son of La Paz governor Nenuca Cailles (Elvira Manahan), who, to avenge his loss and humiliation, orders his goons to abduct Addon. With a gun on his head, Addon finds himself as a pawn in the vicious battle for political supremacy between rival groups vying for the governor's office. At one point, Addon is tricked into killing his own father, whom his captors have identified as political traitor and opportunist. Addon is later ordered salvaged but he manages to escape. In retaliation, his mother is ordered killed and his fiancee tortured. Addon fights back, and in a final rampage destroys his enemies in a hair-raising show of fist blows and firepower.
(Source: Manunuri ng Pelikulang Pilipino)

Bagong Hari, A Review by Jojo Devera

Bagong Hari, A Review by Noel Vera

THE WAR YEARS: (1942-45): PART ONE/ "THE GOLDEN AGE OF PHILIPPINE THEATER"

The Second World War initially proved to be a minor distraction to the industry. The bombs fell on Manila on December 8, 1941--- about the same time as the attack on Pearl Harbor. There was panic in Manila and several of the citizenry evacuated to safer grounds.

But for the movie industry, it was business as usual. Although a few moviehouses closed, a majority opted to stay open. There were no new Filipino movies shown; not until after the arrival of the invaders did the situation “normalize.”

Manila was declared an open city in December 1941


Japanese tanks entering Manila in 1942


Children evacuating to safer grounds/ 1942

Manila was declared an open city and the Japanese moved in on January 2, 1942. It was only then that all of the moviehouses closed--- to resume operations a week after. Movie companies were allowed to operate by the Japanese High Command under the supervision of the Central Booking Exchange, as the new rulers felt the need for a program of continuing entertainment in order to placate the people.

The movie fare for the next three years was primarily reruns of unpoliticized Hollywood and Tagalog films. Bette Davis and Greta Garbo movies were shown along with those of the top Filipino stars. Starting 1943, German and Japanese feature films and documentaries were imported: to name a few--- The Sky is Blue, Currents of Youth, Women of Japan and numerous coverages of spots events.

There were several Filipino movies nearing completion just before the war: Caballero, Anong Ganda Mo, Caviteño, Niña Bonita, Princesa Urduja, Landas na Ginto. These were shown during the Japanese Occupation either almost complete or unfinished. Two films were produced during the troubled times: LVN’s Tiya Juana, an adaptation of Charley’s Hunt and Principe Teñoso, Manuel Conde’s version of popular korrido, an epic poem about a prince disguised as a deformed beggar. Another unfinished film was shown right after the war with additional scenes shot after liberation: Sampaguita’s Ang Tagala.

Tagalog Movies Shown during the Japanese Occupation
Caballero- RDR / March 1-25, 1942/ Life
Caviteño- LVN/ March 12- April 3, 1942/ Dalisay
Anong Ganda Mo- RDR/ May 9, 1942/ Life
Niña Bonita- LVN/ June 9- July 2/ Dalisay
Principe Teñoso- LVN/ October 3, 1942/ Ideal
Princesa Urduja- X-Otic/ November 13, 1942/ Ideal & Times
Landas na Ginto- Sampaguita/ December 26, 1942- January 9, 1943/ Dalisay
Tia Juana- LVN/ May 27, 1943/ Lyric
Dawn of Freedom- Toho/ March 8- 22, 1944/ Lyric & Ideal
Perfidia/ May 30, 1944/Life
Tatlong Maria- Eiga Haikyusha/ October 12-19, 1944/ Ideal & State

Rogelio dela Rosa in "Caballero" (1942)
Release Date: March 1-25, 1942/ Life Theater

"Caviteno" (1942)
LVN Pictures
Release Date: March 12- April 3, 1942/ Dalisay Theater
Director Manuel Conde
Cast Leopoldo Salcedo, Mila Del Sol, Dina Valle, Ben Rubio,Gregorio Ticman, Precioso Palma, Exequiel Segovia, Zari, Felix Torres, Danny Fuentes

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.

"Principe Tenoso" (1942)
LVN Pictures
Release Date: October 3, 1942/ Ideal Theater
Director 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

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

On its second big week at Life theater, Pugo and Togo performing as Puguing and Tuguing in "Calling D. Bigotilyo"with Soto, Nieves and Bayani (November 1942)

Over at State theater, a stage play titled, "Minda: A Moro Love Tale" featuring Fernando Poe, Sr., Mona Lisa, Naty Bernardo and Tito Arevalo under Poe direction; On the stage with Lou Salvador Sr. at Strand theater featuring Lilian Leonardo in "Jealousy" and Rosario Moreno and Jose Padilla, Jr. in "Ang Familia ni Ambo." ( November 1942)

Opening at Avenue theater is a stage play presentation of Lamberto Avellana, titled, "Alawal-Din at ang Mahiwagang Singsing" featuring Lopito, Ticman, Lopita, Eddie Infante, Anita Linda and many more. (November 1942)

Coming soon at Dalisay theater is a horror-comedy play titled "The Haunted House" starring Bert LeRoy underPaquito Bolero direction (November 1942)