BAMBOO GODS AND BIONIC BOYS

Tough Beauty And The Sloppy Slop (1995)

2012-01-27T18:20:00.008+10:00

1995 - Tough Beauty And The Sloppy Slop (New Treasurer Films Co. Ltd)

[Hong Kong production filmed in the Philippines, sometimes listed as “Tough Beauty And Sloppy Slop”]

Directors Alan Chui [Chung San], Yuen Bun Screenplay Foh Ging-Yiu Producers Chung Wai-Shing, Lam Wai Cinematography Stephen Poon Tak-Yip Composer J. Galden Editor Yiu Tin-Hung Action Directors Alan Chui [Chung San], Lee Chi-Git Planning Shum Wai Production Manager Jeng Shing-Miu Art Director/Costume Designer Buboy Tan Lighting Paul Yip Pak-Ying Presenter Woo Man-On, Ng Ming-Choi Props Elson Ho Wai-Keung Assistant Action Directors Hon Chun, Chow Gam-Kong

Philippines Crew Alex Austero, Orly Centeno, Renato Gracilla, Teddy "Tsiu"/Chiu, James Gaines, Eduardo Cabrales, Jany Chua, Jessie Manaloto, Felix Calderon, Maning Sta Maria, Princ Atelagos, Cinilo Lim Pim

Cast Yuen Biao (Li Chin Tang), Cynthia Khan (Captain Yiang), Waise Lee [Chi-Hung] (Wai), Monsour Del Rosario (Major Sandos), Yuen Wah (Mainland drug seller), Billy Chow [Bei-Lei] (Leader of counterfeiter gang), Tam Suk-Mooi (Yu Yung Chi), Jerry Bailey (Mr Ramos), Peter Chan Lung (Mainland drug buyer), Shum Wai (Mr Wu), Wong Ngok-Wa, Lam Wai (Hong Kong official), Alex Man Chi-Leung (Officer Wan), Leung Shun-Yin (Wan's mother), Alan Chui Chung-San (Peter Wu), [uncredited] James Gaines Jr (James), Teddy Chiu

Three high-octane cops--an unorthodox one from Hong Kong, a straitlaced one from the Mainland, and one from the Philippines--join forces to demolish an insidious counterfeiting ring. Cops-and-robbers action fare taken to its most gleefully bullet-ridden extreme.

Cynthia Khan (presumably "Tough Beauty") and Yuen Biao (presumably "The Sloppy Slop") do their take on "Police Story 3", masquerading as unsavories and busting some bad guys out of jail to win their trust. After succesfully infiltrating the evil gang, they must resort to some oft-wacky techniques to protect their true identities...

Phil Mills' review from the Far East Films website:

Mainland Officer Yiang (Khan) is on the tale of Wai (Lee), a high profile leader of a money counterfeiting scheme. Annoyingly, he persistently evades the long arm of the law due to his men's unfathomable loyalty to the cause but the Police are handed a loophole when it turns out that his wife is currently in prison in the Philippines. Yiang goes undercover to befriend her in the hope that it will lead her to Wai and during her time inside she is given a contact by the name of Li (Biao), a Hong Kong policeman who poses as her husband to keep up the facade. When Li helps to free the two friends all goes according to plan and the undercovers become members of Wai's gang, running various errands for him whilst supposedly hiding from the police. When it becomes apparent that there is a man behind the man, the two officers must use all their wits to avoid revealing their identities and try to bring the entire ring down.

The first thing that is instantly noticeable about this bizarrely titled 'Police Story 3' imitation is that this is low budget film making of the highest order. Film quality is poor and scripting is minimal, providing a springboard for a set of action sequences that will hopefully allow the film to capitalise on current box office successes. Established talent in the form of Biao and Khan (albeit stars that are down on their luck) are drafted in to bring recognisable faces to the charade but even their combined talent cannot help to make the story rise into the realms of rational thought. This is not to say it is completely unwatchable, just in a sort of P.S.3 through very clouded glasses type of way.

Never let it be said that a lack of script can mean the film is a total disaster though as the combination of classic action and quality cameos make this a film not to be overlooked. Yuen Biao can never have too much screen time when it comes to kung fu as far as I'm concerned and although he is not exactly tested to the full extent of his ability here, he does provide some noteworthy action moments for this performance. If anything, it's the choreography that lets the production down as the main dosage is simplistic to say the least with very little room for the extravagant. There is however an attempt to mix it up a little with a few acrobatic tricks thrown in along with slow motion gunplay that pops up now and again to impressive effect. Billy Chow is most likely the cream of the crop as he gets an extended appearance as the final opponent and it's worth the wait as he unleashes his powerful bootwork that compliments a satisfactory amount of martial artistry.

'Tough Beauty And The Sloppy Slop' has it roots firmly set in the Hong Kong style of film making that emerged from the 1980's. Who needs a huge budget or a masterful script when you can put together a fun action movie with some over-the-top fights accompanied by a little slap stick comedy. Despite the cash-in elements taken from other movies of this kind, it still provides enough entertainment to make it stand out and with a little more money and thought it could have become a classic of the genre.

Review from the Chop Sockey Cinema website:

A multi-national gang headed by Mr. Wei (Waise Lee) and his boss (Billy Chow) and is using counterfeit money produced in the Philippines to buy and traffic them in mainland China and Hong Kong. In a police co-operation, Captain Yiang (Cynthia Khan) from mainland China is sent to the Philippines to join undercover Hong Kong cop Li Chin Tang (Yuen Biao) and Phillipino cop Major Sandos (Monsour Del Rosario) to solve the case. Together they must defeat hordes of gun-totting, martially inclined baddies, all while comedically trying to stay undercover.

This 80's styled mid-90's movie of an interesting title pairs martial arts and acrobatic phenom Yuen Biao with Cynthia Khan (In The Line Of Duty IV) under the direction of Biao's former Peking Opera classmate Yuen Bun. It's usually shrugged off as another semi-decent Supercop rip-off, and for good reason - it's just that. From the basic low-budget shootout opening, it's apparent that this Phillipino production will linger in mediocrity for the remainder of its duration, only made watchable by the saving graces of its two stars (referring to Yuen Biao and Monsour Del Rosario) and a superb villain, veteran Billy Chow (even though he only gets minutes of screen time and the one finale fight).

The fighting is fairly average. Choreography is basic kickboxing (80's style) and has enough of power and speed to mildy satisfy the taste for violence, but all of the fights are too short, and the camerawork isn't good enough to capture the action well. The fighting lacks energy and is slow way too often (for the exception of Yuen Biao, Billy Chow, and Monsour Del Rosario). Although most of the fighting appears to be tight, it's easy to spot off-timing reactions everywhere. The first martial arts fight is very brief, Cynthia Khan fighting Yuen Wah, and ends with Wah's double crashing through a scaffold. Looks very painful. Good end to a bad fight. The stunts would all be half-decent if not for the constant cutting (sometimes absolutely ridiculous like Yuen Wah and Cynthia Khan jumping off of a 3-story roof and landing on their feet), close-ups, and overall cheapness present in virtually all of them.

Phillipino Olympic Tae Kwon Do master and World Champion Monsour Del Rosario steals the show in whatever scene he's in offering some of the best Philipinno movie fighting ever (although only seconds of it are featured here). Had the fights been longer, and with better camerawork and stunts, this movie could have really been something with such talent.

The film wisely relies on comedy to carry through the plot in moment devoid of action, but comes across uninspired, and offers little to enhance the viewing experience. The chemistry between Yuen Biao and Cynthia Khan is good enough to keep viewers from being bored, but there are too few jokes of too little comedic value. Khan is slow and unconvincing in the fighting bits, but she looks good so that's forgivable, whereas Biao is noticeably kicked back instead of kicking bad guys. When he's taking part in the action, it's of course to his standard, but that's not much in terms of quantity.

The finale is definitely worth the wait, and is climatic enough. Rising tension explodes in a raging gun battle featuring some good (but short) martial arts showdowns. The automatic weapons are put to good use in the best action of the movie, and the fights are very well done here as well. Khan is at her best in the 2-on-1 face-off against Billy Chow with Yuen Biao. Hands down the best and longest fight in the movie, but Chow and Biao are capable of better. Fast, crisp kickboxing, great falls and stunts. Fantastic 4-star fight (minus the ending) that is worth watching even if the rest of the movie isn't.

Tough Beauty And The Sloppy Slop also featured a load of Hong Kong stars in cameos, but with such a basic film, it doesn't really add much. It's a mediocre attempt, but hey, you can't blame them for trying. Martial arts action movies were on the decline, and if the Phillipinnes were the only place to get it done, then why not - it's better than nothing. It will take more than the casual fan to enjoy the whole thing however.

Danton's review from the Hong Kong Movie Database:

This B-movie shot in the Philippines plays like a throwback to the kind of cheap action films that studios like D&B Films churned out in the late Eighties. Starring Cynthia Khan and Yuen Biao, as well as Waise Lee as the villain (along with Billy Chow and Yuen Wah), it depicts the story of Khan and Yuen going undercover to infiltrate a money-forging, drug-smuggling crime syndicate. While doing so, they not surprisingly are given ample opportunity to put on a display of their Martial Arts skills. In fact, much of the story is really just filler material designed to bridge the time between the various shoot-outs and fisticuffs.

There's not much originality here, nor any great acting or story to speak of. Which is not necessarily a bad thing: the flick never tries to be more than a brisk, generic, action-filled time-waster, along with some banter between the two stars that is driven primarily by Cynthia's well-established prudishness. If you're in the mood for some mindless action fun, this movie certainly delivers, especially in the final explosive showdown with Billy Chow.

Not as good as the better known films in this genre, but I'd still give it a marginal recommendation.

Lethal Panther 2 (1993)

2012-01-22T10:50:00.008+10:00

HONG KONG CREDITS: 1993 – Lethal Panther 2 (Golden Kay International/Harvest International/My Way Film Co)

[Released on German DVD as “Lethal Dragon”, on UK VHS as “Lethal Panther”, and elsewhere (unconfirmed) as “Blood And Guts”]

Director Philip Ko [other sources list Cindy Chow Fung, and Philip Ko as “action director” only] Producer Ricky Wong Ga-Kui Presenter Jeffrey Cheung Kai-Ping

Cast “Cynthia Luster”/Yukari Ôshima, Monsour Del Rosario, Philip Ko, Sharon Kwok [Sau-Wan], Edu Manzano

PHILIPPINES CREDITS: 1993 - Magkasangga Sa Batas/“Partners In Law” (Harvest International Films Corp/Golden Kay International Films Corp)

[Philippines release date 2nd February 1993]

Directors Philip Ko, Erwin T. Lanado Screenplay/Associate Director Erwin T. Lanado Producer Luis Sy Executive Producer Jose Yu Cinematography Peter Li, Eduardo "Baby" Cabrales Music Jaime Fabregas Theme Song Singer Chad Borja Lyrics Jojo Villalva Editors Tony Sy, Philip Ko, Ever Ramos Sound Supervisor Gaudencio Barredo Sound Effects Rudy Cabrales, Jun Cabrales Production Manager Jess Baruelo General Manager Roger Gonzales Post-Production Manager Bong Lansangan Assistant Directors Larry Santos, Cindy Chaou Production Designers Kiddy Li, Lito Estacio Stunt Directors Philip Ko & his Stunt Group Stunt Coordinator Jerry Corpuz Special Effects Tikboy Sto. Domingo Makeup Artist Gloria Vidallion Wardrobe Juliet Tata, Leni Visaya, Max dela Cruz Script Supervisor Larry Santos Assistant Editors Richard Aning, Orland Brien Dubbing Supervisor James dela Rosa Post-Production Coordinator Antonio Benavidez Post-Production Assistant Tochie Tamone Propsmen Max Paglinawan, Romy Setmen Roy Amaranto, Allan Parian Looper Resty Brien Sound Technicians Elmer Torrena, Ondy Valleso, Alex Rima, Danny Lorilla, Danny Navarez, Winston Lope, Felipe Vera, Peter Emerencia, Roger Bernardino Stills Wilmore Baruelo, Oscar Baruelo Gaffers Antonio Cabrales, Man Keung Schedule Master Renato Gracilla Field Cashier Orly Centeno Titles/Opticals Rey Erestain Layout Artist Pete Manansala Property Custodians Noel Dayandante, Joel Dayandante Catering Nene Lopez & Co Drivers Bernardo "Ginaw" Dagoy, Boy Labo, Eddie Baylon, Albert Utility Men Rey, Lando Publicity/Promotions Alfie Lorenzo, Billy Balbastro, Oskee Salazar Company PRO Mar Munoz Cay

Cast Edu Manzano, "Cynthia Luster"/Yukari Ôshima, Gabriel Romulo, Shiela Ysrael, Rachel Lobangco, Charlie Davao, Lovely Rivero, King Gutierrez, Johnny Wilson, Stella Mari, Edwin Reyes, Marita Zobel, Monsour Del Rosario, Lani Lobangco, Boy Fernandez, Telly Babasa, Naty Santiago, Louie Katana, Paolo Conti, Jerry Corpuz, Perry De Guzman, Al Nanca, Greg Lucero, Blandino, Delfinger, Ronnie Francisco, Lito Martinez, Jun dela Paz, Rene Pascual, Commando Stuntmen, Thunder Stuntmen, SOS Daredevils, Nonong Talbo, Maxie Alvarez, Roger Santos [other sources also list Philip Ko, Sharon Kwok, Johnathan Palmer]

Named Lethal Panther for its UK release since the actual first, unrelated film was blessed with Deadly China Dolls, this contains precious little Cantonese speaking performers as leads since the Philippines was used as a location. Phillip Ko appears briefly and choreographs the action and while quick-cut editing is an issue, this is unusually strong, acrobatic gunplay coming from him. The team for once channels the need for excess and creativity so above average for a Ko Fei production it definitely is, with Yukari Oshima responding dependently. Watch out for a brief but obviously Bullet In The Head inspired car finale. Drama in between is just basic framework for mentioned action aspect but we do get to the fair goodies within relatively short periods of time.

Review from the Yukari Oshima website:

Yukari leads an Interpol/NBI investigation of a weapons smuggling organization with ties to Japan, but operating in the Philippines. “Albert” is a macho Manila detective whose wife was killed by the gang. Philip Ko briefly appears as a gang member who is killed by the NBI team during an attempted kidnapping. After his partner and a bystander are killed, Albert takes a surviving witness to his mother’s country home. The location is betrayed and the homestead attacked.

Albert and Yukari then confront the gang at their hideout. While some of the fight scenes are spoiled by wire work, other sequences are better than average for Filipino action movies. The final fight is quite well done, but would have been even better had they left out the wires. The Cantonese version of this movie appears to have the most natural dialog and script, with a soundtrack apparently inspired by “Terminator.”

Review from HK Film:

Before the juggernaut of Jurassic Park de-railed the local HK movie industry (or, perhaps more accurately, put it off course) by becoming the all-time box office champ, HK studios were producing a record number of movies per year. To take a quote from Tsui Hark about Wong Jing's movies, most of these were "cheap, fast and no good," and Lethal Panther 2 is a good example. This cheapie (shot in the Philippines) is so derivative of other movies that it copies stuff from them wholesale, such as music from The Terminator and a "car joust" at the end ala Bullet in the Head. It doesn't really help matters that the film is edited so badly that it started giving me a headache about halfway through.

The story has Yukari as an Interpol agent who comes to the Philipines in search of some Japanese terrorists…and that's about it. There's the usual attempts at humor and romance, but they all fall flat, as does most of the script -- which really hampers the movie as a whole. And, as per usual for most of Yukari's films during this period, the emphasis here is really not on Yukari, but rather on a two-bit actor trying to make a name for themselves; this time it's a low-rent gweilo who makes Jeff Speakman look like a tough guy. Major Yukari fans might still want to give this one a look, since the role is a bit different for her (she actually smiles -- and not in an evil way -- during the movie) and it's one of the few times she's used wires onscreen.

Review from the Kung Fu Cinema forum:

Oh Philip, how could you? Well, he could, and he did...many times over. One cheap-ass, mindless, uninspired Filipino flick after another. And this one is no exception.

It really pains me that the once mighty Philip Ko Fei, a name that to me use to mean quality, chose this path for himself. I also feel bad for poor Yukari Oshima, who he dragged through more B-movie schlock than I care to remember. And I doubt this would have happened had the two not been an item at this time. But I guess "the Osh" was just standing by her man, and I admire that.

This movie is as about as cheap as it gets. Well, maybe not, but it's pretty damn cheap. Philip, Yukari, and Sharon Kwok are the only known actors in the entire movie. The rest (including the male lead) are just Filipino no-names who look like they just stepped on the set in whatever clothes they were wearing, and whose sole motivation seems to be the paycheck at the end of the day. Forget the story, forget the characters. At this point, Philip had just stopped caring, so you don't have to either.

But at least the action delivers, right? Wrong! Yukari was one of the best female screen fighters of all time, and I love that little snaggletoothed Japanese tomboy to death. But not even she could save this clunker. There are odd moments of halfway-decent choreo. But for the most part, it is just a messy mix of awkward, acrobatic gunplay, retarded use of slo-mo, poorly edited fight scenes, and wonky wirework. What a waste.

But the silver lining here is the final showdown, which is pretty damn awesome! Actually, no, it's not, I'm lying. It's just more of the same crap, set to the theme from "The Terminator" and complete with a blatant rip-off of the car jousting battle from "Bullet In The Head". And they couldn't even get that right.

To sum up, this movie is piss poor, and a complete and utter waste of time. I wouldn't even recommend this for Yukari completists, 'cause this would be a shitstain on any movie collection; and I will in fact go and throw out my copy right now.

CaptainAmerica's review from the Hong Kong Film Database:

Let me get the story synopsis out of the way: an international criminal syndicate (two of whom are Phillip Ko and Ronnie Ricketts) is executing a vendetta against a Phillipines NBI officer who proves to be a thorn in their side. A Japanese Interpol officer (Yukari Oshima) and two HK detectives (one of them Sharon Kwok) join the Filipino officer to stop the bad guys. Along the way, a local lady becomes a witness to (and nearly gets killed by) the bad guys. Oh, by the way: one of the HK cops is a criminal plant. (Hint: it ain't Sharon!) Things eventually explode as the villains track down the good guys...and then the cops counterattack. Pretty much paint-by-numbers storytelling.

Unfortunately, it sounds better than it actually is. It's an all-around wasted opportunity by some genuine talent. The editing is for crap (I'd use a few expletives to better describe the editing, but I'll offend someone) and the music is pure second-hand (some of it you'll remember from a few other HK films and even THE TERMINATOR!). The action scenes aren't very well done; there's actual wirework involved in more than a few scenes. That's right: wirework. Now if it had a fraction of the quality SFX you'd see in a Yuen Woo Ping movie, that could be forgiven...but it gets so atrocious I actually winced at the execution. Bad movie! BAD MOVIE!

On the plus side: you have Yukari Oshima, Sharon Kwok, and I wish I knew the name of the actress who played the witness. They display their natural charisma (and they have a ton of it!), but their characters are so underdeveloped you can tell they had no choice but to go through the motions just to get paid. (You've guessed correctly if this is one of those films where Yukari is relegated to a one-dimensional avenger.) Ronnie Ricketts (bad guy number one in the movie) does the appropriate scenery-chewing, but that's all that can be said; Phillip Ko isn't around long enough to do anything but look menacing! Yukari has a few fights and gunbattles (especially at the end) but this is where some of that damn wirework comes into play. Someone -- ANYONE -- should have told the director that none of that crap was necessary! Sharon, unfortunately, doesn't get to do much except look gorgeous and tough (each when appropriate) and shoot a lot.

For Yukari Oshima fans and Sharon Kwok fans only. (It isn't a total waste of 90 minutes...)

Deadly Target (1994)

2012-01-21T22:12:00.011+10:00

HONG KONG CREDITS: 1994 - Deadly Target (Filmswell International Ltd)

[Also known as “Fatal Target”, original Cantonese title “Hong Tian Mi Ling”; also known as “The Penal Reconnaissance” (possible translation from Cantonese)]

Directors Godfrey Ho Jeung-Keung, Phillip Ko Fei Writer Hoh Chi-Mau [IMDB lists Joseph Chan] Producer Ricky Wong Ga-Kui Action Directors Phillip Ko Fei, Douglas Kung Cheung-Tak, Ken Yip Wing-Kin, Wang Zhi-Wen Cinematography Lau Yip Production Manager Lee Chun-Wa Sound Recordist 108 Records Ltd Co Sound Supervisor David Kitchens Editor Grand Yip [also listed as “William Yip”] Wai-Keung Planning Jeffrey Cheung Kai-Ping Lighting Jeng Man-Keung Presenter Ng Bo-Man Composer Chow Fook-Wing [IMDB credits “Nilson Ma”] Stunt Coordinator Phillip Ko Stunts Alex Austerd, Kevin Chin, “Steven Street”/Steve Griffin, Tommy Wong, Marcus Fox [also Car Stunts Co-ordinator]

Cast “Cynthia Luster”/Yukari Oshima (Inspector Cynthia Lee Lai-Nga/Lisa Li), Sharon Yeung Pan-Pan (Inspector Anna Yeung Na), John Cheung Ng-Long (Ben Ng), Edu Manzano (Eddie), Phillip Ko Fei (Wong Jun Lee), Lee Chun-Wa, Johnny Cheung Wa, Douglas Kung Cheung-Tak, Ken Yip Wing-Kin, Darren Shahlavi (Randy), Sarah Gomez, Simon Yeung Siu-Gwong, Wang Zhi-Wen, Daniel Fernandez

PHILIPPINES CREDITS: 1994 - Walang Kasukat Sa Tapang/"Courage Beyond Measure" (Solar Films International/Filmswell International Limited)

[Philippines release date 9th March 1994]

Directors Godfrey Ho, Poncho Bautista Story Joseph D. Velasquez Screenplay Humilde "Meek" Roxas Executive Producers Wilson Tieng, Alex L. Sembrano Supervising Producers Joseph D. Velasquez, Ma. Victoria Ramiel Cinematography Eduardo "Baby" Cabrales, Michael Lao Music Jaime Fabregas Editor Samuel Domondon Sound Supervisor Willie Islao Production Coordinator Ma. Victoria Ramiel Production Manager Antonio Ramos Post-Production Managers Poch Bautista, Samuel Domondon Art Director Rommel Papica Stunt Coordinator Philip "Kho"/Ko Stuntmen Gabriel Romulo, Al Nanca, Al Almanzanarez, Jhosep Ramos, Kid Alimureng Assistant Production Manager Florante Dionisio Location Scriptwriter Henry Nadong Scriptgirl/Continuity Adora Estrella Gaffer Man Keung Cheng Special Effects Erick Torrente Makeup Artist Mely Sioson Assistant Makeup Artist Ester Ocampo Wardrobe Assistant Salve Bazar Stills Nilo Dolaman Field Cashier Engelee Lim Schedule Master Manuel Sta. Maria Propsmen Brando Benitez, Edwin Baldonado Head Utility Simon Irinco Utility Cery Tapong, Edward Estudillo Assistant Cameraman Basilio Anad Electrician Eden Pobe Clapper/Loader Danny Cuenco Crew HMI Edwin Fajardo, William Anora, Rudy Pacursa, Fred Bilsera Crew Bong Macabale Caretakers Robin del Valle, Eric Purugunan Trailer Sound Effects Serafin Dineros Dubbing Supervisors Lucy Quinto, Fernando Villaroman Narrator Nick de Guzman Loopers Florencio Collado, Zaldy Collado Trailer Concept Joseph D. Velasquez, Samuel Domondon, Poch Bautista Service Drivers Rene Canlab, Romualdo Cervito, Maria Visto, Carlos Gascon, Carlos Lopez, Boy dela Cruz, Belto Coritana, Abe Robledo, Tito Grino, Rico Enriquez

Cast Edu Manzano (Edu), Cynthia Luster (Cynthia), Sharon Young (Pamela), Vivian Foz (Edu's Wife), Sarah Gomez (Vera), Dan Fernandez (Allan), Ramon Zamora (Police Officer), Charlie Davao (Boss Coffin), Joji Isla (Dodo), Ernie Ortega (Devil Lee), Philip "Kho"/Ko (Henry), Pinky Roces (Ida), Michelle Chuang (Angela), Edwin Reyes (Gani), Alma Lerma (Asyang), Nanding Fernandez (Colonel Suarez), Nick Nicholson (Giant Frank), Rando Almanzor, Rey Solo (Motorcycle Rider) [other sources also list Eddie Tuazon, Boy Sta. Maria] Robin John Cheung, Louie Katana, King Kong, Darren Shahlavi, Chan Wah Chan Brothers Shima, Hiroshi Goons Jordan Castillo, Vic Belaro, Don Pacrem, Bebeng Amora, Joe Baltazar, Jimmy Kho, Perry de Guzman Bodyguards Ronnie Francisco, Rene Santos, Jim Rosales

Review from TarsTarkas:

In Manila, two female Hong Kong cops visit one’s cousin, only to find out he is an evil weapons dealer that targets them for death. They team up with supercop Eddie and take down their cousin as well as a bunch of other goons in a prime example of mid-90′s Hong Kong action films. We get lots of shootouts, lots of jumping stunts, kung fu mixed in the middle of gun battles, and things exploding all over the place. These films are miles beyond the current CGI/PG-13 garbage being spewed out by Hollywood, but for a Hong Kong action film of the era, it doesn’t really stand out. However, it has chicks with guns blasting people all over the place, so it fits right into our pseudo-theme month. This is a low-budget movie filmed in the Philippines to save on costs, more info is with the cast.

Female action stars have a long and glorious career in Asian cinema. Go read a book about them or something. Okay, just kidding. There was a big “Girls with Guns” fad in the late 1980′s/early 1990′s which is the focus here, and this is one of many entries that were low-budget but filled with lots of stunts. Many of the films had several of about six to eight actresses who were in the bulk of them, and we have two here, Yukari Oshima and Sharon Yeung Pan Pan, who both have a long resume filled with similar films.

Lisa Li (Yukari Oshima) – A Hong Kong police woman who goes on vacation in the Philippines to visit her cousin Ben Hung, who turns out to be really evil! Her boss in the Hong Kong is named Tiger. Aren’t you glad I pointed that out? May also go by the name “Cynthia Lee,” as a sign in the movie says. Yukari Oshima was a big action star in the late 1980s/early 1990s Hong Kong, but by this point was working out of the Philippines because the Hong Kong studio didn’t know what to do with a half-Japanese female action star, especially one that was usually branded asexual because she wasn’t supermodel attractive. This is a shame, as Yukari is very skilled in the martial arts. See her here in Godfather’s Daughter and Tomb Raiders/Avenging Quartet

Anna Yeung (Sharon Yeung Pan Pan) – Partner of Lisa Li who accompanies her on vacation. Despite both of them being largely asexual, they certainly have a few lesbianic undertones thrown in during their workout sessions. No complaints. Sharon Yeung Pan Pan was a talented martial artist who starred in Hong Kong movies and television through the 80′s and 90′s, ending her run around the end of the girls with guns movie fad.

Cousin Ben Hung (John Cheung) – Cousin of Lisa Li who also happens to be an evil gun smuggler. Sort of how my cousin works for Coca-Cola. Except he’s not evil, nor smuggles guns. Ben Hung has a sister who isn’t named despite being a major character. Once Lisa Li and her friends get in the way, it is time to see that money is thicker than blood, and he tries to take her out.

Eddie (Edu Manzano) – The supercop of the Philippines, every gun runner and drug dealer knows his name. Edu Manzano is still acting today and appeared in such Filipino genre films as Captain Barbell and Darna: The Return.

Ben Hung’s Sister (Sarah Gomez) – Hi, I’m Ben Hung’s Sister. I’m evil, I’m a main villain, I sleep with men to convince them to buy guns from my brother, and I don’t have a name! What the Hell, movie?

Henry Wong (Phillip Ko) – Rumored he was married to Yukari Oshima at the time and may have been the actual director using Godfrey Ho’s name as a pseudonym! That would be a first (this is rumored for a few of these Phillip Ko/Yukari Oshima/Godfrey Ho Filipino action films) but may just be an artifact of Godfrey Ho’s constant use of fake names. Godfrey Ho, why do you continue to make researching these movies difficult?

Dik (????) – Undercover cop in Ben Hung’s gang. Gets his cover blown. Enjoys dressing in dresses. Sadly, he does not make it to the end of the film. I will always remember you, Dik. Maybe I’ll find out who played you.

In Manila, there is a shootout at a truck hijacking. People in danger are saved by a cop with a bad car named Eddie (and many baddies are shot.) The rest of the police force is upset at Eddie for stealing their glory (despite the fact they weren’t doing anything glorious!) Eddie jumps on the truck as it drives away, only to fall onto a passing car then land in the street. This is all real, no stunt men. Eddie instead fires his gun at the back of the truck, so of course it explodes in a gigantic fireball that can probably be seen from space.

We jump to two women at airport, Lisa Li and Anna Yeung, wearing fashion that no one wears today. They are greeted by a man with a sign saying “Cynthia Lee” but Lisa Li tells him she is Lisa Li (according to the subtitles) so this is the first of several instances where the subtitle names don’t match up with what the characters are saying. The man works for Lisa’s cousin Ben Hung, who is now rich.

At Ben Hung’s compound, two ponytailed guys do martial arts and remind us that we are in the 1990s with their fashion, ponytails, and kickboxing. The Asian guy is Ben Hung, and the white one with the kickboxing fetish is named Lando. He doesn’t have any Colt 45 or Millennium Falcons, though.

A random white guy is playing the Terminator video game (the one where you shoot the gun) and gets upset about Eddie. There will be several random people in this film, as the movie doesn’t bother to explain who anyone is until much later, so don’t expect many names. This random white guy had something to do with the truck hijacking, but besides that we don’t know him nor will we see him for another hour. Eddie is at home, gets a text message from his daughter, who is named Angela but called Angel in the subtitles in a second instance of dual names. Eddie can’t see his daughter because his mother-in-law blames him for the death of his wife. A delivery man drops off a special package – death by sword! Luckily Eddie has a suit of armor lying around that he uses as a shield to block the sword. The delivery man is killed when he falls through a glass table (sure, whatever) then Eddie has about three seconds to toss out a second package that has a bomb in it. Which would have killed the delivery man as well. So what was the point of standing around and fighting? Never send UPS to kill someone, always go FedEx.

Eddie chats with his contact, who is dressed as a woman. The contact is really an officer named Dik Hung who is undercover (why did the subtitles decide to give two non-related characters the last name? Before I knew the undercover guy was Dik Hung I spent part of the film trying to figure out why Ben Hung kept changing his name.) Also, “Dik Hung”. No one in the subtitles saw what that name could also mean? Whatever, movie! Ben Hung wants to be the number one arms dealer, but there are four other groups standing in the way. Fighting with arms dealers has to wait, because Lisa and Anna need to get into a fight with some people playing volleyball on the beach. Our heroines, random beach brawlers.

Back at their hotel, Lisa reveals to Anna that she hates men and has done so since her father left her mom. That and a few other things have a small lesbian subtext, but we all know Lisa ends up with Eddie so it’s is just a red herring. The two get a call from headquarters that Chan’s brothers are in town. Yes, Chan’s brothers. We all remember them. Hello, movie, try explaining who the frak these random people are! The girls follow Chan’s brothers, watch them meet some of Ben Hung’s arms dealers, get spotted, and then have a big fight. Eddie is also in the neighborhood, and he shoots Chan’s brothers and arrests the two girls, until he can see if they are really cops. Soon they are forced to work together thanks to the Manila police chief being friends with the Hong Kong police chief.

Ben Hung is informed of the girls being police officers, and his sister insists that they leave. They refuse, so six goons walk over to the girls to blow them away. Eddie is there and soon a big gun battle breaks out. Anna kills someone with a fork during this fight, because that’s how it works in Manila. No one says “Fork you!” or any other quip, which is too bad. Opportunity lost.

You think Chan’s brothers were dangerous? Now Henry Wong arrives! A. – Who the frak is Henry Wong? B. – Why the frak doesn’t Chan arrive to go after the guy who killed his brothers? Oh, wait, my bad, I forgot you aren’t supposed to think about the plot and just go with the flow, even if the plot is heading straight off a cliff. To answer some of the questions, Henry Wong is a big weapons buyer who will be making a large purchase for a Middle Eastern buyer, and will do so from his friend Lee, who has a beard and is therefore evil. Meanwhile, Eddie and the girls are driving in his car, when suddenly two cars filled with machine-gun toting thugs drive up. Guns are blazing, windshields are being riddled with holes, and the heroes are gonna die. Until Eddie pulls out his rocket launcher that he keeps under his car’s seat. Anna fires it at one of the pursuing cars, and said car goes flipping up into the air. The second car decides it will be a good idea to swerve directly into the first car, and as soon as it does both cars explode in massive explosions. Then the explosions explode in an even bigger bunch of explosions that are probably big enough nearby people suffocated when all the oxygen was burned up by the flames.

Ben Hung must convince Henry Wong to do business with him, so he sends in his sister to seduce Henry. This works, because all Henry Wong does is stare at her chest. His bodyguards also stare at her chest. Ben Hung’s sister could have a three-foot mustache and no one would notice because it is above the chest level. Her having boobs allows for easy persuasion, but to make sure Ben Hung goes to have a talk with fellow arms dealer Lee to ask him to work together. Lee laughs at Ben, but will now have a hard time laughing as Ben’s men gun everyone down. No one can giggle when they look like Swiss cheese.

Eddie is shot at while getting groceries, so he steals a car and does some wheelies. This somehow allow him to chase the person who was shooting at him, until Eddie is lured into cargo shipping container. Too bad the cargo container is already filled with Peter Patrelli. There is also a bomb in the cargo container, and a crane lifts it into the air. So the car smashes out of the cargo container and explodes (I laughed initially because I thought Eddie was in the car, but it turns out he jumps out of the container right afterwards on a conveniently left rope) and then the container explodes. Why wasn’t the bomb put in the car…oh, never mind. Eddie is gunning down about ten men while hanging from a flaming rope tied to a flaming wreck of a cargo container. Somewhere this film left reality and is now orbiting Jupiter. All of this makes Eddie late for his daughter’s birthday party.

Eddie arrives at his daughter’s birthday party dressed as a clown, with the two female cops also dressed as clowns. CLOWNS??? NOOOOOOOOO!!!!!!!!!! This movie just became horrible! Get these clowns off the screen! Luckily, after Eddie hugs his daughter, he and the female cops are now back in plain clothes and raiding Hung’s warehouse. Hung’s sister and Henry Wong see them raiding and escape, but now Henry Wong wants to use a different buyer to get his weapons. So Ben Hung and his sister come up with a plan: She will kill Eddie while Ben Hung kills all of his rivals. This plan is so brilliant they’ve been trying it and failing at it for the past half an hour! But this time it’s different, see, because they stated it out loud before they do it! Affirmations, man, they really work. Like the time I kept telling myself that one day I will swim the English Channel, and then I finally did swim the English Channel. Sort of. I watched the History Channel when it had a special about England, but it is really the same thing.

Henry goes to his second buyer, Dai Tin. Dai Tin is the white guy who was playing the Terminator video game way back in the beginning of the film! Why does he have the most Asian name in the film? Is he suddenly the white villain from a Rush Hour movie? Ben Hung orders Dik Hung and Lando to kill everyone working for Dai Tin. So they do, thanks to the magic of motorcycles and machine guns. And the fact they are named Lando and Dik Hung, which are names that make you not want to mess with their owners. Ben Hung’s sister captures Eddie after she takes his daughter hostage, but Eddie is rescued by Dik Hung dressed in drag again thanks to his guards being complete and utter morons (so just like every prison guard ever in the movies.) One of the moron guards is played by Lee Chun-Wa who played goons in many Hong Kong movies from 1975-1995.

We now find out that the arms dealers named Frank and Kwok’s brothers (why all the possessive brothers? GRRRR!!!!) are going to stand against Ben Hung muscling in on their racket. A big shootout happens when Ben Hung’s men ambush them, and as it is dark with no lighting I don’t know what happens for five minutes, but it looks like Ben Hung wins because he kills the other three guys, making Wong his client again thanks to default. The two most beautiful words in the English language.

Ben Hung promises Iraq weapons to Henry Wong, the kind that fought the Americans. That’s supposed to be intimidating or something, but as the Iraqis just had a bunch of garbage in Desert Storm it isn’t really that impressive. Maybe if they were selling American weapons, it would seem more dangerous, because then America would be blamed for arming the insurgents of wherever the weapons are going. But that would require someone caring about the plot besides it being filler between scenes of people shooting each other. All the baddies are at a warehouse preparing the weapons to ship, and Dik Hung is caught as an undercover because he keeps leaving to make phone calls.

Before Dik Hung can be killed, Eddie, Lisa, and Anna come crashing in on motorcycles, which they swing off of thanks to ropes. The swinging cops gun down lots of goons while on the ropes. The bikes of the three main cops crash into buildings and explode like Ford Pintos at a bumper car convention. The three main cops are joined by actual backup for once, as uniformed Filipino police officers arrive with guns to also shoot lots of goons. The action sequences are pretty well choreographed, with lots of wire work that make some of the stunts ridiculous, but that adds to the fun. The main battles are Lisa Li vs. Henry Wong, Anna vs. Lando, and Eddie vs. Ben Hung and his sister. All three of these main fights involve lots of other random goons running in only to be killed by the heroes. The final sequence is at least 15 minutes long, and I lost count of the bodies that pile up. Eventually, Lisa arrests Wong, Anna kills Lando, and Eddie kills all of Ben Hung’s goons so it is just him and his sister left to fight Eddie. Ben pushes his sister out to use as a shield to shoot Eddie, which also makes his sister get shot as well. Ben then prepares to shoot Eddie dead, but Dik Hung leaps in the way and takes the bullet. Eddie shoots and wounds Ben Hung, and arrests him. He consoles the wounded Dik Hung, but Ben Hung manages to grab a gun and shoot at Eddie again, and Dik Hung takes the bullets again, and Eddie shoots Ben Hung again, except this time Ben Hung is killed, and Dik Hung also dies. It is not a good day to be Hung, that’s all I’m saying.

It is goodbye time at the Manila airport, as Lisa and Anna prepare to go back to Hong Kong. Eddie’s daughter keeps crying about Lisa, wanting her to stay due to all the bonding that they did despite not being in any scenes together. Finally, Lisa agrees, which I thank her for because I couldn’t take another second of that annoying daughter whining. Lisa will stay a little longer. Get close a little longer. Make it fresh a little longer. Make it big long lasting freshness with Big Red!

That’s all for this outing of Hong Kong 90′s Action Theater. Join us next time when some other female’s shoot up some bad guys because that’s what made money at the time so we must make 2,000 imitations movie on Hong Kong 90′s Action Theater! And remember to spay and neuter your Ben Hung or he might go all arms dealer on you.

Charles Tatum's review from E-Film Critic:

Trying to ride the Hong Kong action film bandwagon, this fun little picture holds its own in the action department, but fails in the editing and writing.

Travelling to the Philippines on vacation, Interpol agents Anna and Cynthia visit Cynthia's cousin Ken, who happens to be a major arms dealer. Renegade cop Eddie meets up with the pair, and they try to find Wong, a man trying to make a gun deal. His gun sellers keep getting killed, until he makes a deal with Ken. Eddie gets all of his information from a mysterious informant, a man dressed (badly) as a woman. The final showdown pits Anna, Cynthia, and Eddie against Ken, Wong, and their various henchman.

Plot and story are not really the main thrust of this film, the action is. I am unfamiliar with the actors, and the film does not mention who played who, but the stunts by Phillip Ko are incredible. The film makers stage a fight or gun battle at the drop of a hat. One scene even has Anna and Cynthia teaming to battle on the beach against a dozen guys WHO WANT THEIR VOLLEYBALL BACK. That is the only reason for the carnage! Most of the time, the camera lovingly strays on the cute duo as they stretch by putting their feet well above their heads. Eddie, the stereotypical renegade cop, gets in a giant explosive fight just so he can make it to his daughter's birthday party on time.

The action is fantastic, but the choppy editing really hurts. There is a subplot where Eddie's mother-in-law blames him for his wife's death, but that situation is never elaborated on. Some scenes end with a character talking in mid-sentence. The dubbing is atrocious, from giving most of the cast Americanized names, to lots of "hey"s and throat clearing dialogue just to have noise when the cast are moving their lips. The attempts at comedy are pretty disastrous, with one scene involving the transvestite, and some men who are attracted to him, that is down right unbearable.

This is nothing earth shattering in the Asian film genre, but this is worth the rental price alone for some very well done action.

Review from hkfilm:

Despite being an extremely talented martial artist, Hong Kong audiences never seemed to warm up to Yukari Oshima. Though part of this might be attributed to the fact that local audiences do not generally like "girls with guns" movies (even though Western fans eat them up) and the fact that Yukari is Japanese, most of it probably comes from the way Yukari refused (seemingly) to adopt a "feminine" role in any of her films.

For better of worse, every successful female action actress in Hong Kong has displayed some form of feminity in their career, whether expressing more "female" emotions such as love ala Michelle Yeoh in Wing Chun or just showing skin ala Chingmy Yau in Naked Killer. In fact, it probably says a lot that former models like Hsu Chi are finding work in action movies. At any rate, Yukari always seemed to play against gender stereotypes, especially in relation to the action genre. In fact, in some of her most notable roles (such as the transexual/eunuch in The Story of Ricky) she manages to drop gender roles almost completely. Even though Yukari's "tough" traits made her more popular with her cult Western following, there have been several attempts to "feminize" her roles, and Deadly Target is probably the most obvious of these -- something which hurts the movie as a whole.

The plot is standard Godfrey Ho B-movie stuff. Yukari and Sharon Yueng are two cops who take a vacation to visit Yuakri's cousin, who just happens to be the biggest arms dealer in Thailand. You should know the drill here -- eventually Yukari must take on her own cousin, aided by Sharon and another cop (John Cheung). However, Yuakri's character is much different here than in almost all of her other movies. She actually makes her first appearance in the movie wearing a short skirt. This might not seem like much, but for someone who made most of her screen appearances wearing workout clothes or other genrder-neutral outfits, it's a major change. Yukari seems to be uncomfortable in the clothes -- she even looks like she has problems walking around in heels -- and this hurts her on-screen presence. The differences also carry on to Yukari's character. Most of her movies have her as a very tough cookie, but Deadly Target almost seems to reduce her to comic relief, even going as far as to putting her in a clown suit for one scene. Yukari, again, does not seem comfortable with this, and it hurts her performance, and the film as a whole.

Despite the problems I had with Yukari's performance, she does pretty well in the action scenes. Even though there might be too much wirework for some, she does look suitably tough during these bits. There is also a decent amount of gunplay, which is staged well and manages to make the other actors look good. Overall, Deadly Target is a alright B-movie. It doesn't really do much besides deliver some good action, but that's a hell of a lot more than most other Godfrey Ho movies bring to the table (this being one of the few films he shot all-original footage for, instead of using stock stuff or parts from other movies), and if you're looking to kill ninety minutes while watching people beat up each other, it's not a bad choice on a rainy day when you don't have anything better to watch.

Durugan Ang Kutang Bato (1986)

2012-01-18T19:16:00.003+10:00

1986 - Durugan Ang Kutang Bato (Bukang Liwayway Films)

[Philippines release date 29th May 1986; released on German VHS as "Die Rebellen"]

Director Tony Y. Reyes Writer Jerry O. Tirazona Producer Arnie Talavera Cinematography Ricardo Herrera Music Rey Ramos Editor Pepe Marcos Sound Gabby Castellano

Cast Mohamad Faizal [as Muhammad Faisal], Philip Gamboa, Emily Loren, George Estregan, Romy Diaz

Bamboo Gods wants list January 2012

2012-01-18T12:41:00.001+10:00

Dear "Bamboo Gods" readers,

It's coming close to the home stretch on my book/PhD on Philippines genre films, and I desperately need your help!

I've compiled the films I'm missing into one mega-list. All I need are DVD-Rs of the following, and I'm more than happy to trade.

Please email me at trash@trashvideo.com.au if you can hook a brother up,

Many thanks, Andrew

BAMBOO GODS' PHILIPPINES HIT-LIST JANUARY 2012

AGENT OO (Weng Weng, 1981)
ALFREDO SEBASTIAN (1981)
ANGEL HILL/The LAST PLATOON (Italian production, late 80s)
BLASTING BULLETS (Lito Lapid/Eddie Nicart, 1985)
CHOP SUEY MET BIG TIME PAPA (Weng Weng, 1978)
COMBAT KILLERS (Ken Metcalfe, early 70s)
COBRADOR (Redford White, 1986)
The COMMANDER (Antonio Margheriti, 1986)
COUNTERTHRUST (Eddie Romero, 1959)
The CRAZY BUNCH (Nino Muhlach, 1980)
CRIME STOPPER (Silver Star, late 80s)
CRISIS (Tony Ferrer, 1970)
The CUTE, THE SEXY & THE TINY (Weng Weng, 1982)
DANGEROUS PASSION (Romano Kristoff/Silver Star, 1998)
THE DARK SIDE OF A WOMAN (Bruno Mattei)
DIRTY GAMES (Eddie Rodriguez, 1981)
FATAL MISSION/ENEMY (Peter Fonda, 1990)
FORTUNES OF WAR
The GAME OF DEATH (Ramon Zamora, 1975)
GET THE TERRORISTS (Cinex, 1980s)
The HUNTED (Davian International, 1989)
JOHNNY RAMBO TANGO (Redford White, dubbed in English)
The KILL/The HEROIN CONSPIRACY (Rolf Bayer, 1972)
LEGS KATAWAN BABAE (Weng Weng, 1981)
LOS INTOCABLES DE REDFORD WHITE/BONI EN CLAYD (Redford White, 1981)
The LOST BATTALION (Eddie Romero, 1960)
LOST COMMAND/PLATOON 2 (Bong Revilla Jr, 1988)
MAN ON THE RUN/The KIDNAPPERS (Eddie Romero, 1958)
MARIANNA/FILIPINO GIRL (HK production, 1982)
ORIENT ESCAPE (Bruno Mattei)
PASSAGE TO HELL (Ken Watanable, 1988)
The PASSIONATE STRANGERS (Eddie Romero, 1966)
PLEASURE ISLAND (Dick Randall/Italian production, 1980)
PRIMARY TARGET (Clark Henderson, 1988)
The QUICK BROWN FOX (Dolphy/Weng Weng, 1980)
RAGING ANGER (Dante Varona)
RAIDERS FOR VICTORY (Kinavesa, 1981)
REVENGE OF THE STREET WARRIOR/The STREET WARRIOR (The same film, or 2 different films with Anthony Alonzo?)
RIDE THE TIGER (Ferde Grofe Jr, 1970)
SABOTAGE (original 1966 Tony Ferrer spy film, not the 70s remake)
SANDO AND THE DIPLOMAT'S DAUGHTER (Silver Star)
SAVAGE: IN THE ORIENT (1983 TV movie)
SECRET OF THE SACRED FOREST (1970)
SECRETS OF WOMEN (Burno Mattei)
SECRETS OF WOMEN 2 (Bruno Mattei)
SHUDDER ON THE SKIN (Bruno Mattei)
SILA...SA BAWAT BANGKETA (Wng Weng, 1977)
SOLDYER (Redford White, 1979)
TOUGH COP (Cinex, 1988)
US COMMANDO/JIMBO (Lito Lapid/Eddie Nicart, 1985)
Z-MAN (Rico Ilarde, 1988)

Raiders For Victory (1982)

2011-12-13T17:55:00.005+10:00

1982 - Raiders For Victory (Kinavesa International)

[Philippines release date 14th January 1982; original title "Mga Hayop Sa Paraiso"]

Director Jun Gallardo Screenplay Humilde "Meek" Roxas Producer K.Y. Lim Cinematography Jun Rasca Music Totoy Nuke

Cast Liz Alindogan, Beth Bautista, Rez Cortez, Marissa del Mar, George Estregan, Rudy Fernandez, Philip Gamboa, Jose Garcia, Jess Lapid Jr, Lito Lapid, Carmi Martin, Conrad Poe, Renato Robles, Bembol Roco, Ruben Rustia, Phillip Salvador, Dante Varona, Ruel Vernal, Ken Watanabe

"ASWANG! Filipino New Blood" program at FAFF 2011

2011-11-04T11:20:00.004+10:00

TRASH VIDEO PROGRAMS “ASWANG! FILIPINO NEW BLOOD” at the FANTASTIC ASIA FILM FESTIVAL…A celebration of Asian genre cinema!

Finally Australia has a film festival dedicated to genre film-making from the most exciting cinematic continent on the planet – Asia.

At a time where many Hollywood genre films are marred by predictability, lack of inspiration and play it ‘safe’ mentality, Asian genre films glow like electric beacons in the murky waters of mediocrity, reminding lovers of cinema that creativity and inspiration are not dead – not even close to it!

So, what is ‘genre’ you may wonder? Well we are looking at films in the classic Hollywood genre tradition – horror, sci-fi, fantasy and action as well as some that are unique to the region. In particular this year there will be a spotlight on contemporary Pinku Eiga (Japans famed erotic genre that has been going strong since the 1960′s).

Over four days in mid-November at Melbourne’s prolific Nova Cinema complex, Melbourne will buzz with some of the finest genre films from the Asia-Pacific region. Films from Japan, South Korea, China. Hong Kong and the Philippines will kick things off for 2011 and as the festival grows, we will reach out to other Asian territories, lighting up Australian screens with more Asian genre greatness.

Some of the worlds finest and most exciting cinematic talent will be showcased at the inaugural Fantastic Asia Film Festival – already confirmed are bold new titles from Korean maestro Na Hong-Jin, Japan’s L’enfant terrible Sion Sono as well as the mind twisting extremities of Japan’s Sushi Typhoon label and the best and bizarre of Yoshihiro Nishimura and Noburo Iguchi.

There will be guests, there will be events, there will be pure unadulterated Asian cinematic madness.

You are going to love the Fantastic Asia Film Festival! Click www.faff.com.au for the full program .

“ASWANG! FILIPINO NEW BLOOD” Curated and introduced by Trash Video’s Andrew Leavold

Nova Cinema, 11.30am Sunday 13th November

Two new sensational horrors from the heart of the Filipino darkness!

For many Filipinos, the provinces are a place of innocence and dread, where “civilization” ends and the pre-Christian terrors begin: shape-shifting creatures, vengeful ghosts, and evil spirits or Aswangs, all living in the cracks between the light.

It’s no surprise that the Philippines has had such a wealthy tradition of horror cinema, and Rico Maria Ilarde and Richard Somes are its most dangerous talents. FAFF is proud to introduce to Australian audiences two genre specialists with an unwavering command of the genre’s conventions, but with such inimitable filmmaking styles, and bodies of work that are brutal, uncompromising, independent of spirit, and unshakably Filipino.

ALTAR

“Altar, [Ilarde's] latest masterpiece, is an ultra-compact exploration of pinoy spirituality done in the most concise horror film terms possible” Olaf Moller, Senses Of Cinema

A failed boxer takes a job renovating a house deep in the countryside. There’s no electricity, a chapel upstairs, and what looks like a religious altar in the cellar – but just under its painted exterior is something infinitely more sinister. Director Ilarde plays havoc with Catholic iconography in a taut, pared-back thriller of pagan rituals, defrocked priests, and the phantom of a young girl doomed to witness Altar’s unspeakable horrors.

RUNNING TIME 90 mins / 2007 / Philippines / Horror / Aspect TBA

Director: Rico Maria Ilarde (Z-Man, Dugo Ng Birhen: El Kapitan, Ang Babaeng Putik, Shake Rattle & Roll 2K5 [“Aquarium” segment], Beneath The Cogon, Villa Estrella)

Cast: Zanjoe Marudo, Nor Domingo, Dimples Romana, Dido De La Paz

DIRECTOR BIO: No other Filipino filmmaker has embraced the horror genre with such passion and talent as US-educated Rico Maria Ilarde. His early predilection for sex-and-blood shockers such as Dugo Ng Birhen: El Kapitan (“Blood Of The Virgin: The Captain”, 1999) and Ang Babaeng Putik (“Woman Of Mud, 2000) has evolved into an impressive body of work revealing an innate understanding of tension and trauma. Ilarde is currently in pre-production on his first international production.

YANGGAW/“AFFLICTION”

“…an achievement, mixing traditional elements of horror and family melodrama, creating a picture that is so bizarre, it will be stuck to your mind months after seeing it.” Francis Cruz, Lessons From The School Of Inattention

Amor returns to her village with a mystery illness; a faith healer claims she is possessed by an evil spirit, and her family inadvertently aid her transformation into a bloodsucking, baby-eating aswang. The blackness of the provinces’ nights, and the sanctity of a Filipino family ripped asunder, provide the heady backdrops for Somes’ feature debut, a grimly realistic take on Filipino folklore that’s as gore-streaked as it is genuinely unsettling.

RUNNING TIME 98 mins / 2008 / Philippines / Horror / Aspect TBA

Director: Richard Somes (Shake Rattle & Roll 2K5 [“Ang Lihim Ng San Joaquin” segment], Ishmael)

Cast: Ronnie Lazaro, Tetchie Agbayani, Joel Torre, Aleera Montalla, Erik Matti

DIRECTOR BIO: Cavite-born Somes learnt his craft as production designer for fantasy and horror specialist Erik Matti (Pa-Siyam, Gagamboy) before graduating to the director’s chair. His critically acclaimed aswang segment for Regal Films’ horror anthology Shake Rattle And Roll 2K5 was followed by three features for Star Cinema’s independent wing, including Pinoy action tribute Ishmael (2010) and possession tale Corazon (currently in post-production).

Pinoy thrillers in Melbourne: Filipino filmmakers make it in Asian horror fest in Australia

by Bayani San Diego Jr, Philippine Daily Inquirer November 3, 2011

Pinoy thrillers are making their mark in Asian horror.

Two Filipino films have been included in the lineup of the Fantastic Asia Film Festival, to be held in Melbourne, Australia, from Nov. 10 to 13.

Film critic and scholar Andrew Leavold handpicked Rico Maria Ilarde’s “Altar” and Richard Somes’ “Yanggaw” to be part of the fest, alongside films from China, South Korea, Japan and Hong Kong.

Leavold, who has been writing extensively about Philippine cinema, considers Ilarde and Somes as “two of the most fascinating talents working in genre films at present.”

He pointed out that the two filmmakers are “two radically different personalities, representing divergent filmmaking styles.”

Rico, said Leavold, “is steeped in pop culture and has that formal film-school-training style.” Somes, on the other hand, “approaches film in a more intuitive fashion.”

Leavold regards “Altar” and “Yanggaw” as “arguably their best films to date… possessing a deep understanding of the genre, while remaining unmistakably Filipino.”

He described “Altar,” which top-bills Zanjoe Marudo and Dimples Romana, as a “slow-burner… allowing the intricately plotted script to build tension. It says so much about the chasm between city and countryside, civilization and the dark unknown.”

He chose “Yanggaw,” which features Ronnie Lazaro and Tetchie Agbayani, because “it’s a jarring modern take on the aswang legend, equating demonic possession with a kind of addiction.”

Leavold has always been drawn to horror flicks. “Dark fantasy is an important cathartic process in working out our inner demons. Experiencing those fears safely and vicariously via horror films is like jumping out of a plane with a parachute.”

He related that the horror festival is a brainchild of Monster Pictures, a distribution and production company based in Melbourne.

“The fest is the first of its kind in Australia,” he noted. “Hopefully, it’ll be the first of many that will showcase the DVD label’s Asian acquisitions.”

The fest aims to introduce Australian audiences to “new films, new industries, even new countries, they may not have had the opportunity to experience” previously.

In a bizarre twist, Leavold discovered Philippine cinema because of a pint-sized Pinoy James Bond.

“When I was younger, I saw Weng Weng in ‘For Your Height Only,’” he recalled. “I instantly fell in love with him. From that moment on, I wanted to know all I could about the cinema and culture from where Weng Weng had sprung.”

He conceded: “Obsession is a strange creature. Now, I get to teach film in the Philippines and consider Manila my second home. All thanks to Weng Weng.”

Leavold hopes to release his book on Filipino genre filmmaking, “Bamboo Gods and Bionic Boys,” next year.

Mutiny In The South Seas (1965)

2011-09-24T17:00:00.006+10:00

1965 - Mutiny In The South Seas (Metheus Film/Société Nouvelle de Cinématographie [SNC]/Aragon Brothers [a possible Filipino company])

[A West German-Italian co-production shot in the Philippines, original title “Die Letzten Drei Der Albatros; also released in France as “Aventure à Manille” and “L’Aventure Vient de Manille”, in Italy as “La Morte Viene Da Manila” and in Greece as “Kolasmenoi Ton Notion Thalasson”]

Director Wolfgang Becker Writer Werner P. Zibaso Producer Wolf C. Hartwig Cinematography Rolf Kästel Music Francesco De Masi Editor Herbert Taschner Assistant Director Eberhard Schroeder Camera Operator Klaus Werner

Cast Joachim Hansen (Lieutenant Hannes Carstens), Gisella Arden [listed in Italian credits as “Kim Arden”] (Lieutenant Dany Wilkinson), Harald Juhnke (Kuddel Lehmann), Horst Niendorf (Walter Pitters), Alfredo Varelli [listed in the Italian credits as “Fred Warell”] (Witch Doctor Namu), Jacques Bézard (Chick), Philippe Guégan (Kaminsky), Eva “Montez”/Montes (Mona), Lucita “Sorriano”/Soriano, Lilly Oliveros, Frank Fielding, Horst Frank (Sven Broderson)

Cirio H. Satiago interview 2007

2011-09-16T14:37:00.018+10:00

Cirio interviewed by Andrew Leavold for The Search For Weng Weng, March 2007

CIRIO H. SANTIAGO Interview with Andrew Leavold, March 2007

When Philippine cinephiles speak of a Golden Age of Filipino cinema, they refer more often than not to the Fifties, and of a film industry dominated by a studio system in which the independents are sidelined. Since its inception in the opening decades of the Twentieth Century, the Filipino industry was, is and perhaps is destined to be, a Microcosm of its inspiration: Hollywood, the Macrocosm. The dominant Big Three studios (Sampaguita Pictures, presided over by the Vera-Perez family, and LVN Productions by a consortium including the de Leons) were a miniaturized version of Hollywood's Big Eight in the Thirties: dynastic studio heads reign supreme over their own extended family AND the major filmmaking families.

Premiere Productions emerged in the post-War period as one of the Philippines' three largest production houses. Cirio H. Santiago had grown up in the studio owned by his parents and in 1957, aged only 21, had enough business acumen to forsee the grim future for the Big Three studios. Of particular interest to Santiago were the opportunities to be made in the lucrative and ever-expanding American drive-in circuit. With dreams of taking his films to the world's screens, and with the American drive-in circuit firmly in his sights, Santiago took a huge financial risk for Premiere: along with Eddie Romero, he set up the Philippines' first production, The Day Of The Trumpet (1957), for the international market.

Santiago himself continued to pursue a career in the international whilst keeping Premiere Productions afloat. By the early Seventies Premiere began seeking out co-production deals with countries including the United States; Premiere, one of the Big Three studios of the Fifties, was rapidly evolving to become primarily, though not exclusively, a production unit for international features and co-productions including those of Roger Corman. In Corman, Santiago found the perfect partner in crime, and would continue a working relationship and close friendship from their first meeting in 1970 until Cirio passed away in 2008.

This is Cirio’s story in his own words, from my one and only meeting with Cirio at his Premiere Productions’ office in Ortegas in 2007. It was planned to be the first of many discussions, but as fate would have it, Cirio was already ill with lung cancer. He kept up a gruelling work schedule to complete his final film with Roger, Road Raiders (as yet unreleased), but sadly the busiest filmmaker in the Philippines passed away mid-shoot.

In this interview we talk about his associations with Corman, Quentin Tarantino, his predictions for the Filipino film industry, and his assessment of his incredible career in pulp cinema. He was a real gentleman, and I’m honoured to have spent even a small window of time with him. Adios, Cirio…

Andrew: First of all I’d like to talk about your Darna film [Darna And The Tree Monster, 1965]…

Cirio: That was for local release. After that I expected the market to shrink, so I explored the foreign market. That’s when I started making films for Roger Corman, for AIP and MGM. That’s when I went to LA. It was tough, because at that time Orientals were not welcome in Hollywood, and it’s a fact. John Woo and the other guys are lucky now, Orientals are accepted. Even Australians were not accepted then in the early days, Sixties and Seventies, until the big films, the big Australian film that won Cannes and a lot of festivals all over the world, THAT’s when the Australians started coming. After Mad Max (1979), that’s when Kennedy-Miller entered the market.

I did a film similar to Mad Max called Stryker, because I saw it in LA, it was doing well, and I was wondering how come nobody is making any of that genre. So I started with a film called Stryker (1983), I did six of them. Raiders Of The Sun (1992), Dune Warriors (1991)…it’s all Mad Max. And the market took it. And I was lucky we did it. My first films were all women in cages that we did in the Seventies. That’s how I entered LA. The drive-in theatres were still available then, we were going straight to the drive-ins, and that’s the success for our products.

Apart from a few co-productions, Filipino film companies didn’t really try to export their own films. You’re one of the pioneers of producing films in the Philippines and then taking them to the world – would you say that’s a fair comment?

Yes. Originally Eddie Romero and myself were doing that, joint venture. We did not make anything on that. It’s tough. We cannot export Filipino films to the world market. That’s the wrong motion. You have to make films here for the foreign market, and the foreign market is different. Filipino films unfortunately cannot be sold to the world market. You cannot go to a festival and bring a Filipino film dubbed or subtitled, it’s impossible.

Because of the quality?

Not the quality. Our local films are different taste-wise. We’re slow, we’re very Oriental. It’s typical for us to say goodbye, it takes five minutes. Australians and Americans will take ten seconds, “See you later…” But Filipinos and Japanese, Orientals, when you say goodbye, “My best to your family, your neighbour, your uncles…” That’s the pace of our films. And of course the audiences enjoy slow-paced films. When you go to that market after part one, the buyer will njot touch them. It’s not possible, I don’t believe in it. So when I went to LA, I wanted to make American films. That’s what I did – scripts written by Americans. And I was fortunate I was given a break to direct. I directed 27 American films already, and now I have a contract with [Sony] Columbia Pictures. I’m doing four films in two years – I’m starting with Sniper 4, I start shooting April 16. Then in November I do another Sniper, it’s a franchise. That’s where the market will be.

[Sadly for Cirio, this was not the case. Sniper 4 was eventually filmed in South Africa without Tom Berenger, and released by Sony in 2011 as Sniper: Reloaded]

Cirio on the set of his final film, the as-yet-unreleased Road Raiders

Unfortunately how I wish Philippine films would be exported, but you cannot. Of course a lot of guys want to export our films. I cannot sell abodo or my food to Australians or Americans, they still prefer steak, hotdogs and hamburgers, so you have to make them that. I love my Filipino food. But films are like food for the soul. You cannot sell it unless you go to Venice, that’s not the market commercially. Economics, you cannot fly. You said something that we tried to sell it [in the Sixties] – we tried, but I don’t think it will succeed ever.

You’re saying the most successful films sold to the market were designed for Americans?

…American films. Platoon was made here, we put that together. That’s the product you have to sell. I love to sell my culture, but…let’s face it, nobody cares about our culture in the Eurasian market. Your country’s lucky, you have great Australian directors, and New Zealand is being used now. You’re lucky, but I don’t see it happening here.

In other words, something that is a Filipino cultural phenomenon such as Darna would not translate outside the Philippines?

But Darna is a copy of Wonder Woman! How can I sell Darna outside? You cannot. The CGI, they’re better. And no matter how hard we try, we cannot beat the CGI of LA.

The thing I’m thinking of is if we do a joint venture, say the story of Bataan or General Pershing, but again it will not sell because I’ve been pitching that in Hollywood and there are no takers. Andrew, when I make a film, I make a film that I’m guaranteed distribution. Before I used to crap shoot: our own money, we’d do it, then go to LA and crap shoot. That’s not successful. But I have a lot of young kids who are still willing to do that. I don’t want to kill their dreams, but I advise them that it’s tough. If you and I make a film for half a million pesos or dollars, it’s tough. The market is tougher now than before because the majors took over everything. In the Seventies we could still have our own distribution company and go to drive-ins. Then in the Eighties it was the advent of video, that opened the market. But the American majors took over the video market, everything. It’s a tough market. But there’s a new thing that’s coming up in Hollywood, Video On Demand. I attended a meeting, that’s a possibility. And again you have to make films for that market. I can’t do a film that an Australian gentleman comes to America, has adventures etc. It has to be patterned after an American story. That’s it.

I guess Stryker coincides with that magical moment when the video market’s demand for titles exceeded the supply. After that you were making film after film, sometimes back to back or two at once…

How do you know this?

Henry Strzalkowski had a lot of good war stories about working on your films…

Quentin Tarantino is a good friend of mine, we’re very close. In fact I’ll be directing with him next year. He told me, “You’re the only director who did a genre [film] on women in cages, then a Mad Max, then a Vietnam genre.” I made about 17 films of these different genres. Quentin told me, “Cirio, you’re the only guy who has this record for twenty years!” After Platoon (1986) I packaged together, we did a lot – Final Mission (1984), Firehawk (1993), and they were all released by Corman. I did some films in between – Naked Vengeance (1985), Spear Of Destiny (aka Future Hunters, 1986) and so on.

What I want to do is make more films, but two years ago the market became tough for small films. Now I’m fortunate that Sony Pictures hired me for four films, and then I have a contract with them to produce or co-produce or direct. But right now I’m doing other projects, so I’m bringing in an American director to do Sniper 4. But eventually, the market for bigger films, we should focus on it.

Henry told you the history of my films? Henry worked on almost all of my films – Assistant Director, extra etc. He’s a good man, very decent.

He also told me he walked up to you and said, “Direk, we did a hundred camera setups today.”

We did that.

A hundred? That’s phenomenal!

Yes. I was tired after that!

He had a beautiful way of describing you at work – he said it was like watching a General marshalling his troops, sometimes against almost insurmountable odds, and yet there’s a loyalty to the General that you’ll follow him no matter where he takes you.

I’m lucky with the people that I selected. Some of them worked for my father, and their children, and I’m very fortunate with these guys. They don’t care about how much pay they get, but now I’ll be paying them more.

Because you can.

Because I can! It’s now Columbia Pictures. The thing is, they’re very loyal, and because of my experience with them, and their experience with me, when I move to the left, they know what I want. Henry knows that. When I look up they know that I’m shooting the sky. And it’s so easy for me. When I did a hundred camera setups I had four cameras – it’s a battle scene. Before I charge in, I shot first my heroes, then I did the reverse. It was eight hour work, but at least we had the record. I wasn’t counting, I had no intention of going for the record, I just wanted to finish it because the budget is so.

I noticed that in your filmography, the number of films for the international market start to drop off around 1994, ’95. Even the local market started to feel the effects of a general downturn in the mid 90s.

The local films hopefully will not die, but they’re only making thirty films here. We used to make 250 local films [a year].

But the downward trend seems to have happened in the mid 90s?

Yes, even in LA. Corman, API told me no more small films. Because what the majors did, they were doing our small films, but the difference is they put stars, and they put names on the box – and our films had no names on the box. So when you go to Blockbuster, you look for Seagal or Wesley, then I have “George Smith”, they don’t rent it. So that kind of product went down. Now it’s coming back, because Sony are using names, Tom Berenger, so they can sell, and they are willing to spend money.

The fact that Quentin would even consider a Filipino part in his film surely shows his love of Filipino films?

Because of our relations. I picked up my phone and he said he wants you to do the black gang [film]. I did research, it’s a very good story to translate, because of the culture. I’ll have a Filipino coming from Manila, the culture shock, and he’s brought into the gang, they’re all mean. But that’s what [Quentin] wants. Robert [Rodriguez], Mexican, it’s that kind of film. We’ll do it next year. We’ll see. Very nice man. I told him, “You’re a jewel that was discovered. You’re different, you have your own following.” I said I’m very humbled for this privilege. He interviewed me for two hours! I was surprised, he remembered my films more than me. It’s embarrassing! He said, “You know the stars of The Muthers (1976)…” I said I’d forgotten their names! And he told me, “That’s my favourite film.” I said I didn’t like it. Although I did…

Obviously Quentin’s Grindhouse (2008) is a direct reference to the films you were making in the Seventies – particularly the ones you produced for Gerry de Leon and Eddie Romero. The packaging was quite exploitative…

It’s exploitation!

Yes, but the filmmaking itself is really good low-budget filmmaking. People forget that Eddie and Gerry are now both National Artists – these guys were great filmmakers, and those were technically good films.

Quentin Tarantino at Cinemanila festival 2007, with (l-r) Eddie Romero, Cirio & Tikoy Aguiluz

We’re doing a film, Quentin is writing a script about that era, that an American company is shooting a women in cages in Manila. That’s one of his projects. I said that we’ll do it. It’s fun – the problems behind, etc. We had a lot of problems shooting small films. We’re told you only have $85, 100 thousand, and when the money’s finished, go home. So shoot the beginning and the end, whatever happens… [Quentin] was laughing, he knows what happened. And he said, “I want to do a film like that.” Because Grindhouse is a double program. His is 90 minutes with Kurt Russell, Robert’s is 80 minutes, Bruce Willis is a guest. But his one is like The Fast And The Furious, it’s a racing car. I saw part of the dailies, it’s great. I hope it makes money.

My comment to him on Grindhouse was, for Asia, they don’t understand the meaning of “grindhouse”. Even most Americans. I had to explain. He wants to go back to the Seventies with the double program.

He’s definitely a fan. And your films have a following around the world; people get excited about the name “Cirio H. Santiago”. What do you put that down to?

Well I’m humbled, I’m blessed. Sometimes I think, can you imagine the people who saw my name in my films? It’s awesome. I’m very happy, at least I have some legacy to leave. Not in the local films, because here I’m not that recognized, and I do not know why. Sometimes they say, “Ah, Cirio, he makes B movies.” I don’t believe in B movies. I don’t think the director, when you direct, and tell yourself “I’m going to do a B movie.” Low budget, yes. But when I go to myself, I don’t tell my people we’re doing a B movie. We’re going to do a GOOD film. That’s it.

Of course the guys here locally, they say, “Cirio is only doing B movies.” Well, I’m not bothered. I hope they’re doing B movies, but unfortunately no-one’s doing B movies. Only Eddie Romero did it, Gerry de Leon I brought [along]. No local directors have directed for that market that I know of. And we were very fortunate.

Yet this seems to be a timely moment. The Italians are shooting a zombie film in Paranaque, Bobby Suarez is about to start on Vengeance Of Cleopatra Wong for Bigfoot in Cebu, you’re making films for the Americans again – and this runs counter to the major studios here, Regal and Star Cinema, making films purely for the Tagalog market?

Star tried to make two films, and Regal, they all lost money, that’s why they stopped. Bigfoot, I do not know. Bobby is a friend, a protégé, he’s a nice boy. I do not know the plans for that. When you make a film, I always say you must have guaranteed distribution. Maybe Bigfoot can afford to crap shoot; I only know Bobby is a competent director. I hope more Filipino filmmakers can do films for the export market. But like [when] I talk to Regal, they say “Cirio, how long will it take for us to recoup our money?” I said eighteen months. They don’t want it. Because if you make a local film, you recoup it in three months. When they show it in Manila and all over the Philippines they get back their money, they don’t want to wait eighteen months. But you have to wait eighteen months.

Like you were saying before, you need a guaranteed distributor, and you developed a relationship with Mr Corman very early on. Can you tell me how that came about?

We were both young. He came to Manila, he came to the American embassy and asked, “Who is the director or producer that I should meet?” The embassy called me up, because I used to work for the USIS, and said, “There’s a guy here, Roger Corman.” I said I’ve heard of the name, what does he want? “He wants to meet somebody who makes films. He’s going around the world…” In fact he went to Australia before Manila. Then we met, and we became friends, but before he left he said, “Cirio, I’m putting up a company called New World Pictures, I want you to be a part of that.” I said OK, but what kind of money are you looking at? “Don’t worry about money…”

Sure enough, a month later he called me up, he said, “Cirio, we’re doing The Big Doll House (1971) with John Ashley. I’ll send you a script, can you do the budget?” I did a budget for $90,000. I sent it back, and said, “Roger, what do you want me to do?” “You don’t have to invest, I’ll give you equity. But do it for $90,000.” We did it for $87,000. Then I returned to him $3,000. Pam Grier was there, the start of Pam Grier, and it took off. MGM picked it up, that’s when the company [New World] started, and we became very close friends. He’s a nice man – he’s an icon! From then on AIP noticed me, Dimension noticed me, and so on.

When I did Stryker in LA, it was a big, big hit. Then I did Final Mission. I was at a crossroads in my life. My agent told me to stay in LA and make bigger bucks, but I decided to come home because I can do other things for [my] country, and then I said I can still do films in Manila. That’s when I started making boom, boom…I used to make four films a year, one after the other. And I enjoyed it.

The Muthers is the favourite of Quentin’s black films. I said, why do you like it? He said, “Cirio, nobody has done four beautiful black women prisoners who escape from prison and become pirates.” That’s the story! I said I’m a big fan of Errol Flynn – he did Captain Blood, The Sea Hawk - and he was laughing. He has a film print! I said can you make me a copy? He’s doing it now. The Muthers I did for Dimension. He’s also sending me Ebony Ivory And Jade (1976) with Colleen Camp. Can you imagine when I met him, first time in LA, a guy tells me about my film? And when he met me, he had a disc of Savage (1973), my first black film. I signed it for him. He said, “How much did they pay you for this?” I said I got $3000 for directing that. He was laughing! It was fun.

Talking about your early filmography, Fire Maidens Of Mora Tau was only ever an in-joke in Hollywood Boulevard (1976)?

There are things on the [IMDB] that I’m trying to change. I did 37 films, I directed about 22. That’s a lot for a lifetime! Locally I directed about 38, 40. I still want to do local films.

Was Paltik (1955) your first film?

Paltik – it’s a gun. I was 19, I was still in college studying marketing and economics, and that summer I did my first film. I went to the toilet twenty times that first day, I was so scared!

But you also grew up around film.

I’m very fortunate my parents owned the studio. I learned from the masters. All the masters were directing, I was watching, and that’s how I learned. First, I want to recommend to future filmmakers, they should know how to write. I used to write for my college. And then you must know how to edit. An editor’s very important, though sometimes they’re neglected. When you learn in the editing room, you LEARN. That’s why David Lean said, “God creates a film in the editing room.” That’s true. Because if you edit, you don’t panic on the set.

And you have the film all mapped out?

In your mind. Because you know when you have your closeup, your dollies, your full shot. And if you know that, economically it’s better. I cut my films, but what I’ll do is this – I’ll tell my editor to cut my film, sometimes his version is better than mine. Sometimes when you shoot a scene or a sequence, in your mind it’s like this…I’ll tell my editor, cut it your way, sometimes they have a better version.

Some day I’m sure you’ll want to direct. Everybody wants to make films. For $300,000 to half a million dollars you can make a quality film here, since the advent of HD. I’m shooting in HD. But if I may suggest, the concept must come from you – don’t let it come from the locals. Though I love my local kids!

Corman just did a horror film, he brought Christopher Lloyd for $75,000 for one week, low budget genre. Now he can sell because he has Christopher Lloyd. You have to have a name. Sacrifice yourself to buy a name.

Andrew, see how we work, because we work differently. I wake up at five in the morning, we have breakfast on the set, at 8 we must grind. Here, no – locally, the actor is late, he doesn’t know the scene, “What are my lines?” That doesn’t happen on my set. My actors breakfast at 7, we shoot at 8, and if he doesn’t know the lines it’s a problem.

I still want to talk about Darna…

I did a lot of komiks.

I noticed you produced a Captain Barbell film [Captain Barbell Kontra Captain Bakal, 1965].

We did a lot, komiks-wise. We did about twenty films based on komiks.

They were all in the Sixties?

Yes. That’s where people read the novels, and you buy the rights and then you film it. That’s how we did it in the past. Now, no more komiks, they’re not popular. Even in the States they’re just reviving Superman, Batman and so on. But now, no more komik pictures.

Komiks are not unique to the Philippines, but they had a unique local flavour. Those superheroes (Darna, Captain Barbell etc) are archetypes given a local twist. They’re provincial, have a connection to nature, are a hero to the poor…

They must be a hero to the poor, always. That’s the one that clicks. But some authors were wise then, because if they know my movie star, they write the story for them. So when they come to me and the studio, they say “Cirio, I have a story for Fernando Poe Jr”, and we do it. And they never miss at the box office, because the guys read it, they want to see it on the big screen. That was in the Sixties, Seventies, not any more. Films now are not great. Some good films once in a while, but they don’t make better films unfortunately. It’s all economics.

The passion’s not there anymore? When you were making films back in the Seventies and Eighties, obviously you weren’t getting paid a great deal of money. Was there a desire to make something out of very little?

I had the passion to do it, and that’s very important. When you become a director some day, if you have no passion for a project, don’t do it, it’s useless. As I told you, all directors should go the set telling themselves “I’m going to make a good film today.” Because I don’t believe in bad intentions. I don’t care how good you are, if you have a bad script it’s almost a miracle to do a good film. The advantage of Quentin is that he writes well. I like his dialogue. The kids love it. Sometimes I don’t understand his style when I read the script. “I’m too old for that,” I told him, he was laughing. “Cirio, you directed black films and you understood the lingo!” I said sometimes I didn’t understand the black ling. I’d ask the leading actress, “What are you saying?” Because the lingo is different. He came from Tennessee so he had a lot of black friends. He understands it.

The films you were making in the Seventies made icons out of black actors.

Somebody wanted to do a remake of TNT Jackson (1974), but that’s Red Harvest. It’s the same story, the book, the Japanese made it, then Roger said “Let’s copy this.” And we did Red Harvest three times – TNT Jackson, Firecracker (1981), Angel Fist (1993). Same plot: an American girl comes here looking for her sister or brother, she or he investigates…and it worked.

By the time Firecracker rolls around, the market has shifted from black and Asian leads to white faces, thanks to Chuck Norris.

After Firecracker I did Live By The Fist (1993), Jerry Trimble – it’s a white guy now instead of a black guy. And after that I went desert, and then Vietnam.

Through the course of your career you can chart the changing tastes of the drive-in market, and then the VHS market. That’s why Quentin can point to you and say, “Mr Santiago, you ARE film history!”

He told me, “You know I stole some lines off your film?” He told me the lines, I’d forgotten! Word for word. From The Last Samurai (aka Fighting Mad & Death Force, 1978). It’s almost like a miracle – you meet a guy, you’ve heard of him, I never thought that he saw my films. First time we had dinner, he invited me to his house and we looked at the Grindhouse rough dailies, and then interviewed me for two hours, and then we talked about films, our future etc. And he says, “Cirio, it’s about time you go to the mainstream.” I said, how about funding? “Funding? Don’t worry about funding, we’ll take care of that…”

Do you remember Weng Weng at all?

Weng Weng was a big star during the Manila [International Film] Festival. In fact at that market Stryker was there, and it wasn’t selling. Weng Weng’s films were sold. I hoped they made money. What happened to Stryker, I was very fortunate – they were crazy about Weng Weng, but the big companies were not. J&M of London, and New World Pictures liked [Stryker]. It is an accident, that film is not finished, because if it was finished I could have sold it at the Manila Film Festival. I said it’s not finished, I don’t want to sell it – that was my pitch, but I was trying to sell it. The film cost me $250,000, so we did the post, and J&M, a big company out of London, said “When you go to LA, we’re interested…” They hit me with 25% commission. But they did this layout and they did the trailer, and it went to town, made millions.

Weng Weng, I know the kid, I know the producer. I don’t know what happened to him.

Did Premiere fund the shoots of your films, and you’d then sell the rights to Corman?

No. America funds me. Premiere was not included, I rented their equipment.

So they’re not Premiere productions, they’re New World , or whichever company released it?

We’re used as a joint venture. We were paid a fee for the equipment, and I get paid as director, I get equity as producer. If it makes money I get a share. If it doesn’t make money I just get my salary. It’s very hard to get funds from the Philippines to make American films. When you do your thing, be sure to get money from Australia or wherever. Unfortunately I can’t find money here.

The Bionic Boy (1977) & Leody M. Diaz filmography

2011-09-13T19:20:00.005+10:00

Leody M. Diaz, The Bionic Boy and Bobby A. Suarez’s Singapore Connection by Andrew Leavold

A suprisingly vibrant Singapore film industry was producing between ten and twenty films a year throughout the Fifties into the late Sixties [1]. One of its major studios, Hong Kong's Shaw Brothers, then decided to relocate its South East Asian outpost to Kuala Lumpur in 1967; by then, production of Malay language films had ground to a halt, and Singapore was becoming just another exotic backdrop for European and Hong Kong productions. The country's one attempt to cash in on the kung fu craze, Ring Of Fury (1973) starring local karate blackbelter Peter Chong, wound up in limbo following the government's decision to suppress its screenings. It wasn't just the sex and violence, they reasoned, but its depictions of “gangsterism” and promotion of vigilante-style justice.

Sensing a vacuum in the wake of the Shaws' departure, Bobby A. Suarez decided to form a pan-Asian production company called BAS Film Productions. On the payroll were ex-wrestling promoter and managing director of Intercontinental's Singapore wing, Sonny Lim [2], and Mohamed Ashraf from Malaysia's Zahraine Films. Using the Shaw's model, Bobby intended to create a South East Asian base of operations and, utilizing funding from a number of countries, exporting genre films to the international market.

BAS reunion, Singapore 2005 - (left to right) Peter Chong, Gene Suarez, Marrie Lee, Bobby A. Suarez, Johnson Yap

Bobby secured the services of Leody M. Diaz, prolific local director of primarily Tony Ferrer and his Agent X-44 films as well as Balut westerns and the criminally long-lost Batman Fights Dracula (1967), to direct BAS Films' maiden production, The Bionic Boy (1977). With Leody came his nephew Pepito Diaz, who would become Bobby's assistant or “associate” director over the next twenty-odd years, and Pepito's good friend Franco Liwanag, soon to be christened 'Guerrero'.

Franco or 'Chito' Guerrero was born Francisco Almodovar Liwanag in Laguna Province on 3rd December 1947. He started in the film business around the same time he began martial arts; his uncle owned a successful chain of cinemas and was good friends with Fernando Poe Jr and Tony Ferrer, who both encouraged young Francisco to try his hand at acting and action scenes.

Young 'Chito' (his nickname from childhood) received his first call sheet from Tagalong Ilang-Ilang (TII) Pictures, run by Ferrer’s brother Espiridon Laxa, one of the most powerful independents at the time that had stamped its mark in the early Sixties promoting Fernando Poe Jr (or FPJ) and Joseph Estrada as the screen’s rough and tough action heroes. The action-ready Chito’s first film however was Sweethearts (1970), a teen weepie with a young star-on-the-rise Vilma Santos, directed by TII’s workhorse Diaz. More roles followed with Tony (Agent X44) Ferrer AND with Fernando Poe Jr; on the set of Salaginho’t Salagubang (1972), his debut for FPJ Productions, Fernando himself changed Chito’s screen name from Liwanag (“Light”) to the more warlike Guerrero.

These days Franco looks almost exactly as he did in the mid-Seventies – youthful vigour, immaculate pompadour, and a mischievous twinkle in his eye. “I was really making good with the local movies, Tagalog Ilang-Ilang, FPJ,” Franco told me as we filmed at the Intramuros Golf Club, right next to the crumbling walls of old Manila. “Somehow Leody Diaz brought me to Bobby Suarez. [Leody] was a very good friend, like a father to me. He was the one who convinced me to get into this movie business. I said, 'If I'm an actor, then I'm an actor.' Although secretly I was already into martial arts. I didn't know then I was going to use this through filmmaking. Because I all I know was to be a little bit 'boy next door' look and nice lighting. Then I get into this contrabida thing, character roles. I play it very well. So I started with Bobby.”

Bobby and Johnson Yap, Singapore 2005 (photo courtesy Marrie Lee)

The lead role of Bionic Boy went to a pre-pubescent Singaporean black belt, only eight or nine years old at the time, called Johnson Yap. “I was reading a magazine when I was in Hong Kong,” remembered Bobby, “I think it‘s also sold in Singapore, and I saw this young boy. So I call up Sunny Lim and get him to call the boy because I would like to meet him. So Sunny Lim calls up the father of the boy, and we met. I asked the boy, 'Do you want to be an actor?' He says, 'Yes, sir. When can I start?' I said, 'Next week, instead of going to school.' So one week I trained him, and the next week, he’s making the movie.”

In a plot aimed squarely at seven year olds of all ages, Singaporean Sonny Lee lands in Manila for a martial arts contest along with his parents; his father Johnson is posing as a solicitor, but Mafia thugs - led by Frank, a Vegas greaseball who’s constantly yelling at his chain-smoking cohorts, calling them “meatheads” and “idiots” - recognize him as one of Asia’s top Interpol agents. Frank orders his Filipino thugs to crush the Lee’s car with a pair of earthmovers. Both parents are pancakes, but Sonny miraculously survives with legless and with empty sleeves, most of his organs turned into pate, his ears shot to hell and his left eyeball gone. Johnson's millionaire friend Ramirez pays he world’s experts in bionics to reconstruct Sonny into a trionic machine, complete with supersonic hearing and a zoom lens in his left eye.

His new trionic powers not only improve his kung fu, but see him running like a miniature racehorse - in slow motion, of course, with a rather shrill, insipid sound effect that comes nowhere near the majesty of Steve Austin’s “da-na-na-na-na-na-na-na-na!”). He finally sets out to avenge his parents and allows himself to be captured and taken to the baddies’ island lair, and even when chained and drowned in quick-drying cement, still kicks a sizable number of thugs to death with a smug smile and doesn’t bat an eyelid. His reasoning? With a voice that sounds like an anxious schoolgirl, he tells us “It was kill or be killed.”

Amidst the exciting bongo-driven and wah-wah-soaked music and the explosions, and Bobby's trademark half-hour marathon conclusions, The Bionic Boy is his gleeful plundering of The Six Million Dollar Man TV series for the still-lucrative international kung fu market. But surely, I asked Bobby, the word 'copyright' would rear its ugly head? “They [the producers] contacted me. They wanted to litigate. I said, 'Look, the word 'bionic' is in the dictionary. So anybody who can refer to the dictionary, they can find that word.'” Surely Bobby was aware that there was also a TV pilot of the same name in production at the time? Wouldn't THAT be grounds to sue? “They tried,” laughed Bobby, and I'm still not certain if I believe him or not. “But I said ‘Bionic Boy’ belongs to me.”

Pepito: “Unfortunately he never saw the finished product. Bobby had just arrived from Hong Kong, he gave him some money and told him as soon as possible we'll start Cleopatra Wong, and you'll direct it. So he was very happy. He went to see a movie nearby, and inside the movie house, that's where he had his heart attack.” Bobby told how he'd paid Leody for his services, and that the money was still in his pocket when his body arrived at the hospital. Leody was just 52 years old.

1. Raphael Millet, Singapore Cinema, Editions Didier Millet, Singapore, 2006, pp. 117-137)

2. Also known as Sunny Lim, real name Lim Peng Hock

LEODY M. DIAZ FILMOGRAPHY (all images courtesy Simon Santos and Video 48)

1965 – Labanang Babae (Kamagong Films)

[Release date 1st November 1965]

Director/Producer Armando Garces Music F. Buencamino Jr

Cast Divina Valencia, Stella Suarez, Robert Campos, Eddie Garcia, Max Alvarado, Ezar Visenio, Johnny Baylon, Rudy Moreno, Rocky Lopez, Jimmy de la Fuente, Ely Ventus, Arthur Villegas, Leody M. Diaz, Napoleon Tort, Ric Arellano

CRIME THRILLER

1966 – Gunfighter (Tagalog Ilang-Ilang Productions)

[Release date 15th June 1966]

Director Leody M. Diaz Story/Screenplay Henry Cuino

Cast Jess Lapid [Sr], Eddie Garcia, Max Alvarado, Victor Bravo, Joe Sison, Bert Olivar, Rocco Montalban, Nort Nepomuceno, Joaquin Fajardo, Paquito Diaz, Val Castelo, Natalia Crisandra, Menchu Morelli

WESTERN

1966 – Duelo Sa Tierra Libre (Tagalog Ilang-Ilang Productions)

[Release date 17th August 1966]

Director Leody M. Diaz Writer Henry Cuino Music Augusto Buenaventura

Cast Jess Lapid [Sr], Eddie Garcia, Miriam Jurado, Anna Gonzales, Victor Bravo, Joe Sison, Vivian Lorrain, Rocco Montalban, Nort Nepomuceno

WESTERN

1966 – Sharpshooter (Tagalog Ilang-Ilang Productions)

[Release date 20th October 1966]

Director Leody M. Diaz Screenplay Quentin de Guia Music F. Buencamino Jr

Cast Jess Lapid [Sr], Max Alvarado, Natalia Crisandra, Victor Bravo, Rocco Montalban, Vivian Lorrain

WESTERN

1966 - Frame Up! (Tagalog Ilang-Ilang Productions)

[Release date 25th December 1966]

Director Leody M. Diaz Writer Felipe Baron Music Carding Cruz

Cast Tony Ferrer (Tony Falcon, Agent X-44), Miriam Jurado, Lucita Soriano, Alicja Basili, Anna Gonzales, Rod Navarro, Lauro Delgado, Victor Bravo, Max Alvarado, Ray Marcos, Manolo Noble, Rocco Montalban, Nort Nepomuceno, Leon Pajaron, Steve Alcarado, Alex Flores, Lope Policarpio, George Bayot, Nellie Madrigal, Danny Rojo

SPY THRILLER

1967 – Ito Ang Karate/“This Is Karate” (Tagalog Ilang-Ilang Production)

[Release date 23rd February 1967]

Director Leody M. Diaz Story Quentin de Guia Screenplay Henry Cuino Jr Music F. Buencamino Jr

Cast Tony Ferrer, Anna Gonzales, Alicja Basili, Daisy Romualdez, Max Alvarado, Lauro Delgado, Victor Bravo, Bert Olivar, Rocco Montalban, Joaquin Fajardo, Leon Pajaron, Steve Alcarado, Alex Flores, Lope Policarpio, Danny Rojo, Abraham Cruz

KARATE ACTION

1967 – Durango (Six Bullets For A Gunman) (Tagalog Ilang-Ilang Productions)

[Release date 9th April 1967]

Director Leody M. Diaz Story/Screenplay Felipe Baron Music Francisco Buencamino Jr

Cast Max Alvarado (Durango), Anna Gonzales, Miriam Jurado, Marissa Delgado, Stella Suarez, Victor Bravo, Joe Sison, Vic Andaya, Rocco Montalban, Joaquin Fajardo, Nort Nepomuceno, Jeon Pajaron, Steve Alcarado, Alex Flores, Lope Policarpio, Doming Viray, Sai Betsayda, Lauro Delgado, Dencio Padilla, Doming del Valle, Joy del Sol, Elaine Brown, Danny Rojo, Marissa Delgado, Joe Sison

WESTERN

1967 - Batman Fights Dracula (Lea Productions/Fidelis Productions)

[Release date 3rd June 1967, also known as “Baty and Roby Against Crime”]

Director Leody M. Diaz Writer Bert R. Mendoza Music Tony Maiquez

Cast Jing Abalos (Batman/Bruce Wayne), Dante Rivero (Dracula), Vivian Lorrain (Marita Banzon), Rolan Robles (Ruben), Ramon D'Salva (Dr. Zerba), Nort Nepomuceno (Turko), Angel Confiado, Ruben Ramos, Greg Lansang, Tina Lava, Lope Policarpio, Sai Betsadya, Jeanette Gonzalez, Rudy Dominguez, Tiva Lava, Marcelo Bernardo, Eddie Castro, Buddy de Jesus, [uncredited] Johannes Christof von Heinsburg (Mevik)

COSTUMED SUPERHERO/HORROR

1967 – Magnificent Bandido (Junar Productions)

[Release date 23rd July 1967; sometimes listed as “Magnificent Bandit”]

Director Leody M. Diaz Story/Screenplay Bert Duenas Jr Producer “Junar”/Jun Aristorenas Music Carding Cruz

Cast Jun Aristorenas (Johnny Valiente), Eddie Garcia, Paquito Diaz, Tony Cayado, Bessie Barredo, Arlene Salgado, Sofia Moran, Vic Andaya, Rocco Montalban, Angel Ventura, Larry Silva, Nort Nepomuceno, Jimmy Morato

WESTERN

1967 - Target: The A-Go-Go Generation (Tagalog Ilang-Ilang Productions)

[Release date 29th October 1967]

Director Leody M. Diaz Story Felipe Baron Screenplay Henry Cuino Music D’Amarillo

Cast Tony Ferrer, Greg Lansang, Helen Gamboa, Doming Viray, Anna Gonzales, Rocco Montalban, Romy Luartes, Victor Bravo, Jimmy Roldan, Rocco Montalban, Gaston Garcia, Joaquin Fajardo, Frank Laurence, Leon Pajaron, Danny Rojo, Steve Alcarado, Lope Policarpio, Joe Sison, Cora Varona, Ric Avellano, Campus Capers, The Rolling Beats, The Tilt Down Men

ACTION/MUSICAL

1967 – The Deadly Seven (Dan-Sil Productions/Delta Films)

[Release date 10th December 1967]

Director Leody M. Diaz Story Manoling Varong Screenplay Ruben Tizon Music Carding Cruz

Cast Tony Ferrer, Bert Martinez, Rocco Montalban, Marissa Delgado, Nort Nepomuceno, Danny Rojo, Lope Policarpio, Eddie Garcia, Anna Gonzales, Joe Sison, Martin Marfil

ACTION

1968 – Magnum Barracuda (Junar Productions)

[Release date 28th March 1968]

Director Leody M. Diaz Story/Screenplay Henry Cuino Producer “Junar”/Jun Aristorenas Music Carding Cruz

Cast Jun Aristorenas (Magnum Barracuda), Verna Gaston, Bessie Barredo, Vic Andaya, Joaquin Fajardo, Bentot, Lope Policarpio, Boy Chico, Sancho Tesalona, od Navarro, Kim Ramos, Rocco Montalban, Helen Thompson, Agnes Moran (Michelle), Bert Martinez, Nort Nepomuceno, Tita Lava, Joe Sison

ACTION

1968 – Rancho Diablo (Gilbert Roland Productions)

[Release date 27th April 1968]

Director Leody M. Diaz Story/Screenplay Bert R. Mendoza Music Francisco Buencamino Jr

Cast Jun Aristorenas, Josephine Estrada, Eddie Garcia, Joe Sison, Jackie Belmonte, Cora Varona, Gilbert-Venchito Galvez, Fred Param (The Sheriff), Kim Ramos, Vic Andaya, Rocco Montalban, Joaquin Fajardo, Lope Policarpio, Greg Lansang, Leon Pajaron, Rudy Dominguez, Nort Nepomuceno

WESTERN

1968 – Junior Cursillo (Gilbert Roland Productions)

[Release date 9th August 1968]

Director Leody M. Diaz Story/Screenplay Bert R. Mendoza Music Restie Umali Adviser Reverend Father Rodolfo A. Gallardo

Cast Josephine Estrada, Dindo Fernando, Ricky Belmonte, George Estregan, Ike Lozada, Jackie Belmonte, Nort Nepomuceno, Verna Gaston, Norma Ledesma, Gilbert, Rolling Beats, Bits N’ Pieces, Jess Vargas, Eddie Garcia, Rosa Mia, Alfonso Carvajal, Tita de Villa, Menchu Morelli

MUSICAL/RELIGIOUS DRAMA

1968 – Deadly Jacks (Junar Productions)

[Release date 28th September 1968]

Director Leody M. Diaz Story/Screenplay Greg B. Macabenta Producer “Junar”/Jun Aristorenas Music Pete Aristorenas

Cast Jun Aristorenas, Eddie Garcia, Eddie Torrente, Lope Policarpio, Greg Lansang, Boy Sison, Bino Garcia, Jing Abalos, Johnny Monteiro, Jorge Chico, Rosanna Ortiz, Dado, Nort Nepomuceno

WESTERN?

1968 – Quinto De Alas (Scorpio Productions)

[Release date 16th November 1968]

Director Leody M. Diaz Story/Screenplay Greg B. Macadenta Music Pablo Vergara

Cast Vic Vargas (Gringo), Jing Abalos (Jumbo), Dindo Fernando (Matanglawin), Van de Leon (Talahis), Cesar Ramirez (Barbaro), Sofia Moran, Boy Alano, Bert Olivar, Rocco Montalban, Renato del Prado, Rey TOmenes, Jaime Javier, Alex Flores, Willie Dado, Randy Pimentel (Indio), Pablo Guevarra, Ven Medina, Santiago Duenas, Joe Sison, SOS Daredevils, PMP Commandos, OMS? Survivors

WESTERN

1969 – The Bandits (Tagalog Ilang-Ilang Productions)

[Release date 10th March 1969]

Director Leody M. Diaz Music Francisco Buencamino Jr

Cast Tony Ferrer, Max Alvarado, Alicia Alonzo, Bessie Barredo

ACTION

1969 – Angkan Ng Mga Karatista (Tagalog Ilang-Ilang Productions)

[Release date 9th May 1969]

Director Leody M. Diaz Music Francisco Buencamino Jr

Cast Tony Ferrer, Divina Valencia, Antonio Ganiela, Bessie Barredo, Amando Diaz, Joy Dee, Emilio Galicinao, Arlene del Rio, Captain Meliton Geronimo, Stella Suarez, Max Alvarado, Victor Bravo, Nort Nepomuceno, Joe Sison, Doming Viray, Leon Pajaron, Ruben Ramos, Joe Cunanan, Larry Esguerra, Edwin Lumagbas, Steve Alcarado, Alex Flores, Rolly del Fierro, Joaquin Fajardo, Bert Olivar, Larry Silva

KARATE ACTION

1969 – Hari Ng Samurai (Tagalog Ilang-Ilang Productions)

[Release date 16th July 1969]

Director Leody M. Diaz Music Fortunato Buencamino Jr

Cast Tony Ferrer, Eddie Garcia, Perla Bautista, Johnny Monteiro, Marissa Delgado, Victor Bravo, Arlene Del Rio, Joe Sison, Jose Padilla Jr, Rocco Montalban, Ruben Ramos, Joaquin Fajardo, Larry Esguerra, The Samurai Daredevils

SAMURAI ACTION

1969 - The Magic Samurai (RFJ Brothers Pictures/Barangay Productions)

[Release date 12th September 1969]

Director Leody M. Diaz Story/Screenplay Consuelo P. Osorio Music Demetrio Velasquez

Cast Roberto Gonzales, Johnny Monteiro, Dencio Padilla, Joaquin Fajardo, Rocco Montalban, Leon Pajaron, Rudy Dominguez, Greg Lansang, Jun Santos, Lope Policarpio, Ernie Ortega, Lito Calzado, Jessette, Angela Montes, Matimtiman Cruz, Jose Villafranca, Alex Flores, Ruben Ramos, Mario Escudero, Efren Montes, The Deadly Ninjas

SAMURAI ACTION

1969 - Blue Seal: Matahari (Tagalog Ilang-Ilang Productions)

[Release date 26th October 1969]

Director Leody M. Diaz Music Carding Cruz

Cast Tony Ferrer, Rod Navarro, Liza Belmonte, Georgina Fairy

ACTION

1969 - Ang Sekreta/“The Secret” (Tagalog Ilang-Ilang Productions)

[Release date 14th December 1969]

Director Leody M. Diaz Music F. Buencamino Jr

Cast Tony Ferrer, Max Alvarado, Lourdes Medel, Bella Flores

ACTION

1970 - The Kidnappers (Tagalog Ilang-Ilang Productions)

[Release date 25th January 1970]

Director Leody M. Diaz Writers Felipe Baron, Henry Cuino Music F. Buencamino Jr

Cast Tony Ferrer, Leopoldo Salcedo, Divina Valencia, Georgina Fairy, Van de Leon, Rocco Montalban, Larry Silva, Reuben Ramos

ACTION

1970 - Deadly Fighters (Tagalog Ilang-Ilang Productions)

[Release date 15th March 1970]

Director Leody M. Diaz Writers Quentin de Guia, Henry Cuino

Cast Tony Ferrer, Rolly Lapid, Thelma Kennedy, Georgina Fairy, Rex Lapid, Raul Lapid, Rey Lapid, Max Alvarado

ACTION

1970 – Lihim Ng Mga Maka-Salanan/“Secret Of Sinners” (Tagalog Ilang-Ilang Productions)

[Release date 3rd May 1970]

Director Leody M. Diaz Writers Henry Cuiono, Quintin de Guia Music F. Buencamino Jr

Cast Tony Ferrer, Rita Gomez

DRAMA? ACTION?

1970 – Because You Are Mine (Tagalog Ilang-Ilang Productions)

[Release date 14th May 1970]

Director Leody M. Diaz Story Quentin de Guia Screenplay Henry Cuino Music Danny Subido

Cast Vilma Santos, Edgar Mortiz, Anita Linda, Sonny Cortez, Ben David, Metring David, Bobby Roldan, Scarlet, Levi Celerio, Cloyd Robinson, Ernie Vega, Wilhelmina Landicho, Etang Discher, Inday Jalandoni

TEEN ROMANCE

1970 – Sweethearts (Tagalong Ilang-Ilang Productions)

[Release date 9th August 1970]

Director Leody M. Diaz Screenplay Henry Cuinco

Cast Edgar Mortiz, Vilma Santos, Arnold Gamboa, Snooky [Serna], Von Serna, Mila Ocampo, Eddie Mercado, Elaine Stuart, Ernie Vega, Scarlet, Cloyd Robinson, Imelda Alonzo, Rico Villa, “Chito”/Franco Guerrero

MUSICAL/TEEN ROMANCE

1970 - Pag-Ibig Ng Ma Salarin/ “Love That's A Sinner” (Tagalog Ilang-Ilang Productions)

[Release date 6th September 1970]

Director Leody M. Diaz Screenplay Quintin de Guia, Jose Flores Sibal Music F. Buencamino Jr

Cast Tony Ferrer, Von Serna, Divina Valencia, Rosanna Marquez, Victor Bravo, Marissa Delgado, Rebecca Rocha

DRAMA

1970 – Soliman (Junar Productions)

[Release date 3rd December 1970]

Director Leody M. Diaz Writer Bert R. Mendoza Producer “Junar”/Jun Aristorenas Music “Juver”/Jun Aristorenas, Virginia

Cast Robin Aristorenas, Jun Aristorenas, Merle Fernandez, Elizabeth de Leon, Efren Montes

ACTION

1971 – Bella Bandida (Valor Productions)

[Release date 5th May 1971]

Director/Screenplay Leody M. Diaz Based on the Liwayway Magazine komik serial by Francisco V. Coching Cinematography Jose Batac Jr Music Restie Umali

Cast Rosanna Ortiz (Bella Bandida), Tito Galla, Eddie Garcia, Gina Lafoteza, Danny Rojo, Vicky Sandoval, Larry Silva, Jaime Javier, Lope Policarpio, Rudy Gamboa, Tony Villar, Rocco Montalban, Jose Villafranca, Roderick Paulate, Ernesto Rivera, Jimmy Reyes, Ben Bernal, Pons de Guzman, Lito Frnacisco, Kent Gonzales, Bert Garon, Eddie Tagalog, Nardy Medina, Lope Villar, Eddie Castro, Feling Cudia, Thunder Boys, Max Rojo

BOMBA/ACTION

1971 – Tapang Brothers (Mirick Films)

[Release date 8th August 1971]

Director Leody M. Diaz Screenplay Maning Songco Music Carlos Rodriguez

Cast Tony Ferrer, Alicia Alonzo, Adriano Papa, Ernesto Estrada, Manuel Paner

ACTION

1971 – Alyas Bagsik/“As The Cruelty” (Tagalog Ilang-Ilang Productions)

[Release date 3rd October 1971]

Director Leody M. Diaz Screenplay Felipe Baron, Henry Cuino Music Danny Subido

Cast Tony Ferrer, Max Alvarado, Daisy Romualdez, Gina Laforteza, Rocco Montalban, Marilou Ver, Marikit Liwanag, Linda Ordonez, Von Serna, Joaquin Fajardo

ACTION

1972 - The Smugglers (Liberty Pictures)

[Release date 1st April 1972]

Director Leody M. Diaz Writers Henry Cuino, Napoleon Labrador Music Demet Velasquez

Cast Tony Ferrer, Sofia Moran, Lyn Roselle, Liza Vergara

ACTION

1972 – Dulce Corazon (Tagalog Ilang-Ilang Productions)

[Release date 3rd June 1972]

Director Leody M. Diaz Writer Pio Oreta Cinematography Ben Lobo Music Danny Subido

Cast Vilma Santos, Edgar Mortiz

TEEN ROMANCE

1972 – Trafcon-Ancar (Liberty Pictures)

[Release date 9th July 1972]

Director Leody M. Diaz Cinematography Enrique Rosales Music Carlos Rodriguez

Cast Tony Ferrer, Jules King

ACTION

1973 – Hill 91 (Liberty Pictures)

[Release date 21st March 1973]

Director Leody M. Diaz Screenplay Ric Serrano Cinematography Enrique Rosales Music Carlos Rodriguez

Cast Vic Vargas, Jing Abalos, Edgar Salcedo, Johnny Delgado

ACTION

1973 – Sa Ngalan Ng Batas (Liberty Pictures)

[Release date 27th April 1973]

Director Leody M. Diaz Cinematography Enrique Gonzales Music Carlos Rodriguez

Cast Romy Diaz, Roberto Gonzalez

ACTION

1973 – Tayo’y Mag-Basketball (Liberty Pictures)

[Release date 30th August 1973]

Director Leody M. Diaz Screenplay Manuel Songco Music Carlos Rodriguez

Cast Romy Diaz, Liza Lorena, Vic Pacia

COMEDY

1973 - Darna And The Giants (Tagalog Ilang-Ilang Productions)

[Release date 22nd December 1973]

Director/Screenplay Emmanuel H. Borlaza Based on the komik serial by Mars Ravelo Guest Director Leody M. Diaz Executive Producer [uncredited] Espiridion Laxa Cinematography Ben Lobo Music Tito Arevalo Theme Singer Neddie Decena Editor Gervacio Santos Art Direction Ben Otico Set Decoration Alfonso Socito Prosthetic Makeup Cecille Baun Production Manager Bonnie Esguerra In Charge Of Production Cayetano B. Lalic Production Manager Leo Valdes Assistant Director Tito C. Sanchez Property Masters Rolly Tubig, Oscar Ullegue Assistant Art Director Ambrocio Diaz Sound Engineers Greg Ella, Jun Ella Sound Lazaro Guinto Sound Editor Jay Jacinto Sound Effects Danny Salvador Special Effects Jessie Sto. Domingo Special Photographic Effects Tommy Marcelino Titles/Layouts Delfin Antonio Fight Director Romy V. Suzara Stunt Coordinator Danny Rojo Assistant Camera Johnny Araojo Second Unit Camera Fermin Pagsisihan Still Photographer Luciano Punzalan Electrician Romulo Sarmiento Lab Technicians Exequiel Betis, Mauro Navia Assistant Film Editor Ferdie Salvador Operator: Sigma Mariwasa Manny Andrada Printer Jaime Ranches Schedule Master Oddie Reyes

Cast Vilma Santos (Darna/Narda), Divina Valencia (Giant), Helen Gamboa (X3X), Rosanna Marquez, Loretta Marquez, Desiree Destreza, Florence Aguilar (Digna), Romeo Miranda (Romy), Pepito Rodriguez (Doctor), Cesar Ramirez (Giant), Zandro Zamora (Giant), Max Alvarado (Giant), Ike Lozada (Giant), “Katy”/Kathy de la Cruz (Lola), Don Don Nakar (Ding), Renato Robles, Danny Rojo, Protacio Dee, Cris “Buddha” Cruz, Jing Caparas, Pol Ramos, Beth Bernal, Johnny Tania, Emil Arca, Kiti-Kiti, Romy Luartes, Ernie David, Jimmy Reyes, Lito Francisco, Glenn Bautista, Kent Gonzalez, SOS Daredevils, Thunder Boys, [uncredited] Tony Ferrer (Tony Falcon, Agent X44), Gloria Romero (Aswang Teacher), Lotis Key (Lost Villager), German Moreno (Fake Darna), Rod Navarro (Godfather), Georgie Quizon (Frightened Villager), Ben David (Taong), Edgar Mortiz (Taong Bayan), Leopoldo Salcedo (Mayor)

The Planet Women: Lorelei, Elizabeth Vaughn, Karina Zawalsky, Lorna Locsin, Anita Lincoln, Cristie Soriano

The Planet Men: Karlo Vero, Dave Esguerra, Robert Miller, Greg Lozano, Bong Barredo, Ricky Valencia

FANTASY/COSTUMED SUPERHERO

1974 – Cosag (Dukeland)

[Release date 18th January 1974]

Director Leody M. Diaz Screenplay Henry Cuino Cinematography Zosimo Corpuz Music Carlos Rodriguez

Cast Vic Vargas, Johnny Delgado, Jing Abalos, Edgar Salcedo, Renato Robles, Val Dalton, Bert LeRoy Jr

ACTION

1974 – Kung Fu Master (Pacific Films/Jowell Film Productions)

[Release date 23rd June 1974]

Director Leody M. Diaz Story/Screenplay Wilfredo D. Nolledo Associate Producers Fidel Isip Jr, Roy Sangil Cinematography Ricardo M. Herrera Music Carding Cruz Editor Teofilo de Leon Unit Coordinator Jun Montemayor Production Manager Leonides D. Laxa Associate Director J. Erastheo Navoa Sound Supervision Luis Reyes Sound Effects Demet Velasquez Field Soundman Joe Fortuno Assistant Cameraman Arturo Capulong Associate Editor Nel Crisostomo Assistant Editor Benigno de Leon Prosthetic Makeup Cecile Baun Makeup Artist Cherry Biognoso? Schedule Master Jose Dominguez Properties/Setting Joe Flores, Tony Pangilinan Stills Eddie Villanueva Props/Effects Jesse Sto. Domingo Fight Instructors Tony Ferrer, Rey Sagum, Val Iglesia Assistant Production Manager Roseo “Boy” Huerto

Cast Tony Ferrer, Lotis Key, Romy Diaz, Cesar Ramirez, Omar “Boy” Camar, Rey Sagum, Val Iglesias, “Chito”/Franco Guerrero, Protacio Dee, Virginia Montes, Patria Plata, Karina Zawolski, Joe Cunanan, Steve Alcarado, Ben Dato, Sancho Tesalona, Carmen Romasanta, Nonoy de Guzman, Doming Reyes, Mona Morena, Rusty Santos, Antipas Celerio, Rudy Dimalanta, Marcelo Rocel, Tony Zabalas, Max Alvarado, Ruel Vernal, Romy Nario, Danny Rojo, Ernie Ortega, Rocco Montalban, Ramon Olmos, Pons de Guzman, Lita Vasquez, Israel “Cisco” Oliver, Tony Nepomuceno, Pol Ramos, Boy Nuguid, Lauro Flores, Jaime de Vera, Oscar Reyes, Jay Grama, Jun Laynes, Rolan Falcis, Mando Pangilinan

KUNG FU

1977 – The Bionic Boy (BAS Film Productions Inc)

[Also released as "Trionic Warrior" (unconfirmed), "El Nino Bionico" (Spain), "Il Piccolo Superman" (Italy)]

Director Leody M. Diaz [some sources list Bobby A. Suarez as uncredited co-director] Producer/Story Bobby A. Suarez Screenplay Romeo N. Galang Associate Producer Steve Nicholson Director of Photography Arnold Alvaro Editors Romeo N. Galang, Leody M. Diaz, Hung & Cheung Music Ruben Sabiñano [IMDB lists him as “Ruben Schimano”] Additional Arrangement Neo Ragas Assistant Director Pepito Diaz Special Effects Apolonio Abadeza [IMDB also lists Ron Rogers] Action Directors Danny Rojo & Alex "Boy" Pecate Production Manager Melencio (Jun) Montemayor Assistant Production Manager & Paymaster Cheryl Ann Flores Associate Cameraman David Hung 1st Assistant Cameraman Rey Sempio 2nd Assistant Cameraman Rolando Toralba Sound Recordist Blandino Acuin Chief Gaffer Illuminado Cruz Electrician Benny Makabale (Macabale?) Assistant Electrician Dalmacio Legaspi Generator Man Oscar Infantico Setting Director Ambrocio Diaz Still Photographer Eddie Villanueva Schedule Master Willie Henson Wardrobe Girl Elizabeth Dauz Makeup Artist Aida Ortea Lay-Out Artist Eddie Domer Catering Services Margarita Lopez

Cast Johnson Yap (Sonny Lee), Joe Sison, “Chito”/Franco Guerrero, Danny Rojo, David McCoy, Ron "Skip" Rogers, Romy Diaz, Subas Herrero, Clem Parsons [IMDB listed as “Clem Persons”], Omar Camar, David Fry, Steve Nicholson, Karim Kiram, Ruben Ramos, Boy Pecate, Lorli Villanueva (Joanne Lee), Kerry Chandler, Menita Bumanglag, Susan Baecher [IMDB listed as “Susan Beacher”], Carole King, Protacio Dee, Joe Cunanan, Vic Romero, Alfred Raymond, Ronald Baecher, Debbie Rogers [IMDB listed as “Debra Jean Rogers”], Kathleen Scherini, Cherry Grant, Carolyn Sullivan, SOS Daredevils

KUNG FU

"The Essence Of Goon": Rommel Valdez, Bert Vivar & Danny Rojo interview 2010

2011-09-11T23:16:00.011+10:00

Rommel teaches me how to roll with a film punch

“THE ESSENCE OF GOON”

A conversation about Filipino action or “goon” films with the goons themselves, stuntmen, character actors and fight directors ROMMEL VALDEZ, BERT VIVAR and DANNY ROJO (with FRANCO GUERRERO) chaired by Andrew Leavold; a round table in a busy Chinese restaurant in Manila 02/11/10

Chinatown is only slightly less dangerous than Quiapo, its tight streets packed with street vendors, hoodlums, cars and tricycles, and of course the old-fashioned horse-drawn buggies lying in wait for Taiwanese tourists. It’s only a stone’s throw from the home of the The One-Armed Executioner, Franco Guerrero, and he’s invited Dani and I to dinner in his favourite Chinese restaurant with his Goon Squad.

Aside from a few lines here and there, Franco hasn't aged since the Seventies, when Bobby Suarez was turning Franco into an international action star. He has the same matinee looks, and exactly the same pompadour; there must be a One-Armed poster locked away somewhere covered in creases and cracks in the ink. Across the table are three of his co-stars: Danny Rojo, Rommel Valdez and Bert Vivar, all stunt guys and character actors – in B films, known affectionately as “Goons” – and all familiar faces from around 1500 films throughout the Sixties and Seventies, the decades which saw the proliferation of a peculiar kind of Filipino action film heavy on stunts and hand-to-hand combat, and with the emphasis on the bad guys (“contrabidas”) and their goon armies. Two hours of hardcore interviewing later and I’ve tapped into the Goons Brain Trust, nailing what I describe to them as “the Essence of Goon”.

From left to right: me, Rommel Valdez, Bert Vivar, Rommel's son, Danny Rojo, Franco Guerrero

Rommel: I am Rommel Valdez, a former movie stuntman, then became a leading man in some of my movies, I started from town, then grows to town to town, that’s how I fulfil my dreams for being a movie actor.

Andrew: And what year did you start in the movies?

Rommel: Oh, I have been in the movies for three decades – Seventies, Eighties, Nineties.

Andrew: What was your first movie?

Rommel: My first movie was Diego Condenado (1972) with Roberto Gonzales, the Karate King. I was introduced there as his second lead in the movie. But it seems that I am the leading man when the movies were finished, because the producer used to build me up to be one of his leading men in his productions.

Andrew: Who was the producer?

Rommel: Charlie Odonez, Gerald Productions. He’s now in New Jersey.

Bert: I am Bert Vivar, I was included in this movie before, I was a member of the Thunder Stuntmen. Then I starred in this movie, when I saw this character actor Bino Garcia…

Rommel: He’s very good looking!

Bert: …he was very good looking before (laughs). Wait til you see his face, this guy! He saw me before, I was a member of YMCA before here in Manila. He says to me, “You want to enter the movies?” “Of course, it’s my dream!” It’s like what Mr Rommel Valdez said, without any money included. So I made a movie with this guy Fernando Poe Jr, with Ramon Revilla Sr. Actually I’m doing a movie now with the King of Comedy, Dolphy. It may be shown at this coming Festival in December. Father Jejemon (2010) is the title and the director is Mr Frank Gray Jr. So I’m happy, I’d already met the King of Action, Fernando Poe Jr, I sing with them, while FPJ was still alive I was doing singing with him, he was very fond of singing, like the song (starts singing) “Smile though your heart is aching…” (the rest of the table starts laughing) That’s part of our life in showbiz.

Rommel: Sometimes crying!

Bert: That’s the logo of our showbiz, it’s two faces – one is laughing, one is sad, crying. So I’ve reached the age of…OK, never mind! (laughs)

Danny shows Rommel and I a coin trick

Danny: I am Danny Rojo, but for being a stuntman I used to be Sonny Torrente. I used to do jumps in the circus. Do some jumps, some stunts, we called it Cirque de Diablo – a ring of fire, then I’d do turn around and stand downwind. One day the director, the late Armando Garces, used to see my ability for being a stuntman,then he changed my name as Danny Rojo. During that day, because he was going to build up Tony Ferrer. That was 1962, I was contracted by Tagalog Ilang-Ilang exclusively for Tony Ferrer, because I did some karate – I’ve been a member of the Philippine karate team in Seoul in Korea, that was 1968. After that I started from the lowest scenes as a stuntman, and then as double, I doubled almost all of the character actors and all the bidas, the lead actors. And sometimes I used to double the leading ladies!

Andrew: Did you put a wig on…?

Danny: Yes!

Rommel: Sometimes I got to double myself!

Danny: When I was being contracted by Tagalog Ilang-Ilang, I did all the risk jumps of Tony Ferrer. Then I was contacted by one of the producers, also a character actor, Efren Reyes Sr. That was my first bida, lead actor, Brando Maskardo (year unknown).

Andrew: Was that a cowboy film?

Danny: Western, yes. With Efren Reyes, he was my director. But, sorry to say, he passed away because he won a million pesos at a horserace.

Andrew: And dropped dead?

Danny: So for being a lead male actor, it goes down, because my producer is already dead! So I started from stuntman, a double, and at the same time fight director, up to be a character actor, and stayed there. And at the same time there is already an effectman (special effects) during one of the films, and they hired me. “I don’t know how to do that, because you have already an effectman?” “No, the director is requesting you.” So, you’re not going to back out! I made a mirror, it’s meant to be boxed (punched) by a woman. So I made a trick (mirror). And at the same time, during the preparation, the director asks through the headphones, “You ask Danny Rojo to give her some instructions.” So at the same, for the love, and for the sake of art, and the safety of the actress, I was inside, holding the mirror. “When I say, you hit it…” But in spite of that I make some protection on the hand - some iron, then prosthetic makeup, and then she punches like that. So it happened we made good for take one. But I prepared another one for take two, for safety.

Andrew: Rommel, can you tell me more about working with the SOS Daredevils?

Rommel: When I entered the SOS Daredevils, the SOS were still there for maybe ten years. I just brought myself there in jeans, I applied for stuntman, if I qualified.

Andrew: Where did everyone train?

Rommel: There was a ground here in Manila, just a ground, corpse bones (laughs). Not mattresses, no anything. You just roll there, jump there, dive there, that’s all. They will serve you if you’re good enough, no gadgets for the shooting. Then we do a test, ok you can be qualified to be a member of the SOS Daredevils. They have discipline, they have some by-laws that you have to respect, from producers down. But now, SOS is no more, because it’s now individual stuntmen.

Andrew: Sometimes producers would get two or three teams!

Rommel: But we, we are a team, you can depend on us.

Andrew: You could say that SOS Daredevils, along with Thunder Boys and TNT, these were maybe three out of the five top stunt teams?

Rommel: Yes.

Andrew: Who were the other professional stunt teams?

Rommel: Number one was SOS.

Danny: Some of the SOS stuntmen, from stuntmen up to being leading man, came from SOS.

Andrew: So leading actors like Dante Varona…

Danny: Dante Varola, Lito Lapid…

Andrew: Who were the other SOS guys who did well?

Danny: Rommel Valdez! Jing Abalos. Sorry to say, Jing Abalos is here (points to ribcage), Rommel Valdes is here (point to forehead). If you are a young actor, and a lead man, or the bida, you’re going to fight this (points to Rommel). Is it possible that you can fight three big people? I’m telling the truth. So Jing Abalos doesn’t go up further than this (points to ribs again). In TNT Stuntmen, there are plenty being character actors. Ronald Arceo, Stella Marie. Cesar Ramirez, he used to go to TNT for some instruction.

Andrew: Who were the head guys in TNT?

Danny: I used to be the President, before Totoy Torrente. Every year they had a special occasion for the election, who will be the president. I defeated Totoy Torrente. But I do lots of the stunts, I used to be a lead stuntmen in the TNT Circus.

Andrew: With the TNT guys?

Danny: I’d go to provinces. I used to jump through a ring with plenty of blades going towards the centre. Without a scratch. And doing the Cirque du Diablo, a big round with explosions and fire. Boom! Then I’d somersault through that.

Andrew: Who were the guys you could depend on in TNT?

Danny: Totoy Torrente. He used to teach me. He was a character actor, he used to play Japanese officers during those days. He was a little bit smaller than me.

Rommel: He looked like a Japanese.

Danny: Yeah! And he spoke Japanese. Japanese slang. Not real Japanese.

Andrew: Like how “Tsing Tong Tsai” was Chinese gibberish?

Danny: During those days, a director would look – “That is Sonny Torrente!” Then Armando Garces, number one director in those days. The legman, “You phone this number, Danny Rojo.” The legman came here, (I said) “Danny Rojo, that’s not me! I’m Sonny Torrente!” “No, the director gave you this name…” “Which director?” “Armando Garces.” “Okay…” During that time I didn’t know how to write Danny Rojo. I signed, “Danny Rojo”. Then, it so happened I was a lead actor, and my producer won a million in horseriding. He didn’t get his money! The ticket was given to some guys watching! Somebody got the ticket!

Rommel: If you are holding the ticket, you are the one to cash it. You are the owner!

Andrew: Bert, let’s talk about your experiences becoming a stuntman.

Bert: I was working at the government centre, I worked as an official. Somebody saw my body, and said become an actor. I started to join the group, the Original Thunder Stuntmen.

Andrew: They invited you to join?

Bert: Yes, I joined them, I was rehearsing one month. First movie I was included with FPJ, Tatak Ng Alipin (1975). I became a friend of FPJ. I was invited by another director, because it’s my dream. I was happy when I saw my face in the movie. Then I continued rehearsing. There are so many jealous about me, because in the movies you’re in good shape. We did our exercises in a cabaret in Makati. Santana Cabaret. At midnight. The floor was much smoother than what Rommel said about the SOS. It was wood, so it was clean!

Rommel: I made a movie titled Itong Panagupa (1974), I am the leading man with Virginia, the wife of Jun Aristorenas. There was a scene there, I was on a motorcycle, I used to jump from the motorcycle to the running track, there are three goons and he (points to Danny) was one of them. I jumped from the edge of the bridge onto the expressway – I did it two times because the first time, the other camera didn’t work. When I was in the air, they yelled out “Cut! Cut!” Then I did it a second time – from the motorcycle, then jumped to the bridge fighting the three goons, still running, then down… I did it because I was the leading man.

Bert: He did all his own moves.

Rommel: During the time. But now I am full of nerves! (laughs)

Andrew: This is before Jackie Chan, before Western audiences expected their leading men to do their own stunts?

Rommel: That was 1975 (actually 1974).

Andrew: It seems like the idea of the stuntman-actor has really been developed in the Philippines, more than any other country. It’s really a Philippine phenomenon before the Hong Kong action films, before the Hollywood films about stuntmen… Why do you think that stunt guys are celebrated in the Philippines?

Rommel: And we are not invited for any kind of insurance! Even if you do a death-defying stunt, no insurance, not even a single centavo. And they don’t want us to be a member of the insurance company. Because they tell us we’re doing it for real, not accident. They tell us, “When you suffered the accident, it comes that you want it. If you are a stuntman, you are doing it for real, for the risk.”

Andrew: Then it would be up to the producer to compensate you?

Rommel: Sometimes, but not all the time. I can assure you that during the time, no strings, no ropes, no gadgets. Super risky.

Andrew: Danny, why were these kinds of action films, with realistic stunts and action scenes, even more popular in the Philippines in the Sixties and Seventies than anywhere else in the world? Why are there 200 to 300 films made a year, almost all of them goon films?

Danny: Because the stuntmen here in the Philippines do it realistic. More real, and without mattresses, cigarette boxes – we can do these stunts. I was doing stunts when I used to double Lito Legaspi, that was an emergency. I was the fight director, and I’m teaching the lead star Lito Legaspi, with Alma Moreno, and at the time the production manager got a double for Lito Legaspi. And I’m sorry to say the double was smaller than Lito. And Lito and I are the same height, and with the same build. Lito himself said, “Why are you looking for a stuntman? He is a stuntman and a fight director at the same time! He can do it!” OK, we changed clothes. “Ready!” No net, no mattress, not anything. I just asked the propsman, “You chop me some coconut leaves. Four or five. Just put them there.” That was about fifteen feet. Because I was being shot by Alma Moreno. So that’s real! I fall down there (smacks hands together) with the help of these coconut leaves. That’s it.

Andrew: Why were the films so popular with audiences?

Danny: Because they love the lead actor to be from the start of the fight, he has been defeated, but he will revenge. And you do some stunts and boxing, fighting, it’s almost real. Almost about an inch (away). Pow!

Andrew: So the audiences love realism, and they love tough guys?

Danny: I used to do stunts with the late FPJ. We was doing with bed made of bamboo and wood, then FPJ told me, “He boxes me. I’m going to jump up to him, then I’m going turn and drop on the bed. You know the audiences, the crew, the cameraman, they all clap. Because they see the realism. The cameraman, the actors and actresses, they see it, they used to clap. Almost an inch, and FPJ had big fists. Pop!

Andrew: Do you remember witnessing any stunts go horribly wrong?

Bert: We were making this movie, the director was Jun Posadas, I forget the title. The cops are running that way, and there is a beach here. Jay Ilagan is the lead man. The stuntman is here, he’s going to jump at the hoop, he falls, he protects the guy. He died. The producer said OK, there is a terrible stunt. We were doing a movie with Chiquito, we’re riding on a horse, there is a mango tree, we passed by there and we had to duck. There was another guy, he’s leading, he hit the tree. He died.

Rommel: The worst stunt I ever saw, it was a movie called Kill… The Carnapers (1974). There was a car chase, they crash into a guard house. There is a guard up there. They were going to hit the middle post of the guard house, with the people on top. There are four posts…so the driver bumps all of the centre. You see what happened to the person? Boom! The stunt guy, crushed to death, on the spot.

Andrew: What happens to a stuntman if he’s killed on the set?

Rommel: The producer will bury him! (laughs) Some money for the family, and that’s OK.

Andrew: I’ve noticed a stuntman can become a leading actor and also a film director. Two of the best known SOS Daredevils to become directors are Eddie Nicart and Willy Milan. What do you think would make a stunt guy a better action director?

Rommel: Maybe you have to study.

Andrew: Maybe it’s a detailed knowledge of stuntwork?

Rommel: Experience… because you’ve done it person. That’s why they become a fight director, a movie director, sometimes leading man.

Andrew: Out of the karatistas, who was better, Roberto Gonzales or Tony Ferrer?

Rommel: I can tell you it was Roberto Gonzales.

Andrew: Everyone knew this?

Rommel: Yeeees! There was a time when they go to Korea. Tony Ferrer was fighting, but instead Danny Rojo did the tournament. He’s the one. Danny Rojo, am I right?

Andrew: I remember seeing photos of Tony Ferrer as captain of the karate team representing the Philippines. Who was the better karatista, Roberto Gonzales or Tony Ferrer?

Danny: To tell you there truth, it’s Roberto Gonzales. He’s a karatista. Tony Ferrer is an action star. Because I teach him, and at the centre I’m the fight director, at the same time I’m the double. So I double him, and I teach him how to do karate. But he is not a real karatista. Sorry to say. One thing more – this person here on my left, Franco Guerrero, he is one of the international actors. I used to double him, and at the same time, his fight director. In One-Armed Executioner I used to get up the stair with one hand. Then on the top of the fourth floor you’re going to run about four inches straight ahead, outside of the fourth floor!

Rommel: Where did you put your other hand?

Danny: I tied it here (puts his hand down the front of his pants) so I can get my balance! (The entire table cracks up). In one of the scenes, he runs to the top, do a flip, then do some karate. I changed him. I used to double him. But in some of the scenes, he’s the one doing it. Like in the bar, he was sitting there with one arm – I taught him how to do it – “This bit, then this bit…” Then during the take, he’ll do it himself. Anything happens, I’ll save him!

Andrew: You worked with Bobby Suarez on a number of pictures – what do you remember about Bobby?

Danny: Very good. Straight guy.

Andrew: He was making films for the international market, did he have higher standards for stunts and effects?

Danny: He used to get some extraordinary special effects, fight directors, but he knows it’s good. And what is his bright idea, I can give it. Any suggestions, I’m open. So I do it with his idea, not my idea. So we blend together. At the same time, I’m going to ask my actor, if he can do this like that, when he says yes, OK, I’ll do a little upgrade. Then we do it. So we have combined and joined forces to make a movie more beautiful and more exciting.

Andrew: I know Bobby used Alex “Boy” Pecate on several films as fight director – what do you remember about him?

Danny: Boy Pecate is already a karatista. But during the making, I am the fight director. So I don’t mind him being a karatista or anything. But I’m in mind for the good idea of the director. What the director wants, the fight director gives. And you can suggest if you want it - if I’m doing the wrong instruction, you can tell me.

Andrew: When the karate craze was in the late 60s, did you have to learn karate on top of screen fighting?

Rommel: You must have a background of karate, and then you must do more than the cinematic fighting.

Andrew: So there’s real karate, and there’s movie karate? And that’s what the stunt teams are teaching you?

Rommel: If you fight for real in the movies, it’s not good to see. But if you apply it in a cinematic way, you will see the difference. It’s much better looking if you do it in a cinematic way.

Andrew: What is more fun – playing a bida or contrabida?

Rommel: It’s the same.

Bert: For me it’s the same, as long as you are with each other, having a joke with each other.

Andrew: It’s not more fun playing the bad guy?

Rommel: (laughs) The relationship, when you are making the movie, you treat them with respect, like your father and mother, you respect each other, you love each other.

Andrew: All you guys would have been working on hundreds of movies together!

Rommel: We are treated as brothers.

Andrew: This is an extended family?

Rommel: If you have a little problem, they can give you some help. That’s why they say there’s no business like show business.

Franco: We call this (points around the room) the Seven. In this industry there are seven – was eight, one guy is already dead – we belong to different aspects of movie making. We have the director, we have the actor, the stunt men, we are the solid group, along with Tsing Tong Tsai and Romy Nario and Robert Miller. And also the fake Muslim, Usman Hassim (laughs). We are a solid group. Every now and then we meet, even if we are not making movies together. Romy Nario doesn’t move around a lot, he’s already old.

Bert: He used to be the double of Joseph Estrada.

Franco: He looks like Joseph Estrada. He’s also a good stuntman from the SOS.

Andrew: Which is why he’s in all of Eddie Nicart’s films. I’m really interested to know what it was like to see the kung fu explosion in the early 70s. All of a sudden you have local copies of the Hong Kong films. Do you remember when everyone went kung fu crazy?

Danny: During those days, the trend was kung fu. So all of the producers and some of the directors, they wanted their lead actor to know how to do karate. This guy on my left (points to Franco) is a kickboxer. He’s a real player.

Andrew: But he was already a kickboxer. The top action stars needed to learn.

Danny: So then (the producers) interviewed contrabidas who know karate. So combined with a fight scene with him and the bright idea of a director, joining force with the fight director, they make the sequence effective. As for me, I would like to be a contrabida, they know you! When somebody gives you bullshit, you give back harder!

Andrew: It’s a reaction – a violent reaction! Who were the good kung fu guys in local cinema?

Danny: Ramon Zamora, Robert Lee, Rey Malonzo.

Bert: There was also Bernard Belleza - he’s passed away already.

Danny: Belleza! Bernard Belleza is also a real karatista. I used to fight with him in tournaments.

Andrew: Was he a karate guy first, or an actor who learned karate?

Danny: He’s a real karate (guy)! He can break three hollow blocks like that. He can break them with his foreheads.

Andrew: So Roberto Gonzales and Bernard Belleza were the real deal.

Danny: And Mr Franco Guerrero!

Rommel: What about Trovador Ramos? (laughs)

Danny: Trovador Ramos. He told me during those days he was a 14th Dan. And I’m dalandan! (Tagalog for a type of orange) I’m bigger than him!

Andrew: But the posters said he was. And I believe them.

Rommel: I did a movie with him, we were the two leading me. The title was Red Belt Masters (1974). It came fourth in the Metro Manila Film Festival at the time. A stuntman, and a 14th Dan Blackbelt! (laughs) That was the billing.

Andrew: I remember seeing the MMFF lineup at the time, and half of them were kung fu films. I think that says how popular kung fu films were at the time. And everyone was saying that Ramon Zamora WAS the Bruce Lee of the Philippines. But he’s a dancer! What was he like as a screen fighter?

Bert: We also have an action director who was before a dancer, that’s Jun Aristorenas. He’s not really a tough guy. Only cinematic.

Danny: Like Tony Ferrer, because I used to double Tony Ferrer.

Franco: Tony Ferrer is a good dancer. And Ramon Zamora.

Bert: They have good movements. And Rey Malonzo, we used to have movies with karate, I used to be the fight director.

Andrew: It seems like there was a time when everyone agreed Ramon Zamora was the Bruce Lee of the Philippines, and then at some point Rey Malonzo became the Bruce Lee. Who should have been the King of Kung Fu?

Danny: During those days, Ramon Zamora is the one. Second is Rey Malonzo. In real life? They’re nothing. Like Tony Ferrer.

Franco: Tsing Tong Tai!

Danny: Tsing Tong Tsai is a fighter. Kung fu.

Andrew: He’s a genuine?

Danny: Genuine. And the guy on my left, genuine. I’m second to him! (laughs) Because I was there, they were using only my name, and you will not see me in the movie. Because I’m the fight director! Then I used to be a director, but you will not see “Directed by Danny Rojo”. No. “Dante Varona”.

Andrew: Why “Dante Varona”?

Danny: Because he is the producer, and he is the bida! (howls of derision)

Andrew: Tell me more about Dante Varona as a performer.

Danny: Dante Varona is a stuntman.

Rommel: SOS Daredevils also.

Danny: Dante cannot do some fight scenes without me. At the same time I was the director – the name I’m using is “Dante Varona” (laughs). And the producer, his wife. I do the best, for Dante.

Andrew: How good was he?

Danny: For being an actor he is very good. For being a stuntman, he has to get a double. He cannot stand in for himself. He jumped the San Juanico Bridge (for the 1981 film Hari Ng Stunt/“Stunt King”) – I was to have jumped there, because it’s dangerous. “Danny, what are you going to do on the bridge?” “You get four boats and a net, and you make a net underneath.” Then I was left behind. They get only the idea, you see what I mean? I would not do it if you don’t have four frogmen underneath. Then I told him, “You cannot jump there. You will only risk your life because you don’t know how to jump.” It’s so lucky that one of he was bumping his head.

Bert: When he came up the blood was coming out.

Danny: The nose, ears, mouth… I told him, “If you jump like that, jump straight. In mid-air, you bend your body, then head.” What did he do? He jumped straight down. The water hit him. It’s so lucky he wasn’t killed by that.

Andrew: But he wanted to be seen to be doing it for real. No matter what happened.

Danny: He’s so lucky. No frogmen, no net, only bunker.

Andrew: You guys have played goons before. What does it take to be a good goon? What is the essence of “goon”?

Rommel: You have to listen to your director. If the director tells you, “You must act like this”, that’s the first thing. Because if you do your own gimmick, the director will tell you, “You’d better go home. Because I’m the director, you must follow me. I’m the captain of the ship.” Sometimes you must be good in timing when it comes to fight scenes. Timing is the most important when it comes to fight scenes. Because if you are out of tune…

Bert: Like singing.

Andrew: So it’s like being a member of a basketball team? You all have to move as one?

Rommel: Yeees. You must follow the coach to win. And especially you have to wear your nice outfit. To be a good bad guy, you have to be seen to be an opponent of the good guy. We’re the bad guys, we have to wear nice outfits.

Andrew: Not just a t-shirt and jeans?

Rommel: No!

Bert: And the facial expression.

Rommel: You have to study at home. You must face the mirror (goes through a series of grimaces).

Andrew: Is that why a director will hire an entire stunt team – because you guys all work so well together?

Bert: Because we are in a routine together already. “So you know what you’re going to do – you’ll hit Bert…”

Andrew: It means quicker, faster…How long is a typical action movie shoot in the Philippines?

Danny: It depends upon the producer. If they have any suggestions you have a conference, the idea of the director and the fight director, they can compute it. Can you do it for fifteen days? The most time I did, I shot it for twenty days, day and night. That’s the maximum.

Andrew: Some cheaper producers might try to get it down to fourteen days?

Danny: We can adjust it. Because some of the actors might say, “I’m not available on Monday…” The director and assistant director can adjust. But if all of the available actors and actresses will be on the same set at the same time, you can finish it in fifteen days. I used to make them in fifteen days – with twenty horses! In Antipolo. Rancho …. We used to rent houses so we stayed there.

Andrew: Until five o’clock in the morning.

Danny: No. Seven o’clock on set. Sunshine, then up to eleven at night. Then resume 1pm sharp.

Andrew: That’s still a gruelling shoot.

Danny: And we would use three cameras. One full shot, and one point of view, all running at the same time. You’d have a rehearsal, you’d say your lines on the full shot – this camera rolls from the start. Then left camera will start when he asks his question. This camera (right) will be your closeup. When you’re going to answer, this camera will roll. This cameraman had to cue from the lines.

Andrew: So they’re not wasting film?

Danny: No. It’s already edited. It’s different now, because we have the new cameras, we don’t see the editor, the laboratory, we just rewind.

Bert: Using this film, 35mm.

Andrew: It was all shot in 35mm?

Bert: Yes. But now it’s digital, so you can just shoot and shoot. Not like before.

Andrew: How long would post –production take…?

Danny: The fastest takes about two weeks. Dubbing, scoring, editing, at the same time. It’s a finished product.

Andrew: Who worked with Chiquito? He did a lot a lot of karate films with Bernard Belleza.

Rommel: His kind of style, he’s more in cinema fighting. Not like Roberto Gonzales, a real karate fighter with cinemamatic...I did a film with Chiquito, the title is Rocky Four-Ma (1986). The format of the movie revolves around boxing. He was a boxer, I was a boxer, he used to beat me. I am “Kid Valdez”, my name in the movie. They show our exercises, and when the fight comes, of course he will win, I am only the villain. I cannot hit him because the picture of my wife is on his chest!

Andrew: Who were your favourite co-stars?

Rommel: The comedians, we were happy to go with them. If you want to be happy, you join the comedian. Even when you are drinking and you have two comedians there, all you do is laugh!

Andrew: In the Philippines there’s the Goon Comedy. A comedian like Dolphy would do a comedy film with lots of serious action.

Rommel: So Dolphy has two special deals – comedy and action – while the serious ones only have one. Like Tony Ferrer, he will never do a comedy. That’s why maybe Dolphy is more attractive…

Andrew: Broader. Those films work on two levels.

Rommel: But they have the same income when it comes to box office. People patronize their movies because they like serious action, action comedy. The same income, the same record.

Andrew: Every genre has a spoof – and they all have a Dolphy or Chiquito spoof. It’s almost expected that a successful film will have a parody.

Franco: Like Palito, Rambuto (1986)!

Rommel: No Blood No Surrender (1986)…

Andrew: James Bone (1986)!

Rommel: Palito does that also, a comedy and an action. A two-in-one movie!

Andrew: It’s confusing overseas – people see Palito, then an M-16, and it doesn’t make sense!

Rommel: It’s to entertain. It’s entertainment.

Andrew: So Filipinos love their comedies, and love their action films. Stick them together – BOOM! So at some point the action films start dropping in number – when and why?

Rommel: Number one reason is the piracy. That’s why all the big action stars lose their jobs, their idols for so long. They can no longer do their usual job as leading man. Fernando Poe Jr’s movies got pirated… So that is the first villain. Who is going to produce their movies? We are planning now to go back. Maybe we can make a movie, not only intended for the Philippines. You can have a comeback!

Andrew: And you learn from the past, from those guys like Bobby Suarez, who thought big, not just Metro Manila and the provinces.

Franco: If you reach India it’s a big market.

Andrew: Think America. Europe. Think big.

Franco: OK, never mind if we have so many pirates in the Philippines, we have so many other markets.

Andrew: You know, piracy is a terrible thing… (I take out a plastic bag filled with pirate DVDs from Quiapo) Rommel, when did you feel like the action movie roles were drying up?

Rommel: 1996, ’97… That was the year.

Andrew: What were being made instead?

Rommel: When that happened, most of the producers don’t go into producing anymore. There is no ROI – Return On Investment – anymore.

Andrew: So who do you have back then – Regal?

Rommel: Regal, Seiko and Viva. In the 90s, they are the only ones still doing movies.

Andrew: But not action films?

Danny: Not any more. That’s why all their old actors are working in television. No more movies.

Andrew: And they’re not like the old action stars.

Franco: They don’t even know how to punch! (laughs)

Andrew: Danny, when was the last time you were actor, fight director… How busy are you know?

Danny: I used to do some teleseries on ABS-CBN, as special effects.

Andrew: I guess there’s lots of fantasy series?

Danny: Yes, doing with harness, horror movies, like going up in mid-air.

Andrew: That’s what is popular now?

Danny: Not really popular. It depends upon the scriptwriter and the taste of the director.

Andrew: But that’s what work you are getting?

Franco: After all those experiences…all that expertise. It’s no longer there.

Andrew: What about you, Rommel? When did you stop?

Rommel: I stopped working when I suffered this heart enlargement. My liver, my lungs, all my major organs gave up, so I had to have my open heart surgery in Europe, two valves were replaced, my liver was full of water, my lungs, and I thank God I’m still here, hoping to make another movie. And I’m still praying for the time I wake up, “We have a movie to do!” I miss the atmosphere doing movies, you can’t buy that kind of experience.

Andrew: Dream jobs! And what about you, Bert? Other than the Dolphy film, when were your last projects?

Bert: As long as there are offers, OK. (Starts singing again, and the table cracks up once more)

We leave MXT Restaurant flanked by the Pinoy version of The Expendables, and Dani and later agree will never feel more bulletproof in Manila. Half an hour later we’re in a karaoke bar in the red light district of Malate watching Franco crooning Englebert Humperdink. Rommel trots out “I Can't Help Falling In Love With You” while Bert conducts the Doo-Wahs, to the toughest audience on record.

Radio stations in the Philippines advertise Drink-eoke; that night we invented Goon-eoke.

Nick Nicholson Chapter One

2011-08-13T17:11:00.007+10:00

Nick and I riding a jeepney in Caloocan City, July 2007

Thursday August 11th 2011 marked the first year anniversary of actor, writer and director Daniel "Nick" Nicholson's passing. As a tribute to our good friend, I'm reposting excerpts from Nick's book-in-progress PINOY CENTRAL CASTING, aka FISH HEADS AND RICE, a warts'n'all account of his experiences on and off the sets of nearly a hundred Filipino B films.

This first post is from Nick's sister on growing up with a born adventurer with a big heart. Many thanks to Cheryl for sharing her memories with us.

Daniel Patrick Nicholson was born in Detroit, Michigan April 19, 1952 to Wanda M. and Kenneth A. Nicholson. He was the youngest of 3 children. Kent and Cheryl were from an earlier marriage of Wanda’s, but were adopted by Kenneth. There was a 5 year difference in age between sister Cheryl and Dan, and 8 years between he and his older brother, Kent. Kent and Cheryl were understandably very close, so Dan was the odd kid out from the beginning. He was a cute little guy though, tow-headed (white-blond) and cheerful.

Shortly after his birth, the family moved to Redford Township, Michigan, a new suburb area just west of Detroit, where we lived in a modest 3-bedroom brick home. Dan grew up there, attending Fisher Elementary School, Pierce Junior High School, and Thurston High School. He did not finish the latter, choosing to enlist in the US Navy during the Viet Nam outbreak, following his older brother’s example (Kent had enlisted in the US Marine Corps following high school graduation). Mom and Dad signed for him to do so, at age 17.

Dan was an unruly youngster, full of the devil and mischief, who loved to play more than anything. He found it unfortunate to have to follow his straight-A sister through school, sharing some of the same teachers who unfortunately let him know he fell beneath their expectations. Having to always try to ‘measure up’ put a slight damper on his school-days’ love of learning. And he never found favor with his older brother, Kent, who mostly found Dan to be a nuisance with whom he had to share a room, a rowdy invader of his space, who broke his toys and collectibles, and usually got preferential treatment as the ‘baby’ of the family.

Dan was always sharp as a tack, but continually had to strive for acceptance and success with his siblings and family. Truth be told, I’m quite sure Dan suffered from ADHD, but that was unheard of in his growing up years, and so his antics were chalked up to chronic misbehavior. I remember fondly an elementary-aged Dan’s response to my exasperated mother’s question, “Danny, why can’t you just behave?!” ... he replied pensively, “mommy, I try SO hard to be good...but I just can’t!”

Our father was a strict disciplinarian who valued obedience, determination and education. He married late in life and found the raising of his children to be more than he could often handle. Dad’s job kept him travelling much of our growing up years. He was a good man, and a loving one in his own way. He was self-taught in so many areas, due to what he loved to call “his chequered career.” Our dad was a second generation descendant of English-born parents who settled in the Upper Peninsula to work the copper mines there, before moving to Detroit. Dad served in the Canadian Air Force, and loved being near the water. He loved books and music and took several continuing education classes as an adult to learn foreign languages. He loved to tell of tunnelling through snow as a kid in the UP just to get to school – and it wasn’t just the typical “be thankful” lesson to us kids, it was true. Ours was a nuclear family; we had little to do with extended family on either side.

Mom was an only child in her family, and “Gram” (her mother, Ethel Humphrey) was the stronger, loving one from the maternal side of the family. Mom was born in Ohio, having roots from Gram in West Virginia where she was born. We all spent lots of memorable times with Gram, and loved her dearly until she passed away at the age of nearly 102, in Livonia MI. She had spent her later years being cared for by Kent, as she suffered from macular degeneration and ensuing blindness. She nonetheless stayed active until the end of her life. Our mother was sick much of her life, fragile in many ways, and suffered from depression and many chronic illnesses; she had little but stressed nerves to contribute to the family life and raising of her children. A stay-at-home mom, she did the best she could to instil love and caring into all 3 of us. She currently is cared for in Albuquerque by Cheryl, where Wanda suffers from Dementia, strokes and diabetes.

Kent was the adored oldest child but the rebel of the family. He never fully accepted our Dad as his ‘dad’. Following his tour of duty with the Marine Corps, Kent joined the Detroit Fire Department from which he retired in the late ‘90s. He now suffers from diabetes, and after-effects of strokes. He and Dan had a falling out in Dan’s teen years, for which Kent never was able to forgive him, and consequently to this day will not speak of Dan. No amount of mediating by Cheryl or Dan was successful in resolving the relationship, sadly.

Cheryl was the typical middle child who pursued perfection and achievement and peacemaking; she was the only one to attend and complete college. She exhibited a flair for languages and art, and teaching. She attended U of Mich Ann Arbor, graduating with a BA in Spanish/Russian Lang. & Lit. and a teaching certificate; and pursued her Masters at U of TX Austin, but did not complete it. Instead she married and moved to NM where she did some teaching prior to starting a family. While experiencing 2 unfortunate marriages, she and young son, Kris, found The United Methodist Church where she has worked since the early ‘70's, and where she found a wonderful outlet for her creative artwork to this day. She also met her current husband Don, who added 2 more children to their family; they have been happily married in Albuquerque for the past 31 years.

Mom and Dad moved to Albuquerque in the early ‘70s, where Dad took managership of a small outlet store for hydraulic supplies. It was here that Dan visited at the end of his tour of duty, prior to returning to the Philippines.

Dad was heartbroken that Dan chose to leave the states; he foresaw that his youngest was headed for a difficult life (Dan believed he’d left his true love there; turned out to be a bar gal who was working the sailor boys). Dad did his best to lobby against Dan leaving. Partly out of anger, I believe, Dad was consequently not forthcoming with any help for disillusioned Dan’s initial plea to come back home after realizing he’d been duped. Dan had spent his severance pay. He had to pay a price for being “foolish.” Cheryl was newly married, and had just given birth to her only child, and so was unable to offer any monetary help, either. Her marriage fell apart not long after that, and so her focus was definitely not on Dan’s problems. Mother continued downhill with depression problems and ‘losing’ Dan didn’t help her situation any. Dad died of heart failure in the late ‘90s in Albuquerque. I remember reading Dan’s letters to him as he lay on his bed during his last days. We both cried for all the time Dad’s stringent nature had robbed him of being with his young son.

Growing up, we always had cats at home. Dan and I shared that love for cats. So far as I know we both continued to have them in our lives, and always considered them a big part of our family.

Living in a somewhat undeveloped area, there were creeks and wildlife near our home. Six or seven-year old Dan brought home a field mouse he’d caught at one point and was hoping to keep it as another pet (Mom relegated it to the garage). One day while we were all at school, mom reported seeing our cat running out from under the garage door with the poor mouse’s tail hanging from its mouth! The cat was delighted with its find - Dan was heartbroken. He had a very tender side to his nature, all of his life. [Such a dramatic difference to the characters he played in the Filipino movie business!] Another instance we laughed about was the day mom was locked out of the house by a very young and delighted Danny; she finally had to get a neighborhood little child to climb through the milkshoot to get back into the house! Mother was not amused.

We had the relatively ‘typical family life’ growing up. Vacations we enjoyed were always a treat, summer outings to Kensington Lakes for boating and swimming; Dan and I would help sand and revarnish Dad’s rowboat (all that was left of Dad’s Power Squadron days of boat building on the Detroit River), so that each Spring we could then row it across Kensington Lake to the Marina side where we’d store it for the summer, and picnic. From there, us kids would trek over to the main beach area for sun and fun. Once I was able to drive, just Dan and I and a friend or two would make this summer jaunt. Being staunch Episcopalians, Fridays were often a treat with dinner out at the local fish ‘n chips place for a deep fried meal of perch. Dan and I often remembered with amusement the time mother broke down and cooked Smelt for Dad at home one day, and we kids thought we’d die of the awful smell it created! Another trip we enjoyed was to ride the ferry over to Bob-Lo, an amusement park on an island in the middle of the Detroit River, it was always a day of great fun, marked by purchases of Bob-Lo sailor hats worn proudly.

Dan was the brunt of many jokes pulled on him by sister and big brother; but there are also fond memories of Dan and Cheryl singing as they did the consigned work of washing and drying the dinner dishes...hearing it always gave Dad great enjoyment. One chore we all agreed was the worst, however, was the obligatory summertime picking-up of fallen plums from the backyard plum tree. We didn’t eat many plums, and so the bulk of them over-ripened and fell to the grass, squishy and rotten and obnoxious! Each summer, our end of school year was marked by coming home to our Summer Chores Lists being posted on the broom closet door, making the occasion most bittersweet.

I lost a lot of time with Dan once I graduated from High School in ‘65, as I left for the University of Michigan where I grew to love being in that educational atmosphere. I came home occasionally, preferring to be with my peers, and others I thought better appreciated my elevated sense of being a college student. Dan was just entering High School, and was not enjoying it much. Mother wasn’t doing well with her “nerves.” I do not remember it being pleasant at home. Dan would try to connect with me, and unfortunately I was often too busy to think he could understand who I even was at that time. He enlisted before my graduation from U of M.

His early years onboard ship with the Navy were a continuation of his rowdy fun-loving nature. I remember reports of him getting into trouble for smoking weed and drinking and carousing; and for taking a swimming test for a buddy of his; we always looked forward to word from him, but with a mix of hopeful pride and terrible anxiety (smile).

When he appeared in Albuquerque in 1973, he spent a really pleasant day at my house with me. I remember being so surprised at how suddenly grown up and reasonable he’d become. I was pregnant at the time, and not teaching anymore but doing a lot of artwork. He came bearing an armload of art supplies for me!

I remember thinking how very sad it was that just when he’d become someone I’d like to spend time with, he was leaving, and most likely I would never see him again.

And so it was.

- Cheryl Nicholson Hicks, Albuquerque NM 9/2010

"Weng Weng is Agent OO" - a komik by Ronald Tan (2010)

2011-08-01T14:11:00.007+10:00

In October 2010 I met Filipino komik artist Ronald Tan, who at the time was finishing a project based on the life of Weng Weng. Ronald had contacted me several months before and asked permission to use my research - I said be my guest, and while you're at it, give Weng Weng's only surviving brother Celing de la Cruz a call and tell him about the project.

[From back left, anti-clockwise] Ronald Tan, Celing de la Cruz, me, and Celing's wife Editha

June 2011, I'm back in Manila, and Ronald hands me the finished komik which had won second place in a local comics' awards. We then drove to Celing's house to personally hand him the komik, a printout of my Weng Weng research, and a DVD copy of Machete Maidens Unleashed. I suspect Celing realizes just how widespread Wengmania really is!

Ronald's first printing has long since sold out, but he is planning on a second run in the next few months. In the meantime, here's the komik in its entirety - please enjoy!