[Philippines release date 4th June 1986, original title “Laban Kung Laban”]
Director Romy SuzaraScreenplay Jose Carreon Cinematography Ernie dela Paz Music Jaime Fabregas Editor Augusto Salvador Sound Rolly Ruta Art Director Bobby Bautista
Cast Rudy Fernandez, Beth Bautista, Ronaldo Valdez, Liz Alindogan, Johnny Delgado, Mario C. Montenegro, Delia Razon, Melissa Mendez, Zandro Zamora, Bomber Moran, Roberto Talabis
1982 - Raging Vendetta(Seiko Films/Cinex Films/F. Puzon Film Enterprises)
[Philippines release date 27th April 1982, original title “Bagong Boy Condenado”; also listed as “Boy Condenado”]
Director Efron C. Pinon Screenplay Mauro Gia Samonte [listed in the Cinex export version’s credits as Carlo J. Caparas – did he write the komik version?] Executive Producer Robbie Tan Cinematography Jun Rasca Music Ernani Cuenco [other sources list D. Subido] Editor Joe Mendoza Sound Effects Danny Sanches Assistant Editors Edgar Gutierrez, Cesar Baltazar English Adaptation Jess Ramos
Cast Rudy Fernandez (Boy Morales), Mario Montenegro (Captain Simon Morales), Charlie Davao (Hildo Morales?), Dexter Doria, Laarni Enriquez, Tony Carreon (Merly’s Father) [IMDB incorrectly lists Tetchie Agbayani]
1982 – Get My Son: Dead Or Alive (Bukang Liwayway Films)
[Philippines release date 27th May 1982]
Director Jose “Pepe” Marcos Story Felix E. Dalay Screenplay Jerry Tirazona Producer Precy Mendiola Talavera Executive Producer Jerry Paz Talavera Cinematography Rey de Leon Music Gabby Castellano Editor Gervacio Santos Art Director Rolly Sto. Domingo Production Manager Celso Paz Talavera Assistant Director Dante Javier Sound Effects Editor Rodel Capule Sound Engineer Robert TejadaColor Consultant Rafael Uy Publicity and Promotions Mar F. Cornes, Rod Samson
Cast Rudy Fernandez, Eddie Garcia, Vic Vargas, Perla Bautista, Marilou Bendigo, Phillip Gamboa, Nick Aladdin, Jing Caparas, Joseph de Cordova, Renato Del Prado, Paquito Diaz, Ernie Forte, Baldo Marro, Jose Romulo, Jun Santos, Larry Silva, Vilma Vitug (Vilma) [Greek VHS cover also lists “Rechard Folk” and Joan Beck]
1985 - The Day They Robbed America(Vanguard Films/Davian International Ltd/Sunny Films)
[Philippines release date 14th November 1985; original Philippinestitle "The Sangley Point Robbery"]
Director Manuel 'Fyke' CincoStory Roger Saulog Screenplay Jose N. Carreon Producer Charo Santos-Concio Executive Producer Simon C. Ongpin Associate Producer [Atty.] Rizal Guerrero Cinematography Ely Cruz Music Jaime Fabregas Musical Arranger Nonong Buencamino Supervising Editor Augusto Salvador Production Design Ricky Brioso Associate Director Jojo M. Lapus Sound Supervision Gaudencio Barredo, Rudy Baldovino Production Manager Hernan Robles Stunt Coordinator Baldo Marro Special Effects Mariano Garcia Technical Consultant David Anderson Art Director Randy Gamier Associate Art Director Bert Habal Set Man Jose “Pipoy” Reyes Jr Propsman Blandino Habal Wardrobe Master Rome Gonzales Wardrobe Assistants Dannie Lopez, Gener Brioso Makeup Artist Amparo Carolina Assistant Cameraman Culie Suriao Gaffers Edgardo Cruz, Leni Beltran Second Unit Cameramen Edmund Cupcupin, Pablo Bautista Field Soundman Willy Antonio Film Editor Toto Natividad Dubbing Editors Ben Salvador, Eddie Hucom Assistant Editor Danny Gloria Sound Effects Editor Danny Sanchez Production Assistant Kess Burias Field Accountant Beth Ajardo Schedule Master/Post-Production Coordinator Boy Dionisio Utility Edgar Almazan, Jun Villarama Service Drivers Adrian Abelino, Jo Vitacion Stills Nilo Odiaman Titles/Opticals Manoling Buencamino, Bonnie Austria
Cast Rudy Fernandez (Ruben Martirez), Rio Locsin (Rose), Donna Villa (Carol), Robert Arevalo (Martin), George Estregan (Putol), Edu Manzano (Bobby), “Deborrah”/Deborah Sun (Marissa), Arnold Mendoza (Eddie), Bomber Moran (Ambo), Jimmy Santos (Zosing), Ernie Forte (Elyong), Abbo dela Cruz (Doming), Roger Saulog (Dodong), Ruben Rustia (Mang Terio), Jose Romulo (Hepe), Johnny Vicar (Tenyente), James Acheson (Duke Carson), Rodolfo 'Boy' Garcia (Dolfo), Robert Talabis (Junior), Dick Israel (Bungo), Dave Brodette (Cardo), David Anderson (Marine Captain), Willy Williams (Ensign Smith), Tony Tacorda (Kabo), Alma Lerma (Ruben’s Mother), Rose Ann Gonzales (Ruben’s Daughter), Boy Soriano Jr (Ruben’s Son), David Light (Carson’s Friend), Bill James (Base Commander) Martin’s Men Fred Moro, Nonoy de Guzman, Ben Datu, Ding Mendoza, Big Boy Gomez, Roger Moring, Ding Sibal Bobby’s Men Belo Borja, Joey Padilla Cardo’s Men Boy Padilla, Pilo Puruganan Holduppers Tikboy Fernandez, Pempe Padilla III, Raul Armea Hostage Adora Avila Informer Jojo Lapus Investigators Nigel Hogge, Nick Nicholson US Servicemen Philip Gordon, David Doe, Ramon Jimenez, Henry Baynes, George Maxwell Policemen Vic Belaro, Edgar Santiago, Pol Lopez, Boy Salvador, Buddy de Leon, Jolly Jugueta, Nemie Gutierrez, Ver Sagum, Manny Montalbo, Gil Mandong, Paquito Marcate Gate Guards Arthur Nieto, Rafael Nunez, Mamo Burgos Banktellers Randy Gamier, Melinda Villa del Rey
Outlandish Philippines-lensed production that's pretty hard to categorize. It's part war film, part heist film and 100% off-the-wall. The film opens up with soldier Duke Carson (James Acheson) watching VC soldiers shoot his nurse girlfriend when he refuses to answer their questions (He screams out a long "Nooooooo!"). The film then switches to a hostage situation at a restaurant where cop Robbie (Rudy Fernandez) shoots and kills hostage taker Junior. Junior's father Martin (Robert Arevalo), a local crime lord, retaliates and sends his men to kill Robbie, but they mistakenly shoot and seriously injure his father instead. Robbie quits the force and decides to go after Martin on his own. Meanwhile, Duke is reassigned to an American military base as an MP, close to where Robbie lives. Robbie's friends plan to rob the Bank of American Express on the military base and they want Robbie to join them, but he declines. Duke gets into a fight with local gunrunners at a bar where Robbie is having a drink. Robbie notices Duke's fighting abilities and compliments him on them. When Robbie learns his father is going to need an expensive operation, he has no choice but to join in on the bank robbery, but he brings in friends Boiler (a marksman) and Sausage (the brawny muscle) for extra insurance. Martin has his men burn down Robbie's house, nearly killing his wife and kids. Robbie grabs a machine gun and systematically begins gunning down Martin's men, nearly missing the robbery start time. They finally perform the robbery, sneaking into the military base disquising themselves as sandwich men. As they are robbing the bank, they are caught off-guard by Duke and the MPs, which leads to a shootout (Boiler, the marksman, is the first to die) and a hostage situation. Duke's new girlfriend Carol (Donna Villa), a bank teller, is taken hostage by Ronnie, which leads to a short car chase and another shootout. Duke rescues Carol as Ronnie and his gang disappear into the jungle. Robbie buries the money and disappears, as Duke goes commando and begins killing all the robbers one-by-one. The finale finds Duke and Robbie shooting it out and neither one comes out unscathed.
More plot-heavy than most Filippino action films, this flick (set in 1971) still has it's share of violent action setpieces, once the robbery starts. Until then, we are treated to Duke's numerous flashbacks to his dead girlfriend (he usually has them while trying to romance his new girlfriend!), various subplots involving gun runners trying to kill Duke and Martin trying to kill Robbie (who is credited as "Ruben" in the final credits). The funniest scene happens when Robbie's father is shot. Robbie stops a Jeep containing three American soldiers and asks for help, but they refuse! There are plenty of shootouts (lots and lots of bullet squibs), outrageous dubbing ("If he talks now, we're all in the shit!") and very unflattering depictions of the American military complex. I also love how Robbie has a mistress and the film seems to imply that there's nothing wrong with it. Another funny (and shocking) scene comes near the finale as Robbie is trying to drive to safety with his mistress in the car. With the sound of sirens and the glare of flashing lights in the background, she says, "Robbie, someone is following us! Maybe it's the police!", just before she gets shot in the back and dies immediately! While lacking the sheer lunacy of FINAL SCORE (1986) or the non-stop gunplay of other Philippines-lensed action flicks, THE DAY THEY ROBBED AMERICA still contains enough head-scratching action to get my recommendation. Directed by Manuel 'fyke' Cinco (REVENGE FOR JUSTICE - 1985). Also starring Rio Locsin, Edu Manzano, Bomber Moran and appearances by such Filippino mainstays as George Estregan, Nigel Hogge, Nick Nicholson, Willy Williams and Rudolfo 'Boy' Garcia. Available on DVD from Eastwest DVD as a double feature disc, with the film FINAL ASSIGNMENT (1980).
1985 – Revenge For Justice(Sittis Film Exchange Philippines Inc)
[Released in the Philippines on 6th April 1985 as “Bilang Na Ang Oras Mo”; released on Finnish VHS as “Kosto Oikeuden Puolesta”, and on German VHS as “Ein Bulle Rechnet Ab”]
Director Manuel “Fyke” Cinco Story Dave Brodett Screenplay/Associate DirectorJojo M. Lapus Producer Hadja Sitti Aiza Ummar H-545 Associate Producer/Casting Director Hadji Mohammad Ali Ajihil H-536 Executive Producer Hadji Usman Ummar H-555 Cinematography Edmund Cupcupin Editor Augusto Salvador Music Jaime Fabregas Musical Arranger Nonong Buencamino Sound Supervision Rolly Ruta Production Designer Orlando Tolentino Art Director Rolly Sto. Domingo Production Managers Dante Javier, Eddie Castillo Stunt Coordinator Baldo Marro Opticals Carlos Lacap, Bonnie Austria Titles Dick Gonzales, Manny Bueno, Oscar Manzon Post-Production Manager Johnny Leoncio Assistant Editors Danny Gloria, Efren Salvador, Boy Gloria Special Sound Effects Danny Salvador Makeup Artist Lerma Calara Schedule Masters Andy Pomasin, Domingo Bautista Talent Coordinator Julio Garcia ScriptgirlContinuity Lydia Aclo Stills Sambas Ajihil, Boy Listangco Sets/Props/Effects Rolly Sto. Domingo, Boyet Sto. Domingo, Nestor Nano Ptico Catering In-Charge Mohammad Utonoh Ajihil In-Charge Of Production Yusuf Salim Ajihil Production Supervisor Mohammadnur Ajihil Sales In-Charge Abdua Usman Office Manager Bayani Penus Office Secretary Tessie de Leon Production Utilities Rey Manoling, Isnine Kulot
Cast Rudy Fernandez (Bobby), Donna Villa (Malou), George Estregan (Police Lieutenant), Ronnie Lazaro (Younger Brother), Fauzi Omar, Yusuf Salim (Sergeant), Paquito Diaz, Perla Bautista, Johnny Wilson (Atty Dayao), Bomber Moran, Dick Israel, Dave Brodett, Tony Bernal, Melinda Mendez, Leon Pajaron, Yashin Mohd. Nur, Paula Palanca, Philip Gamboa, Max Alvarado, Victor Bravo, Renato del Prado, Juco Diaz, Rodolfo “Boy” Garcia Cops Ali Al-Hadz, Nick Alladin, Tony Tacorda, Rey Tomenes, Eddie Tuazon, Vic Belaro, Pol Lopez Dayao’s Men Sonny Valencia, Joe Baltazar, Ding Mendoza, Sammy Brillantes, Danny Labra, Boy Sta. Maria, Raymund Vargas Benjie’s Men Ernie Forte, Joey Padilla, Tony Concepcion, Nonoy de Guzman, Avel Acosta, Intoy Waray Mike’s Men Belo Borja, Jess Bonzo, Bebeng Amora, Boy Padilla Beerhouse Goons Robert Miller, Ernie David, Rene Romero, Vic Santos, Larry Esguerra, Roger Moring, Bobby Oreo, Ronald Asinas Gambling Den Goons Romy Nario, Romy Romulo, Boy Salvador, Buddy de Leon, Danny Amora Bank Robbers George Wendth, Dante Rijalde, Waldo Reyes Bank Tellers Olive Madridejos, Alice Montemayor, Adora Soriano Guest Stars Bebong Osorio, Nick Lizaso, Rolan Montes, Luis Benedicto, Nuno Ajihil Bukas Kotes Gang Mel Arca, Joe Andrade, Art Veloso Featuring Rene Hawkins, Eddie Gicoso, Eris Navarro, Pilo Puruganan, Alex Labay, Boy Antiporda, Big Boy Gomez, Ramon Lee, Ding Sibal, Pempe Padilla III, Frank Dumalagan, Lito Acuna, Eddie Samonte, Roger Belaro, Manny Jacinto, Fred Quidlat, Rey Abella, Benny May, Nestor Brillantes, Mat Fulluso, Totoy Magno, Tony del Prado, Professional Stuntmen
[release date 7th March 1985, original Tagalog version “Ulo Ng Gapo”]
Director Nick Lizaso Screenplay Tony Calvento Executive Producer Ben Yalung Cinematography Sergio Lobo Sound Rolly Ruta Editor Edgardo "Boy" Vinarao
Cast Rudy Fernandez, John Cunningham, Charito Solis, Eddie Garcia, Dang Cecilio, Rowell Santiago, Jenny Lyn Ramirez, Paquito Diaz, George Estregan, Bomber Moran, Philip Gamboa, Raul Aragon, Romero Rivera, Vangie Labalan, Robert Talabis, Eddie Arenas, Rodolfo Meyer, James Gaines, Ron Peterson [DVD cover also lists Robert Lee]
1987 - Get Victor Corpus: The Rebel Soldier Philippines (Sunny Films/Davian International Ltd/Vanguard Films)
[original Tagalog title “Victor Corpuz”]
Writer Jose F. Lacaba Producer Charo Santos-Concio Executive Producer Simon C. Ongpin Editor Augusto Salvador Fight Instructor Baldo Marro
Cast Rudy Fernandez (Victor Corpuz), Jay Ilagan, Sandy Andolong, Dang Cecilio, Rowell Santiago, Ricky Davao, George Estregan, Berting Labra, Raoul Aragonn, Johnny Vibar, Charlie Davao, Fred Montilla, Dedes Whitaker, Ernie Zarate
Email from screenwriter Jose “Pete” Lacaba 09/01/09:
I dealt only with Vanguard Films, a now-defunct company, then headed by Simon Ongpin, with whom I have lost touch. The two other companies you mentioned may have been distribution companies.
The film OPERATION: GET VICTOR CORPUS, THE REBEL SOLDIER is based on the real-life story of Lt. Victor N. Corpus, a graduate of, and subsequently instructor at, the Philippine Military Academy (PMA, the Philippine equivalent of West Point) who in 1970 defected to the New People's Army (NPA), the armed wing of the Communist Party of the Philippines. When he defected, he led a group of NPA guerrillas in raiding the PMA armory and bringing out high-powered firearms that considerably boosted the guerrilla group's armed strength.
Six years later, he was reported to have been captured by government troops, and he was believed to have spent the next 10 years as a prisoner in a military camp. It was only after I had completed the second draft of my script, and after he read it, that he publicly admitted he had surrendered to the Marcos martial-law regime. In fact, it was in a letter to me that he made this public admission, and I had my five minutes of front-page fame when his "Dear Pete" letter came out in the media, leaked out, I suspect, by Vic Corpus himself. The letter is reprinted in the prologue of Vic's self-published book SILENT WAR (1989).
After that "Dear Pete" letter, in which he explained the reasons for his surrender, Vic was reinstated in the armed forces. He was a brigadier general when he retired.
Rudy Fernandez won a FAMAS (Filipino Academy of Movie Arts and Sciences, the Philippine Oscars) award as best actor for playing Victor Corpus. I don't recall if a video of the film was ever commercially released, but I have a bootleg VHS copy that Rudy Fernandez himself gave me years ago, made (if I remember correctly) from a U-matic copy that Rudy had. I meant to ask Rudy if he could have a DVD copy burned for me, but he died last year before I could mention it to him.
Kinavesa/Silver Star director "Teddy Page" (real name Teddy Chiu), and regular actors Max Thayer and James "Big Jim" Gaines
Bruce Baron on Kinavesa/Silver Star [from Bruce's interview on French website Nanarland]
During the ‘80s there was a fair amount of foreign films shooting on locations in the P.I. [Mostly as a result of Coppola having shot Apocalypse Now there for 2 years and leaving a lot of equipment, sets and trained crew behind, when he left]. After Dragon Force played at the Manila Film Festival and I went there to help promote it, I got invited back to do work. The production company responsible for the films in which I participated in the P.I. [as the lead actor] were produced by a company called Kinavesa owned by K.Y. Lim [AKA “Slippery” Lim].
I wouldn't call K.Y. unscrupulous. He was just very parsimonious, and an unsympathetic, hard nosed Chinese businessman. He was in it strictly for the money. He didn't lie, or blow smoke up your ass about making you a star, and he had no pretensions about what he was doing, or even trying to make serious films. He offered you a job, settled on a fee, and he made the film when he said he would. He paid you the money he said he would, when he said he would, without trying to fuck you, [literally, there are an awful lot of queer Filipino producers], or fuck you around. Compared to most other Filipino producers that made him a true prince among men.
His films were consistently made for well under US$50K [all in], shot in less than 28 days, and marketed as “Cannon fodder”. K.Y. would take them to Cannes or Milan and sell them to Golan & Globus at Cannon who would package them as freebies together with their Rambo or other big films as a marketing ploy [when distributors complained that they were charging too much for territorial sales of their big action films, Cannon would throw in 2 or 3 of these little Kinavesa cuties for free, as if to make their other big films seem a better deal].
Teddy "Page"/Chiu (blue t-shirt, standing sideways) on the set of Deadringer
At that time most of the Kinavesa quickies were directed by Teddy Page [whose real name was Teddy Chiu, a Philippine Chinese kid in his early 20's at the time] and Jun Gallardo, a local cameraman / director in his forties. I remember both of them being good guys, just trying to make a living to support their families in a very third world environment. Most of the actors you mention, along with me, formed part of a loose sort of ‘troupe' that they would draw on to make the films. I made 4 of them and would have done more, because I had rented a choice pad on Roxas Blvd. [overlooking ManilaBay and the Playboy club pool deck] for US$100/month, and was always looking for an excuse to use it. I probably would have done more of them, but for the fact that every time Richard [Harrison] appeared in one he ate up 50% of the whole budget, and they wouldn't have enough left over to pay me a “decent” wage. K.Y. and Teddy would approach one or all of us to do certain parts in the films, [in my case they would call me in HK, and send a ticket if I said yes]. If I was available in terms of scheduling, and they would pay enough money, I would do it. My going rate for Kinavesa was US$2000 a film and a round trip airfare from HK.
I turned down more than I did, because they seldom wanted to pay over US$1500 [and Mike Monty and some other guys you mention would work for less than I would]. The films always wrapped start to finish in under a month. There was a lot more camaraderie and spirit de corps on these films than we ever had on the HK productions. Conditions were terrible. The food was bad, the lighting was a joke, and the scripts were patently formulaic and ridiculous, but there was no bullshit and no pretence. None of us had anything better to do and it was generally a lot more fun and better atmosphere than I ever had on the HK productions, hanging out in Pagsanjan, smoking Filipino rag weed, riding around in Jeeps and trashing ass with the Filipino girls.
The Filipino crews were way more sympathetic than the Chinese, and of course spoke English as well. It was on one of these productions that I first met Richard Harrison, but I only did one or two films with him because he used to get paid a lot more than any of the rest of ‘the troupe'. He would eat up so much of the budget that K.Y. could seldom afford both me and him in the same film. He was flown out from Italy, mostly with his wife, paid better and put up in a decent hotel because he had more name recognition with Golan/Globus than any of the others of us. My impression is that all of us except Richard were pretty much living hand to mouth and did the films to survive and for fun, rather than for any great love of the art of film making. Lets face it, there wasn't much art involved beyond staying sane, and sober enough not to get hurt in a fight scene, or by the pyrotechnics, and chase scenes in beat up old cars that couldn't pass a road inspection, even in the Philippines [bald tires make more dramatic skids].
Don't forget, there was only so much work. It was very much a zero sum game. We were competitors. If Mike Monty did a job for US$1000 or US$1500, it very likely meant US$2K out of my pocket. I believe he often took the work at lower pay than me, if it was offered, just to survive. Usually K.Y. rotated the lead roles irrespective of pay levels, because he couldn't have all the films with the same unknowns as leads. But more than once Mike did jobs offered first to me, just because he was cheaper, or they wouldn't have to pay his airfare. I based myself out of HK because it was a much more mature economy, where it was actually possible to earn enough to save some money, and it definitely kept me from becoming perceived as one of the local bums, or ever falling completely to the producer's mercy.
Actually, I'm surprised you never seem to mention the likes of Don Gordon or Romano Kristoff, who were two other Manila ‘actors' who seemed to do a lot of work [maybe that's just because they never attained the notoriety of getting sucked in by IFD]. They were much better friends of mine than Mike Monty, and we had made an informal pact that we wouldn't work for less than US$2K for a lead in one of K.Y.'s films. Romano especially was the real deal. He was Spanish, ex Legion Etrangere, and a serious Martial Artist. He worked very hard at having a film career, and seemed to work a lot. The fact that he was able to survive full time in Manila, without seeming to get stuck in the mire, was always a source of wonder and amazement to me…
Most of the local Caucasian extras in the Philippines were just unrepentant bums. They were often alcoholics and pot heads that had gone to the Philippines to chase cheap beer, pot and pussy, and ended up marooned in Manila, too broke to scrape together enough to leave.
My impression was that most of them weren't that serious about film at all. It was just a stop gap, a way to earn a crust without taking a real job, which they couldn't get for lack of skills and/or a work permit. Often they had got some local girl pregnant and got mired in a cycle of guilt and responsibility, and couldn't earn enough to pay their way out of it. Understand, the Philippines are truly a third world economy. If you get relegated onto that economic level it is really hard to make enough money to extricate yourself, especially if you have created moral or financial responsibilities for yourself in that environment, or overstayed.
One of the biggest problems these guys used to get into was overstaying their visas. Legally it wasn't that bad, but to get an exit visa after you had overstayed, you had to pay a fine of 100 Pesos a day [US$5] for every day of overstaying. Foreigners couldn't get any straight job without a work permit, which were only issued overseas with lots of documentation, prior to arrival. So a lot of these guys were stuck in a vicious “Catch 22” cycle. They couldn't get a real job without a work permit and they couldn't earn enough to pay for their exit visa without a real job, and the fine mounted daily. The extras on those films were paid 100 pesos a day [US$5] plus room and board if on location [double occupancy in a bamboo shack without plumbing and all the fish and rice you can eat with a bottle of San Miguel]. That was the same they would pay the locals, who would be happy to take the jobs if they were fair haired enough to pass as Caucasians. Consequently there were a lot of down and out types working on these movies as extras [no work permit required] but they weren't making nearly enough to break the cycle.
The guys whose names you mention were certainly better off than the extras, but often not much from what I could see. Some at least pretended to take it seriously, as if they honestly believed that this was going to lead them into stardom, somewhere along the line. I think mostly they did it out of laziness, for the fun, the pussy, and the notoriety. Even the day players with lines only made about US$20/day. It's only enough to get by if you are living the vida local, eating fish and rice and staying in a shanty deep in some third world slum. But if that is the only job you can get you're screwed, because it surely wasn't like they could find work every day. A few days, a month at best.
Mike Monty worked hard at it and took it [a little too] seriously, I thought, considering how lousy the films were. I think he married a Filipina, at least partially to beat the visa problem. Jim Gaines, I think, was half Filipino, half American with dual citizenship. Nicholson, I think was in the mire. Romano Kristoff and Don Gordon, were writing scripts as well as acting, and trying to produce. Both were pretty seriously committed, not that it seems to have done either of them much good. If you take a look at their filmographies as published on the web, it seems all the work fizzled in the early ‘90s. Is anybody making these films anymore?
1977 - Phandora(Kinavesa)
[release date 23rd September 1977]
Director Jun Gallardo Cinematography Nestor Orense Editor R. Alberto Music C. Rodriguez
Cast Ramon Zamora, Vic Silayan, Lita Vasquez, Alma Moreno
1978 - Emma Henry: Policewoman (Kinavesa Productions)
[release date 19th May 1978]
Director Armando R. David Cinematography Nestor Orense Editor R. Alberto Music C. Rodriguez
Cast Emma Henry (herself), George Estregan, Dindo Fernando, Tricia (Trixia?) Gomez, Barbara Luna, Beth Bautista, Laila Dee, Ruby Anna
From Wikipedia: Emma Henry (died 1986) was a Filipino police officer whose exploits were the subject of two Filipino film biopics wherein she starred as herself.
Henry was arguably the first prominent female law enforcement officer in the Philippines. A police officer, she was proficient in judo and karate, sports not commonly associated with Filipino women in the early 1970s. As a police lieutenant in Laguna, she stood out in the male-dominated police force. In 1973, she was named as one of the country's "Ten Outstanding Policemen". She eventually became the first woman to be assigned as a police station commander.
Henry gained further fame after she agreed to play herself in a biopic on her life produced by Kinavesa Productions. Released in 1978, Emma Henry (Policewoman) showcased Henry's martial arts skills and was a success.
1978 - Ex-Convict (Naligaw Na Landas) (Kinavesa)
[release date 10th November 1978]
Director Jun Gallardo Screenplay H. Roxas Cinematography Nestor Orense Editor R. Alberto
Cast Rudy Fernandez, Alma Moreno
1979 - Dalaga (Kinavesa)
[release date 30th May 1979]
Director Jun Gallardo Screenplay H. Roxas Cinematography Nestor Orense Editor Pepe Marcos
When I read the title and I saw the sleeve of the VHS I thought this might be a very strong & bloody action thriller. Watching it I realize it's a drama actually with some fights in. The whole story, the acting and the direction strangely remind me some similar Turkish films with Cuneyt Arkin. Even the main hero/father is like a Filipino Cuneyt arkin with moustache !!
A poor guy works for a gambler. He's a brave man of honour. A beautiful girl is in love with him but her mother doesn't like him because he's poor and she force her daughter to another man, a rich one who loves her. Finally the girl will marry our hero. Soon their family has a new member, a son. One day the boy is sick to death and needs an urgent surgery. The father asks money from his boss. the two men fight and accidentally he kills him. Now he's in prison...and sacrifies himself: He let his woman free!
She marries the rich man then but the boy doesn't like that. He always hold his father's photo in his pocket and he wish he'll find him some day. The father is getting out of the prison because he saved the director's life from a lunatic. Meanwhile the boy leaves the house and start a dangerous life on the roads of Manilla. That life leads him to his father...
Well, I'll not write the whole story here. As you understand it's mainly a drama with the same motive as many Cuneyt Arkin films - a father who tries to save his son from the gangsters.
As for the end, the father is getting shot & killed in front of his son trying to save him. One of the most tragic endings to the history of the cinema, the end also reminded me A LOT some Arkin's gems.
I know many of you will find the film rather boring and full of children and tears...You probably haven't seen those Arkin films I'm talking about or...you're not the father of a son like I am...!!
Director Jun Gallardo Screenplay Humilde "Meek" Roxas Producer K.Y. Lim Cinematography Jun Rasca Music Totoy Nuke
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