[Philippines' release date 1st July 1959; distributed theatrically in the
US in 1961 by Parallel Film Distributors Inc, released in Belgium as "Le
Cri De La Liberte/De Kreet Der Vrijheid"]
Director Lamberto V. Avellana Writer Rolf Bayer Based on the
novel "The Crucible" by Yay Marking Producer Edith Pérez de Tagle Cinematography
Mike Accion Music Restie Umali Editor Fely Crisostomo Sound Flaviano Villareal
Cast Pancho Magalona (Marking), Rosa Rosal (Yay), Johnny
Reyes (Cabalhim), Jack Forster (Sid), Joseph de Cordova, Alfonso Carvajal,
Pedro Faustino, Mario Roldan, Charles Kelley (Lieutenant Stoddard), Tony Santos
(Juanito)
Original Filipino ad courtesy of Simon Santos' Video 48 blog
Singapore Cinema: The Filipino Connection 1955-1965
By Raphael Millet, reprinted from his excellent book Singapore Cinema (Singapore, Editions Didier Millet, 2006) ORDER FROM AMAZON HERE
Moving away from the overwhelming influence of the Indian film culture inspired by the Indian directors, and in the absence of a sufficient number of local Malay filmmakers, Shaw [Brothers] decided to diversify its talent, importing award-winning Filipinos like Eddy Infante, T.C. Santos, Ramon Estella, Lamberto Avellana and Rolf Bayer (who was apparently also involved in the making of films for Shaw Brothers Hong Kong). They made a total of 16 movies in Singapore, for Singapore.
The Filipinos had a cultural connection with Malay culture, tracing their roots back to the days of the early Malay kingdoms. And, in fact, the Filipinos’ Tagalog language and ethnic backgrounds were close enough to Malay culture that they were able to pick up the Malay language easily. As early as 1919, we find the Nepomuceno brothers, the equivalent of the Shaw brothers, starting the first local Filipino company, significantly called Malayan Movies.
These Filipino directors, a whole new group of “foreign talents”, worked in Singapore for an entire decade, from 1955 to 1965. They brought in myriad influences, not only from the Philippines, but also from America. Indeed, many of them were very much Hollywood-oriented, and some were even trained by Americans. Their screenplays tended to be remakes of Hollywood films, and their films were replete with Western themes.
In 1954, Eddy Infante was the first to be brought in by Shaw. His Gadis Layar [lit. The Elephant Girl] was screened in 1955. He was followed in 1957 by T.C. Santos, who directed Taufan [aka Typhoon], and in 1958, by Rolf Bayer, who directed Azimat [lit. Talisman]. These men did not make more movies in Singapore. In fact, many of the Filipino directors hired by Shaw did not stay long. Either the studio was not satisfied with their work, or they saw no future in Singapore for their careers, and left of their own accord.
Rolf Bayer’s Azimat was a very jazzy Hollywoodian film that undeniably moved away from the other Singapore Malay movies of the time. The music score, lighting, editing, and acting gave it a very particular, and very un-Singaporean, feel. Yet, at the same time, Azimat stands out for how it portrayed a very modern way of life in the city, with clubs, bars, smoking, drinking and dining. It also has some interesting location shots along the Singapore River, which today gives it documentary value.
Lamberto Avellana’s career began in the Philippines before the war, with his 1939 world-acclaimed Sakay. In 1956, he won the Best Director Award at the Asian Film Festival in Hong Kong for Anak Dalita [aka The Ruins]. In 1957, Lamberto Avellana partnered Cathay-Keris for Bajau Anak Laut [lit. The Badjaos Children Of The Sea], for which he was rewarded with yet another Best Director Award. This movie was, in fact, totally not Singaporean apart from the financial investment by Cathay-Keris who was trying to develop a strategy of international co-productions (this one being done with Dona Narcisa Benvedina de Leon). Bajau Anak Laut, beautifully shot in outdoor locations, takes place in Southern Philippines, with a Filipino cast and crew.
Lamberto Avellana was thus a filmmaker already crowned by the industry for his achievements when he was brought to Singapore by the Shaw brothers in 1958. For them, he started directing Sergeant Hassan [aka Sarjan Hassan], about World War II, starring P. Ramlee in the lead role. But Lamberto Avellana left midway, leaving P. Ramlee to finish the work. Yet, Lamberto Avellana is usually the only director credited for this movie, as Ramlee had apparently decided to give him full credit. Lamberto Avellana, who was also the first Filipino director selected at the Cannes Film Festival, did not need Singapore to advance his career, which probably explains why he did not pay much attention to the movie.
Ad for Ramon Estella's Mata Hari (1958)
The Influential Ramon Estella
Only one Filipino film director was as influential as his Indian peers – Ramon Estella. He made a total of 11 movies in Singapore between 1957 and 1965. He started with Shaw’s Malay Film Productions in 1957, directing Kembali Seorang [lit. A Man Is Back]. With his ability to tune in to the local culture, and to speedily churn out feature films, Estella was asked to compete with Cathay-Keris’ directors such as B.N. Rao in the horror genre, bringing to the screen the Pontianak, and other more or less scary monsters.
For Shaw, he directed the famous Anak Pontianak [lit. Son Of Pontianak] in 1958, and a few more movies, including the very interesting Mata Hari [lit. Sun, but aka The Rape Of Malaya], which capitalized on the success met by Avellana’s Sergeant Hassan. Mata Hari portrays the life of a kampong which is turned into a camp by the Japanese during World War II, with some excellent acting by Maria Menado in the lead role.
In 1963, Estella joined Cathay-Keris for a short period, where he directed Bunga Tanjung, Darahku [lit. My Blood], and, ironically, one of the Pontianak series, Pontianak Kembali [aka The Vampire Returns].
He resumed work for Shaw in 1964, and successively shot Dupa Chendana [lit. The Sandalwood Incense], Melanchong Ke Tokyo [lit. Going To Tokyo] and his last Pontianak movie, the 1965 Pusaka Pontianak [aka The Accursed Legacy, aka The Pontianak Legacy], shot the very year of Singapore’s independence. It was truly the end of an era. Strangely, the filming of these iconic Pontianak movies has always been left to foreigners, whether Indians or Filipinos. It was only in 2001 that a Singaporean, Djinn, would venture into this horror genre with his Return To Pontianak.
As for the Filipino connection, it did not totally disappear, since Filipino John [actually Jun] Aristorenas was to direct a feature in Malaysia in 1976, called Malaysia Five, shot in Malay. Also, Manila-based producer-cum-director Bobby Suarez would go on to initiate a series of regional co-productions in the late 1970s involving the Philippines, Malaysia and Singapore.
FILMOGRAPHY 1955 – Gadis Layar/“The Elephant Girl” (Malay Film Productions) Director Eddy Infante
1957 – Bajau Anak Laut/“The Badjaos Children Of The Sea” (LVN Productions/Cathay-Keris)
CLICK HERE FOR MORE DETAILS
1957 – Kembali Seorang/“A Man Is Back” (Malay Film Productions)
Director Ramon Estella
Cast Ahmad Mahmud, Saadiah, Daeng Idris, Sunatri, Salleh Kamil 1957 – Taufan/“Typhoon” (Malay Film Productions)
Director/Screenplay Teodorico C. Santos Story B.H. Chua Dialogue/Lyrics S. Sudarmadji Music Osman Ahmad, Fred Libio
Cast Ahmad Mahmud (Amir), Zaiton (Fatimah), Salleh Kamil (Hamid), Mariani, Omar Suwita, Aziz Sattar, Shariff Dol, Ali Fijee, Mustarjo, Nyak Osman
Synopsis “Hamid, the village shopowner, falls in love with Fatimah, who is engaged to Amir. Torn with jealousy, Hamid tries to separate them.”
1958 – Anak Pontianak/“Son Of Pontianak” (Malay Film Productions)
Director Ramon Estella
Cast Jins Shamsuddin, Hashima Yon, Dayang Sofia, S. Kadarisman
Synopsis “A gallery of scary creatures like the son of the infamous vampire, a bodiless monster called the polong, and hantu the snake-devil. AT the time of its release, it was advertised in the newspapers as ‘the most horrific thriller ever filmed! Stronger than the strongest!’ And it introduced Sang Kanchil as the talking mousedeer.” 1958 – Azimat/“Talisman” (Malay Film Productions)
Synopsis “The son of a rich man wastes his life away, flirting with women, listening to music and drinking wine. After an argument with his father, he considers committing suicide, but meets an old bearded Chinese man who gives him a talisman. The lead role is played by Filipino movie star Pancho Magalona. The overall feel is very jazzy and Hollywoodian. It presents a very different picture of Singapore from what was usually seen in movies of that time.” 1958 – Mata Hari/“The Sun” (Malay Film Productions)
[also known as “Matahari”, “The Rape Of Malaya”]
Director Ramon Estella
Cast Maria Medano (Matahari), Ahmad Mahmud (Ahmad), Salleh Kamil (Umai), Omar Rojik (Jepun), Daeng Idris, Alice Ma, Jins Shamsuddin
Synopsis “Matahari’s village is turned into a camp by the invading Japanese army. Bravely, the young Matahari leads a war for the freedom of her country. Umai, however, betrays his people and starts working for the Japanese. At the time of its release, it was billed as ‘the first authentic film about the Japanese occupation in Malaya’.”
1958 – Sergeant Hassan (Malay Film Productions)
[also known as “Sarjan Hassan”]
Directors Lamberto [V.] Avellana, [uncredited] P. Ramlee Story Ralph Moder Screenplay P. Ramlee
Cast P. Ramlee (Sergeant Hassan), Saadiah (Salmah), Jins Shamsuddin (Aziz), Salleh Kamil (Buang), Daeng Idris (Lebai), Aini Jasmin (Minah), John Gray, David Downe, Omar Rojik, Ali Fiji
Synopsis “In his early youth, Hassan loses both his mother and his father. His father’s employer, taking pity on him, decides to take care of him, thus placing Hassan under his guidance. But his employer’s son, Aziz, becomes envious, and grows bitter towards Hassan. The fact that the beautiful Salmah falls in love with Hassan makes Aziz even more envious. At the outbreak of World War II, Aziz and some friends respond to the call for volunteers to fight the Japanese. Hassan, who wants to go as well, is forced to stay in the village to take care of the plantation with his adoptive father. He is called a coward by the villagers. Hassan, unable to take it any longer, runs away and joins the army, where he quickly proves to be a very skilled soldier.” 1959 – Samseng/“Gangster” (Malay Film Productions)
Director Ramon Estella
Cast Jins Shamsuddin, Rosnani Jamil
1959 – Saudagar Minyak Urat/“The Massage Oil Merchant” (Malay Film Productions)
Director Ramon Estella Music P. Ramlee
Cast S. Kadarisman, Normadiah, S. Shamsuddin, Aziz Satar, Mariani, Saloma, Leng Hussein, Ibrahim Pendek, Ahmad Nisfu 1963 – Bunga Tanjung (Cathay-Keris)
Director Ramon Estella 1963 – Darahku/“My Blood” (Cathay-Keris/Maria Medano Productions)
1964 – Dupa Chendana/“The Sandalwood Incense” (Cathay-Keris)
Director Ramon Estella
Cast Ahmad Mahmud, Saadiah, Mariani, Aziz Jaafar, S. Kadarisman 1964 – Melanchong Ke Tokyo/“Going To Tokyo” (Malay Film Productions)
Director Ramon Estella
Cast Aziz Jaafar, Saadiah, S. Kadarisman, Asao Mutsumoto, Motoko Furakawa, Normadiah
1965 – Pusaka Pontianak/“The Pontianak Legacy” (Malay Film Productions)
[also known as “The Accursed Legacy”]
Director Ramon Estella Music Yusoff B and The Swallows
Cast Ahmad Mahmud, Sa’adia, Ahmad Daud, Haji Mahadi, Normadiah, Salleh Kamil, Ibrahim Pendek, Aziz Satar, Dayang Sofia, Mariam Bahrun
Synopsis “Some people are gathered in a large mansion to share the legacy of a rich rubber tycoon. But, very soon, mysterious things start happening. The last of the Pontianak movies, and also the last movie made by a Filipino director for one of the Singaporean studios.”
[A Philippines/Singapore co-production with financial backing primarily from Singapore's Cathay-Keris, Philippines release date 3rd June 1957; released in Singapore as "Bajau Anak Laut"/“The Badjaos Children Of The Sea”. Dubbed into English as “Banjao The Sea Gypsies” and released in the US on 20th September 1962 (1)]
Director Lamberto V. Avellana Story/Screenplay Rolf Bayer Producer Manuel De Leon Executive Producer Narcisa de Leon Cinematography Mike Accion Music Francisco Buencamino Jr Editor Gregorio Carballo Art Director Teodi Carmona) Head Hair Stylist Jose Luis Assistant Director Castor Marcelo Sound July P. Hidalgo
Cast Rosa Rosal (Bal-Amai), Tony Santos [Sr] (Hassan), Leroy Salvador (Asid), “Jose”/Joseph de Cordova (Datu Tahil), Vic Silayan (Jiriki), Oscar Keesee (Pearl Dealer), Arturo Moran, Pedro Faustino (Badjao Chief), Tony Dantes (Chief's Bodyguard)
Francis “Oggs” Cruz's review from his Lessons From The School Of Inattention blog (www.oggsmoggs.blogspot.com/2007/08/badjao-1957.html)
As a romanticized document of two distinct cultures, the Badjao and Tausog tribes of Mindanao, Lamberto Avellana's Badjao is simply spectacular. It begins with a ritual, probably barbaric and shocking to our homogenized world. A baby is born to the pagan sea-faring Badjaos. The baby is then thrown into the sea, and a couple of Badjao men would dive into the sea to save the baby from drowning. A man would rise victorious carrying the baby and delivering it to the tribal chief (Pedro Faustino); and the baby, newest member is finally presented to the tribe.
We get a feel of their lifestyle through Avellana's curious and meticulous eye: the sense of justice of the Muslim Tausogs (there's a scene wherein the datu sentences a wrongdoer to pay the victim money and to be inflicted a slap that would erase all evidence of the wrongdoing); the intricate marriage vows; the codes of honor and bonds of dignity among and between these people; the clockwork commerce wherein the Badjaos supply the Tausogs pearls, and the latter supplies the rest of the world such pearls through shrewd middlemen.
The story, about Hassan (Tony Santos), a Badjao prince, who falls in love with Bal-Amai (Rosa Rosal), niece of the Tausog datu (Joseph de Cordova), is set in an age of the cultural inequality that has characterized the tensions that divide the two tribes. The vast cultural conflicts would lead Hassan to choose between his heritage and his heart. He chooses his heart and converts to Islam and cleansing himself of his Badjao heritage, and deciding to live as a farmer with Bal-Amai within the Tausog tribe. This decision leads to his banishment from the Badjao tribe.
It's a powerful picture, one that is very universal and human despite being set against the exoticized landscapes and seascapes of Mindanao. It pits traditions of honor, justice and civility of the two tribes, with sources of human fallibility like greed, prejudice and treachery. Characters are tested: Hassan with his decision to withdraw from the Badjao tribe and adopt Tausog culture; the datu who is blinded enough by the allure of money to descend to the level of blunt treachery; Bal-Amai with her insistence of making Hassan forget his roots.
Avellana always fills his scenes with intricacies and details. The Tausog town, with its port of bamboo scaffolds to the marketplace wherein the air of racism is quite apparent, is an impressively built set. Much more spectacular are the boats of the Badjaos: at night, we see these floating boats with their respective lighted torches, like will-o-wisps floating against the night sky. The action scenes are equally gripping: Jiriki (Vic Silayan), the datu's treacherous adviser, and Hassan's duel in the rock beach is nail-bitingly exciting; Muslim kris pitted against Badjao forked staff; and the two fighters end up rolling in the rocks. Avellana understands the mechanics of the fights (the same way he coherently choreographs the early duels in the Tausog town) and commits to celluloid such visceral intensity.
The film's final scene, a revisit of the ritual in the beginning, we begin to understand the rationale and humanity underneath the culture-specific ritual. We become more open to the similarities that bind us as a single people despite the diversity in religion, culture, and traditions. Badjao is a beautiful and intense film, probably the best and most ambitious Avellana made. Avellana, although a Catholic filmmaker and working under the grips of a commercial studio, paints a portrait of both Muslim and tribal cultures with forceful accuracy and affecting sensitivity.
Eboy Donato's review from his Buhay/Pelikula blog (www.eboydonato.blogspot.com/2007/08/badjao-1957.html)
Hassan (Tony Santos), son of a Badjao chief, falls in love with Bala Amai (Red Cross Philippines matriarch, Rosa Rosal), niece of a Tausog datu (Jose de Cardova). Hassan, proves his worth to Bala Amai's uncle by leaving his heritage behind to follow his heart. A treacherous uncle, then conspires to hold Hassan by the neck by forcing him to work for him diving for pearls for his own greedy end. Feeling violated, they both leave the confines of the Tausogs and set sail to return to Hassan's people together with his wife.
A sea of mystecism abound in the film, get enthralled by the customs. Most notable are the wedding ritual, the traditional dance, we see women with long metallic nails wave about as they dance together with the captivating gongs, and the sets used in the Tausog tribe, a wide array of cloths and textures will surely excite. Just imagine how this might have been in color; The night scenes of the Badjao's vintas illuminated by small lamps. Even a run around in the thick of the jungle turns symbolic as Bala Amai resists Hassan's dominance. She eventually gives in and the sound of gongs echo louder and louder. Also, Jiriki (Vic Silayan), the Tausog datu's right hand, has a embroiling battle scene with Hassan.
So much is to be said about the film, the fact that the story rings true to some aspect of our lives, as portrayed by the two tribes, we are a constant threat to each others existence. The prejudices and hate we harbor inside, even a good-natured character, like Rosal's Bala Amai is not spared to this human weakness. Even her uncle, which she revere and loves turn his back just to spite her. Badjao truly captivates and holds the viewer in a trace like state.
NOTES
1. Richard P. Krafsur (supervising ed.), American Film Institute Catalog: Feature Films 1961-1970, Berkeley CA, University of California Press, 1976, p.57
1970 - The Secret Of The Sacred Forest(William Copeland-Sari-Manok/Shermart Distribution)
[Also known as “SacredForest”]
Director Michael Du Pont Writer/Producer William Copeland Cinematography Vincente Sempio Music Herschel Burke Gilbert Orchestration/Arranger Ernest Hughes Songs "Has Any One Seen Chris" by William Copeland & Herschel Burke Gilbert, "Filipina Filipina" by William Copeland & Angel Pena Singer Maurice Santa Lucia Editor Anthony DiMarco Sound Demetrio Carrianga
Cast Gary Merrill (Mike Parks), Leo Martinez (Bayarti), Michael Parsons (Chris Carpenter), Henry Duval (Garcia), Vic Silayan, Jon Provost (Jimmi), Rolf Bayer, Laurie Agudo (Annie), Zenaida Amador, Poch Apostol, Lola Boy, Joseph de Cordova, Louis Florentino, Dave Harvey (Brownie), Mona Morena, Christina Ponce-Enrile (Fely), Bruno Punzalan, Vincente Sempio, Don Smith, Carol Varga, Fred Viray, Gami Virray
Sandra Brennan’s review on the AllMovie website:In this adventure, a courageous teen sneaks into the Philippines so he can find his missing brother whose plane went down in the jungle. The brother he seeks is a renowned investigative reporter who had gone to the islands to expose a ring of drug smugglers. When an American embassy official learns that the younger brother is in the Philippines illegally, he rushes into the jungle to find him. Meanwhile, with the help of a native guide, the young man continues his search. He is undaunted by the smugglers, angry government agents, and headhunters who pursue them. When he finally does find his brother, he is shocked to learn that the reporter has joined the smugglers. Fortunately, the older brother explains that he had simply gone undercover to infiltrate their ring so he could write a more effective expose.
1973 - The Kill (Arbee Productions [Manila]/Pioneer Productions)
[according to the BFI database, the film was also released as “Heroin Conspiracy”]
Director/Screenplay Rolf Bayer Story/Executive Producer James E. Gubersky Cinematography Ray Woodbury Music Noel Francis Quinlan Editor Joe Zucchero First Assistant Director John Soroka Second Assistant Director Nicholas Tsui
Cast Richard Jaeckel, Tita Muñoz (Lee), Gigo Tevzadze, Mike Lovatt, Christina Hui, Max Chi Wong, Judy Washington (May), Bobby Canavarro, Henry Duval, Jimmy Shaw (Casino Manager).
Hal Erickson’s review from the All Movie Guide: It is nice to see Richard Jaeckel in a full-fledged leading role, even in a shabby internationally-produced thriller like The Kill. Set in Macao, the film finds Jaeckel cast as a two-fisted, womanizing private detective. He has been assigned to track down an international crime ring, run by the sort of folks who have no qualms about knocking someone off just to keep in practice. Judy Washington provides much of the film's pulchritude. The Kill was released shortly after Jaeckel received his Academy Award nomination for Sometimes a Great Notion, suggesting that the film had been made much earlier, but held up for distribution until the time was ripe.
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