� � Rogelio de la Rosa � Leopoldo Salcedo � Rosa del Rosario � Mira del Sol � Rosario Moreno � Carlos Padilla � Jose Padilla, Jr. � Fernando Poe, Lucita Goyena

Actors and Actresses

� Tatlong Maria

� Based on an novel by Jose Esperanza Cruz

� Starred by Carmen Rosales, Jose Padilla, Jr., Norma Blancaflor, Liwayway Arceo and Fernando Poe, Sr.

� � Only English movie allowed � Showed the Americans and British as

villains in international trafficking with dope

The Opium War

� Jose Nepomuceno

� Assigned by the Path News to film Japanese activities

� Hand-operated Eye-Mo camera

� Films shot were transported to the American authorities by submarine

� � Member of an underground movement � Officer in the USAFFE, Gold Cross medal

awardee

� Was a guerilla in Manila and the suburbs

Fernando Poe, Sr.

Gregorio Ticman

� � Was tortured by the Japanese

Ø Movie stars, directors, technicians and the bit players and extras turned to the stage ü 2nd Golden Age of Vaudeville

Bert Leroy

� � Provided the Japanese soldiers’ uniforms,

weapons, sound effects, make up � Were discovered by Jose Nepumuceno � “country’s top special effects artist”

� Cry Freedom � Sunset Over Corregidor � Isang Dakot na Bigas

Alfonso Torrente

� � Hollywood

� Huk � Blackburn’s Gurerillas � Marco Polo

Alfonso Torrente

•  December 8, 1941 Japanese bombs fell

on Intramuros

• Some movie houses closed but many

opted to stay open

• Manila was declared an open city

• Japanese moved in on January 2, 1942

• Movie companies were allowed to operate

by the Japanese high command under the

supervision of the Central Booking Exchange

• Mostly reruns of unpolitical Hollywood and

Tagalog films

• 1943- German and Japanese feature films as

well as documentaries were brought in

-“The Sky is Blue”,”Currents of Youth”,

“Women of Japan”

• There were several movies nearing completion just before the war

but whose productions were halted. These were shown either

completed or unfinished

-“Caviteno”,”Anong Ganda Mo”, “Caballero”, “Nina, Bonita”,

“Princesa Urduja”,”Landas na Ginto”

• Two films were produced: LVN’s “Tiya Juana” and “Prinsipe Tenoso”

• Another film was shown right after the war: Sampaguita’s “Ang

Tagala”

• Japanese demanded that movies, stage plays and vaudeville

carried some form of Japanese propaganda

• Most movies were transferred to the stage

• This was “the golden age of Philippine theater” according to

Lamberto Avellana

• Some of the directors who worked on plays:

Lamberto Avellana, Gerardo De Leon, Manuel Conde, Ramon

Estella, Manuel Sillos, Tor Villano and Gregorio Fernandez

Some of the plays eventually got produced as movies in the postwar era:

“Limpia Bota” story of Ernesto Bohol’s life.

“Ikaw kasi” by Manuel Conde

December 21, 1942-the Japanese decided to centralize the distribution

and production of films in one agency: Eiga Haikyusha

-Responsible for the importation of foreign films, mostly Japanese and

German and later, Japanese propaganda for local consumption.

The agency was launched with the screening of “Toyo no

Gaika” (documentary)

-“United States Routed from the Philippines”, “Stars and stripes downed

forever in East Asia”,” A war epic which will live long in your memory”

were some of the film’s claims.

• It was the Japanese policy to push Greater East Asia Co-Prosperity

Sphere

-Film was used as an instrument

-The Japanese had three aims:

-To unmask the Americans as real enemies

-To emphasize Japan’s role as the leader of Asia

-To recover the native character lost due to years of

Occidental colonization

• The Japanese propaganda corps planned a major film to push the

three goals

-“Ano Hatte O Utte” or “The Dawn of Freedom” (“Liwayway ng

Kalayaan”)

�

16  

� �

17  

•  HEROISM / BRAVERY OF FILIPINO SOLDIER •  WAR

First  films  were  about…  

� � 20 out of 34 films

about bravery of fighting troops

18  

� �

19  

“Orasang  Ginto”  

The  first  Post-­‐war  Filipino  movie  or  the  first  movie  to  come  out  aAer  World  War  II  

� �

20  

PATRIOTISM?  

� �

21  

•  Discord and criminal activity?

•  Or Dearth of imagination?

(T.D. Agcaoili in “Literary Song Movie”)

� �

22  

Restoration of the normal and peaceful deportments and thoughts of people – Foster friendliness and goodwill – Emphasize the virtues and beauty

of life

(Jose Crisostomo in “Literary Song”)

Films  shout  be  about…  

� �

23  

EUPHORIA  

�

� Americans like Deities

24  

� �

25  

• Heroism of Filipino guerrillas • Atrocities inflicted on guerrillas and civilians – “Intramuros (The Rape of a

City)” • Heroism of media practitioners

Euphoria  over  the  end  of  war  and  victory  over  the  Japanese  

� � “hanggang pier

lamang” � Jeep girl

26  

� �

27  

� “So Long America” � “Victory Joe” � “Honeymoon” � “GI Fever (Ay Kano)” �  “Magkaibang Lahi”

Also euphoria over the departure of Americans

� �

28  

“Sa  Tokyo  Ikinasal  (1949)”  

Euphoria over the Return of troops from Japan

� �

29  

AMNESIA  

� �

30  

•  Memory blackouts •  Exchanges of Identities •  Emotional traumas “May umaga Pang Darating (1954)” “Isumpa Mo Giliw (1947)” “Isang Libong Pisong Kagandahan (1947)”

“Ulilang Bituin” (1956)

Amnesia  

� COLLABORATION

� Collaborator

depicted in the darkest of colors; despicable and loathsome;

villain deserving his most dastardly fate

� Joseph Cordova

depicts collaborators in many of his

movies (particularly in "Hantik")

� Eddie Romero

presented collaboration with respect to its complexity

and with a modicum of sympathy (example is "Apoy sa Langit")

�

Examples of Movies Showing Collaboration

� Hantik

(Joseph Cordova)

� Apoy sa Langit

(Eddie Romero)

� Walang Kamatayan

(Tor Villano)

� CORRUPTION

� Corruption

non-payment of back pay (guerrilla

benefits)

� people realized that corruption had

settled in the new government; guerrillas maimed in the war and

pinned hopes for a new life

�

Examples of Movies Showing Corruption

�

Back pay

�

Huk sa Bagong Pamumuhay

� REBELLION

� HUKBALAHAP came to national prominence;

movies pounced on the new material but censors stopped it;

Luis Nolasco’s "Luis Taruc Ang Supremo” was halted in its early

shooting phase

�

Films Showing Post-War Agrarian Problems

�

Ako Raw ay Huk

�

Labi ng Bataan

�

Baril o Araro

�

Bisig ng Manggagawa

� DISILLUSIONMENT

�

rancour among the guerrillas

�

Palaboy ng Tadhana

�

Anak Dalita

�

Lupang Pangako

� CONCLUSION

� The image of the guerrilla returning to his hometown and

experiencing hardships gripped filmmakers and audiences alike.

Film has unwittingly captured the tragedy of the post-war era, the festering decay of morality,

the growing corruption, the amnesia of history.

�

End

� Quirino, J. (1983). History of the Philippine cinema. Quezon City: Phoenix Pub.

Sources