Bisdak cinema "coming out" of third dormancy

CEBU, Philippines - For one to resurrect, one has to die first. This logic is governed by a belief in the afterlife. But labeling the attempts at breathing life once more to Visayan filmmaking as “efforts of resurrecting” might be a misnomer. This is because Bisdak cinema has never been extinct. Just dormant!

For it to regain its strength and to again spew fire, like a volcano out of its long period of dormancy, we are all called to take a look at slides and stills of local filmdom’s history to be able to view other angles and connect with some other possibilities in our contemporary times.

One of these windows is the year 1922. It was marked by the shooting and screening of the very first locally made film – the “El Hijo Disobiente”. Five years later, Cine Magallanes was opened where the film Amor de Madre (Gugma sa Inahan) was screened. It saddens me to know that industry insiders left vague traces – not even an established archive – where we could have compared notes or counter-checked facts. However, research is ongoing that is essential in the advocacy of SineBuano, Cebu’s independent filmmaking scene.

In an invitation sent by the MassCom Coordinates of the University of San Jose-Recoletos last week, production designer Ronaldo “Ron Heri” Tan gave a lecture on the history of Visayan films. “Take note that it was only in 1932 when the first Tagalog talkatone entitled ‘Ang Aswang’ was shown in Manila; and that it was only in 1937 when Sampaguita Pictures, one of the first Tagalog film productions in Manila, started its operations with the ‘Bituing Marikit (Beautiful Star)’ project,” he said.

Earlier than that endeavor, there was already the screening of “Bertoldo ug Balodoy”, billed as the first Visayan talking picture in the WORLD! (Feel like claiming bragging rights, huh?)

It was learned from Ron that other films produced here in the 1940s were “Gugmang Talagsaon” and “Mini.” Other projects such as “Bulak sa Lunangan” started by the Estudio Americano-Filipino was never finished because of the invasion of the Japanese Imperial Army during World War II.

However, from 1948 to 1958, which was proclaimed the Golden Era, film production went full-swing, mostly in the 1950s, reflective of Visayan life, culture and history like Balud, Dumagsa, Prinsesa Tirana, Heneral Leon Kilat, Sumatra, Dandansoy, Kapintas Sa Kinabuhi, Santilmo, Pit Senyor, Salingsing sa Kasakit, Paradista, Bugas Mais, Kompas Lang, Siong; Mutya Sa Saging Tindok, etcetera.

Such was technically tagged “first resurrection” that somehow underscored a clinically dead - never brain dead - cinema. “To be safe, let’s just say nakuyapan. Apan naulian ra sab. Mao ning gitawag og Bulawanong Yugto,” Ron pointed out.

A second resuscitation was applied to the Cebuano film industry that began to be responsive from 1966 to 1979, as cameras went grinding again. “The industry indeed battled for its life. The Cebu United Artists Production of Frankie Postrero (director) through ‘Gihandum Ko Ikaw Sa Kanunay’ starring Gloria Sevilla, Mat Ranillo II, Tony Cruz, Caridad Sanchez, Elsa Corazon, and introducing Robert Villegas, among others, paved the difficult road to the second revival,” Ron said.

Customs Inspector, The Champion and the Beautiful, and Operation Takas were a few of the films produced then. But because of the scarcity in Cebuano films during this period, movies shown in theaters in 1967 were the likes of Tarzan Film Festival at Ideal Theater, Arrivederci, Baby and The Triple Cross at Majestic Theater; Double Man and The Cool Ones at Cine Oriente; Heroes of Dien Bien Phu and Tarzan and the Valley of Gold at Victor Theater; Doctor in Cover and Reluctant Astronaut in Vision Theater; Alex Big Shot and Max Diamond at New Lane Theater; I’ll See You in September and Valiente Brothers at Vitina Theater; and Operation Discotheque at Omega Theater.

“Tan-awa puros English films, asa naman ang mga Binisaya ani?” Ron reacted to the list.

It’s a good thing that in 1955, “Salingsing sa Kasakit” was nominated in the FAMAS Awards for Best Picture, Best Cinematography, Best Director, and won Best Child Actor for radio drama talent and writer Undo Juezan.

Over a decade later, Gloria Sevilla – queen of Visayan films – won the Best Actress Awards for Badlis sa Kinabuhi (Life Lines) in both the FAMAS and the 16th Asian Film Festival in Jakarta (Indonesia). This had fanned all the more the interest and support of film buffs. The movie was also chosen Best Black-and-White Film in Jakarta and was entered in the Berlin Film Festival in 1969.

When it rains, it pours. On that same year, the first Cebuano film in color entitled “Ave Maria” was produced by Don Manuel Enriquez de la Calzada under the Enriquez Pictures, to raise funds for    the construction of the San Nicolas de Tolentino Church altar. The story was     a trilogy about the three children of a rig driver. Done in 16mm, the film featured Carmen Torres,   Julie Ann Fortich, Bernard Puntillas, and other         new names that time in local filmdom.

Though SineBuano has received feedbacks on the perceived futility in pushing for the revival of Bisdak films because of various factors like dwindling patronage, strong support system, and heightened preference for English and other Asian films, the group led by its creative director Diem Judilla has continually carried out advocacy lectures not only to impart knowledge in the basics of filmmaking or create awareness on the indie scene, but also to tap into creative support from people who are passionate about everything Sinugbuwano.

When it comes to concepts and ideas, Cebuanos are very independent and original, Ron said. “In fact, it is very noticeable starting with our past titles of Cebuano films - Badlis Sa Kinabuhi, Hukmanan Dinhi Sa Yuta, Itlog Mo Noy, Orange; Mini, Sangang Nangabali, Luha sa Kalipay. O paminawa ni ninyo - Salingsing Sa Kasakit; pagkalawom ani. If imo ning Ininglison, mawala man ang nuance sa mga pulong. Apan tan-awa kun litokon kini sa atong kaugalingong pinulongan, dali ra natong sabton, dali ra tugkaron kun unsay gipahimug-atan diha sa salida, sa lilas kay ato man ning sentiment as a people.”

Further into Ron’s input on the coming out of third dormancy of Bisdak cinema, he mentioned of the many pitfalls that weaken connections among parts integral to the sustenance of Visayan filmmaking, and behavioral patterns that ultimately led to the folding up of theaters and cinema houses here as well as the exodus of Bisdak thespians to Manila.

“Dili na nato ni usbon. Dili ta mag-iya-iya. We should be one in this cause to revive our lost cinema. Forget about Manila, they can have Luzon to themselves. Of course, we will continue patronizing good Tagalog films but we have to also uphold our own culture and language.”

Ron’s a veteran of Philippine film and TV, a production designer with a sterling career spanning nearly 20 years. Early in his career, he’s had the good fortune of working with the greats, Lino Brocka and Ishmael Bernal. He was production designer of “Panaghoy sa Suba”. Now “retired” from the showbiz world in Manila, Ron’s putting his expertise and experience in an endeavor to “revive” the Cebuano/Visayan film industry to its cultural glory.