Viva’s 25 most significant cinematic contributions

(First of a series)

Viva turns 25 this year and to mark the occasion, the multi-media corporation has come out with the Silver Series, a set of albums that features the past recordings of respected artists who all became part of the Viva family.

After 25 years, Viva has branched out into recording, TV, foreign film distribution and other branches of entertainment. But it will always be remembered for its flagship – the film company that churned out quality projects the past 25 years.

Below are what I believe to be Viva’s 25 most significant contributions to Philippine cinema:

1. Viva started the glossy look in local films: Beautiful photography to highlight even more the decadently rich settings (those mansions in Makati and Alabang), stylish clothes, flashy cars and beautiful people. (It was reminiscent of those old Sampaguita flicks, but in color.) At first, critics didn’t take too kindly to this because film is supposed to reflect what happens in real life and a large percentage of our population (even in those days – the early ’80s) certainly did not live in exclusive villages and wear clothes by Christian Espiritu. Surely, not everything is beautiful in this life – as depicted by those early Viva movies. But in time, these glossy pictures just blended into the film culture. From its end, Viva eventually produced films that were more socially relevant and contributed to the growth of local cinema. All in all, you can credit Viva for giving us decent entertainment.

2. Viva gave us Sharon Cuneta, a major talent – or in her case, a mega talent. Sharon actually made her first film under Sining Silangan. But she was originally a talent of Vicor, Viva’s sister company. The term megastar was coined in 1985 when she had already long proven her worth as a box-office star. Eventually, she also developed into a fine actress and she is now among the best – and most respected – in the field.

3. Those glossy Viva movies – with Sharon Cuneta in most of them – brought in crowds from all sectors. It was actually Tinimbang Ka, Nguni’t Kulang in 1974 that brought in the upper crust to theaters showing Tagalog pictures, but this was not sustained. Viva brought them back, however, and in time every Filipino – regardless of financial status – was watching local films. The rich matrons and teenage girls and even lady executives in big corporations became fans of Sharon because of her charisma and good breeding and the best way to see her was to watch her films. This certainly was a boost to Tagalog pictures.

4. It became known for films with convoluted titles. Gaano Kadalas ang Minsan? and Sana Bukas Pa ang Kahapon are just two classic examples. That time, more serious moviegoers scoffed at these movie titles. But compared to forgettable movie titles of today – all based on titles of foreign songs – I would rather have Minsan Pa Nating Hagkan ang Nakaraan. At least, I easily recall that it is a Vilma Santos movie where she is married to Eddie Garcia, but goes on an extra-marital affair with Christopher de Leon. But oh please help me remember the title of that John Lloyd Cruz-Bea Alonzo movie that I enjoyed watching, except that I can’t recall what it’s called.

5. Viva brought back the practice of putting theme songs in the movies. This was done in movies of old (Araw, Araw, Gabi-Gabi by Didith Reyes, who is very much in the news again), but it was Viva that revived the practice in the early ’80s. My top favorite among the theme songs it popularized was Rey Valera’s Sinasamba Kita, which starred Vilma Santos, Lorna Tolentino, Christopher de Leon and Phillip Salvador.

6. It gave us Working Girls in 1984. Directed by Ishmael Bernal, this is my all-time favorite local film after Peque Gallaga’s Oro, Plata, Mata. Working Girls documents the socio-political events after the assassination of Sen. Benigno Aquino Jr., the year before and the state of the banking system in the country. I have a VCD copy of it and I never get tired watching it.

7. It brought back ’50s movie queen Nida Blanca to leading actress status. Although she was very visible on TV from the ’60s onward, film was unkind to the late actress, who was relegated to supporting roles on the big screen (at least in the few film offers she got around that time). But Viva tapped her to play Sharon Cuneta’s mother in Forgive and Forget and the story revolved around Nida’s getting back with ex-husband Nestor de Villa and the former popular screen love team got major exposure in the movie. Two years later, Viva gave Nida the lead role in Saan Darating ang Umaga? and was nominated for Best Actress in various award-giving bodies for playing Jaypee de Guzman’s adoptive mother, who later blames the kid for the death of her husband (De Villa). Nida became very active again in the movies after that (Lily Monteverde also gave the actress several important projects over at the Regal compound). In time, she won a whole slew of Best Actress trophies for Miguelito: Ang Batang Rebelde (produced by the family of Aga Muhlach) and the grand-slam Best Supporting Actress for playing Dina Bonnevie’s mother in Magdusa Ka, a Viva Films production.

8. It developed Dina Bonnevie as a fine acting talent. Although she began her career in Regal Films where she was launched in Katorse in 1980, it was in Tinik sa Dibdib where she was given the first challenging role of her career – that of a disturbed young woman who refuses to speak as a sign of protest against the indiscretions of her mother (played by Pilar Pilapil). She won a couple of Best Supporting Actress trophies for this and two years later, the Best Actress Award for Magdusa Ka. Today, Ms. Bonnevie is regarded as one of the most respected talents in the film industry. (To be continued)