Alfred Larozsa - Napaiyak Ako (1958)

Sino sila? Level: EASY

Sino Kami?

Sino kami?

Level: EASY

....ang pelikulang ito ang kauna-unahang pelikulang Pilipino na tungkol sa higanteng.....

....ang pelikulang ito ang kauna-unahang pelikulang Pilipino na 

tungkol sa higanteng hayop na lumaki at maalasa sa siyudad 

Ito ay gaqa ng LVN Pictures

Ano pelikula ito?

Kilala na ninyo ang dalawang artistang ito sa isang Horror Comedy na gawa ng ......

Kilala na ninyo ang dalawang artistang ito sa isang Horror Comedy na gawa ng Sampaguita Pictures

Magaling sa History ng pelikulang Pilipino ang makahula dito?

History of Philippine Cinema

History of Philippine Cinema

 INTRODUCTION

         The youngest of the Philippine arts, film has evolved to become the most popular of all the art forms. Introduced only in 1897, films have ranged from silent movies to talkies; black and white to color. Outpacing its predecessors by gaining public acceptance, from one end of the country to the other, its viewers come from all walks of life. Nationwide, there are more than 1000 movie theaters. Early in the 1980s, it was estimated in Metro Manila alone, there were around 2.5 million moviegoers.  As an art form, it reflects the culture and the beliefs of the people it caters to and most times, is the one who shapes their consciousness.

         Philippine film as discussed in this paper includes films made by Filipino people exhibited in this country and possibly in other countries from the 1930s to the 1990s. The films may be silent pictures or talkies, black and white or color. They also include films such as documentaries, animation, experimental or alternative films and other types of films.

         This paper has three purposes or objectives. It intends, first of all, to provide a comprehensible background of the art of film in the Philippines. It provides insights on how the Philippine film has influenced Philippine culture and vice-versa. This is done by documenting the important events and important films in the area of film for the past ninety years. Second, it intends to explain the different trends and styles common in the Philippine film. And finally, it concludes with an analysis on how two important events in history, namely World War II and Martial Law altered the course of contemporary Philippine film.

         However, this paper is limited to films only from the particular time period of the 1930s to the 1990s. It fails to give a picture of how films were like ever since it started in 1897. This paper is also severely limited due to the unavailability and the lack of materials that discuss thoroughly the history of Philippine film. Film materials for those made during the pre-WWII years are simply non-existent. Data for this paper was gathered from the essays and reviews written by the artists and the critics themselves. It goes without saying that the resources were tested to the limits.

CHAPTER 1

I. The 1930s to 1940s

A. Early Philippine Films

         Filipinos started making movies in 1919. However, it would be important to know that the film industry in the Philippines began through the initiative of foreign entrepreneurs. Two Swiss entrepreneurs introduced film shows in Manila as early as 1897, regaling audiences with documentary films lips showing recent events and natural calamities in Europe.  Not only that but the arrival of the silent films, along with American colonialism, in 1903 created a movie market.   But these film clips were still novelties. They failed to hold the audiences’ attention because of their novelty and the fact that they were about foreigners. When two American entrepreneurs made a film in 1912 about Jose Rizal’s execution, the sensation they made it clear that the Filipino’s need for material close to their hearts. This heralded the making of the first Filipino film.

        The credit of being the first Filipino to make a film goes to Jose Nepumuceno, whom historians dub as the “Father of Philippine Movies”. Nepumuceno’s first film was based on a highly-acclaimed musical play of that day, Dalagang Bukid (Country Maiden) by Hemogenes Ilagan and Leon Ignacio.

         In those early years of filmmaking, enormous capital was needed to keep up with the Hollywood industry. Despite its weak points, Hollywood provided the Philippine film industry with examples that the early filmmakers followed. It is not surprising that many of those same genres set so many years ago still appear in contemporary Philippine films. But it was difficult to match Hollywood style in those days with the meager capital set aside for the developing film industry. Ironically, the same people who helped the film industry develop as a form of expression were the same ones who suppressed this expression.

        Early  film producers included “wealthy Spaniards”, American businessmen and Filipino landlords and politicians. It is not surprising that…pre-war Philippine movies…were inhibited from expressing their views that might question the establishment and were encouraged instead to portray the love and reconciliation between members of different classes…

         Starting with Dalagang Bukid, early films dug into traditional theater forms for character types , twists and turns in the plot, familiar themes and conventions in acting. This set the trend of Philippine films based entirely on immensely  popular dramas or sarswelas . Besides providing ready materials, this device of using theater pieces ensured an already existing market. From the komedya of the sarswela, the typical Filipino aksyon movie was to develop. The line dividing the good and the bad in the komedya was religion with the Christians being the good and the Moors representing the bad. In present movies, the line that divides the two is now law or class division. The sinakulo or the passion play was the root of the conventional Filipino melodrama. The Virgin Mary became the “all-suffering, all-forgiving Filipino Mother” and Jesus was the “savior of societies under threat and the redeemer of all those who have gone wrong”. Another source of movie themes was Philippine literature. Francisco Baltazar and Jose Rizal, through the classics for which they were famous, have given the industry situations and character types that continue to this day to give meat to films both great and mediocre.

        Finally, by the 1930s, a few film artists and producers dared to stray from the guidelines and commented on sociopolitical issues, using contemporary or historical matter. Director, actor, writer and producer Julian Manansala’s film Patria Amore (Beloved Country) was almost suppressed because of its anti-Spanish sentiments. This earned him the honor of being dubbed the “Father of the Nationalistic Film”.

        Its own share of movie audience and acclaim for local movie stars were signs that the movie industry from 1919 to the 1930s had succeeded. Despite the competition coming from Hollywood, the film industry thrived and flourished. When the 1930s came to a close, it was clear that moviegoing had established itself in the Filipino.

B. Wartime Films and the Effect on Philippine Films

        The Japanese Occupation introduced a new player to the film industry – the Japanese; and a new role for film – propaganda :

        “The Pacific War brought havoc to the industry in 1941. The Japanese invasion put a halt to film activity when the invaders commandeered precious film equipment for their own propaganda needs. The Japanese brought their own films to show to Filipino audiences.”  The films the Japanese brought failed to appeal to audiences the same way the Hollywood-made movies or the locally-made films did. Later on, Japanese propaganda offices hired several local filmmakers to make propaganda pictures for them. One of these filmmakers was Gerardo de Leon.

         The war years during the first half of the Forties virtually halted filmmaking activities save for propaganda work that extolled Filipino-Japanese friendship, such as The Dawn of Freedom made by director Abe Yutaka and associate director Gerardo de Leon…Less propagandistic was Tatlong Maria (Three Marias), directed in 1944, by Gerardo de Leon and written for the screen by Tsutomu Sawamura from Jose Esperanza Cruz’s novel…Despite the destruction and hardships of the war, the people…found time for entertainment; and when movies were not being made or imported…they turned to live theater…which provided alternative jobs for displaced movie folk. The war years may have been the darkest in film history…”

         This period turned out to be quite beneficial to the theater industry. Live theater began to flourish again as movie stars, directors and technicians returned to the stage. Many found it as a way to keep them from being forgotten and at the same time a way to earn a living.

        In 1945…the film industry was already staggering to its feet. The entire nation had gone through hell and there were many stories to tell about heroic deeds and dastardly crimes during the 3 years of Japanese occupation. A Philippine version of the war movie had emerged as a genre in which were recreated narratives of horror and heroism with soldiers and guerillas as protagonists…audiences still hungry for new movies and still fired up by the patriotism and hatred for foreign enemies did not seem to tire of recalling their experiences of war.

         Movies such as Garrison 13 (1946),  Dugo ng Bayan (The Country’s Blood, 1946), Walang Kamatayan (Deathless, 1946), and Guerilyera (1946) , told the people the stories they wanted to hear: the heroes and the villains of the war. The war, however, had left other traces that were less obvious than war movies that were distinctly Filipino. As Patronilo BN. Daroy said in his essay Main Currents in Filipino Cinema: “World War II left its scars on the Filipino’s imagination and heightened his sense of reality…”

CHAPTER II

II. The 1950s to 1970s

A. The Golden Age of Philippine Films

        The 1950s were considered a time of  “rebuilding and growth”. But remnants from the preceding decade of the 40s remained in the form of war-induced reality. This is seen is Lamberto Avellana’s Anak Dalita (The Ruins, 1956), the stark tragedy of post-WWII survival set in Intramuros. The decade saw frenetic activity in the film industry which yielded what might be regarded as the first harvest of distinguished films by Filipinos.  Two studios before the war, namely Sampaguita Pictures and LVN, reestablished themselves. Bouncing back quickly, they churned out movie after movie to make up for the drought of films caused by the war. Another studio, Premiere Productions, was earning a reputation for “the vigor and the freshness” of some of its films. This was the period of the “Big Four” when the industry operated under the studio system.  Each studio (Sampaguita, LVN, Premiere and Lebran) had its own set of stars, technicians and directors, all lined up for a sequence of movie after movie every year therefore maintaining a monopoly of the industry. The system assured moviegoers a variety of fare for a whole year and allowed stars and directors to improve their skills.

         Critics now clarify that the 50s may be considered one “Golden Age” for the Filipino film not because film content had improved but because cinematic techniques achieved an artistic breakthrough in that decade. This new consciousness was further developed by local and international awards that were established in that decade.

         Awards were first instituted that decade. First, the Manila Times Publishing Co. set up the Maria Clara Awards.  In 1952, the FAMAS (Filipino Academy of Movie Arts and Sciences) Awards were handed out. More so, Filipino films started garnering awards in international film festivals. One such honor was bestowed on Manuel Conde’s immortal movie Genghis Khan (1952) when it was accepted for screening at the Venice Film Festival. Other honors include awards for movies like Gerardo de Leon’s Ifugao (1954) and Lamberto Avellana’s Anak Dalita. This established the Philippines as a major filmmaking center in Asia. These awards also had the effect of finally garnering for Filipino films their share of attention from fellow Filipinos.

B. The Decline of Philippine Film

        If the 1950s were an ubiquitous period for film, the decade that followed was a time of decline. There was “rampant commercialism and artistic decline” as portrayed on the following:

         In the 1960s, the foreign films that were raking in a lot of income were action pictures sensationalizing violence and soft core sex films hitherto banned from Philippine theater screens, Italian “spaghetti” Westerns, American James Bond-type thrillers, Chinese/Japanese martial arts films and European sex melodramas. To…get an audience to watch their films, (the independent) producers had to take their cue from these imports. The result is a plethora of films…giving rise to such curiosities as Filipino samurai and kung fu masters, Filipino James Bonds and…the bomba  queen.

         The studio systems came under siege from the growing labor movement which resulted in labor-management conflicts. The first studio to close was Lebran followed by Premiere Productions. Next came Sampaguita and LVN. The “Big Four” studios were replaced by new and independent producers who soon made up the rest of the film industry.

        The decade also saw the emergence of the youth revolt best represented by the Beatles and the rock and roll revolution. They embodied the wanting to rebel against adult institutions and establishments. Certain new film genres were conceived just to cater to this “revolt”. Fan movies  such as those of the “Tita and Pancho” and “Nida and Nestor” romantic pairings of the 50s were the forerunners of a new kind of revolution – the “teen love team” revolution. “Nora Aunor and Vilma Santos, along with Tirso Cruz III and Eddie Mortiz as their respective screen sweethearts, were callow performers during the heyday of fan movies. Young audiences made up of vociferous partisans for ‘Guy and Pip’ or ‘Vi and Bot’ were in search of role models who could take the place of elders the youth revolt had taught them to distrust”

        Another kind of youth revolt came in the form of the child star. Roberta (1951) of Sampaguita Pictures was the phenomenal example of the drawing power of movies featuring [these] child stars.  In the 60s this seemed to imply rejection of “adult corruption” as exposed by childhood innocence.

        The film genres of the time were direct reflections of the “disaffection with the status quo” at the time.  Action movies with Pinoy cowboys and secret agents as  the movers of the plots depicted a “society ravaged by criminality and corruption” . Movies being make-believe worlds at times connect that make-believe with the social realities. These movies suggest a search for heroes capable of delivering us from hated bureaucrats, warlords and villains of our society. The action films of the 1960s brought into the industry “ a new savage rhythm that made earlier action films seem polite and stage managed.”  The pacing of the new action films were fast as the narrative had been pared down to the very minimum of dialogues. And in keeping up with the Hollywood tradition, the action sequences were even more realistic.

        Another film genre that is perhaps also a embodiment of the revolt of the time is the bomba genre. Probably the most notorious of all, this genre appeared at the close of the decade. Interestingly, it came at a time when social movement became acknowledged beyond the walls of campuses and of Manila.

        In rallies, demonstrations and other forms of mass action, the national democratic movement presented its analysis of the problems of Philippine society  and posited that only a social revolution could bring genuine change. The bomba  film was a direct challenge to the conventions and the norms of conduct of status quo, a rejection of authority of institutions in regulating the “life urge” seen as natural and its free expression “honest” and “therapeutic”

         Looking beyond the obvious reasons as to the emergence of the bomba film, both as being an exploitative product of a profit-driven industry and as being a “stimulant”, it can be analyzed as actually being a “subversive genre”, playing up to the establishment while rebelling and undermining support for the institutions.

        Even in the period of decline, genius has a way of showing itself. Several Philippine films that stood out in this particular era were Gerardo de Leon’s Noli Me Tangere (Touch me Not, 1961) and El Filibusterismo (Subversion, 1962). Two other films by Gerardo de Leon made during this period is worth mentioning – Huwag mo Akong Limutin (Never Forget Me , 1960) and Kadenang Putik (Chain of Mud, 1960), both tales of marital infidelity but told with insight and cinematic import.

C. Films during Martial Law

        In the 60s, the youth clamored for change in the status quo. Being in power, Ferdinand Marcos  answered the youth by placing the nation under martial rule.

        In 1972, he sought to contain growing unrest which the youth revolt of the 1960s fueled. Claiming that all he wanted was to “save the Republic”, Marcos retooled the liberal-democratic political system into an authoritarian government which concentrated power in a dictators hand. To win the population over, mass media was enlisted in the service of the New Society.  Film was a key component of a society wracked with contradictions within the ruling class and between the sociopolitical elite and the masses.

         In terms of comparisons, the Old Society (or the years before Martial Law) became the leading symbol for all things bad and repugnant. The New Society was supposed to represent everything good – a new sense of discipline, uprightness and love of country  Accordingly, the ideology of the New Society was incorporated into local films.

         …Marcos and his technocrats sought to regulate filmmaking. The first step was to control the content of movies by insisting on some form of censorship. One of the first rules promulgated by the Board of Censors for Motion Pictures (BCMP) stipulated submission of a finished script prior to the start of filming. When the annual film festival was revived, the censors blatantly insisted that the “ideology” of the New Society be incorporated into the content of the entries.

         The government tried to control the film industry while keeping it in “good humor” – necessary so that the government could continue using film as propagandistic vehicles. So despite the censors, the exploitation of sex and violence onscreen continued to assert itself. Under martial law, action films depicting shoot outs and sadistic fistfights ( which were as violent as ever) usually append to the ending an epilogue claiming that the social realities depicted had been wiped out with the establishment of the New Society.  The notorious genre of sex or bomba films that appeared in the preceding decade were now tagged as “bold” films, simply meaning that a lot more care was given to the costumes.

        Martial Law declared in 1972 clamped down on bomba films as well as political movies critical of the Marcos administration. But the audience’s taste for sex and nudity had already been whetted. Producers cashed in on the new type of bomba, which showed female stars swimming in their underwear, taking a bath in their camison (chemise), or being chased and raped in a river, sea, or under a waterfall. Such movies were called the wet look…

         One such movie was the talked-about Ang Pinakamagandang Hayop sa Balat ng Lupa (The Most Beautiful Animal on the Face of the Earth, 1974) starring former Miss Universe Gloria Diaz.

        However, the less-than-encouraging environment of the 70s gave way to “the ascendancy of young directors who entered the industry in the late years of the previous decade…”  Directors such as Lino Brocka, best remembered for his Maynila, Sa Mga Kuko ng Liwanag (Manila, In the Claws of Neon Lights, 1975), Ishmael Bernal, director of the Nora Aunor film Himala (Miracle, 1982) and Celso Ad. Castillo, whose daring works portrayed revolt, labor unionism, social ostracism and class division, produced works that left no doubt about their talent in weaving a tale behind the camera.

        Another welcomed result that came from martial rule was the requirement of a script prior to filming. This was an innovation to a film industry that made a tradition out of improvising a screenplay. Although compliance with the requirement necessarily meant curtailment of the right of free expression, the BCMP, in effect caused the film industry to pay attention to the content of a projected film production in so far as such is printed in a finished screenplay.  In doing so, talents in literature found their way into filmmaking and continue to do so now.

CHAPTER III

III. The 1980s to the present

A. Philippine Films after Marcos

        It can be justified that immediately after Marcos escaped to Hawaii, films portraying the Philippine setting have had a serious bias against the former dictator. And even while he was in power, the militancy of  filmmakers opposing the Martial Law government especially after the assassination of Ninoy Aquino in 1983, accounts for the defiant stance of a number of films made in the closing years of the Marcos rule.

        Films such as Lino Brocka’s Bayan Ko: Kapit sa Patalim (My Country: Gripping the Knife’s Edge, 1985) were defiant, not in the sense of it being openly stated by in the images of torture, incarceration, struggle and oppression. Marilou Diaz-Abaya’s Karnal (1984) depicts this in a different way in the film’s plot wherein patricide ends a tyrannical father’s domination. Mike de Leon’s Sister Stella L. (1984), was a typical de Leon treatment of the theme of oppression and tyranny.

        In 1977, an unknown Filipino filmmaker going by the name of Kidlat Tahimik made a film called Mababangong Bangungot (Perfumed Nightmare). The film won the International Critic’s Prize in the Berlin Film Festival that same year.  Kidlat Tahimik’s rise to fame defined the distance between mainstream cinema and what is now known as independent cinema. Beginning with Tahimik, independent cinema and films became an accomplished part of Philippine film.

        Out of short film festivals sponsored by the University of the Philippines Film Center and by the Experimental Cinema of the Philippines, young filmmakers have joined Kidlat Tahimik in the production of movies that, by their refusal to kowtow to the traditions and conventions of mainstream filmmaking, signify faith in works that try to probe deeper into the human being and into society. Nick Deocampo’s Oliver (1983) and Raymond Red’s Ang Magpakailanman (The Eternal, 1983) have received attention in festivals abroad.

         Filmmakers like Tahimik, Deocampo and Red are examples of what we call “alternative filmmakers”. Alternative or independent filmmakers are products of film schools where students are exposed to art films without “the compromises of commercial filmmaking”.

B. Contemporary Philippine Film

        Despite our completion of 100 years of cinema in the Philippines, the same problems plague us now just as it had when film was still a relatively new art form. The phrase “poorly made” is fitting to describe the quality of films being churned out by the film industry year by year. There have been few exceptions to the rule.

        Presently, films are primarily made for profit, lacking any qualities to redeem itself. Studies show that Hollywood films, with its high technology and subject matter, are being preferred over local films. It is no wonder – for films now are “too profit-oriented…[with] corrupting morals and…dubious values…sticking with formulaic films”

        Genres that have been present for the past few decades are being recycled over and over again with the same stories. The teen love teams of the fan movie are still present with incarnations of love teams of yesteryears. Now instead of “Guy and Pip” are “Judy and Wowie”. The bomba film is still present, now having grown more pornographic and taboo. The film Tatlo (1998) comes to mind with its subject matter of threesomes. In Filipino slapstick or komedya, Dolphy has been replaced by younger stars.

        But even if the films of today have not been quite up to par, “Filipino movies…wields an influence over the national imagination far more intense that all the others combined.”

CONCLUSION

        The early years of Philippine film, starting from the 1930s, were a time of discovering film as it was at that time still a new art form. Stories for films came from the theater and popular literature being, as they were, “safe”, with the filmmaker being assured of its appeal. Nationalistic films were also in vogue despite early restrictions on films being too subversive.

        The 1940s and the war brought to Philippine film the consciousness of reality which was not present in the preceding films. Filmmakers dared to venture into the genre of the war movie. This was also a ready market especially after the war.

        The 1950s were the Golden Years, a time when films matured and became more “artistic”. The studio system, though producing film after film and venturing into every known genre, made the film industry into a monopoly that prevented the development of independent cinema.

        The 1960s, though a time of positive changes, brought about an artistic decline in films. The notorious genre of bomba was introduced and from that day forward has been present in the Philippine film scene ever since.

        The 1970s and 1980s were turbulent years, bringing positive and negative changes. From the decline in the 60s, films in this period now dealt with more serious topics following the chaos of the Marcos regime. Also, action and sex films developed further introducing more explicit pictures. These years also brought the arrival of alternative cinema in the Philippines.

        Presently, in the 1990s, we are seemingly engaged in a vicious cycle – of genres, plots, characterization and cinematic styles. We are unconsciously, or rather consciously, imitating, copying from the much more popular American films. And when we are not copying, we are reverting back to the same old styles. From the massacre movies of late, the teen-oriented romantic-comedies and the anatomy-baring sex flicks which are currently so popular, it seems Philippine cinema is on a down spiral. Still, some films been successes and not only financially. Diaz-Abaya’s Rizal (1998), as an example, was a success both commercially and critically. Hopefully, Philippine cinema in the new millennium would produce films as good and better than the ones before it.

        As a conclusion, here is what Patronilo BN. Daroy had to say about the Philippine film industry:

        Philippine cinema, in short, appears to have reached full circle: it is at the stage of refining and formulating its own conventions and, in the process, getting in close contact with the ferment in the other arts and at the same time, the serious critical attention and concern of people with a broader interest in culture. This is inevitable; as an art form the cinema in the Philippines can no longer remain isolated from the main current of sensibilities and ideas that shape other artistic forms, such as literature, painting, the theater, etc. Neither can it fly from the actuality of social life which, after all, is the source of all artistic expression. I foresee, therefore, a hand towards more serious cinema; the muckrakers will continue, but they will be exposed for what they are and will no longer be definitive of the quality of Filipino films.

Derek sa dating girlfriend: Sobra niya akong sinaktan!

Si Angelica Panganiban nga kaya ang tinutukoy nitong si Derek Ramsay na kanyang ex-girlfriend na iniiwasan pa rin daw niyang makita.

Sa pagkakaalam namin, tatlong kilalang celebrities ang nakarelasyon ni Derek, sina Angelica Panganiban, Cristine Reyes at Solenn Heussaff.

Sinabi ni Derek sa kanyang interview na matindi ang sakit na idinulot sa kanya ng ex niyang ito, “Sobra akong sinaktan intentionally,” he said.

Hindi na raw kasi sila nabigyan ng chance na makapag-usap bago sila nag-break. Marami sa nakapanood ng interview ang nagsabi na si Angelica raw ang tinutukoy ni Derek dahil hindi na ito sumagot nang mabanggit ang pangalan ng girlfriend ngayon ni John Lloyd Cruz.

Coleen sa naging relasyon kay Gab Valenciano: Napakabigat!

Nagsalita na rin sa wakas si Coleen Garcia tungkol sa naging relasyon nila noon ng anak ni Gary V na si Gab Valenciano at kung bakit sila nag-break.

“Before the relationship I’m in now, there was only one really serious relationship that I’ve been in. It was with Gab and I feel like it left the biggest impact because it was such an intense relationship.

By that, I mean the highs were very high and the lows were low,” chika ni Coleen nang mag-guest siya sa The Bottomline ni Boy Abunda last weekend.

Isang taong tumagal ang relasyon nila at naghiwalay nga noong 2013. Kinailangang pumunta ni Gab sa US para mag-aral, “I felt like it was so heavy and at the same time, on the positive note, I learned so much.

It really shaped me to be the person I am now. It taught me to be strong and to put myself first sometimes.” Nang tanungin kung mahalaga ba sa isang nagtapos na relasyon na may formal closure, sey ni Coleen, “My ex just got up and left the country.

I think it’s not important. I think that at that moment, it could be (important) depending on the situation. But if you’re over it, you’re over it.

“Just respect for the other person, it would be nice if you actually get that closure. You show that person that you still respect whatever you’ve been through together just by talking about it and having that closure,” aniya pa.

Hirit pa ng dyowa ni Billy Crawford, “I was done with the relationship. I just wanted that closure. I wanted to talk and leave things at a good note.

I’m not the kind of person who holds any grudges, who actually entertains any negative thoughts about other people.”

Hulaan Ninyo: Tisoy na aktor nakipagsubuan ng ice cream sa gwapong hunk

NAPAKATAGAL na panahon nang pinagdududahan ang kasarian ng medyo may edad nang tisoy na aktor. Nu’ng bagu-bago pa lang siyang nag-aartista ay marami nang nagsasabing berde ang kulay ng kanyang dugo.

Marami siyang nakaparehang aktres, pero gaano man kagaganda ang mga ito, kahit minsan ay hindi siya naugnay kaninuman.

Ang kanyang galaw ay marahan. Pinung-pino. Kaya sigaw ng mga kapatid, “Kumpirm! Trulili, kapatid nga siya!” At mula nu’n ay nagpatuloy na ang pagdududa sa seksuwalidad ng tisoy na aktor.

Kailan lang ay nakita ang tisoy na aktor sa isang malaking mall. May ice-cream parlor sa loob, nandu’n siya, kumakain ng sorbetes kasama ang isang guwapong lalaki.

Salamin lang ang pa-gitan ng kanilang kinaroroonan sa mismong daanan ng tao, kitang-kita sila mula sa labas, walang naitago ang may edad nang aktor sa mga nakakita sa kanya habang nakikipagsubuan ng ice-cream sa kasama niyang macho.

“Late bloomer ba siya? Parang hindi naman, kasi nu’ng nagiging leading man na siya sa mga movies na ginawa niya, ang tawag sa kanya ng production staff, e, leading lady, di ba?

“Kapag dumarating na siya sa set, agad nang may magsasabi, ‘O, ready na tayo, nandito na ang lea-ding lady natin.’ Kaya lang, ngayon lang siya talaga lumalabas-labas na may kasamang mhin.

“Talagang nagpapakita na siya, wala na siyang pakialam. Wala na kasi siyang kailangang itago, bukelya na siya, saka wala na siyang kasama sa buhay,” kuwento ng aming source.

Bradly Guevarra, may paborito kang kanta na binago mo ang lyrics, di ba? Si Aida O Si Loida O Si Fe?

Pototoy ni Alex Medina pinisil, kinurot sa ‘Cosmo Bash 2015’

Nakakaloka! Hindi lang pala ang actor-politician na si Alex Castro ang nahipuan sa nakaraang Cosmo Carnival 2015.

Pati pala ang indie actor na si Alex Medina ay naka-experience ng pandadakma ng isang fan na nanood sa Cosmo Bash noong Sabado sa SM Mall of Asia Concert Grounds, sa Pasay City.

Sa isang panayam sinabi ni Alex (anak ng award-winning actor na si Pen Medina), na regular ngayong napapanood sa Primetime Bida series na Pangako Sa ‘Yo nina Daniel Padilla at Kathryn Bernardo, “May humawak ng ano ko…babae naman ang humawak. Isa lang naman. Okay lang, pinisil niya, kinurot.”

Nang matanong kung ano ang nadakma sa kanya, sagot ng binata, “Yung hipon! Ha-hahaha! Wala naman sa akin. Okay lang. Sakto lang. E, nahawakan, e.”

Speaking of Pangako Sa ‘Yo, mas tumitindi pa ang mga kaganapan sa nangunguna pa ring teleserye sa primetime, kaya naman patuloy pa rin itong humahataw sa ratings game.

Nitong nakaraang Agosto ay nasa listahan pa rin ng Top 10 TV programs ang Pangako Sa ‘Yo, patunay lang na matindi pa rin ang magic ng KathNiel loveteam.

Tutukan ang pagpapatuloy ng kuwento ng Pangako Sa ‘Yo sa Primetime Bida ng ABS-CBN, kasama pa rin dito sina Angelica Panganiban, Jodi Sta. Maria, Ian Veneracion, Sarah Carlos, Bernard Palanca at marami pang iba.

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Luis nang-away sa Instagram; binanatan, minura ni DJ Mo

LUIS Manzano was obviously pissed off when someone reported his Instagram videos. Ang nangyari kasi ay natanggal ang video post ni Luis dahil it didn’t follow the guidelines set by Instagram.

“To whoever reports my videos, please do the right thing and unfollow if you don’t like my post. You chose to follow so by all means unfollow if you don’t like the content! It’s as if you are invited to someone’s house and then rearrange their furniture because it’s not your thing.

Don’t be an idiot, just unfollow me,” came Luis’s reaction. Agad-agad namang nag-react si Mo Twister at nakisawsaw. “But can’t we easily say, ‘Luis if you don’t like the Guidelines, then don’t have Instagram and use the same furniture analogy?’ #idiot,” say niya.

Naku, riot ito tiyak. Knowing Luis, hindi niya pababayaang banatan lang siya ni Mo Twister nang ganu’n na lang, ‘no! But knowing this DJ Mo rin, hindi rin siya paawat kapag nagsalita against him si Luis. Si Mo pa!

Anyway, varied reactions ang naging sagot ng mga tao sa aria ni Luis. “Nasaan po ang point? That’s a flawed analogy, my dear. The ‘house’ you’re referring to is open to the public 24/7 and is supposed to abide certain guidElines imposed by the ‘village.’

Your neighbors who can see problems with your ‘house’ could report you,” said one guy. “Sir, bago ka manisi, bat di ka mag-reflect kung san ka nagkamali? Di naman nila basta-basta tatanggalin yan ng walang dahilaN diba? Mabuti nga never ka deactivated eh,” payo naman ng isa pa.

“Daming IG accts na masahol pa sa mga posts ni luis. Could it be na wala lang nagrereport sa kanila kaya hindi nadedelete. And i read somewhere na meron namang mga pics na hindi naman offensive pero dahil may nagreport, dinedelete ng IG.

If thats the case tama yung analogy ni luis. So yung mga self righteous dyan dont impose your beliefs on everyone. Unfollow dapat mga KJ kayo,” said one Luis follower.

“You are also id**t…always remember that from every action there is still a corresponding RESPONSIBILITY,” mataray na rant ng isang ayaw kay Luis.

Claudine umaming ‘kasalanan’ niya kaya nagkahiwalay sila ni Raymart

INAMIN ni Claudine Barretto na isa lamang “rebound” ang pakikipagrelasyon niya noon kay Raymart Santiago kaya hindi ito tumagal tulad ng kanilang inasahan.

Sa episode ng Kris TV kahapon, diretsong sinabi ng aktres na isa sa mga rason kung bakit nauwi rin sa hiwalayan ang pagsasama ni ni Raymart ay dahil simula pa lang ay alam niyang hindi naging buo ang kanyang pagmamahal sa nakahiwalay na mister.

“I think rebound kasi, ‘wag na, du’n na tayo, kasi masakit. ‘Wag na natin pag-usapan,” ang pakiusap ni Claudine kay Kris Aquino nang tanungin nga ito tungkol sa mga rason kung bakit sila naghiwalay ni Raymart. Magkasama sina Claudine at Kris sa pelikulang “Etiquette For Mistresses” together with Kim Chiu na guest co-host din ni Kris kahapon.

Sinabi rin ng nagbabalik na aktres na hindi pa siya “buo” bilang isang babae nang pumasok sa buhay niya si Raymart. Tanong uli ni Kris sa kanya, “So looking back now Clau, had it been na nagkilala kayo kaya ni Raymart na buo ka na it might have worked better?”

“Yes. Very important (ang buo ang pagkatao bago pumasok sa isang seryosong relationship) kasi parang nakita ko before I was so sad, I was so broken, namatayan ako tapos there was somebody (who) was there, parang knight in shining armor parang I played safe,” ang naging tugon ni Claudine.

Bukod dito, diretso ring sinabi ng aktres na March of 2013 nang ma-realize niyang, “Naubos na ako.” Ibig sabihin, dito na talagang nawasak ang relasyon nila ni Raymart kaya nagdesisyon na silang maghiwalay at makanya-kanya na sa buhay.

Sa Kris TV pa rin, bigla namang napaiyak si Claudine nang tanungin ni Kris tungkol sa kanyang mga magulang na hanggang ngayon ay talagang nakatutok pa rin sa kanya kahit na nga malalaki na ang kanyang mga anak.

Bilib na bilib nga raw si Kim sa parents ni Claudine dahil lagi pa rin daw kasama ng aktres ang mga ito para tutukan ang kanyang mga ginagawa. Kitang-kita raw niya ito kapag nasa shooting sila ng “Etiquette For Mistresses”.

Nang hingan siya ng message ni Kris para sa kanyang nanay at tatay, dito na naiyak si Claudine, “I just want to tell them na I’m so grateful na nandiyan pa rin sila for me.

I love them so much. At ang lagi ko lang ipinagpe-pray ay mas humaba pa ang buhay nila para mas matagal pa kaming magkakasama. ‘Yun lang, live longer please!”

Conrad Onglao napaiyak nang mag-propose kay Zsa Zsa

So, it’s official! Engaged na rin sina Zsa Zsa Padilla at Architect Conrad Onglao. Sa Instagram account ng Divine Diva recently, nag-post siya ng, “It’s official! Thank you so much for all your warm wishes! Much love from London. God bless us all. #engaged.”

Nasa London si Zsa Zsa kasama ang iba pang Star Magic artists para sa London tour ng ASAP 20. In a TV interview, idinetalye ni Zsa Zsa kung paano nag-propose ang kanyang boyfriend.

“He grabbed my hand and placed the ring there and asked me to marry him. But then when I saw his face, he doesn’t get very emotional.

I’ve been with him a year. I’ve never seen him cry and he was crying. So, I was like, ‘Oh, my God! This is serious!” she said.

Ang tanong na lang diyan, invited kaya sa kasal ni Zsa Zsa ang pamilya ng ex-partner niyang si Mang Dolphy? Let’s wait and see.

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AVA

Yaya Dub, totoo nga bang nag auditioned sa PBB 737?

Yaya natawa dahil sinbihan ni Jose puro ....

   Yaya natawa dahil sinabihan ni Jose puro bagang 

Bryan Llamanzares nakiusap sa mga nanlalait kay Grace Poe 'Natatakot ako para sa mga kapatid ko, nag-aaral pa sila!'

NAKIUSAP ang anak ni Sen. Grace Poe na si Bryan Llamanzares sa bashers at haters na maghinay-hinay naman sa pagbatikos at panlalait sa kanyang ina dahil tao rin ito na nasasaktan at naaapektuhan.

Sa nakaraang presscon ng bagong teleserye ng TV5 na My Fair Lady kung saan sinorpresa niya ang bida ritong si Jasmine Curtis at inaming matagal na niyang crush ang dalaga, nagsalita ang binata tungkol sa pagiging emosyonal ni Sen. Grace sa nakaraang speech nito tungkol sa mga ampon.

Dito ay sinabi ni Brian na natural lang sa isang ina ang maging emosyonal, “Well, my mom is a strong person talaga. Pero kasi, tuluy-tuloy ang isyu na ‘yan, ayaw magbitaw ng mga kalaban niya.

I just think na, for my mom, there’s only so much you can take. Even if you’re a strong person, when it’s something close or personal as an issue like that…” ani Bryan.

Dagdag pa nito, “Well ganun naman talaga, hindi maiiwasan na may mga haters, may mga bashers, may mga black propaganda. I was saying nga earlier sa previous interviews ko.

“That’s what we’re worried about talaga for my sisters who are still in college and grade school. I just hope that people who are commenting negatively realized that my mom is a mom, who has a family. The things that they post online are also read by my sisters,” aniya pa.

Sa tingin ba niya, makakaapekto sa desisyon ng nanay niya ang walang tigil na pa-mababatikos sa kanya, lalo na ng mga kalaban niya sa politika, “You see, kaya nga sinabi ng nanay ko na talagang nag-iisip pa siya.

Ngayon pa lang, wala pa siyang announcement, tinitira na siya, may black propaganda na. “Talagang my mom is still thinking about it. And I keep reminding her na kahit mahirap ngayon, isipin mo na lang.

Whatever decision you make, you’re responsible for the country after 2016,” pahayag pa ng binata.

Kung matatandaan, napaiyak si Sen. Grace habang nagbibigay ng kanyang speech tungkol sa adoption.

Ayon sa anak nina FPJ at Ms. Susan Roces, kapag sa Senado naman daw ay hindi siya nagi-ging emosyonal sa kanyang mga ipinaglalabang isyu ngunit kapag ang usapan ay napupunta sa pag-ampon ng bata ay talagang damang-dama niya ang kahulugan nito.

“Ang pagiging magulang ay di lamang dahil niluwal o pinanganak mo sila; ang pagiging magulang ay pagmamahal, oras, at sakripisyo sa anak,” anang senadora.

Aniya, ang mga magulang na nag-aampon ay kahang-hanga sapagkat walang silang ibang motibo kundi ang magmahal at mag-aruga ng isang nilalang na hindi nila kadugo ngunit nangangaila-ngan ng magulang.

Inalala ni Sen. Grace ang kanyang mga magulang na sina yumaong Fernando Poe Jr. at ang asawa nitong Susan Roces, tinaguriang King and Queen of Philippine Movies, na kumupkop at nagpalaki kay Grace bilang kanilang tunay na anak.

Ni minsan, ani ng senadora, walang kwestiyon na ang nais lamang ng kanyang mga magulang ay mahalin siya ng lubos.

“When I was adopted by my parents, there was no question they were acting out of any other motive than pure love. My advocacy of adoption is therefore a homage to them, and my love letter, returning a love that cannot even begin to equal the love that they had poured on this foundling from the start, which left no doubt in my mind that I was unquestionably, unconditionally and truly their daughter, period,” pahayag ni Sen. Grace.

Isinusulong ni Sen. Grace ang isang panukalang Senate Bil 2892, upang gawing mas mabilis ang proseso ng pag-register ng isang foundling, na aniya ay makakapagpadali din sa proseso ng pag-ampon, kung kinakailangan.

Jodi, Lani, Rhea, Iya umamin na: Nakakakilig ang AlDub!

JODI Sta. Maria, Lani Mercado, Rhea Santos at Iya Villania. Ilan lang sila sa mga local celebrities na adik na adik din sa AlDub at sa kalyeserye ng Eat Bulaga. 

Tulad ng milyun-milyong Pinoy sa buong mundo, hindi rin nila napigilan ang kiligin sa pagkikita nina Alden Richards at Yaya Dub.

Sa episode noong Sabado ng kalyeserye, talagang tinutukan ng buong mundo ang kauna-unahang pagkikita nina Alden at Yaya Dub kaya naman winasak na naman ng AlDub ang sarili nilang record – umabot aa 5.8 million tweets ang hashtag na #ALDUBBATTLEForACause.

Ito na ngayon ang may hawak ng record bilang pinakamaraming tweets sa loob ng 24 oras sa bansa.

Sa social media accounts ng mga celebrities, bidang-bida rin ang AlDub pati na rin ang makasaysayang karakter ni Wally Bayola sa nasabing kalyeserye na si Lola Nidora na siya na namang pumigil sa “tamang panahon” na pagkikita nina Alden at Maine.

Maraming netizens ang natuwa sa pag-amin ni Jodi Sta. Maria na isa rin siyang AlDub fan. Tili ng Kapa-milya actress sa kanyang Twitter account, “Waaaaah!!! Nagkita na silaaaaaa!!!! Si Lola…KJ!!! Hahaha ang saya nito! Kinilig ako!”

In fairness, kahit kasali si Jodi sa seryeng Pangako Sa ‘Yo nina Kathryn Bernardo at Daniel Padilla ay hindi siya nagpakaplastik sa pagkahumaling sa AlDub.

Ayon naman sa Kapuso TV host na si Iya Villania-Arellano, “Oh em!!!! Nagkita naaaaaa!!!!! #AlDub.”

Sey naman ng Kapuso singer na si Jonalyn Viray, na-delay ang pag-alis nila ng bahay dahil kina Alden at Yaya Dub, “Aalis na dapat kami ng bahay kaso nakaglue kami sa #ALDUBBATTLEForACause late na ako sa lakad. hindi ko maituloy pagbo-blower ko ng buhok, hindi ko maririnig tv. kudos to @EatBulaga creative team and sa lahat ng part ng Kalyeserye. galing!”

Maging si Rep. Lani Mercado-Revilla ay aminadong AlDub fan at talagang tumutok sa pagkikita ng AlDub, “Grabe talo pa ANG prime time soap! Abangan sa Lunes. #kalyeserye#aldub. Pambansang Kontrabida #lolanidora.”

Hindi rin magpapatalo ang mga taga-news and current affairs ng GMA, sa pangunguna ni Rhea Santos na isa sa mga tumayong judge sa “Bulaga Pa More, Tahitian Pa More” grand finals, kasama si Marian Rivera.

“Clueless… At the backstage of #eatbulaga but still no idea on what will happen to #aldub. Ngayon na ba? #ALDUBBATTLEForACause.” Dugtong nito ma-tapos ang kalyeserye, “Ay, naiyak ako. But, great message, Lola Nidora. ‘ Puso at Isip ang pairalin!’

Narito naman ang emosyonal na mensahe ni Michael V sa tagumpay ng kalyeserye ng Ea Bulaga, ,#KalyeSerye alone is enough reason para maging proud akong maging part ng #EatBulaga. Great job Dabarkads! Kung affected kayo habang nanonood sa TV, ‘di ko ma-explain ang reaction dito sa studio!

At siyempre, hindi rin matatawaran ang husay ni Wally Bayola bilang si Lola Nidora sa kalyeserye ng Eat Bulaga, actually, siya talaga ang isa sa mga inaabangan ng manonood sa programa, maliban sa AlDub.

Hindi lang ang viewers ang bilib na bilib sa galing ng komedyante, maging sina Tito, Vic & Joey ay walang masabi sa husay ni Wally, nakunan pa nga ang tatlo na napapanganga sa bawat eksena ni Lola Nidora.

Para naman sa lahat ng nagre-request, narito ang ilang bahagi ng naging monologue ni Lola Nidora nang hindi tumupad sa kanilang pangako sina Alden at Yaya Dub na hindi sila magkikita sa studio ng Eat Bulaga kahit na anong mangyari.

“Ang binitawang salita ay hindi dapat ipagsalawang-bahala. Dahil ang katumbas nito ay pagtitiwala ko sa inyo, Alden, Yaya Dub. Paano pa ako magtitiwala sa inyo kung sa isang simpleng pangako ay hindi niyo kayang matupad?”

Sabi pa ni Lola Nidora, “AlDub, mahalaga ang pagtitiwala. Hindi iyan nababayaran ng salapi. Sinusubukan ko lang kayo. I am very disappointed… very disappointed.”