The Search For Weng Weng

Wants list October 2010

2010-09-29T19:00:00.000-07:00

Dear "Search For Weng Weng" readers,

It's coming close to the home stretch on my book/PhD on Philippines genre films, and I desperately need your help!

I've compiled the films I'm missing into one mega-list. All I need are DVD-Rs of the following, and I'm more than happy to trade.

Please email me at trash@trashvideo.com.au if you can hook a brother up,

Many thanks, Andrew

BAMBOO GODS' PHILIPPINES HIT-LIST OCTOBER 2010

AGENT OO (Weng Weng, 1981)
ALFREDO SEBASTIAN (1981)
ANGEL HILL/The LAST PLATOON (Italian production, late 80s)
ASSAULT PLATOON/COMMANDO PLATOON (Robert Marius 'Namsploitation, 1988)
ATTACK AND DESTROY (Kinavesa, 1981)
BLASTING BULLETS (Lito Lapid/Eddie Nicart, 1985)
BLOOD HUNT (Rudy Fernandez, 1981)
BRUCE AND THE GOLDEN CHAKU (Ramon Zamora/”Bruce Ly”, 1977)
The CHAIN (Gary Busey)
CHOP SUEY MET BIG TIME PAPA (Weng Weng, 1978)
COMBAT KILLERS (Ken Metcalfe, early 70s)
COBRADOR (Redford White, 1986)
The COMMANDER (Antonio Margheriti, 1986)
COUNTERTHRUST (Eddie Romero, 1959)
The CRAZY BUNCH (Nino Muhlach, 1980)
CRIME STOPPER (Silver Star, late 80s)
CRISIS (Tony Ferrer, 1970)
The CUTE, THE SEXY & THE TINY (Weng Weng, 1982)
DA BEST IN DA WEST (Dolphy/Weng Weng, 1981)
DANGEROUS PASSION (Romano Kristoff/Silver Star, 1998)
THE DARK SIDE OF A WOMAN (Bruno Mattei)
DIRTY GAMES (Eddie Rodriguez, 1981)
ESCAPE TO NOWHERE/BATTLE GEESE (Davian International, 1990)
FAST GUN (Cirio H. Santiago, 1987)
FATAL MISSION/ENEMY (Peter Fonda, 1990)
FORTRESS IN THE SUN (Nancy Kwan, 1975)
FORTUNES OF WAR
The GAME OF DEATH (Ramon Zamora, 1975)
GET THE TERRORISTS (Cinex, 1980s)
GET VICTOR CORPUZ (late 80s)
The HELL RAIDERS (Ferde Grofe Jr, 1986 – NOT the Indonesian film with Barry Prima)
The HUNTED (Charito Solis, 1969)
The HUNTED (Davian International, 1989)
JOHNNY RAMBO TANGO (Redford White, dubbed in English)
KILLER vs NINJAS (Ace Vergel, 1984)
LEGS KATAWAN BABAE (Weng Weng, 1981)
LOS INTOCABLES DE REDFORD WHITE/BONI EN CLAYD (Redford White, 1981)
The LOST BATTALION (Eddie Romero, 1960)
LOST COMMANDO/PLATOON 2 (Bong Revilla Jr, 1988)
MAD KILLER (Anthony Alonzo/Willy Milan, 1985)
MAGINDANAO (1982)
MANNIGAN'S FORCE/AMERICAN WARDOG (1988)
MAN ON THE RUN/The KIDNAPPERS (Eddie Romero, 1958)
MARIANNA/FILIPINO GIRL (HK production, 1982)
ORIENT ESCAPE (Bruno Mattei)
OUTLAW INFERNO (Rudy Fernandez, 1985)
OVER MY DEAD BODY (Tony Ferrer, 1983)
PASSAGE TO HELL (Ken Watanable, 1988)
The PASSIONATE STRANGERS (Eddie Romero, 1966)
PLEASURE ISLAND (Dick Randall/Italian production, 1980)
The QUICK BROWN FOX (Dolphy/Weng Weng, 1980)
RAGE OF JUSTICE (Fernando Poe Jr, 1987)
RAGING ANGER (Dante Varona)
RAIDERS FOR VICTORY (Kinavesa, 1981)
REVENGE OF THE STREET WARRIOR/The STREET WARRIOR (The same film, or 2 different films with Anthony Alonzo?)
RIDE THE TIGER (Ferde Grofe Jr, 1970)
SABOTAGE (original 1966 Tony Ferrer spy film, not the 70s remake)
SANDO AND THE DIPLOMAT'S DAUGHTER (Silver Star)
SAVAGE: IN THE ORIENT (1983 TV movie)
SECRET OF THE SACRED FOREST (1970)
SECRETS OF WOMEN (Burno Mattei)
SECRETS OF WOMEN 2 (Bruno Mattei)
SHUDDER ON THE SKIN (Bruno Mattei)
SILA...SA BAWAT BANGKETA (Wng Weng, 1977)
SOLDYER (Redford White, 1979)
TOUGH COP (Cinex, 1988)
US COMMANDO/JIMBO (Lito Lapid/Eddie Nicart, 1985)
ZIGOMAR (Lito Lapid/Eddie Nicart, 1983)
ZIMITAR (1982)
Z-MAN (Rico Ilarde, 1988)

Machete Maidens Unleashed! (2010) reviews

2010-08-02T21:25:00.000-07:00

The first round of reviews are in!

Review from the Internet Movie Database:

I don't usually give out such high ratings but Mark Hartley's new doco about the Filipino exploitation films of the 70's and 80's by way of Corman's New World Pictures is wonderful.

The interviews with former directors and stars are many and all entertaining. The clips and trailers shown are even better.

Any fan of B movies will love this.

I hope that this gets some sort of cinema release as Hartley and Co have clearly put much work and passion into this. His last doco NOT QUITE Hollywood was criminally ignored in this country.

After seeing the wretched INCEPTION (with a ridiculous budget of $150 Million) earlier in the evening, MACHETE MAIDENS UNLEASHED was a fine celebration of purely entertaining cinema made on low budgets.

More please Mr Hartley. How about Italian exploitation flicks of the 70's and 80's next? I wish cinema could be this fun again.

Review from the Stale Popcorn blog:

Have you heard of these movies? The Big Bird House? The Hot Box? Cleopatra Wong? How about Ebony, Ivory & Jade, Cover Girl Models, Night of the Cobra Woman, Beyond Atlantis, Dynamite Johnson, TNT Jackson, Savage! or Black Mama, White Mama? If not then you are in for a treat with Machete Maidens Unleashed!, an unofficial sequel to Mark Hartley's brilliant 2008 documentary Not Quite Hollywood that charted the history of Aussie genre films of the 1970s and '80s. All of those titles listed above, and others like The One-Armed Executioner and the Beast of Blood franchise, spawned out of the Filipino film industry with the help of American filmmakers like Roger Corman and now rank as near unknown and forgotten cult niche titles for the amusement of stoned college students.

The same crew that worked on Not Quite Hollywood - the opening night film of MIFF 2008 and my #6 film of that year - have again been assembled to craft this ode to Filipino action movies. Snappily edited, Machete Maidens Unleashed! is simply 85 minutes of clips from movies about nubile young actress firing rifles, karate chopping and waving machetes around in between bouts of baring their breasts while mud wrestling in jungle prisons and causing political uprisings through the backwater swamps of he Philippines.

Interspersed throughout all of this pan and scan insanity (most of the films have never been remastered for DVD release) are interviews with well-known directors like John Landis, Brian Trenchard-Smith and Joe Dante as well as notable behind the scenes figures like George Corman, Eddie Romero, Jack Hill and an assortment of actors that made a presence for themselves in this sub-genre of film. Names like Gloria Hendry, Margaret Markov, Colleen Camp, Judy Brown and Marlene Clark may not be familiar names, but they should be after you've heard their fascinating anecdotes about working in the jungles of the Philippines. Higher profile names like R Lee Ermy, Sid Haig and Chris Mitchum are also there for their own hilarious stories, but unfortunately Pam Grier, surely the biggest name to arise out of the Filipino genre films - she made The Big Doll House, Women in Cages, Twilight People, The Big Bird Cage and Black Mama, White Mama before blaxploitation hits Coffy and Foxy Brown made her a star - refused to be interviewed. While everyone seems at least partially ashamed of their contributions to cinema here, they are all open and admit to being willing participants. It's a shame that Grier didn't see it the same way.

"Rated R for Ridiculous", as the poster says, sums up Mark Hartley's second documentary feature perfectly. I haven't even got into titles such as For Y'ur Height Only that starred Filipino dwarf superstar Weng Weng as a James Bond spoof or Up from the Depths, which was made to cash in on the success of Piranha one year earlier. If movies such as Machete Maidens Unleashed! achieve anything substantial then it's making someone like me really want to seek out movies like Cleopatra Wong (nuns with assault rifles) and Dynamite Johnson (some undecipherable plot that involves a robotic dragon). Hopefully these titles get some sort of DVD release after this movie gets seen by the right people like many of the Ozploitation films did after Not Quite Hollywood.

Sadly, Machete Maidens doesn't achieve the levels of success that director Hartley had with Not Quite Hollywood. Whereas that film spanned various genres from sex comedies to horror and science fiction, this one is far more limited to the films it covers. It is easy to mistake many of the movie clips featured within as being all from the one movie about a group of sexy and sassy American women being held captive in a prison deep within the jungle wherein they must use their sexual force to break out of. There's also a distinct lack of passion compared to its predecessor. Perhaps its the fact that these films are even more obscure than Patrick or Dead-End Drive In of the so-called "Ozploitation" movement, but there's no effort made to show how the effects of these Filipino genre films are still being felt today. Perhaps the Filipino film industry is as closed tight as Imelda Marcos' box of secrets and umbrellas, but Machete Maidens Unleashed doesn't have quite the same insight. Nevertheless, it is still a wild and hilariously entertaining hour and a half of absurd insanity. B

Review from The Age:

THE indefatigable Mark hartley turned ‘‘Ozploitation’’ into a buzzword with his recent cinephilic documentary Not Quite Hollywood. This follow-up focuses on ‘‘exploitation’’ in a more literal sense: in the 1970s, the famously costconscious producer Roger Corman led the charge towards the Philippines as a cheap location for action and horror B-movies, with dictator Ferdinand Marcos more than willing to lend on-the-ground support. Politically speaking, the film raises more questions than it answers, celebrating the gung-ho spirit of the era even as it draws attention to the real horrors offscreen. Nevertheless, Hartley has few rivals when it comes to revving up interview subjects and matching their snappy one-liners with appropriately lurid clips. The expert commentators include MIFF guest Joe Dante, who spent his youth editing trailers for Corman and has plenty of droll memories to share.

Paul Ryan’s comment on Digital Retribution:

Saw it last night at MIFF, with Q&A from Hartley and producer Veronica Fury (great name) afterward. It's not as comprehensive as NQH, and many of the clips are of truly dire quality (due to shockingly bad archiving practices of the Filipino studios), but it is fascinating and funny. It's more about the US productions - mainly Corman/AIP jobs - that were shot there in the seventies than the Filipino industry itself (with a digression into Apocalypse Now). Plenty of actors, producers and directors are interviewed, and the films themselves look just jaw dropping in all respects. The only ones I'd actually seen were Apocalypse Now and Black Mama, White Mama, but I simply must get around to seeing Eddie Romero's Blood Island films, along with Bobby A. Suarez's They Call Her Cleopatra Wong and Bionic Boy. Sadly Suarez (who was notorious for getting about on set with a loaded and cocked .45 in his belt!) died a few days before Hartley got to interview him.

There are some choice comments from Joe Dante and Allan Arkush on how they would edit the trailers for Corman's Filipino productions that are utterly hilarious. John Landis also makes some great contributions.

According to the Q&A, this will be airing on the ABC down the track, but I also imagine a theatrical run can't be too far off.

Tim Chuma's review from his blog:

Tagline: Was good to finally see it, but...

This is hard, I know Andrew has been working on his Weng Weng doco for at least as long as Mark Hartley worked on Not Quite Hollywood to get it up and it was great that it finally produced some work at the end of it.

It is what it is and although I would have liked to see more from the crews who worked in the Philippines (there were some great stories from what I have read about the Weng Weng doco), I am sure a lot of people will like it when it gets a wider screening, which it will do at the Fantastic Fest in Austin later this year and several other festivals.

The films featured in this documentary are a lot more niche and although Roger Corman's movies are featured, the focus was more on some of the obscure ones. I was surprised by some of the movies as I hadn't heard of Bionic Boy before and not many other ones outside the Weng Weng ones (there are six of them), the women in prison series and a few others.

As explained in the Q&A it was decided to focus on movies produced for the overseas market and not movies made for the Philippines as there are no copies of them in existence, which would have made it a lot harder to do the documentary. Some of the footage is a bit rough due to it having to be sourced from tape and the original trailers for the movies.

Due to budgetary and time constraints (it was made in just six months) the period covered is from the late 60s to early 80s and they did have to miss out some of the later films. I was a bit puzzled by the Apocalypse Now coverage, but I guess it was such a large production for the country they had to include it..

There were some interesting questions from the Q&A such as who wouldn't be interviewed for the documentary which was Pam Grier and Jeannie Bell. Unfortunately a couple of the directors from Philippines had died before the filming and one only very recently but it was good to see some earlier interviews with them in the film.

I also enjoyed hearing about how the documentary first came to be including Andrew Leavold's involvement and Mark Hartley's response to Veronica Fury's question on making another doco originally. Also the mention of Veronica researching a doco on the history of Australian pornography was interesting.

Was a bit of a curly question about the female leads in the women in prison films seeming very well adjusted despite some of their experiences making the movies. As it was explained most of them didn't really go on to film careers and have led normal lives since the 1970s. They also new what the filming was going to entail originally and were prepared for it.

There is one more screening of the documentary at the festival on a double bill with For Y'ur Height Only and I am sure it will get a lot of people in. I am still going to buy the DVD as I want to see what they put on it for the 'Search for Weng Weng' special feature. Rating: 7/10

Comment at chud.com forum:

So I caught Mark Hartley's follow-up to NOT QUITE HOLLYWOOD the other night - it's called MACHETE MAIDENS UNLEASHED, and it looks at the thriving exploitation-movie industry in the Philippines throughout the '60s, '70s and '80s. Some of the movies were done by Filipino filmmakers (like Cirio H. Santiago) but a large percentage of the movie is dedicated to the women-in-prison pictures made by Roger Corman's New World Pictures. It's interesting and fun, and very much a companion piece to NQH - little nuggets of real-world history combined with behind-the-scenes anecdotes, colourful commentary (the very funny John Landis in for Tarantino) and many, many scenes featuring the unclad stars of the movies.

Oh, and Weng Weng, the inch-high private eye of FOR Y'UR HEIGHT ONLY. Once seen, never forgotten.

For Melbourne Chewers, it's screening at the upcoming Melbourne International Film Festival. Elsewhere in the world...well, you'll get it when you get it, I guess. But it's well worth a watch.

SEARCH FOR WENG WENG update

2010-03-17T20:05:00.000-07:00

Long-time readers will no doubt remember that I have been working on a documentary, “The Search For Weng Weng”, on the midget James Bond of the Philippines (www.andrewleavold.blogspot.com and www.bamboogodsandbionicboys.blogspot.com). Well, a lot has happened since I first picked up the camera almost four years ago. My producer Veronica Fury of Fury Productions pitched the project to ABC TV last year, and the word came back: allow the project to evolve into a documentary on B-filmmaking in the Philippines, and you have a deal! Funding came through from ABC TV, ABC Commercial, MIFF Première Funds, Film Vic, Screen Queensland, and Screen Australia.

At this point I stepped down as writer/director and we offered the driver’s seat to Mark (Not Quite Hollywood) Hartley. He agreed to come on board, with myself as Associate Producer, Research Consultant and Original Concept credits, and set to work crafting an essay-style documentary on the overseas filmmakers engaged in the export trade during the Marcos years of the late Sixties to early Eighties. Now titled “Machete Maidens Unleashed!”, Mark is set to return this weekend with his first batch of interview footage from the US and the Philippines. If all goes according to plan, we deliver the finished film to the ABC in June, and premiere Machete Maidens Unleashed! at the Melbourne International Film Festival later this year. Click on Fangoria’s blog www.fangorianews.blogspot.com/2010/02/filmmaker-talks-machete-maidens-and.html for Mark’s first interview on the movie.

The Search For Weng Weng will still be completed over the next 12 months and hopefully accompany Machete… as a companion film on the DVD releases.

As you can imagine, it’s a very exciting process for Trash Video and myself to be involved in such a major production, and we look forward to walking down the carpet with Mark and Veronica at MIFF 2010!

Dynamite Johnson (1978) official stills

2009-02-05T20:10:00.000-08:00

Elwood Perez filmography

2009-01-31T04:11:00.000-08:00

HAPPY BIRTHDAY ELWOOD!!!

Cosa Nostra Asia article 1975

2009-01-14T19:27:00.000-08:00

Here's a rare on-the-set report from Bobby A. Suarez's 1973 kung fu actioner Cosa Nostra Asia, written by Chris Mitchum's co-star Michael Keys (the actor who plays Don Angellini!). Source: CLASH! KUNG FU magazine, UK, 1975, pp1-6

Henry Strzalkowski's Photo Album Part 1!

2008-12-13T00:04:00.000-08:00

On the set of B-Team (c.1988), AD for Ken Watanabe starring Romano Kristoff

Me in black at the top of the stairs. Got burned a moment later! Eye Of The Eagle (dir. Cirio H. Santiago, 1986)

Where the tanks stopped - EDSA Revolution 1986. Now Robinsons' Galleria and shrine to many

EDSA barricaded, '86 Revolution. In front of Camp Crame

Nick and me, Eye Of The Eagle (1986)

Me and Ed Crick, Eye Of The Eagle

Martin Sheen on the set of Fortunes Of War (dir. Thierry Notz, 1993), being interviewed for local TV

Chuck Wagner (Automan) and me on The Sisterhood (dir. Cirio H. Santiago, 1988)

Cinex film, can't remember the title, with Jeff Weston and Darwyn Swalve

The Sisterhood

Eye Of The Eagle

Wheels Of Fire (dir. Cirio H. Santiago, 1985)

Killer Insinct (dir. Cirio H. Santaigo, 1987) as "Costello"

On the set of Platoon (dir. Oliver Stone, 1986)

Eye Of The Eagle with wardrobe head and script supervisor

Eye Of The Eagle with the late Bill Steis

Eye Of The Eagle, on location with the sixteen-inch guns of Corregidor

Eye Of The Eagle

Early morning, cold typhoon day on the set for Teddy Chiu

Roberto Gonzalez filmography

2008-12-12T20:05:00.000-08:00

ROBERTO GONZALEZ Filmography

1965 – Titong Robin Hood (Emar Pictures)

[release date 16th August 1965, sometimes listed as “Titong Robinhood”]

Director Herminio “Butch” Bautista Screenplay Bert R. Mendoza Producer Joseph Estrada Music Ariston Avelino

Cast Chiquito (Titong Robin Hood), Imelda Ilanan, Vicente Liwinag, Rudy Regala, Larry Silva, Avel Morado, Angel Confiado, Conrado Gumin?, Marco Madero, Greg Guerrero, Ben Bernal, Sancho Tesalona, Joe Cunanan, Bobby Guanzon, Tiva Lava, Ben Dato, SOS Daredevils, “Bobby”/Roberto Gonzalez

1966 – Gintong Buddha/“Gold Buddha” [complete title: Paolo Stacatto At Ang Gintong Buddha/“Paolo Stacatto And The Gold Buddha”] (Virgo Film Productions/Emar Pictures)

Release date 20th January 1966]

Director Nilo Saez Story/Screenplay Luis Enriquez Producer Joseph Estrada

Cast Eddie Rodriguez (Paolo Stacatto), Liza Moreno, Juliet Pardo, Jose Vergara, Nello Nayo, Eddie Torrente, Roberto Gonzales, Manolo Robles, Abelardo Dacer, Darmo Orbase, Dante Leynes, Bert Dumaran, Cris Cruz, Mike Lozano, Phil de Pano, Joe Sison, Gabby Paile?, Chona Delgado, Seikichi Iha, Roland Gonzales, RG Karate Boys, Commando Self-Defense Karate Boys

1966 – Cobra (Virgo Films)

[release date 9th August 1966]

Director Nilo Saez Story/Screenplay Luis Enriquez Based on the radio serial by Eddie Naval Music Carlos Rodriguez

Cast Eddie Rodriguez (Cobra), Willie Sotelo, Renato Robles, Martin Marfil, Eddie Torrente, Roberto Gonzalez, Vince Juarez, Vera Vargas, Bernardo Belleza, Cecilia Lopez, Jose Vergara, Ramon Yulo, Joe Sison

1966 - Hari Ng Karate/“King Of Karate” (Libra/Taurus Productions)

[release date 2nd October 1966]

Director/Screenplay Sol Gaudite

Cast Roberto Gonzalez, Carlos Padilla Jr, Josephine Estrada, Merle Fernandez, Martin Marfil, Eddie Torrente, Lyn D’Arce, Anna Ledesma

1967 – Judo Karate Matador (JBC Productions)

[release date 16th January 1967]

Director Solano Gaudite

Cast Roberto Gonzalez, Rolando Gonzalez, Imelda Olanan, Anna Ledesma, Marco Antonio, Val Magno, Eddie Torrente, Flor Bien, Charito Soliman

1967 – Master Fighter (Bataan Film Productions)

[release date 14th April 1967]

Director/Story/Screenplay Solano Gaudite Executive Producer Mariano Bermejo Jr Music Juan Silos Jr

Cast Roberto Gonzalez, Liberty Ilagan, Johnny Monteiro (Leon Desperado), Eddie Torrente (Carlos Vengador), Anna Ledesma, Rod Felix, Jose Garcia, Bert Olivar, Larry Silva, Ben Perez, Carlos Padilla Jr, Andy Garchitorena, Martin Marfil, Itoy Victoria, Chito Reyes, Rocco Montalban, Ruben Ramos, Tony Villar, Flor Bien, Ernie White, Nort Nepomuceno, Johnny Caranza, Fao Ying, Protacio “Dy”/Dee, Crisostomo Cruz, Frank Zarate, Raquel Gordon

1967 – Digmaan Sa Karate/“Karate War” (Taurus Productions/Libra Film Corp)

[release date 24th May 1967]

Director Solano Gaudite Screenplay Chito Tapawan, Jose Mesina Music D’Amarillo

Cast Roberto Gonzales, Liberty Ilagan, Eddie Torrente, Tony Villar, Val Magno, Frank Zarate, Ernie White, Johnny Carranza, Chris “Buddha” Cruz, Chua Piak Son, Suan Tieng, Protacio Dee, Tessie Concepcio, Magna Gonzalez

1967 – Berdugo Ng Mga Hari/ “Professional Killer” (Taurus Productions/Libra Film Corp)

[release date 8th August 1967]

Director Leo Sun Screenplay Sol Gaudite

Cast Roberto Gonzales, Merle Fernandez, Tessie Concepcion, Raquel Gordon, Eddie Torrente, Protacio Dee, Ernie Ortega, Johnny Caranza, Fao Ying, Frank Zarate, Elmer Imperial, Tito Aquino, Bruno Punzalan, Angel Confiado, Tiva Lava, SOS Daredevils

1967 – Bertong Karate/“Bert The Karate Fighter” (Taurus Productions)

[release date 26th September 1967]

Director Solano Gaudite Music D’Amarillo

Cast Roberto Gonzales, Liberty Ilagan, Rolando Gonzales, Eddie Torrente, Eddie White, Boy Torrente, Frank Zarate, Carmen Romasanta, Andres Albo, Roque Gordon, Tony Pomuceno, Lulubelle Reyes, Lelet Poniente

1967 – Pambihirang Pito/“Impossible Seven” (JBC Productions)

[release date 16th December 1967]

Director Romy Villaflor Story/Screenplay Ben Feleo Music D’Amarillo, Merry Diamonds

Cast Roberto Gonzalez, Sofia Moran, Marissa Delgado, Lucita Soriano, Rodolfo “Boy” Garcia, Rocco Montalban, Nort Nepomuceno, Protacio Dee, Boy Chico, Eddie Gallegos, Rolando “Gonzalez”/Gonzales, Anthony Barredo, Silvio Ramiro, Jose Garcia, Fred Param, Amado Brillantes, Nestor Brillantes, Girlie Simmons

1967 – Magnificent Brothers (Libra Films Corp)

[release date unknown]

Director Solano Gaudite

Cast Roberto Gonzalez, Rolando Gonzalez, Carlos Padilla Jr, Merle Fernandez, Martin Marfil, Marilou Ver, Eddie Torrente, Carmen Romasanta, Andy Garchitorena, Anna Ladesma, Flor Bien, Jerry Pons

1968 - Deadly Trio (Taurus Productions)

[release date 17th January 1968]

Director/Writer Solano Gaudite

Cast Roberto Gonzalez, Eddie Torrente, Rubi Rosa, Miyamoto Katsu, Magna Gonzales, One-Eyed Tahamuru, Katsumi Tanaka, Tsugawa Nagato, Kenyayama Mto, Rolando Gonzales, Elvira Gonzales

1968 - Hari Ng Slums/”King of the Slums” (Taurus Productions)

[release date 8th March 1968]

Director Solano Gaudite Screenplay Jun Urbano

Cast Roberto Gonzalez, “Elvie”/Elvira Gonzales, Stella Suarez, Eddie Torrente, Tony Villar, Rolando Gonzalez

1968 - Battle Of Champions (Fe'mil Productions)

[release date 18th May 1968]

Director Armando A. Herrera Producer Femy Rillo Music Tito Arevalo

Cast Roberto Gonzalez, Alona Alegre, Lyn D'Arce, Ariston Bautista, Eddie Gallegos, Johnny Carranza. Tony Pomuceno, Mat Lazaro, Bert Martinez, Bino Garcia, Eddie Fernandez, Helen Thompson

1968 - Karate, Samurai, At Pagibig/“Karate, Samurai And Love” (Taurus Productions)

[release date 16th June 1968]

Director Solano Gaudite

Cast Roberto Gonzales, Rolando Gonzales, Eddie Torrente, Magna Gonzales

1968 - Karate Commandos (JBC Productions)

[release date 2nd July 1968]

Director Armando A. Herrera Music Tito Arevalo

Cast Roberto Gonzalez, Johnny Caranza, Tito Aquino, Gina Alonza, Jun Esguerra, Nardo Casero, Anthony Barredo, Bernard Belleza, Edwin Perry, Eddie Torrente, Rolando Gonzales, Protacio Dee

1968 - Bulag Na Matador/“The Blind Matador” (Taurus Productions)

[release date 20th July 1968]

Director/Writer Solano Gaudite

Cast Roberto Gonzales, Roderick Paulate, Ernie White, Eddie Gallegos, Carmen Romasanta, Jun Esguerra, Darmo Orbase, Ernesto Almanza, Alicia Alonzo, Verna Gaston, Ernie Ortega, Boy Chico, Elmer Imperial

1968 - That Man Mr. Impossible (Tower Productions)

[release date 6th September 1968]

Director Artemio Marquez

Cast Roberto Gonzalez, Bessie Barredo, Fred Santos, Rolando Gonzales, Maria Victoria, Berting Labra, Martin Marfil, Manggay, Bert Martinez, Jing Abalos, Tony Villar, Mar Quijano

1968 – Suntok O Karate?/“A Punch Or Karate?” (Emar Pictures)

[release date 12th October 1968]

Director Augusto Buenaventura Story Bert R. Mendoza, Augusto Buenaventura Music Mike Briones Cinematography Fredy Conde

Cast Joseph Estrada, Roberto Gonzalez, George Estregan, Rolando Gonzalez, Mary Ann Murphy, Gloria Sevilla, Delia Dolor, Eddie Garcia, Vic Silayan, Jose Padilla Jr, Carlos Padilla Jr, Dely Villanueva, Ariston Bautista, Romy Diaz, Paquito Diaz, Avel Morado, Ben Dato, Marco Madero, Vic Gaza, Blanco Santos, Romy Velarde, Bert Salvador, SOS Daredevils

1968 – Ito Ang Digmann/“This Is War” (Taurus Productions)

[release date 25th October 1968]

Director Solano Gaudite Music D’Amarillo

Cast Amalia Fuentes, Roberto Gonzales, Johnny Delgado, Loretta Rocco, Bruno Punzalan, Eddie Gallegos, Ariston Bautista, Lourdes Luna, Elmer Imperial, Magna Gonzales, Rolando Gonzales, Cora Varona

1968 – Kidlat Sa Karate/ “Like Lightning In Karate” (AM Productions)

[release date 20th November 1968]

Director Ben Feleo Music Danny Holmsen

Cast Roberto Gozales, Imelda Ilanan, Lyn D’Arce, Angel Confiado, Alvaro Muhlach, Carlos Diaz, Ben Manalo, Eddie Nicart, Ernie White, Bernard Belleza, Alicja Basili, Silvio Ramiro

1968 – Chaku Judo Aikido O Karate (Taurus Productions)

[release date 12th December 1968]

Director/Story “R.G.”/Roberto Gonzalez Screenplay Johnny F. Capistrano Music “Demet”/Demetrio Velasquez

Cast Roberto Gonzalez, Josephine Estrada, Rolando Gonzales, Kenji Mifune, Protacio Dee, Dante Varona, Roger Ollano, Fao Ying, Jun Santos, Martin Marfil, Tony Villar, Ernie White, Cora Varona, SOS Daredevils

1969 – Pambihirang Tatlo/“Wonderful Three” (Larry Santiago Productions/JBC Productions)

[release date 9th January 1969]

Director Felix Villar Screenplay Antonio B. Pascua Based on the serial by Francisco V. Coching Music Tito Arevalo

Cast Roberto Gonzalez, Eddie Fernandez, Bernard Belleza, Divinia Valencia, Rodolfo “Boy” Garcia, Lito Garcia, Bobby Santiago, Larry Silva, Liza Belmonte, Ruben Ramos, Sancho Tesalona, Alex Flores, Steve Alcarado, Darmo Orbase, Armando Rinio, Robert Rivera, Mike Lozano, Jose Garcia, Bruno Punzalan, Tintoy, Boy “Chirit” Alvarez

1969 – Sagupaan!/“Encounters!” (Lea Productions)

[release date 18th February 1969]

Director/Screenplay Armando Garces Music Restie Umali

Cast Joseph Estrada, Roberto Gonzalez, Jing Abalos, Rodolfo “Boy” Garcia, Victor Bravo, Avel Morado, Lourdes Medel, Gina Alajar, Caridad Sanchez, Roderick Paulate, Mary Walter, Angel Confiado, James Dee, Chris Cruz, SOS Daredevils, Danny Rojo, Del Sol

1969 – Jungle Killers (JBC Productions)

[release date 6th March 1969]

Director Armando Herrera

Cast Roberto Gonzalez, Fred Galang, Gina Alonzo, Myra Luna

1969 – Liquidation Squad (Aladdin Productions)

[release date 26th March 1969]

Director Cesar “Chat” Gallardo Story/Screenplay Carlos Empatnado Music Demet Velasquez

Cast Roberto Gonzalez, Max Alvarado, Mel Francisco, Jose Morelos, Chito Ledesma, Sofia Moran, Eva Marie, James Dee, Eddie Nicart, Jean Santos, Skip Kraemer, Silvio Ramiro, SOS Daredevils, PMP Commandos

1969 – Ronquillo Brothers (Jacros)

[release date 24th May 1969]

Director Luis San Juan Screenplay Efren C. Pinon Music Tito Arevalo

Cast Roberto Gonzalez, Fred Galang, Sofia Moran, Verna Gaston

1969 – Target: Karate King (RG Productions)

[release date 25th July 1969]

Director/Screenplay Robert Balilla Sr Music D’Amarillo

Cast Roberto Gonzalez, Rolando Gonzalez, Liza Lorena, Verna Gaston

1969 – Karate Showdown (JBC Productions)

[release date 14th August 1969]

Director/Story Solano Gaudite Screenplay Pepe Mesinas Cinematography Enrique C. Rosales

Cast Roberto Gonzalez, Rosanna Ortiz, Jules King, James Dee, Fao Ying, Kentaru, Johnny Monteiro, Nora Aunor, Tirso Cruz III, Edgar Mortiz, Ike Lozada, Carmen Romasanta, Ernie White, Ernie Ortega, Art Veloso, Jun Santos, Jun Esguerra, Mar Quijano, Joe Andrade, Rod Francisco, Freddie Dava, Tony Villar, Jun Esguerra, Sabas San Juan, Angel Confiado

1969 - The Magic Samurai (RFJ)

[release date 12th September 1969]

Director Leody M. Diaz

Cast Roberto Gonzales, Johnny Monteiro, Dencio Padilla, Mario Escudero, Rocco Montalban, Jessette, Angela Montes, Matimtiman Cruz

1969 - Hara Ng Ninja/“Hara Of Ninja” or “Ninja Hara” (RG Productions)

[release date 28th September 1969]

Director Solano Gaudite

Cast Roberto Gonzalez, Rosanna Ortiz, Rolando Gonzales, Katsu Harada, Kurosawa Koryo, Kimura Osaka, Okawa Tora, Sato Maru, Marissa Delgado, Bruno Punzalan, Rocco Montalban, Efren Montes

1969 – Sino Sa Dalawa?/“Who Among The Two?” (Larry Santiago Productions)

[release date 2nd November 1969]

Director Pablo Santiago Screenplay Tommy C. David Music Pablo Vergara Cinematography Jose Batac Jr

Cast Roberto Gonzalez, Vic Vargas, Mary Ann Murphy

1969 – Bertong Ipu-Ipo/“Both XX” (Gilbert Roland Productions/Empress Pictures)

[release date 29th November 1969]

Director Artemio Marquez Story/Screenplay Rico Bello Omagap Music D’Romenz

Cast Roberto Gonzalez, Jessica, Danny Rojo, Joaquin Pajardo, Leon Pajaron, Steve Alcarado, Mar Quijano, Bert Vivar, Er “Canton” Salazar, Julio Licmo, Jun Santos, Martin Marfil, Dolly Fuentes, Eva Marie, Marilou Ver, Mila del Rosario, Angelito Marquez, Ely Roque, Arminda Marqueza, Sinforoso Jorge

1970 – Terrible 3 (AM Productions)

[release date unknown]

Director Ben Feleo

Cast Roberto Gonzalez, Johnny Delgado, Bernard Belleza, Jessette Prospero

1970 – The Three Kings (JBC Productions)

[release date 1st January 1970]

Director/Screenplay Sol Gaudite Music Demet Velasquez

Cast Roberto Gonzalez, Philip Gamboa, Rebecca Rocha, Lilian Ramos, Jules King, Eva Marie

1970 – Ang Matitinik (Larry Santiago Productions)

[release date 2nd February 1970]

Director Pablo Santiago Story/Screenplay Tommy C. David Music Pablo Vergara

Cast Roberto Gonzalez, Bernard Belleza, Paquito Diaz, Dante Varona, Lito Garcia, Jessica, Van de Leon, Victor Bravo, Eva Marie, Bobby Santiago, Rodolfo “Boy” Garcia, Lou Salvador Sr, Rebecca Gonzalez

1970 – Kapwa Limbas (RG Productions)

[release date 18th February 1970]

Directors/Writers Tommy David, Bien David Music Demet Velasquez

Cast Roberto Gonzalez, Vic Vargas, Rosanna Ortiz, Rolando Gonzalez, Lito Garcia

1970 – Bagsik Ng Kamao/“Fury Of The Fist” (Gold Leaf)

[release date 9th May 1970]

Director Pablo Santiago Screenplay Tommy C. David, Antonio Pascua Music D’Amarillo

Cast Tony Ferrer, Roberto Gonzalez, Bernadeth Calove

1970 – Counter Attack (Leca)

[release date 18th May 1970]

Director/Music D’Amarillo Cinematography Edmund Cupcupin

Cast Roberto Gonzalez, Johnny Caranza, Nancy Roman

1970 – Saan Man Sulok… Panganib/“Danger… In Every Corner” (RG Productions)

[release date 4th June 1970]

Director/Screenplay Armando Herrera

Cast Roberto Gonzalez, Van de Leon, Rosanna Ortiz

1970 – Basta Bisaya/“Surely Visayan” (MG)

[release date 5th June 1970]

Director Leroy Salvador

Cast Roberto Gonzalez, Von Serna, Gloria Sevilla, Cielito del Mundo

1970 – Wanted Tunay Na Lake/“Wanted Real Man” (JBC)

[release date 25th June 1970]

Director/Screenplay Sol Gaudite

Cast Roberto Gonzalez, Philip Gamboa, Eva Marie, Lilian Ramos, Fredy Raval, Carmen Romasanta

1970 – Patigasan/“Who’s Harder” (RG Productions)

[release date 24th July 1970]

Director Solano Gaudite Screenplay Henry Cuino

Cast Roberto Gonzalez, Jules King, Rosanna Ortiz, Lilian Ramos, Ernie Ortega, Robert Rivera

1970 – Paglaya Ko… Lagot Kayo!/“When I Get Freed… You’ll Be Sorry!” (RJ)

[release date 2nd October 1970]

Director Nilo Saez Screenplay O.B. Pangilinan, Nilo Saez

Cast Roberto Gonzalez, Renato Robles, Thelma Kennedy

1971 – Boy Poklat (RG Productions)

[release date 18th February 1971]

Director Butch Bautista Screenplay Harold Clement Music Gel Cruz Cinematography Steve Perez

Cast Roberto Gonzalez, Paquito Diaz, Reina Pimentel, Marissa Delgado

1971 – Encuentro Ng Mga Hari/“Encounters Of The Kings” (AG)

[release date 29th April 1971]

Director Butch Bautista

Cast Roberto Gonzalez, Paquito Diaz, Reina Pimentel, Rolando Gonzalez, Max Alvarado, Lou Salvador, Panchito

1971 – Sa Kamay Ng Tatlong Takas/“In The Hands Of Three Fugitives” (JMJ Pictures/MG Productions)

[release date 28th May 1971]

Director Flor Bien Story/Screenplay Bert Mendoza

Cast Roberto Gonzalez, Dante Varona, Romy Diaz, Yvonne

1971 – Habang Ako’ng Batas/“While I Am The Law” (RG Productions)

[release date 12th June 1971]

Director “Sol”/Solano Gaudite Story/Screenplay O.B. Pangilinan Music Gel Cruz Associate Director Johnny Capistrano Cinematography Enrique Rosales

Cast Roberto Gonzalez, Jules King, Aurora Salve, Renato Robles, Omar “Boy” Camar, Ernie Ortega, Jun Satos, Alex Flores, Miguel Lopez, Rolando Gonzales, Robert Rivera, Tony Pomuceno, Jaime de Vera, Rey Sagum, Robert Miller, Lito Hermosa, Santy Hermosa, Joven Locquiao, SOS Daredevils, PMP Boys, D’R.G. Boys

1971 – Pepe Sampera (Reygon)

[release date 24th September 1971]

Director Nilo Saez Screenplay Jimmy Naval Music Joseph Mendoza Cinematography Eduardo Cabrales

Cast Roberto Gonzalez, Lizabeth Vaughn

1971 – Batang Estero/“Child Of The Sewers” (RG Productions)

[release date 7th October 1971]

Director Jose “Pepe” Wenceslao Screenplay Joseph Nelson Music Demet Velasquez Cinematography Enrique Rosales

Cast Roberto Gonzalez, Rolando Gonzalez, Reina Pimentel, Omar Camar, Ernie Ortega, Jun Santos

1971 – Kontra Hari/“Anti-King” (JMJ Pictures/Oriental Movie Pictures)

[release date 9th December 1971]

Director Solano Gaudite Screenplay Ernie Ortega Producer Mariano L. Bermejo Jr Music Demet Velasquez

Cast Roberto Gonzalez, Pilar Pilapil, Rosanna Ortiz, Romy Diaz, Omar “Boy” Camar, Jess Vargas, Ben Perez, Marikit Liwanag, Ernie Ortega, Steve Alcarado, Leon Pajaron, Alex Flores, Charlie Oro

1972 – Battle Of Lingayen (RTG)

[release date 12th February 1972]

Directors Nick Cacas, Jun Gozon Screenplay H. Roxas Music Pablo Vergara Cinematography Zosimo Corpuz

Cast Roberto Gonzalez

1972 – Diego Condenado (Swanie)

[release date 19th February 1972]

Director Charlie Ordonez Screenplay B. Duenas Jr Cinematography Temmie Ongleo

Cast Roberto Gonzalez, Rocco Montalban, Elizabeth Bankhead

1972 – Dirty Hari (Lea Productions/Ultra Vista Films)

[release date 28th February 1972]

Director Jun Gallardo Story/Screenplay Bert R. Mendoza Cinematography Steve Perez

Cast Roberto Gonzalez, Jing Abalos, Eddie Garcia, Alicia Alonzo, Roderick, Sancho Tesalona, Fred Param, Rosa Santos, Primo Yumol, Lito Cruz, SOS Daredevils, Ernesto Santos, Juano Juarez

1972 – Escape From East Berlin (MG)

[release date 3rd March 1972]

Director Sol Gaudite Screenplay Greg Macabenta

Cast Roberto Gonzalez, Gloria Sevilla

1972 – Lagot Kung Lagot/“Cut If Cut” (RG Productions)

[release date 7th April 1972]

Director Sol Gaudite Story Greg Igna de Dios Based on the Holiday Komiks serial Screenplay Henry Cuino Music Demet Velasquez Cinematography Zosimo Corpuz

Cast Roberto Gonzalez, Jules King, Rudy Fernandez, Reina Pimentel, Emma Esmeralda, Desiree Destreza, Robert Rivera, Omar “Boy” Camar, Ernie Ortega, Jun Santos, Jaime de Vera, Rey Sagum, Tony Pomuceno, Ad Veloso, Anita Linda, Van de Leon (Captain Alcaraz), The RG Boys, SOS Daredevils

1972 – Jungle Fighters (Liberty)

[release date 24th April 1972]

Director Nick Cacas Screenplay Nick Cacas, H. Roxas Music Demet Velasquez

Cast Roberto Gonzalez, Renato del Prado, Mario Montalban, Rolan Montes, Roldan Rodrigo

1972 – Ang Kamay Na Bakal/“Hands Of Steel” (MBM)

[release date 24th May 1972]

Director Sol Gaudite Music Danny Holmsen

Cast Roberto Gonzalez, Rolando Gonzalez, Desiree Destreza

1972 – Walang Katapat/“Incomparable” (RG Productions)

[release date 9th June 1972]

Director Sol Gaudite Music Demet Velsaquez Cinematography Zosimo Corpuz

Cast Roberto Gonzalez, Philip Gamboa, Rolando Gomez

1972 – Hari Ng Mga Simaron/“King Of The Cimarons” (Liberty)

[release date 30th June 1972]

Director Manny Songco Music C. Rodriguez Cinematography Temmie Onoleo

Cast Roberto Gonzalez, Franco Rivero, Danny Rojo, Pablo Virtuoso, Max Alvarado

1972 – Kahit Saan! Encuentro/“Everywhere! Encounter” (Jun-Zen)

[release date 22nd July 1972]

Director/Screenplay “Jun-Zen” Music Demet Velasquez Cinematography Zosimo Corpuz

Cast Roberto Gonzalez, Rolly Lapid, Johnny Caranza, Rey Roldan, Johnny Vicar

1972 – Ang Boxer At Ang Sexy/“The Boxer And The Sexy” (AA)

[release date 10th August 1972]

Director Leroy Salvador Screenplay Ross Oracion Music Demet Velasquez Cinematography Luis Chiong

Cast Roberto Gonzalez, Alona Alegre

1972 – King Fighter (RG Productions)

[release date 31st August 1972]

Director/Screenplay Sol Gaudite Music Demet Velasquez Cinematography Zosimo Corpuz

Cast Roberto Gonzalez, Philip Gamboa, Christina Reyes, Nympha Bonifacio

1972 – Walang Hari Sa Akin/“I Have No King” (MBM)

[release date 21st October 1972]

Director Sol Gaudite Music Danny Holmsen Cinematography Peping Austria

Cast Roberto Gonzalez, Omar Camar, Nympha Bonifacio

1973 – Ako Laban Sa Daigdig/“Me Against The World” (RG Productions)

[release date 4th January 1973]

Director Armando de Guzman Screenplay Armando de Guzman, Cris Magdiwang Music Demet Velasquez Cinematography Zosimo Corpus

Cast Roberto Gonzalez, Rosemarie Gil

1973 – Ang Barbaro At Si Genghis Khan/“The Barbarian And Genghis Khan” (Cattleya)

[release date 25th January 1973]

Director Danilo Cabreira Screenplay Bert Mendoza Music Demet Velasquez Cinematography Zosimo Corpuz

Cast Roberto Gonzalez, Ramon Zamora, Carmina Perez

1973 – Taga-Usig/“The Accuser” (Jovan)

[release date 9th February 1973]

Director Sol Gaudite Screenplay Jerry Tirazona Music Demet Velasquez Cinematography Vic Anao

Cast Roberto Gonzalez, Jing Abalos, Carmina Perez, Irene Ramos

1973 – Silang Mga Bayani/“They The Heroes” (Golden G)

[release date 2nd March 1973]

Director Jose Miranda Cruz Music Demet Velasquez Cinematography R. Buenaseda

Cast Roberto Gonzalez, Philip Gamboa, Jeannie Young

1973 – Kamay Na Ginto/“Hand Of Gold” (Sikatuna)

[release date 15th March 1973]

Director Sol Gaudite Screenplay Cris Magdiwang Music Demet Velasquez Cinematography Zosimo Corpuz

Cast Roberto Gonzalez, Rolando Gonzalez, Liza Lorena

1973 – San Nicolas (NGP)

[release date 23rd March 1973]

Director Sol Gaudite Music Totoy Nuke Cinematography Peping Austria

Cast Roberto Gonzalez, Jules King, Desiree Destreza

1973 – Basco Silang (RG Productions)

[release date 6th April 1973]

Director Sol Gaudite Screenplay Cris Magdiwang Music Demet Velasquez Cinematography Enrique Rosales

Cast Roberto Gonzalez, Rolando Gonzalez, Reina Pimentel, Eva Darren

1973 - Fist To Face (ESA)

[release date 23rd May 1973]

Director Charlie Ordonez Screenplay J. Tirazona Cinematography Joe Tutanes Music Geyju

Cast Roberto Gonzalez, Bentot, Pugak, Jerry Pons, Ngongo, Tintoy

1973 – Digmaan Sa Paraiso/“War In Paradise” (RG Productions)

[release date 9th June 1973]

Director Sol Gaudite Cinematography E. Rosales Music Demet Velasquez

Cast Roberto Gonzalez, Gina Pareno

1973 – Pugante: Numero 3-11/“Fugitive Number 3-11” (RG Productions)

[release date 26th July 1973]

Director/Writer Jose Miranda Cruz Music Demet Velasquez

Cast Roberto Gonzalez, Dante Varona, Jeanne Young, Johnny Monteiro, Larry Silva, Rocco Montalban, Mar Quijano, Gerry Gamboa, Evelyn Zargarriaga?, Cora Santos, Dalton de Castro, Lyod Garcia, Lorena Avellana, Bella Flores, Prospero Luna, Pancho Pelagio, Rady Leonardo

1973 – Kaaway Na Mortal/“Mortal Enemy” (RG Productions)

[release date 12th October 1973]

Director Robert John, Johnny Capistrano Screenplay Roberto Gonzalez, Joseph Nelson Music Demet Velasquez Cinematography E. Rosales

Cast Roberto Gonzalez, Rolando Gonzalez, Elizabeth Oropesa, Omar Camar

1974 – Tagisan Ng Lakas/“Test Of Strength” (Sikatuna)

[release date 24th April 1974]

Director/Screenplay Cesar Mella Jr Music Demet Velasquez Cinematography R. Dino

Cast Robert Gonzalez, Philip Gamboa, Rosanna Ortiz, Nympha Bonifacio

1974 – King Of The Dragon (John-John)

[release date 14th June 1974]

Director Chito Tapawan Screenplay Robert John Music Demet Velasquez Cinematography Enrique Rosales

Cast Roberto Gonzalez, Rolando Gonzalez, Marilou Esteban, Omar Camar, Tito Arevalo

1974 – The Eagle And The Dragon (Silangan)

[release date 7th September 1974]

Director Chito Tapawan Screenplay W.G. Eusebio Music Sonja Cinematography Nestor Orense

Cast Roberto Gonzalez, Virginia

1974 – Kill… The Carnapers (Cavite)

[release date 30th October 1974]

Director Jose de Villa Screenplay R.N. Galang Cinematography R. Buenaseda

Cast Roberto Gonzalez, Helen Gamboa

1975 – Hell-O 400 Hour (Golden G)

[release date 19th December 1975]

Director Nick C. Cacas, Jun Gozon Screenplay Rodolfo Loraytes Cinematography Rolly de la Rosa Music Pablo Vergara

Cast Roberto Gonzalez, Dante Varona

1975 - Subok Na Matatag/“Tested Strength” (Cubao Cinema)

[release date 26th December 1975]

Director Butch Bautista

Cast Roberto Gonzalez, Rodel Vaval, Lorna Tolentino

1976 – Gold Cross (Golden G)

[release date 17th December 1976]

Director Nick Cacas Screenplay Jun Mariano Cinematography Zosimo Corpuz

Cast Roberto Gonzalez, Philip Gamboa, Perry Baltazar, Eddie Peregrina, Rex Lapid, Zandro Zamora

1977 – Zabrosa (Juver-Junar)

[release date 30th June 1977]

Director Santi Verchez Screenplay D. Gomez

Cast Roberto Gonzalez, Carmen Ronda, Edna Diaz, Dona Villa, Virginia

1977 – Karate Kung Fu Shaolin Masters (Larry Santiago Productions)

[release date 11th December 1977]

Director Bobby Santiago Screenplay Bert R. Mendoza Music Pablo Vergara Cinematography A. Alvarez

Cast Roberto Gonzalez, Rey Malonzo

1979 – Scout Ranger (Golden G)

[release date 30th April 1979]

Director Sol Gaudite Screenplay Cesar Cabiles Music Totoy Nuke Cinematography Zosimo Corpuz

Cast Roberto Gonzalez, Dante Varona, Zandro Zamora, Rex Lapid, Philip Gamboa, Roldan Aquino

1979 - Ahas Sa Pugad Ng Lawin/“Snake In The Hawk’s Nest” (Eldee)

[release date 16th August 1979]

Director Nilo Saez Screenplay O.B. Pangilinan, Antonio Hernas Music Demet Velasquez Cinematography R. Remias

Cast Roy Rustan, Elizabeth Oropesa, Laila Dee, Roberto Gonzales, Ramon Zamora, George Estregan

1979 - Deadly Fighters (Twin Dragon Films International)

Release date 8th December 1979]

Director Reginald King Cinematography Joe Tutanes

Cast Tony Ferrer, Roberto Gonzalez, Rey Malonzo, Erin Murphy, Romy Diaz, Tsing Tong Tsai, Don Pepot, Danny Rojo, Val Iglesias, Rey Sagum, Ben Datu, Conrad Woalkees, Larry Esguerra, Steve Alcarado, Danny Zurbano, Rocco Montalban, Paquito Salcedo [Max Alvarado – not listed on poster]

1979 – Objective 2400 (Golden G)

[release date 20th December 1979]

Director Sol Gaudite Cinematography Rolly de la Rosa

Cast Roberto Gonzalez, Dante Varona, Zandro Zamora, Rex Lapid

1980 – Ulupong, Aguila At Ang Daga/“Serpent, Eagle And Rat” (RDO)

[release date 11th July 1980]

Director Johnny Wood

Cast Roberto Gonzalez, Jun Aristorenas, Lilibeth Ocampo, Cristina Diaz, Rey Roldan, Johnny Madrid, Rex Lapid, Vanneza, Lopez, Amay Bisaya

1983 – Heroes Hill (Golden G)

[release date 29th September 1983]

Director Jun T. Gozon

Cast Roberto Gonzalez, Dante Varona, Rex Lapid, Zandro Zamora, Mario Montalban, Philip Gamboa

Nino Muhlach filmography 1975-1988

2008-12-09T19:14:00.000-08:00

NINO MUHLACH Filmography 1975-1988

1975 - May Lalaki Sa Ilalim Ng Kama Ko (AM Productions)

[release date 1st January 1975]

Cast Nino Muhlach NO OTHER CAST OR CREW DETAILS AVAILABLE

1975 – Ang Leon At Ang Daga (FPJ Productions)

[release date 2^nd January 1975]

Director Armando Herrera Screenplay Fred Navarro Music Ernani Cuenco Cinematography Sergio Lobo

Cast Fernando Poe Jr, Nino Muhlach, Paquito Diaz, Dencio Padilla, Vic Varrion, Nonoy de Guzman, Eddie Gicoso, Rebecca Rocha, Thunder Stuntmen, SOS Daredevils

1975 - Lulubog Lilitaw Sa Ilalim Ng Tulay (Juan de la Cruz Productions)

[release date 11th July 1975]

Director Joey Gosiengfiao Writer Toto Belano Music Demet Velasquez Cinematography R. Dino

Cast Amalia Fuentes (Amalia Marinella Fuentebella), Boots Anson-Roa (Sister Elisa), Luis Gonzales (Luis Samaniego), Niño Muhlach (Chinky Ychavez), Orestes Ojeda (Edwin Silva), Celia Rodriguez (Donya Matilde), Chanda Romero (Maring)

1976 – Beloy And The Kid (D’Wonder Films/AM Productions)

[release date 12th March 1976]

Director Romy Villaflor Cinematography Loreto U. Usleta

Cast Vic Vargas, Nino Muhlach, Panchito, Paquito Diaz, Josephine Garcia, Subas Herrero, Angie Ferro, Venchito Galvez

1976 - Harabas Con Bulilit (D’Wonder Films)

[release date 28th May 1976]

Cast Jun Aristorenas, Nino Muhlach NO OTHER CAST OR CREW DETAILS AVAILABLE

1976 - Kutong Lupa/ “Small Insect” (Rootman)

[release date 23rd July 1976]

Director Fely Crisostomo Cinematography Ben Lobo Music Demet Velasquez

Cast Nino Muhlach, Zaldy Zshornack, Nida Blanca, Celia Rodriguez, Johnny Delgado, Alicia Alonzo, Merle Tuason, Renato Robles, Jose Garcia, Rudy Manlapaz, Baby de Jesus

1976 – Wonder Boy (Tagalong Ilang-Ilang Productions)

[release date 19th August 1976]

Cast Tony Ferrer, Nino Muhlach NO OTHER CAST OR CREW DETAILS AVAILABLE

1976 – BongBong (D’Wonder Films)

[Release date 9th October 1976]

Director Fely Crisostomo Screenplay Armando de Guzman Based on the komik serial by Mars Ravelo Music Tito Sotto Cinematography Eduardo Cabrales

Cast Nino Muhlach (BongBong), Rudy Fernandez (Mando), Vivian Velez (Gilda), Max Alvarado, Alicia Alonzo, Jose Romulo, Lorli Villanueva, Etang Discher, Angie Ferro, Joonee Gamboa, Joe Sison, Venchito Galvez, Moody Diaz, Tessa Locsin, Jean Lopez, Walden & Barbi, Yip & Brava, Danny Rojo, Joaquin Fajardo, Bobby Suansing, Jing Caparas, Ben Manalo, Edgar Arroyo

1977 – Jack And Poy (D’Wonder Films)

[release date 21st January 1977]

Director/Story Luciano B. Carlos Music Danny Holmsen Cinematographer Hermo U. Santos

Cast Ariel Ureta, Nino Muhlach, Marilou Destreza, Paquito Diaz, Rodolfo “Boy” Garcia, Martin Marfil, Matimtiman Cruz, Estrella Kuenzler, Tony Carrion, Danny Rojo, Joaquin Fajardo, Jing Caparas, Karina Zawalski, Ben Johnson, German Moreno

1977 – Tutubing Kalabaw Tutubing Karayom (FPJ Productions)

[release date 24^th February 1977]

Director Armando A. Herrera Screenplay Fred Navarro Music Ernani Cuenco Cinematography Sergio Lobo

Cast Fernando Poe Jr, Nino Muhlach, Marianne de la Riva, Paquito Diaz, Dencio Padilla, Victor Bravo, Nello Nayo, Jose Garcia, Joonee Gamboa, Angie Ferro

1977 – Ang Pagbabalik Ni Harabas At Bulilit (D’Wonder Films)

[release date 18th March 1977]

Director Nilo Saez Story/Screenplay Greg Macabenta Cinematography Hermo U. Santos

Cast Jun Aristorenas, Nino Muhlach, Vivian Velez, Ruby Anna, Anna Marin, Paquito Diaz, Rodolfo “Boy” Garcia, Max Alvarado, Moody Diaz, Amy Austria, Rowena Ysmael, Tita de Villa, Rey Big Boy, TNT Stuntmen, Thunder Boys, Mom Stuntmen, Renato Robles, Rocco Montalban, Danny Rojo, J. Antonio Carrion, Joe Cunanan, Fred Esplana, Edgar Garcia

1977 – Wow, Sikat! Pare, Bigat! (Regal Films)

[release date 15th April 1977]

Director Luciano B. Carlos Screenplay Medy Navales Music Vicor

Cast Nino Muhlach, Rico J. Puno, Gina Alajar, Lilian Laing, Apeng Daldal, German Moreno

1977 – Si Amihan At Si Hagibis (D’Wonder Films)

[release date 26th May 1977]

Director J. Erastheo Navoa Screenplay F. Dalay Music Demet Velasquez Cinematography Hermo U. Santos

Cast Nino Muhlach, Rez Cortez, Alma Moreno

1977 – Binata Ang Daddy Ko! (D’Wonder Films)

[release date 9th September 1977]

Director J. Erastheo Navoa, Fely Crisostomo

Cast Eddie Rodriguez, Nino Muhlach

1977 – Tahan Na Empoy, Tahan (Lotus Films Inc)

[release date 16th November 1977]

Director Lino Brocka Story/Screenplay Jose Dalisay Jr Music Ernani Cuenco Cinematographer Jose Batac Jr Editor Augusto Salvador

Cast Nino Muhlach, Snooky [Serna], Alicia Alonzo, Armida Siguion-Reyna, Rosa Aguirre, Lorli Villanueva, Orlando Nadres, Rodel Naval, Mario O’Hara, Allan Ronald Muhlach

1978 – Kaming Patok Na Patok (D’Wonder Films)

[release date 10th February 1978]

Director Nilo Saez Story/Screenplay Enrique de Jesus Music Pablo Vergara Cinematography Hermo U. Santos

Cast Chiquito, Nino Muhlach, Beth Bautista, Panchito, Max Alvarado, Teroy de Guzman, Laila Dee, Panchito Jr

1978 – Magkaaway (D’Wonder Films)

[release date 25th March 1978]

Director Augusto Buenaventura Screenplay Augusto Buenaventura, Diego Cagahastian Music Ernani Cuenco Cinematography Hermo U. Santos

Cast Joseph Estrada, Nino Muhlach, Susan Valdez, Lito Anzures, Romeo Rivera

1978 - Ang Tatay Kong Nanay/“My Cross-Dressing Father” (Lotus Films Inc)

[release date 4th July 1978]

Director Lino Brocka Writer Orlando R. Nadres Music Lutgardo Labad Cinematography Jose Batac Jr Editor Augusto Salvador

Cast Dolphy, Nino Muhlach, Phillip Salvador, Marissa Delgado, Lori Villanueva, Saxy Tapacio, Larry Leviste, Orlando Nadres

1978 - Bruce Liit (D’Wonder Films)

[release date 22nd July 1978]

Director Jen Screenplay Manuel Ramirez Cinematography Hermo U. Santos Music Demet Velasquez

Cast Niño Muhlach (Bruce), Ramon Zamora, Rey Malonzo, Philip Gamboa, Anna Marin, Beth Bautista, Larry Esguerra, Fred Esplana, Tange, Omar “Boy” Camar, Ruben Ramos, Ben Datu, Rey Sagum, Carlos Diaz, Rod Francisco, Doming Reyes, Jimmy Reyes, Ernie David

1978 – Butsoy (D’Wonder Films)

[release date 30th September 1978]

Directors Fely Crisostomo, J. Erastheo Navoa Story Pat V. Reyes Screenplay Beer Flores Cinematographer Hermo U. Santos

Cast Nino Muhlach, Dante Rivero, Marianne de la Riva, Marissa Delgado, Dindo Fernando, Panchito, Dely Atay-Atayan, Crystal, Paquito Diaz, Tange, Matimtiman Cruz, Balut, Moody Diaz, Jose Garcia, Pepot, Vic Morales, Danny Rojo, Allan “Ronald” Muhlach

1978 – Ang Agimat Ni Pepe (D’Wonder Films)

[release date 15th December 1978]

Director J. Erastheo Navao Screenplay Manuel Ramirez Music Demet Velsaquez Cinematography Hermo U. Santos, P. Manding Jr

Cast Nino Muhlach, Rey Malonzo, Chanda Romero, Sheryl Cruz, Panchito

1979 – Ang Tatay Kong Kalbo (D’Wonder Films)

[release date unknown]

Director Fely Crisostomo Story/Screenplay Cloyd Robinson Music Nonong Avila Cinematography Hermo U. Santos

Cast Nino Muhlach, Bembol Roco, Beth Bautista, Panchito, Rez Cortez, Ike Lozada, Allan “Ronald” Muhlach, Bella Flores, Ed Villapol, Tonio Guttierez, Jimmy Santos, Val Hernandez, Ruthie Roces, Teroy de Guzman, Don Pepot, Palito, Tonette Macho, Georgie Quizon

1979 – Kakampi Ko Ang Sto. Nino (D’Wonder Films)

[release date 19th January 1979]

Director Fely Crisostomo Screenplay F. Cabaluna Music Ernani Cuenco Cinematography Hermo U. Santos

Cast Nino Muhlach

1979 – Kuwatog (D’Wonder Films)

[release date 30th April 1979]

Director J. Erastheo Navoa Story Pat Reyes Screenplay Joe Ben Miraflor Jr Cinematography Hermo U. Santos Special Effects Tommy Marcelino

Cast Nino Muhlach, Ricky Belmonte, Rez Cortez, Anna Marin, Donna Villa, Panchito, Patsy, Dely Atay-Atayan, Cachupoy, Bayani Casimiro, Teroy de Guzman, Bella Flores, Don Pepot, Metring David, Palito, Tonnette Macho, Danny Rojo, Joaquin Fajardo, Val Hernandez, Ronald Allan Muhlach

1979 – Pepeng Kulisap (D’Wonder Films)

[release date 11th August 1979]

Director J. Erastheo Navoa Story L.P. Calixto Screenplay Joeben Miraflor Jr Music Nonong Avila Cinematography Hermo U. Santos

Cast Nino Muhlach, Beth Bautista, George Estregan, Dindo Fernando, Andy Poe, Chichay, Sheryl, Dick Israel

1979 – Isa, Dalawa, Tatlo, Ang Tatay Kong Kalbo (D’Wonder Films)

[release date 5th October 1979]

Director Fely Crisostomo Screenplay Cloyd Robinson Cinematography Hermo U. Santos Music Nonong Avila

Cast Rafael Roco Jr, Nino Muhlach, Beth Bautista, Allan “Ronald” Muhlach

1979 – Bokyo (D’Wonder Films)

[release date 14th December 1979]

Director J. Erastheo Vavoa Screenplay Pat Reyes, Joeben Miraflor Cinematography Hermo U. Santos

Cast Nino Muhlach, Al Tantay, Marissa Delgado, Anna Marin, Allan Muhlach

1980 - Darna At Ding/“Darna And Ding” (D’Wonder Films)

[release date 8th February 1980]

Directors J. Erastheo Navoa, Cloyd Robinson Producer D’Wonder Films Story & Screenplay J. Erastheo Navoa, Cloyd Robinson Based on characters by Mars Ravelo Director of Photography Hermo U. Santos Editor Eduardo “Boy” Jarlego Production Designer Arthur Nicdao

Cast Vilma Santos (Darna/Narda), Nino Muhlach (Ding), Panchito Alba (Narda’s Father), Max Alvarado (Giant), Bayani Casimiro, Rez Cortez, Marissa Delgado (Dr Irene Vontesberg), Paquito Diaz (Escaped Prisoner #1), Mooody? Moddy? Diaz, Angie Ferro, Teroy de Guzman (Zombie), Lando Perez Jacob, Veronica Jones (Babaing Lawin/Hawk Woman), Ike Lozada (DJ), Lily Miraflor, German Moreno (Dr Vontesberg’s Zombie Assistant), Avel Morado, Palito (Chinese Restaurant patron #1), Don Pepot, Andy Poe (Andy, Escaped Prisoner #2), Celia Rodriguez (Lei Ming), Danny Rojo, Jimmy Santos, Buddy Salvador, Rudi Soriano, Tsing Tong Tsai, Donna Villa, Al Tantay (Harry) [Wikipedia lists Er "Canton" Salazar & Tonette Macho, both not listed in credits]

1980 – Enteng-Anting (D’Wonder Films)

[release date 18th April 1980]

Director J. Erastheo Navoa Story Ric Aquino Screenplay Joeben Miraflor Jr Cinematography Hermo U. Santos Special Effects Tommy Marcelino

Cast Nino Muhlach, Nida Blanca, Roel Vergel de Dios, Panchito, Rez Cortez, Baby Delgado, Myrna Velasco, Manny Luna, Dely Atay-Atayan, Cachupoy, Jerry Pons, Moody Diaz, Lily Miraflor, Palito, Bayani Casimiro, Don Pepot, Ed Villapol

1980 – Hepe (D’Wonder Films)

[release date 13th June 1980, export title “The Crazy Bunch”]

Director J. Erastheo Navoa Story/Screenplay Manuel Ramirez Cinematography Pedro Manding Jr

Cast Nino Muhlach, Rey Malonzo [billed as “Reginald King” in the export version], Eddie Garcia, Paquito Diaz, Max Alvarado, Amy Austria, Donna Villa, Ike Lozada, German Moreno, Ed Villapol, Tsing Tong Tsai, Dexter Doria, Don Pepot, Palito, Danny Rojo, Jimmy Santos, Arturo Moran, Larry Esguerra, Paquito Salcedo, Romy Nario

1980 – Juan Tamad, Junior (D’Wonder Films)

[release date 18th September 1980]

Director/Story Arsenio “Ka Boots” Bautista Screenplay Joe “Lad” Santos Music Nonong Avila Cinematography Hermo U. Santos

Cast Nino Muhlach (Juan Tamad Jr), Panchito, Babalu, Marissa Delgado, Dondon Nakar, Tetchie Agbayani, Manuel Conde (Juan Tamad Sr), Ike Lozada, German Moreno, Lucita Soriano, Don Pepot, Palito, Robert Miller, Danny Rojo, Jimmy Santos, Ernie David

1980 – NogNog (D’Wonder Films)

[release date 12th December 1980]

Director Nilo Saez Screenplay Ric Aquino Based on the komik by L.S. Martinez Cinematography Pedro Manding Jr

Cast Nino Muhlach (NogNog), Panchito, Chichay, Dely Atay-Atayan, Cachupoy, Bonnie “Mong” de Jesus, Manny Luna, Maricris Bermont, Bella Flores, Dexter Doria, Heidi Melendres, Don Pepot, Ed Villapol, Palito, Lily Miraflor, Matimtiman Cruz, Bayani Casimiro, Danny Rojo, Jimmy Santos, Marissa Delgado, Paquito Diaz, Anne Villegas, Babalu

1980 – Tembong (D’Wonder Films)

[release date 25th December 1980]

Director J. Erastheo Navoa Story/Screenplay Ric S. Aquino Music Snaffu Rigor Editor Edgardo Jarlego Jr Cinematography Hermo U. Santos

Cast Nino Muhlach, Ricky Belmonte, Boots Anson Roa, Eddie Garcia, Azenith Briones, Dely Atay-Atayan, Anna Marie Gutierrez, Panchito, Matutina, Mon Godiz, Don Pepot

1981 – Tikboy En Pamboy (D’Wonder Films)

[release date 6th February 1981]

Director J. Erastheo Navoa Screenplay Ric Aquino Cinematography Hermo Santos

Cast Nino Muhlach, Aga Muhlach, Dely Atay-Atayan, Matutina

1981 – Mga Basang Sisiw (BSH)

[release date 27th February 1981]

Director/Screenplay Agustin dela Cruz Music Ernani Cuenco Cinematography R. Monteloyola Editor Edgardo “Boy” Vinarao

Cast Julie Vega, Janice de Belen, Sheryl Cruz, Niño Muhlach, Cheche

1981 – Cuatro y Media (D’Wonder Films)

[release date 17th April 1981]

Director J. Erastheo Navoa Writer Joe Lad Santos Music Ramon Reyes Cinematography P. Manding Jr Editor Eduardo Jarlego Art Direction Brando Ocampo

Cast Nino Muhlach, Ramon Zamora, Roland Dantes, Ulysses Tzan, Rey Malonzo?

1981 – Hepe Goes To War (D’Wonder Films)

[release date 24th July 1981]

Director J. Erasteho Navoa Screenplay Manuel Ramirez Music/Sound Ramon Reyes Editor Edgardo Jarlego Jr Art Director Brando Ocampo Cinematography P. Manding

Cast Nino Muhlach, Rey Malonzo, Camille Raymond

1981 – Dos Bravos (D’Wonder Films)

[release date 9th October 1981]

Director J. Erestheo Navoa Screenplay Jojo Miraflor Jr Cinematography Hermo U. Santos Sound/Music Ramon Reyes Editor Eduardo Jarlego Jr Art Directors Rolly Sto. Domingo, Brando Ocampo

Cast Dante Varona, Nino Muhlach, Ann Villegas

1981 – Tropang Bulitit (D’Wonder Films)

[release date 25th December 1981]

Director J. Erastheo Navoa

Cast Nino Muhlach (Mr Paandar), Sheryl Cruz (Miss America), Andrea Bautista (Miss Bungisngis), Janice De Belen (Miss Papo Ako), Lea Salonga (Miss Iyakin)

1982 – Juan Balutan (D’Wonder Films)

[release date 6th March 1982]

Director J. Erastheo Navoa Screenplay B. Martinez Music R. Valera Cinematography Hermo U. Santos

Cast Nino Muhlach, Ricky Belmonte, Liz Alindogan, Perla Bautista

1982 – Rocco, Ang Batang Bato (D’Wonder Films)

[release date 23rd June 1982, export titles “Stone Boy” and “Boy God”]

Director J. Erastheo Navoa Story & Screenplay Joeben Miraflor [other sources list E. Corcuera] Executive Producer Alexander Muhlach Music Ernani Cuenco [other sources list M. Lopez] Cinematography Hermo Santos Editor Joe Mendoza Assistant Editor Edgar Gutierrez Sound Effects Danny Sanchez Sound Supervision Rudy Baldovino Foreign Adaptation Jess Ramos

Cast Nino Muhlach, “Jim Melendrez”/Jimi Melendez, Isabel Rivas, Cecille Castillo

1982 - Tatlo Silang Tatay Ko (D’Wonder Films)

[release date 25th December 1982]

Director J. Erastheo Navoa Story L.P. Calixto Music Tito Sotto Cinematography Hermo U. Santos Editor Edgardo Jarlego

Cast Niño Muhlach, Tito Sotto, Vic Sotto, Joey de Leon, Susan Bautista, Panchito, Manny Luna, Dely Atay-Atayan, Ike Lozada, German Moreno, Rodolfo 'Boy' Garcia, Bayani Casimiro, Ben David, Don Pepot, Mely Tagasa, Palito, Rose Andrada, Chuchi, Ben Johnson, Lily Miraflor, Ngo-Ngo, Georgie Quizon, Florence Carvajal, Ulysses Tzan, Fortunato 'Atoy' Co, Philip Cesar, Giovanni Calvo, “Tonette Macho”/Anthony Roquel, Richie D'Horsie

1983 – Hula (D’Wonder Films)

[release date 15th June 1983]

Director Emmanuel H. Borlaza Screenplay J.J. Reyes Cinematography Hermo Santos Editor Edgardo Jarlego Jr Music Lucresia Kasilag Art Director Ben Payumo

Cast Nino Muhlach, Vic Vargas, Pilar Pilapil, Elizabeth Oropesa

1983 – D’Godson (D’Wonder Films)

[release date 25th December 1983]

Director J. Erastheo Navoa Screenplay J. Carreon Cinematography Hermo U. Santos Editor Eduardo Jarlego Jr Art Director R. Sto. Domingo

Cast Nino Muhlach, William Martinez, Susan Bautista, Nanette Inventor

1984 - Nang Maghalo Ang Balat Sa Tinalupan (RVQ Productions)

[release date 19th Spetember 1984]

Director/Screenplay Ben Feleo Story Roy Vera Cruz Producer/Choreographer Dolphy [as Rodolfo V. Quizon] Music Dominic Editor Efren Jarlego Production Design Fred Sta. Ana Production Manager Manuel 'Boy' Quizon Sound Supervisor Ramon Reyes

Cast Dolphy (Rudolph), Alma Moreno (Michelle), Niño Muhlach (Boboy), Jaypee De Guzman (Chris), Panchito, Angela Perez, Conde Ubaldo, Anna Feliciano, Josie Andico, Jennie Sevilla, Fernando Andres, Delie de Leon, Remis Estrella, Ernesto Gutierrez, Perlie Hernandez, Zony Quizon, Ramil Rodrigo, Er “Canton” Salazar, Jimmy Santos

1985 - Ma'a May We Go Out (Viva Films)

[release date 13^th June 1985]

Director/Writer Mike Relon Makiling Producer Vic del Rosario Jr

Cast Tito Sotto, Vic Sotto, Joey de Leon, Nino Muhlach, Juan Carlos Bonnin, Ramon Christopher, Carmi Martin, Roy Alvarez, Joonee Gamboa, Esther Chavez, Rodolfo “Boy” Garcia, Dabiana, Tony Fajardo (Chauffeur in White), Cheska Iñigo

1985 - Like Father, Like Son (Viva Films)

[release date 29^th August 1985]

Director Mike Relon Makiling Story Jose Javier Reyes, Tony Gloria Screenplay Jose Javier Reyes, Mike Relon Makiling Executive Producer Vic del Rosario Jr Supervising Producer Tony Gloria Producer Ramon Salvador Editor Ike Jarlego Jr

Cast Niño Muhlach (Jonjon), Herbert Bautista (Nonoy), Nida Blanca (Emily), Nestor De Villa (Albert), Leroy Salvador (Augusto Batobalani), Gina Pareño, Lea Salonga (Angela), Cecille Iñigo, Chichay, Dely Atay-Atayan (Lola Toyang), Alicia Alonzo, Beth Bautista, Cheska Iñigo, Liza Lorena, Gerard Salonga (Gerry), Jimmy Santos, Noel Trinidad

1985 – Abandonado (D’Wonder Films?)

[release date unknown]

Director J. Erastheo Navoa

Cast Bernardo Bernardo, Lito Lapid, Nino Muhlach

1986 – Kontra Bandido (D’Wonder Films)

[release date 11th December 1986]

Director J. Erastheo Navoa Screenplay R. de Guzman Cinematography Bhal Dauz Editor Armando Jarlego Art Director Peter Perlas

Cast Nino Muhlach, Ramon Zamora, Arlene Muhlach, Janice de Belen, Rey Malonzo, Paquito Diaz, Bernardo Bernardo, Max Alvarado

1987 – Topo-Topo Barega (D’Wonder Films)

[release date 8th May 1987]

Director/Screenplay J. Erastheo Navoa Cinematography Reynaldo Capulong

Cast Aga Muhlach, Nino Muhlach, Kathy Mora, Liza Lorena

1988 – Pssst! Boy… Halika (D’Wonder Films)

[release date 18th February 1988]

Director J. Erastheo Navoa Screenplay Jojo Lapuz Cinematography Reynaldo Infantado Editor Armando Jarlego

Cast Nino Muhlach, Vic Vargas, Beth Bautista, Deborah Sun

21 Greatest Pinoy B Movies article

2008-12-04T17:39:00.000-08:00

You know you've made it both as a writer and a film historian when your work is featured in the Philippines' version of FHM magazine (December 2008 edition)!

Here's what I originally sent them...

The Greatest Pinoy Bold Film:There’s a huge number of runners-up – Celso Ad. Castillo’s Snake Sisters and Isla, Tikoy Aguiluz’s The Boatman, Peque Gallaga’s Virgin Forest and Scorpio Nights – but the most striking of all is Silip (dir. Elwood Perez, 1985), a clearly insane assault on religious dogma set in a fundamentalist Catholic dune-locked village, featuring Pasolini-style sacrilege, gore and near-hardcore pornography. Silip’s three devout sisters (including bold megastars Maria Isabel Lopez and Sarsi Emmanuel) are in love with Simon, the promiscuous village buck whom they brand a demon due to his abnormally large organ. “We must cleanse you!” screams Maria at her aroused younger sibling while throwing handful after handful of purifying sand up her skirt.

Greatest Pinoy Copyright Thefts:James Batman (1966) HOLY BATCOW! A pop culture free-for-all from the all-time king of Pinoy parodies, Dolphy stars as James Bond AND Batman, and often in the same shot! It’s BIFF, POW, ZOINKS with the exaggerated cartoon angles and a surfadelic soundtrack from Carding Cruz…

The Bionic Boy (dir. Leody M. Diaz, 1977) Produced by Bobby A. Suarez, a miniaturized kung fu-kicking version of the Six Million Dollar Man (that’s technology for you!) played by a precocious 8-year-old kung fu prodigy named Master Johnson Yap, who can do everything Steve Austin can except buy a pack of cigarettes. Of course the producers of the Six Million Dollar Man sued, but forgot you can’t trademark the word “bionic”. Bobby Suarez one, Universal Studios nil…

Mantis Boxer (dir. Ronaldo P. San Juan, 1979) An almost scene-for-scene redux of Jackie Chan’s original Drunken Master starring the hair-helmeted Chan-alike “Ulyssess Chan”/Ulysses Tzan…

Alyas Batman en Robin (dir. Tony Reyes, 1992) Jaw-droppingly absurd Batman parody with spoof king Joey de Leon, the cadaverous Rene Requiestas as the Joker, and Dolphy's sidekick Panchito as Tio Joker. Oh, and it's a musical! Brothers Kenneth and Kevin (aka the Caped Crusader and Wonder Boy) drive around in a convertible with tacked-on Bat Wings and battle the Joker (who has a gravity-defying Dali moustache) and an extremely portly 'Tio' Penguin for truth, justice and the Filipino way of life. The entire incomprehensible mess is in Tagalog, except for the Beach Boys' musical numbers which are (almost) in English. At the end, Kenneth and Kevin teach the Joker and Penguin a lesson in morality, who then proceed to sing (to the tune of 'Let's Go To The Hop')... “Let’s be good, not bad, Let's be afraid of God!” The entire cast, including Wonder Woman and a go-go dancing midget in a Spiderman outfit, all launch into a rendition of the title theme (to the tune of "Surfin' Safari"). An easy candidate for Most Ludicrous Film of All Time, and possibly the most flagrant breach of copyright known to the legal system.

Greatest Pinoy Fighting Cock Film: Supercock (aka Fowl Play, 1975) Ross Hagen and Nancy Kwan runs around the Philippines looking for their stolen fighting chicken. Essentially a one joke movie: “Have you seen my cock?” Comedy Gold.

Greatest Pinoy Samurai Zombie Film: Raw Force (1982) Imagine a film shot by Americans in the Philippines exploiting every possible angle: cannibals, zombies, samurais, white kung fu (this WAS 1982, and Chuck Norris reigned supreme!), gumby comedy, and more flesh on display than a Friday night karaoke crawl. Aging name actor Cameron Mitchell stars as the skipper of a rusty tub washed up on Warrior’s Island, home to a renegade group of grinning, clapping cannibal monks who can reanimate the corpses of disgraced martial artists to do their bidding.

Greatest Pinoy Rambo Ripoff: No Blood No Surrender (1986) God knows there were more than a few, but this one takes the biscuit. The corpse-thin comedian Palito (Ram-Buto, James Bone) is our Stallone clone, running around the Filipino jungle clutching a machine gun twice his size! With Max Alvarado, Ruben Ramos, Panchito as his commander sent to "bring him in," and a surprise cameo from FPJ as – wait for it – actor Sylvester Stallone!

Greatest Pinoy Midget Spy Films: For Y’ur Height Only (dir. Eddie Nicart, 1981) Over the astounding course of the film our 2 foot 9 hero Secret Agent 00, a curious little brown creature with a receding Ramones bowl cut and an all-white suit and boater, cracks an international drug ring, gets the girl, loses the girl (“Irmaaaaa!”) and infiltrates the secret lair of evil criminal mastermind Mr Giant (played, appropriately enough, by three-foot dwarf star Goliath!), all with an armful of gadgets and his famous trick of punching someone in the balls, then running between their legs. It’s not just the novelty of seeing a Filipino midget pretending to be a gun expert and ladies’ man, or the inexplicable thrill of watching bad (and I mean BAD) kung fu movies. Maybe it’s the surreal dubbing that takes For Your Height Only into another dimension. Perhaps it’s a combination of its constituent elements, or something new altogether… followed by The Impossible Kid (dir. Eddie Nicart, 1982) midget superhero Agent OO is back and is shorter than ever in his little white suit and pudding bowl haircut, now working for the Manila branch of Interpol. The Chief, a low-rent version of M complete with his own Miss Moneypenny, sends him in the pursuit of Mr X, an arch villian with a white sock on his head, who is holding the Philippines to ransom. Two businessmen, Senor Manolo (classic bad guy Romy Diaz) and Don Simeon (Tony Carreon), pay the demands but Weng Weng suspects foul play and goes deep undercover to reveal the identity of Mr X. Here the James Bond references kick into top gear: Agent OO has even MORE gadgets at his disposal, including a miniature bike which sounds like one of those high-pitched grass cutters and does an incredible leap across a ravine - along a very visible wire! Another highlight is an incredible stunt where Weng Weng gets to use his circus training and walks along a tight rope between two buildings. He then jumps down a garbage chute straight onto his waiting motorbike. Impossible? Mais non!

Greatest Pinoy Western Parodies: It’s a one-two punch from two-foot-nine superstar Weng Weng, whose first hit movie was in Da Best In Da West (1981) as Dolphy’s miniature deputy Bronson. RVQ’s joyously elaborate tribute to the Golden Age of Pinoy Westerns features cowboy sensation Lito Lapid as Dolphy’s straight man and every familiar “goon” from the Sixties and Seventies. Followed by D’Wild Wild Weng (Eddie Nicart, 1982), one of Weng Weng’s rarest starring roles as “Mr Weng”, a government agent sent to the troubled Santa Monica to rescue the townsfolk from the corrupt new Mayor (Romy Diaz). It’s a midget Filipino spy western with half the cast in Mexican mustaches and sombreros, and the other half – a tribe of dwarf “Red Indians” – in war paint and feathers!

The Greatest Female Pinoy James Bond: Never has Filipino cinema been so gloriously derivative, so cheesily Seventies, or so much goofy, jaw-on-the-floor fun than in the “Cleopatra Wong” trilogy from director Bobby A. Suarez. They Call Her…Cleopatra Wong (1977) starts the series with an outrageous pan-Asian actioner starring Singaporean beauty Marrie Lee as the high-kicking disco diva, weapons expert and secret agent Cleopatra Wong. While on holiday in Manila, Cleo uncovers a major currency counterfeit operation, and immediately her kindly but sleazy Interpol chief orders her on the trail. Clad in orange hotpants and white boots, shooting through thin air on a turbo bike and taking on thirty balding wrestlers at once, it’s little wonder fanboy Asian fetishist Quentin Tarantino cites Cleo as a major inspiration for his Kill Bill series. In a classy display of Filipino ingenuity, producer/director Bobby A. Suarez milks his international locations for all his micro-budget allows: from a chop-sockfest above Hong Kong harbour and a riotous free-for-all on Singapore’s Sentosa Island to the film’s explosive finale, a thirty-minute undercover raid on a monastery with Cleo and co in nuns habits (and moustaches) tearing up the Philippines countryside in possibly the only entry in the "Nuns with Guns" subgenre.

In Dynamite Johnson (1978), the Bionic Boy returns - and Cleopatra Wong (Marrie Lee) is his auntie! While in hospital his bionic ear picks up a burns victim rambling insanely about a fire-breathing dragon. The 'Dragon' is later revealed to be a neo-Nazi organization complete with bleached Aryans with eyepatches, who plan to blow up the world's major capitals starting with Hong Kong (why?). Our diminutive part-animal part-machine, aided by the cat-like Auntie Cleo, dispatches the denim flared cartoon baddies kung-fu style with a stoopid-sounding synthesiser da-na-na-na-na-na-na.

Devil's Three (aka Devil’s Angels, Pay Or Die; 1979) sees Cleopatra Wong in her third and final adventure with a cross-dressing Franco "Chito" Guerrero and a 300 pound psychic sidekick!

Greatest Pinoy Amputee Revenge Film: The One-Armed Executioner (1982) An essential addition from director Bobby A. Suarez to the short- lived 'Amputee Revenge' subgenre. Interpol agent Ramon (Cleopatra Wong’s Franco Guerrero) is horribly truncated by the henchman of an evil drug baron. The super-suave Wayne Newton lookalike turns into an embittered One-Armed alcoholic beaten up by Two-Armed dockside bums. His former boss tracks him down and sends him to a One-Armed kung fu training camp, turning the digitally-challenged agent into a One-Armed killing machine. Like you can't see the arm under his shirt!

Greatest Pinoy Christian Gore Film: The Killing Of Satan (dir. Efren C. Pinon, 1983) On the surface a delirious Catholic horror - Ramon Revilla as a Jesus figure squaring off against a red-stockinged Satan! – but with much deeper roots in pagan folklore, and brimming with startling, primordial snake imagery.

Greatest Pinoy Vampire Films: National Film Artist Gerardo de Leon crafted two masterpieces of atmospheric gothic horror in the mid Sixties: Kulay Dugo Ang Gabi (export title “The Blood Drinkers”, 1964) and Ibulong Mo Sa Hangin (export title “Curse Of The Vampires”, 1966), both featuring the stunning though doomed Amalia Fuentes, and dripping with European-style atmosphere. In Kulay…, Ronald Remy is striking as the complicated villain Dr Marco, as bald as Nosferatu in dark glasses and snappy 60s black outfits, and simultaneously terrorizing a secluded jungle village while pining for his dying vampire love Katrina. As well as a vampire, he’s a man of science and medicine, and with the help of his hunchbacked assistant and mute dwarf, he plans to transplant the still-beating heart of the village girl Charito into Katrina (both played by Amalia Fuentes). Modern technology and traditional faith are constantly juxtaposed in a film which cuts between colour film and black and white footage tinted in cool blues and blood red. Ms Fuentes returns in Ibulong… as the heroine Leonore, a tragic figure at the centre of the doomed Escudero family riddled with vampirism and more. The father Don Enrique (Johnny Monteiro) denies permission for her to marry Daniel (Romeo Vasquez), a pure-hearted local lad who promises her to love her even from beyond the grave, due to the family curse - vampirism, like madness, is borne by blood, and he has unwittingly kept the curse alive by keeping his vampire wife Dona (Mary Walter) locked in the basement. Every night she wakes up in her coffin, her now-animalistic screams pleading for blood. Don Enrique is forced to whip her into submission but can’t let go – the family has become insular to the point of incestuous. Filipino gothic was a relatively small and short-lived genre, but de Leon certainly made it his own; weird without intent and without a single trace of kitsch, this is, along with The Blood Drinkers, undoubtedly one of Filipino horror’s finest moments.

Greatest Mutant Pinoy Monster films: The “Blood Island Trilogy” A trio of ooze-soaked atrocities tailor-made for the sex-and-blood crowd in US drive-ins. An insane Dr Moreau-like scientist, played alternately by Ronald Remy and Eddie Garcia, experiments on atomic mutations to the horror of visiting American John Ashley and his bevy of buxom bathing-suited beauties. Brides Of Blood (Eddie Romero, 1968), Mad Doctor Of Blood Island (Eddie Romero & Gerry de Leon, 1969) and Beast Of Blood (Eddie Romero, 1970)… Eddie told me both he and Gerry de Leon considered these films to be the WORST they’d ever made. Eddie, I for one violently disagree…

Greatest Pinoy Blaxpoitation Films: Again, not one but SIX in a row courtesy of Uncle Cirio, turning his wild mutant stew of black actors, kung fu thrills, flares, funkadelic guitars and exotic Filipino scenery into some his most successful exports: Savage! (1973), TNT Jackson (1974), Bamboo Gods And Iron Men (1974), Ebony Ivory And Jade (1976), The Muthers (1976) and Death Force (1978).

Greatest Mad Max Ripoffs: Stryker (dir. Cirio H. Santiago, 1983) The first of Santiago’s MANY Road Warrior riffs, a startlingly good vision of a post-apocalyptic world in chaos and littered with souped-up cars, white warriors in leather and studs, and an army of mutant dwarves with blowdarts. Then there’s W (aka W Is War; dir. Willy Milan, 1983), possibly the most outrageous, if only, entry in the Gay Post-Apocalypse (or “Gaypocalypse”) genre from veteran cheesemonger Willy (Clash Of The Warlords, Ultimax Force) Milan. Imagine an unnatural wedding of Mad Max and Death Wish: undercover cop Ally aka W2 is neutered by a futuristic, Nazi, Satanic and very non-hetero biker gang. Unable to pleasure his now-promiscuous wife, he embarks on a revenge spree against the eeeeevil Nesfero’s gang – in a souped-up penis subsititute! A squalling, fuzzed-out biker soundtrack, pointless explosions galore and literally every available stunt guy in Manila tumbling to their “deaths” make this the high watermark of insane Filipino cinema.

Greatest Pinoy Kung Fu Film: The Return Of The Dragon (dir. Celso ad. Castillo, 1974) Ramon Zamora trades in his usual cheap yuks for a more restrained and almost mythic performance in this uniquely Pinoy tale of death and retribution. With stunning direction from Da Kid, the always gorgeous Lotis Key, and of course the forceful presence of Zamora cementing his position as the Bruce Lee of the Philippines.

Greatest Miniature Pinoy Fantasy: Stone Boy (aka Boy God, 1983) Boy Wonder Nino Muhlach literally shrinks The Clash Of The Titans, donning toy armour to battle giants, a cyclops, Medusa and a staggering array of mythical creatures, all realized on a hundredth of its inspiration’s budget.

Pete Lacaba

2008-12-04T02:02:00.000-08:00

From Pete Lacaba's blogsite

The recent Active Vista film festival--at Robinsons Galleria IndieSine, from November 26 to December 2, 2008--had, as opening film, Lino Brocka’s Orapronobis (a.k.a. Les Insoumis, a.k.a. Fight for Us) and, as one of the closing films, Signos, a 40-minute documentary made by a Concerned Artists of the Philippines team led by Mike de Leon. As the screenwriter of Orapronobis, and as a member of the team that worked on Signos, I must confess that I was pretty flattered to have served as some kind of parenthesis for the filmfest.

After the Orapronobis screening, I got introduced to an Australian writer and occasional filmmaker named Andrew Leavold, who’s doing--believe it--a documentary called The Search for Weng Weng. Yup, it’s about the late Weng Weng, the diminutive actor who in the 1980s played a Pinoy James Bond code-named Agent 3 1/2, Agent 00, and Agent 007 1/2 in various movies. Check out Andrew’s fantastic blog:

Hearing Andrew talk about his unbelievable love affair with Pinoy B movies reminded me of an old article I had written back in the late 1970s, so I dug it up and dusted it off and sent him a copy. Here it is.

Movies, Critics, and the Bakya Crowd

by Jose F. Lacaba

(From AAP Liham, Vol. 3 No. 4, March 1979. AAP is the Art Association of the Philippines.)

The term bakya crowd was coined back in the Fifties by a prestigious director to describe the mass audience which, he felt, was incapable of appreciating the merits of his award-winning films. These days we can’t use the term with the same cavalier attitude that attended its coining. Largely as a result of current attacks on elitism, we can no longer contemptuously dismiss that large chunk of the population encompassed by the term bakya crowd; and the word bakya itself, like indio before it, is fast becoming a badge of honor in certain circles.

Still, the opprobrium once attached to the term has not been entirely eradicated. Traces of it may be detected, for instance, in a movie critic’s recent witticism: “There’s no such thing as a bakya crowd. There are only bakya producers.”

That the term bakya in its extended meaning has both pejorative and acceptable connotations indicates the ambivalence of our attitude toward the crowd called bakya. When you come right down to it, bakya crowd is synonymous with masa, and nowadays everybody pays lip service to the masses. We cannot afford to look down upon them as a social class or a political force. But the masses as patrons of culture? The idea seems preposterous.

We may profess to find some of the forms and aspects of mass culture charming, particularly if, as in the case of the moro-moro and the sinakulo, these are virtually extinct or are threatened with extinction. But confronted by forms of mass culture that are alive and current--radio soap operas, television variety shows, komiks, the general run of Tagalog movies--we are bewildered and appalled.

Our attitude toward Tagalog movies is instructive.

The local movie industry, where the term bakya crowd originated, classifies Tagalog movies into two major categories. In the lingo of the industry, they are either commercial (also known as bakya) or hindi commercial (also known as pang-FAMAS).

The commercial movie is anything aimed frankly at the box office. The producer’s intention here is primarily to make a profit, and though the intention does not always succeed, it dictates what type of movie is to be made, how it is to be made, who its stars will be, etc. For this reason, the commercial movie prefers tried-and-true formulas to innovation and experiment, sticks to genres or follows trends proven to have box-office pull, and generally provides escapist entertainment.

The noncommercial movie--sometimes referred to as prestige picture, quality picture, or art film--has aims more ambitious than mere profit and more serious than mere entertainment. Those who indulge intermittently in its production are either incurable romantics with noble intentions and boundless optimism, or thoughtful veterans who have made a lot of money on commercial flicks and feel it’s time to try for a FAMAS statuette or two.

A few films that fall under this category have turned out to be sleepers--that is, unexpected commercial successes. Lino Brocka’s Tinimbang Ka Ngunit Kulang is a notable example. But such movies are rare, very rare, exceptions. As a rule the noncommercial movie is box-office poison, however much it may blow the minds of critics.

The Popular Nerve

There’s a joke in local movie circles that it’s a bad thing to be praised by the critics. A rave review is supposed to spell death at the box office. The joke smells of sour grapes, and the industry obviously does not take it seriously. The truth is that producers are dimly aware of both the potential and the actual power of critics, as indicated by the fact that they occasionally threaten to withdraw movie ads when reviews get too nasty, and liberally quote the critics in those same movie ads when the reviews happen to be favorable.

Still, there’s a bit of truth in the joke. Those of us who care about the “art of film” and are at the same time interested in Filipino movies do tend to favor the noncommercial variety. The movies made expressly for the mass audience usually leave us cold--or even arouse the killer instinct in us, so that we feel an urge to tear those movies to pieces and hold up to ridicule the people who have inflicted such banalities on us.

Our reaction is understandable. Though commercial Tagalog movies have been made that exhibit a modicum of sense and a measure of technical finesse, the bulk of this particular commodity is indeed so shoddy, so inept of craftsmanship and inane of content, that we are justified in our contempt.

But our reaction reveals as much about ourselves as it does about the movies we react against. It is, in part, a reflection of the extent of our alienation from the mass of Filipinos who make up the bakya crowd. We cannot appreciate mass culture, we cannot even view it with sympathy and understanding, because we have been conditioned--by our social origins, our educational background, our cultural orientation--to regard as inane and inept whatever does not measure up to our exalted notions of art and culture.

This is particularly true of the movies. As a result of ongoing re-evaluations in the field of drama, for instance, and also because of the influence of the tourist industry, we have learned to regard with equanimity the presence of Castilian knights and Roman centurions in folk theater. We can even accept the anachronism and unintended comedy of a sinakulo Christ wearing a wrist watch and rubber shoes on his way to Calvary. But Filipino cowboys and samurais on our movie screens! The very idea insults our intelligence.

Part of the reason for this may be that film is a 20th-century medium, and we expect more from it than from folk theater. But we tend to forget that the social and historical conditions that gave rise to Philippine folk theater still exist in the country in this seventh decade of the 20th century. This explains why the creators and patrons of folk theater are still very much around, dictating the shape and content not only of vanishing theatrical forms but also of the very much alive “art form of the 20th century.” Thus, the peasant mind, still befogged by feudal miasma, makes possible the anting-anting movies of Ramon Revilla.

The point here is that there is a bakya crowd--or rather, since the term can be both offensive and misleading, there is a mass audience out there whose tastes and cultural level are different from ours, whose very conception of culture does not coincide with ours.

In other words, the existence and proliferation of bakya movies is not solely the fault of bakya producers, although they certainly bear a great part of the blame. The bakya movie exists because there is an audience for it, because it is popular. And it is popular because it provides escapist entertainment, besides allowing moviegoers to forget the oppressiveness of daily living, besides helping to take their minds off inflation and poverty and the immediate problems that beset them, and also--paradoxical as this may seem--because it touches something vital in the popular nerve.

The Formalist Tradition

In his essay “An Approach to the Filipino Film,” literary and film critic Bienvenido Lumbera points out that a major concern of the film student in evaluating a Filipino movie should be “the centrality of content.”

Elaborating on this point, Lumbera writes: “What does the film say about man in a society in ferment? How does it view the problems that confront man in his struggle against nature and men who seek to exploit him? This is not to insist that every film make a philosophical statement or engage in social analysis. This is simply to remind the directors that filmmaking in an underdeveloped country should be primarily a way of saying, not making magic with picture machines.”

Those of us who are interested in Filipino films tend to forget the point raised by Lumbera. We have been nurtured in the formalist tradition of the New Criticism in literature, and we carry our biases into our study of the movies. Just as we are inclined to scrutinize a poem or novel textually, without reference to its social and historical context, so too we analyze a movie in terms of how it is constructed (“breathtaking photography,” “expert editing,” etc.) instead of what it is saying.

When we do pay attention to content, we labor under the misconception that only the good artistic movie has something to say--or at least something to say that deserves consideration. We think that the commercial movie, and especially the badly made commercial movie, has nothing to say, or that what it has to say is beneath contempt.

To the mass audience, the opposite is true. Serious films like Maynila: Sa mga Kuko ng Liwanag and Nunal sa Tubig, though made with intelligence and care, may make no sense to the bakya crowd. This is so not only because these movies deal with subject matter and use techniques that are new and unfamiliar in Tagalog movies, but also because the problems they tackle are of no interest to the mass of Filipinos living today. Alienation, dehumanization, existential despair, and the absurdity of the human condition may loom large in the minds of middle-class intellectuals, but these could well be of little concern to the uprooted provincianos or the coastal villagers who are ostensibly the subjects of these films.

On the other hand, out-and-out commercial movies may have something vital and basic to say to the mass audience--and in terms it can easily grasp. The standard Fernando Poe Jr. movie, for instance, deals with themes that appeal to the popular imagination and express certain popular aspirations. It is often set in some never-never land with no basis in history or present reality, a fact that turns off the critics; yet this setting, no more fantastic than the symbolic Albania of Florante at Laura, does not make the thesis of the typical Poe movie any less valid.

The Poe character is usually a patient, long-suffering individual who, when his patience has been stretched to the limit by the violence of his oppressors, is not averse to using fists and guns to defend or avenge himself. It is a character the Filipino peasant, likewise blessed with legendary patience, may find easier to identify with than the extremely simple-minded peasant anti-hero of Ganito Kami Noon... Paano Kayo Ngayon?

The war epics that used to be a Poe staple are likewise closer in spirit to the folk conception of wartime history than the critically acclaimed Tatlong Taong Walang Diyos. The guerrillas in the Poe epics were often too superheroic to be credible, but they did not depart from the popular image of the guerrilla as a freedom fighter resisting foreign invasion. In Tatlong Taon, the guerrillas are either horrifying grotesques or naive USAFFE types fighting America’s war in the Pacific, and the only Japanese we see is an officer who, though he rapes a village girl, still comes out looking as cute and lovable as Christopher de Leon. No doubt there were bad Filipino guerrillas and good Japanese officers during the war, but to tip the balance in favor of the latter, as Tatlong Taon unwittingly does, goes against the popular grain.

The Human Condition

One strong quality of the Poe character is that he is incapable of wallowing in despair. He may be assailed by doubts, but in the end he always gets over his doubts and goes into action. Unlike the Rafael Roco Jr. character in Lunes, Martes, Miyerkules, Huwebes, Biyernes, Sabado, Linggo, who ends up accepting things as they are, the Poe character believes in the necessity of struggle, operating on the assumption that the human condition presents much to protest against but nothing to despair about. Thus, the Poe movie always ends on a note of hope. Perhaps the hope is illusory, and then again, perhaps it could be a stimulant for the downtrodden.

This extended disquisition on the Poe movie is not meant to be a denigration of films like Ganito, Tatlong Taon, or Lunes. Nor is this an argument for swallowing--hook, line, and sinker--the phenomenon of mass culture as it exists today. We need not justify what is blatantly opportunistic and exploitative in commercial movies.

What we are driving at here is simply that commercial movies made for the bakya crowd, for the mass audience, are as deserving of serious study as the works of noncommercial film artists. They are as worthy of critical exploration as the films we hail as masterpieces.

As movie critic Pauline Kael notes in her essay “Trash, Art, and the Movies,” whether a movie is good or bad is sometimes of less interest than why so many people respond to it the way they do.

“Sometimes,” Kael writes, “bad movies are more important than good ones just because of those unresolved elements that make them such a mess. They may get something going on around us that the moviemakers felt or shared and expressed in a confused way. Rebel without a Cause was a pretty terrible movie but it reflected (and possibly caused) more cultural changes than many a good one. And conceivably it’s part of the function of a movie critic to know and indicate the difference between a bad movie that doesn’t much matter because it’s so much like other bad movies and a bad movie that matters (like The Chase or The Wild Ones) because it affects people strongly in new, different ways. And if it is said that this is sociology, not aesthetics, the answer is that an aesthetician who gave his time to criticism of current movies would have to be an awful fool. Movie criticism to be of any use whatever must go beyond formal analysis.”