CINEMA

National Artist for Theater and Film (1976)

Lamberto V. Avellana
Director for theater and film, has the distinction of being called The Boy Wonder of
Philippine Movies as early as 1939.
He was the first to use the motion picture camera to establish a point-of-view, a
move that revolutionized the techniques of film narration.
Avellana, who at 20 portrayed Joan of Arc in time for Ateneos diamond jubilee,
initially set out to establish a Filipino theater. Together with Daisy Hontiveros, star of
many UP plays and his future wife, he formed the Barangay Theater Guild which
had, among others, Leon Ma .Guerrero and Raul Manglapus as members.
It was after seeing such plays that Carlos P. Romulo, then president of Philippine
Films, encouraged him to try his hand at directing films.
In his first film Sakay, Avellana demonstrated a kind of visual rhythm that
established a new filmic language.
Sakay was declared the best picture of 1939 by critics and journalists alike and set
the tone for Avellanas career in film that would be capped by such distinctive
achievements as the Grand Prix at the Asian Film Festival in Hong Kong for Anak
Dalita (1956); Best Director of Asia award in Tokyo for Badjao, among others.
Avellana was also the first filmmaker to have his film Kandelerong Pilak shown at
the Cannes International Film Festival. Among the films he directed for worldwide
release were Sergeant Hasan (1967), Destination Vietnam(1969), and The Evil
Within (1970).
 National Artist for Cinema (2009)
(October 9, 1915 August 11, 1985)
Manuel Conde
Born on October 9, 1915 and christened Manuel Pabustan Urbano, grew up and studied in
Daet, Camarines Norte.
In the decades before and after World War II when Philippine society was being inundated
by American popular culture, Conde invested local cinema with a distinct cultural history of
its own through movies that translated onto the silver screen the age-old stories that Filipinos
had told and retold from generation to generation for at least the past one hundred years.
Among the narratives that Conde directed and/or produced for the screen were three of the
most famous metrical romances in Philippine lowland culture: Siete Infantes de Lara, Ibong
Adarna, and Prinsipe Tenoso.
Through the more than forty films he created from 1940 to 1963, Manuel Conde contributed
in no small measure to the indigenization of the cinema, specifically: by assigning it a history
and culture of its own; by revitalizing folk culture with urgent issues, fresh themes and new
techniques; by depicting and critiquing Filipino customs, values and traditions according to
the needs of the present; by employing and at the same time innovating on the traditional
cinematic genres of his time; and by opening the local cinema to the world.
With a curious mind and restless spirit that could not be contained by what is, Conde went
beyond the usual narratives of the traditional genres and ventured into subject matter that
would have been deemed too monumental or quixotic by the average producer.
Conde dared to recreate on screen the grand narratives of larger-than-life figures from world
history and literature, like Genghis Khan and Sigfredo.
 In doing films on these world figures, Conde had in effect forced the Filipino
moviegoer out of the parochial and predictable concerns of the run-of-the-mill
formulaic film and thrust him into a larger world where visions and emotions were
loftier and nobler and very far from the pedestrian whims and sentiments that
constituted the Filipino moviegoers usual fare.
Serendipitously, as these movies opened the vistas of the Filipino film to other
cultures, they also unlocked the doors of western cinema to the Filipino film, allowing
it entry into one of the most prestigious film festivals of the globe. Later, when these
films were bought by foreign distributors, they were exhibited in all parts of the
cinematic world of the time, establishing the presence of the Filipino cinema in the
eyes of that world.
Major works: Ibong Adarna (1941), Si Juan Tamad (1947), Siete Infantes de
Lara (1950), Genghis Khan (1950), Ikaw Kasi! (1955) Juan Tamad Goes To
Congress (1959).
National Artist for Cinema (2003)
(July 7, 1924 May 28, 2013)
Eddie Romero
a screenwriter, film director and producer, is the quintessential Filipino
filmmaker whose life is devoted to the art and commerce of cinema spanning
three generations of filmmakers.
His film Ganito Kami NoonPaano Kayo Ngayon?, set at the turn of the
century during the revolution against the Spaniards and, later, the American
colonizers, follows a nave peasant through his leap of faith to become a
member of an imagined community.
Aguila situates a familys story against the backdrop of the countrys
history.
Kamakalawa explores the folkloric of prehistoric Philippines. Banta ng
Kahapon, his small political film, is set against the turmoil of the late 1960s,
tracing the connection of the underworld to the corrupt halls of politics.
His 13-part series of Noli Me Tangere brings the national heros polemic
novel to a new generation of viewers.
Romero, the ambitious yet practical artist, was not satisfied with dreaming up
grand ideas. He found ways to produce these dreams into films. His
concepts, ironically, as stated in the National Artist citation are delivered in
an utterly simple style minimalist, but never empty, always calculated,
precise and functional, but never predictable.
National Artist for Cinema (1997)
(April 3, 1939 May 22, 1991)
Catalino Lino Ortiz Brocka
director for film and broadcast arts, espoused the term freedom of expression in the
Philippine Constitution.
Brocka took his social activist spirit to the screen leaving behind 66 films which
breathed life and hope for the marginalized sectors of society slumdwellers,
prostitute, construction workers, etc.
He also directed for theater with equal zeal and served in organizations that offer
alternative visions, like the Philippine Educational Theater Association (PETA) and the
Concerned Artists of the Philippines (CAP).
At the same time, he garnered awards and recognition from institutions like the CCP,
FAMAS, TOYM, and Cannes Film Festival.
Lino Brocka has left behind his masterpieces, bequeathing to our country a heritage
of cinematic harvest; a bounty of stunning images, memorable conversations that
speak volumes on love,betrayal and redemption, pestilence and plenty all pointing
towards the recovery and rediscovery of our nation.
To name a few, Brockas films include the following: Santiago (1970), Wanted:
Perfect Mother (1970), Tubog sa Ginto (1971), Stardoom (1971), Tinimbang
Ka Ngunit Kulang (1974), Maynila: Sa Kuko ng Liwanag (1975), Insiang
(1976), Jaguar (1979), Bona (1980), Macho Dancer (1989), Orapronobis
(1989), Makiusap Ka sa Diyos (1991).
 National Artist for Cinema (1982)
(September 12, 1913 July 25, 1981)
Gerardo Gerry De Leon
film director, belongs to the Ilagan clan and as such grew up in an atmosphere rich
in theater. Significantly, De Leons first job while in still in high school was as a
piano player at Cine Moderno in Quiapo playing the musical accompaniment to the
silent films that were being shown at that time.
The silent movies served as De Leons very good training ground because the
pictures told the story. Though he finished medicine, his practice did not last long
because he found himself too compassionate to be one, this aside from the lure of
the movies.
His first directorial job was Amat Anak in which he directed himself and his
brother Tito Arevalo. The movie got good reviews.
De Leons biggest pre-war hit was Ang Maestra which starred Rogelio de la Rosa
and Rosa del Rosario with the still unknown Eddie Romero as writer.
In the 50s and 60s, he produced many films that are now considered classics
including Daigdig ng Mga Api, Noli Me Tangere, El Filibusterismo, and
Sisa. Among a long list of films are Sawa sa Lumang Simboryo, Dyesebel,
The Gold Bikini, Banaue, The Brides of Blood Island..
 National Artist for Cinema (2001)
(September 30, 1938 June 2, 1996)
Ishmael Bernal
a filmmaker of the first order and one of the very few who can be truly
called a maestro. Critics have hailed him as the genius of Philippine
cinema.
He is recognized as a director of films that serve as social commentaries
and bold reflections on the existing realities of the struggle of the Filipino.
His art extends beyond the confines of aesthetics.
By polishing its visuals, or innovating in the medium, he manages to send
his message across: to fight the censors, free the artists, give justice to
the oppressed, and enlighten as well as entertain the audience.
Among his notable films are Pahiram ng Isang Umaga (1989), Broken
Marriage (1983), Himala (1982), City After Dark (1980), and Nunal
sa Tubig (1976).
He was recognized as the Director of the Decade of the 1970s by the
Catholic Mass Media Awards; four-time Best Director by the Urian Awards
(1989, 1985, 1983, and 1977); and given the ASEAN Cultural Award in
Communication Arts in 1993.
 National Artist for Cinema (2006)
(August 20, 1939 December 14, 2004)
Ronald Allan K. Poe
popularly known as Fernando Poe, Jr., was a cultural icon of tremendous
audience impact and cinema artist and craftsmanas actor, director, writer and
producer.
The image of the underdog was projected in his films such as Apollo
Robles(1961), Batang Maynila (1962), Mga Alabok sa Lupa (1967), Batang
Matador and Batang Estibador (1969), Ako ang Katarungan (1974), Tatak ng
Alipin(1975), Totoy Bato (1977), Asedillo (1981), Partida (1985), and Ang
Probisyano (1996), among many others.
The mythical hero, on the other hand, was highlighted in Ang Alamat (1972), Ang
Pagbabalik ng Lawin(1975) including his Panday series (1980, 1981, 1982,
1984) and the action adventure films adapted from komiks materials such as Ang
Kampana sa Santa Quiteria(1971), Santo Domingo (1972), and Alupihang
Dagat (1975), among others.
Poe was born in Manila on August 20, 1939. After the death of his father, he
dropped out of the University of the East in his sophomore year to support his
family.
He was the second of six siblings. He married actress Susan Roces in a civil
ceremony in December 1968.
He died on December 14, 2004