War

Rogelio de la Rosa Leopoldo Salcedo Rosa del Rosario Mira del Sol Rosario Moreno Carlos Padilla Jose Padilla, Jr. Fernando Poe, Lucita Goyena

Actors and Actresses

Tatlong Maria

Based on an novel by Jose Esperanza Cruz

Starred by Carmen Rosales, Jose Padilla, Jr., Norma Blancaflor, Liwayway Arceo and Fernando Poe, Sr.

Only English movie allowed Showed the Americans and British as

villains in international trafficking with dope

The Opium War

Jose Nepomuceno

Assigned by the Path News to film Japanese activities

Hand-operated Eye-Mo camera

Films shot were transported to the American authorities by submarine

Member of an underground movement Officer in the USAFFE, Gold Cross

medal awardee

Was a guerilla in Manila and the suburbs

Fernando Poe, Sr.

Gregorio Ticman

Was tortured by the Japanese

Movie stars, directors, technicians and the bit players and extras turned to the stage2nd Golden Age of Vaudeville

Bert Leroy

Provided the Japanese soldiers’

uniforms, weapons, sound effects, make up

Were discovered by Jose Nepumuceno “country’s top special effects artist”

Cry Freedom Sunset Over Corregidor Isang Dakot na Bigas

Alfonso Torrente

Hollywood

Huk Blackburn’s Gurerillas Marco Polo

Alfonso Torrente

• December 8, 1941 Japanese December 8, 1941 Japanese

bombs fell on Intramurosbombs fell on Intramuros

•Some movie houses closed but Some movie houses closed but

many opted to stay openmany opted to stay open

•Manila was declared an open cityManila was declared an open city

•Japanese moved in on January 2, Japanese moved in on January 2,

1942 1942

•Movie companies were allowed to Movie companies were allowed to

operate by the Japanese high command operate by the Japanese high command

under the supervision of the Central under the supervision of the Central

Booking ExchangeBooking Exchange

•Mostly reruns of unpolitical Hollywood Mostly reruns of unpolitical Hollywood

and Tagalog filmsand Tagalog films

•1943- German and Japanese feature 1943- German and Japanese feature

films as well as documentaries were films as well as documentaries were

brought inbrought in

-“The Sky is Blue”,”Currents of Youth”, -“The Sky is Blue”,”Currents of Youth”,

“Women of Japan”“Women of Japan”

•There were several movies nearing completion just before There were several movies nearing completion just before

the war but whose productions were halted. These were the war but whose productions were halted. These were

shown either completed or unfinishedshown either completed or unfinished

-“Caviteno”,”Anong Ganda Mo”, “Caballero”, “Nina, Bonita”, -“Caviteno”,”Anong Ganda Mo”, “Caballero”, “Nina, Bonita”,

“Princesa Urduja”,”Landas na Ginto”“Princesa Urduja”,”Landas na Ginto”

•Two films were produced: LVN’s “Tiya Juana” and “Prinsipe Two films were produced: LVN’s “Tiya Juana” and “Prinsipe

Tenoso”Tenoso”

•Another film was shown right after the war: Sampaguita’s Another film was shown right after the war: Sampaguita’s

“Ang Tagala”“Ang Tagala”

•Japanese demanded that movies, stage plays and Japanese demanded that movies, stage plays and

vaudeville carried some form of Japanese propagandavaudeville carried some form of Japanese propaganda

•Most movies were transferred to the stageMost movies were transferred to the stage

•This was “the golden age of Philippine theater” This was “the golden age of Philippine theater”

according to Lamberto Avellanaaccording to Lamberto Avellana

•Some of the directors who worked on plays:Some of the directors who worked on plays:

Lamberto Avellana, Gerardo De Leon, Manuel Conde, Lamberto Avellana, Gerardo De Leon, Manuel Conde,

Ramon Estella, Manuel Sillos, Tor Villano and Gregorio Ramon Estella, Manuel Sillos, Tor Villano and Gregorio

FernandezFernandez

Some of the plays eventually got produced as movies in the Some of the plays eventually got produced as movies in the

postwar era:postwar era:

“Limpia Bota” story of Ernesto Bohol’s life.“Limpia Bota” story of Ernesto Bohol’s life.

“Ikaw kasi” by Manuel Conde“Ikaw kasi” by Manuel Conde

December 21, 1942-the Japanese decided to centralize the December 21, 1942-the Japanese decided to centralize the

distribution and production of films in one agency: distribution and production of films in one agency: Eiga Eiga

HaikyushaHaikyusha

-Responsible for the importation of foreign films, mostly -Responsible for the importation of foreign films, mostly

Japanese and German and later, Japanese propaganda for local Japanese and German and later, Japanese propaganda for local

consumption.consumption.

The agency was launched with the screening of The agency was launched with the screening of “Toyo no “Toyo no

Gaika” Gaika” (documentary)(documentary)

-“United States Routed from the Philippines”, “Stars and stripes -“United States Routed from the Philippines”, “Stars and stripes

downed forever in East Asia”,” A war epic which will live long in downed forever in East Asia”,” A war epic which will live long in

your memory” were some of the film’s claims.your memory” were some of the film’s claims.

•It was the Japanese policy to push Greater East Asia Co-It was the Japanese policy to push Greater East Asia Co-

Prosperity SphereProsperity Sphere

-Film was used as an instrument-Film was used as an instrument

-The Japanese had three aims:-The Japanese had three aims:

-To unmask the Americans as real enemies-To unmask the Americans as real enemies

-To emphasize Japan’s role as the leader of Asia-To emphasize Japan’s role as the leader of Asia

-To recover the native character lost due to years of -To recover the native character lost due to years of

Occidental Occidental colonization colonization

•The Japanese propaganda corps planned a major film to The Japanese propaganda corps planned a major film to

push the three goalspush the three goals

-“Ano Hatte O Utte” or “The Dawn of Freedom” (“Liwayway -“Ano Hatte O Utte” or “The Dawn of Freedom” (“Liwayway

ng Kalayaan”)ng Kalayaan”)

16

17

• HEROISM / BRAVERY OF FILIPINO SOLDIER• WAR

First films were about…

20 out of 34 films

about bravery of fighting troops

18

19

“Orasang Ginto”

The first Post-war Filipino movie or the first movie to come out after World War II

20

PATRIOTISM?

21

• Discord and criminal activity?

• Or Dearth of imagination?

(T.D. Agcaoili in “Literary Song Movie”)

22

Restoration of the normal and peaceful deportments and thoughts of people– Foster friendliness and

goodwill– Emphasize the virtues and

beauty of life

(Jose Crisostomo in “Literary Song”)

Films shout be about…

23

EUPHORIA

Americans like Deities

24

25

•Heroism of Filipino guerrillas•Atrocities inflicted on guerrillas and civilians– “Intramuros (The Rape of a

City)”•Heroism of media practitioners

Euphoria over the end of war and victory over the Japanese

“hanggang pier

lamang” Jeep girl

26

27

“So Long America” “Victory Joe” “Honeymoon” “GI Fever (Ay Kano)” “Magkaibang Lahi”

Also euphoria over the departure of Americans

28

“Sa Tokyo Ikinasal (1949)”

Euphoria over the Return of troops from

Japan

29

AMNESIA

30

• Memory blackouts• Exchanges of Identities• Emotional traumas

“May umaga Pang Darating (1954)”“Isumpa Mo Giliw (1947)”“Isang Libong Pisong Kagandahan

(1947)”“Ulilang Bituin” (1956)

Amnesia

COLLABORATION

Collaborator

depicted in the darkest of colors;despicable and loathsome;villain deserving his most

dastardly fate

Joseph Cordova

depicts collaborators in many of his movies

(particularly in "Hantik")

Eddie Romero

presented collaboration with respect to its complexity

and with a modicum of sympathy(example is "Apoy sa Langit")

Examples of Movies Showing Collaboration

Hantik

(Joseph Cordova)

Apoy sa Langit

(Eddie Romero)

Walang Kamatayan

(Tor Villano)

CORRUPTION

Corruption

non-payment of back pay (guerrilla benefits)

people realized that corruption

had settled in the new government;

guerrillas maimed in the war and pinned hopes for a new life

Examples of Movies Showing Corruption

Back pay

Huk sa Bagong Pamumuhay

REBELLION

HUKBALAHAP came to national prominence;

movies pounced on the new material but censors stopped it;Luis Nolasco’s "Luis Taruc Ang

Supremo” was halted in its early shooting phase

Films Showing Post-War Agrarian Problems

Ako Raw ay Huk

Labi ng Bataan

Baril o Araro

Bisig ng Manggagawa

DISILLUSIONMENT

rancour among the guerrillas

Palaboy ng Tadhana

Anak Dalita

Lupang Pangako

CONCLUSION

The image of the guerrilla returning to his hometown and

experiencing hardships gripped filmmakers and audiences alike.

Film has unwittingly captured the tragedy of the post-war era,

the festering decay of morality, the growing corruption, the amnesia of history.

End

Quirino, J. (1983). History of the Philippine cinema. Quezon City: Phoenix Pub.

Sources