ROGELIO DE LA ROSA

ROGELIO DE LA ROSA:
ACTOR, AMBASSADOR – IDOLO NG MADLA

By Oscar Miranda

Source: Jingle Extra Hot Movie Entertainment Magazine
No. 73, June 24, 1982

The name Rogelio de la Rosa conjures up images and memories of flamboyant and high adventure, of celluloid principes and provincianos, of bravura performances on the silver screen in the golden age of Tagalog movies when the heroes were all handsome, brave and noble, and the heroines virtuous and pure as vestal virgins.

The days of Rogelio de la Rosa as a matinee ideol were the days of idealism when life was relatively simple – when Good was good and Bad was bad and that was that, no in-betweens. And Rogelio de la Rosa embodied all that was ideal and good. He was the Hero. And what a hero! He was tall – over six feet, he possessed a resounding baritone, he was fair as a storybook prince and as charming as a barrio swain, he had a physique of a Greek god and the face just a shade of the mestizo to be uncommonly handsome, and the most expressive pair of eyebrows that side of the kleiglights so that when he cocked one in quizzical arch or knitted both in anger or dismay, millions of female fans everywhere felt the surge of his passion and reacted accordingly – in full faint or autistic adoration.

For Rogelio is Romance personified. The faithful lover, dependable, reliable, he never failed his women. There were other leading men then to be sure – Leopoldo Salcedo, the self-styled King of the Philippine movies with his great profile a la Valentino and his reputation a la Casanova. There was also Pempe Padilla, perhaps the more down-to-earth actor, acting with more natural flair – he was also the ladies’ man, the love-‘em-and-leave-‘em type, the kind that masochistic women will brave martyrdom for, but Rogelio was the steadfast one. He was dignified, respectable, the gentleman – ang idolo ng madla – admittedly the greatest matinee idol of all times.

On that score, Rogelio was not play acting. He was and is the Gentleman. No scandal marred his career. His private life was as private as one in the business could wish. Not many even in the industry knew that he was married during the height of his stardom and that his marriage was collapsing due to the pressures of filmmaking and even when he took a second wife, actress Lota Delgado, in marriage, there was not much fuss or bother.

Rogelio was big box-office and all the leading ladies of that era were only considered real stars after they became Rogelio’s leading ladies – Carmen Rosales, Mila del Sol, Corazon Noble, Norma Blancaflor, Fely Vallejo, Fleur de Lis, Amparo Karagdag, Lilia Dizon, Tessie Quintana, Delia Razon, Rosa Rosal, Emma Alegre, Alicia Vergel, Paraluman, Cecilia Lopez, Gloria Romero, Nena Cardenas, Virginia Montes, Leila Morena, Nida Blanca. A role with Rogelio as the leading man confirmed the ladies’ star status.

Rogelio de la Rosa hails from Lubao, Pampanga, the second son, from an artistically-inclined family. His father was a painter and his mother, a great singer. It was natural for the young Rogelio to gravitate towards the performing arts. One of his friends,

Diosdado Macapagal, was steeped in the zarzuela tradition. Dadong’s father was a zarzuela writer/director and Dadong played the male leads in most of his father’s works. Roger was the contravida because he was mestisuhin and was always cast as the wicked landlord’s Manila-born son who will return to the barrio to oppress the farmers represented by the dark and dusky and impassioned Dadong Macapagal.

But for these two friends, zarzuela was one way to spend time. It gave them outlet for their emotions, and of course young men in the zarzuelas were targets of female adulation just as much as Gabby Concepcion and William Martinez are at present. Roger had his share of misadventures which his father tolerated because the father wanted the son to be able to bear all the hard knocks that life might deal him with in his later life. Although his mother was quite protective of her children, Roger and his brothers grew up to be independent-minded and strong-willed.

At 15, the young Roger was already carrying the load of partly supporting the family whose dwindling fortunes were brought about by the unwise investments of indulgent and overly generous relations. His zarzuela training proved to be heaven-sent. While playing in Bacolor during a Christmas season of plays, he was seen by a young film director, Gregorio Fernandez (Rudy’s father), who proved to be a distant relative.

He was brought to Malayan Pictures to star with Rosa del Rosario in Ligaw Na Bulaklak. Rosa – Rose Stagner – in real life, was a 14-year old screen star who was already becoming popular. The film was “silent” and thank heavens, because Rosa spoke very little Tagalog with an American twang and Roger spoke no Tagalog at all. He only spoke Pampango. When “talkies” came, all the leading performers had to master the Tagalog idioms in order to survive and Roger did master the language, although with the lilting Pampango accent which has never left him to this day.

Rogelio de la Rosa’s career flourished from the late 30’s into the late 60’s – spanning 30 years at the height of his profession – uninterrupted by the fluctuations of popularity except, of course, during the war years. Right before the outbreak of the Pacific war, Rogelio de la Rosa was already a producer turning out such hits as Ang Maestra, Anong Ganda Mo, Serenata Sa Nayon. He went to Hollywood to star with Sigrid Gurie and Pacita Francisco as his leading ladies in the two versions of The Avenger – one in English for American distribution and one in Tagalog. Sigrid at the time was a leading Hollywood star who just completed a film, Marco Polo, with Gary Cooper. Roger could have enjoyed a fairly successful Hollywood career because his agents were sure they could get him a studio contract. He could have made a go of it but he declined the opportunity. “What will I do in Hollywood? After the initial interest of being a Filipino, I would be relegated to second leads playing various ethnic types. I was a leading man in Manila and I was receiving top salary. But it was quite an opportunity to work in Hollywood,” says Roger.

Roger returned to Manila and starred in innumerable films – the most successful of which where his pairing offs with Carmen Rosales. “But Rosa del Rosario remains my favorite leading lady, maybe because she was the first. Rosa was so considerate on the set, she was the compleat professional – and all of us approached our craft with respect and professionalism. No one came late, no one brought his problems on the set. We came to the studio to work.” He also thinks, however, when it came to musicals no one could beat Carmen. She was the flirt.

There were many leading men who came and went, burned bright then flickered but Roger remained a star. Leopoldo led such fabulous life, building mansions that were showcase of wealth and splendor; but Roger maintained a low profile, investing in real estate in Baguio and in the suburbs. If Pol was King, Roger was the Statesman and eventually, he really became one. He renewed his friendship with the late President Magsaysay and worked on several projects on the quiet. He would talk to the farmers of Cetral Luzon and his popularity as an actor helped him gain confidence and break the chains of distrust among the landless mass the government was trying to reach. When he ran for Senator, all the Rogelio de la Rosa fans voted in droves and he alone of his teammates survived the landslide of the opposition political dreadnought. He was one of the topnotchers in that election.

In the Senate, he was surprisingly effective. He earned his spurs as a lawmaker; he was prepared, he was correct, he was well-liked and soon, his being an ex-movie star was not a liability anymore. He gave the acting profession class and respectability. His supporters mentioned him for the Presidency but not a few recoiled: “What? A movie star for President? Unthinkable!” These were the days before Ronald Reagan, of course. Today, a still active actor like Joseph Estrada is an elective town mayor; Philip Salvador and Alicia Vergel, both movie stars, are elected barangay officials; Ramon Revilla, a top action star, is thinking of throwing his hat in the political ring in Cavite.

Roger realized that the Presidency could not be had with good works and good intentions. One needs a good machine and the machine is fueled with cash. When he tried campaigning in the Visayas and Mindanao, he encountered the dirty tactics. Campaigning for the Senate and campaigning for Malacañang were light years apart in difference. And so in the middle of his presidential bid, the sad realities hardened and he gave up. The field was left to Diosdado Macapagal and Carlos Garcia, the incumbent. And because Macapagal was a friend and an ex-in-law, there were talks of sell-out. The rumors, however, did not fester.

He embarked on a diplomatic career and he has represented our country in some of the toughest and most sensitive posts in the world. Foreign Affairs Ministry insiders rate his performance as “brilliant” although low profile and his “penetrating reports and analyses” of the conditions where he is assigned have contributed immensely to the official policy of the Ministry. He is a diligent representative, he gets what he has to, he delivers what he must, he is a no-nonsense professional. He does not impress you with anecdotes of kings and dictators and presidents he had to deal with, the innate gentlemanliness in him probably forbids him to betray even the most trivial confidences to make up for interesting conversation.

He is old school, he measures his words, he speaks with studied casualness, it seems that nothing is accidental with him. Now he can be accused of being stiff and formal – pero artista pa rin. He still possesses that commanding presence and he looks more attractive because he looks more distinguished with all that silver thatch. Puede pang mag-artista, given the right part and the right story. He does not preclude doing another film. “As a matter of fact, I look forward to it – when the right time comes.” Again, the diplomatic reserve even in jest. But a lot of people are seriously thinking of casting the Ambassador in their projects. Not only because of the profit motive but because of the fact that Rogelio de la Rosa coming back to films is an event that will serve the entire film industry well.

He is quite deprecatory about his own contributions to the local film industry although he is quick to acknowledge his debt to the movies. “The movies was my life – because it was my livelihood. The movies was good to me and the advantages I have I owe directly to the movies. But to me, first and foremost, the movies was a job, a demanding job and I played every part to the best of my ability. I worked with some of the best in my time – the directors, Bert Avellana, Gerry de Leon, Manuel Silos, Manuel Conde, Gregorio Fernandez. And the ladies, bless them – Rosa, Carmen, down to Gloria Romero and Nida Blanca.a With all the fine producers, Judge and Mrs. Vera, Doña Sisang de Leon, Dr. and Mrs. Santiago, they were all my bosses and friends.”

There are those who will assess Roger’s acting abilities as just fair-to-the-middling. Rogelio is always Rogelio in all his roles, they say. But Rogelio does not have to prove anything. He has done all kinds of roles in all genres of the game. He sang, he danced, he romanced his leading ladies under the mango trees. He tackled all roles, a prince (Prinsipe Amante), a Biblical character (Dimas), legendary hero (Sohrab At Rustum), escape convict (45 Oras), poor farmer (Higit Sa Lahat), an Igorot native (Doble Cara); he played Armand to Carmen’s Camille, he played doctor, lawyer, Igorot chief, the works. He was not typed. He’s got the FAMAS, the Asian Golden harvest awards for best actor. Of course, Rogelio will always be Rogelio. And why not? Some people should be so lucky.

Ambassador Rogelio de la Rosa was on home leave for for the next few weeks but he is expected to return to his diplomatic post in Sri Lanka. He has been assigned to such exotic places as Cambodia, the Netherlands, Rumania, Poland. He expects to retire since he has reached that mandatory retirement age. He does expect to life a life of usefulness. There is that farm in Baguio, that land developments in San Mateo. And the children – all grown up and all ready to live lives of their own. There are no second generation de la Rosa to pick up where he left off in the movies but Roger suspects that one grandson might still follow in his steps. The only language the grandson speaks right now is English, having born and brought up in the United States. “But he can learn Tagalog, after all I did and I did well,” the Ambassador concluded.

Rogelio de la Rosa – zarzuelista, matinee idol, husband, father, senator, ambassador – has done well, indeed.

* * * * * *

Sarung Banggi (1947)

Ang Vengador (The Avenger) (1948)


Bulaklak At Paruparo (1948)


Kidlat Sa Silangan (1949)


Prinsipe Amante (1950)


Maalaala Mo Kaya? (1954)


Iyung-Iyo (1955)


4 Na Kasaysayang Ginto (1956)


Lydia (1956)


Sonny Boy (1956)


Sino Ang Maysala? (1957)

*Thanks to Simon Santos of video48.blogspot.com for some of the movie ads.

CARMEN ROSALES, PART 2

CARMEN ROSALES:
buhay na alamat

Ni Mario E. Bautista

Source: Jingle Extra Hot Magazine, 1980s

IYON AY ISANG DI-KALAKIHANG bunggalo sa isang tahimik na subdibisyon sa Rosario, Pasig. Katamtaman ang taas ng bakod at naliligid ng malalagong halaman. Sa wari’y hindi angkop na tirahan para sa isang dating reyna ng magulo at marangyang daigdig ng putting tabing…si CARMEN ROSALES.

Pinapasok kami ng isang katulong na ayon sa kasama naming writer na si Hannah Quintos ay kung ilanpung taon nang matapat na naglilingkod kay Mameng. Maya-maya pa’y lumabas na siya . . . ang bituing ng “Kampanang Ginto” at “Inspirasiyon”, ng “Maalaala Mo Kaya” at “Tangi Kong Pag-ibig”. Mataba na nga siya ngayon. Puti na ang buhok. Pero banat pa rin ang kanyang balat, mataginting pa rin ang kanyang tinig na napabantog sa pag-awit, at higit sa lahat, masigla pa rin at masaya ang bawat kilos niya’t galaw.

“Talagang maraming napiprinsinta na interbyuhin ako,” kuwento ni Mameng. “Ang Panorama, minsan bigla na lang dumating dito. Ayoko nga, ni wala man lang silang abiso. Tapos, minsan, si Letty Magsanoc (Panorama editor) ang nagpunta rito. E, kasalukuyan akong nagpapagawa ng garahe. “Magkakaintindihan ba tayo niyan?”, sabi ko. “Magulo’t maingay rito. Bumalik ka na lang.” Nag-set kami ng appointment. Miyerkules daw. Nang dumating ang araw na ‘yon, naghanda ako’t nag-ayos, pero inindiyan niya ako. Tapos bigla na lang ulit dumating dito. Ayoko na. Ni hindi man lang niya ako tinawagan noon na hindi siya makararating. Kasi raw nagpunta siya sa Europe. Aba, sabi ko, bakit hindi mo sinabi sa ‘kin para nagpunta rin ako sa Europe at doon tayo nag’interbyuhan?

“At ayoko ring mag-guest diyan sa mga shows na gaya ng kina Ike at Inday. Maski diyan kay JQ. Bibigyan lang ako ng wallet at alcohol. Hindi ko na kailangan ng publicity para ipakita sa tao ang ginagawa ko ngayon. At baka pagdating doon, kung anu-ano lang ang itatanong sa ‘kin. E, ako, matapang akong sumagot. Nakikita ko ang ibang tv talk shows na pati ang mga questions, malalaswa. May karapatang magalit ang mga artistang nagge-guest sa kanila. Kung tatanungin ako ng gano’ng questions, sasabihin ko sa kanilang I didn’t come here to be insulted. Noong nasa harap pa ko ng publiko, hindi ako nasira. Umalis akong respetado pa rin, ngayon ko pa ba sisirain ang anumang naiwang image ko sa isip nila?”

Galit na galit si Mameng sa isinulat ng isang writer sa isang magasin (hindi JEH) na sinabing lola siya ng mga bakla at huwag na siyang magbalak bumalik sa pelikula at maggantsilyo na lamang siya sa kanyang tumba-tumba.

“Hindi ko malaman kung bakit kontrang-kontra siya sa akin gano’ng nananahimik naman ako rito. Walang edukasyon!”, mariin pa niyang sambit. “Noong araw, may isang writer na nagkamaling isulat na boyfriend ko si Pol Salcedo gano’ng hindi naman totoo, alam mo’ng ginawa ni Pol? Pinuntahan siya’t inumangan ng baril. Ngayon, kung anu-ano talaga ang pinagsusulat maski hindi totoo. Huwag na nila akong isali!”

Maliit pa raw siya ay mahilig na siyang mag-perform sa harap ng mga tao.

“Taga-Plaridel, Bulacan kami at alahera ang mother ko. Sasabihin sa kanya ng customers niya, “Hoy, Pilar, dalhin mo nga rito si Mameng at pakantahin mo.” Ako naman, parang de kuerdas na sige agad sa pagkanta. Kanta at sayaw ang hilig ko noon at hindi pag-arte. Nag-aral ako ng pagmomodista nang magdalaga ako pero nakita ako ng nasirang Lina Flor at siya ang humimok sa ‘king mag’artista. Ayaw ko noong una. Sabi ko, masama ang reputasyon ng mga artista. Pero ginawa rin nila akong dobol ni Atang de la Rama. Nakita ako ni Direktor Tor Villano ng Excelsior Pictures at ako’ng pinili niya para maging leading lady ni Jose Padilla, Jr. sa “Arimunding-Munding”. Nang makita ba naman ako ng producer nila na si Quisumbing, sabi sa ‘kin, “Ayaw ko riyan, pangit!” Napaiyak ako. Sabi ko, kung ayaw n’yo, huwag. Ayoko naman talagang mag-artista, sila lang ang namimilit sa akin.

“Ang gusto ng producer, si Pacita del Rosario o si Maria Miranda ang gawing bida. Pero sabi ni Tor Villano, gusto niyang mag-build up ng bago. “At ang batang ‘yan”, aniya na ako’ng tinutukoy, “I predict na magtatagal ‘yan.” Ako mismo, hindi naniwala sa kanya. Nang mag-hit ang “Arimunding-Munding”, kinuha naman ako ng Sampaguita. Si Don Pedro Vera pa ang producer noon, amain ni Judge Jose Vera, lolo ni Dr. Perez. Binili niya ang two-year contract ko sa Excelsior at ipinareha ako kay Rogelio de la Rosa sa “Señorita”. Doon nagsimula ang love team naming. Ang pinakamahigpit kong karibal noon ay si Corazon Noble, ang ina ni Jay Ilagan.”

Ang “Señorita” ang itinanghal na biggest pre-war hit ng Sampaguita. At sa talaan ng mga nangungunang pelikula ng 1939, ang top ten ay puro si Carmen Rosales ang bida. Kung ilang beses din siyang matagumpay na bumalik. Pagkatapos ng World War II, kinuha siya ng bagong tatag na Premiere Productions sa “Probinsiyana” ni Susana de Guzman at isang buwang itinanghal iyon sa Dalisay Theater. Nang muli siyang mawala ay kinuha naman siya ni Fernando Poe, Sr. at sinabi sa kanyang “I’ll prove to everyone that you’re still on top.” Iginawa niya ng pelikulang may pamagat na “Ang Magpapawid” at muli siyang bumandila sa takilya. Namahinga siya ulit at sa pagbabalik niya ay kinuha naman siya ng LVN at muling ipinareha kay Rogelio de la Rosa sa “Kampanang Ginto”, ang biggest hit ng 1949 na kung saan ang ibinayad sa kanyang apatnapung libong piso ay siya nang pinakamalaking talent fee na ipinagkaloob sa isang artista nang mga panahong iyon.

“Kilalang-kilala aako noon sa pagkakalog ko. Nang mag-reunion nga kami ng mga taga-Sampaguita at Makita ko si Roger, sinalubong ko agad at niyakap ko sabay sigaw ng “Naku, ang asawa ko!” Sabi nga ni Mrs. Vera, naku, itong si Mameng, hanggang ngayon hindi nagbabago. Natsismis din kami noon ni Roger pero para lang kaming magkapatid. Sa lahat ng leading ladies niya, sa ‘kin lang hindi nagselos ang asawa niyang si Lota. Alam naman niyang sa ‘kin, trabaho ‘yon. Pero pag may love scene kami ni Roger, kung magyakapan kami, talagang todu-todo. At ako pa’ng humahalik sa kanya. Nagagalit nga si Mrs. Vera. Huwag daw gan’on. Sabi ko naman, dapat ho realistic tayo dahil talagang ganyan ang tunay na magnobyo. Pero ‘yong pagbo-bold ang hindi ko magagawa. Maski noong bata ako at maganda ang katawan, hindi ako maghuhubad. Noon, magsarong lang kami, bold na ‘yon.

“Ibang-iba talaga ang paggawa ng pelikula noong araw. Mas may class ang mga istorya at di tulad ngayon na kung minsan, hindi mo maintindihan. At noon, kami lang ni Roger, kaya na naming dalhin ang pelikula. Hindi gaya ngayon na kailangan, marami kayong bida para kumita ang pelikula n’yo. Very professional din ang mga tao noon. Hindi uso ang pambibitin. At ang mga intriga noon, tungkol lang sa mga roles. Sasabihin halimbawa ng isang artista sa producer, bakit mo ibinigay ang papel na ‘yan kay Carmen? Hindi naman siya bagay riyan, ako’ng mas bagay riyan. O kaya maiinggit at sasabihing pangit ang hairdo o bestido mo. E, ako, trendsetter din ako noon. Ako ang nagpauso nang makikipot na pantalon. Ako rin ang unang-unang gumamit ng wig at false eyelashes sa pelikula. L Kasi, ang mga kasama ko noon, puro senyora, na kung tawagin ngayon, badap.

“Si Dr. Perez, galit na galit sa mga fans kong badap. Kapag pinapapasok ko sila sa istudyo, sasabihin sa ‘kin, huwag mo ngang papasukin ang mga bakla dito. Malas ‘yan, eh. Pinagtatanggol ko naman sila. Sasabihin ko, e bakit ka may mga make-up artists na bakla? Malaki’ng utang na loob ko sa mga bakla dahil sila’ng unang-unang pumipila sa pelikula ko. Nagkokorona pa ko ng beauty contests nila. Nag-Santa Elena rin ako sa santakrusan ng mga bakla. Gusto ko silang kasama dahil masasaya at very talented sila.

“At ako, madali akong maka-spot ng bakla. Noong kararating lang niyang si Maning Borlaza sa Sampaguita, pinakilala ‘yan sa aking sa canteen. Scriptwriter daw. “Senyora ka, ano?”, sabi ko sa kanya. Namutla ‘yan at ayaw aminin. “Anong senyora?” sabi pa sa ‘kin. Tapos, nang uminom ng kape, nagtitikwasan ang mga daliri. “O, tamo”, sabi ko, “talagang senyora ka!” O, ngayon, dib a inaamin na niya na siya’y isang berdaderong mujer? Pero noon, ako, I never gossip about co-stars. Pag tinatanog ak ng iba kung totoo bang ganito si gan’on at si gan’on. Ang sagot ko, laging ewan ko, hindi ko business ‘yon.”

May mga kopya ba siya ng kanyang mga lumang pelikula?

“Naku wala. “Yung iba, nawala na nga, nasunog na sa bodega ng istudyo. Kasi maski noon, hindi ako nanonood kahit rushes ng pelikula ko. Ngayon ko na lang napapanood ‘yung iba sa TV. Tuwang-tuwa ang mga apo ko pag nakikita ko. Malinaw kasi akong magsalita. Talagang pumupukol ang dialogues ko. At ako, parang de kuerdas kung umiyak. Pag sinabi sa ‘king dito ka sa parting ito iiyak, paglapit ng kamera, parang turuan ang luha ko, doon nga ako iiyak.”

Never daw siyang nag-boyfriend ng artista.

“Kilala ko kasi sila at alam kong gugulo lang ang buhay ko. Pag may lumigaw sa ‘king artista, sasabihin ko, hoy, kabron, huwag mo na kong ligawan at hindi ako papalo sa ‘yo. Kaya nga ang napangasawa ko, wala sa movies, the late Jose “Peping” Puyat, na anak ni Don Gonzalo Puyat. “Yan ang blacksheep noon sa pamilya nila. Ako lang ang nakapagpa-diretso diyan.” Isa ang naging anak nila, si Cesar, na ngayon nga ay nakatira sa isang bunggalo na katabi ng kay Carmen kasama ng sariling pamilya nito.

“Si Mameng ay Carmen Keller sa tunay na buhay, bunso sa apat na magkakapatid. “Ang mother ko ay Constantino ang apelyido kaya’t kamag-anak ko sina Charito Solis at Vilma Santos. Constantino ang lola ni Vilma at gan’on din ang lola ni Charito. Kamag-anak ko rin ang direktor na si Felicing Constantino.”

Sa ngayon ay masaya na raw siya sa takbo ng kanyang buhay. “Kinatutuwaan ko ngayon ang mag-alaga ng mga manok,” aniya. May mga limang manok nga kaming nakita sa paligid. Parang pets ang pagtingin niya sa mga ito. Ang isang puting tandang ay mabulas ang tindig at pinangalanan niya ng Peter. “Mabagsik ‘yan,” kuwento niya. “’Yan ang watchdog ko rito.” Nang dumating nga kami ay agad itong sumugod at akmang manunuka kundi pinigilan ng katulong.

Busy rin si Mameng sa pagtatatag ng bible reading at charismatic movement sa pook nila. “Satisfied ako sa buhay ko at masaya ako sa paggawa ng mga gawaing bahay,” dagdag pa niya.

Hindi na ba siya muling magka-comeback sa pelikula?

“Last year, may offer sa ‘kin si Atty. Laxa ng Tagalog Ilang-Ilang. Pero tinaasan ko talaga ang presyo ko. Sabi naman niya sa ‘kin, “I cannot blame you, Mameng. You really deserve that much.” Pero ngayon, naisip kong ayoko na talagang bumalik pa sa pelikula. I retired while I was still on top at mataas pa ang rate ko. Gusto kong maging maganda ang alaala kong maiiwan sa publiko. Wala na naman akong dapat pang patunayan kahit kanino.”

Noong araw nga ay nakatira siya sa isang higit na malaking bahay sa San Juan na may swimming pool pa. Pero ipinasiya niyang iwan iyon dahil nagsosolo na naman siyang namamahay at kinuha nga niya ang bunggalong iyon sa tabi ng kanyang anak.

Papayag ba siya kung may isang samahan na magbibigay sa kanya ng parangal gaya noong “Tribute” kina Bette Davis at Ingrid Bergman na ginawa sa Hollywood?

“Bakit hindi?” aniya. “Pero gusto ko munang siguruhin kung anong klase ng samahan ang mamamahala. Baka maging katulad lang noong ibinigay nilang tribute kay Chichay na para sa ‘kin, hindi lumabas na maganda. At kung pagkakuwartahan din lang nila ang pagbibigay sa ‘kin ng gano’ng tribute, huwag na lang.”

Mataray talaga at prangkang magsalita, hindi po ba? Iyan nga si Carmen Rosales ng inyong mga nanay at tatay at lolo at lola. Hindi pa rin nagbabago ang pagka-outspoken hanggang sa ngayon. Kung titingnan mo siya’y hindi maaaring hindi ka humanga sa kanya. Sa bawa’t ngit ng kanyang mga labi at sulyap ng kanyang mga mata ay alam mong naroon ang mahabang karanasan ng pagiging isang tunay na artista na wala sa mga bituin natin sa ngayon at hindi na makakatkat pa ng panahon.

* * * * * *

Maalaala Mo Kaya? (1954)


Matandang Dalaga (1954)


Iyung-Iyo (1955)


Lydia (1956)


Baby Face (1959)


Debutante (1959)


Vicky (1959)


Estela Mondragon (1960)


Dayukdok (1961)


The Dolly Sisters (1964)


Anak Ni Kamagong (1964)

*Thanks to Simon Santos of video48.blogspot.com for the movie ads.

* * * * *

CARMEN ROSALES, PART 1

SI CARMEN ROSALES,
MAALAALA MO KAYA?

An Interview with Local Movies’ ‘Great Recluse’

By Manny B. Fernandez

Source: Expressweek, September 21, 1978

The legions of moviegoers who were thrilled to see Carmen Rosales
from 1938 to 1965 – a span of one generation – started missing her 13 years ago when she chose the life of a virtual recluse. Mameng, as she is fondly called, is the first acknowledged real superstar even before the term “superstar” was conceived and the first undisputed queen of Philippine Movies, and the darling of both the so-called bakya and the high-heeled crowds.

Who will ever forget this living legend of Philippine Movies, especially when one hears the lilting song, Maalaala Mo kaya or the plaintive Ang Tangi Kong Pag-ibig which were immortalized in two of her early films with the same titles. Ms. Rosales has carved out a golden niche in Philippine Movies’ Hall of Fame and occupied a warm spot in the hearts of many Filipino fans.

The Great Garbo has flickered out from the screen and the public view. To this day, La Garbo has stubbornly remained uncommunicative and inaccessible for reasons only known to her.

On the other hand, Carmen Rosales (who, by the way, does not want to be compared to Greta Garbo) has finally emerged from the shadows – almost – by consenting to guest star in Inday Badiday’s TV show Would You Believe? last month. But, would you believe, Mameng didn’t appear because of a freak accident three days prior to that supposedly “first” public appearance in many years? Those who waited for that Big Moment must have heard the apologies of Inday. What really happened? Mameng got caught on the chord of her telephone, stumbled hard on the floor, and got bruised just above her left eyebrow. But, as a real pro would have done under the circumstances, Mameng immediately apologized for her non-appearance to Inday and to all the people who expected her to be with them during the program. With her face still bandaged, Mameng went to Broadcast City and apologized via a remote control broadcast.

Again, would you believe that Inday’s second edition of the “revived” TV program scored a very high rating that night? Mameng’s fans – and they include society matrons from such villages as Forbes Park, Bel-Air, and Magallanes, plus a big number of star-contemporaries – had to content themselves with just listening to her voice. Just the same, all these to-do over Mameng indicates her unwaning charisma.

However, Mameng’s failure to appear in Inday’s show elicited varied speculations. It even spawned controversies. Others saw in the accident a valid excuse. Some interpreted her non-appearance in unsavory terms. Still others saw it as plain gimmickry. A movie reporter even commented: “Dinaig pa niya si Nora Aunor sa gimmick!”

How did Mameng react to it all?

“Isipin nila ang gusto nilang isipin,” she said. “I wouldn’t like to appear awkward on any screen with that bruise just to please them, see? Honestly, I was badly injured. Nevertheless, I apologized. Wasn’t that enough?”

Look her best

She added: “I’ve always applied glamour professionally. I want to look my best always. After all, people haven’t seen me these long years. I wouldn’t have disappointed them had I appeared but don’t you think I would have disappointed them more had they seen me “unglamorous?”

Clad in a stretchable pair of dark shorts and loose three-fourth blouse, Mameng spoke on quite a range of topics concerning movies and movie people in an exclusive interview at her Green Park duplex in Pasig, Metro Manila. On her failure make it to Inday’s TV program, she unleashed a final salvo: “I earned a name without the benefit of gimmickry, ngayon ko pa ba gagawin ito?”

At any rate, the public was left again to conjectures as to how Mameng looks today. I she still glamorous? Has she aged beyond her years? How does she sound and act today? These, and all sorts of queries ranging from the sublime to the ridiculous. Indeed, just for that incident, Mameng has aroused intense curiosity.

Earlier, talks percolated that Mameng was content in living in her past glories and laurels. Consequently, so the talks went, she has fallen back to a life of reclusion. Reports too had it that she had shunned public life because she had grown “that old” or “that ugly” or both. Worst, gossip-mongers had it that she went through an unsuccessful plastic surgery, that’s why she is now ashamed to face the public.

“Some people can be that unkind, you know,” Mameng said. “Pero sa tagal ko na sa Show Biz, sanay na ako riyan. Immuned na ako sa mga intrigues, ‘Day (a Visayan expression, meaning “sweet”).”

Reminded that sophisticated observers had called her the Greta Garbo of Philippine Movies, the “I-want’to-be-alone” woman, she begged: “P’wede ba, huwag akong ikumpara kahit kanino!:”

How does she take the recent furor and speculations about her?

“Aba, sa isang banda ay mabuti naman at pinag-uusapan pa ako. Talagang mahirap ang maging public property. Kahit na nanahimik ka na, ini-intriga ka pa. Well, as I have said, immuned na ako.

Have there been calls or invitations for her to grace this and that affair?

“Oh, yes. Pero kung ayaw kong pumunta, hindi nila ako mapilit. I have reasons and that’s my right, ‘di ba? Perhaps, that’s the reason why some call me a Great Garbo. A mystery.”

But Mameng said she has not completely shunned public appearances. On New Year’s Eve last year, she appeared briefly in a marathon TV show called Celebration. She came on the compromise that they put her with an image of the Sto. Niño.

“Sandali lang ang appearance ko noon, she explained. She also attended the wake for Bobby Vera-Perez last year and Ricky Belmonte’s birthday, also last year. “Why only last August 6, I attended Inday Badiday’s birthday at the St. Francis Subdivision in Meycauayan, Bulacan and even danced the rhumba with Rez Cortez.”

Why not a movie comeback? Someone had convinced her on some words to this effect: “Carmen, why not? Look at Bette Davis, Lana Turner, and Ava Gardner. They’re still in films despite these many years.”

“You know what I answered?”, asked Mameng. “Si Bette Davis, Lana Turner and Ava Gardner sila. Ako si Carmen Rosales. See the big difference?”

Still, persistent offers are coming. There was the respectable producer who offered Mameng a role on her own terms. “Why not?”, she had told him. The negotiation took six months or so. They met twice – at Madrid and Roberto’s. “But everything didn’t materialize, probably because I had made it a rule that before I consider a comeback, everything is alright – the story, the script, the director, my wardrobe and costume jewelries, etc. In that particular offer, I requested for two make-up artists, two hair-stylists, and my own designer to take care of my clothes, plus a commuter van to take me from my house to the set and back. I also insisted my price. (She named it, and it was astronomical even by today’s standard.) I’ve been away for 13 years. Iningatan ko ang pangalan ko during these years and I can say it is untarnished.”

Gracious exit

Pointing out that she made a gracious exit from the movies, she considers a comeback a “big gamble.”

“I can’t afford a flop this kind? Kung hindi ko segurado ang publiko ko, mabuti nang huwag mag-comeback. Sayang kung magkaganoon pa, di ba, ache? So, if any producer couldn’t meet my terms, que si hoda, mag-retire na nga ako from the movies forever. After all, I’ve served the public for so long. In fact, talagang ayaw ko na. Marami silang dinadahilan na issue. I’m still allright pa naman. There’s only one Carmen Rosales daw. Akala ba nila I’m not realistic about things? Aba, who can win over age? Lahat ay tatanda and no one is spared from the hands of time, and that includes me. Aba naman, from 1938 to 1965! And 1978 na tayo! That’s a long, long time even for a very, very beautiful star. I had fought against ageing up to a certain time and come out a winner. In those years, alaga ang photography ko. Alam ko ang ilaw ko. But now, it’s 1978 and please wake up! Why, does the public still expect me to look as young as Vilma Santos or Nora Aunor, or as seductive as Alma Moreno? Aba, let’s face facts naman! Iyan and hirap sa Show Biz, akala ng lahat you’ve discovered the fountain of youth.”

What will be a major criterion for her considering a comeback?

“Que se hodang medyo mataba ako. Ang importante ay ang performance, di ba? Look at Shelley Winters and Ida Lupino. They’re not slim. Kaya, kapag may nagsabing si Carmen Rosales ay matanda na, si Carmen Rosales ay hindi na maganda, okey lang. As I’ve said, at least, pinag-uusapan pa ako. That’s one way of knowing you still exist, ‘di ba, ‘day?”

Mameng said that, to prove she is not insecure or conscious about appearing in public, she goes around shopping, particularly at the Uni-Mart in Greenhills, in shorts san make-up.

“Even in family affairs, I don’t wear make-up. Ngayon, kung may intrigerong reporter na makita akong chapter, que si hoda. Problema niya ‘yon, di ba? I run my own life and my private life is my own business, see? I really don’t mean to disappoint the public but then, if you were in my position, will you show your swollen face just to please the sponsors of the show? Think logically. I was not to be paid for that TV appearance. Remember, I was supposed to be a guest only. Besides, valid naman ang reasons ko why I didn’t make it.”

She recalled, however, that a day or two later, she received phone calls and read articles saying it was good she did not appear on TV.

“Hindi nga raw ako nag-appear sa movies, sa TV pa? Bakit, pang-TV na lang daw ba ang beauty ko? Sayang daw ang mystery! Ako pa ngayon ang nasisi! Well, on one side, at least nalaman ko na marami pa rin ang nagmamalasakit sa akin. If I wanted to accommodate Inday, it was because she’s a personal friend. And I believe she’s just doing public service regarding my ‘whereabouts’. Ha-ha-ha-ha-! Besides, a lot of people were really waiting for my appearance. This, I learned from incessant phone calls and from Inday herself later.”

If Mameng was quite “silent” and “inactive” in the movies these many years, she thought it was due to her continuous medication for sinusitis. Her sinus has been bothering her for many years and has affected her eyesight, too! “But I’m all right now.” She advises today’s actors and actresses: “Never wash your eyes after a whole day’s shooting in front of heavy klieg lights.”

Her start

Carmen Rosales started her career as second lead to Atang de la Rama in Ang Kiri. But after Excelsior Pictures’ Arimunding-Munding opposite Jose Padilla, Jr. in 1938, she became a superstar overnight. Three major film companies immediately vied for her services, namely, Excelsior Pictures, Sampaguita Pictures and LVN. Don Pedro Vera of Sampaguita bought her contract from Excelsior and Mameng became the most controversial superstar, ala Nora Aunor, that time.

She teamed up with Rogelio de la Rosa under Sampaguita and made box-office hits like Señorita, Takip-Silim, Lambingan, Colegiala, and later, in Maalaala Mo Kaya, Ang Tangi Kong Pag-ibig, etc.

Not to be outdone, LVN paid Mameng P45,000 – a hefty amount in those days – for Kampanang Ginto. She was paired with Rogelio de la Rosa who had moved to LVN after the movie Tampuhan with Mameng, because of misunderstanding with her. This explained why their last film together at Sampaguita was almost unfinished. Mameng became the highest-paid actress during her time, excelling Rosa del Rosario, Corazon Noble, Mila del Sol and other stars in the gate receipts. And out of respect to a great actress, no other top star, male or female, had been billed ahead or on top of Mameng’s name. And why not? She was crowned “Queen of Philippine Movies twice: in 1948 and 1949.

Her career spanned five generations of stars and superstars, in this wise: pre-war years – Rosa del Rosario, Rogelio de la Rosa, Leopoldo Salcedo, Jose Padilla, Jr., Fernando Poe, Sr., Angel Esmeralda, Ely Ramos, Corazon Noble, Mona Lisa, Rosario Moreno, Arsenia Francisco, Elsa Oria, Rudy Concepcion, Norma Blancaflor and Paraluman; second generation – Anita Linda, Lilia Dizon, Celia Flor, Lillian Leonardo, Alicia Vergel, Erlinda Cortes, Linda Estrella, Rebecca Gonzales; third generation – Gloria Romero, Nida Blanca, Delia Razon, Nestor de Villa, Tessie Quintana, Charito Solis, Edna Luna, Ric Rodrigo, Rita Gomez, Eddie Rodriguez, Ramon Revilla; fourth generation – Amalia Fuentes, Susan Roces, Marlene Dauden, Barbara Perez, Lita Gutierrez, Mina Aragon, Daisy Romualdez, Romeo Vasquez, Eddie Gutierrez, Jose Mari, Liberty Ilagan, Bernard Bonnin; fifth generation – Josephine Estrada, Rosemarie, Gina Pareño, Blanca Gomez, Loretta Marquez, and others.

Carmen’s last movie was Gintong Recuerdo produced in early 1965. She co-starred with the then “Stars ‘66” of SPI. She was still billed above the title, ahead of her co-stars. But Mameng’s most memorable movies, today considered as classics of Philippine movies, in point of prestige and box-office records are Arimunding-munding, Señorita, Probinsiyana, Ang Guerrilyera, Takip-Silim, Debutante, Maalaala Mo Kaya, MN, Kamay Ng Diyos (directed by Eddie Romero), Hindi Kita Malimot, Sandra and Inspirasiyon. The last-mentioned movie won her a FAMAS Best Actress trophy in 1953.

Like most artists any where in the world, La Rosales also had a “temper” on the set.

“I hate co-stars who arrive late on the set. I arrive early or on time fully made-up,” she said. “I also hate scene-stealers. Kapag frame mo, kahit extra ka lang sa pelikula, e ibibigay ko. Pero kapag frame ko na, you better give what is due me!” But she is a natural scene-stealer. She can steal a scene with just a wink or movement of her eyes – this according to the late Doc Perez.

Her life at present

The off-screen name of Carmen Rosales is Januaria Carmen Keller Rosales Vda. de Puyat. (She was married to the late Jose Puyat, son of the late Don Gonzalo Puyat). As a “civilian” – a term she herself coined – she immensely enjoys her present status.

At home, she dubs at landscaping, she crochets bedspreads, and pays attention to the interior decoration of her house. (“I also love to cook and that explains why I’m ‘big’ now.”)

On weekends, her two grandsons by Rene (Carmen’s eldest son by her first marriage), John, 10, and Jobie, 9, would visit her. Mameng’s son, Cesar (by her marriage to Peping Puyat) and grandson Bobeem, 5, live with her in adjacent house. She also commutes from Manila to Baguio every now and then because “gusto ko ang klima doon.”

“I used to sport a blonde hair before,” she revealed. “Pero nagsawa na rin ako. Besides, allergic na ako sa certain types of hair color and dyes. I now sport a salt-and-pepper hair. Not a few say mas bagay daw ito sa akin. Besides, this is the natural color of my hair now.”

What can Mameng say about Philippine Movies today? How do they compare to those during her time, her heyday?

“Marami ang nagsabi sa akin na maganda raw ang pelikula noong araw,” she said. “In my opinion, our crowd is apparently not yet ready to take these bold movies without malice. I believe it’s high time we educated the public on realistic love scenes. As long as the execution of these scenes are artistic and in good taste, I don’t see any reason why we should take them with malice.”

How about our young superstars today?

Why not a movie comeback? Someone had convinced her on some words to this effect: “Carmen, why not? Look at Bette Davis, Lana Turner, and Ava Gardner. They’re still in films despite these many years.”

“You know what I answered?”, asked Mameng. “Si Bette Davis, Lana Turner and Ava Gardner sila. Ako si Carmen Rosales. See the big difference?”

Still, persistent offers are coming. There was the respectable producer who offered Mameng a role on her own terms. “Why not?”, she had told him. The negotiation took six months or so. They met twice – at Madrid and Roberto’s. “But everything didn’t materialize, probably because I had made it a rule that before I consider a comeback, everything is alright – the story, the script, the director, my wardrobe and costume jewelries, etc. In that particular offer, I requested for two make-up artists, two hair-stylists, and my own designer to take care of my clothes, plus a commuter van to take me from my house to the set and back. I also insisted my price. (She named it, and it was astronomical even by today’s standard.) I’ve been away for 13 years. Iningatan ko ang pangalan ko during these years and I can say it is untarnished.”

Gracious exit

Pointing out that she made a gracious exit from the movies, she considers a comeback a “big gamble.”

“I can’t afford a flop this kind? Kung hindi ko segurado ang publiko ko, mabuti nang huwag mag-comeback. Sayang kung magkaganoon pa, di ba, ache? So, if any producer couldn’t meet my terms, que si hoda, mag-retire na nga ako from the movies forever. After all, I’ve served the public for so long. In fact, talagang ayaw ko na. Marami silang dinadahilan na issue. I’m still allright pa naman. There’s only one Carmen Rosales daw. Akala ba nila I’m not realistic about things? Aba, who can win over age? Lahat ay tatanda and no one is spared from the hands of time, and that includes me. Aba naman, from 1938 to 1965! And 1978 na tayo! That’s a long, long time even for a very, very beautiful star. I had fought against ageing up to a certain time and come out a winner. In those years, alaga ang photography ko. Alam ko ang ilaw ko. But now, it’s 1978 and please wake up! Why, does the public still expect me to look as young as Vilma Santos or Nora Aunor, or as seductive as Alma Moreno? Aba, let’s face facts naman! Iyan and hirap sa Show Biz, akala ng lahat you’ve discovered the fountain of youth.”

What will be a major criterion for her considering a comeback?

“Que se hodang medyo mataba ako. Ang importante ay ang performance, di ba? Look at Shelley Winters and Ida Lupino. They’re not slim. Kaya, kapag may nagsabing si Carmen Rosales ay matanda na, si Carmen Rosales ay hindi na maganda, okey lang. As I’ve said, at least, pinag-uusapan pa ako. That’s one way of knowing you still exist, ‘di ba, ‘day?”

Mameng said that, to prove she is not insecure or conscious about appearing in public, she goes around shopping, particularly at the Uni-Mart in Greenhills, in shorts san make-up.

“Even in family affairs, I don’t wear make-up. Ngayon, kung may intrigerong reporter na makita akong chapter, que si hoda. Problema niya ‘yon, di ba? I run my own life and my private life is my own business, see? I really don’t mean to disappoint the public but then, if you were in my position, will you show your swollen face just to please the sponsors of the show? Think logically. I was not to be paid for that TV appearance. Remember, I was supposed to be a guest only. Besides, valid naman ang reasons ko why I didn’t make it.”

She recalled, however, that a day or two later, she received phone calls and read articles saying it was good she did not appear on TV.

“Hindi nga raw ako nag-appear sa movies, sa TV pa? Bakit, pang-TV na lang daw ba ang beauty ko? Sayang daw ang mystery! Ako pa ngayon ang nasisi! Well, on one side, at least nalaman ko na marami pa rin ang nagmamalasakit sa akin. If I wanted to accommodate Inday, it was because she’s a personal friend. And I believe she’s just doing public service regarding my ‘whereabouts’. Ha-ha-ha-ha-! Besides, a lot of people were really waiting for my appearance. This, I learned from incessant phone calls and from Inday herself later.”

If Mameng was quite “silent” and “inactive” in the movies these many years, she thought it was due to her continuous medication for sinusitis. Her sinus has been bothering her for many years and has affected her eyesight, too! “But I’m all right now.” She advises today’s actors and actresses: “Never wash your eyes after a whole day’s shooting in front of heavy klieg lights.”

Her start

Carmen Rosales started her career as second lead to Atang de la Rama in Ang Kiri. But after Excelsior Pictures’ Arimunding-Munding opposite Jose Padilla, Jr. in 1938, she became a superstar overnight. Three major film companies immediately vied for her services, namely, Excelsior Pictures, Sampaguita Pictures and LVN. Don Pedro Vera of Sampaguita bought her contract from Excelsior and Mameng became the most controversial superstar, ala Nora Aunor, that time.

She teamed up with Rogelio de la Rosa under Sampaguita and made box-office hits like Señorita, Takip-Silim, Lambingan, Colegiala, and later, in Maalaala Mo Kaya, Ang Tangi Kong Pag-ibig, etc.

Not to be outdone, LVN paid Mameng P45,000 – a hefty amount in those days – for Kampanang Ginto. She was paired with Rogelio de la Rosa who had moved to LVN after the movie Tampuhan with Mameng, because of misunderstanding with her. This explained why their last film together at Sampaguita was almost unfinished. Mameng became the highest-paid actress during her time, excelling Rosa del Rosario, Corazon Noble, Mila del Sol and other stars in the gate receipts. And out of respect to a great actress, no other top star, male or female, had been billed ahead or on top of Mameng’s name. And why not? She was crowned “Queen of Philippine Movies twice: in 1948 and 1949.

Her career spanned five generations of stars and superstars, in this wise: pre-war years – Rosa del Rosario, Rogelio de la Rosa, Leopoldo Salcedo, Jose Padilla, Jr., Fernando Poe, Sr., Angel Esmeralda, Ely Ramos, Corazon Noble, Mona Lisa, Rosario Moreno, Arsenia Francisco, Elsa Oria, Rudy Concepcion, Norma Blancaflor and Paraluman; second generation – Anita Linda, Lilia Dizon, Celia Flor, Lillian Leonardo, Alicia Vergel, Erlinda Cortes, Linda Estrella, Rebecca Gonzales; third generation – Gloria Romero, Nida Blanca, Delia Razon, Nestor de Villa, Tessie Quintana, Charito Solis, Edna Luna, Ric Rodrigo, Rita Gomez, Eddie Rodriguez, Ramon Revilla; fourth generation – Amalia Fuentes, Susan Roces, Marlene Dauden, Barbara Perez, Lita Gutierrez, Mina Aragon, Daisy Romualdez, Romeo Vasquez, Eddie Gutierrez, Jose Mari, Liberty Ilagan, Bernard Bonnin; fifth generation – Josephine Estrada, Rosemarie, Gina Pareño, Blanca Gomez, Loretta Marquez, and others.

Carmen’s last movie was Gintong Recuerdo produced in early 1965. She co-starred with the then “Stars ‘66” of SPI. She was still billed above the title, ahead of her co-stars. But Mameng’s most memorable movies, today considered as classics of Philippine movies, in point of prestige and box-office records are Arimunding-munding, Señorita, Probinsiyana, Ang Guerrilyera, Takip-Silim, Debutante, Maalaala Mo Kaya, MN, Kamay Ng Diyos (directed by Eddie Romero), Hindi Kita Malimot, Sandra and Inspirasiyon. The last-mentioned movie won her a FAMAS Best Actress trophy in 1953.

Like most artists any where in the world, La Rosales also had a “temper” on the set.

“I hate co-stars who arrive late on the set. I arrive early or on time fully made-up,” she said. “I also hate scene-stealers. Kapag frame mo, kahit extra ka lang sa pelikula, e ibibigay ko. Pero kapag frame ko na, you better give what is due me!” But she is a natural scene-stealer. She can steal a scene with just a wink or movement of her eyes – this according to the late Doc Perez.

Her life at present

The off-screen name of Carmen Rosales is Januaria Carmen Keller Rosales Vda. de Puyat. (She was married to the late Jose Puyat, son of the late Don Gonzalo Puyat). As a “civilian” – a term she herself coined – she immensely enjoys her present status.

At home, she dubs at landscaping, she crochets bedspreads, and pays attention to the interior decoration of her house. (“I also love to cook and that explains why I’m ‘big’ now.”)

On weekends, her two grandsons by Rene (Carmen’s eldest son by her first marriage), John, 10, and Jobie, 9, would visit her. Mameng’s son, Cesar (by her marriage to Peping Puyat) and grandson Bobeem, 5, live with her in adjacent house. She also commutes from Manila to Baguio every now and then because “gusto ko ang klima doon.”

“I used to sport a blonde hair before,” she revealed. “Pero nagsawa na rin ako. Besides, allergic na ako sa certain types of hair color and dyes. I now sport a salt-and-pepper hair. Not a few say mas bagay daw ito sa akin. Besides, this is the natural color of my hair now.”

What can Mameng say about Philippine Movies today? How do they compare to those during her time, her heyday?

“Marami ang nagsabi sa akin na maganda raw ang pelikula noong araw,” she said. “In my opinion, our crowd is apparently not yet ready to take these bold movies without malice. I believe it’s high time we educated the public on realistic love scenes. As long as the execution of these scenes are artistic and in good taste, I don’t see any reason why we should take them with malice.”

How about our young superstars today?

“Well, they are quite lucky. Many of them attain success in just a short span of time.
During our time, stardom was slow, a painstaking process.” (Mameng was an exception because, after Arimunding-munding, the rise to the top was meteoric.) And how lucky these superstars can get, financially. They are now paid in amounts that, in our time, would stagger the imagination. They become millionaires overnight. I’m happy for them. I just hope they compensate for that price with professionalism.”

Her advice to today’s young stars?

“Love your profession. Keep studying your craft. That’s the only way to stay long in the trade. And remember, there’s nothing better than being nice, honest and sincere!”

On Lino Brocka’s acclaimed Maynila: Sa Mga Kuko Ng Liwanag, she commented: Okey siya mag-direct. If there’ll be a chance, I’d like to have him as my director.”

What does she think of our male actors today?

“Too bad, some of tem are effeminate-looking. I love swards, but I can’t imagine myself sleeping in bed with them.”

Unlike Anita Bryant (who spearheaded a crusade against Homos), Mameng loves them. “They are a most intelligent, happy and creative lot. I can easily tell one with a flick of a finger.”

She earned the title the “Original Queen of Gays” because she used to crown the queen of swards during gay parties and fiestas in Tondo and suburbs. “Aba, kasama ko noon sina Pablo S. Gomez & Co.”

Getting serious now, and reflecting on her semi-retirement, Mameng said she does not mind being a public property, stressing that “I’ve had my time.” She had tasted the sweet and bitter side of success. “I never had it so good. And if ever I live my life again, I would still want to be an actress. But perhaps, this time, one who has discovered the fountain of youth.”

She treasures the wisdom from Doc Perez: “The golden talent is a diamond kept in a jewel box well-polished.”

* * * * * *


Guerilyera (1946)


Probinsiyana (1946)


Si, Si, Senorito (1947)


Carmencita Mia (1948)


Ang Selosa (1948)


Simpatika (1949)


Babae, Babae At Babae Pa! (1951)


Inspirasiyon (1953)


Ang Tangi Kong Pag-ibig (1954)


Luha Ng Birhen (1954)
*Thanks to Simon Santos of video48.blogspot.com for the movie ads.

(To be continued...)

* * * * * *