![]() When oppression and suppression of the people are intense, the power inside you becomes stronger that you want to speak out, tell stories and dissent).” Kung kailan ang lakas ng oppression, ang lakas ng pag-suppress sa tao, doon naman lumalakas ’yung puwersa sa loob mo na gusto mong magsalita, magkwento, tumutol (We became more energetic. Besides Himala’s late director Ishmael Bernal, other renowned filmmakers from that time include the late Lino Brocka (who became one of the members of the 1986 Constitutional Commission after Marcos’ ouster), Mike de Leon and the late Mario O’Hara.įilms remembered from that period include socially relevant stories such as Tinimbang Ka Ngunit Kulang, Maynila sa mga Kuko ng Liwanag, Insiang, Sakada, Tatlong Taong Walang Diyos, Nunal sa Tubig, Minsa’y Isang Gamu-gamo, Itim, Jaguar, Bona, Batch ’81, Sister Stella L, Moral and Bayan Ko: Kapit sa Patalim. The Second Golden Age of Philippine Cinema from the late 1970s to the early half of the 1980s coincided with the martial law period. (The title of the forum was a play on the title of Eddie Romero’s 1976 period film Ganito Kami Noon, Paano Kayo Ngayon?) The forum was held by Aktor – League of Filipino Actors, Dakila – Philippine Collective for Modern Heroism and Regional Filmmakers Network as part of the Active Vista International Human Rights Festival. 20, the eve of the 48th anniversary of Marcos’ declaration of martial law today, Sept. Lee and several artists who experienced the worst of martial law shared their stories in the virtual forum “ Ganito Kami Noon, Ganito Pa Rin Ba Ngayon?: Pelikula, Paniniil, Pagpalag” on Sunday, Sept. The behind-the-scenes story for Himala¸ which became a box-office hit in 1982, was just one example of how Philippine cinema flourished despite – and because of – the oppression and extreme censorship of mass media and the arts under the Marcos regime. “ Kaya lumabas na tungkol sa isang populist na leader na nagsinungaling sa mga tao, at then sinusundan nila si Elsa sa kanyang false na kwento (Which is why it turned out to be about a populist leader who lied to the people, and then they followed Elsa around for her false tales),” he said. “Questioning God, questioning the government, doon ko lang naipon ’yung mga hindi ko mailabas na nasa loob ng kulungan (that was when everything I could not get out when I was jailed built up),” Lee recalled. He suspects he was targeted by the regime of dictator Ferdinand Marcos for being an officer of the writers’ group Panulat Para sa Kaunlaran ng Sambayanan (PAKSA). If the story and the background sound familiar, it is because Ricky Lee began writing the script for Himala in 1976, shortly after he was released from detention in Fort Bonifacio. So, you have one big megalomaniac),” said the screenwriter. Only she can save them, only she can solve their problems. So, para kang merong isang big megalomaniac (They have no one to hold on to but her. Siya lang ang magliligtas, siya lang ang makakasagot sa kanilang mga problema. An epidemic takes lives and shatters the illusion, but when she shows signs of becoming a virgin mother and even as she admits that she lied, the people latch on to that hope again. ![]() ![]() A village girl claims to have experienced an apparition of the Virgin Mary atop the hill and soon engages in faith healing, drawing flocks of hopeless people.
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