Wednesday, November 20, 2024

The Cute... The Sexy n' The Tiny (1982)


1982 - The Cute…The Sexy n’The Tiny (Liliw Films International) 

[Release date 25th December 1982] 

Director Eddie Nicart Screenplay Pablo S. Gomez Producers Peter M. Caballes, Cora Ridon Caballes Music Pablo Vergara 

Cast Berting Labra (The Cute), Pia Moran (The Sexy), Weng Weng (The Tiny), Dencio Padilla, Beth Sandoval, Bonnie “Mong” De Jesus, Tony Jay Consunji, Liza De Vera 

COMEDY/ACTION 

Interviews with Eddie Nicart, star Pia Moran and Bobby A. Suarez by Andrew Leavold

[Previously published in Leavold's book The Search For Weng Weng (2017)]

The Caballes were at the forefront of the Philippines’ advance into the world market via their Cannes and AFM visits, which makes their next foray into film all the more curiously retrogressive. The Impossible Kid’s end credits promised a sequel, “License Expired”; instead, Liliw Films International delivered a Tagalog comedy The Cute…The Sexy n’ The Tiny (1982), directed by Eddie Nicart and starring a third-billed Weng Weng, was released during the Metro Manila Film Festival over Christmas 1982. It would prove to be Weng Weng’s final credited film appearance. Like all of Liliw’s Tagalog language features the film has been unseen since its brief theatrical run, and Eddie was sketchy on the details: “The last film with Weng Weng, he is a convict, like an Al Capone - he’s in prison and he gets out.” Was it a deliberate spoof on The Good, The Bad And The Ugly? "Yes, that’s the concept. I wasn’t the one who wrote it. Ninang [Cora] just gave it to me. I revised it as well, but still, it was Ninang Cora who wrote it." Weng Weng’s co-stars in this outing were Berting Labra, a prolific aging second-shelf comedian, plus hot-shot starlet Pia Moran, veteran comic Dencio Padilla, and For Y’ur Height Only’s Beth Sandoval.  

"The Cute…The Sexy n’ The Tiny was just made for local audience," confessed Eddie. "There wasn’t really hope that it will be sold [internationally], and it was really intended for Manila. Or probably it was also screened in the provinces, I don’t know. Because, if you tanked here in Manila, but screened in key cities in the provinces, then you’d be able to break even.”  

"When it was made, Berting was just fresh out of Muntinlupa [City Jail]," said Eddie. Labra was jailed in 1969 along with fellow actor Eddie Fernandez for killing 28 year-old businessman Renato Pangilinan [88]. The victim had visited 17 year-old starlet Rosanna Ortiz on a movie set where co-star and former Pinoy Bond Fernandez, aka secret agent Lagalag, was drinking with Labra, comic sidekick to Fernando Poe Jr in the Lo' Waist Gang films. A presumably jealous Fernandez reported the pistol-packing Pangilinan to police, then followed him and in a jeep. Once Pangilinan's jeep was stuck in traffic, Fernandez, Labra and their three companions surrounded the car and opened fire. Rosanna Ortiz watched in horror as Pangilinan slumped over her with a bullet in his chest. Labra, sometimes known as Big Time Berto from his lead role in the eponymous 1959 gangster spoof, spent 13 years in jail; both Fernandez and Labra were pardoned and released. "We were the first ones to treat him after he got out, remembers Eddie. "I took him to Pagsanjan [in Laguna]. And then we took him to Lido beach. I was the one who treated him out. And of course, he just came out of the city jail, so we gave him a woman. He was at the beach for one week. And I was there as well, so I can influence him for the better…" Labra passed away quietly in 2009. Not so Eddie Fernandez, who died in a hail of gunfire following a chase with narcotics agents at a Makati checkpoint in 1993. "And then we got Pia, his leading lady. And Weng Weng. But it didn’t [go] boom. Because it’s better if Weng Weng was the sole lead; if there are others, it does not fare well."  

Petite comedienne Pia Moran entered show business several years beforehand. "One director invited me to be part of a film as an extra,” Pia said during her The Search For Weng Weng interview. “They tried it, because they said that my face has lots of beautiful angles. So they tried it, and they got me. I already had a job then, and I didn’t have any plans on being an actress… but they got me because my face has a lot of beautiful angles…That was before, I don’t know about now." Pia laughed. "But I first started in TV, I was known there as Ms. Body Language." She made sinewy moves with her arms. "When I dance, my body really moves. And so does my expression. My whole body moves. Also, there was a song that time called Body Language.” This was the same song Weng Weng once danced to on TV. “So that’s what they called me. That was how I made my mark. And the audience appreciated my dancing. That was how I got famous. Not because of film, but because of my dancing." 

A small role opposite Ramon Zamora in Dragon At Harabas (1979) led to further roles in goon comedies with Dolphy, George Javier, Cachupoy, and more frequently, Chiquito and Redford White. "It just so happened that they get me more for comedy roles. I don’t know. I seldom do drama. But comedy, yes. It probably was just by chance, though, that I was more into comedy and action, and a bit sexy." Her small frame and short to shoulder-length hair soon became a fixture in Tagalog goon parodies. "It’s difficult to make people laugh. It’s a good thing that some people still find me funny. And I’m also a bit flirty, and very bubbly, so people generally like me. But, I didn’t pursue it enough to have a film that I’m the lead star." 

An early lead for Pia Moran, A Man Called Tolongges (1981), also happens to be one of the more unforgettable Pinoy Western parodies, headlined by George Javier, a round-faced, droopy-lipped, bucktoothed Visayan comedian, singer and rapper often playing of Japanese or Chinese caricatures . As an unlikely bounty hunter, Javier is called in to find the kidnapped Estella (Pia Moran), currently in the clutches of super-bandido El Tigre (Paquito Diaz). With the help of the Arizona Kid (albino parody expert Redford White in an early role), they crawl across the desert, encountering the stick-thin Ram-bone himself, comedian Palito, playing "Djangolat"...but instead of a machine gun in his coffin, he has a secondhand junk shop. The real surprise is just how well the visual gags work, reaching at times a Zucker Brothers level of lunacy. Oh, and the opening theme is a Tagalog bastardization of "Country roads, take me home..."! 

Pia was also second lead to Redford White in Boni En Klayd and Sinisinta Kita (both 1981) by the time the Caballes cast Pia in The Cute…The Sexy n’ The Tiny. She first met Weng Weng on the Caballes' set after shooting began. "He was really good, even though he’s not like us. He was unique. He’s a different kind of lead star. And you’d love him. And he was cute. And that’s why I automatically signed in to be in a movie with Weng Weng."  

What was your impression the first time you saw him? "That he’s so small! But that’s just a personal thing for me, because sometimes, I’d think…  I’d laugh in one corner, because it would suddenly occur to me that if me and Weng Weng got married… He’s so small. I think he’s the smallest person that I ever knew. And he’s a really good actor. It was nice, and you’d never tire of watching him. Because he really knows how to act, and he’s really a good action star. That’s why we’re very proud that he’s one of the little people who got famous. And that he’s from the Philippines. And I’m proud to have been in a film with Weng Weng." 

How was he as a friend, as a co-star? "He’s lovable. He smiles a lot. But you can’t understand when he talks." In what way? "He has a tiny voice. And so we all had to ask him - What did you say? But he’s nice." Did he ever get a crush on you? "He didn’t make a move on me. He was just a quiet person, always smiling. He wasn’t talkative at all. He talks mostly with the director, and the director gives him pointers. He talks in a very small voice. Like a dwarf’s voice. He’s cute. I like him. But we never got to have conversations. We just always smile at each other."

Like Eddie, Pia no longer remembered The Cute…The Sexy n’ The Tiny. "In all honesty, I’ve already forgotten about it. I forgot what my role was, what my scenes were…. I didn’t follow-up with the shooting of that film. After my role was finished, I left. That’s it. But what I remember is we were in the film festival. I remember that we were on the Parade of Stars, but I don’t remember if it won awards or not. But we part of the parade." Pia had only vague recollections of Eddie's threadbare set. "But it wasn’t him who was tight-fisted. It was the producers. From low budget to almost no budget. Right?" 

Did you hear about the rumour that FPJ helped the Caballes book a slot for the 1982 Metro Manila Film Festival? "Yes. I heard about that." Were you able to attend the premiere? "No. I wasn’t able to attend, but I heard the news that Fernando Poe Jr helped the producers." 

According to Bobby Suarez, he was contacted by his former associates before The Cute… was exhibited. "They cannot find a theatre – even ONE theatre – that will show his movie. So Peter approached me with his wife and said, 'Bobby, can you help me?' At that time I was the Vice President of the Motion Pictures Producers' Association. So I said, 'I'll try my best.' And then I approached ex-President Estrada and I said, 'If we are not going to help the producer of this movie, he will lose a lot of money.' There is a chance that the picture can make good, but the theatre owner doesn't want to give a play date, even two days. So I told ex-President Erap, 'If we cannot help this small producer, I for one want out.' We were very close friends, so he said, “Don't worry, I'll try my best.' 

"A funny thing is that ex-President Estrada promised me something because I hurt his feelings, because I said this Association is not fair, you only care about the big ones, the small ones you don't care [about]… You know what he did? Called up Fernando Poe Jr and said, 'Ronnie, my friend, my brother, I want your picture out of the Festival' - the Metro Manila Film Festival – 'as that is the biggest theatre in Manila.' 'What?' 'I want to give it to Weng Weng.' He said, 'Why?' 'Well, our friend Bobby Suarez insisted that I give him the movie, but no producer would like to withdraw their own movie, and there is no theatre who would like to open this slot, and you are the only one who can understand me.' 'But you are asking me to lose money!' He said, 'Please, I beg you, or do you want me to kneel in front of you?' You know what FPJ said? He approached ex-President Estrada, embraced him tightly and said, 'You are like your friend Bobby Suarez, you are both a son of a bitch!' And then said, 'You can have it.' 

"Peter said after that, 'How can I repay you?' I said, 'Forget it. You deserve it, you worked hard for it.'"

Tony Duka remembers taking Weng Weng on a previous occasion to meet Da King, Fernando Poe Jr. "FPJ was so happy…'I've heard of you, Weng Weng!' They had pictures taken together. Then they would do karate, and it would kill FPJ!" Peter Caballes maintained a bond with FPJ, and they even started a film project together, The Unado Caballes Story, based on the life of Peter’s father, a well-known figure in Laguna. “Ronnie had gone shooting for two days,” FPJ’s half-brother Conrad Poe told me, “and after that I don’t know what went wrong – something like the script wasn’t prepared – and they had to scrap the project.” 


Despite losing several screens to the Caballes, Fernando Poe Jr's fantasy film Ang Panday...Ikatlong Yugto (“The Blacksmith...Part Three”), the third in his monstrously successful Panday franchise based on Carlo J. Caparas’ mythic komik hero, reaped a healthy box office return, second only to the MMFF's runaway hit Himala. Ishmael Bernal's study of religious mania and idolatry in a provincial village won nine MMFF awards, including Best Actress for Nora Aunor, and has since become one of the most highly-regarded films in the Philippine canon. Other films in competition included Marilou Diaz-Abaya's Moral, Eddie Romero's soap opera Desire, Haplos starring Vilma Santos, Christopher de Leon and Rio Locsin as an otherworldly love triangle, Elwood Perez's saccharine Santa Claus Is Coming To Town, a Tito, Vic, Joey and Nino Muhlach vehicle (Tatlo Silang Tatay Ko/”They My Three Fathers”) and two goon actioners (the Muslim-themed Magindanao, and Tulisan Ng Pasong Musang/“Bandit Of Pasong Musang” starring Ramon Revilla Sr).  

In their wake The Cute…The Sexy n’ The Tiny washed in and out of Metro Manila theatres, barely leaving a watermark on the pavement outside, unseen since, and now forgotten by even those who involved in its spendthrift production. In just twelve months the Caballes slipped from being the highest-grossing producers at Imelda's film market to begging their friends and colleagues for screen space. It's unknown exactly why the Caballes made the film in the first place, as surely a low-budget comedy for the local market was a retrogressive step. Were they deterred from re-entering the export market because of diminishing returns from For Y'ur Height Only's two follow-ups? By straying further from the Agent 00 formula, were they confident in making a marginal profit, as they did in the Seventies? For whatever the reasons the film was created, it no longer exists. From all evidence available at the time, The Cute…The Sexy n’ The Tiny was Liliw's sad swansong, and Weng Weng's final screen appearance.  

Or so I believed... [see Caliber .357 (1984)] 

Did you ever see Weng Weng and the Caballes’ after the film, I asked Pia? "No. After that film, we never hung out, we never saw each other again. We lost contact. That’s it. And then I heard the sad news about Weng Weng’s passing. That he had a stroke and a heart attack. And I wasn’t even able to go to his wake, because it was too late when I heard about it… It was all of a sudden. We didn’t expect it. Because if it was just a stroke, it wouldn’t affect his heart. Well, probably. Because he’s small." Pia seemed genuinely moved by the recollection. "It’s really sad that Weng Weng has already left the industry. He had a big contribution here. And personally, he’s one of my favourite midget comedians." Personally, I'm amazed she has a list of favourite midget comedians.  




 

UNDER CONSTRUCTION

Hepe (1980)


1980 – Hepe (D’Wonder Films) 

[Release date 13th June 1980; released internationally by F. Puzon Film Enterprises as “The Crazy Bunch” and released on VHS in South America, Lebanon and Israel]

Director J. Erastheo Navoa Story/Screenplay Manuel Ramirez Producer Alexander Muhlach [as “D’Wonder Films”] 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 “Bomber” Moran, Larry Esguerra, Paquito Salcedo, Romy Nario 

COMEDY/FAMILY/ACTION





UNDER CONSTRUCTION




UNDER CONSTRUCTION




UNDER CONSTRUCTION




- mp4 file [English dubbed version] 

Da Best In Da West (1981)

1981 - Da Best In Da West (RVQ Productions) 

[Release date 12th June 1981] 

Director Romy Villaflor Story Roy Vera Cruz, Ben Feleo Screenplay Ben Feleo Executive Producer Dolphy [as Rodolfo Vera Quizon] Cinematography Alfonso Alvarez Music Dominic [Salustiano] Lyrics Dolphy Choreography Lito Calzado Editor Efren Jarlego Sound Supervisor Luis Reyes Field Soundman Ledwino Robiso General Manager Manny “Boy” Quizon Assistant General Manager Laura Cooper-Nurse Production Manager Caledonio “Boy” Pineda Project Coordinator Danding Inocencio Production Coordinator: Baguio City Barangay Captain Manny Tibayan Assistant Director Danny Hernandez Special Effects Eddie Torrente Stunt Coordinators Fred Esplana, Jay Grama, Eddie Nicart, Jun de Guia Set Decorator Pepe Cruz Property Masters Maning Cabides, Doming Ocenar Cameraman Lito Lapara Assistant Editors Armando Jarlego, Dante de Leon Rerecording Technicians Ramon Reyes, Oscar Magnaye Executive Assistant/Comptroller Paquito Principe Bautista 

Cast Dolphy (Wild Bill Hika), Lito Lapid (Dalton), Yehlen Catral (Jane), Nina Sara (Estralita), Romy Diaz (Facundo), Teroy de Guzman (Barman), Conde Ubaldo, Weng Weng (Deputy Bronson), Tony Carreon [as Antonio Carrion] (Don Oligareon), Naty Santiago (Estralita’s Aunt), Er “Canton” Salazar (Don Oligareon’s Chinese Henchman), Manny Tibayan, Ben Johnson (Mayor), Amay Bisaya (Jailer), Luis San Juan (Diego), Fred Esplana (Facundo’s Goon), Eddie Nicart (Facundo’s Goon), Jay Grama (Facundo’s Goon), Jun de Guia (Facundo’s Goon), Sancho Tesalona, Joe Cunanan (Diablo’s Goon), Romy Nario (Facundo’s Goon), Robert Talby [as Robert Talvy] (Facundo’s Goon), Jing Caparas, Mel Arca, Nonong de Andres (Undertaker), Rene Tupaz (Tribesman), Telly Babasa, Raquel Sayson (Tribesman), Dante Javier, Boyet Argame (Tribesman), “Pete”/Peter M. Caballes (Jailer), Pete Andal, Kent Gonzales, Roger Saulog, Vic Santos, Neri Santos, Eddie Villamor, Remy Nocum, Ben Sanchez, Mando Pangilinan, Oscar Reyes, SOS Daredevils, Lito Calzado’s Body Machine, Panchito (Inkong Gaspar), Paquito Diaz (Diablo), Rodolfo “Boy” Garcia (Vic Tango), Max Vera (Joey Tango), Max Alvarado (Tito Tango), Dely Atay-Atayan (Fat Woman in Credits), Georgie Quizon (Tribal Witchdoctor), Don Pepot (Tribe Spokesman), Florence Carvajal (Large Native Princess), Johnny Madrid, Efred Lapid, Robert Rivera, Steve Alcarado (Bandit), Ruben Ramos (Thug with Sword), Avel Morado, Josie Andico, George Henry Jr 

COMEDY/WESTERN/MUSICAL  



Review, Dolphy and Eddie Nicart interviews by Andrew Leavold 

[Previously appeared in Leavold's book The Search For Weng Weng (2017)]

Much of what still remains of the Philippines’ filmic legacy is currently stored at ABS-CBN, serving as an ersatz archive in the absence of an actual National Film Archive - at time of writing the building has been mandated by the Philippines government but does not yet physically exist.  

The first title I looked up was what I believed to be the Weng Weng western, Da Best In Da West (1981). As the U-Matic tape flickered to life on the archives' tiny TV monitor, there was the Philippines’ King of Comedy, Rodolfo Quizon, known to generations of adoring fans as Dolphy. Beside him was Lito Lapid, nephew of 60s cowboy superstar Jess Lapid Sr… and there was Weng Weng.  

Da Best In Da West unveiled itself to be an elaborate two-hour spoof of Filipino westerns. Dolphy arrives at a town just as the sheriff is shot, and guns down the assassin, and is proclaimed hero and sheriff, all in one swift move. The reluctant hero sets off to clean up the town, and ropes in the two foot nine Bronson to be his deputy. Strictly an ensemble player here, Weng Weng has little to do other than provide a bizarre novelty backdrop, wear garish cowboy outfits, and gesture excitedly during the fight scenes.  

Lito Lapid's stardom was less than three years old when he appeared in Da Best In Da West, one of Dolphy's most popular titles from the early Eighties. An elaborate two-hour parody of Hollywood and Pinoy westerns from Dolphy's RVQ Productions, it was the perfect vehicle not only for Lito Lapid to poke fun at his cowboy persona, but also for Dolphy to star for the third time alongside his diminutive sidekick. The film itself is a reworking of an earlier Dolphy western parody, also called Da Best In Da West (1967), and also directed by Romy Villaflor, in which failed gunfighter Dolphy becomes sheriff in a town where showgirl Divina Valencia's father, the former sheriff, was killed; Panchito plays Dolphy's deputy "Clint Eatwood".

Dolphy’s RVQ Productions released three to four films a year, but one would be its stand-out roadshow presentation. With Da Best In Da West, released in June 1981, Dolphy threw the entire weight of RVQ’s movie-making machine behind its bloated, gargantuan production. “It was a very expensive movie," recalled Dolphy, "because almost all of the villains from the history of making movies are all there. Paquito Diaz, Romy Diaz, Max Alvarado, so many others. [Eddie] Nicart, and all the goons of Lito Lapid. And I had my own goons as well! It was part of my comedy." Dolphy's fight directors Jay Grama and Fred Esplana play two of the Don's goons, and are joined by fellow SOS member Jun de Guia, while Ruben Ramos clashes fencing swords with Dolphy; Eddie’s team of Mando Pangilinan and Oscar Reyes, SOS Daredevils Jing Caparas, Avel Morado, Joe Cunanan, Romy Nario all make appearances. The goons are joined by Dolphy’s comic regulars: Teroy de Guzman, fake Chinese goon Er “Canton” Salazar, Amay Bisaya, Dely Atay-Atayan, comedy trio Tatlong Itlog, brother Georgie Quizon, and Don Pepot as Ifugao tribesmen… the list appears endless, making the film resemble at times the final evening in the Titanic’s casino and everyone’s desperately trying to cash in their chips. 

"We were shooting in Baguio,” Dolphy told me of Da Best In Da West’s locations, “because it looks like a western place. At that time. Not anymore because there’s so many houses there. You can’t see the mountains anymore, there’s all residences there. And you can get some big horses in Baguio." Baguio is five hours drive north of Manila, nestled above the low-lying clouds at the beginning of the Cordillera mountain chain. A former enclave of artists and revolutionaries, it's now the tourist destination of Filipinos searching for a spot that's not as dirty, dank and tropical as the rest of the archipelago. Thus it's a constant ten degrees cooler and its tall European-looking pine trees are usually surrounded by mist, fog or drizzle. Naturally, Baguio has been utilized as an exotic backdrop for countless Tagalog features, doubling for Europe or the US in Cirio Santiago’s films and other international productions, a much-used location for Bobby A. Suarez, and convenient Ifugao exotica - Ifugao being the feathered former headhunters - for Dolphy. Baguio’s also known for its saloons (one, Baguio Country Sounds, looks like it’s straight out of a Clint Eastwood bar brawl), its country pickers, painted ponies, rolling hills, rock quarries, and the original ‘Baguio Cowboys.’ If Manila city slickers ever feel the urge for a frontier experience, Baguio’s idiosyncratic cowboys and injuns are just a relatively short bus ride away. 

Towards the top of one of Baguio City’s facing hills is the Diplomat Hotel, originally a Dominican monastery in the 1800s before it became a hotel much favoured by visiting Americans. It was later taken over by a Faith movement who then rented it out to films such as They Call Her...Cleopatra Wong, and has been in ruins for over twenty years. Scanning the mouldering rooftops, my head was filled with visions of Bobby's moustache-clad nuns falling to their deaths in slow motion. I'm sure, somewhere amidst the slime-covered fountains and bombed-out rooms there's a metaphor for the Philippines film industry somewhere... Dolphy, too, utilized the Diplomat’s formidable exteriors as the villain’s hacienda, and Da Best In Da West ends with Lito Lapid making several leaps from the same roof as Bobby’s nuns onto its once manicured, now overgrown lawns. 

The film starts with Dolphy riding through Marlborough Country singing a parodic medley of Western themes, playing travelling salesman Wild Bill Hika (hika is Tagalog for “asthma”) with his customary hangdog expression, droopy shoulders, pot belly hanging off his spindly frame, and knee-length red puruntong shorts, named after Dolphy’s character John Puruntong in John And Marsha. Bushwacked by a pair of thugs (one is our old friend from the first Tropical Hut meeting, Steve Alcarado), he’s robbed and buried up to his neck; Lito, as bounty hunter Dalton, rides in and rescues him. In turn, Dolphy saves Dalton from being strung up by his latest bounty, the notorious Tango Brothers - Max Alvarado, Rodolfo “Boy” Garcia and Max Vera as Tito, Vic and Joey. They both roll in Bronco Town where the corrupt mayor (Ben Johnson) is on the payroll of dastardly wheelchair-bound land baron Don Oligareon (Spanish-speaking mestizo villain Tony Carreon) and his violent, lecherous, whip-wielding son Facundo (a role played to the hilt by Romy Diaz) who has his eye on Estrelita (Nina Sara), leader of the local workers.  

Dolphy heads straight to the local watering hole, where he spies the gorgeous Jane (Dolphy's Angels' Yehlen Catral) dancing to a disco version of “She’ll Be Coming Round The Mountain” with a male cowboy equivalent of the Hot Gossip dancers. Things heat up when one of the saloon goons gets overheated by all the disco, shoots the town’s sheriff during the scuffle. Dolphy inadvertently shoots the assassin, and before he knows it, he's wearing a Sheriff's badge, has a two-foot-nine Deputy named Bronson, and is being measured for a coffin by the town's undertaker (cadaverous comic goon Nonong de Andres often referred to as Bankay, or "Corpse").  

Like clockwork, the Tango Brothers show up to cause trouble, but a hidden Dalton saves the day, while a cowering Dolphy tries to hide behind Weng Weng’s tiny frame. It’s the film’s only scene where Weng Weng fills the frame by himself or shares it with Dolphy alone; as Deputy Bronson, much of his screen time is spent as a background figure next to Bronco Town’s other inhabitants, although in his defence his colourful costumes – black with white tassels, an aqua Lone Ranger number, a white suit with speckled vest, and even a purple one – make him hard to miss. Romy Villaflor also frames Weng Weng strategically, sometimes in the foreground of a crowd scene, or conspicuously at its edge. In the jail house sequence, for instance, he sits on a desk grinning and mindlessly slapping a belt against his hand, then is then passed from one townsfolk to another before he’s deposited on the top of a filing cabinet. When Dolphy and Dalton serenade Estrelita in mock-Spanish, Weng Weng is out front, strumming away on a guitar that dwarfs him and threatens to crush him! At one point you can actually hear his real voice - as expected, child-like and even higher pitched than his vocal double in For Y'ur Height Only (1981).

Romance blossoms, first between Dolphy and Jane, then Dalton and Estrelita, and through Dalton’s help, the people of Bronco Town continue to mistake Dolphy for a hero – except for Jane. By then the next wave of goons under gun-for-hire Diablo (Paquito Diaz) ride in, beat up and shoot Dolphy and leave him for dead. Dolphy leaves town in disgrace, but is found by grizzled recluse and former bounty hunter Inkong Gaspar (Panchito, with grey hair and a massive Walrus moustache) and he teaches Dolphy how to shoot and fight with a sword - and makes a man out of Dolphy, before Dolphy shoots off Gaspar’s moustache and leaves him a broken man.  

Dalton’s father (director and parodist Luis San Juan) is then beaten to death by Facundo, prompting the town to take up arms against Don Oligareon and his goon army for the finale’s regulation half-hour shootout. When Dalton discovers Estrelita is being forced at gunpoint to marry Facundo, he rides to her rescue. Ambushed by Facundo’s men at the pass, Lito conveniently discovers a half-built shack – and rides his horse though its floor-to-ceiling window in slow motion. "We had a hard time doing that," recalled Dolphy. "The horses, they stop. So what we did was put a plank, the horse runs over it… In one shot we blindfolded the horse, but the horse can sense this! But we got the shot OK." 



“Those windows,” said Eddie, “it’s candy glass. I mix it myself. Even in America [during The Gunfighter shoot], when I made it, even my American counterpart could not do it, I was the one who mixed it, because I know how to do the clear candy glass, the resin. And when Lito did stunts, before, we use candy glass, the ones I mix. But now, it’s live. Candy glass cannot pass for the real thing any more, because the movie audience and the bystanders will boo you if you don’t use live (real) glass. That’s why I have lots of scars, here, when I broke the hospital glass - that’s where we passed through - because there were lots of bystanders [watching the scene]. They will criticize the stuntmen if they don’t see live action. And yes, after, they said that, Oh, that’s how the stuntmen do it. Even though there’s danger, they still go for it.  

“And so that’s how it was with Lito. Even on horses. Before Lito mounts it, I test and ride it first. Especially if it’s a new horse. Because I don’t want him to get into an accident. And so I have to test the horse first, and then I report to Lito how it is - 'Here are the horse’s cues - when you ride it, it has to be like this…' So when [Lito] rides it, he’ll already know how to treat the horse. That’s how it is. You have to give him tips, and protection, because if he gets in an accident, the shooting will stop.” 


The basic premise of Da Best In Da West – a coward and accidental hero becomes bona fide hero – is central to not only every Dolphy film but every Bob Hope or Buster Keaton vehicle, and as such is as old as the Baguio hills. Regardless, Dolphy trots out each western cliché like a proud kitten with a fresh kill, and STILL manages to inject his own personality into the material, and invents new bits of business: Dolphy’s backward firing pistol, for instance, and his ukulele gun, or the scene where he rigs up a ramshackle shower next to his horse and ends up pissed on… As with all low-brow populist comedies it’s a matter of taste, and you either buy into Dolphy’s time-worn schtick or reject it violently. Me, I’m a sucker for silliness, and this silly, all-star goon comedy romps amiably through its regulation two-hour running time, and the sight of Dolphy astride a plaster Baguio pony trying to make it buck never fails to bring a wry smirk to these jaded features.  

Da Best In Da West was, by Tagalog cinema standards, phenomenally successful. "We were competing with the first Superman [more likely Superman 2] that was showing here," recalled Dolphy. "You would see people watching Superman AND Da Best In Da West!" 




UNDER CONSTRUCTION


Dolphy (Wild Bill Hika)


Lito Lapid (Dalton)


Yehlen Catral (Jane)


Nina Sara (Estralita)


Romy Diaz (Facundo)

Teroy de Guzman (Barman)

Conde Ubaldo


Weng Weng (Deputy Bronson)


Tony Carreon [as Antonio Carrion] (Don Oligareon)


Naty Santiago (Estralita’s Aunt)


Er “Canton” Salazar (Don Oligareon’s Chinese Henchman)

Manny Tibayan


Ben Johnson (Mayor)


Amay Bisaya [front, left] (Jailer)


Luis San Juan (Diego)

Fred Esplana (Facundo’s Goon)

Eddie Nicart (Facundo’s Goon)

Jay Grama (Facundo’s Goon)

Jun de Guia (Facundo’s Goon)

Sancho Tesalona


Joe Cunanan (Diablo’s Goon)


Romy Nario [right] (Facundo’s Goon)


Robert Talby [as Robert Talvy] [middle, denim shirt] (Facundo’s Goon)

Jing Caparas

Mel Arca


Nonong de Andres (Undertaker)

Rene Tupaz (Tribesman)

Telly Babasa

Raquel Sayson (Tribesman)

Dante Javier

Boyet Argame (Tribesman)


Peter M. Caballes [back, left] [as Pete Caballes] (Jailer)

Pete Andal

Kent Gonzales

Roger Saulog

Vic Santos

Neri Santos

Eddie Villamor

Remy Nocum

Ben Sanchez

Mando Pangilinan

Oscar Reyes


Panchito (Inkong Gaspar)


Paquito Diaz (Diablo)


Rodolfo “Boy” Garcia (Vic Tango)


Max Vera [right] (Joey Tango)


Max Alvarado (Tito Tango)


Dely Atay-Atayan (Fat Woman in Credits)


Georgie Quizon [far right] (Tribal Witchdoctor)


Don Pepot [left] (Tribe Spokesman)


Florence Carvajal [left] (Large Native Princess)

Johnny Madrid

Efred Lapid

Robert Rivera


Steve Alcarado (Bandit)


Ruben Ramos (Thug with Sword)

Avel Morado

Josie Andico

George Henry Jr 





UNDER CONSTRUCTION





- mp4 file [in Tagalog with no subtitles]

 

Agent 00 (1981)


1981 - Agent 00 (Liliw Productions) 

[Release date 29th May 1981; working title "Kunin Silang Lahat"/"Take Them All"] 

Director Eddie Nicart Screenplay Cora Ridon Caballes Executive Producers Peter M. Caballes, Cora Ridon Caballes Music Pablo Vergara Assistant Director Mando Pangilinan Fight Instructors Mando Pangilinan, Oscar Reyes 

Cast Weng Weng (Agent 00), Ramon Zamora (Agent 001/“Dragon”), Philip Gamboa (Agent 002/“Diego Salvador”), Dante Varona (Agent 003/“Ermitanyo”), Lito Lapid ("Brusko"), Dolphy ("The Quick Brown Fox"), Linda Lee, Linda Castro 

COMEDY/SPY/KUNG FU 

Eddie Nicart and Dante "Boy" Pangilinan interviews by Andrew Leavold 

[Previously appeared in Leavold's book The Search For Weng Weng (2017)]

Dante ‘Boy’ Pangilinan: “After Chop Suey [Met Big Time Papa (1978)], thanks God, I have plenty of offers like in Regal Films, RPM Productions, SQ Film Productions, so I came to my Ninang [Cora Caballes], ‘This company want my services as director…’" Dante recommended his Assistant Director on Chop Suey… as his replacement. 

“‘Eddie Nicart can do justice in directing in your future films.’ 

“‘Is that a guarantee?’ ‘Yes! I can guarantee Eddie Nicart as next director.’ 

"‘You can make it,’ I said to Eddie Nicart, ‘Be humble enough. Don't put in your head you're already a director. And try to learn more.’ That's where Eddie Nicart started. 



Agent 00 - I think Eddie Nicart gave justice to that film. As a good stunt man, even Weng Weng overpasses other action stars!" 

Did you have ambitions to direct before this, I asked Eddie? “Yes. And, in SOS, when they get me as assistant director, sometimes, I get to direct as well. It was my ambition to direct even before, but not for Weng Weng… Because it would be a big [complicated] task to direct Weng Weng. But I accepted. 

“Ninang Cora [was supportive]. Even though I was just a newbie [in directing]… Because that time, 100,000 pesos is almost equivalent to one million pesos now… [Ninang Cora] said, yes, you can do it. I’ll be the one to gamble on you. She did not think twice. And it was good. It paid off." 



As the film's most famous star, Ramon “Dragon" Zamora is numbered Agent 001. Action regular Philip Gamboa plays Agent 002/“Diego Salvador”, possibly after a 1973 Visayan western starring Von Serna – such is the Pinoy action film’s sometimes aggressively self-congratulatory, self-promoting, self-aggrandizing nature; Dante Varona, Agent 003, is “Ermitanyo” after his recent starring role for Carlo J. Caparas. Weng Weng, however, is the undeniable star of the show, his slight frame not even registering an agent's number. "Ninang Cora said, okay, let’s make him Agent 00 for the film. That’s when it started." 

What is the film's story? "I’m not quite familiar with that first film. It was so long go. And I only started to focus on For Y'ur Height [Only], because it was the one that boomed. The first one, the one with Dante [Varona], he was just the fourth lead, because we were just building him up then. That’s why we even had Dolphy as a guest." In one of the surviving stills, Dolphy - as his Quick Brown Fox character – can be seen standing next to Weng Weng outside the entrance to a building. "In Midland Hotel," said Eddie, claiming they pressed his buzzer just in case he was at home. "So we waited for him. Because he was living there. He said, Ok, just wait for me at the lobby. And when Dolphy arrives, I’m already rolling, while he was talking with Weng Weng, and so, he’s already a guest." Lito Lapid also makes a cameo as his recent character Brusko. 

The project was announced to the press during shooting as Kunin Silang Lahat ["Take Them All"]. Emboldened by Weng Weng's raised profile thanks to The Quick Brown Fox, Stariray and the soon-to-be-released Da Best In Da West, the film was released on May 29th 1981 as Agent 00. For the first time, Weng Weng became the primary focus of the film's advertising ("He loves! He flies!"), his name twice the size of the well-established Ramon Zamora and Dante Varona. It was a gambit on the Caballes' part, releasing their film on the same day as Vilma Santos' Pakawalan Mo Ako (“???”) and Joseph Estrada in Kumander Alibasbas

WENG-WENG MADE IT! Despite the strong opposition posed by two giants of Philippine cinema, WENG-WENG's first solo starrer has managed to hit it big at the box-office and continues to attract vast crowds of moviegoers! Our sincerest thanks to everybody for this unexpected success, most especially to DOLPHY and LITO LAPID. PETER CABALLES Producer, Liliw Productions (Philippines Express, 3rd June 1981) 





Weng Weng (Agent 00)

Ramon Zamora (Agent 001/“Dragon”)

Philip Gamboa (Agent 002/“Diego Salvador”)

Dante Varona (Agent 003/“Ermitanyo”)

Lito Lapid ("Brusko")

Dolphy ("The Quick Brown Fox")

Linda Castro





UNDER CONSTRUCTION