The Bamboo Gods Project

Thursday, November 5, 2026

Joe Andrade

Joe Andrade - veteran goon and henchman active in the Seventies to Nineties

As Manong in High Velocity (dir. Rene Kramer, 1976)

Bruno Punzalan (birth name Santiago Agapito, born in 1911, in Barrio Bunducan, Bocaue, Bulacan; died 5th February 1984 from a liver condition) was a veteran Filipino character actor celebrated as one of the finest natural villains of the Golden Age of Philippine cinema. Active from the 1950s through the early 1980s, his distinctively craggy, bald appearance and rugged face made him instantly recognizable, routinely leading to his casting as henchmen, thugs, and antagonistic figures. His look was so iconic in local pop culture that his name became a humorous nationwide shorthand nickname for bald men.

Punzalan made his onscreen debut in the 1952 film Nikico Med and wrapped up his 30-year career with the critically acclaimed 1981 drama Salome. He frequently collaborated with legendary Filipino director Eddie Romero, as well as cult-classic figures like Vic Diaz and Sid Haig. In his later years, he also performed in traditional Sinakulo (Passion plays) during the late 1970s and 1980s.

His final resting place is in Sulucan Catholic Cemetery in Bocaue, Bulacan.

As Ah Wong, General Wu's henchman, in The Scavengers (dir. John Cromwell, 1959), written and co-produced by Eddie Romero

As a drunk Japanese officer in No Man Is An Island (dirs. John Monks Jr & Richard Goldstone, 1962), co-produced by Lamberto V. Avellana and Rolf Bayer

As Esteban Powers' devoted servant Goro in Brides Of Blood (dirs. Gerardo de Leon & Eddie Romero, 1966)

As Dr Lorca's henchman Razak in Mad Doctor Of Blood Island (dirs. Gerardo de Leon & Eddie Romero, 1969)

As Razak in Beast Of Blood (dir. Eddie Romero, 1970)

As a drunk truck driver - credited as "Bruno Punzalah" - in Black Mama White Mama (dir. Eddie Romero, 1972)

As drunk pilot Smiling Jake in Savage Sisters (dir. Eddie Romero, 1974)

As a Japanese officer in Kumander Agimat/Hustler Squad (dir. Cesar Gallardo, 1975), produced by Cirio H. Santiago

As the old bodyguard in High Velocity (dir. Rene Kramer, 1976)

Uncredited as an Arnis master in Firecracker/Naked Fist (dir. Cirio H. Santiago, 1981)

High Velocity (1976)

1976 - High Velocity (First Asian Films Of California)

[US/Filipino co-production filmed in the Philippines for the international market]

Director Remi Kramer Screenplay Remi Kramer, Mike Parsons [as Michael J. Parsons] Producers Mike Parsons [as Michael J. Parsons], Takashi Ohashi Executive Producer Joseph Wolf Cinematography Robert Paynter Music Jerry Goldsmith Orchestrator [uncredited, listed on IMDB] Arthur Morton Editor David Bretherton Sound Mixer William [B.] Kaplan Production Manager Peter Samuelson Art Director Robert Mitchell First Assistant Director Peter Macgregor-Scott Assistant Directors Nick Miranda, Hernan Robles Second Unit Director Jose Dagumboy [as Joe Dagumboy] Special Effects Teofilo Hilario Construction Manager Evaristo Dalistan Stunt Coordinator Clem Parsons Makeup Artist [uncredited] Cecille Baun Wardrobe Supervisor Llandys Williams Camera Operator Derek [V.] Browne Focus Puller Paul Hennessy Camera Assistant David Burr Key Grip Dante Javier Gaffer Alan Martin Best Boy Peter Clarson Second Unit Cinematographer Nonong Rasca [Second Unit] Assistant Camera George Rosales Boom Operator Earl Sampson Technical Advisor William Darrow Casting Director Hoyt Bowers Location Managers Gener Sulit, Jose Dagumboy [as Joe Dagumboy] Script Supervisor Tom Moore Executive Assistant Vincent Pavis Sound Editors Gordon Daniel, Gilbert D. Marchant [as Gil Marchant] Assistant Film Editor David Ramirez Music Editor Ken Hall Re-Recording Mixer Robert Knudson

Cast Ben Gazzara (“Bummer” aka Clifford Baumgartner), Britt Ekland (Marie Anderson), Paul Winfield (“Woody” Watson), Keenan Wynn (William Anderson), Alejandro Rey (Alejandro Martel), Victoria Racimo (Dolores), Joonee Gamboa (Commander Habagat), Rita Gomez (Nancy), Joe Andrade (Manong), Liam Dunn (Bennett), Richard O'Brien (Beaumont), Stacy Keach Sr (Carter), James Bacon (Monroe), Jojo Juan (Celia), Kim Ramos (Tigerstripe Officer), Bruno Punzalan (Old Bodyguard), Hernan Robles (Jail Guard)

ACTION/THRILLER

Review by Andrew Leavold

Taut, unexpectedly gripping mid-shelf thriller stars Ben Gazzara as Baumgartner, ex-Ranger Captain from the Vietnam War and now semi-retired crop duster in an unnamed, corruption-riddled military junta. He’s trying to eke out his own little patch of paradise but the powers-that-be won’t let him, as he’s blackmailed by corporate snake Alejandro Martel (Alejandro Rey) into rescuing his company’s repellent American CEO Anderson (Keenan Wynn) from a guerrilla stronghold in rebel-held territory. Killing’s a business for Baumgartner and he’s reluctantly back on the payroll, as is his ex-Nam buddy, the equally jaded African-American Woody (Paul Winfield), and they both don the camouflage warpaint and head up the river -literally and figuratively - with a small arsenal of crossbows and explosives. Unfortunately for Anderson his head’s full of corporate secrets, and Martel instructs Baumgartner to leave Anderson for dead rather than bring problems back home for him and his mistress, Anderson’s listless wife Marie (Britt Ekland).

I call High Velocity “mid-shelf” as it appears to exist somewhere between an A and a B feature, with Gazzara (in Cassavette’s Killing Of A Chinese Bookie the same year) giving his role class and grit in equal measures, and with the usually dependable Ekland, here little more than window dressing, providing the glamour. Eddie Romero’s long-time collaborator Mike Parsons – as actor, co-producer and screenwriter throughout the Sixties – adds local flavour to director Remi Kramer’s script, lending the film an authenticity: the cockfight, a spectacular chase through the impossibly crowded streets of Manila's Chinatown, the drunken machismo, the omnipresent military (this WAS filmed during Martial Law, remember), and the requisite titty bar loaded on stage and off with doomed white expatriate faces. The character names are Filipino, the unsubtitled dialogue’s in Tagalog, and the-army-versus-rebels backdrop (for the so-called “Group of 45”, read the Philippines’ communist NPA - there's even a tell-tale photo of Filipino nationalist leader Jose Rizal on the wall of the guerrilla's hut) is all too familiar to a Filipino audience.

It’s an interesting smart-pulp improvement on the familiar “mercenaries rescue kidnapped Westerner from enemy territory” scenario, and not just because of Gazzara’s gnarled, laconic delivery, and enjoyable dynamic and snappy banter between him and the as-gnarled Woody. For starters, our sympathies certainly don’t lie with the Ugly American Anderson, played as a barking brutarian, vainglorious and vein-popping popinjay by an over-the-top Wynn, nor with his multi-national corporation, whose conspicuous extravagances are proudly on display. The opening polo match, from which Anderson is snatched, hammers the point home to perfection: polo-playing royalty inside their palatial walls, watched by their resentful, threadbare subjects through the gate’s cell-like bars.

So do we cheer for the left-wing guerrillas led by Commander Habagat (Joonee Gamboa), themselves white-anted by corruption and desire for power, and all too eager to commit the ghastliest of deeds so long as they’re sanctified by the noblest of motives? Or does High Velocity labour under the right-wing libertarian notion that the individual, and not the power structures that hold his true spirit in chains, can triumph? Certainly Baumgartner is only too happy to blast apart the rebels’ huts to save his and his wife’s skins, and doing the corporation's dirty work in the process; in High Velocity’s unmarked hellhole, life is cheap, if not instantly disposable, and is ultimately measured by how strongly one feels the survival urge. Subsequently, there are no cheats nor sappy clichéd resolutions as the film hurtles towards its sour conclusion. Grim, satisfying stuff.

While the film remains unreleased in digital format, Jerry Goldsmith's thrilling soundtrack has been rediscovered by film score fans after it was finally released on CD with help from Jerry's son Joel.

On-set photos by Carl Kuntze (used with permission)