Sila...Sa Bawa't Bangketa (1976)

1976 - Sila...Sa Bawa't Bangketa/"They…On Every Sidewalk" (Liliw Productions) 

[Release date 17th December, 1976; re-released in cinemas 9th April 1977] 

Director Dante “Boy” Pangilinan Writer "Cora C. Ridon"/Cora Ridon Caballes Producer "Twinkle" [Caballes] Executive Producers Peter M. Caballes, Cora Ridon Caballes Cinematography Nestor Orense Music Kuya Mimo 

Cast Rez Cortez, Ramon “Boy” Bagatsing, Ingrid Salas, Yoyoy Villame, Weng Weng, Joy Navarro, Michael Vallar, Marie Grace Santos, Linda Castro, Sarah Gumaboa, Vivian Velez, Danny Glenmore, Ruel Romano, Odette Khan, Rudy de la Pena, Tony Orbeta, Angel Confiado, Gil Arena, Leo Langalong, SOS Daredevils, Larry Esguerra, Amay Bisaya, Peter M. Caballes 

ACTION/COMEDY  

THE LOST MOVIE PROJECT: Piecing together the fragments of the Philippines' vanished cinema

Andrew Leavold on Sila...Sa Bawa't Bangketa [from The Search For Weng Weng book]; the fill interview with Dante 'Boy' Pangilinan's interview is HERE, and the Rez Cortez interview is HERE

"We are supposed to make Sila…Sa Bawa't Bangketa," Dante 'Boy' Pangilinan related. "I am the Assistant Director and Maria Saret is the director. But eventually, Direk [“Director”] Maria Saret is already pregnant and almost to deliver. So my producer, Ms Cora Caballes, 'Direk, we're supposed to shoot this coming week!' 'Oh, Ms Caballes, I'm already delivering this baby!' 'Who will direct the movie?' I'm very lucky, direk Maria Saret pointed at me, 'Boy Pangilinan will direct the movie.' So I'm surprised! 'Boy, can you make it?' 'Oo [yes], Direk Maria Saret said I can make it, so I can make it.' (laughs) I'm very happy Direk Maria Saret gave me the strong [recommendation]. That's where I started, my first film, I'm very lucky." 

The Caballes presented Dante with his diminutive star. "When Cora introduced to me Weng Weng, I was surprised…what can I do with this little boy? No…he's not a boy,” Dante laughed, “it's already 24 years old, I think. What? You make this boy one of the partakers in Sila…Sa Bawa't Bangketa? All I can say is, 'Ninang? Are you serious? OK, what talents do Weng Weng have?' So I began screening Weng Weng. Wow! Weng Weng do the martial arts… the only thing is the dialogue, I cannot… 'What? OK, subject for dubbing!'” Dante laughed heartily. “But, I like his voice, I don't make dubbing. That's why when you see the film, Sila…Sa Bawa't Bangketa, original voice of Weng Weng." How would you describe his voice? "Very small, like coming from the balloon? Understandably he's a small guy, but with a big heart, big strong… If you can feel him, he's very strong." 

What were your impressions about his mental abilities? Did he seem like a child? "Mentally, Weng Weng is I think half-half. There is a time when we I talked to him, straight answers, and eventually he says, 'Hey, look at that girl, wow!' So he's normal. 'Wow, direk, she's sexy!' He's normal. But there was a time, I think, when small kids started playing with him, he also played. 'Oh you're playing, you're already a big boy!' But then, 'Just look at the legs of Ingrid Salas, my leading lady!' In fact, Weng Weng asked me, 'Direk, do we have a kissing scene?' 'What? OK, I made a scene where you have a kissing scene…' You can look at the face of Weng Weng, shines. But eventually, I think he's already thinking, 'How can I do that?' 'OK, just relax!' So, as the shooting goes on, I think Weng Weng is thinking their kissing scene, when will that scene be taken? Weng Weng is a normal guy, a nice guy." 

Sila…Sa Bawa't Bangketa featured a fourth-billed Weng Weng as a jeepney barker collecting fares for driver Rez Cortez. The pair fall foul of the crime syndicate boss, played by Ramon 'Boy' Bagatsing Jr - a future politician, his father Ramon D. Bagatsing was the one-legged Mayor of Manila from 1972 to 1986 - who also has eyes for Rez's rich-girl sweetheart (Ingrid Salas). Weng Weng ends up a police informer posing as one of the syndicate's child drug couriers. Unseen since its brief theatrical run, even Dante has trouble remembering the plot. But for certain, it was made quickly and cheaply, made the Caballes' money back plus profit, and its two-foot nine star was noticed. 

"I made that film in 35mm," said Dante. "I think, one of my goals there is to shorten my film shooting days. So hopefully I don't offend another director or another film producer, during that day they made a film in 30 days, one month, but Cora said, 'Direk, can we make this film about eight to ten days?' I told my producer, why? 'We have just a limited budget.' So I said, 'Ninang, why me?' It's a challenge to me. We even don't have a complete fully-equipped shooting unit! Just a cassette, one camera, and a number of lights. I said, 'Ninang, I will try my very best in doing this film.' So I started my first day film. My lead actor Rez Cortez, Weng Weng, and the first film of Vivian Velez. That was the first lead role of Miss Vivian Velez as an actress. So we start shooting, together with Ingrid Salas, one of the leading ladies, and Ramon 'Boy' Bagatsing, that was his first starring role - the villain opposite Rez Cortez, the father of the actor Raymond Bagatsing, now a big actor in television. 

"We started shooting. First day, second day, third day…here comes the seventh day. So I told my Ninang, 'This is my last day.' 'Oh…are you sure?' 'Yes.' 'How many film did you expose?' I already exposed during that day - other directors expose 35 to 40 film rolls - so I already exposed 25 rolls. When I edit that film, I will already compress it to 12, the maximum reel to be exact in the theatrical film, it's already good. So when I make that last day of shooting, even my whole staff, and together with my Ninang we celebrated. For the first time we made an eight-day shooting. Here comes the editing process, so my producer, my Ninang was nervous. How come I made that film in eight days, but my editor, 'Oh, there's so many more excess!' I made more excess! So there's more plenty of materials. My producer was very happy. So even my film Sila… is not yet shown, oh, you make your next movie! 'OK Ninang, we just wait the outcome in the theatrical showing.' When my first movie, cross my finger, Sila… was shown, I thank God it made, not so big, but eventually it made money.  

"Peter Caballes, as my Ninong, the husband of my Ninang, I make him as the villain. He's the villain, contrabida of that movie. The big guy - well, he's handsome - before I started that film, it happens I talk to my Ninong, 'Boy, who is your contrabida in that film?' I can see in his eyes the glow that he wants to be a movie actor. He makes his part OK in my film..." 

Can we say, then, that Cora is the businesswoman and Peter is the movie lover? "Yes, I can feel my Ninang, Cora Caballes, goes to this show business because of my Ninong. Why? Because my Ninong is a frustrated actor, I can feel that! That's why my Ninang Cora continues doing movies, because of him." 

What do you remember about the Caballes as a family? "As far as I remember, their family was too close, and I think even their children were enrolled in nice universities. Cora and Peter Caballes were good parents, they provide all the goods for their children." They were like family to you? "More. I think of Cora and Peter Caballes more of my parents. Because they treated us as a family, not as a worker." In what way? "Especially when you have your personal problems, they're the one attended to personally." 

When I finally interviewed Rez about Sila…Sa Bawa't Bangketa, like Dante he recalled very little about the film itself. He did remember, however, being taken aback by his two-foot-nine co-star. “'What’s this Weng Weng?’” he asked himself. “‘Is he a TOY?’ Then I realize he’s human, he’s a person. He’s…" Rez took a while to choose his words carefully. "He's a very sad person. He tried to smile, but you can see it in his eyes that he’s very lonely, his connection with people is very superficial. But we play like humans, to be teased by women. When he looks at the actresses he’s working with, he’s titillated. You say, ‘Hey Weng Weng, this actress, I think she likes you!’ He enjoyed that.  

“Of course his voice is very small, sometimes I had a hard time understanding what he’s talking about. I have to ask, ‘Anong?' ['What?’] He tried to connect. But he’s got limitations, I think he cannot get in touch with his feelings. Because when you ask, ‘Do you feel lonely?’ ‘Yeah, I cried…’ So his inner thing is somehow very superficial. As an actor you have to be in touch with your emotions. And that’s why there’s a style or a way to direct Weng. How can you draw out that emotion if he himself cannot recognize those emotions? When you ask him, ‘How do you feel?’, his answer is something else. It’s not a feeling that he’s thought about. It’s a factual thing that he can experience.  

"Also I’m aware that he’s taken care of by the producers, that somehow the producers are not giving him the compensation that he’s supposed to get." 

"You can tell this?" 

"Yeah." 

"Just from being on the set?" 

"Yeah. The producers are taking care of him, but the problem is he’s the lead star. He’s very small, yeah? He’s supposed to ride in a car, but you can see him on the set riding in the utility service [truck]. Because maybe the production manager said, ‘Hey, pick up Weng Weng!’ They don’t repackage him as a star. Actually I think Weng Weng’s happy with that. Maybe for him it’s a blessing; for him it’s something higher than what he’s having. But he deserved more. 

“I don’t like to be judgmental, but they’re part of the system. There are a lot of producers like them. They’re there for the wrong reasons. Not necessarily wrong, but it’s a reason that I don’t agree with. But if you’re going to be a producer, you must have the vision, you have to have a hold on your material. But of course everything came down to economics. They’re that type of producer. 

“In the first place they’re not filmmakers. They’re just there because they know they can make money. So, that creative aspect of a producer is non-existent. They continue producing because of Weng Weng. It’s an opportunity for them to make money and spend less. But they’re good people, and I like them, Pete and Cora. They’re OK. But they’re not filmmakers, they’re businessmen, and they’re producers that believe money saved is money earned." He paused and smiled conspiratorially. "On an EXTREME!" 

 

Chop Suey Meets Big Time Papa (1978)

Image courtesy of Simon Santos and his Video 48 blog

1978 - Chop Suey Meets Big Time Papa (Liliw Productions)  

[Release date 3rd February 1978; newspaper ads list the film as "Chop Suey Met Big Time Papa", which according to Dante "Boy" Pangilinan is a typographic error]  

Director Dante "Boy" Pangilinan Screenplay Coran Ridon Caballes Producer "Twinkle" [Caballes] Executive Producers Peter M. Caballes, Cora Ridon Caballes Music Anthony Castillano Assistant Director Eddie Nicart Fight Instructors Mando Pangilinan, Oscar "Oca" Reyes 

Cast Ramon Zamora (Chop-Suey), Weng Weng (Big Time Papa), Mike Cohen (Crime Boss)  

KUNG FU/SPY/COMEDY  

THE LOST MOVIE PROJECT: Piecing together the fragments of the Philippines' vanished cinema

Andrew Leavold on Chop Suey Meets Big Time Papa, from The Search For Weng Weng book; full Eddie Nicart interviews are HERE, and Dante 'Boy' Pangilinan's interview is HERE

In late 1977, Dante "Boy" Pangilinan presented Weng Weng to Cora Caballes as main foil to Ramon Zamora (They Call Him Chop Suey [1975]). "I have my belief to that small kid to be a big star. So, she read my synopsis and my treatment. 'OK, when do you like to start your filming?' Right then and there. 'OK!' 

"I'm very thankful to my Ninang. 'You're ready? Shoot!' Weng Weng is very happy. 'Direk, can I already make that film as one of the lead roles, with the famous Ramon Zamora?' 'Yes! You already proven that in our first film. That's your testing ground. And this time you have plenty of leading ladies!' 'OK!'" Dante laughed. 

Chop Suey Meets Big Time Papa (1978) was Weng Weng's first lead as secret agent "Big Time Papa" roping in hapless martial arts instructor Zamora to bring down an American crime lord (Mike Cohen, aka Professor Von Kohler in For Y'ur Height Only) and his syndicate. Once again, Dante was sketchy on the film details, but did remember the film's contrabida well. "Mike Cohen's a good actor," recalled Dante of the squat, big-browed White Goon from countless local and international productions, Tony Ferrer actioners and Chiquito comedies; a retired Colonel operating a theatre in Malate’s Harrison Plaza while lending out is rotund, officious presence to local and international productions. "He's already well-versed in Filipino [film]making. He already understands more Filipino dialects, and he even talked Tagalog when I directed him!" 

Don Gordon Bell served time as one of Cohen's red-jumpered goons in the Tony Ferrer-starring Sabotage 2 (1979). "Colonel Michael Cohen was a great man. Served in the guerilla forces during World War 2 in several places of Luzon. He had stories that have proven true about the actions of Filipino guerrilla units against the Japanese/Korean troops during the occupation. He was a Captain in the US Army and retired as a Lieutenant Colonel, made honorary Filipino citizen by former President Marcos. Mike was a great friend of the lads during our years in Filipino cinema, working with us as a character actor in a number of films. A Russian Jew, Mike was willing to do anything, even suffered a bite from a poisonous snake during a shoot. He insisted on finishing the scene after treatment!" Sadly, Colonel Cohen died soon after the snake bite.  

"What I most admire about Mr Mike Cohen," said Dante, "as far as compensation is concerned, he understands the budget of the Filipino filmmaking." What kind of budgets are we talking about? "This time Ninang Cora Caballes gave me an even higher film budget, because this film already, one of the lead roles, Ramon Zamora, is already proven as an actor, and box office, during that day." How much exactly? Dante laughed... "During that day, around 300,000 to 400,000 [pesos], it was already a big budget, excluding the publicity. Just for filmmaking, for Chop Suey…." And the previous budget for Sila… was much smaller? "It's already from 100,000 to 250,000. During that day. That was 1976, already a bigger compensation, the value of the peso during that day is very big." 

Eddie Nicart in The Game Of Death! (1974)

Chop Suey… also marked Weng Weng's first association with Eddie Nicart, a person who, after Peter and Cora Caballes, would transform his life beyond recognition. "Eddie Nicart is my assistant director, and Mando Pangilinan, my cousin, is the fight instructor of Eddie Nicart. Because they both belong to SOS Daredevils, they are like brothers in that association of stuntmen. He's very nice, Eddie Nicart is a good man…" 

For Chop Suey…, did Eddie and Mando train Weng Weng to be a stuntman? "Yes. That's when Mando and Eddie Nicart already started Weng Weng training more on the stunts, more on action. So Weng Weng, in this small size, become more effective as an action star."  

Eddie Nicart’s previous stunt and acting work with Johnny C. Pangilinan and son Dante on a number of films - most notably in Dugo At Pag-ibig Sa Kapirasong Lupa (1975), and playing the revolutionary Luis Prang in Gomburza – led to the offer of Assistant Director with Liliw Productions, as well as supervising Weng Weng’s training. “Although not like the other outfits which were big, but they were doing lots of films - even non- Weng Weng. So I sometimes join those films as [fight] instructor, or actor. So when Weng Weng arrived, Ninang Cora knows me. When they did Weng Weng, Boy [Pangilinan] did not have his crew, unlike me, I have a five-man crew, and we can already make movies. It’s all there - the caterer, the crew, we were all working. Even though I’m the director, sometimes, I’m still the caterer, I would be cooking. We all were moving, working. We can do it cheap. So when I say that we can finish a film in one week, we can do it. Fifteen days, seven days…  We can do it. We were intact. We were together. It was teamwork. 

“The first time I saw him,” Eddie told me of his first meeting with Weng Weng, “they said that he was discovered in the streets of Baclaran. When I first saw him in the [Caballes’] house, I told myself that if this kid will be dressed and trained properly, his [career] will fly. Because he can comprehend things. He obeys. And when I [teach] him karate, he has good footwork. And I said that if he will be trained properly, he will have better moves. And that’s what happened. We taught him. We brought him to the gym.”  

Eddie and his assistant directors-cum-fight instructors Mando Pangilinan and Oscar 'Oca' Reyes put Weng Weng through an SOS Daredevils’ version of Boot Camp for several months. By training’s end, Weng Weng was the real deal, a professional stuntman and genuine miniature Goon.  

Everyone says he was already a blackbelt in karate before he started in films? “I do not [believe that]. It was with our trainings that he became a blackbelt. Because when he was with us in the gym, he was made to wear the belts. First, the white belt, and then he was promoted to brown, and then red… because of his abilities. But at first, I did not notice that. When he was still not with Ninang Cora, I did not know how he was. I know that he was just a stand-by in Baclaran. Because nobody was really taking care of him. His brothers did not know that he would turn out like that.” 

Where did you train Weng Weng, I wanted Eddie to answer. "Mostly at SOS, and at the Karate Club of our friends. That’s where we train him karate. And for his stunts, he trains at the SOS gym. That’s where we teach him. Jump off the building, jump off the bridge! It was okay. The kid was obedient, even though he was like that. Because he’ll do whatever you tell him to. When you tell him to jump, he’ll jump. He does not have any fear. Probably because he’s slow in the head, but it was good because he was obedient."  

How long did you have to train him? "Months. A couple of months, I think. Karate, jumps, fight scenes. Most especially the fight scenes. It should not come off awkwardly. And this is because Peter and Cora want to turn him into a leading action star." 

Chop Suey Meets Big Time Papa was enough of a minor hit to make money for the Caballes. “As far as I know,” said Dante, “before I started the film, they only renting the one-space apartment. But when I made these films Sila… and Chopsuey…, they already own that place. Why? Because of the outcome of my movies. When I visited them, wow, they already owned that apartment."   

The King Plaster (1972)

1972 – The King Plaster (Luis San Juan Productions)  

[Release date 13th July 1972]  

Director/Producer Luis San Juan Story/Screenplay Jun San Juan Cinematography Fermin Pagsisthan Music Pablo Vergara Layout Artist Marvin B. Panganiban

Cast Ramon Zamora, Jane Laurel, Menchie Palma, Tange, Mandy Bustamante, Pancho Pelagio, Menggay, [Don] Pepot, Penggot, Golay, Rudy Evangelista, Val Iglesia, Annie Crisostimo, William Mely, Tony Wang, Art Velasco, Mauricio, Bobby Blason, Leo Curay, Roland Falcis, Jun Velasco, Jay Grama, MM Stuntmen, SOS Daredevils, Louie Florentino, Gilbert Brown, Linda Yu, Rosa Luna, Linda Castro  

KUNG FU/COMEDY  

NOTES by Andrew Leavold

Sadly, Luis San Juan's spoof of the Meng Fei film The King Boxer (also 1972) has been missing since the Seventies. Needless to say, if anyone finds a print, PLEASE let us know!

THEATRICAL

PHILIPPINES - released 13th July 1972

Fish And Fury (1972)

1972 – Fish And Fury (Luis San Juan Productions)  

[Release date 14th September 1972]  

Director/Producer Luis San Juan Story/Screenplay Jun San Juan Cinematography Edmund Cupcupin Music Pablo Vergara Layout Artist Marvin B. Panganiban   

Cast Ramon Zamora, Jane Laurel, Baby San Juan, Menchie Palma, Tange, Balot, Tony Bernal, Mandy Bustamante, Rollie Grande, Matimtiman Cruz, [Don] Pepot, Penggot, Rudy Evangelista, Vic Gaza, Val Iglesia, William Macly Jr, Rod Francisco, Mando Mangarin, Nelson Esparza, Arthur Velasco, Dante Aragon, Jimmy Margallo, Danny Madrid, Benjie Bernal, Domeng Velasquez, Rudy Ferrer, Ben Alitaptap, SOS Daredevils, Louie Florentino, The Jubilees, Angel Confiado, Marilyn Gutierrez  

KUNG FU/COMEDY  

NOTES by Andrew Leavold

Sadly, Luis San Juan's spoof of the Bruce Lee film Fist Of Fury (also 1972) has been missing since the Seventies. Needless to say, if anyone finds a print, PLEASE let us know!

THEATRICAL

PHILIPPINES - released 14th September 1972

Enter Garote (1974)

1974 – Enter Garote (JMJ Pictures) 

[Release date 4th October 1974; working title “Nonoy Garote”*] 

Directors Tino Garcia, Sol Gaudite Story/Screenplay Bert R. Mendoza Producer Maraiano L. Bermejo Jr Cinematography Rolly de la Rosa, Luis Chiong Music/Sound Effects Demet Velasquez Editor Abelardo Hulleza Sound Supervisor Greg Ella Sound Editor Boy? Cabrales In-Charge Of Production Juliet Rufino Bermejo Production Managers Paquito Maclang, Ben Javier Assistant Director “C.P.D.” Fight Director Johnny Chiuten Stunts Jonathan Gabriel Post-Production-In-Chief Johnny Chiuten, Ali Gabung? Assistant Editors Efren Salvador, Orlando Vinarao  

Cast Chiquito, Lotis Key, Elizabeth Oropesa, Jay Hess, Frankie Navaja Jr, Yoyoy Villame, Jess Vargas, Ding Salvador, Tinoy de Gracia, Carlos Diaz, Ernie Ortega, Golay, Larry Alcuizar, Jun Gabriel [as Jonathan Gabriel], Bino Garcia, Manuel Dagul, Vivian Long, Alice Sison, Ben Contreras, Jun Escario, George Aznar, Edgar Rodriguez, Aly Gabuya, Joe Gutierrez, Romy Lagura, Leo Musni, Bob Rodiz, Cesar Roque, Rey Naguit, Vultures Stuntmen, Dragon Tiger Kung Fu Karate Club, Durex Karate Club & Judo, Evelyn Laxamana, Lynn Madrigal, Remy Presas [Father of Modern Arnis], Ansiong Bacon [Cebu Garote Grandmaster Balintawak Group], Filemon Canete [Cebu Garote Grand Master Doce Pares Group], Johnny Chiuten, Captain Ciriaco Canete, Atty Jose Villasin, Teofilo Veles 

VISAYAN/COMEDY/KUNG FU 

* According to the shooting script submitted to the Board of Censors 

From the Facebook group Visayan Eskrimadors: Enter Garote is a 1974 Film which is starred by Chiquito with special appearance of Clubs like Doce Pares, Tiger Kung Fu Karate Club Dragon Johnny Chiuten's group with their style of arnis called LAPUNTI Arnis de Abanico, Balintawak Eskrima and Modern Arnis.

Here's some background of some of the Filipino Martial Artists in the video:

Venancio Bacon founder of Balintawak standing at 5 feet, 2 inches tall, and no more than 120 pounds, he was dimunitive in physical stature, a giant in terms of his influence and impact in Filipino Martial Art, there was a story when he was ambushed in the dark while walking to his home in Labangon. He killed his assailant in self defense by snapping his spine, but he was incarcerated for homicide, the judge considered that his martial skills were lethal weapons and should have been used with restraint.

Filemon "Momoy" Canete Founder of San Miguel Eskrima a blade-based martial art system wherein various weapons are used as a primary training tools to teach universally transferable skills. Momoy was the chief instructor of the Doce Pares Club for 55 years until his death in 1995. Together with Lorenzo Saavedra, Teodoro Saavedra, Rostico Cobarrubias and others they formed the Labangon Fencing Club in 1920. In 1932, Momoy joined both Saavedras and his other brothers to form the Doce Pares Club.

Johnny Chiuten a pure Chinese Cantonese descent who studied martial arts from Hung Gar Kung fu, aikido, karate and eskrima dropped all his college subjects in Manila for the year and went back home to Cebu to study stick fighting with the masters. Anciong Bacon of Balintawak accepted him without reservation. When Johnny left Balintawak he approached Filemon Caburnay a former member of Doce Pares. They had good chemistry and the two of them later invented Lapunti Arnis de Abanico. Johnny Chiuten introduced the footwork and locking techniques of Hung Cha kung fu into Lapunti.

On the set of ENTER GAROTE (1974)