Contra Señas (1965)

1965 – Contra Señas/“Counter Signal” or "Counter Sign" (Tagalog Ilang-Ilang Productions)

[Release date 12th September 1965]

Director Eddie Garcia Story/Screenplay Henry Cuino Producer Attorney Espiridion Laxa Cinematography Fortunato B. Bernardo Music Carding Cruz Editor Gervacio Santos Sound Supervisor Flaviano Villareal Sound Effects Marcelo Solo Production Manager Jose D. Laxa Assistant Production Manager Ramon Navarro Assistant Director Tony Dantes Special Effects Jaime Trajano Jr? Makeup Artist Cely Vega Settingmen Absalon Eslaban, Ben Gozo Propsman Edgardo Manlap Layout Artist Marvin B. Panganiban

Cast Tony Ferrer (Tony Falcon, Agent X-44), Barbara Perez (Vivian Gera), Miriam Jurado (Margie), Rod Navarro (Galvan's Henchman), Paquito Diaz (Galvan's Henchman), Arnold Mendoza, Bessie Barredo, Victor Bravo, Manolo Robles, Jose Garcia [as Joe Garcia] (Professor Gera), Manolo Noble (Colonel Campos), Rocco Montalban (Galvan's Henchman), Jennings Sturgeon (Alfred Kohnor), Menchu Morelli, Danny Rojo, Leon Pajaron, Rudy Dominguez, Greg Lansang, Rey Lapena, Rudy Moreno, Arsenio Almonte, Hernando Costa, Max Alvarado (Assassin), Nello Nayo, Sammy Sarmiento, Oscar Keesee [Jr] (Senor Galvan)

SPY/ACTION

NOTE: This is the fourth in a long-running series of Agent X-44 films starring Tony Ferrer. For a full filmography and detailed article on the X-44 series, click HERE.

 

Extract from Andrew Leavold's “Ang Artista At Ang Falcon” journal article on Eddie Garcia directing Tony Ferrer’s Agent X-44 films, Pelikula Magazine Volume 5, published by the University of the Philippines, December 2020 

In the early- to mid-Sixties there were two major trends in the Philippines’ cinema – independent outfits taking the place of the crumbling studio system previously dominated by Sampaguita, LVN and Premiere, and action films. Rough, fight-laden, populated with “goons” (the stuntmen-turned-bit players used as human punching bags for the bidas or heroes). In addition to war films, westerns and urban crime films, and their inevitable parodies by Dolphy and Chiquito, a new trend sweeping the world: Bondmania. By the time the third James Bond adventure Goldfinger was released in early 1964, almost every filming country had their own homegrown spy hero battling one nefarious organization or another bent on world domination. The Philippines, always with an opportunistic eye on popular trends, took to the spy craze like a starving man handed a balut, and between 1964 and 1967 more than a hundred Filipino Bond imitations were released, as each action star sought to sex up his image, and each hungry independent producer wanted a slice of the action.

One of the hungriest was Tagalog Ilang-Ilang Productions run by Pampanga-born producer and president Attorney Espiridion Laxa, specializing in war, western and action films starring hot new stars such as Fernando Poe Jr and Joseph Estrada. “He would gamble on new ideas,” Eddie said about Laxa. “Tagalog Ilang-Ilang Productions was one of the most successful producers during that era.” Many of TIIP’s films starred Laxa’s younger brother Antonio, rechristened Tony Ferrer (after Hollywood actor Jose Ferrer), in a supporting role to Poe Jr, Estrada, Jess Lapid and others. Unfortunately for Tony he never really made much of an impact on audiences.

That was, until he became Tony Falcon, Agent X-44.

Falcon was the Laxa’s answer to Lagalag and Anthony Alonzo’s Agent 69 (1964), and in January 1965 the first X-44 adventure, G-2/Taga-Usig Ng Kaaway (“The Enemy Interrogator”), was released by independent outfit Broadway Pictures (no doubt associated with or even bankrolled by Laxa’s TIIP). Eddie Garcia was drafted as director; for him it was the first of these new Bond imitations. The film has long since disappeared but evidently a hit with audiences and firmly established the new character of G-2 operative Tony Falcon, Agent X-44, pairing him with the already-established Agent 69, which Tagalog Ilang-Ilang also did with the second X-44 film Kalaban Ng Sindikato, also directed by Eddie, only two months later. Interpol was the third, followed by a fourth –the earliest X-44 adventure AND Eddie Garcia-directed film in existence – called Contra Señas, or “Counter Signal”.

At immediate glance Contra Señas is a quantum leap forward in quality from the first three films. It is the first X-44 film in color, which was considered a big deal at the time, and usually reserved for the studios’ roadshow presentations. Cast opposite Ferrer is Barbara Perez, known at the time as the “Audrey Hepburn of the Philippines”, and was hot property, especially after she was offered a Hollywood contract in the wake of her appearance in the US production No Man Is An Island (1962). Then there’s the film’s opening, a magnificently staged sequence of shots in which Tony Falcon is dwarfed by massive oil tanks as he prowls and karate-chops his way through a goon-infested refinery (specifically the Shell Refinery in Batangas), while the music – Carding Cruz and his orchestra’s bongos, shimmying horns and staccato jazz stabs - propels the action along. Falcon then sets the refinery (more specifically, its miniature!) to explode, capping off an impressive credit backdrop which, although admittedly not up to Hollywood standards, is comparable to any Italian or Spanish Bond knock-off.

Contra Señas immediately kicks in with Professor Gera (Jose Garcia) offering his anti-missile formula to both the Philippine government and a shadowy organization (Red China? Russia? Intriguingly it’s never mentioned by name) for 200 million pesos. To ensure his personal safety Gera deliberately withholds the missing part of the formula, the “counter signal” of the film’s title, but is still kidnapped by the global conspiracy’s Manila representative Senor Galvan (Gerry de Leon and Eddie Romero regular Oscar Keesee Jr) and his parade of henchmen (Paquito Diaz, Rod Navarro, Victor Bravo), each one with a small army of apes in suits (Rocco Montalban etc), who threaten to snatch Gera’s only daughter Vivian (Barbara Perez). G-2 boss Colonel Campos (Manolo Noble) assigns his top agent Tony Falcon to protect Vivian; little does Tony know that Vivian’s rich socialite friend Margie (Miriam Jurado) is not only a member of Galvan’s nefarious organization, but is – horror of horrors – trying to destroy the budding romance between Vivian and Tony. The counter signal is finally revealed to be inscribed on a wheel-shaped pendant around Vivian’s shapely neck, but it’s too late, as the seemingly doomed lovers are grabbed and X-44 finds himself strapped to a table with a huge metal arrowhead aimed at his particulars.

Very much a product of its time and its formula, Contra Señas does little to deviate story-wise from the hundred other Pinoy Bonds. What is does impart is a level of worldliness not usually seen in Filipino action films of the period, as well as a high degree of sophistication in the way the story is translated onto the screen. “I enjoyed doing these Falcon series,” Eddie admitted in a 1978 interview in Expressweek. “They gave me the chance to explore the camera through quick pacing, fancy camera angling, all that stuff… I like my work to be fluid in the use of visuals and in continuity. I do a lot of homework even before the actual filming starts, and the script is usually pre-edited before the shooting begins.” Presumably Eddie was given more time and a larger budget than a regular Tagalog action film, and Eddie’s professionalism shows in his dynamic composition (high angles, triangular shots) and fluid action, in stark contrast to the usual technique of filming actors talking in a line in continuous shots.

Take, for example, the extended fight scene between Tony Ferrer and Paquito Diaz. Paquito’s character Maurice lures Tony Falcon to a deserted warehouse and ambushes him, initiating an unnaturally drawn-out and brutal fist fight. Eddie films much of the action from the warehouse’s mezzanine level, using low lighting to cast unnaturally long shadows. It’s beautifully staged and shot, using minimal cuts –clearly not for budgetary reasons, but instead to punctuate the violence. At one point Tony Ferrer can be seen falling down the warehouse’s stairs, then gets up and continues to punch the living hell out of Paquito Diaz – all in one single shot.

Many of the film’s pleasures lie in watching the actors trade on their familiar screen personalities. Quintessential villain Max Alvarado, one of the most frequently used goons in the entire X-44 series, makes a brief appearance in Contra Señas which he is used with maximum effect as both muscle and comic relief: playing hitman Damazol hired by Margie to kidnap Vivian and Tony Falcon, Max arrives at Vivian’s door in a ludicrous wig posing as her wildly effeminate manicurist. Damazol then Garottes one of Falcon’s sentries before Falcon literally stops him dead with a series of karate chops to the face. Another ubiquitous face in the early Tony Falcon films is “white goon” Jennings Sturgeon, a former GI who stayed in the Philippines after World War 2 to raise a family and study art at UP Dilliman. His in-law, screen villain Johnny Monteiro, introduced him to the movies, his gaunt features and an unfeasibly thin frame often gracing Eddie Romero war pictures; in Contra Señas he adds an eyepatch and a reasonably convincing accent to his East German agent character Alfred Kohner, a torture specialist imported from behind the Iron Curtain to extract the whereabouts of Professor Gera’s counter signal. Unfortunately for the shadowy cabal Gera chokes on Kohner’s cyanide-laced cigar before he can talk, leaving Kohner to berate himself for being too efficient. Sadly, Contra Señas would prove to be Sturgeon’s final film appearance before taking his own life.

Part of the success of Contra Señas is its repertory company, under the guidance of Tagalog Ilang-Ilang’s Attorney Espiridion Laxa. In addition to Eddie Garcia as director, there are writer Henry Cuino, Carding Cruz and his orchestra, the recurring characters Tony Ferrer and Manolo Noble, returning actors Victor Bravo, Rod Navarro, Paquito Diaz, and those supporting actors and bit players (the “goons” of Filipino cinema like Alvarado, Rocco Montalban). Through the craggy features and rugged landscape of Goon Cinema, the peculiarly action-centric films of the Philippines, these Bond imitations become recognizable in itself: characters, faces, musical motifs, rhythms, authorial stamps, all are part of the iconography of Philippine pulp cinema, of which Contra Señas is a well-crafted example. Disposable? Probably. An important time capsule of the Filipino audience’s desires and expectations? I would argue: most definitely. The innate worth of these films comes down to your own prejudices. If you’re expecting National Cinema or indigenous storytelling, you’re in for a rude shock. The X-44 films exist in an entirely different universe, far removed from the social realism coveted by serious cinephiles - a world of leisure suits, fancy mansions, sports cars; an imitation of the spy world portrayed in the West, and thus pure wish fulfillment as well as totally escapist fare. But as globalist as the films may be, they do have a local flavor. Bond Adobo (or Adobond?): a uniquely Filipino hybrid of a very recognizable original. 

 

 

 

Tony Ferrer (Tony Falcon, Agent X-44)

 

Barbara Perez (Vivian Gera)

 Miriam Jurado (Margie)

Rod Navarro (Galvan's Henchman)

 

Paquito Diaz (Galvan's Henchman)

 Arnold Mendoza

Bessie Barredo

 

                                                                 Victor Bravo

Manolo Robles

 

Jose Garcia [as Joe Garcia] (Professor Gera)

 

Manolo Noble (Colonel Campos)

Rocco Montalban (left - Galvan's Henchman) 

Jennings Sturgeon (Alfred Kohnor)

Menchu Morelli

Danny Rojo

Leon Pajaron

                                                      Max Alvarado (Assassin)

 

Nello Nayo (right)

Sammy Sarmiento

 

Oscar Keesee [Jr] (left - Senor Galvan)

 THEATRICAL

 PHILIPPINES - 12th September 1965

GUAM - week starting 3rd November 1974 at the Dededo theatre ["English Version" as Counter Signal]

HAWAII - still playing the American and Haleiwa theatres as late as 1976 ["English Version"]

USA - week starting 7th December 1979 at the Grand Theatre, San Francisco, in a double bill with Burlesk Queen 

 

 

- mp4 file [dubbed into English] (sorry, it's not for sale)

 

Supergirl (1973)

 

1973 - Supergirl (Prima Productions)

[Release date 23rd September 1973]

Director/Producer Howard Petersen Story/Screenplay Levi Gen Pabalan Cinematography Fermin “Peping” Pagsisihan Music Demet Velasquez Editor Albert Joseph Sound Blandino Acuin General Manager Julia M. Mapa Art Director Nazario Marquez Assistant Director Ricardo de Guzman Makeup Artists S? Guilley, Lisa Ramos Supergirl Costume Hermie Sanchez Setting Director Ben Gazo Setting Andres Sanggalona Property Custodian Jerry Guanlao Cameraman Apolinario Cuenco Sound Recordist Luis Guimpayan Schedule Master Emy de Guzman Service Romeo Flores, Eugenio Simbahan, Mario Gabriel Utility Men Udito de la Cruz, Ernesto Garcia ? Engineer Rolando Arpaldo? Assistant Editors Ruben Pantua, Albert Joseph Jr Stills Arthur Comillas Titles Alfred V. Galang Layout Artist Rodin Rodriguez PRO Emy Visar Assistant PRO Rhey Salac

Cast Pinky [Montilla] (Neneng Cruz/Supergirl), Barbara Perez (Fairy), Liza Lorena (Satan), Walter Navarro (Cezar Monteverde), Nick Romano (Lando), Ike Lozada (Simpleton), Mildred Ortega (Teresa Cruz), D’Jhoanna Garcia (Nena), Cloyd Robinson (Ricky), Odette Khan (Odetta), Enrico Villa (Kuba), Bernard Calaguas (Totoy Cruz), Rodin Rodriguez, Cita del Rosario, Max Rojo (Head Goon), SOS Daredevils, Tanay Boys

FANTASY/COSTUMED SUPERHERO/HORROR

SYNOPSIS (from Wikipedia): Neneng (Pinky Montilla) together with blind elder sister (Mildred Ortega) and kid brother live in a coastal town frequented by pirates. After invasion of pirates one night which got townfolks' belongings, Neneng was given a ring by a fairy (Barbara Perez). The ring afforded her to transform to Supergirl which enabled her to fly and have superpowers. Meanwhile, a mad scientist (Odette Khan) and her daughter (Djohanna Garcia) settled in the same town with the prospect of bringing back to life dead people including Cesar (Walter Navarro), her daughter's boyfriend. Experimenting first on a dead frog, the scientist thought that her experiment was a failure. But the frog didn't just come back to life, it also grew to an enormous size. The giant frog wreaks havoc on the townsfolk, but Supergirl came to the rescue. Many people died including her blind sister and fiancé (Nick Romano). One time, Cesar came back to life and walked out of the scientist's house and reached Neneng's house. The girlfriend and the mom-scientist follow immediately and made a scene. The townfolks surrounded them and plan to kill both of them but were able to secure themselves in their house. This made the scientist very mad and vowed revenge by bringing back to life the dead people of the town to kill the living. Supergirl was able to stop all of them, including the mad scientist in a duel atop the church.

NOTES by Andrew Leavold: Considered one of the lost Grails of Pinoy cinema, Supergirl finally surfaced after decades in the void. Originally in colour and on 35mm, a collector had discovered a 16mm b&w print, presumably struck for smaller theatres in the provinces or for TV broadcast. In 2016 I had the honour of introducing its first public screening in over thirty years at an art gallery in Makati (the story is related below in Paul Bramhall’s excellent review), and as the film’s startling, ludicrous, sari-sari store baroque images began to reveal themselves from the mists of time, I KNEW we had uncovered something truly invaluable. We saw a bug-eyed hunchback dragging a coffin while whipped by a mad scientist, a barrio flattened by a thirty-foot frog puppet, and a procession of zombies straight out of Night Of The Living Dead staggering towards the ultimate Good-verses-Evil showdown – in case you missed the religious symbolism that’s been hammered home with all the subtlety of a Roman Centurion - between a gorgeous Satan (Liza Lorena) and a sixty-foot Mama Mary (Barbara Perez).  

After its initial theatrical release the film was destined for endless repeats on afternoon television and thus, from what middle-aged Filipinos tell me, traumatized an entire generation of TV-addicted kids. Now it was our turn. Several years after that Archivo 1984 Gallery screening its current rights holder, Wilson Tieng’s Solar Films, screened Supergirl on local cable, and in 2023 dumped the film on its Youtube channel, which you too can watch at the top of this post. Where’s the Blu-Ray release, I hear you scream in frustration and indignation! What prevents Solar from giving this extraordinary film a wider release is the very reason Supergirl is so fascinating, particularly to a Western audience. The film is far from parody – and even that didn’t save Zoom, Zoom Superman! (1973), a Mad Magazine-style spoof of comic and superhero conventions, from receiving a cease-and-resist order. No, Supergirl is essentially the Darna origin story with its American namesake grafted onto it. And what makes the film SO brazen, like its contemporaries (Batwoman And Robin [1972], Fight, Batman, Fight! [1973]) is its wholesale theft of a DC Comics franchise without even attempting to alter the name, logo or any of its associated imagery whatsoever. In defence of the sheer chutzpah of Prima Productions and its owners, star Pink Montilla and directors/husband Howard Petersen, Supergirl represents the mere tip of what other Pinoy producers had been getting away with for decades: the wholesale theft of Western pop iconography.

Prima Productions continued mining the pulpy horror-fantasy vein with The Devil’s Daughter (1974), Sangre Montilla (1975), and one final stab at stealing from DC, Fantastika And Wonderwoman (1976) with Alma Moreno donning Linda Carter’s magical tiara and hotpants. Yes, Fantastika also exists. Yes, we will be bringing you a review very soon. No, I can’t send you a copy (I’m sorry but Collector’s Rules, I was asked not to share).

 

Pinky Montilla as Neneng Cruz/Supergirl

Barbara Perez as the Fairy

Liza Lorena as Satan

Walter Navarro as the living dead Cezar Monteverde

Nick Romano as Teresa's love interest Lando

Ike Lozada as the Simpleton

Mildred Ortega as as Neneng's blind sister Teresa Cruz

D’Jhoanna Garcia as Odetta's daughter Nena

Cloyd Robinson as Lando's friend Ricky

Odette Khan as Odetta the mad scientist

Enrico Villa as Kuba, Odetta's hunchback assistant

Bernard Calaguas as Neneng's young brother Totoy Cruz

Max Rojo (right) as the Head Goon

 

 

 

 

 

“Zombies, Giant Frogs & Hunchbacks: The Pinoy ‘Supergirl’”

Paul Bramhall’s review from the City On Fire website (reprinted with the author’s permission)

Living in Manila, the capital of the Philippines, always brings plenty of surprises, and so it was one evening in early November 2016, I received the following text message:

“Hi everyone! 7pm tomorrow I am introducing a secret Makati screening of the super-rare, super-strange 1973 Pinoy SUPERGIRL! Interested? txt me for details!”

The number identified the sender as a certain Andrew Leavold, the Australian filmmaker behind the Filipino cinema documentaries The Search for Weng Weng, and The Last Pinoy Action King. I’d first met Leavold in the basement of an old vintage store which housed his impressive VHS collection, on the Sunshine Coast in Australia, where he screened an early edit of The Search for Weng Weng in 2013. We’d stayed in contact since then, and after I was relocated to Manila with my work in November 2015, it seemed inevitable that our paths would one day cross on Filipino soil.

Leavold was in Manila to begin filming his third documentary on Filipino cinema, one which, almost by default, promises to be entertaining. The focus will be on the bomba films of the 70’s that were made during the Marcos era, and for those wondering, bomba is the Spanish word for ‘bomb’, which in the context of the genre was short for ‘sex bomb’. While over in Japan the Nikkatsu studio was churning out its own brand of bomba with its Roman Porno movies, the Philippines was happily doing its own thing, in a genre made in an era which has made them largely forgotten to modern day Filipino audiences.

Bomba movies aren’t the only forgotten Filipino cinema though, as during the 70’s the country also had its own unique style of superhero movie. Today we may have the Marvel Studios releasing a never ending steam of superhero flicks, and Warner Brothers doing the same for DC, but back in the 70’s it was a different story. At the time, it seemed to be Turkey that had the monopoly on making Marvel Comics adaptations. For those that don’t believe me, simply research the movie 3 Dev Adam, and prepare to be amazed at a tale which has Captain America teaming up with masked Mexican wrestler El Santo, to stop evil super villain Spider-Man from terrorizing the streets of Istanbul.

This movie exists, and even better, is still available for viewing. The same sadly can’t be said for Filipino cinema of the same era. Be it for reasons such as the productions were never intended to be more than temporary entertainment, poor storage conditions, or destroyed during the Marcos era, sadly many Filipino movies from the 70’s are lost to the sands of time. It’s a shame, as the country had its own line of DC movies. There was a Pinoy Superman, with 1973’s Zoom, Zoom, Superman!, and a Pinoy Batman that featured in Fight Batman Fight! from the same year. Throw in the likes of Batwoman and Robin from 1972, Fantastika vs. Wonderwoman from 1976, and even Shazam got his own movie in 1974 with Shazam Boom. Do we really need a Hollywood Justice League movie!?

The one movie which was largely responsible for kicking off this wave of Filipino DC superhero movies wasn’t any of the above though, it was a movie called Supergirl from 1973. Like all of the mentioned movies, Supergirl was also accepted as being lost, the only remnants of it ever existing the original posters that were used to promote it at the time, and those who have memories of it showing on Filipino TV during the 80’s.

Every genre has its own holy grails – for kung fu fans it’s the version of Bruce Lee’s The Big Boss which has the infamous saw in the head scene. For Japanese chambara flicks it’s the rumoured alternate ending of Zatoich Meets the One Armed Swordsman, in which Jimmy Wang Yu walks away the victor. For Leavold, it was the Filipino version of Supergirl.

Proving that not all holy grails are out of reach, Leavold did finally track down a copy of Supergirl on a beat up 16mm reel, and like any true film fan (kung fu community please take note), he was eager to share it with those who enjoy the more bizarre corners of world cinema as much as he does. If the screening was a secret, then the location was even more so. Screening at the Archivo Gallery in Makati, the location of said gallery was hidden away via a small door leading to a set of stairs, at the end of an alleyway between a pair of warehouse complexes. The gallery itself initially seemed like an odd choice to show a pulpy 1973 black and white superhero movie, however a brief glimpse into the kitchen area, in which the staff were busy preparing finger food, revealed its true nature. Adorned on the walls of the compact working space were several original posters of vintage bomba movies, from Silip (readily available on a feature packed DVD from Mondo Macabro) to Scorpio Nights.

Suddenly everything fell into place, and Leavold revealed that the curator of the gallery has a huge collection of vintage bomba material, prime fodder for his new documentary. Before the movie starts Leavold provides one of his typically enthusiastic introductions to what we’re about to watch. Yes the picture and sound quality is beat up, yes there’s no English subtitles, and yes this isn’t your typical Saturday night movie in this post-millennial era. But it IS the Filipino Supergirl, so quite frankly, who cares about any of that. Leavold’s energy is contagious, and with an audience stocked up on several cans of already consumed wine and Red Horse beer, the ever so slight level on intoxication provided the perfect mind-set for a trip into the forgotten depths of Pinoy superhero cinema.

It’s safe to say that Supergirl did indeed live up to Leavold’s hype. Released more than 10 years before Hollywood would concoct its own version of Supergirl, with the 1984 Helen Slater starring oddity, the Filipino version very much brings its own flavour to the characters mythos. A pair of sisters and a brother live in a humble abode out in a countryside barrio, subjected to constant pillaging and harassment from a group of local bandits, and during one of their raids the sister who can see is knocked unconscious. It’s while she’s unconscious, that she’s visited by a 30 foot tall Virgin Mary, who gives her a ring that, when she kisses it, turns her into Supergirl. Yes, Supergirl is a Catholic, powered by the mother of Jesus no less. Who knew?

These Filipino Catholic influences permeate throughout the production, so those hoping to see a re-envisioning of Krypton, or how the threat of Kryptonite is dealt with, are most definitely in the wrong place. Supergirl herself is played by local star Pinky Montilla (billed in the credits as just Pinky). I’ll be honest and say, having no knowledge of Pinoy stars from this era, that I was expecting the blind sister to become Supergirl. The actress who plays the blind sister is quite slender and slim, while Pinky is carrying a little baby fat, so good on the Philippines for not adhering to body stereotypes of what a superhero should look like, even if it’s not as applicable now as it was then.

Pinky appeared to have the superhero market covered, as she also played the role of Batgirl in Fight Batman Fight! made the same year, and would go on to play Fantastika in 1976’s Fantastika vs Wonderwoman. After a decade of working in the film industry, she retired in 1980 and is believed to have immigrated to the U.S. It’s difficult to ascertain if Pinky is actually a good actress or not, as she (amusingly) plays her role deadpan from start to finish, and frequently seems baffled at her ability to turn into Supergirl, while never questioning her ability to do so. Unlike the Supergirl from the comics, the only power she inherits is that of flying, and for a 1973 production the flying effects are surprisingly well done. Refreshingly, in an age of mass CGI pixel destruction, this means that whenever she’s faced with bad guys, her form of attack is the straightforward approach of using her fists and feet to send them into oblivion, which she does with gusto.

Her rival comes in the form of an evil sorceress played by Odette Khan. What’s striking about this fact is that the 1984 Hollywood adaptation would use the exact same type of villainess, in the form of Faye Dunaway’s occult practicing witch. Is it possible that screenwriter David Odell had somehow seen the Filipino version of Supergirl, before scripting the American take on the character? Of course its speculation, and all indicators would point to it being highly unlikely, not least because if it ever did get shown Stateside, I’m sure DC would be all over it for infringing copyright laws. However it is a remarkable similarity, and definitely raised a few eyebrows for those familiar with both movies.
Pink's Supergirl predates Helen Slater's

Khan’s character is delightfully over the top, and as an actress she’s still active in the local film industry today, with Supergirl being one of her first major roles. She keeps a bulging eyed hunchback as a servant, whom she periodically whips as a display of authority, and her mission is to create a serum that will bring her daughters dead husband back to life. Said husband is kept in an open casket in the basement, watched over by the hunchback and daughter, hoping that he’ll be able to be brought back to life soon. Suddenly Faye Dunaway’s standard plans at world domination seem dull in comparison to such a wacky premise.

Khan’s plans eventually do succeed, but not before she attempts to bring a dead frog back to life, which results in it not only returning to the world of the living, but also expanding to become a Kaiju sized monstrosity, with a deadly tongue to boot. With no Godzilla around to stop the gigantic frog’s deadly rampage through the barrio, it’s up to Supergirl to give it a combo of left and right hooks to the face, and save the village from total destruction. The frog is far from the finale though, with Supergirl also having to deal with the harmless zombie version of Khan’s son-in-law, who comes back to life when none of them are watching, wanders off, and becomes attached to Pinky instead of his widow. What other superhero movie throws in a love triangle between the superhero, the villainess’s daughter, and her dead husband who has come back to life!?

Ultimately, Khan’s serum ends up reviving all of the dead townsfolk from the local cemetery, leading to an onslaught of the undead that she has control of, and it’s up to Supergirl to save the day. As if ending a superhero movie with a finale that pits the hero versus a horde of the undead is not entertaining enough, her method for dealing with them is about as Filipino as it gets. Luring them to the local church, she grabs one poor zombie and drags him in like a child who doesn’t want to visit the dentist, forcing his hand to make the sign of the cross on his forehead, at which point he falls down dead (again). The others aren’t so lucky, and end up with a variety of kicks and punches to the face instead, but it’s the principle that matters.

The penultimate showdown sees Pinky’s Supergirl facing off against Khan’s whip wielding sorceress, who can now evoke fireballs from the lash of the whip. Naturally, the fight ends up on the rooftop of the church, giving Supergirl a distinct advantage considering we know the origin of her powers. Will the horde of zombies return to their graves? Who’s going to get rid of the giant frog corpse? Will the love triangle with the undead husband be resolved? All of this and more is at stake, and despite the goofiness of it all, by the end you actually find yourself caring.

While Supergirl is far from being high art, neither are the current spate of Hollywood superhero movies, however what it certainly has is a lot of heart. It’s a fantastic find for Pinoy cinema, and the unearthing of a movie long considered lost can’t help but make you wonder how many of the other lost movies are out there somewhere. Maybe sitting on an ancient VHS having been recorded off the TV many years ago, or in some dusty old cinema back room on a reel. The discovery of Supergirl at least gives us a glimmer of hope, that maybe one day we’ll also be able to enjoy the delights of Fight Batman Fight! and Zoom, Zoom, Superman!

If anyone can find them, most likely it’s going to be Leavold, with his unflinching dedication to ensuring the memory of Filipino cinema long forgotten is brought back for a modern audience. As the countries cinema continues to improve, thanks to the likes of directors like Erik Matti and Pedring Lopez, here’s hoping there are more opportunities to go digging into the past, and if one thing is for sure, whatever’s unearthed is never anything less than entertaining.

 

 

THEATRICAL

Philippines (23rd September 1973)

Images courtesy of Simon Santos and his Video 48 blog

 

 

mp4 file [b&w, in Tagalog with no subtitles]