Hilda Koronel on Lino Brocka and ‘Insiang’ (The 6th Cinema Indio Film Festival)

by Rene Villaroman / Asianjournal.com

October 24–26, 2007 • ASIAN JOURNAL PUBLICATIONS

 LOS ANGELES—Dramatic actress Hilda Koronel graced the screening of Insiang with her presence on Thursday, October 18. Insiang is a movie directed by legendary Filipino director Lino Brocka, and became an official Filipino film entry to the Cannes Film Festival 31 years ago. The movie depicts the tragic story of a family in a squatter settlement in Manila. It is considered as one of the greatest movies made by Brocka in the late 1970s and afforded attention for the Philippines to emerge as a producer of world-class cinema.

Insiang is one of Koronel’s most important films in her career as a much-sought after actress. She began as a child actress in 1969 when she was 12 years old. She was 18 when she starred in a pivotal role as Insiang, an abused teenage daughter to actress Mona Lisa’s character as an abandoned wife and abusive mother.

“It was a great experience; it’s always been great working with Lino Brocka, Koronel told the Asian Journal. “Lino is a wonderful director; and not just this. He’s a wonderful person. He is like my father; he is like my brother, he’s everything to me,” Hilda recalled.

Insiang is a timeless movie,” Hilda commented. “It does not matter when you show it, it will still affect you. I think a lot of people can relate with it in a lot of countries, especially third world countries,” she said.

The movie was filmed at a former dumpsite in Manila — Smokey Mountain.

“We don’t have it now—they built on it—it’s the original Smokey Mountain, which is like, trash everywhere,” she recalled. This is the original place that Lino showed to the entire world,” she further added.

“Insiang is about poverty; it’s a personal movie, and it means different things to different people. It’s about revenge. It’s about love. It’s about betrayal.”

The movie was shown at the SIPA (Search to Involve Pilipino Americans) center and is one of several Filipino movies being screened at the Sixth Cinema Indio Film Festival, according to founder Cora Pastrana. “Insiang is one of the best films ever produced by Lino Brocka,” Pastrana said. “Hilda Koronel is legendary. She’s not only one of the most beautiful actresses we’ve ever had, she’s also one of the finest,” she added.

Insiang was the third movie shown at the festival, and this week, another Brocka classic, Tinimbang Ka Ngunit Kulang, which features Koronel and Christopher de Leon, will be screened at SIPA. “This year we decided to hold the festival here in Los Angeles because we are celebrating Filipino-American History Month in October.”

Hilda Koronel movies...

Hilda-Jay love team remembered

By Nestor Torre
Inquirer
First Posted 00:16:00 11/24/2007

 MANILA, Philippines―Reacting to our recent “Directing Stars” article, some readers have asked us to share anecdotes about directing specific stars. Happy to oblige:


When we were tapped by Aling Miling and Aling Toreng Santos to write and direct our first feature film, we got to work with established Lea Productions stars, Hilda Koronel, Dante Rivero and Jay Ilagan.


Unique combination...


Hilda was still in her mid-teens, but was already the toast of the movie world because of her unique combination of exceptional beauty and precocious acting ability. She was such a precocious talent that, despite her young age, she was already being cast in lead, young-adult roles in the romantic dramas that Lea Productions was known for in the ’70s.


Directing Hilda turned out to be both a pleasure and a challenge. It was a pleasure because the young actress was disciplined and hardworking―and it was a challenge because she was too disciplined.


As a result, her performances tended to be too studied, and we had to work together to make her relax and unbend.


We also learned that, at the time, Hilda didn’t know how to cry on cue, so we shared some “crying exercises” to make it easier for her to do so.


On the more positive side, we found to our great delight that Hilda’s exceptional beauty could stand the most rigorous scrutiny: In one “transformation” scene, we instructed cinematographer Steve Perez to take big close-ups of the young star’s different facial features―eyes, nose, lips, etc., and her exquisite beauty passed the “test” with flying colors.


We also discovered that Hilda had another talent: She was great at “continuity”―meaning, keeping track of actors’ costumes, props, poses and movements so that they would remain consistent even if shots were filmed out of sequence. So, we used Hilda as our unofficial “continuity girl” throughout the shoot, and we thanked her for that extra service.


Memorable recollection...


But, our most memorable recollection of our movie with Hilda was the fact that it was during the shoot that she and her young leading man, Jay Ilagan, became (secret) sweethearts.


They had to keep their romance secret because Hilda’s studio frowned on any romantic relationship for its teen princess. But, Hilda and Jay were able to fool everyone―that’s how good they were as actors, even off-camera!


Speaking of Jay Ilagan, he was the local film industry’s most talented teen actor in the ’70s, and directing him was a breeze. Coming from the Ylagan family of theater and film artists, he had great genes and instinctively knew how to approach every role assigned to him.


He was also versatile, essaying very different roles (drama, comedy, musical, action) with ease and believability. Sensing this, we restricted our direction of his scenes to simple suggestions, plus a little tweaking here and there.


New discovery...


Later, Jay would go from one thespic success to another, and his stellar future was exceedingly bright―until he gained weight. His plumpness prompted his mentor, Lino Brocka, to pull him out of “Tinimbang Ka Ngunit Kulang” and replace him with new discovery, Christopher de Leon. Ditto for “Maynila, Sa Mga Kuko ng Liwanag,” where Jay was replaced by Bembol Roco.


Jay’s loss was definitely Christopher and Bembol’s gain. But, we submit that the industry suffered a great loss when Jay’s stellar career lost its luster, because it was deprived of his exceptional and versatile talent. Christopher and Bembol have their merits, but Jay was unique unto himself. When comes such another?

Director Lino Brocka: Stronger than Life

Paul Mata and F. Caagusan Friday, September 28, 2007






PEP (Philippine Entertainment Portal) remembers director Lino Brocka who gave so much of his creativity and vision to Filipino movie making that his sudden death in a car crash on May 21, 1991 was a shock that reverberated not only in local show business but all over the country. He was only 52.


He was posthumously honored by the FAMAS (Filipino Academy of Movie Arts and Sciences) Hall of Fame as Best Director in 1991 and declared National Artist for Film in 1997.


He has been called one of the greatest directors of Philippine cinema. Indeed, he thrived in its so-called Second Golden Age when his peers were making their own masterpieces, like Ishmael Bernal, Mike de Leon, Celso Ad. Castillo, Laurice Guillen, Marilou Diaz- Abaya, and renowned veteran from the 50's Eddie Romero. Many of today's stars owe their rise in showbiz and acting trophies to Lino Brocka. At the peak of his career in the 70's and 80's, he made films that won critical acclaim and awards for their social and artistic impact.


Mario Hernando of the Manunuri ng Pelikulang Pilipino, the film critics group that gives out Gawad Urian, lauded Brocka for presenting true and believable characters and powerful stories. One thing that Lino had was the "complete control of the art and his fellow artists and workers."


Yet the measure of Brocka's greatness must take account as well of his life outside the accolades. It was the deep well from which he drew the intensity, if not themes, for his films. He grew up in a broken family and experienced poverty and child abuse. The decade of the 60's found him struggling with issues of the soul and survival. In Hawaii, he tried hard to be a Mormon missionary but the rebel in him could not keep the faith.


Of Brocka's sojourn in Hawaii, Hernando wrote in 1993:


"Brocka had a lot of time to think and he began to put his own life into some kind of perspective. He had gone from being a prize-winning high school graduate with the world ahead of him, to a university dropout whose mother compared him unflatteringly to his former classmates, and his search for meaning in life through the Mormon faith was unfulfilled.


"Gradually, he formed his own credo for living: to be grateful for what he had, not to clutter his life with non-essentials; to reject the excuse that something is futile and therefore not worth doing; and finally resolving that ‘life will never put me down, I shall prove stronger than life.'"


After ending his missionary assignments he flew to San Francisco and lived among hoboes, worked as a busboy and in a hospital for the elderly. Still struggling with his personal issues and feeling utterly homesick he returned to the Philippines in 1968.


He resumed his long-standing interest in theater through PETA (Philippine Education Theater Association), from doing menial tasks to eventually becoming executive director. On the road to becoming a movie director, he directed television shows (Balintataw, Lino Brocka Presents, Hilda, Tanghalan) and worked as script supervisor for director Eddie Romero's films.


PEP retraces Lino Brocka's achievements in film over two decades. He made over 60 movies. Many were commercial quickies, some were box-office hits; and others, powerful enough to pass the test of time.


Early Acclaim (1970-1972). Lino Brocka made his first movie in 1970 under Lea Productions' Wanted: Perfect Mother with the cast of Boots Anson-Roa, Dante Rivero, Eddie Mercado, and Gina Alajar. He also wrote this melodrama, which won Best Screenplay in the 1970 Manila Film Festival.


That same year, he directed Santiago, winning his second award, this time as Best Director from the Citizen's Council for Mass Media. This action drama starred Fernando Poe, Jr. (FAMAS nomination for Best Actor), Hilda Koronel (Best Supporting Actress), and others in a powerhouse cast.


Brocka's other movies for Lea Productions included: Tubog sa Ginto (1971), which was controversial for its homosexual theme; Lumuha Pati Mga Anghel (1971), and Stardoom (1971).


Stardoom, a dark, tragic view of movie showbiz, garnered FAMAS nominations for Lolita Rodriguez (Best Actress) and Caridad Sanchez (Best Supporting Actress). The cast included Walter Navarro, Hilda Koronel, Mario O'Hara, Eddie Garcia and several other seasoned actors.


His early works appealed to mass audiences and made money, endearing Brocka to producers of the movie industry. But after nine movies with Lea Productions he became disgruntled with commercialism and fell silent in the first two years of Ferdinand Marcos's martial law regime.


CineManila's Short Happy Life (1974-1976). Brocka set up his independent outfit, CineManila, and began to make films after his own heart. His landmark movie, Tinimbang Ka Ngunit Kulang (1974), an indictment of religious prejudice against social outcasts in a local village, won six FAMAS awards and two nominations, including Best Picture and Best Director; Best Actor (for Brocka's protégé Christopher de Leon) and Best Actress (Lolita Rodriguez as the madwoman Kuala). Brocka wrote the screenplay together with actor-director Mario O'Hara, who played a leper in the film.


Positive reviews by local and foreign critics continued with two more masterpieces in tragic drama: Maynila: Sa Mga Kuko ng Liwanag (1975) and Insiang (1976).


Maynila, topbilled by another Brocka protégé, Bembol Roco, portrayed a young probinsyano's search for his sweetheart Ligaya Paraiso (Hilda Koronel) in the violence-ridden city. For his role as a tragic hero, Bembol bagged the FAMAS Best Actor award. Equally respected director Mike de Leon did the exquisite cinematography.


Insiang, a story of rape and revenge set in Manila's Tondo slums, starred Hilda Koronel in the title role, for which she earned a FAMAS nomination as Best Actress. Mona Lisa won as Best Supporting Actress. The film also reaped several nominations from the Gawad Urian. This was the first of Brocka's films to be shown and acclaimed at the prestigious Cannes Film Festival in France.


The two films did not make money in the box office. Critics said the themes were too dark and profound for the masses. CineManila went bankrupt in 1976.


That downfall apparently forced Brocka to make a 180-degree turn away from his aesthetics and political beliefs. During the next two years he made four movies for Lotus Films with the lead star in mind: Tahan na Empoy, Tahan (1977) starring child wonder Niño Muhlach and Snooky Serna; Inay (1977) which tried to re-launch the 50's star Alicia Vergel; Ang Tatay Kong Nanay (1978), topbilled by Comedy King Dolphy with Niño Muhlach; and Mananayaw (1978) with then-sexpot Chanda Romero.


More Ups and Downs (1978-1985). This was a time of frenzied activity for Direk Lino. He made almost 30 films that reflected his non-conformist nature. Critics described these films in varying degrees—from dull to compelling, incongruous to brilliant. Their uncertainty and slackness were attributed to his personal problems, including financial troubles and his highly selective attitude in accepting or rejecting projects.


The 80's were also the years that Brocka's fellow travelers in the Concerned Artists of the Philippines (CAP) would remember him as a frontline marcher in protests against Ninoy Aquino's assassination, dictatorship and the suppression of freedom of speech. He even landed in jail for his political convictions.


Hayop Sa Hayop (1978) and Init (1979) were considered commercial projects that did not sit well with the standards of film critics. But Ina Ka ng Anak Mo (1979) was significant for tackling the issue of prostitution.


For Jaguar (1979) and Bayan Ko: Kapit sa Patalim (1985) the critics were all praises. Phillip Salvador was the security guard whose loyalty to his master and dream to rise above his lowly status were bitterly betrayed in the end. Jaguar also starred Amy Austria and Johnny Delgado, with screenplay written by Jose F. Lacaba and Ricardo Lee. It won the FAMAS Best Picture award and was chosen by the Manunuri as one of the best films of the 70's. It was shown at the Cannes Film Festival in 1980.


Kapit sa Patalim (Phillip Salvador, Gina Alajar; screenplay by Jose F. Lacaba) was a tragic drama on the plight of a printing press worker forced to turn scab during a strike for the sake of his ailing wife, earning the ire of his fellow workers. Aside from other laurels, the film won Best Picture from FAMAS and the British Film Institute. The Manunuri chose this as one of the best in the 80's.


The director worked with Superstar Nora Aunor in Bona (1980). This film and Jaguar were screened at the Cannes Film Festival Director's Fortnight and Main Competition.


Miguelito, ang Batang Rebelde (1985) was the first film that Brocka directed after his release from prison. It combined drama and political commentary, pitting a mother (Nida Blanca) who had an estranged son (Aga Muhlach) and who was unjustly imprisoned for a crime she did not commit, against a powerful politician (Eddie Garcia). Nida Blanca won the Best Actress trophies of FAMAS and Gawad Urian.


Brocka Undefeated (1987-1991). Brocka hit the right formula for combining the elements of a commercial film with his artistic and political vison. Most of his films during this period were produced by Viva Films.


Mario Hernando chose five from this period as Brocka's best works: the sex-drama Macho Dancer (1989), which once again depicted Brocka's take on gay issues; Babangon Ako't Dudurugin Kita (1989), Gumapang Ka Sa Lusak (1990), Hahamakin Lahat (1990), and Sa Kabila ng Lahat (1991).


In Babangon Ako't Dudurugin Kita (1989), Brocka pitted his protégés— Christopher de Leon, Hilda Koronel and Bembol Roco—against Viva's prized star Sharon Cuneta. Gumapang Ka sa Lusak (1990) had a stellar cast composed of Dina Bonnevie, Eddie Garcia, and Charo Santos.


Brocka did Hahamakin Lahat (1990) for Regal Films. This was his third movie with Vilma Santos. The role called for Vilma to be dark, daring and innovative, a complete deviation from characters usually portrayed by the sweet-faced Star for All Seasons. It showed a heroine entering into a marriage of convenience with a ruthless, scheming mayor, a character Brocka created to expose the hypocrisy and corruption of society.


Sa Kabila ng Lahat (1991) was the last film he did that brought together Dina Bonnevie, Ronaldo Valdez, Nannette Medved, William Lorenzo, Celeste Legaspi, and Tonton Gutierrez.


Among the critic's chosen five, it was Macho Dancer that fared poorly in the box office. Its gay theme, which was sensational at that time, did not lend added value to the cast, which consisted of newbies. The movie also had little publicity.


Movie critics hailed Orapronobis (1989) as the most mature work of Brocka, a complex canvas of continuing oppression, political violence and injustice in Philippine society. It was based on actual events, like the end of martial law, but the characters were fictionalized. It was banned from showing in the country. Written by Jose F. Lacaba, the hefty cast was led by Phillip Salvador, Gina Alajar, Dina Bonnevie, and Bembol Roco.


The depth and greatness of Lino Brocka's greatest works are incomparable. They had the power to stir up various responses from the audience: to be emotional, to be critical, to be dumbfounded. More than box-office value, his best films probed the conflicts of doomed characters and exposed dark social realities, leaving moviegoers to think and decide actions on their own.


For more on Lino Brocka see:


Mario Hernando, "Lino Brocka: Director in Control—Blending Popular Entertainment, Realism and Social Comment," and excerpt, "Lino Brocka: The Artist and His Times" (1993), www.affirmation.org Link to Lino Brocka LDSFilm.com


Lino Brocka's life and filmography http://www.geocities.com/Hollywood/Interview

Philippine Cinema’s 15 Best Actresses of All Time

Dec 4th, 2006
FUNFARE
By Ricardo F. Lo




The fifth anniversary issue of S Magazine came up with the list of “Philippine Cinema’s 15 Best Actresses of All Time.” One hundred respondents – directors, scriptwriters, critics, journalists, actors, moviegoers – were asked to name their all-time best actresses and the Top 15 were led by Nora Aunor and Vilma Santos, garnering 85 and 82 votes, respectively.


After all these years, it’s still Nora versus Vilma, forever rivals.


In third place was US-based Lolita Rodriguez with 57 votes.


The other best actresses: Charito Solis (52 votes), Hilda Koronel (50), Gloria Romero (45), Nida Blanca (40), Gina Alajar (40), Jaclyn Jose (40), Sharon Cuneta (37), Maricel Soriano (32), Lorna Tolentino (30), Amy Austria (25), Rita Gomez (23), Cherry Pie Picache (20).


So there, 15 all-time best actresses.


Surely, Funfare readers will not agree with all the choices of the S mag “jurors.” But most likely, some of the names are on their favored list. They are free to express their “dissenting” or “concurring” opinions – to borrow a legal term used by the Supreme Court.


Why not conduct a similar survey on actors? S editor-in-chief Joseph Peter Gonzales says one will be made soon.

Sharon, Hilda & Angel: Getting to know the three 'Crying Ladies'

Article from:Manila Bulletin Article date:October 18, 2003CopyrightCOPYRIGHT 2009 Manila Bulletin Publishing Corp. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan. All inquiries regarding rights or concerns about this content should be directed to customer service. (Hide copyright information)


Three very fine actresses portray the title roles in Crying Ladies, written and directed by Mark Meily and produced by Toni Gloria under the banner of Unitel Pictures. They are Sharon Cuneta, Hilda Koronel, and Angel Aquino, award-winning actresses all.


Crying Ladies, an entry to the Metro Manila Film Festival, tells the story of three women who sideline as professional mourners in Chinatown, crying for a fee at the wake of a Chinese businessman. Their simple lives and little dreams warm the heart, at once eliciting laughter and tears, but more of the former.


Megastar Sharon plays Stella Mate, streetmaster-hustler, gambler, briefly jailed for estafa who dreams of a better job to regain custody of her son (Julio Pacheco) from his father (Ricky Davao).


Drama great Hilda is Aling Doray, whose sole claim to fame is a bit role in the Vilma Santos starrer Darna and the Giants, the one a giant stepped on, then billed Rhoda Rivera. She spends most of her time accompanying her daughter (Jomalene Estrada) at auditions for commercials.


Fashion icon and exotic beauty Angel is Choleng, a naive and religious woman who cant resist the sexual advances of her friends husband (Raymond Bagatsing).


Sharon, Hilda, and Angel accept a part-time job as the crying ladies for a traditional Chinese funeral, hired by the son (Eric Quizon) of the deceased.


Aside from being a megastar, movie queen, Sharon Cuneta is a multi-awardee, a grandslam winner for Madrasta (Urian, Star, Famas, and Academy best actress). Sharon is also a best-selling recording and concert artist.


Offcam, Sharon is mother to KC and Frankie and wife of Sen. Francis Pangilinan.


Hilda starred in some of the greatest Filipino films, mostly directed by the late National Artist Lino Brocka. Among them: Santiago (which gave her a FAMAS best supporting actress award at 13), Insiang (the first Filipino picture to be shown in Cannes, giving her a best actress trophy in the Metro Manila Film Festival), Maynila: Sa Kuko ng Liwanag (one of the 100 best film in the world), Tinimbang Ka Ngunit Kulang, Angela Markado, Tatlo, Dalawa, Isa.


Hilda has graced magazine covers and pictorials which highlighted her lovely face and high-fashion taste. But let it be said that Angel is a fine actress as well, Star awardee for Laro sa Baga (Best supporting actress). She was introduced in Mumbaki, and stood out in such films as Sana Pag-ibig Na, Bata, Bata Paano Ka Ginawa, and Goodbye, America.


Angel is single parent to two girls.


The story of the three Crying Ladies is told in the context of a funeral wake, shedding light on the struggles of ordinary people living in the back street of Chinatown.


The struggle of Stella Mate (Sharon Cuneta) to survive touches the hearts of all women in a similar situation: making ends meet, separate from a husband, the pain of losing a child.


The plight of Aling Doray (Hilda Koronel) and Choleng (Angel Aquino) may well be the story of every persons search for acceptance and recognition. In Aling Doray, it is through a faded movie career that never took off. In Choleng, it is through a forbidden love affair.


Crying Ladies is also the story of hope and triumph. In the end, Sharon, Hilda, and Angel find their place in the sun.

Hilda Koronel films... a work in progress...

 

 

Some Hilda Koronel movies... a start

Hilda Koronel still a refreshing presence on TV

WE first interviewed Hilda Koronel when she was only 14 years old, two years after she entered show business. At that time, she had a weekly drama series ("Hilda") on Channel 9, where despite her tender age, she showed her competence in mature roles.

This is what we wrote in September 1971: "Aside from being a refreshingly lovely person, what makes Hilda Koronel different from TV's other leading ladies? Well, she's young. Fourteen, going on 15. Though many of the roles given her require maturity and experience, she can handle them well with a deliberately underplayed style. No long sighing, dying or crying scenes for this youngster."


That style served her well in succeeding years as she blossomed into one of the industry's finest dramatic actresses in the movies with the help of the late Lino Brocka.


Today, the actress is still a refreshing presence on the boob tube. Her latest assignment is in the star-studded "Kung Mawawala Ka" where she plays one of the three wives of Eddie Garcia. The soap, directed by Joel Lamangan, airs weekdays at 8:30 p.m. on GMA-7.


We spoke with her during a recent press conference for the soap. She was no longer the innocent young thing we interviewed a long time ago. She's older and wiser (she's proud to say she's already 45 years old), saying she's learned a lot from her turbulent personal life.


Hilda now leads a more peaceful life with her American husband and her children. As far as her career is concerned, she doesn't miss the days when all she played were lead roles. She has been able to effect a smooth transition to character roles, which ensures her longevity in the acting profession.


Here are excerpts from that interview:


Edmund Sicam: How do you describe your role here? Are you a suffering character or ikaw iyung . . .


Hilda Koronel: Well, yeah, sa umpisa, kami iyung pinakamamahal ni Eddie (Garcia) kasi kami iyung pinaka hindi mahilig sa pera. Pag in-o-offer niya kami, we say no. Kami naman iyung kinakawawa ng first family, specially nung may nangyari kay Ed, mas kakawawain kami ng todo-todo. With the second (family) also, very assertive din sila, and they're also very rich. Kami iyung pinaka-wala, so kami iyung target.


Acting-wise, is it harder to be the api or mang-aapi?


Alam mo, I find na mas madaling maapi (laughter), kasi pag 'Marinella,' kontrabida ako, ang hirap laging sumimangot! (laughter) It was so hard, lagi kang nakakunot-noo, lagi kang galit. Isip ko, tatanda ako dito!


Do you watch soaps or listen to soaps on the radio?


Noong maliit ako, sa radio, yeah. Pero ngayon, maaga ako matulog! I wake up at around 4 a.m. or 5 a.m. and I'm asleep by 7 p.m. I have to adjust my time, dati insomniac ako! Nagkaroon lang ako ng limitasyon noong araw bago ako nagkaroon ng pacemaker. Pero bago noon, nahirapan kasi ako magpuyat. Kaya nawala ako sa "Marinella," kasi it was so hard for me to be on call.


Do you agree that once the acting bug bites you . . .


Hinahanap mo rin, e. Especially if there's a good project in front of you, mapipilitan kang gawin, kasi bihira iyon dumating.


Kasi for some, acting is a job . . .


It is a job in a way, 'no? But it's also . . . it's an art. I think it's what I was born to do. Iniisip ko, o sige, I'll go get another job. (laughs) I'll do this or that, and I go . . . eeeeh . . . huwag na lang! (laughs) It's what I'm good at.


Parang you don't have to act naman to survive in this world.


Hindi naman. I really like the work I do, specially if it's good. Kasi nakikita ko. I'm not going after an award or anything like that. But, what makes me happy is when I hear people say, "Ma'am, alam niyo iyung last episode niyo sa ano, naiyak ako." It makes me really feel good na iyung trabaho ko was really worth it. Iyung magdamag kong kakaiyak doon, it was worth a simple praise lang na ganoon. It makes me happy.


Parang you've developed a new generation of fans and followers because of your TV appearances.


Very seryoso din iyung mga fans ngayon. Tsaka iba-ibang klase, iba-ibang grupo. I have this artistic group na noon mga estudyante, mga teachers, ngayon meron pa ring ganoon, tapos meron akong group, iyung mga artist na gay na memoryado nila iyung mga linya, oo, iyung mga bagong direktor, 'tita, eto iyung linya mo sa . . .' Ina-acting nila! And it's so nice to see that, kasi you know they study your films, talagang kabisado nila iyung mga punchlines mo, na hindi ko na maalala! (laughs)


Your relationship with Lino Brocka was more than director-talent?


Sa akin, it was more personal than work. Si Lino kasi, he was like my mother, my father, my sister, my brother, all rolled into one. Kaya I was really devastated when I lost him. Siya kasi iyung kasama ko lagi. Siya iyung nagno-note ng mga hindi ko dapat gawin . . . nagkakaroon din kami ng iritahan minsan, pero nothing like nasisigawan ako or anything.


Lino was always the type na very quiet, kunyari meron akong nagawa, like when I was younger, there are things di ba na when you're young, hindi mo naiintindihan. Sabihin niya, sa taping, meron kang nasaktan na tao doon. Pero hindi ko alam kung bakit. Then he would explain, kasi hindi ko talaga naiintindihan or hindi ko mahuli.


Aside from the fact na I always have to be . . . nauuna sa set! Hanggang ngayon dala ko pa rin! Like kanina, andito ako, ang aga-aga ko, everybody's like, 'Tita, you're early!' and everybody's panicking sa set pag dumadating ako. Kasi it's a habit of mine, nakuha ko sa kanya! It makes everybody panic. I'm like that talaga.


Siya lang talaga. Kasi, nag-start kami pareho. Twelve lang ako in '69. So, iyon na talaga iyung parang nag-mold sa akin sa lahat--sa trabaho, sa personal, lalo na sa personal. Pag nabubugbog ako ng asawa ko, si Lino nandoon, nasusuntok din siya! Sila ni Orlando Nadres. Silang dalawa.


Looking back on your life, do you think it's like a soap also?


Ya, worse pa! (laughs) Sabi nga ni Lino, before he died, 'Gusto ko gawing pelikulang storya ni Hilda!' Sabi ko, no way! Heavy! Tatlong pelikula kailangan mo diyan!


Pero at this point in your life, tapos na iyung soap?


God, I hope so! At least malalaki na iyung mga anak ko, isa na lang ang maliit.


So you think itong mga nangyari sa iyo, was it more of your own making?


Mahirap din, kasi nandito ka sa business na ito tapos iyung asawa mo wala dito. Pero mahirap din na pareho kayo sa show biz. Hindi mo rin masabi kung anong tamang kombinasyon, e. Basta noong nag-asawa ako ng hindi na artista after Jay, mas tahimik na, right? (laughs) Hindi, worse pa pala! Hindi mo talaga masasabi kung anong mangyayari.


If you were to travel in a time machine and go back to where you started, do you think you would make the same decisions that you made then?


No! (laughter) Sa career siguro, hindi sa personal life. I really like my job. Sometimes the people you work with lang talaga . . . (makes face) Iyung iba, hindi naman lahat. 'Cause a lot of them are nice, but some are really pangit kasama, some are walang respeto. Merong mga tao, di mo pagbigyan, masama ka na. Stuff like that. It's hard!


Nagtataray ka raw sa mga artistang hindi sineseryoso, parang nilalaro lang ang taping?


Of course not. In fact, tinutulungan ko pa nga sila. Iyung mga nagsasabi niyan, mga galit sa akin. Sabi ko, masyado kayo nagbabasa ng mga magazine. Kaya tuloy iyung mga batang nakakasama ko ngayon, natatakot lahat sa akin! (laughter)


Tatanong ko lang naman, 'Anak, bakit ka ba laging late? Ano ba problema mo?' Kasi ayoko naman talaga mag-antay! Kasi, nag-aantay ka doon, ang tagal-tagal, e hindi naman seryoso ang dahilan. Pero, bahala na si direk ang magsisisigaw doon!


Hindi ka naman nag-walkout dahil late iyung kasama mo?


Meron akong once na muntik na! (laughter) Muntik na! Muntik na! 15 hours lang naman akong naghihintay.


Sinoli ko na iyung tseke ko. Inyo na ito, sabi ko, patayin niyo na ako. Uwi na ako. Antok na antok na ako. I was so tired! Mas gusto kong sunud-sunod ang trabaho ko kesa nakatanga ako. I get so tired just sitting there, doing nothing. Pero ratsadahin mo ako tuloy-tuloy, ay, OK lang iyon. Nakakapagod pero may ginagawa ka.


I remember one time, may schedule ako. Antay, antay, antay. Naka-make-up ka na, kuntodo hairdo, naka-dress ka na, halimbawa alas siete iyon, alas dose na, 'Ay ma'am, pack up na ho pala kayo ma'am, kasi ho, si Ms Ano ho, uminom ng sleeping pills, hindi nagising.' E di maiinis ka, right? O sige, uwi na nga ako! Ano ba iyan? Ganoon lang! Wala naman akong sinasabi.


Tapos one time nga, naghintay din ako, superstar din, katagal . . six hours na ako nandoon, sabi ko, sige, aantayin ko lang pero aalis din ako pagdating. (laughs) Dumating, kissy-kissy, ganyan, "Sorry ha, kasi ganito-ganito." "O sige, diyan ka na! Uuwi na ako!" Ganoon. Pero hindi ako nagsasalita ng ano . . . E para naman madala, kasi kung lagi naman ginagawa sa iyo, di ba, para ka namang gago!


Kasi sa akin, respeto e. Hindi kita pag-aantayin kasi importante iyung oras mo sa akin. So para namang ginagago mo ako, parang walang kuwenta sa iyo ang oras ko. Di ba? Sa akin, lahat ng tao pare-pareho.


Do you miss the days when you played one lead role after another?


Hindi naman. I think the way to survive a transition is you have to take into account that you will fade someday! (laughs) Iniisip ko na iyon. A, sa susunod, magnananay na ako kasi mamamatay na si ganito, si ganito, si ganito (laughs). Iyon bang pag nawala silang lahat, kokornerin ko iyung market na iyon! (laughs)


Yung iba na-o-offend pag binibigyan ng mga mother role . . .


Ako hindi, kasi nanay talaga ako. Tagal na. Tsaka noong araw pa, talagang nagnananay na ako. Pag feel ko, sabi ko, magta-transition ako! Walang mga lead role diyan? E di diyan ako sa mga nanay! O di ba? You just have to realize, kasi kung hindi, you'll be disappointed. Iinom ka ng alak diyan, magda-drugs ka, naku kalimutan mo iyon! Talagang ganon ang buhay!

By Edmund L. Sicam

(Manila Times)
Apr. 26, 2002
©2002 www.inq7.net all rights reserved

Hilda Koronel, di naman mataray, pero totoong walang takot!

Bungisngis din naman pala siya. Mabiro at ma-kwento. Di lang yon. Handa rin siyang maiwanan na ng lahat mapagbigyan lang ang mga reporter na gustong makausap siya.


Masarap naman palang kausap si Hilda Koronel. Hindi naman pala siya nakakanerbiyos na kausap dahil mataray. Pero totoong prangka siya. Walang takot.


"Kasi naman kayo panay ang basa n'yo ng mga dyaryo at magasin, kaya naniniwala kayong mataray ako!" biro n'ya sa tatlong reporter na naglakas-loob na interbyuhin siya nung bandang dulo ng press conference kamakailan para sa soap operang Kung Mawawala Ka sa GMA 7.


(Nakaalis na lahat ng mga kasamahan n'yang artista, pero kampante pa rin siyang naka-upo at sinagot ang mga tanong namin na paminsan-minsan ay kung saan-saan napupunta, pero matiyaga pa rin n'yang sinagot. Nung may biglang sumali sa interbyuhan namin at itinanong ang ilang bagay na naitanong na namin, matiyaga pa rin n'yang sinagot uli ang kulelat na reporter.)


Of course, alam n'yang mga nagsusulat sa dyaryo at magasin ang mga kaharap n'ya. Iniisip n'yang malilirip namin ang ironya ng biro n'ya. Malambing naman ang pagkakasalita n'ya, kaya hindi namin inisip na tinatarayan n'ya kaming tatlo sa umpisa pa lang ng pakikipaghuntahan namin sa kanya.


"Naku, yan din naman ang sinasabi ko kahit kanino na nahahalata kong gulat na gulat dahil nakikipagkwentuhan at bungisngisan ako sa kanila!" pasubali n'ya.


Walang-takot na inamin ni Hilda na 47 years old na siya at lola na ng mga anak ng ilan sa mga batang inampon n'ya nung kabataan n'ya. "Wala pa akong apo du'n sa mga tunay kong anak, dahil mas bata sila kesa du'n sa mga ampon ko. Tapos na nga lahat ng college yung mga ampon ko, eh, kaya mga nagsipag-asawa na. Pero hindi lola o grandma ang tawag sa 'kin ng mga apo ko, kundi mama," pagbabalita n'ya.


Apat ang ampon n'ya, at kaya naman siguro wala siyang pag-aatubili na tawagin ang mga yon na ampon ay dahil alam naman nila ang estado nila. At alam din nilang itinuring sila ni Hilda na parang mga tunay na anak din. Lahat naman sila ay pinag-aral n'ya.


Apat din ang tunay n'yang anak. Hindi na kinailangang itanong ninoman sa amin kung iisa ang ama ng mga anak n'ya. Alam naman naming hindi. Batid din namin ang isa sa kanila ay anak n'ya sa yumaong aktor na si Jay Ilagan.


Ten years old na ang youngest child n'ya, lalake, anak n'ya sa isang doktor na hiwalay na rin sa kanya dahil sumama sa isang doktora. Dahil tipong mga high society ang doctor at ang doktora, naging laman ng society page gossip columns noon ang pakikipagbangay ni Hilda sa dati n'yang mister at sa doktorang sinamahan nito.


"Pero friends na kaming lahat ngayon for the sake of my boy. Kaya huwag n'yo nang tanungin ang mga panglan nila para walang gulong mabuhay uli," kaswal na pagtatapat at pakiusap n'ya.


"Hindi ka na nakipag-boyfriend uli after that doctor?" tanong ng isa sa amin.


"Ano ka ba, hindi mo ba nabalitaang I got married na after that doctor? Aha, you're behind, ha!" biro n'ya.


"My husband has to be in the US many times of the year. American citizen kasi siya. Dati, kapag wala akong trabaho rito, sama ako nang sama sa kanya sa US. But since September 11, nung nag-istrikto na sila sa mga pumapasok sa US, hindi na ako sumasama. Kasi naman ultimong suwelas ng sapatos mo ngayon, ini-inspect nila sa airport!


"So, siya na lang ang umuuwi rito occasionally."


"Hindi ka ba nababahala na supporting roles na ang ibinibigay sa iyo ngayon?" walang-prenong tanong ng isa sa amin.


Sagot naman ng aktres nang walang-kagatul-gatol: "Ano ka ba, ba't naman ako mababahala? At a certain point naman in my career, alam ko nang lilipas din ako bilang bida at mauuwi sa mother roles and later on lola roles. Ang pinakamahalaga d'yan, kung ano yung role na tinanggap ko, I give it my best and I remain as professional as I had been in my younger years.


"Saka yung pagma-mother roles, du'n sa anthology ko noon na Hilda, ilang beses din akong gumanap na dalagang ina, inang iniwan ng asawa, kahit na 17 o 18 pa lang ako. So, walang kaso talaga sa 'kin ang gumanap na mother roles.


"O mistress na ng artistang dati ay laging tatay ko ang papel, si Eddie Garcia. 'Dad' nga ang tawag ko sa kanya off-camera hanggang ngayon dahil du'n sa first starring-role movie ko, yung Haydee, siya ang daddy ko. Tapos dito nga sa Kung Mawawala Ka, kerida na n'ya ako!"


Hindi ba n'ya naiisip na magdirek din na gaya ni Laurice Guillen na nagmula rin sa pagiging aktres na gaya n'ya (na nakasama n'ya sa maraming pelikula at naidirek na siya minsan)?


"In the past, I thought I'd like to be a director. But, then, nung naisip ko yung mga pagdurusa ko sa mga nagpapahintay sa 'kin sa set, there was a time na 15 oras akong naghintay sa isang aktres, pag naaalala ko ang mga pagdurusa ng mga director, at nung ma-realize kong mas mababa pala ang bayad sa kanila kesa sa mga artista, I realized I would have no patience as a director.


"So my becoming a director is already out of the question. Hanggang sa pag-aartista na lang ako."


Naitanong ang mga umano'y pagwo-walk out n'ya sa mga syuting at teyping. "Hindi naman ako palaging nagwo-walk out. Ilang beses lang yung nag-walk out ako dahil nga sobra-sobra na ang oras ng paghihintay ko. Kaya nga naaalala ko pa lahat ng times na nag-walk out ako dahil kokonti lang naman yon. There was a time, hinintay ko muna yung aktres na ten hours nang late, bumeso siya sa akin, bineso ko siya, tapos sabay sabing, 'Goodbye! I'm going home!' Ginawa ko lang yon para madala siya. So, hindi na nga n'ya inulit na magpahuli nang ganu'ng katagal.


"Nagpapasensya naman ako hanggang kaya ko. Hindi naman ako basta nagwo-walk out na lang dahil sa konting diprensya!"


Naalala ng isa sa amin na may ginawang bold film si Hilda, yung Hayop sa Hayop, with Phillip Salvador, sa direksyon ng yumaong Lino Brocka, ang mentor ni Hilda (at nina Phillip at Christopher de Leon na rin).


Paggunita n'ya nang may pilyang ngiti sa labi: "Idea ni Lino yon. Critically-acclaimed na raw ako, kaya it was about time na magpaka-commercial na kaming dalawa. Nung mga may nagtanong sa kanya kung kaya kong mag-bold, ang sagot n'ya ay, 'Ba't hindi kaya eh pumapasok nga yan sa eskwela na walang panty at bra!


"Eh ang init-init naman kasi dito sa atin, so bakit naman ako laging magpa-panty at bra?!


"We really did the works then. Pati yung mga pictorial na topless na mga kamay ko lang ang nakatakip sa boobs ko, ginawa rin namin yon…"


Biglang bulalas ng isa sa amin: "Naku, ikaw pala ang nagsimula ng ganu'ng ka-cheap-an!"


Sagot naman ng aktres nang pabiro: "Hoy, mukhang Italyana ako nu'n. Saka may concept yon. Kunwari galing ako sa paliligo sa kung-saan kaya may butil-butil pa ng tubig sa mukha at katawan ko. Hindi yon gaya ng mga pictorial ngayon na basta nakatakip lang ang mga kamay sa boobs.


"Saka mukhang Italian ako nu'n, ha!"


Napahagalpak na lang kaming lahat sa tawa sa "pagtataray" n'ya.


Naisip na ba n'ya kung kailan siya magri-retire?


"I will most likely die on a movie set!"


(April 19, 2002)