Hilda Koronel: One of Philippine cinema’s greatest actresses of all time

Hi! Society

Asian Journal

By Monet Lu

Published: December 14, 2013

http://asianjournal.com/lifestyle/hilda-koronel-one-of-philippine-cinemas-greatest-actresses-of-all-time/

The 3rd Beautiful Life Celebration Gala held last November was a huge success. It was an evening of appreciation, honoring the achievements of our fellow Filipino-Americans in Los Angeles.

It was an honor and a privilege for me to present the Lifetime Achievement Award of Excellence in Acting/Performing Arts to one of Philippine cinema’s icons—the incomparable Hilda Koronel.

On that evening, after being introduced to Hilda, I immediately told her that when we were teenagers, I was one of the extras in her first lead role movie, Haydee.

I met her again during the filming of her movie Happy Hippy Holiday. I knew Hilda didn’t recognize me back then. But she was so elated and surprised when I told her about that story.

Time flies so fast that after so many years we finally met again, and this time I am presenting her an award recognizing her valuable contributions to the Filipino movie industry. God really works in mysterious ways.

Her rise to stardom began when she was introduced by Lea Productions, one of the established movie companies back then. She then worked with the late great director Lino Brocka in memorable movies such as Santiago,Villa Miranda and many more.

Even at a young age, she already made her mark as a venerable actress in the critically-acclaimed film Insiang. She proved that she was more than just a young star with a pretty face, after garnering praises for her performance from movie fans and critics worldwide.

From those films, Hilda won FAMAS and Gawad Urian awards and many more. I knew that a beautiful face like hers could captivate the Philippine cinema. She stood from her generation of teen stars because of her great and promising acting career. She reminded me of Ingrid Bergman, beauty and talent combined.

In 1970, at only 13 years-old, Hilda made history when she won the prestigious FAMAS Best Supporting Actress award for her acting role in Santiago.

Among her most remarkable movies include Crying Ladies, Kung Mangarap Ka’t Magising, Maynila Sa Mga Kuko Ng Liwanag, Nasaan Ka Man, to name a few. Hilda is very picky when choosing the roles she will portray because of her passion and unparalleled dedication to her craft.

Hilda once again proved her acting prowess when she was cast in her comeback movie The Mistress and won several awards.

From her successful movie career, Hilda then moved to the United States to live a life away from the limelight with her husband Ralph Moore and son Diego who is 21 years old.

To this day, Hilda still possesses a classic beauty, one that represents the same glamorous actress that captivated fans and the whole Filipino movie industry. The Philippine cinema needs more actresses like her.

For me, she is one of the greatest actresses of all time, in line with Lolita Rodriguez, Vilma Santos, Nora Aunor, Charito Solis, among others.

An actress of perfection and passion, once again my friends, let’s give a big round of applause to the incomparable Hilda Koronel. Bravo!

***

Monet Lu is an award-winning celebrity beauty stylist with his own chain of Monet Salon across Southern California and Las Vegas, Nevada. Ultimately, Monet is known as an all-around artiste who produces sold-out fashion and awards shows, as well as unforgettable marketing campaigns. Monet is also the founder of the revolutionary all-natural beauty products such as Enlighten, your solution to discoloration. For more information, please visit www.monetsalon.com or email at monetsalon@aol.com

Published in Hi! Society

Roller-coaster careers: Hilda is an exception to the “rule”

By Nestor U. Torre
Philippine Daily Inquirer
Viewfinder
April 7, 2014 | 12:10 am

It can be instructive to note how popular actors’ portrayals deepen or weaken through the years and decades. Some very fortunate or focused stars are amazingly consistent—for instance, when you look back on Hilda Koronel’s entire career, you can’t cite a really bad or “off” characterization.

She was a standout as early as her “introducing” shot in “Santiago,” excellent as Ligaya Paraiso in “Maynila sa mga Kuko ng Liwanag,” and still superlative even as a mature actress in her occasional TV or film appearances in the last few years.

That’s why we cite Hilda as an iconic star who, like Nora Aunor, still has many potentially great portrayals left in her—so, indie filmmakers should be conceptualizing challenging projects for her, by all means!

But, Hilda is an exception to the “rule” for long-running thespic careers in these parts, which is one of unstable, “roller-coaster” progression. Take Christopher de Leon: Like Hilda, he was discovered and mentored by the late, great Lino Brocka, but his body of work is marked by ups and downs.

He was great in Eddie Romero’s “Ganito Kami Noon, Paano Kayo Ngayon” and Ishmael Bernal’s “Broken Marriage,” but some of his recent teleserye characterizations have been too jowl-clenching and nostril-flaring for comfort.

We still believe, however, that if another great director like Brocka, Romero or Bernal is able to focus his portrayal, Christopher has it in him to surprise and chasten us again!

Even the Nora Aunor hasn’t been spared from the roller-coaster lack of consistency of her characterizations. We feel that she was at her very best in Brocka’s “Bona,” where she was perfectly cast as the scorned and abused alalay of an action-film starlet (Phillip Salvador), and some of her more recent performances have also been exceptional. But, she went through a long period characterized by poor choice of roles, and the incursion of bad acting habits and tics, like her tendency (now happily gone) to make her chin “feelingly” tremble in particularly “heavy” dramatic scenes.

Simple reminder

Now that she has matured, both as an artist and as a person, Nora has learned that less is indeed more, and we’re all the better for it!

Still, it would be good for her to remind herself that she comes off relatively poorly when she attempts to play powerful and “important” characters like judges, and such.

This is not to limit her daring and ambition, it’s just a simple reminder that how a movie actor looks affects the range of people he or she can believably portray.

What about Vilma Santos? In our estimation, she was at her very best in Mike de Leon’s “Sister Stella L.,” where the Vilma we knew “disappeared,” and the young, activist nun she was portraying convincingly took her place.

But, Vilma has also had occasional low thespic moments, like the forgettable flick she once costarred in with Romeo Vasquez, in which, no longer in their teens, they “dared” to play gooey and giggly college students!

Of course, Vilma is much more consistently a standout these days, since she can only do a film every two or three years.

That should really be the attitude of all of our senior stars: Regard each of your occasional screen appearances like it’s going to be your last, because that’s how you will most palpably be remembered, especially by young viewers who may not be aware of your past thespic triumphs. In the acting biz, you are only as good as your last performance!

http://entertainment.inquirer.net/139111/roller-coaster-careers

How Hilda Koronel found true love in US

by Yong Chavez, ABS-CBN North America Bureau

Posted at 02/13/2014 4:34 PM | Updated as of 02/13/2014 7:31 PM

LOS ANGELES -- Hilda Koronel, considered one of the Philippines best actresses, thought that finding true love that lasts just wasn't in the cards for her.

All of that changed when she and Fil-American businessman Ralph Moore fell in love.

After several failed relationships when she was younger, Koronel said she knows she finally married her soul mate.

The couple wed in America in 2000. Since 2006, they have been living a quiet and happy life in California.

"It's wonderful. I think more or less, that settled me down and I knew what I wanted and did not want. And when I met my husband, it just sort of clicked. It's fate," Koronel said.

Asked to describe her husband, Koronel said he's "wonderful."

"He's the best. He's very kind, he's very loving and I love him very much," she said.

The actress said she sometimes feels like they're still a couple of teenagers in love. They frequently go on romantic dates.

"I'm just very grateful to God that we found each other," Moore said.

"I think we both make an effort to daily tell each other 'I love you.' We give a kiss when I come home," Koronel added.

Koronel was last seen in the film "The Mistress."

Asked if she misses "showbiz", she laughingly answered "No."

"I love my work, but syempre hindi na ako masyadong mahilig sa puyatan because you know you're getting older and I do a lot of crying scenes. Not really, but I miss my work. I miss doing my acting stuff," she said.

However, Koronel is not closing her doors to acting.

"Just once in a while. Pag maganda yung offer, maganda yung role, and my husband says okay," she laughed. "He has to approve it, you know, so that's why."

She admitted it took a while for her to adjust to life in the US.

"I'm just busy with normal stuff, with everyday living. I take care of my son who's still with us, he's still going to school, and my husband. I have a dog and two cats. I do my gardening, I do the cooking. You know naman here we don't have maids and stuff like that. You do the household chores," she said.

After going through many ups and downs in her life, Koronel said she is now at the happiest chapter of her life.

"Sa Dulo Ng Panahon": The Unfinished film by Danny Zialcita with Hilda Koronel and Nora Aunor

VIDEO | Unfinished Danny Zialcita film starring Nora Aunor premieres on YouTube

By Edwin P. Sallan, InterAksyon.com · Wednesday, March 13, 2013 · 1:35 pm

http://www.youtube.com/watch?v=pIAlwFLAcLc#t=11

Danny Zialcita's unfinished Regal film from 1988 with Nora Aunor, Hilda Koronel and Jay Ilagan heading an all-star cast. Sa Dulo Ng Panahon was written by Zialcita based from Ruben Marcelino's novel serialized in Darna Komiks.

Lino Brocka’s Tubog sa Ginto MHL circa 1971

Lino Brocka’s Tubog sa Ginto MHL circa 1971

By Pablo A. Tariman (The Philippine Star) | Updated August 12, 2013

MANILA, Philippines - The good thing about YouTube is that you can access old films that you thought have vanished with beepers and telegraph messages.

An example of YouTube goldmine is Lino Brocka’s 1971 film Tubog Sa Ginto starring Eddie Garcia, Lolita Rodriguez, Mario O’Hara and the then teenage loveteam of Jay Ilagan and Hilda Koronel.

The story is a comics original by Mars Ravelo (with illustration by Elpidio Torres)  and it appeared in the comics of one’s youth, Tagalog Klassiks. In the ’70s, talking about homosexuality is still taboo but a few managed to invade the popular medium enough to disturb the mindset of the polite society.

Like it or not, Brocka’s Tubog Sa Ginto in 1971 is what the now popular teleserye My Husband’s Lover (MHL) is in 2013.

Here, the part of Tom Rodriguez was played valiantly by Eddie Garcia with the role of Dennis Trillo going to the much younger Mario O’Hara. The role of the martyr-wife now played by Carla Abellana was played by the distinguished Lolita Rodriguez.

In the Brocka film, Garcia is Don Benito married to Doña Emma played by Rodriguez. As the film opens with a birthday party for his son, Santi (played by Ilagan), you get to see the character profile of the respected patriarch. His eyes keep on  surreptitiously following his son’s friends in swimming trunks. As the story progresses, you see Don Benito’s seduction scenes with the family driver, Diego, then  played by the very much young O’Hara.

The film managed to give moviegoers a chance to see a good family eventually break up as the patriarch’s pursues an unusual dalliance with the family driver.

The son (Ilagan) has a love affair with a lovely teener (Koronel) and later finds out the unusual happenings in the family set-up.

Discovering his husband’s love affair with the family driver, Doña Emma couldn’t help turning to other men for comfort. The young lovers discover Doña Emma’s other man during a movie date. And to make matters worse, poor son  accidentally discovers his father’s liaison with another man.

The 1971 film has a well-thought-out script that allows character studies of other protagonists in the story.

Seduced by his boss and later discovering that he can use his body to improve his income, the family driver turns to blackmail. In one of their supposed secret trysts, a photographer records their intimate moments. The moment of truth shocks the boss.

In one drunken scene as he loses his blackmail money to gambling, the driver turns to the wife and gets caught by the husband-lover. The altercation between the two ends in a tragic end for the main protagonists.

The film was made before his classic Maynila sa mga Kuko ng Liwanag  and Tinimbang Ka Ngunit Kulang. But already, Brocka showed his film sensibility in this 1971 film.

His excellent cast is of course a big bonus.

To get Garcia to act as gay macho man in the early ’70s was a coup.

Here he delineates a respectable husband with a stable job and a social status fit for the respectable middle upper class. Garcia’s portrayal as the big boss and  the patriarch and then as the closet gay is indeed commendable as he wrestles with the inner turmoil of his character. Rodriguez turns in a quiet but powerful portrayal of a betrayed wife who must get even with the husband.

The film gives you a rare glimpse of O’Hara as a young actor in a highly challenging role. From the innocent driver introduced to the lure of the flesh from the same sex, he turns cunning in the end realizing he can turn his boss’ obsession with him into cold cash.

The roles of Ilagan and Koronel in this film provide a  beautiful contrast to what the other members of the family are going through in Tubog.  The Ilagan-Koronel love team in this film is pure, young love personified and the two are just perfect for the part. The disintegration of the dutiful son  after discovering his father’s secret  love life provides Ilagan some acting challenge he was able to deliver. As for Koronel in this film, she is the epitome of young love before the trial and tribulations.

In this film, Garcia received the Best Actor trophy while Brocka ran off with the FAMAS Best Director citation.

In an interview with this author, Garcia admitted he had no qualms accepting the part when it was offered to him in 1971.“It was a very unusual role that comes once in an actor’s lifetime. What I particularly liked about the part was the role is not the caricature of the Filipino gay. The parts often played in the movies are the beauty-parlor-type and the town-screaming faggot. In the role, nobody knows I was gay because I was married, I have a teenage son (played by Ilagan) and I have a respectable job. It was when I started looking for pick-up boys that my gayness comes to the fore.”

The actor also intimated he researched quite a lot to prepare for the part. “I asked my gay friends about what gives way to a fag even if he looked macho.”

The actor once played gay in a film called Paru-Parung Buking.

The late film critic Hammy Sotto noted that Tubog was invited to the 1972 Venice Film Festival by Italian festival agent Luciano Marzouli. At that time, Ilagan had problems with Lea Productions and for this reason alone, the Blas sisters — who owned the studio — refused the invitation. According to Sotto, Brocka was so downhearted he left Lea Productions.

One notes that Tubog…“was made some 42 years before Rustom Padilla metamorphosed into BB Gandanghari and before Charice Pempengco made headlines with her admission on her true sexual identity.”

Which means Brocka was ahead of his time and capable of disturbing the status quo when he felt he had to.

One wondered if Brocka could have made a sequel of the same film in these liberated times when same-sex marriage was no longer shocking.

Compared with the Brocka film, the teleserye My Husband’s Lover has very little insight to offer.

Brocka beat everyone to say in his early film that yes, husbands had male lovers as early as 1971 but were only quite coy and secretive about it for obvious reasons.

(http://www.philstar.com/entertainment/2013/08/12/1079551/lino-brockas-tubog-sa-ginto-mhl-circa-1971)

Hilda Koronel: ‘I am happier now’

Hilda Koronel: ‘I am happier now’

by Janet Nepales

September 11, 2013

Los Angeles – “I am happy where I am right now,” Hilda Koronel said as she sat in a garden chair, dressed comfortably in a flowing white skirt and flowery top. “I am now just a regular housewife and semi-retired.”

For someone who just turned 56 last Jan. 17, Hilda looks vibrant, youthful and blooming.

Now based in Los Angeles and happily married for 13 years to Filipino-American businessman Ralph Moore Jr., Hilda took a break from show business for seven years and did one movie recently, the Star Cinema film “The Mistress,” which was directed by Olivia Lamasan and starred John Lloyd Cruz, Bea Alonzo and Ronaldo Valdez.

“My kids are all grown up so I am trying to enjoy my grandkids,” she said. (She has four grandkids)

Hilda has five children: Leona (with the late-actor Jay Ilagan); Ivy (adopted); Isabel (with the late Bambi del Castillo); Gabby (with Spanky Monserrat); and Diego (with Dr. Victor Reyes). She enjoys her quiet domestic life as a simple housewife, mother and grandmother.

Recently, she made a splash again when the late Lino Brocka’s 1975 film, “Maynila: Sa Mga Kuko Ng Liwanag,” was featured at the Cannes Classics section of the recently held Cannes Film Festival this year.

“Maynila” was digitally restored by the World Cinema Foundation, headed by Martin Scorsese. It was shown at the Salle Buñuel of the Palais.

Of her recent Cannes experience, Hilda admitted that it was a “bittersweet, fun, nerve-wracking and nostalgic experience. I thought of Lino Brocka who brought us to Cannes the first time with ‘Insiang.’ He would even do my hair and he would ask his fashion designer friends like Christian Espiritu to do my gown. He was like my mom. We were proud to represent the Philippines.”

She noted, though, “Too bad Bembol was not able to come. It was more his film.”

After seeing the movie again, she marveled, “I looked so young and slim. I was only 17 years old then. The film looked really crisp. I am glad they were able to restore it.”

The first time she went to Cannes in 1978, Hilda made a splash at the Croisette where “Insiang” was screened at the Section Parallèlle/Directors’ Fortnight. She remembers wearing a Christian Espiritu gown that made the front page of the daily, France-Soir, upstaging Farrah Fawcett.

This year, Hilda went to Cannes with her hubby Ralph, her good friends Dr. Tess Mauricio and husband Dr. James Lee.

“It was raining at Cannes,” Hilda recalled. “Thank God it stopped when we reached the red carpet or else it would have been hard for us to walk around in the rain with an umbrella in our gowns,” she said. Forgoing a designer gown for something off the rack, she pointed out, “There were a lot of designers who were willing to dress me up but there was just no more time.”

Among the many stars on the red carpet, her eyes were glued on the statuesque and lovely Nicole Kidman. “She was the first one we saw and I just couldn’t take my eyes off her.”

She also recalled, “We were so nervous to be on the red carpet. We said let us just go up. We were shy.”

Hilda confided, “I miss the people,” adding, “It will always be my country. Filipinos are very warm. When I lived here in the US, it was a culture shock for me. People here mind their own business. So I just got busy with my children and my garden. It is so quiet. I was used to having my own maids. I miss my maids!”

Speaking of Lino, she said, “He is very frank. You hurt people when you are very frank. He says what is on his mind. He is like a brother to me.”

On some of her leading men, Hilda revealed:

“Jay (Ilagan) and I were very young when we got married. He entered show business earlier than me; he was a child actor. When he died in that motorcycle accident, it was only six months difference when Lino died. Our marriage was not going to work. He had so many girls. But we always put our kids first before anything else.

“Walter Navarro, I heard, died horribly. I feel sorry for him. He was very talented as a singer but very shy.

“Christopher de Leon was my best leading man. We are (of) the same age and we were both talents of Lea Productions. Most of my films were done with Boyet. He is very professional and a very good actor.”

As to doing more movies, “I don’t think my husband would allow me,” she disclosed. “If he cannot go with me, I cannot do it.” She disclosed that she got many offers to do indie films after “The Mistress” but she declined.

Hilda married Ralph in May 2000 in Laughlin, Nevada. She said one of the secrets of their marriage is their friendship. “We do everything together and I always ask him first for his opinion before I do anything. We respect each other in that sense. It is better to find out what the other one is thinking before you do something.”

Ralph, looking at Hilda lovingly, said, “I love her. I respect her. I believe God put us together. So I worked at that. For me, I always think of her when I am at work. We text each other. She tells me everything that she is doing.”

He added, “I am grateful to God. Every time I wake up and she is lying beside me, I am grateful for another day with her. She is a wonderful wife. Her cooking is amazing – the best cook in the world. I love her dinuguan. I say, ‘Honey, stop but don’t stop. It’s so good, it’s bad. But it’s so good.’”

Ralph admitted crying when he first saw “Maynila.” He said, “I am so proud of her.” When he saw “Insiang” for the first time, “It was emotionally disturbing for me to see her crying in the movie.”

He said he didn’t know Hilda Koronel the actress when they first met because he was born in Oregon. “I just went to the Philippines when I was eight years old. Now I try to watch bits and pieces of her movies on YouTube… I was excited to see ‘Maynila’ in Cannes. I just wish I met Lino Brocka, too.”

The two also are into healthy living, taking care of themselves with good diet (organic food) and exercise.

Ralph, who is turning 60 years old this year, looks young for his age, just like Hilda. They credit their youthful appearances not only to healthy living and good attitude but also to Dr. Tess Mauricio’s non-surgical Time Machine procedure, which is not actually a machine, but the use of several machines to make a person look young and produce more collagen.

Hilda also added, “I am happier. I am not stressed. When I was younger I was more high strung. Now all my kids are grown up and I just have one son who is going to Nursing. I am more relaxed now. I feel that it is now more about taking care of myself than my kids but I think of them all the time.

“Now, I take care of how I eat (and) maintain myself. Well-being is important now that we are aging. We exercise daily so, hopefully, we will have 30 more years. I am kinder to people. I have become a better person.”

(http://www.mb.com.ph/hilda-koronel-i-am-happier-now/)

Filipino classic with Hilda Koronel makes a splash at Cannes

Actress Hilda Koronel returns to Cannes for screening of ‘Maynila’
By Choy Navarro
Published Thursday, May 23, 2013

Over three decades after she first made a splash at the red carpet of the world’s biggest and most prestigious film festival, Hilda Koronel was again at Cannes when a Filipino film was cheered and heavily applauded at the fest’s Classics section.

“I am elated and a bit sad at the same time,” she said, as quoted by the ‘Philippine Daily Inquirer’ last Sunday. “I got sentimental upon seeing onscreen the old friends who are no longer with us, like [the late award-winning actor-writer-director] Mario O’Hara. How I wish they could have been here as well.”

Koronel plays the lead role as Ligaya Paraiso in the 1975 drama film ‘Maynila: Sa mga Kuko ng Liwanag’ (Manila: In the Claws of Brightness), directed by the late Lino Brocka, which was screened on May 17 at the ongoing film festival in the southern French coastal city of Cannes. 

Considered by many as a classic Filipina beauty, Koronel said she was honoured to represent Brocka, a Philippine national artist for film, who died in a car crash in 1991. “It was a momentous occasion … inspiring,” she said.

In 1978, Koronel, now 56, also made a splash at the Croisette, where ‘Insiang’, another masterpiece of the legendary Brocka, was screened in the Section Parallèlle/Directors’ Fortnight. She also plays the lead role as Insiang in the movie, which was adapted from a teleplay of the same title by O’Hara. 

She recalled that the highlight of her trip to Cannes 35 years ago was landing on the front page of the daily newspaper ‘France-Soir’, where she upstaged then-Hollywood ‘It’ girl Farrah Fawcett, whose photo was smaller than hers.

“I stayed only for a few days, but Lino and I were kept busy with pictorials and interviews with French, German and other European journalists,” Koronel said. Last week’s trip, she said, “brought back a lot of wonderful memories”. 

The ‘Maynila’ film that was shown at Salle Buñuel of the Palais on Friday night is the digitally restored version of the Brocka classic spearheaded by the Film Development Council of the Philippines (FDCP). 

The restoration was done with the help of Oscar-winning Hollywood director Martin Scorsese’s World Cinema Foundation (WCF) and Mike de Leon, cinematographer and producer of ‘Maynila’. 

Scorsese said that WCF was glad to have been a part in the restoration of ‘Maynila’. “It’s now difficult to watch a good print of Brocka’s movies,” he was quoted by the ‘Inquirer’ as saying. “It was urgent … to participate in this restoration.” 

In his pre-taped video message for the ‘Maynila’ screening, Scorsese described Brocka as “a giant, towering filmmaker” whose films were “brave, extraordinary, powerful experiences”. 

Pierre Rissient, the French filmmaker who was instrumental in having Brocka’s films first screened at Cannes in the late 70s, was hopeful for the restoration of more Brocka films after the screening of ‘Maynila’ where ardent film buffs applauded resoundingly and even lingered in the theatre lobby. 

“I hope this would be the beginning of more restoration projects,” Rissient said. “I know of at least four Brocka films—‘Insiang’, ‘Bona’, ‘Jaguar’ [Bodyguard] and ‘Bayan Ko’ [My Country]—that need to be saved.” 

Salvatore Leocata, the festival programmer from Brussels, called ‘Maynila’ “a masterpiece” while Philippines’ Lav Diaz, whose ‘Norte, Hangganan ng Kasaysayan’ (North, the End of History) was also screened at this year’s 66th French film fest in Cannes, was amazed at how ‘Maynila’ has remained so “powerful” after all these years from when he first saw it while in college. 

“My classmates and I kept debating about it afterwards,” he recalled. “It changed my perspective on cinema. It led me to filmmaking. It made me realise that film is not merely entertainment. Cinema could also be a potent tool for discourse.” 

Adolfo Alix Jr, another Filipino filmmaker whose ‘Death March’, like ‘Hangganan’, was one of the more than 40 films chosen from 1,700 entries to compete in the Un Certain Regard section of this year’s Cannes film festival, said he was excited to see the climax of ‘Maynila’ again. 

“It is one of the most powerful endings I have ever seen in a movie,” he stressed, revealing that he first saw ‘Maynila’ on VHS when he was still in high school.

(http://www.emirates247.com/entertainment/filipino-classic-with-hilda-korone-makes-a-splash-at-cannes-2013-05-23-1.507547)

Award-winning actress from Philippines Hilda Koronel at the 66th Cannes Film Festival during the fest’s Classics showcase of her ‘Maynila: Sa mga Kuko ng Liwanag’. (Twitter)

Hilda Koronel with husband Ralph Moore. (Twitter)

Hilda Koronel with her husband Ralph Moore (R) reunites with Pierre Rissient (L). (Twitter)

Hilda Koronel at the red carpet during the 66th Cannes Film Festival. (Twitter)

Actress Hilda Koronel. (Twitter)

Hilda Koronel graces screening of Maynila sa mga Kuko ng Liwanag in Cannes

May 19, 2013 Philippine Entertainment Portal ( http://www.pep.ph/guide/indie/11919/hilda-koronel-graces-screening-of-maynila-sa-mga-kuko-ng-liwanag-in-cannes/1/1 )

Festival De Cannes: ( http://www.festival-cannes.fr/en/archives/ficheFilm/id/11407616/year/2013.html )

Lino Brocka's 1975 film, Maynila sa mga Kuko ng Liwanag, was restored by the Film Development Council of the Philippines (FDCP) in partnership with Martin Scorsese’s World Cinema Foundation (WCF).

The said Brocka classic's restored version had its world premiere at the Cannes International Film Festival in France on May 17, 2013.

The Maynila premiere in Cannes was graced by the film’s lead actress, Hilda Koronel, herself a multi-awarded "Brocka baby."

On April 29, the festival officially announced its selection of Maynila as part of Cannes Classic, rounding up an unprecedented Philippine Cinema contingent in the world’s most prestigious film festival.

It has been announced earlier that Lav Diaz’s Hangganan ng Kasaysayan (starring Sid Lucero, Angeli Bayani, Archie Alemania) and Adolfo Alix Jr.’s Death March (Sid Lucero again, Sam Milby, Zanjoe Marudo) were competing in the Un Certain Regarde section.

Meanwhile, Erik Matti’s On the Job (starring Piolo Pascual and Gerald Anderson) were part of the Director’s Fortnight. 

Three Filipino films are also included in the festival’s Short Film Corner namely Aiess Alonso’s Katapusang Labok, Carlo Manatad’s Oasis Redux, and Roderick Cabrido’s Mga Engkantong Laog sa Mahabang Dapithapon. The Filipino people through FDCP will be providing travel assistance accordingly to this contingent.

This new generation of filmmakers follows the steps of Brocka who has graced Cannes several times throughout his career. 

The late great director has been in the main competition for the Palme D’Or in 1980 with Jaguar and in 1984 for Bayan Ko: Kapit sa Patalim, in Director’s Fortnight in 1978 for Insiang and in 1981 forBona, and in exhibition in 1989 for Orapronobis. And in 1986, Brocka served as a member of the Festival Jury.

Maynila is considered by many as Brocka’s magnum opus and one of Philippine Cinema’s greatest films.

It joins Alfred Hitchcock’s Vertigo (1958), Yasujirō Ozu’s An Autumn Afternoon (1962), Bernardo Bertolucci’s The Last Emperor (1987), and other masterpieces from cinematographic history that have been carefully restored in time for the Cannes Classic section.

Maynila was restored on a 4k-3k-2k workflow by L’Immagine Ritrovata, the same laboratory that restored Manuel Conde’s Genghis Khan (1950), which premiered at the Venice International Film Festival last year. 

The restoration was made possible through the collaboration of FDCP and WCF together with the National Film Archives of the Philippines, the British Film Institute, the Asian Film Archives, and the producer/ cinematographer of the film, Mike de Leon, also a master filmmaker of Philippine Cinema.

Joining Hilda Koronel (middle) at the Cannes Film Fest were (L-R) Arleen Cuevas (producer, Adolf Alix Jr.'s Death March/ Un Certain Regard section), Vanessa Ulgado (producer, The Grave Bandits/ Marche du Film section), Derick Cabrido (writer-director of short film Mga Engkantong Laog sa Mahabang Dapithapon/ Short Film Corner), and Sheron Dayoc (writer-director of Woman of the Weeping/ Marche du Film section).

Hilda Koronel, Lino Brocka take Cannes by storm once again

May 19, 2013 Inquirer Entertainment (http://entertainment.inquirer.net/94445/hilda-koronel-lino-brocka-take-cannes-by-storm-once-again)

Festival De Cannes: (http://www.festival-cannes.fr/en/archives/ficheFilm/id/11407616/year/2013.html)

CANNES—If Alfred Hitchcock’s “Vertigo” had Kim Novak, Lino Brocka’s “Maynila sa mga Kuko ng Liwanag” had Hilda Koronel.

Both vintage films are featured in the world’s biggest festival, specifically in the Cannes Classics section, currently going on in this coastal city in the south of France.

The fest website reported that Novak would be the guest of honor in the premiere of “Vertigo” on May 25.

Not to be outdone, the Philippine contingent made sure that it also had a classic beauty at its own red-carpet event—the grand debut of the digitally restored version of Brocka’s 1975 film held last Friday night at the Salle Buñuel of the Palais.

As the end credits rolled, “Maynila” was cheered and heavily applauded.
Koronel told the Inquirer: “I am elated and a bit sad at the same time. I got sentimental upon seeing onscreen the old friends who are no longer with us, like (the late actor-director) Mario O’Hara. How I wish they could have been here as well.”

It was not Koronel’s first time at Cannes.

Over three decades ago, she made a splash at the Croisette, where her mentor Brocka’s “Insiang” was screened in the Section Parallèlle/Directors’ Fortnight.

Koronel has vivid recollections of that 1978 event. “I stayed only for a few days, but Lino and I were kept busy with pictorials and interviews with French, German and other European journalists.”

She told the Inquirer this latest Cannes visit “brought back a lot of wonderful memories.”

The highlight of her 1978 trip was Koronel landing on the front page of the daily, France-Soir, upstaging then Hollywood “It” girl Farrah Fawcett. The photo of Koronel, in her Christian Espiritu gown, was considerably larger, compared to Fawcett’s more modest picture.

Grand comeback

In her grand comeback at Cannes, Koronel, who is now based in Los Angeles, chose an off-the-rack gown from a US store. “Filipino designer friends wanted to make a new dress for me, but we didn’t have time.”

She was escorted by her Filipino-American husband, lawyer Ralph Moore, at the premiere.

Koronel was flown to France by the Film Development Council of the Philippines (FDCP), which spearheaded the “Maynila” restoration with help from Oscar-winning director Martin Scorsese’s World Cinema Foundation (WCF) and the movie’s cinematographer and producer Mike de Leon.

Koronel said she was honored to represent Brocka, a National Artist for Film who died in a car crash in 1991. “It was a momentous occasion … inspiring.”
Sadly, De Leon and the film’s lead star Bembol Roco were unable to attend the premiere.

Scorsese sent a pretaped video message specially for the “Maynila” screening. In his message, Scorsese hailed Brocka as “a giant, a towering filmmaker whose films were “brave, extraordinary, powerful experiences.”
Scorsese said the WCF was “excited” at getting a chance to save a Brocka film. “It’s now very difficult to watch a good print of Brocka’s movies. It was urgent … to participate in this restoration.”

The dignitaries present at the “Maynila” premiere were led by FDCP chair Briccio Santos, FDCP executive director Ted Granados, consul to Monaco Patricia Zobel de Ayala, Brocka’s Cannes “discoverer” Pierre Rissient, Doug Laible and Kent Jones of WCF, Davide Pozzi of L’Immagine Ritrovata, programmers Roger Garcia, Jeremy Segay, Benjamin Illos and Paolo Bertolin, among others.

Also present were the Filipino filmmakers featured in this year’s Cannes: Erik Matti (whose “On the Job” is included in the Directors’ Fortnight) and Lav Diaz and Adolfo Alix Jr. (whose films, “Norte Hangganan ng Kasaysayan” and “Death March,” respectively, are competing in the Un Certain Regard section).

More restoration projects

Also present at the “Maynila” screening were actors Archie Alemania, Evelyn Vargas and Bianca Zialcita, cinematographer Albert Banzon, filmmakers Tikoy Aguiluz, Sheron Dayoc and Derick Cabrido, producers Dondon Monteverde, Raymond Lee, Arleen Cuevas, Vanessa Ulgado, and others.
The hall resounded with applause at the end of the two-hour film. The most ardent of film buffs lingered in the theater lobby, hesitant to leave.
Rissient told the Inquirer: “I hope this would be the beginning of more restoration projects. I know of at least four Brocka films—‘Insiang,’ ‘Bona,’ ‘Jaguar’ and ‘Bayan Ko’—that need to be saved.”

Festival programmer Salvatore Leocata of Brussels called “Maynila” a “masterpiece.”

Diaz said it had remained “powerful” after all these years.

“I first saw it at Coronet Theater in Cubao in 1975,” Diaz recalled. “I was in college then and our Literature teacher at the Ateneo assigned us to do a paper on it. My classmates and I kept debating about it afterward. It changed my perspective on cinema. It led me to filmmaking. It made me realize that film is not merely entertainment. Cinema could also be a potent tool for discourse.”

For Alix, “I was looking forward to seeing the film’s climax again. It is one of the most powerful endings I have ever seen in a movie.” He said he first saw the film on VHS when he was a high school student.

The restoration project, said Santos, aims to introduce Brocka to a wider and younger audience.

“Maynila” will premiere at the Cine Adarna of UP Diliman in June. A commercial release will follow in July or August, said Santos.
Brave choice of themes

FDCP also plans to release a twin-bill DVD of “Maynila” with Manuel Conde’s “Genghis Khan” (which was debuted in Venice), its first two restoration projects.

“Brocka has always been known for being brave in his choice of themes for his films,” said Santos. “He has the discipline and determination to imbue his films with social purpose.”

Santos met Brocka in Baguio in the 1970s. “He struck me as humble and unassuming, very respectful and serious about his craft. It was quite obvious that he was gifted.”

Santos praised Brocka for using his talent “to serve the Filipino people.”
Brocka said that the director’s role was to present the truth, Santos related. “Brocka said he had to make use of reality to confront the people so they wouldn’t become apathetic.”

A perfect example of Brocka’s commitment to the cause, Santos said, was “Maynila,” which was produced in the middle of martial law.

Santos praised “Maynila” for “shedding light on the plight of the exploited masses, at a time characterized by much danger and repression.”

In his speech, Santos said: “It was Brocka’s intention to make a document of this period … But through this restoration, not only did we bring a film back to life; more importantly, we restored a part of the truth for all of us to witness and remember.”

Hilda Koronel is reunited with Pierre Rissient, the Frenchman who brought “Insiang” to Cannes in 1978. Photo courtesy of Tikoy Aguiluz

Hilda Koronel returning to Cannes

Hilda Koronel returning to Cannes
It will be a sentimental journey for the actress, toast of the French fest 35 years ago

By Bayani San Diego Jr.
Philippine Daily Inquirer

May 5, 2013

It has been 35 years since she last walked the red carpet at Cannes, and Filipino actress Hilda Koronel is on cloud nine as she prepares to return to the world’s biggest film festival this month for the world premiere of the digitally restored version of Lino Brocka’s 1975 masterpiece, “Maynila sa mga Kuko ng Liwanag.”

Last time Hilda was there, she had gone for another Brocka film, “Insiang,” which screened in the Section Parallèlle or Directors’ Fortnight in 1978.

“Maynila,” restored through the efforts of the Film Development Council of the Philippines (FDCP) and Martin Scorsese’s World Cinema Foundation, will be shown alongside Joseph L. Mankiewicz’s “Cleopatra,” Bernardo Bertolucci’s “The Last Emperor” in 3D, Alain Resnais’ “Hiroshima Mon Amour,” Patrice Chéreau’s “La Rein Margot,” Francesco Rosi’s “Lucky Luciano” and Alfred Hitchcock’s “Vertigo,” among others, in the esteemed Cannes Classics section.

In an e-mail interview, Hilda, now based in the United States, told the Inquirer: “I’m very proud and excited that ‘Maynila’ was chosen to be screened with movies like ‘Cleopatra’ and ‘The Last Emperor.’ It’s a tremendous honor. We should all be proud as Filipinos.”

She has made all necessary arrangements to travel to the south of France later this month, with the help of FDCP.

“I’m looking forward to watching ‘Maynila’ again. It will surely bring back a lot of wonderful memories and I am certain that my husband, who is going with me, will enjoy it very much as well.”

Hilda is now married to Filipino-American lawyer Ralph Moore Jr. “He loves watching my old movies, even the ones without subtitles,” Hilda said.

Viewing list

Among Ralph’s faves are Brocka’s “Hayop sa Hayop” and “Angela Markado,” Danny Zialcita’s “Gaano Kadalas ang Minsan” and “Palabra de Honor,” Laurice Guillen’s “Tanging Yaman” and Mark Meily’s “Crying Ladies.” Ralph has also seen Hilda’s recent big-screen comeback, Olivia Lamasan’s “The Mistress.”

“Insiang” is on top of her husband’s viewing list, of course. The movie made Hilda the toast of Cannes in 1978. “Going back there will be fun, nerve-wracking and a bit sad,” she confessed. In the very least, it will be a sentimental journey.

“I still remember how Lino would help me get ready [for public appearances],” she recounted. “He did my hair for that famous newspaper photo with Farrah Fawcett.”
Hilda is referring to the front-page feature in the daily France-Soir, which ran a big photograph of hers beside a smaller pic of Farrah.

“Lino helped put my outfit together as well, with Filipino designer Christian Espiritu,” she recounted. “I think the French really loved my white terno, so the photo landed on the front page. The terno was beautiful and elegant—everyone else opted for casual wear, or was mostly undressed!”

Still relevant

She and Lino had traveled to Cannes to drumbeat interest in the film. “Lino was very popular in the whole of Europe, not just in Cannes. He loved screening his films there and they just adored him. He worked hard to promote his films and bring glory not just to himself, but to the country.”

Hilda feels strongly about revisiting Cannes, if only to honor her late mentor.
“[This restoration] is important to all of us. The social issues Lino discussed in our film are still relevant today,” she said. “I will always be proud to have been part of his cinematic legacy. We do make a lot of great movies, but today’s young people are not aware of them.”

She hopes that “Maynila” costar Bembol Roco, who is vacationing in the United States, can make it to the festival, too. “I haven’t seen him in ages.”

She is certain that this will be a trip to remember. “When ‘Insiang’ went to Cannes, Lino and I secured a place in Philippine cinema history. No one can take that away from me,” she said. “Now, ‘Maynila’ will be screened there … it just warms my heart.”

http://www.festival-cannes.fr/en/article/59696.html - 

Cannes Classics 2013

http://www.screendaily.com/news/cannes-classics-2013-line-up/5054402.article?blocktitle=Latest-News&contentID=1846 - 

Cannes Classics 2013 line-up unveiled

bayanisandiegojr@gmail.com

http://entertainment.inquirer.net/92557/hilda-koronel-returning-to-cannes

Hilda Koronel movies @ www.mavshack.com

Watch some of Hilda Koronel’s movies at www.mavshack.com:

• Kapag Puso'y Sinugatan (1985) (http://www.mavshack.com/home.aspx?pg=moviedetail&MovieId=282a4c71-7afb-469b-91d0-4eb866f7d2a8)

• Angela Markado (1980) (http://www.mavshack.com/home.aspx?pg=moviedetail&MovieId=28a38a09-ce5f-4d17-97a2-8a5af0518c46)

• Babangon Ako't Dudurugin Kita (1989) (http://www.mavshack.com/home.aspx?pg=moviedetail&MovieId=418cc617-8b4c-4253-a407-ea4268755da1)

• Gaano Kadalas Ang Minsan (1982) (http://www.mavshack.com/home.aspx?pg=moviedetail&MovieId=c3f3a173-68f9-44cd-b267-23430c03dfb5)

• Habang May Buhay (1996) (http://www.mavshack.com/home.aspx?pg=moviedetail&MovieId=23ca8c9f-02c7-41ac-b356-72d3d5487e3e)

• HAYOP SA HAYOP (1987) (http://www.mavshack.com/home.aspx?pg=moviedetail&MovieId=1ef0197c-6dec-4735-9e34-6f399067b7ac)

• HUSTISYA (2000) (http://www.mavshack.com/home.aspx?pg=moviedetail&MovieId=c6e33039-0a40-4e34-9992-85ed32e0fb27)

• KUNG MAHAWI MAN ANG ULAP (1984) (http://www.mavshack.com/home.aspx?pg=moviedetail&MovieId=cc79c35d-e24f-43c9-ac7b-87cb1145db8a)

• TABLOID STORY (1998) (http://www.mavshack.com/home.aspx?pg=moviedetail&MovieId=59018544-c13d-430e-b6e9-ab7492bdc346)

• WORKING GIRLS (1984) (http://www.mavshack.com/home.aspx?pg=moviedetail&MovieId=68faf1aa-87ae-4fcf-8f27-924ec1432721)