SA NGALAN NG INA

In the name of the artist

2011-10-17T03:47:00.000-07:00

REVIEW: NOEL VERA

Filipino actress Nora Aunor works best with Filipino filmmaker Mario O'Hara.

There, I've said it. Oh, Aunor--a multimedia, multi-awarded giantess in the '70s and '80s--has done excellent work with other directors (Bona (1980) with Lino Brocka, Himala with Ishmael Bernal, Merika (1984) with Gil Portes, but arguably her finest films were with O'Hara (Condemned (1984); Bulaklak sa City Jail (Flowers of the City Jail, 1984); the great Tatlong Taong Walang Diyos (Three Years Without God, 1976). If Brocka had his favorite actors (Philip Salvador, Gina Alajar) and Bernal his (Vilma Santos, Maricel Soriano), O'Hara's is possibly Nora.

O'Hara & Aunor: Stellar tandem

More than a filmography they share a quiet sensitivity, a kind of shyness; they would rather avoid the spotlight if they could help it (but when it falls on them, they step up with the confidence of veteran professionals). In temperament they could conceivably be brother and sister, having practically grown up together as workers and artists in a pitilessly changing industry.

Talk about pitiless, O'Hara and Aunor have not worked with each other for some twenty-four years, and time has taken its toll--O'Hara has gained a mane of white hair, Aunor's expression has grown solemn, even careworn. The actress has spent almost eight years out of the country, in seeming exile, trailed along the way by stories of bankrupt finances and a drug possession charge. Now she's come home, and judging by all the media fuss she seems bigger than ever, and we (at least those who've never really forgotten) wait with bated breath for the results of their first collaboration in decades. Will lightning strike yet again? Is the magic still there?

It is. Sa Ngalan ng Ina (In the Name of the Mother) is that rare creature in Philippine television, the political melodrama. Longer and more complex soap operas have been mounted on Philippine television before, and politics has been touched upon before, but far as I can recall there has never been a series (the exact name of the genre is, I believe, the teleserye) fully driven by politics, hinging upon the election into office and subsequent administration of the main character. This particular production will run for only the month of October--meaning the production budget (which is lavish) can be and has already been measured out, and the storyline guaranteed, more or less, not to run out of gas (a common complaint, apparently about many a teleserye--that they have overstayed their welcome).

It's a whirlwind of a melodrama--without much wasted breath O'Hara and co-director Jon Red (brother of independent filmmaker Raymond Red) take material written by Dinno Erece, Jerry Gracio, Benedict Mique, Pamela Miras, and establish the dozen or so characters of the story, their often conflicting motivations, the tumultuous milieu in which they operate.

Philippine elections have traditionally been a chaotic affair, to put it mildly; I'd call it a cross between an endless town rally and a three-ring circus, with the occasional rival-gang shootout interrupting the festivities. The idea of setting a melodrama during a province's gubernatorial elections is, to put it mildly, genius--the marriage of tone and substance makes such perfect sense it's a wonder no one's ever thought of it before. Complex machinations and even more complex plot twists? Nefarious treacheries and lurid sex? Vicious confrontations among political rivals, long-time friends, blood brothers? Torture, car chases, assassination attempts? Either you're watching a lengthy melodrama (with a Hollywood-sized budget I'm guessing The Godfather, Part 1 and 2) or it's election season in the Philippines, baby; don't forget to wear a raincoat (for the mudslinging and spittle) over your bullet-proof vest.

This is familiar territory for O'Hara; his Bagong Hari (The New King, 1986) is set in a large and powerful (if fictional) province, where two rival factions vie for the position of governor of the land. The fictional province is Manila, the office of governor a stand-in for the office of President of the Philippines; the relatively small-scale struggle (relatively; I thought O'Hara had wrought a rarity among noir films--the noir epic) served as metaphor for the nationwide struggle to wrest power away from former president Ferdinand Marcos.

Sa Ngalan ng Ina while lighter in tone (Bagong Hari received an "X" rating from the censors board for its extreme violence) is broader in scope, ranging from housewife-turned president Cory Aquino's rise to power (she was chosen to run against Marcos for the sentimental value of her husband Ninoy's death--presumably assassinated under orders from Marcos' wife, Imelda), through her struggles as naive Chief Executive against traditional politicians (trapos) and the military (here represented by the province's police force) alike constantly underestimated her). The series even throws in a subplot involving secret recordings--a reference to the "Hello, Garci" tape scandal that marred former president Gloria Macapagal-Arroyo's administration.

Easy to equate the characters to their real-life inspirations: Elena Deogracias (Aunor) is the Cory Aquino figure, her husband Amang (Bembol Roco) the martyred Ninoy; wheelchair-bound Pepe Ilustre (Christopher de Leon) is Ferdinand Marcos, the voluptuous Lucia Ilustre (Rosanna Roces) his ruthless wife. The script introduces several interesting changes to the actual story: turns out Elena and Pepe were once lovers (as Aunor and De Leon were in real life), and their children also romantically involved (a la the late Bienvenido Noriega's comedy musical Bongbong at Kris). The script cunningly links not just to recent political history (Aquino vs. Marcos, with a touch of Macapagal-Arroyo) but to recent popular movie history (Aunor vs. De Leon).

So--topical relevance; high production values; a royal flush of excellent actors (along with the main stars there's Leo Rialp, Raquel Villavicencio, Alwyn Uytingco, Eugene Domingo), a solidly constructed, intricately plotted script. Not a bad vehicle, overall--but a television melodrama? How to reconcile this with O'Hara's reputation as one of the Philippines' better filmmakers?

Actually there's nothing to reconcile; O'Hara has always embraced melodrama--it's where he comes from. He got his first break in a Proctor and Gamble radio show in 1963, years before meeting Brocka, and Filipino radio is nothing if not melodrama. He acted on the theatrical stage; wrote scripts for and acted in Brocka's TV series Balintataw. His script for Tatlong Taong Walang Diyos was originally written for the drama series Hilda, a dramatic showcase for Brocka protege Hilda Koronel. At one point he was the director of the hit series Flordeluna, starring Janice de Belen in the 1980s--you might say he improved the series. On occasion I've caught him directing the odd episode of Lovingly Yours, Helen; he did one of the better instalments for Eddie Romero's 1896 TV mini-series, Alitaptap sa Gabing Madilim (Firefly in the Dark Night) based on a Lualhati Bautista script. Far as I know he's still acting onstage, and on radio.

In short O'Hara does not put on airs, and has not lost touch with his roots--he takes this project seriously, and has lavished it with his distinct visual and narrative sensibilities. You see it in the camerawork--though O'Hara has always maintained that video is a less expressive medium, you wouldn't think it looking at the film's extravagant lighting scheme (all those large-scale night scenes--night scenes with their need for floodlights are always more expensive to shoot).

You see it in big ways--the many parties, rallies and large crowds; in several of the action sequences, the biggest to date being the safehouse assault. O'Hara in films like Kastilyong Buhangin (Castle of Sand, 1980) and the aforementioned Condemned and Bagong Hari has proven time and time again he's a competent action director, and he proves it yet again here (I'm only assuming O'Hara directed the scene, of course--and if I'm wrong then the credit rightly belongs to Red). The assault is realistically staged, cleanly shot and edited, and not a little suspenseful (can't help but think that the gang leader's last stand on the mansion's highest alcove is a little bit inspired by the finale of Kurosawa's Throne of Blood (Kumonosu-ju, 1957).

You see it in subtler ways--the first meeting between Elena and Pepe in an old church, for example. Pepe in his wheelchair sits up and turns to look at the camera; he is limned in light against a dark background. Reverse cut to Elena, a dark silhouette against brilliant sunlight, contrasting light and shadow used to contrast two physically and temperamentally different actors (the dusky, quietly intense Aunor, the mestizo-looking, more easygoing De Leon). Later you have party leader Apo Lucas (Leo Rialp) approaching Elena in a gazebo, and the sequence is shot and framed like a stage production not unlike A Midsummer Night's Dream.

Which makes all kinds of sense--Apo will offer Elena the candidacy for governor and it's meant to be a quietly moving moment, the episode's dramatic high point. But Apo's intentions are false; he means to use her as a puppet figure. He assumes Elena has visions of power, and that her ambitions are a mere fantasy he can grant or cause to vanish at any time, much like dreams--or much like, as Puck suggests, most of what happens in Shakespeare's play (If we shadows have offended / think but this, and all is mended / that you have but slumbered here / while these visions did appear).

I can't help but play this game, who's directing what scene--I keep thinking most of the sweeping crane shots are Jon Red's (really beautifully done, some of them), and most of the high static overhead shots are O'Hara's (he occasionally likes to assume a God's eye view of the action, to remind us how small and helpless we really are). I'm guessing all the church scenes are O'Hara's, mainly because they have the feel of his work (locked-down camera, simple setup, sharp mise-en-scene).

I'm guessing the sound editing and music cuing are O'Hara's work--as he likes to put it, they're so radio. Conversations from the next scene often overlap the images of the previous scene; at one point the conversation on television runs on in the background while the scene has already cut from studio into the Ilustre's bedroom--a nice way of telling us that, despite all of Lucia's protestations, she does have something to do with what they're talking about on TV.

Perhaps oddest of all is a trick O'Hara uses at least twice, where the image suddenly slows down while conversation runs on ahead. You get a sense of events moving past you, past the characters, past everyone's control, while you're left staring at slowed-down people struggling to catch up. It's easily his most disconcerting effect.

Actingwise, there's very little to fault. Eugene Domingo as Pacita presides over Elena's household and governor's office like a born second-in-command; her salty down-to-earth wisdom makes one think of Sancho Panza, supporting the fragile Don Quixote. Leo Rialp as Apo has few scenes, but what few he has stands out (his charming old patriarch act very much caught me by surprise, as I was at one point thinking this political party seemed too squeaky-clean for its own good--Rialp quickly put paid to that misconception). The lovely Raquel Villavicencio as former Vice Governor Dorinda Fernando doesn't have a consistent presence--the script writes her out of entire episodes--but her character when actually there is wonderfully bitchy, a real power-climber and seasoned survivor. Alwyn Uytingco as Elena's stepson Alfonso has the showy role, the prodigal child, and plays it to the hilt; he knows, however, that when called to play differently (as in the aftermath to the assassination attempt gone wrong) that that is his moment, and he comes through wonderfully.

Christopher De Leon as Pepe Ilustre reportedly refused to take direction from O'Hara when they did Tatlong Taong Walang Diyos over thirty-five years ago (though for the record I liked him there); he's apparently learned enough to listen now, as his is a largely restrained performance. His scenes with Aunor have a beautiful delicacy to them, as if the two veterans know they only have to do very little to suggest page upon page of intense feelings between them. Rosanna Roces plots and rants and fumes as Pepe's evil wife Lucia, and you can tell she's having the time of her life with possibly the role of her life, as the melodrama's chief villainess. If Ray's Johnny Guitar (1954) is basically a confrontation between two powerful women, so is Sa Ngalan ng Ina (fact is, I think we're ahead of the United States in depicting women taking power onscreen--our women have now reached the level of achievement of Ray's film, in reducing the men to trophy husbands); Roces steps up to the plate across Aunor and delivers an over-the-top performance worthy of Joan Crawford herself.

It's a spectacular success, but what stays in one's memory are the quieter moments. There are the scenes of Aunor and De Leon in church, of course, but then there's the very quiet, very fine scene of Pacita feeding Alfonso, and Alfonso wishing she and not Elena were his stepmother. It's more than just killing time; it helps show us a more motherly side to Pacita, and an altogether more human side to Alfonso--when he does what he does later in the show, we can't forget having seen that side, and it makes his later anger all the more unsettling. Later Lucia confronts Pepe, and we realize that for all her evil machinations and adulteries she does love him, very much; if anything, she does it all out of a sense of love, not hate. You realize you're watching not a virago but a woman after all, flesh-and-blood and full of helpless anguish at the treacheries of the human heart.

As for Aunor--what else to say about her? When Amang dies on the treatment table the room bursts out in a symphony of grieving. Aunor knows she has to play against that, to pull your eyes down, down, down to her so you're aware that, while everyone else is being far more demonstrative, the news has hit her the hardest. Later, she has a simple scene with Domingo putting away Amang's clothes where it's her effort not to cry, instead of the usual histrionics and tears, that makes the scene so quietly moving.

It's not perfect work, and perhaps the most serious flaw in it is Elena's sainted goodness, which is almost too good to be true. But we're only halfway through the series, and hopefully O'Hara, Red, and the rest of the filmmaking team will manage to show us more sides to our heroine, give us the clay feet as well as the halo.

O'Hara helps out; he has Aunor flash out in steely anger more and more often, and I remember a line she delivers to an underperforming police officer that deserves to be an oft-quoted classic ("Remember I had my own son arrested--think what I'd do to someone outside my family!"). Most of O'Hara's work seems to consist of modulating Aunor's glamor, of having the camera treat her thematically, according to the demands of the narrative, instead of protecting her as befits the star of a big production. Often Aunor looks harried and exhausted, and it's heartrending to see her like this (you feel all the problems of the series weighing down on her). Once in a while though he relents, finds a certain angle...and suddenly she's gorgeous to look at, our Superstar forever, the literal face of Philippine cinema.

(Photos: Joel Leonor Quilang)

Exciting possibilities, exceptional production

2011-10-07T11:56:00.000-07:00

REVIEW: NESTOR U. TORRE

Nora Aunor’s latest and perhaps last comeback to the local TV-film scene should, by rights, be a major entertainment event. Not just yet another turgid, florid melodrama, but a production with a theme and significance commensurate to the iconic actress’ proven worth.

The good news is that her prime comeback vehicle, the month-long TV5 miniseries, Sa Ngalan ng Ina, is shaping up to be such an event.

Perceptively megged by Mario O’Hara, the series is more than just a convoluted and prolix family drama, it’s a seething study of politics, Philippine style, with all of its dark and dangerous twists and turns – and telling insights into the Filipino psyche.

Morality tale. As the new series’ cautionary political morality tale swiftly unreels, a well-loved gubernatorial candidate (Bembol Roco) is killed at a political rally, leaving his widow (Aunor) to (like Cory Aquino) carry the torch. In so doing, she reveals that she isn’t the meek pushover many people thought she was.

Other revelations in the series’ first three episodes include the fact that the widow had a past relationship with the governor (Christopher de Leon) who’s now her political foe (and the suspected mastermind of her husband’s murder). It’s also intimated early on that he isn’t guilty, but his ambitious wife (Rosanna Roces) could very well be.

As the plot dramatically thickens, the series’ significant themes emerge and glisten, exciting us with the possibility that Sa Ngalan ng Ina could be as exceptional as it has promised to be. On the local teleserye scene, where self-serving melodrama instead of authentic drama rules, that really is an eventuality worth celebrating.

Emphasis. To be sure, some “danger signs” are evident that may limit or detract from the series’ worthy objectives. There appears to be too much emphasis on the other and young members of the slain politician’s family, and some of the young actors assigned to those roles are not up to the thespic task at hand.

Also less than choice is the rather standard way that the production stages and handles its “political” scenes, which betrays a lack of “actualized” insights in the process that the story seeks to expunge.

Some production details are similarly and distractingly inept, like the “dramatic” veil that Nora is made to wear in the funeral scenes, which threatens to “drown” her slight frame and upstage her in a major way. And the decision to make Rosanna wear a brightly colored outfit at the funeral was similarly too “TH.”

But, these are details. What matters most is the firmness of the series’ plot, character and thematic development, and that’s coming along relatively well– so far. In addition to the gathering strength and force of Nora’s lead portrayal, Bembol also did well in his all-too-brief appearance, and Rosanna, Eugene Domingo, Karel Marquez and Alwyn Uytingco are also coming on strong.

Unfortunately, Christopher tried to get by with mannered “voice acting” in his early scenes. By the third telecast, however, in his first long scene with Nora, he managed to drop the melodramatic “act,” and the thespic chemistry between them was stirring to behold. We hope that, from here on in, the actor will continue to give us seminally focused moments like that, instead of mannered approximations thereof.

Other thespic “grace notes” thus far were provided by Nora’s speech at her first rally, Leo Rialp’s subtle political machinations, and the exceptionally telling scene between Eugene and Alwyn, ostensibly just a small and offhand interlude at mealtime, but in fact an eloquent expression of their unique relationship and what they felt about what was happening to their family and to their town.

It is grace notes like these that tell us that more than just simple storytelling is happening in this series, which could end up as one of the year’s best extended dramas-- and proof positive that Nora Aunor still has what it takes, and is here to stay. (NESTOR TORRE, Philippine Daily Inquirer, 7 October 2011)

Click video below to watch the recording of the theme and the making of Sa Ngalan ng Ina

Odes to the initial episodes

2011-10-07T11:04:00.000-07:00

REVIEW: RONZ MACEDA

October 4: Last night's episode was comparably muted to the high drama of Monday's initial telecast. Most of the scenes are low key, fast-paced and a tad underwhelming from a visceral standpoint.

This could pose a problem to casual viewers exposed to and unwittingly dumbed down by current soap opera conventions. For instance, the brisk shift in mood and emotion might alienate them a bit. Nasanay na kasi sila sa overly drawn-out exposition and plotting. For years, the duopoly has steadily dieted them with heavy emoting, high-strung moments, overly-staged scenes to better tug at their heart strings and tear ducts.

Acting in general remains uniformly/consistently fine. Para sa akin walang lumutang o lumamang ngayong gabi. Special mention, though, goes to Nora (napakasuabe), Eugene (who's such a joy to watch given her inherent comedic timing) and Ian (strong screen presence). I'm also loving Boyet's histrionic-free tackling of his role. It’s when he opts for restraint that his remarkable acting chops are most evident. Bilang director, mahusay talagang rumenda at kumumpas ni Mario O’Hara.

There seems to be a hint of irony in Boyet’s miting-de-avance in terms of time frame. I’m used to seeing/hearing such pivotal campaigns scheduled and mounted in the evening or even at midnight especially in Metro Manila (but I could be wrong). The governor, whose incumbency has supposed to have plunged the province in abject darkness, delivers a rousing speech of reconciliation and forward-moving in ample day light.

The quiet yet intense gazebo scene between the Superstar and theatre stalwart Leo Rialp, for me, was a highlight. To think that it wasn’t even a close-up! Napakahusay ng ipinamalas nilang body language. Ramdam mo ang reservations and fears ni Nora sa pagpasok sa pulitika as the predatory kingpin Leo smooth-talks her into it.

October 5: For that understated yet riveting Boyet-Guy church face-off alone, SNNI is truly worth anyone’s viewing time. Tenderly staged and photographed, it was beautifully acted by the drama queen and king. Of course, their being an erstwhile couple informed and inspired how they played out this scene.

It begins with the initial eye contact. Mga matang nangungusap... na nakikipag-usap sa mga matang nakikiusap.

The conversation flip-flops in tone and content. From painfully polite to curt and biting. Their actions, heartbreakingly-tentative. The quiet tension is akin to a dam about to overflow. ‘Di man nila sabihin, halatang may pagmamahal, pananabik, hinanakit o pag-aalinlangan pa rin sila sa isa't isa. May nakakubling kilig. Mayroong kibot na iniinda. One false slip and, lo, the floodgates of loving emotion would be upon them. But Governor Ilustre and Dona Negra know better.

I’m sure all the lovers on the planet can relate to this scene. Viva La Aunor! Kudos to Christopher! And thank you, Direk!

Meanwhile, the interplay between the characters of Eugene and Nora is so good! Their chemistry is reminiscent of the Nora-Louella Albornoz tandem in the early '80s. This one is even better because Uge is a big dramedy star in her own right.

Bukod kina Pepe at Elena, napakasarap ding panoorin ang batuhan ng linya at emosyon nina Patricia Toribio at Elena Toribio vda. Deogracias. She holds her own in her scenes with her Ate. Patricia provides the much-needed comic relief especially when she flirts incorrigibly with Ian’s character. So, it's nice to see the dolorous Elena smiling for a change.

I’m also glad that we see a more playful and less-guarded side in Alwyn’s character. The same cannot be said of Osang’s character, which still one-dimensional for now. I’m positive that she’ll be able to showcase a different shade of Mrs. Ilustre's persona in the coming days. On the other hand, I still can’t emphatize fully with the Romeo-and-Juliet love team. I can’t fathom how their respective families, political rivals at that, could’ve allowed such a relationship to prosper. Further, the hands shown playing the piano don’t seem to match those of Christopher’s. (O marunong ba talaga s’yang tumugtog?)

The reference to Himala's famous sermon on the mount is cute. Natawa ako sa eksenang ito. The escalating feud between Andrea and the Vice Governor is something to watch out for. Magaling si Raquel.

Nora’s enunciation is clear and crisp-- she proves her excellence in voice acting once more! Mapatagalog man o mapa-ingles, matatas n'yang naipahahayag at naitutulay ang tamang mensahe at emosyong hinihingi ng eksena.

Nora's miting de avance scene is quite believable. She sounds like a politico: the mien, the gestures, the look, and the voice.

October 6: Another compelling episode...

--As the narrative unravels, we are further led into the town’s and province’s dark, menacing and malignant political landscape. Where dynasties, warlords and mobsters rule. Where politics are personalistic, parochial, even petty in nature. Isn’t it a telling reflection of our dysfunctional national politics? Ano kaya ang kahihinatnan ng Pollyanna-esque character ni La Aunor?

--For me, one scene and one performer stand out. Brimming with dramatic fireworks is the grand political debate between Nora (Dona Elena Toribio vda. Deogracias) and Christopher (Governor Jose Pepe Ilustre). It’s a classic mind versus heart confrontation. The main protagonists are equally in fine form. Nothing over-the-top or caricaturish. No stealing of thunder or lightning. Only give and take.

Guy and Boyet invest the scene with an authenticity that could only come from their real-life forays into Philippine politics either as campaigners or candidates. Both deliver fiery oratories laced with humor and sly digs; punctuated by fierce stares or patronizing looks. The dichotomy between a traditional politician and a new breed is fairly established here.

Boyet continuous to impress with his tone-perfect rendering of a politician facing a career sunset. He looks and sounds comfortable in his role. (No surprise there since he’s a current provincial board member.) Napalutang n’ya ang isang self-confident person na confined in a wheel chair. He’s effective in cleverly masking his “I’m-going-to-chew-you-up-and-spit-you-out” stance with his affable yet calculated demeanor on stage.

The Superstar seems to have channelled her ‘kingmaker’ rep/status in real life (she has helped elect three Philippine presidents into office). And the result is spell-binding. Tagos sa puso ang bawat linyang binitawan n’ya. Napakarubdob! Here’s a public speaking template that politicos should take note of.

--Kaya lang medyo nabitin ako. How, I wish the creative team prolonged this scene. Mas mahabang balitaktakan, mas maigi. (One more nitpick: kaunti ang crowd ng supposedly pinakamalaki at pinakaaabangang political gathering in the province.)

--Sa eksenang ito pa rin, parang namangha o nabatubalani yata ang mga co-star nila sa husay nina Nora at Boyet, kaya may mga sandaling bumitaw sila sa kanilang characterization.

--In my opinion, it is Eugene Domingo who shines most brightly tonight. The woman is so effortless in lighting up her every scene. Ang karakter n’yang si Patricia Toribio ang nagsisilbing ningas sa madilim at malungkot na mansion ng mga Deogracias. She neatly lacerates people with her ironic humor. She also knows when to be serious and tell people off. Talagang kahanga-hanga ang pagiging naturalesa n’ya sa pagpapatawa, pang-ookray o pakikipaglandian.

--Again, the scenes of JM and Karel are dragging and uninteresting. I’m sorry but at this point parang filler lang ang kanilang mga eksena. Talagang kulang sa chemistry ang dalawa, which is unfortunate because you can see Karel giving her all and JM trying his best.

Still undisputed after all these years

2011-10-04T17:58:00.000-07:00

REVIEW: PinoyTVCritic.com

Last night viewers have seen the return of the country's one and only Superstar in the small screen via TV5's miniserye Sa Ngalan ng Ina.

Nora Aunor, playing the role of a doting wife and a political family's matriarch, has once again redefined acting on television.

Sa Ngalan ng Ina, opened with a political tension brewing in a quaint provincial setting. Nora's character is the wife of Bembol Rocco who is running for the gubernatorial seat. And true to the country's political setting, Bembol's character was killed during a political rally after a bomb exploded.

The breakdown scene showed Nora's intense performance, making me realize how she has raised the bar for exemplary acting and evolved a style that can be called her own.

The Superstar's performance is not just about crying. It's all about giving the proper emotions required by the scene. It's not exaggerated. It's between Jacklyn Jose's subtle acting and Vilma Santo's hysterical style.

I must also commend the supporting casts, who have complemented well the presence of the Superstar. Eugene Domingo showed her acting flare, not overshadowed by Nora whom she shared the scene with.

Christopher de Leon has yet to take centerstage. Rosanna Roces is expected to portray an intense villain in the show, and I am hoping that she'll shy away from the mental cum insane style of villains often seen on TV.

Nadine Samonte is also good here, while Edgar Allan Guzman has proved he's acting trophy a worthy one.

And to quote PEP, directors Mario O' Hara and John Red are able to capture the raw, rustic charm of a probinsiya; and the drama, tension, and violence of politics in just one episode.

Kudos TV5!

The superstar shines again

2011-10-04T13:54:00.000-07:00

A Review by KAREN A. PAGSOLINGAN

These days, basta magaling umiyak, a star can easily earn the dramatic actress tag.
However, not all drama actresses are created equal.

Throughout her career, local showbiz icon Nora Aunor has raised the bar for exemplary acting and evolved a style truly her own.

Tonight, local TV audiences will get reacquainted with the Superstar's inimitable acting prowess in Sa Ngalan Ng Ina.

"Sa mata pa lang," says her co-star Christopher de Leon—himself an award-winning and high-caliber actor.

TV5's upcoming mini-serye, which will premiere on October 3, is aptly described as "the grandest political drama ever seen on Philippine television."

It doesn't have the imposing backdrop of the multi-awarded Korean Drama series The Big Thing (2010), but directors Mario O' Hara and John Red are able to capture the raw, rustic charm of a probinsiya; and the drama, tension, and violence of politika in just one episode.

As it deviates from the sterotypical fanstaseryes or telefantasyas, Koreanovelas, local adaptations, and remakes that dominate mainstream TV nowadays, it attempts to break new barriers, and—hopefully—stand out as a worthy precedent.

THE STORY. The concept is reminiscent of how the Presidency was thrust upon former Philippine President Corazon Aquino in 1986. But the setting is in a province, so it doesn't have the feel of the EDSA Revolution at all.

Through the eyes of love and sorrow

Elena Deogracias (Nora) is the main character. She's a simple housewife who suddenly finds herself embracing the complexities of political life and government power after the assassination of her well-loved husband Amang Deogracias (Bembol Roco).

She will be facing conflicts in her own home, where stepchildren Andrea (Nadine Samonte) and Alfonso (Alwyn Uytingco) will try to make her life more difficult. She will have her share of insults and disparagement from the people around her. She will encounter impediments—Pepe Ilustre (Christopher de Leon), a man from her past, and wife Lucia (Rosanna Roces), a powerful lady whose family name has ruled the province for so many years.

But she will rise above the chaos.

The series will have a lot of drama (not the exaggerated kind), plus, the thrill and mystery as the plot thickens.

THE CAST. In this project, the Boyet-Nora tandem gets resurrected.

"Hindi na kami bata," states the Drama King in one of his previous interviews; still, "may pitik pa rin," as the Superstar puts it.

But more than the chemistry that Noranians will surely rave about, non-Nora fans will also appreciate the tagisan sa pag-arte between two of the country's most-awarded actors.

It won't happen yet in the first episode, which will only show a meaningful exchange of glances between the ex-couple.

Likewise, Osang's fierceness is not going to be that evident yet. But as far as the packaging is concerned, she earns a "bongga ang asta!" remark from some press people.

Cinemalaya 2011 winners Eugene Domingo (Pacita Toribio, sister of Elena) and Edgar Allan Guzman (Angelo, the good son of Amang) are effortlessly good. The latter's crying scene after the doctor told the family about his dad's death is quite a stealer.

As for Nadine and Alwyn, they will be playing aggravator roles.

The StarStruck alumna already has the stance of a promising actress. She has the face of an angel with an ambitious mind and potentially-odious heart. Her acting is not exaggerated, but needs a bit more intensity in the way she delivers some of her lines.

For his part, Alwyn's rebellious character has given him depth as an actor—parati siyang galit. This project will put an end to his pa-tweetums days.

A FITTING COMEBACK PROJECT FOR THE SUPERSTAR. Nora is poised to put drama back into the limelight with this Mario O' Hara obra.

Tender tears, mournful monologue

With what's going to be aired tonight—her earnest prayer, her frantic dash from the plaza to the hospital, her pain after learning about the death of Amang, her breakdown while choosing the barong that her husband will wear—Elena has the power to evoke and provoke.

She will not just reduce viewers to tears, but make them leap out of their seats and join her quest for justice.

Of course, the directors deserve a pat on the back as well for the first episode's seamless storytelling and realistic treatment.

Sa Ngalan Ng Ina doesn't have elaborate sets, overstated effects and scoring, and too stagy scenes, but what it lacks in grandeur it more than makes up for in coherence and depth—essential elements with which to dissect a politics-related quandary.

Lastly, Nora's star will shine again, if not reconquer Philippine television. It's about time aspiring actors take a page from the Superstar's book, and heed her sage wisdom: "Hindi mabibilang ang iyak na galing sa puso." (Reposted from the Philippine Entertainment Portal website)

The mania, the mystique, the majesty

2011-10-03T09:02:00.000-07:00

In this illuminating essay, prize-winning poet/scriptwriter Jerry Gracio shares not only his intimate experience of Ms. Nora Aunor's cultural phenomenon and significance as an artist but also his impressions as part of the creative team behind her landmark TV5 miniserye Sa Ngalan ng Ina:

SUPERSTAR ENCOUNTERS

The flowering of a phenomenon

Hindi pa ako pinamumuklan nang unang sumikat si Nora Aunor. Pero aware ako sa rivalry nila ni Vilma Santos. Maka-Nora kasi si Tatay, maka-Vilma naman si Nanay. May mga pagkakataong laman ito ng diskusyon nila sa bahay. Ayaw ni Tatay kay Vilma dahil hindi marunong kumanta, ayaw ni Nanay kay Nora dahil ito ay negra. Pero nagkakasundo sila na parehong magaling umarte ang dalawa. Hindi lang sila magkasundo kung sino ang mas magaling.

Noong bata pa ako, madalas kong marinig si Tatay na kumakanta ng “Love Story”, theme song sa pelikulang Guy and Pip the Movie (Moreno, 1971). Napakarami naming plaka ni Nora dati. Sabi ni Nanay, noong bata pa ako, kahit hindi pa marunong magbasa, kabisado ko ang title ng mga plaka ni Nora. Pero ang “Love Story” na lang ang natatandaan ko nang buo ang lyrics. Hanggang ngayon, kapag naririnig ni Nanay ang mga unang linya ng kanta: “Where do I begin/ to tell the story of how great our love can be...” hindi si Nora ang naalala niya kundi si Tatay.

Pero noong nakaraang linggo, napanood niya sa TV si Gary Valenciano, kinakanta ang paboritong kanta ni Tatay. “Si Nora ang original na kumanta n’yan,” sabi niya. “Kabesado ‘yan ng Tatay mo,” sabay reklamo dahil bago sa pandinig niya ang version ni Gary. “Ba’t binago nila ang kanta ni Nora?” sabi ni Nanay. Hindi ko masabing hindi si Nora ang original na kumanta ng “Love Story” kundi si Andy Williams. Baka magalit si Nanay dahil ang alam niya si Nora ang kumanta nito kaya naging paborito ito ni Tatay. Hindi ko rin maitanong kung Noranian na siya.

Hindi pelikula ni Nora ang unang sine na napanood ko sa totoong sinehan; pelikula ni Vilma, ang Darna at Ding (Navoa/Robinson, 1980). Grade five ako, nagkayayaang mag-bonding ang staffers ng school paper kaya naglakad kami papuntang Odeon sa Recto mula sa simbahan ng Tondo para manood ng sine. Naging instant fan ako ng Darna series. Nagsabit ako ng lace sa harapan ng shorts ko at dumapa sa sofa, nagkunwaring lumilipad na parang si Vilma. Kaya tuwang tuwa ako nang mapanood kalaunan sa TV ang Darna Kuno? (L. Carlos, 1979) ni Dolphy. Posible rin palang maging Darna ang lalaki.

A thespic highlight as Rosario in Mario O'Hara's
classic Tatlong Taong Walang Diyos

Naging Darna ako dahil kay Vilma pero na-in love ako sa pelikula dahil kay Nora. Tatlong Taong Walang Diyos (O’Hara, 1976) ang unang seryosong pelikula ni Nora na napanood ko. Sa pelikulang ito, si Nora ang bida. Pero hindi siya totoong bida dahil kumampi siya sa mga Hapon.

Ang Tatlong Taong Walang Diyos ay kuwento ng teacher na si Rosario noong panahon ng pananakop ng mga Hapon. Kasintahan ni Rosario si Crispin (Bembol Roco) na kailangang umalis para sumapi sa gerilya. Nang maligaw ang opisyal na Hapon na si Masugi (Cristopher de Leon) sa bahay nina Rosario, ni-rape niya ang dalaga. Muling bumalik si Masugi sa bahay nina Rosario para humingi ng tawad pero hindi siya tinanggap ni Rosario. Nang hulihin ng mga Hapon ang tatay ni Rosario at malamang buntis siya kay Masugi, napillitan siyang magpakasal sa opisyal na Hapon. Magiging dahilan ito para tawagin siyang collaborator at itakwil ng buong bayan.

Noong bata pa ako, hindi pa uso ang Japayuki at malakas pa ang sentimyento kontra-Japan, uso pa ang mga sineng giyera na ang laging kalaban ay mga Hapon. Patok din ang war series na Combat na pinagbibidahan ni Vic Morrow. Kaya malinaw na Kano ang kakampi at kalaban ang Hapon at mga Nazi.

Critics saw the birth of a major actress in
Mario O'Hara's Tatlong Taong Walang Diyos

Pero hindi ko maintindihan kung bakit nagkaroon ako ng simpatiya kay Nora na kumampi sa mga kalaban. Na-realize ko kung gaano kagaling si Nora. Nakumbinsi niya ako na tama siya kahit alam nating mali ang kanyang ginawa para sa nakararami. Kaya sa huling eksena sa pelikula, nang palibutan siya ng mga nagluluksang kababaihan sa loob ng simbahan at kalbuhin siya bilang ganti sa kanyang pagiging traydor, ang simpatiya natin ay nasa karakter ni Rosario, wala sa mga kababaihan, namatayan man sila ng asawa, anak, o kaanak.

Naging tagahanga ako ni Nora mula noon. Naging anti-US bases ako dahil sa Minsa’y Isang Gamugamo (Kashiwahara, 1976); binasa si William Henry Scott dahil sa Banaue (G. de Leon, 1975); at nangarap maging scriptwriter dahil sa Himala (Bernal, 1982). Nang una kong sulatin ang Santa Santita (Guillen, 2004), muli kong pinanood ang Himala, binasa ang script ni Ricky Lee. Buti na lang, hindi ako naging tibo matapos panoorin ang T-bird at Ako (Zialcita, 1982). Hindi puwedeng maging tomboy ang lalaki. Puwede lang siyang maging beki.

Ang totoo, hindi nawala ang first love ko kay Vilma, anim na beses kong binalikan sa sinehan ang Saan Nagtatago ang Pag-ibig (E. Garcia, 1987) dahil aliw na aliw ako sa “Si Val! Si Val! Lagi na lang si Val... Si Val na walang malay...” Kamakailan, binalikan ko ang Relasyon (Bernal, 1985) para sana sa isang remake ng Regal at hindi pa rin nagmamaliw ang paghanga ko sa pagganap ni Vilma sa naturang melodrama. Paborito ko ang Tagos ng Dugo (M. Delos Reyes, 1987), hindi ko makalimutan ang dialogue sa Alyas Baby Tsina (Diaz-Abaya, 1984): “Kung saan ako nakatayo, iyon ang teritoryo ko.”

A cathartic scene in Lino Brocka's Bona

Pero “maingay” ang pagganap ni Vilma, kaiba sa mas “tahimik” na pag-arte ni Nora. Hinahanap ko si Vilma kapag tahimik ang mundo ko. Kailangan ko si Nora kapag masyadong maingay ang mundo.

Pinangarap ko noon pa na makasulat para kay Nora. Nagkaroon na sana ako ng chance noong 2003, nang ipasulat sa akin ang “Bituin, Buwan at Araw”. Si Elwood Perez sana ang magdi-direk, isasali sana sa Metro Manila Filmfest. Pero hindi natuloy ang proyekto, hindi tinanggap ng Filmfest Committee ang script dahil hindi raw commercially viable. Hindi rin ako nagkaroon ng pagkakataong ma-meet si Nora.

Kaya laking tuwa ko nang kausapin ako ng headwriter ko sa TV5 na si Benedict Mique para maging brainstormer para sa isang mini-serye na pagbibidahan daw ni Nora. Kakaalis ko lang noon sa una kong soap, hindi ko makaya ang deadlines, natatagalan akong tapusin ang script dahil hindi ko gusto ang istorya na ang premise ay mas matanda pa sa humukay ng ilog. Kaya pinayuhan ako ni Benedict na mag-brainstorm muna o mag-once a week drama. Pero nang malaman kong si Nora ang bida, nakiusap ako kay Benedict na pagsulatin kahit isang linggo lang. Pinagbigyan naman ako ni Benedict at ng aming creative consultant na si Elmer Gatchalian.

Method in madness as Bona

Nag-lock in kami para sa proyektong ito, walang labasan ng hotel room hanggat hindi tapos ang istorya. Sa simula pa lang, malinaw ang sabi ni Direk Mario O’Hara: “Bahala ang writers sa creative dahil hindi medium ng direktor ang TV, medium ito ng writer.” Nagtalo-talo kami nina Benedict, Dinno Erice, Pam Miras at Charlotte Dianco; nagdiskusyon, nagpuyat. Alam naming sa TV ipapalabas ang Sa Ngalan ng Ina pero sa simula pa lang, malinaw na pampelikula ang atake namin sa script. Tapon sa labas ang nakasanayang inter-cutting na eksena, ang sukat na sukat na mga sequences na current sa soap, ang dialogue-driven na paglalahad ng istorya, ang maraming soap conventions. Sa umpisa pa lang, nagkasundo kami na walang magkakaroon ng amnesia sa Sa Ngalan ng Ina.

Sa isang meeting ng creative team, inimbita si Nora. Hindi ko alam na darating siya. Kaya nang pumasok si Nora sa conference room, natahimik ako. Alam kong maliit si Nora. Pero hindi ko inexpect na ganoon siya kaliit. Pero kung gaano siya kaliit, ganoon din kalaki ang kanyang presence. Pinupuno niya ang buong kuwarto. Malalaman mo raw na magiging sikat na artista ang isang tao kapag “lumaki” siya sa harap ng screen. At ganoon si Nora. Hindi lamang siya lumalaki kapag tinamaan ng kamera. Lumalaki siya sa iyong paningin. Karaniwan ang kanyang itsura, pero alam mong hindi siya karaniwan. Nagsimula siya bilang tindera ng tubig sa tren, mahirap tulad ng karamihan sa mga kababayan natin. Pero nakaangat na siya sa iba, bagamat bahagi pa rin ng karamihan.

A transcendent performance as Elsa in
Ishmael Bernal's world-class Himala

Tahimik ako sa buong meeting, nakatingin lang sa kanya, inaalala ang lahat ng emosyon nang una kong mapanood ang mga pelikulang siya ang bida: nainis ako sa kanya sa Bona (Brocka, 1980); ayaw kong magkita sila ni Lolita Rodriguez sa Ina Ka Ng Anak Mo (Brocka, 1979); humanga sa pagsasalarawan niya ng isang amasona sa Andrea, Paano Ba Ang Maging Isang Ina? (Portes, 1990).

Nang magsalita si Joan Banaga tungkol sa work schedules: na bibigyan si Nora ng sariling air conditioned tent, trailer van, sariling make-up artist, stylist, bodyguards, etc., nahihiyang nagsalita si Nora: “Huwag naman po masyado, nakakahiya.” Tumaas ang boses ni Joan: “Hindi ka dapat mahiya. You deserve it! Ikaw lang ang superstar dito.” Tumahimik si Nora.

At naalala ko si Tatay. Palaging sinasabi ni Tatay, sayang si Nora. Mayaman na sana si Nora, hindi na sana naghihirap, etc. etc. Naririnig kong sinasabi niya ito bilang tagahanga. Gusto ko sana siyang sagutin dati na “Tay, hindi naman lahat ng tao, habol ang yaman, hindi naman nasusukat ang tagumpay ng tao sa dami ng pera sa bangko, sa dami ng investments, sa dami ng properties. Iyon lang Himala, sapat na iyon, iyong Bona lang, sapat na. Iyong Centennial Honors for the Arts, sapat na. Dahil masusunog at aanayin ang bahay, hindi mo madadala ang pera mo sa hukay, pero iyong ibuhos mo lahat ng galing mo sa kahit na isang pagganap bilang artista, hindi na iyon mabubura.” Hindi ko sinabi ito kay Tatay, natatakot akong ibalik sa akin ang sermon: bakit ka nagtitiyagang magsulat samantalang mas may pera sa ibang career? Bakit ka nagsusulat ng tula, samantalang wala namang bumibili ng aklat mo, hindi ka naman kumikita? Etc. Kaya hindi na lang ako kumikibo kapag naglalabas si Tatay ng tirada laban sa kanyang idolo.

Personifying a timeless presence

Pero nang marinig ko ang sinabi ni Joan, naisip ko, sa kabila ng lahat ng negatibong publicity, totoo man ang mga ito o hindi, may mga tao at entities pa rin na nakaka-appreciate sa kontribusyon ni Nora sa industriya bilang artista. Oo, maaaring luka-luka siya tulad ng maraming tsismis, maaaring naghihirap siya, tulad ng usap-usapan ng marami. Pero napakarami namang luka-luka sa Pilipinas. At ano’ng masama kung maghirap, kung naghihirap din naman ang mayorya sa sambayanang Pilipino? Ang totoo, kasalanan ang maging mayamang mayaman sa isang lipunang labis ang kahirapan. At ang masama, iyong magluka-lukahan pero wala namang K. May karapatan kang maging luka-luka kung ikaw si Nora. Ibinibigay ko na sa kanya ang karapatang iyon.

Lumabas ako ng conference room at umiyak. Tinapos ko nang mabilis ang assigned script ko para sa Sa Ngalan ng Ina. Pero sinadya kong hindi magpunta sa advanced screening kung saan naroon mismo si Nora at iba pang mga artista. Sa TV ko aabangan ang Sa Ngalan ng Ina ngayong gabi, iisipin na hindi ko siya nakita, nakausap, nakasabay mag-yosi. Karaniwang tao akong humahanga sa isang artista na ang itsura at istorya ng buhay ay tulad din ng karamihan sa atin. At dahil dito, lalo ko siyang minamahal. (JERRY GRACIO)

Click video below to watch the recording of the theme and the making of Sa Ngalan ng Ina

They came, they saw, she conquered

2011-09-24T01:36:00.000-07:00

The jury is out! Based on the feedback from those who watched the pilot episode of the TV5 miniseries Sa Ngalan ng Ina at its red-carpet premiere recently, the bar has been set higher for other primetime fare. So far so fine, or so they agree:

"The teleserye directed by Mario O’Hara and Jon Red doesn’t have the usual look of a teleserye; it has the looks of a film masterpiece compressed for television...There is no doubt that Nora Aunor is the stand-out of this teleserye but the supporting players led by Eugene Domingo as Pacita Toribio and Alwyn Uytingco as Alfonso Deogracias are just as good. Rosanna Roces, for one, delivers one hell of a performance (at least in this one preview episode) matching everyone’s dramatic intensity..."
— Pablo Tariman, critic

La Aunor in a Cory Aquino-styled role

"Nothing short of a film in its appeal... And what about Nora Aunor’s performance? She has remained highly cinematic in her looks...The fabled brilliant voice and sense of truth in her eyes linger, drip and still reign high...even after watching her...Far amply the greatest actress of all time. To believe me you must watch the premiere on Oct. 3 (the red-letter day in the history of Philippine television)."
—George Vail Kabrisante, entertainment columnist

"A visual delight, an absorbing viewing experience... It is comparable to a gigantic HBO cable movie offering. Sa Ngalan ng Ina is Lino Brocka resurrected. The acting gems of Christopher de Leon, Bembol Rocco and Ms. Nora Aunor (whom de Leon himself acknowledged as the one and only superstar) plus the genius of director Mario O'Hara (who considers La Aunor a national treasure) makes the miniseries a rare treat not to be missed."
—Remy Umerez, entertainment columnist

“Wow, first of its kind, rated A na pelikula ang kalidad...Grabe. Galing.”

— MJ Marfori, entertainment reporter/radio host

“Outstanding ensemble acting (special kudos to La Aunor, Alwyn Uytingco, and Osang!), masterful direction, topnotch production values. It's like watching a well-crafted film. The death scene of Bembol is masterfully, poignantly staged and is devoid of bathos and soap-opera shtick.”
—Ron Maceda, film enthusiast

"True enough, everyone agrees that the series is bound to reassert Aunor’s stature in the industry given the kind of acting prowess she shows in the drama. It is also clear that TV5 did not scrimp on budget and on getting the services of top co-actors and crew members to make Sa Ngalan ng Ina such a high-quality series. All the scenes, in fact, are shot in full high-definition (HD) quality."
—Jojo Panaligan, entertainment writer

"Kailangang ulit-uliting panoorin ang eksena nina Nora Aunor at Eugene Domingo kung saan pinagpipilian ni Elena (Nora) kung alin sa tatlong barong--na bawat isa ay may kakabit na kasaysayan--ang ipasusuot sa pinaslang na asawa. Di ko napansin si Eugene sa unang panood dahil bagong Nora Aunor na naman ang aking namalas dito--gumaganap ayon sa kanyang edad, iba ang texture ng boses at bitaw ng linya. Natitiyak kong gumawa si Eugene ng sariling marka bilang kaeksena ni Nora Aunor pero sa mga susunod na panonood sa eksena ko na ito makikita.”
— Nestor de Guzman, UP Press editor and Superstarstruck website moderator

"Ang gaganda ng mga eksena at ang gagaling ng mga artistang kasama sa cast. Parang isang malaking pelikula. Panalo si Nora Aunor na after eight years ay wala pa ring kupas ang pag-arte."
— Rowena Agilada, entertainment columnist

"Wala ni isa mang media na sumaksi sa pagpapalabas ng pilot episode ng mini-series ni Nora Aunor ang makapagsasabi na kinupasan ng panahon ang kanyang pagiging henyo sa pag-arte. Ito ay malinaw na makikita sa bawat eksenang kanyang nilabasan."

—Veronica Samio, entertainment columnist

Paparazzi frenzy at the premiere

The Superstar addresses the audience.

With Eugene Domingo and Mother Lily

Click here to see more photos from the red-carpet premiere.

"Very exciting, action-packed ang pilot. It's very promising. Sana ma-sustain ang energy at anticipation sa mga eksena."
—Monchito Nocon, consultant, Film Development Council of the Philippines

"Bongga ang unang episode ng Sa Ngalan Ng Ina...Malalaki ang mga eksena at mukhang napapanahon ang tema ng kuwento. Of course, si Nora Aunor ang numero unong ipinagmama-laki ng serye na minsan pa ay pinatunayang siya pa rin ang nag-iisang Superstar ng bansa. Nangangabog pa rin ang kanyang acting kaya naman kahit ang mga kasamahan niyang baguhang stars ay mararamdamang nage-effort talagang makasabay kay La Aunor..."
—Ambet Nabus, showbiz columnist

“Aamin ako, may mga eksena dito na hindi mo alam, tumutulo na pala ang mga luha sa inyong pisngi, ganyan katindi ang mga eksena.”

—Alex Datu, entertainment writer

“Magandang teleserye, parang pelikula pagkakagawa... mabilis ang pacing at higit sa lahat napakagaling ni La Aunor.”

—Vener Antonio Mejia, barangay councilor

"Mukhang may potential toprater ang TV5 sa kanilang unang miniserye...Exciting ang napanood naming pilot episode...Maganda ang lighting nito at lokasyon, at kapana-panabik ang mga eksena. Narito ang mga elementong hinahanap ng mga mahihilig sa teleserye, mas mabilis lang ito matatapos dahil tatagal lamang nang isang buwan ang mini-serye.Saktung-sakto kay Nora ang papel ng isang ina, na dahil sa pagkamatay ng kanyang asawa ay mapipilitang tanggapin ang responsibilidad na naiwan nito at pasukin ang mundo ng pulitika. Matagal man siyang nawala ay pinatunayan ni Ate Guy na hindi pa rin kumukupas ang kanyang pagkaaktres. Palakpakan ang audience nu’ng premiere night sa eksenang humahangos na tumakbo sa plaza si Elena matapos ang pagsabog, tapos ay humagulgol siya habang yakap ang duguang bangkay ng asawa...Malamang maging si Governor Vi ay maengganyong tutukan ito gabi-gabi."
—Allan Diones, entertainment columnist

Mutual admiration society

With son Ian: Thespic genius in the genes

Directors Mario O'Hara and Jon Red are all ears
to Edgar Allan Guzman's response to the press

Click here to see more photos from the red-carpet premiere.

“Kung ang pagbabasehan ay ang pilot episode... ito ay isang obrang tunay na ipagkakapuri ng buong industriya ng telebisyon at pelikula hindi lamang dito sa Pilipinas, kundi maging sa ibang bansa... kaya naman tunay na kaabang-abang ang mga susunod pa nitong mga episodes... abangan sa TV5 ngayong Oktubre, ang nakaaantig pusong kwento...”
—Jolly Sy Butawan, telecommunication employee

“My fave scene: ang pagkakabitiw ni Elena ng linyang, 'Hindi nabibilang ang luha ng puso!' Grabe!”
—Albert Sunga, talent handler

"Bukod kay Ms. Nora Aunor na mata pa lang ay talagang umaarte na, isa sa umagaw ng pansin namin at talaga namang lumutang sa unang episode pa lang ng SNNI ay ang young actor na si Alwyn Uytingco...It’s a powerhouse cast kung saan nakita namin na talagang binusisi ang istorya, pinagkagastusan at talaga namang natangay kami sa mga napanood naming mga eksena...
—Melba Llanera, entertainment writer

"Ang kabuuan ng pilot episode ay gustong gusto ko. Hindi na 'ko pipili ng eksena. Kung puwede lang na huwag nang kumurap! Nabitin ako. Sana October 3 na nang masimulan ko nang mapanood gabi-gabi ang SNNI!"
—Bernie Placido, creative director, Ivory Music and Video

"Parang pelikula na nga ang dating...Sana nga huwag itong bitawan sa pagsubaybay ng mga manonood. Dahil pilot episode pa lang ‘yung nakita namin, parang gusto na naming mapanood ang mga susunod pang episodes..."
—Pilar Mateo, entertainment columnist

See video of the fanfare during Aunor's arrival at the premiere:

Click link below for more coverage:
http://www.youtube.com/watch?NR=1&v=GF8Zf_PCj-A

Proving her prowess again

2011-09-23T10:32:00.000-07:00

A Review by RAMON BAYRON

SA NGALAN NG INA exceeds hype! Geniuses Mario O'Hara and Nora Aunor redefine Pinoy TV drama to top level filmmaking not seen in years.

Looking Back

About two years ago, I sat in a meeting with a female director and a senior screenwriter-cum-creative consultant (definitely not Mr. Ricardo Lee). Isang indie film ang binubuo, pang-film fests overseas daw, etc. ang screenplay, naka-print out na. Maganda ang role-- Muslim woman. Nagbi-brainstorming kung kanino i-offer ang role. Several expected names were mentioned-- Cherry Pie Picache, Jaclyn Jose, Lorna Tolentino, etc.

I mentioned Ms. Nora Aunor. May bali-balita din kasi that time na uuwi na siya. I said "pag nakauwi sa Ate Guy, kilala ang grupo ang malapit sa kanya, baka pwede natin iabot ang script." The female director looked at the senior screenwriter-cum-creative consultant and said, "OK ba sa 'yo si Nora for this role? Physically mukhang bagay naman"Nabigla ako sa sagot ng award-winning senior screenwriter-cum-creative consultant when he replied: "Nagbago na kasi si Guy. Matigas na siyang umarte ngayon. Siguro dahil sa mga pinagdadaanan niya, naging jaded na siya. Hindi ko na nakikita ang vulnerability niya. Minsan tuloy sa pagpilit na umiyak at makapagpa-iyak, nagiging over-the-top. Hindi na siya gaya ng dati..."

The two artists were much more experienced and multi-awarded and ergo expectedly more knowledgeable, and also, bilang respeto na rin, I had to keep quiet.

But I must admit, the observation of that critically acclaimed senior screenwriter stuck with me since then. And considering she really didn’t have a full-pledged major acting vehicle on the wide screen for years, I found myself asking, "Totoo kaya ang observation ni sir XXX?"

Looking Forward

Kagabi, sa premiere ng Sa Ngalan ng Ina, iyon ang binantayan ko. "Matigas na nga ba ang acting ni Ms Nora Aunor? Hindi na nga ba siya makapagpakita ng 'vulnerability' dahil naging 'jaded' na siya dulot ng kanyang mga karanasan? Bilang isang manonood, maaapektuhan pa ba ako, magkakaroon pa ba ako ng suspension of disbelief, ang makikita ko ba ay isang 'karakter' at hindi isang Nora Aunor na umaarte sa kamera, dito sa pinakabago niyang pagganap pagkatapos ng mahabang panahon?"

Ang lahat ng tanong ko, na nabuo mula sa isang komento ng isang napakagaling at nirerespetong screenwriter-director-creative consultant (hindi po si Ricardo Lee at hindi po si Jose Javier Reyes) ay nasagot lahat ilang minuto pa lang mula nang tumakbo sa telon ang Sa Ngalan ng Ina.

Hindi si Nora Aunor ang nakita ko sa big screen kundi isang reserved na babae at nerbiyosang asawa ng isang pulitiko.

Her breakdown scene at the morgue with Ellen Allan Guzman conveyed layers of emotions-- from shock, to helplessness, to grief, to confusion--all delivered within several seconds of performance on screen.

And that final scene, my personal favorite-- Christopher de Leon's grand, dramatic entrance, enveloped by a chant, could have totally been Christopher's own moment if not for that one shot, a side-view look of Ms. Nora, breaking the melancholia of the scene with her personal bitter, despiteful, suspecting, accusing eyes! Kay Boyet ang buong sequence pero kay Ate Guy ang eksena.

I got completely involved. I believed the truthfulness of her every scene. And I am totally relieved after the end credits rolled.

Ms. Nora Aunor may have either grown or recaptured or maintained her much celebrated acting prowess, challenged or enhanced deeper by her recent history. I won’t claim to know the answer.

It’s enough for me that, finally, I would be be able to give an answer with complete confidence, when I meet my senior mentors again, that, no, we have not lost the great actress in Nora Aunor.

She is back, with her genius intact.

Whether as a Muslim or an aswang or an ex-con or even as a man, Ms. Nora Aunor is in fighting form. Let those fine roles come!

But for now, she is that naive wife-turned-governor whose travails and triumphs local tv audiences must discover and follow in Sa Ngalan Ng Ina.

Spotting the superlatives

2011-09-23T08:29:00.000-07:00

A Review by MARIO BAUTISTA

THE PILOT EPISODE of Nora Aunor’s comeback TV show, Sa Ngalan ng Ina, was premiered by TV5 at SM The Block last Thursday night. In terms of scope and magnitude, it’s obvious TV5 gave Ate Guy what she is due, considering her status in the industry. The story is apparently inspired by the what happened to the late Pres. Cory Aquino. It’s about two warring political families, the Deogracias and the Ilustres.

Bembol Roco, who’s married to Nora, is the current town mayor now running as governor while eldest daughter Nadine Samonte is running for mayor. Aside from Nadine, they have two sons: Alwyn Uytingco and Edgar Allan Guzman. At their political rally, a grenade is thrown on stage (ala-Plaza Miranda bombing in 1971) and Bembol is killed. They point to their political foe as the culprit, the wheelchair bound Christopher de Leon, who’s married to Rosanna Roces, with Karel Marquez as their daughter.

From what we glean in the pilot episode, it appears that Nadine, Alwyn and Edgar are not really Nora’s children. She’s only their stepmom. Also in their household is Eugene Domingo and ward Eula Caballero. There’s a Romeo-and-Juliet kind of romance between Edgar and Karel. Rosanna is pictured as an Imelda Marcos figure and it’s shown that she’s the one who masterminded the bombing, with the help of someone in Bembol’s camp, Ian de Leon, who serves as his security man. It’s also apparent that Nora and Boyet have a past together and it’ll be revealed later that Eula is actually their own daughter.

The acting is good. Noranians won’t be disappointed as she’s given some highlights right away, the scene at the emergency room where she breaks down after seeing the bloodied Bembol and the scene with Eugene where she tries to choose which Barong Tagalog would suit Bembol best during his wake. Among the supporting cast, Alwyn has the most attention-getting role as the hot-headed son who humiliates Rosanna when she visits his dad’s wake. Osang herself is excellent in all her scenes and Nadine shines in the scene with Ate Guy where she calls her as just Elena and not mom, making us suspect right away that they’re not really blood related. Later on, Ate Guy will be convinced by their allies (Leo Rialp and Raquel Villavicencio) to substitute for the assassinated Bembol in running as governor.

The series is very promising, thanks to the expert direction of Mario O’Hara, with whom Ate Guy did some of her best films, like Tatlong Taong Walang Diyos, Bakit Bughaw ang Langit, Condemned, Bulaklak sa City Jail, and the underrated but very moving Kastilyong Buhangin. Sa Ngalan ng Ina will replace Bangis after Wiltime Bigtime starting October 3, definitely a red letter day for all Noranians.

Valiant effort for Philippine TV

2011-09-23T02:06:00.000-07:00

A Review by JONATHAN CATUNAO

DARING. AMBITIOUS. Even suicidal. Given the hopelessly irreversible pattern of drama viewership in Philippine TV where plots are routinely adjusted to cater to the hottest star of the moment (“Please add more scenes for Actor X with Actress Y because the fans liked their chemistry. Make sure it appears next week”), where storylines are lazily adopted from foreign exporters like Korea and Mexico, where exchanges have to be long and extended, where family secrets have to be as twisted as possible, where crying and shouting scenes have to be as over-the-top as possible, TV5’s decision to run against the tide is truly a valiant even heroic effort.

Sa Ngalan ng Ina’s pilot episode was screened to raving receptions last night at SM North Edsa and if the entire one-month series is consistent with the quality of the pilot then I have to rethink my motion that Philippine TV Drama is fossilized.

Because for one hour at SM Cinema North last night, Mario O’Hara and John Red’s canvass painted a truly breath of raging fresh air in a TV landscape full of stupidity.

Sa Ngalan ng Ina is a mini-series which details two political families’ rivalry for control of a Philippine province.
Its story is as timely as the nation’s headlines where same family surnames take over as if town leadership is a family heirloom only descendants have the right to possess. Add some assassinations and grieving widows and you can see where it is loosely based from. This is what I fear is the film’s biggest weakness-- predictability and lack of originality.

The same dilemma faced the creators of the Greatest TV Drama of all Time--The Sopranos--when it was first launched at HBO late 90’s. A story about a Mafia leader can be a direct photocopy of The Godfather until viewers saw that this is a different take. As it turned out, Tony Soprano’s life is not just a murder and power. He also has to deal with petty family squabbles, a seizure problem and a nagging narcissistic mom. A dad with teenage kid problems in the morning and a psychopathic ruthless gang leader after breakfast. How comic and horrifying can it get? And yes, he weeps in front of a shrink on a regular basis.

Can Sa Ngalan ng Ina be as timely and as relevant but original at the same time? The skeptic in me says--no. But Direk Mario during the post screening confab says “ang kapal kapal ng script namin.” Looks like my concerns have been checked way before I can publish them.

The story line’s originality and predictability set aside, Philippine TV viewers are in for the biggest tsunami shock of their life as Sa Ngalan ng Ina promises to stake a claim as the Greatest Philippine TV Drama of All Times.

Screenplay– with lines like “Hindi mo kailangan ng eskandalo sa panahon ng eleksyon” and “Hindi mabibilang ang luha na galing sa puso,” SNNI’s speaking lines are both memorable and straightforward. This is the biggest improvement over the rest of the Philippine made soaps and series. In SNNI’s pilot episode, the characters are talking in rich drama --not dramatizing their talks.

Production Value– world class. The church, the funeral, the bombing scene. Looks really expensive.

Editing – the pacing is fast and furious. You have to keep your eyes open and yourself alert because cutting from scene to scene, viewers have to understand the foundation of the film. Amazing. (My favorite is the cut from the bombing to the argument between Ian de Leon and Alwyn Uytingco, galing nila Direk dito)

Nora Aunor , Boyet De Leon , Bembol Roco – wala ka nang hahanapin pa. In street parlance, "chicken na chicken" ang mge eksena.

Ensemble Acting– this is for me the best part of the film. Usually young actors are used as decorations so that their good looks will draw the young fans but in this series, some of them actually shone so bright. Let me cite the strongest and the weakest performances.

Osang – shines all throughout the episode as an Imelda Marcos archetype trying to protect her family from the aftershocks of their rival’s assassination. A simple misstep could make her a cheap parody of legendary screen bitches Rita Gomez and Celia Rodriguez. But Osang managed to control her performance and deliver a knock out. Osang’s path from a night club worker to one of the country’s premiere actress rivals that of Diablo Cody’s incredible journey. This deserves a separate article.

Alwyn Uytingco– where have you been hiding all these years boy? Your talent is so amazing and your rage so heartfelt. Bravo!!!

Ian de Leon– my initial fear that a family affair for the de Leon’s would be good for marketing but bad for the film’s quality due to Ian’s inexperience all vanished with the sight of the Ian-Alwyn confrontation. Goodness, this boy can deliver his line. So deep. So strong. Move over Luis Manzano, dami mo pang kakaining lalim.
I would also cite a few that needs improvements:

Uge– reduced to a Nora sidekick during the pilot. Hope to see more moments for her or her participation would be a waste if her talent not used well in the series.

Edgar Allan Guzman– the only Best Actor among the young stars is in danger of being eclipsed by colleague Alwyn if his Romeo and Juliet storyline with Karel does not develop into something more relevant.

Nadine Samonte– As a young beautiful daughter running for political office (think Shalani Soledad), she lacks power and depth. At times she looks forced to portray scheming and cunning.

If the rest of the series is as good as the pilot, Philippine TV can take a bow and beam with pride. This one’s for you!

Watch your back, my dear Tony Soprano. Here comes the widow in black--- DONYA NEGRA.

Ready for a red carpet premiere

2011-09-22T00:03:00.000-07:00

All roads lead, as far as supporters of the Superstar are concerned today, to the red-carpet premier and press presentation of her much-awaited TV5 miniseries Sa Ngalan ng Ina at Cinema 2 of SM The Block. The cast, spearheaded by Ms. Nora Aunor, and the production team will join fans and enthusiasts of quality entertainment in watching the pilot episode of the political/domestic drama directed by award-winning filmmaker Mario O'Hara.

The premiere showing will yet prove true to the testimony and prognosis of TV5 executive Perci Intalan via Twitter a few days ago: "Just saw the first edit... Wow. What a beautiful series this promises to be! Nora Aunor is amazing!"

In a Facebook post, Intalan echoes his effusive vibe about the miniseries since the recent airing of its teaser, which spawned "so much good feedback." Intalan assures that "the cast, creative and production team are working very, very hard to make this show as awesome as it can be...you ain't seen nothin' yet."

No less ecstatic is Pol Del Mundo, a staff of the Movie and Television Review and Classification Board (MTRCB), after reviewing the initial episode: "Bongga ang husay ni Nora Aunor!"

For more details about the miniseries, here's an article from the website of Interaksyon public affairs program:

Compelling story of a mother's love unfolds in TV5's 'Sa Ngalan ng Ina'

When a simple woman who loves with all her heart gets enthroned in a seat of power coveted by many, will she embrace the commitment to cleanse a whole society bestrewn with greed, corruption and violence? Or will she succumb to the promise of a better life with the people she loves?

On October 3, the whole nation awaits the unfolding of the grandest political drama ever seen on Philippine television– Sa Ngalan ng Ina. The country’s first-ever mini-serye that will run for a month on TV5, Sa Ngalan ng Ina combines the work of the industry’s best minds and the top-notch artistry of its multi-awarded directors and cast.

Starring Superstar Nora Aunor in her first comeback project after her eight-year hiatus in the US, the much-awaited mini-serye does not only boast of a one-of-a-kind story of love, family and political responsibility; it also offers a new and advanced approach to TV viewing as the scenes are shot in full high-definition (HD) quality.

Sa Ngalan ng Ina tells the compelling story of Elena Deogracias (Nora Aunor), a quiet but intelligent and strong-willed woman who is elected Governor of their province. She never dreamt of getting into politics and she has to endure all the insults and discouragement thrown her way, but it is a position entrusted to her by the people and she vows to give it her all.

Portraying the role of the two most important men in Elena’s life are Bembol Roco as her husband Armando Deogracias, who is known as “Amang” in their town; and Christopher De Leon as Pepe Ilustre, a man from her past.

Completing Sa Ngalan ng Ina’s powerhouse cast are Rosanna Roces as Lucia Ilustre, Ian De Leon as Zaldy, Nadine Samonte as Andrea Deogracias, Alwyn Uytingco as Alfonso Deogracias, Edgar Allan Guzman as Angelo Deogracias, Eula Caballero as Elsa Toribio, Karel Marquez as Carmela Ilustre, Joross Gamboa as Ramoncito, Jay Aquitania as Manuel, and with the special participation of Eugene Domingo as Pacita Toribio.

Helmed by award-winning directors Mario O’Hara and Jon Red, Sa Ngalan ng Ina is set to make a historical mark for TV5. Sa Ngalan ng Ina airs weeknights after Wil Time Bigtime starting this October 3, only on TV5."

Scenes from a sneak preview

2011-09-19T01:36:00.000-07:00

Love, murder, revenge, family intrigue, and political discord brew up a dramatic storm in the upcoming TV5 miniseries Sa Ngalan ng Ina. Eschewing the excess and cliche of soap opera, it is primed to stir up a potent fusion of cutting-edge narrative and characterization worthy of the best HBO productions. Leading a stellar cast, Ms. Nora Aunor reunites with award-winning director Mario O'Hara whose artistic chemistry together in Tatlong Taong Walang Diyos, Bakit Bughaw ang Langit?, Bulaklak sa City Jail, Kastilyong Buhangin, and Condemned have become elixirs of filmic excellence. The same streak of collaborative genius appears patent in some of the highlights taken from the sneak preview:

Layout: Bernie Placido

A writer's perspective on the superstar's prospects

2011-09-18T23:39:00.000-07:00

Optimism brims over as Ms. Nora Aunor shakes up anew the country's entertainment industry with a dramatic turn geared to be a trendsetter in Philippine television. Reconnecting with the Superstar, columnist Nestor Torre of the Philippine Daily Inquirer writes his impressions straight from the set of Sa Ngalan ng Ina, a political drama directed by the critically acclaimed director Mario O'Hara:

Hell hath no fury like
a grieving widow

"...We got the heartening feeling that Mario O’Hara’s miniseries would turn out to be a fine production, a comeback vehicle worthy of the guest Nora Aunor.

In the month-long miniseries, she plays the widow of a beloved mayor (Bembol Roco) who is convinced to run for governor by a crafty political “kingmaker”...who hopes to manipulate her for his own purposes—but the relatively inexperienced and “malleable” Nora surprises him by fending off his importuning. Hey, that sounds like a really promising modern-day political morality play.

I was surprised to see that Nora looked particularly good and in “fighting trim” for her month-long shoot and comeback. Outside the tent, it was similarly heartening to note that most of the fans waiting for hours to catch a glimpse of the Superstar were teenagers.

If even they could get excited by her, decades after the height of her stellar career, then her comeback could turn out to be a singular success.

Our visit with Nora lasted only 30 minutes, because we didn’t want to tire her before her afternoon shoot, but our “quality” interlude was made truly memorable by her sincere friendship, and the revitalized creative energy she exuded.

She’s back! Nora Aunor is really back with a bang – where she belongs." (To read more of Torre's column, click here.)

Below are images of Aunor as a woman out to affirm her worth and power in the face of political and domestic conflicts.

The loneliness of being on top

Getting her voice heard

In control and with conviction

(photos: William Reyes/Mell Navarro/Joel Leonor Quilang)

WATCH THE TEASER

Rapport and rhapsody from the set

2011-09-10T02:54:00.000-07:00

Reports from the set of the upcoming TV5 miniseries Sa Ngalan ng Ina, a political/domestic drama helmed by ace filmmaker Mario O'Hara, continue to raise expectations. Slated to be a showcase of fast-paced narrative and layered characterization worthy of the best HBO production, the taping for this primetime fare has been sailing smoothly en route to its month-long primetime telecast in October.

The Superstar shares a light moment with Eugene
Domingo during a break. (Photo: William Reyes.)

The goodwill generated by Ms. Nora Aunor, who spearheads an all-star cast, has been running the whole gamut from awe to zest for her professionalism and performance.

Eugene Domingo, Cinema-laya 2011 best actress who plays the younger sister and confidant of Aunor's character, reveals:

“I’m still shy around her. Gusto ko s’ya chikahin, but her role is very serious and intense. Now I know why people call her Superstar. She’s a genius, but I don’t think she knows this. She’s very serious with her work. She listens intently to instructions. She doesn’t mind rehearsing scenes. Contrary to reports, she’s never late. She comes to the set already made up and prepared.

Eugene Domingo

That’s why I never arrive late, either. I don’t feel nervous working with her at all, but I feel giddy. I still couldn’t believe that I’m working with someone I idolized so much while growing up.” (Click here to read more.)

“Ang aga-aga niyang dumating sa set at lagi siyang masaya! Nakakaloka nga lang talaga siya kapag umaakting na mata lang ang ginagamit, huh! Natutulala ako minsan dahil first time ko siyang makasama! Konting dayalog pero mas maraming beses niyang ginagamit ang kanyang mata! Sarap ng feeling ko kapag magkaeksena kami!” Domingo reiterates in another article.

Rosanna Roces

Regarding her anti-heroine role vis-a-vis Aunor's part as a beleagured provincial governor and stepmom, Rosanna Roces is no less giddy about her chance to shine along with the legendary celebrity: “Now I understand why indeed, she’s local cinema’s one and only Superstar, and no one comes close. I’m humbled that she personally asked the Kapatid network to have me play as the main contravida in the story. When I first learned about it, I couldn’t believe! The Superstar’s personal choice, wow!” (Click here for more.)

If tried-and-tested performers like Christopher de Leon and Bembol Roco--who both reunite with Aunor after their memorable triumvirate in the 1976 classic Tatlong Taong Walang Diyos--are on their toes like Domingo and Roces in Aunor's presence, small wonder why neophyte actors Edgar Allan Guzman and Alwyn Uytingco try to keep their best thespic foot forward.

“Edgar Allan Guzman works hard to impress Ate Guy,” according to a write-up about the Cinemalaya 2011 best actor. “Alwyn Uytingco does first scene with Nora Aunor; says the Superstar is now his inspiration,” informs another article. "Dalang-dala ako ng presence niya!" raves Uytingco. Greatness begets goodwill, indeed.

Below is a video clip of Noramania from the set:

Power becomes her

2011-09-08T00:14:00.000-07:00

With her aura of simplicity that ironically highlights the complexity of her larger-than-life status as the country's Superstar, Ms. Nora Aunor's public persona is a study in contradiction. Indeed, most of her celluloid portrayals--brilliant in its dramaturgy of the underdog--is backdropped with dark spots of controversy that continue to hound her supremacy as a multi-media artist.

Portrait of a powerful woman

That she exemplies the very essence of an enigma is without doubt. Though it's oppressive to her and could spell her undoing, it also unleashes a potential for strengthening and harnessing her survival instinct.

This fact may yet enrich her evocation of an influential figure in the forthcoming TV5 miniseries Sa Ngalan ng Ina. Directed by Mario O'Hara, whose collaboration with her has racked up a hefty filmography that counts among the best of Philippine cinema, Sa Ngalan ng Ina may yet prove why Aunor is as unsinkable as her character, Doña Elena Deogracias: a woman out to prove her mettle as a mother to her troubled stepchildren and to assert her power as governor in a province mired in the morass of politics.

That she will prevail is a foregone conclusion as far as Ateneo professor Tito Valiente is concerned. Observing her enduring phenomenon as a cultural icon, Valiente's recent opinion column about the politics of perception is an illuminating analysis of Aunor's dazzling impact. Despite the dross of malicious demolition job against her resurgent popularity, Valiente waxes clear-eyed regarding the golden glow of her royalty:

"I believe that the small brains and petty prose of these inept writers, both from tabloid and broadsheet, will forever remain miniscule against the formidable psychology of Nora Aunor as an artist.

The Superstar poses for
a cover story of Preview
Magazine's forthcoming issue.

Nora was never a simple person. She never will be. The epiphany regarding Nora is that she has a mind of her own. She is not as sociable and as open as the other celebrities. I see nothing wrong with that. I am starting to believe that the reason I worship at the shrine of the arts of Nora Aunor is that while her person is inaccessible, her artistry is supremely available.

The “Ate Guy” may shortchange some with her volatility (always with reason as I found out years back) and tempestuousness (she has earned the right to have this trait) but the “Nora Aunor” never fails to deliver to us peerless pieces and priceless performances. Those who favor her art know that when her light and shadow cross the silver screen, she would create for us reflections, but more than the reflecting and the refracting, she could break the silver in that screen, and show us the lies and the truths, the shards and the brittle sordid facts behind the glistening surface. Contrary to what others say, great artists, like Nora Aunor, do not hide behind their arts; they reveal and open through the arts more and more realities.

These are more than I could ask for. These are already more than I could demand from this Diva Assoluta." (To read more of Valiente's column, click here.)

Indeed, what Aunor is set to show in Sa Ngalan ng Ina and the rest of her upcoming projects will be no less absolute than the amplitude of her resilient grace and radiance both as a person and as a performer.

Viva, diva assoluta!

Scoops from the set, and some upbeat vibes from the cast

2011-08-30T17:38:00.000-07:00

As the taping for TV5's grandest production Sa Ngalan ng Ina goes full-blast, no less loud is the buzz of anticipation that this Mario O'Hara opus will take the televiewers to a new high in primetime entertainment worthy of the most exquisite cinematic experience.

Poster Layout: Bernie Placido

For one thing, Sa Ngalan ng Ina features the Superstar in a role poised to prove once and for all why she's the country's greatest actress. As she portrays a widowed governor and a stepmother coping with an array of intrigues both in the political and domestic fronts, the excitement is in sync with her refurbished showbiz reign fresh from her return from an eight-year stay in the US. (Click here to read more.)

Not surprising that Ms. Nora Aunor's costars are in chorus with awe-struck anxiety about sharing scenes with her. Even though their thespic skills have been proven by their trophies as Best Actress, Rosanna Roces (who plays contravida to Aunor's character) and Eugene Domingo (who portrays the role of Aunor's feisty sister) have made it known why they are thrilled to fandom in the face of the Superstar's artistry. (Click here and here for more details.)

The young members of the cast, particularly Ian de Leon and Edgar Allan Guzman, have also won acting awards just like Christopher de Leon and Bembol Roco (the two powerful men in the life of Aunor's character). Nevertheless, they are also feeling the pressure of measuring up to her standard. (Click here and here to read more.)

Will the the miniseries primed as trendsetting in Philippine television live up to expectation? Let's wait and see when it starts airing this October. Meanwhile, hereunder are two recent coverages on the set of Sa Ngalan ng Ina:

Larger than television

2011-08-25T08:13:00.000-07:00

It will be more like a film than a boob-tube fare. Or so revealed Benedict Mique, the head writer of Mario O'Hara's upcoming TV7 miniseries Sa Ngalan ng Ina topbilled by Ms. Nora Aunor.

When reached for comment by this blog's moderator, Mique replied, "If you are a fan of HBO series, parang ganun ang style nito, mas film ang approach ng script at mounting ni direk." As headwriter, Mique says "the challenge is to make all the characters relevant sa story at the same time to make twist and turns that are different from other soaps logical. The creative team is composed of writers from different background and influence so making characters that are not in the usual mode of soap operas was a welcome treat."

Regarding Ms. Nora's role as a grieving widow in search of justice for her assassinated husband and as governor in a province wracked by political turmoil, Mique said: "It was not hard to make a character for Ms. Nora Aunor because we know whatever we make she can pull off. Ibig sabihin walang limitation and, actually, kami ang naging cautious dahil baka hindi enough ang binibigay namin sa kanya, given that she's a great actress."

First day of taping

2011-08-24T01:46:00.000-07:00

Still in her element, Ms. Nora Aunor shows her thespic magic in her first day of shooting for the political drama Sa Ngalan ng Ina, a TV5 miniseries helmed by ace director Mario O'Hara. As reported, the Superstar and the rest of the cast are set to treat primetime televiewers with a landmark production. (Click here and here for more details.)

Here's a clip taken from the Paparazzi show for a glimpse of the Sa Ngalan ng Ina set in Taal, Batangas.

Sneak peek: story conference and cast pictorial

2011-08-22T17:29:00.000-07:00

Now that the cameras are rolling for the highly-hyped TV5 miniseries Sa Ngalan ng Ina, with a grandiose cast topbilled by Ms. Nora Aunor, the challenge is getting more fervid to exceed the expectations of the Superstar's legion of fans and lovers of quality primetime entertainment.

So far, so fine-- if the enthusiasm of the cast and the creative team is any indication. Hereunder are snippets from the recent story conference and pictorial session where the cast members, director Mario O'Hara, and head writer Benedict Mique provide a teaser for viewers. Ian de Leon, who plays a pivotal character in the show along with his famous parents (Aunor and Christopher de Leon), also speaks his mind in a panel interview with TV5 Paparazzi hosts and reporters. (Warning: If video won't play, saying "Embedding disabled by request," just click either the "Watch on YouTube" instruction or the YouTube logo at the right bottom part of the video panel, and you're good to go. :-)

Sumptuous plot details, delicious spoilers, & some other tidbits!

2011-08-20T23:25:00.000-07:00

With the excitement over the upcoming TV5 miniseries Sa Ngalan ng Ina, the revelations by one of the show's supervising producers Jo-ann Bañaga have only whetted the appetite for Ms. Nora Aunor's comeback acting vehicle under the helm of award-winning director Mario O'Hara. Here's the transcript of Bañaga's interview with

Mell T. Navarro of PEP Magazine:

The Superstar in fine form: Ready
for yet another great performance

Ano'ng update sa Sa Ngalan ng Ina?

"Ang mase-share kong news, ang maganda e, lumaki ang role ni Ian [de Leon], na supposedly ay si Ryan Agoncillo [ang gaganap]. Ngayon, si Ian ang nag-take place sa role ni Ryan.

"Mas malaki na ang role ni Ian. Ngayon, it's more on the story of the family—Nora, Boyet [Christopher de Leon's nickname], and Ian." Matatandaang nag-desisyon si Ryan na hindi na tumuloy sa serye dahil hindi nito kakayanin ng tight schedule niya. May Talentadong Pinoy and Eat Bulaga regular shows si Ryan, at malapit nang mag-shooting ng pang-MMFFP movie niyang My House Husband with wife, Judy Ann Santos.

"Ryan's role is super special 'coz in the end, you will know na lahat ng kaguluhan sa istorya, siya ang may kagagawan." Katiwala ba ni Nora ang role ni Ryan na napunta kay Ian? "Hindi siya katiwala," pagtutuwid ni Jo-ann. "Magugulat ka. Hindi siya ordinaryong tao. Kamag-anak siya ng isa sa kanila..."

Ano ba ang istorya ng Sa Ngalan Ng Ina?

"It's a political drama na nagpakita ng lakas ng isang ordinaryong ina para patakbuhin ang isang bayan... isang buong bayan, isang buong lalawigan, hindi lang hacienda. Probinsiya ang setting. Yung buong lalawigan, siya ang nagpatakbo. Only to find out na noong tinanggap niya ang offer to take over yung position nu'ng husband [Bembol Roco] — na nanalo siya. Then she finds out na hindi pala ganoon kadali yung gagawin niya. Na sa tangka niyang linisin ang buong lalawigan, she has to make a big sacrifice involving her own family. Kasi, nakita niya yung mga tao na kinakain na ng sistema, ng pulitika. Na ayaw niyang gawin. Para maituwid niya ang lahat ng pagkakamali ng asawa niya na dating nasa gobyerno, kailangan niyang [gumawa] ng isang malaking sakripisyo."

Ano ang kaugnayan ng character ni Boyet sa character ni Nora sa istorya?

"Dati silang may relasyon, noong wala pa sila sa pulitika. They were high-school sweethearts. Matalino si Guy. Si Boyet, ambisyoso. Matalino rin si Boyet kasi naging abogado siya, e. Si Guy, lumuwas ng Maynila. Mas matalino siya. Naghanap siya ng mas malaking karunungan. Kaso, she ended up as a nurse. Si Boyet ended up as a lawyer. Mas malaki ang ambisyon niya [at] nag-asawa siya ng isang herederang laki sa political family sa probinsiya. Tapos, si Guy, galing Manila, pagbalik niya ng probinsiya —nurse na siya — binalikan niya si Boyet. Hindi na available si Boyet, nakapag-asawa na — kay Osang [Rosanna Roces]. So, umalis siya sa sama ng loob. Noong bumalik siya after five years, nagkita sila uli ni Boyet pero may asawa pa rin ito, si Osang pa rin, kaya lang, na-reveal na hindi maligaya si Boyet. They [Nora and Boyet] have a one-night stand. After that, umalis uli si Ate Guy, pagbalik niya, may dala na siyang bata. Nakapag-asawa siya sa Maynila.

In other words, hindi sila nagkatuluyan noong bumalik siya. Tapos, in the end, nagkaroon pa sila ng political rivalry. Kasi, noong bumalik si Ate Guy, napangasawa niya yung vice mayor... Si Boyet, governor na. Kumandidato yung vice mayor, pero na-assassinate. Si Ate Guy ang kinuha ng political party para mag-assume ng position. Nagwagi si Ate Guy, kalaban niya sa pulitika si Boyet. Tumakbo uli as governor si Boyet pero natalo.Yun naman ang bago, may pagka-political ang kuwento..."

NORA LOOKALIKE. May naikuwento rin si Jo-ann na nakakatuwang scenario nang naganap ang official pictorial ng cast with top photographer Pancho Escalar, kamakailan lang. "Ang nakakatuwa, sa pictorial, nakaupo si Ate Guy na ganyan, may bandera [ng Pilipinas] sa likod niya, [at] kamukha niya si GMA [Gloria Macapagal-Arroyo]!" tawa niya.

Ano naman ang character ni Rosanna Roces?

Pinahirapan ni Osang ang buhay ni Ate Guy. Kasi, ang gusto niya, ang asawa pa rin niya ang gobernador. Political family kasi si Osang, e. Gusto niya, pamilya pa rin niya ang may hawak noon."

Nai-share rin ni Jo-ann ang sobrang excitement ni Osang sa pagkakasama nito sa cast ng serye, dahil katuparan raw ito ng pangarap nitong makasama sa isang project ang award-winning actress. "Nahirapan kasi kami mag-cast sa kontrabida. Naku, alam mo, noong una kong kinausap si Osang, muntik-muntik na siyang himatayin. Yun pala, dream come true para sa kanya ang makasama niya si Ate Guy! Sabi niya, 'Totoo ba 'yan?' Sabi ko, 'Oo!' Ako naman, surprised na surprised ako sa reaction niya. Sabi niya, 'Seryoso ka ba? Alam mo bang lahat halos ng artista, gusto siyang makasama?' Hindi pa raw niya kasi nakakatrabaho si Ate Guy. At yun ang pinangarap niya. Kaya sabi niya, 'Dyusko! Naku, pagdalhan mo ako ng ambulansiya!' Grabe, noong una pa lang nu'ng storycon, una niyang nakita si Ate Guy, kulang na lang talaga, sambahin ni Osang si Ate Guy! Kinikilabutan talaga siya."

REUNION. Reunion project nga ito nina Nora, Boyet, at Bembol with Direk Mario dahil noong 1976 ay ginawa nila ang classic World War II drama na Tatlong Taong Walang Diyos. Thirty-five years later (2011), heto, at muli silang magsasama sa isang proyekto — kahit sa telebsiyon lang, via TV5's Sa Ngalan Ng Ina.

Ano naman ang character na ginagampanan ni Bembol sa istorya?
"Actually, asawa ni Guy si Bembol — siya yung vice mayor na tumakbong governor. Asawa ni Ate Guy si Bembol na namatay. Tapos, simula nu'ng namatay ang asawa niya, hindi na siya nagsuot ng ibang kulay. Parati siyang nakaitim. Dumating lang ang punto na nalaman niya ang katotohanan, 'saka siya nagsuot ng ibang kulay."

Kumusta ang una niyang pakikipag-usap kay Boyet tungkol sa proyektong ito? Okey naman. Hindi ako ang unang nag-approach. Meron na, meron na kasi [na kumausap]... Nu'ng sinabi ko sa kanya na, 'Si Ate Guy ito!'... 'Oo naman,' sabi niya. Hanggang sa dumating sa punto na yung kanta [theme song ng serye], sabi niya [Boyet], 'Si Guy na lang ang kumanta [ng theme song], Nora Aunor 'yan eh!' Meron siyang gano'n.

Nag-suggest si Boyet na si Nora ang kumanta ng theme song? "Nag-suggest siya. Sabi niya, 'Ganda ng kanta, si Guy na lang!' So, ibig kong sabihin, nakita niya yung... Nu'ng binanggit niya 'yun, sabi ko, 'Wow!' Wala pa kasing kakanta, pero hindi e, mahirap gawin [mag-record] ni Ate Guy, mahihirapan kami. Iba na lang..."

Reunited with Christopher de Leon

GUY & BOYET. Going back sa story conference ng show sa Max's Restaurant kamakailan lang, kumusta naman ang atmosphere doon?

"Maganda. Masaya. Nakita niyo naman ang pictures sa Facebook. Nakakatuwa! Kasi, kami lahat, nakatingin sa kanilang dalawa [Guy and Boyet] na nag-uusap, tapos, nagtatawanan... Nagta-tapik, gano'n...Ang ganda ng atmosphere. Ang saya. Nagbatian sila. Nagkuwentuhan. Siyempre noong una, ayaw naming lumapit kasi nag-uusap sila e. Privacy. May bulungan, gano'n... Siyempre, kaming lahat, kinikilig! Aaayyyy!!!

Kasi, hindi namin nakikitang nag-uusap ever, e. Ang alam ko, that was the first time na nagkita sina Boyet at Guy mula no'ng dumating sa bansa si Nora. Yun ang alam ko. Siyempre, yung production, yun ang inaabangan naming lahat. Noong dumating si Guy, hinalikan niya [Boyet]... Chika sila. Kuwentuhan.

Hindi naman nailang sa isa't isa ang dalawa o naging uncomfortable dahil ilang taon ring silang hindi nagkita at nagka-chikahan? "Hindi ah, nagbibiruan nga sila e. Naku, eto nga ang nakakatawa, sa pictorial, lahat ng video, umalis na... Wala na ang mga TV cameras... Kinunan sila ng picture, silang tatlo, pati si Ian. "Kinandong nila si Ian! Napaka-touching! Sobrang nakakatuwa! Sabi ko, 'Putcha! Wala ba kayong video?!' Kinuha ko yung camera ko, yung phone ko, yun ang ginamit kong pang-video...! Ako lang ang may kopya! Nagbibiruan pa sila, nagkukuwentuhan."

VILMA MIGHT VISIT. Ayon kay Jo-Ann, handang-handa na ang first taping day ng Sa Ngalan Ng Ina sa Lunes, sa location set sa Taal, Batangas.

Take note na ang gobernadora sa nasabing bayan ay ang kumare ni Nora na Star for All Seasons, si Governor Vilma Santos. "Oo, all set na sa Monday. Ready na... Nakakatawa lang, kasi, sabi namin, 'What if dumating si Ate Vi?' Sa Taal, Batangas nga kasi kami sa whole series. Since it's a political drama, doon kami sa churches, yung munisipyo doon, gagamitin namin. "'Di ba siyempre, 'pag nalaman ni Ate Vi yun, na nandiyan si Ate Guy? Go na! Baka dumating, 'di ba? Masaya ito!" tili ni Jo-ann.

Samantala, totoong nagkasakit si Nora recently dahil sa overfatigue. Magmula nang dumating ito sa Pilipinas noong August 2 ay walang humpay ang trabaho nito. Dumating pa rin ito sa set ng El Presidente kahit mataas ang lagnat, pero ang doktor na umano ni Governor ER Ejercito ang nagsabi na huwag nang ituloy ang shooting at in-advise itong mag-bed rest. "Totoong nagkasakit siya," ani Jo-ann. "Nakita ko e. 'Saka, andun yung doktor sa tabi ko. Hawak-hawak ko nga yung reseta. "Kasi, ang tagal na niyang ratsada di ba, so bumigay ang katawan. Nag-ano yung katawan niya, pero okey na naman ngayon."

DIREK MARIO O'HARA. Ilang award-winning classic Nora Aunor films rin noong 1970s to 1980s ang dinirek ni Mario O'Hara, tulad ng Tatlong Taong Walang Diyos, Condemned, Bulaklak Sa City Jail, at Bakit Bughaw Ang Langit.

Kumusta naman ngayon sina Nora and Direk Mario O'Hara—after more than three decades na hindi pagta-trabaho?

Ay naku, noong una silang nagkita, nagyakapan nang matagal na matagal! First time nilang nagkita noong private conference pa lang namin." Sa kauna-unahang pagkakataon, napapayag ang isang Mario O'Hara na mag-direk ng isang teleserye. Paano niya ito napapayag? "Naku, si Direk Mario, walang tinanggap na work 'yan for TV. Tinawagan ko siya noong wala pa si Ate Guy... Sabi ko, 'Direk, gusto mong mag-TV?' Sagot niya, 'Ahhmm, depende.' Sabi ko, 'Direk, nasa TV5 na ako,' etcetera, ganoon... Tapos, sabi ko, 'Direk, mag-TV ka.' Sabi niya, 'Alam mo, ayoko kasing mag-TV dahil ganito-ganyan...' "Kasi daw, ang daming nakakaalam. Ang daming kumukuwestiyon. Ang daming tsu-tsu-tsu! Maraming nangingialam, ayaw noon ng ganoon.

Alam mo naman yun, kung ano ang gusto niya, yun ang dapat... Tapos, sabi ko, 'E, Direk, Ate Guy ito!' "Sabi niya, 'Talaga?' Tapos, biglang sabi niya, 'Sigurado ka?' Sabi ko, 'Oo, Direk! Darating na [galing Amerika].' Sagot niya, 'E, di mag-usap tayo 'pag nandiyan na. 'Pag lumapag na ang eroplano!' Ayaw niyang maniwala noong una.

Until finally, noong dumating na, andiyan na si Ate Guy, sabi ko, 'Direk, andiyan na!' Sabi niya, 'O, sige, isa lang ang gusto kong itanong: Ilan ba dapat ang kakausapin ko dito?' "Sabi niya, 'Kasi, ang ayaw ko sa lahat sa dalawang networks [ABS-CBN at GMA-7], meron ka nang kinausap, siguro, may pitong levels pa ang kakausapin mo pa rin.'

Sabi ko, 'Direk, hindi po. Pagkatapos nating mag-usap, isa na lang.' "At siya ay si Percy [Intalan, TV5 Head for Creative and Entertainment]. So, after naming mag-usap with the creative team, si Percy na. "Sabi ko sa kanya, 'Wala na Direk!' Tama na yun. Sabi ni Direk, 'Okey! Go tayo!' So, after that, tinext ko na sina Percy, sabi ko, umoo na si Direk Mario. Sabi nila, 'Yeheeeeyyy!' Nagsaya silang lahat. Kasi, 'di ba, hindi pa nagti-TV si Direk."

Ang kuwento originally ng Sa Ngalan Ng Ina — na dating Donya Negra — ay may sinasabing original scriptwriter na si Rey Castro. Ano ba ang nangyari at na-revise ito? "Donya Negra dati 'yan e. Nandoon pa rin si Rey, doon pa rin ang pinaka-kuwento, doon pa rin binase yun e. "Political drama rin yung Donya Negra, na kaya ganoon ang title e, dahil sa nagluksa siya, nu'ng mamatay ang asawa, lagi na siyang naka-itim. Kaya Donya Negra.

"Ni-revise ang script. Nilawakan. Kasi, medyo dark nang kaunti e. Hindi naman tatanggapin yung gano'n sa TV audience, kaya ginawa naming medyo mas melodrama. "Pero si Direk, ayaw niya noong... Nagbi-veer away siya sa mga soapy-soapy type of serye. "Ang gusto niya, a good story. Kasi, 'di ba, may formula ang soap? Ayaw niya noon. Natatawa siya kapag nilalagyan namin ng soap material... Ay, ang galing!

Glad to work again with the great Mario O'Hara

Ang gusto niya, what is logical sa totoong buhay. Sasabihin niya, 'Alam niyo, mali rin naman ang ginagawa niyo sa audience, pagka-tinuturo niyo ang ganyan... Yung totoong katotohanan ang ibigay natin. "Sabi ni Direk, 'We must make a statement. This is a mini-series. It has to be compact, it has to be condensed. Sa soap, pinapahaba niyo, maski na konting iyak lang, 30 minutes niyong paiiyakin!' Nawawala yung istorya. Nawawala yung laman. Nawawala yung essence of the story. Siya, gusto niya, parating may logic. Kaya five weeks lang kami, kasi, compact yun."

Ilang araw sa isang linggo ang taping ni Nora?

MORE SPOILERS. "Three times a week siya. Siya ang bida e! Sa kanya lahat. As is siya. Dito, siyempre, ordinary housewife... Actually, naging yaya muna siya ng asawa ni Bembol. Naging nurse siya ng buong family ni Bembol.

May asawa sa una si Bembol, namatay. Noong ipinanganak si Edgar Allan, namatay yung nanay [asawa ni Bembol sa simula]... So, siya [Nora] yung nurse, hanggang sa inalagaan na rin niya ang dalawa pang anak [Alwyn and Nadine]. Si Edgar, paborito siyang stepson ni Ate Guy. In the process, na-in love na si Bembol kay Guy, pinakasalan siya. Si Nadine ang anak ni Bembol sa unang asawa. Siya ang nagpahirap kay Ate Guy, ayaw niya kay Nora. Bida-kontrabida ang role ni Nadine. Si Nadine, Alwyn, at Edgar Allan ang magkakapatid. Mga anak ni Bembol sa unang asawa. Ang anak ni Guy, si Eula [Caballero]... Sikreto kung sino ang ama nito," pagwawakas ni Jo-ann Bañaga.

In light of her legendary act

2011-08-19T01:10:00.000-07:00

Despite her diminutive frame, Ms. Nora Aunor inspires outsize awe owing to her thespic talent many critics owe to her innate genius for creating larger-than-life characters whether on television, at the silver screen, or onstage in a live theater. Most of her co-stars through the years have echoed what two National Artists for film have known all along. The late Lamberto Avellana gushed in honor of her as "the perfect film actress," which Lino Brocka concurred by calling Aunor "the greatest actor in Philippine history." (Click here for an essay on Aunor's significance in Philippine culture).

Small wonder why award-winners Rossana Roces and Eugene Domingo, two of her co-stars in the upcoming TV5 miniseries Sa Ngalan ng Ina, are overwhelmed with the prospect of sharing camera space with her. After all, Aunor has long been acclaimed for her subtle acting style aided by the sheer power of her eyes that can convey a whole gamut of emotions even with just a single gaze. Set to play a contravida of Aunor's character as an avenging widow, Roces is at once excited and scared: “Kinakabahan ako, baka sa taping namin ay matutulala ako kapag kaeksena ko na siya, hindi na ako makaarte, baka panoorin ko na lang siya.” (Click here for more details).

For her part, Domingo--a self-confessed Noranian--looks forward to working with her not only in television series but also in the movies. "Of course, hindi natin papalampasin na hindi gumawa [ng project kasama] ang genius na artista," she says. "Kung saka-sakaling makakasama ko siya sa eksena at makikita ko ang kanyang mga mata, kahit siguro action papayag ako [or kahit] musical with Ate Guy, why not?” (Click here for more details).

The two actresses' enthusiam is also shared by two of Philippine entertainment's hottest stars who have been bruited about as Aunor's possible successors for superstardom--Judy Ann Santos and Sarah Geronimo. (Click here and here to read about their excitements on Aunor's comeback and prospects of working with her in the future.)

For young actors and actresses, Aunor's return to Philippine showbiz after nearly a decade of absence has only added to her legend. It was reported that many have sent feelers to TV5 to avail themselves of the chance to act with her. (Click here for added tidbits). Indeed, TV5 is dead-set to make Sa Ngalan ng Ina not only as a ground-breaking drama (to be helmed by ace director Mario O'Hara), but also as a reminder for the new generation to rediscover and appreciate Aunor's cultural legacy. (Click here to read more of the producer's objective.)

Newcomer Edgar Allan Guzman, Cinemalaya 2010 Best Actor, will play as the son of Ms. Nora Aunor's character--a powerful avenging widow in TV5's political drama Sa Ngalan ng Ina.

Judy Ann Santos speaks out about Aunor's comeback while Wendell Ramos (below) wishes to work with the Superstar.

Of resurgence and reunions

2011-08-17T20:51:00.000-07:00

"Very powerful." Or so the critically acclaimed actor/scriptwriter/director Mario O'Hara describes the role of Ms. Nora Aunor in her much-awaited TV series Sa Ngalan ng Ina. Deviating from her tried-and-tested portrayals as an underdog, Aunor will play a governor who exerts her influence to avenge the death of her husband. After the superstar's eight-year hiatus in the United States, O'Hara is raring to reaffirm Aunor's stature as a world-class actress in a story of epic proportions "tungkol sa mayamang donya, at ang kanyang struggle amidst the political turmoil in her hometown, matapos ma-assasinate ang kanyang unang asawa..." (Click here for more details.)

With a bang for her career comeback, Aunor's resurgence as the country's premier actress is seen by many as a foregone conclusion in hands of O'Hara. Reminiscent of other creative collaborations among the best of world cinema--France's Isabelle Huppert with director Claude Chabrol, China's Gong Li with director Zhang Yimou, and Japan's Toshiro Mifune with director Akira Kurosawa--the Aunor-O'Hara tandem is a class all its own.

Together, they have chalked up a filmography considered as hallmarks of Filipino filmmaking since 1976 when they came up with Tatlong Taong Walang Diyos, considered by critic Noel Vera as "the best Filipino film ever made." (Click here for the complete review of the film and here for Vera's list of the 12 Great Filipino films.)

Thus, televiewers are up for a primetime treat with the Aunor-O'Hara cocktail in Sa Ngalan ng Ina, which also reunites Aunor with her TTWD costars: her ex-husband Christopher de Leon and Bembol Roco. The project also marks, literally so, a family reunion as the former couple's only son, Ian de Leon, is also in the cast, among others. (Click here and here for more information on the reunion and other plot details.)

Talk about a powerful viewing experience, and this much is true: To see is to believe.

Nora Aunor and Christopher de Leon cuddle the toddler Ian de Leon during a break on the set of Mario O'Hara's "Tatlong Taong Walang Diyos" in 1975.

Ian de Leon, flanked by her parents and erstwhile couple Nora Aunor and Christopher de Leon,
at the story conference of "Sa Ngalan ng Ina."

Perking up Philippine television with the Superstar's return

2011-08-15T10:30:00.000-07:00

After being absent from the local entertainment scene for nearly eight years, Nora Aunor-- inarguably the greatest actress to have graced the big and small screen around these parts--is back in the Philippines to do a special miniseries with TV5.

To the packed house, Nora, now based in the US, said, “Nagpapasalamat po ako sa TV5 sa kanilang tiwala na kunin ako para sa itong mini-serye na inihahanda po para sa mga manonood. At siyempre, nagpapasalamat rin ako kay Kuya Germs na palagi pong andyan para sa akin. (I would like to thank TV5 for having trusted me enough to tap me for this miniseries. And of course, I'd like to thank Kuya Germs who has always been there for me.)

“Si Kuya Germs po ang nakipag-ayos sa TV5 para sa gagawing kong mini-serye. Alam ko po na meron sigurong mga fans na nag-tampo nung hindi natuloy yung scheduled na pag-balik ko mga two weeks ago, pero kaya po ipinagpaliban yun e dahil inaayos nga po ni Kuya Germs itong gagawin ko para sa TV5.” (It was Kuya Germs who arranged everything with TV5 for this miniseries. I know some fans were upset when my scheduled return two weeks ago didn't push through, but this is precisely why it was postponed. Kuya Germs was fixing everything for this project with TV5.)

For his part, Percy Intalan, who proclaimed himself to be a Noranian, said that working with Nora Aunor has been on TV5's wish list. “We thought it would be nothing more than just a pipe dream, and so when Kuya Germs told us that Nora was flying back to do a movie (a historical biopic with Governor ER Ejercito, titled El Presidente), we didn't think twice about signing her to an exclusive contract.”

The miniseries "SA NGALAN NG INA" is going to be directed by the multiawarded Mario O'Hara, also Nora's director in one of her most acclaimed films and one of the classics of modern Philippine cinema, Tatlong Taong Walang Diyos. Reportedly, TV5 is putting in a lot of money to ensure that the miniseries will not only break new ground but also most fitting for Nora's stature. When asked if TV5 would allow Nora to appear in interviews on rival networks, Percy Intalan said, “Nora Aunor is too important and too big an artist not to be shared with the rest of the entertainment industry.” Also being already planned is a movie with Lily Monteverde's Regal Films.

To her fans and the entertainment press, The Superstar said, “Si Nora Aunor pa rin po ako. Hindi pa rin po ako nagbabago. Medyo nagluluka-lukahan paminsan-minsan, pero ang pinapangako ko po ay seryoso kong paguukulan ng pansin ang gagawin kong mini-serye para sa TV5.” (I'm still Nora Aunor. I haven't changed. I've gone a little crazy on occasions, but I promise that I will seriously give my all to this miniseries with TV5.)

-- from InterAksyon.com