I grew up familiar with names and movie titles of Cebuano cinema. And probably where I got my inspiration from in my explorations in theater and acting in films. I owe this and proud to have my parents the late Francisco "Francing" Rabago who was with Mutya Productions in the late 50's and Remedios "Mediong" Cabatingan Rabago who is turning 85 years old come November, a radio talent in DYRC who appeared as extra in "Remember Erlinda", "Ungo sa Parian," and other films. She had worked with Inday Nita Daluz and Esterlina Labella, wife of famous director Eugene Labella and mother of Vice Mayor Edgardo Labella, and Adela Lopez, daughter of Minggoy Lopez, the legendary composer/musician.
My inclinations and inspirations to perform on stage and film had a great impact from my parents. This is the reason why when I was approached by Cebuano film directors and producers to act in short independent films I could not say no even though these were pro bono.
My first ever short film was "Mahiwaga" directed by JP Gopez, a thesis film from International Academy of Film and Television (Bigfoot Mactan), then "Going Somewhere" (unfinished) directed by Alan Lyddiard, "Tigbaid" by Janice Perez, "Di Ingon Nato" by Ivan Zaldarriaga and Brandon Relucio and "Aberya" (voice over of Iwa Moto's mother) by Christian Linaban.
Last February 28 and March 1, I got an invitation from Misha Anissimov, cinema program coordinator, instructor and Cinema Studies graduate at the University of San Carlos for the Second Cebuano Cinema Conference at the Casa Gorordo and the Eduardo Aboitiz Development Studies Center, Lopez Jaena Street.
This year's conference began with a free outdoor screening of "Manok ni San Pedro" directed by Joe Macachor and produced by the Arong brothers.
On the second day at the Plenary Hall of the Eduardo Aboitiz Development Studies Center, Cinema Studies students, faculty and guest-speakers delivered talks on the history and developments of Cebuano Cinema. The culmination was a rare screening of Eugene Labella's 1974 "Aliyana Ang Enkantada" followed by a discussion about the director's work by his son Jojo Labella. Listening to the different paper presentations and watching the movie, I could not help but be nostalgic especially when I heard familiar names and saw actors on screen like Riel Ylaya and Porcing Torrevilla.
Taking a flashback, years back my collaboration with Joey Ayala in Organik Musik has allowed me to have an acquaintance with Maria Victoria "Bambi" Beltran who happens to be a rich source of the history and development of the Cebuano cinema. In her article "The Making or Unmaking of Cebu's Local Film Industry," she wonderfully weaved it: Cebu film industry is just not what it used to be is an observation made time and again by the region's film makers. Back in the day as they say, the queen city of the south had a healthy film scene. As early as 1906, movies were shown in public places where large crowds gathered. A cockpit owned by Pedro Royo evolved into a movie house called Cine Royo. Teatro Junquera, Cebu's oldest theater having been established in 1895, was renamed Cine Oriente. And in 1927, another movie house called Cine Magallanes was opened. These early movie houses showed home grown films like Piux Kabahar's "Bertoldo ug Baludoy", which is considered as Cebu's first talking film.
Cebuano cinema was understandably idle during the war but in 1947, film making resumed with Manuel Velez' "Sa Kabukiran". Subsequently, the years between 1950 and 1957 became known as the 2nd golden era of Cebuano cinema. More than 50 movies were produced in seven years by around 30 Cebuano film productions. In 1969, a Cebuano film called "Badlis sa Kinabuhi" won the Best Black and White Film Award in the 16th Asian Film Festival in Jakarta.
Soon thereafter, Cebuano movie actresses Gloria Sevilla and Suzette Ranillo won the FAMAS Best Actress and Best Supporting Actress Awards respectively, for the 1974 film "Gimingaw Ako". The local industry was churning movies until 1979 and produced films like "Bulawan sa Lapok", "Ay Takya, ay Takya", "Ulan Udtong Tutok" and many others.
In 1980, the local movie scene petered out. Due to financial difficulties, film makers shifted to television. To make matters worse, Cebuano actors were lured to Manila where the film industry gave hefty salaries and national exposure. Without a source of funding, effective marketing and distribution strategy, making films in Cebu became a non-sustainable industry. Local historians would mark this year as the death of the Cebuano film industry.
Today, as the effects of digital technology become increasingly pervasive within contemporary culture, Cebuano cinema is breathing again. A group of young and innovative film makers have emerged. We hope that these artists can be provided with a conducive environment and access to resources. Only then can the cinematic sense of Cebuano film makers be brought to their place in the national and international realm of great films.