Heaven’s Stories

Bits of behind-the-scenes trivia about the 30-year old film “Hindi Nahahati Ang Langit”

For many years now, the 1985 film “Hindi Nahahati Ang Langit” has held a special appeal to me. A friend of mine who is a diehard Lorna Tolentino (LT) fan says it is his favorite LT movie; his delight towards it piqued my interest.

That it is a drama directed by Mike de Leon also fueled my attraction. De Leon, after all, is considered a master by young and even older filmmakers. Since he began his career in the 1970s, the famed director has made only eight features and “Hindi Nahahati…” is one of them. Since he rarely makes films (de Leon’s last was “Bayaning Third World” which was shown 14 years ago) and has purposely shied away from the limelight, his completed works are regarded as treasures by his ardent admirers. 

But admittedly, the biggest reason I’m drawn to “Hindi Nahahati…” is a story behind it. When I was a production assistant at Star Cinema, I remember one of my bosses (someone who worked on the film) saying that de Leon’s name is absent from the film's credits. The movie is perhaps one of the few, if not the only one, in which the opening credits end with the name of the assistant director (A.D.) instead of the director. 

Being in an industry wherein people are so conscious about billing and credit, here was a fellow—the director, the captain of the ship at that—who was not acknowledged as maker.

Another story that reached me was that the director, although he completed the film, decided not to put his name on it. Why? Is he not proud of it? Is he not happy with his work? To put it frankly, “Is ‘Hindi Nahahati Ang Langit’ so bad that Mike de Leon did not want to be associated with it?”

However, my friends who had seen it attest that it’s a good film, so good that ABS-CBN decided to remake it into a teleserye entitled “Walang Kapalit” in 2007. The TV series starred Claudine Barretto and Piolo Pascual as the warring stepsiblings Melody and Noel.

When I was working for StarStudio Magazine in 2007, I suggested to my editor-in-chief Cherry Pineda that a nostalgia piece about “Hindi Nahahati…” be written since there was going to be a TV remake. Our E-I-C approved the pitch, and so I set off to interview those who were involved in the film.

And the stories I culled from my search were, in showbiz parlance, “juicy" to me.

But first, a background about the plot: “Hindi Nahahati Ang Langit” is based on a komiks serial written by Nerissa Cabral, considered one of the most notable writers of the genre. She is the writer behind komiks-turned-iconic films like “Bituing Walang Ningning,” “Bukas Luluhod Ang Mga Tala,” “Palimos ng Pag-Ibig,” and others.

“Hindi Nahahati…” tells the story of stepsiblings Noel and Melody (played by Christopher de Leon and Lorna Tolentino, respectively) who’ve been fighting ever since they were young. The respective parents Ariston (the late Nestor de Villa) and Agnes (Gloria Romero) tried to intervene and encourage the stepsiblings to accept each other like real brother and sister. But the gap between Melody and Noel widened especially when their parents passed away. The conflict worsened when Melody married Ronald (Edu Manzano) whom Noel hated. Noel then married Cynthia (Dina Bonnevie) who, in spite of Noel’s assurance, was still jealous of Melody.

For my StarStudio assignment, I got to talk to a few of the stars and production team of “Hindi Nahahati Ang Langit”— screenwriter Mia A. Concio, actress Dina Bonnevie, and the producer, Ms. Charo Santos-Concio.

Mia Concio was the continuity supervisor of the film. But, as she recounted to StarStudio, she ended up with screen adaptation credit because “There was already a working script but while we were working on the film, Mike kept revising and revising it. He kept telling me to write and rewrite scenes!”  The film “Hindi Nahahati Ang Langit” became the first of many screenplays Mia would write.

Dina, meanwhile, related to her character Cynthia whose marriage to Noel was rocky because her own union with then husband Vic Sotto was also problematic.

Back then, Edu Manzano was reportedly also having problems with then wife Vilma Santos. Someone connected to the film shared that the Mercedes Benz picture vehicle that Edu’s character Ronald was driving was actually Edu’s and Vi’s. Edu was supposed to have said to the film’s staff, “Paano ‘yan kung maghihiwalay na kami ni Vilma? Hindi na natin magagamit ang kotse (sa shooting).”

As to the “mystery” why Mike de Leon’s name is absent from the credits, Ma’am Charo (who starred in de Leon’s films “Kakabakaba Ka Ba?” “Kisapmata” and “Itim”) offers this explanation:

“I guess Mike was pressured and we didn’t have enough funding at that time. It’s very frustrating for a creative person when resources are limited. Meron pang gustong gawin si Mike na wala na kaming ma-offer na pera. Medyo nagkakaroon na ng misunderstanding and the pressure was building up na.

“One day, he sent word to remove na lang daw his name in the credits. I talked to Simon (Ongpin), my (executive) producer about it… Sabi niya, ‘It’s really up to you Charo, you make the call.’

“It was difficult for me to make the call… I said, ‘Well if Mike wants his name struck out from the credits, alisin natin. If that was going to make him happy, Mike and I don’t have to fight over this.”

I had never watched “Hindi Nahahati…” in its entirety except at the premiere of its digitally restored version held last November 11, 2014. 

I was struck by the awesome performances of the cast. I agonized over Melody and Noel keeping their true feelings from each other because a relationship between stepsiblings was deemed incestuous. I was touched by the message of the story and awed by the depth of the characters’ struggles.

Perhaps as a komiks melodrama, “Hindi Nahahati Ang Langit” does not possess the gloss and the opulence of say a Viva Films production. And maybe director Mike de Leon had to contend with modest means and limited resources. In the process, he might not have fully achieved his vision for the film. But that does not diminish the beauty of the film. Actually, I feel it is more touching because of its simplicity. 

So when Manet Dayrit of Central Digital Lab told me that their company had done restoration on “Hindi Nahahati Ang Langit,” and that Mike de Leon had agreed to put back his name in the credits, I felt like a kid on Christmas Day.

To me who had sort of followed this story since my PA days at Star Cinema, the news was very significant.

First, because another Filipino classic was restored and that meant that many more viewers could enjoy and learn from the movie for several years to come.

Second—and call me overthinking if you want—I just felt that the director’s return proved that, yes, there is heaven on earth, and good things that are meant to be (like the love of Melody and Noel) do come to fruition. 

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Why You Should Date a Filmmaker

On the set of "Mga Anino ng Kahapon" ("Shadows of the Past") with assistant director Mara Marasigan,
line producer Ron Genato, producer Alemberg Ang, and director Alvin Yapan.

This list was created as a response to an article posted on Facebook by friend Jed Medrano entitled "8 Reasons You Should Never Date a Filmmaker." (Refer to http://thoughtcatalog.com/cassie-kelsey/2014/06/8-reasons-you-should-never-date-a-filmmaker/)

Being a filmmaker myself (I produce, write and publicise films), I began a list to dispute the article cited above. I posted my list on Facebook and then other friends in movie production added to it. The list turned out to be fun!

Here's what that we came up with:

Reasons Why You SHOULD Date a Filmmaker:

1. A cinematographer will light up your life.

2. A director always sees the bigger picture.

3. An editor removes all the bad takes.

4. A musical scorer puts the right notes. 

5. A screenwriter knows good character.

6. A producer/production manager always finds ways.

7. A production designer sets things right.

8. Visual effects will turn day into night and give you the moon and the stars.

9. Crowd control will stop traffic.

10. Makeup will cover your flaws and enhance your features.

11. The grip will hold you tight.

12. The location manager will always find a place for you.

13. The assistant director will fit you into her busy shooting schedule.

From editor-director Lawrence Fajardo

14. The utility guy knows how you want your coffee

15. Rain FX will shower you with love.

16. The equipment caretaker will handle you with care.

From writer-producer-documentary filmmaker Babyruth Villarama-Gutierrez

17. The production assistant will assist you in all your needs, including giving you a back rub and massage.

18. The focus puller has his eyes only on you. 

From producer Alemberg Ang

19. The filmmaker will make you the "star" of his life.

From editor Chuck Gutierrez

20. The sound recordist will always listen to you... even if you need a million takes to say things right.

21. The film editor will bring out the best in you, will present your best side.

22.  The colorist will color your world with the different hues... until you get saturated. 


... You get the picture. :) Seriously, filmmakers are among the most passionate and loving people I know. Yes, we have been criticised for being temperamental and moody, and for being struggling artists. I do not say that those things are completely wrong and are always false. But filmmakers are human and we should be given as much chance at romance as the next person!

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Life at the Summit

Mother Gaile, myself, Alma, Annie, Anna, Rosey and daughter Ameya, and Perla at our reunion
at Nomnomnom Happy Food (Pos Building, Tomas Morato Extension, QC)

I never had a grand career plan. I just knew since I was Grade 6 that I wanted to be a writer. I took up AB Communication in college to prepare for that. Sometime around college, I realized I also wanted to work in the movies. Thus, my career goals became: to be a writer, to work in the movies, to be a mom and a wife. (Raising children and taking care of a husband are careers in themselves— just ask any mom/wife!)

I’ve been lucky to find work that I like. After graduation from college, I immediately found work in a movie company where I stayed for four years (my longest employment stint). I worked in a teen magazine and then in a PR agency.

And then I found work at Summit Media. Back then it was still called Summit Publishing and the company had a handful of magazine titles: Preview, Candy, Cosmopolitan Philippines and Good Housekeeping Philippines.

Maybe it was fate that brought me there.

While I was still working in the movie company, I contributed a few articles to Preview and I continued to do so even after I left the production outfit.

I was already working as a writer at a PR agency when I dropped by the Summit Publishing office (located at the ground floor of then Sogo Department Store on the corner of Pioneer St. and Edsa, where Robisons Forum now stands) to claim gift certificates as my writer’s fee from the publisher’s secretary.

“Saan ka na nagwo-work?” the secretary inquired.

“Sa PR agency,” I replied.

“Naghahanap kami ng PR,” she said.

I had some background in publicity and promotions since I was also involved in promoting movies for my first job. Being a writer at the PR agency gave me a front-row view into the ins and outs of public relations. I think I had a shot at that PR job at Summit.

A few days later, I found myself being interviewed by the publisher. I don’t remember how I was told that I got the job.

But I clearly remember being happy at Summit Publishing, I was happy working at Summit Publishing’s Marketing Department.

A lot had to do with the people I worked with, the enjoyable experiences and the lessons I learned.

There were just a few of us in the department. There was Gaile, our “Mother,” who was our Marketing Manager. There was Perla who was in-charge of in-magazine promotions (like the prizes for subscribers who answered survey questionnaires, raffle draws and contests such as the Search for Preview Cover Girl). Alma, Anna and Meggy took care of events (at separate times). And then Rose Ann a.k.a. Rosey came along and handled all the events for then new entertainment title YES! Magazine (now considered a Bible in showbiz circles).

We had artists like Christopher, Raffy, and John who created the post-event coverage ads, and other print ads and collaterals.

That’s the Marketing Family.

We were housed in the backroom of the office, and our workspace was surrounded by towers of current magazines and back issues.

Emailing press releases was unheard of then. So I wrote one press release per month per magazine title, printed the press release on bond paper, put the PR in a bag with a magazine and a little gift. I delivered the press release bags to the lifestyle departments of broadsheets located in the Port Area.

Whenever there was a new title, I’d accompany the magazine editor to a series of interviews on radio and television. When Cosmopolitan Philippines had its first Bachelor issue, editor-in-chief Myrza Sison was interviewed on the talk show “Ms D.” hosted by Dina Bonnevie, together with a few hunks that were featured in the Cosmo Bachelor Issue. That TV appearance was one of the biggest PR “coups”/ achievements of my term as Press and Publicity Marketing Associate.

My work was interesting but it paled in comparison to the exciting, dedicated and passionate people I worked with.

Perla had a knack for charming advertisers into giving products as prizes/giveaways for readers. There was a time she single-handedly came up with a vacation giveaway contest wherein the prize was a trip for two to Palawan complete with airfare and accommodations—entirely on barter agreements. I can still remember how Perla patiently encoded and tabulated the survey answers of readers, going to the office early and staying late to finish the tedious work.

Anna, Annie and Alma (triple A’s) were the experts in organizing events and launches. Whether it was a major launch like an anniversary of Cosmopolitan at the Glorietta Activity Center, a simple magazine sampling at a movie premiere, or Halloween Treats for kids at a family restaurant, they did their work with utmost fervor.

Meggy’s legacy to me is the term “bobo job,” literally translated in Tagalog is “trabahong tanga.” Now, this cuddly lady never meant to undermine any task. After all, any assigned work is important and would always require some kind of smarts in order to complete. Meggy just used the term “bobo job” to refer to simple tasks like folding and pasting tent cards, or putting giveaways inside goody bags, which were easy and required little effort on the mind. Whenever we needed breaks from the stress and pressure, we, at the Marketing Department looked forward to doing these “bobo jobs.” Thanks for coming up with the term, Meggy! And for showing me a unique way to relax!

Rosey wore the sexiest outfits to work like spaghetti-strapped blouses and the slimmest jeans. She accomplished a lot even if her personal life had its own challenges. I’d like to think that YES! became a top-selling magazine partly also because of her efforts to push the title by promoting it everywhere she could—in radio stations, comedy bars, awards nights, and Tagalog movie premieres.  

The moving force of our Marketing family was definitely Mother Gaile. Her Sony cellphone that looked like a high-tech TV remote control remains etched in my mind, same with her tips and advice on love and career.  Mother’s first lesson to me is about persistence: She said, “Kung nag-‘no’ na sa inyo, mag-offer ng alternative. Huwag basta mag-give up.” The second is about not being paranoid: She told me, “Huwag gumawa ng sariling multo.” Smart, sassy and way prettier than the actress and the TV host that others said she resembled, it’s not surprising that Mother Gaile easily wowed radio station managers and movie moguls.  (Not to mention magazine editors and art directors.)  

Now that I’m working freelance, I do miss those days when I had a barkada in the office, like my officemates at Summit. They were the special people I shared Tapa King meals with during overtime, marched with from Pioneer St. to Edsa Shrine during Edsa Dos, shrieked with during the midnight screening of the reissued Exorcist. 

But there comes a time when you know when you have to move on. I knew I had to go when I received an offer to work on a movie again.

Days before I ended my almost three-year Marketing stint at Summit, Myrza sang the refrain of the song “Nobody Does It Better” to me. I’d like to believe that was Myrza’s tribute to my contribution as Marketing Associate for Press and Publicity.

I think about all these now because Gaile, Anna, Alma, Annie, Perla, Rosey and I met again recently after what seems like ages. I kept telling them that my Marketing days were among the happiest in my career. I felt their love and support. We were sisters in “bobo jobs,” and they accepted me in spite of my hang-ups and boo-boos (one of which was sneaking out to have my hair cut at Propaganda Salon when I should have been manning the magazine booth at Glorietta Activity Center).

Although many changes have happened in our individual lives (Anna, Annie and Perla are still with Summit Media but have transferred to Advertising. Gaile is now with a global bank. Rosey stayed in the US for a while and is now a balikbayan, married and with two daughters. Meggy now lives in the US, is married and is expecting her first baby. Alma has her own business.), I think we’re still the same Marketing Girls at our core: hardworking, patient, sincere, supportive. 

To Anna, Alma, Annie, Perla, Rosey, Meggy, and Mother Gaile… I’d love to sing “Nobody Does It Better" to all of you… but I’m tone deaf!

So let’s have a group hug, instead!

Love,

Gay  

Ateneo Memories

Note: This was an essay I wrote for the Blue Roast souvenir program. The Blue Roast is a get-together of all graduating college seniors of Ateneo de Manila. This is my own "throwback" in commemoration of our college grad that happened in late March 1993. 
____________

Ateneo AB Communication Batch 1993

I’ll miss the Quad. As freshmen, my friends I would gather at this bench under the big tree. There, Trixie and Penny would stand on the bench and dance the Hawaii Five-O. Triccie would coax Yen and me to accompany her to the noontime mass in the chapel so we could all see a “heavenly sight.” Sometimes, Cynts would bring cards and tell our fortunes. ABelle would be on the lookout while Tania would laugh at how silly we could all be.

Those were the days when we’d sit around and talk, when we’d plan to come to school in dresses the following day.

I’ll miss how the summer leaves would fall from the big trees in the Quad. How I enjoyed to step on the dry, crisp leaves. But I loved to see the leaves fall from the trees; I called that spectacle “snowing leaves” because the leaves were like dancing snowflakes descending to the ground.

I’ll miss the Colayco Hall lobby. The noise. The running. The singing by the Glee Club members and the ACIL barkadas. Here at the Colayco lobby, we planned Philosophy and Theology presentations, devised advertising campaigns and gave birth to a new TV station. I’ll miss the sturdy wooden benches where we napped during breaks. I’ll miss the endearing way Leslie called the entire place the “Lagdameo Lobby.”

I’ll miss life in the orgs. Movie-watching with the young ladies of New Beginnings, cuddling the babies at CRIBS. Hiding from my Research Editors because my articles for The Guidon were late. Talking with Ateneo Archives’ Ditas who was very helpful to me. General Assemblies with meriendas and working for a big project like the National Video Contest. I’ll miss diligent Aegis reps like Annette, Marivic, Paul, Kitten and Bambi.

I’ll miss the Ateneo Rizal Library, particularly the Reference Section. I’ll miss leafing through the old Aegis yearbooks. I’ll miss the comforting hum of the aircon, the whispering of the fellow students who shared the same table with me, and the stern librarians who scolded us when we were a bit noisy. I’ll probably even miss wearing my ID inside the lib.

I’ll miss the conversations that Sandy and I would often have at the lib, of how she’d tell me “Mamaya ka na lang umuwi.” I’d stay and we’d talk more about the things that were important to us.

I’ll miss my favorite teachers.

Like Mrs. Lolly Lacuesta. Through her English classes, I developed an interest in research, a liking for The Beatles, and a passion for self-improvement.

Like Tatay Nim Gonzalez who scared us at the Orientation Seminar by telling us AB Communication freshmen to shift out. But many of us stayed and we discovered that he’s no terror at all.

Like Father Gorospe, S.J. who taught me that real love is paschal in nature: “You must be willing to die to your own selfishness.”

Like Mr. Bobby Guevarra whose passion for social justice is infectious. I am amazed that he remembers the names of his students and I felt guilty whenever he apologized for his “boring” lectures. I will always remember his advice to us to go where we are most needed.

Like Father Nick Cruz, S.J., who taught me to see much more just by watching movies. Like Mark Escaler who inspired me to write long papers for Film Seminar.

And like Dr. Antonette Palma-Angeles who urged me and my classmates in Philosophy to “stop and think.”

I’ll miss the homey atmosphere of the Comm Department. I’ll especially miss MT (Mr. Tony Gallano) who is not only an excellent editor and videographer, but also a great critic and a fine singer.

I’ll miss my friends very much. I won’t see them for a while because we’ll be too busy pursuing our dreams. I’ll miss Kitten’s sweetness, Badje’s knack for finding time to enjoy life (like play tennis) even if life could be hectic. Candy’s patience and Mickey Mouse collection. Manny and Teta and their debates. Tachie’s singing. Penny’s exceptional wit. Sandy’s green apples and interesting stories. Hannah’s support and quiet understanding. Arnie’s updates. Joy’s innocence. JG’s loud laughter. Dong’s good intentions. Leslie and his sandwiches (wrapped in tissue paper and placed inside the plastic of the tasty sandwich bread). Thesis bonding with Maitel, Ebet, Romer and Jam.

I’ll miss Nessa and our conversations at the Bellarmine Bus Stop.

I’ll miss bothering the people at the Department of Student Welfare Services (DSWS) like (Father) Nono, so I could use their typewriter to type my reports and papers.

I’ll miss the masses at the chapel and at the Rizal Mini-Theater.

I’ll miss walking along the path to Gate 3 at 7:00 in the morning. I’ll miss looking up the sky and seeing the morning sun shining through the tree branches.

I’ll miss the sunsets I encounter when I when I head for home.

I’ll miss treading the field across Bellarmine Hall. I hope that the Bellarmine Field will always be open. I hope that a structure will never-ever be built there. I firmly believe that the Ateneo needs open spaces and that the field across Bel deserves to be an open space.  

I’ll miss the comfort and safety of familiar places and things. I’ll yearn for the warmth and company of the people I met at the Ateneo.

I’ll miss all of them. It’s comforting to know that even if we have to move on, the memories will always stay.

The Magic of Happy-Ever-After

Note: From 1997 to around 2002, I was reviewing films for The Philippine Star. This was my review of the Star Cinema romantic comedy Got 2 Believe directed by Olivia M. Lamasan that appeared in The Philippine Star (coincidentally!) on March 16, 2002. Here’s the link to that review: http://www.philstar.com/entertainment/154050/magic-happy-ever-after. This is my simple tribute to the late Rico Yan who passed away 12 years ago; he would have been 39 years old last March 14. 

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Don’t look now but Philippine cinema has found a new heroine.

She’s the would-be spinster. Four recent movies had for a female lead a single woman faced with the possibility of spending the rest of her life without a partner.

Sharon Cuneta’s character in Pagdating ng Panahon belonged to a family of spinsters. Jolina Magdangal’s perky persona in Kung Ikaw ay Isang Panaginip was a boyfriend-less gal who fell in love with a handsome face on a billboard. In Ikaw Lamang Hanggang Ngayon, Regine Velasquez played a lonely mail sorter who vented her frustration by carving a message on a park bench. And in Got 2 Believe, Claudine Barretto is an eccentric wedding coordinator who dreams of walking down the aisle very soon.

Correct me if I’m wrong, but it seems we haven’t met this much lonely women in such a short time. If attractive, personable women in movies like Sharon Cuneta, Jolina Magdangal, Regine Velasquez, and Claudine Barretto have difficulty finding Mr. Right, what more the regular-looking women in real life?


But back to Got 2 Believe... The story starts with the tempestuous relationship between Toni (played by Claudine), owner of Ever After Wedding Store, and Lorenz (Rico), wedding photographer. Commitment-phobic Lorenz unwittingly photographs Toni during her awkward wedding moments and has her pictures published in a bridal magazine. A crucial assignment prompts Lorenz to seek Toni’s help.

To appease her, Lorenz offers to find Toni a boyfriend. Toni adamantly turns him down. Even if Toni fears ending up an old maid like her aunts, she isn’t about to overlook the humiliation that Lorenz has caused.

But love conquers all and opposites do attract. The girl who believes in "happily ever after" and the guy who doesn’t believe in "forever" are about to find out they’re perfect for each other.

Got 2 Believe is an entertaining love story. It also tastes as sweet as candy. Cinematography has a kind of glistening quality and in almost all of the scenes, the characters are dressed in pastels like fuchsia, aqua, yellow, mint green and purple, lending a hint of fantasy. The only time the picture turns dark is when Lorenz has dreams that reveal his fears, and later, his realizations.




Vhong Navarro, as Lorenz’s assistant, Rudolf, lights up every scene he’s in with his perfect delivery of dialogue and rib-tickling antics. Carlo Muñoz and Nikki Valdez, who play friends and business partners of Toni, have their memorable comic moments as well. Dominic Ochoa may have played the "na-basted" suitor a hundred times before but his take in Got 2 Believe is his most endearing to date. As Perry, a lawyer, Dominic gives new dimension to the phrase "losing with dignity and grace."




Claudine is admirable for letting down her guard and being very "game." In keeping true to the Toni character, Claudine allowed herself to trip, fall on her knees, be dragged across a bowling alley and cry unabashedly. Rico deserves equal praise for playing the wacky situations very well. But in the dramatic scene where Toni confronts Lorenz at his studio and his expression shifts from vulnerable to detached, that moment was among Rico’s finest.




What do I like best about Got 2 Believe? It’s the key. "Huh? What key?" 


In the film, Toni became close to three men. The first was locked out of the wedding store, Toni’s private sanctum, because he left his key. The second gently handed Toni her key just as he was dropping her off from a date. This guy never got a chance to come in. The third was the only one who easily entered the store and the only one who stubbornly clutched the key, refusing to surrender it to Toni. Symbolically, it was guy no. 3 who held the key to Toni’s heart. Pretty special and clever touch, I should say.

As you leave the theater after watching Got 2 Believe, you’ll feel light and giddy and maybe even hopeful. Worried about spending the rest of your life alone? Well, fear not. As the movie shows, whoever you are, even if you’re getting older and nearing the so-called finish line, thin as a reed or plump with illusions of fitting into a sleeveless gown with a high-slit, o kahit makapal ka pa mag-make up... don’t fret, you’ll find true love. Just believe.