Before Star Cinema became a prolific producer of Filipino films, the company had humble beginnings.
Kids growing up in the 1990s might remember "Star Cinema" as the title of one of ABS-CBN's movie programs; it eventually became the name of the company's motion picture arm. Charo Santos-Concio, then programming head of Channel 2, became Star Cinema's managing director, with Simon Ongpin as the general manager of the new firm. Ma'am Charo and Sir Simon had teamed up previously on a number of movies — one of which was "Kisapmata" produced by Bancom Audiovision. Sir Simon was the producer of this Mike de Leon masterpiece while Ma'am Charo was actress and line producer. I was one of the first production assistants of Star Cinema and I remember Ma'am Charo telling us (me and my fellow PAs) how thrilled she was to have gotten a house owned by Justice Artemio Panganiban as the main location of "Kisapmata." She revealed that instead of paying a per-day location fee, she simply rented the house for some weeks, which proved to be cheaper and more efficient for the production in the long-run.
I share that detail to illustrate how Star Cinema was in the early years. The company had very few employees. A new grad had the privilege of being in direct contact with the big bosses and the blessing of being mentored by them in the process.
Star Cinema's first office was in a small room with a few tables: one for Sir Simon, one for Tita Dory who was in charge of distribution, another table for Randy — the shipper of the film reels, and the last table was the production assistants' station. This room was located in between the ABS-CBN mess hall and the office shared by Sky Guide and the ABS-CBN Legal Department. Ma'am Charo's own HQ was steps away in ABS-CBN's Production Department.
By the middle of 1993, Star Cinema had released two movies: the action picture "Adan Ronquillo: Tubong Cavite, Laking Tondo" starring Bong Revilla and Sheryl Cruz, and the movie version of the top-rating sitcom "Home Along Da Riles" starring Dolphy. In those days, action movies with car chases and vehicles blowing up on screen were popular. So were comedies and tearjerker dramas. Light, feel-good movies about love were rare.
This was the entertainment landscape when Star Cinema began production on what would eventually be entitled "May Minamahal" (from the hit song sung by Hajji Alejandro). The story was about a young man Carlitos who stepped in as padre de pamilya to care for his mother and three sisters after his father suddenly passed away due to a heart attack. When serious Carlitos falls for offbeat Monica, he finds himself choosing between love or family.
If I recall correctly, the working title was "Ikaw sa Buhay Ko." The thick script was composed of typewritten pages (not computer printed). This film was only the second that Star Cinema produced. ("Ronquillo" was made by Regal and released by Star Cinema.) The project was a novelty, even a gamble on the company's part.
Aside from being a non-formula, it starred the untested team-up of Aga Muhlach and Aiko Melendez. I remember Sir Simon mentioning that the producers thought of casting Aga and Aiko after they saw the two in "Sinungaling Mong Puso" produced by Regal and directed by Maryo J. de los Reyes.
In the beginning, Star Cinema— I was told—was a joint venture between ABS-CBN and Mother Lily Monteverde's Regal Films. In the nineties, Regal was a very busy studio, releasing one movie every three weeks. "May Minamahal" had more than a few of Regal's personnel and resources. Stars Aiko and Aga were under contract with Mother Lily. The filming unit also came from Regal; so did line producer Jo-Ann Bañaga and filmmaker Jose Javier "Joey" Reyes who wrote the screenplay and directed the movie. The team often had production meetings at the famed Regal Valencia Street office where we usually converged before proceeding to the day's location.
The newest top-of-the-line ARRI 35 mm camera was used to film the movie. Every shooting day, the PAs had to bring cans of film stock. (There were only two of us PAs: myself and my counterpart at Regal, Jenny Francisco). On one of the earlier shooting days, I was not able to bring enough film stock. When Direk Joey found out, he reprimanded me and walked out of the set. Shooting was packed up before dinner. My faux pas turned out to be a blessing. Since the ARRI camera was new, the cameraman was not yet familiar on how to use it; all the scenes shot that day were defocused. Had shooting continued, all the film footage would have been unusable.
Looking back, I could say that "May Minamahal" was a learning experience for many of us on the team. Direk Joey was still new at directing, having made his feature directorial debut in 1992. Ate Jo-Ann, an experienced assistant director for local and international productions, was line producing outside the Regal system for the first time. The movie was the first Star Cinema project of Agot Isidro. Agot, together with Nikka Valencia, Claudine Barretto, and Boots Anson-Roa played the roles of Aga's family members. After years of living abroad, "May Minamahal" was Tita Boots' comeback picture.
Aside from running out of Kodak film stock, I don't recall any other mishap on the set. Shooting always ended early (no puyatan) and the atmosphere was always lighthearted. Mainly because of Direk Joey. He called the pudgy Dagley, the head of Regal's shooting unit, "Porkchop". Direk Joey (who eventually forgave me) liked to tease me and his assistant director, Crisanto Andrew Moreno, a young graduate from La Salle. Sometimes, Direk also made fun of Ate Jo-Ann's smokey eyes makeup.
Aga and Aiko weren't so close in the beginning. But, by the time Aiko celebrated her birthday in December of that year, the two stars were officially a couple.
Our fun got extended because of additional shoots. At the advice of creative consultant Melanie Garduño, new scenes were filmed. These included the sweet moments of Carlitos (Aga) and Monica (Aiko), Carlitos' picnic with the family, and Carlitos' bonding with his sisters.
The chemistry between Aga and Aiko were undeniable. Their scenes with their respective families were magic! Ronaldo Valdez was natural and effortless as Monica's father. Little did we know he would score a Best Supporting Actor grand slam in the Metro Manila Film Festival, Urian, Film Academy of the Philippines and FAMAS for this role.
There was a lot of care put into the production. For instance, shooting at the old house that was the residence of Monica's family wasn't easy. The house reeked of cat scent and its floors creaked. There were times Direk Joey asked the propsmen to catch and hold the cats and release them when he yelled "Action!" That's how the cats ended up in the background of the scenes of Monica talking with her brothers (played by Bimbo Bautista and John Estrada), and Carlitos' paying a visit to Monica.
Personally, I think "May Minamahal" captured a rare time when the process was motivated more by sheer love and passion, and less by box-office outcome or social media engagement or clout.
The team was surprised when our bosses decided to field it in the Metro Manila Film Festival. And we were more surprised when it won several MMFF awards, including Best Story, Best Screenplay, and Best Director for Direk Joey Reyes, Best Production Design for Benjie de Guzman, Best Supporting Actor for Ronaldo Valdez, and Best Actor for Aga Muhlach.
"Who would have thought?" said Direk Joey. "Parang naglalaro lang tayo n'on..."
(originally featured in metro.style in 2018)
