Lamberto Avellana
(B: February 12, 1915 – D: April 25, 1991)
As I flip through the pages of this book, I got so interested that I decided to post everything it said:
Lamberto V. Avellana is a pillar of Philippine Cinema. One of the few living witness to the growth and development of Filipino movies, Avellana began auspiciously as a stage director at the Ateneo de Manila, from where he graduated with a Bachelor of Arts degree in 1938. With his wife, the former Daisy Hontiveros, he founded in 1939 the Barangay Theater Guild, which pioneered in the presentation of legitimate plays.
Avellana movied into film at a time when the studio systems was just emerging. His first film, Sakay (1939) , was a landmark in Filipino filmmaking, because it marked in the words of a film critic T.D. Agcaoili, "The introduction of a truly creative Philippine cnema, employing organically in film some of the elements of modern stagecraft and dramaturgy that had been lacking in Philippine movies".
Avellana's direct contribution to Philippine cinema, however, is his use of cinematic techniques, in particular, of the mise-en-scene, which at the time was unheard of among directors who merely used their cameras to tell a story. In short, it was Avellana who first "discovered, exploited and enriched" the idiom of film in the country.
Aside from this, it was Avellana who first rebelled against the prevailing popularity of saccharine romances and superficial melodramas. Through his treatment of stories with serious themes and three-dimensional characters, he successfully mixed the significant issues of his time with the conventions of Filipino movie-making.
To name Avellana's best films that proved Filipinos can win Internationally, are:
1. Anak Dalita (1956)- "dealt with the cave-dwellers" of war-ravaged Intramuros, who, dispossessed of practically eveything, managed to survive and hold on to their dignity. This film was screened in the Asian Film Festival
2. Badjao (1957) - Painted an idyllic picture of the day-to-day existence of the sea-faring people in Mindanao. This film was also screened at the Asian Film Festival.
3. Kundiman ng Lahi (1959) - dramatized a woman's difficulties in love and life. This gave Charito Solis' breakthrough as an Actress for she bagged the 'Best Actress' Award in the 1959 FAMAS awards.
4. Portrait of the Artist as Filipino (1966) - translated into film Nick Joaquin's dramatic elegy on the death of Intramuros and of pure ideals in life and art.
5. La Campana de Baler (1961) and El Legado (1959) - won him International Prestige Awards.
The Highest point of his forty-year career as drama and film director is the National Artist Award, conferred on him in 1976, in recognition of his rare excellence and significant contribution to the growth of Filipino drama and film.
(Source: The Urian Anthology 1980-1989, Edited and Introduced by: Nicanor G. Tiongson)
So can we, the youth and the future of this country, be as great as Lamberto Avellana? Maybe not exactly like his greatness but why not? Dreaming to make a difference can bring us good.. no great results! :)
Til Next!
Avellana movied into film at a time when the studio systems was just emerging. His first film, Sakay (1939) , was a landmark in Filipino filmmaking, because it marked in the words of a film critic T.D. Agcaoili, "The introduction of a truly creative Philippine cnema, employing organically in film some of the elements of modern stagecraft and dramaturgy that had been lacking in Philippine movies".
Avellana's direct contribution to Philippine cinema, however, is his use of cinematic techniques, in particular, of the mise-en-scene, which at the time was unheard of among directors who merely used their cameras to tell a story. In short, it was Avellana who first "discovered, exploited and enriched" the idiom of film in the country.
Aside from this, it was Avellana who first rebelled against the prevailing popularity of saccharine romances and superficial melodramas. Through his treatment of stories with serious themes and three-dimensional characters, he successfully mixed the significant issues of his time with the conventions of Filipino movie-making.
To name Avellana's best films that proved Filipinos can win Internationally, are:
1. Anak Dalita (1956)- "dealt with the cave-dwellers" of war-ravaged Intramuros, who, dispossessed of practically eveything, managed to survive and hold on to their dignity. This film was screened in the Asian Film Festival
2. Badjao (1957) - Painted an idyllic picture of the day-to-day existence of the sea-faring people in Mindanao. This film was also screened at the Asian Film Festival.
3. Kundiman ng Lahi (1959) - dramatized a woman's difficulties in love and life. This gave Charito Solis' breakthrough as an Actress for she bagged the 'Best Actress' Award in the 1959 FAMAS awards.
4. Portrait of the Artist as Filipino (1966) - translated into film Nick Joaquin's dramatic elegy on the death of Intramuros and of pure ideals in life and art.
5. La Campana de Baler (1961) and El Legado (1959) - won him International Prestige Awards.
The Highest point of his forty-year career as drama and film director is the National Artist Award, conferred on him in 1976, in recognition of his rare excellence and significant contribution to the growth of Filipino drama and film.
(Source: The Urian Anthology 1980-1989, Edited and Introduced by: Nicanor G. Tiongson)
So can we, the youth and the future of this country, be as great as Lamberto Avellana? Maybe not exactly like his greatness but why not? Dreaming to make a difference can bring us good.. no great results! :)
Til Next!
2 comments:
Could he also have directed many Malay movies circa 50s? Many movies were accredited to one Lamberto Avellana.
Hi, I've recently just read up on Lamberto Avellana's directorial contributions to Malayan cinema. Was hoping to ask if you could lead me to a link listing films credited to him? Thank you very much. :)
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