Tag Archives: Lito Anzures

FILM REVIEW: PAGPUTI NG UWAK PAGITIM NG TAGAK

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“…sabi mo pa nga nuon mahal na mahal mo ako…sabi mo pa na hindi magbabago ang pagtingin mo sa akin…dahil papaano mo papatayin ang hangin? Paano mo papatayin ang ulan? Paano mo papatayin ang araw? Sabi mo pa nga hindi mo na ako iiwan kahit na anong mangyari…kaya naisip ko nuon magpaligaw na ako sa’yo…kahit hindi pa pumuputi ang uwak, o umi-itim ang tagak…” – Julie

The Plot: “Pag-puti ng Uwak, Pag-itim ng Tagak” is a pulsating love story that recaptures the nostalgic fifties, the exciting era of mass hysteria, and the golden years of the rock and roll fever inflicted by screaming, wiggling hip-shaking foreign pop idols dominated by Elvis Presley, Bill Haley, Little Richard, Pat Boone, Doris Day and the Platters. “Pag-puti ng Uwak,Pag-itim ng Tagak” is more than a love story. It is also a commentary – a satire rich with humor injected into a moral, psychological, sociological, and cultural aspect, outlook, and values of the said bygone era. “Pag-puti ng Uwak, Pag-itim ng Tagak”, is a poigant rich-girl-meets poor boy love story of Julie Monserat and Candido Ventura – two love-struck starry eyed youths who fought for their right to love each other, here is a story that touches social conflict – the perennial clashes and discrimination between the rich and the poor. Julie grew up under the custody of her two wealthy spinster aunts Beatriz and Miguela Monserrat. Julie enjoyed everything, except the right to love her own father – Maestro Juan Roque, the poor town teacher. Julie met Dido a student-combo player. They fell in love with each other and had secret affairs. The aunts hated Dido for his ” lowly breeding and ear-splitting music”, thus rejecting him in favor of the town mayor’s son. Julie eventually got pregnant. They planned an elopement but was foiled. The conflict between the lovers and the Monserrat exploded into a series of scandals that rocked the whole town of Sta. Inez…” – Celso Ad Castillo (READ MORE)

“…Malakas ang deconstruction ng “Romeo and Juliet” sa obra na ito. Maraming reference (pinaka-given na siguro na ang pangalan ni Vilma Santos dito ay Julie) sa tragedy ni Shakespeare. Dito ko nakita si Celso Ad in a different light. Nage-gets ko ang poesiya ng mga nature shots n’ya sa ibang pelikula pero rito, klarong klaro ang pagkahilig n’ya sa literary classic. Pinakagusto kong shot eh ‘yung terrace scene na malakas maka-tribute. Wala kasi akong katiting na abiso tungkol sa pedigree ng pelikula at masayang naglalaro sa isip ko ang mga reference hanggang sa sumabog ito sa dulo na nagbigay konklusyon sa mga hinagap. Maraming eksena na may kilometric line si Vilma rito. Napaalala rin sa akin ang era kung saan ang sukatan ng isang pagiging aktres ay nasa haba ng mga linya na kayang mamemorya. Pinagsamang sensuality at controlled acting ang pinamalas n’ya. Maigting din ang chemistry nila ni Bembol Roco rito…” – Manuel Pangaruy Jr., Tagailog Specials Presents, 02 August 2013 (READ MORE)

Kuwento ng magkasintahang pinaghiwalay, na ipinaloob sa isang panahong dinadaluyong ang lipunang Pilipinong rebelyong Hukbalahap. Iyan ang buod ng ‘Pagputi ng Uwak, Pag-itim ng Tagak’. Dekada ng 1950 noon, at sa pista ng matandang bay an ng Santa Ines ay nagkatagpu-tagpo sina Julie Monserrat (Vilma Santos), Dido Ventura (Bembol Roco) at Maestro Juan Roque (Joonee Gamboa). Mula sa mayaman at makapangyarihang pamilya si Julie, isang ulilang pinalaki at pinapag-aral sa Maynila ng kanyang mga tiyang matandang dalagang sina Beatriz (Adul de Leon) at Miguela (Angie Ferro). Si Dido ay maralitang binatang ang Ina (Mona Lisa) ay may iwing poot sa mga Monserrat na kumamkam sa kanilang lupain at naging dahilan ng kanilang paghihirap. Si Maestro Roque naman ay kilalang kompositor at biyolinista na umuwi sa Santa Ines upang tapusin ang kanyang sarsuwelang pinamagatang “Pangarap ng Bagong Umaga.” Sa unang pagkikita pa lamang ay napusuan ni Dido si Jutie. Nagkahulihan ng loob ang dalawa, at isang gabi’ypinangahasang akyatin ni Dido si Julie sa kuwarto nito. Ang kanilang pagtatalik ay humantong sa pagtatanan. Nang magbalik ang magkasintahan upang humingi ng pahintulot na sila’y pakasal, si Julie ay pinamili ng kanyang mga tiya sa maginhawang buhay na kanyang kinagisnan, at sa walang-katiyakang hinaharap bilang asawa ni Dido. Nagdalawang-isip si Julie, at pinili niyang manatili sa pangangalaga ng kanyang mga tiya.

Masamang-masama ang loob ni Dido sa nangyari. Nang siya ay laitin ng kanyang kasintahang si Cristy (Olivia O’Hara), sinaktan niya ito. Nalaman ni Claro (Robert Talabis) ang ginawa ni Dido sa kanyang kapatid, at nagharap ang dalawa sa isang labanang mano-a-mano. Napatay ni Dido si Claro. Alkalde ng bayan ang ama (Mervin Samson) nina Cristy at Claro, kaya’t pinakitos nito ang mga pulis upang iligpit si Dido. Nang gabing lihim na kunin si Dido sa kulungan upang patayin, inambus ng mga Huk ang sasakyan ng mga pulis. Tiyo ni Dido ang pinuno ng mga Huk na si Kumander Salome (Lito Anzures). Sumamang namundok si Dido sa kanyang Tiyo. Minsang dumalaw sa bahay ng mga Monserrat si Maestro Roque, siya ay hinamak ng magkapatid na Beatriz at Miguela. Mula na rin sa mga tiya ni Julie, natuklasan niya na anak pala niya si Julie sa patay nang si Ana Monserrat. Nang magkahiwalay sina Julie at Dido, nalaman ni Maestro Roque na buntis si Julie. Ito ay dinalaw niya sa konserbatoryong pinag-aaralan ng dalaga sa pagka-biyolinista. Ipinagtapat niyang siya ang ama ni Julie. Tinalikdan ni Julie ang kanyang ama, subalit ang pagdalaw na iyon ang naging dahilan upang magpasiya ang dalaga na huwag ipaampon ang kanyang anak na isisilang. Nilakad ni Maestro Roque na pagtagpuing muli sina Julie at Dido. Isang gabi ng Mahal na Araw, nagkita ang magkasintahan at nakilala ni Dido ang kanyang anak kay Julie. Natunugan ng mga espiya ng gobyerno ang pagbaba sa bayan ng mga rebeldeng pinamumunuan ni Kumander Salome. Ang uha ng anak nina Julie at Dido ay nangibabaw sa masinsing putukang lumipol kina Dido at mga kasama. – Manunuri (READ MORE)

It is the 1950’s at the height of the Huk (local Communist armed forces) movement, in a part of the country beset with agrarian unrest. During the town fiesta of Santa Ines, Julie Monserrat is introduced to Dido Ventura and Maestro Juan Roque, an old musician. Julie, an orphan who comes from the local aristocracy, is on vacation from school in Manila, and is staying with her two spinster aunts Beatriz and Miguela. Dido Ventura, a young man from a poor family, lives with his mother who nurses an old grievance against the Monserrats; she believes they grabbed the Ventura’s property. Maestro Juan Roque, a well-known composer and violinist, has just returned to Santa Ines to finish a zarzuela he has been planning to write for a long time. Dido falls in love with Julie at their first meeting. One night, he sneaks into the spinsters’ house and spends a passionate night with Julie. The brief liaison leads to their elopement. When the two lovers return to ask for the aunts’ blessing, Julie is made to choose between a life of poverty and uncertainty with Dido, or a life of comfort and respectability with her aunts. Julie chooses to stay with her aunts. Dido is shaken by the turn of events.

He meets Cristy, his girlfriend, who insults him for the embarrassing situation he has gotten himself into. Dido turns roughly against the girl and beats her up. Cristy’s brother finds out about this and challenges him to a fist fight. Dido kills Cristy’s brother. Cristy’s father, who is the town mayor, decides to dispose of Dido immediately. But when his secret police nab Dido one night, the jeep taking them to Dido’s execution is ambushed by a band of Huk rebels led by Kumander Salome, Dido’s uncle. Saved, Dido decides to join his rebel uncle in the mountains. Meanwhile, Maestro Roque, on a visit to the spinsters’ old house to talk about Julie’s violin lessons, finds out that Julie is actually his own daughter by one of the Monserrat sisters now deceased. Julie herself is pregnant with Dido’s child. The old musician’s visit to her house and the ensuing revelatin make he decide to keep the baby. Maestro Roque arranges for Julie and Dido to meet again. On the night of Good Friday, Dido leaves the rebel camp to see his newborn child. Kumander Salome decides to go along with the young man. Government spies learn of this and an ambush is set. The child of Julie and Dido is the only survivor and witness of the masscre that ends the film. – Rosauro de la Cruz (READ MORE)

The Reviews: “…Compared to Burlesk Queen, Pagputi ng Uwak is less of a technical mess. Particularly exceptional are the shots of rustic religious rituals; unfortunately their use does not progress beyond the literal level. This makes for increasing predictability toward the picture’s end, as when the preparations for a military massacre are intercut with recitations of the tribulations of Jesus Christ. Attempts at authenticity appear to have been assiduous, but the project may have also proved too ambitious in this aspect. Thus one can find high-tension wires and Scotch-tinted car windows, not to mention recent beautification accomplishments, making their way into a 1950s period movie. Performance-wise Pagputi ng Uwak leaves a lot more to be desired. Among the cast, only Mona Lisa manages to pull off a convincing characterization as Bembol Roco’s mother. Angie Ferro and Adul de Leon, as Vilma Santos’ spinster aunts, are no better than caricatures: funny maybe, but quite incredible. Joonee Gamboa has mellowed since his rudimental portrayal of an impresario in Burlesk Queen; his role, however, is far less significant this time, reduced as it is to playing the intermediary between star-crossed characters. Executive producer Vilma Santos does better outside camera range. Her production is financially and artistically liberal, the sort the local audience has been deprived of since the dissolution of the previous censors board. Her performance though is about as effective as that of a drama guild’s star performer: she renounces her lover like she would a final exam, and later professors love for him like she would a teen idol. The same applies to Bembol Roco, about whose character more will be said later; suffice it to say that he still has yet to employ under-acting to his advantage. Meanwhile he and Santos are the industry’s star couple, and there one has the trappings of the star system at work again. Is there nothing at all to be said in favor of the movie? Come to think of it, Burlesk Queen did have a saving grace, and it is this same virtue – intention – which redeems Pagputi ng Uwak. In his works Castillo the artist seeks to depict the Filipino as only a fellow Filipino will understand, particularly in terms of pride and sentiment – values associated in Western aesthetics with melodrama. Which is what makes Castillo easy prey for local culture vultures: with technical excellence as a basic requisite for deserving favor, he falls short at first try; infatuation with alien modes of behavior further ensures their alienation from the obviously progressive statements he wishes to make…” – Joel David, Philippine Collegian/The Urian Anthology 1970-1979, 26 July 1978 (READ MORE)

“…Castillo-watchers who had to cringe at the amount of its acting that Castillo allowed or demanded from his actors and actresses, will be gratified at the quiet intensity of the performances in Pagputi ng Uwak. Although one is never convinced that Vilma Santos can indeed bow music out of violin, her characterization of Julie displays the maturing talent of an actress fast learning to explore and shape her emotional resources in creating a character. Bembol Roco is disadvantaged by the script’s focus on Julie, but he impressively communicates the change in Dido from reckless teenager to hardened rebel. The acting highlights in the film, however, are provided by the three capable stage performers playing supporting roles. At long last Jonee Gamboa has been allowed to shed the irritatingly mannered caricatures he has been made to do in his previous films. As Maestro Juan Roque, he gives a serene portrait of a man who sublimates the turmoil of his inner life into the music he plays and composes in a performance memorable for its restraint and sincerity. Angie Ferro tends to be over-empphatic in places, but her portrayal of Miguela effectively keeps the role from degenerating into a contra vida stereotype by touching it up with humor that is broad yet never out of character. It is Adul de Leon, however, who emerges luminously as a character actress of the first magnitude. Her interpretation of Beatriz is a piece of complex character portraiture all the more admirable for having made a role of rather limited range so persuasively human. Good performances are not unusual in Filipino movies. What is rare is that coming together of temperaments and skills that make film art possible. In Pagputi ng Uwak, Castillo’s work does not display anything that he has not already shown in his previous films. The fondness for story material that reeks of social overtones, the lyrical exuberance with which he invests starkly realistic situations, and the intensely theatrical confrontations among his characters – these have been qualities evident even in Castillo’s lesser works, where they are often pushed to absurd lengths. What has happened in Pagput ng Uwak is that the director has been able to bring to a focus his varied talents, and found fellow artists with temperaments congenial to his. With cinematographer Romy Vitug and musical director George Canseco, he seem to have found working partners who share his penchant for the poetic, and their collaboration has resulted in a film where narrative imagery and music fuse into a memorable whole…” – Bienvenido Lumbera (READ MORE)

Putting in place a dialectic that analyzes social reality as at once a corrupted condition and a transformable possibility. In this situation, Dido’s idealism is undercut as an illusion by Julie (Vilma Santos), a jaded but nevertheless sensible young woman who in turn opens herself up to a revision of consciousness. This dialectic, or reflexive reflection is important to scan the contradictions of milieu and to probe the context of whatever human action plays out. Without such dynamic, which eludes most films which dare to tackle historical reality of epochal significance, all manner of practice is ultimately facile and anomalous and rendering romance as a vital agent in the articulation of difference, the engagement with a higher force and the summoning of a love that transcends the limitations of conspiratorial cacophony. A film nourished by this premise cannot fail. The personas of spinster sisters Beatriz (Angie Ferro) and Miguela (Adul de Leon) along with Joonee Gamboa as music teacher and violinist Roque San Victores are rounded out. And society is a charged terrain of armed revolt, state control and resistance. Direction, screenplay, cinematography, editing, production design, music and the performance of a sensitive cast contribute to the comprehensive competence of Pagputi Ng Uwak… Pag-Itim Ng Tagak…” – Jojo De Vera, Sari-saring Sineng Pinoy (READ MORE)

“…This is the one film this year that could have made it to the classics, given good material, Romeo Vitug, and some good acting (Joonie Gamboa and Adul De Leon are stands out). There is too much background however; a weak establishment of relationship; an incredible move from the rebel group risking their lives for a solitary personal interest; the failure to bring out the Maestro’s (Joonie) reaction to the tragedy in an affair in which he is greatly involved. The triangle here is fascinating: arts, politics, and the heart. The maestro’s art recovers for him what frustrations of the heart reduce: the lover’s taking to underground activities plays a similar role; the woman’s art provides escape from emotional confusion. The heart, neglected, must sooner or later take its toll – and politics, strangely, because the least developed angle in the film (Bembol’s character is insufficiently portrayed), simultaneously takes its toll, in tragic proportions. It would be excellent if it were within the directorial intention to comment that, in fact, neglect of the political ultimately destroys everything. Such an extent, however, is believed by the fact that the ideal political figure in the film condones the needless risking of an entire group for a single romantic resolutions. Art, politics, and love come to a bad end, but what are the tones of this fatality? Or is it indeed fatality in the director’s vision? Let us close up on this vision. There are touches that have poetry and economy. The development of the courtship into a certain depth of involvement (undialogued lyrical scenes between Vilma and Bembol); a poignant moment of the affair is visually emphasized in a shot of the stairway, now empty, by which the woman seeks the lover she had just rejected; the agitation and the impending bid for resolution by the two aunts in the car coming from Manila where the heroine had refused to let them have their way in her affair as her mother before her had been too weak to do) – to name a few. It is discordant in a directorial angle that controls such elements rather well to splash local color profusely and allow the heroine’s talky summary in the end. If this show of extremes is calculated, an indication, let us say, of the nature of the Filipino character, the act of indicating is not established. That is, if the Filipino, as Castillo sees in him, is unfortunately often swamped by ceremonies, traditions and the like so much that he loses sense of self-direction, etc., this must be developed, and not slumped upon the final scene when the love-resolution is intruded upon by the pasyon, and finally by the deadly dogma of politics. Of course, again, it might be that this is how the view from the angle is, where by all comes to a tragic end, firstly, against all human idealism and praxis (an option that is too anti-man); sporadic superfluity which gives nothing, not even meaning. Many may not accept this as a valid realism. And, in any case, what happens then to art as an instrument not only of image-reflectiions, but also of reconstruction?” – Petronila Cleto, Pelikula, Atbp (READ MORE)

“…It was 1977 with an exceptional film, Burlesk Queen, that Castillo got his frist critical recognition. Entered in that year’s Metro Manil Film Festival, it was adjudged the Best Picture, won forhim a Best Director Award as well as nine other artistic awards. It told a young girl in Manila in the 50’s who wanted to become a burlesque dancer. It showed a subdued Castillo. He seemed in this film, to have held back his passion for visual impact to give way to his new mastery of film grammar. His characters cried and whimpered, they did not scream and curse. They delievered dissertations on art, not imprecations of wrath, which had set the pitch of his previous films. The critics fought bitterly over Burlesk Queen. In that festival, he was contending with film makers who enjoyed a high reputation among the country’s most avid film critics. Upon winning the award, Castillo instantly became the favorite beating boy of the critics who did not appreciate Burlesk Queen. To prove to them his worth, Castillo did Pagputi ng Uwak, a 50’s epic set in his favorite Southern Tagalog locale. It was the most lavish of all his productions and had all the elements of a “great” Filipino film. He exploited the many religious and social rituals typical of the region. The film featured the two most critically acclaimed performers of the time, Bembol Roco, Jr. and Vilma Santos, with the cinematography of Romy Vitug complementing Castillo’s visual sense. And it touched on civil unrest to underline the film director’s social awareness. Pagputi ng Uwak was a visual fest, an artistic and socially responsive film aimed at the critics. It was also Castillo’s first commercial failure after a string of more than 20 minor and major box-office hits…In just a decade, Castillo, with all his audacity and dramatic excesses, has claimed his place as one of the most versatile and genuinely interesting filmmakers in the Philippines today…” – Rosauro de la Cruz (READ MORE)

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Filmography: Batya’t Palu-Palo (1974)

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Basic Information: Directed: Pablo Santiago; Screenplay: Fred Navarro; Cast: Fernando Poe Jr., Vilma Santos, Fred Montilla, Mila del Sol, Dencio Padilla, Robert Talabis, Vic Varrion, Janine Frias, Lorna Tolentino, Phillip Salvador, Liza Anzures, Angge, Paquito Diaz, Max Alvarado, Lito Anzures; Executive producer: Fernando Poe Jr.; Original Music: Ernani Cuenco; Cinematography: Sergio Lobo; Film Editing: Augusto Salvador; Production Design: Pete Herrera; Sound: Angel Avellana, Jun Ella; Release Date:4 May 1974 (Philippines); Production Co: FPJ Productions – (IMDB)

Plot Description: “Batya’t Palu Palo,” is a situation comedy about a rich heiress, Estella (Vilma Santos), who disguises as a lowly washerwoman in order to find out for herself the true meaning of love that she found in Berting (Fernando Poe Jr).

Film Achievement: The success of this film resulted with a follow-up film, Bato sa Buhangin (1976), the OPM hit, used as the theme song or soundtrack of this 1974 Box Office Hit. Total Number of Fernando Poe Jr. and Vilma Santos Films: 5 – Batya’t Palu-Palo, Bato sa Buhangin, Ikaw ang Mahal Ko, Dugo At Pag-ibig sa Kapirasong Lupa, Mga Mata ni Angelita

Film Review: “…Recently, we spent an entire afternoon watching replays of three shows from Palibhasa Lalake and one from FPJ. Titled Batya’t Palo-palo, the FPJ film stars Fernando Poe Jr. with Vilma Santos as his leading lady. It presents a love story between Ronnie (Poe’s nickname) who plays a tubero working in the hacienda of the rich Saavedra family whose daughter (Vilma) he meets while she is cleaning her clothes by the river. The twist in the story comes when Ronnie mistakes Vilma for a laundry woman and she plays along, asking the women in the hacienda not to reveal her secret. Ronnie and Vilma begin to take a liking to each other while Vilma’s friends as well as Ronnie’s man Friday cooperate in keeping her secret. The parents of Vilma get wind of the situation, and are outraged that their daughter could fall for a man not in their class. Ronnie, who is unaware of all this secrecy, leaves the farm to board a bus for Manila. Vilma follows him to the station and while the bus is leaving, they get on board to their happy ending. We enjoyed this simple love story with only minimal fight scenes expected of a Ronnie Poe picture. Without question, there was definite magic in the Ronnie-Vilma team-up which kept us glued to the screen…Since these stories are re-runs of those produced many years ago, we can expect negative reactions from today’s young audience. We can already hear the words “unlikely storyline,” “ridiculous costuming” and “outdated locations.” We agree with all these accusations. However, to us such stories represent a period gone by, a part of our history that we should appreciate and be happy that some people took the pains to preserve…” – Bibsy M. Carballo, The Philippine Star, 11 March 2015 (READ MORE)

Two newly-proclaimed box office champions of Philippine movies star in FPJ Productions’ upcoming 13th anniversary presentations, “Batya’t Palu Palo,” a situation comedy about a rich heiress who disguises as a lowly washerwoman in order to find out for herself the true meaning of love. Dilineating the lead roles are Fernando Poe Jr. and Vilma Santos who star for the first time together. Now being filmed among the lush greens of Hacienda Luisita in Tarlac, “Batya’t Palu Palo” hopes to make people forget the humdrum activities of this world. A wholesome family entertainment, the flick will have Ronnie step down from his throne as the country’s number one action star to the down-to-earth role of Berting, a haceinda hand who nevertheless, catches the attention of the young rich and quiete spolied Estella. Directed by ace meg man Pablo Santiago, “Batya’t Palu Palo” is scripted by Fred Navarro, base on a story by Ronwaldo Reyes. – FPJ-Da King Blogspot (READ MORE)

“…Memories! I started reminiscing instantly. I want to ask Ate Susan (Roces, FPJ’s wife) nga for DVD copies of our three movies. I was only 21 when we made “Batya.” Ninety percent of the movie was shot in Hacienda Luisita (Tarlac) where we stayed for two months. He taught me how to swim in the hacienda’s swimming pool. We were with (co-star) Lorna Tolentino then. I admit that I didn’t know how to swim when I did “Dyesebel.” But the most memorable scene [from “Batya”] was the ending, where I ran after him, while he was aboard a train….” – RV (READ MORE)

“…Nang magkita sina Ronnie at Vilma sa first shooting day sa Montalban, Rizal, halos hindi mapatid ang batian, katiyawan at biruan. Pareho silang masayang-masaya. Sapagka’t at long last daw, natuloy din ang kanilang pagtatambal pagkalipas ng halos kulang sa isang taong paghihintay na ma-vacant si Vilma sa dami ng pelikulang ginawa. As sa simula ng siyuting, akala mo hindi sila magkakilala. Dibdiban ang acting at dialogue. Sunod-sunod ang take ng iba’t ibang angulo. Kalahating araw silang walang biruan at nang matapos ang maraming eksena ay saka lamang sila muling nagtawanan. “Mahirap na,” sabi ni Vi, “Kailangang makarami ng scenes para naman makabawi sa akin ang FPJ. Biruin naman ninyong ang tagal din ang ipinaghintay nila sa akin. Nagpapasalamat ako sa napakahabang patience nila. Kung tulad ng iba, baka pinalitan na lamang ako ng ibang leading lady. Masyado silang professional sa pakikipag-deal, lalo na si Ronnie kaya nahihiya man ako sa atraso, hindi naman makapag-back out doon sa mga naka-schedule ko na. Dapat na tapusain ko rin para walang magalit na producer sa akin…” Letty G. Celi (READ MORE)

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#BatyatPaloPalo, #FPJ, #FernandoPoeJr, #VilmaSantos

Filmography: Bertang Kerengkeng (1976)

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Basic Information: Direction: Tito C. Sanchez; Story: Maria Theresa; Screenplay: Jose F. sabal; Cast: Edna Diaz, Lito Anzures, Rudy Fernandez, Vilma Santos, Grace Santos, Greg Lozano, Nello Nayo, Robert Miller, Romy Luartes, Joe Sison, Golay, Val Inglesias, Rey Sagum, Grace Hernandez, Boie Lalic; Original Music: Danny Subido; Cinematography: Ricardo Herrera

Plot Description: No Available Data

Film Achievement: No Available Data

Film Review: Angelito Castro Anzures popularly known as Lito Anzures (born on 22 February 1927 in Santa Ines, Bulacan, Philippines) was a Filipino actor. Lito worked in several films as a supporting actor. Lito died at the age of 67 in 1995. – Wikipedia (READ MORE)

“…Edna had her first taste of the entertainment business in 1974 when she joined the Miss Philippines Pageant. She bagged only the Miss Photogenic special award and was asked by Celso Ad Castillo to try acting. At the time, she was completing her Fine Arts degree, major in interior design, at the UERM, and her mother, Salvacion (who passed away last March at 92) had other plans. “Gustung-gusto ako ng mga producers and they were excited to cast me, but my mother wanted me to finish my studies first para anytime daw that I quit showbiz, eh, may fallback ako, at tama naman siya. The producers naman said they were willing to wait for me. Then right after college, we called them (Topaz Film Productions) and told them I was ready. They immediately cast me in the movie The Game of Death with Ramon Zamora, Evangeline Pascual and Eddie Garcia. Big time ang casting…” – Ricardo F. Lo (READ MORE)

Rodolfo “Rudy” Valentino Padilla Fernandez, screen name Rudy Fernandez[1] (March 3, 1952 – June 7, 2008), also known as “Daboy”, was a multi-awarded Filipino actor and producer. He came to prominence as an action star in the Philippine cinema during the 1980s up to the early 1990s. – Wikipedia (READ MORE)

Filmography: Pagputi ng Uwak, Pag-itim ng Tagak (1978)

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“…sabi mo pa nga nuon mahal na mahal mo ako…sabi mo pa na hindi magbabago ang pagtingin mo sa akin…dahil papaano mo papatayin ang hangin? Paano mo papatayin ang ulan? Paano mo papatayin ang araw? Sabi mo pa nga hindi mo na ako iiwan kahit na anong mangyari…kaya naisip ko nuon magpaligaw na ako sa’yo…kahit hindi pa pumuputi ang uwak, o umi-itim ang tagak…” – Julie

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Basic Information: Directed, story: Celso Ad. Castillo; Screenplay: Celso Ad. Castillo, Iskho Lopez, Lando Jacob, Ruben Arthur Nicdao; Cast: Vilma Santos, Bembol Roco, Robert Talabis, Joonee Gamboa, Angie Ferro, Olivia O’Hara, Mona Lisa, Mario Escudero, Fred Panopio, Adul de Leon, Lito Anzures, Miniong Alvarez, Andres Centenera, Carpi Asturias, Filing Cudia, Yolanda Luna, Mervyn Samson, Dolores Pobre, Jennifer Cortez, Diomedes Maturan; Executive producer: Vilma Santos; Original Music: George Canseco; Cinematography: Romeo Vitug; Film Editing: Celso Ad. Castillo; Production Design: Peter Perlas; Sound: Gaudencio Barredo; English Title: “When the Crow Turns White, When the Heron Turns Black”; Soundtracks: “Pagputi ng Uwak Pag-itim ng Tagak” Sung by Belinda Jimenez; Lyrics & Music by George Canseco

Plot Description: It is the 1950’s at the height of the Huk (local Communist armed forces) movement, in a part of the country beset with agrarian unrest. During the town fiesta of Santa Ines, Julie Monserrat is introduced to Dido Ventura and Maestro Juan Roque, an old musician. Julie, an orphan who comes from the local aristocracy, is on vacation from school in Manila, and is staying with her two spinster aunts Beatriz and Miguela. Dido Ventura, a young man from a poor family, lives with his mother who nurses an old grievance against the Monserrats; she believes they grabbed the Ventura’s property. Maestro Juan Roque, a well-known composer and violinist, has just returned to Santa Ines to finish a zarzuela he has been planning to write for a long time. Dido falls in love with Julie at their first meeting. One night, he sneaks into the spinsters’ house and spends a passionate night with Julie. The brief liaison leads to their elopement. When the two lovers return to ask for the aunts’ blessing, Julie is made to choose between a life of poverty and uncertainty with Dido, or a life of comfort and respectability with her aunts. Julie chooses to stay with her aunts. Dido is shaken by the turn of events.

He meets Cristy, his girlfriend, who insults him for the embarrassing situation he has gotten himself into. Dido turns roughly against the girl and beats her up. Cristy’s brother finds out about this and challenges him to a fist fight. Dido kills Cristy’s brother. Cristy’s father, who is the town mayor, decides to dispose of Dido immediately. But when his secret police nab Dido one night, the jeep taking them to Dido’s execution is ambushed by a band of Huk rebels led by Kumander Salome, Dido’s uncle. Saved, Dido decides to join his rebel uncle in the mountains. Meanwhile, Maestro Roque, on a visit to the spinsters’ old house to talk about Julie’s violin lessons, finds out that Julie is actually his own daughter by one of the Monserrat sisters now deceased. Julie herself is pregnant with Dido’s child. The old musician’s visit to her house and the ensuing revelatin make he decide to keep the baby. Maestro Roque arranges for Julie and Dido to meet again. On the night of Good Friday, Dido leaves the rebel camp to see his newborn child. Kumander Salome decides to go along with the young man. Government spies learn of this and an ambush is set. The child of Julie and Dido is the only survivor and witness of the masscre that ends the film. – Rosauro de la Cruz (READ MORE)

Film Achievement: Official Selection – 1983 Manila International Film Festival: Restrospective Festival “Focus on the Philippines”; Official Philippines Entry – The Latin American Film Festival – Sao Paolo, Brazil; Official Philippines Entry – The 1981 Asean Film Conference; 1978 FAMAS: Best Picture – Vilma Santos (producer);  Best Art Direction – Peter Perlas; Best Cinematography – Romeo Vitug; Best Director – Celso Ad. Castillo; Best Music – George Canseco; Best Story – Celso Ad. Castillo, Ruben Arthur Nicdao; Best Supporting Actress – Angie Ferro; Best Actress Nomination – Vilma Santos; Best Screenplay Nomination – Castillo, Jacob, Iskho Lopez, Ruben Arthur Nicdao; Best Supporting Actor Nomination – Joonee Gamboa; 1978 Gawad URIAN: Best Director – Celso Ad. Castillo; Best Picture – Vilma Santos (producer); Best Screenplay – Castillo, Lando Jacob, Iskho Lopez, Ruben Arthur Nicdao; Best Sound – Gaudencio Barredo; Best Supporting Actor – Joonee Gamboa; Best Cinematography Nomination – Romeo Vitug; Best Music Nomination – George Canseco; Best Supporting Actress Nomination – Adul de Leon

The Reviews: “…Compared to Burlesk Queen, Pagputi ng Uwak is less of a technical mess. Particularly exceptional are the shots of rustic religious rituals; unfortunately their use does not progress beyond the literal level. This makes for increasing predictability toward the picture’s end, as when the preparations for a military massacre are intercut with recitations of the tribulations of Jesus Christ. Attempts at authenticity appear to have been assiduous, but the project may have also proved too ambitious in this aspect. Thus one can find high-tension wires and Scotch-tinted car windows, not to mention recent beautification accomplishments, making their way into a 1950s period movie. Performance-wise Pagputi ng Uwak leaves a lot more to be desired. Among the cast, only Mona Lisa manages to pull off a convincing characterization as Bembol Roco’s mother. Angie Ferro and Adul de Leon, as Vilma Santos’ spinster aunts, are no better than caricatures: funny maybe, but quite incredible. Joonee Gamboa has mellowed since his rudimental portrayal of an impresario in Burlesk Queen; his role, however, is far less significant this time, reduced as it is to playing the intermediary between star-crossed characters. Executive producer Vilma Santos does better outside camera range. Her production is financially and artistically liberal, the sort the local audience has been deprived of since the dissolution of the previous censors board. Her performance though is about as effective as that of a drama guild’s star performer: she renounces her lover like she would a final exam, and later professors love for him like she would a teen idol. The same applies to Bembol Roco, about whose character more will be said later; suffice it to say that he still has yet to employ under-acting to his advantage. Meanwhile he and Santos are the industry’s star couple, and there one has the trappings of the star system at work again. Is there nothing at all to be said in favor of the movie? Come to think of it, Burlesk Queen did have a saving grace, and it is this same virtue – intention – which redeems Pagputi ng Uwak. In his works Castillo the artist seeks to depict the Filipino as only a fellow Filipino will understand, particularly in terms of pride and sentiment – values associated in Western aesthetics with melodrama. Which is what makes Castillo easy prey for local culture vultures: with technical excellence as a basic requisite for deserving favor, he falls short at first try; infatuation with alien modes of behavior further ensures their alienation from the obviously progressive statements he wishes to make…” – Joel David, Philippine Collegian/The Urian Anthology 1970-1979, 26 July 1978 (READ MORE)

“…Malakas ang deconstruction ng “Romeo and Juliet” sa obra na ito. Maraming reference (pinaka-given na siguro na ang pangalan ni Vilma Santos dito ay Julie) sa tragedy ni Shakespeare. Dito ko nakita si Celso Ad in a different light. Nage-gets ko ang poesiya ng mga nature shots n’ya sa ibang pelikula pero rito, klarong klaro ang pagkahilig n’ya sa literary classic. Pinakagusto kong shot eh ‘yung terrace scene na malakas maka-tribute. Wala kasi akong katiting na abiso tungkol sa pedigree ng pelikula at masayang naglalaro sa isip ko ang mga reference hanggang sa sumabog ito sa dulo na nagbigay konklusyon sa mga hinagap. Maraming eksena na may kilometric line si Vilma rito. Napaalala rin sa akin ang era kung saan ang sukatan ng isang pagiging aktres ay nasa haba ng mga linya na kayang mamemorya. Pinagsamang sensuality at controlled acting ang pinamalas n’ya. Maigting din ang chemistry nila ni Bembol Roco rito…” – Manuel Pangaruy Jr., Tagailog Specials Presents, 02 August 2013 (READ MORE)

“…Pagputi Ng Uwak, Pagitim Ng Tagak is another ambitious epic movie that succeeds on many film levels. The story is about the love affair between a young woman belonging to a rich and powerful family, and a poor man whose mother is still bitter about having her land property snatched from her by the other family. This simple conflict develops into bigger, more significant ones, and they are all integrated within the framework of the story and the different elements of the film. It opens on a festive scene that seems to go on foreever, but this gradually changes the mood of the story until it ends a bloody climax. Indulgent as the individual aspects of the film may be, they all fit director Castillo’s grand and elaborate design at story-telling, encompassing various Filipino seasons, holidays and range of experiences. Romy Vitug’s cinematography is spectacular, and the cast, headed by Vilma Santos and Rafael Roco, Jr., are marvelous…” – Expressweek, Urian – Kolum ng Manunuri ng Pelikulang Pilipino, January 10, 1980 (READ MORE)

“…Kuwento ng magkasintahang pinaghiwalay, na ipinaloob sa isa ng panahong dinadaluyong ang lipunang Pilipinong rebelyong Hukbalahap. Iyan ang buod ng ‘Pagputi ng Uwak, Pag-itim ng Tagak’. Dekada ng 1950 noon, at sa pista ng matandang bay an ng Santa Ines ay nagkatagpu-tagpo sina Julie Monserrat (Vilma Santos), Dido Ventura (Bembol Roco) at Maestro Juan Roque (Joonee Gamboa). Mula sa mayaman at makapangyarihang pamilya si Julie, isang ulilang pinalaki at pinapag-aral sa Maynila ng kanyang mga tiyang matandang dalagang sina Beatriz (Adul de Leon) at Miguela (Angie Ferro). Si Dido ay maralitang binatang ang Ina (Mona Lisa) ay may iwing poot sa mga Monserrat na kumamkam sa kanilang lupain at naging dahilan ng kanilang paghihirap. Si Maestro Roque naman ay kilalang kompositor at biyolinista na umuwi sa Santa Ines upang tapusin ang kanyang sarsuwelang pinamagatang “Pangarap ng Bagong Umaga.” Sa unang pagkikita pa lamang ay napusuan ni Dido si Jutie. Nagkahulihan ng loob ang dalawa, at isang gabi’ypinangahasang akyatin ni Dido si Julie sa kuwarto nito. Ang kanilang pagtatalik ay humantong sa pagtatanan. Nang magbalik ang magkasintahan upang humingi ng pahintulot na sila’y pakasal, si Julie ay pinamili ng kanyang mga tiya sa maginhawang buhay na kanyang kinagisnan, at sa walang-katiyakang hinaharap bilang asawa ni Dido. Nagdalawang-isip si Julie, at pinili niyang manatili sa pangangalaga ng kanyang mga tiya. Masamang-masama ang loob ni Dido sa nangyari. Nang siya ay laitin ng kanyang kasintahang si Cristy (Olivia O’Hara), sinaktan niya ito. Nalaman ni Claro (Robert Talabis) ang ginawa ni Dido sa kanyang kapatid, at nagharap ang dalawa sa isang labanang mano-a-mano. Napatay ni Dido si Claro. Alkalde ng bayan ang ama (Mervin Samson) nina Cristy at Claro, kaya’t pinakitos nito ang mga pulis upang iligpit si Dido. Nang gabing lihim na kunin si Dido sa kulungan upang patayin, inambus ng mga Huk ang sasakyan ng mga pulis. Tiyo ni Dido ang pinuno ng mga Huk na si Kumander Salome (Lito Anzures). Sumamang namundok si Dido sa kanyang Tiyo. Minsang dumalaw sa bahay ng mga Monserrat si Maestro Roque, siya ay hinamak ng magkapatid na Beatriz at Miguela. Mula na rin sa mga tiya ni Julie, natuklasan niya na anak pala niya si Julie sa patay nang si Ana Monserrat. Nang magkahiwalay sina Julie at Dido, nalaman ni Maestro Roque na buntis si Julie. Ito ay dinalaw niya sa konserbatoryong pinag-aaralan ng dalaga sa pagka-biyolinista. Ipinagtapat niyang siya ang ama ni Julie. Tinalikdan ni Julie ang kanyang ama, subalit ang pagdalaw na iyon ang naging dahilan upang magpasiya ang dalaga na huwag ipaampon ang kanyang anak na isisilang. Nilakad ni Maestro Roque na pagtagpuing muli sina Julie at Dido. Isang gabi ng Mahal na Araw, nagkita ang magkasintahan at nakilala ni Dido ang kanyang anak kay Julie. Natunugan ng mga espiya ng gobyerno ang pagbaba sa bayan ng mga rebeldeng pinamumunuan ni Kumander Salome. Ang uha ng anak nina Julie at Dido ay nangibabaw sa masinsing putukang lumipol kina Dido at mga kasama…” – Manunuri

“…Furor is really an understatement. “Burlesk” swept the awards in that year’s MMFF, resulting in a controversy that led to the wholesale return of trophies. In spite of the scandal, “Burlesk” is still regarded by critics as the “quintessential” Filipino film. “Hinamon ni Brocka si Tinio ng suntukan (Lino Brocka dared Rolando Tinio to a fight), ” Celso remembers. “Tinio, who was the head of the jury, heralded “Burlesk as the most beautiful Filipino film” past, present and future.” Vi’s turnaround: Adding fuel to the fire, “Burlesk” had stunned moviegoers because it unveiled a new Vilma Santos “from ingénue to wanton woman. Vilma says of “Burlesk?” – “It marked a transition in my career. Working with Celso Kid is a privilege. He’s a genius.” With good humor, Vilma recalls a “quarrel” on the set of “Pagputi ng Uwak, Pag-itim ng Tagak,” which she produced in 1978.  “It took so long to finish. I lost money on that. But we’re still friends.” Burlesk and Pagputi brought a lot of honor to me…” – Bayani San Diego Jr. (READ MORE)

“…It was 1977 with an exceptional film, Burlesk Queen, that Castillo got his frist critical recognition. Entered in that year’s Metro Manil Film Festival, it was adjudged the Best Picture, won forhim a Best Director Award as well as nine other artistic awards. It told a young girl in Manila in the 50’s who wanted to become a burlesque dancer. It showed a subdued Castillo. He seemed in this film, to have held back his passion for visual impact to give way to his new mastery of film grammar. His characters cried and whimpered, they did not scream and curse. They delievered dissertations on art, not imprecations of wrath, which had set the pitch of his previous films. The critics fought bitterly over Burlesk Queen. In that festival, he was contending with film makers who enjoyed a high reputation among the country’s most avid film critics. Upon winning the award, Castillo instantly became the favorite beating boy of the critics who did not appreciate Burlesk Queen. To prove to them his worth, Castillo did Pagputi ng Uwak, a 50’s epic set in his favorite Southern Tagalog locale. It was the most lavish of all his productions and had all the elements of a “great” Filipino film. He exploited the many religious and social rituals typical of the region. The film featured the two most critically acclaimed performers of the time, Bembol Roco, Jr. and Vilma Santos, with the cinematography of Romy Vitug complementing Castillo’s visual sense. And it touched on civil unrest to underline the film director’s social awareness. Pagputi ng Uwak was a visual fest, an artistic and socially responsive film aimed at the critics. It was also Castillo’s first commercial failure after a string of more than 20 minor and major box-office hits…In just a decade, Castillo, with all his audacity and dramatic excesses, has claimed his place as one of the most versatile and genuinely interesting filmmakers in the Philippines today…” – Rosauro de la Cruz (READ MORE)

“…Celso Ad. Castillo’s Pagputi ng Uwak, Pag-itim ng Tagak (When the Crow Turns White, When the Heron Turns Black) injects political overtones into its story, about a poor young man (Bembol Roco) who, when abandoned by his upper-class lover (Vilma Santos), joins the Hukbalahap rebels. Ad. Castillo in this film demonstrates an amazing visual language–not flashy, but quietly, lyrically brilliant. He also demonstrates a more masterful grasp of music and song than possibly any other Filipino director–the film is a model on how to use kundimans, ballads, pop songs to differentiate social classes, to satirize and comment on the narrative action.” – Noel Vera

“…Celso Ad Castillo’s epic masterpiece of romantic love, family relationships, class struggle and political rebellion, Vilma Santos star as Julie Monserrat, a music-loving provincial lass raised by her two prudish, wealthy spinsters aunt (Adul De Leon and Angie Ferro) Julie falls in love w/ Dido Ventura (Bembol Rocco) the poor son of embittered woman (Mona Lisa) who holds grudge against the Monserrats for wrong doing several years earlier. Other memorable characters populate this beautifully photographed drama, among them Maestro Roque (Jhoonee Gamboa) a composer-violinist and huk Kumander Salome (Lito Anzures), Dido’s freedom-fighting uncle. rich in texture and full color, charm love and joy, tenderness, violence and despair and hope. The movie won critics awards and stars Yolanda Luna, Marvin Samson, Mario Escudero, Olivia O’ Hara and Robert Talabis. Cinematograhy by Romy Vitug. Produced by VS film…” – IMDB

“…This veritable spiritual co-ownership ostensibly has enriched us all, Asians or Asean. It is no mark of a monarchical hauteur to say, for instance, that the films of Celso Ad Castillo, once dubbed as the Messiah of Filipino movies, are contemporaneous in their being a classic. If all these seem contradictory, Celso can easily point to his filmography to prove that there has always been, and will always be, fire in his filmmaker’s eyes. His “Burlesk Queen” and “Pagputi ng Uwak, Pag-itim ng Tagak,” (When the Crow Turns White, When the Heron Turns Black) for one, are now a classic, conscience-searing sociological film tractatus on structutal violence and institutional injustice that probed into the hearts of little people amidst a third world setting as encapsulated in the microscopic life of a poverty-stricken, young woman. It’s Rossellini, you would say? Think again…Pagputi ng Uwak, Pag-itim ng Tagak was sent to Sao Paolo, Brazil for the Latin American Film Festival and represented the Philippines at the Asean Film Conference in 1981…” – Celso Ad Castillo Presents web-site (READ MORE)

“…Celso Ad. Castillo, known as L’Enfant Terrible of Philippine Cinema, was best remembered with his fully independent spirit and out of the box ideas both on narrative and style. I always remember an Ad. Castillo film watching was always crazy in different ways. From the mock-tribal language of Snake Sisters (1984), the living house in Mga Lihim ng Kalapati (1987), to his melodramas charged with socio-political statements (Ang Alamat ni Julian Makabayan (1979), Burlesk Queen, (1977)). His ideas has always been crazy and there are some of those “first” experiences that was only given by his films: the first to see Fernando Poe Jr. die on a film (Asedillo), the first surrealist Filipino film I saw (Mga Lihim ng Kalapati(1987)), and also the first to see historical parallelism realized on both narrative and it’s image (Ang Alamat ni Julian Makabayan (1979)) which he probably used on remaking his own films (Nympha (1971, 2003), Ang Lihim ni Madonna (1979)). Being a lover and creator of Genre, he thinks that aiming for box office success was never a hindrance to make a good film. This he has proven on his body of work. I remember Burlesk Queen as one the film with the best performances ever, both from Vilma Santos and Joonie Gamboa. Especially Joonie Gamboa. Santos starred as Chato, once was an assistant of a dancer on a burlesque bar dreams also of being in the limelight even though her father won’t approve. Chato went from this dilemma to failed relationships until finally realizing her dream. Contains a lot of powerful scenes that would drove my emotions into a mixed state. Burlesk Queen is the proof of Celso’s vision: a success on the artistry and mass reception. Other Celso Ad. Castillo Films to prioritize: Ang Alamat ni Julian Makabayan, Payaso, Pagputi ng Uwak, Pag-itim ng Tagak, Asedillo…” – Epoy Deyto, Kawts Kamote, September 12, 2013 (READ MORE)

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Filmography: Simula ng Walang Katapusan (1978)

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Basic Information: Directed: Eddie Rodriguez (Luis Enriquez); Story and Screenplay: Diego Cagahastian, Beybs Pizarro Gulfin; Cast: Vilma Santos, Eddie Rodriguez, Carmen Soriano, Lito Anzures, Renato Robles, Nello Nayo, Patria Plata, Ingrid Salas, Rio Locsin, Ruben Rustria; Original Music: Rudy Arevalo; Cinematography: Ricardo Remias

Plot Description: A love triangle film of Vilma Santos with real life lovers Eddie Rodriguez and Carmen Soriano.

Film Achievement: One of film projects Rodriguez and Santos collaborated. (Ex-Wife 1981 (director), Halik sa Kamay Halik sa Paa 1979, Hindi Nakakahiya 1976 (director), Ikaw Lamang 1971, Kasalanan Kaya? 1968, Nakakahiya? 1975 (director), Simula ng Walang Katapusan (director) 1978) – RV (READ MORE)

Film Review: “…She had the likes of Eddie Mesa, Tony Ferrer and, of course, real-life love Eddie Rodriguez, as leading men on the big screen. With Eddie, two movies stand out in Carmen’s memory: “Malayo Man, Malapit Din” and “Simula ng Walang Katapusan” (the latter co-starred Vilma Santos). The way Carmen remembers it, her own love story with Eddie could rival the best silver screen romances. “We first got together when I was 16. It was just puppy love. My mom adored him, but I thought he was boring, stiff and too formal.” Two decades after that initial encounter, their paths crossed again. “We starred in a film on the life of Gen. Jose Rancudo. We were both separated [from our spouses] then.” That time around, it was a relationship of equals, she says. “We were both successful in our careers and both mature.” Eventually, they also separated…” – Bayani San Diego Jr., Philippine Daily Inquirer 10/09/2008 (READ MORE)

“…Bernal, testing the tensions of triangular love (for geometry books, one of his characters wittily says) for some time now, plunges deeper into character analysis and metaphorizing….Walang Katapusang Tag-araw was a strange reverse of characters for two women and an unusual development of love into hatred and hatred into love, where therefore the triangle was essentially illusions…” – Petronila Cleto, Pelikula, Atbp (READ MORE)

Luis Enriquez aka Eddie Rodriguez first directed a young Vilma Santos in 1968 Kasalanan Kaya, another love triangle genre starring the dramatic trio of Marlene Dauden, Eddie Rodriguez and Lolita Rodriguez. Vilma received an early acting recognitions from this film by receiving a FAMAS Nomination for Best Supporting Actress. When Enriquez directed Vilma again, it was a calculated risk that allowed a still young Vilma into a bikini-clad lead role opposite his director himself, Eddie Rodriguez. The film, Nakakahiya, a may-december affair between an older man and a young woman was an entry to 1975 Bacolod City Film Festival. Aside from making the the film a smash hit, Vilma received the festival’s Best Actress. Enriquez will direct Vilma in five more films, the last one was ExWife in 1981 where surprisingly Luis used in film credits his screen name, Eddie Rodriguez. Theri total number of colloborations were seven (Ex-Wife 1981, Halik sa Kamay Halik sa Paa 1979, Hindi Nakakahiya 1976, Ikaw Lamang 1971, Kasalanan Kaya? 1968, Nakakahiya? 1975, Simula ng Walang Katapusan) – RV (READ MORE)

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