BusinessMirror May 28, 2015

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BusinessMirror

THREETIME ROTARY CLUB OF MANILA JOURNALISM AWARDEE 2006, 2010, 2012

U.N. MEDIA AWARD 2008

A broader look at today’s business TfridayNovember 18,2015 2014Vol. Vol.10 10No. No.231 40 Thursday, May 28,

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RESOLUTION AMENDING CHARTER’S ECONOMIC PROVISIONS HURDLES SECOND READING, UP FOR FINAL VOTE NEXT WEEK

Cha-cha enters final stage in House INSIDE

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HE House of Representatives on Wednesday approved on second reading the proposed amendments to the economic provisions of the 1987 Constitution, one of the measures being strongly pushed by local and foreign business chambers.

HIGH ON ALBAY One last glance

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EAR Lord, You have blessed our cross with Your Holy Name, anointed it with Your grace, perfumed it with Your consolation, taken one last glance at us and our courage, and then sent it to us from heaven—a special greeting from God to us, an alms of the all merciful love of God. One last glance is afforded to each one of us as we carry our individual cross each day. Amen. SAINT FRANCIS DE SALES AND LOUIE M. LACSON Word&Life Publications • teacherlouie1965@yahoo.com

Editor: Gerard S. Ramos • lifestylebusinessmirror@gmail.com

CRUISING along Sumlang Lake on a bamboo raft.

Life BusinessMirror

REELING: NORA IS ‘NATATANGI’: DISTINCT, SINGULAR »D3

Thursday, May 28, 2015

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High on

Albay B B L

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HEN one thinks of Albay, the first image that comes into mind is Mayon Volcano and its nearly perfect, postcardpretty cone. There is, however, more to see in Albay than just its signature volcano. Arriving in Legaspi City in the midst of its monthlong Magayon Festival, our media group of travel writers, photographers and Department of Tourism personnel were in for a feast for the senses and a plethora of activities (courtesy calls on Gov. Joey Salceda, our host, as well as Mayor Herbie Aguas of Santo Domingo and Mayor Leo P. Templado of Tiwi; dining, island hopping, lake cruising, spelunking, observation of cottage industries, visits to old churches and ancestral houses, etc.). To be near the action, we all stayed at the relatively

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NORA IS ‘NATATANGI’ www.businessmirror.com.ph

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Thursday, May 28, 2015

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Nora is ‘Natatangi’: Distinct, singular REELING

TITO GENOVA VALIENTE

titovaliente@yahoo.com

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N June 16 Nora Aunor will receive the Natatanging Gawad Urian. The award recognizes and celebrates the actor’s body of works in cinema. It has been a long journey for Nora Aunor from the time she sang with dwarfs at the backyard in a film that was more about the lack of magic in our life, to essaying the role of a mother searching for life in the valley of death in the aftermath of a most terrible storm. It is one huge filmic arc that, despite the lows in personal life, sustains a high in acting unseen heretofore in this industry. As always and even with the expectations by the many, when the award was formally and officially announced by the Manunuri ng Pelikulang Pilipino, there were sectors who asked that the recognition be justified. The question is not impertinent; the question merely demanded an answer. And there are many answers. There is the social history of cinema. Before Nora, there was the dominant ideology that required all actresses to be fair-skinned, tall and beautiful in the Caucasian way. More than the physical appearance, these actresses had to flesh out roles that conformed to the template of the idealized woman, the one who would do everything to keep the home intact. The actress/ woman’s duty was to maintain along with the home her virginity, if she was not married, and her purity, if she was a wife or a mother. The allure of the leading lady was that she was part of the breathtaking landscape. The force to reckon with was this woman who was lovely in her fragility because the men around her were robust in masculinity. When Nora came, even early in those silly musicals, she stood there passive-aggressive in simplicity and unadorned humility. If she had purity, it was shrouded in sincerity that bordered on the naive. The Great Unwash, if we may use the term, was making herself heard. The voice was Nora’s and the body was instinct and genius. Came 1976. The Manunuri ng Pelikulang Pilipino, battling what it perceived to be the lack of ardent film criticism (and we are not even talking about the absence of an institutionalized film education), rose to the occasion with a radical choice and chose Nora Aunor as its very first Best Actress. The film was Tatlong Taong Walang Diyos. The story was set in the Second World War; the enemy was played by a matinee idol about to become a multiawarded actor. Nora played Rosario, leading lady in form but in content a complex person who would sleep with the enemy and allow the generation of audiences to ask the unsettling question: Was that our war we died for? It was the new world. The country was rushing away from the memories of the Great War. Japan, the grand nemesis in many war films, was becoming a superpower. It was time to dilute or question the collective memory. It was time for the leading lady to question life by embodying all the complexities of love, loyalty and fealty to a nation. Even if in the end, Nora Aunor’s Rosario dies and the notion of the nation as a punisher is promoted, we see the audacity of an actress to embrace what all leading actresses of the period avoided: to die at the end of the movie. Nora, already a phenomenon at the time, became an actor in Tatlong Taong Walang Diyos. It is often a question I ask: Are the fans of Nora Aunor aware that in most of her heralded portrayals, Nora inhabits roles that are duplicitous and convoluted, tortured and twisted in her understanding of the commonly acceptable valuations of roles and mores in society? Nora taught us the sins of the world not by denying them but by displaying the ineptitude and incoherence. In Bona, Nora Aunor is this daughter who will never be the ideal member of a Filipino family. It is thus, the vindication of community values when Bona is mauled by her brother when she tries to sneak into the house so she could view the remains of her father. It is our fear and shame that this insensibility will befall upon us and Nora is the persona to show us all this. The show is not the crass, sentimental plot about a fallen woman played with flamboyance by Rita Gomez and Charito Solis, but a quirky ballet about religion, fanaticism and the tragedy that shuttles between poverty and identity. For all the tremendous mystery of the apparition, Elsa in Himala will declare at the end not only the absence of miracles but the end of transcendence. “Tao ang gumagawa ng himala.” Man makes miracles. Leave it to Nora Aunor and her amazing thespic range that each pause, each taking in of the breath brings us to wonder if we could really believe her Elsa. If we believe

Which came first, good criticism or good film? That, of course, is a chicken-and-egg predicament. What is clear is that there is a Nora Aunor, whose manifold characters can bring in a slew of questions. Love her or leave her; take her or leave her. Good critics can disagree with her, dispute the best and worst in her but no good critic can ignore Nora Aunor in cinema. Ever.

in the Virgin Mary appearing before the simple girl, then we are the accomplice to a church that upholds the divine vision; if we affirm Elsa’s declaration that there is no miracle, then we are at the mercy of a cult. It is a baffling situation and Nora is part of the puzzle, never completing for us the picture because we are ourselves part of the big picture. Faith is both shaken and stirred in Himala. A film that brings out of the closet all the tricks of apparitions and faith healing is also the film that represents who we are as people in religion. At the center of this order and peace is this wisp of a woman—unpredictable as a person but predictably excellent as an actor—who unfolds her own mysteries before relentless cameras that never seem to get enough because the actor before the lenses hides and shades her own tremor as a human being. That is acting, that is incarnation, when the word is made flesh and is made to dwell among the viewers. The new performance and the seeming lack of fear and bias toward any roles enabled critics to look at the performance than the celebrity, the role rather than the royalty. It is late 197os and the military rules but the new film criticism is born, addressing without timidity and this time without question the politics not only of films but of those who make the films. The extracinematic is born. Nora Aunor’s character in the film is judged within the context of the plot and the resolutions. The same character is investigated following Nora’s fandom, her personal stories, and her politics that while critiqued for unpredictability are, otherwise, always sustained by a sense of daring and independence, even recklessness, rarely seen within the perfumed enclaves of show business. The lines between the reel and the real are once more blurred, this time not for the invasion of the actor’s privacy but for an incursion into her politics and psychology. If there is a milestone in the career of Nora as an actor, it was in her gradual shift to portraying roles

that stopped addressing the vagaries and vulgarities of commerce. Nora Aunor’s career swung from those monster box-office hits (that satisfied many) to films that did not cause lines to form outside theatres but inside the minds of the enlightened, Nora’s public who care to learn from this most popular of art forms, the movies. With the roles and films, there was ultimately the formation of new ways of reading cinema. Nora was still the leading lady but there was no more the leading man. In fact, her leading ladies led only because she was Nora Aunor in the film; otherwise, in the narrative they were peripheral personas, not template for good behavior but trails to a forest of symbols. The characters are not always likeable, better for us to look at how life can be unfair and, well, better. Without us knowing it, Nora has lifted the contravida from the dark side of the stock and the stereotype into the center, the spotlight of importance for us to contemplate both the evil and the good, for us to savor the grays and the anomalous, those inscrutable in-betweens that mark us imperfect, human.

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In Thy Womb, Shaleha the midwife holds the child that her husband had fathered with another woman. She praises the heavens but could not let go of the infant. When she does, the camera follows the sky. The woman is lost in the eternity that appears to be made for man. Before we got there, we are treated to how an actor suffuses the screen with awesome ordinariness that appears only ordinary because the mind behind those gestures has the gift to make the everyday profound. Which came first, good criticism or good film? That, of course, is a chicken-and-egg predicament. What is clear is that there is a Nora Aunor, whose manifold characters can bring in a slew of questions. Love her or leave her; take her or leave her. Good critics can disagree with her, dispute the best and worst in her but no good critic can ignore Nora Aunor in cinema. Ever. Nora Aunor is the Natatangi, separate, singular, distinct for the Manunuri ng Pelikulang Pilipino. n

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UNDERSTANDING H.I.V.

Speaker Feliciano Belmonte Jr. said the lower chamber will pass the bill on final reading next week, or before sine die adjournment of Congress on June 12. “This is the first time it ever reached this point, and I’m very happy. However, the biggest hurdle is still to come, three-fourths vote [on final reading] of everybody, including those who are absent,” he said. Belmonte said the so-called economic Charter change (Cha-cha) will be a larger contributor to economic growth, as foreign direct invest-

Mindanao Bureau Chief

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Conclusion

AVAO CITY—With the 2016 election campaign set to start rolling by the first day of November, political pundits proferred to explain the sudden rush of the House of Representatives committee to pass the amended Bangsamoro basic law (BBL). “Apparently, the lawmakers would not want to displease President Aquino at this time of the

PESO EXCHANGE RATES n US 44.6900

PAINTING THE TOWN With the wall of the 28-story One Global Building serving as the canvas, members of the international artists group FAILE work on their contribution to the One Festival, a weeklong mural-art festival at the Bonifacio Global City featuring a mix of international and local contemporary street artists, filmmakers and some of the country’s best musicians. NONIE REYES

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The price and ‘prize’ of peace in Mindanao B M T. C

HEAL H&FITNESS HEALT HEALTH&FITNESS

ments (FDI) are seen to increase once ownership of estates and corporations—one of the issues raised by investors for not investing in the country—is relaxed. According to Belmonte, “his best effort” is needed to pass his economic Cha-cha in the House of Representatives, as well as in the Senate. Belmonte said at least threefourths of House members need to vote for Resolution of Both Houses (RBH) 1 to pass the final reading at the lower chamber.

homestretch going to the filing of candidacy in October, and risking the needed financial backing of their campaign,” said a male lawyer, who occasionally do legal counseling jobs during elections. “My take is that these lawmakers may have sensed that there are more political pogi [handsome] points to pass the BBL, and inherit a reputation of helping lay out a legacy for the Moro population, than fighting it and losing clout among the Moro voters,” he added. C  A

OPEC SEEN BACKING SAUDI ON OIL SUPPLY

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HEN Saudi Arabia argues next week that the Organization of the Petroleum Exporting Countries (Opec) should keep up production to fight the rise in US shale-oil levels, prices will be on its side. Crude plunged for eight of nine weeks prior to the group’s November gathering, when the kingdom faced down opposition from the majority of fellow members, who advocated output reductions to tackle a global glut. With oil companies around the world cutting S “O,” A

Growth goal still doable–Purisima

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INANCE Secretary Cesar V. Purisima said on Thursday the Philippines could still generate local output growth—measured as the gross domestic product (GDP), averaging 7 percent to 8 percent this year—no matter the underspending in the first quarter. “We’re working to make sure that the full potential of the Philippine economy is realized. Part of that is what we’re trying to do here, which is to improve processes so that we can continue to move up the rank; part of that is that we continue to create fiscal space, and part of creating fiscal space is to make sure that we’re able to implement the projects on time,” Purisima said at the sidelines of the third Ease of Doing Business Summit held at the Philippine International Convention Center in Pasay City. In a related event, the government revised the country’s output growth to 6.6 percent in the fourth quarter last year, according to data released

by the Philippine Statistics Authority (PSA) on Wednesday. The downward revision was caused by lower growth recorded by the downward revisions in trade; other services; and electricity, gas and watersupply sectors. “The preliminary GDP estimates for the fourth quarter were released with a shorter time lag of 30 days and based on limited data that were available as of January 2015,” the PSA explained. The government also revised the growth of Net Primary Income for the fourth quarter of 2014. It was revised downward to 1.4 percent from the initial 2.8-percent estimate. The PSA said this resulted in the downward revision of the gross national income to 5.8 percent, from the initial estimate of 6.3 percent. However, the PSA said full-year economic growth in 2014 remained unchanged at 6.1 percent. David Cagahastian

n JAPAN 0.3630 n UK 68.7600 n HK 5.7650 n CHINA 7.2034 n SINGAPORE 33.1135 n AUSTRALIA 34.5898 n EU 48.6227 n SAUDI ARABIA 11.9173 Source: BSP (27 May 2015)


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