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Another thread that runs through some of the retrospective is De Leon’s collaboration with Charo Santos-Concio, whom he introduced to audiences as a new actor in Rites of May in 1976 and later collaborated with as a producer. Decades after their work together, Santos-Concio became chief executive officer of the largest media organization in the Philippines, ABS-CBN, and one of the most powerful women in media in Asia. “Everything I know about the art of filmmaking I learned from Mike,” Santos-Concio says. “As early as [my first film], he already taught me sound design, musical scoring, editing, everything that happens during post. Can you imagine? I’m so lucky.” Photo: Courtesy of Mike De LeonMore recently, Santos-Concio appeared as the titular character in Lav Diaz’s Golden Lion winner The Woman Who Left. But her work with De Leon, in films where she tended to play seemingly vulnerable women with surprisingly deep reserves of strength, remains her signature roles. “I think she’s one of the great unsung actresses,” Siegel says.
Most Philippine films from the LVN era of the 1930s to the 1960s—and even De Leon’s decades of peak productivity in the ’70s and ’80s—have been lost to the ravages of time, making the MoMA screenings a rare privilege. De Leon, now 75, talked about this in his conversations with the film scholar A.E. Hunt in 2020. “Nobody knew about the vinegar syndrome at that time,” De Leon told Hunt in Filmmaker Magazine. “I myself thought that the black-and-white films would last forever.” In recent years, De Leon has made it his priority to save as many of those films as he can. “They cost me a lot of money, but I rationalized it by thinking it was my father’s money anyway, the inheritance, I mean,” De Leon said in June. “I didn’t want his legacy, my grandmother’s, and mine to just dissipate in time. It is also because we Filipinos have very short memories and have very little interest in preserving our cultural heritage. If I could save more LVN films, I would, but most of the good ones are gone.”
Santos-Concio in a still from 1980’s Will Your Heart Beat Faster?, with costars Christopher De Leon, Sandy Andolong, and Jay Ilagan. Yet De Leon could do levity too. In 1980’s Will Your Heart Beat Faster?, for example, he creates a hilarious, rollicking romp of a film that manages to shape-shift from comedy to action to musical in the space of 104 minutes—all the while touching on issues of imperialism and blind faith. “The whole point is to call attention to forgotten or neglected chapters of film history,” Siegel says of MoMA’s film retrospectives. “We have a steady beat of the so-called masters, but then there are the forgotten masters or the masters in their own countries who are inadequately acknowledged abroad. These are filmmakers that aren’t necessarily household names, but they ought to be. Very much like Mike De Leon, [a lot of them are] very resourceful filmmakers who worked on shoestring budgets and knew how to edit to make incredibly taut, no-fat-on-the-bones movies.”Shown alongside De Leon’s films in the retrospective are some of the surviving classics from the great Filipino film studio LVN Pictures, which De Leon’s grandmother Doña Sisang founded in 1938. They make an important addition to the retrospective’s portrait of De Leon, identifying cinema as not only the world he worked in but also his birthright.
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