*166. Power Couple: DR. PACIFICO L. PANLILIO and MARCELINA P. NEPOMUCENO

THE DOCTOR AND HIS NURSE. Dr. Pacifico L. Panlilio M.D. and his wife, Marcelina P. Nepomuceno, an early nursing degree graduate, both belonged to well-known families from Pampanga.

The Panlilios of Mexico and the Nepomucenos of Angeles are two of the most prominent and biggest families of Pampanga, populating the province with their progeny who went on to become achievers, professionals, successful businessmen, visionaries and community leaders. So when two members from these distinguished families forged a union through marriage, their future was already considered written in the stars. Indeed, the marriage of Dr. Pacifico Panlilio y Lising and Marcelina Nepomuceno y Paras consolidated their individual successes to emerge as a power couple in Kapampangan society.

Marcelina was born on 9 August 1881, the daughter of Ysabelo Nepomuceno y Henson and Juana Paras y Gomez. Ysabelo’s parents were Pio Rafael Nepomuceno and Maria Agustina Henson. When it was time for Marcelina to pursue her ‘karera’, she chose to study the relatively new course of Nursing, first offered at the Escuela de Enfermeras of the Philippine General Hospital. As part of the earliest batches of nursing graduates, Marcelina thus earned her place as a pioneering Kapampangan Florence Nightingale in the field of medical service.

It was at PGH that Marcelina met fellow Kapampangan, Pacifico or Pepe, as he was known by his nickname. A son of Juan Panlilio and Feliciana Lising of Mexico, the young Pepe was born on 30 October 1880 and attended a local school under the tutelage of Don Felix Dizon. He was then sent off to San Juan de Letran for his secondary schooling, and upon completion in 1896, he enrolled at the University of Santo Tomas then to the newly established University of the Philippines, becoming a Doctor of Medicine in 1909.

While taking his internship at the San Lazaro Hospital from 1910-11, he became a Doctor de Sanidad at Meisic, Manila. By December 1910, he was named as a health inspector and the next year, he served as a District Officer of Sibul Spring. In late 1911, he was stationed at the Dispensary of the Philippine General Hospital. Dr. Panlilio was also a member of good standing of the Manila Medical Society, the Malthusian League of London, and later joined the Masonry.

After their wedding in January of 1912, the couple decided to return to their roots and settled in Pampanga. Don Pepe had the chance to serve his town, becoming its Doctor de Sanidad from 1918-20. They divided their time between Mexico and Angeles as the couple also had some real estate property there. They would eventually raise 4 children: Josefina Guillermina, Noemi Guia, Filadelfo and Vladimir Crisostomo. The good doctor could have accomplished more, but on 9 August 1934, he passed away at the age of 54.

The widowed Marcelina and her children stayed on permanently in Angeles, living a full life and dying at the age of 78 on 16 April 1959. In the late 1960s, the children developed the property of their parents, a wedding gift from Marcelina’s uncle, Don Juan Nepomuceno. The plot of land along Jesus Street was transformed into a subdivision known as Pacimar—from Pacifico and Marcelina—whose united names lived on in this city landmark.

*165. INYANG MALATI KU: Growing Up Kapampangan

CHILDREN ONE AND ALL. Kapampangan kids pose as serious-looking passengers on a boat in this playful souvenir shot. Ca. 1920s.

Children were a prized possession in every Kapampangan family—to be doted on, cared for and pampered. Our innocent childhood years are perhaps, the most magical—when even the world revolved around you and your needs. The arrival of a newborn baby into this world was always a cause of great excitement, tinged with anxiety. In the days when medicos were scarce and hospitals were limited to urban centers thus rendering them inaccessible, babies were delivered by an “ilut” or a local midwife who was also capable of handling other medical emergencies. The chosen sponsors for the baby must give the “ilut” a small amount of money—“para imu” (for face washing), lest the child suffers from dirty eyes (‘muri”) for the rest of his life.

Children are a prized possession in every Kapampangan family—to be doted on, cared for and pampered. Our innocent childhood years are perhaps, the most magical, when even the world has to revolve around you—until such time you reach the age of reason. But, as an infant till your toddler years, you’ll find yourself the apple of everyone’s eye. At a baby’s baptism, it is the “tegawan” (sponsors) who spend for the baptismal gown, often of expensive lace and jusi.

Babies were delicately handled and treated to lots of tender loving care. For his amusement, silver bracelet rattles were worn on his wrist or ankle. When it came to feeding time, other than mother’s milk, only the best will do, like Bear Brand (“gatas osu”) and Milkmaid. A baby from an affluent family may have a wet-nurse or a “yaya” who made sure his daily needs are met—from regular “lampin” (cloth diaper) changes to naptime rituals that involve rocking the child on a “duyan” (hammock) fashioned from an old blanket.

So favored were babies and children, that when photography came into vogue, they became natural subjects, often dolled up in sailor’s outfits or Lord Fauntleroy costumes for the camera. Little girls were dressed in ribbons and curls, and were made to pose with their favorite dolls and playthings. A requisite portrait sitting involves nude babies atop a bed, a sofa, in a bassinet or in one weird instance, seated inside a giant shell.

All the pampering came to an abrupt end when the child attains school age, usually at age seven. A period of training, learning and stern discipline followed, in an unfamiliar school setting and under the watchful eye of a teacher-mentor. Here, children learn their ABCs by rote and through memorization. Those who failed to toe the line were subjected to corporal punishments. Common modes of disciplining kids included the stick or a paddle, kneeling on “balatung” (mongo) seeds or a sharp pinch on the ear—deemed cruel and unacceptable by today’s standards.

In his free time however, he gets to be his own carefree self, building his interactive skills through social games like piko, maro, tambubung and teks. But once back in his industrial arts or home economic class, however, the growing child is exposed to more adult skills like weaving, carpentry, sewing and cooking.

At home, lessons of discipline continued. A ‘bunsu” may have his privileges, but he has to defer to his “caca” for important decisions. Following a chain of command imposed by tradition, an older sibling wielded authority over a younger “kapatad”, disciplining him when the parents were not around to do so. Suddenly, his daily life, once unhampered by rules becomes more regimented and controlled. At 5 p.m, before the Angelus, his play hours must stop and he must trudge home if he is out on the street. Disobedience meant being subjected to scare tactics--"kunan naka ning Bumbay, kanan naka ning Aswang!" (the Bumbay will come and get you, the aswang will eat you..)

Things get more stressful when children reach pre-pubescent age. For boys, undergoing circumcision (‘tule”) is a painful rite of passage that is both inevitable and inescapable. For girls, the first ‘period’ is often accompanied by a mixed feeling of fear and confusion. At this time, the child ceases to be “cute”. In fact, he ceases to be a child, and instantly, he is treated as such. He inherits his brother’s long pants while she is a given a camison to wear beneath her regular clothes. It’s just a matter of time that paraphernalias like tweezers, Gilette blades, sebo de macho, tawas and Brilliantine pomade, make their appearance on their tocador.

When that happens, the magic and innocence of childhood disappear, as a new life phase begins opens: the wonderful world of adulthood. Welcome to the real world, kids!

*164. COURT AND SPARK: The Rituals of Courtship

WHEN BOY MEETS GIRL. Lovey-dovey couple pose for a romantic souvenir photo. This must have been a post-wedding snapshot. ca. 1920s.

When a Kapampangan swain found a possible object of his affection, he had to follow a certain modus operandi to win her heart, in a way that was acceptable to the mores of the times. Indeed, if our baintau wished to keep his good standing in society and win approval, then he had to follow and meet the standards of ‘pamaglolo’ rituals.

To signify his intentions, our young man would often use a go-between, maybe an acquaintance of the girl, to pave the way for an introduction and then some. If our dalaga showed a positive response, our baintau went ahead to set up a meeting. As it was unthinkable for a girl to contrive to meet elsewhere lest she incurs parental wrath, Sunday church visits as well as community events such as fiestas, were legitimate occasions to meet and greet. Our young man sat himself a few pews away from the girl, within her eyesight, so she could cast furtive glances at him.

After the service, he would linger around the girl, behaving much like a rooster in the presence of a hen. In fact, the verb “tandic” which describes this behavior, applied also to men “who is about to fall in love and is beginning to court and woo a lady”.

Our young man could also decide to be more formal and go “mamanikan”, in which an appointment is made with the girl for a home visit. Even then, the girl was always provided with a chaperone who lurked nearby so she could eavesdrop on their conversations. To throw a nosy chaperone off, however, our dalaga would use her fan to send messages to a lovestruck visitor.
If she held a dangling fan with her right hand, it meant she already had a suitor. If she fanned herself furiously, it mean that the young man held no meaning for her. An open fan meant, “I love you like a friend”, while a closed fan indicated sincere love.

Similarly. Our young man could profess his heart’s wishes through the language of flowers. If he presented the girl with red adelfas, it meant that he has serious romantic designs. Yellow azucenas signified greatness of love. White jasmine reflected his inner goodness, while white rosals, the purity of his love.

There were other ways to woo a young woman. He could serenade her or engage the services of his friends to make “arana”, melting her heart with lyrical kundiman songs. When enough trust was built, the couple could be allowed to go dating with the consent of parents. When they went out, it was more likely that a group date, with several chaperones in tow. Dating became popular among the middle during the American occupation, with the rise of leisure centers such as bowling alleys, soda parlors and movie theaters which became favorite hang-outs of young people.

During the courtship period, a man was required to render manula services to the family of the girl—like chopping wood, filling water drums or cleaning the backyard. When he is finally given the go-signal to marry the young woman, his parents must make repairs to the house of the bride-to-be, a practice called “sulambe”. It was also customary for the suitor’s parents to ask formally for the hand of the girl by visiting her family in the home (“pamamalayai”). Preliminary wedding plans are discussed in this meeting.

The profession of love through courtship rituals can be elaborate, long and tedious, but the lovelorn Kapampangan does not seem to mind. When struck with Cupid’s arrow, he could even transform himself into a poet. Just read this “kilig-to-the-bones” love letter written by my late father to my mother, dated 21 March 1949, just weeks after meeting her in a botica where my mother worked as a sales attendant: “I unflinchingly adored you in utmost secrecy and silence until I realized but lately how much it would distress and embitter me if I won’t confide to you through concealed emotions which had long beat hard and clamored for an honest confession. I had rteid to subdue every bit of my deep passions until finally, I had to yield to the dictates of my hearts. Can you possibly forgive this soul seeking consolation through truthful revelation?”.

Now did his overly dramatic outpourings—possibly copied from a “How to Write Love Letters” book, work? Apparently they did. My mother and father got married just a month and a half later. See what love can do.

*163. SAN FERNANDO: Pampanga's Capital City

FERNANDO'S HIDEAWAY. The capital town of San Fernando welcomes delegates to the 1924 Governors' Convention with a welcome arch and a crowd lining its main street. Dated 12 May 1924.

The bustling, busy capital city of Pampanga—San Fernando—is a young community compared to nearby Betis, Sasmuan, Bacolor, Macabebe and Arayat. It was culled from the lands belonging to Bacolor and Mexico, which, by 1754, had expanded so much in population, that the two priests in charge of the two towns, F. Lorenzo Barrela and F. Alejandro Dominguez, could hardly cope with the ministerial duties. As the population swelled, so did the crime rate and it became increasingly difficult to patrol the towns that were far apart from each other.

As a result, on 17 July, Don Josef Bersosa submitted a position to create a new middle-of-the road town, a petition granted by Gov. Gen. Pedro Manuel de Arandia. In this manner, the new town of San Fernando was established, named after the saintly King of Castile, Fernando Rey. In its early stage, San Fernando was supported by taxpayers from Bacolor and Mexico to ensure its viability, but the town prospered, eclipsing even its older neighbors.

The first church, of nipa and wood, was built in 1755. The municipal building was erected in the same year in front of the plaza. San Fernando flourished in the next two decades and even merited a visit from Gov. Gen. Jose Vargas Basco in 1785. A replacement church of sturdier materials was finished in 1808, dedicated to the Asuncion del Nuestra Señora.

Despite setbacks due to cholera outbreaks (1820), destructive earthquakes (1863) and fires (1850, 188, 1899, 1907, 1910, 1939), the burgeoning town continued to prosper. Not even the separation of Barrio Culiat (the future Angeles) in 1829 could impede its march to progress. By 1852, an expediente requesting the transfer of the provincial capitol from Bacolor to San Fernando was signed, further accentuating its importance.

The town’s infrastructures got a boost towards the end of the 19th century with the construction of two important bridges in 1889, Palawi Bridge (Bacolor link) and Paralaya Bridge (Mexico link). Three years, the San Fernando Railroad Station was inaugurated, while the Puente Colgante was completed in 1896.

The coming of the Philippine Revolution profoundly affected San Fernando’s history with the arrival of revolutionaries on 3 June 1898 who burned the Palawi Bridge. The ensuing hostilities forced the evacuation of the town even as the Spanish forces were driven away. On October 9, Gen. Emilio Aguinaldo visited San Fernando convento, which has been converted into a military headquarter. A new enemy, the Americans, loomed as the Philippine-American war began, resulting in the shelling of Sto. Tomas and the torching of the church by the forces of Gen. Antonio Luna. The Battle of San Fernando ended with the town’s fall on August 1900.

During the American Rule, the Pampanga provincial government was finally transferred from Bacolor to San Fernando on 15 August 1904. U.S. Secretary of War William Howard Taft paid a visit to the town the next year. From 1909 to 1931, San Fernando’s progress accelerated, with the building of a new public market, auxiliary railroads, berection of the San Fernando Central School, the establishments of Pampanga Sugar Development Company (PASUDECO), Pampanga Bus Company (PAMBUSCO), the installation of a telephone system and the San Fernando Light and Power Company and the opening of the Pampanga Provincial Hospital. In 1938, the first Ligligan Parul (lantern festival) was held in honor of Pres. Manuel L. Quezon, thus starting a Christmas tradition that continues till today.

World War II brought new hardships yet again for thousands of Fernandinos. The Japanese Imperial Army occupied the town in 1941 and the infamous Death March that started in Bataan, ended at the San Fernando Train Station. Liberation came in 1945, and from thereon, there was no stopping its rise to national prominence. Assumption College (1963), the Pampanga Convention Center and Sports Complex (1989) and the Paskuhan Village (1990) have become visible parts of the Fernandino landscape.

After the catastrophic 1991 Pinatubo eruption and the 1995 aftermath which inundated several barrios with ash, sand, lahar deposits and pyroclastic materials, San Fernando stood resilient and survived by celebrating its first Sinukwan Festival in 1998. The remarkable recovery earned it a Galing Pook Award for its project “Breaking Financial Barriers”. The ultimate reward was its elevation to a component city in 2001, following the ratification of R.A. 8990 sponsored by Rep. Oscar Rodriguez. Dr. Rey Aquino had the distinction of becoming the first city mayor.

Today, the city with its 34 barangays, teems with new businesses, industries and investments that bode well of the capital’s vibrant future. As a regional growth hub and the center of trade, commerce and education in the region, San Fernando and its hardy, loyal residents continue to reap their just rewards. At the rate the “Christmas Capital of the Philippines” is enjoying its economic surge, every day feels like Christmas!

*162. DR. GREGORIO M. FERNANDEZ, Pioneering Film Director and Actor

THE DENTIST IS ALSO A DIRECTOR. Lubao-born Dr. Gregorio M. Fernandez, looking every inch a dancy in his trademark suit. A noted director, he is also known as the father of the late actor Rudy "Daboy" Fernandez. 1930s.

The internationally-recognized director Gregorio “Yoyong” Fernandez was born in Lubao, Pampanga on 25 May 1904 to Eugenio Aranita Fernandez and Maria Montemayor. Yoyong practically grew up in the town with a rich zarzuela tradition that exposed him early to the performance arts.

He spent his primary years at the Lubao Elementary School, then enrolled at the Pampanga High School (1921-25). Choosing to be a dental surgeon, he went to the Philippine Dental College. To help finance his studies, he worked at as a tax agent for the Bureau of Internal Revenue. He also started making the rounds of production companies and became an actor for Tomas Lichauco's Mayon Photoplay Corporation after auditioning in March 1928.

The movie with Mayon was never finsihed as Lichauco left for the United States. Undaunted, Yoyong auditioned next for Jose Nepomuceno and won a leading role in a 1928 film. The silent film, “Anak sa Ligaw” started his long and productive career in Philippine moviedom, both as a successful actor and an even more accomplished film director.

Yoyong still managed to make his parents happy by finishing his dentistry course in 1929 and passing the board that same year. After a short private practice in Lubao, he decided he could not resist the lure of the spotlight and went on to pursue a full time career in acting. He did not find it difficult landing his next role given the resounding success of his first film. Yoyong's next assignment was a starring role in another silent-- “Yesterday, Today and Tomorrow” with Sofia Lotta, under the direction Faustino Lichauco of Mayon Photoplay. The picture was never released though, so Yoyong moved on to team up with Sofia yet again in the movie version of the popular Tagalog poem of Florentino Collantes, “Ang Lumang Simbahan”.

The newbie actor shared his good fortune with his kabalen and nephew, Rogelio Regidor, whom he introduced to Jose Nepomuceno when the “father of Philippine movies” was scouting for new talents. Nepomuceno took one look at the handsome 6-footer and cast him with another Kapampangan-American mestiza, Rosa Stagner. The couple was launched in the 1929 movie hit, “Ligaw ni Bulaklak” as Rogelio de la Rosa and Rosa del Rosario.

Yoyong was a much-sought after actor in the 1930s, appearing as a dandy in the film, “Collegian Love”. As a young sajonista influenced by American ways, he wore a blazer with a hanky sticking out of his pocket, and a white buntal hat that was to become his signature look. He appeared as the hero “Dimasalang” in 1930 and followed that up with “Moro Pirates” with Nena Linda. In the next two years, he was in “Ang Lihim ni Bathala” and “Taong Demonyo”, his first talking film.

Not content with playing leading men and character roles in films, Gregorio transitioned to work behind the camera as a director. His first directorial debut was the movie, “Asahar at Kabaong” (Bridal Garland and Casket, 1937), starring Purita Santamaria, made under Philippine Films. His work was noticed by other film outfits and he steadily found freelance work, directing “Tatlong Pagkabirhen” for X’otic Films (1938), “Celia at Balagtas” and “Señorita” (1939), in which he directed his own nephew Rogelio de la Rosa, by then a big star. It was only shown shortly after World War II at the Life Theater in Quiapo.

Yoyong had an enduring and most productive career at LVN Studios, a film outfit began in 1938 by the legendary grand dame of Philippine movies, Dña. Narcisa de Leon. Dña. Sisang asked Yoyong to make a film out of the hit war drama play, “Garrison 13”, and the subsequent film version (in which he played a co-starring role to Linda Estrella) proved to be a blockbuster hit, earning an unprecedented P145,000 at Dalisay Theater alone. Yoyong became a favorite director of Dña. Sisang thereafter.

His LVN-produced films include “Dalawang Daigdig” ( as director-actor, 1946), “Miss Philippines" (1947), “Puting Bantayog” (1948), “Kampanang Ginto”, “Capas” (1949), “Candaba” (“isang kapanapanabik na pelikula na tanging si G. Fernandez lamang ang maaaring mamahala!”), "Kontrabando” (1950), “Bayan o Pag-ibig”, “Dugo sa Dugo” (1951), “Rodrigo de Villa” (a color film co-produced with Persari Films of Indonesia, 1952), “Iskwater”, “Philippine Navy”, “Dagohoy” (1953) and “Prinsipe Tiñoso”, “Singsing na Tanso” (1954).

1955 was his best year ever, directing “Dalagang Taring” and the most acclaimed movie of the year, “Higit sa Lahat”, starring Rogelio de la Rosa and Emma Alegre. It garnered 6 awards at the FAMAS, including Best Picture, Best Actor and Best Director. As the Philippine entry to the 1956 Asian Film Festival, “Higit sa Lahat” won for Yoyong a “Best Director” trophy and another “Best Actor” award for Rogelio de la Rosa. The next year, he was kept busy with the 18th anniversary offering of LVN Pictures, “Medalyang Perlas” and the classic, “Luksang Tagumpay”, which won Best Picture honors at the FAMAS.

The close of the decade saw him megging “Hukom Roldan”, “P10,000 na Pag-ibig”(1957) , “Ana Maria” and another critical hit “Malvarosa” (1958). The film won for Rebecca del Rio, a Best Supporting Actress trophy at the Asian Film Festival and a FAMAS International Prestige Award of Merit. He ended the 50s with “Ay , Pepita”, “Casa Grande” and “Panagimpan” (1959) and started the 60s with “Emily” and “Kung Ako’y Mahal Mo” and “Awit ng mga Dukha”.

In 1961, he retired in San Juan together with his family. He had eight children with his beautiful wife, Marie Paz, daughter of Bulacan governor Jose Padilla Sr. whom he married in 1936 in Lubao: Ma. Luisa (aka Merle Fernandez, bold star of the 70s), Maria Paz, Maria Isabel, Jose, Maria Teresita, Emmanuel, Rodolfo (aka the late Rudy “Daboy” Fernandez) and Mary Anne. But he came out of retirement in 1963 to direct “The Macapagal Story”, based on the life of his fellow Lubeño Pres. Diosdado P. Macapagal. He did two more movies (“Ang Nasasakdal”, 1963, “Daing” 1971) before he permanently called it quits, but not before being awarded the 1967 “Gantimpalang Gatpuno” (Mayor’s Award) as one of the 37 illustrious pioneers of Philippine Movies, on the occasion of Manila’s golden foundation day.

Dr. Gregorio M. Fernandez died in the late ‘70s and left behind a legacy of classic and multi-awarded films, visual testaments to Kapampangan creativity at its best. His son Rudy continued that tradition until his death, but the torch has been passed on to Rudy's son (with Alma Moreno, also a Kapampangan), Mark Anthony Fernandez, himself a rising star of TV and Cinema. His grandfather Yoyong must be proud.

*161. Pampanga's Churches: OUR LADY OF THE ASSUMPTION, San Fernando

ASSUMPTIONISTA WEDDING. The Church of San Fernando was the venure for the second wedding of Dr. PJ Castro with Marita Valencia. Dated 1962.

San Fernando’s landmark, the Church of Our Lady of Assumption, has been standing on the crossroads of history for many years now, many times a witness to a country’s tumultuous quest for identity and freedom. The city of San Fernando itself started as settlement on the banks of a river, named after the saintly king of Castille, Fernando. Early in its history, San Fernando was a flourishing center of trade, and was often referred to as the “second Parian or second Escolta”, owing to its many Chinese residents. It became the capital town of the province, wresting that honor from Bacolor, but the proposal, which was approved by Madrid in 1881, only took effect on 15 August 1904, during the term of Gov. Macario Arnedo.

The first church to rise on this progressive town was started by the first Augustinian cura, Fray Sebastian Moreno in 1756, but construction of the stone-and-brick edifice was only finished by Fray Mariano Alafont in 1781.

In 1788, the parish was entrusted to the care of the native secular clergy, and the construction of a much bigger church on the present site commenced under P. Manuel Canlas. Gobernadorcillo Bernabe Pamintuan rallied the town principalia to support the church’s construction, which was finished in 1808. By then, the parish had reverted to the Augustinians’ administration.

The church, placed under the advocation of our Lady of the Assumption, stood 11 meters high and measured 70 meters long and 13 meters wide. The church interior was painted in trompe l’oeil style by Italian artists Giovanni Divellas and Cesare Alberoni, similar to that used in painting the murals San Agustin Church in Intramuros and the Church of Apalit.

Subsequent restorations were done in 1853 and 1856 respectively, under Fray Pedro Medina and Antonio Redondo, who finished the painting works on the Tuscan interior and added the signature dome. During the Philippine Revolution, the Church, the convento and the casa municipal were burned by Gen. Antonio Luna’s soldiers in early May 1899 to prevent the invading Americans to use the church as headquarters. A second conflagration decimated the Church in 1939.

Under Kapampangan religious Rufino J. Santos, the Church was rebuilt after World War II. American-educated and kabalen Fernando H. Ocampo undertook the ambitious assignment, retaining the church’s noble architecture. The round, majestic dome is still there, rising from the rotunda of the transept. It harkens back to the Baroque style with Renaissance touches. The triangular pediment is decorated with serrated forms on both sides and the hexagonal bell tower rises in four uneven levels, alternating with blind and open arched recesses. In 1950, a large portico with balusters was added, which, unfortunately, blocked the façade of the church.

San Fernando became the seat of the diocese in 1948, and later, the Archdiocese. As such, Our Lady of the Assumption Church had always been the favored venue for major Kapampangan religious events, the most memorable of which is the Canonical Coronation of the Virgen de los Remedios, the patroness of Pampanga province, in 1956.

*160. Movies in My Mind: ANGELES MOVIE HOUSES

FIFTIES' FILM HOUSES. Devry Theater celebrated the Twin Fiestas of Angeles by showing twin movies: "War of the Worlds" (Sci-Fi) and "Shane" (Western). From a 1953 Anegels Fiesta Program.

I remember the first time I watched a movie in Angeles. I was about 12 or 13, early 1970s, when an elder sister and I fell in line at the Rizal Theater to watch Lino Brocka’s hit movie, “Haydee” starring half-Kapampangan Hilda Koronel and Ed Finlan. It was not exactly my first time in a moviehouse; I think I was about 8 when I went to watch “The Young Ones” at Pines Theater, but the experience left no impression on me as Cliff Richard’s music just did not appeal to an 8 year old.

But this time around, it was different—never mind my friends’ warnings of bedbug infestations or the shenanigans going on inside the darkened room. All I felt was this sense of thrill that descended upon me as Haydee and Darwin Clark appeared larger than life on the giant screen in technicolor, no less, talking and singing in a voice, so crisp and clear. For two hours or so, I was transported to a world of make-believe, enthralled and entertained by actors who lived, loved, laughed and cried, just like us.

But before the movie theater, there was the stage. And on the stage were the zarzuelas. Credit goes to the Kapampangan theater for introducing zarzuelas written in the vernaculars and for integrating Filipino topics, situations and characters into the story: quarreling man and wife, strict parents, disobedient children, dalagang mahinhin, binatang matikas, servants and masters, dons and doñas.

Angeles was quick to jump on the zarzuela bandwagon. In 1898, a modest theater was built on the property of Don Modesto Quiason on Miranda Street, exclusively for the performance arts. Everything-- from a comedia (Gonzalo de Cordova played by Martin Gonzalez Bravo of Guagua), a ventriloquist show starring two-voiced Pregolini to thespic performances of local artists Petra Pili and Monico Resurreccion and to acrobatics of Antonieta Circus—were presented on centerstage.

With such rich materials for theater, there is an interesting opinion that the zarzuela paved the way for silent movies. Although film was introduced in the country as early as 1897, it took a long time for the new medium to find popular appeal. To start with, there was not enough electricity in the provinces to run the projectors. When silent movies finally came, the theater-oriented Filipinos could not accept a performance where characters kept moving around without saying a word.

But by 1918, the silent movies had steadily spread to electrified communities. One such place is Pampanga, which almost lost its theater tradition with the influx of the electrical wonder. Soon, even enterprising Kapampangans dabbled in film productions. In the early 1930s, the first motion picture production in Angeles was pioneered by Don Jose Guanzon, who directed the silent movie, “Prinsesa sa Bundok”. With the coming of films came the movie houses, which were built with screens on which the moving images came to life before a paying audience.

It was just right after the war that commercial movie houses were put up to provide escapist entertainment to Kapampangans who wanted to put behind the horrors and hardships caused by the recent global upheaval. Early movie houses include the Eden Theater, which was erected on the site of the big fire which burned the market and residential houses in Jan. 12, 1895. On 16 November 1946, Cine Paraiso started its operations along Miranda Extension. Later, Paraiso became Lita Theater. Less than a year later, Marte Theater was inaugurated on 24 May 1947. Crowd favorites were American-produced movies, and it was not uncommon to show two films back-to-back as a way to celebrate the twin fiestas of Angeles.

The Tablante family of Angeles operated a number of theaters along Rizal Street that became 1950s fixtures: Devry Theater (later to become Imperial, then Elite), City, RTG and PAT Theater. Family Theater , along J. Gonzales Blvd. was outstanding in its acoustics and its distinctive post-moderne architecture.

The rise of movies-on-video in the 1980s signaled the decline in the patronage of movie houses in Angeles. Soon, everyone could watch a hit movie just by renting a betamax or VHS copy—without the inconvenience of lining up or being bitten by bedbugs. Movie tapes gave way to the even more accessible DVDs, further hastening the demise of movie theaters. The limitless possibilities of telecommunications and internet—you can post videos on youTube and shoot ‘mobisodes’ or mini-movies using mobile phones—all but sealed the fate of the future of movie houses.

A recent scan of a Pampanga telephone directory did not even have the name of a single Angeles movie house on its list. Many movie houses have closed, torn down or have fallen into disarray, like the once famous Family Theater, which, for the longest time, became the home of several squatter families. The theater made news in 2008 when it became the location of a movie directed by Cannes award winner, Brillante Mendoza, a Kapampangan. The controversial film, entitled “Serbis”, tackles the lives of people engaged in the sex trade, conducted inside a movie house.

Just like a drama movie, the stories of our cine houses do not always have happy endings.