On the 31st year of the Film Academy of the Philippines awards, the need to establish a half of fame arises inasmuch as the Academy had already gone through three decades of awards-giving.
As revealed during the Luna Awards ceremonies last Saturday, June 1, there are now 11 awardees who had amassed enough number of trophies—at least five—to make it into the chamber of honor.
These hall of famers include three sound technicians, two musical scorer/composers, two editors, a cinematographer, a scriptwriter,
an actor and a director.
Let us meet the first group of Academy members who have just been ushered into the Hall Of Fame (arranged according to the year they qualified after garnering their fifth trophy).
As early as 1986, Willy Cruz had already garnered five trophies from two categories—musical scoring and orginal theme song. His winning works included the theme song for Kung Mahawi Man ang Ulap (1984), the scoring of Alyas Baby Tsina (1984), the theme song of Bituin Walang Ningning (1985), and the theme song and scoring of Sana’y Wala Nang Wakas (1986).
After 1986, Cruz won eight more awards—six for theme song and two for scoring. The theme songs included Maging Akin Ka Lamang (1987), Oras Oras, Araw Araw (1989), Kasalanan Bang Sambahin Kita? (1990), May Minamahal (1993), Madrasta (1996) and Hanggang Kailan Kita Mamahalin (1997). The scoring trophies were for Pinulot Ka Lang sa Lupa (1987) and Oras Oras, Araw Araw (1989).
Only a year later, Cinematographer Romy Vitug qualified for the hall of fame for the following awatrds—Sinasamba Kita (1982), Paano Ba ang Mangarap? (1983), Isla (1984), Paradise Inn (1985) and
Saan Nagtatago ang Pagibig? (1987).
He eventually won three more best cinematography trophies for Kapag Langit ang Humatol (1990), Maalaala Mo Kaya (1994) and Sana Maulit Muli (1995).
Sound technician Rolly Ruta made it to the Hall of Fame another year later in astonishing fashion. He won the category in five consecutive years from 1984 to 1988 for the following films: Bukas, Luluhod ang mga Tala (1984), Paradise Inn (1985), Lumuhod Ka sa Lupa (1986), Balweg, the Rebel Priest (1987) and Gawa na ang Balang Papatay sa Iyo (1988).
Editor/Director Edgardo ‘Boy’ Vinarao qualified for the Hall of Fame after best editing trophies for Pedring Taruc (1982), Pieta (1983), Paradise Inn (1985), Kapag Napagod ang Puso (1988), and Andrea, Paano Ba ang Maging Isang Ina? (1990).
After eight years, when he was already a full-pledged director, Vinarao won another best editing trophy for Birador to complement his best director award for the same film.
The only performer now in the Hall of Fame, Philip Salvador made it to the Hall of Fame after winning the first ever best actor award in 1982 for Cain at Abel (1982), then following this up with Kapit sa Patalim (1985), Balweg, the Rebel Priest (1987), Boy Negro (1988)and Masahol Pa sa Hayop (1993),
He won two more best actor Lunas for Ka Hector (1994) and Hangga’t May Hininga (1996).
In the year 1995, a musical scorer/composer, a scriptwriter and an editor simultaneously qualified into the Hall of Fame.
The late George Canseco qualified into the Hall of Fame with four original theme song trophies and two musical scoring awards. The original theme songs included Sinasamba Kita (1982), Misis Mo, Misis Ko (1988), Hihintayin Kita sa Langit (1991) and Paano Ngayon Kung Wala ang Kahapon (1995), His scoring trophies were for Paano Tatakasan ang Bukas? (1986) and Paano Ngayon Kung Wala ang Kahapon? (1995).
Scriptwriter Ricky Lee made it with three best screenplay trophies and two best adaptation awards. The original screenplay winners included Andrea, Paano Ba ang Maging Isang Ina? (1990),Totoong Buhay ni Pacita M (1991) and Pangako ng Kahapon (1994). The adaptations were for The Dolzura Cortez Story (1993) and The Flor Contemplacion Story (1995),
Lee later won two more trophies for Bulaklak ng Maynila (1999) and Anak (2000)
Editor/Director Augusto Salvador qualified for the Hall of Fame for his editing awards for Batuigas II: Pasukuin si Waway (1984),Pinulot Ka Lang sa Lupa (1987),Lucio Margallo (1992), Mas Masahol Pa sa Hayop (1993) with co-editors Ruben Natividad and Renato de Leon and Kahit Butas ng Karayom, Papasukin Ko (1995). His sixth best editing trophy came in 1997 for Eseng ng Tondo.
His best director awards were for Masahol Pa sa Hayop (1993) and Eseng ng Tondo (1997) which he co-directed with Fernando Poe Jr. as Ronwaldo Reyes.
The late sound technician Vic Macamay had the perfect total of five best sound trophies to make it into the Hall of Fame for Gaano Kadalas ang Minsan (1982), Gumapang Ka sa Lusak (1990), Forever (1994), Wanted: Perfect Mother (1996) and Babae (1997).
The late sound technician Ramon Reyes Jr. came up with the needed five trophies for his work in Saan Ka Man Naroroon (1993), The Flor Contemplacion Story (1995), Abot Kamay ang Pangarap (1996), Sa Pusod ng Dagat (1998) and Bulaklak ng Maynila (1999). He still came up with a sixth trophy for Tanging Yaman a year later in 2000.
Director Joel Lamangan came in as the eleventh Hall of famer for his five best director Luna trophies for the films Pangako ng Kahapon (1994), The Flor Contemplacion Story (1995), Bulaklak ng Maynila (1999), Aishite Imasu 1941 (2004) and Blue Moon (2005).
These are the first 11 Hall of famers and the Academy firmly believes that more academy members will soon join them in the forthcoming FAP Luna Awards now on its fourth decade of awards-giving.
Your FEEDBACK can be posted at www.filmacademyphil.org/forum/