Nora boosts ‘regional’ filmmaking
Nora Aunor’s career has been a roller-coaster ride of triumphs and failures, some of them so dismal that less resolute stars would have thrown in the towel for good years ago.
But with the help of some die-hard believers, Nora has kept bouncing back, amazing show biz prognosticators who’ve written—and published—her career’s “obituary” a long time ago.
What accounts for her superstellar tenacity? One reason is the fact that she has a number of dependents, including relatives whose medical bills keep piling up and need to get paid—so, retirement isn’t really an option.
Another factor is the need to live up to her hard-won thespic reputation, honed by the rigorous mentoring she has gotten through the years from the country’s best directors. They didn’t only believe in her; they made her believe in herself and her “evolving” potential.
Time was when that belief was deeply shaken by the fact that many producers regarded Nora as a spoiled has-been. The controversies she got involved in certainly added to that negative perception.
But, the good news is that, only a few years ago, Nora bounced back for the nth time, with challenging TV film projects that have affirmed her believers’ “illogical” faith in her talent.
So, this latest “chapter” in her career-long narrative is turning out to be one of her most artistically productive to date.
Financially, some TV drama series have kept her in the black. With good money coming in fairly regularly, she can focus on her performances with relative confidence that all those bills will get paid.
But the biggest boon of all has been the rise of the indie filmmaking movement, and new filmmakers’ retroactive “discovery” of Nora as their inspiring Muse.
We have other fine, mature actresses in our cinematic pantheon, but Nora’s edge is her very Pinay look and essence, which goes a long way in making her new starrers implicitly believable and empathetic.
This unique quality has made her the actress of choice of so many new writer-directors that her 2016 calendar is full.
Even more remarkably, Nora is helping develop Filipino filmmaking, not just as a national artistic activity, but also a regional cinematic expression.
For instance, one of her new films, “Oro,” is in the Bicol language of her childhood.
Another new starrer, “Tuos,” is set in Iloilo, so Nora’s lines are in Ilonggo—a first for her.
These developments are especially significant, because they run counter to the usually predominant impact of Filipino in local filmmaking.
There are many stories in the provinces that should be told on TV-movie screens, and Nora’s involvement gives them the importance and cachet they deserve.
Finally, Nora was a special guest on “ASAP’s” recent tribute to “Maalaala Mo Kaya,” so we’re hoping that it’s a hopeful hint of even better things to come—like a drama series for her on ABS-CBN? That would help make 2016 a particularly significant year for her and her old and new “diehards.” They can hardly wait!
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