My friendship and teamwork in the entertainment broadcast journalism and showbiz print writing beat with the late Mario V. Dumaual dates back in the early to mid-1980s.
Mario Dumaual (Photo Credit: Cherie Dumaual)
Mario was then writing for Parade Magazine of the People's Journal Group of Companies while I was contributing stories to fanzines like Jingle Extra Hot, Artista Magazine, Movie Flash, Kislap, Bulaklak, Modern Romances, and True Confessions Magazine, among others.
He was running a movie column for Joe Burgos' Malaya while I was editing the entertainment pages of Tinig ng Masa, a broadsheet in Filipino, a sister publication of the former.
As a movie reporter in the vernacular I was always impressed if not thrilled by the pieces of works of English writers in the entertainment territory. How I wish I could also write in the King's language as a colonial thinker.
Steadfastly, consciously, though, I chose to veer away from the Ricardo Lee (Ricky Lee) and Jose F. Lacaba choice of writing more instead in Filipino than English simply because they want to promote the language and to write about the sensibilities of the Filipinos.
What could I do? They're more famous than me and have proven quite a lot in Filipino lit and as journos in English, especially Pete. Both Pete Lacaba and Ricky Lee are literary giants and I was and still is dwarfed by their achievements.
Although I was consistently winning major awards in the Filipino Division (Feature and Column departments) of Deadline, a yearly writing contest — sadly discontinued for more than a decade — among members of the Philippine Movie Press Club (PMPC) initiated by then president of the organization Ronald K. Constantino, I would want to employ English but I was already identified with komiks writing, mostly Tagalog as medium of expression.
I envied Mario for churning out regular English pieces.
This also gathered my respect for him.
Don't get me wrong, though, I hold the highest esteem to Filipino/Taglish/Engalog writers, in and out of showbiz in any persuasions in good grammar yet, but most especially of liberating ideas for the most number of people.
Every now and then Mario and I would always bump into each other.
What brought us closer was our penchant for progressive and cause-oriented stance in movie reporting which is more inclined to socializing with the glitz and glam, a gesture and attitude not totally anathema to what is good social behavior.
To concretize our ideals and professionalism, Mario and I, together with JC Nigado, Mike Feria aka Mauro Feria Tumbocon, Jr., Jocelyn Dino, Nitz Miralles, and other living members of the entertainment press and the late Gil E. Villasana, KC Guerrero, Oskee Salazar, and Lulubelle Lam Ramos, founded the press group, MAKINILYA (Malayang Kilusan ng mga Manunulat Laban sa Yabang at Abuso) to uphold the rights and privileges of the movie press.
Although the org died its natural death because of opposing views on the idea of freedom of the press and expression, my bond with Mario was alive and galvanized by our diverse journalistic interests and experiences.
Until the recaptured ABS-CBN where I started to work in June right after the 1986 EDSA Revolt was relaunched in 1987.
The initial primetime newscast "Balita Ngayon" anchored by Mel Tiangco, Robert Arevalo and Angelique Lazo was reformatted to tabloid-on-air "TV Patrol."
Since I was the pioneer of the new ABS-CBN and the only movie writer in the newsroom when entertainment news was a stranger in the broadcast news, Angelique, as the assigned segment producer and anchor asked me to look for two more field reporters except for Francis Villacorta whom she already recruited to complete the "Star News" team.
I readily suggested and brought in Mario and Joel Saracho. The latter became our head writer.
I was, modesty aside, the star reporter among us, because I, among other things, was the embodiment of toeing the traditional Inday Badiday, Boy C. de Guia and Lolit Solis' controversy-laden showbiz news and stories which "TV Patrol" catered to and represented, the more veteran and so I was already connected to a lot of showbiz denizens big and small, although Mario was getting his way in the industry.
I can safely say that Mario and I contributed a lot about the soaring high of "TV Patrol" because of our colorful entertainment stories in "Star News."
As it was, Francis didn't stay long with the team.
I left ABS-CBN because of my other ideals, among them establishing a community-based theater group in Lopez, Quezon.
Therefore, categorically, I passed all privileges and opportunities to Mario which I didn't mind as he was a friend.
I knew ABS-CBN would grow big not only locally but internationally as well.
Had I stayed with ABS-CBN long enough, would Mario and I become rivals as Ronald Constantino had analyzed?
Because of the complex nature of showbiz intramurals, particularly broadcast, in the most powerful media entity as ABS-CBN, would my friendship with Mario be crushed?
Mario died of septic shock on July 5, 2023 at the Philippine Heart Center after heart attack and complications from severe fungal infection.
His demise was a big blow to me and the entire entertainment industry because his showbiz newscasts were cut above the rest.
Shorts: In the upcoming Cinemalaya Philippine Independent Film Festival to kick of August 4, 2023 at the Philippine International Convention Center (PICC), the 10 competing full-length films are: “Ang Duyan ng Magiting (The Cradle of the Brave) by Dustin Celestino; “As If It’s True” which stars Ashley Ortega and Kahlil Ramos by John Rogers; “Bulawan nga Usa (Golden Deer) by Kenneth De la Cruz; “Gitling” by Jopy Arnaldo; “Huling Palabas”(Fin) by Ryan Espinosa Machado; “Iti Mapupukaw (The Missing)" by Carl Joseph E. Papa; “Maria” by She Andes; “Rookie” by Samantha Lee and Natts Jadaone; “Tether” by Gian Arre, and “When this is all Over” by Kevin Mayuga.
Meanwhile, the shorts in competition are: “Ang Kining Binalaynay Kag Ambahanon ko para sa Imo (These Rhymes and Rhythms meant for you)” by Kenneth John D. Desmaparado; “Golden Bells” by Kurt Soberano; “Hinakdal (Condemned)" by Arvin Belarmino; “Hm Hm MHM” by Sam Villa-Real and Kim Timan; “Kokuryo: The Untold Story of Bb. Undas 2019” by Diokko Manuel Dionisio; “Makoko sa Baybay (I am Going to the Beach)" by Mike Cabarles; “Maudi nga Arapaap (Last Dream)" by Daniel Magayon; “Sibuyas ni Perfecto (Perfecto’s Onion)" by Januar Yap; “Sota” (Horse Caretaker) by Mae Tanagon, and “Tong Adlaw nga Nag-snow sa Pinas (The Day it Snowed in the Philippines)" by Joshua Caesar Medroso.
For the first four entries chosen by the 2023 Metro Manila Film Festival based on scripts, the following are in the running: “A Mother and Son’s Story,” Cineko Productions starring Sharon Cuneta and Alden Richards; “(K)Ampon,” Quantum Films; “Penduko,” Sari-Sari Network, and “Rewind,” Star Cinema, APT Entertainment and Agosto Dos Media.
Ashley Ortega and Kahlil Ramos in 'As If It’s True' (Photo Credit: Cinemalaya Foundation)
Sharon Cuneta and Alden Richards (Photo Credit: Sharon Cuneta’s IG)
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