LVN Pictures
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LVN Pictures, Inc. is one of the biggest film studios in the history of Philippine cinema and its foremost establishment in motion picture post-production until 2005. In its heyday of motion picture production, LVN Pictures has been compared to that of the Metro-Goldwyn-Mayer Studios (MGM) of Hollywood because it had, under contract, the biggest stars and film craftsmen of the period.
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[edit] History
[edit] Establishment and World War Two (From 1938 to 1945)
LVN Pictures was formed by the De Leon ["L"], Villonco ["V"] and Naboa ["N"] families before the onset of World War II in 1938. At that time, the American-occupied Philippines was a ready market for American films, which further influenced various filmmakers like Jose Nepomuceno (the Father of Philippine Movies) to set up various film production companies to produce Tagalog movies.
With its creation, LVN Pictures offered a rival to then-newly established Sampaguita Pictures of the Vera-Perez family. LVN chose the big piece of land in P. Tuazon Boulevard, C. Benitez and St. Peter Street in Cubao, Quezon City as its home, and for the next seven decades, the lot would become the backlot and administration location of the studio. The LVN Gate, with the initials of the studio emblazoned in red letters and set in white beams, became as famous as the Paramount Pictures gate, and the big LVN Studios logo atop the Main Building became as famous as the MGM logo atop its main building. To oversee its production facilities, Doña Narcisa de Leon of the De Leon family took over the company as its president and "Executive Producer". She was the first Filipina film mogul. Eventually, due to the uninvolvement of the Villonco and Naboa families, she bought their shares, which made LVN a De Leon family company.
The studio's first offering was the musical Giliw Ko(one of the very few Pre-War Filipino Films still extant today), which starred the three biggest stars of the era (Ely Ramos, Fernando Poe, Sr. and Fleur de Lis [who subsequently became Mona Lisa]) and introduced Mila del Sol. The movie, released in 1939, was a box-office success. In 1941, LVN introduced another trend. The first Filipino film in color (utilizing the "Varicolor" process), Ibong Adarna, was produced by LVN and was directed by Vicente Salumbides. The color sequence of the film, which was the singing of the bird, was painstakingly hand-colored. The film also starred Mila del Sol, Fred Cortes and Manuel Conde and was a box-office success. Nevertheless, the growth of the studio was hampered due to World War II and the Japanese Occupation, which ravaged Manila and the rest of the Philippines from January 2, 1942 to February 1945. Due to the hardships of the war and to avoid being used as Japanese propaganda center, LVN closed shop.
During this period, LVN Pictures has discovered and developed the following stars: Rogelio de la Rosa, Jaime de la Rosa, Mila del Sol, Fred Cortes, Norma Blancaflor, Lilia Dizon, Rosa Rosal, to name a few.
[edit] Post World War Two
After the Liberation of Manila in 1945, LVN Pictures immediately resumed film productions. The LVN stars who had to do stage shows when it closed shop was again making movies. LVN produced Miss Philippines (1947) with Norma Blancaflor and Jose "Pempe" Padilla, Jr., Ginang Takaichi (1948) with Lilia Dizon and Sa Tokyo Ikinasal (1948) with Rogelio de la Rosa, Tessie Quintana, Celia Flor and Armando Goyena, all of which pertain to the Japanese occupation of the Philippines. In the 1950s, at the height of the Communist threat in the Philippines, LVN Pictures collaborated with the Philippine government in vilifying communism by producing three films that were against Communism, namely Kontrabando (1950), FAMAS Award-winner Korea (1952) and FAMAS Best Picture Huk sa Bagong Pamumuhay (1953). Aside from these, LVN also produced its specialty, the musicals, namely Sarung Banggi (1947) and Mutya ng Pasig (1950), to name a few.
[edit] The Golden Age of Philippine Cinema (The 1950s)
The so-called First Golden Age of Philippine Cinema commenced in the 1950s with the flourishing establishment of the so-called Big Four studios, namely LVN Pictures, Sampaguita Pictures, Lebran International and Premiere Productions, with each studio specializing in different genres. Sampaguita Pictures specialized in high-glossed society pictures and musicals. Premiere Productions and Lebran International specialized in action pictures. LVN, on the other hand, became known for its "superproductions," the Hollywood equivalent of "epic" films that was complemented by the LVN superstars that starred in these films. The various superproductions of LVN were Ibong Adarna (1955), Lapu-Lapu (1955) and the movie classics Badjao (1956), Anak Dalita (1957) and Biyaya ng Lupa (1959). At this time, LVN Pictures emerged as the biggest film studio of the Philippines, releasing 2 to 3 films a month in 1955-1956.
Indeed, during this time, LVN Pictures housed the biggest and most popular stars of the period. With Narcisa de Leon still helming LVN Pictures, the studio managed to maintain its resident female contravida (antagonist) FAMAS-winner Rosa Rosal, the then undisputed King of Philippine Movies and FAMAS-winner Rogelio de la Rosa, FAMAS-nominee Lilia Dizon, FAMAS-winner Jose Padilla, Jr., Jaime de la Rosa, Celia Flor, Mila del Sol, Corazon Noble, Norma Blancaflor and a handful of other stars. In addition, LVN added FAMAS winners Charito Solis (introduced in Niña Bonita in 1955), Nida Blanca, Leroy Salvador, Armando Goyena, Tony Santos, Sr., Oscar Keesee, Gil de Leon, Eddie Rodriguez and a handful of other stars to its roster. Delia Razon, Daisy Romualdez, Nestor de Villa, Mario Montenegro, Norma Vales, Lou Salvador, Jr., Marita Zobel and Sylvia La Torre are the other stars added to LVN during this period. In addition to stars, LVN also prided itself in the film artisans that it had on contract. The make-up legend Manahan Sisters, directors Lamberto Avellana and Gerardo de Leon (who became FAMAS winners), musician Tito Arevalo and editor Ike Jarlego were few of the many talented film artisans that were, one year or another, in contract with the studio.
LVN Pictures prided itself on the creation of what was perhaps the most popular love team of all time, the Nida Blanca-Nestor de Villa love team. The two stars, who were also gifted in the field of dancing and singing, gave LVN a boost on the box-office with their films Waray-Waray (1954), Kalyehera (1957) and Talusaling (1958). The love team gave Sampaguita Pictures a competition, which led them to build up their number-one star, Gloria Romero, with the dashing Luis Gonzales. Nevertheless, the Nida-Nestor love team had one thing that the Gloria-Luis lacked: the gift of dance. Nida-Nestor danced their way to the box-office, and even later to television with their own show.
In addition, LVN's desire to equal Sampaguita Pictures' drama excellence was also answered. By the 1950s, Sampaguita drama empresses Lolita Rodriguez, Marlene Dauden and Rita Gomez were already held in check by LVN's very own drama empress Charito Solis. Charito Solis starred in the blockbuster films Malvarosa (1958), Kundiman ng Lahi (1959) and Emily (1960). To answer for the hugely popular action films of Premiere Productions and Lebran International, LVN also developed its resident hunk Mario Montenegro, Jaime de la Rosa and Jose Padilla, Jr., to do action films like Huk sa Bagong Pamumuhay (1953) and Lapu-Lapu (1955). LVN also featured its own roster of antagonists or contravidas which brought "hell" to Filipino screens like Eusebio Gomez, Oscar Keesee, Jr., Rosa Rosal, Gil de Leon, Rebecca del Rio and Rosa Aguirre to name a few. LVN also had under contract the brightest singing stars of the period like Diomedes Maturan, Sylvia La Torre and Marita Zobel. La Torre later teamed up with Eddie San Jose in LVN's series of comedies starring the team of Pugo and Bentot.
In 1955, LVN Pictures again set another landmark by remaking Ibong Adarna in 1955, starring the then-popular love team of Nida Blanca and Nestor de Villa. The movie became the first Filipino film to ever grossed one million pesos and hugely promoted the love team of Blanca and de Villa. In 1956, LVN brough international fame to the Philippines when its superproduction Badjao (1956) starring Rosa Rosal won the Golden Harvest Award (Best Picture) at the Asia-Pacific Film Festival. From this point on, LVN's superproductions figured in various film festivals and competitions all over the world, winning Best Picture Awards and acting awards in the process.
In the local scene, LVN Pictures also dominated the Awards of the Filipino Academy of Movie Arts and Sciences (FAMAS Awards) by amassing a total of 11 nominations for Best Picture. In total, it won 4 Best Picture awards, 1 Best Short Film Award and 1 Best Featurette Award. In addition, LVN Pictures holds the record for the most FAMAS International Prestige Awards of Merit, the award of the FAMAS that gives recognition to productions which were recognized internationally. At a time when movie studios were only receiving one or two of these in a decade, LVN has managed to collect four of them for the films Anak Dalita (1957), Malvarosa (1958), Bayanihan and My Serenade (both 1961).
Nevertheless, due to the heavy competition that LVN Pictures experienced from Hollywood films and even local television, the Golden Age of Philippine cinema was the only boost it needed to survive as a corporation.
[edit] The 1960s and onwards
In 1961, LVN stopped producing motion pictures and suddenly decided to switch to post-production. The decision was not surprising; even though LVN was releasing box-office successes, the earnings from these films were used to pay off existing loans and debts from various Philippine banks. By 1961, LVN pictures was already nearing practical bankruptcy due to "causes beyond its control." In 1961, LVN Pictures has already cut back the salaries of its workers by 5-20% while its losses for the year was already more than P333,000. But LVN is not alone; among the rest of the Big Four, only Sampaguita Pictures survived to the seventies, and even this famed studio later closed shop in the eighties.
The stars of LVN Pictures became freelancers when LVN stopped its production of films, many of whom went to its sister company, Dalisay Pictures. The remaining moviemaking equipment of LVN such as cameras, lights and others were loaned to various movie outfits and independent producers such as Cirio Santiago, Larry Santiago Productions, Dalisay Pictures, People's Pictures and other at P13,000 per picture. In the meantime, LVN Pictures moved to post-production, which specialized in color processing and editing of films for Philippine cinema and advertising. For the next forty years, LVN engaged in post-production, which was said to be the best in Asia.
In 1980, LVN Pictures made one more attempt at movie production with the release of the hugely-successful comedy Kakabakaba Ka Ba? (1980) starring Christopher de Leon, Charo Santos, Jay Ilagan and Sandy Andolong. The movie earned LVN Pictures its last nomination for Best Picture at the FAMAS Awards.
[edit] Closure
In 2005, LVN Pictures also decided to close its post-production facilities at the old studio lot, which was now almost decrepit due to forty years of non-film production. The reason for LVN Pictures final closure was the lessening number of Filipino films that availed of their post-production services. Indeed, the Philippine film industry was already slumping to 53 films a year. The costs of maintaining the equipments at the LVN Studios exceeded the revenue that it received from post-production, so in June 30, 2005, LVN's post-production equipment went up for sale and was bought by an unnamed group of businessmen. Nevertheless, the LVN Museum, the lot and the studio buildings itself were not part of the buy-out. At the time of the purchase, the whole LVN Pictures was valued at P45 million.
[edit] Legacy
LVN Pictures is the first of its kind in Philippine movie history. It was the movie studio that set many trends in the forefront of Philippine cinema. At the time of its height, it was also the biggest and most powerful studio of the time, nestling under its wing countless number of big stars that went on to become Filipino screen legends, acclaimed directors that helmed Filipino film classics and numerous film artisans that helped define THE Filipino film. Its power was even recognized by its three-film tie-up with the Philippine government during the Communist threat era of the 1950s.
Its glorious impact, not only in the movie industry, but also to the millions and legions of fans that watched its films had an indelible and unwavering contribution to the development of Filipino culture as whole. From the FAMAS Best Picture Huk sa Bagong Pamumuhay, which told its viewers that no matter how bad a person may be, he could still redeem himself; to the FAMAS honoree Anak Dalita (1957), which chronicled human perseverance in the face of war, LVN Pictures has definitely influenced the Filipino of the 1950s, which still echoes into the Philippines' subconscious up to the present. And still more fans were added when these pictures were later shown in Philippine television in the 1960s and 1970s.
To maintain the legacy of LVN Pictures and the films it made, ABS-CBN Broadcasting Corp., the Philippines' largest media network, bought LVN Pictures productions shortly after its closure and showcased them from time to time in its television film arm, Cinema One, which is aired not only in the Philippines but also in many parts of the world. The films are now slso being archived in the state-of-the art facilities of ABS-CBN Network. In addition, the LVN Museum, established by Bernard Fernandez, LVN Pictures' head of the costume department, also holds the studio's memorabilia, still photographs, glamour photographs of its stars and costumes.
[edit] LVN Museum
In difficult times such as what our country is facing now, it is comforting that there are still a few places where a Filipino can be proud of his patrimony.[1]
[edit] Sprawling lot
Nestled on the sprawling lot of LVN studios on P. Tuazon blvd. in Quezon City is the LVN Museum. Once inside the compound, the visitor has to inform the people at the front desk at the administration building of his purpose, or he can call beforehand and have his name registered so the security guard can let him through. There is an entrance fee of P30.
The museum is still housed in a one-storey building, but don’t be fooled because there is nothing simple about the facade or the front lawn. Both are colorfully decorated with bayonets, shields, coat of arms and old lighting equipment. It’s a prelude to what a visitor can expect to see inside the museum: more than two decades of film legacy!
Before I went to the museum, I read up on the history of LVN from a masteral dissertation of a university professor. I learned that the studio was established in 1938, shortly before the Second World War. The acronym LVN was taken from the first letter of the last names of its partners: Doña Narcisa Buencamino de Leon, Carmen Villongco and Eleuterio Navoa Sr.
[edit] Facilities
It was closed down during the war and opened again after the Liberation until 1961, when it finally stopped producing movies. LVN Studios’ facilities were revitalized to cater to post-production needs of its clients.
The museum is packed with surprises. I call them that because from what I’ve learned from my edifying interview with its curator and founder, Bernard Fernandez, the pieces on display were salvaged from a neglected state in storage. A museum was never in the plan of LVN.
Fernandez said that the museum was created by a mere stroke of fate, with a little initiative from him. He recalled seeing boxes and boxes of old costumes and props stacked in a bodega more than 10 years ago. Then in 1989, he had a vacant lot—where old and rotting cars were piled up—leveled down and a sort of open structure was erected. He employed a hired hand and moved the salvaged boxes to that site.
[edit] Permanent display
It was during his birthday celebration that the idea of a permanent display was conceived. He was talking to the De Leons, and they recognized his effort and ordered the release of some money to begin the construction of a building to house the old costumes and props.
Having worked in the wardrobe department of LVN Studios since 1950, Fernandez has preserved the costumes quite remarkably. The colors are still bright, the lines distinct and the designs accurate. It’s a shame though that only a few are modeled by mannequins, such as costumes worn by Nida, Delia, Charito Solis and Manuel Conde.
Not equipped with modern means of preserving fabrics, Fernandez opts for naphthalene or mothballs, with an occasional sunning to dry out residual moisture and the fungi growth that accumulates. The air-conditioning helps to stabilize the temperature, the fluctuation of which can easily ruin delicate fabrics.
[edit] Photographs
Aside from the costumes ranging from flamboyant evening gowns and ornate armored suits, the museum also boasts of photographs of the studio’s stars, like Mila del Sol and Lou Salvador Jr., which line the walls. More photographs of directors and those showcasing scenes from movies fill up the nooks and crannies of the place, along with a few old movie posters here and there. Props like street lamps, torches, spears, swords, shields, rifles and radios are also displayed. There is even a director’s chair which, according to the label, was Mike de Leon’s.
In the far end of the museum are old and bulky cameras which, from their size, must have been operated by two men a piece. At the opposite end is some sort of shrine which has come to look like it because of the way the statue of Pugo, a comedy character actor, is mounted at its center.
Fernandez also showed me the old Max Factor makeup kits which include a formula they used for fake blood which was more realistic than what makeup artists use today. There are also worn-out shoes and boots and rusty military insignias. Encased in a glass cabinet is Charito Solis’ elaborate jewelry which she used in her movies. They were personally delivered by Charito’s sister after the actress’ death.
But it’s not only Charito Solis who gave pieces for display at the museum. Nida Blanca and Delia Razon also donated some of their dresses and photographs, though both women prefer to keep their own collections, perhaps for sentimental reasons. In fact, Nida has boxes of costumes and albums of photographs in her library. In contrast, her onscreen dance partner, Nestor de Villa, has failed to preserve his own film souvenirs.
[edit] Portrait
Museum curator Bernard Fernandez said that there are other potential acquisitions, but so far none has materialized yet. One is the life-size portrait of Leopoldo Salcedo done by an American painter. The painter was looking for an individual or an institution as the recipient, and the LVN Museum was one of those considered. But the plan was foiled by Salcedo’s death. Fernandez last saw the portrait at the star’s wake and didn’t dare ask for it, out of respect for the grieving family.
Another batch was made up of trunks of old stuff belonging to Rogelio de la Rosa, as promised by his wife. Unfortunately, Fernandez lost contact with her. Still another possible acquisition is the suitcase full of scripts currently in the possession of someone who worked as assistant director for actor-turned-director Gregorio Fernandez.
Such mementos are significant in the light of the growing trend among institutions to secure their place in society through rediscovering their own history by means of documentation and collection of artifacts.
[edit] Small place
With all these things in exhibit, one can only marvel how such a small place can hold so many pieces. Fernandez reveals that there are still more articles he wants to display but can’t due to lack of space. The need for a larger venue has been his main concern for sometime now. People who have visited the museum--film students, movie buffs, work shoppers and tourists--have expressed hope for a bigger place for such a unique museum. Fernandez says they should act fast, because at the age of 80, he is not getting any younger or stronger!
But in spite of the growing popularity and media coverage the museum has been enjoying, it has yet to be officially recognized by authorities. So far, as Fernandez said, the closest working relationship they have had with the National Commission for Culture and the Arts was when the NCCA borrowed Nida’s costumes for an exhibit.
The museum is also not yet featured in tourism brochures but the coverage of TV shows like "Balitang K," "City line," "Extra, Extra," "Knowledge Power" and "Wake-up Call" make better advertisements as these reach more people.
[edit] Video documentation
In return for the interviews, Fernandez asked for copies of the tapes for video documentation, which can prove valuable in the future.
To prove the museum’s gradual introduction to mainstream popular culture, Fernandez recalls that a multinational food and beverage company attempted to borrow numerous pieces they planned to exhibit at the Glorietta. He declined when he saw the long list of pieces to be borrowed. He was even more adamant when he learned that the pieces would be out of their home for a year. The obvious care Fernandez devotes to the pieces is understandable, considering that any damage done is irreparable as they are all original and have become priceless in their own right. He also admits that one of his driving forces in maintaining the integrity of the museum is his gratitude to Doña Sisang for taking him as her ward. He reminds me that last Oct. 29, 2005 they celebrated the 123rd birth anniversary of the LVN matriarch. Indeed, there can be no other greater gift than to preserve her legacy.
[edit] National treasure
It is not difficult to see that the LVN Museum has the potential of becoming a national treasure we could be proud of. As such, it needs the care and help of all concerned Filipinos, if we want it to be carried over to the future.
But don’t take my word for it, go visit LVN Museum and you’ll know what I mean. The museum is open Mondays to Fridays from 9 a.m. to 4 p.m. and on Saturdays from 9 a.m. to 12 noon.
[edit] List of LVN Pictures
- 1939 - Giliw Ko: Fernando Poe Sr., Ely Ramos, Mila del Sol and Fleur de Lis(Mona Lisa) (1st LVN Film)
- 1946 - Ang Prinsiping Hindi Tumatawa: Rogelio de la Rosa & Mila del Sol
- 1946 - Garrison 13
- 1946 - Aladin
- 1946 - Orasang Ginto: Mila del Sol & Elvira Reyes
- 1946 - Victory Joe: Rogelio de la Rosa & Norma Blancaflor
- 1947 - Miss Philippines: Jose Padilla, Jr. & Norma Blancaflor
- 1947 - Bagong Manunubos
- 1947 - Ikaw ay Akin
- 1947 - Binatang Taring
- 1947 - Romansa
- 1947 - Magkaibang Lahi: Corazon Noble & Ely Ramos
- 1947 - Sarung Banggi: Rogelio de la Rosa & Mila del Sol
- 1948 - Kaaway ng Babae: Jose Padilla, Jr. & Lilia Dizon
- 1948 - Kambal Na Ligaya: Leopoldo Salcedo & Lilia Dizon
- 1948 - Engkantada
- 1948 - Krus na Bituin
- 1948 - Waling-Waling
- 1948 - Tanikalang papel
- 1948 - Pista sa Nayon: Jose Padilla, Jr.& Rebecca Gonzales
- 1948 - Sa Tokyo Ikinasal: Rogelio de la Rosa, Armando Goyena & Tessie Quintana
- 1948 - Sierra Madre, Bundok ng Hiwaga: Leopoldo Salcedo
- 1948 - Sumpaan: Ely Ramos & Rosal Rosal
- 1949 - Biglang Yaman: Jaime de la Rosa & Rosa Rosal
- 1949 - Capas: Leopoldo Salcedo & Celia Flor
- 1949 - Parola: Jaime de la Rosa & Norma Blancaflor
- 1949 - Gitano
- 1949 - Tambol Mayor
- 1949 - Batalyon XIII
- 1949 - Don Juan Tenoso
- 1950 - Mutya ng Pasig: Jose Padilla, Jr., Rebecca Gonzales, Teody Belarmino & Delia Razon
- 1950 - Nuno sa Punso
- 1950 - Kontrabando
- 1950 - Hantic
- 1950 - In Despair
- 1950 - Prinsipe Amante: Rogelio de la Rosa & Delia Razon
- 1951 - Reyna Elena
- 1951 - Satur
- 1951 - Anak ng Pulubi
- 1951 - Shalimar
- 1951 - Probinsiyano
- 1951 - Amor mio
- 1951 - Haring Kobra
- 1951 - Pag-asa
- 1951 - Prinsipe Amante sa Rubitanya
- 1951 - Venus
- 1952 - Rodrigo de Villa: Delia Rzon & Mario Montenegro
- 1952 - Korea: Jaime de la Rosa, Tony Santos Sr., Leroy Salvador & Nida Blanca
- 1952 - Sa Paanan ng Nazareno
- 1952 - Taong Paniki
- 1952 - Kabalyerong Itim
- 1952 - Haring Solomon at Reyna Sheba: Mila del Sol
- 1952 - Dalawang Sundalong Kanin
- 1952 - Kambal Tuko
- 1952 - Amor Mio
- 1952 - Tenyente Carlos Blanco
- 1952 - Hagad: Armando Goyena, Carmencita Abad & Rosa Rosal
- 1953 - Huk Sa Bagong Pamumuhay: Jose Padilla, Jr. & Celia Flor
- 1953 - Kuwentong Bahay-Bahayan: Rolando Acuzar & Nora Dy
- 1953 - Pusong May Lason: Delia Razon & Mario Montenegro
- 1953 - Loida
- 1953 - Batanguena
- 1953 - Dalaguinding
- 1953 - Hijo de Familia
- 1953 - Hiyasmin
- 1953 - Squatters
- 1953 - Tumbalik ng Daigdig: Nida Blanca & Nestor de Villa
- 1953 - Kidlat...Ngayon: Armando Goyena
- 1954 - Waray-Waray: Nestor de Villa & Nida Blanca
- 1954 - Galawgaw: Jaime de la Rosa & Nida Blanca
- 1954 - Hiyasmin: Nida Blanca & Nestor de Villa
- 1954 - Dambanang Putik: Delia Razon & Mario Montenegro
- 1954 - Dalawang Panata
- 1954 - Virtuoso
- 1954 - Doce Pares
- 1954 - Donato
- 1954 - Tinalikdang Dambana
- 1954 - Luneta
- 1954 - Tin-edyer
- 1955 - Ibong Adarna: Fred Cortes & Mila del Sol
- 1955 - Lapu-Lapu: Mario Montenegro & Delia Razon
- 1955 - Niña Bonita: Jaime de la Rosa, Milagros Naval, Gil de Leon & Charito Solis
- 1955 - Saydwok Vendor
- 1955 - Dinayang Pagmamahal: Jaime de la Rosa, Charito Solis & Rebecca del Rio
- 1955 - Darling Ko
- 1955 - Talusaling
- 1955 - Dalagang Taring: Delia Razon & Nestor de Villa
- 1955 - Ikaw Kasi: Nida Blanca & Nestor de Villa
- 1956 - Charito, I Love You: Charito Solis, Leroy Salvador & Nita Javier
- 1956 - No Money..No Honey
- 1956 - Anak Dalita: Rosa Rosal & Tony Santos, Sr.
- 1956 - Luksang Tagumpay: Jaime de la Rosa, Delia Razon, Rebecca del Rio & Eddie Rodriguez
- 1956 - Medalyong Perlas
- 1956 - Kumander 13
- 1956 - Aling Kutsero
- 1956 - Handang Matodas: Nida Blanca, Nestor de Villa & Nita Javier
- 1956 - Among Tunay: Delia Razon & Mario Montenegro
- 1956 - Ilaw Sa Karimlan: Delia Razon & Mario Montenegro
- 1957 - Tiririt Ng Ibon: Charito Solis & Leroy Salvador
- 1957 - Badjao: Rosa Rosal & Tony Santos Sr.
- 1957 - Hukom Roldan
- 1957 - Turista: Nida Blanca & Nestor de Villa
- 1957 - Bahala Na
- 1957 - Kalyehera
- 1957 - El Robo
- 1957 - Sampung Libong Pisong Pag-ibig: Charito Solis, Eddie Rodriguez & Jose Ejercito(Joseph Estrada)
- 1957 - Walang Sugat: Charito Solis, Tony Santos Sr. & Mario Montenegro
- 1958 - Faithful: Jaime de la Rosa & Rosa Rosal
- 1958 - Casa Grande
- 1958 - Malvarosa: Charito Solis & Leroy Salvador
- 1958 - Tuloy ang Ligaya
- 1958 - Ang Langit Ko'y Ikaw: Charito Solis, Nestor de Villa, Liza Moreno & Willie Sotelo
- 1958 - Villa Milagrosa: Charto Solis, Nestor de Villa, Eddie Rodriguez & Nita Javier
- 1959 - Biyaya ng Lupa: Rosa Rosal & Tony Santos Sr.
- 1959 - Wala Kang Paki
- 1959 - Kundiman ng Lahi: Charito Solis
- 1959 - Tuko Sa Madre Kakao: Nita Javier, Willie Sotelo, Hector Reyes & Luz Valdez
- 1960 - Black Beauty: Charito Solis & Bernard Bonnin
- 1960 - Nukso ng Nukso
- 1960 - Bakit ka Nagtampo
- 1960 - Unos Sa Laot: Charito Solis and Nestor de Villa
- 1960 - Kung Ako'y Mahal Mo: Charito Solis & Nestor de Villa
- 1960 - Emily: Charito Solis, Pancho Magalona, Leroy Salvador & Eddie Rodriguez
- 1961 - Oh Sendang!
- 1961 - Pangako At Sandata: Charito Solis & Fernando Poe Jr.
[edit] Notes
- Mercado, Monina (1977). Doña Sisang and Filipino Movies. Philippines: Vera-Reyes, Inc.
