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Within the span of 55 years that he worked in Philippine movies, Accion was cinematographer to the best film directors in the industry, including Gregorio Fernandez, Eddie Romero, Lamberto V. He worked on such films as No Place To Hide, 1955; Kundiman ng Lahi (Kundiman of the Race) and Surrender, Hell, 1959; Blackburn’s Guerillas and Cry Freedom, 1960; Tagumpay ng Mahirap (The Diosdado Macapagal Story), 1964; Ibulong Mo Sa Hangin (Whisper in the Wind), 1967; Mariposang Dagat (Sea Butterfly), 1977; Sino’ng Pipigil Sa Pagpatak ng Ulan? Accion was elevated to the Filipino Academy of Movie Arts and Sciences (FAMAS) Hall of Fame for his pictures: Anak Dalita (The Ruins), 1956; Badjao and Walang Sugat (Not Wounded), 1957; El Filibusterismo (Subversion), 1962; and Ang Daigdig ng mga Api (World of the Oppressed), 1965.From the Asian Film Festival, he received the best cinematography award twice: the first time for Anak Dalita when it swept all the awards including best picture, and the second time for Badjao, when his work was singled out as best photography in black and white.Through self-study, he learned how to operate a camera.When Tolosa transferred to LVN, Accion was made assistant cameraman to cinematographers Remigio Young and Rafael Salumbides.His other movies that received nominations in the best- cinematography category are: Tanikala and Working Girls, Urian; Brutal, Moral, and Desire, MMFF; The Graduates, Pinulot Ka Lang sa Lupa (You Were Merely Plucked From the Earth), and Nagbabagang Luha (Blazing Tears), Film Academy of the Philippines (FAP) Awards; and Hari sa Hari, Lahi sa Lahi (King to King, Race to Race), Star Awards. To him have been attributed such awesome and wondrous cinematic effects as human princes turning into figures of stone and vice versa in Ibong Adarna (Adarna Bird), 1941; the fantastic floating castle in Prinsesang Basahan (The Princess in Rags), 1949; the biblical Red Sea parting at the stroke of a cane in Tungkod ni Moises (Moses’ Cane), 1952; handsome Jaime de la Rosa transformed into a horrifying bat creature in Taong Paniki (Bat Man), 1952; Bayani Casimiro dancing upside down from ceiling-to-wall-to-floor in Big Shot, 1956; and the terrifying giant reptile monster sowing havoc in Tuko Sa Madre Kakaw (Gecko at Madre Cacao), 1959. Francisco aka Botong Francisco for the production design of some films that he directed, among them: Haring Kobra (King Cobra), 1951, where a mythical Balinese country near the Philippines was created; and Higit sa Korona (Above the Crown), 1956, where the illusion of ancient Egypt provided the backdrop for the longest swordfight in local movie history. He finished high school at the University of Manila.The other films Abelardo directed include: Malikmata (Phantasm) and Engkantada (Enchantress), 1948; El Diablo (The Devil), 1949; Mutya ng Pasig (Muse of Pasig), 1950; Ang Nuno Sa Punso (The Old Man on the Anthill) and Doctor X, 1950; Shalimar, 1951; Krus na Bakal (Iron Cross), 1954; Zarex, 1958; and Miranda and Lastik Man, 1966. He was married to Josette Collin Macalalag, sister of actor Mario Montenegro, with whom he had six children.
He was also the cinematographer of Malvarosa, 1958, which won for Rebecca del Rio the best supporting actress award in the 5th Asian Film Festival held in Manila. In his later years, he turned to movie directing and made Kung Kaya Mo, Kaya Ko Rin (If You Can Do It, I Can Do It, Too), 1979, with Christopher de Leon, and Coed, 1979, with Vilma Santos and Jay Ilagan.Agana’s daughter, Marita, had a short-lived stint in the Philippine movies as “Tessie Agana Jr.” Marita appeared in For You Mama, 1970, with Gloria Romero and Luis Gonzales, and in Elizabeth, 1971. She also portrayed the young Irene Marcos in Pinagbuklod ng Langit (Joined by Heaven), 1969, and was one of the children in Lino Brocka’s Wanted: Perfect Mother, 1970. He has portrayed a variety of roles: a hippie in Beatnik, 1960; a Western gunfighter who challenges Dolphy to a duel in Barilan Sa Baboy-Koral (Gunfight at Pig’s Corral) and the devil, Lucifer, in Si Lucio at Si Miguel (Lucio and Miguel), 1962; and a wacky private sleuth in Detective Kalog and a fierce tribal chieftain in Tansan vs. Their siblings, Gabriel and Marita, work as model makers. All, except Ang Klon, have won awards in short-film festivals of the Experimental Cinema of the Philippines (ECP) and the Cultural Center of the Philippines (CCP). She played her first lead role in Jingy, 1967, opposite Fernando Poe Jr. He was married to Ester Hugo with whom he has seven children.Agana received the Maria Clara Award as best child actress of the year for her dual role performance in Eddie Romero ’s Prinsesa at Pulubi, 1951, an adaptation of the famous classic, The Prince and the Pauper. By the time she appeared in the remake of Cofradia, 1973, in the role popularized by Gloria Romero in 1953, Alajar was already a Sampaguita contract star. His parents are actor Etang Discher and businessman Igmedio Tagle. Tarsan, 1963; Panchito has also appeared on television, as a regular co-host of Dolphy in the long-running Buhay Artista in the 1960s, and as guest actor in many other shows. The Alcazaren brothers have made eight animated films using clay: Hari (King), 1982; Headset and Huling Trip (Last Trip), 1983; Juan de la Cruz and Pagpula (Becoming Red), 1984; Ang Klon (The Clone), 1985; and C. In 1992 Juan exhibited his metal sculptures at the CCP Small Gallery. Among her later notable performances was in the film directed by Behn Cervantes, Sakada (Seasonal Cane Worker), 1976. Alvarado played his first bit role in Halik sa Bandila (A Kiss to the Flag), 1948, and his first starring role in Alyas Chain Gang (Alias Chain Gang), 1967.In March 1988, it set up a theater company which produced a play, Manly-linlang (Filipino adaptation of Norman, Is That You? The AWF is recognized by the Film Academy of the Philippines as an educational entity for its actors and is a member of the FAP Board of Governors. Her other movies include Mapuputing Kamay (The White Hands), Anak ng Espada (The Child of the Sword), Munting Koronel (Little Colonel), and Kerubin (Cherub). She married actor Miguel Anzures and together they appeared in several movies before the war. Her other prewar movies are: Mapait na Lihim (Bitter Secret), 1938, with Rosario Moreno; Pasang Krus (Bearing the Cross), 1939, with Corazon Noble and Rogelio de la Rosa; Gabay ng Magulang (A Parent’s Guide), 1939, with Yolanda Marquez; Walang Tahanan (No Place to Call Home), 1939, with Carlos Padilla Sr.; and Takip-Silim (Twilight), 1939, the picture that launched the famous love team of Carmen Rosales and Rogelio de la Rosa. She was part of the cast of Sebya, Mahal Kita (Sebya, I Love You), which started as a radio show over DZXL and was later made into a movie by LVN in 1957. She married actor Michael de Mesa with whom she has three sons. Alajar was only eight years old when she auditioned for Lea Productions ’ Kaibigan Ko ang Santo Niño (The Holy Infant is My Friend), 1967. He performed at the Orient Theater together with Pilita and Dolphy, among others, in 1945. and Rolinda Alcazaren, the two brothers finished elementary and high school at the Don Bosco Technical College.She was under exclusive contract with Sampaguita and did not work for any other movie company except Alta Productions, the Agana firm which produced Kung Ako’y Maging Dalaga (When I Grow Up To Be A Lady), 1955. On television, she appeared as a mainstay in the sitcom, Si Tatang Kasi (Blame it on Father), 1970. She stood out from among close to 300 aspirants and won the title role opposite Roderick Paulate in the film. Goaded by Bayani Casimiro, he joined the movies and first appeared in Sa Isang Sulyap Mo, Tita (With One Glance From You, Tita), 1949. Miguel obtained his bachelor of arts degree in communication arts from the Ateneo de Manila University, while Juan earned his bachelor of science in landscape architecture at the University of the Philippines. Actor son, Jon Hernandez, died in a car accident in 1993.
Its centerpiece project is its AWF Scholarship Program for Young Actors which provides selected talents a year-long curriculum and training in acting. The film broke box-office records and helped Sampaguita Pictures rise again after a big fire gutted its studio. Nolasco ’s Siete Dolores (Seven Sorrows) and Mga Busabos ng Palad (Slaves of Fate), 1948; Eddie Infante ’s Ina (Mother), 1948; and Tony Arnaldo’s Anak ng Pulubi (Child of a Beggar), 1951.