– Paraluman’s legendary status in Philippine showbusiness merited her an inclusion in the lyrics of Ang Huling El Bimbo, one of the most popular songs of Filipino rock band Eraserheads. –

__

Patay sa kembot ng bewang mo
At pungay ng ‘yong mga mata

—- Ang Huling El Bimbo, Eraserheads

Paraluman was born in Tayabas, Quezon, of a German father and a Filipina. At her prime, she was considered as the Philippine’s answer to Swedish-American actress Greta Garbo because of her perfect bone structure, svelte figure, long brown hair, hypnotic eyes, an impenetrable gaze, and a face capable of registering everything.

She died of heart attack last Monday at 85.

The young Paraluman was a movie fan. She loved reading magazines about her favorite celebrities. Her interest in showbiz increased when she learned that their next-door neighbor was the big movie star, Corazón Noble. She would often climb over the fence to catch glimpse of the actress.

Her curiosity yielded positive results because Noble’s younger sister, Lily, noticed her and soon, Paraluman became friends with Lily.

Because of her extraordinary beauty, Paraluman was recommended by Norma, another sister of Corazón, to Luis Nolasco of Filippine Films. She was only 17 at that time. Her first movie was Flores de Mayo (1940). She first used the the screen name Mina de Gracia. It was later changed to Paraluman by Fernando Poe Sr., who signed her as a full-fledged star in X’otic Films’ Paraluman (1941). This was followed by the actresses’ roles in the films Bayani ng Bayan and Puting Dambana.

Ang Huling El Bimbo

After World War II, she came back to cinema as a contract star of Sampaguita Pictures. She then became a famous leading lady in romantic movies, but when she made a comeback, her image was repackaged by Sampaguita Pictures owner Dr. José “Doc” Pérez. She was given character roles, playing nemesis to Gloria Romero in Hongkong Holiday, then a lame woman in Tanikalang Apoy(1959). This, however, turned to her favor because it honed her acting skills more, earning her a FAMAS Best Actress Award for the movie Sino ang maysala?.

Paraluman was also nominated four times in FAMAS: twice in 1959 for Best Actress for the movies Bobby and Anino ni Bathala, in 1972 as Best Supporting Actress for Lilet, and in 1976 as Best Supporting Actress for Mister Mo, Lover Boy Ko.

Her last movie was “Kailan Sasabihing Mahal Kita” in 1985.

Her daughter, Baby O’Brien, was a TV-commercial-model-turned-actress. Her granddaughter, Rina Reyes (O’Brien’s daughter) is also an actress.

Paraluman’s legendary status in Philippine showbusiness even merited her an inclusion in the lyrics of Ang Huling El Bimbo, one of the most popular songs of Filipino rock band Eraserheads.

(SOURCE: telebisyon.net)

I WASN’T SO EXCITED about last year’s edition of Pinoy Big Brother for the simple reason that everybody went gaga over it. You see, I tend to do the opposite of what everybody does. If you go straight, I step back. If you go left, I go right. If you go right, I go wrong. As a result, I missed the national experience of watching a peepshow in the comforts of the living room.

I wouldn’t have mind missing it again this year if not for the participation in the show of a colleague in the local music scene. An artist that defies commercial conventions has made it to a show that worries about ratings more than anything else. I need to watch it.

For us independent musicians who tremble at the word “sellout,” Budoy crying on national television is a serious concern. Damn, this show considers tears as its main attraction, and Budoy is biting. But knowing Budoy, I’m sure he has something up his sleeve after that experience. He’ll have his revenge.

I remember a tour we had with Budoy a few years ago. While everybody in the band was going ballistic over lousy accommodation, Budoy easily made himself cozy under a tree and dozed off.

He’s not the type who sheds a tear or two over anything. He’ll find a way out of a difficult situation and escape emotionally intact. At least that’s the band’s impression of the artist after two weeks on the road with him.

So I wonder what’s inside that “confession room” that makes the toughest “housemates” cry like babies. There must be a sign on the wall there that says “cry or be voted out.” Or the “confession” must really be an emotionally exhausting experience, with “big brother” manipulating the housemates’ emotions until it’s too much for them to handle.

I have nothing against crying. I cry too, but in private. You can cry in front of a loved one, your family, your enemy, your pet dog, your boss. But on national television, and in a show that is obviously scripted?

We’ve become suckers for “reality” TV. Remember that Kris Aquino-Joey Marquez episode? How long did they feed us with Ms Aquino’s oh-so-unique pain, as if one person’s falling in and out of love was a matter of national security? Long enough for Ms Aquino to institutionalize crying on television as a national pastime. She became the standard for what’s real tear and what’s not on prime time. And we bought it.

I heard the first PBB fed on scandals and too much skin, and that the peeping toms in everyone lapped it up. This year’s episode seems to count on the housemates’ tears to equal its predecessor’s success. And the senti in all of us is starting to feast on it too.

But like Budoy, we’ll have our revenge too.

(sun.star weekend 2007)