MARZ CAVESTANY: ON NORA AUNOR
Permission to be sought yet.
--- Lifted from his FB PAGE - NO INFRINGEMENT intended.
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MAY EDITORIAL, PHILIPPINE COMMUNITY HERALD NEWSPAPER (pchn),Australia
By Mars Cavestany, APA-PhD
[Note. I'm reposting a shorter version of this long homage to Ms Aunor a couple of days ahead of her supposed 72nd birthday on 21st May.]
“Yakap-yakap kong pag-asa”
(REMEMBERING NORA AUNOR
NORA CABALTERA VILLAMAYOR, screen name (NORA AUNOR – (21 May 1953- 16 April 2025)
FIRST ENCOUNTER (“Nora at the Crossroads”)
I met and became close to Nora Aunor, not in her heydays but at the lowest ebb of her career, which made her very human to me (“taung-tao” in the vernacular.)
Truth to tell, my first official encounter with Guy led to and sealed our friendship straightaway. It was a totally different zeitgeist in which the climate or vibe of the epoch, particularly in the so-called “pinilakang tabing” or celluloid world was a-changing.
For the superstar, the impact was so sweepingly dismal as to throw her checkered career in shambles. The ever frivolous and unpredictable Pinoy showbiz overturned trends, tastes, and temper of the times-- riveting to a glamorous galaxy of new young stars flirting with and catering to the burgeoning pre-millennial youthful movie-goers. By this time, Nora’s Noranians have pretty much aged and matured too.
What is more, Nora’s stronghold of her fandom, somehow lost steam, tripping towards a tipping point when box-office sales of her recent films were no longer a-ringing. Producers distrusted casting her as the frontrunner or female lead, whilst some of the previous and more cunning ones lingered on the side of safety or found themselves literally with their backs on the wall.
This was the sad refrain accompanying the pitiful undercurrent in which Nora lived and survived at that particular point in time we met.
Enter Mars Cavestany – just when her public adulation was waning. and her morale diving rock bottom. Worse, even her 22-years longest running musical variety on TV show “SUPERSTAR” unceremoniously got the ax.
Ergo, “NORA AT THE CROSSROADS” became such a fitting title to my two-page broadsheet-long interview of the not-so-fallen Superstar I mesmerizingly found out soon enough.
“Yakap-yakap kong pag-asa” is my favorite gem of a direct quote from Nora, which I used to entitle this piece. (It is also the same title decidedly given to a musical I started drafting in 1996 in Melbourne but put aside as I was finishing my Australian PostGraduate Award PhD in Theatre Studies at La Trobe University. Needless to say, I am reviving it opportunely with my co-writer Benny Chan for equally-timely not-so-future mounting.)
Such line alone, “yakap-yakap kong pag-asa” is the profound, awe-inspiring, breath-taking expression only a Nora Aunor could propel as unforgettably as her “Walang Himala” or “My brother is not a pig” – all-time quotable quotes from her immortal movies. Furthermore, I pellucidly recall her off the cuff response to my query as to how she feels when she hears “laos ka na” comments.
She blurted out these lines nonchalantly loud and clear: “Ang tunay na artista ay di nalalaos, dahil marami siyang iiwanang alaala sa puso ng mga nagmamahal na fans. Silang nagluklok at nagtanghal sa akin bilang Superstar at kapag bumitaw na sila saan ako pupulutin? Kaya ako gumagawa ng maraming makabuluhang pelikula na siyang pamana ko sa lahat ng nagtiwala sa akin at bilang ambag ko na rin sa ikasusulong ng industriyang pelikula sa’ting bansa.”
Another big surprise I experienced on this very first encounter was when Nora gave me money. On my way out after our lovely exchange, I noticed her slip quite a big amount in my back pocket. Unused to “envelopmental journalism” flagrant among entertainment press people, I gave it back to her saying I wasn’t expecting this at all but she pleaded genuinely claiming “Basta tanggapin mo Kuya, regalo ko lang sa ‘iyo to hindi suhol o kabayaran sa anumang isusulat mo.”
Many years later, I was so moved when Nora mentioned that prized interview of mine again, when we reunited in Australia during one of her concert tours which I will tackle later in a separate sories.
Working with Nora as Co-Actor/Scriptwriter/Director
Of the many instances I have worked with Nora Aunor as a fellow artist, I will single out three outstanding TV dramatic anthologies I’ve done with Nora: two for Mahiwagang Daigdig ni Nora, (both directed by the late Mario O Hara, one was written by my bff Frank Rivera where she played the role of a Champion sprinter and I was her Father; and the other my TV adaptation of the classic Filipino play Sabina by Severino Montano about a young provinciana’s scandalous love affair with an American GI defying orders of her older brother Antero which I played.
Notably worth sharing is Nora’s Balintataw rare performance that clearly demonstrates her thirst for artistic projects that truly tries her acting mettle and taps into her limitless dramatic reservoir (apart, of course, from giving in to my friendly “pakiusap”).
Often, as part of her credits, only two Ricky Lee megged and PETA stage productions are mentioned. A little known fact is the collaboration we did when I brilliantly convinced her to sink her teeth in a classical role in an immortal classic such as Euripedes’ Trojan Women (which I translated in Filipino and adapted into a Muslim setting as “Muslima Baba-i”). A humongous joint presentation of the Philippines and Greek/Cypriot Centers of the International Theatre Institute, Nora was the prophesying Cassandra and I did the soldier Talthybius and co-directed with a visiting director from Cyprus Vasilis Shiafkalis. Again, Nora embraced the challenge and here I was amazed at her proverbial ability to memorize kilometric, tongue-twisting Tagalog dialogues apart from diligently and dexterously learning the Bayanihan-like bamboo dance routine choreographed by visiting NY-based primo danseur, Enrico Labayen. It was a physically taxing role and Nora was not in her tip-top shape anymore but she pulled through and managed at least three performances.
In both projects I offered her, she was unmindful of the minimal budget we could afford for as long as I took care of pick up and return from home. She had mobility problems at that time so I had to avail of our company van or taxied our way everywhere we went because we were practically together 24/7. I would often kid her “Nora doesn’t live here anymore” as she had at least 3 changes of abodes in my days with her.
Here onwards, allow me to digress to recall insightful moments of discovery and deeper understanding of Nora’s true nature and behavior as a person. Never did she make demands or show any prima donna actuations in accordance with her Superstar status or appellation.
We were shooting in one of her large houses and I secretly asked Nora aside where has her collection of giant ceramic jars and antique furniture gone to. She just smiled and said, “Nagkakawalaan sa kakalipat Kuya, pero ok lang basta nakatulong sa sinumang nakinabang.” Once, whilst waiting for my take, I walked into her kitchen to ask the maids for cold water. When opened, I was shocked to find the big fridge empty even with H2O which was excused as: “Inuubos po kasi ng mga labas-masok na fans. “
Later that same day, whilst awaiting the caterer for our dinner break, I was looking for Nora’s trusted all-around helper for the key to the guest’s loo and I found her in Nora’s private room that was then being rearranged since we just finished shooting scenes there earlier. I caught Nora giving orders to one of the maids who ducked under her bed and one by one, slowly handed Nora imported canned goods hidden there such as Spanish Sardines and expensive American corned beef. “Ay tikman mo to Kuya Mars, ibang klase ang sarap, paborito ko.”
It seemed odd but didn’t query her anymore, instantly recalling the image of the empty fridge and the influx of her fans. I realized, well, don’t we all hide/keep favorite things for ourselves, especially limited stuff that can’t be shared with everybody.
Moving on, when Nora trusts a friend, she is very giving and goes all the way and expects your sincere loyalty and ever-readiness to help unconditionally.
I invited her once to make a special appearance and enjoy the rides in a Carnival Fare I managed at the Cultural Center Complex. She came with her “alalays”, caused commotion in the Ferris wheel and then distributed two-hundred-peso paper bills to a throng of queuing fans.
On a more personal vein, I used to live in a Quezon Ave. flat where Nora popped in one time, unannounced past midnight at that. By the way she looks I knew there was a problem. She had rented a cab and pleaded to be accompanied to some Police Station Outside Metro Manila to bail out John Rendez who had been embroiled in some trouble. We stayed at the precinct until the morning of the next day, both of us alternately calling our political contacts to pull some strings – to no avail as it was wee hours already. Having dozed off, I don't know what has transpired next if Nora must have paid ransom or what not but when I awoke she assured me that John’s case was rendered nice and clean, hushed, and never to spill out to the press. All’s well that ended well and to the three of us, it became a best- kept secret.
PINNACLE OF ACHIEVEMENT
In the late 80-s after EDSA Revolution up to the early 90’s, I was perhaps the first who tossed lightly and casually the notion of nominating Nora Aunor as national artist. Only the die-hard Noranians were tickled pink. Contrarily, it sounded remote, unthinkable and laughable then amongst eye-brow raising “goo-goo movie showbiz scribes” writers. I retorted, “He who Laughs Last, Laughs Best”, when my seemingly off-putting suggestion began gaining ground, nay taken seriously and re-echoed by more established senior journalists. I continued harping on Nora’s humanistic good deeds over and beyond her proven artistry (tv, film and theatrical coups) in my regular Times Journal / LIGHT FROM MARS -- arts, culture, and entertainment column not to mention write-ups in so many dailies and popular widely-read tabloids.
Notwithstanding my Nora for National Artist Campaign, it took almost another decade or so before Nora got her elusive official recognition. In 2014, the Cultural Center of the Philippines (CCP) and National Commission for Culture and Arts (NCCA) vetted her as one of the chosen ones who have passed the stringent National Artist screening committee. But lo and behold, and much to everyone’s universal chagrin, then prexy Noynoy Aquino took her out, affected by the contentious issue of Nora’s drug abuse along with her ever-loyal ally John Rendez.
Eight years elapsed since the first Noynoy Aquino-rejected nomination was recast that eventually materialized and concretized the much-awaited pinnacle of Nora’s achievement. It came in the form of the highest Orden of National Artists (Broadcast Arts and Cinema or Gawad Artista ng Bayan) bestowed on 11 June 2024 during the reign of President Rodrigo Roa Duterte.
For all intents and purposes, Nora was aged 69, almost 55 years since winning amateur singing tilts at 14, leaving her barely 2years and ten months to enjoy her highest lifetime distinction as National Artist with all the psychic honours-cum-pecuniary gains that came with it. On 22 April, President Bongbong Marcos posthumously honored her declaring it Day of National Mourning
TRIBUTES GALORE
We will never see nor hear the end of it. Nora acclamations will pour unstoppably like cats and dogs, long after her untimely death grieved the world over by adoring, ever-loving, loyal fans.
Purposively writing this long piece. I meant to share my own big reveal of well and truly enriching personal experiences with Nora all of which served to fortify our friendship. As for me, La Aunor, sticks and lingers like a myth, an urban legend that has become part and parcel of my being.
I shall always treasure her memories most especially the love and wisdom drawn from her pure, big heart and very own native intelligence and genius. I also feel strongly obliged to add my story to the storehouse of information and fund of knowledge culled and collected from press and multi-media clips, countless vlogs and endless postings of unsolicited personal remarks, commentaries, impressions, reflections and recollections all lionizing and cumulatively paying tribute like a roaring applause for the one and only…
Indeed, Nora’s life unfolded irrevocably, chronicled like a filmic saga of 57 years -- organically weaving a folk tale-like yarn of a Lilliputian morena water-seller-turned-Superstar; showcasing her phantasmagoric greatness as a singer-actress; and harvesting an unmatched record of national/global accolades.
“PAMAMAALAM”
I haven’t gone home to the Philippines for more than a decade now. I had planned to stage a long overdue dramatic comeback in time to catch up with Nora’s birthday bash on May 21 when she would be 72. (Were of the same age, although I’m an Aries-Pieces born exactly two months older on March 21. )
A journo says goodbye the way he always has: –30– to mean the end or marked finito.
Metaphorically applied to mean the passing of a beloved comrade, there really isn’t no simple way or easy means to say goodbye, what more to a Nora Aunor. Like the legion of her devoted fans, she will stay alive in our hearts and reign supreme as the one and only superstar in our valuation.
Sa tradisyong aking kinamulatan bilang Ilokano, ito ang aking sariling alay in the form of a “dung-aw,” or better still,
pinagsamang Dung-aw at Tagulaylay (grief and lamentation) , Pag-alala at Parangal (eulogy and tribute).
All Rights Reserved, MARS CAVESTANY)
