So-called bold stars—or those in the mold who strip before the camera at the drop of a hat, usually in potboiler projects—come and go like a flash in the pan. Only a few of them manage to survive.
One these few is Jaclyn Jose whose Private Show (1985), an erotic film helmed by then debuting director Chito Roño under an inscrutable pseudonym Sixto Kayko, beautifully showed her in the nude.
Acclaimed in the acting department and Private Show won box-office glory. It was the film first made Jose a bankable and competent actress in local cinema. Her recent best actress award at Cannes only validates her world-class talent.
After Jose, another sexy star Ana Capri was thrown into the “desnudo” bandwagon. Her first film was so forgettable that she could hardly remember the title. Coming from the hordes of femmes fatales under the wings of the controversial talent manager Jojo Veloso, Ana fondly recalls that most of her disrobing acts went without much thought or motivation.
The actress has no regrets, however, in tackling run-of-the-mill roles, charging them to experience, like any tyro who wants to stay long in the business. Arguably, she has outlived her peers—Bea Veloso, Aya Medel, and Ina Raymundo among others—and inched her way with the help of well-meaning directors who saw her potential in acting.
As she progressed, several prestigious acting awards came her way, including a best actress award from Cine Manila International Film Festival, founded by Amable “Tikoy” Aguiluz. She won for director Jeffrey Jeturian’s Pila-Balde. She admitted that the award might not be as prestigious as Jose’s Cannes, but it was nevertheless memorable as a board of foreign jurors who convened here in the country some years ago bestowed it on her.
Her thoughts on Jaclyn Jose’s honor from the top international film fest in Europe? Like everyone else in the industry, Ana says she is more than happy for Jaclyn; adding that it is a dream come true for Filipino actors who long to walk the red carpet and bring home a trophy, not only from Cannes, but also from other international and prestigious film festivals abroad. She dreams the same dream as well.
Ana’s most recent portfolio shows she has a couple of unreleased, serious indie films to her credit: Laut, a film about the sea gypsies of Badjao which is now doing the rounds of international film fests according to the film’s director Louie Ignacio; and Pare, Mahal Mo Raw Ako, a film touching on the lives of the LGBTs who have difficulty embracing their true sexuality. The movie is top billed by Edgar Allan Guzman as a closeted gay obsessed with Michael Pangilinan’s sympathetic straight guy character. Meanwhile, Ana plays the other half of Superstar Nora Aunor in a same-sex union Ana confesses that she was at first intimidated by the idea of playing opposite the Superstar who turned out to be more than supportive in helping her attack the role of a lesbian lover.
In some sense, acting with La Aunor was to Ana a humbling, memorable, and learning experience. She says the Superstar is a true professional who imbues a larger-than-life persona, and one who never gives you the impression that she is several notches higher than anyone else in the business.
In her personal life, Ana Capri is still hoping for Mr. Right to come her way. Meantime, she sees herself as a woman in total control of her destiny.