Read Ebook: Hiwaga ng Pagibig by Nanong Balbino B

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Ebook has 1180 lines and 35335 words, and 24 pages

FACING PAGE Making use of a "Real" Incident 18 The Scene the Audiences Saw 19 Roping an Auto Bandit 28 Taking "Close-Ups" on a Moving Auto 29 A Movie "Miniature" 36 A Snow Scene Made of Salt 37 "Shooting" a Tramp on a Moving Train 40 A Closer View of the Preceding "Take" 41 Getting Thrills with a Balloon 48 An Old Whaling Ship Refitted to Make a New Movie 49 Capsized by a Real Whale 60 Aiding Nature by a Skilful Fake 60 Real Danger on the High Seas 61 The Second Step to Safety 61 A Douglas Fairbanks "Set" used in "The Three Musketeers" 64 How a Movie "Set" is Made 65 Applying the Mysteries of "Make-Up" 68 A Typical Movie "Interior" 69 Staging a Movie Prize-Fight 69 How a Motion Picture Interior is Made 72 Engine Trouble on a Dakota Prairie 73 When the Hero is the Captain of a Steam Shovel 73 Douglas Fairbanks as D'Artagnan in "The Three Musketeers" 78 Another Scene from "The Three Musketeers" 79 Filming an Old Engineer on a Fast-Moving Locomotive 86 Another Railroad Scene 87 Getting a Comedy Close-Up for a Laugh 92 A "Location" where Reflectors are Essential 93 Where Scenic Beauty is Required 104 A Proposal on a Mountain Top 105 Wrecking a Racing-Car for Sport 110 Getting a Risky Bit of Action 111 Actress, or a Victim of an Accident? 120 Getting a real "Thriller" 121 Drama on an A?roplane 128 A Gruesome A?roplane Wreck 129 Good Training in Cheerfulness 134 Two Cameras Against One Pig 135 Carrying an Elephant to a "Location" 138 An Auto Load of Horses 139 A T?te-?-T?te with a Lion 144 Acting with a "Tame" Lion 145 An Elephant on a Rampage 148 Human Brains Against Brute Strength 149 One of the Big Scenes in "Robin Hood" 154 Spending Money on a "Spectacle" 155 A "Western" Actor and His Favorite Horse 172 "Westerns" are always Popular 173 Archway from "The Three Musketeers" 184 A Mexican Gateway from "Winners of the West" 185

WITH THE MOVIE MAKERS

HOW DO YOU WATCH MOVIES?

Grover Cleveland was a great fisherman. Once, after he was famous and President, some one asked him what he did, all those hours he spent, waiting so patiently for the fish to bite.

"Oh," he is reported to have answered, "sometimes I sit and think, and other times I just sit."

That's the way most of us watch motion pictures--with the accent on the sit.

We don't use our brains enough, where the movies are concerned, either in the selection of pictures to go to see, or in analyzing--and appreciating or criticizing--what we see.

How often do you watch motion pictures?

Do you know anything about how they're made? And who makes the best ones? And how they do it? And why they are better? And how you can tell them? And what it means in your life to see good ones--or bad ones?

More than twenty years ago, at a Yale-Harvard football game in New Haven, Harvard got the ball somewhere near midfield, in the second half, and hammered away towards the Yale goal. It was a cold, rainy day, with gray skies overhead and mud underfoot. Harvard weighed more, and was better trained, and had better men. From the very first they had the better of it; early in the game they plowed through to two touchdowns, while lumps came into the throats of the draggled Yale thousands, looking helplessly down from the great packed bleachers.

Then came that march down the field in the second half, with the rain falling again, and the players caked with mud until you couldn't tell Red from Blue, and the last hopes of the Yale rooters sinking lower and lower.

But as Harvard pounded and plowed and splashed past midfield--half a yard, three yards, two yards, half a yard again-- the cheering for that beaten, broken, plucky, fighting eleven swelled into a solid roar of encouragement and sympathy. It rose past the cheer leaders--ignored them; old grads and undergrads, and boys who wouldn't reach Yale for years to come. Yale--Yale--Yale--over and over again, and then the famous Brek-ek-ek-ek! Co-ex! Co-ex!--rolling back again into the Nine Long Yales. All the way from midfield they kept it up, without a break or waver--there in the rain and the face of defeat--all the way down to the goal--and across it. Loyalty!

Another game. Yale-Princeton this time, with Yale ahead, all the way. And at the very end of the game, with the score twenty or more to nothing against them, those Princeton men gritted their teeth and dug in, holding Yale for downs with just half a yard to go! And on the stands the Princeton cohorts, standing up with their hats off, singing that wonderful chant of defeat:

"Her sons--will give-- While they--shall--live-- Three cheers--for old--Nassau!"

Great!

But what of it? And what has it to do with motion pictures?

Just this. Each person, of all the thousands watching those games, was impressed.

Could not help but be. Few will ever forget all of what they saw, or all of what they felt. Something of the loyalty of the Yale stands, the fighting spirit of that dauntless Princeton eleven, became a part of each spectator.

It's the things that we see, the things that we hear, the things that we read, the things that we feel and do, that taken together make us, in large measure, what we are. Yes, the movies among the rest.

Every time we go to a loosely played baseball game, and see perhaps some center-fielder, standing flat-footed because he thinks he's been cheated of a better position, muff an unimportant fly--we're that much worse off. We don't realize it, and of course taken all alone one impression doesn't necessarily mean much of anything, but when it comes to our turn at the middle garden, it'll be just that much simpler to slack down--and take things easy. And every time we see c. f. on a snappy nine, playing right on his toes, turn and race after a liner that looks like a home run, and lunge into the air for it as it streaks over his shoulder, and stab it with one hand and the luck that seems to stick around waiting for a good try, and hold it, and perhaps save the game with a sensational catch--why, we're that much better ball-players ourselves, for the rest of our lives.

It's a fact. An amazing, appalling, commonplace fact. But still a fact, and so one of the things you can't get away from. The things we hear, the things we do, the things we see, make us what we are.

Take stories. The fellow who reads a raft of wishy-washy stories, until he gets so that he doesn't care about any other kind particularly, becomes a wishy-washy sort of chap himself. On the other hand, too much of the "dime-novel" stuff is just as bad, with its distorted ideas and ideals. Twenty-five years ago, the Frank Merriwell stories, a nickel a week, were all the thing, and sometimes it seemed to many a boy unfair foolishness that Father and Mother were so against reading them. But Father and Mother knew best, as those same boys will adbawa't pangungusap ni Leoning ay di pinangangawitang basahin. Minsan ... makalawa ... makaitlo ... Kung tinititigan niya ang sulat mula sa binibini ay waring siya'y nakikipagusap. Anong tamis nga namang magmahal ni Leoning!

Si Leoning ay isang binibining katutubo ang kayumian. Ang kanyang puso ay minsan lamang kung sumumpa sa kanyang iniirog, bukod sa maganda at mabait.

Nguni't sa pagiisa ni Eduardo ay kanyang naiisip na matagal pang panahon bago niya masisilayan ang mukha ni Leoning.

Iyan ang mapait dilidilihin para sa kanya. Kailan pa niya makikita ang mukha ng kanyang kasintahan? Kailan pa?

Kailan pa kaya niya makikita ang kanyang ilaw at buhay? Kailan niya makikita ang titig na mapangakit ng kanyang Leoning?

Kay pait nga naman ng ganito!

--Ano kaya ngayon si Leoning? Naaalaala rin kaya niya ako paris ng ginagawa kong pagaalaala sa kanya?--ang madalas nasa pagiisa'y naitatanong ni Eduardo sa sarili.

Oh! ang puso nga namang nalalayo sa sinisinta!

Para kay Eduardo ay lalo't lalong nananariwa ang pagkasabik na kanyang makita si Leoning. Kaya't madalas niyang masabi sa sarili:

--Huwag nawang maglalaho ang kanyang sumpa!

Nalulungkot siya sapagka't ang kanyang kasintahan ay nasa malayong hindi maabot ng kanyang tanaw. Ang kanyang puso ay nangungulila sa madlang kaaliwan. Ngayon niya nadadama ang sakit ng malayo sa kasintahan. Walang kasing pait!

Baka nga naman pagdating ng panahon ay ganap na siyang limutin? Anong malay ng isang Eduardo, na, nasa malayo?

Oh! kaawaawang Eduardo kung magkakaganito!

Pati yaong gabi ng mga sandaling sila'y nagpapaalaman ay waring sumusurot sa kanyang alaala. Maaaring sa isang iglap nga lamang ay ipagwalang bahala ni Leoning ang gayon. Maaari ngang mangyari ang lahat ng mga hinagap na ito.

Sukat ng maalaala ni Eduardo ang kanyang bayan ... Maari ngang ang isang Leoning ay ganap na makalimot. Maaari nga sapagka't doo'y maraming mayayamang binata. Maaaring si Leoning ay mabihag ng iba.

Paano nga naman ang isang Eduardo, kung ang isang Leoning ay lumimot pagkatapos?

Kaawaawang binata!

Oh! ang puso nga namang nalalayo sa kapuwa puso!

Mangarap na lamang at umasa. Manalig sa pagasang ikinakalat ng bubukang liwayway pagsikat ng araw.

Bulaklak na uhaw sa patak ng hamog sa kaumagahan at anyung nalalanta; kampupot na ang kabanguhan ay humahalimuyak nguni't ang kasariwaan ay waring naluluoy na,--katulad ng isang talang untiunting tinatakasan ng liwanag,--ganyan, ganyan ngayon ang kaparis ni Leoning.

Ang kanyang puso ay waring may subyang. Nangungulilang lubos sa mga kaaliwan sa buhay. Sa kanyang pagiisa ay madalas na pumapatak na lamang ang masasaklap na butil ng luha--luhang tila perlas na dumadaloy sa kanyang mga pisngi. Kay pait ng mga sandaling mangulila sa kasuyuan!

Apat na liham na ang kanyang ipinadala kay Eduardo, nguni't kahit isang kasagutan ay di siya nagtatamo man lamang. Nasaan nga naman ang dating paglingap ng ating binata? Bakit parang kasing bilis ng kidlat na naglaho? Nasaan ang kanyang dating paglingap kay Leoning? Nilimot na kaya niyang lahat?

Datidati nga naman agad siyang sinasagot ni Eduardo. Datapuwa't ngayon? Oh! parang ulap ang pagasang siya'y makatanggap ng sulat mula kay Eduardo. Bakit sa apat niyang liham ay wala siyang natatamong kahit isang sagot? Kahabaghabag na Leoning!

Si Leoning ay napapaluha na lamang halos sa bawa't sandali. Ang kanyang puso'y lihim na tumatangis. Si Eduardo nga nama'y kay daling lumimot!

At, ngayon ay boo na sa kalooban ni Leoning na sadyang siya ay nilimot ni Eduardo. Aling puso nga namang tulad ni Leoning ang hindi tumangis? Aling kaluluwa ang hindi dalawin ng lungkot kung gayong maulila sa kanyang kasuyuan?

Aling bagay pa kaya ang kalungkotlungkot gunitain sa isang damdamin paris ng maulila sa pagiibigan? May masakit pa kaya sa isang pusong may malinis na pagibig paris ng limutin ng kasintahan? May puso kayang makapagtitiis na hindi lumuha dahil sa paglimot ng isang sinanglaan ng wagas na pagibig? Aling puso ng babai na may malinis na pagibig ang hindi maghimutok sa paglimot ng isang irog?

Eduardo, diyata't ang sumpa mo'y napatulad na lamang sa asong matapos tangayin ng hangi'y napauwi sa wala? Napatulad na lamang kaya sa paglubog ng araw sa pagdadapit hapon na hindi na muling sisikat? Ay! alalahanin mo ang aking palad! Sa aba ko! Diyata't papagtitiisin mo ng hirap ang isang pusong umiibig ng tapat? Oo, hindi kumukupas sa puso ko ang banal kong pangako: iniibig kita, iniibig kita! Nguni't, oh palad!

Naghihimutok ang kanyang damdamin sapagka't buo na ang kanyang pananalig na siya ay nilimot ng kanyang irog, ng kanyang minamahal ng higit sa buhay: si Eduardo.

Sadyang si Leoning ay isang dalagang uliran sa pagibig. Minsan lamang kung sumumpa sapagka't siya ay may dangal at may puri. Ngayon ay nadadama niya ang hirap ng isang umiibig na nalalayo sa piling ng kanyang kasintahan.

Sa tabi ng bintana ay madalas mapatigil ang kanyang pagbuburda na malayo ang titig at waring may malalim na iniisip.

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