This week I will go even further away than the last post. Not in time but in space. In the same way that matte paintings were in regular usage during the 40´s and 50´s at USA and British Cinema, it also happened in countries like Russia, Spain, Italy, Mexico, Argentina , Philippines, and many others.
I will try to visit all those distant and unexplored
territories of cinema. Today it’s time to show some matte samples form one of
the great unknown, the Philippine Cinema.
The frame captures came from Youtube. Sadly the
quality of the image is quite low.
If there is a name on Philipino Films that
bring us over matte shots, that’s Richard Abelardo. Born in 1902, he learned scenic
painting from his father, a backdrop painter for theatre. He went to California at early 20´s
and started to work at Universal as scenic painting. He moved to MGM and Warner
brothers. Working on films like Footlight
parade (1933) or Modern times (1936)
At 1936 he went back to Philippines and
introduced the glass shot and matte painting techniques to Philippines Film
Industry. At the late 40`s he started to direct films, but during his director
career he continued to do special effects.
I´m not sure if, during his Californian years,
he executed glass or matte paintings, but he certainly learned these techniques
at that time.
One of his early matte painting films was Ibong Adarna (1941) a fantasy adventure film about a magical bird, based on an epic narrative poem written in the 18th century.
The film reveals several matte painting among
other special effects. Richard Abelardo was credited as art director and
process shots.
His brother Bayani Abelardo was Photographic effects cameraman.
Richard counted with the help of two assistants, Luzon Gamboa, and a young Ben
Resella.
It is also required to make a special mention
to Ben Resella. Another Philipino artist that make a huge contribution not only
at his country cinema, but also in USA. Resella, nephew of Richard
Abelardo, was an extraordinary painter
that worked for many years as art director and matte painter at Philippines until
1966 when he moved to California were he was immediately recruited at the company J.C. Backing, specialised
on scenic backdrops for film and TV.
Resella worked as scenic paint supervisor for more
than 20 years painting backdrops for films like Hello Dolly (1967) Earthquake
(1972) Towering inferno (1974) Star Treck (1979), Space balls (1987) and many others.
Ben Resella painting a huge backing for Earthquake.