‘No escaping La Aunor’
By the time of her death on April 16, the iconic woman from Iriga, Camarines Sur, who as a young girl sang her way out of poverty and shattered show biz conventions, had long been recognized as a giant in Philippine art and culture.
But it took a long while before actress and singer Nora Aunor—who died of acute respiratory failure at 71—became recognized as national artist. There was always some objection to her appreciation, such as the first time when the eminent writer Nick Joaquin wrote a profile piece of Aunor in 1970, prompting one poet to quip that he had gone bakya, the pejorative term for anyone and anything of pop culture.
At the height of her fame as an actress by the end of that decade, when she was gaining notice in film festivals in Europe, Aunor continued to endure some reservation, at the very least, toward her wealth of talents. This was partly because alongside her artistry, she was also afflicted by her myriad vices, which she never bothered to hide.
But following years of rejection, Aunor was finally named National Artist in 2022. She never expressed bitterness about that long overdue recognition.
“She always said, ‘Hindi pa siguro natin panahon (Maybe it’s not yet time),’” recalled Jojo Devera, film archivist and long-time supporter of Aunor.
Multifaceted career
In her almost six decades in the entertainment industry, Aunor forged a multifaceted career as she excelled in music, film, television, earning her the title “Superstar.”
With her “golden voice,” she captivated the hearts of millions, sparking a pop culture phenomenon unlike any other. And with her soulful gaze and deeply nuanced acting, she cemented her status as one of the most revered and important film actors the Philippines has ever produced.
She also ventured into theater, starring in two major productions by the Philippine Educational Theater Association, “Minsa’y Isang Gamu-Gamo” (1991) and “Domestic Helper” (1992).
Simply put, “there was no escaping La Aunor,” film professor, historian and archivist Nick Deocampo said.
“Aside from Nora Aunor’s inherent appearance to look similar to ordinary Filipinos, Nora had a multisensory approach to our awareness of her,” Deocampo told the Inquirer. “She was a true child of Philippine media. She was on radio, print, television, theater, and best of all, cinema. Her life was to be a potent mix of talent providing content, and media as carrier of her immense gifts. Even in print journalism, she, too, dominated the field when she was at the top of her popularity. But while she was a creation of the media, she gave and gave her talent in almost endless and indefatigable ways.”
Singing, stardom
Born Nora Cabaltera Villamayor on April 16, 1953, Aunor, the fourth of five children, sold cold water at a train station and picked through junk for metal scraps, doing whatever she could to help her family make ends meet.
Show biz was a world away. Her dream was to become a teacher, or “whatever God gives me”—anything that would put food on the table. But in music, the family found joy. They loved singing together, usually at night before going to bed, she once recalled. Little did she know that singing would become her ticket out of poverty—and ultimately, to success.
After winning local competitions, Aunor, together with her mother and aunt, tried her luck in Manila, where she continued to make the rounds of singing contests on the national stage. In 1967, in her second attempt, she won “Tawag ng Tanghalan” in front of rapt audiences who saw and heard themselves in her.
“The poor folk, the common folk, crowded around the radio and TV that night their little girl sang—and she sang to them and about them. She sang ‘People.’ Nora was singing of her own kind: all the poor people who have nothing but each other…They know that the opposite of love is not hate but loneliness. When Nora sang, a number of people felt less lonely. They had Nora,” Joaquin wrote in his seminal article on Aunor, “Golden Girl,” first published in the Philippines Free Press.
Her win paved the way for a prolific career as a recording artist. She released at least 25 studio albums and hundreds of singles—“Moonlight Becomes You,” “Pearly Shells,” “People”—each one capturing the gleam of her “golden voice” that was at once deep, stirring, and haunting in its simplicity.
“Hers was a natural crooning voice that was perfect for easy standards and pop. She possessed a clear timbre that was unique and original. She may not have been aware of it as a young singer, but she already evoked so many feelings with her tones,” National Artist for Music Ryan Cayabyab told the Inquirer.
‘Nora mania’
The late 1960s and early 1970s saw Aunor’s phenomenal ascent to stardom. Buoyed by a slew of hits and musical, teenybopper flicks with her screen partner Tirso Cruz III, Aunor achieved a kind of fame not yet seen during that time—one that bordered on idolatry.
“Nora mania,” the pop culture phenomenon was called. And it made devotees out of faithful Noranians who flocked into their idols’ home as if it was a pilgrimage site.
In veteran entertainment journalist Nestor Cuartero’s book “PH Movie Confidential,” Aunor’s longtime friend and writer Baby K. Jimenez recalled visiting the actress’ house in Parañaque back in 1970, to find a long line of fans outside the gates, waiting for their turn to catch a glimpse of the Superstar sleeping soundly in her bedroom.
Many of them even held handkerchiefs with which they wiped Aunor’s body, Jimenez said. “I was shocked as I uttered, ‘Oh my God. ‘Ano ito? Parang milagrosa.’”
But beyond the adulation, Aunor, who admired such actresses as Susan Roces and Lolita Rodgriguez, also longed for artistic triumphs—substantive projects that would test her mettle and also give her the opportunity to work with her own idols.
Among them were, “Banaue: Stairway to Sky” (1975) directed by National Artist for Film and Broadcast Arts Gerardo de Leon, “Tatlong Taong Walang Diyos” (1976) by Mario O’Hara, and “Bona” by National Artist for Film and Broadcast Arts Lino Brocka—all veritable classics in Philippine cinema.
Her filmography also includes the cinematic gems that are “Minsa’y Isang Gamu-gamo,” (Lupita Kashiwahara, 1976), “Atsay” (Eddie Garcia, 1978), “Ina Ka ng Anak Mo,” (Brocka, 1980), “T-Bird at Ako” (Danny Zialcita), and “Himala” (Ishmael Bernal)—arguably the most important film of Aunor’s career.
In these films her performances set the standards high. Aunor acted as instinct whispered; she was a quiet tempest, favoring subtlety and restraint over theatrics and bombast. And at the center of it all were her eyes, conveying a spectrum of emotions that even kilometric lines couldn’t: Rosario’s frantic stare into the river as she tries to dispose her baby in “Tatlong Taon”; Mila’s wistful gaze over the New York City skyline in “Merika”; or the look of betrayal and disgust as Esther discovers her husband and her mother’s illicit affair in “Ina.”
In 2011, after an eight-year hiatus in the United States, Aunor had a second wind, supporting indie filmmaking and smaller projects that still put her virtuosity in full display. The 2012 drama “Thy Womb” (Brillante Mendoza) won Aunor best actress trophies at the Urian, Famas and the Asian Film Awards.
Tributes
Actor-producer Charo Santos-Concio said: “You were never just an actress. You were our mirror, our voice, and always, our Superstar.”
Aunor’s old friend and screen rival, Vilma Santos, simply said on social media: “Rest in peace, Mare. Ms. Nora Aunor! Our Superstar and National Artist… Maraming Salamat!”
In a statement on behalf of the family, Aunor’s son Ian de Leon said: “She was the heart of our family—a source of unconditional love, strength, and warmth. Her kindness, wisdom, and beautiful spirit touched everyone who knew her. She will be missed beyond words and remembered forever.”
April 20 is the last of the two days allotted for public viewing at Aunor’s wake at Heritage Park, Taguig. Visiting hours this Sunday are from 10 a.m. to 4 p.m.
Being a national artist, Aunor will be buried at Libingan ng mga Bayani on April 22. —WITH A REPORT FROM MARINEL CRUZ
