Christopher sees social hypocrisy reflected in ‘Tinimbang Ka Ngunit Kulang’

“She was in character,” De Leon told radar Entertainment, recalling how Guillen would immediately switch into work mode once filming began.

De Leon shared that his nerves were shaking as they filmed, particularly because Guillen was helping guide him through the experience. He expressed gratitude for her cooperation and patience.

“My nerves were shaking then. But natapos namin and ang ganda naman lumabas,” he recalled, encouraging audiences to look out for the scene as the digitally restored classic gets another chance on the big screen.

De Leon revisited these memories as the guest of honor during the opening night of Philippine Film Industry Month, organized by the Film Development Council of the Philippines (FDCP). Joining him at the milestone event was director Lino Brocka’s granddaughter, Antonia Gabriella Brocka.

For De Leon, revisiting Tinimbang Ka Ngunit Kulang was about much more than reliving an awkward first kiss; it marked the beginning of a legendary career. He landed the role of Cesar Blanco Jr., or “Junior,” after auditioning and undergoing rigorous acting classes, voice lessons, and script breakdown sessions. At the time of filming, he was also performing in the stage musical Godspell, which he credits as crucial early training.

“That’s where I got all my knowledge about acting. I mean, being an actor,” he said.

His debut performance earned him his first Best Actor award, launching a career that would span more than five decades. He credited Brocka and his co-stars—including Guillen, and the late actors Lolita Rodriguez and Mario O’Hara—for mentoring him throughout production.

Decades later, rewatching the film allowed De Leon to appreciate Brocka’s mastery from a fresh perspective. He noted that the film remains deeply relevant due to its sharp critique of social hypocrisy, pointing to a scene where churchgoers gossiped outside during mass to highlight the contradictions Brocka wished to expose.

He also highlighted the film’s powerful final sequence, describing its visual “parting of the sea” as a testament to Brocka’s distinct director’s prerogative and symbolic storytelling.

Ultimately, the return of “Tinimbang Ka Ngunit Kulang” serves as a full-circle moment for De Leon—a return to the film that introduced him to cinema, earned him his first major acting honor, and gave him a firsthand masterclass in the power of Philippine storytelling.

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