This is the final installation.
Gloria Sevilla remarried in 1971, and together with her husband Amado Cortez (of the Padilla clan) went on to prodce another Visayan film entitled Gimingaw Ako
(I Long For You), 1974 (which was shot entirely in Cebu City and directed by Amado Cortez starring Gloria Sevilla, Suzette Ranillo, Bert Nombrado and Inday Nita Cortez). This film won the FAMAS "Best Actress Award" for Gloria Sevilla and "Best Supporting Actress Award" for Suzette Ranillo. Naghila Ako Sa Kahilum (Crying Silently) also came about within the year. Other independent productions were: Diego Salvador
, 1973; Ang Pagbabalik ni Diego Salvador
(The Return of Diego Salvador), 1974 with Von Serna; and Sabrin, 1975 with Chanda Romero and Rebecca Torres.
Visayan film producers continued trying to revive the Visayan movies in the mid-seventies by filming in the 16mm format and transfering the material to 35mm for theatrical release. Films such as Ang Manok ni San Pedro
(St. Peter's Rooster), 1975 and Itlog Manoy Orange
(The Orange Egg Vendor), 1976 were originally shot in 16mm. This less costly process, however, did not prevent the Visayan film industry from finally going into a dormant stage. The Tagalog film industry was just at an upswing at this time, prompting Visayan producers to venture into television production instead.
It was not until 1991 that another Visayan film project was brought to the big screen. Eh Kasi Babae
(Because She Is A Woman) starring Pilita Corales, Yoyoy Villame and Manilyn Reynes was produced, then followed by Matud Nila
(They Say), 1991 (Bisaya Films, Inc. produced by James R. Cuenco, Jr.). This starred Gloria Sevilla, Mat Ranillo III, Suzette Ranillo, Dandin Ranillo, Juni Ranillo, Pilar Pilapil, Jennifer Sevilla, Mark Gil and Pinky Marquez. Matud Nila also marked the last film directed by the late Leroy Salvador.
It is noteworthy to mention that there is a very large population of Visayan-speaking movie goers in Metro Manila, and that a great percentage of Tagalog movie stars and TV/movie personalities (singers like Pilita Corales, Vina Morales, Manilyn Reynes, Dulce, Verni Varga, and other directors and producers are originally Visayan). It is also interesting to note that most Visayan films revolve around the "love story-drama-comedy" genre which inevitably reflects the lifestyle and culture of the southern Filipinos. This genre, apparently has the most popular appeal to a great majority of the Filipino viewing public today, making "drama-love story-comedy" films sell the most at the box office. It is in this light that the viewing public should not lose hope in seeing more Visayan movies in the future-that is, if all these Visayan talents and producers put their sense together and realize that Visayan Cinema might even be the answer to the long awaited Filipino film revolution- with the way Tagalog films are being made nowadays, who knows - Visayan films might just be the saving grace of the regressing Filipino film industry.