Name it, and chances are she had won it. Over a 40-year acting career, which began when she was barely 21 in 1984 with the release of a smorgasbord chick flick titled, well, Chicas, the late Jaclyn Jose had won almost every available accolade there was, from FAMAS to Urian, Luna to Star Awards. It culminated, of course, when she won Best Actress at the Cannes Film Festival in 2016 for her role as a smalltime drug dealer in Ma’ Rosa, besting some of the world’s most accomplished and celebrated actresses. During that same year, Jaclyn was honored by PeopleAsia magazine as one of its Women of Style and Substance. She was also featured on the pages of the magazine in its August-September 2016 issue. Here is her story in full.
By BÜM D. TENORIO JR.
Jaclyn Jose, Best Actress at the recent 69th Cannes Film Festival, calls her past — how she started in the silver screen and what her “real” life was before she became part of the “reel” — bulok na kwento (stale stories).” Yet the same irony irons out her thoughts and she starts to regale you with her backstories. She perfumes her reminiscences with some crusty laughter; so passionate is her way of recollection that her bulok na kwento becomes fresh again. She looks at you in the eye, as if piercing your soul with her very expressive gaze. But with the same dramatic look, she gives away her soul.
From her display of joyful spirit, Jaclyn shifts to a contemplative mood, her silence almost sepulchral as she gathers her thoughts.
“It was my older sister, Veronica Jones, who was the first artista in our family. She used to be an actress from the late ’70s and early ’80s. She was the breadwinner. Right before she settled down, my mother introduced me to some producers. ‘O, ikaw naman ang mag-artista,’ my mom told me. Now, here I am. I started (in show business) in the early ’80s,” she says.
“If I were not in the industry now,” she quickly quips, “I would be an interior designer. I was studying at the Philippine School of Interior Design (PSID) when my mom told me to quit school and enter showbiz so I could support the family.”
Her family and close friends call her Mary Jane because she’s Mary Jane Santa Ana Guck in real life. She was born in San Juan City but grew up in Angeles City, Pampanga with her mother (Rosalinda). She never met her American-German father.
“I never met my father, an American soldier, and I have no issues about it. I have no issues about life. I can stand in front of this society. I can talk to anyone. I didn’t do anything wrong to anybody. I’m good,” she says, the expression in her eyes all the more heightens her words.
Gown by Dannavie Chanyongco; jewelry from Charriol
It was a good start for Jaclyn in the reel world, albeit in a sexy role, when she was given a big break in 1984 for the movie Chikas. The “bold” wagon came her way when she was cast as Lynette, one of the barrio lasses recruited to work in Manila in the movie White Slavery helmed by Lino Brocka (who later on became a National Artist) in 1985. The critics praised her portrayal in White Slavery and Jaclyn earned an acting nomination at the Urian, a respected award-giving body. The following year, Jaclyn was nominated again for best actress in the Urian for her daring role as a torera in live sex shows in Private Show. Finally, she won her Urian best actress award for Takaw Tukso, also released in 1986.
In a derby of sexy stars in the ’80s, Jaclyn was a stand out. Not only because she had alabaster skin, patrician nose, supple lips and a sculpted body — but because she could act. Her acting style was all her own — normal, natural. Her monotones were the repository of her depth. Her underacting was the bomb that detonated her gravitas as an actress. She became an enigma because of her style.
Soon, Jaclyn graduated to become one of the few finest actresses the Philippine showbiz has known. She won the nods of the critics in many of her films including Itanong Mo sa Buwan (1988), Mulanay (1996) and The Flor Contemplacion Story (1995). She even acted on stage for Pitik Bulag sa Buwan ng Pebrero when it was originally shown at the Culural Center of the Philippines.
“That time, I was just lucky to work with the likes of Brocka, Ishmael Bernal, Chito Roño, Joel Lamangan, Ricky Lee, Bing Lao among other great directors and scriptwriters. I was lucky to be part of this group. Naging baby nila ako. Bakit hindi nila ako gugustuhin eh ginagawa ko ang lahat ng sinasabi nila sa akin (Why wouldn’t they like me when I do everything that I’m told)?” she recalls.
Perhaps the recent paradox Jaclyn has exhibited was when she took her gritty portrayal of a drug-dealing matriarch in Ma’ Rosa, an opus by Brilliante Mendoza, who also won best director at the Cannes Film festival for Kinatay. It was when she “did not act” that she won the Cannes best actress award.
“Brilliante told me not to act, to unlearn everything that I have learned in the acting department, particularly because before Ma’ Rosa, I was doing teleseryes where I played loud and campy characters,” she explains.
So, when her name was called as the best actress winner at Cannes, Jaclyn was shocked. She bested multi-awarded actors Charlize Theron (US entry The Last Face directed by Sean Penn) and Marion Cotillard (France’s Mal de Pierres/From the Land of the Moon directed by Nicole Garcia).
Brilliante Mendoza tells PeopleAsia, “Jaclyn Jose is an intelligent actress. In Ma’ Rosa, she immersed herself in her character by talking to the people in the location, observing their mannerisms, how they talk and interact with each other. She didn’t mind reshooting some of the scenes if she felt they lacked the nuances needed for the characterization. She was very cooperative and quite professional.”
A paltry sum of international critics opined that though Jaclyn was effective in Ma’ Rosa, they thought the award should have been given to someone else. The Cannes jusry was quick to defend Jaclyn.
“I really thought that her winning in Cannes was well deserved. I shared the sentiments of the jury when they justified and explained their decision to declare her as the best actress. I thought the jury was correct and accurate in their assessment of Jaclyn’s acting in Ma’ Rosa,” Brilliante adds.
But despite winning best actress plum for Jaclyn at Cannes, Ma’ Rosa performed dismally at the box-office when it was recently shown in the Philippines.
“Ma’Rosa did not make money. I was so sad. Nalungkot ako kasi para sa mga taong kagaya ko na nagmamahal sa indie. Kina Brillante. Nalungkot ako para sa mga taong maliliit na nagpupumilit at nagsusumikap makagawa ng isang dekalidad na pelikula para lang matangkilik, pero hindi pa rin (I am saddened for people like me and Brillante who advocate indie films. I feel sad for lesser-known people who try so hard to make a genuinely good film, that ends up being ignored),” she laments.
But Jaclyn does not lose hope. She knows that the public’s appreciation of quality indie films may be a long shot for now but she is not ready to give up yet. In fact, she has another indie film in the offing titled Pagkamatay ni Hesus.
What keeps her hopes afloat these days? “My family. I love them. My apo, daughter of my daughter Andy (who is also a no-nonsense actress), my 15-year-old son Gwen, who studies in Ateneo. They make me happy.”
When the world does not agree with her, she gets by quite easily by simply reminding herself of the best lesson she learned from her mother: “Huwag bigyan ng halaga ang mga bagay na walang kabuluhan (Do not give importance to things that are worthless).”
Her toned-down style in the acting department is the very substance that defines Jaclyn’s worth in the industry. Jaclyn’s silent bravura is the paradox of her loud and clear message that Philippine showbiz is not yet ready to let go of an extraordinary and significant actor like her amidst the frenzy the industry gives to the saccharine-flavored, bubble-gummy bevy of young players now.
Let Ma’ Rosa, however gritty and dark it is, be the light that will usher her to her fulfilling rediscovery of the spotlight. She is not yet finished giving honor to the country. She can do it again.
Yes, Jaclyn Jose Cannes!
Photography by Mau Aguasin
Art direction by Chino Corrales
Makeup by Floe Tapayan for Lunasol for Kanebo
Hair by Hyatt Laurel
