The Prime of Dolly De Leon
/
Dolly de Leon in a scene from Triangle of Sadness
To name a few, there’s Salome written and directed by Teng Mangansakan, Kitty K7 written by Pamela Miras and directed by Joy Aquino, Do You Think I'm Sexy written and directed by Dennis Marasigan, and Pura Serbidora written by Dennis Evangelista, directed by Louie Ignacio.
For starters, she got herself a manager in the person of seasoned talent discoverer Ferdie Lapuz.
The choice has been dictated by the fact that she loves the independent filmmaking scene in Manila. “Just look at the stories they tell, the filmmakers, the atmosphere on the set. I knew Ferdie (Lapuz) would help me continue to do more work in that world. Ferdie and I really complement each other.”
But the overall feeling since De Leon’s arrival is a sudden turnaround for the way theater actors are treated in the Philippines. “The feeling is like I just landed on another planet. People were acting really strange. It made me realize how people around us change more than we do when something remarkable happens to us.”
But the truth is, the lesson she learned from Cannes is this simple: don’t take yourself too seriously.
Dolly de Leon at the Cannes film fest. (Cannes film fest photo).
The good news is that Hollywood’s Variety magazine has named De Leon as one of the top three contenders for the best supporting actress award in the next Oscar race.
“Of course, the feeling is one of elation,” she said. “It is doubly good when what you aimed for as an actor is appreciated on a grand scale. Acting is not easy. For the most part, it is tough especially considering that you had to work with mostly foreign actors and an acclaimed foreign filmmaker.”
Just being cited as a sure contender in the Oscar awards is the biggest surprise of all. “Officially I haven’t been nominated yet. But coming as it did from Hollywood insiders is already something. I am such an insecure actor and anything good reflective of my acting is a big boost to my ego.”
True enough, every line delivered by her character, Abigail, has prompted cheers from the press during public screenings.
Another entertainment magazine opined, “Her story is just one part of Östlund’s searing commentary on privilege, greed, and power — but Abigail’s power play, exquisitely brought to life by De Leon’s deadpan delivery, is what audiences will remember.”
The most momentous comment came from Variety awards seer Clayton Davis who predicted that the Filipina actor “could be the frontrunner walking into awards season” referring to the prestigious academy awards known as the Oscars.
The Variety Oscar predictions ranked her as third among the possible best supporting actress contenders.
For all these good feedback, De Leon can only credit director Ruben Ostlund. “Everything started with him. It was all his vision and his ideas. He always made sure we were consistently on the right track towards truth. Nothing escapes him. He can sense if I am just winging it and I get called for it. The direction is so tight and well-defined but at the same time, he gives us leeway on how we can contribute. There a sense of freedom even if all our actions are seemingly controlled. He knows what will work and he doesn’t hold back on giving it to us straight. At the same time, I feel I am being taken care of as an actor. It’s like heading for the deep ravine and you feel safe that someone will come to your rescue. I love the feeling of being nurtured by an acclaimed director.”
On the awards night where Triangle of Sadness got the highest citation, De Leon was ecstatic. She eluded the best actress award, but the media and seasoned critics were stunned by her performance.
The film was shot in 2018 and it was only in 2022 that she realized the project was a jewel of a film.
Dolly de Leon's special portrait by Utoy Lorenzo
She told an interviewer earlier that the film is about exploiting power, of people who misuse power and use it for their own benefit and not for the betterment of humanity.
The actress arrived in Manila after the awards night with her Cannes experience still ringing in her ears.
“It was an evening of immense joy. I like to think of it as a victory for the entire team. It felt good that the director (Ostlund) recognized all our efforts. I had the best time working with the Greek team and the Swedish team. We all knew we were embarking on something very special because we were working with a master. A very funny and sweet one at that. I learned a lot from this Swedish production. But I think the best thing I’ve ever gotten from this whole experience is I’ve learned to be strong, resilient, and adaptable,” she related.
De Leon is no stranger to awards.
Earlier, she bagged a FAMAS award for best supporting actress in a film called Verdict.
She views all awards as the viewing public’s solid appreciation of the film’s message. “When a prize is given, it serves as a reinforcement of their appreciation and is a fantastic affirmation of all our hard work.”
Dolly, who was a UP Diliman theater arts major, knows the basics of acting, foremost of which is to create a reflection of life that resonates with at least one audience member. “I also value a collaborative process, a meeting of creative minds whose vision is to get to the truth.”
It was the second time Ostlund bagged the Palme d’Or after his last Cannes film, Square.
What was special working with him? “He was a perfectionist which I felt was a good thing. I felt safe on the set because I knew that nothing would go past him and we had to deliver nothing short of excellence. I will never forget the camaraderie and professionalism of my co-actors. I remember Harris Dickinson for being a great scene partner who has a kind of intuition that’s always fun to work with. Charlbi Dean who’s a sweet, gentle and caring lady and was my constant companion. I found a true friend in her plus she’s quite a talented actor; Vicki Berlin who gave me so much in the scenes. She’s such a generous actor. Iris Berben who always shared words of wisdom while having a fantastic sense of humor as well. Henrik Dorsin was also fun and sweet. So was Zlatko and Jean Kristoff Folly who were so caring, fun and great scene partners as well. I love all of them. They’re all so much fun to work with.”
De Leon took it calmly when she was informed she has a steamy love scene with one actor in the cast. “I was excited because I've never done anything like that on camera. At the same time, I was challenged up to what extent I can portray the part. At the same time, I was a little nervous. Intimate scenes require a different level of acting. It requires a certain kind of concentration and belief. In addition, it is also very technical.”
She asked her co-actor about his limitations. She was also honest about her limits. “Once everything is laid out into the open, then we can just treat it as any other scene.
It also helps that we knew the scene was needed to move the characters and the story forward and that it wasn't just put there for shock value.”
It was a closed set for the intimate scene and she felt very safe.
A long and hard road is how she will describe her evolution as an actress. “I’ve endured and went through many challenges: from experiencing rejection after rejection after rejection, to being ridiculed and doubted by co-workers. Superiors have shaped me into who I am today and taught me great lessons on kindness and empathy. It reminds me to always treat any person with dignity. We all need to look out for each other and appreciate everyone around us.”
Dolly de Leon with Elizabeth Oropesa and Dexter Doria in a new project.
She acknowledges the great acting mentors of her lifetime, foremost of whom was the late actor-director Tony Mabesa. “Teacher Mabesa toughened me up. He taught me the value of discipline, to come prepared, be on time for every engagement and to respect all aspects of theater. Jose Estrella gave me the opportunity to explore and test my limits as an actor. Through her direction she helped me reach a certain level of maturity as an actor. I’ll forever be indebted to them. During this whole Cannes experience, I’d think of Sir Tony every day and how proud he’d be. He was always proud of our theater victories big or small.”
A mother of four children, ages 9 to 26, De Leon points out that motherhood is also a great teacher for actors. “My children teach great lessons every single day. It’s never ending. But as an actor they’ve taught me to be selfless and nurturing. Values that I’m still learning to this day.”
Did it occur to her that the theme of the film — misuse of power – is so obvious in the Philippine setting especially after the elections?
She sees a lot of challenges for the Filipino people in the next five years. “But we have to endure and fight for the greater good. We have a long way to go to real progress, but it’s doable if we safeguard our history and remind ourselves not to make the same mistakes we’ve made in the past. Our children’s future depends on it.”
Still there is nothing like an audience reception after the Cannes screening of the Ruben Ostlund film. “It was so overpowering. Talagang napakasarap (it really felt so good). I think ultimately that we all just want to be loved, and love was overflowing in that theatre that night. Nothing can beat that feeling.”
Pablo A. Tariman contributes to the Philippine Daily Inquirer, Philippine Star, Vera Files and The Diarist.Ph. He is author of a first book of poetry, Love, Life and Loss – Poems During the Pandemic. He was one of 160 Asian poets who made it in the anthology, The Best Asian Poetry 2021-22 published in Singapore. Born in Baras, Catanduanes, he has three daughters and six grandchildren.
More articles from Pablo A. Tariman
