Mother Lily Monteverde: A lookback at the Regal matriarch’s legacy
Film producer. Starmaker. Icon.
Mother Lily, the founder of Regal Entertainment Inc., might be gone, but her decades-long contribution to Philippine cinema will live forever.
The death of Lily Yu Chu Monteverde, affectionately known as Mother Lily, has left a void in the show business community.
A movie producer and a star builder, Mother Lily was a towering figure in the entertainment industry.
Shunning interviews and avoiding the spotlight, she distiguished herself in an industry full of colorful personalities who thrive on both.
Those close to her knew Mother Lily as both mercurial and loving, like a stern boss but a doting mother to her stars and staff.
There is no doubt about her enormous contribution to Philippine cinema, which has secured for her a prominent place in Filipino pop culture.
How did a Chinese-Filipino movie fan become a major showbiz figure and icon?
Here’s to remember the exemplary life she led and the legacy Mother Lily left behind in the world of entertainment.
REGAL ENTERTAINMENT INC.
Who could have imagined that a modest popcorn stand at the Podmon Theater (now the LRT-2 Recto Station) in Manila would evolve into one of the country’s largest and oldest film studios?
From selling popcorn to moviegoers, Lily ventured into the more exciting and lucrative business of distributing foreign films to local cinemas.
She eventually made movies herself, calling her film production outfit, Regal Films.
Getting into the movie business made a lot of sense to this once-upon-a-time dedicated movie fan who skipped classes to visit the studios of Sampaguita Pictures and LVN Pictures, the country’s biggest film production houses in her youth.
She was a huge fan of Nida Blanca, one of LVN’s prized stars during the 1950s.
Mother Lily confided to the late entertainment journalist Ricky Lo in 2018, “My number one favorite actress was Nida Blanca, but I also liked Gloria Romero.
“When a Nida Blanca movie opened at Dalisay Theater, uma-absent ako sa school.
“My friends and I would hire a bus to visit the set of Nida’s movie with Nestor de Villa.
“Remember that scene in Luneta na nagsasayaw ng ballet sina Nida at Nestor sa spiral staircase?
“We were there when that was shot. It was a dream sequence and it was beautiful!
“When I was 12, I went to Zurbaran to buy a petticoat, four layers, and then I wore it and stood in front of the mirror, whispering, ‘Sana maging Nida Blanca ako!”
“Nagsasayaw-sayaw pa ako! Parang dream sequence [laughs].”
Legend has it that a security guard once hustled the young Lily out of a movie studio— an incident that is said to have been etched in her memory and seeded her determination to return and make a name for herself in the industry.
And she did.
Since launching its first film, Magsikap: Kayod sa Umaga, Kayod sa Gabi (1976), Regal Entertainment Inc. as it is now known, has continued to produce movies, outlasting all its rival studios and contemporaries from the ’70s.
PHOTO/S: VIDEO48.BLOGSPOT.COM
Lily eventually became known as “Mother Lily,” a nickname given to her by entertainment reporter Lolit Solis.
That Regal continues to be around in the face of mounting challenges—rising production costs, shrinking box-office returns, shifting audience taste, and emerging new viewing platforms—is proof of its founder’s untiring dedication to Philippine cinema.
Mother Lily told the Philippine Star in a story published on July 26, 2010, “I don’t think I will ever grow tired of producing movies. It’s my passion.
“Other producers have stopped making movies, but despite the ever-increasing cost, and competition from foreign markets, Regal continues to come out with good projects for the public to be entertained.”
MOVIES THAT LEFT A MARK
Regal has churned out films that have entertained viewers from all walks of life for decades.
Being in the business for so long means the company has explored every film genre out there and has produced movies that reflect the times and prevailing trends.
Many films produced by Regal have since become gems of Philippine cinema, helmed by critically acclaimed directors, including Elwood Perez, Ishmael Bernal, Peque Gallaga, and Lino Brocka, among others.
Some of the titles that come to mind are the campy but unforgettable Temptation Island (1980), the provocative Manila By Night (1980), the political drama Sister Stella L. (1984), the erotic cult classic Scorpio Nights (1985), and Relasyon (1982), lauded for making the mistress the heroine and revealing the emotional turmoil of the querida.
Also worth mentioning are the movies Ina, Anak, Kapatid (1979), Under-age (1980), Mga Kuwento ni Lola Basyang (1985), Isang Araw Wala ang Diyos (1989), Batang X (1995), Live Show (2000), Bahay ni Lola (2001), and Desperadas (2008).
PHOTO/S: IMDB. LEFT TO RIGHT: DINA BONNEVIE, MARICEL SORIANO, SNOOKY SERNA
SHAKE, RATLLE & ROLL—A WINNING HORROR FRANCHISE
Now, when you talk about Regal and its contributions to Philippine cinema, it’s impossible to overlook the horror trilogy, Shake, Rattle & Roll, celebrated as the longest-running film series, with its latest installment released as recently as 2023.
It’s worth saying that Shake, Rattle & Roll was not originally created by Regal, despite its well-known association with the studio.
That distinction belongs to the now-defunct Athena Productions, which introduced Shake, Rattle & Roll to cinemagoers in 1984.
The first installment of what would become a very successful horror-film franchise is noteworthy for commissioning a solid team of directors, including Maning Borlaza, Ishmael Bernal, and Peque Gallaga.
Additionally, the original Shake, Rattle & Roll became memorable for its unique episodes: ‘Pridyider,’ which features a sinister refrigerator, and ‘Manananggal,’ showcasing the mythical creature of the same name. Who could forget a young Herbert Bautista as Douglas, dramatically pouring a bag of salt on the manananggal’s lower half?
Veteran actress Mary Walter, who famously portrayed a manananggal in the silent film Manananggal in 1927, also appeared in the cast of the original Shake, Rattle & Roll.
Eventually, Regal took up the cudgels, and in 1990 released Shake, Rattle & Roll II to great success, prompting a follow-up the following year to keep the ball rolling.
The Undin as seen on Shake, Rattle & Roll II.
PHOTO/S: X (FORMERLY TWITTER)
Among all its installments, Shake, Rattle & Roll X, released in 2008, proved the most commercially successful, grossing a total of PHP 119 million.
The Shake, Rattle & Roll franchise would go on to become a Pinoy pop culture phenomenon, delivering unforgettable characters and stories that left a lasting impression on a people’s psyche.
How many times has someone peered nervously into the toilet seat, half-expecting the sneaky Undin—a slimy water-creature—to be lurking there? Or scanned the corners of a dark room, fearing that Lilia Cuntapay might suddenly appear with her mouth agape and her gray hair billowing in the wind? And what about the thought of finding a terrifying tiyanak in the crib instead of a cute infant?
And to go on—felt a shiver when taking the LRT late at night, imagining oneself pursued by a murderous entity? Or what about the paranoia that creeps in at a wake, wondering if the funeral parlor’s owner is an aswang, consuming the entrails of cadavers brought in day after day?
While some of these images might seem comical by today’s standards, there’s no denying that, under Regal’s stewardship, the franchise was the standard-bearer for the local horror genre for years—and perhaps still is.
Even if the franchise’s appeal has seemingly waned owing to the availability of more innovative horror films globally and the decline of local film viewership, its impact on Filipino cinema remains significant.
In an October 2022 interview with Vogue Philippines, Roselle Monteverde—Regal’s chief operating officer and vice president, and incidentally Mother Lily’s daughter— revealed the reason behind the film studio’s ongoing commitment to the horror-film franchise.
Roselle, who recalls being frightened as a child by her mother’s tales of manananggal and aswang, shares, “Both Mother Lily and I are huge horror fans.”
She continues, “Although, she [Mother Lily] can’t finish [watching] Shake, Rattle & Roll. She always leaves because she’s been there the entire time through producing.”
Once, Mother Lily was asked what her favorite Shake, Rattle & Roll movie is. She played it safe, saying, “All the episodes are my favorite. It’s my life’s work so it’s important to me. When you produce, everything becomes your favorite.”
While Shake, Rattle & Roll appealed to Mother Lily primarily due to a personal entertainment preference, the Mano Po franchise resonated with her on a very personal level.
Released in 2002 as part of that year’s Metro Manila Film Festival, Mano Po was a family drama highlighting the Chinese-Filipino community, a subject Mother Lily was intimately familiar with.
It’s said that the story of Mano Po is loosely based on Mother Lily’s life and family, with the rebellious character of Richelle Go-Bala, portrayed by Ara Mina, reflecting the Regal founder in her youth.
Mother Lily made no secret that she defied her parents when she married early, choosing Leonardo “Remy” Monteverde, a basketball varsity star who played for San Beda and Mapua.
“It’s the Chinese tradition to have a dowry, but I did not get any because I was disobedient.
“I did not get a cent from my parents because they didn’t like Remy. So I worked hard,” Mother Lily told Philippine Star in an old interview.
Mother Lily and husband Leonardo “Remy” Monteverde at their wedding in 1961.
PHOTO/S: PHILIPPINE STAR (ONLINE)
Mano Po was a commercial and critical hit, with the film winning major awards, including Best Original Story and Best Picture, at the MMFF awarding ceremony.
Regal capitalized on the success of Mano Po by releasing a series of sequels: Mano Po 2: My Home (2003), Mano Po 3: My Love (2004), Ako Legal Wife: Mano Po 4 (2005), Mano Po 5: Gua Ai Di (2006), and Mano Po 6: A Mother’s Love (2009).
There was also the 2007 comedy-drama film Bahay Kubo: A Pinoy Mano Po! patterned after the successful franchise but this time focusing on Filipino family and values.
The Mano Po concept actually made it to television when Regal partnered with the GMA Network for the series Mano Po Legacy, spawning three episodes: “The Family Fortune,” “Her Big Boss,” and “The Flower Sisters,” all in 2022.
THE REGAL BABIES
Being a big movie fan throughout her life, Mother Lily knew well the power of star appeal, and how it could make or break a movie’s chances of success.
The reality is that audiences are more inclined to visit the cinemas based on the names listed on the billing rather than the storyline. This is where having a large fan base can be a significant advantage.
Pundits today may argue otherwise, but these dynamics still hold despite the apparent decline in enthusiasm among cinema audiences.
In her TV interview on Fast Talk with Boy Abunda on August 6, 2024, Alma recalled Mother Lily’s prediction about her future in showbiz.
She said, “Batang-bata pa ako noon, siguro 17 pa lang ako noon.
“Sabi niya sa akin talaga na, ‘Pero alam mo, sisikat ka pa, kung sikat ka ngayon, mas sisikat ka pa, aalagaan ka namin.”
As Regal’s prominence in the industry grew, so did its desire to sign fresh talents—Rio Locsin, Gina Alajar, Lorna Tolentino, etc.—and add them to its roster of potential stars.
Although Regal had been signing talents since its start in the mid-’70s, it was in the ’80s when Mother Lily solidified her persona as a star maker. She showed a remarkable knack for spotting talent with star potential.
This was amply demonstrated when Regal introduced its roster of up-and-coming teen idols: Gabby Concepcion, Maricel Soriano, William Martinez, Snooky Serna, Jimmy Melendez, Albert Martinez, Dina Bonnevie, and Alfie Anido.
Maricel Soriano and William Martinez during their younger years as part of the Regal Babies.
Collectively, they were called the “Regal Babies”—a term coined by the late talent manager Douglas Quijano—Mother Lily said to broadcaster Jessica Soho.
The Regal Babies ushered in a new era not only for Regal but also for Philippine showbiz.
These young stars, with their good looks and charisma, would capture the public’s imagination, especially among the younger demographic, securing Regal’s access to bankable stars for its future projects.
Mother Lily would often say that she didn’t play favorites and loved all her Regal Babies equally, much like a true mother.
However, she confided to Ricky Lo in 2007 that she gave Snooky Serna extra attention “because she was so problematic,” and admitted that she had a particular fondness for Maricel Soriano.
Some of the movies done by Snooky for Regal are Teenage Marriage (1984), Rosa Mistica (1988), and Koronang Itim (1994), while Maricel did the drama and comedy flicks Hinugot sa Langit (1985), Inday Bote (1985), Inday Inday sa Balitaw (1986), Babaing Hampaslupa (1988), among many others.
Snooky Serna and Albert Martinez in Teenage Marriage.
PHOTO/S: MUBI
Regal nurtured the careers of more young stars, including Aga Muhlach, Janice de Belen, Julie Vega, Judy Ann Santos, Richard Gomez, Aiko Melendez, Ruffa Gutierrez, Carmina Villarroel, Gretchen Barretto, and Kris Aquino—the list goes on.
Name the big names, and nearly all were babies of Regal.
Read: Ano ang tunay na ikinamatay ni Julie Vega?
It became the norm that anyone who has worked with Mother Lily and her film studio, from its inception to the present day, is a Regal Baby.
MOTHER LILY’S LASTING MARK
Mother Lily’s imprint in the entertainment business covers the film studio she founded, the hundreds of movies Regal created, and the stars she helped groom for stardom.
For one, Regal movies offer a snapshot of various eras and the shifting audience tastes.
In producing films—from thought-provoking dramas with social and political undertones, to slapstick comedies sometimes derided for their “toilet humor,” to youth-oriented flicks that make young audiences blush, and to heartfelt stories emphasizing values and traditions —Regal has been at the heart of it all.
All while entertaining the masses.
The movie business is a hit-or-miss business, however. And Regal, with its long life in the industry, has had its share of successes—substantial box-office earnings, positive reviews from critics and audiences, and numerous awards—and setbacks such as disappointing ticket sales, low audience turnout, and unfavorable feedback.
Like much of the artistic world, creative innovations often take time to be fully appreciated for their impact on culture and society.
Consider, for instance, the “Pito-Pito” movies that Regal popularized in the ’90s.
For context, “pito-pito”—meaning literally seven-seven—describes filmmaking where production is rapid —a maximum of seven days, thus the name—to conserve time and budget.
Although not entirely new as a similar style of filmmaking had been around dating back in the ’70s, Regal’s adoption of the “pito-pito” system attracted significant media attention, making it a frequent target of public jokes.
Many questioned the quality of the movies, perceiving them as hastily made.
Yet observers would later credit the “pito-pito” for helping save the local film industry from collapse, which had been threatened by declining ticket sales, rampant piracy, and the impact of the Asian economic crisis that began in 1997.
Moreover, the “pito-pito” provided many young directors and production workers with much-needed opportunities to break into the movie industry.
Two directors who got their breakthrough doing “pito-pito” movies were Jeffrey Jeturian and Lav Diaz, both of whom would carve a career given accolades.
It also continued to offer employment to veteran filmmakers, like Mario O’Hara, and movie workers behind the scenes.
Additionally, the “pito-pito” is often seen as a precursor to the modern independent or “indie” film scene, where filmmakers, constrained by budgets, complete their projects within a short timeframe.
As a result, Mother Lily earned the title “Queen of Pito-Pito Movies”—a distinction that, over time, has come to be a mark of respect rather than of criticism.
In 2014, Mother Lily told the Philippine Star that she felt vindicated by the success of Cinemalaya—the film festival that screens independently produced movies typically shot in only a few days and on a shoestring budget.
“That’s why I’m very happy that Cinemalaya is very successful. It has been showing quality films and discovering new talents — actors, writers, and directors. I salute those behind the annual festival,” Mother Lily pronounced.
She continued, “One of these days, I will do pito-pito movies again. Matipid na, mabilis pa gawin.”
One can also argue that Mother Lily, through the Regal Babies, established the concept of nurturing in-house talents and closely associating them with a specific brand, in this case, a film studio.
Again, this idea is not entirely new. For instance, pioneering film studios such as LVN and Sampaguita also had a roster of loyal talents closely affiliated with them.
But credit is given to Mother Lily for modernizing this concept, which might have inadvertently laid the groundwork for talent agencies, such as Star Magic of ABS-CBN, Sparkle of GMA Network, and even Regal’s rival, Viva Entertainment, now known as Viva Communications Inc.
Mother Lily was in the entertainment business long enough to witness its many transformations, its highs and lows, triumphs and heartbreaks.
One might question whether Mother Lily l ost her golden touch as Regal struggled to produce a major hit in recent years.
By contrast, Star Cinema and Viva, its rival studios, plus other smaller outfits, have been churning out blockbusters.
PHOTO/S: NOEL ORSAL. MOTHER LILY
While her contributions may have been overshadowed in recent times by the rise of new studios, emerging young filmmakers, mounting financial challenges, and the advent of new media platforms, Mother Lily remained steadfast.
Until the end, she continued to steer Regal forward, leaving no doubt among her children that she would want them to continue producing films.
Perhaps this is how she wishes to be remembered: as someone who never gave up on the movie industry she loved deeply.
