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Ernesto de Guzman de la Cruz (September 7, 1957 – August 29, 1992), known by the stage name Weng Weng, was a Filipino actor, stunt performer, and martial artist. He has dwarfism. Born in what is now Baclaran in Parañaque, dela Cruz studied karate. In the mid-1970s, dela Cruz played supporting roles in films, until his first starring role in Agent OO (1981). At the Manila International Film Festival, dela Cruz's starring role in the Agent OO's sequel For Y'ur Height Only (1981) outsold every other local production on foreign sales.

Key Information

Following this, dela Cruz appeared in the D'Wild Wild Weng (1982), The Impossible Kid (1982), as Agent OO, and The Cute... The Sexy n' The Tiny alongside Berting Labra and Pia Moran. Eventually, his managers Peter and Cora Caballes changed professional paths and dela Cruz never worked again in the media industry. Dela Cruz spent the rest of his life with his family in Baclaran and died at the age of 34 in 1992.

Dela Cruz has since become a cult film icon after some of his movies went viral. By the 2000s, a lot of information published about him was vague. Research about his life led to the making of two successful documentaries: Machete Maidens Unleashed! (2010), and The Search for Weng Weng (2013).

Early life

[edit]

Dela Cruz was born to Felicito Jose dela Cruz, an electrician (1914–1968), and Rita De Guzman dela Cruz, a laundry woman (1919–1989), the youngest of five brothers, on September 7, 1957. As described by dela Cruz's brother Celing, his early life went as follows. When his mother was pregnant, she didn't know until the doctor informed her, and when she gave birth, his size was "no bigger than a small Coke bottle". His premature state forced dela Cruz's parents to place him in a shoe box under a light as a rudimentary incubator, feeding him with a dropper. With a medical condition known as primordial dwarfism,[1] it caused him to reach the height of only 2 feet 9 inches (0.83 meters) tall. Being devout Catholics, dela Cruz's mother showed their devotion to their faith by dressing and parading a young dela Cruz as Santo Niño each year for the annual Baclaran parade. Dela Cruz became popular in the neighborhood and his mother felt he should become an actor. In 1968, dela Cruz's father died after falling down a ladder at work.[2]

According to Celing, as a child dela Cruz was fascinated with action films and started to study them. Neighbours of dela Cruz began to notice him climbing on clothing lines doing acrobatics and pull-ups. Dela Cruz joined karate classes, where he learned quickly, and impressed his instructor, so much so that the instructor would perform demonstrations with dela Cruz to promote the school. During one of these demonstrations, dela Cruz was noticed by producer and actor Peter Caballes of Liliw Productions. Dela Cruz's mother, who had a hard time raising five boys, allowed him and his wife Cora to take dela Cruz under their helm for an acting career.[2]

Career

[edit]

1975–1981: Early roles and breakthrough

[edit]

Dela Cruz began to work almost exclusively with Liliw Productions.[2] He began with an uncredited role in Silakbo, released October 17, 1975.[3]

In 1976, dela Cruz received his first billing as Weng Weng, which would be his pseudonym for the rest of his career, when he co-starred in Silang Matatapang and Sila...Sa Bawat Bangketa.[3]

In 1978, dela Cruz shared the top billing with actor Ramon Zamora in Chopsuey Meets Big Time Papa.[4]

Comic actor Rodolfo Vera Quizon Sr., better known as Dolphy, was friends with Peter Caballes, who introduced him to dela Cruz. Quizon felt he could use dela Cruz in a comedy film and hired him to act for his company RVQ Productions. Their first collaboration was The Quick Brown Fox. Dela Cruz played Quizon's sidekick.[5] The movie was released on November 6, 1980.[6]

On February 13, 1981, Stariray premiered.[7] Dela Cruz plays a supporting role, in a comedy starring Quizon.[8] On May 29, Agent 00 was released.[9] In it dela Cruz plays the lead as Agent OO.[2] On June 12, Da Best In Da West was released.[10] Starring Quizon, with dela Cruz in a minor role.[11] On July 2, the musical film Legs... Katawan... Babae! premiered.[10] Dela Cruz makes a cameo.[12] For Your Height Only was released on September 2, with dela Cruz returning as secret Agent OO.[13] At the Manila International Film Festival, the film outsold every other local productions for international distribution.[14][15][16][17]

1982–1986: action film star

[edit]

On March 25, 1982, D'Wild Wild Weng was released, starring dela Cruz.[18] On July 23, The Impossible Kid premiered, with dela Cruz returning in the role of Agent OO.[19] On December 25, dela Cruz shared the top billing with Berting Labra and Pia Moran in The Cute... The Sexy n' The Tiny.[20]

During this time, dela Cruz was announced as one of the supporting actors in Tatak: Magnum (1983), but he is not in the finished film.[21]

No public appearance by dela Cruz are known after 1986.[22]

1987–1992: return to obscurity and death

[edit]

Peter and Cora Caballes retired from filmmaking circa 1987, and dela Cruz returned to his hometown, under the care of his family.[22]

1993–present day: posthumous success and aftermath

[edit]

After his death, Weng Weng films gained a cult status.[2] Details on dela Cruz's life were vague, while some claims have a base in reality, some of it is myth. The discoveries about him led to the release of two documentaries Machete Maidens Unleashed! (2010) which focuses on Philippine's film during his active years. The second one about him, The Search for Weng Weng (2013). Both films were well received.[23][24][15][25][26][27]

Research made showed that dela Cruz's films Agent OO and The Cute... The Sexy n' The Tiny are lost.[2] The U-matic master tape of ABS-CBN Dolphy's The Quick Brown Fox disintegrated upon its last screening.[28]

Death

[edit]

On August 29, 1992, Ernesto dela Cruz, age 34, died in Pasay, of a heart attack due to hypertension.[2]

References

[edit]

Works cited

[edit]
  • Hartley, Mark. Machete Maidens Unleashed! (DVD). Umbrella Entertainment.
  • Leavold, Andrew. The Search for Weng Weng (DVD). Wild Eye Releasing.
  • Leavold, Andrew. The Search for Weng Weng (Book). Australia: The LedaTape Organisation, 2017. ISBN 9780994411235
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Weng Weng

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from Grokipedia
Weng Weng (born Ernesto de la Cruz; September 7, 1957 – August 29, 1992) was a Filipino , , and who achieved brief international stardom in the early through leading roles in low-budget action-comedy films, despite his height of just 2 feet 9 inches (83 cm) due to . The youngest of five brothers born to an electrician father and a laundrywoman mother in the district of City, , Weng Weng spent his infancy in an incubator and was later housed in a shoebox by his family. Adored in his neighborhood, he participated in local events such as dressing as the for the annual parade and trained in from a young age. Introduced to the film industry by his martial arts instructor, he made his possible screen debut in 1972's Go Tell It on the Mountain as Baby , though he initially appeared in novelty roles for children before transitioning to action spoofs. Weng Weng's breakthrough came in 1981 with , where he portrayed secret agent 00—a —performing his own stunts, including gunplay with a custom . He followed this with similar hits like The Impossible Kid (1982), in which he again played an agent battling villains, and D'Wild Wild Weng (1982), collaborating with stars such as and across at least 11 confirmed films until 1984's Da Best in the West. His films gained cult status abroad, particularly in the U.S. and , for their absurd humor and exploitation elements, and he was honored by as an honorary Philippine secret agent for promoting national cinema. Despite his fame, Weng Weng was reportedly underpaid and exploited by producers, leading to a rapid decline into poverty and obscurity after his last major role in 1984. He died of a heart attack on August 29, 1992, in City, just days before his 35th birthday, and was buried in a pauper's grave. His legacy endures through cult fandom and the 2013 Australian documentary The Search for Weng Weng, directed by Andrew Leavold, which chronicles his life, career, and posthumous rediscovery.

Early life

Birth and family background

Ernesto , known professionally as Weng Weng, was born on September 7, 1957, in the district of City, . He was the youngest of five brothers in a working-class family struggling with . His father worked as an , while his mother supported the household as a laundrywoman. Weng Weng's father died when he was young, leaving his to raise the large family single-handedly amid financial hardships. This absence exacerbated the family's economic challenges, resulting in a crowded and demanding home environment where resources were scarce and daily survival required constant effort from all members. His faced significant difficulties in providing for her children, often relying on her laundry work to sustain the household in their modest circumstances. From birth, Weng Weng was diagnosed with primordial dwarfism, a rare condition that severely limited his growth; he was born no larger than a Coke bottle and spent his infancy in an incubator due to related health vulnerabilities, and was later housed in a shoebox by his family. As an adult, he reached a height of only 83 cm (2 ft 9 in), which immediately affected his childhood daily life through physical limitations in mobility and self-care, as well as social interactions marked by stares and isolation from peers in a society with limited understanding of dwarfism. Adored in his neighborhood despite these challenges, he participated in local events such as dressing as the Santo Niño for the annual Baclaran parade. His family affectionately nicknamed him "Weng Weng" in reference to his small size, reflecting a loving but challenging dynamic shaped by his condition. He also trained in martial arts from a young age.

Discovery and initial career steps

In the mid-1970s, Ernesto , known professionally as Weng Weng, was discovered during demonstrations in by film producer Peter Caballes and his wife, Cora Ridon Caballes, of Liliw Productions. His instructor had contacted Caballes, highlighting de la Cruz's unique potential as a performer despite his diminutive stature of 2 feet 9 inches. Motivated by family financial struggles, de la Cruz's mother entrusted him to the Caballes couple, who relocated him from his family home to live with them in pursuit of better opportunities in . Under the Caballes' management, received intensive training in , stunts, and basic acting techniques, aimed at leveraging his physique for versatile roles beyond mere novelty. The couple positioned themselves as his guardians and promoters, seeking to transform his physical difference into an asset in the competitive Philippine . This preparation phase focused on building his skills through informal practice, as the Caballes shopped his talents to skeptical producers who initially rejected him due to biases against casting actors with . De la Cruz's initial forays into performance occurred around 1974–1975 through minor, uncredited local gigs and theater appearances in , where he honed basic stage presence without yet entering credited cinema. These early efforts involved small-scale stunts and demonstrations, providing essential experience amid the industry's tendency to exploit his height for comedic or sensational effect rather than substantive portrayal. The Caballes envisioned marketing him as a multifaceted talent capable of action and , countering the prevailing novelty-driven perceptions and laying the groundwork for future professional steps.

Film career

Breakthrough and early success (1975–1981)

Weng Weng began his film career in the mid-1970s with minor supporting roles in Philippine action films, often providing or performing stunts that highlighted his diminutive stature. In 1976, he appeared in small parts in Silang Matatapang, a about brave individuals facing adversity, and Sila... Sa Bawat Bangketa, an action-comedy depicting street-level struggles, marking his entry into cinema as a novelty performer under his . These uncredited or low-billing appearances showcased his agility and humor, laying the groundwork for larger opportunities. His breakthrough came in 1981 with the lead role in Agent OO (internationally known as ), a James Bond parody produced by Peter and Cora Caballes that transformed him into a secret agent. In the film, Weng Weng portrays Agent 00, a 2-foot-9-inch expert and tasked with rescuing kidnapped Dr. Kohler from the villainous Mr. Giant, who plans to use the doctor's N-bomb invention for . Agent 00 navigates a series of high-stakes chases, gunfights, and hand-to-hand combats against henchmen including the brutish Doberman, employing gadgets like a mini-car and shoe-rocket while leveraging his height for surprise attacks and gags. The movie's blend of thrills, low-budget effects, and height-based comedy resonated with audiences, grossing significantly at the Philippine and earning Weng Weng widespread media coverage as the "world's shortest action star." While these 1981 releases propelled Weng Weng to national stardom in the , with invitations to the from , their global distribution was initially confined to exploitation circuits in and select markets like and , gaining broader cult appeal only later through releases.

Peak popularity (1982–1986)

Weng Weng's ascent to stardom continued in 1982 with the release of D'Wild Wild Weng, a comedic western parody directed by Eddie Nicart, in which he portrayed the diminutive hero Mr. Weng battling Mexican bandits and ninjas through high-energy gunfights and chase sequences in a fantastical 18th-century setting. Later that year, The Impossible Kid, also helmed by Nicart, served as a to his Agent 00 role from 1981, showcasing Weng as the agent performing improbable stunts such as scaling sheer walls and engaging in acrobatic feats against the villainous Mr. X. Rounding out his prolific 1982 output was The Cute... the Sexy n' the Tiny, another Nicart-directed effort that blended action-comedy with erotic undertones, highlighting Weng's versatility as "the Tiny" alongside female co-stars like and Beth Sandoval in a lighthearted involving convicts and romantic escapades. In the years following, Weng appeared in subsequent films that refined his signature formula of prowess, inventive gadgets, and height-based humor, including the 1984 western spoof Da Best in da West, directed by Romy Villaflor, where he played a supporting role as Bronson to Dolphy's in a tale of bounty hunters and outlaws. These projects, produced by managers Peter and Cora Caballes of Liliw Productions, were tailored specifically to capitalize on Weng's unique physicality and charisma, often featuring custom stunts and props to emphasize his heroic persona. During this period, Weng's films achieved peak commercial success in the , with extended theatrical runs driven by enthusiastic local audiences and his growing status as a . His popularity extended to a dedicated fan following across , where bootleg copies of his movies circulated widely, fostering underground appreciation in countries like and through informal video distributions. This era marked the zenith of his fame, with the Caballes duo playing a pivotal role in scripting and producing these action-comedy vehicles to sustain his momentum on both domestic and nascent international circuits.

Later roles and retirement (1987–1992)

Following the height of his fame in the mid-1980s, Weng Weng's sharply declined after his managers, Peter and Cora Caballes, retired from around , depriving him of the key promoters who had orchestrated his rise through Liliw Productions. With the company's dissolution and Cora Caballes' shift to a political amid diminishing profits, Weng Weng was left without industry support, resulting in a of roles and no known major film appearances after 1986. Although occasional uncredited cameos or minor stunt work may have occurred in low-budget projects, his starring opportunities evaporated entirely. Weng Weng retreated to a modest life in City, living with relatives and fading into obscurity without the spotlight that had defined his earlier years. Lacking the backing that had sustained his unique formula of action-comedy roles during his peak, he made no documented attempts at a significant comeback through local theater or other ventures. This personal withdrawal aligned with transformative changes in Philippine cinema during the , as the networks supporting low-budget exploitation genres—once a staple of the industry—began to dissipate due to shifting market demands and reduced international distribution. By 1990, these factors had effectively cemented Weng Weng's retirement from professional entertainment.

Death

Health struggles

Weng Weng managed lifelong challenges stemming from his , a rare genetic condition that severely restricted his growth and stature to just 83 cm (2 feet 9 inches) as an adult. This form of is associated with disproportionate body proportions, leading to joint problems such as and restricted mobility due to skeletal abnormalities and short limbs. Individuals with such conditions often experience ongoing pain and limitations in daily movement, requiring adaptive strategies for navigation and physical activities throughout life. The for people with primordial dwarfism is typically around 30 years, with frequent vascular and cardiovascular complications. In addition to orthopedic issues, primordial dwarfism carries elevated cardiovascular and vascular risks, including , aneurysms, and , which can strain the respiratory and circulatory systems in short-statured individuals. Weng Weng developed , a condition exacerbated by potential genetic predispositions common in dwarfism and lifestyle factors. These complications highlight the broader health burdens faced by those with primordial dwarfism, where cardiovascular events represent a significant morbidity factor. Socially, Weng Weng navigated profound stigma in the Philippines, where individuals with endure derogatory labels like "" and , often limiting access to equitable healthcare and support for mobility and joint management. To counter physical limitations, he pursued training for fitness and , yet the high-stress demands of his stunt work likely contributed to overexertion without consistent medical oversight, compounding his chronic conditions.

Death and funeral

On August 29, 1992, Weng Weng, born Ernesto de la Cruz, died at the age of 34 in , , from a heart attack, a common cause of death for people with . The fatal incident occurred at his family home, where he lived in modest, dilapidated conditions amid financial hardships after his film career faded. He collapsed there, and due to the lack of prompt medical intervention in his humble surroundings, he was discovered deceased shortly after. Weng Weng's funeral was a simple, low-key ceremony attended primarily by his and a few former colleagues from the film industry. He was buried in a pauper's grave in City, reflecting his unassuming life at the end. The event garnered minimal media coverage, underscoring his relative obscurity in the Philippines by 1992. In the aftermath, his mother expressed profound grief over the loss of her youngest son, while his brothers, including Celing , managed the personal affairs and burial arrangements, effectively closing the chapter on his intimate family circle's direct involvement.

Legacy

Posthumous fame

Following Weng Weng's death in 1992, his films gained underground cult status in the United States and during the and , primarily through VHS bootlegs circulated among grindhouse and B-movie enthusiasts. Titles like became particular favorites in this niche community, preserved and shared via low-quality tapes that highlighted the actor's unique action-hero persona. This interest culminated in the 2010 Australian documentary Machete Maidens Unleashed!, directed by Mark Hartley, which explored the broader landscape of Filipino exploitation cinema from the to the . The film featured interviews with key collaborators, including directors and producers who worked with Weng Weng, alongside analysis of his contributions to the genre's low-budget spy and action spoofs. Further amplifying his posthumous profile was the 2013 Australian documentary The Search for Weng Weng, directed by Andrew Leavold, which chronicled the filmmaker's multi-year quest to uncover details of the actor's life and career. It included interviews with Weng Weng's family members and efforts to locate lost films, such as the original Agent OO, blending personal narrative with archival footage from his exploits. Archival interest has continued into the 2020s with sporadic festival screenings and compilations, such as the 2017 Cinema Society presentation of The Lost Films of Weng Weng, a subtitled of rare Tagalog titles featuring the actor, though no major biopics or widespread digital restorations have emerged. A screening event exploring his legacy occurred on January 12, 2025, at Meta-House in , .

Cultural significance

Weng Weng emerged as a potent symbol of Manila's vibrant yet precarious low-budget cinema landscape, particularly under the Marcos , where his films embodied a fusion of humor, high-octane action, and subtle on the underdog's triumph against adversity. His portrayal of Agent 00 in spy parodies like (1981) captured the era's bold exploitation style, using absurdity and resourceful heroism to reflect Filipino resilience amid political repression and economic hardship. herself promoted Weng as an emblem of national spirit, showcasing his work at the 1982 International to project cultural vitality while masking deeper societal tensions. This blend not only entertained local audiences with its irreverent wit but also critiqued class disparities by elevating a marginalized figure to heroic status, resonating with the era's underclass narratives in B-movies. In terms of representation, Weng pioneered positive, heroic depictions of short-statured individuals in global media, shifting from stereotypical bit roles or freakish spectacles to lead characters who wielded agency and charisma. Standing at just 2 feet 9 inches due to , he starred in at least 11 films between 1981 and 1984, performing his own stunts and exuding comic timing that challenged ableist tropes, even as the genre's exploitative undertones—such as emphasizing his size for novelty—highlighted ongoing industry biases. Recognized by as the shortest adult in a leading role, Weng's success offered a rare affirmative model, influencing perceptions of in action cinema by portraying as a strategic asset rather than a limitation. Weng's influence extends to cult genres, inspiring contemporary Southeast Asian B-movie filmmakers through his transnational appeal and parody-driven style, which has been analyzed in scholarly works on regional exploitation cinema. His films' offbeat attractions contributed to the cultification of action stars, fostering homages in international circuits and discussions among global directors on the allure of low-budget ingenuity. Academic examinations, such as those in Exploiting East Asian Cinemas, underscore his role in transnational cult stardom, while studies like Andrew Leavold's "Bamboo Gods and Bionic Boys" highlight how Weng's archetype informed class and hybridity in Philippine B-films. As of 2025, Weng's legacy endures through academic explorations of his ' satirical elements on class and marginalization, alongside preservation initiatives that his oeuvre to safeguard Filipino heritage. Efforts like the compilation The Lost Films of Weng Weng—featuring subtitled restorations of rare Tagalog titles—have screened internationally, ensuring his contributions to regional cinema remain accessible amid ongoing projects by archives and scholars. Posthumous documentaries such as The Search for Weng Weng (2013) have further amplified this revival, contextualizing his work within broader cultural dialogues.

References

  1. https://www.esquiremag.ph/culture/movies-and-tv/weng-weng-a1707-20170425-lfrm
  2. https://www.grindhousedatabase.com/index.php/Category:Weng_Weng
  3. https://bristolbadfilmclub.co.uk/who-is-weng-weng/
  4. https://nobudgetfilmmakers.com/weng-weng-biography/
  5. https://gruesomemagazine.com/2016/12/20/search-weng-weng-2013-big-surprises-small-package/
  6. http://andrewleavold.blogspot.com/2017/02/the-two-degrees-of-weng-weng.html
  7. https://www.grindhousedatabase.com/index.php/For_Your_Height_Only
  8. https://www.easternkicks.com/features/creating-obsession-the-search-for-weng-weng/
  9. https://www.imdb.com/title/tt1127178/
  10. https://www.imdb.com/title/tt0430216/
  11. https://www.imdb.com/title/tt1135484/
  12. https://www.imdb.com/title/tt0466693/
  13. https://www.vice.com/en/article/this-guy-spent-twenty-years-searching-for-a-midget-james-bond/
  14. https://www.imdb.com/name/nm0911067/
  15. https://lifestyle.inquirer.net/145619/weng-weng-lives/
  16. https://www.mayoclinic.org/diseases-conditions/dwarfism/symptoms-causes/syc-20371969
  17. https://markedbymark.wixsite.com/weng-weng-forever/history-of-weng-weng
  18. https://medlineplus.gov/genetics/condition/primordial-dwarfism/
  19. https://pmc.ncbi.nlm.nih.gov/articles/PMC8139163/
  20. https://coconuts.co/manila/lifestyle/little-people-big-problems-ongoing-struggle-filipino-dwarves/
  21. https://www.cinemaretro.com/index.php?/archives/12630-AGENT-DOWN-THE-IMPROBABLE-RISE-AND-SAD-FALL-OF-SECRET-AGENT-OO.html
  22. https://variety.com/2010/film/reviews/machete-maidens-unleased-1117943626/
  23. https://variety.com/2015/film/reviews/film-review-the-search-for-weng-weng-1201438775/
  24. https://chicagocinemasociety.org/news/the-lost-films-of-weng-weng-and-andrew-leavold-the-nightingale/
  25. https://meta-house.com/events/search-for-weng-weng-exploring-the-legacy-of-the-filipino-b-movie-revolution/
  26. https://www.bfi.org.uk/sight-and-sound/news/new-philippine-mongolian-cinema
  27. https://dokumen.pub/exploiting-east-asian-cinemas-genre-circulation-reception-9781501319655-9781501319686-9781501319679.html
  28. https://www.plarideljournal.org/wp-content/uploads/2015/10/2014-01-ALeavold.pdf
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