Aside from Gawad Urian, Star Awards, Film Academy Awards and FAMAS, the annual local festival, called MMFF or Metro Manila Film Festival has become a part of Vilma Santos’ film career. From the 70s to the new millennium, Vilma Santos was able to entered memorable films that earned her awards, record-breaking ticket revenues, career breakthrough performances and even some memorable heartache. Spanning four decades, the MMFF earned Vilma 7 acting nominations with four wins.
Here are the highlights: The Martial Law established the amalgamation of the surrounding cities in Manila. Prior to 1975, three local film festivals showcase Filipino films, Quezon City and Manila each has their own festivities and another one in Southern part of the country, Bacolod City. The local festivals started the acting competition between rival, Vilma Santos and Nora Aunor. In 1970 Manila Film Festival, Nora’s Nora in Wonderland and Young Heart compete with Vilma’s sole entry, Love Letters. Two years afterwards, the acting race will heat up in Quezon City Film Festival when the two collided with Nora’s And God Smiled at Me and Vilma’s Dama De Noche. After the Martial Law, cities were amalgamated with Manila. And the Quezon City Film Festival and the Manila Film Festival ends creating the December festival in 1975. Occasionally, Manila will have their own festival every summer in connection to city’s “Araw Ng Manila” celebration. Tthe last time Vilma entered a film at MFF was in 1993 via Dahil Mahal Kita: The Dolzura Cortez Story where she won the best actress. Meanwhile, Nora Aunor’s last venture to MFF was in 2004’s Naglalayag where like Vilma, she won the best actress too.
The Metropolitan Manila Film Festival, now simply called, MMFF, (the “politan” was dropped eventually) or Metro Manila Film Festival exhibits only local films in all its theatres from Christmas Eve to the first week of the following New Year. The festival has its street parade at the eve of Christmas Day and each films contesting for best float. The festival has its awards night at the third or fourth nights.
Not surprisingly, both Nora and Vilma have competed in the first MMFF. Nora’s entry was her self-produced film directed by Luciano B. Carlos, Batu-Bato sa Langit and Vilma’s entry was the melodrama, Karugtong ang Kahapon. The big winner was the pre-presidential, Joseph Estrada. Directed by Augosto Bunaventura, Estrada’s Diligin Mo ng Hamog ang Uhaw na Lupa won the major awards: Best Picture, Best Director, and Best Actor. Best Actress went to Charito Solis for Araw-Araw, Gabi-Gabi.
The second year, the festival was noticeably the precursor to the awards race. It was a showcase of who’s who in the local film industry. Lino Brocka, Eddie Romero, Lupita Concio were among the big name directors competing. Romero’s Ganito Kami Noon, Paano Kayo Ngayon dominated the awards night winning the best director and Christopher de Leon the best actor. Hilda Koronel was proclaimed the best actress for her impressive performance in Insiang. Concio’s Minsa’y Isang Gamo-gamo, Brocka’s Insiang and Romero’s Ganito will be the top films competing for the first Gawad Urian.
The third MMFF, brought controversy to Vilma Santos. Now starting to accept offbeat roles and learning to adopt versatility to her arsenal, she bravely entered the festival with Celso Ad Castillo’s Burlesk Queen. The gamble paid off as the film became the top grosser and won eight awards out of ten. Burlesk won best picture and best in direction, lead actor, actress, screenplay, supporting actress/actor and cinematography.
Burlesk defeated Lino Brocka’s Inay, Mario O’Hara and Romy Suzara’s Mga Bilanggong Birhen, Mike de Leon’s Kung Mangarap Ka’t Magising, Eddie Romero’s Banta ng Kahapon, Ishmael Bernal’s Walang Katapusang Tag-araw, Joey Gosiengfiao’s Babae, Ngayon at Kailanman, Gil Portes’ Sa Piling ng mga Sugapa. A very impressive list, no wonder some critics loudly complained about the awards results. And according to Armida Sigueon Reyna, in her newspaper column, Brocka walked out the awards night in protest and even cursed the juror on the way out ot the auditorium. It was also reported that the organizer asked the winners to return their medals (they hand out medals that year) but no such things happened, Vilma still has her medal in her fully loaded cabinet of hardwares.
The success of Burlesk Queen commercially and critically brought down some senses to some Nora Aunor followers. Clearly, Vilma Santos’ willingness to accept mature and offbeat roles became a threat to Nora Aunor’s standing as the number one actress. Vilma Santos’ entry was Lino Brocka’s true to life film about rape victim, Rubia Servios. Critics and media have predicted Vilma was dead lock for the best actress. Come awards night, the juries’ award Nora’s film about a maid abused by her employer, Atsay won the major awards including best picture and best director for Eddie Garcia. The top acting award was changed to best performer that Nora Aunor won. A vindication from last year’s result? Wait, there wasn’t even an Aunor film last year. For some consolation, Rubia won two technical awards, one for editing and screenplay for Mario O’Harra. The film also became the top grosser of the festival even with the lost to Aunor. According to Isagani Cruz on his TV Times article in 1979: “…Nora does an excellent acting job; but so does Vilma Santos, and Rubia is a much more demanding and difficult role….Overall, Atsay may be much more impressive than Rubia Servios. In terms of challenging our moral and legal convictions, however, Rubia Servios is much more significant.”
1979 brought the tandem of Charito Solis & Vilma Santos versus Lolita Rodrigues and Nora Aunor. The clear winner was the latter team. Although Solis and Santos film did much better at the box office. Ina Ka Ng Anak Mo, a much better film, directed by Lino Brocka won the major awards, best picture, director and acting awards for Raul Aragon and Nora Aunor. For film aficionado, the scene where Solis slapped Santos in Modelong Tanso was memorable. Many reprised that scene, Vilma did it in Anak (with Claudine) and recently Sharon Cuneta with Heart Evangelist in the recent Mano Po.
By 1980, Nora Aunor kept on pushing for festival supremacy and like last year, she entered two films. This time, with Lino Brocka’s Bona and Laurice Guillen’s Kung Ako’y Iiwan Mo. Vilma’s lone entry was Danny Zialcita’s Langis at Tubig. Nora came up short, as both of her film missed the major awards. The big winner was Christopher De Leon and Bembol Roco’s film Taga Sa Panahon. Taga won the top awards while Marilou Diaz Abaya’s film Brutal won directing and best actress for Amy Austria. Langis At Tubig won best actor Dindo Fernando.
After winning in 1977 and a big loss in 1978, Vilma’s enthusiasm in winning at the MMFF subsided significantly. Her film entries were now focused on entertainment value aimed at getting commercial success instead of awards. 1980 and 1981 was a big example. Danny Zialcita’s Langis At Tubig did very well at the box office in ’80 and her entry the following year was a glossy production, Karma. Karma was a big hit and earned nominations but one film dominated all the 1981’s MMFF, Kisap Mata, directed by Mike De Leon won eight out of ten awards except for best actress, that award went to Vilma Santos. Vilma didn’t attend the ceremony, her co-star, Chanda Romero, accepted the award.
Nora’s absence in 1981 add motivation to her camp, she entered the festival with the epic film, directed by Ishmael Bernal, Himala, now considered by many as one of the best Filipino film of all time. Himala won seven major awards including best picture, director, screenplay and actress. Vilma’s entry Haplos was a distant third, with a win for lead actor, Christopher De Leon. The following year, Himala harvested nominations from four award-giving bodies particularly the best actress nominations for Nora but failed to win any, all the trophies went to Vilma, earning her first grand slam best actress. The next six years, no film by Vilma Santos in the festival. The big winners during these years are: 1983 – Karnal, 1984 – Bulaklak ng City Jail, 1985 – Paradise Inn, 1986 – Halimaw sa Banga, 1987 – Olongapo, 1988 – Patrolman.
The 1989 MMFF brought back the team of Vilma Santos and Christopher De Leon. Viva film’s Immortal directed by Eddie Garcia won major awards including best picture, director and the acting for Christopher and Vilma. Not to be undone, Nora Aunor entered the race the following year via Elwood Perez’ Andrea Paano ba ang Maging Isang Ina. The film won best picture, director and actress for Nora. Best actor went to Dolphy for Espadang Patpat. Then 1991 was a repeat for Nora as her film, again directed by Perez, Ang Totoong Buhay ni Pacita M. won major awards.
The next twelve years seems to be non-existent for Vilma followers as there were no entries from Vilma Santos in these years. There were no films that stands out compare to the high caliber films entered during the peak of the Vilma-Nora rivalry. There are six films that were praised by the critics though, Chito Rono‘s films Nasaan ang Puso (1997) and Bagong Buwan (2001), Marilou Diaz-Abaya’s Jose Rizal (1998) and Muro-ami (1999) and Laurice Guillen’s Tanging Yaman (2000). In the acting category, only Elizabeth Oropesa win in 1999 for Bulaklak ng Maynila and Gloria Romero’s win in 2000 for Tanging Yaman stands out.
By 2002, it was déjà vu all over again, Vilma Santos convinced by many as a sure bet for the best actress lost again for her festival entry, Dekada 70. The award was given to Ara Mina for her supposed to be supporting role in the very first Mano Po. Dekada will dominate the awards race the following year, Vilma will win several best actress awards. Vilma’s co-star, Piolo Pascual will win all the best supporting actor making him a grand slam winner. The next year, Crying Ladies, starring Sharon Cuneta, Hilda Koronel and Angel Aquino won the best picture, best actor for Eric Quizon, best supporting actress for Hilda while Maricel Soriano snatched the best actress for Filipinas. The next year, Vilma came back again with Regal’s third installment to the Mano Po series. Titled, Mano Po 3: My Love and directed by Joel Lamangan, the film won best picture and the lead acting for Vilma and Christopher De Leon. Cesar Montano’s self-produced and directed film, Panaghoy sa Suba won best actor.
No Vilma Santos or Nora Aunor films the next five years. Vilma visibly concentrated with her political career and Nora retired in the United States. The film festival continued its annual fan fare with some memorable films. Zsazsa Padilla and Cherry Pie Picache continued the Mano Po series with a comedy, Ako Legal Wife, Mano Po 4 won the female acting awards in 2005. Judy Ann Santos comedy film, directed Joey Reyes, Kasal, Kasali, Kasalo top the 2006 festival. Maricel Soriano received another best actress the following year for Bahay Kubo, The Pinoy Mano Po. Anne Curtis arrived in the big league as she wins best actress for Baler in 2008 and then this year, Bong Revilla won best actor for Ang Panday and Sharon Cuneta best actor for Mano Po 6: A Mother’s Love, both first time winner.
Vilma Santos’ Manila Film Festival and Metro Manila Film Festival Entries and Recognitions
(2 nominations, 5 wins)
- 1966 MFF – Iginuhit ng Tadhana
- 1967 MFF – The Longest Hundred Miles
- 1968 MFF – Kasalanan Kaya…?
- 1970 MFF – Love Letters
- 1971 MFF – The Wonderful of Music
- 1972 MFF – Remembrance
- 1973 MFF – Dyesebel at ang Mahiwagang Kabibe
- 1974 MFF – Biktima
- 1975 MMFF – Karugtong ang Kahapon
- 1976 MMFF – Makahiya at Talahib
- 1977 MMFF – Burlesk Queen – Best Actress – Vilma Santos
- 1978 MMFF – Rubia Servios – Best Performer Nomination – Vilma Santos
- 1979 MMFF – Modelong Tanso
- 1980 MMFF – Langis at Tubig
- 1981 MMFF – Karma – Best Actress – Vilma Santos
- 1982 MMFF – Haplos
- 1989 MMFF – Imortal – Best Actress – Vilma Santos
- 1993 MFF – Dahil Mahal Kita: The Dolzura Cortez Story – Best Actress – Vilma Santos
- 2002 MMFF – Dekada ’70 – Best Actress Nomination – Vilma Santos
- 2004 MMFF – Mano Po 3: My Love – Best Actress – Vilma Santos
For some, Vilma Santos MMFF recognitions in terms of awards wasn’t as significant compare to lets say, her number of URIAN or FAMAS awards but all the shortcomings were forgotten when you think about the successful revenue of her film entries recorded. From Burlesk Queen, Rubia Servios, Karma, Langis at Tubig to her last one, Mano Po 3, all of her films did very well. At the end of the day, producers would still prefer a little profit than trophies that will just eat dusts in the attic. – RV