Filmography: Mga Tigre ng Sierra Cruz (1974)

Posted on December 2, 2009 by @ffv Standard

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Basic Information: Directed: Augusto Buenaventura; Screenplay, story: Augusto Buenaventura, Ruben Rustia; Cast: Charito Solis, Vilma Santos, Dante Rivero, Eddie Garcia, Paquito Diaz, Ruben Rustia, Raul Aragon, Estrella Kuenzler, Ernie Zarate, Mandy Bustamante, Ruel Vernal, Robert Talby, Bert Laforteza, Angero Goshi, George Henson, Sam Jorge, Pons De Guzman, Mary Martin, Lito Cruz, The PMP Boys, The SOS Daredevils; Executive producer: Emilia Blass; Original Music: Restie Umali; Cinematography: Fortunato Bernardo

Plot Description: No Available Data

Film Achievement: One of six (and the first!) Solis and Santos’ collaborations (Happy Days are Here Again, Mga Tigre ng Sierra Cruz, Modelong Tanso, Ipagpatawad Mo, Dahil Mahal Kita The Dolzura Cortez Story, Hanggang Ngayon Ika’y Minamahal) – RV (READ MORE)

Film Review: “Ooops! Keep your cool, dear Noranians, and listen to Charito Solis’ explanation before you accuse her of being, uh, maka-Vilma. “Vilma has a wider range as an actress while Nora is limited and typecast in certain roles,” Charito said in a tone devoid of intrigue, answering our question in a straightforward, matter-of-fact manner. “Si Vilma, puede kahit anong role, kahit bold. You can’t imagine Nora doing a bold role, can you?” But, and that’s the big but, “Nora has more depth than Vilma,” Charito added, “and it’s because of her expressive eyes. Nora is very effective in scenes where she doesn’t say anything, just act with her eyes, at “yan ang kulang ni Vilma. Vilma has to say something to be effective.” Charito has worked with Vilma twice (in “Mga Tigre ng SierraCruz” and “Modelong Tanso”) and with Nora once (“Minsan May Isang Ina”). Speaking in general now, said Charito, “Vilma is the better actress.” We asked Charito that ticklish question during the lunch presscon for her latest movie, the star-studded Mother’s Day offering of Regal Films titled “Dear Mama,” which also stars Gloria Romero, Laurice Guillen, Snooky, Janice de Belen, Julie Vega, Manilyn Reynes, Jaypee de Guzman, Rey “PJ” Abellana and Alicia Alonzo in the title role. Our own personal opinion somehow jibes with that of Charito whose “throne,” I suppose, will be inherited by Vilma (while Nora will inherit the “throne” of the other drama queen, Lolita Rodriguez).” – Ricardo F. Lo, The Phil. Star April 031984 (READ MORE)

“…To the right are the living quarters, including the high ceiling bedrooms topped with transoms or carved room vents for air circulation. The expansive dining room features an old-fashioned banguerra, where tableware and glasses are left to dry. This area of the house figured prominently in the 1972 shooting of the Vilma Santos-Dante Rivero-Charito Solis war-themed movie, Mga Tigre ng Sierra Cruz…” – Heritage Conservation Society (HCS) (READ MORE)

“…Charito Solis, who initially had a tempestuous and hostile relationship with Vilma while making the ill-fated but box-office MMFF champ Modelong Tanso, had a change of heart when the reborn versatile/professional/charismatic actress Vilma impressed her through the years, at idineklara niya sa buong mundo, without batting an eyelash. na di hamak na mas magaling na aktres si Vilma kaysa kay Nora Aunor. Walang kumontra kay Chato dahil totoo ang sinabi niya, si La Solis yata iyan, at pati nga si Amalia Fuentes, another certified Vilmanian, at “kaaway” na mortal ni La Solis, ay sumang-ayon sa kanya. Si Susan Roces, ano naman kaya ang opinion niya sa obserbasyon ni Chato? Ah, Nida Blanca. Ang dami nilang pinagsamahan ni Vilma, mula TV hanggang sa movies. Dati ay una sa billing si Nida, subali’t dahil nga sa gulong ng buhay ay kailangang maging praktikal at handa ka sa katotohanang magiging second lead ka lang in the future. Walang problema sina Nida at Vilma – ke mag-Ate o mag-Ina sila sa mga proyekto, may chemistry sila and mutual respect. Patok ang kanilang pagsasama. Remember their mother and daughter roles in Ibulong Mo Sa Diyos? Sayang at wala na ang original versatile movie and dancing queen Nida – mapa-aksiyon (Babaing Isputnik), musical (Huwag Kang Sumingit with Gloria Romero), comedy (Waray-waray) at drama (Miguelito at Magdusa Ka!). Kung tutuusin ay tunay na maigsi ang ating hiram na buhay. Kung buhay nga lang ang mga nabanggit sa itaas ay mas lalu sanang makulay ang daigdig ng sining. Subali’t ang lahat ay may katapusan. Ating suriin ang mga sumusunod na talata…” – Mario O. Garces (READ MORE)

“…The best part of the shoot was meeting the stars of the movie in person. I became an instant Ate Vi fan when she obliged the townpeople gathered outside the gate with a personal appearance, waving her hands to the crowd below from the balcony. The whole town just went mad. Later, with my portable cassette recorder, I even managed to interview Ate Vi, asking how she could possibly retain her composure despite her stardom. I asked a lot of showbiz questions that would put Ricky Lo to shame. I kept playing our recorded conversations for months after that, until I lost the cassette tape. Co-starring with Vilma in the movie was another Kapampangan, Dante Rivero (aka, Luisito Mayer Jr., from Floridablanca). Unlike Ate Vi who was always game, Dante was not too accommodating, brushing my request for interview with a terse “Can I talk later?”. But he took a shine to my cousin Beng, who later asked her for a date. I was also luckless with supporting actor Ruel Vernal, who intimidated me with his height. Charito Solis, a co-starrer, was unfortunately not part of any scenes that were for shooting here…When it was all over, the house and its garden were a mess, with most of the flowering plants in the garden dead and trampled. Worse, when the movie was finally shown in local theaters after months of anticipation, the house was just seen on screen for a minute or so, I could barely recognize it. Even the part of the Filipina househelp played by a local Mabalacat girl was edited out, her 15 minutes of fame down the drain. I don’t think “Mga Tigre ng Sierra Cruz” made a killing in the box office, either. Many shootings have been held at the grand Morales mansion since then—the most recent one was undertaken by U.P. film students in March 2009. But old folks who pass by the street still point to the old mansion and refer to it as “the house where they shot the movie ‘Mga Tigre ng Sierra Cruz’ starring Vilma Santos and Dante Rivero…” – Alex R. Castro (READ MORE)

“…The expansive dining room features an old-fashioned banggera, where table ware and glasses are left to air-dry. This area of the house figured prominently in the 1972 shooting of the Vilma Santos-Dante Rivero-Charito Solis war-themed movie, “Mga Tigre ng Sierra Cruz”. A utility wing is conjoined with the dining area. A small veranda and the white-tiled bathroom are found here, complete with claw foot porcelain tubs and modern plumbing. Space flows from one room to another leading you to the kitchen and semi-enclosed azotea with stairs that you down almost down the Sapang Balen bank…” – Alex R. Castro, Views from Pangpang, Dec 10 2008 (READ MORE)

“…She had come to Mabalacat to film the war movie, “Mga Tigre ng Sierra Cruz”and several key scenes were to be filmed in my granduncle’s old house in Sta. Ines, conveniently right next to ours. That meant instant access to the production, as we were the designated caretakers of the Morales mansion. The enviable task of fetching Vilma from an undisclosed hotel to be brought to the house was assigned to my father. To get to the shooting venue without attracting the attention of the motley crowd to get a glimpse of the stars, Vilma was whisked off to our own house which had a connecting passage to my relatives’place. For the next three days, I fell under the spell of Ate Vi—easily transforming me from a Noranian to Vilmanian. More so when, during a lull moment in the shoot, I had the gumption to talk to her (her co-star Dante Rivero refused to be interviewed!), and I even managed to put on tape our short conversation which began with her greeting ”To all the people of Mabalacat, I love you all!!”. Who wouldn’t be charmed by her sweetness? (Though I bet that was a standard line she said to ALL the people in ALL the towns she visited)…” – Alex R. Castro, Views from Pangpang, Sep 10 2012 (READ MORE)

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Filmography: Batya’t Palu-Palo (1974)

Posted on December 2, 2009 by @ffv Standard

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Basic Information: Directed: Pablo Santiago; Screenplay: Fred Navarro; Cast: Fernando Poe Jr., Vilma Santos, Fred Montilla, Mila del Sol, Dencio Padilla, Robert Talabis, Vic Varrion, Janine Frias, Lorna Tolentino, Phillip Salvador, Liza Anzures, Angge, Paquito Diaz, Max Alvarado, Lito Anzures; Executive producer: Fernando Poe Jr.; Original Music: Ernani Cuenco; Cinematography: Sergio Lobo; Film Editing: Augusto Salvador; Production Design: Pete Herrera; Sound: Angel Avellana, Jun Ella; Release Date:4 May 1974 (Philippines); Production Co: FPJ Productions – (IMDB)

Plot Description: “Batya’t Palu Palo,” is a situation comedy about a rich heiress, Estella (Vilma Santos), who disguises as a lowly washerwoman in order to find out for herself the true meaning of love that she found in Berting (Fernando Poe Jr).

Film Achievement: The success of this film resulted with a follow-up film, Bato sa Buhangin (1976), the OPM hit, used as the theme song or soundtrack of this 1974 Box Office Hit. Total Number of Fernando Poe Jr. and Vilma Santos Films: 5 – Batya’t Palu-Palo, Bato sa Buhangin, Ikaw ang Mahal Ko, Dugo At Pag-ibig sa Kapirasong Lupa, Mga Mata ni Angelita

Film Review: “…Recently, we spent an entire afternoon watching replays of three shows from Palibhasa Lalake and one from FPJ. Titled Batya’t Palo-palo, the FPJ film stars Fernando Poe Jr. with Vilma Santos as his leading lady. It presents a love story between Ronnie (Poe’s nickname) who plays a tubero working in the hacienda of the rich Saavedra family whose daughter (Vilma) he meets while she is cleaning her clothes by the river. The twist in the story comes when Ronnie mistakes Vilma for a laundry woman and she plays along, asking the women in the hacienda not to reveal her secret. Ronnie and Vilma begin to take a liking to each other while Vilma’s friends as well as Ronnie’s man Friday cooperate in keeping her secret. The parents of Vilma get wind of the situation, and are outraged that their daughter could fall for a man not in their class. Ronnie, who is unaware of all this secrecy, leaves the farm to board a bus for Manila. Vilma follows him to the station and while the bus is leaving, they get on board to their happy ending. We enjoyed this simple love story with only minimal fight scenes expected of a Ronnie Poe picture. Without question, there was definite magic in the Ronnie-Vilma team-up which kept us glued to the screen…Since these stories are re-runs of those produced many years ago, we can expect negative reactions from today’s young audience. We can already hear the words “unlikely storyline,” “ridiculous costuming” and “outdated locations.” We agree with all these accusations. However, to us such stories represent a period gone by, a part of our history that we should appreciate and be happy that some people took the pains to preserve…” – Bibsy M. Carballo, The Philippine Star, 11 March 2015 (READ MORE)

Two newly-proclaimed box office champions of Philippine movies star in FPJ Productions’ upcoming 13th anniversary presentations, “Batya’t Palu Palo,” a situation comedy about a rich heiress who disguises as a lowly washerwoman in order to find out for herself the true meaning of love. Dilineating the lead roles are Fernando Poe Jr. and Vilma Santos who star for the first time together. Now being filmed among the lush greens of Hacienda Luisita in Tarlac, “Batya’t Palu Palo” hopes to make people forget the humdrum activities of this world. A wholesome family entertainment, the flick will have Ronnie step down from his throne as the country’s number one action star to the down-to-earth role of Berting, a haceinda hand who nevertheless, catches the attention of the young rich and quiete spolied Estella. Directed by ace meg man Pablo Santiago, “Batya’t Palu Palo” is scripted by Fred Navarro, base on a story by Ronwaldo Reyes. – FPJ-Da King Blogspot (READ MORE)

“…Memories! I started reminiscing instantly. I want to ask Ate Susan (Roces, FPJ’s wife) nga for DVD copies of our three movies. I was only 21 when we made “Batya.” Ninety percent of the movie was shot in Hacienda Luisita (Tarlac) where we stayed for two months. He taught me how to swim in the hacienda’s swimming pool. We were with (co-star) Lorna Tolentino then. I admit that I didn’t know how to swim when I did “Dyesebel.” But the most memorable scene [from “Batya”] was the ending, where I ran after him, while he was aboard a train….” – RV (READ MORE)

“…Nang magkita sina Ronnie at Vilma sa first shooting day sa Montalban, Rizal, halos hindi mapatid ang batian, katiyawan at biruan. Pareho silang masayang-masaya. Sapagka’t at long last daw, natuloy din ang kanilang pagtatambal pagkalipas ng halos kulang sa isang taong paghihintay na ma-vacant si Vilma sa dami ng pelikulang ginawa. As sa simula ng siyuting, akala mo hindi sila magkakilala. Dibdiban ang acting at dialogue. Sunod-sunod ang take ng iba’t ibang angulo. Kalahating araw silang walang biruan at nang matapos ang maraming eksena ay saka lamang sila muling nagtawanan. “Mahirap na,” sabi ni Vi, “Kailangang makarami ng scenes para naman makabawi sa akin ang FPJ. Biruin naman ninyong ang tagal din ang ipinaghintay nila sa akin. Nagpapasalamat ako sa napakahabang patience nila. Kung tulad ng iba, baka pinalitan na lamang ako ng ibang leading lady. Masyado silang professional sa pakikipag-deal, lalo na si Ronnie kaya nahihiya man ako sa atraso, hindi naman makapag-back out doon sa mga naka-schedule ko na. Dapat na tapusain ko rin para walang magalit na producer sa akin…” Letty G. Celi (READ MORE)

Related Reading:

#BatyatPaloPalo, #FPJ, #FernandoPoeJr, #VilmaSantos

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Filmography: Vilma and the Beep, Beep, Minica (1974)

Posted on December 2, 2009 by @ffv Standard

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Basic Information: Directed: Romy Susara; Story, screenplay: Nilo Saez; Cast: Vilma Santos, Nick Romano, Romeo Miranda, Ramil Rodriguez, Rudy Fernandez, Max Alvarado, Angelo Ventura, Joaquin Fajardo, Elizabeth Ramsey, Renato Robles, Ruben Ramos, Romy Luartes, Romy Medalla, SOS Daredevils; Original Music: George Canseco; Cinematography: Tommy Marcelino

Plot Description: No Available Data

Film Achievement: No Available Data

Film Review: “…She was also a hit in “Dyesebel” and the thrillers “Takbo, Vilma, Dali” and “Hatinggabi Na, Vilma.” She also did other fantasy films like “Phantom Lady,” “Vivian Volta,” “Wonder Vi,” and “Vilma and the Beep Beep Minica…” – Mario Bautista (READ MORE)

“…Rodolfo “Rudy” Valentino Padilla Fernandez, screen name Rudy Fernandez[1] (March 3, 1952 – June 7, 2008), also known as “Daboy”, was a multi-awarded Filipino actor and producer. He came to prominence as an action star in the Philippine cinema during the 1980s up to the early 1990s…” – Wikipedia (READ MORE)

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Filmography: Kamay na Gumagapang (1974)

Posted on December 2, 2009 by @ffv Standard

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Basic Information: Direction:Tony Cayado; Story: Pablo S. Gomez; Screenplay: Mauro Bautista; Cast: Vilma Santos, Rosemarie Gil, Romeo Miranda, Alicia Alonzo, Dick Israel, Matimtiman Cruz, Tita De Villa, Jose De Villa, Venchito Galvez, Conrado Conde, Naty Mallares, Winnie Santos, Rey Tomenes, Elisa Robles, Louie Zapata; Original Music:Totoy Nuke; Cinematography: Felipe Santiago; Release Date:26 July 1974 (Philippines); Production Company:VP Pictures

Plot Description: No Available Data

Film Achievement: No Available Data

Film Review: “Pablo S. Gomez is one of the top komiks writers in the Philippines. He is also a movie scriptwriter and director. His most popular works include Kurdapya, Petrang Kabayo, among others…Among the prolific writers in the Philippines, Gomez created more than 1,000 komiks novels and stories. Some 300 of which were given film adaptations by movie studios like Sampaguita Pictures, Lea Productions, FPJ Productions, Seiko Films, Viva Films, and Regal Films…In the 1970s, 1980s and 1990s, his list of works that became blockbuster movies were…Kampanerang Kuba (1973), Kamay na Gumagapang (1974)…” – Wikipilipinas (READ MORE)

“…My first big break as a kontrabida was given by Dr. Perez of Sampaguita Pictures in Kamay Na Gumagapang. In one of our press conferences, he told everyone “Watch out for this guy, Dick Israel, he’s going to be the next Eddie Garcia…” – Edwin P. Sallan (READ MORE)

“…Ang masterpiece ni Tony Cayado na Kamay Na Gumagapang (July 26, 1974) ay handog ng VP Pictures na pinangunahan nina Vi, Rosemarie Gil, Romeo Miranda, Alicia Alonzo, Dick Israel, Matimtiman Cruz, Tita de Villa, Venchito Galvez, Winnie Santos at Naty Mallares. Ito ay sa panulat ni Pablo S. Gomez at iskrip ni Mauro Bautista. “Beware: Kamay Na Gumagapang is creeping at your back!…” – Alfonso Valencia (READ MORE)

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Filmography: Twin Fists for Justice (1974)

Posted on December 2, 2009 by @ffv Standard

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Basic Information: Directed: Yang Shih Chin, Danny Ochoa; Screenplay: Yang Shih Chin; Cast: Meng Fei, Vilma Santos, Philip Gamboa; Cinematography: Ho Huk Wai, Remigio Young

Plot Description: “Directed by Danny Ochoa and Ching-Yang Chen (stars – Phillip Gamboa, Vilma Santos and Meng Fei). When a poor wretch to his heir apparent of a large fortune, he finds himself in a web of intrigue. Nothing is what it seems when he receives the key to bring him to his wealth. Criminals sit on his heels and when he seeks help from justice appears to be corrupt. He will do everything possible and literally have to fight for his inheritance.” – Movie Meter (READ MORE)

Film Achievement: For international release (released as “Wild Whirlwind”).

Film Review: “…Balikan naman natin ang taong 1974. Labingdalawa ang pelikulang nagawa ni ate Vi sa taong ito. Lahat ay tumabo sa takilya at nagpatatag ng kanyang Box Office Queen Title. Sa labingdalawang pelikulang ginawa ni ate Vi, ang balikan natin ay ang Twin Fists for Justice. Dito ay nakatambal niya ang Hong Kong Martial Arts Superstar na si Meng Fei. March 1974, ng dumating si Ate Vi mula sa 9 na araw na pananatili sa Hong Kong kaugnay ng dubbing para sa pelikula. At mula roon, 3 malalaking alok ang tinanggap niya mula sa iba’t ibang HK producers. Narito ang mga offer kay ate Vi: Isang Vilma-Meng Fei-Shoji Karada (Isang Japanese superstar) starrer na kukunan nang buong buo sa Okinawa. Ito ay coproduction venture ng Bell Films at ni Shoji Karada. Isang action film na kukunan sa Vietnam mula naman kay Mr. Francis Lee ng HK at isang Vietnamese producer. Isang pelikulang kukunan sa Taiwan na ipo-produce naman nina Mr. Chen Yeng at Mr. Robert Jeffrey. Alam na natin ang nagging kapalaran ng mga movie offers na ito. Dahil sa pagiging biggest actress ng bansa ay hindi na siya nagkaroon pa ng panahon para lumabas ng bansa at gawin ang mga ito. Pero kung sakali at nagawa ni Ate Vi ang mga movie na ito, marahil ay matagal na siyang tinitingala bilang isang international actress. Balikan natin ang Twin Fist for Justice. Bago isinagawa ang actual dubbing, sinubok muna ang boses ni Ate Vi. Nang makapasa, saka itinuro sa kanya ang diction at enunciation ng British English. Habang sinasanay siya, ipinakikita sa kanya ang kabuuan ng pelikula na nakadub na sa Mandarin. Magkakaroon kasi ito ng 2 versions, isang English at isang Mandarin. Ang Mandarin version ang itatanghal sa Hong Kong at ang English version naman ang siyang magiging panginternational release. Ang Mandarin version ay binago ang pamagat, ginawa itong Wild Whirlwind. Bukod sa pagbabago ng pamagat, ang pelikula ay mayroon ding ibat ibang lay-out. Para sa Pilipinas, sa layout ay mas malaki ang larawan ni Meng Fei at una ang pangalan ni Ate Vi, pero sa Hong Kong at international version, mas malaki ang larawan ni Ate Vi at una naman ang pangalan ni Meng Fei. Ayon sa producer nito na si Mr. Dy, una itong ipinalabas sa Bangkok, Malaysia at Indonesia at naging isang malaking hit dahil kilalang-kilala na raw si Ate Vi sa mga nasabing bansa because of her “Darna” films. Isa pang trivia: alam nyo ba na sa pelikulang ito unang nagsuot si Ate Vi ng bathing suit? Tama. Nagsuot nga si Ate Vi ng bathing suit sa pelikulang ito sa isang eksena sa swimming pool, ng sumunod na taon 1975, isang bikini naman ang kanyang isinuot sa pelikulang Nakakahiya?” – Eric Nadurata, V Magazine Nos. 12 (READ MORE)

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NOON AT NGAYON

Posted on December 2, 2009 by @ffv Standard

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Siyam na taong gulang si Vilma Santos nang gawin niya ang kauna-unahang pelikula niya ang “Trudis Liit” ng VP Pictures na itinanghal noong Pebrero 21 – Marso 2, 1963. Naging abala siya pagkatapos sa linguhang taping ng TV series na “Larawan ng Pag-ibig” sa ABS (ang dating KBS sa Roxas Blvd. Noon) kung saan nakasama niya sina Zeny Zabala at Willie Sotelo. Noon pa man, kapuna-puna na madaling kumuha ng direksiyon si Vi, bukod pa sa mabilis itong magmemoya ng linya. Lubha rin siyang maingat sa kanyang pangkalahatang kaanyuhan bago humarap sa kamera. Kapag ang eksena ay sa loob ng tahanan, medyo guguluhin niya ang buhok, titiyakin na may kalumaan ang suot na simpleng damit, pati na ang tsinelas. Kapag sa labas naman ang eksena, pipili siya ng angkop na kasuotan, na para sa kanya ay komportable at simple. Dito sila madalas nagkakaiba ng panlasa ng kanyang ina. Pati na sa ayos ng buhok. Ang kay Vi, ang pananatili pa rin ng dating gawi. Ang sa kanyang mama, artista at kinakailangan nga naman ng kauting pagbabago sa panlabas na kaanyuan. Siyempre, ang kadalasang resulta, ang Mama niya ang nasusunod. After all, mother knows best, hindi ba? Bagay na hanggang nagdalaga si Vi ay muli at muli niyang napatunayan. Anyway, noon pa man, natural lang na mamalas kay Mama Santos ang understandeble pride sa anak, lalo pa’t madalas sabihin nina Zeny at Willie, “Artista talaga! Madali niyang masakyan ang prepesyong ito!” na matinding intriga at kontrobersiya.

Ipinanganak nga marahil si Ma. Rosa Vilma Tuazon Santos sa show business dahil sa pagitan ng taping ng “Larawan..” ay nagkasunod-sunod na ang kanyang mga pelikula: ”Anak, Ang Iyong Ina” ng Sampaguita Pictures (Abril 5 – 13, 1963), “King ang Queen For A Day” (Hulyo 4 – 13, 1963), “Duelo Sa Sapang Bato” ng Larry Santiago Productions (Hulyo 13 – 22, 1963), “Aninong Bakal” ng Vitri Films (Oktubre 9 – 28, 1963), “Ging” ng People’s Pictures (Enero 20 – 29, 1964), “Larawan Ng Pag-ibig” ng Vitri (base sa TV series, Pebrero 19 – 28, 1964), “Naligaw Na Anghel” ng LSP (Agosto 8 – 17, 1964), “Sa Bawa’t Pintig Ng Puso” ng LSP (Nobyemre 16 – 25, 1964), “Sa Baril Magtuos” ng Medallion Films (Abril 12 – 20, 1965), “Maria Cecilia” ng LSP (Mayo 15 – 24, 1965), “Morena Martir” ng VP (Hulyo 20 – Agosto 9, 1965), “Kay Tagal Ng Umaga” ng LSP (Agosto 23 – Setyembre 1, 1965), “Iginuhit Ng Tadhana” ng 777 Films (Setyembre 7 – 15, 1965), “Hindi Nahahati Ang Langit” ng LSP (Enero 9 – 18, 1966), “Hampaslupang Maton” ng JBC (Mayo 5 – 12, 1966), “Ito Ang Dahilan” ng LSP (Agosto 1 – 8, 1966), “Batang Iwahig” ng LSP (Oktubre 21 – 28, 1966), “Ito Ang Pilipino” ng EMAR (Disyembre 30, 1966 – Enero 9, 1967), “The Longest Hundred Miles” ng VIP (Hunyo 18 – 27, 1967), “De Colores” ng Arco-Iris (Marso 30 – April 10, 1968), “Kasalanan Kaya” ng Virgo Films (Hunyo 16 – 28, 1968), “Sino Ang May Karapatan” ng Virgo (Nobyembre 16 – 25, 1968), “Pinagbukold Ng Langit” ng UBP (Agosto 7 – 28, 1969), “Pag-ibig, Masdan Ang Ginawa Mo” ng RVQ Films (Setyembre 7 – 13, 1969), “My Darling Eddie” ng JBC (Disyembre 16 – 23, 1969, “Mardy” ng JBC (Disyembre 31 – Enero 6, 1969) hanggang “Young Love” ng VP Enero 1 – 21, 1970) ng lumikha ng rekord sa takilya.

Ang tutoo niyan, ang pag-aartista ni Vi ay nag-ugat sa isang family reunion na usung-uso sa mga Santoses. Sa isa sa mga ganyang okasyon, nabanggit ng tiyuhin ni Vi, si G. Amaury Agra, (noo’y cameraman ng Sampaguita Pictures) na bakit hindi nito subukin ang pag-aartista. Katuwiran ng amain, lista naman ang pamangkin at napakalimit pa nitong mapasali sa school plays, siyempre, ayaw ng ina ang dating Milagros Tuazon na tubong Cabanatuan, Nueva Ecija. Pag-aaral muna, bago ano pa aman. Iba naman ang reaksiyon ng ama, si Amado Santos ng Bamban, Tarlac. Amused ito at siyempre, nandoon ang parental pride dahil batid niyang maganda, matalino at lista ang anak. Iba pa rin ang reaksiyon ng mag kapatid ni Vi, sina Ma. Michaela (Emelyn) at Ma. Theresa (Maritess). Tuwang-tuwa sila. Masarap nga namang pakinggan iyong may “artista” sa pamilya. Ang dalawang bunso, sina Ma. Norwena (Winnie) at Joel (Sonny Boy) ay mga paslit pa lamang upang maunawaan ang pinag=uusapan. Natapos ang family reunion. Nakalimutan ang suhestiyon.

Makalipas ang mga tatlong buwan, nakatanggap ng maikling sulat si Mama Santos muka lay G. Agra. Naghahanap ang Sampaguita Picutures ng batang babae na gaganap ng mahalagang papel sa “Anak, Ang Iyong Ina!” at isinali ng amain ang pangalan ni Vi. Hindi puwedeng lumiban si Papa Santos sa pinpasukang government office, at ayaw naman nilang mapahiya ang kamag-anak, kaya napilitan si Mama Santos na humingi ng day=off sa opisina (Aguinaldo’s). Pagdating sa studio, wala si G. Agra at nasa location shooting, ngunit totoong naroroon ang pangalan ni Vi, kaya’t pinapasok sila sa tanggapan. Napadaan sa harapan ni Mama Santos si Bella Flores na dala ang script ng “Trudis Liit.” Nagulumihanan si Mama Santos. Binasa niyang muli ang liham ni G. Agra. Mali yata ang napuntahan nila! Akma niyang tatawagin si Vi na noon ay nkikipaglaro sa iba pang mga bata upang yayain na itong umuwi, nang pumasok sina Mommy Vera, Dr. at Mrs. Perez, at Eddie Garcia. At doon nagsimula ang movie career ni Vi na magpahanggang ngayon ay batbat pa rin ng iba’t ibang panunuri, opinyon at konklusiyon.

Pagkatapos ni Vi ng “Young Love,” nagsimula naman ang napakalaking pagbabago sa buhay niya at career life. Ang trend noon ay musicals, kung kaya’t sa kauna-unahang pagkakataon, umawit siya sa pelikula. Sa “My Darling Eddie” ng JBC, inawit niya ang “Devoted To You” ka-dweto si Edgar Mortiz. At dahil kararaos lamang ni Vi ng kanyang 16^th birthday, sinulat ni Danny Subido ang awiting “Sixteen” na siyang naging unang plaka ni Vi sa Wilear’s Recording na ang likod ay “Wonderful To Be In Love.” Ang nasabing plaka ay agad naging number one sa loob lamang ng limang araw at tumagal ito sa gayong puwesto nang mahigit sa isang buwan. Noon, malaking rekord na ang gayon.

1970 rin nang magsimula ang professional rivalry nila ni Nora Aunor na lalong lumaganap at tumagal sa tulong ng mga publisidad, mga tagahanga at mga tao sa kani-kanilang paligid. Iisa ang pinagpatahian nila ng damit, ang Torino’s, halos iisa rin ang mga TV programs na dinadaluhan nial, gayon din ang mga movie companies na kanilang pinaglilingkuran, ngunit sa mata ng publiko, lalo na ng kanikanilang mga tagahanga, magkaiba sina Vilma at Nora. Iisa lamang ang dapat nakaupo sa trono ng katanyagan, iisa lamang ang dapat may hawak ng setro ng popularidad, iisa lamang ang puputungan ng korona ng superstardom.

1970 rin nang magsimulang i-ugnay si Vi kay Edgar, na siyang naging kauna-unahang nobyo niya sa tunay na buhay. Sunod-sunod ang kanilang pagtatambal: “Songs and Lovers” ng Tagalog Ilang Ilang Productions, “My Pledge Of Love” ng TIIP, “Love Is For the Two Of Us” ng AM, “From The Bottom of My Heart” ng TIIP at “Sixteen” ng Sampaguita, Ang naging mahigpit na “kalaban” ng kanilang tambalan ay ang love team nina Guy at Pip (Tirso Cruz III).

Dahil sa sunod-sunod na siyuting, hindi lang natigil sa pag-oopisina si Mama Santos, kung hindi nanganib din na matigil sa pag-aaral si Vi na nasa fourth year high school na. Minabuti nilang kumuha ng private tutor, na pinayagan naman ng pamunuan ng St. Mary’s Academy sa Trozo, Tondo, Maynila. Sa kanyang graduation, halata na mahal ng mga madre, guro at kamag-aral si Vi. Nagbalak siyang magpatuloy sa college, kahit na hindi kumpletong units bawa’t semester, ngunit iba pala ang balak ni Atty. Laxa ng TIIP.

1970 pa rin nang unang manibang bansa si Vi. Ginawa nila ni Edgar doon ang “Aloha, My Love” at “Never Say Goodbye.” Pagbalik niya rito, ginawa naman niya ang “Dingdong” ng Sampaguita ng siyang unang pinagtambalan nila ni Pip. Balik-tambalan sila ni Edgar sa “Sweethearts” at “Love Letters” bago niya sinimulan ang una nilang pagtatambal ni Jay Ilagan, ang “Inspirasyon” ng TIIP sa direksiyon ni Ishmael Bernal. Nasundan ito ng pagkakapanalo niya sa FAMAS (“Dama De Noche” ng TIIP) at nagpatuloy na niyang makasama ang iba pang mga batikan sa mga pelikulang tulad ng “Karugtong Ng Kahapon” (Eddie Rodriguez), “Mga Tigre Sa Sirra Cruz” (Charito Solis, direktor Augusto “Totoy” Buenaventura) at “Batya’t Palu-Palo” (Fernando Poe Jr.).

Anupa’t walang naging ibang daigdig ni Vi, mula 1963 kung hindi ang show business. Sabi ng niya sa isang interview: “…ibang-iba talaga. Para bang di man lamang ako dumaan sa pagkabata…heto akong naka-lollipop, and then bigla, ni wala man lamang transition, tumanda na akao, kayod na ako nang kayod, daig ko pa ang isang padre de familia. Noon, hindi ko pa na realiza na parang abnormal pala ang growing-up years ko. Paano, bising-bisi ako lagi sa trabaho. Besides, I was too young to understand about such things then, I ondly got to realiza about the things I’ve missed in life when I saw my younger sisters growing up. Ang saya-saya nila, they’re completely free to do anything they please, ang dami-dami nilang experiences na di mo man lamang naranasan. Somehow, in a way, inggit ako sa kanila. Pero all the same, ang mga nangyari’y nangyari na. Kahit ano pa ba ang gawin mo, di na na babalik ‘yung mga nakalipas na. And then, I’ve also learned it isn’t right to blame other people for what you’ve become. Kasi, ano e, talagang di tama. After all, if you don’t really want to do something, wala namang makakapilit sa’yo a. It’s not right for me to blame my Mama or my Papa dahil they never pushed me into becoming a movie personality. Ang aking pag-aartista’y kagustuhan ko. Lahat naman tayo, we all have to do what we feel we have to do. Everything in this world naman is dedicated by necessity. And yet, at the same time, di naman siguro ako masisisi for feeling cheated about some good things in life that somehow I feel I’ve missed..”

At nagpatuloy ang paggawa niya ng pelikula. Siya’y naging si “Dyesebel,” si “Darna,” si “Wonder Vi,” at ‘Bertang Kerengken” at ang “Kampanerang Kuba.” Nagpatuloy din ang pagsubaybay sa kanya ng publiko, bagama’t ibang aspeto sa buhay ni Vi ang nais laging malaman, ang kanyang love life. Naghiwalay sila ng landas ni Edgar at naging paboritong paksa ng hulaan ay kung sino ang susunod na aangkin sa pag-ibig ni Vi. Lahat halos nang nakatambal niya ay nasali sa “hulaan,” Jojit Paredes, Ronnie Henares, Dave Brodett, Jay Ilagan, Tirso Cruz III, Christopher De Leon, Mat Ranillo III, Bembol Roco, ABM Junior, Romeo Vasquez, Mark Gil at Lito Lapid. Maging sina Fernando Poe Jr., Dolphy at Eddie Rodriguez ay hindi nakaligtas. Ang hindi lamang yata nadawit kay ay sina Mayor Joseph Estrada (“The Sultan and I”), Victor Laurel (“Ophelia at Paris”), Jun Aristorenas (“Mahilig Ang Mister Ko”), Rudy Fernandez (“Makahiya’t Talahib”), Philip Salvador (“Rubia Servios”), Angelo Castro Jr at Ramil Rodriguez (“Modelong Tanso”) at Al Tantay (“Ang Galing Galign Mo Mrs Jones”). Wala isa mang nakakula na si Ronnie Henares ang naging mapalad na pangalawang kasintahan ni Vi.

1975 nang magsimulang magbago ng image si Vi. Pumayag siyang gumanap ng nagdadalang-tao sa “Mahilig…” at makipaghalikan ng lips to lips sa “Tag-ulan sa Tag-araw.” 1976 ay lalong napagtibay ang bold image ni Vi. Nag-prodyus siya at gumanap sa “Mga Rosa Sa Putikan” na sa pamagat lamang ay mahuhulaan kung anong uri ng karakter ang kanyang ginampanan. Ngunit sa kabila ng mga iyan, naroroon pa rin ang “hulaan” sa love life ng dalaga. Lalo pa nga at noong Marso 22, 1976 ay naging panauhin siya ng TV show ni Edgar na “People,” kapalit nung pagtungo nito sa TV show ni Vi, ang “Ayan Eh!” Natural, iisa ang konklusiyon ng karamihan. Magkakabalikan ang dating magkasintahan ng tatlong taon.

Nang sumunod ng taon, 1977, nakilala niya at nakatambal si Romeo Vasquez sa “Nagaapoy Na Damdamin.” Nang mga panahong iyon, nagpasiya na si Vi na bumukod ng tirahan. Ang tanging hangarin niya noon: matutong mamuhay nang mag-isa, magpasiya nang siya lamang ang mananagot sa anumang kahihinatnan, at matikman ang inaakala niyang kalayaan na ganap lamang niyang mapagsasawaan kung siya’y nakahiwalay sa mga magulang at kapatid. Naganap nga ang kanyang kagustuhan, ngunit hungkag pa rin ang kanyang buhay. Walang direksiyon. Ang naging publisidad nang hakbang na ito ni vi ay ang diumano’y pagsasabi niya na “I want to be liberated.” Marami ang nagtaas ng kilay. At lalo nang hindi nila maibaba ito nang mapabalita na si Bobby ay kasintahan na ni Vi. Lalong gumulo na ang iba’t ibang nasulat tungkol sa dalawa. Hanggang sa tuluyan nang maghiwalay sila ng landas.

Muli, pelikula na naman ang nagpaliit ng daigdig ni Vi. Bagama’t ang 1978 ay tinaguriang taon ng mga rosas para kay Vi (panay ang padala ng mga rosas nina Bobby, Christopher, Mar Ranillo, Rolly Quizon at isang nagngangalang Ricky), iyon din ang taong ng “Rubia Servios.” Sa awards night na ginanap noong Enero 3, 1979 sa CCP, marami ang humula na mananalo si Vi. Ngunit si Guy ang nanalo sa “Atsay.”

Ilang araw matapos ang awards night, nabalita na nagtangkang magpakamatay si Vi dahil sa sama ng loob. Paano at saan nagsimula ang balita? Mahirap tukuyin. Ang madali ay ang katotohanan. Pagkagaling sa CCP, nagkita-kita sina Vi at ang kanyang pamilya, Manay Ichu (Marichu Vera Perez), mga kapatid nitong sina Lilibeth at Chona, Cleo Cruz at ang manunulat na ito sa Palamigan Express. Pagkagaling doon, naganyaya si Vi sa kanyang tinutuluyan, sa Tuscanny sa Makati. Hindi sumama si Cleo. Pagdating doon nagpaalam na rin ang mga magulang at kapatid ni Vi. Naiwan ang mga Vera-Perezes, ang alalay noon ni Vi si Viring at ang ang inyong lindkod. Tahasang inamin ni Vi: “Hinangad ko ang manalo, dahil alam kong mahusay ang pagkakaganap ko sa tulong ni direk (Lino Brocka), Ipe (Philip) at Archie (Mat) at iba pang mga kasama. Pero hindi ako umasa. I hoped I’d win, but I did not expect naman. Of course, disappointed ako, masakit, pero kailangang tanggapin…” at iniba na ni Many Ichu ang usapan. Naglabas si Vi ng alak, naging topic ang mga off-the-record na love life at ilang personal na suliranin ni Vi at bago namin namalayan umaga na pala.

Duon, sa Tuscanny, muli naming napatunayan ang isa pang aspeto ng personalidad ni Vi. Ang kanyang pagiging masinop at pagiging systematic. Kung sabagay, noon pa mang nagsisimula pa lamang si Vi, agad mapapansin sa kanya ang breeding, sincerity at pagiging very gracious. Ang ganyang kaugalian ay nadala niya magpahanggang ngayon. Maging nang dumating ang panahon na nagkasabit-sabit ang kanyang mga schedule na naging dahilan nang pagiging unprofessional niya at times. Hindi pa rin nagbago ang kanyang basic and inherit traits.

Ngayon, nahaharap si Vi sa panibagong chapter in her life, ang pagiging isang ina. At sa halip na unawain siya ng iba, ngayon pa lamang hinuhusgahan na siya. May nanghihinayang. May kumukondena. Ngunit sa pagkakatanda namin, noon, ang tanong ay: ano ang pumipigil sa pag-aasawa ni Vi? Tipong inaapura nila ito noon at ngayong magpasiya ang aktres at bigyan daan ang sariling kaligayahan, iba naman ang naging reaksiyon.

Anu’t-anuman, sa paglingon ni Vi, taas-noo niyang masasabi na naibahagi niya sa kanyang publiko at tapat na mahabang pagbibigay-kasiyahan sa pamamagitan ng kanyang mga pelikula, plaka, TV shows at personal appearances. Altogether, she gave the best years of her life to her adoring public and it is but her right for her to now give herself the chance to live her life the way she wants it. – Ched P Gonzales, Modern Romances & True Confessions, 15 December 1980 (READ MORE)

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Filmography: King Khayam and I (1974)

Posted on December 2, 2009 by @ffv Standard

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Basic Information: Directed: Cesar Gallardo; Story, screenplay: Nestor U. Torre Jr.; Cast: Joseph Estrada, Vilma Santos, Rod Navarro, Marissa Delgado, Lucita Soriano, Rossana Marquez, Lorli Villanueva, Ike Lozada, Anita Linda, Ruben Rustia, Greg Lozano, Jose Villafranca, Rudy Manlapaz, Avel Morado, Romy Nario, Robert Talby, Arturo Moran, Robert Miller, Delia Victorino, Carmen Romasanta, Elizabeth Vaughn, SOS Daredevils, Dondon Nakar, Winnie Santos, Princess, Big 3 Sullivans, Metring David, Bayani Casimiro, Mary Walter, Ronald Rei, Boy Marco; Executive producer: Espiridion Laxa; Original Music: Restie Umali, Levi Celerio

Plot Description: King Kayam’s search for another wife brought him the escapee, Princess Gracia. She doesn’t want to be wed to a man, she doesn’t love so she left her kingdom and ended up in King Kayam’s kingdom. They met and fell in love.

Film Achievement: Vilma and Joseph’s first film together as an adult actors and third overall. Their first film was “Batang Iwahig,” where Vilma was just a child star. The other film was “Dugo at Pag-ibig sa Kapirasong Lupa” where they did not share any screeen time.

Film Review: The film started promising with funny scenes of Joseph Estrada facing his people seeking his advice or help. One was when a man presented his new product, a flying magic carpet but when the carpet didnt fly, Estrada suggested a lighter weight rider. Then veteran actress and much younger, Mary Walter in a cameo role, brought her just bought magic lamp. She complained to the king that the seller fooled her to buy the lamp and wanted a refund. She then caress the lamp and the gennie came out but instead of the expected giant gennie, a midget dwarf came out. Then from this moment the film went downhill. A singing bird, a transexual Ike Lozada being auctioned, Rod Navarro’s over the top villain antics, all failed to sustained our attention. The weak storyline did not help. Patterned with the Hollywood film, King Kayam & I’s only saving grace was the acting of its lead stars. Joseph Estrada’s precense was commanding and convincing as the playboy king and Vilma’s charming innocense despite the sexy dance number at the end complimented Joseph’s macho image. The two did three films, although they didn’t shared a single scene in Dugo at Pagibig sa Kapirasong Lupa, King Kayam was their only film together as mature actors. Their first outing was Batang Iwahig, when Vi was just a childstar and Joseph was in his early years as a bankable action star. Produced by Experidion Laxa of Tagalog Ilang-Ilang Production, the film was just a mild hit, probably the main reason why there was no follow-up project for the two. Two reasons why the film failed was probably the cheap set decorations and the weak story/screenplay of Nestor U Torre, Jr. The song lyrics of Levi Celerio can’t salvaged the mostly canned music of Resti Umali either. This was despite the splendid musical number in the kitchen (when Vilma protested to the cooks that she was a princess and should be treated like one). Die-hard Vilmanians would probably considered Vilma’s dance number at the very end as the hightlight of the film. – RV, (READ MORE)

“…Naging very successful ang unang pagtatambal nina Vilma Santos at Joseph Estrada sa pelikulang King Khayam And I ng TIIP. Kahit bumabagyo ay hugos pa rin ang tao upang mapanood lang ang napabalitang pelikulang ito. Subalit nitong mga huling araw ng pagtatanghal ng nasabing pelikula, medyo naging mahina ang pasok ng tao. may nagsasabing talagang ganito lang ang panahon kapag magpapasko, sa halip na manood ýung iba, ipinamimili muna ng kanilang pamasko ang mga mahal nila sa buhay. At least, ang kaunting salaping gugugulin nila sa entertainment ay ipinagdaragdag nila sa kanilang Christmas savings…” – Levi, Modern Romances and True Confessions Magazine, 16 December 1974

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Filmography: Vivian Volta (1974)

Posted on December 2, 2009 by @ffv Standard

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Basic Information: Direction Bobby Santiago; Story and Screenplay Antonio Pascua; Cast: Vilma Santos (in the title role), Edgar Mortiz, Eddie Garcia, Paquito Diaz, Romy Diaz, Leopoldo Salcedo, Leonor Vergara, Darius Razon and Cristina Reyes; Cinematography: Alfonso Alvarez; Music: D’Amarillo; Production Company: GPS Productions; Release Date: 12 October 1974 – Andrew Leavold (READ MORE)

Plot Description: Martial arts Vilma fights bad guys as Vivian Volta.

Film Achievement: Box office hit of 1974

Film Review: “…There was a time in the 70s, particularly in 1973 and 1974, when a spate of Pinoy fantasy films featuring Pinoy superheroes graced our big screens. I think it was Vilma Santos’ Lipad Darna Lipad that started it all. It ushered in this wave of so-called trend in fantasy movies. Besides Darna, Vilma came up with Wonder Vi (1973), Phantom Lady (1974) and Vivian Volta (1974); Nora Aunor had Super Gee (1973) based on a popular komik serial; Superman and Batman had their local counterparts in Zoom, Zoom Superman (1973) with Ariel Ureta and Fight Batman Fight with Victor Wood. Vilma came out with another sequel of Darna titled Darna and the Giants, also in 1973; Dolphy had his own version of Captain Barbell in Captain Barbell Boom (1973). It was the movie, Supergirl (1973) which starred Pinky, that made a major impact among the moviegoers that time. It was a surprise hit that year. It was reshown several times due to insistent public demand…” – Simon Santos (READ MORE)

Mad Scientist vs Volta – “…Eddie Garcia is a mad scientist who plans to destroy the world, and comebacking star Leonor Vergara is his wife in GPS Production’s Quezon City Film Fest entry “Volta” in full color. It stars Vilma Santos and Edgar Mortiz under the direction of Bobby Santiago…”

Fight Scene – “…In 1974, our house became a setting of GPS Productions’ “Vivian Volta.” Vilma Santos shot one scene, a fight scene…Edgar Mortiz , who was also in the movie, accompanied Vi to the set. I read in some gossip column that Vilma and Edgar that time had already problem with their relationship. Basketball star Dave Brodett, who was rumored to be courting Vilma, paid the young actress a visit at the set. Several scenes were also shot the following day, with veteran actor Eddie Garcia, playing a mad scientist and comebacking actress Leonor Vergara, who played his wife…” – Posted by Simon Santos, Video 48, 21 September 2017 (READ MORE)

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Filmography: Vilma Viente Nueve (1975)

Posted on December 1, 2009 by @ffv Standard

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Basic Information: Directed: Pablo Santiago; Screenplay: Tommy David; Cast: Jun Aristorenas, Max Alvarado, Lito Legaspi, Vilma Santos, Anita Linda, German Moreno, Charmie Benavides, Jun Santos, Ruben Ramos, Johnny Rio, Angel Confiado, Tony Beso, Martin Marfil; Executive producer: Jun Aristorenas; Cinematography: Joe Batac Jr.

Plot Description: No Available Data

Film Achievement: Adapted from comics, Vilma Veinte-Nueve (1974-1975) was written by Cris R. Marcelino and illustrated by Vir G. Flores for Aliwan Komiks (Aliwan Komiks ).

Film Review: (No available film review)

The Balisong-wielding Batangueña Fighter – “…Vilma Santos, the Batanguena: However, the most telling evidence of how well a person can suit language and lifestyle lies in Vilma Santos-Recto, who now peppers her conversations with traditional Batangueño lines spoken with the right attitude. Vilma has taken to calling friends as Ka Nitoy or Ka Celia, Ka being a term of endearment among Batangas old-timers. Ka is also used as a term of respect to another person, usually older. In the late ’70s, Vilma acted in a film called “Vilma Veinte Nueve (29)” where she played a balisong-wielding fighter of a character. She was Batangueña, but of course…” – Nestor Cuartero, Manila Bulletin, 27 January 2017 (READ MORE)

The Blade That Defines Batangueño – “…The balisong is our identity, Ona said. It defines us as Batanguenos. We can’t just let the industry die because of politics and cell phones. Through his business which is known all over the world, Ona is doing his best to help revive the industry by producing collectors’ type balisong and constantly improving on the the quality of the knife which has become his passion. Balisong is not only my passion, it is also a fascination,” he said. “In 1970, this fan knife saved my life from an attacker who retreated after he saw how fast I was with my balisong, and realized that his small weapon was no match for my bigger fan knife…” – Mei Magsino (READ MORE)

Juanito “Jun” Aristorenas (May 7, 1933–2000) was a Filipino actor, director, dancer, producer and writer. Aristorenas was known for his western roles, and has topbilled cowboy’ movies such as Sagupaan ng mga Patapon, Dugong Tigre, Apat na Bagwis. As an actor, Aristorenas has performed in movies such as Danilo Ronquillo: Cavite Boy, released in 1965, in which he portrayed Danilo Ronquillo, Rico Solitaryo (1966), and Bale-bale Kung Lumaban (1964). As a movie director, he has worked on movies such as Matalino man ang matsing na-iisahan din!, released in 2000, Cara y Cruz: Walang Sinasanto! (1996), and Marami Ka Pang Kakaining Bigas (1994). Aristorenas has also written the story of “Matalino man ang matsing na-iisahan din!”, released in 2000 (Wikipedia).

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Filmography: Basta’t Isipin Mong Mahal Kita (1975)

Posted on December 1, 2009 by @ffv Standard

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Basic Information: Directed: Armando De Guzman; Cast: Vilma Santos, Eugene Torre, Panchito, Coney Reyes, Roldan Aquino, Teroy De Guzman, Teddy Blarmino, Ellen Esguerra, Ponga, Greg Lozano, Rhonna Mercado, Golay, Menggay, Marlyn Pastera, Ursula carlos; Theme Songs: “Isipin mong Mahal Kita” performed by Vilma Santos

Plot Description: No Available Data

Film Achievement: No Available Data

Film Review: “…Eugene Torre: “…Medyo mahirap kasi (It was quite difficult because) I played a poor man and a rich man at the same time…I had to wear a tuxedo in some scenes then plain clothes the next. It was hard to make the switch…” – Manolo Pedralvez, Rappler, 28 June 2014 (READ MORE)

“…And so, to prove them wrong, Vilma’s manager smartly plotted follow-up recordings. Not only did Vilma record her follow-up album, she recorded a string of mini-LPs. Mini-LPs are shorter version of the big vinyl record with two songs on each side. She ventured into Tagalog songs, recording six songs that include instants hits like Isipin Mong Basta’t Mahal Kita, a theme song to a film she did opposite Filipino chess grand master, Eugene Torre; Palong-Palo, where she received a golden record award in 1974 and an up-tempo opm, Tok-Tok Palatok, another theme song from one of her comedy film with the same title opposite Jojit Paredes…” – RV (READ MORE)

“…Coney made her movie debut in “Return of the Dragon” in 1975. She has been hosted for Student Canteen since its first airing on GMA Network in 1975. In 1982, Coney Reyes left Studio Canteen for Eat Bulaga on RPN. In exchange, Chiqui Holmann-Yulo filled the slot vacated by Reyes. Coney’s hosting stint with Eat Bulaga opened more opportunities for her and has been co-starred with Dolphy, Fernando Poe Jr., Vilma Santos, Lorna Tolentino, Maricel Soriano, Helen Vela, Aiza Seguerra and Vic Sotto among others in several movies and TV programs…” – Wikipilipinas (READ MORE)

“Eugenio Torre (born November 4, 1951) is a chess Grandmaster (GM). He is considered the strongest chess player the Philippines has ever produced during the 1980s and 1990s period, following the heels of Fischer-era Filipino chess champions National Master (NM) Ramon Lontoc, International Master (IM) Renato Naranja, IM Rodolfo Tan Cardoso and GM Rosendo Balinas, Jr. Super GM Wesley So is currently the top Philippine chess player. GM Torre shot to prominence in 1976 as a possible future title challenger after winning a strong four-man tournament in Manila ahead of world champion Anatoly Karpov – thus becoming the first player to finish ahead of Karpov in a tournament since the latter became world champion. The high-point of his career came in the early 1980s when he was ranked world No.17; successfully going on to qualify to be a candidate for the world championship after tying for first with Lajos Portisch during the 1982 Toluca Interzonal. Torre has the distinction of being the first Asian player to earn the title of International Grandmaster. He qualified for the Candidates Matches for the 1984 World Championship. In that preliminary stage, the contenders play matches against each other to determine who will challenge the world champion. Torre was eliminated when he lost his match against Zoltán Ribli by a score of 6-4. After losing his quarter-final candidates match to Zoltán Ribli in 1983, Torre became disillusioned with chess and more or less went into semi-retirement. He went on to become a minor celebrity due to his daily one hour TV programme Chess Today…” – Wikipedia (READ MORE)