Vilma Santos-Recto is a popular multi-awarded actress and politician in the Republic of the Philippines. *** She is known as "Queen of Philippine Movies," "Queenstar," "Grand Slam Queen," "Box Office Queen," and "Star for All Seasons." *** This website is mostly about her iconic film career.
204 films, 70 directors, 5 decades, Vilma Santos, one of the original Philippine movie queens, rose up to become the versatile actress that has been given the fitting title of “Star for All Seasons” because of her capacity to adapt to the changing mores and values of the Filipino woman, giving a face to their plight and struggles, albeit in success both critically and box-office wise in some of Philippine cinema’s classics such as Trudis Liit (1963), Lipad, Darna, Lipad (1973), Burlesk Queen (1977), Relasyon (1982), Sister Stella L. (1984), Alyas Baby Tsina (1984), Pahiram ng Isang Umaga (1989), Dahil Mahal Kita: The Dolzura Cortez Story (1993), Anak (2000) and Dekada ’70 (2002). This are top ten directors who contributed to her success. – RV (READ MORE)
Minsan pa nating hagkan ang nakaraan (1983) – “…Isa pa rin ito sa mga mahalagang pelikulang nagawa ni Ate Vi na nagbigay sa kanya ng karangalan bilang mahusay na aktres sa URIAN and of course kay Boyet bilang mahusay na aktor. Sa Viva Films sila nakagawa ng maraming pelikulang pinagtambalan dahil na rin sa isinasaad ng kani-kanilang mga kontrata. Kaya naman sa pagtatapos ng taong 1983, ginawa nila ni Boyet ang “Minsan Pa Natin Hagkan Ang Nakaraan”, the only movie na namatay silang magkasama kung saan asawa siya ni Eddie Garcia sa pamamahala ni direk Marilou Diaz Abaya…” – Willie Ferrnandez (READ MORE)
Baby Tsina (1984) – “…Ang istoryang ito ay matagal nang ikinukuwento sa akin ni William. Wala pa akong asawa, pangarap na ni William na magawa ang pelikula. He had the story at hand. Siya talaga ang nag-negotiate para makuha ang istorya. Noong una nga raw, ayaw pumayag ni Baby Tsina at ng kanyang asawa dahil gusto na nilang kalimutan yun. Eh, si William alam ko yan kung magpilit, tsaka personal kasi niyang kilala si Baby Tsina, nakuha rin ang istorya,” salaysay ni Vilma…”Noong una kong mabasa ang script, ayoko sanang maniwala na nangyari talaga yun. Masyadong cinematic, eh. Para bang sa pelikula at sa komiks lang nangyayari. Until the day nga that I met the real Baby Tsina. Nang siya na ang makuwento sa akin ng naging buhay niya, lalo na after the crime at sa loob Correctional, saka ko lang nalaman na ang nakalagay sa script ay kulang pa pala. Mas matindi ang istorya niya, pero hindi na maaring isamang lahat sa pelikula. Baka namang masyadong humaba eh. Malakas ang istorya. I think the story alone will sell the movie. Lalo na kung iisiping isa itong celebrated case at nasundan ng mga tao noon sa mga diyaryo. Front page stories pa raw lagi iyang si Baby Tsina noon eh…” – Ariel Francisco (READ MORE)
Marilou Diaz-Abaya is a multi-awarded film director in the Philippines. She is the founder and current president of the Marilou Diaz Abaya Film Institute and Arts Center, a film school based in Antipolo City, Philippines. She is the director of José Rizal, a biopicture on the Philippines’ national hero…Diaz directed and released her first feature film, Tanikala (Chains) in 1980. Since then, she has been one of the most active and visible directors in Philippine cinema…Her early films Brutal, Karnal (Of the Flesh), and Alyas Baby Tsina, sharply condemn the oppressive social system during the administration of Philippine President Ferdinand Marcos. When the Marcos was deposed in 1986, Diaz left filmmaking. – Wikipedia (READ MORE)
First Film – “…Diaz directed her first feature film, “Tanikala,” in 1980. But her follow-up movies, “Brutal,” “Moral,” “Karnal” and “Alyas Baby Tsina” quickly established her reputation as one of the country’s most exciting filmmakers. Her most famous movie is arguably the biopic “Jose Rizal” with Cesar Montano as the national hero, released in 1998 in time for the country’s centennial celebrations. This marked the start of her successful collaboration with Montano, who starred in her succeeding movies, “Muro Ami,” about the problem of dynamite fishing; and “Bagong Buwan,” which addressed the conflict in Mindanao. Montano said the Philippine movie industry has lost a “rare gem.” In a statement after learning of Diaz-Abaya’s death, Montano said: “This is a very, very sad day for us and the movie industry. We lost not only a dear friend and family but also a rare gem in the industry.” “Direk Marilou fought the good fight. She will always be remembered for all her contribution to the industry and the excellence by which she rendered all those,” he added. “She will always be an inspiration.” Diaz-Abaya’s last movie was last year’s “Ikaw Ang Pag-ibig,” released by Star Cinema…” – ABS-CBN News, Oct 08 2012 (READ MORE)
Last Film – “…Sa kanyang paghahanda sa “kaganapan” ng kanyang buhay, nakakalungkot mang isipin, ay may mga projects na sana ay gagawin ni Direk Marilou, pero hindi na niya nagawa. “Ikaw Ang Pag-Ibig is my last film. It’s my swan song,” aniya. Binanggit din ni Direk Marilou ang mga bagong project na katuwang na lamang siya sa pagre-reseach at pagsulat ng screenplay. “I wish Olive [Lamasan] would directed John Lloyd Cruz in Juan Luna, which I’m researching on and co-writing with Ricky Lee. “O yung Nana Rosa, ipinamana ko yun kay Rory Quintos. Ang Nana Rosa, base sa totoong kuwento ni Nana Rosa Henson, na naging “comfort woman” noong Second World War sa Pilipinas, ay laan para kay Vilma Santos na ididirek sana ni Ishmael Bernal. Sabi ni Direk Marilou, “Hindi na si Ate Vi [ang gaganap]. Hahanap sila ng bagong artista for Nana Rosa…They wanted me to direct…ipinamamana ko na kina Olive at Rory…Next year, God willing, I was supposed to direct it, but nung nag-stage 4 ako, I told Ricky, ‘Isulat mo na, ako ang magre-research…Wag kang matakot…Tapos, sabi ko, ‘Olive, it’s time for you to do something like this. You do this…She’s ripe na, e,” sabi pa ni Direk Marilou. On her part, nakasulat na rin ng dalawang libro si Direk Marilou habang nasa kundisyong “unreliable” ang kanyang health condition. “The first one is Moonlit Seasons and then Reefs of Paradise. Both [about] underwater ‘yan,” banggit pa niya. Magku-collaborate din daw sila ni Ricky para sa isang “double memoir” na tala ng marami nilang pagsasama sa iba’t ibang proyekto at mga taong naging bahagi niyon…” – William R. Reyes, PEP (READ MORE)
Marilou Diaz Abaya’s Vilma Santos Films
Minsan pa nating hagkan ang nakaraan (1983) – “…Sa 1983, ang mga mapagpipilian lamang ay Broken Marriage…On a lower randk would be…Minsan Pa Nating Hagkan ang Nakaraan…Now that we have discussed this year’s better films and the directors who made them, tunghayan natin ang listahan ng best screen performances…ang pinagtaksilang aswang labis ang pagmamahal sa kanyang kabiyaksa Minsan Pa Nating Hagkan ang Nakaraan, ibang uri ng akting ang ipinamalas ni Eddie (Garcia) rito at talaga namang namumukod-tangi ang kanyang pagkakaganap… ” – Movie Flash Magazine, Jan 05 1984 (READ MORE)
Baby Tsina (1984) – “…Marilou Diaz-Abaya will forever live with her magnum opuses like Brutal, Moral, Karnal, Muro Ami, Baby Tsina, Sa Pusod ng Dagat, Bagong Buwan and the multi-awarded period masterpiece Jose Rizal released in the ’90s and still gets screened to this day in schools and historical festivals even abroad…” – Ricardo F. Lo (READ MORE)
Marilou Diaz-Abaya (March 7, 1955 – October 8, 2012) was a multi-awarded film director in the Philippines. She was the founder and president of the Marilou Diaz-Abaya Film Institute and Arts Center, a film school based in Antipolo City, Philippines. She was the director of the 1998 film José Rizal, a biopicture on the Philippines’ national hero. – Wikipedia (READ MORE)
Basic Information: Directed: Tata Esteban; Cast (in credits order) Vilma Santos, Robin Padilla, Roderick Paulate, Raul Zaragosa, Janice de Belen, Susan Lozada, Francis Magalona, Maila Gumila, Cita Astals, Tanya Gomez, Evelyn Vargas; Original Music: Jaime Fabregas; Cinematography: Vic Anao
Plot Description: As modern man continues to plunder our environment, the Engkantos prepare for battle to protect what is left. Always remember: We are not alone in this world! – Kabayan Central (READ MORE)
Film Accomplishments: 1992 Metro Manila Film Festival Third Best Picture
Film Reviews: “…He gave free passes to people from the showbiz industry to earn more clout in the business. He met Celso Ad Castillo, Lino Brocka and Mario O’Hara who opened for him a new world: directing. In 1985, at age 29, he directed his first movie, “Alapaap,” starring Tanya Gomez. It won 13 awards in the Metro Manila Film Festival and was bought later to Japan for the Tokyo Film Festival. Tata Esteban discovered that he had the gift. He was proud of his achievements. “I became a star builder,” he says. “I made many actresses, bold stars, famous. I gave them movies and built their names…” – Aliwan Avenue (READ MORE)
“Lea Salonga’s leading men in Bakit Labis Kitang Mahal, Aga Muhlach and Ariel Rivera won as best actor and best supporting actor in the Metro Manila Film Festival’s Gabi ng Parangal Monday night. Gina Alajar was Best Actress….best supporting actress went to Sylvia Sanchez…Although the Eddie Garcia-Eddie Gutierrez starrer Andres Manambit did not win acting awards, the movie nevertheless won the most number of awards, including the plum Best Picture that came with P250,000.00 cash…Second best picture and P150,000.00 went to Takbo, followed by Engkanto which received P100,000.00 as third best picture…” – Manila Standard, Dec 28, 1992 (READ MORE)
“…Maribuhok is an enchanted place deep in the mountains. The dwellers of Maribuhok are engkantos (nature spirits or elementals) tasked to protect nature. They are headed by Uban (Francis Magalona) the deity of animals and Yorac (Roderick Paulate) the deity of plants. Uban rejuvenates as a young man and proceeds to reinvent himself as a star specializing on cause-oriented environmental songs. He neglects his kingdom and his daughter Karina (Janice de Belen) grows up away from his guidance. Meanwhile illegal loggers continue to denude the forests and Yorac decides to do something about it. He holds some loggers hostages including Carlo (Raul Zaragosa) Karina’s boyfriend. Karina discovers the land of her birth including the fact that Uban is her father. She asks his help regarding Carlo. But Yorac remains unyielding. Uban and Yorac gear up for a showdown until Mother Nature (Vilma Santos) herself intervenes. Her meaningful lesson? We must all work for the preservation of our environment before it is too late…” – Mav Shack (READ MORE)
Body of Work – “…Sa 1983, ang mga mapagpipilian lamang ay…Karnal…Now that we have discussed this year’s better films and the directors who made them, tunghayan natin ang listahan ng best screen performances…Kung ang paraan sa paghatol sa Best Actress ay for the actress with most commendable body of work, tiyak nang ang mananalo, hands down, ay si Charito Solis. Charito Solis is very good as the bitter lola in Boyfriend Kong Kano, laudable as the stern mother who nearly ruined her children in Minsan May Isang Ina, terrific as the impoverished mom who slowly loses her sanity in Don’t Cry For Me, Papa and simply pathetic as the derange ex-prostitute in the released Pusakal. Idagdag pa nga rito ang matindi rin niyang pagkakaganap sa Karnal, talagang top contender si Chato for best actress this year…” – Movie Flash Magazine, January 5, 1984 (READ MORE)
Acting Trophies – “…Charito Solis’ “antics” were the toast of the tabloids when she was younger, from the admirable to the ridiculous. Her volatile outbursts on sets when professionalism was not observed was a common story written in the movie magazines. Ever a stickler for promptness and professionalism, she was said not to allow any one to make a noise during her performances because it detracts from her concentration. She would even go to the lengths of bringing her acting trophies on movie sets so that she can show the younger stars that they were dealing with a competent and award-winning actress that they have to respect in terms of promptness and performance. Both Vilma Santos and Nora Aunor, future FAMAS Hall of Famers, were said to have experienced this. She was also said to “meddle” with directors in terms of movie directing, an accusation that she had denied and explained: she was not meddling with the direction of the film but with the direction of her acting. She was an active artist; she would suggest ways on how to better her performance, but the director’s approval was needed to seal it, which she obeyed. She was just disappointed that because she was Charito Solis that her directors usually do not bring out the best in her, believing and excusing themselves that what she was giving was already the best. Other tabloid rumors were that she slept in a temperature-controlled room to preserve her beauty and that she brought her own arinola (potty) on film sets as she refused to use public toilets. She is also known to drum up interest with her name through her personal makings, such as the beggar garb in the 1968 FAMAS Awards. Her career was top one in her life, a probable reason why she never married. After her death, it was revealed that the only boyfriends she ever had were the King of Philippine Movies Fernando Poe, Jr. when they were both starting out and film director Danny Zialcita…” – Gypsy Baldovino and Yolly Tiangco (READ MORE)
Lolita Rodriguez – “…Lolita and Charito maintained mutual respect and fondness, unusual to find in top actresses. Actually, the “clashes” exist largely in the minds of the public. Lolita says she has always been in the best of terms with LVN stars, among them Charito. Echoing the same sentiment, Charito say she works well with professionals “and who can be more professional than Lolita?” In the “clashes” in Larawanm one couldn’t say who really “won.” Lolita, having the stronger role (Candida) and being more familiar with the medium, dominated Larawan. But Charito turned her awkwardness with the stage into a virtue. She gave Paula an endearing quality…” – Ronald K. Constantino, Expressweek Magazine, April 19, 1979 (READ MORE)
Ishmael Bermal – “…So far, lahat naman siguro ng magagaling na directors noong araw, I’ve worked with na. Sa bagay, iba rin ang style nila noon, iba kaysa sa ngayon. At iba’ng galing nila, iba rin naman ang galing ng mga director ngayon.:” She paused and thinks awhile. “But I take special note of Bernie (Ishmael Bernal, who directed her late last year in “Walang Katapusang Tag-araw). Ibang klase siyang director, e. ‘yung bang pipigain ka niya nang husto. When he doesn’t like what you’re doing, he tells you. Kasi, kadalasan ang mga director ngayon, ano, just because I’m Charito Solis, it seems they don’t even bother to correct me. ‘Yung bang kundi pa ko magtatanong, hindi pa nila sasabihin. Si Bernie he can even tell me, “O, wala ka yata sa mood ngayon, a.” Things like that. And he really insists on what he wants you to do “hanggang sa makuha mo. Okey lang yon. Meron din naman akong ka-vives na director, kasundo ko sa shooting, I like him pero I cannot really, honestly respect him as a director, ganyan. Sa LVN din noon, iba. Mahigpit sila diyan. Hindi puwede ‘yung pa-wise guy wise guy ka. You have to obey everything they tell you…” – Mario E. Bautista, Philippines Daily Express, October 5, 1978 (READ MORE)
Better Actress – “…Oops! 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, 03 April 1984 (READ MORE)
Charito Solis (6 October 1935 – 9 January 1998) was a FAMAS and Gawad Urian award-winning Filipino film actress. Acknowledged as one of the leading dramatic actresses of post-war Philippine cinema, she was tagged either as the “Anna Magnani of the Philippines” or as “the Meryl Streep of the Philippines. – Wikipedia (READ MORE)
Charito Solis and Vilma Santos Trivia
Contrary to popular belief, Charito Solis and Vilma Santos’ first project together wasn’t the festival entry, Modelong Tanso (this was their second film), It was a Cultural Center of the Phillipines’ passion play titled, “Ang Hari.”
According to film critic, Mario Bautista, on his interview with the screen legend, Carmen Rosales, both Santos and Solis are distant relative to her.
Charito Solis was one of the instigator of the Ralph Recto and Vilma Santos romance, she insisted on Vilma to give Ralph a chance after he asked her for a dance inside Kingkong Disco owned by director, Marilou Diaz Abaya. The group was unwinding after the rigid night of television work.
Charito Solis and Vilma Santos joined forces for the second time in the hit film, Modelong Tanso where Charito slapped Vilma several times. This scene was used to promote the film.
While Vilma Santos tried to be sexy in several films, it was Charito Solis who exposed herself literally. Her film, Igorota required her to show her breast, a very controversial scandal during that perod.
During her heyday and to make a point about professionalism, Charito Solis will bring her FAMAS trophies to the set, saying: “…tapatan mo ang mga trophies na yan (match these trophies),” probably insinuating, before you act like a diva, match these trophies! And Vilma Santos took noticed, she surpassed La Solis, in quantities and qualities.
Charito Solis and Vilma Santos both started their career through the help of their respective uncle, both connected in film productions.
Charito Solis played mother to Vilma Santos five times.
In 1963, Charito Solis won her third FAMAS best actress for Angustia and Vilma Santos her very first as best child actress for Trudis Liit.
Charito Solis and Vilma Santos both FAMAS Hall of Fame awardees
Charito Solis won the FAMAS best actress for: Kundiman ng Lahi, 1959; Emily, 1960; Angustia, 1963; Igorota, 1968; Don’t Cry for Me Papa, 1983 (also, she received 14 Best Actress nominations and 2 Best Supporting Actress nominations
Vilma Santos won the FAMAS best actress for: Dama de Noche, 1972; Pakawalan Mo Ako, 1981; Relasyon, 1982; Tagos Ng Dugo, 1987; Ibulong Mo Sa Diyos, 1988 (also, she received 12 Best Actress nominations, 2 Best Supporting Actress Nominations and won one Best Child Actress award).
Because of their talent, versatility and several acting awards, both Charito Solis and Vilma Santos are tagged at one point in their career, as the Meryl Streep of the Philippines.
Charito Solis’ Dahil sa Isang Bulaklak, was the Philippines’ entry to the Oscar’s best foreign film of 1969 while Vilma Santos’ Dekada 70 and Anak were the Philippines entries in 2003 and 2000.
Also in 1969, Charito Solis won the Asian Film Festival’s best actress honor for Dahil sa Isang Bulaklak (Because of One Flower) while Vilma Santos surpassed this by winning the best actress trophies in 1999 Brussels Festival of International Independent Films, for Bata, Bata…Paano Ka Ginawa? (Leah’s Story) and 2003 CinaManila International Films Festival, for Dekada ’70 (The Seventies).
Both Charito Solis and Vilma Santos did drama anthologies on small screen. Solis did “The Charito Solis show” while Santos did “Ang Talambuhay ni Rosa Vilma” both for ABS-CBN. Solis stiff competition was Marlen Dauden’s “Salamisim” while Santos’ was Nora Aunor’s “Makulay na Daigdig ni Nora,” these shows were from rival station, RPN channel 9.
Charito Solis and Vilma Santos transformed themselves into mature actress venturing into the sexy films, Solis via Araw-Araw, Gabi-Gabi and Santos via Burlesk Queen, both films were entries to the Metro Manila Film Festival. They both won the best actress awards.
Charito Solis and Vilma Santos portrayed the role of a burlesk dancer, Charito in Huwad na Mananayaw and Vilma in Burlesk Queen.
While Charito Solis did two films with Japanese actor Kojiro Hongo in 1960 (The Life of Gautama Budha) and 1961 (The Princess and I), Vilma Santos did Twin Fist of Justice in 1975, with Chinese actor, Meng Fei.
Charito Solis and Vilma Santos Films
Hanggang Ngayon Ika’y Minamahal (1997) – “…You know, it’s amazing because we’ve never been linked to each other and yet the public loves seeing our movies together. Siguro it’s because we have this unbelievable chemistry. We know each other so well that tinginan lang on screen, we already know what to do to make a take very good…” – Mario E. Bautista (READ MORE)
Dahil Mahal Kita: The Dolzura Cortez Story (1993) – “…The 1990s saw Charito Solis graduate to mother and grandmother roles, which she had done with frequency in the 1980s. In another nod to her age, she finally allowed herself to be billed above Vilma Santos, then acknowledged as the Longest-Reigning Box Office Queen of Philippine Movies, albeit above-the-title in films such as Ipagpatawad Mo (1992) and Dahil Mahal Kita: The Dolzura Cortez Story (1993)…” – Gypsy Baldovino and Yolly Tiangco (READ MORE)
Ipagpatawad Mo (1991) – “…Ninety percent of these autistic children are very good-looking and are good in numbers but they have a world of their own. If you teach them something, yon kung ang alam nila, no other world exists. Autism is like virus and it is not hereditary. Hindi malalaman na autistic ang isang bata until they are about three or four years old. But doctors know, when a baby is born that he or she is autistic, only they don’t dare tell the parents about it. This movie should be an eye opener for such doctors and parents…” – Nena Z. Villanueva, Manila Standard, Oct 28 1991 (READ MORE)
Modelong Tanso (1979) – “…The multi-awarded actress even related her personal experience about feeling inadequate when she did the 1979 movie Modelong Tanso with the late Charito Solis who played her mom in the story. “Ako ang naintimidate noon. Naranasan ko yun noong araw kay Ms. Charito Solis na ngayon parang yun naman ang nangyayari sa akin [with the young stars.] So tinuro ko sa kanila na kahit may ka-eksena kayo na senior stars, kapag sinabi ng direktor ni’yo na kailangan niyong sampalin/sigawan sila, wala kayong choice. Gawin ni’yo yun, kahit sabihin niyong senior or respected star man yun, hindi kayo pwedeng magpa-intimidate. Kasi lahat sila kinakabahan lalo na nung pinapasampal ako kay Megan…” – Rachelle Siazon (READ MORE)
Happy Days Are Here Again (1974) – “…In 1974, the Big 3 studios of the 50s, LVN Pictures, Sampaguita Pictures and Premiere Productions reproduced a full-length movie showcasing a compilation of the musical comedies produced by the three studios. It was a painstaking job for the researchers since most of the best musicals produced by the three studios were either lost or destroyed. At the start of the project, director Lamberto V. Avellana was supposed to direct the film but eventually replaced by Cirio Santiago after so many changes in the project including the script. He ended up as consultant of the movie. The film was HAPPY DAYS ARE HERE AGAIN, with brief narrations by movie stars like Gloria Romero, Nida Blanca, Susan Roces, Leopoldo Salcedo, Jaime de la Rosa, Eddie Gutierrez, Tirso Cruz III, Pugo, German Moreno and Ike Lozada…” – Pelikula Atbp (READ MORE)
Mga Tigre ng Sierra Cruz (1974) – “…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…” – Mario O. Garces (READ MORE)
The Plot: The movie started on how Narda got her power as Darna. As soon as Narda transformed into Darna, she quickly started her adventure with Ding fighting the Hawk Woman. And soon after Darna and Ding found a giant and both lost the fight to Darna. As the story unfold Dr. Vontesberg pretended as a good samaritan with an evil plan to destroy the towns people who killed her grandfather mistakenly accused as a devil worshipper. Dr. Vontesberg summoned the dead and terrorized the townspeople. Narda was captured by the mad Dr. Vontesberg and showed her how she operates her plans. Ding got on time to rescue her helpless sister and they both stopped Vontesberg evil plans. Then, Darna and Ding flew their way to the city. And on their way, they captured a bunch of loose prisoners, after this scene was a long lots of talking non-action scenes. Finally, Lei Ming and Darna measured their strength and powers. Lei Ming created an evil Darna to destroy the real Darna. At the end Lei Ming lose and took her own life. – Super Heroes Lives (READ MORE)
Upon Narda (Vilma Santos) and her younger brother Ding’s (Niño Muhlach) discovery of a glowing stone from the sky, Narda’s life is changed as she turns into a superwoman. From then on, the tandem of Narda and Ding embark on adventures, saving the world from evil. Together, they battle German scientist Dr. Vontesberg (Marissa Delgado), who turns healthy people into zombies. Narda and Ding also take on Chinese witch Lei Ming (Celia Rodriguez), who is out to kidnap children. (READ)
The Reviews: “…On it’s 11th year of presenting Asian cinema to Czech audiences, 2015 FilmAsia, the Czech Republic’s premier Asian film festival, is putting Filipino cinema in focus for the first time. Initiated by Czech Embassy in Manila, in cooperation with the Film Development Council of the Philippines (FDCP), this year’s FilmAsia premieres six Filipino feature films, old and new. Among the films brought to Prague are the recently rediscovered and restored classic Genghis Khan (1950) directed by Manuel Conde which opened the festival on Dec. 4, and the acclaimed political family drama Dekada ’70 (2002) based on the novel by Lualhati Bautista, a film which mirrors the similar experience of the Czechs, who were also fighting for their democracy in the 1970s and 1980s while under communist rule. “As only a single Philippine film, The King of Sulu and the Emperor of China by Eddie Romero, ever entered the Czech film distribution [system] as long as a quarter a century ago, and not more than a dozen, often independent, films have been screened at Czech film festivals in recent years, this very first Philippine selection will be a unique glimpse into otherwise unknown cinematography in my country,” said Czech Ambassador to the Philippines Jaroslav Olša, Jr. The core of the Philippine focus are three independent Filipino films namely Lihis (2013), Sonata (2013), and Badil (2013), all co-produced by the FDCP. And to give the Czech audiences a glimpse of Philippine superhero films, the iconic Philippine superheroine will get the opportunity to fly over Prague with the Czech premier of Darna, starring Vilma Santos. “As the only Asian film festival in the Czech Republic, FilmAsia offers Czechs a glimpse of the best of what Asian cinema can offer,” said Karla Stojáková, the festival´s director and producer who has a long history of cooperation with Asian filmmakers. “Therefore I was happy to share the idea of Ambassador Jaroslav Olša, Jr. to present Filipino cinematography for the very first time in our country. Our festival is entering second decade this year and so it is symbolic and oportunity for our film enthusiasts to discover another Asian cinematography.” In previous years, FilmAsia has featured award-winning works by notable directors in the Asian region, among them Park Chan-wook, Kim Ki-duk, Hou Hsia-hsien, Johnnie To, Wong Kar-wai, Tsai Ming-liang, and Takashi Miike…” – Interaksyon, 07 December 2015 (READ MORE)
“…On it’s 11th year of presenting Asian cinema to Czech audiences, 2015 FilmAsia, the Czech Republic’s premier Asian film festival, is putting Filipino cinema in focus for the first time. Initiated by Czech Embassy in Manila, in cooperation with the Film Development Council of the Philippines (FDCP), this year’s FilmAsia premieres six Filipino feature films, old and new. Among the films brought to Prague are the recently rediscovered and restored classic Genghis Khan (1950) directed by Manuel Conde which opened the festival on Dec. 4, and the acclaimed political family drama Dekada ’70 (2002) based on the novel by Lualhati Bautista, a film which mirrors the similar experience of the Czechs, who were also fighting for their democracy in the 1970s and 1980s while under communist rule. “As only a single Philippine film, The King of Sulu and the Emperor of China by Eddie Romero, ever entered the Czech film distribution [system] as long as a quarter a century ago, and not more than a dozen, often independent, films have been screened at Czech film festivals in recent years, this very first Philippine selection will be a unique glimpse into otherwise unknown cinematography in my country,” said Czech Ambassador to the Philippines Jaroslav Olša, Jr. The core of the Philippine focus are three independent Filipino films namely Lihis (2013), Sonata (2013), and Badil (2013), all co-produced by the FDCP. And to give the Czech audiences a glimpse of Philippine superhero films, the iconic Philippine superheroine will get the opportunity to fly over Prague with the Czech premier of Darna, starring Vilma Santos. “As the only Asian film festival in the Czech Republic, FilmAsia offers Czechs a glimpse of the best of what Asian cinema can offer,” said Karla Stojáková, the festival´s director and producer who has a long history of cooperation with Asian filmmakers. “Therefore I was happy to share the idea of Ambassador Jaroslav Olša, Jr. to present Filipino cinematography for the very first time in our country. Our festival is entering second decade this year and so it is symbolic and oportunity for our film enthusiasts to discover another Asian cinematography.” In previous years, FilmAsia has featured award-winning works by notable directors in the Asian region, among them Park Chan-wook, Kim Ki-duk, Hou Hsia-hsien, Johnnie To, Wong Kar-wai, Tsai Ming-liang, and Takashi Miike…” – Interaksyon, 07 December 2015 (READ MORE)
“Darna at Ding, Vilma’s fourth and final portrayal of Darna, takes her to another wild adventure, this time with her younger brother Ding. When a mysterious stone falls into the hands of Narda, she finds out that the stone is an amulet that gives her super power. This is the start of the many adventures of Darna, that have her battling with the evil sorceress Lei Ming and Hawk Woman. A whole new adventure with the popular Philippine heroine, Darna at Ding is another classic worth watching.” – UP (READ MORE)
“…The famous child actress Vilma Santos grew up as a beautiful young star and was able to maintain popularity from the ’70’s up to the present. Her title “Star for all Seasons” fits her well because among her contemporaries, she is the only one who stays on top. She can choose the roles that she wants, and is still deluge with movie offers complete with top billing and huge talent fee, that even the likes of Claudine or Judy Ann can only hope for. And why not? She is the Queen! And she deserves nothing less! She is considered the Box Office Queen of all time. Blessings continued to pour for Vilma, from film awards to public service recognitions. She is also the only actor to have crossed over from showbiz to politics and was graded satisfactorily. And like what Mar Garces, our famous house writed said, “you ain’t see nothing yet, the best is yet to come.” What do they have in common (Vilma and Nino)? They are both considered as among the richest celebrities in local industry. In wrapping up, we can say that Nino started as a child wonder & ended up as a successful businessman; he is now accepting small roles. Vilma Santos on the other hand, continues to shine her star and is considered as the longest reigning Queenstar of all time. To you Darna at Ding.” – Franco Gabriel, V Magazine Issue No. 5 (READ MORE)
“…produced by D’ Wonder Films Vilma Santos donned her Darna costume for the last time in 1980 with Darna at Ding. For the first time, Ding was mentioned in the title. And why not? The kid was now played by Niño Muhlach, the most popular child star of the day. The company that produced it, DWonder films, belonged to the Muhlachs family. The Wonder films tried to captured the magic of 1973 monster hit “Lipad, Darna, Lipad.” By recasting some of the original cast of Vilma’s first Darna movie. Celia Rodriguez declined to play Valentina, instead they tailored a new character for her as Lei Ming the sorceress. Then Veronica Jones was asked to play Valentina but, ended up playing the role of Hawk Woman. Max Alvarado reprised his role as the Giant. Marissa Delgado also joined the cast as Dr. Vontesberg. The movie started on how Narda got her power as Darna. As soon as Narda transformed into Darna, she quickly started her adventure with Ding fighting the Hawk Woman. And soon after Darna and Ding found a giant and both lost the fight to Darna. As the story unfold Dr. Vontesberg pretended as a good samaritan with an evil plan to destroy the towns people who killed her grandfather mistakenly accused as a devil worshipper. Dr. Vontesberg summoned the dead and terrorized the townspeople. Narda was captured by the mad Dr. Vontesberg and showed her how she operates her plans. Ding got on time to rescue her helpless sister and they both stopped Vontesberg evil plans. Then, Darna and Ding flew their way to the city. And on their way, they captured a bunch of loose prisoners, after this scene was a long lots of talking non-action scenes. Finally, Lei Ming and Darna measured their strength and powers. Lei Ming created an evil Darna to destroy the real Darna. At the end Lei Ming lose and took her own life. Vilma finally relinquished the role of Darna to Sharon Cuneta, who appeared in a cameo role as Darna, in 1986’s Captain Barbel, also a Mars Ravelo classic creation. Years after, Dawn Zulueta was rumored to play Darna but the role of our beloved superheroine went to Nanette Medved who would have preferred to play Valentina…” – Eric Cueto (READ MORE)
“…The climax of this “Darna vs. the Dragon Lady” part of Darna At Ding sees Lei Ming conjure up an evil double of Darna to keep our heroine busy while, elsewhere in her lair, a towering robot bears menacingly down upon Ding. It’s a suitably whiz-bang finale to this loopy, kitchen sink confection, and one that makes the long, strange and circuitous route that we’ve taken to get to it seem perhaps less arduous in retrospect. Still, at a solid two hours, Darna At Ding is an example of a movie that pulls out all the stops, but perhaps shouldn’t have. While it’s combination of horror movie chills, superhero thrills and slapstick spills might have been catnip for the Filipino audience of its day, for the rest of us it might prove mildly exhausting. Nonetheless, I find Vilma Santos so appealing in her role that it’s hard for me to imagine hating any Darna movie that she appears in, and this one’s no exception.” – Todd Stadtman of “luchadiaries” (READ MORE)
“…Darna at Ding is a bit of a mess, even by nonsensical low-budget fantasy standards. The tone is incredibly inconsistent, ranging from broad slapstick comedy [as seen in a Benny Hill inspired speed-up sequence showing townspeople running from zombies], spooky horror [Ding nearly killed by voodoo], and violent action. The segue between the two wildly disparate plots, in which Darna must fend off a truck load of escaped convicts, seems particularly off key with its graphic Peckinpah-esque slow motion shotgun blast and neck-snapping conclusion. Children’s fare this certainly isn’t, though it plays as such for a good chunk of its two hour running time. Frequent shifts in tone and random outbursts of comedy/horror/violence I can deal with, but the sluggish plots really bog Darna at Ding down. The first narrative, in particular, just seems to drag on and on, with various groups of locals running into zombies, getting scared, and running away over and over again. I, for one, could have done with a lot less of that and a lot more of Darna kicking escaped convict ass. And there I think is the film’s biggest flaw – there’s just not nearly enough of Darna in it. She appears at the beginning, middle, and end for a few minutes each and in highly enjoyable setups, but the remaining four fifths of the film is left to languish in entertainment limbo without her.
That’s not to say that there aren’t fun moments to be had in this twelfth Darna outing – quite the contrary. The opening is fantastically absurd [I really dig those forced perspective giant effects], as is the Darna-versus-Darna battle that serves as the climax. But for every moment of overt glee there are twenty or so more in which nothing happens at all. It’s a pity, really, as the potential for entertainment is certainly there, but remains woefully un-tapped. From a production standpoint Darna at Ding was better than I anticipated, and there was obviously at least a little money put behind it. Special effects were about as good as I expected, and work well enough without becoming entirely embarrassing. The cast is quite good too, paltry as the material they have to work with is. Vilma Santos is always a pleasure to have on screen, and Nino Mulhach never becomes tiresome or annoying as Ding. The giant who sees such little action is familiar as well – Max Alvarado, who would go on to play Columbus, one of the multitude of villains in for y’ur height only. The soundtrack is groovy but of dubious legality. I recognized much of what was played, but could only pin down Pink Floyd’s Time for certain…” – Kevin Pyrtle, WTF-FILM (READ MORE)
197 films, 70 directors, 5 decades, Vilma Santos, one of the original Philippine movie queens, rose up to become the versatile actress that has been given the fitting title of “Star for All Seasons” because of her capacity to adapt to the changing mores and values of the Filipino woman, giving a face to their plight and struggles, albeit in success both critically and box-office wise in some of Philippine cinema’s classics such as Relasyon (1982), Pahiram ng Isang Umaga (1989), Broken Marriage (1984) and Ikaw ay Akin (1978). This is the number one director who contributed to her success.
Considered the number one director of Vilma Santos, National Artist, Ishmael Bernal contributed significantly to her success. Their collaborations as actor and director spanned three decades. Eight films in total, almost a dozen best actress for Santos and a several best director for Bernal not including nominations both locally and internationally. He was quoted saying: “In Ikaw ay Akin, Vilma was already conscious of her own particular style of acting…which can be described as minimal, less is more. The fewer and simpler gestures, the greater effect…(Working in Pahiram Ng Isang Umage, Bernal said)…she had become an artist, no longer a movie star and just following the director’s instructions..” Their films are still relevant, timeless and to this day, being celebrated by many. READ MORE
Ishmael Bernal – A filmmaker of the first order and one of the very few who can be truly called a maestro. Critics have hailed him as “the genius of Philippine cinema.” He is recognized as a director of films that serve as social commentaries and bold reflections on the existing realities of the struggle of the Filipino. His art extends beyond the confines of aesthetics. By polishing its visuals, or innovating in the medium, he manages to send his message across: to fight the censors, free the artists, give justice to the oppressed, and enlighten as well as entertain the audience. Among his notable films are “Pahiram ng Isang Umaga” (1989), “Broken Marriage” (1983), “Himala” (1981), “City After Dark” (1980), and “Nunal sa Tubig” (1976). He was recognized as the Director of the Decade of the 1970s by the Catholic Mass Media Awards; four-time Best Director by the Urian Awards (1989, 1985, 1983, and 1977); and given the ASEAN Cultural Award in Communication Arts in 1993 (NCCA.gov.ph). Bernal was born in Manila on September 30, 1938, the son of Elena Bernal and Pacifico Ledesma. He studied at Burgos Elementary School and Mapa High School before entering the University of the Philippines, and graduated in 1962 with a degree of Bachelor of Arts degree in English. For a time he worked with Lamberto Avellana’s documentary outfit. He went on to earn his Licentiate in French Literature and Philosophy at the University of Aix-en-Prevence in France, and then in 1970 his Diplomate in Film Directing at the Film Insititue of India in Poona, under the Colombo plan scholarhip. Bernal was a board member of the Concerned Artists of the Philippines and the Directors Guild of the Philippines, Inc., an organization that studies the role of film as an instrument of entertainment, education and development. He actively crusaded for the rights and welfare of artists for as long as he lived. He died in Quezon City on June 2, 1996 (Wikipilipinas).
HIGHLIGHTS: Bernal gave Vilma Santos her first grandslam best actress awards and consecutive Gawad Urian best actress (1982 and 1983). Their first film together was Inspiration (1972) and last was Pahiram Ng Isang Umaga (1989).
Star For All Seasons 
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