The Gawad Urian Through The Years 3/3

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The Best Actresses and their First Gawad Urian

2011 – Maja Salvador for “Thelma” – “…Ganito pala ang pakiramdam,” said Maja as tears streamed down her face during her acceptance speech. Gawad Urian, maraming-maraming salamat po. Sampung taon na ‘ko sa industriya, ngayon lang ako nanalo ng Best Actress award. Sa mga producers, maraming salamat sa tiwala dahil sa akin ninyo ibinigay ang Thelma. Sa aking director na si Paul Soriano, maraming salamat. Sa aking managers, Tita Mariole [Alberto], Mr. M [Johnny Manahan], sa mama ko, sa papa ko na nasa heaven na, para sa Kanya ito.” Maja then thanked her make-up artist who gave her a vote of confidence that night. “Salamat sa pag-makeup mo. Sabi niya, ‘Papagandahin kita, baka manalo ka. Siguro nga, nagandahan sila sa akin kaya ako nanalo. Salamat po, Gawad Urian, maraming-maraming salamat.” After the awarding ceremony, Maja told the press: “Lahat ng hirap ko sa paggawa ng pelikula, lahat yun nawala dahil may nakapansin po ng talento. Maraming salamat po…” – Jocelyn Dimaculangan, PEP, June 14, 2012 (READ MORE)

2009 – Rustica Carpio for “Lola” – “…Anita Linda and Rustica Carpio, both past their physical primes, may have just given their more-than-impressive swan songs. Director Mendoza, who is not that much known on squeezing out pure performances from his actors/actresses (as his characters usually just blend in into the realistic palette of the surroundings), handled may be the two most astounding ones from aged performers. In some ways, it’s almost a miraculous feat on his part (and cinematographer Odyssey Flores) in terms of enhancing Anita Linda and Rustica Carpio’s natural and honest evocation of suppressed sufferings and prolonged sacrifices as impoverished grandparents through a panoramic view of the present social state of those inflicted with destitution. But the real highlight is of course from the two brave, nagging, and at times, swindling heroines who will do just about anything not just to resolve their numerous woes, mostly involving money, but also to unconsciously prove their ‘worth’. Throughout the film, as the camera follows them both, we see them express stern authority to younger people, ask for directions and assistance like one, and show extreme determination like middle-aged fellows…” – Ivan6655321 (READ MORE)

2006 – Gina Pareño for “Kubrador” – “…Veteran actress Gina Pareño led the awards for Kubrador with her win in the Best Actress category. She was already honored at the Golden Screen Awards earlier this year, as well as numerous citations from international film festivals. “Apat na dekada bago ko napanalunan ang tropeo ng Gawad Urian. Sa wakas, nagkaroon din ako ng pag-aari na ganito… Napakasarap na nandito ako sa Pilipinas. Nanalo ako sa bayan ko,” she said in her speech. Kubrador won in five out of the ten categories it was nominated. It won Best Picture for MLR Films as well as Best Director for Jeffrey Jeturian. It also took home Best Production Design for Leo Abaya and Best Cinematography for Roberto ‘Boy’ Yñiguez…” – Philippine Entertainment Portal (READ MORE)

2005 – Hilda Koronel (best supporting) for “Nasaan Ka Man” – “…In 1975 and 1976, she starred in the Lino Brocka classics Maynila: Sa Mga Kuko ng Liwanag which won six FAMAS awards in 1976 and Insiang which received FAMAS and Gawad Urian awards in 1977. It was Lino who turned her into a high-caliber actress with movies like Santiago, Tubog sa Ginto, Maynila sa mga Kuko ng Liwanag, Tatlo Dalawa Isa, Init, Insiang, etc. Insiang is the first Filipino film to be screened at the Cannes Film Festival in 1978 where both Lino and Hilda earned rave reviews from the international film community. Her illustrious career was highlighted with her winning the Best Supporting Actress awards from the FAP, Gawad Urian and Maria Clara for Nasaan Ka Man (2006); Best Performance by Male or Female, Adult or Child, Individual or Ensemble in Leading or Supporting Role from the Young Critics Circle for Tanging Yaman (2001); and Best Actress from the MMFF for Insiang (1976)….” – Boy Abunda, The Philippine Star, 30 August 2012 (READ MORE)

2004 – Judy Ann Santos for “Sabel” – “…Complementing Judy Ann’s excellent performance are Wendell Ramos as the ex-convict who rapes and hopelessly falls in love with her (this early, I can say he’s already assured of an acting nomination in next year’s awards race), Rio Locsin as the mother who can’t get along with her headstrong daughter, Iza Calzado as the writer Wendell eventually marries, Sunshine Dizon as the lesbian lover of Sabel, Jeffrey Hidalgo as Sabel’s ex-boyfriend, and even Jim Pebanco as the wayward priest (I just don’t know how the Catholic Church would react the way he blabbers about Sabel’s secrets—all revealed within the confines of the confessional box)…” – Butch Francisco, The Philippine Star (READ MORE)

2003 – Cherrie Pie Picache for “Bridal Shower” – “…Cherry Pie has won two Best Actress awards from the Urian, first for the comedy “Bridal Shower” in 2003, and then for “Foster Child” in 2007. Both movies were directed by Jeffrey Jeturian. Cherry Pie won the same award (Best Performance by an Actress in a Leading Role) for “Bridal Shower” from the Golden Screen Awards (given by the Entertainment Press Society) and in 2007, Best Performance by an Actress in a Leading Role (drama) for “Foster Child.” These were Cherry Pie’s first awards from the distinguished award-giving bodies. In addition to that, she also won the Best Supporting Actress award from the Golden Screen Awards in 2006 for her outstanding performance in “Twilight Dancers.” Cherry Pie’s latest film project is “Isda,” which is about a woman who gives birth to a fish. The movie is being directed by Adolf B. Alix Jr., who also directed “Donsol,” “Kadin,” “Presa,” “Muli” and other noteworthy indie films…” – Crispina Martinez-Belen (READ MORE)

2001 – Rosanna Roces for “La Vida Rosa” – “…I’m not saying this only because we work together in a television show. If you don’t believe me, see the movie yourself once it opens in downtown theaters within the next few weeks and I think you will agree with me that she had already ensconced herself as one of the best actresses in Philippine movies because of this film. Insome of her scenes, in fact, she reminds me of a young Rosa Rosal (one of the greatest we have) in the classic film, Anak-Dalita. Actually, even in her old, sex films like Basa sa Dagat and Patikim ng Piña, Rosanna was already showing flashes of brilliance – which was quite a feat considering that those movies were, well, trashy and exploitative. Fortunately, she had her chance to redeem herself as an actress in Ligaya ang Itawag Mo sa Akin and in Ang Lalake sa Buhay ni Selya under the guidance of Carlos Siguion Reyna. In fact, I thought that those two films would already be the pinnacles of her film career. I was wrong. Here in La Vida Rosa, she even gives an even more sterling (and far more colorful) performance compared to both Selya and Ligaya. Her best scene in the film is the part where she confronts Pen Medina and, later, drops one of her delicious trademark Osang one-liners. If only for this scene, La Vida Rosa is already worth watching…” – Butch Francisco, The Philippine Star, 06 September 2001 (READ MORE)

2000 – Gloria Romero for “Tanging Yaman” – “…As with all films that are inspired with overly good intentions, Tanging Yaman is enveloped by an atmosphere that predictably directs the narrative towards its amiable conclusion. From the light effects that drown the face of Romero during her moment of self-sacrifice that has been done and redone in various films for comedic effect to the use of mass songs to provide a sense of overt religiosity in the plot, the film is too littered with significant details that nearly push the film from being merely a portrait of a family nearly torn to pieces by greed and envy into a proselytizing sermon that seeks for its audience a result that is more likely achievable in a sharing session than inside the darkened halls of a movie theater. Thankfully, the film is balanced enough to be enjoyed even from the perspective of a viewer who has no intention of being pulled into religious didactics. It is exquisitely put together. Guillen, who has always laced her films with a certain sensuality that can only be fleshed out by a feminine mind, only subtly suggests that kind of sensuality here. In one scene, Hilda Koronel’s character talks of her dreams of travelling to the United States to her humble husband, dancing with her husband to the romantic song from the radio. The scene by itself seems very ordinary, but as framed by Guillen, and as acted by both Koronel and Delgado with enough levels of playfulness and domestic mischief, it results in something subtly sweet and tender…” – Oggs Cruz (READ MORE)

1996 – Sharon Cuneta for “Madrasta” – “…Madrasta is very special to me. It was not only my first time to work with Star Cinema, it was also my first time to work outside Viva. Meaning it was the first movie I did without the professional advice of the people I grew up with, the people who have handled my career since Day One. It was the first time I ventured out on my own – made a decision solely by myself, for myself. And the gambit paid off. God has been so good…The first time I won at the Star Awards, I cried because when I looked at the audience, I saw fellow actors and actresses cheering me on. They were so happy to see me onstage. It felt good because I’m not really that close to them. It felt great because they were some of the best performers in the industry…It had a good effect on me. It didn’t change me as a person per se. But I think it changed something in me, in the sense that it inspires me to want to do better. Now, I am trying to find a way to take care of all the wonderful things I’ve been blessed with…” – The Movie Queen (READ MORE)

1995 – Helen Gamboa for “Bagong Bayani (OCW)” – “…This powerful docu-drama by Tikoy Aguiluz attempts to seek answers to the question raised by the murder of Delia Maga and the execution of Flor Contemplation – two of the countless Filipina OCWs who are forced to leave their children for better opportunities in life, only to end up lost and hlepless in hostile lands. The heartbreaking plight of the overseas contract workers is dramatized in the tragic tale of Flor Contemplacion – the Filipino domestic helper in Singapore convicted of murder and condemned to death. Accounts culled from reports of Amnesty International as well as classified info gathered in the Asian city-state itself are combined with actual footages and recreated scenes of events leading to the heroine’s execution…” – Database of Philippine Movies (READ MORE)

1992 – Lorna Tolentino for “Narito ang Puso Ko” – “…The 48-year-old star is best remembered for having portrayed many strong characters in unforgettable movies like Maging Akin Ka Lamang, Nagbabagang Luha, and Narito Ang Puso Ko. But according to Lorna, she still found her role as Amanda in Sa ‘Yo Lamang challenging to do. “Ang role ng isang may asawa at ina ‘yun ang talagang hawig sa mga nagawa ko dati. Pero ‘yung role ko talaga na Amanda dito e kakaiba. Iba ang pinagdaanan niya kesa sa mga babaeng roles na ginawa ko. Si Amanda mas malalim na ‘yung pagiging ina niya, asawa, at bilang tao. Siyempre noon mas bata pa kami kaya kung ikukupara mo sa mga characters namin ngayon mas malalim na…” – Star Times (READ MORE)

1986 – Jaclyn Jose for “Takaw tukso” – “…Its sexual dynamics bears a striking resemblance to Scorpio Nights, Peque Gallaga’s 1985 film about a student bedspacer peeping through a hole on the floor and fancying the sight of a woman in her lingerie, whom he eventually sleeps with. Both movies depict the claws of darkness that hovers around the setting, particularly the bedroom, and in Takaw Tukso’s case, the car repair shop. These confined spaces breathe a life of their own and provide a distinct mood of claustrophobia. Debbie, Boy, Nestor, and Letty get trapped in some sort of black hole: they act according to their instincts and turn into animals when provoked. Lao is less conscious about the scruples of morality than the logic of dramaturgy, putting danger signs everywhere, and keeping track of each character’s misstep. Like most directors of Lao’s scripts, Pascual allows himself to be controlled and overpowered, yet there are crucial scenes in the film whose strength comes from his directorial command, most especially the confrontations among the four characters. The manner in which the acting is delivered to perfection—the vulnerability that warrants an explosion anytime—owes a lot to his discipline as a director…” – Richard Bolisay (READ MORE)

The Gawad Urian Awards are annual film awards in the Philippines held since 1977. It is given by the Manunuri ng Pelikulang Pilipino (the Filipino Film Critics) and is currently regarded as the counterpart of the United States’ New York Film Critics Circle. – Wikipedia (READ MORE)

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