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.
The Plot: – Leron Leron Sinta stars Vilma Santos, Edgar Mortiz, Jay Ilagan, Florence Aguilar, Lillian Laing, Karlo Vero in this film that fuses music and film perfectly. Witness their characters explore the world of love and the beauty and madness that come with it. Watch them as they perform certain scenes with song numbers bringing pleasure and entertainment to the next level. – Kabayan Central (READ MORE)
The Reviews: – “Leron-leron Sinta” (1972) started when Gigi (Florence Aguilar) and Beth (Vilma Santos) moved to a new house and found new suitors, Spike (Jay Ilagan) and Noel (Edgar Mortiz). The two pairs swapped partners a couple of times that by the time they decided to elope they decided to stop their civil wedding at the last-minute after they realized they’re all not ready. Leron-Leron Sinta reminded us of Glee, with Florence Aguilar auditioning to a school choir and with several cover songs like Lennon’s “Imagine.” It also featured a funny scene where Edgar Mortiz did a duet with Florence, he, singing in his window while she answered back, singing in their house balcony. Feeling irritated, both Vilma and Jay sarcastically screamed, “wow! ala-Romeo and Juliet!” Leron is watchable but has some noticeable flaws. On the first part, suddenly, we see both Jay and Edgar cross-dressing and we realized that this was a continuity scene of the later part of the film, where Gigi and Beth decided to entertain other suitors (as both got fed up with Jay and Edgar’s courting antics). Like most musical films in the 70s, there’s the typical travelogue scenes. The film showcased the city of Antipolo while the four main characters did some sight-seeing, like tourists. As part of the story, the film showcase Edgar and Florence’s singing talents which were justifiable as both were member of their school’s choir unlike other musical films where the singing scenes were just added with no connections to the film’s story. This can be attributed to a much equipped team of writer, Nestor Torre Jr. and director, Emmanuel Borlaza, who also came up with Vilma’s first significant drama, Dama de Noche. But like so many film in this era, Leron-leron Sinta, also ended with a musical production number, this time, it’s a Christmas medley. Child star Beth Manlongat and Angelito provided some funny moments. And Lilian Laing too. But the one star who stole the film from the four main characters was veteran comedian, Bayani Casimiro who was very funny as the forgetful judge and who tried to marry the four undecided teens.
Plot Description: The second film after the massive success of Lipad Darna Lipa (Fly Darna Fly), Vilma Santos returned as Darna/Narda in Darna and the Giants. Directed by Emmanuel H. Borlaza, Giants was about X3X (Helen Gamboa) who infected ordinary people with serum that made them giants. The giants played havoc to the city and thank goodness Darna eliminated them before demonic X3X conquered the whole world. Now paired with Don Don Nakar as Ding, Vilma radiated the screen for the second time. Kudos to the tricky special effects that made the giants realistic. Ike Lozada stole the film though. His scenes were the funniest in years. Darna used a huge church bell to defeat him. It was unclear why the fat giant, Ike, were allergic to the sound of the church bell. Darna rung the bell to great effects, making the giant Ike felt excruciating pain in his ears. Darna then threw the bell on Ike’s head suffocating him to his immediate death. That alone made everyone’s theatre tickets worth every penny! And lots of pennies as the film became one of two Darna movies that featured Vilma Santos and both films became big box office hits of 1973. – RV
The Plot: – Pulot-gata, Pwede Kaya? (1977) – An intrigued filled love affair between Baby Abueva a poor lass of Baguio and Teddy Burgos a millionaire from Zamboanga. An affair married with the appearance of Lota. – Kabayan Central (READ MORE)
The Reviews: – Serialized in Wakasan Komiks Magazine published by Nestor Leonidez, and under the direction of one of the most workaholic director of the 70s, Leonardo L. Garcia, “Pulot-Gata, Pwede Kaya?” started with rich man Bobby, who is trying to live a new persona as a poor bell boy to lure a hotel receptionist Baby Abueva (Vilma Santos). Abueva won Baguio City’s 1977 Summer Girl. She then started some modeling gig while being pursued by the bell boy, Teddy/Bobby (Romeo Vasquez). Teddy’s assistant played by comedian, Tange, took Bobby’s identity and became the boss. They tried to cover up their secrets until Bobby’s long time ex-fiance, played by the young Suzanne Gonzales, found out what the two are up to. Suzanne then, concocted a plan to destroy Bobby’s new affair by asking Bobby’s opportunist attorney played by Rodolfo “Boy” Garcia to produce a fake marriage contract. She then confronted Baby with this document. As a result, Baby broke-up with Teddy/Bobby, who earlier proposed to marry her. Bobby discovered the fake marriage contract and fired his attorney. He then explained this to Baby and they reconciled. The End. Pulot-Gata was one of the several hit films of Romeo Vasquez and Vilma Santos. And one of the forgettable ones. It exploits their real and reel life relationships. Despite the film’s poor material, you can see their screen chemistry in several light comedic scenes. Ruel Vernal’s fight scene with Vasques can be shortened or edited out. Ditto with Susane Gonzales scenes in the hotel room, attempting to seduce back her ex-fiance. In addition to some comedic scenes that can be edited, Vilma’s dramatic scene near end, can also be shortened. A more watchable film of Vi and Romeo were “Dalawang Pugad Isang Ibon” and “Nag-aapoy na Damdamin.” After watching “Pulot-Gata, Puede Kaya?” (literally means, “Sweet-Coconut, Can it be?” which can be assumed about the May-December affair of Santos and Vasquez), one can clearly say, “YES” to the real relationship of Vi and Romeo but NO to this films. – RV
Nangangatog ako ng una kong ma-meet si Vilma Santos in person. Ganoon pala talaga ang feeling kapag naka face to face mo ang idol mo. – Ana Capri
Hindi complete at walang katuturan ang pagiging producer ko kung hindi ako makagawa ng pelikula na bida ang hinahangaan kong si Vilma Santos – Donna Villa
Kahit one-fourth lang ng tagumpay ni Ate Vi. Ang marating ko masayang masaya na ako. Talagang idol ko siya. Idol siya ng buong pamilya ko – Kristine Garcia
I first worked with Vilma when she was just a child star. From then, alam kong malayo ang mararating niya as an actor dahil bata pa mahusay na. Hindi ako nagkamali. Hindi lang siya basta naging artista, kundi naging isa sa pinakamahusay at pinakasikat. – Gloria Romero
Simula ng mapanood ko si Vilma sa Trudis Liit naging Vilmanian na ako. Nobody comes close to her. – Armida Siguion Reyna
Naging Huwaran ko si Ate Vi hindi lang sa career ko kundi maging sa personal kong buhay. I am very proud to be a Vilmanian. – Snooky Serna
Bata pa ako hindi pa ako artista talagang idol ko na si ate Vi. Pinupuntahan ko pa yan sa bahay niya para lang makita at maka-usap kahit ako lang mag-isa.- Sharon Cuneta
Vilma is the most versatile actress in our time. Kahit anong role kaya niyang gampanan ng buong husay. Ang sarap makatrabaho ang isang Vilma Santos – Celia Rodriguez
Kung alam lang ni ate Vi kung ilang beses akong nadapa sa paghahabol na makita siya. Siya ang naging inspirasyon ko sa pagpasok ko sa showbiz. – Ai-Ai Delas Alas
Simula noon hanggang ngayon pagbalibaligtarin man ang mundo Vilmanian pa rin ako. – Korina Sanchez
Once you encounter and know ate Vi, you will realized how nice and thoughtful she is. She is always been an inspiration to me. Masarap siyang maging kaibigan. – Kris Aquino
Si Vilma Santos ang idol ko. Maganda na, magaling pa. – Amy Austria
Mahusay talaga si Vilma kahit saang aspeto. Napakagaan niyang katrabaho. Isa sa mga dream ko ang mai-direct si Vi. – Gina Alajar
Vilma Santos can compete with the top caliber actresses in Hollywood. She is an epitome of a real queen of Philippine Cinema. I really look up to her. – Lea Salonga
Makasama ko lang si ate Vi sa pelikula gagawin ko kahit libre. – Dawn Zulueta
Ng makasama ko si Mama Vilma sa pelikula feeling ko puwede na akong mamatay. – Carlos Agassi
Ang isa sa pinakamagandang nangyari sa buhay ko sa pagpasok ko sa showbiz ay ang makasama ang pinakamahusay na aktres na hinahangaan at nirerespeto ng lahat. Marami akong natutuhan kay Mama Vilma – Piolo Pascual
It would be a great fullfilment if I make a movie with my favorite actress Vilma Santos – Alvin Patrimonio
Actually, mag-cousin pa kami ni Ate Vi. Walang hindi Vilmanian sa pamilya namin – Raymart Santiago
Vilma is my favorite actress. She is the only actress I love to watch on local screen. She’s Great. – Martin Nievera
Bago ako naging artista, die hard Vilmanian na ako. Nakikipag-away pa nga ako dahil kay Vilma. – Rosanna Roces
Bata pa ako ginagaya ko na ang mga acting ni Ate Vi. Idol siya ng Nanay ko kaya naging idol namin siya – Glydel Mercado
I am very flattered when Lino Brocka said that I am the next Vilma Santos. But Vilma Santos is Vilma Santos, she is incomparable. – Ruffa Gutierez
Vilma Santos is the Greatest Actress of all times. Walang Katapat – Eric Quizon
Si Vilma ang isa sa madalas magpadala ng tulong kapag may mga pangangailangan o project kami sa Red Cross at Damayan. Iilan lang ang katulad niya na kusang tumutulong na hindi na kailangan pang ipaalam sa publiko. – Ms. Rosa Rosal
I am a closet Vilmanian before, pero ngayon nagladlad na ako. Maraming katangian si Vilma na talagang hahangaan mo – Boots Anson Roa
Bago ako pumasok sa showbiz, die hard Vilmanian na ako. Nakikipag-away pa nga ako dahil kay Vilma. – Jaclyn Jose
For me Vilma Santos is the Greatest Actress of all times. – Gabby Concepcion
Somebody would come from the Philippines and they’d bring in Vilma Santos films, and I just remember, ‘Oh, this woman is making me so emotional, I think I’m a Vilmanian. That’s what they call it, I think. – Mig Macario
She crosses over from politics to showbiz and back. She can say one thing and it can be about motherhood, or love, or stardom, or politics….ang taong for all seasons – award season, holiday season, election season, even back-to-school season. Over time I’ve had the chance to meet her, and nabigyan niya ako ng acting tips. She has validated my work and given me her friendship. – Jon Santos
The Plot: – In a strange turn of events, Dolores (Vilma Santos) moves in to live with her grandfather, who has sole custody of her ever since her mother was imprisoned for the murder of Dolores’ father. Mystery unfolds as Dolores stays with her grandfather when members of the household are murdered one by one. Will Dolores escape the chaos unraveling around her or will she be the next victim? – Kabayan Central (READ MORE)
The Reviews: – Hired by Don Rafael Valdez (Joe Sison), Attorney Andrade (Leopoldo Salcedo) finally convinced Dolores (Vilma Santos) to live with her rich grandfather, Don Rafael. This is despite the warning of her aunt, Tiya Dadeng (Patria Plata) and the warning of her mother, Lourdes (Perla Bautista) who is in prison. She was framed-up and wrongfully convicted of her father’s death. When Dolores came to her grandfather’s mansion, one by one, people are starting to die. This includes her grandfather’s young wife (Elizabeth Vaughn); Monica Valdez (Celia Rodriguez); Magda (Divina Valencia); the gardener (Yoyoy Villame); and Marita (Helen Gamboa). By the time the last victim died, the surprise killer was expose, the killer was Dolores. She tried to revenge her mother’s imprisonment and her father’s death. It was also revealed that her aunt’s husband (Bert Le Roy Jr.) was the one who killed her father. Her father tried to rape their grandfather’s nurse, Marita (Helen Gamboa), she fought hard and stabbed her father. Bert Leroy Jr. framed-up Dolores’ mother who was the first person on the scene of the crime. In exchange for his silence he blackmailed Marita with sexual favors. Marita didn’t know that Dolores’ father was still alive but Leroy finished the job by stabbing him more.
Written by Jose Flores Sibal with writing credit from the film’s lead star, Vilma Santos, Biktima was surprisingly watchable. Compared to other Vilma Santos films that Nilo Saez directed like Kampanerang Kuba, he did a convincing job in ironing out the many characters of the film (maybe except for Divina Valencia’s role who was one of the first to die). This is perhaps due to the excellent cast. The one who stands out more were Celia Rodriguez and Helen Gamboa. Both gave subdued performances. Edgar Mortiz’ role as assistant investigator was just to appeal to the loyal festival followers of Vi and Bot. By this time, it was clear that Vilma’s career are heading upward while Mortiz was heading to a different path. The ending of the film, showing a bald Vilma Santos in preparation for her demise was the film’s dramatic highlight.
Can we forget these dialogues? All of these lines are embedded in our memories. In it were the unforgettable performances in unforgettable films.
PAHIRAM NG ISANG UMAGA: “Irene…Di ko kaya ang walong buwan! Kung mamatay rin lang ako…mamatay na ako ngayon o bukas o sa linggo pero hindi ko kaya ang walong buwan!”
“Irene, ayoko ng mahabang burol kung maari kinabukasan rin ipalibing mo na ako.”
“Ayoko ko pang mamatay…paano si Chad?…hahanapin ako ng anak ko, hindi siya sanay ng wala ako…Ariel…gusto ko pang mabuhay, kahit ilang araw lang, kahit konting oras lang, kahit isang umaga lang…”
“Ariel maliwanag na ba?…anong kulay ng langit?…at ang dagat?…ang mga mangingisda nandiyan na ba?…Ariel…ang ganda ng mundo!…ang sarap mabuhay!”
IKAW AY AKIN: “Rex,,,anong gagawin mo? Ako anong gagawin ko? Ako baa ng nagpapagulo sa otherwise your perfect world?…sure? Rex ang problem ako hindi lang ako eh…si Teresita rin,,,nasasaktan ko na siya…anong gagawin ko iwasan kita eh de ako naman ang nasaktan? Shit! Bakit? Ewan…nahihiya nako kay Teresita at saka sa’yo eh!…Rex huwag mong sabihin yan, naiintindihan mo ba ako? I need your presence more than anything else. Sabi nila liberated woman raw ako, front lang, kalog raw, front din…alam mo namang kulang-kulang ako eh sinabi ko na sayo nun pa…ninenerbiyos ako kapag hindi kita kasama eh, baka dapuan ako ng kung ano diyan, bery-bery, typoid fever! Pakiramdam ko safe lang ako kapag nariyan ka eh…pag wala ka,huh, nagwawala ako parang manok takbo ng takbo wala namang ulo!…Rex, anong gagawin mo?”
DAHIL MAHAL KITA THE DOLZURA CORTEZ STORY: “Hindi ako naniniwala…Putang…anong karapatan mong sabihin sa akin yan?! Diyos ka ba?! Ikaw ba na nagbigay ng buhay sa akin?! Sino ka ba?…Akala mo alam n’yo nang lahat ayoko nito! Akala mo alam n’yong lahat hah..Ayoko nito…ayoko nito..ayoko pang mamatay!…anong mangyayari sa mga anak ko…mga putang ina n’yo…ayoko nito!”
LANGISIS AT TUBIG: “Labanan natin siya…pupunta ako sa kanya, makikiusap, kung kailangang lumuhod, gagawin ko…isang linggo sa kanya, isang linggo sa akin…kung ayaw niya, anim na araw sa kanya, isang araw sa akin, kung ayaw pa rin niya lahat na ng araw ay sa kanya na…Bobby you gave me hope, you make me a wife, you showed me love when theres only hatred, ginawa mo ako kung ano ako ngayon, babae, ano pang hihilingin ko?”
SAAN NAGTATAGO ANG PAGIBIG: “…Si Val! Si Val! Si Val! Si Val na walang malay?! Si Val na ang tanging kasalanan ay naging anak ng mommy mo sa ibang lalaki! At nitong nasira na ang kanyang pagiisip…ay alam n’yo bang si Val pa rin ang pinanagot nila sa isang responsibilidad na dapat sana’y ikaw Rick ang nanagot!…ayan ang magaling n’yong apo, itanong n’yo sa kanya kung sinong ama ng batang binigyan ng pangalan ni Val!”
PINAY AMERICAN STYLE: “I’m PX, short for Paula Xavier, I’m a Filipina…kyontiii…I can understand Tagalog but I’m having a hard time speaking it…actually, I’m not hungry…but on the second thought, why not?”
“one-fourth Japanese, one-fourth Chinese, one-fourth Indonisian, one-fourth Filipino but I was born in Hongkong…you see my mom was a tourist in Hongkong when she met my Japanese father, my Chinese father, my Indonisian father and my Filipino father!”
PAKAWALAN MO AKO: “Kukunin ko ang bayad ng halik! May sukli ka pa!”
“Puta! Sige ituloy n’yo! Sabihin n’yo! Hindi lang naman kayo ang ang unang nagparatang sa akin ng ganyan. Puta! Puta! Puta! Putang-ina n’yong lahat! Putang-ina n’yong lahat! Sige! Sabihin n’yo! Isigaw n’yo! Kung sa inyo lang ay malinis ang aking konsensiya!”
SINUNGALING MONG PUSO: “hayup! Hayup!…Baboy! Mamatay kang kasama ng mga baboy mo!”
“Nababaliw ka na noh…puro kabaliwan yang nasa isip mo…hindi Jason, meron iba tayong dapat nating sundin…meron iba! Gamitin natin ang sinasabi ng isip natin, ang ipinararamdam ng kaluluwa natin, yun! Dahil madalas yun ang nagsasabi ng tama, yun ang nagsasabi ng nararapat nating gawin hindi ang puso…hindi ang puso Jason, hindi ang sinungaling mong puso…huwag kang padadala, ililgaw ka niyan…ililigaw ka dahil marunong manglinlang ang puso dahil alam ko ang tama huwag kang magpapadala…huwag kang magpapadala, hindi mababago ang katotohanang mali ang ginagawa natin, mali…”
GING: “Pagmasdan n’yo ako…ako po’y ulilang lubos…inaapi at hinahamak…kung hindi n’yo po kahahabagan ay nasaan ang katarungan?!”
KARMA: “Ganuon naman pala eh, de alam mo na may asawa na ako…bitiwan mo ako…alright wise guy, gypsy pala ako nun hah…sinabi mo rin mahilig ako sa music, dancing, siguro may favourite song ako, huwag nang yung napakalayong kahapon, baka hindi mo mabasa eh, yun na lang natapos na kahapon, twenty, twenty five years ago…ano kayang favourite song ko?”
SINASAMBA KITA: “For godsake, Nora! Magkaroon ka nga ng sarili mong identity!”
“Imposible namang lumaki ang tingin ko sa taong tinutulungan ko lang!..kungsabagay magkaiba tayo ng ina…bakit kaya pinatulan ni papa ang iyong inay?…hindi ko siya iniinsulto sinasabi ko lang sayo ang totoo…magkaiba tayong dalawa…hindi mo ako matutularan at hindi kita tutularan. Nora, ang hindi mo maabot huwag mong pagplitan abutin, wala ka pang pakpak kaya huwag ka pang lumipad ng ubod ng taas!”
PALIMOS NG PAG- IBIG: “Para kang karinderyang bukas sa lahat ng gustong kumain.”
“Mahal Kita at yan ay di ko kayang maihati sa iba. Pero kung ganitong niloloko mo lang ako kaya kitang palitan kahit sampung Lalaki!”
YOUNG LOVE: “I hate you…dirty…you’re dirty! I hate youuuu!…huwag n’yo nang mabangit-bangit ang pangalan nyan! Kinasusuklaman ko siya!..ngayon ko lang nakita ang kapangitan ng buhay ang akala ko masaya’t maganda na ang daigdig..”
SISTER STELLA L: “Ako ay kristyano, higit sa lahat ako ay tao. Kung nandito lamang si kristo sa ibabaw ng lupa alam kong kasama ko siya sa pakikipaglaban.”
“Kung walang kikilos sino ang kikilos, Kung hindi ngayon Kailan pa… Katarungan para kay Ka Dencio!”
ADULTERY: AIDA MACARAEG: “Huwag mo nang itanong. Baka mas masakit kung malaman natin ang sagot.”
YESTERDAY, TODAY AND TOMORROW: “I refuse to dignify your question. Unang-una hindi ka nagtatanong, Nagbibintang ka.”
“Ang asawa ang karugtong ng buhay, kasiping sa kama.”
ANAK: “Sana tuwing umiinom ka ng alak…habang hinihitit mo ang sigarilyo mo at habang nilulustay mo ang perang pinapadala ko! Sana maisip mo rin kung ilang pagkain ang tiniis kong hindi kainin para lang makapagpadala ako ng malaking pera rito. Sana habang nakahiga ka diyan sa kutson mo, natutulog, maisip mo rin kung ilang taon akong natulog mag-isa nabang nangungulila ako sa yakap ng mga mahal ko. Sana maisip mo kahit kaunti kung gaano kasakit sa akin ang mag-alaga ng mga batang hindi ko kaanoano samantalang kayo, kayong mga anak ko hindi ko man lang maalagaan. Alam mo ba kung gaano kasakit iyon sa isang ina? Alam mo bang gaano kasakit iyon? Kung hindi mo ako kayang ituring bilang isang ina. Respetuhin mo man lang ako bilang isang tao. Yung lang Carla…yun man lang.”
“Hindi ako nagpakahirap sa Hongkong para lang mauwi tayo sa Ganito. At ang mga kasama mo mga mukhang ADDICT.” “Bakit pag ang lalake ang nagbigay ng damit, pagkain sasabihin ng mga tao “Aba mabuti siyang ama” pero pag ang babae, kasama na pati pusot kaluluwa hindi pa rin sapat.”
T-BIRD AT AKO: “Sira ka ba? Babae ka, babae ako!”
“Putik nga ito! kahit ganito ako, nagsisimba ako kahit paano, ang sabi ng nasa itaas, ang sala sa lamig, sala sa Init iniluluwa ng langit, isinusuka ng diyos!”
“Ano ba naman ito, katawan lang ito…konting tubig konting sabon wala na…tapusin na natin ang kaso, pagkatapos sabihin mo kung kalian, saan…darating ako, ang katawan ko!”
“Hindi naman ako ipokrita, kung tomboy ka bakla ka, ok lang sa akin yon…pareho rin yon eh, tao rin yon, kung saan sila maligaya duon sila…huwag nating pakialamanan. Alam mo kung nuong una sinabi na niya sa akin kung ano siya, hindi na kami nagkaganito eh, akala ko kaseh tutoong tao siya…”
PAANO BA ANG MANGARAP: “Dinaya n’yo ako! Saan n’yo dinala ang anak ko?.. Hindi mo alam…Sinungaling!… Kasabwat ka ng ina mo! Alam ko matagal n’yo nang plano ito!… Dinaya n’yo ako! Mga Traydor Kayo! Traydor kayong lahat!… Wala akong pakialam! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin ang anak ko! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin…”
BURLESK QUEEN: “Kung Inutil kayo, Di Inutil kayo. Wala naman tayong magagawa kung yan ang gusto ng Diyos para sa inyo.”
BATA, BATA PAANO KA GINAWA: “Sister nain-love ka na ba. Hindi yong Love kay Kristo ha, yong love na may sex. Wala akong Ginagawang mali!”
“Namputang Itlog yan, gawing mong manok!”
MANO PO 3: MY LOVE: “Pinuntahan n’yo ako rito para awayin?…silang dalawa,,,mahal ko silang dalawa, bago ko pa man naging boyfriend si Michael, naging asawa si Paul, magkakasama na kami, kaya mahal ko silang dalawa, mahirap bang intindihin ‘yon?…walang batas na nagsasabing bawal magmahal ng dalawa….”
“Aalis ka rin ba, Judith? Naiintindihan mo ba kung para saan yung ginawa nila?…sanay akong tinatalikuran at iniiwanan. Alam mo bang yan ang istorya ng buhay ko.”
RELASYON: “Emil, Emil, Diyos ko anong gagawin ko? Emil! Mommy Patay na si Emil.”
“Ang hirap dito sa relasyon natin, puro ikaw ang nasusunod, kung saan tayo pupunta, kung anong oras tayo aalis, kung anong kakainin natin, kung anong isusuot ko sa lahat ng oras, ako naman sunod ng sunod parang torpeng tango ng tango yes master yes master!”
“Ano ba ako rito istatwa? Eh dinadaan daanan mo na lang ako ah, ni-hindi mo na ako kinakausap hindi mo na ako binabati hindi mo na ako hinahalikan ah…namputsang buhay ‘to. Ako ba may nagawa akong kasalanan hah? Dahil ang alam ko sa relationship, give and take. Pero etong atin, iba eh! Ako give ng give ikaw take ng take! Ilang taon na ba tayong nagsasama? Oo, binigyan mo nga ako ng singsing nuong umpisa natin, pero pagkatapos nuon ano? Wala na! Ni-siopao hindi mo ako binigyan eh dumating ka sa bahay na ito ni butong pakwan hindi mo ako napasalubungan sa akin eh kaya kung tiisin lahat pero sobra na eh…hindi naman malaki hinihingi ko sayo eh konti lang… alam ko kerida lang ako…pero pahingi naman ng konting pagmamahal…kung ayaw mo ng pagmamahal, atleast konsiderasyon man lang. Kung di mo kayang mahalin bilang isang tunay na asawa, de mahalin mo ako bilang isang kaibigan, Kung ayaw mo pa rin nun bigyan mo na lang ako ng respeto bilang isang tao hindi yung dadaan daanan mo lang sa harapan na para kang walang nakikita!”
ALYAS BABY TSINA: “Kung ano ang kinatatayuan ko, Yon ang teritoryo ko.”
BROKEN MARRIAGE: “May mga anak ako, Nagtratrabaho ako, Nag-aaral ako tapos lagi pa kaming nag-aaway na mag-asawa. So tense, Minsan gusto ko ng tumalon sa bintana.”
“Bakit nababawasan din naman ang pagkatao ko kapag sinisigawan mo ako.”
”Nawawala din naman ang pagkababae ko pag sinisigawan mo ako ah! Huwag mo kong duduruin.”
“Ang marriage trinatrabaho yan…twenty four hours…”
DEKADA 70: “Buong buhay ko yan na lang lagi ang sinasabi nila sa akin…wala kang magagawa eto ang gusto ng asawa mo…wala kang magagawa eto ang kapalaran mo…wala kang magagaw dahil dapat…putris naman, dapat hindi ganuo…tapos sasabihin ng daddy n’yo hindi lang ang anak ko ang pinatay hindi lang ang anak ko ang dinukot…lolo akong nanggigigil, lalo akong nagagalit dahil kung nanay ka talaga, hindi ka lang dapat nanganganak kundi naiapaglaban mo rin ang anak mo dapat kaya mong pumatay para sa anak mo…gusto ko lang malaman bakit nila pinatay ang anak ko…hindi masamang tao ang anak ko, kahit sa oras na ito humarap ako sa diyos kahit sa dimonyo hindi masamang tao ang anak ko…hindi masamang tao ang anak ko!”
“You could stop being proud of me! Nagsawa na ako sa ganuon, gusto ko naman ngayon ako mismo just for a change, maging proud sa sarili ko!”
REGALO: “Bakit ang mga anak pag nawalan ng magulang ang tawag sa kanila ulila, ang magasawa kapag nawala ang asawa nila ang tawag sa kanila balo…bakit kapag ang isang ina nawalan ng anak walang tawag sa kanila?” – V magazine, 2006
First Film and Award – “…It was his late manager Douglas Quijano who persuaded him to get into acting. “He always asked me bakit di daw ako mag-artista. I always said ayaw ko, ang yabang ko pa. Gusto ko modeling lang.” One time, Douglas asked him how much money he had in his wallet. Richard took it out and they both saw only P20. Douglas told him, “mag-artista ka na, tama na yang modeling-modeling na yan.” A week after, Richard recalls, Douglas came to him with a check worth P25,000. He was told he would be starring in a movie with Maricel Soriano and William Martinez, Inday Bote. He shares that the role was originally offered to Gabby Concepcion, and when he declined, Mother Lily Monteverde of Regal Films was looking for another leading man. On Richard’s first shooting day, he was late. His call time was at 12 noon and he got to the set before 2 p.m. Maricel tells him, “Hoy, Richard, sa trabaho natin, di ka pwedeng late. Sa trabaho natin, di ka pwedeng masyadong mabait.” That being his first-ever time on set, he couldn’t help but wonder what kind of advice that was! Maricel went on to say, “Katulad ko mataray ako pero marami akong kaibigan, at ikaw mukha kang mataray, kaibigan na kita.” For some reason, he says, they clicked instantly. That was the movie that really launched his career…Most memorable awards won: Hihintayin Kita Sa Langit: “That was very memorable because it was my first acting award. After eight nominations, I finally won it. In fact I cried in my speech when I received that award. After that, tuluy-tuloy na….It (the film, “Dahas”) was supposed to be a grand slam. I should’ve won all the awards but I lost it, and I lost it pa sa Urian. I remember, every year I would win the Urian, and Dahas would’ve been my fourth year of winning that award. It was painful kasi pang-grand slam ko yun.” He says about the roles he takes: “I’m so good when I do bad roles and I’m shying away from those kind of roles already.” He may have scored his first acting job out of luck, but since then, he has been taking acting workshops that honed his craft. On the possibility of him doing a movie again, he says, “I wanna do a big one again. One day I will…” – Bianca Gonzalez, The Philippine Star, Feb 19 2012 (READ MORE)
Psychically Connected. – “…Minsan, Minahal Kita,” Sharon Cuneta and Richard Gomez’s “reunion” movie after their real-life romance ended years ago, is expected to do well at the box office when it opens today. To make sure that it’s a hit, the two stars have been going out of their way to promote the movie on TV. At first, they didn’t want to answer personal questions about their romance and why it went sour, because they didn’t want the movie press to “feast” on their private lives, especially now that they’re both happily married to other people, who might resent the past being brought up again. But the questions can be persistent, and a little controversy does add spice to a promotional campaign, so, two Sundays ago, Richard and Sharon found themselves opening up more than usual to guest interviewers Martin Nievera and Amy Perez on Sharon’s own TV show. The big question, of course, was: If Sharon and Richard were so in love when they were sweethearts, why did they have to break up? At first, the answers were rather tentative: “With us, it was always wrong timing” – that sort of thing. Then came Richard’s statement: “She loved me more than I loved her:” Surprised, Sharon retorted with a raised eyebrow, “I thought, pantay…” If they could change what happened, what adjustments would they make? Richard: “I should have focused more on Sharon.” Sharon: “I know now that nobody’s perfect. I should have waited it out, I should have been more patient.” Despite their being more forthcoming than usual about that shared chapter in their lives, the two stars still ended up keeping the details about the real reasons for their breakup to themselves -as well they should. In any case, the answer are moot and academic, because Sharon and Richard have found “happines apart,” with their respective spouses. But friends will continue teasing them about the fact that the Gomezes and the Pangilinans share the same wedding anniversary: April 28. Of course, Sharon and Richard swear that the unique conjunction is purely, absolutely coincidental, but some people see in this a small sign that they are still psychically connected…” – Nestor U. Torre, Philippine Daily Inquirer, Feb 23, 2000 (READ MORE)
Richard Gomez and Vilma Santos’ Films
Iputok mo…Dadapa ako! (Hard to Die) (1990) – A forgettable film directed Tony Y. Reyes that stars Joey de Leon, Vic Sotto and the late Francis Magalona. Several big stars appeared in cameo roles like, the late FPJ, Nora Aunor and ofcourse, Vilma and Richard
Kapag langit ang humatol (1990) – “…The whole-afternoon affair gave Ate Vi time to bond with Manay Ichu, the “second mother“ she hasn’t seen lately. Ate Vi recalled for the nth time how Manay Ichu and the late Atty. Espiridion Laxa saved her from the poor house, helping her with BIR (tax), financial, and career woes. The actress made memorable films for Manay Ichu, including “Rubia Servios,“ directed by Lino Brocka. Brocka triggered memories about a film she made for Vision, produced by Charo Santos and Simon Ongpin (Where is he?), in which this columnist had a “role.“ Vision offered Ate Vi two project. The true story of a crusading lady doctor to be directed by Brocka. A radio serial by Salvador Royales, “Kapag Langit ang Humatol.“ She wanted to do a Brocka film, but this columnist objected, telling Ate Vi, “You don’t need another award, you need a blockbuster.“ Ate Vi listened and “obeyed.“ The radio serial was a huge, huge hit. And even critically acclaimed, giving Laurice Guillen the best director award from the Manunuri (Urian)…” – Ronald Constantino, Feb 15 2012, Tempo (READ MORE)
Ibigay mo sa akin ang bukas (1987) – “…At present, Santos is completing Ibigay Mo sa Aking ang Bukas for producer Esperidion Laxa. The movie, slated for opening first week of March, was originally scheduled to be shown this week (simulaneously with Sharon Cuneta’s Kung Aagawin Mo Ang Lahat Sa Akin, but Laxa apparently decided otherwise, “Medyo hilaw pa sa promotion,” said the actress. In the movie, Santos is once again playing the role she’s best known for, that of a liberated woman. “D’yan naman talaga ako nagustuhan ng tao, you know, women who fight for their personal happiness.” She is again paired with Gabby Concepcion, who incidentally, is rumored to be her boyfriend. There is definitely nothing between her and Gabby, she clarified. “Ah, si Mayor?” she gleefully replied to the question, “we’re just comfortable with each other. Minsan na akong napikon sa tsismis na iyan. We’re friends and I hope people would just leave it at that.” “Is she really that liberated in real life?” Parrying the question, Santos rationalized, “Well, I deserve to be happy, too!…” – Mario V. DumaualManila Standard, Feb 19, 1987 (READ MORE)
Tagos ng dugo (1987) – “…And what do we make out of Maryo de los Reyes’ Tagos ng Dugo, with its grossly improbable tale of multiple schizophrenia and made all the worse by the director’s penchant for pseudo-character changes? Personally, i would rate Vilma Santos here as having been last year’s most colorul character instead of a consumate performer…” – Justino Dormiendo, Manila Standard, Feb 23, 1988 (READ MORE)
Yesterday, Today & Tomorrow (1986) – “…After a string of unsuccessful relationships with different men, Corina (Vilma Santos) finally settles down with Teodolfo/Teddy, (Eddie Garcia), an old widowed man whose daughter, Ana (Maricel Soriano) and sister Julita (Rosemarie Gil), never approved of his new wife. In her best attempt of being a good wife and stepmother to her new family, Corina gets smitten by Neil (Gabby Concepcion), a married man with a kid whom she had an affair with. Things get haywire as Corina starts to feel guilty about cheating on Teddy who has been good to her. Ana also discovers her adulterous acts and tries to kick her out of the family. Just when Neil is ready to leave his wife Vicky (Snooky Serna) and their kid for Corina, everything turns around when Teddy’s death revealed a secret that changed their lives forever…” – Regal Films (READ MORE)
Lamat sa Kristal (1988) – “…Vilma Santos went through with the taping of her first drama special, Lamat sa Kristal, during the rage of killer typhoon Unsang. While it wrought havoc in the entire nation and claimed numerous lives and destroyed properties, the whole production made good use of the terribly bad weather to set the mood for the top actress’ tele-movie. Indeed, there’s nothing like Mother Nature providing the real atmosphere, as teh stars and crew braced the strong winds and heavy rains. To the said stars and crew the showbiz rule “the show must go on” still holds true, no matter what the weather is…” – Meg mendoza (READ MORE)
Richard Gomez (born on April 7, 1966 in Manila, Philippines) is a Filipino actor, comedian, model, athlete, television presenter, and director. He is one of the famous actors in Philippine Cinema. He graduated from the Polytechnic University of the Philippines. He is one of ABS-CBN’s contract actors. Gomez was raised by his grandmother. Before his entry in show business, he worked in at McDonalds. His dream came true when his modelling career began. After modelling, he pursued an acting career. His mother is the screen siren of 60s Philippine cinema, Stella Suarez. His cousin is Stella Suarez, Jr. aka Pinky Suarez, who was adopted by his parents and raised as his sibling. His father has Spanish-Mexican blood. – Wikipedia (READ MORE)
Basic Information: Director: Mario O’Hara; Writing credits: Mario O’Hara, Tito Rey; Cast: Ian De Leon, Lotlot De Leon, Matet De Leon, Caridad Sanchez, Jaime Fabregas, Richard Merck, Ronel Victor, Marilyn Villamayor, Kiko De Leon, Vida Verde, Irma Alegre, Vilma Santos, German Moreno, Romnick Sarmenta, Zorayda Sanchez, Dan Alvaro, Mario Escudero, Tony Angeles, Nora Aunor, Nanette Inventor, Maritess Ardieta, Arthur Cassanova, Lady Guy, Lucy Quinto, Josie Galvez, The Ramon Obusan Dancers, Remy Tabones; Producer: Nora C. Villamayor; Original Music: Demet Velasquez; Cinematography: Johnny Araojo; Art Direction: Julius Dubal; Sound: Antonio Acurin
Plot Description: No Available Data
Film Accomplishments: 1988 FAMAS Best Child Actor Nomination – Ian De Leon
Film Reviews: “…The only evidence that Takot Ako, Eh! could not have been made by just anyone with the right money and resources lies in one extremely exclusive instance. This would take a whole lot of paring down and possibly a radical revision of the exposition, but if our point of reference is Halimaw, then you’d now have the best installment available for that omnibus product. I’m referring to the subplot involving Caridad Sanchez as a way-out househelp, not quite in her right mind yet not quite obtrusive enough to arouse anyone’s suspicions. Before the time machine brings back the Nora Aunor character it first spews out Dracula (a wonderfully with-it Richard Merck), who like all the previous males on the scene doesn’t really fall for the maid’s advances, but, unlike the rest, doesn’t have the advantage of remaining intact during daytime and going without blood. When Sanchez starts turning on the charm for her captive lover, all hell, for him at least, breaks loose, and one wishes for the most part that the final Countdown hadn’t been sooner. And to return to where we started: wasn’t this the kind of role – the maid, I mean in particular – that Nora Aunor became famous for? A character performer like Caridad Sanchez can think of nothing about shifting from serious to comic interpretations within more or less similar characterizations (check out two temporally disparate Lino Brocka films, Santiago and Ano ang Kulay ng Mukha ng Diyos?, plus her critically underrated salvo in Marilou Diaz-Abaya’s Alyas Baby Tsina, for a sober accounting of the lady’s prowess); on the other hand, a Nora Aunor can only work on a highly involved plane of acting, in fact as in film. Forced to a distance (considering her bygone stature as the superstar of Cebuano cinema), Sanchez takes full advantage by playing to the hilt, damn the consequences, and involves everyone else in her having fun even at her own expense; Nora Aunor offers a weak substitute of herself, four of them in fact, and politely takes her place in the background. Somewhere there’s a metaphor for the human capacity for excessive celebrity, and the sadness of losing a precious sort of genius when the condition begins to take its toll…” – Joel David, National Midweek, 25 November 1987 (READ MORE)
Plot Description: Sarah (Vilma Santos) is forced to defer her wedding when she scheduled to flight was delayed. At a hotel where she is staying, Sarah encounters Eric (Ronaldo Valdez), a regular guest who forces himself on her. The incident leaves a stigma not just on Sarah but more so on her fiancé, Alfredo (Tommy Abuel) whose dream of marrying a “virgin” is dashed. Strangely, Sarah and Eric’s paths cross again at a time when their respective marriages are in disarray. Their meeting strikes both as “déjà vu.” Could it be that they have met each other in the past? Their suspicious are confirmed after Eric consults a psychic. As it turns out, Sarah and Eric are the reincarnation of Guada and Enrico, two lovers who had an illicit affair sixty years ago. When Guada’s husband, Limbo (Ruel Vernal), learned of her affair, he went on a murderous rampage. Now Sarah and Eric seem destined to follow the same path. But in whose spouse does the spirit of Limbo rest? Is it the disabled Alfredo? Or Eric’s estranged wife Cristy (Chanda Romero)? – Viva Films
Film Review: The technical preview of “Karma” the other night was delayed for about an hour but I did not mind waiting because I was quite certain that I’d be seeing a fine film. To while away the time, “Firecracker,” co-starring American actors with local talents like Chanda Romero, Vic Diaz, and Rey Malonzo was shown. Chanda and Vic delivered their lines themselves but surprisingly Rey didn’t. Before one whole reel could roll, the prints of “Karma” arrived. “Don’t stop it yet, a bed scene is coming,” Mario Bautista protested. Happily, “Karma” turned out to be as good as I expected. It’s performers are first-rate – Vilma Santos, Ronaldo Valdez, Tommy Abuel, Chanda Romero – so their award-winning acting didn’t surprise me at all. The script was outstanding but even that was expected, coming from director Danny Zialcita. What impressed me was that minor parts were played by name actors. The housekeeper who appeared in one short sequence could have been played by any elderly woman but those who made the movie wanted nothing less than Etang Discher. The psychiatrist could have been played by any decent-looking man but they didn’t settle for anybody less than Vic Silayan. The male lover at the start of the story had to be acted out by Dante Rivero, that at the end by Christopher de Leon. The movie boasted of several bold scenes. Those involving Vilma weren’t much as we know for a fact that Vilma could show only so much. One scene showing Chanda was a different story. It showed her with absolutely nothing on, yet it didn’t offend anybody as it was executed in style, shot with great care. There was just one thing, which looked unnatural to me – the way in which one of the main characters killed himself. “That’s all right,” Danny assured me. “Before we shot it, we double-checked its possibility.” Reincarnation and transference are undoubtedly mind-boggling subjects but, to his utmost credit, Danny managed to present them simply, bringing them down for everybody to understand. “Bala lang yan. Katawan lang ito. Babalik at babalik kami sa mundong ito,” Dante vowed. Come back they did as they promised building the foundation of the story. – Bob Castillo, People’s Journal Dec. 12, 1981 (READ MORE)
Sa pagbabago ng estado ni Vilma Santos, tila nagbabago na rin ang kanyang approach sa kanyang career. Dahil hindi na career ang unang priority niya sa buhay, lalong nagiging professional ang kanyang tingin sa trabaho. Dahil hindi na twenty-four hours a day ang kanyang buhay artista, alam na niyang I-apportion ang bawat minuto na walang aksaya. Sa set ng Relasyon ni Ishmael Bernal, hangang-hanga ang director sa bagong pang-unawa ni Vilma sa trabaho. Dumarating sa oras, kabisado ang linya (memorizing lines for Vilma, of course, was never a problem even the days she was shooting five pictures simultaneously), full attention sa sinasabi ng direktor, walang problema. Kung pagbabasehan sa naging resulta ng Karma, lalong maganda ngayon si Vilma, mas mariin ang kanyang pagganap, mas mature ang kanyang approach at understanding sa kaniyang papel. Swerteng-swerte ang pagkapanalo niya ng best actress sa nakaraang Film fest. Sayang at wala siya upang tanggapin mismo ang tropeo. Pero lalong naging makabuluhan para sa kanya ang sinabi ng kapwa niya artista sa Karma nang sabihin ni Chanda Romero na “napakaganda naman ng karma ni Vilma. Mayroon na siyang Edu, mayroon siyang Lucky, ngayon ay mayroon pa siya nito (ang ibig sabihin ay ang best actress trophy),” sabay tilian ng mga fans sa loob ng Cultural Center, walang makapigil, walang makasaway. Pero, gaya ng dati, hindi naging madali kay Vilma ang pananalo. Nagpatas ang botohan ng dalawang beses – triple tie sila ni Gina Alajar at Charo Santos, hanggang ma-break ang deadlock at nakaungos ng isang boto si Vilma sa dalawa pa niyang kalaban. Tinawagan si Vilma ni Cirio Santiago, pinasundo sa isang limousine, pero nagdahilan ang Vilma. Ayaw niya sigurong umasa dahil minsan, sa isang awards night din, sinigurong siya ang mananalo pero hindi ganun ang nangyari. (I understand that Vilma really won but the verdict was changed afterwards through the representations and machinations of some influential press sectors.) Kunsabagay, wala rin si Charito Solis noong awards dahil sabi sa akin ni Chato, talagang hindi niya inaasahang manalo ang maliit na papel na iyon sa Kisapmata. Noon pa mang preview pa lamang, maugong na ang balitang baka si Charito ang manalo bilang supporting actress pero hindi niya yun pinansin dahil tiyak na tiyak siya na si Vic Silayan ang mananalo. Sinabi pa niya sa interview niya kay Armida Siguion-Reyna sa Let’s Talk Movies na napakagaling ni Vic. Sa set pa lamang daw, natitiyak na niya halos na si Vic ay mananalo sa Kisapmata. Sa naturan ding programa, sinabi ni Armida sa pagre-review niya ng Karma na talagang magaling ang pagkakaganap ni Vilma sa Karma na parang nakuha nitong punuan ang ilang mahalagang kakulangan ng pelikula. – Oscar Miranda (READ MORE)
“26 years after we first seen “Karma,” the film remained Vilmanians’ favorites and one of Dany Zialcita’s best film. Glossy with crisp dialouge, the film was a big hit at the 1981 Metro Manila Film Festival and earned Vilma the festival’s best actress. Here was what movie reporter Mario Bautista said about her acting: “Ibang-iba” rin ang Vilma Santos sa “Karma.” Subdued na subdued ang performance ni Vi rito unlike in other films na all out ang emoting niya. Dito’y restrained siay at napaka-effective. Halimbawa sa eksena after the rape sa kanya ni Ronaldo Valdez. Nang sabihin niyang siya’y patungo sa kasal niya’y halos hindi na marinig ang kanyang tinig pero talaga namang damang-dama mo ang kirot sa kanyang dibdib. O kaya’y sa mga tagpong sinusumbatan siya ni Tommy Abuel na nanatili siyang kalmado at soft-spoken. We never thought Vilma can be that versatile!” – RV (READ MORE)
Zialcita’s first movie with Vilma was the 1980 festival entry, a drama about bigamy, Langis at Tubig. The following year, Zialcita and Santos joined forces again in antoher festival entry, Karma. The film earned Vilma her second Metro Manila Film Festival Best Actress. The following year, Ziacita’s Gaano Kadalas Ang Minsan broke box office record, Earned P7.3 million during its first day of showing in Metro Manila and assured Vilma Santos the box office queen of 1982. The total number of Vilma Santos and Danny Zialcita colloborations were four (Gaano Kadalas ang Minsan? 1982, Karma 1981, Langis at Tubig 1980, T-Bird at Ako). – RV (READ MORE)
“One of the most misunderstood occult concepts. The nearest equivalent in European thought is contained in the idea of fate, though the oriental term indicates the fate is not a haphazard sequence of events of experiences, but is dependent on actions of previous lives or spiritual conditions. The idea is that a spirit undertakes to live in an earthy body for a given period of time, usually in order to learn something which cannot be learned in a disembodied state, and has to accept rewards and punishments for good and bad deeds committed in previous incarnations. In order that understanding may grow, any evil committed against another person will have to be experienced by the perpetrator. The working out of Karma is not done consciously by ordinary people. The real reasons for the majority of people’s actions and relationships may be understood only when nature of their Karma is grasped – which is tantamount to saying that it is virtually impossible to understand or judge another person when seen in the context of one material lifetime only. Vilma Santos fits the role to a T. For the past years that she has suffered a string of major misfortunes and setbacks in real and reel life, she has hone herself as promise, a common objective: to give the viewing public what it wants – entertainment with a capital E. For Danny Zialcita, aside from having a good screenplay, good direction and brilliant actors and actresses, the movie should have artistic values. Karma promises to be a very good vehicle not only for Zialcita but also for Vilma Santos and the rest of the cast. Will this movie be a good KARMA for director Danny Zialcita, Vilma Santos and the rest of the cast? Watch the movie! It’ll be a different kind of feeling you’ll get after viewing it.” – Bond De Leon (READ MORE)
“…First, Karma is a quality picture. According to Mr. Ernie Rojas ng Sining Silangan, it was produiced not only to make it good in the box-office kungdi maging sa mga awards. Kungsabagay, may laman ang sinabi ni Mr. Rojas simply because Langis at Tubig, which was also producede by Sining Silangan last year, placed second in the tops earners and bagged the Best Actor Award for Dindo Fernando. Second, matagal na ring naipalabas ang latest film ni Vi na Hiwalay. Samakatuwid, maganda ang spacing ng mga pelikula niya, ‘Ika nga, hindi over-exposed ang beauty ni Vi. Dahil dito, nandiyan pa rin ang pananabik ng manonood kaya’t siguradong dudumugin ang Karma. …” – Manny A. Valera (READ MORE)
“…In my limited understanding it takes lifetimes to work off one’s karma. Movies, however, only run for two hours so filmmakers have to take liberties. In Danny Zialcita’s 1981 film Karma the protagonists have the added advantage of knowing exactly who they were in their past lives, thanks to a psychiatrist (Vic Silayan) who practices regression hypnosis. Eric (Ronaldo Valdez, who is smoking, and not just in the library where he researches his former incarnation) and Sarah (Vilma Santos) have already met under awful circumstances, but it turns out they’ve known each other much longer than that. In the past they were Enrico and Guada, illicit lovers murdered by Guada’s husband, Limbo. Limbo vows to follow them to the next life, but which form does he take? Is he now Enrico’s mentally unbalanced, pathologically jealous wife Cristy (Chanda Romero), or Sarah’s cruel, sadistic husband Alfredo (Tommy Abuel). It’s not a whodunnit, it’s a who-will-do-it? Vilma Santos turns in another fine portrayal of emotional turmoil. Nora Aunor had the advantage of expressing volumes with her eyes; Vilma expresses with her face, hands, and entire body. Nora was inward, Vilma outward. Ronaldo Valdez gives an understated performance, coolly delivering lines like, “In love there’s no measure of time”. Tommy Abuel overacts ridiculously, even for a guy so suspicious that he has his wife examined by a gynecologist to see if she’s had sex. Chanda Romero is fabulous. Her Cristy is a psychotic who never raises her voice; you can tell she has tranquilizers for breakfast, lunch, and dinner. The first time Cristy and Sarah meet is at the antique store Sarah manages at the old Virra Mall. Cristy breezes in, picks out a bunch of stuff, and announces that she doesn’t carry cash or credit cards, just send the bill to her husband. She points to another piece she buys, and Sarah says, helpfully, “That’s P9,500.” “Ok lang,” Cristy says, “Nagtanong ba ako? (Did I ask?)” One thing about Danny Zialcita movies: his rich people looked and sounded like rich people. He made movies for sophisticated grown-ups. If they don’t make movies like Zialcita’s anymore, it’s because people are no longer that articulate. Nobody casually tosses off bon mots anymore, everything has to be overstated for the dim. So we Zialcita fans are reduced to reciting favorite lines from his movies: “Puede bang makausap ang asawa ko na asawa mo na asawa ng buong bayan?” (May I speak to my husband who’s your husband who’s everybody’s husband?)…” – Jessica Rules The Universe (READ MORE)
“Totoong maraming magagandang pelikulang tagalog ang ginawa mula nung araw na nagsimula ito hanggang sa kasalukuyan. maraming mapagpipilian. Pero para masabing maganda ang isang pelikula at pagkalooban ito ng “Best Picture Award” ng mga award-giving ceremonies, ang inakala n’yang tatanghaling “Best Picture” ay hindi nananalo? Of course, kanya-kanyang taste, kanya-kanyang standard ang board of jurors, that’s why kung minsan, hindi tumatama ang prediction ng isang tao sa piniling “Best Picture” ng mga judges. Recently, sa ginawang review ng isang kritiko sa pelikulang “Batch ’81,” all praises ang naturang kritiko sa kagandahan ng pelikual. The best picture of all time raw. According naman sa isang veteran writer, ang pelikulang ito raw ang the best local movie ever produced in 25 years. Agree? Disagree? As we said earlier, maraming magagandang local films na mapapipilian. So, we decided, why not make sure on the Ten Best Local Films ever produced? This time, hindi namin isinali ang mga kritiko na nagri-review ng local films para mamili ng Test Best Pictures para sa kanila…Hermie Francisco (editor, his choices)…6. Karma, paano nagawa ni Danny Zialcita ang pagtagpi-tagpiin ang maraming bagay na hiwa-hiwalay sa istorya? Kung may “Somewhere in Time” sa Amerika, may “Karma” naman tayon. A little of fantasy pero, very entertaining talaga. Masarap umpisahan sa una at patuloy na panooring…” – Rowena Agilada, Zoom Magazine, 20 Decembe 1982, Posted by James DR, Pelikula Atbp, 10 February 2021 (READ MORE)
Star For All Seasons 
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