Political Roles

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ARTICLES - Politics in Movies

Release Dates 1960s Film Titles – Political Roles

  • Jan 20, 1964 Ging – Child Labour/abuse in the entertainment industry
  • Sep 07, 1965 Iginuhit ng Tadhana – First propaganda movie of the Marcoses; Vi portrayed Imee Marcos
  • Dec 30, 1966 Ito ang Pilipino – Fictional story about Spanish revolt of 1896
  • Jun 18, 1967 Longest Hundred Miles – Fictional story about Japanese invasion of the Philippines
  • Jul 27, 1969 Pinagbuklod ng Langit – Second propaganda movie of the Marcoses; Vi portrayed Imee Marcos for the last time

Release Dates 1970s Film Titles – Political Roles

  • Jun 14, 1970 Love Letters – Group of teens protested by picketing with placards against the parents of lovers Vi and Bot
  • Dec 22, 1973 Darna and the Giants – Superhero Darna fight an evil monster Helen Gamboa who wanted to mind control the masses
  • Jun 12, 1975 Dugo at Pag-Ibig sa Kapirasong Lupa – Vi was featured in one of the episode about young rebels who fights the establishment and seek refuge in the mountain provinces
  • Dec 25, 1977 Burlesk Queen – The disappearing art of burlesque in a moralistic elitist establishment who wanted to abolish it
  • Jul 14, 1978 Pagputi ng Uwak, Pag-itim ng Tagak – Sneaky indention of the Hukbalahap story line as the back drop to the love story of the main characters
  • Jul 23, 1978 Kampus – liberation of Vi’s character who doesnt want to be married tied into one conservative man

Release Dates 1980s Film Titles – Political Roles

  • Feb 22, 1980 Miss X – Vi played a deported prostitute from the Red District of Amsterdam
  • Dec 25, 1980 Langis at Tubig – Vi played one of the wife of a bigamist
  • May 29, 1981 Pakawalan Mo Ako – Vi played a prostitute accused of murdering a son of a powerful rich man
  • Jul 12, 1984 Sister Stella L. – Vi played a political nun
  • Oct 18, 1984 Alyas Baby Tsina – Vi played an ex-convict who fight the internal organization group in women’s penetentiary
  • Jul 20, 1989 Rizal Alih, Zamboanga Massacre – Vi is the wife the government military’s muslim enemy
  • Dec 25, 1989 Imortal – Vi played an escapist nun who was kidnaped by rebel groups in the provinces

Release Dates 1990s Film Titles – Political Roles

  • Aug 17, 1992 Sinungaling Mong Puso – Vi portrayed a wife of an abusive and psychopatic politician
  • Jun 24, 1993 The Dolzura Cortez Story – Vi portrayed the first Aids victim who came forward to the media in the Philippines
  • Sep 16, 1998 Bata, Bata…Paano Ka Ginawa? – Vi is a liberated mother with two kids from different man, a taboo in conservative Philippines

Release Dates 2000s Film Titles – Political Roles

  • May 12, 2000 Anak – Domestic flight of the OFW
  • Dec 25, 2002 Dekada’70 – Fictional story of the Martial Law years of the 1970s

Release Dates 2010s Film Titles – Political Role

  • Jul 26, 2013 Ekstra, The Bit Player – Senior Labour/abuse in the entertainment industry

For the complete Vilma Santos’ 2010s’ Filmography, click here

 

Vilma’s Lucky One

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ARTICLES - Vilma's Lucky One

Back in the 1980s, when she was hosting her weekly musical variety show VIP (Vilma in Person), the Star for All Seasons would give a flying kiss and a wave at the end of each episode, then shout, “I love you, Lucky!” Lucky, of course is the nickname of Vilma’s firstborn, Luis Philippe Manzano. Although the 34-year-old TV host-Wikipedia ages him a year (We checked, Wikipedia has been corrected – RV), but Lucky himself says he was born on April 21, 1981, making him 34-would rather go by his first name Luis, he hasn’t quite gotten rid of his childhood nickname. After all, his own mother still insists he will always be that-her lucky charm. In 1980, Vilma had gotten marriend to actor Edu Manzano, whom she lovingly called Doods. She soon found herself in the family way. “You know how it is in the industry,”Luis tells the story. “If a leading lady gets pregnant, sometimes the value [of the star] changes, the star power changes, because she’s gonna settle down. She’s no longer that available. In short, Ate Vi was a big, big star, but her pregnancy made her future uncertain. Add that to her growing financial problems, which had made her bankcrupt. “She was so in debt it wasn’t even funny anymore.”Luis explains. But when Luis was born, her bad luck started to turn around, things started to look up. Vilma having learned her lesson, vowed not to get mired in the same financial situation again. She worked like a horse. “I fully understood-If I don’t see my mom, she’s working because of me,”Luis recalls. “I know that every single time that she stays out late, it is because of me and the family.”

Unfortunately, the long work hours took a toll on Vilma’s marriage to Edu. By 1984, the two had separated. “You know, with some children, when their parents separate, they tend to be lost for a while-whter it be you know, in academics- or they tend to experiment too much. Ako when they broke-up, I fully understood that if two people can’t be together, why force it? You know, if they try to force the issue, I would pay of for it.” Again, Lucky for Vilma. Luis had a “gift of understanding.” He accepted early on that his father might have a relationship with another woman and that his mother might get married again – and she did, to Ralph Recto, in 1992. He says he knew that “new people would come in our lives. I welcomed Tito Ralph with open arms.” Despite having a different kind of family setup – separated parents, show business, then politics – luis is thankful that they tried to give him a semblance of a normal childhood. He spent weekdays with his mother and weekends with his father. Hi mom signed report cards, went to parent-teacher conferences, and attended basketball games in his school. Not only that, “When I was younger,” Luis recalls, “maglalaro kami ng patintero sa labas ng bahay with whole family. Pagkagabi, patintenro kami, the whole family.” he muses: “I think that’s her parenting style. She wants to have this very casual relationship, yet you don’t lose the respect. For her, she’s one of the moms who believe in learning on your own- na life is not about spoon-feeding. There are certain aspects in life that you have to lear for yourself.

Like many a Pinoy Kid, Luis had his taste of corporal punishment. He was around three or four years old then. Ate Vi was entertaining visitors at home. Luis, who was probably seeking attention, was holding a toy and was threatening to throw it at the guests. Ate Vi warned him no to throw it. “Binato ko pa rin,”he recounts. “Binalik sa akin, ‘Anak, papaluin na kita” Bato ulit! Hinabol daw ako sa ilalim ng mesa. E nahuli young paa ko. Wapak!” Luis got a slap on the hand. Fortunately, it was the first and last time he ever got corporate punishment. The rest of the time he proudly says, talking things out with his parents worked. But sometimes he brought out the dramatic actress in his mother. “Si Daddy, mas mahinahon.” Luis tells us. “He’s more of a two, three-liner type of guy. Monotone pa. Si Mommy ‘yong puno ng emosyon. Medyo sigawan, medyo may gano’n.” Life was so normal that Luis did not think much about his mother’s celebrity status. He never realized how popular his mother was until, one day, when he was about six or seven years old, his mom decided to drive with him to a supermarket in Magallanes to buy ice cream. “Four steps upon entering the supermarket, wala na. Parang there was a mall show. That’s when I realized na Ökay, my mom has this magic, this influence.” So I think explanations were not needed. It was more of I got to witness it firsthand.” He doubts that his mom really entered malls, except perhaps to attend movie premieres. There was a time, though when she tried to go to Shangri-La Mall in complete disguise, wearing a hoodie and big sunglasses.

But within minutes, a crowd gathered around her. Ate Vi had to go home without finishing her errands. “Parang she has a billboard on her forehead sayingÏ’m Vilma Santos,” Luis jests. Of course, he also saw his dad Edu getting public attention when they went out , but it’s different when you’re a lady. It’s different when you’re a guy.” He explains “Kasi, with my mom, she has to eat in a private room – plus, considering how big of a party we always are. But with my dad kasi we can randomly eat a restaurant, not a room. Hopefully, I still get to do that with my mom.” Luis remembers, however, one time when he attended a wedding with his dad, and he saw how the guests started taking photos of Edu. His dad told Luis that they were leaving. Luis asked why. Edu answered: “This day is about the bride and the groom, not about us. Let’s not steal the spotlight from the couple’s important day.” When Luis himself decided to enter showbiz, people close to the family including his parent’s friends from the press, were shocked. “They would say na when I was younger, whenever they would visit my mom at home, I was the silent type. I’ll be in one corner just looking at them with my glasses.” But over the years, Luis transformed himself from the “silent type” to the wittty and gregarious talker that he is now. One time, during a guest appearance on The Sharon Cuneta Show with his dad, the then 22-year-old Luis just captivated the audience with his wit. Soon, TV executives offered him a job as VJ in the music cable channel MYX.

That was in 2003. At that time, Luis was studying hotel and restaurant management (HRM) at the De La Salle College of Saint Benilde. (he originally wanted to take a pre-medicine course, but “being a hopeless romantic got the better of me.”He ended up in HRM because of a girl.) His parents allowed him try showbiz as long as his studies wouldn’t suffer. He finished the course sometimes in the mid-2000s. As for hosting- well, he’s still at it, and he’s been doing a good job for the past 13 years. “People see me on TV na nangungulit, being crazy, being obnoxious, and they automatically think it came from my dad,”he says. “But not everyone know that my mom is equally crazy and obnoxious also behind camera… It’s a fine mix of my mom and my dad.” Luis’ brand of humor – witty, satirical, and vain – has gained him a strong following, about a million, on instagram. Recently, he posted a photo of himself with teh caption: “Nung naglayas ako sa bahay, dun nauso and search for Mr. Pogi.” Although he pokes fun at his good looks, we twll him that he has the right to be “feeling guwapo” because he is. He disagrees. “Ipanotaryo pa natin ‘to; no talaga. Alam ko, mahaba ‘young mukha ko. Makulit ako, that’s my thing, e. I’m not even saying I’m funny. I’m not even saying that, kapal ko naman. I have my hits and misses when it comes to humor. Makulit ako. I guess people see that I have this positive outlook. Maybe that when they see, that aura. But being guwapo? Iwan mo na ‘yan kina Piolo [Pascual], sila ‘yan.” We have to agree to disagree. As he says, he’s a fine mix of his parents. What a truly lucky guy! – Text by Candice Lim-Venturanza, Photos by Ronnie Salvacion, Yes! Magazine, October 2015 (READ MORE)

One More Time T-Bird At Ako

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Starring: Vilma Santos, Nora Aunor, Dindo Fernando, Tommy Abuel, Directed by Danny Zialcita

That Danny Zialcita’s T-Bird at Ako is entertaining cannot be doubted. The plot situations are funny. The lines are witty. The pacing is fast. The lesbian love of Nora Aunor for Vilma Santos, moreover, is extremely clever, since the two superstars in real life would not be caught dead in such a relationship. Zialcita has made a career of doing impossible things. He made he-man Dindo Fernando a homosexual in the Mahinhin series. He now makes Aunor a lesbian. When he tries to make Santos a low-class beerhouse dancer, however, he fails. That makes his record two out of three impossible things, not bad for normally sedate local cinema.

This film shows Zialcita at his best – irreverent, tongue-in-cheek, unconcerned with larger themes, focused on obsessive sexual relationships. Let’s take the dialogue first, which cleverly juxtaposes the fiction of the film with the reality of the careers of the two superstars. Thus references are made to Santos’ being a “burlesque queen.” One character is even named “Rubia,” after Rubia Servios (1978), Santos’ competition film against Aunor’s Atsay (1978). More than these allusions, however, the film features sparkling exchanges between Santos and Aunor. Most impressive of all the lines perhaps are those in the court room sequence, since the opposing arguments are easy to follow, yet logical in structure.

The direction is tight and masterful. Although one always gets reminded in a Zialcita film of sequences from foreign films, there is a minimum of unmotivated blocking in this film. Each sequence contributes to the whole film (if there is copying, in other words, and I do think there is in this film, the copying is not done simply to be cute or clever, but in accordance with the logical requirements of the plot). The performances, as expected of a Zialcita film, are excellent. Aunor is more effective as the confused lesbian, primarily because Santos is not able to get the rough and ready quality of low-class hospitality girls. Tommy Abuel is terrific in his role as the patient suitor. Fernando is given too little space to develop his character, but what he has, he makes good use of. Captivating is Suzanne Gonzales, though she has to learn to use her face a bit more to express varying emotions. In their brief roles, Anita Linda and Odette Khan are delightful. – Isagani Cruz, Parade, 22 September 1982 (READ MORE)

“…The restoration campaign focuses on directors primarily. In the case of the 33-year old ‘T-Bird at Ako,’ it’s vintage Danny Zialcita with his snappy dialogue and witty repartee. It’s also the last time that Nora and Vilma co-starred in a movie and with such a daring theme for its time. “T-Bird at Ako” tells the story of a sexy dancer (Santos) accused of homicide. She is defended by a female lawyer (Aunor) who tries to keep their relationship professional as the latter struggles with confusion as to her sexual preference. T-Bird at Ako is among the 75 films restored by ABS-CBN Film Archives, in collaboration with Central Digital Labs, since it started its restoration project in 2011. Some of these restored films were already screened internationally via film fests, screened locally via red carpet premieres, aired on free-to-air and cable television, viewed via pay-per-view and video-on-demand, distributed on DVD, and downloadable even on iTunes…” – LionhearTV, 26 February 2015 (READ MORE)

“…The 1982 blockbuster T-Bird At Ako was not the first movie to star rival screen icons Nora and Vilma, but it played up the rivalry of the two, even coming up with a circular “billing” so you couldn’t tell whose name appeared first. It also has a titillating premise: Nora Aunor plays Sylvia, a successful lawyer who finds herself sexually attracted to Vilma Santos’s Isabel, a nightclub dancer/hostess accused of murder. The movie is absolutely delightful, and its two stars never looked better, but if you’re looking for a serious discussion of LGBT issues, look elsewhere. As writer Portia Ilagan said in her introduction, she and the director had a spat over the “redeeming” ending, which in the tradition of old Tagalog movies suggests that homosexuality is a temporary phase that can be cured…In T-Bird at Ako, every character is a character, and even the most minor characters get to unleash verbal zingers. Many of these zingers seem like throwaway remarks, so you need to pay close attention. “Saan tayo?” says the taxi driver. “Sa impyerno,” says Vilma Santos, and the movie doesn’t make room for the audience’s laughter but barrels right into the next scene. It occurred to me that Danny Zialcita’s movies, which were marketed as melodramas, are really screwball comedies, the genre I love most in the world. The plots are preposterous, the story is only loosely related to real life, and everyone is clever. It doesn’t try to be like the actual world, it wonders why the world isn’t more fun like a movie…”

“…Nora Aunor has the more difficult role. Her Sylvia is a cerebral woman who has never paid much attention to her feelings and suddenly finds herself swamped with them. Could she be a lesbian? The movie’s timidity and its fear of offending the traditionalist audience doesn’t help her: she is reduced to being petulant and jealous when Vilma’s Isabel stays out late at night. But Nora uses her famous power of understatement to convey the confusion, discomfort, and amazement of emotional awakening. It’s also refreshing to see her play an established, affluent character whom no one would think of oppressing. Make her api at your own risk. Vilma Santos is in her element playing the quintessential Vilma role: the woman of feeling who has no qualms about expressing them. She also has a nightclub dance sequence that, far from portraying her as a downmarket floozy, makes her look like she should be headlining a TV variety show. Oh right, she’s done that. And her line readings are hilarious. Under cross-examination by Tommy Abuel, who asks if she can understand his questions in English, she says, “Opo, hindi naman malalim ang English niyo.” Offhandedly, without turning it into a moment…” – Jessica Zafra, Interaksyon, 27 February 2015 (READ MORE)

“…Ang husay talaga ng director na si Danny Zialcita. And the actors in the movie were equally good. Sa court scene, hindi nagpatalo sina Johnny Wilson at Tommy Abuel as the prosecutors. Ang gagaling nilang magbitaw ng mga dialouges. At hindi rin nagpatalo ang Superstar as the defense lawyer. Superb ang exchange words sa court room. We wondered kung sino ang scriptwriter ng pelikula. But Manay Ethel Ramos said na si Danny Zialcita is an expert on that area. Halos hindi maalis ang tutok ng lahat kay Ate Vi with her sexy dance number and she was in a red skin tight outfit with the lower part exposing very shapely thighs and legs. Sabi nga ng anak naming si Julienne who was with us during the viewing of the film, “Ang ganda ni Vilma lalo na ‘yung ilong niya. Girl na girl talaga siya. Ang ganda rin ni Nora pero pang-masa talaga ang dating niya. Very convincing siya as t-bird. Paglabas ko, Mommy, ng film center, tumatak sa akin na t-bird talaga siya.” Nandun sina Aiza Seguerra at Liza Dino to support the film since the film is about same sex relationship. Nandun din si Direk Perci Intalan who is, as everywone knows, married to writer Jun Lana. Kay Portia Ilagan (the right hand of Sen. Bong Revilla) pala ang kuwento ng T-Bird at Ako. Kuwento diumano ito ng buhay niya. Dahil yung same sex relationship ay hindi pa masyadong accepted nung time na ginawa ang movie, sa ending, hindi nagkatuluyan sina Vilma at Nora. May mga dialouges pa si Ate Vi na “Nandidiri ako sa ‘yo.” nung mag-attempt si Ate Guy na haplusin siya. So, sa ending si Nora ay napunta kay Tommy Abuel at si Vilma naman kay Dindo Fernando. Sey kuno ni Portia sa isa namaing kasamahan sa panulat na nag-interview sa kanya, ang ayaw niya sa ending ay pinag-bestida raw si Ate Guy. She accepted the ending na napunta si Ate Guy kay Tommy Abuel pero ang di niya nagustuhan ay pinagsuot ito ng bestida. In real life kasi, never sigurong nagsuot ng dress si Kabsat Portia…” – Len Ramos Llanes, Bulgar, 27 February 2015 (READ MORE)

“…Na-miss ng film critics at ng showbiz industry ang style ng yumaong Danny Zialcita sa pagdi-direk. Ilan sa kanyang mga obra ay ang Nagalit ang Buwan sa Haba ng Gabi at marami pang iba tulad ng T-Bird at Ako na ipinalabas sa UP Film Center las February 25. Ang bida ng classic film na ito ni Danny ay ang dalawang superstars ng local film na sina Vilma Santos at Nora Aunor. Ang said film ay ilan lang sa mga restored film into its original na gawa ng ABS-CBN Film Restoration. Ang mga nauna nang restored films na ipinalabas sa said venue ay ang tatlong pelikula ni Batangas Governor Vilma Santos-Recto like Bata Bata Paano Ka Ginawa at Anak. Anyway, dumating si Nora sa UP Film Center nang mas maaga sa takdang oras ng palabas na 6pm. Unfortunately, walang Vilma na dumating although nagpasabi ito sa kanyang mga Vilmanians na hindi siya makakarating due to important committment sa Batangas. Bagama’t wala si Ate Vi, kumpleto pa rin ang Vilmanians sa pangunguna ni Jojo Lim na siyang nag-asikaso sa mga press people na kanyang inimbitahan. Pagkatapos ng welcome speech ni Leo Katigbak, ang head ng Kapamilya Film Restoration, sumunod na nagpasalamat si Ate Guy sa mga dumalo sa event, maka-Nora man o Maka-Vilma. Nasa 4th row nakaupo si Ate Guy habang ongoing na ang viewing. Binulungan kami ng aming katabing isang radio host-columnist na “Tumatakas na si Nora.” True, napansin ng lahat na nu’ng ipinapakita ng ilaw, bakante na ang kinauupuan ng Superstar. Tuloy, ‘di na naman nakalusot sa intriga ang bulilit aktress at biro ng aming katabi, “Nag-walkout yat? e, kasi nga, kahit wala si Vilma, mas malakas ang palakpakan sa kanya,”sey ng aming katabi. Bago pa ang screening ng T-Bird at Ako sa UP Film Center, nagpaunlak ng pahayag si Nora at naitanong ng katotong Morly Alinio kung papayag ba ito sakaling magkaroon ng T-Bird At Ako part 2 kahit na pareho na silang may edad? Sagot ni Ate Guy, “Why not? Depende siguro ‘yun sa istorya,” sey sa amin. “Wala namang problema sa amin ng mare ko,”na tinutukoy ay ang Star for all Seasons…” – Ador Saluta, Bulgar, 27 February 2015 (READ MORE)

“…Ang kuwento ng T-Bird At Ako ay tungkol sa isang dancer (Vilma) na naakusahan ng homicide. Ipagtatanggol siya ng isang abogada (Nora) na susubukang panatilihing propesyunal ang kanilang ugnayan habang nilalabanan ang pagkalito sa kanyang sexual preference. Si Portia Ilagan ang sumulat ng script ng T-Bird At Ako at ayon sa kanya, magkakaroon daw ito ng remake. Ang gusto niyang magbida sa bagong version ng pelikula ay sina Angel Locsin (dancer) at Bea Alonzo (lawyer). Gusto rin niyang maging part ng pelikula sina Vilma at Nora, Aiza Seguerra at asawa nitong si Liza Dino…” – Leo Bukas, Journal, 28 February 2015 (READ MORE)

#noraaunor, #VilmaSantos, #TBirdatAko1982, #DannyZialcita