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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The Gawad Urian Through The Years 2/3

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The Best Actresses and their First Gawad Urian

1986 – Pilar Pilapil for “Napakasakit Kuya Eddie” – “…By the mid-’80s, Pilar agreed to do mother roles and was amply rewarded for her efforts. In 1986, she and Aga Muhlach played mother and son in the Lino Brocka film Napakasakit Kuya Eddie and were declared Best Actress and Best Supporting Actor the following year in the Urian. She also played mother to Lorna Tolentino in 1989 in another Brocka film, Kailan Mahuhugasan ang Kasalanan, and received an acting nomination from the Manunuri. (In 1997, she was excellent in her portrayal of a Mrs. Robinson type of character in Star Drama Theater Presents Diether)…” – The Philippine Star (READ MORE)

1986 – Anita Linda (supporting actress) for “Takaw tukso” – “…Anita Linda is the recipient of several acting awards, among them, Best Actress of the Maria Clara Awards in 1951 for Gerardo de Leon’s Sisa, where she played the title role, which she considers her most challenging and memorable. “Of course when I made Sisa…Sisa, the crazy woman, in our Noli Me Tangere written by Jose Rizal is a role I can’t forget. It’s my first award – the Maria Clara award…it’s very intense…Sisa in our history represents the Philippines itself (because) Sisa was …being maltreated by the Spanish…She represents the country itself, ‘yung kanyang pinagdaanan (what she had gone through). Iyon ang feeling ko (That was how I felt).” She again won critical acclaim in the role she played for director Lino Brocka’s Tinimbang Ka Nguni’t Kulang (You Were Weighed But Found Wanting) 1974; Tatlo, Dalawa, Isa (Three, Two, One), 1974; and Jaguar 1979, the first Filipino film to compete at the Cannes Film Festival. Other leading films she had appeared in the 80s and 90s included Mike de Leon’s Sister Stella L., 1984; William Pascual’s Takaw Tukso (Flirting with Tempation), 1986; Chito Rono’s Itanong Mo sa Buwan (Ask the Moon), 1988; Brocka’s Gumapang Ka Sa Lusak (A Dirty Affair) 1990; and Mario O’Hara’s Ang Babae Sa Bubungang Lata (Woman on a Tin Roof)1998…” – Mila Astorga-Garcia, The Philippine Reporter, 16 September 2008 (READ MORE)

1985 – Nida Blanca for “Miguelito, Ang Batang Rebelde” – “…I did, however, have the privilege of writing the scripts for two movies in which she acted–Miguelito, ang Batang Rebelde (1985), where she played a young Aga Muhlach’s oppressed mother, and Tayong Dalawa, a few years later, where she played the comic foil as housemaid to career girl Sharon Cuneta. She won a raft of well-deserved awards for her performance in Miguelito, which was a relatively low-budget movie that the late Lino Brocka had been asked by Aga’s dad to do to launch his teenage son’s career, and which turned out to be one of my personal favorites among the 14 or 15 scripts I wrote for Lino…” – Butch Dalisay (READ MORE)

1982 – Vilma Santos for “Relasyon” – “…Noticeably ignored many times by the Manunuri, Vilma Santos was nominated for her sympathetic mistress role in Relasyon. She is up against Nora Aunor’s epical role for Himala, Gina Alajar and Lorna Tolentino’s feminist film Moral. The Manunuri surprised everyone by declaring Vilma Santos as their 7th best actress winner. The other award giving bodies (FAMAS, Film Academy of the Philippines, CMMA) also declared Vilma Santos as their best actress and the term “grand slam” were born in local entertainment industry. As for the other acting categories, Philip Salvador won the lead actor and Baby Delgado, supporting actress both for Cain At Abel, and Mark Gil won the supporting actor for Palipat-lipat, Papalit-palit. The Manunuri gave the Natatanging Gawad Urian to veteran actress, Anita Linda, who is still very active today. She starred in this year’s Venice Film Festival entry, Lola…” – RV (READ MORE)

1981 – Gina Alajar for “Brutal” – “…Alajar was already recognized for her acting talent even when she was a child star. In the mid—’70s, Sampaguita Pictures tried to launch her as a teen star via a remake of Cofradia, but this film bombed at the box-office. In 1980, Regal took a chance on her by re-launching her in Diborsyada, a certified box-office hit. While she gave a decent performance here (she’s always good at anything she does on screen), the very exploitative material that capitalized on her even then shaky marriage didn’t sit well with the critics. Two months after the commercially successful exhibition of Diborsyada, however, Brutal was entered in the Metro Filmfest and she won Best Supporting Actress for playing the liberated friend of the heroine (Amy Austria). In the Gawad Urian, a few months later, she was adjudged Best Actress for the same film and she was on her way to becoming one of the finest actresses produced by the Philippine movie industry. Salome – Prior to the 1981 Gawad Urian, Armida Siguion-Reyna, who produced Salome, was already predicting that Gina Alajar was going to be a runaway winner for Best Actress in this film. Armida didn’t have to be a psychic to know that because that was really an unbeatable performance that Ms. Alajar gave in this Laurice Guillen movie where she played a femme fatale. True enough, she was proclaimed Best Actress (the first to win two years in a row) by the Manunuri…” – Wikipedia (READ MORE)

1979 – Charito Solis for “Ina, Kapatid, Anak” – “…the film that defined her 1970s career was not an adult film, but a dramatic film, her specialty. Pitted with the “other dramatic empress” Lolita Rodriguez, she contrasted her usual acting style with Rodriguez’ restrained, quiet style in Ina, Kapatid, Anak (1979). At that time already acknowledged as Philippine Cinema’s Hall of Famer for Best Actress, Charito Solis showed her acting prowess in a way that did not swallow Rodriguez nor did not allow to be shadowed by Rodriguez’ subtle style. Come FAMAS time, she had another Best Actress nod but lost to Nora Aunor for Ina Ka ng Anak Mo, but the “other” awards, the Gawad Urian, granted her its Gawad para sa Pinakamahusay na Pangunahing Aktres (Best Actress). Interesting enough, her penchant for top-billing persisted: the usual tool for billing two actresses demanding top billing was employed (see left). She also appeared with Vilma Santos in Modelong Tanso, a pale competitor to Rodriguez’ and Nora Aunor’s Ina Ka ng Anak Mo. Because Vilma Santos was another actress known for her penchant with billing, the same tool was used…” – Gypsy Baldovino and Yolly Tiangco, Philippine Daily Inquirer; IMDb (READ MORE)

1979 – Amy Austria for “Jaguar” – “…The 49-year-old actress claimed spotlight after joining Lino Brocka’s “Jaguar” in 1979 where she won Gawad Urian best supporting actress award. Meanwhile, Austria’s outstanding performance for film “Brutal” made her clinched her first best actress award for Film Academy of Movie Arts and Sciences (FAMAS) and Metro Manila Film Festival (MMFF). The pride of Tondo was part of notable movies “Hinugot sa Langit”, “Anak”, “Bagong Buwan”, “Muro Ami” and “Beautiful Life.” Aside from her drama classics, Austria joined several hit TV series including “Walang Kapalit”, “Bituing Walang Ningning” and “Pangako Sa’yo.” Austria was previously married to late actor Jay Ilagan. She later settled down with Filipino-Korean Duke Ventura…” – ABS-CBN News, 13 December 2010 (READ MORE)

1978 – Chanda Romero (supporting actress) for “Boy Pana” – “…The last time I bumped into Chanda Romero, she was socializing with friends at the Cebu Country Club. My niece, Rovi, asked me, “Le conoces (Do you know her)?,” after the award-winning Cebuana actress greeted me rather fondly. “Yes.” I replied. “We go back a long way.” I can’t remember which Joey Gosiengfiao or Elwood Perez film I first appeared in with Chanda, as the flamboyant filmmakers had the “habit” of casting me in their productions, either as a temperamental director or a bitchy movie critic. With Chanda, the film I remember most is Eddie Romero’s multigenerational tale, “Aguila,” shot in 1979 and considered the epic to end all screen epics. Fernando Poe Jr., then the country’s Box Office King, was cast as the lead character. Appearing with him and Chanda were many other screen luminaries, like Amalia Fuentes, Elizabeth Oropesa, Jay Ilagan, Christopher de Leon, Charo Santos, Orestes Ojeda, Joonee Gamboa and Roderick Paulate. (I think even Aga Muhlach appeared in it as the young Ronnie)…” – Behn Cervantes, Philippine Daily Inquirer, 09 July 2011 (READ MORE)

1978 – Beth Bautista for “Hindi Sa Iyo Ang Mundo, Baby Porcuna” – “…If Zialcita was the master of improvisation on the set, he also had the knack for casting the right actors, choosing the right material, and pleasing his producers. One of his favorite actors was Dindo Fernando whom he termed “the compleat actor” and cast him in such movies as Langis at Tubig, Karma, Gaano Kadalas ang Minsan, Mahinhin at Mahinhin, its sequel Malakas, si Maganda at si Mahinhin and Ikaw at ang Gabi which gave Dindo his first Urian Best Actor trophy. Other favorites were Vilma Santos cast in Karma, T-Bird at Ako, Langis at Tubig; Pinky de Leon; Laurice Guillen; Ronaldo Valdes; and Beth Bautista who won Best Actress award in Hindi sa Iyo ang Mundo Baby Porcuna…” – Bibsy M. Carballo, The Star, 12 May 2008 (READ MORE)

1977 – Daria Ramirez for “Sino’ng Kapiling, Sino’ng Kasiping” – “…“…The 70s saw the rise of several talented and sexy stars besides the so-called Crown Seven beauties namely Chanda Romero, Elizabeth Oropesa, Daria Ramirez, Alma Moreno, Lorna Tolentino, Beth Bautista and Amy Austria. Stars like Vivian Velez, Leila Hermosa, Carmen Ronda, Barbara Luna, Janet Bordon, Trixia Gomez and Rio Locsin also made their mark in the movie world in the 70s. They were launched to stardom though most of them had a brief and short movie career…” – Simon Santos, Video 48 (READ MORE)

1976 – Yvonne (supporting actress) for “Ligaw na bulaklak” – “…Yvonne, one of the most daring stars during the “bomba” films period in the 1970s, is back on the movie screen after 30 years. Yvonne, who was named best supporting actress by the Gawad Urian in 1976 for her performance in Ishmael Bernal’s “Ligaw na Bulaklak,” finished shooting an independent film with Eddie Garcia and Boots Anson Roa about senior citizens. Directed by Neal “Buboy” Tan, “Talo, Tabla, Panalo” features Yvonne, 59, in the role of a nun. “Imagine, madre ang role ko. Hindi ba kapani-paniwala?” Yvonne said in an exclusive interview with ABS-CBNnews.com. Yvonne gained notoreity when she walked to a movie house in Manila during the pre-Martial Law days in her naked glory and proclaimed to all and sundry that she shaves her pubic hair….” – ABS-CBN News, 04 July 2012 (READ MORE)

1976 – Maya Valdez (supporting actress) for “Lunes, Martes, Miyerkules, Huwebes, Biyernes, Sabado, Linggo” – “…Actor and singer; her roots began in the theatre, working as props person, costume mistress, and stage manager before she became an actor. She won acclaim for her acting and singing as Magdalene in the rock opera Jesus Christ Superstar (1971), directed by Behn Cervantes. She made her mark as a comedian in the television shows Super Laff-ins (1971-72); Cleofatra (1974); Champoy (1980) and U.F.O. (Urbana, Felisa, and Others) (mid-1980s). After a period of lull in her career, she appeared in the musical stand-up comedy act Tit for Tat (1984-85), the first in the string of hit shows with singer-comedian Nanette Inventor. Valdes’ first appearances in the movies were in roles, which displayed her comedic prowess, like Hoy, Wala Kang Paki and Anomalya ni Andres de Saya. She showed she was equally good as a dramatic actor in films such as Oro Plata Mata (1982) and then in Bulaklak sa City Jail (1984). She showed she could combined her considerable talents as actress and singer in her highly praised performance as Katy de la Cruz in the hit musical Katy! (1988), staged at the Rizal Theatre and later at the CCP Tanghalang Nicanor Abelardo, under the direction of Nestor U. Torre. Valdes won the best supporting actress award from the Urian for the Lino Brocka film, Lunes, Martes, Miyerkules, Huwebes, Biyernes, Sabado, Linggo in 1976. At present she is the president of the Organisasyon ng Pilipinong Mang-aawit (OPM)…” – he Performers’ Rights Society of the Philippines (READ MORE)

1976 – Nora Aunor for “Tatlong Taong Walang Diyos” – “…The Manunuris further enhanced their image as “champions of the underdog” with the following selections: bomba star Yvonne, as best supporting actress (Ligaw na Bulaklak); stage actress Maya Valdez, as best supporting actress (Lunes, Martes. . .), and villain-type Ruel Vernal, as best supporting actor (lnsiang). The most significant choice, however, was Nora Aunor, who was voted best actress for her performance in “Tatlong Taong Walang Diyos” (directed by Mario O’Hara). The Manunuri can claim without blushing that the Urian made Nora Aunor and Nora Aunor made the Urian. Her winning emphasized the group’s complete disregard for stereotypes. Aunor’s image as “bakya” idol had typecast her as a non-actress, but this did not hinder the Manunuri’s collective judgment that she had the makings of a serious actress. With her triumph, the critics clarified their standard of performance and accidentally won over the obstinate movie scribes…” – The Urian Anthology 1970-79 (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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The Gawad Urian Through The Years 1/3

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1977 – 2002 – “…When the first Gawad Urian was staged in late February 1977, the awards presentation was held at the CCP Little Theater which has a seating capacity of about 700 people (if I’m not mistaken). The awards show had no TV coverage and the first time a television producer dared to touch it was only in 1980 – when Armida Siguion Reyna bought the TV rights for P25,000 (quite a sum in those days). Armida – I’d like to say again – was one of the few producers who did not rip off the Manunuri members (who all have a bad business sense) when it came to financial dealings. In 1983, the Gawad Urian was moved to the Manila Film Center (a mild earthquake shook the city as Best Actress winner, Vilma Santos, walked into the venue). The awards show was produced by a civic organization and I was told (I was not a member yet that time) that this group didn’t bother to pay the Manunuri members for the TV coverage. The following year, the awards presentation was moved to the Rizal Theater, but I’m not sure if that was ever televised. The late Pio de Castro’s wife, the former Joy Soler (the Manunuri First Lady) supposedly stopped the TV coverage because the producer had not given any downpayment minutes before showtime. The awards night returned to the CCP Little Theater in 1985 despite the then oppositions’ call to boycott the Imelda Marcos venues. On the Manunuri’s 10th year in 1986, the awards show was held at the Philamlife Theater because – for the first time – it was held on the month of May and CCP is always closed for renovation during this month (The awards presentation was delayed because of the events before and after EDSA). It was back to the CCP Little Theater the following year, but the year after that, there was no Urian because some (only some) members of the group didn’t think there was any film worthy of an award. The Catholic Mass Media Awards held its own awards night, but did not name a Best Picture that year. After a year’s absence, the Urian returned in 1989 and the show was produced by Dr. Grace Javier Alfonso, who – two years later – would join the group as a member (Starting with her, the Manunuri never had problems anymore collecting payments for TV rights). In 1990, the group took a deep breath and staged the awards presentation at the CCP main theater. To the surprise of even the members, the venue was filled to capacity. The producer that year was Tessie Celestino Howard and she would produce it for the next 12 years. During those 12 years, I have to say that Tessie (with the help of director Al Quinn) did a wonderful job producing the Urian awards night. …” – Butch Francisco, The Star, 11 May 2002 (READ MORE)

Numerous ‘TIEs” – “…On May 1, 1976, ten Filipino critics agreed to discuss the annual award-giving situation in the local industry. All in agreement that there must be an alternative to FAMAS, the only award giving body in the Philippines. The ten critics, mostly academics, were Pio de Castro, Behn Cervantes, Pete Daroy, Mario Hernando, Bien Lumbera, Doy del Mundo, Manny Pichel, Nick Tiongson, Gino Dormiendo, and Nestor Torre. Most of them were part of FAMAS roster of judges. Most, questioned the recent years winners. According to the website, Wikepedia: “The 1972 Best Actress tie that materialized between major star Boots Anson-Roa and then-rising star Vilma Santos” was a good example of the disillusionments experience by the academics. “…the tie was unheard of at that time, which resulted in accusations of lessening prestige on the part of FAMAS.” Ironically, Gawad will have numerous ‘tie” winners in their future set of winners, including a string of ‘tie” involving their early favorite, Nora Aunor. Headed by Nestor Torre, the nine critics agreed to review films and release quarterly citations of best films with the final nominations and winners announce at the end of the year. Over the years, the Manunuri Ng Pelikulang Pilipino (Filipino Film Critics) considered the equivalent of the United States’ New York Film Critics Circle, established themselves as the most credible award giving bodies in the Philippines. They are known for having a long discussion for each of their award categories resulting sometimes in heated debate and unfortunately the unavoidable “tie” between nominees. Since 1976, the group has eluded controversies that rival groups endured. The oldest award, FAMAS has experienced two renegade or break away groups resulting in costly legal battles and low television ratings. Another group, the Philippine Movie Press Club is considered second to Gawad Urian, Star Awards had experience a similar fate, they also had a break away group, creating their own awards, the Golden Screen Awards. With the advent of new awards, now ten, and still counting. Gawad Urian remained strong and the most sought after. Currently, the Manunuri are consists of: Rolando B. Tolentino, Grace Javier Alfonso, Butch Francisco, Mario A. Hernando, Bienvenido Lumbera, Miguel Q. Rapatan, Benilda S. Santos, Dr. Nicanor G. Tiongson, Tito Genova Valiente and Lito B. Zulueta…” – RV (READ MORE)

Pang-FAMAS vs Pang-Urian – “…It was in 1977 that the Manunuris began assigning movies for viewing to each member, to make sure‘that the group would not miss any of the 150 or so films being produced every year. The critics watched on their own time and budget, and recommended for group viewing any film which had any merit at all. To systematize the listing of films the group felt had achievements in any artistic or technical aspect, the MPP began to come out with their quarterly list of citations. The 1977 Urian Awards further established the reputation of the Manunuris as discoverers of new or ignored talents. Word spread around that “you don’t have to spend a cent for PR to win in the Urian” after Daria Ramirez (Sino’ng Kapiling, Sino’ng Kasiping) bested formidable co-nominee Vilma Santos (Burlesk Queen) for the best actress plum. The choice of Ramirez was not a popular one either, for her portrayal of a middle-class wife was devoid of the “pang-FAMAS” hysterics usually equated with good acting in Philippine movies…” – The Urian Anthology 1970-79 (READ MORE)

First Televised – “…It was in 1978 when the MPP reached out towards a larger audience. For one, that year’s Urian awards was televised, giving the Gawad Urian a greater impact on the public and introducing the Manunuris to a bigger audience. For another, it was the year when the Manunuris launched the Urian Film Festival. Co-sponsored by the Cultural Research Association of the Philippines, a group of teachers and scholars of Philippine culture, the festival aimed to show the possibilities of the Filipino film to students of the U.P. and the Ateneo (most of whom ignored the “bakya” Filipino film), and to convince them to support it. Before each screening of the eight Urian-Award-winning films, a Manunuri read a critique of the film explaining to the audience the merits of the film which made it win an Urian award. Eight award-winning films of the first two Urian years composed the line-up of the first Urian Film Festival, while the second film festival held in 1980 included some films nominated that year…” – The Urian Anthology 1970-79 (READ MORE)

Lino Brocka’s Rejection – “…The most severe attack on the Manunuris, however, came at the 1979 Awards night when Lino Brocka ascended the stage not to receive the directorial award for Jaguar, but to reject it. Reading from a prepared speech, he accused the group of prejudice, saying that “under the guise of impartiality they practice their prejudices anyway.” It is more difficult, he said, to combat prejudice than corruption. You can fight money with more money, but how can you, he asked, fight prejudice? He then refused all further awards and nominations from the Manunuris. The magazine and newspaper articles that came out on Lino Brocka’s rejection of the Urian Awards for the next so many months did the Manunuri a lot of good. First, it made the MPP realize that the attack was partly due to the fact that most Manunuris were no longer writing, so that the opinions of the few Manunuris were taken to be the group stand on films reviewed. Second, far from degrading the group, Lino Brocka made the Manunuri a household word….” – The Urian Anthology 1970-79 (READ MORE)

Noranians vs Vilmanians – “…Nora Aunor is clearly a Manunuri favorite. Most industry members (including Vilma Santos) are aware a lot of Manunuri members are “Noranians.” The Manunuri members, of course, do not necessarily operate on fan mentality. In the acting categories, they choose the ones who really deliver the outstanding performances of the year. In this sense, we can also call Gina Alajar a Manunuri favorite…unlike Nora, Gina, Jaclyn and even Chanda Romero (during the Manunuri’s early years) – was never known to be a Manunuri favorite. Ironically, she is the one with the most number of Urian acting trophies…” – Butch Francisco, The Star, 09 May 2002 (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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Apoy Sa Ibabaw, Apoy Sa Ilalim (1977)

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Basic Info: Screenplay, Director: Ben Feleo; Cast: Romeo Vasquez; Chanda Romero; Lorna Tolentino; Barbara Luna; Original Music: Demet Velasquez; Cinematography: Max de la Peña; Release Date: December 9 1977; Production Co: VS Films – IMDB

Plot Description: No information available except that the Vilma Santos’ birthday celebration was added as bonus feature of the film.

Film Achievement: No Available Data

Film Review: “…Ate Vi made around 198 films from 1963 to 2002. This includes cameo appearances in Dugo at Pagibig sa Kapirasong Lupa, Mga Mata ni Angelita, Huwag Hamakin Hostess (with Nora Aunor and Alma Moreno with Vilma getting Orestes Ojeda in the end), Candy, No Other Love, Charot, Rizal Alih, Engkanto, and ‘Bukas Sisikat Din Ang Araw’, a Gabby-Snooky starrer, produced by friend Gabby Concepcion…” – The 28th (READ MORE)

Victoria Lorna Aluquin, better known as Lorna Tolentino, sometimes known as L.T., an abbreviation of her screen name (born December 23, 1961), is a Filipina actress, host, executive producer and widow of actor Rudy Fernandez. Together, they bore two sons named Ralph and Renz. She was born on December 23, 1961 in Concepcion, Tarlac and later moved to Manila. Her dad is from Liliw, Laguna. She is also the stepmother of actor Mark Anthony Fernandez. She is first cousin to actress Amy Austria and a niece of actor Jerry Pons. She was married to Rudy Fernandez from 1983 till his untimely death in 2008. They had two children. She attended the elementary grades at St. Anthony School where she also finished high school She took up a Bachelor of Arts course at St. Paul College in Quezon City, and also at the University of Santo Tomas and Maryknoll College. She started her career as a child actress. Later, she portrayed the young Susan Roces in Divina Gracia and has a total of at least 60 movies. She has won eight film awards and garnered 20 nominations (mostly for Best Actress in FAMAS). She’s also one of the Grandslam actresses in the Philippine Cinema together with Nora Aunor, Vilma Santos and Sharon Cuneta. She won her Grandslam Best Actress for Narito Ang Puso Ko (1993). – Wikipedia (READ MORE)

A Very Long Rivalry – 1980

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Pre-1980 – The December festival favoured Lolita and Nora. In the festival’s awards Night both were recognized for their effective acting in Ina Ka ng Anak Mo. Meanwhile, their rival, Charito Solis and Vilma Santos, took consolation of the fact that their film, despite losing in the acting contest, remained one of the top revenue earner. It’s the end of the decade and both Nora and Vilma are looking forward to a brighter career. Both wanted to remain as bankable and popular. For Nora, the end of the 70s cemented her reputation as an actress. For Vilma, the end of the decade seem to be a disappointment, atleast in awards derby, as she seems to be ignored by the award giving organizations several times. She has promised herself not to expect to win any award but concentrate on box office results.

Snubbed by the Critics – “…In 1980, tatlong pelikula ni Nora Aunor ang maituturing na panlaban: two by Brocka (Nakaw na Pag-ibig and Bona) and the other by Laurice Guillen, Lea Productions’ Kung Ako’y Iiwan Mo. She won the Gawad Urian for Bona. Ang panlaban ni Vilma was Zialcita’s Langis at Tubig. Hindi taon ni Vilma ang 1980, which saw the emergence of other young and talented actresses like Gina Alajar (Brutal), naka-tie ni Nora sa Urian, and Amy Austria, na tumalo kay Aunor sa Metro Manila Film Festival. In the 1980 MMFF. Amy won with a lone entry, Brutal while Nora got nominated for Bona and Kung Ako’y Iiwan Mo. (A case of split votes.) Sa 1980 Gawad Urian, nominated sina Nora, Gina (eventual winners) at Amy, samantalang si Vilma was “snubbed by the critics…” – William Reyes (READ MORE)

Nora Aunor’s Films (9): (Anak ng Atsay; Bona; Bongga Ka ‘Day; Candy; Darling, Buntis Ka Na Naman; Kastilyong Buhangin; Kung Ako’y Iiwan Mo; Nakaw na Pag-ibig; Reyna ng Pitong Gatang) – After the successful project with Brocka in last year’s local festival, they reunited in two projects, “Nakaw na Pag-ibig,” with Philip Salvador and Hilda Koronel and another festival entry, “Bona.” Nora entered two films in 1980 MMFF, Brocka’s “Bona” and Laurice Guillen’s “Kung Ako’y Iiwan Mo.” With two entries, Nora find herself a stiff competition not from her close rival Vilma but from another Brocka protege, Amy Austria in Marilou Diaz Abaya’s “Brutal.” For Nora, the first year of the new decade was a mix of hit and miss, “Bongga Ka Day” was a successful follow-up to “Annie Batungbakal” but overshadowed by the box office disappointments of “Anak ng Atsay,” “Darling, Buntis Ka Na Naman,” and “Reyna ng Pitong Gatang.”

Vilma Santos’ Films (8): (Ang Galing-galing Mo, Mrs. Jones; Darna at Ding; Good Morning, Sunshine; Gusto Ko Siya, Mahal Kita; Langis at Tubig; Miss X; Romansa; Yakapin Mo Ako, Lalaking Matapang) – For Vilma Santos, 1980 was an affirmation of her sexy image, with most of her projects has “adult” theme, “Mrs Jones” and “Miss X” were big hits despite its lack of weak production value. She even wore a sexier Darna outpit, in her fourth Darna franchise, Darna at Ding. Like Nora, she had her share of disappointments, her film with husband, Edu Manzano, “Romansa” was a big flop. Come December, Vilma concentrated on not thinking about winning the best actress award, instead, agreed to do a commercial film with Danny Zialcita, the result was the hit, “Langis at Tubig.” The film earned her some nominations and a best actor trophies to her leading man, Dindo Fernando.

Nora Aunor’s 1980 acting recognition (3) – Best Actress from URIAN and a nominations from the Metro Manila Film Festival and FAMAS, all for “Bona.”

Vilma Santos’ 1980 acting recognition (2) – Best Actress nominations from Metro Manila Film Festival and FAMAS both for “Langis at Tubig.”

Sociological Phenomenon – “…Brocka is one of the most physical of directors. His films are full of scenes of people touching — nervously, tentatively touching one another, and his rapport with actors is tremendous. Nora Aunor is a special case, she’s the Filipino’s favorite movie star, and more. Herself a slum child at 14, she won a singing contest and soon became a film personality, appearing in trivial, successful hit after hit; she now has her own weekly TV show. Aunor is a sociological phenomenon: the first dark-skinned superstar, idolized by the underclasses. Her fan’s devotion is unlimited. A score of them have come to live and work in her house as self-appointed servants. For many, she has the status of a saint. Her role in Bona in Brocka’s movie, which she produced out of her own pocket in order to appear in a serious film, is not unlike that of one of her own fan-servant-slaves. Aunor’s co-star is no less than Phillip Salvador’s glistening body (who was Stanley Kowalski in Brocka’s Tagalog production of Streetcar) which Brocka makes us to see with Bona’s eyes in a dozen bed and bathtub scenes. The camera observes Salvador’s body with something of the meticulous awe with which Von Sternberg and his lenses ogled La Grande Marlene…” – Elliot Stein, Village Voice, September 25, 1984 New York (READ MORE)

Handing Magparaya – “…Muli, binigyan ng magagandang linya si Vilma Santos mula sa umpisa kung saan kinompronta niya ang manloloko niyang ka-live in at sinabing: “namputsa naman nahuli ka na ayaw mo pang aminin” at sa bandang huli nang intindihin niya ang asawa at handing magparaya, sinabi niya “…handa akong magparaya, kung gusto niya isang lingo sa kanya, isang lingo sa akin…” Pero halatang ang pelikulang ito ay pelikula ni Dindo Fernando. Deserving si Dindo sa kanyang pagkapanalo sa Famas bilang pinakamahusay na actor bagamat nang taong ito’y mahusay rin si Christopher Deleon sa Aguila at Taga ng Panahon at Jay Ilagan sa Brutal. Tahimik lang ang pag-arte niya’t makikita ang kanyang intensity sa kanyang eksena kung saan nagtapat na siya sa asawang si Cory tungkol sa kanyang kaso. Mahusay rin siya nang hinarap niya si Pilar at sabihin niyang, “mahal ko kayong dalawa.” Maganda ang location ng pelikula. Makikita ang mga ordinaryong tanawin ng Albay sa Bicol at ang mga ordinaryong manggagawa rito mula sa mga nagtatanim ng palay hanggang sa mga nagtitinda ng mga paninda sa palengke ng bayan. Sa kabila ng ordinaryong istorya ng Langis At Tubig, ang mahusay na direksyon at mahusay na pagkakaganap ng mga artista rito’y nangibabaw ang tunay na karapatan nitong panoorin muli ng mga mahihilig sa pelikulang Pilipino. Sayang nga lang at hindi na gumagawa ng pelikula ang ang gumawa ng obrang ito…” – RV (READ MORE)

Post-1980 – As Brocka’s Bona toured the international festival, it looks like Nora was again in command with the acting contest and Vilma was content in making sure that her films were commercial success. By this time, Vilma’s tax problem has become a number one priority. No longer a teen pop star, both Nora and Vilma’s projects declined. It seems like yesterday, when in early 1970s both were releasing one or two films each month. Now, both have limited film projects and have to be selective to succeed at the box office.

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Vilma…Born Winner (Repost)

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And the winner is…Vilma Santos.The U.P. College of Mass Communication announces the choice of Ms. Vilma Santos as the recipient of Gawad Plaridel 2005. Born winner ngang matatawag ang QueenStar na si Vilma Santos dahil halos lahat ng larangan ng kanyang pinasukan ay naging matagumpay,hindi nga lang siguro siya Star for All Seasons and Reasons sa punto ng pagiging aktres. Laging kinikilala sa kanyang kahusayan sa magkakaibang panahon ng pamamayagpag, making her an actress for all seasons, indeed! Like the fabled Midas Touch, Vilma Santos seemingly has that power to transform into gold, whatever her petite hands can touch. In the movies and on television, she is the undisputed Star for All Seasons.On the domestic front, she is victorious mom to Luis and Ryan Christian.

Huling pinasok at sinubukan ni Ate Vi ang magulong daigdig ng pulitika. Sa kanyang huling termino bilang Ina ng Lipa City, pinatunayan niya kung gaano siya kaseryoso bilang aktres ay mas lalong pursigido na mapagbuti ang kalagayan ng kanyang kababayan at nasasakupan. Wala na ngang dapat patunayan pa si Ate Vi, tunay ngang siya’y na namumukod-tangi bilang bituin. Katangi-tangi siya bilang artista at lingkod-bayan. Sa malao’t madali, magbubunga ng maganda ang kanyang pagpupunyagi. Ipinapalagay na kundi man gobernador ng Batangas, nakatakdang tumuntong si Ate Vi sa Senado.

But all things considered, isa lang ang vision nais ni Mayor Vilma in 10 years from now, a place in Malacanang. Ang maging First Lady na hindi malayong mangyari. If ever na matupad, the Vilmanians will rejoice at sasabihing “Heaven.” And “You’re such a victorious lady.” As a star, Vilma Santos, is the last of the great movie queen. As an actress, well, she has nothing to prove anymore. Unarguably, Ate Vi has etched her mark in the local showbiz industry and maintain that status. Already being considered a pillar in the celluloid world, Vilma has claimed not only to great results of her movies, but to the critical acclaim that her movies enjoy.

Even the most rabid Noranians will have to concede to Vilma’s enduring popularity and spell-binding mass appeal. Bluntly and simply stated, Vilma is the country’s reigning movie queen, Sharon Cunetas’ presence notwithstanding. Vilma Santos is undeniably the country’s uncontested Star for All Seasons and QueenStar. Without a modicum of an exaggeration, her lofty achievements in the industry still have to be duplicated nor equalled by anyone. She is definitely one of the highest paid star, darling of the press and without scintilla of a doubt, showbusiness personified. She is the quintessential image of a real movie star-beautiful and glamorous, well-mannered and a seasoned actress. It is easy to be awed by Vilma Santos. The name warrants all caps in the Philippine entertainment: charisma that goes beyond unquestioned talent. – Willie Fernandez, V Magazine 2005 Global Vilmanians

Remembering George Masangkay Canseco

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Musical Director – “…Arguably the best composer in the land, George Canseco was born on April 23, 1934. He took Liberal Arts at the University of the East, but did not finish his course…Aside from composing movie theme songs, he has also been musical director for many films, such as “Burlesk Queen,” “Pagputi ng Uwak , Pag-itim ng Tagak,” “Atsay,” and “Miss X.” The great songwriter has won almost every musical award for a composer: best composer, best theme song, song of the year, best musical director, and best musical scoring from several award giving bodies. His best theme song awards were for “Kapantay ay Langit,” 1971, and “Imortal,” 1989, for the Metro Manila Film Festival (MMFF); “Huwag Bayaw,” 1979, “Langis at Tubig,” 1980, “Gaano Kadalas Ang Minsan?” 1982, “Paano Ba ang Mangarap?” 1983, “Dapat Ka Bang Mahalin?” 1984, and “Hihintayin Kita sa Langit,” 1991, all from the Filipino Academy of Movie Arts and Sciences (FAMAS). His other musical directing awards include “Hiram,” Star Awards, 1987 and “Sinasamba Kita,” 1982, “Misis mo, Misis ko,” 1988, and “Hihintayin Kita Sa Langit” from the film academy awards (FAP). He was also chosen as the Best Musical Director by the MMFF for “Bato-bato sa Langit,” 1975; “Burlesk Queen,” 1977; “Pagputi ng uwak, Pag-itim ng Tagak,” 1978, “Huwag Bayaw,” 1979; “Miss X”, 1980, “Gaano Kadalas ang Minsan?” 1982, and “Palimos ng Pag-ibig,” 1988, by the FAP Awards for “Paano Tatakasan ang Bukas,” 1988, and by the Star Awards for “Magdusa Ka!” 1987. Among his award winning songs are “Sinasamba Kita,” 1982, and “Langis at Tubig,” 1983, both chosen by the Cecil Awards as best song written for a motion picture. “Gaano Kadalas ang Minsan?” gave George the Cecil Song of the Year award 1984, and “True love came too late,” Awit Awards’ Song of the year, 1970….” – Carrie B. Yan (READ MORE)

P1.5M for a song – “…Canseco said that Marcos paid him P1.5 million to write the song, which was interpreted by Kuh Ledesma. The song also became the theme for a bank’s television commercial. The songwriter also brought honor to the country by winning in foreign music festivals. The song “Ako ang Nagwagi,” interpreted by Dulce, lost in the Metro Pop Music Festival in 1978. But it brought home top honors for Canseco and the country from the Hong Kong Music Festival the same year. The following year, he bagged the grand prize in the Metro Pop Music Festival with the song “Ngayon,” interpreted by Basil Valdez. He also wrote music for the movies and won countless awards for his scores. However, Canseco was not proud of his movie scores, because “not one of them stands out.” He composed his last film score in 1989 for “Paano Ang Ngayon Kung Wala Nang Bukas,” which starred Kring Kring Gonzales and Ronaldo Valdes. He also wrote the movie’s theme song, “Sana’y Wala Nang Wakas,” sung by Basil. Canseco wrote jingles for radio and television commercials. Like his songs, these jingles were also timeless. A jingle for a cigarette commercial which he wrote in the ’70s is still being used today….” – Nini Valera, Philippine Daily Inquirer, November 20, 2004 (READ MORE)

George Masangkay Canseco (23 April 1934 in Naic, Cavite, Philippines – 19 November 2004 in Manilla, Philippines) was a Filipino song composer…He died on November 19, 2004 in Manila, Philippines due to cancer. – Wikipedia (READ MORE)

George Canseco’s Music in Vilma Santos Films

  • Imortal (1989) – George received the best musical score and best original song from the 1989 Metro Manila Film Festival, Vilma recieve the best actress.
  • Saan nagtatago ang pag-ibig? (1987) – George recieved the FAMAS hall of fame award this year while Vilma Santos recieved her fifth best actress award that elevated her to be the following year’s hall of famer awardee.
  • Palimos ng pag-ibig (1986) – George received the best musical score award from FAMAS while Vilma recieved a best actress nomination.
  • Muling buksan ang puso (1985) – George was ignored by the award giving bodies for his work on this film, Vilma received a nomination from FAMAS.
  • Minsan pa nating hagkan ang nakaraan (1983) – Basil Valdez performed the soundtrack, both George and Vilma weren’t recognized for their work on this Diaz-Abaya film.
  • Paano ba ang mangarap? (1983) – George received the best theme song from FAMAS for the soundtrack, “Paano ba ang mangarap” while Vilma did not received any acting award for this film but was recognized for another film, Bernal’s Broken Marriage.
  • Sinasamba kita (1982) – Both George and Vilma were big winners from the very first Luna Awards. He recieved the Academy Award for best original song for the soundtrack, “Sinasamba Kita” while she received the best actress trophy.
  • Gaano kadalas ang minsan? (1982) – Canseco received the FAMAS best musical score and best theme songs for the soundtrack, “Gaano Kadalas Ang Minsan” while Vilma did not received any acting award for this film but instead recognized for her grand slam film, Bernal’s Relasyon.
  • Langis at tubig (1980) – Canseco received the best theme song from FAMAS for the soundtrack, “Langis at tubig,” performed by a very young, Sharon Cuneta, Vilma received a nomination for best actress from FAMAS.
  • Miss X (1980) – He received the best musical score award from FAMAS while Vilma did not received any acting award for this film but was recognized for Langis at Tubig.
  • Good Morning, Sunshine (1979) – George was credited as contributor lyricist for the single, “Yakap,” one of the soundtrack of this musical and sung by Latin singer, Junior but this clearly needs official citation.
  • Coed (1979) – Both George and Vilma did not received any awards or nomination for this film.
  • Pagputi ng uwak…Pag-itim ng tagak (1978) – George received the best musical score from FAMAS and a nomination from Gawad Urian (Pinakamahusay na Musika) and Vilma received the best picture trophies both from FAMAS and Gawad Urian as the film’s executive producer.
  • Bakit kailangan kita (1978) – The soundtrack, “Kailangan Kita” composed by George and performed by Leah Navarro was this year’s biggest hit song.
  • Burlesk Queen (1977) – Both Vilma and George were big winners at the 1977 Metro Manila Film Festival, she received the best actress while he got the best musical score. They also recieved nominations from Gawad Urian in their respective categories.
  • Mga rosas sa putikan (1976) – Both George and Vilma did not received any awards or nomination for this film but Vi performed the film’s soundtrack, “Mga Rosas sa Putikan.”
  • Vilma and the Beep Beep Minica (1974) – The very first film of Vi and George as actor and musical scorer. Although both did not received any award or nomination on this project, Beep Beep Minica was a huge hit.

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Huwag Hamakin: Hostess (1978)

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Basic Info: Direction: Joey Gosiengfiao ; Story, Screenplay: Toto Belano, Tito Sanchez; Cast: Nora Aunor, Alma Moreno, Orestes Ojeda, Bella Flores, Vilma Santos; Original Music: Demet Velasquez; Cinematography: Rey de Leon; Film Editing: Segundo Ramos; Release Date: August 25 1978; Production Co: JPM Productions

Plot Description: This is a film directed by Joey Gosiengfiao and features Nora Aunor and Alma Moreno with Orestes Ojeda and Vilma Santos in a controversial guest appearance.

Film Achievement: No Available Data

Film Review: “…Mas dramatiko ring isinakonkreto ito ng mahusay na pagganap ni Nora Aunor bilang katulong na namasukan bilang hostess upang matustusan ang pag-aaral ng lalaking iniibig, pinapanood natin siya habang dumaraan sa proseso ng lumbay, pagkabigo at pagtanggap. Matingkad ang kanyang pagkakaganap dahil hinahatak niya tayong damhin ang kanyang mga dilemma habang nakikibaka siyang matanggap ang pagtataksil ng kasintahan. Katangi-tangi rin ang pagganap ni Alma Moreno at totoong nabawasan ang kanyang hysterical gestures sa pelikulang ito ngunit wala rin naman siyang ipinakitang bagong kakayahan para pangatawanan ang papel ng isang babaeng pilit ibinabangon ang sarili upang di-tuluyang masadlak sa kinagisnang uri ng pamumuhay…” – Jojo De Vera (READ MORE)

“…Si Orestes ay isa sa mga seksing aktor noong kalagitnaan ng dekada 70s kung saan ang dekadang ito ang pinakatugatog ng kanyang katanyagan. Kinahumalinag siya sa pelikula niyang Ang Boyfriend kong Baduy noong 1976 kung saan ipinareha sa kaniya ang limang naggagandahan babae na sina Amalia Fuentes, Barbara Perez, Celia Rodriguez at iba pa. Sa pelikulang Huwag Hamakin: Hostess dalawa sa mga sikat na artista ang itinambal sa kanya na sina Nora Aunor at Alma Moreno na gumanap bilang mga hostess sa kanyang buhay…” – Wikipilipinas (READ MORE)

“…Ate Vi made around 198 films from 1963 to 2002. This includes cameo appearances in Dugo at Pagibig sa Kapirasong Lupa, Mga Mata ni Angelita, Huwag Hamakin Hostess (with Nora Aunor and Alma Moreno with Vilma getting Orestes Ojeda in the end), Candy, No Other Love, Charot, Rizal Alih, Engkanto, and ‘Bukas Sisikat Din Ang Araw’, a Gabby-Snooky starrer, produced by friend Gabby Concepcion…” – The 28th (READ MORE)

“…Do you always succeed in packaging a movie? “Often, yes, But, alas, I have failures too.” For instance? “Well, some reasons for failure are due to wrong chemistry of the cast, to the vehicle (story) and/or unsuitability of both elements. Let’s take the movie, Huwag Hamakin: Hostess, which with solid actresses, a move that proved to be contrary to the image of La Aunor. It would have been all right, if Alma Moreno, Nora’s co-star, was paired with another bold actress. But that, we learned only later and too late! I was aware of Guy’s image. But I wasn’t aware that her image wouldn’t go well with the combination. Not even the controversy of including Vilma Santos in the cast helped. It only antagonized both camps of Nora-Vilma fans…” – Manny B. Fernandez, Expressweek, March 1, 1979 (READ MORE)

“…In the 15 movies he had appeared in since 1972, Orestes feels that he has not done roles that would demand from him the maturity of outlook as an actor…”I like to be known as an actor and not just a bold star. But cinema is a tremendous image-making machine. I realize that I cannot totally turn my back on my bold image,” Orestes lamented…he is back again in his bold role in “Huwag Hamakin: Hostess.” But Orestes is happy about this role. He is paired with Nora Aunor and Alma Moreno. The picture is a tragic-comedy. “I play a bastard-gigolo who lives off two women portrayed by Nora and Vilma. The role offers me romantic and comedy situations. It also calls for some understanding of a misdirected and amoral character and I certainly find it a challenge,” stresses Orestes when we talked in a downtown hotel which was the setting of one of his love trysts with co-star Alma. ” I am centainly very lucky to have Joey Gosiengfial as a director. He has guided me in my interpretation of my roles. And of course, it’s a rare opportunity to be pitted against two real actresses like Nora and Alma and a veteran performer like Bella Flores (who plays Orestes’ sugar mommy in the flick)”, he adds…Observers in the local movie world believe that Orestes can be a good actor. The guy has looks and intelligence…” – Beth U. Castillo, Expressweek Magazine, 29 June 1978 (READ MORE)

Special Film: Ibong Lukaret

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Ibong Lukaret (1975) Vilma witnessed the traumatic death of her mother that made her crazy until she met the murderer again. – RV (READ MORE)

Source: gobitz69

FAIR USE NOTICE (NOT FOR COMMERCIAL USE): This site contains copyrighted materials the use of which has not always been specifically authorized by the copyright owner. We are making such material available in our efforts to preserve the film legacies of actress, Vilma Santos, and to make her career information available to future generations. We believe this is NOT an infringement of any such copyrighted materials as in accordance to the the fair dealing clauses of both the Canadian and U.S. Copyright legislation, both of which allows users to engage in certain activities relating to research, private study, criticism, review, or news reporting. We are making an exerted effort to mention the source of the material, along with the name of the author, performer, maker, or broadcaster for the dealing to be fair, again in accordance with the allowable clauses. – Wikipedia (READ MORE)

RP Cinema’s Best Actress of All Time (Repost)

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One of the lingering showbiz debates concerns the choice for the greatest Pinay movie actress. The matter may now be settled with the Gawad Plaridel that the University of the Philippines bestows on outstanding Filipino mass media practitioners.

Established by the UP College of Mass Communication under Dean Nicanor G. Tiongson last year and derived from the nom de plume of Philippine hero and propagandist Marcelo H. del Pilar, Gawad Plaridel is a form of lifetime-achievement honor with the recipient coming from any of the various fields that encompass mass media such as journalism, broadcast arts and, of course, cinema.

The first Gawad Plaridel awardee, Eugenia Apostol, hails from print media. For this year, it has been decided by the Gawad Plaridel organizers to hand out the plum to a film artist. Many welcome the choice of Star for All Seasons Vilma Santos getting the Gawad Plaridel, and many more could not less agree.

With a screen career spanning five decades, Vilma outshines her peers. She has proven herself not only as a consummate actress but also more importantly, a role model and enduring inspiration. The Gawad Plaridel is just the latest in the string of lifetime achievement awards Vilma has received in the course of her stellar career. It was the Film Academy of the Philippines that first extended Vilma such great honor in the early 1990s followed by the Filipino Academy of Movie Arts and Sciences later in the decade and then the Cinemanila International Film Festival a couple of years back.

On top of all these distinguished honors for lifetime contribution to motion-picture arts, Vilma has been proclaimed on various occasions as the country’s premier actress, sole screen diva (*Filipino cinematic diva* as Hollywood bible Variety Magazine exactly put it in 2003), most celebrated actress, best actress for all seasons and reasons, national actress, film actress par excellence, etc. – all in testament to the magnitude of the artistic legacy attributed to the actress-politician idolized by throngs of ardent admirers.

All in all, Vilma has amassed more than four dozen trophies for her sterling performance in a gamut of noteworthy films that automatically form part of the country’s cinematic heritage. She has worked with the best talents that Philippine cinema could boast of, and the Gawad Plaridel accorded to her is in itself an honor Vilma could share with these industry colleagues allied with her.

The Gawad Plaridel citation says it all. Part of it reads: “(The choice of Ms. Vilma Santos as this year’s Gawad Plaridel recipient was) among other reasons for building a brilliant career which saw her grow from popular icon to professional actor through self-discipline and tireless honing of her craft; for bravely using her popularity as an actress to choose roles which bring to the public attention as astounding range of female experiences, as well as an array of problems confronting women of different classes and sectors in contemporary Filipino society; and for bringing to life on screen characters whose stories have the effect of raising or transforming the consciousness of women, leading them a few steps closer to a deeper understanding of their situation vis-à-vis the patriarchy and to the ability to control their own lives and make empowered choices of their own.” – Nonoy L. Lauzon, “Reel Pinoy, RP Real Pinoy” July 2005 (READO MORE)