Plot Description: Wrongfully convicted Arturo (Rudy Fernandez) escaped from prison and went back to his hometown for revenge but was further framed by the same gang who initially concocted a crime that sent him to jail. Aurora (Vilma Santos), Arturo’s girlfriend tried to convince him to surrender but it was too late, he was killed. – RV (READ MORE)
204 films, 70 directors, 5 decades, Vilma Santos, one of the original Philippine movie queens, rose up to become the versatile actress that has been given the fitting title of “Star for All Seasons” because of her capacity to adapt to the changing mores and values of the Filipino woman, giving a face to their plight and struggles, albeit in success both critically and box-office wise in some of Philippine cinema’s classics such as Trudis Liit (1963), Lipad, Darna, Lipad (1973), Burlesk Queen (1977), Relasyon (1982), Sister Stella L. (1984), Alyas Baby Tsina (1984), Pahiram ng Isang Umaga (1989), Dahil Mahal Kita: The Dolzura Cortez Story (1993), Anak (2000) and Dekada ’70 (2002). This are top ten directors who contributed to her success. – RV (READ MORE)
His films lack the arthouse style and social relevance that critics loves most in a Brocka or Bernal films but who cares about the critics when the paying public loves them. And the producers demand his service, from Doc Perez of Sampaguita Pictures, Atty. Esperidion Laxa of Tagalog Ilang Ilang Productions and later on, Vic Del Rosario of Viva Films and Lily Monteverde of Regal Films. Clearly, his films exists with one purpose, to entertain the masses not to depress or remind them with the country’s sad fate of economy or the below poverty line lives of many. The success of the Vilma-Borlaza films gave Vilma Santos versatility and preparation to a more serious acting career. It also narrowed the popularity gap between her and the musical era’s darling of the 70s, Nora Aunor. These are perhaps, the most significant contributions of Emmanuel Borlaza to Vilma’s career. Vilma who was considered only second to Nora couldn’t matched her singing talent and so, Borlaza countered this lack of singing with films that showcased Vilma’s acting versatility.
From the folklore mermaid in Dyesebel at ang Mahiwagang Kabibe to fighting giants in Darna and the Giants to a fast-talker-gossip-mongering vendor in Tsismosang Tindera and to good-hearted prostitutes in Mga Rosas sa Putikan, Borlaza let Vilma Santos experience a wide range of roles, from comedic fantasy to dramatic adult roles. These experiments prepared her to a later more serious and versatile acting career. Their success made other directors interested in giving her roles oftenly considered for her closest rivals. Projects lined up and awaits her availability. Borlaza and Santos’ collaboration produced a string of box office hits from early 70s’ Dama De Noche to their last outing in late 80s’ Ibigay Mo Sa Akin Ang Bukas. Their success established their career as one of the most bankable and in-demand director/actor team, making her the longest reighning box office queen of all time and him a money maker director.
When time for Vilma to moved on with other collaborators, Borlaza handled other stars with much success! He directed Alma Moreno in smash hit, Eva Fonda 16; Sharon Cuneta in her memorable rag to riches films, Bituin Walang Ningning and Bukas Luluhod Ang Mga Tala; Snooky Serna in her fantasy hit, Blusang Itim and Marecel Soriano as the spoiled brat in Yesterday Today and Tomorrow. These films gave us some of the most memorable movie lines that most Filipinos would still remember like Cherie Gil’s campy dialouge: “You’re Nothing but second rate Trying hard, Copy Cat!” or Sharon’s promise of revenge: “pinapangako ko inay…bukas luluhod ang mga tala! (I’ll promise you mother, tommorow the stars will kneel down, something to that effect, litterally.)” – RV (READ MORE)
Teen Films “…By late 1969, movie producers had been tapping a Vilma Santos-Edgar Mortiz love team. Edgar was a Tawag ng Tanghalan winner. They started to be together in the movies, My Darling Eddie (1969) and The Jukebox King (1969)…In 1970, the love team of Vilma Santos and Edgar “Bobot” Mortiz was officially launched in the movie Young Love, together with the another popular love team during that time, Nora Aunor and Tirso Cruz III. The Vi and Bot love team went on to do 14 more movies in 1970—The Young Idols, Songs and Lovers, Sweethearts, Sixteen, Love Letters, Love is for the Two of Us, Mga Batang Bangketa, My Pledge of Love, Renee Rose, Baby Vi, Because You Are Mine, Edgar Loves Vilma, From the Bottom of My Heart, and I Love You Honey. All did well at the box-office…” – Rommel R. Llanes (READ MORE)
“…Noong Dekada ’70, ang mga young stars ay kailangang marunong kumanta dahil yun ang uso kaya naman nagtayo ng sariling recording company ang nasirang manager ni Vi na si William Leary dahil ayaw niyang pahuhuli sa uso ang kanyang alaga. Ilan sa mga naging recording artists ng WILEARS RECORDS bukod kay Vi ay sina Edgar Mortiz, Ed Finlan, Sahlee Quizon, Hilda Koronel at Esperanza Fabon. According to Vi, kapag nagrerecord siya ng kanta ay nakatalikod siya sa dingding ng recording company at si Bobot ang umaalalay sa kanya. Ang SIXTEEN, na sinulat ni Danny Subido ang unang recording na ginawa ni Vi at ito ay flipsided by It’s So Wonderful To Be In Love. Ang SIXTEEN ay agad naging gold record at dahil dito ay gumawa ng pelikula ang Tagalog Ilang Ilang Productions, ang home studio ni Vi at ito ay ginawa nilang pamagat katambal si Edgar Mortiz. Hindi nyo naitatanong, muntik nang manalo si Vi bilang most promising singer sa AWIT AWARDS noong early ’70s…” – Alfonso Valencia (READ MORE)
“…Si Edgar Mortiz ang unang nakapareha ni Vilma Santos as a teen star. Nakilala sila as the “Subok na Matibay, Subok na Matatag” loveteam called Vi and Bot at naging magka-steady sila sa tunay na buhay. Marami silang ginawang pelikula as teen stars in the early 70s…” – Showbiz Portal (READ MORE)
“…Sa tuwing sumasapit ang Christmas at valentine’s Day ay nagtatapatan ang mga pelikula nila. Nang ginawa nina Guy at Pip sa Hawai ang pelikulang Blue Hawai, hindi nagpatalo ang Vilma at Edgar. Nagtungo rin sila sa Hawai at ginawa nila ang pelikulang Aloha, My Love bilang pantapat sa pelikula nina Nora at Tirso. Ganyan talaga kainit ang labanan noon ng dalawang parehang ito. Pagkatapos ipalabasa ang mga pelikulang Blue Hawai at Aloha My Love na parehong kumita sa takilya, nagtungo rin ang dalawang pangkat sa USa para gawin naman nila ang pang-Valentine’s Day offering nila. Don’t Ever Say Goodbye ang kina Vilma at Edgar, samantalang ang kina Guy at Pip naman ay ang Gift of Love. Hindi lang iyan. Tuwing sasapit naman ang Metro Manila Film Festival ay nagkakaroon din sila ng kanya-kanyang entry under their respective production companies – ang Tagalog Ilang Ilang for Vi and Bot at Sampaguita Pictures kina Guy at Pip. Halos sila na lang ang siyang pinapanood at iniidolo ng fans…” – Ely S. Sablan (READ MORE)
“..I didn’t expect to win, although marami ang nagsasabi sa akin na malaki ang pag-asa ko. Ako naman, I don’t believe anything unless talagang nangyayari. Kasi noon, I expected to win, sa film festival din sa Quezon City, but somebody else did. I was very disappointed. Noong awards night nga, I wasn’t convinced I would win hanggang hindi ko pa hawak ‘yong trophy…” – Ricardo F. Lo (READ MORE)
“…Pagkagaling nila Vi & Bot sa Amerika para sa shooting ng “Don’t Ever Say Goodbye”, ay sinayaw ni Vi sa The Sensations ang The Shaft na usong sayaw noon sa U.S., agad nagustuhan ng mga tao ang dancing skills ni Vi at nauso lagi ang mga sayaw ni Vi at mula noon ay kinilala ang charisma, grace, at natural dancing prowess ni Vi na later on ay pinakita niya at tampok lagi at inaabangan ng mga tao sa kanyang top rated musical variety shows na ang pinakahuli ay ang Vilma!…” – Jojo V. Lim (READ MORE)
“…Remembrance,” another film musical, was chosen “best musical” in the Manila Film Festival. The film stars Vilma Santos (Wilear’) and Edgar Mortiz (Wilear’s). The film also won in the categories of best film editing, best sound and best script…” – Oskar Salazar (READ MORE)
Fantasy Films “…Sine Pilipino got then hot young star Vilma Santos to essay the role of Darna. But the problem was, Vilma was hesitant to wear the two-piece costume. So, during their photo shoot for the publicity photos of the new Darna movie, she wore the Darna costume on top of her body stocking. Vilma was finally convinced by producers Douglas Quijano and William Leary to lose the body stocking and wear just the costume on the day of the press conference. The press people were surprised on seeing how sexy Vilma was in her Darna costume, which was back to the original red bikini and gold stars. Lipad, Darna, Lipad! (1973) is the first and only trilogy of the superheroine. It was a box-office hit on its first day of showing and considered a turning point in Vilma’s career. It was also the first Darna movie where Darna and Narda was played by the same actress. Unfortunately, there is no existing copy left of this classic film. Vilma starred in three more Darna films: Darna and the Giants (1974) and Darna vs. the Planetwomen (1975), which were both under Tagalog Ilang-Ilang Productions, and Darna and Ding (1980) under Niño Muhlach’s D’Wonder Films. Darna and the Giants was the continuation of Vilma’s first Darna movie and Darna again wore the gold bikini costume, while Darna vs. the Planetwomen was a rebooted version of the Darna origin, with Vilma’s Narda this time portrayed as a crippled teenager who was given a magical stone by a mysterious source. The costume is back to red this time with the stars on Darna’s bra also colored red and the headpiece, all gold. Darna and Ding was the last time Vilma played Darna. Her costume this time was sexier and more revealing. In this movie, she was joined by Ding who now has his own superpowers…” – Rico J Rod (READ MORE)
“The quintessential action-fantasy Pinoy flick that appeals to all ages, from generation to generation. This movie is a major milestone for Vilma because it proved that she could really carry a solo movie and bring in the dough (up to now of course!). Vilma’s Darna franchise is the most memorable and successful of all Pinoy fantasy-action genres. Imitated but never equalled, Vilma’s Darna lives on. Unforgettable. Memorable. It grows on you. No Pinoy kid ever grows up without being a part of the Darna magic. The enormous success of Lipad, Darna, and Lipad led to three more Darna movies with Vilma Santos. As a result, the star for all seasons became the star for all Darnas—Santos played her four times, more than any other actress in the super heroine’s history…” – Eric Cueto (READ MORE)
Maturing Dramas“…In 1980, Ate Vi married budding actor Edu Manzano in Las Vegas, USA, while shooting the film, “Romansa.” She was pregnant with Lucky (now called Luis) when she did “Pakawalan Mo Ako” in 1981, for which she won her second FAMAS best actress award. In 1984, her marriage to Edu ended in separation, and she did movies that mirrored her real-life affairs, “Hiwalay” and “Ex-Wife,” both big hits…” – Mario Bautista (READ MORE)
“…To recall, the senior and junior movie queens appeared in these movies: Bulaklak at Paru-paro (1970), Mga Reynang Walang Trono(1976) and Asawa Ko, Huwag Mong Agawin (1986). Amalia directed Vilma’s episode in Mga Reyna and agreed to second billing to Vilma in Asawa Ko. No doubt about it, Amalia Muhlach Sumilang Fuentes, is a Vilmanian. To seal their sisterhood and camaraderie, Vilma is Ninang to Liezl Martinez and to the latter’s son Alfonso. Why, Liezl even sang a song ’’Wind Beneath My Wings’ to her surprised mother that night which drove the strong-willed and still beautiful Amalia to tears. A Kodak moment, indeed. Priceless! While interviewing the three Muhlach generations, Fuentes, Liezl and young daughter Aliyanna, Amalia revealed to Vilma that she is protective of her ’unica hija’ Liezl. ”Ay naku, I think I also have become like my Mom, I’m also very protective of my children,” Liezl remarks…” – Mario O. Garces (READ MORE)
“…Why Borlaza? Because Emmanuel H. Borlaza is a formula director, a tried and tested moneymaker for local film companies and an example of a commercial success who also hungers for artistic fullfillment. It was Maning Borlaza who directed the box-office hit revival of Darna and Dyesebel, those heroines of less demanding times, and followed of less demanding times, and followed them with more Vilma Santos-Edgar Mortiz starrers and such crowd-drawers as Kapatid Ko Ang Aking Ina; Artista And Aking Asawa; and I Love Mama, I Love Papa. Very recently, despite his many obvious fumblings, his Mrs. Eva Fonda, 16 raked in the moolah, as entertainemtn columnist would put it. Whether the lure was really Borlaza and not Vilma (as Darna) or Alma (as Eva), one would still not find out in Makahiya at Talahib, the Goodwill production that Maning is directing as a filmfest bet. Vilma is starring, you see, opposit Rudy Fernandez who portrays the man on the run. Maning, however, has been quoted to have said that “My next 20 years are modestly provided for, I don’t think I will live more than that. Henceforth, I will split my movie work to what I want to do and what the public likes. He wants, it seems, to recover his old self, the Borlaza who filmed Pyscho-Maniac, a suspense thriller which cast Divina Valencia, Dindo Fernando and Ray Marcos and won him the Academy’s best screenplay award in ’68, who packed so much good action in Mindanao, the movie that bagged four statuettes in the Manila Filmfest of the same year, and who directed Vilma Santos’s way to the FAMAS best actress award for the performance in Dama de Noche. And yet, he is not that keen to do films that might suffer the fate of O’Hara’s Mortal or Bernal’s Nunal sa Tubig. “Their box-office results are not encouraging,” says Maning. He admits he still goes a little commercial. That is why there is a love scene between Vilma and Rudy in Makahiya that Maning expects people might be talking about, more than the torrid shots of Rudy and Trixia Gomez. The 41-year old director also wrote the story and screenply of Makahiya. Writing was something that didn’t interest Maning while he was enrolled in Dr. Severino Montano’s Arena theater at the same time that he was majoring in English at the Manuel Luis Quezon University.
“Dr. Montano was the rave of the drama world at that time,” recalls Maning. “That’s where I bumped into Lino Brocka, Behn Cervantes, Joonee Gamboa…they were coming in when I was leaving the group. I got much too engrossed in acting becaused I got good roles I didn’t write anything.” From acting in theater, however, Borlza switched to writing in the movies. To his credit are some 300 stories and screenplays from which Sampaguita stalwarts Carlos Vander Tolosa and Octavio Silos directed. But after 12 long years of scriptwriting, Maning struck up a partnership with ’60s bombshell Divina Valencia and formed the Queen Vi production on which he now says he lost a lot of money. Their first movie, Psycho-Maniac, was also Maning’s first directorial attempt. Another person would have thought things over and concentrated on scriptwriting instead after a victory like that but Borlaza was decided: he was going to make movies, not just write them. Nowadays, he even makes two pictures at a time. “I just finished Makahiya and Teatro Manila. It’s cheaper that way. You don’t waste any calendar day. No stars available for Makahiya, we would work on Teatro.” Work means gearing up in a sleeveless top and a pair of short shorts that expose his long smooth legs. Maning, in case you didn’t hear his very casual cofession on Inday Badiday’s Nothing But the Truth, is “gay.” “That was the first time I opened up to the public,” he explaines. I thought if I didn’t open up, what’s the use of coming to a show like that?” Homosexuals are actually spilling all over the movie world, just as they do in other creative fields. One of these days, Emmanuel H. Borlaza might just completea consciousness-raising classic and we’ll say it can happen to anyone regardless of sex…” – Chelo R. Banal, Philippine Panorama Magazine, 26 December 1976 (READ MORE)
Emmanuel H. Borlaza aka Maning Borlaza is a 1957 Palanca Awardee for “May Pangako ang Bukas” and theaterical drama trained by National Artist Severino Montano. Appointed by Pres. Noy Aquino as Movie and Television Review and Classifications Board (MTRCB) Vice Chairman this year, Borlaza directed 24 films with Vilma Santos and was credited with her transformation to a reluctant singing competitor of Nora Aunor to bankable superstar with such hits like Dyesebel, Lipad Darna Lipad, Darna and the Giants. – IMDB (READ MORE)
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“…But the biggest fear of Borlaza was when Agrix Films’ Kampus? (1978) was booked one week after the opening of VS Films’ Pagputi ng Uwak, Pagitim ng Tagak. The Celso Ad. Castillo film was an artistic triumph, and Borlza felt following it up with another Vilma-Bembol starrer would put them at a great disadvantage. The Vilma-Bembol fans might still be raving over Pagputi… instead of discussing Kamput? As it turned out, people let Pagputi…pass and waited for Kampus? judging from the comparative gate receiots of the two movies…Sabi ni Mama Santos, ako daw ang “pumatay” sa kanilang Pagputi…eto ang parusa ko, bigyan ko daw sila ng isang Kampus? so I’m making for them Coed. You see, when I was working on Kampus? at UP Los Banos, I realized their problems and lifestyle can be a source of even 10 movie materials. At kapag ang student force pala ang nag-patronize sa Tagalog movie, ang laki ng audience!” Borlaza revealed…I’m very meticulous about is: the audience were to identify itself with my main character, will it be happy with the poetic justice I execute? Will they find it correct and realistic? In Kampus? for instance, students who were pleased with the movie told me they liked the ending very much. They agreed with it. Vilma was bedded first by Mat Ranillo III, but ended up with Bembol who was the right choice after all. They say in real life, the man you walk down the aisle with is not necessarily the first man you had sex with. Also they say the dialouges were very in – like the way actual students would speak them. Siguro, once they sit in the theater, they are not bothered by such questions as ‘Why” or “how come?” Is the star value the main thing in selling movies? “In the case of Kampus?, yes, because Vilma Santos was my main star and she’s the current box office queen …” – Manny B. Fernandez, Expressweek, November 9, 1978 (READ MORE)
Source: gobitz69
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204 films, 70 directors, 5 decades, Vilma Santos, one of the original Philippine movie queens, rose up to become the versatile actress that has been given the fitting title of “Star for All Seasons” because of her capacity to adapt to the changing mores and values of the Filipino woman, giving a face to their plight and struggles, albeit in success both critically and box-office wise in some of Philippine cinema’s classics such as Trudis Liit (1963), Lipad, Darna, Lipad (1973), Burlesk Queen (1977), Relasyon (1982), Sister Stella L. (1984), Alyas Baby Tsina (1984), Pahiram ng Isang Umaga (1989), Dahil Mahal Kita: The Dolzura Cortez Story (1993), Anak (2000) and Dekada ’70 (2002). This are top ten directors who contributed to her success. – RV (READ MORE)
Brocka gave Vilma one of the most controversial film after “Burlesk Queen,” her milestone role as a rape victim in 1978′s “Rubia Servios.” The film failed to secure Vilma the local festival’s best performer award after so much speculations despite this, the film was a big hit. Brocka will direct Vi two more times, “Adultery” in 1984 and “Hahamakin Kita” in 1990, a year before his untimely death in May 21, 1991. – RV (READ MORE)
Rubia Servios (1978) – “…Rubia Servios, on the other hand, does not dilute the message. Willy (Phillip Salvador), the son of a powerful and wealthy figure, is portrayed as totally evil, devoid of any redeeming quality. To screenwriter Mario O’Hara and director Lino Brocka, the province is the same as the city. Rubia Servios (Vilma Santos) is raped both in the city and in the country. Rubia kills Willy in the country. Violence unites all places. It is the “unity” of conception, scripting, design, and direction, in fact, that Rubia Servios is superior to Atsay. Lino Brocka does not waste shots in his attempt to create a Filipino classical tragedy. He subordinates everything to the building up of one emotion in the viewer, that of hatred of Willy. So despicable does Willy become at the end that, when he is murdered by Rubia, no viewer can say that Rubia is at fault. And yet, morally speaking, no one is allowed to take the law into his own hands. The law, in fact, put Willy in prison for the first rape. There is no reason to think that the law will not put Willy to death for the second rape. By conditioning the reader to condone Rubia’s revenge, Brocka succeeds in questioning one of our deeply rooted moral beliefs. The unity that characterizes Rubia Servios contrasts sharply with the tendency of Eddie Garcia in Atsay to exploit Vitug’s versatility even at the expense of tightness. There are shots in Atsay, for example, which could easily be cut without hurting the film’s integrity. Even the train sequence, one of the best sequences in Atsay, is far too long. Rubia Servios is Lino Brocka’s film; Atsay is Romeo Vitug’s. Nora does an excellent acting job; but so does Vilma Santos, and Rubia is a much more demanding and difficult role…” – Isagani Cruz (READ MORE)
Adultery (Aida Macaraeg Case No. 7892) (1984) – “…Napakahusay ni Vilma sa mga eksenang nagngingitngit siya sa mga kapatid niya sa pagkawala ng uniporme o muling pagbubuntis ng mga ito. You can really feel the sense of rage, and futility that she is experiencing. Pero maging sa iba pang quiet scenes ay mahusay rin siya, o kaya y maging doon sa eksenang muntik na siyang mabuko ni Mario, at nang magkomprontasyon na sila ni Phillip. Pero, sa tingin namin, mas lumutang si Phillip sa pelikulang ito at tiyak na in the running na naman siya for best actor next year. Kung minsan ay mata lamang ang kanyang pinaaarte at wala siyang dialogue (like nang mabasa niyang nakunan si Aida o nang makita niya itong sinasalubong si Mario sa gate). Very touching din ang final scene na tinanong siya ni Vi: “Ano ng nangyari sa ‘tin?” At sumagot siya ng: “Huwag mo nang itanong. Baka mas masakit kung malaman natin ang sagot.” Maraming iba pang magagandang touches ang pelikula, tulad ng pagdalaw ng mga babaing taga-block rosary kina Aida at ang sagutan sa court scenes…” – Mario E. Bautista (READ MORE)
Hahamakin lahat (1990) – “…Brocka did Hahamakin Lahat (1990) for Regal Films. This was his third movie with Vilma Santos. The role called for Vilma to be dark, daring and innovative, a complete deviation from characters usually portrayed by the sweet-faced Star for All Seasons. It showed a heroine entering into a marriage of convenience with a ruthless, scheming mayor, a character Brocka created to expose the hypocrisy and corruption of society…” – Paul Mata and F. Caagusan (READ MORE)
Lino Brocka Catalino Ortiz Brocka (April 3, 1939–May 21, 1991), director for film and broadcast arts, espoused the term “freedom of expression” in the Philippine Constitution. Brocka took his social activist spirit to the screen leaving behind 66 films which breathed life and hope for the marginalized sectors of society — slumdwellers, prostitute, construction workers, etc. He also directed for theater with equal zeal and served in organizations that offer alternative visions, like the Philippine Educational Theater Association (PETA) and the Concerned Artists of the Philippines (CAP). At the same time, he garnered awards and recognition from institutions like the CCP, FAMAS, TOYM, and Cannes Film Festival. Brocka has left behind his masterpieces, bequeathing to our country a heritage of cinematic harvest; a bounty of stunning images, memorable conversations that speak volumes on love,betrayal and redemption, pestilence and plenty all pointing towards the recovery and rediscovery of our nation. To name a few, Brocka’s films include the following: “Santiago” (1970), “Wanted: Perfect Mother” (1970), “Tubog sa Ginto” (1971), “Stardoom” (1971), “Tinimbang Ka Ngunit Kulang” (1974), “Maynila: Sa Kuko ng Liwanag” (1975), “Insiang” (1976), “Jaguar” (1979), “Bona” (1980), “Macho Dancer” (1989), “Orapronobis” (1989), “Makiusap Ka sa Diyos” (1991) (NCCA.gov.ph). On May 21, 1991 Brocka met an untimely death in a car accident in Quezon City, Metro Manila. In 1997 he was given the posthumous distinction of National Artist for Film – Wikipedia (READ MORE)
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1982 was a good year for Vilma Santos kung ang pag-uusapan ay ang kanyang acting career. She’s one of the busiest actresses last year and luckily, ang mga nagawa niyang pelikula’y pulos box office. Oo na, si Vilma pa rin ang Takilya Queen. Naungusan n’ya ng milya-milya ang arch rival niyang si Nora Aunor. Pawang magagandang projects ang ginawa last year ni Vilma. Kaya hindi magmintis sa takilya ang mga ito. Todo kayod namang tunay ang drama ni Vilma dahil kailangan talaga. And ‘yan ang naghahabol na BIR sa malaking pagkakautang ni Vilma na unti-unti’y nabayaran naman n’ya/ At dahil sa sobrang trabaho ni Vilma hindi natupad ang pinagusapan nila noon ni Edu Manzano na kailangan before twelve midnight, pack-up na ang beauty niya sa shooting. Gusto sana noon ni Vi, before the strike of twelve, andun na siya sa bahay sa piling ni Edu at ng kanilang si Lucky, pero kontrabida ang kanyang shooting schedule. At ewan ba naman kung bakit hindi maintindihan (o talagang ayaw intindihin?) ni Edu ang sitwasyon ng asawa n’yang superstar. Ayun, nagsplit-up sila! Nakuha ng ilihin ni Vi ang paghihiwalay nila ni Edu, dahl ayaw n’yang mawasak ang kanilang pamilya. Pero kontrabida talaga ang tadhana. God knows kung magkakabalikan pa uli o hindi na. To mend her broken heart, subsob muli sa trabaho si Vi.
Yes, she may be laughing on the outside, pero hindi kaya she’s crying in the inside naman? Sabi nga ng ibang lubos na nakakakilala kay Vilma, marunong siyang magdala, ng problema. Pag nagtratrabaho siya, hindi mo mahahalata ang sakit ng loob na dinadala ni Vilma. Can afford to smile pa rin si Vi pag may mga kausap siya. Andu’n pa rin ‘yang sunshine smile n’ya. Katuwiran nung isang taong close sa actress, “Bakit nga naman magmumokmok si Vi sa paghihiwalay nila ni Edu? Ano naman ang mapapala n’ya? Eh, si Edu, panay ang paggu-good time. Parang bale-wala ‘yung paghihiwalay nila ni Vi, balik nga sa pagbubuhay binata si Edu. Aba! Masaya siya.” Si Vilma, kahit na nga she’s “free again.” ayaw s’yang mag-entertain ng mga bagong manliligaw. Basta ang kanyang panahon ngayon ay nakatuon sa kanyang trabaho at yes, sa kanyang only son na si Lucky. Noon ngang nagpunta siya sa States at gawin n’ya dun ang pelikulang “Ayaw Kong Maging Kerida,” may mga speculation na baka magkabalikan silang muli ng ex-boyfriend niyang si Romeo Vasquez. Pero isang big “No!” ang sagot ni Vi nang magbalik siya sa Pilipinas at tanungin siya kung anong score ng relation nila ni Bobby V, “Friends na lang kami ni Bobby ngayon. No, reconciliation dahil malabo talagang mangyari ‘yon! Iba na ngayon ang kalagayan ko. Oo, hiwalay nga ako sa asawa ko ngayon, pero hindi ko pa rin makakalimutan na kasal ako kay Doods. Siya pa rin ang ama ni Lucky,” say ni Vilma. “Yung napapabalitang sportsman na manliligaw ni Vi, idinenay n’ya ito. Sabi niya, mabuti pa raw ‘yung ibang tao, alam ‘yon. Pero siya mismong sarili n’ya, hindi raw n’ya alam ‘yon. Sabi pa ni Vi, maligaya siya ngayon kahit loveless siya, “Dahil and’yan naman ang anak kong si Lucky, siya ang inspirasyon ko sa trabaho.” she says. Hanggang kelan kaya mananatiling zero ang lovelife ni Vilma? – Rowena M. Agilada, Love Story Illustrated Weekly Magazine, No. 593, 31 Jan 1983
Vilma on Love and Marriage – Not so very far away and long ago, Superstar Vilma Santos uttered a cry – for help: ” I just could not do anything right, I was estranged from my family, my lovelife was zero, I was fed up with my career, halos lahat ng lang was really in a shambles…at first, I thought work would be teh answer. ;yan naman ang remedy ko sa maraming bagay ever since child hood. And as long as your mind is pre-occupied with something. You’ll never get lonely. So, binuhos ko ang lahat sa trabaho. And then, when I’m not busy shooting, anduon ako sa disco whaling away my time dancing and chatting with friends and being involved in a lot of gay socials. But I have come to realize later on, you can never really escape from recurring loneliness…whether you like or not, you have to go sometime. And that’s the worst of all when you’re alone at night. Lalong naging grabe because then I had a terrible case of insomia. I can never got to sleep before five o’clock in the morning. So I watch TV, but the shows do not interest me in the least. Basa ako nang basa pero wala naman akong maintindihan sa aking binabasa. Kaya’t ikot-ikot na lang ako sa aking kuwarto hanggang halos masisira na ang aking tsinelas. Grabe, kung minsan naman, kahit di ako abala, tinawag ko si Viring (her alalay) sa house, at pagala-gala lang kami kung saan-saan kami umabot, ikot lang kami, more ikot sa kotse…Kung minsan I just can’t take all that terrible loneliness, so I escape to the forrest of Mt. Makiling in Los Banos, Laguna.
Kasi in a secluded forest, doon lang I feel I have the privacy I can never get here in the city, I feel completely free. Palakad-lakad lang ako then sa ilalim ng mga malalaking puno, sometimes for hours and ano…and then when I couldn’t bear any longer, I shout at the top of my voice “Hello, Hello, Kamusta Kayo Dyan? I’m Vilma Santos, Help Me. I’m drowning and I have to talk to someone. Please help me because I’m desperately lonely…” I could and did, understand the feeling: it was the desoration and the loneliness of a long-distance runner, for among her contemporaties and even those who came later, it was Vilma Santos who had managed to escape the tender trap, it was Vilma who had remained unmarried…that for the distance, paid off, well, too, apparently, it was her “simple-blessedness” that has made her last so long at the top and this only strengthened her (box office) no small, especially to the…But what price fame and glory? – Franklin R. Cabaluna, Student Canteen Magazine, No. 6, Feb 1981
Vilma, Nida Share top acting honors – “…Vilma Santos shared the coveted Movie Actress of the Year award with Nida Blanca in last Saturday’s Star Awards, the local counterpart of Hollywood’s Golden Globe, at a jampacked UP Theater in Diliman, Quezon City. Santos was honored for her role in Bata, Bata…Paano Ka Ginawa?, a movie written for the screen by Lualhati Bautista based on her own novel and directed by Chito Roño for Star Cinema. Blanca, meanwhile, won her acting trophy for her role in the obscure Sana Pag-ibig Na by first-time director Jeffrey Jeturian for Golden Harvest. The two bested three other nominees: Elizabeth Oropeza (Tasulok), Rosanna Roces (Ang Lalake sa Buhay ni Selya), and Sharmaine Arnais (Sagad sa Init). In the male actor category, the members of the Philippine Movie Press Club gave Cesar Montano his second acting trophy for playing Dr. Jose Rizal in the multi-million peso production Jose Rizal that Marilou Diaz-Abaya made for GMA Films. It was an expected win that no one, even the other nominees in the Movie Actor of the Year: Raymond Bagatsing (Kriminal ng Baryo Concepcion), Ricky Davao (Ang Lalake sa Buhay ni Selya), Richard Gomez (Babae sa Bintana), and Eric Quizon (Pusong Mamon). Montano won the same honors in the Metro Manila Film Festival. Apart from the Actor of the Year, Jose Rizal bagged eight other trophies including Movie of the Year. Star also honored the film in directing (Diaz-Abaya), acting (Jaime Fabregas, in supporting role), screenplay adapted from another material (Ricky Lee, Jun Lana, and Peter Ong Lim), production design (Leo Abaya), film editing (Jess Navarro and Manet Dayrit), music scoring (Nonong Buencamino).
Jose Rizal is only the second movie produced by the fledgling GMA Films and cost the new movie outfit some P80 million, making it the most expensive film made in this part of the globe. It already grossed to date, according to reports, close to a hundred million. Sa Pusod ng Dagat, its first venture into serious film making, didn’t have much luck in the box office, but won Star honors in the original screenplay category for writier Jun Lana and cinematography Romy Vitug. Star Cinema’s bet for major awards, Bata, Bata…Paano Ka Ginawa?, seemed to have failed to impress the movie press. It only collected three trophies, for Santos’ performance and the two child actors Serena Darlymple, proclaimed New Movie Actress of the Year, and Carlo Aquino cited as Child Performer of the Year…The Star Awards for Movies is handed out annually by the Philippine Movie Press Club, It kind…Starting as an alternative to the macho-dominated Famas 15-years ago, it eventually became the event to watch. During its early years, its choices caused a lot of raised eyebrows, especially among the more academically equipped group of movie writers and critics. Fractured by a split in membership when a faction opted to take a leave and eventually resign amid a feud between the writers’ group and ABS-CBN last year, the remaining members of the PMPC remained undaunted. These days, there seem to be peaceful co-existence between the group and the network that questioned publicly its credibility in handing out awards of excellence. Last Saturday marked the return of Star Cinema;s acknowledgement of PMPC and Star Awards as something the industry can do without. Representatives from the film company accepted the trophies for winners who failed to make it to the show, like Carlo Aquino. In contrast to the conciliatory moves of Star Cinema;s management, actors, and technicians whose chances of victory are uncertaine chose not to make an appearance.
Movie Actress of the Year nominee Rosanna Roces was nowhere in sight. So was Richard Gomez. Even Movie Supporting Actress winner Anita Linda didn’t bother to come and accept her trophy. Yet, others showed their support to the PMPC by their sheer presence, making the Star Awards still the most star-studded annual awards show were Christopher de Leon, Pops Fernandez, Regine Velasquez, Daisy Ryes, Keempee de Leon, Geneva Cruz, Zsa Zsa Padilla, Troy Montero, Ralion Alonzo, Vina Morales, Carol Banawa, Jolina Magdangal, and Antoinette Taus who performed in the usual musical numbers and broke the monotony of the awards. Other probably came for the P10,000 cash prize for the Male and Female Star of the Night Award given to those the PMPC members decided looked best during the show. And the award went to Albert Martinez and Glydel Mercado. Some members of the audience though thought Sunshine Cruz in a see-through gown looked more fabulous. Starlet Bernadette Allyson also attracted attention and won Fairest Skin of the Night. And Eric Quizon was voted Darling of the Press. Quizon was also one of the hosts of the show. Joining him were Ronnie Ricketts and Vilma Santos whose fans punctuated the show with screams, cheers and applause. A female fan was reportedly escorted out of the theater by security guards aftersome members fo the audience complained that she has making too much noise. If the Vilmanians were rowdy, the Noranians was the opposite side of the theater were ferocious. They trooped to the theater when they learned Nora Aunor would make an appearance to present the Ulirang Artista Award to her friend Caridad Sanchez. They broke in wild cheers when their idol chilled out of the stage wing and stood on the right end of the stage. Vilma was on the opposite side waiting for her cue to introduce Nora. It was all right until the Mayor of Lipa announced Nida Blanca instead.
The Noranians were irked and incensed and objected with catcalls. Vilma was compelled to make a public apology, saying she was merely reading a cue card given to her by the show’s writer. Nora was also the recipient of a special award, cited by the PMPC for bringing the local movie industry honors in international film festivals. She won Best Actress at Penang, Malaysia for her role in 1997’s Bakit May Kahapon Pa? The superstar’s acceptance speech was short, saying only, “Maraming salamat!” Many speculated that she must have been incensed by the earlier faux pas committed by her perennial rival. In justifying the mistake, the PMPC said that Nora was not really expected to arrive. But they were glad she made it. In case she didn’t, Nida Blanca had agreed to make the presentation of the Ulirang Artista Award which was already written on the cue card. The question though remained, “Didn’t Vilma notice Nora coming in?” If she didn’t she should have taken the cue from the screams of the Noranians. The incident reignited the heated rivalry of these two stars and made the Star Awards a peewee exciting…” – Isah V. Red, Photographs by Mike de Juan, Manila Standard, Mar 14, 1999 (READ MORE)
Urian’s Choices“…Another major upset was Nida Blanca’s failure to clinch top acting honors. Her perfromance in Sana Pag-ibig Na by another first-time director Jeffrey Jeturian was considered by many worthy of an Urian trophy and could give popular choice Vilma Santos a tough time in all of the awards this year. Blanca shared the same honors with the Mayor of Lipa City earlier in Star Awards. Seventy-six-year-old-actress Mona Lisa was this year’s recipient of Natatanging Gawad Urian presented to her by Insiang co-star Ruel Vernal and Manunuri’s Grace Javier Alfonso. The actress recent work is a role in Nick DeOcampo’s Mother Ignacia. This is the 22nd year the Manunuri group have been handing out trophies to honor outstanding work of actors, directors, writers, film editors, sound engineers and music scorers in Filipino movies…The show looked like most local awards shows with musical numbers that has no relevance to the film medium punctuating the monotony of introducing the nominees and annoucing the winners. Rosanna Roces’ licentious humor somehow livened up the perfunctory intros of presentors and performers. Osang was resplendent in an off-shoulder tangerine ballroom gown at the beginning and changed into a heavily beaded and sequined pience with partly see-through skirt. Many in the audience wondered if she was wearing a wig. With Osang as co-hosts were a slimmer Rustom Padilla and Albert Martinez who was struggling with an astma attack and had to leave even before the show was over.
The stage was dressed up like a courtyard with facade of turn of the century houses as background. Rep. Imee Marcos presented the five nominated pictures wearing initally an outfit made from indigenous fibers and then later a Filipiniana-inspired two-piece number…As usual in local award shows, the bigger stars come in very late, just in time for the annoucement of the nominations in their respective category. Vilma Santos came in at 10:30 p.m. escorted by husband and Batangas congressman Ralph Recto and followed by an entourage of bodyguards and her personal assistants. In her acceptance speech, she apologized for her tardiness saying she had to attend the graduation from high school of Luis Philip Manzano, aka Lucky, her son by former husband Edu Manzano. She also announced that the follwing day, her son by Ralph, Ryan Christian Recto, would be celebrating his birthday. Vilma’s fans once more showed their undying support for their idol, screaming at every instance the actress’ name is mentioned and holding up paper placards, on which they screamed their affection for her. When her name was announce winner of the most coveted award, they went gaga jumping out of their seats to cheer her as if they were watching a basketball game. This is the kind of awards show that somehow masks the sad realities in an industry struggling to survive the worst economic crisis ever and the continued and growing alienations of the middle class now more inclined to watch English-language movies from Hollywood on either the VHS and DVD formats in the comfort of their airconditioned bedrooms….” – Manila Standard, Mar 31, 1999 (READ MORE)
Makahiya at Talahib (1976) – “…Arturo (Rudy Fernandez) is a convict on the run after being framed for rape. Aurora (Vilma Santos), a sculptress at odds with her overbearing mother (Gloria Romero), falls for him and is convinced of his innocence. When Arturo takes revenge on those who framed him, Aurora helps him plot his escape. This, while her sister Beatriz (Trixia Gomez) has a brief affair with Arturo…” – Music & Laughter TV (READ MORE)
Source: gobitz69
Rodolfo “Rudy” Padilla Fernandez, screen name Rudy Fernandez (March 3, 1952 – June 7, 2008), also known as “Daboy”, was a multi-awarded Filipino actor and producer. He came to prominence as an action star in the Philippine cinema during the 1980s up to the early 1990s. – Wikipedia (READ MORE)
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)
The Superstardom – “…Kapwa nagsimula sina Rudy at Lito sa pa-extra-extra. Wika nga, they both started from scratch. Kahit na may mga kamag-anak silang nauna sa kanila sa movies, they began from the bottom and struggled their way up to the ranks of superstardom. Matagal na nagtiyaga si Rudy sa pagiging extra at bit player. Naging second lead siya ni Nora Aunor sa Wanted Dead or Alive at naging rapist pa nga ni Lorna Tolentino sa Leap Year Ngayon, Lagot ka, Pipikutin kita na kung saan si Christopher de Leon ang leading man ni Lorna. Nabigyan si Rudy ng kanyang pinakamalaking break sa pelikulang Bitayin si Baby Ama na pinagtambalan nila ng babaing naging ina ni Mark Anthony, si Alma Moreno. Nagkasunod-sunod na ang mga pelikula ni Rudy pagkatapos nito….Marami rin namang pelikulang ginawa si Rudy na hindi malilimutan noong panahong iyon, halimbawa’y ang Salonga (ang ikalawang pelikulang batay sa buhay ng Tondo kingpin na si Asiong Salonga), Maynila 1970, Panganib Araw at Gabi, at Anak sa Una, Kasal sa Ina. Nang magkahiwalay sila ni Alma at mapaugnay siya Kay Lorna Tolentino, sinasabing muling nagkaroon ng sigla, ng panibagong ningning ang career ni Rudy. Naging nominado siya sa Urian at Famas best actor awards para sa Pepeng Shotgun. nagkasunod-sunod ang kanyang box office hits gaya ng Kahit Ako’y Lupa, Nueve de Pebrero, Kumander Kris, Boy Condenado, Kumander Elpidio Paclibar at Get My Son, Dead or Alive…” – Mario E. Bautista, Movie Flash Magazine, March 24, 1983 (READ MORE)
Bankable Star – “…Then came Rudy Fernandez, the current heart throb of many lonely hearts. His coming was not much of a bang. In fact, naghintay muna siya ng kaunting panahong pinamulaklakan ng pagtitiyaga, pagpapakasakit at paghihirap. But in the end, Rudy came out the victor. Now he’s one of the few-in-demand, most sought-after action stars of the country. It was in MBM Pictures’ “Bitayin Si Baby Ama” where Rudy made people recognize his potential as an actor of the first order. Hindi lamang bilang aktor kundi bilang isang box office drawer na matatawag ngayong one of the bankable stars of Philippine movies. Na ang ibig sabihin nito, basta pelikula ni Rudy Fernandez ay puwede nang iutang sa bangko. Dahil sa maaasahan nga ito sa takilya. Lalong tumingkad ang pangalang Rudy Fernandez nang ito’y nai-link sa isa pang maluningning na pangalan sa pelikulang lokal na si Alma Moreno. Naging maganda ang kanilang team hindi lamang sa pelikula kundi maging sa tunay na buhay. Ang totoo nga ay nagkaroon din ng ugnayan ang dalawa at nagkaroon pa nga sila ng isang anak na si Mark Anthony. Ngayon, split na muna ang dalawa at si Rudy ay nag-iisa ngayon sa kanyang magarang bahay sa White Plains, Quezon City. Meanwhile, Rudy’s movie career is continuously riding high and as the years go by ay lalong naging established actor itong poging anak ng nasirang direktor na si Yoyong Fernandez. Kunsabagay, hindi dapat pagtakhan ito. Nasa kanyang dugo ang dugo ng mga Padilla, isa sa mga pangunahing angkan sa pelikulang Pilipino. At nasa dugo pa rin niya ang dugo ng mga Fernandez na tulad ng mga Padilla ay may talino’t kakayahan ding taglay. Hindi yata basta direktor ang kanyang ama….At that, Rudy Fernandez can well be the star, nay, as the actor to contend with. In fact, he almost romped away with the FAMAS Best Actor Award for his brilliant portrayal of the title role in “Star?” of Agrix Films but lost out by a mere point to Mat Ranillo III in 1978. And again, the following year, 1979, Rudy was once more a strong contender for the same category but lost out eventually to Fernando Poe, Jr. by a few votes…” – Ross F. Celino, Jr., Jingle Extra Hot Movie Entertainment Magazine, April 20, 1981 (READ MORE)
Peace-Loving Nature – “…One time, we missed him by a few minutes when he went to the National Press Club to settle a spat with another movie star through the intercession of our friend, then NPC president Marcelo Lagmay and former FAMAS president Rudy Salandanan. The misunderstanding between the movie actors was resolved, all right. Which reflected to peace-loving nature of Daboy — he went out of his way to settle a row. He had a soft heart for the small people, too. Consider: In one of those times when I dropped by the Press Club, I was thanked by some of the NPC employees for supposed Christmas gifts to them. When I asked them about it, they pointed to the sacks of rice which they said came from Rudy Fernandez, thinking that it was us. Actually, I used to contribute cash gifts for the NPC employees during Christmas but not in kind. I told them that the sacks of rice did not come from us. When the NPC staff rechecked the gift’s accompanying letter, they noted that it was the movie actor and his lovely wife Lorna who sent the rice….” – Rudy A. Fernandez (READ MORE)
Rodolfo “Rudy” Valentino Padilla Fernandez, screen name Rudy Fernandez (March 3, 1952 – June 7, 2008), also known as “Daboy”, was a multi-awarded Filipino actor and producer. He came to prominence as an action star in the Philippine cinema during the 1980s up to the early 1990s. – Wikipedia (READ MORE)
Rudy Fernandez and Vilma Santos
Payaso (1986) – “…The 1986 Metro Manila Film Festival was considered the worst in the 12-year history of the annual 10-day festival of local movies. For the first time, it did not give out the traditional first and second best picture awards. Two other categories— best story and best screenplay were not also given. “No one of the seven entries deserved these awards,” according to Tingting Cojuangco, one of the jurors…” – J C Nigado (READ MORE)
Makahiya at Talahib (1977) – “…Ang pangalawang taon ng MMFF (1976) ay ginawa ng Disyembre (itinapat sa araw ng Pasko) para daw mas marami ang makapanood lalo na ang mga bata ng mga pelikulang Tagalog. Ang pelikulang “Makahiya At Talahib” ang panlaban nina Vilma Santos at Rudy Fernandez samantalang ang kay Nora ay ang pelikulang “Minsa’y Isang Gamu-Gamo.” Dito sa pelikulang Makahiya At Talahib ay binayaran daw si Vilma ng Php 100,000 kahit hindi siya ang nag-dub ng pelikula kundi si Laura Hermosa….” – Alfonso Valencia (READ MORE)
Mga Reynang Walang Trono (1976) – “…To recall, the senior and junior movie queens appeared in these movies: Bulaklak at Paru-paro (1970), Mga Reynang Walang Trono(1976) and Asawa Ko, Huwag Mong Agawin (1986). Amalia directed Vilma’s episode in Mga Reyna and agreed to second billing to Vilma in Asawa Ko. No doubt about it, Amalia Muhlach Sumilang Fuentes, is a Vilmanian. To seal their sisterhood and camaraderie, Vilma is Ninang to Liezl Martinez and to the latter’s son Alfonso. Why, Liezl even sang a song ’’Wind Beneath My Wings’ to her surprised mother that night which drove the strong-willed and still beautiful Amalia to tears. A Kodak moment, indeed. Priceless! While interviewing the three Muhlach generations, Fuentes, Liezl and young daughter Aliyanna, Amalia revealed to Vilma that she is protective of her ’unica hija’ Liezl. ”Ay naku, I think I also have become like my Mom, I’m also very protective of my children,” Liezl remarks…” – Mario O. Garces (READ MORE)
Bertang Kerengkeng (1976) – “…Isa sa mga minimithi noon ni Atty. Esperidion Laxa bago siya magretiro bilang prodyuser ay mapagtambal niya sina Vi at Rudy Fernandez. Subali’t paano pa niya ito magagawa samantalang wala na si Rudy. Eniwey si Vi at Rudy ay nagkasama naman sa mga pelikulang Vilma & The Beep Beep Minica (1974), Ibong Lukaret (1975), Mga Reynang Walang Trono (1976), Bertang Kerengkeng(1976) at Makahiya at Talahib (1976). Nagkasabay silang maging FAMAS best actress at best actor noong 1987, si Vi sa pelikulang Tagos Ng Dugo….si Rudy naman ay sa pelikulang Victor Corpus. Sa 1998 FAP awards ay magkasabay din silang pinarangalan bilang best actress at best actor…..si Vi sa pelikulang Bata, Bata Paano Ka Ginawa?…..si Rudy sa pelikulang Birador…” – Alfonso Valencia (READ MORE)
Dugo at pag-ibig sa kapirasong lupa (1975) – “…A Must for the Filipino History Students and for everyone who wants to awaken the innate nationalism in them. These series of stories depicting the fight of the Filipinos against colonialism of Spain, Japan and even their fellow Filipinos abusing the power in the government. A seemingly serious film but spiced with the star-studded cast like Fernando Poe Jr., Ramon Revilla, Joseph Estrada, Nora Aunor, Dante Rivero, Eddie Garcia, Vic Vargas, Goerge Estregan and the other all time favorite artists. This movie even highlighted the comparison between the love of country and the other kind of love we offer to our family and to our beloved as the story featured love stories in the midst of tragic and bloody war happening in our society…” – Kabayan Central (READ MORE)
Ibong lukaret (1975) – “…1975 was another productive year for Vilma Santos as she did nine films mostly title roles like Vilma Viente Nueve, Darna Vs the Planet Women, and Ibong Lukaret. It was the “prep” stage for the years to come as she was given more mature roles like the local festival entry, “Karugtong ang Kahapon” and Celso Ad Castillo’s “Tag-ulan sa Tag-araw.” Tagulan was the first film of Vilma and Christopher De Leon. While Vilma was testing the water for more serious mature projects, Ishmael Bernal decided to return to his original forte, drama, after years of doing light comedies and television work. He came up with “Mister Mo, Lover boy Ko” and “Lumapit, Lumayo Ang Umaga.” Both films featured sexy star, Elizabeth Oropeza…” – RV (READ MORE)
Dugo at pag-ibig sa kapirasong lupa (1975) – “…A Must for the Filipino History Students and for everyone who wants to awaken the innate nationalism in them. These series of stories depicting the fight of the Filipinos against colonialism of Spain, Japan and even their fellow Filipinos abusing the power in the government. A seemingly serious film but spiced with the star-studded cast like Fernando Poe Jr., Ramon Revilla, Joseph Estrada, Nora Aunor, Dante Rivero, Eddie Garcia, Vic Vargas, Goerge Estregan and the other all time favorite artists. This movie even highlighted the comparison between the love of country and the other kind of love we offer to our family and to our beloved as the story featured love stories in the midst of tragic and bloody war happening in our society…” – Kabayan Central (READ MORE)
Vilma and the Beep Beep Minica (1974) – “…She was also a hit in “Dyesebel” and the thrillers “Takbo, Vilma, Dali” and “Hatinggabi Na, Vilma.” She also did other fantasy films like “Phantom Lady,” “Vivian Volta,” “Wonder Vi,” and “Vilma and the Beep Beep Minica…” – Mario Bautista (READ MORE)
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Walang duda na sa mga youngstars natin ay si Vilma Santos ang pinakaabala. Sabi nga sa lenguwahe ng pelikula ay kaliwa’t kanan ang kanyang ginagawa. Sa kasalukuyan ay magkasabay niyang ginagawa ang mga pelikulang King Khayam And I ng Tagalog Ilang-Ilang Production at Basta’t Isipin Mong Mahal Kita ng FGORSJ Productions. Sa una ay katambal niya si Mayor Joseph Estrada, ito ang kauna-unahang nilang pagtatambal. At sa pangalawa ay katambal naman niya ang kauna-unahang Grandmaster sa chess sa Pilipinas at sa buong Asya na si Eugene Torre. Bukod sa mga pelikulang ito ay may nakatakda pa siyang gawin sa ibang produksiyon. Sabi nga ni Mommy Santos, ang masipag at mabait na ina ni Vilma: “Si Vi ay naka-book na hanggang Marso ng susunod na taon.” Si Vilma ay tao lamang. May katawan, puso at damdamin. At ang katawan ng tao ay tulad din naman ng makina na kailangan ang pahinga. Pahinga? Nangangahulugan ito ng pansamantalang paghinto ni Vilma sa pelikula. Nang minsang makausap namin si Vi sa kanilang magandang tahanan sa Bel-Air, Makati, Rizal ay nabanggit niya ang hangad na kailangan niyang pahinga. “Gusto ko munang huminto sa paggawa ng pelikula,” nakangiti niyang wika.
“Bakit? Mag-aasawa ka na ba?” tanong ng sumusulat nito. “Naku, hindi!” Bigla ang kanyang sagot at medyo namilog ang kanyang magagandang mata. “Gusto ko lang magpahinga.” mabilis na dugtong ni Vi. “Kasi tingnan ninyo naman. Halos araw-araw na lang e trabaho. Kung wala ako sa set ng pelikula ay nasa set naman ako ng telebisyon. Nagti-taping. Kung wala namang taping e nasa radyo. At kung wala namang radyo eh balik uli sa pelikula.” Huminto saglit si Vi. Hinugot ang isang napakalalim na buntong hininga sa mayaman niyang dibdib. “Pero kahit na medyo pagod ako e enjoy naman ako sa aking gawain.” nakangiting wika ni Vi. Ang pahinga ay nasa isip na rin ng kanyang Mommy. At ito ay nasabi na niyang minsan sa amin. Ayon kay Mommy Santos, pagkatapos ni Vi ng kanyang mga gawain ay magbabakasyon “kami sa Hongkong. At kung may panahon pa eh baka magtuloy na kami sa Europe.” “Pero bago ako magbakasyon e kailangan tapusin ko muna ang aking mga obligasyon dito. Lalo na ang aking pelikula nang sa ganoon e may maiwanan akong pansamantala sa aking mga fans. Alam mo na. Mahal ko yata ang aking mga fans.” Nakangiti si Vi habang sinasabi niya ito. Kaya pagkatapos ng King Khayam And I at Basta’t Isipin Mong Mahal Kita ay malamang na umalis si Vilma at ang kanyang Mommy upang magbakasyon sa Hongkong at Europa. – Nonoy T. Sofranes, Love Story Illustrated Weekly Magazine, No. 162, 01 Nov 1973
204 films, 70 directors, 5 decades, Vilma Santos, one of the original Philippine movie queens, rose up to become the versatile actress that has been given the fitting title of “Star for All Seasons” because of her capacity to adapt to the changing mores and values of the Filipino woman, giving a face to their plight and struggles, albeit in success both critically and box-office wise in some of Philippine cinema’s classics such as Trudis Liit (1963), Lipad, Darna, Lipad (1973), Burlesk Queen (1977), Relasyon (1982), Sister Stella L. (1984), Alyas Baby Tsina (1984), Pahiram ng Isang Umaga (1989), Dahil Mahal Kita: The Dolzura Cortez Story (1993), Anak (2000) and Dekada ’70 (2002). This are top ten directors who contributed to her success. – RV (READ MORE)
In 1987, Maryo De Los Reyes directed Vilma Santos that critics considered one of the most shocking film that year, “Tagos Ng Dugo.” The film was hailed as feminist as seldom a Filipino woman was seen on screen as a murderous serial killer. It earned Vilma Santos her fourth FAMAS Best Actress. Ironically, the conservative Catholic church’s award giving body, Catholic Mass Media Awards, agreed with the FAMAS. They gave Vi their Best Actress award while the critics’ group, Gawad Urian refused to hand-out their yearly award citing there were no deserving films that year. Reyes last directed Vilma in another memorable off-beat role, the 1992 drama, “Sinungaling Mong Puso.” – RV (READ MORE)
Tagos ng Dugo (1987) – “…A breakthrough for Philippine psychological movies? Probably. Let me explore a few other angles on this seeming cross between Francois Truffaut’s The Bride Wore Black and Luis Buñuel’s Belle du Jour — I don’t know if screenwriter Jake Tordesillas or De los Reyes himself should be congratulated for the cohesion of multi-resultants in this work. Part of this multi-readings would be the movie as a feminist take on womankind’s monthly pains as a form of excuse for female monthly insanities, insanities our machos regard as regular terrorism on the whole of mankind (men or society as a whole). It is with that reading that the ending apologies, by Vilma Santos in the lead role, might be understood as a plea for understanding of how all of woman’s monthly Eve-behavior should not be seen as a Biblical sin but as an equal (to, say, men’s beastly) naturalness. . . . Another feminist reading, more radical perhaps, would treat the film as a view of how Philippine society (the men in it, primarily) approaches provincial innocence, educational weakness, and “females’ weaker sanity” as stimuli for abuse… There is, however, the possibly more general reading of the film as an apologia for insanity qua itself, how it should be treated as a disease instead of as a monster to be eliminated….” – Vicente-Ignacio S. de Veyra (READ MORE)
Sinungaling Mong Puso (1992) – “…Magaling sina Aga Muhlach at Vilma Santos bilang nagtatagong magkasintahan. Lutang na lutang ang pag-arte ng dalawa at nakakatuwa sila sa kanilang mga eksena na nagtatagpo ng palihim tulad ng mag-kita sila sa department store. Dumating si Vilma at hinahanap niya si Aga, hindi nya makita ito hanggang sa mamataan niya ang binata na nakaupo sa may display area. Kinindatan ni Jason si Clara at napatawa na lang ang babae. Mararamdaman mo ang excitement ng mga pagkikitang ito. Nang mahuli ni Ana ang asawa at mag-iskandalo ito, nang umalis na ang asawa at balikan ni Jason si Clara sa loob ng apartment, makikita sa mukha ni Vilma ang pagtatapos ng kanilang affair. Ang sabi niya: “ Hinintay lang kita, gusto kong maghiwalay tayo ng maayos…” Bukod sa maraming eksena na lutang na lutang ang pag-arte ni Vilma marahil ang pinaka-memorable ay ang eksena kung saan binaril ni Vilma si Gabby at sabihin niya ang line na: “mamatay kang kasama ng mga baboy mo…” ito ang pagpapatunay na talagang napakahusay niyang artista.” – RV (READ MORE)
Maryo J. de los Reyes is a film and television director from the Philippines. He began his career in the 1970s. – Wikipedia (READ MORE)
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Star For All Seasons 
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