A Very Long Rivalry – 1984

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Pre-1984 – After winning all the best actress trophies in 1983 for the previous year, 1982 and the award giving season ends, 1983 seems to be another business as usual for Vilma Santos. She released three more films after the dissapointment of “Ayaw Kong Maging Kerida” in earlier part of 1983, then on June 9th, Viva Films released “Paano Ba ang Mangarap?” that turned out to be another box office hit. Few months afterwards Regal films released Bernal’s “Broken Marriage,” the follow-up film after the successful grand slam film, “Relasyon.” The film was a critical and commercial success. Then finally, four days after Vi’s birthday, Viva Films released Marilou Diaz-Abaya’s drama, “Minsan pa Natin Hagkan Ang Nakaraan,” another box office hit. This film plus the two films mentioned earlier solidified her bankable status. Not to be outshine, Nora’s “Himala” continued its relentless fight for recognition, winning the bronze prize at the 1983 Chicago International Film Festival on November of 1983. Despite this, 1983 seems to be not her year, aside from losing in all the award derbies, she only released two films, “Bad Bananas sa Puting Tabing” and the forgettable, “Minsan May Isang Ina.”

Golden Year – “…In 1984, Nora and Vilma each had three “pang-award” movies. Nora starred in ‘Merika by Gil Portes, Condemned and Bulaklak ng City Jail by Mario O’Hara. The latter was entry in the MMFF, winning Best Picture and Direction at nanalo ring Best Actress si Guy. Si Vilma was in Brocka’s Adultery: Aida Macaraeg, Mike de Leon’s Sister Stella L. and Marilou Diaz-Abaya’s Alyas Baby Tsina. Noong 1985 unang nagbigay ng Star Awards ang Philippine Movie Press Club (PMPC). Para sa taong 1984 ang mga parangal na ipapamahagi, at sina Nora at Vilma lang ang nominated for Best Actress: Guy for all her three starrers, Vilma for Aida Macaraeg and Sister Stella L. Mainitan umano ang nagging deliberation para sa kategoryang Best Actress, which earlier that year was bagged by Vilma (for Sister Stella L. sa Gawad Urian; her third straight win!) and by Nora (for Bulaklak ng City Jail sa CMMA). Sa 1st Star Awards for Movies, it was Nora Aunor who won for ‘Merika. The late movie scribe Frank Mallo, a self-confessed Noranian, fought hard for Aunor to clinch the Best Actress plum, especially for ‘Merika. He even wrote a letter (published in Constantino’s Highspeed column) disputing the Manunuri’s earlier choice of Vilma Santos as Urian Best Actress. Sa taong ito rin ng Gawad Urian nagtamo ng double nomination si Nora – for ‘Merika and Bulaklak ng City Jail. Sa pagtatapos ng award-giving season, si Nora uli ang Best Actress sa FAMAS (her third win) for Bulaklak ng City Jail. Dito niya unang naka-tie si Sharon Cuneta (for Borlaza’s Dapat Ka Bang Mahalin?). Pero hanggang ngayon, nakahihinayang na walang napanalunang award si Nora for Condemned, kung saan she was cited by Tempo entertainment editor Nestor Cuartero for that single scene in which she acted out a “cry of sorrow like no other” upon the death of actor Dan Alvaro who played her brother in that film which was rated “A” by the Film Ratings Board…” – William Reyes (READ MORE)

Nora Aunor’s Films (3): (‘Merika; Bulaklak sa City Jail; Condemned) – Nora did three solid award-worthy films, two from Mario O’Harra and one from Gil Portes.

Vilma Santos’ Films (4): (Adultery; Alyas Baby Tsina; Charot; Sister Stella L.) – Vilma did four films, a guest role to her television co-host film, Roderick Paulate’s “Charot” and three award-worthy films from A-1 directors, Lino Brocka for “Aida Macaraeg: Adultery,” Marilou Diaz-Abaya’s “Alyas Baby Tsina,” and Mike de Leon’s “Sister Stella L.”

Nora Aunor’s 1984 acting recognition (5) – Best Actress from Star Awards for “‘Merika;” Best Actress from Metro Manila Film Festival and CMMA for “Bulaklak ng City Jail;” and two nominations from URIAN for “‘Merika” and “Bulaklak sa City Jail.”

Vilma Santos’ 1984 acting recognition (6) – Best Actress from URIAN and nominations from FAMAS; FAP; CMMA; Star Awards all for “Sister Stella L.;”and another nomination from Star Awards for “Alyas Baby Tsina.”

Human courage and Determination – “…We see a fairly representative sector of Filipinos living in America through the eyes of Milagros Cruz (Nora Aunor), a nurse working in a New York City hospital. It is her fifth year on the job and life for her has become a predictable routine of quick meals, subway rides, Caucasian patients and late night TV. To augment her income, she holds a second job at a nursing home. Although her two jobs keep her well-off, Mila harbors a secret wish to come home to the Philippines. And while her wish is not an impossible one, the decision involved is a difficult one to make. For Mila, her decision to come home or to stay is largely shaped by a circle of Filipino friends and acquaintances, all of whom have changed in outlook and attitude towards their native land and their adopted country. For the most part, knowledge of events back home has become speculative while knowledge of the new land has become increasingly material and resentful. An aging Filipino whom Mila befriends at the nursing home becomes her surrogate father. The old man is angry at the manner in which his generation was received by the Americans in the years before the war. Mila’s younger friends, on the other hand, are luckier in terms of present-day opportunities. While some have remained honest, others have become callous, even rotten, in adopting the American way of life. All have moments of pride in terms of achievement but no one cares to admit the degradation one goes through to earn that better life, Mila’s final decision comes with much pain but it’s one deed that’s a tribute to human courage and determination. What is clearly admirable about “‘Merika,” is its affecting portrait of loneliness, so thoughtfully realized by Nora Aunor’s touching performance, Gil Portes’s direction and Doy del Mundo and Gil Quito’s homely screenplay. The film does not emphasize a single, urgent cause for Mila’s wanting to go home precisely because such loneliness cannot be quantified. For the migrant Filipino, this kind of loneliness exists in mind and heart but it can never be completely expressed. It’s a feeling so deep seated, it couldn’t be relieved entirely, even by a long-distance call. The film utilizes many images to describe this sad feeling, from chilly scenes of winter to bare trees, disabled senior citizens, to the never-ending pictures on television. It all adds up to a very, very cold account of a life of sacrifice in a country of great expectations. …” – Emmanuel A. Reyes, Tempo, 1984 (READ MORE)

Major-league Filmmaking – “…So far the only pitfall he has stumbled into in “Bulaklak sa City Jail” appears to be the pursuit of a more grandiose design (the city as confirmation of the city-jail metaphor) at the expense of already established premises. For the excursion of Angela into big-city intrigues forces the film into a linear storytelling mode as the characterization of city-jail types is abandoned for plot twists; here the absurdities acceptable for enrichment of character begin to be called to account, and are transformed, in the context of conventionalized approaches, into glaring lapses of logic. Foremost among these is the total absence of support for any of the inmates. While this real-life improbability becomes necessary for the organization of the dramatic lines of force among the inmates, the artifice gets exposed once the Angela character is made to abandon the city-jail schema and the audience consequently realizes that the last jail victim she fought for before deciding to escape had connections powerful enough to influence court decisions—a consideration that makes their failure in releasing the victim-to-be-too obvious to be ascribed to sheer negligence….Although “Bulaklak sa City Jail” would ordinarily have been doomed by such compromises, the project does not appear to be as easily dismissible, saved as it is by a surface perfection never before seen in any Mario O’Hara, specifically in the combination of his willingness to handle big themes (which has always been his strong point) with the confidence of a veteran film craftsman. Particularly noteworthy is his ability to recreate dramatic texture through the interrelation of character progressions (in the city-jail portion) and the use of ironic juxtapositions. Although these are virtues that should be first credited to the screenwriter, it may do observers well to keep in mind that O’Hara has written some of his own films’ scripts and has done even better ones for other directors. A continuing consciousness on his part of dramatic essentials will help distinguish him from the Johnnys-come-lately of so-called serious filmmaking, who in their less sober moments strive for flash without regard for illuminative sources. With “Bulaklak sa City Jail,” Mario O’Hara has begun his bid for major-league filmmaking….” – Joel David, Tinig ng Plaridel, 1985 (READ MORE)

Tragic Heroine – “…The film is not only Filipino film but a fine one in practically every respect, starting with the gripping screenplay which comes to life under the adroit direction of Mario O’ Hara. It is a flawed jewel but a finely polished one nonetheless. It is a refreshing departure from the predictable and the prosaic elements that one encounters in many, if not most, Filipino films. For the most part, it veers away from the cloying melodramatic acting coaxed from our Filipino actors. As the tragic heroine, Nora Aunor turns in a sensitive and restrained portrayal of touching vulnerability — her deep love for her psychotic killer-brother played convincingly by Dan Alvaro, her helplessness in the face of adversity or her quiet rage as she daringly confronts the arch villainess played with surprising flair by Gloria Romero. The closeness between the brother and sister plays up an unusual sister-brother relationship which is central to the plot but which is a theme rarely fully developed in Filipino films. One wonders if there is more to the relationship than actually meets the eye. Though Dan Alvaro has appeared in numerous action films and died in most of them, he makes his mark in “Condemned” with his striking screen presence. A majority of the previewers considered both Nora and Dan as perfectly cast, with the supporting cast providing creditable performances…” – Film Ratings Board, 1984 (READ MORE)

Societal and Religious Norms – “…Aida (Vilma Santos giving a very mature performance) is the sole breadwinner for her family, consisting of a bedridden father, a nagging mother, a good-for-nothing brother, his unemployed wife and baby. Unable to bear the hardships of living with her family, she takes the offer of her boyfriend Carding (Phillip Salvador) to simply live together, resisting his invitation to marry him despite the possible scandal that might arise out of their living arrangement. Carding gets caught peddling prohibited drugs and gets imprisoned, leaving Aida all alone to fend for herself. Years later, Carding gets released from prison and finds Aida, now a mistress of a wealthy executive (Mario Montenegro) and mother to a child that is not his. Aida is then sued for adultery by Carding, which if she is proven guilty would separate her from her son. There’s one sequence in the film which clearly shows Brocka’s mastery. Aida visits Carding in prison, telling him of her pregnancy. Carding again offers to marry her, fearing that their child would be a bastard child. Supposedly out of pity, Aida agrees. The marriage is solemnized then and there. The prison chaplain officiates the ceremony where Aida is draped in an ordinary dress while Carding wears the orange colored uniform. Around are the witnesses of their marriage, felons all donning the same orange outfit Carding is wearing. Of course, these are mere background details, emphasizing the sullenness of the event that is ordinarily jovial and lively. Brocka concentrates on Aida. He closes up on her face, worried about the uncertainty of her future: she is after all pregnant and now married to a convict with absolutely no source of income. It is Aida’s point of no return and Brocka understands it as such, thus he presents it with understated elegance; no dialogue, just Lutgardo Labad’s swelling music and Brocka’s emphatic close-up of Vilma Santos’ apprehensive face. The film attempts to criticize marriage, which is depicted not in its traditional sense (as the key to life’s bliss) but as a harrowing cage where women are left with no choices. It seems to advocate infidelity, especially when the requirements of life overtakes the facile concerns of societal and religious norms. Interestingly, Brocka does not antagonize any of his characters. Aida is a hardworking woman who we first see as the selfless sufferer who is charged with her family’s survival, a mere victim of fate and circumstance. Also, one cannot doubt Carding’s affection for Aida. His decisions in life may have been off, leading to his incarceration and Aida’s continuing suffering, but it cannot be denied that his love for his wife is indubitable. The blame does not go to any person but to the social institution of marriage, its sometimes shallow roots and the unbendable veneration the law and society gives to it to the detriment of the unique needs of individuals…” – Oggs Cruz (READ MORE)

Front-page Baby Tsina – “…Ang istoryang ito ay matagal nang ikinukuwento sa akin ni William. Wala pa akong asawa, pangarap na ni William na magawa ang pelikula. He had the story at hand. Siya talaga ang nag-negotiate para makuha ang istorya. Noong una nga raw, ayaw pumayag ni Baby Tsina at ng kanyang asawa dahil gusto na nilang kalimutan yun. Eh, si William alam ko yan kung magpilit, tsaka personal kasi niyang kilala si Baby Tsina, nakuha rin ang istorya,” salaysay ni Vilma…”Noong una kong mabasa ang script, ayoko sanang maniwala na nangyari talaga yun. Masyadong cinematic, eh. Para bang sa pelikula at sa komiks lang nangyayari. Until the day nga that I met the real Baby Tsina. Nang siya na ang makuwento sa akin ng naging buhay niya, lalo na after the crime at sa loob Correctional, saka ko lang nalaman na ang nakalagay sa script ay kulang pa pala. Mas matindi ang istorya niya, pero hindi na maaring isamang lahat sa pelikula. Baka namang masyadong humaba eh. Malakas ang istorya. I think the story alone will sell the movie. Lalo na kung iisiping isa itong celebrated case at nasundan ng mga tao noon sa mga diyaryo. Front page stories pa raw lagi iyang si Baby Tsina noon eh…” – Ariel Francisco, Jingle Extra Hot Magazine, October 12, 1984 (READ MORE)

The Power to cause Insomnia – “…De Leon handles his intimate and delicate material powerfully, persuasively and penetratingly. He not only executes the technical aspects marvelously but also knows how to work with his actors, both individually and in the here all-important ensembles. The crowd scenes are a delight, with some sequences presented with the veristic quality of a documentary, and each scene is played for maximum impact, immaculately crafted and made with care and conscience, with dedication and devotion. If we now sound so much like an avid de Leon fan, it is because Stella L. is the kind of work that makes a reviewer long for new adjectives of praise. One knows very well that de Leon works for reasons other than money. This makes the strength, sensitivity and symetry of his direction deserve the highest praise and the sweet of music of thunderous applause for it is just better than perfect. Local cinema gives us very few occasions to rejoice and this is one of them. In the large and uniformly excellent supporting cast, Laurice Guillen stands out as Sister Stella B. She is one film director and actress who is really ablaze with talent. As the instrument to Stella L.’s involvement in a much more worthy cause, she imbuesher role with just the right mixture of intensity and charm. Equally memorable are Tony Santos as the beleaguered labor leader, Anita Linda as his courageous wife, and Liza Lorena as the sympathetic magazine editor who is willing to compromise. Gina Alajar is very effective in a very short role as the unwed mother. In the male lead role, Jay Ilagan proves once more that he is indeed one of our most competent young actors available. And now, Vilma Santos. Playing the title role, Vilma tries a part that is totally different from her past roles and proves that she has indeed become a highly skilled professional. Her role is somewhat reminiscent of Audrey Hepburn’s in Fred Zinnermann’s “The Nun’s Story”, where a young nun discovers in a hospital at the Congo that she is first a nurse and only second a religious. But Stella’s awakening is much more vital and revolutionary than that of Sister Luke in the Hepburn movie. Vilma’s transformation from an innocent bystander to that of an active participant who is audacious enough to be in the thick of battle is truly quite awesome to behold. We could almost see and feel the internal changes in her. In a sense, the role is somewhat tailor made for her because her beauty is appropriate to the part of Stella L., but she also succeeds in transcending her established personality, delivering her lines and gestures with vigorous conviction and playing it to perfection that one can safely predict that she will again be running in the best actress derby come next year. And so, to Vi, Mike and Mother Lily, our heartfelt gratitude for giving us a film that has the power to cause insomnia…” – Mario E. Bautista (READ MORE)

Post-1984 – As both Vilma and Nora reaped recognitions from a year full of award-worthy films that some considered, “Golden Year” for both, the next year would be a test of who can sustain their popularity. Vilma seems to be on a decline as she only release two films, the flop, “Doctor, Doctor, We Are Sick” and the smash hit, “Muling Buksan ang Puso.” Meanwhile, Nora Aunor’s career were on upswing. She released five films, mostly dramas, “Beloved” with Hilda Koronel; “I Can’t Stop Loving You” and “Till We Meet Again” with Tirso Cruz III; “Mga Kwento ni Lola Basyang” in a special guest role; “Tinik Sa Dibdib” with Phillip Salvador and Dina Bonnevie. Then in 1986, both Vilma and Nora did four films each. Critics seems to noticed the decline of both actress as their films seem to be the same melodramas, despite this, both earned nominations. Nora’s acting in “I Love You Mama, I Love You Papa” got her a FAMAS nomination while Vilma’s hit film “Palimos ng Pag-ibig” earned her nominations from Star Awards and FAMAS. Then in 1987, a slight change of pace, Vilma is now concentrating more on television. She moved her show, VIP to GMA 7 and eventually changed its named to simply, “Vilma!” While maintaining her high rating on small screen, she managed to complete four films, she guested on Nora’s produced film “Takot ako, eh!” and featured in three dramas, “Ibigay Mo Sa Akin Ang Bukas,” “Saan Nagtatago Ang Pag-ibig?” and “Tagos ng Dugo.” The last two earned her some trophies, including her fourth FAMAS. Meanwhile, Nora released only three films, she also guested in “Takot Ako Eh,” and featured in “My Bugoy Goes to Congress” and the melodrama, “Tatlong Ina, Isang Anak.” Finally, a year before their final showdown in this decade, 1988, both Vilma and Nora’s focus were on their television shows and only managed to do three films, Nora did the forgettable,”Balut Penoy” and “Sana Mahalin Mo Ako” while Vilma’s only film was “Ibulong Mo Sa Diyos,” a surprised winner in FAMAS and that allowed her to be elevated to their Hall of Fame pedestal. The last year of the decade seems to be the same for both Vilma and Nora, they only produced four films, one for Nora “Bilangin Ang Bituin sa Langit” and three for Vilma, “Imortal,” a festival entry; “Pahiram Ng Isang Umaga,” her last film with Ishmael Bernal and a special guest role in “Rizal Alih, Zamboanga Massacre.” 1989 ends brighter for Vilma, her TV show maintained its high ratings and her filmfest entry, “Imortal” earned several acting trophies including a best actress for her. Come, 1990 Nora and Vilma found themselves fighting it again mano a mano in the acting derby, Nora for “Bilangin” and Vilma for “Pahiram.”

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Vilma Santos Seven Golden Years 1977 – 1984

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From 1977 to 1984, Vilma Santos made 55 films, a very productive seven years full of commercial success and several critical accolades.

13 Acting trophies– 11 Best Actress, 2 Best Picture (Film Producer)

11 Acting Nominations

1977– six films, highlights: Burlesk Queen and Dalawang Pugad, Isang Ibon signalled her image transformation.

  • 1977 Burlesk Queen – “…an official Entry to the 1978 Festival del film Locarno (Switzerland) …swept the awards in that year’s MMFF, resulting in a controversy that led to the wholesale return of trophies. In spite of the scandal, “Burlesk” is still regarded by critics as the “quintessential” Filipino film. “Hinamon ni Brocka si Tinio ng suntukan (Lino Brocka dared Rolando Tinio to a fight),” Celso remembers. “Tinio, who was the head of the jury, heralded “Burlesk as the most beautiful Filipino film” past, present and future.” Vi’s turnaround: Adding fuel to the fire, ?Burlesk? had stunned moviegoers because it unveiled a new Vilma Santos?from ingénue to wanton woman. Vilma says of “Burlesk?” – “It marked a transition in my career. Working with Celso Kid is a privilege. He’s a genius.” With good humor, Vilma recalls a “quarrel” on the set of “Pagputi ng Uwak, Pag-itim ng Tagak,” which she produced in 1978. “It took so long to finish. I lost money on that. But we’re still friends.” Burlesk and Pagputi brought a lot of honor to me…” (READ MORE)
  • 1977 Dalawang Pugad, Isang Ibon – “…Bernal recieved his first Gawad Urian best director award…Anita Linda and Mary Walter played mother and grandmother to Vilma…” (READ MORE)
  • 1977 Masarap, Masakit ang Umibig – “…an entry to the 1981 ASEAN Film Festival in Sydney Austarlia and Asia-Pacific Film Festival in Taipei Taiwan…the film earned Mat Ranillo III the 1978 FAMAS best supporting actor award…” (READ MORE)
  • 1977 Pulot-gata, Pwede Kaya? – “…Directed by and casted Vi with Romeo Vasquez, Suzanne Gonzalez, Rodolfo Boy Garcia, Tange, Ruel Vernal, Tita De Villa, Paraluman…” (READ MORE)
  • 1977 Susan Kelly, Edad 20 – “…Directed by Maria Saret and casted Vi with Dante Rivero and Anthony Alonzo…” (READ MORE)
  • 1977 Apoy sa Ibabaw Apoy sa Ilalim (cameo role) – “…Produced by VS Films, no information available except that the Vilma Santos’ birthday celebration was added as bonus feature of the film….” (READ MORE)

1978– fourteen films, highlights: Lino Brocka’s Rubia Servios and Celso castedillo’s Pagputi ng Uwak, Pag-itim ng Tagak; atleast one film per month; films with Nora Aunor, Ikaw ay Akin, Pinagbuklod ng Pag-ibig and Huwag Hamakin Hostess (Vi in came role).

  • 1978 Huwag Hamakin Hostess (cameo role)
  • 1978 Mga mata ni Angelita (came role) – “…Julie Vega was only 10 years old when she was launched to full stardom in the 1978 movie, “Mga mata ni Angelita.” …She appeared in previous movie outings as Darling Postigo. The young Vega was ably supported by an all super star casted headed by the King of Philippine Movies, Fernando Poe, Jr. (in the role of Conrado, the ex-convict) and Comedy King Dolphy (as Tacio, the taho vendor). Also appearing in cameo roles…Vilma Santos ( as a worried wife)…” (READ MORE)
  • 1978 Amorseko: Kumakabit, Kumakapit – “…Directed by Maria Saret and casted Vi with George Estregan, Ernie Garcia, Rez Cortez, and Beth Bautista…” (READ MORE)
  • 1978 Bakit Kailangan Kita? – “…Directed by Emmanuel H. Borlaza and casted Vi with Romeo Vasquez, Vilma Santos, Maan Hontiveros, Laurice Guillen, Romeo Enriquiz, Mary Walter…Leah Navarro’s “Kailangan Kita” was used as the film’s theme song ..” (READ MORE)
  • 1978 Kampus – “…Directed by Emmanuel H. Borlaza and casted Vi with Bembol Roco, Mat Ranillo III, Allan Valenzuela, Liza Lorena, Anita Linda, Lito Lapid…” (READ MORE)
  • 1978 Disco Fever – “…Directed by Al Quinn and casted Vi with Christopher De Leon, Victor Laurel, Rio Locsin…” (READ MORE)
  • 1978 Ikaw ay Akin – “…Nora and Vilma were nominated for their roles in the 1978 Gawad Urian but lost, their leading man Christopher de Leon won the best actor…” (READ MORE)
  • 1978 Nakawin Natin ang Bawat Sandali – “…Directed by Elwood Perez and casted Vi with Christopher De Leon, Baby Delgado, Roel Vergel de Dios…” (READ MORE)
  • 1978 Pag-ibig ko sa iyo lang Ibibigay – “…Directed by Nilo Saez and casted Vi with Romeo Vasquez, Perla Bautista, Romy Diaz…Flippers’ “Pag-ibig ko sayo ko lang ibibigay” was used as the film’s theme song…” (READ MORE)
  • 1978 Pagputi ng Uwak, Pag-itim ng Tagak – “…Vilma’s own VS films won both the 1978 FAMAS and Gawad Urian best picture awards…” (READ MORE)
  • 1978 Pinagbuklod ng Pag-ibig – “…Directed by Leonardo L Garcia and casted Vi with Romeo Vasquez, Nora Aunor, Tirso Cruz III, Romnick Sarmenta…” (READ MORE)
  • 1978 Promo Girl – “…Directed by Joey Gosiengfiao and casted Vi with Ricky Belmonte, Roel Vergel de Dios, Bembol Rocco, Eddie Gutierrez…” (READ MORE)
  • 1978 Rubia Servios – “…it may not win her the 1978 Metro Manila Film Festival: Best Performer award but Rubia Servios end up as a record breaking earner of the festival…” (READ MORE)
  • 1978 Simula ng Walang Katapusan – “…Directed by Luis Enriquez and casted Vi with Eddie Rodriguez, Carmen Soriano, Lito Anzures, Rio Locsin, Ruben Rustria…” (READ MORE)

1979– eight films, highlights: movies with fim giants: Dolphy in Buhay Artista, Ngayon; Charito Solis in Modelong Tanso.

  • 1979 Buhay Artista, Ngayon – “…Directed by Frank Gray Jr. and casted Vi with Dolphy, Panchito, Babalu, Cachupoy, Bayani Casimiro, Georgie Quizon, Ellen Esguerra, Moody Diaz, Odette Khan, German Moreno, Ike Lozada, Florante, Joe Quirino…” (READ MORE)
  • 1979 Coed – “…Directed by Emmanuel H. Borlaza and casted Vi with Jay Ilagan, Celia Rodriguez, Allan Valenzuela, Jun Soler, Angge…” (READ MORE)
  • 1979 Halik sa Kamay, Halik sa Paa – “…Directed by Luis Enriquez and casted Vi with Ronald Corveau, Eddie Rodriguez, Rosemarie Gil, Roderick Paulate, Angie Ferro, Aurora Salve…produced by Vilma Santos’ VS Films…” (READ MORE)
  • 1979 Magkaribal – “…Directed by Elwood Perez and casted Vi with Christopher De Leon, Alma Moreno …” (READ MORE)
  • 1979 Modelong Tanso – “…Directed by Cirio H. Santiago and casted Vi with Charito Solis, Winnie Santos…” (READ MORE)
  • 1979 Pinay, American Style – “…Directed by Elwood Perez and casted Vi with Christopher De Leon, Bembol Roco, Cocoy Laurel, Rosa Mia…Theme Song, “Pinay” performed by Florante…” (READ MORE)
  • 1979 Rock, Baby, Rock – “…Directed by Oscar Miranda and casted Vi with Junior, Rolly Quizon, Leah Navarro, Tito Sotto, Vic Sotto, Joey de Leon…” (READ MORE)
  • 1979 Swing it, Baby – “…Directed by Al Quinn and casted Vi with Romeo Vasquez, Tito Sotto, Vic Sotto, Joey de Leon, Amy Austria, V.S.T. & Company, Mike Monserrat, Walter Navarro…Theme Songs, “I-swing mo ako” performed by Sharon Cuneta…” (READ MORE)

1980– nine films, highlights: ressurected her Darna role for the last time; bolder stripper roles in Mrs Jones and Miss X.

  • 1980 Ang Galing-galing Mo, Mrs. Jones – “…Directed by Cirio H. Santiago and casted Vi with Al Tantay, Mark Gil, Vic Salayan, Anita Linda ..” (READ MORE)
  • 1980 Darna at Ding – “…Directed by J. Erastheo Navoa and Cloyd Robinson and casted Vi with Niño Muhlach, Celia Rodriguez, Marissa Delgado, Veronica Jones, Rez Cortez, Ike Lozada, German Moreno, Al Tantay, Donna Villa…” (READ MORE)
  • 1980 Good Morning, Sunshine – “…Directed by Ishmael Bernal and casted Vi with Junior, Lloyd Samartino, Sheryl Cruz, Debraliz, Anita Linda, Liza Lorena…” (READ MORE)
  • 1980 Gusto Ko Siya, Mahal Kita – “…Directed by Emmanuel H. Borlaza and casted Vi with Romeo Vasquez, Christopher De Leon, Maila Gumila…” (READ MORE)
  • 1980 Langis at Tubig – “…Directed by Danny Zialcita and casted Vi with Dindo Fernando, Ronaldo Valdez, Amy Austria, Vic Silayan…theme song, “Langis At Tubig” performed by Sharon Cuneta…” (READ MORE)
  • 1980 Miss X – “…Directed by Gil Portes and casted Vi with Mark Gil…theme song, “Dito Ba?” performed by Kuh Ledesma…film shot in the red district of Amsterdam…” (READ MORE)
  • 1980 Romansa – “…Romansa (1980) was the first film of two tha Edu Manzano and Vilma Santos films did together (the other one was Palimos ng Pag-ibig (1986)…” (READ MORE)
  • 1980 Yakapin Mo Ako, Lalaking Matapang – “…Directed by Emmanuel H. Borlaza and casted Vi with Lito Lapid, Chichay, Angie Ferro, Lucita Soriano, Rez Cortez, German Moreno…theme song performed by Lirio Vital…” (READ MORE)
  • 1980 Candy Vilma Santos in a cameo role.

1981– four films, highlights: box office hits – Karma and Pakawalan Mo Ako; Karma, an entry to the 1981 Metro Manila Film Festival earned Vilma the festival’s best actress award.

  • 1981 Pakawalan Mo Ako – “…Vilma Santos won the 1981 FAMAS Best Actress…” (READ MORE)
  • 1981 Hiwalay – “…Directed by Romy Suzara and casted Vi with Dindo Fernando, Eddie Rodriguez, Celia Rodriguez, Anita Linda …” (READ MORE)
  • 1981 Karma – “…Vilma Santos won the 1981 Metro Manila Film Festival Best Actress…” (READ MORE)
  • 1981 Ex-Wife – “…Directed by Eddie Rodriguez and casted Vi with Beth Bautista, Raul Aragon, Michael de Mesa, Eddie Garcia, Liz Alindogan, Wendy villarica, Rosemarie Gil…” (READ MORE)

1982– six films, highlights: Record-breaking hits: Gaano Kadalas ang Minsan? and Sinasamba Kita. Earned rave reviews for her performance in Relasyon; last year’s Pakawalan Mo Ako earned Vilma her second FAMAS best actress (after Dama De Noche in 1972).

  • 1982 Gaano Kadalas ang Minsan? – “…Gaano kadalas ang Minsan grossed 7.3 Million in its few days run in Metro Manila in 1982 outgrossing “Sinasamba Kita” for Philippine movies’ all-time box office tally. With inflation and currency rate in consideration that will be around 95 million. But that’s not the only exciting thing about these film. It was the only film that Vilma Santos and Hilda Koronel did while atleast when Hilda was still at her peak…” (READ MORE)
  • 1982 Haplos – “…Directed by Antonio Jose Perez and casted Vi with Christopher De Leon, Rio Locsin, Delia Razon, Eddie Infante…theme song, “Haplos” performed by Eva Eugenio…” (READ MORE)
  • 1982 Never Ever Say Goodbye – “…Directed by Gil M. Portes and casted Vi with Nonoy Zuniga, Ian Veneracion…theme song, “Never Ever Say Goodbye” performed by Nonoy Zuniga…” (READ MORE)
  • 1982 Relasyon – “…The very first “Grand Slam” for Best Actress in Philippine Entertainment history…” (READ MORE)
  • 1982 Sinasamba Kita – “…They started with 38 theatres, by the weekend (they added more) and became 41 theatres…After 6 days, the film earned P5,207,416.00. After a week’s time, almost P6 million…” (READ MORE)
  • 1982 T-Bird at Ako – “…Directed by Danny Zialcita and casted Vi with Nora Aunor, Dindo Fernando, Tommy Abuel, Anita Linda, Liza Lorena, Rustica Carpio…theme song, “Hiwaga ng Pag-ibig” performed by Nora Aunor…” (READ MORE)

1983 – four films, highlights: box office hits – Minsan Pa Nating Hagkan Ang Nakaraan and Paano Ba Ang Mangarap; received grandslam best actress from previous year’s Relasyon (Winning four best actress from FAMAS, Gawad Urian, CMMA and FAP).

  • 1983 Ayaw Kong Maging Kerida – “…Directed by Leonardo L. Garcia and casted Vi with Romeo Vasquez, Carmi Martin, Norma Blancaflor…” (READ MORE)
  • 1983 Broken Marriage – “…Vilma Santos won the 1983 Gawad Urian best actress, her second consecutive awards from the local critics…” (READ MORE)
  • 1983 Minsan pa Natin Hagkan Ang Nakaraan – “…Directed by Marilou Diaz Abaya and casted Vi with Christopher De Leon, Eddie Garcia…theme song, “Minsan Pa Nating Hagkan Ang Nakaraan” performed by Basil Valdez…” (READ MORE)
  • 1983 Paano Ba ang Mangarap? – “…Directed by Eddie Garcia and casted Vi with Christopher Deleon, Amy Austria, Jay Ilagan, Peral Bautista, Armida Siguion Reyna, Vic Silayan…theme song, “Paano Ba Ang Mangarap?” performed by Basil Valdez…” (READ MORE)

1984– four films, highlights: films with Brocka, Diaz-Abaya, de Leon in one year; received second consecutive Gawad Urian for last year’s Broken Marriage.

  • 1984 Adultery – “…Directed by Lino Brocka and casted Vi with Phillip Salvador, Tita De Villa, Alvin Enriquez, Anita Linda, Mario Montenegro, Deborah Sun…” (READ MORE)
  • 1984 Alyas Baby Tsina – “…Directed by Marilou Diaz-Abaya and casted Vi with Phillip Salvador, Dindo Fernando, Cecille Castillo, Chanda Romero, Johnny Delgado, Caridad Sanchez, Maria Isabel Lopez, Dexter Doria, Mary Walter, Vangie Labalan, Harlene Bautista…” (READ MORE)
  • 1984 Sister Stella L. – “…Vilma Santos won the 1984 Gawad Urian:best actress…the Philippines’ entry to 1985 Venice International Film Festival…Sister Stella L. was one of 25 Filipino films shown in New York from July 31 to August 1999, organized by the Film Society of Lincoln Center…” (READ MORE)
  • 1984 Charot – “…Vilma Santos in cameo role…” (READ MORE)

OPM Jukebox Hits – Original Artists

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Songs – Artists

  • 01 Rain – Boy Mondragon
  • 02 Bakit Ako Mahihiya – Didith Reyes
  • 03 Mr. Lonely – Victor Woods
  • 04 My Pledge of Love – Edgar Mortiz
  • 05 Sixteen – Vilma Santos
  • 06 Mardy – Eddie Peregrina
  • 07 Forbidden – Norma Ledesma
  • 08 I Am A Soldier – Lew Soratorio
  • 09 You Don’t Own Me – Jeanne Young
  • 10 Dearest One – Lord Soriano
  • 11 Mother Of Mine – Florence Aguilar
  • 12 Faithful Love (Instrumental) – Cezar Manalili on Guitar
  • 13 Baleleng – Max Surban
  • 14 I’m Sorry – Neddie Decena
  • 15 Love Me Now And Forever – Romeo Miranda
  • 16 Pangako – Flippers
  • 17 Kawawang , Cowboy – Fred Panopio
  • 18 Butsekik – Yoyoy Villame (Amazon)

Wilear’s Top Company in Philippine Awards – The third annual presentation of the Awit Awards was held at the Manila Hotel with Senator Doy Laurel of the Philippine Congress as guest of honor and principal speaker. The sponsoring group was the Philippine Academy of Recording Arts and Sciences (PARAS). The event criticized in the local circle because of its unpopular results and deglamourized presentation, gave posthumous awards of merit to Frankie Martin, a juror last year, and Santiago Suarez, one of Filipino musical stalwarts. The founder of the Awit Awards, Billboard correspondent Oskar Salazar, was also honored. Wilear’s Records scored heavily in the awards this year. The foreign division was permanently scrapped. Two major companies, Villar Records and Dyna Products, Inc. did not submit nominations this year. The 1970 winners are: Female Singer (English) – Nora Aunor (Alpha); Male Singer (English) – Eddie Mesa (Grandeur); Female Singer (Vernacular) – Amapola (Lapulapu); Male Singer (Vernacular) – Armando Ramos (Wilear’s). Most Promising Female Singer – Eva Vivar (Alpha); Most Promising Male Singer (tie) – Boy Mondragon (Vicor) and Jonathan Potenciano (D’Swan); Record Company of the Year – Wilear’s Records; Song of the Year – “Forever Loving You” by Bert Dominic (Billboard); Best Single – “Sixteen” by Vilma Santos (Wilear’s); Vocal Group (Vernacular) – D’Big 3 Sullivans (Vicor); Vocal Group (English) – Reycard Duet (Alpha); Instrumental Recording – “Philippine Rondalla” by the Philippine Rondalla (Wilear’s); Original Movie Music Theme – Soundtrack of “Wanted: Perfect Mother” by Danny Subido (Neon); Special Recording – “Philippine Rondalla” (Wilear’s); Instrumental – Eric Dimson (Vicor); Instrumental Group – Pandacan Original Brass Band (Wilear’s); Musical Arranger – Doming Amarillo; Lyricist (Vernacular) – Philip Maninang; Lyricist (English) – Danny Subido; Composer (English) – Robert Dominic; Album Liner Notes (LP & Mini) – “Baby Vi” (Wilear’s); Album Cover (LP) – “I’m Sorry My Love” (Vicor); Mini-Album – “Something Stupid” by Vilma Santos and Edgar Mortiz (Wilear’s); Album – “Phenomenal Nora Aunor” by Nora Aunor (Alpha). Other Awardees (receiving plaques): Best Recording Studio – Cinema-Audio, Inc.; Best Recording Engineers – Ric Santos (Cinema-Audio, Inc.) and Best Pressing Plant – Home Industries Dev. Corp. Given citations for their support were Tower Productions, stations DZTM and DZTR and Gloria Sevilla, a film producer. – Billboard Magazine, International News Reports, 14 August 1971 (READ MORE)

Eddie Garcia’s Vilma Santos Films

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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)

Eddie Garcia first directed Vilma in the Marcos film, “Pinagbuklod Ng Langit.”  She reprised the role of Imee Marcos and again co-starred with movie queen, Gloria Romero and dramatic actor, Luis Gonzales after “Iginuhit ng Tadhana.”  Garcia directed Vilma again in 1982′s record breaker, “Sinasamba Kita.”  Overall, the two collaborated in five more films after “Sinasamba,” giving us two of the most memorable Filipino movie lines – confronting the mistress Dina Bonevie, Vi said: “Para Kang Karinderyang bukas sa lahat ng gustong kumain (translated literally into “You are like food restaurant! Open to all who wanted to eat!”) from the movie “Palimos Ng Pag-ibig” and then confronting the rich snotty old Alicia Vergel, Vi said: “Si Val, si Val, si Val na walang malay! (literally translated to “Its Val! its Val!, Its always Val, The one who is innocent!”). – RV (READ MORE)

Pinagbuklod ng langit (1969) – “…Pero higit na tumatak si Luis nang gampanan niya ng dalawang beses si Pangulong Ferdinand Marcos. Ito’y sa kontrobersyal na pelikulang “Iginuhit ng Tadhana” bago tumakbo si Marcos bilang presidente noong 1965. Sinundan ito ng “Pinagbuklod ng Langit” noong 1969. Si Imee Marcos, na ginampanan noon ni Vilma Santos, naalala ang galing ni Luis na mahirap na daw tapatan ngayon. “His acting was understated. A great actor and a good friend. He played a big role in our lives. Halos naniniwala na ako na tatay ko siya dahil sa boses. Mahal na mahal namin si Luis Gonzales,” sabi ni Imee. Ayon sa kanyang kabiyak, huling hiling ni Luis na ipa-cremate ang kanyang labi…” – Mario Dumaual (READ MORE)

Sinasamba Kita (1982) – “…Sobra pala ang lakas ng “Sinasamba Kita.” Tuwang tuwa sina Vic at Mina del Rosario. They started with 38 theatres, by the weekend, 41 theatres na ang nagpapalabas ng pelikula. After 6 days, kumita na ito ng P5,207,416.00. After a week’s time, almost P6 million na ito….” – Billy Balbastro (READ MORE)

Paano Ba ang Mangarap? (1983) – “…A true blooded Vilmanian will not forget the time when a teaser (a very brief movie trailer – around 20 seconds) was shown to the theatres in the summer of 1983. It was Viva films’ “Paano Ba Ang Mangarap?” Another box office hit from Vilma Santos and Christopher DeLeon. The teaser (almost worth the whole movie ticket) was the scene where Lisa, played by Vilma discovered that her son (to Eric’s brother, Jay Ilagan) was gone courtesy of her evil rich mother-in-law (Armida Sigueon Reyna). Here’s the lines and the explosive acting of the Queen. The scene: After running around looking for the baby in all the rooms in second floor of of this huge mansion, Lisa confronted Eric who were stunned to find Lisa’s hysterics. Lisa: “Dinaya n’yo ako! Saan n’yo dinala ang anak ko?!!!” Eric: “Hindi ko alam!” Lisa: “Hindi mo alam…Sinungaling!” Eric: “Lisa, makinig ka muna…” Lisa: “Kasabwat ka ng ina mo! Alam ko matagal n’yo nang plano ito!” Eric: “Ano bang pinagsasabi mo?” Lisa: “Dinaya n’yo ako! Mga Traydor Kayo! Traydor kayong lahat!” Eric: “Lisa, huminahon ka baka mapaano ang bata!” Lisa: “Wala akong pakialam! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin ang anak ko! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin….AHHHH” (mahuhulog sa hagdanan). Just this scene alone, Vilma should be rewarded that year’s best actress award! Bravo!…” – RV (READ MORE)

Palimos Ng Pag-ibig (1986) – “…The year was 1986. Palimos Ng Pag-ibig directed by Eddie Garcia was a smashed hit. Vilma co-starred with her soon to be ex husband Edu Manzano and Dina Bonnevie. Despite the mixed reviews from the critics, the film gave us, arguably, one of the most memorable lines in Philippine movie history. The scene was, Vilma, playing Fina was about to leave the house when Ditas, (Edu’s mistress and baby maker) knocked on the door, with her was her husband’s child. She forced herself in. Confronting Ditas, Fina: “Ilang gabi kang binili ni Rodel?” Ditas (Dina): “Isang Gabi lang, malakas ang kanyang punla at nangangailangan lang ng matabang lupa!” Fina: “Okey! So you’re fertile and I’m barren…pero sa mga pangyayari, para kang karinderyang bukas sa lahat ng gustong kumain! Paano mong mapapatunayang ang asawa ko nga ang ama ng batang iyan at wala siyang kasosyong iba?…” – RV (READ MORE)

Saan Nagtatago Ang Pag-ibig? (1987) – “…Tulad ng “Paano Ba Ang Mangarap,” merong ‘dream sequence” ang pelikula kung saan kunwari’y hinuhusgahan si Val na isang baliw. Kung puputulin ang eksenang ito’y hindi magiging sagabal sa paglalahad ng buong istorya ni Gilda Olvidado. Mula sa lumang bahay hanggang sa eksena sa libingan ay mahusay ang sinematograpiya ni Romy Vitug at disenyong pangproduksiyon ni Manny Morpe. Mahusay ang mga katulong na artista mula kay Cherrie Gil, Alicia Alonzo at Alicia Vergel. Mahusay rin si Ricky Davao bilang Rick at Gloria Romero bilang ina ni Rick at Val. Ngunit ang pelikulang ito’y tungkol kay Val at bilang si Val ay nabigyan ng mahusay na pagganap ni Tonton Gutierrez ang papel na sinto sinto mula sa pagsasalita na utal utal haggang sa pisikal na mukha at pa-ika-ikang paglalakad. Tulad ng inaasahan, mahusay si Vilma bilang si Stella. At tulad ng maraming pelikulang ginawa niya sa ilalim ng Viva at sa direksiyon ni Eddie Garcia ay merong linya o dayalogo siya na hindi malilimutan, ito ay nang bigkasin niya ang linyang, “…si Val, si val na wala naman malay…” na magpahanggang ngayon ay natanim sa mga Pilipino na mahihilig sa pelikulang tagalog.” – RV (READ MORE)

Imortal (1989) – “…There are other laughable scenes. Vilma says, “My husband is (music rises ominously) — my husband is (music again) Impotent (music rises to a climax)!” You’d think the husband just contracted the AIDS virus or got castrated by Sparrow units! Shucks, I know several husbands who just can’t do it anymore, and I hear no heavy music when their wives complain. As a matter of fact, wives prefer their husbands to be impotent, rather than be sexually active with other women. Another terrible scene. The car ridden by Christopher and wife Cherie Gil falls off a cliff. Cherie who is pregnant is mortally wounded and dies. And Christopher looks at his dead wife, and holds aloft a new born baby complete with umbilical cord. This is absurd without a caesarian operation by a doctor. The worst scene is when Christopher digs up the corpse of Vilma at the cemetery, amidst thunder, lightning, wind and rain, and embraces her passionately, while she exhibits no rigor mortis, and apparently no smell of formalin. You don’t find this kind of idiocy in a television commercial. Most of my grandchildren, including Angeli who is only four months of age, enjoy commercials more than dramas….” – Hilarion M. Henares Jr. (READ MORE)

Eddie Garcia (born Eduardo Verchez García on May 20, 1929 in Sorsogon, Philippines) popularly known as Manoy is a Filipino film actor and film director…He is the most awarded and nominated person in the long history of the Filipino Academy of Movie Arts and Sciences (FAMAS) Awards. He garnered a total of 34 nominations (13 for Best Supporting Actor, 10 for Best Actor and 11 for Best Director). Out of these, he got 6 Best Supporting Actor wins, 5 Best Actor wins and 5 Best Director wins, 3 Hall of Fame Awards, 1 Lifetime Achievement Award and the Fernando Poe, Jr. Memorial Award. He was awarded his first FAMAS Award in 1957 and his last FAMAS, a Hall of Fame for Best Actor, in 2003. The first actor to be inducted in the FAMAS Best Supporting Actor Hall of Fame of the Filipino Academy of Movie Arts and Sciences in 1974. – Wikipedia (READ MORE)

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Higit Ngayon Ang Responsibilities ni Vi

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Ngayong masasabing kay Vi lahat nakatutok ang mga mata ng mga taong nagbabasa sa local showbiz world. At marahil gayon din ang mga nasa labas nito…ang kanyang hindi mabilang na fans at ang mga movie public. Pagka’t bukod sa pagiging isang aktress, isa na ring movie producer si Vi. Nakikiramdam ang mga naturan kung mahusay niyang magampanan ang dalawang papel na ito ngayon. Bilang aktres, ang paglabas ni Vi sa Mga Rosas Sa Putikan, na isang movie production ng kanyang kompanya ay isa ring puntos ng interes para sa mga naturan. Pagka’t dito’y maiiba sa dating uring role ang ginagampanan ni Vi. Magsisilbing tunay na hamon sa career niya. Dito kasi’y gagawa si Vi ng mga eksenang hindi niya ginagawa-gawa sa pelikula. Sa Mga Rosas mababatid kong maiibigan ng movie public at ng mga fans niya in particular ang gagawin niya o hindi. Kung ipagpapatuloy niya ito o hindi, kaya ang mahalagang katanungang malikha tungkol dito ay “tanggapin kaya ang pagbabago” (na marami ring nagsasabing pagpapaunlad sa kanyang career na panahon na niyang gawin( ng kanyang image?” Ang isa pang interesadong malaman ng publiko’y ang tungkol sa unang movie production niya, ang Mga Rosas Sa Putikan nga.

Hindi kaila kasi sa mga ito na maraming pumapasok sa movie making business na sa unang produksiyon pa lang ay bagsak na agad. Hindi kasi kumuwela ito. Bagama’t nakakahigit mang malaki ang nagsasabing ki-click ang Mga Rosas, kahit paano’y naroon pa rin ang katanungang, “Mag-click kaya ang first movie productions nina Vi!” Ngunit ang katanungang ganito’y pangkaraniwan sa showbiz. People in and out of the showbiz world will always wonder if a movie will be a hit or not in the box office. Kaya’t higit ngayong marahil ang responsibilities ni Vi hindi lang sa kanyang sarili kungdi sa kanya ring fans, the movie public, sa mga mahal niya sa buhay, sa mga kaibigan, at sa local showbiz industry. Wala nang hangarin si Vi sa pagiging aktres n’ya. She has more than proven herself in this. Ngunit, masasabing mayroon din naman. Pagka’t sa pagpasok niya sa movie productions, hindi niya dapat payagang mabawasan ang ningning ng kanyang nakakasilaw na katayuan bilang isang artista. She owes this much to her countless followers. At bilang aktres ay nararapat niya ring ibuhos ang kanyang lahat sa unang produksiyon niya kung saan siya rin ang pangunahing bituin. – Cleo Cruz, Darna, No. 304, 30 Aug 1974

Cleo Cruz was Vilma Santos’ publicist in the early part of her movie career. Vi normally calls her, “Mommy” or Mommy Cleo. Now retired from entertainment journalism, Cleo Cruz is reportedly living in the United States. She referred Vi’s followers in many of her columns and articles as “Luvs.” – RV

Laurice Guillen’s Vilma Santos Films

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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)

Guillen gave Vilma her fifth and sixth Gawad Urian Best Actress awards for 1991′s Ipagpatawad Mo and 1993′s Dolzura Cortez. The later also gave Vilma her second grand slam, winning all the best actress awards from local award giving bodies. – RV (READ MORE)

Kapag Langit Ang Humatol (1990) – “…Fortunately, director Laurice Guillen has more faith in her material, more respect. For she has not only come up with a beautifully-photographed, well-edited and generally superbly-acted melodrama. She has also held up to us a mirror of the dreams and aspirations, the frustrations, suffer¬ing and uncomplicated lifestyle of the so-called masa. Moments of the heroine’s unmitigated oppres¬sion in the hands of her evil mistress is age-old reality in Philippine life and, quite logically, litera¬ture. Her soul nearly scarred by her excruciating, degrading experience, she somehow manages not only to survive but also to rise from her humble, bleak origins, when she leaves the hellhole and finds hope and rewards in the city. In true melodramatic fashion, she plots out her revenge, but alas, even in carrying it out, she must pay dearly, nearly tragically. Feminist observers may easily notice that in this picture – as in, they would say, Philippine society -it is the women who run things. They domineer and dominate, manipulating the men, even the men they love. True enough, from the very beginning, it is the mistress and her poor servant who move things, decide, and tell men what to do. It is they who plot out schemes and plan their destiny. The same is true even with the minor characters, those played by Kristine Garcia (who virtually drags the farm stud into a stormy affair and pushes him to run away with her), Eula Valdez (who pulls the trigger that ends a chapter in the drama), Charo Santos (the single mother and self-made tycoon) and Carmina Villarroel (the young woman who tries to extricate herself from the mess which her quarreling mother and grandmother have created). For their part, the men are pushed around, fooled and overtaken by events: the weakling lover (Gomez), the perpetually horny stablehand (Wil¬liam Lorenzo) and the young and rich heir (Jeffrey Santos). All in all, it is a glossy and well-crafted movie, with marvelous performances by Ms. Santos and Ms. Romero.” – Mario A. Hernando (READ MORE)

Ipagpatawad Mo (1991) – “…The movie is poignant, nevermushy. It isnotthe run-of-the-mill tearjerker that relies on maudlin theatrics and melodramatic devices to touch the hearts of moviegoers. Surprisingly, despite the frustrating problem facing the movie couple, moviegoers did not seem to be depressed by the movie. Attempts to “commercialize” the film may be seen in the comic relief provided by the protracted spats between the two kids’ yayas (Ruby Rodriguez and Jinky Oda). But the heavy subject and the conditions in the local film industry allow us to accept the filmmakers’ decision to inject such crowd-pleasing elements. Though the late Lino Brocka has made a posthumous telemovie on the same subject autism — with a similar dramatic situation in the still-unreleased “Lampang Kerubin,” this is the first time in recent memory that a Filipino movie tackles the subject with seriousness and compassion…” – Butch Francisco (READ MORE)

Dahil Mahal Kita: The Dolzura Cortez Story (1993) – “…Taong 1993, nang gawin naman nila ang award winning movie na “Dahil Mahal Kita, Dolzura Cortez” sa ilalim ng OctoArts films at sa pamamahala ni direk Laurice Guillen na nagbigay kay Ate Vi ng ikalawang Grand Slam Best Actress award…” – Willie Ferrnandez (READ MORE)

Laurice Guillen is a Filipino actress and director. A protege of Lino Brocka, Guillen began her first major work as a director with Init sa Magdamag. In 1984 she directed Salome, which was shown at the Toronto International Film Festival and described as “the kind of cinematic discovery that single-handedly justifies the festival’s existence”. Ipagpatawad Mo was also directed by Guillen, as was Dahil Mahal Kita: The Dolzura Cortez Story in 1993, before her retirement from filmmaking. Dedicating herself to the Marian movement, Guillen made pilgrimages to churches and cathedrals throughout the Philippines with her husband, believing that Mary had called on her to experience a spiritual renewal. By 1998 she was thinking about returning to filmmaking, and following a good reception of Ipagpatawad Mo by a group of priests, who encouraged her to back into filmmaking, along with an appearance on Kris Aquino’s talk show, she did so. – Wikipedia (READ MORE)

Related Reading
FAP: Laurice Guillen’s Filmography
Women of Power, Women of Substance
Laurice Guillen recalls her fondest memory of late husband Johnny Delgado
Laurice Guillen stars in Tanghalang Ateneo’s “The Glass Menagerie”
Clips – Dahil Mahal Kita: The Dolzura Cortez Story – Vilma Santos
Clips – Ipagpatawad Mo (Video)
Top 10 Film Directors (Video)

Aktres: Pelikula at Lipunan 2006

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Aktres – “…Movie buffs have until March 19 to catch up with the ongoing “Aktres: Pelikula at Lipunan” which is being held at the Cineplex in Gateway Mall at the Araneta Center. The film event, which is in celebration of the country’s top women in cinema, and which kicked off last Feb. 22, is being held in an effort to save the vanishing Filipino film heritage. Films starring the country’s top movie queens are being screened in order to raise funds to set up an industry film archive where films can be stored and preserved, according to festival director Nick Deocampo. Deocampo has taken up the task of creating public consciousness on the issue of film loss through the annual “Pelikula at Lipunan.” He said this month-long film event aims to raise funds to save what little is left of the country’s film patrimony. Just recently, the long presumed lost film “Zamboanga” which Deocampo recovered in the US during his studies there, was shown recently on ABC 5. The film, starring Fernando Poe, Sr. and Rosa del Rosario opened the filmfest. This time, Deocampo brought home the long-lost classics “Darna,” “Dyesebel” and “Ang Banga ni Zimadar” from where he discovered them in a film archive in Bangkok. The films starred Rosa del Rosario, Edna Luna and Mila del Sol, respectively.  Aside from these films, also shown at “Pelikula at Lipunan 2006” are other films starring the country’s top movie queens: “Gumising Ka, Maruja” starring Ms. Susan Roces; “Aguilar,” starring Amalia Fuentes; Gloria Romero’s “Dalagang Ilokana;” Nora Aunor’s “Nakaw na Pag-ibig;” Vilma Santos’ “Relasyon,” “Nida Blanca’s “Waray-Waray;” Mona Lisa and Hilda Koronel’s “Insiang;” Anita Linda’s “Sisa;” Lilia Dizon’s “Sanda Wong;” Jaclyn Jose’s “Private Show;” Sharon Cuneta’s “Bituing Walang Ningning;” Maricel Soriano’s “Hinugot sa Langit’ and Gina Alajar’s “Orapronobis,” among others. Aside from the film screenings, there is also a film exhibit tracing the history of women in Philippine cinema over the past 100 years; symposia on the theme of women and society; and a regional tour to salute the movie queens in their respective native cities like Susan Roces in Bacolod City; Gloria Romero in Pangasinan; Nora Aunor in Naga, and Vilma Santos as adopted daughter of Lipa, Batangas…” – The Manila Bulletin, March 17, 2006 (READ MORE)

Grim State – “…”In this festival, we decided to highlight the image of movie actresses in view of the recently concluded centennial of feminism in the Philippines,” said festival director Nick Deocampo. The tribute however went beyond the female leads. In her speech, Susan Roces extended the accolade to the film producers of her time, “While we pay tribute to the actresses, we shouldn’t also forget that the leading producers of our period are also women, Dona Dolores Vera of Sampaguita Pictures, Dona Sisang de Leon of LVN, and Dona Adela Santiago of Premiere Productions.” The other highlight of the festival is the crusade to save the Filipino films from oblivion. In fact, the proceeds of the festival will go to help build an industry film archive at the Mowelfund Film Institute, for storage and preservation of the rapidly decomposing Filipino films.  Film preservation in the Philippines is in a grim state. Just consider the facts: Movies such as Ang Daigdig ng Mga Api by the well-regarded Gerry de Leon, Dolphy’s El Pinoy Matador, Chiquito’s Arizona Kid, Dalagang Bukid, Wanted Perfect Mother, and Juan Tamad Goes to Congress are lost, not temporarily but forever. All the filmprints of Nora Aunor hits Ina Ka Ng Anak Mo and Annie Batungbakal are also lost. Salome, and Bakya Mo Neneng are damaged films with parts missing, while Vilma Santos’ Burlesk Queen and Dyesebel have their film prints abroad. Pelikula at Lipunan 2006 serves as a platform for Deocampo to dramatize the efforts of Mowelfund Film Institute to save Filipino films from rot. …” – Gypsy Baldovino, The Manila Bulletin, February 27, 2006, (READ MORE)

Nick Deocampo – Nick Deocampo (born 1959 in Mina, Iloilo) is a multi-awarded Filipino filmmaker, writer, and educator. He is the current director of the Center for New Cinema. Deocampo completed his basic education at West Visayas State University and finished salutatorian at Iloilo High School in 1976. He graduated cum laude with a bachelor’s degree in Theater Arts at the University of the Philippines (UP) in 1981. Under a a Fulbright Scholarship Grant, Deocampo earned his Master of Arts degree in Cinema Studies at the New York University in 1989. He was also a French government scholar for eight years and received his Certificate in Film at the Atelier du Formacion Au Cinema in 1989. He received another Fulbright grant as an international senior research fellow at the U.S. Library of Congress in Washington, D.C. in 2001…Deocampo has made a number of films, including a trilogy documenting Filipino lives during the regime of Ferdinand Marcos. It was awarded the grand prize in Brussels in 1987. – Wikipilipinas (READ MORE)

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Luis Enriguez’ Vilma Santos Films

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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)

Luis Enriquez aka Eddie Rodriguez first directed a young Vilma Santos in 1968’s “Kasalanan Kaya,” another love triangle genre starring the dramatic trio of Marlene Dauden, Eddie Rodriguez and Lolita Rodriguez. Vilma received an early acting recognition from this film, a FAMAS Nomination for Best Supporting Actress. When Enriquez directed Vilma again, it was a calculated risk. The film allowed a still young Vilma into a bikini-clad lead role opposite her director, Eddie Rodriguez as her leading man. The film was “Nakakahiya,” a May-December love story and an entry to 1975 Bacolod City Film Festival. Aside from making the the film a smash hit, Vilma received the festival’s Best Actress. Enriquez directed Vilma in five more films, the last one was in 1981’s “Ex-Wife.” In this film credits, Rodriguez surprisingly used his actor’s screen name – ‘Eddie Rodriguez and dropped his most known director’s name, “Luis Enriquez.” – RV (READ MORE)

Kasalanan Kaya? (1968) – “…This started the showbiz career of Ate Vi. Her most unforgettable film as a child actress is the Hollywood movie, “The Longest Hundred Miles,” where she co-starred with international film stars Ricardo Montalban, Katharine Ross and Doug McClure. From 1963 to 1969, she did 27 movies as a child actress. At 14, she got her first FAMAS nomination as a supporting actress in “Kasalanan Kaya?” where she played the daughter of Lolita and Eddie Rodriguez…” – Mario Bautista (READ MORE)

Ikaw lamang (1971) – “…Kahit love team na sina Vilma at Bobot Mortiz, ipina-partner pa rin si Vi sa iba’t ibang sikat na male heartthrobs noon.” Jojo mentioned singing sensation Eddie Peregrina (paired with Vi in Mardy and I Do Love You, both shown in 1970), showbiz royalty Jay Ilagan (Inspiration, Remembrance, Ang Konduktora all shown in ‘72, and Sister Stella L in ’84), young actor Paolo Romero (Ikaw Lamang in 1971), and even her rival’s partners, Tirso Cruz III (Dingdong, Give Me Your Love, and Nobody’s Child all in ’73) and Manny de Leon (Teenage Señorita in 1971)…” – Rommel R. Llanes (READ MORE)

Nakakahiya (1975) – “…Hit na hit sa takilya at Patok ang Mr. and Miss R.P. Movies na sina Eddie Rodriguez at Vilma Santos, ang nagkamit ng award bilang “Pinakamahusay na actor at actress sa Bacolod Film Festival para sa pelikulang “Nakakahiya.” At hindi lamang iyan. Nakamit din ng pelikulang ito ang mga sumusunod: Best Picture, best screenplay, best director, best sound, at best film editing awards. Isang bagay lamang ang ikinalulungkot ng mga taga-Bacolod. Hindi nakarating sina Eddie at Vilma upang tanggapin ang kanilang awards. At ang pinakahuling karangalang tinanggap ng dalawang sikat na tambalang ito ay ang pagkakapili sa kanilang dalawa bilang Mr. and Miss R. P. Movies ng taong ito. Isang karangalan ang mapiling Mr. and Miss R. P. Movies. Iisa lamang ang kahulugan nito ang mataas na pagpapahalaga sa kanilang dalawa ng pelikulang Tagalog bilang mga pangunahing alagad ng sining. At hindi naman alangan ang pagkakahirang kina Eddie at Vilma sapagkat kapwa sila dedicated sa kanilang propesyon. Si Eddie, bukod sa isang mahusay na actor, director at prodyuser ay isa pa ring mahusay na scriptwriter. At hindi lamang sa pelikula nagdi-direct si Eddie Rodriguez. Maging sa kanyang weekly tv show, ang “Sanyugto” ay siya rin ang director…” – Ely L. Jovez (READ MORE)

Hindi nakakahiya (1976) – “…Starring Eddie Rodriguez who was married to Barbara Perez who was the best friend of Gloria Romero whose daughter (again!) Vilma Santos fell in love with Mr. Rodriguez, Vilma’s first of May-December flicks. Oh, what a shame and a scandal in the family. A Morality play? You betcha. It’s the 70’s and the times they were changin’. Nakakahiya? Vilma donned a bikini for the first time and the public did not mind. Vilma and Eddie were so good that they triumphed at the Bacolod City Film Festival. Best Picture. Best Director. Best Actress. Best Actor. Beating the likes of Nora Aunor and Gerry De Leon. Ms. Romero and Ms. Perez did not mind second billings. It’s the role that mattered most…Eddie Rodriguez, Vilma Santos and Ms. Gloria Romero, a reprise of their first Nakakahiya film…” – Mario O. Garces (READ MORE)

Simula ng walang katapusan (1978) – “…She had the likes of Eddie Mesa, Tony Ferrer and, of course, real-life love Eddie Rodriguez, as leading men on the big screen. With Eddie, two movies stand out in Carmen’s memory: “Malayo Man, Malapit Din” and “Simula ng Walang Katapusan” (the latter co-starred Vilma Santos). The way Carmen remembers it, her own love story with Eddie could rival the best silver screen romances. “We first got together when I was 16. It was just puppy love. My mom adored him, but I thought he was boring, stiff and too formal.” Two decades after that initial encounter, their paths crossed again. “We starred in a film on the life of Gen. Jose Rancudo. We were both separated [from our spouses] then.” That time around, it was a relationship of equals, she says. “We were both successful in our careers and both mature.” Eventually, they also separated…” – Bayani San Diego Jr. (READ MORE)

Halik sa paa, halik sa kamay (1979) – “…Come 1979, both FAMAS and URIAN recognized Vilma’s effort. Her film directed by the flamboyant Celso Ad Castillo, her director on such hits, Burlesk Queen and Tagulan sa Tagaraw, made a first rate film, Pagputi Ng Uwak was an art film, deserving of all its awards. Vilma got the 1978 Best Picture award as producer together with a string of technical honours for best screenplay for Castillo, Lando Jacob and Ishko Lopez, best director for Castillo, cinematography for Romeo Vitug, musical score for George Canseco, and a deserving best supporting actress to veteran Angie Ferro. Despite the failure of the film to earn the major acting awards for Vilma Santos and Bembol Rocco, the film dominated both award giving bodies and its now considered classic and one of the best Filipino films of all time by many critics. If you ask, Susan Roces was the spoiler of the race between Nora and Vilma. Nora was nominated for Atsay while Vilma for Pagputi. At URIAN, Beth Bautista, did the spoiler. She won for Hindi sa Iyo ang Mundo, Baby Porcuna. The following year at the 1979 FAMAS, Vilma was nominated for her self produced film directed by Eddie Rodriguez, Halik sa Paa, Halik sa Kamay, the trophy went to Nora Aunor for Ina Ka ng Anak Mo…” – RV (READ MORE)

Ex-Wife (1981) – “…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)

Luis Enriquez Born Luis Clemente Enriquez on August 23, 1932 in Zamboanga City, Philippines. Famous for his dramatic films with Marlene Dauden and Lolita Rodriguez in the 60s. He wrote, produced and directed films using his birth name Luis Enriquez. On September 12, 2001, Eddie Rodriguez died at the young age of age 69. FAP: One of the greatest dramatic actors of Philippine cinema, he starred in such classics directed by Gregorio Fernandez as Kundiman ng Lahi, Luksang Tagumpay and Malvarosa with Charito Solis, Rebecca del Rio and Vic Silayan for LVN Pictures, Inc. He won a best actor FAMAS trophy for his performance in Sapagkat Kami’y Tao Lamang where he co-starred with Lolita Rodriguez and Marlene Dauden (who won as best supporting actress) under the direction of Armando de Guzman for Hollywood Far East Productions. He tried his hands in secret agent films like Paolo Staccato and Perro Gancho. He formed Virgo Productions with wife Liza Moreno, an actress-writer who wrote stories which Eddie acted in and directed. These films included Babae, Ikaw ang Dahilan, Kasalanan Mo, Ang Pagsintang Labis, Kapag Pusoy Sinugatan, Iginuhit sa Buhangin, Alaala mo, Daigdig ko, Bakit Ako Pa?, and Ikaw. Dubbed as the country’s drama king, he also directed Kung Kailangan Mo Ako (with Sharon Cuneta and Rudy Fernandez), Maging Sino Ka Man and Di Na Natuto (with Sharon Cuneta and Robin Padilla) Minsan Pa and Kahit Konting Pagtingin (with Fernando Poe Jr. and Sharon Cuneta). His real name was Luis Enriquez from Zamboanga City. – Wikipedia (READ MORE)

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Money and Vilma Santos

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Have you ever stop to wonder kung paanong ginagasta ni Vilma Santos ang “limpak-limpak” na salaping kinikita niya? Marami ang nagsasabi na ‘talagang masuerte ang batang yang si Vi. Kahit na ano ang hilingin niya ay kayang bilhin…Sunod-sunod ang pelikula na halos P100,000 per picture ang bayad sa kanya…hindi naman mahilig sa night clubbing! Kayang kayang magbuhay reina n’yan!” Kung iisipin nga ang inaakalang kitang ito ni Vilma, ay madaling isipin ang ganito. Kumikita, hinahangaan, pinupupog ng fans, at minamahal ng maraming kabinataan, pambihira na nga ang suerteng pamoso ngayon kay Vi. Puede na ngang magbuhay reina, ngunit sabi ng kanyang family, “Vi is a professional sa kanyang gawain, ngunit isa lamang siyang karaniwang tao sa loob ng tahanan. Kapatid lamang naman siya. Marahil kung tatratuhin namin siyang parang reina, ay siya ang ma-iiwas sa amin at siya pa ang maiirita!” Sa mga pakikipanayam noon kay Vilma ay napatunayan ang ganitong attitude niya. The only time na mistulang reina ang trato kay Vi ay tuwing matutulog ito. Lahat sila ay sinisikap na huwag siyang magambala sapagkat batid nilang pagod na pagod siya at mahalagang mahalaga na siya ay makapagpahinga nang husto.

Batid nilang napakademanding ng career ni Vi, na walang oras na iginigalang basta’t kailangang tapusin ang pelikula, at si Vilma, kalimitan na kahit na may sakit ay sinisikap na tapusin ang sariling commitment. Sa sandaling mabatid na ready na siya o gising na, mistulang central park ang silid niya sapagkat doon nakikilumpon ang mga kapatid na kung tulog siya ay sa silid naman ng mga parents nila naglilipon. Hindi na yata mauubusan ng balitaan, tanungan, at biruang magkakapatid, at si Edgar Mortiz na tumutungo rin doon kapaga batid na gising na si Vi o nakikibantay kapag tulog ito. That’s right, Vilma Santos is just big sister to Maritess, 14, Winnie, 11 and Sonny, 8 and plain younger sister to Emmelyn, Vi’s older sister. At ganito rin siya sa gastusan. Si Vi, tulad ng mga kapatid ay ang allowance lamang niya ang ginagasta. Binibigyan siya ng P200 a week ng ina, ng kalimitan ay binabahagi pa rin sa mga kapatid tulad nang magtopnotcher si Maritess sa klase. Binigyan niya ito ng P20.00 bilang premyo. Dito ay kinukuha pa rin niya ang pambile nang ilang damit at di dahil sa pinagdadamutan ina kundi Vi does not ask. Pinaghuhusto ang kanyang allowance. Magrebelde kaya si Vi sa ganitong pasunod ng mga magulong, gayong mapagmamalaki naman niyang siya ang kumikita na rin tulad ng father at mother?

Minsan ay tuwang tuwa na ikinuwento ni G. Amado Santos na father ni Vi, napakasuwerte raw nilang mag-asawa. Imagine raw ng minsan ay masayang masaya na umuwi si Vi kasama ng ina, buhat sa pamimili. “Ay nadaya ko si Mama! Siya ang nagbayad ng blouse na ito. Ang sweet sweet po naman ng mama ko!” at walang higit na pinupopog ng halik ang ina. Nangiti lamang…silang mag-asawa sa pagsasalimuot ay sana manatiling gayong kabait ang anak nila. Kung tutuusin ay sa kinikita ni Vi ay kahit ano kaya niyang bilhin, ngunit higit siyang maligaya na mapabilang sa mga mahal na kapatid. Tutungo roon at siyang bumubili. Batid nilang dahil sa pelikula kailangang ni Vi ng pambihirang mga damit at kagamitan. Lahat nang ito ay ipinauubaya ni Vi sa ina. Parang siyang-siya siya that there is somebody else to take care of things for her, someone who had known her all her life. And because she respects her mother’s business accumen, Vi and Mrs Santos used to sit up nights, making plans and later on making it up with the rest of the members of the family. Hanggang sa mga sandaling ito, hindi pa nagre-resign o nagre-retire si Mr. Santos sa kanyang gawain sa isang booking office. Sa kanyang pakiwari, itinuturing pa hanggang ngayon ni Vi na isang privilege na ang mapabilang sa kanyang mga kapatid at mapamahal sa mga ito.

Isa na ring kaligayahan niyang isipin na siya ay pinagagastusan ng kanyang parents. Lahat ng kinikita ni Vi ay pino-program ng kanyang mga parents. Namimili sila ng lupa, noong nagsisimula siya (mga 9 na taon gulang) namili na rin ng bahay at ang balak pa rin pumasok sa isang negosyo na malaki ang maitutulong sa suliranin ng tourism sa bansa, ang pagpapatayo ng gusaling puedeng makatawag sa housing problems sa ngayon. At sa mga Santoses, mula pa kay Vi…na siyang nagpasiya nito…may kabuhayan silang lahat, may bahagi sa kanilang pinagsikapan, sapagkat sila ang family who lives and loves together…lahat ay galak sa kasiyahan sa mga tagumpay ni Vi sapagkat itinuturing nilang kanilang tagumpay rin tio at si Vi naman ay walang atubili ng pagtanggap ng kanilang mga tulong at kalinga. Vi knows what money can do for their family but it has not yet occured to her what it can do for her only! Vi has never been placed in a position na inisip niyang siya ang workhorse…because she now makes the decisions. The whole household is made to revolve around her and the demands of her profession, without losing sight at the idea that she is a member of a whole and not the whole thing. Father and mother are the principal personalities in the vortex and Vi is just another daughter, able to make full use of her profession. And this is what makes life beautiful for Vi, being fullfilled as a professional and yet remaining a daughter of a family, “belonging” to someone, that “sense of belonging” providing her the security so essential to people in her profession. – TSS Magazine, No. 169, 08 Feb 1974

Elwood Perez’ Vilma Santos Films

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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)

Elwood Perez and Vilma Santos collaborated in seven films. The first one was the trilogy that he co-directed with two other directors, Borlaza and Gosiengfiao (these three are the most underrated and under appreciated directors in the Philippines), the remake of Mars Ravelo comic super hero, Darna in Lipad Darna Lipad. The film was a record-breaking hit film. They followed “Lipad…” with more mature project as Vilma started to transform her sweet image to serious mature/versatile actress. The film was “Masarap Masakit Ang Umibig” in 1977 that also featured Christopher de Leon and Mat Ranillo III. The Perez-Santos team produced seven blockbuster hits that gave Vilma two FAMAS best actress awards. The last one was in 1988 for “Ibulong Mo Sa Diyos” that elevated her to FAMAS highest honour, the FAMAS Hall of Fame award (She won for Dama de Noche 1972, Relasyon 1982, Pakawalan Mo Ako 1981, Tagos Ng Dugo 1987 and Ibulong Mo Sa Diyos 1988). – RV (READ MORE)

Lipad Darna Lipad! (1973) – “…In this episode Valentina, tried to steal Narda’s magical stone. Also, there was a scene where Valentina dressed up as Darna. I love the exciting part where Darna and Valentina battled on top of a high rise building. Darna, was almost a no match to her mortal enemy. Dangerously armed with lazer beams coming out from Valentina’s eyes, Darna was helpless and knocked down several times. Until, she stumbled upon into a piece of broken mirror and used it as a shield againts Valentina’s deadly lazer beams. Darna quickly made her looked in the mirror. Her lazer beams bounced back and she turned into a stone. From the roof, Valentina fell hard on the ground and broked into shattered pieces. Anjanette Abayarri and Cherrie Gil almost did the same scene in ” Darna, Ang Pagbabalik! ” Second Episode was directed by Elwood Perez…” – Eric Cueto (READ MORE)

Masarap, Masakit ang Umibig (1977) – “…Sa pelikulang ito, unang ipinamalas ang senswalidad ni Vilma Santos. Maraming eksenang sekswal ang aktres at maaari talaga siyang makipagsabayan sa mga tulad nina Alma Moreno at Trixia Gomez. Karamihan ng mga sitwasyong ibinigay sa kanyang karakter ay hindi kapani-paniwala. Nariyang gawin siyang modelo, sa ilang piling tagpo ipinakita din ang pagiging estudyante ni Estella ngunit hindi naman tinahak ang mga ito sa kabuuan ng pelikula. Hindi rin maikakaila ang husay ni Christopher de Leon bilang aktor ngunit sa pelikulang ito ay nasayang lamang ang kanyang pagganap. Hindi nabigyan ng tamang direksyon ang aktor kung kaya’t lumabas na sabog ang kanyang karakterisasyon. Si Mat Ranillo III naman ay tila hindi na natutong umarte. Kadalasa’y pinaghuhubad siya ng direktor sa mga eksena upang mabigyang pansin. Masyadong mahaba ang pelikula dahil na rin siguro sa panghihinayang ni direk Elwood na masayang ang magagandang eksenang kanyang nakunan ngunit hindi naman nakaapekto ang mga ito sa takbo ng istorya. Kadalasa’y nakababad lamang ang kamera at nakatanghod sa susunod na gagawin ng mga artista. Hindi ito nakatulong upang mapabilis ang takbo ng pelikula, nakakainip panoorin ang ganitong mga eksena…” – Jojo Devera (READ MORE)

Nakawin Natin ang Bawat Sandali (1978) – “…It has a uniformly good performance by the cast which includes Baby Delgado, Roel Vergel de Dios, Anita Linda, Jose Villafranca and the two leads Christopher de Leon and especially Vilma Santos who has done a surprisingly intelligent and affecting character portrayal. Not since Eddie Romero’s Sinong Kapiling, Sinong Kasiping? (1977) have we seen characters who think, behave and react to problems and situations like mature, sensitive and intelligent people. The characters do give way to occasional hysterical outbursts, but they somehow wake up to their senses before they completely forget themselves. And they are people in believable situations with real problems and genuine emotions. When they talk, they are seldom silly and when they are silly, they are aware of it. But even when they are silly or trite, they are never unsympathetic…” – Jojo Devera (READ MORE)

Magkaribal (1979) – “…Christopher de Leon embodies the physicality and psyche of a sexy beast whose complexity is at par with that of a De Niro or Pacino. De Leon, here in his prime epitomizes the dramatic range and animal magnetism akin to Marlon Brando’s Stanley Kowalski. Alma Moreno’s portrayal of a woman who desires a new life in the face of a very uncertain future is competent. The acting method employed here is able to twist the logic of cliché and reconstitutes the drama of yearning with passion and grace. Vilma Santos shows that the strength of women need not come from the repudiation of “feminine” traits and roles. Neither should they come from brute, shrewish adamance as exemplified by the stereotype, nor from machismo as embodied by her husband. Santos demonstrates that the concept of the beautiful, dainty, feminine and strong are not necessarily mutually exclusive. Rather, these form a character that is finally textured, complex and potentially oppositionist. Magkaribal is commendable for staging clever and well-thought out situations partaking of actual tension and punctuated by defamiliarizing comical scenarios and melodramatic circumventions. A certain style of filmmaking based on genre or other considerations is taken as any distinct mode of creating form in film and is made possible only against a background of options that makes a particular choice significant, meaningful and therefore recognizable stylistically. Film artists work within these possibilities in the process of making art, but are never limited to custom and habit…” – Jojo Devera (READ MORE)

Pinay, American Style (1979) – “…The film was so forgettable that the critics didn’t even bother to write any reviews. The lack of enthusiasm on the part of the critics was compensated with the box office success of the film. Vilma fits the role as the illegal alien, PX. Her attempt to speak fluent English and pretend that she’s rich when she met the boyish looking Christopher was funny and poignant. She was given enough scenes to shine. One was when she was harassed by her landlady, she promised her the rent money the next day and when she’s gone, she opened her refrigerator and found a staled piece of bread. She took bottled water and ate the staled bread, went to the bedroom and found her mom’s letter. Lying down in bed, she started to break down. A quiet scene without dialogue. A contrast from the earlier scenes where she was talkative as she tried to impress Christopher and telling him she’s rich and from a well-known family. It was obvious in 1979, Elwood Perez wasn’t the kind of director you will expect to produce a serious output. He wasn’t a Bernal or Brocka. He’s a commercial director. It was a better effort though, compared to a much more convoluted Magkaribal or their past successful projects like Nakawin natin ang bawat sandali and masakit masarap ang umibig. In Pinay, Toto Belano’s script wasn’t efficient in ironing out the “love quadrangle” plot twists and establishing the characters of four actors. So the blame can’t be put to solely to Perez’ shoulder. There was a scene were Vilma Santos and Christopher were watching a concert which was obviously not part of the script.” – RV (READ MORE)

Pakawalan Mo Ako (1981) – “…The second memorable film experience for me was during early 80s where I saw the free sneak preview of “Pakawalan Mo Ako” at Gotesco Theatre near University of the East. I was one of the lucky ones who managed to get in. My college mates weren’t. They got stocked in the pandemonium outside. I was worried sick as I took the long escalator and saw them being crashed by the crowed. The security guards have to closed the gate of the lobby. Fans became so restless and broke the glass windows (where they displayed posters and still photos) . Inside, It was crowded, hot and wild. We were seeing a more mature Vilma Santos. From the very beginning, the crowed went along the story until one of the climatic scene – the courtroom scene where she cried and swear! Oh my god I still remember the crowd swearing and cursing too! It was so wild!…” – RV (READ MORE)

Ibulong Mo Sa Diyos (1988) – “…Vilma hit the jackpot. After 11 nominations with four wins, her twelfth nomniation produced her an unexpected win. It elevated her to the hall of fame status. All artist who wins five automatically put them to the hall of fame list. It is a big honour but prohibit any one on the list to compete in the future for the same category. Regal films’ Ibulong Mo Sa Diyos, directed by Elwood Perez was a surprised winner. Not only it earned Vilma her fifth award as best actress, it also gave the late Miguel Rodriguez a best supporting actor award and the best director for Perez. Technical awards were also given to Ricardo Jacinto, cinematography, Rey Maliuanag, production design, Gary Valenciano, theme song, and George Jarlego, editing. The late Nida Blanca was also nominated for best supporting actress…” – RV (READ MORE)

“…Elwood Perez is a virtuoso of the camera and is the man behind numerous classic Filipino movies. His intuitive approach to filmmaking and scriptwriting is something worth emulating not because they are campy and sexy but they discuss social ills and promote solutions while tickling the most delicate part of our consciousness—our emotion. Born during the near end of World War II on Feb. 4, 1945 in Mabalacat, Pampanga, Elwood Perez started watching movies at the age of three. He practically grew up breathing, feeling, and thinking about movies. “I want [a] vicarious experience. That’s the only thing I want in my life. I hate the effort to go, let’s say for example to Venice. That’s why I watch films every day. Until now,” the 64-year-old director says. He wrote, directed and acted the lead role in his first Filipino play, Ander di Saya. And he was only nine years old then. From then on, Perez knew what he wanted to do for the rest of his life. At age 25, Perez marked his debut as a film director with Blue Boy in 1970. The film was a flop at the box office but it was revered by critics. Maturing as a scriptwriter and film director, in 1973, commercially successful Lipad, Darna Lipad! was released. Award-winning actress Celia Rodriguez essayed the role of Medusa-like villainess, Valentina, nubile Vilma Santos played the Filipino supergirl (a role that launched her in a series of Darna flicks). To Filipino film industry insiders, Perez is known as the most sought-after movie director of his generation…” – Nickie Wang (READ MORE)

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