FILM REVIEW: LIPAD DARNA LIPAD

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The Plot: After a long period of absence, Vilma Santos resurrected Filipino version of Wonder Woman, Darna, in a fantastic trilogy. Despite the lack of height familiar with previous Darnas, Vilma Santos’ bubbly youthful portrayal as Darna and the alter ego character Narda radiated the screen against Philippine cinema’s senior screen queens, Gloria Romero as the “Babaing Impakta (Vampire Woman),” Celia Rodriguez as “Babaing Ahas (Snake Woman),” and Liza Lorena as “Babaing Lawin (Hawk Woman).” The film was release on March 23, 1973 to a massive crowd in Metro Manila. Tagalog Ilang Ilang Production who produced the film reportedly distributed Darna dolls and Coca-cola drinks to the moviegoers. The film was a trilogy that focuses on the fights scenes between the Darna and her nemesis with great effect and with the help of Darna’s equally perky young brother, Ding portrayed by child star, Angelito. The special effect that’s way ahead of its time in were in full bloom in this film and the make-up goriness particularly Gloria Romero’s was a proof that Filipinos are creative and talented way ahead of Hollywood or even Bollywood. – RV (READ MORE)

The Reviews: In the Silver Age era of Darna, the movie “Lipad, Darna, Lipad!” (“Fly, Darna, Fly!” 1973), played by the lovely Vilma Santos, made a new version of the story. In this time, Narda was a teenager in her late teens. She discovered the magic stone after the event of a falling star landed near her home one night. She discovered that the magic pebble gave her superpowers that made her Darna. She and her brother were the only ones who knew the secret and their grandmother was not aware of it in this version. Narda herself becomes Darna and were not two different characters. She was also not from Planet Marte but was just a champion warrior of the forces of light. Every time Darna turns back to her mortal self, the magic stone reappears in her mouth and she takes it out and hides it until she needs it again. Every time the need arises, she has to swallow the pebble again and say Darna to transform. – Supersexyheroines.com (READ MORE)

In 1951, 2 Darna movies were made starring Rosa Del Rosario, followed by another two starring Liza Moreno in the early 60’s, one by Eva Montes and one by Gina Pareno in 1969. But it was not until 1973’s “Lipad, Darna, Lipad” starring Vilma Santos when “Darna mania” would be rekindled and made this version the highest grossing Darna movie of them all. A feat that has not been equalled to this day. In these 1970s films, Darna’s origin was slightly tweaked with a new twist yet remained faithful to Mars Ravelo’s vision. No longer a little girl, Narda was now in her late teens. Also, she herself becomes Darna, unlike the original where she just “channels” her. Only Ding knows her secret in this version unlike the original where both Ding and their Grandmother knew the secret. Also, the stone comes out of Narda’s mouth every time she changes back from being Darna; she has to swallow it every time she wants to transform (This became standard for following versions). Darna is not specified as coming from Marte, just as a “warrior of Light”. This version of Darna became most people’s idea of the character for about 3 decades. A famous catch phrase by Narda popularized by the movies and NOT the comics version is “Ding, Ang Bato !” (“Ding, the Stone!) – Nostalgia Manila (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. Lipad, Darna, Lipad! were thus divided into three separate segments, directed by three different directors. In Darna’s case, the three directors were Maning Borlaza, Joey Goesiengfao, and Elwood Perez—three names that promised an adventure that could do Andy Warhol proud.

First episode: “Ang Impakta” (Vampire Woman) – Starring Gloria Romero as Miss Luna, Narda’s school teacher who has a dark secret. She is actually a flying blood sucking creature at night. In this thrilling episode she knows the secret identity of Narda. The most memorable part was when Ms. Luna asked Narda to help her with some paper works. Little that she know, while she was busy checking the papers Ms. Luna excused herself, she then went to the next room and transformed into a scary vampire. Ding found out that Ms. Luna is the vampire and Narda forgot to bring the magical stone , he rushed to her sister who then was being strugled by the monster. As soon as he got there, he threw the stone to her much terrified sister and she immediately changed to Darna. Followed was the famous aerial fight scene. Nanette Medved and Bing Loyzaga tried to copy the infamous fight scene in 1990 Viva films Darna. Episode one was directed by Maning Borlaza.

Second episode: “Valentina” (Snake Woman) – Vilma also had to battle with Celia Rodriguez, who played a campy Valentina, a supermodel by day and a snake priestess by night. One scene has the actress naked in bed being caressed by a dozen snakes. Indeed, with the likes of Gosiengfao, Perez, and Borlaza at the helm, Darna is sure to get stuck in grotesque situations reminiscent of the Rocky Horror Movie. Their take on Darna is sometimes too risqué and violent for little children; but as a camp fest, the movie works. 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. Vilma Santos with co stars Ernie Garcia and Celia Rodriguez as Dr. Valentina Vrandakapoor, Phd in reptilian zoology from the University of new Delhi. Not to be overlooked is Darna’s arch-rival Valentina. Celia Rodriguez breathed new life to the term antagonist with her classy portrayal of the serpent-haired villainess. Rodriguez set a new standard by which evil women are to be judged.

Third episode: “Babaing Lawin” (Hawk Woman) – Starring Liza Lorena as Babaing Lawin. I barely remember this one, there was this scene where Narda and Ding got caught and almost drowned in a quick sand. In Hawk Woman’s cave there’s this stream, that can make her wings disappear by walking across to it. There was also this character named Agila, a bird man played by Rod Dasco, he’s like the Hawk Woman’s mate. There was some fight scenes in the cave between Hawk Woman and and Darna. At the end of the story Darna and Hawk Woman, mend their ways. – Eric Cueto, Mars Ravelo Darna (READ MORE)

“…In the 1960’s, Gloria Romero portrayed Imelda Marcos in “Iginuhit ng Tadhana” and “Pinagbuklod ng Langit.” In the 1970’s she starred in two memorable movies: Behn Cervantes’s vanished movie, “Sakada” (1976), and earlier, 1973’s “Lipad, Darna, Lipad,” the biggest movie of its time in which she played a “manananggal” to Vilma Santos’s super heroine. Up to now, she considers the last as one of her most unforgettable…” – MPP (READ MORE)

“…Vilma, now 20, still looking virginal and sweet kicked 70’s phenomenal superstar Nora’s butt at the boxoffice and earned her box-office wings via this monumental hit. The Emancipation of Baby Vi. Mariah Carey could not agree more. There was no turning back since then. The Fantasy Queen was born. Fortythree year old Tita Gloria gamely and bravely accepted the role of Ms. Luna, teacher by day and Manananggal by night. Movie Queen Gloria was deglamorized and became the evil incarnate as a vampire. Amalia Fuentes was the original movie queen who bravely accepted a daring role such as a vampire that won her a FAMAS statuette in Gerry De Leon’s Ibulong Mo Sa Hangin, and changed her goody-two-shoe image forever. Was she the original queen of reinvention that gave Vilma an idea to do the same via the landmark movie Burlesk Queen? Hmmm… For the first time, La Santos was billed above La Romero. Times have changed. The tables were turned. Vilma Santos is the New Box-Office Champ and Tita Glo and Co. could only “bow” to the Reel/Real Queen: Ms. Rita Gomez, Helen Gamboa, Boots Anson-Roa, Barbara Perez and others did not have second thoughts to do a movie with the resurgent Vilma. Who wouldn’t want to be famous again and have fun working with the most hardworking and versatile actress? In my book, the aerial Good versus Evil fight of Vilma and Gloria as Darna and Impakta was one of the most thrilling and unforgettable scenes of my movie-going life. How I wish the movie resurfaces from Indonesia or from Timbuktu and my Vilma collection will be complete. That will be heaven! Where, oh, where is that classic movie? The Manananggal episode of Lipad, Darna, Lipad was so good that the two have to followed up their success via Anak Ng Aswang…” – Mario Garces (READ MORE)

“1972 – Lipad, Darna, Lipad…di ko na nakuhang mag-supper and hurriedly went to Coronet 2 bagama’t the film had already started eh uber sa dami ang mga fans sa loob at labas ng sinehan. nakapwesto ako sa dilantera ng sinehan para malapitan kong matanaw sa pagdaan si Ate Vi dahil premier night ng pelikulang Lipad Darna. Nagsalubong ang kilay ko in exasperation nang lapitan ako ng mayordoma ni Johnny Wilson na kalapit-bahay namin sa Paco. May mga kasama sya at tinanong kung Vilmanian din daw ako. Sabi ko’y napadaan lang ako at paalis na nga. tiempong gumagawi ako sa may likuran nang biglang nagkagulo ang mga tao sa pagdating ni Vilma. Ang ganda nya! naka-costume pero naka-kapa para di gaanong malantad ang katawan nya. tuwang-tuwa pa naman ako nang muntik na akong masagasaan. Nasa gitna na pala ako ng E. Rodriguez at namura pa ako ng driver. Potah! Gumawi tuloy ako sa kabilang kalye at kahit malayo ako’y masaya pa rin ako. Sa pakiramdam ko’y ako ang kinakawayan nya. mangilan-ngilan kami sa kabilang kalye na kakaway-kaway rin sa kanya. i went home happy but bone-weary and hungry. kaya lang, nasinturon ako ng tatay ko. Di tuloy ako nakakakain. This sucks! But i will tell nothing of the story of Lipad, Darna, Lipad. Alam kong napanood na yon ng sambayanan. I just have to say kudos to Ate Vilma, she’s so awesome as Darna. There were Gloria, Celia and Liza…all of the evil creatures you need to see in order to make them truly appear as the antagonists of Darna. The story itself is too rich and wonderful, just enough of humor, just enough of banter. The box-office result made history. Almost everyone joined the jubilant partying that is Vilma. She worked hard for it…and effectively captured our national psyche…on her way on top. Some actresses also dared Darna roles, unfortunately, they lacked originality and creativity that we might just view them as a form of flattery. Iba pa rin ang Vilma! Inevitably, it was time for Vilma to take the helm, talagang panahon na nya at wala ng makakaawat pa sa kanyang pagsikat… She was set to eclipse her contemporaries, including the brown girl from Iriga City.” – Bobby Lopez (READ MORE)

“…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)

“…Elwood Perez and Vilma Santos colloborated in seven films (Ibulong Mo Sa Diyos 1988, Lipad Darna Lipad 1973, Magkaribal 1979, Masarap Masakit ang Umibig 1977, Nakawin Natin ang Bawat Sandali 1978, Pakawalan Mo Ako 1981, Pinay American Style 1979). The first one was the trilogy that he co-directed with two other director, 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 Box-office Film. They follow this up with a more mature projects as Vilma started to switched her image from sweet to a mature versatile actress, pairing her with Christopher DeLeon in five films starting with Masarap Masakit Ang Umibig in 1977. The Perez-Santos-DeLeon team produced seven blockbuster hits that gave Vilma two FAMAS best actress awards that secured her elevation to FAMAS highest honour, the FAMAS Hall of Fame award. She won in 1979 for Pakawalan Mo Ako and 1988 for Ibulong Mo Sa Diyos…” – RV (READ MORE)

Sa paggawa ng pelikula, kung maringgan man ng pagdaing si Vilma Santos ay bihirang-bihira. Nangyayari lang ito kung ipagpalagay nating siya’y may dinaramdam, hapong-hapo at talagang hindi na makakaya ng katawang humarap sa kamera kahit ibigin niya. Gayon man, kung nagkataong napakahalaga ng eksena at kinakailangang gawin niya, khait anong sama ng pakiramdam niya’y humaharap siay sa kamera. At sa pagtungo niya sa set o location, lagi siyang nasa oras. Kung maatraso ma’y saglit lang. Ganyan ka-professinal si Vilma Santos. Ngunit sa Lipad, Darna, Lipad ay dumaraing siya. Hindi sa hindi niya enjoy gawin ito. Ang totoo’y sa pelikulang ito lang siya na-involved. Ibig na niyang matapos na ito’t makita ang pinagpaguran niya. Talaga palang mahirap gumawa ng costumes picture. Lalo pa’t kung tulad nito! Una ang naging suliranin namin ay ang Darna costumes ko. Kasi kinakailangan maging maliksi ang kilos ko bilang Darna, kaya kailangang alisin na ang padding. Kaso nga lilitaw naman ang malaking bahagi ng aking katawan. Mabuti na lang at sumang-ayon ang aking fans. “Pangalawa, nag-aalala ako sa mga eksenang bakbakan namin nina Gloria Romero, Celia Rodriguez at Liza Lorena. Kasi baka masaktan ko sila nang di sinasadya. Ang pangatlo ay ang likas ng pagkatakot ko…sa mga ahas. Kasi may bahagi roong tungkol sa Babaing Ahas, si Valentina. Dito, laging kailangan ang ahas sa mga eksena. Mga sari-saring ahas. Maliliit at malalaki. At makamandag! Ang pinakamahirap sa lahat ay ang pag-su-shooting. Kailangan naming tapusin ito anuman ang mangyari. Kaya nasasagap ko ang lamig ng gabi at init ng araw. At ang suot ko nga’y labas ang malaking bahagi ng katawan! At alam n’yo namang kailang lang ay naospital ako dahil sa respiratory defects!” Ito ang daing ni Vilma Santos sa pinakamahirap niyang pelikula, ang Lipad, Darna, Lipad. Ngunit mahihinuha naman ninyo na ang pagdaing niya’y parang paglalambing lang. Dinaraan pa nga niyang lahat sa biro. Pagka’t ang tutoo, mahal na mahal niya ang pelikulang ito. Dahil ito nga ang pinakamahirap. At sa isang artista, kung alin ang pinakamahirap ay siya namang pinakamasarap! – Cleo Cruz, Love Story Magazine, 1973

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Tribute to Atty. Espiridion D. Laxa

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Revenue and Prestige “…Former movie producer, lawyer Espiridion Laxa explains that, during the festival, since no foreign movies are shown, Philippine movies invariably rake it in. Laxa is the MMFF executive committee’s chair on legal affairs and rules and regulations. Production costs are huge, especially for ambitious films shot on locations abroad, or those employing expensive digital effects. “For example,” Laxa recounts, “for the air raid scene in Regal Films’ ‘Yama$hita,’ they had to digitally create the airplanes. The scene lasted six minutes on screen, but the effect alone cost P14 million.” But the investment paid off, he said, since “Yama$hita” was named Best Picture of the 2001 MMFF. The trophy came with a hefty cash prize. Besides, just being included in the festival lineup already earns much-needed subsidy for the producer. “The festival committee gives the subsidy so that better-quality films will be made,” said Laxa. “President Gloria Arroyo gave P50 million in 2002. Out of that, P4 million went to the producers of each of the film entries. Last year, the film producers received P1 million each from what was left of the 2002 subsidy.” This year, producers received a subsidy, too, but Laxa did not disclose the amount. Finally, producers are after the prestige. Being included in the MMFF’s lineup puts the movies, and the producers, way ahead of the pack. In short, Laxa says, “It’s image-building. Producers want the honor of being included in the filmfest. The perception is that (if your movie is in the MMFF) you’re good…” – Philippine Daily Inquirer, Dec 15, 2004 (READ MORE)

Laxa on FPJ’s death on films: “…When an owner of several theaters in Mindanao learned that Fernando Poe Jr. was making a movie for Atty. Espiridion Laxa, the owner immediately called the respected producer to ask what will happen to FPJ at the end of the movie, will he live or die? When Atty. Laxa answered that FPJ will live when the movie ends, the theater owner heaved a big sigh of relief. He was doubly glad to learn that the King of local movies is playing a Muslim cop in said movie, “Muslim Magnum 357.” Why is it important for the theater owner to know if FPJ is going to live or die in his latest movie? Well, you see, several years back when an FPJ film in which he died at the end was shown in one of the theaters of the said owner, the patrons, which were mostly Muslims, almost created a riot, threw things at the moviehouses’ screen, destroyed the seats and stopped other moviegoers from entering the theater…In fact, it’s not only his Muslim fans who don’t want to see FPJ dead in his movies, but almost all his followers all over the country. But why? Here’s how Atty. Laxa explained this sort of FPJ cult: “In real and reel life, FPJ epitomizes the champion of the small people, the common tao, especially the underdog, who are victims of injustice and abuses. It is as if they see in him, on-and-off screen, their own dreams and aspirations. To the youth, he is a living idol. For almost three decades, FPJ has become a folk hero and heroes don’t die.” – Tony S. Mortel (READ MORE)

Pillar of Local Movies – “…If Jose Nepomuceno was acknowledged the Father of Philippine Movies, Atty. Espiridion Laxa became the Pillar of Local Movies since the mid-50s. At the time LVN Pictures, Sampaguita Pictures and Premiere Productions were about to cease from producing films, Atty. Laxa founded Tagalog Ilang Ilang outfit. He re-established Fernando Poe Jr., Joseph Estrada, Jun Aristorenas, Jess Lapid Sr., Tony Ferrer in starrers Mga Tigreng Tagabukid, Suicide Commandos, Kardong Kidlat, Dugong Tigre and Leon at Tigre. Atty. Laxa launched his brother Tony Ferrer as the local James Bond via the blockbusters Sabotage and Crisis which were critically acclaimed also. The reteaming of top love team then Amalia Fuentes and Romeo Vasquez came to the fore through Atty. Laxa’s project Ako’y Iyung-Iyo which was the top moneymaker then. His firm launched sexy stars to stardom, the foremost were Divina Valencia and Stella Suarez, highlighted by their team up in Labanang Babae, a box office hit. That ushered in the popular song about the duo. In the tune of Hard Day’s Night, with the lyrics Divina Valencia, Stella Suarez nagbu-burlesk. That even kids loved to belt that time, much to the chagrin of elders. However, Atty. Laxa became more respected as adviser, legal counsel . trouble shooter of problems existing within showbiz people. It ignited when Amalia was sued by Sampaguita Pictures’ Jose Perez for breach of contract. With his therapeutic words Atty. Laxa was able to iron the kinks between them out of court. From then on, practically everyone would love to seek his assistance and advice whether personal or about local movies. Not surprisingly, he was chosen the president of the Philippine Motion Pictures Association for decades. Later, then president of the country Joseph Estrada appointed Atty. Laxa the chairman of the Movie Workers Welfare Foundation (Mowelfund), showbiz’s counterpart for SSS. The more he turned out to be a pillar of the movie industry. One of those who had categorically benefited from Atty. Laxa’s fold was Vilma Santos. She rose from a sweetie type of star into a highly respected and controversial figure off-screen. Her private life had been guided with care by no less than Atty. Laxa. The reason why Vilma considered him a second father to her. Exactly the same treatment showered to him by most of the stars and movie people, led by FPJ, Erap, Amalia and others. When given a chance to work as his firm’s publicist starting with the FPJ starrer Mabuting Kaibigan, Masamang Kaaway in the ‘90s, this writer was boggled with his big-heartedness and extreme compassion for his workers. Sadly, I was already in Canada during his demise and in his wake some years back. Nonetheless, the legacy Atty. Laxa left behind in showbiz will be instilled not only in my mind but to everyone connected in showbiz or those who had capacious time spent with him…” – Paul F. dela Cruz (READ MORE).

Produced atleast 100 films – “…Laxa’s Tagalog Ilang-Ilang Productions Inc. and EDL Productions produced some 100 films that were headlined by the action stars of Philippine cinema like Fernando Poe Jr., ex-President Joseph Estrada. Jess Lapid Sr. and Jun Aristorenas. He encouraged his lead stars to put up their own film companies. His films also included drama films that starred Nora Aunor and Vilma Santos. He was responsible for casting together the superstars of Philippine cinema during the 60s to the 90s. Some of the TIIP films included FPJ starrers like Hari sa Barilan and Fandong Asintado, Sabotage with Tony Ferrer as Agent X-44, Markang Rehas with Joseph Estrada, the Nora Aunor-Vilma Santos film Ikaw ay Akin and several Darna films with Vilma Santos. At the time of his death, he was also the chairman of the Movie Workers’ Welfare Foundation (MOWELFUND) and the Motion Picture Anti-Film Piracy Council, Inc. He was also a director of the board of the Film Development Council of the Philippines. Atty. Laxa hailed from Macabebe, Pampanga and took his law studies at the Far Eastern University and Philippine Law School. He passed the bar examinations in 1955. He was co-founder with the late Mayor Antonio Villegas of the Manila Film Festival in 1966 where he served as co-chairman for the periods 1966-69, 1972-74 and 1992-99. He was the chairman of the Rules and Regulations of Legal Affairs Committee of the Metro Manila Film Festival since 1998. Laxa was given the Lifetime Achievement Award of the FAP in 1993, the same year he was awarded the Patnubay ng Sining at Kalinangan for Film by the City of Manila. In 2004, he was given a special recognition award by the Metro Manila Film Festival. For the years 1987 to 1990, Atty. Laxa was the president of the ASEAN Movie Producers’ Association…” (Film Academy of the Philippines, Sep 16, 2009)

Si Falcon at si Darna “…First to speak was Tony Ferrer, the younger brother of Atty. Laxa who used to play the role of Agent X-44 Tony Falcon, our local James Bond. He thanked the people who supported them in their time of bereavement. Tony reminisced the days when his elder brother reprimanded him. “Pumuti ang buhok ko hindi dahil sa trabaho. Ikaw ang nagpaputi ng buhok ko, Tony, kaya itigil mo na ang mga kalokohan mo.” Tony couldn’t control his tears when he said, “Hindi lang ako nawalan ng kapatid. Nawalan din ako ng ama.” Atty. Laxa had taken care of his siblings in the absence of their parents…Marichu Maceda talked at length on the accomplishments of Atty. Laxa in the movie industry. “Pag may taong kakausapin, hinahatak ko siya (Atty. Laxa). Siya kasi ang pambato ko sa casting.” Manay Ichu and Atty. Laxa were the prime movers in the establishment of the Film Academy of the Philippines. Manay Ichu also mentioned the time when Vilma Santos was having a problem with the BIR (Bureau of Internal Revenue). “Inabot ng one and a half years ang pag-audit kay Vilma. Si Attorney ang taga-busisi, taga-double check ng mga figures.” MMDA Chairman Bayani Fernando also took the podium. Before handing an envelope as his donation of sympathy to the family of the late FAP chairman, BF took a one last look at the coffin. Atty. Laxa was a member of the Metro Manila Film Festival’s executive committee of which BF heads. BF made a reference to the issue of the MMFF execom giving him a birthday gift (monetary) every year. And since the funds came from the MMFF coffers, it is now the subject of a senate committee inquiry chaired by Sen. Jinggoy Estrada. The corruption issue is being aimed at Atty. Laxa because, it seemed that, he instigated the gift-giving.  Ric Camaligan, the SVP of SM Entertainment, rectified that notion. “Hindi po si Atty. Laxa ang pasimuno ng regalo. Kami po ang talagang may idea noon,” Camaligan stressed in taking the blame away from Atty. Laxa…First to be seen that night was Vilma Santos who went straight to the coffin. She had many films with TIIP (Tagalog Ilang-Ilang Productions), the production outfit of Atty. Laxa. Incidentally Vilma’s latest movie, In My Life, was said to have earned 20 million on the first day of showing…” – Alex J. Socorro, FAP, Sep 23, 2009 (READ MORE)

Espiridion Laxa (December 18, 1929 – September 15, 2009) was a Filipino lawyer, film producer, Metro Manila Film Festival executive committee member. He was also Chairman of the Film Academy of the Philippines. He also founded the now defunct Tagalog Ilang-Ilang Productions,[1] which produced Ibigay mo sa akin ang bukas (1986) Boy Tornado (1987) Alyas Pogi (Birador ng Nueva Ecija) (1990) and Mabuting Kaibigan, Masamang Kaaway (1991). A lawyer by profession, Laxa served as senior partner at Laxa, Mapile & Associates. He was best known as a film producer and official of various movie organizations, such as the Film Academy of the Philippines, Philippine Motion Picture Producer Association and the Motion Picture Anti-Film Piracy Council Inc (Wikepedia).

Accomplishments

  • Member (Integrated Bar of the Philippines)
  • Senior Partner (Laxa, Mapile & Associates Law Office)
  • President (Soliman Lawyers)
  • Legal Adviser (Kapisanan ng mga Sinehan sa Pilipinas)
  • Legal Cousel (Several Corporations)
  • President (Tagalog Ilang-Ilang Production Inc. / EDL Prod)
  • Chairman (Film Academy of the Philippines)
  • Chairman (Philippine Motion Picture Producer Association)
  • Chairman (Motion Picture Anti-Film Piracy Council Inc)
  • Director (Premiere Entertainment Productions Inc)
  • Lifetime Achievement Award (Film Academy of the Philippines)
  • Dr. Ciriaco Santiago Memorial Award (FAMAS)
  • Manila’s 1993 Awardee (Patnubay ng Sining at Kalinangan)
  • Awardee for Flavio Macaso Memorial Award (FAMAS)
  • Outstanding Manilan
  • Manila’s Diwa ng Lahi Awardee
  • FAMAS President’s Awardee

Source: FAP

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longest-reigning Philippine movie queen

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In the finicky and unstable world of Philippine show business, Vilma Santos (Rosa Vilma Tuazon Santos-Recto born on November 3, 1953 in Manila) has remained on top as the longest-reigning Philippine movie queen. Known everywhere as the “Star For All Seasons,” her career longevity and phenomenal staying power from the 1960s up to the present is the envy of many because she has been able to maintain her stature as a top actress for the past four decades by combining artistic acclaim and commercial success having been a Best Actress and Box-Office Queen Hall of Fame awardee. Her immense talent and incredible range as an actress, charisma and excellent public relations, hard work, dedication and commitment to her craft have made her one of the most respected, admired and beloved actresses in Philippine movies.

Of major and significant importance in setting Vilma apart from her contemporaries and peers in the movie industry are her inherent traits of internal discipline and selflessness, her physical, emotional and mental endurance (as described by the late National Artist Ishmael Bernal) and her excellent choice of talented and wellknown film collaborators (directors, writers, producers) through the years which enabled her to make noteworthy and highly-successful film projects and thereby achieve one of the most successful careers in local show business. Vilma has worked with the biggest film producers in the country namely Star Cinema, Viva Films and Regal Entertainment and her continuing association with the best people in the business has brought out the best in her as a person, actress and public servant.

The late starbuilder, Dr. Jose Perez, saw Vilma when she was 9 yrs old and realized early on her potential as an actress when she auditioned and eventually won the title role in Mars Ravelo’s “Trudis Liit” (1963) produced by Vera Perez Pictures where Vilma won her first acting award as Best Child Actress from the FAMAS. In her teenage years, Vilma was signed into a contract by Atty. Espiridion Laxa, her friend and mentor, who produced most of her movies as a top teen idol with favorite screen partner, Edgar Mortiz, under Tagalog Ilang-Ilang Productions. The most memorable films were “Inspiration,” Vilma’s first actress-director collaboration with the late National Artist (Film) Ishmael Bernal and “Dama de Noche,” directed by Emmanuel H. Borlaza where Vilma won her first Best Actress award from the FAMAS in 1972 at the age of 19. In an unprecedented career move, Vilma went solo in 1973 and eclipsed all her contemporaries when she agreed to play “Darna,” another Mars Ravelo heroine and the local version of Wonder Woman, in the hugely successful landmark film “Lipad, Darna, Lipad” which broke all existing box-office records. Produced by Sine Pilipino, the movie’s monumental success elevated Vilma to the enviable position of Philippine Movie Queen. Proving further her utmost versatility, Vilma successfully graduated to adult roles when she played a tragic stripteaser in “Burlesk Queen” (1977), a dramatic period movie set in the 1950s. The film, conceived and directed by Celso Ad Castillo, was highly acclaimed and won 10 awards in the Metro Manila Film Festival including the Best Actress Award for Vilma and Best Director for Castillo.

In the years that followed, Vilma carefully chose her film projects and came up with some of the most memorable characters onscreen – an avenging rape victim in “Rubia Servios” (1978) directed by National Artist (Film) Lino Brocka; a sympathetic mistress in “Relasyon” (1982) directed by National Artist Ishmael Bernal where she won her first acting award grandslam; a politicized nun in “Sister Stella L.” (1984) directed by Mike de Leon; and a homicidal nymphomaniac in “Tagos ng Dugo” (1987) directed by Maryo de los Reyes. By demonstrating her range, depth and intensity as an actress in many of her films, Vilma delivered some of the most compelling performances and most unforgettable acting moments ever witnessed on the local screen and firmly established herself as one (of a few) of local cinema’s greatest actresses.

The late National Artist Lino Brocka likened Vilma’s acting abilities to water because according to him “she can register anything.” She has been called “the Meryl Streep of the Philippines” and US Variety Magazine described her as the Ultimate Philippine Cinematic Diva. Her stature as a great actress was further confirmed when > independent-minded career woman in “Bata, Bata Paano Ka Ginawa” (1998) directed by Chito Rono and based on the Palanca award-winning novel by Lualhati Bautista; a suffering overseas worker in “Anak” (2000) directed by Rory Quintos; a mother who evolves during Martial Law in “Dekada ‘70” (2002) also directed by Rono and written by Bautista; and a Filipino-Chinese anti-crime crusader in “Mano Po III: My Love” (2004) directed by Joel Lamangan.

On July 4, 2005, Vilma was given the prestigious Gawad Plaridel (Film) by the University of the Philippines for her outstanding achievements in film and her social responsibility in bringing onscreen, especially during the past few years, the changing role of the Filipina in today’s society who is critical and vigilant, liberative and transformative, free and independent. Named after Marcelo H. del Pilar who believed in a progressive society and a socially-responsible media, Vilma received her award in glittering ceremonies at the Cine Adarna of the University of the Philippines and delivered a well-received and highly-inspiring lecture on her unparalleled career as an actress and how she was able to use her stature and popularity as a movie queen in choosing carefully her roles that showed the modern Filipina in today’s society.

In his article “The Actor as Role Model,” noted writer and film critic Gino Dormiendo said that “what makes her reign more phenomenal is that today, with over 200 movies to her name, Vilma Santos, star and actor, continues to shine luminously, an enduring and truly endearing figure in the movies, recognized for her outstanding record as an actor and a sterling symbol of professionalism to her colleagues in the industry.” Vilma’s excellent film output especially during the last few years is a shining testament to her maturity as a film artist which the late National Artist Ishmael Bernal confirmed after working with Vilma in some of their best films together.
Bernal witnessed first-hand her evolution from actress to artist from the first time they worked together in “Inspiration” (1971) until their final collaboration in “Pahiram ng isang Umaga” (1989).

Vilma’s recent multi-faceted roles showing Filipinas to be independent-minded fighters capable of finding their rightful place in society highlighted the importance of woman empowerment. Dormiendo further wrote that “in her continuing evolution, she has chosen to play her most coveted performance as a role model for Filipino women and, in today’s global village, a shining symbol of courage and integrity for all women everywhere.” Indeed, Vilma is a shining example of the brilliant multi-tasker by being able to successfully do a balancing act and perform with diligence, dignity and grace her various roles in society – as a wife and mother; an actress, film artist and movie queen; and a highly-regarded and much-admired public servant. In this regard, Vilma is truly the definitive modern Filipino woman of our times and for all seasons. – Paolo Salas, Celebrity Chronicle, Nov 2006

All about awards

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Our maiden issue (V Mag) is about “Awards”; it is very timely since its still award season in our country. We are very hopeful that Ate Vi will reaped more awards due to her impressive performance in MP3. Who can forget 1983? It’s probably the ultimate win for our idol. 1982 ended with Nora Aunor winning the December film festival (for Himala) and everyone were predicting about her winning all the awards for that year. But Vilma is Nora’s true tormentor because as the award season in 1983 begins (remember they honoring the films from the previous year), all award giving bodies lined up and unanimously gave the best actress awards to Vilma! Bernal may have been a true actor’s director but without ate Vi’s maturing talent, no one can perform Marilou as effective as Vilma in Relasyon! And FAMAS, CMMA, URIAN and FAP, all agreed resulting a true GRAND SLAM! Impressive indeed. This is a vindication of all the heartaches she suffered in the 70s.

The Milestone Move – No longer a sweet teenager, Vilma’s milestone, career move was through Burlesk Queen. By 1977, Vilma’s transformation began with her feminist look at her personal life. She no longer care about the gossips/bad publicity created with past relationships concentrating instead with serious projects. Vilma accepted daring roles like “Dalawang Pugad, Isang Ibon,” “Nag-aapoy Na Damdamin,” “Tagulan sa Tag-araw.” And also, as producer, she created some of the best films of that decade, like “Mga Rosas Sa Putikan,” “Halik sa Paa, Halik sa Kamay,” and the ultimate, “Pagputi Ng Uwak, PagItim ng Tagak” (an almost grand slam winner for best picture). She is one of the very first independent producer in the country. But the most daring of them all was Burlesk Queen. Ian films bet all of its money to this project and it paid off because not only it is the top grosser of the film festival it also reaped almost all of the festival’s awards! Sourgraping, the Nora Aunor camp complained but to no avail, all awards were never returned as what the news said few days after it was given. Burlesk Queen established Vilma Santos name as the number one actress in the Philippines. She was featured in Times Magazine in its coverage of the news around the globe.

The hurtful Lost – Ironically, the following year Ian films went to the other camp and produced one of the most stereotypical film of all times, “Atsay.” Directed by Eddie Garcia, Nora Aunor gave her most over rated performance of all time. Avoiding the scandal of the previous years and aim at vindicating Nora Aunor, the local festival judges gave her the best performer award over Vilma Santos’ impressive performance in “Rubia Servios.” Isagani Cruz, a well respected critics during that time emphasized that Rubia was far more superior than Atsay. Cruz even pointed out that although “Nora and Vilma both gave splendid performances, Vilma’s role was far more demanding and difficult.” And so, as history will tell, it was the “sweetest” victory of Nora Aunor and Noranians over us (the Vilmanians). It was also hurtful because as the victory spread around the archipelago, the news about Ate Vi committing suicide came out. True it was a big disappointment and Marichu Vera Perez attested, she and Vilma cried all night after the awards night but the suicide rumor was just a myth. Vilma will learned from this lost and as we all remember, “lesson learned,” she will never expect to win. She’ll do her job and let them (or fate) decide if she is deserving of their accolades. The 80’s will proves to be more fruitful and kind. Her film efforts gave her fans and movie aficionados every cent of the movie tickets they buy.

From fantasy to reality – As the 70’s Box Office Queen, Vilma reinvented herself so many times. She was the disco queen (Rock Baby Rock, Good Morning Sunshine, Disco Fever), the action hero (Darna, Vivian Volta, Wonder Vi), a hunch back bell ringer (Kampanerang Kuba), and a mermaid (Dyesebel) to name a few. But her most significant career changes was her decision to accept mature roles. Roles that gave her gave her so many acting awards (almost 70 to this date!). Speaking of these roles, theres an intrinsic value, most can be viewed as feminism. Roles that gave way for activism and advocacy to further the cause of women, particularly Filipino women. From the ill fated dancer, Chato in “Burlesk Queen,” to the liberal-minded, suicidal designer, Sandra in “Ikaw Ay Akin” to rebellious-wife, Ellen in “Broken Marriage,” Vilma gave us a true-to-life depictions of what are the most common sufferings of Filipino women.

She also educated us with societal social afflictions with her tour de force portrayals of a modern mistress in “Relasyon,” an activist nun in “Sister Stella L,” a cancer-stricken-career woman in “Pahiram ng Isang Umaga,” a mother of autistic child in “Ipagpatawad Mo,” an AIDS patient in “Dahil Mahal Kita: The Dolzura Cortez Story,” and an awakened mother in “Dekada 70.” From fantasy to reality, her body of works deserves the most important award, the National Artist honor.

The Future – As we all know Vilma has surpassed all of her contemporaries, including Nora Aunor. The future for our idol has become more exciting than ever. Vilma admittedly said that she wanted to stay in show business for as long as she still enjoys it, just like her idol, Gloria Romero, playing grandmother roles. But that’s not gonna happen right now, Vilma still commands the leading roles. She can still carry a film and projects are still pouring-in. And again, unlike her contemporaries, she remained choosy and committed to do “never been done” projects, a well-known secret of her longevity. Indeed, her future remained bright and truly exciting! – RV (READ MORE)

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Remembering Vic Silayan

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“Mr. Silayan, I would like to do a documentary on your career as an actor.” “A what?” came his voice over the telephone. “A documentary – on your life.” This was June of 1984. Sadly, he was perplexed at the idea of committing his life story for the screen. He didn’t know who I was and my request was even stranger. He hesitated for a few seconds. “Why don’t we talk about it. Are you busy right now?” “No,” I replied. ‘Why don’t you come over?” I got on the first bus to the Villamore Driving Range. It was his “office.” People who needed to get in touch with him called or went to this place. When I arrived, he was watching some golfers practice. Later, I found out that he spent most of his time in the driving range just watching. “I’m not allowed to play. I haven’t played in two years. Doctor’s orders, you see.” His heart trouble prevented him from doing a lot of things. Including accepting certain movie roles. But despite his precarious health, he persisted on taking certain risks. For instance, he drove his own car. I introduced myself as a preservor of films from De La Salle University. Our first meeting, a short one we both assessed, stretched to four hours. He was a fascinating storyteller. With some prodding, he unleashed a storm of details about his youth, his experiences in the war and his work in the movies. He capped the meeting with a fervid account of his close brush with death which happened towards the end of the second world war. “I was talking to a group of friends when a bomb exploded a ten meters away from where we were seated.” He was 16 at that time. “I remember getting up from my seat when the explosions came. As I was being helped back to the house, all I could hear was a sharp ringing sound in my ear. As we entered, my sister saw me and they started screaming. Later, they told me that while I was trying to explain what has happened, blood was profuse coming out from mouth.” he has shown wound all over his body. His right leg got partly burned and he lost his toenails. I remember the day flies crawling on the wounds on my upper legs. (later, he grew a mustache to cover the scar.) I was brought to San Lazaro where the doctors tried pulling the steel wires that got embedded in my chest. They pulled me up as they tried to pull out the wires.” Born in Manila on Jan. 31, 1929, Vic Silayan is unquestionably one of the finest Filipino actors of this century. A Bachelor of Arts graduate from Ateneo, 1951, he once said that his education had a strong influence on his acting style. As an actor, he is a multi-media talents: be excelled on stage, on radio, on TV and in film. “Acting came naturally to me.” He had done Shakespeare, Arthur Miller and even Broadway musicals. In the times that we met during and after the making of the documentary, he often talked about his own feeling about performing and creating character before an audience.

Among his early plays, Cyrafina J. Bergerac (1952), where he did the starring role, comes foremost to mind. “I remember the applause even though one is exhausted, the applause fills the heart. I remember Carlos P. Romulo being in the audience. I also remember Hilarion Henares, Sr. talking about Jose Ferrer’s Broadway performance and how I compared to it; he said the limited budget did not diminish the impact of my performance at all. I only overheard it and I cried in the dark.” A legend in his own time, Vic Silayan’s film career began in 1953 when he was cast by director Lamberto Avellana to appeal in the role of a PC captain in the film Huk sa Bagong Pamumuhay. Since then he has appeared in over 300 films some of which where foreign production. Often, he was cast as a bad guy, a part which according to him, is more difficult to portray. Needless to say, he was a victim of typecasting – for a time he was the film industry’s favorite Japanese officer. But it’s to his credit that he has managed to make a mark in several Filipino classic. Among them are Anak Dalita, Badjao and Malvarosa. However, he is best remembered for his role of a psychologically imbalanced retired policeman in Mike de Leon’s Kisapmata. In the film, he portrays an over possessive father who murders his whole family and eventually kills himself. “I didn’t like the person I portrayed in that film,” the actor once said. “There have been bad-men roles that I liked. But that one I didn’t like. May diperensiya siya. He was mean to other people who couldn’t fight back.” Nonetheless, it was performance that earned him an Urian best actor award, his second. (In 1983, he won best supporting actor honors for Marilou Diaz Abaya’s Karnal.) Aside from his work as an actor, many remember him for the rich, deep quality of his voice. Yet, he is modest about it.

“My father had a better voice. He was good in public speaking. He spoke excellent English. He even had a good singing voice but he refused to sing professionally.” I say Vic Silayan for the last time at the Kidney Center, three weeks before he died. Obviously, his health had deteriorated – he had lost so much weight and he had difficulty in breathing. With his weak voice, he asked me how I was. I said, “Fine.” “It’s my heart,” he mumbled. “The doctors said they couldn’t do anything for me anymore.” He had aneurism, a lump on a blood vessel in his heart, which he said could rupture anytime and kill him. I promised to do all the talking that afternoon. And as if on cue, I started out on the subject of old movies, a subject which he always relished. Despite his condition, he tried recalling some films that he had seen as a boy. He also tried his best to show me that his memory has not failed him. We ended our talk on the subject of Filipino short films. “It’s quite promising,” I assured him. Before we parted, he asked me, “Do you think I should start thinking about another career?” “Why not try writing?” I replied. “I don’t know. Sometimes it’s fear that stops people from trying anything. Maybe I should.” When I learned about his death last August 30, my mind raced back to the time after we had our first meeting. At that time, a thought crossed my mind: If I had lived just to hear him tell his own story, I believe it was worth it. The same thought still holds true today. – Emmanuel A. Reyes, Manila Standard, Sep 06 1987 (READ MORE)

Vic Silayan and Vilma Santos

  • Paano Ba Ang Mangarap (1983) – Vic Silayan played the husband of domineering snotty rich, Armida Sigueon Reyna and Vilma Santos played the unwed pregnant fiance of their son, played by the late Jay Ilagan.
  • Sinasamba Kita (1982) – Vic Silayan played the rich death-stricken father of Vilma Santos whose last wish is for Vilma to find her illigitimate daughter played by Lorna Tolentino.
  • Karma (1981) – Vic Silayan played a hypnotist/psychiatrist who explained to Ronaldo Valdez the concept of reincarnation. Vilma played the lover of Ronaldo Valdez.
  • Langis at tubig (1980) – Vic Silayan played the judged who convict the bigamist, Dindo Fernando. Vilma played one fo the two wives Dindo wed.
  • Ang galing-galing mo, Mrs. Jones (1980) – Vic Silayan played a conniving politician who abuse, Mrs Jones played by Vilma Santos.
  • Dugo at pag-ibig sa kapirasong lupa (1975) – Vic Silayan played a forgettable role in one of the four segments, so as Vilma.
  • Ikaw lamang (1973) – Vic Silayan played the supporting role to the new team of Paolo Romero and Vilma Santos.
  • Ito ang Pilipino (1966) – Vic Silayan played one of the major role in this Joseph Estrada-Barbara Perez film. Vilma Santos played a minor child star role with another child protege, Jay Ilagan.

Victor Payumo Silayan (popularly known as Vic Silayan) is a veteran movie-stage Filipino actor. He was born in Manila on January 31, 1929 and died on August 30, 1987 due to heart attack. His acting prowess has been higlighted in the movie, Kisapmata where he played a man who had an incestuous attraction to his daughter, traumatizing everyone around them. Silayan’s sterling portrayals have earned him four awards. – Wikipilipinas (READ MORE)

Pinagtibay ng Panahon 1/2

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Ang tambalang Vilma-Boyet ay pinagtibay ng panahon. Hindi basta-basta na maigugupo ng kahit sino o ng kahit anong tambalan. Tulad din ng alak na habang tumatagal ay lalong sumasarap. There have been many loveteams in Philippine cinema but the tandem of Vilma Santos and Christopher de Leon has chalked up the longest list of movies that have been given awards and made good records at the boxoffice. Until now, their tandem has been unsurpassed. Their loveteam is the most enduring tandem in local cinema. Siguro may iba pang loveteam na nakagawa ng mas maraming pelikula kaysa sa kanila like during the height of the Vi and Bot and Nora-Tirso but theirs did not span decades, nakakaahon lang sila within the short period of time at the height of their popularity. Hindi man naging magkapalad sina Vi at Boyet bilang lovers sa tunay na buhay ay nagklik naman sila sa masa bilang lovers sa pelikula. Matatandaan na sumibol din ang tambalang Nora-Boyet noon sa pelikula at kapag-daka’y nauwi sa totohanan. Sa kabila ng katotohanang ito ay hindi gaanong tinanggap ng publiko ang kanilang pareha sa puting tabing.

They were first paired in 1975 in Celso Ad Castillo’s Tag-ulan sa Tag-araw, as first cousins who fall in love with each other. With the success at the tills of the movie, sinundan pa ito ng sunud-sunod na pelikula that crossed over the 80’s, the 90’s and up until this new millennium. Ilan sa mga pelikulang ginawa nila sa bakuran ng Sampaguita Pictures na mahirap malimutan ay ang Masarap, Masakit ang Umibig, taong 1977 kung saan ka-triangle ang sumisikat na aktor noong si Mat Ranillo. Sinundan ito ng Nakawin Natin ang Bawat Sandali ng VP Pictures, taong 1978 na pinamahalaan ng batikang director na si Elwood Perez, Disco Fever; (a rare Vi-Boyet musical); at Ikaw Ay Akin (with Nora Aunor megged by the late Ishmael Bernal). Nang kalagitnaan ng taong 1980, ipinadala si Ate Vi sa States ng Tagalog Ilang-Ilang boss na si Atty.Laxa para gumawa ng reunion movie with Romeo Vasques and Boyet, ang “Gusto Kita, Mahal Ko Siya”. Habang buntis noon kay Luis ay ginawa ni Ate Vi ang “Pakawalan Mo Ako”, taong 1981 sa direksyon ni Elwood Perez at nanalo siya ng second FAMAS Best Actress award sa role bilang babaeng idiniin ng kanyang biyenan sa pagpatay sa asawang si Anthony Castelo. Pinaka-memorable naman para kay Ate Vi ang pelikulang Relasyon na idinerek ng mahusay na Ishmael Bernal sa ilalim ng Regal Films, taong 1982.Sa pelikulang ito nagtamo ng kanyang unang grandslam si Ate Vi bilang Best Actress sa lahat ng award giving bodies. Later, kinuha ang serbisyo ng aktres ng Viva Films na katatatag lamang noon at ginawa nila ni Boyet ang isang commercial hit movie na “Sinasamba Kita”. Komersyal na komersyal ang dating ng pelikula ito na hindi lamang umani ng tagumpay sa takilya, kungdi pati na rin sa mga kritiko. Taong 1983 nang gawin nila ni Boyet ang record-breaker na “Paano Ba ang Mangarap” kung saan papel ng isang api-apihang manugang ni Armida Siguion Reyna ang kanyang ginampanan. Sinundan naman agad ng “Broken Marriage” under Regal Films at sa direksyon pa rin ni Ishmael Bernal, ang director to whom Ate Vi is very much indebted dahil sa mga natamong best actress awards sa mga pelikulang idinirehe nito. Isa pa rin ito sa mga mahalagang pelikulang nagawa ni Ate Vi na nagbigay sa kanya ng karangalan bilang mahusay na aktres sa URIAN and of course kay Boyet bilang mahusay na aktor. Sa Viva Films sila nakagawa ng maraming pelikulang pinagtambalan dahil na rin sa isinasaad ng kani-kanilang mga kontrata. Kaya naman sa pagtatapos ng taong 1983, ginawa nila ni Boyet ang “Minsan Pa Natin Hagkan Ang Nakaraan”, the only movie na namatay silang magkasama kung saan asawa siya ni Eddie Garcia sa pamamahala ni direk Marilou Diaz Abaya.

Taong 1989 nang gawin naman nila ni Boyet ang Imortal na kung saan natamo ni Ate Vi ang Metro Manila Film Festival Best Actress at si Boyet naman ang tinanghal na Best Actor. Muling naulit ang kanilang pagtatambal ng taong 1991 sa pelikulang “Ipagpatawad Mo” ng Viva Films,sa direksyon ni Laurice Guillen at sa pagkakaga-nap niya bilang supportive mother of an autistic child ay napagwagian niya ang ikalimang URIAN Best Actress award. 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. Sinundan ito ng “Nag-iisang Bituin” under Regal Films na ka-triangle naman ang mahusay na aktor na si Aga Muhlach under the helm of Jose Javier Reyes. Muling naulit ang kanilang pagtatambal noong 1997 nang gawin nila ang “Hanggang Ngayon Ika’y Minamahal” ng Neo Films na pinamahalaan naman ni direk Ike Jarlego Jr. Limang taon ang nakalipas at muling nagpugay ang kanilang tambalan sa pelikulang “Dekada ’70″ ng Star Cinema sa direksyon ng award winning director na si Chito Rono. Sa pelikulang ito nanalo si Ate Vi ng kanyang ika-apat na Grand Slam Best Actress.

Mano Po 3, My Love is Vilma’s 22nd film with Boyet kung saan nagwagi ang numero unong aktres ng MMFF, Gawad Tanglaw, Gawad Suri at Star Awards ng Best Actress awards. In most of these films, either Best Actress si Ate Vi(Relasyon, Broken Marriage, Pakawalan Mo Ako, Imortal, Ipagpatawad Mo, Dulzura Cortez, Dekada ’70 at Mano Po 3) at si Boyet naman sa Best Actor ( Broken Marriage, Haplos, Imortal, Ipagpatawad Mo, Dolzura Cortez at Dekada). Sa dami ng pelikulang ginawa nilang dalawa na pawang big hits at nagbigay sa kanila ng acting recognitions, hindi tuloy maiwasang itanong ng karamihan kung ano ang sikreto ng kanilang matagumpay na tambalan. “We’ve never been linked to each other and yet the public loves seeing our movies together. Siguro it’s because we have this unbelievable chemistry. We know each other so well that tinginan lang on screen, we already know what to do to make a take very good.” Ate vi relates. “Siguro yung respeto sa isa’t-isa at pagiging professional ni Boyet. Kapag trabaho, seryoso siya talaga. Ang galing niyang magdala. Alam niya kung paano niya ako sasaluhin kapag nahalata niyang nawawala na ako.” sabi pa ng actress-politician. In an interview, Boyet was asked why does he think his partnership with Vilma continues to thrive even after 30 years? “I just love working with Vi because she is such a giving co-actor. Hindi siya nangaagaw ng eksena. If the scene is yours, susuportahan ka niya nang husto for you to shine. You can’t help but get carried away kapag siya ang kaeksena mo dahil napakahusay niya..O di ba, very well said. Ang trabaho kina Ate Vi at Boyet ay hindi kailanman nahaluan ng malisya. They have over the years worked strictly on the professional level. Off camera ay best friends sila. Sa katunayan nga, si Boyet ang unang aktor na pinagtapatan ni Ate Vi na magpapakasal kay Senator Ralph at ng kanyang pagbubuntis kay Ryan. Platonic daw ang tawag sa uri ng relasyong namagitan kina Ate Vi at Boyet in the sense na alam nila kung hanggang saan ang limitasyon ng closeness nila. Platonic dahil hindi na kailangan an0g anumang physical contact upang ipahayag ang kanilang nararamdaman para sa isa’t isa.

Subok na Matibay, Subok na Matatag ang tambalang VILMA-BOYET. No other loveteam can compile such successes,award wise and box-office wise. Their tandem spells capital B-I-G-H-I-T at the box-office. Mula nang gawin nila ang first movie nila noong late 70’s hanggang ngayon ay hindi pa rin pinagsasawaan at patuloy na tinatangkilik ng publiko at kanilang mga tagasubaybay na mapanood sila sa silver screen.Loveteam for all seasons, ika nga.O may hihirit pa ba? – Willie Ferrnandez, V Magazine, Dec 2006

The List
01. Tag-ulan sa Tag-araw (1976) – Directed by Celso Ad Castillo
02. Masarap, Masakit ang Umibig (1977) – Directed by Elwood Perez
03. Ikaw ay Akin (1978) – Directed by Ishmael Bernal
04. Disco Fever (1978) – Directed by Al Quinn
05. Nakawin Natin ang Bawa’t Sandali (1978) – Directed by Elwood Perez
06. Magkaribal (1979) – Directed by Elwood Perez
07. Pinay American Style (1980) – Directed by Elwood Perez
08. Gusto Kita, Mahal ko Siya (1980) – Directed by Emmanuel H. Borlaza
09. Pakawalan Mo Ako (1981) – Directed by Elwood Perez
10. Karma (1981) (Christopher De Leon in cameo role) – Directed by Danny Zialcita
11. Relasyon (1982) – Directed by Ishmael Bernal
12. Sinasamba Kita (1982) – Directed by Eddie Garcia
13. Haplos (1982) – Directed by Antonio Jose Perez
14. Paano ba ang Mangarap? (1983) – Directed by Eddie Garcia
15. Broken Marriage (1983) – Directed by Ishmael Bernal
16. Minsan Pa Nating Hagkan ang Nakaraan (1983) – Directed by Marilou Diaz Abaya
17. Imortal (1989) – Directed by Eddie Garcia
18. Ipagpatawad Mo (1991) – Directed by Laurice Guillen
19. Dahil Mahal Kita: The Dolzura Cortez Story (1993) – Directed by Laurice Guillen
20. Nagiisang Bituin (1994) – Directed by Jose Javier Reyes
21. Hanggang Ngayon Ika’y Minamahal (1997) – Directed by Ike Jarlego Jr.
22. Dekada ’70 (2002) – Directed by Chito S. Rono
23. Mano Po 3: My Love (2004) – Directed by Joel Lamangan

GO TO PART TWO

Pinagtibay ng Panahon 2/2

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Ang tambalang Vilma-Boyet ay pinagtibay ng panahon. Hindi basta-basta na maigugupo ng kahit sino o ng kahit anong tambalan. Tulad din ng alak na habang tumatagal ay lalong sumasarap. There have been many loveteams in Philippine cinema but the tandem of Vilma Santos and Christopher de Leon has chalked up the longest list of movies that have been given awards and made good records at the boxoffice. Until now, their tandem has been unsurpassed. Their loveteam is the most enduring tandem in local cinema. Siguro may iba pang loveteam na nakagawa ng mas maraming pelikula kaysa sa kanila like during the height of the Vi and Bot and Nora-Tirso but theirs did not span decades, nakakaahon lang sila within the short period of time at the height of their popularity. Hindi man naging magkapalad sina Vi at Boyet bilang lovers sa tunay na buhay ay nagklik naman sila sa masa bilang lovers sa pelikula. Matatandaan na sumibol din ang tambalang Nora-Boyet noon sa pelikula at kapag-daka’y nauwi sa totohanan. Sa kabila ng katotohanang ito ay hindi gaanong tinanggap ng publiko ang kanilang pareha sa puting tabing. – Willie FerrnandezREAD MORE

The List
01. Tag-ulan sa Tag-araw (1976) – Directed by Celso Ad Castillo
02. Masarap, Masakit ang Umibig (1977) – Directed by Elwood Perez
03. Ikaw ay Akin (1978) – Directed by Ishmael Bernal
04. Disco Fever (1978) – Directed by Al Quinn
05. Nakawin Natin ang Bawa’t Sandali (1978) – Directed by Elwood Perez
06. Magkaribal (1979) – Directed by Elwood Perez
07. Pinay American Style (1980) – Directed by Elwood Perez
08. Gusto Kita, Mahal ko Siya (1980) – Directed by Emmanuel H. Borlaza
09. Pakawalan Mo Ako (1981) – Directed by Elwood Perez
10. Karma (1981) (Christopher De Leon in cameo role) – Directed by Danny Zialcita
11. Relasyon (1982) – Directed by Ishmael Bernal
12. Sinasamba Kita (1982) – Directed by Eddie Garcia
13. Haplos (1982) – Directed by Antonio Jose Perez
14. Paano ba ang Mangarap? (1983) – Directed by Eddie Garcia
15. Broken Marriage (1983) – Directed by Ishmael Bernal
16. Minsan Pa Nating Hagkan ang Nakaraan (1983) – Directed by Marilou Diaz Abaya
17. Imortal (1989) – Directed by Eddie Garcia
18. Ipagpatawad Mo (1991) – Directed by Laurice Guillen
19. Dahil Mahal Kita: The Dolzura Cortez Story (1993) – Directed by Laurice Guillen
20. Nagiisang Bituin (1994) – Directed by Jose Javier Reyes
21. Hanggang Ngayon Ika’y Minamahal (1997) – Directed by Ike Jarlego Jr.
22. Dekada ’70 (2002) – Directed by Chito S. Rono
23. Mano Po 3: My Love (2004) – Directed by Joel Lamangan


TAGULAN SA TAGARAW


MASARAP MASAKIT ANG UMIBIG


IKAW AY AKIN


MAGKARIBAL


PINAY AMERICAN STYLE


PAKAWALAN MO AKO


RELASYON


SINASAMBA KITA


HAPLOS


PAANO BA ANG MANGARAP


BROKEN MARRIAGE


MINSAN PA NATING HAGKAN ANG NAKARAAN


IPAGPATAWAD MO


DEKADA 70


MANO PO 3: MY LOVE

GO TO PART ONE

PMPC STAR and Vilma Santos

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In 1985, the Philippine Movie Press Club initiated the Star Awards for Movies and Television, which is currently the Philippines’ Golden Globes’ counterpart. The very first recipient of Star best actress was Nora Aunor for Merika while Vilma’s movie Sister Stella L. received the movie of the year award. Vilma Santos was nominated for Palimos Ng Pag-ibig in 1986 but failed to win the best actress. Unfaithful Wife was judged the STAR best picture of this year. The next year, Vilma’s film, Saan nagtatago ang pag-ibig was proclaimed the movie of the year. Vilma received a best actress nomination for her FAMAS winning film, Tagos Ng Dugo. The fifth year, Vilma was nominated again, this time for Ibulong Mo Sa Diyos.

PMPC finally gave the trophy to Vilma in 1989 Star Awards. Vilma’s Pahiram Ng Isang Umaga four major awards: actress of the year for Vilma, supporting actor for Eric Quizon, director of the year for Ishmael Bernal, and Movie of the year for Regal films. Pahiram also won technical awards for cinematography, musical score, and production design. The following year, Snooky Serna won the supporting actress for Vilma’s “Hahamakin Ang Lahat.” Vilma was nominated for Hahamakin but the Star went to Nora Aunor for Andrea paano ba ang maging isang ina. Despite the lost, Vilma received a very special award from the PMPC, the “Darling of the Press” award. The next year, 1991, Nora Aunor again received the Star Award Actress of the Year for Ang totoong buhay ni Pacita M. Vilma was nominated for Ipagpatawad Mo.

In 1992, Vilma was nominated again, for Sinungaling Mong Puso that Lorna Tolentino won for Narito ang puso ko. After winning her first Star Award in 1989 and nominated three consecutive years, Vilma finally win her second Star in 1993 for Dahil mahal kita: Dolzura Cortez Story. The next year, Vilma was nominated for Nagiisang Bituin but Dawn Zulueta took home the trophy for Buhay ng buhay ko.

In 1995, Nora Aunor was the big winner again with her film, Flor Contemplacion Story. Then in 1996 was Sharon‘s grand slam year. She won the Star for Madrasta with co-star, Christopher De Leon taking the actor of the year. In 1997, Zsa Zsa Padilla defeated Nora, Vilma, Marecel and Sharon for actress of the year for Batang PX. Vilma was nominated for Hanggang Ngayon Ika’y Minamahal. Vilma was the big winner in ’98 for her film, Bata bata paano ka ginawa. She won actress of the year while co-star Serena Dalrymple won the supporting actress. Elizabeth Oropesa followed Vilma’s win the following year via Bulaklak ng Maynila. The new millennium brings another Star to Vilma as she claimed her fifth actress of the year for her film, Anak. The next year the Tuhog was the top film while Snooky Serna won the actress of the year for Habang kapiling ka.

Vilma won her sixth actress of the year from Star in 2002 for the film, Dekada ’70. She will win her seventh Star again in 2004 for Mano po III: My love in 2004. The next three years, Judy Ann Santos (Kasal, kasali, kasalo – 2006); Ai-Ai de las Alas (Ang cute ng ina mo! – 2007) and Sharon Cuneta (Caregiver – 2008) received the Star actress of the year. Vilma Santos received the lifetime achievement award in the 2008 Star Awards while Nora Aunor’s film Himala was given a special citation award. By 2010, Vilma received her 18th best actress nominations (surpasing Meryl Streep’s historical 17th OSCAR nominations) and won another STAR for her 2009 film, In My Life. – RV (READ MORE)

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FILM REVIEW: IPAGPATAWAD MO

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The Plot: A married couple who try to make their marriage work despite the fact that both of them are career-oriented and that there are tensions created by the prescence of their first-born child, Mike Jr., who turns out to be autistic. – RV (READ MORE)

The Reviews: “…At first, their marriage is close to being one made in heaven. Mike Esquivel (Christopher) is a successful lawyer, while Celina (Vilma) is a popular talkshow hostess. Celina gives up her career to devote fall time as mother to Junjun, the autistic child, played well by both Bennett Ignacio (when Junjun is three years old) and Terence Baylon (when the boy is seven years old). The husband, however, is totally unsympathetic and even considers the child a disgrace. With the wife spending practically all her waking hours to attend to her “special” child, the marriage expectedly begins to crumble. They only give themselves a second chance when Celina finds out that she is again pregnant. The second child – to father Mike’s relief – turns out to be a normal, healthy boy. But with Mike still unable to accept the first child, the marriage is on the rocks once more. The situation worsens when Mike -driven by the abnormal conditions at home and his own self-centeredness – starts an extramarital affair with a balikbayan named Monique (Bing Loyzaga). Finally, a near tragic incident gives Mike another chance to prove himself a worthy husband to Celina and even worthier father to his kids, especially the autistic one. 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…” – Butch Francisco (READ MORE)

“What?s the critics said: Payak, makabuluhan ngunit kakaibang pelikula ang ?Ipagpatawad Mo? ng Viva Films. Sapat ngang ipakipaglaban ng Vilma Santos at Christopher de Leon tandem ang paghahanap ng ibang klaseng script na lalo pang mapatingkad sa status nila bilang mga aktor sa makatuturang kahulugan nito. Mapalad sila sa panulat ni Olivia lamasan ng isang story na tumatalakay sa reaksiyon ng isang pamilya sa pagkakaroon ng abnormal na anak. Hinugot ni Ms. Lamasan ang autism syndrome na first time na inilantad sa Pilipino screen, bagamat tinangka na rin itong ipaliwanag sa ?Rain Man? ni Dustin Hoffman sa Hollywood. Sa story, sina Vilma at Christopher ay intelihente (TV broadcaster at lawyer respectively) at matagumpay na indibidwal. Maykaya sila sa buhay ngunit nagkaanak ng autistic. (Ang autism, ayon sa mga modren psychologists na sina Bernard Rimiand at lauretta bender, ay isang uri ng infantile psychosis na kung saan ang sinasapian ay nagwi-withdraw sa reyalidad ng buhay. Nananatili sila sa sariling daigdig na nilikha ng isip at pantasya.) dahil sa autistic child (Edward Carlos Garcia) unti-unting nawasak ang pamilya nina Vilma. Vilma vowed to protect and care for the child because she felt this is the only way a mother can assure herself that everything can be given to the son. (Pinatunayan nga ng pelikula na mas apt ang title na Paano Ba Ang Maging Ina rito kaysa roon sa ginawa ni Nora Aunor). On the other hand, nire-reject ni Chris at ng kanyang family (Delia Razon, et al) ang bata dahil nakababawas ito sa dignidad ng family stature nila. The conflict progresses to give us the different views on how to accept the frailties of people within our family. Para bang kung paano tatanggapin ng magulang na may anak siyang may butas sa puso or worst bakla. The father and mother image were deliberately explored at sa tuwing mag-aaaway sina Vi at Boyet, parang nakikita natin ang ating mga magulang na nagtatalo. the scenes were too real for comfort.

Nadale ng Viva ang kiliti ng masa. Hindi mo nga kailangang bigyan ng heavy stuff ang tao para masabing matino ang pelikula. Tama na nga sa mga politicized films or pa-social relevance. Bugbog na bugbog na ang ganitong tema sa mga diyaryo at sensayunalismo ng TV Patrol ng Channe 2. Mas kinagugusto ng balana ang mga pelikulang nakasentro sa mga karaniwang problema ng tao, lalo na?t may kinalalaman sa ordinaryong relasyong pantao. Napapanahon ang story ng ?Ipagpatawad?. Simple. Natural na pinakilos ng mga tauhan ng dula na halos parang hindi mo namamalayang pelikula lang pala ito. Aakalain mo ngang nakikinood ka lang sa isang scenario sa buhay ng kapitbahay mo. Ganito katindi ang tama ng pelikula sa manonood. This is indeed a very special movie for Boyet and Vi. Santos is again in the running for Best Actress. She was able to sink her teeth to the role of a disturbed mother torn in the love and responsibilities for her husband and the abnormal child. Except for some restless gesticulation of the hands, damang-dama mong buong katawan niya ay nilukuban ng kaakuhan ng role. All her scenes can be considered highlights, because she was consistently good in them. Her duro scene with Boyet was satisfactorily blocked and orchestrated. So far here, Vilma has an edge over Ruffa Gutierrez, Mona Liza, Janice de Belen and Lorna Tolentino in the acting derby next year. De leon was able to regain his acting brilliance in this movie. hindi puwersado. Cool, less facial contortion which became evident in some recent films he made. I like him better here than in ?Salingin? and ?Makiusap sa Diyos?. Nakababagbag-damdamin ?yung paghingi niya ng tawad sa anak. The monologue, which started sa pasakalye to reconcile ended in pained catharsis, that even a man with a heart of stone whould melt in depression. As a team, gamay na gamay na nina Vi at Boyet ang isa?t isa. Actually. sa tender moments nila, you don?t see them as the stars. You are made to believe they were really husbadn and wife.They were too relaxed. Their movements were free and natural. This is really what we call team acting. Walang sapawan.

The movie added more luster with the convincing portrayal of the kids. (Edward Garcia, Bennet Ignacio at Terence Baylon) who played Vi?s children. Special mention dito si Garcia na gumanap na 3-year old Junjun. Ang nuances niya ng ritualistic hand movements and echolalic sppech (symptom ng autism) ay talagang believable. He is not even conscious of the camera. Not to be outdone ay ang great support nina Charito Solis, as the choleric mother of Vi: Joonee gamboa, as the phlegmatic father; Ruby Rodriguez, as the yaya na talagang agaw-eksena, lalo na sa carnival scene; Bing Loyzaga, na mas improved and better version ni Gretchen Barretto sa movie; at Vivian Foz, as the wronged confused sister of Vi. Exceptional din ang cinematography and lighting works ng movie. As usual, expected sa Viva melodrama ang glossy, fabulous setting na nag-capitalized sa affluent house interior. kaya lang, parang di tugma ang theme song ni Janno Gibbs sa story. But more than this, laudable ang script ni Ms. Lamasan. Veritable na may research work ang writer. Dahil na-inform niya nag madla tungkol sa autism na dominant sa mga batang lalaki ngayon. Naipabatid niya na autism is detectable at the first two years, when the child is suffering from hearing and speech impairment In-insinuate din niya na the birth delivery (as specified in the opening scene) can cause oxygen deprivation that may affect the brain development of the child, thus creating immaturity in vasomotor coordination such as hearing, speech and hand movement. nilinaw rin niya na ang emotional refrigeration (yaong rejection nina Chris, Delia at Vivian) can cause the intensification of the disease. However, na-establish din niya ang love and care ng parents (ni Vilma) at sibling (ng kapatid na normal) will be more than enough to push the child to develop little by little. This time Laurice Guillen has hit the pot. The movie turned out to be artistically made and yet the commercial value of it did not suffer. Bumalik na ang aesthetic eye ni Direktora Guillen. Thank God, a film like this comes once in a while to give us enter-educational (learning with pleasure) millieu.” – Ces Ysobel Orsal (READ MORE)

“…The 1990s saw Charito Solis graduate to mother and grandmother roles, which she had done with frequency in the 1980s. In another nod to her age, she finally allowed herself to be billed above Vilma Santos, then acknowledged as the Longest-Reigning Box Office Queen of Philippine Movies, albeit above-the-title in films such as Ipagpatawad Mo (1992) and Dahil Mahal Kita: The Dolzura Cortez Story (1993)…” – Gypsy Baldovino and Yolly Tiangco (READ MORE)

“So much has been said and written about Enter-Educate (Entertainment for Education) but does anyone really know what it all means? As their ad says people in the entertainment industry who ascribe to Enter Education use their appeal to inculcate positive values. Quickly applying this in the movies, It’s the difference between Ipagpatawad MO (Viva Films) and Disgrasyada (Regal Films) both showing at your favorite theaters. Ipagpatawad Mo is a movie about how a family copes with autisitc children. Value: The Family. I haven’t seen Disgrasyada, but given Regal’s track record for gadawful movies, this movie will probably have Ruffa Gutierrez rompling around (wet, most likely) in Mother Lily’s famous kamison. Value: Magic Kamison. I am not saying that Viva makes better movies than Regal. Viva is the same company which brought you Humanap ka ng Panget and Andrew Ford Medina. But it is making an effort to entertain and educate. Which is more than I could say for other movie companies. Ipagpatawad Mo (Direction: Laurice Guillen) is like a training film for parents of autistic children, with lots of drama and fine acting from two name stars. Before anything else, this is the first time I’ve seen a cellular phone (not cordless) in a Filipino movie. (Puh-leeze, I can’t stand people who use cellular phones in their cars, in restaurants, in movie houses, even in church. I hereby propose cellular phone-free zones). This is observation has nothing to do with the rest of this review. In the movie, Vilma Santos plays a successful TV journalist (Must everyone play Loren Legarda in the movies?) while Christopher is a successful lawyer. Everything is perfect until their son Junjun turns three (Are the two children who played Junjun, age 3 and age 8, autistic in real life, or are they actors?) They find out from Lorli Villanueva, who plays a psychiatrist, not a laudrywoman that their son is autistic. Christopher wants to put Junjun in an institution (ala-Rainman).

Instead Vilma takes Junjun to her parent’s house. She gives up her job, stops playing attentive wife to Christopher, and dutifully takes Junjun to a special school. Christopher complaints that Vilma doesn’t pay enough attention to him anymore. Vilma complains that Christopher has forsaken his duties as a father. They breakup, almost. But they reconcile because Vilma is pregnant. She has given birth to Paolo, a normal child. Understandably, Christopher is proud of Paolo and ashamed of Junjun. He doesn’t want his friends to know he has a “defective” son. One day, Junjun humiliates his father in a party. Christopher scolds him, but Junjun doesn’t understand. Instead, he starts to draw his father with a tail and horns. Christopher has an affair with Bing Loyzaga, who tries very hard to do a Nanette Medved, but ends up looking like Gloria Estefan in that Pepsi commercial. Vilma discovers the affair and moves out of the house. Christopher doesn’t want to lose his family so he breaks up with Bing. He begs Vilma to come back and promises to make an effort to accept Junjun. They take a vacation and finally Christopher comes to terms with his feeling for his autistic son. In a touching scene, Christopher and Junjun sit together, but apart in the living room. He tells his son how excited he was when he was born. How he had such great hopes for him. How dissapointed he was when he found out he was autistic. And that he really doesn’t know what to do with him. But he loves him very much. Christopher cries, Vilma, who has eavesdropped, cries too. Junjun who has been toying with a ball, stands up and leaves the room. I guess this sums up the whole situation of what it’s like to be a parent of an autistic child.

Christopher redeems himself from his bad performance in the movie Huwag Mong Salingin ang Sugat ko, shown last week. He is in top form here, and portrays a gamut of emotions, as a father who could not accept that his son is autistic; as comfused husband who turns to another woman for comfort; as a desperate man who implores his wife to give him another chance; and as a transformed father who finally accepts his son is autistic. Vilma is exceptional, as usual. The two stars look good together. (I cannot imagine Christopher and Nora Aunor together). Although, they looke visibly – dare I say it? – old. Not even the soft-focus lens could disguise the bags under their eyes and the lines on their cheeks. Good thing Ipagpatawad Mo is a movie which deals with a more sophisticated subject, other than a man who meets a woman and they fall in love, or a married man falls-in-love with another woman and vice versa. In the future, I would like to see less cellular phones and more mature movies like this, please.” – Elvira Mata, Manila Standard, Oct 23 1991 (READ MORE)

“Countless subjects have been written about this star for all seasons – a fascinating character to her fans. Her calm composure even in the midst of brickbats thrown her way by some members of the press, her acting talents attested by the 16 best actress trophies and her screen image are reasons enough why she has gained a strong foothold in the hearts of the moviegoers. “Being popular in one’s profession or let’s say being successful, is not a shield against the wounds of life. On the contrary, principles come more often and go deeper if one is successful and popular,” she told us when we chanced to talk toher on the set of her latest movie, Ipagpatawad Mo with Christopher de Leon. Moviegoers have always accepted the team-up of Vi and Boyet, acting and box office wise. This is their 16th partnership. Their first was in Tagulan sa Tagaraw.

So what else is new? “There was a time na parang sawa na kami sa subject ng movie namin. Relasyon, Pakawalan Mo Ako, Imortal, Nakawin Natin ang Bawat Sandali, Masarap Masakit ang Umibig, etc. are just some of them. So when we read the script, we said na sana bago naman ang story, not just a love triangle, or legal separation and such subjects. This is the first time in out picture togethertaht involved our child who is autistic. Not many people or only a few of our parents know what an autistic child is. Akala nila mentally retarded na ang mga yon. Which is definitely not true. Autistic children can be taught, can be improved but it takes a lot of patience and determination to make them so. In this movie, Boyet could not believe that he has such a child and he rejects him. But I could not, and that is the bane of our everyday quarrel. I fiercely defend out son here saying to all and sundry that he is not mentally retarded. How did you tackle the subject of autism? “Boyet and I read books about it, saw a movie with its theme, visited a special school for such children in Forbes Park, and spoke to parents of these children.

Ninety percent of these autistic children are very good-looking and are good in numbers but they have a world of their own. If you teach them something, yon kung ang alam nila, no other world exists. Autism is like virus and it is not hereditary. Hindi malalaman na autistic ang isang bata until they are about three or four years old. But doctors know, when a baby is born that he or she is autistic, only they don’t dare tell the parents about it. This movie should be an eye opener for such doctors and parents.” How is it that you and Boyet are so compatible with each other as a love team? To our knowledge, no other team-up has endured such long partnership. “Maybe it’s because we’re comfortable with each other. And one thing more, the moviegoers accepted our team because there’s no personal involvement between us. It’s not necessary that there’s love angle between us. Ang sa amin platonic lang. Not only that, we’re the best of friends. Do you know that Boyet was the first leading man to whom I confided that I’m going to marry Edu? He was also the first to whom I broke the news that I’m pregnant with Lucky. That’s how firm our friendship is.”

In all the years that you’ve been together in the movies, did Boyet ever court you? I heard before that wen you we’re filming a movie with Eddie Rodriguez, he sent you three red roses. “Naku ha! That’s just his way of affirming our friendship. Walang malisya youn.” If in real life, you’re really husband and wife, do you think your marriage will also endure up to the present? ” I just can’t tell, ha. But Boyet and I are both Scorpions. We have the same strong personalities. Siguro magka-clash kami. But in our scenes in the movies, It’s wonderful if Boyet is my partner, because kung intense at high ang feelings ko, kaya ni Boyet na saugtin kung ano ang sinasabi ko with the same intense feeling.” And with the others? “No comment.” In Ipagpatawad Mo, Vi portrays a mother’s love for her child. “I know the feeling because I am a mother. I’ll fight tooth and nail for the care and well-fare of my son, Lucky.” Vi is going full ahead of her movie schedules next year. After this movie, she’ll be shooting Sinungaling na Puso (temporary title), for Regal’s tehn one with Armida’s Reyna Films (The Heiress), and another one schedule for Vision Films.” – Nena Z. Villanueva, Manila Standard, Oct 28 1991 (READ MORE)

Vilmanians (Photos)

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VSSI Inc. News: “Maraming donasyon ang ini-expect naming manggagaling sa abroad gaya ng Sweden, New York, meron kami, sa Dubai na miyembro ng VSSI,” sabi ni Governor Vilma Santos-Recto na hinahangaan ang good deeds ng kanyang loyal followers (for Sendong Victims). Eh, matapos niyang pasayahin ang Christmas party ng kanyang loyal followers, ano naman ang plano ng pamilya niya. “Dito lang kami. Hindi kami aalis,” sambit niya sa aming ambush interview. Naniniwala kasi si Governor Vilma na kahit may lungkot na nadarama ang mga kababayan natin sa Cagayan de Oro, Iligan City at iba pang lugar sa Mindanao, dapat ding magsaya ang mga tao dahil nga kapanganakan ni Hesus.” – Jun Nardo, Dec 2011 (READ MORE)

“…True enough, they were most enthusiastic but kind of controlled with their adulation when Ate Vi came with her Girl Friday Aida Fandialan in tow. Anyway, when the famed actress had the chance to talk with her adoring fans, she was most nostalgic as she went down memory lane of her memorable encounters with them. According to her, she had this fan who would come almost on a daily basis at her governor’s office in Batangas and never complained even if Ate Vi could not attend to her or keep her entertained. The actress-politician also cited this aging fan who’d carry blown-up photos of the Star for All Season with all the dedication in the world during her VIP days, content to see her idol perform. She also expressed being truly touched by the filial devotion of this fan who was with her almost from the very beginning of her illustrious showbiz career and was just staying with her family in a modest rented apartment in La Loma. The mere fact that he got along famously with her late dad was something that Ate Vi would always remember with fondness. “And I’m glad that he’s still with me today!” she says apparently overwhelmed by a myriad of emotions. Ate Vi also remembered a fan who was already in her early 80s and yet she never failed to come whenever she asked her to. At this point, Ate Vi also singled out a fan who has remained unattached and never gotten married, but has religiously brought her kakanins from Biñan, Laguna. Indeed, the Star for All Seasons is obviously equipped with an elephantine memory who never forgets any good deed done or kindness she’s been most generously showered with…” – Peter Ledesma (READ MORE)

Becoming Gloria Romero “Vilma Santos’ loyal fans were so happy about her latest acting award at the Urian awards (for her performance in “Dekada ’70”) that they turned out in full force at her “reunion” celebration at Bakahan at Manukan on P Guevarra st. in San Juan. Movie scribes with a soft spot in their hearts for Vi also showed up, making the evening a riotous success. In the midst fo all the fun and frolic, Vilma was able to sit with us for a spell, and breathlessly brought us up to date on what’s been happening to her these past months, as well as gave us a peek into her future prospects. First off, she’s appreciative of the trophies that she’s gotten for her intense but controlled performance in “Dekada ’70,” for which she swept the competition…In the past, she used to think of retiring from the big and small screens, to concentrate on public service and urban management. Now, however, she’s sure that she’ll continue to act “until I become a gransmother – Gloria Romero.” This is a welcome development on the local film scene, which is notorious for its fetish for youth, and its bias against age and experience. With Gloria and now Vilma showing the way, our moviegoers can be educated to value veteran talents over callow starlets, so performances on the big screen can mature and deepenn through time. The future? Vilma wants to make one film a yar, and is looking for challenging plots and characters. In politics, Vilma debunks rumors that she’s going to run for senator next year. In fact, she refuses to think of politics at all, preferring instead to concentrate on her work as mayor of Lipa City. But, if voters there want her to run for another term, Our sense is that they won’t have a hard time persuading her…” – Nestor U. Torre, Philippine Daily Inquirer, May 31, 2003 (READ MORE)