Vilma Santos-Recto is a popular multi-awarded actress and politician in the Republic of the Philippines. *** She is known as "Queen of Philippine Movies," "Queenstar," "Grand Slam Queen," "Box Office Queen," and "Star for All Seasons." *** This website is mostly about her iconic film career.
Basic Information: Directed, screenplay: Carlo J. Caparas; Cast: Eddie Garcia, Ramon Revilla, Vilma Santos, Marianne De La Riva, Raoul Aragon, Joonee Gamboa, Antonio Carreon, Paquito Diaz, Charlie Davao; Executive producer: Donna Villa; Cinematography: Ramon Marcelino
Plot Description: Rizal Alih was a rogue cop who fought with his superior Brig. Gen. Eduardo Batalla in January 1989, then held him and several others hostage in Camp Cawa-Cawa, Zamboanga City. By the time the hostage-taking ended, 19 people were dead, including Batalla…” – Carlo J. Caparas, GMANews.TV The Revenge of Carlo J. Caparas (God Help Us)
Film Achievement: No Available Data
Film Review: “Of all the films he has made, Caparas says the ones he is proudest of are Pieta, Kahit Ako’y Lupa, Bubbles, and Zamboanga Massacre…Zamboanga Massacre was one big testosterone rush. “Hino-hostage pa lang si General Batalla, nagsu-shooting na ako, kasi gusto ko fresh talaga.” (“General Batalla was still being hostaged, I was already shooting because I wanted the footage to be really fresh.”)…(Rizal Alih was a rogue cop who fought with his superior Brig. Gen. Eduardo Batalla in January 1989, then held him and several others hostage in Camp Cawa-Cawa, Zamboanga City. By the time the hostage-taking ended, 19 people were dead, including Batalla.) – Stephanie Dychiu (READ MORE)
“…Why the big fuss over Vilma Santos’ participation in the Risal Alih movie. Bakit pinapalabas nilan isa sa tatlong main stars si Vi, samantalang guest lang pala ito at isang araw lang nag-shooting? Bakit? Ginagamit lang ba nilang box office bait ang aktress?…” – Dennis Adobas, Manila Standard, Mar 9 1989 (READ MORE)
“…He said the policeman later lent him a laptop so he could finally see the movie on Youtube. “I was indeed so shocked, speechless and angry that I was not able to finish watching the entire film,” he said in his complaint. Alih is facing charges in connection with the 1989 siege of Camp Cawa-Cawa in Zamboanga City, which left a number of his supporters and two top police officials dead. In his complaint filed through lawyer Fernando Pena in the Quezon City prosecutors’ office, Alih, 67, said the movie depicted him as having beheaded Gen. Eduardo Batalla during the siege. “The portrayal that I allegedly beheaded Batalla in the movie was utterly baseless, malicious and a downright lie perpetrated in order to make the movie such a big hit and to make a huge profit at the expense of maligning my name and reputation,” he argued. “I was likewise informed that the said film … became a blockbuster movie,” Alih said in his affidavit. “The only way we can rewrite history is file this case in hopes of rectifying a decades-long error,” Pena told reporters in an interview. Pena also maintained that the prescription period for filing a libel complaint is one year from the time the offense was discovered by the complainant, and not from the time of publication or release of the questioned material. Asked why Alih filed the case only now, the lawyer said his client went into hiding in Malaysia for a long time and had no access to traditional media. He said the government even declared Alih dead at one point. The movie had a star-studded cast that included veteran actors like Ramon Revilla Sr. as Rizal Alih, with Eddie Garcia portraying Batalla. Vilma Santos played Alih’s wife…” – Julie M. Aurelio, With a report from Bayani San Diego, Philippine Daily Inquirer, Aug 24 2012 (READ MORE)
Basic Information: Directed: Elwood Perez; Story, screenplay: Orlando Nadres; Cast: Vilma Santos, Eric Quizon, Gary Valenciano, Miguel Rodriguez, Eddie Garcia, Nida Blanca, Barbara Perez, Nadia Montenegro, Armida Siguion-Reyna, Perla Bautista, Rachel Ann Wolfe, Deborah Sun, Ruben Rustia, Vangie Labalan, Nena Perez Rubio; Executive producer: Lily Y. Monteverde; Original Music: Jaime Fabregas; Cinematography: Ricardo Jacinto; Film Editing: George Jarlego; Production Design: Ray Maliuanag; Sound: Joe Climaco; Theme Songs: “Ibulong Mo Sa Diyos” performed by Gary Valenciano
Plot Description: When her boyfriend leaves for Japan on a singing contract, a dancer is so distraught she does not see the car that hits her. The driver pretends to be a helpful passer-by; they fall in love and gets married. Only bringing her to a more complicated life. – Regal films
Film Achievement: 1988 FAP: Best Actress Nomination – Vilma Santos; 1988 FAMAS: Best Actress – Vilma Santos; Best Cinematography – Ricardo Jacinto; Best Director – Elwood Perez; Best Editing – George Jarlego; Best Picture; Best Production Design – Ray Maliuanag; Best Supporting Actor – Miguel Rodriguez; Best Theme Song – Gary Valenciano (for the song “Ibulong Mo Sa Diyos”); Best Supporting Actress Nomination – Nida Blanca
Film Review: “…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…” (READ MORE)
“…Elwood Perez and Vilma Santos colloborated in seven films. 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)
“…Shamefully, only the way Vilma Santos is photographed and her face are the film’s glimpses of divine magnificence. She is superficially iridescent here. It’s a pity such iridescence doesn’t emanate from her character’s sould, but from the delightfully overindulgent lights of the cinematographer. Santos does manage, in at least three instances, to emerge from the limbo of her self-consciousness. Still, she largely remains in the dark as to the true significance of divine light in her character’s life. On the whole, the film should have been more effective as a radio show. Cinematic carnage such as this really deserves divine indifference…” – Henry C. Tejeros, Manila Standard, Feb 29, 1987 (READ MORE)
“Again, it was a bad year for the movies in 1988, the industry reached a critical low – a total output of 132 films to 150 of the previous year. Certainly, the situation, has become worse, a foreboding that may prove irreversible unless appropriate measures are instituted…On the other hand, Vilma Santos, although she starred in only one movie, Ibulong Mo sa Diyos, lorded it over in television with the top rated Vilma and a top-rating drama special (Lamat sa Kristal) she herself produced…….” – Mike Feria, Manila Standard, Jan 5 1989 (READ MORE)
“…These songs are all included in Gary V at the Movies. Fans will be glad to know that they now have Kailangan Kita and I Will Be Here in one album! The real gems here though are the oldies, which have also been compiled in a single album for the first time. The only beef I have with the collection is that Sana Maulit Muli, the most enduring Gary V. composition, is presented as a duet with Kayla. I have nothing against Kayla and I agree that the duet version gave a new spin to the old favorite but this is Gary V at the Movies and I would have preferred to get the now classic original rendition of Sana Maulit Muli, from Ibulong Mo Sa Diyos solo by Gary V….” – Baby Gil, Philstar, May 7, 2003 (READ MORE)
Basic Information: Directed: Tony Cruz; Story: Fernando Poe Jr. aka Ronwaldo Reyes; Screenplay: Pablo S. Gomez, Manny R. Buising; Cast: Fernando Poe Jr., Vilma Santos, Maritoni Fernandez, Bob Soler, Paquito Diaz, Max Alvarado, Dencio Padilla, Boy Alano, Bella Flores, Odette Khan, Melisse Santiago, Tony Bernal, Gamaliel Viray, Ruby Rodriguez, Jimmy Santos; Executive producer: Fernando Poe Jr., Susan V. Tagle; Original Music: Jaime Fabregas; Cinematography: Ver Reyes; Film Editing: Augusto Salvador; Production Design: Ben Payumo; Film Poster: Video 48
Plot Description: The King of Philippine movies and the Star for All Seasons team up in this hilarious and heart-warming romatic comedy. FPJ is Pilo, a mild-mannered bodyguard whose only daughter considers every single woman she knows as a prospective new mother. Vilma is Miling, an old-fashioned probinsiyana who stows away when she learns that her aunt has bethroted her to the richest man in town. They meet in the most bungling of situations and they become fast enemies. But when two people are meant to stay together, it doesnt really matter if their first meeting was disastrous. – FPJ Production
In this highly entertaining action flick, Fernando Poe Jr. plays Pilo, a widow driver whose only daughter yearns for a mother. Vilma Santos stars as Miling, a beautiful but combatant single lady who comes to Manila to escape an old man who wants to mary her in the province. She lands a job in a department store owned by Pilo’s employer, Bianca, played by Maritoni Fernandez. The first time Pilo and Milling meet, it starts with a kiss and ends in jail. Pilo’s blunder makes Milling hate his guts, and she demands almost the impossible for her to forgive him. But for Pilo, it’s nothing that cannot be worked out. Bianca starts to notice Pilo’s growing interest in her newly-hired saleslady. Driven by jealousy, she makes life hell for Milling. Things take a turn for the worse when a group of men hunts her down for something she unknowingly possesses. Amidst the chaos, Pilo fights for her life, hoping that this woman he loves will also capture his child’s heart. – DVD Covers
Film Achievement: The last film of FPJ and VSR.
Film Review: “…In 1996 Vilma Santos did “Ikaw Ang Mahal Ko” with the late FPJ. The film did not do well, both critically and commercially. This year also was a bad year for the local entertainment industry as Ishmael Bernal died on June 2nd. It was reported that he was scheduled to direct a film about the life story of Lola Rosa Henson, the comfort woman during the Japanese invasion of the Philippines. The project was also reportedly offered to Vilma Santos. From 1997 to 2009, Vilma Santos completed 6 full featured films, two were considered record breaking films and almost all gave her acting recognitions including two international best actress recognitions…” – RV (READ MORE)
“…Memories! I started reminiscing instantly. I want to ask Ate Susan (Roces, FPJ’s wife) nga for DVD copies of our three movies. I was only 21 when we made “Batya.” Ninety percent of the movie was shot in Hacienda Luisita (Tarlac) where we stayed for two months. He taught me how to swim in the hacienda’s swimming pool. We were with (co-star) Lorna Tolentino then. I admit that I didn’t know how to swim when I did “Dyesebel.” But the most memorable scene [from “Batya”] was the ending, where I ran after him, while he was aboard a train…” – Vilma Santos (READ MORE)
“Fernando Poe Jr. and Vilma Santos were chosen the Box-office Actor and Actress for 1983 by the Metro Manila Theaters Association during the First Cinehan Awards held at the Philippine Plaza Hotel ballroom.” – Simon Santos (READ MORE)
“Action King Fernando Poe, Jr. and Vilma Santos were awarded the Box-Office King and Queen in 1974. That year, both stars starred and appeared in the movie, “Batya’t Palu-Palo,” a sensational hit.” – Simon Santos (READ MORE)
After more than a year’s absence, Vilma Santos is back to where her heart really belongs – show business. “This is my life.” she told us at an informal dinner last Saturday. “I can’t imagine myself not making movies, or being on television.” In fact, the ‘star for all seasons,” as Santos is endearingly referred to, is very visible promoting Ikaw Ang Mahal Ko, the movie that officially signals her return to the big screen. She is reunited with Fernando Poe Jr. 20 years after Bato Sa Buhangin, their second team-up after the box-office smash Batya’t Palu-palo. The multi-awarded actress quit television and the movie last year when she and her husband Batangas Rep. Ralph Recto decided to have a baby. ” I just had to do it because I don’t want other people to accuse me later that I didn’t give importance to my marriage,” she explained. “That’s how I love Ralph so much, I can give up so many things for the sake of our marriage.” At one point, Santos almost gave up hoping that she could have another baby. She had one 15 years ago, Lucky, by then husband Edu Manzano. “But I prayed so hard that I even made a promise to Him to attend Mass every Sunday,” she recalled. I am so glad the Lord answered my prayers.” And, as if to return the favor, the Recto couple named their newborn baby Christian.
Santos remembered being house-bound for almost a year. “I am still lucky I wasn;t totally bedridden,” seh said. “My doctors allowed me some physical movements, although these were vey minimal like bathroom privileges or a short walk around the room. It was so boring I turned into a couch potato. Napanood ko na yat lahat ng palabas sa TV.” But even before she gave birth, she was already being besieged with offers. Santos said she never really intended to quit show business permanently. She studied all those offers carefully during her delicate pregnancy. When she finally emerged from her self-imposed leave, she found herself facing the cameras again. There is a whiff of anticipation in Santos’ eyes, especially on how the audience would react to Ikaw Ang Mahal Ko. Many are expecting to see her onscreen in a dramatic role something she is quite famous for. But to her, playing a light romantic lead to the country’s action king is just the right preparation for heavier stuff in the future. In a way, she is excited about this reunion with Poe. Despite having been together in just two movies, both had ignited a different kind of excitement among their respective fans. Poe feels the audience is ready for another one.
The Last Pinoy Hero – Come to think of it Philippine cinema has only one remaining screen hero – Fernando Poe Jr. His movies no matter how similar the stories and the characters he plays are, have always drawn moviegoers to the theaters nationwide. Many Filipino men look up to him as their role model. Women find him more than just a screen hero. He is to a lot of them, an enigma who subtly seduces them to watch him. Poe is possibly the only actor this side of the world that can slug it out in the local box office with Hollywood heavies like Sylvester Stallone, Arnold Schwarzenneger or Bruce Willis, and, perchance, even survive an alien invasion. He rarely goes on a promo blitz to generate interest in his movies. His leading ladies do the job for him.. But, cash register figures always prove his indubitable and formidable stature as the country’s box-office king. Remember Ang Syota Kong Balikbayan? Every industry doomsayer predicted its plunge in the tills. A least-promoted project, Ang Probinsyano similarly earned a dark forecast. Both, to every pseudopsychic’s shame earned more than what FPJ even expected. Now, will the FPJ enigma woek once again with Ikaw Ang Mahal Ko? Vilma Santos hasn’t made a movie for almost two years and her fans are eagerly awaiting her return. Poe’s fans apparently still enjoy watching their idol terminate his onscreen foes with the now-patented left-hand-multiple jab. – Isah V. Red, Manila Standard, Nov 27, 1996 (READ MORE)
Basic Information: Directed: Chito S. Roño; Story: Bibeth Orteza; Cast: Vilma Santos, Ronnie Ricketts, Cesar Montano, Dencio Padilla, Roldan Aquino, Janine Barredo, Cris Daluz, Mon Fernandez, Vangie Labalan, Josie Tagle, Evelyn Vargas; Executive producer: Tony Gloria; Cinematography: Leodigario B. Dalawis Jr.; Production Design: Charlie Arceo; Theme Songs: “Ikaw lang” Performed by Chad Borja
Plot Description: A librarian’s husband and mother-in-law turn out to be psychotically abusive. When the husband mistakenly thinks he has killed her, he dumps her in a river, where she is saved by a fisherman. Desperate for money and in need of help to take revenge on her husband, she hooks up with a bank robber whom she falls in love with. Together, they return to her husband’s home and kill him. – IMDB
Celina’s (Vilma Santos) husband Alfred (Cesar Montano) and mother-in-law Martha (Zeny Zabala), turn out to be psychotic and abusive. When Alfred thinks he has killed his wife, he dumps Celina in a river, where she was found by a fisherman. Desperate for money, she hooks up with Dalton (Ronnie Ricketts), a bank robber with whom she falls in love. Together, they exact revenge against Alfred. Acclaimed filmmaker Chito S. Roño directed this critically acclaimed drama he co wrote with Gina Tagasa-Gil, Humilde Roxas and Tom Adrales. Ikaw Lang was produced by Moviestars Production, Silver Screen and Cinestars. – Jojo DeVera
Film Achievement: Box office hit of 1993; Produced by actor, Ronnie Rickets.
Film Review: “…Zeny Zabala (born Zeny Ortiz Santos) started her showbiz stint in 1955, when she played the nemesis of drama diva Lolita Rodriguez in Binibining Kalog. Her role in the film was the foundation of her primera contrabida status. Scare tactics: With her haughty features, Zabala often played the stereotypical upper society Filipina “good girl gone bad” during her early days in showbiz. Later on, she even shoved dog food into the mouth of no less than the Star for all Seasons, Vilma Santos, in 1993’s Ikaw Lang. Now that’s ruthless…” – Pietro Santos (READ MORE)
“…That year, dalawang movies ang nagawa ni Ate Vi. Ang isa pa ang ang action-dramang Ikaw Lang ni Chito Roño, na in fairness ay mahusay rin siya sa papel ng battered wife ng baliw na si Cesar Montano an naging bank robber kasama si Ronnie Ricketts…” – Mario E. Bautista (READ MORE)
“Ronnie Rickets has earned his spurs as an action star. His movies earn millions so that producers, astute businessmen that they are, have been willing to stake their millions on his films, confident that their investment can be recouped in no time at all. But Ronnie is also shrewd when it comes to his career, and carefully chooses the films to star in. As a result, Ronnie is now in the league of such local biggies as Rudy Fernandez, Bong Revilla, and Philip Salvador. Moviestars Productions’ Ikaw Lang is a far cry from the usual stories Ronnie has starred in. It is a love-drama, but Ronnie nonetheless accepted it because of the welcome change. First, it headlines him opposite the “Star of All Seasons,” Vilma Santos, one of the very few top actresses he hasn’t done a movie with. He has worked with Vi in a telemovie the much awarded actress produced years ago, but this is the first time they’re together in a film. Ikaw Lang is a welcome departure from a long spate of action flicks he has been identified with. “So people would not get tired watching me in one action picture after another. Para naman hindi pagsawaan,” Ronnie mused. Ronnie is under contract with MovieStars Productions and can’t say no to Mrs.Fely Ong, his producer in Pacwood Films, who gave him one of his best movies in years, Anak ng Dagat. She has been very supportive and treats him like a son. Since action is Ronnie’s forte, there are scenes in Ikaw Lang, about 20 percent of the movie are scenes where he does a bit of action to please his loyal followers. It’s still action for me anytime. But sometimes, like this one, dapat mayroong change. Para naman hindi magsawa ang mga fans,.” Ronnie explained.” – Manila Standard (READ MORE)
Basic Information: Directed: Jose Javier Reyes; Story: Jose Javier Reyes; Screenplay: Jose Javier Reyes; Cast: Vilma Santos, Christopher De Leon, Aga Muhlach, Cherrie Pie Picache, Amy Perez, Jao Mapa, Orestes Ojeda, Cita Astls, Maine Villanueva, Noni Buencamino, Susan Africa, Gina Leviste, Ogie Diaz; Executive producer: Lily Y. Monteverde; Original Music: Nonong Buencamino; Cinematography: Ely Cruz; Film Editing: George Jarlego; Production Design: Benjie De Guzman; Art Direction: Arnold, De Jesus, Sonny Maculada; Theme Songs: “Nag-iisang Bituin” Music, Lyrics and Performed by Rannie Raymundo
Plot Description: Miggy is not an ordinary boy. He grows up as a learning-disabled person. He becomes the center of his brother’s life. A psychiatrist gives her time and attention to help Miggy. Together they face the odds and joys of bringing up Miggy in his different world. – Kabayan Central (READ MORE)
Film Achievement: 1994 FAMAS Best Screenplay – Jose Javier Reyes; 1994 Nominations Gawad Urian Best Screenplay – Jose Javier Reyes; 1994 Nominations Star Awards Best Actress – Vilma Santos; 1994 Nominations FAMAS Best Director – Jose Javier Reyes; 1994 Nominations FAMAS Best Best Picture
Film Review: “…Mula 1994 hanggang 2003 ay hindi na nagkatunggali sa Best Actress award sina Nora at Vilma. Early 1994 nang huling magkasabay as contenders for the acting plum sina Nora (Inay) at Vilma (Dahil Mahal Kita). For the whole year, Nora didn’t topbill any movie. She hosted Modern Romance sa Telebisyon on GMA 7 and the monthly special Superstar Beyond Time on RPN 9, and appeared on several telesines and a successful two-night concert at the Mandarin Hotel Ballroom. Naulit ang pangyayari noong 1992 na walang pelikula si Nora (she only appeared in her second stage play, DH, na nag-world-tour in 1993) and this will be repeated 10 years later, when she did the ABS-CBN 2 drama series Bituin that aired from September 2002 to May 2003 and several concerts. Vilma notched two films: Regal’s Nag-iisang Bituin (by Joey Reyes) and Golden Lions’ Lipa Massacre (by Carlo J. Caparas), which won as Best Picture sa FAMAS…” – William Reyes (READ MORE)
Basic Information: Directed: Laurice Guillen; Story: Olivia M. Lamasan; Screenplay: Olivia M. Lamasan; Cast: Vilma Santos, Christopher De Leon, Charito Solis, Bing Loyzaga, Amy Perez, Delia Razon, Ruby Rodriguez, Joonee Gamboa, Johnny Wilson, Vivian Foz, Jinky Oda, Terence Baylon, Bennette Ignacio, Eddie Albert Ramos, Lorli Villanueva; Executive producer: Vic del Rosario Jr.; Cinematography: Eduardo Jacinto; Film Editing: Efren Jarlego; Production Design: Edgar Martin Littaua; Sound: Gaudencio Barredo
Plot Description: 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
Atty. Mike Esquivel (Christopher De Leon) is a very successful lawyer who feels he has everything and the world is at his feet for the asking. He doesn’t know failure and how to deal with it. Mike is married to Celina (Vilma Santos), an equally successful T.V. personality. When Celina gives birth to their firstborn, Mike becomes ecstatic for he is now complete. But as their son grows, the doctor finds he is autistic. Mike is indignant. He cannot accept a feeble minded son as he worries about his reputation like his parents who suggest an institution. The situation is breaking up their ideal marriage for only Celina can understand and love her autistic son unconditionally. – TFC Now (READ MORE)
Film Achievemetns:1991 FAMAS: Best Actor – Christopher De Leon; Best Child Actor – Terence Baylon; Best Director Nomination – Laurice Guillen; Best Picture; 1991 FAP: Best Actor – Christopher De Leon; Best Child Actor – Terence Baylon; Best Editing – Efren Jarlego; Best Picture; Best Actress Nomination – Vilma Santos; 1991 Gawad Urian: Best Actress – Vilma Santos; Best Picture; Best Screenplay – Olivia M. Lamasan; Best Actor Nomination – Christopher De Leon; Best Cinematography Nomination – Eduardo Jacinto; Best Direction Nomination – Laurice Guillen; Best Editing Nomination – Efren Jarlego; Best Production Design Nomination – Edgar Martin Littaua; Best Supporting Actor Nomination – Terence Baylon
Film Reviews: Christopher de Leon and Vilma Santos, the box-office love team of more than a dozen dramas, including “Pakawalan Mo Ako,” “Paano Ba ang Mangarap,” “Relasyon,” “Broken Marriage” and “Imortal” are reunited in this Laurice Guillen drama written by Olive M. Lamasan. They portray 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 pres¬ence of their first-born child, Mike Jr., who turns out to he autistic.
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.
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. Beyond the subject of having an autistic child, the movie also deals with the intri¬cacies of family relationships, as indicated by the ties between Celina and her mother (Charito Solis) and a wayward sister (Vivian Foz), and between these folks and Mike’s parents (Delia Razon and Johnny Wilson). “Ipagpatawad Mo” is a major film event of the year, with quiet and restrained per-formances by the cast that erupts in emo¬tional outbursts only periodically and judiciously. – Butch Francisco, The Philippine Star (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)
“…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)
“…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.” – Nena Z. Villanueva, Manila Standard, Oct 28 1991 (READ MORE)
“…The wife was a popular talk show host. The husband was a top executive in the field of advertising. They were the ideal couple and the envy of all their friends. They seemed to lead the perfect life more so when the birth of their baby boy completed the picture of a domestic paradise. But time brought a realization that their son was not like the other normal children. He was diagnosed as autistic. The wife gave up her career to give her son every possible chance to lead a normal life but the husband could not accept his child. He thought that it was a massive blow on his masculinity. How they came to terms with the presence of this autistic child in their lives is the gist of this wonderfully crafted film…” – Mav Shack (READ MORE)
Basic Information: Directed, story, screenplay: Carlo J. Caparas; Cast: Vilma Santos, Joel Torre, John Regala, Charina Scott, Angelica Panganiban, Robert Arevalo, Perla Bautista, Phillip Gamboa, Liezel Martinez, Ronnie Lazaro, Mia Gutierrez, Tony Mabesa; Executive producer: Carlo J. Caparas, Vic del Rosario Jr., Donna Villa; Cinematography: Boy Dominguez; Film Editing: Abelardo Hulleza
Plot Description: Story of Ronald Arandia who came back home after working overseas and found out his family was murdered, based on a true to life story of a massacre in Lipa City, Batangas. – Jagger Kieth (READ MORE)
A family of an overseas Filipino worker is murdered in their own home in Lipa City. While boarding a plane bound for the Philippines, Mr. Arandia is shocked to see his family in the front page of a newspaper. – ABS-CBN (READ MORE)
Film Achievement: 1994 FAMAS: Best Director – Carlo J. Caparas; Best Actor nomination – Joel Torre; Best Child Actress nomination – Charina Scott
Film Review: Vilma Santos portrayed the role of Mrs. Helen Arandia, wife of an Overseas Filipino Worker in Saudi Arabia. The Star for All Seasons starred with John Regala, Joel Torre, and then-child actors Charina Scott and Angelica Panganiban in this 1994 movie. While boarding a plane back to the Philippines, Mr. Ronald Arandia (played by Joel Torre) was shocked when he saw his murdered family on a newspaper’s front page. The killer (John Regala) visited Mrs. Arandia at their home in Lipa City, Batangas, and brutally murdered her and her two daughters, aged 8 and 6. The film directed by Carlo Caparas won Best Picture and Best Director at the 43rd Famas Awards (1994). Jagger Kieth (READ MORE)
“…Mula 1994 hanggang 2003 ay hindi na nagkatunggali sa Best Actress award sina Nora at Vilma. Early 1994 nang huling magkasabay as contenders for the acting plum sina Nora (Inay) at Vilma (Dahil Mahal Kita). For the whole year, Nora didn’t topbill any movie. She hosted Modern Romance sa Telebisyon on GMA 7 and the monthly special Superstar Beyond Time on RPN 9, and appeared on several telesines and a successful two-night concert at the Mandarin Hotel Ballroom. Naulit ang pangyayari noong 1992 na walang pelikula si Nora (she only appeared in her second stage play, DH, na nag-world-tour in 1993) and this will be repeated 10 years later, when she did the ABS-CBN 2 drama series Bituin that aired from September 2002 to May 2003 and several concerts. Vilma notched two films: Regal’s Nag-iisang Bituin (by Joey Reyes) and Golden Lions’ Lipa Massacre (by Carlo J. Caparas), which won as Best Picture sa FAMAS…” – William Reyes (READ MORE)
“Vilma Santos finally gets her wish to star in a massacre movie under director Carlo Caparas with her role as Helen Arandia in the Lipa Massacre. The film is about the Arandia family tragedy (a mother and her two daughters were killed by a neighbor while Mr. Arandia was abroad). Congressman Ralph Recto plays himself in the movie. Vilma had to forego a trip abroad to shoot another film just to help promote this massacre movie. Producer Donna Villa is all praises for Vi’s professionalism and her concern for this movie. Playing Mr Arandia is Joel Torre, who has become a favorite of the Golden Lions couple after he worked with them in the Antipolo Massacre. The Lipa Massacre movie will have a playdate on November 9. Donna and Carlo are now ready with their new movie…” – Norma Japitana, Manila Standard, Nov 2 1994 (READ MORE)
“…nababaliw ka na noh…puro kabaliwan yang nasa isip mo…hindi Jason, meron iba tayong dapat nating sundin…meron iba! Gamitin natin ang sinasabi ng isip natin, ang ipinararamdam ng kaluluwa natin, yun! Dahil madalas yun ang nagsasabi ng tama, yun ang nagsasabi ng nararapat nating gawin hindi ang puso…hindi ang puso Jason, hindi ang sinungaling mong puso…huwag kang padadala, ililgaw ka niyan…ililigaw ka dahil marunong manglinlang ang puso dahil alam ko ang tama huwag kang magpapadala…huwag kang magpapadala, hindi mababago ang katotohanang mali ang ginagawa natin, mali…” – Clara
“hayup! Hayup!…Baboy! Mamatay kang kasama ng mga baboy mo!” – Clara
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Basic Information: Directed: Maryo J. De Los Reyes; Story: Jose Javier D. Reyes, Jake Tordesillas; Screenplay: Jose Javier D. Reyes, Jake Tordesillas; Cast: Vilma Santos, Gabby Concepcion, Alice Dixon, Aga Muhlach, Aiko Melendez, Ricardo Cepeda, Dennis Baltazar, Charlie Davao, Philip Gamboa, Melinda Mendez, Mila Ocampo, Luz Valdez, Orestes Ojeda, Michelle Bautista, Lora Luna, Aris Bautista, Daniel Roa, Dax Rivera, Allan Laceda, Aida Carmona, Estrella Antonio, Alex Toledo, Nonoy Gates, Tato Malay, Lemuel Sales, Francis Ignacio, Chynthia Carriedo, Marvin Bellosillo, Veronica Medel, Jeff Long; Executive producer: Lily Monteverde; Original Music: Lutgardo Labad; Cinematography: Charlie Peralta, Jun Pereira, Caloy Jacinto; Film Editing: George Jarlego; Production Design: Ronaldo “DO” Cadapan; Sound: Joe Climaco, Rodel Capule; Theme Songs: “Sinungaling Mong Puso” sung by Basil Valdez, composed by Willy Cruz
Plot Description: An endearing romantic drama that tells of a very curious affair between an older woman (Vilma Santos) and a young unhappily married boy (Aga Muhlach). In between them are Vilma’s husband, Gabby Concepcion and Aiko Melendez as Aga’s wife. All told, the movie proves once again that love does not only happen in the most unexpected times and places. It also makes people do the strangest things. – Regal Films DVD description
Film Achievement: 1992 FAMAS Best Actor – Aga Muhlach; 1992 FAMAS Best Supporting Actor – Gabby Concepcion; 1992 URIAN Best Actress nomination – Vilma Santos; 1992 URIAN Best Director – Maryo J. De los Reyes; URIAN Best Supporting Actor – Gabby Concepcion
Film Reviews: Nagsimula ang movie with Clara (Vilma) had a visitor in a jail, ito ay ang ex-wife ng asawa niya. Kasabay nito’y nag-flashback na ang pelikula. Bakit nakulong si Clara? Unang nagkakilala sa isang disco sina Jason at Clara. Inalok ng batang-batang si Jason si Clara ng sayaw ngunit inignore lang nito ang istudyante. Makikita agad na parehong hindi masaya sa buhay may asawa si Clara (Vilma Santos) at Jason (Aga Muhlach). Si Clara ay asawa ng isang malupit at babaerong negosyate, si Roman (Gaby Concepcion). Samantalay si Jason naman ay laging nina-nag ng kasing edad niyang asawa na si Aiko Melendez at pati ang kani-kanilang mga magulang ay nadadaway at madalas na nase-sermunan si Jason dahil rito. Kasabay na pinakita ang problema sa pagaasawa’y ipinakita rin ang mga taong nasasangkot sa pag-iibigan ni Clara at Jason. Ang asawa ni Clara na si Roman ay ubod ng lupit, minsan ay may nahuli ang mga tauhan nito na nagnanakaw sa kanilang bahay ay binaril nito ang magnanakaw. Bukod sa kalupitan ay marami ring naanakan siya at ang laging solusyon nito ay perahan ang mga babae para manahimik ang mga ito.
Nang bumalik sa Pilipinas ang kanyang ex wife na si Leda (Alice Dixon), muling gustong makipagrelasyon ito. Dahil sa mga pambabae ni Roman ay gusto rin sanang makaganti ito sa asawa at maraming mga lalaki na gustong makipagrelasyon sa kanya ngunit napipigilan pa rin nito ang sarili ngunit nang makilala niya minsan ang batang-batang si Jason (Aga) ay hindi na nito napigilan ang sarili. Muling pinagtagpo si Clara at Jason nang masiraan itong una sa kalye at nagkataon na naruon si Jason at tinulungan siya na humantong sa isang dinner date. Nagkaroon sila ng relasyon at nagkikita sa isang apartment na pagaari ng kaibigan ni Clara. Sa kabila ng agwat ng kanilang edad at estado’y natutong mahalin ng dalawa ang kanilang isa’t isa hanggang sa matuklasan ng asawa ni Jason ang relasyon at mag-iskandalo pa ito sa harap ng mga tao’t sa apartment na tagpuan ng dalawa. Bukod sa iskandalo ay nagsumbong pa ito sa asawa ni Clara. Ang naging resulta ng pagsusumbong na ito’y ang pagkakabugbog ni Jason sa malupit na kamay ni Roman. Sinadista nito ang kaawa-awang si Jason. Nang malaman ni Clara ay hindi niya napigilan ang nangyari sa katipan at nang mapuntahan niya’y natuklasan niya ang sinapit ni Jason. Binaril niya ang asawa at pinatay. Dito siya nakulong.
Maayos na nailahad ni Maryo Delosreyes ang istorya nang pag-iibigan ni Clara at Jason. Ito marahil ang dahilan kung bakit tinangihan ni Vilma ang pelikulang Naglalayag na halos kapareho ng istorya, ang pag-ibigan ng isang batang lalaki sa nakakatandang babae. Merong mga eksena rito na hindi kapanipaniwala katulad ng bakit nabuhay pa si Aga Muhlach sa bandang huli dahil nakakapagtaka na sa kabila na sobrang torture na natanggap niya mula sa sadistang si Roman ay nabuhay pa ito. Hindi rin na-isplika ng pelikula kung bakit gustong balikan ni Roman ang ex-wife niyang si Leda (Alice Dixon). Mahusay ang cast ng pelikula, magagalit ka talaga sa kalupitan ni Gabby Concepcion at makikita mo rin na believable siya bilang isang babaerong negosyante. Bilang ex-wife ni Roman, parang tuod si Alice Dixon wala siyang kabuhay buhay na magdeliver ng mga lines. Samantala, litaw na litaw naman ang role ni Aiko Melendez bilang Ana, ang asawa ni Jason. Halos lahat ng eksena niya ay mahusay niyang nagampanan maliban sa bandang huli yung reconciliation scene niya kay Vilma kung saan hindi bagay ang lines niya na: ”pareho natin siyang minahal… blah blah blah…”
Magaling sina Aga Muhlach at Vilma Santos bilang nagtatagong magkasintahan. Lutang na lutang ang pag-arte ng dalawa at nakakatuwa sila sa kanilang mga eksena na nagtatagpo ng palihim tulad ng mag-kita sila sa department store. Dumating si Vilma at hinahanap niya si Aga, hindi nya makita ito hanggang sa mamataan niya ang binata na nakaupo sa may display area. Kinindatan ni Jason si Clara at napatawa na lang ang babae. Mararamdaman mo ang excitement ng mga pagkikitang ito. Nang mahuli ni Ana ang asawa at mag-iskandalo ito, nang umalis na ang asawa at balikan ni Jason si Clara sa loob ng apartment, makikita sa mukha ni Vilma ang pagtatapos ng kanilang affair. Ang sabi niya: “ Hinintay lang kita, gusto kong maghiwalay tayo ng maayos…” Bukod sa maraming eksena na lutang na lutang ang pag-arte ni Vilma marahil ang pinaka-memorable ay ang eksena kung saan binaril ni Vilma si Gabby at sabihin niya ang line na: “mamatay kang kasama ng mga baboy mo…” ito ang pagpapatunay na talagang napakahusay niyang artista. – RV
“…Strange Coincidence – There are funny coincidences going on in the lives of some of our more durable and interesting showbiz personalities. For instance, in the lives of Vilma Santos and Nora Aunor. So far it’s proving to be Vilma’s year (that’s why she comes first sa billing). First she plunged into politics and helped win for long time beau Ralph Recto a seat in Congress. Now she’s starring in Regal’s anniversary offering, Sinungaling Mong Puso, with loverboy Aga Muhlach. Next, she’s marching down the aisle to marry Ralph, a Recto no less, in what promises to be the social event of the year, bar none. It’s interesting how, the older Ate Vi gets (she’s in her late thirties now), the younger and more sosyal her men get (Ralph is ten years her junior, Aga more). It reflects awesome self-confidence, is all I can say. And she’s not alone. Ate Guy’s career may be on hold these days but, apparently, not her lovelife. This is where she and Ate Vi match points. Guy’s new beau is John Rendez, a rapper composer who’s all of 21 years old. Wala akong masabi except, wow, what a trip…”…” – Angela Stuart Santiago, Manila Standard, Aug 24 1992 (READ MORE)
“Vilma Santos did not expect that her first experience at the Lower House could be so pleasant. “They were very nice. I was expecting that they’ll just tolerate me kasi artista ako, but they even posed with me,” she shared. Gina de Venecia, wife of the Speaker, asked her to join the Congressional Ladies Group. Ate Vi said that as soon as “Things settle down after the December 11 wedding to be held at the Lipa Cathedral, she will organize a foundation for street children. First, in Lipa and later here in Metro Manila. Vi said that her latest movie, Sinungaling Mong Puso, slated to open today, is inspired by her tele-movie, Once There Was A Love which also starred Aga Muhlach. I really wanted Aga to be my leading man in this movie since we started our tele-movie.” The movie also reminded her of the time when she and Ralph met for the first time. He was then only 21, or 11 years her junior. Vi does not plan to stop making movies, “I’ll be bored with just being a housewife,” she averred. “Sinungaling…, she said, “is teh story of three women and how they relate to the men in their lives. This is more intense compared to Ipagpatawad Mo. She is set to do two more movies this year – – one for Moviestars with Cesar Montano and Ronnie Rickets to be directed by Chito Rono; and another for OctoArts with perennial screen partner, Christopher de Leon with Mike de Leon as director…” – Nena Villanueva, Manila Standard, Aug 27 1992 (READ MORE)
“Scale of 1 to 10, I give it a 9.9!” – Oskee Salazar, Manila Standard, Aug 27 1992 (READ MORE)
“It is well acted, with special mention going to Vilma Santos, Aga Muhlach, and Gabby Concepcion.” – Ricky Calderon, Manila Standard, Aug 27 1992 (READ MORE)
“I realized I have lesser problem in life.” – Alfie Lorenzo, Manila Standard, Aug 27 1992 (READ MORE)
“Best actress talaga si Vilma. Aga Muhlach is the best actor of his generation.” – Mario Dumawal, Manila Standard, Aug 27 1992 (READ MORE)
“Acting superb. Plot realistic. It can happen to the best of families. Aga’s talent comes to the fore — award-winning. I like all his scenes…Pacing last. I’d like to see it again.” – Nena Villanueva, Manila Standard, Aug 27 1992 (READ MORE)
“…The stellar achievement in politics, motion picture and television industries of Star for All Seasons and acknowledged Longest-Reigning Box-Office Queen Vilma Santos has necessitated the creation of yet another FAMAS special award: the Exemplary Achievement Award, an award given only to previous Lifetime Achievement Award recipients who have shown continued blossoming and achievement in the movie industry, as well as in other fields. The actress, who is also the incumbent governor of Batangas province, was not able to make it to the Gabi ng Parangal due to short notice, but she was able to send a video message acknowledging her award. It can be remembered that the FAMAS created a special award for Vilma Santos’ portrayal in Sinungaling Mong Puso in 1992. By technicality as a Hall of Famer, she cannot receive a regular FAMAS Award, so she was awarded an accolade higher than the Hall of Fame: the Circle of Excellence. This year, that instance is again repeated, a testament to the Star for All Seasons’ durability and penchant for excellence and achievement. Santos is also the recipient of yet another special award this awards season, the Ulirang Artista (Lifetime Achievement Award) of the Star Awards for Movies…” – Nicolo Magundayao, The Filipino Academy of Movie Arts and Sciences (READ MORE)
“The film scene is not unlike the current weather – drab, gloomy, mostly uneventful. But the cinematic sky finally clears up and giving us reason to be hopeful once again. We are talking here of a pretty well-made Pinoy movie that comes like a benediction from above especially at a time when every producer in town has plunged deeper into the abyss of profitability. And what irony it is – the movie has come straight out of Mother Lily’s dump-site where every piece of film product is beyond recylability. The film is called Sinungaling Mong Puso which, discard its abominable title, is a darling attempt on the part of its makers to raise the genre of marital melodrama into a decent and mature form of filmmaking. The film concerns a May-December affair between Vilma Santos and Aga Muhlach with one major hitch. They both happen to be married – she to Gabby Concepcion and he to Aiko Melendez – and the problems arising from such relationship are apparent from the start. They are quite unhappy in their status, have problems relating to their partners, and now want a way out from the heckling, bullying and, especially in Santos’ case, insulting that characterize their married lives.
Santos’ problem is clearly more complicated than Muhlach’s. She is married to a man who’s been married before (to Alice Dixon, from whom he is separated on legal grounds that are not made clear) and who literally abuses her in bed. Worse, he thinks it’s perfectly normal for a man to engage in extra-marital affairs. Muhlach’s wife is a nagger and whom he was forced to marry at a young age after he impregnated her. Their affair is nothing extraordinary – they meet by accident, she phones him, they began to date and finally go to bed. What makes the story extraordinary is the reactions of their respective spouses to their problem. Melendez becomes hysterical and Concepcion is naturally violent. He orders his bodyguards to beat up Muhlach and leaves him badly battered. Santos comes to the scene and shoots her husband dead, right in the company of the swine that he raises and she calls him whenever he forces her to make love. At the end, she is sent to jail where a tearful reunion between the lovers takes place, with another plea for absolution from their past sins. What makes the film in a way absorbing is the firm, secure hand of its director, Maryo delos Reyes.
He has a nice way of working with the camera (three cinematographers are credited) and even more effective way of working with his actors. Though he occassionally lapses into using visibly commercial devices (such as the effects of slow-mo, freeze frame, and fragmentation shots), he manages on the most part to motivate his actors into giving their best. Ms. Santos is at her usual inspired level (But hasn’t she done this part in countless other movies?) though I often got distracted with her outfits, make-up and their age difference (Muhlach is 21 but we never find out Santos’ age, presumably 15 years older). Muhlach is a revelation, a natural in his acting even he indulges in pure histrionics. Concepcion has improved considerably and is now at home playing parts like this. Melendez is likewise adequate but a bigger surprise is Dixon’s portrayal of a career woman torn between her friendship and love. She has finally blossomed in time even if I do not completely trust the voice on the soundtrack (must be the dubber’s). The script is by two people – Jake Tordesillas and Jose Javier Reyes – and it is best with problems, structually mostly. The film is told as a flashback but the device is used only at the opening and closing of the film while Santos is in jail visited by Dixon. But the narrative is not told from her point of view nor anybody else’s. This is, however, a monor quibble compared to the merit of the film, not the least of which is its uncompromising view of the problems confronting married people, and the anachronistic standards that Philippine society uses in judging those who violate the sanctity of marriage…” – Justino Dormiendo, Manila Standard, Sep 6, 1992 (READ MORE)
“…Even now, the Sirkian influence could still be seen in many Tagalog movies. The framing makes sense, it adds drama, makes the scene visually beautiful. But, I only wish that the younger filmmakers eradicate the lugubriousness of Sirk’s orchestration of melodrama to solicit emotional response from the audience. But, sad to say, the Philippine movie industry seemed to have got stuck and has been suffering from a fixation known as the “heavy drama obsession.” ”Sinungaling Mong Puso” is just one example of Sirk’s influence. But what made this film even more horrific is that all the actors in this film, except Vilma Santos, were a hopeless case of “acting running amuck”. It was definitely patterned from Douglas Sirk’s smash hit films that many starred Rock Hudson: Magnificent Obsession (1954); All That Heaven Allows (1955); There’s Always Tomorrow (1956); Written on the Wind (1956); A Time to Love and A Time to Die (1958); Imitation of Life (1959); to name a few…” – Jose Mari Lee, Pinoy Comics TV Movies (READ MORE)
“…Dahil sa tagumpay sa box-office ng pelikulang “Just A Stranger” nina Anne Curtis at Marco Gumabao, muling nauuso ang mga May-December affair film. Sa Urban Dictionary, ang meaning ng “May-December affair” is a relationship between two people where one partner is in the “winter” of their life (old) and the other partner in the relationship is in the “spring” of their life (young). May/December relationships can either be superficial or serious – so the term doesn’t itself say anything about the status of the relationship…Kung tutuusin ay noon pa uso ang May-December affair films at ang iba rito ay naging award-winning pa…Heto nga ang mga pelikulang nagpakilala sa landian, lambingan, harutan ng mga babae/lalaki na may edad sa mga mas batang-batang nilalang…Sinungaling Mong Puso (1992) – Kuwento ito ni Clara (Vilma Santos) na hindi na masaya sa pagsasama nila ng malupit at babaero niyang mister na si Roman (Gabby Concepcion). Nagkataon na nakilala niya ang young father na si Jason (Aga Muhlach) na hindi rin masaya sa nagging wife niyang si Anna (Aiko Melendez). Nabuo ang isang sikretong relasyon na nauwi sa isang madugong trahedya. Mula sa direksyon ni Maryo J. Delos Reyes, nanalo rito si Aga bilang FAMAS Best Actor…” – Anonymous, Abante, 07 Sep 2019
“Sister nain-love ka na ba? Hindi yong Love kay Kristo ha, yong love na may sex!” – Leah
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Basic Information: Directed: Chito S. Roño; Story: Lualhati Bautista; Screenplay: Lualhati Bautista, Chito S. Roño; Cast: Vilma Santos, Albert Martinez, Carlo Aquino, Serena Dalrymple, Angel Aquino, Cherry Pie Picache, Raymond Bagatsing, Ariel Rivera, Rosemarie Gil, Andrea Del Rosario, Dexter Doria, Cita Astals, Ronalissa Cheng, Carmen Serafin; Executive producer: Charo Santos-Concio, Malou N. Santos; Original Music: Jessie Lasaten; Cinematography: Charlie Peralta; Film Editing: Jaime Davila; Production Design: Manny Morfe; Sound: Albert Michael Idioma; Theme Songs: “Kumusta Ka” performed by Nonoy Zuniga
Plot Description: Lualhati Bautista’s award-winning novel was adapted to the big-screen with brilliant results: the casting (specially Mayor Vilma Santos as the strong-willed Leah Bustamante) is perfect; Bautista’s script is filled with comic and dramatic undertones. 8 year-old Serena Dalrymple provided most of the laughs as the innocent child who serves as Leah’s mirror of her personality. Everything in the film is a labor of love and art, and it deserves to be a classic. – IMDB
A fiercely independent and unflinchingly candid woman connected with a women’s crisis and survival center has to raise her two kids with different fathers. Her first husband has left her when their career options failed to converge. She is now stuck in an extramarital arrangement with another man who cannot bring himself to respect and commit to their quite unorthodox relationship. – Database of Philippine Movies
The movie is about Lea, a mother of two kids with different fathers. Lea, works in an NGO (non-government organization), which deals with human rights violation committed against women. Ogie and Maya are Lea’s children. Ogie’s father, Raffy, leaves them when he had to work in the province of Surigao. Lea together with his son Ogie, did not join Raffy for Lea has a job in Manila which she did not want to leave. Maya, whose father is Ding lives with them, together with Ogie. Things start to get worse when Raffy arrives in Manila. Raffy, meets with Lea for him to see his son, Ogie. As days went on, Ogie regularly sees his father and sometimes spends some time in his house together with his new wife who is pregnant with there first child. Raffy, realizes that he has a lot of shortcomings as a father to Ogie. Raffy tells Lea that he will take Ogie with him to the United States after his wife gives birth. Lea doesn’t know what to do. – Skynet
Film Achievement: 1999 Brussels International Festival of Independent Films Best Actress – Vilma Santos; 1999 International Festival of Independent Films Best Director – Chito S. Roño; 1999 Asia-Pacific Film Festival Special Jury Award – Chito S. Roño; 1998 FAMAS Best Child Actor – Carlo Aquino; 1998 FAMAS Best Child Actress – Serena Dalrymple; 1998 FAMAS Best Story – Lualhati Bautista; 1998 FAP Best Actress – Vilma Santos; 1998 FAP Best Picture – Star Cinema; 1998 FAP Best Supporting Actor – Carlo Aquino; 1998 FAP Best Supporting Actress – Serena Dalrymple; 1998 Urian Best Actress – Vilma Santos; 1998 Urian Best Picture – Star Cinema; 1998 Urian Best Best Screenplay – Lualhati Bautista; 1998 Urian Best Supporting Actress – Serena Dalrymple; 1998 Star Awards Actress of the Year – Vilma Santos; 1998 Star Awards Child Performer of the Year – Carlo Aquino; 1998 Star Awards New Movie Actress of the Year – Serena Dalrymple; 1998 Young Critics Circle Best Film – Star Cinema; 1998 Young Critics Circle Best Performer – Vilma Santos; 1998 Young Critics Circle Best Screenplay – Lualhati Bautista; 1998 PASADO Best Picture – Star Cinema; 1998 PASADO Best Screenplay – Lualhati Bautista; 1998 PASADO Best Actress – Vilma Santos
Other Film Achievements 1998 FAP Best Cinematography nomination – Charlie Peralta; 1998 FAP Best Director nomination – Chito S. Roño; 1998 FAP Best Editing nomination – Jaime Davila; 1998 FAP Best Production Design nomination – Manny Morfe; 1998 FAP Best Screenplay nomination – Lualhati Bautista; 1998 FAP Best Supporting Actor nomination – Albert Martinez; 1998 Urian Best Best Director nomination – Chito S. Roño; 1998 Urian Best Best Editing nomination – Jaime Davila; 1998 Urian Best Music nomination – Jessie Lasaten; 1998 Urian Best Sound nomination – Albert Michael Idioma; 1998 Urian Best Supporting Actor nomination – Carlo Aquino; 1998 Urian Best Supporting Actor nomination – Raymond Bagatsing; Bata Bata Paano Ka Ginawa? Became a stage play in 1999
Film Reviews: Motherhood. Womanhood. It has long been believed that the former is the be-all and end-all of the latter. Our culture dictates this. Our society has its own standard boxes of what constitutes a good woman and of what necessitates a good mother. If you don’t fit this box, then you suffer the consequences. Lea Bustamante (Vilma Santos), a mother of two and a woman who chooses to live differently, is learning how to deal with these consequences. Her eldest is OJIE (Carlo Aquino), an outspoken boy on his peak of puberty. Her youngest is Maya (Serena Dalrymple), a precocious and equally outspoken six-year old. Both have different fathers. Neither is married to Lea. Lea was once married to Ojie’s father, Raffy (Ariel Rivera). But he had to leave for his job and she had to stay for hers. Hence, they separated. Now, Lea lives with Maya’s father, Ding (Albert Martinez), a mama’s boy who is constantly at the beck and call of his mother. This infuriates Lea because it reminds her that Ding is not married to her and they are not his priority. Nevertheless, Lea is sure she can handle herself and her children without anyone’s help.
Her world gets shaken however when Raffy goes back to the Philippines. She knows she still loves him but that there is no chance for a reconciliation. Raffy came back with a new wife on the family way. Ojie begins to see his father during weekends. Lea sees how father and son thirst for the bond they should have started forming a long time ago. She also sees how much Maya misses her brother so much whenever he spends his time with his father. Matters get worse when Raffy voices his desire to take Ojie with him and his new wife to America. With a fearful heart and a great respect for her son, Lea leaves the decision to Ojie. Before he even makes a decision, he and Maya suffer an accident. The mother gets blamed. Her job gets blamed. Lea works in a survival center for women in crisis and is continually exposed to the adverse effects of how society can become a victim of its own ideology. Lea considers herself emancipated from these labels. She has her own sense of motherhood, of womanhood, of what is true and good and beautiful. But now, she is being accused by both fathers of not being a good mother, and of being a woman of twisted priorities. In this susceptible state, Lea finds solace in the company of Johnny (Raymond Bagatsing), a colleague and a friend from the center. As if her life wasn’t complicated enough, she receives yet another bomb. Ding breaks up with her after a long absence, apparently after getting married to a girl he got pregnant. Ding wants to take Maya too. With a broken spirit, a confused heart and great reverence for Maya as with Ojie, Lea lets her children decide about their life. In these moments of vulnerability, Lea confronts her worth and the needs of her soul which the men in her life never really fulfilled – her being a woman and a mother. Is living the life she wants worth losing the children she loves? With a broken spirit, a confused heart and great reverence for Maya as with Ojie, Lea lets her children decide about their life. In these moments of vulnerability, Lea confronts her worth and the needs of her soul which the men in her life never really fulfilled – her being a woman and a mother. Is living the life she wants worth losing the children she loves? – Star Cinema
“A women’s rights activist and mother of two, Lea has been abandoned by the fathers of her children. Her daughter and son are at crucial transitional ages and she struggles to provide for them while maintaining her hectic job at a woman’s crisis center. Soon though, the job and her budding romance with co-worker Johnny threaten Lea’s role as mother when her children’s fathers return to accuse her of neglect.” – Baseline Studio Systems (READ MORE)
“In one of the most remarkable performances in Filipino film history, Vilma Santos plays Lea, a woman who defiantly rejects social convention to experience life on her own terms. A woman’s rights activist and mother of two, Lea has been abandoned by the fathers of her children. Her daughter and son are at crucial, transitional ages and she struggles to provide for them while maintaining her hectic job at a women’s crisis center. Soon, however, the job and her budding romance with co-worker Johnny threaten Lea’s role as mother. When the children’s fathers turn up to accuse her of neglect, she must ask herself whether her independence is worth the possibility of losing her children? What role–motherhood or lover–will best satisfy the deepest needs of her soul?” – The 35th Chicago International Film Festival (READ MORE)
“…Lea’s Story, based on Lualhati Bautista’s award-winning novel “Bata, bata paano ka ginawa,” tells the story of Lea, a strong and independent woman who defiantly rejects social conventions to live life on her own terms. Lea, a woman’s rights activist and single mother of two, struggles desperately to provide for her children by working at a woman’s crisis center. Soon her job and romance with a co-worker are threatened when her estranged husband comes back into Lea’s life, accusing her of neglect and abuse. Last year, Lea’s Story swept the Filipino Academy Awards by winning Best Picture, Best Actress, Best Screenplay and Best Director. It stars the Philippines’ top actress and actor, Vilma Santos and Raymond Bagatsing respectively…” – Asian American Film News (READ MORE)
“Sa tingin ko, sa Bata, Bata… pinakamagaling si Vilma Santos. Sa dami ng kanyang award, may ibubuga pa pala siya. Iba ang akting niya rito…Halatang feel na feel ni Vilma Santos ang kanyang papel dahil, gaya ng karakter ni Lea Bustamante, dalawa ang anak ni Vilma sa magkaibang lalake.” – Marra Pl. Lanot, Diario Uno, Sept. 1998 (READ MORE)
“…Ang international fame, bilang Best Actress, ay nakamit ni Vilma in 1999, when her Star Cinema headliner Bata … Bata … Paano Ka Ginawa? – directed by Chito Rono – was entered as competition entry sa Brussels Film Festival. Released in 1998, Bata won for Vilma the Best Actress honors at the Star Awards, FAP and Gawad Urian, as well as the Best Performance award from the YCC-Film Desk. Dahil nahalal na alkalde ng Lipa City sa Batangas si Vilma Santos-Recto (she married then Batangas Congressman, now Senator Rafael ‘Ralph” Recto in December 1992), naging mas madalang ang paggawa niya ng pelikula. Pero hindi pa rin magmimintis si Vilma na manalo ng acting trophy, kapag din lang may panlabang pelikula, as in 2000 when she did Star Cineman’s Anak by Rory Quintos. Nanalo siyang Best Actress sa Star Awards…” – William Reyes (READ MORE)
“…And Vilma Santosis more than up to the challenge. Gone are the hysterically flapping hands, the melodramatic emoting, all the trademark acting tics. In their place is a heartfelt performance that distills Lea’s essence to an exquisite point-no movements are wasted, no gestures are overwrought. …Vilma rolls them on her tongue like the finest wine; when Lea is on the verge of breaking down, Vilma remains true to the spirit of her character… If the Lipa City mayor decides never to do another movie again, she can retire assured that her last performance-in a career already studded with formidable portrayals-may conceivably have been her best…” – Andrew E. Pardes, Manila Times, Sept 1998 (READ MORE)
“…To best understand how Filipino women have changed in the course of time, let us quote Lea’s final words: “OO, natuklasan ko ang mga bagay na hindi ko siguro natuklasan kung pinahawakan ko lang sa iba ang pagkatao ko. Hindi ako nagpakulong, sinikap kong lumaya. At mula sa paglaya ko sa makitid na papel ng isang babae, natiyak ko na ang kalayaan nga pala, sa higit na pangmalawakang kahulugan nito, ay hindi nahihingi kundi ipinakikipaglaban. Hindi lahat ng hinuhuli’y kriminal, at hindi lahat ng diyos ay may dangal! Hindi ako natatako. Babae ako at malakas ako. Ako ang tagapagsilang ng tao, pambuhay ng sanggol ang dibdib ko. Hindi porke ina na ‘ko’y tumigil na ‘ko sa paglaki. Hindi porke babae ako’y maiiwan ako sa labanan. Para sa kaligtasan ng lipunan at kinabukasan ng mga anak ko sa digmaan ng mga uri’t prinsipyo, sa mapayapa man o madugong pagbabago, magtiwala kayo…sasama ako!” We need more Josies adn Leas in our society tody, The time is ripe for Filipino women to rise above the society’s traditional views and coventions. Although ultimate freedom and due recognition of gender equlity remain a struggle and a serious concern, Filipino women are slowly gaining a strong foothold. In a book dedication written by Bautista to this writer, she wroteL “Ang mga kamay na nag-uugoy ng duyan ay kaya ring magtumba ng alon sa dagat.” And we belive that a freer woman is better mother. And every Filipino family needs her. Every family must have her. We remember what Vilma said in our interview with her during the last shooting day of her film “Bata, Bata…” “I would like to be remembered as a mother who would give her life to her children anytime…” She’s an accomplished actress, and many will remember her for that. But Vilma would rather be a mother in her films, in her life…” – Veron Dionisio, Philippine Daily Inquirer, Jul 29, 2000 (READ MORE)
“…Nora’s performance in ‘Sidhi” is touted to be the answer to Vilma Santos’ hysterical outing in “Bata, Bata, Pa’no Ka Ginawa?’ If only ‘Sidhi’ came out during last year’s cut-off period, then Nora would definitely give Vilma another tough fight in the awards derby this year. “Let’s stop it,” Ate Guy shakes her head as she shows her lack of interest in the rivalry. “As far as we’re concerned, things like that, you know, that phase is over. Let’s not talk about those things anymore.” Nora knows her rivalry with Vilma would linger for a long time. But personally, she thinks they have developed a different level of friendship through the years. “Movie projects offered to Vilma are different from those I accept. So you really can’t accept films just to compete with her. If I don’t want something, I won’t do it,” Nora further explains…” – Wikipedia (READ MORE)
Basic Information: Directed: Lino Brocka; Story, screenplay: Ricardo Lee; Cast: Vilma Santos, Snooky Serna, Gabby Concepcion, Eric Quizon, Dennis Roldan, Perla Bautista, Ruben Rustia, Maritoni Fernandez, Gina Perez, Pocholo Montes, Archie Adamos; Executive producer: Lily Y. Monteverde; Original Music: Jaime Fabregas; Cinematography: Pedro Manding Jr.; Film Editing: George Jarlego; Production Design: Benjie De Guzman; Sound: Joe Climaco, Ramon Reyes
Plot Description: Lucinda (Vilma Santos), a hard-nosed scheming power hungry woman is married to a young politico, Gerard (Eric Quizon). Theyère the ideal and perfect partners in life and in crime. Their lives take a new shape with the re-entry of Renato (Gabby Concepcion), Lucindaès first love and now married to cousin Teresa (Snooky Serna). What follows is another colorful drama – swapping partners to satisfy their burning passion. But the moment of truth arrives – Lucinda and Gerard outwits each other to assure power and reach the top to the extend of plotting their lover’s murder. – Regal Films (DVD box description)
An oppressed housemaid has transformed herself into a wealthy and powerful business mogul through sheer dint of talent, ambition and driving need to avenge herself on her tormentors. She comes back to the scene of her most abject debasement with the sole intent of humiliating the family who once made her life such a living hell. Unknowingly, she gets to exact revenge on the very person who turns out to be her own daughter by the son of her former mistress. – Databases of Philippine Movies (READ MORE)
Vilma Santos plays a devious and power-mad wife of an equally contemptuous mayor (Eric Quizon). While riding high on the crest of power, Vilma tries to ruin the lives of a married couple, Snooky Serna and Gabby Concepcion. Snooky is Vilma’s distant cousin while Gabby is her former flame. While making it appear that she’s sincere in helping bail Gabby out of his financial troubles, she also tries to lure her ex-boyfriend back into her arms. At first, she is successful at snaring back Gabby— but only for one brief sexual encounter. The more serious complications set in only when Vilma’s resident lover, Dennis Roldan, attempts to blackmail her about their love affair. Trying to get herself out of that fix, she sets a ploy that would permanently eliminate Dennis. As partof her plan, she sends Dennis to molest Snooky hoping that the poor woman would defend herself by shooting Dennis with the gun Vilma gave her earlier. However, this does not work out exactly as planned since it is Gabby who gets to kill Dennis. Instead of making Gabby turn himself in, Vilma encourages him to hide from the police in the hope that he agree to run off with her to some faraway place. But eventually Vilma realizes that he cares not for her but for Snooky. To show her repentance, she arranges for his peaceful surrender to the police. An unfortunate twist takes place when Gabby is shot dead by an assassin hired by Eric. He wants to punish his wife for her indiscretions. Vilma gets even with him by having him convicted. – Lino Brocka: The Artist and His Times, Posted by Video48 (READ MORE)
Film Achievement: 1990 Star Awards for Movies Best Supporting Actress – Snooky Serna; 1990 FAMAS Nomination Best Supporting Actress – Snooky Serna; 1990 FAP Nomination Best Actress – Vilma Santos; 1990 Gawad Urian Nomination Best Best Actor – Gabby Concepcion
Film Reviews: “…Can the specificities of a film genre dictate the nature of roles available to actors according to their sexual differentiation? In the instance of a specific local genre, melodrama, it appears that not only the nature of the roles but the advantage of the performer is predetermined in a manner opposed to the original foreign norm. Two of the better releases in 1990 by the country’s top competitors for studio supremacy prove this point indirectly, by applying for us one outstanding performance each – both by female actors essaying distinctively female roles…Regal Films’ Hahamakin Lahat has the reliable Vilma Santos in a successful (in popular terms) modification of her other-woman persona, placing her work here on the order of Tagos ng Dugo and Pahiram ng Isang Umaga. Both films can be roughly classified as melodramas of the Filipino variety, specifically by their emphasis on moral issues, complicated plots, and strong female roles – characteristics that serve the thesis that local melodramas are, for want of a better term, prejudiced in favor of women, complaints from feminists notwithstanding…while that of Vilma Santos resolves not to fall emotionally for her flavor of the moment; in the end, when Mr. Seemingly Right happens along, all their notions of self-sufficiency get discarded like so much excess baggage, as off they go after the walking incarnation of the True Meaning of Life…
Compared with the director-writer team-up’s previous effort, Gumapang Ka sa Lusak, Hahamakin manages to go deeper into the psyche of the female oppressor (a secondary character in the earlier film, which concentrated on the victim instead). On the other hand, several crucial establishing details in the latter work had to be relegated to lines of exchanges, and a demonstration of how social cancer spreads through the body politic is never pulled off, precisely because the filmmakers had to confine themselves to the major characters. Nevertheless both recent films, plus Gumapang Ka, represent our state-of-the-craft when it comes to melodrama movie making, and I can think of no higher compliment than posing a challenge for the future: since every conceivable female lead role has been explored, with varying degrees of success, in local melodrama, and since action films have long allowed for strong women characters even in lead capacity, how about refashioning the former genre to suit non-female leads? The clash between gender and genre might yet result in certain long-overdue insights into love and anarchy as only a truly confused culture can make it…’ – Joel David, National Midweek, 17 October 1990 (READ MORE)
Brocka did Hahamakin Lahat for Regal Films. This would be his third team-up with Vilma Santos. The role called for Vilma to be dark, daring, and innovative—something that totally deviated from characters usually portrayed by the sweet-faced actress . It showed a heroine entering into a marriage of convenience with a ruthless, scheming mayor—a character Brocka created to expose the hypocrisy and corruption of society. – Mario Hernando
“…In his book, Don Jose & The Early Philippine Cinema, Joe Quirino credits jose Nepomuceno pioneer in producing movies that not only entertained but also informed. Wrote Quirino: “His screen adaptation of Noli Me Tangere, Jose Rizal’s novel exposing the social cancer that festered during the Spanish occupation of the Philippines, captured the sardonic and satirical contents of the imflammatory noel.” Satire was a popular device through which producer aired their views on social issues. In 1929, a satirical movie called Patria Amore caught the ire of the local Spanish community who went to court to stop its exhibition. A counterpart incident took place in 1965 when the Liberal Party tried to stop the showing of Iginuhit ng Tadhana, the propagandistic movie of the life of Ferdinand Marcos. The same motion picture propelled Marcos to the presidency. Movies of social significance often face this dillemma on their way to the big screen. Because of their strong public statement, they invite uproar from concerned sectors, an experience that became almost a daily ordeal for the late director, Lino Brocka. In recent years and until his death in 1991, Brocka had been the prime mover of Tagalog movies of social significance. Some of his works that easily fall under this category are, in no particular orderL Orapronobis (about vigilantes and rebels in the countryside), Bayan Ko (on labor unrest), Gumapang Ka sa Lusak and Hahamakin Lahat (on political corruption), Maynila: Sa Mga Kuko ng Liwanag (on moral degradation and exploitation)…” – Nestor Cuartero, Panorama, dated June 13, 1993 (READ MORE)
Snooky Also Shines – “…Do you know who has improved a lot in her acting especially in her last movie? It’s Snooky. In “Hahamakin Lahat,” she was almost at par with the star for all seasons, Vilma S. kung acting ang paguusapan, says an ardent admirer. Nag-underacting siya but there were moments na akala mo siya ang bida sa pelikula. I remember a hysterical Snooky in highlights scenes of her movies. I think it’s only Lino Brocka who directed her in her first movie, “Wanted, Perfect Mother,” when she was only four or five years old, who can control her acting as he did in “Hahamakin.” Snooky has gained more character and a certain maturity in her acting. I’m sure she’ll garner several nominations for this movie come awards time next year…” – Nena z. Villanueva, Manila Standard, 05 Sep 1990 p16 (READ MORE)
Star For All Seasons 
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