Author Archives: @ffv

Special Film: Leron-leron Sinta

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Leron-leron Sinta (1972) Leron Leron Sinta stars Vilma Santos, Edgar Mortiz, Jay Ilagan, Florence Aguilar, Lillian Laing, Karlo Vero in this film that fuses music and film perfectly. Witness their characters explore the world of love and the beauty and madness that come with it. Watch them as they perform certain scenes with song numbers bringing pleasure and entertainment to the next level. – Kabayan Central (READ MORE)

Source: gobitz69

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

Remembering Carmen Rosales

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The Dressmaker – “…From Tiya Dely’s account, we learned that the late movie queen was a dressmaker before she auditioned to become a radio singer. “She finished dressmaking at MAFFEI Fashion School,” Magpayo, 84, said. “She was so scared during her audition that she ran from the studio after her number.” Rosales was already a young housewife whe she was offered by an independent movie producer to star in “Mahiwagang Binibini,” based on the sarswela “Ang Kiri,” which zarswela queen and National Artist for Music and Arts Atang dela Rama originally starred in. After the success of her first starrer, Rosales became a contract star of Sampaguita Pictures, the company that made her the undisputed movie queen during the pre/post war era. “Arimunding Munding,” “Takipsilim” (her first team-up with Rogelio dela Rosa), “Senorita,” “Colegiala” and “Lambingan” are only a few of the movies she made before the war…Never before heard anecdotes about Rosales were likewise related by film industry leader and producer Marichu Vera Perez-Maceda. Maceda, quoting an old magazine article, explained how Rosales became a heroine during the war: “Carmen’s husband, Ramon Novales, was killed by the Japanese. So she joined the guerrilla movement and actually participated in encouters with the enemies. There was an incident when the actress, proving she was a sharpshooter, felled a makapili (traitor).” Maceda said the Japanese Imerial Army found it difficult to persuade Carmen to star in “Tatlong Maria.” She was told that all the people in a village in Pangasinan would be killed if she did not accept the offer. Of course, the actress gave in. This could be the reason two Pangasinan towns were named after her, Carmen and Rosales…” – Ernie Pecho, Philippine Daily Inquirer, Mar 13, 2005 (READ MORE)

La Rosales’ Temper – “…Her career spanned five generations of stars and superstars, in this wise: pre-war years – Rosa del Rosario, Rogelio de la Rosa, Leopoldo Salcedo, Jose Padilla, Jr., Fernando Poe, Sr., Angel Esmeralda, Ely Ramos, Corazon Noble, Mona Lisa, Rosario Moreno, Arsenia Francisco, Elsa Oria, Rudy Concepcion, Norma Blancaflor and Paraluman; second generation – Anita Linda, Lilia Dizon, Celia Flor, Lillian Leonardo, Alicia Vergel, Erlinda Cortes, Linda Estrella, Rebecca Gonzales; third generation – Gloria Romero, Nida Blanca, Delia Razon, Nestor de Villa, Tessie Quintana, Charito Solis, Edna Luna, Ric Rodrigo, Rita Gomez, Eddie Rodriguez, Ramon Revilla; fourth generation – Amalia Fuentes, Susan Roces, Marlene Dauden, Barbara Perez, Lita Gutierrez, Mina Aragon, Daisy Romualdez, Romeo Vasquez, Eddie Gutierrez, Jose Mari, Liberty Ilagan, Bernard Bonnin; fifth generation – Josephine Estrada, Rosemarie, Gina Pareño, Blanca Gomez, Loretta Marquez, and others. Carmen’s last movie was Gintong Recuerdo produced in early 1965. She co-starred with the then “Stars ‘66” of SPI. She was still billed above the title, ahead of her co-stars. But Mameng’s most memorable movies, today considered as classics of Philippine movies, in point of prestige and box-office records are Arimunding-munding, Señorita, Probinsiyana, Ang Guerrilyera, Takip-Silim, Debutante, Maalaala Mo Kaya, MN, Kamay Ng Diyos (directed by Eddie Romero), Hindi Kita Malimot, Sandra and Inspirasiyon. The last-mentioned movie won her a FAMAS Best Actress trophy in 1953. Like most artists any where in the world, La Rosales also had a “temper” on the set. “I hate co-stars who arrive late on the set. I arrive early or on time fully made-up,” she said. “I also hate scene-stealers. Kapag frame mo, kahit extra ka lang sa pelikula, e ibibigay ko. Pero kapag frame ko na, you better give what is due me!” But she is a natural scene-stealer. She can steal a scene with just a wink or movement of her eyes – this according to the late Doc Perez…” – Manny B. Fernandez, Pelikula, Atbp. (READ MORE)

The First Bona fide Movie Queen – “…She quit toward the mid-’60s because she wasn’t getting any younger and had to throw in the towel (she had been on top since the pre-war). However, she kept the public interested in her by being a recluse, a la Greta Garbo and everyone kept speculating about her (did she age gracefully or was she in dire straits?). She refused interviews for both print and television and that all the more added to her mystique. For about a quarter of a century, she kept everyone guessing how she looked by hiding (no photographs, please!) from public view. Oh, she would be seen in Uni-Mart from time to time, but it was only people of her generation who recognized her, or maybe they didn’t anymore. The last image moviegoers had of her was when she was still a glamorous movie queen, and she kept it that way. She agreed to a VTR shoot for the FAMAS in 1983, but on the condition that it was just going to be a silhouette shot. But before she passed away in December 1991, she allowed herself to be interviewed by German Moreno and Inday Badiday in 1987 and the curious finally saw how age had caught up with her (she looked like a glamorous grandmother). But the mystery that she allowed to envelop her lustrous Carmen Rosales: First bona fide local movie queenname worked to her favor for more than 25 years and to this day, she is still regarded as the first bona fide movie queen of the local big screen…” – Butch Francisco, The Star, 09 Oct 2010 (READ MORE)

Related to Vi and Chato – “…Si Mameng ay Carmen Keller sa tunay na buhay, bunso sa apat na magkakapatid. “Ang mother ko ay Constantino ang apelyido kaya’t kamag-anak ko sina Charito Solis at Vilma Santos. Constantino ang lola ni Vilma at gan’on din ang lola ni Charito. Kamag-anak ko rin ang direktor na si Felicing Constantino.” Sa ngayon ay masaya na raw siya sa takbo ng kanyang buhay. “Kinatutuwaan ko ngayon ang mag-alaga ng mga manok,” aniya. May mga limang manok nga kaming nakita sa paligid. Parang pets ang pagtingin niya sa mga ito. Ang isang puting tandang ay mabulas ang tindig at pinangalanan niya ng Peter. “Mabagsik ‘yan,” kuwento niya. “’Yan ang watchdog ko rito.” Nang dumating nga kami ay agad itong sumugod at akmang manunuka kundi pinigilan ng katulong. Busy rin si Mameng sa pagtatatag ng bible reading at charismatic movement sa pook nila. “Satisfied ako sa buhay ko at masaya ako sa paggawa ng mga gawaing bahay,” dagdag pa niya. Hindi na ba siya muling magka-comeback sa pelikula? “Last year, may offer sa ‘kin si Atty. Laxa ng Tagalog Ilang-Ilang. Pero tinaasan ko talaga ang presyo ko. Sabi naman niya sa ‘kin, “I cannot blame you, Mameng. You really deserve that much.” Pero ngayon, naisip kong ayoko na talagang bumalik pa sa pelikula. I retired while I was still on top at mataas pa ang rate ko. Gusto kong maging maganda ang alaala kong maiiwan sa publiko. Wala na naman akong dapat pang patunayan kahit kanino…” – Mario E. Bautista, Jingle Extra Hot Magazine (READ MORE)

The biography of Carmen Rosales – “…The Second Lady, Dra. Elenita Binay, and the queen of Philippine movies, Susan Roces, were the guests of honor at the launch March 1 of the biography of Carmen Rosales, “Carmen Rosales: Hindi Kita Malimot,” published by Danny Dolor and written by Manny Fernandez. The launch was held at the Silangan Restaurant of the Cultural Center of the Philippines, which gave guests a spectacular view of Manila Bay and sunset. CCP president delivered the opening remarks and was even prevailed upon to play on the piano two songs identified with Carmen. Rachelle Gerodias and Lemuel de la Cruz sang the themes of three Carmen movies, “Maalaala Mo Kaya,” “Hindi Kita Malimot,” and “Ang Tangi Kong Pag-ibig,” which is the title of the biography, a tribute to the pre-war and post-war movie queen. The book contains rare photos of Carmen and her films, many of them never before published, truly a collector’s copy, available at the CCP bookstore. Movie personalities, socialites, educators, mediamen, among many others attended the book launch. The author, Manny Fernandez, and his wife Aida, flew all the way from Louisiana to grace the event…” – Malaya (READ MORE)

Januaria Keller (1918–1991) was a noted pre-WWII Filipina actress better known as Carmen Rosales and Mameng and is noted for her skill in acting and sweet voice. A native of Pangasinan born to American father and Ilocana mother, Rosales’ film debut was in the 1938 movie Ang Kiri which she made a double to Atang dela Rama. When her friend brought her to Quisumbing the man rejected Rosales because the young woman did not have an aura of an actress. But she became the most famous Filipina actress of the 1940s and 1950s and rivaled Rosa del Rosario at the box-office. She is famous for her sweet voice and recorded numerous songs. Rosales made her first debut in Ang Kiri aka The Flirt under Diwata Pictures. She starred in her first leading role opposite Jose Padilla Jr in Arimunding-Munding 1939. She became the most bankable star in Sampaguita Pictures and the highest paid actress of the 1940s and 1950s. Her unforgettable roles as a martyr lover of Rogelio dela Rosa in Maalaala Mo Kaya 1954 and a club-singer in Ang Tangi Kong Pag-ibig. She got her first Famas Award in 1954 via Inspirasyon opposite Van de Leon and a strict auntie in 1960 movie Estela Mondragon. She garnered fame in a hacendera role in Pablo Gomez’s version of MN. Her last appearance was in Inday Badiday’s Eye to Eye. Arguably, she was the undisputed and lone reigning Queen of Philippine Movies in the 40s. Her films, topbilled by her, were once vehicles that ushered the emerging popularity of Gloria Romero, Amalia Fuentes and Susan Roces, who all later became movie queens themselves decades after. Her royalty has been immortalized by naming a barrio in Rosales, Pangasinan after her, now currently divided into two barangays, Carmen East and Carmen West. – Wikipedia (READ MORE)

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Nana Rosa Henson

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ARTICLES - Rosa Henson

Nana Rosa – “…After Rizal and Muro-Ami, I thought you were going to do Larawan (Nick Joaquin’s Portrait of the Artist as Filipino). What happened? “Well, the negotiations (for Larawan) fell through even before the showing of Muro-Ami. After doing Muro-Ami, I thought I was going to die of exhaustion. I was suffering from hypothermia (a condition of abnormally low body temperature); I was pasmado because of all the diving I did during the filming of Muro-Ami (in Bohol). I wanted to go on a sabbatical. Malou (Santos, Star Cinema managing director) asked me what I liked to do for Star Cinema but I begged off because I didn’t feel na kaya ko mag-trabaho in the next two years. What happened was that, naka-sabbatical nga ako, kaya lang sa giyera.” What about the Nana Rosa (the Comfort Woman) project (also for Star Cinema, which would have starred Vilma Santos in the title role)? “I still like the Nana Rosa project, I’m still interested in it, but that might have to come later…” – The Philippine Star, December 09, 2001 (READ MORE)

Comfort Women Slam Japan Apology – “…The Philippine President and Senate leaders hailed Japan’s apology for its actions during World War Two on Tuesday, but Filipinas who were used by Japanese soldiers as sex slaves called it an empty gesture. Senate President Eduardo Angara and Francisco Tatad, head of the Senate foreign relations committee, backed demands for compensation by Filipina “comfort women” who were used by Japanese soldiers as sex slaves in battlefield brothels. About 20 Filipina comfort women held a protest outside the Japanese embassy in Manila said they were not satisfied with Murayama’s apology. The group is demanding $200,000 compensation for each victim. “I’m angry. If he wants to ask for forgiveness but refuses to compensate us, then that’s nothing to us,” said Maria Rosa Luna Henson, spokeswoman for the comfort women. Nelia Sancho, leader of the Lila Filipina women’s group backing the women, estimated up to 20,000 Filipinas were used by Japanese troops as sex slaves during the war, but only 30 percent survived the war. Sancho hopes that the Japanese government will reconsider its position of not providing legal compensation, particularly to the comfort women…” – Reuter (READ MORE)

Rescued by Huk Guerrillas – “…Her ordeal began when she was raped by Japanese soldiers while gathering firewood in what is now Fort Bonifacio. Fearful for her safety, her mother brought her to a village in Pampanga, where Lola Rosa joined the Hukbalahap guerrillas, gathering food and medicine for them, and acting as a courier for messages. While transporting a cartload of guns, she was stopped by a Japanese sentry who forcibly took her to a hospital in Angeles City which had been turned into a garrison. There, at the age of 14, her life as a comfort woman began. For nine months until her rescue by Huk guerrillas, scores of Japanese soldiers raped her everyday. Lola Rosa told no one but her mother of what had been done to her. Not even the man she later married knew; her children found out only after she had come out into the open in 1992. Abandoned by her husband, she raised three children on her own, working as a laundrywoman, and later as a sweeper in a cigarette factory. She did not go mad only through faith and the sheer effort of will, she said. She also vowed to remember. To her dying day, Lola Rosa had a prodigious memory for dates and events. She once said that for her, remembering was the best revenge….” – Philippine Center for Investigative Journalism (READ MORE)

Ipinamana Kay Rory – “…Sa kanyang paghahanda sa “kaganapan” ng kanyang buhay, nakakalungkot mang isipin, ay may mga projects na sana ay gagawin ni Direk Marilou, pero hindi na niya nagawa. “Ikaw Ang Pag-Ibig is my last film. It’s my swan song,” aniya. Binanggit din ni Direk Marilou ang mga bagong project na katuwang na lamang siya sa pagre-reseach at pagsulat ng screenplay. “I wish Olive [Lamasan] would directed John Lloyd Cruz in Juan Luna, which I’m researching on and co-writing with Ricky Lee. “O yung Nana Rosa, ipinamana ko yun kay Rory Quintos. Ang Nana Rosa, base sa totoong kuwento ni Nana Rosa Henson, na naging “comfort woman” noong Second World War sa Pilipinas, ay laan para kay Vilma Santos na ididirek sana ni Ishmael Bernal. Sabi ni Direk Marilou, “Hindi na si Ate Vi [ang gaganap]. Hahanap sila ng bagong artista for Nana Rosa…They wanted me to direct…ipinamamana ko na kina Olive at Rory…Next year, God willing, I was supposed to direct it, but nung nag-stage 4 ako, I told Ricky, ‘Isulat mo na, ako ang magre-research…Wag kang matakot…Tapos, sabi ko, ‘Olive, it’s time for you to do something like this. You do this…She’s ripe na, e,” sabi pa ni Direk Marilou. On her part, nakasulat na rin ng dalawang libro si Direk Marilou habang nasa kundisyong “unreliable” ang kanyang health condition. “The first one is Moonlit Seasons and then Reefs of Paradise. Both [about] underwater ‘yan,” banggit pa niya. Magku-collaborate din daw sila ni Ricky para sa isang “double memoir” na tala ng marami nilang pagsasama sa iba’t ibang proyekto at mga taong naging bahagi niyon…” – William R. Reyes, PEP (READ MORE)

Maria Rosa Luna Henson or “Lola Rosa” (Grandma Rosa) (1927- 1997) was the first Filipina to tell the world of her story as a comfort woman for the Imperial Japanese Army during World War II. In 1992, when Henson was 65, she decided it was time to tell the world about her experience during the Japanese occupation of the Philippines in World War II. Until 1992, only two people had known of her secret, her late mother and her dead husband. After coming out publicly with her story, Lola Rosa decided to write about her war-time experience. The result was the book, Comfort Woman: A Slave of Destiny. In Comfort Woman: A Slave of Destiny, Lola Rosa provided an achingly straightforward voice to the erstwhile silent and invisible existence of Filipino comfort women. Almost 200 Filipino women soon followed Rosa’s example as they decided to reveal themselves and their personal stories for the first time—not only to the world, but to their families as well. Other victims, including those from Korea and China, joined the Filipino women to file a class action lawsuit against the Japanese government. Together, they demanded justice in the form of a formal apology from the Japanese government; the inclusion of all the war-time atrocities committed by the Japanese into Japan’s school history books; and monetary reparations to compensate for all the abuses and violence committed against the women. However, the Japanese government denied legal responsibility and refused to pay the victims. Later, responding to the growing pressure of continued protests and appeals by the survivors and their supporters, Japan finally set up the Asian Women’s Fund (AWF) in 1995 to collect money from private Japanese citizens, and offered them to the victims as “atonement payments.” Henson died of a heart attack in 1997, a year after her autobiography was published, and after she decided to accept the money from the AWF. – Wikipedia (READ MORE)

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Remembering Danny Zialcita

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Danny’s Film Style – “…Sabi ni Danny, marami siyang naririnig na takot ang mga artista sa kanya dahil sa kakaiba raw niyang working habits. “Iba akong magpatakbo ng set. For those stars I haven’t handled yet, working with me will be like breaking old habits. It doesn’t necessarily mean na ours is the better habit. Iba lang.” Karaniwan, maraming hindi nakagamay sa style ni Danny na walang script. Kay Danny, the script should be just a guide for the sequence ng scenes. Sasabihin lang ni Danny ang situwasyon sa artista, bahala na ang artista sa interpretation at sa dialogue “I allow them to contribute to the interpretation of the story base on their everyday experience. Paglabas natural ang arte nila. Mahirap kung sunod lang nang sunod sa sinasabi ng isang papel,” paliwanag ni Danny. “Ang importante lang,” dagdag ni Danny, “ay alam ng direktor kung saan pupunta ang istorya.” Isa pang style ni Danny na hindi nakukuha ng maraming artista ay ang mabilis na pacing ng kanyang mga pelikula. “Pag sa akin, no long pauses in between dialogue. Brief and concise ang takbo ng ma linya.” Naniniwala si Danny na ang editing ang isa sa mga dahilan ng ikinagaganda ng kanyang mga pelikula. “I’m more of an editor than a director; more of a scriptwriter than a director,” sabi niya. Ang editing ay isang aspeto ng paggawa ng pelikula na talagang pinagaralan ni Danny. Ipinagmamalaki ni Danny na hindi siya aksayado sa film. “I already edit my film while still on the shooting. Nandoon ang concentration ko as director. I hardly expose film.” As a director, naniniwala si Danny na dapat, may malaki siyang papel sa pagpili ng final title ng pelikula. Binibigyan din niya ng importansiya ang music sa pelikual. “I love music, I give room for it in my films…” – Vivienne Rafael, Movie Flash Magazine, December 23, 1982 (READ MORE)

Man starts and God finishes – “…Perhaps, it was because we were his most recent contact from media if one could call five years recent. At that time, he agreed to an interview, asked that we see him at his home and spoke of a project for Gabby Concepcion, which we filed for The Philippine Star. At that time, we wrote: “Gabby’s father Rolly was on the phone talking with Danny and he hands us the phone. Apparently, Rolly has a story for Gabby he wants Danny to direct. Zialcita’s mind was not only as sharp as it was in the past; his excitement at reappearing once again on the scene was infectious. He told us of how God had been guiding his every move in the past. Man starts and God finishes, he stated. He felt this during the peak of his career when he was churning out movie after movie… Nine hits in a row? That couldn’t have been possible without Divine intervention,” he interjects. Upon his death Sunday, we were told his body was cremated and no wake was scheduled. It seemed to us that Danny had directed his final movie. And we remember “Man starts and God finishes…” – Bibsy M. Carballo, The Philippine Star, March 15, 2013 (READ MORE)

Beautiful Women and Cool Wife – “…Zialcita is a son of a banker whose wife took care of the kids and the home. If he had a knack for narrative, it must have come from his paternal grandmother who wrote short stories for Liwayway Magazine. Danny studied at the Ateneo de Manila up to high school before he was sent by his dad to the Sophia University in Japan to take up business management—and to cut the budding romance between his son and the actress Charito Solis. While he was indeed enrolled in a business course in the beginning, he was soon moonlighting in the film editing classes, and ended up just focusing on the latter. He wasn’t able to finish his studies and at 19, got married to Leonor Vergara, a favorite leading lady and then girlfriend of Fernando Poe Jr. Despite Danny’s reputation for being a playboy, the two have been married for 47 years now, and have three grown children. “Ask the girls,” says Mark Gil, with a knowing laugh when I ask him to comment on the director’s ladies’ man image. And Zialcita always had the most beautiful women on the set: Lyka Ugarte, Dang Cecilio, Pinky de Leon, Rio Locsin, Hilda Koronel, and Gloria, of course. “My favorite is still upstairs,” he tells me when asked who among the actresses was his favorite. “I believe in duty, responsibility and continuity…I have a way of hiding what is important.” And then he adds, “Mapagbigay ako.” “He loved women,” says Gloria. “He is very cariñoso, very touchy, laging nakasampay sa’yo. Even with the men.” But Danny never made a move on her. “How can he? We were always shooting in his house; his wife was upstairs.” The Zialcita movie atmosphere, they say, is always relaxed. Mostly because he is the producer of most of his films he can take his time, and he was usually shooting at home, in the old Zialcita mansion on Lee Street in Mandaluyong. “Basta may painting at may salamin, it was shot in Danny’s house,” Mark Gil says. “Kaya ‘yung mga walls namin puro butas,” says daughter Beth. He would just change the paintings and the look of the house for every film. They would also shoot in the house across owned by a relative. “Even while he was doing his bomba movies, he would do it here,” adds Beth. “I would come home from school and see people in the house na walang damit.” While he did collect many paintings, ivories and sculptures not only for his films but also as a personal hobby, Danny also collected still photographs of scantily clad women whose blown-up incarnations Beth would see posted in his private den. His wife Leonor, says Beth, never seemed to mind. “She is a very cool wife…” – Jerome Gomez for Metro Him, ABS-CBN News, 03/12/2013 (READ MORE)

Danny’s Vi and Guy – “…Batangas Gov. Vilma Santos told the Inquirer: “I learned a lot from him. He popularized crispy, witty dialogue that sounded very natural. He was intelligent and clannish. He liked working with the same set of actors. I felt privileged to be among his regulars.” Santos starred in Zialcita’s biggest 1980s hits: “Langis at Tubig,” “Karma,” “Gaano Kadalas ang Minsan” and “T-Bird at Ako.” The last one also top-billed Nora Aunor. Told about the news, Aunor said that, apart from “T-Bird at Ako,” she guested in a Zialcita movie that launched singer Kuh Ledesma in 1982, “Tinimbang ang Langit.” “We also have an unfinished movie ‘Sa Dulo ng Panahon’ (produced by Regal Films in 1988),” said Aunor. “Mahusay siyang direktor. Mabilis mag-isip at magaganda ang mga dialogue namin lagi. He was a great director, quick-witted. He always gave us beautiful lines to deliver…” – Bayani San Diego Jr., Philippine Daily Inquirer, March 14, 2013 (READ MORE)

Dear Sharon – “…None at all. My first single, Tawag ng Pagibig (by Rey Valera), didnít click. It was my second, Mr. Deejay (also by Valera), released six months later, which did. When I was 14, I rode on the float of the movie Langis at Tubig during the parade at the Cebu Film Festival. I sang the theme song of that movie (directed by Danny Zialcita). Ate Vi (Vilma Santos), one of the stars, was pregnant with Lucky so I kind of pinchhit for her. Direk Danny was very impressed by the public reaction. After the parade, he talked to my Mom about the movie Dear Heart. Hindi daw niya itutuloy if he couldnít get me to star in it…Direk Danny wanted my character in the movie to be close to my real self para daw hindi ako mahirapan. So in the movie, I had bodyguards and my father was strict and crazy over me; I even had a yaya who called me Miss Universe. Very real life, di ba? I had crushes and puppy loves even before I met Gabby. Before I joined showbiz, ang crush ko noon ay si Dondon Nakar. But before Dondon, there was Bruce Lee, and now Jet Li. I did have a crush on Albert (Martinez) but not on Gabby. I thought Gabby was mayabang; so among the Regal Babies, mas gusto ko sina Alfie Anido at Jimi Melendez (both dead). In fact, when they asked me who I wanted as my leading man in Dear Heart, I said, “Anybody but Gabby Concepcion.í I found out na mabait naman pala siya when we started shooting…” – Ricky Lo, The Philippine Star, August 11, 2002 (READ MORE)

Comatose – “…Atenean, Danny Zialcita, passed away Monday, March 11 after more than a year of being comatose. He was 73. Director, producer and writer, Zialcita was legendary. He was revered for his glossy movies that often showed middle-class characters delivering witty quips and kilometric dialogues that he often wrote and re-wrote on the set itself. “Lady Killer” was made in 1965 and he went on to make 52 movies, most of which he himself wrote. Among his most famous are “Bakit Manipis ang Ulap,” “Nang Masugatan ang Gabi (1984), “Nagalit ang Buwan sa Haba ng Gabi” (1983), “Gaano Kadalas ang Minsan?” (1982), “Langis at Tubig” “Hindi sa Iyo ang Mundo, Baby Porcuna,” “Ikaw at ang Gabi” (1979). He was credited for plucking the teen recording artist Sharon Cuneta and making her into a star via the teen romance “Dear Heart” (1981), which paired her with Gabby Concepcion. Zialcita and Cuneta would later reunite in 1983 for “To Love Again.” He was also the director of “T-Bird at Ako,” which has the two most awarded Filipina actresses Nora Aunor and Vilma Santos. He was married to former actress of Premiere Productions Leonor Vergara with whom he had a daughter…” – Malaya, March 17 2013 (READ MORE)

Danny Zialcita and Vilma Santos

  • Langis at Tubig (1980) – Zialcita’s first collaboration with Vi. She played the other wife of Dindo Fernando who was had a shotgun wedding to a provincial naivette, played by Amy Austria who he impregnated.
  • Karma (1981) – After the hit, Langis at Tubig, zialcita did Karma with Vi. The film was one of the top grosser in the December festival. It also earned Vi another best actress. Manny A. Valera, writer for Jingle Extra Hot Magazine wrote in December 28, 1981, Vi was so proud of this Zialcita’s directed film she explained: “…Masaya ako ngayon. Sa darating na Filmfest kasi, maganda ang panlaban kong pelikula. Kung nagustuhan ng mga manonood ang Langit at Tubig last year, mas magugustuhan nila ang Karma. Hindi kiyeme-kiyeme ang sinasabi ko. Nakita ko na kasi ang mga rushes, “I consider Danny as one of the best among our movie directors. Pulido siyang magtrabaho. Pari iyong mga bold scenes namin, talagang artistically done. All praises ako sa kanya. Nakasama ko na rin siya before and because of that, may inter-action kaming dalawa. Vibes na vibes kami. Sure ako, hindi ako mapapahiya sa filmfest entry ko. “Karma will be my Christmas gift to all my fans who, until now, have not stopped loving me. Ang pagtingin ko sa kanila ay extra special kaya naman, extra-special ang regalo ko…”
  • T-Bird at Ako (1982) – Aside from several guest appearances in all star cast films like Dugo at Pag-ibig sa Kapirason Lupa, Happy Days Are Here Again and other forgetable films, this is the fourth films that Vi and Guy did together. Zialcita masterfully directed the two and despite the unequal weight in terms of roles, Vi gamely faced Nora in several memorable confrontation scenes that include witty/crisp dialouges, slapping and a kissing scene (well, almost lips to lips, a kiss in a cheek). Art immitating life? We all know that Guy had a rumour gay wedding in the U.S. that she herself briefly discussed in an article years back. And she also candidly admitted several times, she’s also a Vilmanian. Zialcita was way ahead of his time, creating one of few Filipino films about a career minded and succesful lawyer who happens to be a lesbian. Seldom we see such characters in Filipino local films and he has done this several times in films like Mahinhin vs Mahinhn. Despite the dissappointing ending where lesbian Nora agreed to be with her patient suitor, played by Tommy Abuel, instead of Vi, the film has answeared what both Vi and Guy’s fans has been expecting since Bernal’s Ikaw Ay Akin, the typical battle confrontations. It may come probably too late as the film was not as successfull commercially.
  • Gaano Kadalas ang Minsan? (1982) – Zialcita and Vi’s last film together. Hilda was originally cast in Langis at Tubig in 1980 but he took out Hilda and cast Amy Austria instead. He then make-up for this decision by giving Hilda one of the lead in this drama that reminds local film buff of the Lolita-Eddie-Marlene troika in 60s. In an interview by Jerome Gomez, for Metro in 2008, “…From 1979 to 1986, Zialcita was on a roll, doing one film after another, pulling off nine hits in a row beginning with Gaano Kadalas in 1981 up to his sex comedies that include May Lamok Sa Loob ng Kulambo. He could demand anything from a producer and his wish would be granted. When Viva Films asked him to do Gaano Kadalas, he told Vic and Mina del Rosario that he will only do it if they get George Canseco to write the theme song (most of his popular films had songs by Canseco), and that Hilda Koronel would be one of the leads. Viva granted him both, even if it had to pay more for Hilda than for Vilma. “May utang ako kay Hilda eh, I took her out of Langis at Tubig…” Gaano Kadalas broke box office records set by another Vilma starrer, Sinasamba Kita released few months eartlier, it grossed 7.3 Million in its few days run in Metro Manila in 1982, equivalent to 17.4 millions to today’s money.

Danny Zialcita (November 24, 1939 – March 10, 2013) is a fun-loving gifted and colorful filmmaker who left his mark as one of the best in the stimulating era of the ’60s and ’70s. Then without any warning he left the industry. Stories of drug addiction, withdrawal from the world, and worse, loss of sanity dogged his absence until even his colleagues lost touch with him and didn’t know what to believe. Zialcita is a master of improvisation on the set, he also had the knack for casting the right actors, choosing the right material, and pleasing his producers. One of his favorite actors was Dindo Fernando whom he termed “the complete actor” and cast him in such movies as Langis at Tubig, Karma, Gaano Kadalas Ang Minsan, Mahinhin at Mahinhin, its sequel Malakas, si Maganda at si Mahinhin and Ikaw at ang Gabi which gave Dindo his first Urian Best Actor trophy. Other favorites were Vilma Santos cast in Karma, T-Bird at Ako, Langis at Tubig; Pinky de Leon; Laurice Guillen; Ronaldo Valdes; and Beth Bautista who won Best Actress award in Hindi sa Iyo ang Mundo Baby Porcuna. – Bibsy M. Carballo (READ MORE)

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Special Film: Happy Days Are Here Again

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“…In 1974, the Big 3 studios of the 50s, LVN Pictures, Sampaguita Pictures and Premiere Productions reproduced a full-length movie showcasing a compilation of the musical comedies produced by the three studios. It was a painstaking job for the researchers since most of the best musicals produced by the three studios were either lost or destroyed. At the start of the project, director Lamberto V. Avellana was supposed to direct the film but eventually replaced by Cirio Santiago after so many changes in the project including the script. He ended up as consultant of the movie. The film was Happy Days Are Here Again, with brief narrations by movie stars like Gloria Romero, Nida Blanca, Susan Roces, Leopoldo Salcedo, Jaime de la Rosa, Eddie Gutierrez, Tirso Cruz III, Pugo, German Moreno and Ike Lozada…” – Pelikula Atbp (READ MORE)

Source: Ganito Sila Noon

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

Discography: Sing Vilma Sing

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Christmas special at discography ang tema ng V Magazine No. 13. Yaman din lamang at discography ang isa sa mga tema kaya eto ang aking munting contribution para sa Alam Nyo Ba? Part 46. Pamagatan natin itong Sing Vilma Sing. Aminado naman si Vi na hindi siya isang singer na katulad ng mga kasabayan niyang mga young stars noon na sina Nora Aunor, Tirso Cruz III, Edgar Mortiz, Perla Adea, Esperanza Fabon, Eddie Peregrina, Victor Wood, Eva Vivar, Rene Ordoñez, Darius Razon, Rhodora Silva, Geraldine, Neddie Decena, Sonny Cortez at marami pang iba subali’t ang boses na yun ay binabayaran. Noong Dekada ’70, ang mga young stars ay kailangang marunong kumanta dahil yun ang uso kaya naman nagtayo ng sariling recording company ang nasirang manager ni Vi na si William Leary dahil ayaw niyang pahuhuli sa uso ang kanyang alaga. Ilan sa mga naging recording artists ng Willears Records bukod kay Vi ay sina Edgar Mortiz, Ed Finlan, Sahlee Quizon, Hilda Koronel at Esperanza Fabon. According to Vi, kapag nagrerecord siya ng kanta ay nakatalikod siya sa dingding ng recording company at si Bobot ang umaalalay sa kanya. Ang Sixteen, na sinulat ni Danny Subido ang unang recording na ginawa ni Vi at ito ay flipsided by It’s So Wonderful To Be In Love. Ang Sixteen ay agad naging gold record at dahil dito ay gumawa ng pelikula ang Tagalog Ilang Ilang Productions, ang home studio ni Vi at ito ay ginawa nilang pamagat katambal si Edgar Mortiz. Hindi nyo naitatanong, muntik nang manalo si Vi bilang most promising singer sa Awit Awards noong early ’70s.

Dahil sa naging matagumpay ang awiting Sixteen kung kaya’t si Vi ay iginawa ng isang long playing album. Sixteen din ang title ng unang long playing album ni Vi na tinatampukan ng mga awiting (bukod sa Sixteen at It’s So Wonderful To Be In Love) Dry Your Eyes, Bring Back Your Love, Raindrops Keep Falling On My Head, When The Clock Strikes One, So With Me, Sometimes, Baby Baby Baby, Sealed With A Kiss, Then Along Came You Edgar at Love Love. Ang Raindrops Keep Falling On My Head ang ginamit na awitin sa kanyang commercial na GLAD raincoat. Ang awiting Then Along Came You Edgar naman ay tinapatan ni Edgar ng awiting Vilma. Samantala, nasundan ng isa pang long playing album ang Sixteen ni Vi at ito ay pinamagatang Sweet, Sweet Vilma. Ito naman ay naglalaman ng mga awiting katulad ng Don’t You Break My Heart, May The Good Lord Bless & Keep You, Mama, Our Day Will Come, Oh Lonesome Me, I’m The One For You, Sad Movies, Among My Souvenir, My Promise To You, Mama Don’t Cry at My Wedding, Drop A Line at A Wonderful Day. Natatandaan ko pa na sa morning program, from 6am to 7am, ni Eddie ‘Lat’ Ilagan sa D’WOW radio ay palaging kasama sa Top Ten Song Of The Day ang mga awiting Sad Movies at Oh Lonesome Me. Dahil sa tambalang subok na matibay at subok na matatag nina Vilma at Edgar kung kaya’t nagkaroon din sila ng long playing album na may pamagat na Sweethearts (pamagat din ito ng kanilang pelikula sa Tagalog Ilang Ilang Productions) na ini-release noong April 22, 1970. Ito naman ay naglalaman ng mga awiting I Love You Honey, I Believe, Green Green Grass of Home, Always With You, My Rosary, From the Bottom of my Heart, You Don’t Love Me Anymore, How I Wish I Were A Model, Do Re Mi Fa Sol I Love You, Better Than All, Your Kisses Are Losing Their Sweetness at My First Kiss. Ang I Love You Honey at From the Bottom of my Heart ay isinapelikula din ng Tagalog Ilang Ilang Productions na pinagtambalan din nina Vi at Bot.

Ang pangalawang long playing album nina Vilma at Edgar na ini-release noong January 21, 1971 ay pinamagatang The Sensation na hinango sa kanilang top rated tv show sa ABS CBN na later on ay isinapelikula din ng Tagalog Ilang Ilang Productions. Ito naman ay naglalaman ng mga awiting Good Morning Starshine, Spinning Wheel, To Love Again, A Love Unspoken, Anywhere I Wonder, I Wonder Why, Have A Goodtime, Yeahoo, I Have Dream, My Boy Lollipop, Dream at Always. Sa radio program ni Tony Santos, Jr. at ng nasirang Vic Pacia ay pulos duet nina Vi at Bot ang pinatutugtog. Si German Moreno ay meron ding Vi at Bot Portion sa kanyang radio program sa DZTR. Ang Have A Goodtime naman ay pinapatugtog sa Wowowee sa kanilang portion sa Pera o Bayong everytime na nabobokya ang mga kalahok sa game na ito. Hindi lang long playing album ang ginawa nina Vi at Bot, dahil nagkaroon din sila ng mga mini long playing albums entitled Christmas Tidings at Something Stupid. Ang Christmas Tidings ay naglalaman ng mga awiting Silver Bells, I Saw Mommy Kissing Santa Claus, Santa Claus Is Coming To Town at Mary’s Boy Child at ang Something Stupid naman ay ang mga awiting Something Stupid, I Wonder Why, I Have Dream at Goodnight My Love. Ang Something Stupid ang naging theme song ng Vi & Bot loveteam. Ang titulo ng isa pang mini long playing album ni Vi ay hango sa kanyang pelikulang tinampukan din nina Bobot at Ed Finlan na BABY VI na nagtatampok ng mga awiting Baby Cakes, Sad Movies, Bobby Bobby Bobby at Seven Lonely Days.

Ang pangatlong long playing album nina Vi at Bot ay ang All I See Is You na ini-release noong August 30, 1971 (kaarawan ni Edgar Mortiz) na binubuo ng medley of songs na atin Cu Pung Singsing at Leron Leron Sinta, Baby Cakes, Little Brown Gal, Grown Up Like Me, Nine Little Teardrops, Jealous Heart, The Wonderful World of Music, El Condor Pasa, Hawaiian Wedding Song, I Understand, My Special Angel at Just Say You’ll Be Mine. Ang awiting Butsiki ni Yoyoy Villame ay hinango sa awiting Baby Cakes. Ang THE Wonderful World of Music ay ginawang titulo ng pelikula nina Vi at Bot na inilahok sa 1971 Manila Film Festival kung saan ito ang nakakuha ng Best Musical Film. Kasama nina Vi at Bot sa pelikulang ito ang noo’y batang bata pang si Snooky (Serna). Ang pang-apat na long playing album nina Vi at Bot ay pinamagatang Aloha My Love na ini-release noong February 1972 at naglalaman ng mga awiting Hawaiian Medley, Beyond The Reef, All Alone Am I, Why Don’t You Believe Me, Eternally, My World Is My World, Aloha Oe, Seven Lonely Days, Mandolins In The Moonlight, Daddy, Seventeen at Two People In Love. Ang Aloha My Love ay titulo din ng pelikulang ginawa nina Vi at Bot sa Hawaii. Ang Eternally ay isinapelikula din ng Tagalog Ilang Ilang Productions na tinampukan pa rin nina Vi at Bot. Napakasuwerte ni Vi dahil nagkaroon ulit siya ng pangatlong solo long playing album na may pamagat na Sing Vilma Sing. Ito ay binubuo ng mga awiting Da Doo Run Run, Abadaba Honeymoon, Tweedle Dee, Bo Weebel, A Kookie Little Paradise, Bobby Bobby Bobby, A Rick-Tick Song, It’s Been A Long Long Time, Breaking Up Is Hard To Do, You Made Me Love You, The Birds & The Bees at He’s So Near (Yet So Far Away). Ang A Rick-Tick Song ang ginawang theme song ng radio program ni Ric Radam sa DZRH noong early ’70s.

Pag pinapatugtog naman ni Ike Lozada sa kanyang radio program na Dambuhalang DJ sa D’WOW radio ang awiting Bobby Bobby Bobby, sinasabi niyang ang title nito ay Bobot Bobot Bobot. Precious pa nga ang tawag ni Ike kay Vi. Nagkaroon din si Vilma ng mga Tagalog singles na awitin katulad ng Palung Palo Ako flipsided by Walang Umiibig, Isipin Mong Basta’t Mahal Kita flipsided by Mamang Kutsero at Tok Tok Palatok flipsided by Batya’t Palupalo. Ginawa ni Vilma at ng Chess Grandmaster champion na si Eugene Torre kasama si Coney Reyes ang isang pelikulang hango sa awitin ni Vi na Isipin Mong Basta’t Mahal Kita. Ang awiting Tok Tok Palatok ay ginawa ring pelikula ng Baby K. Jimenez Productions starring Vilma at Jojit Paredes. Ang Palung-Palo Ako ang pangalawang gold record ni Vilma at noong early ’70s sa Top 20 Songs of the Week sa DZRM, ito ay ilang linggo ring namayagpag at nangunguna sa airlanes. Ang awiting Palung-Palo pa rin ang tugtog na isinayaw ng mga Vilmanians noong 2006 sa birthday celebration ni Vi sa Lipa City. Isang long playing album na puro christmas songs ang ginawa ng mga recording artists ng Willears Records na may pamagat na Christmas Carols. Ito ay binubuo ng mga awiting Silver Bells, I Saw Mommy Kissing Santa Claus, You’re All I Want For Christmas, Silent Night, Jingle Bell Rock, Rudolf The Red Nose Reindeer, O Holy Night, Jingle Bells, White Christmas, Donde Esta Santa Claus, Santa Claus Is Coming To Town at Mary’s Boy Child. Ang mga umawit naman bukod kay Vi ay sina Edgar Mortiz, Ed Finlan, Hilda Koronel, Sahlee Quizon at Esperanza Fabon.

Ang Vicor Records ay gumawa ng isang long playing album na pulos Tagalog ang mga awitin na may pamagat na Mabuhay at tinatampukan nina Perla Adea (Baka Lumimot Ka), Florence Aguilar (Tanging Ikaw Pa Rin), Zenaida Alcaraz (Pandanggo Sa Kabukiran), D’ Amarillo (Pamulinawen), The Ambivalent Crowd (Ako Ay May Singsing), ato ang bulag na piyanista (Kapantay Ay Langit), Babsie Chit & Louie (Minamahal Kita), Pilita Corrales (Landas Sa Pag-ibig), Tirso Cruz III (Sinungaling Ka), Neddie Decena (Bibilang Ako Ng Tatlo), Romeo Miranda (Pandora), Edgar Mortiz (Ang Kuwintas Mo Giliw), Carmen Pateña (Bagong Umaga), Victor Wood (Birheng Walang Dambana) at Vilma Santos (Palung-Palo Ako). Naging cover si Vi ng mga long playing soundtrucks na Disco Fever at Rock Baby Rock. Ang Disco Fever at Rock Baby Rock ay mga pelikula ni Vi, kung saan kasama ni Vi sa Disco Fever sina Christopher de Leon at Victor ‘Cocoy’ Laurel at sa Rock Baby Rock sina Junior at Leah Navarro. Ang mga pelikulang ito ay pawang mga certified box office hits. Ang Disco Fever soundtruck ay binubuo ng mga awiting Disco Fever (VST & Company), Hanggang Magdamag (Soul Jugglers), Suplado Ka (Halik), Let’s Boggie Now (Hang Men), Sumayaw, Makinig (Advisors), Sayawan (Sampaguita), Walang Sigla (Solid Band), Ngayon Lang Ako Umibig Ng Ganito (Soul Jugglers), Sexy Baby (Hang Men) at Awitin Mo (VST & Company).

Ang Rock Baby Rock soundtruck ay binubuo ng mga awiting Rock Baby Rock (VST & Company), Sexy Lady (Marvic), Huwag Mong Pigilan (Leah Navarro), Ikaw (Nailclippers), Yakap (Junior), May I Have This Dance (Marvic), I-swing Mo Ako (Sharon Cuneta), Kiss Kiss (VST & Company), Excuse Me (Junior) at Halik Lang (Smack). Sa 40th anniversary ng Vicor Records ay gumawa sila ng CDs ni Vi na pinamagatang Vilma. ito ay naglalaman ng 23 songs ni Vi katulad ng Sixteen, Da Doo Ron Ron, The Birds & The Bees, Tweedle Dee, The Rick-Tick Song, When The Clock Strikes One, Sealed With A Kiss, Sometimes, It’s Wonderful To Be In Love, Then Along Came You Edgar, It’s Been A Long Long Time, You Made Me Love You, Oh Lonesome Me, He’s So Near (Yet So Far Away), Mama Don’t Cry at My Wedding, Don’t You Break My Heart, Mama, Sad Movies Make Me Cry, Raindrops Keep Falling On My Head, Have A Goodtime, Breaking Up Is Hard To Do, My Boy Lollipop at Bobby Bobby Bobby. Naging mabiling mabili ang nasabing CDs.
Hindi nga maituturing na singer si Vi subali’t nakapag-record siya ng mahigit sa limampung awitin. Maraming salamat nga pala kina Eric Nadurata at Nar Santander. – Alfonso Valencia (READ MORE)

With her success and happiness all aglow

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The line is lifted from a Christmas song with a little alteration. But the message and the spirit of the season is still there. Intact. And that is Vilma Santos these days: glowing and with high spirits radiating. Who wouldn’t be, anyway? At thirty, she has still maintained that youthful look every woman is trying to hold on to as she goes celebrating from one birthday to the next. The actress is at peak of her career, and no matter what others say about the phenomenal legend and her unmatchable niche in local cinema, Vilma is slowly creating a legend all her own. At ito ang magiging pagkakaiba niya sa lahat. Kadalasan, ang mga movie queen ng local movies ay unti-unting nawawala sa eksena the moment they get to near thirty or that. Maging si Nora Aunor ay hindi nakaligtas sa “aging syndrome” na ito sa ating pelikula. Ilang taon na ba nang magsimulang manghina ang movie career ng brown phenomenon? Ganito rin halos ang mga nangyari sa ating past movie queens like Gloria Romero, Amalia Fuentes and Susan Roces: by the time they got to be thirty, unti-unti nang nawala ang kanilang charisma sa publiko, at hindi na kagaya ng dati.

Pero hindi ito nangyari kay Vilma. It is a fact na kung kailan pa siya nagkakaedad ay saka pa siya lalong tumatatag, lumalakas. And by almost all indications, it seems like magtatagal pa ito. Take a look at her harvest this year: “Ayak Kong Maging Querida,” “Paano Ba Ang Mangarap?,” “Broken Marriage,” “Obsession (Separasyon Legal),” “Minsan Pa Nating Hagkan Ang Nakaraan” and “Sor Stella L.” Although it appears na tila dalawang pelikula ang maaaring hindi na maipalabas sa taong ito (Obsession and Sor Stella L), hindi na rin maikakaila from the list above that Vilma Santos is still the biggest star of the season and the busiest among her contemporaries. At mayroon pa siyang mga nakatakdang gagawin sa pagpasok ng bagong taon. At the time when most stars are already collecting memoirs and reminiscing fond memories of past glories, Vilma is still soaring into newer heights as she goes from one competent film director to another and manages to become the highest paid actress in the country today. From Ishmael Bernal (Broken Marriage) to Lino Brocka (Obsession) to Marilou Diaz-Abaya (Misan Pa Nating Hagkan Ang Nakaraan) to Mike de Leon (Sor Stella L), the reigning movie queen is getting most of the choicest assignment these days and with the accompanying royal treatment.

Sabi pa niya: “Wala na yata akong mahihiling pa at this stage in my life. Maligaya ako sa aking pamilya, lumalaking listo si Lucky at nalutas ko na rin ang mga problema ko. I think it would be too much kung maghahanap pa ako ng kung anu-ano pa. Kuntento na ako sa buhay ko ngayon at siguro, ang dapat ko na lang gawin ay pagbutihin ang aking ginagawa.” With husband Edu around and some of her loved ones with her, Vilma can’t help but be contended with all the things coming her way. That glow in her eyes is unmistakable kahit na madalas siyang magpuyat and at one time or some other ay nagkakasakit. Katulad na lang nang matapos ang kanyang VIP birthday celebration sa Celebrity Sports Plaza noong November 5. Nagkasakit kinabukasan ang aktress at may dalawang araw ring naratay sa higaan. Maybe because of fatigue. Pero maligaya pa rin siya dahil nasa piling niya si Edu at si Lucky. In fact, she even made some effort to set an appointment the moment she gets well. But she didn’t have to, I thought. The next time I called up, nasa set na naman siya ng Minsan Pa Nating Hagkan… at kailangan niya itong matapos bago mag-November 15 dahil sisimulan na nila ang Sor Stella L sa Regal with Mike de Leon.

Halos mapang-abot na ang dalawang pelikula dahil the day na natapos ang dubbing niya sa Minsan…, kinabukasan, nag-umpisa na kaagad siya sa Sor Stell L. It was a good thing na hindi nagtuloy-tuloy ang shooting ng pelikula ni Mike de Leon. Ang yet, maligaya pa rin si Vilma. Iba na nga naman ang nagagawa ng pag-ibig. Sana wala ng tanong kung hanggang kailna ang lahat. Pero, dapat pa rin nating harapin ang katotohanan. As she has always said time and again, “Parang natatakot pa rin ako kung ano nga ang magiging kasunod nito. With all the good things happening to me now, there’s always that fear at the back of my mind na baka kung ano nga ang sumusonod nito. Sana wala naman.” Most people can’t really help thingking about it. And it’s good thing Vilma isa aware of that. But why worry of things that are based on unfounded fears? Right now, the world of Vilma Santos is all aglow and it is what should matter. So why spoil the good times and think otherewise? The world will not stop because one day you’ll be sad, Vilma. Keep going. Life is made of such stuff. – Julio Cinko N., Movie Flash Magazine, December 8 1983 (READ MORE)

Ate Vi’s family life in the 70s

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Nostalgia ang theme natin for this issue. So, I will write about Ate Vi noong October 1970. After staying in an apartment sa may Bambang, Tondo, Manila and later sa isa uling apartment sa La Loma, QC, nakabili na si Ate Vi ng bahay sa isang bagong subdivision sa Quezon City rin. Isang katamtamang laki ng bungalow sa may Cenacle Drive ng Arfel Subdivision ang bagong bahay ni Ate Vi. Simplicity at elegance ang masasabing keynote ng bagong bahay na ito. May tatlong bedroom na pawang carpeted and all covered by wallpapers, which was the fad then. Incidentally, the said bedrooms ay pulos air-conditioned ding lahat. Carpeted din ang loob ng kanilang living room na kumpleto ng mga makabagong furniture. Adjacent to the living room is the dining room with a fabulous dining set good for 12 person. Dalawa ang kusina. The dirty kitchen is situated at the back of the house while the main kitchen is connected to the servant’s quarter. Kumpleto rin ang nasabing dalawang kitchen ng modern equipments. At the back of the house ay ang isang maluwang na terrace na sadyang pinagawa ni Ate Vi para sa kanyang mga fans. Sa may bandang gate ay ang wide at cemented driveway na siyang tinitigilan ng kanilang dalawang kotse. Ang landscaping ng buong bahay ay simple lang ang pagkakagawa yet very fascinating naman to everyone’s eyes. Sa may gilid ng bahay ay may grotto rin na palaging inaalayan ni Ate Vi ng bulaklak. Katabi ng bahay ni Edgar Mortiz. After Arfel, tumira si Ate Vi sa Bel-Air Subd, Makati, then sa Dasmarinas Village sa Makati rin. She also had a house sa Monterey Hills Subd. sa Marikina. Ang alam ko hindi niya tinirhan ang bahay niya sa Monterey, although dito siya nag-celebrate ng kanyang 20th birthday. For practical reasons, dahil na nga sa sobrang laki ng bahay sa Dasmarinas Vill., they decided to sell it at bumili sila ng isang mas maliit na bahay sa Magallanes Village, also in Makati, although hindi rin naman maliit ang bahay sa Magallanes, it has 5 bedrooms at may basement at swimming pool pa ito. Dito nagtagal si Ate Vi, until she bought the house where she is staying until now sa Green Meadows sa QC. Curious lang ako, ano na kaya ang itsura ng unang bahay ni Ate Vi ngayon? Sino kaya ang nakatira doon ngayon? Siguro, it will take another issue for that. Meanwhile, let us enjoy how it looked like to live in the ’70s.  – Eric Nadurata (READ MORE)

Vilma Santos: The Star For All Seasons

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On November 3, 1953 in Trozo, Magdalena, Tondo Manila, a little girl was born, She was a lovely baby with rosy pink cheeks, full ever smiling lips, and a fair skin that nearly bordered on the whiteness of snow. Her name is Maria Rosa Vilma Tuazon Santos. Vilma’s father, Amado Santos, is a native of Bamban, Tarlac while her mother, Milagros Tuazon is from San Isidro, Nueva Ecija. She has four siblings namely: Ma. Michaela(Emelyn), Ma. Theresa (Marites), Ma. Norwina (Winnie) and Joel (Sonny Boy). When she was already of age, Vilma was sent to St. Mary’s Academy for her early schooling. She earned a highschool diploma later on through the private tutorial system. At a tender age of nine, Vilma became a title roler in VP Pictures’ (sister company of Sampaguita Pictures) “Trudis Liit” which was shown at Life Theater from February 21 to March 2, 1963. She won the First Famas Best Child Actress as a maltreated child in the said film. Vilma became a teen icon in the late 60’s until the early 70’s with box-office hits like “Lipad, Darna, Lipad“, “Dyesebal at ang Mahiwagang Kabibe“, “Kampanerang Kuba“, “Wonder Vi” among others. She won her First FAMAS Best Actress at the age of 19 for “Dama De Noche“.

On July 19, 1980, Vilma married Eduardo Luis Barrios Manzano in Las Vegas Nevada, USA. She gave birth to a bouncy bundle of joy named Luis Philippe Manzano on April 21, 1981 at the Cardinal Santos Memorial Hospital. Unfortunately, her marriage to Edu did not last long and was eventually annulled.

It was on December 11, 1992 when Vilma married Ralph Gonzales Recto (now a senator) in a fairytale-like wedding in San Sebastian Cathedral in Lipa City, Batangas. They now have a precocious six-year old son named Ryan Christian Recto who was born on March 29, 1996 at Makati Medical Center.

At present, Vilma is the highly respected and much-revered Mayor of Lipa City, Batangas on her second term (As of 2012, She is the Governor of the Province of Batangas and on her third and final term). She became the First female mayor on the said premier city of Batangas. The actress-politician immersed herself not only with her numerous movie commitments but also with her work on TV as a multi-awarded host/performer via her weekly top-rating musical-variety show VILMA on GMA-7. In the past, she also starred in a soap opera (Larawan ng Pag-ibig), drama anthology (Dalambuhay ni Rosa Vilma) and other musical-variety shows (Ayan eh, VS-Vilma Santos, Very Special).

Vilma Santos most significant films include “Pagputi ng Uwak, Pag Itim ng Tagak” ( Vilma produced this outstanding film directed by the celebrated director Celso Ad Castillo which won the Gawad Urian Best Picture Award), “Relasyon” (she scored the very FIRST GRANDSLAM win for BEST ACTRESS AWARD in the history of Philippine Cinema in this intelligent film directed by National Artist Ismael Bernal for her spellbinding performance in her memorable role as a mistress; she won the Best Actress Award from the Gawad Urian, the First Film Academy of the Philippines, the Catholic Mass Media Awards, and the FAMAS Award), “Burlesk Queen” (her stunning performance as a stripteaser in this Celso Ad Castillo film is considered a turning point in her legendary film career), “Sister Stella L.” (her remarkable portrayal of a radical nun in this acclaimed film directed by film genius Mike De Leon solidifies her status as the country’s premier actress winning her a Gawad Urian Best Actress Award), “Dahil Mahal Kita, The Dolzura Cortez Story” (directed by ace director Laurice Guillen, she scored her 2nd Grand Slam Best Actress win in this unforgettable film about persons with AIDS), “Bata, Bata, Paano ka Ginawa?” (based on the Palanca award-winning Novel by noted writer Lualhati Bautista, this landmark film by acclaimed director Chito Rono gave the legendary actress her 3rd Grandslam win for Best Actress Award and to top it all, an International Best Actress Award (21st INTERNATIONAL FESTIVAL OF INDEPENDENT FILMS, BRUSSELS, BELGIUM), “Anak” (this film by Rory B. Quintos became the highest grossing Filipino Film of all time), her soon-to-be released political film “Dekada ’70” (based on the Palanca award winning novel of Lualhati Bautista set during the Martial Law era) is destined to be another critically-acclaimed and blockbuster hit film and is bound to be another modern Filipino film classic.

The acclaimed actress is also the country’s perennial Box-office Queen. No one can question her mass box-office charisma. Her string of record-breaking, blockbuster hit films through the years can attest to this fact. She’s the lead star os Star Cinema’s “Anak“, now considered as the highest grossing film in the history of Philippine Cinema. It can be noted that Vilma Santos is the first and only actress to win the prestigious Gawad Urian Best Actress Award for 3 consecutive years (1982-“Relasyon,” 1983-“Broken Marriage,” 1984-“Sister Stella L.“) she is also the first and only actress to score an unprecedented 3-time Grandslam win for Best Actress Award (1982”Relasyon,” 1993-“The Dolzura Cortez Story,” 1998-“Bata, Bata, Paano Ka Ginawa?“). Through her God-given, innate talent, sheer hardwork, unwavering dedication to her craft, extreme professionalism, and most importantly, her excellent discipline, Vilma was able to reap all her extraordinary achievements for which she has been praised, idolized, and emulated by her many friends and colleagues in the movie industry, by her ever-loyal and supportive Vilmanians, and most of all by the adoring general moviegoing public who put her to pedestal as their one and only “Star For All Seasons.”

Truly, Vilma Santos, the film icon, is the epitome of a real great filmstar. Her phenomenal career which spans four decades is certainly awe inspiring and exceptional. Thus, her legendary supremacy as the LONGEST REIGNING MOVIE QUEEN will be immortaly etched in the archives of Philippine Cinema History. So, a toast to Miss Vilma Santos brilliant past and more good fortune to the future… – Eric Nadurata (READ MORE)