Sister Stella L at Iba Pang Awit ng Panahon

Posted on July 10, 2013 by @ffv Standard

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Sister Stella L at Iba Pang Awit ng Panahon

SIDE ONE:

Aling Pag-ibig Pa? – Pat Castillo; Music Ding Achacoso; Lyrics Jose F. Lacaba; Guitar Lyncir Lagunzad
Manggagawa – Rody Vera; Music Ding Achacoso; Lyrics Jose Almojuela
Sangandaan – Pat Castillo; Music Ding Achacoso; Lyrics Jose F. Lacaba; Guitar Lyncir Lagunzad
Aling Pag-Ibig Pa? (Instrumental)
Manggagawa (Instrumental)

SIDE TWO:

Bayan Ko – Wea Various Artists (Celeste Legaspi, Apo Hiking Society, Janet Basco, Marco Sison, Leo Valdez, Ivy Violan, Dulce, Noel Trinidad, Subas Herrero)
Prisoner’s Lament – Apo Hiking Society
Bayan Kong Pilipinas – Celeste Legaspi
Psalm 12 (Help Us) – Celeste Legaspi
Buntong Hininga – Paul Toledo

Philippine Copyrights by Wea Records 1984

The Lyrics

Sangandaan
Walang komplikasyon
Ang buhay mo noon:
Kalooban mo’y panatag,
Kalangitan ay maliwanag,
Ang daan ay tuwid at patag
Sa buhay mo noon.
Ngunit bawat pusong naglalakbay,
Dumarating sa sangandaan:
Ngayong narito ka,
Kailangang magpasiya.
Aling landas ang susundin ng puso?
Saan ka liligaya, saan mabibigo?
Saan ka tutungo?

Kay daling sumunod
Sa hangin at agos:
Aasa ka na ang dalangin,
Gagabay sa ‘yong damdamin.
Ngunit saan ka dadalhin
Ng hangin at agos?
Alam mong bawat pusong nagmamahal,
Dumarating sa sangandaan:
Ngayong narito ka,
Kailangang magpasiya.
Aling landas ang susundin ng puso?
Saan ka liligaya, saan mabibigo?
Saan ka tutungo?

Aling pag-ibig pa?
Aling pag-ibig pa
Ang hihigit kaya
Sa pag-ibig ko sa iyo,
Bayan ko?
Sa hirap at ginhawa,
Sa ligaya’t dalita,
Ako’y kasa-kasama mo.

Kung ang gintong palay
Ay kumakaway,
Katabi mo ako sa bukid,
Bayan ko.
Kung tigang ang lupa
At di ka makaluha,
Ako ang magdidilig.

Kung ang bulaklak
Ay humahalimuyak,
Igagawa kita ng kuwintas,
Bayan ko.
Kung namiminsala
Ang bagyo’t baha,
Ako’y may kubong ligtas.

May pag-ibig pa bang
Higit na dakila
Sa pag-ibig ko sa iyo,
Bayan ko?
Wala na nga, wala.
Wala na nga, wala.
Wala na nga, wala.

Bayan Ko
Ang bayan kong Pilipinas
Lupain ng ginto’t bulaklak
Pag-ibig na sa kanyang palad
Nag-alay ng ganda’t dilag

At sa kanyang yumi at ganda
Dayuhan ay nahalina
Bayan ko, binihag ka
Nasadlak sa dusa

CHORUS
Ibon mang may layang lumipad
Kulungin mo at umiiyak
Bayan pa kayang sakdal-dilag
Ang ‘di magnasang makaalpas

Pilipinas kong minumutya
Pugad ng luha at dalita
Aking adhika
Makita kang sakdal laya

Bayan Kong Pilipinas
Ang bayan kong minamahal
ang bayan kong Pilipinas
Sa dugong pinuhunanan
Makamtan lang ang kalayaan
O bayan kong minumutya
Ako’y handang magpakasakit
Ang buhay ko’y nakalaan
sa iyo mahal kong bayan
Perlas ng Silanganan
May likas kang kayamanan
Dahil dito’y inagaw ka ng mga dayuhan
Kaya dapat kang bantayan
Ingatan ka mahal kong bayan

The Singers

Pat Castillo – “…We met Pat recently at Jackie Magno’s show at the new Merk’s Place on Arnaiz opposite the Rennaissance Hotel. Starting with small talk, we asked Pat of her current activities and found she was busy with facilitating, mentoring and coaching. All three involve guiding the individual discover his fears, doubts and talents, while helping him improve on the positive and hurdle the negative. A lifestyle coach described her job akin to that of a sports coach saying, “I get to challenge my clients like no one else. I am their mentor, cheer leader and sounding board.” And obviously, the job is for one who loves people, has massive patience, and thrives on challenges. Pat has had movie stars, young girls preparing for a beauty pageant, political clients gearing up for an election. And for this job, Pat uses the name Patricia Castillo. Coaching and mentoring grew as a career in the US when organizational changes brought upon by mergers and acquisitions found the need for companies to prepare their key personnel for new challenges. Soon, its effects filtered down to the rank and file, and to individuals who found the exercise enhancing and inspiring. Pat relates one day getting interested in a book Coaching published by a behavioral institute in Australia, so off she went to Australia for lessons. Soon she was accepting clients who found out about her new career. “I realized I really liked performing in front of people, and that coaching was just another medium…” – Bibsy M. Carballo, The Philippine Star, May 01, 2011 (READ MORE)

Janet Basco – “…born as Janet Mabasco, is a Filipino singer. She is known for her hits “You Made Me Live Again”, “Minsan Pa” and “My Girl, My Woman, My Friend” in a duet with Jose Mari Chan. In the music video version of this song, she is seen sitting on the sofa eating popcorn and has a date with him…” – Wikipedia (READ MORE)

Marco Sison – “…But even Imogene can’t dismiss the appeal of Marco who was responsible for some of the chart-topping songs of the ’80s and ’90s, among them Make Believe, Always, My Love Will See You Through and Si Aida, Si Lorna O Si Fe,” says Edmund. “While many of his contemporaries have gone gray, Marco seemed to have found the fountain of youth and managed to preserve not only his suave looks, physique and vitality, but also his impeccable Student Canteen voice that could put many younger singers to shame. Hear him sing the Latin beat Sway and see how a middle-aged man can bring sexy back.” Edmund was impressed by Marco’s jaw-dropping performance with his medley of Basil Valdez’s greatest hits. “Belting Gaano Kadalas Ang Minsan, Hanggang Sa Dulo ng Walang Hanggan, Tuwing Umuulan, Nais Ko and Sana Ay Ikaw Na Nga, capped with Ngayon at Kailanman, he sent chills down the spine of his audience, who reciprocated him with defeaning applause and cheers.” “He never overdoes his singing because he knows his voice is superb just the way it is,” Edmund quotes Zoila Mendoza of Manhattan’s DNZ Travel and Tours as saying. “No screamfest, just pure talent…and sincerity…” – Ricardo F. Lo, The Philippine Star, October 24, 2007 (READ MORE)

Leo Valdez – “…Though Valdez is now established in the international and local musical theater scene, he used to see himself more as a singer than an actor. “Initially I thought it was quite daunting,” says Valdez on first trying his hand at performing in Manila. The boy from Negros shares, “Manila seemed so big… It was like New York – ‘If you can make it here, you can make it anywhere’.” And, indeed, Valdez did make it in the big city. Valdez became a household name when he interpreted “Magsimula Ka” in the Metropop festival song writing contest. “It became, and still is, my ‘national anthem’,” Valdez says. Winning the contest led to invitations to perform and travel abroad. It also paved the way for Valdez to perform at the Metropolitan Theater, upon the invitation of the late Conching Sunico, where he headlined five musical extravaganzas. In one of these, he sang Sa Ugoy ng Duyan. “You could hear a pin drop,” he describes the performance, and how the hushed audience held on to every note…” – Ida Anita Q.del Mundo, The Philippine Star, Nov 04, 2012 (READ MORE)

Ivy Violan – “…Filipino singer most popular in the 1980s. She started singing at the young age of 2 1/2 years with her brothers in the group called Ivy and Velboys. As she grew up, she joined bands such as Sangkatutak Band and the Royal Flush Music Society. She later formed her own band called 8th of September band. In 1981, with the help of Rico J. Puno and musical director Homer Flores, she went solo…” – Wikipilipinas (READ MORE)

Dulce – “…Maria Teresa Abellare Llamedo Cruzata, better known as “Dulce”, is a Filipino singer and theater actress most famous for the hit song ‘Ako Ang Nasawi, Ako ang Nagwagi’…Dulce was born to a poor family in Villa Bulsita, Bulacao, Pardo, Cebu City. She started singing at the age of two. Her highest educational attainment was only elementary. She immediately went to Manila when opportunity came to pursue a singing career. She went on to win on many singing competitions including the popular “Tawag ng Tanghalan”, upon which she started her career, and the Second Metropop Festival on which she sang one of the late George Canseco’s compositions. Gracing recording studios, she became a singing sensation…” – Wikipilipinas (READ MORE)

Noel Trinidad – “…Comedy icon Noel Trinidad created the multi-award winning television show Champoy, which remains to this day a classic. He has done it all, movies, television and stage. He returned to performing on stage in Xanadu after a 10-year absence. Noel plays the role of Danny Maguire, a former musician who trades in his passion for arts for big business. It was the role Gene Kelly played in the feature film version of the stage musical. Noel joins Rachel Alejandro and Felix Rivera in the magical madcap roller skating musical comedy. Directed by Bobby Garcia, Xanadu will have repeat performances on Nov. 19 to Dec. 5 at…” – Boy Abunda, The Philippine Star, Sep 27, 2010 (READ MORE)

Subas Herrero – “…Ricardo Wright Herrero (born April 3, 1943), better known as Subas Herrero, is a Filipino actor, comedian and singer and he has an American and Mexican descent. He is the father of Cutuy Herrero, current vocalist of local Filipino band Chapter 2. As an actor, Subas Herrero has performed in movies such as “Bakekang”, released in 1978, “Karapatan ko ang pumatay… Kapitan Guti”(1990), and “Gao ya xian”(1995). He played his role as a main villain to Fernando Poe, Jr., Ramon Revilla, Joseph Estrada, Rudy Fernandez and lots of action stars in the past and present Filipino action films and as co-starrer in a comedy films with Dolphy, Chiquito, Redford White and Tito, Vic and Joey. In 1986, Herrero and Noel Trinidad went live on Philippine TV calling the public to join the crowds at EDSA calling for the ouster of President Ferdinand Marcos. After the People Power Revolution, Herrero recorded “Handog ng Pilipino sa Mundo” along with 14 Filipino artists, celebrating the peaceful revolt. After suffering a stroke in 2000, Herrero retired from the TV industry. Despite being sick, he took part in the EDSA Revolution of 2001 (EDSA II) to call for the ouster of then Philippine President Joseph Estrada….” – Wikipedia (READ MORE)

Rody Vera – “…a playwright, singer, and actor for the theater. He has written more than 20 plays, a few of which have won in national literary contests in the Philippines. He has also written plays for Filipino-American theater groups in Chicago, New York, and other cities. Rody has travelled extensively in North America, Europe, and Asia, teaching and performing drama. He has participated in several collaborative productions with theater groups based in Japan (Black Tent Theater, Rinkogun, Setagaya Public Theater), Singapore (The Necessary Stage), and New York (International Wow Company). Rody is currently heading a group of young playwrights called the Writers’ Bloc, the major organizer of the annual Virgin Laboratory Theater Festival in Manila…” – Kyoto Views Sea (READ MORE)

APO – “…The Apolinario Mabini Hiking Society, later popularly known as APO Hiking Society or, simply, Apo, was a Filipino musical group, often called as the “Beatles of the Philippines.” The group had its fledgling beginnings in 1969 at the Ateneo de Manila high school, with thirteen members: Lito de Joya, Sonny Santiago, Gus Cosio, Renato Garcia, Chito Kintanar, Kenny Barton, Bruce Brown, Butch Dans, Kinjo Sawada, Ric Segreto, Goff Macaraeg, Doden Besa, Jim Paredes, and Boboy Garovillo. The group’s name was created from the acronym AMHS representing their school with a witty twist having an irreverent reference to the paralytic Philippine revolutionary intellectual and hero, Apolinario Mabini, and later shortened to “Apo”, an Ilocano term for a wise man or a Tagalog term of grandchildren, and later re-branded to “APO” (all caps). (Contrary to popular belief, the “Apo” name was not a reference to the Philippine volcano, Mount Apo.) As the students advanced into college, Danny Javier joined the group. After graduation, the majority of its members left to pursue individual careers, with only three members remaining, made up of Jim Paredes, Boboy Garovillo and Danny Javier…In October 1987, during their annual US tour, the APO became the first Filipino pop artists with Marco Sison to perform at the Main Hall of New York’s prestigious Carnegie Hall. They also performed at the equally prestigious Massey Hall in Toronto, Canada’s music capital. Both concerts, as well as the other shows held during that particular concert tour, were sold out. The APO were also the first Filipino artists to perform in a public concert in the Kingdom of Saudi Arabia. In 1987, they were one of the first Filipino artists to be recorded on compact disc. And in 1994, they were awarded the first Dangal ng Musikang Pilipino by Awit Awards – the Filipino equivalent of the Grammy. They have also been conferred the Tanglaw Ng Lahi Award, the highest accolade given by Jesuits in the field of culture and arts…” – Wikipedia (READ MORE)

Celeste Legaspi – “…born March 18, 1950, is a Filipino singer and actress. Her singles and albums reached gold or platinum status during the 1970s and 1980s. She is the daughter of National Artist for Visual Arts Cesar Legaspi. She spearheaded the Organisasyon ng Pilipinong Mang-aawit (OPM), a group which aimed to promote and propagate Original Pilipino music. She is married to Nonoy Gallardo, one of the premier OPM composers. Legaspi is a successful recording artist, having produced albums and singles that reached gold and platinum status during the ’70s and ’80s. Her album Ako si Celeste under Blackgold Records was awarded gold, and produced hit singles “Saranggola ni Pepe”, “Tuliro”, and “Gaano Ko Ikaw Kamahal?”. The Celeste album spawned the famous “Mamang Sorbetero”. Her albums Bagong Plaka, Lumang Kanta Vols. 1 and 2 albums under Wea Records both reached the double platinum mark. She won several awards including Outstanding Performance award from the Song Festival in Tokyo, Japan, where she sang “Puso Mong Nagmamahal” (1976), Tinig Awards for live entertainment (1977, 1979, and 1990), and the Aliw Award for Entertainer of the Year (1978)…” – Wikipedia (READ MORE)

Paul Toledo – “…Circa 1980s singer-songwriter Paul Toledo died 10 p.m. Thursday from a heart attack inside a taxi in a southern Manila suburb. His remains lie at the Funeraria Filipinas in Pamplona, Las Piñas City, along the Alabang-Zapote Road, fronting the Pamplona Uno barangay hall. The website of the Performers Right Society of the Philippines (PRSP) lists songs like “pasosyal-sosyal” and “Lumba, Lumba” as among Toledo’s compositions, which he also sang. These pieces are vaguely remembered now as novelty songs which became popular in the 1980s…” – ABS-CBN News (READ MORE)

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Lazarito (Tele-movie)

Posted on July 9, 2013 by @ffv Standard

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Basic Information: Direction: Vilma Santos; Cast: Dawn Zulueta, Ariel Rivera, Ali Sotto, Bernardo Bernardo, Tom Taus, AJ Galvez and Armando Goyena; Production Co.: Vilma Santos Productions, Inc.

Plot Description: No Available Data

Film Accomplishment: Vilma Santos’ directorial debut.

Film Review “…Although Vilma directed a well-received TV movie before (“Lazarito”), she still wishes to direct a full-length film feature soon. She holds in high esteem her favorite lady directors like Laurice Guillen, Marilou Diaz-Abaya, Rory Quintos, and Olive Lamasan. She would like to work with Peque Gallaga in the future and hopes to be reunited with Chito Rono and Mike de Leon who have both directed her best films…” – Paolo Salas, Celebrity Chronicle, Nov 2006 (READ MORE)

“…Ang mentor ni Vi sa pagiging direktor ay si Joel Torre. Nakapagdirek si Vi ng isang telemovie na may pamagat na Lazarito kung saan tampok dito sina Dawn Zulueta, Ariel Rivera at Tom Taus, Jr…Kabilang naman sa ginawang telemovie ni Vi ay ang Lamat Sa Kristal, Katuparan, Once There Was A Love, Correctional, Bugso at Maalaala Mo Kaya: Regalo episode…” – Alfonso Valencia (READ MORE)

“…Ang dream ko naman talaga—nung hindi ko alam na papasok ako sa pulitika—ay makapagdirek ng movie. Yun yung next step ko, parang maging Laurice Guillen, Marilou Diaz-Abaya. Nagpapaturo na nga ako ng anggulo! Yun ang dream ko talaga. But she was quick to point out that she already directed a telemovie for GMA-7 in the past. Titled Lazarito, it starred Dawn Zulueta and Ariel Rivera. “Nakapag-direct na ako para sa TV, pero ang dami ko pang mali. Nung mag-e-edit na ako, wala na akong material. Nung nag-shoot kasi ako, eksakto lang. Lesson learned: dapat pala ang dami mo talagang dapat [i-shoot]…” – Jocelyn Dimaculangan (READ MORE)

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Mga Hindi Natupad na Projects

Posted on July 8, 2013 by @ffv Standard

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)

Nora-Coco-Vilma – “May planong pelikula ang Star Cinema na ang magiging bida ay sina Nora Aunor, Coco Martin at Vilma Santos. Kinumpirma ito ng source namin sa numero unong film outfit sa bansa nang tawagan namin kamakailan. Drama movie raw ito na pamamahalaan ng isang dekalibreng director. Pero nagpahayag na si Governor Vi na hindi niya magagawa ang movie offer dahil sa pagiging busy niya para sa darating na kampanyahan, kaya papalitan na siya ng ibang aktres pero tuloy pa rin si Coco Martin. Bilang paghahanda sa pagpasok ni Nora sa Star Cinema, ang ABS CBN film outfit mismo ang gumawa ng paraan para maipalabas uli sa mga sinehan ang classic movie ni Ate Guy na Himala. Ginastusan nang husto ng Star Cinema ang restoration ng naturang movie ni Nora na parang bago lang gawin kapag pinanood. Pero update ng source namin, nadismaya raw ang executives ng Star Cinema sa resulta ng Himala. Umasa silang kikita ito nang husto, pero kabaligtaran ang nangyari. In fact, nagfirst day last day ang Himala sa mga sinehan. Wala talagang naganap na himala. Sa totoo lang, napapaisip kami kung naipalabas na nga ba ito o hindi pa. Wala man lamang kasi kaming naramdaman na naipalabas na pala ito. So, itutuloy pa rin ng Star ang movie with Ate Guy? “Well, pupuwede pa rin naman sanang ituloy `yun, pero nang sumemplang pa rin sa takilya ngayon ang Thy Womb, mukhang may kalabuan nang matutuloy `yun,“ sey pa ng source namin…” – Jimi Escala, Balita, Jan 01 2013 (READ MORE)

Stage Play – Vilma Santos had a meeting with her Vilmanians the other Friday at Max’s Libis. She reported that she had finally finished shooting her “Maalaala Mo Kaya” episode with Ricky Davao and Maja Salvador, directed by Olive Lamasan. “One year in the making ito, bale two episodes, but it’s really worth it and I’m impressed with the work of Direk Olive,” she says. “It’s based on the true story of a woman from Lipa.” She said she got an offer to do a stage play at the CCP. She’s willing to try the theatre but when she was told she has to rehearse for two months, she had to turn it down as she still has her duties as Lipa City mayor to attend to. She revealed she has new movie offers, but most of them are heavy drama. She wants to do something lighter that will be more appealing to the masa. Last March 8, Vilma was given the First Diwata Award in celebration of International Women’s Day. That coincided with the 16th International Women’s Film Festival by the UP Film Institute, the longest-running women’s filmfest in the country. She was cited for her roles in films like Sister Stella L, Relasyon, The Dolzura Cortez Story, Bata, Bata, Paano Ka Ginawa? and Dekada ’70, which are about women empowerment. She was honored with Lily Monteverde, Charo Santos-Concio and writer Lualhati Bautista. Vilma was warmly applauded by an adulating crowd and she delivered a very inspirational message, saying: “I strongly believe in these films with strong messages. It’s about time men believe in women empowerment. Don’t underestimate us, women and artists!” Ate Vi left Thursday with husband Sen. Ralph Recto to attend the investiture rites of our new cardinal in Rome (she was personally invited). After that, she will take a cruise with Ralph and meet with her family in Los Angeles. – Mario Bautista, People’s Journal, March 26 2006 (READ MORE)

Flores De Mara – It was last year when we officially heard about “Flores De Mara.” It was an event. With the advent of gay-theme movies like Brokeback Mountain and TransAmerica in Hollywood, it would be another milestone project for Vilma and the Vilmanians! Imagine the conservative Filipino church condemning anything about the gay life, it promises a controversial, scandalous film. The plot was Ate Vi will play a mother of not one but three gay sons. Three young actors lined-up, willing to take the risk just to be billed with the Queen of Philippine Cinema. But like the unpredictable Philippine weather, Flores De Mara met its untimely death early this year. Reports of so many script revisions, casting and director changes, plus the restricted availability of Ate Vi were the cause of this Star Cinemas project being shelved. By February of this year, a new development arised when Lily Monteverde, Regal films big momah, announced she is now doing the project. Same plot (a mother of three gays) tentatively titled, “Manay Po.” Cherie Pie Picache fresh from her best supporting actress win for another comedy, “I Will Survive” took the leading role from Ate Vi and Joel Lamangan in the driver seat as the director. It is worth noting that Lamangan ventured in a string of gay induced films in the past. The latest one was “Aishite Imasu,” where Dennis Trillo portrayed a transvestite who fell in loved with a rebellious soldier. Aishite was a good attempt to show how people tend to dehumanized the gay people. “Manay Po” is set in today’s society where people are more tolerant and accepting. It will be exciting to see if Lamangan will treat these three gay characters as normal, respectable people and not your typical Aids patient or flambouyant caricatures that has been portrayed in many Filipino films in the past. I believe its time for Filipinos to accept and respect our gay brothers and sisters. – RV, V Magazine, No. 7 (READ MORE)

Isda – “Sasabak muna sa matinding kampanyahan si Governor Vilma Santos-Recto bago simulan ang paggawa ng indie film na balak isali sa Cinemalaya indie filmfest. Kinumpirma sa amin ng Batangas governor na on-going na ang preparasyon para sa kauna-unahang indie movie niya na ididirek ni Jeffrey Jeturian. Ilang taon ding niligawan ang Star for All Seasons na gumawa ng indie movie. Unang in-offer noon sa kanya ang movie na “Isda” (Chery Pie Picache did this film under the direction of Adolf Alix, Jr.).” Pero dahil sa schedules, hindi niya nagawa ito. Open naman si Ate Vi sa paggawa ng indie. Naiintriga rin kasi siya kung bakit patok na patok ngayon ang indie. So, sa text ng gobernadora sa amin, malamang na magawa niya ’yon this year after ng campaign period. “One day at a time muna. Eleksyon na kaya hinay-hinay muna ako,” saad pa ni Gov. Vilma sa text niya sa amin.” – Jun Nardo, People’s Journal, January 03 2013

Mater Dolorosa – “…Nasulat naman noon na na-offer din ang Isda ni Direk Adolf Alix kay Ate Vi (for Cinemalaya 2011), maging ang Mater Dolorosa ng same director (for Cinema One Originals 2012), pero sadyang ‘di pa nga siguro nakatakdang mag-indie film si Vilma…” – Mell T Navarro, Pinyparazzi, Jan 04 2013 (READ MORE)

“…It’s really meant for her and she even agreed to produce it,” says Adolf. “But then, TV5 didn’t allow her, so isinali ko sa Cinema One at nakuha naman as one of three entries in Category A that’s given a budget of P2 million. Dahil hindi puede si Ate Guy, then we considered other actresses who can do the role at napunta nga ito kay Direk Gina Alajar who’s also very good in it. Wag ng magalit ang Noranians dahil we have to meet the deadline of Cinema One at si Ate Guy naman ang hindi pumuede.” The role of Lourdes Lagrimas, Mater Dolorosa, is a very challenging one as she’s the female counterpart of Don Vito Corleone in “The Godfather”. She’s the Ma Barker who heads the illegal activities in an old district in Manila. As a crime lord, she’s notorious for doing criminal acts from jueteng and sakla to carnapping and drug trafficking. She faces competition from a man who wants to be the new king of the underworld, Phillip Salvador. Also in the cast are Alessandra de Rossi, Cogie Domingo, Carlo Aquino, Joem Bascon and Mercedes Cabral…” – Showbiz-portal (READ MORE)

“…Ikinuwento ni Ate Vi sa PEP na pagkatapos ng The Healing ni Direk Chito Roño, ang offer na indie movie ni Adolf Alix ang posible niyang maging next movie. Tapos na niyang basahin ang script nito at gustung-gusto niya raw itong gawin. Kuwento ni Ate Vi, “Istorya ito ng isang ina na Ma Barker ang dating.” Si Ma Barker ay isang ina ng mga gangster na kinatatakutan noon sa Amerika. “Isang matapang na nanay ako dito na illegal ang lahat ng trabaho ng mga anak. “’Tapos, isang anak niya napatay; then yung isang anak pa, e, nasangkot sa drugs. “Kumbaga, maganda ang story at ang daming twist. “At saka pati ang dialogue, gustung-gusto ko. “Medyo maghihiganti rin ako rito sa pumatay sa anak ko… maganda talaga.” Isang inang nagmumura, parang palaging galit, at bungangera ang papel ni Ate Vi sa magiging kauna-unahan niyang indie movie kung sakaling matuloy ito. Pero ayon kay Ate Vi, depende pa rin yun sa pelikula niyang The Healing at sa Star Cinema. “Nakausap ko na si Alix [Adolf], sabi ko sa kanya, pag-usapan namin kung papaano ko magagawa. “Pero sa totoo lang talaga, gusto kong gawin at very challenging ang role…” – Jimi C. Escala, PEP, May 04 2012 (READ MORE)

La Independencia – “…Early 20th century Philippines. The sounds of war signal the arrival of the Americans. A mother and son flee to the mountains, hoping for a quiet life. One day, the son discovers a wounded woman in the middle of the forest, and decides to bring her home. Years pass. Man, woman and child live in isolation from the growing chaos all over the country. But a coming storm soon threatens their existence, and American troops draw nearer…” – Festival Cannes (READ MORE)

“…In the 1980s they made movies that defied commercial considerations, she recalled, much in the same way that today’s independent filmmakers are “daring and different.” After turning down Raya Martin’s “La Independencia” (the role went to Tetchie Agbayani) two years ago, Santos almost did an indie this year – Adolfo Alix Jr.’s “Isda.” The role of a slum dweller who gives birth to a fish went to Cherry Pie Picache. Santos’ schedule didn’t allow her to accept the offer, but talks are ongoing with Alix. “I heard Adolf is working with scriptwriter Lualhati Bautista on another project,” she told the Philippine Daily Inquirer. Bautista penned the novels/screenplays of Santos’ Urian-winning films “Bata, Bata Paano Ka Ginawa” (1998) and “Dekada ’70” (2002). Santos said she closely follows the progress of indie filmmakers. “I ask my staff to buy DVDs of indie films, which I watch in my free time.” Among her favorites are Jeffrey Jeturian’s “Kubrador” and Brillante Mendoza’s “Lola.” “I get inspired watching veterans like Gina Pareño (“Kubrador”) and Anita Linda (“Lola”),” she said. “They’re amazing…” – Bayani San Diego Jr., Philippine Daily Inquirer, Aug 13 2011 (READ MORE)

“…Independent filmmaker Raya Martin has made history as the first Filipino to receive a 120,000-euro (P7-million) grant from the French government for his upcoming film “Independencia,” about a mother and son who run off to the mountains during the American occupation. “Independencia” is the first indie film of award-winning actress and Batangas governor Vilma Santos, line producer Arleen Cuevas told Inquirer Entertainment. “Fonds Sud Cinema” is a financial aid awarded by the French Ministry of Culture and Communication and French Ministry of Foreign Affairs to film productions in developing countries. Since 1984, the grant has funded over 400 documentaries, animation and feature films. Martin also won a Prince Claus Fund Grant of 15,000 euros (P960,000) in last year’s CineMart Awards in Rotterdam. The film was named Best CineMart Project of 2007. He likewise bagged the Hubert Bals Fund of the 2007 Rotterdam International Film Festival. Looking for local partner. “We are looking for a local partner [for ‘Independencia’],” said Cuevas. “Filming is tentatively set in September.” Written by Martin and Ramon Sarmiento, “Independencia” is a family drama set in the early 1900s. “We had a meeting with Vilma yesterday,” said Cuevas in a phone interview on Friday. “She liked the script and promised to fix her schedule.” Martin was the first Filipino to be granted a six-month filmmaking residency at the Festival du Cannes’ Cinefondation in France…” – Marinel Cruz, Philippine Daily Inquirer, Jan 28 2008 (READ MORE)

Naglalayag – “…Critics in the preview would whisper that this is Nora Aunor in a Vilma Santos role. Which is quite true for two reasons: that Vilma’s persona is more amenable to Dorinda’s instincts and that two of the films of the director wrestling with the theme of a “scandalous” May-December romance (Sinungaling Mong Puso) and the myth of menstrual blood (Tagos ng Dugo) starred Vilma. But Nora’s turbulent involvement with a younger man in real life is testament enough that she embodies this temperament as well. And that it is she, more than Vilma, who is inclined to flesh out the process of menopause (idiomatic translation of naglalayag) and mortality (the horror of age)—as well as of youth and allure—as personal and sociological afflictions, a motivation that reminds us of local titles like Halik sa Paa, Halik sa Kamay; Raquel at Rafael; Ligaw na Bulaklak; Mrs. Teresa Abad, Ako Po Si Bing; Totoo Ba ang Tsismis?; Tag-araw, Tag-ulan; Nagsimula sa Puso; Alaga; and Bayarang Puso; among others…” – Manila Standard, June 22 2004 (READ MORE)

“…A May-December love story. Nora fell in love with a poor taxi driver played convincingly by Yul Servo. The film achieved the festival’s best picture honour together with the best director award for Maryo J. delos Reyes and the coveted Best Actress for Nora Aunor. The film was first offered to Vilma Santos but she turned it down and Maryo De Los Reyes decided to give the project to Vilma’s rival, Nora…” – RV (READ MORE)

Annie Batungbakal – Prior to Nora Aunor securing the movie rights to this project and with several successful dance genre films, supporters of Vilma Santos expected that the project will go to her. Adding to the speculation was the fact that Vilma Santos is the “Dancer” and Nora Aunor is the “Singer.” Also, the film requires the lead actor to dance in several production numbers. According to the media and her supporter, the role fit Vilma to a T. But the fate of Annie landed on Nora, she bought the film and decided to shut her critics by learning how to dance. To the surprise of many and even the Noranians, Nora managed to dance her way to the bank. The film did well at the box office. To this days, Vi’s supporters still feel the disappointment of Vi not playing Annie B, who was a sales lady in the day and a dancing queen at night. Here are some notes…

Father J Gutierrez: “…During this time nagtampo naman si Kuya Eddie kay Ate Vi sa dahilang hindi ko na maalala. Kaya ng nangyari nabaligtad ang kanilang loyalty. Si Ate Luds panay si Ate Vi ang prino-promote sa radio program niya while si Kuya Eddie naman ay napunta kay Nora. Bumibisita ang mga Vilmanians noon sa radio program ni Ate Luds at ang mga Noranians sa radio program ni Kuya Eddie. This was also the time yung kainitan kung sino ang dapat gumanap na Annie Batungbakal. Many believed that na bagay na bagay yung role kay Ate Vi. Since she is considered as the Dancing Queen. But lo and behold, napunta yung role kay Nora. Balita ko she bought the rights to make it into a movie yata. Naalala ko rin noon si Kuya Eddie ilagan panay ang patugtog ng mga kantang ikaw ang superstar ng buhay ko (tama ba ang title, Kuya Charlz?) at yung ngang Anie Batungbakal dedicated kay Nora. Si Ate Luds naman may kantang dedicated kay Ate Vi. If I am not mistaken ito yung kantang “Pinakamagandang babae sa balat ng lupa” (Tama ba yung title, Kambal?) or is it “Ikaw ang Miss Universe ng Buhay Ko?” whatever the song was, palaging pina-patugtog ni Ate Luds iyon dedicated para kay Ate Vi at sa mga Vilmanians as well. Then one day just as nagkabati sina Ate Luds at Nora, nagkabati din sina Ate Vi at Kuya Eddie. So to be fair to both, ang ginawa ni Kuya Eddie Ilagan pinapatugtog niya pareho yung mga kantang dedicated for Ate Vi and Nora…”

F Gabriel: “…There was a time that he wrote a story for Vilma pero hanggang kwento lang siya hindi naman nagmaterialized dahil hindi naman niya ginagawa in writing. Binabangit lang niya sa Radio program niya yung plot ng story like yung “Kulaspira, Basag ang pula.” Kakatawa ang title pero gusto niya na luka-luka daw si Ate Vi dito or something like that. Meron pa ngang Annie Batungbakal na base sa hit song ng Hotdogs pero naunahan siya ng NV production at ginawang movie ni Guy. Inis na inis noon si Ike sa radio program niya pero wala naman siyang laban kasi nga hanggang kwento lang siya sa radio, walang black & white. Sabi pa nga niya si Guy daw ay mahusay kumanta pero sa sayaw daw ay mas bagay kay Vi ang Annie Batungbakal. Gosh, everyday ay naririnig ko sa radio program niya ang plot na plano niya for the said movie, naka-program na nga sa utak ko na para kay Ate Vi yon eh…”

Magkailanman – “…Magpakailanman was originally created by GMA Entertainment TV Group as a one-season inspirational drama special intended for the celebration of World Meeting of Families in January 23–24, 2003. Actress, Vilma Santos was the original choice of the network to host the show. It went to Mel Tiangco after the former refused the offer. Because of the overwhelming positive feedback from viewers and critics, and high ratings, the network decided to make it as a regular weekly drama anthology. It is originally shown every Monday night. The show premiered with the Bakit Ako Mahihiya? (lit. Why Should I Be Ashamed?), an episode about the life of former “Jukebox Queen”, Didith Reyes. On its second season, the network decided to move the show from Monday night to Thursday night timeslot. The Janet Clemente Story served as the show’s second season pilot episode. Because of its continues leadership in the ratings game, the show toppled the longest drama anthology “Maalaala Mo Kaya”, which later prompted to change its schedule from Thursday nights to Fridays. But after MMK changed its timeslot, the ratings of Magpakailanman began to decline, and later on, the management decided to axe the show. After a four-year hiatus and due to the growing clamor to revive the program, GMA Network decided to have Magpakailanman returned into the boobtube. The returning drama anthology premiered on November 17, 2012 and it again competes against MMK, which has been airing also every Saturday since 2008. Mel Tiangco retains as the show’s presenter…” – GMA KapusoTV Shows, 19 Oct 2013 (READ MORE)

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What Makes an Indie an Indie

Posted on July 7, 2013 by @ffv Standard

Definition – An independent film is a professional film production resulting in a feature film that is produced mostly or completely outside of the major film studio system. In addition to being produced and distributed by independent entertainment companies, independent films are also produced and/or distributed by subsidiaries of major film studios. Independent films are sometimes distinguishable by their content and style and the way in which the filmmakers’ personal artistic vision is realized. Usually, but not always, independent films are made with considerably lower film budgets than major studio films. Generally, the marketing of independent films is characterized by limited release, but can also have major marketing campaigns and a wide release. Independent films are often screened at local, national, or international film festivals before distribution (theatrical and/or retail release). An independent film production can rival a mainstream film production if it has the necessary funding and distribution. – Wikipedia (READ MORE)

Critical vs Commercial – “…Some small independent films achieve nothing more than critical acclaim at film festivals while others achieve that, as well as financial success. This can happen if a “buzz” is created about a small film. Independent film distribution companies can offer a decent deal for independent films that do well at film festivals. They need to supply movies to hundreds of countries and thousands of cable and satellite TV channels all over the world. The film festival circuit provides them with a lot of good, yet cheap films to purchase. But every once in a while a small independent film gets so much media attention at a film festival that it is purchased by a major film studio and screened in major theaters all over the country. Case in point; The Blair Witch Project. The first official public screening was on January 23rd, 1999 at the Sundance Film Festival. Writer-directors Daniel Myrick and Eduardo Sanchez made this film for $25,000. By the end of the festival they sold their movie for 1.1 million dollars to Artisan Entertainment, who then went on to make $248 million dollars with this little movie!…” – Make Independent Films (READ MORE)

The Right to Control – “…So, now with the abridged history lesson of independent film under our belt let’s revisit our initial question, “what is an independent film”? Well, in reality there exists varying levels of independence. What it really boils down in the end is control. The ability of a filmmaker who has a vision and is able to stick to that vision with no compromises. A studio may partly fund or distribute a director’s film and yet it can still bear the title as an “independent”. With some level of studio involvement the end result may look more polished or reach a wider audience but if the director’s singular vision remains intact, in my opinion, it’s independent. As a brief afterthought, if a filmmaker makes the decision to self-finance, self-produce and self-distribute their film then by all means they deserve the right to market, promote and boast that their film is “100% Independent….” – Stephen Reilly (READ MORE)

What Makes an Indie an Indie

Low budget and/or if the film is funded or bought by a major studio, finance is less than 50% of the average mainstream film budget
Normally films with subtitles and with non-mainstream actors
Normally films with non-escapist, mega-expensive or formulaic theme
Normally with controversial subject matter or experimental film techniques using digital equipment
Screened in several prestigious competitions or film festivals
Exhibited in smaller venues or film art house and if it shown in megaplexes, it’s on a limited run
Films made outside the control of dominant major films studios
Filmmaker makes the decision to self-finance, self-produce and self-distribute/promote (100% Independent)

Work of Passion – “…Last Monday, the 1987 CCP Independent Cinema and Video Competition opened without much fanfare and with only few people in attendance. As a matter of fact, no one from the CCP’s top brass except for CCP Coordinator for Film, Hammy Sotto – graced the affair to launch the first short film and video competition under the new regime. Sad, but the event dramatizes the state of independent film making in this country: generally, the indifference and lack of interest on the part of the movie audience, not even the film students were there to lend support and a perceived feeling of distrust on the part of the film community. Nevertheless, it was an auspicious start as 27 short films were shown with about half of them of undoubtedly festival quality. The list represented shor-film output for two years (1985-1986). The same festival was not held last year because of the disbandment of the Experimental Cinema of the Philippines after the so-called February revold. With the subsequent reorganization of the Cultural Center of the Philippinbes, a coordinating center for film was created, one of its aims is to continue the tradition of giving recognition to the short-film makers who have excelled in a field that, “let’s face it, has remained unappreciated in this country. Despite ist lack of support, independent film making (I prefer the term “independent”over short-film making, which traditionally referes to the 8 and 16 mm films, because the former includes the 35 mm films and even video which are produced separate from the mainstream commercial cinema), has given us something which is sorely lacking in our daily movie fare. Independent cinemas is primarily a work of passion. It is cinema which tells of man’s unexplored fears and joys, a cinema that disturbs, a cinema that inspires…” – Mikr Feria, Manila Standard, 02 Aug 1987, p14 (READ MORE)

Blogger vs Reviewer – “…In this era of blogging, anyone and everyone who has access to a computer can be a film reviewer. But local moviegoers also don’t care as they don’t purposefully turn on their laptops just to read a movie review on line. And sadly, a lot of those who write blogs do not even have a good mastery of the English language and their distorted grammar often just give us a headache. Lately, though, the way the critics groups have totally rejected mainstream films released to wider, broader audiences to favor films only they themselves have seen and nobody else saw, has become truly quite disturbing. Are they really helping the movies that they choose to win? Are they really helping the local film industry at all? If you’d study the indie films that reaped awards in recent years, like “Damgo ni Eleuteria” (which we personally like), “Tirador”, “Shieka”, “Himpapawid”, etc. none of these films got a wide release even after winning awards. For that matter, Lav Diaz is one of our best known indie filmmakers and his 4 to 8-hour films have won accolades abroad, like “Ebolusyon”, “Death in the Land of Encantos”, “Melancholia” and the recent Cannes Filmfest entry, “Norte, Hangganan ng Kasaysayan”. But sadly, they were never shown in our commercial theatres and only a handful of avid cineastes saw them. The most familiar Lav Diaz films remain to be his “pito-pito” flicks “Kriminal ng Barrio Concepcion” and “Hubad sa Ilalim ng Buwan…” – Mario E. Bautista, Showbiz Portal, 23 June 2013 (READ MORE)

Vilma Santos’ Indie Projects:

Lamat sa Kristal (1988) – “…Vilma Santos went through with the taping of her first drama special, Lamat sa Kristal, during the rage of killer typhoon Unsang. While it wrought havoc in the entire nation and claimed numerous lives and destroyed properties, the whole production made good use of the terribly bad weather to set the mood for the top actress’ tele-movie. Indeed, there’s nothing like Mother Nature providing the real atmosphere, as the stars and crew braced the strong winds and heavy rains. To the said stars and crew the showbiz rule “the show must go on” still holds true, no matter what the weather is…” – Meg mendoza (READ MORE)
Lazarito (1990s) – “…Ang dream ko naman talaga—nung hindi ko alam na papasok ako sa pulitika—ay makapagdirek ng movie. Yun yung next step ko, parang maging Laurice Guillen, Marilou Diaz-Abaya. Nagpapaturo na nga ako ng anggulo! Yun ang dream ko talaga. But she was quick to point out that she already directed a telemovie for GMA-7 in the past. Titled Lazarito, it starred Dawn Zulueta and Ariel Rivera. “Nakapag-direct na ako para sa TV, pero ang dami ko pang mali. Nung mag-e-edit na ako, wala na akong material. Nung nag-shoot kasi ako, eksakto lang. Lesson learned: dapat pala ang dami mo talagang dapat [i-shoot]…” – Jocelyn Dimaculangan (READ MORE)
Ekstra, The Bit Player (2013) – “…We screened the edited materials of the film yesterday (without the ending) and the performance of the entire cast is something we are so proud of. Nobody was trying to upstage anyone. It was team work – pure and simple. A brilliant cast!!! I ended up with tears on my eyes – because I could not stop laughing and laughing with how the story was unfolding, with so many hilarious real life incidents that an ekstra has to go through. Then again, without knowing it, I found myself in tears, and this time for a different reason — because of the atrocities that TV production people have to face due to the economics of the industry, the people at the bottom of the line like the extras often end up having to bear the brunt. Time for a wake up call maybe?…” – Mario Bautista, Showbiz Portal, 18 Mar 2013 (READ MORE)

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Vilma, Vilma, Ang Sarap Mong I-direk

Posted on July 6, 2013 by @ffv Standard

Sa langit-langitan ng pagganap sa pelikula ay walang aktres ang makakatapat kay Vilma Santos sa husay at versatility nito. Maging si Nora Aunor na mahigpit niyang karibal sa larangang ito ay nagsimulang nagpakita ng gilas at halos pinaluhod ang QueenStar noong ginawa niya ang Minsay Isang Gamu-gamo, Tatlong Taong Walang Diyos, Bona at Ina Ka ng Anak Mo. Sa katunayan, unang narecognize si Nora sa Urian at sa international film community sa Cairo Film Festival kung saan hinangaan siya sa Flor Contemplacion Story at nakopo niya ang best actress award, mula YCC hanggang sa Cairo nga. Ito lang ang tanging grand slam niya. Hindi nagpatalbog ang former Scream/Gripo Queen kay forever Ice/Eye/Diin Queen by reinventing herself magmula noong mapangahas niyang pagganap sa Burlesk Queen at nang talunin siya ni Nora sa 1978 MMFF kung saan nilampaso siya ng Atsay at umuwi siyang luhaan like Rubia Servios. As fate would have it, at dahil na rin sa kanyang competitive spirit at nerve of steel, she re-grouped and vowed never to be second banana sa kapuwa bulilit niyang karibal. “Anything she can do, I can do better, I can do anything better than her.” Yes, I can, oh yes I can! ang bulalas ng most awarded actress and mayor ng bansa sa sarili. And she did it. By George, she got it! And she could dance all night, along with her millions of fans. Nag-aral siya, nagmasid, nagtanong, nagtiyaga, ibinuhos ang kaalaman niya sa sining, at inalagaan ito ng husto. At mula noong naka-grand slam siya sa Relasyon in 1982 ay para bang nabuksan ang langit at ang mga paghihirap at tiyaga niya ay tinumbasan ng walang katapusang ulan ng mga tropeo, honors and citations bilang pinakamahusay na aktres ng kanyang henerasyon, at possible sa buong kasaysayan ng pelikulang Pilipino. Na-validate pa nga ito ng pagkawagi niya as exemplary media practitioner for film via the prestigious U.P. Gawad Plaridel Award recently. Nominations pa nga lang ay eliminated na kaagad ang supposedly strong contender na si Nora Aunor.

Napasama ang Reyna sa last three finalists at mantakin mong sina Mike De Leon at Eddie Romero ba naman ang kahelera mo at talunin mo ay daig pa ang manalo ka sa lotto. Talagang hindi basta-basta aktres ang the longest reigning movie and box-office queen of Philippine Cinema: Isa na talaga siyang icon or national treasure ng bansa. Kasunod na kaya ang National Artist Awsrd? Abangan! Nakagawa na siya ng mahigit 200 na pelikula, kasama na ang mga special guesting niya, at nagtamo nga ng pinakamaraming acting awards, mula sa Trudis Liit hanggang sa Mano Po 3 – My Love. Kamanghamangha talaga! Atin ngayong suriin kung sinu-sinong director ang pumiga sa Meryl Streep of the Philippines at sa the Filipino Cinematic Diva (ayon sa U.S. Variety magazine) at tuloy ay nagkamit ng mga di matatawarang karangalan sa kahusayan sa pagganap. Sa mga batikang director natin, tanging sina Lino Brocka (SLN) at Marilou-Diaz Abaya ang di pinalad na panalunin si La Vilma sa mga klasikong Rubia Servios, Adultery and Hahamakin Lahat for Brocka, at Alyas Baby Tsina naman kay Abaya. At ang mga ilan sa matitinik nating direk na di nakatrabaho ng Reyna ay sina Lupita Kashihawara at Mario O’Hara na pawing identified kay Nora Aunor. Malay natin, baling araw ay may mga pelikula na silang gagawin. Narito ang talaan ng mga director na nagpanalo sa Greatest Actress of Philippine Cinema…

Jose de Villa – in 1963 for Trudis Liit. Vilma’s first acting trophy (FAMAS best child actress).
Luis Enriquez (aka Eddie Rodriguez, SLN) – 1968 best supporting actress for Kasalanan Kaya? mula sa San Beda College Awards; 1975 best actress for Nakakahiya?, Bacolod City Film Festival. The most successful May December acting team in Philippine Cinema, ever.
Emmanuel Borlaza – 1972 FAMAS best actress (her first as an adult actress and her one of five from the FAMAS), for Dama De Noche.
Celso Ad. Castillo – 1977 best actress, MMFF, for Burlesk Queen. Her change of image changed everything. The best career move she ever did. There was no looking back.
Danny Zialcita – 1981 MMFF and Cebu City Film Festival for Karma.
Elwood Perez – 1981 FAMAS best actress (Pakawalan Mo Ako) and 1988 FAMAS best actress (Ibulong Mo Sa Diyos).
Ishmael Bernal (SLN) – hold your breath! 1982 Grand slam for Relasyon (her first of four grand slams, a record!); 1983 Urian best actress, Broken Marriage; 1989 Urian best actress, Pahiram ng Isang Umaga. Sayang at pumanaw na si ‘Ishma” – ang dami pa sana nilang pelikulang pagsasamahan. The most successful actress/director collaboration in Pinoy Cinema. Pinasabog na ang takilya, inulan pa ng awards.
Maryo J. De Los Reyes – 1987 FAMAS best actress, Tagos ng Dugo; 1992 New Fame Mag Readers’ Choice Award for best actress, Sinungalinng Mong Puso. Sana matuloy iyong Vilma-Christopher project sa Violet Films’ Huwag Hatulan ang Puso. Sana. It’s time for a Maryo J. and a Vilma reunion – perfect for each other – they’ll make a splash at the local and foreign markets. Abangan!
Mike de Leon – 1984 Urian best actress, Sister Stella L. In the recent U.P. Gawad Plaridel award for exemplary film practitioner, La Santos bested De Leon. Whew! Will Mike lure Vilma or vice-versa to make a movie together? Heaven, must be missing an angel: Mr. Mike De Leon, that is. It’s time for a reunion. Isa pa nga, oh! Hold your breath. I can see it coming. Mover over, Madam Auring!
Laurice Guillen – ah, the woman’s director – who better understands women but the outstanding actress cum director herself, Laurice? Her presence at Vilma’s coronation at the U. P. last July 4 is proof that Ms. Guillen is a true-blue Vilmanian. She gave the Queen two best actress awards: 1993 Grand slam (her second) for Dolzura Cortez; and in 1991 at the Urian for Ipagpatawad Mo, halting Nora’s almost second grand slam win for Pacita M. Laurice’s presence at the U.P. Cine Adarna is, probably, an open invitation for Ms. Versatile Vilma to say – OK – to Guillen’s script about a woman who spent most of her life taking care of family business, only to be abandoned or dumped like a hot potato by the ones she loved to death – with nowhere to go – no career/office skills – nothing. Do I hear a fifth grand slam? Aw, cmon, Vilma, grab the script before it lands in anothers lap. Si Guillen yata iyan! Atat na ata na, umoo ka na, oh!
Chito Rono – is he Bernal II? His approach, his dark comedy, his overall style is vintage Bernal, yet very original, with Chitos stamp of excellence all over it. Two grand slams for Vilma, for a total of four grand slams, plus 2 international acting trophies from the Brussels and CineManila, (1998s Bata-bata and 2002’s Dekada ’70), is not bad. Is there a reunion in the offing? Direk Rono: “Vi, gawin na natin iyong script, bago ni Lualhati, bagay sa iyo iyon?” Vilma: “Naku, Chito, litung-lito na ako sa dami ng offers. Di ko alam ang uunahin. Ang hirap i-pass by. Nakapanghihinayang. Kung puede ko lang i-clone ang sarili ko, gagawin ko lahat ng offers sa akin. Kaso mo, so many good movies, so little time.” Chito: “Ako hintay sa iyo. Ayaw ko sagot mo Pagputi ng Uwak, Pag-itim ng tagak. Basta ako hintay sa iyo.”
Rory Quintos – Anak shattered box-office records in 2000 and was the highest-grossing Pinoy film ever until Ang Tanging Ina (Solid Vilmanian Ai-Ai) zoomed to the top of the box-office. The 2000 best actress awards from the PMPC Star and PASADO are puede pasar, but millions of luhaang viewers swear she should have brought home the bacon. All they were saying, please give Glo a chance! Sige na nga, senior citizen kasi eh. Doon nga sa Urian when Ms. Gloria Romero gave her speech: “I-share this award with Vilma who was so good in Anak.” BOW! Respect begets respect. Biglang sing si Aretha Franklin ng R-E-S-P-E-C-T.
Joel Lamangan – the newest Vilma convert after he made Vilma grab best actress awards in the 2004 MMFF (Mano Po III), at the PMPC Star (her sixth), Tanglaw (her second) and Gawad Suri. He was so impressed by the QueenStar that he offered her a script she couldn’t resist, about the slums, a role to die for. Vi: “Joel, ang hirap naman, awa ako time. Gulong-gulo nga ang isip ko kung ano ang tatanuan ko eh. Puede bang next year na lang iyan?” – Mario O. Garces (READ MORE)

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Ang kulay ng iyong balat

Posted on July 5, 2013 by @ffv Standard

Nang bata pa ako natatandaan ko na madalas kong tuksuhin ang mga kalaro ko ng “negro!” Wala sumasaway sa akin at madalas ko pa ngang naririnig sa mga matatanda na naguusap tungkol sa kapangitan kapag ang isang bata o tao’y maitim. Hindi ko naisip ang mga ganitong bagay ay babalik sa aking kaisipan ngayong ako’y matanda na. Sa mga Filipino ang pagkakaroon mo nang maputing kulay ng balat ay isang magandang bentahe. Marahil ito ay nakuha natin ito sa panahong nasa ilalim ang ating bansa ng pamahalaang amerikano. Na-colonized tayo nang husto pati ang ating pangkaisipan ay nahaluan ng banyagang konsepto na ang pagkakaroon ng kulay putting balat ay maganda sa paningin. Kung sasaliksikin mong mabuti maging ang panahon ng kastila ang pagkakaroon ng maputing balat ay isang magandang bentahe. Kapag ang isang Filipino’y may maputing balat senyales ito nang may dugong banyaga at ang tingin ng karamihan ay mas mataas kaysa sa mga Filipinong may kayumangi o may kaitiman ng balat. Sa mga manunulat naging isang isyu sa ating pagiging isang tunay na Filipino ang ating mentalidad na ito. Bakit raw nating dino-diyos ang mga taong may mestisong kulay ng balat? Bakit raw hindi natin mahalin ang sarili nating pisikal na karaterisasyon? Kayumanging balat. Pandak. Pango. Ito raw ang tunay na imahen ng isang Pilipino. Nakita ko ang mga puntong ito nang magkaisip na ako. Pero tulad ng mga ibang nasyon. Ang pilipino’y may mahabang kasaysayan. Sa kasaysayang ito nating makikita na maraming dugong nanalantay sa ating balat. Merong tayong dugong indyo, malayan, hapon, tsina, kastila at amerikano. Kung kaya naman paano mo masasabing ano ang tunay na kahulugan ng pagiging isang tunay na Pilipino?

Pagbabasihan mo lang ba ang kulay ng balat? Sa kulay ba ng balat makikita ang iyong katapatan sa ating bansa? Kung maputi ba ako ay kulang ang pagiging isang Pilipino ko? Kung tsinita ba ang mata ko’y hindi ako isang tunay na Pilipino? Naguguluhan ako minsan ngunit nang mangibang bansa ako ay naliwanagan ang aking kaisipan. Hindi nakikita sa pagiging isang kayumangi ang pagiging isang tunay na Pilipino. Nasa gawi ito, nasa kilos. Sa showbiz, nang bata pa ako’y makikita ang mangilan-ngilan na may kaitiman o kayumanging balat tulad ni Diomedes Maturan na sinasabi nilang Perry Como of the Philippines. Sa mga manunulat, binunyi nila ang pagiging isang tunay na Pilipino ni Diomedes. Tunay ngang mukhang Pilipino si Diomedes dahil sa kayumanging kulay nito kahit na itoy hindi pandak. Ngunit madalas ang mga inaawit nito’y mga kantang ingles tulad ng Rose tattoo habang suot ang isang plantsadong suit o ang tawag rito nuo’y amerikano! Sa mga komedyante, dalawang tao ang may kayumanging balat na sumikat nuon. Sa babae nangunguna si Elizabeth Ramsey. Tulad ni Diomedes Maturan na produkto ng Tawag ng Tanghalan si Elizabeth ay produkto naman ng pakontes ng kantahan ng programang pangtelebisyon na Student Canteen. At kung si Diomedes ang Perry Como ng Pilipinas si Elizabeth naman ang Eartha Kitt ng Pilipinas. Kayumangi man ang balat ni Elizabeth Ramsey at maging ang ilong niya ay may pagka-pango, ang pagsasalita naman niya at lalo na ang pagkanta ay pawang sa salitang ingles.

Sa mga lalaki naman ng mga komedyante, si Chiquito ang may kayumanging balat. Tulad ni Elizabeth Ramsey may pagkapango at pandak ito tunay na opposite ni Dolphy na mestiso, matangos ang ilong at may kataasan sa kanya. Ang itsura ni Chiquito na sinasabi nilang pilipinong-pilipino ay duon na lang natatapos dahil sa pananamit naman ay makikitang laging naka-suit ito na tawag nuo’y amerikano. Makikita ring laging nakapomada ito na parang si doble-o-seven. Kasabay nito ang putol putol nitong pag-i-ingles sa maraming pelikula nito. Sa mga aktres natin, hindi ko malilimutan ang tahasang pagbibigay ng kahalagan sa kagandahan ng mestisa o maputing balat sa pelikula ni Gloria Romero nuong 1953, ang Cofradia. Maliit na bata pa lamang ako at ito marahil ang isa sa mga naglagay sa isip ko na kapag maitim ang balat mo’y pangit ka. Ilang beses ko itong napanood sa tanghaling tapat sa telebisyon. Ang pelikula’y tungkol sa maitim na babae. May nagbigay sa kanya ng isang kandila. Kapag sinindihan niya ang kandila ay nagiging maputi siya. Sa isang munting bata ang matanim ang ganitong kaisipan ay tahasang mali at hindi magandang makagawian. Kung nanatili man sa kaisipan ko ang konseptong ito’y tahasan kong natutunan na wala sa kulay ng balat ang tunay na kulay na pagiging isang tao. Kung kaya naman nang lumaki ako’y alam ko na ang mestisang si Gloria Romero sa mga luma niyang pelikula larawan ng isang Filipina kahit na hindi kayumangi ang kanyang balat. Hindi ko nakitang kumanta si Gloria sa salitang ingles at kadalasan ang mga pelikula niya ang salita niya’y purong tagalog.

Sa mga manunulat, madalas nilang sinasabi na ang malaki raw ang naiambag ng isang Nora Aunor sa Filipino showbiz dahil sa kanyang Kulay Kayumanging balat. Dahil raw rito ay hindi na mahirap sa isang Filipino na may kayumaging balat ang pasukin ang larangang ito na hitik sa mga mistiso at mistisang artista. May punto ang mga manunulat na ito. Tutoong nakatulong nga ang isang Nora Aunor para maiba ang ating kaisipan na mapuputi lamang ang sumisikat ng husto. Ngunit tulad ng mga Kayumaging kaligatan ng sumikat, ang sinasabi nilang imahen ng tunay na Pilipino’y kung susuriin ay hindi isang tunay na Pilipino sa kilos at gawa. Tulad ni Diomedes, Elizabeth, Chiquito at iba pa si Nora Aunor ay kumanta ng mas maraming ingles na kanta kaysa ibang mga manganganta na may maputing balat. Taliwas sa imaheng kanilang sinisigaw. Sa dinami dami ng mga album na nagawa ni Nora Aunor, iilan lamang ang kanyang ginawang tagalog album. Madalas pa ang mga kantang kinanta ni Nora ay pawang kantang hango sa amerika tulad ng Impossible Dream, I Believe at iba pa. Paano nila sasabihing tunay na imahen ng isang pilipina ang pandak at kayumanging ito kung ang lumalabas sa kanyang bunganga ay kanta ng mga dayuhan? Kung binuksan man ni Nora Aunor ang pinto sa mga kayumanging talento, nasaan na ang mga ito? Wala akong makitang pinagbuksan niya. Kung kaya naman itigil na ang pagsasabi ng mga tagapagtanggol ni Nora ng sinasabi nilang naiambag raw ni Nora sa showbiz sapagkat wala akong makitang basihan sa mga argumentong ito.

Para sa akin, ang imahen ng isang tunay na Pilipino ay hindi nakikita sa kulay ng kanyang balat. Nakikita ito sa kilos at gawa. Tunay ka, ang mentalidad na pumasok sa aking isip ng ako’y bata pa, na kapag maitim ang balat mo’y pangit ka’y mali at hindi dapat panatilihin sa kaisipan ng lahat. Kahit ano pa ang kulay ng iyong balat hindi ito dapat maging basihan kung anong klaseng tao ka. Sa mga Pilipino, kayumangi man ang balat mo kung ang kilos mo’t gawa naman ay hango sa mga dayuhan hindi ito ang tunay na imahen ng isang tunay na Pilipino. Kayumangi man o maputi ang balat mo. Matangos man o pango ang ilong mo. Singkit man ang mata mo. Ang kilos mo at gawi ang pagbabasihan ng pagiging isang tunay mong Pilipino. At dito ko sasabihin sayo na ang isang Vilma Santos lamang ang mayroong mas malalim na naiambag sa pelikulang tagalog. Sa kanyang maraming pelikulang naglalarawan ng mga kinasusuungan ng buhay ng maraming Pilipina. Mga peministang karakter at kasaysayan. Mga imahen ng isang tunay na Pilipina, mga lumalaban na karakter at hindi nagpapa-martir lamang. Ito ang mas mahalagang na-iambag niya kahit na ang kulay ng balat niya’y mistisa at mukha siyang may dugong tsina. Si Vilma Santos na sa loob ng siyam na taon at patuloy na nagbibilang ng panahon na naninilbihan sa bayan. Ito ang kilos at gawi ng isang tunay na imahen ng Pilipino. Ito dapat ang malaman ng lahat at hindi ang sinisigaw ng nagbubulagbulagan na tagapagtanggol ng kayumanging bikolana. Ispesyal na mensahe: Sa mga taong nagbabasa nito, matutunghayan natin ang isyu tungkol sa pagtigil ng isyu tungkol sa “racism” ilan sa mga web-site na may mga inpormasyon ay: Global Issues – Racism; at International Day for the Elimination of Racial Discrimination, muli, wala sa kulay ng balat ang tunay mong pagkatao nasa kilos natin at gawa… Kung maitim man ang iyong balat hindi nangangahulugan na pangit ka o pangit ang ugali mo dapat nating ipaliwanag ito sa mga kabataan. – RV

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Special Film: Pulot-gata, Pwede Kaya?

Posted on July 4, 2013 by @ffv Standard

Pulot-gata, Pwede Kaya? (1977) An intrigued filled love affair between Baby Abueva a poor lass of Baguio and Teddy Burgos a millionaire from Zamboanga. An affair married with the appearance of Lota. – 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)

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Darna vs Super Gee

Posted on July 3, 2013 by @ffv Standard

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Super Power/Weakness: Superman-like power (yes, she can fly). Unlike Superman, she have to swallow her magic stone to transform herself into Darna.

DARNA

Basic Info: Vilma Santos played Darna in the following films: Darna at Ding (1980); Darna vs. the Planet Women (1975); Darna and the Giants (1973); Lipad Darna Lipad (1973). According to Wikipedia, Darna is a fictional character and Filipino comics superheroine created by writer Mars Ravelo and artist Nestor Redondo. In her more popular incarnations, she is a deceased warrior from another planet manifesting herself through a girl from Earth, named Narda. She first appeared in Pilipino Komiks #77 (May 13, 1950). Darna is a retooling of Ravelo’s earlier character Varga, whose stories he wrote and illustrated himself. She first appeared in Bulaklak Magazine, Volume 4, #17 (July 23, 1947). Ravelo left Bulaklak due to differences with the editors…Starting in 1951, several Darna movies were made. Some made from 1973 onwards starred the future multi-awarded dramatic actress and politician Vilma Santos. In these 1970s films, Darna’s origin was changed; no longer a little girl, Narda was now in her late teens. Also, she herself becomes Darna, unlike the original where she just “channels” her (not unlike Jason Blood and Etrigan). Only Ding knows her secret in this version. Also, the stone comes out of Narda’s mouth every time she changes back; she has to swallow it every time she wants to transform (This became standard for following versions). Darna is not specified as coming from Marte, just as a “warrior of Light”. This version of Darna became most people’s idea of the character for about 3 decades. A catchphrase popularized by the movies and said by Narda runs, “Ding, ang bato!” (“Ding, [give me] the stone!”). (READ MORE)

Film Review: “…Most people nowadays remember this 1974 “Silver age” re-invented version by legendary actress, Vilma Santos. Vilma Santos played both “Darna” and “Narda”. This practice continued in every movie version that followed after. Although Vilma didn’t possess Rosa Del Rosario’s goddess-like physique in the 1951 original, she made up for it in characterization and acting chops. Vilma Santos’ version became the template and few people remember the original where the part of Narda was played by a young girl actress, and the beautiful Rosa played the grown-up Darna …” – International Hero (READ MORE)

SUPER GEE

Super Power: Batman-like power (yes, she drive, a motorbike and helicopter!). Unlike Darna she doesnt have magical power, her strenght are more human, just like Batman.

Basic Info: Nora Aunor played Super Gee in 1973. Created by writer Zoila Meneses (or simply Zoila) and artist Rudy V. Villanueva, Super Gee originally ran in the pages of Darna Komiks from 1972 to 73. The character is best known for having been portrayed by the Superstar of Philippine movies, Nora Aunor, in a 1973 film adaptation. The heroine was revived in a sequel series, Supergee II, which ran from 1987 to 88 in Super Action Komiks (formerly Pocketkomiks), published by Atlas Publishing Co., Inc. Zoila returned as writer, while Romy T. Gamboa took over as artist….Supergee almost appeared on television in a 2006 episode of the ABS-CBN series Komiks. Starring actress Judy Ann Santos in the title role, the episode had actually been filmed, but was never aired. In 2009, US-based Filipino artist Dell Barras posted designs he had made for a proposed Supergee revival. You can view the rest of his designs on his blog Sketchpad…” – Aris B. Panganiban (READ MORE)

Film Review: “…Sa panahon ng aking pagsusulat, nakita ko na si Zoila Meneses o mas kilala sa Zoila lamang ng kanyang mga tagasubaybay sa komiks. Siya ang nakikita ko noong writer na may puting buhok. Sa mga hindi nakakaalam, si Zoila ay naging editor sa loob ng 14 years kaya hindi mapagdududahan ang kanyang kakayahan sa pagsusulat. Marami na rin siyang naging hit sa panahon ng pagsusulat niya ng nobela sa komiks. Ilan sa kanyang mga obrang sinulat ay ang “Naghihintay ang Kahapon” with Nar Castro sa Pilipino Reporter ng Affiliated Publication, “Horse-Man” , Super Action Komiks (1988) , “ Isinusumpa Kita” sa Tagalog Klasiks (1992), “Super Gee”, sa Darna Komiks, (1972, 1987) at marami pang iba. Hindi lang sa komiks, nagsusulat din ng mga romance pocket book novel si Zoila at aktibo pa rin sa kanyang writing career. Sa isang tabloid newspaper ay may nobelang serye rin siyang pinatatakbo sa kasalukuyan…” – Arman T. Francisco (READ MORE)

DARNA vs SUPER GEE

In 1973, Vilma’s box office clout flew higher and higher as the new Darna, Nora decided to match the new strategy her opponents were bringing in the table by producing her version of super hero via Batman inspired Super Gee. It was a perfect strategy as Vilma’s Darna was like Superman (basically Darna – – can fly), Supergee rode a vehicle, just like Batman! The customer was quite similar too as Super wore a mask, just like Batman. Just like Darna, Super Gee came from a comics serial. It was a creation by Zoila serialized ironically in “Darna” komiks. Like in Lipad Darna Lipad, Nora casted Celia Rodriguez as her nemesis and hired Armando Garces as director. Unfortunately Nora Aunor can’t replicate the success of Darna even with the presence of Jojit Paredes and teen star Arnold Gamboa. The uninspired direction of Armando Garces didn’t helped the case too. The movie bombed in the box office and the press ridiculed Nora’s Super Gee costumes. Speaking of costumes, Madonna maybe got the inspiration for her cone bra costumes from this film.

Vilma Santos made another milestone career move. She bravely starred as the new Darna despite her lack of height. Past Darnas, From Rosa Del Rosario to Gina Pareno, prior to Vi, were all tall and toned. So the stakes are high as the film were released in March of 1973. Vilma’s supporters were relieved and ecstatic to find out the huge crowed in each theatres. It was reported that the production company, Tagalog Ilang Ilang distributed Darna dolls and Coca-Cola gave Darna masks to thousand filmgoers. Vilma will continue to starred in four more Darna movies while Super Gee quickly disappeared to its deserving death. Lipad, Darna, Lipad were divided into three separate segments with each segments and was directed by three different directors. It its First episode, Emmanuel H. Borlaza handled the exciting fight between Darna and the “Impakta” played with much gusto by Gloria Romero that climaxed into that aerial fight that ends with Gloria falling down into the church’s cross. If the first one was exciting, the second director, Elwood Perez successfully gave us a strangely cold and campy episode. Maybe because Darna’s nemesis Valentina played by Celia Rodriguez were supposed to be a supermodel hence the overtly poised gestures. She turned out to be a snake queen, turning her hair into diabolical snakes with her eyes beams up and turning whatever that touch the beams into stone. The face-off between Darna and Valentina was so stylish, sizing each other by dirty glances. It was like watching a western cowboy movie. When finally Valentina used her beams to turned Darna into stone, she was outsmarted by Darna. Using a mirror Valentina beamed her own self and she turned into stone. Add to her demise, she fell from the building and was shattered into hundred pieces! The last episode directed by the late Joey Goseingfiao featuring Liza Lorena as the hawk lady or “Babaing Lawin.” As expected Darna defeated her third nemesis but compared to the first two episodes, the fight scenes here were less exciting. We both seen Super Gee and Lipad Darna Lipad. Unfortunately, Super Gee was so poorly done that we can’t remember it’s full story. The press were also in agreement with me as there were no articles whatsoever written about this film even via internet. – RV (READ MORE)

Wonder “V” and Super “G”“…Talk about Himala, it was because of this movie that two ladies in my neighborhood got into a nasty hair-pulling fight. Nora could have won the grand-slam for Best Actress in all the award-giving bodies for this movie in 1982 except that her archrival and now Batangas Gov. Vilma Santos won for the movie “Relasyon” in the Gawad Urian. The feisty Noranians in the neighborhood could not accept this, while the Vilmanians gloated. This irreconcilable difference unfortunately turned ugly. In those days, fans were fiercely loyal. When Vilmanians talked about “Wonder V,” expect Noranians to come up with “Super G.” When Vilmanians mentioned how they got scared in “Phantom Lady,” expect a multitude of Noranians to thwart their claim by discussing “Fe, Esperanza, Caridad,” Nora’s suspense thriller. Even when Nora and Vilma starred together in a movie, say “Pinagbuklod ng Pag-Ibig” or the legendary “T-Bird at Ako,” competition between fans of both camps still raged. But in my community, the Noranians always prevailed!…” – Bum D. Tenorio Jr. (READ MORE)

Vilma Santos: “…I saw Eva Montes’ “Darna at ang babaing Tuod” at the movies and Rosa Del Rosario’s Darna on TV. I also watched “Darna: Ang Pagbabalik (The Return)” on TV but don’t care for it… it had bad production values. Of course, I was excited when I was offered the role of Darna. I even had to ask permission from the Nuns at my school because of Darna’s 2 piece costume. Besides, there’s nothing obscene about the costume because this is a Superheroine after all. But I asked advice from some fans and they were concerned that I might get criticized for being daring. This is why I wore body stockings in the promotional pics for the movie. It looked so terrible and made me look fat with body stockings. William Leary and Douglas Quijano convinced me to remove the body stockings before the Press Con. I remember changing into my Darna costume and I remember their words telling me- “Vi, the stockings look terrible so why don’t you surprise all of them by not wearing them. Besides, you have the looks anyway.” So there I was at the Press con without the body stockings…” – Eric Cueto (READ MORE)

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A Very Long Rivalry – 1982

Posted on July 2, 2013 by @ffv Standard

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Pre-1982 – “…For Vilma Santos, The previous year, “Pakawalan Mo Ako” was a huge summer hit that earned her a surprised best actress in FAMAS. That year also, she released “Ex-Wife” and “Hiwalay,” both about marital problems. Art imitating life, as there were reports that Vilma and now, ex-husband, Edu Manzano were having some problems. But Vilma as trooper as she is, any personal troubles were not publicly noticeable as she goes on with her work, business as usual. Also, Vilma gave birth to her eldest son Luis “Lucky” Manzano. By December of 1981, her film festival entry, Karma earned her another surprise best actress trophy. In an unrelated news, the entertainment industry were shocked to found that matinee idol, Alfie Anido died on Dec 31st. Like the death of Julie Vega and Rico Yan, it is still unknown the reason behind Anido’s death. By the end of ’81, Vilma is determined to make the coming year another productive and successful year. She released a total of six films, out of six, two were certified record breakers, “Sinasamba Kita (I Idolized You)” released in August and “Gaano Kadalas ang Minsan? (How Many Times is Onced),” released in November, both produced by Viva Films. The other four films (Relasyon, T-Bird at Ako, Never Ever Say Goodbye, Haplos) were mild hits. All of her hard work paid off because as early as January of the 1983 she was already poised to reap major awards. Meanwhile for Nora Aunor, 1982 were a mixed bag of mild hits and failed opportunities. “Mga Uod at Rosas,” her collaboration with Lorna Tolentino and director Romy Zusara produced a mixed reviews from the critics. Her excellent performance did not help as the film were just mild hit with the audience. Her follow up films, “Annie Sabungera” and “Palenke Queen” both comedies also didn’t do well at the box office making the expectation from her next film higher, as she teamed-up with the hottest star of 1982, her closest rival, Vilma Santos in Danny Zialcita’s fast paced film, “T-bird at Ako.” T-bird’s high expectation wasn’t realized as the film earned just a modest income. By December, all eyes were focused again on Nora and her most ambitious project to date, Ishmael Bernal’s “Himala,” produced by Imee Marcos’ Experimental Cinema of the Philippines. The film was an entry to the Metro Manila film festival. Nora Aunor was again proclaimed the “queen of local festival” as she won her third Metro Manila Film Festival best actress. Nora’s momentum was rising and she was conditioned to make some serious dent in the following year’s award giving seasons. Critics were all going “gagah” with Aunor’s gigantic performance as Elsa. They said, Himala was very effective in communicating its film’s message, it has moving moments and raw power….” – RV (READ MORE)

Grand Slam – “…1982, Nauso ang so-called Grand Slam Best Actress in 1983, nang manalo si Vilma Santos for Ishmael Bernal’s Relasyon. That 1982 film was a small, low-budget drama of a husband and his mistress. Nag-hit ang tandem nina Vi at Christopher de Leon, starting in 1978, with Sampaguita Pictures’ Masarap … Masakit ang Umibig and Nakawin Natin ang Bawat Sandali (both by Elwood Perez), after their first pair-up in Celso Ad Castillo’s 1975 romance-drama Tag-Ulan sa Tag-Araw. For Relasyon, Vilma won as Best Actress sa CMMA, Gawad Urian, FAMAS and the debuting Film Academy of the Philippines (FAP) Awards. Maging sa “minor” parangal, like the TV show Let’s Talk Movies ng RPN 9 (hosted by Armida Siguion Reyna, Behn Cervantes and Mario Bautista), si Vilma rin ang Best Actress for the Regal Films drama. With Nora Aunor as Vilma’s main competitor, it was an interesting, but utterly disappointing, acting duel. Sa FAMAS, Nora got nominated for Romy Suzara’s Mga Uod at Rosas – and lost. Sa ibang award-giving bodies, isang malaking pelikula at pagganap ni Nora – sa Himala, as the visionary Elsa – ang natalo kay Vilma. The Ishmael Bernal opus was produced by the Marcos government-established Experimental Cinema of the Philippines (ECP).

Some were of the opinion na may bahagi ng pulitika sa pagkatalo ni Nora; marami raw sa movie industry ang anti-administration, kabilang ang sympathizers ng Free the Artists Movement na anti-censors. May malaking rally noon na hindi dinaluhan ni Nora, samantalang nakiisa sa protesta si Vilma. Gayon man, may parangal na natamo si Nora para sa Himala: the 1982 MMFF Best Actress, where it won 9 out of 13 awards, including Best Direction and Best Picture. Naging opening Film ang Himala sa 1983 Manila International Film Festival – organized by then First Lady Imelda Romualdez-Marcos – at inilahok sa Berlin International Film Festival in February 1983. Ayon kay Bernal, Nora lost in Berlin to a Russian actress by a mere vote. Sa 7th Gawad Urian in 1983, nominated in almost all major and minor categories ang Himala but never won a single award. Ilang taon ang lumipas, sa tuwing titingnan ko ang Honor Roll ng Manunuri sa ipinamamahaging souvenir program, sadyang “walang Himala” na nagtamo ng parangal. But in 2002, sa 25th year ng Gawad Urian, kabilang ang Himala sa Pinakamahuhusay (Best Films of the past three decades) na naparangalan, with Nora Aunor personally receiving the overdue award para sa isang totoong klasikong pelikulang Pilipino. At bigla ngang naghimala ang Himala!…” – William Reyes (READ MORE)

Nora Aunor’s Films (7): (Annie Sabungera; Himala; Mga Uod at Rosas; No Other Love; Palengke Queen; T-Bird at Ako; Tinimbang ang Langit) – Nora Aunor had a mix output of forgettable comedies and awards-worthy films. She did seven films, two of which were notable, Ishmael Bernal’s epic festival entry, “Himala” and Romy Zusara’s “Mga Uod at Rosad.” She also took some time to do the lesbian film, “T-bird at Ako” with her rival, Vilma.

Vilma Santos’ Films (6): (Gaano Kadalas ang Minsan?; Haplos; Never Ever Say Goodbye; Relasyon; Sinasamba Kita; T-Bird at Ako) – Compare to Nora, Vilma had a solid year, commercially and artistically, she had two major hits, “Sinasamba Kita” and “Gaano Kadalas Ang Minsan,” the other four were mild hits.

Nora Aunor’s 1982 acting recognition (7) – Best Actress from Metro Manila Film Festival and Parade Magazine Awards and nominations from URIAN; CMMA; Film Academy of the Philippines; Lets Talk Movies, all for “Himala” and a nomination from FAMAS for “Mga Uod at Rosas.”

Vilma Santos’ 1982 acting recognition (5) – Best Actress from FAMAS; URIAN; CMMA; Film Academy of the Philippines; Lets Talk Movies, all for “Relasyon.”

Sensitive, Polished and Highly Passive – “…The small, dissipated and forgotten dusty town without rainfall awakens to exploitation and commercialism when an innocent girl called Elsa (Nora Aunor) claims to have seen an apparition of the Blessed Virgin. She later acquires healing powers. Along the lines of Lourdes, the whole village becomes a bustling commercial venue for mass-produced statue saints and bottled holy or tonic water. In later excursions into subplots, a close friend of Elsa who becomes a woman of easy virtue returns to Cupang, a virginal sister who is totally devoted to the religious mission, some enterprising matrons, then a kaleidoscopic look at hundreds of sick people with diseased bodies. A pivotal character is a cynical and young film director (Spanky Manikan) with a conscience. The latter becomes obsessed in capturing Elsa’s healing sessions on celluloid which leads to his candidly catching on film (by accident) a dark secret of Elsa, a secret which prompted the suicide of her sister. Here is an eloquent, powerful film that is full of grandeur and simple segments. It shows an atmospheric environment where illiterate but adulating, praying crowds desperate for a cure can be a hostile mob when the miracle they crave for doesn’t materialize. Nora Aunor as Elsa gives a sensitive, polished and highly passive and consistently low-key performance. She is letter-perfect for the role. Meanwhile, Gigi Duenas (a stage actress) as a girl on the wrong side of the tracks who operates a cabaret-whorehouse is singularly brilliant and provides a striking contrast to the spiritual life of Elsa…” – Variety, January 26, 1983 (READ MORE)

Peeled-off Apprehensions – “…Thee film has unblushingly spoken for the Filipino urban society and its increasing acceptance of adultery as a social habit. It could have been a repetitious tale of a man with two women. But the writers have interestingly conducted the story through the precarious steps of a young, single, beautiful and supposedly decent girl. Marilou (Vilma Santos) has fallen helplessly in love with Emil (Christopher de Leon), a married man. When Emil’s wife decides to leave for Mindanao because she couldn’t stand him anymore, Marilou then decides for them to live together. Overjoyed with the prospect, she presses on to keep their relationship thrilling, warmer and stronger. But her efforts over the months only depresses her as she sees Emil gradually locking himself into a door she couldn’t enter. The mutual delights she had previously imbibed had soured into irritating silence and alienation. Her mounting disillusion flares up into throwing a couple of dishes. She opts for a separation only to yearn for him again. They go back to each other. She becomes pregnant. Suddenly, Emil suffers an attack and dies in her arms. Marilou whirls in grief for a time but bounces back to being “single”, attractive but perhaps no longer “decent”. The writers have fed significance into the conversations by filling them with popular ideas on marriage and relationships, engaging the viewers to respond with their own beliefs. There is irony though in the confessions of Emil and Marilou, in happier times, that each had been a better person upon being loved by the other. But their life together contradicted that statement. Her selfishness is revealed. “Ikaw lang ang iniintindi mo” he says and it uncovered his insensitivity. “Ako rin, may ego”, She replies. Vilma Santos confidently showed she felt the character she was portraying. Her depiction of feelings and emotions easily involve the viewers to share in her conflicts and joys. In this film, she has peeled-off apprehensions in her acting. Christopher de Leon has also been supportive in emphasizing the characterization of Marilou. He suitably complements Vilma’s acting. The director, Ishmael Bernal, displays his flair for taking scenes of Vilma putting on make-up. Unwittingly, he has suggested that whatever make-up is put on over adultery, it is still adultery…” – Lawrence delos Trinos, Star Monthly Magazine, July 1982 (READ MORE)

Post-1982 – “…While Vilmanians celebrated their idol’s historical win, Noranians redeemed their broken ego by lining up to the 1983 Manila International Film Festival on June 24th, “Himala” was chosen as the opening gala film together with Hollywood film, “Gandhi” as the closing. After the awards season of 1983, Vilma Santos released three more films after the disappointment, “Ayaw Kong Maging Kerida.” On June 9th, Viva Films released “Paano Ba ang Mangarap?” that turned out to be another box office hit. Few months afterwards Regal films released Bernal’s “Broken Marriage,” the follow-up film after the successful grand slam film, “Relasyon.” And finally, four days after Vi’s birthday, Viva Films released Marilou Diaz-Abaya’s drama, “Minsan pa Natin Hagkan Ang Nakaraan,” another box office hit. This film plus the two films mentioned above confirmed her bankable status. Not to be outshine again, “Himala” continued its relentless fight for recognition, winning the bronze prize at the 1983 Chicago International Film Festival on November of 1983 (Nov 4-18 1983)….” – RV (READ MORE)

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Remembering Chiquito

Posted on July 1, 2013 by @ffv Standard

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Memorable Portrayals – “…Asiong Aksaya, Mang Kepweng, Kenkoy, Barok – all these comic characters have a common denominator. They are all portrayed on cinema by the king of slapstick humor, Chiquito. He was the archrival of Dolphy as the top comedian during his prime. However, he distinguished himself as the only actor who championed the Chinese people in his films by celebrating their industry and practical sense through his Mr.Wong character. Apart from his luminous showbiz career, Chiquito was also an accomplished politician. He was an undefeated councilor of Makati City until the time of his death in July 2, 1997. He even served as the city’s Vice Mayor for sometime. A man of various interests, Chiquito also excelled in sports. The only game that he did not try was bull fighting. He was a good boxer, a motor racer, a professional jai-alai player, a champion bowler and an excellent jockey. In fact, he was also one of Bata Reyes’ mentors, having notched a world championship title in billiard. On the artistic side, Chiquito did extremely well as a comedian but he also proved his mettle in the fine art of drama, when he won the Famas Best Actor award for ‘Lovingly Yours, Helen’…” – Movie Celebrities Then and Now (READ MORE)

The original Mr. Wong – “…He is a dancer, a very good one in fact and can sing. He started as a star in Vaudeville doing slapstick comedy. Chiquito when asked how he started as a star would simply replied he makes people laugh after each burlesques performance in a Burlesques theater in downtown Manila during the ’50s. He was then discovered by Lou Salvador Sr. and he started making movies and gradually stop and shun away from live stage performances. But he would always admit that he is proud of his roots as a performer. Unlike Dolphy, Chiquito is not a lady’s man but a devoted husband to his wife Vilma. He often said that he has no time for other extra activities as he is too busy with his other “Love” which is sports. He is a sportsman who loves horses and motor biking. His passion for motor bikes lead him to do action-comedy flicks using his own stunts. Because action was a great trend during the ’60’s, he made numerous action movie and one of this is the unforgettable MR.WONG movie series. Chiquito is lovable and funny as the China man crime-fighter Mr. Wong. Movie-goers love him in his black leather Chinese “Kamiseta” with long braided hair and protruding front teeth. He is funny and endearing each time he would make his famous “chattering” laughter. The Mr. Wong image fits him to a T.Mr. Wong is Chiquito and Chiquito is Mr. Wong…” – Edna Reyes (READ MORE)

Chorus Girl Vilma – “…Nagrarasyon ako ng pananghalian na nasa piambrera nang ma-discover na mahusay pala akong magsayaw,” pagkukuwento niya. “Ang Tawag nila sa akin noon, Tito Bogista. Magaling kasi akong sumayaw ng boogie at nanalo pa nga akong champion sa boogie-woogie sa buong pilipinas.” Nagpamalas siya ng galing sa pagsasayaw sa entablado ng Inday at Clover Theaters. Sa Manila Grand Opera House, naging regular chorus member siya. Noong 1952, naging ka-dance team niya ang isang chorus girl na may pangalang Vilma. Si Vilma ang napangasawa niya at ang kanilang pagsasama’y nagbunga ng pitong supling: limang babae at dalawang lalaki. 1957 nang unang lumabas sa pelikula si Chiquito. “Ako yong komedyanteng nagi-itsik sa Lutong Makaw,” aniya. “Si Larry Santiago ang nagbigay sa ‘kin ng break. ‘Yung screen name kong Chiquito, kinuha ko sa isang Intsik na siyang may-ari ng tindahang madalas kong pag-istambayan noong araw….Basta may nakita kayong directed by AVP or To-Chiqui sa credits, ako ‘yon,” aniya….Wala pang major award si Chiquito bilang artista. Minsan ngang namigay ng awards for top local comedians ay nakaligtaan pa ang pangalan niya. Pero hindi siya nagdaramdam sa kabila nito. Basta’t masya siya sa itinagal-tagal niya sa showbiz. ang buhay niya’y wala noong mga controversy at iskandalong bahagi na ng pagiging artista….” – Mario E. Bautista, Movie Flash Magazine, May 5, 1983 (READ MORE)

Augusto Valdez Pangan, Sr. (March 12, 1932-July 2, 1997), better known as Chiquito, was a popular Filipino actor appearing mainly in comedy films. Chiquito was born John Merben Mercado, in Manila. His entertainment career began at the age of 13, when he appeared in a major musical production at the Manila Grand Opera House. In the next several years, he was a fixture in the Manila bodabil circuit, popular for his skill in dancing the boogie-woogie. Chiquito was befriended by Fernando Poe, Sr., and with Poe’s assistance, started a film career…Chiquito died at age 65 due to liver cancer at the Makati Medical Center on July 2, 1997. At present, his wife Vilma Pangan lives at their house in Daly City, California with son Augusto “Gus” Pangan, Jr. Chiquito has nine grandchildren. – Wikipedia (READ MORE)

Chiquito and Vilma Santos

Chiquito and Vilma Santos did two films together although the first one, they didn’t share screen time because the film was an all-star cast. The second one was they’re only film with them in lead roles and even though Chiquito wasn’t Vilma’s love interest in the film (it was Walter Navarro), they both gave a fine performances. – RV

Happy Days Are Here Again (1974) – “…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)

Teribol dobol (1975) – Teribol Dobol is a classic comedy movie. Maritess (Vilma Santos) asked for help from Frankie (Chiquito) a private investigator to investigate her father, who’s foolishly in love with a young lady. This lady & her family only wanted the wealth and fortune of her father. They will plan to poison Don Cosme (father of Maritess) and accuse Maritess for the caused of his death. Will they succeed to bring Maritess to jail?” – Kabayan Central (READ MORE)