OPM Jukebox Hits – Original Artists

Posted on February 26, 2013 by @ffv Standard

Songs – Artists

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

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

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Eddie Garcia’s Vilma Santos Films

Posted on February 25, 2013 by @ffv Standard

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204 films, 70 directors, 5 decades, Vilma Santos, one of the original Philippine movie queens, rose up to become the versatile actress that has been given the fitting title of “Star for All Seasons” because of her capacity to adapt to the changing mores and values of the Filipino woman, giving a face to their plight and struggles, albeit in success both critically and box-office wise in some of Philippine cinema’s classics such as Trudis Liit (1963), Lipad, Darna, Lipad (1973), Burlesk Queen (1977), Relasyon (1982), Sister Stella L. (1984), Alyas Baby Tsina (1984), Pahiram ng Isang Umaga (1989), Dahil Mahal Kita: The Dolzura Cortez Story (1993), Anak (2000) and Dekada ’70 (2002). This are top ten directors who contributed to her success. – RV (READ MORE)

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

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

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

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

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

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

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

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

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Higit Ngayon Ang Responsibilities ni Vi

Posted on February 24, 2013 by @ffv Standard

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

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

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

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Laurice Guillen’s Vilma Santos Films

Posted on February 23, 2013 by @ffv Standard

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

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

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

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

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

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Aktres: Pelikula at Lipunan 2006

Posted on February 22, 2013 by @ffv Standard

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

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

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

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Luis Enriguez’ Vilma Santos Films

Posted on February 21, 2013 by @ffv Standard

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

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

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

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

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

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

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

Ex-Wife (1981) – “…In 1980, Ate Vi married budding actor Edu Manzano in Las Vegas, USA, while shooting the film, “Romansa.” She was pregnant with Lucky (now called Luis) when she did “Pakawalan Mo Ako” in 1981, for which she won her second FAMAS best actress award. In 1984, her marriage to Edu ended in separation, and she did movies that mirrored her real-life affairs, “Hiwalay” and “Ex-Wife,” both big hits…” – Mario Bautista (READ MORE)

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

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Money and Vilma Santos

Posted on February 20, 2013 by @ffv Standard

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

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

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

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

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Elwood Perez’ Vilma Santos Films

Posted on February 19, 2013 by @ffv Standard

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

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

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

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

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

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

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

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

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

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Special Film: Pinay American Style

Posted on February 18, 2013 by @ffv Standard

“…PX, short for Paula Xavier (Vilma Santos) was an illegal alien in New York City. She’s broke and waiting for fiancé, Cocoy laurel to fulfill his promise of marriage despite the fact that Cocoy has already married an American to secure a green card. Hiding from the authorities, PX met two men who are willing to take care of her but conflicts arise as the two wanted to maintain a serious relationship with her. Played wonderfully by Christopher Deleon and Bembol Roco, the film resolved the love quadrangle between ex-fiancé, Cocoy Laurel and the two brothers when the jealous Cocoy reported Vilma to the immigration authorities. PX was deported back to the Philippines. But the films didn’t end in a sour note, PX found herself reunited with Christopher Deleon when the later followed her in the Philippines…” – RV (READ MORE)

“…Pinay, American Style (1979) carries such attributes. Shot entirely in America, it depicts the plight of some Filipinos living there – Filipinos who are obsessed with amassing fortunres and landing high-paying jobs and enjoying the dolce vita in the muchballyhooed “land of the brave and home of the free” and the “land of the mighty dollar.” Compared to foreign movies with explicit sex scenes, Pinay… would not even deserve the “For Adults Only” tag or an “X-rated” classification, according to Elwood. Basically, the movie is a relfection of the typical plight of Filipinos living abroad. It is a plight that runs counter to the optimism and false hopes entertained by potential Filipino immigrants. Arriving in the U.S. as tourists, some Filipinos would choose to stay behind in their search for “greener pastures.” Having done so, they have to play hide-and-seek with immigration authorities, accept odd jobs to survive in the asphalt jungle, get married to ward off deportation, and similar evasive maneuvers. These same incidents are what the cast – Vilma Santos, Christopher de Leon, Bembol Roco and Victor “Cocoy” Laurel – portray in Pinay. Pinay is Elwood’s second movie shot abroad after Lollipops…” – Manny B. Fernandez, Expressweek, July 12, 1979 (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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Special Film: Mahinhin vs. mahinhin (1981)

Posted on February 16, 2013 by @ffv Standard

Mahinhin vs. mahinhin (1981) is a movie directed by Danny L. Zialcita. It was a continuation of the film Si Maganda at Si Mahinhin which was produced in 1980. Produced by Sine Silangan Productions in 1981, the movie featured the late Dindo Fernando, Ronaldo Valdez, Adul de Leon, and Elizabeth Oropesa. The young Carmi Martin and Edu Manzano were also part of the movie. The story revolved around the life of Billy de Gracia (Dindo Fernando), a homosexual who tried to live as a man by marrying Juana (Elizabeth Oropesa). Billy’s life turned upside down as he met Archie (Edu Manzano), boyfriend of Peter Frias (Ronaldo Valdez). Peter, unlike Billy, was a multi-millionaire homosexual. Billy pretended to be woman when he tried to offer Archie some money. When Peter learned about that, he and Billy agreed to share Archie with each other. The following scenes showed how Peter and Billy rivaled for Archie’s attention. – Wikipilipinas (READ MORE)

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