Vilma Santos-Recto is a popular multi-awarded actress and politician in the Republic of the Philippines. *** She is known as "Queen of Philippine Movies," "Queenstar," "Grand Slam Queen," "Box Office Queen," and "Star for All Seasons." *** This website is mostly about her iconic film career.
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)
Roño gave Vilma Santos her first international recognition winning the best actress in 1999 Brussels International Festival of Independent Films. At the same time, he was recognized as the festival’s Best Director both for Bata Bata Paano Ka Ginawa. The film also gave Vilma Santos her third grand slam winning all the best actress awards from several local award giving bodies. In 2003, Vilma received another international recognition, this time from Cinemanila International Film Festival winning the Best Actress for Dekada 70. The film was screened in international film festival circuit and was the official entry of the Philippines in the 76th Academy Awards (OSCAR) for the best foreign language film category. – RV (READ MORE)
Ikaw lang (1993) – “…That year, dalawang movies ang nagawa ni Ate Vi. Ang isa pa ang ang action-dramang Ikaw Lang ni Chito Roño, na in fairness ay mahusay rin siya sa papel ng battered wife ng baliw na si Cesar Montano an naging bank robber kasama si Ronnie Ricketts…” – Mario E. Bautista (READ MORE)
Bata, Bata…Paano Ka Ginawa? (1998) – “Lea Bustamante is torn between two men who are threatening to take her two children away. Lea suddenly begins to doubt her worth as a mother and as a woman, and is forced to confront her needs which the men in her life have never fulfilled. Still, Lea fights to keep her children, to keep her dignity, and to do what is right in a world where everyone accuses her of being wrong.” – BIFF (READ MORE)
Dekada 70 (2002) – “In Chito S. Roño’s superb “Dekada ’70,” a family in the Marcos-era Philippines has a domineering father and five sons, but it is the mother (Vilma Santos) who provides the mental stamina. She fights for her family in ways the father can’t even dream of. “To give birth to these children isn’t enough,” she says. “You have to defend them, protect them.” That’s the ’70s. In 30 years, that kind of woman will deal with difficult questions of divorce and motherhood, one in which women want freedom, yet must be willing to share blame when something goes wrong. The young woman who leaves her husband and thinks about aborting her pregnancy in South Korean filmmaker Gina Kim’s “Invisible Light” is an experimental example. Moon’s great performance in “A Good Lawyer’s Wife” almost makes you believe wrong is right, and, taken with her much-lauded portrayal of a girl with cerebral palsy in “Oasis,” reveals her as one of the world’s best actresses. Hollywood, take note.” – G. Allen Johnson (READ MORE)
The Healing (2012) – “…Pero ang nakakatakot sa pelikula, yun palang tatay ni Vilma, kinukuha niya ang ‘life force’ ng lahat ng mga magiging pasyente nung healer”, dagdag na kuwento pa ni Mama maribel. “Kaya siya nabubuhay, kinukuha naman pala niya ang buhay o energy life force ng ibang mga tao, at yun ang mga magiging susunod na mga pasyente nung faith healer! Shocking, di ba? Naku, sorpresa ang role ko dito, ikatatakot ng lahat. At si Ate Vi, ngayon lang muli kami magkakasama sa isang pelikula. The last movie we made was Alyas Baby tsina during the late ’80′s pa yun!” At kilala naman ng lahat kung gaano kagaling si direk Chito Rono sa paggawa ng mga horror films, no? Isa sa paboritong horror film namin na ginawa ni direk Chtio ay yung remake ng clasic film na “Patayin Sa Sindak Si Barbara!” kung saan si Dawn Zulueta ang naging bida…” – Robert Manuguid Silverio (READ MORE)
Chito S. Roño, also known as Sixto Kayko, is an acclaimed Filipino writer, film producer and film director known for his expansive vision and special-effects-heavy films, most notably Yamashita: The Tiger’s Treasure (2001) for which he won the Metro Manila Film Festival for best director. He is also known for his 1997 film Nasaan ang Puso which earned him his first MMFF for best director. – Wikipedia (READ MORE)
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)
Zialcita’s first movie with Vilma was the 1980 festival entry, a drama about bigamy, Langis at Tubig. The following year, Zialcita and Santos joined forces again in another festival entry, Karma. The film earned Vilma her second Metro Manila Film Festival Best Actress. The following year, Ziacita’s Gaano Kadalas Ang Minsan broke box office record, Earned P7.3 million during its first day of showing in Metro Manila and assured Vilma Santos the box office queen of 1982. – RV (READ MORE)
Langis at Tubig (1980) – “…Muli, binigyan ng magagandang linya si Vilma Santos mula sa umpisa kung saan kinompronta niya ang manloloko niyang ka-live in at sinabing: “namputsa naman nahuli ka na ayaw mo pang aminin” at sa bandang huli nang intindihin niya ang asawa at handing magparaya, sinabi niya “…handa akong magparaya, kung gusto niya isang lingo sa kanya, isang lingo sa akin…” Pero halatang ang pelikulang ito ay pelikula ni Dindo Fernando. Deserving si Dindo sa kanyang pagkapanalo sa Famas bilang pinakamahusay na actor bagamat nang taong ito’y mahusay rin si Christopher Deleon sa Aguila at Taga ng Panahon at Jay Ilagan sa Brutal. Tahimik lang ang pag-arte niya’t makikita ang kanyang intensity sa kanyang eksena kung saan nagtapat na siya sa asawang si Cory tungkol sa kanyang kaso. Mahusay rin siya nang hinarap niya si Pilar at sabihin niyang, “mahal ko kayong dalawa.” Maganda ang location ng pelikula. Makikita ang mga ordinaryong tanawin ng Albay sa Bicol at ang mga ordinaryong manggagawa rito mula sa mga nagtatanim ng palay hanggang sa mga nagtitinda ng mga paninda sa palengke ng bayan. Sa kabila ng ordinaryong istorya ng Langis At Tubig, ang mahusay na direksyon at mahusay na pagkakaganap ng mga artista rito’y nangibabaw ang tunay na karapatan nitong panoorin muli ng mga mahihilig sa pelikulang Pilipino. Sayang nga lang at hindi na gumagawa ng pelikula ang ang gumawa ng obrang ito.” – RV (READ MORE)
Karma (1981) – “…The movie boasted of several bold scenes. Those involving Vilma weren’t much as we know for a fact that Vilma could show only so much. One scene showing Chanda was a different story. It showed her with absolutely nothing on, yet it didn’t offend anybody as it was executed in style, shot with great care. There was just one thing, which looked unnatural to me – the way in which one of the main characters killed himself. “That’s all right,” Danny assured me. “Before we shot it, we double-checked its possibility.” Reincarnation and transference are undoubtedly mind-boggling subjects but, to his utmost credit, Danny managed to present them simply, bringing them down for everybody to understand. “Bala lang yan. Katawan lang ito. Babalik at babalik kami sa mundong ito,” Dante vowed. Come back they did as they promised building the foundation of the story…” – Bob Castillo (READ MORE)
Gaano Kadalas ang Minsan? (1982) – Gaano Kadalas ang Minsan? (1982) – “Gaano kadalas ang Minsan” Grossed 7.3 Million in its few days run in Metro Manila in 1982 outgrossing “Sinasamba Kita” for Philippine movies’ all-time box office tally. With inflation and currency rate in consideration that will be around 95 million. But that’s not the only exciting thing about these film. It was the only film that Vilma Santos and Hilda Koronel did together and when Hilda was still at her peak of her illustrious career. Ofcourse, Ate Vi’s career remained as hot as ever, still able to carry a film while Koronel now accepts supporting roles. It was obvious that when both star did Gaano, Hilda was more glamourous than Vilma but looking at the two right now, Vilma maintained that slim, youthful look while Hilda struggled and visibly gained so much weight she can be mistaken as Ate Vi’s aunt or mother (As of 2012, Hilda shed that pounds and now back to her glamourous looks!)! After Gaano, Hilda did a few more leading roles under Viva Films even co-starred with Nora Aunor but didn’t get the same results as Gaano. Like what William Leary says, “mahirap matalbugan si Vilma, Vilma is Vilma in any seasons and whatever movie!” – RV (READ MORE)
T-bird at Ako (1982) – “…For him, every dialogue is a song,” says Mark. “May intro, may refrain. You don’t go to the refrain right away.” Consider this confrontation scene between Vilma Santos and Nora Aunor in T-bird at Ako. Nora’s character, a lawyer, has just expressed her romantic intentions to Vilma, a nightclub dancer, who responds to the proposition, quietly, with “Nandidiri ako.” Nora: Bakit, sino ka ba? Ano bang pinagmamalaki mo? Katawan lang yan ah, sa’n ba galing yan? Sa putik! Vilma: Putik nga ako pero kahit ganito ‘ko nagsisimba ako kahit papa’no. At ang sabi ng nasa itaas ang sala sa lamig, sala sa init, iniluluwa ng langit, isinusuka ng Diyos! Which takes us back to Mark’s statement. First, you have to be a competent actor to come to work without a script. Danny is famous for not doing scripts, only rough storylines and sequence guides that get revised easily on the set when a new idea strikes him. “I don’t want them coming to the set with a planned line, a planned movement. So that they can surpass their own,” says Danny. Second, you have to be an intelligent actor to deliver lines like the ones above, to convince the audience that the character is capable of churning out knockout philosophical punches at the tip of a hat—which, incidentally, people wore in Zialcita films. …” – Jerome Gomez (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)
She has won 33 major acting awards, the highest output for any woman thespian in these parts. “Vi did it with the single-mindedness of a homing pigeon,” said Laurice Guillen, director of Dahil Mahal Kita: The Dolzura Cortez Story, which ran away with the lion’s share of the major awards in this year’s Manila Film Festival including, among others, the trophies for Best Picture, Best Actress, Best Actor and Best Director. Laurice, of course, was referring to Vilma Santos, who won the 1993 Manila Filmfest Best Actress plum for reastically portraying a PWA (person with AIDS). “Vi was determined to portray Dolzura Cortez – warts and all – no matter what,” Guillen stressed. “Walang pa-charming. An ectopic pregnancy and a bout with diarrhea only temporarily derailed her train but she reached her destination, and she got a statuette in the process.” When she received her trophy during the glittering awards rites held at the Manila Midtown Hotel last June 25, Vi raised her statuette and declared in Pilipino: “I gave it all I had. To Dolly (nickname of the PWA she portrayed), wherever you are, this is for you.”
Dolly herself (who died shortly after investigative reporter Ceres Doyo wrote the series about her (Dolly’s) life and times in the Philippine Daily Inquirer) had expressed the wish that Vilma portray her in a movie dramatizing her experience as a PWA. People behind the project hope the movie will raise public awareness about Acquired Immune Deficiency Syndrome (AIDS) and how to prevent it. There are an estimated 35,000 people with HIV (human immune-deficiency virus) that caused AIDS in the Philippines although Health Secretary Juan Flavier believes the number is actually higher. Vilma’s triumph in this year’s filmfest was par for the course. In three decades in showbiz, Ate Vi, as the Vilmanians (loyal Santos fans) love to call her, has won 33 major acting awards (the highest output for any woman thespian hereabouts) and has appeared in about 120 movies. “It took us 25 shooting days to wrap up the movie,” Guillen continued. “It would have taken us longer if Vi had not been as dedicated to her work because she was practically in every scene and her stick-to-itiveness helped us a lot because, whenever she was on camera, there was no goldbricking. It was work, work, work for Vi and, although I could say the same thing for the rest of the cast, Vi really set the pace for the others to follow.”
In her thank-you speech at the awards ceremony, Vi acknowledged the fact that “I would have been helpless without Tita Laurice, Tita Chato (Charito Solis, who played Vi’s mother), Boyet (Christopher de Leon) and other members of the cast and crew.” As usual, Vi was generous in her acknowledgments and ever her husband, Batangas Representative Ralph Recto, “above all”, got his share of the kudos. Even the jurors of whom I was one, were impressed by her acting. “She would win in any festival with this kind of performance,” says Gina Alajar, herself a Metro Manila Film Festival Best Actress awardee earlier this year, who pinchhit for Rudy Fernandez as juror. “What I like about her performance,” juror Josefino Cenizal, veteran composer and musical director, chimed in, “is that she never overacted in many scenes where less experienced thespians would have. She gives the impression that she’s not acting but just going through the scenes as if she’s a natural part of the scenery.” There’s only one actress I’ve seen in action who seems not to be aware of any camera (just like Vi) and that’s Julie Christie, the British actress, who did a movie scene in front of several journalists from all parts of the globe, including this writer, in a London pub in the 1960s.
I have to confess that this article is a bit partial to Vilma Santos because I’ve been a Vilmanian from Day One. I remember the first time I saw Vi was in 1962 when Dr. Jose “Pinggot” Perez, Sampaguita Pictures executive, invited me to watch the filming of a movie called Trudis Liit. It was a nine year-old Vilma Santos who played the title role and she was so good, Doc Perez raved: “May kinabukasan ang batang ito (this child has a bright future).” Vi still remembers the reporter “who asked me silly questions like what’s my favorite dish, etcetera”. It was the beginning of a lifetime friendship and during those intervening 31 years, I’ve seen Vi blossom from a shy but hoydenish teenager, to the Vilma Santos of today, a confident woman of 39 “na maraming karanasan sa buhay (her own words)” pero sweet na sweet pa rin like the Vi of old. Some of those experiences would have driven an ordinary woman to perdition but not Vi, who says quietly: “A woman should grow wiser through the years.” Vi had the best teachers in the field of love. During the late ‘60s and early ‘70s, her “puppy love” was Edgar Mortiz which gave birth to the Edgar-Vilma loveteam, the only noteworthy rival of the Pip (Tirso Cruz III)-Guy (Nora Aunor) tandem. Her subsequent romance with Romeo Henares, son of former Inquirer columnist Larry Henares, nearly ended at the altar. “But I was not ready to make a lifetime commitment,” she disclosed. “Commitment” is one of Vi’s favorite words.
And then came Romeo Vasquez. It was during her relationship with Romeo in the mid-70s that what’s not known as the Betamax scandal came about. There was this lurid chismis that Bobby (Romeo’s nickname) and Vi had been captured on Betamax tape while rolling in the hay. I personally investigated this rumor and discovered it was just that -a rumor. I remember the many times that Vi and Bobby guested in my Seeing Stars TV show on Channel 13 where they sang as duet their theme song: Pag-ibig Ko Sa Iyo Lang Ibibigay. After her breakup with Romeo, I used to tease Vi by singing the opening lines of that ditty, and she would squirm and say, “Ayaw ko na, Tito Joe.” Recently, when Marra PL. Lanot and I interviewed Vi at a local recording shop, I sang the opening line and Vi sang it with me without any qualms. It’s because Vi has blossomed into a mature woman who’s confident of the love of her husband, Representative Recto, who’s admittedly 10 years younger that Vi (he’s 29 to Vi’s 39). But before her marriage to Recto was her interlude with Edu Manzano by whom she has a son, Lucky. “Doods and I really tried to preserve our marriage but things went awry,” she now says philosophically. It’s a measure of Vi’s diplomacy that she has remained friends with all her past lovers. – Joe Quirino, Philippine Graphic, June 16, 1993, transcribed and posted by Jeannie Wong (READ MORE)
“Ang hirap dito sa relasyon natin, puro ikaw ang nasusunod, kung saan tayo pupunta, kung anong oras tayo aalis, kung anong kakainin natin, kung anong isusuot ko sa lahat ng oras, ako naman sunod ng sunod parang torpeng tango ng tango yes master yes master!” – Maria Lourdes Castaneda
“Ano ba ako rito istatwa? Eh dinadaan daanan mo na lang ako ah, hindi mo na ako kinakausap hindi mo na ako binabati hindi mo na ako hinahalikan ah…namputsang buhay ‘to. Ako ba may nagawa akong kasalanan hah? Dahil ang alam ko sa relationship, give and take. Pero etong atin, iba eh! Ako give ng give ikaw take ng take! Ilang taon na ba tayong nagsasama? Oo, binigyan mo nga ako ng singsing nuong umpisa natin, pero pagkatapos nuon ano? Wala na! Ni-siopao hindi mo ako binigyan eh dumating ka sa bahay na ito ni butong pakwan hindi mo ako napasalubungan sa akin eh kaya kung tiisin lahat pero sobra na eh…hindi naman malaki hinihingi ko sayo eh konti lang… alam ko kerida lang ako…pero pahingi naman ng konting pagmamahal…kung ayaw mo ng pagmamahal, atleast konsiderasyon man lang. Kung di mo kayang mahalin bilang isang tunay na asawa, de mahalin mo ako bilang isang kaibigan, Kung ayaw mo pa rin nun bigyan mo na lang ako ng respeto bilang isang tao hindi yung dadaan daanan mo lang sa harapan na para kang walang nakikita!” – Maria Lourdes Castaneda
Emil, a young executive, and his mistress Marilou, a planetarium guide, decide to be live-in partners. In the process, they discover each other’s failing, which result in the strain in their relationship, bringing about their temporary separation. When they finally decide to resume their relationship, under a set-up wherein the man devides his time between his family and mistress, he dies frpm an attack of cerebral aneurysm. The woman decides to start a new life abroad, finding strength in the Jove of her departed lover. – Manunuri web-site
The set-up – “In a time when the concept of divorce does not exist, much less imagined possible, we find Marilou, a planetarium guide who decides to pursue an affair with Emil, a college teacher sepatated from his wife. They seem perfect for each other, and soon decide to move in together. Their once happy affair turns sour as Marilou slowly discovers the real Emil, a chauvinistic, domineering, and emotionally abusive man who disctates everything to her, from how she should act and manage her life to the most inconsequentials details of running their house. They soon find themselves in an on-again, off – again relationship, with Malou going as for as laying a let’s meet only three times a week rule to protect herself.” – UP (READ MORE)
The 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)
The Role – “…Sinasabi ng mga drumbeater ni Vi na ang kanyang role sa pelikulang ito ay pang-award, pang-FAMAS, pang-URIAN o pang-Film Academy Award kung matutuloy ito. Hindi kami tumututol sa kanilang palagay laluna’t napanood namin ang pelikulang ito. Masuwerte si Vi at sa ganitong maselang role ay dinirek siya ng isang katulad ni Bernal. Tulad nang binigyang diin namin sa unang bahagi, ang mga pelikula ni Bernal, ang “Pagdating sa Dulo”, “Nunal sa Tubig”, “Mister mo, Lover Boy ko” at “City after Dark” ay mga malinaw at makatotohang salamin ng buhay. Kaya sa “Relasyon” ay natural lamang na makakita tayo ng mga sitwasyong tila aktuwal na kinuha sa tunay na buhay at inilipat nang buong-buo sa puting tabing…” – Mando Plaridel, Star Monthly Magazine July 10, 1982 (READ MORE)
After the Slam – “…Like 1972 of the previous decade, 1982 turned out to be a repeat in terms of success for Vilma Santos. If critics took noticed in 1972, her performance in Dama De Noche, a decade after, the critics went gagah over her performance in ”Relasyon,” directed by Bernal. The film earned Vilma all the local best actress trophies from all award-giving bodies. Aside from this success, she will also be crowned as the box office queen of 1982 (the next year for her body of work this year) because of the financial success of her six films notably, “Sinasamba Kita” a film directed by Eddie Garcia and “Gaano Kadalas ang Minsan?’ directed by Danny Zialcita. Bernal on the other hand not only was credited for Vilma success for “Relasyon” he also received accolades for “Himala” a film by Nora Aunor, Vilma’s rival. Both “Himala” and “Relasyon” were considered two of Bernal’s signature films. In addition to this, he did two Marecel Soriano films, the comedy “Galawgaw” and the drama, “Hindi Kita Malimot” and finally another Cherrie Gil film, “Ito Ba Ang Ating Mga Anak…Bernal gave Vilma Santos her first grandslam best actress awards and consecutive Gawad Urian best actress (1982 and 1983). Their first film together was Inspiration (1972) and last was Pahiram Ng Isang Umaga (1989).” – RV (READ MORE)
Still Relevant? – “Relasyon was the only film with three screenings at the on-going Pelikua at Lipunan last March 3, 2006. No other films hold this record. We were enthusiastic about the students who reviewed the film of more than two decades. Talagang relevant and timeless ang theme at plot ng nasabing pelikuka at maituturing na isa sa great films of Philippine Movie history. Before the screening of the film ay masaya kaming nag-uusap and at times our attention was called sa mga updates and or instructions ni Jojo Lim for the next group activity like March 8 sa U.P. sa Cine Adarna para sa Diwata Awards kung saan ay confirmed na darating si Ate Vi who is one of 4 distinguised honorees. Tumigil lang kami ng magsimula na ang screening. Wala ka ng makausap pa. Nakatuon lahat sa pelikula. Animo’y mga magagaling na kritiko ng gawad Urian na magre-review ng nasabing pelikula sa unang pagkakataon?! Hmp. For the film’s final highlight, we all sat in real silence. Motionless. Then, the expected tour de force/acting coup cum real drama essayed by Ate Vi. Her solitariness remained absolute in this particular scene with her heart wrenching monolgue. Then I thought I caught a glimpse of some of our co-Vilmanians wiping away “precious tears” in between sobs. Several more moments passed in silence. Tinapos namin ang panonood ng pelikula with an ovation. ’Di lang kaming mga Vilmanians ang pumalakpak! We hope ay nakapag-contribute ang mga Vilmanians in support of Mowelfunds worthy projects. Mabuhay Ms. VILMA SANTOS The Philippines Movie Queen For All Seasons. Mabuhay Vilmanians around the globe.” – June Sison, 5 Mar 2006 (READ MORE)
24 years after its release, Relasyon remained relevant and fresh due to its social topic (the flight of many mistresses in society) and Vilma Santos’ performance in this film made it possible for everyone to sympathize their (mistresses) flight. Even critics agrred Heres what one said: “…Napakahusay ni Vilma Santos sa papel ng pangunahing tauhan, isang dalagang umibig sa isang may asawa. It’s one hell of a role and a heaven of a performance. Kasama si Vilma sa lahat ng eksena sa pelikula at talagang ito na ang pinakamabigat na papel na napaatang sa mga balikat ng isang local actress mula ng gampanan ni Gina Alajar and lead role sa “Salome.” This time, sigurado nang mano-nominate si Vilma sa Urian (ito lamang ang award na hindi niya napapagwagihan) at malamang na ang maging pinakamahigpit niyang kalaban dito ay si Nora Aunor na very demanding din ang role sa “Himala” (na si Bernal din ang direktor). Ito’y kung matatapos ang ECP project na ito sa taong ito na sa palagay namiy hindi kahit gusto ng ECP na isali ito sa filmfest sa Disyembre. Dinalirot ng “Relasyon” ang lahat ng mga anggulong maaaring suutan ng isang babaing nagiging kerida. Maraming madamdaming tagpo sa pelikula, lalo na ang death scene ni Christopher de Leon na tuhog ang pagkakakuha. Bagay na bagay kay Jimi Melendez ang papel niya bilang torpeng talisuyo ni Vilma. Hit na hit siya sa audience…” – Mario Bautista, Puna at Puri People’s Journal July 1982 (READ MORE)
Spanning five decades with 197 films credits and almost two hundred awards, Vilma Santos’ filmography is a kaleidoscope picture of changes in times. Different genres, from teen musicals, folksy fantasies, campy horrors, animated actions to mature adult dramas, her films demonstrated her inner acting talents honed by directors, maneuvered by film producers/benefactors (who some are no longer with us) and supported by her ever loyal fanatics. The results were a long list of film titles that covered several social relevance that capture each decades. A long list of record-breaking box office returns that gave her the title, “the longest reigning box office queen of all time.” A long list of films that sustained her career to different transformation, ensuring her longevity no other Filipino movie queen ever enjoyed. We have painstakingly choose the best of the best. Basing our selection with three criteria. First, the financial success of the film. Cliche it maybe, financial success sustained her bankability and longevity. Second is the critical recognitions the film received. Third, is the other factors that contribute to the overall success of the film, namely, relevance, entertainment value, and the question of, is this film a career milestone or is this film contributed to her popularity. Here are Vilma Santos’ top 100 films. – RV (READ MORE)
Rank
The Top 100 – The Films (click title for link to available film info)
FAIR USE NOTICE: 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 legacy of actress, Ms. Vilma Santos-Recto and information available to future generations. We believe this is NOT an infringement of any such copyrighted materials as in accordance to 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 non-commercial/not for profit 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)
Pre-1979 – 1978 was a very productive for both Nora Aunor and Vilma Santos. Nora did eleven films (Atsay; Bakekang; Das A Las of Nonsense; Huwag Hamakin: Hostess; Ikaw ay Akin; Isinilang Ko ay Hindi Ko Tunay na Anak; Jack N Jill of the Third Kind; Mahal Mo Mahal Ko; Mga Mata ni Angelita; Pinagbuklod ng Pag-ibig; Sa Lungga ng mga Daga) and Vilma, thirteen (Mga mata ni Angelita; Amorseko: Kumakabit, Kumakapit; Bakit Kailangan Kita?; Kampus; Disco Fever; Ikaw ay Akin; Nakawin Natin ang Bawat Sandali; Pag-ibig ko sa iyo lang Ibibigay; Pagputi ng Uwak, Pag-itim ng Tagak; Pinagbuklod ng Pag-ibig; Promo Girl; Rubia Servios; Simula ng Walang Katapusan). They also did four films, Bernal’s “Ikaw ay Akin,” the forgettable “Pinagbuklod ng Pagibig” and two cameo roles, both did “Mga Mata ni Anghelita,” where they did separate episodes and lastly, Vilma appeared in the Alma Moreno-Nora Aunor flop, “Huwag Hamakin Hostess.” From the looks of it, Vilma dominated the year with one hit after another despite the commercial disappointment of critics’ favorite “Pagputi ng Uwak, Pagitim ng Tagak.” Meanwhile Nora’s momentum seem to surged with the film adaptation of comic hit, “Bakekang.” She also had a hit with her second film with Dolphy, “Jack and Jill of the Third Kind.” Come, December, the question remained, after the success of last year’s “Atsay,” where she won the lone acting award, would Nora repeat her success at the local festival? When the news of Brocka doing a Lolita-Nora film, Vilma’s camp answered back with a Charito-Vilma project. Critics noted that the festival is gearing up to be the battle of “dramatic superstars.” Also, the critics noted the director of each project, Brocka is still at his prime as the country’s top director, would Cirio Santiago, a director of previous decades, match up with Brocka? Would it be different if Bernal handled the Solis-Santos project?
Nora-Lolita vs Charito-Vilma – “…In 1979, 1980 and 1981, kapwa maningning ang mga pangalan nina Nora Aunor at Vilma Santos bilang box-office stars at awardwinning actresses. Pero hindi kahigpitan ang labanan nila sa iba’t ibang parangal. May panahong nananalo si Nora na ibang aktres ang mahigpit na kalaban; ganu’n din si Vilma. Nang ma-handle si Nora ni Brocka (in 1979’s Ina Ka ng Anak Mo, produced by Premiere Productions and written by Jose Dalisay Jr.), she was pitted with the formidable Lolita Rodriguez and it was to Nora’s credit na pumantay siya sa parangal – bilang MMFF Best Actress. Sa 1979 FAMAS, Nora bested Lolita, who, with her performance in Brocka’s Tinimbang Ka Ngunit Kulang, beat Aunor in 1974. Ang “katapat” ng Nora-Lolita duo ay ang acting tandem nina Vilma Santos at Charito Solis in Bancom Audiovision’s Modelong Tanso, directed by Cirio Santiago. Sa 1979 Gawad Urian, it was neither Nora nor Lolita as Best Actress; the award instead went to Charito Solis for Brocka’s Ina, Kapatid, Anak…” – William Reyes (READ MORE)
Nora Aunor’s Films (8): (Ang Tsimay at ang Tambay; Annie Batungbakal; Bakit May Pag-ibig Pa; Disco King; Dobol Dribol; Ina Ka ng Anak Mo; Kasal-Kasalan Bahay-Bahayan; Si Mahal, Nakialam Na Naman) – Nora ventured into the dance-craze genre, with “Annie Batungbakal” that even the Santos camp, knowing that Nora can’t dance, were surprised that the film was big hit. She also did few comedies, “Ang Tsimay at ang Tambay,” “Dobol Dribol;” “Kasal-Kasalan Bahay-Bahayan; and “Si Mahal, Nakialam Na Naman,” all were quite a disappointments. Her only serios project was the Brocka film.
Vilma Santos’ Films (8): (Buhay Artista, Ngayon; Coed; Halik sa Kamay, Halik sa Paa; Magkaribal; Modelong Tanso; Pinay, American Style; Rock, Baby, Rock; Swing it, Baby) – For Vilma, after the disappointment of last year’s festival, atleast in the award contest, she concentrated in making sure her film become commercial success, giving what her fans wanted. It showed with all her projects, most were box office hits. The top three were, “Pinay, American Style;” “Rock, Baby, Rock;” and “Swing it, Baby.” The only exception to this were the critic’s favourite, “Pagputi ng Uwak, Pagitim ng Tagak” her reunion film with “Burlesk Queen” director, Celso Ad Castillo. Aside from doing the Charito Solis project, she also did a film with Dolphy, her first after co-starring with him when she was just a child actress.
Nora Aunor’s 1979 acting recognition (3) – Best Actress from Metro Manila Film Festival and FAMAS; and a nomination from URIAN, all for “Ina Ka ng Anak Mo.”
Vilma Santos’ 1979 acting recognition (1) – Best Actress nomination from FAMAS for “Halik sa Kamay, Halik sa Paa.”
Full Confrontations – “…Filipino movies are nothing if they do not have confrontations, and Ina Ka ng Anak Mo has one confrontation after another. The best one occurs when Aunor sees Rodriguez and the baby for the first time. Aunor silently moves from shock to hurt to rage to hysterics.The scene is spoiled only at the end, when she bursts out that she will see the pair in court; in the heat of such passion, no Filipina will think of impersonal legal proceedings. More characteristic would have been a search for a weapon or for an exit door. Brocka specializes in acting vehicles. Aunor clearly deserves the Best Actress Award. In fact, she deserves it more than Rodriguez, if only because she is younger and has less experience. Before Ina Ka Ng Anak Mo, only Charito Solis could stand up to Rodriguez; now Aunor is on par with both veteran actresses. Even Aragon, not one of our best actors, gives an adequate performance opposite the two women; his success must be largely due to Brocka’s direction…” – Isagani R. Cruz, TV Times, January 20 -26, 1980 (READ MORE)
Good Model – “…Another “good” movie is “Modelong Tanso” directed by Cirio Santiago. It is based on a novel by Nerissa Cabral. This movie has one hell of a different plot: that of an obsessed woman who would get wealth and power against odds. The woman (ably portrayed by Charito Solis), forsakes husband, morals, children, for the sake of the over-riding ambition. The driving force is rooted in an impoverished childhood. She had to beg for food. She would get out of her squalid surroundings by any means. Only trouble was, she was still at it, long after she had left the barung-barong. Ang bigat ng paper ni Solis dito. At believeable siya. The conflict in this film comes off naturally. No issue is forced each incident is the result of a logical buildup in the plot. Vilma Santos, who marries a filthy rich fag in this movie, sees that she is starting to take up to her mother’s ways and stops, in this time, Solis, however, remains “unreconstructed” up to the very last. As the movie ends, she has assumed command of an even bigger business empires. Nagustuhan ko ang pelikulang ito dahil may sinasabi. It should have won some awards. The fact that it didn’t again speak of the “consistency” of the judges…” – Ros H. Matienzo, JEH Jan 21 1980 (READ MORE)
Post-1979 – The December festival favoured Lolita and Nora, both were recognized in the festival awards Night. Their rival Charito and Vilma take the consolation of the fact that their film remained one of the top revenue earner. It’s the end of the decade and both Nora and Vilma are looking forward to a brighter career. Both wanted to remain as bankable and popular. For Nora, the end of the 70s cemented her reputation as an actress. For Vilma, the end of the decade seem to be a disappointment, at least in awards derby, as she seems to be snub by the award giving organizations several times. She has promised herself not to expect to win any award.
In the 1980’s, Nora Aunor’s Superstar show was losing viewership and her box-office appeal was also in question. Suddenly, the 70’s superstar was being eclipsed by a non-singer but an excellent dancer and versatile actress Vilma Santos. She has just scored her first of four grand slams for the movie Relasyon and continued to reign as the Longest Box-office Queen of Philippine Cinema. And slowly but surely, her VIP (Vilma In Person) TV show was gaining patronage/high ratings too from the precious class ABC households nationwide, TV advertisers’ prime target audience for their products.
Smart Move – There was no stopping Vilma Santos. She was about to conquer the TV musical-variety genre where Nora Aunor ruled for years. Early on, Vilma Santos had rough sailings with her musical variety show. VIP was being broadcast from Channel 2, which had a bad reception among TV homes nationwide, and was no match to the more modern RPN Channel 9 where Nora’s Superstar show was simultaneously shown from Luzon to Mindanao in vivid, crisp color. When VIP moved to GMA Channel 7, it was the best move that Vilma’s think tank ever did. With better satellites, shrewd marketing, state of the art facilities, and more ambitious production numbers and with the Dancing Queen Vilma at the center of it all, and with the genius of Maribeth Bichara’s choreography and musical concepts written all over the show – “Vilma!” became the most watched and the most awarded TV show in the musical/variety category.
52 – Every Friday, 52 weeks a year, there was Vilma Santos’ most awaited opening number that never failed to surprised, amused and elicited ooohhhs and aaahhhs as the TV Musical Variety Queen won the hearts of music and dance aficionados here and abroad. Who would ever forget these outstanding, well-rehearsed, high performance level and unforgettable numbers?: Madonna — The Madonna Material Girl number, which would make Madonna proud. She sashays, gyrates, and pirouettes ala Tina Turner for Vilma’s version of Private Dancer.? (“I’m your private dancer, a dancer for money, do what you want me to do?” Talbog ang Burlesk Queen! My most memorable Maribeth B. and Vilma Santos sexy number was when they showed their legs and swing those hips as the Swing Out Sisters belt out their number one hit Breakout…The “A Chorus Line” ensemble, “On Broadway” with Queen Vilma leading the group with a hat, gloves, a cane and a glossy costume. Who would ever forget her swing number with then sweetheart Ralph Recto? Or a dance number with the late Nida Blanca? Or a naughty, haughty dance number La Conga, sung by Gloria Stefan? And many, many more production numbers that were shot from Luzon to Mindanao, and even in the U.S., like The Raging Waters in California.
Imitated – Vilma! was imitated but never equaled by the fly by night copycats: Snooky Serna, Maricel Soriano, even Alma Moreno in Love-liness. Sharon stuck to singing and wers-wers English. At one time, Nora Aunor was guest. Pinaluhod lahat sila ni Ms. Vilma Santos! Whenever a Regal or a Viva movie promo was in progress, they all trooped to the ratings winner Vilma! From GMA studio, to the Metropolitan Theater, Vilma! made history. From the cha-cha, the boogie, to tinikling to meringue and the swing – Vilma did them all. She was everybody’s Ate Vi or Tita Vi. The TV Queen. The Dancing Queen, and how! Here are some of the awards the Queen Star and her famous Vilma! show had won: • 1987 STAR Award Best Musical Variety Show Host
• 1987 CMMA Best Musical Variety Show
• 1988 STAR Award Best Musical Variety Show Host
• 1988 STAR Award Best Musical Variety Show
• 1988 CMMA Best Musical Variety Show
• 1989 STAR Award Best Musical Variety Show
• 1989 CMMA Best Musical Variety Show
• 1990 CMMA Hall of Fame in Musical Variety Show
• 1990 STAR Award Best Musical Variety Show
• 1990 New York International Awards for TV Finalist
• 1991 STAR Award Best Musical Variety Show
• 1991 Dove Awards Best Musical Variety Show
• 1992 STAR Award Best Musical Variety Show
• 1994 STAR Award Best Musical Variety Show
• 1998 STAR Award Ading Fernando Lifetime Achievement Award
My wish: Please bring back Vilma!, the dancer and entertainer par excellence, even if it’s just one show. Sayaw, Vilma, sayaw! The whole world awaits. Who cares if you’re 51? Tina Tuner is almost 70. Vilma, you are the Eternal Youth and the Dancing Queen Forever! – Mar Garces, V magazine, 2005 Global Vilmanians
“Ok Lang Po, Maam, Part of the Job.” – Loida Malabanana
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Basic Information: Direction: Jeffrey Jeturian; Writing Credits (story and screenplay): Zig Madamba Dulay, Antoinette Jadaone, Jeffrey Jeturian; Executive Producer: Atty. Joji Alonso; Associate Producer: Ron Capili; Line Producer: Charyl Chan-de Guzman; Executive Producer: Jeffrey Jeturian, Ferdinand Lapuz, Malou N. Santos, Vilma Santos, Charo Santos-Concio, John Victor Tence; Music: Vincent de Jesus, Cinematography: Lee Meily, Lee Briones; Film Editing: Zig Madamba Dulay, Glenn Ituriaga; Production Design: Ericson Navarro, Erwin Sanchez; “Ekstra” – original title; Released: 14 August 2013 (Philippines); Production Co: Cinemalaya Foundation, Quantum Films; Runtime: 111 min
Complete Cast (in order of appearance): Nenita Deanoso, Karen Leslie Dematera, Boobsie Wonderland, Cris Castillo, Cris Ad Castillo, Raymund Ocampo, Abi Niesta, Cherry Pie Picache, Zyrus Imperial, Richard Yap, Ruby Ruiz, Vilma Santos, Ronaline Ronn Enriquez, Rita Rosario G. Carlos, Tart Carlos, Antonette Garcia, Linda Villalobos, Raymond Rinoza, Hazel Faith Dela Cru, Rex Lantano, Martha Comia, Jake Seneres, Ricky Pascua, Zachary Ezekiel Diaz, Angelica Luis, Mhel Seduco, Michael Bayot, Fatima Centena, Almira Alcid, Chris Garrido, Norberto Portales, Marlon Rivera, Sunshine Teodoro, Vincent de Jesus
Louie Kim Sedukis, Miguel Cruz, Bobby Contiga, Piolo Pascual, Orlando Marcos, Paulo Gabriel, Vida Masakayan, Marx Topacio, Marian Rivera, Afi Africa,, Cherie Gil, Nico Antonio, Toni Lopengco, Eula Valdez, Rosejean Sevilla, Salvador Zapanta, Glen Elizalde, Windie Lainie King, Richard Carbajal, Stanley Carvajal, Kerwin Garcia, Albert Lorenzo, Mark Anthony Robrigado, Eden Jaime, Jojo Flores, Pamela Roxas, Pilar Pilapil, Olive Cruz, Tom Rodriguez, Terence Baylon, Red Musni, Alora Mae Sasam, Joy Lomibao, Catherine Reyes, Mae Anne Pineda, John Paul Mendoza , Dyan Mae Mora
Manuel Maputol, Honey Mae Liyagen, Salve Barrientos, Marc Anthony Olata, Jeyean Payawal, Vernadet Fortin, Mico Madrid, Leah Jabonella, Zarah Pagay, Rene Castellano, Liwanag Fortin, Cesar Garbo, Rogelio Itein, Lorevy Paller, Eugine Quijano, Ronald Fortin, Lorna Villanueva, Ivan Gabriel, Willy Concepcion, Jayjay Payawal, Manuel Luis Antonio, Lorraine Anne Caluya, Jack Tan, Anne Mitchelle Utuania, Maricel Gabitanan, Jaime Dyunco, Bambie Apostol, Marie De Guzman, Jayjelon Cruz, Basty Peralta, Maryella Gabitanan, Jerry Pingol, Beau Estera, May Ann Bongearas, Jibb Llansang, Cecille Villar
Melanie Ulang, Jivesh Lansang, Christine Ormilla, Melba Cabaiz, Jhon Fallorina, Evelyn De Guzman, Nancy Villar, Jobie Gregorio, Ever Tan, Nene Felias, John Lloyd Ilagan, Ginelyn Baguturo, Nicah Ariza, John Mark Aqui, Hannah Jessica Amanulla, Nina Bucala, Joren Lansang, Hershey Gregorio, Odette Losing, Ken John Kabayashi, Jamaicca Dayta, Renee Andrea Abuyin, Kershon Bumanlag, Jasmine Abuan, Rio Dela Cruz, Khaled Almohsin, Jenelyn Auste, Roxanne Dela Cruz, Khalil Verzosa, Jessa Bravo, Weng Diaz, Lambert Del Mundo, Jessica Navarro, Aaron Ascano, Lester Paguio, Jonalyn Noleal, Alex Oledan
Loren De Guzman, Judy Ann Noleal, Allaine Garduce, Kaycie Antonio, Andrei Guerrero, Mark Bautista, Kim Villena, Antonio Hernandez, Michael Gillego, Kimberly Alaras, Arjay Abuyin, Nicolas Marquez, Kimberly Ann Baleta, Benjamin Chua, Paul Joseph Emerenciana, Kimberly Cru, Bryan Garduce, Ryan Olayvar, Krizie Peralta, Bryan Perlas, Rey Capaguian, Kylie Dela Cruz, Don Santiago, Rickson Villena, Lesley Anne Datu, Ian Japer Villar, Ruth Villar, Ivan Erazo, Tom Taclindo – IMDB
Plot Description:Ekstra, The Bit Player is a socio-realist drama-comedy film, it follows a seemingly usual day in the life of Loida Malabanan (Vilma Santos) as she embarks on yet another shooting day of a soap opera as an extra. As the shoot goes on, we get a glimpse of the truth in the ruling system of the production as well as the exploitation of the marginalized laborers like her. – Cinemalaya (READ MORE)
Film Achievement: Official Entry to The 2013 Cinemalaya Independent Film Festival: NETPAC Prize, Special Jury Prize, The Audience Choice Award, Best Actress – Vilma Santos, Best Screenplay – Zig Dulay, Antoinette Jadaone, Jeffrey Jeturian, Best Supporting Actress – Ruby Ruiz; 2013 Gawad Tanglaw Best Actress – Vilma Santos; 2013 Gawad Urian: Best Actress Nomination – Vilma Santos, Best Film Nomination – Cinemalaya Foundation and Quantum Films, Best Director Nomination – Jeffrey Jeturian, Best Supporting Actress Nomination – Ruby Ruiz, Best Sound Nomination – Addiss Tabong and Wild Sound, Best Production Design Nomination – Ericson Navarro; FAMAS: Best Picture Nomination; Best Screenplay Nomination; Best Editing Nomination; Best Story Nomination; 11th Golden Screen Awards: Best Motion Picture – Drama Nomination – Cinemalaya Foundation & Quantum Films; Best Performance by an Actress in a Lead Role – Drama – Vilma Santos; Best Performance by an Actress in a Supporting Role Nominations – Drama, Musical or Comedy – Ruby Ruiz and Tart Carlos; Best Performance by an Actor in a Supporting Role Nomination – Drama, Musical or Comedy – Marlon Rivera; Best Direction Nomination – Jeffrey Jeturian; Best Editing Nominations – Zig Dulay, Glenn Ituriaga; FAP 32nd Luna Awards Outstanding Performance Lead Actress Nomination – Vilma Santos; Philippine Cinema Evaluation Board Grade – “A”; NCCA – Ani ng Dangal
NETPAC and Special Jury Prize – “…Vilma Santos was named Best Actress for her role in Jeffrey Jeturian’s Ekstra in the Directors Showcase. She was cited “for her bold decision to deglamorize herself and take on the lowly role of the TV and movie bit player, for her moving portrayal of the unsung hero of show business, for the polish and aplomb with which she essayed the role, and for her powerful cinematic presence.” Ekstra won the Special Jury Prize “for its poignant take on the lowly bit player, the unheralded hero of show business, whose contributions are often ignored in movie and TV credits, for its bittersweet evocation of the magic of cinema, and for its humor, pathos and sheer humanity.”; the NETPAC Award for its “comedic but insightful and touching treatment of a day-in-the-life of a movie bit player, seamlessly woven in the production of a TV soap opera.”; and the Audience Choice Award. Ekstra also won for Ruby Ruiz the Best Supporting Actress award and for Zig Dulay, Antoinette Jadaone and Jeffrey Jeturian the Best Screenplay award…” – Cinemalaya (READ MORE)
Film Reviews: “…Ang strength ng pelikula ay ang script nito (na nakapangalan sa tatlo: Zig Dulay, Antoinette Jadaone at Jeffrey Jeturian). Kahit na nagpaka-real time ito (upang maramdaman ng audience ang exhaustion na hinihingi ng isang bit player) o tipong nagpapaka-a day in the life of lang, ramdam na ramdam na meron itong script. Nai-shoot nito ang point nang lapat na lapat. Klaro ang motivation ng central character kung bakit ginagawa n’ya ang mga bagay na pinaghihirapan n’ya. Isa rin itong dahilan upang samahan natin si Loida (Vilma Santos) sa kanyang pakikipaglaban sa araw na ‘yun. May tendency na magpaliwanag masyado kung anu-ano ang mga ginagawa sa produksyon pero nasolusyunan naman ito sa paggamit ng isang karakter na baguhang ekstra. Maging ‘yung tanong sa dulo bago matapos ang pelikula, naselyuhan nito ang halaga ng ginagawa natin hindi lang bilang isang taga-film production kung hindi bilang trabahador na rin sa Pilipinas sa pangkalahatang perspektibo. Nakuha rin ako ng humor ni Jeturian dito. Tingin ko, sensibilidad n’ya ang ganitong wit at wala akong makitang direktor ngayon na nasa ganitong level. Ngayon na lang ulit ako natawa sa kanya mula roon sa isang eksena sa “Pila Balde” kung saan kumain ng panis na hopya si Estrella Kuenzler. OK naman si Vilma rito. Masayang makita na ang mga shining moment n’ya rito ay ‘yung mga eksenang tumatawa s’ya. Pero dahil Vilmanian si Jeturian, hindi naman puwedeng walang eksena na aangat si Vilma sa mga nakagamayan na. Gusto ko ‘yung nakikipagpagalingan s’ya para sa isang role bilang katulong. Maliban sa larger than life na presence ng bida, umangat din ang mga suporta rito: Marlon Rivera (bilang soap opera director at so far, s’ya ang aking bet para sa Best Supporting Actor sa Directors Showcase), Tart Carlos (bilang kapwa ekstra at sounding board ng bida) at Ruby Ruiz (bilang Josie). Sa side note, ganito palang manood ng Vi movie na ang katabi mo ay isang ultimate Vilmanian. Bago mag-umpisa, hindi mo mahagilap dahil parang bomb specialist na iniisa-isa ang mga entrance at exit ng Main Theater kung saan papasok ang mga artista. At malakas din ang tawa n’ya r’un sa isang linya na “Eh bakit si Nora Aunor?…” – Manuel Pangaruy Jr., Tagailog Specials Presents, 28 July 2013 (READ MORE)
“…Not all is grim in Filipino cinema. Romance and satire abound. Jerrold Tarog expertly avoids the syrupy clichés of mainstream rom-com in his absorbing, bittersweet Sana Dati (If Only). Alvin Yapan’s supernaturally seductive Debosyon (Devotion) explores the ardor between a man and a forest spirit at the kooky crossroads of Catholicism and pre-colonial pagan faiths. Jeffrey Jeturian’s witty The Bit Player (Ekstra) pokes fun at the exploitative telenovela industry, with the renowned Vilma Santos in top form as a desperate extra on a soap opera set Tour de force acting comes not only from the legendary Aunor and Santos and other established luminaries like Cherie Gil, Fides Cuyugan-Asencio, Irma Adlawan and Ping Medina, but also from complete unknowns like the mischievous gang of young boys in a small provincial town in Keith Deligero’s Iskalawags, who idolize action movie stars and adopt their swashbuckling ways to escape the dreariness and the struggles of their own existence. Far more than a charming coming-of-age tale, Iskalawags slyly deprecates Filipino notions of manhood and alludes to the oppressiveness of Tagalog culture as endured by the restless majority who live outside ‘Imperial Manila…” – Carla Escoda, Huffington Post, 12 June 2014 (READ MORE)
“…For most of “Ekstra,” I was only vaguely interested in what was happening. A lot of work, a lot of arguments, a lot of ego, went into the creation of something that was not only valueless to the culture but detrimental. Product placement is the least of it; soap operas, like most movies, sell wish fulfillment. They sell the dream of wealth, beauty, and glamor. At the same time, they sell schadenfreude, as the wealthy, beautiful and glamorous feel the heartache implicit in soap opera storylines. I also objected when Loida began to stumble during her big scene. It felt way too cruel to me. It felt sadistic and/or bathetic. But ultimately Santos has a restraint that makes it work. You sense Loida’s world has crumbled but she doesn’t know what to do. There’s doubt and pain in her eyes now. Interestingly, Santos, who looks like the part she plays—someone passed over by life—is in reality a hugely successful actress and politician. She was the Mayor of Lipa City and the Governor of Batangas, a province in the Philippines. There are four major film awards in the Philippines and only 17 times has someone won all four in the same year. It’s called the Philippines Movie Grand Slam, and Santos was the first to do it in 1982. She’s since done it three more times. No one else in Philippines has done it more than twice. She’s basically the Meryl Streep and the Arnold Schwarzenegger of the Philippines…” – Erik Lundegaard, May 28, 2014 (READ MORE)
“…It’s not easy being an extra. While vital to the authenticity to a filmed project—be it a movie, TV show, or music video—extras, or bit players, are regularly relegated to the sidelines, where they are subjugated, mistreated, underfed, and disrespected, working long hours without any promises of fame, fortune, or respectable paychecks. Such is the life of middle-aged single mother Loida (Vilma Santos), who has yet to catch her big break. Waking up at the crack of dawn, she and a dozen other extras pack themselves like sardines into a van and head out to a remote location shoot for the nightly TV soap opera “Nauna kang nagging Akin” (or “You Were Mine First”). Upon their arrival, they find the set in complete disarray, a frenzied circus of diva behavior, rain delays, and prop mishaps. Over the course of one very long shooting day, the behind-the-scenes chaos become as dramatic, if not more, than the soap opera unfolding before the cameras, but Loida, ever committed to her craft, discovers what could be a glimmer of hope in the form of a small, available speaking role. Santos, who ironically is a cinema megastar in her home country, gives one of the best performances of the Festival, imbuing Loida with a dogged tenacity lying just beneath the surface of her kind but world-weary visage. The film itself strikes a wonderful balance between a screwball showbiz comedy and a compassionate socio-realist drama about the exploitation of labor, equally harsh and hilarious…” – SIFF 2014 (READ MORE)
“…Vilma Santos, the legendary grand dame of Philippine cinema, stars in this bittersweet comedy. A clever satire of the telenovela formula, The Bit Player tells the story of a group of extras on a soap opera, as they patiently wait to be cast as anonymous background actors or in tiny speaking roles. At the very bottom of the showbiz hierarchy (working extremely long hours for very little pay), these extras turn out to be far more dedicated to their work than the egotistical, unreliable stars who are highly paid and constantly fawned over…” – YBCA New Filipino Cinema 2014 (READ MORE)
“…Showbiz royalty Vilma Santos plays a financially challenged bit player named Loida. Strangely, but not surprisingly, the film veteran makes an excellent extra. She is snarky with friends but, ironically, is an awkward mess when put in front of the cameras. Santos is so natural that the lines between acting and reality are blurred. It was no shock that she won this year’s Cinemalaya award for best actress. The film has a star-studded cast consisting of Piolo Pascual, Marian Rivera and Cherie Gil. For once, however, they’re the extras in this movie. The fun part about Ekstra is that it’s witty and it doesn’t take itself too seriously. The “actors” exchange lines oozing with cheese and villainy, complete with telenovela fanfare. The screenplay, a collaboration among Jeturian, Jadaone and Dulay, is smart but accessible. “Crowd din ako dati,” Loida tells a young extra in a scene. “But look at me now: crowd pa rin…” – Paulina F. Ocampo, Katipunan The Guidon Magazine, 07 August 2013 (READ MORE)
“…In a way, Santos can be compared to Susan Sarandon and Jessica Lange; both thespians employ their entire body to bring out the internal turmoil of their characters if necessary. Santos impassioned performance in classic films such as “Broken Marriage” and “Relasyon” demands certain explosiveness. Santos has always played the fighter, never the silent suffering victim. Even powerless, Santos’ characters have trudged on despite obvious defeat. She has always embodied the ferocious female spirit, which I grew up witnessing from the strong females in my family. Fight, survive at all cost. Similarly, Santos can also quietly stand still and let her face do the exposition, “Sister Stella L.” is a perfect example. In both commercially melodramatic and critically acclaimed films, all of the characters in Santos wide repertoire refused to go without a good fight. I have heard other critics call her the “feminists’ actor,” but do not take our word for it, you need to watch her films to verify that. In her latest movie, “Ekstra” (The Bit Player), Santos is back to form after her commercially successful but critically disappointing horror film, “The Healing.” Santos plays Loida, a bit player dreaming of becoming a star despite working in the industry for so long. At first glance, Santos seemed to be miscast as a bit player because she is too fair and beautiful to stay a bit player that long; however, thanks to Jeffrey Jeturian’s clever direction, Santos transcends the obvious. The Santos celebrity persona disappears and we see the face of a bit player being used as a mere tool by an industry hell bent on producing crap. Loida’s triumph lies in Jeturian’s blatant critique of the industry that exploits people for commercial purposes. Loida is not just a real character, she is a symbol. The delightful irony of “Ekstra” is using one of the biggest stars in the industry to play it small…” – Rob San Miguel, Brun Philippines, 18 August 2013 (READ MORE)
“…Vilma Santos may have been the film’s initial main attraction, but we can’t deny the fact that this is the best comedy-drama of the year. Santos proved her star-for-all-seasons status was far from waning, but Jeffrey Jeturian’s film itself is a brilliant achievement. Its portrayal of the television industry’s bit players is both honest and hilarious. With its small scale and grand ambitions, Ekstra brings a different flavor to the usual tale of the downtrodden…” – Paul G. Alcantara, Kara B. Chung, The Guidon on line, 30 December 2013 (READ MORE)
“…Even before Jeffrey Jeturian’s Ekstra was released, naysayers doubted that Vilma Santos would ever be credible as a bit player in TV soaps: “she’s too recognizable,” “she won’t be believable,” “she looks too mayaman (rich).” The only way to silence the doubters is to turn in a nuanced, convincing performance as Loida Malabanan, a single mother who continues to toil in substandard working environments just to fulfill her dream of acting. It’s a testament to Santos’s instinct as an actor that she finds the honest core of Loida and operates from there. Everything else follows…” – Skilty Labastilla, Business World Weekender, 09 January 2014 (READ MORE)
“…The International Film Festival in Goa in November 2013 came alive with young audiences from across the country patiently standing in long lines to watch serious world cinema. They were the real stars of this festival. In many shows, disappointed audiences were turned away because every seat was taken. There is a new audience out there, ready for new ideas, new film grammar, and new reflective cinema. The time is long overdue for a publically financed network of art theatres in every city in the country. In my three days in Goa, I spent most time with the Soul of Asia segment, which introduced me to some fine films described in an earlier column. I recall here a few other films which remain with me even as the weeks pass after the festival…Adopting a diametrically opposite idiom of exuberant comic irony is Philippine director Jeffrey Jeturian’s Ekstra (Extra), an affectionate salute to the underdog. It follows one day in the life of a middle-aged woman extra, a bit player in television soap operas, after she is woken in the early hours of the morning one day to drive to a location shoot in the neighbouring countryside. The director subversively casts one of the Philippines’ best-loved actors, Vilma Santos, in the role of the extra. The viewer for once roots for the anonymous crowd — the farmer on the fields, the domestic help patiently waiting, and the guests in the background of a wedding — while the lead players strut and recite their lines. We watch the class system in the enormous gaps in food and lodging between stars and extras. The film mocks the hilarious script trajectories of the soap opera, and the vanity and fragile egos of its lead players. I often felt that if just the names were changed in the film’s script, it could have been located in India with no substantial changes…” – Harsh Mander, The Hindu, 28 Dec 2013 (READ MORE)
“…I am aware of the Filipino culture and their language which could be one of the reasons why I happened to be amused by Jeffrey Jeturian’s “EKSTRA (The Bit Player)” when I caught it at the 6th Bengaluru Film Festival. But, that is not entirely the reason why the movie works big time! The prime reasons in that order would be…Vilma Santos, a sensational performer. She lives the character of an extra artiste in television soaps. Flawless, compelling and award-worthy, is her turn…To sum it up, Ekstra – The Bit Player is a poignant film which is certainly worth your time…” – Tusshar Sasi, Romancing Cinema, 27 Dec 2013 (READ MORE)
“…The unshakable optimism of a middle-aged extra is the warm heart driving “The Bit Player,” an appealing dramedy that pokes plenty of good-natured fun at TV soap operas. Anchored by a glowing central performance by Filipino screen queen Vilma Santos as the single mother who smiles her way through work-related indignities in order to pay for her daughter’s education, the pic reps a fine feather in the cap of veteran helmer Jeffrey Jeturian. Winner of the audience award for best film in its category at Cinemalaya and a hit in domestic release in August, this crowdpleaser launches on limited North American screens on Sept. 13…Constant chuckles and a fair supply of big belly laughs are the order of the day as Loida, Venus and a lovable collection of fellow nameless wannabees are herded like cattle by Josie, acid-tongued assistant director Vincent (Vincent de Jesus, hilarious) and the super-stressed-out director (Marlon Rivera) of “You Were Mine First.” As expected, much of the fun derives from scenes being shot for the wildly melodramatic “You Were Mine First.” To that end, Jeturian gets great value from guest appearances by a host of big-name local stars including hunky matinee idol Piolo Pascual as troubled groom-in-waiting Brando, Pilar Pilapil as severe matriarch Dona Esmerelda and a wonderfully over-the-top Cherie Gil as gun-toting super-bitch Dona Beatriz. For all the merriment on display, the screenplay never loses sight of the economic and emotional imperatives propelling Loida’s uncomplaining acceptance of her place at the bottom of the entertainment-industry food chain. It’s no surprise when Loida finally gets a chance to make a mark with big speaking role in “You Were Mine First,” but the manner in which this plays out is surprising and genuinely touching…” – Richard Kuipers, Variety Magazine, 11 Sep 2013 (READ MORE)
“…In “Ekstra,” Jeffrey Jeturian points the cameras to the more unheralded members of the film industry, and zooms in on the marginalized life of extras, on and off-screen. Governor Vilma Santos-Recto plays Loida Malabanan, a veteran bit player who, while “fulfilling” her passion for acting, puts up with the extremes of her occupation. She likewise tries to solely raise her daughter with her meager salary her kind often gets. “Ekstra” basically illustrates a day in the lives of the people who literally are “behind-the-scenes.” For one, the Star for All Seasons was able to mesh well with her co-extras (Tart Carlos, Ruby Ruiz), and was able to achieve a semblance of obscurity despite who she is in real life. Second, Ate Vi also managed not to outshine the film’s supposed “lead characters” (Marian Rivera, Piolo Pascual) without sacrificing her acting prowess. Her scenes with Cherie Gil and Pilar Pilapil particularly explore the difficult and precarious reality for minor players (and body doubles, in her case)…” – Pau Aguilera, Manila Bulletin, 02 Aug 2013 (READ MORE)
“…Of course, holding up the film together is Vilma Santos in her first indie film. As Loida Malabanan, the extra, she’s there from start to finish. Her character is so well defined. She’s been an extra all of her life. As a young girl, she fell in love with a cameraman, became a single mom and now has a hard time sending her teenage daughter to college. The movie is one day in the life of Loida, showing her preparing breakfast for her sleeping daughter before she leaves for work, how her day goes on the set, until she returns home to her daughter the next day. Throughout the day, we join Loida in her moments of triumph (she bested another extra in an impromptu contest to be chosen to play the role of a housemaid) and humiliation (she doubles for Eula Valdes and gets mauled by Cherie Gil, she fails to deliver her lines properly in the role of a lady lawyer and was insulted by the director in front of everyone else.) Your heart will really go out for Loida. More than anything else, she’s a very caring mother to her child. She’s also very caring to the younger extras, like a teener who’s working as an extra for the first time and who she advises to focus on her career and not on romance. She was also so affected when another extra faints on the set due to hunger and another one is subjected to heavy prosthetic makeup as a zombie and isn’t even allowed to answer the call of nature, only to be told that her scene won’t be shot anymore.
The final scene is priceless, the most touching of all. Loida attends a party and she gets to watch the crucial sequence she taped the night before on their neighbor’s TV set. She painfully sees the scene where she was supposed to be playing the lawyer now done by another actress. She was still retained in that scene, but only as part of the crowd. She cannot even tell her friends that she was supposed to play the lawyer part but she was kicked out because she couldn’t deliver her lines persuasively. It’s a wordless scene and you can feel Vilma reliving the embarrassment she went through, but she talks only with her eyes brimming with tears and you just want to hug her and comfort her. It’ll be gross injustice if Ate Vi wouldn’t win as best actress in the Cinemalaya Awards Night this Sunday. Tinulak na siya, tinakluban sa ulo, sinipa, pinaso ng sigarilyo, sinampal, hiniya at ininsulto mula ulo hanggang paa. And she is just consistently awesome through it all. All extras in real life will love Jeturian and Ate Vi for showing in this film the humor and the soul of the experiences they go through in the course of their job. What’s nice about the film is that, as a real homage to extras, they listed down the names of all the extras who were involved in the film at the end credits…” – Mario Escobar Bautista, Showbiz Portal, 31 July 2013 (READ MORE)
“… As Loida Malabanan, Ate Vi shines even in anonymity. She is supposed to fade into the background, not outshine the “stars” and just do what is assigned her- to be a bit player. But even in the crowd, Ate Vi makes Loida stand out. She gives Loida the bit player enough motivation, and a poignant love for the acting craft that she has forever changed the image of the bit player, in the same way that she redefined the term “mistress” when she did Ishmael Bernal’s RELASYON way back. For the director, the staff and the big stars, Loida is a nobody. But for us, the audience, we recognize Loida’s magnanimity. Watch out for that pivotal scene in the third act where Loida, and us the audience learns the true meaning of ingratitude in the media. Ekstra is Vilma’s movie. We cannot imagine any other actress for her role. At the end of the day, as Loida descends from the jeepney, and prepares to go to bed just about when everyone is supposed to go to work, we feel exhausted. It’s not the physical work that made us tired, but the system of a dog eat dog society. Filmmaker Jeffrey Jeturian, through Loida exposes the hypocrisy of the thankless and unjust world of entertainment, and after that whole bout of laughing and laughing and crying afterwards, we are forever changed. Yeah right, like you didn’t already know you were gonna cry after seeing the trailer…” – Macky Macarayan, Death of Traditional Cinema, 30 July 2013 (READ MORE)
“…Vilma Santos, as always, exceptionally played the role to a hilt. The world bit players live in is all too jarring, more so because Vilma Santos—THE Vilma Santos—convincingly plays the role of a lowly talent. That might be too hard to accept in real life, but Ate Vi did a great job in fleshing out a character who’s equal parts funny, hopeful, and tragic…The movie features a witty and hilarious script, which is further bolstered by Ate Vi’s great comedic timing. There were no lapses in timing and delivery, and there was a stark contrast between the realistic portrayal of the “normal” characters as opposed to the over-the-top acting featured in their teleserye project…Vilma is at her best at the final scene, where she’s subjected to painfully watch the very episode they just shot. She’s embarrassed and frustrated, and we watch in horror as her eyes well up while she tries to hold everything in. We’ve seen that look several times in Ate Vi’s previous movies, but it still haunts us just the same…” – Myra Grace Calulo, PEP, 30 July 2013 (READ MORE)
“…Ekstra” is a very entertaining film that brings us into the world of a bit player or “ekstra” in the punishing world of television soap operas, where hectic daily shooting deadlines are the norm. This was not only a glimpse for the audience, but more of an immersion. We get an in-depth, no-holds-barred, brutally frank expose on how bit players are treated on and off the set of a location shoot. Loida Malabanan has been a bit player for many years already. This job, however unstable, had enabled her to get her daughter through college even as a single mother, albeit barely…Ms. Vilma Santos is the heart and soul of this film, and she was such a paradox in this role. She portrays her role in the most natural and realistic way, yet we know the character was so NOT her. Ms. Vilma was already the lead star in her very first film, “Trudis Liit”! Incredibly, she was able to successfully dim her megawatt star power to appear inferior in stature to stars like Marian Rivera and Piolo Pascual who were the lead stars of the soap being shot, yet Ms. Vilma still manages to outshine them all. Her most effective scenes had no spoken lines at all. Ms. Cherie Gil was so deliciously campy good in her villainous Doña Beatriz character. Tart Carlos, more popularly known for her role as the ditsy maid Doris on TV’s “Be Careful With My Heart,” has a marked role playing Loida’s friend and co-extra, where her skills in comedy shone. Musical director Vincent de Jesus was very effective as the harried assistant director, scrambling to accomplish all the orders of the impatient director….” – Fred Hawson, ABS-CBN News, 29 July 2013 (READ MORE)
“…From my perspective, I’m not sure if I can now consider this film the parody it’s meant to be, or more of an “exposé” into our real world of soap operas. It reflects many truths of what these extras, or talents, face. I myself, despite my ranting, have softened up to their plight. On one taping day, lo and behold, the first sight that greeted me were some 20 talents sitting on cardboard on the ground, in the heat of the sun, right in front of the main actors’ air conditioned tent. Talk about rubbing the point in. All this for P1,000 a day or P1,500 if you had speaking lines, or if you played a nurse, police or doctor, you get P2,000 because you have to bring your own uniform. A day may mean 28 to 36 hours straight for many of them. I’m fortunate that after decades in the business, I’ve earned a cut-off time of 2 am (which in effect actually helps talents go home earlier, if they’re in my scenes). I realize minimum wage stands at under P500, but these seemingly good talent fees don’t go straight into their pockets. They too have agents or talent suppliers who whittle away their earnings. (Just like we do.) I could be putting myself on a limb here, but I’m going to say it anyway: isn’t it high time we make the working environment in the soap opera world better for all to enjoy the work and find dignity in our choice of profession?…” – Cherie Gil, Rappler 30 March 2013 (READ MORE)
“…the biggest box office hit among the entries is not any of these sex movies but the entry of Gov. Vilma Santos, “Ekstra, The Bit Player”. She didn’t show anything but her acting talent and yet Gov. Vi proves she’s still a top box office drawer. At Trinoma, all the ticket sellers say all of “Ekstra’s” screenings this weekend are sold out in advance. Way to go, Ate Vi! This is not surprising as “Ekstra” is also the best movie she has done in years…” – Showbiz Portal (READ MORE)
“…The irony of Santos, Philippine media’s “Star for All Seasons,” playing a bit player adds to both the film’s hilarity and meaning. It’s almost as if the film is asking this: if seeing someone as respected as Vilma Santos marginalized could only elicit sympathy, what can the people sans Santos’ credentials possibly do to invite empathic thought? The film ended with a question: “Sinong namatay?” It was addressed to Loida but it could possibly be for the audience. It is easy to know who literally dies in a teleserye because it shows it. In real life, those figuratively murdered is silenced to anonymity. What socio-realist films like Ekstra thrive in is lending voice to people and realities made silent. What these films need and have always needed is an audience that will listen. Their taking action is the next best thing.” – Chryssa Celestino, The Lasallian, 4 Aug 2013 (READ MORE)
“…Sa simula pa lang, naipakita na ni Ate Vi ang husay niya sa pag-arte. Pinatawa niya ang audience. Nakiluha rin sa kanya ang mga manonood nang tarayan at pagmumurahin siya ng direktor ng soap sa pelikula (played by Marlon Rivera, last year’s Cinemalaya Best Director for Ang Babae Sa Septic Tank), at nakisimpatiya rin sa kanya ang audience sa eksenang tinadyakan at tinotoo ni Cherie Gil ang pananakit sa kanya. Hindi rin nagpahuli sa akting ang best friend ni Loida (Vilma) na si Venus (played by Tart Carlos na madalas mapanood sa Be Careful with My Heart as yaya). Aliw na aliw ang viewers sa mga punchline na binitiwan niya. Muhusay din ang talent coordinator ng mga ekstra. Magaling din si Vincent de Jesus (bilang AD), Cherie, Pilar Pilapil at iba pang `ekstrang’ katulad nina Marian Rivera, Piolo Pascual at marami pang iba. In short, isa itong ensemble acting. Maganda at maayos ang pagkakasulat ng script na tumuon sa kuwento ng mga taong umeekstraekstra sa mga teleserye. Ang husay ng direksyon ni Direk Jeffrey. Panalo rin ang musical scoring na ginawa rin ni Vincent, nakadadagdag ito sa ganda ng bawat eksena…” – Lito T. Mañago, Balita, 31 July 2013 (READ MORE)
“…What makes the film such a success is the casting coup of having Vilma Santos, one of our true Philippine cinema luminaries, take on the title role of the extra, Loida. Deglamorized to play the role with verisimilitude, Vilma is the centerpiece of a film that realistically shows us the plight of these extras, the people who so often are taken for granted in the industry. It also gives poignant irony when Vilma declaims the lines that critique and poke fun at our star system, and how movies and teleseryes come to life…Co-writing the screenplay with Jeffrey is Antoinette Jadaone, who wrote the other “cinema verite” gem about film extras and bit players, Six Degrees of Separation from Lilia Cuntapay. With the two on board, you know there will be so much insider knowledge, anecdotes and vignettes that will evince, knowing laughter and delicious revelations about the working conditions in our film and TV entertainment industry. There is a rich history both here and abroad of this kind of story — one of my favorites being Dustin Hoffman’s Tootsie. What’s great about Ekstra is how there is no unreal reversal of fortune. Instead, we get so much humor, while the film ends with poignancy that rings true — how at the end of the day, as Loida ruefully remarks early on in the film, if for years she’s been an extra in crowd scenes, she’s now graduated to be an extra for crowd scenes…” – The Philippine Star (READ MORE)
“…Eh talagang hindi dahil karamihan naman sa mga indie film ay puro kahalayan lang ang ipinakikita eh. Tingnan na nga lang ninyo diyan sa katatapos na Cinemalaya kung ano ang usapan? Hindi ba ang pinag-uusapan ay kung ilang artistang lalaki ang ipinakitang nagpapakaligayang mag-isa o may kasama at kung ilang artistang babae ang walang takot ding naghubad? Pero tingnan ninyo, ang sinasabing kumita ay ang Ekstra ni Ate Vi na wala namang ipinakitang kabastusan. Hindi naman kasi gusto ng karamihan sa publiko ang mga pelikulang bastos. Hindi naman likas na bastos ang mga Pilipino. Isa pang sinabi sa amin ni Ate Vi, tinanggap niya ang pelikula dahil naniniwala siya na ang mga pelikulang independent ay kulang nga sa mga star. Umaasa siya noon na kung gagawa nga siya ng isang pelikulang indie, makukumbinsi na rin ang iba pang malalaking artista (iyong kumikita ang mga pelikula ha?) na gumawa na rin ng indie movie para makalaban naman iyon sa mga tunay na pelikula…” – Ed de Leon, Pang-Masa, 6 August 2013 (READ MORE)
“…I was worried coming in that Ekstra was just going to be a less interesting version of 2011’s Six Degrees of Separation from Lilia Cuntapay. It turns out that the fears were unwarranted. The film takes a fairly different approach, following one extra (played by the inimitable Vilma Santos) as she goes through one whole day of being a talent on the set of a popular soap opera. The film is as much about the absurdities that go into the production of one of these shows as it is about its titular subject, spending a good chunk of its time railing against the rampant disregard for any sort of quality on these productions. The film ends up depicting a hierarchy of suffering, with the extras at the bottom rung of a seemingly endless ladder to an unknowable top. The film could probably stand to be a little shorter, perhaps a little more economical in its criticism of the industry. But it’s hard to complain when Jeturian’s satirical instincts are so on point, and Vilma Santos is so affecting…” – Philbert Ortiz Dy, Click The City, 30 July 2013 (READ MORE)
“…It’s a strong theme that is thankfully not spray-painted on the script of Ekstra, but is unmistakably there. Whether we notice it or not, this becomes the overlooked crowd in the background. But if there’s one thing that shouldn’t be overlooked, it’s Santos’ performance. Regardless of your opinion of her as a celebrity or as a politician, Santos remains to be one of the most talented actors in the industry. Ekstra is the kind of Philippine comedy that all other comedies should aspire to be, harnessing great talent with a story that is both thoughtful and entertaining. Hopefully, that kind of sentiment doesn’t fade into the background. The Verdict: Ekstra is an effective Philippine comedy that is not only worthy of the Star for All Seasons, but deserving of movie audiences who want more from their usual slapstick Filipino punchlines…” – Zig Marasigan, Kristn, 14 Aug 2013 (READ MORE)
“…Jeturian effectively keeps the film worth watching from start to end. The witty script features an wide variety of characters that are dedicated, hardworking, diva-ish or self-absorbed. As a film and TV director, he knows his material very well and he does well in presenting the harsh realities of production work in a hilariously dramatic form. His honest depiction of different behind-the-scene situations is both striking and entertaining. He also has tremendous on-screen talents at his disposal. Vilma Santos in the lead makes a great impression, fleshing out an unsung heroine in the very industry where she is now considered a living legend. She succeeds in dimming her megawatt star power to appear properly inferior to the big stars in the story. Interestingly, she manages to outshine them as a lowly main character with great comedic timing and without lapses in pacing and delivery. From energy and excitement to pain and frustration, a gamut of emotions stream across her face…” – Rianne Hill Soriano, Business World, 15 Aug 2013 (READ MORE)
“…Unknown to many, there was a time when Jeturian visited the office of an ad agency to pitch the unpolished gem that was Angel Aquino at the time. Jeturian and Aquino were shown the door. The agency preferred American- and European-looking Filipinas for its beauty product commercials. With the script written by Zig Dulay, Antoinette Jadaone, and Jeturian himself, the director sweetly took his revenge by putting at the center the marginalized bit players and the exploited laborers of the industry. In bravely deglamorizing herself, Santos showed the audience once again what she can accomplish as one of the Philippine’s finest talents, while Ruby Ruiz convincingly and adeptly essayed the role of a talent coordinator, who acts as a “shock absorber” of all harshness inflicted by the studio system on the hapless bit players…” – Ibarra C. Mateo, GMA News, 16 Aug 2013 (READ MORE)
“…We laughed and guffawed at such acting antics, scenes both startling and familiar, stereotypical of TV soaps, with lines we have even come to memorize. But watch out for sly, self-referential moments. When Doris tries to discourage Loida from nursing dreams of eventual stardom, she makes mention of the “typical” talents who make it big in the biz: tall, fair with sharp noses. “But what about Nora Aunor?” asks Loida, to which Doris grants grudging assent. That the line is uttered by Vilma Santos, who for decades has been forced into a running competition against the “Superstar,” is all the more delicious. In fact, Jeturian, in an interview, admits that “Ekstra” could kick-start once more the legendary rivalry between the two. If so, I as a fan of both welcome such a development. As movie audiences we could be in for a rich and satisfying round of out-of-the-box roles for the still-reigning queens of local cinema…” – Rina Jimenez-David, Philippine Daily Inquirer, 19 Aug 2013 (READ MORE)
“…Watching the movie will be like being there on the set as well, feeling the pain and fatigue of the bit player but also enjoying the laughter and the sense of camaraderie that the behind the scenes closeness fosters. Focal to the telling of the story, of course, is none other but Ate Vi. She probably does not give as swashbuckling a performance as she did in, say, ‘Anak.’ That said, Ate Vi is Ate Vi. She is a master in the craft of acting without acting which, in my opinion, makes her among the most gifted and convincing actors in the country…” – Rex Torrecampo Life So Mundane, 16 August 2013 (READ MORE)
“…Told with an eye for the ludicrous excesses and stresses of TV work (one director is tasked with shooting forty set-ups in two days) and the inherently existential comedy of being a stand-in, Jeturian’s film never misses a target. One overly nervous extra loses her dentures during shooting; a neophyte shows up to play a peasant wearing enough makeup to shame RuPaul. At the same time, the film is buoyed with ample affection for the characters’ dreams. After working all day and into the night, the inevitably cheerful Loida is capable of pontificating about the important role the extras play. Skilfully directed by Jeturian, and driven by Santos’ courageous performance and peerless comic timing, The Bit Player is also a kind of tribute to Loida. Even at her lowest point, she never gives up…” – Steve Gravestock, Senior Programmer, TIFF (READ MORE)
“…At the sold-out premiere in Toronto, many in the long lineup awaiting the film’s start were excited to watch it given the critical acclaim at Cinemalaya. Arnold Manalac, a big Santos fan, organized about 20 of his friends to come watch the film. “These are all my college friends, friends here in Toronto, some of my relatives,” he said while pointing out the smiling faces with him, “so we organized and came up with a small group to support this film. The crowd of mostly Filipino-Canadians was abuzz with anticipation, including the very first people in the line, Danny Ong and Ricardo Obusan, who came to support independent Filipino films. Jeturian signed autographs before and after the film’s screening and took questions from the audience. The final showing of Ekstra at TIFF is Sept. 15, but the movie will have a theatrical release in eight Canadian cities including Mississauga and Scarborough from Sept. 13 to 26…” – Dyan Ruiz, The Philippine Reporter, 13 Sept 2013 (READ MORE)
“…The film captures a day in the life of a movies/television soap bit player, Loida Malabanan (played by Santos). It takes off as Loida wakes up early dawn to prepare for another out-of-town shooting for a television drama series as an extra. The film therefore provides a behind-the-scenes look at the travails and the simple joys of Loida and her fellow bit players. Working in an industry dominated by the glamorous and famous, it would seem that bit players have their fair bit of small luxuries, fame and glamour. The movie shatters that impression as it focuses on the sufferings and indignities interspersed with the laughter and friendships of the bit players. In one scene, the bit players have to look for a place to rest in a sun-soaked shooting location and eventually had to share a resting space with a carabao. In another, they literally have to beg for food from a member of the catering crew. The movie is pretty straightforward with no complex subplots, so there were times when I yearned for a sudden twist. I didn’t get what I wanted…Ekstra is really a tribute to the bit players and scoffs at the “system” in the local showbiz industry wherein “star” talents are treated like royalty, while bit players (including those working off-camera such as technicians, custodians, etc) are exploited to the hilt…” – Irish Eden Belleza, Gulf News, 21 September 2013 (READ MORE)
“…In the Directors’ Showcase, Jerrold Tarog’s Sana Dati (literal translation is “Wish It Were Like Before”), swept eight awards, including Best Film and Best Director. Set during a wedding ceremony, a bride disappears to meet her previous true love. Although well crafted and having an interesting premise, I do not think it deserved that many awards. The other real contender in the section was Jeffrey Jeturian’s new film, Ekstra (Bit player), an enjoyable comedy, which paid a sympathetic homage to the shadow “bit players” (or extras) in TV soaps. The film was lifted by the emphatic character of Loida, which was nicely acted by super star Vilma Santos (now Governor of the Batangas province!). Ekstra grabbed the Special Jury prize, Best Actress (Vilma Santos, known as “Ate Vi”), Best Supporting Actress (Ruby Ruiz), and also the Netpac award for that section. The main Jury (Peque Gallaga, Carlitos Siguion Reyna, Ditsi Carolino from the Philippines, Maggie Lee from Hong Kong and Bastian Meiresonne from France) decided not to award the Best Actor prize this year…I have mixed feelings for this edition of Cinemalaya: films were of uneven quality; jury awards were not well distributed. I am glad the Audience awards were given to Ekstra (Directors’ Showcase), Transit (New Breed) and Taya (Shorts). Whatever may happen, Cinemalaya remains the most important cinematic event in the Philippines and all other subsequent festivals are only variations on the format (whether it be Cinema One, Sineng Pambansa, and now Cine Filipino, in September). Let’s just hope that Cinemalaya’s budget will not be shrinking further, as it is the case for many festivals in the world. That would endanger its very existence…” – Max Tessier, NETPAC Bureau, 01 September 2013 (READ MORE)
“…Vilma Santos in her long and illustrious career in cinema has her playing a stripper (BURLESK QUEEN), a dying woman (DAHIL MAHAL KITA, PAHIRAM NG ISANG UMAGA), the other woman (RELASYON), a superhero (DARNA), a freedom fighter (SISTER STELLA L), countless mothers (ANAK, BATA BATA PAANO KA GINAWA, DEKADA ’70, IN MY LIFE) and sometimes even a tormentor (SINASAMBA KITA) yet what Ekstra, her new indie film offers is something we have never seen Vilma do- underacting. The role demands it, and Vilma more than handsomely gives her finest performance as a bit player…As Loida Malabanan, Ate Vi shines even in anonymity. She is supposed to fade into the background, not outshine the “stars” and just do what is assigned her- to be a bit player. But even in the crowd, Ate Vi makes Loida stand out. She gives Loida the bit player enough motivation, and a poignant love for the acting craft that she has forever changed the image of the bit player, in the same way that she redefined the term “mistress” when she did Ishmael Bernal’s Relasyon way back. For the director, the staff and the big stars, Loida is a nobody. But for us, the audience, we recognize Loida’s magnanimity. Watch out for that pivotal scene in the third act where Loida, and us the audience learns the true meaning of ingratitude in the media. Ekstra is Vilma’s movie. We cannot imagine any other actress for her role. At the end of the day, as Loida descends from the jeepney, and prepares to go to bed just about when everyone is supposed to go to work, we feel exhausted. It’s not the physical work that made us tired, but the system of a dog eat dog society…” – Macky Macarayan, Pelikula Pamantasan – PLM Film Society (READ MORE)
“…Vilma Santos, whose star’s premise encompasses age, climate,even time itself, portrays this “extra.” It is time to report that the brilliance has failed. The consistency of her light years has been credited to a vigor whose basis is melodramatic competence. With the genre demolished at primetime, every night of our lives, the actress looks dissipated in the rehearsal, and what she can afford to muster is a middling energy. There was a time when her powers largely depended on this “extra,” which can be derived from the “over-” in her “overacting.” Even without training from the Peking Opera, Santos repeated this shrill technique from one project to another, for the manner somehow worked at the box office. Manner became the mannerism that launched a star most distantiated from the repertoire of an ensemble and the theater of an environment. Ekstra ultimately fails in Santos’s inability to inhabit the supplementation that she has triumphantly supplanted, with total industrial patronage, all these absolutely industrious years. Her “extra” is a “surplus”: a defective product that deserves to be remaindeered. The catatonic performance in last year’s The Healing should have warned us of the affliction in Ekstra. She is never “Loida”; she doesn’t possess the sentimental history to locate the interiority of such victimage. Frame after frame, “Vilma” remains the star who became an actress, by aspiration, then capitalist scheme, and, perhaps, through bureaucratic accident. The only feeling Vilma understands from Loida is despair, having realized that the industry has lost its charms to restore whatever has remained of recognizable talent. We can only hope Santos has known the extent of such violation, with those final eyes of a rather infinite regret…” – J. Pilapil Jacobo, Young Critics Circle Film Desk (READ MORE)
“…Gov. Santos of Batangas province, who stars in Jeffrey Jeturian’s movie Ekstra, won the Best Actress award in the Directors Showcase at the 9th Cinemalaya Awards night held Sunday night. Surprisingly though, no Best Actor Award winner was named. Ekstra also won three other awards including the Best Supporting Actress award for Ruby Ruiz, the Audience Choice award, and the Special Jury Prize. The movie is a socio-realist drama-comedy that follows a seemingly usual day in the life of Loida Malabanan (Vilma Santos) as she embarks on yet another shooting day of a soap opera as an extra. As the shoot goes on, viewers get a glimpse of the truth in the ruling system of the production as well as the exploitation of the marginalized laborers like her…” – Ed Uy, Manila Times, 05 August 2013 (READ MORE)
“…Long vocal about her hesitation to star in an indie movie, Santos had always said she would conquer her fears of trying out the genre given the right script. And yes, Esktra truly got it right. Not only was the Star for All Seasons highly entertained by the amusing yet touching storyline about the travails of a bit player for television—an “ekstra” in showbiz jargon—she was also extremely challenged as an actor to portray the role of Loida Malabanan, and on a much higher level, inspired to pay tribute to the countless and nameless faces she has worked with in the last five decades as a movie star. “Ang pinakamalaking challenge ng role ni Loida Malabanan ay kung kaya ko bang magmukhang at maging isang ekstra sa pelikula,” Santos explained her approach on the Jeffrey Jeturian gem of an indie. “Yun bang hindi ako puwedeng umangat; yung ma-de-glamorize ka na magulo ang buhok mo, ang lalaki ng suot mo; at yung hindi si Vilma Santos ang makita mo kundi isang ekstra…” – Tessa Mauricio-Arriola, Sunday Times Magazine, 10 August 2013 (READ MORE)
“… Anchored by stunning performances from Vilma Santos, Ruby Ruiz, and Marlon Rivera, as well as Jeffrey Jeturian’s compassionate direction, EKSTRA meshes drama and comedy with panache. Vilma Santos always manages to get a very realistic tone to her character, which is quite refreshing. It follows the story of a day in a life of a bit player, Loida Malabanan (Vilma Santos) during the shooting of a popular soap opera. As the shoot progresses, we get a glimpse of how production works, the people ruling it, and how the extras are treated on the set. There are parts that are pretty cliché, but there are also scenes that are fucking flawless. The supporting cast around Santos is amazing including Ruby Ruiz who gives one of her best performances in this film. It has moments of laughter coupled in with drama that explores hope, love and passion, & the hardships of climbing the mountain of both show business & a relationship in a cynical world. The script written by Zig Dulay, Antoinette Jadaone, & Jeffrey Jeturian is absolutely wonderful…” – Chikkaness Avenue, 12 Agosto 2013 (READ MORE)
“…I haven’t come close to seeing everything playing at the St. Louis International Film Festival, but I have seen enough to recommend a few films you might otherwise overlook. One is the Filipino comedy-drama The Bit Player (11/18 Frontenac 4:30 p.m.; 11/20 Frontenac 2:15 p.m.); in fact, the performance of Vilma Santos-Recto alone is reason enough to see this film. Even better, it’s a backstager, offering a look at television production from the point of view of the many underpaid, underappreciated extras who play a vital role in making the programs happen. Santos-Recto is a huge star in her native country (fun fact: she’s also the governor of Batangas province) but perfectly inhabits the life of a middle-aged single mother whose best efforts are required just to stay employed and keep her family afloat…” – Sarah Boslaugh, Playbackstl, 09 Nov 2014 (READ MORE)
“…The TV screening of “Ekstra” heartened Vilma’s fans because it was a bracing departure from her usual starrers. It was strikingly simple and acutely realistic, “daring” to cast her, not as a star, but as a lowly, faceless bit player in the movies. Jeffrey Jeturian’s indie surprised fans with its gutsy decision to cast Vilma in an “everywoman” role that they could fully empathize with. And it delighted TV-film industry insiders even more with its spot-on and satirically “knowing” details about the un-glamorous side of the biz—where extras work for a pittance while waiting for hours and hours for spoiled and overpayed stars to finally deign to show up for their shooting or taping schedules!…It was also such great fun for “real” stars like Piolo Pascual, Marian Rivera, Cherie Gil and Pilar Pilapil to candidly and even ruthlessly spoof themselves and their stellar colleagues, the better to drive home the key and telling point that show biz can be a vicious den of harsh and cruel inequality. “Ekstra” is precisely the kind of film that Vilma should be making at this time in her life, when she’s so busy with other, more political concerns. This way, she can continue to act in at least one significant movie a year, even as she focuses on more nationally “important” pursuits!…” – Nestor U. Torre, Philippine Daily Inquirer, 25 April 2015 (READ MORE)
Star For All Seasons 
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