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A Very Long Rivalry – 1989
Pre-1989 – “…As both Vilma and Nora reaped recognitions from a year full of award-worthy films that some considered, “Golden Year” for both, the coming years would be a test of who can sustain their popularity. Vilma seems to be on a decline after 1984. She only releases two films, the flop, “Doctor, Doctor, We Are Sick” and the smash hit, “Muling Buksan ang Puso.” Meanwhile, Nora Aunor’s career looks promising. She completed five films, mostly dramas, “Beloved” with Hilda Koronel; “I Can’t Stop Loving You” and “Till We Meet Again” with Tirso Cruz III; “Mga Kwento ni Lola Basyang” in a special guest role; “Tinik Sa Dibdib” with Phillip Salvador and Dina Bonnevie. Then in 1986, both Vilma and Nora did four films each. After the golden 1984 where both produced award-worthy films, critics noticed a decline in their next films which were mostly tired-melodramas. Despite this, both Nora and Vilma earned acting nominations, Nora in “I Love You Mama, I Love You Papa” from FAMAS while Vilma’s hit film “Palimos ng Pag-ibig” earned her nominations from Star Awards and FAMAS. The next year, 1987, a slight change of pace, Vilma is now concentrating more on television. She moved her show, VIP to GMA 7 and eventually changed its named to simply, “Vilma!” while Nora struggled with her own television show. It was Vilma who successfully maintained high ratings. Aside from this, she managed to complete four films and even guested on Nora’s produced film “Takot ako, eh!” Vilma’s other films were three dramas, “Ibigay Mo Sa Akin Ang Bukas,” “Saan Nagtatago Ang Pag-ibig?” and “Tagos ng Dugo.” The last two earned her some trophies, including her fourth FAMAS. Meanwhile, Nora released only three films, she also guested in “Takot Ako Eh,” and featured in “My Bugoy Goes to Congress” and the melodrama, “Tatlong Ina, Isang Anak.” Finally, a year before their final showdown, both Vilma and Nora’s career focuses on their television shows. They only managed to complete three films, Nora did the forgettable,”Balut Penoy” and “Sana Mahalin Mo Ako” while Vilma’s only film was “Ibulong Mo Sa Diyos,” a surprised winner in FAMAS and that allowed her to be elevated to their Hall of Fame pedestal. The last year of the decade seems to be the same for both Vilma and Nora, they only produced four films, one for Nora “Bilangin Ang Bituin sa Langit” and three for Vilma, “Imortal,” a festival entry; “Pahiram Ng Isang Umaga,” her last film with Ishmael Bernal and a special guest role in “Rizal Alih, Zamboanga Massacre.” As 1989 ends, Vilma’s career seems more brighter, her TV show are reaching its highest peak. On the film side, her filmfest entry, “Imortal” earned several acting trophies including a best actress trophy for her. Come, 1990 Nora and Vilma found themselves fighting it again mano a mano in the acting derby, Nora for “Bilangin” and Vilma for “Pahiram.”
After the EDSA Revolution – “…A series of unfortunate events seemed to hound Nora’s career up to this point. October 1, 1989 was to be the last airing date of the 22-year-old musical-variety show Superstar on RPN 9. A month later, it was revived on IBC 13 with a new title, “The Legend…Superstar,” but this was short-lived lasting only up to early 1990. Naging mas masuwerte si Vilma Santos sa hinu-host na Vilma! on GMA 7, which started in 1981 as VIP (Vilma in Person) ng lumang BBC 2 (naibalik sa Lopez owners ang ABS-CBN after the EDSA Revolution). Nagbida si Vilma sa isa sa mga pinakaimportanteng pelikula ng Dekada ‘80: Regal Films’ Pahiram Ng Isang Umaga (by Ishmael Bernal), na sinimulan in 1988 at ipinalabas in early 1989. In December 1989, Vilma headlined a period romance-drama (Viva Films’ Imortal, megged by Eddie Garcia) at nanalo sila ng kaparehang si Christopher de Leon ng acting plums sa MMFF. Sa awardings for that year, si Vilma ang nanalong Best Actress sa Star Awards (for Pahiram), her first form the Philippine Movie Press Club. ‘Kumpletung-kumpleto na ang career ko!” nasabi ni Vilma as she accepted her trophy. Later, it was Nora’s turn to get a Best Actress trophy for the first time from the Film Academy of the Philippines, for Elwood Perez’s three-year-in-the-making Bilangin Ang Bituin Sa Langit. ‘Kumpletung-kumpleto na ang career ko!” sabi rin niya in her acceptance speech. Na-elevate si Vilma sa FAMAS Hall of Fame, for having bagged five Best Actress statuettes: Dama de Noche, Pakawalan Mo Ako, Relasyon, Tagos ng Dugo, and Elwood Perez’s Ibulong Mo Sa Diyos. Nora won her fourth Best Actress plum sa FAMAS, also for Bilangin. Walang itulak-kabigin sa dalawa, kaya marapat lang na mag-tie sila for Best Actress, as in the 1990 Gawad Urian, na ‘pantay na parangal ”ang ipinagkaloob ng Manunuri kina Nora (for Bilangin Ang Bituin Sa Langit) at Vilma (for Pahiram Ng Isang Umaga)…” – William Reyes (READ MORE)
Nora Aunor’s Films (1): (Bilangin Ang Bituin sa Langit) – Nora’s only film directed by Elwood Perez and with perennial love team Tirso Cruz III turned out to be a big hit.
Vilma Santos’ Films (3): (Imortal; Pahiram Ng Isang Umaga; Rizal Alih, Zamboanga Massacre) – Like Nora’s sole film, Vilma’s three films were all a commercially success.
Nora Aunor’s 1989 acting recognition (4) – Best Actress from FAMAS; FAP; URIAN and a nomination from Star Awards, all for “Bilangin Ang Bituin sa Langit.”
Vilma Santos’ 1989 acting recognition (5) – Best Actress from Metro Manila Film Festival and Channel 2 Viewers Choice for “Imortal;” Best Actress from URIAN; Star Awards; and nomination from Film Academy of the Philippines, all for “Pahiram Ng Isang Umaga.”
Complex Transformation – “…Tirso Cruz III, never known for Great Moments in Acting, does have his moments here. The very idea that he is not overshadowed by his blinding co-star speaks well of his talent as well as of his rapport with his perennial screen partner. But “Bilangin” is clearly a Nora Aunor vehicle. The actress is in almost every frame of the movie, showcasing her awesome talent and exhibiting gradations of emotions, sad and pathetic, one moment, flippant and impetuous the next; loving and pleading now, then seething and raging like a woman scorned. Not only does she essay the complex transformation of a woman in a time period spanning her mid-teens to middle age. She also plays dual roles, those of Magnolia, a strong and determined woman, and her youthful, exuberant daughter. This was the same theme which the recent trashy “bold” picture, “Virginia P.,” aspired to dramatize, but failed, because, in that other movie, not only slapdash effort was visible; the filmmakers could not contain their contempt for the audience. In an accident in which her husband (Miguel Rodriguez) falls from a horse carrying a baby, the man dies but the tot miraculously survives…” – Mario A. Hernando, Malaya, 1989 (READ MORE)
Another Blockbuster – “…Topping Vilma Santos’ showbiz career for 1988 was her winning the “best tv host” title and her tv program Vilma as the best musical variety show from the Star Awards of the Philippine Movie Press Club. Vilma is a constant top rater. Nobody can question the result of the survey for its popularity, because everybody could see the glitter of the show with all the grand seting, artistic costumes, and selected celebrities as guests plus Santos’ vibrance, enthusiasm and untiring efforts in entertaining her audience. The actress is meticulous even in the selection of the color scheme of her costumes. For 1989, Santos promises a much better show for Vilma with more expensive props, more interesting musical numbers and some attractive numbers and novelties to render it a delightful viewing. The actress is now resuming shooting of Pahiram ng Isang Umaga which did not make it at the recently concluded Metro Manila Film Festival due to certain delays, like Ibulong Mo sa Diyos her current movie Pahiram… is supposed to be Regal Films’s first main attraction for 1989. Some of the scenes were filmed in the virgin forest of Botolan, Zambales. The serenity of the rustic place enabled the actress to re-evaluate her life before the New Year sets in. Santos has Gabby Concepcion and Eric Quizon for leading men in the movie. Quizon has admitted that so far this is his most challenging role in his entire movie career. The drama flick is expected to be another blockbuster and will reap acting honors for the actress. She is back with Ishmael Bernal in this movie, the same director who made possible her bagging all the best actress awards in 1982 for the movie Relasyon…” – Eddie O. Libo-on, Manila Standard, Jan 9, 1989 (READ MORE)
Post-1989 – The following year, Vilma and Nora battled it out in several acting award contests. Vilma was elevated to the FAMAS Hall of Fame making her ineligible to compete with Nora. With this, Nora won her fifth trophy, making her elegible for the Hall of Fame next year. There’s “First” in both Vi and Guy, Vilma’s Star Award best actress was her first from the PMPC while Nora’s Luna Award was her first academy award. At the URIAN, they tied as their best actress. When the award seasons ends, Nora and Vilma completed and releases three films, Nora Aunor released the much-loved, “Andrea, Paano ba ang Maging Isang Ina” while Vilma tapped A-1 list directors, Lino Brocka for “Hahamakin Lahat” and Laurice Guillen for “Kapag Langit Ang Humatol.” It was a repeat in 1991, Vilma and Nora remained prominent in the acting contest, with Nora taking a landslide advantage for “Andrea…,” winning nine nods while Vilma recieved only four nominations. Then the next year, it was almost an even outcome for both, Nora’s “Ang Totoong Buhay ni Pacita M.” earned her seven recognitions, six wins and a nomination from URIAN. The Urian award went to Vilma for “Ipagpatawad Mo.” She also recieved several nominations. The following year, Nora did not complete any film while Vilma releases “Sinungaling Mong Puso,” an acting triumph for co-star, Aga Muhlach. She also appeared in cameo role in fantasy festival film “Engkanto.” In 1993, both Nora and Vilma releases two films each. Nora did the forgettable “Inay” and tired “Ligaw-ligawan, Kasal-kasalan, Bahay-bahayan.” Vilma was more successful with the socially relevant AIDS film, “Dahil Mahal Kita, The Dolzura Cortez Story” and her first Chito Rono film and the smash hit, “Ikaw Lang.”
The next year, Vilma Santos earned more trophies (seven best actress awards and two nominations) while Nora received a lifetime achievement at FAP and her sole acting trophy for “Inay” from the Young Critics Circle. Then in 1994 Vilma followed the massacre trend with “Lipa: Arandia Massacre,” a big hit and the forgettables, “Nag-iisang Bituin” and “Relaks ka Lang, Sagot Kita.” Theres no Nora movie in 1994. Her big screen absence were a blessing because the following year, she released two hit films, “Muling Umawit ang Puso” and “The Flor Contemplacion Story.” Theres No Vilma movie in 1995. As Nora Aunor reaped the rewards of the previous year, she won eight trophies plus international recognition, she released the critically acclaimed “Bakit May Kahapon Pa?” while Vilma teamed up for the last time with FPJ as her comeback movie after her absence in the forgettable and flop movie, “Ikaw Ang Mahal Ko.” The next year, Nora Aunor releases two film. She teamed up with Judy Ann Santos in the disappointing film, “Babae” and much more disappointing, “Mama Dito sa Aking Puso.” If 1997 was a big disappointment for Nora, Vilma also has a film slump, her only film, “Hanggang Ngayon Ika’y Minamahal” with perennial love-team, Christopher de Leon was a big disappointment too. There is no Nora movie the following year, while Vilma finally came-up with a more serious project, Lualhati Bautista’s “Bata, Bata…Paano Ka Ginawa?” and gamely appeared in a cameo role in “Ang erpat kong Astig.”
The following year, Vilma reaped more acting trophies plus international recognition for “Bata, bata…” and at the same time, becoming more like a seasoned politician as she entered politics during the last few years of this decade. For Nora, 1999 started her becoming the darling of indie films, she released “Sidhi” co-starring with Albert Martinez. While there is no Vilma movie in 1999, the coming of new millennium turned out to be a lucky year for her. She did “Anak” with Claudine Barretto, a record-breaking film of year. It was clear by this time that Nora Aunor’s film career is on decline, there is no film for her in the next three years. If Nora’s film career is on decline, it seems like Vilma’s film career is experiencing the same but her camp explained, due to her tight schedule as politician, her tight schedule doesn’t allowed her to do film projects. On occasion she find time to do special one, in 2002, she entered the local festival via Chito Rono’s in “Dekada 70,” in another Lualhati Bautista novel. Her rare film excursion were fruitful as she earned nine acting trophies and another international recognition in 2003. Despite this, there’s no more new film for her and also for Nora. The following year, their fans rejoice as both came up with a respectable projects, an indie film for Nora and a commercial mainstream film for Vilma. Perhaps a final showdown is brewing?
Related Reading:
The Classic Vilma Santos Movies
1. RELASYON (1982) – “Vilma Santos represents womanhood in the film…Santos portrays a mistress who is an out-and-out martir. She serves De Leon hand and foot, ministering to his every need, including fetching beer for him, washing his clothes, serving as his shoulder to cry on, even baby-sitting his child. In return, all she gets from De Leon is chauvinistic love, void of tenderness, full of immature aggressiveness… Vilma Santos’ acting is adequate and extraordinary…” – Isagani Cruz, Parade 01 July 1982.
“Vilma Santos confidently showed she felt the character she was portraying. Her depiction of feelings and emotions easily involve the viewers to share in her conflicts and joys. In this film, she has peeled-off apprehensions in her acting. Christopher de Leon has also been supportive in emphasizing the characterization of Marilou. He suitably complements Vilma’s acting.” – Lawrence delos Trinos, Star Monthly 10 July 1982
”Vilma Santos holds the first ace on acting this year with her terrific performance in Relasyon – the range is wide, the insight deep, hardly a false note in the entire performance – she was always in control, even when she seemed totally lost in her role…basta magaling si Vilma, tapos!“ – Ador Cs Tariman
FACTS: Vilma Santos’s first best actress grand slam win.
FICTION: Vilma Santos’ wins can be attributed to her connection to Imelda Marcos. (That’s absurd.)
2. BURLESK QUEEN (1977) – “…naiiba ang Burlesk Queen, kahit ikumpara sa mga naunang trabaho ni Celso at sa iba pang direktor na nagtangkang tumalakay sa paksang ito. Matagal-tagal na rin namang nauso ang kaputahan sa pelikula, pero walang nakapagbigay ng katarungan sa lahi ni Eba bilang Pilipina at bilang puta… para kay Celso…ang tao ay hindi basta maghuhubad at magtatalik. Maraming pangyayari sa buhay ang dapat munang linawin at unawain, at iyon ang basehan ng kasaysayan.” – Jun Cruz Reyes, MPP, Manila magazine Dec 1977
“(about the hospital scense with Vilma and Leopoldo Salcedo) Tuloy-tuloy ‘yun. nag-experiment ako noong una, kumuha ako ng second take, pero di ko na rin tinapos. Perfect na iyong una. Alam mo bang nang gawin namin ang eksenang iyon tatlo kaming umiiyak sa set? Ako, si Vilma, at si Leopoldo? Dalang-dala si Leopoldo sa pagsasalita ni Vilma, lumuha siya kahit patay siya dapat doon. Buti na lang di siya nakuha ng kamera…(Kung Nahirapan ka ba kay Vilma?) …Oo, hindi sa acting dahil mahusay talaga siya kundi sa scheduling. Alam mo kasi it takes time before I can really get into the mood of a picture, mga two weeks, tapos kapag nandiyan na, that’s the stage when I’m ready to give my life to the project. Tapos biglang walang shooting ng two weeks dahil busy siya sa ibang pelikula…” – Ricardo Lee, Manila magazine Dec. 1977
FACTS: The film won 10 out of 13 Awards at the 1977 Metro Manila film festival including Best Actress for Vilma Santos.
FICTION: All of the awards that’s been given to the film has been given back due to the investigation that the verdict were rigged. (Up to this date, Vilma still has her medal and award.)
3. RUBIA SERVIOS (1978) – “The second rape scene in “Rubia Servios” which stars Vilma Santos, is reminiscent of the rape scene in “Santiago”, shown in 1970. Instead of Caridad Sanchez as the wife who is assaulted in full view of husband Mario O’Hara, it has Vilma Santos and Mat Ranillo III. This coincidence is not surprising since Brocka also directed Santiago, and O’Hara, who has since graduated from supporting roles, is the scriptwriter for “Rubia Servios”. Vilma does not expose much skin and Philip Salvador (as the attacker) has his pants on, but the scene could well be one of the most realistic rape scenes on screen in a long, long time. The anguish in Vilma’s face and the lust in philip’s eyes blended so well the effect was dramatic rather than sensual. The real climax of the film, however, is the killing of Philip by Vilma with a paddle aboard a motorboat at sea. Lino Brocka, who directs Vilma for the first time, succeeded in muffling her sobs even in the most hysterical moments. To our mind, “Rubia Servios” is geared towards mature audiences. It is engrossing despite the lack of fancy camera shots and an almost chronological presentation.” – Ricky Lo
FACTS: Vilma Santos lost The Best Performer Award in this 1978 Metro Manila Film Festival to rival Nora Aunor. Admittedly, this was the most painful lost she experienced in her whole career. With its “For Adults Only rating” in consideration, the film still managed to end up as one of the Festival’s top grosser.
FICTION: Vilma committed suicide after her lost, luckily Manay Ichu, her Rubia Servios producer came and rescued her. (Both Manay Ichu and Vilma managed to get drunk but Vilma did not commit suicide.)
4. DOLZURA CORTEZ (1993) – Dahil Mahal Kita (Because I Love You): The Dolzura Cortez Story 1994, This Philippine drama chronicles the colorful life of Dolzura Cortez, the first publicly recognized AIDS patient in the Philippines. The film begins with a brief examination of Cortez’s pre-AIDS life. Initially she lived in a small village with her cruel husband and three kids. The spunky woman leaves them and moves to the big city where she engages in several affairs. Her second marriage to a rich foreigner does not last long. To support her children, Dolly begins an all woman “contract worker” agency. This also serves to facilitate her love of night-life. Tragedy comes to Dolzura after she collapses on a dance floor one night and learns that she has full-blown AIDS. At a Manila hospital she meets ex-lover Paulo, an AIDS researcher who encourages to tell her story publicly. The courageous woman does and she becomes instrumental in spreading AIDS awareness to the islands. – Sandra Brennan, The New York Times
“Still bearing activist weight is Vilma’s effort in Laurice Guillen’s Dahil Mahal Kita: The Dolzura Cortez Story in which she fleshes out a body and a mind for a person with AIDS. This initiative constitutes an advocacy not only for people afflicted with the dreaded pandemic, but also for women who have to overcome strata of ostracism in the process of survival and resist their being reduced to an aberration, in this case, a pathology.” – Patrick Flores, Manila Standard Today Jan 11, 2003
FACTS: Vilma Santos’ earned her 2nd Best Actress grand slam wins.
FICTION: Dolzura Cortez wanted Nora Aunor to play herself in this film. Aunor declined. (No. No. No. That’s the most ridiculous thing I have ever heard – Simon Cowell from AI)
5. PAHIRAM NG ISANG UMAGA (1989) – “…a striking part of the movie (was when), Juliet watching intently as morticians work on her father’s remains, as everyone weeps when the coffin is lowered to its final resting place, and during the ritualistic pasiyam, the nine-day novena for the dead. It’s as though Juliet can see herself in her father’s lifeless body while mourners mill around it. The attempts to raise the level of the melodrama and present insights on life and death provide the movie its greatest strength – and wide appeal. How strangely ironic that a movie dealing with death could have so much life.” – Mario Hernando, Malaya 05 March 1989
“…Vi goes to the kitchen to prepare breakfast at habang nagbabati siya ng itlog, doon pa lang ipinakitang una siyang nag-breakdown. And this is shown nang nakatalikod siya sa camera. No overly ornate kind of emoting na akting na akting ang dating. Pero damang-dama mo pa rin…she becomes the part (lalo na sa eksena nila ni Gabby Concepcion sa simbahan na binalikan nila kung paano sila nagkasira), and if you notice that she is good, well, salamat po…Sa second viewing ng movie namin lalong napansin ang subtle nuances ng performance ni Vi, up to her death scene which confirms our supposition that the movie is not really so much about death than a celebration of life..’yan ang opinion namin…” – Mario Bautista
FACTS: Vilma Santos won her first PMPC Star Awards Best Actress.
FICTION: Mario Bautista fought hard to make sure Nora Aunor won the Star Awards. (It was actually the opposite!)
6. LIPAD, DARNA, LIPAD (1973) – “the quintessential actionfantasy Pinoy flick that appeals to all ages, from generation to generation. This movie is a major milestone for Vilma because it proved that she could really carry a solo movie and bring in the dough (up to now of course!). Vilma’s Darna franchise is the most memorable and successful of all Pinoy fantasy-action genre. Imitated but never equalled, Vilma’s Darna lives on. Unforgettable. Memorable. It grows on you. No Pinoy kid ever grows up without being a part of the Darna magic. Vilma, practically flew at the top of the box office in Sine Pilipino’s trend setting trilogy “Lipad, Darna, Lipad!” Many fans consider Lipad, Darna, Lipad, as one of the most entertaining Darna movies ever. After all, who could forget that climactic aerial battle scene between Darna and the Impakta (Gloria Romero)? That shot of Romero impaled in a giant crucifix ensconced on top of a church tops any gory scene in The Omen. The enormous success of Lipad, Darna, Lipad led to three more Darna movies with Vilma Santos. As a result, the star for all seasons became the star for all Darnas—Santos played her four times, more than any other actress in the superheroine’s history. “Lipad, Darna, Lipad!” were divided into three separate segments, directed by three different directors. In Darna’s case, the three directors were Maning Borlaza, Joey Goesiengfao, and Elwood Perez—three names that promised an adventure that could do Andy Warhol proud.” – Eric Cueto
FACTS: Lipad Darna Lipad broke all box office records and made Vilma as the most successful Darna to date.
FICTION: Vilma was immediately wanted to wear the two-piece sexy Darna cutomes. (Vilma wore skin coloured suit on top of the Darna custom but after some people who works for TIIP and her entourage convinced her that it looks tacky, she agreed to wear the custom without it.)
7. ANAK (2000) – “Living complex emotions with subtlety and humor, pic resists melodrama until the dam abruptly burst after 90 minutes; ill judged pileup of crying scenes, plot crises and more crying ensues…That’s too bad, since early reels observe parent-child relationships with considerable delicacy… veteran local star Santos is in fine form, while barretto lends impressive shading to what might have been a stock sexy “bad girl” role…” -Dennis Harvey, Variety Magazine 19 March 2001
“The slick production is turned into art by its star Vilma Santos. Her magnetic star quality makes her look so wrong for the part and yet she makes it all her own. She’s a natural comedianne and a great tragedienne-her look of resignation is heartbreaking. Vilma discards the glittering clothes and make-up for Anak, but she still looks youthful. It wouldn’t come as a surprise if the sensitive young actor playing her son would go on to play her leading man a few years from now.” – Dennis Ladaw
FACTS: Official Philippine Entry to the 73rd Academy Awards Best Foreign Film. Anak grosses 14 Million Pesos, a record breaking for a Filipino film!
FICTION: Vilma can’t portray a poverty stricken maid or “atsay” role, that role only suited Nora! (Tell that to the marines!)
8. SISTER STELLA L. (1984) – “…For a heart-warming film, the entire cast deserves congratulations, particularly Vilma Santos who reveals another aspect of her multi-faceted talent. From her usual soft and sweet romantic roles, she can be transformed into a strong and militant woman without losing any of her charm and beauty. Jay Ilagan, Tony Santos, Anita Linda and Liza Lorena are also in their best form. Mike de Leon as director, Jose F. Lacaba as scriptwriter are likewise to be congratulated for making a truly human film and for contributing to the cause of workers for justice and of the religious for the recognition of their social role. Not to be overlooked is the producer Lily Monteverde of Regal Films who has this time shifted from puerile erotic dramas to make a courageous film for which she will always be well remembered.” – Alice G. Guillermo, Who Magazine 30 May 1984
“…De Leon’s film was to have had special screenings, on the unanimous request of the Cannes’ board of critics. Sister Stella L., however, suffered from the rush of subtitling work that descended upon Cannes’ select group of translators and De Leon opted not to show the film without subtitles. He nevertheless had the distinct honor of holding a retrospective under the sponsorship of the French Cinematheque right after the festival. The film eventually competed at the Venice Film Festival. Under its original title Sangandaan (Crossroads), Sister Stella L. was invited to the Venice Film Festival in 1984, the second Filipino film (after Genghis Khan in 1951) to be honored with such recognition.” – Agustin L. Sotto, Pet Cleto, Philippine Panorama 02 December 1984
FACTS: Vilma Santos admittedly confessed SSL was a flop at the box office.
FICTION: Vilma was overshadowed by the supporting cast of this film. (The Urian critics disagreed! They gave Vilma, her third consecutive best actress! Hah! Beat that!)
9. DEKADA 70 (2002) – “Santos’ Amanda effortlessly and movingly chronicles the changed consciousness of the family and the country, with understatement her most reliable tool. Pic begins and ends with images of Santos at the forefront of a political demonstration, and nothing, from first image to last, for 128 minutes, is allowed to spontaneously or slyly deviate from the logic of her consciousness-raising.” – Ronnie Scheib, Variety Magazine “Last seen in ANAK (SFIAAFF ‘01), Vilma Santos delivers an understated, profoundly moving performance as the matriarch whose awakening redefines the traditional mother and wife role she donned for years. This is the story of an incredible character that survived an unforgettable decade.” – Michael Magnaye, The 22nd San Fransisco Asian-American Film Festival 2004
“As Amanda, Vilma Santos shows again why Brocka, before he died, had likened her to water. “She can register anything,” he said. In “Dekada”, its the same Santos of vigor and transparency. The only difference is the depth, the resonance, and the greater confidence. Can she ever go wrong?” – Lito B. Zulueta, Philippine Daily Inquirer 30 December 2002
FACTS: Vilma Santos’ 4th Grand Slam wins for Best Actresses. The film was exhibited in last year’s “Cinema of the world” section at Cannes. Philippines’ Official Entry at the 76th Academy Awards Best Foreign Language Film. Vilma’s 4th Grandslam Best Actress wins.
FICTION: Dekasa 70 was written by Lualhati Bautista for Nora Aunor.
10. BATA BATA PAANO KA GINAWA? (1998) – “Sa tingin ko, sa Bata, Bata… pinakamagaling si Vilma Santos. Sa dami ng kanyang award, may ibubuga pa pala siya. Iba ang akting niya rito…Halatang feel na feel ni Vilma Santos ang kanyang papel dahil, gaya ng karakter ni Lea Bustamante, dalawa ang anak ni Vilma sa magkaibang lalake.” – Marra Pl. Lanot, Diario Uno 16 Sept. 1998
”And Vilma Santosis more than up to the challenge. Gone are the hysterically flapping hands, the melodramatic emoting, all the trademark acting tics. In their place is a heartfelt performance that distills Lea’s essence to an exquisite point-no movements are wasted, no gestures are overwrought. …Vilma rolls them on her tongue like the finest wine; when Lea is on the verge of breaking down, Vilma remains true to the spirit of her character… If the Lipa City mayor decides never to do another movie again, she can retire assured that her last performance-in a career already studded with formidable portrayals-may conceivably have been her best.” – Andrew E. Pardes, Manila Times 13 Sept 1998
FACT: Opening gross was 5.2 million pesos. Another record breaking for Vilma. The film earned her a third grandslam best actress wins and her very first international recognition, winning the Brussel International film festival’s best actress award.
FICTION: The film was offered to Nora Aunor
Cory Aquino (Videos)
No Other Actress – “…Naibahagi rin ni Kris na kinausap na siya ni ABS-CBN president Charo-Santos Concio sa planong isapelikula ang buhay ni Tita Cory na ipo-prodyus naman ng Star Cinema. “Nung binanggit sa akin ni Ma’m Charo if we would be interested—the family—to have Ate Vi portray mom in a movie that Star Cinema is interested to produce, I immediately asked my sisters and they said they could not think of any other actress but Vilma Santos to portray mom,” pahayag ni Kris sa The Buzz. “Pero as it is, wala pa namang final pero syempre malaking bagay para sa pamilya namin na Vilma Santos is Vilma Santos. We really feel she can give justice.” Nakiusap naman si Kris na sana naman ay hindi magdulot ng hidwaan ang pagpili kung sino ang gaganap sa papel ng kanyang mga magulang sa gagawing mga pelikula. “Sana hindi magkaroon ng gulo or any alitan kung sino dapat ang maging Ninoy o maging Cory. Let’s just wait. And I think the rights belong to our family naman kung sino ang pipiliin namin or kung sino man talaga ang maglalatag ng magandang storya. Bigyan kami ng pagkakataon to listen to everybody,” pakiusap ni Kris….” – Push, 24 Aug 2009 (READ MORE)
Maria Corazon Sumulong “Cory” Cojuangco-Aquino (January 25, 1933 – August 1, 2009) was the 11th President of the Philippines, the first woman to hold that office, and the first female president in Asia. She led the 1986 People Power Revolution, which toppled Ferdinand Marcos and restored democracy in the Philippines. She was named “Woman of the Year” in 1986 by Time magazine. A self-proclaimed “plain housewife,” Aquino was married to Senator Benigno Aquino, Jr., the staunchest critic of then President Ferdinand Marcos. After her husband’s assassination on August 21, 1983, upon returning to the Philippines after four years in exile in the United States, Corazon Aquino emerged as the leader of the opposition against the Marcos administration. In late 1985, when President Marcos called for a snap election, Aquino ran for president with former senator Salvador Laurel as her vice-presidential running mate. After the elections were held on February 7, 1986, and the Batasang Pambansa proclaimed Marcos the winner in the elections, she called for massive civil disobedience protests, declaring herself as having been cheated and as the real winner in the elections. Filipinos enthusiastically heeded her call and rallied behind her. These events eventually led to the ousting of Marcos and the installation of Aquino as President of the Philippines on February 25, 1986 through the “People Power Revolution.” As President, Aquino oversaw the promulgation of a new constitution, which limited the powers of the presidency and established a bicameral legislature. Her administration gave strong emphasis and concern for civil liberties and human rights, and peace talks with communist insurgents and Muslim secessionists. Aquino’s economic policies centered on bringing back economic health and confidence and focused on creating a market-oriented and socially responsible economy. Aquino’s administration also faced a series of coup attempts and destructive natural calamities and disasters until the end of her term in 1992. Succeeded by Fidel V. Ramos as President in 1992, Aquino returned to private life although she remained active in the public eye, often voicing her views and opinions on the pressing political issues. In 2008, Aquino was diagnosed with colon cancer from which she died on August 1, 2009. Her son Benigno Aquino III was elected president and was sworn in on June 30, 2010. – Wikipedia (READ MORE)
Related Reading:
- Time Woman of the Year: Corazon “Cory” Aquino
- NYTimes obituary
- President Aquino in Time Magazine’s Year ender
- Cory Aquino
- The Playful Revolution: Theatre and Liberation in Asia
- Death and funeral of Corazon Aquino
- Cory Aquino–sinner or saint?
- Cory Aquino’s betrayal of ‘People Power’
- Vilma Santos prioritizes public service over Cory Aquino movie (Repost)
- President Cory Aquino (Video)
- President Cory’s historic speech before the U.S. Congress (Video)
- Kris remembers mom Cory on 80th birthday
58 Lessons in Life: Let It Vi!
If I were to write the biography of Batangas Gov. Vilma Santos, I would open it when she was around 14, a period when a girl is deemed too old for dolls but too young for guys.
I was barely out of college then and Vilma was in her bobby socks stage. I fetched her and her mom, Milagros Santos (now into her mid-80s), from Torres Auto Supply on España St., Sampaloc, Manila, and we took a taxi to Manila Times office on Florentino St. in Sta. Cruz, Manila. Vilma was going to be featured on the cover of Variety, one of the then No. 1 broadsheet’s Sunday magazines, and I was tasked to do the cover story.
She was in that awkward stage, too old for tearjerker kiddie roles such as those in Trudis Liit and Ging that propelled her to child stardom and too young for adolescent roles that she would be doing shortly, such as those saccharine flicks that she did with Edgar Mortiz in the Vi-Bobot era that pitted them against the Guy & Pip tandem of Nora Aunor and Tirso Cruz III.
She’s called a Star For All Seasons for a good reason: She has successfully navigated the dangerous waters from being a matinee idol to a serious actress, paving the way for those in her league to go “daring” via her award-winning portrayal as the title role in Celso Ad. Castillo’s landmark movie Burlesk Queen. From then on, Vilma (who will forever be simply Vi to her family, fans and friends) successfully ventured into other fields, including doing an album that has become some kind of a “classic” that is a perfect soundtrack for a workout (try it!). She reaped awards along the way.
The bio will discuss how she manages to play to the hilt her real-life triple roles — in this order — family woman (wife to Sen. Ralph Recto and mother to Lucky/Luis and Ryan Christian), public servant (beautifully wrapping up three terms as Lipa City Mayor before becoming the province’s governor) and actress par excellence (she’s shooting The Healing for Star Cinema, directed by Chito Roño).
Of course, several chapters will be devoted to Vi’s colorful love life, punctuated by episodes of her running away from home with a leading man and holing herself up for days at a five-star hotel. If made into a movie, Vi’s love life will require several (a dozen?) leading men but there should be a “disclaimer” to the effect that it’s a “fictionized true story” lawsuits that may be filed by some of the men most of whom are now happily married.”
And how will the bio end?
It will be a cliff-hanger because the life of Vi is like an extended teleserye with subplots cropping up at every twist and turn. But it will hopefully have a happily-ever-after ending like a fairy tale that Vi’s life is likened to.
Anyway, before that tell-all biography, let’s ask Vi what lessons she has learned as she celebrated her 58th birthday last Nov. 3, taking time out for her annual family vacation, this time on an Asian jaunt kicked off by a weekend in Phuket, Thailand.
Vi herself made the list in her own handwriting, using her left hand, she being kaliwete.
01. Pray for guidance.
02. Respect the opinion of others.
03. Sing and dance.
04. Forgive and forget.
05. Drive.
06. Exercise.
07. Apply my own make-up.
08. Dress up properly.
09. Drink (socially) occasionally.
10. Be patient.
11. Work with dedication.
12. Respect colleagues in the movie industry and politics.
13. Talk with sense.
14. Make friends.
15. Appreciate good deeds.
16. Trust people who are trustworthy.
17. Share my blessings.
18. Wake up early.
19. Speak with responsibility in public.
20. Deal properly with my constituents.
21. Understand the problems of other people.
22. Be a liberated mother to my sons.
23. Be a good (not necessarily a model) wife.
24. Give priority to my family.
25. Budget household expenses.
26. Spend less than what I earn.
27. Manage my own finances.
28. Pay my taxes on time.
29. Appreciate the love and support of all my fans (the Vilmanians).
30. Extend a helping hand to people in need.
31. Be more humble.
32. Appreciate CNN (World News).
33. Be considerate of the feelings of other people.
34. Treasure true and real friends.
35. Respect my subordinates and treat them fairly.
36. Try to live up to advances in technology.
37. Accept my mistakes.
38. Run a local government.
39. Hone my craft.
40. Honor my commitments.
41. Love my career as an actress.
42. Respect my position as a public servant.
43. Be tough in facing challenges.
44. Not to disappoint people who give me their trust.
45. Choose my battles.
46. Love my enemies.
47. Eat healthy food.
48. Not to underestimate children.
49. Spend money wisely.
50. Always keep an open eye.
51. Not to hesitate to ask questions when I don’t understand the issues.
52. Read more books.
53. That health is wealth.
54. Be a nature lover.
55. Waste segregation.
56. Pay attention to constructive criticism.
57. Express gratitude to whoever, whatever and however minor the things are said about or done to and for me.
58. Say a never-ending “Thank you, Lord!” for all the blessings. (E-mail reactions at entphilstar@yahoo.com. You may also send your questions to askrickylo@gmail.com. For more updates, photos and videos visit http://www.philstar.com/funfare.) – Ricky Lo, The Philippine Star (READ MORE)
Anak (soundtracks from the movie)
| Track | Anak (Various artists) |
| 01 | Anak – Gary Valenciano |
| 02 | Ugoy Ng Duyan – Claudine Baretto |
| 03 | Bato Sa Buhangin (Movie Version) – Joel Torre, Vilma Santos |
| 04 | If I Could – Jamie Rivera |
| 05 | Dear Mama – Shaina Magdayao |
| 06 | Mama – Ala |
| 07 | Bato Sa Buhangin – Jeffrey Hidalgo, Tintin Arnaldo |
| 08 | Awit Kay Inay – Carol Banawa |
| 09 | Minamahal Kita – Gilbert Golez |
| 10 | Sa Piling Ni Nanay – Claudine Baretto |
| 11 | O Aking Inay – Teenhearts |
| 12 | Hirap – Orland Nuevo |
| 13 | Mahal Kita Inay – Jamie Rivera, Shaina Magdayao |
| Tracks | Credits |
| “Anak” | Composed and Written by Freddie Aguilar Performed by Sharon Cuneta |
| “Bato sa Buhangin” | Music by Ernani Cuenco Lyrics by Snaffu Rigor Published by BMG Music Publishing Ltd. Arranged by Ruth Bagalay Performed by Vilma Santos, Joel Torre and Hazel Ann Mendoza (Used with permission) |
| “Manila, Manila” | Music by Dennis Garcia and Rene Garcia Arranged by Arnel Sevilla Performed by Vilma Santos, Amy Austria and Cherry Pie Picache (Used with permission) |
| “Anak” | Composed and Written by Freddie Aguilar Used with permission from Bayanihan Music Philippines, Inc. Master Recording from Vicor Music Corporation |
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)
Vilma S. Meet the Real Sister Stella L.
Those who have seen “Sister Stella L.” in its various previews and premieres nights are one the same in their opinion: it is indeed Vilma Santos’ best screen portrayal in the history of her long moive career! Si Vilma mismo ay inamin sa amin ito: “It is a once-in-a-lifetime movie role na talagang puedeng ipagmalaki ng kahit na sinong artista. Ang tagal bago tuluyang naisapelikula at natapos ang “Sister Stella L.” pero talagang mula nang ialok sa akin ‘yan, hindi na naalis sa isip ko. Kung kani-kaninong producer na nga inalok ‘yan. Like sa Viva noon na akala ko’y matutuloy na, pero hindi pa rin pala. Kaya’t kahit anong pelikula ang ginagawa ko noon, at the back of my mind, talagang nakareserba pa rin ang “Sister Stella L.” Itinatabi ko talaga ko ‘yan. Parang dream role na lagi kong binabalik-balikan. At finally, nang gawin na namin sa Regal, nabuhos na talaga ang buong atensiyon ko, ang lahat ng panahon ko. Ang now, after hearing all the favorable comments about the movie, and siyempre about me and my performance too, talagang tumataba ang puso ko at maha-high ako.
First and foremost, talagang it’s a great honor na makatrabaho ang isang direktor like Mike de Leon. Dati ko na siyang nirerespeto, pero after working with him and making “Stella L.”, lalo pang tumaas ang pagtingin ko sa kanya, First rate talaga!” Vilma recognizes the fact that without Mike’s help, she will not be able to give the right characterization that her role required. “Kaya paulit-ulit ko isyang tinatanong kung tama ang mga kilos ko bilang isang madre,” aniya. “and maniniwala ka ba, I met the real Sister Stella L.!” Nakakataw niya pahayag. Nagulat kami. You mean, sabi namin sa kaya, this is really a true story? Na ang kuwento ng madreng naging aktibista sa pelikula ay talagang ibinatay sa totoong tao? Akala namin kasi ay fiction lamang ito. “From what I heard,” sabi ni Vilma, “may kaibigan talagang madre si Mike na siyang naka-inspre sa kanya para gawin ang pelikulang ito. One day, dumating si Mike sa set na kasama niya. She is very pretty. Sa ganda, parang hindi madre.” Akala mo raw ay isa itong socialite. Ayaw sanang ipasabi ni Vi ang tunay na pangalan nito, pero we personally feel na wala namang masama dahil dapat pa nga siyang purihin sa kanyang prinsipyo. Kaya ire-reveal namin sa inyo ang tunay niyang identity. Her name is Sister Consuelo Ledesma, anak ng pinagpipitaganang si Pura Kalaw Ledesma at pamangkin ng ating current censors chief na si Maria Kalaw Katigbag or MKK. Now, isn’t that a very interesting sidelight of the movie? Ayon kay Vilma, tuwang-tuwa siya dahil naaprubahan ang pelikula nang walang anumang putol. “That means the censors now are broadminded enought to realize na wala namang talagang masama sa pelikula,” aniya. “Noon pa man, sinasabi ko nang ang ipinakikita lang ng movie, ‘yung totoong nangyayari, ‘yung mga prinsipyo lang ng taop ngayon. Like ‘yung mga strikes, manonood ka nga ng newscast sa TV, di ba makakapanood ka rin ng mga ganyan? Kaya I’m really very happy na it was passed without any cuts.
Kung pinutulan kasi, parang makukulangan na ‘Yung pelikula.” How does it feel when people keep on saying na siguradong mananalo na naman siya ng best actress award ss susunod na taon? “Naku, ha,” natatawa niyan wika, “ang layu-layo pa noon. Siyempre pa I’m flattered, pero ayaw ko munang isipin ‘yon. Ang tagal pa bago matapos ng 1984 at maraming-marami pang puedeng ibang mangyari. Malay natin kung marami pang ibang magagandang pelikula ang magawa featuring the equally good performaces ng ibang mga artista? Basta natutuwa ako’t ngayon pa lang, may panlaban na ko. ‘Yong lang.” With her fine performances in “Adultery” and “Sister Stella L.”, marami ngang movie insiders ang nagpapalagay that Vilma can easily rest on her laurels for this year. Sabi pa nila: “Maski huwag na siyang gumawa ng ibang pelikula at next year na uli siya magkaroon ng bagong release, okay lang.
For this year, talagang she has already proven herself.” We Believe similarly, too, but Vilma is apparently not content with just two good movies this year kaya she is on her way to making a third one. She is currently doing “Alyas Baby Tsina” for Viva Films. This time, reunited siya with Famas best director Marilou Diaz Abaya. “It’s a period movie, set in 1969-70 when unrest was at its peak,” ani ni Vi. “We’ve started shooting pero ilang ulit ding na-delay dahil ulang nang ulan, e. Tapos, nagkasakit pa ako for three days.” She will be completely deglamorized in the movie. Ang papel niya ay isang babaing naging puta at nabilanggo sa correctional kung kaya’t nilagyan doon ito ng tattoo. In several scenes, wala siyang make-up at ipinakikitang naglilinis ng kubeta. Clearly, this is another challenging acting vehicles for Vilma. Kaya nga may katwiran talagang magreklamo yung mga ibang artistang babae natin. How come she is getting the best roles in the best projects? What did she do to deserve such a wonderful, enviable fate? Vilma dismisses all these with a simple shrug of her frail-looking shoulders. ” I guess I’m just lucky,” aniya. “Talagang Somebody up there loves me. Wala naman kasi akong atraso sa kanya eh.” The bloom in Vilma these days is unminstakable. Talagang lalo siyang gumanda. And whatever joys and good fortune she is enjoying these days, we are sure she deserves all that bounty. – Mario Bautista MovieLIFE Magazine 1984
2002 Best Actress Awards
Novel to Film “…”Dekada ’70,” the eagerly awaited filmization of Lualhati Bautista’s seminal novel in the explosive ’80s, has eight nominations. Best director nominee Chito Rono successfully focuses the novel’s many-sided dimensions on a mother’s stirring from domestic conventions and sensibilities as her family copes with the changes wrought by a collapsing order. The movie, written by Bautista herself and nominated for best screenplay, manages to provides viewers, particularly the young, with the feel of the Marcos years, reacquainting them with a particularly sordid passage in history when innocence was ravaged and continuity was ruptured. The wonder is that the movie did not get the lion’s share of the technical design (Manny Morfe), and sound (Albert Michael Idioma and Alex Tomboc) – should at least suggest its achievement. Vilma Santos and Christopher de Leon are strong contenders for best actor and best actress, while yound actor Piolo Pascual is nominated for best supporting actor. The 26th Gawad Urian of the Manunuri ng Pelikulang Pilipino, the society of respected film critics, will be held on May 17 at the AFP Theater…” – Lito B. Zulueta, Philippine Daily Inquirer, April 28, 2003 (READ MORE)
The Light “…Topping the Urian for surprise value was the join award for Best Picture to “Dekada ’70” and “Mga Munting Tinig,” This was unexpected because “Dekada” was a major production that took many months to make, while “Munting Tinig” was a small low-budget film that was shot in only a few weeks. Despite this, both films were cited as the best local movies for 2002. A possible interpretation of the twin awards could be “Dekada” is cited for tackling asn important period in the country;s political life with extensive resources of a major studio, while “Munting Tinig” is honored for its ability to dramatize a simple, heartwarming tale that provides much-needed inspiration, despite its limited budget. In other words, the two films’ contrasting approaches are both needed by local movies today, hence the decision for them to share the Urian’s Best Picture award…The Best Actress trophy that Vilma Santos won for her performance in “Dekada ’70” is another noteworthy decision because, when the film was first shown, even veteran observers rapped Vilma for her relatively “passive,” “colorless” and “undramatic” portrayal in the movie. This was because her character, the wife and mother in the movie’s central Bartolome family, spent most of the film’s running time meekly following her husband’s dictates, like most women in the ’70s. Some people took this as a weak thespic stance, and we had to point out in some articles taht his wasn’t true at all. In fact, given the convention of the movie’s time frame, this “passivity” was an astute artistic decision on Vilma’s part, and thoroughly merited by her character and the period in which she lived. In fact, what Vilma did in “Dekada” was more difficult because it was so controlled and subtle, it would have been far easier for her to melodramatically tear up the scenery and act up a storm. Gratifyingly, by the time the film awards season came around, enough people has seen the light, and Vilma went on to win a phalanx of Best Actress trophies, now including the Urian…” – Nestor U. Torre, Philippine Daily Inquirer – May 24, 2003 (READ MORE)
Anak natin si Piolo? “…Gawad Urian best supporting actor Piolo Pascual (“Dekada ’70”) arrived early at the awards ceremony Saturday night and reserve a seat for “Dekada ’70” costar Vilma Santos, who would later be declared best actress. Vilma and Piolo played mother and son in the moving Chito Rono movie based on the screenplay by Lualhati Bautista, who won for best screenplay. Piolo was very affectionate to “mom” Vilma, hugging and kissing her when she arrived. He was seen clasping her hands moments before his name was announced as best supporting actor at theTeatro Arturo Enrile in Camp Aguinaldo, Quezon City…The movie critics’ group paid tribute to writer Ricardo “Ricky” Lee by naming him the recipient of the Natatnging Gawad for lifetime achievement for his invaluable contributions to the film industry for more than three decades. The award was handed to him by three of the many actresses who breathed life to his creations – Vilma (“Relasyon”), Dina Bonnevie (“Gumapang Ka Sa Lusak”) and Gina Alajar (“Salome”). Lee has so far written about 120 screenplays and won some 50 awards. His most recent work, Marilou Diaz-Abaya’s “Bagong Buwan,” was honored by many local and international award-giving bodies…Edu Manzano was very effective as the show’s only host. He kept the audience awake and laughing with his witty remarks, delivered with his trademark deadpan expression. Even Piolo and Vilma were not spared from Edu’s jokes. he imitated Piolo after the young actor delivered a very emotional acceptance speech. When Vilma said she was sharing her award with her costars in “Dekada ’70,” particularly to her “eldest son” Piolo, the camera caught Edu having his own dramatic highlights.” “What?” he asked his ex-wife in mock surprise, “Anak natin si Piolo?…” – Marinel R. Cruz, Philippine Daily Inquirer, May 20, 2003 (READ MORE)
Star Awards “…Star for All Seasons Vilma Santos still gets the jitters when accepting acting awards. She bested five other equally worthy nominees to the best actress throne in last Saturday’s Star Awards for Movies at the UP Theatre. She won for her moving portrayal of a timid mother empowered by the death of her son in Chito Rono’s period drama, “Dekada ’70,” which was an official entry in the Metro Manila Film Festival (MMFF) last December. Ironically, Ara Mina, who edged out Vilma from the best actress derby in the MMFF, was not among those cited by Star Awards. Vilma competed with Sharon Cuneta (“Magkapatid”), Maricel Soriano (“Mano Po”), Claudine Baretto (“Kailangan Kita”), and Alessandra de Rossi (“Mga Munting Tinig”)…” – Marinel R. Cruiz, Philippine Daily Inquirer, March 11, 2003 (READ MORE)
Ekstra, The Bit Player (Photos)
“I play a movie extra and a double, so I don’t really have to look good or be well-dressed or fully made-up. That is what excites me and challenges me at the same time—how I can be able to transform into a character so different from who I am, from how people have known me for all these years.” – Vilma Santos
“…EXTRA (A Bit Player) is a socio-realist drama-comedy film, which 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 on the marginalized laborers like her…” – Cinemalaya (READ MORE)
Remembering Jay Ilagan
Exceptional and Versatile – “…Speaking of Jay Ilagan, he was the local film industry’s most talented teen actor in the ’70s, and directing him was a breeze. Coming from the Ylagan family of theater and film artists, he had great genes and instinctively knew how to approach every role assigned to him. He was also versatile, essaying different roles (drama, comedy, musical, action) with ease and believability. Sensing this, we restricted our direction of his scenes to simple suggestions, plus a little tweaking here and there. Later, Jay would go from one thespic success to another, and his stellar future was exceedingly bright – until he gained weights. His plumpness promted his mentor, Lino Brocka, to pull him out of “Tinimbang Ka Ngunit Kulang” and replace him with new discovery, Christopher de Leon. Ditto for “Maynila, Sa Mga Kuko ng Liwanag,” where Jay was replaced by Bembol Roco. Jay’s loss was definitely Christopher and Bembol’s gain. But, we submit that the industry suffered a great loss when Jay’s stellar career lost its luster, because it was deprived of his exceptional and versatile talent…” – Nestor U. Torre, Philippine Daily Inquirer, Nov 24, 2007 (READ MORE)
Amy’s Love “…When Amy addressed some 40 guests at the True Riches Ministry (which meets every Thursday at 6:30 p.m. at Fusion Cafe, Greenbelt, Makati), she started off with the question, “Those who know Jay Ilagan, raise their hands.: And then she talked about the man she never stopped loving. When you hear her story, at many points she sounds like people you know who aren’t stars. When she talks of how she loved Jay, she reminds you of a friend who tended to love too much. When she talks of life after Jay (whe she yearned for another partner in life), she sounds like single-parent friends of yours who also want to setle down. Sometimes she sounds like a typical working mother, struggling hard to make ends meet. At other times, she reminds you of a troubled friend who had wrestled with drugs. All your friends, married or single, at one point in time-were Amy Austria. And she talks most candidly about it. Amy captivated the crowd without even reading a acript!…Then Amy fell in love and lived with Jay for nine years. “Although we weren’t married, I did everything for him. I quit show biz and was his barber, masahista, nurse and doctor. I was a handyman, I even did carpentry. But I couldn’t save him from death. When Jay died on Feb. 4, 1992, Amy wanted to die too. She would comfort herself by thinking, “Atleast, I love him completely.” But today she advises differently: “Never love nang todo,” she says, “It’s like idolatry…” – Mona Gonzalez, Philippine Daily Inquirer, May 18, 2002 (READ MORE)
The Actor – “…And because the looks came with deep talent, Jay survived the transition from teen star to adult actor-winning a Gawad Urian Best Supporting Actor trophy in 1982 for the movie, Kisapmata, another Gawad Urian Best Actor in 1985 for his role in Sister Stella L, and 1988 FAMAS and Film Academy of the Philippines Best Actor for his acting in Maging Akin Ka Lamang. His acting was not confined to drama. Jay was later known as a funny guy, being one of the Bad Bananas gang with Christopher de Leon, Johnny Delgado and Edgar Mortiz. In his personal life, he married actress Hilda Koronel but they eventually separated, and he and actress Amy Austria would live-in together. Jay had remained with Amy until his sudden death on February 3, 1992. On that fateful night in Quezon City, Jay lost control of his motorcycle and skidded to his death. Reports claimed that the actor was not wearing a protective helmet. He was 39. …” – Jaja Rodriguez (READ MORE)
Acting Exercises “…Aside from desperately trying to hold on to his on again – of again relationship with his estranged wife, Hilda Koronel, Jay was also trying to lose weight so he would be fit to tackle any movie role offered to him. He was not successful in keeping Hilda but thanks to his Scarsdale diet, regular workout and discipline, Jay was able to lose all those unwanted pounds. Relieved that he is once more in the world he fits so well in, the former child actor says, “I don’t know of any other job I’d be happy at except show business.” The good news is that Jay has found somebody to replace Hilda in his life: Amy Austria. Still, he and Hilda have remained “good friends” and bear no gudge against each other…Out of Soltero’s 262 sequences, 258 belong to Jay. He has six monologues of roughly 400 feet of film. Still Jay cannot say that he had any big problem doing the movie. “Matagal ang set-up and mostly mood shots and ginagawa namin. Though simple, the script required me to do acting exercises,” he recalls. Asked if he had any difficulty working on the film required him to be on set most of the time, Jay sighs. “Medyo mayroon din. Lagare ako. I was also doing Stella L….” – TV Times Magazine April 29, May 5 1984 (READ MORE)
The Footsteps of his Parents – “…He is a real “child of Cinema”. Nagkaisip siya sa paligid ng mga movie cameras, mga klieg lights at sa pagbabalatkayo. Musmos pa lamang siya ay nandoon na siya sa harap ng kamera, halos walang malay na gumaganap bilang Little Ronnie Poe, Little Joseph Estrada, Little So and So. Si Jay Ilagan ay anak ng dating aktres na si Corazon Noble at ang dating aktor na si Angel Esmeralda. Acting runs in his blood. Kaya Jay really had no choice but to follow in the footsteps of his parents and his relatives…Every experience in life helps me in playing movie roles,” nasabi noon ni Jay. Experience, ika nga, is the best teacher. Lahat ng mahuhusay nating artista ngayon have in one way or another, at one time in their lives, also gone through sad and bitter experiences. Naging mahirap din ang transition period ni Jay, specially when he reached the age of 14 or 15. Too young to be an adult actor and yet too old to be a child actor, that was the dilemma. Pero Jay survived that period. Habang hinihintay niya ang kanyang paglaki at pagma-mature, nakisali na rin siya sa mga pelikulang kantahan, sayawan at kung anu-ano pang mga wala namang katuturan. “Jay is a flexible actor,” says a respected director. “Meaning, okey na okey siya bilang Kenkoy; okey na okey rin siya sa drama. Maski aksyon, pupuwede siya…” – Jingle Extra Hot Movie Entertainment Magazine, April 27, 1981 (READ MORE)
Jay Ilagan born Julius Abad Ilagan on January 20, 1953 in Manila. Son of Sampaguita Pictures leading lady Corazon Noble and director Angel Esmeralda, he started as a child actor in the Philippine cinema. A matinée idol, he hosted “Stop, Look and Listen” and starred in My Son, My Son and Goin’ Bananas. He died from motorcycle accident in February, 1992 (Wikipilipinas).
Jay Ilagan and Vilma Santos
Jay Ilagan and Vilma Santos started their career as child stars. Their first film was in a Joseph Estrada-Barbara Perez starrer. They follow this up when they’re already in their teens in 1970s’ musical era. Both can’t sing but was able to maintain popularity against the singing sensations like Edgar Mortiz who became the other person in some of their teen love triangle films. After a few musicals, some fantasy and comedy films, they reunited finally as adult actors in Borlaza’s Coed in 1979. Overall, they produced eleven films before his untimely death in 1992 from a motorcyle accident (reminiscent of his scene in one of Vi-Jay movie, Paano Ba Ang Mangarap).
Sister Stella L (1984) – “…Sa pagkamatay ni Ninoy, ang napagbuhusan namin ng panahon nina Mike at Ding ay isang documentary na pinamagatang Signos at ang pelikulang Sister Stella L. Isang kanta mula sa binabalak na Brechtian zarzuela ang ginamit na isa sa mga theme songs ng Sister Stella L: ang “Aling Pag-ibig Pa,” na binigyang-tinig ni Pat Castillo sa pelikula at sa plaka. Nang ipalabas ang Sister Stella L. sa 1984 Venice International Film Festival, ang pamagat nito ay Sangandaan (Incroci sa Italyano, Crossroad sa Ingles). Pinagtiyap na sa unang storyline ay Sister Corazon de Jesus ang pangalan ni Sister Stella L. Ang nasa isip ko noon ay hindi si Corazon Aquino, kundi ang Sagrado Corazon de Jesus…” – Pete Lacaba (READ MORE)
Paano Ba Ang Mangarap (1983) – “…A true blooded Vilmanian will not forget the time when a teaser (a very brief movie trailer – around 20 seconds) was shown to the theatres in the summer of 1983. It was Viva films’ “Paano Ba Ang Mangarap?” Another box office hit from Vilma Santos and Christopher DeLeon. The teaser (almost worth the whole movie ticket) was the scene where Lisa, played by Vilma discovered that her son (to Eric’s brother, Jay Ilagan) was gone courtesy of her evil rich mother-in-law (Armida Sigueon Reyna). Here’s the lines and the explosive acting of the Queen. The scene: After running around looking for the baby in all the rooms in second floor of of this huge mansion, Lisa confronted Eric who were stunned to find Lisa’s hysterics. Lisa: “Dinaya n’yo ako! Saan n’yo dinala ang anak ko?!!!” Eric: “Hindi ko alam!” Lisa: “Hindi mo alam…Sinungaling!” Eric: “Lisa, makinig ka muna…” Lisa: “Kasabwat ka ng ina mo! Alam ko matagal n’yo nang plano ito!” Eric: “Ano bang pinagsasabi mo?” Lisa: “Dinaya n’yo ako! Mga Traydor Kayo! Traydor kayong lahat!” Eric: “Lisa, huminahon ka baka mapaano ang bata!” Lisa: “Wala akong pakialam! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin ang anak ko! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin…AHHHH (mahuhulog sa hagdanan)” Just this scene alone, Vilma should be rewarded that year’s best actress award! Bravo!…” – RV (READ MORE)
Coed (1979) – “…Mula sa VS Films at Bancom Audiovision Films ang pelikulang Coed (January 25, 1979) ay nagtatampok kina Vi, Jay Ilagan, Delia Razon, Allan Valenzuela, Romeo Enriquez, Romeo Rivera, Jun Soler, Angge, Jojo Santiago at Rosemarie Sarita sa panulat at iskrip ni Allan Jayme Rabaza at direksiyon ni Emmanuel H. Borlaza…” – Alfonso Valencia (READ MORE)
Karugtong Ng Kahapon (1975) – “…Vilma Santos, on the other hand, gave a notable performance in Roma Films’ Karugtong ang Kahapon. That time, Nora and Vilma were in their peak, their career and the movies they made were being followed closely, compared, watched, praised, scrutinized both by fans and critics. Their storied and fierce rivalry dominated our movie industry for years…” – Wikipedia (READ MORE)
Ang Hiwaga ni Mariang Cinderella (1973) – “…Besides teaming up with Edgar Mortiz during her teen years, Vilma Santos also starred and appeared in many movies opposite other leading men…Jay Ilagan – Ang Hiwaga ni Maria Cinderella (1973)……” – Simon Santos (READ MORE)
Tsismosang Tindera (1973) – “…Tampok sina Vi, Jay Ilagan, Ike Lozada, German Moreno, Chanda Romero, Beth Manlongat, Romy Miranda, Baby Alcaraz at Angelito sa pelikula ng Tagalog Ilang-Ilang Productions na idinerek ni Emmanuel H. Borlaza…..”ang inilalako ay bilasang isda at sariwang balita!…..” Tsismosang Tindera (February 2, 1973)…” – Alfonso Valencia (READ MORE)
Tatlong Mukha ni Rosa Vilma (1972) – “…Si Nick Romano ay nakakuha ng FAMAS best supporting actor sa pelikulang Tatlong Mukha Ni Rosa Vilma (1972) at nakasama ni Vi sa mga pelikulang Tatlong Mukha Ni Rosa Vilma (1972), Anak Ng Asuwang (1973), Wonder Vi (1973), Vilma & The Beep Beep Minica (1974), Phantom Lady (1974), Ibong Lukaret (1975) at Ikaw Ay Akin (1978)….” – Jess P. S. (READ MORE)
Ang Konduktora (1972) – “…Santos made fourteen films, mostly forgettable musicals. It was also a year where her benefactor started to positioned her as more of a film actress than a singing film star. The results was successful experiments that showcased her comedic ability (Ang Kundoktora), screaming action stunts (Takbo Vilma Dali) and dramatic capability (Dama De Noche). Her followers was delighted when she earned her first acting recognition the next year receiving the FAMAS best actress via Dama De Noche. Most of her films in 1972 were directed by Emmanuel Borlaza however, she was able to do one film with Ishmael Bernal, “Inspiration” with the late Jay Ilagan, one of her regular film partner. According to Bernal, the film wasn’t as successful as what he expected, as the film flopped. Aside from Inspiration, Bernal did two other films, El Vibora (starring Vic Vargas and Boots Anson Roa) and Till Death Do Us Part (starring the young Hilda Koronel and Victor Laurel)…” – RV (READ MORE)
Leron Leron Sinta (1972) – “…Ang christmas at new year’s presentation ng Tagalog Ilang-Ilang Productions na nagtatampok kina Vi, Edgar Mortiz, Jay Ilagan, Florence Aguilar, Lilian Laing, Beth Monlongat, Ruben Tizon at Angelito at ito ay ang Leron Leron Sinta (December 23, 1972). Ito ay sa iskrip ni Nestor U. Torre Jr. at sa direksiyon ni Emmanuel H. Borlaza…” – Alfonso Valencia (READ MORE)
Remembrance (1972) – “…Remembrance,” another film musical, was chosen “best musical” in the Manila Film Festival. The film stars Vilma Santos (Wilear’) and Edgar Mortiz (Wilear’s). The film also won in the categories of best film editing, best sound and best script…” – Oskar Salazar (READ MORE)
Inspiration (1972) – “…In a musical era of 1970s, “Inspiration” was quite an experimental film, with no musical numbers, better screenplay, well-written characters. Nestor and Bernal works well in establishing the character of Jay and Vilma. Their dialouges are not “corny” and very realistic. There is no over the top dramatic scenes inserted between musical numbers. The parent played wonderfully by Merle Tuazon and Carlos Salazar were convincing. Although both Vilma and Jay played their roles effectively, Lilian Laing steals the film as Lola Jane. She was bubly and funny, a sex-starved, karate black belter, polo game afficianado, who loves life and considering she playing the old grandma who is also the solution to all the complication in life…” – RV (READ MORE)
Ito Ang Pilipino (1967) – “…In 1966, Estrada was “just” an actor portraying a bandit fighting the Spaniards, led by Eddie Garcia. Directed by Cesar “Chat” Gallardo, an important scene in the film featured the late Vic Silayan telling the young Estrada that he would be the country’s next president-to which, Estrada’s character answered in disbelief, saying it was impossible, because he could neither read nor write! Prophetically, the historical film presaged the actor’s political career. Who would have known that he’d become the 13th president of the Philippines?! At the screening, Estrada’s leading lady, Barbara Perez, who was first seen in 195’6′s “Chabacano,” was in the audience to watch the “lost” film revived by the Society of Filipino Archivists for Film (SOFIA). The actress shares: “Back then, I kept getting in and out show biz, especially when I had to give birth!…” – Rica Arevalo (READ MORE)
Related Reading:
- “Baril Sa Aking Kamay” (1966): One of my Best Pinoy Western Movies
- Remembering the 1963 “Boy-Scout” Plane Tragedy…Two Movies on Scouters
- Hatulan si Dodong Diamond…Repleksiyon Ng Buhay Kriminal
- Things that crawl in the night
- Robert Arevalo honed his acting mettle onstage
- Exceptional film artists recalled
- Still Goin’ Bananas Still going strong
- Bad Bananas Reunion The antic chemistry’s still there
- Sofia revives 1966 Joseph Estrada-Barbara Perez starrer
Star For All Seasons 
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