MEMOIRS OF VILMANIANS 1/2

Posted on November 27, 2012 by @ffv Standard

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Tinatawag natin ang ating sarili bilang Vilmanian. Paano tayo naging ganito? Eto ang ating mga alaala…ng ating pinamulan.

John Malit – Noong panahon na nakamulatan kong ako’y isang Vilmanian, napakalaking ligaya kapag may nababasa akong balita mula sa kanya. Kahit na 2 yrs old na ‘yung balita, bago pa rin iyon para sa akin. ‘yun nga lang, sa tv lang ako umaasa para mapanood ko si Ate Vi, kasi hirap po ang buhay namin noon. 23 yrs old na po ako ng makapanood ng sine. Can u imagine, wala akong ginawa kundi igala ang paningin ko sa loob ng sine, nakakahiya man sabihin, gf ko pa ang nagbayad ng ticket para mapanood namin iyong Bituin walang ningning” ni Sharon (kc sharonian yung gf ko nun). Ayun nasundan lang noong maka-graduate na ako ng college at magkatrabaho. Vilma movie na yung mga pinapanood ko. Ang sarap sariwain ang nakaraan kahit gaano man ang kahirap ng buhay, sa simpleng picture at balita mula sa ating mahal na idolo ay nakaka-alis na ng problema. Kahit nga ngayon, pag-stress na ako sa trabaho lalo sa amin ni misis, magbabasa lang ako ng balita mula dito sa e-groups ng mga Vilmanians, masaya na ako.

Rene Maximo – Akala ko magiging silent Vilmanian na lang ako forever. Una sa lahat…way back 1970s, panahon pa ng The Sensations, doon yata ako nagsimulang humanga sa The Queen. Lahat halos ng kamag-anak kong babae eh pulos Vilmanian lahat. Kaya masayang manood ng TV na black & white pa. Tuwing tanghali, palagi kong dinadasal na sana eh puro movies ni Ate Vi ang ipalabas. Ang saya-saya ko pag natutupad ang wish ko. Natatandaan ko pa yung Vilma & The Beep Beep Minica, Ophelia at Paris, King Khayyam & I, Baby Vi, Dama de Noche, and the list goes on. Unang movie na napanood ko sa sinehan ay yung Rubia Servios. Kahit na I was a minor then, mabuti at napakiusapan ng pinsan ko ang takilyera kaya pinapasok ako. Gandang-ganda ako sa pelikula. Tapos nung awards night na, 3 kaming Vilmanians ang nanood, while yung tiyahin naming Noranian eh natulog na dahil unang mga technical awards eh nakuha ng Rubia (besides sa mga hula na si Ate Vi daw ang mananalo) kaya maaga syang natulog. Then nanalo nga si Ms. Aunor. While walking paakyat sa stage, one of my cousins said na sana ay madapa si Ms. Aunor. Unknowingly, nakikinig pala yung tiyahin namin kaya biglang lumabas at inaway kaming tatlo. Nalaman ng father ko ang nangyari kaya pinagalitan kaming lahat. One stormy weather noon, we were eating sa kitchen namin, at walang kuryente. Bigla na lang nagliwanag ang paligid at na shocked na lang kaming lahat na wala na pala kaming bubong, natangay ng bagyo. All of us hurriedly went up to save things na huwag mabasa ng ulan. Ang una kong binuhat ay yung kahon ng clippings ko ni Ate Vi. I was worried kasi na baka mabasa at matangay ng tubig. Until now, nasa kahon pa rin yung mga clippings ko at palagi kong tinitingnan pag umuuwi ako ng Pilipinas. One of my sisters was an officer in CAT when she was in high school. One time, she asked me what kind of parusa daw sa mga COCCs na madali lang, ayaw daw nyang pahirapan ang mga bata. Sabi ko everyday magdala sila ng mga pictures ni Ate Vi. Kaya araw araw may pasalubong sa akin ang sister ko ng mga pictures ni Ate Vi, additional sa mga collections ko. There was one time when Ate Vi shot a movie in our place. The movie was Biktima. I was in elementary then. After school, my classmate told us na andun nga daw sa dam si Ate Vi. Without hesitation, lumusong ako sa tubig at halos hanggang baywang ko na yung tubig, tumuloy pa rin ako para makita ng personal si Ate Vi. I was in heaven then. First time ko syang makita ng personal. Palagi akong nakasubaybay sa lahat ng nangyayari sa kanya. Maganda man o hindi magandang balita, wala akong pakialam, ang alam ko karugtong na ng buhay ko si Ate Vi. Kahit na nung mag work ako sa isang bank sa Makati, I made it a point na manood ng live sa Metropolitan Theater ng ‘Vilma.” Kahit na naka necktie ako, wala akong pakialam na pumipila sa labas ng Met, kasama ko yung officemate kong Vilmanian din. Then lumipat for a while ang show sa Rizal Theater dahil sa away nila ni Mrs. Manzano, pumila din kami doon to get tickets days before the show. Marami rami din akong collection ng movies ni Ate Vi, in VHS format nga lang. Pag umuuwi ako hindi ako nagsasawang panoorin lahat ang mga tapes na yon. Then I’ve read na meron nga daw na Vilma Newsletter na ginawa ang mga dear Vilmanians. Only last December that I got the courage to request, at pinagbigyan naman ako. I was so happy. Lastly, salamat sa magagandang postings na inilalagay ninyo sa board. Hindi nyo lang alam ang laking tulong nun. Nakakaalis kasi ng lungkot pag nagbabasa ako ng mga postings ninyo.

Franco Gabriel – Early ’70’s when I first heard of Vilma-Edgar team, eh kasi naman puro sila ang topic sa bahay, my mom loves Ate Vi so much at syempre kampi lahat ang sisters ko sa pagka-Vilmanian ni nanay. Bata pa ko noon, di pa ko nag-aaral pero napapanood ko na siya sa TV. It was year 1973 when I reached grade school ang unang bag ko pa noon ay may design nina Ate Vi at Bot na nakahawaiian sila, kuha yata sa “Aloha My Love”, syempre si Mother ko ang namili ng school supplies, so what do we expect? As a kid, aliw na aliw ako sa mga fantasy movies ni Ate Vi like Darna, Dyesebel, Phantom Lady etc. at syempre yung mga suspense thriller nya like Takbo, Vilma, Dali at saka yung Hatinggabi na Vilma. Puro nga iyon ang topic namin sa school kahit pare-pareho naman namin itong napanood. Ito yung panahon na nauso ang kanta para kay Guy na “it’s the real thing, si Norang maitim, nagtago sa dilim and so-on” (jingle yun sa coke). Pang-asar ba namin sa mga noranians. Ito rin yung panahong nanonood ako regularly ng “Ayan eh” at saka “Dalambuhay ni Rosa Vilma,” Meron pang mga ibang TV shows noon na di ko rin makalimutan like “Tangtarantang” ni Mang Nano pag weekend, saka yung “Oras ng Ligaya” nina Sylvia La Torre at Oscar Obligacion pag tanghali. Fast Forward. Kainitan ng Vilma-Nora noon labanan nina Senyorita Rubia Servios at ang kanyang Atsay, nasa high school na ako noon. Masiglang masigla ang rivalry ng dalawa. Syempre merong awards night na panalo at meron ding talo, pinakamasakit ay yung sa Rubia Servios, walang kibuan sa breakfast, parang ayaw naming pag-usapan ang MMFF last night, malungkot kaming lahat. change the topic please sabi ng Ate ko. I considered the ’80’s as one of my colorful years as Vilmanian, kasi lahat na yata ng movies niya ay pinanood ko, mula Pakawalan mo Ako, Langis at Tubig, Paano ba ang Mangarap up to Pahiram ng isang Umaga. Silent Vilmanian ako nung 80’s kasi naman nasa college na ko noon eh pero panay pa rin ang pila ko sa mga movies niya. Ito rin yung dekada na super init ng career ni Ate Vi mapa TV, movie or endorsement. I left the Philippines during the ’90’s but it did’nt stop me to search for Vilma Santos news. Umuwi ako noong 2002, I had a chance to watch Dekada ’70 masaya dahil alam kong big hit ang movie, talagang siksikan ang bawat sinehan pero bumalik ako sa States ng mabigat ang dibdib natalo si Ate Vi sa MMFF 2002. But if I look at the brighter side, this incident became the way to meet Jojo Lim the Solid Vilmanian president and the rest was history. Nasa Abante ang name ni Jojo, hindi daw makatulog at makakain ang Vilmaniang ito dahil sa pagkakapanalo ni Ara Mina over Ate Vi nandoon din ang contact number niya sa article ni Allan Diones. I did’nt hesitate to call Jojo & introduced myself. Yun na ang naging daan para makilala ko si Ate Vi in person. The first encounter was during the Lipa fiesta in 2003 hanggang sa maging every year na pero ang pinaka the best ay sa New York during her show. Ang haba ng kwentuhan namin noon ni Ate Vi at mga Vilmanians inabot ng 3:00 am at talagang naka upo na kaming lahat sa hallway ng hotel, very sweet siya at parang di napapagod. Ang sarap ng pakiramdam, doon ko napatunayan kung gaano kabait at down to earth si Ate Vi. Kung gaano kaganda ang mukha niya ay ganoon din kaganda ang kalooban niya. Thanks to my mom & sisters for bringing me up of becoming a Vilmanian.

German Shepherd – Noong unang bahagi ng dekada ’70, maliit pa akong bata at wala pang muwang, ay karay-karay ako ng Nanay ko sa panulukan ng Quezon Ave. at Zurbaran para manood ng parada ng mga bituin na kasali sa Manila Film Festival. Naroon kami, ako at ang isa ko pang kapatid na babae, upang hintayin ang float nina Vi at Bot sa pelikulang LOVE LETTERS. Tuwang tuwa kaming lahat nang magdaan sa harapan namin ang float ng LOVE LETTERS. Nang biglang bumuhos ang malakas na ulan. Awang-awa ako sa aking sarili dahil basang-basa ako. Pero ang Nanay ko at kapatid ay halos di ako pansin maging ang kanilang mga basang-basang sarili dahil naririnig ko kung kagaano sila ka-worried at baka raw magsakit sina Ate Vi at Kuya Bobot. Sa loob-loob ko, basang-basa na kaming lahat pero ang nasa isi[p pa rin ng Nanay at Ate ko ay ang kapakanan ng aming mga idolo. Sa mura kong nagtataka ako kung bakit ganoon na lamang ang kanilang pagmamahal sa dalawang taong hindi naman sila kakilala. Only when I reached the age of reason that I came to realize that one would do everynting for his movie idol. My love for the Queenstar has grown through the years, a legacy that I inherited from my late Nanay. I watched the many so-so / sing and dance movies of Her Royal Highness, Queen Vi. To me, all of them were beautiful because of her mere presence in those films. One of my favorites was her movie with Bobot entitled ANGELICA. Even the theme song interpreted by Bobot with the same title was haunting. Then came DAMA DE NOCHE. It was one of Vilma’s early acting greats. She was barely eighteen but she played the dual role with aplomb. And there were others: WONDER VI, PHANTOM LADY, KAMPANERANG KUBA, IBONG LUKARET, ANAK NG ASWANG, and the list is endless. Of course, I loved LIPAD, DARNA, LIPAD with Ate Vi in a modest two-piece costume. It was the first time ever that the term BLOCKBUSTER was used in a local movie because of the record-breaking gross and the over-extended run which made an FPJ movie shown at the same time a poor and distant second. I also saw all her DARNA installment but DARNA ANG THE GIANTS is particularly memorable because it was a Metro Manila Filmfest topgrosser. DYESEBEL AT ANG MAHIWAGANG KABIBE with its famous scene showing Ate Vi riding a giant seahorse was also a film fest top grosser and Best Musical Movie. Until she metamorphosed into the great BURLESK QUEEN, another film fest top grosser besides sweeping almost all the major awards including Best Actress for the Queen and Best Picture. From then on, there was no stopping Ate Vi who tackled a kaleidoscope of roles while her rival YKW continued to play just “api” and “kawawa” roles. The first grandslam via RELASYON, ironically was a quiet and restrained role. A far cry from her usual body-and-soul style of acting. BROKEN MARIAGE AND SISTER STELLA L continued to bring her endless honors. Vilma won in RELASYON against Nora Aunor in Himala which most Noranians considered as her most memorable role to date. The movie did not give her a miracle in terms of acting award. Then came TAGOS SA DUGO which i think was one of her most well-acted movie. She was robbed of a grandslam in this Maryo J. delos Reyes opus. Fast forward: After reigning the longest as Box Office Queen, she had once again regained the same title (in spite of her being already a Hall of Famer in this title) via ANAK which is still the second highest grossing movie in the Philippines after TANGING INA, which Ai Ai delas Alas, who according to her words, is a Vilmanian from birth and her tribute to her idol as she mimicked her in many a scene in the said movie. ANAK should have been another grand-slam for the Queen but the award-giving bodies, except Star Awards, made Gloria Romero a sentimental favorite, an accolade which she deserved considering her age. Realizing that then Queen has gathered the most number of grand slams in RELASYON, DOLZURA CORTEZ STORY, BATA, BATA PAANO KA GINAWA, DEKADA ’70 and the prestigious UP GAWAD PLARIDEL plus two international awards, my Nanay’s legacy was worth inheriting.

Buboy Medina – Noong nasa kindergarten pa lang ako ng napanood ko ang “Lipad, Darna Lipad” sa television. Ginagaya ko talaga siya then gumawa ako ng costume like Darna then isinusuot ko pa. Pinakamemorable experience ko bilang isang Vilamanian ay noong nagkausap kami last May 2003 ng manalo siya sa Gawad Urian. Overseas call ito at siya mismo ang nakausap ko. HEAVEN ANG FEELINGS KO NOON, TEARY EYED PA AKO. Mahal na mahal ko si Queen Vi, kaya ko siyang ipaglaban. Hahamakin ang lahat…maipagtanggol ko lamang ang nagiisang REYNA!

Eric Nadurata – I saw her on TV, “The Sensations” iyon, nasa grade school pa ako. Gustong-gusto ko ang sweetness ng beauty niya at ang galing niya sa pagsagot sa Q&A portion ng show. Ate Vi always surprises me. She always reinvents herself, and comes out victorious each time. Sabi ko nga she started very sweet, then came “Lipad, Darna, Lipad”, she then went daring via “Burlesk Queen”, then came her award-winning films that tackled an impressive range of themes. Ang mga roles that she portrayed is also very impressive. Naging madre siya at querida, naging Darna at Dyesebel, may Aids at may cancer, naging mahirap at mayaman, naging abugado at doctor, schizophrenic at napakarami pang iba. Siya lang ang tanging batang aktres na naka-sustain ng kaniyang popularity hanggang sa pagiging dalaga. Tessie Agana and Snooky were big child stars, pero hindi nila narating ang kasikatan na narrating ni Ate Vi. In fact, even the other Movie Queens can’t match her enduring popularity and box-office appeal. None of our movie queens reigned for more than 10 years, but Ate Vi, the Queen of them all is still at her peak for 35 years already! Iba ang aura ni Ate Vi, nakakahawa ang pagka-positive niya. First time I saw her face to face noon YCC awards for Dakada ’70. Grabe ang magic niya pagpasok niya sa venue. Memorable din kasi, nagloko ang dala kong camera, mabuti na lang nakapagpa-picture pa rin ako with her sa tulong ng isang vilmanian. Nangyari uli ito, sa opening ng CineManila International Film Festival. Nagloko uli ang camera ko, when I was about to take shots of Ate Vi with Lou Diamond Phillips and Tia Carrere. Sayang ito, kasi ang daming foreign celebrities na dumating noon. Aral ito sa akin kaya, ngayon dalawang camera na ang dala ko each time may affair with her. Nuong nagpa-pirma ako kay Ate Vi. Medyo ninerbiyos ako kasi baka hindi natandaan ni Ate Vi ang pangalan ko. Bago lang ako, at hindi naman kami madalas na magkita, pero to my pleasant surprise, sinulat niya ang name ko! Natandaan niya ang name ko! Grabe iyon! Imagine, with all her works both as an actress and public servant, not to mention as a mother and wife, natandaan niya ang name ko! Naku, heaven talaga iyon! Kung may mas mataas pa sa heaven iyon pa rin iyon! Another instance, magbi-birthday siya noon. May dala akong gift na image ni Padre Pio, pero because of “lapse of judgment” (di ba, Garci?) nakalimutan kong isulat ang name ko sa card. In short, nai-abot ko ang gift without my name. After several weeks, nang magkita kami uli sa isang taping, I told her about my gift. Sabi ko “Ate Vi, I forgot to write my name doon sa card, but I hope you liked it.” Sabi niya “Alin ba ang gift mo?” nang sinabi ko na it was the image of Padre Pio, her face light up and sincerely said, “thanks ha.” Ramdam na randam mo ang kaniyang sincerity.

Father Juancho Gutierrez – Meeting Vilma Santos at the Philippine Fiesta on August 21, 2005 was truly a moment of blessing for me. I have been an avid fan of hers since Grammar School. I never thought in my wildest dream that I would meet her face to face here in New Jersey. Meeting her, I found out that she was really a downto-earth person. She never acted like a diva or the famous movie star and successful Mayor that she is in the Philippines. I admire her more for this. I guess this is the reason why today more and more people continue to admire her….she showed me the traditional respect that we Filipinos give to our elders and those in position of leadership in our community by making the “mano” gesture to me. I admired her more for this because it was a sign of her humility and grace. The greatest actress the Philippine Cinema has ever produced making “mano” to an unknown priest in New Jersey was truly a Memoirs of Vilmanians humble experience not only for her but for me as well. At that moment, I see in Vilma someone who is humble, approachable and sincerely acknowledges the blessings God has bestowed on her. August 21, 2005 will always be a very special day for me. I will always remember it as a blessing from God.

Nelvin M. Rea – Pagmamahal at biyaya ng Diyos ang siyang naging susi at naglilok sa pagiging Vilmanian ko. Inimulat sa akin ng aking nanay at iniukit niya sa isipan ko na “Si Vilma Santos… iyan ang idolo ko at magiging huwaran mo— wala nang iba!” “Ang pagsunod sa payo ng magulang ay ang pagsunod sa tamang daraanan”. Sa mga panahong iyon sa pagiging musmos ko, wala akong panahon kay Vilma…ang nais ko ay maging malaya, ang eskuwela, libangan,at maraming laruan. At siguro dahil sa hirap ng buhay, kailangan kong iwaksi sa isipan ko ang lahat ng NAIS ko. Ang ganang prayoridad ko ay ang tumulong sa lahat ng gawaing bahay, punuin ng tubig ang aming paminggalan, mamulot ng plastik sa dalampasigan at mangahoy sa hulo kasama ng mga kapatid ko. Sa hirap na dinanas ko ay sapat na para makalimutan ko ang makipagsabayan sa mga pangarap ko…Hindi siya nagbago ang inay ko sa kanyang pag-ibig kay Ate Vi… nanatili siyang matatag…lumalaban hanggang sa huling sandali ng kanyang buhay. At kahit ngayong wala na siya. Hinahangaan ko ang kanyang paninindigan sa isang Vilma Santos. Isang hindi mapapantayang pamana ni Inay sa akin ay ang mamuhay na may isang Vilma Santos sa aking puso.

Alan Trambulo – Lipad Darna Lipad, ang unang movie ni Vi na napanood ko sa amin sinehan sa Batangas. I was 6yrs old at kasama ko ang buong pamilya ko. Last full show na kami nanood kasi during the day sold out ang ticket at wala ka nang silya maupuan. Sigawan at palakpakan kami kay Darna Vi. After the movie, wala lang , sigaw ako ng sigaw ng “Darna!”. Ang mukha ni Ate Vi ang nakiki- ta sa panaginip ko habang hinabol ako ni Gloria Romero na gumanap na aswang. She saved my life so manytimes sa aking nightmare kay aswang Gloria. She became my heroine. Iba ang naging impact sa akin ni Darna dahil di lang isang hero sa aking musmos na pag-iisip ang ibinigay nya, she gave me a superwoman, a role model sa persona ni La Santos. My family is all Vilmanian, specially my sister who keep copying the styles of Vilma, from her hair styles to fashion. My sister Carol even sneaked me in sa controversial movie ni Ate Vi, “Rubia Servious” sa Magalles Theater noon. Habang hinuhubog ako ng aking kapatid na maging Vilmanian, I became aware sa mga nagaganap sa showbiz. Ang awayan Vi-Guy fanatics. Lumaban at nakipagsabunatan din ako sa bestfriend ko na Noranian na para sa amin ay katuwaan lamang. Ang pakikipagtalo sa aking kapatid na lalake over basketball versus Vilma show. Magdamagan puyatan sa awards nights, win or lose si Mayor. Through the years, di nagbago ang paghanga ko sa kanya, but lalo pang tumindi, sobra! Wala na makakapigil pa sa akin pagiging isang “VILMANIAN.” … ‘yung NY-NJ visit nya sa Phil.Fiesta 05, grabe ang experienced ko sa kanya. Unforgetable dahil we communicate almost everyday. ‘Yung closed door meeting namin ng producer, I saw her other side. For being frank and honest n’ya sa nararamdaman nya. I know she was death tired from her trip sa NY, pero sige pa rin sya basta para sa Vilmanians ito. Very quick lang, alam n’yo i was with her sa loob ng hotel room niya while she was being prep by her makeup artist, busy na ang lahat , i voluntarily ironed her outfit that day. Just imagine, pina-plantsa ko ang suit ni Ate Vi for the show.

Charles Gomez – Sa unang pagtatagpo pa lamang namin ni Ate Vi sa kaniyang opisina sa Lipa, ay nadama ko na ang kakaibang pagmamahal na ibinibigay niya sa kaniyang mga tagahanga. Magiliw niya akong sinalubong at kinamayan, at idinampi pa niya ang kanyang kamay sa aking mga pisngi. Hindi-hindi ko makakalimutan ang pagkakataong iyon. Nung kami nama’y magkatagpong muli sa press party sa Libis, buong lambing taglay ang kakaiba niyang nigiti na binansagan niya ang inyong lingkod ng bagong pangalan. “Dubai” na raw ang itatawag niya sa akin, at pangatawan ko na raw iyon. Galing sa isang Vilma Santos, who can say otherwise? Nung ako nama’y nasa Lipa Fiesta, buong pagmamahal niya akong dinampian ng halik nang iabot ko sa kaniya ang aking handog. Bagama’t pagod sa buong gabing iyon, nandun pa rin ang tatak niyang ngiti. Iba-ibang nga ang isang Vilma Santos. At nang gabing pabalik na ako rito sa aking pinagtratrabauhan sa Gitnang Silangan, she sweetly called me to say “hello” and bid her best wishes. Iyon ang gabing di ko makakalimutan. Kumpletong-kumpleto ang pagiging Vilmanian ko. – GO to 2/2

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Celso Ad Castillo’s Vilma Santos Films

Posted on November 26, 2012 by @ffv Standard

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“…Mr. Castillo, who directed more than 60 movies including “Asedillo” in 1971 and “Burlesk Queen” in 1977, died in his home in Siniloan, Laguna. In 2007, Mr. Castillo was diagnosed with stage 1 lung cancer. Born in Siniloan in Sept. 12, 1943, Mr. Castillo is the son of lawyer Dominador Ad Castillo and Marta Adolfo. He graduated in 1964 from the Manuel L. Quezon University with a degree in English Literature. Mr. Castillo started as a writer for a komiks magazine, until he was commissioned to write a script for a spoof of the British superspy James Bond in 1965. He directed his first movie, Misyong Mapanganib in 1966. But it was the film Asedillo in 1971 that made Mr. Castillo popular. Based on the story of a Filipino rebel of the 1920s who was hunted down as a bandit by the American colonial government, the movie gave its lead actor, Fernando Poe, Jr. his second Best Actor trophy from the Film Academy of Movie Arts and Sciences (FAMAS)…Before he died, he has just launched his tell-all book Celso Ad Castillo: An Autobiography and His Craft…” – Jeffrey O. Valisno (READ MORE)

Castillo gave Vilma Santos her first mature role in Burlesk Queen resulting with her first local film festival best actress award. He also directed Pagputi Ng Uwak Pagitim Ng Tagak where Vilma Santos starred and produced. The film received several best picture awards and was considered one of Castillo’s best works. – RV (READ MORE)

Tag-ulan sa tag-araw (1975) – “…The two main characters, Christopher Deleon and Vilma Santos obviously carried the film with surprising maturity. Considering this was their first team-up and both were very young. In 1975, both were still in transitions, from teenybopper stars of the musical era to serious actors. Christopher Deleon’s performance was quite impressive as the apologetic Rod, except for some scenes where you can see his nostril moves, he gave a very affecting performance. Vilma Santos equally balance the equation with a touching show of emotions that we seldom see in her early films that are mostly musicals, fantasy or comedies. Three scenes stand out. First was in the bus where she confronted her “Kuya Rod” to not to give-up on their relationship. Second when her parents caught them in the balcony. She begs them to stop beating up her “Kuya Rod.” And then finally, the driving to the abortion clinic scene, she cried her heart out begging them to stop and cried for help to her “Kuya Rod,” who was running behind and trying very hard to stop the car. Celso Ad Castillo successfully gave us a very moving film. Even with the very annoying number of voice-over scenes, scenes that you will hear the two main characters talks but you will see them not opening their mouth, the film has so many good qualities that you will forgive these flaws. We probably attributed these flaws to the style of many films in the 60s and 70s…” – RV (READ MORE)

Burlesk Queen (1977) – “…Burlesk Queen is much more than a gripping commercial melodrama. It is also a scathing commentary on the sarcastic sexual politics that has become the atmosphere of Philippine society: of hardworking women and the good-for-nothing men they serve (in other words, a patriarchal society gone awry). It is also a fervent reminder of the redemptive and equalizing power of art, which is the reason why it will always be a threat to those who hold power. Multi-faceted, committedly acted, and very well-directed, Burlesk Queen, I opine, is an unsung masterpiece.” – Francis Cruz (READ MORE)

Pagputi ng uwak, Pag-itim ng tagak (1978) – “…Celso Ad. Castillo’s Pagputi ng Uwak, Pag-itim ng Tagak (When the Crow Turns White, When the Heron Turns Black) injects political overtones into its story, about a poor young man (Bembol Roco) who, when abandoned by his upper-class lover (Vilma Santos), joins the Hukbalahap rebels. Ad. Castillo in this film demonstrates an amazing visual language–not flashy, but quietly, lyrically brilliant. He also demonstrates a more masterful grasp of music and song than possibly any other Filipino director–the film is a model on how to use kundimans, ballads, pop songs to differentiate social classes, to satirize and comment on the narrative action.” – Noel Vera (READ MORE)

Celso Ad. Castillo began directing films mid-60′s at an early age, but he has since then gained reputation for many other aspects of the craft particularly scriptwriting and acting. In the Filipino movie industry, he holds the unique repuation of being controversial, trendsetter,enfant terrible and messiah of Philippine cinema, and his track record justifies it: he introduced artistry and commercialism in sex films (nympha) when the two were considered incompatible, and introduced sex in artistic projects ( Ang Pinakamagandang Hayop sa Balat ng Lupa/The Most Beautiful Animal on Earth)when moralistic repression was in vogue. An unfortunate and unfair consequence of the controversy is the recognition due him as one of the finest film commentators on the Philippine social scene, with a visual fluency unmatched by any other contemporary filipino film director. – Celso Ad Castillo Web-site (READ MORE)

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Early Female Directors

Posted on November 26, 2012 by @ffv Standard

Karugtong ang Kahapon

Before Marilou Diaz Abaya (Minsan Pa Nating Hagkan Ang Nakaraan, 1983; Alyas Baby Tsina, 1984), Rory Quintos (Anak, 2000), Olivia Lamasan (In My Life, 2009; Maalaala Mo Kaya? Regalo episode, 2005), and Laurice Guillen (Dahil Mahal Kita: The Dolzura Cortez Story, 1993; Kapag Langit Ang Humatol, 1990; Ipagpatawad Mo, 1991), Fely Crisostomo, Maria Saret, Leody Diaz, and Consuelo P. Osorio were the only known female directors. They have become part of Vilma Santos’ filmography.

Fely Crisostomo is a Filipina film director and actress. She was the first woman to win the FAMAS Award for Best Director in 1967.- Wikipedia (READ MORE)

Fely Crisostomo’s Vilma Santos Films

Mga reynang walang trono (1976) – Film directed by two female, movie queen Amalia Fuentez and veteran director Fely Crisostomo. (READ MORE)
Karugtong ang kahapon (1975) – An Entry to the 1975 Metro Manila Film Festival. (READ MORE)
May hangganan ang pag-ibig (1970) – Eddie Peregrina-Vilma Santos film with Millie Mercado and Romy Mallari. (READ MORE)

Susan Kelly

Maria Saret is a Filipina film director and writer. She was first recognized for her 1966 screenplay of the film Miranda: Ang lagalag na sirena starring teen star, Marifi. In 1973 she directed her first feature film, the drama about women in prison, “Bakit may bilanggo sa anak ni Eba?” starring Gina Pareño, Rosanna Ortiz and Alona Alegre. Saret was nominated for the 1989 FAMAS best director award for the movie Lorenzo Ruiz, The Saint…A Filipino! She won the best screenplay at the Film Academy of the Philippines for the same film.

Maria Saret’s Vilma Santos Films

Amorseko Kumakabit, Kumakapit (1978) – Vi co-starred with George Estregan (their second film, after Ibong Lukaret), Ernie Garcia, Rez Cortez, Beth Bautista, Brenda Del Rio. (READ MORE)
Susan Kelly Edad 20 (1977)

– Vi co-starred with Dante Rivero (their second film, after Mga Tigre ng Sierra Cruz), Anthony Alonzo, Sandy Garcia, Cloyd Robinson.(READ MORE)

Sweethearts

Leody Diaz is a Filipina film director and actress. Her earlier credit consists of 1965’s Labanang Babae (The fight of Women) as an actor and as the writer of Bella Bandida (Bella, The Woman Bandit), She started directing in 1967 via Target: The A-go-go Generation, a comedy musical which became her main genre of her body of work.

Topical, Realistic Themes “…Tony and the Tagalog Ilang-Ilang Productions plan not only to produce big budgeted films for international competition next year, but to bring into local movies topical, realistic themes like student power, social unrest, violence in our midst, etc. But meanwhile, the gring has to go on. Right now he is filming Blue Seal Mata Hari under the direction of Leody Diaz, where he is experimenting on teaming up Filipino actors with colored women and vice – versa. And for the first time, he said, a Filipina actress, sex siren Liza Belmonte, consented to be kissed by a colored man in this film. So it goes too with Tony, where he is paired with two colored women with kissing scenes…” – P. Oden Amurao, Republic Weekly, 03 October 1967 (READ MORE)

Leody Diaz’s Vilma Santos Films

Darna and The Giants (1973) – Top Box Office Film of 1973 Metro Manila Film Festival. (READ MORE)
Dulce Corazon (1972) – Edgar Mortiz-Vilma Santos film with Nympha Bonifacio, Scarlet. (READ MORE)
Because You’re Mine (1970) – Edgar Mortiz-Vilma Santos film with Anita Linda. (READ MORE)
Sweethearts (1970) – Edgar Mortiz-Vilma Santos film which also became an album. (READ MORE)

Jukebox King

Consuelo P. Osorio is a Filipina film director and actress. Her earlier acting credits consists of 1949’s Bulakenyo and 1984’s Bagets Part 2, her first and last films.. Like Leody Diaz, Consuelo became active in late 60s to early 70s directing singing teen stars in musical-comedy or musical-drama genres. Peque Galaga, the popular director of Oro Plata Mata fame, was quoted saying, Consuelo P. Osorio of Premiere Productions as his early mentor because, “It was she who tutored him on points such as casting that would spell success in surviving in the industry.”

Ateng Osorio – “…I asked the receptionist who was the TV writer present that day and she mentioned the name: Consuelo Osorio, also known as Ateng Osorio. She told me which studio she was working that time and I proceeded to find her. Unfortunately, upon entering the TV barn, a production assistant told me that she actually went to the cafeteria to have coffee. So I went to the cafeteria and tried to find her. I asked the person at the till to point out to me Miss Osorio, and she did. She was seated at a table, smoking, talking to another lady, and both of them, I noticed, were looking at me. I approached them and introduced myself. She gave me a handshake and introduced the other lady: “She’s Mitos Villareal, our director.” After shaking Miss Villareal’s hand, I didn’t hesitate to tell them that I was there because I want to become a writer for TV and the movies. They both smiled. “You’re a bit too young to work as a writer,” Ateng told me. “Besides, you look more like an actor than a writer! We immediately noticed you the moment you entered this room. You are unusually fair. You are even fairer than Jeanne Young. Leave your phone number with me, I’ll find something and I’ll give you a call….Well, perfect timing. I need someone your age. I am auditioning today and tomorrow for new talents for BBC Channel 2. Since I already know that you can do it, you’re in. I need you to come for taping on Saturday night. Come with me and I’ll give you the script.” I wanted to say no, but for some reason, I couldn’t. Besides, this lady was super nice and I didn’t want to say no to her. So I went with her and we proceeded to the office and the producer of the show handed me a blue mimeographed script. It says: PROGRAM: Dulambuhay ni Rosa Vilma WRITER: O.B. Pangilinan MAINSTAY: Vilma Santos. To make the long story short, I ended up appearing with Vilma Santos and Walter Navarro. I played Walter’s younger brother in that episode. Thank God all my scenes were take one. And after the show aired, all my friends teased me non-stop about it. Ateng Osorio was directing films that time as well and she wanted to cast me in them but I begged off. I finally told her that acting is not what I wanted to do. I want to write. She then said: “I’m committed for seven months to direct movies which I have already written myself. After they are all finished, we’ll discuss a movie I will be directing for Barangay Pictures. I have a storyline. You will write the screenplay…” – Jose Mari Lee, Pinoy Comics TV Movies (READ MORE)

Consuelo P. Osorio’s Vilma Santos Films

I Do Love You (1970) – Eddie Peregrina-Vilma Santos film with Esperanza Fabon and Bebong Osorio. (READ MORE)
Jukebox King (1969) – Eddie Peregrina-Vilma Santos film with Edgar Mortiz, Esperanza Fabon and Bebong Osorio. (READ MORE)
Mardy (1969) – Eddie Peregrina-Vilma Santos film with Esperanza Fabon and Bebong Osorio. (READ MORE)
My Darling Eddie (1969) – Eddie Peregrina-Vilma Santos film with Edgar Mortiz, Esperanza Fabon and Bebong Osorio. (READ MORE)

Other Female Directors

Ophelia Paris (1973) Directed by Celia Diaz-Laurel. The first movie of Vilma Santos and Cocoy Laurel, the other films are: Disco Fever and Pinay American Style (READ MORE).
Mga Reynang Walang Trono (1976) Directed by Amalia Muhlach (Amalia Fuentes). “…Amalia directed Vilma’s episode in Mga Reyna and agreed to second billing to Vilma in Asawa Ko. No doubt about it, Amalia Muhlach Sumilang Fuentes, is a Vilmanian. To seal their sisterhood and camaraderie, Vilma is Ninang to Liezl Martinez and to the latter’s son Alfonso. Why, Liezl even sang a song ’’Wind Beneath My Wings’ to her surprised mother that night which drove the strong-willed and still beautiful Amalia to tears…” – Mario O. Garces (READ MORE)

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Special Film: Sisa (1951)

Posted on November 25, 2012 by @ffv Standard

“…The film Sisa has a hypnotic grip on viewers. Anita Linda is simply amazing in an award-winning performance as the crazed title character. The story-telling is tight and well-paced. However, the climactic ending seems rushed. It is basically a CliffsNotes summary of the latter part of Noli Me Tangere. The sudden change in pace left me wondering whether some parts are still missing. Is there a director’s cut somewhere? The digitalized copy of the film is not in good condition. The images are chopped in the right and bottom sides. The audio is not clear enough and sometimes muffled. I had a hard time deciphering the name of Sisa’s husband. I’m not even sure if it is really Pedring. It sounds like Peding or Peping. I’m still thankful, though, that I saw one of the best works of National Artist for Film, Gerardo de Leon. This film was definitely the highlight of the UP Diliman run of Cinemalaya 2008. I hope Cinemalaya 2011 has a section for films about Jose Rizal, his works, and his characters. Will we finally see a copy of Gerardo de Leon’s El Filibusterismo? The epic film was scheduled for screening decades ago but the screening was unfortunately scrapped. Is a print really existing or should we just be contented playing the film in our minds?…” – Nel, The Persistence of Vision (READ MORE)

Anita Linda (born Alice Lake; born November 23, 1924) was a two-time FAMAS award-winning and Gawad Urian award-winning Filipino film actress. A romantic lead in her youth, she later gained critical acclaim for her portrayals in maternal or elderly roles. At the age of 74, she became the oldest actress to ever win a FAMAS award, when she was named Best Supporting Actress for Ang Babae sa Bubungang Lata. In 2008, at age 83, she was named Best Actress in the 10th Cinemanila International Film Festival (Southeast Asia Film Competition) for her portrayal of the titular character in Adela. – Wikipedia (READ MORE)

Anita Linda and Vilma Santos – 14 films, spanning three decades, Anita Linda has become a regular staple in several important films of Vilma Santos’ long stellar career. The most notable were the award wioning Bernal and De Leon films. (READ MORE)

Source: Ganito sila noon 2

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

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MEMOIRS OF VILMANIANS 2/2

Posted on November 25, 2012 by @ffv Standard

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To download v magazine issue 07 click here

Tinatawag natin ang ating sarili bilang Vilmanian. Paano tayo naging ganito? Eto ang ating mga alaala…ng ating pinamulan.

Eddie Lozano – Simula sa pagkabata at matutong humanga, siya lamang talaga ang una at wala nang iba pa. Noong elementary ako ay picture ni Ate Vi as in picture talaga ang nasa cover ng notebook ko, mostly nga black and white pa. Dahil ang aming ama ay hindi mahilig sa mga palabas na tagalog, ang aming tv ay laging nasa may English na palabas. Kaya kadalasan, kapag palabas na ang D’ Sensations, ay nakikipanood ako sa kapitbahay, maliban na lamang kung nasa duty si ama. Hindi nga ba’t mayroon pa siyang Dulambuhay ni Rosa Vilma, at yung sitcom with Nida Blanca and Rod Navarro, yung Kelan Pa? Remember ba ninyo yon? Kahit pa noon sa D’ Sensations, ang most awaited na portion ay ang dance number ni Ate Vi. Doon ko siya nakitang sumayaw ng singkil, Tahitian at kung anu-anong sayaw pa, pero ang talagang nagaya ko ng husto ay yung ‘penguin’ na hanggang ngayon ay sinasayaw ko pa rin, kahit na nga tumatalbog-talbog yung tiyan ko. Nung mabuwag ang love team na subok na matibay, subok na matatag, kay Ate Vi ako pumanig, dahil kahit na sino naman ang ka-partner niya ay okay lang sa akin, I realized then na Solid Vilmanian ako. Those were the days na wala akong pakialam kung maganda o hindi ang pelikula ni Ate Vi, ang importante sa akin ay enjoyment at makita siya sa wide screen at sa pagbabaka-sakaling mag-theater tour siya, kaya most of the time, ay sa opening day ako nanonood. Nag-aaral pa man ako hanggang sa magka-trabaho ay ganun pa rin ang aking naging routine kapag may pelikula si Ate Vi. Ilang beses ko na rin siyang nakita ng personal, malapitan man o malayuan pero hindi ako nagkalakas ng loob na batiin siya, hanggang tingin na lamang ako’t nagpipigil ng damdamin at baka bigla akong mapatili. Katulad ng mga nabanggit ko noon, yung makita ko lang siya ng personal ay nangingilid na ang luha ko sa sobrang kasiyahan, ano pa kayang mangyayari kung ma-experience ko ang katulad ng kay Kuya Father J and bespren Charls, to name a few? Remember Kuya Father ang experiences natin kapag nanonood tayo ng parade of stars sa Roxas Boulevard? Hindi man tayo magkakilala at magkasama, pero iisa ang ating ginagawa, ang humabol sa karosa ng Reyna Vilma na talaga namang may magnetic charm.

Aries Rollon – Ano ba, wala ka na bang gagawin maghapon kundi gumupit ng mga articles at pictures ni Vilma Santos? That was my mother always asked me more or less 20 years ago . But what can I Do? I really admired Vilma Santos. Minsan tinatanong ko ang sarili ko kung normal pa ba ang ginagawa ko? Wala bang mali sa inaasal ko? Bakit ako ganito? Bakit sobra sobra ang paghanga at panahong inuukol ko kay Vilma Santos? Ako lang ba ang ganito? Na-addict ako kay Vilma Santos. Natatandaan ko noong high school pa lang ako, hindi naman ako actually ganoon ka devoted as Vilma Santos fan. But I really admired her dahil na rin sa impluwensya ng mother at mga pinsan ko. Yes napaanood ko na ang mga pelikula nya sa TV and to think na ang first movie na napanood ko sa sine ay ang LIPAD DARNA LIPAD. Sometimes sinasabi ko rin sa Nanay ko na nahawa lang naman ako sa kanya. Kaya lang mas naging malala lang ang Vilma fever ko. Actually hindi nga ako mahilig sa showbiz at wala akong panahon sa mga artista. But when I started watching Vilma on television and started watching her good movies, nagsimula na ang hysteria sa buhay ko. Ano ba ang meron si Vilma na wala ang iba? Well, hindi ko na siguro kailangang isa-isahin ang mga achievements niya. Tanging manhid at walang pakiramdam ang hindi nakakaalam. Personally, of course hindi ko siya kilala at hindi rin ako interesado sa pinagdaanan niya. Ang alam ko lang, heto nalulong ako kay Vilma. Vilma, Vilma puro na lang Vilma. Bakit pati sa panaginip Vilma pa rin. Nasasaktan ako kapag mayroong hindi magandang sinasabi kay Vilma. Nagmumura ako at nakiki-pag-away kapag may pumipintas kay Vilma. Naghahanap ako ng mapapangasawa na kamukha ni Vilma. But of course, my wife for the past thirteen years ay hindi naman kamukha ni Vilma. Iisa lang si Vilma Santos and she’s incomparable. Nobody comes close to the One and only Star For All Seasons. She was branded as poor second sa tinaguriang phenomenal Star. Marami ang nooy nagsasabi na siya ay hanggang doon lang, laging sunod lang ang pangalan sa nag-iisang Superstar. Ngunit ang panahon ay sadyang nag-iiba, ang poor second nasa TOP of the World na ngayon. Sa tatlong dekada na nagdaan walang nakahadlang sa kinang ng Bituin ng lahat ng panahon. Pinataob niya ang lahat ng bituin na minsay kuminang at nabigyan ng pagkakataon…I got married on the same year that Vilma got married to Sen. Ralph Recto. Medyo nag lie low na ako sa pagiging Vilma fanatic, but still hindi pa rin nagbago ang paghanga at pagmamahal ko kay Vilma.

Willie Fernandez – May simula pero walang katapusan hanggang sa kabilang buhay. Yes, I breath and exist for Vilma. All my waking hours, si Ate Vi lang yata ang laman ng puso at utak namin. Maging sa pagtulog ay dala-dala namin sa diwa ang ala-ala ng aktres. Kesehodang nakatira kami sa bahay ng kaibigang aktor na si Daniel Fernando, na ngayon ay senior Board Member ng Bulacan. May pagkakataon pa ngang nagseselos ang actor – pulitiko kay Ate Vi sa tuwina’y siya ang paksa ng aming usapan. Alam ni Ate Vi ang tungkol sa sakit ko, hypertension (high blood pressure: 190 over 120). Hindi namin malilimutan ’yumg pagtulong niya nang kami’y ma-confine sa hospital. What a big surprise when she gave me a call at nangumusta. Tinanong niya kami kung ano pa ang mga pangangailangan. Siempre, tameme ang inyong lingkod for her nice gesture. Nang lumabas na kami ng hospital, at minsan nang dumalo kami sa shooting ng kanyang pelikula, in one of our friendly tender moments, sinabi ng butihing aktres na siya ang bahala sa mga gamot na kailangan for my continuous medication…Iba ang “magic” na nagagawa ng pagmamahal, lalo na kung ito’y nangagaling sa isang minamahal at iniidolo pa. There were times, halos hindi na kami makatulong at makakain nang maayos sa kaiisip at kapapangarap sa aking idolo for all seasons. Lalong tumingkad ang katuparan na lubos namin siyang “makilala” nang kami’y pumasok sa showbiz media. Inamin na “i will not grow as a writer” dahil talagang laging nananaig ang aking pagiging Vilmanian sa lahat ng oras. Hindi maalis sa amin ang “fan mentality”. Pawang maganda at positibo ang sinusulat namin sa aktres sa aming kulom sa mga diariong pinagsusulatan. Madalas kaming sermonan ng editor sa tuwing mag-submit ng artikulo na si Ate Vi ang nilalaman. Katuwiran niya, wala na nga bang kaming alam isulat kungdi ang aktres. Basta naman kasi ang subject namin ay si Ate Vi, walang duda, napakapositibo namin. Hindi dahil mahal namin siya at nagiisang idolo na hinahangaan sapul sa pagkabata, kungdi dahil ang sarap-sarap niyang iluklok sa pedestal dahil lahat ng bagay sa kanya ay positibo.

Julie Ouano Haglund – Well what more can one say about Vilma Santos, it’s not enough to say that she is the best. I haven’t met her personally but I have loved her and admired her ever since i was a little kid. I remember waiting every friday just to watch “VILMA” in GMA7 and that 2 hours of pure entertainment makes me kilig and proud at the same time that it’s her I idolized. I’ve watched the Vilma movies that is being shown on Tv as well as in the movie theater, laugh with her when she’s happy and cry as well when she’s hurt. There was a time that I was so closed in meeting Ate Vi when my best friend who is Chit Guerrero’s niece April and I were in Manila for a job interview in Cathay Pacific as a flight stewardess, we asked tita Chit if maybe just maybe we can visit Ate Vi and to finally meet her in person but unfortunately at that time she was pregnant with Ryan Christian and the pregnancy was difficult that Tita Chit has to begged off we were disappointed but pray for her that everything is gonna be fine. After many years of working and living abroad nothing has changed I’m still an avid and true Vilmanian in fact I’m still watching her old movies now and then even if I have seen it like a thousand times and still buying and ordering the ones that I don’t have. I want to thank this group for giving me the opportunity to know some of you ( VILMANIANS) all over the globe and really hope to meet some if not all of you in person one day. To you Ate Vi I love you so much and that you are an inspiration to everyone who loves you. I really wish you all the best and my prayers for you and to your family.

Jeannie Wong – I first saw Ate Vi in person at the Manila International Airport. She was still sporting shoulder-length hair, ka-loveteam pa niya si Bobot Mortiz. I think they were having a show there. I went to the MIA’s ladies room and few minutes later Ate Vi and two ladies came in. Ate Vi was in front of the mirror touching up her make-up and the two ladies were helping her get ready for the show. Only 4 of us were in there and yet all I did was stare at her. I didn’t even get enough courage to approach her. If only I can rewind it back, it would be different approach this time around. Magawa ko kaya yon? The second time I saw her was at the theater showing of her movie with Manny de Leon. My friends (Ana, Mitzi and I) went to watch the movie. The movie theater was SRO even lodge section, grabe ang dami ng tao. All of the sudden, everyone watching were rushing outside instead of watching the movie. Know why? Ate Vi and Manny de Leon dropped by to greet their supporters. Everyone crowded around them. I lost one of my earring that my mom just gave me sa dami ng tao. I had that earring only for 3 days yata. Well, anyway that’s not the first time I lost my earring. There were other occasion isang araw pa lang (baka nga ilan oras lang) sa akin nawala ko na. Mabuti na lang hindi nagalit ang mother ko sa akin. Ate Vi and Manny de Leon didn’t stay long, pupunta pa sila sa ibang sinehan. After they left, everyone went back in and continued the movie. That was an added bonus watching the movie and seeing Ate Vi in person. HEAVEN! The third time I saw Ate Vi was in California, USA. The year was 1980. I was in America for a month long vacation. My aunt told me that their church planned a Great America trip for the youth with special price of only $4.00 per person including admission entrance to the park and bus ride from the church to Great America and back to the church. I asked my cousin to go with me nilibre ko siya. We went on so many rides, believe me I’m not crazy with wild rides. Should I say, super takot ako sa mga wild rides! When we were on queue for the log ride (not a wild ride) on the upper section. Guess what? I saw Ate Vi with Edu Manzano, they were in the lower section, it was their turn to hop in the log for the logride. Nakasandal si Ate Vi kay Edu. SUPER BEAUTY si Ate Vi, she must have only very very light make-up on parang wala pa nga pero ang GANDA-GANDA niya. From the upper section, I wanted so much to call out her name sa tuwa ko, kaya lang natulala ako! Guwapo ni Edu kaya lang mukhang masungit. Like the first time, the only thing I managed to do was my eyes following them until I couldn’t see them anymore. All that time, I didn’t see Edu smile at all, serious looking siya! Masungit nga! Si Ate Vi was wearing jeans and high heels, diyan ka bibilib kay Ate Vi! Ate Vi and Edu weren’t holding hands, bakit kaya? May sompi yata si Edu kaya hindi siya ngumigiti. I can’t get that picture off my mind. Again, if I can rewind it back, the approach would be different. Siguro kung kasama ko ang mga Vilmanians dito sa egroups lalakas siguro ang loob ko. August 21, 2005, Sunday around 11:00am. Our TV was on cable channel 8, the program was MMK. Our home phone rang, Alan T. called (Thanks, Alan!) and passed the phone to someone and guess who was on the other end? Si Ate Vi nga! Naka-usap ko si Ate Vi. She was having lunch with the Vilmanians at the Radisson Hotel, NY. I must have ESP and stayed home that day kung hindi na miss ko ang chance na maka-usap si Ate Vi. That moment was Heaven! Parang mayroon MAGNET at MAGIC si Ate Vi. Lalong lumalim ang pahanga ko sa kanya ngayon. That was my fourth encounter with Ate Vi. Ano kaya ang susunod? I hope to meet and bond with her. That would be HEAVEN!

Mario O. Garces – I am a baby boomer and come from a large family. The seventh of 11 children (5 boys and 6 girls), with one breadwinner, my Tatay, I knew what poverty was like. Dad was only a high school graduate but he was smart. He was the eldest of 8 children. They started rich: they had a big house, a car, and he enrolled at the U.P. College of Fine Arts. He painted/ drew well and was a great writer. His father, a church deacon, led a double life. He was a compulsive gambler. He forgot his marriage vow and covenant with God to serve His people. He died a pauper. From rags to riches. In his deathbed, he called all of his children to swear not to do what he did. “Isumpa ninyo ang pagsusugal. Malas iyan sa buhay. Sa demonyo iyan.” How I wish I could tell this story to some celebrities I truly admire and respect. Dad had to stop studying and started doing odd jobs to support his mother who had TB. He cried when his younger brothers lied about their age to be able to work as ’kargador’ in the public market. His strong belief in his Creator helped him move on. He dabbled in self-study oil painting, wrote some zarsuelas, even wrote for Tiktik and Liwayway magazines. He ended up being employed by a printing company and served as its lead writer and lay-out artist. My mother only finished the second grade but she knew how to sew clothes and manage our little tienda or sari-sari store. Dad won in some oil painting contests. National Artist Fernando Amorsolo was his role model. All of us 11 children had to help with the family business, household chores and must be at the church every Sunday. Dad’s orders. We had our first black and white Radioweatlh television set and we, eleven siblings would all fight for our favorite channels. Dad preferred to watch stuffs like Alfred Hitchcock Presents, The Rifleman, Combat or Bonanza. Mom would settle for Mga Aninong Gumagalaw (she swooned over Carmen Rosales and Rogelio De La Rosa), and Oras ng Ligaya with her favorites Chi-chay, Sylvia La Torre and Oscar Obligacion. But all of us younger kids were unanimous that Popeye is forever. We would all watch the very slim Pilitia Corrales sing the Pilita Corrales ’patuwad’ way: “the day you came along, with your song, my heart began to sing dear, a million thanks to you my love.” Not to be outdone, Carmen Soriano sang and sashayed to televiewers on Carmen on Camera. We would imitate Joe Quirino’s accent and ’take it away’ lines in Seeing Stars with Joe Quirino. Before Penthouse Live with Martin and Pops, there was Dance-O-Rama with Pete Roa and Baby O’Brien and later replaced by the new U.P. graduate Boots Anson. Yes, we were all hungry for local entertainment. There were no cable, TFC, or the Internet at the time. The proverbial Tagalog weekly comics were our other source of ’escape.’ Kalabog en Bosyo. Booma. Tanikalang Apoy. Gumuhong Bantayog. On radio, Sebya, Mahal Kita and Mga Kuwento ni Lola Basyang were on our must listen to list. On weekdays, my Mom’s day would not be complete without listening to her favorite Dear Abby counterpart, Dely Magpayo. Coming from school, I could hear these lines: “Alas tres na naman po ng hapon. Ito po ang inyong Tiya Dely.” And then there were Nora Aunor and Edgar Mortiz in Tawag ng Tanghalan. I never saw anyone sang People better than Nora. I noticed something different about her eyes. They looked sad yet hopeful. When she was declared champion, I knew something was set free from our masses. There were Vilma Santos and Connie Angeles in Eskuwelahang Munti. Vilma Santos made everybody cry as a hostage victim who softened bad boy Martin Marfil’s heart of stone in the original teleserye of all teleserye, Larawan ng Pag-ibig on ABS-CBN. Some episodes were live but the audience did not notice. I did. The Gripo Princess, Vilma Santos, was on everyone’s lips as Trudis Liit, Ging and that ’cry me a river tot’ in that high rating TV soap tearjerker. Tirso Cruz III in pre-Aunor era was a hit in Nine Teeners. Elvis hairdo, matchstick thin and all. He could hit the high notes of such love ballads like My Cherie Amor by Stevie Wonder. Dad would require us to read Bible verses aloud some days of the week so we could practice our English. I was the champion. I memorized Psalm 23. The winner got to join him and Mom to a double feature in nearby Scala theater. Not that he did not like Tagalog movies. His goal was to teach his kids literature, art and movie appreciation. He was different from other fathers. He would rather tinker around the house, read Time magazine, the Bible or write sermons from an old Underwood typewriter, rather than dwell on idle talk and drink beer like those big-bellied gents at a corner barber shop. To augment family income and help support our tuition and pang-sine, my sisters and brothers would sell ’jewelries’ made from Meycauayan and our house to market stalls in Central and Bambang markets. The boys would trek to Daniel Barrion by FPJ or an Erap action movie. We would save money to be able to watch James Bond’s new movie every Christmas season. Or patiently wait for it to run in double feature theaters. The girls swooned over Rock Hudson and Doris Day, Amalia Fuentes, Susan Roces, Gloria Romero and Nida Blanca. But my favorite was Lolita Rodriguez. She is ahead of her contemporaries. She reminds me of Liv Ullman and today’s Michelle Williams. Oh the power and triumph of restraint. Nora, Vilma, Charito, Hilda, Gina Alajar must have taken a cue from this great actress. Less is more. Where the hell is she? And Vilma Santos? There’s something that’s different about her. I loved Ging but I loved her more in the company of Marlene Dauden (Sa Bawa’t Pintig ng Puso) and with Lolita/Marlene/Eddie R. menage a trois like in Kasalanan Kaya? I didn’t know she won the best supporting actress award from this movie until I was older. All I knew was she is pretty, cute and always cries in her movies. The 70’s I knew that Vilma can act but Nora can sing. U.P. was split between Nora, (Turn to next page) Hilda and Vilma. Communism and the status quo. The avant garde and the weirdos went gaga over Hollywood and European films, especially France’s Truffaut and Company. Movie appreciation started with my Dad and encouraged by the U.P. system. My eyes popped out watching foreign flicks like Fritz Lang’s Birth of a Nation, and some classics like The Cabinet of Dr. Caligari, The Seventh Seal and La Strada. I knew my Truffaut from Bergman and Kurosawa. Even the Apu Trilogy. Over at nearby Delta theater, I saw intriguing avant-garde movies like the one with Glenda Jackson in Women In Love, from hardearned money. I would walk miles to save on U.P. Ikot jeep and bus fares and spend it on movies. I was paper thin. I was addicted to the movies and reading. Since money was tight, I would wait long lines and wake up early to get an expensive reserve book, a required reading in school. I would bring itlog na maalat and rice as baon, and spend lunch money on film retrospective festival tickets at the school and other venues in Makati. My PETA acting experience taught me a lot about how difficult and disciplined stage acting is. One summer before Martial Law was declared, I appeared as one of the angry market vendors in Nikolai Gogol’s drama-comedy five act play, The Inspector General, presented by Campus Crusade for Christ and PETA. Fellow schoolmates Lutgardo Labad and Maryo J. De Los Reyes were at the helm. I didn’t have a clue on what to expect as I never acted on stage before. PETA stalwarts Soxy Topacio, Angie Ferro, even Lino Brocka were happy and generous to teach us acting 101. My parents almost disowned me as I came home late and hungry from rigorous rehearsals at the Raha Sulayman Theater in Fort Santiago. I saw Dama De Noche with Vilma in a dual role. I thought her breakdown scene in this Nestor Torre scipted movie, akin to her similar and memorable role in Ikaw Ay Akin would win her a grand slam in the Quezon City Film Festival and the FAMAS. Well, at least the FAMAS chose wisely. And then, when Vilma donned the Darna costume, there was no looking back. There I was at the jampacked Grand theater in Cubao, a witness to history when the New Box-office Queen was born. All of Metro Manila citizens trooped to the theaters and witnessed the Longest-Reigning Box-office Queen Vilma Santos kicked the bad guys’ ass as the flying super heroine in Lipad, Darna, Lipad. Up, up and away and Vilma took off. Bye-bye, forever, arch-rivals! Ecu tatakot, keka pa, ne? At the height of the Vilma-Nora rivalry, I didn’t sleep when Vilma didn’t bring home the trophy in the 1978 MMFF. I was one of the millions who went to bed depressed, maybe along with Manunuri Isagani Cruz (who thought that Vilma’s role in Rubia Servios was more complex and difficult to do). The whole brouhaha was, I believe an offshoot of Vilma’s earthshaking win in the 1977 MMFF where she made the greatest career turn via Burlesk Queen. At last, the box-office queen and overshadowed Actress found her niche in Philippine Cinema. From Burlesk Queen to Relasyon, Dekada ’70, and Mano Po 3, on one end, and from Minsa’y Isang Gamugamo to Sidhi on the other side of tinseltown, someone had to win the prestigious U.P. Gawad Plaridel Award. Overnight, the 1972 QCFF and the 1978 MMFF nighmares were erased. It was more than revenge, it was poetic justice. For Vilma, these words of wisdom ring true: “thus, the last will be first, and the first will be last. Weeping may endure for a night, but joy cometh in the morning.” “And he who perseveres to the end will be…saved.” Flash forward to August 19 and 20, 2005. At long last, Vilma In Person. A dream come true. The object of my inspired articles, movie-going life and movie reviews stood beside me and my wife. She shook our hands. Now I know why she is still what she is then and now. You would forget she is the greatest actress of the Philippines, or a surprisingly capable Mayor with a PhD degree in Humanities. The Queen is indeed charming, pretty, humble, down to earth, funny and smart. From reel to real, Vilma Santos is God’s gift to the Filipinos. May she live long and healthy to continue to inspire us all.

John Agra Amauri – Lumaki ako sa kapaligirang baduy ang humanga o umidolo sa artistang lokal. 1970’s: Noong mga panahong ito, malaki at matindi ang tunggaliang Vilma-Nora kung kaya’t hindi mo ito matatakasan. Laman sila ng halos lahat ng balitang pangartista at sa aking murang pag-iisip, marami akong katanungan. Sinagot yun isang hapon ng isang aleng maglalako. Nakiusap ito sa aking mga magulang kung puwede siyang pumuwesto sa gilid ng aming ng aming bahay at magtinda ng iba’t-ibang gulay at prutas na may kasamang paarkilahan ng mga Komiks/Magasin. Pinayagan naman siya at bilang pasasalamat, inaabutan niya kami ng pinakasariwa niyang paninda paminsan-minsan. Pinayagan rin niya akong arkilahin ng libre ang mga Komiks/ magasin niya at iyon ang naging simula ng isang hindi inaasahang mahabang sikretong ’relasyon’ at tumulong sa paghugis ng aking pagkatao magpahanggang ngayon. Patago kung basahin ko ang mga Komiks at Magasing balitang artista. Istrikto kasi si Itay, napakarami niyang hirap na dinanas sa pagtaguyod sa aming pamilya at para sa kanya, walang maidudulot ang mga artista, lokal man o banyaga, kundi ang pagtatapon ng oras at pera. Ilang ulit din akong nahuhuli ng aking ama at napapagalitan ngunit hindi talaga ako mapigilan. Panahon iyon ng pamamayagpag ni Nora ngunit mas nahulog ang loob ko sa naaapi. Ang naaalala ko ay ang husay ng pagdala sa sarili ng puma-pangalawang labtim ni Vilma at dito ako unang humanga. Sa aking panakaw na pagbabasa, sa bawa’t tagumpay na tinatamo niya, patago akong ngumingiti sa aking sarili. At sa bawa’t dagok na dumadating sa kanya, patago rin akong nagdadalamhati. Maging sa paaralan, bihirang mapagusapan ang mga kuwentong artistang lokal sa aming grupo. Ang kinagigiliwan noon ay mga pelikulang aksiyon mula Hollywood. ’Colonial mentality’ ngang tunay. Dahil dito, marami akong pinalampas na pelikula ni Vilma. Maliban sa mga aguinaldo, tuwang tuwa ako sa pagsapit ng Pasko at Bagong Taon dahil sa MMFF. Pelikulang Pilipino lamang ang mapapanood at pelikula ni Vilma ang pinapanood namin kapag kasali siya. Ngayon ko lang napag-isip, hindi kaya secret Vilmanian rin ang mga barkada ko noon? Panahon ito ng Lipad,Darna, Lipad. 1980’s: Kolehiyo. Sa unang pagkakataon, ako ay lumisan ng bahay upang tumira sa kampus ng Pamantasan. Dito naman, mas lalong hindi pinapansin ng akademya ang mga artistang lokal at bagkus, mababa pa ang tingin sa kanila kung minsan. Hindi rin nakatulong na dormitoryo ng mga dayuhang estudiante ang napili kong tirahan. Subali’t nakamtan ko naman ang sariling laya sa mga panahong ito. Para akong ibong nakawala sa hawla at natutung maging magsarili. Mag-isa kong pinapanood ang mga pelikula ni Vilma at masaya na ako sa ganoon kahit na papaano. Pero hindi pa rin ako matatawag na ’die hard fan’ dahil hindi lahat ng Vilma Santos movie ay aking pinapanood tulad ng Doctor, doctor…at Ayaw kong maging Kerida. Namimili pa rin. Ang dalawang pelikulang hinding hindi ko nakakalimutan at lalong nagpahanga sa akin ay ang Pahiram ng Isang Umaga at ang makabuluhang Sister Stella L. Dito na nag-iba ang pagtingin ko sa kanya. Artistang may ’social at political relevance’ sa mga trabaho niya. Matapang. Noong mga unang taon ng dekada ’80, ako’y nagumpisang mangolekta ng mga librong Anthology ng Don Carlos Palanca Memorial Award for Literature na bigay ng La Tondena Distillery. Dito ko unang nakilala si Lualhai Bautista at nabasa ang Dekada ’70. Mainit ang librong ito noong panahong iyon. Nangarap akong sana’y isapelikula ni Vilma ito. May matinding mensahe at ang babae dito ay ayaw nang magsawalang kibo sa nangyayari sa kapaligiran niya. Vilmang Vilma. Ito, sabi ko ang kasunod ng Sister Stella L. Nang sumunod naman ang nobelang Bata-Bata, Paano ka Ginawa noong 1984, nangarap uli ako at pumasok talaga sa isip ko ang padalhan si Ate Vi ng dalawang aklat na ito at imungkahing gawin niya. Nabanggit ko ito sa aking matalik na kaibigan at ako’y tinawanan lamang at sinabing ako’y nahihibang. Siyempre, Isa ako sa unang labis na natuwa at nagalak nang ito ay natupad pagkaraan ng halos dalawang dekadang paghihintay. 1990’s-2003: Memoirs of Buhay ’Merika. Malayo man ako sa inang bayan, balitang Vilma pa rin ang aking unang hinahanap. Ilang minuto lamang ang Hollywood mula sa trabaho o tirahan at naglilipana rin ang mga babasahin at balita tungkol sa mga bituin ng Hollywood pero wala pa rin. Merong Kulang. Paminsan-minsan ay merong balitang Ate Vi sa mga diaryong Pilipino dito at nakaka-dulot na ito ng saya ngunit bitin pa rin. Malaki ang pasasalamat ko sa internet at naging mas madali at mabilis ang paghanap ng mga balita tungkol kay Mayor Vi. Palihim at panakaw akong naghahanap ng balita sa net kapag nasa trabaho ako. Sa internet ko nalaman ang unang pagkapanalo niya sa eleksiyon. Ganoon din ang pangalawa at ang pangatlo. Sa mga panahong ito, ako ay sumaludo at naging 100% Vilmanian at taas noong pinagmamalaki siya noong pinatunayan niya ang pagiging epektibo niya sa kanyang panungkulan bilang Mayor. Sa kauna-unahang pagkakataon, may ’clippings’ ako ni Ate Vi at iyon ay pinamagatang Starring: Vilma Santos sa Newsbreak ng Inq7 (Oct. 27, 2003). Sa tuwa ko ay gumawa ako ng maraming kopya at pinamudmod ito sa mga kaibigan kong pinoy na gustong makinig. Kasabay sa isyung ito ang artikulong The Bad Mayor na si Joey Marquez. Tunay nga siyang kahanga-hanga. Hindi na isang artista lamang ang tingin ko sa kanya mula noon. Role Model at Inspirasyon. Magaling na aktres, marunong bumangon sa pagkadapa, maganda at mabait, mapagkumbaba, kagalang-galang at mas may bayag pa kesa sa ibang lalaki. Sa mga iilang taong iniluluklok ko sa pedestal na nabubuhay pa ay pawang mga lalaki iyon at maituturing kong malaking karangalan at pasasalamat at nakaharap ko sila sa magkakaibang okasyon. Sina Noam Chomsky, Warren Buffett at HH the Dalai Lama. Ikinagagalak kong sabihin na si Ate Vi ay kabilang na ngayon sa mga ito. Sana ay makadupangpalad ko siya. Sa pamamagitan pa rin ng internet, nalalaman ko ang mga bago niyang pelikula at aking inaabangan sa mga tindahang Pilipino sa may Vermont St., Temple St. at sa Glendale kung saan pugad ng ang Pinoy. Kasama ang kaibigan kong Vilmanian at ang buong pamilya niya, sabay kaming manonood ng mga pelikulang Vilma sa kanilang bahay tuwing linggo habang kumukukot ng cornicks, Chippy o V-Cut, chicharon na may suka o di kaya ay manggang hilaw at bagoong at minsan naman ay caramel pop-corn at pulvoron ng Goldilock’s. Kahit papaano, nasa Pilipinas uli kami sa mga sandaling iyon. Panahon naman ito ng mga Ipagpatawad mo, Dolzura Cortez, Sinungaling mong Puso at Bata-bata. Halos linggu-linggo kung dalawin ko ang aking nakababatang kapatid at kalapit nito ang West Covina. Sa aking pagkaka-alam, dito nakatira ang pamilya Santos. Minsan ay nababasa ko na lamang na nasa California si Ate Vi at nagbabakasyon. Natutuwa naman ako at alam kong naririyan lamang siya sa malapit ngunit wala naman akong maisip na paraan kung paano siya makaharap. So near and yet so far nga. 2004 noong una kong matunghayan ang ibat-ibang website ni Ate Vi. Nagmamasid lamang ako noon at naglakas loob lamang sumali noong 2005. Nasa ibang bansa na uli ako at malayo pa rin sa sariling bayan ngunit hindi na ako pipi ngayon bilang Vilmanian. Salamat sa grupong ito at nabigyan ako ng boses bilang isang Vilmanian. Nang dumating ang UP Gawad Plaridel ay hindi ko maiwasang mapaluha sa galak. Gustong gusto kong maging bahagi sa okasyong ito na handog ng sistemang aking pinagmulan subalit sadyang hindi nauukol. Hindi pa rin ako mapakali at nakadalawang tawag ako sa kolehiyo ng Mass Comm noong araw ng parangal upang makibalita. Madaling araw man dito noon ay hindi ko ininda. Ito kasi ang itinuturing kong pinakamahalagang parangal na natamo niya sa buong buhay niya. Bindikasyon ito sa lahat ng nagawa at nai-ambag niya sa sining at taong bayan. At nagpapatunay lamang ito na hindi nga ako nagkamali sa pagpili ng hinahangaan. Ngayon, dito sa grupong ito ko na kinukuha ang mga pinakasariwang balita tungkol kay Ate Vi at ang magbigay o makinig ng opinyon. Dito ako nakatagpo ng maraming kapwa Vilmanian na hindi ko naranasan noon. Ang unang-una kong pakikipag-tanggol at pakiki-pagsagutan sa kampong mapang-away kahit man lang sa pagsulat. Unti-unti ko ring hinahasa dito ang kinakalawang kong pag-sulat sa Ingles man o sariling wika. Dito ko naranasan ang pinakamalapit kong pakikiharap kay Mayor Vi sa pamamagitan ng kanyang pagbati at pagsulat. At siya, bilang aking inspirasyon, ang nakapag-udyok sa aking makagawa at maibahagi dito ang kauna-unahang ’haiku’ sa tanang buhay ko na hindi ko inaasahang mangyayari. Salamat, Ate Vi. Agra Amauri, n.b. Ang paggamit ng pangalang ito ay pagbibigay pugay sa isang taong naging tulay upang madiskubre ang isang munting Vilma Santos. Kung hindi ako nagkakamali, ang ’uncle Amaury Agra’ ni Ate Vi ang unang nagdala at nagprisinta kay Doc Perez sa Sampaguita Pictures. After that, the rest is history. Ano na kaya ang nangyari sa kanya? Wala akong nababasa tungkol sa kanya. Kung saan man siya naroroon, maraming salamat.

R Viray – Maliit pa akong bata, mulat na ang kaisipan ko tungkol sa mga bagay bagay tungkol kay ate Vi. Madalas yung mga amiga ng auntie kapag nagmamadjong, isa sa mga usapan nila lagi ay nauuwi sa mga maiinit na debate tungkol kung sinong mas mas maganda, kung sinong mas magaling kumanta, sumayaw. Kadalasan ang kinauuwian nito’y ang pagliliparan ng mga “tiles” ng madjong. Ang mga amiga ng tita’y ang mga makukulay na karakter sa aking kabataan. Nakasanayan ko nang manood ng mga pelikula ni Ate Vi mula pa sa aking kabataan. Mayroon kaming kamaganak na takilyera kung kaya madalas ang pagpasok namin sa mga sinehan na walang bayad. Ilang sa mga pelikulang napanood ko na nagbigay sa aking ng ilang bangungot ay ang mga pelikula ni Ate Vi na kakatakutan. Katulad ng Lipad Darna Lipad, Hatingabi na Vilma at Anak ng Aswang. Kung sa gabi’y banungot ang lagi kong nararanasan salamat naman kay Darna at ang kapatid niyang si Ding laging nasasagip ako sa ending ng bawat masamang panaginip ko. Sa tuwing hapon matapos ang aking klase, takbo ako ng takbo, kalaro ko ang aking pinsan. Ako si Darna at ang pinsan ko naman ang babaing ahas! Labanang umaatikabo. Takbo kami sa bubong hanggang sa silong na aming bahay. Sigaw ng sigaw si inay lalo na nang marumihan namin ang puting kulambo na kakaalmirol lamang niya’t nakasabit kisame ng aming sala. Takbo rito, takbo ruon habol na rin si inay sa amin. Kapag dumarating na si tatay na lasing, naiisip ko lagi si Max Alvarado sa Darna and the Giants. Dahil sa mga yabag niya, nabubugabog ang buong bahay namin. Kapag dumarating rin si tatay ay laging napuputol ang panonood ko sa tv. Taong 1973, gabi ng parangal ng FAMAS. Nominado si Ate Vi. Nakatutok ako sa telebisyon habang nanahi ang nanay ko ng mga belong itinitinda niya sa Quiapo. Hating-gabi na pero dahil sa kaabalahan ay hindi ako pansin ni inay. Malapit nang i-proklama kung sino ang best actress. Hanggang sa dumating si Itay, si Max. Bakit raw gising pa ako! Inutusan akong bumili ng kanyang lapad. Nagdadabog akong tumakbo sa tindahan. Malayo-layo rin ito. Mabilis akong kumilos dahil sa banta ni itay na kung hindi ako kikilos agad papatayin niya ang telebisyon. Mga sampung kanto rin ang tindahan mula sa aming bakuran. Ilang araw na ulan kung kaya ang lupa sa aming bakuran ay basa’t maputik. Sa tindahan magsasara na si Aling Toyang mabuti na lang at naabutan ko kung hindi’y ang lalakbayin ko’y dagdag na anim na kanto, duon sa susunod na tindahan, kay Mang Tomas. Kapag kuha ko ng lapad ay takbo na ako. Sigaw ako ng Darna at ang pakiramdam ko talaga’y lumilipad ako. Malapit na ako sa aming pinto’t tumatakbo ako sa aming bakuran ng marinig ko ang mga kahol ng aso ng aming kapitbahay. Sa tako’t ko’y lalo ko pang binilisan ang pagtakbo hanggang sa madapa ako sa gitna ng putikan. Galit na galit ang tatay ko. Bakit raw puro putik ang lapad niya, pero mabuti raw at hindi nabasag. Galit na galit ang nanay ko at nag-umpisa na silang mag-away dahil ang sabi ni nanay mas mahalaga pa raw kay Max ang lapad niya. Naligo agad ako’t nagbihis at bumalik sa harap ng telebisyon habang patuloy na nagaaway ng tatay at nanay ko. Malapit nang sabihin kung sino ang mananalo nang bigla na lamang akong sigawan ng tatay ko’t ibig paalisin sa harap ng telebisyon. Napatingin na lamang ako sa nanay ko upang humingi ng saklolo. Hatak hatak ako ng tatay ko pero nakatutok pa rin ang mga mata ko sa telebisyon. Iprinoklaman si Ate na ka-tie ni Boots Anson Roa bilang best aktres! Habang paakyat ng entablado si Ate Vi, nakangiti ako, hindi ko alam na pinapalo na pala ako ng tatay ko ng kanyang sinturon. Nang patayin ng tatay ko ang telebisyon ay saka ako napasigaw sa sakit, latay latay na pala ang katawan ko hindi ko pa pansin dahil sa epekto ni Ate Vi sa akin. Bata pa ako nuon hanggang sa lumaki ako, lahat ng sakit sa puso at kung ano anong problema hindi ko naaalintana dahil nariyan si Ate Vi. – GO to 1/2

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2002 Metro Manila Film Festival

Posted on November 24, 2012 by @ffv Standard

Hindi ako kumbinsido na isang Ara Mina ang tumalo sa isang Vilma Santos sa nakaraang Metro Manila Film Festival Philippines. Isang malinaw na pang-iinsulto ito sa kakayahan ng Star for all Seasons bilang aktres. Hindi namin minamaliit ang kakayahan ni Ara Mina. Pero para sa amin, hindi pa siya ganap na aktres para talunin si Vilma. Kung pagbabasehan ang performance niya sa Mano Po, compared kay Vilma sa Dekada ‘70, hindi ito sapat para pumantay kay Vilma. Sa katunayan, ang performance ni Vilma sa Dekada ‘70 ang masasabi naming pinakamahusay niya. Napakahusay ng transformation ni Vilma bilang isang ina na sunud-sunuran sa kanyang asawa to a mother na nakikipaglaban para sa karapatan ng isang ina para sa kanyang pamilya. Kahit si Kris Aquino na co-star ni Ara sa Mano Po ay hindi kumbinsido na tinalo nito si Vilma. Vindicated kuno si Ara Mina sa pagkakapanalo nito. Vindicated saan? Pinaingay lang ng Regal Films ang kanyang performance kaya tumatak sa isip ng ilan na pang-Best Actress ang performance niya. Ang nakakapagtaka, ilang araw bago ang awards night, pinaingay ng Regal ang pangalan niya for Best Actress. Mukhang siguradung-sigurado na silang makukuha nila ang majority awards. At nangyari na nga. Nakuha ng Regal movie ang majority ng awards. Kahit nga sa Best Actor award, nakakapagtaka na talunin ni Eddie Garcia sa Mano Po si Christopher de Leon sa Dekada ’70.

At ang nakakabaliw pa, ilang oras bago ang awards night, may tumawag sa Star Cinema office na taga-MMFFP para sabihing in-elevate nila si Piolo Pascual para sa Best Actor category. Pero nung presentation na, balik ito sa Best Supporting Actor. Di ba, normally may deliberation na tinatawag? Ibig sabihin ilang oras bago ang awards night ay nagdi-deliberate pa sila? Ni hindi nila iprenesent kung sino ang board of judges. Kahit ang souvenir program kung saan naglalaman ng composition ng members ng bawat committee ay wala. Deliberate bang hindi pinamigay para hindi ma-pinpoint kung sino ang sisisihin sa mga kapalpakan? Umpisa pa lang ng MMFFP ay palpak na. Announcement pa lang ng 7 official entries ay nagkagulo na. At tama ba namang iurong ang deadline para ma-accommodate ang ibang entries dahil hindi pa ito tapos? Hanggang sa kailangan pang mag-usap-usap ang mga producers para alamin kung ano ang kanilang decision sa bagong ruling na ipinalabas. Bakit kailangang producers ang masunod kung may sinusunod na rulings taun-taon? Kulang sa paninindigan ang pamunuan ng MMFFP ngayong taon. Sa interbyu ni Mayor Rey Malonzo sa The Buzz, nagpaliwanag ito sa mga naganap na kapalpakan. Ipinipilit niya ang kanyang katwiran na nasusupalpal naman ng mas mabigat na ebidensya. Tulad na lamang sa hindi pagkasama ni Lualhati Bautista sa dalawang kategorya, ang Best Original Story at Screenplay.

Aniya, nabanggit naman daw, baka hindi lang narinig dahil sa studio problems sa PICC. Isisi pa ba kay Lani Mercado ang kapalpakan eh ang husay nga nitong mag-present? Bakit ayaw tanggapin ni Mayor Rey Malonzo na lantaran ang kapalpakan sa MMFFP ngayong taon? Ewan pero nakakawalang gana na yang MMFFP na yan. Taun-taon na lang may gulo, kontrobersya at higit sa lahat, umiiral ang kapangyarihan ng ilan. Kaya kung kami sa ilang film production like Star Cinema at Imus Productions, mag-isip-isip sila ng maraming beses kung sasali pa sila next year. At kung sasali man sila, gumawa na lang sila ng ka-cheapang pelikula para matalo man sila, hindi masakit. At kung iisip man sila ng pang-entry next year, huwag na silang mag-strive for cinematic excellence and globally competitive movies dahil hindi sila kikilalanin at bibigyan ng parangal. Sayang lang ang efforts nila. Magpatuloy pa rin sila sa paggawa ng pelikulang magaganda pero ipalabas na lang nila sa regular showing at huwag magpagamit dyan sa mga kung sinu-sinong malalaking tao sa industriya at pulitika. Kay Direk Chito Roño, ipagpatuloy mo ang paninindigan mo. Wala ka ng kailangang patunayan bilang isang direktor dahil ginawa mo ang alam mong pinakamahusay mo, pero yung hindi ka kikilalanin, hindi mo na kasalanan yun. Salamat sa pagsasabuhay mo ng pelikulang Dekada ‘70.

At para kay Vilma Santos, mananatali pa rin siyang pinakamahusay na aktres para sa inyong lingkod at sa kanyang mga tagahanga. Binastos man siya ng MMFFP, marami pa rin ang naniniwala na siya pa rin ang rightful winner. Hindi ang MMFFP ang sisira sa legacy ng isang Vilma Santos. Sa awards derby next year, pupusta ako na aanihin niya ang prutas na hindi niya inani ngayon sa MMFFP. Sa MMFFP, nakakalungkot na hinayaan ninyong dungisan ng ilan ang imahe ng taunang parangal na ito. Hindi ninyo dapat hinayaan na gamitin kayo ng mga gahaman. You are not indebted sa iilang makapangyarihan kundi sa sambayanang Pilipino. Tiyak na may magri-react sa aking sinulat sa kolum na ito. Ito ang nararamdaman ko. Matindi ang epekto sa akin ng mga pangyayari at kung paanong tumimo sa aking puso at isipan ang Dekada ’70, ang pelikulang nagpamulat sa akin kung gaano kasarap magkaroon ng isang pamilya at makipaglaban para sa iyong minamahal. Kay Vilma, Boyet, Piolo, Direk Chito, Lualhati Bautista at sa Star Cinema, maraming salamat sa Dekada ’70. Mabuhay ang tunay na pelikulang Pilipino! – Eric John Salut, Pilipino Star, December 31, 2002, Reposted by: Sol Jose Vanzi (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)

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Anita Linda and Vilma Santos

Posted on November 23, 2012 by @ffv Standard

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Best Performances – “…Her most memorable films at Premiere, however, were in the early ’50s with master director Gerry de Leon in Sisa where she won the Maria Clara (FAMAS) Best Actress Award and Sawa sa Lumang Simboryo which also gave her a FAMAS Best Actress nomination the following year. There was no stopping her. In the ’70s she won a FAMAS Best Supporting award for Brocka’s Tatlo Dalawa Isa, while being nominated in the URIAN for Jaguar. In 1982 she was given the Natatanging Gawad Urian ng Manunuri ng Pelikulang Pilipino. She was further noticed in the ’80s and ’90s in Mike de Leon’s Sister Stella L., Chito Roño’s Itanong mo sa Buwan, Brocka’s Gumapang ka sa Lusak, William Pascual’s Takaw Tukso which gave her a Gawad Urian Best Supporting trophy, and Mario O’Hara’s Ang Babae sa Bubungang Lata of 1998 where she won Best Supporting Actress from both Star Awards and FAMAS, and set a record as the oldest actress to ever win a FAMAS at age 74. Ten years later, although active in significant support roles, Anita was given what its director Adolfo Alix Jr. calls his tribute to a screen legend in the indie film Adela which opened the Cinemalaya Independent Film Festival In 2008. The film essayed the loneliness of a woman celebrating her 80th birthday alone when her children fail to visit her. This gave Anita the Best Performance award from the Young Critic’s Circle, and Best Actress at Cinemanila’s Southeast Asian section. Recently, Anita was given the ENPRESS Lino Brocka Lifetime Achievement Award…” – Bibsy M. Carballo (READ MORE)

Sisa – “…Anita Linda is the recipient of several acting awards, among them, Best Actress of the Maria Clara Awards in 1951 for Gerardo de Leon’s Sisa, where she played the title role, which she considers her most challenging and memorable. “Of course when I made Sisa…Sisa, the crazy woman, in our Noli Me Tangere written by Jose Rizal is a role I can’t forget. It’s my first award – the Maria Clara award…it’s very intense…Sisa in our history represents the Philippines itself (because) Sisa was …being maltreated by the Spanish…She represents the country itself, ‘yung kanyang pinagdaanan (what she had gone through). Iyon ang feeling ko (That was how I felt).” She again won critical acclaim in the role she played for director Lino Brocka’s Tinimbang Ka Nguni’t Kulang (You Were Weighed But Found Wanting) 1974; Tatlo, Dalawa, Isa (Three, Two, One), 1974; and Jaguar 1979, the first Filipino film to compete at the Cannes Film Festival. Other leading films she had appeared in the 80s and 90s included Mike de Leon’s Sister Stella L., 1984; William Pascual’s Takaw Tukso (Flirting with Tempation), 1986; Chito Rono’s Itanong Mo sa Buwan (Ask the Moon), 1988; Brocka’s Gumapang Ka Sa Lusak (A Dirty Affair) 1990; and Mario O’Hara’s Ang Babae Sa Bubungang Lata (Woman on a Tin Roof)1998….” – Mila Astorga-Garcia (READ MORE)

Anita Linda (born Alice Lake; November 23, 1924) is a two-time FAMAS award-winning and Gawad Urian award-winning Filipino film actress. A romantic lead in her youth, she later gained critical acclaim for her portrayals in maternal or elderly roles. At the age of 74, she became the oldest actress to ever win a FAMAS award, when she was named Best Supporting Actress for Ang Babae sa Bubungang Lata. In 2008, at age 83, she was named Best Actress in the 10th Cinemanila International Film Festival (Southeast Asia Film Competition) for her portrayal of the titular character in Adela. – Wikipedia (READ MORE)

Anita Linda and Vilma Santos

14 films, spanning three decades, Anita Linda has become a regular staple in several important films of Vilma Santos’ long stellar career. The most notable were the award winning Bernal and De Leon films.

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)

Adultery (Aida Macaraeg Case No. 7892) (1984) – “…Vilma Santos’ restrained acting in Adultery: Aida Macaraeg 7892 was due to Brocka’s expert direction. We wish he did the same thing to Tolentino and Bonneive in this film. But then, Maging Aking Ka Lamang is a big box-office success. Brocka probably feels that it’s high time he gives the masses what they want. And on this score, Brocka succeeds enormously…” – Luciano E. Soriano, Manila Standard, May 19, 1987 (READ MORE)

T-Bird at Ako (1982) – “…The direction is tight and masterful. Although one always gets reminded in a Zialcita film of sequences from foreign films, there is a minimum of unmotivated blocking in this film. Each sequence contributes to the whole film (if there is copying, in other words, and I do think there is in this film, the copying is not done simply to be cute or clever, but in accordance with the logical requirements of the plot). The performances, as expected of a Zialcita film, are excellent. Aunor is more effective as the confused lesbian, primarily because Santos is not able to get the rough and ready quality of low-class hospitality girls. Tommy Abuel is terrific in his role as the patient suitor. Fernando is given too little space to develop his character, but what he has, he makes good use of…” – Isagani Cruz (READ MORE)

Hiwalay (1981) – “…Dagdag pa ni Vilma, “Pero isa rin sa pinakapaborito ko is Dindo Fernando. Si Dindo, na yumao noong 1987, ay nakapareha ni Vilma sa mga pelikulang gaya ng Langis at Tubig (1980), Hiwalay (1981), T-Bird At Ako (1982), Gaano Kadalas Ang Minsan (1982), Baby Tsina (1984), at Muling Buksan Ang Puso (1985)…” – Rico Jr (READ MORE)

Ang Galing-Galing Mo Mrs. Jones (1980) – “…Ang Galing Galing Mo Mrs. Jones (August 29, 1980) ng HPS Film Productions ang nagtampok kina Vi, Al Tantay, Mark Gil, Richard Romualdez, Anna Gonzales, Vic Silayan, Josephine Manuel, Anita Linda, Rodolfo Boy Garcia, Tintoy at Pepot sa panulat ni Toto Belano, iskrip ni Ruben Rustia at direksiyon ni Cirio H. Santiago…” – Alfonso Valencia (READ MORE)

Good Morning, Sunshine (1980) – “…Every aspect of a Bernal film may not always be successfully realized, but his weakness is outshine by his strengths. In every film, he seems to be ready to try something new, whether it be a theme, conflict, character or scene. He is also out of the few major local directors to have covered the broadest range of film genres and theme with varying levels of success, from the historical drama, like the Bonifacio episode in the unreleased multi-million peso omnibus Lahing Pilipino (1976), to the disco musical Good Morning Sunshine (1980) and the personal, experimental films Nunal sa Tubig and Himala…” – Mario A. Hernando (READ MORE)

Amorseko Kumakabit Kumakapit (1978) – “…Ang first anniversary presentation ng Diamond Films na Amorseko Kumakabit Kumakapit (April 13, 1978) ay pinangunahan nina Vi, George Estregan, Ernie Garcia, Rez Cortez, Beth Bautista, Cloyd Robinson, Dick Israel, Laila Dee, Brenda del Rio, Anita Linda, Angie Ferro, Mary Walter at Odette Khan sa panulat at iskrip ni Ruben Arthur Nicdao at direksiyon ni Maria Saret…” – Alfonso Valencia (READ MORE)

Kampus (1978) – “…Suzette (Vilma Santos) thinks she’s liberated woman who doesn’t believe in marriage matrimony while his boyfriend, Norman keeps on proposing the sacredness of marriage vow. These are two conflicting beliefs of two students undoubtedly in love with each other. Their relationship was put to a test when Suzette met Manny (Matt) who happens to be in accordance with what she thinks she believes in. A campus experiment for Suzette and she was the first to be affected by it. Will she swallow that so called principle and be merry with the one she truly loves?…” – Kabayan Central (READ MORE)

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

Masarap, masakit ang umibig (1977) – “…Elwood Perez and Vilma Santos colloborated in seven films. The first one was the trilogy that he co-directed with two other director, Borlaza and Gosiengfiao (these three are the most underrated and under appreciated directors in the Philippines), the remake of Mars Ravelo comic super hero, Darna in Lipad Darna Lipad. The film was a record-breaking hit Box-office Film. They follow this up with a more mature projects as Vilma started to switched her image from sweet to a mature versatile actress, pairing her with Christopher DeLeon in five films starting with Masarap Masakit Ang Umibig in 1977. The Perez-Santos-DeLeon team produced seven blockbuster hits that gave Vilma two FAMAS best actress awards that secured her elevation to FAMAS highest honour, the FAMAS Hall of Fame award. She won in 1979 for Pakawalan Mo Ako and 1988 for Ibulong Mo Sa Diyos…” – RV (READ MORE)

Dalawang pugad, isang ibon (1977) – “…Bernal, testing the tensions of triangular love (for geometry books, one of his characters wittily says) for some time now, plunges deeper into character analysis and metaphorizing… In Lumayo, Lumapit ang Umaga, the triangle was unevenly explored: the first love was sketchily drawn. Dalawang Pugad, Isang become a choice for a more stable relationship. Walang Katapusang Tag-araw was a strange reverse of characters for two women and an unusual development of love into hatred and hatred into love, where therefore the triangle was essentially illusions. Ikaw ay Akin finally sets an interlocked triangle on its bases and looks at it (from all 3 angles) squarely in the face…” – Petronila Cleto (READ MORE)

Dugo at Pag-ibig sa Kapirasong Lupa (1975) – “…A Must for the Filipino History Students and for everyone who wants to awaken the innate nationalism in them. These series of stories depicting the fight of the Filipinos against colonialism of Spain, Japan and even their fellow Filipinos abusing the power in the government. A seemingly serious film but spiced with the star-studded cast like Fernando Poe Jr., Ramon Revilla, Joseph Estrada, Nora Aunor, Dante Rivero, Eddie Garcia, Vic Vargas, Goerge Estregan and the other all time favorite artists. This movie even highlighted the comparison between the love of country and the other kind of love we offer to our family and to our beloved as the story featured love stories in the midst of tragic and bloody war happening in our society…” – Kabayan Central (READ MORE)

Vilma Veinte Nueve (1975) – “…Adapted from comics, Vilma Veinte-Nueve (1974-1975) was written by Cris R. Marcelino and illustrated by Vir G. Flores for Aliwan Komiks…” – Komiklopedia (READ MORE)

KIng Khayam and I (1974) – “…The film started promising with funny scenes of Joseph Estrada facing his people seeking his advice or help. One was when a man presented his new product, a flying magic carpet but when the carpet didnt fly, Estrada suggested a lighter weight rider. Then veteran actress and much younger, Mary Walter in a cameo role, brought her just bought magic lamp. She complained to the king that the seller fooled her to buy the lamp and wanted a refund. She then caress the lamp and the gennie came out but instead of the expected giant gennie, a midget dwarf came out. Then from this moment the film went downhill. A singing bird, a transexual Ike Lozada being auctioned, Rod Navarro’s over the top villain antics, all failed to sustained our attention. The weak storyline did not help. Patterned with the Hollywood film, King Kayam & I’s only saving grace was the acting of its lead stars. Joseph Estrada’s precense was commanding and convincing as the playboy king and Vilma’s charming innocense despite the sexy dance number at the end complimented Joseph’s macho image…” – RV (READ MORE)

Because You Are Mine (1973) – “…By late 1969, movie producers had been tapping a Vilma Santos-Edgar Mortiz love team. Edgar was a Tawag ng Tanghalan winner. They started to be together in the movies, My Darling Eddie (1969) and The Jukebox King (1969)…In 1970, the love team of Vilma Santos and Edgar “Bobot” Mortiz was officially launched in the movie Young Love, together with the another popular love team during that time, Nora Aunor and Tirso Cruz III. The Vi and Bot love team went on to do 14 more movies in 1970—The Young Idols, Songs and Lovers, Sweethearts, Sixteen, Love Letters, Love is for the Two of Us, Mga Batang Bangketa, My Pledge of Love, Renee Rose, Baby Vi, Because You Are Mine, Edgar Loves Vilma, From the Bottom of My Heart, and I Love You Honey. All did well at the box-office…” – Rommel R. Llanes (READ MORE)

Ito ang Pilipino (1966) – “…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)

Naligaw na anghel (1964) – “…Ang kaunaunahang Teleserye o Telenobela sa Television ng ABS CBN Channel 3 ay pinagbidahan ni Vilma, ito ay ang Larawan ng Pagibig. Dinirek ni Jose Miranda Cruz at mga artista din dito sina Eva Darren, Willie Sotelo, at Rosita Noble. Si Vilma ay 11 years old pa lang dito. Pagkatapos ng taping ng Larawan ng Pagibig, lagare naman si Vi sa kanyang Radio Drama program sa DZRH ang Naligaw na Anghel, kasama nya sina Maggie de la Riva at si Anita Linda na gumanap na ina ni Vilma. Ang T.V. show at Radio drama program ni Vi ay tumagal sa ere ng 3 years…” – Jojo V. Lim (READ MORE)

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#AnitaLinda, #AliceBuenaflorLake

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2002 Gawad Urian Best Actress

Posted on November 22, 2012 by @ffv Standard

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)

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)

For the first time in the history of the Manunuri ng Pelikulang Pilipino’s Gawad Urian Awards and probably in any national award giving ceremony, for that matter a tie was announced in the Best Film category. Star Cinema’s Dekada ’70 and Gil Portes and Ray Cuerdo’s Munting Tinig were declared as the best of the 2002 produced films. The Urian is known as the award-giving body that has most often declared ties. Allow me to explain why. A certain standard of excellence in every category has been set by the critics. In the case of the best film, it has to be one that is technically proficient in all aspects such as sound, music, production design, editing and cinematography. Beyond technical excellence and artistic sense in storytelling, it must always have a theme that is not pretentious. The film should successfully capture that “truth” grounded on the Filipino experience. Based on these, it is, thus, possible to have more than two films hitting the grade. Declaring ties, therefore, is only tantamount to saying that there may be more than one film which deserved to be called excellent.

It certainly happened this year for Dekada ’70 and Mga Munting Tinig. Both hit that mark of excellence. Congratulations to all those who contributed to the creation of these two momentous films. The Manunuri ng Pelikulang Pilipino has always dedicated itself to selecting and recognizing the best films. When the group was created in May 1, 1976, it declared itself as an alliance of consumer activists who write articles, not for PR, but as independent reviews that give citations and awards. The present group has never deviated from the same objectives and values as that of the first group. Three members who were part of the original one are still with the present crop of critics. They aim to continue awarding the best works and performances; encouraging continuous dialogue on film; and exploring and redefining the responsibilities of the industry practitioners and filmmakers to the public. The Gawad Urian recently held at the AFP theater started with a production number featuring Regine Velasquez, who was draped with filmstrips. She changed into two elegant gowns during the opening salvo.

The other artists who participated in the production were Janno Gibbs, Anna Fegi, JR, Jose Illana, Arni Hidalgo, Rufa Mae Quinto, Marissa Sanchez with the Sex Bomb dancers, and video assists by Michael V and Ogie Alcasid. Capping the evening was a musical number by Aiza Seguerra, 1728, 604 and Ciara Sotto. The presentors were Richard Gomez, Lucy Torres, Assunta de Rossi, Cherrie Gil, Rudy Fernanadez, Dingdong Dantes, Tanya Garcia, Jeffrey Quizon, Giselle Tongi, Judy Ann Santos, Maricel Soriano, Danica Sotto, James Blanco, Angelu de Leon, Vhong Navarro and Butch Francisco. Memorable “thank you” speeches started with Ricky Lee’s, who praised film artists and producers with whom he has worked. He also expressed his appreciation to the Manunuri ng Pelikulang Pilipino for finally recognizing and presenting a Natatanging Gawad Urian to a scriptwriter. Piolo Pascual was in tears and had a litany of names to thank as he completed his grand slam for the Best Supporting Actor category with his Urian award. Elizabeth Oropesa earned a good round of applause as she thanked her “Honey” when she received her Best Supporting Actress award.

Jay Manalo seemed rather touched by the Best Actor Award and thanked all his children quite a number, which did not escape the audience’s interest. Gil Portes was in high spirits when he finally bagged the Best Director award, after numerous nominations from the Manunuri. Vilma, who won the Best Actress Award, thanked the special people in her life, including host, Edu Manzano, who was miming on the side, hoping Vilma would include him in her speech. He certainly got the crowd in the theater roaring with his antics when he embraced Piolo and declared that he was a long lost son…The special award, Natatanging Gawad Urian, was presented to Ricky Lee for his numerous outstanding screenplays. A special reading was performed by Gina Alajar and Dina Bonnevie. Vilma Santos read the citation for the Ricky Lee’s recognition. The Gawad Urian Night was not too overwhelming, but friendly and exciting. It was not glittering, but it was colorful. It was not ostentatious, but it was substantial. It was not huge, but it was meaningful. Also contributing significantly to the successful presentation this year was the masterful and witty hosting by Edu Manzano. – Sol Jose Vanzi, May 20, 2003 (READ MORE)

2002 Gawad Urian

A few days before the Urian Awards last Saturday, some movie writers attending the presscon of Jose Llana said they already know the winners in the acting categories. Vilma Santos as best actress for “Dekada ’70,” Jay Manalo as best actor for “Prosti,” Beth Oropesa as best supporting actress for “Laman,” and Piolo Pascual as best supporting actor for “Dekada.” They claim to have heard this from some Urian members. The day before the awards night, we attended the presscon of “Huling Birhen sa Lupa” at Viva and Director Joel Lamangan told us he already knew Beth and Jay, who are shooting the film with him on location in Batangas, would win because he was requested to let them leave the set to attend the awards night. True enough, when awards night came at the AFP Theater, these are really those who won. Maybe the Manunuri should be more discreet next time to prevent such leakage. But the show itself is indeed smooth and slick, starting with the great opening number by Regine Velasquez. The tribute to Ricky Lee, who won the Natatanging Gawad Urian for his work as a scriptwiter, is particularly good. Singers Michael Santana, Ana Fegi and Janno Gibbs sang songs from Ricky’s films, Gina Alajar and Dina Bonnevie read excerpts from his scripts, Nora Aunor, Sharon Cuneta and Beth O. sang hosannahs to him, then Vilma Santos handed him the actual trophy.

Ricky, a founding member of the Urian himself (we left it at the same time in 1980), deserves the award because he is really the first scriptwriter to become a household name. We just wish he delivered a shorter acceptance speech since there’s beauty in brevity. Another winner who rumbled on and on is Piolo Pascual, who really put on an act along with Judy Ann Santos, who presented him his award. He’s the only one who scored a grand slam this year, so we can understand why he is a tad too emotional for comfort. Jay Manalo was more coherent and even managed to make a roll call of all his kids with various women, including his current wife, Raiza. Beth O., in turn, looked like a blushing bride as she received her award (her second best supporting actress plum from the Urian after “Milagros”), thanking her much younger husband, Joel Valdez, so sweetly. Mercifully, she gave a very short speech. Another winner who is obviously so overwhelmed is Gil Portes, best director for “Munting Tinig,” as he kept on giggling while delivering his acceptance speech. As for Ate Vi, this is her eighth Urian best actress trophy after “Relasyon,” “Broken Marriage,” “Sister Stella L,” “Pahiram ng Isang Umaga,” “Ipagpatawad Mo,” “Dahil Mahal Kita (Dolzura Cortez Story),” and “Bata, Bata, Paano Ka Ginawa.” This makes her the winningest actress ever and her Vilmanians have reason to gloat.

The concept of singing the songs from the nominated best films (by Tex Ordonez, Jose Llana, Jay Ar and Arnee Hidalgo) is good, along with the idea of lining up all the winners on stage for a final tribute before they announced the last awardee, Vilma Santos. Ate Vi was inexplicably already on stage but without a trophy, so you already know she’d be handed the award for the last category, which is the best actress award. But the production number involving Rufa Mae Quinto, the Sex Bomb, Marissa Sanchez, Michael V. and Ogie Alcasid was a dud. They tried to be funny spoofing Katya Santos and Mother Lily but only ended up being silly and corny. Host Edu Manzano did a fairly good job and even stole the scene when he too cried as ex-wife Ate Vi delivered her acceptance speech. In fairness, the Urian had a good roster of presentors like Rudy Fernandez, Maricel Soriano, Richard Gomez, Lucy Torres, Cherie Gil, etc. Unlike other award-giving bodies who just call on stage whoever is available inside the theater to act as presentors. As Rudy Fernandez himself pointed out, “Ang Urian talaga, mahilig sa tie,” so this year, the tie is in the best picture category, with Star Cinema’s “Dekada” and Teamwork Productions’ “Mga Munting Tinig” sharing the honor. – Sol Jose Vanzi, Malaya, May 23, 2003 (READ MORE)

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Reyna ng Pelikulang Pilipino

Posted on November 21, 2012 by @ffv Standard

Si Celso Ad Castillo ay marami nang naunang eksperimento. Pero pumaltos sa pamantayan ng mga manunuri. Maraming nagsuspetsa na may ibubuga siya, pero hindi lang talaga maibuga nang nasa tiempo. Malimit ang kanyang pelikula ay maingay at maraming sobra. Halimbawa, maraming karahasan na wala namang katuturan ang kanyang Madugong Daigdig ni Salvacion, seksing walang kadahilanan (pinagandang garapal) ang kanyang Pinakamagandang Hayop sa Balat ng Lupa, numero unong manggagaya ang kanyang Maligno, at sabog-sabog ang kanyang pinakamagandang nagawa, ang Daluyong at Habagat. Kung may magkamali mang pumuri kay Celso, iyon nama’y halos pakunsuelo-debobo lamang, at hindi ito sapat para itaas ang kanyang pedestal sa ranggo nina Bernal, Brocka at Romero. Wari ngang napako sa komersiyalismo ang direktor na inaabangan maglalabas ng natatagong talino.

Lalong nagduda sa kanyang kakayahan ang mga kritiko nang kumalat ang balita na gagawa siya ng serye sa TV na ala Cleopatra Jones na papamagatan naman niyang O’Hara. Pero ang direktor na ipinapalagay na laos ay biglang pumalag nang walang kaabog-abog. Bigla’y nabalitang may inihanda raw itong pang-festival na ikinataas na naman ng kilay ng kanyang mga kritiko. “Aber tingnan,” ang pasalubong sa balita. At sa preview ng kanyang Burlesk Queen, biglang napa-mea culpa ang ayaw maniwalang may ibubuga si Celso. Tiyak na 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. Sa Burlesk Queen, para kay Celso ay hindi nangangahulugan ng pagpapakita lamang ng utong, puwit o singit, kung hindi isang seryosong pagtalakay sa damdamin ng mga tauhan sa isang kapanipaniwalang dahilan na nangyari sa isang makatotohanang kapaligiran. Sa kanya, ang tao ay hindi basta maghuhubad at magtatalik. Maraming pangyayari sa buhay ang dapat munang linawin at unawain, at iyon ang basehan ng kasaysayan.

Simple lamang ang plot. Isang tinedyer si Vilma Santos na alalay ng isang original burlesk queen, si Rosemarie Gil. May tatay na lumpo si Vilma, si Leopoldo Salcedo. Si Rosemarie naman ay may kabit na isang hustler, si Roldan Aquino. Nang iwanan ni Roldan si Rose, nagwala ang huli. Naging lasengga siya at tumangging magsayaw sa tanghalan. Mabibitin ang palatuntunan, kaya’t si Vilma na talaga namang may ambisyong magsayaw ang pumalit. Hit naman sa manonood si Vilma. Sa bahay, pilit kinukumbinsi ni Vilma si Pol na payagan na siyang maging full time dancer. Ayaw ni Pol, mas mahalaga sa kanya ang prinsipyo at delikadesa. Sapagkat wala namang ibang pagkakakitaan, si Vilma rin ang nasunod sa bandang huli. Nag-suicide si Pol nang hindi na niya masikmura ang pasiya ng anak. Si Rollie Quizon naman ang binatilyong masama ang tama kay Vilma. Nagtanan sila at nagsama. Pero hindi sanay sa hirap si Rollie. Sa pagpili sa pag-ibig o ginhawa sa buhay, ang huli ang pinahalagahan niya. Nagkataon namang buntis na si Vilma. Sa pag-iisa sa buhay, nagbalik siya sa pagsasayaw. Nagsayaw siya ng nagsayaw hanggang duguin siya sa tanghalan at malaglag ang kanyang dinadala. Bagamat simple ang plot ay hindi naman masasabing simple ang pamamaraang ginawa rito ni Celso.

Sa kauna-unahang pagkakataon ay nangyari sa isang pelikula ang pagsasama-sama ng magandang istorya, mahusay na direksyon, magaling na pag-arte ng mga tauhan, masinop na musika, magaling na editing at angkop na sinematograpiya. Sa Burlesk Queen ay nagsama-sama ang talino ni Celso (direktor), Mauro Gia Samonte (story and screenplay), George Canseco (musical director), Ben Lobo (cinematographer), at Abelardo Hulleza (editor). Kung may ipipintas sa pelikula, iyon ay ang hindi malinaw na pagbuhay sa panahon na nangyari ang kuwento. Kung minsa’y maiisip na nagyari ito sa panahon ng kasikatan ni Elvis noong 1950s. Pero kapag pinansin na maraming long hair sa extra, may wall paper at synthetic na sako ang bahay nina Vilma ay maaari namang sabihing baka naman pa-Elvis craze lamang ang mga tao roon. Pero may pulitiko, at Yabut, at may dagdag pang Connie Francis bukod sa motorsiklong Lambretta at mga kotseng Buick. Kung sabagay, maliliit na detalye lamang ito na agad makakalimutan kapag ang inasikaso ay pagbuklat sa magagandang punto ng istorya.

Tingnan natin ang ilang magandang eksena sa pelikula. Sa ikalawang eksena ay nagtatanong si Vilma kay Rosemarie kung puwede rin siyang maging dancer. Walang malinaw na sagot si Rose, pero ang timing ng background music na It’s Now or Never ay makahulugan. It’s Now or Never nga, payo ni Elvis. At kung kailan siya maaaring mag-umpisa, Tomorrow, sabi ng kanta. Ang ganitong sagot ay nasa mukha ni Rose, pero hindi na kailangang sabihin. Ang ganitong pamamaraan ay tinatawag na creativity ng direktor, na nagdagdag ng ibang pamamaraan sa paghahayag ng damdamin ng tauhan. Sa paglakad ng istorya, dapat ding pansinin kung paano ang characterization ay binubuhay dito. Halimbawa, sa isang eksena na nangyari sa isang patahian ay nag-abot sina Dexter Doria, ang bagong kabit ni Roldan Aquino, at si Rose. Naroroon din si Vilma at sa hindi kalayuan ay si Rollie. Maliwanag na may kani-kanyang pangangailangan ang mga tauhan at magkakasama sila sa iisang eksena. Walang nakawan ng eksena na naganap dito. Naginsultuhan sina Dexter at Rose, natameme si Roldan at waring walang pakialam sina Rollie at Vilma na panay na panay ang kindatan. Lalo namang walang pakialam ang dalawang pulubi na tumutugtog ng violin (na siya ring background music) sa mga nangyayari. Limos ang mahalaga sa kanila.

Sa eksenang ito’y may gamit ang lahat ng tauhan, wala sa kanilang nagsilbing dekorasyon, walang nag-o.a. at parepareho nilang ginawang makatotohanan ang komprontasyon. Magandang halimbawa ito ng synchronized acting. Kung allusions naman ang pag-uusapan, marami ritong mga sariwang metaphor na mababanggit. Isa rito ang mahusay na pagpapakita na birhen pa si Vilma sa sex act nila ni Rollie. Habang nasa likod ng tanghalan ay may nagaganap sa magkasintahan, sa tanghalan ay nang-aliw naman ang mga acrobats na sinundan ng isang madyikero na tumutusok ng sariling noo, nagbabaon ng pako sa ilong at lumululon ng espada. Masakit tingnan iyon. At ganoon din ang nararanasan ni Vilma sa likod ng tanghalan sa piling ni Rollie.

Hindi rin madaldal ang pelikula. Kung itatanong kung paano tinanggap ni Pol ang pasiya ng anak, nagtulos na lamang siya ng isang makahulugang kandila sa altar na para na ring sinabing “bahala na ang Diyos sa iyo”. Kung paano naman ipinakitang naging mananayaw na nga si Vilma, sapat nang ipakita ang isang trak na nagbababa ng isang wheel chair na ipapalit sa lumang tumba-tumba ng ama. Maging ang paglakad ng panahon ay nararamdaman din ng manonood kahit hindi ikuwento o ipakita ang kinagawiang pamamaraan at ulat ng “nalalaglag na dahon ng kalendaryo o dahon ng puno kaya”. Sunod-sunod na cuts na nagpapakita sa uri ng palabas sa tanghalang kinabibilangan ni Vilma ang ginawa ni Celso. Saka ito sinundan ng kuha naman sa bahay nina Vilma at Rollie. Nag-iinit ng tubig si Vilma habang nakikinig ng dula sa radyo tungkol sa buhay ng isang asawang tamad at iresponsable.

Ganoon nga ang nangyayari sa buhay ng dalawa, at may kasunod ring “abangan sa susunod na kabanata”. Sa paghihiwalay ng dalawa, sapat na ring iparinig ang awiting You’re All I Want For Christmas, para buhayin ang irony na nagaganap sa relasyon ng dalawa. Kung makinis ang exposition at pagbuhay sa conflict ng istorya, malinaw rin ang paghahanda sa wakas ng pelikula. Si Rose na laos na ay naging mumurahing puta. Si Dexter kahit hindi ipakita ay maliwanag na sumama na sa ibang lalaki. Si Roldan ay may bago nang kabit at napatay sa spiral staircase ng tanghalan na siya rin niyang dinadaanan sa paghahatid sa dalawang naunang kabit. Si Rollie, ang mama’s boy, ay natural bawiin ng ina. Si Vilma ay nagsayaw-nangnagsayaw. Sa simula’y mahinhin at nakangiti at kaakit-akit hanggang sa pagbilis ng pulso ng tambol at pompiyang ay naubusan ng ngiti, tumagaktak ang pawis at manghina ang ligwak ng kanyang balakang, upang sa pagbuhay sa damdamin ng manonood ay siya namang maging dahilan ng pagkalaglag ng sanggol na kanyang dinadala.

Sa labas, matapos ang pagtatanghal, may tatlong bagabundong naiwan na nakatangkod sa larawang pang ‘come on’ ng burlesk queen, habang ang kadilima’y bumabalot sa kapaligiran. Kung matino ang kaanyuan ng pelikula, ay ganoon din ang masasabi sa nilalaman. Makatotohanan at masinop ang pagtalakay sa buhay ng isang abang mananayaw. Tinalakay rin dito kung paano siya tinatanggap ng lipunan at inuusig ng mga tagapangalaga raw ng moralidad. Maging ang empresaryo ng tanghalan na ginampanan ni Joonee Gamboa ay may konsiyensiya rin at nagtatanong sa atin kung anong panoorin ang dapat ibigay sa isang ordinaryong Pilipino na hindi kayang pumunta sa mga mamahaling kainan upang manood tulad halimbawa ng Merry Widow at Boys in the Band. Sila, aniya ng mga ‘dakilang alagad ng moralidad na nagdidikta at kumu-kontrol sa moralidad ng komunidad’, katapat ng munting kasiyahan ng isang Pilipinong hindi ‘kaya ang bayad sa mga ekslusibong palabas ng mayayaman.’ Samantala’y busy tayo sa paglilibang at sa kanila’y walang pakialam ngunit may handang pintas at pula sa mangahas lumabas sa batas ng moralidad ng lipunan. – Jun Cruz Reyes, Miyembro Manunuri ng Pelikulang Pilipino Manila Magazine Dec. 1-31, 1977

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2002 Star Awards Best Actress

Posted on November 20, 2012 by @ffv Standard

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)

Actress-Lipa City Mayor Vilma Santos, new actor Yul Servo, and the independent film, “Mga Munting Tinig,” proved that the local movie industry recognizes talent and good films, veteran or newcomer, when they bagged top honors at the 19th Star Awards for the Movies held last Saturday night at the UP Theater in Diliman, Quezon City. Santos was named “Movie Actress of the Year” for her role as a mother who experienced awakening during the ’70s turmoil in “Dekada ’70.” Santos, one of the country’s most awarded actresses, admitted she still feels the tension from the announcement of nominees to the winner. “Nakakakaba pa rin po hanggang ngayon (I still feel nervous even now),” she said in her acceptance speech. Meanwhile, newcomer Yul Servo was named “Movie Actor of the Year” for playing a young husband subjected to extreme culture shock when he finds life hard in a Manila suburb in the controversial movie, “Laman.” The rest of the major trophies went to Gil Portes, “Movie Director of the Year” for “Munting Tinig;” Piolo Pascual, “Movie Supporting Actor of the Year” for “Dekada ’70”; and Kris Aquino, “Movie Supporting Actress of the Year” for “Mano Po.”

“Mga Munting Tinig” won most of the awards, copping with seven out of 16, including Child Performer of the Year (Brian Ronquillo), Musical Score (Joy Marfil), Production Design (Arthur Licdao) and Original Screenplay. According to its director and scriptwriter, Portes, the group completed “Munting Tinig” in only 15 days. He added, “This movie just won in the Sta. Barbara International Film Festival and is the first locally produced movie bought by Warner Bros. for worldwide distribution.” Other winners at the 19th Star Awards were “Agimat” for Best Special Effects; Jordan Herrera, New Movie Actor of the Year for “Gamitan;” Nancy Castiglione, New Movie Actress of the Year for “I Think I’m in Love;” Ogie Alcasid for “Kailangan Kita,” Best Movie Theme Song; and Lualhati Bautista for Best Adapted Sceenplay, “Dekada ’70.” Special awards given were the “Darling of the Press” for Onemig Bondoc, the “Male Star of the Night” for Bong Revilla, the “Female Star of the Night” for Maricel Soriano and the “Lifetime Achievement Award” for Sen. Ramon Revilla, Sr. Trivia host was Charlene Gonzales. Hosts of last night’s Star Awards were Cesar Montano, Bong Revilla, Philip Salvador, Kris Aquino, Maricel Soriano and Vilma Santos. Performers were Sharon Cuneta, Jolina Magdangal, Ogie Alcasid, Jaya, Angelika de la Cruz, Patricia Javier, Karylle, and Zsa Zsa Padilla. – Sol Jose Vanzi, March 10, 2003 (READ MORE)

Star For All Seasons

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.

Author Archives: @ffv

MEMOIRS OF VILMANIANS 1/2

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Celso Ad Castillo’s Vilma Santos Films

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Early Female Directors

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Special Film: Sisa (1951)

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MEMOIRS OF VILMANIANS 2/2

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2002 Metro Manila Film Festival

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Anita Linda and Vilma Santos

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2002 Gawad Urian Best Actress

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Reyna ng Pelikulang Pilipino

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2002 Star Awards Best Actress

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