Author Archives: @ffv

Remembering Dindo Fernando

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More of an Actor and Less of a Movie Star – “…As a show business personality, Dindo is definitely more of an actor and less of a movie star. He is not one to show a liking for the glamorous, luxurios things that his career can give him. Instead, he hankers for the knowledge and experience his career could offer him, blessings that would help him in his daily existence. Starting as a bit player in his home studio, Dindo has shown remarkable versability in his acting that even during those early years of his career, it was predicted that he would someday join the ranks of our movie greats. It wasn’t surprising therefore, when after a highly challenging role in Pitong Kalbaryo ni Inang, he was given similar kinds of characterizations in films like Mga Anak Sa Pagkakasala, Paalam Sa Kahapon, and Birhen Sa Lupa. And no one could deny that Dindo did justice to these roles and has even shown vast imrovements as more and more picture came his way. In fact, a stage critic who saw his performance in Mga Anak, commented that Dindo’s style of acting reminds one of the acting craft in the famed, Elia Kazan school. For it is that when Dindo emotes, it is more with his eyes and facial expressions rather than the usual run-of-the-mill actings of young stars. His acting is simple yet realistic enough to convince the moviegoer that he submerges himself in the charater he portrayed…” – Carmela De Gracia, Screen Stardom, 1968 (READ MORE)

Dindo Fernando born Jose Tacorda Chua Surban on Nov 19, 1940, Dindo Fernando became one of the most popular dramatic actor in the Philippines. He was famous as the father of famous TV soup character, Flor De Luna played by Janice De Belen in the 80s. He started at Sampaguita Pictures opposite Nida Blanca in 60s and later branched out into commercial drama actor in the 70s and 80s. His famous movie with Vilma was Gaano Kadalas Ang Minsan and Langis At Tubig. – RV (READ MORE)

Dindo Fernando and Vilma Santos

Dindo Fernando and Vilma Santos did seven films, the first was in 1974 where Vilma played the title role as the hunchback bell ringer and Dino played a minor role as the Celia Rodriguez’s boyfriend. After this, things has changed dramatically with Dindo’s career, he slowly becoming a dramatic leading man. They team-up in a festival entry in 1980, a love triangle where Dindo have to choose between Amy Austria or Vilma. Dindo won the festival’s best actor award. The following year, Dindo and Vilma did another love triangle film, this time, its Vilma who have to choose between Dindo or Eddie Rodriguez. The next year, Dindo and Vilma did two hit films, one opposite Hilda Koronel and the other one opposite Nora Aunor. Dindo played a minor role on the later, as the film was obviously centered to Vilma and Nora’s roles. The last two films of Dindo with Vilma was in 1984 and 1985.

Muling Buksan Ang Puso (1985) – “…Jim (Dindo Fernando) is a doctor and Cristy (Vilma Santos) is his nurse. Good looking and successful Jim finds himself an ardent admirer in Cristy. But Cristy is not an ordinary lady – she’s daring and defiant. She’ll do whatever it takes to win him even if he’s very much married. Cristy’s persistence and Jim’s longing for a child leads to an illicit relationship. But too much love suffocates and covetousness can breed hate…” – Mavshack (READ MORE)

Baby Tsina (1984) – “…Noong una kong mabasa ang script, ayoko sanang maniwala na nangyari talaga yun. Masyadong cinematic, eh. Para bang sa pelikula at sa komiks lang nangyayari. Until the day nga that I met the real Baby Tsina. Nang siya na ang makuwento sa akin ng naging buhay niya, lalo na after the crime at sa loob Correctional, saka ko lang nalaman na ang nakalagay sa script ay kulang pa pala. Mas matindi ang istorya niya, pero hindi na maaring isamang lahat sa pelikula. Baka namang masyadong humaba eh. Malakas ang istorya. I think the story alone will sell the movie. Lalo na kung iisiping isa itong celebrated case at nasundan ng mga tao noon sa mga diyaryo. Front page stories pa raw lagi iyang si Baby Tsina noon eh…” – Ariel Francisco (READ MORE)

Gaano Kadalas Ang Minsan (1982) – “…Ang madalas magpaangat sa pelikula ay ang acting ng cast. Dahil mas malaman ang kanyang papel at tila na perfect na ni Vilma Santos ang agony ng other woman, mas nangingibabaw ang kanyang performance kay Hilda Koronel. Kahit na mas marami ang nagsasabing si Hilda ang angat dito. Pasulpot-sulpot ang papel ni Hilda at may kahinaan ang motibasyon (isipin mong siya pa ang nagtulak sa sariling asawa sa ibang babae!). Medyo nakaka-distract ang kanilang mga kasuotan (mga gawa ni Christian Espiritu), gaya rin ng ayos ng mga bahay at kasangkapang tila nakikipagkumpetensiya sa tauhan. Epektibo rin ang pagganap ni Dindo Fernando bilang Louie na nahati ang puso para sa dalawang babae. Magaling din ang supporting cast, lalo na si Suzanne Gonzales, ang yayang sosyal, at ang batang si Alvin Joseph Enriquez. Kahit maikli ang kanilang papel, mahusay rin ang rehistro nina Tommy Abuel, ang doktor na nanliligaw kay Vilma, at si Chanda Romero, bilang matalik na kaibigan ni Vilma…” – Justino Dormiendo (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)

Langis at Tubig (1980) – “…Muli, binigyan ng magagandang linya si Vilma Santos mula sa umpisa kung saan kinompronta niya ang manloloko niyang ka-live in at sinabing: “namputsa naman nahuli ka na ayaw mo pang aminin” at sa bandang huli nang intindihin niya ang asawa at handing magparaya, sinabi niya “…handa akong magparaya, kung gusto niya isang lingo sa kanya, isang lingo sa akin…” Pero halatang ang pelikulang ito ay pelikula ni Dindo Fernando. Deserving si Dindo sa kanyang pagkapanalo sa Famas bilang pinakamahusay na actor bagamat nang taong ito’y mahusay rin si Christopher Deleon sa Aguila at Taga ng Panahon at Jay Ilagan sa Brutal. Tahimik lang ang pag-arte niya’t makikita ang kanyang intensity sa kanyang eksena kung saan nagtapat na siya sa asawang si Cory tungkol sa kanyang kaso. Mahusay rin siya nang hinarap niya si Pilar at sabihin niyang, “mahal ko kayong dalawa.” Maganda ang location ng pelikula. Makikita ang mga ordinaryong tanawin ng Albay sa Bicol at ang mga ordinaryong manggagawa rito mula sa mga nagtatanim ng palay hanggang sa mga nagtitinda ng mga paninda sa palengke ng bayan…” – RV (READ MORE)

Kampanerang Kuba (1974) – “…With limited dialouge, a young Dindo Fernando portrayed Tateng’s lover convincingly. All the other supporting roles including Perla Bautista, Ernie Garcia and others gave a forgettable performances. About the two main lead, Edgar Mortiz and Vilma Santos did what they can to portrayed their roles. Edgar Mortiz seems to be trying very hard to be effective as the priest but acting is clearly not his forte. Would this be different if Jay Ilagan did this role? Vilma Santos succeed more with her solo scenes, talking to the patron saints and the bell tower, eating with her bare hands and trying to beautify her ugly face…” – RV (READ MORE)

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1998 Best Actress Awards

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Urian Best Actress Award – “…Actress and Lipa City Mayor Vilma Santos won her seventh Urian Best Actress Award last Sunday night at UP Theater for her performance in Star Cinema’s “Bata, Bata, Paano Ka Ginawa?” Vilma Santos won her first Gawad Urian Award for Best Actress in 1982 for the movie “Relasyon.” She again earned the best actress award in 1983 and 1984 for the movies “Broken Marriage” and “Sister Stella L.,”for “Pahiram ng Isang Umaga” in 1989, which she shared with Nora Aunor (“Bilangin ang Bituin sa Langit”). Succeeding awards came for “Ipagpatawad Mo” in 1991 and “Dahil Minahal Kita: The Dolzura Cortez Story” in 1993. In her acceptance speech, Vilma shared her award with her co-nominees – Nida Blanca, Elizabeth Oropesa, and Rosanna Roces. 8-year-old Serena Dalrymple took home her first Gawad Urian award for Best Supporting Actress for her performance in “Bata, Bata Paano Ka Ginawa.” Another first-time Gawad Urian winner was Jaime Fabregas, this year’s recipient of the Best Supporting Actor award for the movie “Jose Rizal.” Raymond Bagatsing won his second consecutive Gawad Urian Best Actor Award for the movie “Serafin: Kriminal ng Baryo Concepcion.” He received his first Urian best actor award (for “Milagros”) last year. The movie “Jose Rizal” went home with the most technical awards. Although “Bata, Bata Paano Ka Ginawa” won this year’s Best Picture Award, Marilou Diaz Abaya took the Best Director honors for “Rizal.’ Other awards received by “Rizal” were Best in Sound (Michael Albert Idioma), Best in Music (Nonong Buencamino), Best Production Design (Leo Abaya), and Best Cinematography (Rody Lacap). The other winners were: Best Editing, Danny Gloria for the movie “Gangland” and Best Screenplay, Lualhati Bautista for “Bata, Bata, Paano Ka Ginawa?” The “Natatanging Gawad Urian” was bestowed on actress Mona Lisa who started her career in 1938 in Parlatone Hispano Filipino’s “Ang Pagbabalik.” Her most recent work was under Nick de Ocampo, “Mother Ignacia…” – Sol Jose Vanzi, March 30, 1999 (READ MORE)

Film Academy of the Philippines Best Actress – “…GMA Films probably heard the bad news from the grapevine before the Film Academy of the Philippines’ 17th Annual Academy Awards started Sunday night, and decided to boycott. The table reserved for GMA Films remained conspicuously vacant throughout the awards night held at the PICC. Their hunch, or inside info, was right. The much-acclaimed movie José Rizal, failed to win any award. GMA’s staunch competitor, Star Cinema, romped away with most of the major awards. Best Picture was Star Cinema’s Bata, Bata, Paano Ka Ginawa? The film directed by Chito Roño, which tackled women’s issues, gave Vilma Santos another Best Actress award. The movie also won Best Supporting Actress honors for child star Serena Dalrymple. Carlo Aquino was named best supporting actor and Manny Morfe, for best production design. Birador, another Star Cinema film, bagged the best director and best editing awards for Edgardo Vinarao, best cinematography for Juanito Pereira and best screenplay for Senen Dimaguila. Rudy Fernandez was named best actor for portraying a struggling policeman in Birador. This is his second award from the Film Academy of the Philippines after Batuigas: Pasukuin si Waway in 1984. Other awards went to Pusong Mamon, which won the best musical score and best theme song awards for Dennis Garcia, originally of the Hotdogs Band. Best Sound was received by Ramon Reyes for GMA Films’ Sa Pusod ng Dagat. The awards itself had generated controversy when José Rizal’s producers, Butch Jimenez and Jimmy Duavit, and two production staffers Rody Lacap and Nonong Buencamino, were considered ineligible to be nominated and therefore ineligible for any award…” – Sol Jose Vanzi, April 27, 1999 (READ MORE)

FAMAS Lifetime Achievement Award – “…Multi-awarded dramatic actress Vilma Santos can no longer be nominated for the FAMAS Best Actress Award, since she had been elevated to the Hall of Fame for having won five FAMAS Best Actress trophies over the years. But on its 47th year, the Filipino Academy of Movie Arts and Sciences, the oldest cinema award- giving body in Asia, wants to give Vilma due recognition for her continued excellence and longevity as a Box Office Queen. The body also wants to recognize her contribution to the industry by being a model public servant and popular Mayor of Lipa City. On April 8, FAMAS Awards night, Vilma will be bestowed this year’s FAMAS Lifetime Achievement Award. Vilmanians would consider this, plus the grand slam and the Hall of Fame honors, as proof that their idol, Ate Vi, is way above her arch rival Nora Aunor. But Noranians would be quick to retort that nothing can match the glory and recognition Nora Aunor received when she was named Centennial Artist during the Philippine Centennial celebrations. As much as their fans love to fight over who is better or more popular, the two actresses are actually very good friends in real life, calling each other “kumare” and running to each other’s assistance whenever necessary…” – Sol Jose Vanzi, March 28, 1999 (READ MORE)

Brussels International Film Festival Best Actress – “…Here is a much-deserved birthday gift for Lipa City Mayor Vilma Santos: she has just won the Best Actress award at the just-concluded Brussels International Film Festival for her portrayal as a single mother in Star Cinema’s Bata, Bata, Paano Ka Ginawa. The film’s director, Chito Roño, was named Best Director in the same event. “Bata, Bata” was Vilma’s only movie for 1998. It was shown four months after she was elected Lipa City Mayor. Before it went to Brussels, Bata, Bata won for Vilma the Best Actress trophy at the Urian Awards, the Star Awards and the Film Academy Awards. She could have also won the FAMAS award, but as a member of the FAMAS Hall of Fame, Vilma is disqualified from competing in the FAMAS Best Actress category. The story was written by Lualhati Bautista, also the author of the controversial “Sutla,” starring Priscilla Almeda…” – Sol Jose Vanzi, Nov. 16, 1999 (READ MORE)

Hawaii International Film Festival – “…Four local movies have so far been chosen by Christian Gaines of the Hawaii International Film Festival for exhibition in the prestigious event in November. Four more will be picked in July when Gaines returns to Manila. Hawaii filmfest ’99 is focused on the Philippines. The first four movies selected were Chito Roño’s “Bata, Bata…Paano Ka Ginawa?,” Joel Lamangan’s “Sidhi,” Carlitos Siguion Reyna’s “Kahapon May Dalawang Bata,” and Gil Portes’ “Saranggola.” Of the four, only “Saranggola” has not yet been commercially released. Gaines viewed a rough copy (interlock) of “Saranggola” whose post-production work is yet unfinished. “Saranggola” stars Ricky Davao and Lester Llansang as father and son. Script by Butch Dalisay. Also being eyed for Filipino movies’ participation is the Sundance (Utah) filmfest (Robert Redford’s very own project), where Gaines is in charge of the world cinema division. “Saranggola” is an aspirant to the June Manila Film Festival. Gaines is inviting Cesar Montano as juror and Vilma Santos as special guest to the Hawaii filmfest, where “Jose Rizal” was shown last year…” – Sol Jose Vanzi, April 17, 1999 (READ MORE)

THE STAR FOR MANY MORE REASONS

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Last month, we discussed leading female stars’ “career arcs” with some show biz colleagues and most of us agreed that Vilma Santos has had the most interesting and instructive career to date — and her future prospects could be even more remarkable! We have other outstanding female stars who’ve won all sorts of awards, essayed a great variety of roles with distinction, and enjoyed a nationwide influence beyond their show biz context.

Major Crises – But, Vilma has done more, gone further and weathered major crises besides, so she’s in a category all her own. See if you agree: Vilma started her career as a child star, and this made her grow up in a hurry. Unlike many other child talents who stop getting offers at the onset of adolescence, Vilma kept right on working in front of the TV-movie cameras, all the way to pang-kilig teenybopper roles, her precocious love team with Edgar Mortiz, and young-adult roles. Financial reverses pulled her down momentarily, but Vilma fought back and paid her debts, eliciting the admiration of entertainment industry leaders, who were surprised and gratified to see that the “cute” star had true grit going for her, as well. Then came another challenge that threatened her career’s continuing upward trajectory: Vilma had been acting her heart out in her starrers, but she always seemed to end up second-best to Nora Aunor when it came to awards. As a result, Vilma took a hard look at her options, and decided to concentrate on relatively daring roles that Nora felt incapable of doing full justice to.

Challenging Roles – This meant that Vilma would go for challenging roles like the tragic stripper in “Burlesk Queen,” the demented lead in “Dama de Noche,” and the modern, conflicted wife in “Relasyon!” Happily, Vilma’s daring gamble worked: Viewers didn’t feel that she had “cheapened” herself. Many awards came her way, and the industry finally saw Nora and Vilma as co-equal queens, not only of the box office, but also of movie awards competitions. Later, Vilma’s thespic stock went up even further when she played an activist nun in “Sister Stella L.” Not only did the difficult role stretch Vilma’s limits, but it also made her “relevant” in terms of social issues, as “Minsa’y Isang Gamu-Gamo” had earlier done for Nora. This new sensitivity to extra-show biz concerns peaked when Vilma married rising politician, Ralph Recto. Soon, she herself ran for office, and served Lipa City well as its mayor for nine formative and affirmative years. Her constituents’ approval of her tenure invited her to dream bigger in political terms, and she ended up in a hard-fought campaign that made her the governor of Batangas province. Sure, Vilma’s focus on politics for the past decades has limited her show biz involvement, but her colleagues have supported her in her new endeavor, because she has proven that some stars can do more than entertain.

Female TV-movie Luminary – Yes, male stars like Fernando Poe Jr. and Joseph Estrada have done the same, but it’s gratifying to see that a female TV-movie luminary like Vilma can also serve the nation. To date, Vilma’s political posts have been local and provincial in nature, but her recent triumph at the polls has made some “queenmakers” dream of next pointing her toward running for a national position — as senator, or even higher! At the moment, this sounds like a fantasy, but stranger things have been known to happen in this country, where show biz and politics are — very comfortable bedfellows!

Tandem – It’s interesting to note that, some years ago, we saw the Ralph-Vilma tandem eventually contesting the top post in the land with Kiko-Sharon, Mar-Korina, or other, yet-unheralded politics-and-show biz pairings. — And now? Will it be Vilma-Ralph, instead? In any case, Vilma has been scrupulously learning her political lessons, so she could decide to take the “big step” without waiting for another decade to elapse. Adding to her confidence is the fact that, although she’s rarely seen on the big and small screen these days, she remains a popular star and her movies have continued to hit it big at the box office — evincing a popularity that she can make full use of in a national election. So, will she, or won’t she? Whatever the future holds, Vilma is our leading female TV-movie luminary to date — and the Star for All Seasons is now also the Star for Many More Reasons! – Inquirer, 08/18/2007

Dance Films

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Disco Queen – “…Ate Vi thus became the chief opponent of Nora Aunor as the movie queen of the 1970s. Her edge is that she also became the queen of hit disco movies filled with singing and dancing, like “Swing It, Baby,” “Disco Fever,” “Rock Baby Rock,” “Let’s Do the Salsa,” and the movie she did with Latin idol Junior, “Good Morning Sunshine…” – Mario Bautista (READ MORE)

Latin Singer – ”…Junior, Now 66 years old (can you believe that?), he was Vilma Santos’ leading man in Good Morning Sunshine in 1980. Born Antonio Morales Barretto, he was born in Manila, but moved to Spain with his family when he was 15. He was already a popular singer in Spain when he tried Pinoy showbiz. After doing a series of local movies (another one of his films was Disco Madhouse with Lorna Tolentino and Rio Locsin) and record albums (Yakap is still memorable to me), he went back to Spain (his wife and kids were all living there) where he continued singing. Eventually, he managed the showbiz career of his wife, Rocio Durcal, but she died of cancer in 2006…” – Butch Francisco (READ MORE)

Travolta Dance – “…I’d rather be known as Victor Laurel. But really, this Travolta is a sensation. I met him in Studio 54 and how the crowd loves him. He’s a wonderful actor, singer, and dancer.” Cocoy, too is a seasoned dancer even before the Travolta fever. He has a catlike grace that gives the impression of strenght and his dancing ability has helped tremendously in his career. “The Travolta dance is typical of hero worship even in San Francisco, Los Angeles and other big cities. Mondays, everyone who has caught the fever, even 30 year olds shop and prepare for the disco on Fridays and Saturday and stay up till the wee hours of the morning…We were about to ask another question about Vi, his leading lady in Lea’s Disco Fever but Ate Josie came in to remind Cocoy that the Sampaguita people were waiting with sketches of his costume for Dyesebel, the movie he was going to make for the Gilmore Studio. But didn’t. As a parting shot, Cocoy revealed that he’d soon put a disco. The Third Kind or something in Makati…” – Nena Z. Villanueva, Expressweek, November 16, 1978 (READ MORE)

First Legit “barkada” – “…Roger Rigor of VST and Co, when asked who is your friends from the entertainment industry: “Marami kaming barkada sa showbiz…and with respect to the recording industry, kakaunti lang noon ang mga personalities on a contract. So, we practically knew everyone, as the industry was still at its early stages. The guys would be the “studio rats”, having sessions in stretches that would start in the morning and end in the wee hours of the next morning…For us Little Baguio boys, I could only refer to Vilma Santos then as our first legit “barkada” in the film industry, dahil nga sa una naming sine was with her. She was “kalog” and really very smart. I am not surprised that as a mayor, she is able to pull it together. Of course, si Pip was already a friend of the guys kasi nga ka-basketbol na namin siya even before the VST days. And there were many others who were mga batikan sa larangan ng pelikula that we met along the course of time…” – Nostalgia Manila (READ MORE)

Top-rater TV show – “…Ang The Sensations ay produce ng ABS CBN at dinerek ni Tony Santos Sr. Consistent No. 1 Top rater ang show at kasama ni Vi & Bot sina Perla Adea, Romy Mallari, Rhodora Silva, Darius Razon, Baby de Jesus, Tony Santos Jr., Janine Frias, atbpa. Dahil sa kasikatan nila Vi & Bot ginawang movie ang The Sensations noong April, 1971, big boxoffice hit ito kaya sinundan agad ni direk tony ng ” Young Lovers ” noong August, 1971, big hit din ito. Ginawan din ng L.P. Album nila Vi & Bot ang The Sensations at muling tinangkilik ng masang pilipino…” – Jojo V. Lim (READ MORE)

Vilma Santos’ Dance Films

  • Good Morning, Sunshine (1980) – Direction: Ishmael Bernal; Story: Rolando Tinio; Screenplay: Rolando Tinio, Ishmael Bernal; Cast: Vilma Santos, Junior, Lloyd Samartino, Sheryl Cruz, Debraliz, Anita Linda, Liza Lorena; Production Co.: Lea Production; Release Date: February 1, 1980 (READ MORE)
  • Rock Baby, Rock (1979) – Directed, story, screenplay: Oscar Miranda; Cast: Vilma Santos, Junior, Rolly Quizon, Leah Navarro, Tito Sotto, Vic Sotto, Joey de Leon, Lorli Villanueva, Geleen Eugenio, Val Sotto, V.S.T. & Company; Executive producer: Joe Batac; Choreographer: Geleen Eugenio (READ MORE)
  • Swing It…Baby! (1979) – Directed: Al Quinn; Story, screenplay: Oscar Miranda; Cast: Romeo Vasquez, Vilma Santos, Tito Sotto, Vic Sotto, Joey de Leon, Amy Austria, V.S.T. & Company, Mike Monserrat, Sandy Garcia, Geleen Eugenio, Bing Davao, Walter Navarro, Nena Perez Rubio, Lirio Vital, Coritha, Ritchie D’Horsie, Val Sotto, Ernie Zarate; Executive producer: Emilia Blas; Original Music: Vicor Music Corporation; Cinematography: Joe Batac; Film Editing: Nonoy Santillan; Production Design: Orlando Tolentino; Art Direction: Francisco Faustino; Sound: Luis Reyes, Ramon Reyes; Theme Songs: “I-swing mo ako” performed by Sharon Cuneta (READ MORE)
  • Disco Fever (1978) – Directed: Al Quinn; Story, screenplay: Maryo De Los Reyes; Cast: Vilma Santos, Christopher De Leon, Victor Laurel, Rio Locsin, Romeo Enriquez, Sandy Garcia, Freddie Aguilar, Sampaguita, Anak Bayan Band; Executive producer: Emilia Blass; Cinematography: Al Quinn, Joe Batac; Film Editing: Nonoy Santillan (READ MORE)
  • Let’s Do the Salsa (1976) – Directed: Luciano B. Carlos; Story: Bert Mendoza; Cast: Vilma Santos, Walter Navarro, Rolly Quizon, Ronnie Henares, Chichay, Caridad Sanchez, Roderick Paulate, Arnold Gamboa, Winnie Santos, Maribel Aunor, Ike Lozada, Raul Aragon, Lorli Villanueva, Eddie Mercado, German Moreno, Trixia Gomez; Original Music: Dominic Valdez; Cinematography: Arnold Alyao (READ MORE)
  • The Sensations (1971) – Directed, screenplay: Tony Santos Sr.; Story: Rose Reynaldo, Tony Dantes; Cast: Vilma Santos, Edgar Mortiz, Ike Lozada, Perla Adea, Romy Mallari, Tony Santos Jr., Baby De Jesus, Darius Razon, Rhodora Silva, Vic Pacia, Ben David, Angge, Beth Manlongat (READ MORE)

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THE TEN BEST FILMS OF VILMA SANTOS

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Sa history ng pelikulang lokal, sadyang namumukod-tangi si VILMA SANTOS dahil hindi lang sa larangan ng pag-arte siya nagtagumpay kundi pati na rin sa pulitika. Pagkatapos ng siyam na taong paglilingkod bilang mayor ng Lipa City, tinanghal naman siyang governor ng buong lalawigan ng Batangas. Nagsimula si Ate Vi bilang child actress noong 1963 sa pelikulang Tudis Liit ng Sampaguita Pictures nang siya ay siyam na taong gulang lamang. Nakipagtagisan siya ng talino sa dalawang batikang aktres nang panahong iyon, sina Gloria Romero at Lolita Rodriguez. Naging positibo ang reception ng publiko kay Ate Vi kaya naman nagkasunod-sunod ang movies niya as a child actress. Sa kanyang makumpletong filmography, makikita ninyong walang patlang ang paggawa ni Ate Vi ng pelikula. Hindi siya nagaya sa ibang child stars na sa transition from childhood to adolescence ay nawala sa eksena at tuluyang nagretiro, o kaya’y bumalik na lang noong teenager na sila. Noong naging 16 years old si Ate Vi in 1970, she became a teen idol and made a staggering total of 27 movies for one year alone. Malayung-malayo nga sa mga artista ngayon na isa o dalawang pelikula lang ang nagagawa taun-taon. She was truly in demand then! And to think may regular TV show pa siya at that time sa ABS CBN, ang D’ Senations na later on ay isinapelikula rin.

HINDI MADALING GAWIN – Ang assignment namin dito ay itala ang ten best films na nagawa ni Ate Vi at, sa totoo lang, hindi madaling gawin ito dahil nga napakarami niyang nagawang magagandang pelikula through the years. As a child star, pinakagusto namin ang kanyang Ging sa Premiere Productions. Street urchin siya ritong anak ng lumpong si Olivia Cenizal na natuklasan sa movies at sumikat bilang child star. Sa teenage phase ng kanyang career, ang most memorable movies niya for us ay ang Renee Rose (gumanap siya bilang isang sikat na artistang may mahigpit na stage mother, played by Lilia Dizon, at dahil dito ay nalaktawan niya ang kanyang kabataan and she often behaves like a child), Inspiration (directed by the late Ishmael Bernal, this is a well-written teen romance at ang nakatambal niya ay ang yumaong Jay Ilagan), Takbo, Vilma, Dali (this is and effective suspense-thriller directed by the late Joey Gosiengfaiao and Vilma played a witness to a crime na hinahabol ng killer), Dama de Noche (dito niya napanalunan ang first Famas best actress award niya and she is totally convincing in a dual role bilang magkapatid na kambal na ang isa ay mabait at ang isa ay baliw), Lipad, Darna, Lipad (this is her first Darna movie, a trilogy na naging blockbuster hit and established her as a top box office actress), Nakakahiya? (this is about a scandalous May-December romance na ang kapareha niya ay ang nasirang Eddie Rodriguez na pwede na niyang maging ama, naging big hit ito kaya nagkaroon pa ng sequel na Hindi Nakakahiya), at Tag-ulan Sa Tag-araw (directed by Celso Ad Castillo, ang first movie nila ni Christopher de Leon tungkol sa magpinsang-buo na umibig sa isa’t isa).

Natitiyak naming kayo ay may sariling paborito sa mga pelikulang ginawa ni Ate Vi. Tiyak na marami ring may gusto sa Pagputi Ng Uwak, Pag-itim Ng Tagak (a love story about a rebel, Bembol Roco, and a violinist, Ate Vi, na siya mismo ang nag-produce sa kanyang VS Films at dinirek ni Celso Ad Castillo), Rubia Servios (dito siya unang dinirek ni Lino Brocka and she played a rape victim who later gets to kill her rapist, Philipp Salvador), Tagos Ng Dugo (isa siyang serial killer dito, directed by Maryo J. de los Reyes), Kapag Langit Ang Humatol (a well-told komiks melodrama directed by Laurice Guillen), Anak (she played an OFW na may gap sa anak niyang si Claudine Barretto, directed by Rory Quintos), Bata-Bata Paano Ka Ginawa? (adapted from Lualhati Bautista’s award-winning novel, she played a liberal single mother who asserts herself, directed by Chito Roño) and Dekada ’70 (again adapted from a Lualhati Bautista novel and directed by Chito Roño, tungkol ito sa isang ina noong panahon ng martial lwa).

OUR PERSONAL CHOICES – Para sa amin, ang aming personal choices are the following:

article pic 0031. SISTER STELLA L (1984) – Mula kay Mother Lily Monteverde ng Regal Films, ito ang most socially relevant film na ginawa ni Ate Vi, masterfully directed by Mike de Leon, written by Ricky Lee. Hinakot nito ang karamihan sa tropeo ng Urian Awards for that year, including best picture, best actress for Ate Vi, best actor for Jay Ilagan, best supporting actress for Laurice Guillen, and best supporting actor for Tony Santos, Sr. Si Vilma ang gumaganap bilang title-roler, isang apolitical nun na ang dating boyfirend ay naging isang journalist (Jay) na tumutulong sa mga inaaping manggagawa sa pangunguna ng labor leader na si Ka Dencio (Tony). Ang kapwa niya madreng si Sister Stella B. (Laurice) ang nagpakita sa kanya kung paano sila magiging mas makabuluhan by serving the people’s struggle for social justice. Ipinakita ritong dapat tayong makisangkot sa mga suliranin ng lipunan para magkaroon ng mabuting pagbabago sa sistema. Hindi pwedeng neutral ka lang na ayaw ma-involve. Kahit na nga member ka ng religious community, dapat ding makisangkot ka sa socio-political affairs. Ang talumpati ni Ate Vi nang maging militanteng madre na siya pagkatapos mapatay si Ka Dencio (“Kung ‘di tayo kikilos, sino’ngkikilos? Kung ‘di ngayon, kailan pa?”) ay talaga namang nakakaantig ng damdamin.

2. IKAW AY AKIN (1978) – Member kami ng Urian Awards nung ’78 at ang pelikulang ito, produced by Tagalog Ilang-Ilang Productions, ang siyang ipinaglaban namin para manalo ng best picture. Hindi ito sinang-ayunan ng karamihan sa mga kapwa namin Manunuri dahil mas pinili nila ang Pagputi ng Uwak, Pag-itim Ng Tagak, dahil may elemento raw ng kaapihan ng magsasaka at ng reporma sa lupa. (Ang tanging consolation ng Ikaw Ay Akin ay nanalo si Christopher de Leon ng kanyang first Urian best actor award.) Years later, some of the Manunuri members who voted for Pagputi told us they regretted the decision dahil obvious namang Ikaw Ay Akin ang pelikula na talagang withstood the test of time, written by Jose Carreon and directed by Ishmael Bernal. Wala itong pretensiyon na nagpapa-socially relevant but it deals so effectively on the matter of how human beings and relantionships can at once be simple and complex. Malayo nga ito sa usual love triangle flicks na puno ng melodramang iyakan, although Christopher as Rex is also turn between Vilma Santos as Sandra, a kooky and neurotic artist designer, and Nora Aunor as Tere, an orchid expert. Ang mga salimuot ng menage-a-trois na ito ay sensitively laid out para makita ng viewer ang sakit at ligaya , at dusa at saya na dinaraanan ng bawa’t tauhan. Sa ending, nothing is really resolved. Basta nagtitinginan lang sina Nora at Vilma sa isa’t isa nang walang dialogue for five minutes. This is a very daring move, lalo na’t ang local viewers ay yung tipong gustong matiyak kung kanino ba talaga napunta si Boyet, kay Vi o kay Guy? Pero si Bernal ay walang pakialam with fulfilling viewer expectations. Basta ang gusto niya ay mailarawan niya ang mensahe ng movie.: that no one can totally, absolutely, fully own another human being. The best thing is to understand ang pangangailangan ng isang tao at mahalin mo ito according to his limitations. Sabi nga ni Boyet kay Guy: “Kailangan ako ni Sandra hindi lang sa pisikal kundi sa emosyonal din, tulad ng pangangailangan ko sa ‘yo. Sa kanya, nagkakaroon ako ng gamit. Kailangan ko kayong dalawa para mabuo ako.” Sabi naman niya kay Vi: “Si Tere, tinanggap nang hindi niya ako maaangkin nang buong-buo. Kung sasabihin mong nakuha mo ako ng buong buo ang isang bagay, kulang pa rin.” Grabe rin ang galing ng acting dito ni Vi sa tagpong inilantad niya ang kanyang sarili as an insecure woman: “Sabi nila, liberated ako, front lang. Kalong daw, front din. Alam mo namang kulang-kulang ako. ‘Pag wala ka, magkakalat ako. Para akong manok, takbo nang takbo, wala namang ulo!”

3. DALAWANG PUGAD, ISANG IBON (1977) – A commercial and artistic success written and directed by Ishmael Bernal, love triangle movie rin ito that banked on the real life romance then of its lead stars, Vilma and Romeo Vasquez. Si Vilma ay si Terry, na iniwanan ng kanyang immature boyfriend (Mat Ranillo III at sumama sa isang lalaking may asawa (Romeo) sa kabila ng pagtutol ng mga magulang niya. Pwede itong naging mediocre romantic melodrama pero nagtagumpay si Bernal na i-elevate ito to art by giving us mature, sensitive characters who, like most of us, are looking for meaningful personal relationships. Tinalakay sa movie (in a very sutle manner) ang legal and moral implications ng adultery o pakikiapid ng isang dalaga sa isang married man, lalo na nga’t society shuns such sinful relationships. Ang relasyon nina Vilma at Romeo ay reflected sa relasyon ng iba pang mga tauhan sa movie, tulad ng sa mother ni Vilma (Anita Linda) at ng ama niyang nagtataksil din (Fred Montilla), sa lola ni Vi (Mary Walter),sa first boyfriend niya (Mat) at sa babaeng may gusto rito (Ann Villegas) at kapatid nitong pokpok (Laila Dee), at sa misis ni Romeo (Anna Gonzales) na ayaw siyang pakawalan kahit hindi naman sila magkasundo. Kung may pelikula si Ate Vi na nasasabik kaming panoorin uli, ito ‘yon. Kaya lang, wala na yatang existing copy ito at nakasama sa movies produced by Lea Productions na nasunog o nasira sa baha. What a big waste. Sayang talaga.

relasyon4. RELASYON (1982) – Ito ay isa pang pelikula ni Ishmael Bernal sa Regal Films na tumatalakay sa subject ng adultery from the point of view of the other woman, si Marilou (Vilma), ang mistress ni Christopher de Leon na pinaglilingkuran siya ng buong puso: pinaglalaba siya, binibigyan ng beer at inaalagan pa ang anak niya mula sa legal wife niya. Ipinakita rin sa feministic movie na aito ang pagka-chauvinist ng mga lalaking Pinoy. Gusto’y sila lagi ang masusunod at ni ayaw makakausap ng ibang lalaki ang babae nila, tulad ng aversion ni Christopher kay Jimi Melendez sa kuwento, at pati na rin sa kaibigang bading ni Ate Vi na si Manny Castañeda. Tinalakay rin sa movie ang subject ng kawalan ng divorce sa Pilipinas, dahil kung may diborsiyo raw ditom sana ay pinakasalan na ni Boyet si Vi. Narito sa pelikulang ito, which scored for Ate Vi her first grand slam as best actress, ang famous death scene ni Boyet na namimilipit sa sakit habang inirereklamo ang masakit niyang ulo at tarantang-taranta naman si Ate Vi na hindi malaman ang gagawin. Tuhog ang kuha sa mahabang eksenang ito and the acting is really great kaya dito pa lang ay sulit na ang panonood ninyo.

5. BROKEN MARRIAGE (1983) – Nagwagi rin ng Urian best actress award si Ate Vi para sa acting niya sa pelikulang ito na muli ay produced ng Regal Films. As the title implies, tungkol ito sa isang nasirang marriage. Si Vi ay si Ellen, isang TV production executive, at si Boyet ay si Rene, isang newspaper reporter. Pagkatapos ng sampung taong pagsasama, kinakalawang na ang relasyon nila bilang mag-asawa. Dahil lagi na lang silang nag-aaway, umalis si Rene mula sa tahanan nila at si Ellen ay naging single parent sa dalawa nilang anak. Nang manakawang ang bahay nila, lumipat si Ellen at mga anak nila sa bahay ng nanay niya. Nang mabugbog si Rene ng mga tauhan ng isang politiko dahil sa expose niya, napilitan siyang muling pumisan kina Ellen at dito rin muling nabuo ang pagsasama nila bilang mag-asawa, resulting into a reconciliation. May dalawang mahabang arias dito si Ate Vi na talagang lutang na lutang ang kahusayan niya. Una’y ang monologue niya sa piling ng mga kaibigan na pinagtatapatan niyang bagot a bagot na siya sa buhay. Susunod ay sa eksena niya with Boyet na sinasabi niyang hindi sila magkakabalikan nang dahil lang sa mga bata. Hindi rin malilimutan ang unang confrontation scene nila sa movie na natural na natural ang away nila bilang mag-asawang na-alienate na ang loob sa isa’t isa.

6. SAAN NAGTATAGO ANG PAG-IBIG (1987) – Sa aming talaang ito, ito lamang ang pelikula ni Ate Vi na hinango sa isang nobelang komiks. This was shown in the same year as Tagos ng Dugo (na siayang nagpanalo sa kanya ng isa pang Famas best actress award), pero hindi namin naibigan ang performance niya rito as it was so palpably engineered, pati ang ibang movements niya na ang nakikita mo sa likuran niya ay ang instructions na bigay ng direktor kung ano ang gagawin niya. That year, ang choice namin for best actress ay si Lorna Tolentino sa anti-heroin role niya in Maging Akin Ka Laman ni Lino Brocka. But we will alwyas love Saan Nagtatago Ang Pag-ibig, na dinerek ni Eddie Garcia, dahil may kakaibang tama ito sa puso. Sa kuwrnto, si Vilma ay nabuntis ni Ricky Davao pero hindi siay mapakasalan nito dahil sa mamanahin mula sa kanilang dominanteng lola, the late Alicia Vergel, na inaapi-api pati ang ina ni Ricky, si Gloria Romero, who gives a great performance. Ang ginawa ni Ricky a kinumbinsi si Vilma na pakasal sa kanyang kapatid na retarded, si Val, played by Tonton Gutierrez, para aito ang magbigay ng pangalan sa magiging supling niya. Pumayag si Ate Vi at doon na nga siya natira sa malaking bahay ng pamilya nina Ricky at Tonton. Dahil doon, mababago ang takbo nga buhay ng pamilyang ito dahil si Vilma ang magsisilbing agent of change who will defy the matriach taht is Alicia Vergel. Mabubunyag din kung pano nagkaroon ng pinsala si Tontion sa utak. Maraming madamdaming eksena sa pelikula na talagang titimo sa inyong puso. Sa ending, there is justice dahil nagkamit ng karampatang parusa ang mga nagkasala.

pahiram7. PAHIRAM NG ISANG UMAGA (1989) – Namatay si Ate Vi sa pelikulang ito sa papel niya bilang Juliet, isang advertising executive na dinapuan ng cancer, but the film, produced by Regal Films, written by Jose Javier Reyes and directed by Ishmael Bernal, is really more a celebration of life. Pagkatapos malaman ni Juliet na may taning na ang buhay niya, ginugol niya ang mga natitira niyang araw para ilagay sa ayos ang kanyang buhay. Nakipagkasundo siya sa kanyang estranged husband (Gabby Concepcion) na may iba nang asawa (Zsa Zsa Padilla) at inihabilin dito ang anak nila (Billy Joe Crawford). Maraming simbolo and motifs ng buhay at kamatayang ginamit din ang expressionist painter na si Ariel (Eric Quizon) ina an impressive performance) para ipakita ang parallelisms between life and art. In one scene, tinalakay pati ang origins ng art when prehistoric men made drawings on caves na kahit primitive ay they continue to exist until this day. people may die, but art will live on. Ironically, si Ariel ay isang tormented soul who wants to kill himself. Pero iniligtas siya ni Juliet, a dying woman na hindi na maililigtas ang sarili niyang buhay. The grand death scene of Juliet on the beach habang nakasuot siya ng puting night gown haang nagbubukang-liwayway, sa ‘di kalayuan ay isa sa mga ‘di-malilimutang paglalarawan ng buhay at kamatayan na maing napanood sa pinilakang tabing.

8. HAHAMAKIN ANG LAHAT (1990) – Produced by Regal Films, dinirek ito ni Lino Brocka and we honestly believe na very much underrated ito. Ang tanging award na pinanalunan nito ay best supporting actress award for Snooky Serna (na very deserving). Nirepaso nga namin ang aming listahang ito at napansin naming ito lang ang movie ni Ate Vi na dinirek ni Brocka which is included in our list. Mas marami kaming isinaling pelikula ni Ate Vi na dinirek ni Bernal. Actually, may iba pang ginawang movies si Ate Vi with the legendary director, tulad ng nabanggit na rin naming Rubia Servios (kunsaan tinalo siya ni Ate Guy as best actress for Atsay in the 1978 Metro Manila Film Festival) at ang Adultery: Aida Macaraeg with Philipp Salvador and the late Mario Montenegro. Pero para sa amin, this is Ate Vi’s best Brocka movie and one of her best and most demanding roles sa mga nagampanan na niya. Vilma plays an anti-heroin, si Sylvia, isang bida-kontabida. Asawa siya ng isang gahamang mayor (Eric Quizon), na piangtataksilan siya. Nang muli niyang makatagpo ang una niyang pag-ibig, si Rene (Gabby Concepcion) ay pinagsikapan niyang makuhang muli ang pagtingin nito kahit kasal na rin ito sa ibang babae (Snooky). Sa kanya nga patungkol ang titulo ng movie dahil hahamakin niya ang lahat maagaw lang muli ang dati niyang pag-ibig. Dati, akala niya, magiging maligaya siya sa mga materyal na bagay at pati ang mahirap niyang ina (Perla Bautista) ay nagawa niyang itakwil. Nguni’t natanto niyang wala sa pera o sa kapangyarihan ang tunay na kaligayahan kundi nasa tunay na pag-ibig. Ang hindi niya alam, paghahangad niyang maibalik ang nakaraan ay hahantong lamang sa isang malagim na trahedya. Sadyang mapanghamon ang role ni Ate Vi rito na tuso, matapang, sinungaling at manggagamit ng kapwa tao. Mapupuri mo nga siya dahil hindi siya natatakot kumuha ng ganitong klase ng roles (gaya rin ng role niya sa Sinasamba Kita) na pwedeng maka-alienate sa kanyang fans. She’s definitely more adventurous as an actress. Kaso ang nakalaban niya that year ay si Nora Aunor who played a more sympathetic role bilang inang nagpakasakait alang-alang sa ikabubuti ng anak sa Andrea, Paano Ba Ang Maging Isang Ina? kaya mahuhulaan na ninyo kung sino ang nagwagi ng best actress awards for the year.

9. BURLESK QUEEN (1977) – Humakot ng lahat ng tropeo sa 1977 Metro Manila Film Festival, tribute ito sa stage shows noong ’50s. Sinulat ni Mauro Gia Samonte at dinirek ni Celso Ad Castillo, dito unang nagpa-sexy si Ate Vi at talagang big blockbuster ito. Kuwento ito ng isang batambatang burlesque dancer noong 1950s, played by Ate Vi. Nagsimula siya bilang alalay ng isang reigning burlesque queen, si Rosemarie Gil, na kabit ang maton na si roldan Aquino. Nang iwana ni Roldan si Rosemarie, naglasing ito at ayaw nang sumayaw kaya si Vilma ang isinalang bilang kapalit niya sa entablado. Maiinit ang naging pagtanggap ng mga lalaking manonood kay Vilma, pero ang maprinsipyong ama niyang lumpo (Leopoldo Salcedo) ay tutol sa ginagawa niya. Dahil naghihirap sila, nasunod din ang gusto ni Vilma na maging burlesk dancer. Nagpatiwakal ang ama niya dahil dito. Umibig naman si Vilma sa isang iresponsableng lalaki na nakipag-live in dito, si Rollie Quizon, na isa palang mama’s boy at hindi sanay sa hirap kaya nilayasan din siya. Ang climax ng movie ay ang may sampung minutong pagsasayaw ni Vilma sa entablado hanggang duguin siya. Buntis pala siya at gusto niya talagang malaglag ang dinadala niya. Maganda ang maraming elemento sa movie, malian sa production design na 1950s ang setting pero hindi maingat kaya maraming detalye na pang-19702 ang kasama rito. Very memorable din dito si Jonee Gamboa sa papel ng stage impresario an siyang nagsasatining ng mga opinyon ng writer at direktot na pinupuna ang hypocrisy ng mga moralista, tulad ng pagtatanong niya kung anong uri ng show ang dapat ibigay sa masang Pinoy na hindi kayang magbayad ng pang-mayaman at kulturadong shows tulad ng operang Merry Widow. Sayang at wala na rin daw existing copy ng pelikulang ito.

10. DOLZURA CORTEZ STORY: DAHIL MAHAL KITA (1993) – Ito ang unang pelikulang lokal na nagsiwalat tungkol sa sakit na AIDS at filmbio ito ng kuna-unahang Pilipino na umaming may AIDS siya, si olzura Cortez, na ang kuwento ay nalathala sa dyaryo. Sinulat ni Ricky Lee, dinirek ni Laurice Guillen at produced ng Octo Arts Films, bida-kontrabida rin ang papel ni Ate Vi rito in the title role. Hindi siya yung usual heroine na walang bahid-dungis at inaapi. Dito, isa siyang makasalanang babae na nagbili ng katawan, nagkaroon ng affairs sa maraming lalaki, hanggang sa dapuan nga siya ng dreaded sickness called AIDS. Muli ngang naka-grand slam si Ate Vi sa role niya sa pelikulang ito. The same year, meron ding nagawang movie si Ate Guy, ang Inay na dinirek ng yumaong Artemio Marquez, pero hindi man lang siya naging nominee para sa pagkakaganap niya roon. That year, dalawang movies ang nagawa ni Ate Vi. Ang isa pa ang ang action-dramang Ikaw Lang ni Chito Roño, na in fairness ay mahusay rin siya sa papel ng battered wife ng baliw na si Cesar Montano an naging bank robber kasama si Ronnie Ricketts. Pero sa Dolzura Cortez nga pinarangalan si Ate Vi dahil talaga namang very convincing ang pagkakaganap niya bilang isang babaeng lumaban sa buhay alang-alang sa kanyang pamilya, nguni’t sa kasamaang-palad ay iginupo ng isang sakit na walang lunas. Malusog na malusog si Ate Vi nang gawin niya ang pelikulang ito, pero very convincing siya sa paglalarawan ng isang babaeng may malubhang sakit at malapit nang bawian ng buhay. Dahil nga sa pelikulang ito, nagkaroon ng higit na kamulatan ang publiko ungkol sa sakit na AIDS.

BEST MOVIE IS YET TO COME – Kung magdagdag kami ng isa pang Ate Vi movie sa aming listahan, it will be another work of Laurice Guillen, ang Ipagpatawad Mo, where Ate Vi played the mother of an autistic boy na ipinaglaban ang anak niya kahit may kapansanan ito. At dahil aktibo pa rin si Ate Vi at may bagong movie na nakatakdang gawin sa Star Cinema, hindi pa tapos ang pagsulat sa history niya bilang isang actress. Kahait gobernadora na siya ang Batangas, lalabas pa rin daw siya sa movies every now and then. Who knows? Baka he really, really best movie is yet to come habang mas nagmamature siya, like fine wine, bilang isang actress for all seasons. – Mario Bautista, Hi! Magazine Dec 2007

Remembering Aruray

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Aruray ni Dolphy – “…Aruray pala ang binansag ni Mang Dolphy kay Pokwang. Ito ay ikinuwento ni Pokwang sa preskon ng The Healing kung saan si Governor Vilma Santos ang bida. Aru kung tawagin ni Mang Dolphy si Pokwang. Sino nga ba si Aruray? Siya po ang komedyante noong araw na matagal na ring namayapa. Kahawig nga ni Pokwang si Aruray pero siyempre mas maganda si Pokwang, in all fairness. Bumunghalit ng tawa si Governor Vi nang marinig ang kuwento ni Pokwang na binansagan siyang Aru ni Mang Dolphy. Hindi naman makapag-react si Kim Chiu dahil hindi niya kilala si Aruray. Hindi pa yata siya ipinanganak nang mamatay si Aruray…” – Joe Barrameda (READ MORE)

“…In 1998 while she was working in Abu Dhabi, Pokwang received the sad news that her son died of a congenital brain ailment. “Of course, I felt guilty na wala man lang ako sa tabi ng anak ko nang kailangang-kailangan niya ako,” admitted Pokwang, the wacky comedienne (suspected to be the “reincarnation” of Aruray) who in real life is a serious mother. She changed moods from sadly reflective to hilariously comedic. “Shin was made in the Philippines, pero assembled by a Japanese. I met his father here before I went to Japan. Magulo ang relasyon namin. Away kami nang away, nagbabatuhan kami ng kung anu-ano, nagsasakitan kami talaga, that’s why the baby inside me was badly affected. Kawawa naman siya. When the baby was born, kami ng ama niya nagbabatuhan kami ng crib.” Ria Mae was also sired by a Japanese whom Pokwang met in Japan where she worked as a dancer. “I never lived with my children’s fathers,” Pokwang said. “Nabuntis lang nila ako…” – Ricardo F. Lo (READ MORE)

Sa Kabukiran – “…I did several shows before I was given my first regular show on ABS-CBN in 1961, Sa Kabukiran, produced by Atty. Narciso Pimentel,” Luz continues. “It was one of the top 10 shows in the ratings during the ’60s. It was a musical comedy where I was paired with Luis Gonzales and we had Bentot, Cachupoy and Aruray with us. We were dressed in Filipiniana costumes singing Tagalog songs, doing comedy skits, and dancing local folk dances. It ran for 12 years until martial law was declared and ABS-CBN was closed, so we moved to GMA 7, which was allowed to continue airing. The show became Basta Ikaw Mahal which ran for seven years. At the same time, I had a noontime show, Kuwentong Kutsero, also on GMA, that ran for four years. For a while, I also co-hosted another noontime variety show, Darigold Jamboree. I had the chance to work with the late Ading Fernando in the sitcom, Apartment 153-A, which ran for four years at ABS-CBN. I am really so blessed because I was never ran out of TV shows. For a while, I retired and went to the US. But then, I got another call from GMA 7, asking me to come back to play the role of Bong Revilla’s mother in the sitcom, Idol Ko Si Kap, which is now going on for three years and rating very well…” – Mario E. Bautista (READ MORE)

Pamosong Komedyante – “…Samantala sa entablado naman ng mga eskuwelahan at sa mga syudad, ipinalabas din ang dulang New Yorker in Tondo, isang komedya tungkol sa isang balikbayan na mas Amerikano pa kaysa Amerikano pero kayumanggi naman. Nauso rin sa radyo ang komedya tulad ng Sebya Mahal Kita na pinalabasan nina Sylvia Guerrero at Eddie San Jose. Ang iba pang pamosong mga komedyante ay sina Oscar Obligacion, Chichay at Aruray atbp…Sa larangan ng pelikula, si Ai-Ai pa rin ang bida sa mga komedya, na marahil ay namana ang kanyang pagiging komedyante sa mga “greats” tulad ni Chichay at Aruray na sumikat noong mga 50’s at hanggang 60’s. Bandang 70’s o 80’s ginawang katatawanan ang isang artista na sobra ang dunong daw…” – Wilhelmina S. Orozco (READ MORE)

Faux Ballet Dances – “…The field of comedy is basically dominated by men. To my surprise, however, I had difficulty paring down my list of best comediennes to just 10. Maybe woman empowerment encouraged female comic talents to shine starting in the ’80s and this continues to the present day. But who gets on the list? Below is the first installment…Thin like a stick, I don’t know where she got all that energy performing on stage (I never got to see that though), on TV and in the movies. But her faux ballet dances (she had classical ballet training if I’m not mistaken) were very funny. Always cast as the impertinent atsay (she was supposed to have played Virgin Mary in a Lenten play once though), my favorite among her films was when she played aspiring movie star in Sampaguita Pictures’ mega production of The Big Broadcast. In the story, Aruray and Chichay are sisters and they have a stage mother in Patsy who believes her two daughters are the loveliest in the world and that they should be cast in a picture in lieu of Susan Roces and Amalia Fuentes. Although everyone turned in a hilarious performance, I liked Aruray best and I will always put her on my best comediennes list. Unfortunately, after she died in the early ’90s, who remembers Aruray now?…” – Butch Francisco (READ MORE)

Aruray was a famous Filipina comedian of the Philippines. She made many movies produced by her home studio Sampaguita Pictures. Born in 1920, she is one of the most successful comedians of the 1950s and 1960s. She was once nominated as Best Supporting Actress in the movie Torkwata. – Wikipilipinas (READ MORE)

Aruray and Vilma Santos

Aruray and Vilma Santos’ first movie together was King and Queen for A Day (which was also Vilma’s first film with Dolphy and Chichay) in 1963. This was Vi’s first year in show business and as a child star. She followed this up with Ging the following year. Then after almost six year, now a teen star, Vilma joined Aruray and another comedian, Dely Atay-atayan in Mga Batang Bangketa. After this film, the two did three films as guest star. There is no detail Information about Aruray’s exact date and cause of death, only the year – 1988.

Candy (1980) – “…Sheryl Cruz has appeared with Vilma before in Candy (Vilma in a cameo role) and Good Morning Sunshine (1980) directed by Ishmael Bernal. Mano Po 3 is their third film together…” – The 28th (READ MORE)

Mga Mata ni Angelita (1978) – “…Julie Vega was only 10 years old when she was launched to full stardom in the 1978 movie, “Mga mata ni Angelita.” She appeared in previous movie outings as Darling Postigo. The young Vega was ably supported by an all super star cast headed by the King of Philippine Movies, Fernando Poe, Jr. (in the role of Conrado, the ex-convict) and Comedy King Dolphy (as Tacio, the taho vendor). Also appearing in cameo roles were Joseph Estrada (as himself as Mayor); Nora Aunor (a metro-aide sweeper); Vilma Santos ( as a worried wife); Ramon Revilla (as barrio captain); Alma Moreno (as a jealous sweetheart); Christopher de Leon (as the lover) and many more…” – Simon Santos (READ MORE)

Big Ike’s Happening (1976) – “…Enrique “Big Ike” Lozada (August 13, 1940-March 8, 1995) was a Filipino comedian, actor and TV host. He was born on August 13, 1940 in Iloilo City. He started acting at the age of 11 on the movie Mga Bituin ng Kinabukasan with the younger Susan Roces. He died on March 10, 1995 in Manila, of heart attack. He was 54. His had lain at Manila Memorial Park in Parañaque City…” – Wikipedia (READ MORE)

Mga Batang Bangketa (1970) – “…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)

Ging (1964) – “…Listang-lista at ang husay ni Vilma rito. Naroong kumanta siya (the voice over seemed like her singing voice), sumayaw at nagdrama. Luma si Madonna doon sa isang parang La Isla Bonita number niya. One memorable scene was when she was singing her signature song to the audience of her longing to see her mother and her father – the camera captures her pain and agony and the deep wound she suffers from her abusers – a poignant scene, complete with tears and and a well-internalized acting…” – Mario Garces (READ MORE)

King and Queen For A Day (1963) – “…Batangas Governor Vilma Santos, who’s now identified with ABS-CBN, told the Inquirer: “The whole country is saddened by the news. He was simple but someone with a big heart for Filipinos. He entertained us for over 60 years.” The actress-politician recalled that she first shared the screen with Dolphy when she was a child star. “I worked with him and the late comedians Panchito and Chichay when I was 11 years old in the Sampaguita movie ‘King and Queen for a Day.’ That was 1963…” – Bayani San Diego Jr (READ MORE)

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PROUDLY FILIPINA (Videos)

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Proudly Filipina is a magazine show on QTV-11 focused on women achievers. Originally hosted by Daphne Oseña-Paez in 2006 but was replaced by beauty title holder/actress, Charlene Gonzales in 2008. The show was cancelled in 2009.

Charlene Mae Gonzales Bonnin Muhlach is a television and film personality and former beauty queen from the Philippines. Gonzalez won the Binibining Pilipinas-Universe 1994 title and represented her country at the Miss Universe 1994 pageant held in Manila, where she won the Best National Costume award and was one of the top 6 finalists. Born to actor Bernard Bonnin and model Elvira Gonzales, on 1 May 1974, she has a brother, actor Richard Bonnin. She married Filipino actor Aga Muhlach on May 24, 2001, and they have twin children born in 2001 named Andrés and Atasha. She is also a talk show host and a commercial model (Wikepedia).

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Official Web-site: Daphne Oseña-Paez

FAMAS’ Circle of Excellence

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After Hall of Fame – “…Relegated to hall of famer status, both Nora and Vilma were not allowed to compete for the acting awards in the coming years, a problem for FAMAS. Both actress were still active in making movies that deserve acting accolades. Two years after Vilma was acclaimed to the hall of fame status, she came up with performances that deserve praises, Kapag Langit Ang Humatol in 1990 and Ipagpatawad Mo in 1991. FAMAS can’t resist giving citation to Vilma anymore so they created a special award with a status higher than the Hall of Fame, hence the Circle of Excellence was born in 1993…”

“…The 41st FAMAS Awards honoring films made in 1992 was held again at the Fiesta Pavillion of the Manila Hotel on May 8, 1993. Vilma, now 40 years old earned her first of two Circle of Excellence awards. She was cited for Regal films’ Sinungaling Mong Puso. Sinungaling earned acting honours for Aga Muhlach, lead actor, Gabby Concepcion, supporting actor and best story for Jose Javier Reyes. It also earned nominations for its director, Maryo J. de los Reyes, best picture for Regal, supporting actress for Aiko Melendez. The next year, FAMAS deservingly gave Vilma her second Circle of Excellence award citing her performance in her social relevant film about HIV/AIDS, Dahil Mahal Kita: The Dolzura Cortez Story. Dahil Mahal Kita was nominated for best picture and best director for Laurice Guillen. …” – RV (READ MORE)

Sinungaling Mong Puso (1992)

“…Vilma Santos did not expect that her first experience at the Lower House could be so pleasant. “They were very nice. I was expecting that they’ll just tolerate me kasi artista ako, but they even posed with me,” she shared. Gina de Venecia, wife of the Speaker, asked her to join the Congressional Ladies Group. Ate Vi said that as soon as “Things settle down after the December 11 wedding to be held at the Lipa Cathedral, she will organize a foundation for street children. First, in Lipa and later here in Metro Manila. Vi said that her latest movie, Sinungaling Mong Puso, slated to open today, is inspired by her tele-movie, Once There Was A Love which also starred Aga Muhlach. I really wanted Aga to be my leading man in this movie since we started our tele-movie.” The movie also reminded her of the time when she and Ralph met for the first time. He was then only 21, or 11 years her junior. Vi does not plan to stop making movies, “I’ll be bored with just being a housewife,” she averred. “Sinungaling…, she said, “is teh story of three women and how they relate to the men in their lives. This is more intense compared to Ipagpatawad Mo. She is set to do two more movies this year – – one for Moviestars with Cesar Montano and Ronnie Rickets to be directed by Chito Rono; and another for OctoArts with perennial screen partner, Christopher de Leon with Mike de Leon as director…” – Nena Villanueva, Manila Standard, Aug 27 1992 (READ MORE)

Dahil Mahal Kita: The Dolzura Cortez Story (1993)

“…The 1990s saw Charito Solis graduate to mother and grandmother roles, which she had done with frequency in the 1980s. In another nod to her age, she finally allowed herself to be billed above Vilma Santos, then acknowledged as the Longest-Reigning Box Office Queen of Philippine Movies, albeit above-the-title in films such as Ipagpatawad Mo (1992) and Dahil Mahal Kita: The Dolzura Cortez Story (1993)…” – Gypsy Baldovino and Yolly Tiangco (READ MORE)

FAMAS’ Circle of Excellence Awarded Films of Vilma Santos

  • 1993 Dahil Mahal Kita: The Dolzura Cortez Story – Directed by Laurice Guillen; written by Ricardo Lee; produced by Orly Ilacad; musically scored by Nonong Buencamino; photographed by Eduardo Jacinto; and edited by Efren Jarlego; featured Vilma Santos, Christopher De Leon, Charito Solis, Jackie Aquino, Christine Bersola, Noni Buencamino, Maila Gumila, Mia Gutierrez, Gigette Reyes, Gilleth Sandico, Eula Valdez, Mikee Villanueva, Nonie Buecamino, Jaime Blanch, John Caddi, Tess Dumpit, Chris Michelena, Sharme Centenera, Ernie Zarate, Pocholo Montes and Gil Portes. (READ MORE)
  • 1992 Sinungaling Mong Puso – Directed by Maryo J. De Los Reyes; written by Jose Javier D. Reyes, Jake Tordesillas; produced by Lily Monteverde; musically scored by Lutgardo Labad; photographed by Charlie Peralta, Jun Pereira, Caloy Jacinto; edited by George Jarlego; featured Vilma Santos, Gabby Concepcion, Alice Dixon, Aga Muhlach, Aiko Melendez, Ricardo Cepeda, Dennis Baltazar, Charlie Davao, Philip Gamboa, Melinda Mendez, Mila Ocampo, Luz Valdez, Orestes Ojeda, Michelle Bautista, Lora Luna, Aris Bautista, Daniel Roa, Dax Rivera, Allan Laceda, Aida Carmona, Estrella Antonio, Alex Toledo, Nonoy Gates, Tato Malay, Lemuel Sales, Francis Ignacio, Chynthia Carriedo, Marvin Bellosillo, Veronica Medel, and Jeff Long. (READ MORE)

The Filipino Academy of Movie Arts and Sciences bestows the Circle of Excellence Award to Hall of Fame inductees who have used their skills and craftsmanship to the best of their abilities for the development and creation of a Filipino motion picture. The Circle of Excellence Award is the highest award the FAMAS can bestow on an individual. The Circle of Excellence was the brain child of then FAMAS member Jimmy Tiu to honor Hall of Fame inductees whose work deserves the recognition of the Academy. Since Hall of Fame inductees cannot be given another competitive FAMAS Award for the same category, the award was born.

The Circle of Excellence Award was modeled from great screen legend and FAMAS Award-winner Rosa Rosal by master sculptor Manuel Barreiro. The varnished gold-painted wood statuette boasts of a Balintawak-clad woman whose raised hands holds a four-spoke film reel. She stands on a circular pedestal, which is encircled with a thin sheet of gold that bears the initials and full name of FAMAS, the awards ceremony in which it was won, the words “Circle of Excellence” name and the name of the winner. The first Circle of Excellence Award was given out in the 41st FAMAS Awards (1992) in 1993 to honor Best Actress Hall of Fame inductee Vilma Santos for her performance in Sinungaling Mong Puso. At that time, the Circle of Excellence Award was a glass plaque. The current statuette was given the next year, also to Ms. Santos, at the 42nd FAMAS Awards (1993).

Circle of Excellence Recipients:  Vilma Santos – 1992, 1993; Nora Aunor – 1995; Christopher de Leon – 2004  (READ MORE)

Related Reading: * 1972 Best Actress  * FAMAS Recognitions * Who cares about movie awards? * FAMAS Hall of Fame Best Actress

Remembering Eddie Peregrina 2/2 (Videos)

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Eddie Villavicencio Peregrina (11 November 1944 – 30 April 1977), better known as Eddie Peregrina, was a singer and leading matinee idol of the 1970s. Dubbed as “the Original Jukebox King,” he was most famous for hit songs such as What Am I Living For, Together Again, Two Lovely Flowers and Mardy, among others. He died at the age of 32 after a freak car accident in EDSA…eregrina’s popularity was high, particularly among masses. Jukebox, the coin-operated machine which plays selected music, was said to have attained much popularity as well because of continuous requests of Peregrina’s songs. His fame surge even more among the Filipino masses when he became movie star, cast with the leading ladies of the 1970s, including Esperanza Fabon and Nora Aunor, with whom he had a TV show entitled The Eddie-Nora Show on Channel 9 in the 1960s. Among his movies included Mardy, Memories of Our Dreams with Esperanza Fabon. He co-starred with his wife Lyn Salazarin in Batul of Mactan in 1974. He was also the leading man in Dito sa Aking Puso (1970) with Nora Aunor and with Vilma Santos in Mardy. Most of his films were produced by JBC Productions, which invariably paired him with Vilma Santos, Edgar Mortiz, Esperanza Fabon, and directed by Bebong Osorio. When not busy attending show business commitments, he managed his own business, including Edviper Records and the Pervil Photo Studio…Eddie’s Mustang car collided with a trailer truck in EDSA Shaw underpass in 1977. He died a month and a week later (April 30, 1977) at the age of 32 at Polymedic Hospital due to internal hemorrhage. His early and tragic death shocked his millions of fans nationwide. – Wikipedia (READ MORE)

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Remembering Eddie Peregrina 1/2

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Coin-operated Machine – “…During the early 60’s, a singer’s popularity was practically determined by the jukebox, a coin-operated machine that can play specially selected songs from self-contained media. It was a period when fans dropped 20 centavos in a jukebox to listen to Timi Yuro’s “Crazy” or Matt Monro’s “Walk Away” and “Before You Go.” Of course, Eddie’s songs like “Together Again,” “Two Lovely Flowers,” “Mardy” and “I Do Love You” were such national anthems and outdid their foreign counterparts not only in the jukebox market but also on the airwaves, in restaurants and well…the local cabarets…” – Gypsy Baldovino (READ MORE)

Car Accident – “…Eddie Peregrina was another OPM (Original Pilipino Music) legend. While he sang with The Blinkers in Japan, he also became the first jukebox king in his homeland where Filipinos thronged around the coin-operated machines to drop 20 centavos to listen to their favorite singing idol. With the band, Eddie Peregrina gave us memorable hits like Blue Eyes and Together Again. During his prime, Eddie Pergrina was also doing TV (like the popular The Eddie-Nora Show) and acted in movies with leading ladies (like Vilma Santos, Espie Fabon, Nora Aunor). Eddie died from a car accident at the age of 32 in 1977. He was survived by his wife, Lyn, and two daughters, Edlyn and Michelle. He left a legacy of evergreen songs like Alaala ay ikaw and Nabubuhay ako dahil sa’yo…” – Questing Bandstand (READ MORE)

True Connoisseur of “Bakya” – “…If you don’t even get one answer right, you are, if not a foreigner, either a hopeless bourgeois or an incurable egghead. But if you guess that (a) “Mardy” is an Eddie Peregrina top tune and the title of one of his movies; (b) Orasyon na naman is the standard opening line of Johnny de Leon’s afternoon radio program, Lundagin Mo, Baby; (c) Nora Cabaltera Villamayor is the real name of Nora Aunor; (d) Pilyo, nguni’t clean fun is the slogan of Pogi; Ricky Na, Tirso Pa is the movie that brings together for the first time those real-life first cousins, Ricky Belmonte and Tirso Cruz III, congratulations: you are true connoisseur of bakya…” – Pete Lacaba (READ MORE)

Eddie Peregrina and Vilma Santos’ Films

  • May hangganan ang pag-ibig (1970) – Directed by Fely Crisostomo, written by Joey Luna and Eddie Perigrina co-starred with Vilma Santos, Romy Mallari, and Millie Mercado (READ MORE)
  • Mother Song (1970) – Directed by Jose De Villa, written by Ernesto ‘Baby’ Nauda, Eddie Peregrina co-starred with Vilma Santos, Rosa Mia, Patria Plata, and Joseph de Cordova. (READ MORE)
  • Songs and Lovers (1970) – Directed: A. Gregorio; Story: Felipe Baron, Henry Cuino; Screenplay: Felipe Baron, Henry Cuino; Cast: Eddie Perigrina, Alona Alegre, Vilma Santos, Edgar Mortiz, Esperanza Fabon, Fred Panopio, Thelma Kennedy, Romy Mallari, The Blinkers, and Pauline Sevilla. (READ MORE)
  • I Do Love You (1970) – Directed and written by Consuelo P. Rosario, Eddie Perigrina co-starred with Vilma Santos, Esperanza Fabon, Bebong Osorio, Perla Adea, Rebecca Rocha, Ben David, Mary Walter, Betty Mendez, Tommy Angeles, Jose Padilla Jr., Joey Alvarez, Dolly Favorito, Nick Aladdin, Armando De Guzman, Edgar Orda, Romy Mallari, and the Bunkers. (READ MORE)
  • My Darling Eddie (1969) – Directed and written by Consuelo P. Osorio, Eddie Peregrina co-starred with Vilma Santos, Edgar Mortiz, Esperanza Fabon, Bebong Osorio, Mildred Ortega, Joe Alvarez, Dolly Favorito, Nick Aladdin, Mary Walter, Ben David, Patria Plata, and Priscilla Ramirez. (READ MORE)
  • Mardy (1969) – Directed and written by Consuelo P. Osorio, Eddie Peregrina co-starred with Vilma Santos, Esperanza Fabon, Bebong Osorio, Perla Adea, Joe Alvarez, Dolly Favorito, Nick Aladdin, Ben David, Betty Mendez, Tommy Angeles, Danilo Jurado, Danny Boy (READ MORE)
  • The Jukebox King (1969) – Directed and written by Consuelo P. Osorio, Eddie Peregrina co-starred with Vilma Santos, Edgar Mortiz, Esperanza Fabon, Bebong Osorio, Mildred Ortega, Joe Alvarez, Nick Aladdin, Dolly Favorito, Ben David, Tommy Angeles, Metring David, Dely Villanueva, Perla Adea, Armando De Guzman Jr., and Eduardo Padilla. (READ MORE)

Eddie Villavicencio Peregrina (11 November 1944 – 30 April 1977), better known as Eddie Peregrina, was a singer and leading matinee idol of the 1970s. Dubbed as “the Original Jukebox King,” he was most famous for hit songs such as What Am I Living For, Together Again, Two Lovely Flowers and Mardy, among others. He died at the age of 32 after a freak car accident in EDSA…eregrina’s popularity was high, particularly among masses. Jukebox, the coin-operated machine which plays selected music, was said to have attained much popularity as well because of continuous requests of Peregrina’s songs. His fame surge even more among the Filipino masses when he became movie star, cast with the leading ladies of the 1970s, including Esperanza Fabon and Nora Aunor, with whom he had a TV show entitled The Eddie-Nora Show on Channel 9 in the 1960s. Among his movies included Mardy, Memories of Our Dreams with Esperanza Fabon. He co-starred with his wife Lyn Salazarin in Batul of Mactan in 1974. He was also the leading man in Dito sa Aking Puso (1970) with Nora Aunor and with Vilma Santos in Mardy. Most of his films were produced by JBC Productions, which invariably paired him with Vilma Santos, Edgar Mortiz, Esperanza Fabon, and directed by Bebong Osorio. When not busy attending show business commitments, he managed his own business, including Edviper Records and the Pervil Photo Studio…Eddie’s Mustang car collided with a trailer truck in EDSA Shaw underpass in 1977. He died a month and a week later (April 30, 1977) at the age of 32 at Polymedic Hospital due to internal hemorrhage. His early and tragic death shocked his millions of fans nationwide. – Wikipedia (READ MORE)

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