Boxing Matches 1/7

Posted on December 13, 2009 by @ffv Standard

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An eye for an eye. Is that biblical? For Vilmanians and Noranians seeing mano de mano is like a historical task. Point by point everyone will fight. Awards to awards, acting to acting, talent to talent. If Nora has three consecutive FAP, Vilma has three consecutive URIAN. If Nora sings, Vilma dance…and so on… for Vilma and Nora’s fans the comparison never ends with statistics. It’s the experiences. Like being part of a boxing matches.

For many Nora Aunor fans, Ate Guy is a picture of a conservative, traditional, restrained- trained artist (just like Lolita Rodriguez). For them, Nora is the ultimate performer. For many Vilma Santos fans, Ate Vi is picture of a liberal, feminist, method-trained artist (just like Charito Solis). For them, Vilma is the ultimate performer. Can we find some solution to figure out who is the ultimate winner that is if this is a boxing match? How many rounds before we can proclaim a winner? What are the boxing rules that we should follow? And what is the reward? Perhaps the title, the best actress of all time? For Vilmanians, the clear winner is Vilma Santos. No doubt. Vilma remained to be an important player in the entertainment industry. Projects lined-up, waiting for her availability. She also stacked up so many honors from getting a doctorate degree to a prestigious Gawad Plaridel to the latest title of “woman of style and substance.” She is indeed the clear winner. For Noranians, being abroad have its disadvantages. Nora continued her controversial stay in the United States with the issues regarding the discovery of her past marriage records in Las Vegas. This was in addition to her completion of the drug rehabilitation program imposed to her in exchange of the dropping of drug possession charge against her. Noranians admitted that her career is currently in downside despite the two digital films she has completed in the past year. So career wise, Vilma Santos remained on top of her game while clearly Nora Aunor’s fame diminished as she retired in foreign country. We have clear winner then but what is the point of this article? Well, let us bring the past and reminisces the once competitive bout of the two hottest actress Philippine cinema ever produced, Vilma Santos and Nora Aunor.

We listed Vilma’s ten best films and matched it with Nora’s. We then came up with analogy of who did well in terms of credible performances. We also tried to switch the roles and see if both actress remained credible. The outcome was incredible.

Nelia & Josie

Atsay versus Anak – Mario Bautista pointed out in his movie review of “Atsay” (Philippine Daily Express, 1978) that Nora Aunor’s performance: “…bears the distinct marks of style and self, welding character and personality. As Nelia, the atsay, she delivers a muted performance that successfully treads the thin, delicate line separating genuine sentiment and mawkishness.”

In 1978, you will not imagine Vilma Santos plays an “Atsay” which could also be said to Nora Aunor, her fans will not imagine Nora played a burlesk dancer or spoiled socialite. After 22 years, fans of Nora Aunor were surprised to find out Vilma Santos played the typical role that’s been identified to Nora. That is the role of an “atsay” or maid or in modern day term, domestic helper of “DH” in short.

And surprise, surprise, Mario Bautista, the same critic who praised Nora’s performance in Atsay was equally convinced of the Vilma’s performance in Anak. And he wrote: “…(Anak) belongs to Vilma, who goes through an entire spectrum of varied emotions as Josie, mula sa katuwaan at excitement niya sa pagbabalik sa Pilipinas (natural na natural ‘yung pagiging aligaga niya habang namamahagi ng pasalubong sa mga anak niya), ang disappointment niya nang matanto niyang hindi na niya kilala ang mga batang binalikan niya, hanggang sa finally ay sumambulat siya sa tagpong pinagsasampal na rin niya si Claudine at pinalalayas. It’s a bravura sequence and the performance is magnificent.”

Atsay was shown in the 1978 Metro Manila Film Festival. The film was a mild hit despite Nora Aunor being proclaimed as the best performer defeating Vilma’s Rubia Servios. Nora didn’t win any awards for Atsay after the controversial wins over Vilma. Anak on the other hand was 2000’s box office record holder. The film also earned Vilma best actress awards from PMPC’s Star Awards and Pasado awards.

Switcheroo – If we switched roles, Vilma Santos would look awkward if she played the role of Nelia in Atsay in 1978. That is not because she was incapable of doing so but because of her youthful look. But what about Nora playing Josie Agbisit in 2000’s Anak? We are sure that Nora will also excel as Josie but would the film be a box office hit? I doubt it.

Reality Checks – Vilma convincingly did a typical Nora Aunor roles in Anak. She proves that she is indeed the most versatile actress we have right now. And that there’s no role that she can’t do justice. Nora can excel acting wise if she did Anak but we are convinced she can’t replicate the box office results that Vilma can do. This is in consideration of the dismal box office results Nora’s past four films prior to year 2000.

Corazon & Chato

Bulesk Queen versus Minsa’y Isang Gamo-Gamo – Both Vilma and Nora did a career milestone films in 1976 and 1977.

Nora Aunor as Cora De La Cruz in Minsa’y Isang Gamo Gamo delivered her famous legendary line: “My brother is Not a Pig!” Nicanor G. Tiongson, one of Aunor’s original drumbeaters wrote in The Philippines Daily Express in 1976 wrote: “Once again, Nora Aunor proves herself to be one of the finest actresses today, with an acting style that is both “raw” and “fine” characterized by a disarming sincerity and force, that can break into an unbelievable number of nuances, shades and colors of emotion. Outstanding is her court scene where her face registers a gamut of emotions — from anger to confusion to depression and despair — in the pace of ten seconds. Like a mature actress, she does not attack dramatic scenes with histrionics or hysteria. Over her brother’s coffin, she curses the Americans who came to pay her family off by screaming “My brother is not a pig” over and over again with mounting intensity.” Despite the praise for Nora’s wonderful performance by many critics, she didn’t win any award for this role.

The following year, it was Vilma Santos turned. As Chato, Vilma Santos gave us one of the most compelling performance of her long stellar career in Burlesk Queen. Ricardo Lee, the writer, interviewed the director Celso Ad Castillo in an article for the Manila Magazine in 1977. Castillo pointed out that all Vilma’s highlights scenes were take one. Her scenes in the hospital with Leopoldo were shot continuously and that Vilma was so good that even Leopoldo can’t controlled his tears. And Leopoldo was supposed to be dead in this scene. Vilma convincingly won the judges’ vote as she won the film festival’s best actress award as Burlesk was entered in the 1977 Metro Manila Film Festival. The film won 10 out of 13 awards that created huge complaints from the other films entered. Burlesk never replicate it’s achievements from the festival jurors as the film was ignored by the other award giving bodies. The sole consolation by Burlesk’s supporter was the box office results of the film. It became the top grosser of the festival.

If Nora produced one of her most memorable lines in 1976 via Minsa’y Isang Gamo-gamo, Vilma on the other hand, created one of the most graphic scenes in the history of Philippine cinema, that’s the ending scene of her Burlesk Queen where she danced away until she bleeds (intended to be an abortion attempt) to her unfortunate demised.

Switcheroo – If we switched roles, will Nora and Vilma give us the milestone performances we witnessed? Will Vilma Santos played more intensely as a nurse in a rural area near the military bases in Pampangga than Nora in Minsan Isang Gamo-gamo? She will indeed be more like Kapangpangan because of her fair complexion. A well-known Kapangpangan physical traits. Given the fact that prior to Burlesk Queen the most serious roles she has done was Castillo’s Tag-ulan Sa Tag-araw and Bernal’s Nag-aapoy na Damdamin, Vilma would definitely do well as Cora De Cruz. The question now is would Nora be physically ready to play the demand of the role of Chato in Burlesk Queen? Acting wise, she would be as intense as Vilma but the role would probably not fit her physically. If the role were given to Nora would she be willing to do the strip tease dances. Would she be willing to show some skin. Despite the fact that the role is not as vulgar as what might the title implied, Burlesk Queen would be too daring for Nora’s image and she would have no guts to play such role.

Reality Checks – Vilma will convincingly play the Kapangpangan Cora De La Cruz. By 1976, Vilma was riped to play an important role and if she did Minsa’y Isang Gamo-gamo, she will equally be convincing as Nora. Nora on the other hand, will be akward to play Chato in Burlesk Queen. The physicality of the role would also play an important factor which will result of her being out of place that is if she plays the role of Chato in Burlesk Queen.

Ester & Rubia

Rubia Servios versus Ina Ka Ng Anak Mo – 1979 produced an incredible collaboration films. Drama queens of yesteryears teamed up with the reigning queens. Vilma Santos did Modelong Tanso with Charito Solis and Nora Aunor did Ina Ka ng Anak mo with Lolita Rodriguez. We all know what the outcome of the films was. Vilma and Chato were satisfied with the box office results of their tandem while Nora and Lolita were happy with their critical results.

Ina Ka Ng Anak Mo directed by Lino Brocka was indeed the better project than Modelong Tanso. Nora once again gave us her famous three syllables line: “hayuuuuppp… Hayuuuupppp… Hayuuuupppp!” Isagani Cruz summed up her performance in his TV Times review: “…Filipino movies are nothing if they do not have confrontations and Ina Ka ng Anak Mo has one confrontation after another. The best one occurs when Aunor sees Rodriguez and the baby for the first time. Aunor silently moves from shock to hurt to rage to hysterics. The scene is spoiled only at the end, when she bursts out that she will see the pair in court; in the heat of such passion, no Filipina will think of impersonal legal proceedings. More characteristic would have been a search for a weapon or for an exit door…Brocka specializes in acting vehicles. Aunor clearly deserves the Best Actress Award. In fact, she deserves it more than Rodriguez, if only because she is younger and has less experience. Before Ina Ka Ng Anak Mo, only Charito Solis could stand up to Rodriguez; now Aunor is on par with both veteran actresses.”

A year before Nora bursted out with her now famous three syllable lines: “hayup, hayuup, hayuuup” Vilma cried out the same line with more anguish in her most demanding role as a rape victim in 1978’s Rubia Servios. Co-incidentally, both Ina Ka Ng Anak Mo and Rubia Servios were directed by Lino Brocka. The failure of Rubia to win Vilma an acting recognition at the hands of the most successful acting director, Brocka was perhaps the most disappointing anecdote in Vilma career and perhaps Brocka’s too.

Ricky Lo’s article titled “Vilma’s Violation” summed-up Vilma’s fans’ perception of her performance: “…The anguish in Vilma’s face and the lust in Philip’s eyes blended so well the effect was dramatic rather than sensual….The real climax of the film, however, is the killing of Philip by Vilma with a paddle aboard a motorboat at sea. Lino Brocka, who directs Vilma for the first time, succeeded in muffling her sobs even in the most hysterical moments…” The climax scene he mentioned here was the scene where she uttered the lines: “hayup… hayuup… hayuuup!”

Switcheroo – If we switched roles, will Vilma be convincing as the daughter of Lolita Rodriguez in Ina Ka Ng Anak Mo? Remember Vilma played Lolita’s daughter in several dramatic films in the 60s. And Vilma admitted that Lolita was one of her early influence when it comes to acting. It is fare enough to say that if Vilma can hold herself when comes to acting with the intensity of a Charito Solis she would be able to stand her ground too with the likes of Lolita Rodriguez. She has done so in her films in the 60s and she will pass with flying colors if she did Ina Ka Ng Anak Mo instead of Nora.

On the other hand, would Nora Aunor be as convincing as Vilma in Rubia Servios? Again, the roles demands physicality. Will Nora Aunor eat her guts out and performed like Vilma? As Rubia she will require to be raped by Philip Salvador twice. Would Nora be as prepared as Vilma to play an object of affection of an obsessed rapist? I doubt if she will be able to convince us with the demand of such role.

Reality Checks – Vilma will hold her ground if she will be given a chance to do Ina Ka Ng Anak Mo against the dramatic legend, Lolita Rodriguez. Considering the fact that both have worked together in several dramatic films in the 60s. Meanwhile Nora Aunor will be out of place if she plays the role of a rape victim in Rubia Servios.

Boxing Results – Vilma 3, Nora 0 – To be continued…

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Boxing Matches 7/7

Posted on December 13, 2009 by @ffv Standard

Relasyon versus Naglalayag – Two films, two performances…the last bout between Nora and Vilma. We picked two films that becomes significant milestones to both actress. Vilma Santos’ Relasyon earned her the very first of her four “grand slam” best actress wins. Nora Aunor’s Naglalayag earned her the second international recognition in addition to the local awards she already amassed. By the way, she shared the international best actress honor with Sharon Cuneta, a self confessed Vilmanian.

So lets start… In this corner, Nora Aunor for her portrayal of a rich judge in 2004 Manila Film Festival entry, Naglalayag. A May-December love story. Nora fell in love with a poor taxi driver played convincingly by Yul Servo. The film achieved the festival’s best picture honour together with the best director award for Maryo J. delos Reyes and the coveted Best Actress for Nora Aunor. The film was first offered to Vilma Santos but she turned it down and Maryo De Los Reyes decided to give the project to Vilma’s rival, Nora. In his Inquirer article, Nestor U. Torre wrote: “THE MANILA Film Festival later this month has as one of its highlights the big-screen comeback of superstar Nora Aunor. For years now, Nora has been occasionally starring in films, but most of them haven’t done justice to her well-honed talent. They have either stressed her dated “kawawa” screen persona or put her in exceedingly overwrought scenes that were too self-consciously “dramatic.” Thus, she has failed to rise up to the level of her touchstone performances in movies like “Bona,” “Himala,” “Atsay” and “Tatlong Taong Walang Diyos.” A challenging material would uplift Nora’s sagging career according to Torre… He continued: “…This is a great pity, because we know that, despite her relative drop in popularity, Nora still has some great performances left in her. All she needs is challenging material that’s right for her unique combination of gifts. Why hasn’t she been getting such projects? Because some of her film colleagues are still fixated on her past roles, not realizing that viewers have tired of them-and that, at 50, Nora shouldn’t be expected to merely reprise her past triumphs…” Unfortunately, Torre clearly realized Aunor wasn’t believable as the rich judge…

He wrote: “…To be sure, some elements detract from Nora’s thespic achievement here. For one thing, she is not all that believable as a judge. Yes, it’s true that the similarly petite Esperanza Fabon is a judge in real life, but the problem has less to do with height than more telling background and character traits…Some scenes are acted in too overwrought a manner, especially Nora’s thespic highlight at a funeral parlor. And the lead screen couple’s romantic interludes are sometimes too cutely staged and executed for Nora’s mature character in this movie…” But despite this truthful observation Torre’s adoration to Aunor surfaced as he concluded: “…Despite these flaws, however, Nora’s performance still impresses, moves and illuminates viewers because it is generally natural, insightful and committed. Let’s hope that “Naglalayag” does well at the film fest, so other producers will offer Nora even better and more challenging screen vehicles, for her to truly reemerge as the thespic superstar she once was-and could be again.” Too bad, Torre’s enthusiasm faded as the film closed in numerous theatre on it’s third day of showing. The only significant consolation to the box office results of this film was Aunor’s shared best actress win with Sharon Cuneta at the Brussels International Film Festival. This was her third international recognitions, one award ahead of Vilma’s two.

Meanwhile… In this corner, Vilma Santos as Maria Lourdes, the sympathetic mistress in Bernal’s Relasyon. The film that earned Santos it’s deserving win at the majors – FAMAS, Gawad URIAN, Film Academy of the Phils., Catholic Mass Media Awards and from a minor – Let’s Talk Movies Awards. Santos’ wins resulted in the creation of a new tag line “Grand Slam.” Which basically means a swept wins from all major award giving bodies? The Philippines currently have five major award giving bodies – FAMAS, URIAN, STAR, Golden Screen and Luna Awards. At the Gawad Urian, Aunor was expected to win her third critic’s trophy against Gina Alajar and Lorna Tolentino from the same film, Moral and against Vilma Santos’ tiny film Relasyon. Aunor was conditioned to received the honour because of her tremendous performance as Elsa in ECP’s Himala. But she left empty handed as the critics finally resolved their unfair treatment of Vilma Santos and gave her the long awaited nod. Vilma will win all of the remaining trophies resulting from many Noranians’ speculation of political sabotage. As the film Himala was funded by the Marcos government, the intense resistance against the government resulted from the film being ignored. Never mind that Vilma gave us one of the most moving performance of her already long stellar career.

A critic, Isagani Cruz in his article for Parade magazine analyzed Relasyon’s psychological overtones: “…we have a film made explicitly for adults. There is no explicit sex sequence (adults don’t really go for that sort of thing, only adolescent boys do). But the psychological problems faced by the film are comprehensible only to adults, those who know what it means to live with someone one loves (or, at least, used to love). This film is, thus, not entertaining in the usual prurient sense, but in a deeper, psychological, intellectual sense. There are basically two themes that this film tackles: sex roles and divorce.” He pointed out two opposing views about the two lead characters of the film… Cruz added: “..Vilma Santos represents womanhood in the film: Christopher de Leon represents manhood. The Filipina woman is commonly thought of as a martyr or long-suffering masochist. Santos portrays a mistress who is an out-and-out martyr…De Leon represents chauvinist maleness. He portrays a character that is totally insensitive to his woman’s needs.” He then touches the theme of the film, the flight of a mistress and divorce… He said: “…The trouble with sex roles in our society, the film argues, is that they are widely accepted without question. Men are supposed to have mistresses, and women are supposed to be faithful. Men are supposed to make the decisions (about where to live, what job to get, when to dine out), and women are supposed merely to follow. The Philippines may justifiably boast that, in politics, women are almost as powerful as men, but it is undeniable that in every other field including the home, it is the men who are the masters and the women who are the slaves. The other theme tackled by the film is that of divorce. Again and again, the characters discuss the lack of divorce in the Philippines . If De Leon could only annul his marriage, if he could only divorce his wife, if he could only get to Las Vegas and marry Santos there… Such possibilities remain mere possibilities, because Philippine law, unfortunately, still does not allow for divorce. In the film, it is made clear that the marriage of De Leon and his wife is totally beyond repair. With De Leon , being the male chauvinist pig that he is, and with his wife, being the non-entity that she is, there is no hope for the loveless couple. On the other hand, Santos and De Leon clearly love each other, clearly deserve chance to be man and wife, clearly should be helped (not damned) by society. It is an implicit case for divorce, made even more convincing by the fact that the characters are so familiar, so realistic.” And then concluded: “…technically, the film does not rank high in Ishmael Bernal’s canon of films… There is one technical achievement worth watching for: De Leon’s death scene, covering more than one minute, is taken with one continuous shot (no cuts) Santos’ acting is adequate and extraordinary. De Leon gives another of his solid performances…” I couldn’t agree more. That scene alone won my approval. Vilma’s “tuhog” acting was so effective that by the time its over we were both exhausted and felt her pain. In the next scene, where she was consoled by her family and friends, in the kitchen table, we felt her final resolve, the acceptance of the death of her love one. The naturalness of her acting was very moving and effective.

Switcheroo – In 1982, Vilma Santos has established already her versatility as an actress. Accepting roles that her opponent have reservation of doing. Nora Aunor on the other hand maintained her chosen projects to api-apihan roles and light comedies. She did two important films in 1982, Mga Uod at Rosas where she played another “api-apihan” role and the gigantic Elsa role in Himala. Together with two light comedies, Annie Sabungera and Palenke Queen. And don’t forget her lesbian role in T-bird At Ako with Vilma. Her chosen projects didn’t change the possibility that she might be typecasted in those api-apihan roles. A big mistake considering that in order for an artist to have longevity one must accept roles that will challenge one’s ability and giving something new to your audience will add more interest resulting with continued patronage and loyalty. Vilma Santos has learned this earlier as she tried to surpassed her opponents. Versatility remained to be her greatest weapon. And so if we give the Marilou role to Aunor, would she be as convincing as Vilma? Her ability to be vulnerable was seen in such convincing performance in Mga Uod at Rosas and Himala. The role will also required her to deliver such lines with such feminist overtones. Would she be convincing delivering such kilometric lines? With such strong conviction? I doubt it. By 1982, she wasn’t known for delivering long lines but instead was known for uttering short syllabolic lines. Lines: like: “my brother is not a pig!” or “Hayup…hayup…hayup…” A proof that she will be akward as the insecure mistress in Relasyon.

Meanwhile if we give the Dorinda role to Vilma, in DeLosReyes’ Naglalayag we can honestly say that Vilma will be more successful as the rich, successful judge. She will be more convincing with delivering her lines, with every gestures and posture. She will also excelled in many dramatic highlights of the film. Adopting a more restrained acting that Vilma is now know for, those scenes that only required her to show tears dropping from her eyes just like in Mano Po 3: My Love and Dekada 70. A proof that Vilma after her long acting career has evolved into a more versatile well rounded actress.

Reality Checks – Even Nestor Torre, an ardent Aunor supporter concluded that Aunor was unconvincing as Dorinda, the rich judge in Naglalayag. Santos on the other hand earned her deserving respects from all the award giving bodies in 1982 for her effective portrayal of a mistress in Relasyon. 22 years between the two films and clearly, Vilma Santos transformed herself into a more versatile well rounded actress and Nora Aunor got stucked into an restrictive image. Those roles of the underdog, the api-apihan roles. If we switched roles, Nora Aunor would not be as effective as the mistress in Relasyon while Vilma will excel as the rich judge in Naglalayag.

Boxing Results – In our final bout, Vilma knocked out Nora by a landslide. Vilma 12, Nora 2

Conclusion

Our exercises showed one clear proof. In order for an artist to remained famous and maintained longevity, one must be willing to adapt, learned from the craft and jumped into an unfamiliar territory by accepting challenging roles. Nora Aunor have restricted herself to roles that will typecasted her into one type of roles, that of the “api-apihan” roles. Vilma on the other hand, learned from the very beginning that in order for her to survive the tough competition she have to accept challenging daring roles that will ask her to attack roles out of her comfort zone.

“Kung hindi tayo kikilos, kalian pa? Kung hindi ngayon, kalian pa?”

“Walang himala…nasa puso…nasa tao ang himala!”

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Boxing Matches 6/7

Posted on December 13, 2009 by @ffv Standard

Andrea, Paano Ba Ang Making Isang Ina? versus Bata Bata Paano Ka Ginawa? – Both films, Andrea Paano Ba Ang Maging Isang Ina? and Bata Bata Paano Ka Ginawa? earned Nora Aunor and Vilma Santos grand slam wins. Nora Aunor won the 1990 Best Actress from the Metro Manila Film Festival and then swept the best actress honor from Urian, FAP, Star, Famas, and Young Critics Circle. Adding to the significance of this grand slam wins was her elevation the Famas Hall of Famer. This was her fifth Famas best actress which as stupid as can be required her to be elevated and disqualified her with future wins. In addition to this wonderful honors was the film received its deserving best picture trophies from FAMAS, STAR and of course at the MMFF.

Butch Francisco wrote in his Philippine Star article: “..It is a powerful film mainly because of the performances of the cast and the basic conflict found in the movie. As Andrea, Aunor is a teacher who has chosen the difficult and perilous but crusading path of armed social rebel whose husband is a comrade in the underground. When it is time for her best friend, Gina Alajar, who is married to a guy Lloyd Samartino, who has absolutely no sympathy for the cause which his wife’s friend is fighting for. Childless, Lloyd and Gina get emotionally attached to the baby, especially after the mother temporarily leaves the infant to look into the circumstances of her guerilla husband’s death in the hands of the military. Unfortunately, before she could return to her baby, Nora is arrested and detained in a safe house by military men, who torture her mercilessly. Having lost contact with the freedom-fighter and presuming her to have been killed, the surrogate parents have decided to keep the child as their own and bring him to the United Sates for seven years. When they return to the Philippines for a visit, Nora confronts them and tries to claim her child back. “Andrea” has a most chilling, moving and harrowing climax, one of the best in local movies. Its fearless account of military abuses in both Marcos and Aquino administrations is admirable. From start to finish, it mirrors present Philippine conditions, with special focus on the problems afflicting educators and the government’s counter-insurgency campaign…The film’s cohesive material is given justice by the sterling performances of Nora Aunor and Gina Alajar, both perfectly cast.”

In 1998, Vilma’s Bata Bata Paano Ka Ginawa grossed on its opening day of showing a whooping P 5.2 million pesos. A tabloid article headlined: “Ate Vi sinagip ang naghihingalong movie industry!” A feat that she will surpassed with the another super blockbuster film, Anak the following year. A worthy note, Vilma’s closest rival, Nora Aunor on the other hand was clearly on decline mode as her followed up films after the successful Flor Contemplacion failed miserably at the box office, one film after the other. Nestor Torre, Nora’s ardent supporter wrote down for Philippine Daily Inquirer “Vilma scores with “Bata, Bata, Paano ka Ginawa?” He elaborated: “…the film based by Lualhati Bautista on her own novel that was published in the ‘80s, Vilma Santos plays Lea Bustamante, an “ordinary” woman who turns out to be an extraordinary Filipina because she has liberated herself from the restrictions that hold some other women back from coming into their own up to this day. She separated from her husband (Ariel Rivera) because he wanted her to subsume her personal goals in his favor. She had a son (Carlo Aquino) by him, and later lived in with another cad (Albert Martinez), who fathered her daughter (Serena Dalrynple). Unhappy with Albert, Vilma fantasizes about getting it on with a third guy (Raymund Bagatsing), but he doesn’t accede to her forthright invitation for them to get between the sheets. That’s one thing with Lea that surprises and perhaps even shocks some members of the audience. Unlike some other women who keep their sexy thoughts to themselves, she articulates them in colorful language, without blushing. This forthrightness has a positive if sometimes “embarrassing” effect on her children, who have been brought up to be similarly forthright and argumentative. Lea also wears her heart on her sleeve in relation to her work, which involves her in helping aggrieved and battered women fight for their rights. Writer Lualhati Bautista and director Chito Rono’s telling and prismatic depiction of Lea’s character is worthy of praise because it is full-bodied and filled with surprises, unlike most other local film characterizations, which are two-dimensional and predictable. The audience’s hearty response to Vilma’s spirited portrayal of Lea is a big change from viewer’s knee-jerk responses to most lead characterizations on the local screen, which fail to delight and surprise because they follow tired, old formats so automatically.”

Torre praised Lualhati Bautista admirable script with…”…Bautista’s plotting is also admirable. She includes many elements from Lea’s personal and working lives and is able to integrate these diverse bits into a fairly unified whole – a tough task for any screenwriter. Lea’s first husband comes back after many years, hoping to take his son with him to the States. Lea’s live-in partner becomes jealous, and yet the two men gang up on Lea when the children are hurt in an accident. Things come to a head until the children have to choose whether to stay with their mother or join their respective father’s new families. Through all of this, Lea has her crying jags, but otherwise remains strong and secure in her self-worth. This is the all-important role model that the character of Lea holds up to the less secure women watching awe-struck in the dark movie house. Let’s hope that at least some of them learn from her example. Of course, the film would have been of greater service to its audience if it had showed why, despite her strength and wisdom, Lea still fell for the self-centered cads with whom she shared her bed.”

He then described Vilma’s performance as…”…But these weaker elements pale in comparison to the movie’s admirable strengths, led by its insightful script and direction, excellent performances by Vilma Santos and Carlo Aquino, and most significant of all, the movie’s evocation of real life being lived with courage and zest….” I can’t agree more… With this description came Vilma Santos third grand slam best actress. Even the pro-Nora Aunor group, Film Desk of the Young Critics Circle or YCC for short confirmed Vilma as their best of 1998. The year gave Vilma her seventh Gawad URIAN as well as the trophies from Star Awards, Film Academy of the Phils., Gawad Sineng-Sine PASADO Awards, Siasi, Jolo. Critics Awards and because she already a Famas Hall of Famer she’s disqualified in their category. But her disqualification were compensated as she received their Lifetime Achievement Award.

The courageous and unconventional performance of Vilma Santos was again rewarded the following year as she won the top plum award from the Brussels International Film Festival. Armida Siguion-Reyna in her article for People’s Journal wrote: “…Congratulations to Vilma Santos for winning the Best Actress Award and to Chito Rono for the Best Director Award in the 1999 Brussels International Film Festival! Their film “Bata, Bata…Paano ka Ginawa?” (Lea’s Story) is one of the many films now touring the international film festival circuit passed during the term of the present board. Some people feel that the movie could not have been done nor would have passed uncut the MTRCB previously, because of its theme and use of language. Its principal character (played by Vilma) is a mother to two kids by two different men, now seeking solace in the company of a third.” She pointed out…”…The victories of Vilma and Chito could not have come at a better time for the Filipino movie industry and only shows that the Filipino film artist can meet and even surpassed international standards when given the creative freedom to do so. Of course, we recognize that last year, Albert Martinez, Jun Lana and Ditsi Carolina also won awards in the same festival. I hope the do-gooders who look at the Filipino movie industry with disdain are reading!” Vilma’s Bata was also exhibited at the 44th Asia-Pacific Film Festival in Bangkok , Thailand in November of 1999. The film earned a Special Jury Award – For awareness on woman’s status in Asia-Pacific. Vilma Santos was also nominated as well as Serena Dalrymple as best supporting actress.

Switcheroo – Would Vilma Santos be as successful as Nora in Andrea? And would Nora do the unthinkable as Lea in bata? By this time, both are now matured capable actresses. The only difference was that Vilma Santos remained a bankable star. As we all know Andrea was just a mild hit, a pale in comparison with the outcome of Bata. Would Andrea be more successful at the box office if Vilma was in the lead instead of Nora, a higher feasibility is in order. Nora was already in decline in 1990, the previous year she did only one movie, the mild hit Bilangin Ang Bituin Sa Langit with Tirso Cruz III. She did three more films, all were a dismal failure until she hit a jackpot via Flor Contemplacion in 1995. After Flor her career went downhill. She never recovered even with the two trendy digital offerings. Meanwhile Vilma remained bankable. The end of the 80s gave her opportunity to do only serious films. Even mediocre films like Lipa Masacre was a major hit. The only dent in her strong box office record was the dismal bombed of her film with FPJ in 1996, Ikaw ang mahal ko. But she nicely recovered with a string of hits like Hanggang Ngayon Ika’y Minamahal, Bata Bata Paano Ka Ginawa, Anak, Dekada 70 and Mano Po 3. The question now is if Nora can do such type of role, a liberated matured Lea. Would it fit her image and would the masses like her in such role? A formidable task. Then we can also asked the same with Vilma. Would she performed as intense as Nora in Andrea?

Reality Checks – In 1990, Vilma was clearly the picture of a fine versatile actress. She can do any roles from a militant nun to a cancer stricken career woman to a sympathetic mistress. The Andrea role will add some variety in her already long history of successful roles. We can conclude that she will be successful as Andrea in Andrea Paano Ba Ang Maging Isang Ina. These scenario will even add some glitter to the box office outcome of the film reversing its dismal result under a Nora Aunor starrer. Meanwhile in 1998, Nora Aunor was already in a decline mode. After the successful box office result of the critically acclaimed Flor Contemplacion, the strings of dismal flops in the box office followed. Muling Umawit Ang Puso, Bakit May Kahapon Pa, Mama Dito Sa Aking Puso, Babae and Sidhi all laid an egg at the box office. She eventually decided to try her luck in America. Playing Lea in Bata Bata Paano Ka Ginawa would be a change from her long lists of similar typecasted roles but the outcome would be questionable as we elaborate above. The role will required her to be as liberated, contradicting her virginal, conservative image. The role will also required her to be sexually active, well impliedly and this might turned off her fans and even herself. Nora will not jumped to an unfamiliar territory.

Boxing Results – Vilma win, Nora loss again. Vilma 10, Nora 2 – To be continued…

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Boxing Matches 4/7

Posted on December 13, 2009 by @ffv Standard

Pahiram Ng Isang Umaga versus Bona – The intention of Nora Aunor to prove that she is a fine actress continued as she produced projects that can showcase her talent under her own NV productions. And in 1980, “Bona” was conceptualized by director Lino Brocka, producer Aunor and writer Cenen Ramos. It was entered at the 1980 Metro Manila Film Festival together with another Aunor starrer, the soap operatic, Kung Ako’y Iiwan Mo surprisingly directed by Laurice Guillen. Nora’s performance in Bona assured her supporters a win as festival best actress but she left empty handed as the trophy goes to, not to her rival Vilma Santos but to Amy Austria in Marilou Diaz Abaya’s dramatic film, Brutal. The defeat didn’t discouraged her supporters particularly Brocka who brought the film to the 1981 Cannes and received numerous positive reviews.

Nestor U. Torre on his Philippines Daily Express review titled “Obsession” in 1981 described “Bona” as: “…a story of obsession, the tragedy of the fan turned fanatic. It delves into what causes an otherwise sensible girl to throw discretion and self-respect to the wind to serve her beloved.” An accurate description. Torre added: “…Clearly, Brocka, Aunor and writer Cenen Ramos know the phenomenon whereof they speak. The intimate knowledge makes for a film that rings true both for the expert in abnormal psychology and for the ga-ga movie fan reliving his dream and high nightmare in the audience… In the end, the nasty man announces that he’s leaving the country with his latest and wealthiest inamorata. Bona, who has taken all the shit he’s casually thrown her way, can take no more. She kills the bastard. In the process, she has hopefully killed her insane obsession for him. Or maybe she has also killed herself…What a story!…” Strangely enough, Torre wasn’t convinced with Aunor’s performance. He pointed out: “…the best performance in “bona” is turned in, not by Nora Aunor in the title role, but by Phillip Salvador as the bit player who is her idol, her nemesis, and her obsession. Nora is all over the place and gives the role everything she’s got…Trouble is, she is too intelligent for her part. Obsession is born of emotional weakness, a psychological vacuum that the idol is idealized into filling. As Aunor portrays her on screen, Bona is too sensible and savvy a woman to make this act of self-delusion plausible. She is also a mite too old for the role. Granted, there are “diehard-fans in their fifties and sixties, but the character of Bona, as written. Is clearly intended for a young girl (She is supposed to be still a student, for one thing). The character’s innocence would account for much of her naiveté, and Nora does manage the Naïve but, but it feels a little forced. On the other hand, the fact that he, too is no longer a spring chicken helps Salvador in his portrayal of the trying-hard bit player who is destined to be a has-been even before he has been anything at all. His age makes the character even more pathetic. Salvador has a perfect feel for the bit player’s braggadocio in public, his private fears, his dimwitted dreams and his casual cruelty. Stardom is his own obsession, and his failure to achieve it consumes him as much as her failure to possess him consumes Bona in the end. I’m surprised that Salvador didn’t win the Best Actor award at the Metro Film fest last month (so what else is new?)…” So According to Torre, Aunor was too old for the role and didn’t look innocent for the role the required naivety and innocence.

Isagani R. Cruz, another critic, who in 1981 wrote this article for TV Times have a contradicted views: “…The final sequence, where Aunor finally assaults Salvador, is excellent, although it is, of course, in the same vein as Insiang. The typical Filipino film thrives on the theme of revenge. Bona is no exception. When Aunor finally dumps the boiling water on her non-feeling master, the viewer cannot help but be moved. The sequence is effective, perhaps because the rest of the film is not…” Cruz, unlike Torre found Aunor’s acting untouchable…meaning no one can portray Bona as convincing as Nora Aunor! Here’s Mr. Cruz’ opinion: “…Aunor’s acting…saves the film. Despite the incoherent screenplay, the erratic direction, and the irrelevant production design, the film is gripping because Aunor is excellent. Aunor is indeed a signal phenomenon in Philippine film. She broke the color barrier (she is not a mestiza). She broke the marriage barrier (she is not single, nor she is she even happily married). She broke the superstar barrier (before her, superstars were supposed to be beautiful, but not good, actresses). She has now broken the untouchable barrier: in Bona, she is subjected to the most degrading physical abuses. Unlike Hilda Koronel who remained a Madonna even during the rape scene in Angela Markado. Aunor really becomes the penniless, dumb, neurotic alalay Bona is supposed to be. Who can imagine Fernando Poe, Jr. beaten to a pulp by nameless villains? Who can imagine Lloyd Samartino made up to look like a vampire? In Bona, Aunor really looks like an alalay, rather than a superstar. That is why she is, in fact, a superstar.” Wow…nice statements.

Nice because the URIAN can’t get over the same mentality/arguments (the skin color arguments etc) and despite the much more superior acting of Gina Alajar or Amy Austria in Brutal gave Aunor the nod. Actually, Aunor and Alajar tied the honor for the Urian best actress in 1980. Nine years after the Bona was shown, Bernal, Lino Brocka’s closest rival created a much better film. Like Bona, death was evident in this Bernal creation.

Pahiram Ng Isang Umaga was about Juliet, a successful advertising executive who has seven to nine months to live. Cancer stricken Juliet have to take care her responsibilities as a single mother and found herself reconciling with the people who wronged her prior to her diagnosis as cancer victim. The film wasn’t about cancer but about life and death. A very morbid, dreaded topic that very seldom being touch by local filmmakers without being melo-dramatic. Not until Bernal created Pahiram.

Mario A. Hernando, one of URIAN critics summarized splendidly the overall tone of the film, in his Malaya article on March of 1989: “…In the last scene, the imagery and symbolisms of life and death abound. Juliet dies at the break of dawn, the start of a new day (and life), but not without first making her last sentimental paean to life. Supported by the artist, her eyesight having failed completely and with the waves caressing their feet, the weak and dying cancer victim remarks how beautiful life is. True enough, this dying scene set on a beach, with the woman in white, dainty night gown, is one of the most exquisite, breathtaking moments in Philippine movies. But before giving us this grand, highly emotional death scene, the director has gradually introduced various motifs of death, from the artist’s pet black bird which at one point he cruelly squeezes in his hand, to the funeral rituals for Juliet’s father…”

Like the URIAN, the PMPC finally can’t ignore Vilma anymore. They finally rewarded Vilma her first Star Awards for her restrained triumph as Juliet. Mario Bautista, one of its members noted: “…Talaga namang dramatic tour de force for Vilma ang role niya as the dying Juliet. Maihahanay ito sa kanyang best performances in “Relasyon? “Sister Stella L? “Broken Marriage? “Ikaw ay Akin” at “Burlesk Queen? But unlike her spirited performances there, toned down na toned down ang emoting na ginawa niya rito. Iniba ni Ishmael Bernal (who really brings out the best in her)ang estilo ng acting niya. Pati ang crying scenes ay napakatahimik ng dating. ‘Yung tipong basta tumutulo na lang ang luha ni Vilma without much facial and body contortions na gaya ng dati…Dalawang beses kaming cry rito. Una’y nang nagbibilin siya kay Vicky Suba (na napakagaling din kahit walang ginawa kundi mag-react lamang kay Vi.) at sinabi niyang “Ayoko ng mahabang burol.?Isa pa’y nang finally ay magkabati na sila ng estranged sister niyang si Dexter Doria (isa pang napakahusay) na wala nang dialogue at nagyayakapan na lang sila.”

Bautista even went to the extent of writing his belief in his People’s Journal article titled “Mas Mahusay si Vilma kaysa Kay Nora.” He wrote: “…Sa second viewing ng movie namin lalong napansin ang subtle nuances ng performance ni Vi, up to her death scene which confirms our supposition that the movie is not really so much about death than a celebration of life, what with all the panoramic shots showing the beauty of nature and the world around us, na enough reason for anyone to want to survive.” When the PMPC members resolved its long time struggle to give Vilma its deserving recognition, the critics group Manunuri, decided not to ignore Nora Aunor’s mechanical performance in Bilangin Ang Bituin Sa Langit, an Elwood Perez opus. They gave the best actress to both Vilma and Nora.

Switcheroo – If Nora Aunor plays Juliet, the successful advertising executive, she will need to re-invent her image. Sophistication can be done via right wardrobe, make-up and conformability in delivering English or Taglish lines. A tasks that she failed to do before in her long film history. Her last try was in her last full length film, Naglalayag, she was very akward and unconvincing as a successful rich judge. Now, what about Vilma portraying a fanatic “alalay” in Bona? It will be a challenge. But Brocka can do wonders plus the role required for someone who can possessed innocence and naivety as Nestor Torre pointed out. Vilma would excel in these regards.

Reality Checks – As Juliet, Nora would need to work harder to be effective. She failed miserably under Mario DeLosReyes’ direction in Naglalayag. Would she produced the same results under Bernal? Maybe not but in 1989, she remained typecasted into api-apihan roles. The opposite can be said with Vilma if she played Bona. The chemistry between Vilma and Philip Salvador was established already by their successful team-up in another Brocka film, Rubia Servios. In addition Vilma’s much younger look in 1980 will fit the requirements of innocence and naivety that Nora lacks. She will be perfect to play Bona.

Boxing Results – Vilma wins again. Vilma 6, Nora 2 – To be continued…

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Boxing Matches 5/7

Posted on December 13, 2009 by @ffv Standard

Lipad Darna Lipad versus Super Gee – In 1973, Vilma’s box office clout flew higher and higher as the new Darna, Nora decided to match the new strategy her opponents were bringing in the table by producing her version of super hero via Batman inspired Super Gee. It was a perfect strategy as Vilma’s Darna was like Superman (basically Darna – – can fly), Supergee rode a vehicle, just like Batman! The customer was quite similar too as Super wore a mask, just like Batman. Just like Darna, Super Gee came from a comics serial. It was a creation by Zoila serialized ironically in “Darna” komiks. Like in Lipad Darna Lipad, Nora casted Celia Rodriguez as her nemesis and hired Armando Garces as director. Unfortunately Nora Aunor can’t replicate the success of Darna even with the presence of Jojit Paredes and teen star Arnold Gamboa. The uninspired direction of Armando Garces didn’t helped the case too. The movie bombed in the box office and the press ridiculed Nora’s Super Gee costumes. Speaking of costumes, Madonna maybe got the inspiration for her cone bra costumes from this film.

Vilma Santos made another milestone career move. She bravely starred as the new Darna despite her lack of height. Past Darnas, From Rosa Del Rosario to Gina Pareno, prior to Vi, were all tall and toned. So the stakes are high as the film were released in March of 1973. Vilma’s supporters were relieved and ecstatic to find out the huge crowed in each theatres. It was reported that the production company, Tagalog Ilang Ilang distributed Darna dolls and Coca-Cola gave Darna masks to thousand filmgoers. Vilma will continue to starred in four more Darna movies while Super Gee quickly disappeared to its deserving death. Lipad, Darna, Lipad were divided into three separate segments with each segments and was directed by three different directors. It its First episode, Emmanuel H. Borlaza handled the exciting fight between Darna and the “Impakta” played with much gusto by Gloria Romero that climaxed into that aerial fight that ends with Gloria falling down into the church’s cross. If the first one was exciting, the second director, Elwood Perez successfully gave us a strangely cold and campy episode. Maybe because Darna’s nemesis Valentina played by Celia Rodriguez were supposed to be a supermodel hence the overtly poised gestures. She turned out to be a snake queen, turning her hair into diabolical snakes with her eyes beams up and turning whatever that touch the beams into stone. The face-off between Darna and Valentina was so stylish, sizing each other by dirty glances. It was like watching a western cowboy movie. When finally Valentina used her beams to turned Darna into stone, she was outsmarted by Darna. Using a mirror Valentina beamed her own self and she turned into stone. Add to her demise, she fell from the building and was shattered into hundred pieces! The last episode directed by the late Joey Goseingfiao featuring Liza Lorena as the hawk lady or “Babaing Lawin.” As expected Darna defeated her third nemesis but compared to the first two episodes, the fight scenes here were less exciting. We both seen Super Gee and Lipad Darna Lipad. Unfortunately, Super Gee was so poorly done that we can’t remember it’s full story. The press were also in agreement with me as there were no articles whatsoever written about this film even via internet.

Switcheroo – Would Vilma gave Super Gee it’s rightful shot in the arm if she did plays the fully clothed super hero? The answer would be yes. Nora lacks physicality that the Super Gee role requires. Vilma’s dancing experience earlier in her career helped her to do the action scenes better than Nora. What about Nora as Darna? Can you imagine Nora in those skimpy two-piece bikini costumes? I don’t think Nora would fit the role of Darna considering the history of physical attributes of past Darnas. A brow-skinned Darna that would be a first. But would the masses accepts this drastic change? Remember this was 1973, segregation in the US was a big social issue. In the Philippines, Nora Aunor may have changed some mind when it comes to the skin color issue but talent and physicality would play an important factor to be convincing as Darna.

Reality Check – Like so many fantasy characters that Vilma did in the 70s (like dyesebel, phantom lady and wonder vi), she will excelled as Super Gee. The opposite can be said with Nora doing the Darna role. Her lack of physical attributes that a Darna role calls will failed her miserably.

Tagos Ng Dugo versus Bulaklak Ng City Jail– Tagos and Bulaklak gave both Vilma and Nora best actress awards from the Catholic Mass Media Awards in 1987 and 1984 respectively. Considering the graphic violence and shady story lines, it was ironic that CMMA gave the nods to both actresses. A proof that despite it’s presumed image (CMMA was a religious organization), deserving performances should be rewarded with its rightful recognitions. In Tagos Ng Dugo, Vilma Santos gave us another versatile performance. She won her fourth FAMAS best actress in addition to the CMMA and minor awards from the Movie Magazine and Cinemascope for the role of Fina, a distraught woman who becomes a murderer every time her period comes.

A role that was too bold and daring in the eyes of Maricel Soriano. She was initially offered to play the lead role but turned down it down despite previous success with director Maryo De Los Reyes. An unidentified writer analyzed Tagos Ng Dugo as “a breakthrough for Philippine psychological movies.” The writer added that the film was a cross between Francois Truffaut’s “The Bride Wore Black” and Luis Benuel’s “Belle Du Joir.” Films that I have to check out to get the writer’s point. Anyhow, the writer added: “….I don’t know if screenwriter Jake Tordesillas or Delos Reyes himself should be congratulated for the cohesion of multi-resultants in this work. Part of this multi-readings would be the movie as a feminist take on womankind’s monthly pains as a form of excuse for female monthly insanities, insanities our macho’s regard as regular terrorism on the whole of mankind (men or society as a whole). It is with that reading that the ending apologies, by Vilma Santos in the lead role, might be understood as a plea for understanding of how all of woman’s monthly Eve-behavior should not be seen as a Biblical sin but as an equal (to, say, man’s beastly) naturalness… “

Tagos Ng Dugo, a feminist film? The writer pointed out: “…the film as a view of how Philippine society (the men in it, primarily) approaches provincial innocence, educational weakness, and “female’s weaker sanity as stimuli for abuse… There is, however, the possibly more general reading of the film as an apologia for insanity qua itself, how it should be treated as a disease instead of as a monster to be eliminated… And finally, there’s the possibility that the film is actually a depiction of how crazy the world outside the insane mind really is, albeit this view would probably be the least successful direction for the film… As a bonus, maybe we can also bring the movie to more latent, more philosophical territory, say, how it depicts the sanity of innocence.” The writer obviously seen the film numerous times to appreciate it’s every details. It its final analysis: “…what finally makes this movie a jewel in Philippine cinema history is how it brings forth — every time you watch it — its case achievements in directorial and film editing dramaturgy (including the recurring stage-like choreography, Hitchcockish camera positioning, and acting pacing within). For the serious student of third world filmmaking, here is a requisite Philippine movie from where to cull precious fragments. In these fragments, he/she is sure to find sparkles that are in themselves gems.”

For us, the technical superiority of this film was jus the back drop of the stellar performance of Vilma Santos. Her numerous character changes in accordance to her next sexual victims was choreographed in such intensity that the anguish fate of each of her victims were expected and tragic. When the Final climaxed scene arrives we were so conditioned to see a dead Fina but we were surprised by her strong wailing and maddening facial hatred that we understood her full emotion. A cry for help. It was the most intense scene we ever seen her ever since we started following her movie career. In 1984, Nora Aunor came-up with another successful run at the local festival. Produced by Cherubim films, Bulaklak Sa City Jail was an entry to that year’s Metro Manila Film fest. The film earned Nora Aunor her deserving trophy as the festival’s best actress and also Mario O Harra the best director as well as the best supporting actress for Celia Rodriguez. Despite its festival success, only the CMMA rewarded Nora as their best actress of 1984.

Mario Bautista in his article for the Philippine Daily Express wrote about the film’s story line as: “Nora is Angela, an orphan who falls for a married man and is later accused of trying to kill his wife. But the film is more than just her story. It is an indictment of a prison system that instead of helping in the rehabilitation of inmates only make them worse.” He praised Nora’s acting as: “…Nora Aunor gives a very moving performance, notwithstanding that zoo childbirth scene specially engineered to endear her to her fans…” He’s probably talking about the numerous facial shots of Nora in the zoo, as if saying, “look at those eyes…Just by this, she should be rewarded.” The film was written by Lualhati Bautista and Mario commended the writer’s excellent script. But with so many characters and plot twists, it was at the hands of the director to fleshes out these challenges. And O Harra succeeded in giving us a much better film compared, according to Bautista, to his previous offering, the equally ambitious Condemned.

Switcheroo – Would Nora be convincing as the murderous Fina in Tagos Ng Dugo? A project that even Maricel Soriano turned down because of its boldness and daring theme. The ability to jumped into unfamiliar territory and Aunor’s restrictive image will frankly played (again!) an important factors in figuring out if Aunor would do justice as Fina. Meanwhile, if Nora will struggle playing such bold and daring roles like Fina in Tagos, Vilma will excel as Angela in Bulaklak, as she played a similar role, as the convicted inmate in period film, Baby Tsina.

Reality Checks – Nora Aunor will turned down Fina. Vilma Santos will prove her versatility as Angela. For Noranians, unfortunately their idol’s lacks of versatility will play an important factor if we switch roles.

Pinay American Style versus Merika – Pinay American Style and Merika were both films were shot on location in the United States. Elwood Perez and Gil Portes, its film directors tackled the flight of two Filipinas, one was an illegal alien and one was an established nurse, both from New York. The technical acting talent of both actress were in full display here. Vilma was obviously under utilized as PX in these Elwood Perez experiment. Despite this predicament, Vilma was able to give us a splash of her abilities. While Nora was in full bloom as Mila in these quiet Portes film. She gave us a convincing portrayal of lonely woman who realized that she was being used by a man she truly loves. The contrast of style was the main point why I matched these two roles. As PX, Vilma was talkative, hiding her insecurity and vulnerability with her fragile disguise as rich New Yorker with almost caricature gestures. Quite the opposite of Nora. Nora was Mila, a quiet, stable nurse whose vulnerability raised to its fullness the moment she discovered she’s in loved with an illegal aliens who was just using her to get a green card.

Let’s start with Nora… In 1984, PMPC created their own award giving bodies. They called it the Star Awards. And with much fanfare, they only nominated two actress, Vilma Santos and Nora Aunor. Aunor was nominated for her performances in three films: Bulaklak sa City Jail, Condemned and Merika. Santos was nominated for two films: Baby Tsina and Sister Stella L. The past decades proved to be an advantage for Nora Aunor. She got an excellent stronghold of a group of movie writers who dominated the membership of PMPC. It will take five long years before PMPC evened out Aunor’s stronghold. It was reported that members of PMPC had a long night debating who will get their first award. Eventually Nora’s quiet performance as Mila in Merika won over the majority of its members. Noranians were ecstatic as Vilma’s lucent transformation in Sister Stella L were ignored. In 1984 Tempo article titled “Tender effort: one from the heart” written by Emmanuel A. Reyes, the dream of many Filipinos to fulfill their American dreams were emphasized.

Reyes said”:’…Merika comes at a trying moment when the foremost thing on people’s minds is to flee the archipelago for more rewarding frontiers. Sadly enough, after 38 years of independence, the Filipino no longer sees his own country as land of opportunity. The promise of progress has gone bust. Traditional values of home, family, and love of country have consequently eroded under the threat of hunger and torment. The need for more money has become apparent. Faced with the need to survive, the Filipino is forced to seek work elsewhere. He is happy for a while to be in another corner of the world. But when he realizes that he is no longer the king of his own culture but a servant of a more affluent race, he starts to dream about home and wish for that life he had left behind.” I can’t agree more… Reyes pointed out the simplicity of Merika’s production value that adds to its luster as very effective film: “…Merika doesn’t attempt to declare anything big about Filipinos and their life in the United States. It’s a simple story of loneliness and survival in the land of milk and honey… What is clearly admirable about “‘Merika,” is its affecting portrait of loneliness, so thoughtfully realized by Nora Aunor’s touching performance, Gil Portes’s direction and Doy del Mundo and Gil Quito’s homely screenplay. The film does not emphasize a single, urgent cause for Mila’s wanting to go home precisely because such loneliness cannot be quantified. For the migrant Filipino, this kind of loneliness exists in mind and heart but it can never be completely expressed. It’s a feeling so deep seated, it couldn’t be relieved entirely, even by a long-distance call. The film utilizes many images to describe this sad feeling—from chilly scenes of winter to bare trees, disabled senior citizens, to the never-ending pictures on television. It all adds up to a very, very cold account of a life of sacrifice in a country of great expectations.”

Meanwhile if we praised the simplicity of the overall production of Merika, it can’t be said with Regal films’ Pinay American Style. It was as commercial as one can imagine. Regal films hired three leading men to support the most bankable actress of 1979, Christopher DeLeon, Bembol Rocco and Victor Cocoy Laurel. It was a stage in Vilma’s career where she doing one commercial films after the other. Mostly targeting the mature adult audience. A trend that Nora Aunor can’t seem to tap. Aunor has established her clout as a serious actress in 1979 by producing a number of ambitious projects, tapping high caliber directors but was always came-up short when the box office tallies were recorded. Both Nora and Vilma did eight movies in 1979. Nora did two musicals the hit, Annie Batungbakal and the flop, Disco King. Four were light comedies and two serious drama. Her year ended with a collaboration with Brocka and Lolita Rodriguez in Ina Ka Ng Anak Mo. The film earned Aunor another festival best actress but was unsuccessful to out throne the tandem of Charito Solis and Vilma Santos in their film entry into the same festival in Bancom’s Modelong Tanso.

Vilma in 1979 was a picture of self-assured bankable star. Like Nora, she did two musical, the mild hit, Swing it baby and the blockbuster Rock Baby Rock. She did two movies with Elwood Perez, Magkaribal and Pinay American Style both were box office hits. The rest of her project were a film under her own film company, an Eddie Rodrigues starrer Halik sa Paa Halik sa Kamay, a comedy with Dolphy and the year end explosive, Tanso with drama queen Charito Solis. The end of the decade marked her stronghold as the box office queen. A feat Nora Aunor can’t seem to figure out. Clearly, Vilma Santos’ versatility was the secret weapon. And this weapon was in full display in Perez’ second film with Vilma in 1979. Pinay American Style was the story of PX, an illegal alien or TNT, tago ng tago. Her boyfriend played by Victor Laurel abandoned her for an rich American girl mainly to secure a green card. PX met an Americanized Filipino, Christopher DeLeon but found him not serious of having her as a steady girlfriend. It just so happened that PX also met Christopher DeLeon’s brother, Bembol Rocco, a new immigrant. PX and Bembol fell for each other. And a love triangle surfaced the screen. Adding to the drama was Victor Laurel’s enraged, jealous appearances. Laurel eventually tipped the police ending PX stays in New York. As Bembol Rocco realized that America doesn’t fit his lifestyle he reconciled with his brother and advised him to follow PX in the Philippines. Both Christopher and Vilma reconciled in a farm field in the Philippines. The end.

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

Switcheroo – Vilma Santos did a movie, Miss X under Gil Portes prior to Nora Aunor’s 1984 Merika. And she did a wonderful job. The requirement of Mila, the lonely nurse in this film wasn’t new to Vilma. She did a splash of quiet scene ironically in Pinay American Style. And so we concluded that Vilma would do justice to the role of Mila. If we switched roles and Nora played PX in 1979, the film would have a different version. Would she be convincing as a talkative PX, hiding her vulnerability with a delicate facade by pretending she this socialite? It will be a challenge considering that Perez is not Portes.

Reality Checks – Vilma can effectively do a quiet restrained role. She will be effective as Mila in Merika. Nora will have a hard time convincing us as PX.

Boxing Results – Surprisingly, Vilma wins again. Vilma 9, Nora 2 – To be continued…

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Boxing Matches 3/7

Posted on December 13, 2009 by @ffv Standard

Tatlong Taong Walang Diyos versus Dekada 70 – Two political period films. Tatlong Taong Walang Diyos was about a love triangle set in the Japanese occupation of the Philippines and Dekada 70 was about a family in a society under the Marcos dictatorship.

It was reported that Dekada 70 was first offered to Nora Aunor. Whatever happened to that plan remained just a tiny anecdote to the Dekada’s success. Vilma Santos played the lead role with richness that we could not imagine other actresses playing her role including Nora Aunor. This Chito Rono film garnered Vilma 9 awards for Vilma Santos as Amanda Bartolome. Also, the film was entered to Cannes Film Festival and at Cinemanila International Film Festival where Vilma won her second international best actress. Dekada 70 was also the Philippines entry to the foreign language category of the OSCAR. Not bad for a film not originally intended for Vilma.

Ronnie Schieb of Variety Magazine described the film and Vilma’s performance: “…At the center of the film and the family is Amanda (Filipino cinematic diva Vilma Santos) who vicariously experiences living under a dictatorship through her husband and five sons’ different reactions before coming into her own as a person. Her husband, Julian (Christopher de Leon), seems a walking contradiction: he offers rationalizations for the government while supporting his eldest son’s revolutionary activities, but has a fit when his wife wants a job…As for the sons, firstborn son (Piolo Pascual) joins the guerillas in the mountains. The second son (Carlos Agassi), forced into a shotgun wedding, defiantly works for the American navy. The third son (Marvin Agustin) writes journalistic expose’ he can’t publish, while the fourth son (Danilo Barrios) is a mystery to his family until his brutal, motiveless murder (probably by police) reveals a lost girlfriend. The fifth son (John W. Sace) is still a boy…Santos’ Amanda effortlessly and movingly chronicles the changed consciousness of the family and the country, with understatement her most reliable tool. The film begins and ends with images of Santos at the forefront of a political demonstration, and nothing, from first image to last, for 128 minutes, is allowed to spontaneously or slyly deviate from the logic of her consciousness-raising.”

Tatlong Taong Walang Diyos on the other hand was really conceptualized and produced for Nora Aunor…but wait…she was the producer! In 1976, Mario O’Harra, the director and writer was at his peak of his career. Critics were disappointed with his earlier works because they had high expectations but most were delighted that he redeemed himself by coming up with a superb production and acting in Tatlong Taon. The critics (URIAN) and even Famas rewarded O’Harra with the satisfaction of witnessing the acting recognition of Aunor, his producer. As producer, Nora Aunor’s Tatlong Taong Walang Diyos faced another gigantic film, Ganito Kami Nuon Paano Kayo Ngayon and lost the best picture in both Famas and URIAN.

For many Noranians the failure of the film to win the best picture wasn’t as important as the win of Aunor in both URIAN and Famas. For them this was a grand slam. Never mind that in order to be considered a grand slam it should be four or five majors just like in tennis. The reasoning behind it was that there were only two major award giving bodies back then. But in 1976, no term was given to Nora’s wins. Not until Vilma’s swept of all the best actress awards in 1982 that the term “grand slam” was brought up in papers! She was even given a “Walis” award for this feat.

Pio de Castro III on his article for The Times Journal in 1976 dissected Tatlong Taon with it’s unrealistic theatrical touches in so many scenes but was impressed with the film’s lead actress performance. And he wrote: “…The film recounts the story of Rosario (Nora Aunor), a schoolteacher in a small town in Laguna, whose heart is torn between her romantic love for Crispin (Rafael Roco Jr.), a guerilla who survived Bataan and the Death March, and her realistic love for Masugi (Christopher de Leon), a dashingly handsome Japanese officer born in Manila of a Filipino mother. It is a touching story of private people thrown into unimagined stress during turbulent times of Japanese Occupation. A time when man, woman and child doubted the existence of God because they saw with their own eyes man’s inhumanity to man. It was an era that marked the Filipino’s loss of innocence. It was an era that started rampant corruption, smuggling, arson, robbery, rape and murder. The Filipino way of life was never quite the same again. It was the end of “peace time.” …People who used to smile and wink when they talk of Nora Aunor as an actress should see this film, because the lady is determined to show everybody that she means business both as an actress and as a producer. In this film she is successful as both…”

Switcheroo – In 1976, like Nora Aunor, Vilma Santos produced her own film, titled Mga Rosas Sa Putikan, a less ambition film than Tatlong Taon. She doesn’t have to prove much about acting as Nora Aunor’s whole intention in producing Tatlong Taon. Like the usual suspects, would Vilma be as effective as Nora as probinsiyana in Tatlong Taon? In 1976, her usual roles are either a spoiled brat, socialite modern woman mostly a picture of youthful rebel. This might strikes against her in performing such a serious role like Tatlong Taon. It will take another year before critics takes her seriously as an fine A-1 actress via Burlesk Queen. This is different in the case of Vilma playing Elsa.

Vilma as Elsa in 1982 will be easy because she already discovered her technical camaraderie with Bernal. Her not fitting as probinsiyana will be remedied by the talent of her director Bernal. In this case, would O’Harra be able to make Vilma as Rosario effective as he did with Nora? I doubt it. O”Harra was a die-hard Noranian. He will be ill-equipped to figure out a way for Vilma to do the Rosario role despite the fact that Vilma is equally capable for such role.

It is worth noting that Vilma portrayed a similar “probinsiyana” look two years after in Tatlong Taon were shown, and it her own produced film, in 1978’s Pagputi Ng Uwak Pag-itim Ng tagak. Fast forward to 2002, Star Cinema bought the rights to Lualhati Bautista’s Dekada 70 and gave the project to Vilma Santos. This was after the box office successes of Anak and Bata Bata Paano Ka Ginawa. The film ripped prestige to the film outfit and cemented its reputation as the number one film outfit of the land probably next to Regal films.

Would the same results arise if Nora Aunor starred as Amanda Bartolome in Dekada 70?

Given the fact that Nora is a capable actress and Star Cinema are know to its high quality production, the feasibility is high. BUT…fast forward to another two years, Naglalayag laid an egg in the box office. Amazingly disappointed was the producer who witnessed the closing of many theatres after its only third days of showing of the film. A clear proof that Nora Aunor has lost her clout as a box office drawer.

Reality Checks – No doubt Nora Aunor fits the role of Rosario to a T. Vilma will be out of cast as the provinciana in a Japanese occupation in 1976 if the director remained to be Mario O’Harra. In the case of Nora Aunor playing Amanda Bartolome in Dekada, she is capable of playing the role of the mother in the Marcos society but clearly it will not be as commercially successful given her series of unsuccessful comebacks.

Boxing Results – Nora wins. Vilma 5, Nora 2 – To be continued…

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Boxing Matches 2/7

Posted on December 13, 2009 by @ffv Standard

Sister Stella L versus Himala – Why Himala versus Sister Stella L (instead of Himala versus Relasyon)? Well, I believe they’re match in terms of the seriousness of the projects. Both were directed by a serious director who in 1982 and 1984 were both at their peaks of their careers. Both also earned their leading actress only one award each. Both didn’t fare well at the box office. But lastly, both films did well in the international scenes.

Sister Stella L was invited to Cannes but due technical shortcomings it wasn’t shown in there but at the equally prestigious Venice Film Festival. Himala on the other hand graced the international scene via our very own Manila International Film Festival under the Marcos administration. The dismal box office result of Sister Stella L were compensated by its critical achievements. In Urian alone, it earned 10 awards including a best actress nod to Vilma Santos, completing her three-year consecutive wins. Meanwhile after the success of Himala in the local festival that earned Nora a best actress award, Himala was relegated to runner up as another ECP film, “Oro, Plata, Mata” amassed its rightful honors as the best film of 1982. For many critics, Himala was maybe one of the most underrated film and they gave the film its rightful recognition by recognizing it as one of the best in 80s.

One of the Manunuri critics, Alfred A. Yuson, in his Philippine Daily Express article in 1983 summed-up Nora’s performance as follows: “Nora Aunor is perfect as Elsa; she leaves nothing to be desired in her interiorization and delivery…The brilliant Aunor gets all the solid backing she can ever get, this time from an array of supporters drawn mostly from the Bulwagang Gantimpala stable…”

Next is Vilma, Alice G. Guillermo in her article titled “More than just entertainment” for Who Magazine dated 30 May 1984 chronicled Vilma’s performance as: “..For a heart-warming film, the entire cast deserves congratulations, particularly Vilma Santos who reveals another aspect of her multi-faceted talent. From her usual soft and sweet romantic roles, she can be transformed into a strong and militant woman without losing any of her charm and beauty…”

In 1982, Nora Aunor was conditioned to make some dents in the award giving seasons and yet she went empty handed every time the awards nights were held. The gigantic role as Elsa was slingshot by a tiny film ironically performed

by her rival. Another ironic note was that the film that defeated Himala, Relasyon was also directed by the same director, Bernal.

It was worth the wait for Vilma, her disappointments from previous years of neglect from the award giving bodies were now all gone. She earned her first best actress grand slam. Nora’s “goliath” kind of performance as Elsa reached its match by the “davidian” typed of performance of Vilma in Relasyon. And this adds intensity to the defeats, the wounds. Noranian will never admit the enourmosity of these defeats. This is for the fact that Himala was considered one of the biggest film of 1982 again next to Oro Plata Mata. And that Relasyon is not even at the same league at least in the eyes of Noranians.

As fair as we can be, we accepted the fact that Relasyon wasn’t matched with the scope of Himala. And so I decided to match Himala with Sister Stella L. In 1984, Vilma Santos has arrived in the big-time, A-1 league of fine acting. This was despite her earlier history of dramatic excellence, as a child actress and a teenage supporting actress. Her experiences in getting empty handed come awards nights have evaporated. She became the darling of the awards nights starting from her first grand slam wins. This will confirmed by her three consecutive wins from the critics den, the Gawad Urian. Sister Stella L gave her so much consolation from its dismal box office returns that tainted her illustrious records as the most bankable actress of the 80s. In 1984 URIAN, her most stiff competitions came from the performances of her closest rival, again Nora in two films, Merika and Bulaklak Ng City Jail. And from many awards aficionado, it was a matter of split votes that’s why Nora didn’t win. Nora will win the very first PMPC Star Awards for Merika but in the local critic’s eyes, Vilma’s deep transformation from a blatant observer to a pro-active activist nun was the best of all-best in 1984.

Switcheroo – If we switched roles, Nora Aunor as Sister Stella L and Vilma Santos as Elsa…hmmm we all know that both are well equipped, acting wise and so it is not hard for us to say that both can do justice with each roles. We have seen Nora as a nun in one of her forgettable film in the 70s titled Fe, Esperanza, Caridad. The segment where she played the nun being tempted by the devil played by Ronaldo Valdez was directed by Gerry DeLeon. It was not the serious typed SSL project but a horror experiment. Nora looks comfortable as a nun in Fe, Esperanza, Caridad but would she visibly transformed her looks from innocence to militancy as Sister Stella? It is hard to answer. We are used to see Vilma as SSL. It will be 50-50.

Then Vilma as Elsa. Elsa is a probinsiyana, a devoted Catholic who became a ritualistic faith healer. Would Vilma’s fresh face and urbanites physicality be a barrier for her to do the Elsa role? Remember this is 1982. The answer would be yes but this can be remedied by make-up and proper attire. Bernal have deglamorized Vilma before like in Broken Marriage, no make-up with plain clothes resulted in her effective portrayal of a woman who find herself difficulty balancing career with family life.

The problem arised as like Vilma in SSL, we all identified Elsa with Nora. It is hard for us to imagine Vilma in it. But like I’ve said, proper costumes and make-up and the excellent motivation from Bernal will not stop Vilma to do justice to the role of Elsa. And same can be said with Nora as Sister Stella L.

Reality Checks – We identified Elsa in Himala to Nora Aunor and Sister Stella in Sister Stella L to Vilma Santos. It is hard for someone to see them switched roles but with the technical guidance of Bernal and DeLeon the film directors of the respective films, both Santos and Aunor would undoubtedly do justice to each roles.

Vilma’s urbanites beauty and fresh face in 1982 would not prevent her to do justice to the Elsa role. Her acting technique was in full bloom in 1982. It would be amazing to see how she will attack the role. Nora’s ordinary beauty that the mass can identified will bring different take as SSL. It would be amazing too to see how she will tackle the transformation

that Vilma gave us on screen.

Boxing Results – Nora as SSL – yes it can be achieved. Vilma as Elsa, absolutely. It’s a tie. Vilma 4, Nora 1

Flor Contemplacion Story versus Dahil Mahal kita: the Dolzura Cortez Story – Now let’s take on two true to life films. The social relevance of both Dolzura and Flor was as intense as the performances of the lead actress portraying the lives of these true to life women.

Dolzura’s life as the first publicly known Aids victim in the Philippines was important because of its social message she wanted to conveyed to her fellow countrymen and the promotion of safer sex. Flor’s life on the other hand opened our eyes about the hardship many overseas worker faces in foreign lands.

Both films earned Vilma and Nora critical acclaims. Vilma won her second grand slam best actresses and Nora her first grand slam best actresses with a bonus of her first International recognition from the Cairo International Film Festival.

Emmanuel Levy in his Variety magazine article wrote in 1995: “Aunor invests her role with powerful emotions and utmost conviction, showing how a humble, self-sacrificing mother became a victim of corruption and abuse — and later, a national symbol adored by her countrymen…” The critics, URIAN, couldn’t agree more. They gave Aunor their best actress although she shared the best actress award with Helen Gamboa in ironically for the same story in Bagong Bayani OCW. Aunor will eventually wins solo in Film Academy of the Phils., Star Awards, Young Critics Circle and because she’s already a hall of famer at Famas, she was given a consolation honor via FAMAS Circle of Excellence.

Levy also wrote: “The Flor Contemplacion Story” is an often stirring re-creation of the true-life story of a Filipino maid who was executed in Singapore in 1995 for allegedly killing a co-worker and a young boy. A strong performance by movie star Nora Aunor dominates the film, which is at once a touching family saga and a forceful look at social injustice. However,

unrestrained melodramatics and excessive running time undermine overall impact of a story whose facts are still in dispute. Extreme poverty and an accompanying sense of hopelessness have driven many Filipinos out of their country, seeking employment abroad. The plight of women employed as domestic workers has been a major problem, with many reportedly suffering torture, rape and other abuse from their masters. A devoted mother of four, Flor Contemplacion (Aunor) went to Singapore to work as a maid, where her employers treated her fairly. However, in March 1995, she was arrested and hanged for allegedly murdering another maid, Delia Maga (Amy Austria), and the Singaporean boy Delia

was taking care of. Framed as a mystery, the tale uses flashbacks that not only enrich the story, but successfully move the film beyond a case of social outrage into a heart-wrenching exploration of women’s inferiority in a patriarchal system. Indeed, Flor’s long absences from home drove her weak hubby Efren (Julio Diaz) into an open relationship with a mistress and forced her two older children into early marriages. In one of the film’s many touching scenes, Flor visits her family, but she can’t distinguish between her twins. According to the film, there’s no doubt that Flor was innocent and that her confession was obtained through physical torment. The picture offers political background that implicates the Philippine government with cruel negligence and incompetence in the case.

For giving Vilma her second grand slam wins, Dolzura Cortez’ most relevant exposure was it’s universal appeal to promote safer sex. The film was featured in You and Aids web-site in their arts cape section. Although the web-site didn’t mentioned about the excellent performance Vilma gave us, it mentioned about the films synopsis with some accuracy: “This Philippine drama chronicles the colorful life of Dolzura Cortez, the first publicly recognized AIDS patient in the Philippines . The film begins with a brief examination of Cortez’s pre-AIDS life. Initially she lived in a small village with her cruel husband and three kids. The spunky woman leaves them and moves to the big city where she engages in several affairs. Her second marriage to a rich foreigner does not last long. To support her children, Dolly begins an all woman “contract worker” agency. This also serves to facilitate her love of night-life. Tragedy comes to Dolzura after she collapses on a dance floor one night and learns that she has full-blown AIDS. At a Manila hospital she meets ex-lover Paulo, an AIDS researcher who encourages to tell her story publicly. The courageous woman does and she becomes instrumental in spreading AIDS awareness to the islands…It was the first movie on AIDS in the Philippines that provided ‘a name and a face’ among the 50 recorded lives that were lost to AIDS in 1992. This movie was utilized as a focus of discussion by some health care personnel to express their thoughts, opinions and recommendations regarding the use of cinema as a powerful tool for AIDS information dissemination.”

Switcheroo – We have to be clear here. Both Vilma and Nora didn’t look like Flor and Dolzura in real life. Well, Dolzura and Vilma both have fair skin and petite but that’s all the similarities. Flor and Nora has no similarities in physical features.

It was worth noting that Flor story doesn’t end with this film alone. Her story was similarly penned in Helen Gamboa’s Bagong Bayani and the forgettable film by Elizabeth Oropeza. All of these films didn’t put any physical resemblance to the real life Flor Contemplacion. So, I came to a conclusion that if we switched roles, physical resemblances would not be a big issue.

As we all know Vilma played convincingly a role identified with Nora in Anak. Five years earlier, will Vilma be able to play Flor Contemplacion, a maid in a foreign land? No doubt. Her maturity was all in full displayed in Dolzura Cortez.

In 1995 Nora Aunor’s career has been in decline. Prior to Flor, she did only four films all become failures in the box office. All she needed was a big comeback. And she did it via Flor Contemplacion. Will she able to do justice if she did Dolzura Cortez in 1993? Acting wise, it will be a gutsy move. The film will require her to play a woman who enjoys sex, a sex club owner. Will she be able to do justice to all sex scenes finally getting rid of her virginal image? A question we asked a number of times now

Reality Checks – Sex and Nora Aunor. It’s like water and oil. It doesn’t mix well. Dolzura’s life was full of sex related issues – prostitution, unsafe sex, relationships, poverty. Nora Aunor has the acting equipment to do justice for such role but her image and limitation to jump into an unknown territory always prevented her to do other types of roles. Vilma on the other hand embraced challenges. She will be tested if she’ll do the Flor role. And she will passed the test with flying colors!

Boxing Results Vilma 5, Nora 1 – Nora as Dolzura will be a challenge, a no-no to her restricted image. Vilma on the other hand will jumped into the challenges of becoming Flor. Vilma wins. To be continued…

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Sino ba talaga ang mas mahusay umarte, si Vilma o si Nora?

Posted on December 12, 2009 by @ffv Standard

“Nora vs. Vilma, Vilma vs. Nora…Kanino ka? Dekada 70 hanggang 80, nagpaligsahan ang Superstar at Star For All Seasons sa paramihan ng magazine covers. Halos linggo-linggo ay walang humpay ang paglabas ng mga movie/fan magazines na sila ang cover dahil sa mainit na rivalry ng dalawang de kalibreng aktres. Ilan lamang ang sumusunod na mga magazines kung saan sila ang cover.” – James DR (READ MORE)

Sagot Ng Isang Noranian:

Sa sandaling ito, kakalimutan ko munang isa akong fan ni ate guy. I will transform myself as a jury weighing how these two incomparable competitive Actresses span their acting career for more than four decades have fascinated us all! Minahal natin silang dalawa pati na rin ang mga taong minahal at minamahal pa nila. Malaki ang ginawa nang dalawang ito sa pagkilala at paghubog sa lalo pang ikagaganda nang takbo ng industriya nang pelikulang pilipino. Pinadama at pinakita nila ang anyo at mensahe nang bawat karakter na kanilang ginampanan (at gagampanan pa!). Maaring sa ibang paraan ay masasabi kong magpahanggang ngayon umiinog pa rin sa kanilang dalawa ang takbo ng showbiz, isang hudyat nang pagpapahalaga na hindi nalilingid at maitatanggi ng karamihan sa atin na sila lamang dalawa ang may mas higit na naiambag sa institusyon nang puting tabing at sa labanang propesyonal na ito lamang muli’t muli silang pupukaw at hahaplos sa puso nating lahat. Sabi ko kanina, kakalimutan ko munang maging isang Noranian — mahirap yata ito para sa akin. Heto nga’t hindi pa tapos itong sinusulat ko eh balik Noranian uli ako! May history kasi ito eh, seven yrs. pa lang ako alam kong isa na akong Noranian and that has already been confirmed because I remember when I was somewhere between five or four, binutas ko ang isang speaker nang aming Stereo para lang silipin kung nanduon si Ate Guy kung talagang kumakanta siya ng “pearly shell”! Sound stupid but I guess that really showed how an innocent boy would go all the way just to see the glimpse of his Idol!( to the extent that I even wanted to be sounded like her, her voice and the whole enchelada!) Hanggang na-developed pa ‘yun noong lagi pa akong kasama ni Nanay sa mga pagtitinda nang mga doormat , iskoba, bunot at mga iba’t iba pang household cleaning stuff! Enjoy ako kasi after we did all the selling at the end of the day ang treat ni Nanay sa akin ay ang manood kami ng pelikula ni ate guy. Unang movie niya na napanood ko sa sine ay ang “The Impossible Dream”! sa Cinerama ko pa napanood ‘yun (kanto ng Claro M. Recto at Roxas blvd.) Topbilling were Miss Nora Aunor and Cocoy Laurel! Hanggang nagkasunod-sunod na yung mga pelikula niyang pinanood ko, ‘yung iba nakalimutan ko na ang title pero itong mga pelikulang ito ang kabisado ko, “Paru-parung itim” based ito sa isang english movie, na bulag at pipi siya. I like the scene ‘yung pinapakain siya ni Boots Anson-Roa and Nora was out of control and being taught how to eat properly. From there, she was astounding and learning how her eyes project to the screen and at the same time show how to express the feeling of lost and helpless through her cinematic eyes were just impressive! “Ikaw ay akin” sa pelikulang ‘yun nilamon niya nang buhay ang kanyang hiwalay na asawa na si Boyet at ang rival niyang si Vi and up to now (last scene of that movie!) kumpara sa may mga kung sinu-sinong title na may star sa unahan man o sa huli, too bad so sad and i know you all gone that far but not,,,,, beyond! Wala pa akong makitang may kakayahang pupuwedeng gumawa uli nang ganung eksena and that includes your” beloved”( ano ba yan, title pa ng isang movie ni negi) star of all season ! Only Nora can do that! And this is not only coming from me but from the director himself, Ismael Bernal! “Minsan may isang gamu-gamo” actually, this movie is much more on social relevance than acting ng mga artistang involved. The picture theme was so huge and you don’t need big names like her but that doesn’t stop Nora from stepping up on stage to recieve her best Actress trophy and This was best picture that year! Among her best were “Tatlong taong walang diyos”, “Ina ka ng Anak mo”, “Atsay” this was the most controversial award because they gathered all the best actors and actresess in a leading role in just one title, the best performer award! Dito niya binanggit ang pamosong linyang” Mamay , mali ang hula nila!” The movie” BONA” was not bad. I guess, it wasn’t as realistic and acting-challenged as “Atsay” people watched this movie only because of her and its director late Lino Brocka. “Himala and Banaue” were so huge because of its cast and budget. Again, you will watch these movies because of her screen presence and how she managed to manipulate the admiring fans to watch her over and over again without ever feeling sorry and regret,,,, and that’s how we love her. The movie “Merika”, there was a scene from that movie na ang galing-galing niya talaga! Nakaupo lang siya sa isang bus at naka-tanaw sa bintana, facial expression shot lang ito pero you don’t need any lines to read and feel what she is really trying to emote. Yung panghihinayang at galit kay bembol rocco na minahal lang siya nito dahil sa “Green Card” and the fact na minahal na rin niya ito! Minsan, nabanggit ni Ms. Armida segion-reyna na kapag si Nora ang kaeksena mo humanda ka na dahil ang mata nang taong yan ay buburahin ang memorya ng linya mo!!! ‘Yung latest movie niyang made in U.S. hindi ko pa napapanood and i’m not expecting much. Pero yung “Naglalayag” I did watched it and frankly, from what I heard and this is coming from Vilmanians (and what did you expect from them!) the, “Lamay scene”, that was Nora’s touch. the kind of acting that only her can truly aspires, touched and magnificently project what that particular scene requires her to do! And she did it touched-down! (as always!) Magkaroon man nang mga Star of all season, Megastar. diamond star at kung anu’t ano pang mga klaseng star. Iisa lang po ang orihinal na nagkaroon ng titulong may star at yan po ay ang aming natatangi, namumukod at nag-iisang Superstar na si Ate Guy, Miss Nora Aunor! – MBA Jr.

Sagot Ng Isang Vilmanian:

Fan mentality, paano mo aalisin ito kung ang tatanungin ay kung sino ang mas magaling umarte si Nora o si Vilma. Magmula pa lamang ng pagkabata’y namulat na ako sa kahusayan ng pagganap ni Ate Vi. Ganuon rin naman marahil ang mga tagahanga ng sa kabila. Mahirap alisin ang katwirang lalo pa’t nakasalalay ang pangalan ng dalawang aktres. Pero kung tatanggalin lamang natin kahit pansamantala lamang makikita na ang katotohanang nalagpasan na ni Vilma ang sinasabi nilang numero unong superstar lalo na sa pag-arte. Hindi ang aktres ng mga darna o wonder vi kundi ang aktres na naglakas ng loob na itapon ang sweet image at yakapin ang naiibang imahen na nagpasubok ng kanyang galling simula sa pagtanggap niya ng mahamon na papel sa Burlesk Queen. Sinabi niya sa kanyang sarili, Oo wala akong gintong boses pero marunong naman akong sumayaw. At kasabay nito’y handa kong tanggapin ang mga matatapang na papel na hindi kayang sikmurain ng mala-berhen na imahen ni Nora. Kasabay nang pag-ungos ay ang sunod sunod na patok sa takilya kasabay rin nang mga mapag-hamong pelikula katulad ng Relasyon, Broken Marriage at Sister Stella L. Sunod sunod na pelikulang pinarangalan ng Urian ng mga manunuri ng pelikulang tagalog. Hindi na nga siya ang sinasabing “poor second” sa sinasabi nilang superstar. Kung tutuusin siya na ang dapat tawaging superstar ngunit hindi ito ang ninais ni Vilma, patuloy pa rin niyang hinubog ang kanyang talento sa pagganap. Sabi nga ni Charito Solis, mas magaling si Vilma sa pagganap dahil sa mas versatile ito kaysa kay Nora. Totoo ka dahil hindi lamang mga martir na role ang puedeng gawin ni Vilma, puede rin siyang maging bida contrabida, puede rin siyang maging senyorita o atsay o kaya pamartir na asawa o kabit. Samantalay napako na si Nora sa mga pamartir na papel. Ito marahil ang dahilan kung bakit kalian lang sinabi ni Elizabeth Oropeza na mas magaling umarte si Vilma kaysa kay Nora dahil sa walang pinagbago ang pag-arte ni Nora. Totoo ito samantala’y sinabi rin ni Boots Anson Roa na si Vilma may iba’t ibang klase ng pag-iyak. Mayroon tumutulo lamang ang luha parang patak lang, meroong umaagos sa pisngi at meron namang parang gripo sa pagpatak. Ganyan kahusay si Vilma kung umiyak. Samantala ang pag-iyak ni Nora’y hindi nabago. Sa mga ilang pelikula kailan lang masyadong nagasgas na ang pagpopokos sa kanyang overrated na mata para lang masabing magaling siya sa pagganap. Ilang beses nilang pinopokus ang kamera sa kanyang mga mata para masabing super galing ni Nora. Kahit na ang maging sukli naman nito’y magsuffer ang buong pelikula. Kung hindi ang i-exploit ang mga mata’y ang pagbibitiw niya ng mga salita’y makaka-distract ng mga eksena. Bawa’t kataga’y mayroong diin sa dulo na ginagawang katatawanan ng mga komedyante dahil nga sa hindi napipigil ng mga director ang kanyang nakagawiang pag-arte. Samantala si Ate Vi ay nahasa na sa mga kilo-kilometrong linya sa mga pelikula niyang pawang kumita sa takilya. Matatandaan duon sa eksena na nagsasalita siya sa harap ng kanyang ama na patay na sa Burlesk Queen, sinabi ni director Celso Ad Castillo na pinipigil ni Leopoldo Salcedo na hindi maiyak. Hindi siyan dapat umiyak dahil patay na siya sa eksena pero mahirap itong gawin dahil nadala siya ng husto sa tuhog na dialouge ni Ate Vi. Mga tuhog na eksenang pagganap ito ang sikreto ni Ate Vi na nagpatumba kay Elsa. Marahil halos lahat ng mga tangahanga ng kabila ang nagsasabi na bakit napataob si Elsa ng Himala ni Marilou ni Ate Vi sa Relasyon. Isang eksena lang ang kasagutan. Ito ay ang death scene ni Christopher DeLeon na tuhog na tuhog meaning hindi nagkaroon ng cut ang ginawa ni Ishmael Bernal hinayaan niyang umarte si Ate Vi ng walang putol at ang naging resulta ay ang napakahusay na pagsasalarawan ng biglang pagkamatay ng mahal mo sa buhay. Walang pokus sa mga mata, at walang OA na pagi-emote ng lines. Walang “hayup” o “my brother is not a pig” na line kundi tuloy tuloy na pag-iyak. Dahil ito ang makatotohanang pagganap hango sa tunay na buhay. Kung sa tunay na buhay naganap ang Ina Ka Ng Anak Mo nang mahuli mo ang sarili mong ina’y inasawa ang sarili mong asawa wala na ang pa-emote na oa na acting na “hayup, hayup” kungdi sa tunay na buhay sabunutan na ang mangyayari. Iyan ang dahilan kung bakit pinataob ng Relasyon ang Himala ng kabila. Hindi hango sa tunay na buhay ang pagganap ni Nora sa Himala. Samantalay si Marilou ay tutuong tao. Hango sa tunay na tao ang ginawang pagganap ni Ate Vi. Mabalik tayo sa present time, makikita sa huling pagtutunggali ng dalawa sa mga awards ang Mano Po 3: My love versus Naglalayag. Kitang kita ang ebidensiya na hindi nagbago ang akting ni Nora. Hindi niya nabigyan ang justice ang role ng isang mayamang judge. Sa pagsasalita at pagkilos. At muli sa sinasabi nilang “burol” scene hindi makatotohanan ang page-emote niya na parang nagkaroon siya ng epilepsy. Samantala si Ate Vi from the start to finish nakikita mo na sa pagsasalita’t pagganap ay makikita mo si Lilian, isang Chinese na nalilito sa pag-ibig. Kung iisipin natin mahaba na rin ang nagdaan upang tignan natin ang “body ofwork” ng dalawang aktres. Surin mo man makikita mo ang lawak ng kaibahan ng mga pelikula ni Ate Vi kumpara sa mga pelikula ni Nora. Kungbaga, na-stock na si Nora sa mga apiapihan roles. Samantalay si Ate Vi hanggang ngayon highest paid aktres dahil sulit lagi sa takilya at laging may kakaibang pinapakita sa kanyang mga pelikula. Ilang dekada na ang lumilipas at ang kinang na kanyang bituin ay nanatiling makinang samantala sa kabila halos wala nang kinang, Sino kaya ang dapat sisihin? – RV

Awards Summary: Nominations were not counted here, both actress received numerous citations and nominations.

Nora’s Awards Tally
• Manunuri’s Urian Awards – 6
• PMPC’s Star Awards – 4
• Film Academy of the Phils. – 5
• MMFF and MFF – 9
• Catholic Mass Media Awards – 2
• Young Critics Awards – 4
• FAMAS – 5
• International Awards – 4
• Pasado – 1
• Gawad Tanglaw – 1
• Davao City & Bacolod City Film Festival – 2
Total Awards: 42

Vilma’s Awards Tally
• Manunuri’s Urian Awards – 8
• PMPC’s Star Awards – 7
• Film Academy of the Phils. – 4
• MMFF and MFF – 5
• Catholic Mass Media Awards – 2
• Young Critics Awards – 2
• FAMAS – 6
• International Awards – 2
• Pasado – 3
• Gawad Tanglaw – 2
• Gawad Suri – 2
• Cebu City and Bacolod City Film Festival – 2
• San Beda College Awards – 1
• Let’s Talk Movies Awards – 1
Total Awards: 47

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The Greatest Musical Variety Show

Posted on December 11, 2009 by @ffv Standard

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In the 1980’s, Nora Aunor’s Superstar show was losing viewership and her box-office appeal was also in question. Suddenly, the 70’s superstar was being eclipsed by a non-singer but an excellent dancer and versatile actress Vilma Santos. She has just scored her first of four grand slams for the movie Relasyon and continued to reign as the Longest Box-office Queen of Philippine Cinema. And slowly but surely, her VIP (Vilma In Person) TV show was gaining patronage/high ratings too from the precious class ABC households nationwide, TV advertisers’ prime target audience for their products.

Smart Move — There was no stopping Vilma Santos. She was about to conquer the TV musical-variety genre where Nora Aunor ruled for years. Early on, Vilma Santos had rough sailings with her musical variety show. VIP was being broadcast from Channel 2 which had a bad reception among TV homes nationwide, and was no match to the more modern RPN Channel 9 where Nora’s Superstar show was simultaneously shown from Luzon to Mindanao in vivid, crisp color. When VIP moved to GMA Channel 7, it was the best move that Vilma’s think tank ever did. With better satellites, shrewd marketing, state of the art facilities, and more ambitious production numbers and with the Dancing Queen Vilma at the center of it all, and with the genius of Maribeth Bichara’s choreography and musical concepts written all over the show – “Vilma!” became the most watched and the most awarded TV show in the musical/variety category.

52 — Every Friday, 52 weeks a year, there was Vilma Santos’ most awaited opening number that never failed to surprised, amused and elicited ooohhhs and aaahhhs as the TV Musical Variety Queen won the hearts of music and dance aficionados here and abroad. Who would ever forget these outstanding, well-rehearsed, high performance level and unforgettable numbers?

Madonna — The Madonna Material Girl number, which would make Madonna proud. She sashays, gyrates and pirouettes ala Tina Turner for Vilma’s version of Private Dancer.? (“I’m your private dancer, a dancer for money, do what you want me to do?” Talbog ang Burlesk Queen! My most memorable Maribeth B. and Vilma Santos sexy number was when they showed their legs and swing those hips as the Swing Out Sisters belt out their number one hit Breakout… The “A Chorus Line” ensemble, “On Broadway” with Queen Vilma leading the group with a hat, gloves, a cane and a glossy costume. Who would ever forget her swing number with then sweetheart Ralph Recto? Or a dance number with the late Nida Blanca? Or a naughty, haughty dance number La Conga, sung by Gloria Stefan? And many, many more production numbers that were shot from Luzon to Mindanao, and even in the U.S., like The Raging Waters in California.

Here are some of the awards the Queen Star and her famous Vilma! show had won:

• 1987 STAR Award Best Musical Variety Show Host
• 1987 CMMA Best Musical Variety Show
• 1988 STAR Award Best Musical Variety Show Host
• 1988 STAR Award Best Musical Variety Show
• 1988 CMMA Best Musical Variety Show
• 1989 STAR Award Best Musical Variety Show
• 1989 CMMA Best Musical Variety Show
• 1990 CMMA Hall of Fame in Musical Variety Show
• 1990 STAR Award Best Musical Variety Show
• 1990 New York International Awards for TV Finalist
• 1991 STAR Award Best Musical Variety Show
• 1991 Dove Awards Best Musical Variety Show
• 1992 STAR Award Best Musical Variety Show
• 1994 STAR Award Best Musical Variety Show
• 1998 STAR Award Ading Fernando Lifetime Achievement Award

My wish: please bring back Vilma!, the dancer and entertainer par excellence, even if it’s just one show. Sayaw, Vilma, sayaw! The whole world awaits. Who cares if you’re 51? Tina Tuner is almost 70. Vilma, you are the Eternal Youth and the Dancing Queen Forever! – Mar Garces, V Magazin, Volume1, Issue 2 2006 to download v magazine issue 02 click here

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Vilmanians and Noranians Surveyed

Posted on December 11, 2009 by @ffv Standard

Fans from each camp were recently invited to a survey. Dr. Rubia Servios, now a respectable doctor (yes, she was pardoned, went back to school and now based in the United States) and Sister Elsa, now a non denomination religious coach (yes, thanks to the doctor she was revived and resurrected and now based in Europe).

Together these two women started a research about two groups of fans who have demostrated their loyalty, love and devotion to their idols: Vilma Santos and Nora Aunor. They came up with a survey that they distributed to both camps. Studying all the information both Dr. Servios and Sister Elsa made sure that all is fair and unbiased. Hiring an independent agency to figure out how to measure its findings, It all boils down to three categories: basic demographic; longevity & loyalty, and lastly activities and future endeavours. Dr. Servios and Sister Elsa were present in the formal conference held at Manila Hotel and attended by both camps attended in full “regallia”. Black ties for men and formal gown for women. An example of the survey were exhibited in wide big screen. One survey participants on each side answered the same question, in a intertwined scene and with an excellent editing the segment went like this:

Who do u think is better Nora or Vilma?:

Participant A: “definitely Vilma!”
Participant B: “Sino pa po, si Ate Guy po”

When did it start your being a Vilmanian/Noranian?

Participant A: “when I was in young kid my mom will always brings me to the movies… and we always watch Ate Vi”
Participant B: “Nuon po sa Bicol po, lagi akong nanonood ng pa-kontest… tandang-tanda ko po nuong nanalo si Ate Guy sa Darigold Singing Contest… duon po nag-umpisa…at tv…kay Guy & Pip po..”

What do you remember most in the 70s?

Participant A: “I remember seeing Vilma in Lipad Darna Lipad also her transformation from sweet teenage sensation to a mature actress… I love it, it was very daring…no one has done that before…its like seeing Madonna and Meryl Streep molded into one… this decase has not been very good to Ate Vi but she has proven to all of us that she is a fighter…this decade also reminded me of such a wide variety of films…from musical, comedy, action to drama she has done it! The most critically acclaimed was Burlesk Queen, Rubia Servios and Pagputi Ng Uwak, PagItim Ng Tagak…how I can’t forget these films?! They’re all embeded to my memory…it was a roller coaster ride with so many highs, Heaven!”
Participant B: “Si Maria Leonora Theresa po… natatandaan mo po ba siya? Siya yung manika ni Ate Guy…Isa pa po yung pong mga movies ni Ate Guy po na lahat magaganda at magagaling ang arte niya… pati na rin po ang kanyang tv show na number one. Lahat po ng ginagawa niya siya ang number one, plaka, telebisyon, at pelikula, siya ang numero uno, kaya nga po siyang tinawag na superstar dahil siya ang pinaka-sikat….at isa pa sa pinakamemorable nuon ay nuong nanalo si Ate Guys sa pelikulang Atsay… tandang tanda ko pa ang speech nya po…”mamay mali ang hula nila (aarte at gagayahin si Nora)… nagtatalon po ako sa galak…talagang parang nasa alapaap po ako sa tagumpay ni Ate Guy…”

How about the 80s and 90s?

Participant A: “the 80s and 90s were definitely Vilma’s decades…I remember all of her films were both critically acclaimed and box office hits…Also in each decade Vilma got grandslam wins so, it proves that her grandslam win in Relasyon were not a fluke… It also reminded me of her number one show, Vilma!… How can I forget the line: “I love you Lucky!!!”…Vilma also started to settle down in terms of her family life. It was a very fruitful decades for Vilma and the Vilmanians!”
Participant B: “Maganda rin ang ala-ala sa aking ng 80s dahil po sa maraming magagandang pelikula ang nagawa ni Ate Guy…at ang tutuo unang naging grandslam winner si Ate Guy kaysa kay Aling Velma… pero ang pinaka-importanteng pelikula ng dekada eh ang “himala” kahit na sinong kritiko ang tanungin ito ang pinaka-importanteng pelikulang ginawa ng dekada 80… Nuong dekada 90, ang pinaka-importanteng pelikula rin ay ginawa ni Ate Guy po.. eto ang Flor Contemplacion… tandang tanda ko po ito dahil bukod sa humakot ng awards ito, malaki po ang kinita nito sa takilya… at nanalo pa po ito sa mga festival sa abroad…pagpapatunay lamang na malayong malayo ang agwat ni Ate Guy kay Aling Velma…”

What are the things you don’t like about Nora/Vilma?

Participant A: “Personally…I can’t say that I don’t like Nora because I don’t know her. I guess its a preference, some of us like apple, some oranges… I think its the choices and decision she made over the years, I must say Nora’s movies doesn’t fit my taste…and her lifestyle…I don’t consider it as bad choices it just doesn’t appeal to me…unlike Ate Vi’s films are more to my liking…they’re all have some social relevance that at that time agreed to what was going on to my life…I guess I am a feminist and don’t realized it until later…looking back to all of those films of Ate Vi that I have seen, it feels like I became part of all those roles…it was very revealing, liberating and fullfilling!”
Participant B: “Ang ayoko po kay Aling Velma eh ang kaplastikan po niya… hindi ko gusto ang mga pelikula niya… nagbobomba po siya nuon mabuti na lang tinigilan na niya ito…si Ate Guy hindi po niya ginawa iyan para sumikat lang…at kung ano-ano pa ang ginawa niya para lang malagpasan si Ate Guy, pilit kumanta pero boses ipis naman tapos yun nga po, nagpumilit umarte pero kahit si Lino Brocka sinabi talagang mas magaling umarte si Ate Guy… tapos hanggang mag-burlesk at maghubad na po siya hindi pa rin niya mahigitan si Ate Guy po… yung ang ayoko sa kanya!”

What are the things you don’t like about the fans of Vilma/Nora?

Participant A: “I don’t hate them…lets be clear on that because I definitely know in my heart that whatever they’re doing is just protecting their idol… the only irritating thing is they don’t have “open mind”…they still have the fan mentality…they can’t accept the fact that their idol no longer have the status they embedded in their brain since the late 70s…also, they have the tendency to attacked us below the belt…I mean everything is personal… they’ll swear, cursed and verbally abuse you… sometimes physically too… So I have to be on guard all the time…”
Participant B: “Hay naku po…mga ilusyonada po ang mga Velmaniacs… siguro po dahil mahilig sila sa mga bomba films kaya po love na love po nila ang mga bomba films ni Aleng Velma…ang hindi ko pa maintindihan kung bakit po hindi nila matanggap na hindi talaga marunong umarte and kanilang idolo, walang ginawa po kundi magkandalabas-labas ang litid nito sa leeg kapag umaarte at lagi sumisigaw at histerikal hindi katulad ng aming mahal na idolo, gamitin lamang nito ang kanyang mga mata wala na pong binatbat ang idolo nila…siguro po talagang mahina po ang utak nila para hindi nila ito makita…”

Tell me about yourself…

Participant A: “I’m 34, I manage this up-scale hotel in Makati…I got my Marketing degree from LaSalle. I love collecting vintage Vilma films, newspaper and magazine articles, I love anything about Vilma…I love collecting movie memorabilia, posters, still pictures…I love to cook, I do gardening and also love to read books…”
Participant B: “34 anyos na po ako… negosyate po ako, merong akong tindahan ng mga px goods sa Makati at Quezon City, balak ko pong magtayo ng branch diyan sa Caloocan at Baclaran… nagtapos po ako sa FEU…una pong kursong kinuha ko nurse kaya lang dahil gusto ng mga magulang ko na magtayo ako ng negosyo kaya naiba, nagtapos ako ng Commerce… Mahilig po akong mangulekta ng mga pelikula ni Ate Guy…dvd, vcd, vhs at pati na rin mga artikulo at poster niya…bata pa po ako madalas na akong makipag-away maipagtanggol ko lang po si Ate Guy…kapag naririnig ko ang boses niya kapag kumakanta, lagi po akong naiiyak…”

What are the things Vilma/Nora influenced you?

Participant A: “her being a fighter, her kind words and positive actions and decision… when she decided to leave her tv show, Vilma! to settled down and get serious in having another baby, I admired her more…then when she started her political career and saw all the good things she has done for her constituents…I started to think also about my own career and also started helping out…I now do volunteer work…masarap pala ang pakiramdam kapag nakakatulong ka sa kapwa mo…”
Participant B: “Katulad po ni Ate Guy, natuto po akong makipaglaban… kahit ano pong pagsubok hindi ako sumusuko… kahit anong mga intriga, laban lang po ako… natuto rin po akong maging matapang. Iyan po ang mga bagay na hinahangaan ko kay Ate Guy… Mabait po si Ate Guy at hindi po siya balimbing na katulad ng mga sinasabi ng mga Velmaniacs… matapat po siya at tunay na kaibigan… pero huwag po n’yo siyang gagalitin dahil masama po siyang magalit katulad ko rin po… iyan po ang impluwensiya niya sa akin…”

Give three Nora/Vilma films that you considered the best of all time…

Participant A: “Burlesk Queen, Relasyon and Sister Stella L”
Participant B: “Tatlong Taong Walang Diyos, Himala at Flor Contemplacion”

Give three roles that you want Vilma/Nora plays in the future…

Participant A: “I want her to play a leader of a crime sindicate just like God Father type…also, a comedy role — a mother of four sons like the mother in Malcolm In The Middle… and maybe an offbeat role like the mother in Six Feet Under.
Participant B: “halos lahat na po yata nagampanan na ni Ate Guy po… pero siguro po eh yung hostes katulad ni Elizabeth Oropesa sa Bulaklak Ng Maynila, o kaya po yung katulad ng role ni Hillary Swank sa Million Dollar Baby po, yung boksingero… bagay po sa kanya iyon… at saka po yung role ni Charlise Theron sa Monster… tiyak na makikita po ruon ang lalim ng galing ni Ate Guy sa pag-arte…”

What are the activities you have been involved with together with your fellow Noranians/ Vilmanians?

Participant A: “We are very active in raising funds to help other less fortunate Vilmanians and also others who may not be a fan of Vilma but who are also in need… we are very much active in making sure all Vilmanians are updated with the latest about Ate Vi… we also have other means of communicating creatively… we are more proactive when it comes to organizing events…which means most of the time we seek opinions of our leaders and also Ate Vi…”
Participant B: “Naku marami po…kakatapos lang po naming magfundraising with our Nora Aunor book… tapos po patuloy pong dumarami ang mga organization ng mga Noranians sa buong mundo po… Patuloy pong sumusubaybay ang mga Noranians sa Amerika para po masuportahan namin si Ate Guy sa Amerika…”

What are the project(s) you wish your fan club will do in the future?

Participant A: “We wanted to register our organization to have a foundation status so we can have more fundraising events…we like to eventually have a Vilma Santos Museum like Dolly Partons’ Dollywood or Elvis’ Graceland museum… we like to have a complete collection of all Vilma Santos films for preservation…”
Participant B: “Naku marami po… sana po magkaroon ng headquarter office po ang mga Noranians…tapos po magkaroon po sana ng concert si Ate Guy na talagang para sa mga Noranians na maliit lang po ang venue pero merong malaking orkestra parang katulad ng ginawa ni Lea Salonga… sana po magkaroon ng isang malaking lugar para ma-exhibit ang mga pelikula ni Ate Guy, parang The Nora Aunor Film Festival at ipapalabas rito ang mga pelikula niyang magaganda katulad ng Tatlong Taong Walang Diyos, Minsay Isang Gamu-gamo, Atsay, Himala, Merika, Bona at marami pa pong iba…”

Is there any chance that Vilmanians and Noranians will get along?

Participant A: “Funny you mentioned that because I have some friends who are Noranians and yes we can get along… I guess were all getting old and we mellowed down… we all respect each other… well, some of us do…”
Participant B: “Puede rin naman kaya lang masyadong pong magsalita ang mga Velmaniacs kung minsan talagang nakaka-irita po…”

If you will speak to a Noranian/Vilmanian what would you say to them?

Participant A: “I’ll say that we should respect each other and we should stop arguing and move on with our lives…”
Participant B: “Sasabihin ko po na tigilan na po nila ang pang-aapi kay Ate Guy at tanggapin po nila na si Ate Guy pa rin ang numero uno at Superstar…”

Both Sister Elsa and Dr Servios took the podium after the clips and started explaining the result from the independent survey.

Here are the result:

basic demographic – Noranians and Vilmanians are now in their early 40s. Mostly in stable financial position and career.

longevity and loyalty – Vilmanians have an edge with longevity while Noranians have an edge with loyalty.

activities and future endeavours – Vilmanians have been very proactive with the future while Noranians have become timid.

Common Traits:

Vilmanians: Open-minded, kind, humble, creative, spiritual, action oriented, intellectual, practical, sexy, liberal, contemporary, balance.

Noranians: Opinionated, Strong-willed, vocal, militant, fighter, detail oriented, creative, conservative, religious, ritualist, traditional, caring.

This result doesn’t cound their true devotion and love for their idol. It just showed the characters and few differences between two set of fans, the Phillippines have for decades now.

Dr. Servios a closeted Nora Aunor fan and Sister Elsa now a vocal Vilma Santos admirer ended the conference with a hug and a speech encouraging both camps to reconcile, respect each other and accept the fact that both can co-exist. The End – RV, Aug 28, 2005