Filmography: Big Ike’s Happening (1976)

This slideshow requires JavaScript.

Basic Information: Directed: Pablo Santiago and Bobby Santiago; Writing credits: Tommy C. David, Santiago and Lozada; Cast: Tirso Cruz III, Walter Navarro, Ike Lozada, Aurora Salve, Gina Alajar, Jojit Paredes, Dondon Nakar, Arnold Gamboa, Maribel Aunor, Winnie Santos, German Moreno, Allan Valenzuala, Inday Badiday, Doyet Ilagan, Ben David, Edward Campos, Lilian Laing, Aruray; Special Guest Stars: Vilma Santos, Nora Aunor, Perla Bautista, Charlie Davao, Esperanza Fabon, Bella Flores, Lito Legaspi, Christopher De Leon, Van De Leon, Pinky Montilla, Alma Moreno, Dencio Padilla, Eddie Perigrina, Andy Poe, jerry Pons, Ric Rodrigo, Gloria Romero, Daria Ramirez, Darius Razon, Marianne Dela Riva, Eddie San Jose, Ricky Santiago, Lorna Tolentino, Eddie Villamayor, and Vic Vargas; Executive Producer: Larry Santiago; Original Music: D’Amarillo; Cinematography: Joe Batac Jr.

Plot Description: No Available Data

Film Achievement:   Ranked 32nd on Top-US-Grossing Tagalog-Language Feature Films Released In 1976

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

RELATED READING:

Filmography: Bato sa Buhangin (1976)

This slideshow requires JavaScript.

Basic Information: Directed: Pablo Santiago; Story: Herminio ‘Butch’ Bautista; Screenplay: Fred Navarro; Cast: Fernando Poe Jr., Vilma Santos, Dencio Padilla, Robert Talabis, Millie Mercado, Connie Angeles, Yvonne Salcedo, Tina Monasterio, Jun Soler, Jumbo Salvador, Phillip Salvador, Rowell Santiago; Executive producer: Fernando Poe Jr.; Original Music: Ernani Cuenco; Cinematography: Sergio Lobo; Theme Songs: “Bato sa Buhangin” by Cinderella

Plot Description: An intriguing revelation from a Fortune Teller leads the spoiled Bamba (Vilma Santos) restless to meet her destined Lover. One day, the anxious Bamba comes across the humble Taxi Driver Rafael (Fernando Poe Jr.) after crashing his vehicle on the street. To make up for Bamba’s blunder, Bamba’s father offers the poor Rafael to work as his daughter’s Bodyguard. Being the snotty brat she is, Bamba punishes Rafael by bossing him around and embarrassing him in front of her friends. Through it all, however, Bamba suddenly finds herself irresistibly falling in love with Rafael — the one man who has patiently put up with all her mischief. The only hurdle to Bamba and Rafael’s love story, though, is the secret Bamba has been keeping from everybody all her life – even to her beloved Rafael. Will this secret ruin the chance for Bamba to be with her fated Partner? – Pelikula.net (READ MORE)

Bamba (Vilma Santos) is eager to meet the love of her life after having her fortune told. Fate delivers her to the humble taxi driver, Rafael (Fernando Poe Jr.). And while their relationship is initially strained by Bamba’s poor treatment of Rafael, they inevitably find themselves falling for one another. But Bamba is hiding a secret that she has kept from everyone in her life. Will this secret destroy any and all chance she has to be with the one she is fated to love? – TFC (READ MORE)

Film Achievement: 1976 FAMAS Best Theme Song – Ernani Cuenco for the song “Bato sa Buhangin”

Film Review: “…I really felt very sad as he’s one of the kindest men I ever met. We’ve done three films together. The first one was when I was only 19-years-old, Batya’t Palo-Palo, a big hit. He was the one who taught me how to swim while we were shooting that movie. Before that, I did Dyesebel where I played a mermaid but I didn’t even know how to swim. This was followed by Bato sa Buhangin. Our last film together was Ikaw ang Mahal Ko, which I did after I gave birth to Ryan Christian. Kuya Ronnie is a gentleman in the strictest sense of the word. Talagang maasikaso siya sa lahat ng kasama niya sa shooting and he feeds everyone with great food all the time. He’s fun to work with kasi palabiro siya at masaya talaga kasama. The whole industry will miss him…” – Mario E. Bautista (READ MORE)

Kundiman – “…Although the kundiman (or the love song in Tagalog) and the balad are like sisters by emotional affinity, so to speak, the former is more plaintive than the latter. Whereas the ballad (such asd Jerome Kern’s All the Things You are or David Raksin’s Laura or Victor Young Stella by Starlight) speaks of the anguish of romantic love with the emotions held in full gear, the kundiman is so mournful that it becomes maudlin. In a way, this is not surprising since the Filipino is, by nature, extremely sentimental. No wonder, a local film of the tearjerker variety is milked to excess to the point of nauseato the delight of its audience. The kundiman, then, fits perfectly into the innate psyche of the typical Filipino. Tearjerkers in Philippine cinema prior to the outbreak of World War II on Dec 8, 1941 were understandably lachrymose to the nth degree and were studded with the necessary kundiman…Kapalaran (music by Orly Ilacad and lyrics by Ernie de la Pena) was recorded by Rico J. Puno in 1976 and sang in Inday Garutay, a Trixia Gomez starrer. The meaningful lyrics embellished by the bewitching melody created an emotional carthasis on the sensitive listener. That same year, Bato sa Buhangin (an Ernani Cuenco composition), which starred Fernando Poe Jr. and Vilma Santos, was also shown. As sung by Cinderella (or Yolly Samson) in the single, Bato sa Buhangin, fought it out with Kapalaran in jukeboxes and on the airlanes, aside from the mouths of people who date on the beauty of melodies falling under the label of the kundiman…” – Leo P. Sergio, Manila Standard, 01 April 1988 p11 (READ MORE)

Filmography: Mapagbigay ang Mister Ko (1976)

This slideshow requires JavaScript.

Basic Information: Directed: G. F. C.; Story: Lynda M. Carballo, Minda C. Adolfo; Screenplay: Jerry Tirazona; Cast: Jun Aristorenas, Vlma Santos, Joe Garcia, Veronica Palileo, Angel Confiado, Louie Florentino, Gemma Torres, Nelson Atienza, Johnny Malinao, Pol Miranda, Evelyn Enriquez, Lyn Palma, Ariel Mendoza, Jojit Gacia, Dolly Roquillo, Juliet Revilla, Eva Santiago, Arline Mendoza, Boy Santiago, Mar Sarmiento, Rocco Montalban; Original Music: Rommel De Guzman

Plot Description: No Available Data

Film Achievement: Ranked 49th on Top-US-Grossing Tagalog-Language Feature Films Released In 1976

Film Review: “…Talagang poor second lang noon si Vilma kay Nora Aunor, subali’t nang gawin niya ang trilogy film ng Sine Pilipino na Lipad Darna Lipad ay talagang lumipad ng husto ang kanyang box office appeal. Sinundan pa ito ng mga pelikulang Takbo Vilma Dali at Hatinggabi Na Vilma. Anupa’t itinambal din si Vilma sa mga matured leading man na katulad nina Eddie Rodriguez sa mga pelikulang Nakakahiya, Hindi Nakakahiya Part 2 kung saan nagkamit siya ng Best Actress Award sa 1st Bacolod City Film Festival at Simula Ng Walang Katapusan, Dante Rivero sa Susan Kelly Edad 20, Chiquito sa Teribol Dobol, Dolphy sa Buhay Artista Ngayon, Joseph Estrada sa King Khayan & I, Fernando Poe Jr. sa Batya’t Palu Palo at Bato Sa Buhangin, Jun Aristorenas sa Mapagbigay Ang Mister Ko, Dindo Fernando sa Langis at Tubig at Muling Buksan Ang Puso at Romeo Vasquez sa Nag-aapoy Na Damdamin, Dalawang Pugad Isang Ibon, Pulot Gata Pwede Kaya at Pag-ibig Ko Sa ‘Yo Lang Ibibigay…” – Alfonso Valencia (READ MORE)

Juanito “Jun” Aristorenas (May 7, 1933–2000) was a Filipino actor, director, dancer, producer and writer. Aristorenas was known for his western roles, and has topbilled cowboy’ movies such as Sagupaan ng mga Patapon, Dugong Tigre, Apat na Bagwis. As an actor, Aristorenas has performed in movies such as Danilo Ronquillo: Cavite Boy, released in 1965, in which he portrayed Danilo Ronquillo, Rico Solitaryo (1966), and Bale-bale Kung Lumaban (1964). As a movie director, he has worked on movies such as Matalino man ang matsing na-iisahan din!, released in 2000, Cara y Cruz: Walang Sinasanto! (1996), and Marami Ka Pang Kakaining Bigas (1994). Aristorenas has also written the story of “Matalino man ang matsing na-iisahan din!”, released in 2000 (Wikipedia).

RELATED READING:

Filmography: Mga Reynang Walang Trono (1976)

This slideshow requires JavaScript.

Basic Information: Direction: Fely Crisostomo and Amalia Muhalch; Cast: Amalia Fuentes, Vilma Santos, Eddie Gutierrez, Robert Arevalo, Rudy Fernandez and Eddie Garcia, Rez Cortez, Greg Lozano, Mar F. Cornes; Story: Rino Fernan Silverio; Screenplay: Toto Belano; Cinematography: Hermo U. Santos; Production Company: AM Productions; Release Date: February 26, 1976; Serialized in Bondying Weekly Movie Specials – Video48

Plot Description: A story of two women who lived and reigned as queen in their own world. Dureza (Vilma Santos) a poor lass who got married to a rich man, Don Mauricio (Eddie Garcia) whom she does not love, but just to give comfort to her family. Amanda (Amalia Fuentez) a popular actress, whom people look up to, but due to unavoidable circumstances killed her husband. Both women end up in jail to pay for what they have done. Also stars, Rober Arevalo, Rex Cortez, Greg Lozano. Directed by Amalia Fuentes and Fely Crisostomo for AM Productions. – Trigon Video Distributor

Film Achievement: Film directed by two female, movie queen Amalia Fuentez and veteran director Fely Crisostomo; Originally written by Rico Fernan Silverio for Bondying Movie Special comics (1974-1975) and illustrated by Hal Santiago.

Film Review: “…By mid decades, Vilma Santos’ career was gradully moving into dramas catering the adult audience and films with social-adult issues. She did the sequel “Hindi Nakakahiya” and “Nagaapoy na Damdamin” about the affair of a young woman with an older man and “Mga Rosas Sa Putikan” about the lives of prostitutes. Aside from these films, she also did four light comedies and two notable ones: “Mga Reynang Walang Trono” a comedy with movie queen Amalia Fuentez and “Bato Sa Buhangin,” the box office hit that reunited her with the late Fernando Poe Jr. Bernal on the other hand, cemented his reputation as one of the most serious director with critically appreciated hit films, “Ligaw Na Bulaklak” staring the young sexy star, Alma Moreno and the drama film that featured two dramatic stars, Daria Ramirez and Elizabeth Oropeza in “Nunal Sa Tubig.” He also directed a light comedy, “Tisoy,” Christopher De Leon in title role…” – RV (READ MORE)

“…To recall, the senior and junior movie queens appeared in these movies: Bulaklak at Paru-paro (1970), Mga Reynang Walang Trono(1976) and Asawa Ko, Huwag Mong Agawin (1986). Amalia directed Vilma’s episode in Mga Reyna and agreed to second billing to Vilma in Asawa Ko. No doubt about it, Amalia Muhlach Sumilang Fuentes, is a Vilmanian. To seal their sisterhood and camaraderie, Vilma is Ninang to Liezl Martinez and to the latter’s son Alfonso. Why, Liezl even sang a song ’’Wind Beneath My Wings’ to her surprised mother that night which drove the strong-willed and still beautiful Amalia to tears. A Kodak moment, indeed. Priceless! While interviewing the three Muhlach generations, Fuentes, Liezl and young daughter Aliyanna, Amalia revealed to Vilma that she is protective of her ’unica hija’ Liezl. ”Ay naku, I think I also have become like my Mom, I’m also very protective of my children,” Liezl remarks…” – Mario O. Garces (READ MORE)

Filmography: Bertang Kerengkeng (1976)

This slideshow requires JavaScript.

Basic Information: Direction: Tito C. Sanchez; Story: Maria Theresa; Screenplay: Jose F. sabal; Cast: Edna Diaz, Lito Anzures, Rudy Fernandez, Vilma Santos, Grace Santos, Greg Lozano, Nello Nayo, Robert Miller, Romy Luartes, Joe Sison, Golay, Val Inglesias, Rey Sagum, Grace Hernandez, Boie Lalic; Original Music: Danny Subido; Cinematography: Ricardo Herrera

Plot Description: No Available Data

Film Achievement: No Available Data

Film Review: Angelito Castro Anzures popularly known as Lito Anzures (born on 22 February 1927 in Santa Ines, Bulacan, Philippines) was a Filipino actor. Lito worked in several films as a supporting actor. Lito died at the age of 67 in 1995. – Wikipedia (READ MORE)

“…Edna had her first taste of the entertainment business in 1974 when she joined the Miss Philippines Pageant. She bagged only the Miss Photogenic special award and was asked by Celso Ad Castillo to try acting. At the time, she was completing her Fine Arts degree, major in interior design, at the UERM, and her mother, Salvacion (who passed away last March at 92) had other plans. “Gustung-gusto ako ng mga producers and they were excited to cast me, but my mother wanted me to finish my studies first para anytime daw that I quit showbiz, eh, may fallback ako, at tama naman siya. The producers naman said they were willing to wait for me. Then right after college, we called them (Topaz Film Productions) and told them I was ready. They immediately cast me in the movie The Game of Death with Ramon Zamora, Evangeline Pascual and Eddie Garcia. Big time ang casting…” – Ricardo F. Lo (READ MORE)

Rodolfo “Rudy” Valentino Padilla Fernandez, screen name Rudy Fernandez[1] (March 3, 1952 – June 7, 2008), also known as “Daboy”, was a multi-awarded Filipino actor and producer. He came to prominence as an action star in the Philippine cinema during the 1980s up to the early 1990s. – Wikipedia (READ MORE)

Filmography: Mga Rosas sa Putikan (1976)

This slideshow requires JavaScript.

Basic Information: Story, Screenplay and Direction: Emmanuel H. Borlaza; Cast: Vilma Santos, Celia Rodriguez, Barbara Luna, Trixia Gomez and Merle Fernandez, Arnold Gamboa, Romeo Enriquez, Sandy Garcia, Monica Morena, Ike Lozada; Cinematography Oscar Querijero; Musical Director George Canseco; Executive Producer: Vilma Santos; Production Company: V.S. Films; Release Date: September 10, 1976 – Video48

Plot Description: No Available Data

Film Achievement: Borlaza gave Vilma Santos her very first best actress, winning the 1972 FAMAS for via Dama De Noche. He is also credited in narrowing the popularity gap between her and the musical era’s darling of the 70s, Nora Aunor.

Film Review: “…His films lack the arthouse style and social relevance that critics loves most in a Brocka or Bernal films but who cares about the critics when the paying public loves them. And the producers demand his service, from Doc Perez of Sampaguita Pictures, Atty. Esperidion Laxa of Tagalog Ilang Ilang Productions and later on, Vic Del Rosario of Viva Films and Lily Monteverde of Regal Films. Clearly, his films exists with one purpose, to entertain the masses not to depress or remind them with the country’s sad fate of economy or the below poverty line lives of many. The success of the Vilma-Borlaza films gave Vilma Santos versatility and preparation to a more serious acting career. It also narrowed the popularity gap between her and the musical era’s darling of the 70s, Nora Aunor. These are perhaps, the most significant contributions of Emmanuel Borlaza to Vilma’s career. Vilma who was considered only second to Nora couldn’t matched her singing talent and so, Borlaza countered this lack of singing with films that showcased Vilma’s acting versatility…” – RV (READ MORE)

“…Sa pagsasaliksik ko ay di ko sinasadyang makita ang mga pamagat ng pelikulang may kaugnayan sa putik. Labing-isa ang nakita ko, at marahil mas marami pa rito. Sa pamagat pa lamang ay kapansin-pansing napakalalim ng kahulugan ng salitang ‘putik’. Halina’t tunghayan ang ilan sa mga ito…Marahil, lahat ng pelikulang ito ay pumatok sa takilya, lalo na’t pawang mga bigating artista ang siyang bida sa mga ito. Kung susuriin natin ang mga pamagat pa lamang, kapansin-pansin ang iba’t ibang kahulugan ng putik. Tayo ay nagmula sa putik dahil nilalang tayo mula sa putik, kung papansinin ang pelikulang “Putik Ka Man… Sa Alabok Magbabalik”, habang sa “Magkumpareng Putik”, marahil ito’y tungkol sa paglalabanan ng dalawang magkumpareng kinulapulan ng putik ang bawat isa. Ibig sabihin, dinungisan ang pangalan at binalewala ang pinagsamahan bilang magkaibigan. Ang mga pelikulang “Mga Rosas sa Putikan“, “Ginto sa Putikan”, at “Dinampot Ka Lang sa Putik” ay marahil tumutukoy sa mga babaeng mahihirap na natagpuan ng mayaman at naging asawa…” – Mga Pagninilay ni Goriong Putik (READ MORE)

“…Then she did Mga Rosas Sa Putikan for her own VS Films where she played a country girl forced into prostitution in the big city. The movie did fairly well at the tills. Good sign…” – Ricardo F. Lo, Expressweek, Jan 19 1978 (READ MORE)

Filmography: Makahiya at Talahib (1976)

This slideshow requires JavaScript.

Basic Information: Directed, screenplay: Emmanuel H. Borlaza; Story: Anthony Taylor; Cast: Vilma Santos, Rudy Fernandez, Trixia Gomez, Gloria Romero, Anthony Rodriguez, Romeo Rivera, Rocco Montalban; Executive producer: Cherry Ong; Original Music: Tito Sotto; Cinematography: Oscar Querijero; Film Editing: Jose Tarnate; Art Direction: Gerry Guanlao; Sound: Gaudencio Barredo; Theme song: “Aking Bituin” Sung by Allan Castro; Composed by Tito Sotto; Released thru Vicor Music Corporation

Plot Description: Arturo (Rudy Fernandez) is a convict on the run after being framed for rape. Aurora (Vilma Santos), a sculptress at odds with her overbearing mother (Gloria Romero), falls for him and is convinced of his innocence. When Arturo takes revenge on those who framed him, Aurora helps him plot his escape. This, while her sister Beatriz (Trixia Gomez) has a brief affair with Arturo. – Music & Laughter TV (READ MORE)

Film Achievement:  One of the top box office hit of the 1976 Metro Manila Film Festival (The first film of Vilma and Rudy and the first screen kiss of Ate Vi).

Film Review: “…Her metamorphosis began in late 1976 when she agreed to be kissed by Rudy Fernandez in Makahiya at Talahib. It was a “feeler” of sort and when the public clanked its tongue in obvious approval, Vilma shelved her lollipops-and-roses image and proved that she, too, could be a woman – a wise move indeed because at that time her career was on a down swing and her movies were not making money. Then she did Mga Rosas sa Putikan for her own VS Films where she played a country girl forced into prostitution in the big city. The movie did fairly well at the tills. Good sign. And came her romance with Romeo Vasquez, boosting both their stocks at the box office (their two starrers, Nag-aapoy na Damdamin and Pulot-Gata where Vilma did her own wet style, were big moneymakers). The tandem, although it did help Vilma, actually helped Vasquez more in re-establishing himself at the box office (without Vilma, his movies with other leading ladies hardly create any ripple). In Susan Kelly, Edad 20, Vilma played a notorious-woman role that required her to wear skimpy bikini briefs in some scenes, following it up with two giant sizzlers (Dalawang Pugad, Isang Ibon and Masarap, Masakit ang Umibig) that catapulted her as the newest Bold Queen. Then came Burlesk Queen…” – Ricardo F. Lo, Expressweek Magazine January 19, 1978 (READ MORE)

“…Why Borlaza? Because Emmanuel H. Borlaza is a formula director, a tried and tested moneymaker for local film companies and an example of a commercial success who also hungers for artistic fulfillment. It was Maning Borlaza who directed the box-office hit revival of Darna and Dyesebel, those heroines of less demanding times, and followed of less demanding times, and followed them with more Vilma Santos-Edgar Mortiz starrers…Whether the lure was really Borlaza and not Vilma (as Darna) or Alma (as Eva), one would still not find out in Makahiya at Talahib, the Goodwill production that Maning is directing as a filmfest bet. Vilma is starring, you see, opposite Rudy Fernandez who portrays the man on the run. Maning, however, he has been quoted to have said that “My next 20 years are modestly provided for, I don’t think I will live more than that. Henceforth, I will split my movie work to what I want to do and what the public likes. He wants, it seems, to recover his old self, the Borlaza who filmed Pyscho-Maniac, a suspense thriller which cast Divina Valencia, Dindo Fernando and Ray Marcos and won him the Academy’s best screenplay award in ’68, who packed so much good action in Mindanao, the movie that bagged four statuettes in the Manila Filmfest of the same year, and who directed Vilma Santos’s way to the FAMAS best actress award for the performance in Dama de Noche. And yet, he is not that keen to do films that might suffer the fate of O’Hara’s Mortal or Bernal’s Nunal sa Tubig. “Their box-office results are not encouraging,” says Maning. He admits he still goes a little commercial. That is why there is a love scene between Vilma and Rudy in Makahiya that Maning expects people might be talking about, more than the torrid shots of Rudy and Trixia Gomez. The 41-year old director also wrote the story and screenplay of Makahiya…Nowadays, he even makes two pictures at a time. “I just finished Makahiya and Teatro Manila. It’s cheaper that way. You don’t waste any calendar day. No stars available for Makahiya, we would work on Teatro…” – Chelo R. Banal, Philippine Panorama Magazine, 26 December 1976 (READ MORE)

Filmography: Nag-aapoy na Damdamin (1976)

This slideshow requires JavaScript.

Basic Information: Directed: Leonardo Garcia; Story: Marty Gee Aragon; Screenplay: Ramon Marcelino; Cast: Vilma Santos, Romeo Vasquez, Aurora Salve, Walter Navarro, Romy Diaz, Ely Roque, Tintoy, Tita De Villa, Pepot, Ruben Tizon; Original Music: D’Amarillo; Cinematography: Ricardo Herrera

Plot Description: No Available Data

Film Achievement: No Available Data

Film Review: “…Sometime in the mid 70s, matinee idol Romeo Vasquez returned to the movie scene after a long absence, his movie career in limbo after his failed marriage with popular actress Amalia Fuentes. His team-up with Vilma Santos somehow rekindled and revived his career. Their first movie together, Nag-aapoy na Damdamin in 1976 turned out to be a big hit. Despite their age gap, reel and real life sweetheart, Romeo, 34 and Vilma, 23, soon became the hottest love team, doing one hit movies after another…” – Video 48 (READ MORE)

“…Romeo Vasquez is an oddity in Vilma’s life. Hindi akalain ng lahat na ang isang notorious playboy and balikbayan actor would capture the heart of the then elusive Ate Vi. Nagkaroon sila ng affair which lasted for more than a year. Kilala si Bobby sa pagiging bohemyo kaya naman walang kakilala si Ate Vi na bumoto sa aktor. Ate Vi was love struck at talagang na head-over heels in love. Nagsimula ang kanilang affair sa set ng kanilang pelikulang “Nag-aapoy na Damdamin”. True to this title, nagliyab silang dalawa at tunay ngang nag-apoy ang kanilang damdamin. May plano pa nga sila ni Bobby na magpakasal sa Europe. Talagang Ate Vi was ready to give up her life as an actress and would settle with the actor abroad. And with herb relationship with Bobby, nag-surface ang bagong Vilma Santos. Ate Vi realized that she cann’t sacrifice everything for love. Nagising siya sa katotohanan at nagkamali kung kaya nagdesisyon siyang kumalassa bohemyong aktor…” – Willie Fernandez (READ MORE)

“…But it was with handsome actor Romeo Vasquez that Vilma Santos had her most controversial relationship. Romeo was the former husband of Philippine movie queen Amalia Fuentes. He and Vilma first paired in the movie Nag-aapoy na Damdamin (1976). It was also during this year that they became a couple. They made several movies together, all of which did well at the box-office. Vi and Bobby (Romeo’s nickname) became the most-talked about reel and real love team at the time. The relationship was always on the pages of showbiz magazines and tabloid entertainment section pages because of the intrigues and the personalities who got involved with them…” – Rommel R. Llanes (READ MORE)

“…And came her romance with Romeo Vasquez, boosting both their stocks at the box office (their two starrers, Nagaapoy Na Damdamin and Pulot-Gata where Vilma did her own wet style, were big moneymakers). The tandem, although it did help Vilma, actually helped Vasquez more in reestablishing himself at the box office (without Vilma, his movies with other leading ladies hardly create any ripple). In Susan Kelly, Edad 20, Vilma played a notorious-woman role that required her to wear skimpy bikini briefs in some scenes, following it up with two giant sizzlers (Dalawang Pugad Isang Ibon and Madakit Masarap Ang Umibig) that catapulted her as the newest Bold Queen…” – Ricardo F. Lo, Expressweek, Jan 19 1978 (READ MORE)

“…Nang sumunod ng taon, 1977, nakilala niya at nakatambal si Romeo Vasquez sa “Nagaapoy Na Damdamin.” Nang mga panahong iyon, nagpasiya na si Vi na bumukod ng tirahan. Ang tanging hangarin niya noon: matutong mamuhay nang mag-isa, magpasiya nang siya lamang ang mananagot sa anumang kahihinatnan, at matikman ang inaakala niyang kalayaan na ganap lamang niyang mapagsasawaan kung siya’y nakahiwalay sa mga magulang at kapatid. Naganap nga ang kanyang kagustuhan, ngunit hungkag pa rin ang kanyang buhay. Walang direksiyon. Ang naging publisidad nang hakbang na ito ni vi ay ang diumano’y pagsasabi niya na “I want to be liberated.” Marami ang nagtaas ng kilay. At lalo nang hindi nila maibaba ito nang mapabalita na si Bobby ay kasintahan na ni Vi. Lalong gumulo na ang iba’t ibang nasulat tungkol sa dalawa. Hanggang sa tuluyan nang maghiwalay sila ng landas…” – Ched P. Gonzales (READ MORE)

Filmography: Let’s Do the Salsa (1976)

This slideshow requires JavaScript.

Basic Information: Direction: Luciano B. Carlos; Cast: Vilma Santos, Walter Navarro and Rolly Quizon/ with Ronnie Henares, Chichay, Caridad Sanchez, Roderick Paulate, Arnold Gamboa, Winnier Santos, Maribel Aunor and Ike Lozada/ Also Starring Joe Garcia, J. Antonio Carrion, Estrella Kuenzler/ Featuring Trixia Gomez, Fanny & Mari Boquer (courtesy of Cabaret Royale), Raul Aragon, Lorli Villanueva, Eddie Mercado, German Moreno; Story and Screenplay: Bert R. Mendoza; Cinematography: Arnold Alvaro; Music: Doming valdez; Production Company: Lea Productions; Release Date: March 5, 1976 – Video48

Plot Description: No Available Data

Film Achievement: Ranked 64th on Top-US-Grossing Tagalog-Language Feature Films Released In 1976

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

“…I credit Ronnie Henares for discovering me,” said Geleen. “He saw me in a fashion show in Hyatt in 1978. John Gaddi, my first dancing partner, and I were modeling na pa-sayaw-sayaw. I guess natuwa sa akin si Ronnie so he got me into Penthouse 7 hosted by Archie Lacson…I was Vilma’s choreographer for her movies (Disco Fever, Good Morning Sunshine, etc.) and at the same time I was also choreographing for Nora on her show Superstar. When Vilma had her own TV show, she got me as choreographer but I stayed with her for only one month. The network bosses told me that I shouldn’t be handling two superstars at the same time. Nora was on Channel 9 and Vilma was on Channel 13. Because of loyalty, I chose to stay with Nora kasi mas nauna naman ako sa kanya. I was with her for four years na at that time. But first, I talked to Vilma who is a ninang of my son Miggy. I left Vilma with a heavy heart…” – Ricardo F. Lo (READ MORE)

“…Very few probably are aware that Ronnie was once a matinee idol in the music profession. He was the other half of the famous singing duo called The Two of Us. His partner was Jojit Paredes, the cousin of Jim Paredes, who was also a kilabot ng mga colegiala as part of the Apolinario Mabini Hiking Society, now better known as the APO. Ronnie and Jojit were schoolmates in La Salle grade school, while Jim and his then large group were from rival Ateneo…After The Two of Us, Jojit eventually disappeared from the scene (he is now in L.A. married to an American and works as an assistant administrator in a hospital), while Ronnie’s popularity lingered, especially when he and Vilma Santos began dating. Ronnie also joined Penthouse 7 as executive producer/dancer and also part of the group was Ida Ramos, who many years later would become his wife. (Ida Henares now heads GMA Artist Center.) In between, he also hosted his own variety shows on TV, primarily in the Broadcast City stations…” – Butch Francisco (READ MORE)

“…This being Vilma Santos’ 50th year in show business (she started as a child star in 1963 with the dramatic tearjerker, “Trudis Liit”), her loyal fans are perfervidly recalling the highlights of her “golden” acting career…By 1976, Vilma was “going musical” again with “Let’s Do the Salsa,” unveiling the dancing ability that the would land her a long-running hit show on television years later. But, she also made sure to come up with dramas like “Makahiya at Talahib,” and romances like ‘Bato sa Buhangin’…What’s up next for everybody’s Ate Vi? Higher political office, quite logically and obviously. But, we hope against hope that, every couple of years or so, she will continue to gift us with another memorable screen portrayal, to further enhance her already exceptional filmography. She’s simply too good a thespian to surrender completely to politics…” – Nestor U. Torre, Philippine Daily Inquirer, 03 August 2012 (READ MORE)

Filmography: Hindi Nakakahiya (1976)

This slideshow requires JavaScript.

Basic Information: Directed: Luis Enriquez; Story: Ric Torres; Screenplay: Ric Torres Luis Enriquez; Cast: Eddie Rodriguez, Vilma Santos, Gloria Romero, Marissa Delgado, Ernie Garcia, Renato Robles Nello Nayo, Patricia Mijares; Original Music: Rudy Arevalo; Cinematography: Hermo U. Santos

Plot Description: A sequel to the box office hit about a May-December romance. Young Vilma Santos is reunited with old flame Eddie Rodriguez. Though already engaged to another man, Vilma finds herself falling in love again with the elderly gentleman. She is confused and mixed-up. Eddie’s presence makes it even harder for her to judge objectively her own feelings, but all’s well that ends well. Co-starring Gloria Romero, Marissa Delgado, Ernie Garcia, Renato Robles, Nello Nayo, and Patricial Mijares. Produced and directed by Luis Enriquez. – Trigon Video

Film Achievement: One of Vilma Santos and Gloria Romero 13 films – (Anak ang Iyong Ina, Iginuhit ng Tadhana, De Colores, Pinagbuklod ng Langit, Anak ng Aswang, Lipad Darna Lipad, Happy Days are Here Again, Karugtong ang Kahapon, Nakakahiya?, Hindi Nakakahiya, Makahiya at Talahib, Saan Nagtatago Ang Pag-ibig?, Kapag Langit Ang Humatol) – RV (READ MORE)

One of film projects Rodriguez and Santos collaborated. (Ex-Wife 1981 (director), Halik sa Kamay Halik sa Paa 1979, Hindi Nakakahiya 1976 (director), Ikaw Lamang 1971, Kasalanan Kaya? 1968, Nakakahiya? 1975 (director), Simula ng Walang Katapusan (director) 1978) – RV (READ MORE)

Film Review: Luis Enriquez aka Eddie Rodriguez first directed a young Vilma Santos in 1968 Kasalanan Kaya, another love triangle genre starring the dramatic trio of Marlene Dauden, Eddie Rodriguez and Lolita Rodriguez. Vilma received an early acting recognitions from this film by receiving a FAMAS Nomination for Best Supporting Actress. When Enriquez directed Vilma again, it was a calculated risk that allowed a still young Vilma into a bikini-clad lead role opposite his director himself, Eddie Rodriguez. The film, Nakakahiya, a may-december affair between an older man and a young woman was an entry to 1975 Bacolod City Film Festival. Aside from making the the film a smash hit, Vilma received the festival’s Best Actress. Enriquez will direct Vilma in five more films, the last one was ExWife in 1981 where surprisingly Luis used in film credits his screen name, Eddie Rodriguez. Theri total number of colloborations were seven (Ex-Wife 1981, Halik sa Kamay Halik sa Paa 1979, Hindi Nakakahiya 1976, Ikaw Lamang 1971, Kasalanan Kaya? 1968, Nakakahiya? 1975, Simula ng Walang Katapusan) – RV (READ MORE)