Let Us Count the Ways: Notable citations as an actor…

Nora Aunor

The Filipino actor with the most number of International awards (Cairo ’95, East Asia ’97, Brussels ’04), and nominations (Berlin ’83, Singapore ’97, Cairo ’99, Singapore ’99).

The first Filipino actor to win an International acting award in a Major Film Festival (Cairo ’95 for the movie “The Flor Contemplacion Story”). The first and only Filipino actor to receive an acting nomination from a Top-Tier International Film Festival (Berlin ’83 for the movie “Himala”).

The first Filipino actress to sit as juror in an International Film Festival (Hawaii ’96).

The only Filipino and Asian actress (apart from China’s Gong Li) to be featured by HBO, an American cable network, in a documentary film about the lives and achievements of the world’s greatest actresses (1997).

The Flor Contemplacion Story became the first Filipino movie to win the grand prize in a Major International Film Festival (Cairo ’95).

The Flor Contemplacion Story grossed US$ 3.3 million in its domestic and international exhibitions, making it one of the highestgrossing films in Philippine history.

The Filipino actor with the most “Best Performer” awards (5). The first Filipino actor ever to win the “Best Performer” award (1978).

The only actress included in the prestigious “Centennial Honor for the Arts” given by the Cultural Center of the Philippines (1999).

The first actress to be honored with the “Ten Outstanding Women in the Nation’s Service” (TOWNS) award (1983).

The youngest recipient of the “Lifetime Achievement Award” given by the Film Academy of the Philippines (1993).

The only actor that won three successive best actress awards on Film Academy of the Philippines for years 1989,1990,1991.

The only actor that has won seven MMFF best actress awards, thus dubbed as Film Fest Queen.

The first actress to be crowned as the ” Box Office Queen of Phil. Cinema.”

Himala was the first and only Filipino film ever to qualify in the Competition Section of the Berlin International Film Festival (1983).

Bona was cited as one of “The Best 100 Films in the World” by the Museum of Tolerance in Los Angeles, USA (1997).

Chosen by Gawad Urian as Best Actress of the decade for 80’s and 90’s.

Considered by people masses and critics and contemporaries as Philippine cinema’s greatest thespian and major icon of century.

Named the Philippine’s Best Actress of All Time by S Magazine in 2006.

Vilma Santos

One of the two highest paid actresses in the Philippines The Longest-reigning Box-office Queen and Dramatic Actress.

The only Filipino actor who is both successful in movies and politics.

The most awarded Filipino actor and politician ever, with 70 plus acting awards and countless public service awards.

The only Filipino actor who is awarded the Honoris Causa, PhD degree in Humanities for her contributions to film and public service.

The only Filipino actor who has two best foreign language picture entries for Oscar consideration (Anak and Dekada ’70).

The only Actor with the highest grossing film as of 2000 for the movie Anak, only to be eclipsed by Ang Tanging Ina.

The only Filipino actor who has won a best child actress trophy, a best supporting trophy and the most best actress awards.

The only Filipino actor with the most Lifetime Achievement for Film given by the FAMAS, FAP, and twice from the CineManila International film festival.

The first Filipino film practitioner awardee by the prestigious U.P. Gawad Plaridel in 2005, beating Mike De Leon and Eddie Romero in the final deliberation, and eliminating her chief rival in the first deliberation.

The sole actress to be awarded by the First U.P. Diwata Awards by the U.P. Film Insitute for an exemplary acting career.

The youngest recipient of the FAMAS Hall of Fame for winning best actress five times. The only actress with the most Circle of Excellence awards from the FAMAS.

The only Filipino actor who is a Grand slam winner four times, a record, and the first Grand slam winner for a single performance, a record.

The only Filipino Actor recipient of Body of Work Award from the defunct Let’s Talk Movies for her 1982 film output, including her grand slam movie Relasyon.

The only actor who has two Golden Grand slams, for winning locally and internationally for Bata-bata (Brussels), a total of 7 awards and Dekada ’70 (CineManila), with a record 9 awards.

The movie Bata-bata also won the Special Jury award and a best actress finalist nomination for Vilma at the 44th Asia-Pacific Film Festival in 1999.

The movie Dekada ’70 also won the NETPAC special jury award at the 2003 CineManila Film Festival.

The only Filipino actor who has a record nine acting awards for a single performance, 8 locally, including a grand slam, and one internationally, for Dekada ’70.

The only Filipino actor who has a record 9 Urian trophies, the most Urian best actress trophies (8) and producer for 1978 best picture Pagputi ng Uwak.

The only Filipino actor who has a record six PMPC Star best actress awards. The only actor who has won at the Urian three years in a row.

The only actor with the most best picture awards at the Urian, seven in all, including Pagputi ng Uwak which she produced; the film also won best picture at the FAMAS.

The first Filipino actor to be featured in the Time Magazine, for Burlesk Queen in 1977. She is the only actress who has worked with the following award-winning Filipino directors. Aside from Lino Brocka and Ishmael Bernal, Vilma was directed by Celso Ad Castillo (Burlesk Queen, Pagputi ng Uwak, Pagitim ng Tagak), Gil M. Portes (Miss X, Never Ever Say Goodbye), Danny Zialcita (Langis at Tubig, Karma, Gaano Kadalas ang Minsan, T-bird at Ako), Mike de Leon (Sister Stella L), Marilou Diaz Abaya (Alyas Baby Tsina, Minsan Pa Nating Hagkan ang Nakaraan), Laurice Guillen (Kapag Langit ang Humatol, Ipagpatawad Mo, Dolzura Cortez Story), Maryo J. de los Reyes (Tagos ng Dugo, Sinungaling Mong Puso), Chito Roño (Ikaw Lamang, Bata, Bata Paano Ka Ginawa?, Dekada 70), Jose Javier Reyes (Nagiisang Bituin), Rory Quintos (Anak), by Joel Lamangan in Mano Po 3 and Olivia Lamasan (In My Life, Regalo). The only actress who played Darna four times – Lipad, Darna, Lipad and the Giants, Darna vs. the Planet woman, Darna at Ding.

The only Filipino actress who won the first Pinoy Animation Awards for Darna.

The only actor who was called Filipino Cinematic Diva by Variety Magazine. Sole winner of the first U.P. Diwata Award for Film.

The only actress cited by the U.P. Film Institute as the Premier Actress of the Philippines.

Child star Vilma co-starred in the 1967 Hollywood-produced war-action-drama movie made for television ’The Longest Hundred Miles’. It also starred Americans Doug McClure, Katharine Ross, Ricardo Montalban, and Filipino veteran actors Vic Silayan, Ronald Remy and Berting Labra.

Chosen by Gawad Urian as Best Actress of the decade for 80’s and 90’s. The first best actress winner as chosen by her peers (FAP) for the movie Relasyon in 1983.

2004 – PMPC Star Dekada Award (Body of Works). 2005 Lifetime Centennial Feminist Award.

2005 Gawad Suri Award for Exemplary Film Practitioner and Public Servant.
Declared the Actress-Politician of the Year – PEN.

Declared the All-Time Favorite Actress – Guillermo Memorial Foundation.

In Ricky Lo’s documented article on 8/19/99, (Vilma Santos, Armida Siguion-Reyna, Jurors in Chicago Intl. Film Festival), the Chicago Filmfest bigwigs have described Vilma as “the Meryl Streep of the Philippines” in the invitation. Respected journalist and Manunuri member Butch Francisco confirms the moniker in his 11/3/05 article My Favorite Vilma Santos Films: “With Dekada ’70, I dare say that, yes, she has finally become the equivalent of Meryl Streep of Philippine cinema.” (see Meryl Streep AFI citation for Meryl Streep). Vilma Santos’ movies competed at the Venice Film Festival in 1985 (Sister Stella L), Brussels (Bata-bata) in 1999, Asia-Pacific Film Festival, 1999 and Dekada ’70, 2003 at the CineManila Film Festival. Dekada 70 was exhibited in Cannes and Brussels International Film Festival (not the independent film festival where both Nora and Vilma won).

Meryl Streep and Vilma Santos – a comparison – To be called the Meryl Streep of the Philippines is an honor and a responsibility for Vilma Santos, as Ms. Sreep is the U.S’ most decorated and versatile actress, just like Ate Vi. For perspective, here are Ms. Streep’s citation as honoree of the AFI Life Achievement Award and Ms. Santos’ citation as the U.P. Gawad Plaridel and U.P Diwata awardee for film. These citations alone prove that Meryl Streep is the America’s Greatest Actress and Vilma Santos is the Philippines Best Actress of All Time.

The Achievements of Ms. Meryl Streep – The trustees of the American Film Institute have selected Meryl Streep to receive AFI’s 32nd Life Achievement Award. Meryl Streep is like no other. She’s authentic yet ethereal. Self-possessed yet vulnerable. Intellectual yet instinctive. And she deftly combines these disparate qualities onscreen in a way that has made her a cinematic icon. Meryl Streep has presence, resonating with both audiences and critics for the past 26 years. Beginning with THE DEER HUNTER in 1978-just her second film-Streep has been nominated for 13 Academy Awards, more than any other actor in history. She was named Best Supporting Actress for KRAMER VS. KRAMER in 1980 and Best Actress for SOPHIE’S CHOICE in 1983. No matter the character, Streep’s work is suffused with dignity and decency. She makes us believe. Which is no small thing, considering most actors find it difficult to separate their public persona from their onscreen portrayals. But Meryl Streep is not like most other actors. Her sense of self and understanding of those she is portraying result in realistic characters, regardless of their nationalities, ethnicities or physicalities. The breadth of her talent seems limitless. No matter what the challenge, Streep commits fully, serving as the anchor in each of her films. She sings (SILKWOOD, IRONWEED, POSTCARDS FROM THE EDGE), dances (DEATH BECOMES HER), even plays violin (MUSIC OF THE HEART). And these extraordinary abilities are matched by her astounding facility for dialects. From Polish (SOPHIE’S CHOICE) to Australian (A CRY IN THE DARK) to Danish (OUT OF AFRICA), Streep’s flawless vocal transformations imbue each role with a wealth of knowledge and experience, an innate understanding of life’s foibles, blessings and mysteries. While making it all look effortless. Yet she calls this gift the “auto mechanics” of her craft, preferring to focus on the complete person rather than on any one characteristic. Streep’s most challenging role-as wife and mother-informs her career choices, both geographically and emotionally.

Early in her career, she insisted she’d never give up theater, her first love. But being home for dinner and schoolwork with her four children is a top priority. So the stage must wait. That maternal instinct is apparent onscreen as well. While the mothers she plays may not always be perfect, she brings a humanity to even the most troubled relationships. We’re both repelled by and understanding of her decision to leave her little boy in KRAMER VS. KRAMER. We see the fierce love lying just beneath the surface as she battles with her rebellious teenage son in MARVIN’S ROOM. And, we respect her decision to live with a philandering husbandand accept the scorn of her daughter-in order to keep her family together in ONE TRUE THING. An outspoken advocate for women, Streep is active in Equality Now, working for women’s human rights around the world. She also fights for equal pay, in her own profession as well as in public education-an arena she knows well, since her children have gone on location with her to Africa, England, Australia, Texas, California, New York and Connecticut. And she continues to take on new artistic challenges. In 2002, she starred in both THE HOURS and ADAPTATION, earning an Oscar nomination for the latter. Earlier this year, she played four different characters in HBO’s ANGELS IN AMERICA, including her first male role, an aged rabbi. American cinema has been graced by the presence of Meryl Streep. With a poise and eloquence all her own, Streep has continued to astonish audiences with her range of characters. Because of her unparalleled talent and integrity, the American Film Institute is honored to present Meryl Streep with AFI’s 32nd Life Achievement Award.

U.P. Gawad Plaridel Citation to Ms. Rosa Vilma Santos: For crafting and creating her varied cinematic roles with consummate artistry, making us empathize with whatever character she is portraying by delineating for us the character’s history, problems and aspirations, in dynamic interaction with the film’s ensemble of other characters; For bravely using her popularity as an actor to choose roles which bring to the public attention an astounding range of female experiences as well as an array of problems confronting women of different classes and sectors in contemporary Filipino society, even if these experiences or problems would not only enhance but could detract from her mass appeal; For bringing to life on screen characters whose stories have the effect of raising or transforming the consciousness of women, leading them a few steps closer to a deeper understanding of their situation vis-a-vis the patriarchy and to the ability to control their own lives and make choices of their own; For courageously playing maverick characters which dared to speak the truth in a period of intense political repression and reprisal, thereby showing a concern not for her own self but for a Filipino society fighting for basic human rights under a dictatorial regime; For building a brilliant career which saw her grow from popular icon to professional actor through self-discipline and tireless honing of her craft, thereby challenging writers, directors and producers to come up with films that would be worthy of her artistic resources and repaying their efforts with some of the most unforgettable performances in Filipino cinema; For showing that the movie star can place the stamp of her own individuality and talent on the films she chooses to make, thereby proving that the star can be regarded as an auteur in her own right; For excellence, integrity and social responsibility which have distinguished her major performances, and for being a model of professionalism to other actors and technicians engaged in the creation of a Filipino national cinema; The U.P. Gawad Plaridel 2005 is given to Rosa Vilma Santos on the 4th of July 2005 by the U.P. College of Mass Communication at the Cine Adarna, U.P. Film Institute, University of the Philippines, Diliman, Quezon City. Emerlinda R Roman, Ph.D.; President, University of the Philippines; Sergio S Cao, Ph. D, Chancellor, U.P. Diliman; Nicanor G. Tiongson, Ph.D. Dean, U.P. College of Mass Communication

Gawad Plaridel – Vilma outgrew her hysterical acting through the years – This article will prove that Vilma is a better actress than Nora in terms of range and versatility which the late Charito Solis explained in her choice of Vilma as the better actress than Nora. Whereas before Vilma was identified with hysterical acting and Nora the subdued one, the tables have turned to Vilma’s favor, as she grew as an actress. This is also, I believe what actress Elizabeth Oropesa meant when she said that Vilma is a better actress than Nora because she felt that Nora seemed to get stuck somewhere, she did not grow with her acting style. Here’s a reprint of my article. Nestor Torre, Mario Bautista, Ricky Lo. Butch Francisco, What do these four journalists have in common? They are all household names in Philippine media. Educated, respected, credible and outstanding in what they do best: chroniclers/ historians of the Philippine entertainment industry. Except for Lo, Torre, Bautista and Francisco are once upon a time Manunuri members who sat through long hours of movie viewing, criticism, debating, and selection/votation of the creme de la crème in movies. The youngest in the above dream team of tabloid writers, and possibly still active as a Manunuri member, Butch Francisco, like Nestor Torre and Mario Bautista calls a spade a spade especially in their critique of a movies’ strengths and weaknesses.

All three are generous with their praise of both Vilma Santos and Nora Aunor, still the actresses to beat in the annual awards derbies and still the topic of heated debates amongst the rabid of cineastes who are as partisan as the Republicans and the Democrats of America’s political landscape. However, statistics show that the momentum of positive media mileage and attention is on Vilma Santos as the chasm between the two rivals is as far as the East is from the West, as Vilma triumphs in her dual careers as actress and politician. When Nora Aunor was chosen as a CCP Centennial Awardee in 1999 during former President Erap’s aborted term, especially after her back to back wins as international best actress for Flor Contemplacion and Bakit May Kahapon Pa, and her acclaimed performances on the legitimate stage, it seemed that the National Artist award was within Nora’s reach. At the prestigious academe-based U.P. Gawad Plaridel Award for Film, the precursor or litmus test of the National Artist Award, Vilma Santos was crowned the winner, and in less than a year was the lone actress winner for another U.P. System award for excellence in Film Acting, the Diwata Award. Talk of major twin bill triumphs for the two-time international best actress, at the height of her successful third term as a well-respected and admired Lipa city mayor.

Flash forward to 2006 and still the Philippines’ “alleged” Highest Honor for an Artist eluded La Aunor, who was overlooked, along with fellow nominee Vilma Santos and others, in favor of the eventual winner, the late Fernando Poe, Jr. In between the periods of reversals of fortune for the revered actresses, there is Mr. Butch Francisco who, like Yin and Yang, does a balancing act of extolling the virtues of her equally favorite actresses, zeroing in on their best performances, at least in his mind. Butch’s appraisal of his favorite “best performances” by the Philippines’ elite group of fine actresses really narrows down, to, oh well who else, Vilma (where he listed 12 best performances) and Nora (where he chose the superstar’s 11 best)? One degree of separation. One movie more than Nora. One extra vote for Vilma to break the tie. Was this intentional or subconsciously unintentional? Interestingly, if Butch is asked to pick the winner of the National Artist for Film, or the better actress of the two, all things considered, such as being focused, committed, insightful and versatile, will he be the deciding or dissenting vote, in favor of Vilma? As a bonus, I attached Mr. Francisco’s “My Favorite Vilma Santos Films” as his tribute to her personal friend’s 52nd. birthday last year. Note the consistency of his pattern of choice of his Best Vilma Santos Performances List vis-a-vis My Favorite Vilma Santos Films List, which are really a set of twins. He includes Takbo, Vilma, Dali and Tag-ulan sa Tag-Araw in his Fave Films section, but not Ipagpatawad Mo, which is however mentioned among his Fave Best 12 Performances by Vilma Santos Section. Favorite Vilma Santos movies versus favorite Vilma Santos best performances. He really was able to draw the line as can be gleaned in the succeeding paragraphs.

What makes Butch’s paean to his favorite actresses Vilma and Nora through the years is interesting and engaging to read is his flair, objective and balanced treatment approach. Of course, we can read between the lines and make conclusions as to who Butch will really choose as the Best of the Two. In print, he acknowledges the following:

1. Vilma Santos deserves all of her FOUR Grand Slams and EIGHT Urian trophies. Vilma Santos richly deserves her first grand slam win in Relasyon. Translation: Vilma deserves the Urian for Relasyon to Nora’s Himala, Sister Stella L. over ’Merika and Bulaklak and Ipagpatwad Mo over Pacita M. Note however that Nora has beaten Vilma once at the Urian for Andrea, over Vilma’s Kapag Langit ang Humatol.

2. Vilma Santos is also effective with her quiet/subdued/ understated performances such as seen in Pahiram ng Isang Umaga, Ipagpatawad Mo and Dekada ’70, erasing the myth that Vilma is another Charito Solis.

3. Vilma Santos is the equivalent of U.S.’ Meryl Streep.

4. Nora Aunor has tackled difficult roles without straining, especially with the use of her best weapon, her soulful eyes.

5. Both Vilma and Nora are committed artists, who have delivered powerful, sterling and well-deserved winning performances.

6. It took a while before Vilma was recognized as a serious actress but with her talent and dedication to her craft, she delivered some of the most sterling performances ever recorded in Philippine cinema.

7. I concur with the U,P. Gawad Plaridel committee (with a strong Manunuri vote) in choosing Vilma Santos as its first awardee for film acting.

In print, he acknowledges that Nora Aunor: In Fe, Esperanza, Caridad – The Superstar was fortunate to have been directed by the master himself (Gerry de Leon) in an episode of this trilogy (Caridad). That early in her career, Aunor already gives an impressive performance, except that the public and the critics didn’t take her that seriously yet as an actress. Minsa’y Isang Gamu-gamo – Her “My brother is not a pig” dialogue (now a staple in many gay impersonators’ acts) may have been overly cinematic, but Aunor gives a consistently good performance in this daring film that exposes the abuses committed against Filipinos by the American bases in the country in those days. Tatlong Taong Walang Diyos – This is what I call a truly sterling performance. A very difficult role – as a war victim who suffers in the hands of fellow Filipinos at the end of the Japanese interlude – Aunor gives justice to this very memorable screen character. She won an Urian and a FAMAs for this film – and was she truly deserving of those acting trophies. Bona – As the loyal fan of a bit player (Phillip Salvador), Aunor’s performance here haunts the viewers even years after the exhibition of this film. She tied for Best Actress with Gina Alajar in the Gawad Urian the year (1980) Bona was released. Himala – She could have won a grand-slam for playing the visionary Elsa in this Bernal masterpiece (she was voted Best Actress in the Metro Filmfest), but Vilma Santos edged her out as Best Actress of the Year for Relasyon. Bulaklak sa City Jail – Although she is surrounded by other great talents in this film (Celia Rodriguez, Perla Bautista, Mitch Valdes, Maritess Gutierrez and the late Zeneida Amador), Aunor doesn’t allow herself to get eclipsed even for a minute. Bilangin ang Bituin sa Langit – One of the most difficult roles given to a local actress – she ages from teener to that of an old lady and even plays another character in the same movie – Aunor is consistently focused on her characterization in this film and is rewarded with a whole slew of acting trophies for it. Andrea, Paano Ba ang Maging Isang Ina? – It was a tough competition among actresses that year (1990), but the Superstar showed them who was best by winning in the Metro Filmfest and in the Gawad Urian. The Flor Contemplacion Story – No matter how gay impersonators trivialize her “I did not kill anybody!” line, you cannot deny that Aunor is superb in this film that dramatizes the real-life story of a domestic helper accused of a crime and hanged in Singapore. Bakit May Kahapon Pa? – A truly powerful performance that helps conveys the strong socio-political statement of the film. Sidhi — She doesn’t speak a word here, but you feel her presence all over the film. It’s a difficult role, but Aunor is excellent as always and utilizes her greatest acting weapon: her pair of soulful eyes.

In print, he acknowledges that Vilma Santos: In Trudis Liit – She is so convincing here as an abused child that when I see it now I tend to forget that this kid grew up to be one of the country’s greatest actresses, respected politician and personal friend. Ging – I think she delivers an even better performance in this film where she plays an exploited child performer. Burlesk Queen – This will always be the turning point of her career. Pakawalan Mo Ako – Her material here may be frowned on by the really serious film reviewers, but there’s no denying that she rises above the material and gives an inspired performance. Relasyon – She richly deserves her first grand-slam win for this film. Sister Stella L. – You see here how her character develops from a nun who is content with convent life to that of a concerned street parliamentarian. Adultery – An underrated performance that should have won for her another acting trophy. Sadly, it was released in the same year as Sister Stella L. and was totally eclipsed. Pahiram ng Isang Umaga – The fact that she agreed to do this film where she dies already deserves a lot of commendation. But Vilma being Vilma she gives another worthy performance that brought her the fourth of her eight Urian trophies. Ipagpatawad Mo – Another understated performance that only she can deliver. Dahil Mahal Kita (The Dolzura Cortez Story) – Another daring role (that of an AIDS victim) that gave her another well-deserved grand-slam win (her second). Bata, Bata, Paano Ka Ginawa? – A landmark performance in the history of Philippine Cinema. She earns her third grand-slam for this. Dekada ’70 – She remains quiet in most of the film, but her silence is so overpowering that you feel her presence all over. She is rightfully rewarded with a fourth round of grand-slam win.

What their peers say about Vilma (and Nora):

“Naging idolo ko ho siya. Siya ang pinangarap ko noong bata pa ako.” – Nora Aunor

“You really are great. I know you deserve more.” – Fernando Poe, Jr.

“She’s an actress of consummate artistry.” – Eddie Garcia

“As an actress, she registers like water. How a director would feel about her at the moment is that he can do anything with her now. She has become so supple that his tendency would be to challenge her still further, make her come up still higher, open up more doors. She can give you so much more now.” – Lino Brocka

“I’m willing to be paid installment sa talent fee ko, makasama ko lang ang isang Vilma Santos.” – Sharon Cuneta

“Vilma is an actress who can compare with the top caliber actresses of Hollywood. She is an epitome of a real queen of Philippine cinema. I really look up to her.” – Lea Salonga

“Vilma is a better actress than Nora. Vilma has a wider range as an actress while Nora is limited and typecast in certain roles. Si Vilma, puede kahit anong role, kahit bold. You can’t imagine Nora doing a bold role, can you?. BUT Nora has more depth than Vilma, and it’s because of her expressive eyes. Nora is very effective in scenes where she doesn’t say anything, just act with her eyes, at ‘yan ang kulang ni Vilma. Vilma has to say something to be effective.” – Charito Solis

“There must be something more to this Vilma Santos who everyone acclaims as the great actress… She will achieve all these dreams because she is a woman for all seasons. I love you, Vi.” – Ms. Marichu Vera-Perez

“In Ikaw ay Akin Vilma was already conscious of her own particular style of acting, which can be described as minimal: less is more. The fewer and simpler the gestures, the greater the effect. The stripped style won her a grand slam when she did Relasyon with Bernie, which he rates as her most memorable film. It got her all the awards on the market. In Relasyon Vilma made the character of a mistress very human and sympathetic, not just a contravida. Her next film, Broken Marriage, set another trend for her; the role of a modern urban working girl, as sophisticated as her Makati office and her personal problems. Her fans are growing up and Vilma’s image is becoming more and more complicated. But it was in the last film we did together, 1988’s Pahiram ng Isang Umaga, that I noticed the big change in Vilma. She had become an artist. She was no longer just a movie star following the director’s instructions. She was very hyper, very high, eager to experiment: a cooperative and mature actress. She had studied the script in advance and she had sensible suggestions about it. I felt I was no longer working with a movie star but that she and I were two artists collaborating on an objective statement about life and death and human relationships.” – Ishmael Bernal

“Hindi pa ako artista, sa Tundo pa lamang kami, paborito ko na si Vilma. Beauty na, ang galing pang umarte.” – Amy Austria

“A damn good actress!” – Gil M. Portes

“Mai-direct ko lang si Vilma Santos ay pwede na akong mag retire.” – Jerry Lopez Sineneng

“Vilma is a better actress than Nora. Nora did not grow. Na-stuck lang siya.” – Elizabeth Oropesa – Mario O. Garces, Vilma & Nora, Rivalry No More, Special Issue Magazine, 2006

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Sino ba talaga ang mas mahusay umarte, si Vilma o si Nora?
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Vilma-Nora Then, Nora-Vilma Now (Repost)
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About “Larawan” and Nick Joaquin
T-Bird at Ako (1982) (Video)

Conclusion

By The Numbers: – Vilma Santos versus Nora Aunor

Here’s the ranking of the top 15 Greatest Filipino Actresses Ever (S Mag, 2006 survey):
1. Nora Aunor – 85 votes
2. Vilma Santos – 82 votes
3. Lolita Rodriguez – 57 votes
4. Charito Solis – 52 votes
5. Hilda Koronel – 50 votes
6. Gloria Romero – 45 votes
7. Nida Blanca – 40 votes
8. Jaclyn Jose – 40 votes
9. Gina Alajar – 40 votes
10. Sharon Cuneta – 37 votes
11. Maricel Soriano – 32 votes
12. Lorna Tolentino – 30 votes
13. Amy Austria – 25 votes
14. Rita Gomez – 23 votes
15. Cherry Pie Picache – 20 votes

Film Awards and Citations – Nora Aunor: Best Actress unless otherwise noted

Film Festival – International Best Actress
1. Cairo International Film Festival – 1995 – The Flor Contemplacion Story
2. East Asia Film and Television Award – 1997 – Bakit May Kahapon Pa?
3. Brussels Festival of Independent Films – 2004 – Naglalayag

Film Festival – Philippines Best Actress
1. 1978 Metro Manila Film Festival – Atsay (Best Performer)
2. 1979 Metro Manila Film Festival – Ina Ka Ng Anak Mo
3. 1982 Metro Manila Film Festival – Himala
4. 1984 Metro Manila Film Festival – Bulaklak sa City Jail
5. 1990 Metro Manila Film Festival – Andrea, Paano ang Maging Isang Ina
6. 1991 Metro Manila Film Festival – Ang Totoong Buhay ni Pacita M.
7. 1992 Metro Manila Film Festival – Gawad ng Natatanging Pagkilala
8. 1995 Metro Manila Film Festival – Muling Umawit ang Puso
9. 2004 Manila Film Festival – Naglalayag
10. 1972 Quezon City Film Festival – And God Smiled at Me
11. 1975 Bacolod Film Festival (?) – Banaue (Grand Buglas Award)
12. 1976 Davao City Film Festival – Ibilanggo Si Neneng Magtanggol

Philippines – Gawad Urian Best Actress
1. 1976 – Tatlong Taong Walang Diyos
2. 1980 – Bona
3. 1989 – Bilangin ang Bituin sa Langit
4. 1991 – Best Actress of the Decade (1980s)
5. 1990 – Andrea, Paano ang Maging Isang Ina
6. 1995 – The Flor Contemplacion Story
7. 1996 – Bakit May Kahapon Pa
8. 2001 – Best Actress of the Decade (1990s)

Philippines – FAMAS Best Actress
1. 1976 – Tatlong Taong Walang Diyos
2. 1979 – Ina Ka ng Anak Mo
3. 1984 – Bulaklak sa City Jail
4. 1989 – Bilangin ang Bituin sa Langit
5. 1990 – Andrea, Paano ang Maging Isang Ina
6. 1991 – Hall of Fame Award
7. 1996 – Circle of Excellence Award

Philippines – Star Awards Best Actress
1. 1984 – ’Merika
2. 1990 – Andrea, Paano ang Maging Isang Ina
3. 1991 – Ang Totoong Buhay ni Pacita M.
4. 1994 – Star of the Decade (1980s)
5. 1995 – The Flor Contemplacion Story
6. 2004 – Best Actress of the Decade (1990s)

Philippines – Film Academy of the Philippines Best Actress
1. 1989 – Bilangin ang Bituin sa Langit
2. 1990 – Andrea, Paano ang Maging Isang Ina
3. 1991 – Ang Totoong Buhay ni Pacita M.
4. 1993 – Lifetime Achievement Award
5. 1995 – The Flor Contemplacion Story

Philippines – Catholic Mass Media Awards Best Actress
1. 1981 – Bakit Bughaw ang Langit
2. 1984 – Bulaklak sa City Jail

Philippines – Young Critics Circle Best Actress
1. 1990 – Andrea, Paano Ba Maging Isang Ina (Best Performer)
2. 1991 – Ang Totoong Buhay ni Pacita M. (Best Performer)
3. 1993 – Inay (Best Performer)
4. 1995 – The Flor Contemplacion Story (Best Performer)

Philippines – Pasado Best Actress
1. 2004 – Naglalayag

Philippines – Gawad Tanglaw Best Actress
1. 2004 – Naglalayag

Philippines – Kritika Best Actress
1. 1991 – Ang Totoong Buhay Ni Pacita M.

Philippines – Balatca Best Actress
1. 2004 – Naglalayag

Philippines – Ateneo Galian Best Actress
1. 1991 – Ang Totoong Buhay Ni Pacita M.

Philippines – People’s Choice, PPC Publications Best Actress
1. 1995 – The Flor Contemplacion Story
2. 1997 – Babae

Film Awards and Citations – Vilma Santos Best Actress unless otherwise noted

Film Festival – International Best Actress
1. 1999 – Brussels International Film Festival – Bata, Bata…Paano ka Ginawa?
2. 1999 – Asia Pacific Film Festival (Bangkok, Thailand) Special Jury Award for Women’s Awareness – “Bata, Bata…Paano ka Ginawa?”
3. 2002 – CineManila International Film Festival – Dekada ‘70
4. 2002 – Cinemanila Lifetime Achievement Award Centennial Feminist

Film Festival Best Actress – Philippines
1. 1977 Metro Manila Film Festival – Burlesk Queen
2. 1981 Metro Manila Film Festival – Karma
3. 1989 Metro Manila Film Festival – Imortal
4. 2004 Metro Manila Film Festival – Mano Po 3: My Love
5. 1981 Cebu City Film Festival – for Karma
6. 1975 Bacolod City Film Festival – Nakakahiya?
7. 1993 Manila Film Festival – Dolzura Cortez Story

Philippines – Gawad URIAN Best Actress
1. 1982 – Relasyon
2. 1983 – Broken Marriage
3. 1984 – Sister Stella L.
4. 1989 – Pahiram ng Isang Umaga
5. 1990 – Gawad URIAN AKTRESS ng DEKADA (Body of Works in the 80s)
6. 1991 – Ipagpatawad Mo
7. 1993 – Dolzura Cortez Story
8. 1998 – Bata, Bata…Paano ka Ginawa?
9. 2000 – Gawad URIAN AKTRESS ng DEKADA (Body of Works in the 90s)
10. 2002 – Dekada ‘70

Philippines – FAMAS Best Actress
1. 1963 – Trudis Liit (Child Actress)
2. 1972 – Dama de Noche
3. 1981 – Pakawalan Mo Ako
4. 1982 – Relasyon
5. 1987 – Tagos ng Dugo
6. 1988 – Ibulong Mo sa Diyos
7. 1989 – FAMAS Hall of Fame
8. 1992 – Circle of Excellence Award – Sinungaling Mong Puso
9. 1993 – Circle of Excellence – Dolzura Cortez Story
10. 1998 – FAMAS Lifetime Achievement Award

Philippines – Star Awards Best Actress
1. 1989 – Pahiram ng Isang Umaga
2. 1993 – Dolzura Cortez Story
3. 1998 – Bata, Bata…Paano ka Ginawa?
4. 1999 – Star Special Citation for winning at the Brussels Int’l Film Festival
5. 2000 – Anak
6. 2002 – Dekada ‘70
7. 2004 – Mano Po 3: My Love
8. 2004 – PMPC Star Dekada Award (Body of Works)

Philippines – Film Academy of the Philippines Best Actress
1. 1982 – Relasyon
2. 1993 – Dolzura Cortez Story
3. 1997 – FAP Lifetime Achievement Award
4. 1998 – Bata, Bata…Paano ka Ginawa?
5. 2002 – Dekada ‘70

Philippines – Movie Magazine Awards Best Actress
1. 1987 – Tagos ng Dugo
2. 1989 – Pahiram ng Isang Umaga
3. 1991 – Ipagpatawad Mo
4. 1993 – Dolzura Cortez Story

Philippines – Catholic Mass Media Awards Best Actress
1. 1982 – Relasyon
2. 1987 – Tagos ng Dugo

Philippines – San Beda College Awards Best Actress
1. 1968 – Kasalanan Kaya? (Supporting Role)

Philippines – Let’s Talk Movies Awards Best Actress
1. 1982 – Relasyon (Body of works)

Philippines – Cinemascoop Awards Best Actress
1. 1987 – Tagos ng Dugo

Philippines – Channel 2 Viewers Choice Best Actress
1. 1989 – Imortal

Philippines – Intrigue Magazine Reader’s Choice Best Actress
1. 1991 – Ipagpatawad Mo
2. 1993 – Dolzura Cortez Story

Philippines – New Fame Magazine Reader’s Choice Best Actress
1. 1992 – Sinungaling Mong Puso
2. 1993 – Dolzura Cortez Story

Philippines – Film Desk of the Young Critics Circle Best Actress
1. 1998 – Bata, Bata…Paano ka Ginawa?
2. 2002 – Dekada ‘70

Philippines – Gawad Sineng-Sine PASADO Best Actress
1. 1998 – Bata, Bata…Paano ka Ginawa?
2. 2000 – Anak
3. 2002 – Dekada ‘70

Philippines – Siasi, Jolo Critics Best Actress
1. 1998 – Bata, Bata…Paano ka Ginawa?

Philippines – Gawad TANGLAW Best Actress
1. 2002 – Dekada ‘70
2. 2004 – Mano Po 3: My Love

Philippines – Cinema One’s RAVE Best Actress
2002 – Dekada ’70

Philippines – Critic’s Choice Best Actress
2002 – Best Performer – Dekada ‘70

Philippines – People’s Choice Best Actress
2002 – Best Performer for Dekada ‘70

Philippines – Gawad Suri Best Actress
1. 2004 – Mano Po 3: My Love
2. 2005 – Exemplary Film Practitioner and Public Servant

Philippines – Diwata
1. 2006 UP Lifetime Achievement Award

Philippines – Gawad Plaridel
1. 2005 for Outstanding Media Practitioner for Film

Conclusion: – Is there really anything that Vilma Santos cannot do, except sing (yet she has gold records and a hot-selling CD of her greatest hits), and to act on stage (too busy to say commit to oh so many tempting offers)? Fifty-three year old Vilma Santos’ outstanding record of achievements and awards in her dual career as actress and politician can easily land her in Guinness’ Book of Records. No other Philippine celebrity, male or female, dead or alive, can ever match this petite actress cum mayor’s formidable stature as the Philippines’ most awarded actress and politician. A high school graduate, a non-singer and only five feet tall, and an inexperienced mayor in her first of three successful terms, she practically is a David among the Goliaths such as Nora Aunor, FPJ (SLN), President GMA, Regine Velasquez, Sharon Cuneta, among others. As an actress, she played second fiddle to the CCP Centennial honoree and three-time International Best Actress Nora Aunor, an Urian favorite who would easily beat her in acting jousts via her signature soulful eye acting.

On TV, her then struggling VIP show would avoid competing with Nora’s Superstar to avoid being murdered in the ratings war, the barometer for popularity and advertisers’ nods. It is a different story though in the box-office arena where Vilma was crowned the champion many times over. In the late 70’s, just when people thought she was down and out with her so-so acting and TV careers and losing to her rival in awards nights (remember the 1978 MMFF best performer award?), her messy love life, and her in the red movie company VS Films, Vilma Santos, by some divine intervention, regrouped, took a breather and a crash course in counseling 101 with the industry experts. After soul-searching, making peace with God, listening to the advice of trusted friends, talent inventory, doing research/self- study, experimenting with movie roles and choosing her projects wisely (i.e. astute career management according to Nestor Torre), the New Vilma Santos was born. The rest is now history. Thanks to her Talent, Tenacity and Professionalism, and her many rivals’ complacency and misjudgments in life, Vilma Santos ’streaked’ past them, not easily though but through sheer True Grit. She earned her wings.

When the dust settles, Vilma Santos: Is probably the Philippines’ Best Film Actress. She is also the most awarded actress ever, 70 trophies in all and counting, the latest feat being her Best Single Performance Award from PMPC Star TV awards for her committed, focused, insightful and versatile performance (again, Nestor Torre’s remarks, not mine) in MMK’s Regalo. Her astounding range, equally at home in drama and comedy, earned her the most prestigious awards in the business: U.P. Gawad Plaridel, U.P. Diwata Award, a record 8 Urian best actress trophies, 6 from Star awards, two International Best Actress trophies, National Artist Award nominee, and the People’s Choice Awards (a record 14 movie fan-based magazine best actress awards), proofs that Vilma is both the critics and the paying moviegoers’ choice. Is one of the two highest paid actresses and top commercial product endorsers in the Philippines, along with best friend and soon costar in a Star Cinema project, MegaStar Sharon Cuneta, who, along with millions of Pinoys, including the Youth, look up to Ate Vi as a Positive and Inspiring Role Model. Is the Movie, TV and Stage Producers’ Choice based on published articles from various tabloids/journals.

She has to turn down juicy offers due to her commitments as Lipa city Mayor. Is the most awarded TV personality in the Musical-variety show genre, having won awards for Vilma!, from PMPC Star, CMMA, Dove Awards, among others. (Source: vilmasantos websites) Is the Philippines’ most successful and awarded Mayor ever, with such honors as Honoris Causa, PhD in Humanities, Outstanding Mayor, Unlad Pilipinas Award, Mga Munting Ngiti Award, among others,and even put Lipa city in the world map for winning Internationally for Mga Munting Ngiti project.(source: vilmasantos websites) Is the Longest Reigning Movie and Box-office Queen based on published/website data. Is a winner in the domestic front for helping her children Luis and Ryan excel in what they do, a real bonanza of priceless rewards for balancing parenthood and career, an almost impossible task which Vilma, Mother, accomplished, with aplomb, a Herculean task indeed, serving as Inspiration to all working mothers around the world. A consummate actress, an impassioned and hardworking mayor, a devoted wife and a dutiful mother, and a loyal and sincere friend to her fan base, Vilma Santos is indeed the Woman for All Seasons and Reasons. It’s all up to her. It is really between her and her Creator. We, her fans can only wish her the best, and respect and support her decision all the way, whatever that might be, whether it is politics or showbiz. As Mario Bautista sums up her many accomplishments: Incomparable. After all, either way, Vilma Santos is a Winner. The best is yet to come! – Mario O. Garces, Vilma & Nora, Rivalry No More, Special Issue Magazine, 2006

GO BACK TO PAGE ONE

RELATED READING:
Official Web-site: Vilma Santos Recto
Official Web-site: Nora Aunor ICON
Facebook: Vilma Santos Recto
Facebook: Nora Aunor
IMDB: Nora Aunor
IMDB: Vilma Santos
Wikipedia: Vilma Santos
Wikipedia: Nora Aunor
Superstar Nora Aunor
Star For All Seasons Vilma Santos
Nora Aunor Film Actress
Vilma Santos Film Actress
And God Smiled at Me vs. Dama de Noche
Vilma-Nora Then, Nora-Vilma Now
Will Vilma Santos do a Nora Aunor?

(Or, why Vilma Santos is the better actress than contemporary and competitor Nora Aunor)

Introduction/Goals: This position paper is dedicated to Ms. Vilma Santos and her Vilmanians. I am an avid Vilmanian myself who followed the actress’ career ever since I could remember her in Ging, Dama De Noche, Larawan ng Pag-ibig and up to the present where she is running for Governor of Batangas. As for me, there is no other Actor and Politician like Vilma Santos. She is an Icon, a National Treasure, a Role Model and an Inspiration to all Filipinos for generations. Predicted to win the Batangas gubernatorial on May 14, 2007, talks are rife that she may run for President in 2010, with critic Nestor Torre concurring: Not only will Vilma win in the gubernatorial elections, but — if she does well in the post — she could be a nominee for president in 2010! From the movies to Lipa to Batangas to Malacañang Palace — what a stunning upward trajectory for Vilma! Call her V for endless Victory!

Of course this paper may be biased but I have tried to be as fair and balanced as I could if only to prove, through published historical data, that Vilma is the better actress than Nora, and, may be the Philippines’ best actress of all time. Notice the open ended declaration. Let me explain. As a cineaste and observer, I have no qualifications like Nicanor Tiongson, Nestor Torre, Behn Cervantes, Butch Francisco or Ricky Lo et al to make such a sweeping statement. My job as a Registered Nurse and an accountant on the side, watching, reading and writing about movies, especially about my fave Vilma is a hobby. I also went to various film retrospectives in Metro-Manila of American, French, German, Swedish (Bergman’s my fave director of all time), Japanese and Chinese movies as a serious movie enthusiast would. Prior to my migration to the U.S. in 1984, I have worked part-time with the late Palanca-winning writer Boy Noriega, Jr. (Soltero, Bayan- Bayanan) of the defunct Experimental Cinema of the Philippines as a movie analyst. Boy and I were schoolmates and neighbors. He had good words for Nora, Vilma and Hilda, his favorites. He knew I was a Vilmanian since way back. I did some research for Boy on such topics as Alternative Cinema, Philippine style and helped serve as usher and manned the box-office to sell tickets. In the 1983 Manila International Film Festival, I had a chance to rub elbows with the high and the mighty and watched unforgettable movies like In the Realm of the Senses and the premiere showing of E.T. and Soltero (Jay Ilagan) at the Manila Film Center. Mr. Ed Cabagnot was also a fellow ECP part-time employee. My full time job in Manila was marketing research/brand management in a big firm that marketed cough/cold medicines and skin lotions. I had a chance to promote our products in such TV shows like Eat Bulaga, VIP and Big Ike’s Happening.

I last saw Vilma win her second Urian for Broken Marriage at the Rizal Theater and when she promoted the movie at Eat Bulaga, where coincidentally, Sharon Cuneta was also present to promote Bukas, Luluhod ang Mga Tala. The two had a special bond off camera even then, as in Mutual Admiration and Respect Society. The other reason for the may be is that Nora has appeared live on stage such as DH and Minsa’y Isang Gamu-gamo with documented glowing reviews while Vilma has yet to appear in at least one, as offered by the CCP and the U.P. groups. Unfortunately, much as Vilma wanted to succumb to the lure and challenge of the stage, she had to say no for the moment for obvious reasons. Among the respected film actresses, she seemed to be the only one who had yet to appear on the legitimate stage to complete her acting career resume and to put a closure and defend her enviable titular position as the Premier Actress of the Land (U. P. Film Institute). Non-appearance at the stage does not decrease Vilma’s stature as the finest actress of her generation. It is interesting to note that Vilma’s foray to the stage was when she appeared as Veronica in a CCP Theater Lenten Play in the 70’s directed by Ruben Tizon, Sr. (Batang West Side best supporting actor at an International film festival).

My film appreciation flourished at the State University where I was a business major and began at the elementary when I tagged along with my 11 siblings, from Kuya, Diko, Ate, Ditse, Sanse, Dete and my Father and Mother, to the movies. It was a disparate film noir/genre, depending on who treated me the happiest place on earth, the movie house. From The Ten Commandments to Hitchcock’s Psycho, Ingmar Bergman‘s The Seventh Seal and Wild Strawberries, Julie Andrews’ The Sound of Music, Ian Fleming’s James Bond, to FPJ’s Daniel Barrion, to the tearjerker melodramas of Lolita Rodriguez, the Amalia Fuentes-Susan Roces fisticuff in Tulisan, and of course, the impressive, young Vilma Santos in Larawan ng Pag-ibig. Let it be known though that I have the highest respect for Ms. Aunor as a singer and actress. I’ve also seen some of her finest films including Himala, Ina Ka ng Anak Mo, Bilangin ang Bituin, Bulaklak sa City Jail, Merika, Andrea and Flor Contemplacion. I’ve accompanied my Noranian sister to the superstar’s concerts in Atlantic city in New Jersey, and I was impressed with her golden voice, and those magnetic eyes that sparkle and speak volumes when they look at you. Data source for this paper are the fans’ websites, the Wikipedia websites, the FAMAS, FAP (Luna), Urian websites, various Internet movie database, the U.P. Film Institute website, various movie journals and periodicals, where appropriate. This paper will attempt to debunk the theory that Vilma Santos’ approach to film acting as hysterical, which is a myth, as opposed to Nora Aunor’s natural and gut feel approach. The overall goal is to present, compare and analyze and make conclusions, based on judicious, fair and balanced review of data at hand as to who should be crowned the Philippines’ greatest actress.

Validation of Acting Excellence: – In the Philippines, in the pre-Urian and U.P. Gawad Plaridel era, the FAMAS and the National Artist Award (NAA) were the major validators of the actor/artist’s outstanding film achievements. The FAMAS was patterned after the U.S.’ Oscar annual awardgiving event while the NAA is patterned after the National Endowment of the Arts (NEA). Annually, it gives the National Medal of Arts award. It is an award and title bestowed on selected honorees by the NEA. Ceremoniously given by the President of the United States, it is the highest honor given to an individual artist by the national government on behalf of the people. The award is not restricted to a particular art. It looks like it is similar to the National Artist Award of the Philippines. It could also be akin to the U.P. Gawad Plaridel Award, a National Award, which is the sole award in the University of the Philippines System given to outstanding media practitioners. The Gawad bestows honor on Filipino media practitioners who have excelled in any of the media (print, film, radio, television, and new media) and performed with the highest level of professional integrity in the interest of public service.

The recognition, which comes with a Napoleon Abueva trophy, is given to one practitioner in one medium for each year. The awardee is expected to deliver the Plaridel Lecture which addresses important media issues. In the U.S. there’s also the American Film Institute Life Achievement Award. The highest honor given for a career in film, the AFI Life Achievement Award was established by the AFI Board of Trustees on February 26, 1973. It is presented to a single honoree each year based on the following criteria as mandated through a resolution passed by the AFI Board of Trustees: “The recipient should be one whose talent has in a fundamental way advanced the film art; whose accomplishment has been acknowledged by scholars, critics, professional peers and the general public; and whose work has stood the test of time.” I am adopting/applying the criteria set forth by the U.P. Gawad Plaridel and the AFI Life Achievement Award as my guide in my proposed thesis as they are not only specific about Film Acting/Career but has the least if not nil shade of any politicking that seemed evident in such government-backed projects such as the MMFF, the CCP Centennial Award and the National Artist Award.

The Birth of the Manunuri and other groups – In 1973, the FAMAS was rocked by a terrible scandal. It awarded the first tie in the history of Philippine cinema. The tie was in the Best Actress category, with both Boots Anson-Roa and Vilma Santos sharing the honors. Because a tie was unheard of, the public dissented the vote. Therefore, for the next years, the FAMAS invited film critics to be members of its nominating and awarding committee. These critics left the FAMAS in 1976 to form MPP and subsequently, the Gawad URIAN (Wikipedia). Interestingly, history repeated itself in 1983 when both Eddie Garcia and Fernando Poe, Jr. (SLN) tied for best actor and a three peat occurred in 1984 when both Nora Aunor and Sharon Cuneta tied for best actress. In 1981, the FAMAS’ moniker, “the Philippines’ counterpart of the Oscars,” was finally rescinded by the government when it established the Film Academy of the Philippines (FAP) under Executive Order No. 640-A. The FAP (now called the LUNA Awards) was patterned after the AMPAS of the United States. In addition, other award-giving bodies have sprung up over the years: among the most notable are the Star Awards for Movies of the Philippine Movie Press Club in 1985, the Catholic Mass Media Awards of the Catholic Church, the Gawad Pasado, Gawad Tanglaw, the U.P.Young Critics’ Circle and recently, the Golden Screen Awards of the Entertainment Press (Wikipedia). During the 1980s, the term grand slam became popular. The Philippine grand slam is an unofficial moniker given to an actor or actress who had won the following awards: FAMAS Awards, Gawad Urian, Luna Award in one year. Before 1985, the grand slam awards also included the CMMA, but in the establishment of the Star Awards in 1985, it informally replaced the CMMA in the awards roll for grand slam. The moniker was first earned by Philippine movie queen Vilma Santos when she won the FAMAS, Gawad Urian, CMMA and Luna Awards for her performance in the Ishmael Bernal film Relasyon (Wikipedia). The proliferation of award-giving bodies in the Philippines, however, grew in the 1990s. Various university scholars and other groups have formed their own awards. In addition, breakaway groups from the existing award-giving bodies have made their own awards, too. Because of the sheer number of award-giving bodies in the Philippines, various film insiders have concluded that, indeed, the Philippines is an award-crazed country (Wikipedia).

Acting Standards: – When FAMAS was the sole award-giving body, a win here is like winning an Olympic gold medal: you are declared/baptized a bona fide actor/actress in the real sense of the word, thus the moniker “pang-FAMAS na acting” was born. Looking at the winners list, it seemed that Marlene Dauden, Charito Solis, Eddie Garcia, FPJ and Erap dominated the honor roll of winners. Charito Solis was the first actress Hall of Fame winner for winning best actress five times over, followed by Vilma Santos and Nora Aunor respectively. Had Marlene Dauden stayed behind and continued to make movies, she probably would have been a FAMAS Hall of Famer. Ditto with another great acting legend, Lolita Rodriguez who has two FAMAS best actress trophies under her belt. The “pang-FAMAS” performances that clicked with the jurors as per this writer’s observation were those exemplified by Ms. Solis and Ms. Dauden: hysterical, over the top, excessive use of body language, complete with flared nostrils, piercing eyes, kilometric dialogues and an ample amount of tears to melt the mascara. Ditto with actors Eddie Garcia and company.

Even in the slum scenes, the actors were made to look poor with a dash of charcoal chalk painted in their limbs and torso. The leading actresses looked more Ridiculous – they had make-up on, long fingernails and a Susan Roces hairdo where you could build an egg’s nest. The set background, the story line, dialogues, characterization/internalization/motivation were all incongruent with each other. It was pathetic, albeit hysterical. It was Lolita Rodriguez and occasionally Barbara Perez and Ms. Rita Gomez (SLN), to my recollection, which impressed me the most with their tempered, down to earth performances. Then Lino Brocka (SLN) came, along with the classics Tubog Sa Ginto, Tinimbang Ka Nguni’t Kulang, Tatlo, Dalawa, Isa and Insiang. Not far behind was Ishmael Bernal (Pagdating sa Dulo, Lumapit, Lumayo ang Umaga, Nunal Sa Tubig, Dalawang Pugad, Isang Ibon) and of course Eddie Romero (Ganito Kami Noon), Lupita Kashiwahara (Minsa’y Isang Gamu-gamo), Mario O’Hara (Talong Taong Walang Diyos) and Celso Ad. Castillo (Pagputi ng Uwak) Artists challenged artists and the 70’s renaissance moviemaking gave birth to the Filipino Golden Age of movies since the 50’s. Under the tutelage of Lino Brocka and Mario O’Hara, Nora Aunor (Bona, Tatlong Taong), Hilda Koronel (Insiang) and Lolita Rodriguez (Tinimbang Ka, Tatlo, Dalawa, Isa), were the Critics’ Choices. Nora and Hilda’s movies made waves at the Cannes Film festival where before the pre-Brocka era, Philippine movies were unheard of. Meanwhile, the box-office receipts were in favor of Vilma Santos (Lipad, Darna, Lipad et al) while the critics were raving over Nora and Hilda. How the tables were turned through the years is discussed in another section.

Vilma-Nora-Vilma-Nora-Vilma-Nora – There were/are movie queen rivalries such as those of Glora Romero/Nida Blanca, Susan Roces/Amalia Fuentes, Rosemarie Sonora/Gina Pareno and today’s Judy Ann Santos and Claudine Barretto. BUT none can compare to the legendary and never-ending (?) battle royale of La Santos and La Aunor, Ate Vi and Ate Guy to their fans. It is a very long rivalry that has divided the Philippines and cuts across all sectors, genders, sexual orientation, even the intelligentsia and the literati, the high and the mighty, including Presidents and public officials, and up to the grassroots level, even the fans’ grandchildren and great grandchildren.

Who Is The Better Film Actress? – Before Relasyon (1982) and even after Burlesk Queen (1977), the movie that liberated Vilma from Nora’s shadow and that made the critics began to look at her as a serious actress, Nora Aunor was the Critics’ Darling. She was ‘the standard where her contemporary actresses will be measured.’ She earned this birth right via her quiet performances, where she made use of her soulful eyes that speak volume. She was the Queen of Restraint, in the league of Lolita Rodriguez, her senior counterpart. They were the quiet counterparts of the verbose and volcanic Vilma Santos and Charito Solis. Ms. Aunor could hold you at the palm of her hands with her tour de force performances that wowed local and foreign jurors in such films as Tatlong Taong Walang Diyos, Bona, Himala and Ina Ka Ng Anak Mo (her best performance ever). She was ahead of her time. The critics won over, she would be at the top of the best actress surveys of all time, with Vilma Santos, Lolita Rodriguez, Hilda Koronel, Charito Solis and Gina Alajar trailing her.(DGPI, journal/tabloid data). The Bicolana superstar would send fellow superstar Vilma and others home as she collected trophies from the critics’ groups the Urian and PMPC Star, as fish does water. Her films Himala and Bona were getting rave reviews internationally and she almost won her first international trophy for Himala at the Berlin Film Festival by a mere vote (fans’ website). She was at the top of her game. She could do no wrong. Lupita Kashiwahara (Inquirer): “Nora Aunor will sit down in a chair and you can have 10 different emotions coming out of her. She’s that good. I still honestly believe that she’s one of our national treasures,” she gushes. Vilma Santos, her chief rival both at the box-office and acting supremacy contest, was an also ran, playing second fiddle to the talented singer/actress.

“It does not matter how slowly you go so long as you do not stop.” – Confucius

Nestor Torre elucidates: “In those days, it looked like Nora could do no wrong. Even if she made quickie films, they would win awards over Vilma’s better-executed starrers. After years of this unfair competition, Vilma decided to stop playing the also-ran, and opted to essay the roles that Nora preferred not to do—the other woman, rape victim, burlesque dancer, etc (Inquirer).

Butch Francisco further clarifies: “It took long for Vilma Santos to be recognized as a serious actress. Although she won a major acting award – 1972 FAMAS Best Actress for Dama de Noche (she tied with Boots Anson-Roa) – ahead of Nora Aunor, it was the latter who first became the toast of the critics, the members of the Manunuri ng Pelikulang Pilipino in particular. Unlike Nora Aunor who only has to use her eyes to convey emotions, Vilma’s early performances were often hampered by her soft features and rather thin voice.” (Philippine Star)

The turning point was the 1978 MMFF where Vilma (Rubia Servios) was predicted to win for her more “technically difficult role” says Manunuri Isagani Cruz in his review (Urian anthology, book 1), lost to Nora (Atsay) for the best performer award. Vilma took her biggest defeat to heart. After that fateful night, rumors had it that she was suicidal, inconsolable, depressed and vowed not attend awards ceremonies anymore. The next thing we know, she was up against Nora again in the 1979 MMFF where it was a lopsided affair. Nora, in her best performance in years as a barren wife and daughter to Lolita Rodriguez in Ina Ka ng Anak Mo tied with the other queen of restraint for best actress. Vilma’s tardiness on the set of Modelong Tanso with costar Charito Solis (this was their ill-fated entry to the 1979 MMFF to square off with the Lolita/Nora tandem) irked her Tita Chato big time that on one occasion, as the paparazzi allegedly reported, La Solis brought her best actress trophies on the set and told Vilma: “kaya mong tapatan yang mga trophies na iyan?” True or not, the gesture from a more professional, experienced actress Chato probably was to stir up the 1979 Box-office Queen to straighten her act if she wants to remain on top and beat the competition. The two divas however became close friends and would work together in Vilma’s award-winning films Ipagpatawad Mo and Dolzura Cortez. Ms. Solis’ highest regards for Vilma was revealed when she told the media point blank that “Vilma is a better actress than Nora.” (Ricky Lo, Philippine Star). Meanwhile, Nora continued her winning streak via Bona. Directed by Lino Brocka, the movie was a big hit at the Cannes film festival and earned Nora her second Urian trophy. Vilma remained the box-office queen but the critics’ stamp of approval eluded her. Vilma pondered these things in her heart. She regrouped. She had a career/talent inventory and soul-searching.

“Study the past if you would define the future.” – Confucius

Mr. Torre (Inquirer) continues: Vilma’s “sexy” movies were more suggestive than anything else, but they gave her a new screen persona that made her a distinct movie entity from Nora. Fact is, Nora could also have played sensual characters, but she felt awkward doing so, and Vilma benefited from her reticence. In time, Vilma was also winning acting awards and starring in big hits, so the competition between her and Nora peaked. Then, in the 80s, Nora’s personal problems affected her career, while the more professional Vilma became producers’ actress of choice. Nobody doubted Nora’s talent, but Vilma had talent “and” professionalism, so she soon streaked in front of her archrival. No longer did she compete in areas where she was “dehado,” like singing. Instead, she stressed her dancing ability, sensuality and versatility, and truly came into her own. Mr. Francisco (Philippine Star) concurs: -But through hard work and determination- plus her collaborative efforts with top directors like Ishmael Bernal, Celso Ad Castillo, Lino Brocka and later, Mike de Leon, Laurice Guillen, Marilou Diaz-Abaya and Chito Roño, she became one of the greatest actresses of Philippine cinema.

Vilma may have reached the level of superstardom on a stack of materials with the so-called “commercial appeal,” but along the way, she also chose scripts that tackled social issues and oftentimes was experimental with her roles. The other woman part she portrays in Relasyon may be sympathetic, but in our society the mistress is still the much-hated third party in the break up of most marriages. Vilma, however, risked playing that and in the process was rewarded with the first of her four sets of grand-slam win in the various local award-giving bodies. In Sister Stella L., she plays an activist nun in a picture that doesn’t allow her to have romantic scenes that are rudimentary in most movies. Sister Stella L. may have bombed at the boxoffice, but it is listed among the finest in the history of local films and gave Vilma the third of her eight Urian trophies. But she was most commendable when she decided to accept the films Pahiram ng Isang Umaga and Dahil Mahal Kita (The Dolzura Cortez Story) because fans don’t want their screen idols to die in the movies. During the past six years (when she was already the mayor of Lipa City), she already had the full luxury of accepting only the film projects she fancies.

Actually, she only made four films during this period: Bata, Bata, Paano Ka Ginawa?, Anak, Dekada ‘70 and Mano Po 3: My Love. Except in Mano Po 3, where she is always fashionably dressed, she allows herself to be de-glamorized in her more recent films, at an age when most movie queens would rather be photographed through gauze or any gadget today’s modern technology could provide to erase those tell-tale wrinkles and lines. Fortunately, she always seems to be making the right choices. And the tables have turned. Nick Joaquin reveals Vilma’s secret weapon (Vilma, The Glad Girl): “What’s Vilma’s secret to remain on top?” Ishmael Bernal, who claims to have directed Vilma’s best pictures, believes she has endured because she has physical, emotion and mental endurance. She could work for 24 hours straight without getting tired, without flagging in her acting. There were times when we had to shoot for three or four successive days, getting very little sleep, but there Vilma would be: fresh, enthusiastic, rarin’ to go. Physical endurance is very important to a star. Another thing I noticed was her strong sense of competition. At that time, though of course, she didn’t say so, it was Nora she wanted to beat. Vilma was out to be the bigger star, the better actress. And so she geared her career for a zoom to the top.”

Lino Brocka who directed her in three of her most applauded vehicles: Rubia Servios, Adultery and Hahamakin Lahat tells Nick Joaquin (Vilma, The Glad Girl): “When you work with Vilma,” says Brocka, “you get this feeling of having just emerged from a bath and of being drenched all over with Johnson’s baby cologne. You feel so fresh, so youthful.” He adds that when they first worked together she seemed scared of him. Now he gushes: “Ang sarap niyang katrabaho.” The chief reason, of course, is: “She has matured and grown up as an actress. At this point of her career, she is very good, she is really big. Before, she had a hard time making herself cry, but now how fast she can do it. And she has become sensitive to direction: in that respect she has overtaken Nora.” Brocka says that the sensitivity he noticed at once in Nora Aunor was what he missed when he started directing Vilma. “So I assumed that, as an actress, she was really just second to Nora. But Vilma takes good care of herself not only physically – there’s always this aura about her – but intellectually too: so she grows and develops tremendously. The second time I worked with her, in Adultery, I realized she had become as good as Nora, or better. And by the time of Hahamakin Lahat there was the complete sensibility already – a difference in the way she expressed pain and hurt. Talent was welling out like spring water, and flowing from her most naturally, no longer courtesy of Vicks or whatever.” Flash forward to the present: From all angles such as box-office clout, talent fee, producers’ choice, net worth, longevity, public perception and respect, and successful dual careers, it seems that Vilma has the upperhand.

It is in the Battle for Acting Supremacy that the two are several notches superior vis-a-vis their senior and junior movie queen counterparts. Their very long rivalry as acting divas is characterized by almost hairline, marginal and/or split votes by film scholars and critics and the general public such as the Gore/Bush 2000 Presidential Election results. While occasional, inconclusive surveys would put Nora on the top over second placer Vilma (DGPI, tabloids), National Awards groups such as the National Artist Award and the U.P. Film Institute’s Gawad Plaridel have considered her nomination, with the latter (Gawad Plaridel) crowning her their winner as Outstanding Film Practitioner in 2005.(U.P. Film Institute, various websites) Vilma versus Nora in the major leagues – Head to head stats The thesis is not complete without discussing the two great actresses’ head on collisions in acting jousts where tension almost always ran high during awards nights and with their respective fans standing by their idol win or lose. Sidebar: In women’s tennis history, the most watched and publicized was that of Steffi Graf and Monica Seles.

Overall, (10-5 head to head) Graf ruled over Seles but early on, Seles put Graf over the edge in their classic matches where Seles would dominate/ overpower Graf to rule women’s tennis, until a deranged Graf fan stabbed Seles at the back during a tennis game break. The incident sidelined Seles and derailed her way to replacing Graf as the queen of tennis. Graf took advantage of her absence. In her comeback, Seles could only break Graf in the small leagues but in the grand slams, Graf showed her who’s the boss and went on to win 22 grand slams and has the record of being the longest reigning women’s tennis champion ever, 377 weeks. However, the only major tennis star that Graf did not overpower in single matches was the real queen of women’s tennis (more than 100 tennis championship titles), Martina Navratilova, where, toe to toe, they are deadlocked at 9-9 in their 18 matches face to face. As we review Nora and Vilma’s ‘boxing’ matches for film acting supremacy, will the pattern show a Graf/Seles or a Graf/Navratilova picture? Let’s bring it on(source: fans’ websites).

1972 – Nora (And God Smiled at Me) beats Vilma (Dama De Noche) at the Quezon City Film Festival. Score: Nora, 1; Vilma, 0.

1973 – Vilma (Dama de Noche) tied with Boots Anson-Roa (Tatay na si Erap) to beat Nora (A Gift of Love) at the FAMAS. Score: Vilma, 1; Nora, 0.

1975 – Vilma (Nakakahiya?) clobbered Nora at the Bacolod Film Festival (Banaue) for best actress. It is still a puzzle why Nora’s Best Actress list (NA website) includes the Gawad Buglas award/best picture (Banaue) as a ‘best actress win’)? Score: Vilma, 1; Nora, 0. (See by the numbers secion)

1978 – Nora (Atsay) was the Best Performer, beating Vilma (Rubia Servios) and company. Vilma and Nora (both nominated for Ikaw Ay Akin) lost to Beth Bautista at the Urian. Vilma (Pagputi ng Uwak) and Nora (Atsay) both lost to Susan Roces (Gumising Ka, Maruja!) at the FAMAS. Score: Nora, 1; Vilma, 0.

1979 – Nora and Lolita Rodriguez (Ina Ka ng Anak Mo) clobbered the Vilma/Charito Solis tandem at the MMFF for best actress. Score: Nora, 1; Vilma, 0.

1982 – Vilma single handedly won her first of four Grand slams for Relasyon over Nora (Himala) at the Urian, FAP and the CMMA, and over Nora again (Mga Uod at Rosas) at the FAMAS. Score: Vilma, 4; Nora, 0.

1984 – At the first PMPC Star Awards, Nora (‘Merika , Condemned, Bulaklak sa City Jail) edged Vilma (Sister Stella L. and Aida Macaraeg) for actress of the year. They were the only nominees for best actress. Nora won the most votes for ‘Merika over Vilma’s Stella L. A case of split votes? At the Urian however, Vilma (Sister Stella L.) beats Nora (‘Merika, Bulaklak sa City Jail). Another case of split votes? At the FAMAS, Nora (Bulaklak sa City Jail) and Sharon Cuneta (Dapat Ka Bang Mahalin?) tied to beat Vilma (Sister Stella L.). Score: Nora, 2; Vilma, 1.

1989 – Vilma (Pahiram ng Isang Umaga) bested Nora (Bilangin Ang Mga Bituin Sa Langit) at the PMPC Star Awards, her first of 6 best actress trophies. At the Urian, the rivals tied for best actress for the same movies. Score: Vilma, 2; Nora, 1.

1990 – Nora (Andrea) won over Vilma (Hahamakin Lahat) at the Star Awards and the FAP; over Vilma (Kapag Langit ang Humatol) at the Urian. Score: Nora, 3; Vilma, 0.

1991 – Nora almost had a grand slam for Pacita M. when she won at the FAMAS (Vilma is already a Hall of Famer), and over Vilma (Ipagpatawad Mo) at the FAP and the Star Awards. At the Urian, Vilma (Ipagpatawad Mo) halted Nora’s trip (Pacita M.) to the Grand slams. Score: Nora, 2; Vilma, 1.

1999 – Nora Aunor was the only actress cited in the CCP Centennial Honors for the Arts. No documentation or any proof would show if Vilma Santos was also considered for the award. The CCP, the MMFF and the National Commission for the Arts (which selects the NAA nominees, with the eventual winner to be selected by the President) are all government-run awards bodies. Nora joined actors FPJ and Dolphy for the honors, in what many consider an Erap Circle of Friends who heavily campaigned for his bid for President. Published reports also showed that Erap gave Nora a house as a token of gesture for helping him win the presidency in 1998. He would later be deposed via the Edsa People’s Power and replaced by then Vice President Gloria M. Arroyo for plundering the country’s wealth and is currently under house arrest and awaiting trial. Score: not applicable.

2004 – Nora (Naglalayag) bested Vilma (Mano Po 3) at the PASADO awards, tied with Vilma at the Gawad Tanglaw awards and lost to Vilma at the Star Awards. At the Urian where they were both nominated for Naglalayag and Mano Po 3 respectively, neither one won. Judy Ann Santos (Sabel) went home with the trophy. Nora, 1; Vilma, 1.

2005 – Nora was eliminated during the initial deliberation for the coveted U.P. Gawad Plaridel Award wherein Vilma eventually won over National Artist nominee Mike De Leon and National Artist Awardee Eddie Romero. Score: Vilma, 1; Nora, 0. (See U.P. Gawad Plaridel’s citation for 2005 winner Vilma santos).

2006 – Nora and Vilma were both nominated for the National Artist Award but were eliminated in the first round. FPJ was the eventual winner, who was chosen by sitting President Gloria M. Arroyo over finalists Mike De Leon and Manuel Conde.

Total head-to-head winner: – Vilma, 10, over Nora, 7. Very close indeed. Of course, Nora’s fans will protest as I did not include minor award groups, especially the U.P. YCC where Nora is the favorite in whatever movie she appears in, such as Inay. Interestingly, Nora bested Vilma once while Vilma got more votes than Nora three times at the Urian. At the FAP, Nora shut out Vilma three times to Vilma’s one; at local film festivals, Nora beats Vilma three times to Vilma’s one; they are even at the FAMAS, 1:1; at the Star Awards Nora’s ahead with, 3, Vilma, 1, although at the Star Awards, although overall, Vilma has six to to Nora’s four actress of the year awards; PASADO, Nora, 1, Vilma, 0, although Vilma won there three times (see By the Numbers section). – Mario O. Garces, Vilma & Nora, Rivalry No More, Special Issue Magazine, 2006

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