It has been a long journey for Vilma Santos. In the past six decades as a movie/TV actress, host, and producer, countless fanatics have been enthralled by her brilliance, and her opulent career is now imprinted in the history of Philippine entertainment. In the first episode of a two-part anniversary special titled “Anim Na Dekada… Nag-Iisang Vilma,” she traces her filmography, its nooks and crannies, reliving significant memories in her 60 illustrious years in showbiz. Chatting with the King of Talk Boy Abunda, Vilma revisited the year 1963 when she was 9 years old and her uncle, who was a cameraman in Sampaguita Pictures, asked her to audition for the film “Anak, Ako Ang Iyong Ina” since she loved performing at home during fiestas.
When she went to the studio with her mom, out of curiosity, she lined up for a different film audition where Bella Flores and Boy Alano asked her to dramatically utter the line, “Hindi po, Nanay. Hindi ko po ginawa ‘yun!” She delivered more than what was asked for and that’s how “Trudis Liit” was born. She did both movies at the same time. In 1970, Vilma, or Ate Vi, had 26 films under her belt. It was the era when motion pictures had surface-level characters and plots. Just put a love team on screen, have them act out a plain-sailing story of lovers resolving their quarrel after a serenade, and voila! Vilma said work felt like play at the time, and the best part was fangirling over bigger stars like Susan Roces and Amalia Fuentes in the studio. She also had ‘rakets’ as the 3am finale act in fiestas. “Hindi ko natapos ang pag-aaral ko dahil lang doon,” she opened up. “Ngayon ko na-realize how important education is, na siyang ginagawa ko sa aking mga anak at sa mga tao na pinapaalalahanan ko, ‘Huwag n’yong pababayaan ang inyong pag-aaral.’” From her loveteam era that started with Bobot Mortiz (together, they were pitted against Nora Aunor and Tirso Cruz III), she ventured into suspense and action-packed movies with her name in the title. Producers thought of banking on ‘star value’ to clash with the popularity of ‘bomba films,’ said Vilma, noting that her showbiz rival Nora’s filmography followed the same trajectory. But, what set her apart from her contemporaries was her boldness that illuminated her versatility. She did “Dyesebel” and “Darna” which required a little display of skin. Vilma thinks her fair complexion was one factor that landed her the iconic roles. She became more animated while sharing an anecdote about her flight as Darna, saying the RVM nuns required her to wear body stockings with the Darna bikini. But during the press conference, her manager wanted her to take the stockings off. And she ended up giving in.
She went on to divulge the challenging parts of portraying Darna at a time when filmmaking was very low-tech. Her transformation from Narda to Darna was manually shot, with the camera set up in place as she finishes her makeup. She had to balance on a table while facing an electric fan for wind effect, “Alam mo ba ‘yung pakiramdam ko doon? ‘Pag bangon ko do’n, sumusuka ako sa hirap, sa pagod, at sakit ng ulo ko.” She also had to be suspended from a spinning crane. “Lahat ‘yun dinaanan ko pero at least naging Darna ako.” When she was offered “Tag-ulan Sa Tag-araw,” she was fascinated by the idea of working with Celso Ad Castillo and Christopher de Leon until it dawned on her that the story touches on incest. “Hindi pa ako gano’n ka-keen para pag-aralan ang mga roles. I took that role because it was Celso Ad Castillo.” She collaborated again with the genius director in “Pagputi ng Uwak, Pag-itim ng Tagak” where she was given a three-page script to memorize. Eventually, she had to graduate from girl-next-door roles. And “Burlesk Queen” (1977) was her trial by fire. She had to think a million times before accepting the role, which she did because of the story about a loving daughter taking care of her paralytic father played by the great Leopoldo Salcedo. It was directed by Celso Ad Castillo, who, as he told Vilma, cried for the first time while directing a scene – the dramatic moment between Vilma and Leopoldo as the latter’s character dies.
She was required to dress in a sexy costume and dance erotically in a burlesque theater with a real audience. Four cameras were set up and all she had to do was dance for five minutes. But that’s easier said than done. Vilma backed out four times until her producer promised her a luxury car, which she didn’t get. She gulped alcohol backstage and did her assignment, “Basta kumembot ako nang kumembot. Hindi ko alam ang pinagagagawa ko doon, basta alam ko burleque dancer ako.” And so her star was propelled to greater heights. “After I did that movie, I think it was the turning point, itinuring naman akong parang aktres na.” In 1976, she started producing films With “Mga Rosas Sa Putikan.” “Basta alam ko lang producer ako, manggagaling sa akin ang pera na gagamitin sa shooting. And then, sila na ang bahala kung sinong artista ang kukunin, anong mga eksena, saan ang shooting.” It was followed by “Pagputi Ng Uwak , Pag-itim ng Tagak” where she was paired with Bembol Roco. The film, which was three years in the making, was critically acclaimed but it pushed her into a financial mess, back to zero, caused by mismanagement. She ventured into an unfamiliar territory hoping to add to her income but ended up bankrupt. She faced legal cases and was losing her assets including her house. How she surpassed this ordeal was a testament to her durability as a star and a woman. What she did was finish her slated movies with Regal Entertainment and VIVA Films as she had already asked for the talent fee in advance. Then, she accepted the variety show “Vilma!” just to make ends meet, even if she had to sacrifice her Sundays meant for family day. Therefore, without her noticing, her family life started to suffer.
In the next gap, Vilma shared her experiences with the finest, most iconic directors who sharpened her acting skills, making their styles distinct in her own words. We sensed pride when she talked about working with female filmmakers who sparked her fight for women empowerment. “I’m very honored na makagawa ng mga pelikula na ipinakita kung gaano kalakas at anong karapatan meron ang isang babae,” she expressed, pertaining to “Bata, Bata Paano Ka Ginawa” (1998); “Alyas Baby Tsina” (1984); “Dahil Mahal Kita: The Dolzura Cortez Story” (1993), the first Filipino movie about AIDS; “Ipagpatawad Mo” (1991), the first film to tackle autism, and “Relasyon” (1982) where she played a mistress. In the context of style, she described Olivia Lamasa as strict, meticulous, and has a very strong personality. Laurice Guillen is quiet, simple but intelligent and she is clear about her vision such as in “Dahil Mahal Kita: The Dolzura Cortez Story” where she aimed to paint a woman’s strength. She thought of Marilou Diaz-Abaya as technical and very specific about blocking. She’ll never get tired of saying that Celso Ad Castillo was a genius.
It was Lino Brocka who taught her the power of eye expression in that he would ask her to just look in a specific direction when uttering her lines. He was also very specific about which point Vilma’s tear must drop, and he demonstrates his required acting. ishmael Bernal was one of the most casual directors she worked with. He wanted scenes to appear as natural as possible, in which the character does many things at once. Vilma found “malambing” the perfect word to remember Eddie Garcia. But when he’s on the director’s chair, he becomes so strict and perfectionist he packed up a taping just because the production team forgot to put napkins on a table setup. Danny Zialcita was the “anything goes” type of a director. Without the traditional script, he would think of dialogues (the casual, the better) on the spot and write it down on a cigarette pack. “Siya lang ang direktor na nakakaalam kung ano ang gusto niya sa pelikula niya. At kaya niyang gawin ‘yun sa sarili niyang editing kaya hindi niya kailangan ‘yung sequence.” He was so laidback he can film in his own house. When asked if she was ever shouted at by a director, Vilma admitted she had an ‘unprofessional’ phase as well, making up excuses to cancel shoots just because she wasn’t in the mood. In modern lexicon, it’s a feeling of burnout, and it was because she started working young. As she matures in the industry, Vilma got more aware of the hard work and sacrifices of people working behind the cameras. And that’s when she realized the value of professionalism.
In the audience were people who took part in the molding of her career. There was Jeffrey Jeturian, who first worked with Vilma as a production assistant in “Alyas Baby Tsina,” then, became her director in “Ekstra” (2013). Jeffrey related that they finished “Ekstra” within 12 days, which was miraculous as Vilma’s films typically take months to finish due to her busy schedule as a public servant. She almost backed out after taping for 24 hours on their first day, so the production had to realign their schedules. For Jeffrey, the Star of All Seasons is the type of actress who does things right even without instructions, which is why directors no longer need to motivate her. Also present was Tony Reyes, who shared anecdotes about Vilma taking on action-packed stunts in “Takbo, Vilma, Dali” (1972); and “Lipad, Darna, Lipad” (1973), the first fantasy movie to feature three villains – Celia Rodriguez, Gloria Romero, and Liza Lorena. The film was also distributed in different parts of Asia. Vilma’s beauty, talent, and brilliance graced television as well. Her variety show “Vilma In Person” or VIP (later Vilma!) garnered 47 percent in viewership, which was one of the highest ratings in Philippine TV history. It was the time when Vilma suffered from a financial ordeal and she wanted to just have a weekly income. Fortunately, the show lasted 15 years. Choreographer Maribeth Bichara boasts about the professionalism and passion Vilma showcased as a performer. “She puts her mind, her heart, and soul into the dance. Napaka-perfectionist.” She has a commanding presence but is always friendly to everyone. According to producer Chit Guerrero, Vilma doesn’t settle for less – from choreography to set design and costumes. Everything must be a perfect fit whenever Vilma performs. Of course, she has to be comfortable to perform well. One time, she was disappointed to find the stage set up like a garden when it was supposed to look like a jungle to match her dance. The production people revamped the stage on the spot. In another episode, her foot got stuck in a cobweb prop, so the dancers had to adlib. Though the viewers surely didn’t notice, Vilma fought to repeat the opening prod in the show’s second gap. Chit had to give in. She further revealed that even when they would have quarrels due to differences in creativity, Vilma would never take it personally.
ABS-CBN Executive Cory Vidanes, who worked as a production assistant for Vilma’s variety show, fondly talked via VTR how she has known her through the years. “She’s a multitalented, excellent artist who remains humble, simple, sincere, and grateful. She has so much love to give everybody. She valued everyone she worked with. Ate Vi was somebody who loved people. She loved her audience. She loves her Vilmanians, that’s why until this day, they continue to support her.” Cory used to assist Vilma in her shoots and recording, writing down the lyrics of her songs on idiot boards. And she is proud to have started her career in production with Vilma, who was the epitome of perfection and excellence. At that point, Tito Boy called in Concert Queen Pops Fernandez to sing “Star For All Seasons,” which was written by Vilmanians as a poem and given music by Louie Ocampo. The Vilmanians also handpicked Pops to interpret the song. As part of the celebration, Kapamilya stars like Regine Velasquez, Jolina Magdangal, Melai Cantiveros, Gary Valenciano, Martin Nievera, and Tirso Cruz III sent in their greetings for the Star For All Seasons. In the second part of Vilma’s anniversary special, she reunites with Christopher de Leon and Claudine Barretto and turns emotional when prompted to talk about her husband Ralph Recto. Plus, we’ll finally discover who baptized Vilma the moniker “Star for All Seasons.” – Liezel dela Cruz, ABS CBN News, 19 Feb 2023 (READ MORE)
‘The Star for All Seasons’ Vilma Santos comes home to ABS-CBN and relives her 60 illustrious years in the industry with the ‘King of Talk’ Boy Abunda in a two-part TV special titled “Anim na Dekada Nag-Iisang Vilma” airingthis Saturday (Feb.18) and Sunday (Feb. 19) on Kapamilya Channel, Kapamilya Online Live, and A2Z. “Nandito ang puso ko. Napakalaki rin ng utang na loob ko sa estasyong ito. Alam na nito ang buong buhay ko. Ang ABS-CBN, pamilya na. Parte na ito ng buhay ko for 60 years. For 60 years, kasama ko ang ABS-CBN,” Vilma said in the TV Patrol interview when asked why she chose ABS-CBN as the platform to produce her special milestone in the industry. In the said celebration, Vilma rekindles her early years in the industry, as well as some of her most memorable roles during this period including “Trudis Liit” in 1963. Viewers will also get a chance to meet the other sides of Vilma through the lenses of herpast leading men, directors, and friends including Christopher de Leon, Claudine Baretto, as well as members of her loyal army of Vilmanians present in the said celebration at the Dolphy Theater. The multi-awarded actress will also share details about her current vocation as a public servant, as well as her private life away from the limelight. The special also includes an exciting talkback segment with stars and leading players who learned important lessons from her. The two-part special will air thisFebruary 18and 19at 8:30 PM to 10:30 PMon Kapamilya Channel, Kapamilya Online Live, Jeepney TV, and A2Z. It will also be aired on a delayed telecast on TV5, 10:30PM and will also be available on ABS-CBN Entertainment’s YouTube channel for seven days. – Manila Bulletin Entertainment (READ MORE)
Knows n’yo ba kung anong pelikula ang nagpatunay at naging “resibo” ng Star For All Seasons na si Vilma Santos para matawag siyang isang tunay na aktres? Nagsimula si Ate Vi sa mundo ng showbiz bilang child star (sa edad na 9) at ngayon ngang 2023 ay ipinagdiriwang na niya ang kanyang ika-60 anibersaryon sa entertainment industry. In fairness, napakarami nang napatunayan ng aktres at dating public servant sa loob ng anim na dekada niya sa mundo ng showbiz pati na rin sa larangan ng politika kaya naman nananatili pa rin ang pagrespeto at pagpapahalaga sa kanya ng madlang pipol. Sa pagse-celebrate niya ng kanyang 60th anniversary sa showbiz ay binalikan ni Ate Vi ang ilan sa mga highlights ng kanyang career bilang aktres at bilang movie icon. Sa anniversary special na inihanda ng ABS-CBN para kay Vilma na may titulong “Anim na Dekada Nag-iisang Vilma,” ibinahagi ni Ate Vi ang ilang “untold stories” sa likod ng kanyang award-winning films. Isa na nga riyan ang pelikulang ginawa niya kung saan kinilala ang kanyang husay sa pag-arte at binansagan pang “real actress” noong mga panahong yun – ang “Burlesk Queen.” Tinanong siya ni Boy Abunda na nagsilbing host ng “Anim na Dekada Nag-iisang Vilma” tungkol sa controversial film niyang “Burlesk Queen” na ipinalabas noong 1977. Ayon kay Ate Vi, ang dati niyang manager na si William Lery ang nag-challenge sa kanya na gumawa ng mga pelikulang hahamon sa kanyang pagiging aktres at hindi lamang basta isang artista. “It’s about time that you take the risk of doing mga controversial films. And show your acting. Kailangan kapag sinabing Vilma Santos, kailangan ang sabihin nila aktres,” ang sabi raw sa kanya ng yumaong talent manager. Nu’ng una raw ay nagdalawang-isip siya kung tatanggapin ang naturang proyekto na idinirek ni Celso Ad Castillo na inilarawan pa niyang “great director.” Parang hindi raw niya kayang magsuot ng super revealing and sexy costume lalo na ang gumawa ng sexy dance number sa harap ng maraming tao. Ngunit nang i-explain na raw sa kanya ni Direk Celso ang magiging karakter niya sa “Burlesk Queen” ay tinanggap na rin niya ito at talagang nilakasan na lamang niya ang kanyang loob sa mga maiinit niyang eksena. At tulad ng inaasahan ng kanyang manager, nabigyan ni Ate Vi nang hustisya ang kanyang role. Sa katunayan, naiyak pa raw si Direk Celso sa dying scene ng tatay ni Chato (Ate Vi) na ginampanan ni Leopoldo Salcedo. For the first time in his career, sabi niya, as a director umiyak siya sa isang eksena. That was the scene with Leopoldo Salcedo,” pagbabahagi ng aktres. “When I did that movie I think I was 21-22 years old. I took the risk. After that movie, that was the turning point, itinuring naman akong parang aktres na. “Parang doon lang ako first time nakarinig na, hindi na pinag-usapan na ka-loveteam ako kundi pinag-usapan na, ‘Vilma Santos, you’re such a good actress!’” sey pa niya.” – Ervin Santiago, Bandera, 20 Feb 2023 (READ MORE)
Nakakatuwang pakinggan ang mga kwento ni Star For All Seasons Vilma Santos sa kanyang anim na dekadang journey sa industriya sa pamamagitan ng isang 2-part TV special na ibinigay sa kanya ng ABS-CBN bilang pagpupugay at selebrasyon sa kanyang 60th anniversary. May titulong Anim na Dekada… Nag-iisang Vilma hosted by Boy Abunda, napanood ang TV special nitong nakaraang Sabado at Linggo. Isa sa mga kwento ni Ate Vi ay kung paano nagkandaubos-ubos ang pera niya nang subukan niyang magtatag ng produksyon (VS Films) at mag-produce ng mga pelikula noong taong 1978. Naka-apat na pelikula raw siya at ang huli nga ay ang award-winning film na Pagputi ng Uwak, Pag-itim ng Tagak na pinagbidahan nila ni Bembol Rocco. Pagbabalik-tanaw ni Ate Vi, nalugi raw siya at nagkaubos-ubos ang pera niya habang ginagawa nila ang Pagputi ng Uwak, Pag-itim ng Tagak dahil three years in the making daw ito. “Naubos ang pera ko, kumuha ako ng pera, nag-advance ako ng pera sa Regal (Films), nag-advance ako ng pera sa Viva (Films) para itaya ko du’n dahil three years in the making nga. “Hindi pa natatapos, wala na akong pera. Utang na ako, utang. Puro utang na. Gagawin ko pa lang ‘yung pelikula sa Regal at sa Viva, wala nang ibabayad sa ‘kin dahil in-advance ko na just for that movie,” kwento ni ate Vi. Pero nang ipalabas nga raw ito sa mga sinehan ay hindi raw ito kumita kaya ang laki ng nalugi sa kanya. “It didn’t make money but it gave me prestige. It gave prestige to my VS Films. Napakaganda kasi nu’ng pelikula, sa totoo lang,” aniya. “Si Bembol Rocco ang leading man du’n. Nu’ng umpisahan namin ‘yung pelikula, may buhok pa si Bembol. Bago matapos ang pelikula, kalbo na si Bembol,” natatawang pagbabalik-tanaw pa ni Vilma.
Isa sa dahilan kung bakit siya nalugi ay mismanagement. Naloko raw siya na iniikot na sa buong probinsiya ang pelikula pero hindi niya alam at hindi na sa kanya napupunta ang kita. “So, ‘yung lahat ng pinagtrabahuhan ko, inutang ko, at the end of the day, bago nalaman ko, ang dami ko na palang utang, may demanda pa ako sa BIR (Bureau of Internal Revenue),” pagre-recall ni Vi. “That was isa sa pinaka-lowest point ng buhay ko. When I was financially back to zero,” patuloy niya. Pati raw ang bahay na tinitirhan niya ay muntik pang makuha ng bangko. Bale ba ay buntis daw siya kay Luis Manzano nang mangyari ‘yun kaya isa rin sa fear niya ay baka hindi na siya tanggapin pa ng mga tao pagkatapos niyang manganak. Pero ipinaubaya na lang daw niya kay Lord at nagdasal na lang daw siya. “Ang sikreto at kaya ako naka-survive, acceptance. Tinanggap ko na ito ang sitwasyon ko ngayon at tatatrabahuhin ko ang mga pelikulang ito na kinuhanan ko ng tigwa-walong pelikula, Viva at Regal, not a single centavo on my palm,” tsika ni Ate Vi. Kaya tinanggap daw niya ang Vilma TV show para naman may pang-araw-araw siyang panggastos dahil ang kinikita niya sa pelikula ay diretso sa bangko para ibayad sa utang. Pero siyempre, nakabawi rin naman siya nang bonggang-bongga later on. Hindi na muling sinubok pa ni Ate Vi ang pagpo-produce lalo pa nga’t nag-focus na rin siya sa politics later on.” – Vinia Vivar – Pang-masa, 20 Feb 2023 (READ MORE)
Politician-actress Vilma Santos-Recto started her career at the age of nine and from then on starred in dozens of films and television shows that etched her name in the annals of entertainment history. As she reached 60 years in the industry, Santos took a trip back memory lane to recall her colorful journey including her firsts and best moments, and her ups and downs as an actress and producer. In an ABS-CBN special dubbed as “Anim na Dekada Nag-iisang Vilma,” the veteran actress, who is dubbed the Star For All Seasons, shared many untold stories about the films and people she worked with in her illustrious career. With tons of movies under her belt, there were several projects that were pivotal in her enduring career in show business – including the film that she felt made her a “real actress.” Among the topics brought up by host Boy Abunda was Santos taking on the controversial film “Burlesk Queen” in 1977, despite being one of showbiz’s most popular at that time. According to the actress, her late manager William Lery challenged her to do projects that would establish her as a true actress, and not just as the other half of a love team. “It’s about time that you take the risk of doing mga controversial films. And show your acting. Kailangan pag sinabing Vilma Santos, kailangan ang sabihin nila aktres,” she recalled her manager telling her. So while she had apprehensions with the film, Santos decided to accept the role as Chato. The film was directed by Celso Ad Castillo, whom she described as a genius. Santos was admittedly worried about her revealing costume and the burlesque dance that she had to do in some scenes. But Castillo explained to the actress the real motive of her character, convincing her fully to do “Burlesk Queen.” Just as Lery predicted, Santos excelled in the movie. In fact, she was able to put Castillo into tears while they filmed the dying scene of Chato’s father, portrayed by Leopoldo Salcedo. “For the first time in his career, sabi niya, as a director umiyak siya sa isang eksena. That was the scene with Leopoldo Salcedo,” Santos said. Another highlight of the film was her burlesque dance inside a theater which, she revealed, was shot in front of a real burlesque audience in Cubao. The said dancing sequence was postponed four times as Santos was scared to perform in front of an audience. She eventually did it after drinking alcohol before shooting the scene. Her gamble on “Burlesk Queen” paid off, Santos recounted. “When I did that movie I think I was 21-22 years old. I took the risk. After that movie, that was the turning point, itinuring naman akong parang aktres na,” Santos said smiling. “Parang doon lang ako first time nakarinig na, hindi na pinag-usapan na ka-loveteam [ako] kundi pinag usapan na, ‘Vilma Santos, you’re such a good actress.’” The second part of the ABS-CBN Special will be aired on Sunday, February 19.” – Karl Cedrick Basco, ABS-CBN News, 19 Feb 2023 (READ MORE)
Nagbalik ang nag-iisang Star for All Seasons Vilma Santos sa ABS-CBN sa pagdiriwang niya ng ika-60 anibersaryo sa industriya sa two-part special na Anim na Dekada Nag-Iisang Vilma na mapapanood sa Kapamilya Channel, Kapamilya Online Live, at A2Z na ang first part at napanood kahapon at ngayong Linggo (Feb.19). “Nandito ang puso ko. Napakalaki rin ng utang na loob ko sa estasyong ito. Alam na nito ang buong buhay ko. Ang ABS-CBN, pamilya na. Parte na ito ng buhay ko for 60 years. For 60 years, kasama ko ang ABS-CBN,” paliwanag ni Vilma sa isang TV Patrol interview kung bakit sa ABS-CBN niyang pinili na ipalabas ang kanyang anniversary special. Kasama ang King of Talk Boy Abunda, nag-umpisang balikan ni Vilma ang kanyang mga unang taon bilang aktres at ilan sa mga tumatak niyang roles kasama ang pagbida bilang Trudis Liit noong 1963. Makakasama rin niya sa selebrasyon sina Christopher de Leon, Claudine Barretto, at ang kanyang matapat na grupo ng Vilmanians na magkukuwento rin ng ilang hindi malilimutang karanasan nila kasama ang aktres. Bukod dito, mas nakikilala pa ng manonood sa Vilma sa ilang interviews ng kanyang naging leading man, direktor pati na ang iba pa niyang kaibigan. Ibabahagi rin ni Vilma ang kanyang buhay ngayon bilang isang pulitiko pati na rin ang iba niyang pinagkakaabalahan tulad ng vlogging. Mapapanood din ang delayed telecast nito sa TV5 ng 10:30 p.m. at available rin ito on demand sa YouTube ng ABS-CBN Entertainment.’ – Salve V. Asis, Pilipino Star Ngayon, 19 Feb 2023 (READ MORE)
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First Lady – “…He played Marcos in the political propaganda movie “Iginuhit ng Tadhana” in 1965 and in the drama film “Pinagbuklod ng Langit” in 1969. Romero, who played First Lady Imelda Marcos to his Ferdinand, recalled that they could only start shooting in Malacañang after office hours at 6 p.m. and wind up at 6 a.m. the next day. In spite of the unusual working hours, Gonzales would remain cheerful, Romero said. “He was a jolly fellow. He was always joking around and he loved dancing,” she told the Inquirer. Batangas Gov. Vilma Santos said Gonzales portrayed her father in her first movie “Trudis Liit” in 1963. Then a child star, Santos also played little Imee in the two Marcos movies. “I was very young then and it was amusing to see and tour the Palace with him,” Santos said. “He really made a big mark in Philippine movies. I will be praying for the repose of his soul and for strength for his family, too.” Ilocos Norte Gov. Imee Marcos remembered Sampaguita producer Jose “Doc” Perez auditioning other actors, but in the end it was Luis’ voice that landed him the role. “In a nation of tenors, he and my dad were the only two baritones,” she said. “We were very fond of him and listening to him [on the set], I sometimes thought he was my father…” – Bayani San Diego Jr. (
The Enchantment – “…To be sure, Gloria Romero would not have survived if she had not created characters that would linger in the minds of audiences long after the last credit had rolled down. She was the combative Ilocana in “Dalagang Ilocana,” the saintly nun in “Monghita,” the first lady of the land in “Iginuhit ng Tadhana,” the teacher who becomes a dark creature at night in “Lipad, Darna, Lipad,” the criminal master in “Condemned,” and the matriarch suffering from Alzheimer’s in “Tanging Yaman.” Of course, even in the most abject and ugly roles, her beauty and bearing still shine through, damning the efforts of the viewer to suspend his disbelief, but never mind, it’s only a movie —and it’s only in the movies that you get to see a goddess like Gloria Romero as a tomboy, as Her Imeldific, as a ghoul or a hag. All of these characters have been keenly etched in generations of moviegoers; they provide the images that constitute the magic of Philippine cinema. And in that magical world, Gloria Romero is a prime enchanter. The enchantment starts with her beauty and proceeds with her varied talents and qualities. Many believe it will never end. And so for her icon-like qualities as an actor and cinematic enchanter, Gloria Romero, the indestructible queen of Philippine movies for five decades now, is this year’s recipient of the Natatanging Gawad Urian for lifetime achievement during the 27th annual Gawad Urian….” – Lito B. Zulueta (
Hepburn and Streep – “…As far as I know, only Eddie Garcia and Gloria Romero are two stars who never had billingitis. There are no small roles. It is how you interpret them. That is why they are still very much around. Because of their stature in the movie industry, the studios respected them and knew how to put them in their proper place. As fate would have it, billing was never a problem between the Veteran Movie Queen Gloria Romero and the Philippines’ Movie Queen for All Seasons Vilma Santos. Ms. Romero, the ever practical and realistic auteur has so much respect and love for her “daughter” Ms. Santos that she allowed to be billed after the longest reigning box-office and movie queen since the 70’s (the monster hit “Lipad, Darna, Lipad” and the blockbusters “Nakakahiya I and II,” for example)…As if Fate would have it, who would ever think that the Two Queens would duke it out in the 2000 awards derbies? Anak versus Tanging Yaman. Gloria may have won the Urian but she shared the award with her “daughter”: “I share this award with Ms. Vilma Santos who is so good in Anak.” So what do Vilma Santos and Gloria Romero have in common? Why are they still Philippine Cinema’s Regal Movie Queens? They are both professionals, humble in both defeat and victory, clean living, and have respect for the profession that is their bread and butter. They are the Katherine Hepburn and the Meryl Streep of the Philippines. Kate Hepburn disliked Streep in real life. She called Ms. Streep’s acting too cerebral. Was it envy, billingitis, or ego? Thank heavens for Gloria and Vilma. They respect and love each other. Terms of endearment. Friends for life. We shall never see their kind anymore…” – Mario O. Garces, V magazine, Vol 1, Issue 4 Oct/Nov 2005 (
One Desire – “…Glamorous Gloria Romero, the hottest attraction in the Philippine movieland, can have just about everything except her heart’s fondest desire – to return to Denver, her birthplace. To most U.S. citizens, Gloria’s name doesn’t mean a thing. But to Philippine movie fans she is the queen of the screen. She is the highest paid, busiest, most appealing and versatile actress in the islands. She is a first rate comedianne and a finished tragedian. The 24-year old beaty, undisputed sweetheart of the Philippines, averages six pictures a year. All in roles caller for artistry on the highest level. She packs ’em in whenever the movies are shown. And that’s the big problem. She can’t find the time to break away to visit the mile high city, which she left when she was three years old. “I could very well pack up this very minute and book passage for the U.S. and take that sentimental journey to Denver,” she said today, “But I am committed to do five more pictures this year.” She added wistfully. “Maybe I can make it next year…Oh you don’t realize how much a trip would make my life complete.” Gloria has an added reason for making the journey: she hopes to find her mother’s relatives who still live in Denver.
The 5 foot 6 inch film star was born to a U.S. mother and a Filipino father. Three years later the family left Denver to settle in the northern Luzon, where her father had a farm. Her mother, the former Mary Borrego, died shortly after the U.S. liberated the Philippines in 1945. Gloria’s first break in films came when Sampaguita studio bosses picked her from a group of extras for a supporting role in a movie titled “Madame X.” She stole the picture from veteran stars, and from there on she climbed steadier to the top. Every one of her 24 pictures has been a hit, only in the Philippines but in Asia. Local critics, consistently caustic and cynical on films made in the Philippines, just love her. So do the gay young blades but Gloria has remained Philippine movieland’s most eligible bachelor girl despite her scores of admirers. She said she is too “frustrated” over that visit to Denver to think of marrying…” – Louella Parsons, The Calgary Herald, Feb 27, 1957 (
Kapag Langit Ang Humatol
Saan nagtatago ang pag-ibig? 
Gaano kadalas ang minsan?
Makahiya at Talahib
Hindi Nakakahiya Part II
Karugtong ang kahapon
Anak ng asuang
De colores
Anak, ang iyong ina!
Carlo Aquino
Claudine Barretto
Eugene Torre
Isang babaeng nakasakay namin sa dyip ang nakakilala sa amin at nagsabi: “O, ngayong tapos na ang Star Awards, siguro, isusulat mo na kung sino ang binoto mong best actress. Sinabi mo ‘yan sa column mo.” O, siya, Gigi (sorry, I forgot your last name), heto na ‘yon. Personally, we voted for Vilma Santos (na siya ring nagwagi sa “Movie Magazine” and we have a feeling, siya ring magwawagi sa darating na Urian Awards on March 31). Magaling si Nora Aunor sa “Bilangin” and we believe na ang hindi niya pagkakanominate man lang sa Catholic Awards is a big oversight on their part. Sa gagawin naming paliwanag for our choice, we don’t expect na maimpluwensiyahan ang diehard Nora fans dahil kapag fan mentality ang pinairal, no amount of rational explanation will do to change their opinion.
Pero kami, napatunayan na naming wala kaming ganyang kaisipan noong maging nominado si Vi for “Tagos ng Dugo” and we cited our reasons why we favor Lorna Tolentino in “Maging Akin Ka Lamang” over her. To the untained eye, very impressive si Guy sa “Bilangin” dahil ang performance niya is mainly a series of big highly emotional scenes that call for confrontations with Tirso Cruz III, Gloria Romero, Miguel Rodriguez and Ana Margarita. This is the kind of acting that call for grand, tour-de-force manner of emoting, with glaring eyes, flaring nostrils, quevering voice and all. Sabi nga, the works. All stops are pulled to really impress the audience n “Hoy, this is good acting and you should correspondingly be properly impressed.” To Nora’s credit, she relies entirely on her instincts and this works as Elwood Perez has never been known as an actor’s director and Nora naman is the kind of actress na even when she is left to her own resources, still manages to come up with an arresting performance, no matter how florid.
Sa kaso ng pagkakaganap ni Vilma as Juliet in “Pahiram,” it is a credit not only to the actress but also the director. Vi’s innate talent shines, pero alam mong malaki ang naitulong sa kanya ni Bernal to further hone it and polish it and make it truly oustanding in the totality of its effect. Makikita ito sa succession pa lang ng opening sequences. Nagsimula ang movie na masayang masaya ang tono nito, with Vi rambunctiously singing “Material Girl” sa kanilang Christmas Party, without a trace of the impending tragedy that she will face. Then she goes to the CR, starts to feel bad, and after that ay nalaman na niyang mgay cancer siya’t may taning na ang buhay niya. Vi is not shown vehemently reacting to this. Instead, ipinakita lang siyang tahimik na naglalakad, her shoulders hunched na tila ba nasa mga balikat niya ang daigdig. She then attends this family reunion sa parents niya, which ends in disaster dahil inaway lang siya ng ate niyang si Dexter Doria. Wala pa ring reaction dito si Vi kahit nilait siya ng mga kamag-anak niya.
Sa susunod na scene, nagwawala ang anak niya si Billy Joe dahil lumayas ang yaya nito’t ayaw nitong pumasok sa school. Vi goes to the kitchen to prepare breakfast at habang nagbabati siya ng itlog, doon pa lang ipinakitang una siyang nag-breakdown. And this is shown nang nakatalikod siya sa camera. No overtly ornate kind of emoting na akting na akting ang dating. Pero damang-dama mo pa rin (if you’re a trully perceptive, sensitive viewer) ang mga emotions the character goes through dahil sa buildup nito. This is apparent in various other scenes in the film. Bale ba, ang estilo rito ni Vi ay hindi ‘yung trying to ingratiate herself with the audience to please them, which she is went to do in the past. Dito, basta she becomes the part (lalo na sa eksena nila ni Gabbly Concepcion sa simbahan na binalikan nila kung paano sila nagkasira), and if you notice that she is good, well salamat po. Sa second viewing ng movie naming lalong napansin ang subtle nuances ng performance ni Vi, up to her death scene which confirms our supposition that the movie is not really so much about death than a celebration of life, what with all the panoramic shots showing the beauty of nature and the world around us, na enough reason for anyone to want to survive.
About 
“Salubong” – “Forgive us for quoting a YA novel, but it seems pretty apt: “Art [isn’t] supposed to look nice; [it’s] supposed to make you feel something,” said Park in Rainbow Rowell’s Eleanor & Park. As if to prove that, many artists have gone from producing aesthetically pleasing works to creating art that triggers strong emotions, positive or not. Creations often become disputable when they go against the accepted norms. Let’s take a look at 10 works by Filipino artists that drew criticism, controversy, or outrage for exploring themes which were described as shocking, weird, or offensive. Read at your own risk…Dante Hipolito’s oil painting, “Salubong,” was intended to be a welcome gift for Pope Francis when he visited the Philippines in January 2015. It went from being viral to controversial as the painting that was supposed to depict everyday Filipinos instead featured celebrities and politicians like Gov. Vilma Santos, Gary Valenciano, Marian Rivera, Dingdong Dantes, Coco Martin, Sen. Grace Poe, and Kris Aquino dressed up as farmers surrounding the Pope. “The painting contradicts the concept of realism as it shows nothing about the submerged reality of the nation’s agricultural workers,” said Michael Beltran, chair of Kabataang Artista para sa Tunay na Kalayaan (KARATULA), in a statement. Hipolito, however, explained that the painting was also a gift for his wife, who was a fan of celebrities. “Mundo ko ito, e. Ito, nag-e-exist ito sa utak ko lang na inilabas ko…Kaso, na-misinterpret ng tao…” – Dante Hipolito, The Most Shocking Works by Filipino Artists, SPOT.ph, 16 May 2020 (
Spotlight on Vi – “Philippine Movie Press Club photographers, amateurs and professionals alike, trekked to Majayjay, Laguna two Sundays ago to take pictures of Vilma Santos, the first model in the club’s ongoing photo-journalism contest. Result of the said contest will be announced before July, when PMPC current president Ronald Constantino’s (first) term ends. Other models in the photo contest are Alona Alegre, Alma Moreno, Nora Aunor, Dolphy and Fernando Poe, Jr.” – Mod Magazine Vol X. No. 340, 24 February 1978 (
Oh My Love – The romantic comedy drama show, “Oh My Love,” highlights two popular love teams of Pepito Rodriguez and Liza Lorena and Edgar Mortiz and Vilma Santos, with added star support of Ben David and Betty Mendez. Directed by Tony Santos, Sr., it is televised every Wednesday evening on Channel 2 from 7 to 8 o’clock. (
Kampus Star – “…The biggest fear of Borlaza was when Agrix Films’ “Kampus?” was booked one week after the opening of VS Films’ Pagputi ng Uwak, pag-itim ng Tagak. The Celso Ad. Castillo film was an artistic triumph, and Borlaza felt following it up with another Vilma-Bembol starrer would put them at a great disadvantage. The Vilma-Bembol fans might still be raving over Pagputi… instead of discussing Kampus. As it turned out, people let Pagputi pass and waited for Kampus judging from the comparative gate receipts of the two movies. What makes Maning Borlaza’s movies tick? We chanced on Maning during the shooting of VS Films’ current production, Coed. “Sabi ni Mama Santos, ako daw ang pumatay sa kanilang Pagputi…, eto ang parusa ko, bigyan ko daw sila ng isang Kampus? so I’m making for them Coed. You see, when I was working on Kampus? at the UP Los Baños, I has the opportunity to chat with some students, and I realized their problems and lifestyle can be source of even 10 movie materials. At kapag student force pala and nag-patronize sa Tagalog movie, and laki ng audience!” Borlaza revealed…Is star value the main thing in selling a movie? “In the case of Kampus?, yes, because Vilma Santos was my main star and she’s the curernt box office queen…” – Manny B. Fernandez, Expressweek, November 9, 1978, Posted by Pelikula Atbp (
Kasalukuyang Maligaya – “…Seryoso si Vi sa kanyang buhay. Anuman ang dumarating sa kanya, tinatanggap niya ng maluwag sa kanyang dibdib at pilit pa rin siyang nagpapakaligaya. Paulit-ulit nga niyang siansabi: “Si Lucky ang inspirasyon ko. Lahat ng ginagawa ko ngayon ay para sa kanya. Kung wala man kami ni Edu ngayon, gaya ng mga sinasabi nila, natatanggap ko na rin. Sanay na ako. Siguro, isa nga ako sa biktima ng mga sinasabing relasyong showbiz. Sa umpisa, maganda, pero sa bandang huli, nababalewala kahit gaano katatag, dahil na rin sa differences namin at intri-intriga!” Dugtong pa ni Vi, “Anuman ang mga nagaganap ngayon, wala akong pinagsisisihan. Kahit anupang intriga ang naririnig ko tungkol sa relasyon namin ni Edu, hindi ko iniintindi. Kung hindi man kasing tamis ng una ang relasyon namin ngayon, maligaya pa rin ako dahil sa sarili ko, wala akong ginagawang mali. Naniniwala akong hindi namin kagustuhan ang nangyari, kundi panahon ang may likha nun!” Kung minsan, inaamin ni Vi, nasasaktan na rin siya sa mga sabi-sabing kung sinu-sino ang dahilan nang hindi nila pagkakaunawaan ni Edu. Gaya nung magsama lang sila madalas ni Danny Zialcita sa pelikula natsitsismis na may relasyon na raw silang dalawa. Nung mili silang magtambal ni Romeo Vasquez, umusok naman ang balitan nagbalik ang datil nilang relasyon, na wala namang katotohanana. Dahil diyan, ito lang raw ang hulign masasabi ni Vi: “Alam ko, bahagi ng kapalaran ko bilang babae, bilang asawa, bilang ina at bilang artista ang lahat ng nangyayari sa akin. Pinagtitiisan ko, pero pinaglalabana ko rin. Kung sa mga sinasabi ko, hindi sila naniniwala, wala na akong magagawa. Basta bukod sa aking anak, ang higit kong inaasikaso, lolo akong pang pag-igihan ang pagaartista ko dahil matagal pa bago ako umalis dito. If ever na aalis na ako, gusto ko, matagumpay lahat ng nagawa ko. At ayokong aalis ng umiiyak, maski, anong mangyari, kailangan, maging maligaya ako, tulad ng kasalukuyan!” – Michelle Duenas, Movie Flash Magazine, 07 April1983, Posted by Pelikula Atbp (
Rich “Kumot” Queen – “…At 26, Vi still feels confident. “Kahit na sabihin nilang old maid na ako. I’d rather marry when I’m sure. ‘Yang kasal naman hindi mo alam kung kailan darating.” For the time being, Vi is paying full attention to her carer. “Iknow naman where my money goes. Mama takes care of that.” Contrary to what has been said by detractors, Mama Santos has invested Vilma’s earning well. To date, Vi has a big house in Magallanes Village, one in Tahanan where Vi will transfer to when she gets back from Amsterdam, and one in Los Angeles where she will run to when the pressure gets to be a bit unbearable. She’s worth about five million and half in assets which also include VS Films, seven and a half hectares of fruit bearing trees in Tanay and other investments in real estate. That, plus her jewelries and a personal savings account (sabi sa tsismis, almost a million in cold cash) indeed make Vilma Santos a very rich woman. Vi is the only actress whose films get patronized whether they’re meant for adult viewing or for general patronage. “People thought that came by accident, but Mama planned it that way. For every film I make that is meant for people above 18 Mama accepts one that is intended for general viewing. Tingnan mo, hindi ba’t after “Magkaribal,” there was “Rock, Baby, Rock?” Ang next month, after “Halik sa Paa, Halik sa Kamay” is shown, susundan naman ito ng “Buhay Artista Ngayon.” That, I guess is the secret of my success.” Another factor for Vilma’s consistency in the box office is the fact that she may be daring but so far she hasn’t gone so bold. “Hanggang takip lang ako ng kumot,” Vi said. “So far I still have to do a real bold wet look scene, but I don’t think I ever will.” Unlike most sex symbols, Vi has a sense of peace, self-esteem and contentment. She is not just acclaimed for her looks, she is also admired for her work…” – Douglas C. Quijano, Expressweek, September 20, 1979, Posted by Pelikula Atbp (
Harmony on the Set – “The last time movie scribes were on Vilma Santos’ set of “Pagputi ng Uwak, Pag-itim ng Tagak” in Majayjay they notice the most cordial atmosphere on the set. Someone even naughtily noted that Vi and her leading man, Bembol Roco seem to that “close” to each other. But both stars insist that they have become the best of friends since they were thrown together by their common interests, and their common respect for their career. Remember that one of the first “hassles” of this picture was reportedly Bembol’s having shaved his head for his role in another movie? This director Celso Ad Castillo did it too, shaved his head clean, that is, but Bembol has nothing to do with it. Remember that he is currently filming “Dalaga” with Rio Locsin in the tile role and himself, CAC, as the leading man. A picture of many “firsts,” this is filmed in black and white and is considered by the director as his personal baby, to prove that he is a starmaker indeed, and a best picture producer to boot. CAC plays the role a mentally retarded character in love with his leading lady. During the scribes’ visit, everyone was impressed by the harmony on the VS set. Vi said that they have four more days to go…to complete the picture. Then the “never” can be “now” showing in due time. She’s slated to to finish three more movies before leaving for abroad to make a picture with Atty. Espiridion Laxa as producer and Christopher as her leading man…” – Super Star-liners, MOD Magazine, 04 April 1978 (
Another Best Actress – “Actress for All Seasons Ms. Vilma Santos won another Best Actress trophy at the 5th Makati Cinemanila International Film Festival Awards Night held Aug. 21 at Onstage, Greenbelt, Makati. She earned the award for her performance in Star Cinema’s “Dekada ’70,” directed by Chito Roño and which received the Special Jury Award. We asked Mayor Vi how she felt and she said “I’m so happy Ate Cris, at least hanggang ngayon humahataw pa ang “Dekada ’70,” I did not expect to win yet another best actress trophy.” So how many has she amassed to date? “I don’t know, marami na. Including the citations and plaques of appreciations, di ko na mabilang.” Vi was evidently delighted by her latest award and at first she didn’t know what to say. But she went on to thank Star Cinema, her director Chito Roño, her co-star Christopher de Leon, her children in the movie (Piolo Pascual, Carlos Agassi, Marvin Agustin, Danilo Barrios and John Wayne Sace), her family and loved ones, her constituents in Lipa “for their love and support and for their understanding…” – Crispina Martinez-Belen, Manila Bulletin, August 2003
Ina ni Dophy, Vilmanian – “First shooting day ni Vilma Santos sa “Buhay Artista Ngayon” na ginanap sa Bohol Avenue, Quezon City, kasalukuyang kinukunan ang isang malaking tagpo sa pelikulang ito ng RVQ Productions, nang biglang dumating ang kanilang service jeep. Bumaba ang isang matandang babae, na agad sinalubong ni Georgie Quizon at humalik ng kama sa matanda. Tamang-tama na nakauupo ang matandang babae, nang matapos ang ekesena ng dalawa. Agad na lumapit si Dolphy sa matanda, at hinalikan sa noo. Kasunod pala si Vilma na niyakap ng matanda nang makalapit ito. Tatawa-tawang lumapit si Dolphy dito, “Ang nanay ko talaga, kahit na nahihirapan ay nagpunta pa rito sa set, makita lamang si Vilma. Kahit noon pa ay tagahanga na ‘yan ni Vilma, kaya’t tuwang-tuwa ng malamang gagawa ito sa RVQ Productions.” Ang mahal na ina ng pangunahing komedyante natin ay may 76 taong gulang. Siya’y si Ginang Salud Quizon, kung saan hinango ang pangalan ni Sahlee Quizon. Dati-rati’y bihirang makita sa set ng pelikula ni Dolphy si Ginang Quizon. Pero buhat ng gawin ng RVQ Productions ang “Buhay Artista Ngayon” ay naging madalas na ang pagdalaw sa set ng matanda, lalo na kung naroon at nagsisiyuting si Vilma. Kung minsan ay inaabot ng mahabang oras doon ang matanda, at buong kasiyahan pinanonood ang bawat eksenang gawin nina Dolphy at Vilma. Minsan pa nga any inaabot ng antok ang matanda sa set, at kapag pinakiusapan siya ni Dolphy na umuwi na ay tumatanggi at parang bulang nawawala ang kangyang antok. Sa ngayon kay Dolphy, laging ibinibilin ng kanyang ina na sa tuwing si Vilma ang kukunan ng eksena ay sunduin siya sa bahay. Kaya noong minsang hindi nasabihan at malaman na may siyuting si Vilma ay bigla na lamang dumarating ito na nakataksi, at napapailing na lamang si Dolphy. Si Vilma naman kapag nakita na ang matanda ay lumalapit agad, at niyayakap, Kaya tuloy, lalo siyang napapamahal sa mahal na ina ni Dolphy. At buhat nang magsimulang magsiyuting si Vilma sa nasabing pelikula, maka-apat na ulit na dumalaw sa set ng pelikulang ito si Ginang Quizon.” – Berting Paz, Unnamed magazine, 22 September 1978
Stoned float at Festival Parade – “…The crowd started to gather along the route as early as 9 a.m. yesterday, some of them coming from as far sa Batangas in the sourth, and Tarlac in the north. The biggest response was given to Nora Aunor and Tirso Cruz III. Wearing pink and black kimonos, the two superstars threw sampaguita flowers along the way as their fans, yelling friendship, waved their pinted thumbs wildly. The floar to the two superstars was also surrounded by 20 Manila policemen and 15 blue-uniformed private security guards. At one point at the Luneta, an old woman, between 60 and 70 years old, was hoisted by policemen to reach up to Nora, who gave the old woman a big hug in return. Nora and Tirso are appearing in “Winter Holiday,” a production of Sampaguita-VP Pictures filmed in Tokyo. The other float witht he wildest applause was that carrying Vilma Santos and Edgar Mortiz, who will appear in “Remembrance,” a Tagalog-Ilang-Ilang presentation. However, the float was stoned twice and it left the parade before it reached the Jones Bridge.” – Philippines Sunday Express, 18 June 1972
Box Office King and Queen of 1983 – “Pormal na namang iginawad kay Dolphy ang titulong Box-Office King at Kay Vilma Santos ang Box Office Queen sa isang maranyang seremonyang idinaos sa Celebrity Sports Plaza noong Marso 30 na kung saan ay sinaksihan ng maraming tagapagtaguyod ng Guillermo Mendoza Memorial Scholarship Foundation, Inc. sa pamamahala ni Gng. Corazon Samaniego. Ang may dalawang oras na seremonya na tinampukan din ng mga awitin at sayawan ay isinatelebisyon ng BBC-2 sa direksyon ni Bernardo Bernardo na siya ring tumayong emcee kasama si Malou Maglutac. Itinampok din ang mga natatanging businessmen and businesswomen ng Bulacan na kung saan ay naging panauhingn pandangal si Minister Jesus Hipolito ng Publick Works and Highways, na recipient din ng recognition award for government services, together with Mayor Joseph Estrada an ang umabot ng plaque ay ang kanyang panganay na si Jinggoy Ejercito.” – Anonymous, 30 March 1984
Billboard’s Manila Updates – “…Film artist Walter Navarro (Vicor) will have his first LP, “King of Balladeers,” this month. He is a contract star of Lea Productions and principal mainstay of the El Bodegon Club. Navarro is doing a film musical with Vilma Santos (Wilear’s) with Mirick Productions…the film musical “Winter Holiday,” which stars Nora Aunor (Alpha) and Tirso Cruz III (Vicor), was second top grosser in the recently concluded Manila Film Festival. The team’s movie musical “Guy and Pip” was the top grosser last year…”Remembrance,” another film musical was chosen “Best Musical” in the Manila Film Festival. The film stars Vilma Santos (Wilear’s) and Edgar Mortiz (Wilear’s). The film also won in the categories of best film editing, best sound and best script…Vicor artist Victor Laurel will do a film with Lea Productions opposite Hilda Koronel.” – Oskar Salazar, Billboard, 29 July 1972 (
Star For All Seasons – “When she first appeared on the big screen in Trudis Liit, the fans already knew she was destined to be famous. The studio bigwigs knew they has a potential superstar in their hands, so they molded her to become a teeny-bopper, moving and grooving with the likes of 70s shakers Edgar Mortiz, Espie Fabon and Darius Razon. Before she hit 21, she won her first major acting award – as twins (one good, one evil) in the classic melodrama Dama de Noche. Soon, she became the most in-demand actress in the silver age of cinema; her projects ranging from action camp (Lipad, Darna, Lipad) to romance fantasy (Kampanerang Kuba) to sex drama (Burlesk Queen). Versatility was the name of the game, and Vilma Santos shone with a brightness never before seen in show business. More quality movies followed: Rubia Servios. Karma. Pagputi ng Uwak…Pag-itim ng Tagak, Relasyon, Broken Marriage, Bata Bata Paano Ka Ginawa. Throughout the eighties, she reigned as the Box-Office Queen. She was also the first Grand-Slam Actress in R.P. film history. She also had her share of controversies, but “Ate Vi” rose above them all. Last year, she gave an unforgetable performance as a housewife in both political and personal turnmoils in Dekada ’70. Today, as the incumbent mayor of Lipa City in Batangas, Vilma Santos-Recto continues to share her talents and her gifts with the public who can’t seem to get enough of her…” – J.R. Mercado, Woman Magazine 20th Anniversary Special Issue, 30 April 2003
Voloptuos Vi – “At 50, ibang-iba na siyempre ang itsura ni Baby Vi. Puwedeng makipagkumpitensiya na siya sa itsura ng favorite showbiz mother namaing si Milagros Santos. Voloptuos na. Tipong mga babae sa painting nina Raphael at da Vinci at Goya. Siyempre, sa edad na ‘yan, hndi niya pinangarap na makita pa rin ang sarili sa showbiz. Panahon na ang pagbawi ‘yan sa mga normal na bagay na hindi niya natikman. Nasa kanya na siyempre ang lahat ng panahon para gawin ang gusto niya…Tinatanong ko namang lagi noon si Baby Vi kung paano niya nakikita ang kangyang sarili sa edad na ganyan. Say naman niyang lagi, isang normal na buhay na walang syuting at call slip at interbyu. Inimdadyin din kaya niya ang pagiging stage mother din? Halimbawa’y magartista’t maging super-sikat din ang Lucky niya? Eh, lalaki naman daw ang anak n’ya. Basta’t ang gusto lang naman daw niya kay Lucky ay makatapos ng pag-aaral (obsesyon kasi ito ni Baby Vi at ang hindi niya nakamtam ay gusto niyang maabot ng kaisa-isang niyang anak) at pagkatapos ay bahala na siya? Vilma at 50? Ayokong mag-Carmen Rosales siyang drama_na pa-Greta Garbo. Gusto ko’y maging original siya. – Gil Villasana, Moviestar, 10 September 1986
Win some, Lose some – “Recent Famas best actress winner Vilma Santos looks like she is on her way to being elevated to the award giving body’s Hall of Fame. If that happens, she’ll be joining fellow artits Josephe Estrada, Fernando Poe Jr., Charito Solis and Eddie Garcia (the last one was elevated to Famas’ best supporting actor Hall of Fame). Vilma has scored four Famas trophies in a span of 15 years. Out of four Famas awards she got, Vilma if we look at it objectively, deserves only two of her trophies. Her first Famas statuette (for “Dama de Noche”) which she got in 1973 at the age of 20 should never have been given to her because lets face it, she still did not know how to act that time. She was also underserving of her second Famas trophy for “Pakawalan Mo Ako,” a mushy melodrama release in 1981. Gina Alajar should have won the Famas that time for her role in “Salome.” But there is no question about Vilma winning the Famas statuette the following year for playing the part of a sympathetic mistress in “Relastyon.” She was wonderful in that movie. All the award giving bodies that time agreed that she was that year’s best actress winner. Remember her grand-slam that time? She won the Famas, the Urian, the First Film Academy of the Philippines best actress trophy, the Catholic Mass Media Award and even in Arminda Siguion-Reyna’s “Let’s Talk Movies” which honored for its anniversary presentation some of the outstanding achievements in film that year. Vilma’s most recent Famas trophy (for “Tagos ng Dugo”) is also well-deserved, even if it was not a bad idea had the statuette gone instead to either Lorna Toletino (for “Maging Akin Ka Lamang”) or Susan Roces (for “Paano Kong Wala Ka Na?”). But looking at it fairly, and studying all the angles of her performances in “Tagos ng Dugo,” Vilma deserves her latest Famas best actress trophy. Vilma may have been undeserving of two of her four famas statuettes but at the same time, she was also robbed of two other Famas trophies. 1983 was a bad year for Tagalog movies. There were very few good film products that year. As a result, there were only a handful of outstanding performances among the actors and the actresses. Among the leading ladies we can only cite Loran Tolentino (for “Init sa Magdamag”), Cecille Castillo (for “Karnal”) and Vilma (for “Broken Marriage”). Lorna that time was still what we consider “hilaw” when it comes to acting. She was already improving as an actress that time, pero kulang pa. The same thing can be said of Cecille who has dissappeared since. Vilma should have won the Famas that year with her portrayal of a career woman temporarily separated from her husband (Christopher de Leon). But it was Charito Solis who won in the Famas that year for “Don’t Cry for Me Papa” which was ignored by the other award giving bodies. The following year, Vilma failed to bag the Famas prize for her masterful performance in Sister Stella L.” The Famas people did not think she deserved the award. Why? Because she was in the United States during the awards season and could not maek it to the Famas Night.” – Joone C. Reyes, Unnamed tabloid, circa 1989
“Kung nasa Roma ka, kumilos ka at magsalit na tulad ng isang Romano. At kung nasa sarili mo kang bansa, kumilos ka at magsalit sa iyong natural. Aywan ko kung ganito nga ang pagsasalin ng naturang kasabihan, ngunit sinunod ito ng superstar na si Vilma Santos ngayong siya ay nasa malayong Amsterdam, pook ng labingwalong oras na lakbayin sa eroplano mula sa Pilipinas. Isang Pilipina si Vi pero ngayon ay nagsasalita at kumikilos siya na parang siya ay tunay na tagaroon. Sa pamamagitan ng long distance, nakausap namin si Vi, si Mrs Santos at ang kolumnista at PRO na si Ethel Ramos. At sa may kulangkulang 20 minutong pag-uusap na pagsalin-salin sa tatlo ay nakakuha kami ng first-hand na impormasyon. “Mahigit na isang linggo na kaming nagsisiyuting,” ani Vi. “pero naisingit na namin ang pamamasyal. nalibot na namin ang pinakamagandang lugar dito sa Amsterdam gaya ng Valley Dome na kinaroroonan ng mga windmills, Queen Juliana’s Palace at Doms Square. “Nagcanal ride na rin kami at talaga palang napakaganda ng pook na ito” patuloy ni Vi. “Maginaw dito, daig pa ang Baguio at patuloy daw na lalamig pa sa mga susunod na araw. Kasama ko sina Mama, Papa at Ethel sa pamamasyal. Makaluma ang mga tao rito at makikia iyon sa kanilang pananamit.” wika naman ni Mama Santos. “Hindi rin gaya ng Maynila na napakaraming tao. Parang maliit lamang ang populasyon. Siguro ay aabutin ng mga isanlibo ang mga Pilipinong naninirahan at nagtatrabaho rito. Katunayan, sa bahay ng isang Pilipino kami nakatira.
Si Ethel Ramos ang sumuod naming nakausap at higit siyang maraming balita. Alam n’yo naman si Ethel reyna sa dami ng movie tsistmis. “Alam mo ba na nalibot na rin namin nina Via ang mga red house dito? Yaong tinatawag nilang red light district?” aniya. “Dito kasi ay legal ang prostitution business kaya para ka lamang pumasok sa isang department store. Sa mga banketa ay nagkalat sila, may nakaupo na parang namamasyal lamang sa parke. Lapitan mo at sasabihin niya agad ang presyo at iaabot ang kanyang palad. Gaya ng napabalita noon, totoong makikita mo lamang ang iba sa kanilang eskaparate,” patuloy ni Ethel. “Ituturo mo lamang ang prostiture na gusto mo na parang nagtuturo ka ng ulam at ayos na. Papapasuking ka sa kanilang cubicle na napakalilinis naman. Parang kuwarto ng isang masinop na dalaga at mabango pa ang mga silid. maraming magaganda sa kanila. Ipagpaunmanhin sana ng mga masasagasaan, pero alam mo ban na mayroon sa kanila na kahawig ni Rio Locsin at may kahawig pa ni Lourdes Medel? Excuse lang ha? Hawig lang naman e. Pero may roon ding matataba at mayroong mga payat at hindi magaganda. May halos kasintaba ng mga reporter na sina Mama Mocha (Ramon Teodoro) at kasingpayat ni Vir Gonzales. May ilan sa kanila na pumapayag lang pag may condom.” Ayon pa rin kay Ethel, si Vilma ay ilang araw munang nagmasid at nag-aral nang personal sa mga kilos, pagsasalita at paghalakhak ng mga tunay na puta at prostiture doon. Ibig kasi niyang makuha ang talagang tamang pagganap na parang natural na natural. nagtatanong pa rin siya at nakipag-usap sa ilan sa pamamagitan ng interpreter at makaraan lamang ang ilang araw ay may ialng nang salitang Dutch na alam si Vilma. May isang Dutch din na may crush sa kanya. Max ang pangalan. Mataas. Pero 23 years old lang.
Sa naturang pelikula ng Sining Silangan na “Miss X” ay isa ngang prostitute ang labas ni Vilma. Isang Pilipina siya na na-recruit para magtrabaho nang maganda roon pero sa isang bahayan nga ng mga kalapating mababa ang lipad ang kanyang binagsakan. Ngayon ano kaya ang magiging ayos niya? Makapal ang make-up? Malakas humalakhak? Kasabik-sabik ito sa mga fans ni Vi at tiyak na maganda ang pagkakagawa dahil Gil Portes ang direktor at walang magaganap na bitinan sa shooting. Kay Mrs Santos naman nakalipat ang telepono bago magpaalaman at ganito naman ang kanyang idinagdag: “Gilders ang tawag sa pera dito at masyadong mahal ang mga bilihin. Mas mataas ang gilders sa dollars. Ako ang cook nila rito at mayroon ding bagoong na mabibili. Tulad ng dati, hindi natutulog si Vi sa gabi at sa umaga natutulog hanggang tanghali. Pati tuloy kami ni Ethel ay nagkakaroon ng insomia. Pagkatapos ng shooting ni Vi ay tutuloy siya sa Europe, Paris at iba pang lugar para makapamasyal at makapamili nang gusto niya. Kami ni Papa ay pupunta naman sa Amerika at titingnan namin ang bahay na nabili namin doon. Mga second week na siguro ng Nobyember ang uwin namin. Iay ang mga unang repot mula sa Armsterdam. Sooth naman ang shooting nila at ang iba pang naroon ay sina Mark Gil, direktor Portes, Roger Vivero at mga prodyuser ng Sining Silangan. Naroon na rin daw sina Mother Lily ng Regal Films, Douglas Quijano at Lolita Solis. Sa susunod na tawg ay muli kaming magbabalita tungkol sa mga happening doon.” – Efren M. Esteban, Jingle Extra Hot Magazine, 5 November 1979, posted by James DR, Pelikula ATBP, 26 January 2021 (
Star For All Seasons 
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