Vilma Santos-Recto is a popular multi-awarded actress and politician in the Republic of the Philippines. *** She is known as "Queen of Philippine Movies," "Queenstar," "Grand Slam Queen," "Box Office Queen," and "Star for All Seasons." *** This website is mostly about her iconic film career.
Film Roles – “…Noong aktibo pa si Barbara sa Sampaguita Pictures, ang studio-discoverer ni Barbara, panay depressing roles ang ginagampanan niya: kung hindi pilay ay maysakit, at kung hindi naman maysakit ay ‘yung malapit nang mamatay. “In fact,” Barbara jokes, “I always died in my films. Noon nga may standing joke sa Sampaguita where I always played tragic heroines. Ako raw kung hindi nagmamadre, nasa wheelchair.” Nag-aaral noon ng journalism si Barbara sa UST nang ma-diskubre siya for the movies. Late 50s noon. Dahil sa laki ng pagkakahawig niya kay Audrey Hepburn, sikat na Hollywood actress ng panahong iyon, binild-ap siya ng pinuno ng Sampaguita na si Doc Perez (SLN) bilang Philippine Movies’ answer to Hollywood’s Audrey Hepburn. Class and image ni Barbara. Hindi lang siya mahusay na artista, isa rin siyang hinahangaang modelo (nakasama siya noon sa Karilagan Models, ang grupo ng mga “elite models” na nagpa-fashion show sa iba’t ibang dako ng mundo). Si Barbara rin ang babaing gumawa ng “sentimental record” nang tanggihan niya ang isang Hollywood offer to star in an international movie (No Man Is An Island kung saan makakapareha sana niya si Tab Hunter) because of love. Noong panahong ‘yun, nililigawan siya ni Robert at nang mag-decide siyang tanggihan ang Hollywood movie na ‘yon, she also made up her mind that she would be Mrs. Robert Arevalo all her life. “I have made about 40 films all in all,” according to Barbara, “at karamihan niyan ay ginawa ko hindi dahil gusto ko ang roles kundi dahil kailangang gawin ko.” Ilan sa mga memorable pictures niya ay ang Historia De Un Amor where she played Josephine Estrada’s sister dying of cancer – “I love that movie because it is romantic—I am romantic at heart, you know”; Daigdig ng Mga Api, Ito ang Pilipino, Patria Adorada (both with Joseph Estrada) at Asedillo (with Ronnie Poe). Ngayon, Barbara is as good as retired. Huli niyang ginawa ang Boyfriend Kong Baduy (1975) kung saan gumanap siya bilang old-maid aunt ni Orestes Ojeda…” – Jingle Extra Hot Movie Entertainment Magazine, April 27, 1981 (READ MORE)
No Man is an Island – “…1961 was the year she did the Hollywood film No Man is an Island with Jeffrey Hunter. She was to do other Hollywood flicks, but passed up on these opportunities for two reasons (not necessarily in this order): 1) One film she was supposed to do (this was Halo for a Dime) was set in honky-tonks, which would require her to act sleazy on screen and her conservative upbringing was not comfortable with that. 2) She and then boyfriend Robert Arevalo were very much in love and they couldn’t stand to be away from each other that long. In fact, as soon as she got back from her Hollywood stint, Robert immediately offered to marry her – maybe before Hollywood could snatch her back again from him. They were married in Baguio – in the same church where Aga Muhlach and Charlene were wed in 2001. After they got married, Barbara continued to appear in films, but became very selective with her movie assignments. One offer she could not refuse was this wonderful opportunity to co-star with Robert and to be directed by the great Gerry de Leon in Ang Daigdig ng mga Api, which won for her and Robert the FAMAS Best Actress and Actor trophies. The film also won Best Picture and attached with it the prizes for Best Director, Best Supporting Actress (Leni Alano) and Best Child Performer (Ana Trinidad). That FAMAS win was important for Barbara because that established her as a respected actress in local movies. She may have given up on Hollywood, but at least, on home ground people look up to her as an award-winning actress (an honor she achieved when awards were not yet dime a dozen like today)…” – Butch Francisco (READ MORE)
“…The biggest Hollywood break for a Filipino actor was given to Barbara Perez, hailed as the Audrey Hepburn of the Philippines. She was cast in “No Man Is an Island,” a war film starring Jeffrey Hunter, the blue eyed actor who portrayed Christ in the remake of “King of Kings.” US critics were quite impressed with Barbara’s talent and soulful eyes, and she was offered other Hollywood projects. However, the Sampaguita star opted for marriage to Robert Arevalo over possible international stardom. …” – Behn Cervantes, Philippine Daily Inquirer, Oct 12, 2002 (READ MORE)
Cary Grant – “…In 1962, I had the great fortune to be in a Hollywood film produced by Universal International entitled No Man Is An Island. Filmed in Subic Bay, it had Jeffrey Hunter in the starring role. I was invited to go to Los Angeles for publicity shots to promote the movie. For starters, I stayed at the former house of Greta Garbo in Santa Monica. During my brief stay at the Universal lot, I saw and met several actors and actresses. At the makeup department one day, they introduced me to a girl they claim was Sandra Dee. I was so disappointed for she was not the Gidget I knew from films and movie magazines. Only after the wonder of makeup did she look the part. Another encounter was with the producer of movie greats and responsible for the invasion of Eurasian actresses such as Nancy Kwan and France Nguyen. His name was Ross Hunter. While having a meal at the commissary, someone asked if he could join me at my table. I recognized the voice but was not quite sure. I caught a glimpse of the gray trousers and slowly looking up who do I see? Cary Grant! He had a gray suit and a yellow shirt. I was tongue-tied and could not answer questions except with a yes or a no. He concluded by saying that he hoped I would sign up with the studio for a five-year contract. Instead I opted for a lifetime contract. But that is in itself another story…” – Edu Jarque (READ MORE)
Barbarra Perez, dubbed as Audrey Hepburn of the Philippines was a famous Filipina movie star of the fifties and sixties. Born in the year 1938, Barbara is married to another actor Robert Arevalo. Barbara made several hit movies under the defunct Sampaguita Pictures. Both Barbara and her husband won the best actor awards in 1966 for the movie “Daigdig ng mga Api” or the world of the downtrodden. – Wikipilipinas
Barbara Perez and Vilma Santos
Ibulong Mo Sa Diyos (1988) – “…Elwood Perez and Vilma Santos colloborated in seven films. The first one was the trilogy that he co-directed with two other director, Borlaza and Gosiengfiao (these three are the most underrated and under appreciated directors in the Philippines), the remake of Mars Ravelo comic super hero, Darna in Lipad Darna Lipad. The film was a record-breaking hit Box-office Film. They follow this up with a more mature projects as Vilma started to switched her image from sweet to a mature versatile actress, pairing her with Christopher DeLeon in five films starting with Masarap Masakit Ang Umibig in 1977. The Perez-Santos-DeLeon team produced seven blockbuster hits that gave Vilma two FAMAS best actress awards that secured her elevation to FAMAS highest honour, the FAMAS Hall of Fame award. She won in 1979 for Pakawalan Mo Ako and 1988 for Ibulong Mo Sa Diyos…” – RV (READ MORE)
Nakakahiya? (1975) – “…Hit na hit sa takilya at Patok ang Mr. and Miss R.P. Movies na sina Eddie Rodriguez at Vilma Santos, ang nagkamit ng award bilang “Pinakamahusay na actor at actress sa Bacolod Film Festival para sa pelikulang “Nakakahiya.” At hindi lamang iyan. Nakamit din ng pelikulang ito ang mga sumusunod: Best Picture, best screenplay, best director, best sound, at best film editing awards. Isang bagay lamang ang ikinalulungkot ng mga taga-Bacolod. Hindi nakarating sina Eddie at Vilma upang tanggapin ang kanilang awards. At ang pinakahuling karangalang tinanggap ng dalawang sikat na tambalang ito ay ang pagkakapili sa kanilang dalawa bilang Mr. and Miss R. P. Movies ng taong ito. Isang karangalan ang mapiling Mr. and Miss R. P. Movies. Iisa lamang ang kahulugan nito ang mataas na pagpapahalaga sa kanilang dalawa ng pelikulang Tagalog bilang mga pangunahing alagad ng sining. At hindi
Dugo at pag-ibig sa kapirasong lupa (1975) – “…A Must for the Filipino History Students and for everyone who wants to awaken the innate nationalism in them. These series of stories depicting the fight of the Filipinos against colonialism of Spain, Japan and even their fellow Filipinos abusing the power in the government. A seemingly serious film but spiced with the star-studded cast like Fernando Poe Jr., Ramon Revilla, Joseph Estrada, Nora Aunor, Dante Rivero, Eddie Garcia, Vic Vargas, Goerge Estregan and the other all time favorite artists. This movie even highlighted the comparison between the love of country and the other kind of love we offer to our family and to our beloved as the story featured love stories in the midst of tragic and bloody war happening in our society…” – Kabayan Central (READ MORE)
Hatinggabi Na Vilma (1972) – “…Joey re-emerged in the movie scene in 1972, bristling with fresh ideas. This time he made a big gamble by helping his brother Victor and some friends put up Sine Pilipino, the company that would revolutionize trends in local movie-making. SP specializes in campy, stylish movies with imperative, three-word titles: Takbo, Vilma, Dali; Hatinggabi na, Vilma; Zoom, Zoom Superman!l; Si Popeye Atbp.; and Sunugin Ang Samar. Except for the last mentioned which was an action saga, the four SP flicks were spoofs characterized by madness. They revived the all-star casting system, lumping together in one movie several big stars. The flicks made money. Joey Gosiengfiao had his “sweet revenge.” “It was not wasy for us in the beginning,” Joey relates. “Just before the showing of our first film, Takbo, Vilma Dali!, Martial Law was declared. There were no newspapers then so we had to post bills all over the city, hanggang Pasay nagdidikit kami nina Douglas. We also distributed hand bills. Sa awa ng Diyos, kumita ang pelikula…” – Expressweek, December 12 1974 (READ MORE)
Ito ang Pilipino (1967) – “…In 1966, Estrada was “just” an actor portraying a bandit fighting the Spaniards, led by Eddie Garcia. Directed by Cesar “Chat” Gallardo, an important scene in the film featured the late Vic Silayan telling the young Estrada that he would be the country’s next president-to which, Estrada’s character answered in disbelief, saying it was impossible, because he could neither read nor write! Prophetically, the historical film presaged the actor’s political career. Who would have known that he’d become the 13th president of the Philippines?! At the screening, Estrada’s leading lady, Barbara Perez, who was first seen in 195’6’s “Chabacano,” was in the audience to watch the “lost” film revived by the Society of Filipino Archivists for Film (SOFIA). The actress shares: “Back then, I kept getting in and out show biz, especially when I had to give birth! …” – Rica Arevalo (READ MORE)
Fetch a Pail of Water – “…I’ve done 3 films so far. I started directing in1998, so that’s about one film a year. Fetch a Pail of Water is my second film, and my third film Larger than Life (Tuhog) was released in Manila in February 2001 where it got the best picture award in a critics’ group. I’m excited about that one because it is very different from the past two films that I made, including Fetch A Pail of Water. The original title, Pila-balde, means lining up for water but it has a sexual connotation to it. It means gang bang, a girl with guys lining up to have sex with her. What interests me are personal stories, intimate stories. But in the process, I would also like to capture the political and social background of my characters…It’s because of the industry conditions. Before you can do any substantial story, the producer requires you to put in a lot of sex, and that’s what they asked me when I presented the material. The first thing that my supervising producer asked me was if I could put in a lot of sex. I thought about it and I thought it wouldn’t harm the film if I put in a little sex except that after watching it at the festival last Sunday, I felt I somehow went overboard. But you know, that’s why I’m all excited about my third film because it’s is a parody of the sex films that we do back home. It’s my revenge on my producer!…” – Kinema (READ MORE)
Not Formula – “…I had to rise from the ranks. From college (UP Broadcast Communications), Marilou Abaya got me to be part of her director’s staff for the film “Baby Tsina”, starring Vilma Santos, in 1983. I was Production Assistant. Shooting took all of six months to finish, half of which time we weren’t getting paid our salaries any more (Talent Fees are “packaged” in shooting films) but that was okay by me because I was learning so much from the experience. I then became Script Continuity (Script Girl or Boy), Art Director, Production Designer, Assistant Director in various films and TV dramas to directors like Maning Borlaza, Leroy Salvador, Eddie Garcia, Chito Rono, Joel Lamangan and others. Even as a director, I had to start from scratch as my first “directorial” job was the 5-minute TV program, Legal Forum, of Atty. Josabeth Alonso. But even that was providential because years later, in 2004, Atty. Josabeth Alonso went into producing movies and she got me and Armando Lao to collaborate on “Minsan Pa”, her initial venture as producer. In 2006, she produced her second film, “Kubrador…I’ve done the films I did because they are the kind of films that I wanted to do, regardless of whether they’re mainstream or not. Even in my most commercial films (e.g. Pila-Balde, Tuhog and Bridal Shower), they are not mainstream in the sense that the themes and plots were not formula and that even if the genre was sex, that wasn’t the main focus of the films. Pila-Balde was about the struggles of a young woman to have a better life; Tuhog was a satire on sex in Philippine cinema, and Bridal Shower was about the commodification of love in modern life…We are at a disadvantage, budget and technology-wise, but in terms of ideas, skills and talent, we are at par with everyone else. In the end, as in all art forms, it is what you have to say and how effectively you’ve communicated it that matters…” – Ed Saludes, Project Backspace, 03 May 2007 (READ MORE)
Vilmanian Since Birth – “…Nag-post si Direk Jeffrey ng kanyang ipinadalang text message sa producer ng Ekstra na si Atty. Joji Alonso ng Quantum Films. Sabi ng direktor, “Please thank Ate Vi for me kasi ang laki ng sacrifice niya para lang matapos yung movie in time. “Record-breaking sa bilis considering her schedule! “I was a Vilmanian since birth. Ngayon, after working with her, fanatic na ako! “Dati, makapag-direct lang ako ng first film ko, sabi ko, puwede na ‘ko mamatay. Ngayon, nai-direct ko na si Ate Vi, puwede na ako uli mamatay, hehe!” Isa sa mga nirerespeto at hinahangaang film director si Jeffrey Jeturian. Halos lahat ng kanyang mga nakatrabahong artista sa kanyang mga pelikula ay nanalo ng acting awards here and abroad…“Previous to Ekstra, we had sent a few materials for Vilma to consider but nothing came of it. “It was Ferdy Lapuz who broached the idea of having Vilma play the role of a movie bit player or in colloquial parlance, an ekstra. “This is something I am familiar with, having worked in TV/movies all my professional life and a part of the showbiz industry I want to tackle and expose, as it is in the extras’ plight that the oppressive conditions in the industry is reflected most lucidly. “So we developed the material, sent it to Ate Vi for her consideration and fortunately, she got fascinated with the script and role too, for her to accept it…” – Ruel J. Mendoza, 16 April 2013, PEP (READ MORE)
Dream Cast – “…Sana was a teleplay for Viva Drama Special, telecast a few years back. I was then a production designer for Viva Television shows, mga Spotlight at Viva drama series. It was titled Karugtong ng Kahapon, with Aga Muhlach playing the role played by Gerald Madrid in the movie version, Rosemarie Gil for Nida Blanca’s movie role and Mylene Zapanta for Angel Aquino’s role as mistress. The TV version was much more simplified than the movie version. On TV, the role of Chinggoy Alonso (as Nida’s philandering husband) was short dahil sa simula pa lang namatay na siya, played by an unknown actor. In the movie version, Chinggoy’s role was full-length dahil, even if he dies at the start of the movie, he’s present in the flashback scenes. The TV drama was directed by Joel Lamangan…What I do kasi, tinatandaan ko ‘yung mga kuwento which can be tapped later for movie material. So when I was told that I could do a movie for Mother Lily’s pito-pito batch, I talked to Bing Lao, so we developed it into a movie screenplay. It was also Bing who wrote the teleplay…Kasi I was already directing for Viva Television. You know, Mukha ng Buhay at ‘yung soap opera nila. I was also making telesine for their cable supplier. Manny Valera, one of Mother Lily’s supervising producers for pito-pito movies, told me that they were open to new directors so I submitted tapes of my telesines to him, pero nothing happened. I heard that when Manny brought up my name with Mother Lily, she didn’t know me that well, except that I was Chito Roño’s production designer for Dahas (the Richard Gomez/Maricel Soriano starrer). Aside from that, I didn’t have any contact with Regal or Mother Lily. A year later, Joanne Banaga (also a pito-pito supervising producer) called me up and something did happen…Well, it’s one that would include Gloria Romero. My dream is to direct Tita Gloria; si Nida, na-direk ko na. I think that Tita Gloria is underrated. I worked with her in Saan Nagtatago ang Pagibig where I was the script supervisor. Parang si Tita Gloria has never really been given a chance to show her acting ability to the fullest. I want to do for her what Sana Pagibig Na did to Nida…Vilma (Santos). I think that between her and Nora (Aunor), underrated siya as an actress…” – The Philippine Star (READ MORE)
Jeffery Jeturian holds a communication arts degree from the University of the Philippines. He started as a production assistant for Marilou Diaz Abaya’s Alyas Baby Tsina (1984) before embarking on a career as a script supervisor, production designer, television director and finally, as film director. His first two films, Sana Pag-ibig Na (1998) and Pila Balde (1999) are both critically acclaimed. Pila Balde with the international title, Fetch a Pail of Water, in addition bagged a round of overseas honors—Gold Prize, 2000 Houston-Worldfest (Texas, USA) International Film Festival; NETPAC Jury Prize, 1999 Cinemanila International Film Festival; exhibition in Lincoln Center in the United States as well as in other countries such as Sweden, Germany, France, Bangladesh, Canada, Hong Kong, Singapore, Colombia, Czech Republic, Slovak Republic and Italy. Variety, the United States’ entertainment bible, carried in its recent issue a feature on Jeffrey. His third film, Tuhog, is the current toast of critics and film buffs. – UP Shots 6 Film Artists from Diliman (READ MORE)
Jeffrey Jeturian (1959) is a Filipino director and production designer. He studied Broadcasting Communication at the University of Philippines. His line of interests are personal stories and intimate stories but he would also like to capture the political and social background of his characters. Jeturian worked his way up to where he is now by starting as production assistant for Marilou Diaz-Abaya’s film “Baby Tsina” in 1984. For over 15 years, Jeffrey worked as production assistant, script continuity, art director, production designer and assistant director before making his own debut “Enter Love – Sana Pag-ibig Na.” Almost all of Jeffrey Jeturian’s films are critically acclaimed and have received awards here and abroad like his first film “Sana Pag-ibig Na” “Pila Balde” and “Tuhog.” – Wikipilipinas (READ MORE)
Good Karma – “…Sa taong 1981, nakopo ng pelikulang “Kisapmata” ng Bancom Audio Vision Corporation ang halos lahat ng awards kabilang na ang Best Picture, Best Director (Mike de Leon), Best Screenplay (Clodualdo de Mundo, Raquel Villavicencio & Mike de Leon), Best Actor (Vic Silayan), Best Supporting Actress (Charito Solis), Best Supporting Actor (Jay Ilagan), Best Story (Clodualdo del Mundo, Raquel Villavicencio & Mike de Leon) at Best Editing (Jess Navarro). Dito sa Kisapmata ay dalawang Asia’s Best Actress ang nagkasama (Charito Solis at Charo Santos). Tanging ang best actress award para kay Charo Santos ang hindi nila nakuha dahilan para magwala si Jay Ilagan. Ang Best Actress ay nakamit ni Vilma Santos para sa pelikulang “Karma” samantalang ang Best Child Performer ay si Dranreb Belleza para sa pelikulang Kapitan Kidlat. Ang pelikulang “Ang Babae Sa Ulog” ng Baby Pascual Films & Associates ang naging pangalawang Best Picture. Si Eddie Rodriguez ang naging presentor ng Best Actress Award na sinabing…..and the winner is….your favorite and mine…..Miss Vilma Santos. Si Chanda Romero, na kasama din ni Vi sa pelikulang Karma ang tumanggap ng award ni Vi at nagdayalog pa ng “Ang suwerte ni Vi dahil may Edu na, may Lucky pa at may award pa…” – Alfonso Valencia (READ MORE)
Chanda Romero Chanda Romero is a Philippine actress. She is mostly seen on GMA Network and appeared only once on ABS-CBN. – Wikipedia (READ MORE)
Chanda Romero and Vilma Santos
Yesterday, Today & Tomorrow (1986) – “…Often pitted against then-rival Maricel Soriano, she made numerous blockbuster movies with her in the ’80s like Underage, Schoolgirls, Story of Three Loves and Anak ni Waray vs. Anak ni Biday, among others. She also had her share of TV shows including the weekly musical variety ‘Always Snooky’ and weekly drama feature on ‘Regal Drama Presents: Snooky’ in ABS-CBN Channel 2. As a mature actress, she tackled roles which earned acting nominations from various award giving bodies. She was also in Kapag Napagod Ang Puso with Christopher de Leon and Inagaw Mo Ang Lahat Sa Akin (Harvest Home – official Philippine entry to the 1995 Oscars) but unfortunately was snubbed during awards night. Her other major films include Aabot Hanggang Sukdulan, Yesterday, Today and Tomorrow, Hahamakin ang Lahat with Vilma Santos, the fantasy films Blusang Itim, Rosa Mistica, and Madonna: Ang Babaing Ahas. It was with Koronang Itim, that she finally won Best Lead Actress trophy. She has starred in over (80) films from 1970 to 2004…” – Wikipedia (READ MORE)
Alyas Baby Tsina (1984) – “…Ang istoryang ito ay matagal nang ikinukuwento sa akin ni William. Wala pa akong asawa, pangarap na ni William na magawa ang pelikula. He had the story at hand. Siya talaga ang nag-negotiate para makuha ang istorya. Noong una nga raw, ayaw pumayag ni Baby Tsina at ng kanyang asawa dahil gusto na nilang kalimutan yun. Eh, si William alam ko yan kung magpilit, tsaka personal kasi niyang kilala si Baby Tsina, nakuha rin ang istorya,” salaysay ni Vilma…”Noong una kong mabasa ang script, ayoko sanang maniwala na nangyari talaga yun. Masyadong cinematic, eh. Para bang sa pelikula at sa komiks lang nangyayari. Until the day nga that I met the real Baby Tsina. Nang siya na ang makuwento sa akin ng naging buhay niya, lalo na after the crime at sa loob Correctional, saka ko lang nalaman na ang nakalagay sa script ay kulang pa pala. Mas matindi ang istorya niya, pero hindi na maaring isamang lahat sa pelikula. Baka namang masyadong humaba eh. Malakas ang istorya. I think the story alone will sell the movie. Lalo na kung iisiping isa itong celebrated case at nasundan ng mga tao noon sa mga diyaryo. Front page stories pa raw lagi iyang si Baby Tsina noon eh…” – Ariel Francisco (READ MORE)
Karma (1981) – “…During the MMFF when Ate Vi won in Karma. It was a triple tie between Ate Vi, Gina Alajar and Charo Santos. JQ as one of board of jurors defended why Ate Vi should win. On the second deliberation JQ convinced one of the jurors and Ate Vi won by 1 point. JQ lambasted on his TV program the jurors in the MMFF when Ate Vi was not even nominated for her performance in Langis At Tubig. The nominees are Nora Aunor for “Bona” and “Kung Akoy IIwan Mo” and Amy Austria for Brutal. Its good that Amy won. JQ said that Ate Vi is good in langis compared to Nora in “Kung Akoy IIwan.” Obiously that was manipulated by Dean Lukresia Kasilag who was the Board Chairman that time and a certified Noranian. Kawawa talaga si Ate Vi basta involved si Kasilag lagi syang nabibiktima. Remember Rubia Serbios and Atsay. JQ always regarded Ate Vi as the real Queen of Philippine movies and a certified box Office Queen…” – V Magazine (READ MORE)
Apoy sa ilalim, apoy sa ibabaw (1977) – “…Vilma herself gives the credit to her willingness to learn. The process was sometimes painful but, says Vilma, she knew it was all part of her education. I am now 28 years in this business and everything I have learned has made me a stronger woman. Even the troubles, the intrigues – they have made me a stronger woman. I’m always learning. For example, there was a part of my career that was for me a very expensive education.” She had set up a production company of her own that, it turned out, was mostly producing debts.‘ That was about 15 years ago. I tried producing and I made about five movies for VS Films, my own outfit. It was managed by my mother, not by me personally, and Mama is so good people take advantage of her. Before I knew it I was drowning in debt. I was pregnant at the time, 1980, when I learned I had a debt of six million pesos! And I didn’t even know if, after giving birth, audiences would still accept me. How was I to survive? I prayed; I told God I was willing to work, sarado ang mata, just to pay off all those debts. And with his blessings I was given a second chance. After giving birth to my son, my career got a second chance and became even more successful: not only did I continue to be box-office but I was winning awards right and left…” – Quijano De Manila (READ MORE)
Dyesebel At Ang Mahiwagang Kabibe (1973) – “…In the 1973 Dyesebel movie, Dyesebel lives in an undersea kingdom of mermaids far from the land of humans because the humans believe that the mermaids are the cause of misfortune. Dyesebel fell in love with a male human being. In order to be with the man that she likes, she swore to find a way to be transformed into a female human being. In the movie, “Si Dyesebel at Ang Mahiwagang Kabibe,” the role of Dyesebel was played by Vilma Santos and Fredo was played by Romeo Miranda…” – Jun B (READ MORE)
Tsismosang tindera (1973) – “…Jay Ilagan and Vilma Santos did twelve films with commercial success except for one, their most critically acclaimed film, Sister Stella L. Total Number of films: 12 (Inspiration, Ang Konduktora, Tsismosang Tindera, Ang Hiwaga ni Mariang Cinderella, Paano Ba Ang Mangarap, Sister Stella L, Coed, Leron Leron Sinta, Ito Ang Pilipino, Remembrance, Karugtong Ng Kahapon)…” – RV (READ MORE)
Cariñosa (1973) – “…He became the leading man of Nora Aunor after Tirso Cruz III. Theirs was also a popular tandem. Decades later, when I finally got to talk to Nora during an interview, she revealed that their working relationship wasn’t really all that pleasant. Manny disappeared from the scene when Nora moved on to become a more serious actress. Whatever happened to Manny de Leon? When last heard from — many, many years ago — it was full of speculations and, sadly, those bits of information about him were unpleasant…” – Butch Francisco (READ MORE)
Lipad Darna Lipad (1973) – “…Top Record-Breaking Box-office Film of 1973; The first of four Darna films starring Vilma Santos; One of Vilma Santos and Gloria Romero 13 films – (Anak ang Iyong Ina, Iginuhit ng Tadhana, De Colores, Pinagbuklod ng Langit, Anak ng Aswang, Lipad Darna Lipad, Happy Days are Here Again, Karugtong ang Kahapon, Nakakahiya?, Hindi Nakakahiya, Makahiya at Talahib, Saan Nagtatago Ang Pag-ibig?, Kapag Langit Ang Humatol)…” – RV (READ MORE)
Ang Konduktora (1972) – “…Handog ng Tagalog Ilang-Ilang Productions…..”destination film with the versatile jet set tandem…..” Ang Konduktora (September 14, 1972) nina Vi at Jay Ilagan kasama sina Beth Manlongat, Ruben Tizon, Pepot, Greg Lozano, Chanda Romero at Patria Plata sa direksiyon ni Romy Suzara…” – Alfonso Valencia (READ MORE)
Armpit Hair and Drug Overdose – “…Dolphy was all set to marry Pilar, but her father intervened. Worldly-wise himself, Carlos Pilapil didn’t exactly welcome the idea of having another Lothario for a son-in-law. She had his daughter guarded by older siblings until she had shaken Dolphy out of her system and out of her heart and life…Later, Pilar would plunge into a more serious romantic affair & this time with a famous politician who would be the father of only daughter Pia, who is now married to former model Gerry Gonzalo. (Pilar is fondly called Lola Pretty by Gerry and Pia’s kids.) The 1970s was the peak of Pilar Pilapil’s career. She had a Thursday night drama anthology for ABS-CBN Channel 4 called Ala-ala which was cut short by the proclamation of Martial Law in 1972. On the big screen, she was paired with some of the country’s top leading men…Around this time, she also became quite controversial because she was the first & and so far the only & actress to have grown hair in her armpits. Back then, whenever she was interviewed on television about her armpit hair, she would say that she forgot to shave them one day and decided to just let it all grow. But now, she openly admits that she did it to accede to the strange fetish of the man in her life then. In 1977, she hit the headlines after figuring in a drug overdose. She was suffering from insomnia then and had to take Semicon. One day, she swallowed one too many pills after she had trouble getting to sleep and “maybe because I wanted to make an exit because of what was going on in my life then…” – Butch Francisco, The Philippine Star, 13 October 2001 (READ MORE)
Regaining Identity – “…Life’s journey is never easy. There are certain circumstances beyond our control that allow one to falter, thus losing face, if not lose personal identity along the way. This book is not merely about me baring my soul to everyone but, more importantly, it’s how I rose to the occasion and conquered myself. Regaining my identity, my true self with the guidance of the Divine…”Love answers all behavior” and it all starts in the family. Growing up with an abusive father and a submissive mother was a little too difficult to bear for a young girl but, in retrospect and speaking now as a parent, I understood everything. It made me a person, a better mom to Pia. And yes, all the characters you meet in the book are for real. My beloved aunt Filomena who raised me for the most part was such a character. She was very religious, always dragged me to church. Ironic, I grew up with somebody who died a virgin and I turned out the exact opposite. I love my hometown! Nowadays, I visit friends and relatives as much as I possibly can…The Pilar Pilapil Foundation was conceived in 1997. We minister mainly to unwed mothers, abused women and children, substance addicts and more. We have had several programs since we started, like medical and dental missions, gift giving and community outreach. Our Ministry house in Apas, Lahug, houses our Praise Church and a school for street children. We aim to help communities and households through faith and the love of God. Currently, we do not have that much supporters. Hopefully, with this book out we would be able to gain more friends and generous souls so that we can continue our noble mission. In fact, all the proceeds of this book go to the Foundation…” – J.P. Laza and Rycky Pilapil, The Freeman, 13 July 2006 (READ MORE)
Cinderella and Prince Charming – “…The youngest of six girls (with four brothers after her) recalled that childhood, spent with a spinster aunt since age five, with an overtone of bitterness toward a father who, she insists, didn’t love her, citing an incident when she was 14 and starting to be “mischievous” with the guys: She obeyed terrified when her father, depressed after losing his job at a tire company, summoned her to his room and, she narrated, “shut the door behind me and I learned just how very cruel my father could be.” What that “cruelty” was she didn’t elaborate. But after that incident, she says, “My life was never again the same”….And she fell in love with, you guessed it, older men, first with Dolphy (who, according to some sources, she almost married) and then with a man whom she identifies only as Doy, father of her only child Pia who married a handsome blind model. Pilar recalled that on their first meeting, the man Doy tried to seduce her (“…the fact that he was proposing sex without romance was a big turn-off to me…”), so she ran out of the back entrance and down the stairs because the elevator of the apartment building was out of order, much like “Cinderella running away from my Prince Charming.” Well, to make a long story short, Pilar fell deeply in love with the man Doy, “even though he was married with several children,” convinced that “I believed I learned to love him, and I believed that he loved me,” foolishly desiring that they would be together forever even if she knew that could never happen. One of Pilar’s poignant recollections of the man Doy was when he fought with his wife (unidentified in the book) and he stayed with Pilar for one week: Midnight came and my helper used the intercom and told me that Doy’s two daughters were downstairs. I went down to see them while Pia (then only about three years old) and her dad were fast asleep. As we talked, his daughter told me, “You finally found what you wanted.” I replied, “It’s not a matter of what I want, it’s a matter of how many people get hurt in the process. There are eight of you, nine including your mother. There are only two of us.” They both became quiet and asked if they could see their father. I led the elder daughter to our bedroom upstairs and she woke her dad, saying, “Dad, mom is already home.” He woke up and told me, “Mama (our term of endearment), I’ll go home first.” I guess you and I have an idea what happened to that “affair to remember…” – Ricardo F. Lo, The Philippine Star, 27 February 2006 (READ MORE)
Thinking vs Talking – “…Looking at Pilar these days one wonders why she has not aged at all. The years have given her face something that wasn’t there before, a strength that is the definition of classic beauty…”Oh, but I’ve changed,” she exclaimed. “Life has turned for the better for me, emotionally, psychologically and spiritually. I am more settled now. I think it’s not good to look back at the past. I think I am better person in spite of my marriage having failed. I’m in the process of having that annulled…Happiness is relative. It only helps if you can be with someone who loves you and who can be good to you. At present there’s no one whom I can call my own but there are several people around wanting to have relationships but I’m still somehow in the process of seeing who is the bests…there’s a saying that when you think positively of something. It will come true. Yes, but there’s a difference between thinking and talking. I do think about them, but I don’t to talk about my plans. If its meant to happen, it will happen. It’s funny because in life whenever you’re ready to give up, something good happens to you, something good for you. God is really ever watching us, giving us both emotional and physical strength to bounce again. So I take one day at a time. There are many things that I would want to happen…” – Nena Z. Villanueva, Manila Standard, 17 Oct 1991, p17 (READ MORE)
Ekstra, The Bit Player (2013) – “…We screened the edited materials of the film yesterday (without the ending) and the performance of the entire cast is something we are so proud of. Nobody was trying to upstage anyone. It was team work – pure and simple. A brilliant cast!!! I ended up with tears on my eyes – because I could not stop laughing and laughing with how the story was unfolding, with so many hilarious real life incidents that an ekstra has to go through. Then again, without knowing it, I found myself in tears, and this time for a different reason – because of the atrocities that TV production people have to face due to the economics of the industry, the people at the bottom of the line like the extras often end up having to bear the brunt. Time for a wake up call maybe?…” – Mario Bautista, Showbiz Portal, 18 Mar 2013 (READ MORE)
Pilar Pilapil (born October 12, 1950), is an award-winning actress in the Philippines. She won as Bb. Pilipinas-Universe in 1967. She represented the country in the Miss Universe 1967 pageant. After winning the Binibining Pilipinas beauty pageant in 1967, Pilapil was swamped with offers to join the movies. Her first film was the action picture El Nino (1968) with Andy Poe as her leading man, directed by Fernando Poe, Jr. She did movies with Dolphy such as Dolpe De Gulat (1969) and El Pinoy Matador (1970), among others. She won two best actress awards, one for the movie Imelda, Ang Uliran (1970) at the Manila Film Festival and another for the film Napakasakit Kuya Eddie (1986) for Gawad Urian Award 1987. She also dabbed in politics when she ran for senator in 2004 as an independent candidate but she lost. In 2006, she released an autobiography entitled The Woman Without A Face, chronicling her life in show business and in private life after she went on semi-retirement. Pilapil continues to entertain viewers via ABS-CBN’s primetime drama series Ina, Kapatid, Anak premiered on October 8, 2012. Pilar Delilah Pilapil, was born on October 12, 1950 in Liloan, Cebu. The youngest of six girls with four brothers after her. She has a daughter, also an actress Pia Pilapil, to Doy Laurel. She married to Spanish journalist Michel Ponti on October 12, 1986 at the Manila Cathedral, but they divorced after. She became a born-again Christian in 1995, and married Pastor Bernie Penas on May 18, 2002. Pilapil has a foundation named Pilar Pilapil Foundation, which helps battered and abused women, among others. – Wikipedia (READ MORE)
Artistic Evolution – “…Cocoy starred in several theater productions of Repertory Philippines whom he credits for his basic theater training. “In 1968, Zeneida Amador cast me in two plays, Plaza Suite and Doña Rosita La Soltera,” Cocoy declares. Among his memorable performances were in Fiddler on the Roof, Guys and Dolls, Evita, The Elephant Man, The Fantasticks, to name a few. With his enormous exposure and experience in the arts, it is not surprising that Cocoy was selected for a major role in Cameron Mackintosh’s Australian production of Miss Saigon where he played the male lead role of The Engineer, the Vietnamese pimp. And even before playing the Engineer, Cocoy was already winning crowds with his portrayal of the Vietnamese Commissar in the West End production. Cocoy received rave reviews including a letter from Cameron Mackintosh to his parents congratulating them for Cocoy’s excellent portrayal in the musical. “What made Miss Saigon special was that we were involved in the making of it. We saw the artistic evolution and became part of its shows. It was my first experience to be in an international stage and having performed 450 performances,” says Cocoy. Upon returning to Manila, Cocoy resumed theatrical work starring in the productions of Joseph and the Amazing Technicolor Dreamcoat, Camelot and Les Miserables. He also played both The Engineer and Jean Valjean in the much-acclaimed The Music of Alain Boublil and Claude-Michel Schönberg in Concert …” – Sol Jose Vanzi (READ MORE)
The Artist – “…Unlike many of his fellow teen-agers, Cocoy appears cleancut (although he sports sideburns and long hair) and, what’s more, he’s soft-spoken. He’s the third among eight children of Senator and Mrs. Laurel, the first boy in the family. He was born on March 2, 1953 at the Lourdes Hospital. “Cocoy has always been the quiet and reserved type,” Celia says. “It is surprising how he can hide his emotions, even to those who are close to him.” He finished high school at the De La Salle College where he excelled both academically and in extra curricular activities. “I had always been fond of acting on stage,” Cocoy himself says. He has played varied roles in many plays: as John in “If Men Played Cards as Women Do,” as the priest in “Man of La Mancha,” as Fyedle in “Fidler on the Roof,” as bell boy and bridegroom in “Plaza Suite,” and as a young man in “Dona Rosita La Soltera.” His forte is Shakespearian roles (as Mark Anthony in “Julius Caesar,” as Romeo in “Romeo and Juliet”) and he has appeared in a passion play as Judas. In 1969, he was chosen Romeo of the Philippines to Lotis Key’s Juliet in a contest that was held to drum up interest in the showing of Zeferelli’s “Romeo and Juliet.” Because of his good looks, fine voice and excellent stage presence, he is often invited as a special guest on TV programs (Elvira Manahan’s “Two for the Road,” “Your Evening With Pilita,” “Stop Look and Listen,” “The Young Image,” “This Girl Pilar”). He appeared twice in “Seeing Stars.” Victor will soon go back to Spain for his studies. He’s currently enrolled at the Escuella de Bellas Artes de San Fernando in Madrid. In addition to his acting and singing talents, Cocoy can also paint. Cocoy acknowledges the sources of his talents: “I think I’ve inherited the fine voice of my father” – Senator Doy Laurel is a good singer; even Dovie Beams admired his singing – “and part of the acting ability of my mother” – Celia is regarded as one of the best stage actress of Repertory Philippines…” – Jose A. Quirino (READ MORE)
This Travolta – “…I’d rather be known as Victor Laurel. But really, this Travolta is a sensation. I met him in Studio 54 and how the crowd loves him. He’s a wonderful actor, singer, and dancer.” Cocoy, too is a seasoned dancer even before the Travolta fever. He has a catlike grace that gives the impression of strenght and his dancing ability has helped tremendously in his career. “The Travolta dance is typical of hero worship even in San Francisco, Los Angeles and other big cities. Mondays, everyone who has caught the fever, even 30 year olds shop and prepare for the disco on Fridays and Saturday and stay up till the wee hours of the morning…We were about to ask another question about Vi, his leading lady in Lea’s Disco Fever but Ate Josie came in to remind Cocoy that the Sampaguita people were waiting with sketches of his costume for Dyesebel, the movie he was going to make for the Gilmore Studio. But didn’t. As a parting shot, Cocoy revealed that he’d soon put a disco. The Third Kind or something in Makati…” – Nena Z. Villanueva, Expressweek, November 16, 1978 (READ MORE)
Victor “Cocoy” Laurel was first discovered when he won the title of Romeo in the Paramount Pictures nationwide search for the Romeo and Juliet of the Philippines in 1970. In 1971 he made his first film with Filipino superstar Nora Aunor, entitled Lollipops and Roses filmed in the United States with the co-star Don Johnson of Miami Vice. This film was an overnight box office hit and marked the beginning of successive films. In 1972 he joined Repertory Philippines in Fiddler On The Roof and later in The Fantasticks. After his second film, Till Death Us Do Part, he auditioned in New York at the American Academy of Dramatic Arts where he studied for two years, receiving his Diploma from Helen Hayes. He returned to Manila in 1973 to perform in further films and plays such as Pippin, Tony in West Side Story, Anthony in Sweeney Todd, Charlie in You’re A Good Man Charlie Brown, Sky Masterson in Guys and Dolls, Che Guevarra in Evita and John Merrick in The Elephant Man. He worked in Philippine Theatre and Film until he joined the original cast of Miss Saigon in London, where he played the Assistant Commissar. Upon returning to Manila he resumed his theatrical works starring in productions as Joseph in Joseph and the Amazing Technicolor Dreamcoat, King Arthur in Camelot and Jean Valjean in Les Miserables. In March this year he played both the Engineer and Jean Valjean in the much acclaimed The Music of Alain Boubill & Claude-Michel Schonberg Concert in Manila . – Adam Wilson (READ MORE)
Victor Laurel and Vilma Santos
Pinay American Style (1979) – “…The film was so forgettable that the critics didn’t even bother to write any reviews. The lack of enthusiasm on the part of the critics was compensated with the box office success of the film. Vilma fits the role as the illegal alien, PX. Her attempt to speak fluent English and pretend that she’s rich when she met the boyish looking Christopher was funny and poignant. She was given enough scenes to shine. One was when she was harassed by her landlady, she promised her the rent money the next day and when she’s gone, she opened her refrigerator and found a staled piece of bread. She took bottled water and ate the staled bread, went to the bedroom and found her mom’s letter. Lying down in bed, she started to break down. A quiet scene without dialogue. A contrast from the earlier scenes where she was talkative as she tried to impress Christopher and telling him she’s rich and from a well-known family. It was obvious in 1979, Elwood Perez wasn’t the kind of director you will expect to produce a serious output. He wasn’t a Bernal or Brocka. He’s a commercial director. It was a better effort though, compared to a much more convoluted Magkaribal or their past successful projects like Nakawin natin ang bawat sandali and masakit masarap ang umibig. In Pinay, Toto Belano’s script wasn’t efficient in ironing out the “love quadrangle” plot twists and establishing the characters of four actors. So the blame can’t be put to solely to Perez’ shoulder. There was a scene were Vilma Santos and Christopher were watching a concert which was obviously not part of the script…” – RV (READ MORE)
Disco Fever (1978) – “…I’d rather be known as Victor Laurel. But really, this Travolta is a sensation. I met him in Studio 54 and how the crowd loves him. He’s a wonderful actor, singer, and dancer.” Cocoy, too is a seasoned dancer even before the Travolta fever. He has a catlike grace that gives the impression of strenght and his dancing ability has helped tremendously in his career. “The Travolta dance is typical of hero worship even in San Francisco, Los Angeles and other big cities. Mondays, everyone who has caught the fever, even 30 year olds shop and prepare for the disco on Fridays and Saturday and stay up till the wee hours of the morning…We were about to ask another question about Vi, his leading lady in Lea’s Disco Fever but Ate Josie came in to remind Cocoy that the Sampaguita people were waiting with sketches of his costume for Dyesebel, the movie he was going to make for the Gilmore Studio. But didn’t. As a parting shot, Cocoy revealed that he’d soon put a disco. The Third Kind or something in Makati…” – Nena Z. Villanueva, Expressweek, November 16, 1978 (READ MORE)
Ophelia & Paris (1973) – “…Mars Ravelo’s Ophelia at Paris: Prinsipe Paris Walang Kaparis (December 10, 1973) ay handog ng VL Productions na tinampukan nina Vi, Victor Laurel, Marissa Delgado, German Moreno, Rodolfo Boy Garcia, Mary Walter, Subas Herrero, Joonee Gamboa, Celia Diaz Laurel at Ronald Remy sa direksiyon ni Celia Diaz Laurel…” – Alfonso Valencia (READ MORE)
Perspective and Attitude – “…t seems these past months have been all about making movies! I’ve really missed that. After all, I began my career as a film actress during the turn of the second golden era of films. That was around the early ’80’s to early ’90’s. Then we hit a slump after the Marcos regime, but now it seems to have bounced back – baby steps, yes, but watch out for the indie generation. It has grown so fast and given fresh takes on story concepts and execution, and we’ve gotten global recognition. It’s just as exciting even if some purists say that we don’t make films like we used to. Well, that’s partly true. But why stick to what we used to do? Isn’t growth all about innovation especially in this fast evolving digital age?…I was all of 19 when I was tapped by Peque Gallaga to do the film. Then working on the comedy TV show “Champoy” together, he purposely mentioned that he wrote the role for me. Worried then that I was too in love (with a cute doctor) that I might not take the project seriously, I promised I would give it my all if he would just trust me. (I think he wanted to make sure so he cast the mother of my boyfriend! I won’t say who, ok?) Never having lived nor experienced much less to imagine being in the midst of war, I had no sort of personal contribution to the role and to the film itself in its entirety. Needless to say, my life’s journey in the film was in Peque’s hands. Watching it again made me realize that it was no small feat for the acclaimed director. Every scene involved teamwork and ensemble choreography captured by complicated camera shots, more often done in just one take, capturing only sheer truth and believability. I marvel now at how he was able to achieve all that unfailingly…I spent two months straight in the deepest jungles of Negros, and my perspective of and attitude towards my work was never the same after. “Oro, Plata, Mata” set high standards and great expectations which were hard to meet in other projects…” – Cherie Gil, Rappler, 08 March 2013 (READ MORE)
Favorite Roles – “…Kung sino man, sana ako na habang puwede pa! That’s one of my favorite roles, e. Kaiba-iba. I don’t mind playing it again. I played Kano. I was a drug addict, pusher/lesbian…Ang ganda-ganda! I think it’s still being credited in many film festivals internationally. If I speak to people from Israel Film Festival or people in that circle, if I mention Oro Plata Mata and Manila By Night, they remember. They remember Manila By Night as City After Dark. So they know these movies. Kahit nga daw si Quentin Tarantino, alam niya ‘yong City After Dark,” she says with gusto…Kasi nabitin ako doon, e. I have a lot of angst about that role because it was a very strong chance for me to get into the Urian league, and I was first nominated with that movie. Kabataan ko pa, [I was just] 17. Everybody clamors for this award-giving body, especially as respectable as Urian. ‘Yon [Urian] ang isang award na hindi ko pa nalalagay sa aking mantel. At that time, I was doing movies. Uso noon ang lagare. Konti lang kaming mga artista noon. We were doing four, five, six films at the same time. Ang daming pelikula rin noon, 100 films a year. I was doing lagare, so to the point na hindi pa ako nakapag-dubbing. Si Louella [Albornos, fomer charactress actress], she dubbed for me. To give her credit, she really did a great job kasi nga tomboy, e, so bumagay ‘yong boses niya na mababa. Pero ano na ‘yon, parang point against me na ‘yon na hindi ko nabuo ang trabaho…” – Candace Lim, PEP, 13 September 2007 (READ MORE)
Process of the work and Self-discovery – “…It was a perfect time two years ago because it was when I was going through a certain crisis, which I wasn’t secretive about. Two years after that, so many things, so many changes happened. I have done four soap operas, but I’ve never known where I have probably gotten the energy to do all that…I guess once you’re out there, you’re out there; there’s no way that you can correct [a mistake] and do it all over again. It’s the process of the work. And, ‘ika nga, theater is really a medium for actors…Dad is doing okay, he’s in the States with my mom, who is still very active in the church…we all do need inspiration, we all do need motivation, don’t we? But sometimes, you just don’t find it externally; we all just have to continuously dig down deep inside of us. Kasi minsan, may mga ginagawa tayo na nakakawalang-gana rin… I’ve been in the industry for 37 years, way too long. And this is a good transition time in my life because for the first time, for two years, I’ve been on my own. There’s a lot of self-discovery for me…” – Leo Laparan, PEP, 08 July 2010 (READ MORE)
Respect and Humane – “…From my perspective, I’m not sure if I can now consider this film the parody it’s meant to be, or more of an “exposé” into our real world of soap operas. It reflects many truths of what these extras, or talents, face. I myself, despite my ranting, have softened up to their plight. On one taping day, lo and behold, the first sight that greeted me were some 20 talents sitting on cardboard on the ground, in the heat of the sun, right in front of the main actors’ air conditioned tent. Talk about rubbing the point in. All this for P1,000 a day or P1,500 if you had speaking lines, or if you played a nurse, police or doctor, you get P2,000 because you have to bring your own uniform. A day may mean 28 to 36 hours straight for many of them. I’m fortunate that after decades in the business, I’ve earned a cut-off time of 2 am (which in effect actually helps talents go home earlier, if they’re in my scenes). I realize minimum wage stands at under P500, but these seemingly good talent fees don’t go straight into their pockets. They too have agents or talent suppliers who whittle away their earnings. (Just like we do.) I could be putting myself on a limb here, but I’m going to say it anyway: isn’t it high time we make the working environment in the soap opera world better for all to enjoy the work and find dignity in our choice of profession? Isn’t it time to raise the standards and expectations for the betterment of our teleseryes; from better story material, evolving from formulaic recipes. From more comfortable stand-by areas, to better and more respectful organization of everyone’s time, to humane working hours, and even maybe to plates and utensils (instead of styrofoam and plastics) for everyone?…” – Cherie Gil, Rappler, 30 March 2013 (READ MORE)
Cherie Gil and Vilma Santos – Mother and Daughter, Rosemarie and Cherie Gil both won a best supporting actress awards in a Vilma Santos films. Rosemarie was recognized in her heartfelt performance in Celso Ad Castillo’s “Burlesk Queen,” a best picture winner in 1977 Metro Manila Film Festival. Meanwhile, Cherie, won her best supporting actress via Eddie Garcia’s 1989 Metro Manila Film Festival best picture winner, “Imortal.” Both Imortal and Burlesk also won best actress awards for Vilma Santos. Vilma and Cherie did three films together before reuniting again in this year indie film, “Ekstra: The Bit Player.” Some highlights, both Cherie and Vi are regular staple in National Artist Ishmael Bernal’s filmography. Cherie’s most memorable Bernal film was “City After Dark” where she portrayed a lesbian drug pusher who’s in love with blind masseuse, Rio Locsin. Vi’s most recognizable Bernal film was “The Affair” or locally titled “Relasyon” where she played a sympathetic mistress of a chauvinistic teacher, Christopher de Leon. While Vi started her career as a child star, her relaunch into a mature actress was via Celso Ad Castillo’s “Burlesk Queen,” a period movie filled with sexual innuendo while Cherie Gil’s launching movie was Elwood Perez’s “Problem Child,” a modern movie filled with blatant sexual scenarios. Cherie’s other notable films were: Oro Plata Mata; Taga sa Panahon; Ito Ba Ang Ating Mga Anak; and Rosenda. Although Gil is no longer commands leading role status in films she ventured successfully into television and in recent years in stage acting, more notably in “The Graduate” and “Master Class.” Like Vi’s most memorable movie line: “Para kang karinderyang bukas sa lahat Kumain! (“You’re like a 24 hour take out restaurant, open whoever wants to eat!”), Cherie has her share of most memorable movie lines. Confronting the uprising singer in the movie “Bituing Walang Ningning,” Cherie uttered the lines to an equally combative Sharon Cuneta: “You’re nothing but a second rate, trying hard, copy cat!” Cherie is indeed someone to be cherish.
Palimos ng pag-ibig (1986) – “…The year was 1986. Palimos Ng Pag-ibig directed by Eddie Garcia was a smashed hit. Vilma co-starred with her soon to be ex husband Edu Manzano and Dina Bonnevie. Despite the mixed reviews from the critics, the film gave us, arguably, one of the most memorable lines in Philippine movie history. The scene was, Vilma, playing Fina was about to leave the house when Ditas, (Edu’s mistress and baby maker) knocked on the door, with her was her husband’s child. She forced herself in. Confronting Ditas, Fina: “Ilang gabi kang binili ni Rodel?” Ditas (Dina): “Isang Gabi lang, malakas ang kanyang punla at nangangailangan lang ng matabang lupa!” Fina: “Okey! So you’re fertile and I’m barren…pero sa mga pangyayari, para kang karinderyang bukas sa lahat ng gustong kumain! Paano mong mapapatunayang ang asawa ko nga ang ama ng batang iyan at wala siyang kasosyong iba?…” – RV (READ MORE)
Saan nagtatago ang pag-ibig? (1987) – “…For sure, the film has been well-acted. Vilma, once again awes us with her astringent putdowns in her familiar facial expressions and pertinent body language. That long monologue in front of the dying Tonton is an eloquent testimony to her acting talent. Tonton is worthy of notice as the retardate but we have to be assured that he is capable of doing the things he does in the film. Can he really remember the past with such clarity despite his brain damage? Nevertheless, he has captured the mannerisms and speech of the character he portrays. Alicia Vergel comes on too strong as the aristocratic Nyora Pacing who wears an eyepatch and walks with a cane. Ricky Davao vies for attection in his anti-hero role. Cherie Gil as Ricky’s flighty sister is less fierry but more believable. Gloria Romero delivers a sensitive portrayal of the weak mother with a dark past while Alicia Alonzo plays her sister who is privy to the family’s secrets. Eddie Garcia should be commended for toning down his confrontation scenes. His familiarity with this film genre shows in the way he manipulates the characters and builds up the scene. Still, one cannot help but questions the logic behind that sham marriage…” – Luciano E. Soriano, Manila Standard – Sep 5, 1987 (READ MORE)
Imortal (1989) – “…There are other laughable scenes. Vilma says, “My husband is (music rises ominously) — my husband is (music again) Impotent (music rises to a climax)!” You’d think the husband just contracted the AIDS virus or got castrated by Sparrow units! Shucks, I know several husbands who just can’t do it anymore, and I hear no heavy music when their wives complain. As a matter of fact, wives prefer their husbands to be impotent, rather than be sexually active with other women. Another terrible scene. The car ridden by Christopher and wife Cherie Gil falls off a cliff. Cherie who is pregnant is mortally wounded and dies. And Christopher looks at his dead wife, and holds aloft a new born baby complete with umbilical cord. This is absurd without a caesarian operation by a doctor. The worst scene is when Christopher digs up the corpse of Vilma at the cemetery, amidst thunder, lightning, wind and rain, and embraces her passionately, while she exhibits no rigor mortis, and apparently no smell of formalin. You don’t find this kind of idiocy in a television commercial. Most of my grandchildren, including Angeli who is only four months of age, enjoy commercials more than dramas…” – Hilarion& M. Henares Jr., January 14, 1990, Philippine Daily Inquirer (READ MORE)
Ekstra, The Bit Player (2013) – “…We screened the edited materials of the film yesterday (without the ending) and the performance of the entire cast is something we are so proud of. Nobody was trying to upstage anyone. It was team work – pure and simple. A brilliant cast!!! I ended up with tears on my eyes – because I could not stop laughing and laughing with how the story was unfolding, with so many hilarious real life incidents that an ekstra has to go through. Then again, without knowing it, I found myself in tears, and this time for a different reason — because of the atrocities that TV production people have to face due to the economics of the industry, the people at the bottom of the line like the extras often end up having to bear the brunt. Time for a wake up call maybe?…” – Mario Bautista, Showbiz Portal, 18 Mar 2013 (READ MORE)
Evangeline Rose De Mesa Eigenmann (born May 12, 1965) is a Filipino actress of Swiss German American, Spanish, and Filipino descent. Cherie Gil is the daughter of Filipino actors Eddie Mesa and Rosemarie Gil and sister to actors Mark Gil and Michael de Mesa. She was formerly married to Rony Rogoff, an internationally-renowned violinist. Together they have two children, Bianca and Raphael, in addition to her first child Jay…Cherie Gil is the daughter of Filipino actors Eddie Mesa and Rosemarie Gil and sister to actors Mark Gil and Michael de Mesa. She was formerly married to Rony Rogoff, an internationally-renowned violinist. Together they have two children, Bianca and Raphael, in addition to her first child Jay. – Wikipedia (READ MORE)
The Early Years – “…Nagsimula ako mag-build up ng stars more than ten years ago,” Rey goes down memory lane, “si Zandro Zamora ang una kong na-discover…” And then came somebody named Tessa Locsin, followed by Leila Hermosa, Susan Henson, Olivia O’Hara and Mitos del Mundo, Rio Locsin is his seventh discovery, Lucky 7th, you might say. “I discovered Rio in 1974,” Rey is now recalling the long and winding road that eventually led Rio Locsin to Stardom, “she was only 12 years old at that time, I saw her at the victory party given by her auntie, Juliet Garcia, who was chosen Miss Quiapo noong taong ‘yon. When I knocked on the door sa bahay nina Juliet sa Baesa Queezon City, a little girl came to meet me:maganda naka-ponytail, malaki ang mata, hindi mahiyain at vivong-vivo. Shrap pa mandin, kapag tinatanong, hindi pa natatapos ang tanong, sumasagot na kaagad. Smart na bata…Three months later, Rey brought Rio to Celso Ad. Castilo but one look at her and Celso Kid said, “Ne, magpalaki ka pa ng kaunti, She’s too young,” Celso Kid told Rey…
…In February 1976, Rio and her mama showed up unexpected at Rey’s clinic. When he saw how she had suddenly grown, he exclaimed, “Ay pude ka na! So pinagmake-apan ko, pinalagyan ko ng pula-pula sa pisngi, pinagbistida ko, pinaayusan ko ng tudo, I wrapped her properly, so to speak.”…At this point, towards the end of 1976, Celso Kid who was vacationing in USA wrote to Rey (Celso is Rey’s kumpare), telling him that he was making a movie called Burlesk Queen as soon as he came back and he was looking for a new face, Rey sent Rio’s photo and bio-data posthaste but the letter got lost in the mail. When Celso came back in early 1977, Rey brought Rio to him. By this time, tinuruan ko na siya ng mga seductive look, ‘yung pagpapapungay ng mata. Sabi ko, kapag nagusap kayo ni Celso at Ininglis-Inglis ka, Tagalog ang isagot mo, Si Celso kasi noong galing sa States, English nang English, Huwag kang kakabahan sa bi ko kay Rio, Whe he asked you if you wanted to go bold, tell him no, I want drama and musical…he didn’t remember having met Rio before.
Celso cast Rio as one of the burlesque dancers in Burlesk Queen, paying her P1,000. “Binago ko ngayon ang screen name ni Rio. Ayoko ng Leah Moran, dahil ‘yung Leah parang Lea Productions. Wala pa si Leah Navarro noon. Ayoko rin ng Moran dahil and dami ng Moran noon, may Margie Moran may Sofia Moran. At that time, kapapanalo lang ni Rio Diaz sa Mutya Ng Pilipinas of 1977 kaya Rio ang nagustuhan ko. “yung Locsin, ‘yan ang surname noong bini-build-up ko, si Tessa Locsin, I like the sound of Locsin, parang aristocratic, parang Aguilar, nice to the ears…During the kick-off parade for the film festival in December, 1977, Rio rode on the same float with Vilma Santos, the Burlesk Queen. “Maluha-luha ang beauty ko, Mahal,” Rey still sounds ecstatic up to now, “biro mo, katabi siya ni Vilma sa float at wave din siya ng wave sa mga fans bakit hindi pa siya kilala. Naka-white gown siya. The next day, nalagay din ang picture niya sa front page, wala nga lang pangalan, pero happy na kami. Umiyak uli ako, sa tuawa.” While Celso was shooting Pagputi ng Uwak, with Vilma Santos, and idea for a black and white movie came to his mind. He would call it Dalagang Pinagtaksilan ng Panahon and he would cast in the title role a fresh new face and he would make her into a big star like what he did with Rizza in 1970. So while budget and big stars were delaying the shooting of Pagputi ng Uwak, Celso decided to start work on Dalaga since he was not doing anything anyway on the set of Pagputi in the mountains of Majayjay, Laguna. Then bang, came the controversy, Vilma accused Celso of using her time and facilities to make his won movie and so on and so forth, in the process the name Rio Locsin kept cropping up in the headline and people became curious; who’s Rio Locsin and why is she in the middle of the battle between the screen giants? …” – Ricardo F. Lo (READ MORE)
Her Voice – “…Isa pang tsismis, nagpa-injection daw ako ng bust. Diyos ko, bakit ko pa gagastahin ‘yong pera para diyna? Di ipunin ko na lang, may savings pa ako. Pero in our family, ganoon talaga kami, my sister, she’s only 12 at mayroon na siya. Sa Mommy ko, ganoon din. Malaki. ‘Yong controversy between me and Lorna (Tolentino), that’s nothing. I never quarreled with her. There’s nothing for us to quarrel about. Hindi rin dapat i-compare kay Lorna. Unang-una, sabi ni Lorna, hindi daw siya bold star. Ako inaamin ko bold star ako. Bakit ko ipagkakaila? Everybody knows it. Besides, and sexy ni Lorna, di ba? Ako, deretsong-deretso…’Yong kaso namin ni Mommy, magulo. Up to now, hindi ko malaman kung saan napunta ang perang kinita ko. We did an accounting at lumabas that I earned some P1.7M in 15 months, payment for 33 films since August 1978 up to December 1979…That’s why we have a case. Hindi lang pera ang dahilan. May iba pa. But I rather not talk about them dahil masyadong personal. My point however, is that I want to decide for myself…Ngayon, I feel like I am starting anew. Masayang-malungkot. Mas gusto ko ang buhay ko noong hindi pa ako artista, Tahimik. Walang gulo. Ako, I never liked to be in the movies. Si Mommy lang ang may gusto. But now that I am her, I might as well make the most out of it. I want to save, I want to buy a house and lot. Papano ako kung wala na akong offers, ayoko namang magmukhang kawawa. Sayang naman, di ba, naghubad na ako pagkatapos wala pa ring mangyayari. I am now using my head.” – Ricardo F. Lo (READ MORE)
The Ghost – “…Medyo mabagal ang unand bahagi ng pelikula, lalo na kung isa kang viewer na alam nang tungkol sa multo ang istorya dahil sa sunod-sunod na press releases na isinasaad ng buod nito. Sa simula pa lang ng istorya ay inaabang-abangan mo na agad ang multo na kay tagal bago unang lumitaw. Medyo nagda-drag na nga at bigla na lamang na-revive ang aming atensiyon nang lumabas na si Rio Locsin sa eksena. Biglang nabuhay ang pelikula and from thereon ay naging absorbing na. Isang malaking dahilan kung bakit nagtagumpay ang pelikula ay ang pagka-casting kay Rio sa papel na Auring. Ibang-iba ang aura ni Rio sa pelikulang ito. She looks so ethereal, out of this world, ibang-iba kaysa sa mga taong cast din ng pelikula. Terrific ang screen presence ni Rio at talagang she is oozing with sex. Na-eclipse niyang talaga si Vi at Boyet. Kung iisipin mo’y maikli lamang ang role but her memory lingers kahit wala na siya sa eksena. ‘Yung mga pangiti-ngiti niya at patakip-takip ng bibig, very effective talaga. Magaling din sina Vi at Boyet in their respective roles, pero talagang getting attention ang role ng multo at perfect pa ang casting ni Rio rito…Somebody from the ECP script’s screening committee told us na mas maganda raw ang orihinal na script ni Ricardo Lee sa naisapelikula. Isang istudyanteng nagbabakasyon sa lalawigan si Cristy at naging takilyera sa isang sinehan. Pero ipinabago raw ito ni Vilma kaya’t nagmukhang propaganda para sa family planning ang papel niya. Ang orihinal na Cristy ay mahilig mag-fashion model kaya’t hindi katakataka nang isuot niya ang damit ni Auring na nakita niya sa kama nito. May nag-aakalang sa ending ng pelikula ay na-possess si Cristy ng kaluluwa ni Auring but the writer never intended it to be like this…” – Mario E. Bautista, Jingle Extra Hot Magazine, 1982 (READ MORE)
Important Actress – “…Matapos ang panimulang pag-buildup sa kanya bilang sexy star, nang lumaon ay agad na siyang itinuring bilang important actress, na idinidirek ng mga batikan sa larangan—the likes of Lino Brocka (Ina, Kapatid, Anak and Init), Ishmael Bernal (Manila By Night, Working Girls, Salawahan), Laurice Guillen (Kapag Puso’y Sinugatan). And, of course, ang isa ring multi-awarded director, Elwood Perez, na hanggang ngayo’y itinuturing ni Rio as her “launching director” at may likha ng Disgrasyada, na kanyang launching picture, shown on January 1979. Of Direk Elwood, Rio has a few good words to say. Simple, pero meaningful at kapani-paniwalang galing naman sa puso. Sa interview niya with PEP, walang pagbanggit o pahaging man lang, na regretful siya sa pagsisimula ng kanyang career, doing all those sexy roles na kinailangan upang siya’y pasikatin ng Regal Films. Nabanggit din namin ang magagandang pananalita ni Elwood sa isa sa mga aktres na sumikat sa idinirek niyang pelikula. “Wala kaming bad blood,” Rio now says about her former “launching director.” “Hindi ko makakalimutan si Direk Elwood… ‘Feel beautiful!'” lagi raw nitong bukambibig sa set. “O, wet your lips!” At sa simpleng pagbabalik-tanaw na yun, hindi makakalimutan ng aktres ang mga mabuting nagawa sa kanya ng nakatrabahong direktor. “Ang importante naman sa industriyang ito talaga, yung pakikipagrelasyon mo [sa mga katrabaho]. Kasi ‘yan naman talaga ang magiging legacy mo, ang iiwanan mo. Kung paano ka makipagkapwa-tao, kung paano ka makihalubilo sa mga tao. At least, may maiiwan ka.”…” – William R. Reyes (READ MORE)
Working with Charito and Lolita – “…The scene shows Rio intruding into the bedroom of Lolita, her balikbayan aunt, to gawk at the stateside dresses and beauty kit. It’s their first scene together and Brocka’s eager to know how Rio will fare. Rio fares very well. Lolit, as expected, delivers her lines flawlessly, Rio does the same. Lolit is pleased. So is Brocka. Rio giggles…An enthusiastic but respectful crowd meet the three stars as they walk down the stairs of the mansion for the pictorial in the spacious yard. The older women keep muttering they’ll be waiting for the showing of Ina… The younger fans call Rio Disgrasyada, referring to her blockbuster flick…” – Ronald K. Constantino, Expressweek Magazine, April 19, 1979 (READ MORE)
Rio Locsin is the daughter of the movie actress Charito Garcia. Locsin appeared in sexy movies with Lorna Tolentino as her rival. She married Al Tantay, but they separated after a few years. Now she’s married to a former basketball player, Padim Israel. She had 3 daughters, Paula & Jabba (daughters of Al Tantay), and youngest daughter Joses (for Ptr. Padim Israel). She played Darna in 1979. – Wikipedia (READ MORE)
Rio Locsin and Vilma Santos
Haplos (1982) – “…The only good thing about the film is its sound, which imaginatively uses various background noises for thematic effect. The reason Haplos fails is due largely to its direction. Well-written scenes come off stale because they are not dramatized. In one scene, Cristy decides to scare Al by putting on a furniture sheet while acting like a ghost. The camera was positioned in such a way that we can see both Cristy, masquerading as a ghost and the unwary Al. The scene failed to elicit a scare and neither is Al whose face is hidden by Auring’s movement. Or take the first shot of Auring as she paddles behind Al who is on a boat. She becomes a mere speck in the background. Instead of focusing on Auring in some way, all we got is a straight, simple shot of two boats crossing. Because the director does not know how to direct his actors, they end up delivering uninspired performances. Rio Locsin is the best of the leads, with Christopher de Leon a poor second. Vilma Santos apparently cannot decide how to approach her role. Haplos, simply put is a bad horror film…” – Jojo Devera (READ MORE)
Disco Fever (1978) – “…I’d rather be known as Victor Laurel. But really, this Travolta is a sensation. I met him in Studio 54 and how the crowd loves him. He’s a wonderful actor, singer, and dancer.” Cocoy, too is a seasoned dancer even before the Travolta fever. He has a catlike grace that gives the impression of strenght and his dancing ability has helped tremendously in his career. “The Travolta dance is typical of hero worship even in San Francisco, Los Angeles and other big cities. Mondays, everyone who has caught the fever, even 30 year olds shop and prepare for the disco on Fridays and Saturday and stay up till the wee hours of the morning…We were about to ask another question about Vi, his leading lady in Lea’s Disco Fever but Ate Josie came in to remind Cocoy that the Sampaguita people were waiting with sketches of his costume for Dyesebel, the movie he was going to make for the Gilmore Studio. But didn’t. As a parting shot, Cocoy revealed that he’d soon put a disco. The Third Kind or something in Makati…” – Nena Z. Villanueva, Expressweek, November 16, 1978 (READ MORE)
Simula ng Walang Katapusan (1978) – “…Luis Enriquez aka Eddie Rodriguez first directed a young Vilma Santos in 1968 Kasalanan Kaya, another love triangle genre starring the dramatic trio of Marlene Dauden, Eddie Rodriguez and Lolita Rodriguez. Vilma received an early acting recognitions from this film by receiving a FAMAS Nomination for Best Supporting Actress. When Enriquez directed Vilma again, it was a calculated risk that allowed a still young Vilma into a bikini-clad lead role opposite his director himself, Eddie Rodriguez. The film, Nakakahiya, a may-december affair between an older man and a young woman was an entry to 1975 Bacolod City Film Festival. Aside from making the the film a smash hit, Vilma received the festival’s Best Actress. Enriquez will direct Vilma in five more films, the last one was ExWife in 1981 where surprisingly Luis used in film credits his screen name, Eddie Rodriguez. Theri total number of colloborations were seven (Ex-Wife 1981, Halik sa Kamay Halik sa Paa 1979, Hindi Nakakahiya 1976, Ikaw Lamang 1971, Kasalanan Kaya? 1968, Nakakahiya? 1975, Simula ng Walang Katapusan)…” – RV (READ MORE)
Burlesk Queen (1977) – “…Furor is really an understatement. “Burlesk” swept the awards in that year’s MMFF, resulting in a controversy that led to the wholesale return of trophies. In spite of the scandal, “Burlesk” is still regarded by critics as the “quintessential” Filipino film. “Hinamon ni Brocka si Tinio ng suntukan (Lino Brocka dared Rolando Tinio to a fight),” Celso remembers. “Tinio, who was the head of the jury, heralded “Burlesk as the most beautiful Filipino film” past, present and future.” Vi’s turnaround: Adding fuel to the fire, ?Burlesk? had stunned moviegoers because it unveiled a new Vilma Santos?from ingénue to wanton woman. Vilma says of “Burlesk?” – “It marked a transition in my career. Working with Celso Kid is a privilege. He’s a genius.” With good humor, Vilma recalls a “quarrel” on the set of “Pagputi ng Uwak, Pag-itim ng Tagak,” which she produced in 1978. “It took so long to finish. I lost money on that. But we’re still friends.” Burlesk and Pagputi brought a lot of honor to me…” – Bayani San Diego Jr. (READ MORE)
The Cinemalaya Philippine Independent Film Festival – “…is a film competition and festival that aims to encourage the creation of new cinematic works by Filipino filmmakers – works that boldly articulate and freely interpret the Filipino experience with fresh insight and artistic integrity. It also aims to invigorate the Philippine filmmaking by developing a new breed of Filipino filmmakers. Each year, ten fresh talents are given a seed grant in order to create the film of their dreams. These films in the New Breed Full Length Category are then featured in festival at the Cultural Center of the Philippines every July and compete for the coveted Balanghai Award. Awards are also given in the Short Feature Category and the Directors Showcase. Along with these competition films are an array of exhibitions that include Tributes to Past Indie Mavericks of Pinoy Cinema, a Cinemalaya Kids’ Treats, World Premieres of New Digital Works (the Cinemalaya/NETPAC Prize), and other modules. Aside from the screenings are other exciting film-related events: the Cinemalaya Film Congress, a two-day conference that looks at all aspects of independent filmmaking and distribution; the Cinemalaya Sine Taktakan, a forum with the year’s batch of new Cinemalaya filmmakers; and a host of other events…The core project of the Cinemalaya is the annual Cinemalaya Independent Film Festival and Competition which provide financial grants for the production of, at most, 10 full-length feature films which will then compete for the Best Full-length Film award. It also awards financial grants to the production of five full length feature films by veteran directors in the Directors Showcase category…” – Cinemalaya (READ MORE)
Amor y Muerte (Love and Death) – is an erotic 16th Century period drama; an examination of the initial encounter between the Indios (natives) and their colonizers (Spaniards) and their conflicting views on love, passion, religion and sexuality. Credits: Starring – Althea Vega, Markki Stroem, Adrian Sebastian, Ama Quiambao, Mico Palanca, Kuya Manzano, Amante Pulido; Director – Ces Evangelista; writer – si Jerry Gracio
Au Naturel – “…The two other main leads of the independent production are Althea Vega and Gino Quintana, who have both appeared in several indie films. “Amor Y Muerte” is actually Markki’s second indie effort after his hilarious portrayal of a transvestite in last year’s Cinema One Originals entry, “Slumber Party”. In the auditions alone, Markki already left a good impression. A production insider told us of the screen tyro: “Very professional, alam niya ang needs ng role, pero go-go-go siya, a real artist.” From the get-go, the creative team behind “Amor Y Muerte” made no secret of the requirements from those who wished to vie for the roles of the three main characters – it called for the actors to go au naturel…Both male newbies, continued our source, are a joy to work with. “Nakakatuwa si Stroem kasi gustong matuto ng purong Tagalog for his career, mas type n’ya nagta-Tagalog…Nevertheless, Markki did face tough competition to win the role of the Spanish soldier in “Amor Y Muerte.” One of the actors who auditioned for the part was the older brother of a network star. “Na-teary-eyed kami sa audition niya, ‘yung internalized na internalized niya ‘yung loneliness and longing for the love of his life. Grabe…” – Arnel Ramos, InterAksyon, 20 February 2013 (READ MORE)
***
Sana Dati – a story about Andrea Gonzaga (Lovi Poe) who has accepted her fate by agreeing to marry a man she does not love. This would be rich businessman and former politician Robert Naval (TJ Trinidad). But a few hours before Andrea’s wedding, a videographer named Dennis (Paulo Avelino) arrives and strangely reminds Andrea of the one person she truly loved but nobody in her family knows about—a man named Andrew Cesario (Benjamin Alves). Credits: Starring – Lovi Poe, Paulo Avelino, TJ Trinidad, Benjamin Alves, Ria Garcia, Carla Martinez, Liesl Batucan, Nico Antonio, Chinggoy Alonzo, Nonie Buencamino, Cai Cortez, Bong Cabrera, Gee Canlas; Director – Jerrold Tarog; Writer – Ramon Ukit
Beautifully Photographed – “…Though best known as a horror filmmaker, Filipino helmer Jerrold Tarog has also won acclaim with the first two installments of his ‘camera’ trilogy. Indie dramas revolving around characters who use cameras in their everyday lives, the camera trilogy comes to a conclusion this year with Tarog’s Cinemalaya entry Sana Dati. Beautifully photographed and boasting what look to be quite strong performances, the first trailer for Sana Dati has arrived and promises something quite different from what we’ve come to expect from the Philippines: a romantic drama that refuses to pander either to the mainstream cineplex crowd or the ultra low budget indie aesthetic and lands someplace really quite interesting…” – Todd Brown, Twitch Film, 31 May 2013 (READ MORE)
***
Ekstra, The Bit Player – A socio-realist drama-comedy film, which follows a seemingly usual day in the life of Loida Malabanan (Vilma Santos) as she embarks on yet another shooting day of a soap opera as an extra. As the shoot goes on, we get a glimpse of the truth in the ruling system of the production as well as the exploitation on the marginalized laborers like her. Credits: Starring – Ms. Vilma Santos, Cherie Gil, Pilar Pilapil, Richard “Sir Chief” Yap, Eula Valdes, Ronaline Enriquez, Tart Carlos, Abby Niesta, Marlon Rivera, Vince de Jesus, Piolo Pascual, Marian Rivera; Director – Jeffrey Jeturian; Writers – Zig Dulay, Tonette Jadaone and Jeffrey Jeturian
Impromptu Audition – “…the indie dramedy also gives us a glimpse of Ate Vi’s able supporting cast that includes Cherie Gil, Pilar Pilapil, Eula Valdes and a standout Rosario “Tart” Carlos (yes, Doris of “Be Careful With My Heart” ) playing Loida’s best friend and fellow extra. Tart was particularly in a hilarious nod to Nora Aunor as she delivers a variation of Ate Guy’s classic line in “Minsa’y Isang Gamu-Gamo” in what looks like an impromptu audition that saw her and Ate Vi competing for the same role. As a kontrabida with a golden heart who has a soft spot for bit players, Cherie Gil looks like in peak form as she looks poised to own every scene she’s in. There are also cameos galore as the trailer also shows shots of Piolo Pascual, Marian Rivera, Richard Yap and Cherry Pie Picache. As the trailer ends on a touching note, its mostly comic scenes prompts one commenter to compare it to Jeturian’s 2004 sex comedy “Bridal Shower” even as most of the Vilmanians are singing praises for what they consider as an auspicious indie debut and another award-worthy performance of Ate Vi…” – Edwin P. Sallan, InterAksyon, 08 June 2013 (READ MORE)
***
Porno – a powerful story about individuals linked by pornography. Three souls, one explicit illusion. To find the ultimate joy in their empty lives. A safe haven, where passion and love mean humanity, ecstasy means enlightenment; and the soul is the ultimate arbiter of the truth. Credits: Starring – Carlo Aquino, Yul Servo, Angel Aquino; Director – Adolfo B. Alix Jr.; Writer – Ralston Jover
The Brightest – “…His latest work Chassis (2010), about a mother trying to make ends meet as she lives under the container vans in Pier 16, premiered in the Pusan International Film Festival and was screened in the Vancouver Film Festival. It is also the first Filipino film to compete in the Mar del Plata International Film Festival. Alix has been recently listed by The Hollywood Reporter in its “Next Generation Asia 2010, which features the top 20 young entertainment personalities in the region deemed “the best and the brightest among their peers” from a vast region considered “the world’s biggest entertainment market.” He is now working on several projects including Kalayaan (Wildlife) which received script development support from the Hubert Bals Fund of the International Film Festival Rotterdam and Porno which was part of the Hong Kong-Asia Film Financing Forum. His 2013 film Death March was screened in the Un Certain Regard section at the 2013 Cannes Film Festival…” – Wikipedia (READ MORE)
***
The Liars – Liars is the story of a journalist (Eloisa) whose exposé of the truth results in life-changing consequences to a baseball team of poor boys. Inspired by a true story. Credits: Starring – Alessandra de Rossi, Jan Harley Hicana, John Michael Bonapos, Cris Villanueva, Richard Quan, Jim Rocky Tangco, Sue Prado, Dax Alejandro, Arnold Reyes; Director – Gil M. Portes; Writer – Senedy Que
Mercurial Filmmaker – “…His films have also tackled a wide array of socially relevant themes including drug addiction (“Sa Piling ng mga Sugapa”), teenage pregnancy (“High School Scandal”) and, most recently, reproductive health (“Bayang Magiliw”). His latest film, “Liars” is another first for the mercurial filmmaker. Based on a real-life sports scandal, Portes’ entry to the Directors’ Showcase section of the 9th Cinemalaya Philippine Independent Film Festival is a fictionalized account of the incredible rise and the humiliating fall of a humble Filipino baseball team of young boys in an international baseball competition in the 1990s. Written by Senedy Que (“Mga Munting Tinig”, “A Mother’s Story), “Liars” is headlined by recently crowned Gawad Urian Best Supporting Actress Alessandra de Rossi as the reporter who exposes the team’s irregularities. …” – Edwin P. Sallan, InterAksyon, 19 June 2013 (READ MORE)
The Diplomat Hotel – A disgraced reporter (Gretchen Barretto) seeks redemption by leading her documentary crew to spend one night and tell the story of what really happened at the haunted and infamous The Diplomat Hotel. Credits: Starring – Gretchen Barretto, Art Acuña, Mon Confiado, Joel Torre, Sue Prado, Nico Antonio, Abe Pagtama, Sarah Gaugler; Writer/Director – Christopher Ad. Castillo
Haunted Sites – “…Best known internationally as a leader of the Filipino arthouse indie wave of the past several years, Cinemalaya – which, like other similar events, is also a funding body – is headed to darker grounds this year with the inclusion of Christopher Ad Castillo’s The Diplomat Hotel…Castillo – the son of iconic director Celso Ad Castillo (Snake Sisters, Burlesque Queen) – sets his film on the grounds of an actual hotel purported to be one of the most haunted sites in the world (you can read the history of the actual site here) for an experience that promises to chill. Check the latest trailer below for a taste…” – Todd Brown, Twitch Film, 29 May 2013 (READ MORE)
***
Babagwa (Spider) – An Internet scammer falls in love with a wealthy spinster while trying to swindle her using a fake Facebook profile. Credits: Starring – Alex Vincent Medina, Joey Paras, Alma Concepcion, Nico Antonio, Chanel Latorre, Sunshine Teodoro, Raqs Regalado, Garry Lim, Kiko Matos, Marx Topacio; Executive Producer – Joji Alonso; Writer/Director – Jason Paul Laxamana
Intenet scammer – “…I didn’t know that he was one until I heard stories from his victims, some of whom I knew. So when I was composing the story, I thought, what if the scammer/poser was actually the one who falls in love with the person he/she is trying to victimize?” And that’s how “Babagwa” was crafted. To get the film made after it qualified for Cinemalaya, Laxamana knew he would be needing more than the P500,000 seed money that the film festival foundation granted…When she asked if I’m interested to partner with her for ‘Babagwa’, medyo na-pressure ako kasi mostly award-winning ‘yung mga films niya. Pero she believed in the project kaya ayun, natuloy ang partnership namin.” In casting for the top four roles in the film, Laxamana said he was fortunate to get the services of some really good actors, beginning with Alex Vincent Medina (“Palitan”, “Pascalina”, “Supremo”) who plays the role of the Intenet scammer. “Isa siya sa top three choices namin nung pumipili kami. Aside from his rugged look na bagay sa role, nakita ko na rin ang performance niya sa ibang indie films. Siya din yung pinaka-game na gawin ‘yung mga eksena, kahit medyo maselan,” he noted…” – Edwin P. Sallan, InterAksyon, 14 June 2013 (READ MORE)
***
Rekorder – tells the story of a former 1980’s film cameraman who currently works as a movie pirate operating in present day Manila. He routinely smuggles a digital camcorder into movie theaters in order to illegally record films. One night he records something else… And the footage goes viral. Credits: Starring – Ronnie Quizon, Mike Lloren, Buboy Villar, Earl Ignacio, Suzette Ranillo, Archie Adamos, Abe Pagtama and introducing Belinda Mariano; Director – Mikhail Red; Writers – Mikhail Red, Ian Victoriano
Rushing Cinematic Boundaries – “…A year later, Mikhail submitted yet another short film entitled Hazard, a crime drama that tells the story of a father who takes his son to the outskirts of the city for a driving lesson and stumble upon a disturbing crime scene which ultimately makes them realize the differences in their moral stances. “Rekorder is much more daring, pushing cinematic boundaries further.” Mikhail said. He also added that we shall expect the similar aesthetic flavors he has used with his short films before, especially in terms of the film’s over-all mood, atmosphere, and surreal sequencing…In spite of all the challenges he have been through just to finish his full-length film, Mikhail is nevertheless grateful. “It was definitely a learning experience for me.” Mikhail proclaimed. His young and committed crew members also have had their fair share on this learning escapade. When asked if he is expecting to win anything for Rekorder, Mikhail did not buckle on saying that he does not need it at all. “I just want audiences to remember my films; I want them to think about it, it doesn’t matter if they react positively or disagree with it completely. As long as they were affected by it, and they remember my work, then I believe I am successful in a sense. I don’t need to win anything.” Mikhail asserted beautifully…” – Rhea Gulin, Outrageous Writer, 06 June 2013 (READ MORE)
***
Debosyon – Mando (Paulo Avelino), a Bikolano devotee of Ina, Virgin of Peñafrancia, Patroness of Bikolandia, injures himself in the middle of the forest at the foot of the Mayon Volcano. He will be nursed back to health by a mysterious woman, Salome (Mara Lopez), living there. They will fall in love with each other. But when Mando invites her to come with him to the plains, Salome refuses, saying a curse prohibits her from leaving the forest. Salome holds a secret that will devastate Mando’s love for her. Mando relies on his devotion to the Virgin of Peñafrancia to lift the curse, making him realize just how inextricably linked are the virtues of love and faith. Credits: Starring – Paulo Avelino, Mara Lopez; Writer/Director – Alvin B. Yapan
Different Characters – “…“I feel happy and honored that people remember me for doing bad things on TV,” Paulo quipped during the recent launch of LG Optimus L Series of smartphones for which he is one of the brand ambassadors, along with actress Maxene Magalona and basketball star Kiefer Ravena. The actor was referring to his character as Nathan Montenegro, the mentally unstable antagonist of Coco Martin. The role also won for Paulo the Outstanding Supporting Actor award at the recent 10th Golden Screen TV Awards. Paulo admitted that “Walang Hanggan” opened more doors for him as an actor and sought after celebrity. This includes the LG endorsement and not just one but two Cinemalaya 2013 entries—“Debosyon”, which reunites him with director Yapan for the New Breed section, and “Sana Dati”, where he is directed by Jerrold Tarog for the Directors Showcase category. The 25-year-old said he has wrapped up both films which are now in post-production. “I’m very excited about these films because I’m playing roles that are different from the characters I have done before…” – Edwin P. Sallan, InterAksyon, 26 May 2013 (READ MORE)
***
Instant Mommy – In order to solve a personal predicament, Bechayda (Eugene Domingo), a wardrobe assistant in TV commercials, pretends to be pregnant. Story of a summer’s journey of Bechayda amidst a highly visualized world where the video screen reigns supreme. Bechayda is a wardrobe mistress in TV commercials who pretends to be pregnant to keep her Japanese fiance (Yuki Matsuzaki). Credits: Starring – Eugene Domingo, Rico J. Puno, Luis Alandy, Archie Alemania, Shamaine Buencamino-Centenera, Tuesday Vargas, Matt Evans, Alchris Galura, Yuki Matsuzaki; Writer/Director – Leo Abaya
Instant Chemistry – “…How did Leo accomplish this? He told him outright, “We don’t have the money.” But Yuki direly wanted to do a regional film just like Instant Mommy that his agent quoted a reasonable fee. And it was a breeze from then on just like slurping the comfort food for many Asians — the Japanase ramen! When Leo called for online auditions, 40 Japanese actors responded. Four were shortlisted including Yuki; his videos clinched him the role. When he arrived and they met, he looked so ordinary that it made Leo a tad edgy. But when he started filming, his personality glowed and transformed Yuki into the actor Leo had in mind. Then there’s the qestion of whether Yuki and Eugene would have chemistry. “I thought at first wala. Pero when they started filming, again it showed. Their chemistry is fantastic…” – Edgar Cruz, Tribune, 03 July 2013 (READ MORE)
***
Nuwebe – Inspired by the actual story of one of the youngest mothers in Philippine history, NUWEBE follows the story of Krista (Nadine Samonte) who at the tender age of 9 got pregnant from the sexual abuse perpetrated by her own father. Her story is complex. Krista refuses to see herself as a victim. With an almost documentary style, NUWEBE follows Krista’s story as she demonstrates a level of resilience uncommon to her age. Her mother on the other hand is torn between her love for her child and her love for her husband. Credits: Starring – Barbara Miguel, Jake Cuenca, Nadine Samonte, Anita Linda, Manny Castaneda, Renaissance Tuason, Isadora Villasquez, Archie Adamos, Mikael Liwag, Renerich Ocon, Blair Arellano, Mariah Fernandez; Writer/Director – Joseph Israel M. Laban
Level of Resilience – “…Krista’s story is complex. She refuses to see herself as a victim. With an almost documentary style, “Nuwebe” (Siyam) follows Krista’s story as she demonstrates a level of resilience uncommon to her age. Her mother on the other hand is torn between her love for her child and her love for her husband…” – Marinduque Rising (READ MORE)
***
Purok 7 – A countryside dramedy (drama-comedy) that follows the story of 14-year-old Diana and her younger brother who live by themselves after their mother went abroad and their father lived with another woman. Credits:: Starring – Krystel Valentino, Miggz Cuaderno, Julian Trono, Arnold Reyes, Angeli Bayan; Writer/Director – Carlo Obispo
Personal Experiences – “…Shot in Tarlac, the film features the lighter side of country lifestyle as the main characters take advantage of the fun and thrills of the town festival to take hold of their sweet childhood. Krystel Valentino and Migs Cuaderno portray the siblings whose lives change drastically because of the choice of their father (played by Arnold Reyes). Carlo Obispo based the characters of his film on actual people he grew up with in Purok Siyete in Tarlac. “Maraming events dito na based sa personal experiences ko and based on people close to me,” says the writer-director…” – Jocelyn Dimaculangan, PEP, 04 July 2013 (READ MORE)
***
Quick Change – Dorina believes she is a lady incarcerated inside a male body. She’s got herself a flourishing career, albeit in an illegal cosmetic surgery business. She is a mother figure to Hero, her eight year old nephew. She acts as a devoted wife to Uno. Between her job and her family, Dorina feels that she is one lucky woman. Until Uno falls in love with another tranny (transvestite). Credits: Starring – Mimi Juareza, Junjun Quintana, Migs Cuaderno, Natashia Yumi, Felipe Martinez, John Relucio, Giggle Esmeralda, Francine Garcia, Rolando Inocencio; Writer/Director – Eduardo Roy Jr.
Cosmetic Surgeons – “…We also realize that it’s just not about making movies; you need to say something about your film regardless if it’s a comedy, drama or romance. In our case, it’s drama. The human condition of this people we are trying not to push it too far. Like what you just described as a poverty film. You know in your face. My intention was to be tender. Since the subject was babies, I want to treat it very subtle. Even if there is poverty, I wanted to present that subtly just like a baby. Even the scoring was like a lullaby. Oh ok, it’s about babies even if you see this poverty, you will forget it because of the drama behind it, like why one of the mother’s escaped or why the inmate mother can’t hold her baby…I submitted my comedy concept to Cinemalaya. I hope that gets approved. I also have another concept that I am working on about fly by night cosmetic surgeons in the Philippines. I want to tackle the obsession of Filipinos on beauty. But it’s more underground…” – Michael Edillor (READ MORE)
***
Transit – begins and ends in an airport during a father and son’s transit flight from Tel Aviv to Manila. It tells the story of Moises, a Filipino single-dad working as a caregiver in Herzliya, Israel, who comes home to his son Joshua’s 4th birthday. It was on that day that Moises, together with their Filipino neighbors, Janet and her daughter Yael, find out that the Israeli government is going to deport children of foreign workers. Afraid of the new law, Moises and Janet decide to hide their children from the immigration police by making them stay inside the house. Credits: Starring – Ping Medina, Irma Adlawan, Mercedes Cabral, Marc Justine Alvarez, Jasmine Curtis-Smith; Writer/Director – Hannah Espia
Mainstream to Indie – “…Transit’ was such a pleasure to work on. It’s so deep, the storyline, and also the preparation that we had to do for the film,” said the young actress, who was recently in Israel to shoot on location. Explaining her role in the film, Curtis said, “Ako po ‘yung anak ni Ms. Irma Adlawan na lumaki sa Israel. Half-Filipina, half-Israeli, so there’s a battle between cultures for my role, na kung Filipina ba ako o Israeli ako.” For her part in the project, Curtis said she understands not being given a “substantial fee.” “It’s a whole different environment, so we can’t apply what we do in mainstream to the indie world,” said the actress, who has starred in three TV series so far, and has several product and brand endorsements to her name. “And that’s fine, because at the end of the day, it’s all about the experience and learning more about this industry,” she said….” – ABS-CBN News, 05 July 2013 (READ MORE)
***
David F. – “David F” is written as a triptych with 3 short stories hinged together by the story of David Fagan, a real life historical character in the early 1900’s. He is a black American who was a member of the American regimen that was sent by the US government during the Philippine-American war. He became famous (or infamous) when he deserted the US troops and joined the sides of the Filipino revolutionaries. He was declared as a public enemy of the US government when he lead a series of battle with the Filipino revolutionaries against American soldiers. He was promoted as colonel of the Filipino troops under Emilio Aguinaldo and married a Filipina. Credits: Starring – Quester Hannah (American theater actor), Sid Lucero, Art Acuña, Rocky Salumbides, Mitch Valdez, Jess Mendoza, Mariella Castillo, Dax Martin, Madeleine Nicolas; Director – Manny Palo; Writers – Liza Magtoto and Emmanuel Quindo Palo
American Soldier – “…Acuña’s second film in this year’s Cinemalaya is similarly inspired by real-life events. In “David F,” the actor portrays one of the captors of David Fagen, an actual American soldier who joined Philippine forces in the country’s war with the United States in the early 1900s. “It’s about a little-known anecdote back during the Fil-Am war when an African-American soldier started to side with the Filipinos and fight against the Americans,” Acuña said. “I’m one of the Pinoys who kidnapped David F. to turn him in for the bounty. Sid Lucero is the other Pinoy who does this with me. But then we start to argue about what we have to do, and then morality plays into the picture…” – ABS-CBN News (READ MORE)
The Cinemalaya Foundation has announced the finalists for the Short Film Category for the 2013 Cinemalaya Competition. The ten finalists in the Short Film Category are: Bakaw by Ron Segismundo, Katapusang Labok by Aiess Athina E. Alonso, Missing by Zig Madamba Dulay, Onang by Jann Eric S. Tiglao, Para kay Ama by Relyn A. Tan, Pukpok by Joaquin Adrian M. Pantaleon, Sa Wakas by Ma. Veronica Santiago, Taya by Philip Adrian Bontayam, The Houseband’s Wife by Paulo P. O’Hara, andTutob by Kissza Mari V. Campano.
The Ten Short Films Finalists:
Bakaw is a day in the life of a child who steals at the Navotas fishport.
Katapusang Labok depicts the struggles of fishermen who must deal with environmental abuse and the effects of coral harvesting on their livelihood.
Missing tackles the subject of forced disappearances.
Onang is the classic tale of a young probinsyana who seeks her fortune in the big city.
Para kay Ama is about a young Chinese-Filipino girl who discovers she has a half-brother when she meets him on the last day of her father’s wake.
Pukpok is one adolescent’s transition to manhood as he hurdles a case characterized by excessive blood, superstition and a man with failing eyesight.
Sa Wakas is a reflection on the bond of a father and daughter tested by cultural, political and religious hypocrisy.
Taya is about a 12-year-old boy who learns to play the game of life with a new set of friends. The film highlights how traditional Filipino games reflect the realities and disparities of our society.
The Houseband’s Wife is an essay about a typical OFW family, with the OFW wife as breadwinner and the husband left in the Philippines to care for the children. Technology and the internet bridges the physical distance but shatters domestic harmony when the wife, on a Skype video call, sees a bra, not hers, hanging in the marital closet.
Tutob begins when recent bombings in the region put authorities on alert. A mysterious, strange-looking native Maranao man dressed up in Muslim attire shows up. He is tasked to fetch a package from his boss’ contact. From a rural area in the mountains, he rides his motorcycle to the city to get the package. On his way back, he is stopped at an army checkpoint. Speaking Maranao, he says he doesn’t know what’s in the package, but the Visayan-speaking soldiers don’t understand him and insist on opening it.
The short feature category finalists were selected by the Cinemalaya Selection Committee comprised of Emilio Abello, VI, Lawrence Fajardo, Nic Deocampo, Mike Sandejas and Teddy Co. The Cinemalaya Independent Film Festival and Competition seeks to discover, encourage, and honor the cinematic works of Filipino filmmakers that boldly articulate and freely interpret the Filipino experience with fresh insight and artistic integrity. The works are narrative features that articulate Filipino identity and culture in digital format. The competition is held in three categories, the New Breed Full Length Feature, Short Feature and the Directors Showcase. Cinemalaya 2013 will be held on July 26 – August 4 at the Cultural Center of the Philippines and Ayala Cinemas at TriNoma, Greenbelt 3, and Alabang Town Center. It is a project of the of the Cinemalaya Foundation, Inc., in partnership with the Cultural Center of the Philippines (CCP), the Film Development Council of the Philippines (FDCP) and Econolink Investments, Inc. (EEI). Cinemalaya also features the Short Feature competition category as well as film exhibitions, seminars, conference, the Cinemalaya Film Congress, and other film-related events. – CCP (READ MORE)
204 films, 70 directors, 5 decades, Vilma Santos, one of the original Philippine movie queens, rose up to become the versatile actress that has been given the fitting title of “Star for All Seasons” because of her capacity to adapt to the changing mores and values of the Filipino woman, giving a face to their plight and struggles, albeit in success both critically and box-office wise in some of Philippine cinema’s classics such as Trudis Liit (1963), Lipad, Darna, Lipad (1973), Burlesk Queen (1977), Relasyon (1982), Sister Stella L. (1984), Alyas Baby Tsina (1984), Pahiram ng Isang Umaga (1989), Dahil Mahal Kita: The Dolzura Cortez Story (1993), Anak (2000) and Dekada ’70 (2002). This are top ten directors who contributed to her success. – RV (READ MORE)
Bernal gave Vilma Santos her first grandslam best actress awards and two consecutive Gawad Urian best actress (1982 and 1983). Their first film together was Inspiration (1972) and last was Pahiram Ng Isang Umaga (1989). – RV (READ MORE)
Inspiration (1972) – “…In a musical era of 1970s, “Inspiration” was quite an experimental film, with no musical numbers, better screenplay, well-written characters. Nestor and Bernal works well in establishing the character of Jay and Vilma. Their dialouges are not “corny” and very realistic. There is no over the top dramatic scenes inserted between musical numbers here. The parent played wonderfully by Merle Tuazon and Carlos Salazar were convincing. Although both Vilma and Jay played their roles effectively, Lilian Laing steals the film as Lola Jane. She was bubly and funny, a sex-starved, karate black belter, polo game afficianado, who loves life and considering she playing the old grandma who is also the solution to all the complication in life. Bernal was on his element here, a good story teller, pre-”Dalawang Pugad Isang Ibon, Pahiram Ng Isang Umaga and Relasyon.” Although he is directing a light comedy, written by Nestor Torre Jr., he managed to established all the characters without relying on corny dialouges common in this era…” – RV (READ MORE)
Now and Forever (1973) – “…By late 1969, movie producers had been tapping a Vilma Santos-Edgar Mortiz love team. Edgar was a Tawag ng Tanghalan winner. They started to be together in the movies, My Darling Eddie (1969) and The Jukebox King (1969)…In 1970, the love team of Vilma Santos and Edgar “Bobot” Mortiz was officially launched in the movie Young Love, together with the another popular love team during that time, Nora Aunor and Tirso Cruz III. The Vi and Bot love team went on to do 14 more movies in 1970—The Young Idols, Songs and Lovers, Sweethearts, Sixteen, Love Letters, Love is for the Two of Us, Mga Batang Bangketa, My Pledge of Love, Renee Rose, Baby Vi, Because You Are Mine, Edgar Loves Vilma, From the Bottom of My Heart, and I Love You Honey. All did well at the box-office…” – Rommel R. Llanes (READ MORE)
Dalawang pugad, isang ibon (1977) – “…Bernal, testing the tensions of triangular love (for geometry books, one of his characters wittily says) for some time now, plunges deeper into character analysis and metaphorizing… In Lumayo, Lumapit ang Umaga, the triangle was unevenly explored: the first love was sketchily drawn. Dalawang Pugad, Isang become a choice for a more stable relationship. Walang Katapusang Tag-araw was a strange reverse of characters for two women and an unusual development of love into hatred and hatred into love, where therefore the triangle was essentially illusions. Ikaw ay Akin finally sets an interlocked triangle on its bases and looks at it (from all 3 angles) squarely in the face…” – Petronila Cleto (READ MORE)
Ikaw ay akin (1978) – “…As the uptight Sandra, Vilma Santos has the script’s choicest, wittiest lines. She makes the most of them and succeeds in giving a fairly accurate portrait of an emotionally insecure young woman. And when she tells Rex: “sabi nila liberated ako, front lang. Kalog daw, front din. Alam mo namang kulang-kulang ako. Pag wala ka, magkakalat ako. Para akong manok, takbo ng takbo wala namang ulo.” She likewise handles her final breakdown exceedingly well. Nora has less lines but she nevertheless manages to conveys her emotions very effectively. In that family reunion-party which is so engrossed in gossip and banter, she remains so detached, speaking nary a word — a triumph for both Bernal and her. The hurt in her eyes continues to build up until that disrupted dinner scene where she rushes to her room and, unable to contain herself, finally cries. The most stable of the three, you could really believe her when she tells Rex: “Galit ako sa ‘king sarili, dahil sinasaktan mo na ako nang todo-todo pero lalo ka namang napapamahal sa akin…” – Mario E. Bautista (READ MORE)
Good Morning, Sunshine (1980) – “…Junior – Now 66 years old (can you believe that?), he was Vilma Santos’ leading man in Good Morning Sunshine in 1980. Born Antonio Morales Barretto, he was born in Manila, but moved to Spain with his family when he was 15. He was already a popular singer in Spain when he tried Pinoy showbiz. After doing a series of local movies (another one of his films was Disco Madhouse with Lorna Tolentino and Rio Locsin) and record albums (Yakap is still memorable to me), he went back to Spain (his wife and kids were all living there) where he continued singing. Eventually, he managed the showbiz career of his wife, Rocio Durcal, but she died of cancer in 2006…” – Butch Francisco (READ MORE)
Relasyon (The Affair) (1982) – “…Napakadramatiko ang pagkompronta ni Vi kay Chris sa direksyon ng kanilang relasyon. Higit sa lahat, sa pamamagitan ng huling eksena, ang pagsasara ni Vi sa pinto ng kanilang bahay, ang pugad ng kanilang “relasyon”, inihayag ni Bernal na ang ganitong relasyon ay may hindi maiiwasang magwakas tulad ng sa tunay na buhay. Maaaring kamatayan o isang panibagong relasyon. Kung ang isang lalaki ay may-asawa, at mayroon na siyang relasyon o nagbabalak pa lang magkaroon ng relasyon sa ibang babae, dapat niya itong panoorin ng dalawang beses. Una, kasama ang kanyang misis at ikalawa, kasama angkanyang no. 2 o magiging ka-relasyon. Sa mga babaing katulad ni Vi sa pelikulang ito, mabuting panoorin ninyo nang nag-iisa ang pelikulang ito upang higit na maunawaan ninyo ang inyong relasyon o magiging relasyon.” – Mando Plaridel (READ MORE)
Broken Marriage (1983) – “…Christopher de Leon endows the character of Rene with the right sense of machismo and basic weakness. When Rene is compelled to act maturely, De Leon unflinchingly turns him even more childish with useless tantrums; and when Rene finally learns his lesson, De Leon adds a boyish smile as if the lesson were amusing. We watch De Leon, elated and entertained: he is never so old as to appear too distant nor is he too young as to seem undocile. Broken Marriage is a gift to this actor. He is not propelled here to be more manly; since his character is made to contribute to a lot of oversights, De Leon’s doesn’t have to put a mask of strength: he just has to be himself and act with ease. Vilma Santos is not about to be a letdown, not this time when the most important female roles are coming her way. A new intelligence she infuses in the character Ellen. Like De Leon, she turns Ellen into a woman-child, but the stress is less on her part as she has done similar roles before. Her beautiful face is flush receptive: the quiet moments of just observing the people around her are moments of perfect acting. Her body moves with an agility that is both funny and dramatic. Her two monologues – the first with her friends in the cafe when she informs them that she is bored, and the second with Rene when she tells him that they are not children anymore – are her best scenes: the camera lingers upon her countenance and she enunciates in return with ironic ease. She should watch out for next year’s awards race – there is simply no stopping her at the moment.” – Joselito Zulueta (READ MORE)
Pahiram Ng Isang Umaga (On Borrowed Time) (1989) – “…Bernal and Reyes go farther by including a scene in which the artist explains the origins of art. By the fireside at the beach, and watching the flame cast a glow on them, he notes that prehistoric men “discovered” art when they made outlines of shadows on the caves. Those artworks, though crude and primitive, still exist. Implicitly, Juliet’s death, no matter how saddening, is not going to be the end. Philosophical musings like these are not standard soap opera fare, and may alienate a lot of ordinary moviegoers (even the more cerebral ones who cannot accept the conventions of the soap opera genre). Woven unobtrusively into the plot, however, they add texture and enrich the drama. Juliet in a way will continue to live – in that portrait, in her young son who will survive her and hopefully continue her legacy whatever it may be, and in her good deeds. In the last scene, the imagery and symbolisms of life and death abound. Juliet dies at the break of dawn, the start of a new day (and life), but not without first making her last sentimental paean to life. Supported by the artist, her eyesight having failed completely and with the waves caressing their feet, the weak and dying cancer victim remarks how beautiful life is. True enough, this dying scene set on a beach, with the woman in white, dainty night gown, is one of the most exquisite, breathtaking moments in Philippine movies…” – Mario A. Hernando (READ MORE)
Ishmael Bernal (30 September 1938 – 2 June 1996) was an acclaimed Filipino film, stage and television director. He was also an actor and screenwriter… His Nunal sa Tubig (A Speck in the Water), Aliw (Pleasure) and Relasyon (The Affair) was among the 25 Filipino films shown in New York from July 31 to August 1999, organized by the Film Society of Lincoln Center, in partnership with the Philippine Centennial Commission, the Cultural Center of the Philippines, IFFCOM, the Philippine Information Agency, the Consulate General of the Philippines in New York and the Philippine Centennial Coordinating Council – Northeast USA. This series of Filipino films were presented at the Walter Reade Theater of the Lincoln Center, in celebration of the 100th year of Philippine Independence. – Wikipedia (READ MORE)
“…In a musical era of 1970s, “Inspiration” was quite an experimental film, with no musical numbers, better screenplay, well-written characters. Nestor and Bernal works well in establishing the character of Jay and Vilma. Their dialouges are not “corny” and very realistic. There is no over the top dramatic scenes inserted between musical numbers here. The parent played wonderfully by Merle Tuazon and Carlos Salazar were convincing. Although both Vilma and Jay played their roles effectively, Lilian Laing steals the film as Lola Jane. She was bubly and funny, a sex-starved, karate black belter, polo game afficianado, who loves life and considering she playing the old grandma who is also the solution to all the complication in life. Bernal was on his element here, a good story teller, pre-”Dalawang Pugad Isang Ibon, Pahiram Ng Isang Umaga and Relasyon.” Although he is directing a light comedy, written by Nestor Torre Jr., he managed to established all the characters without relying on corny dialouges common in this era…” – RV (READ MORE)
Ishmael Bernal (1938–1996) (30 September 1938 – 2 June 1996) was an acclaimed Filipino film, stage and television director. He was also an actor and screenwriter. Noted for his melodramas particularly with feminist and moral issues, his 1982 film Himala (Miracle) is often cited as one of the greatest Filipino films of all time. He is a National Artist of the Philippines. – Wikipedia (READ MORE)
FAIR USE NOTICE (NOT FOR COMMERCIAL USE): This site contains copyrighted materials the use of which has not always been specifically authorized by the copyright owner. We are making such material available in our efforts to preserve the film legacies of actress, Vilma Santos, and to make her career information available to future generations. We believe this is NOT an infringement of any such copyrighted materials as in accordance to the the fair dealing clauses of both the Canadian and U.S. Copyright legislation, both of which allows users to engage in certain activities relating to research, private study, criticism, review, or news reporting. We are making an exerted effort to mention the source of the material, along with the name of the author, performer, maker, or broadcaster for the dealing to be fair, again in accordance with the allowable clauses. – Wikipedia (READ MORE)
Star For All Seasons 
You must be logged in to post a comment.