Category Archives: ARTICLES

A Very Long Rivalry – 1981

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Pre-1981 – As Brocka’s Bona toured the international festival, it looks like Nora was again in command with the acting contest and Vilma was content in making sure that her films were commercial success. By this time, Vilma’s tax problem has become a number one priority. No longer a teen pop star, both Nora and Vilma’s projects declined. It seems like yesterday, when in early 1970s both were releasing one or two films each month. Now, both have limited film projects and have to be selective to succeed at the box office.

Sign of Good Karma – “…In 1981, nanalong MMFF Best Actress si Vilma for Zialcita’s Karma, besting Nora’s multi-character portrayal in Maryo J. delos Reyes’ musical-drama Rock ‘N Roll. Vi, however, failed to win any other nomination for that starrer, while Nora went on to win a trophy (Catholic Mass Media Awards) and Best Actress nomination (Gawad Urian) for Mario O’Hara’s Bakit Bughaw ang Langit?…” – William Reyes (READ MORE)

Nora Aunor’s Films (7): (Bakit Bughaw ang Langit?; Dalaga si Misis, Binata si Mister; Gaano Kita Kamahal; Ibalik ang Swerte; Kami’y Ifugao; Rock N’ Roll; Totoo Ba Ang Tsimis?) – Nora Aunor did seven films this year, three more than her rival Vilma. Although she won on total output, the quality of these films were questionable. The only film critics were raving were Mario O’Harra’s Bakit Bughaw.

Vilma Santos’ Films (4): (Pakawalan Mo Ako; Hiwalay; Karma; Ex-Wife) – Vilma Santos did only four films in 19881, two were mild hits, Hiwalay and Ex-wife, both melodramas. The other two were big hits, “Pakawalan Mo Ako,” was directed by Elwood Perez and the summer’s biggest hit while “Karma” directed by Danny Zialcita was a big hit at the local festival. Both films earned her an acting trophies.

Nora Aunor’s 1981 acting recognition (3) – Best Actress from Catholic Mass Media Awards and two nominations from FAMAS and Urian, all for “Bakit Bughaw ang Langit? .”

Vilma Santos’ 1981 acting recognition (3) – Best Actress from Metro Manil Film Festival and Cebu City Film Festival for “Karma”and Best Actress from FAMAS for “Pakawalan Mo Ako.”

Not Blue – “…O’Hara dwells on Aunor’s face, to suggest that she is not just amused, but actually intrigued. O’Hara, however, does not take the easy way out: he does not allow the relationship of Aunor and Roldan to become actually physical. If there is a sexual love between the two, it is too deep inside them to be articulated. True enough, there are some glaring mistakes. The most obvious occurs when Roldan utters that key line “Bakit bughaw ang langit?” The camera pans out to the sky as expected, but instead of the sky being clear and blue (which is what “bughaw” means), the sky is cloudy and white. The symbol is totally destroyed by such a simple cinematographic mistake. In fact, almost all of the mistakes in the film can be attributed to the cinematographer, who seems not to know how to light a set. Night scenes appear brighter than day scenes, light filtering into houses has no clear sources, camera movements are jerky, shadows are not expressive. O’Hara should learn from this film: he should not use the same cinematographer again. Aunor’s performance here proves that her winning of the Urian Award for Bona is justified. She remains one of the best of our young actresses, especially in the hands of a director who understands film acting. In a film whose screenplay has undistinguished (in fact, even inane) dialogue, Aunor is able to express her emotions primarily through her silent moments. The mark of a true film actress is her behavior when she does not speak. Aunor is destined to become an all-time Best Actress. It is appropriate that Anita Linda – herself an all-time Best Actress- plays her mother in this film. The acting cannot be faulted, not even the acting of newcomer Roldan…” – Isagani R. Cruz, TV TIMES, March 15 -21, 1981 (READ MORE)

Good Karma – “…Happily, “Karma” turned out to be as good as I expected. It’s performers are first-rate – Vilma Santos, Ronaldo Valdez, Tommy Abuel, Chanda Romero, so their award-winning acting didn’t surprise me at all. The script was outstanding but even that was expected, coming from director Danny Zialcita. What impressed me was that minor parts were played by name actors. The housekeeper who appeared in one short sequence could have been played by any elderly woman but those who made the movie wanted nothing less than Etang Discher. The psychiatrist could have been played by any decent-looking man but they didn’t settle for anybody less than Vic Silayan. The male lover at the start of the story had to be acted out by Dante Rivero, that at the end by Christopher de Leon. The movie boasted of several bold scenes. Those involving Vilma weren’t much as we know for a fact that Vilma could show only so much. One scene showing Chanda was a different story. It showed her with absolutely nothing on, yet it didn’t offend anybody as it was executed in style, shot with great care. There was just one thing, which looked unnatural to me, the way in which one of the main characters killed himself. “That’s all right,” Danny assured me. “Before we shot it, we double-checked its possibility.” Reincarnation and transference are undoubtedly mind-boggling subjects but, to his utmost credit, Danny managed to present them simply, bringing them down for everybody to understand. “Bala lang yan. Katawan lang ito. Babalik at babalik kami sa mundong ito,” Dante vowed. Come back they did as they promised building the foundation of the story…” – Bob Castillo, People’s Journal Dec. 12, 1981 (READ MORE)

Post-1981 – “…For Vilma Santos, the previous year, Pakawalan Mo Ako was a huge summer hit that earned Vilma a surprised best actress in FAMAS. That year also released Ex-Wife and Hiwalay, about marital problems. Art imitating life, as there were reports that Vilma and now, ex-husband, Edu Manzano were having some marital problems. But Vilma as trooper as she is, any personal troubles were not publicly noticeable as she goes on with her work, business as usual. Also, Vilma gave birth to her eldest son Luis “Lucky” Manzano. By December of 1981, her film festival entry, Karma earned her another surprise best actress trophy after the FAMAS gave her the nod for Pakawalan Mo Ako. In unrelated news, the entertainment industry were shocked to found that matinee idol, Alfie Anido died on Dec 31st. Like the death of Julie Vega and Rico Yan, it is still unknown the reason behind Anido’s death. She’s determined to make 1982 another successful year. She released a total of six films, out of six; two were certified record breakers, “Sinasamba Kita (I Idolized You)” released in August and “Gaano Kadalas ang Minsan? (How Many Times is Once),” released in November, both produced by Viva Films. The other four films (Relasyon, T-Bird at Ako, Never Ever Say Goodbye, and Haplos) were mild hits. All of her hard work paid off because as early as January of the 1983 she was already poised to reap major awards. Meanwhile for Nora Aunor, 1982 were a mixed bag of mild hits and failed opportunities. “Mga Uod at Rosas,” her collaboration with Lorna Tolentino and director Romy Zusara produced mixed reviews from the critics. Her excellent performance did not help as the film were just mild hit with the audience. Her follow up films, “Annie Sabungera” and “Palenke Queen” both comedies also didn’t do well at the box office making the expectation from her next film higher, as she teamed-up with the hottest star of 1982, her closest rival, Vilma Santos in Danny Zialcita’s fast paced film, “T-bird at Ako.” T-bird’s high expectation wasn’t realized as the film earned just a modest income. By December, all eyes were focused again on Nora and her most ambitious project to date, Ishmael Bernal’s “Himala,” produced by the Imee Marcos’ Experimental Cinema of the Philippines. The film was an entry to the Metro Manila film festival. Nora Aunor was again proclaimed the “queen of local festival” as she won her third Metro Manila Film Festival best actress. Nora’s momentum was rising and she was conditioned to make some serious dent in the following year’s award giving seasons. Critics were all going “gagah” with Aunor’s gigantic performance as Elsa. They said, Himala was very effective in communicating its film’s message, it has moving moments and raw power….” – RV (READ MORE)

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Vilma Santos as Child Actress

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Vilma Santos’ Films as Child Actress:

  • Anak, ang Iyong Ina (1963)
  • Aninong Bakal (1963)
  • Duelo sa Sapang Bato (1963)
  • King & Queen for a Day (1963)
  • Trudis Liit (1963)
  • Ging (1964)
  • Larawan ng Pag-ibig (1964)
  • Naligaw na Anghel (1964)
  • Sa Bawat Pintig ng Puso (1964)
  • Iginuhit ng Tadhana (1965)
  • Kay Tagal ng Umaga (1965)
  • Maria Cecilia (1965)
  • Morena Martir (1965)
  • Sa Baril Magtutuos (1965)
  • Batang Iwahig (1966)
  • Hampaslupang Maton (1966)
  • Hindi Nahahati ang Langit (1966)
  • Ito ang Dahilan (1966)
  • Ito ang Pilipino (1967)
  • Longest Hundred Miles (1967)
  • De Colores (1968)
  • Eagle Commandos (1968)
  • Kasalanan Kaya? (1968)
  • Sino ang may Karapatan? (1968)

Special Film: Ging

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“…Ging (1964) was directed by Cirio Santiago and Teodorico Santos. Although it was made in the old-fashioned way of making films (the flashback scenes in particular), the material used here is timeless – especially since there are more street children in our midst now more than ever. As far as the showbiz scene is concerned, there are still a lot of heartless impresarios today exploiting young talents in the business. But what really made “Ging” a delight to watch was the performance of the very young Vilma Santos. Even at the early age, it was clear that she was already brimming with talent. Vilma, apparently, was born into this world to perform, entertain and make people happy. She was utterly convincing in the dramatic scenes and thoroughly graceful in her musical numbers. Listang-lista – as we’d say in the vernacular. Even then, she was already living up to her showbiz title of “Star for All Seasons” because her performance in “Ging” is not only brilliant, but timeless as well…” – Butch Francisco, People’s Journal 04 March 1999 (READ MORE)

Source: gobitz69

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)

Remembering Walter Navarro

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Life Imitating Art – “…In 1971, Director Lino Brocka directs “Stardoom” for Lea, his “indictment of the corruption of values in the local movie industry.” It tells of a frustrated and ambitious stage mother, Toyang (played by Lolita Rodriguez), who forces her son, Joey, into a showbiz career and ultimately ends up in a tragedy. 70s teenage heartthrob, handsome, clean-cut and the boy-next-door type, Walter Navarro starred as the son, Joey Galvez, who at the peak of his stardom was gunned down by his erstwhile girlfriend Nina (Lotis Key), in a fit of jealousy and anger. Whatever happened to Walter Navarro? They say “life imitating art.” The young actor was on the height of his illustrious movie career when something tragic happened to his personal life. There are rumors of drugs that eventually ruined his life…” – Simon Santos (READ MORE)

Walter Navarro, fans called him “Pogi” and rightly so. In the 1970s, Walter was known as the most handsome face in the movie industry. Well mannered, tall, slim and mestizo, he embodied the “Prince Charming” of every Filipina girl. – Wikipedia (READ MORE)

Walter Navarro and Vilma Santos

Swing It Baby (1979) – “…”The latest dance steps…swing, freak, funk, jazz, the scroll, jive…..” Swing It Baby (Marcdh 9, 1979) ng Lea Productions ay pinangunahan nina Vi, Romeo Vasquez, Tito Sotto, Vic Sotto, Joey de Leon, VST & Co., Mike Monseratt, Walter Navarro, Nena Perez Rubio, Sandy Garcia at Geleen Eugenio sa panulat at iskrip ni Oscar Miranda at direksiyon ni Al Quinn…” – Alfonso Valencia (READ MORE)

Let’s Do the Salsa (1976) – “…Ate Vi thus became the chief opponent of Nora Aunor as the movie queen of the 1970s. Her edge is that she also became the queen of hit disco movies filled with singing and dancing, like “Swing It, Baby,” “Disco Fever,” “Rock Baby Rock,” “Let’s Do the Salsa,” and the movie she did with Latin idol Junior, “Good Morning Sunshine…” – Mario Bautista (READ MORE)

Big Ike’s Happening (1976) – “…Enrique “Big Ike” Lozada (August 13, 1940-March 8, 1995) was a Filipino comedian, actor and TV host. He was born on August 13, 1940 in Iloilo City. He started acting at the age of 11 on the movie Mga Bituin ng Kinabukasan with the younger Susan Roces. He died on March 10, 1995 in Manila, of heart attack. He was 54. His had lain at Manila Memorial Park in Parañaque City…” – Wikipedia (READ MORE)

Teribol dobol (1975) – Teribol Dobol is a classic comedy movie. Maritess (Vilma Santos) asked for help from Frankie (Chiquito) a private investigator to investigate her father, who’s foolishly in love with a young lady. This lady & her family only wanted the wealth and fortune of her father. They will plan to poison Don Cosme (father of Maritess) and accuse Maritess for the caused of his death. Will they succeed to bring Maritess to jail?” – Kabayan Central (READ MORE)

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)

Dalagang Nayon (1972) – “…Film artist Walter Navarro (Vicor) will have his first LP, “King of Balladeer,” this month. He is a contract star of Lea Productions and principal mainstay of the El Bodegon Club. Navarro is doing a film musical with Vilma Santos (Wilear’s) with Mirick Productions…” – Oskar Salazar (READ MORE)

Sweet Sweet Love (1972) – “…Walter Navarro—fans called him “Pogi” and rightly so. In the 1970s, Walter was known as the most handsome face in the movie industry. Well mannered, tall, slim and mestizo, he embodied the “Prince Charming” of every Filipina girl…” – Wikepedia (READ MORE)

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The Untold Story of Vilma Santos

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Anim na taong gulang lamang si Rosa Vilma Tuazon Santos nang ipasiya ng mga madre sa St. Mary’s College sa Magdalena na karapat-dapat siyang gawing madre superiora! Kaya wala silang atubiling isinagawa ang pagbibihis kay Vi bilang madre superiora. Tumayo si Vilma sa tanghalan ng graduation at siya ang naging taga-abot ng certificate sa mga nagtapos. And she was the cutest version of a mother superiora ever, as she stood there ang munting mestiza nina G at Gng. Amado Santos ng Bambang mistulang madre ngunit halos sing-laki lamang ng manyika. Ito ay isang practice na naging kaugalian sa mga ara sa Catholic schools maging para sa lalaki lamang o para sa mga babae lamang. Ang mga batang nagtatapos ng kindergarten ay karaniwang may graduation rites na wika nga, na ang mga selected at outstanding students na grade school ang pinagaganap sa papel ng mga outstanding officials ng eskuwela. Kung mga lalaki ay may arsobispo pa ets. samantalang sa mga babae ay mga characters or madre superiora ang pinakakatawan nila sa mga outstanding student. At laging ganito si Vi nang magsilmulang mag-aral. Kabilang siya sa mga masipag at masinop na pupils ng St. Mary’s. Marahil pinangarap pa ng mga madre na nasa paaralang yaon na baka sakaling magkaroon ng “vocation” si Vi for the call of Christ.

Mabait na bata, mabutihin, she had always been imaginative enough to be an asset to the school. Laging matulungin, usualy, umuuwing umiiyak ang nakatatandang kapatid na si Emily probably older by a year or so at dumarating ng gutom kasi ang Vi ay nauubos ang baon sa pagbibigay doon sa mga estudyantedng walang baon at pagkatapos nakikihalo na lamang sa kapatid na di naman siya mapahindian sapagkat very close sila sa kanilang family. Sa kabilang dako, halata na “for the arts” si Vi bagama’t wala pang nagaakala noon na magiging artista siya. Kasi bistado sa buong eskuwelahan ang hilig ni Vilma. Siya ang malimit na sumusulat ng mga scripts ng bolada para sa grade school. Simpple nga lang para nakababatid siya kaya siya ang naaatasan lagi sa ganitong chore. And this is not surprising. May hilig talaga si Vi noong bata pa siya. Maaaring di siya nagkahilig na malilimayon sa kalye ngunit laging nasa kanilang bahay ang mga kalaro niya at lagi siyang nagmamaestro-maestrohan. Kaya nga ba inakala ng yaya nilang magkakapatid na si Mamay na magiging teacher si Vi o propesora. Kung wala ang mga kalaro galing sa mga kapitbahay ang mga kapatid ang siyang tinitipon at ginagawang mga students niya. At ang katakataka, kahit noon pa, acccepted na ang leadership niya.

Somehow their world revolved around her, and enjoy naman sila sa kanyang company. Talaga nga yatang isinilang si Vi to be an object of admiration ang affection. If her family history is to be traced November 3 nang Vi made her appearance in the happy home of Amado Santos and the former Milagros Tuason some 19 years ago, sa Galang’s Clinic at noon pa man ay panay na ang hanga sa pagka-cute at sa kagandahan ng “mestisa” nila. At palibhasa’y doll-like, enjoy si Gng. Santos sa pagbibihis sa dalawang anak niyang babae sa magkasunod isinilang. Di tio mahirap gawin sapagkat woman executive si Mrs. Santos at this time, sa Aguinaldo department store noon sa Echague branch. Natatawa pa nga siya sa kanyang sarili sapagkat siya ay isang Pharmacy graduate ng MCU at sa nais na makapag-start noon napasok sa clinic helper at clerk ngunit dahil sa sipag at pagsisikap she rose from the ranks into the sales department hanggang sa maging supervisor. That is how systematic and how tiyaga the Santos family are. This was the happy home that Vilma Santos grew up in. Bagaman at working wife ang mother niya samantalang ang papa niya na isa ring pre med student bago nag-asawa ay nagtatrabaho sa isang movie company, the children na binubuo noon ng listong babae, sina Emelyn, Vilma at Maritess ay never felt neglected.

Isinasaayos ni Mrs Santos ang mga pagkain sa bahay baog pumapasok ng opisina at tuwing tanghali ay umuwi upang ma-check up ang mga girls with their Mamay. Tuwing linggo napapasiyal sila kung hindi sa luneta ay sa Lola pagkagaling nila sa lolo nila na si Dr. Patricio Santos ng Bamban. Capas of the sugar rice big estatea doon. Ngunit nang mag-asawa ang mga magulang ni Vil, ipinasya nang galawa to stand on their own two feet, tumigil ng pag-aaral si papa ni Vi at hinarap ang pagha-hanap-buhay. Palibhasa’y true love, lahat ng hirap ay ni-weather nila. As Mr and Mrs Amado Santos (they got married when Vi’s mother was 23) maaaring mahirap lamang sila ngunit at that stage sinikap nang mag-asawa na maidulot sa mga ank lahat ng pangangailangn. Maaaring nakatra sila sa isang paupahan ngunit silang lahat ay maligaya. Ngunit kahit na noong bata pa si Vi, she had that serious energy that keeps on going, endeavoring at dahil ke minsan nakapanggaling siya sa paglalaro na di mapapansin nang kanyang Mamay na basang basa siya nang pawis. She was then about four years old. Nakaligtaan ni Vi na magpalit at natuyuan ng pawis sa likod. Nang gabing yaon ay inapoy ng lagnat at nang di makuha sa mga aspirin at iba-iba pa, itinakbo siya sa ospital. That was the first time na ibinalik si Vi sa ospital buhat nang ipanganak ito because she had always been a healthy baby since birth. That was the time when the doctor shook his head! Napulmonya si Vilma at kailangan ang mariing pangangalaga. At ang mag-asawang Amado at Milagros ay mahigit na isang linggong hali-halili sa pagaalaga sa kanilang pangalawang anak. – Sixteen Magazine, No. 125, 23 June 1973

Why Vilma won’t stop singing

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It’s been almost 20 years since Vilma Santos started to sing professionally, but until now she refuses to be called a singer. And, as everybody would agree, rightfully so. In fact, if there’s any single facet in her long and successful showbiz career that has been the object of continued public censure it is her singing. But be that as it may, the 33-year-old actress persists in singing, seemingly oblivious of the flak that comes her way. Has she, in any way, become calloused throught the years? “No, I still get affected by criticisms,” she onced said. “The thing is I have learned to accept them as part of the business and as something I can’t do without. I think the secret is in learning how to deal and live with them.” That singing was once a passion for her is a fact that the actress does not deny, but she adds “not anymore.” According to her, the success, her first and best-selling record, in the ’70s was fullfillment enough. But that doesn’t mean she no longer enjoys singing. As a matter of fact, she does

And, as far as her singing is concerned, this attitude is the hardest thing to contend with, Santos likes to sing and no amount of reproof – especially when it comes from people she doesn’t respect and believe in – could stop her from doing so. As I see if the actress is one person who does not run away from challenges or problems – the more she is criticized the more she tries to prove her point. Some time ago, in one of her late-night recordings, I asked the actress if she ever had to formal voice lessons. “No, I didn’t have,” she replied while waiting for her cue. “Some voice coaching lang tulad ngayon. Hindi naman talaga ako singer – it is not my craft. I only because I am requested to. Besides, I like doing it for my fans. I don’t think I’ll ever be a professional singer. Acting is really my career.” Tonight, as Vilma Santos celebrates her first year anniversary in Channel 7 and her seventh year on television. “The Star for all Seasons” will show her admirers and detractors alike that singing has not hurt her and her career. Instead, it has endeared her to her audiences and, whether we like it or not, her amateurish singing has helped made her show a sort of a “family affair.”

Anniversary Celebration Special Guest Co-Host: Edu Manzano

Opening Number – One of the biggest production numbers ever produced in television variety shows. GMA 7 says it is the first of its kind ever staged for Phlippine TV – in terms of costumes, special effects, set and other production design that go with it. With a cast of 35-40 dancers, the opening production number alone costs more or less P25,000.00 Vilma’s dance is expected to surpass even the most difficult and talked about numbers she has ever done on TV.

Boogie Dance No. – Vilma and Edu will do a boogie dance number that promises to bring the house down because its originality and showmanship. This is the first time Edu will do a spectacular boogie number on TV.

Revival Medly – Vilma and Ricky Davao will do a medley of this year’s most popular revivals like Black is Black, Sweet for my Sweet, When I Fall In Love, etc. Randy Santiago’s production number with V.I.P. Dancers features a sneak preview of his first major solo concert to be held at the ULTRA tomorrow. Maricel Soniano’s dance number after an absence from the TV variety scene. OPM medley of hits in 1987 as rendered by Aga Muhlach, JC Bonnin, Gretchen Barreto, Leah Salonga, Bing Loyzaga and Keno.

Pasadalamat sa Inyo – Kundimans of different regions in different dialects to thank Vilma! viewers all over the Philippines to be done by Lani Mercado, Manilyn Reynes, Marco Sison and Richard John Reynoso. Lorna Tolentino, Maricel Soriano and Gabby Concepcion Trio – the three stars will do a special number to promote their movie Pinulot Ka Lang Sa Lupa.

VMW – Vilma’s Music Watch to showcase once again the week’s hottest music and dance with Vilma, Maribeth and John Robinson and 40 dancers. Finale – a classical music disco dance – Disco dancing to the classical music of Mozart with special props.

Surprise Romantic Number – Vilma and Edu will thrill their fans as they do another musical number.

Stars Greetings – From Sharon Cuneta, Kris Aquino, Tonton Gutierrez, Ricky Davao, Helen Vela, Kuya Germs, Inday Badiday, and many other Regal and Viva film stars. – JC Nigado, Manila Standard – Oct 2, 1987 (READ MORE)

Biktima 1974 (Videos)

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Plot Description: In a strange turn of events, Dolores (Vilma Santos) moves in to live with her grandfather, who has sole custody of her ever since her mother was imprisoned for the m rder of Dolores’ father. Mystery unfolds as Dolores stays with her grandfather when members of the household are murdered one by one. Will Dolores escape the chaos unraveling around her or will she be the next victim? – Kabayan Central (READ MORE)

Celia Rodriguez and Vilma Santos

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Best Actress – “…When she felt she already had enough of Europe, Celia returned to the Philippines to resume her acting career. It was Mike Velarde (now of El Shaddai fame) who gave her the chance to make a spectacular comeback in the movies. Velarde, who is also from Bicol like Celia, had suddenly come into money and wanted to produce a movie. Never mind that he was a geodetic engineer by profession and probably didn’t know the first thing about moviemaking. Since Velarde wanted only the best, Celia got no less than Gerry de Leon as director and Pierre Salas as writer. The result was Lilet, a mystery drama that was shot in three long months (“We worked everyday,” cried out Celia) and had used enough raw materials to make four movies. The effort was worth it though because it won for Celia her FAMAS Best Actress trophy. Lilet may have put her back on track in the movies, but it also spawned malicious rumors about a romance between Celia and Velarde. “But that is not true!” Celia flatly denies this piece of gossip that had been hounding her the past three decades. “If there was any truth to that, I would have admitted it. He would have been a feather in my cap-considering his popularity. But it’s not true,” she insists. To that, we say Amen. Or as Mike Velarde would say it, “Ehmen!” Lilet and the subsequent Best Actress trophy she got for it actually inspired Celia to finally take the business of acting seriously…” – Butch Francisco (READ MORE)

Celia Rodriguez ay isang artista sa Pilipinas. Una siang nakitang gumanap sa mga pelikula ng Premiere Production noong huling dekada 1950. Siya ay nanalo ng apat na FAMAS Awards: isa bilang pinakamahusay na aktres ng 1971 para sa pelikulang Lilet at tatlo pa bilang pinakamahusay na pangalawang aktres ng 1964 (Kulay Dugo ang Gabi), 1966 (The Passionate Strangers) at 2003 (Magnifico). – Wikipedia (READ MORE)

Celia Rodriguez and Vilma Santos

Celia Rodriguez and Vilma Santos did eight films together. The most memorable were: Lipad Darna Lipad where Celia played the Snake Queen, Valentina and Vilma as Darna; and Kampanerang Kuba were Celia played the evil sex starved villain and Vilma played the hunch back bell ringer, their fight in the pig pen was one of the highlight of the film.

Hiwalay (1981) – “…Dagdag pa ni Vilma, “Pero isa rin sa pinakapaborito ko is Dindo Fernando. Si Dindo, na yumao noong 1987, ay nakapareha ni Vilma sa mga pelikulang gaya ng Langis at Tubig (1980), Hiwalay (1981), T-Bird At Ako (1982), Gaano Kadalas Ang Minsan (1982), Baby Tsina (1984), at Muling Buksan Ang Puso (1985)…” – Rico Jr (READ MORE)

Darna at Ding (1980) – “…The climax of this “Darna vs. the Dragon Lady” part of Darna At Ding sees Lei Ming conjure up an evil double of Darna to keep our heroine busy while, elsewhere in her lair, a towering robot bears menacingly down upon Ding. It’s a suitably whiz-bang finale to this loopy, kitchen sink confection, and one that makes the long, strange and circuitous route that we’ve taken to get to it seem perhaps less arduous in retrospect. Still, at a solid two hours, Darna At Ding is an example of a movie that pulls out all the stops, but perhaps shouldn’t have. While it’s combination of horror movie chills, superhero thrills and slapstick spills might have been catnip for the Filipino audience of its day, for the rest of us it might prove mildly exhausting. Nonetheless, I find Vilma Santos so appealing in her role that it’s hard for me to imagine hating any Darna movie that she appears in, and this one’s no exception…” – Todd of “luchadiaries” (READ MORE)

Coed (1979) – “…Mula sa VS Films at Bancom Audiovision Films ang pelikulang Coed (January 25, 1979) ay nagtatampok kina Vi, Jay Ilagan, Delia Razon, Allan Valenzuela, Romeo Enriquez, Romeo Rivera, Jun Soler, Angge, Jojo Santiago at Rosemarie Sarita sa panulat at iskrip ni Allan Jayme Rabaza at direksiyon ni Emmanuel H. Borlaza…” – Alfonso Valencia (READ MORE)

Mga Rosas Sa Putikan (1976) – “…Ang initial offering ng VS Films na Mga Rosas Sa Putikan (July 10, 1976) ay nagtatampok kina Vi, Celia Rodriguez, Barbara Luna, Trixia Gomez, Merle Fernandez, Romeo Enriquez, Arnold Gamboa, Ike Lozada at Sandy Garcia sa panulat at direksiyon ni Emmanuel H. Borlaza…” – Alfonso Valencia (READ MORE)

Karugtong Ng Kahapon (1975) – “…Vilma Santos, on the other hand, gave a notable performance in Roma Films’ Karugtong ang Kahapon. That time, Nora and Vilma were in their peak, their career and the movies they made were being followed closely, compared, watched, praised, scrutinized both by fans and critics. Their storied and fierce rivalry dominated our movie industry for years…” – Wikipedia (READ MORE)

Biktima (1974) – “…In a strange turn of events, Dolores (Vilma Santos) moves in to live with her grandfather, who has sole custody of her ever since her mother was imprisoned for the m rder of Dolores’ father. Mystery unfolds as Dolores stays with her grandfather when members of the household are murdered one by one. Will Dolores escape the chaos unraveling around her or will she be the next victim?…” – Kabayan Central (READ MORE)

Kampanerang Kuba (1974) – “…With limited dialouge, a young Dindo Fernando portrayed Tateng’s lover convincingly. All the other supporting roles including Perla Bautista, Ernie Garcia and others gave a forgettable performances. About the two main lead, Edgar Mortiz and Vilma Santos did what they can to portrayed their roles. Edgar Mortiz seems to be trying very hard to be effective as the priest but acting is clearly not his forte. Would this be different if Jay Ilagan did this role? Vilma Santos succeed more with her solo scenes, talking to the patron saints and the bell tower, eating with her bare hands and trying to beautify her ugly face…” – RV (READ MORE)

Lipad, Darna, lipad! (1973) – “…Ding, ang bato!” yells Narda, the adolescent country lass, to her younger brother. Ding obligingly hands over a shiny pebble which Narda swallows to turn herself into the vivacious super-vixen, Darna. Mars Ravelo’s superheroine, clad in crimson bikinis and knee-high stiletto boots, may perhaps be the most famous local fantasy character given life on the silver screen. Though not actually considered a career-defining role, portraying Darna is, nonetheless, highly-coveted. Darna has been portrayed by no less than nine actress in 12 feature films. Rosa del Rosario first wore the scarlet two piece in May 1951. She reprised the role after three months. Liza Moreno, Eva Montes and Gina Pareno followed her. The inter-galactic pebble found its way to Vilma Santos’ throat in 1973 via the flick “Lipad, Darna, Lipad!” Santos, now a two-term mayor of Lipa City in Batangas, is probably the most popular Darna, with a total of four movies in a span of seven years. Some of these were made known to younger generations through afternoon airings on television in the late ’80s. Maybe RPN 9 should do that again so that even younger generations can marvel at Darna’s greatness, albeit antiquated, in such movies as “Darna and the Giants” and “Darna vs. the Planet Women…” – Armin Adina, Philippine Daily Inquirer, June 06, 2003 (READ MORE)

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The New Vilma Santos is an Actress

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Dumating ang mahigit na pagsubok. At nagpasalamat ako sa diyos at sa aking mga dalangin at pagsisikap ay ipinagkaloob sa akin ang magandang kapalarang ito.” Pormal na pormal si Vilma habang nagsasalita siya. Sa paksang ito’y nabanggit niya ang ilang mga bagay na nakasusugat ng damdamin niya. Ang pagtatanong ng ilan at pag-uukol sa kanya ng mga salitang nakakasakit ng loob ay nabanggit sa amin ni Vi. Bakit daw siya ang naging Best Actress? Ito ang tanong ng ilang naghahangad na sirain ang loob niya at gumawa ng isang bagay na hindi maganda. Ang totoo ay marami ang nanalig at nagtitiwala sa pagkakamit noon ng FAMAS award ni Vilma. She do her best and she deserve it, kahit ano pa nga ang sabihin at isipin ngayon ng ilang tao lamang. You’re an actress. Ito ang narinig naming sinasabi ng mga bumisita kay Vilma sa kanyang tahanan. Naluha sa malaking kagalakan si Vilma. “Hindi ako magbabago sa inyong lahat. Hindi.” maikling wika niya. Natapos ang paksang iyan. Then the week ng huli naming makada-upang palad si Vilma ay maganda naman ang aming naging paksa dito. Maraming dapat napuna sa kasalukuyang tungkol kay Vilma Santos. Noon at ngayon ay masasabing malaking-malaki ang ipinagbago ni Vilma sa anyo at sa kilos.

Dalagang-dalaga na siya and she looks like a woman of twenty bagama’t walang-wala pa siya sa line of two. Natawa nga siya ng sabihin namin na pakiramdam daw niya ay matured na siya ngayon. At her age hindi nga ba naktutuwang isipin na isa siyang awardee ng FAMAS? And she’s the only first young star na nagkamit ng ganitong uri ng karangalan. Best Actess. Sa acting siya nakakuha ng malaking bagay sa kanyang movie career. Nagpormal si Vilma. Alam naming handang handa na siya ngayon na maging isang babaing sirena na ginagawa niyang pelikulang “Dyesebel at Ang Mahiwagang Kabibe.” “Marami na namang pagsubok ang darating sa akin. At tiyak alam ko na ito.” Sabi ni Vilma. “Alam n’yo ba? Lalo akong acting na acting ngayon.” Nakatawa siya. “Dito sa Dyesebel alam kong hindi lamang pagiging sirena ang mahalaga. All I need here is acting din, hindi ba?” Gagawin kong lahat ang aking makakaya. Pero pagkatapos ng pelikulang ito’y gustong gusto kong makaganap ng isang uri ng role na mas higit kaysa mga napagdaanan ko na. And more acting s’yempre.” The way she talks, the movies and act sa harap ng camero o pakikipag-usap sa kanyang mga kaharap, halatang may isang bagong Vilma Santos.

Lady look na lady look na talaga ngayon si Vilma. Para bang ang nakaharap mo ngayon ay isang dalagang nasa hustong gulang at kagalanggalang. Pagpipitagan mo siya talaga. Iingatan mo ang pagsasalita sa harap niya bagama’t sa katotohanan ay ibig na ibig niyang makakaharap ang mga taong palagay na palagay sa kanya ang kalooban. Sa ngayon nga sa pagkakaroon ng bagong anyo ni Vilma sa lahat ng bagay ay kanyang sarili’y unang mabubuksan sa isip at paningin ng kanyang kaharap na ito. Ito ang bagong Vilma Santos. Matured look na siyang talaga ngayon. ‘Yong bang handang handa na sa lahat ng mahahalagang bagay sa kanyang paligid. “Salamat sa paguukol ninyo sa akin ng panahon. At kahit nga sa maikling sandali lamang ay nakakapalitan ko kayong lahat ng mga kuru-kuro. Bagong Vilma Santos ng nga ba ako ngayon? Salamat. Pero alam ko na walang nababago sa aking pakikisama at pakikutungo sa lahat. Kung may nabago man sa akin. Kung tinawag man ninyo ako ngayon na the new Vilma Santos, ang toto niyan ay nasa puso ko pa rin ang dating ugali.” sabi ni Vilma. Naniniwala kami. Nagbago man si Vilma Santos sa anyo at mga kilos ay hindi pa rin nawawala sa kanya ang pagiging magiliw at mabait sa lahat.

Siya pa rin ang dating Vilma Santosna kagigiliwan mo. Mabait makitungo, mahusay makisama at marunong tumugon sa kanyang mga tungkulin. Being an actress, very professional na talaga si Vilma. Well, tinawag namin siyang actess sapagka’t may panghahawakan ang sino mang sabihin aktres na talaga si Vilma. FAMAS award yat. Pero nagpormal siya. Ayaw na ayaw niyang mabubuksan ang paksang ito na halata ang pagpuri sa kanya. Ayaw niyang isipin ng sino man na nagkaroon na siya noong tinatawag na aire o paglaki ng ulo. Basta siya pa rin si Vilma. Huwag isipin ang award. Natawa kami. “Ayokong isipin nilang porke FAMAS awardee na ako ngayon eh, merong nabago sa aking kilos at isipan? Walang-wala iyan sa akin. Kaya nga ayaw kong mapag-usapan eh. Baka isiping ipinagmamalaki ko it. Hindi natawa ko. Nagpapasalamat. Pero ang pakikisama at pakikitungo sa lahat iyang ang hinding-hindi magbabago kahit ilang award pa ang makamit ko.” Aniya. Iyan si Vilma Santos. Ang bagong Vilma sa tunay na kahulugan ng salitang ito. Maganda kapita-pitagan. At aktres na talaga. Sa pelikulang Dyesebel, masusubok si Vilma at ang mga bago niyang katangian sa sining ng pag-arte. Ngunit tulad nga ng mga nauna niyang pahayag dito, more acting and more good films ang kailangan pa niya. At ito ay buong kakayahang gagawin at magagaw pa ni Vilma sa hinaharap. – Ric S. Aquino, Movie Queen Magazine, No. 60, 18 Jun 1973

Ric S. Aquino is a Filipino movie reporter, writer, columnist who was part of Vilma Santos’ circle of movie writers in the early part of her illustrious film career. He regularly reported the latest news about Vilma and her several suitors including her much publicized relationships with Edgar Mortiz. Aquino’s articles, usually written in Tagalog were mostly published by Movie Queen, a magazine identified with Vilma Santos. – RV

Blessed Oreng is Connie Angeles

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Blessed Oreng – “…In Trudis, we were 800 plus during the audition. Tita Lolit (Lolita Rodriguez) and Tita Bella (Flores) talked to my mother. Siguro, natutuwa sa akin. They told her na kukurutin daw ako para umiyak pero kailangan daw sabihin ko ang lines ko. So, nakuha ako, kasi the other children forgot to say the dialogue when they started crying. I played Oreng, yung sister ni Trudis na kinagat ng aso. But I never became a dramatic actress, because I didn’t know how to cry. In one scene, inaagaw na yung baboy namin do’n, ipagbibili na ni Bella. When Ate Vi (Vilma Santos) cried, iyak na din ako pero boses lang. Wala talagang luha. Kakausapin na naman nila nanay ko. Kunwari papauwiin na ako. ‘Pag umiyak na ako, they would start shooting. After our scenes, Tito Luis (Gonzalez) and Tita Lolit would buy us Max chicken kasi pinahirapan nila kaming umiyak…As a child actress, wala akong hinanap na role na hindi napunta sa akin. Naranasan ko ang magka-buntot in “Anak ni Dyesebel”(1965), where I was the daughter of Dyesebel played by Eva Montes. Her mother naman was the original Dyesebel, Edna Luna. Naging anak din ako ni President Erap in “Panginoon ng Pantalan.” I was also able to act under Director Gerry de Leon in “Darna at ang Babaeng Tuod” (1964). I played Lucy, yung anak ng babaeng tuod…I chose television because I grew up on TV. I also promised my parents that I’d finish my studies. As a student I couldn’t cope with the demands of filmmaking because of the long hours of shooting and distant locations…We were very close as a family. That’s why all of us married late. Lahat kami, nakatapos…If you don’t have anything nice to say, don’t say anything. Ba’t ka maghahanap ng kapintasan? Instead of pointing out the other’s mistake, mention na lang the nice things na ginawa n’ya…I have no time for depression, kasi ang sarap-sarap ng buhay…And I enjoy what I’m doing. Even up to now, I feel I’m so blessed!…” – Gypsy Baldovino, Manila Bulletin, Aug 10 2009 (READ MORE)

Pulitika karugtong ng Kapwa Ko Mahal Ko – “…Bago siya pumalaot sa larangan ng pulitika, una siyang nakilala bilang co-host ng Kapwa Ko Mahal Ko – ang malawakang programa sa telebisyon na napakarami nang dukha ng siyudad na natutulungan. Ang naturang programa ay naging stepping stone din ni Senador Orly Mercado tungo sa larangan ng pulitika. Maging sa pangarap ay hindi sumagi kay Vice Mayor, na dati ring artista, na ang Kapwa Ko Mahal Ko ay si- yang maghahatid sa kanya sa daigdig ng pulitika. Sa mungkahi ni Senador Mercado ay sinubukan niyang tumakbo para konsehal sa third district – at hindi naman siya nabigo. Ganun din ang kanyang mga constituents na nagtiwala sa kanya at ginawa siyang number one councilor nuong 1992. Ang pulitika, sang-ayon kay Vice Mayor ay karugtong lamang ng kanyang patuloy na public service program upang higit na makahatid ng serbisyo sa mga mahihirap na mamamayan ng lungsod…” – The Philippine Star (READ MORE)

Younger People and New Media – “…This was the gist of the message conveyed by TV’s pioneering public service program, “Kapwa Ko Mahal Ko (KKMK).” Hosts Orly Mercado and Connie Angeles, both former politicians who quit politics for good, met the press recently and shared their show’s colorful history and promising future in the midst of their engagement, finally, to Internet revolution. The 35-year-old show which GMA-7 still airs Saturdays from 5:30 to 6 a.m., has made use of social networking sites, namely, Facebook and Twitter. With its website (www.kapwako.org) now in operation, this long-standing program has gained new followers through multi-media health-related content. “We’re trying to get the interest of the younger people through the new media,” expressed Mercado, who proudly stated that his three and a half decade TV program has been able to finally adapt and morph in accordance to the demand of today’s world. KKMK is having a fruitful year thus far, having facilitated Ventriculo-Peritoneal (VP) Shunting surgery (implanting of tube in a patient’s skull to drain excess brain fluid) to three hydrocephalus victims, as well as administered medical missions (with the help of SM Foundation) to more than 30,000 people in poor communities…” – Yugel Losorata, Manila Bulletin, Jul 16 2011 (READ MORE)

Is this it? – “…It was in 1983 when I received a call from Orly Mercado and offered me a simple job, to pitch-hit for his co-hosts who can’t make it to the recording of the show Kapwa Ko, Mahal Ko. Mr. Mercado is the founding president of Kapwa. Of course, I said sure. I was happy doing it when suddenly all the hosts were coming in,” Angeles narrates. “I ask myself ‘is this it?’ So I came to Mr. Mercado and told him that I was enjoying my job and I don’t want to leave the show anymore because aside from really enjoying Kapwa, I, too, was learning so many things. And he said yes!” From that time, Angeles became a regular host of the show and until now, she is one of the figures of Kapwa Ko, Mahal Ko. “Even when I became a councilor, vice mayor and mayor of Quezon City, I didn’t leave the show,” she quips. “There’s another level of fulfillment that I get from doing Kapwa. I served in the politics for nice years and though I was also doing a lot of public service for my constituents, doing Kapwa gives me more happiness.” With her very lady-like conduct, a genuine smile for everyone who greets her, Angeles truly has a heart for reaching out to those who are in need. While many politicians don’t want to leave their posts in the government, Angeles opted to be different. “I think nine years in the government was good enough to help other people,” she claims. “I was happy being a public servant of Quezon City, but you know, in politics, helping your constituents is sometimes given other meaning. And the fulfillment you are supposed to enjoy is sometimes compromised. It’s hard to see people being unhappy when they see you help others aside from them.” She may not be called to serve the Church, but she definitely has a calling. In 2001 another opportunity to continue what she’s been doing came through SM Foundation Inc. “My sister Christy was already working for SM Foundation before I came in, so I am very familiar with what the foundation’s thrusts and projects were at the time I joined the organization. And even before I joined the company, I was really interested because Christy was telling me all the things they have been doing…” – Eleanor A. Leyco, Business Mirror, March 21 2013 (READ MORE)

Connie Angeles and Vilma Santos – Mostly played supporting roles during her film career, Connie Angeles has some similar career paths just like her older sister in their debut film. After “Trudis Liit” in 1963 both became in demand child stars. Connie did several films with dramatic greats like, Eddie Rodriguez, Boots Anson Roa, and Amalia Fuentez. She may not given the chance to wear the Darna custome like Vi but was lucky enough to be a little mermaid in “Anak ni Dyesebel” with Eva Montes. Afte her stint as a child star, and just like Vi, she slowly became one of the singing teen stars of the 70’s. She played several supporting roles in these musical era and even recorded songs for her fans. She then ventured in television doing public service program with Orly Mercado, Mildred Ortega and Cielito Del Mundo. Later, Like Vi, Connie became a beloved public servant, Vi as Mayor of Lipa City and now Governor of Batangas while Connie was a city counsilor and then the only second female vice mayor of Quezon City.

    • Bato sa Buhangin (1976) – Connie Angeles played best friend to a spoiled but terminally sick Vilma Santos. FPJ was Vi’s leading man (READ MORE).
    • Hotdog: Unang Kagat (1975) – Both Connie and Vi played cameo role to the folk singer/musical band Hotdog, FPJ also appeared in cameo (READ MORE).
    • Ikaw Lamang (1973) – Eddie Rodriguez directed Vi and teen idol Paolo Romero, Connie played supporting role together with dramatic veterans Eddie Garcia, Vic Silayan (READ MORE).
    • Ding Dong (1970) – Mar S. Torres directed Vi and Tirso Cruz III in title role, Connie Angeles played supports. The films was a Pablo S. Gomez story adapted from serialized comics published from United Komiks.
    • Trudis Liit (1963) – Adapted from Mars Ravelo’s comics, Vi played the title role, Trudis while Connie played Oreng, Trudis’ little sister. Luis Gonzales, Lolita Rodriguez played the parents while Bella Flores was the villain (READ MORE).

Connie Angeles, Born in 1956, actress, politician, public servant, who played Oreng, the younger sister to Vilma Santos’ Trudis in 1963 film “Trudis Liit,” She gradually became a teen idol in the 70s after a successful career as child star. During this period, she recorded several songs under Vicor and Villar Records and also starred in teen flicks. She was also paired with the younger brother of Tirso Cruz III, Woody Cruz, atleast in the small screen via Ike Lozada’s show Big Ike’s Happening. The following decades transformed her career, concentrating more in public service while completing her studies (She eventually recieved a Bachelor of Arts degree, majoring in Philosophy at University of the Philippines). In the 1980s, together with actresses Boots Anson Roa, Susan Valdez, Cielito del Mundo, Connie Angeles co-anchored the television public service program, Kapwa Ko Mahal Ko. She entered politics in 1990s becoming councilor and then the second female vice mayor of Quenzon City. Connie stated that “Kapwa ko, Mahal Ko” played a major role in her political career. Since 2004, Connie Angeles has been the public face of the show specially during Orly’s (Co-host, and fellow politician, Orly Mercado) teaching stint in Kobe, Japan. Currently, Angeles is the Executive Director of SM Foundation and the Vice President of SM Investments, Inc. – RV

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