Category Archives: ARTICLES

Special Film: Biktima

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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)

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)

Collection of Brief Articles

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Bravo Ate Vi! – My long overdue visit to my beloved alam mater, UP’s College of Mass Communication and out tambayan, the Broadcating Association, was a dejavu of sorts for me, and an overall enjoyable afternoon. Besided seeing the newer breed of young “broad-assers” as we call them (pardom the term of endearment), as well as my close professors-associates, I also witnessed the awarding of the Gawad Plaridel to the country’s premiere actress, Lipa Mayor Vilma Santos, which my friend Rome Jorge talks about in today’s banner story. Instead, let me fill you in on the glittering list of Ate Vi’s well wishers that day – from her industry colleagues to the academic multitude to her loyal Vilmanians – who all gave the gem of an artist a standing ovation at the end of her 45-minute speech. She had of course her husband the Senator Ralph Recto to escort her. I meanwhile, had the privilege of attending the event with the head of the Film Institute Prof. Ed Lejano and his birlliant namesake, my fave, Prof. Ed Piano. The audience, meanwhile, had such bigwig names like Atty. Esperidion Laxa, ABS-CBN and Star Cinema executive Charo Santos-Concio, film director Chito Roño, scriptwriter Ricky Lee and Pete Lacaba, fellow actor Tirso Cruz 3rd, film critics Bienvenido Lumbera and Mario Hernando, and National Artist Napoleon Abueva, who is the sculptor of the highly revered Gawad Plaridel trophy. To say that Ate Vi’s lecture was powerful is an understatement, as Rome will no doubt tell you. How I wish there were more intelligent and passionate individuals like her in local show biz. Inspiring rather than…never mind! Let’s just get on with my prowl! – Amiel Martin Cabantig (READ MORE)

Vilma and Ralph, now business partners “…Vilma Santos and Ralph Recto are now business partners. They have formed the Crystal Dragon Enterprises, a talent agency with offices at the 15th floor of the Strata 100 Building in Pasig. On the same floor, is the office of Manny Padilla, Dina Bonevie’s date during Dolphy’s recent birthday bash at the Philippine Plaza. Padilla’s family reportedly owns Strata. Padilla who was formerly linked to beauty queens Aurora Sevilla and Glennah Slayton, has been heard asking about Alice Dixson, another former beauty queen herself…After Vilma Santos, Jackilou Blanco, Jobelle Salvador and Rita AVila, his eyes are now set on Ms. Luisa “Lulu” Jimenez, Ms. Maja Pilipinas ’87, Espina is said to be serious in pursuing Jimenez that he reportedly gifted her a diamond ring…. …” – Nitz Miralles, Manila Standard – Aug 13, 1988 (READ MORE)

I went to their weddings… – “…Another memorable wedding was that of star for all seasons Vilma Santos and Ralph Recto at the century-old Lipa Cathedral in Batangas. I was a principal sponsor then and running late so I had to check into a cheap motel that was nearer the church than the house of Danny Dolor where I was supposed to dress up. The wedding was enchanting. Obviously, the townsflok loved the couple. For all intents and purposes, they were royalty. The adoring throng jampacked the church and the grounds surrounding it, wishing to catch even a glimpse of one of their own who came home to wed his exquisite bride. The newlyweds couldn’t make a graceful exit after the wedding. They ascended to the balcony of the church and waved to the crowd, who respond with tumultous applause, I had goosebumps. At that time, politics was farthest from Vi’s mind and Congress was yet in Ralph’s dream but, right then and there, I knew they were both destined for greater things…Some two decades earlier, Guy also figured in another controversial wedding, that of Winnie Santos to Bong Morales. Almost everybody who went to the wedding wore sunglasses -not because they needed protection from the sun but because they had to hide their tear-filled eyes. The bride herself was forever crying. At one point, seh even collapsed. Indeed, the story behind this is teh stuff of which soap operas are made. Winnie is the sister of Vilma Santos. She fell in love with Eddie Boy Villamayor, Nora Aunor’s brother. Due to that alone, their love already had the makings of a disaster. Eddie Boy was the jealous type and they’d forever be fighting. Until Winnie got tired of it all and broke off with Eddie Boy who become so distraught and heart-broken that he began to tread the path to self-destruction. At a show biz party, Guy saw Winnie. She went up to her and angrily asked, “Who are you to destroy the life of my brother?” or something to that effect. Winnie fled in tears, totally mortified. That was when she decided to accept one of her suitors, Bong Morales. Not too long after that, they were married. On the eve of the wedding, Eddie Boy sought Winnie out. Loaded with whatever it was he took, he walked from Project 8 in Quezon City where he lived, all the way to Magallanes Village in Makati where the Santoses resided. It was raining, (Why does it always rain when something dramatic is happening?). Eddie Boy knocked on the door of the Santoses’ home. He pleaded to speak to Winnie. He wanted to be one of the principal sponsors in the wedding. His pleas fell on deaf ears. Flashforward: Eddie Boy was never the same again after that. As for Winnie, after the wedding, she and Bong flew to the US to live, but they have divorced since. Their three children live with Winnie…” – Inday Badiday (READ MORE)

On With the Show – “Vilma Santos went through with the taping of her first drama special, Lamat sa Kristal, during the rage of killer typhoon Unsang. While it wrought havoc in the entire nation and claimed numerous lives and destroyed properties, the whole production made good use of the terribly bad weather to set the mood for the top actress’ tele-movie. Indeed, there’s nothing like Mother Nature providing the real atmosphere, as teh stars and crew braced the strong winds and heavy rains. To the said stars and crew the showbiz rule “the show must go on” still holds true, no matter what the weather is…Comedian Vic Sotto was Vilma Santos’ guest co-host recently (for the second time around) and it was obvious he did it to promote his latest movie Good Morning Teacher, with Coney Reyes and Aiza Seguerra. The first time Sotto co-hosted in Vilma was two years ago in the show’s summer special. This time, he brought along Seguerra and they did a song number together to the delight of the televiewers. Sotto also sang with the show’s host and, as usual, he had a few tricks up his sleeves, as he brought out flowers hidden from his pockets down to his socks, to offer Santos. But the comedian proved to be a gracious co-host since he limited his Eat Bulaga antics to a more tolerable level…” – Meg mendoza (READ MORE)

Vilma Finally Gets her Massacre Movie – “Vilma Santos finally gets her wish to star in a massacre movie under director Carlo Caparas with her role as Helen Arandia in the Lipa Massacre. The film is about the Aradia family tragedy (a mother and her two daughters were killed by a neighbor while Mr. Arandia was abroad). Congressman Ralph Recto plays himself in the movie Vilma had to forego a trip abroad to shoot another film just to help promote this massacre movie. Producer Donna Villa is all praises for Vi’s professionalism and her concern for this movie. Playing Mr. Arandia is Joel Torre, who has become a favorite of the Golden Lions couple after he worked with them in the Antipolo Massacre. The Lipa Massacre movie will have a playdate on November 9…” – Norma Japitana (READ MORE)

Vilma Santos: Ms. Perfect – “The idea of a perfectionist is not hard to believe. Not if you realize that he essence of perfection simply lies in achieving challenging results. The idea of prefection is difficult to emulate. Not if you’re aware that a public figure like Vilma Santos does demonstrate time-honored perfected skills. Take for example her distinguished movie career which started in the 60s, gained credibility in the 70s, zoomed in the 80s and continues to shine in the 90s. It is an exceptional, multi-awarded career worthy of respect. It is a career marked by acting skills honed by years of being nutured by the best directors in the country. The perfectionist skills Vilma applied to such challenging roles in Broken Marriage, Relasyon, Sister Stella L., and the Dolzura Cortez Story, among many others, can be traced to her sense of realism and discipline; they are skills which owe a lot to tireless enthusiasm and unfaltering drive. Consider, too, her remarkable career as attested by the long running weekly special, Vilma. Vilma’s family life, meanwhile, is awe-in-spiring. It is a subject that has generated much curiousity among showbiz observers. It is a topic Vilma herself prefers keeping private, but whose quality she nevertherless attributes to the time she spends with her son Lucky and husband Ralph Recto. Busy woman that she is, Vilma stresses she wants only the best consumer products for her family. And these include using Breeze Powerwhite. Vilma the perfectionist movie actress, TV personality, mother and husband has discovered Breeze powerwhite, a quality product of Unilever Philippines (PRC), Inc. as the perfect detergent.” – Manila Standard, April 9 1994 (READ MORE)

Lucky 7 – “Reports have it that Vilma Santos has recently acquired a house in Greenhills for a whopping amount of seven million pesos. Santos, the reports add, will move in to the new residence on her birhtday, Nov. 3. The number 7 seems to play a significant role in the actress’ life. In 1981, she discovered – to her horror – that she was buried in debt to the tune of 7 million pesos. Seven years later, she’s lording it over on television’s rating’s chart with her top rated musical variety show on Channel 7. And wasn’t her son Lucky now seven year-old, born weighing 7.7 lbs. and was baptized on the 7th day of the 7th month in 1981? And now she bought a new house for seven million pesos. At any rate, now that Santos’ new abode is located in the Greenhills area, the San Juan exclusive subdivision might as well be considered the new Beverly Hills of local movies…” – Manila Standard, Oct 4, 1988 (READ MORE)

Seven Star-Studded Days Kick Off Tonight – “GMA-7 takes primetime television by storm as it unleash a prowerful entertainment package of internationally acclaimed bestsellers, world-class blockbusters and certified local chartsbusters starting today, November 7, Day one of its “Seven Days To Remember In November” special programming. Towering power, A Musical Dedication kicks off the spectacular showcase by gathering the GMA Family of Stars and some of the biggest, brightest names in the entertainment world in a two-hour musical extravaganza starting at 7 p.m. GMA’s prized star Vilma Santos maintain the momentum with a two-hour suspense drama, Lamat sa Kristal, her first TV-movie ever, with Richard Gomez as co-star and ace megman Maryo de los Reyes as director at 9 p.m…The celebrated musical variety show Vilma throws a grand birthday presentation-celebrations on Day Five starting at 7 p.m. live at the Araneta Coliseum…” – Manila Standard, November 7, 1988 (READ MORE)

A Graceful Exit for Vilma – “There is one star who knows how to time her exit – Vilma Santos. Vilma must have wise counsel and also the ability to shift career gears in the right direction. It was a tearful goodbye to Vilma, the weekly TV show she nurtured for 15 long years, but it was the way it should be. The show, if we have to be frank (Aminin!) was starting to show signs of fatigue. It was the type of show that should be vibrant and exuberant all the while. And Vilma herself was starting to show wear and tear. She was at that age when it was already ridiculous to dance and prance on stage every Friday of your life. Her stature also as a politician’s wife made it more unsettling, to say the least. Therefore, she made the right decision. Among other things, it also saves Channel 7 and her staff those long hours of cracking their heads on what to do next. As annouced, Vilma and husband Ralph Recto will go back to the US. Congressman Ralph is taking course in a US university there and Vilma, just plain housewife for a month will accompany him. My guess is that they will have medical authorities help in their desire to have a baby. That cannot be done here. Besides, the biological clock is ticking fast for Vi and it is now or never. She should go for it while there’s still time. Artificial insemination is now an easy process and a lot of childless couples have use it. Remember when Sophia Loren was having that problem. She had to stay prone in a bed in Switzerland so as not to disturb the fetus inside her. All for Ralph, Vilma says. But most of all, for her too. Pregnant or not, she is set to comeback here after one month. Her next project will be a dramatic series like the Nora Aunor drama series that will soon start. This is just the right vehicle for Vilma now. No more dancing and being thrown up in the air for her. Thank heavens she had the sense to quit on time….” – Norma Japitana, Manila Standard, August 9, 1995 (READ MORE)

10 Years Ago: Search for “new Vilma Santos’ doesn’t pan out “Ten years ago this month, TV’s number one show was “Regal Presnts.” Trailing behind were “Okey ka, Fairy Ko,” “Tagalog Movies,” “Maricel Soriano Drama Studio,” Chika, Chika, Chicks,” “Mother Studio Presents,” “Goin’ Bananas,” “Magandang Gabi, Bayan,” “Kris,” “Vilma!,” “The Sharon Cuneta Show,” “Palibhasa lalake,” “GMA Presents,” “Alice,” “Mel and Jay” and “Tonight with Dick and Carmi.” Viewers leaned toward drama, comedy, investigative journalism, talk show and song and dance “variety” shows. Sound familiar? With the exception of Mexican telenovelas and some show titles, nothing has changed much to date…Vilma Santos was in her late 30s and movie producers were scouting around for “the new Vilma Santos,” with two “finalists” then in the running: Alice Dixson and Janice de Belen. Although Alice already had “Alice,” there was no “Janice” for Janice. Unlike Vilma, neither of them progressed to having exclamation points affixed after their names as the titles of their respective shows. In those days, the Star for All Seasons’ show was anticipating competition from “Awitawanan,” a musical-variety show hosted by the Reycards and Pilita Corales. Also competing were Roderick Paulate and Martin Nievera. Paulate won over Nievera as the PMPC TV Awards’ best male TV host, but this decisin did not sit well with most people, critics and viewers alike…” – Noelani TorrePhilippine Daily Inquirer, March 10, 2001 (READ MORE)

Star Looking for young Vilma Santos – “After more than a year’s absence, the Star for All Seasons, Vilma Santos, return to the big screen via Star Cinema’s Rosa, a film based on the life of comfort woman Ma. Rosa Henson. At the helm of this special project are director Marilou Diaz-Abaya and scriptwriter, Ricky Lee. Star Cinema is looking for a young girl to play the crucial part of 14 year-old Rosa. Applicants must be female, 13-16 years old, height must be 5 feet and below, can act and hould resemble Vilma. Those interested may proceed to Star Cinema…” – Manila Standard, July 19, 1996 (READ MORE)

Vilma Santos candidate for Mayor of Lipa City “…Edwin Ermita, only son of Batangas Kingmaker Rep. Eduardo Ermita, representative for Western Batangas and chairman of the Laka-NUCD party for the Southern Tagalog region, witnessed last Friday the filling of certigicate of candidacy of veteran and multi-awarded actress Vilma Santos-Recto for the mayorship of Lipa City. Santo-Recto’s running mate is incumbent provincial board member Boy Manguera. The young Ermita who is running for governor on a platform of a united and progressive Batangas, heads a formidable team that has already achieved a clean sweep of the 1995 elections for the Lakas-NUCD. The young Ermita intends to unite the fractions Batangas leadership into a much stronger and dynamic team. “Should I win, party affiliations or interes,” the young Ermita pledged. Santos-Recto is seen as a sure winner in vote-rich Lipa City. The young Ermit, vice president of Solid Bank, one of the largest commercial banks in the country today, on the other hand, is perceived as the epitome of the kind of youthful, professinal and energetic leadership that a newly emerging boom province like Batangas needs. Ricky Recto, who is running for vice governor, and Manguera, who is running for vice mayor of Lipa City, are also seen as fine examples of the ever growing crop of youthful professionals who have, of late, joined the political scene of Batangas….” – Manila Standard, Mar 30, 1998 (READ MORE)


Stage Play – Contrary to popular belief, Charito Solis and Vilma Santos’ first project together wasn’t the festival entry, Modelong Tanso (this was their second film), It was a Cultural Center of the Phillipines’ passion play titled, “Ang Hari.”

Marlene Dauden and Vilma Santos

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The Original Queen “…Okay, here’s another Here Are They Now story, this time about the great drama actress Marlene Dauden who, in the late ’60s, used to win as FAMAS Best Actress year after year. I remember Marlene too well because when I started writing movie articles way back when (please don’t ask me for dates, please don’t!), the late Danny Villanueva, mentor of several movie journalists (Ethel Ramos and myself included) would assign me to interview Marlene for the Weekly Nation everytime Marlene won one of her many awards. How can I forget the day I walked blocks to get to Marlene’s home in White Plains, Quezon City, lugging my textbooks (I was still in school then) and my near-dilapidated tape recorder! It was all worth it because Marlene was always nice and accommodating, very fine-mannered. She smiled when I reminded her that one time, I even ran after her at the old Life Theater in Quiapo to get her autograph. Those were the days when Sampaguita stars would grace the opening day of their movies to greet fans and sign autographs. Tagal-tagal na n’un, ‘no? At Sampaguita, Marlene did heavy dramas, along with the likes of Rita Gomez, Paraluman and Lolita Rodriguez; while Gloria Romero, Susan Roces and Amalia Fuentes “specialized” in fan movies. Of course, they eventually matured into serious acting and won awards in the process. Marlene was memorable in such dramas as Anino ni Bathala (for which she won a Best Supporting Actress award), Pagpatak ng Ulan and Rosa Rosinni; and later, when she went freelancing, Sapagkat Kami’y Tao Lamang (said to be her favorite movie, with Eddie Rodriguez and Lolita Rodriguez as co-stars; it started the love-triangle plots which have persisted until this very day), Kapag Puso’y Sinugatan and Sa Bawat Pintig ng Puso…

…With the late Mitos Villarreal as director, Marlene starred in TV drama series – The Original – such as Salamisim and Panagimpan. In 1972 when Martial Law was declared, Marlene (a ’50s St. Scholastica’s graduate) and her husband, former La Salle basketball star Nonggoy Hernaez (whom she married when she was already in showbiz), migrated to the States with their children. She seldom comes home, her last visit having been a few years ago when she told friends, “I felt like an outcast because most everyone that I knew was either gone or not active anymore.” Her last movie, Kung Kaya Mo, Kaya Ko Rin (where she played Christopher de Leon’s lover), was shown in 1978, done during her vacation here. Combat Killers, a World War II drama she did in 1980 with the late Leopoldo Salcedo, is available by special order on the Web. So whatever happened to Marlene? According to Ferdy Villar, Marlene and Nonggoy are enjoying their retirement in a quiet town in California, close to their three married daughters and eight grandchildren. “They are a close-knit family,” said Ferdy, “and they enjoy their family get-togethers.” Now 66, Marlene worked as medical office manager, a job she almost didn’t land because the hiring officer found out that she was an actress and he didn’t want to hire a famous person deemed “over-qualified” for the position…” – Ricardo F. Lo (READ MORE)

Marlene Dauden“…Marlene Daudén (born in Philippines) is considered one of the greatest Filipina drama actresses of all time. She achieved her legendary status as a film thespian during her film career that spanned from the 1950s up to the 1970s. During the height of her fame, she was one of the most bankable stars of Sampaguita Pictures, which used to be one of the leading Philippine movie studios of the era…Marlene made her last film in 1978 entitled Kung Kaya Mo, Kaya Ko Rin with Christopher de Leon, after which she went home to the United States. She also appeared in Combat Killers with Leopoldo Salcedo and the film was released as a class B movie in the United States. She is currently married to former De La Salle Green Archer basketball star Ernesto “Nonggoy” Hernaez, with whom she has three children. They now reside in California…” – Wikipedia (READ MORE)

Marlene Dauden and Vilma Santos

Happy Days Are Here Again (1974) – “…In 1974, the Big 3 studios of the 50s, LVN Pictures, Sampaguita Pictures and Premiere Productions reproduced a full-length movie showcasing a compilation of the musical comedies produced by the three studios. It was a painstaking job for the researchers since most of the best musicals produced by the three studios were either lost or destroyed. At the start of the project, director Lamberto V. Avellana was supposed to direct the film but eventually replaced by Ciro Santiago after so many changes in the project including the script. He ended up as consultant of the movie. The film was HAPPY DAYS ARE HERE AGAIN, with brief narrations by movie stars like Gloria Romero, Nida Blanca, Susan Roces, Leopoldo Salcedo, Jaime de la Rosa, Eddie Gutierrez, Tirso Cruz III, Pugo, German Moreno and Ike Lozada…” – Pelikula Atbp (READ MORE)

Kasalanan kaya? (1968) – “…Kung sa pagpupunyagi kong marating ang rurok ng tagumpay at makalimot sa mga mahal sa buhay,…kasalanan kaya?…..Kung ang aking pagmamahal at mga pagpapakasakit ang maging katumbas ay ang pagwawalang bahala at kapabayaan ng aking asawa at siya’y iniwan ko,…kasalanan kaya?…..Kung sa pakikiramay ko sa dalamhati ng iba at sa aking puso’y kusang kumatok ang tawag ng pag-ibig,…kasalanan kaya?…..” Ang award winning na pelikula ng Virgo Films na inilahok sa 3rd Manila Film Festival na Kasalanan Kaya? (June 16, 1968) ay pinangunahan nina Vi, Eddie Rodriguez, Lolita Rodriguez, Marlene Dauden, Roderick Paulate, Renato Robles at Nello Nayo na idinerek ni Luis Enriquez. Si Louise de Mesa ang gumawa ng kasaysayan samantalang si Tommy C. David ang gumawa ng iskrip. Ang pelikulang ito ay nagkamit ng walong parangal mula sa Manila Film Festival…..best drama picture, best actor (Eddie Rodriguez), best actress (Lolita Rodriguez, best director (Luis Enriquez), best child actor (Roderick Paulate), best story (Louise de Mesa), best music (Tony Maiquez) at best sound (Flaviano Villareal). Si Vi naman ang best supporting actress ng San Beda College. Si Louise de Mesa ay nanalo ng FAMAS best story…..” – Alfonso Valencia (READ MORE)

Sino ang may karapatan? (1968) – “…Ligaya sa unang pag-ibig, sa dibdib ay natanim, nguni’t nang magkalayo ibang puso ang umangkin…..sino ang may karapatan? una o pangalawang damdamin sa kaligayahang walang maliw?…..” Sino Ang May Karapatan? (November 16, 1968) ang pelikulang pinangunahan nina Vi, Lolita Rodriguez, Eddie Rodriguez, Marlene Dauden, Renato Robles, Patricia Mijares at Marifi na idinerek ni Ding de Jesus at iskrip ni Jose Flores Sibal…” – Alfonso Valencia (READ MORE)

Hindi nahahati ang langit (1966) – “…The greatest love story of all time is now a great motion picture…..” Hindi Nahahati Ang Langit (January 9, 1966) na pinangunahan nina Vi, Lolita Rodriguez, Marlene Dauden, Eddie Rodriguez, Carina Mujer, Ben Perez at Mary Walter. Inihandog ito ng Larry Santiago Productions sa direksiyon ni Lauro Pacheco. Si Jose Flores Sibal ang gumawa ng istorya….” – Alfonso Valencia (READ MORE)

Kay tagal ng umaga (1965) – “…The team that conquers the dramatic world…..nakakainip na paghihintay…..” Kay Tagal Ng Umaga (August 23, 1965) na pinangunahan nina Vi, Lolita Rodriguez, Marlene Dauden, Eddie Rodriguez at Vilma Valera. Ito ay napakinggan sa DZRH Radio sponsored by Darigold at prinudyos ng Larry Santiago Productions sa direksiyon ni Lauro Pacheco. Si Aning Bagabaldo ang gumawa ng istorya samantalang si Jose Flores Sibal ang sa iskrip…” – Alfonso Valencia (READ MORE)

Maria Cecilia (1965) – “…A DZXL Radio and Tagumpay Magazine serial sponsored by Procter & Gamble PMC na pinangunahan nina Vi, Van de Leon, Jose Mari, Alona Alegre, Tony Cruz Jr. at Marlene Dauden bilang Maria Cecilia (May 15, 1965) ay prinudyos ng Larry Santiago Productions. Ito ay sinulat ni Susana C. de Guzman.samantalang ang iskrip at direksiyon ay si Ding M. de Jesus…” – Alfonso Valencia (READ MORE)

Sa bawat pintig ng puso (1964) – “…A bittersweet love story tender, yet gripping in its heartaches and happiness”…..Sa Bawa’t Pintig Ng Puso (November 16, 1964) ay inihandog ng Larry Santiago Productions at pinangunahan nina Vi, Zaldy Zhornack, Marlene Dauden, Alona Alegre at Sammy Barretto. Ito ay serialized sa Bulaklak Magasin at sa direksiyon ni Armando de Guzman. Ang sumulat at gumawa ng iskrip ay si Jose Flores Sibal…” – Alfonso Valencia (READ MORE)

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Special Film: Dugo at Pag-ibig sa Kapirasong Lupa

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Dugo at Pag-ibig sa Kapirasong Lupa (1975) is 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)

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)

A Star for All Seasons

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The year 1962 was a time of birh and rebirth as well as occassion for celebration. In Hollywood, preparations were being made to commemorate the 25th anniversary of the super comic hero Superman and his fairy-tale queen counterpart, Snow White. At the same time, Hollywood welcomed the birth of a new movie hero in the character of super spy James Bond. Also at about the same time, a Hollywood legend – Marilyn Monroe – died only to be “reborn” a bigger legend. In England, the legendary musical quartet, The Beatles, had begun its universal conquest as the world stomped to the new rock “n” roll best. In the Philippines a star was born. It was in the nature of her coming that she did not have to start at the bottom. Perhaps, it was providential that Vilma Santos was born to the Philippine cinema at a time when the local movies was on the brink of its so-called Golden Age. She had to start a new era. That year the late Filipino master, Gerry de Leon, had just finished the filmization of Jose Rizal’s other noverl, El Filibusterismo – a film classic that won the year’s best picture and best director award. On Nov. 12, 1962, a frail-looking child barely nine days after her ninth birthday walked into the world of her dreams trying to find her own place in the sun; instead, she was found. Accompanied by her mother she auditioned for a movie that was then in the making and which, they were told, was in need of a child star. Elsewhere at the sprawling Sampaguita studio, a talent search for a new child star to portray the title role in a forthcoming movie, Trudis Liit, was ongoing. Prodded by a relative-friend, the aspiring young talent went from the set of the movie in progress to the auditin room of a movie yet to be made.

Before her, scores of other children had undergone screen tests; but it is said that the very first time the late star maker Dr. Jose Vera Perez set his eyes on her he at once knew he had found the star. Vilma, as the actress herself recalled years later, didn’t have to sing or dance. She didn’t even have to act; she just had to be there not unlike a heavenly body waiting to be discovered by an astronomer’s eyes. And like a shining star from the East, Vilma Santos had to follow a natural cosmic course in her career, without causing a phenomenal disturbance or effecting a meteoric rise, so to speak. The rest, as they say, is history. And like history Vilma Santos did not just unfold is a day, or in a week, or in a month, or in a year, or in a decade, or even in a score. Now, more than a quarter of a century later the star is still on the rise, still journeying on its natural course despite and against all odds. Early on, the child actress who was born on Nov. 3 in the Chinese year of the snake, had made an acting imprint on her public as if to serve notice of the greatest actress that she was to become someday. After Trudis Liit was shown, not only did Vilma become everybody’s darling but she also romped away with the FAMAS best child actress in 1963. From then on there was no stopping her, the young actress had found her home and school in the movies even as she tried to attain a certain degree of formal education like any normal growing child would. In between movies, she finished her high school (Since she started, there never was a year that she hasn’t made a movie).

To her, the movies did not only become a way of life, it was, is and will always be her life. And like life, Vilma Santos thrives in different stages. In the ’60s whenever one mentioned the name Vilma Santos one only referred to that talented, sweet and lovable child actress. She capped her childhood career when she won acting honors for her role in Kasalan Kaya? (1968) from the San Beda Awards for Movies Arts and Sciences. In the early ’70s the former child actress evolved into a talented, sweet lovable teenage star, raring to explode another stage in her career. At this point, a widely-publicized phenomenon had burst into the movie scene, trailblazing an almost maniacal craze all her own. Throughout the fad though, Vilma persevered and remained undaunted, providing competition whenever and wherever necessary. At 19, Vilma Santos became the youngest major best actress awardee hereabouts when she won the FAMAS for her role of a lunatic in Maning Borlaza’s 1972 film Dama de Noche. That early artistic triumph paved the way for the actress’ impending superstardom. In March 1973, Vilma practically flew her way to the top as she vanquished her box-office rivals with Sine Pilipino’s trendsetting trilogy Lipad, Darna, Lipad, the year’s monumental hit. The blockbuster movie was shown simultaneously with Fernando Poe Jr.’s Esteban, which was badly beaten at the tills. A week later, Joseph Estrada and Nora Aunor’s initial team-up, Erap Is My Guy, was shown but nowhere did it come close to Darna’s record at the box office.

To prove that Darna was no fluke, in the Manila Film Festival held in June of the same year, the actress donned a mermaid’s suit and Dyesebel, in a manner of speaking, almost drowned all her filmfest competitors which as the time included such heavyweight entries as Fernando Poe Jr. and Joseph Estrada’s Ang Agila at ang Araw; Dolphy’s Dracula Goes to RP; Chiquito and Pilar Pilapil’s Inday ng Buhay Ko; Hilda Koronel and Dante Rivero’s Lupang Hinirang; Zaldy Zhornack and Vic Vargas’s Nueva Viscaya; Ramon Zamora’s Ang Mahiwagang Daigdig ni Pedro Penduko; Jun Aristorenas’ Johnny Joker; and Amalia Fuentes and Eddie Rodriguez’s Pagibig Mo…Buhay Ko (Vilma, by the way, is only the second actress – the first was a relative unknown, Eva Montes – to have portrayed Mars Ravelo’s two popular komiks characters, Darna and Dyesebel, and the most successful so far). A week after the filmfest, Nora Aunor and Tirso Cruz’s reunion (after almost a year) movie, Maalaala Mo Kaya? was shown but still Vilma’s Dyesebel provide stiff competition on its second-week run. From that time on, Vilma Santos finally established her supremacy as local cinema’s most bankable actress to reckon with. A stature which which up to the present is constantly challenged by stars and talents of lesser magnitude, but still to no avail. In fact, she is the only actress who has been officially acknowledged as the most bankable female star by the Kapisanan ng mga Sinehan sa Pilipinas (KASIPIL), the nationwide association of theater owners. In its recent fifth anniversary issue, Movie Flash, probably the most literate, if not credible fan magazine in town, has rated Vilma Santos as the top actress in teh country today – both in terms of achievements and box-office appeal.

That such singular honor is accorded her even after having been in the business for 25 years, and being on top for quite some time, should not come as a surprise to any thinking individual especially those who have seen her grow in the movies and have followed her career. Today, whatever she is and whatever she’s got, Vilma Santos can rightfully claim that she’s made it through sheer hard work, dedication and the right attitude – with, of course, a little help from her friends. Needless to say, everything that she is and she has now is well-deserved, even hard-earned – the very thing that separeates her from her peers, if there are any. Vilma’s enduring popularity, unlike those of instant superstars, is not a product of media hype and a well-oiled publicity machine. She does not deliberately resort to gimmickry to promote her career, whatever controversies surround her none of them is stage managed to generate interest in her. To be sure, Vilma is not a darling of the usual movie press, many members of whom profess their indiferrence towards her for reasons that are not unknow. Indeed, other superstars may have the movie presss at the palm of their hands. And yet, Vilma has got the edge: she has the publc. Proof of this is her continuing popularity at the box office and on TV, something which has been given up for good by many of her contemporaries. At first glance, Vilma Santos may not be a phenomenon, but to have survived, maintained and prevailed through these years, the onslaught of new an senstional stars – both pretenders and otherwise – notwithstanding, is something more phenomenal than anyone could ever hope for.

As an actress, Vilma has nurtured her talent through the years, taking time on its natural course but always unafraid to explore even heretofore unchartered horizons. In 1977, in a unprecendented display of artistic maturity, the 24-year old movie queen shed her sweet image to portray one of her boldest roles in her entire career in Celso Ad Castillo’s Burlesk Queen. The controversial film, which elicited critical acclaim and ran away as the year’s topgrosser in the annual Metro Manila Film Festival, heralded the dawning of a new Vilma Santos. A new phase in her career had indeed come and a more dedicated actress seeking newer heights had emerged. And soared to newer heights she did. In spite of a troubled marriage, BIR problems and as almost empty bank account, Vilma Santos reached the highest peak any actor or actress worth his/her salt could ever achieve. At 29, she handidly won all the best actress honors from all the award giving bodies for her moving performances in Ishmael Bernal’s Relasyon (1982). Winning the grand slam is a faily good year and over equally worthy contenders wa no mean feat. But winning it at a time when one is at the apex of one’s box-office popularity was indeed an achievement that would be hard to duplicate. Her vindication came like sweet revenge for someone who, for a time, many people called a poor second. But the fact is when Vilma Santos finally asserted her superiority and become No. 1 nobody was second. And in a business where a combined commercial and artistic success is as rare as oasis in a desert. Vilma proved to all and sundry that, until now, she alone could pull it through.

For rhe record, within barely one-and-a-half years, Vilma has won an unprecedented six major acting awards (Karma, MMFF Dec. 1981; Pakawalan Mo Ako, FAMAS, April 1982; Relasyon, Catholic Mass Media Awards, Feb. 1983; Relasyon, URIAN, Mar. 1983; Relasyon, Film Academy of the Philippines, April 1983; and Relasyon, FAMAS, May 1983) and three box-office trophies (Box Office Queen, Guillermo Mendoza Memorial Foundation, April 1983; First Cinehan awardee as Most Bankable Female Star, KASIPIL, January 1983; and Box Office Queen, GMMF, May 1983). As if that weren’t enough the consecutive Urian best actress awards (Relasyon, 1982; Broken Marriage, 1983; Sister Stella L, 1984), the only one so honored by the Manunuri ng Pelikulang Pilipino, the country’s only film critics group. Vilma also hold a record of sorts with the oldest film award giving body, the FAMAS. So-far, she’s the only performer who has won various FAMAS awards in three categories, namely best child actress (Trudis Liit, 1963); best actress (Dama de Noche, 1972; Pakawalan Mo Ako, 1981; Relasyon, 1982) and best picture producer, VS Films’s “Pagputi ng Uwak, Pagitim ng Tagak,” 1978. For more than a decade now, Vilma Santos has been considered the highest-paid local actress, a stature that she also enjoys as a television superstar. Her affair with the public seems anywhere she goes – from movie to TV for instances – the actress has nowhere to go but up. Still and all, the actress continues to hone her craft while at the same time maintaining excellent rapport with her audience. Stars of various hues and magnitude have come and gone but Vilma has steadfastly remained on top, almost unperturbed.

People say one can never put a good man or woman down. In her case, it is true: she has weathered all kinds of storms – scandals and all – and has faced up to countless challenges. Almost always she comes out vindicated, scathed perhaps but far from spoiled. One does not succeed and stay on top using only one’s heart or one’s mind. One needs both. Likewise, one does not separate the person from the artist. If an artist is good she will make it; if she’s better she will prevail. The secret of Vilma Santos’ long-running success, if one could call it a secret at all, is an open heart and mind. She’s one person who does not hessitate to admit when she’s wrong or apologize when she makes a mistake; but on the other hand she will stand by her decision when she known she’s right. She’s also one person who comes to the rescue of a needing friend. While other stars have lost their glitter hers continues to shine even as she ages. And like life itself, her success goes from one stage to another – it is never static. As a matter of fact, the older she gets the better she becomes. Vilma Santos’ best legacy to the industry is herself – a shining example that good and positive values can still work in the cutthroat world of showbusiness. Once, in an earnest attempt to describe the actress, a writer called her the ultimate superstar. The fact is, Vilma Santos does not need say qualifier to belabor the obvious. There are seasonal superstars, yes, but there’s only one star for all seasons – Vilma Santos. (Script of Vilma Santos’ 25th anniversary celebration on GMA-7 held at the PICC, Nov. 13, 1987) – Ed Usapdin, Manila Standard, Nov 28, 1987 (READ MORE)

Going, Going Great

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Vilma Santos’ show, celebrating its eight anniversary last Friday, aptly titled “Vilma, Going Great At 8,” opened with a breathtaking precision dance number with the program’s host and the VIP dancers. On stage was a spiral staircase reminiscent of the ones we often see in old Hollywood musicals; we almost expected Fred Astaire and Ginger Rodgers to come out and do their famous tap dance routine. Instead, Santos and her back-up dancers did their number – ala Spellbound magic act – as the host popped in and out and was held perched up in the air like a mermaid who came out of the water. First guest was Santos’ best friend and former co-host Roderick Paulate who sang Time of your Life, from the movie Dirty Dancing. Paulate, as usual, did his number with all the effort he could muster, to keep in tune with the celebration. It was followed by Gary Valenciano’s Body Rock and his energized movements set the mood to high performance level. Too bad that during the interview portion, the born-again performer was more interested in plugging his forthcoming concert, “Heart and Soul,” to held in the same venue (Folk Arts Theater).

Next was the voluptuous Carmi Martin who did Liza Minelli’s New York, New York with matching feathers and her gown slit up to you know where. Then Santos formally welcomeed comedienne Mitch Valdes as the new regular host of the “Anything Goes” portion of Vilma. In appreciation, Valdes said the only way she could reach as many people as possible was to be on the top actress’ show where the viewership is tops. And as reported earlieer, Santos made the much-awaited announcement about the five actors who, from now on, will act as her permanent co-hosts. The actress did the introduction via the song Sgt. Peppers Lonely Hearts Club Band and the five guys appeared on stage one by one singing the Beatles’ tunes: Got to Get You into My Life by Richard Gomez; Come Together by Aga Muhlach; The Long and Winding Road by Miguel Rodriguez; I Heard the News by Monsour del Rosario; and Get Back by Ronnie Rickets. Then the five handsome gentlemen sang Strawberry Fields Forever and With a Little Help from My Friends with Santos, as if in heartfelt acceptance of their new and permanent roles in the show. What followed was a medley of songs from Rodgers and Hammerstein’s South Pacific with Rowell Santiago, Dawn Zulueta, Louie Heredia and Arlene Muhlach. Santiago and Heredia looked dashing in their officers’ uniforms. Zulueta was her usual beautiful self and we’re really glad the appearance of Muhlach who has been hounded recently by nasty rumors. It was nice seeing her up and about and obviously having the time of her life with their bouncy number. The whole presentation had something for the kids, too, as Santos and Paulate did the song High Hope, from a Frank Sinatra movie, with lovable child stars Billie Joe and Aiza Seguerra.

What took us by surprise, however, was Snooky Serna’s version of Diano Ross’ Good Morning Heartache, from Lady Sings The Blues. Serna’s interpretation was so good she did not miss a simple right note. And even if she did, we wouldn’t have the heart to criticize her – she looked absolutely radiant in her resplendent gown that night. After the soulful number, came the medley from Grease with Aga Muhlach and Bing Loyzaga and Cheene de Leon and Dingdogn Avanzado, ostensibly to please teh “Bagets” crowd. The four young stars did their song-and-dance number with no much gusto; their stamina was almost contangious. Muhlach was in a happy mood and the well-dressed Loyzaga complemented her partner. There was a certain chemistry between the bubbly De Leon lass and the boyish-looking Avanzado. Truly, these young stars exuded the prime of youth. The finale number of the anniversary presentation’s first half was a romantic duet – If Ever I would Leave You with Santos and Miguel Rodriguez. The actor-politician could really belt out a song with his powerful singing voice to match his good looks. Of the 34 stars the show has announced to grace the show, 19 have made their appearance in last Friday’s live presentation; we expect to see the 15 remaining guest stars to complete the list in next week’s episode of the show. If the next telecast turns out even only half as good as teh first, then the people who stayed at the Folk Arts Theater for four solid hours and watched the top-rating show in its entirety would not have waste their time and effort in viewing the GMA 7’s prime-time hit. – Meg Mendoza, Manila Standard, October 10, 1988 (READ MORE)

Lamat Sa Kristal (1988) tele-movie

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Basic Information: Direction: Maryon de los Reyes; Screenplay: Raquel Villavicencio (Based on the stage play, Extremities); Cast: Vilma Santos, Richard Gomez, Jacklyn Jose, Mia Gutierrez. Broadcasted November 7 1988 by GMA Channel 7

Plot Description: Based on the play Extremities, a photographer (Vilma Santos) avenged her sufferings by torturing back the rapist (Richard Gomerz) who abused her.

Film Accomplishment: Part of GMA Seven’s special one week event entitled: “Seven Nights To Remember in November” in connection to their newly installed high voltage power grid broadcasting tower in 1988.

Film Review: “…Jacklyn is cast with Vilma Santos and Christopher De Leon in Viva’s “Immortal.” This is Vilma and Christopher’s first film together after several years of making movies separately. Although Jacklyn is cast in a supporting role, she is excited in doing the dramatic opus since it is a Vilma starrer. Jacklyn is vocal to admit that she is an avid fan of Vilma. This is the second time she co-stars with her favorite idol. The first one was on a TV dramatic special “Lamat sa Kristal,” which was produced by Vilma herself. Besides, Jacklyn is also happy to note that she will be directed by one of her favorite directors, Eddie Garcia…” – Eddie O. Liboon (READ MORE)

The highlight of GMA 7’s day one of its “Seven Days to Remember in November” las Monday, was the showing of Vilma Santos, Inc.’s first drama special for television titled Lamat sa Kristal, based on the play Extrimities. Coincidentally, the said tele-movie was shot during the rage of killer typhoon Unsang and was aired at the height of another weather disturbance name Yoning. The suspense drama starred Santos, Jacklyn Jose and Mia Gutierrez as the three friends, all professinals in their respective fields, who went out in vacation at a resthouse in Tagaytay. Santos, as the quiet photographer about to hold her one-woman show, was nursing a broken heart from a failed relationship. Jose was the happy-go-lucky type while Gutierrez was the usual reliable supportive friend. The tension started when Jose and Gutierrez left Santos in the resthouse all by herself. The lonely photographer calmly did her chores till she came across a stranger (portrayed by Richard Gomez) who turned out to be a psychopath and rapist. The following scenes showed how the woman was attacked, abused, tortured, molested and almost raped and she tried to put a fight and survive the ordeal.

Santos’ remarkable transformation from a hapless victim to a raging avenger trying to get even is one fo the most moving delineations we’ve seen in years. As it turned out, Jose was herself a rape victim and the harrowing experience of her friend suddenly confronted her with her traumatic past. She was convincing with her role and Gutierrez was likewise effective. What really surprised us was Gomez, we never thought that the good looking acotr could really act – we almost wanted to actually slash his neck in anger. As for Maryo de los Reyes’ direction, we doubt it very much if he had a hard time with this one, since he had some of our most gifted thespians and the typhoon which had provided the needed atmosphere. Of course, there were some loopholes. In the script of Raquel Villavicencio. For a tele-movie, Lamat sa Kristal was well-crafted and it surely deserves a follow up soon. As usual, the commercials were too many and they seemed too long. At any rate, Lamat sa Kristal was far better than most of the movies being shown lately. We never realised that the combination of Santos and the two typhoons would be that explosive. – Manila Standard, Nov 12, 1988 (READ MORE)

Seven Star-Studded Days Kick Off Tonight – “GMA-7 takes primetime television by storm as it unleash a prowerful entertainment package of internationally acclaimed bestsellers, world-class blockbusters and certified local chartsbusters starting today, November 7, Day one of its “Seven Days To Remember In November” special programming. Towering power, A Musical Dedication kicks off the spectacular showcase by gathering the GMA Family of Stars and some of the biggest, brightest names in the entertainment world in a two-hour musical extravaganza starting at 7 p.m. GMA’s prized star Vilma Santos maintain the momentum with a two-hour suspense drama, Lamat sa Kristal, her first TV-movie ever, with Richard Gomez as co-star and ace megman Maryo de los Reyes as director at 9 p.m…The celebrated musical variety show Vilma throws a grand birthday presentation-celebrations on Day Five starting at 7 p.m. live at the Araneta Coliseum…” – Manila Standard, November 7, 1988 (READ MORE)

“…Vilma Santos went through with the taping of her first drama special, Lamat sa Kristal, during the rage of killer typhoon Unsang. While it wrought havoc in the entire nation and claimed numerous lives and destroyed properties, the whole production made good use of the terribly bad weather to set the mood for the top actress’ tele-movie. Indeed, there’s nothing like Mother Nature providing the real atmosphere, as teh stars and crew braced the strong winds and heavy rains. To the said stars and crew the showbiz rule “the show must go on” still holds true, no matter what the weather is…” – Meg mendoza (READ MORE)

“Again, it was a bad year for the movies in 1988, the industry reached a critical low – a total output of 132 films to 150 of the previous year. Certainly, the situation, has become worse, a foreboding that may prove irreversible unless appropriate measures are instituted…On the other hand, Vilma Santos, although she starred in only one movie, Ibulong Mo sa Diyos, lorded it over in television with the top rated Vilma and a top-rating drama special (Lamat sa Kristal) she herself produced…….” – Mike Feria, Manila Standard, Jan 5 1989 (READ MORE)

“…Jacklyn Jose still talks about her rare experience of appearing in a special tele-movie (Lamat sa Kristal) with her favorite actress Vilma Santos. Jose was vocal in telling her friends that she is an avid fan of the top actress. In one scene, she was supposed to drive the care where she, Santos and Mia Gutierrez were supposed to be riding in. She got excited not because she did not know how to drive but because she was for the first time with her movie idol…” – Eddie O. Libo-on, Manila Standard, Jan 9, 1989 (READ MORE)

Ronnie Henares and Vilma Santos

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Teen Heartthrobs – “…The ‘Two of Us’ story started when Jojit and Ronnie were invited to spend a weekend at the Laurel beach house in Matabungkay, Batangas. They sang on the beach with their acoustic guitars just hanging out with Suzie, Lynnie, and Cocoy Laurel, Vicky Lopez, and other friends who came to party. They were astonished by Jojit and Ronnie’s phenomenal vocal blending. The ‘‘two of them’’ were surprised by the clamor. By the sands of Matabungkay Beach, the ‘Two of Us’ was born. Shortly, they became widely popular among college and university campuses around Manila that they could not cope with invitations. In the early days their invitations were mostly from exclusive private schools. Later on they transcended socio-economic barriers and found themselves invited to school campuses public or private all over Metro Manila. They were spreading their fame by connecting rich and poor with the universal language of music. Their popularity exploded from school campus on to radio, print, and television. After their first appearance on “ABS Musical Extravaganza,” a noontime TV show, the phone board was jammed with calls. The next show they were back by popular demand. Their meteoric rise in Philippine showbusiness was phenomenal. Soon the ‘Two of Us’ had gigs on prime time TV doing musical specials, live shows, road tours, concerts, radio shows, and numerous personal appearances. Lem Balagot, Ronnie’s classmate at the Ateneo, introduced them to Tower Productions where they composed “Tina” for Tina Revilla and their first movie theme “Funny Girl.” Famous DJ celebrity Ike Lozada introduced them to Tony Santos, director of the highest- rated primetime TV show, ABS-CBN Ch. 3’s “D’Sensations” with Vilma Santos. They were offered “permanent cast” status on the spot by Director Tony Santos when the studio audience broke into a screaming frenzy at their first song. For a couple of years, every Sunday evening the ‘Two of Us’ serenaded audiences all over Luzon, Visayas, and Mindanao in a prime time TV show that transformed them from teen heartthrobs to Philippine Idols…” – Live from Los Angeles (READ MORE)

After The Two of Us – “…That time, The Two of Us (as managed by Ronnie’s younger brother Atom Henares) was more popular than the APO since the duo was more visible on TV than the APO (although both groups made a killing doing campus tours). I actually was more familiar with Jojit because his dad was the classmate of my parents in law school. The older Paredes, from Abra I was told, was a very good-looking man — as my parents pointed out in their school annual…After The Two of Us, Jojit eventually disappeared from the scene (he is now in L.A. married to an American and works as an assistant administrator in a hospital), while Ronnie’s popularity lingered, especially when he and Vilma Santos began dating. Ronnie also joined Penthouse 7 as executive producer/dancer and also part of the group was Ida Ramos, who many years later would become his wife. (Ida Henares now heads GMA Artist Center.) In between, he also hosted his own variety shows on TV, primarily in the Broadcast City stations…” – Butch Francisco (READ MORE)

The Proposal – “…But it was Ronnie Henares, Jojit’s partner in Two of Us, who became Vilma’s next boyfriend after Edgar Mortiz,” Jojo told PEP. “Ayon sa mga balita noon, niyaya niya si Vi na magpakasal noon, kaya lamang ay hindi pa handa si Vi na lumagay sa tahimik noong panahong iyon. After ng breakup nila ni Vi, he married Merce Henares [na lumabas bilang anak nina Rosa Rosal at Ronald Remy sa TV show na ‘Yan ang Misis Ko].” Single again, a slew of suitors once again tried their luck with Vi. “Kabilang pa sa mga nanligaw kay Vi sina Richard La Torre na pamangkin ni Sylvia La Torre, si Joey Sonora na only brother nina Susan Roces at Rosemarie Sonora, yung mga basketball players na sina Dave Brodeth at Atoy Co, ‘tapos U.S. Air Force lieutenant pa na si Les McCoy at yung Fil-Am na si Nelson Anderson from San Francisco,” narrated Jojo…” – Rommel R. Llanes (READ MORE)

Ronnie Henares – Before becoming the manager of Regine Velasquez, Henares is famous member of a duo, Two of Us. He was also a television personality during the 70s with TV show, Penthouse at Seven.

Ronnie Henares and Vilma Santos

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)

Darna vs. the Planet Women (1975) – “…In this 1975 film (the 3rd in a 4 Darna film franchise), the story of Darna is rebooted as this new installment is NOT a continuation of the 1st and 2nd films. In this revamped version, Narda (Vilma Santos) is a cripple who dreams of accomplishing great things for the betterment of humankind despite her physical limitations. One day, she discovers her suitor (Zandro Zamora) paralyzed after having been attacked by a UFO. Together with her brother Ding (Bentot Jr.), she prays for help and offers to sacrifice herself for the sake of her suitor’s survival. A voice from beyond answers and sends her an enchanted amulet of power. The power of Darna contained within the magic pebble. With her newfound powers, she battles The Planet Women- Alien Amazons who are trying to transport the Earth to their own star system…” – Eric Cueto, Mars Ravelo’s Darna (READ MORE)

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Acting Moments in Philippine Movies

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ARTICLES - Acting Moments in Philippine Movies

Scanning television programming last Holy Week lead me to watch Lino Brocka’s “Tatlo, Dalawa, Isa” (1974). In the second and third episode, I was struck by the acting styles of three of Philippine cinema’s most competent actresses: Anita Linda and Hilda Koronel in “Hello Soldier” and Lolita Rodriguez in “Bukas, Madilim, Bukas.” Watching them act brings to mind my fascination with schools of acting in Philippine cinema. For a while it is fruitless to talk about who the best actress is among the lot, it is quite interesting to map the traditions of acting which our better actresses descend. Since much of the acting of our actresses is intuitive and is not schooled in, let us say the realist Stanislavski tradition and its expression in the Method, or the Brechtian philosophy of social gesture, the best category of analysis to probe is not style, but the body and how it articulates emotion. Here lie particular problems and possibilities. Inasmuch as it is the body that coordinates performance, the expression is derived from a certain authenticity of emotion which is either of the moment or processed in the history of feeling the actress as social person has gone through. But because, by the same token, it is the body that is the main instrument of acting, the quality of the body and susceptibility to stereotyping limit the range of portrayals. There are also, of course, other factors to consider like the irresistible habits of Spanish and American colonial theater, the market demands of Hollywood, and the imperatives imposed by other mass media forms like radio and television. Still, the body and the process of embodiment of emotion are key to the appreciation of certain tendencies in acting. We now list random schools of thought in Philippine acting, with body parts as locus of action and source of idiosyncratic flair.

01. The “gigil” school which demands high energy, intensity and stamina in gesticulation as gleaned in the heavygoing styles of Vilma Santos, Charito Solis, Coney Reyes, and Maricel Soriano.

02. The “dibdib” school which plumbs the depths of repression to flesh out violation of the darkest kind as exemplified by Nora Aunor, Gina Alajar, and Nida Blanca.

03. The “sumamo” school which forces the actress to almost grovel in supplication as if on the verge of breakdown as rendered with subtle nuances and gross oversimplifications by Dawn Zulueta, Aiko Melendez, Julie Vega, and Judy Ann Santos.

04. The “bukas palad-tahip” school which allows the actress to compensate lack of facial acting with the repetitive up-and-down movement of arms as if in winnowing motion as best typified by Dina Bonnevie, Gretchen Barretto, and Sharon Cuneta.

05. The “dilat-litid” school which is the stark opposite of the previous in that it rarely uses body parts other than the eyes, which glower, and the mouth, which exerts the most dramatic vocal pressure, as executed with grace and precision (but sometimes with paranoia) by Lolita Rodriguez, Hilda Koronel, Vivian Foz, and Snooky Serna.

06. The “ngilid-ismid” school which contrues dramatic acting in terms of the ability of the performer to stifle sobs, make the eyes appear teary, and arrest the fall of tears (which are only made to well around the lids); the actress finishes of the act with a signature sarcastic grin as if to feign control over obviously collapsing faculties. Exemplars include Lorna Tolentino and Alice Dixson.

07. The “taas-noo-taas-kilay” school which exudes an air of sophistication marked by a mannered delivery of English one-liners and catty retort, complete with rolling r’s, as honed to perfection and cult status Rita Gomez, Celia Rodriguez, and Pilar Pilapil.

08. The “tulala-titig” school which shows the actress, seized in catatonia and resignation, staring out into a clearing as practiced with varying success by Rosa Rosal, Susan Roces, Helen Gamboa, and Charo Santos-Concio.

09. The “tiklop-bisig-sabay-irap” school which stresses a point by asking the actress to fold her arms and place them close to the chest as she holds her head high and lets out a sneer, with pout and high-pitched admonition attending, as perfected by the likes of Gloria Diaz and Raquel Villavicencio.

10. The “nguya-halakhak” school which is actually the bold-star type of depicting street-smartness on the outside and profound anguish within as embodied by Jaclyn Jose, Sarsi Emmanuel, and Rosanna Roces, who chew gum as astutely as they chew on their troubles.

11. The “buntong-hininga” school which manifests exasperation and impatience by making the actress take a deep breath and then expel air in the most hyperbolic fashion, as noticed in the petulant but sometimes poignant temper of Sheryl Cruz, Janice de Belen, and Liza Lorena.

12. The “tirik-pungay” school which tries to simulate dementia by urging the actress to roll her eyes in almost pathological manner and engage in imbecilic talk as represented by Anita Linda and Armida Siguion-Reyna.

13. The “kagat-labi, kagat-daliri” school which essays the confused and panic-stricken look by asking the performer to bite her lips and, if all else fails, one of her fingers as manifested in the body of work of Barbara Perez, Delia Razon, and Leni Santos.

14. The “tikom-bibig” school which rules against the actress opening her mouth, the better for her to mumble like mantra a litany of “sama ng loob” against the world as ably demonstrated by Amy Austria and Gina Pareño.

15. The “nginig-baba” school which puts premium on the quiver around the mouth to denote tension, as lovingly cultivated into an art form by Zsa Zsa Padilla, Kris Aquino, and Vivian Foz.

16. The “lisik” school which is the standard “kontrabida” demeanor as codified in iconography of Carol Varga, Bella Flores, Zeny Zabala, Princess Punzalan, and Gladys Reyes.

These schools of thought in Philippine acting inevitably degenerate into mannerisms, convenient stylizations and affectations, and finally self-parody. In the absence of a serious consideration of acting as an art and profession, our actress simply resort to what they know best, what their hearts tell them, what their bodies are bent to express. Sometimes, they are betrayed by their knowledge, their emotion, and their own flesh and blood. But with a little education and distance from an almost natural reflex, our actresses can heighten their sensibilities and become one of the best in the world. It is not seldom we hear of international film festival directors remarking that Philippine actresses are able to save the films they are in by virtue of their heartfelt performances. Surely, as the Filipino word for performance (“pagganap”) indicates, acting is an enabling means of making and doing; it signifies the process of working toward a certain fullness or “kaganapan,” a labor and conception, the fulfillment of role. And if one is a good actress of the Philippine cinema, one must be true to the doubt that something is wrong with the world to which one is born and is committed to do something about it. We await the day when our actresses are finally able to do something about the art that expresses both their suspicion and struggle, a tradition of both acting out social condition and acting agent of its possible transformation. – Patrick Flores, Hot Seat Manila Standard, 2001 (READ MORE)

FAIR USE NOTICE: 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 fair dealing clauses of both the Canadian and U.S. Copyright legislation, both of which allows users to engage in certain activities relating to non commercial/not for profit 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 (www.en.wikipedia.org/wiki/Fair_dealing)

All about awards

Posted on by Standard

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First of all, I would like to welcome you all to our first e-groups newsletter. This project is dedicated to our one and only idol, Ms. Vilma Santos Recto and to all Vilmanians around the globe. Our maiden issue is about “Awards.” it is very timely since its still award season in our country. We are very hopeful that ate Vi will reaped more awards due to her impressive performance in MP3.

The ultimate win – For all Vilmanians, who can forget 1983? It’s the ultimate win for our idol. 1982 ended with Nora Aunor winning the December film festival for Himala. Everyone are predicting about her winning all the awards for that year. But Vilma is Nora’s true tormentor because as the award season in 1983 begins (remember they honoring the films from the previous year), all award giving bodies lined up and unanimously gave the best actress awards to Vilma! Bernal may have been a true actor’s director but without ate Vi’s maturing talent, no one can perform as effective as Malou in Relasyon! And FAMAS, CMMA, URIAN & FAP, all agreed resulting a true Grand Slam! Impressive indeed. This is a vindication of all the heartaches she suffered in the 70s.

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The Milestone Move – No longer a sweet teenager, Vilma’s milestone, career move was through Burlesk Queen. By 1977, Vilma’s reinvention of her image began with her feminist look at her personal life. She no longer care about the gossip and bad publicity that her relationship with Romeo Vasquez has created. Concentrating with her movies, Vilma accepted daring roles like “Dalawang Pugad, Isang Ibon,” “Nag-aapoy Na Damdamin,” “Tagulan sa Tag-araw.” And also as producer, she created some of the best films of that decade, like “Mga Rosas Sa Putikan,” “Halik sa Paa, Halik sa Kamay,” and the ultimate, “Pagputi Ng Uwak, PagItim ng Tagak” (an almost grand slam winner for best picture). She is one of the very first independent producer in the country. But the most daring of them all was Burlesk Queen. Ian films bet all of its money to this project and it paid off because not only it is the top grosser of the film festival it also reaped almost all of the festival’s awards! Sourgraping, the Nora Aunor camp complained but to no avail, All awards were never returned as what the news said few days after it was given. Burlesk Queen established Vilma Santos name as the number one actress in the Philippines. She was featured in Times Magazine in its coverage of the news around the globe.

The hurtful Lost – Ironically, the following year Ian films went to the other camp and produced one of the most stereotypical film of all times, Atsay. Directed by Eddie Garcia, Nora Aunor gave her most over rated performance of all time. Avoiding the scandal of the previous years and aim at vindicating Nora Aunor, the festival judges gave her the Best Performer award over Vilma Santos’ impressive performance in Rubia Servios. Isagani Cruz, a well respected critics during that time emphasized the hardship and delicate direction of Lino Brocka that is being the total craftsmanship of the Rubia was far more superior than Atsay. Cruz even pointed out that although Nora and Vilma both gave splendid performances, Vilma’s role was far more demanding and difficult. And everyone agreed including all Noranians. And so, as history will tell, it was the sweetest victory of Nora and Noranians over us. It was also hurtful because as the victory spread around the archipelago, the news about Ate Vi committing suicide came out. True it was a big disappointment and Marichu Vera Perez attested, she and Vilma cried all night after the awards night but the suicide rumor was just a myth. Vilma will learned from this lost and as we all remember, a lesson learned, she will never expect to win. She’ll do her job and let them decide if she is deserving of their accolades. The 80’s will proves to be more fruitful, kind and respectful of her effort to give her fans and movie aficionados every cent of their movie ticket.

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From fantasy to reality – As the 70’s box office queen, Vilma reinvent herself so many times. She was the disco queen, the action hero (darna, vivian volta, wonder vi), physically disabled bell ringer (kampanerang kuba), a mermaid (dyesebel) to name a few. But in order to transform herself into a maturing actor and get notice for her acting talent, Vilma accepted daring roles which gave her so many awards (almost 70 to this date!) but the most revealing thing about this reinventions was the intrinsic value of all this important roles. The feminism, activism and social issues tackled and explored in these films are the most important contribution to the real world and the real human condition in our country. From the ill fated dancer in Burlesk Queen, to the liberal minded, suicidal designer in Ikaw Ay Akin to a desperate lover to Tag-ulan sa Tag Araw to a more rebellious wife in Broken Marriage, Vilma gave us a true to life picture of what are the most common sufferings of Filipinos. What are the real conditions that most of us cant voice out. True to its form, her films current as we still continue to experience all this social issues. Poverty and helplessness among the common Filipino problems. She also affected us with her tour de force portrayal of a modern mistress in Relasyon, an activist nun in SSL, a dying cancer stricken career woman in Pahiram, a mother of autistic child in Ipagpatawad, an AIDS patient in Dolzura, an awaken mother to an activist rebel in Dekada and just recently a modern crime crusader torn between two lovers in Mano Po 3! From fantasy to reality, her filmography deserve the most important awards in Philippine movie history – the National Artist honor.

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The Future – As we all know Vilma has surpassed all of her contemporaries, including Nora Aunor. The future for our idol has become more exciting than ever. Vilma admittedly said that she wanted to stay in show business for as long as she still enjoys it, just like her idol, Gloria Romero, playing grandmother roles. But that’s not gonna happen right now, Vilma still commands the leading roles. She can still carry a film and portray roles that’s younger than her real age (Thanks to her youthful looks and clean lifestyles). Projects are still pouring in. And again, unlike her contemporaries, she remained choosy and committed, to do “never been done” projects, a well known secret of her longevity. Indeed, her future remained bright and truly exciting! – RV, V Magazine, April – May 2005 (READ MORE)