Luis Enriguez’ Vilma Santos Films

Posted on February 21, 2013 by @ffv Standard

This slideshow requires JavaScript.

204 films, 70 directors, 5 decades, Vilma Santos, one of the original Philippine movie queens, rose up to become the versatile actress that has been given the fitting title of “Star for All Seasons” because of her capacity to adapt to the changing mores and values of the Filipino woman, giving a face to their plight and struggles, albeit in success both critically and box-office wise in some of Philippine cinema’s classics such as Trudis Liit (1963), Lipad, Darna, Lipad (1973), Burlesk Queen (1977), Relasyon (1982), Sister Stella L. (1984), Alyas Baby Tsina (1984), Pahiram ng Isang Umaga (1989), Dahil Mahal Kita: The Dolzura Cortez Story (1993), Anak (2000) and Dekada ’70 (2002). This are top ten directors who contributed to her success. – RV (READ MORE)

Luis Enriquez aka Eddie Rodriguez first directed a young Vilma Santos in 1968’s “Kasalanan Kaya,” another love triangle genre starring the dramatic trio of Marlene Dauden, Eddie Rodriguez and Lolita Rodriguez. Vilma received an early acting recognition from this film, a FAMAS Nomination for Best Supporting Actress. When Enriquez directed Vilma again, it was a calculated risk. The film allowed a still young Vilma into a bikini-clad lead role opposite her director, Eddie Rodriguez as her leading man. The film was “Nakakahiya,” a May-December love story and an entry to 1975 Bacolod City Film Festival. Aside from making the the film a smash hit, Vilma received the festival’s Best Actress. Enriquez directed Vilma in five more films, the last one was in 1981’s “Ex-Wife.” In this film credits, Rodriguez surprisingly used his actor’s screen name – ‘Eddie Rodriguez and dropped his most known director’s name, “Luis Enriquez.” – RV (READ MORE)

Kasalanan Kaya? (1968) – “…This started the showbiz career of Ate Vi. Her most unforgettable film as a child actress is the Hollywood movie, “The Longest Hundred Miles,” where she co-starred with international film stars Ricardo Montalban, Katharine Ross and Doug McClure. From 1963 to 1969, she did 27 movies as a child actress. At 14, she got her first FAMAS nomination as a supporting actress in “Kasalanan Kaya?” where she played the daughter of Lolita and Eddie Rodriguez…” – Mario Bautista (READ MORE)

Ikaw lamang (1971) – “…Kahit love team na sina Vilma at Bobot Mortiz, ipina-partner pa rin si Vi sa iba’t ibang sikat na male heartthrobs noon.” Jojo mentioned singing sensation Eddie Peregrina (paired with Vi in Mardy and I Do Love You, both shown in 1970), showbiz royalty Jay Ilagan (Inspiration, Remembrance, Ang Konduktora all shown in ‘72, and Sister Stella L in ’84), young actor Paolo Romero (Ikaw Lamang in 1971), and even her rival’s partners, Tirso Cruz III (Dingdong, Give Me Your Love, and Nobody’s Child all in ’73) and Manny de Leon (Teenage Señorita in 1971)…” – Rommel R. Llanes (READ MORE)

Nakakahiya (1975) – “…Hit na hit sa takilya at Patok ang Mr. and Miss R.P. Movies na sina Eddie Rodriguez at Vilma Santos, ang nagkamit ng award bilang “Pinakamahusay na actor at actress sa Bacolod Film Festival para sa pelikulang “Nakakahiya.” At hindi lamang iyan. Nakamit din ng pelikulang ito ang mga sumusunod: Best Picture, best screenplay, best director, best sound, at best film editing awards. Isang bagay lamang ang ikinalulungkot ng mga taga-Bacolod. Hindi nakarating sina Eddie at Vilma upang tanggapin ang kanilang awards. At ang pinakahuling karangalang tinanggap ng dalawang sikat na tambalang ito ay ang pagkakapili sa kanilang dalawa bilang Mr. and Miss R. P. Movies ng taong ito. Isang karangalan ang mapiling Mr. and Miss R. P. Movies. Iisa lamang ang kahulugan nito ang mataas na pagpapahalaga sa kanilang dalawa ng pelikulang Tagalog bilang mga pangunahing alagad ng sining. At hindi naman alangan ang pagkakahirang kina Eddie at Vilma sapagkat kapwa sila dedicated sa kanilang propesyon. Si Eddie, bukod sa isang mahusay na actor, director at prodyuser ay isa pa ring mahusay na scriptwriter. At hindi lamang sa pelikula nagdi-direct si Eddie Rodriguez. Maging sa kanyang weekly tv show, ang “Sanyugto” ay siya rin ang director…” – Ely L. Jovez (READ MORE)

Hindi nakakahiya (1976) – “…Starring Eddie Rodriguez who was married to Barbara Perez who was the best friend of Gloria Romero whose daughter (again!) Vilma Santos fell in love with Mr. Rodriguez, Vilma’s first of May-December flicks. Oh, what a shame and a scandal in the family. A Morality play? You betcha. It’s the 70’s and the times they were changin’. Nakakahiya? Vilma donned a bikini for the first time and the public did not mind. Vilma and Eddie were so good that they triumphed at the Bacolod City Film Festival. Best Picture. Best Director. Best Actress. Best Actor. Beating the likes of Nora Aunor and Gerry De Leon. Ms. Romero and Ms. Perez did not mind second billings. It’s the role that mattered most…Eddie Rodriguez, Vilma Santos and Ms. Gloria Romero, a reprise of their first Nakakahiya film…” – Mario O. Garces (READ MORE)

Simula ng walang katapusan (1978) – “…She had the likes of Eddie Mesa, Tony Ferrer and, of course, real-life love Eddie Rodriguez, as leading men on the big screen. With Eddie, two movies stand out in Carmen’s memory: “Malayo Man, Malapit Din” and “Simula ng Walang Katapusan” (the latter co-starred Vilma Santos). The way Carmen remembers it, her own love story with Eddie could rival the best silver screen romances. “We first got together when I was 16. It was just puppy love. My mom adored him, but I thought he was boring, stiff and too formal.” Two decades after that initial encounter, their paths crossed again. “We starred in a film on the life of Gen. Jose Rancudo. We were both separated [from our spouses] then.” That time around, it was a relationship of equals, she says. “We were both successful in our careers and both mature.” Eventually, they also separated…” – Bayani San Diego Jr. (READ MORE)

Halik sa paa, halik sa kamay (1979) – “…Come 1979, both FAMAS and URIAN recognized Vilma’s effort. Her film directed by the flamboyant Celso Ad Castillo, her director on such hits, Burlesk Queen and Tagulan sa Tagaraw, made a first rate film, Pagputi Ng Uwak was an art film, deserving of all its awards. Vilma got the 1978 Best Picture award as producer together with a string of technical honours for best screenplay for Castillo, Lando Jacob and Ishko Lopez, best director for Castillo, cinematography for Romeo Vitug, musical score for George Canseco, and a deserving best supporting actress to veteran Angie Ferro. Despite the failure of the film to earn the major acting awards for Vilma Santos and Bembol Rocco, the film dominated both award giving bodies and its now considered classic and one of the best Filipino films of all time by many critics. If you ask, Susan Roces was the spoiler of the race between Nora and Vilma. Nora was nominated for Atsay while Vilma for Pagputi. At URIAN, Beth Bautista, did the spoiler. She won for Hindi sa Iyo ang Mundo, Baby Porcuna. The following year at the 1979 FAMAS, Vilma was nominated for her self produced film directed by Eddie Rodriguez, Halik sa Paa, Halik sa Kamay, the trophy went to Nora Aunor for Ina Ka ng Anak Mo…” – RV (READ MORE)

Ex-Wife (1981) – “…In 1980, Ate Vi married budding actor Edu Manzano in Las Vegas, USA, while shooting the film, “Romansa.” She was pregnant with Lucky (now called Luis) when she did “Pakawalan Mo Ako” in 1981, for which she won her second FAMAS best actress award. In 1984, her marriage to Edu ended in separation, and she did movies that mirrored her real-life affairs, “Hiwalay” and “Ex-Wife,” both big hits…” – Mario Bautista (READ MORE)

Luis Enriquez Born Luis Clemente Enriquez on August 23, 1932 in Zamboanga City, Philippines. Famous for his dramatic films with Marlene Dauden and Lolita Rodriguez in the 60s. He wrote, produced and directed films using his birth name Luis Enriquez. On September 12, 2001, Eddie Rodriguez died at the young age of age 69. FAP: One of the greatest dramatic actors of Philippine cinema, he starred in such classics directed by Gregorio Fernandez as Kundiman ng Lahi, Luksang Tagumpay and Malvarosa with Charito Solis, Rebecca del Rio and Vic Silayan for LVN Pictures, Inc. He won a best actor FAMAS trophy for his performance in Sapagkat Kami’y Tao Lamang where he co-starred with Lolita Rodriguez and Marlene Dauden (who won as best supporting actress) under the direction of Armando de Guzman for Hollywood Far East Productions. He tried his hands in secret agent films like Paolo Staccato and Perro Gancho. He formed Virgo Productions with wife Liza Moreno, an actress-writer who wrote stories which Eddie acted in and directed. These films included Babae, Ikaw ang Dahilan, Kasalanan Mo, Ang Pagsintang Labis, Kapag Pusoy Sinugatan, Iginuhit sa Buhangin, Alaala mo, Daigdig ko, Bakit Ako Pa?, and Ikaw. Dubbed as the country’s drama king, he also directed Kung Kailangan Mo Ako (with Sharon Cuneta and Rudy Fernandez), Maging Sino Ka Man and Di Na Natuto (with Sharon Cuneta and Robin Padilla) Minsan Pa and Kahit Konting Pagtingin (with Fernando Poe Jr. and Sharon Cuneta). His real name was Luis Enriquez from Zamboanga City. – Wikipedia (READ MORE)

Related Reading

Rate this:

Money and Vilma Santos

Posted on February 20, 2013 by @ffv Standard

This slideshow requires JavaScript.

Have you ever stop to wonder kung paanong ginagasta ni Vilma Santos ang “limpak-limpak” na salaping kinikita niya? Marami ang nagsasabi na ‘talagang masuerte ang batang yang si Vi. Kahit na ano ang hilingin niya ay kayang bilhin…Sunod-sunod ang pelikula na halos P100,000 per picture ang bayad sa kanya…hindi naman mahilig sa night clubbing! Kayang kayang magbuhay reina n’yan!” Kung iisipin nga ang inaakalang kitang ito ni Vilma, ay madaling isipin ang ganito. Kumikita, hinahangaan, pinupupog ng fans, at minamahal ng maraming kabinataan, pambihira na nga ang suerteng pamoso ngayon kay Vi. Puede na ngang magbuhay reina, ngunit sabi ng kanyang family, “Vi is a professional sa kanyang gawain, ngunit isa lamang siyang karaniwang tao sa loob ng tahanan. Kapatid lamang naman siya. Marahil kung tatratuhin namin siyang parang reina, ay siya ang ma-iiwas sa amin at siya pa ang maiirita!” Sa mga pakikipanayam noon kay Vilma ay napatunayan ang ganitong attitude niya. The only time na mistulang reina ang trato kay Vi ay tuwing matutulog ito. Lahat sila ay sinisikap na huwag siyang magambala sapagkat batid nilang pagod na pagod siya at mahalagang mahalaga na siya ay makapagpahinga nang husto.

Batid nilang napakademanding ng career ni Vi, na walang oras na iginigalang basta’t kailangang tapusin ang pelikula, at si Vilma, kalimitan na kahit na may sakit ay sinisikap na tapusin ang sariling commitment. Sa sandaling mabatid na ready na siya o gising na, mistulang central park ang silid niya sapagkat doon nakikilumpon ang mga kapatid na kung tulog siya ay sa silid naman ng mga parents nila naglilipon. Hindi na yata mauubusan ng balitaan, tanungan, at biruang magkakapatid, at si Edgar Mortiz na tumutungo rin doon kapaga batid na gising na si Vi o nakikibantay kapag tulog ito. That’s right, Vilma Santos is just big sister to Maritess, 14, Winnie, 11 and Sonny, 8 and plain younger sister to Emmelyn, Vi’s older sister. At ganito rin siya sa gastusan. Si Vi, tulad ng mga kapatid ay ang allowance lamang niya ang ginagasta. Binibigyan siya ng P200 a week ng ina, ng kalimitan ay binabahagi pa rin sa mga kapatid tulad nang magtopnotcher si Maritess sa klase. Binigyan niya ito ng P20.00 bilang premyo. Dito ay kinukuha pa rin niya ang pambile nang ilang damit at di dahil sa pinagdadamutan ina kundi Vi does not ask. Pinaghuhusto ang kanyang allowance. Magrebelde kaya si Vi sa ganitong pasunod ng mga magulong, gayong mapagmamalaki naman niyang siya ang kumikita na rin tulad ng father at mother?

Minsan ay tuwang tuwa na ikinuwento ni G. Amado Santos na father ni Vi, napakasuwerte raw nilang mag-asawa. Imagine raw ng minsan ay masayang masaya na umuwi si Vi kasama ng ina, buhat sa pamimili. “Ay nadaya ko si Mama! Siya ang nagbayad ng blouse na ito. Ang sweet sweet po naman ng mama ko!” at walang higit na pinupopog ng halik ang ina. Nangiti lamang…silang mag-asawa sa pagsasalimuot ay sana manatiling gayong kabait ang anak nila. Kung tutuusin ay sa kinikita ni Vi ay kahit ano kaya niyang bilhin, ngunit higit siyang maligaya na mapabilang sa mga mahal na kapatid. Tutungo roon at siyang bumubili. Batid nilang dahil sa pelikula kailangang ni Vi ng pambihirang mga damit at kagamitan. Lahat nang ito ay ipinauubaya ni Vi sa ina. Parang siyang-siya siya that there is somebody else to take care of things for her, someone who had known her all her life. And because she respects her mother’s business accumen, Vi and Mrs Santos used to sit up nights, making plans and later on making it up with the rest of the members of the family. Hanggang sa mga sandaling ito, hindi pa nagre-resign o nagre-retire si Mr. Santos sa kanyang gawain sa isang booking office. Sa kanyang pakiwari, itinuturing pa hanggang ngayon ni Vi na isang privilege na ang mapabilang sa kanyang mga kapatid at mapamahal sa mga ito.

Isa na ring kaligayahan niyang isipin na siya ay pinagagastusan ng kanyang parents. Lahat ng kinikita ni Vi ay pino-program ng kanyang mga parents. Namimili sila ng lupa, noong nagsisimula siya (mga 9 na taon gulang) namili na rin ng bahay at ang balak pa rin pumasok sa isang negosyo na malaki ang maitutulong sa suliranin ng tourism sa bansa, ang pagpapatayo ng gusaling puedeng makatawag sa housing problems sa ngayon. At sa mga Santoses, mula pa kay Vi…na siyang nagpasiya nito…may kabuhayan silang lahat, may bahagi sa kanilang pinagsikapan, sapagkat sila ang family who lives and loves together…lahat ay galak sa kasiyahan sa mga tagumpay ni Vi sapagkat itinuturing nilang kanilang tagumpay rin tio at si Vi naman ay walang atubili ng pagtanggap ng kanilang mga tulong at kalinga. Vi knows what money can do for their family but it has not yet occured to her what it can do for her only! Vi has never been placed in a position na inisip niyang siya ang workhorse…because she now makes the decisions. The whole household is made to revolve around her and the demands of her profession, without losing sight at the idea that she is a member of a whole and not the whole thing. Father and mother are the principal personalities in the vortex and Vi is just another daughter, able to make full use of her profession. And this is what makes life beautiful for Vi, being fullfilled as a professional and yet remaining a daughter of a family, “belonging” to someone, that “sense of belonging” providing her the security so essential to people in her profession. – TSS Magazine, No. 169, 08 Feb 1974

Rate this:

Elwood Perez’ Vilma Santos Films

Posted on February 19, 2013 by @ffv Standard

This slideshow requires JavaScript.

Elwood Perez and Vilma Santos collaborated in seven films. The first one was the trilogy that he co-directed with two other directors, Borlaza and Gosiengfiao (these three are the most underrated and under appreciated directors in the Philippines), the remake of Mars Ravelo comic super hero, Darna in Lipad Darna Lipad. The film was a record-breaking hit film. They followed “Lipad…” with more mature project as Vilma started to transform her sweet image to serious mature/versatile actress. The film was “Masarap Masakit Ang Umibig” in 1977 that also featured Christopher de Leon and Mat Ranillo III. The Perez-Santos team produced seven blockbuster hits that gave Vilma two FAMAS best actress awards. The last one was in 1988 for “Ibulong Mo Sa Diyos” that elevated her to FAMAS highest honour, the FAMAS Hall of Fame award (She won for Dama de Noche 1972, Relasyon 1982, Pakawalan Mo Ako 1981, Tagos Ng Dugo 1987 and Ibulong Mo Sa Diyos 1988). – RV (READ MORE)

Lipad Darna Lipad! (1973) – “…In this episode Valentina, tried to steal Narda’s magical stone. Also, there was a scene where Valentina dressed up as Darna. I love the exciting part where Darna and Valentina battled on top of a high rise building. Darna, was almost a no match to her mortal enemy. Dangerously armed with lazer beams coming out from Valentina’s eyes, Darna was helpless and knocked down several times. Until, she stumbled upon into a piece of broken mirror and used it as a shield againts Valentina’s deadly lazer beams. Darna quickly made her looked in the mirror. Her lazer beams bounced back and she turned into a stone. From the roof, Valentina fell hard on the ground and broked into shattered pieces. Anjanette Abayarri and Cherrie Gil almost did the same scene in ” Darna, Ang Pagbabalik! ” Second Episode was directed by Elwood Perez…” – Eric Cueto (READ MORE)

Masarap, Masakit ang Umibig (1977) – “…Sa pelikulang ito, unang ipinamalas ang senswalidad ni Vilma Santos. Maraming eksenang sekswal ang aktres at maaari talaga siyang makipagsabayan sa mga tulad nina Alma Moreno at Trixia Gomez. Karamihan ng mga sitwasyong ibinigay sa kanyang karakter ay hindi kapani-paniwala. Nariyang gawin siyang modelo, sa ilang piling tagpo ipinakita din ang pagiging estudyante ni Estella ngunit hindi naman tinahak ang mga ito sa kabuuan ng pelikula. Hindi rin maikakaila ang husay ni Christopher de Leon bilang aktor ngunit sa pelikulang ito ay nasayang lamang ang kanyang pagganap. Hindi nabigyan ng tamang direksyon ang aktor kung kaya’t lumabas na sabog ang kanyang karakterisasyon. Si Mat Ranillo III naman ay tila hindi na natutong umarte. Kadalasa’y pinaghuhubad siya ng direktor sa mga eksena upang mabigyang pansin. Masyadong mahaba ang pelikula dahil na rin siguro sa panghihinayang ni direk Elwood na masayang ang magagandang eksenang kanyang nakunan ngunit hindi naman nakaapekto ang mga ito sa takbo ng istorya. Kadalasa’y nakababad lamang ang kamera at nakatanghod sa susunod na gagawin ng mga artista. Hindi ito nakatulong upang mapabilis ang takbo ng pelikula, nakakainip panoorin ang ganitong mga eksena…” – Jojo Devera (READ MORE)

Nakawin Natin ang Bawat Sandali (1978) – “…It has a uniformly good performance by the cast which includes Baby Delgado, Roel Vergel de Dios, Anita Linda, Jose Villafranca and the two leads Christopher de Leon and especially Vilma Santos who has done a surprisingly intelligent and affecting character portrayal. Not since Eddie Romero’s Sinong Kapiling, Sinong Kasiping? (1977) have we seen characters who think, behave and react to problems and situations like mature, sensitive and intelligent people. The characters do give way to occasional hysterical outbursts, but they somehow wake up to their senses before they completely forget themselves. And they are people in believable situations with real problems and genuine emotions. When they talk, they are seldom silly and when they are silly, they are aware of it. But even when they are silly or trite, they are never unsympathetic…” – Jojo Devera (READ MORE)

Magkaribal (1979) – “…Christopher de Leon embodies the physicality and psyche of a sexy beast whose complexity is at par with that of a De Niro or Pacino. De Leon, here in his prime epitomizes the dramatic range and animal magnetism akin to Marlon Brando’s Stanley Kowalski. Alma Moreno’s portrayal of a woman who desires a new life in the face of a very uncertain future is competent. The acting method employed here is able to twist the logic of cliché and reconstitutes the drama of yearning with passion and grace. Vilma Santos shows that the strength of women need not come from the repudiation of “feminine” traits and roles. Neither should they come from brute, shrewish adamance as exemplified by the stereotype, nor from machismo as embodied by her husband. Santos demonstrates that the concept of the beautiful, dainty, feminine and strong are not necessarily mutually exclusive. Rather, these form a character that is finally textured, complex and potentially oppositionist. Magkaribal is commendable for staging clever and well-thought out situations partaking of actual tension and punctuated by defamiliarizing comical scenarios and melodramatic circumventions. A certain style of filmmaking based on genre or other considerations is taken as any distinct mode of creating form in film and is made possible only against a background of options that makes a particular choice significant, meaningful and therefore recognizable stylistically. Film artists work within these possibilities in the process of making art, but are never limited to custom and habit…” – Jojo Devera (READ MORE)

Pinay, American Style (1979) – “…The film was so forgettable that the critics didn’t even bother to write any reviews. The lack of enthusiasm on the part of the critics was compensated with the box office success of the film. Vilma fits the role as the illegal alien, PX. Her attempt to speak fluent English and pretend that she’s rich when she met the boyish looking Christopher was funny and poignant. She was given enough scenes to shine. One was when she was harassed by her landlady, she promised her the rent money the next day and when she’s gone, she opened her refrigerator and found a staled piece of bread. She took bottled water and ate the staled bread, went to the bedroom and found her mom’s letter. Lying down in bed, she started to break down. A quiet scene without dialogue. A contrast from the earlier scenes where she was talkative as she tried to impress Christopher and telling him she’s rich and from a well-known family. It was obvious in 1979, Elwood Perez wasn’t the kind of director you will expect to produce a serious output. He wasn’t a Bernal or Brocka. He’s a commercial director. It was a better effort though, compared to a much more convoluted Magkaribal or their past successful projects like Nakawin natin ang bawat sandali and masakit masarap ang umibig. In Pinay, Toto Belano’s script wasn’t efficient in ironing out the “love quadrangle” plot twists and establishing the characters of four actors. So the blame can’t be put to solely to Perez’ shoulder. There was a scene were Vilma Santos and Christopher were watching a concert which was obviously not part of the script.” – RV (READ MORE)

Pakawalan Mo Ako (1981) – “…The second memorable film experience for me was during early 80s where I saw the free sneak preview of “Pakawalan Mo Ako” at Gotesco Theatre near University of the East. I was one of the lucky ones who managed to get in. My college mates weren’t. They got stocked in the pandemonium outside. I was worried sick as I took the long escalator and saw them being crashed by the crowed. The security guards have to closed the gate of the lobby. Fans became so restless and broke the glass windows (where they displayed posters and still photos) . Inside, It was crowded, hot and wild. We were seeing a more mature Vilma Santos. From the very beginning, the crowed went along the story until one of the climatic scene – the courtroom scene where she cried and swear! Oh my god I still remember the crowd swearing and cursing too! It was so wild!…” – RV (READ MORE)

Ibulong Mo Sa Diyos (1988) – “…Vilma hit the jackpot. After 11 nominations with four wins, her twelfth nomniation produced her an unexpected win. It elevated her to the hall of fame status. All artist who wins five automatically put them to the hall of fame list. It is a big honour but prohibit any one on the list to compete in the future for the same category. Regal films’ Ibulong Mo Sa Diyos, directed by Elwood Perez was a surprised winner. Not only it earned Vilma her fifth award as best actress, it also gave the late Miguel Rodriguez a best supporting actor award and the best director for Perez. Technical awards were also given to Ricardo Jacinto, cinematography, Rey Maliuanag, production design, Gary Valenciano, theme song, and George Jarlego, editing. The late Nida Blanca was also nominated for best supporting actress…” – RV (READ MORE)

“…Elwood Perez is a virtuoso of the camera and is the man behind numerous classic Filipino movies. His intuitive approach to filmmaking and scriptwriting is something worth emulating not because they are campy and sexy but they discuss social ills and promote solutions while tickling the most delicate part of our consciousness—our emotion. Born during the near end of World War II on Feb. 4, 1945 in Mabalacat, Pampanga, Elwood Perez started watching movies at the age of three. He practically grew up breathing, feeling, and thinking about movies. “I want [a] vicarious experience. That’s the only thing I want in my life. I hate the effort to go, let’s say for example to Venice. That’s why I watch films every day. Until now,” the 64-year-old director says. He wrote, directed and acted the lead role in his first Filipino play, Ander di Saya. And he was only nine years old then. From then on, Perez knew what he wanted to do for the rest of his life. At age 25, Perez marked his debut as a film director with Blue Boy in 1970. The film was a flop at the box office but it was revered by critics. Maturing as a scriptwriter and film director, in 1973, commercially successful Lipad, Darna Lipad! was released. Award-winning actress Celia Rodriguez essayed the role of Medusa-like villainess, Valentina, nubile Vilma Santos played the Filipino supergirl (a role that launched her in a series of Darna flicks). To Filipino film industry insiders, Perez is known as the most sought-after movie director of his generation…” – Nickie Wang (READ MORE)

Rate this:

Special Film: Pinay American Style

Posted on February 18, 2013 by @ffv Standard

“…PX, short for Paula Xavier (Vilma Santos) was an illegal alien in New York City. She’s broke and waiting for fiancé, Cocoy laurel to fulfill his promise of marriage despite the fact that Cocoy has already married an American to secure a green card. Hiding from the authorities, PX met two men who are willing to take care of her but conflicts arise as the two wanted to maintain a serious relationship with her. Played wonderfully by Christopher Deleon and Bembol Roco, the film resolved the love quadrangle between ex-fiancé, Cocoy Laurel and the two brothers when the jealous Cocoy reported Vilma to the immigration authorities. PX was deported back to the Philippines. But the films didn’t end in a sour note, PX found herself reunited with Christopher Deleon when the later followed her in the Philippines…” – RV (READ MORE)

“…Pinay, American Style (1979) carries such attributes. Shot entirely in America, it depicts the plight of some Filipinos living there – Filipinos who are obsessed with amassing fortunres and landing high-paying jobs and enjoying the dolce vita in the muchballyhooed “land of the brave and home of the free” and the “land of the mighty dollar.” Compared to foreign movies with explicit sex scenes, Pinay… would not even deserve the “For Adults Only” tag or an “X-rated” classification, according to Elwood. Basically, the movie is a relfection of the typical plight of Filipinos living abroad. It is a plight that runs counter to the optimism and false hopes entertained by potential Filipino immigrants. Arriving in the U.S. as tourists, some Filipinos would choose to stay behind in their search for “greener pastures.” Having done so, they have to play hide-and-seek with immigration authorities, accept odd jobs to survive in the asphalt jungle, get married to ward off deportation, and similar evasive maneuvers. These same incidents are what the cast – Vilma Santos, Christopher de Leon, Bembol Roco and Victor “Cocoy” Laurel – portray in Pinay. Pinay is Elwood’s second movie shot abroad after Lollipops…” – Manny B. Fernandez, Expressweek, July 12, 1979 (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)

Rate this:

Special Film: Mahinhin vs. mahinhin (1981)

Posted on February 16, 2013 by @ffv Standard

Mahinhin vs. mahinhin (1981) is a movie directed by Danny L. Zialcita. It was a continuation of the film Si Maganda at Si Mahinhin which was produced in 1980. Produced by Sine Silangan Productions in 1981, the movie featured the late Dindo Fernando, Ronaldo Valdez, Adul de Leon, and Elizabeth Oropesa. The young Carmi Martin and Edu Manzano were also part of the movie. The story revolved around the life of Billy de Gracia (Dindo Fernando), a homosexual who tried to live as a man by marrying Juana (Elizabeth Oropesa). Billy’s life turned upside down as he met Archie (Edu Manzano), boyfriend of Peter Frias (Ronaldo Valdez). Peter, unlike Billy, was a multi-millionaire homosexual. Billy pretended to be woman when he tried to offer Archie some money. When Peter learned about that, he and Billy agreed to share Archie with each other. The following scenes showed how Peter and Billy rivaled for Archie’s attention. – Wikipilipinas (READ MORE)

Danny Zialcita is a fun-loving gifted and colorful filmmaker who left his mark as one of the best in the stimulating era of the ’60s and ’70s. Then without any warning he left the industry. Stories of drug addiction, withdrawal from the world, and worse, loss of sanity dogged his absence until even his colleagues lost touch with him and didn’t know what to believe. Zialcita is a master of improvisation on the set, he also had the knack for casting the right actors, choosing the right material, and pleasing his producers. One of his favorite actors was Dindo Fernando whom he termed “the complete actor” and cast him in such movies as Langis at Tubig, Karma, Gaano Kadalas Ang Minsan, Mahinhin at Mahinhin, its sequel Malakas, si Maganda at si Mahinhin and Ikaw at ang Gabi which gave Dindo his first Urian Best Actor trophy. Other favorites were Vilma Santos cast in Karma, T-Bird at Ako, Langis at Tubig; Pinky de Leon; Laurice Guillen; Ronaldo Valdes; and Beth Bautista who won Best Actress award in Hindi sa Iyo ang Mundo Baby Porcuna. – Bibsy M. Carballo (READ MORE)

Source: Pinoybwuahaha69

Rate this:

Chito S. Roño’s Vilma Santos Films

Posted on February 16, 2013 by @ffv Standard

This slideshow requires JavaScript.

Roño gave Vilma Santos her first international recognition winning the best actress in 1999 Brussels International Festival of Independent Films. At the same time, he was recognized as the festival’s Best Director both for Bata Bata Paano Ka Ginawa. The film also gave Vilma Santos her third grand slam winning all the best actress awards from several local award giving bodies. In 2003, Vilma received another international recognition, this time from Cinemanila International Film Festival winning the Best Actress for Dekada 70. The film was screened in international film festival circuit and was the official entry of the Philippines in the 76th Academy Awards (OSCAR) for the best foreign language film category. – RV (READ MORE)

Ikaw lang (1993) – “…That year, dalawang movies ang nagawa ni Ate Vi. Ang isa pa ang ang action-dramang Ikaw Lang ni Chito Roño, na in fairness ay mahusay rin siya sa papel ng battered wife ng baliw na si Cesar Montano an naging bank robber kasama si Ronnie Ricketts…” – Mario E. Bautista (READ MORE)

Bata, Bata…Paano Ka Ginawa? (1998) – “Lea Bustamante is torn between two men who are threatening to take her two children away. Lea suddenly begins to doubt her worth as a mother and as a woman, and is forced to confront her needs which the men in her life have never fulfilled. Still, Lea fights to keep her children, to keep her dignity, and to do what is right in a world where everyone accuses her of being wrong.” – BIFF (READ MORE)

Dekada 70 (2002) – “In Chito S. Roño’s superb “Dekada ’70,” a family in the Marcos-era Philippines has a domineering father and five sons, but it is the mother (Vilma Santos) who provides the mental stamina. She fights for her family in ways the father can’t even dream of. “To give birth to these children isn’t enough,” she says. “You have to defend them, protect them.” That’s the ’70s. In 30 years, that kind of woman will deal with difficult questions of divorce and motherhood, one in which women want freedom, yet must be willing to share blame when something goes wrong. The young woman who leaves her husband and thinks about aborting her pregnancy in South Korean filmmaker Gina Kim’s “Invisible Light” is an experimental example. Moon’s great performance in “A Good Lawyer’s Wife” almost makes you believe wrong is right, and, taken with her much-lauded portrayal of a girl with cerebral palsy in “Oasis,” reveals her as one of the world’s best actresses. Hollywood, take note.” – G. Allen Johnson (READ MORE)

The Healing (2012) – “…Pero ang nakakatakot sa pelikula, yun palang tatay ni Vilma, kinukuha niya ang ‘life force’ ng lahat ng mga magiging pasyente nung healer”, dagdag na kuwento pa ni Mama maribel. “Kaya siya nabubuhay, kinukuha naman pala niya ang buhay o energy life force ng ibang mga tao, at yun ang mga magiging susunod na mga pasyente nung faith healer! Shocking, di ba? Naku, sorpresa ang role ko dito, ikatatakot ng lahat. At si Ate Vi, ngayon lang muli kami magkakasama sa isang pelikula. The last movie we made was Alyas Baby tsina during the late ’80′s pa yun!” At kilala naman ng lahat kung gaano kagaling si direk Chito Rono sa paggawa ng mga horror films, no? Isa sa paboritong horror film namin na ginawa ni direk Chtio ay yung remake ng clasic film na “Patayin Sa Sindak Si Barbara!” kung saan si Dawn Zulueta ang naging bida…” – Robert Manuguid Silverio (READ MORE)

Chito S. Roño, also known as Sixto Kayko, is an acclaimed Filipino writer, film producer and film director known for his expansive vision and special-effects-heavy films, most notably Yamashita: The Tiger’s Treasure (2001) for which he won the Metro Manila Film Festival for best director. He is also known for his 1997 film Nasaan ang Puso which earned him his first MMFF for best director. – Wikipedia (READ MORE)

Related Reading

Rate this:

Danny Zialcita’s Vilma Santos Films

Posted on February 15, 2013 by @ffv Standard

This slideshow requires JavaScript.

Zialcita’s first movie with Vilma was the 1980 festival entry, a drama about bigamy, Langis at Tubig. The following year, Zialcita and Santos joined forces again in another festival entry, Karma. The film earned Vilma her second Metro Manila Film Festival Best Actress. The following year, Ziacita’s Gaano Kadalas Ang Minsan broke box office record, Earned P7.3 million during its first day of showing in Metro Manila and assured Vilma Santos the box office queen of 1982. – RV (READ MORE)

Langis at Tubig (1980) – “…Muli, binigyan ng magagandang linya si Vilma Santos mula sa umpisa kung saan kinompronta niya ang manloloko niyang ka-live in at sinabing: “namputsa naman nahuli ka na ayaw mo pang aminin” at sa bandang huli nang intindihin niya ang asawa at handing magparaya, sinabi niya “…handa akong magparaya, kung gusto niya isang lingo sa kanya, isang lingo sa akin…” Pero halatang ang pelikulang ito ay pelikula ni Dindo Fernando. Deserving si Dindo sa kanyang pagkapanalo sa Famas bilang pinakamahusay na actor bagamat nang taong ito’y mahusay rin si Christopher Deleon sa Aguila at Taga ng Panahon at Jay Ilagan sa Brutal. Tahimik lang ang pag-arte niya’t makikita ang kanyang intensity sa kanyang eksena kung saan nagtapat na siya sa asawang si Cory tungkol sa kanyang kaso. Mahusay rin siya nang hinarap niya si Pilar at sabihin niyang, “mahal ko kayong dalawa.” Maganda ang location ng pelikula. Makikita ang mga ordinaryong tanawin ng Albay sa Bicol at ang mga ordinaryong manggagawa rito mula sa mga nagtatanim ng palay hanggang sa mga nagtitinda ng mga paninda sa palengke ng bayan. Sa kabila ng ordinaryong istorya ng Langis At Tubig, ang mahusay na direksyon at mahusay na pagkakaganap ng mga artista rito’y nangibabaw ang tunay na karapatan nitong panoorin muli ng mga mahihilig sa pelikulang Pilipino. Sayang nga lang at hindi na gumagawa ng pelikula ang ang gumawa ng obrang ito.” – RV (READ MORE)

Karma (1981) – “…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 (READ MORE)

Gaano Kadalas ang Minsan? (1982) – Gaano Kadalas ang Minsan? (1982) – “Gaano kadalas ang Minsan” Grossed 7.3 Million in its few days run in Metro Manila in 1982 outgrossing “Sinasamba Kita” for Philippine movies’ all-time box office tally. With inflation and currency rate in consideration that will be around 95 million. But that’s not the only exciting thing about these film. It was the only film that Vilma Santos and Hilda Koronel did together and when Hilda was still at her peak of her illustrious career. Ofcourse, Ate Vi’s career remained as hot as ever, still able to carry a film while Koronel now accepts supporting roles. It was obvious that when both star did Gaano, Hilda was more glamourous than Vilma but looking at the two right now, Vilma maintained that slim, youthful look while Hilda struggled and visibly gained so much weight she can be mistaken as Ate Vi’s aunt or mother (As of 2012, Hilda shed that pounds and now back to her glamourous looks!)! After Gaano, Hilda did a few more leading roles under Viva Films even co-starred with Nora Aunor but didn’t get the same results as Gaano. Like what William Leary says, “mahirap matalbugan si Vilma, Vilma is Vilma in any seasons and whatever movie!” – RV (READ MORE)

T-bird at Ako (1982) – “…For him, every dialogue is a song,” says Mark. “May intro, may refrain. You don’t go to the refrain right away.” Consider this confrontation scene between Vilma Santos and Nora Aunor in T-bird at Ako. Nora’s character, a lawyer, has just expressed her romantic intentions to Vilma, a nightclub dancer, who responds to the proposition, quietly, with “Nandidiri ako.” Nora: Bakit, sino ka ba? Ano bang pinagmamalaki mo? Katawan lang yan ah, sa’n ba galing yan? Sa putik! Vilma: Putik nga ako pero kahit ganito ‘ko nagsisimba ako kahit papa’no. At ang sabi ng nasa itaas ang sala sa lamig, sala sa init, iniluluwa ng langit, isinusuka ng Diyos! Which takes us back to Mark’s statement. First, you have to be a competent actor to come to work without a script. Danny is famous for not doing scripts, only rough storylines and sequence guides that get revised easily on the set when a new idea strikes him. “I don’t want them coming to the set with a planned line, a planned movement. So that they can surpass their own,” says Danny. Second, you have to be an intelligent actor to deliver lines like the ones above, to convince the audience that the character is capable of churning out knockout philosophical punches at the tip of a hat—which, incidentally, people wore in Zialcita films. …” – Jerome Gomez (READ MORE)

Rate this:

Vi The Victorious

Posted on February 14, 2013 by @ffv Standard

She has won 33 major acting awards, the highest output for any woman thespian in these parts. “Vi did it with the single-mindedness of a homing pigeon,” said Laurice Guillen, director of Dahil Mahal Kita: The Dolzura Cortez Story, which ran away with the lion’s share of the major awards in this year’s Manila Film Festival including, among others, the trophies for Best Picture, Best Actress, Best Actor and Best Director. Laurice, of course, was referring to Vilma Santos, who won the 1993 Manila Filmfest Best Actress plum for reastically portraying a PWA (person with AIDS). “Vi was determined to portray Dolzura Cortez – warts and all – no matter what,” Guillen stressed. “Walang pa-charming. An ectopic pregnancy and a bout with diarrhea only temporarily derailed her train but she reached her destination, and she got a statuette in the process.” When she received her trophy during the glittering awards rites held at the Manila Midtown Hotel last June 25, Vi raised her statuette and declared in Pilipino: “I gave it all I had. To Dolly (nickname of the PWA she portrayed), wherever you are, this is for you.”

Dolly herself (who died shortly after investigative reporter Ceres Doyo wrote the series about her (Dolly’s) life and times in the Philippine Daily Inquirer) had expressed the wish that Vilma portray her in a movie dramatizing her experience as a PWA. People behind the project hope the movie will raise public awareness about Acquired Immune Deficiency Syndrome (AIDS) and how to prevent it. There are an estimated 35,000 people with HIV (human immune-deficiency virus) that caused AIDS in the Philippines although Health Secretary Juan Flavier believes the number is actually higher. Vilma’s triumph in this year’s filmfest was par for the course. In three decades in showbiz, Ate Vi, as the Vilmanians (loyal Santos fans) love to call her, has won 33 major acting awards (the highest output for any woman thespian hereabouts) and has appeared in about 120 movies. “It took us 25 shooting days to wrap up the movie,” Guillen continued. “It would have taken us longer if Vi had not been as dedicated to her work because she was practically in every scene and her stick-to-itiveness helped us a lot because, whenever she was on camera, there was no goldbricking. It was work, work, work for Vi and, although I could say the same thing for the rest of the cast, Vi really set the pace for the others to follow.”

In her thank-you speech at the awards ceremony, Vi acknowledged the fact that “I would have been helpless without Tita Laurice, Tita Chato (Charito Solis, who played Vi’s mother), Boyet (Christopher de Leon) and other members of the cast and crew.” As usual, Vi was generous in her acknowledgments and ever her husband, Batangas Representative Ralph Recto, “above all”, got his share of the kudos. Even the jurors of whom I was one, were impressed by her acting. “She would win in any festival with this kind of performance,” says Gina Alajar, herself a Metro Manila Film Festival Best Actress awardee earlier this year, who pinchhit for Rudy Fernandez as juror. “What I like about her performance,” juror Josefino Cenizal, veteran composer and musical director, chimed in, “is that she never overacted in many scenes where less experienced thespians would have. She gives the impression that she’s not acting but just going through the scenes as if she’s a natural part of the scenery.” There’s only one actress I’ve seen in action who seems not to be aware of any camera (just like Vi) and that’s Julie Christie, the British actress, who did a movie scene in front of several journalists from all parts of the globe, including this writer, in a London pub in the 1960s.

I have to confess that this article is a bit partial to Vilma Santos because I’ve been a Vilmanian from Day One. I remember the first time I saw Vi was in 1962 when Dr. Jose “Pinggot” Perez, Sampaguita Pictures executive, invited me to watch the filming of a movie called Trudis Liit. It was a nine year-old Vilma Santos who played the title role and she was so good, Doc Perez raved: “May kinabukasan ang batang ito (this child has a bright future).” Vi still remembers the reporter “who asked me silly questions like what’s my favorite dish, etcetera”. It was the beginning of a lifetime friendship and during those intervening 31 years, I’ve seen Vi blossom from a shy but hoydenish teenager, to the Vilma Santos of today, a confident woman of 39 “na maraming karanasan sa buhay (her own words)” pero sweet na sweet pa rin like the Vi of old. Some of those experiences would have driven an ordinary woman to perdition but not Vi, who says quietly: “A woman should grow wiser through the years.” Vi had the best teachers in the field of love. During the late ‘60s and early ‘70s, her “puppy love” was Edgar Mortiz which gave birth to the Edgar-Vilma loveteam, the only noteworthy rival of the Pip (Tirso Cruz III)-Guy (Nora Aunor) tandem. Her subsequent romance with Romeo Henares, son of former Inquirer columnist Larry Henares, nearly ended at the altar. “But I was not ready to make a lifetime commitment,” she disclosed. “Commitment” is one of Vi’s favorite words.

And then came Romeo Vasquez. It was during her relationship with Romeo in the mid-70s that what’s not known as the Betamax scandal came about. There was this lurid chismis that Bobby (Romeo’s nickname) and Vi had been captured on Betamax tape while rolling in the hay. I personally investigated this rumor and discovered it was just that -a rumor. I remember the many times that Vi and Bobby guested in my Seeing Stars TV show on Channel 13 where they sang as duet their theme song: Pag-ibig Ko Sa Iyo Lang Ibibigay. After her breakup with Romeo, I used to tease Vi by singing the opening lines of that ditty, and she would squirm and say, “Ayaw ko na, Tito Joe.” Recently, when Marra PL. Lanot and I interviewed Vi at a local recording shop, I sang the opening line and Vi sang it with me without any qualms. It’s because Vi has blossomed into a mature woman who’s confident of the love of her husband, Representative Recto, who’s admittedly 10 years younger that Vi (he’s 29 to Vi’s 39). But before her marriage to Recto was her interlude with Edu Manzano by whom she has a son, Lucky. “Doods and I really tried to preserve our marriage but things went awry,” she now says philosophically. It’s a measure of Vi’s diplomacy that she has remained friends with all her past lovers. – Joe Quirino, Philippine Graphic, June 16, 1993, transcribed and posted by Jeannie Wong (READ MORE)

Rate this:

FILMOGRAPHY: RELASYON (PHOTOS)

Posted on February 13, 2013 by @ffv Standard Reply

This slideshow requires JavaScript.

“Ang hirap dito sa relasyon natin, puro ikaw ang nasusunod, kung saan tayo pupunta, kung anong oras tayo aalis, kung anong kakainin natin, kung anong isusuot ko sa lahat ng oras, ako naman sunod ng sunod parang torpeng tango ng tango yes master yes master!” – Maria Lourdes Castaneda

“Ano ba ako rito istatwa? Eh dinadaan daanan mo na lang ako ah, hindi mo na ako kinakausap hindi mo na ako binabati hindi mo na ako hinahalikan ah…namputsang buhay ‘to. Ako ba may nagawa akong kasalanan hah? Dahil ang alam ko sa relationship, give and take. Pero etong atin, iba eh! Ako give ng give ikaw take ng take! Ilang taon na ba tayong nagsasama? Oo, binigyan mo nga ako ng singsing nuong umpisa natin, pero pagkatapos nuon ano? Wala na! Ni-siopao hindi mo ako binigyan eh dumating ka sa bahay na ito ni butong pakwan hindi mo ako napasalubungan sa akin eh kaya kung tiisin lahat pero sobra na eh…hindi naman malaki hinihingi ko sayo eh konti lang… alam ko kerida lang ako…pero pahingi naman ng konting pagmamahal…kung ayaw mo ng pagmamahal, atleast konsiderasyon man lang. Kung di mo kayang mahalin bilang isang tunay na asawa, de mahalin mo ako bilang isang kaibigan, Kung ayaw mo pa rin nun bigyan mo na lang ako ng respeto bilang isang tao hindi yung dadaan daanan mo lang sa harapan na para kang walang nakikita!” – Maria Lourdes Castaneda

Emil, a young executive, and his mistress Marilou, a planetarium guide, decide to be live-in partners. In the process, they discover each other’s failing, which result in the strain in their relationship, bringing about their temporary separation. When they finally decide to resume their relationship, under a set-up wherein the man devides his time between his family and mistress, he dies frpm an attack of cerebral aneurysm. The woman decides to start a new life abroad, finding strength in the Jove of her departed lover. – Manunuri web-site

Rate this:

Grand Slam film, Relasyon

Posted on February 12, 2013 by @ffv Standard

The set-up – “In a time when the concept of divorce does not exist, much less imagined possible, we find Marilou, a planetarium guide who decides to pursue an affair with Emil, a college teacher sepatated from his wife. They seem perfect for each other, and soon decide to move in together. Their once happy affair turns sour as Marilou slowly discovers the real Emil, a chauvinistic, domineering, and emotionally abusive man who disctates everything to her, from how she should act and manage her life to the most inconsequentials details of running their house. They soon find themselves in an on-again, off – again relationship, with Malou going as for as laying a let’s meet only three times a week rule to protect herself.” – UP (READ MORE)

The Slam – “…1982, Nauso ang so-called Grand Slam Best Actress in 1983, nang manalo si Vilma Santos for Ishmael Bernal’s Relasyon. That 1982 film was a small, low-budget drama of a husband and his mistress. Nag-hit ang tandem nina Vi at Christopher de Leon, starting in 1978, with Sampaguita Pictures’ Masarap … Masakit ang Umibig and Nakawin Natin ang Bawat Sandali (both by Elwood Perez), after their first pair-up in Celso Ad Castillo’s 1975 romance-drama Tag-Ulan sa Tag-Araw. For Relasyon, Vilma won as Best Actress sa CMMA, Gawad Urian, FAMAS and the debuting Film Academy of the Philippines (FAP) Awards. Maging sa “minor” parangal, like the TV show Let’s Talk Movies ng RPN 9 (hosted by Armida Siguion Reyna, Behn Cervantes and Mario Bautista), si Vilma rin ang Best Actress for the Regal Films drama. With Nora Aunor as Vilma’s main competitor, it was an interesting, but utterly disappointing, acting duel. Sa FAMAS, Nora got nominated for Romy Suzara’s Mga Uod at Rosas – and lost. Sa ibang award-giving bodies, isang malaking pelikula at pagganap ni Nora – sa Himala, as the visionary Elsa – ang natalo kay Vilma. The Ishmael Bernal opus was produced by the Marcos government-established Experimental Cinema of the Philippines (ECP). Some were of the opinion na may bahagi ng pulitika sa pagkatalo ni Nora; marami raw sa movie industry ang anti-administration, kabilang ang sympathizers ng Free the Artists Movement na anti-censors. May malaking rally noon na hindi dinaluhan ni Nora, samantalang nakiisa sa protesta si Vilma. Gayon man, may parangal na natamo si Nora para sa Himala: the 1982 MMFF Best Actress, where it won 9 out of 13 awards, including Best Direction and Best Picture. Naging opening Film ang Himala sa 1983 Manila International Film Festival – organized by then First Lady Imelda Romualdez-Marcos – at inilahok sa Berlin International Film Festival in February 1983. Ayon kay Bernal, Nora lost in Berlin to a Russian actress by a mere vote. Sa 7th Gawad Urian in 1983, nominated in almost all major and minor categories ang Himala but never won a single award. Ilang taon ang lumipas, sa tuwing titingnan ko ang Honor Roll ng Manunuri sa ipinamamahaging souvenir program, sadyang “walang Himala” na nagtamo ng parangal. But in 2002, sa 25th year ng Gawad Urian, kabilang ang Himala sa Pinakamahuhusay (Best Films of the past three decades) na naparangalan, with Nora Aunor personally receiving the overdue award para sa isang totoong klasikong pelikulang Pilipino. At bigla ngang naghimala ang Himala!…” – William Reyes (READ MORE)

The Role – “…Sinasabi ng mga drumbeater ni Vi na ang kanyang role sa pelikulang ito ay pang-award, pang-FAMAS, pang-URIAN o pang-Film Academy Award kung matutuloy ito. Hindi kami tumututol sa kanilang palagay laluna’t napanood namin ang pelikulang ito. Masuwerte si Vi at sa ganitong maselang role ay dinirek siya ng isang katulad ni Bernal. Tulad nang binigyang diin namin sa unang bahagi, ang mga pelikula ni Bernal, ang “Pagdating sa Dulo”, “Nunal sa Tubig”, “Mister mo, Lover Boy ko” at “City after Dark” ay mga malinaw at makatotohang salamin ng buhay. Kaya sa “Relasyon” ay natural lamang na makakita tayo ng mga sitwasyong tila aktuwal na kinuha sa tunay na buhay at inilipat nang buong-buo sa puting tabing…” – Mando Plaridel, Star Monthly Magazine July 10, 1982 (READ MORE)

After the Slam – “…Like 1972 of the previous decade, 1982 turned out to be a repeat in terms of success for Vilma Santos. If critics took noticed in 1972, her performance in Dama De Noche, a decade after, the critics went gagah over her performance in ”Relasyon,” directed by Bernal. The film earned Vilma all the local best actress trophies from all award-giving bodies. Aside from this success, she will also be crowned as the box office queen of 1982 (the next year for her body of work this year) because of the financial success of her six films notably, “Sinasamba Kita” a film directed by Eddie Garcia and “Gaano Kadalas ang Minsan?’ directed by Danny Zialcita. Bernal on the other hand not only was credited for Vilma success for “Relasyon” he also received accolades for “Himala” a film by Nora Aunor, Vilma’s rival. Both “Himala” and “Relasyon” were considered two of Bernal’s signature films. In addition to this, he did two Marecel Soriano films, the comedy “Galawgaw” and the drama, “Hindi Kita Malimot” and finally another Cherrie Gil film, “Ito Ba Ang Ating Mga Anak…Bernal gave Vilma Santos her first grandslam best actress awards and consecutive Gawad Urian best actress (1982 and 1983). Their first film together was Inspiration (1972) and last was Pahiram Ng Isang Umaga (1989).” – RV (READ MORE)

Still Relevant? – “Relasyon was the only film with three screenings at the on-going Pelikua at Lipunan last March 3, 2006. No other films hold this record. We were enthusiastic about the students who reviewed the film of more than two decades. Talagang relevant and timeless ang theme at plot ng nasabing pelikuka at maituturing na isa sa great films of Philippine Movie history. Before the screening of the film ay masaya kaming nag-uusap and at times our attention was called sa mga updates and or instructions ni Jojo Lim for the next group activity like March 8 sa U.P. sa Cine Adarna para sa Diwata Awards kung saan ay confirmed na darating si Ate Vi who is one of 4 distinguised honorees. Tumigil lang kami ng magsimula na ang screening. Wala ka ng makausap pa. Nakatuon lahat sa pelikula. Animo’y mga magagaling na kritiko ng gawad Urian na magre-review ng nasabing pelikula sa unang pagkakataon?! Hmp. For the film’s final highlight, we all sat in real silence. Motionless. Then, the expected tour de force/acting coup cum real drama essayed by Ate Vi. Her solitariness remained absolute in this particular scene with her heart wrenching monolgue. Then I thought I caught a glimpse of some of our co-Vilmanians wiping away “precious tears” in between sobs. Several more moments passed in silence. Tinapos namin ang panonood ng pelikula with an ovation. ’Di lang kaming mga Vilmanians ang pumalakpak! We hope ay nakapag-contribute ang mga Vilmanians in support of Mowelfunds worthy projects. Mabuhay Ms. VILMA SANTOS The Philippines Movie Queen For All Seasons. Mabuhay Vilmanians around the globe.” – June Sison, 5 Mar 2006 (READ MORE)

24 years after its release, Relasyon remained relevant and fresh due to its social topic (the flight of many mistresses in society) and Vilma Santos’ performance in this film made it possible for everyone to sympathize their (mistresses) flight. Even critics agrred Heres what one said: “…Napakahusay ni Vilma Santos sa papel ng pangunahing tauhan, isang dalagang umibig sa isang may asawa. It’s one hell of a role and a heaven of a performance. Kasama si Vilma sa lahat ng eksena sa pelikula at talagang ito na ang pinakamabigat na papel na napaatang sa mga balikat ng isang local actress mula ng gampanan ni Gina Alajar and lead role sa “Salome.” This time, sigurado nang mano-nominate si Vilma sa Urian (ito lamang ang award na hindi niya napapagwagihan) at malamang na ang maging pinakamahigpit niyang kalaban dito ay si Nora Aunor na very demanding din ang role sa “Himala” (na si Bernal din ang direktor). Ito’y kung matatapos ang ECP project na ito sa taong ito na sa palagay namiy hindi kahit gusto ng ECP na isali ito sa filmfest sa Disyembre. Dinalirot ng “Relasyon” ang lahat ng mga anggulong maaaring suutan ng isang babaing nagiging kerida. Maraming madamdaming tagpo sa pelikula, lalo na ang death scene ni Christopher de Leon na tuhog ang pagkakakuha. Bagay na bagay kay Jimi Melendez ang papel niya bilang torpeng talisuyo ni Vilma. Hit na hit siya sa audience…” – Mario Bautista, Puna at Puri People’s Journal July 1982 (READ MORE)

Star For All Seasons

Vilma Santos-Recto is a popular multi-awarded actress and politician in the Republic of the Philippines. * She is known as "Queen of Philippine Movies," "Queenstar," "Grand Slam Queen," "Box Office Queen," and "Star for All Seasons." * This website is mostly about her iconic film career.

Category Archives: ARTICLES

Luis Enriguez’ Vilma Santos Films

Rate this:

Money and Vilma Santos

Rate this:

Elwood Perez’ Vilma Santos Films

Rate this:

Special Film: Pinay American Style

Rate this:

Special Film: Mahinhin vs. mahinhin (1981)

Rate this:

Chito S. Roño’s Vilma Santos Films

Rate this:

Danny Zialcita’s Vilma Santos Films

Rate this:

Vi The Victorious

Rate this:

FILMOGRAPHY: RELASYON (PHOTOS)

Rate this:

Grand Slam film, Relasyon

Rate this: