Category Archives: ARTICLES

FILM REVIEW: PAHIRAM NG ISANG UMAGA

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The Plot: Pahiram Ng Isang Umaga revolves around Juliet (Vilma Santos), who finds herself struggling against an ever-escalating series of problems. A determined single parent, she manages to raise a child while remaining successful in her career as an advertising executive. Everything in her life seems to go well until she is diagnosed with a terminal disease. For her son’s sake, and without revealing her condition, she is forced to resolve her most important life relations: rekindling first her connections with her parents, and then with the very man who fathered her son. In the twilight of her life, she meets and falls in love with a beleaguered artist, Ariel (Eric Quizon), who is constantly depressed and perpetually contemplating suicide. She slowly loses her health but unknowingly reawakens Ariel desire to live, and they both engage in a meaningful affair – one that makes each day they live through together more meaningful than the last. – Regal Films

The Reviews: Weepies are a common movie fare in the Philippines, along with extremely violent action thrillers and trite youth comedies. It is, therefore, a cause for cheer when a filmmaker tries to elevate the very common genre of the melodrama into a rich and intellectually rewarding film experience, such as director Ishmael Bernal has done with his Pahiram ng Isang Umaga. Director Ishmael Bernal has seen in the material an opportunity to put substance to what has often been denigrated as the unthinking man’s entertainment, and to a considerable degree, his attempt has been a success. Pahiram is both effective as a tearjerker and meaningful as a depiction of people in crisis. Using a traditional element of the genre, the theme of death, Bernal and writer Jose Javier Reyes probe into the life of a woman who has been told that the end is near. Juliet (Vilma Santos, one of the two reigning Philippine female superstars for the past two decades now) is told that she has eight or maybe seven months to live. As a progressive advertising creative director who has been promoted (rather late) as vice president of her company, she has the means to attend to the less mundane demands of life, examine what may have been an unexamined life, and make the most of the limited time left. In all these, Bernal explores the emotional and psychological condition of the person who lives on borrowed time. Naturally visible here are the many symbols not only of death but also of life to serve as some kind of counterpoint or irony. Sometimes, they blend with each other, and at other times, they contradict.

From the peasants’ ritualistic rice planting to the backyard harvesting of sun-dried patola cultivated as life-giving seedlings, the evidence of life renewing itself could hardly be ignored. Then there are the more obvious symbols of fire, daybreak and persistent rains (the latter of which are used to reinforce the gloomier mood at the second half of the movie, and also suggest the rains’ refreshing and replenishing results). But the most eloquent symbol here of life is the process of artistic creation, personified – again paradoxically – by the expressionist painter Ariel who befriends and then is smitten by Juliet. There are ironies here. The painter creates life through his art, but at the same time, psychologically tormented, he wants to end his own life. Such a restless, free soul, grappling with the complexities of life, he has a whole life ahead of him, his artistic world limited only by his imagination, and yet he wants to quit. In contrast, Juliet who is dying, wants to live. Here is a woman who saves a man’s life (the artist’s) but cannot save her own. The idea of art as life or art vs. life is examined at length. Asked by the boy why he has to put on canvas the seascape, the artist makes the clarification that he is not copying the scenery. Ostensibly, he is recreating it on a different plane, art being something else, with a life of its own. This is suggested by the portrait the artist is making of Juliet. The model may soon die, as she will, but the portrait will live on. Life may indeed be short, an idea which used to be stated directly in previous Bernal movies, but art endures. It is the one thing in this world which is eternal. The briefness of life is suggested with the graphic sight of wet sand dripping down from the hand.

Bernal and Reyes go farther by including a scene in which the artist explains the origins of art. By the fireside at the beach, and watching the flame cast a glow on them, he notes that prehistoric men “discovered” art when they made outlines of shadows on the caves. Those artworks, though crude and primitive, still exist. Implicitly, Juliet’s death, no matter how saddening, is not going to be the end. Philosophical musings like these are not standard soap opera fare, and may alienate a lot of ordinary moviegoers (even the more cerebral ones who cannot accept the conventions of the soap opera genre). Woven unobtrusively into the plot, however, they add texture and enrich the drama. Juliet in a way will continue to live – in that portrait, in her young son who will survive her and hopefully continue her legacy whatever it may be, and in her good deeds. In the last scene, the imagery and symbolisms of life and death abound. Juliet dies at the break of dawn, the start of a new day (and life), but not without first making her last sentimental paean to life. Supported by the artist, her eyesight having failed completely and with the waves caressing their feet, the weak and dying cancer victim remarks how beautiful life is.

True enough, this dying scene set on a beach, with the woman in white, dainty night gown, is one of the most exquisite, breathtaking moments in Philippine movies. But before giving us this grand, highly emotional death scene, the director has gradually introduced various motifs of death, from the artist’s pet black bird which at one point he cruelly squeezes in his hand, to the funeral rituals for Juliet’s father. This is a striking part of the movie, Juliet watching intently as morticians work on her father’s remains, as everyone weeps when the coffin is lowered to its final resting place, and during the ritualistic “pasiyam,” the nine-day novena for the dead. It’s as though Juliet can see herself in her father’s lifeless body while mourners mill around it. The attempts to raise the level of the melodrama and present insights on life and death provide the movie its greatest strength – and wide appeal. How strangely ironic that a movie dealing with death could have so much life- – Mario A. Hernando, “A Look at Death and the Affirmation of Life,” Malaya, 5 March 1989

“…In Pahiram Ng Isang Umaga, Ishmael Bernal’s very competent handling of the material, coupled with Santos’ intelligent portrayal of Juliet, a terminally ill cancer victim, saved the film from becoming a glorified soap opera…” – Jojo Devera, Sari-Saring Sineng Pinoy 03 Nov 2009

“…A series of unfortunate events seemed to hound Nora’s career up to this point. October 1, 1989 was to be the last airing date of the 22-year-old musical-variety show Superstar on RPN 9. A month later, it was revived on IBC 13 with a new title, The Legend … Superstar, but this was short-lived lasting only up to early 1990. Naging mas masuwerte si Vilma Santos sa hinu-host na Vilma! on GMA 7, which started in 1981 as VIP (Vilma in Person) ng lumang BBC 2 (naibalik sa Lopez owners ang ABS-CBN after the EDSA Revolution). Nagbida si Vilma sa isa sa mga pinakaimportanteng pelikula ng Dekada ‘80: Regal Films’ Pahiram Ng Isang Umaga (by Ishmael Bernal), na sinimulan in 1988 at ipinalabas in early 1989. In December 1989, Vilma headlined a period romance-drama (Viva Films’ Imortal, megged by Eddie Garcia) at nanalo sila ng kaparehang si Christopher de Leon ng acting plums sa MMFF. Sa awardings for that year, si Vilma ang nanalong Best Actress sa Star Awards (for Pahiram), her first form the Philippine Movie Press Club. ‘Kumpletung-kumpleto na ang career ko!” nasabi ni Vilma as she accepted her trophy. Later, it was Nora’s turn to get a Best Actress trophy for the first time from the Film Academy of the Philippines, for Elwood Perez’s three-year-in-the-making Bilangin Ang Bituin Sa Langit. ‘Kumpletung-kumpleto na ang career ko!” sabi rin niya in her acceptance speech. Na-elevate si Vilma sa FAMAS Hall of Fame, for having bagged five Best Actress statuettes: Dama de Noche, Pakawalan Mo Ako, Relasyon, Tagos ng Dugo, and Elwood Perez’s Ibulong Mo Sa Diyos. Nora won her fourth Best Actress plum sa FAMAS, also for Bilangin. Walang itulak-kabigin sa dalawa, kaya marapat lang na mag-tie sila for Best Actress, as in the 1990 Gawad Urian, na ‘pantay na parangal ”ang ipinagkaloob ng Manunuri kina Nora (for Bilangin Ang Bituin Sa Langit) at Vilma (for Pahiram Ng Isang Umaga)…” – William Reyes (READ MORE)

“…Vi goes to the kitchen to prepare breakfast at habang nagbabati siya ng itlog, doon pa lang ipinakitang una siyang nag-breakdown. And this is shown nang nakatalikod siya sa camera. No overly ornate kind of emoting na akting na akting ang dating. Pero damang-dama mo pa rin…she becomes the part (lalo na sa eksena nila ni Gabby Concepcion sa simbahan na binalikan nila kung paano sila nagkasira), and if you notice that she is good, well, salamat po…Sa second viewing ng movie namin lalong napansin ang subtle nuances ng performance ni Vi, up to her death scene which confirms our supposition that the movie is not really so much about death than a celebration of life..’yan ang opinion namin…” – Mario Bautista, People Journal 1989 (READ MORE)

“…The only thing I can say about this film is that of its performances – from Vilma Santos (as the woman who spends her last days on earth looking for love) and Eric Quizon (as the ill painter who falls in love with Santos). This film is best fitted for a made-for-TV slot, considering its premise (which may attract mothers). Passable…” – Oscar 99, IMDB web site, September 13, 1999, Manila,Philippines (READ MORE)

“…The last time Bernal and Santos collaborated was in 1989. Santos, still active with her musical variety television show, did three films, all were commercial success. “Imortal” directed by Eddie Garcia was a local festival entry that earned Santos another local festival best actress. “Rizal Alih, Zamboanga Massacre” was directed by Carlo J Caparas. And “Pahiram Ng Isang Umaga” directed by Bernal. The film earned Santos the local critics best actress and Bernal the best director. Vilma her very first Star best actress, considered the Golden Globe local equivalent at that time. Pahiram also received nominations for best actress for Vilma and best director for Ishmael both from FAP, now the local equivalent of OSCAR…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)

“…Eric’s role in “Pahiram Ng Isang Umaga” is the manic-depressive love of Vilma Santos. He was contrapuntal to Vilma’s existence who wanted to prolong her life while he wanted to end his. But the Method Acting-oriented scribes at teh Philippine Movie Pres Club saw in Eric the mere physicality in his attack of the role. No anxiety in the eyes; all overt body movements to the point of the Nora Aunor anxiety-laden eyes. Eric rationalizes; “That was exactly how I was supposed to attack my role according to Direk Ishmael Bernal – overacting at physical level lang talaga. Wala nang pa-anxiety-anxiety pa. All the other major characters in “Pahiram…” were already making lupasay na with heavy emotions. From Vilma to Zsa Zsa Padilla to Vicky Suba to Gabby Concepcion – silang lahat emotionally loaded na. If I do the same, boring di ba? Ayaw ni Direk Bernal na pa-heavy emotion approach for my role. But you know my homework for that role was to watch several English sad movies on tapes and was told to cry with the characers if I wanted to or feel like crying. I felt so stupid talaga, but that exercise paid off I tell you.” If you have watched “Pahiram…,” the scene where Eric has to strangle a Myna bird was such a memorable highlight. Eric recalls; “I had to do an improvisation for that scene. Sabi ni Direk Bernal, don’t plan anything with the bird. Basta you just confront the bird at bahala ka na sa sarili mo. So what I did was to make mura and kind of strangle pero acting lang out of my supposed madness. You know what happened? The day after, nagpakamatay ‘yung bird. Nagtampo siguro ‘yun. Kasi raw ang Myna bird ay very sensitive, di ba? Sayang ‘yung bird, ano?…” – George Vail Kabristante, Manila Standard, Feb 20, 1990 (READ MORE)

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In Appreciation of Writers

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Here are some personality in some way have been defending Vilma in the past and

Cleo Cruz

“…Pero sa totoo lang, sa kanilang tatlo, si Cleo Cruz lang ang masasabi kong trusted at loyal kay Vi dahil si Cleo ay hindi nagsusulat ng mga negative write-ups kay Vi. Si Cleo ay asawa ng isa ring writer/reporter na si Chito Mimije (isa rin sa mga tagapagtanggol ni Vi). Nang pumanaw si Chito ay nangibang bansa na lang si Cleo at iniwan na ang Pilipinas…” – Alfonso Valencia (READ MORE)

“…I think mommy Cleo, as Ate Vi calls her, is in Los Angeles. I read an article that Mario Bautista wrote a few years ago that he attended a wedding in Los Angeles and Cleo Cruz was there. If I am not mistaken she still gets in touch with mommy Santos in Los Angeles. Cleo Cruz was married to the late brother of the movie scribe Chit Ramos. Cleo was the P.R.O. of Ate Vi in the 70’s and 80’s. I remember reading her column Vilma Variety in Bulaklak at Paru-Paro Magazine. The column for Ms. Aunor was written by Baby K. Jimenez. There was a time when Cleo Cruz and Baby K. Jimenez had a series of heated argument in their columns on who is the real queen of the Philippine movies. It stemmed from the fact that at that time Ate Vi was being called as the Takilya Queen by the press. Now we know who is the real and longest reigning queen Vilma!…” – Fr. J Gutierrez (READ MORE)

Babette Villaruel

“…Sosyal! Si Babette naman ay nagkaroon ng Sunday noontime show sa Channel 13, kasama si OMB Chairman Edu Manzano na pinamagatang Sunday Special Iba Ito. Sino ang makakalimot sa kanyang portion na may pamagat na “Say, Say, Say” sa nasabing programa na tuwing papatugtugin ito ay kinakalog niya ang ulo niya. Si Babette ay best friend ni German Moreno at noong nagkaroon sila ng hidwaan ay palaging sinasabi ni Babette na nagtitirik siya ng kandilang itim. Pero bago pumanaw si Babette ay nagkabati din sila ni Kuya Germs. Nasaan na kaya ang mga koleksiyones niya na “PH” ng mga artistang lalaki? Samantala, ang kontrobersiyal talent manager na si Alfie ay nagkaroon ng radio program sa DZBB na pinamagatang “What Is All About Alfie?” Nagkaroon din siya ng mga tv talk shows katulad ng Rumors, Facts & Humor kasama si Janice Jurado, Troika kasama sina Oskee Salazar at Billy Balbastro at yung isa ding tv talk show sa ABS CBN 2 kasama sina Edu Manzano at Cristy Fermin na katapat ng Startalk sa GMA 7…” – Alfonso Valencia (READ MORE)

“…I am thinking, what could be more “kabastusan” than showing a funeral cortege as a PIP ( Picture in Picture) in a noontime game show, full of gyrating dancers and contestants jumping and up and down, audience cheering and clapping? What was ABS-CBN’s motivation to do this? I can only think of one reason; TV rating – hitting two birds with one stone, so that viewers need not switch channels. In short, you’re “entertained” by both events by a single channel. I am reminded of a light hearted statement made by the late movie reporter Babette Villaruel when asked about the funeral of his deceased father “ Okay naman ho. Successful naman yung burol niya”. Clearly, he was adding a showbiz twist to the event, in levity of course….” – BW (READ MORE)

“…Catch a flashback of an evening of confidences written for a column on Jan. 5, 1989. It was an interesting mix to start with. Babette Villaruel, Mama Monchang, Bong de Leon and Mar Cornes hugging a corner of that magnificent garden at Forbes Park. We have come a long way, baby, since that time we all enjoyed the highlights of Aling Maring’s merienda at El Oro. But the elegant domain in this conclave of the rich is owned by banker Danny Dolor, a friend of Ronald Constantino, whose birthday was the reason for that evening of fun. It also turned out to be an evening of confidential declaration. June Torrejon, who has dropped Rufino from her name, was happy to note that her children will not have a half-brother or sister since Nena V. disclosed that during a religious confrontation, the real father came out in a confession while he was getting married to another one. If you find this had to follow, so do I. But the most incredible things happen in showbiz and this is one of those. “It was an answer from above,” June said. “He knows how to take care of his children.” The talk that night also centered on other separations, like that of Inday Badiday and Gene Palomo and as usual with such embellishment to make light of the situation…

…Vilma Santos, looking as stunningly beautiful as you see her on TV, sat at our table. Which turned the talk now to Edu Manzano and current love Maricel Soriano. Details were again embellished, some outrageously so just for fun. Maricel is a great cook, someone said looking at Vi, now the butt of all jokes. “Perhaps he left because you never cooked for him!” “But I don’t know how to cook!” Vilma laughed. But I learned some recipes from my mother-in-law.” Our table decided to form the Edu-Vilma movement with Edu’s mom Mrs. Manzano as president and June as vice president. Vilma is their favorite but Vilma herself just flashed her Mona Lisa smile. Danny Dolor’s home sits on top of a knoll this side of Forbes. It is one of those houses with an open façade, giving it a more welcoming atmosphere than the usual high walls. At our corner table, gossip was the main menu. June consulted her lawyer to sue a starlet saying nasty things in print about her when the starlet became close to Randy Rufino. Vilma was the only actress at our table of movie writers which included Bibsy Carballo, Romy Vitug, Ethel Ramos, Letty Celi, Nena V. , Ricky Lo, Nestor Cuartero and Babette. “Oh Vi, don’t write about this, ha!” Now: March 26, 2010: Vilma is happily married to Ralph Recto who is running for the Senate. She is the very popular governor of Batangas. Her son with Edu, Lucky Manzano, is now a popular actor and TV host. Edu, who has moved on to other loves after Maricel, has become a popular TV host. He is running for vice president of the Philippines under the administration party. Babette Villaruel, Nena V. , Mar Cornes and Mama Monchang are dead. June and Randy are now friends but still separated…” – The Philippine Star (READ MORE)

Alfie Lorenzo

Alfie Lorenzo – “…Alfie interviewed Nora who professed her still lingering passion for Manny de Leon. Again it was duly reported by Alfie. Again he was belied, this time by Nora Aunor. This twin denials did not deter Alfie from pursuing a more rabid reporting stance. Now with the Vilma-Bobot group, he would rake coals and embers and fan the escalating Nora-Vilma war. Gradually the Nora-Vilma fight settled into a more subdued form of rivalry. From proing for movie stars, Alfie Lorenzo teamed up with the members of what would eventually be the Laperal Mafia and the Ligaya Brotherhood (or Sisterhood, whichever the case maybe) and went into proing for movie companies – Sine Pilipino, Juan de la Cruz, Lyra Ventures – moving into Regal where he is more or less a fixture. Before latching on to these companies, Alfie and Douglas ventured into movie production coordinating for a freelance producer and came up with forgettable movie called, “Wild, Wild Pussycat.” “Lahat kaming malas nagsama-sama sa Sine Pilipino. Elwood directed “Blue Boy,” flop. Joey directed for Tower, flop, buti na lang kumuwela si Vilma.” remembers Alfie. At Sine Pilipino, Vilma Santos finally made the big leap to superstardom then held solely by the dark girl from Iriga. With a couple of hits which raked in the box-office, Sine Pilipino was able to establish the careers of Joey Gosiengfiao, Elwood Perez, and even when Sine Pilipino went under because of what has been reported as faulty management, Alfie managed to breast the waves of bankruptcy and the board of censors’ ire to stay in business as a movie writer-pro-columnist-manager. At Lyra Ventures, Alfie was part of the project-makers of “Uhaw” parts I and II, the scenes of which caused a turnover in the board of censors. Today, Alfie Lorenzo’s cheek and guts have taken him around the world in pursuit of his own star. Managing of being pro for stars like Vilma Santos, Charito Solis, Al Tantay, Cherie Gil, Mark Gil and Dante Rivero has made Alfie more or less an indispensable fixture in the movie scene…” – TV Times, 27 April – May 3 1980

“…Noong dekada ’80 ay naging manager si Alfie ng Liberty Boys na kinabibilangan nina Rey “PJ” Abellana, Edgar Mande at Lito Pimentel to name a few. Liberty Boys ang itinawag sa kanila dahil nakatira sila sa Liberty Avenue, Murphy, Cubao, Quezon City. Si PJ ay naging manugang ni Ms. Delia Razon at ang anak niya ay si Carla Abellana, ang Rosalinda. Si Edgar naman ay nakasama ni Vi sa pelikulang Relaks Ka Lang Sagot Kita samantalang si Lito ay nakasama ni Vi sa mga pelikulang Broken Marriage at Tagos Ng Dugo. Sa mga Liberty Boys, tanging si Lito lang nagkaroon ng acting award. Siya ang best supporting actor ng Urian noong 1988 para sa pelikulang Kapag Napagod Ang Puso. Noong huling bahagi ng dekada ’80 na nauso ang mga musical variety show katulad ng The Sharon Cuneta Show ni Sharon Cuneta, Maria Maria ni Maricel Soriano, Always Snooky ni Snooky Serna, Loveliness ni Alma Moreno, Superstar ni Nora Aunor, Tonight with Dick & Carmi nina Roderick Paulate at Carmi Martin at Vilma ni Vilma Santos ay naging PRO si Alfie ng Loveliness. Nang mga panahong ito ay galit na galit si Alfie sa executive producer ng Vilma Show na si Chit Guerrero. Pati si Vilma ay nadadamay sa mga galit niya kay Chit. Talagang personal na ang banat niya kay Vilma. Posible kayang ang dahilan ng galit niya eh dahil hindi man lang makaangat ang Loveliness sa Vilma Show sa dami ng commercials, production numbers, guests at higit sa lahat ay rating? Ang Vilma Show ay palaging numero uno, walang makaabante maging ang sinasabi nilang longest-running musical variety show na Superstar. Si Vilma ang highest paid tv star at ang Vilma Show ang tinaguriang Central Bank ng GMA 7…” – Alfonso Valencia (READ MORE)

“…Apparently, the two haven’t been on speaking terms ever since Vilma supposedly failed to meet up with him in New York while she was shooting the movie In My Life last summer. The controversial talent manager wrote at least two angry blog posts about Vilma having forgotten their friendship (plus loads of shocking allegations) which, he claimed, dates all the way back to the ‘70s. Despite the malicious remarks in the articles, Vilma kept her silence on the issue, stating that she and Alfie would surely mend their differences when the right time comes. “Hindi, si Alfie, aminin naman natin…nung bata ako kasama ko naman ‘yan, sa totoo lang. It’s just a matter of miscommunication…True to the title of her special A Woman of All Seasons, Vilma refused to take offense and kept her side open for reconciliation with the ever-feisty talent manager. “Naiintindihan ko si Alfie. Baka hinanap niya yung nagtravel kami nila Manay Ethel (Ramos) sa Amsterdam, Pinay American Style… Hindi lang siguro na-ano ni Alfie. But still, sa pinagsamahan namin, sinabi ko sa mga Vilmanians, ‘Huwag kayo sasagot. ‘Pag ako may narinig sa inyo…’ Kasi that’s out of respect for Alfie. ‘Kahit pinakagrabe na yung tinira ako talaga, walang sasagot.’ Kahit yung [fans ko na] taga-New York [hindi na nagsalita tungkol dun]. Nagtampo lang yun (Alfie),” she graciously stated…” – Rachelle Siazon (READ MORE)

Ricky Lo

“…Ricardo F. Lo, the very first movie writer who interviewed me when I was 12 pa lang yata and who even paid the fare for the taxi that he, my mom and I took to the Manila Times building on Florentino Torres St. in Sta. Cruz, Manila, where we did the cover pictorial for Variety, one of the paper’s Sunday magazines…” – Ricky Lo, The Philippine Star, October 31, 2010 (READ MORE)

“…Ricardo F. Lo, more popularly known as Ricky Lo, is an entertainment writer, showbiz commentator from the Philippines. He is of Chinese descent. He was born on April 21. He is a native of Las Navas, Northern Samar, where he finished grade school. He finished high school at the bilingual Tabaco Pei Ching School in Tabaco, Albay, and took up AB English at the University of the East. From 1969 to 1972, Ricky worked as editorial assistant of Variety magazine, the Sunday supplement of the old Manila Times where he started his Funfare column. After this, he joined the Philippine Daily Express first as staff writer of its Express Week magazine and then as deskman of The Evening Express and eventually its main broadsheet. He later went on to work as editorial assistant for its Sunday magazine, Weekend, until 1986. Lo did stint as entertainment editor- first at The Manila Times and then at The Manila Chronicle and currently at The Philippine Star where he also writes his revived FunFare column and his regular Sunday feature, Conversations with Ricky Lo. Ricky is the author of Star-Studded, the first compilation of his articles on movie stars, which he released in 1995. Another book, Conversations with Ricky Lo was released in 2001. The book bear Lo’s trademark sensitive, intelligent and penetrating style of handling interviews…” – Wikipedia (READ MORE)

Mario Bautista

“…I started my professional career in Channel 5, the carrier station of the Manila Times, in 1965. I was with the film programming department. We got to screen old movies, both local and foreign before it was aired on shows like “Million Dollar Movies”, “Sinagtala” and “Bahaghari”. I also helped in the production of some TV shows, like “Magmahal ay Langit”, then directed by Celso Ad. Castillo, and “Pamilya Kontra-Partido”, a sitcom. The station was closed down by martial law in September of 1972. During that time, I was already the head of the film programming department. In 1976, I was invited to write film reviews for “TV Guide”, edited by Rod Reyes. I was invited to be a member of the Manunuri ng Pelikulang Pilipino that gave out the Urian Awards. Newspapers then invited me to write entertainment columns and reviews for them, including “People’s Tonite”, “People’s Journal”, “Times Journal”, and “The Philippines’ Daily Express”. Later, I also wrote columns for “Ang Masa”, “The Manila Chronicle”, and “The Manila Bulletin”. I likewise had regular columns for several magazines, including Jingle Extra Hot, Movie Flash, Intrigue, Expose, Fame, Hot Copy, Parade, People’s, and others. On TV, I was a co-host of Armida Siguion Reyna and Behn Cervantes in “Let’s Talk Movies” and did film reviews on air for “The Big, Big Show”. In 1985, I became a member of the Philippine Movie Press Club that gave out the Star Awards for Movies. In 1987, I was instrumental in putting up the Star Awards for Television. When the Manila Times resumed publication in 1999, I was invited by then publisher Katrina Legarda to be its entertainment editor. I now write regular columns for People’s Journal and Malaya, and for the Japanese based fortnightly, Pinoy Gazette…” – Showbiz Portal (READ MORE)

Vima Santos on Motherhood

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A fresh-looking Vima Santos greeted us at the presscom of her movie, “Anak.” Full of energy after a three week vacation in the States, she answered our question about her film with zest and pride.

Favorite song

What is your memory of “Anak?” It was a favorite song of mine. I always ran to the radio whenever they played the song. When the project was offered to me, I responded favorably to it right away.

Do you still feel challenged by the dramatic situations of the story? Of course. The challenge is always there Kahit na nasa Hall of Fame ‘ko. We have lots of comfrontation scenes in this movie and they are all difficult. I remember doing a scene in which I had two pages of dialogue. After doing the blocking. I asked for time to concentrate because the director would take a continuous shot. The point is to never be over-confident and always turn to the director for help.

How significant is “Anak” to you? This is the first time I am portraying a domestic helper and our one week of shooting in Hong Kong enabled me to talk to some of them and understand them better.

Lonely

Most of them are sacrificing mothers and they’re lonely because they are far away from their families.

Was it easy for you to relate to your character in the movie? I internalized my being a mother is real life and the fact that I am also working, hindi nga lamang abroad. It helped me a lot remembering what Mama did to me when I was young.

As a mother, what are your particular about? The health of my children. If you want me to get upset, just tell me that one of my sons is sick!”

What kind of a mother are your to your teenage son Luis? I am quite liberal dahil iba naman ang henerasyon ngayon as compared doon sa kinagisnan ko. Curfew hour for me then was midnight. But now, ganung oras pa lamang nagsisimula ang kanilang mga happenings.

No communication gap

I have no communicatin gap with my son. We talk about everything under the sun, including sex. Also, I allow my son to reason out with me since the saying mother knows best is not applicable in all circumstances.

Has Luis given you a headache? Sa awa ng Diyos ay wala pa namang grabeng sakit ng ulo idinudulot sa akin. Mabait siyang bata and he knows his responsibilities. But I recall punishing him over a failure to deliver good grades. I am particular about his studies. When he showed me his low grades, he promised he would do something about it. The third grading period came and there was no improvement, so I reminded himd of his promise. He was grounded for one week and was not allowed to use the telephone.

Was ther a time when you neglected your motherly duties? It was campaign season and you know how busy candidates are. Hindi ko nabantayan si Luis because I was busy campaigning, and he stayed in somebody else’s house at nagtampo. Vilma says her greatest joy is being a mother to Christian who is only four and Luis who is already a handsome teenager. Her greatest fear is to “lose” them one day, when they move out to have their own families. She says 85 percent of her life is devoted to being a loving mother! – Remy M. Umerez Philippine Daily Inquirer, May 12 2000 (READ MORE)

2002 Best Actress Awards

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Novel to Film “…”Dekada ’70,” the eagerly awaited filmization of Lualhati Bautista’s seminal novel in the explosive ’80s, has eight nominations. Best director nominee Chito Rono successfully focuses the novel’s many-sided dimensions on a mother’s stirring from domestic conventions and sensibilities as her family copes with the changes wrought by a collapsing order. The movie, written by Bautista herself and nominated for best screenplay, manages to provides viewers, particularly the young, with the feel of the Marcos years, reacquainting them with a particularly sordid passage in history when innocence was ravaged and continuity was ruptured. The wonder is that the movie did not get the lion’s share of the technical design (Manny Morfe), and sound (Albert Michael Idioma and Alex Tomboc) – should at least suggest its achievement. Vilma Santos and Christopher de Leon are strong contenders for best actor and best actress, while yound actor Piolo Pascual is nominated for best supporting actor. The 26th Gawad Urian of the Manunuri ng Pelikulang Pilipino, the society of respected film critics, will be held on May 17 at the AFP Theater…” – Lito B. Zulueta, Philippine Daily Inquirer, April 28, 2003 (READ MORE)

The Light “…Topping the Urian for surprise value was the join award for Best Picture to “Dekada ’70” and “Mga Munting Tinig,” This was unexpected because “Dekada” was a major production that took many months to make, while “Munting Tinig” was a small low-budget film that was shot in only a few weeks. Despite this, both films were cited as the best local movies for 2002. A possible interpretation of the twin awards could be “Dekada” is cited for tackling asn important period in the country;s political life with extensive resources of a major studio, while “Munting Tinig” is honored for its ability to dramatize a simple, heartwarming tale that provides much-needed inspiration, despite its limited budget. In other words, the two films’ contrasting approaches are both needed by local movies today, hence the decision for them to share the Urian’s Best Picture award…The Best Actress trophy that Vilma Santos won for her performance in “Dekada ’70” is another noteworthy decision because, when the film was first shown, even veteran observers rapped Vilma for her relatively “passive,” “colorless” and “undramatic” portrayal in the movie. This was because her character, the wife and mother in the movie’s central Bartolome family, spent most of the film’s running time meekly following her husband’s dictates, like most women in the ’70s. Some people took this as a weak thespic stance, and we had to point out in some articles taht his wasn’t true at all. In fact, given the convention of the movie’s time frame, this “passivity” was an astute artistic decision on Vilma’s part, and thoroughly merited by her character and the period in which she lived. In fact, what Vilma did in “Dekada” was more difficult because it was so controlled and subtle, it would have been far easier for her to melodramatically tear up the scenery and act up a storm. Gratifyingly, by the time the film awards season came around, enough people has seen the light, and Vilma went on to win a phalanx of Best Actress trophies, now including the Urian…” – Nestor U. Torre, Philippine Daily Inquirer – May 24, 2003 (READ MORE)

Star Awards “…Star for All Seasons Vilma Santos still gets the jitters when accepting acting awards. She bested five other equally worthy nominees to the best actress throne in last Saturday’s Star Awards for Movies at the UP Theatre. She won for her moving portrayal of a timid mother empowered by the death of her son in Chito Rono’s period drama, “Dekada ’70,” which was an official entry in the Metro Manila Film Festival (MMFF) last December. Ironically, Ara Mina, who edged out Vilma from the best actress derby in the MMFF, was not among those cited by Star Awards. Vilma competed with Sharon Cuneta (“Magkapatid”), Maricel Soriano (“Mano Po”), Claudine Baretto (“Kailangan Kita”), and Alessandra de Rossi (“Mga Munting Tinig”)…” – Marinel R. Cruiz, Philippine Daily Inquirer, March 11, 2003 (READ MORE)

Actress-Lipa City Mayor Vilma Santos, new actor Yul Servo, and the independent film, “Mga Munting Tinig,” proved that the local movie industry recognizes talent and good films, veteran or newcomer, when they bagged top honors at the 19th Star Awards for the Movies held last Saturday night at the UP Theater in Diliman, Quezon City. Santos was named “Movie Actress of the Year” for her role as a mother who experienced awakening during the ’70s turmoil in “Dekada ’70.” Santos, one of the country’s most awarded actresses, admitted she still feels the tension from the announcement of nominees to the winner. “Nakakakaba pa rin po hanggang ngayon (I still feel nervous even now),” she said in her acceptance speech. Meanwhile, newcomer Yul Servo was named “Movie Actor of the Year” for playing a young husband subjected to extreme culture shock when he finds life hard in a Manila suburb in the controversial movie, “Laman.” The rest of the major trophies went to Gil Portes, “Movie Director of the Year” for “Munting Tinig;” Piolo Pascual, “Movie Supporting Actor of the Year” for “Dekada ’70”; and Kris Aquino, “Movie Supporting Actress of the Year” for “Mano Po.” “Mga Munting Tinig” won most of the awards, copping with seven out of 16, including Child Performer of the Year (Brian Ronquillo), Musical Score (Joy Marfil), Production Design (Arthur Licdao) and Original Screenplay. According to its director and scriptwriter, Portes, the group completed “Munting Tinig” in only 15 days. He added, “This movie just won in the Sta. Barbara International Film Festival and is the first locally produced movie bought by Warner Bros. for worldwide distribution.” Other winners at the 19th Star Awards were “Agimat” for Best Special Effects; Jordan Herrera, New Movie Actor of the Year for “Gamitan;” Nancy Castiglione, New Movie Actress of the Year for “I Think I’m in Love;” Ogie Alcasid for “Kailangan Kita,” Best Movie Theme Song; and Lualhati Bautista for Best Adapted Sceenplay, “Dekada ’70.” Special awards given were the “Darling of the Press” for Onemig Bondoc, the “Male Star of the Night” for Bong Revilla, the “Female Star of the Night” for Maricel Soriano and the “Lifetime Achievement Award” for Sen. Ramon Revilla, Sr. Trivia host was Charlene Gonzales. Hosts of last night’s Star Awards were Cesar Montano, Bong Revilla, Philip Salvador, Kris Aquino, Maricel Soriano and Vilma Santos. Performers were Sharon Cuneta, Jolina Magdangal, Ogie Alcasid, Jaya, Angelika de la Cruz, Patricia Javier, Karylle, and Zsa Zsa Padilla. – Sol Jose Vanzi, March 10, 2003 (READ MORE)

Gawad Urian Awards “…Gawad Urian best supporting actor Piolo Pascual (“Dekada ’70”) arrived early at the awards ceremony Saturday night and reserve a seat for “Dekada ’70” costar Vilma Santos, who would later be declared best actress. Vilma and Piolo played mother and son in the moving Chito Rono movie based on the screenplay by Lualhati Bautista, who won for best screenplay. Piolo was very affectionate to “mom” Vilma, hugging and kissing her when she arrived. He was seen clasping her hands moments before his name was announced as best supporting actor at theTeatro Arturo Enrile in Camp Aguinaldo, Quezon City…The movie critics’ group paid tribute to writer Ricardo “Ricky” Lee by naming him the recipient of the Natatnging Gawad for lifetime achievement for his invaluable contributions to the film industry for more than three decades. The award was handed to him by three of the many actresses who breathed life to his creations – Vilma (“Relasyon”), Dina Bonnevie (“Gumapang Ka Sa Lusak”) and Gina Alajar (“Salome”). Lee has so far written about 120 screenplays and won some 50 awards. His most recent work, Marilou Diaz-Abaya’s “Bagong Buwan,” was honored by many local and international award-giving bodies…Edu Manzano was very effective as the show’s only host. He kept the audience awake and laughing with his witty remarks, delivered with his trademark deadpan expression. Even Piolo and Vilma were not spared from Edu’s jokes. he imitated Piolo after the young actor delivered a very emotional acceptance speech. When Vilma said she was sharing her award with her costars in “Dekada ’70,” particularly to her “eldest son” Piolo, the camera caught Edu having his own dramatic highlights.” “What?” he asked his ex-wife in mock surprise, “Anak natin si Piolo?…” – Marinel R. Cruz, Philippine Daily Inquirer, May 20, 2003 (READ MORE)

Joey Gonsiengfiao’s Trilogy

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“When I was small, we stayed on teh second floor of a moviehouse in Cagayan where my uncle owns a chain of moviehouses. During mealtime, I would eat at the balcony section so I could watch a movie at the same time. Noon, ang pelikula ay parang isang visionary world, parang it’s so far away and so high up there. I was fascinated no end by how a movie was made. I told myself, someday I too will make a movie.”

There are three important periods in Joey Gonsiengfiao’s life as a director: his UE period when he shuttled between classroom and stage, trying to finish AB while presenting one big play on campus every semester; his Tower Periiod when he socialized in the show-biz circles and made abortive movie debut; and his Sine Pilipino Period when he learned from his past mistakes, helped form a trend-setting box-office movie director.

UE Period – One remembers Joey as that diminutive, chinky-eyed fellow who would come panting to the Literary Criticism class at UE where he was a dropout and over-stayed for 10 years (1959-1969). Together with a big guy named Elwood Perez (now also a movie director), Joey would dominate the class discussions. The two were campus celebrities of sorts; Elwood wrote movie reviews for his column in Dawn, the college paper, while Joey directed stage plays (Becket, The Lark, My Fair Lady, Gigi, and The Glass Menagerie, which starred his signature actor Nestor Torre). Joey was forever rehearsing and his classes were such a hassle that he would drop all of his subjects every semester. He was a scholar.

“The nearest visionary world to movies for me was the stage,” Joey says. “As a kid, I wanted to act in plays. Kapag hindi ako kasali sa bilada, aba, kinakausap ko ang titser.” At UE, Joey attended workshops and seminars and studied under Rolando Tinio, his mentor. Foundationd Day celebrations were never complete without a Joey Gosiengfiao play. What he learned on campus came in handy when he was assigned by Cecile Guidote to the Balentataw drama series on the defunct Channel 5, the TV arm of PETA.

Tower Period – His Tower Period began in 1970 when he bumped into PR Man Douglas Quijano of Tower Productions. It was Joey’s introduction to the glamour-and-glitter whirl – “it was my “socializing” days,” Joey put it more aptly. “I had fun with my new-found friend movie scribes.” One morning, Joey woke up to realize that his contemporaries had all made their maiden movie ventures: Lino Brocka was being lauded for his Wanted: Perfect Mother, Ishmael Bernal for his critically and commercially successful Pagdating sa Dulo. Even his UE buddy Elwood managed to wrap up his own, Blue Boy, a dud. Joey approached Douglas and wailed, “Ay naku, Douglas, mamamatay na ako pag wala akong pelikula. Maloloko na ako. Mayroon an silang lahat, ako na alng ang wala.” Two weeks later, Temyong Marquez, Big Boss of Tower, surprised Joey with an assignment – “Nora Aunor pa mandin,” Joey recalls, “at pagka-ganda-ganda ng pamagat, Beautiful Love. It was my first film and I was excited. I wrote the script at nagulat pa ako dahil approved kaagad ni Director Marquez before he even read the script.”

The film didn’t come out beautifully. After shooting some scenes in Manila, the Tower entourage went for location filming in Iriga, Camarines Sur, hometown of Nora. The movie was barely one-third through when Nora Aunor dropped the bomb that nearly shattered Tower to pieces: “Tumakas ang Nora, hindi natuloy ang pelikula.” That was the time when Tower and Sampaguita were having a tug-of-war over La Aunor. The abortive screen debut didn’t bruise Joey’s ego a bit. His wits recovered, Joey tackled his next assignment: Funny Girl, starring international teenage hearthrob Sajid Khan and local glamour girl Tina Revilla. It was a financial flop. To nurse his disappointment, Joey sought solace in directing TV shows. “Those two films were a bakya compromise,” Joey says. “I have learned my lesson, that is never to compromise. Everybody was telling me noon, “Hoy, Joey, kailangan gumawa ka ng…hindi naman mediocre movie…but something with mass appeal. Kailangan kumita ang pelikula mo kung hindi wala ka nang pelikulang susunod.” Kaya nagisip-isip ako, sabi ko, why not? One movie critic called Funny Girl the total concept of a bakya production, which it was. Bakya nga, pero hindi rin naman nag-click. So I resolved to do what I believe will make good at the box-office.”

Sine Pilipino Period – Joey re-emerged in the movie scene in 1972, bristling with fresh ideas. This time he made a big gamble by helping his brother Victor and some friends put up Sine Pilipino, the company that would revolutionize trends in local movie-making. SP specializes in campy, stylish movies with imperative, three-word titles: Takbo, Vilma, Dali; Hatinggabi na, Vilma; Zoom, Zoom Superman!l; Si Popeye Atbp.; and Sunugin Ang Samar. Except for the last mentioned which was an action saga, the four SP flicks were spoofs characterized by madness. They revived the all-star casting system, lumping together in one movie several big stars. The flicks made money. Joey Gosiengfiao had his “sweet revenge.” “It was not wasy for us in the beginning,” Joey relates. “Just before the showing of our first film, Takbo, Vilma Dali!, Martial Law was declared. There were no newspapers then so we had to post bills all over the city, hanggang Pasay nagdidikit kami nina Douglas. We also distributed hand bills. Sa awa ng Diyos, kumita ang pelikula.” Of the films he has done, Joey considers Sunugin Ang Samar as the most difficult, not only because of its scope but also because action is not his forte. It took him three months to make the movie because the script (by Wilfrido Nolledo) called for different settings and they had to move from one place to another. Joey didn’t exactly follow Nolledo’s script but he saw to it that “the spirit was retained.” Of late, Joey has organized his own company called Juan de la Cruz Productions together with Elwood and Douglas. Their inital production, Asawa Mo, Asawa KO, was a moneymaker. SP specializes in home-movie types while JC makes more of the woman’s movie, “that’s because we are not good for action pictures.” Joey is now connected with SP only as a director.

“My main purpose as a director is to entertain the public,” say Joey. “It’s very rare that I put in any social message. JC movie deal with the individual rather than the social, more on the problems of the individual which may not be very relevant to society.”

As a producer, Joey knows the high cost of production so he tries to economize on negative by practising what he calls the “pre-editing method.” He makes sure that every shot is good, that no footage is wasted. Luckily for Joey, he never has any encounter with obdurate stars; all those he has worked with are easy to handle and cooperative. His favourite actress is, obviously, Celia Rodriguez whom he has directed twice before and who is cast in her secon-starring role in La Paloma, JC’s latest offering (also scripted by Nolledo). La Paloma is a bold experimental film for two reasong: (1) it’s done in black and white (which is a big risk in these time of color films), and (2), it boasts no box-office stars. “Celia is nice and difficult to work with,” says Joey, “nice because we communicate and difficult because, like all good natural actresses, she has her insecurities and tantrums which result in misbehavior and antipathy. Pero hindi naman siya antipatika, ha. Madalas kaming magsigawan sa set; sometimes, gusto niya mauna siyang mag-shooting pero hindi naman puede dahil kailangan mayroon mauuna. Ayan, we would shout at each other na, “Please naman Celia,” I would scream, “don’t give me any more problems, marami na nga akong problema, mabuti kung ikaw lang ang mayroon.” Pero after a while, kiss and make up na kami…” Joey Gosiengfiao has a last found true happiness. Expressweek, December 12 1974

RELATED READING:
IMDB: Joey Gonsiengfiao
IMDB: Promo girl (1978)
IMDB: Lipad, Darna, lipad! (1973)
IMDB: Takbo, Vilma, Dali! (1972)
IMDB: Mano po III: My love (2004) as publicist
IMDB: Hatinggabi Na, Vilma (1972)
IMDB: Nag-iisang bituin (1994) as supervising producer
Direk Joey Gosiengfiao has been laid to rest
Joey Gonsiengfiao: The Master of Pinoy Camp
Joey Gosiengfiao obituaries

On Edu, Ralph, and Luis

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On Edu, Ralph, and babies – “…It’s been over five year since Vilma Santos and Edu Manzano have gone their separate ways and a little over years that Vilma had lived-in with current flame Ralph Recto, but still, Vi and Doods have remained the closest of friends. “It’s better this way, no more constant bickering. May respeto pa rin naman kami sa isa’t-isa, so all is well between us.” says Ms. Santos. Edu was rumored to have had an affair and that triggered the break-up. “We really didn’t know why and how we parted ways. We could not pinpoint the problem. It just happened. We gradually drifted apart and before we knew it, we were so far away from each other that any holding on proved to be futile,” said Edu. “Hindi namin talaga alam kung ano ang nangyari, because had we known the root, we would not be apart from each other now.” Vilma no longer makes as many movies as she did before. A lot of showbiz insiders said that the timing of Edu’s marriage to Vi was all wrong. Vi was then making a lot more dough than her husband was and this fact contributed much to the strain in their relationship. Vilma’s romance with Ralph Recto started tongues wagging and a lot of speculations cropped up, especially so, since Edu, after the break-up had remained unattached for a long time. Talks circulated that Edu left Vilma because she was first to fall-out of the bonds of marriage. “Hindi totoo iyan,” Vilma was quoted in an interview “nauna si Eduardo at alam niya iyon.” But the past is past and Vilma can now look back with a smile on her lips. “Mas maganda ang relasyon namin ni Eduardo ngayon.

We are friends. I know I can count on him kung mayroong malaking problema. We understand each other, kaya nga may ganitong arrangement.” Vilma says she is happy now for Doods who has found his right girl. “Naiintindihan ko naman si Edu and I’m happy for him. If he thinks Maricel is right for him, I know Edu when he makes a decision, then, I am happy for them both. Wala naman akong hinangad kundi matagpuan na ni Doods ang babaeng para sa kanya. Ako naman, I’m very happy and contented with my personal life kaya I wish him all the best.” Asked if she is against Edu having a child with another woman, Vi replied: “Bakit naman? We now lead separate lives at sa mga ganung sitwasyon, hindi na pinagtatalunan pa. I’m not against Edu having a child with any woman, basta ba alam kong nagmamahalan sila and having a baby will make their happiness complete, bakit naman ako magagalit? Siguro naman, If I decide that I too would want to have a baby with the man I am living with, Doods will not make it difficult for me. Hindi siya hahadlang dahil he also has my happiness at heart. Like I said before, mayroon na kaming arrangement and we’re both contented with the ways things have turned out, so walang problema.” Talks are spreading like wildfire that Vilma is about to move out of her Magallanes digs and that she has bought a house for her current hearthrob. “Unfair naman iyon. I wanted to buy this house for my family, kay Lucky. Just because Ralph is not visible in the movie scene, eh pagiisipan na siya ng hindi maganda.

I intend to keep this phase of my life private and hindi naman siya showbiz personality so why can’t we spare him from the intrigues? Iba naman ang mundo niya.” Vilma has other plans aside from just staying as an actress all her life. “I plan to go into production and television, ibabalik ko rin ang VS Films. I have plans pero hindi pa naka-set. There are so many factors to consider at hindi bigla-bigla ang ganitong desisyon. Sabi nga ng marami, I’m not getting any younger daw and many people would like to see me retire from film making. Sabi ko nga, as long as there are people who still watch me on the screen, as long as there are fans supportive of my career, nandito pa rin ako. When that time comes na aalis ako sa showbiz, hindi naman totally na mawawala ako. Siguro, behind the cameras na lang ako. Directing maybe. Producing, why not? But that wuold still be a long time. I’m enjoying my profession and no one can stop me from enjoying what I want most.” Not even having a baby? “I know I’m not getting any younger and I’d like to have another baby after Lucky. Sino ang makapagsasabi, maybe this year, bakit nama hindi?…” – Lulubelle Lam, Manila Standard, Mar 29, 1989 (READ MORE)

Luis knows his limitations – “…Lipa City Mayor Vilma Santos-Recto denies reports that she is having problems with her 17-year-old son Luis, the boy TV fans remember as Lucky, who is the offspring of Vilma and her first husband, actor Edu Manzano, now Vice Mayor of Makati City. Luis, who is a high school student at the San Agustin College in Makati, lives with Edu in the Vice Mayor’s Ecology Village residence during weekdays while Vilma stays in Lipa City attending to her constituents. On weekends, both Vilma and Lucky move to her Green Meadows residence where the actress- politician relaxes and plays Mom before going back to Lipa on Monday. Luis was reported to be so in love with his Filipino-American girl friend Nicole that he is allegedly neglecting his studies. Vilma, who is married to Batangas Congressman Ralph Recto, reacted sharply to these reports. “Luis knows his limitations,” Vilma is quoted by Malaya’s Ethel Ramos. “While Edu and I do not stop him from falling in love, for that is but natural among boys his age, we keep reminding him that he is too young to get involved seriously. Edu an I want him to finish his studies first before he becomes involved seriously with any girl…” – Sol Jose Vanzi, Oct. 21, 1998 (READ MORE)

Family is First Priority – “…A prominent resident of Lipa has told Manila Standard columnist Isah Red that his city’s mayor, actress Vilma Santos, spends only three days of each week in Lipa, and the rest of the week in her Metro Manila residence. “For the past weeks, she’s been working only for three days a week: Monday to Wednesday,” Isah quotes his source. The writer adds that “the multi-awarded actress might have been overwhelmed by the scope of her duties as a local government official, plus the numerous problems in the city that need to be addressed.” Vilma had told everyone from the very beginning that she’s going to divide her time between her family and her duties and obligations to Lipa City as mayor. Her supporters claim that even when she’s not in Lipa, she is in constant touch with her Lipa-based staff, monitoring activities from wherever she happens to be. But Isah’s source says that is not enough. “She has to make herself visible to her constituents. Nothing is decided upon (at the City Mayor’s office) after Wednesday. People who want to do business in the city have to wait until the following Monday to get things done, especially those whose documents need the approval or signature of the mayor,” he complained. Vilma claims that “It’s already a sacrifice for me to be away from my kids for three days.” The actress tries to make up by staying in the mayor’s office beyond the regular office hours. “Now I also need to be with my children and my husband for the weekend,” Mayor Vilma Santos- Recto said. Her husband, Batangas Congressman Ralph Recto, holds office in Metro Manila because he reports for work at the Batasang Pambansa complex which houses the House of Representatives…” – Sol Jose Vanzi, Nov. 21, 1998 (READ MORE)

Luis Manzano is a better actor than dad Edu Manzano – “…Yung movie na ginawa naman namin ni Eduardo (Edu) eh romance. Bagong kasal lang kami noon, hindi ko pa siya nakita at naka-eksena talaga na really heavy. That time nung [kasama] kami nina Dina (Bonnevie) sa Palimos ng Pag-ibig, mas nataon si Eduardo sa action eh so hindi ko talaga na-pick up ‘yung dramang-drama na acting [sa kanya]. But dito kasi, first time with my son meron siyang moment dito na isang eksena na nadala ako bilang nanay. But kung sino ang mas magaling, magaling naman si Eduardo, pero mas magaling si Lucky (Luis)…” – Bernie Franco (READ MORE)

“…Ralph. “He is the most secure man I have known. I want to grow old with him.” Luis. “Who he is today, he worked hard for. I am proud of him.” Ryan Christian. “He is very passionate. One time he told me he wanted to get into politics and showbiz. And I told him, ‘It’s hard anak’ and he shot back ‘Bakit ikaw mommy?…” – Boy Abunda, The Philippine Star, July 31, 2009 (READ MORE)

FILM REVIEW: TAGOS NG DUGO

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The Plot – A young Pina was traumatized when her family was murdered while she had her first menstruation. She grown up into a serial killer transforming herself to different personalities as she seduced one man at a time grossly killing them while in the act of sexual pleasure. Eventually Pina was caught by the authorities. Considered by some critics as a feminist movie, Tagos ng Dugo has the feeling of claustrophobic but stylized European slasher movie that showcased the wide acting range of Philippines’ cinematic diva, Vilma Santos. The film lacks the usual long dialogue of her previous films but in this film, she was given a chance to show her body movements and “eye” acting that climaxed with tour de force ending, a mad lion being caught by armed hunters. – RV (READ MORE)

The Reviews: First of all, serial murder is almost alien to Philippine crime journalism, a fact that’s due certainly to our police force’s lack of records on such cases. Now, this police-records gap may of course in turn reflect a lack of local police coordination towards (or, worse, capability for) determining crime patterns as possibly serial. Unless those determinations have to do with the usual cop-out that goes like this: “it’s another NPA hit” blah blah blah, or “it’s another murder similar to the one that happened last week, and this is reflective of pornography’s…My above statements are meant to illustrate a national wont to demean our own police organization’s capability (or, worse, intelligence) that may neither be fair nor productive, but it would be a habit that certainly is not undeserved given the record — official and memorial — of the police’s prioritizing its own people’s interests and “rackets.” Given this background, therefore, Tagos Ng Dugo can be said to be a demonstration of serial crimes’ possible placement in local shores, and that would certainly be a valid view. Except, of course, that in effect Tagos is also — and probably should be read primarily as — a demonstration of possibilities other than the merely forensic. I say “should be,” since the police is portrayed fairly in the film, albeit not exactly generously. So what could be all the fuss about Tagos’ value? “Production values” is the often-heard reason, needing elucidation.

A breakthrough for Philippine psychological movies? Probably. Let me explore a few other angles on this seeming cross between Francois Truffaut’s The Bride Wore Black and Luis Buñuel’s Belle du Jour – I don’t know if screenwriter Jake Tordesillas or De los Reyes himself should be congratulated for the cohesion of multi-resultants in this work. Part of this multi-readings would be the movie as a feminist take on womankind’s monthly pains as a form of excuse for female monthly insanities, insanities our machos regard as regular terrorism on the whole of mankind (men or society as a whole). It is with that reading that the ending apologies, by Vilma Santos in the lead role, might be understood as a plea for understanding of how all of woman’s monthly Eve-behavior should not be seen as a Biblical sin but as an equal (to, say, men’s beastly) naturalness….Another feminist reading, more radical perhaps, would treat the film as a view of how Philippine society (the men in it, primarily) approaches provincial innocence, educational weakness, and “females’ weaker sanity” as stimuli for abuse….There is, however, the possibly more general reading of the film as an apologia for insanity qua itself, how it should be treated as a disease instead of as a monster to be eliminated.

And finally, there’s the possibility that the film is actually a depiction of how crazy the world outside the insane mind really is, albeit this view would probably be the least successful direction for the film….As a bonus, maybe we can also bring the movie to more latent, more philosophical territory, say, how it depicts the sanity of innocence. But, given the validity and possible weight of all those approaches, what finally makes this movie a jewel in Philippine cinema history is how it brings forth — every time you watch it — its case achievements in directorial and film editing dramaturgy (including the recurring stage-like choreography, Hitchcockish camera positionings, and acting pacing within). For the serious student of third-world filmmaking, here is a requisite Philippine movie from where to cull precious fragments. In these fragments, he/she is sure to find sparkles that are in themselves gems. – Vicente-Ignacio S. de Veyra III (READ MORE)

“…Sa anggulong ito halos umikot ang kabuuan ng pelikula. Masasabing naging matapang ang mga bumuo ng pelikulang Tagos Ng Dugo dahil sa tahasan nitong tinalakay ang sekswalidad ng mga pangunahing tauhan. Mapapansing pinagtuunan ng pansin ang kabuuan ng karakter ni Pina na buong husay ginampanan ni Vilma Santos. Ang aktres ay halos nasa lahat ng eksena sa pelikula. Maituturing na hysterical ang pag-arte ni Bb. Santos ngunit sa pelikulang ito ay malaki ang naitulong nito upang maipahatid niya ang nararapat na emosyon sa epektibong paraan. Malaki ang naitulong ni Direktor Maryo J. de los Reyes sa pagsasalarawan ng kuwento ni Pina. Nailahad niya ng maayos ang mga problemang sikolohikal hindi lamang ni Pina kundi ng buong lipunan. Makikitang binigyang diin ang posibleng solusyon sa mga suliraning ipinamalas sa pelikula. Maaring may ilang pagkukulang ang pelikula sa naging takbo ng istorya ngunit naisalba ito ng mahusay na pagdidirehe ni de los Reyes. Sa anggulong ito naging malaking bahagi sa tagumpay ng Tagos Ng Dugo ang direktor dahil sa tuwiran niyang naipahayag ang patotoo sa mga isyung tinalakay sa buong pelikula. Dito rin natamo ni Vilma ang kanyang ikaapat na FAMAS Best Actress Award bago siya tuluyang naluklok sa Hall Of Fame nang sumunod na taon…” – Jojo De Vera, Sari-saring Sineng Pinoy (READ MORE)

“…Pina is Vilma and Vilma is Pina. This is their story. This is their movie. This is acting at its best. Thank God, Mayor Vilma Santos has come to the rescue of the Pina’s in this world. Unlike the super heroine and fictitious Darna who kicks butt as she battles with the forces of darkness and defend the people, here is Vilma, the philanthropist and the Mother Theresa of her generation, in the flesh, reaching out to the poorest of the poor of her Lipa constituents. Through her loving heart and helping hands, she has actually helped thousands of society’s outcasts, the poor and the needy. This is the Vilma Santos today: successful, revered, in demand, a winner in all fronts. A National Treasure! Who would have thought that the second fiddle to another actress will become the greatest film practitioner of all time and a capable Mayor? A great actress and an excellent Mayor. Nobody does it better…” – Mar Garces, V Magazine 2006 (READ MORE)

“…A series of unfortunate events seemed to hound Nora’s career up to this point. October 1, 1989 was to be the last airing date of the 22-year-old musical-variety show Superstar on RPN 9. A month later, it was revived on IBC 13 with a new title, The Legend … Superstar, but this was short-lived lasting only up to early 1990. Naging mas masuwerte si Vilma Santos sa hinu-host na Vilma! on GMA 7, which started in 1981 as VIP (Vilma in Person) ng lumang BBC 2 (naibalik sa Lopez owners ang ABS-CBN after the EDSA Revolution). Nagbida si Vilma sa isa sa mga pinakaimportanteng pelikula ng Dekada ‘80: Regal Films’ Pahiram Ng Isang Umaga (by Ishmael Bernal), na sinimulan in 1988 at ipinalabas in early 1989. In December 1989, Vilma headlined a period romance-drama (Viva Films’ Imortal, megged by Eddie Garcia) at nanalo sila ng kaparehang si Christopher de Leon ng acting plums sa MMFF. Sa awardings for that year, si Vilma ang nanalong Best Actress sa Star Awards (for Pahiram), her first form the Philippine Movie Press Club. ‘Kumpletung-kumpleto na ang career ko!” nasabi ni Vilma as she accepted her trophy. Later, it was Nora’s turn to get a Best Actress trophy for the first time from the Film Academy of the Philippines, for Elwood Perez’s three-year-in-the-making Bilangin Ang Bituin Sa Langit. ‘Kumpletung-kumpleto na ang career ko!” sabi rin niya in her acceptance speech. Na-elevate si Vilma sa FAMAS Hall of Fame, for having bagged five Best Actress statuettes: Dama de Noche, Pakawalan Mo Ako, Relasyon, Tagos ng Dugo, and Elwood Perez’s Ibulong Mo Sa Diyos. Nora won her fourth Best Actress plum sa FAMAS, also for Bilangin. Walang itulak-kabigin sa dalawa, kaya marapat lang na mag-tie sila for Best Actress, as in the 1990 Gawad Urian, na ‘pantay na parangal ”ang ipinagkaloob ng Manunuri kina Nora (for Bilangin Ang Bituin Sa Langit) at Vilma (for Pahiram Ng Isang Umaga)…” – William Reyes (READ MORE)

The Director – Maryo J. De los Reyes is a film and television director from the Philippines. He began his career in the 1970s(Wikipedia). Reyes’ most significant works are the critically acclaimed Magnifico (2004), Tagos Ng Dugo (1987) and the commercial hits, Bagets (1983), Annie Batungbakal (1979) (Wikepedia). In 1987 Maryo De Los Reyes directed Vilma Santos that critics considered one of the shocking film that year, Tagos Ng Dugo. The film was hailed as a feminist film and earned Vilma Santos her fourth FAMAS Best Actress. Ironically, the conservative church award giving body will agree and also gave their 1987 CMMA Best Actress to Vilma Santos. Reyes will again direct Vilma in 1992.  (Tagos ng Dugo 1987 and Sinungaling Mong Puso 1992)

The Most Colorful Film Character of the Year – “…The decision of the film critics to inhibit themselves from conferring their annual Urian Awards is unprecedented in the group’s 12-year history…But the case of film year 1987 is truly abysmal. It is, in fact, beyond salvation. True, there were number of worthwhile efforts, in such specific categories as editing, cinematography or sound but again, this is taking film as if it were a highly segmented form, instead of a holistic and integrated medium of communication. The area of screenplay was, to my mind, the most borely abused; I cannot recall any single film where this can be considered outstanding. Blame it on the producers who were more concerned with much momentary fancies as inane fantasies, sexploitation flicks and anachronistic melodramas. Blame it, too, on the governement which doesn’t seem to care and which doesn’t realize the power of the cinema in the value reformation of a natin long shackled in a despotic rule…Then there was the dismal and embarraing Brocka opus, Magin Akin Ka Lamang, which is a far cry from what the director used to do with komiks genre, having elevated it to a level of respectability in Tahan Na Empoy, Tahan and Ang Tatay Kong Nanay, which is good enough melodrama. Even more sordid is his Pasan Ko ang Daigidg, which takes an egregiously compromising view of poverty with its Cinderella-like storyline. Even Ishmael Bernal was not spared of the spirit of idiocy which pervaded the past year and which threatens to hound us this year. Bernal, who often can be relied upon to transcend the limitations of the most trivial of storyline, simply failed to overcome the komiks convolutions of Pinulot Ka Lang sa Lupa. Also, quite unlucky was Peque Gallaga who was in bad shape in Kid, Huwag Kang Susuko, though he managed to score a few precious points in the action film genre. And what do we make out of Maryo de los Reyes’ Tagos ng Dugo, with its grossly improbable tale of multiple schizophrenia and made all the worse by the director’s penchant for pseudo-character changes? Personally, i would rate Vilma Santos here as having been last year’s most colorul character instead of a consumate performer….” – Justino Dormiendo, Manila Standard, Feb 23, 1988 (READ MORE)

“…She has lost some pounds (due to the gruelling shooting of her recent film, Tagos ng Dugo, but she is still the same radiant beauty…Santos is likewise bugged by the observation (presumably by some Nora Aunor supporters) that her performance in Tagos ng Dugo, wherein she portrayed a psychopath, was “Norang-Nora.” She could not divine how the comment was made in the first place. Was it becauise, in the film, she was handled by Maryo de los Reyes who is known to be a close friend and one of the favorite directors of Nora Aunor? Or, was it because her role in Tagos called for a lot of the so called Nora-style acting -expressive eye movements, prolonged byt quiet crying binges? Is she, in the eyes of some Aunor loyalist, as good as actress now as their idol? “Wala akong ginagaya,” defended the actress. “That was Pina, the role, I was acting out. I did not think of Guy or anybody else when I was doing the film. “But you know, that (comment) is good,” she said as an after thought. “Kinukumpara pa rin kami hanggang ngayon. That means kami pa rin – the rivalry is still strong.” On the other hand, one is hard put to imagine Aunor attempting Santos’ “patented” acting style (the ease and confidence in delivering kilometric line, among others). If and when she does in any of her future films, I told the actress, we would also say “Vilmang-Vilma” siya! She burst out laughing…” – Mario V. DumaualManila Standard, Feb 19, 1987 (READ MORE)

“…I had actually intended to evaluate the industry’s artistic accomplishments from January to June this year, but the consideration of causes simply overwhelmed the original subject. Anyway, in providing a listing of the more acceptable items, it would serve our purposes well to keep in mind that these titles were originally greeted with expressions of disappointment and frustration, with only passing acknowledgement of their respective merits – to which I now most carefully give mention…Tagos ng Dugo (Maryo J. de los Reyes, dir.): kinkiness rounded out with psychological backgrounding and propelled forward with a sense of conviction and sympathy for the plight of the subject…” – Joel David, National Midweek, 26 August 26, 1987 (READ MORE)

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MEMOIRS OF VILMANIANS 1/2

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Tinatawag natin ang ating sarili bilang Vilmanian. Paano tayo naging ganito? Eto ang ating mga alaala…ng ating pinamulan.

John Malit – Noong panahon na nakamulatan kong ako’y isang Vilmanian, napakalaking ligaya kapag may nababasa akong balita mula sa kanya. Kahit na 2 yrs old na ‘yung balita, bago pa rin iyon para sa akin. ‘yun nga lang, sa tv lang ako umaasa para mapanood ko si Ate Vi, kasi hirap po ang buhay namin noon. 23 yrs old na po ako ng makapanood ng sine. Can u imagine, wala akong ginawa kundi igala ang paningin ko sa loob ng sine, nakakahiya man sabihin, gf ko pa ang nagbayad ng ticket para mapanood namin iyong Bituin walang ningning” ni Sharon (kc sharonian yung gf ko nun). Ayun nasundan lang noong maka-graduate na ako ng college at magkatrabaho. Vilma movie na yung mga pinapanood ko. Ang sarap sariwain ang nakaraan kahit gaano man ang kahirap ng buhay, sa simpleng picture at balita mula sa ating mahal na idolo ay nakaka-alis na ng problema. Kahit nga ngayon, pag-stress na ako sa trabaho lalo sa amin ni misis, magbabasa lang ako ng balita mula dito sa e-groups ng mga Vilmanians, masaya na ako.

Rene Maximo – Akala ko magiging silent Vilmanian na lang ako forever. Una sa lahat…way back 1970s, panahon pa ng The Sensations, doon yata ako nagsimulang humanga sa The Queen. Lahat halos ng kamag-anak kong babae eh pulos Vilmanian lahat. Kaya masayang manood ng TV na black & white pa. Tuwing tanghali, palagi kong dinadasal na sana eh puro movies ni Ate Vi ang ipalabas. Ang saya-saya ko pag natutupad ang wish ko. Natatandaan ko pa yung Vilma & The Beep Beep Minica, Ophelia at Paris, King Khayyam & I, Baby Vi, Dama de Noche, and the list goes on. Unang movie na napanood ko sa sinehan ay yung Rubia Servios. Kahit na I was a minor then, mabuti at napakiusapan ng pinsan ko ang takilyera kaya pinapasok ako. Gandang-ganda ako sa pelikula. Tapos nung awards night na, 3 kaming Vilmanians ang nanood, while yung tiyahin naming Noranian eh natulog na dahil unang mga technical awards eh nakuha ng Rubia (besides sa mga hula na si Ate Vi daw ang mananalo) kaya maaga syang natulog. Then nanalo nga si Ms. Aunor. While walking paakyat sa stage, one of my cousins said na sana ay madapa si Ms. Aunor. Unknowingly, nakikinig pala yung tiyahin namin kaya biglang lumabas at inaway kaming tatlo. Nalaman ng father ko ang nangyari kaya pinagalitan kaming lahat. One stormy weather noon, we were eating sa kitchen namin, at walang kuryente. Bigla na lang nagliwanag ang paligid at na shocked na lang kaming lahat na wala na pala kaming bubong, natangay ng bagyo. All of us hurriedly went up to save things na huwag mabasa ng ulan. Ang una kong binuhat ay yung kahon ng clippings ko ni Ate Vi. I was worried kasi na baka mabasa at matangay ng tubig. Until now, nasa kahon pa rin yung mga clippings ko at palagi kong tinitingnan pag umuuwi ako ng Pilipinas. One of my sisters was an officer in CAT when she was in high school. One time, she asked me what kind of parusa daw sa mga COCCs na madali lang, ayaw daw nyang pahirapan ang mga bata. Sabi ko everyday magdala sila ng mga pictures ni Ate Vi. Kaya araw araw may pasalubong sa akin ang sister ko ng mga pictures ni Ate Vi, additional sa mga collections ko. There was one time when Ate Vi shot a movie in our place. The movie was Biktima. I was in elementary then. After school, my classmate told us na andun nga daw sa dam si Ate Vi. Without hesitation, lumusong ako sa tubig at halos hanggang baywang ko na yung tubig, tumuloy pa rin ako para makita ng personal si Ate Vi. I was in heaven then. First time ko syang makita ng personal. Palagi akong nakasubaybay sa lahat ng nangyayari sa kanya. Maganda man o hindi magandang balita, wala akong pakialam, ang alam ko karugtong na ng buhay ko si Ate Vi. Kahit na nung mag work ako sa isang bank sa Makati, I made it a point na manood ng live sa Metropolitan Theater ng ‘Vilma.” Kahit na naka necktie ako, wala akong pakialam na pumipila sa labas ng Met, kasama ko yung officemate kong Vilmanian din. Then lumipat for a while ang show sa Rizal Theater dahil sa away nila ni Mrs. Manzano, pumila din kami doon to get tickets days before the show. Marami rami din akong collection ng movies ni Ate Vi, in VHS format nga lang. Pag umuuwi ako hindi ako nagsasawang panoorin lahat ang mga tapes na yon. Then I’ve read na meron nga daw na Vilma Newsletter na ginawa ang mga dear Vilmanians. Only last December that I got the courage to request, at pinagbigyan naman ako. I was so happy. Lastly, salamat sa magagandang postings na inilalagay ninyo sa board. Hindi nyo lang alam ang laking tulong nun. Nakakaalis kasi ng lungkot pag nagbabasa ako ng mga postings ninyo.

Franco Gabriel – Early ’70’s when I first heard of Vilma-Edgar team, eh kasi naman puro sila ang topic sa bahay, my mom loves Ate Vi so much at syempre kampi lahat ang sisters ko sa pagka-Vilmanian ni nanay. Bata pa ko noon, di pa ko nag-aaral pero napapanood ko na siya sa TV. It was year 1973 when I reached grade school ang unang bag ko pa noon ay may design nina Ate Vi at Bot na nakahawaiian sila, kuha yata sa “Aloha My Love”, syempre si Mother ko ang namili ng school supplies, so what do we expect? As a kid, aliw na aliw ako sa mga fantasy movies ni Ate Vi like Darna, Dyesebel, Phantom Lady etc. at syempre yung mga suspense thriller nya like Takbo, Vilma, Dali at saka yung Hatinggabi na Vilma. Puro nga iyon ang topic namin sa school kahit pare-pareho naman namin itong napanood. Ito yung panahon na nauso ang kanta para kay Guy na “it’s the real thing, si Norang maitim, nagtago sa dilim and so-on” (jingle yun sa coke). Pang-asar ba namin sa mga noranians. Ito rin yung panahong nanonood ako regularly ng “Ayan eh” at saka “Dalambuhay ni Rosa Vilma,” Meron pang mga ibang TV shows noon na di ko rin makalimutan like “Tangtarantang” ni Mang Nano pag weekend, saka yung “Oras ng Ligaya” nina Sylvia La Torre at Oscar Obligacion pag tanghali. Fast Forward. Kainitan ng Vilma-Nora noon labanan nina Senyorita Rubia Servios at ang kanyang Atsay, nasa high school na ako noon. Masiglang masigla ang rivalry ng dalawa. Syempre merong awards night na panalo at meron ding talo, pinakamasakit ay yung sa Rubia Servios, walang kibuan sa breakfast, parang ayaw naming pag-usapan ang MMFF last night, malungkot kaming lahat. change the topic please sabi ng Ate ko. I considered the ’80’s as one of my colorful years as Vilmanian, kasi lahat na yata ng movies niya ay pinanood ko, mula Pakawalan mo Ako, Langis at Tubig, Paano ba ang Mangarap up to Pahiram ng isang Umaga. Silent Vilmanian ako nung 80’s kasi naman nasa college na ko noon eh pero panay pa rin ang pila ko sa mga movies niya. Ito rin yung dekada na super init ng career ni Ate Vi mapa TV, movie or endorsement. I left the Philippines during the ’90’s but it did’nt stop me to search for Vilma Santos news. Umuwi ako noong 2002, I had a chance to watch Dekada ’70 masaya dahil alam kong big hit ang movie, talagang siksikan ang bawat sinehan pero bumalik ako sa States ng mabigat ang dibdib natalo si Ate Vi sa MMFF 2002. But if I look at the brighter side, this incident became the way to meet Jojo Lim the Solid Vilmanian president and the rest was history. Nasa Abante ang name ni Jojo, hindi daw makatulog at makakain ang Vilmaniang ito dahil sa pagkakapanalo ni Ara Mina over Ate Vi nandoon din ang contact number niya sa article ni Allan Diones. I did’nt hesitate to call Jojo & introduced myself. Yun na ang naging daan para makilala ko si Ate Vi in person. The first encounter was during the Lipa fiesta in 2003 hanggang sa maging every year na pero ang pinaka the best ay sa New York during her show. Ang haba ng kwentuhan namin noon ni Ate Vi at mga Vilmanians inabot ng 3:00 am at talagang naka upo na kaming lahat sa hallway ng hotel, very sweet siya at parang di napapagod. Ang sarap ng pakiramdam, doon ko napatunayan kung gaano kabait at down to earth si Ate Vi. Kung gaano kaganda ang mukha niya ay ganoon din kaganda ang kalooban niya. Thanks to my mom & sisters for bringing me up of becoming a Vilmanian.

German Shepherd – Noong unang bahagi ng dekada ’70, maliit pa akong bata at wala pang muwang, ay karay-karay ako ng Nanay ko sa panulukan ng Quezon Ave. at Zurbaran para manood ng parada ng mga bituin na kasali sa Manila Film Festival. Naroon kami, ako at ang isa ko pang kapatid na babae, upang hintayin ang float nina Vi at Bot sa pelikulang LOVE LETTERS. Tuwang tuwa kaming lahat nang magdaan sa harapan namin ang float ng LOVE LETTERS. Nang biglang bumuhos ang malakas na ulan. Awang-awa ako sa aking sarili dahil basang-basa ako. Pero ang Nanay ko at kapatid ay halos di ako pansin maging ang kanilang mga basang-basang sarili dahil naririnig ko kung kagaano sila ka-worried at baka raw magsakit sina Ate Vi at Kuya Bobot. Sa loob-loob ko, basang-basa na kaming lahat pero ang nasa isi[p pa rin ng Nanay at Ate ko ay ang kapakanan ng aming mga idolo. Sa mura kong nagtataka ako kung bakit ganoon na lamang ang kanilang pagmamahal sa dalawang taong hindi naman sila kakilala. Only when I reached the age of reason that I came to realize that one would do everynting for his movie idol. My love for the Queenstar has grown through the years, a legacy that I inherited from my late Nanay. I watched the many so-so / sing and dance movies of Her Royal Highness, Queen Vi. To me, all of them were beautiful because of her mere presence in those films. One of my favorites was her movie with Bobot entitled ANGELICA. Even the theme song interpreted by Bobot with the same title was haunting. Then came DAMA DE NOCHE. It was one of Vilma’s early acting greats. She was barely eighteen but she played the dual role with aplomb. And there were others: WONDER VI, PHANTOM LADY, KAMPANERANG KUBA, IBONG LUKARET, ANAK NG ASWANG, and the list is endless. Of course, I loved LIPAD, DARNA, LIPAD with Ate Vi in a modest two-piece costume. It was the first time ever that the term BLOCKBUSTER was used in a local movie because of the record-breaking gross and the over-extended run which made an FPJ movie shown at the same time a poor and distant second. I also saw all her DARNA installment but DARNA ANG THE GIANTS is particularly memorable because it was a Metro Manila Filmfest topgrosser. DYESEBEL AT ANG MAHIWAGANG KABIBE with its famous scene showing Ate Vi riding a giant seahorse was also a film fest top grosser and Best Musical Movie. Until she metamorphosed into the great BURLESK QUEEN, another film fest top grosser besides sweeping almost all the major awards including Best Actress for the Queen and Best Picture. From then on, there was no stopping Ate Vi who tackled a kaleidoscope of roles while her rival YKW continued to play just “api” and “kawawa” roles. The first grandslam via RELASYON, ironically was a quiet and restrained role. A far cry from her usual body-and-soul style of acting. BROKEN MARIAGE AND SISTER STELLA L continued to bring her endless honors. Vilma won in RELASYON against Nora Aunor in Himala which most Noranians considered as her most memorable role to date. The movie did not give her a miracle in terms of acting award. Then came TAGOS SA DUGO which i think was one of her most well-acted movie. She was robbed of a grandslam in this Maryo J. delos Reyes opus. Fast forward: After reigning the longest as Box Office Queen, she had once again regained the same title (in spite of her being already a Hall of Famer in this title) via ANAK which is still the second highest grossing movie in the Philippines after TANGING INA, which Ai Ai delas Alas, who according to her words, is a Vilmanian from birth and her tribute to her idol as she mimicked her in many a scene in the said movie. ANAK should have been another grand-slam for the Queen but the award-giving bodies, except Star Awards, made Gloria Romero a sentimental favorite, an accolade which she deserved considering her age. Realizing that then Queen has gathered the most number of grand slams in RELASYON, DOLZURA CORTEZ STORY, BATA, BATA PAANO KA GINAWA, DEKADA ’70 and the prestigious UP GAWAD PLARIDEL plus two international awards, my Nanay’s legacy was worth inheriting.

Buboy Medina – Noong nasa kindergarten pa lang ako ng napanood ko ang “Lipad, Darna Lipad” sa television. Ginagaya ko talaga siya then gumawa ako ng costume like Darna then isinusuot ko pa. Pinakamemorable experience ko bilang isang Vilamanian ay noong nagkausap kami last May 2003 ng manalo siya sa Gawad Urian. Overseas call ito at siya mismo ang nakausap ko. HEAVEN ANG FEELINGS KO NOON, TEARY EYED PA AKO. Mahal na mahal ko si Queen Vi, kaya ko siyang ipaglaban. Hahamakin ang lahat…maipagtanggol ko lamang ang nagiisang REYNA!

Eric Nadurata – I saw her on TV, “The Sensations” iyon, nasa grade school pa ako. Gustong-gusto ko ang sweetness ng beauty niya at ang galing niya sa pagsagot sa Q&A portion ng show. Ate Vi always surprises me. She always reinvents herself, and comes out victorious each time. Sabi ko nga she started very sweet, then came “Lipad, Darna, Lipad”, she then went daring via “Burlesk Queen”, then came her award-winning films that tackled an impressive range of themes. Ang mga roles that she portrayed is also very impressive. Naging madre siya at querida, naging Darna at Dyesebel, may Aids at may cancer, naging mahirap at mayaman, naging abugado at doctor, schizophrenic at napakarami pang iba. Siya lang ang tanging batang aktres na naka-sustain ng kaniyang popularity hanggang sa pagiging dalaga. Tessie Agana and Snooky were big child stars, pero hindi nila narating ang kasikatan na narrating ni Ate Vi. In fact, even the other Movie Queens can’t match her enduring popularity and box-office appeal. None of our movie queens reigned for more than 10 years, but Ate Vi, the Queen of them all is still at her peak for 35 years already! Iba ang aura ni Ate Vi, nakakahawa ang pagka-positive niya. First time I saw her face to face noon YCC awards for Dakada ’70. Grabe ang magic niya pagpasok niya sa venue. Memorable din kasi, nagloko ang dala kong camera, mabuti na lang nakapagpa-picture pa rin ako with her sa tulong ng isang vilmanian. Nangyari uli ito, sa opening ng CineManila International Film Festival. Nagloko uli ang camera ko, when I was about to take shots of Ate Vi with Lou Diamond Phillips and Tia Carrere. Sayang ito, kasi ang daming foreign celebrities na dumating noon. Aral ito sa akin kaya, ngayon dalawang camera na ang dala ko each time may affair with her. Nuong nagpa-pirma ako kay Ate Vi. Medyo ninerbiyos ako kasi baka hindi natandaan ni Ate Vi ang pangalan ko. Bago lang ako, at hindi naman kami madalas na magkita, pero to my pleasant surprise, sinulat niya ang name ko! Natandaan niya ang name ko! Grabe iyon! Imagine, with all her works both as an actress and public servant, not to mention as a mother and wife, natandaan niya ang name ko! Naku, heaven talaga iyon! Kung may mas mataas pa sa heaven iyon pa rin iyon! Another instance, magbi-birthday siya noon. May dala akong gift na image ni Padre Pio, pero because of “lapse of judgment” (di ba, Garci?) nakalimutan kong isulat ang name ko sa card. In short, nai-abot ko ang gift without my name. After several weeks, nang magkita kami uli sa isang taping, I told her about my gift. Sabi ko “Ate Vi, I forgot to write my name doon sa card, but I hope you liked it.” Sabi niya “Alin ba ang gift mo?” nang sinabi ko na it was the image of Padre Pio, her face light up and sincerely said, “thanks ha.” Ramdam na randam mo ang kaniyang sincerity.

Father Juancho Gutierrez – Meeting Vilma Santos at the Philippine Fiesta on August 21, 2005 was truly a moment of blessing for me. I have been an avid fan of hers since Grammar School. I never thought in my wildest dream that I would meet her face to face here in New Jersey. Meeting her, I found out that she was really a downto-earth person. She never acted like a diva or the famous movie star and successful Mayor that she is in the Philippines. I admire her more for this. I guess this is the reason why today more and more people continue to admire her….she showed me the traditional respect that we Filipinos give to our elders and those in position of leadership in our community by making the “mano” gesture to me. I admired her more for this because it was a sign of her humility and grace. The greatest actress the Philippine Cinema has ever produced making “mano” to an unknown priest in New Jersey was truly a Memoirs of Vilmanians humble experience not only for her but for me as well. At that moment, I see in Vilma someone who is humble, approachable and sincerely acknowledges the blessings God has bestowed on her. August 21, 2005 will always be a very special day for me. I will always remember it as a blessing from God.

Nelvin M. Rea – Pagmamahal at biyaya ng Diyos ang siyang naging susi at naglilok sa pagiging Vilmanian ko. Inimulat sa akin ng aking nanay at iniukit niya sa isipan ko na “Si Vilma Santos… iyan ang idolo ko at magiging huwaran mo— wala nang iba!” “Ang pagsunod sa payo ng magulang ay ang pagsunod sa tamang daraanan”. Sa mga panahong iyon sa pagiging musmos ko, wala akong panahon kay Vilma…ang nais ko ay maging malaya, ang eskuwela, libangan,at maraming laruan. At siguro dahil sa hirap ng buhay, kailangan kong iwaksi sa isipan ko ang lahat ng NAIS ko. Ang ganang prayoridad ko ay ang tumulong sa lahat ng gawaing bahay, punuin ng tubig ang aming paminggalan, mamulot ng plastik sa dalampasigan at mangahoy sa hulo kasama ng mga kapatid ko. Sa hirap na dinanas ko ay sapat na para makalimutan ko ang makipagsabayan sa mga pangarap ko…Hindi siya nagbago ang inay ko sa kanyang pag-ibig kay Ate Vi… nanatili siyang matatag…lumalaban hanggang sa huling sandali ng kanyang buhay. At kahit ngayong wala na siya. Hinahangaan ko ang kanyang paninindigan sa isang Vilma Santos. Isang hindi mapapantayang pamana ni Inay sa akin ay ang mamuhay na may isang Vilma Santos sa aking puso.

Alan Trambulo – Lipad Darna Lipad, ang unang movie ni Vi na napanood ko sa amin sinehan sa Batangas. I was 6yrs old at kasama ko ang buong pamilya ko. Last full show na kami nanood kasi during the day sold out ang ticket at wala ka nang silya maupuan. Sigawan at palakpakan kami kay Darna Vi. After the movie, wala lang , sigaw ako ng sigaw ng “Darna!”. Ang mukha ni Ate Vi ang nakiki- ta sa panaginip ko habang hinabol ako ni Gloria Romero na gumanap na aswang. She saved my life so manytimes sa aking nightmare kay aswang Gloria. She became my heroine. Iba ang naging impact sa akin ni Darna dahil di lang isang hero sa aking musmos na pag-iisip ang ibinigay nya, she gave me a superwoman, a role model sa persona ni La Santos. My family is all Vilmanian, specially my sister who keep copying the styles of Vilma, from her hair styles to fashion. My sister Carol even sneaked me in sa controversial movie ni Ate Vi, “Rubia Servious” sa Magalles Theater noon. Habang hinuhubog ako ng aking kapatid na maging Vilmanian, I became aware sa mga nagaganap sa showbiz. Ang awayan Vi-Guy fanatics. Lumaban at nakipagsabunatan din ako sa bestfriend ko na Noranian na para sa amin ay katuwaan lamang. Ang pakikipagtalo sa aking kapatid na lalake over basketball versus Vilma show. Magdamagan puyatan sa awards nights, win or lose si Mayor. Through the years, di nagbago ang paghanga ko sa kanya, but lalo pang tumindi, sobra! Wala na makakapigil pa sa akin pagiging isang “VILMANIAN.” … ‘yung NY-NJ visit nya sa Phil.Fiesta 05, grabe ang experienced ko sa kanya. Unforgetable dahil we communicate almost everyday. ‘Yung closed door meeting namin ng producer, I saw her other side. For being frank and honest n’ya sa nararamdaman nya. I know she was death tired from her trip sa NY, pero sige pa rin sya basta para sa Vilmanians ito. Very quick lang, alam n’yo i was with her sa loob ng hotel room niya while she was being prep by her makeup artist, busy na ang lahat , i voluntarily ironed her outfit that day. Just imagine, pina-plantsa ko ang suit ni Ate Vi for the show.

Charles Gomez – Sa unang pagtatagpo pa lamang namin ni Ate Vi sa kaniyang opisina sa Lipa, ay nadama ko na ang kakaibang pagmamahal na ibinibigay niya sa kaniyang mga tagahanga. Magiliw niya akong sinalubong at kinamayan, at idinampi pa niya ang kanyang kamay sa aking mga pisngi. Hindi-hindi ko makakalimutan ang pagkakataong iyon. Nung kami nama’y magkatagpong muli sa press party sa Libis, buong lambing taglay ang kakaiba niyang nigiti na binansagan niya ang inyong lingkod ng bagong pangalan. “Dubai” na raw ang itatawag niya sa akin, at pangatawan ko na raw iyon. Galing sa isang Vilma Santos, who can say otherwise? Nung ako nama’y nasa Lipa Fiesta, buong pagmamahal niya akong dinampian ng halik nang iabot ko sa kaniya ang aking handog. Bagama’t pagod sa buong gabing iyon, nandun pa rin ang tatak niyang ngiti. Iba-ibang nga ang isang Vilma Santos. At nang gabing pabalik na ako rito sa aking pinagtratrabauhan sa Gitnang Silangan, she sweetly called me to say “hello” and bid her best wishes. Iyon ang gabing di ko makakalimutan. Kumpletong-kumpleto ang pagiging Vilmanian ko. – GO to 2/2

RELATED READING:
V Magazine Issue No. 7 Memoirs of Vilmanians
Vilmanians Photo Album
Memorabilia Photo Album
V Magazine
Music Album (Photo)
Vilma Santos’ 18TH Birthday (Repost)
Vi and Bot Photo Album
Paper Doll and other Nostalgia
Die Hard Vilmanians Magazine
Favorite Penpal (Repost)
1972 Best Actress
Happy Birthday Vilma – The VSSI Officers & Members (Video)
Print Media 1970s – 2000s (Video)

Celso Ad Castillo’s Vilma Santos Films

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“…Mr. Castillo, who directed more than 60 movies including “Asedillo” in 1971 and “Burlesk Queen” in 1977, died in his home in Siniloan, Laguna. In 2007, Mr. Castillo was diagnosed with stage 1 lung cancer. Born in Siniloan in Sept. 12, 1943, Mr. Castillo is the son of lawyer Dominador Ad Castillo and Marta Adolfo. He graduated in 1964 from the Manuel L. Quezon University with a degree in English Literature. Mr. Castillo started as a writer for a komiks magazine, until he was commissioned to write a script for a spoof of the British superspy James Bond in 1965. He directed his first movie, Misyong Mapanganib in 1966. But it was the film Asedillo in 1971 that made Mr. Castillo popular. Based on the story of a Filipino rebel of the 1920s who was hunted down as a bandit by the American colonial government, the movie gave its lead actor, Fernando Poe, Jr. his second Best Actor trophy from the Film Academy of Movie Arts and Sciences (FAMAS)…Before he died, he has just launched his tell-all book Celso Ad Castillo: An Autobiography and His Craft…” – Jeffrey O. Valisno (READ MORE)

Castillo gave Vilma Santos her first mature role in Burlesk Queen resulting with her first local film festival best actress award. He also directed Pagputi Ng Uwak Pagitim Ng Tagak where Vilma Santos starred and produced. The film received several best picture awards and was considered one of Castillo’s best works. – RV (READ MORE)

Tag-ulan sa tag-araw (1975) – “…The two main characters, Christopher Deleon and Vilma Santos obviously carried the film with surprising maturity. Considering this was their first team-up and both were very young. In 1975, both were still in transitions, from teenybopper stars of the musical era to serious actors. Christopher Deleon’s performance was quite impressive as the apologetic Rod, except for some scenes where you can see his nostril moves, he gave a very affecting performance. Vilma Santos equally balance the equation with a touching show of emotions that we seldom see in her early films that are mostly musicals, fantasy or comedies. Three scenes stand out. First was in the bus where she confronted her “Kuya Rod” to not to give-up on their relationship. Second when her parents caught them in the balcony. She begs them to stop beating up her “Kuya Rod.” And then finally, the driving to the abortion clinic scene, she cried her heart out begging them to stop and cried for help to her “Kuya Rod,” who was running behind and trying very hard to stop the car. Celso Ad Castillo successfully gave us a very moving film. Even with the very annoying number of voice-over scenes, scenes that you will hear the two main characters talks but you will see them not opening their mouth, the film has so many good qualities that you will forgive these flaws. We probably attributed these flaws to the style of many films in the 60s and 70s…” – RV (READ MORE)

Burlesk Queen (1977) – “…Burlesk Queen is much more than a gripping commercial melodrama. It is also a scathing commentary on the sarcastic sexual politics that has become the atmosphere of Philippine society: of hardworking women and the good-for-nothing men they serve (in other words, a patriarchal society gone awry). It is also a fervent reminder of the redemptive and equalizing power of art, which is the reason why it will always be a threat to those who hold power. Multi-faceted, committedly acted, and very well-directed, Burlesk Queen, I opine, is an unsung masterpiece.” – Francis Cruz (READ MORE)

Pagputi ng uwak, Pag-itim ng tagak (1978) – “…Celso Ad. Castillo’s Pagputi ng Uwak, Pag-itim ng Tagak (When the Crow Turns White, When the Heron Turns Black) injects political overtones into its story, about a poor young man (Bembol Roco) who, when abandoned by his upper-class lover (Vilma Santos), joins the Hukbalahap rebels. Ad. Castillo in this film demonstrates an amazing visual language–not flashy, but quietly, lyrically brilliant. He also demonstrates a more masterful grasp of music and song than possibly any other Filipino director–the film is a model on how to use kundimans, ballads, pop songs to differentiate social classes, to satirize and comment on the narrative action.” – Noel Vera (READ MORE)

Celso Ad. Castillo began directing films mid-60′s at an early age, but he has since then gained reputation for many other aspects of the craft particularly scriptwriting and acting. In the Filipino movie industry, he holds the unique repuation of being controversial, trendsetter,enfant terrible and messiah of Philippine cinema, and his track record justifies it: he introduced artistry and commercialism in sex films (nympha) when the two were considered incompatible, and introduced sex in artistic projects ( Ang Pinakamagandang Hayop sa Balat ng Lupa/The Most Beautiful Animal on Earth)when moralistic repression was in vogue. An unfortunate and unfair consequence of the controversy is the recognition due him as one of the finest film commentators on the Philippine social scene, with a visual fluency unmatched by any other contemporary filipino film director. – Celso Ad Castillo Web-site (READ MORE)

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Early Female Directors

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Karugtong ang Kahapon

Before Marilou Diaz Abaya (Minsan Pa Nating Hagkan Ang Nakaraan, 1983; Alyas Baby Tsina, 1984), Rory Quintos (Anak, 2000), Olivia Lamasan (In My Life, 2009; Maalaala Mo Kaya? Regalo episode, 2005), and Laurice Guillen (Dahil Mahal Kita: The Dolzura Cortez Story, 1993; Kapag Langit Ang Humatol, 1990; Ipagpatawad Mo, 1991), Fely Crisostomo, Maria Saret, Leody Diaz, and Consuelo P. Osorio were the only known female directors. They have become part of Vilma Santos’ filmography.

Fely Crisostomo is a Filipina film director and actress. She was the first woman to win the FAMAS Award for Best Director in 1967.- Wikipedia (READ MORE)

Fely Crisostomo’s Vilma Santos Films

Susan Kelly

Maria Saret is a Filipina film director and writer. She was first recognized for her 1966 screenplay of the film Miranda: Ang lagalag na sirena starring teen star, Marifi. In 1973 she directed her first feature film, the drama about women in prison, “Bakit may bilanggo sa anak ni Eba?” starring Gina Pareño, Rosanna Ortiz and Alona Alegre. Saret was nominated for the 1989 FAMAS best director award for the movie Lorenzo Ruiz, The Saint…A Filipino! She won the best screenplay at the Film Academy of the Philippines for the same film.

Maria Saret’s Vilma Santos Films

– Vi co-starred with Dante Rivero (their second film, after Mga Tigre ng Sierra Cruz), Anthony Alonzo, Sandy Garcia, Cloyd Robinson.(READ MORE)

Sweethearts

Leody Diaz is a Filipina film director and actress. Her earlier credit consists of 1965’s Labanang Babae (The fight of Women) as an actor and as the writer of Bella Bandida (Bella, The Woman Bandit), She started directing in 1967 via Target: The A-go-go Generation, a comedy musical which became her main genre of her body of work.

Topical, Realistic Themes “…Tony and the Tagalog Ilang-Ilang Productions plan not only to produce big budgeted films for international competition next year, but to bring into local movies topical, realistic themes like student power, social unrest, violence in our midst, etc. But meanwhile, the gring has to go on. Right now he is filming Blue Seal Mata Hari under the direction of Leody Diaz, where he is experimenting on teaming up Filipino actors with colored women and vice – versa. And for the first time, he said, a Filipina actress, sex siren Liza Belmonte, consented to be kissed by a colored man in this film. So it goes too with Tony, where he is paired with two colored women with kissing scenes…” – P. Oden Amurao, Republic Weekly, 03 October 1967 (READ MORE)

Leody Diaz’s Vilma Santos Films

Jukebox King

Consuelo P. Osorio is a Filipina film director and actress. Her earlier acting credits consists of 1949’s Bulakenyo and 1984’s Bagets Part 2, her first and last films.. Like Leody Diaz, Consuelo became active in late 60s to early 70s directing singing teen stars in musical-comedy or musical-drama genres. Peque Galaga, the popular director of Oro Plata Mata fame, was quoted saying, Consuelo P. Osorio of Premiere Productions as his early mentor because, “It was she who tutored him on points such as casting that would spell success in surviving in the industry.”

Ateng Osorio – “…I asked the receptionist who was the TV writer present that day and she mentioned the name: Consuelo Osorio, also known as Ateng Osorio. She told me which studio she was working that time and I proceeded to find her. Unfortunately, upon entering the TV barn, a production assistant told me that she actually went to the cafeteria to have coffee. So I went to the cafeteria and tried to find her. I asked the person at the till to point out to me Miss Osorio, and she did. She was seated at a table, smoking, talking to another lady, and both of them, I noticed, were looking at me. I approached them and introduced myself. She gave me a handshake and introduced the other lady: “She’s Mitos Villareal, our director.” After shaking Miss Villareal’s hand, I didn’t hesitate to tell them that I was there because I want to become a writer for TV and the movies. They both smiled. “You’re a bit too young to work as a writer,” Ateng told me. “Besides, you look more like an actor than a writer! We immediately noticed you the moment you entered this room. You are unusually fair. You are even fairer than Jeanne Young. Leave your phone number with me, I’ll find something and I’ll give you a call….Well, perfect timing. I need someone your age. I am auditioning today and tomorrow for new talents for BBC Channel 2. Since I already know that you can do it, you’re in. I need you to come for taping on Saturday night. Come with me and I’ll give you the script.” I wanted to say no, but for some reason, I couldn’t. Besides, this lady was super nice and I didn’t want to say no to her. So I went with her and we proceeded to the office and the producer of the show handed me a blue mimeographed script. It says: PROGRAM: Dulambuhay ni Rosa Vilma WRITER: O.B. Pangilinan MAINSTAY: Vilma Santos. To make the long story short, I ended up appearing with Vilma Santos and Walter Navarro. I played Walter’s younger brother in that episode. Thank God all my scenes were take one. And after the show aired, all my friends teased me non-stop about it. Ateng Osorio was directing films that time as well and she wanted to cast me in them but I begged off. I finally told her that acting is not what I wanted to do. I want to write. She then said: “I’m committed for seven months to direct movies which I have already written myself. After they are all finished, we’ll discuss a movie I will be directing for Barangay Pictures. I have a storyline. You will write the screenplay…” – Jose Mari Lee, Pinoy Comics TV Movies (READ MORE)

Consuelo P. Osorio’s Vilma Santos Films

  • I Do Love You (1970) – Eddie Peregrina-Vilma Santos film with Esperanza Fabon and Bebong Osorio. (READ MORE)
  • Jukebox King (1969) – Eddie Peregrina-Vilma Santos film with Edgar Mortiz, Esperanza Fabon and Bebong Osorio. (READ MORE)
  • Mardy (1969) – Eddie Peregrina-Vilma Santos film with Esperanza Fabon and Bebong Osorio. (READ MORE)
  • My Darling Eddie (1969) – Eddie Peregrina-Vilma Santos film with Edgar Mortiz, Esperanza Fabon and Bebong Osorio. (READ MORE)

Other Female Directors

  • Ophelia Paris (1973) Directed by Celia Diaz-Laurel. The first movie of Vilma Santos and Cocoy Laurel, the other films are: Disco Fever and Pinay American Style (READ MORE).
  • Mga Reynang Walang Trono (1976) Directed by Amalia Muhlach (Amalia Fuentes). “…Amalia directed Vilma’s episode in Mga Reyna and agreed to second billing to Vilma in Asawa Ko. No doubt about it, Amalia Muhlach Sumilang Fuentes, is a Vilmanian. To seal their sisterhood and camaraderie, Vilma is Ninang to Liezl Martinez and to the latter’s son Alfonso. Why, Liezl even sang a song ’’Wind Beneath My Wings’ to her surprised mother that night which drove the strong-willed and still beautiful Amalia to tears…” – Mario O. Garces (READ MORE)