Vilma Santos-Recto is a popular multi-awarded actress and politician in the Republic of the Philippines. *** She is known as "Queen of Philippine Movies," "Queenstar," "Grand Slam Queen," "Box Office Queen," and "Star for All Seasons." *** This website is mostly about her iconic film career.
Leron leron sinta (1972) – Directed by Emmanuel H. Borlaza, written by Nestor Torre, produced by Tagalog Ilang-Ilang Productions, featured Vilma Santos, Edgar Mortiz, Jay Ilagan, Florence Aguilar, Lillian Laing, Karlo Vero, Beth Manlongat, Ruben Tizon, Angelito, The Family Birth Control, Julius Obregon, Romeo Miranda, Rene Baraza, Lito Ladores, Eric Domingo, Caloy Distrito, Raffy Engle, Geoffrey Beltran, Catalino Almario Jr., Tacio Tangkad, Bayani Casimiro, Lito Calzado, Daisy Romualdez, and Manny Paner. (READ MORE)
Leron leron sinta (1964) – Directed by Rosa Mia, written by Gina Leonardo and Chari C. Araullo, adapted for screen by Medy Tarnate and Leticia Roxas, produced by Sampaguita Pictures, featured Susan Roces, Eddie Gutierrez, Liberty Ilagan, Introducing Ramil Rodriguez, Meldy Corrales, Bella Flores, Gina Pareno, Vic Pacia, directed by Rosa Mia. (READ MORE)
Disco Queen – “…Ate Vi thus became the chief opponent of Nora Aunor as the movie queen of the 1970s. Her edge is that she also became the queen of hit disco movies filled with singing and dancing, like “Swing It, Baby,” “Disco Fever,” “Rock Baby Rock,” “Let’s Do the Salsa,” and the movie she did with Latin idol Junior, “Good Morning Sunshine…” – Mario Bautista (READ MORE)
Latin Singer – ”…Junior, Now 66 years old (can you believe that?), he was Vilma Santos’ leading man in Good Morning Sunshine in 1980. Born Antonio Morales Barretto, he was born in Manila, but moved to Spain with his family when he was 15. He was already a popular singer in Spain when he tried Pinoy showbiz. After doing a series of local movies (another one of his films was Disco Madhouse with Lorna Tolentino and Rio Locsin) and record albums (Yakap is still memorable to me), he went back to Spain (his wife and kids were all living there) where he continued singing. Eventually, he managed the showbiz career of his wife, Rocio Durcal, but she died of cancer in 2006…” – Butch Francisco (READ MORE)
Travolta Dance – “…I’d rather be known as Victor Laurel. But really, this Travolta is a sensation. I met him in Studio 54 and how the crowd loves him. He’s a wonderful actor, singer, and dancer.” Cocoy, too is a seasoned dancer even before the Travolta fever. He has a catlike grace that gives the impression of strenght and his dancing ability has helped tremendously in his career. “The Travolta dance is typical of hero worship even in San Francisco, Los Angeles and other big cities. Mondays, everyone who has caught the fever, even 30 year olds shop and prepare for the disco on Fridays and Saturday and stay up till the wee hours of the morning…We were about to ask another question about Vi, his leading lady in Lea’s Disco Fever but Ate Josie came in to remind Cocoy that the Sampaguita people were waiting with sketches of his costume for Dyesebel, the movie he was going to make for the Gilmore Studio. But didn’t. As a parting shot, Cocoy revealed that he’d soon put a disco. The Third Kind or something in Makati…” – Nena Z. Villanueva, Expressweek, November 16, 1978 (READ MORE)
First Legit “barkada” – “…Roger Rigor of VST and Co, when asked who is your friends from the entertainment industry: “Marami kaming barkada sa showbiz…and with respect to the recording industry, kakaunti lang noon ang mga personalities on a contract. So, we practically knew everyone, as the industry was still at its early stages. The guys would be the “studio rats”, having sessions in stretches that would start in the morning and end in the wee hours of the next morning…For us Little Baguio boys, I could only refer to Vilma Santos then as our first legit “barkada” in the film industry, dahil nga sa una naming sine was with her. She was “kalog” and really very smart. I am not surprised that as a mayor, she is able to pull it together. Of course, si Pip was already a friend of the guys kasi nga ka-basketbol na namin siya even before the VST days. And there were many others who were mga batikan sa larangan ng pelikula that we met along the course of time…” – Nostalgia Manila (READ MORE)
Top-rater TV show – “…Ang The Sensations ay produce ng ABS CBN at dinerek ni Tony Santos Sr. Consistent No. 1 Top rater ang show at kasama ni Vi & Bot sina Perla Adea, Romy Mallari, Rhodora Silva, Darius Razon, Baby de Jesus, Tony Santos Jr., Janine Frias, atbpa. Dahil sa kasikatan nila Vi & Bot ginawang movie ang The Sensations noong April, 1971, big boxoffice hit ito kaya sinundan agad ni direk tony ng ” Young Lovers ” noong August, 1971, big hit din ito. Ginawan din ng L.P. Album nila Vi & Bot ang The Sensations at muling tinangkilik ng masang pilipino…” – Jojo V. Lim (READ MORE)
Rock Baby, Rock (1979) – Directed, story, screenplay: Oscar Miranda; Cast: Vilma Santos, Junior, Rolly Quizon, Leah Navarro, Tito Sotto, Vic Sotto, Joey de Leon, Lorli Villanueva, Geleen Eugenio, Val Sotto, V.S.T. & Company; Executive producer: Joe Batac; Choreographer: Geleen Eugenio (READ MORE)
Swing It…Baby! (1979) – Directed: Al Quinn; Story, screenplay: Oscar Miranda; Cast: Romeo Vasquez, Vilma Santos, Tito Sotto, Vic Sotto, Joey de Leon, Amy Austria, V.S.T. & Company, Mike Monserrat, Sandy Garcia, Geleen Eugenio, Bing Davao, Walter Navarro, Nena Perez Rubio, Lirio Vital, Coritha, Ritchie D’Horsie, Val Sotto, Ernie Zarate; Executive producer: Emilia Blas; Original Music: Vicor Music Corporation; Cinematography: Joe Batac; Film Editing: Nonoy Santillan; Production Design: Orlando Tolentino; Art Direction: Francisco Faustino; Sound: Luis Reyes, Ramon Reyes; Theme Songs: “I-swing mo ako” performed by Sharon Cuneta (READ MORE)
Disco Fever (1978) – Directed: Al Quinn; Story, screenplay: Maryo De Los Reyes; Cast: Vilma Santos, Christopher De Leon, Victor Laurel, Rio Locsin, Romeo Enriquez, Sandy Garcia, Freddie Aguilar, Sampaguita, Anak Bayan Band; Executive producer: Emilia Blass; Cinematography: Al Quinn, Joe Batac; Film Editing: Nonoy Santillan (READ MORE)
Let’s Do the Salsa (1976) – Directed: Luciano B. Carlos; Story: Bert Mendoza; Cast: Vilma Santos, Walter Navarro, Rolly Quizon, Ronnie Henares, Chichay, Caridad Sanchez, Roderick Paulate, Arnold Gamboa, Winnie Santos, Maribel Aunor, Ike Lozada, Raul Aragon, Lorli Villanueva, Eddie Mercado, German Moreno, Trixia Gomez; Original Music: Dominic Valdez; Cinematography: Arnold Alyao (READ MORE)
The Sensations (1971) – Directed, screenplay: Tony Santos Sr.; Story: Rose Reynaldo, Tony Dantes; Cast: Vilma Santos, Edgar Mortiz, Ike Lozada, Perla Adea, Romy Mallari, Tony Santos Jr., Baby De Jesus, Darius Razon, Rhodora Silva, Vic Pacia, Ben David, Angge, Beth Manlongat (READ MORE)
Sa history ng pelikulang lokal, sadyang namumukod-tangi si VILMA SANTOS dahil hindi lang sa larangan ng pag-arte siya nagtagumpay kundi pati na rin sa pulitika. Pagkatapos ng siyam na taong paglilingkod bilang mayor ng Lipa City, tinanghal naman siyang governor ng buong lalawigan ng Batangas. Nagsimula si Ate Vi bilang child actress noong 1963 sa pelikulang Tudis Liit ng Sampaguita Pictures nang siya ay siyam na taong gulang lamang. Nakipagtagisan siya ng talino sa dalawang batikang aktres nang panahong iyon, sina Gloria Romero at Lolita Rodriguez. Naging positibo ang reception ng publiko kay Ate Vi kaya naman nagkasunod-sunod ang movies niya as a child actress. Sa kanyang makumpletong filmography, makikita ninyong walang patlang ang paggawa ni Ate Vi ng pelikula. Hindi siya nagaya sa ibang child stars na sa transition from childhood to adolescence ay nawala sa eksena at tuluyang nagretiro, o kaya’y bumalik na lang noong teenager na sila. Noong naging 16 years old si Ate Vi in 1970, she became a teen idol and made a staggering total of 27 movies for one year alone. Malayung-malayo nga sa mga artista ngayon na isa o dalawang pelikula lang ang nagagawa taun-taon. She was truly in demand then! And to think may regular TV show pa siya at that time sa ABS CBN, ang D’ Senations na later on ay isinapelikula rin.
HINDI MADALING GAWIN – Ang assignment namin dito ay itala ang ten best films na nagawa ni Ate Vi at, sa totoo lang, hindi madaling gawin ito dahil nga napakarami niyang nagawang magagandang pelikula through the years. As a child star, pinakagusto namin ang kanyang Ging sa Premiere Productions. Street urchin siya ritong anak ng lumpong si Olivia Cenizal na natuklasan sa movies at sumikat bilang child star. Sa teenage phase ng kanyang career, ang most memorable movies niya for us ay ang Renee Rose (gumanap siya bilang isang sikat na artistang may mahigpit na stage mother, played by Lilia Dizon, at dahil dito ay nalaktawan niya ang kanyang kabataan and she often behaves like a child), Inspiration (directed by the late Ishmael Bernal, this is a well-written teen romance at ang nakatambal niya ay ang yumaong Jay Ilagan), Takbo, Vilma, Dali (this is and effective suspense-thriller directed by the late Joey Gosiengfaiao and Vilma played a witness to a crime na hinahabol ng killer), Dama de Noche (dito niya napanalunan ang first Famas best actress award niya and she is totally convincing in a dual role bilang magkapatid na kambal na ang isa ay mabait at ang isa ay baliw), Lipad, Darna, Lipad (this is her first Darna movie, a trilogy na naging blockbuster hit and established her as a top box office actress), Nakakahiya? (this is about a scandalous May-December romance na ang kapareha niya ay ang nasirang Eddie Rodriguez na pwede na niyang maging ama, naging big hit ito kaya nagkaroon pa ng sequel na Hindi Nakakahiya), at Tag-ulan Sa Tag-araw (directed by Celso Ad Castillo, ang first movie nila ni Christopher de Leon tungkol sa magpinsang-buo na umibig sa isa’t isa).
Natitiyak naming kayo ay may sariling paborito sa mga pelikulang ginawa ni Ate Vi. Tiyak na marami ring may gusto sa Pagputi Ng Uwak, Pag-itim Ng Tagak (a love story about a rebel, Bembol Roco, and a violinist, Ate Vi, na siya mismo ang nag-produce sa kanyang VS Films at dinirek ni Celso Ad Castillo), Rubia Servios (dito siya unang dinirek ni Lino Brocka and she played a rape victim who later gets to kill her rapist, Philipp Salvador), Tagos Ng Dugo (isa siyang serial killer dito, directed by Maryo J. de los Reyes), Kapag Langit Ang Humatol (a well-told komiks melodrama directed by Laurice Guillen), Anak (she played an OFW na may gap sa anak niyang si Claudine Barretto, directed by Rory Quintos), Bata-Bata Paano Ka Ginawa? (adapted from Lualhati Bautista’s award-winning novel, she played a liberal single mother who asserts herself, directed by Chito Roño) and Dekada ’70 (again adapted from a Lualhati Bautista novel and directed by Chito Roño, tungkol ito sa isang ina noong panahon ng martial lwa).
OUR PERSONAL CHOICES – Para sa amin, ang aming personal choices are the following:
1. SISTER STELLA L (1984) – Mula kay Mother Lily Monteverde ng Regal Films, ito ang most socially relevant film na ginawa ni Ate Vi, masterfully directed by Mike de Leon, written by Ricky Lee. Hinakot nito ang karamihan sa tropeo ng Urian Awards for that year, including best picture, best actress for Ate Vi, best actor for Jay Ilagan, best supporting actress for Laurice Guillen, and best supporting actor for Tony Santos, Sr. Si Vilma ang gumaganap bilang title-roler, isang apolitical nun na ang dating boyfirend ay naging isang journalist (Jay) na tumutulong sa mga inaaping manggagawa sa pangunguna ng labor leader na si Ka Dencio (Tony). Ang kapwa niya madreng si Sister Stella B. (Laurice) ang nagpakita sa kanya kung paano sila magiging mas makabuluhan by serving the people’s struggle for social justice. Ipinakita ritong dapat tayong makisangkot sa mga suliranin ng lipunan para magkaroon ng mabuting pagbabago sa sistema. Hindi pwedeng neutral ka lang na ayaw ma-involve. Kahit na nga member ka ng religious community, dapat ding makisangkot ka sa socio-political affairs. Ang talumpati ni Ate Vi nang maging militanteng madre na siya pagkatapos mapatay si Ka Dencio (“Kung ‘di tayo kikilos, sino’ngkikilos? Kung ‘di ngayon, kailan pa?”) ay talaga namang nakakaantig ng damdamin.
2. IKAW AY AKIN (1978) – Member kami ng Urian Awards nung ’78 at ang pelikulang ito, produced by Tagalog Ilang-Ilang Productions, ang siyang ipinaglaban namin para manalo ng best picture. Hindi ito sinang-ayunan ng karamihan sa mga kapwa namin Manunuri dahil mas pinili nila ang Pagputi ng Uwak, Pag-itim Ng Tagak, dahil may elemento raw ng kaapihan ng magsasaka at ng reporma sa lupa. (Ang tanging consolation ng Ikaw Ay Akin ay nanalo si Christopher de Leon ng kanyang first Urian best actor award.) Years later, some of the Manunuri members who voted for Pagputi told us they regretted the decision dahil obvious namang Ikaw Ay Akin ang pelikula na talagang withstood the test of time, written by Jose Carreon and directed by Ishmael Bernal. Wala itong pretensiyon na nagpapa-socially relevant but it deals so effectively on the matter of how human beings and relantionships can at once be simple and complex. Malayo nga ito sa usual love triangle flicks na puno ng melodramang iyakan, although Christopher as Rex is also turn between Vilma Santos as Sandra, a kooky and neurotic artist designer, and Nora Aunor as Tere, an orchid expert. Ang mga salimuot ng menage-a-trois na ito ay sensitively laid out para makita ng viewer ang sakit at ligaya , at dusa at saya na dinaraanan ng bawa’t tauhan. Sa ending, nothing is really resolved. Basta nagtitinginan lang sina Nora at Vilma sa isa’t isa nang walang dialogue for five minutes. This is a very daring move, lalo na’t ang local viewers ay yung tipong gustong matiyak kung kanino ba talaga napunta si Boyet, kay Vi o kay Guy? Pero si Bernal ay walang pakialam with fulfilling viewer expectations. Basta ang gusto niya ay mailarawan niya ang mensahe ng movie.: that no one can totally, absolutely, fully own another human being. The best thing is to understand ang pangangailangan ng isang tao at mahalin mo ito according to his limitations. Sabi nga ni Boyet kay Guy: “Kailangan ako ni Sandra hindi lang sa pisikal kundi sa emosyonal din, tulad ng pangangailangan ko sa ‘yo. Sa kanya, nagkakaroon ako ng gamit. Kailangan ko kayong dalawa para mabuo ako.” Sabi naman niya kay Vi: “Si Tere, tinanggap nang hindi niya ako maaangkin nang buong-buo. Kung sasabihin mong nakuha mo ako ng buong buo ang isang bagay, kulang pa rin.” Grabe rin ang galing ng acting dito ni Vi sa tagpong inilantad niya ang kanyang sarili as an insecure woman: “Sabi nila, liberated ako, front lang. Kalong daw, front din. Alam mo namang kulang-kulang ako. ‘Pag wala ka, magkakalat ako. Para akong manok, takbo nang takbo, wala namang ulo!”
3. DALAWANG PUGAD, ISANG IBON (1977) – A commercial and artistic success written and directed by Ishmael Bernal, love triangle movie rin ito that banked on the real life romance then of its lead stars, Vilma and Romeo Vasquez. Si Vilma ay si Terry, na iniwanan ng kanyang immature boyfriend (Mat Ranillo III at sumama sa isang lalaking may asawa (Romeo) sa kabila ng pagtutol ng mga magulang niya. Pwede itong naging mediocre romantic melodrama pero nagtagumpay si Bernal na i-elevate ito to art by giving us mature, sensitive characters who, like most of us, are looking for meaningful personal relationships. Tinalakay sa movie (in a very sutle manner) ang legal and moral implications ng adultery o pakikiapid ng isang dalaga sa isang married man, lalo na nga’t society shuns such sinful relationships. Ang relasyon nina Vilma at Romeo ay reflected sa relasyon ng iba pang mga tauhan sa movie, tulad ng sa mother ni Vilma (Anita Linda) at ng ama niyang nagtataksil din (Fred Montilla), sa lola ni Vi (Mary Walter),sa first boyfriend niya (Mat) at sa babaeng may gusto rito (Ann Villegas) at kapatid nitong pokpok (Laila Dee), at sa misis ni Romeo (Anna Gonzales) na ayaw siyang pakawalan kahit hindi naman sila magkasundo. Kung may pelikula si Ate Vi na nasasabik kaming panoorin uli, ito ‘yon. Kaya lang, wala na yatang existing copy ito at nakasama sa movies produced by Lea Productions na nasunog o nasira sa baha. What a big waste. Sayang talaga.
4. RELASYON (1982) – Ito ay isa pang pelikula ni Ishmael Bernal sa Regal Films na tumatalakay sa subject ng adultery from the point of view of the other woman, si Marilou (Vilma), ang mistress ni Christopher de Leon na pinaglilingkuran siya ng buong puso: pinaglalaba siya, binibigyan ng beer at inaalagan pa ang anak niya mula sa legal wife niya. Ipinakita rin sa feministic movie na aito ang pagka-chauvinist ng mga lalaking Pinoy. Gusto’y sila lagi ang masusunod at ni ayaw makakausap ng ibang lalaki ang babae nila, tulad ng aversion ni Christopher kay Jimi Melendez sa kuwento, at pati na rin sa kaibigang bading ni Ate Vi na si Manny Castañeda. Tinalakay rin sa movie ang subject ng kawalan ng divorce sa Pilipinas, dahil kung may diborsiyo raw ditom sana ay pinakasalan na ni Boyet si Vi. Narito sa pelikulang ito, which scored for Ate Vi her first grand slam as best actress, ang famous death scene ni Boyet na namimilipit sa sakit habang inirereklamo ang masakit niyang ulo at tarantang-taranta naman si Ate Vi na hindi malaman ang gagawin. Tuhog ang kuha sa mahabang eksenang ito and the acting is really great kaya dito pa lang ay sulit na ang panonood ninyo.
5. BROKEN MARRIAGE (1983) – Nagwagi rin ng Urian best actress award si Ate Vi para sa acting niya sa pelikulang ito na muli ay produced ng Regal Films. As the title implies, tungkol ito sa isang nasirang marriage. Si Vi ay si Ellen, isang TV production executive, at si Boyet ay si Rene, isang newspaper reporter. Pagkatapos ng sampung taong pagsasama, kinakalawang na ang relasyon nila bilang mag-asawa. Dahil lagi na lang silang nag-aaway, umalis si Rene mula sa tahanan nila at si Ellen ay naging single parent sa dalawa nilang anak. Nang manakawang ang bahay nila, lumipat si Ellen at mga anak nila sa bahay ng nanay niya. Nang mabugbog si Rene ng mga tauhan ng isang politiko dahil sa expose niya, napilitan siyang muling pumisan kina Ellen at dito rin muling nabuo ang pagsasama nila bilang mag-asawa, resulting into a reconciliation. May dalawang mahabang arias dito si Ate Vi na talagang lutang na lutang ang kahusayan niya. Una’y ang monologue niya sa piling ng mga kaibigan na pinagtatapatan niyang bagot a bagot na siya sa buhay. Susunod ay sa eksena niya with Boyet na sinasabi niyang hindi sila magkakabalikan nang dahil lang sa mga bata. Hindi rin malilimutan ang unang confrontation scene nila sa movie na natural na natural ang away nila bilang mag-asawang na-alienate na ang loob sa isa’t isa.
6. SAAN NAGTATAGO ANG PAG-IBIG (1987) – Sa aming talaang ito, ito lamang ang pelikula ni Ate Vi na hinango sa isang nobelang komiks. This was shown in the same year as Tagos ng Dugo (na siayang nagpanalo sa kanya ng isa pang Famas best actress award), pero hindi namin naibigan ang performance niya rito as it was so palpably engineered, pati ang ibang movements niya na ang nakikita mo sa likuran niya ay ang instructions na bigay ng direktor kung ano ang gagawin niya. That year, ang choice namin for best actress ay si Lorna Tolentino sa anti-heroin role niya in Maging Akin Ka Laman ni Lino Brocka. But we will alwyas love Saan Nagtatago Ang Pag-ibig, na dinerek ni Eddie Garcia, dahil may kakaibang tama ito sa puso. Sa kuwrnto, si Vilma ay nabuntis ni Ricky Davao pero hindi siay mapakasalan nito dahil sa mamanahin mula sa kanilang dominanteng lola, the late Alicia Vergel, na inaapi-api pati ang ina ni Ricky, si Gloria Romero, who gives a great performance. Ang ginawa ni Ricky a kinumbinsi si Vilma na pakasal sa kanyang kapatid na retarded, si Val, played by Tonton Gutierrez, para aito ang magbigay ng pangalan sa magiging supling niya. Pumayag si Ate Vi at doon na nga siya natira sa malaking bahay ng pamilya nina Ricky at Tonton. Dahil doon, mababago ang takbo nga buhay ng pamilyang ito dahil si Vilma ang magsisilbing agent of change who will defy the matriach taht is Alicia Vergel. Mabubunyag din kung pano nagkaroon ng pinsala si Tontion sa utak. Maraming madamdaming eksena sa pelikula na talagang titimo sa inyong puso. Sa ending, there is justice dahil nagkamit ng karampatang parusa ang mga nagkasala.
7. PAHIRAM NG ISANG UMAGA (1989) – Namatay si Ate Vi sa pelikulang ito sa papel niya bilang Juliet, isang advertising executive na dinapuan ng cancer, but the film, produced by Regal Films, written by Jose Javier Reyes and directed by Ishmael Bernal, is really more a celebration of life. Pagkatapos malaman ni Juliet na may taning na ang buhay niya, ginugol niya ang mga natitira niyang araw para ilagay sa ayos ang kanyang buhay. Nakipagkasundo siya sa kanyang estranged husband (Gabby Concepcion) na may iba nang asawa (Zsa Zsa Padilla) at inihabilin dito ang anak nila (Billy Joe Crawford). Maraming simbolo and motifs ng buhay at kamatayang ginamit din ang expressionist painter na si Ariel (Eric Quizon) ina an impressive performance) para ipakita ang parallelisms between life and art. In one scene, tinalakay pati ang origins ng art when prehistoric men made drawings on caves na kahit primitive ay they continue to exist until this day. people may die, but art will live on. Ironically, si Ariel ay isang tormented soul who wants to kill himself. Pero iniligtas siya ni Juliet, a dying woman na hindi na maililigtas ang sarili niyang buhay. The grand death scene of Juliet on the beach habang nakasuot siya ng puting night gown haang nagbubukang-liwayway, sa ‘di kalayuan ay isa sa mga ‘di-malilimutang paglalarawan ng buhay at kamatayan na maing napanood sa pinilakang tabing.
8. HAHAMAKIN ANG LAHAT (1990) – Produced by Regal Films, dinirek ito ni Lino Brocka and we honestly believe na very much underrated ito. Ang tanging award na pinanalunan nito ay best supporting actress award for Snooky Serna (na very deserving). Nirepaso nga namin ang aming listahang ito at napansin naming ito lang ang movie ni Ate Vi na dinirek ni Brocka which is included in our list. Mas marami kaming isinaling pelikula ni Ate Vi na dinirek ni Bernal. Actually, may iba pang ginawang movies si Ate Vi with the legendary director, tulad ng nabanggit na rin naming Rubia Servios (kunsaan tinalo siya ni Ate Guy as best actress for Atsay in the 1978 Metro Manila Film Festival) at ang Adultery: Aida Macaraeg with Philipp Salvador and the late Mario Montenegro. Pero para sa amin, this is Ate Vi’s best Brocka movie and one of her best and most demanding roles sa mga nagampanan na niya. Vilma plays an anti-heroin, si Sylvia, isang bida-kontabida. Asawa siya ng isang gahamang mayor (Eric Quizon), na piangtataksilan siya. Nang muli niyang makatagpo ang una niyang pag-ibig, si Rene (Gabby Concepcion) ay pinagsikapan niyang makuhang muli ang pagtingin nito kahit kasal na rin ito sa ibang babae (Snooky). Sa kanya nga patungkol ang titulo ng movie dahil hahamakin niya ang lahat maagaw lang muli ang dati niyang pag-ibig. Dati, akala niya, magiging maligaya siya sa mga materyal na bagay at pati ang mahirap niyang ina (Perla Bautista) ay nagawa niyang itakwil. Nguni’t natanto niyang wala sa pera o sa kapangyarihan ang tunay na kaligayahan kundi nasa tunay na pag-ibig. Ang hindi niya alam, paghahangad niyang maibalik ang nakaraan ay hahantong lamang sa isang malagim na trahedya. Sadyang mapanghamon ang role ni Ate Vi rito na tuso, matapang, sinungaling at manggagamit ng kapwa tao. Mapupuri mo nga siya dahil hindi siya natatakot kumuha ng ganitong klase ng roles (gaya rin ng role niya sa Sinasamba Kita) na pwedeng maka-alienate sa kanyang fans. She’s definitely more adventurous as an actress. Kaso ang nakalaban niya that year ay si Nora Aunor who played a more sympathetic role bilang inang nagpakasakait alang-alang sa ikabubuti ng anak sa Andrea, Paano Ba Ang Maging Isang Ina? kaya mahuhulaan na ninyo kung sino ang nagwagi ng best actress awards for the year.
9. BURLESK QUEEN (1977) – Humakot ng lahat ng tropeo sa 1977 Metro Manila Film Festival, tribute ito sa stage shows noong ’50s. Sinulat ni Mauro Gia Samonte at dinirek ni Celso Ad Castillo, dito unang nagpa-sexy si Ate Vi at talagang big blockbuster ito. Kuwento ito ng isang batambatang burlesque dancer noong 1950s, played by Ate Vi. Nagsimula siya bilang alalay ng isang reigning burlesque queen, si Rosemarie Gil, na kabit ang maton na si roldan Aquino. Nang iwana ni Roldan si Rosemarie, naglasing ito at ayaw nang sumayaw kaya si Vilma ang isinalang bilang kapalit niya sa entablado. Maiinit ang naging pagtanggap ng mga lalaking manonood kay Vilma, pero ang maprinsipyong ama niyang lumpo (Leopoldo Salcedo) ay tutol sa ginagawa niya. Dahil naghihirap sila, nasunod din ang gusto ni Vilma na maging burlesk dancer. Nagpatiwakal ang ama niya dahil dito. Umibig naman si Vilma sa isang iresponsableng lalaki na nakipag-live in dito, si Rollie Quizon, na isa palang mama’s boy at hindi sanay sa hirap kaya nilayasan din siya. Ang climax ng movie ay ang may sampung minutong pagsasayaw ni Vilma sa entablado hanggang duguin siya. Buntis pala siya at gusto niya talagang malaglag ang dinadala niya. Maganda ang maraming elemento sa movie, malian sa production design na 1950s ang setting pero hindi maingat kaya maraming detalye na pang-19702 ang kasama rito. Very memorable din dito si Jonee Gamboa sa papel ng stage impresario an siyang nagsasatining ng mga opinyon ng writer at direktot na pinupuna ang hypocrisy ng mga moralista, tulad ng pagtatanong niya kung anong uri ng show ang dapat ibigay sa masang Pinoy na hindi kayang magbayad ng pang-mayaman at kulturadong shows tulad ng operang Merry Widow. Sayang at wala na rin daw existing copy ng pelikulang ito.
10. DOLZURA CORTEZ STORY: DAHIL MAHAL KITA (1993) – Ito ang unang pelikulang lokal na nagsiwalat tungkol sa sakit na AIDS at filmbio ito ng kuna-unahang Pilipino na umaming may AIDS siya, si olzura Cortez, na ang kuwento ay nalathala sa dyaryo. Sinulat ni Ricky Lee, dinirek ni Laurice Guillen at produced ng Octo Arts Films, bida-kontrabida rin ang papel ni Ate Vi rito in the title role. Hindi siya yung usual heroine na walang bahid-dungis at inaapi. Dito, isa siyang makasalanang babae na nagbili ng katawan, nagkaroon ng affairs sa maraming lalaki, hanggang sa dapuan nga siya ng dreaded sickness called AIDS. Muli ngang naka-grand slam si Ate Vi sa role niya sa pelikulang ito. The same year, meron ding nagawang movie si Ate Guy, ang Inay na dinirek ng yumaong Artemio Marquez, pero hindi man lang siya naging nominee para sa pagkakaganap niya roon. That year, dalawang movies ang nagawa ni Ate Vi. Ang isa pa ang ang action-dramang Ikaw Lang ni Chito Roño, na in fairness ay mahusay rin siya sa papel ng battered wife ng baliw na si Cesar Montano an naging bank robber kasama si Ronnie Ricketts. Pero sa Dolzura Cortez nga pinarangalan si Ate Vi dahil talaga namang very convincing ang pagkakaganap niya bilang isang babaeng lumaban sa buhay alang-alang sa kanyang pamilya, nguni’t sa kasamaang-palad ay iginupo ng isang sakit na walang lunas. Malusog na malusog si Ate Vi nang gawin niya ang pelikulang ito, pero very convincing siya sa paglalarawan ng isang babaeng may malubhang sakit at malapit nang bawian ng buhay. Dahil nga sa pelikulang ito, nagkaroon ng higit na kamulatan ang publiko ungkol sa sakit na AIDS.
BEST MOVIE IS YET TO COME – Kung magdagdag kami ng isa pang Ate Vi movie sa aming listahan, it will be another work of Laurice Guillen, ang Ipagpatawad Mo, where Ate Vi played the mother of an autistic boy na ipinaglaban ang anak niya kahit may kapansanan ito. At dahil aktibo pa rin si Ate Vi at may bagong movie na nakatakdang gawin sa Star Cinema, hindi pa tapos ang pagsulat sa history niya bilang isang actress. Kahait gobernadora na siya ang Batangas, lalabas pa rin daw siya sa movies every now and then. Who knows? Baka he really, really best movie is yet to come habang mas nagmamature siya, like fine wine, bilang isang actress for all seasons. – Mario Bautista, Hi! Magazine Dec 2007
Originally released in 1961, Karugtong ng Kahapon was re-used as the title of the Vilma Santos 1975 film. Literally translated as the “continuation of yesterday,” the original film casted the major stars of this period, Rita Gomez, Mario Montenegro, Marlene Dauden and even its director, Eddie Garcia will all have films with Vilma. It was written by Clodualdo Del Mundo for Tagalog Klasiks, a comics magazine. Meanwhile, the 1975 film starring Vilma Santos was also written for comics magazine by Nerissa Cabral and Eddie Garcia was also involved, this time not the director but part of the ensemble cast that includes major stars like Gloria Romero and Celia Rodriguez.
Karugtong ng Kahapon (1961) – Directed by Eddie Garcia; Original story: Clodualdo Del Mundo; Screenplay: Medy Tarnate; Cast: Mario Montenegro, Rita Gomez, Ric Rodrigo, Marlene Dauden, Carlos Salazar, Rosa Mia, Zeny Zabala, Totoy Torrente, Aring Bautista, Marcela Garcia; Music: Nestor Robles; Production Co: Sampaguita Pictures
The Director – “…The same breadth and variety in his performances characterize Eddie Garcia’s other career in the movies as a director. Either acting or directing, he seems to have the same temper and outlook; one characterized by a nearly total lack of self-consciousness and self-absorption. But the artistry and innovation are unmistakable. It would appear in fact that Eddie Garcia used acting as a vehicle in order to become a filmmaker. He told the Manunuri that when he joined the movies in 1949, he made a promise to himself, “In 15 years, I will be director.” He made it as director in just 12 years when he was given an assignment in 1961 by “Doc” Jose Perez, studio boss of Sampaguita, the dramatic movie, “Karugtong ng Kahapon,” starring Rita Gomez, Ric Rodrigo and Marlene Dauden. Before that, he was assistant director to Mai’ Torrres, Octavio Silos and other Sampaguita directors…” – Lito Zulueta (READ MORE)
“…The 1961 movie, “Karugtong ng Kahapon” is almost forgotten. Even Eddie Garcia, in most of his interviews never mention or cite this movie which played a big part in his illustrious career. This is Eddie’s first directorial assignment, and not “Historia de un Amor” (1963) as previously reported in other articles. Eddie is a Famas Hall of Fame awardee for Best Director, Best Actor and Best Supporting Actor. What a feat!…” – Simon Santos (READ MORE)
Karugtong ng Kahapon (1975) – Directed by: Fely Crisostomo; Story: Nerissa Cabral; Screenplay: Mike Relon Makiling; Cast: Vilma Santos, Edgar Mortiz, Gloria Romero, Celia Rodriguez, Eddie Garcia, Jay Ilagan, Romy Mallari, Joseph Sytangco, Patria Plata, Ronald Ruiz; Original Music: Danny Subido; Cinematography: Ricardo Herrera; Editing: Gervacio Santos; Production Co.: Roma Films; An Entry to the 1975 Metro Manila Film Festival.
Festival Entry – “…Nora Aunor’s entry, NV Productions’ Batu-Bato sa Langit (directed by Luciano B. Carlos), was a hit and won as 3rd Best Picture. Vilma Santos, on the other hand, gave a notable performance in Roma Films’ Karugtong ang Kahapon. That time, Nora and Vilma were in their peak, their career and the movies they made were being followed closely, compared, watched, praised, scrutinized both by fans and critics. Their storied and fierce rivalry dominated our movie industry for years. In fact, one could argue that even to this day, a Filipino movie fan is either a Noranian or a Vilmanian…” – Wikipedia (READ MORE)
“…Starring Vilma, daughter of a “happy” couple Eddie Garcia and Gloria Romero. Throw in the other woman of Eddie, Celia Rodriguez and as expected, another morality play was born. Shown at the first Metro Manila Film Festival…” – Mario O. Garces (READ MORE)
Post-War – “…Ayon kay Mona Lisa, kasama siya sa tropa nina Fernando Poe, na siyang pangunahing aktor at direktor sa panahon ng giyera. Kasama nila sina Willie Chavez, Jaime dela Rosa at iba pa, nagpalipat-lipat sila sa Lyric, Capitol at Avenue Theaters. Ang artistang nakilala sa mga pelikulang, Ang Pagbabalik, Kolehiyala, Dilim at Liwanag, Bago Lumubog Ang Araw, Bahay Kubo at Magmamani ay napilitang kumanta, sumayaw at sumali sa mga iskit sa tanghalan. Bago pa lamang nagdadalaga si Virginia Montes sa gulang na katorse nang una niyang subukan ang stage shows sa mga huling taon ng WWII. Namatay sa giyera ang kaniyang ama at siya ang inaasahang tumulong sa kaniyang ina para sa buhayin silang magkakapatid. Kasama naman siya sa tropa ng mga nagsisipagtanghal sa Orient Theatre sa pamamahala ni Papang Salvador (Lou Salvador, Sr.) at ng kabiyak nitong si Aling Cora (ina nina Mina Aragon, Philip at Ramon Salvador). Sumasayaw sa stage si Virgie. Naalaala pa niya nang bago siya lumalabas ay naiiyak siya tuwing magsusuot siya ng maigsi. Pero wala naman siyang magawa, kasi iyon ang costume nila. Ang kanilang choreographer ay si Chuchi, sa supervision ni Don Jose Zarah na pagkatapos naman ng digmaan ay siyang namahala sa Clover Theatre. Kabilang sa mga artistang lumalabas sa mga stage shows noon sina Teroy de Guzman, Golay (kilala ngayon bilang Dolphy), Panchito Alba, Etang Discher, Rene Pangan, Chiquito, Balot, Metring David, Gregorio Ticman, Patsy, Lopito, Bayani Casimiro, Nieves at Ester Chavez…” – Irene Diaz-Castillo, Charlie V. Lozo and Liza Endaya, Ang Showbiz Ngayon, September 11, 1989 (READ MORE)
Television Show – “…The legendary comic duo of Dolphy and Panchito headlined Buhay Artista, one the top-rating TV shows in the 60s. A Sunday evening treat for the whole family telecast over Channel 3, from 7:30 t0 8:30 p.m….” – Simon Santos (READ MORE)
“…He is best remembered for the long-running TV show “Buhay Artista” (with Panchito) and “John en Marsha” with Nida Blanca as his with in an inspiring story about a poor yet happy family. The TV show was made into movies, just like “Home Along da Riles,” the show that followed it…” – Ricky Lo, The Philippine Star, July 11, 2012 (READ MORE)
Susan and Dolphy in Buhay Artista (1967) – Susan played a movie fan who became a movie star, opposite Dolphy. The have done several films prior to Buhay Artista, some are: Lab na Lab Kita (1962); Pepe En Pilar (1966); Susanang Daldal (1962) and Sa Lingo ang Bola (1961).
“…”Malaki ang agwat ng edad namin ni Dolphy. Ang kabarkada ko talaga [noon], yung kapatid niya, si Georgie [Quizon],” banggit din ni Susan sa younger brother ni Dolphy na namatay sa isang aksidente [hit-and-run], ilang taon na ang nakakaraan. “Pero very supportive si Dolphy sa amin ni Georgie. “Pagka merong extra’ng trabaho, binibigyan niya kami, sa mga radio shows niya. Du’n naman ako na-train sa voice acting. “Marami din kaming pinagsamahan na radio programs, nung panahon na ‘yon, sa dzRH,” wika rin ni Susan na naging tampok sa Mga Reyna ng Vicks (1958), pelikulang base sa radio program na ang sponsor ay Vicks Vaporub. Ito rin ang pinagbasehan ng kuwento ng Sapagka’t Kami’y Mga Misis Lamang [1977], tampok pa rin si Susan, Nora Aunor, Celia Rodriguez at Chichay. “Nu’ng nag-produce na siya [Dolphy], pagkatapos ng kontrata niya sa Sampaguita Pictures, at nung ako naman ay freelancer na rin, muli kaming nagkasama sa marami ring proyekto ng RVQ Productions. “Kaming Mga Taga-Ilog [1968], Pepe En Pilar [1966]… hindi ko na halos mabilang,” ang sabi ni Susan…”Mabait si Dolphy. Although malayo ang agwat namin sa edad, hindi namin siya tinatawag na ‘Kuya’ o ‘Tito,’ dahil alam namin na hindi siya magiging masaya na tawagin namin siya nang gano’n. “Pero alam niya na iginagalang namin siya. Kagalang-galang na, katulad nga ng maraming sinabi, yung mga na-interview, sabi nila, ‘Pag nakikita mo si Dolphy, kakaiba siya. “Iilan lang sa mga public personalities natin na pagpasok nila [sa isang pagtitipon] parang mapapatigil ka sa kanya, [dahil sa] respeto. “Sa personal, hindi naman siya pala-kuwento. Ah, mas madalas tahimik siya at nakikinig siya sa mga kuwento. “Gusto niya, meron siyang nakaka-kuwentuhan, pero i-e-encourage ka niyang ikaw ang magkuwento. “Ang bonding moments namin [noon], siyempre… pagkain!” nangiti si Susan pagkabanggit nito. Then, she recalled, “Paborito niya yung huling pinaluto ko para sa kanya. “That was a few months ago, na nasa bahay lang siya at ang sabi ng doktor, kailangan kumain siya nang kumain… kare-kare, adobo. Yun ang mga gusto niya…” – William R. Reyes (READ MORE)
Vilma and Dolphy in Buhay Artista (1979) – Dolphy and Vilma Santos did four films together. The first one was in her first year in show biz and in a Dolphy-Chichay film. After six years, the two reunited in one of early films of Nida Blanca and Dolphy. The film was sort of about family planning and birth control. Vi was in minor role and one of the child actors featured in the film. They followed this up with minor roles in the Cirio Santiago’s all-star-cast film. By later part of 1970s, both Dolphy and Vilma became a regular staples in award shows receiving several trophies as box office king and queen. Finally, after almost a decade from their last outings and no longer his film daughter, Dolphy and Vilma did their last film (to this day), this time, Vilma played the leading lady, in a film, ironically, about show business. Also, that year, Doply became the only male actor who portrayed Darna, the female comic-super-heroine in Darna Kuno. Not to be undone, Vilma will reprise the role the following year in her fourth and final film as Darna in Darna at Ding. At present time, both superstars made headlines as contenders for Philippines’ National Artists honors. Vilma respectfully and publicly asked for Dolphy to confer the title ahead of her.
“…Nakapanayam ng PEP.ph (Philippine Entertainment Portal) at ilang entertainment press sina Vilma at Lani, at kanilang ikinuwento sa amin ang mga hindi nila malilimutang sandali kasama ang Comedy King. Malungkot si Star for All Seasons Vilma Santos-Recto sa pagpanaw ni Dolphy, at sa opinyon niya’y “napilay” ang industriya ng pelikula at telebisyon sa ating bansa. Gayunman, hindi niya kailanman malilimutan ang Hari ng Komedya dahil “legacy na siya ng movie industry.” Dagdag pa niya, “So, katawan lang ‘yan, pero ‘yong legacy na iniwan ni Tito Dolphs would, ah, will definitely stay in the movie industry. “Hindi mabubuo ang movie industry kung wala si Dolphy.” Nagkasama sina Vilma at Dolphy sa pelikulang Buhay Artista Ngayon (1979), at nang mapanood niya raw ulit ito’y naalala niya ang tawanan nila sa set noong ginagawa ang pelikula. Kuwento niya, “Grabe, na-miss ko si Tito Dolphy. Ang galing namin sumayaw! “‘Yong dance sequence namin nakaka-miss talaga. “Pero wala, kanya-kanyang kontribusyon ‘yon, and at the end of the day, what’s important is the legacy na iiwan mo sa mga taong nagmahal sa ’yo. “For sixty years nagsilbi si Tito Dolphs, so talagang he’s one of the pillars ng pelikulang Pilipino.” At kung ang National Artist Award naman ang pag-uusapan, ito lamang ang opinyon ni Ate Vi: “Deserving si Tito Dolphy. “Deserving sa contribution, sa ginawa niya, lahat, lahat ng ginagawa niya noon—deserving si Tito Dolphs…” – Joyce Jimenez (READ MORE)
Basic Information: Directed: Tata Esteban; Cast (in credits order) Vilma Santos, Robin Padilla, Roderick Paulate, Raul Zaragosa, Janice de Belen, Susan Lozada, Francis Magalona, Maila Gumila, Cita Astals, Tanya Gomez, Evelyn Vargas; Original Music: Jaime Fabregas; Cinematography: Vic Anao
Plot Description: As modern man continues to plunder our environment, the Engkantos prepare for battle to protect what is left. Always remember: We are not alone in this world! – Kabayan Central (READ MORE)
Film Accomplishments: 1992 Metro Manila Film Festival Third Best Picture
Film Reviews: “…He gave free passes to people from the showbiz industry to earn more clout in the business. He met Celso Ad Castillo, Lino Brocka and Mario O’Hara who opened for him a new world: directing. In 1985, at age 29, he directed his first movie, “Alapaap,” starring Tanya Gomez. It won 13 awards in the Metro Manila Film Festival and was bought later to Japan for the Tokyo Film Festival. Tata Esteban discovered that he had the gift. He was proud of his achievements. “I became a star builder,” he says. “I made many actresses, bold stars, famous. I gave them movies and built their names…” – Aliwan Avenue (READ MORE)
“Lea Salonga’s leading men in Bakit Labis Kitang Mahal, Aga Muhlach and Ariel Rivera won as best actor and best supporting actor in the Metro Manila Film Festival’s Gabi ng Parangal Monday night. Gina Alajar was Best Actress….best supporting actress went to Sylvia Sanchez…Although the Eddie Garcia-Eddie Gutierrez starrer Andres Manambit did not win acting awards, the movie nevertheless won the most number of awards, including the plum Best Picture that came with P250,000.00 cash…Second best picture and P150,000.00 went to Takbo, followed by Engkanto which received P100,000.00 as third best picture…” – Manila Standard, Dec 28, 1992 (READ MORE)
“…Maribuhok is an enchanted place deep in the mountains. The dwellers of Maribuhok are engkantos (nature spirits or elementals) tasked to protect nature. They are headed by Uban (Francis Magalona) the deity of animals and Yorac (Roderick Paulate) the deity of plants. Uban rejuvenates as a young man and proceeds to reinvent himself as a star specializing on cause-oriented environmental songs. He neglects his kingdom and his daughter Karina (Janice de Belen) grows up away from his guidance. Meanwhile illegal loggers continue to denude the forests and Yorac decides to do something about it. He holds some loggers hostages including Carlo (Raul Zaragosa) Karina’s boyfriend. Karina discovers the land of her birth including the fact that Uban is her father. She asks his help regarding Carlo. But Yorac remains unyielding. Uban and Yorac gear up for a showdown until Mother Nature (Vilma Santos) herself intervenes. Her meaningful lesson? We must all work for the preservation of our environment before it is too late…” – Mav Shack (READ MORE)
“…Gagawin ko po lahat kahit ano, gumaling lang po ako…” – The Healing
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Basic Information: Direction: Chito Roño; Cast: Vilma Santos, Kim Chiu, Pokwang, Mark Gil, Martin del Rosario, Allan Paule, Cris Villanueva, Daria Ramirez, Ces Quesada, Ynez Veneracion, Simon Ibarra, Abi Bautista, Joel Torre, Chinggay Alonso, Mon Confiado, Carmi Martin; Production Co.: Star Cinema; Release Date: July 25 2012
Plot Description: “…Stories about the Filipino tradition of going to faith healers for guidance and treatment of ailments have not yet been tackled in-depth in movies. And in our film, the viewers will not just be horrified, they’ll somehow be challenged to think as to how faith healing has already been part of our culture…” – ABS-CBN News (READ MORE)
Film Achievement:PMPC Star Awards 2012: 11 Nominations – Movie of the Year – Star Cinema; Movie Director of the Year – Chito Roño; Movie Actress of the Year – Vilma Santos; Movie Supporting Actress of the Year – Kim Chiu; Child Performer of the Year – Abby Bautista; Movie Screenwriter of the Year – Roy Iglesias; Movie Cinematographer of the Year – Charlie Peralta; Movie Production Designer of the Year – Erick Torralba, Richard Somes, Fritz Silorio; Movie Musical Scorer of the Year – Jerrold Tarog; Movie Editor of the Year – Jerrold Tarog; Movie Sound Engineer of the Year – Mike Idioma; Film Academy of the Philippines – Luna Awards Best Picture Nomination – Star Cinema; Best Direction Nomination – Chito S. Rono; Best Actress Nomination – Vilma Santos; Best Cinematography Nomination – Charlie S. Peralta
Vilma Santos’ 50th Anniversary Movie; The Cinema Evaluation Board of the Philippines gave this film a “Graded A” and MTRCB rated this film Rated-13 (censored version) and Rated-18 (director’s cut) – Wikipedia (READ MORE).
Film Review: “…Created in the same campy mold as Chito Roño’s other horror “Feng Shui”, the film gambled on giving Vilma Santos a project that was expected to earn money and provide cheap thrills. I am not sure about the box office returns but it did provide some scares when I saw it. Plot is about a neighborhood who is embroiled in a karma-like situation. The neighbors are having a second lease on life with their own set of illnesses after a life insurance agent’s dad was attended to by a faith healer named Elsa (who happens to be the name of Nora Aunor’s character in the masterpiece “Himala”). It may be low in coming up with a compact and weighty story to connect with but at least it gave its main chunk of meat a good production value and execution. The one involving a Chinese temple is my favorite. I also have to note that Jerrold Tarog did a wonderful job in the editing department. The ending, for instance, did not linger much on the drama and the realizations. Star Cinema also released two versions of the film. One is R18 which contains more gore and the other, to reach to a wider audience (read: more money), R13. Friends who might appreciate it: Vilmanians, no less…” – Manuel Pangaruy Jr., Tagailog Specials Presents, 28 October 2012 (READ MORE)
“…Director Chito S. Roño is a veteran in doing horror movies. In 2004, he helmed the box-office hit Feng Shui, an answer to the Asian horror movie phenomenon. The Healing, on the other hand, can be considered an answer to Hollywood’s torture-and-gore horror movie phenomenon. It may be the first local horror film to do so, and thus it is refreshing to watch. There is no shortage of shocking gore in The Healing. There are lots and lots of blood; horror movie fans will not be disappointed. The movie is also made more fun by moments of fan service, that recalls several niches of pop culture that seem to be taboo in Philippine mainstream cinema. There’s a small child wielding a ninja weapon killing groups of monks, before jumping to her death. There’s a beheading using a giant knife. There are many more.
The story also offers something new, away from familiar themes like haunted houses and vengeful ex-girlfriends. It exploits the Filipino tradition of faith healing, and the consequences of tapping this alternative form of therapy. What’s most admirable is the fact that The Healing’s actors went to great lengths to provide credence to the story. Vilma Santos, for instance, gets stabbed multiple times that you’d wonder how she can take these intense physical scenes at her age. Kim Chiu should also be praised for her handling of her character, Cookie. Her early scenes when she needs to act sick are believable and downright affecting. In summary, The Healing is suited for Pinoy horror fans. It is fun as it is shocking, and non-squeamish viewers should have no problem having a good time…” – Mark Angelo Ching, PEP, July 30, 2012 (READ MORE)
“…Santos’ spine-tingler is far from original, but as it tweaks the narrative conceit that has made “Final Destination” a box-office-busting film franchise, the movie finds innovative ways to establish an atmosphere of impending doom that keeps viewers on the edge of their seats: You feel that something gruesome is about to transpire, you just don’t know how it will play out—or when! The Star for All Seasons decided to make the film because she wanted to add something “new” to her formidable oeuvre—and, with “The Healing,” Santos accomplishes exactly that. The role doesn’t require her to do much except run in circles or look worried or scared. But, she displays flashes of dramatic brilliance when she is hounded by guilt, a motivation that presents her with forks in the road that just might lead to the resolution of the horrifying story’s main conflict. More than anything, it’s a treat to see the durable actress on the big screen again. The horror-thriller genre she dabbles in effectively introduces her to a younger (and wider) viewing demographic that derives pleasure from getting scared out of its wits….” – Rito P. Asilo, Philippine Daily Inquirer, July 28, 2012 (READ MORE)
“…The reason I like Chito Rono’s horror movies, and the reason I see most of them in the theatre, is because suspense-horror is a completely original genre, completely divorced from the hang-ups and expectations of movies that involve real people doing somewhat credible things. I remember when Chito Rono did a suspense project DAHAS, topbilled by Maricel Soriano and Richard Gomez. It was one of a kind. Very engaging just like the Healing. Kim Chiu, among other characters has lesser exposure here but a huge revelation. She epitomizes the typical Asian character on every horror films we watched. Her make-up was perfect and she looks so fresh on the movie. Pokwang, Janice and Martin Del Rosario did a great job as support role. Their characters are very important and happy to see Janice De Belen again on the big screen. Pokwang gave a little taste of comic on her dialogues, which gave everyone to catch their breath in preparation to next scene. Martin Del Rosario is a real charmer. Again the focus of the film is the story, its suspense package and for Vilma Santos, which they succeeded. I suggest everyone should watch the uncut version, brave the director’s cut as there seems to be obvious reason why some of the scenes are not included on R13. DISLIKE: There’s one thing I don’t like, they are trying to blur some of Vilma Santos physical feature. That looks very obvious on the big screen. But you will love the color coding (that’s for you to find out). Star Cinema gave another reason for everyone to go back to movie houses and appreciate local films. It’s another excellent film of 2012…The Movie is in honor of Vilma’s 50th anniversary, Star Cinema gathered an all-star highly acclaimed powerhouse cast composed of Kim, Janice de Belen, Mark Gil, Martin del Rosario, Allan Paule, Cris Villanueva, Daria Ramirez, Ces Quesada, Ynez Veneracion, Simon Ibarra, Abi Bautista, Joel Torre, Chinggoy Alonso, Mon Confiado, Carmi Martin and Pokwang. I am giving THE HEALING 10 out of 10…” – Rod Magaru (READ MORE)
“…Vilma is subjected to a lot of stressful scenes in the movie as she fights for dear life. We have to suspend our disbelief a bit in the scenes where she gets violently mauled, stabbed, hit by a chair, repeatedly hurled down into the floor, but it did elicit a lot of deafening screams from the theatre crowd. Some of her fans feel she should have just done another drama but we can understand her desire to flex her wings and do a vehicle of this sort. When we saw the movie, a lot of viewers were young people who enjoy watching scary films like this. With this, Ate Vi has successfully reached out to a new demographic, with the help of a young star like Kim Chiu, who in all fairness, also does well in her dual roles. For us, it’s a very wise decision indeed. And Chito Roño shows here to younger horror directors like Topel Lee, Richard Somes and Jerrold Tarog (Tarog did a fine job of scoring and editing the movie) that he remains to be the master of the genre who can be even playful with the orchestrated color scheme of the costumes worn by his characters in the movie…” – Mario Bautista, Malaya, Aug 6 2012 (READ MORE)
“…Roño elevated gore in this horror. From a decapitation scene in the middle of the street to a massacre inside a temple, the director inspired the MTRCB to give the film dual versions: The director’s cut rated R-18 and a trimmed R-13 that allows the fans of Kim Chiu into the cinemas. While the spooks work (including a stroke of brilliance of a popped, moving left eye when the victim becomes possessed), acting was also solid in “The Healing.” Vilma, who owns most of the frames, is convincing whether consoling her friends, guilt-ridden, confused, terrified. She’s even perfect as the ex-wife who, despite the fact that she was the one left behind for a new family, remained careful and concerned when dealing with her son and the daughter of her ex-husband because she always consider how her ex and his new wife would feel. Supporting performances are as engaging. Kim Chiu, whose Cookie is also healed but scheduled to die if Seth fails to stop the terrifying chain, traded convincing scenes with the actress/politician. Robert Arevalo and Allan Paule (Greta’s husband) offered moments of laughter and chances to exhale from the jolts and gore. Joel Torre and Jhong Hilario stole bits of the thunder in their moments leading to the climax…” – Kaye Villagomez, Manila Bulletin, Aug 07 2012 (READ MORE)
“…Vilma Santos is an icon and it is cool that she is accessible to a new generation of movie-goers. Ate Vi, this time without the benefit of long monologues or cinematic crying, proves her virtuosity as an actor in a horror movie, a genre she’s not really known for. But the good governor is indisputable as the leading lady within a great ensemble cast, including Joel Torre, Alan Paule, Janice de Belen, Cris Villanueva, Kim Chiu, and Pokwang among others. Look closely and you’ll find her photographed lovingly (by cinematographer Charlie Peralta) in almost soft-focus -is that what they call a two stocking shot? -running around in her platform mules and designer handbags. She’s awesome at looking surprised and seemed suitably spooked when a black crow flies in her face. (I will not mention any plot spoilers because the story is way too convoluted to summarize here, but I will say that yes, there is an ugly black bird in this movie)…” – Ria Limjap, Spot.ph, Aug 03 2012 (READ MORE)
“…The movie has a cohesive plot. The editing is brisk. The story telling is to the point. The jolts, the surprises, the building tension as the plot thickens makes you squirm from your seat. You can’t take your eyes off the screen so as not to miss the details, the foreshadowing, the conflict resolution. From the impressive opening credits, to the alternate theme colors of blue, red, yellow & white, you know the movie is special. The ensemble acting reminds you of such sleuth movies as Murder on the Orient Express & Death on the Nile, where Rono is able to flesh out the best from each actor or actress, no matter how small the role is, whether in a group or singly . I particularly like Janice De Belen, Pokwang, Robert Arevalo (in a groovy role that Sildenafil users could relate to), Kim Chiu, Joel Torre & Martin Del Rosario. Vilma Santos is in almost every frame. It is a most restrained performance, akin to her Urian winning Amanda Bartolome character in Dekada 70 where she has mastered “doing less is more.” As the key figure or the cause of the sad fate of her friends, Vilma is able to effectively use her eyes to show fear, guilt, sadness, even remorse. Her best scenes are when she tells her son Martin to not leave Kim from his sight, while calling from a cell phone, her confrontation scene with Kim in a car while Martin is driving the van & her hair raising, thrilling confrontation scene with Kim, the evil twin…” – Mar Garces (READ MORE)
“…The movie queen has also reached out to new media. In the weeks leading to the movie’s showing, and during its entire run, the blogosphere is abuzz with news and features on its star. Bloggers, who are slowly eclipsing the legit press in prestige, a powerful bloc who are not paid purveyors of gossip and publicity stunts, are one in their admiration and praise for the screen icon. One thing that “The Healing” has achieved is it gained for Vilma Santos a new following. Not only has Vilma encroached on the horror-suspense niche, but with the film’s R-13 rating, she has also reintroduced herself to the younger segments of the population. Vilma’s insistence on challenging herself by doing different projects paid off, she has just made herself current, still, and very much a big, dominant fixture in popular culture, notwithstanding the new crop of stars that have come up and populated the scene. One palpable proof is her movie has set a trend in Philippine cinema: a slew of horror-suspense flicks followed suit after its huge success in the box-office. Philippine horror-suspense is usually associated with Kris Aquino, but Vilma has given the genre a new meaning and dimension…” – RRI Espinoza (READ MORE)
“…Whilst the script is somewhat threadbare the vistas, cinematography and overall presentation feels on par with that of its contemporaries. It’s just a shame that the screenplay fails to capitalize more on its own interesting premise. Whilst some light is shed upon the peculiar push-pull of Healers and the country’s strong catholic heritage; more time seems to of been placed upon moving the characters to the next set piece, complimented by some overly expository dialogue and a few to many ham-fisted deliveries. Having said that though, The Healing marks the mid-point of an exciting time for the Filipino horror industry. With titles such as Feng-Shui, Ouija and The Road seeing some overseas success, one hopes that a marriage of script, production and budget isn’t to far away. For now though The Healing represents a curio for the discerning viewer, or perhaps instead, a seed from which greater films will eventually flourish…” – John H. Marshall, Japan Cinema (READ MORE)
“…Gagawin ko po lahat kahit ano, gumaling lang po ako…” – Cookie (Kim Chiu)
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Basic Information: Direction: Chito Roño; Cast: Vilma Santos, Kim Chiu, Pokwang, Mark Gil, Martin del Rosario, Allan Paule, Cris Villanueva, Daria Ramirez, Ces Quesada, Ynez Veneracion, Simon Ibarra, Abi Bautista, Joel Torre, Chinggay Alonso, Mon Confiado, Carmi Martin; Production Co.: Star Cinema; Release Date: July 25 2012
Plot Description: “…Stories about the Filipino tradition of going to faith healers for guidance and treatment of ailments have not yet been tackled in-depth in movies. And in our film, the viewers will not just be horrified, they’ll somehow be challenged to think as to how faith healing has already been part of our culture…” – ABS-CBN News (READ MORE)
Film Achievement:9th USTv Students’ Choice Awards – Best Local Full-Length Film – Star Cinema/ABS-CBN Film Productions; PMPC Star Awards 2012: 11 Nominations – Movie of the Year – Star Cinema; Movie Director of the Year – Chito Roño; Movie Actress of the Year – Vilma Santos; Movie Supporting Actress of the Year – Kim Chiu; Child Performer of the Year – Abby Bautista; Movie Screenwriter of the Year – Roy Iglesias; Movie Cinematographer of the Year – Charlie Peralta; Movie Production Designer of the Year – Erick Torralba, Richard Somes, Fritz Silorio; Movie Musical Scorer of the Year – Jerrold Tarog; Movie Editor of the Year – Jerrold Tarog; Movie Sound Engineer of the Year – Mike Idioma
100-million mark – Heavy rains may have flooded Luzon but that didn’t hinder to the success of Chito Rono’s most recent masterpiece “The Healing“. While expected to reach the 100-million mark, The Healing as of it’s 3rd week has grossed P85.96 million in ticket sales. The Healing actually started with an awesome 7-day gross at P80 million as reported by Star Cinema and P74.39 according to Box Office Mojo Philippines. That’s only a 6-million difference, but let’s say we consider P80 million as the first week gross of The Healing. After riding that week of wave of success, The Healing began to see a decrease in the box office earnings which may be caused by the storm that entered the country about two weeks ago (while the film was on it’s second week). And with Star Cinema’s The Reunion coming into theaters this week! I’m not sure if The Healing can still make it to the 100-million mark. Two other factors are Disney’s Brave (with 55-Million 2 weeks gross) and Philippines’ most awaited Hollywood movie event “The Bourne Legacy” which raked P110-million on its first week. Additionally, MTRCB’s two film rating cuts for The Healing (R13) and The Healing R18 might have affected their earnings. Like seriously! The malls where I went to watch The Healing are so damn strict that they looked for any identification/certification that I’m 18. Going back, the movie was given a grade “A” by the Cinema Evaluation Board and was well-received by moviegoers and even the country’s top critics. “The Healing” is starring Vilma Santos, Kim Chiu, Janice de Belen, Mark Gil, Martin del Rosario, Jhong Hilario, Allan Paule, Cris Villanueva, Daria Ramirez, Ces Quesada, Ynez Veneracion, Simon Ibarra, Abby Bautista, Joel Torre, Chinggoy Alonso, Mon Confiado, Carmi Martin and Pokwang. The Healing is still on its 4th week! – Mark Glenn Cabrera (READ MORE)
‘This one’s really made for Ate Vi’ – “…Horror is one of those genres na hindi talaga siya kumukupas. Once it’s done well, everybody loves to watch horror movies. Kahit na ako. masaya siya eh. Lalo na pag may matatakutin kang kaibigan, ang sarap (laughs). It’s an experience na like no other. It’s like comedy where tawa kayo ng tawa. Kasi kapag iiyak ka, medyo nahihiya ka pa. pero this one’s really made for Ate Vi. Talagang role tailor made for her. Matagal na niyang hiningi ito,” he shares during The Healing’s bloggers conference held last July 23 at the ABS-CBN compound. Direk Chito says he and Vilma had talked about making a movie together as early as three years ago. After doing movies like Bata, bata Pano Ka Ginawa? and Dekada 70, The Healing is their reunion movie after almost ten years. He adds the multi-awarded actress has already proven her worth after 50 years in showbiz. “This is our fourth movie. I’ve always said na nakita ko na ang galing ng isang Vilma Santos sa ilang dekada, sa ang daming great movies na nagawa. Parang she’s one of those people na kailangan pa ba niya i-prove ulit? Yung parang I know she now always demands for something na medyo mas substantial. Huwag naman yung mediocre. Sabi ko the concept of the movie is bagay na sa stature niya. We’ve seen her do a lot of great scenes in most of her movies. The famous monologue scenes, the famous long takes. Ate Vi yan pag sinabi mong three pages na monologue, automatic na yan sa showbiz. Bihira na lang sa industriya yung kaya gawin yan. I’m very happy na pumayag si Ate Vi na ensemble ang pelikula…” – Push, 25 Jul 2009 (READ MORE)
Film Review: “…Director Chito S. Roño is a veteran in doing horror movies. In 2004, he helmed the box-office hit Feng Shui, an answer to the Asian horror movie phenomenon. The Healing, on the other hand, can be considered an answer to Hollywood’s torture-and-gore horror movie phenomenon. It may be the first local horror film to do so, and thus it is refreshing to watch. There is no shortage of shocking gore in The Healing. There are lots and lots of blood; horror movie fans will not be disappointed. The movie is also made more fun by moments of fan service, that recalls several niches of pop culture that seem to be taboo in Philippine mainstream cinema. There’s a small child wielding a ninja weapon killing groups of monks, before jumping to her death. There’s a beheading using a giant knife. There are many more.
The story also offers something new, away from familiar themes like haunted houses and vengeful ex-girlfriends. It exploits the Filipino tradition of faith healing, and the consequences of tapping this alternative form of therapy. What’s most admirable is the fact that The Healing’s actors went to great lengths to provide credence to the story. Vilma Santos, for instance, gets stabbed multiple times that you’d wonder how she can take these intense physical scenes at her age. Kim Chiu should also be praised for her handling of her character, Cookie. Her early scenes when she needs to act sick are believable and downright affecting. In summary, The Healing is suited for Pinoy horror fans. It is fun as it is shocking, and non-squeamish viewers should have no problem having a good time…” – Mark Angelo Ching, PEP, July 30, 2012 (READ MORE)
“…Santos’ spine-tingler is far from original, but as it tweaks the narrative conceit that has made “Final Destination” a box-office-busting film franchise, the movie finds innovative ways to establish an atmosphere of impending doom that keeps viewers on the edge of their seats: You feel that something gruesome is about to transpire, you just don’t know how it will play out—or when! The Star for All Seasons decided to make the film because she wanted to add something “new” to her formidable oeuvre—and, with “The Healing,” Santos accomplishes exactly that. The role doesn’t require her to do much except run in circles or look worried or scared. But, she displays flashes of dramatic brilliance when she is hounded by guilt, a motivation that presents her with forks in the road that just might lead to the resolution of the horrifying story’s main conflict. More than anything, it’s a treat to see the durable actress on the big screen again. The horror-thriller genre she dabbles in effectively introduces her to a younger (and wider) viewing demographic that derives pleasure from getting scared out of its wits….” – Rito P. Asilo, Philippine Daily Inquirer, July 28, 2012 (READ MORE)
“…The reason I like Chito Rono’s horror movies, and the reason I see most of them in the theatre, is because suspense-horror is a completely original genre, completely divorced from the hang-ups and expectations of movies that involve real people doing somewhat credible things. I remember when Chito Rono did a suspense project DAHAS, topbilled by Maricel Soriano and Richard Gomez. It was one of a kind. Very engaging just like the Healing. Kim Chiu, among other characters has lesser exposure here but a huge revelation. She epitomizes the typical Asian character on every horror films we watched. Her make-up was perfect and she looks so fresh on the movie. Pokwang, Janice and Martin Del Rosario did a great job as support role. Their characters are very important and happy to see Janice De Belen again on the big screen. Pokwang gave a little taste of comic on her dialogues, which gave everyone to catch their breath in preparation to next scene. Martin Del Rosario is a real charmer. Again the focus of the film is the story, its suspense package and for Vilma Santos, which they succeeded. I suggest everyone should watch the uncut version, brave the director’s cut as there seems to be obvious reason why some of the scenes are not included on R13. DISLIKE: There’s one thing I don’t like, they are trying to blur some of Vilma Santos physical feature. That looks very obvious on the big screen. But you will love the color coding (that’s for you to find out). Star Cinema gave another reason for everyone to go back to movie houses and appreciate local films. It’s another excellent film of 2012…The Movie is in honor of Vilma’s 50th anniversary, Star Cinema gathered an all-star highly acclaimed powerhouse cast composed of Kim, Janice de Belen, Mark Gil, Martin del Rosario, Allan Paule, Cris Villanueva, Daria Ramirez, Ces Quesada, Ynez Veneracion, Simon Ibarra, Abi Bautista, Joel Torre, Chinggoy Alonso, Mon Confiado, Carmi Martin and Pokwang. I am giving THE HEALING 10 out of 10…” – Rod Magaru (READ MORE)
“…Vilma is subjected to a lot of stressful scenes in the movie as she fights for dear life. We have to suspend our disbelief a bit in the scenes where she gets violently mauled, stabbed, hit by a chair, repeatedly hurled down into the floor, but it did elicit a lot of deafening screams from the theatre crowd. Some of her fans feel she should have just done another drama but we can understand her desire to flex her wings and do a vehicle of this sort. When we saw the movie, a lot of viewers were young people who enjoy watching scary films like this. With this, Ate Vi has successfully reached out to a new demographic, with the help of a young star like Kim Chiu, who in all fairness, also does well in her dual roles. For us, it’s a very wise decision indeed. And Chito Roño shows here to younger horror directors like Topel Lee, Richard Somes and Jerrold Tarog (Tarog did a fine job of scoring and editing the movie) that he remains to be the master of the genre who can be even playful with the orchestrated color scheme of the costumes worn by his characters in the movie…” – Mario Bautista, Malaya, Aug 6 2012 (READ MORE)
“…Roño elevated gore in this horror. From a decapitation scene in the middle of the street to a massacre inside a temple, the director inspired the MTRCB to give the film dual versions: The director’s cut rated R-18 and a trimmed R-13 that allows the fans of Kim Chiu into the cinemas. While the spooks work (including a stroke of brilliance of a popped, moving left eye when the victim becomes possessed), acting was also solid in “The Healing.” Vilma, who owns most of the frames, is convincing whether consoling her friends, guilt-ridden, confused, terrified. She’s even perfect as the ex-wife who, despite the fact that she was the one left behind for a new family, remained careful and concerned when dealing with her son and the daughter of her ex-husband because she always consider how her ex and his new wife would feel. Supporting performances are as engaging. Kim Chiu, whose Cookie is also healed but scheduled to die if Seth fails to stop the terrifying chain, traded convincing scenes with the actress/politician. Robert Arevalo and Allan Paule (Greta’s husband) offered moments of laughter and chances to exhale from the jolts and gore. Joel Torre and Jhong Hilario stole bits of the thunder in their moments leading to the climax…” – Kaye Villagomez, Manila Bulletin, Aug 07 2012 (READ MORE)
“…Vilma Santos is an icon and it is cool that she is accessible to a new generation of movie-goers. Ate Vi, this time without the benefit of long monologues or cinematic crying, proves her virtuosity as an actor in a horror movie, a genre she’s not really known for. But the good governor is indisputable as the leading lady within a great ensemble cast, including Joel Torre, Alan Paule, Janice de Belen, Cris Villanueva, Kim Chiu, and Pokwang among others. Look closely and you’ll find her photographed lovingly (by cinematographer Charlie Peralta) in almost soft-focus -is that what they call a two stocking shot? -running around in her platform mules and designer handbags. She’s awesome at looking surprised and seemed suitably spooked when a black crow flies in her face. (I will not mention any plot spoilers because the story is way too convoluted to summarize here, but I will say that yes, there is an ugly black bird in this movie)…” – Ria Limjap, Spot.ph, Aug 03 2012 (READ MORE)
To Rono’s credit, each “death scene” would top the last one as far as gore and blood are concerned. The cast did well, too. Vilma Santos is Vilma Santos. She will always be bigger than her roles. This is not to say that she did not perform well; she did. But, watching her, you see Vilma more than Seth – too strong to ignore. Kim Chiu appeared in very few scenes despite her second billing. As with her performances on TV, she would have done better if she injected more energy into her role. I did not know Martin del Rosario before this movie, but he delivered very well in his crucial role as Jed. I’m not really sure why Ynez Veneracion had to show her right boob in a scene – maybe for old times’ sake. Several camera angles used by Mr. Rono were very well-planned and executed, maximizing the tension onscreen. Like other productions (movies and theater plays) I watch nowadays, there was color coordination in the outfits/costumes of the characters onscreen. In “The Healing,” though, I did not quite get why a certain color was chosen to be the “theme” of a scene. It was too obvious, that when a scene’s color scheme continued into an unrelated scene, it became distracting. Many common scare tactics and music were employed in the film. Thankfully, there was no Sadako-like creature in this one (if you still don’t know who Sadako is, Google “The Ring” Japanese version — or search on YouTube). Overall, “The Healing” is okay. It is similar to other horror films in the way the friends of the lead female character are dying around her and it is up to her to break the curse. If it was Kris Aquino who played Seth instead of Vilma Santos, the movie would just be “Feng Shui” all over again…” – Fred Hawson, Rappler, Aug 12 2012 (READ MORE)
“…The movie has a cohesive plot. The editing is brisk. The story telling is to the point. The jolts, the surprises, the building tension as the plot thickens makes you squirm from your seat. You can’t take your eyes off the screen so as not to miss the details, the foreshadowing, the conflict resolution. From the impressive opening credits, to the alternate theme colors of blue, red, yellow & white, you know the movie is special. The ensemble acting reminds you of such sleuth movies as Murder on the Orient Express & Death on the Nile, where Rono is able to flesh out the best from each actor or actress, no matter how small the role is, whether in a group or singly . I particularly like Janice De Belen, Pokwang, Robert Arevalo (in a groovy role that Sildenafil users could relate to), Kim Chiu, Joel Torre & Martin Del Rosario. Vilma Santos is in almost every frame. It is a most restrained performance, akin to her Urian winning Amanda Bartolome character in Dekada 70 where she has mastered “doing less is more.” As the key figure or the cause of the sad fate of her friends, Vilma is able to effectively use her eyes to show fear, guilt, sadness, even remorse. Her best scenes are when she tells her son Martin to not leave Kim from his sight, while calling from a cell phone, her confrontation scene with Kim in a car while Martin is driving the van & her hair raising, thrilling confrontation scene with Kim, the evil twin…” – Mar Garces (READ MORE)
“…The Healing spends a great deal of time needlessly attempting to make sense of the plentiful contrivances it filled its plot with. Simplicity is not one of Roño’s priorities. The film indulges in so many points that require tiring explanations and expositions, some of which seem too farfetched to be believed or to be appreciated. While the genre relies heavily on the supernatural and the unexplainable, Roño’s story seems too all over the place, forcing everything to cohere seamlessly like a completed jigsaw puzzle. Unfortunately, the film’s insistence on forcing the details mostly backfires, creating a story that meanders a little bit too much. The key to good horror is not necessarily what is overtly shown and depicted but the quality and the extent of what is left to the imagination. Roño invests a lot in The Healing’s visual design. Practical effects are abandoned for computer-generated effects, allowing grislier and more deranged sequences to exist with absolute ease. Instead of heightening the tension, the computer-generated effects only deflates it, inviting humor with how closer it resembles cartoons than macabre realism instead of fear. The acting is also unnecessarily pronounced and hysterical, despite the characters’ unnatural reaction to impending amorality and death. There is just too little left for the audience. The film is just frustratingly cluttered, serving details and elements, motivations and reactions, all of which do not necessarily fit the material they are forced to support. The Healing is commendable only for the fact that it attempted to stray from the inanities of uninspired horror cinema that has occupied Philippine cinema for far too long. It bears ideas and an execution of such ideas that evince an ambition and effort to break away from tired conventions. Sadly, everything ends up in forgettable confusion…” – Oggs Cruz (READ MORE)
“…The film is, by turn, violent and the sexy episode given clinical treatment. The breast of Ynez Veneracion (as Greta) is fondled matter-of-factly to show that the cancerous lumps are no longer there. The series of death – suicide and murder, keep the moviegoers on the edge, screaming here and there and up to the very end when the ‘sanib’ victim Kim Chiu (as Cookie) opens her eyes. Rono has a perfect acting ensemble to make this film credible and engaging. Even with the limited exposure and dialogue that she had, Daria Ramirez was great acting personified in The Healing. Pokwang (as Alma) was another revelation. Here, Rono doesn’t allow her to take another crack at her comic talents and emerges a natural performer. Everyone has defining moments in this film from Kim Chiu (as Cookie), Janice de Belen (as Cita), Robert Arevalo (as Odong), Martin del Rosario (as Jed), Mark Gil (as Val), Carmi Martin, Cris Villanueva (as Ding), Allan Paule (as Ruben), Ces Quesada (as Chona), Chinggoy Alonzo and Simon Ibarra (as Rex), among others. Joel Torre -as the healer’s brother- turns in another winning performance. This is my first horror film with Vilma Santos in it and I must say that she acquitted herself very well. Her subtle acting in The Healing was reminiscent of Audrey Hepburn in Wait Until Dark. I think she should do more horror film with Rono. Like it or not, The Healing is my Horror Film of the Year…” – Pablo A. Tariman (READ MORE)
“…The cast delivers a believable performance in The Healing. For a horror film, it sure has some good humor on it. The humor usually comes from Seth’s (Vilma Santos) father Mang Odong (Robert Arevalo). But never forget that this is a horror film, you when you least expect it the film delivers this sucker punch jump scare. The Healing has a good number of jump scares which you can either love or hate. I personally prefer the more psychological and creeping form of scare when it comes to horror films. Don’t get me wrong, The Healing has these creepy elements as well. The scares in the Healing are okay which have been generally enhanced by CG-effects…Star Cinema’s The Healing is a good horror film which has some pretty suspenseful and creepy moments…The Healing is worth the time, money, and effort. The film is more of a suspense than a horror in the latter part of the film which is not bad which doesn’t diminish how the story progressed. Pinoy Movie Blogger gives The Healing (2012) an 8 out of 10 (4/10) film review rating…” – Chris A., Pinoy Movie Blogger (READ MORE)
Basic Info: Director: Christopher Strauss De Leon; Cast: Vilma Santos, Tirso Cruz III, Christopher De Leon, Ian De Leon, Renato Del Prado, Aiza Marquez, Mandy Ochoa; Producer: Sandy Andolong, Lyn Ynchausti
Plot Summary: Bugso is the GMA-7 telesine that Christopher De Leon directed (he also does a bit part in it as Vilma’s dead husband). It’s not correct to say that Bugso is television version of the classic Audrey Hepburn starrer Wait Until Dark, although, like Audrey, Vilma also played a blind lady toyed around by greedy relatives (Tirso Cruz III being one of them) who wanted the inheritance all to themselves.
Achievement: One of De Leon’s directorial projects (Maalaala mo kaya (2009), Bugso (2002), Huwag mong salingin ang sugat ko (1991), Halimaw – “komiks”segment (1986)
Review: “…When we arrived before lunchtime (good timing!), direk Christopher had already wrapped several scenes and he was working double time to finish the rest of the day-effect scenes before dusk fell. Because they were limited to only two shooting days, opting for Lipa as location in deference to Mayor Vilma who couldnt be away from the city of her affection, direk Christopher said that he had to do away with some of the night scenes without disrupting the flow of the suspense-thriller. Direk Christopher was a delight to watch at work, very different from when he’s only acting. Bugso is not his first directorial job, having already megged Komiks (part of a twin bill produced by ex-wife Nora Aunor, starring a very young Ian de Leon as a komiks freak), part of Kislap sa Dilim which he took over from Lino Brocka who died in a car accident before putting the movie to can and all of Huwag Mo Akong Salingin, the other movie Lino was supposed to start shooting three days before his untimely death. Bugso is made more interesting by the fact that, besides being a “family affair,” three of the people whose lives have been inter-twined with that of Nora Aunor are involved in the project – Christopher is Nora’s ex-husband, Tirso is Noras ex-boyfriend and Vilma, although a kumare, is considered until now to be Nora’s arch rival. (Vilmanians will insist, however, that Vilma has beaten her kumare by miles, with Vilma still enjoying a well-oiled career, a happy family life and a successful transition from showbiz to politics, a field Nora has failed miserably to conquer.)…” READ MORE
“…Seen in more than a dozen successful big-screen projects (among them Relasyon, Broken Marriage and Ipagpatawad Mo), Lipa City Mayor Vilma Santos and Christopher “Boyet” de Leon are together again but on another level this time and on the small screen, she as the lead actress and he as the director. The telemovie is entitled Bugso, with Tirso Cruz III and Ian de Leon as the other members of the cast. The suspense-thriller is being produced for GMA 7 (telecast is slated middle of next month) by Tirso’s wife Lyn Ynchausti. Shooting will take two days in, as per Mayor Vi’s request, Lipa City, with some of the highlights shot at the beautiful resthouse of STAR columnist and art patron Danny Dolor (who is hosting a lunch for the Bugso cast and some special friends from Manila on the last shooting day)…” – Ricardo F. LoREAD MORE
“A telemovie of GMA productions was shown during the Holy Week and man… it really sucks! Well, I don’t want to sound too mean but have you ever heard of a blind woman able to kill a psychotic murderer on the loose? The twists in the movie were also pathetic and predictable! Guess what? There are three killers and the only thing that made this difficult was to know who killed whom? There are no surprising twists and even the fighting scenes stink. In some part of the teemovie the flow of the story was so slow, too slow. Maybe this is just the director’s, Christopher de Leon, style but I guess this slow phase was not really necessary because it could be a reason to lose their viewers attention. Vilma Santos played the lead role of a blind woman who became a house’s breadwinner. Vilma’s character is actually rich and she is sustaining her sister’s family. Vilma is a really good actress but I was not impressed by her portrayal of a blind woman. The sister’s husband, portrayed by Tirso Cruz III was actually the one who hired the psychotic murderer to kill his family for fifty thousand pesos. The psychotic murderer, portrayed by Ian de Leon, did his job but when the Tirso’s character asked Vilma’s character to sign the papers that will turn her treasures to him, Vilma thought that he was the one killed his family. Tirso got insane and Vilma noticed it. She was able to call a police and a fighting scene happened. Tirso got hit and before he died he revealed that he hired Ian de Leon’s character to kill her and that Vilma’s safety is still not for sure. This was really funny you know. The man who hired a murderer to kill Vilma was suddenly caring for her safety. Maybe the part that I really enjoyed is when Ian was hunting to kill Vilma. This part made me scream for Vilma, shouting that she should run faster or do this and that. But when the part that she stabbed Ian with an axe in his back made me laugh! It was as if she could see Ian after all, that she was not blind. I don’t know how she did it but it certainly made Vilma’s blindness obviously fake…” – bluedison23
“…Bugso is a noun that roughly translates into “gust,” as in a quick attack of wind or some such. Sometimes, the word is also used in the context of having extremely strong and sudden feelings, reactions or urges. The movie is about the conspiracy of three men, each of whom have a different motive, to kill the family of Miss Ancheta (Vilma Santos) – so she would be left alone and helpless to sign some papers that would turn over all her money and property to Tirso Cruz III‘s character, her devious cousin-in-law. Tirso’s character is one of the three schemers. Such was his greed that he came to the point of killing off his own wife and stepchildren for the sake of material wealth. The other two men involved in the plan are the non-speaking semi-psychopath Nanding (Ian de Leon) and the aging foreman of the Ancheta farm, Ka Matias. The former does it for the money and the thrill of the kill. The latter has cheated the Ancheta family by stealing the title to the farm land and then pawning it for money for his own caprices. Ka Matias realizes that he cannot hide such a secret for long and believes that the best way to clear himself of it was to resort to murder and force. The approach of the whole television movie was suspense-mystery. The story was driven by dark intentions set against the idyllic countryside. All of it revolves around the decisions and chutzpah of a proud, blind heroine. I have to admit this may be a bit formulaic, with so many murder-mysteries and their respective slightly incapacitated heroines, but Bugso possesses an appeal all its own, sourced for the most part from its actors. Vilma Santos is heart-wrenchingly bittersweet and annoyingly stubborn. Tirso Cruz III is ever the Juancho-like bastard (Juancho is his villain character from the GMA-7 soap opera Sana Ay Ikaw Na Nga). However, my favorite is definitely the dark, mentally-disturbed Ian de Leon, who exudes menace just by sitting in the shadows and eyeing the heroine with bloodlust. Director Christopher de Leon did a good job with the transition of scenes, especially when the action starts to heat up. The way he constructs the angles and the movements of the characters mirrors the varying moods…” – Madame Shi
Star For All Seasons 
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