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.
Basic Info: Director: Leonardo Pascual; Cast: Roderick Paulate, Shyr Valdez, Panchito, Bomber Moran, Tatlong Itlog, Rodolfo ‘Boy’ Garcia, Rez Cortez, Vilma Santos, Ike Lozada, Mario Escudero, Robert Talby, Val Iglesias, Alex Bolado, Fred Moro, Pong Pong, Ding Arraza; Producer: Jose M. Razon; Original Music: Rey Ramos; Cinematography: Apolinario Cuenco, Armando Dulag; Film Editing: Pat Ramos
Plot Summary: No Available Data
Accomplishment: One of early successful gay roles for Paulate.
Film Review: “…As far as he can recall, his first gay outing was in the critically acclaimed High School Circa ’65. “Doon naman, I was nominated for Best Supporting Actor considering na 15 or 16 pa lang ako noon. I was the comic relief of the movie.” Bibeth Orteza, who played a teacher in High School Circa ’65, created a gay character for him in the sitcom “Tepok Bunot.” “Nag-hit ‘yon,” says Roderick. Then a producer gave him the lead role in Charot, a movie inspired by Dustin Hoffman’s gender-bending performance in Tootsie. Before Roderick knew it, other offers to do gay roles started coming his way, with one of them from a very persuasive line producer-actress. “After Charot, ayoko munang tanggapin ang mga gay-gay roles,” he says. “But it was Charo Santos who convinced me to do a gay movie where I would be paired with Maricel (Soriano).” The project was Regal Films’ Inday, Inday sa Balitaw which ended up being a huge success. “The rest is history!” Roderick exclaims. “Yun na! Sunud-sunud na sa box-office…” READ MORE
Maricel Soriano on Roderick Paulate: – “…Tinatrato niya akong tao. Pag galit ako, nagmumura ako, nagtatapon ako ng kung anumang bagay. Pinababayaaan lang niya ako. Pagnailabas ko na ang galit ko, ayun, kinakausap niya ako, sinasabi na niya sa akin ang mga mali ko. Ako naman, nakikinig na lang sa kanya. Mabait si Dick. Hindi ka niya pababayaan. We’re parang soulmates. Mas Mahalaga pa sa friendship ang relationship namin ni Roderick…” – Manila Standard, Mar 2, 1987 (READ MORE)
Basic Information: Directed: Lauro Pacheco; Story: Ricardo Y. Feliciano; Screenplay: Jose Flores Sibal; Cast: Julie Vega, Gloria Sevilla, Amado Cortez, Mat Ranillo III, Roldan Rodrigo, Boots Anson-Roa, Alma Moreno, Christopher De Leon, Tony Carreon, German Moreno, Rez Cortez, Eddie Rodriguez, Paquito Diaz, Rosanna Ortiz, Naty Bernardo, Vilma Santos, Nora Aunor, Joseph Estrada, Ricky Santiago, Bert ‘Tawa’ Marcelo, Rey Malonzo, Trixia Gomez, Marissa Delgado, Etang Discher, Paquito Salcedo, Ramon Revilla, Didith Reyes, Ike Lozada, Aruray, Patria Plata, Helen Gamboa, Dolphy, Fernando Poe Jr.; Original Music by Carlos Rodriguez
Plot Description: A star-studded film featuring a blind orphan named Angelita (Julie Vega) who was found unconcious by the groups of nuns after Belen (Gloria Sevilla) attempted to kill her by letting her walk straight ahead on the edge of the cliff. In the monastery, she started her deep devotion to Virgin Mary in the convent which was last seen missing her pair of eyes. Angelita started to search for her parents and along her way, touched various lives both poor and rich until she found her mother, Janet (Helen Gamboa). – Kabayan Central (READ MORE)
The story revolves around that of a blind girl named Anghelita who was given the eyes of the Virgin Mary. But having her sight back, she will see what the world really is, filled with pain and sins. So, in search for her long lost mother, she will be instrumental in changing the lives of people along her way. – Wikepedia
Film Achievement: 1978 FAMAS: Best Child Actress – Julie Vega
Film Review: Mga Mata ni Angelita was written by Ricardo Feliciano and became a number one hit radio drama from 1974 to 1978. It was made into a film by Larry Santiago Productions and catapulted the late Julie Vega into fame. The film was a phenomenal hit when it premiered in 1978, mainly because of its big name stars such as Ramon Revilla, Helen Gamboa, Dolphy, Vilma Santos, Nora Aunor, the late Fernando Poe Jr., Christopher De Leon, Alma Moreno, Rez Cortez, Paquito Diaz, and Eddie Rodriguez, to name a few. – Wikepedia
“…Julie Vega was only 10 years old when she was launched to full stardom in the 1978 movie, “Mga mata ni Angelita.” She appeared in previous movie outings as Darling Postigo. The young Vega was ably supported by an all super star cast headed by the King of Philippine Movies, Fernando Poe, Jr. (in the role of Conrado, the ex-convict) and Comedy King Dolphy (as Tacio, the taho vendor). Also appearing in cameo roles were Joseph Estrada (as himself as Mayor); Nora Aunor (a metro-aide sweeper); Vilma Santos ( as a worried wife); Ramon Revilla (as barrio captain); Alma Moreno (as a jealous sweetheart); Christopher de Leon (as the lover) and many more…” – Simon Santos (READ MORE)
“…This study looks at the existence of Filipino films that are focused on the discourse of religiosity, featuring a female protagonist who imbibes the image and assumes the role of a female deity. The films included are Mga Mata ni Angelita (The Eyes of Angelita, 1978, Lauro Pacheco), Himala (Miracle, 1982, Ishmael Bernal), Ang Huling Birhen sa Lupa (The Last Virgin, 2002, Joel Lamangan) and Santa Santita (Magdalena, 2004, Laurice Guillen). In the four narratives, the female protagonists eventually incur supernatural powers after a perceived apparition of the Virgin Mary or the image of the Virgin Mary, and incurring stigmata or the wounds of Christ…While some were filmed for the purpose of screening during the Lenten season, there are those which were meant to be mainstream films. These went on to become both critical and commercial successes, carrying controversial topics which challenge the Filipino audience’s notion of religiosity and spirituality. Mga Mata ni Angelita, from which Julie Vega rose to fame, features a star-studded cast, including Vilma Santos, Nora Aunor, Dolphy, German Moreno, Boots Anson-Roa, Helen Gamboa and Fernando Poe, Jr. who shared very little screen time with the well-loved child star of the 80s…” – Erika Jean Cabanawan, Review of Women’s Studies, 2010 (READ MORE)
Si Celso Ad Castillo ay marami nang naunang eksperimento. Pero pumaltos sa pamantayan ng mga manunuri. Maraming nagsuspetsa na may ibubuga siya, pero hindi lang talaga maibuga nang nasa tiempo. Malimit ang kanyang pelikula ay maingay at maraming sobra. Halimbawa, maraming karahasan na wala namang katuturan ang kanyang Madugong Daigdig ni Salvacion, seksing walang kadahilanan (pinagandang garapal) ang kanyang Pinakamagandang Hayop sa Balat ng Lupa, numero unong manggagaya ang kanyang Maligno, at sabog-sabog ang kanyang pinakamagandang nagawa, ang Daluyong at Habagat. Kung may magkamali mang pumuri kay Celso, iyon nama’y halos pakunsuelo-debobo lamang, at hindi ito sapat para itaas ang kanyang pedestal sa ranggo nina Bernal, Brocka at Romero. Wari ngang napako sa komersiyalismo ang direktor na inaabangan maglalabas ng natatagong talino.
Lalong nagduda sa kanyang kakayahan ang mga kritiko nang kumalat ang balita na gagawa siya ng serye sa TV na ala Cleopatra Jones na papamagatan naman niyang O’Hara. Pero ang direktor na ipinapalagay na laos ay biglang pumalag nang walang kaabog-abog. Bigla’y nabalitang may inihanda raw itong pang-festival na ikinataas na naman ng kilay ng kanyang mga kritiko. “Aber tingnan,” ang pasalubong sa balita. At sa preview ng kanyang Burlesk Queen, biglang napa-mea culpa ang ayaw maniwalang may ibubuga si Celso. Tiyak na naiiba ang Burlesk Queen, kahit ikumpara sa mga naunang trabaho ni Celso at sa iba pang direktor na nagtangkang tumalakay sa paksang ito.
Matagal-tagal na rin namang nauso ang kaputahan sa pelikula, pero walang nakapagbigay ng katarungan sa lahi ni Eba bilang Pilipina at bilang puta. Sa Burlesk Queen, para kay Celso ay hindi nangangahulugan ng pagpapakita lamang ng utong, puwit o singit, kung hindi isang seryosong pagtalakay sa damdamin ng mga tauhan sa isang kapanipaniwalang dahilan na nangyari sa isang makatotohanang kapaligiran. Sa kanya, ang tao ay hindi basta maghuhubad at magtatalik. Maraming pangyayari sa buhay ang dapat munang linawin at unawain, at iyon ang basehan ng kasaysayan.
Simple lamang ang plot. Isang tinedyer si Vilma Santos na alalay ng isang original burlesk queen, si Rosemarie Gil. May tatay na lumpo si Vilma, si Leopoldo Salcedo. Si Rosemarie naman ay may kabit na isang hustler, si Roldan Aquino. Nang iwanan ni Roldan si Rose, nagwala ang huli. Naging lasengga siya at tumangging magsayaw sa tanghalan. Mabibitin ang palatuntunan, kaya’t si Vilma na talaga namang may ambisyong magsayaw ang pumalit. Hit naman sa manonood si Vilma. Sa bahay, pilit kinukumbinsi ni Vilma si Pol na payagan na siyang maging full time dancer. Ayaw ni Pol, mas mahalaga sa kanya ang prinsipyo at delikadesa. Sapagkat wala namang ibang pagkakakitaan, si Vilma rin ang nasunod sa bandang huli. Nag-suicide si Pol nang hindi na niya masikmura ang pasiya ng anak. Si Rollie Quizon naman ang binatilyong masama ang tama kay Vilma. Nagtanan sila at nagsama. Pero hindi sanay sa hirap si Rollie. Sa pagpili sa pag-ibig o ginhawa sa buhay, ang huli ang pinahalagahan niya. Nagkataon namang buntis na si Vilma. Sa pag-iisa sa buhay, nagbalik siya sa pagsasayaw. Nagsayaw siya ng nagsayaw hanggang duguin siya sa tanghalan at malaglag ang kanyang dinadala. Bagamat simple ang plot ay hindi naman masasabing simple ang pamamaraang ginawa rito ni Celso.
Sa kauna-unahang pagkakataon ay nangyari sa isang pelikula ang pagsasama-sama ng magandang istorya, mahusay na direksyon, magaling na pag-arte ng mga tauhan, masinop na musika, magaling na editing at angkop na sinematograpiya. Sa Burlesk Queen ay nagsama-sama ang talino ni Celso (direktor), Mauro Gia Samonte (story and screenplay), George Canseco (musical director), Ben Lobo (cinematographer), at Abelardo Hulleza (editor). Kung may ipipintas sa pelikula, iyon ay ang hindi malinaw na pagbuhay sa panahon na nangyari ang kuwento. Kung minsa’y maiisip na nagyari ito sa panahon ng kasikatan ni Elvis noong 1950s. Pero kapag pinansin na maraming long hair sa extra, may wall paper at synthetic na sako ang bahay nina Vilma ay maaari namang sabihing baka naman pa-Elvis craze lamang ang mga tao roon. Pero may pulitiko, at Yabut, at may dagdag pang Connie Francis bukod sa motorsiklong Lambretta at mga kotseng Buick. Kung sabagay, maliliit na detalye lamang ito na agad makakalimutan kapag ang inasikaso ay pagbuklat sa magagandang punto ng istorya.
Tingnan natin ang ilang magandang eksena sa pelikula. Sa ikalawang eksena ay nagtatanong si Vilma kay Rosemarie kung puwede rin siyang maging dancer. Walang malinaw na sagot si Rose, pero ang timing ng background music na It’s Now or Never ay makahulugan. It’s Now or Never nga, payo ni Elvis. At kung kailan siya maaaring mag-umpisa, Tomorrow, sabi ng kanta. Ang ganitong sagot ay nasa mukha ni Rose, pero hindi na kailangang sabihin. Ang ganitong pamamaraan ay tinatawag na creativity ng direktor, na nagdagdag ng ibang pamamaraan sa paghahayag ng damdamin ng tauhan. Sa paglakad ng istorya, dapat ding pansinin kung paano ang characterization ay binubuhay dito. Halimbawa, sa isang eksena na nangyari sa isang patahian ay nag-abot sina Dexter Doria, ang bagong kabit ni Roldan Aquino, at si Rose. Naroroon din si Vilma at sa hindi kalayuan ay si Rollie. Maliwanag na may kani-kanyang pangangailangan ang mga tauhan at magkakasama sila sa iisang eksena. Walang nakawan ng eksena na naganap dito. Naginsultuhan sina Dexter at Rose, natameme si Roldan at waring walang pakialam sina Rollie at Vilma na panay na panay ang kindatan. Lalo namang walang pakialam ang dalawang pulubi na tumutugtog ng violin (na siya ring background music) sa mga nangyayari. Limos ang mahalaga sa kanila.
Sa eksenang ito’y may gamit ang lahat ng tauhan, wala sa kanilang nagsilbing dekorasyon, walang nag-o.a. at parepareho nilang ginawang makatotohanan ang komprontasyon. Magandang halimbawa ito ng synchronized acting. Kung allusions naman ang pag-uusapan, marami ritong mga sariwang metaphor na mababanggit. Isa rito ang mahusay na pagpapakita na birhen pa si Vilma sa sex act nila ni Rollie. Habang nasa likod ng tanghalan ay may nagaganap sa magkasintahan, sa tanghalan ay nang-aliw naman ang mga acrobats na sinundan ng isang madyikero na tumutusok ng sariling noo, nagbabaon ng pako sa ilong at lumululon ng espada. Masakit tingnan iyon. At ganoon din ang nararanasan ni Vilma sa likod ng tanghalan sa piling ni Rollie.
Hindi rin madaldal ang pelikula. Kung itatanong kung paano tinanggap ni Pol ang pasiya ng anak, nagtulos na lamang siya ng isang makahulugang kandila sa altar na para na ring sinabing “bahala na ang Diyos sa iyo”. Kung paano naman ipinakitang naging mananayaw na nga si Vilma, sapat nang ipakita ang isang trak na nagbababa ng isang wheel chair na ipapalit sa lumang tumba-tumba ng ama. Maging ang paglakad ng panahon ay nararamdaman din ng manonood kahit hindi ikuwento o ipakita ang kinagawiang pamamaraan at ulat ng “nalalaglag na dahon ng kalendaryo o dahon ng puno kaya”. Sunod-sunod na cuts na nagpapakita sa uri ng palabas sa tanghalang kinabibilangan ni Vilma ang ginawa ni Celso. Saka ito sinundan ng kuha naman sa bahay nina Vilma at Rollie. Nag-iinit ng tubig si Vilma habang nakikinig ng dula sa radyo tungkol sa buhay ng isang asawang tamad at iresponsable.
Ganoon nga ang nangyayari sa buhay ng dalawa, at may kasunod ring “abangan sa susunod na kabanata”. Sa paghihiwalay ng dalawa, sapat na ring iparinig ang awiting You’re All I Want For Christmas, para buhayin ang irony na nagaganap sa relasyon ng dalawa. Kung makinis ang exposition at pagbuhay sa conflict ng istorya, malinaw rin ang paghahanda sa wakas ng pelikula. Si Rose na laos na ay naging mumurahing puta. Si Dexter kahit hindi ipakita ay maliwanag na sumama na sa ibang lalaki. Si Roldan ay may bago nang kabit at napatay sa spiral staircase ng tanghalan na siya rin niyang dinadaanan sa paghahatid sa dalawang naunang kabit. Si Rollie, ang mama’s boy, ay natural bawiin ng ina. Si Vilma ay nagsayaw-nangnagsayaw. Sa simula’y mahinhin at nakangiti at kaakit-akit hanggang sa pagbilis ng pulso ng tambol at pompiyang ay naubusan ng ngiti, tumagaktak ang pawis at manghina ang ligwak ng kanyang balakang, upang sa pagbuhay sa damdamin ng manonood ay siya namang maging dahilan ng pagkalaglag ng sanggol na kanyang dinadala.
Sa labas, matapos ang pagtatanghal, may tatlong bagabundong naiwan na nakatangkod sa larawang pang ‘come on’ ng burlesk queen, habang ang kadilima’y bumabalot sa kapaligiran. Kung matino ang kaanyuan ng pelikula, ay ganoon din ang masasabi sa nilalaman. Makatotohanan at masinop ang pagtalakay sa buhay ng isang abang mananayaw. Tinalakay rin dito kung paano siya tinatanggap ng lipunan at inuusig ng mga tagapangalaga raw ng moralidad. Maging ang empresaryo ng tanghalan na ginampanan ni Joonee Gamboa ay may konsiyensiya rin at nagtatanong sa atin kung anong panoorin ang dapat ibigay sa isang ordinaryong Pilipino na hindi kayang pumunta sa mga mamahaling kainan upang manood tulad halimbawa ng Merry Widow at Boys in the Band. Sila, aniya ng mga ‘dakilang alagad ng moralidad na nagdidikta at kumu-kontrol sa moralidad ng komunidad’, katapat ng munting kasiyahan ng isang Pilipinong hindi ‘kaya ang bayad sa mga ekslusibong palabas ng mayayaman.’ Samantala’y busy tayo sa paglilibang at sa kanila’y walang pakialam ngunit may handang pintas at pula sa mangahas lumabas sa batas ng moralidad ng lipunan. – Jun Cruz Reyes, Miyembro Manunuri ng Pelikulang Pilipino Manila Magazine Dec. 1-31, 1977
Basic Information: Director: Leonardo L. Garcia; Writers: Cora M. Crisol (story), Nilo Saez (screenplay); Cast: Vilma Santos, Nick Romano, Paquito Diaz, Rodolfo ‘Boy’ Garcia, Cristina Reyes, Max Alvarado, Angero Goshi, Angel Confiado, Bino Garcia, Greg Lozano, Francisco Cruz, Angelito, Steve Alcarado, Pons De Guzman, Edward Torres, Jack Montes, SOS Daredevils, Pmp Commandos; Music: Tito Arevalo; Cinematography: Ricardo Herrera; Production Co: Silver Film Productions; Released Date: 28 February 1974 (Philippines) (IMDB)
Plot Description: Blind Vilma fights bad guys as Phantom Lady!
Film Achievement: Box Office Hit of 1974
Film Review: “…There was a time in the 70s, particularly in 1973 and 1974, when a spate of Pinoy fantasy films featuring Pinoy superheroes graced our big screens. I think it was Vilma Santos’ Lipad Darna Lipad that started it all. It ushered in this wave of so-called trend in fantasy movies. Besides Darna, Vilma came up with Wonder Vi (1973), Phantom Lady (1974) and Vivian Volta (1974); Nora Aunor had Super Gee (1973) based on a popular komik serial; Superman and Batman had their local counterparts in Zoom, Zoom Superman (1973) with Ariel Ureta and Fight Batman Fight with Victor Wood. Vilma came out with another sequel of Darna titled Darna and the Giants, also in 1973; Dolphy had his own version of Captain Barbell in Captain Barbell Boom (1973). It was the movie, Supergirl (1973) which starred Pinky, that made a major impact among the moviegoers that time. It was a surprise hit that year. It was reshown several times due to insistent public demand…” – Simon Santos (READ MORE)
Basic Information: Directed: F. H. Constantino; Screenplay: Bert R. Mendoza; Cast: Vilma Santos, Panchito, Bentot, Pugak, Dencio Padilla, Tange, Max Alvarado, Jojit Paredes, Ike Lozada, Ponga, Rodolfo boy Garcia, Alicia Alonzo, Mary Walter, Ange; Original Music: D’ Amarillo; Cinematography: Fermin Pagsisihan
Plot Description: Vilma Santos played a twin sister…of a snake.
Film Achievement: No Available Data
Film Review: “…That was not the first time I met her. Actually, I know her way way back when she was only 8 or 9 years old, pumupunta sila sa amin. Kasi regular customer ng Mother ko ang Mama niya sa ready made clothes, yun kasi ang business ng Mother ko noon sa Rustans. I was about 10 or 11 years old then, and while her mom is making the selection of cloth, iniiwan naman niya si Vilma sa living room namin. Minamasdan ko siya, ang ganda-ganda ng mukha niya…Maasikaso sa set, malambing, mabait lalo na sa maliliit na crew. Doon kami nagkaroon ng bonding when we were doing that film. Mabuting tao talaga si Vilma, she has a good heart and always willing to help others. We became very close, di ko makakalimutan na minsan ay nag-drive ako ng 3 hours just to see her…Let’s split it up into two. Personality and how she relates to others. Personality wise, mabuting tao siya, she is so trusting to the extend that it becomes disadvantage on her part , she trusted people so much. About relation to others, she is so approciable, a perfect politician, she’s always ready to help, not skimming, she has social conscience and will do things to achieve her goal…” – Franco Gabriel (READ MORE)
“…And so, to prove them wrong, Vilma’s manager smartly plotted follow-up recordings. Not only did Vilma record her follow-up album, she recorded a string of mini-LPs. Mini-LPs are shorter version of the big vinyl record with two songs on each side. She ventured into Tagalog songs, recording six songs that include instants hits like Isipin Mong Basta’t Mahal Kita, a theme song to a film she did opposite Filipino chess grand master, Eugene Torre; Palong-Palo, where she received a golden record award in 1974 and an up-tempo opm, Tok-Tok Palatok, another theme song from one of her comedy film with the same title opposite Jojit Paredes…” – RV (READ MORE)
“…Very few probably are aware that Ronnie was once a matinee idol in the music profession. He was the other half of the famous singing duo called The Two of Us. His partner was Jojit Paredes, the cousin of Jim Paredes, who was also a kilabot ng mga colegiala as part of the Apolinario Mabini Hiking Society, now better known as the APO. Ronnie and Jojit were schoolmates in La Salle grade school, while Jim and his then large group were from rival Ateneo…After The Two of Us, Jojit eventually disappeared from the scene (he is now in L.A. married to an American and works as an assistant administrator in a hospital), while Ronnie’s popularity lingered, especially when he and Vilma Santos began dating. Ronnie also joined Penthouse 7 as executive producer/dancer and also part of the group was Ida Ramos, who many years later would become his wife. (Ida Henares now heads GMA Artist Center.) In between, he also hosted his own variety shows on TV, primarily in the Broadcast City stations…” – Butch Francisco (READ MORE)
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Star For All Seasons 
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