Category Archives: PHOTOS

A (new) Collection of Brief Articles

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Enjoy! – Fernando Po Jr. gets a big kick watching Vilma Santos does the laudry in FPJ Productions’ rollicking comedy, “Batya’t Palu Palo,” which Pablo Santiago directs. Starring Dencio Padilla, Roberto Talabis, Angge, Royal Dahlen and the mainstays of FPJ. “Batya’t Palu Palo” is filmed in full color and will be shown sometime in April.

In Her Own Words – “…Kapag natatalo ka naman, especially that time (before her first Urian victory in 1982), talagang sumasama loob ko. Kasi nag-e-expect ka, ang kasunod nun, sana manalo ako. Kapag natalo, ang sakit. Pero ngayon, kahit paano natikman ko na naman yung mga awards na iba-iba. Kung hindi ka ma-recognize, fine. It’s an honor to have eight Urian Best Actress. Isa sa ginagalang talaga na award giving body is Urian. The judges there, aminin natin hindi basta-basta, mga critics talaga. Korona ‘yon sa akin. Achievement na malaki. Peron ngayon, nilalagay ko sa isip ko na hindi ibig sabihin na ikaw ang pinakamaraming natanggap na Urian eh ikaw ang pinakamagaling. Sinuwerti lang yun per movie na ginagawa mo, kung paano mo ginagampanan yung role mo. But at the end of the day, after the awards night, pantay-pantay ulit tayo…” – Starsstudio Magazine, July 2011

No Dragon lady Joel Lamangan’s Mano Po, My Love dominated the Metro Manila Film Festival awards Wedenesday evening when it won all the top awards – Best Picture, Best Actor (Christopher de Leon), Best Actress (Vilma Santos) and Best Director (Lamangan). In the Philippine movie industry, the term Best Picture actually means the least bad movie of the crop. By that measure, Mano Po 3 perhaps does deserve the award. At least Mano Po 3 is slickly and tastefully produced. It boasts of a prestigious cast and tries to address a few pressing issues that affect the Chinese community in the Philippines. All the looks good on paper and the movie does look good most of the time but the resulting movie, like its two predecessors, falls short on expectations. The Mano Po series was designed to present the travails of today’s Chinese. Most of the problems they face today are rooted from old traditions that originate from the great land they had come from. In the third movie, Vilma Santos plays Lilia Chiong Yang, a successful real-estate developer who does some important civic work on her free time. She helps the police capture kidnap gangs although it’s never explained how she assists them. She’s only shown accepting awards of grattitude for her courageous fight against crime.

Lilia’s perfect life is shattered when she bumps into the real love of her life, Michael Lim (Christopher de Leon). They went to school together but being an activist, he was compelled to flee the country to avoid being persecuted by the Marcos regime. Not long after Lilia marries Michael’s best friend, Paul yang (Jay Manalo). Of course, a flame is reignited when they meet again and plans for the 25th wedding anniversary of Lilia and Paul are shattered. Such soapy contretemps are old hat and it has nothing relevant to say about the Chinese. Consequently, the Chinese connection feels tacked on – the audience is sporadically reminded of Lilia’s heritage through elaborate scenes (the birth of Lilia in a small village in China) and some colorful costumes and Chinese dragon parades. Frankly, you’ll learn more about Chinese tradition from Mark Meily’s classic film Crying Ladies (2003). Likewise, the film’s social commentary is contrived and rings false, what with the stilted, elementary dialogue the actors have to deliver. Without the Chinese trappings, Mano Po 3: My Love is a typical Vilma Santos movie designed to highlight all the wonderful elements that make her a star for all seasons.

Again, she sobs, laughs and acts pensive in that distinctive fashion Santos is famous for in one sudsy scene after another. Yet even as an emblematic Vilma Santos movie, Mano Po 3 is below par. The Star was better in other films that had better material. In this movie, screenwriter Roy Iglesias and director Joel Lamangan shamelessly force the star to imitate Meryl Streep in a scene stolen from Clint Eastwood’s Bridges of Madison County (1995). And like the two first installments, Mano Po 3 features some strange casting. Jay Manalo is supposed to be a contemporary of de Leon and Santos but when you see them together, Manalo looks more like their son than a classmate. Lamangan’s storytelling is fluid and deliberate but being deliberate can be deadly when almost every scene is all talk. Talk is fine if the words are inspiring but when the lines are pallid and of the telenovela variety, we’s just rather stick to the Korean soap they show on TV. While actors deliver modulated performances, this writer feels that Christopher de Leon’s role is too small to warrant a best actor nomination and award. I think he should have listed in the supporting category but I’m opening a can of worms here. Let’s just be thankful that this is the last Mano Po movie to be ever made. (Star rating: one star 1/2 out of four) – Dennis Ladaw, The Manila Times, Feb 28, 2005 (READ MORE)

Love-Hate drama between “martyr” mother and “rebel” daughter – Star Cinema should be commended for deciding to make a film about a Filipino overseas contract worker who periodically leaves her family to ears much-needed dollars abroad. “Anak: is a bittersweet account of a mother’s dilemma: the money she brings in assures her children’s physical well-being, but her absence during their crucial growing years leaves them with a shaky foundation that takes its terrible toll on them, asw well as on her, when she finally decides to come home. Rory B. Quintos’ films hits intense emotional highs, especially in scene involving its veteran lead player, Vilma Santos, who feels her role so much that she comes across as a symbol of all mothers torn between their love for their children, and their need to earn money by working abroad to give their children a better life. Her pain is exarcerbated when they show their resentment over her long absences, as though she didn’t suffer from the separation as much as or even more than they. And everything comes to a head when eldest child (Claudine Battetto) flaunts her wayward life and vices in her mother’s face, to hurt her as much as she feels she has been hurt by her “uncaring” parent.

In addition, the film gains in significance by touching on some less personal issues related to the huge problems of our overseas contract workers and the families they leave behind: terrible working conditions, psyhological trauma, low self-image, the wearing down of traditional values, etc. Unfortunately, the production’s decision to focus on the mother-daughter conflict deprives the movie of enough time to dramatize these issues in an insightful way. Thus, the interesting characters played by Amy Austria and Cherry Pie Picache, who are cast as Vilma’s worker-friends, are glossed over and mainly used for “color” and as shoulders to cry on. This is a pity, because they too have compelling, instructive stories to tell, which could have lent greater texture and substance to the film’s handling of the complex OCW syndrome. Instead, the movie keeps harping on the love-hate drama between “martyr” mother and “rebel” daughter, with Claudine’s character sinking deeper into her pit of anger and recrimination. All too soon, the pattern becomes tedious, and we keep hoping that the movie discovers other, more productive dramatic and thematic avenues to explore. To make things worse, Claudine acts her guts out in her “hurt and angry” scenes, but she can’t seem to rise to the thespic occassion.

This may be because her character’s acts of rebelliosness are presented in too strident a fashion, making it difficult for the young actress to be truly sensitive to her character’s core of genuine pain. It’s also possible that Claudine has been acting too much of late, what with her daily TV soaps that require her to play triplets, so she has prescious little that’s fresh and real to give to her role in this film. Whatever the reason, she falls short of the mark, particularly in her demanding confrontation scenes with Vilma. For her part, the veteran actress is given major dramatic challenges in this movie, and she meets them with her intensity and commitment. More, she embraces them, pushing her scenes “beyond acting,” into emotional reality that is truly moving. If only her young costar had been as insightful, sensitive and giving… So, we thank Star Cinema for the good things in “Anak,” but we regret its deficiencies, which not even a Vilma Santos can fully compensate for. More films on our OCW’s are needed to truly do justice to their immense problems, and to their quiet heroism for love ones and coutry. – Nestor U. Torre, Philippine Daily Inquirer, May 14, 2000 (READ MORE)

Resigned – Roderick Paulate finally resigned last Friday from GMA-7’s Vilma! which he co-hosts with formeer good friend Vilma Santos. As adult stars, Paulate’s regulaar tv association with Santos started with the erstwhile VIP (Vilma In Person) almost four years ago in the now defunct City 2 of Broadcast City.- Manila Standard, , Mar 29, 1987 (READ MORE)

Kamust na si Vi? – I have a “new” job and in keeping with its requirements I tried to circulate these past few days. One does not go through life being an entertainment editor alone so I figured I must do something else. Or so I thought. Imagine when during my first meeting with some people who I thought were not in anyway connected, or interested, in showbiz I was initially confronted with the question: “Kamusta si Vi?” I was flabbergasted. “Pati ba naman kayo?” I would have proceeded to my usual defense spiel but on second thought I decided it was quite an edge, to begin with. I turned out one of them’s a true-blue Vilmanian and he claimed he “knew” me from way back. Now, that poses a problem. What if some of them are Noranians? Or avid supporters of Maricel Soriano, Sharon Cuneta and Snooky Serna? Would that jeopardize my new job? At any rate, the foregoing is nothing but an excuse to grant a request from someone who sells this paper and to accomodate a press release sent by Nestor Pulido, GMA-7’s vice president for publicity and promotions. Kamusta si Vi? Read on. Local television’s No 1 musical variety show, Vilma, scores a first when it holds this year’s summer show at the Raging Waters Resort in Los Angeles California.

According to Ray J. Benaza, president and general manager of Pride of Philippine Television, Inc. – the outfit responsible for this event – Vilma Santos has formally agreed to bring her show to the Filipinos in L.A. Dubbed “Pistahan sa Raging Waters with Vilma” the show will have a Filipiniana theme. The show will climax a week-long stay in L.A. of the country’s premiere actress along and tv performer along with her party from May 15 to 22. Among the activities lined up for the superstar are courtesy calls with Philippine Consul General Anolin and Los Angeles mayor Tom Bradley; tours of Universal Studios, Disneyland, Rodeo Drive, and Sea World in San Diego; meetings and autograph-signing with “kababayans;” and interviewing Filipino celebrities now residing in L.A. The grand show will be held at the Raging Waters Resort from 1 to 3 p.m. on May 21, Saturday (LA time). Among the guests who have agreed to perform in the show are Louie Reyes, Willie Nepomuceno and Mitch Valdez. Santos will also be doing production numbers with a Los Angeles dance group. Ariel Ureta co-hosts the affair. A victory party follows the show, with singing and other entertainment numbers, at the Camp Bonneli park and there will be a pitching of several tents in the campsite and declare the press as “Vilma Camp.” Choice video footage of the party and Santos’ other activities wil be shown in succeeding episodes of Vilma as soon as the group is back from L.A. – JC Nigado, Manila Standard, Apr 8, 1988 (READ MORE)

Star Awards – “…But the loudest screams were reserved for the arrivals of Sharon Cuneta and Vilma Santos…Vilma’s portion was very Hollywoodish. She sang and danced with a dozen dressed almost like her. The she proceeded to do her emceeing job with Christopher de Leon as partner…Other winners..best picture: Gaano Kita Kamahal…best director: Butch Perez; best actor – a tie, Christopher de Leon and Philip Salvador and best actress, Vilma Santos…” – Norma Japitana, Manila Standard, Mar 15, 1994 (READ MORE)

Para Hindi Pagsawaan – Ronnie Ricketts has earned his spurs as an action star. His movies earn millions so that producers, astute businessmen that they are, have been willing to stake their millions on his films, confident that their investment can be recouped in no time at all. But Ronnie is also shrewd when it comes to his career, and carefully chooses the films to star in. As a result, Ronnie is now in the league of such local biggies as Rudy Fernandez, Bong Revilla and Philip Salvador. Moviestars Productions’ Ikaw Lang is a far cry from the usual stories Ronnie had starred in. It is a love-drama, but Ronnie nonetheless accepted it because of the welcome change. First, it headlines him opposite the “Star for all Seasons,” Vilma Santos, one of the very top actresses he hasn’t done a move with. He had worked with Vi in a telemovie the much-awarded actress produced years ago, but this is the first time they’re together in a film. Ikaw Lang is a welcome departure from a long spate of action flicks he has been identified with. “So people would not get tired watching me in one action picture from another. Para naman hindi pagsawaan.” Ronnie is under contract with Movie Stars Productions and can’t say no to Mrs. Fely Ong, his producer in Pacwood Films, who gave him one of his best movie in years, Anak ng Dagat. She has been very supportive and treats him like a son. Since action is Ronnie’s forte, there are scenes in Ikaw lang, about 20 percent of the movie are scenes where he does a bit of action to please his loyal followers. “Its still action for me anytime. But sometimes, like this one, daopat mayroong change. Para naman hindi magsawa ang mga fans,” Ronnie explained.- Manila Standard, Jan 6, 1993 (READ MORE)

Nora Out, Vilma In! – “Superstar out; Vilma! and The Sharon Cuneta Show are in. This is according to the latest PSRC survey of the top 20 shows for January. Topping the list in the once-a=week evening program is Ramon Revilla Blockbuster in PPP on Channel 13 with a rating 51.7 percent…The Sharon Cuneta Show (13), 35 percent…Vilma! (7), 26.3 percent…” – Baba Flores, Manila Standard, Feb 25, 1987 (READ MORE)

Chicago International Film Festival – An invitation was extended to either Armida Siguion-Reyna or Vilma Santos to sit as a juror at the Chicago International Film Festival in October where two Filipino films will be in competition, Regal Films’ Ang Kriminal ng Baryo Concepcion (directed by Lav Diaz) and Seiko Films’ Burlesk King (by Mel Chionglo). Armida told Funfare that she has accepted the invitation. However, Vilma turned it down because she’s pressed for time. She has started shooting Star Cinema’s Anak (with Claudine Barretto as her daughter) and after that, she’ll start work on Peligro for Viva Films, with Christopher de Leon as leading man and director. Vilmanians will be happy to know that the Chicago Filmfest bigwigs have described Vilma as “the Meryl Streep of the Philippines” in the invitation. Take a bow, Meryl Streep, er, Vilma Santos! – Ricky Lo, August 9, 1999, Reposted by: Sol Jose Vanzi (READ MORE)

FAP – “Vilma Santos and Philip Salvador won the top awards at the 12th Annual Academy Awards of the Film Academy of the Philippines conducted at the reception hall of the Philippine International Convention Center Saturday night. Ms Santos won the best actress for the role she portrayed in the Dolzura Cortez Story. She portrayed the role of a woman dying of acquire immune deficiency syndrome (AIDS). Philip Salvador won the best actor award for his role in Masahol pa sa Hayop which was also judged best picture of the year…” – Manila Standard, April 26, 1994 (READ MORE)

Is Ralph Recto Married? – Is Ralph Recto, Vilma Santos’ current boyfriend, married? Is the woman and the baby beside him in the Recto family portrait that came out on March 26 issue of teh Philippine Star his wife and his child? These are but two of the question rained by people who saw the same photo in the said newspaper. Santos, on the other hand, does not hide the fact, that she is supporting her boyfriend’s father, senatorial aspirant Rafael Recto. A look at her car, which carries the candidate’s poster is enough proof. – Manila Standard, May 4, 1987 (READ MORE)

The Latest from Vilma Santos – On her trip to the U.S.A.: “Heaven! A complete rest na matagal ko nang hinahanap.” Nang bumili siya ng house & lot sa Los Angeles: “A very good investment. Pagkatapos ng commitments ko rito, babalik ako roon para magbakasyon ng six months.” On love and marriage: “Tipong talagang hindi ko pa natatagpuan ang lalaking hinahanap ko but definitely, hindi ako magiging old maid!” On Nora Aunor: “Kanya-kanyang suwerte lang. Kung medyo angat ako sa kanay ngayon gaya nang sinasabi ng iba, masaya. Palagay ko, suwerte lang ang nagdadala!” – Kislap Magazine, July 27, 1978


Five Most Beautiful – Please help us select local Entertainentville’s best of the best. Jot down the names of the five entertainment personalities you think have the most beautiful faces and sent the coupon to us. Be careful with your ranking. Your first choice gets five points; second, four; third, three; fourth, two; and your fifth choice, one point. Put only one name per blank. A personality can be voited for, only once, send your coupon(s) to Five Most Beautiful…

Ang Mga Pantansiyang Pelikula ni Vilma Santos 1/2

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“…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)

Ang Mga Pantasiyang Pelikula ni Vilma Santos 2/2

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“…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)

FILM REVIEW: PAKAWALAN MO AKO

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The Plot: Namatay ang tatay ni Ana (Vilma Santos) at dahil rito’y naghirap sila. Napilitan siyang magtinda ng sabon at tumigil sa pag-aaral. Sa kabila nito hindi siya humingi ng tulong sa katipan na si Freddie Villasenor (Christopher DeLeon). Dahil sa hirap ay napilitang pumasok si Ana sa isang escort service sa tulong ng kanyang kaibigang si Bernadette Santos (Deborah Sun). Nakilala ni Ana si Bernard San Diego (Antony Castelo) sa kanyang trabaho bilang escort girl. Sa gabing iyon nakita siya ng kapatid na babae ni Freddy. Nang yayain ni Freddy si Ana para magpakasal pumayag na ito at pumunta siya sa bahay ni Freddy para makilala ang pamilya ni Freddy. Hindi nila alam ay inimbitahan ng kapatid ni Freddy si Bernard San Diego. At sa hapag ng kainan ay binisto nito ang tunay na trabaho ni Ana. Umalis nang umiiyak si Ana at nagkagalit sila ni Freddy. Pinuntahan ni Bernard si Ana para humingi ng paunmanhin ngunit naabutan sila ni Freddy at nag-away sila ni Bernard. Inakala ni Freddy na talagang may relasyon si Bernard at Ana kung kaya iniwanan niya ito. Nagbalik si Ana sa kanyang trabaho. Nagkaroon ng secret admirer ito. Yung pala ito ay si Bernard. Nalaman rin ni Ana na buntis siya at ang ama ng dinadala niya ay si Freddy. Inalok ni Bernard si Ana ng kasal at pumayag naman ito sa kabila ng pagtutol ng kanyang mayamang ama. Lumaki ang bata at apat na taon na ito nang magdesisyon ang ama ni Bernard na tigilan na ang pagsasama ng dalawa. Inalok si Ana ng malaking halaga ngunit tumutol ito. Nang umalis ang ama ni Bernard ay pinaiwan nito ang isa sa kanyang mga tauhan para gahasain si Ana. Dumating si Bernard at nagaway sila ng tauhan ng kanyang ama. Sa kaguluhan ay nabaril ng tauhan ng kanyang ama si Bernard mismo. Sinet-up ng ama ni Bernard si Ana. Pinakulong at kinuhang abogado si Freddy. Sa hukuman ay nakuhang magduda ni Freddy sa dating katipan. Nagpunta ito sa bahay ng ina ni Ana upang kausapin ang batang anak ni Ana. Natuklasan ni Freddy ang tutuong nangyari at ang testigo ay ang anak ni Ana. Sa closing ng kaso ay inihayag ni Freddy na walang kasalanan si Ana at ang pumatay kay Bernard ay ang tauhan ng sarili nitong ama. Napawalang sala si Ana at nalaman ni Freddy na ang bata’y ang sarili niyang anak.

The Reviews: Prinudyus ng Sampaguita Pictures, ang “Pakawalan Mo Ako” ay isa sa mga pruweba na nasa ikataas na puwesto si Vilma Santos nang bagong dekada otsenta. Mula umpisa hanggang sa huli’y umiikot ang istorya sa karakter ni Vilma bilang si Ana, isang escort girl. Markado ang papel ni Vilma at makikita ito sa mga eksena sa kulungan at hukuman. Ang Pakawalan Mo Ako ay mula sa panulat ni Pete Lacaba at iskrinplay nina Pete Lacaba, Mao Gia Samonte at Isko Lopez. Kung ikukumpara sa mga ibang pelikula ni Elwood Perez mas pulido at makatotohanan ang mga eksena’t dialouge ng pelikula. Tulad ng konprontahin nga ma ni Bernard si Ana sinabi nito na: “Puta, Puta! Puta! Hindi lang naman kayo ang unang nagparatang sa akin ng ganyan! Puta! Puta! Putang Ina n’yong lahat…” At nang unang dalhin ni Bernard si Ana sa bahay nito at pagtangkaang gahasain, pumiglas si Ana at sabay kuha sa pera at sabay sabing: “kukunin ko ang bayad sa halik may sukli ka pa!” At siyempre ang eksena sa hukom kung saan paulit ulit niyang sinasabi ang salitang: “Sinungaling!…” Ang musika ni Lutgardo Labad ay minsan nakakaabala sa tunay na eksena ngunit angkop na angkop ang theme song ng pelikula, ang “Dati” na kinanta mismo ni Antony Castelo. Merong mahahabang linya si Christopher DeLeon sa bandang huli at nakuha naman niyang bigyan ng buhay ang papel niya bilang abogado ng taga-usig kahit na parang pilit ang pagpapalit niya ng panig para sa tagapagtanggol sa bandang huli, sa kanyang closing remarks. Alam niya marahil na talagang pelikula ito ni Ate Vi. Mahusay rin ang pagganap ni Antony Castelo bilang isang matigas na ulong anak ng isang mayaman. Sa papel na ina ni Ana, nakaka-distract ang hindi tunay na boses ni Mila Ocampo. Bilang ama ni Bernard San Diego, very one-dimensional ang papel ni Subas Herrero. Ang pinakanakakatuwang papel ay ang papel na kaibigan ni Ana na ginampanan ni Deborah Sun. Meron siyan eksena sa hukuman kung saan tumistigo siya at natural na natural ang pagkababaeng bakla niya. Mabilis ang pacing ng pelikula at walang mahusay ang pagkakaedit nito. Hindi ako nagtaka kung bakit nanalo si Ate Vi para sa pelikulang ito mula sa Famas. Ito rin ang bale hudyat ng pagsibol ng bagong Vilma Santos pagpasok ng dekada otsenta dahil sa sumunod na taon ay nagkasunod sunod na ang parangal sa pagarte ni Ate Vi mula sa iba’t ibang award giving bodies. – RV (READ MORE)

“Dalawangpu’t Anim na taon na ang nakakalipas nang una nating napanood ang pelikulang Pakawalan Mo Ako (Now on 2012, PMA is 31 years old!) . Tumabo ito sa takilya at nagbunga ng pagkapanalo ni Ate Vi ng Best Actress mula sa Famas para sa taong ito. Prinudyus ng Sampaguita Pictures, ang “Pakawalan Mo Ako” ay isa sa mga pruweba na nasa ikataas na puwesto si Vilma Santos nang bagong dekada otsenta. Mula umpisa hanggang sa huli’y umiikot ang istorya sa karakter ni Vilma bilang si Ana, isang escort girl. Markado ang papel ni Vilma at makikita ito sa mga eksena sa kulungan at hukuman. Ang Pakawalan Mo Ako ay mula sa panulat ni Pete Lacaba at iskrinplay nina Pete Lacaba, Mao Gia Samonte at Isko Lopez. Kung ikukumpara sa mga ibang pelikula ni Elwood Perez mas pulido at makatotohanan ang mga eksena’t dialouge ng pelikula. Tulad ng konprontahin nga ma ni Bernard si Ana sinabi nito na: “Puta, Puta! Puta! Hindi lang naman kayo ang unang nagparatang sa akin ng ganyan! Puta! Puta! Putang Ina n’yong lahat…” At nang unang dalhin ni Bernard si Ana sa bahay nito at pagtangkaang gahasain, pumiglas si Ana at sabay kuha sa pera at sabay sabing: “kukunin ko ang bayad sa halik may sukli ka pa!” At siyempre ang eksena sa hukom kung saan paulit ulit niyang sinasabi ang salitang: “Sinungaling!…” Ang musika ni Lutgardo Labad ay minsan nakakaabala sa tunay na eksena ngunit angkop na angkop ang theme song ng pelikula, ang “Dati” na kinanta mismo ni Antony Castelo. Merong mahahabang linya si Christopher DeLeon sa bandang huli at nakuha naman niyang bigyan ng buhay ang papel niya bilang abogado ng taga-usig kahit na parang pilit ang pagpapalit niya ng panig para sa tagapagtanggol sa bandang huli, sa kanyang closing remarks. Alam niya marahil na talagang pelikula ito ni Ate Vi. Mahusay rin ang pagganap ni Antony Castelo bilang isang matigas na ulong anak ng isang mayaman. Sa papel na ina ni Ana, nakaka-distract ang hindi tunay na boses ni Mila Ocampo. Bilang ama ni Bernard San Diego, very one-dimensional ang papel ni Subas Herrero. Ang pinakanakakatuwang papel ay ang papel na kaibigan ni Ana na ginampanan ni Deborah Sun. Meron siyan eksena sa hukuman kung saan tumistigo siya at natural na natural ang pagkababaeng bakla niya. Mabilis ang pacing ng pelikula at walang mahusay ang pagkakaedit nito. Hindi ako nagtaka kung bakit nanalo si Ate Vi para sa pelikulang ito mula sa Famas. Ito rin ang bale hudyat ng pagsibol ng bagong Vilma Santos pagpasok ng dekada otsenta dahil sa sumunod na taon ay nagkasunod sunod na ang parangal sa pagarte ni Ate Vi mula sa iba’t ibang award giving bodies.” – RV (READ MORE)

“…Elwood Perez and Vilma Santos collaborated in seven films. The first one was the trilogy that he co-directed with two other director, Borlaza and Gosiengfiao (these three are the most underrated and under appreciated directors in the Philippines), the remake of Mars Ravelo comic super hero, Darna in Lipad Darna Lipad. The film was a record-breaking hit Box-office Film. They follow this up with a more mature projects as Vilma started to switched her image from sweet to a mature/versatile actress, pairing her with Christopher DeLeon in five films starting with Masarap Masakit Ang Umibig in 1977. The Perez-Santos-DeLeon team produced several blockbuster hits and also gave Vilma two FAMAS best actress awards.  Both wins contributed to her elevation to the FAMAS’ highest honour, the “Hall of Fame” award she received in 1989.  The wins were for Pakawalan Mo Ako (1979) and Ibulong Mo Sa Diyos (1988)…” – RV (READ MORE)

“…The second memorable film experience for me was during early 80s where I saw the free sneak preview of “Pakawalan Mo Ako” at Gotesco Theatre near University of the East. I was one of the lucky ones who managed to get in. My college mates weren’t. They got stocked in the pandemonium outside. I was worried sick as I took the long escalator and saw them being crashed by the crowd. The security guards have to closed the gate of the lobby. Fans became so restless and broke the glass windows (where they displayed posters and still photos) . Inside, It was crowded, hot and wild. We were seeing a more mature Vilma Santos.  The moviegoers reacts to every scenes from the very beginning up to the very end (the courtroom scene where Vilma cried and swear, “Liars!  Liars! You’re all Lying!”)…” – RV (READ MORE)

“…Natatangi ang pelikulang Pakawalan Mo Ako (MVP Pictures, 1981) dahil sa matagumpay nitong pagtatangkang ilahad ang proseso tungkol sa pag-ibig at pagbabahagi ng sarili nang buo ang pagkatao. Nilinaw ng pelikula ang mga personal at pang-ekonomiyang salik na naghatid sa pangunahing tauhan tungo sa pagpuputa at inilalantad ang bunga nito gaya ng madamdaming pagsasadula ni Vilma Santos. Nang muli silang magkita ng kasintahan, ibang babae na ang kanyang nakatagpo, mas may tiwala sa sarili at mulat na sa kalakaran ng mundo. Nakakaantig ang transpormasyon ng kanyang karakter mula biktima ng nasawing pag-ibig at di-makalingang propesyon tungo sa pagbabago at paninindigan ng kanyang pagiging babae. Mapangumbinsi rin ang pagganap ni Christopher de Leon dahil sa kanyang sensitibong pagpasok sa katauhan ng isang abogadong makiling sa sistema ng batas. Sa unang tingin, tila makababae ang punto de bista ng Pakawalan Mo Ako dahil sa paglalahad ng babae bilang biktima pa rin ng ispontanyong reaksiyon ni Bernard, ang lalaking nagnanasa sa kanyang katawan. Subalit madulas ang daloy ng iskrip nina Pete Lacaba, Mao Gia Samonte at Iskho Lopez, konsistent ang disenyong biswal at sinematograpiya. Malinis ang editing at akmang-akma ang musika. Ngunit habang hinihimay ang naratibo, unti-unting natuklasan ang melodramatikong proposisyong ipinapakain ng pelikula. Isang proposisyong taliwas sa pagnanasang patuloy na makibaka, magmahal at mabuhay…” – Jojo Devera, Sari-saring Sineng Pinoy (READ MORE)

Vilmanians (Photos)

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VSSI Inc. News: “Maraming donasyon ang ini-expect naming manggagaling sa abroad gaya ng Sweden, New York, meron kami, sa Dubai na miyembro ng VSSI,” sabi ni Governor Vilma Santos-Recto na hinahangaan ang good deeds ng kanyang loyal followers (for Sendong Victims). Eh, matapos niyang pasayahin ang Christmas party ng kanyang loyal followers, ano naman ang plano ng pamilya niya. “Dito lang kami. Hindi kami aalis,” sambit niya sa aming ambush interview. Naniniwala kasi si Governor Vilma na kahit may lungkot na nadarama ang mga kababayan natin sa Cagayan de Oro, Iligan City at iba pang lugar sa Mindanao, dapat ding magsaya ang mga tao dahil nga kapanganakan ni Hesus.” – Jun Nardo, Dec 2011 (READ MORE)

“…True enough, they were most enthusiastic but kind of controlled with their adulation when Ate Vi came with her Girl Friday Aida Fandialan in tow. Anyway, when the famed actress had the chance to talk with her adoring fans, she was most nostalgic as she went down memory lane of her memorable encounters with them. According to her, she had this fan who would come almost on a daily basis at her governor’s office in Batangas and never complained even if Ate Vi could not attend to her or keep her entertained. The actress-politician also cited this aging fan who’d carry blown-up photos of the Star for All Season with all the dedication in the world during her VIP days, content to see her idol perform. She also expressed being truly touched by the filial devotion of this fan who was with her almost from the very beginning of her illustrious showbiz career and was just staying with her family in a modest rented apartment in La Loma. The mere fact that he got along famously with her late dad was something that Ate Vi would always remember with fondness. “And I’m glad that he’s still with me today!” she says apparently overwhelmed by a myriad of emotions. Ate Vi also remembered a fan who was already in her early 80s and yet she never failed to come whenever she asked her to. At this point, Ate Vi also singled out a fan who has remained unattached and never gotten married, but has religiously brought her kakanins from Biñan, Laguna. Indeed, the Star for All Seasons is obviously equipped with an elephantine memory who never forgets any good deed done or kindness she’s been most generously showered with…” – Peter Ledesma (READ MORE)

Becoming Gloria Romero “Vilma Santos’ loyal fans were so happy about her latest acting award at the Urian awards (for her performance in “Dekada ’70”) that they turned out in full force at her “reunion” celebration at Bakahan at Manukan on P Guevarra st. in San Juan. Movie scribes with a soft spot in their hearts for Vi also showed up, making the evening a riotous success. In the midst fo all the fun and frolic, Vilma was able to sit with us for a spell, and breathlessly brought us up to date on what’s been happening to her these past months, as well as gave us a peek into her future prospects. First off, she’s appreciative of the trophies that she’s gotten for her intense but controlled performance in “Dekada ’70,” for which she swept the competition…In the past, she used to think of retiring from the big and small screens, to concentrate on public service and urban management. Now, however, she’s sure that she’ll continue to act “until I become a gransmother – Gloria Romero.” This is a welcome development on the local film scene, which is notorious for its fetish for youth, and its bias against age and experience. With Gloria and now Vilma showing the way, our moviegoers can be educated to value veteran talents over callow starlets, so performances on the big screen can mature and deepenn through time. The future? Vilma wants to make one film a yar, and is looking for challenging plots and characters. In politics, Vilma debunks rumors that she’s going to run for senator next year. In fact, she refuses to think of politics at all, preferring instead to concentrate on her work as mayor of Lipa City. But, if voters there want her to run for another term, Our sense is that they won’t have a hard time persuading her…” – Nestor U. Torre, Philippine Daily Inquirer, May 31, 2003 (READ MORE)

FAMAS HALL OF FAME – BEST ACTRESS

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“…From 1972 to 1988 Vilma Santos were nominated twelve times. Most critics considered this as a huge accomplishments, she won for 1988 (Ibulong Mo Sa Diyos), 1987 (Tagos ng Dugo), 1982 (Relasyon), 1981 (Pakawalan Mo Ako), 1972 (Dama de Noche), but some were worried that this is premature as they expected more breakthrough performances from her young career. Now, 37, Vilma is still honing her craft. The 38th FAMAS Awards held again at the Fiesta Pavilion of Manila Hotel on May 19, 1990 was not only memorable for Vilma Santos but also for her rival, Nora Aunor. Vilma relegated to hall of famer, disqualify her to compete with Nora. Not surprisingly, Nora won her fifth best actress, which also automatically qualifies her as next year’s hall of famer…” – RV (READ MORE)

The Award: The Filipino Academy of Movie Arts and Sciences bestows the Hall of Fame Award to individuals who have displayed mastery over their craft and artistry over their chosen fields in the Philippine motion picture industry. First given in the 24th FAMAS Awards (1975) in 1976 to actor Eddie Garcia, sound engineers Angel Avellana and Demetrio de Santos, director Gerardo de Leon, cinematographer Felipe Sacdalan and musical scorer Tony Maiquez for winning five or more FAMAS Awards in their respective categories, the Hall of Fame Award is a gold-plated FAMAS statuette with two semi-circles of laurel leaves anchored to each of her shoulders and her base. The cylindrical base, on the other hand, contains a gold leaf at the front, which contains the acronym “FAMAS” in big bold letters, the winner’s name, the category in which he or she has won the Hall of Fame Award and the year in which it was given. The original Hall of Fame statuette presented in 1976 was almost identical to the present one, except that the laurel leaves only arched up until the FAMAS lady’s hips. In the 1980s, the redesigned Hall of Fame Award contained the FAMAS lady standing atop a trapezoidal pedestal with two semi-circles of laurel leaves anchored to each of her shoulders and base. The trapezoidal base bore a gold scroll where FAMAS’ name, the name of the winner, the year of bestowing and the category in which it was won was written.

The bestowing of a Hall of Fame Award is determined by the number of FAMAS awards won by a certain individual in a category. To win a Hall of Fame Award, one must have won five FAMAS Awards for a certain competitive category. The Hall of Fame Award is given to an individual on the next awards ceremony following his/her fifth FAMAS Award on a certain category. A Hall of Fame Award signifies the end of one’s chances of nomination for the same category and thus, the end of one’s chances of winning a FAMAS Award for the same category, with the exception of the Best Picture category, since the merits of a Best Picture nomination and win depends on the collaborative effort of many movie artisans rather than a single effort of an individual, which is awarded in the rest of the other categories. This explains why Premiere Productions, Producer Hall of Famer, still had FAMAS Best Picture nominations beyond 1977, its year of receiving the Hall of Fame. The following individuals (and production company) were bestowed a Hall of Fame Award. Each Hall of Fame inductee are grouped according to the category in which they won the award and the calendar year in which they have received their Hall of Fame Award. – FAMAS (READ MORE)

Dama de Noche (1972) “…It is, Vilma was quoted as saying, her dream role fulfilled. The very professional Vilma has come out with the resolution than henceforth she will demand to see the script and also see that the script is demanding— or she’ll say nix. Well, Dama de Noche is exactly just that: demanding. In it she delineates the twin-sister roles of sweet Armida and deranged Rosanna. Vilma sobs and screams, giggles, and crazy-dances, claws and clowns, sobs again and screams some more. But she does more than all these things. She acts. In the Filipino movieworld where crying is synonymous with acting, that certainly is being ahead of one’s kind. Vilma as Armida is drab and dry, almost a movie prop. It is in the portrayal of Rosanna that Vilma would tear one’s heart away. The many close-ups so effectively used throughout the movie show the unglamorous Vilma: her frowns, her lip-twitching, her uninhibited and stifled sobs. But Vilma is less successful with the shifty look that is the distinctive trait of the deranged. She compensates for this in the ‘betrayal’ scene when Rosanna suspects that Leo, Armida and the psychiatrist (Fred Montilla) all conspired to imprison her in the hospital. Another outstanding feat is the subdued scene where Rosanna learns that Leo has gone to the Lerma villa to meet Armida. The vivacious Rosanna is just as winsomely pathetic. Watching her is just like seeing a bosom friend trying to pretend she’s happy when both of you know she’s not only in this case, Rosanna is truly happy. Her non-knowledge of her plight is what is particularly heart-curling…” – The Times Journal (READ MORE)

Pakawalan Mo Ako (1981) “…Mula umpisa hanggang sa huli’y umiikot ang istorya sa karakter ni Vilma bilang si Ana, isang escort girl. Markado ang papel ni Vilma at makikita ito sa mga eksena sa kulungan at hukuman. Ang Pakawalan Mo Ako ay mula sa panulat ni Pete Lacaba at iskrinplay nina Pete Lacaba, Mao Gia Samonte at Isko Lopez. Kung ikukumpara sa mga ibang pelikula ni Elwood Perez mas pulido at makatotohanan ang mga eksena’t dialouge ng pelikula. Tulad ng konprontahin nga ma ni Bernard si Ana sinabi nito na: “Puta, Puta! Puta! Hindi lang naman kayo ang unang nagparatang sa akin ng ganyan! Puta! Puta! Putang Ina n’yong lahat…” At nang unang dalhin ni Bernard si Ana sa bahay nito at pagtangkaang gahasain, pumiglas si Ana at sabay kuha sa pera at sabay sabing: “kukunin ko ang bayad sa halik may sukli ka pa!” At siyempre ang eksena sa hukom kung saan paulit ulit niyang sinasabi ang salitang: “Sinungaling!…” Ang musika ni Lutgardo Labad ay minsan nakakaabala sa tunay na eksena ngunit angkop na angkop ang theme song ng pelikula, ang “Dati” na kinanta mismo ni Antony Castelo. Merong mahahabang linya si Christopher DeLeon sa bandang huli at nakuha naman niyang bigyan ng buhay ang papel niya bilang abogado ng taga-usig kahit na parang pilit ang pagpapalit niya ng panig para sa tagapagtanggol sa bandang huli, sa kanyang closing remarks. Alam niya marahil na talagang pelikula ito ni Ate Vi…” – RV (READ MORE)

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

Tagos ng Dugo (1987) “…So what could be all the fuss about Tagos’ value? “Production values” is the often-heard reason, needing elucidation. A breakthrough for Philippine psychological movies? Probably. Let me explore a few other angles on this seeming cross between Francois Truffaut’s The Bride Wore Black and Luis Buñuel’s Belle du Jour — I don’t know if screenwriter Jake Tordesillas or De los Reyes himself should be congratulated for the cohesion of multi-resultants in this work. Part of this multi-readings would be the movie as a feminist take on womankind’s monthly pains as a form of excuse for female monthly insanities, insanities our machos regard as regular terrorism on the whole of mankind (men or society as a whole). It is with that reading that the ending apologies, by Vilma Santos in the lead role, might be understood as a plea for understanding of how all of woman’s monthly Eve-behavior should not be seen as a Biblical sin but as an equal (to, say, men’s beastly) naturalness…Another feminist reading, more radical perhaps, would treat the film as a view of how Philippine society (the men in it, primarily) approaches provincial innocence, educational weakness, and “females’ weaker sanity” as stimuli for abuse. . . . There is, however, the possibly more general reading of the film as an apologia for insanity qua itself, how it should be treated as a disease instead of as a monster to be eliminated. And finally, there’s the possibility that the film is actually a depiction of how crazy the world outside the insane mind really is, albeit this view would probably be the least successful direction for the film….As a bonus, maybe we can also bring the movie to more latent, more philosophical territory, say, how it depicts the sanity of innocence. But, given the validity and possible weight of all those approaches, what finally makes this movie a jewel in Philippine cinema history is how it brings forth — every time you watch it — its case achievements in directorial and film editing dramaturgy (including the recurring stage-like choreography, Hitchcockish camera positionings, and acting pacing within). For the serious student of third-world filmmaking, here is a requisite Philippine movie from where to cull precious fragments. In these fragments, he/she is sure to find sparkles that are in themselves gems…” – Vicente-Ignacio S. de Veyra III (READ MORE)

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

“…Elwood Perez and Vilma Santos colloborated in seven films. The first one was the trilogy that he co-directed with two other director, Borlaza and Gosiengfiao (these three are the most underrated and under appreciated directors in the Philippines), the remake of Mars Ravelo comic super hero, Darna in Lipad Darna Lipad. The film was a record-breaking hit Box-office Film. They follow this up with a more mature projects as Vilma started to switched her image from sweet to a mature versatile actress, pairing her with Christopher DeLeon in five films starting with Masarap Masakit Ang Umibig in 1977. The Perez-Santos-DeLeon team produced seven blockbuster hits that gave Vilma two FAMAS best actress awards that secured her elevation to FAMAS highest honour, the FAMAS Hall of Fame award. She won in 1979 for Pakawalan Mo Ako and 1988 for Ibulong Mo Sa Diyos…” – RV (READ MORE)

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

Dinumog ang Premiere Night ng Sister Stella L.!

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Paano malalaman kung magiging malakas sa takily ang isang pelikula? Isa sa mga sukatan ang premiere ngiht. Hangga’t maari’y ayaw ng ibang produser na magpa-premiere night. Usually kasi, may nag-iisponsor nito, at sa kanila, sa charity – kung tutoo mang sa charity – napupunta ang bayad sa takilya. At siyempre pa, dahil premiere night ekstra ang halaga ng tiket, P25 sa orkestra, P50-100 sa balcony at loge. Bukod sa malaking kawalan din yon sa produser sa regular run ng pelikula, puewede pang mapintas-pintasan ito, at pag kumalat iyon, bagsak ang pelikula! Sa isang dako, kung gustong makatulong ng produser sa charity, at kung sampalataya siya sa kanyang pelukula, mainam magpa-premiere night para higit na maipaalam sa lahat na maganda ito. Iyon ang nasa isip ni Mother Lily nang ipa-premiere night ang “Sister Stella L.” sa Rizal theater sa Makati. Umbrella organization ng mga madre ang nag-isponsor ng premiere night, dalawang screening iyon. Umuulan nang gabing iyon, pero dagsa pa rin ang mga tao. Siksikan. Gayunpama’y disiplinado. Marami rin kasi sa mga ito ang mga madre. Kung karaniwan nang umaasa pa rin sa walk-in ang ibang nagpapa-premiere night, iba naman ang nangyari sa “Sister Stella L.”

Bago pa ang first screening, dakong alas sinko-medya, sold out na ang tiket. Nakikiusap na talaga ang mga hindi nakabili ng tiket na bibili sila, pero ubos na. Dumating doon ang ina ng tunay na Sister Stella L. “No, my daughter is not an activist, she only wanted to help the needy,” sabi nito. Sa kasalukuya’y nasa abroad daw ito, nagtungo roon pagkaraang lumabas mula sa pagkaka-detain ng 11 months sa isang militar camp. Mula sa siyuting ng “Alyas Baby Tsina,” dumating si Vilma Santos. Kagulo sa kanya ang mga tao sa lobby. Magkasabay na pumasok sina Gina Alajar at Michael De Mes, at naisip namin, mali nga ‘ata ‘yung balitang nagkahiwalay sila. Very, very successful ang premiere night na iyon. Katunayan, gusto pa itong masundan ng isang labor sector, tumanggi na lang si Mother Lily. “They will give me raw three hundred thousand, but I said no. Paano naman ang regular run ko?” – Bibsy Estrella, Photos: Peping Mendiola

Unprecedented Stella L PremiereKung ang batayan ay ang premiere night ng Sister Stella L na ginanap sa Rizal theater noong June 22, sigurado nang dudumugin nang masa ang pelikulang ito ni Mike De Leon kapag regula showing na ito sa commercial theaters. Talaga namang very, very successful ang nasabing premiere night at ayon nga sa mga nakakaalam, never in the history of local cinema na ang isang pelikula’y dalawa ang screenings sa premiere showing at parehong SRO. Obviously, maraming A-B crowd nung gabing ‘yon, tulad ng grupo ni Chona Kasten na namataan namin, pero marami ring mga manggagawa at mga miyembro ng iba’t ibang sektaryang pang relihiyon. Ang nag-isponsor ng premiere night na ‘yon ay ang The Organization for the Promotion of Church People’s Right/Response (PCPR). Ang Sister Stella L na pelikula ng Regal Films ay ipapaplabas umpisa sa July 14. – (Photos: Tess Evangelista). Movie Flash July 12 1984

Relasyon (Still Photos)

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Plot Description: He sees nothing wrong in having a wife and a mistress. She would do anything to make him happy, including putting up with his idiosyncrasies, babysitting his child, and finding loopholes in the law so she could be with him. The characters are so familiar and so realistic that you might see yourself. Vilma Santos and Christopher de Leon star in this very touching story about two people who truly love each other but are trapped by the circumstances. Relasyon is another fine motion picture from director Ishmael Bernal. – Regal Films

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PRODUCER DIRECTOR WRITER

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Other films credits:

  • Producer: 6 films, 1 tele-movie
  • Directing: 1
  • Writing: 2

PRODUCER

About Producing Films: – “…Vilma herself gives the credit to her willingness to learn. The process was sometimes painful but, says Vilma, she knew it was all part of her education. I am now 28 years in this business and everything I have learned has made me a stronger woman. Even the troubles, the intrigues – they have made me a stronger woman. I’m always learning. For example, there was a part of my career that was for me a very expensive education.” She had set up a production company of her own that, it turned out, was mostly producing debts.‘ That was about 15 years ago. I tried producing and I made about five movies for VS Films, my own outfit. It was managed by my mother, not by me personally, and Mama is so good people take advantage of her. Before I knew it I was drowning in debt. I was pregnant at the time, 1980, when I learned I had a debt of six million pesos! And I didn’t even know if, after giving birth, audiences would still accept me. How was I to survive? I prayed; I told God I was willing to work, sarado ang mata, just to pay off all those debts. And with his blessings I was given a second chance. After giving birth to my son, my career got a second chance and became even more successful: not only did I continue to be box-office but I was winning awards right and left…” – Quijano De Manila (Nick Joaquin), Philippine Graphic Magazine 05 November 1990 (READ MORE)

Mga Rosas sa Putikan (1976)

Basic Information – Directed, story, screenplay: Emanuel H. Borlaza; Cast: Vilma Santos, Celia Rodriguez, Babara Luna, Trixia Gomez, Merle Fernandez, Romeo Enriquez, Arnold Gamboa, Sandy Garcia, Monica Morena, Ike Lozada; Executive producer: Vilma Santos; Original Music: George Canseco; Cinematography: Oscar Queruero; Release Date: September 10 1976; Production Co: VS Films

About the film: – A film about the flight of prostitutes. Vilma co-starred with sex starlets Barbara Luna and Trixia Gomez, veteran actress Celia Rodriguez and Rudy Fernandez’ sister, Merle Fernandez. Vilma recorded the theme song composed by George Canseco.

Apoy sa Ilalim Apoy sa Ibabaw (1977)

Basic Information – Direction, Story, Screenplay: Ben Feleo; Cast: Romeo Vasquez, Chanda Romero, Lorna Tolentino, Barbara Luna; Original Music: Demet Velasquez; Cinematography: Max de la Peña; Release Date: December 9 1977; Production Co: VS Films

About the film: – No information available except that the Vilma Santos’ birthday celebration was added as bonus feature of the film.

Pagputi Ng Uwak Pagitim ng Tagak (1978)

Basic Information – Directed, story: Celso Ad. Castillo; Screenplay: Celso Ad. Castillo, Iskho Lopez, Lando Jacob, Ruben Arthur Nicdao; Cast: Vilma Santos, Bembol Roco, Robert Talabis, Joonee Gamboa, Angie Ferro, Olivia O’Hara, Mona Lisa, Mario Escudero, Fred Panopio, Adul de Leon, Lito Anzures, Miniong Alvarez, Andres Centenera, Carpi Asturias, Filing Cudia, Yolanda Luna, Mervyn Samson, Dolores Pobre, Jennifer Cortez, Diomedes Maturan; Executive producer: Vilma Santos; Original Music: George Canseco; Cinematography: Romeo Vitug; Film Editing: Celso Ad. Castillo; Production Design: Peter Perlas; Sound: Gaudencio Barredo

About the film: – Lovers Julie (Vilma Santos) and Dido (Bembol Rocco) struggles to remained in a relationship despite the family conflict brought together by their rivaling relatives and the social unrest that surrounds them.

Pagputi Ng Uwak Pagitim ng Tagak won the 1978 FAMAS Best Picture and the 1978 Gawad Urian Best Picture. Also, Vilma Santos was nominated for FAMAS best actress.

“…Working with Celso Kid is a privilege. He’s a genius.” With good humor, Vilma recalls a “quarrel” on the set of “Pagputi ng Uwak, Pag-itim ng Tagak,” which she produced in 1978. “It took so long to finish. I lost money on that. But we’re still friends.” Burlesk and Pagputi brought a lot of honor to me…” – Bayani San Diego Jr. (READ MORE)

Coed (1979)

Basic Information – Directed: Emmanuel H. Borlaza; Story, screenplay: Allan Jayme Rabaya; Cast: Vilma Santos, Jay Ilagan, Celia Rodriguez, Allan Valenzuela, Romeo Enriquez, Romeo Rivera, Jun Soler, Angge, Jojo Santiago, Cora Tanada, Larry Leviste, Marilyn Villarruz, Rosemarie Sarita; Original Music: George Canseco; Cinematography: Mike Accion; Film Editing: Abelardo Hulleza

About the film: – No information available

Halik sa Paa Halik sa Kamay (1979)

Basic Information – Directed: Luis Enriquez; Story: Beybs Pizarro Gulfin; Screenplay: Luis Enriquez, Beybs Pizarro Gulfin; Cast: Vilma Santos, Ronald Corveau, Eddie Rodriguez, Rosemarie Gil, Jose Vergara, Roderick Paulate, Ester Chavez, Angie Ferro, Angge, Virginia Montez, Aurora Salve; Executive producer: Vilma Santos; Original Music: E Veron; Cinematography: Loreto Isleta; Film Editing: Abellardo Hulleza

About the film: Halik sa Paa Halik sa Kamay earned Vilma Santos a best actress nomination from 1979 FAMAS Awards.

Lamat sa Kristal (1988)

Basic Information – Cast: Vilma Santos, Jacklyn Jose. Produced by Vilma Santos and GMA – 7 (Citation is needed)

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

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

Ekstra, The Bit Player (2013)

Basic Information – Direction: Jeffrey Jeturian; Writing Credits (story and screenplay): Zig Madamba Dulay, Antoinette Jadaone, Jeffrey Jeturian; Executive Producer: Atty. Joji Alonso; Associate Producer: Ron Capili; Line Producer: Charyl Chan-de Guzman; Executive Producer: Jeffrey Jeturian, Ferdinand Lapuz, Malou N. Santos, Vilma Santos, Charo Santos-Concio, John Victor Tence; Music: Vincent de Jesus, Cinematography: Lee Meily, Lee Briones; Film Editing: Zig Madamba Dulay, Glenn Ituriaga; Production Design: Ericson Navarro, Erwin Sanchez; “Ekstra” – original title; Released: 14 August 2013 (Philippines); Production Co: Cinemalaya Foundation, Quantum Films; Runtime: 111 min; Cast: Nenita Deanoso, Karen Leslie Dematera, Boobsie Wonderland, Cris Castillo, Cris Ad Castillo, Raymund Ocampo, Abi Niesta, Cherry Pie Picache, Zyrus Imperial, Richard Yap, Ruby Ruiz, Vilma Santos, Ronaline Ronn Enriquez, Rita Rosario G. Carlos, Tart Carlos, Antonette Garcia, Linda Villalobos, Raymond Rinoza, Hazel Faith Dela Cru, Rex Lantano, Martha Comia, Jake Seneres, Ricky Pascua, Zachary Ezekiel Diaz, Angelica Luis, Mhel Seduco, Michael Bayot, Fatima Centena, Almira Alcid, Chris Garrido, Norberto Portales, Marlon Rivera, Sunshine Teodoro, Vincent de Jesus

About the tele-movie: “Ekstra, The Bit Player is a socio-realist drama-comedy film, it follows a seemingly usual day in the life of Loida Malabanan (Vilma Santos) as she embarks on yet another shooting day of a soap opera as an extra. As the shoot goes on, we get a glimpse of the truth in the ruling system of the production as well as the exploitation of the marginalized laborers like her.” – Cinemalaya (READ MORE)

DIRECTOR

Lazarito (1990s)

Basic Information Direction: Vilma Santos; Cast: Dawn Zulueta, Ariel Rivera, Ali Sotto, Bernardo Bernardo, Tom Taus, AJ Galvez and Armando Goyena; Production Co.: Vilma Santos Productions, Inc.

About directing – “…Ang mentor ni Vi sa pagiging direktor ay si Joel Torre. Nakapagdirek si Vi ng isang telemovie na may pamagat na Lazarito kung saan tampok dito sina Dawn Zulueta, Ariel Rivera at Tom Taus, Jr…Kabilang naman sa ginawang telemovie ni Vi ay ang Lamat Sa Kristal, Katuparan, Once There Was A Love, Correctional, Bugso at Maalaala Mo Kaya: Regalo episode…” – Alfonso Valencia (READ MORE)

“…Ang dream ko naman talaga—nung hindi ko alam na papasok ako sa pulitika—ay makapagdirek ng movie. Yun yung next step ko, parang maging Laurice Guillen, Marilou Diaz-Abaya. Nagpapaturo na nga ako ng anggulo! Yun ang dream ko talaga. But she was quick to point out that she already directed a telemovie for GMA-7 in the past. Titled Lazarito, it starred Dawn Zulueta and Ariel Rivera. “Nakapag-direct na ako para sa TV, pero ang dami ko pang mali. Nung mag-e-edit na ako, wala na akong material. Nung nag-shoot kasi ako, eksakto lang. Lesson learned: dapat pala ang dami mo talagang dapat [i-shoot]…” – Jocelyn Dimaculangan (READ MORE)

WRITER

Mardy (1970) (Citation is needed)

Basic Information: – Directed, story, screenplay: Consuelo P. Osorio; Cast: Eddie Peregrina, Vilma Santos, Esperanza Fabon, Bebong Osorio, Perla Adea, Joe Alvarez, Dolly Favorito, Nick Aladdin, Ben David, Betty Mendez, Tommy Angeles, Danilo Jurado, Danny Boy; Original Music: Demet Velasquez

Biktima (1974) (Citation is needed)

Basic Information: – Directed: Nilo Saez; Story: Laura Santos; Screenplay: Jose F Sabal; Cast: Helen Gamboa, Celia Rodriguez, Perla Bautista, Cristina Reyes, Divina Valencia, Leopoldo Salcedo, Bert Leroy Jr., Joe Sison, Tony Santos Jr., Yoyoy Villame, Tommy Abuel, Vilma Santos, Edgar Mortiz, Ike Lozada, German Moreno, Max Alvarado, Renato Robles, Patria Plata, Elizabeth vaughn, Maribel, Danny Rojo, Joaquin Fajardo, Steve Alcarado, Lope Policarpio, Romy Luartes, Lex Amores, Boy Clinton; Executive producer: Espiridion Laxa; Cinematography: Ricardo Dano

About writing: – “…Ang entry ng Tagalog Ilang-Ilang Productions sa 9th Manila Film Festival na Biktima (June 23, 1974) ay pinagsamahan nina Vi, Edgar Mortiz, Helen Gamboa, Celia Rodriguez…si Vilma Santos ang sumulat ng istorya, si Jose Flores Sibal sa iskrip at si Nilo Saez ang nagdirek ng nasabing pelikula…” – Alfonso Valencia (READ MORE)

“…In a strange turn of events, Dolores (Vilma Santos) moves in to live with her grandfather, who has sole custody of her ever since her mother was imprisoned for the m rder of Dolores’ father. Mystery unfolds as Dolores stays with her grandfather when members of the household are murdered one by one. Will Dolores escape the chaos unraveling around her or will she be the next victim? …” – Kabayan Central (READ MORE)