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.
Endorsing Products – “…Vilma Santos started endorsing products in the early ‘70s and the first product she sold on TV I remember was Tanduay – the wholesome edition. (There was a sexy version with Rosanna Ortiz). Then, there were those beautiful Lux commercials, one of which was shot in an old church in Nagcarlan, Laguna. After that came the Fita ad where she hosts a children’s party for a niece who tells her, “Tita Vi, I am so happy. Thank you!” The one product she endorsed the longest, of course, was Eskinol. Her career at this point was charted very well. It was around this period when she did the Darna series, “Takbo, Vilma, Dali!” and other blockbuster hits. In 1975, she made a rather daring move that called for her to come out in a twopiece swimsuit. This was in “Nakakahiya” where she was involved in a May-December affair with Eddie Rodriguez…” – Butch Francisco, The Philippine Star, Nov 04 2003 (READ MORE)
Eskinol Cinematographer – “…Direk Marilou was like a mother to me, especially on the set of ‘Baby Tsina.’ I remember that she would always bring for the cast members pandesal and Spanish sardines, which we ate before shooting. “I love her and her husband, Direk Manolo, who I always requested to be my cinematographer in all of my Eskinol commercials before. “The last time I saw Direk Marilou was at the wake of actor Johnny Delgado. She was already sick then. She was a fighter. She told me, “kaya ko ‘to! I pray for her family and for the eternal repose of her soul…” – Marinel Cruz, Philippine Daily Inquirer, Oct 09 2012 (READ MORE)
Costliest Commercial – “Vilma Santos renews her contract with Metro Drugs Inc. manufacturers and distributors of the popular Eskinol line of beauty products. This year marks the eight year the actress will portray the glamorous Eskinol Girl, a role and image she has kept as the product’s longest-reigning model. The new Vilma Santos Eskinol commercial is a multi-million peso productions, perhaps the costliest commercial produced to date. Santos will receivea hefty talent fee, reportedly the highest of its kind so far in the industry.” – JC Nigado, Manila Standard, 08 Dec 1987 p11 (READ MORE)
204 films, 70 directors, 5 decades, Vilma Santos, one of the original Philippine movie queens, rose up to become the versatile actress that has been given the fitting title of “Star for All Seasons” because of her capacity to adapt to the changing mores and values of the Filipino woman, giving a face to their plight and struggles, albeit in success both critically and box-office wise in some of Philippine cinema’s classics such as Trudis Liit (1963), Lipad, Darna, Lipad (1973), Burlesk Queen (1977), Relasyon (1982), Sister Stella L. (1984), Alyas Baby Tsina (1984), Pahiram ng Isang Umaga (1989), Dahil Mahal Kita: The Dolzura Cortez Story (1993), Anak (2000) and Dekada ’70 (2002). This are top ten directors who contributed to her success. – RV (READ MORE)
Bernal gave Vilma Santos her first grandslam best actress awards and two 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)
Inspiration (1972) – “…In a musical era of 1970s, “Inspiration” was quite an experimental film, with no musical numbers, better screenplay, well-written characters. Nestor and Bernal works well in establishing the character of Jay and Vilma. Their dialouges are not “corny” and very realistic. There is no over the top dramatic scenes inserted between musical numbers here. The parent played wonderfully by Merle Tuazon and Carlos Salazar were convincing. Although both Vilma and Jay played their roles effectively, Lilian Laing steals the film as Lola Jane. She was bubly and funny, a sex-starved, karate black belter, polo game afficianado, who loves life and considering she playing the old grandma who is also the solution to all the complication in life. Bernal was on his element here, a good story teller, pre-”Dalawang Pugad Isang Ibon, Pahiram Ng Isang Umaga and Relasyon.” Although he is directing a light comedy, written by Nestor Torre Jr., he managed to established all the characters without relying on corny dialouges common in this era…” – RV (READ MORE)
Now and Forever (1973) – “…By late 1969, movie producers had been tapping a Vilma Santos-Edgar Mortiz love team. Edgar was a Tawag ng Tanghalan winner. They started to be together in the movies, My Darling Eddie (1969) and The Jukebox King (1969)…In 1970, the love team of Vilma Santos and Edgar “Bobot” Mortiz was officially launched in the movie Young Love, together with the another popular love team during that time, Nora Aunor and Tirso Cruz III. The Vi and Bot love team went on to do 14 more movies in 1970—The Young Idols, Songs and Lovers, Sweethearts, Sixteen, Love Letters, Love is for the Two of Us, Mga Batang Bangketa, My Pledge of Love, Renee Rose, Baby Vi, Because You Are Mine, Edgar Loves Vilma, From the Bottom of My Heart, and I Love You Honey. All did well at the box-office…” – Rommel R. Llanes (READ MORE)
Dalawang pugad, isang ibon (1977) – “…Bernal, testing the tensions of triangular love (for geometry books, one of his characters wittily says) for some time now, plunges deeper into character analysis and metaphorizing… In Lumayo, Lumapit ang Umaga, the triangle was unevenly explored: the first love was sketchily drawn. Dalawang Pugad, Isang become a choice for a more stable relationship. Walang Katapusang Tag-araw was a strange reverse of characters for two women and an unusual development of love into hatred and hatred into love, where therefore the triangle was essentially illusions. Ikaw ay Akin finally sets an interlocked triangle on its bases and looks at it (from all 3 angles) squarely in the face…” – Petronila Cleto (READ MORE)
Ikaw ay akin (1978) – “…As the uptight Sandra, Vilma Santos has the script’s choicest, wittiest lines. She makes the most of them and succeeds in giving a fairly accurate portrait of an emotionally insecure young woman. And when she tells Rex: “sabi nila liberated ako, front lang. Kalog daw, front din. Alam mo namang kulang-kulang ako. Pag wala ka, magkakalat ako. Para akong manok, takbo ng takbo wala namang ulo.” She likewise handles her final breakdown exceedingly well. Nora has less lines but she nevertheless manages to conveys her emotions very effectively. In that family reunion-party which is so engrossed in gossip and banter, she remains so detached, speaking nary a word — a triumph for both Bernal and her. The hurt in her eyes continues to build up until that disrupted dinner scene where she rushes to her room and, unable to contain herself, finally cries. The most stable of the three, you could really believe her when she tells Rex: “Galit ako sa ‘king sarili, dahil sinasaktan mo na ako nang todo-todo pero lalo ka namang napapamahal sa akin…” – Mario E. Bautista (READ MORE)
Good Morning, Sunshine (1980) – “…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)
Relasyon (The Affair) (1982) – “…Napakadramatiko ang pagkompronta ni Vi kay Chris sa direksyon ng kanilang relasyon. Higit sa lahat, sa pamamagitan ng huling eksena, ang pagsasara ni Vi sa pinto ng kanilang bahay, ang pugad ng kanilang “relasyon”, inihayag ni Bernal na ang ganitong relasyon ay may hindi maiiwasang magwakas tulad ng sa tunay na buhay. Maaaring kamatayan o isang panibagong relasyon. Kung ang isang lalaki ay may-asawa, at mayroon na siyang relasyon o nagbabalak pa lang magkaroon ng relasyon sa ibang babae, dapat niya itong panoorin ng dalawang beses. Una, kasama ang kanyang misis at ikalawa, kasama angkanyang no. 2 o magiging ka-relasyon. Sa mga babaing katulad ni Vi sa pelikulang ito, mabuting panoorin ninyo nang nag-iisa ang pelikulang ito upang higit na maunawaan ninyo ang inyong relasyon o magiging relasyon.” – Mando Plaridel (READ MORE)
Broken Marriage (1983) – “…Christopher de Leon endows the character of Rene with the right sense of machismo and basic weakness. When Rene is compelled to act maturely, De Leon unflinchingly turns him even more childish with useless tantrums; and when Rene finally learns his lesson, De Leon adds a boyish smile as if the lesson were amusing. We watch De Leon, elated and entertained: he is never so old as to appear too distant nor is he too young as to seem undocile. Broken Marriage is a gift to this actor. He is not propelled here to be more manly; since his character is made to contribute to a lot of oversights, De Leon’s doesn’t have to put a mask of strength: he just has to be himself and act with ease. Vilma Santos is not about to be a letdown, not this time when the most important female roles are coming her way. A new intelligence she infuses in the character Ellen. Like De Leon, she turns Ellen into a woman-child, but the stress is less on her part as she has done similar roles before. Her beautiful face is flush receptive: the quiet moments of just observing the people around her are moments of perfect acting. Her body moves with an agility that is both funny and dramatic. Her two monologues – the first with her friends in the cafe when she informs them that she is bored, and the second with Rene when she tells him that they are not children anymore – are her best scenes: the camera lingers upon her countenance and she enunciates in return with ironic ease. She should watch out for next year’s awards race – there is simply no stopping her at the moment.” – Joselito Zulueta (READ MORE)
Pahiram Ng Isang Umaga (On Borrowed Time) (1989) – “…Bernal and Reyes go farther by including a scene in which the artist explains the origins of art. By the fireside at the beach, and watching the flame cast a glow on them, he notes that prehistoric men “discovered” art when they made outlines of shadows on the caves. Those artworks, though crude and primitive, still exist. Implicitly, Juliet’s death, no matter how saddening, is not going to be the end. Philosophical musings like these are not standard soap opera fare, and may alienate a lot of ordinary moviegoers (even the more cerebral ones who cannot accept the conventions of the soap opera genre). Woven unobtrusively into the plot, however, they add texture and enrich the drama. Juliet in a way will continue to live – in that portrait, in her young son who will survive her and hopefully continue her legacy whatever it may be, and in her good deeds. In the last scene, the imagery and symbolisms of life and death abound. Juliet dies at the break of dawn, the start of a new day (and life), but not without first making her last sentimental paean to life. Supported by the artist, her eyesight having failed completely and with the waves caressing their feet, the weak and dying cancer victim remarks how beautiful life is. True enough, this dying scene set on a beach, with the woman in white, dainty night gown, is one of the most exquisite, breathtaking moments in Philippine movies…” – Mario A. Hernando (READ MORE)
Ishmael Bernal (30 September 1938 – 2 June 1996) was an acclaimed Filipino film, stage and television director. He was also an actor and screenwriter… His Nunal sa Tubig (A Speck in the Water), Aliw (Pleasure) and Relasyon (The Affair) was among the 25 Filipino films shown in New York from July 31 to August 1999, organized by the Film Society of Lincoln Center, in partnership with the Philippine Centennial Commission, the Cultural Center of the Philippines, IFFCOM, the Philippine Information Agency, the Consulate General of the Philippines in New York and the Philippine Centennial Coordinating Council – Northeast USA. This series of Filipino films were presented at the Walter Reade Theater of the Lincoln Center, in celebration of the 100th year of Philippine Independence. – Wikipedia (READ MORE)
“…In a musical era of 1970s, “Inspiration” was quite an experimental film, with no musical numbers, better screenplay, well-written characters. Nestor and Bernal works well in establishing the character of Jay and Vilma. Their dialouges are not “corny” and very realistic. There is no over the top dramatic scenes inserted between musical numbers here. The parent played wonderfully by Merle Tuazon and Carlos Salazar were convincing. Although both Vilma and Jay played their roles effectively, Lilian Laing steals the film as Lola Jane. She was bubly and funny, a sex-starved, karate black belter, polo game afficianado, who loves life and considering she playing the old grandma who is also the solution to all the complication in life. Bernal was on his element here, a good story teller, pre-”Dalawang Pugad Isang Ibon, Pahiram Ng Isang Umaga and Relasyon.” Although he is directing a light comedy, written by Nestor Torre Jr., he managed to established all the characters without relying on corny dialouges common in this era…” – RV (READ MORE)
Ishmael Bernal (1938–1996) (30 September 1938 – 2 June 1996) was an acclaimed Filipino film, stage and television director. He was also an actor and screenwriter. Noted for his melodramas particularly with feminist and moral issues, his 1982 film Himala (Miracle) is often cited as one of the greatest Filipino films of all time. He is a National Artist of the Philippines. – Wikipedia (READ MORE)
FAIR USE NOTICE (NOT FOR COMMERCIAL USE): This site contains copyrighted materials the use of which has not always been specifically authorized by the copyright owner. We are making such material available in our efforts to preserve the film legacies of actress, Vilma Santos, and to make her career information available to future generations. We believe this is NOT an infringement of any such copyrighted materials as in accordance to the the fair dealing clauses of both the Canadian and U.S. Copyright legislation, both of which allows users to engage in certain activities relating to research, private study, criticism, review, or news reporting. We are making an exerted effort to mention the source of the material, along with the name of the author, performer, maker, or broadcaster for the dealing to be fair, again in accordance with the allowable clauses. – Wikipedia (READ MORE)
Eddie Villavicencio Peregrina (11 November 1944 – 30 April 1977), better known as Eddie Peregrina, was a singer and leading matinee idol of the 1970s. Dubbed as “the Original Jukebox King,” he was most famous for hit songs such as What Am I Living For, Together Again, Two Lovely Flowers and Mardy, among others. He died at the age of 32 after a freak car accident in EDSA…Eddie’s Mustang car collided with a trailer truck in EDSA Shaw underpass in 1977. He died a month and a week later (April 30, 1977) at the age of 32 at Polymedic Hospital due to internal hemorrhage. His early and tragic death shocked his millions of fans nationwide. – Wikipedia (READ MORE)
Alfie Anido (December 31, 1959 – December 30, 1981) was a popular Filipino matinee idol best remembered for his death at the age of twenty one. He was the eldest of four children of Alberto Anido and Sara Serrano, and was the brother of Albert Anido, another Filipino actor. Born Alfonso Serrano Anido, he was also a fashion and commercial model before he became a contract star for Regal Films, a leading Filipino film production company. He was dubbed as one of the Regal Babies, along with then-young actors such as Gabby Concepcion, William Martinez, Albert Martinez, Jimi Melendez, Maricel Soriano, Snooky Serna and Dina Bonnevie. He was famously linked with Bonnevie, his co-star in the 1980 camp classic Temptation Island. At the time of his entry into show business, he was in college at the Ateneo de Manila University taking up Management. To date, an air of mystery still surrounds the circumstances behind Anido’s death. The official version, contemporaneously reported in the mainstream Manila media, was that Anido had shot himself in a suicide.
This version has not been officially or authoritatively contradicted to this day. However, immediately after his death, rumors quickly spread that Anido was actually murdered, and that such fact was covered up owing to the prominence of the personalities allegedly involved. Fingers started pointing to the direction of the family of an ex-girlfriend whose father was a high ranking government official, Minister of Defense Juan Ponce Enrile. The rumor gained traction in Manila, which was then under the throes of the authoritarian rule of Ferdinand Marcos, whose government controlled the mass media during that period. Other versions on the death of Anido were printed in the alternative press such as the Philippine Collegian, the official student organ of the University of the Philippines, a hotbed of anti-Marcos activism. While the rumor that Alfie Anido was murdered still persists, with the aura of an urban legend, the fact remains that no evidence has been put forth to rebut the official version of a suicide. – Wikipedia (READ MORE)
Julie Pearl Apostol Postigo, better known by her stage name Julie Vega (May 21, 1968 – May 6, 1985), was a Filipina child actress, singer and commercial model. She remains very popular and well loved in her native Philippines, years after her sudden death at the age of 16 that triggered a massive outpouring of nationwide grief that is still vividly remembered by Filipino showbiz fans today. She won two FAMAS Awards for Best Child Actress during her brief showbiz career…Vega’s life story was most notably shown on film through The Life Story of Julie Vega, which was shown shortly after her death. Nadia Montenegro portrayed the ill-fated movie and soap opera actress and singer, Jimmy Morato and Alicia Alonzo portrayed her parents, while her real-life brother Steve and babysitter Flor Argawanon appeared as themselves. That’s Entertainment mainstays Jestoni Alarcon, John Regala and Hero Bautista also portrayed her brothers in the film. On television, through the October 2, 2003 episode of Maalaala Mo Kaya entitled Unan (Tagalog for Pillow) played by Angelica Panganiban. Vega’s parents were portrayed by Michael de Mesa and Rio Locsin. The said episode was well-received by both critics and Julie Vega fans alike and is noted for its use of actual footage of Vega’s burial which featured not only fans but also celebrities like Fernando Poe, Jr., Chiquito, Nida Blanca, Herbert Bautista and best friend Janice De Belen in mourning her death. The video footage was lent to the Maalaala Mo Kaya producers for the episode by the Postigos themselves. – Wikipedia (READ MORE)
Joel Alano (Joseph Emmanuel Alano in real life) was one of the most promising young actors of the 80s. He died of heart attack at the age of 21 years old. Today, October 28 is the 22nd death anniversary of the late actor.- James DR (READ MORE)
Rodel Naval (February 16, 1953 – June 11, 1995) was a well-known singer, songwriter and actor from the Philippines. He is best remembered for such songs as “Lumayo Ka Man” and “Muli”. Rodel was the last one in the family of seven kids to arrive in Toronto. He came to Canada as landed immigrant sometime in 1980. After a year in Toronto, Rodel decided to try his luck in Los Angeles, California. He had three live major concert performances at the Ebell Theatre, the Scottish Rite Temple and at the Ambassador Hotel. It was during one of these concerts that a talent scout discovered him and made an offer for him to perform at Las Vegas and Lake Tahoe. After Rodel had performed several times at Imperial Hotel in Las Vegas, his talent scout offered him to sign a contract as regular feature of the club. Few days before his new stint began, the stage of the club collapsed and several days later, the talent scout died of heart attack. Depressed, he went back to Los Angeles…He died on June 11, 1995, at age 42, barely three months after his father had died. He died of pneumocystis carinii pneumonia. The public had little knowledge of what he was going through, though very much apparent of pain was his signature song “Lumayo Ka Man”, whose music may have been inspired but the words were written by Rodel while grieving his mother’s death. Infused with emotion and quiet suffering, the public had little knowledge that the hit love song was his cry to heaven for a mother taken too soon. He left behind not only beautiful memories for his family and his fans but also several songs which Rodel did not have time to popularize because of his illness. – Wikipedia (READ MORE)
Ricardo Carlos Castro Yan (March 14, 1975 – March 29, 2002) was a Filipino matinee idol, model, actor and entrepreneur. He was under an exclusive contract in the ABS-CBN Broadcasting Network and was a member of their circle of home-grown talent named Star Magic. He was a Youth Spokesman for the Department of Education, touring the Philippines for free to promote education among youths, as well as establishing “Pinoy ‘Yan!”, a non-profit organization that aims to make young people stay in school and value education…Yan is one of four children, a grandson of former Foreign Affairs Secretary retired Gen. Manuel Yan. He was the brother of TV host Bobby Yan and, at the time of his death, was the boyfriend of Claudine Barretto. – Wikipedia (READ MORE)
11th death anniversary – “…Bukas, March 29, ang 11th death anniversary ni Rico Yan na bangungot ang ikinamatay sa Dos Palmas Resort, Palawan. Good Friday bukas at Good Friday din nang sumakabilang-buhay ang aktor noong 2002. Hindi pa uso noon ang social media pero mabilis na kumalat ang balita dahil sa mga text message na umikot at gumimbal sa showbiz. Bago namatay si Rico, nakatikim siya ng blockbuster movie dahil pinilahan sa mga sinehan ang Got 2 Believe, ang pelikula nila ng kanyang ex-girlfriend na si Claudine Barretto. Nailihim nina Rico at Claudine na hiwalay na sila habang ipino-promote nila ang Got 2 Believe na mahigit isang buwan na ipinalabas sa mga sinehan. Nakiramay ako noon sa mga naulila ni Rico. Pumunta ako sa burol niya sa La Salle Greenhills. Mainit na noon ang network war ng ABS-CBN at GMA 7 kaya nang dumating ako, humingi pa ng clearance sa kinauukulan ang security guard ng La Salle Greenhills dahil Kapuso raw ako. Dumagsa ang fans ni Rico sa La Salle Greenhills dahil sa kagustuhan nila na makita sa huling pagkakataon ang aktor na kanilang iniidolo. Inabangan ng media ang pagdalaw noon ni Claudine sa burol ng kanyang ex-boyfriend…” – Lolit Solis, Pilipino Star Ngayon March 28 2013 (READ MORE)
Ronnel Victor – “Former movie star Ronnel Victor, known for his boy-next-door roles, succumbed to cancer of the colon yesterday in Chicago, Illinois (2 p.m. Manila times). He turned 32 last June 21. “We done everything,” Victor’s first cousin Marnie Ommalin told the Inquirer from Dipolog City yesterday. She said Ronnel has a tissue transplant last January following months of chemotherapy for the cancer. Ronnel – real name, Ronnel Isip – became comatose after he suffered massive rectal bleeding last Sunday, the cousin said. He died yesterday after months of confinement at the St. Francis Hospital in Illinois. The cancer was diagnosed June 2000. The biopsy showed that the disease was already in the third stage. Colonic cancer is characterized by the presence of masses in the large intestine and sporadic changes in bowel movement. “His family was at his bedside when he passed away,” Omamalin said. “Before he died, he wanted to stay with his family.” The actor’s remains will no longer be flown to the Philippines and will instead be cremated in Chicago, the cousin said. Ronnel is survived by his parents, two siblings, two children and his partner of six years. The actor had left show business in 1993 but he recorded a Visayan album in 1996. He was a member of German Moreno’s “That’s Entertainment” on television and was discovered for show business by the late comedian-TV host Ike Lozada who also managed his career for awhile. From TV, Ronnel went on to make movies and was paired with the likes of Lotlot de Leon, Rita AVila and Sheryl Cruz. He starred in a number of youth-oriented movies mostly for Robbie Tan’s Seiko Films where he was a contract star. From playing boy-next-door roles, Ronnel later shifted to character roles. He played the role of a seminarianin the 1987 hit “Working Girls 2″ which starred Gloria Diaz, Dina Bonnevie and Dang Cecillio.” – Leah Saltero and Marinel Cruz, Philippine Daily Inquirer, Jul 2, 2002 (READ MORE)
Miguel Rodriguez was a soulwinner and former Filipino actor. A handsome hunk with features that made him look a bit like the late actor Chistopher Reeve, Miguel Rodriguez gave Richard Gomez a run for his money. Actually, the two were once together in the sitcom “Palibhasa Lalake” with Joey Marquez completing the wackiness…Mystery remains to cloak the death of actor and once-upon-a-time politician Miguel Rodriguez whose to His Gunshot body was discovered last February 7, 1998 by household help inside his house in BF Homes Internal Village, Talon, Las Piñas City…Speculations are running high on the real cause of the actor’s death. A certain Bernadette Puno, who claimed to be a cousin of Rodriguez, said the actor died due to “collapsed pancreas.” The autopsy report has not been released yet. Mediamen rushed to St. Jerome’s Parish Church in Ayala, Alabang, Muntinlupa City. – Wikipedia (READ MORE)
Sister Stella L. (1984) is the award-winning masterpiece by Mike De Leon. It’s about a nun, Sister Stella Legaspi, who becomes involved in labor strikes after learning about the government’s neglect of the poor and the working class. Her sworn duty to fight for the poor and the oppressed turns personal when her journalist friend Nick Fajardo is tortured and the union leader Dencio is kidnapped and killed. What follows is her eye-opening and the tear-jerking battle against cruelty and injustice. The film broke censorship barriers back in 1984, during the final years of the US-backed Marcos dictatorship, for its realistic portrayal of labor struggles, and extrajudicial killings, hauntingly mirroring the reality of Philippine society today under Gloria Macapagal-Arroyo. – Filipinas for the Rights and Empowerment (READ MORE)
Miguel Pamintuan de Leon, also known as Mike de Leon (born May 24, 1947) is a Filipino film director, cinematographer, scriptwriter and film producer. – Wikipedia (READ MORE)
FAIR USE NOTICE (NOT FOR COMMERCIAL USE): This site contains copyrighted materials the use of which has not always been specifically authorized by the copyright owner. We are making such material available in our efforts to preserve the film legacies of actress, Vilma Santos, and to make her career information available to future generations. We believe this is NOT an infringement of any such copyrighted materials as in accordance to the the fair dealing clauses of both the Canadian and U.S. Copyright legislation, both of which allows users to engage in certain activities relating to research, private study, criticism, review, or news reporting. We are making an exerted effort to mention the source of the material, along with the name of the author, performer, maker, or broadcaster for the dealing to be fair, again in accordance with the allowable clauses. – Wikipedia (READ MORE)
Pulot-gata, Pwede Kaya? (1977) An intrigued filled love affair between Baby Abueva a poor lass of Baguio and Teddy Burgos a millionaire from Zamboanga. An affair married with the appearance of Lota. – Kabayan Central (READ MORE)
FAIR USE NOTICE (NOT FOR COMMERCIAL USE): This site contains copyrighted materials the use of which has not always been specifically authorized by the copyright owner. We are making such material available in our efforts to preserve the film legacies of actress, Vilma Santos, and to make her career information available to future generations. We believe this is NOT an infringement of any such copyrighted materials as in accordance to the the fair dealing clauses of both the Canadian and U.S. Copyright legislation, both of which allows users to engage in certain activities relating to research, private study, criticism, review, or news reporting. We are making an exerted effort to mention the source of the material, along with the name of the author, performer, maker, or broadcaster for the dealing to be fair, again in accordance with the allowable clauses. – Wikipedia (READ MORE)
Pre-1982 – “…For Vilma Santos, The previous year, “Pakawalan Mo Ako” was a huge summer hit that earned her a surprised best actress in FAMAS. That year also, she released “Ex-Wife” and “Hiwalay,” both about marital problems. Art imitating life, as there were reports that Vilma and now, ex-husband, Edu Manzano were having some problems. But Vilma as trooper as she is, any personal troubles were not publicly noticeable as she goes on with her work, business as usual. Also, Vilma gave birth to her eldest son Luis “Lucky” Manzano. By December of 1981, her film festival entry, Karma earned her another surprise best actress trophy. In an unrelated news, the entertainment industry were shocked to found that matinee idol, Alfie Anido died on Dec 31st. Like the death of Julie Vega and Rico Yan, it is still unknown the reason behind Anido’s death. By the end of ’81, Vilma is determined to make the coming year another productive and successful year. She released a total of six films, out of six, two were certified record breakers, “Sinasamba Kita (I Idolized You)” released in August and “Gaano Kadalas ang Minsan? (How Many Times is Onced),” released in November, both produced by Viva Films. The other four films (Relasyon, T-Bird at Ako, Never Ever Say Goodbye, Haplos) were mild hits. All of her hard work paid off because as early as January of the 1983 she was already poised to reap major awards. Meanwhile for Nora Aunor, 1982 were a mixed bag of mild hits and failed opportunities. “Mga Uod at Rosas,” her collaboration with Lorna Tolentino and director Romy Zusara produced a mixed reviews from the critics. Her excellent performance did not help as the film were just mild hit with the audience. Her follow up films, “Annie Sabungera” and “Palenke Queen” both comedies also didn’t do well at the box office making the expectation from her next film higher, as she teamed-up with the hottest star of 1982, her closest rival, Vilma Santos in Danny Zialcita’s fast paced film, “T-bird at Ako.” T-bird’s high expectation wasn’t realized as the film earned just a modest income. By December, all eyes were focused again on Nora and her most ambitious project to date, Ishmael Bernal’s “Himala,” produced by Imee Marcos’ Experimental Cinema of the Philippines. The film was an entry to the Metro Manila film festival. Nora Aunor was again proclaimed the “queen of local festival” as she won her third Metro Manila Film Festival best actress. Nora’s momentum was rising and she was conditioned to make some serious dent in the following year’s award giving seasons. Critics were all going “gagah” with Aunor’s gigantic performance as Elsa. They said, Himala was very effective in communicating its film’s message, it has moving moments and raw power….” – RV (READ MORE)
Grand Slam – “…1982, Nauso ang so-called Grand Slam Best Actress in 1983, nang manalo si Vilma Santos for Ishmael Bernal’s Relasyon. That 1982 film was a small, low-budget drama of a husband and his mistress. Nag-hit ang tandem nina Vi at Christopher de Leon, starting in 1978, with Sampaguita Pictures’ Masarap … Masakit ang Umibig and Nakawin Natin ang Bawat Sandali (both by Elwood Perez), after their first pair-up in Celso Ad Castillo’s 1975 romance-drama Tag-Ulan sa Tag-Araw. For Relasyon, Vilma won as Best Actress sa CMMA, Gawad Urian, FAMAS and the debuting Film Academy of the Philippines (FAP) Awards. Maging sa “minor” parangal, like the TV show Let’s Talk Movies ng RPN 9 (hosted by Armida Siguion Reyna, Behn Cervantes and Mario Bautista), si Vilma rin ang Best Actress for the Regal Films drama. With Nora Aunor as Vilma’s main competitor, it was an interesting, but utterly disappointing, acting duel. Sa FAMAS, Nora got nominated for Romy Suzara’s Mga Uod at Rosas – and lost. Sa ibang award-giving bodies, isang malaking pelikula at pagganap ni Nora – sa Himala, as the visionary Elsa – ang natalo kay Vilma. The Ishmael Bernal opus was produced by the Marcos government-established Experimental Cinema of the Philippines (ECP).
Some were of the opinion na may bahagi ng pulitika sa pagkatalo ni Nora; marami raw sa movie industry ang anti-administration, kabilang ang sympathizers ng Free the Artists Movement na anti-censors. May malaking rally noon na hindi dinaluhan ni Nora, samantalang nakiisa sa protesta si Vilma. Gayon man, may parangal na natamo si Nora para sa Himala: the 1982 MMFF Best Actress, where it won 9 out of 13 awards, including Best Direction and Best Picture. Naging opening Film ang Himala sa 1983 Manila International Film Festival – organized by then First Lady Imelda Romualdez-Marcos – at inilahok sa Berlin International Film Festival in February 1983. Ayon kay Bernal, Nora lost in Berlin to a Russian actress by a mere vote. Sa 7th Gawad Urian in 1983, nominated in almost all major and minor categories ang Himala but never won a single award. Ilang taon ang lumipas, sa tuwing titingnan ko ang Honor Roll ng Manunuri sa ipinamamahaging souvenir program, sadyang “walang Himala” na nagtamo ng parangal. But in 2002, sa 25th year ng Gawad Urian, kabilang ang Himala sa Pinakamahuhusay (Best Films of the past three decades) na naparangalan, with Nora Aunor personally receiving the overdue award para sa isang totoong klasikong pelikulang Pilipino. At bigla ngang naghimala ang Himala!…” – William Reyes (READ MORE)
Nora Aunor’s Films (7): (Annie Sabungera; Himala; Mga Uod at Rosas; No Other Love; Palengke Queen; T-Bird at Ako; Tinimbang ang Langit) – Nora Aunor had a mix output of forgettable comedies and awards-worthy films. She did seven films, two of which were notable, Ishmael Bernal’s epic festival entry, “Himala” and Romy Zusara’s “Mga Uod at Rosad.” She also took some time to do the lesbian film, “T-bird at Ako” with her rival, Vilma.
Vilma Santos’ Films (6): (Gaano Kadalas ang Minsan?; Haplos; Never Ever Say Goodbye; Relasyon; Sinasamba Kita; T-Bird at Ako) – Compare to Nora, Vilma had a solid year, commercially and artistically, she had two major hits, “Sinasamba Kita” and “Gaano Kadalas Ang Minsan,” the other four were mild hits.
Nora Aunor’s 1982 acting recognition (7) – Best Actress from Metro Manila Film Festival and Parade Magazine Awards and nominations from URIAN; CMMA; Film Academy of the Philippines; Lets Talk Movies, all for “Himala” and a nomination from FAMAS for “Mga Uod at Rosas.”
Vilma Santos’ 1982 acting recognition (5) – Best Actress from FAMAS; URIAN; CMMA; Film Academy of the Philippines; Lets Talk Movies, all for “Relasyon.”
Sensitive, Polished and Highly Passive – “…The small, dissipated and forgotten dusty town without rainfall awakens to exploitation and commercialism when an innocent girl called Elsa (Nora Aunor) claims to have seen an apparition of the Blessed Virgin. She later acquires healing powers. Along the lines of Lourdes, the whole village becomes a bustling commercial venue for mass-produced statue saints and bottled holy or tonic water. In later excursions into subplots, a close friend of Elsa who becomes a woman of easy virtue returns to Cupang, a virginal sister who is totally devoted to the religious mission, some enterprising matrons, then a kaleidoscopic look at hundreds of sick people with diseased bodies. A pivotal character is a cynical and young film director (Spanky Manikan) with a conscience. The latter becomes obsessed in capturing Elsa’s healing sessions on celluloid which leads to his candidly catching on film (by accident) a dark secret of Elsa, a secret which prompted the suicide of her sister. Here is an eloquent, powerful film that is full of grandeur and simple segments. It shows an atmospheric environment where illiterate but adulating, praying crowds desperate for a cure can be a hostile mob when the miracle they crave for doesn’t materialize. Nora Aunor as Elsa gives a sensitive, polished and highly passive and consistently low-key performance. She is letter-perfect for the role. Meanwhile, Gigi Duenas (a stage actress) as a girl on the wrong side of the tracks who operates a cabaret-whorehouse is singularly brilliant and provides a striking contrast to the spiritual life of Elsa…” – Variety, January 26, 1983 (READ MORE)
Peeled-off Apprehensions – “…Thee film has unblushingly spoken for the Filipino urban society and its increasing acceptance of adultery as a social habit. It could have been a repetitious tale of a man with two women. But the writers have interestingly conducted the story through the precarious steps of a young, single, beautiful and supposedly decent girl. Marilou (Vilma Santos) has fallen helplessly in love with Emil (Christopher de Leon), a married man. When Emil’s wife decides to leave for Mindanao because she couldn’t stand him anymore, Marilou then decides for them to live together. Overjoyed with the prospect, she presses on to keep their relationship thrilling, warmer and stronger. But her efforts over the months only depresses her as she sees Emil gradually locking himself into a door she couldn’t enter. The mutual delights she had previously imbibed had soured into irritating silence and alienation. Her mounting disillusion flares up into throwing a couple of dishes. She opts for a separation only to yearn for him again. They go back to each other. She becomes pregnant. Suddenly, Emil suffers an attack and dies in her arms. Marilou whirls in grief for a time but bounces back to being “single”, attractive but perhaps no longer “decent”. The writers have fed significance into the conversations by filling them with popular ideas on marriage and relationships, engaging the viewers to respond with their own beliefs. There is irony though in the confessions of Emil and Marilou, in happier times, that each had been a better person upon being loved by the other. But their life together contradicted that statement. Her selfishness is revealed. “Ikaw lang ang iniintindi mo” he says and it uncovered his insensitivity. “Ako rin, may ego”, She replies. Vilma Santos confidently showed she felt the character she was portraying. Her depiction of feelings and emotions easily involve the viewers to share in her conflicts and joys. In this film, she has peeled-off apprehensions in her acting. Christopher de Leon has also been supportive in emphasizing the characterization of Marilou. He suitably complements Vilma’s acting. The director, Ishmael Bernal, displays his flair for taking scenes of Vilma putting on make-up. Unwittingly, he has suggested that whatever make-up is put on over adultery, it is still adultery…” – Lawrence delos Trinos, Star Monthly Magazine, July 1982 (READ MORE)
Post-1982 – “…While Vilmanians celebrated their idol’s historical win, Noranians redeemed their broken ego by lining up to the 1983 Manila International Film Festival on June 24th, “Himala” was chosen as the opening gala film together with Hollywood film, “Gandhi” as the closing. After the awards season of 1983, Vilma Santos released three more films after the disappointment, “Ayaw Kong Maging Kerida.” On June 9th, Viva Films released “Paano Ba ang Mangarap?” that turned out to be another box office hit. Few months afterwards Regal films released Bernal’s “Broken Marriage,” the follow-up film after the successful grand slam film, “Relasyon.” And finally, four days after Vi’s birthday, Viva Films released Marilou Diaz-Abaya’s drama, “Minsan pa Natin Hagkan Ang Nakaraan,” another box office hit. This film plus the two films mentioned above confirmed her bankable status. Not to be outshine again, “Himala” continued its relentless fight for recognition, winning the bronze prize at the 1983 Chicago International Film Festival on November of 1983 (Nov 4-18 1983)….” – RV (READ MORE)
In her heart of HEARTS, the heroine of the celluloid world who stands by the right and plight of the underprivileged, has lent her heart to make the HEARTS program available to her constituents in the province of Batangas. The charm and charisma that endeared this actress-turnedpolitician to her millions of fans when she started her career in Philippine filmdom at age 9 is still embodied in Gov. Vilma Santos as she meets people, as she faces the challenges of her office. “Monday is people’s day. That’s the time when I get to meet and find out the needs of my constituents from various sectors.They follow up their requests, ask for assistance. Others just want to see me for picture-taking,” she pauses, smiles and adds, “There were many cases when they still demanded to see me personally even if I had already assisted them in one way or another. They just wanted to see me and thank me. Well, it’s part of my job. It’s physically draining, but the Vilma is still there.” Health & Home staffers and others witnessing the interview nod their heads in agreement. With regard to the urgent need of her constituency, the governor stresses that it is still the basic needs and these are what her government needs to address and enhance. “There are many problems, left and right, up and down. But it’s still the basic needs that are important and they are contained in our HEARTS program.”
This program, she clarifies, was not invented. “It was given enough study time when I won the mayorship in Lipa in 2007, with the help of my husband, Senator Ralph Recto.” The HEARTS Program Health, Education and environment, Agriculture, Roads, Tourism and technology, and Social service and security. For her health program, the governor says her government has many projects. “I’ll give only one. We have 12 district hospitals. One perfect example is the Lipa District Hospital. All of them [hospitals] were rehabilitated and expanded, and we bought new equipment and facilities and distributed Philhealth cards.” She further explains that even though these are district hospitals, people should pay. “We can’t subsist if everything is free. How can you maintain a hospital if everything is free?” (Purchase this H&H Magazine to further read on the article, please feel free to contact the Marketing Department or call us at (632) 364-5205) Jose F. Sarsoza Jr. is editor in chief of Health & Home. – Jose F. Sarsoza Jr. (READ MORE)
Pre-1981 – As Brocka’s Bona toured the international festival, it looks like Nora was again in command with the acting contest and Vilma was content in making sure that her films were commercial success. By this time, Vilma’s tax problem has become a number one priority. No longer a teen pop star, both Nora and Vilma’s projects declined. It seems like yesterday, when in early 1970s both were releasing one or two films each month. Now, both have limited film projects and have to be selective to succeed at the box office.
Sign of Good Karma – “…In 1981, nanalong MMFF Best Actress si Vilma for Zialcita’s Karma, besting Nora’s multi-character portrayal in Maryo J. delos Reyes’ musical-drama Rock ‘N Roll. Vi, however, failed to win any other nomination for that starrer, while Nora went on to win a trophy (Catholic Mass Media Awards) and Best Actress nomination (Gawad Urian) for Mario O’Hara’s Bakit Bughaw ang Langit?…” – William Reyes (READ MORE)
Nora Aunor’s Films (7): (Bakit Bughaw ang Langit?; Dalaga si Misis, Binata si Mister; Gaano Kita Kamahal; Ibalik ang Swerte; Kami’y Ifugao; Rock N’ Roll; Totoo Ba Ang Tsimis?) – Nora Aunor did seven films this year, three more than her rival Vilma. Although she won on total output, the quality of these films were questionable. The only film critics were raving were Mario O’Harra’s Bakit Bughaw.
Vilma Santos’ Films (4): (Pakawalan Mo Ako; Hiwalay; Karma; Ex-Wife) – Vilma Santos did only four films in 19881, two were mild hits, Hiwalay and Ex-wife, both melodramas. The other two were big hits, “Pakawalan Mo Ako,” was directed by Elwood Perez and the summer’s biggest hit while “Karma” directed by Danny Zialcita was a big hit at the local festival. Both films earned her an acting trophies.
Nora Aunor’s 1981 acting recognition (3) – Best Actress from Catholic Mass Media Awards and two nominations from FAMAS and Urian, all for “Bakit Bughaw ang Langit? .”
Vilma Santos’ 1981 acting recognition (3) – Best Actress from Metro Manil Film Festival and Cebu City Film Festival for “Karma”and Best Actress from FAMAS for “Pakawalan Mo Ako.”
Not Blue – “…O’Hara dwells on Aunor’s face, to suggest that she is not just amused, but actually intrigued. O’Hara, however, does not take the easy way out: he does not allow the relationship of Aunor and Roldan to become actually physical. If there is a sexual love between the two, it is too deep inside them to be articulated. True enough, there are some glaring mistakes. The most obvious occurs when Roldan utters that key line “Bakit bughaw ang langit?” The camera pans out to the sky as expected, but instead of the sky being clear and blue (which is what “bughaw” means), the sky is cloudy and white. The symbol is totally destroyed by such a simple cinematographic mistake. In fact, almost all of the mistakes in the film can be attributed to the cinematographer, who seems not to know how to light a set. Night scenes appear brighter than day scenes, light filtering into houses has no clear sources, camera movements are jerky, shadows are not expressive. O’Hara should learn from this film: he should not use the same cinematographer again. Aunor’s performance here proves that her winning of the Urian Award for Bona is justified. She remains one of the best of our young actresses, especially in the hands of a director who understands film acting. In a film whose screenplay has undistinguished (in fact, even inane) dialogue, Aunor is able to express her emotions primarily through her silent moments. The mark of a true film actress is her behavior when she does not speak. Aunor is destined to become an all-time Best Actress. It is appropriate that Anita Linda – herself an all-time Best Actress- plays her mother in this film. The acting cannot be faulted, not even the acting of newcomer Roldan…” – Isagani R. Cruz, TV TIMES, March 15 -21, 1981 (READ MORE)
Good Karma – “…Happily, “Karma” turned out to be as good as I expected. It’s performers are first-rate – Vilma Santos, Ronaldo Valdez, Tommy Abuel, Chanda Romero, so their award-winning acting didn’t surprise me at all. The script was outstanding but even that was expected, coming from director Danny Zialcita. What impressed me was that minor parts were played by name actors. The housekeeper who appeared in one short sequence could have been played by any elderly woman but those who made the movie wanted nothing less than Etang Discher. The psychiatrist could have been played by any decent-looking man but they didn’t settle for anybody less than Vic Silayan. The male lover at the start of the story had to be acted out by Dante Rivero, that at the end by Christopher de Leon. The movie boasted of several bold scenes. Those involving Vilma weren’t much as we know for a fact that Vilma could show only so much. One scene showing Chanda was a different story. It showed her with absolutely nothing on, yet it didn’t offend anybody as it was executed in style, shot with great care. There was just one thing, which looked unnatural to me, the way in which one of the main characters killed himself. “That’s all right,” Danny assured me. “Before we shot it, we double-checked its possibility.” Reincarnation and transference are undoubtedly mind-boggling subjects but, to his utmost credit, Danny managed to present them simply, bringing them down for everybody to understand. “Bala lang yan. Katawan lang ito. Babalik at babalik kami sa mundong ito,” Dante vowed. Come back they did as they promised building the foundation of the story…” – Bob Castillo, People’s Journal Dec. 12, 1981 (READ MORE)
Post-1981 – “…For Vilma Santos, the previous year, Pakawalan Mo Ako was a huge summer hit that earned Vilma a surprised best actress in FAMAS. That year also released Ex-Wife and Hiwalay, about marital problems. Art imitating life, as there were reports that Vilma and now, ex-husband, Edu Manzano were having some marital problems. But Vilma as trooper as she is, any personal troubles were not publicly noticeable as she goes on with her work, business as usual. Also, Vilma gave birth to her eldest son Luis “Lucky” Manzano. By December of 1981, her film festival entry, Karma earned her another surprise best actress trophy after the FAMAS gave her the nod for Pakawalan Mo Ako. In unrelated news, the entertainment industry were shocked to found that matinee idol, Alfie Anido died on Dec 31st. Like the death of Julie Vega and Rico Yan, it is still unknown the reason behind Anido’s death. She’s determined to make 1982 another successful year. She released a total of six films, out of six; two were certified record breakers, “Sinasamba Kita (I Idolized You)” released in August and “Gaano Kadalas ang Minsan? (How Many Times is Once),” released in November, both produced by Viva Films. The other four films (Relasyon, T-Bird at Ako, Never Ever Say Goodbye, and Haplos) were mild hits. All of her hard work paid off because as early as January of the 1983 she was already poised to reap major awards. Meanwhile for Nora Aunor, 1982 were a mixed bag of mild hits and failed opportunities. “Mga Uod at Rosas,” her collaboration with Lorna Tolentino and director Romy Zusara produced mixed reviews from the critics. Her excellent performance did not help as the film were just mild hit with the audience. Her follow up films, “Annie Sabungera” and “Palenke Queen” both comedies also didn’t do well at the box office making the expectation from her next film higher, as she teamed-up with the hottest star of 1982, her closest rival, Vilma Santos in Danny Zialcita’s fast paced film, “T-bird at Ako.” T-bird’s high expectation wasn’t realized as the film earned just a modest income. By December, all eyes were focused again on Nora and her most ambitious project to date, Ishmael Bernal’s “Himala,” produced by the Imee Marcos’ Experimental Cinema of the Philippines. The film was an entry to the Metro Manila film festival. Nora Aunor was again proclaimed the “queen of local festival” as she won her third Metro Manila Film Festival best actress. Nora’s momentum was rising and she was conditioned to make some serious dent in the following year’s award giving seasons. Critics were all going “gagah” with Aunor’s gigantic performance as Elsa. They said, Himala was very effective in communicating its film’s message, it has moving moments and raw power….” – RV (READ MORE)
Star For All Seasons 
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