Tag Archives: Vilma Santos

The Healing (2012)

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“…Gagawin ko po lahat kahit ano, gumaling lang po ako…” – Cookie (Kim Chiu)

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Basic Information: Direction: Chito Roño; Cast: Vilma Santos, Kim Chiu, Pokwang, Mark Gil, Martin del Rosario, Allan Paule, Cris Villanueva, Daria Ramirez, Ces Quesada, Ynez Veneracion, Simon Ibarra, Abi Bautista, Joel Torre, Chinggay Alonso, Mon Confiado, Carmi Martin; Production Co.: Star Cinema; Release Date: July 25 2012

Plot Description: “…Stories about the Filipino tradition of going to faith healers for guidance and treatment of ailments have not yet been tackled in-depth in movies. And in our film, the viewers will not just be horrified, they’ll somehow be challenged to think as to how faith healing has already been part of our culture…” – ABS-CBN News (READ MORE)

Film Achievement: 9th USTv Students’ Choice Awards – Best Local Full-Length Film – Star Cinema/ABS-CBN Film Productions; PMPC Star Awards 2012: 11 Nominations – Movie of the Year – Star Cinema; Movie Director of the Year – Chito Roño; Movie Actress of the Year – Vilma Santos; Movie Supporting Actress of the Year – Kim Chiu; Child Performer of the Year – Abby Bautista; Movie Screenwriter of the Year – Roy Iglesias; Movie Cinematographer of the Year – Charlie Peralta; Movie Production Designer of the Year – Erick Torralba, Richard Somes, Fritz Silorio; Movie Musical Scorer of the Year – Jerrold Tarog; Movie Editor of the Year – Jerrold Tarog; Movie Sound Engineer of the Year – Mike Idioma

Netizens’ Choice Awards – Favorite Movie of the Year (Star Cinema); Favorite Movie Actress of the Year – Kim Chiu; Vilma Santos’ 50th Anniversary Movie; The Cinema Evaluation Board of the Philippines gave this film a “Graded A” and MTRCB rated this film Rated-13 (censored version) and Rated-18 (director’s cut); Ranked 3rd on the Highest-grossing Local movies of 2012, earning 2.06M US$ (85.96M PH); Star Cinema is very happy with the box-office result of Batangas Gov. Vilma Santos’ (photo) latest movie, The Healing, which has grossed more than P130M so far (and counting!).

100-million mark – Heavy rains may have flooded Luzon but that didn’t hinder to the success of Chito Rono’s most recent masterpiece “The Healing“. While expected to reach the 100-million mark, The Healing as of it’s 3rd week has grossed P85.96 million in ticket sales. The Healing actually started with an awesome 7-day gross at P80 million as reported by Star Cinema and P74.39 according to Box Office Mojo Philippines. That’s only a 6-million difference, but let’s say we consider P80 million as the first week gross of The Healing. After riding that week of wave of success, The Healing began to see a decrease in the box office earnings which may be caused by the storm that entered the country about two weeks ago (while the film was on it’s second week). And with Star Cinema’s The Reunion coming into theaters this week! I’m not sure if The Healing can still make it to the 100-million mark. Two other factors are Disney’s Brave (with 55-Million 2 weeks gross) and Philippines’ most awaited Hollywood movie event “The Bourne Legacy” which raked P110-million on its first week. Additionally, MTRCB’s two film rating cuts for The Healing (R13) and The Healing R18 might have affected their earnings. Like seriously! The malls where I went to watch The Healing are so damn strict that they looked for any identification/certification that I’m 18. Going back, the movie was given a grade “A” by the Cinema Evaluation Board and was well-received by moviegoers and even the country’s top critics. “The Healing” is starring Vilma Santos, Kim Chiu, Janice de Belen, Mark Gil, Martin del Rosario, Jhong Hilario, Allan Paule, Cris Villanueva, Daria Ramirez, Ces Quesada, Ynez Veneracion, Simon Ibarra, Abby Bautista, Joel Torre, Chinggoy Alonso, Mon Confiado, Carmi Martin and Pokwang. The Healing is still on its 4th week! – Mark Glenn Cabrera (READ MORE)

‘This one’s really made for Ate Vi’ – “…Horror is one of those genres na hindi talaga siya kumukupas. Once it’s done well, everybody loves to watch horror movies. Kahit na ako. masaya siya eh. Lalo na pag may matatakutin kang kaibigan, ang sarap (laughs). It’s an experience na like no other. It’s like comedy where tawa kayo ng tawa. Kasi kapag iiyak ka, medyo nahihiya ka pa. pero this one’s really made for Ate Vi. Talagang role tailor made for her. Matagal na niyang hiningi ito,” he shares during The Healing’s bloggers conference held last July 23 at the ABS-CBN compound. Direk Chito says he and Vilma had talked about making a movie together as early as three years ago. After doing movies like Bata, bata Pano Ka Ginawa? and Dekada 70, The Healing is their reunion movie after almost ten years. He adds the multi-awarded actress has already proven her worth after 50 years in showbiz. “This is our fourth movie. I’ve always said na nakita ko na ang galing ng isang Vilma Santos sa ilang dekada, sa ang daming great movies na nagawa. Parang she’s one of those people na kailangan pa ba niya i-prove ulit? Yung parang I know she now always demands for something na medyo mas substantial. Huwag naman yung mediocre. Sabi ko the concept of the movie is bagay na sa stature niya. We’ve seen her do a lot of great scenes in most of her movies. The famous monologue scenes, the famous long takes. Ate Vi yan pag sinabi mong three pages na monologue, automatic na yan sa showbiz. Bihira na lang sa industriya yung kaya gawin yan. I’m very happy na pumayag si Ate Vi na ensemble ang pelikula…” – Push, 25 Jul 2009 (READ MORE)

Film Review: “…Director Chito S. Roño is a veteran in doing horror movies. In 2004, he helmed the box-office hit Feng Shui, an answer to the Asian horror movie phenomenon. The Healing, on the other hand, can be considered an answer to Hollywood’s torture-and-gore horror movie phenomenon. It may be the first local horror film to do so, and thus it is refreshing to watch. There is no shortage of shocking gore in The Healing. There are lots and lots of blood; horror movie fans will not be disappointed. The movie is also made more fun by moments of fan service, that recalls several niches of pop culture that seem to be taboo in Philippine mainstream cinema. There’s a small child wielding a ninja weapon killing groups of monks, before jumping to her death. There’s a beheading using a giant knife. There are many more.

The story also offers something new, away from familiar themes like haunted houses and vengeful ex-girlfriends. It exploits the Filipino tradition of faith healing, and the consequences of tapping this alternative form of therapy. What’s most admirable is the fact that The Healing’s actors went to great lengths to provide credence to the story. Vilma Santos, for instance, gets stabbed multiple times that you’d wonder how she can take these intense physical scenes at her age. Kim Chiu should also be praised for her handling of her character, Cookie. Her early scenes when she needs to act sick are believable and downright affecting. In summary, The Healing is suited for Pinoy horror fans. It is fun as it is shocking, and non-squeamish viewers should have no problem having a good time…” – Mark Angelo Ching, PEP, July 30, 2012 (READ MORE)

“…Santos’ spine-tingler is far from original, but as it tweaks the narrative conceit that has made “Final Destination” a box-office-busting film franchise, the movie finds innovative ways to establish an atmosphere of impending doom that keeps viewers on the edge of their seats: You feel that something gruesome is about to transpire, you just don’t know how it will play out—or when! The Star for All Seasons decided to make the film because she wanted to add something “new” to her formidable oeuvre—and, with “The Healing,” Santos accomplishes exactly that. The role doesn’t require her to do much except run in circles or look worried or scared. But, she displays flashes of dramatic brilliance when she is hounded by guilt, a motivation that presents her with forks in the road that just might lead to the resolution of the horrifying story’s main conflict. More than anything, it’s a treat to see the durable actress on the big screen again. The horror-thriller genre she dabbles in effectively introduces her to a younger (and wider) viewing demographic that derives pleasure from getting scared out of its wits….” – Rito P. Asilo, Philippine Daily Inquirer, July 28, 2012 (READ MORE)

“…The reason I like Chito Rono’s horror movies, and the reason I see most of them in the theatre, is because suspense-horror is a completely original genre, completely divorced from the hang-ups and expectations of movies that involve real people doing somewhat credible things. I remember when Chito Rono did a suspense project DAHAS, topbilled by Maricel Soriano and Richard Gomez. It was one of a kind. Very engaging just like the Healing. Kim Chiu, among other characters has lesser exposure here but a huge revelation. She epitomizes the typical Asian character on every horror films we watched. Her make-up was perfect and she looks so fresh on the movie. Pokwang, Janice and Martin Del Rosario did a great job as support role. Their characters are very important and happy to see Janice De Belen again on the big screen. Pokwang gave a little taste of comic on her dialogues, which gave everyone to catch their breath in preparation to next scene. Martin Del Rosario is a real charmer. Again the focus of the film is the story, its suspense package and for Vilma Santos, which they succeeded. I suggest everyone should watch the uncut version, brave the director’s cut as there seems to be obvious reason why some of the scenes are not included on R13. DISLIKE: There’s one thing I don’t like, they are trying to blur some of Vilma Santos physical feature. That looks very obvious on the big screen. But you will love the color coding (that’s for you to find out). Star Cinema gave another reason for everyone to go back to movie houses and appreciate local films. It’s another excellent film of 2012…The Movie is in honor of Vilma’s 50th anniversary, Star Cinema gathered an all-star highly acclaimed powerhouse cast composed of Kim, Janice de Belen, Mark Gil, Martin del Rosario, Allan Paule, Cris Villanueva, Daria Ramirez, Ces Quesada, Ynez Veneracion, Simon Ibarra, Abi Bautista, Joel Torre, Chinggoy Alonso, Mon Confiado, Carmi Martin and Pokwang. I am giving THE HEALING 10 out of 10…” – Rod Magaru (READ MORE)

“…Vilma is subjected to a lot of stressful scenes in the movie as she fights for dear life. We have to suspend our disbelief a bit in the scenes where she gets violently mauled, stabbed, hit by a chair, repeatedly hurled down into the floor, but it did elicit a lot of deafening screams from the theatre crowd. Some of her fans feel she should have just done another drama but we can understand her desire to flex her wings and do a vehicle of this sort. When we saw the movie, a lot of viewers were young people who enjoy watching scary films like this. With this, Ate Vi has successfully reached out to a new demographic, with the help of a young star like Kim Chiu, who in all fairness, also does well in her dual roles. For us, it’s a very wise decision indeed. And Chito Roño shows here to younger horror directors like Topel Lee, Richard Somes and Jerrold Tarog (Tarog did a fine job of scoring and editing the movie) that he remains to be the master of the genre who can be even playful with the orchestrated color scheme of the costumes worn by his characters in the movie…” – Mario Bautista, Malaya, Aug 6 2012 (READ MORE)

“…Roño elevated gore in this horror. From a decapitation scene in the middle of the street to a massacre inside a temple, the director inspired the MTRCB to give the film dual versions: The director’s cut rated R-18 and a trimmed R-13 that allows the fans of Kim Chiu into the cinemas. While the spooks work (including a stroke of brilliance of a popped, moving left eye when the victim becomes possessed), acting was also solid in “The Healing.” Vilma, who owns most of the frames, is convincing whether consoling her friends, guilt-ridden, confused, terrified. She’s even perfect as the ex-wife who, despite the fact that she was the one left behind for a new family, remained careful and concerned when dealing with her son and the daughter of her ex-husband because she always consider how her ex and his new wife would feel. Supporting performances are as engaging. Kim Chiu, whose Cookie is also healed but scheduled to die if Seth fails to stop the terrifying chain, traded convincing scenes with the actress/politician. Robert Arevalo and Allan Paule (Greta’s husband) offered moments of laughter and chances to exhale from the jolts and gore. Joel Torre and Jhong Hilario stole bits of the thunder in their moments leading to the climax…” – Kaye Villagomez, Manila Bulletin, Aug 07 2012 (READ MORE)

“…Vilma Santos is an icon and it is cool that she is accessible to a new generation of movie-goers. Ate Vi, this time without the benefit of long monologues or cinematic crying, proves her virtuosity as an actor in a horror movie, a genre she’s not really known for. But the good governor is indisputable as the leading lady within a great ensemble cast, including Joel Torre, Alan Paule, Janice de Belen, Cris Villanueva, Kim Chiu, and Pokwang among others. Look closely and you’ll find her photographed lovingly (by cinematographer Charlie Peralta) in almost soft-focus -is that what they call a two stocking shot? -running around in her platform mules and designer handbags. She’s awesome at looking surprised and seemed suitably spooked when a black crow flies in her face. (I will not mention any plot spoilers because the story is way too convoluted to summarize here, but I will say that yes, there is an ugly black bird in this movie)…” – Ria Limjap, Spot.ph, Aug 03 2012 (READ MORE)

To Rono’s credit, each “death scene” would top the last one as far as gore and blood are concerned. The cast did well, too. Vilma Santos is Vilma Santos. She will always be bigger than her roles. This is not to say that she did not perform well; she did. But, watching her, you see Vilma more than Seth – too strong to ignore. Kim Chiu appeared in very few scenes despite her second billing. As with her performances on TV, she would have done better if she injected more energy into her role. I did not know Martin del Rosario before this movie, but he delivered very well in his crucial role as Jed. I’m not really sure why Ynez Veneracion had to show her right boob in a scene – maybe for old times’ sake. Several camera angles used by Mr. Rono were very well-planned and executed, maximizing the tension onscreen. Like other productions (movies and theater plays) I watch nowadays, there was color coordination in the outfits/costumes of the characters onscreen. In “The Healing,” though, I did not quite get why a certain color was chosen to be the “theme” of a scene. It was too obvious, that when a scene’s color scheme continued into an unrelated scene, it became distracting. Many common scare tactics and music were employed in the film. Thankfully, there was no Sadako-like creature in this one (if you still don’t know who Sadako is, Google “The Ring” Japanese version — or search on YouTube). Overall, “The Healing” is okay. It is similar to other horror films in the way the friends of the lead female character are dying around her and it is up to her to break the curse. If it was Kris Aquino who played Seth instead of Vilma Santos, the movie would just be “Feng Shui” all over again…” – Fred Hawson, Rappler, Aug 12 2012 (READ MORE)

“…The movie has a cohesive plot. The editing is brisk. The story telling is to the point. The jolts, the surprises, the building tension as the plot thickens makes you squirm from your seat. You can’t take your eyes off the screen so as not to miss the details, the foreshadowing, the conflict resolution. From the impressive opening credits, to the alternate theme colors of blue, red, yellow & white, you know the movie is special. The ensemble acting reminds you of such sleuth movies as Murder on the Orient Express & Death on the Nile, where Rono is able to flesh out the best from each actor or actress, no matter how small the role is, whether in a group or singly . I particularly like Janice De Belen, Pokwang, Robert Arevalo (in a groovy role that Sildenafil users could relate to), Kim Chiu, Joel Torre & Martin Del Rosario. Vilma Santos is in almost every frame. It is a most restrained performance, akin to her Urian winning Amanda Bartolome character in Dekada 70 where she has mastered “doing less is more.” As the key figure or the cause of the sad fate of her friends, Vilma is able to effectively use her eyes to show fear, guilt, sadness, even remorse. Her best scenes are when she tells her son Martin to not leave Kim from his sight, while calling from a cell phone, her confrontation scene with Kim in a car while Martin is driving the van & her hair raising, thrilling confrontation scene with Kim, the evil twin…” – Mar Garces (READ MORE)

“…The Healing spends a great deal of time needlessly attempting to make sense of the plentiful contrivances it filled its plot with. Simplicity is not one of Roño’s priorities. The film indulges in so many points that require tiring explanations and expositions, some of which seem too farfetched to be believed or to be appreciated. While the genre relies heavily on the supernatural and the unexplainable, Roño’s story seems too all over the place, forcing everything to cohere seamlessly like a completed jigsaw puzzle. Unfortunately, the film’s insistence on forcing the details mostly backfires, creating a story that meanders a little bit too much. The key to good horror is not necessarily what is overtly shown and depicted but the quality and the extent of what is left to the imagination. Roño invests a lot in The Healing’s visual design. Practical effects are abandoned for computer-generated effects, allowing grislier and more deranged sequences to exist with absolute ease. Instead of heightening the tension, the computer-generated effects only deflates it, inviting humor with how closer it resembles cartoons than macabre realism instead of fear. The acting is also unnecessarily pronounced and hysterical, despite the characters’ unnatural reaction to impending amorality and death. There is just too little left for the audience. The film is just frustratingly cluttered, serving details and elements, motivations and reactions, all of which do not necessarily fit the material they are forced to support. The Healing is commendable only for the fact that it attempted to stray from the inanities of uninspired horror cinema that has occupied Philippine cinema for far too long. It bears ideas and an execution of such ideas that evince an ambition and effort to break away from tired conventions. Sadly, everything ends up in forgettable confusion…” – Oggs Cruz (READ MORE)

“…The film is, by turn, violent and the sexy episode given clinical treatment. The breast of Ynez Veneracion (as Greta) is fondled matter-of-factly to show that the cancerous lumps are no longer there. The series of death – suicide and murder, keep the moviegoers on the edge, screaming here and there and up to the very end when the ‘sanib’ victim Kim Chiu (as Cookie) opens her eyes. Rono has a perfect acting ensemble to make this film credible and engaging. Even with the limited exposure and dialogue that she had, Daria Ramirez was great acting personified in The Healing. Pokwang (as Alma) was another revelation. Here, Rono doesn’t allow her to take another crack at her comic talents and emerges a natural performer. Everyone has defining moments in this film from Kim Chiu (as Cookie), Janice de Belen (as Cita), Robert Arevalo (as Odong), Martin del Rosario (as Jed), Mark Gil (as Val), Carmi Martin, Cris Villanueva (as Ding), Allan Paule (as Ruben), Ces Quesada (as Chona), Chinggoy Alonzo and Simon Ibarra (as Rex), among others. Joel Torre -as the healer’s brother- turns in another winning performance. This is my first horror film with Vilma Santos in it and I must say that she acquitted herself very well. Her subtle acting in The Healing was reminiscent of Audrey Hepburn in Wait Until Dark. I think she should do more horror film with Rono. Like it or not, The Healing is my Horror Film of the Year…” – Pablo A. Tariman (READ MORE)

“…The cast delivers a believable performance in The Healing. For a horror film, it sure has some good humor on it. The humor usually comes from Seth’s (Vilma Santos) father Mang Odong (Robert Arevalo). But never forget that this is a horror film, you when you least expect it the film delivers this sucker punch jump scare. The Healing has a good number of jump scares which you can either love or hate. I personally prefer the more psychological and creeping form of scare when it comes to horror films. Don’t get me wrong, The Healing has these creepy elements as well. The scares in the Healing are okay which have been generally enhanced by CG-effects…Star Cinema’s The Healing is a good horror film which has some pretty suspenseful and creepy moments…The Healing is worth the time, money, and effort. The film is more of a suspense than a horror in the latter part of the film which is not bad which doesn’t diminish how the story progressed. Pinoy Movie Blogger gives The Healing (2012) an 8 out of 10 (4/10) film review rating…” – Chris A., Pinoy Movie Blogger (READ MORE)

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Wow! Ang Bigat! 2/2

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UP honors Vilma Santos with Gawad Plaridel – She was unforgettable as Burlesk Queen, as Sister Stella L and as Dolzura Cortez. On Monday, however, she was Vilma Santos, the artist. “Ako po pala ay nakapag-ambag na sa industriya,” said Rosa Vilma Santos as she accepted the Gawad Plaridel, a citation given by the University of the Philippines to media practitioners who excel in their profession.

The award was named after Filipino propagandist Marcelo del Pilar who used the pen name Plaridel. “Paulit-ulit ko pong binasa ang citation,” Santos said. She is the first artist to receive the award for her contribution to the movie industry. In her lecture on the relevance of the film industry on society, Santos said actors can be role models through the various roles they play. She said she was able to internalize her role in the movie “Sister Stella L.,” a story of a nun who became an activist during the martial law years. “Totoong-totoo ‘yong sinabi ko sa Sister Stella L. na ngayon hindi na lang ako nanonood. Nakikisama na ako at tumutulong sa abot ng aking makakaya,” Santos said. She called on the public to support the local film industry. Santos, who acted in over 200 movies, said she owes her success to the film industry. She is now mayor of Lipa City in Batangas and is supporting the movie business by lowering the amusement tax in Lipa from 30 percent to 15 percent. She started her career when she was nine years old in the movie “Trudis Liit.” She, however, said the turning point came when she did “Burlesk Queen” when she was 23 years old. It was a tough decision, she said. She used to attend a school run by nuns. But it was a good choice, she said. “Ang pelikula pong ito ang nagpamulat sa akin sa maraming bagay,” she said. “Burlesk Queen,” shown in 1970, was a social commentary of the country’s patriarchal society.

Santos movie career, however, was not always happy endings. “Sister Stella L.,” for instance, did not rake in profits compared to the movies of Sharon Cuneta during those days. “Nilangaw po ang pelikula ko,” Santos said, adding that she cried over the box-office flop. It was worth the gamble, however. The movie is now considered a classic. Acting is an endless process of learning, Santos said. Despite the many awards she got she always remembers that she still needs to learn a lot. During the shooting of the movie “Relasyon,” director Ishmael Bernal told her: “Tanggalin ang ilusyon sa iyong sarili.” He ordered her to jog inside the toilet for ten minutes to internalize her role. Santos said she is grateful to the directors who megged her most unforgettable films. She thanked directors Lino Brocka, Ishmael Bernal, Mike de Leon, Laurice Guillen, among other. Among the films that made marks in her acting career were: “Relasyon,” “Broken Marriage,” “Sister Stella L,” “The Dolzura Cortez Story,” “Anak,” and “Bata, Bata, Paano Ka Ginawa?” Bravo Ate Vi! – Vanessa Bago

Recognizing Vilma Santos, thespian and nationalist – She is the grieving mother of sons to the struggle, linking arms and manning the front lines of a peaceful revolt. She is the mistress demanding the dignity deserving of a wife, a friend and a woman. She is the nun preaching the gospel of liberation against a dictatorship. She is the stripper dancing in tears as she lets go a love and a life never meant for one such as her. She is the single mom struggling to keep her wits amid domestic, financial and romantic dilemmas. She is the overseas worker facing down AIDS and its inevitable consequences. And she is Darna, a superhero fighting the giants, saving Ding and flying off to the stars.

Burlesk Queen, Relasyon, Sinasamba Kita, Sister Stella L, Imortal, Dahil Mahal Kita: Dolzura Cortez Story, Bata, Bata . . . Paano Ka Ginawa?, Dekada ’70, not to mention Darna at Ding are just some of her countless films. Vilma Santos is all these and more. From the every woman to the other woman, she elevates every role as worthy of a superstar and every character as deserving of precise and passionate acting. She braves patriarchal traditions and murderous dictatorships to play burlesque dancers, mistresses and activist nuns. “She gambles her popularity to widen her scope as an actress,” proclaims Dr. Nicanor Tiongson, Dean of the College of Mass Communication of the University of the Philippines (UP). He adds, “She proves popularity and ratings need not degrade the craft.” For that and more, Vilma Santos wins the 2005 UP Gawad Plaridel Award.

Santos received the award designed by National Artist for Sculpture Napoleon Abueva on July 4 in ceremonies at the Cine Adarna, UP Film Institute. Besides speeches, renditions of original movie soundtracks from Santos’s best loved films, as well as an insightful audiovisual presentation directed by Jun Austria, regaled audiences comprised of students, entertainment industry luminaries and fans who packed the venue. The Gawad Plaridel is an annual award to honor the exemplary media practitioners of the highest professional integrity in the interest of public service. Adopting the pen name of propagandist and La Solidaridad publisher Marcelo H. del Pilar, the award recognizes those who, like del Pilar, use the media to advocate libertine principles. Newspaper publisher Eugenia Apostol is the award’s first recipient. Now Vilma Santos joins the highly esteemed ranks of nationalist media professionals.

Beyond celebrity – She won despite being a star. Bookish and unglamorous academics instinctively scornful of celebrities and politicians bowed to her stellar performance as thespian, woman, politician, and yes, superstar. Dr. Sergio Cao, chancellor of UP Diliman confessed being a star-struck fan, “I had to nebulize before coming here; I couldn’t breath.” He later thrilled to busing her on the cheek. Nevertheless, Cao sermonized, “Star power is real power. It is the power to move people to tears, to make them cry and laugh and urge them to by with endorsements. It is to make them think what you want them to think, to make them feel what you feel. They should use it wisely, make people do good and aspire for better lives.”

The Gawad Plaridel validated that Santos has done just that. Her multifaceted portrayals of strong independent women have inspired those she has mirrored. Her portrayals of antidictatorship advocates have immortalized unsung heroes of the movement for generations to come. Her fearless gambles at parlaying her celebrity to triumph at portraying the most challenging of roles have set the mark for generations of actors. Vilma Santos is a class act, not by any accident of pedigree, but rather by the brilliance of her artistry and the strength of her convictions. Santos herself credits her success to “nonstop learning.” She remembers basking in the glow of a grand slam win at every major award-giving body for best actress with the movie Burlesk Queen. On her next movie with director Ishmael Bernal, she recalls a humbling experience she remembers to this day: “I took seven takes just for the first scene on the first day. I wasn’t focused. Bernal trapped me in the toilet and ordered me to jog in place to work off many illusions from my grand slam win.” The Gawad Plaridel recognizes Santos as a consummate thespian and nationalist. In an industry marred by dubious awards, it is the academe that remains the unimpeachable judges of exceptional talent and principle.

Tough times – Vilma Santos, ever fearless, used her time at the podium not only to thank the industry and her supporters for her awards; she enumerated specific problems besetting the local cinema and television industry, and more importantly, specified solutions for the current crisis. The problems include the huge entertainment taxes imposed by government; digital video piracy; the lack of spending power of the masses; competition from foreign films that open on the same time as local films; and foreign television drama series that producers find cheaper to import instead producing ones locally. Santos proposes reducing taxes on films and television productions to bring down costs; better scripts and original stories that are distinct from foreign counterparts; lower talent fees for superstars—”Show me the script and we’ll talk about the talent fee,” Santos dares independent filmmakers; and Sen. Ralph Recto, Santos’s husband, passed a law that offers 10- to 50-percent tax rebates on film of worth and quality as adjudged by the Film Rating Board. “We can still overcome,” Santos rallies the Gawad Plaridel audiences. From superstars such as her to the new crop of independent filmmakers now with immortal lines from Sister Stella L. “Kung hindi tayo kikilos, sino? Kung hindi ngayon, kalian pa?” – Rome Jorge

Vilma Santos: Plaridel Awardee 2005 – The UP Gawad Plaridel Awards 2005 is the only award in the University of the Philippines bestowed to outstanding media practitioners. It honors Filipino media practitioners in print, film, radio, television and new media, who have excelled and performed with the highest professional integrity and in the interest of public service. National Artist Napoleon Abueva conceptualized and molded the Plaridel trophy showing Marcelo H. del Pilar (the crusading journalist and editor of the vernacular section of Diariong Tagalog, the first Philippine bilingual newspaper, and the La Solidaridad, the reformist newspaper), which will be given to the awardee plus P100,000. Last year’s awardee was editor and publisher Mrs. Eugenia Duran-Apostol. This year, a film practitioner was to be distinguished among our many outstanding film practitioners.

Vilma Santos was declared the Plaridel awardee for 2005. The actress, now mayor of Lipa City, has received 65 awards from different award-giving bodies including the best actress in the Brussels International Film Festival in 1999, 10 awards from FAMAS, and another 10 best actress Urian awards from the Manunuri ng Pelikulang Pilipino. The other awards are from FAP, the Manila Film Festival, the Metro Manila Film Festival, Star Awards, Catholic Mass Media Awards, CineManila International Film Festival and many others. Her first film, Trudis Liit, garnered for her the best child actress plum 41 years ago, and the rest is “herstory.” She declared that she was very nervous the day she received it. The award, she thought, was so prestigious that it carried with it a lot of responsibilities. But it seems Vilma Santos is used to handling responsibilities. Aside from being an active movie personality, she takes her tasks as city mayor of Lipa seriously.

Sen. Ralph Recto attended the awarding like a proud husband would, attentive in the front row of the theater beside Vilma’s mother as UP President Emerlinda Roman, UP Diliman Chancellor Sergio Cao and Dean Nicanor Tiongson bestowed the Plaridel Award 2005 to Ms. Vilma Santos. President Roman, in her message, said “Because of her dedication to her craft and her portrayal of roles important to women and society, Ms. Santos deserves recognition not only from the viewing public, but also from the academic community.” UP Diliman Chancellor Cao said that he was starstruck and that it was the first time he had seen Vilma in person, adding, “More importantly, Ms. Santos has used her status as celebrity to pursue public service. As mayor of Lipa City, she has proven that art and politics do not exist in separate plains. She has shown us that women artists can transform society in more ways than one.” College of Mass Communications Dean Nicanor Tiongson said, “Traditionally, the academe has always kept a discreet distance from show business and for good reason. For one, academics have always emphasized critical thinking and professional integrity, both of which seem to be rare commodities in a movie world obsessed with instant gold and glamour. For another, the popularity of a movie star, to be sure an unwanted legacy from Hollywood, has been used by producers to cover up for a multitude their cinematic sins. Stardom is not a sin in itself. In the hands of film actors who are sincerely committed to their art, popularity can be harnessed to uplift the standards of the whole film industry. In choosing Vilma Santos as the UP Gawad Plaridel Awardee for Film, the College of Mass Communications would like to offer to film and media industries incontrovertible and living proof that popularity and ratings need not lead to the degradation of media tastes and standards.”

After receiving her trophy, Vilma Santos delivered her Plaridel lecture. She shared her experiences in the industry that she truly loves and expressed her concern for the high taxes on film, dwindling audiences of Filipino films, piracy and the strong competition from foreign films. She spoke to a very attentive audience. The Cine Adarna of the UP Film Institute, which can seat almost a thousand people, was SRO. Ms. Santos has over 200 movies to her name. Some of the more notable ones are: Burlesk Queen, Pagputi ng Uwak, Pag-itim ng Tagak, Ikaw ay Akin, Rubia Servios, Broken Marriage, Relasyon, Sister Stella L, Dahil Mahal Kita, Bata Bata Paano Ka Ginawa, Anak and Dekada 70. Many recognize the value of this “Star for All Seasons.”Writer Lualhati Bautista says, “As an actress Vilma gets into the character she is playing, goes through her experiences and pain.” Feminist Mara Lanot says that, “In all the roles Vilma has played in her films and real life, she chose for herself and got what she wanted, and these characters are strong.” Scriptwriter Ricky Lee explains that “Vilma, by embodying the different images of the Filipina as victim and fighter in the span of three decades, has consistently molded the image of the woman and society that moves forward.” Another writer, Pete Lacaba, admires Vilma for her fearless portrayal of Sister Stella L during martial law years when it could have affected her career and her personal life at the time, and also for courageously using her clout as a big star in the movies to perform roles that are different.

Vilma has worked with many of our reputable directors. Chito Rono sees her as a consummate actor who brings brilliance to her performances, saying, “Sometimes an ordinary role becomes a diamond when she portrays the role.” Maryo de los Reyes says, “As an artist, she has nurtured an aesthetic refinement and has continuously searched for the beauty and the enhancement of her craft. She has maintained her ‘pagiging tao,’ being ‘makatao’ and ‘pakikipagkapwa-tao’ all these years.” Critic Bien Lumbera calls her an “auteur,” one who leaves the mark of her personality in the roles she plays. In her performances, he adds, she manages to bring her audience together with her character’s experiences and ways of looking at things. Another critic, Butch Francisco, explains that, “Vilma took a long time to be recognized as a serious actress. Through the collaborative efforts with top directors, she became one of the greatest actors of Philippine cinem. She tackles scripts with social issues and often times was experimental with her roles.” Producer Atty. Espiridion Laxa says Vilma “has reached this incomparable height of success because of several good traits: her discipline, her determination to excel in her acting profession and her knack for choosing the right roles.” Producer/actress Charo Santos-Concio speaks of her as a “passionate thespian, her filmography boasts of a list of films that are audacious, artistic, classic and socially relevant. Inevitably, she has brought to the limelight ordinary people with extraordinary lives and has created awareness of various socio-political issues.”

Her frequent leading man in her films, Christopher de Leon, has good words to say about her, too: “Vilma Santos is not a selfish actor. For example, if I have a scene that is really meant for me, she will make me shine; she is a very gracious actor. ” He explains that the brilliant performances of the actors who interact with her are evident in her films. To Vilma, congratulations! – Philippine Daily Tribune, July 07 2005 Global Vilmanians

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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

‘Burlesk Queen’ onto the height of pathos (Repost)

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The title, Burlesk Queen, with its Tagalized spelling of “burlesque,” immediately striking up an image of novelty and distinction all its own, and inspired by the actual period of Philippine entertainment in the 50s and 60s, is rooted in concrete historical perspective contributing immensely to its achievement of exemplary unity in film art.

To film buffs like Ricky Lee, who at the time was only just beginning to mull the idea of turning scriptwriter, it became necessary to check the shooting script of Burlesk Queen, ostensibly for the festival committee, but in reality, I didn’t bothered to find out. He didn’t get to realize that with Castillo, what script is written on the typewriter is barely half of the work one gets to finally see on film; the other half is written on the spot as an imperative of the limitations in local filmmaking, like creativity on the set, lack of logistics for production design or camera requirements, etc. That—on the spot scriptwriting—happens to be my cup of tea, which figures perfectly with Castillo’s creative style, method of work, whatever you may want to call it. Lee, definitely, won’t get to first base with Castillo in such a methodology.  At any rate, the best proof of the pudding is the tasting, never mind who the baker is.

Burlesk Queen opens with Virgie Knight (Rosemarie Gil) performing onstage. Traditionally movies begin by establishing the main character. Does Virgie’s opening dance defy the tradition? Not at all. Virgie may be taking time a bit too much in her dance so that she impresses the spectator as the main character in the story, but what is transpiring onstage is not an actress delineating a role but rather an image, an idea, of which the dancer is a mere representation. And what is that image, that idea?

Burlesque. And under the principle of montage, when two representations are juxtaposed to each other, i.e., joined together, the juxtaposition produces a qualitatively different theme. By making the idea, image of burlesque as its opening number, Burlesk Queen upholds revered canons for artistic expression. On aesthetics in general, the film conforms perfectly with the Aristotlean test for art: “at once, brilliant, beautiful and whole.” Burlesque is a thematically-hewn visual delight, appearing as sudden as the opening shot.

By literary standard, Burlesk Queen conforms to the dictum of story development proceeding from the development of the main character. The actual start of the story is Chato’s (Vilma Santos’) affectation by the main theme, the burlesque dance.  Adherents of montage will amaze at the theme of burlesque, from scene one onward, permeating every scene and every detail of these scenes with astonishing, exquisite, if tedious, consistency.

Note this story flow. After Virgie’s performance, she and Chato take snack at an eatery, Chato expressing her desire to dance burlesque like Virgie so as to earn a big sum by which to buy her crippled father a wheelchair. Coming home, Chato excitedly relates to her father, Mang Roque (Leopoldo Salcedo), how nice Virgie’s dancing is—burlesque. In relating thus, Chato does hip bumps and gyrations— burlesque. Mang Roque expresses aversion to Chato’s job as attendant to—burlesque. All the way to Mang Roque’s distaste for the food pasalubong Chato brings him which he says he cannot stomach for being a proceed of…burlesque.

Even up to this point only, it becomes clear that the film has had a firm grasp of the tenets of montage, has grappled with, and has overcome, the problem of building compositional structure for achieving organic unity. But the extent of such unity must go all the way to the climax where the desired pathos must be experienced, so that the testing of the validity of this observation must be continued all the way to the finale.

What comes next? Virgie goes home to her own third-rate flat, swinging to a boogie tune from a transistor radio slung by a hand on her shoulder. The gait, the sway, the music, including the erratic electric light that goes on and off — all of these effect a retention of the aura of the burlesque theater. The ensuing quarrel between her and lover Ander (Roldan Aquino) centers on Virgie’s failure to get further advance payment for her dancing, what else but burlesque? For failing to give Ander the money he needs, Virgie is deserted by him then and there, and as he steps out of the house (off-frame), banging the door shut, the impact causes the light to turn off for good—certainly the theatrical way of ending an episode of a show as well as a transition to the next episode.

And what transpires next? In a flat-like Virgie’s, the morning after, a rough-edged, if attractive, cheaply-sexy-looking woman who Ander, in his lines, reveals as a nightclub hostess (Dexter Doria) is urging him to get dressed pronto (he is naked in bed, his front covered only with a pillow—isn’t this burlesque!) and accompany her to the dressmaker to get an outfit she had ordered. In one respect, aside from being exposed (his nakedness does this) now as a gigolo victimizing women in the flesh trade, Ander serves as the unifying thread with the immediately preceding scene with Virgie. In another respect, the club hostess’ urging Ander to accompany her to the dressmaker is a crafty method for making the aberrant Ander to stay on-line, i.e., stay within the theme. For at that very moment, who should be figuring in the dressmaker’s shop but, yes, Virgie, trying on a new costume for her stage act, again yes, burlesque.

This dress shop sequence is a particularly interesting specimen for study. What are its elements? Virgie trying on her new costume. Chato snickering at the window with a friend as she exchanges naughty glances with Jessie (Rolly Quizon, presented here for the first time), who is playing pool with barkada across the street. The arrival of Ander and the club hostess, who engages Virgie in a verbal tussle over burlesque. Lowly folks crowding in the surroundings, as audience in a theater. While a pair of musician beggars endlessly play a violin and percussion instrument, rendering music that completes the theater atmosphere.

Truly, indeed, as montage requires, a film to be art must conform to the law governing organic unity in natural phenomena. Lenin, the great leader of the Russian proletarian revolution under whose influence Eisenstein developed the montage theory, puts it this way: “…the particular does not exist outside that relationship which leads to the general. The general exists only in the particular, through the particular.”

Hence in Burlesk Queen, scene after scene, and detail after detail to their minutest proportions within each scene, nothing exists that is not within the central theme of burlesque.

In this dress shop sequence, Virgie makes like unaffected by Ander’s having completely abandoned her for the club hostess, but in the dressing room where she repairs to after the verbal clash, she gives vent to all her sorrow from having lost Ander forever. At precisely this point, Chato is exchanging love gazes with Jessie. Here we have a pretty lucid illustration of a rule in dramaturgy that has been a tradition of Greek tragedies whereby qualitative leaps in thematic development are always in the opposite. Chato’s joy at a nascent love affair with Jessie is contraposed to Virgie’s grief brought about by the end of her relationship with Ander. Yet though such qualitative leaps go separate ways, they stay confined within a seeming thematic parallel by which both leaps contribute to the building of a compositional structure necessary to maintain the organic unity begun earlier on at the opening. Virgie drops into depression and is so drunk during one burlesque presentation in the theater that she is not able to answer the call when her number comes. Now, who should come onstage to take Virgie’s place just so to placate a maddened crowd but a young dancer—Chato!

Love and hate, joy and sorrow, emotions going their separate ways, but perfectly maintained within the never-for-a-moment-missed parameters of the central theme of burlesque. More than bare feelings, the emotions actually represent images building up for another qualitative leap in the drama by which to finally attain, along strict criteria of Greek tragedies, the ultimate height of pathos. – Mao Gia Samonte, Manila Times, Thursday, February 12, 2009

RELATED READING:
Burlesk Queen WINNER of 10 MMFF Awards
1977 Metro Manila Film Festival
Video 48: Vilma Santos As “Burlesk Queen” (1977)
Vilma Santos’ Top 10 Film Directors (part five)
IMDB: Burlesk Queen (1977)
IMDB: Celso Ad. Castillo
IMDB: Rolly Quizon
IMDB: Rosemarie Gil
IMDB: Leopoldo Salcedo (1912–1998)
Pelikula Atbp: Burlesk Queen (1977)
The Kid, uninterrupted
‘Burlesk Queen’ Onto The Height of Pathos
Vilma Santos as Burlesk Queen (1977)
Amanda Page performs a burlesque inspired number for the MMFF Gabi ng Parangal (Video)
The Classic Vilma Santos Movies

Goodhousekeeping Magazine’s Article (Repost)

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From an old article of Good Housekeeping Magazine, June 2000 issue. Here’s their interview to Ms. Vilma Santos during the press conference of her movie “Anak”

Good Housekeeping Magazine: What is your greatest fear as a Mother?
Vilma Santos: Siguro yung time na malalayo na sila sa akin. Mga lalake ang anak ko eh, so sila yung aalis. Ang talagang takot ko eh baka pag may sariling pamilya na sila, they’ll already forget about me. That’s why I’m enjoying my time with them right now. I would say na maswerte ako especially with Luis. He’s a very good young man Liberated but with limitations. Yung Mama ko hinawakan ako dati sa leeg. Ngayon kailangan kang sumunod sa generation. Dati 2 o’clock uwian na ang mga bata. Ngayon kainitan pa lang nila yan. Inaabot sila ng umaga, mga 6 am kung umuwi. You have to adjust.

What’s your greatest joy?
Being a mother is my greatest joy.

How would you handle it if your kids were to rebel?
I think rebellion is part of growing up. Ginawa ko rin yan nung bata pa ako. Alam ninyo yan. But I think there will come a point when the child will get tired of it. So as a parent, you have to be understanding. Like my Mama! Mama ko hanggang ngayon magkasama pa rin kami.

They’re calling you the mother of Lipa. Has being a mother helped you in your functions as a mayor?
Yes, I think my being a mother is a plus factor. I run Lipa as I would run my household. Sa bahay, ang importante ayusin ang budget, yung edukasyon ng mga bata, at kung may pagkain syempre. Ganon din sa Lipa. First, I put the house in order, meaning City Hall. And my priorities are health and education.

Does being a movie star helped?
I guess, advantage din if you come from showbiz, kasi napapatawad ka nila. If you commit a little mistake, may allowance sila. Kasi they still see me as Vilma Santos the actress.

How would you differentiate the fulfillment you get from showbiz and politics?
It’s different. Sa showbiz, spoiled ka dito. There’s a lot of adulation but in politics, you get respect. Ibang kind of fulfillment. But I don’t have a political agenda. Bahala na ang partido diyan. That’s why I’m not comfortable with these politicians. They still have a year and a half left but they’re already preparing for the next election. They can still do so much more.

They say that your kumare Nora Aunor is planning to run. What do you think of this?
Anybody can run. Pero hindi madali. Madaling tumulong pero iba yung nasa gobyerno ka. When I was starting out, I had to learn everything. These politicians, they always talk in acronyms. I had to learn that. The procedures, the budget, the legislations. Ralph used to give me these tutorials. We would talk every night. Finally, I just said, “Ralph, enough! My brain is full!”

How do you balance your political career with your home life?
My first priority is still my family. My constituents know this. When Christian was hospitalized, I stayed by his bedside the whole week. It did’nt matter if all the paper works had to be brought to Manila everyday as long as I could be there when my son needs me.

How do you spend special time with Luis and Christian?
Sunday is really for the family. Yan yung tipong walang liguan. Kung ano ang hitsura mo sa umaga, ganoon ka pa rin sa hapon. We go swimming, we eat out, watch TV or just play around the house. My sons are both in their formative years. Christian is four, Luis is 19. That’s why it’s very important that I’m there when they need me.

Would you mind if we talk about Luis?
I don’t have the right to talk about his life. Oh, he goes out with girls and he tells me, but I’d rather not say anything. Buhay niya yan eh.

How would you react to news, for example that Luis gone to bed with this or that girl? What makes you think that he hasn’t yet?
Please naman, my son is already 19.

How would you characterize your relationship with Luis?
Every other Saturday, I would have one-on-one talks with Luis. I think that now, our relationship is more like friends than mother and son. I ask him kung anong gimik niya. Minsan, nag-aaway din kami. Sometimes, he would say, “Mommy, you’re not listening to me.” So, I keep quiet. He has a radio but I’m not the type who would call him every now and then and ask, “O nasaan ka na?” I trust my son, the radio is for emergencies. There are rules. He can’t go out on school days. And no overnight with friends, pero sila, pwedeng matulog sa bahay.

How about Edu?
Edu still takes care of Luis’s education, and they always talk. If he feels that he can’t tell something to Edu, he’ll go to Ralph. Hay naku, mas mataas na si Luis kaysa kay Edu, malapit nang abutan si Ralph. Edung-Edu siya pati pag-joke, yung mga mannerisms, mga actions, pero mas maputi si Luis kay Edu.

What about Christian?
I think siya ang artista. Yung bully. Haharap yan sa salamin, mag-e-emote. Sabi nga ni Mama parang ako daw nung bata. Mahilig sa picture taking. Siya pa nga ang tatawag sa iyo. Luis was never like that.

With that, I packed my bags, and said a quick thank you to give way the tons of other reporters milling around the studio. But Ate Vi was not going to let me leave in a hurry. She looked me straight in the eye, waved goodbye, gave one of her easy smiles and said, “I’ll see you! I’ll see you!” And I believed.

Source: Global Vilmanians

VERY LONG RIVALRY (Repost)

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Vilma Santos’ triumph as Best Actress – for Mano Po 3 (My Love) – at the Metro Manila Film Festival in December 2004 parallels her greatest rival Nora Aunor’s similar feat at the Manila Film Festival last June, where Nora won for Naglalayag. So it goes without saying Nora and Vilma will once again be major contenders for the top acting honors in this year’s awards season. Nora, for the Maryo J. delos Reyes opus in which she portrayed a lady judge who fell in love with a man half her age; while Vilma, for Joel Lamangan’s romance-drama about a Chinese anti-crime crusader torn between her family and a past love. Nora versus Vilma. Their acting duel is never ending. All these years, their fight for the Best Actress plum in practically all the local award-giving bodies has been much anticipated since.

1972 – 1975 – At the 1972 Quezon City Film Festival, then held every October, Nora’s entry was Sampaguita Pictures’ And God Smiled At Me (directed by Tony Cayado and Danny Holmsen); while Vilma’s banner vehicle was Tagalog Ilang-Ilang Productions’ Dama de Noche (directed by Emmanuel H. Borlaza). And the winner was Nora! May die-hard Vilmanian kaming kaklase sa elementary, ang sabi: ‘Luto ‘yun, dahil malapit si Nora kay QC Mayor Norberto Amoranto!” Such loose talks were never confirmed to be true. Or as Tempo’s veteran movie columnist Ronald K. Constantino avers, ‘Nora never figured in any awards scam!”

1973 – Sa annual Filipino Academy of Movie Arts and Sciences (FAMAS) Awards Night, it was the Vilmanians’ turn to rejoice. Vi was ad-judged Best Actress for Dama de Noche, ka-tie ni Boots Anson-Roa (for JE Productions’ Augusto Buenaventura megger Tatay Na Si Erap). Nora wasn’t nominated for her award-winning starrer at the QC filmfest, but for The Gift of Love kung saan siya gumanap ng dual role: bilang isang cancer-stricken patient at ang kakambal na eventually ay napunta kay Tirso Cruz III. Dama de Noche, which paired Vi with Edgar Mortiz, also had her doing two parts: a baliw and a sane sister.

1974 – 1975 – In the succeeding years, nagkatunggali sina Nora at Vilma, mainly for box-office supremacy. May point na parehong box-office hit ang mga pelikula nina Nora (her own NV Productions’ Banaue) at Vilma (Nakakahiya? for Virgo Films), at nagkalaban sila for Best Actress sa Bacolod City Film Festival in 1975. Si Vilma ang nanalo para sa dinirek ni Eddie Rodriguez (a.k.a. Luis Enriquez), but Nora’s entry – helmed by Gerry de Leon – won as Best Picture. In 1974, Nora did a major dramatic trilogy for Premiere Productions: Fe, Esperanza, Caridad, which was handled by Cirio Santiago, Lamberto V. Avellana and Gerry de Leon. (Avellana and de Leon were to be honored as National Artists for Film in the years to come.) Nora won a FAMAS Best Actress nomination for Fe, Esperanza, Caridad; tulad sa ibang pelikula na nagpamalas siya ng potential bilang mahusay na aktres early on, such as George Rowe’s Paruparong Itim in 1973. Nora, as a deaf-mute blind woman, was beaten by Gloria Sevilla (for Gimingaw Ako, a Visayan movie). Ang notable performances ni Vilma Santos that time were in TIIP films: Biktima and Karugtong Ang Kahapon (by Borlaza), na entries sa MFF in 1974 and the 1st Metro Manila Film Festival in September 1975.

At the first MMFF, Nora’s entry, NV Productions’ Batu-Bato sa Langit (directed by Luciano B. Carlos), was a blockbuster and won as 3rd Best Picture. Kapwa na-hone ang acting potentials nina Guy at Vi (sa tulong din ng kanilang TV drama anthologies – Ang Makulay na Daigdig ni Norang RPN 9 at Dulambuhay ni Rosa Vilma ng BBC 2 – pero sige pa rin ang paggawa nila ng mga pelikulang komersyal dahil sila ang mga reyna ng takilya noon.

1976 -1977 – Nagkakalaban pa rin sina Nora at Vilma sa FAMAS, pero kapwa sila talunan. Especially Vilma, who didn’t win another FAMAS Best Actress trophy until 1982 (with Elwood Perez’s 1981 megger Pakawalan Mo Ako). In 1976, Nora Aunor’s “landmark performance ” in Mario O’Hara’s Tatlong Taong Walang Diyos won nods from the FAMAS voters as well as from the Gawad Urian critic-jurors bilang Best Actress. Hindi si Vilma ang naging mahigpit na kalaban ni Nora, kundi si Hilda Koronel (for Lino Brocka’s Insiang). Sa MMFF in December 1976, si Hilda ang Best Actress, but Nora’s performance in Lupita Kashiwahara’s Minsa’y Isang Gamugamo was equally acclaimed by the critics. (Minsa’y…won as FAMAS Best Picture in 1977.) It was the first year of the Gawad Urian (organized by film critics collectively known as the Manunuri ng Pelikulang Pilipino), at si Nora ang nag-buena-mano as Best Actress. Henceforth, hindi na lamang ang FAMAS ang kinilalang tagapagbigay-parangal sa industriya ng pelikulang lokal. Sa mga sumunod na taon, dumami ang award-giving body sa movie industry. Bukod dito, ang mga filmfest sa iba’t ibang siyudad outside Metro Manila; like in Davao City, where Nora Aunor once won as Best Actress for Tito Sanchez’s Ibilanggo si Neneng Magtanggol.

In 1977, it was apparent that the actress in Vilma Santos fully emerged when she won the MMFF Best Actress award for the controversial Celso Ad Castillo period drama Burlesk Queen. Unfortunately, her winning was marred by nasty talks (na kesyo binawi ang mga napanalunan ng pelikula, including Vi’s trophy or medallion.) It seems nakaapekto ‘yun sa awarding na pambuong taon: at the FAMAS, Vilma lost to Susan Roces (for Maligno, also by Castillo); and, at the Gawad Urian, to Daria Ramirez (for Eddie Romero’s Sino ’ng Kapiling, Sino’ng Kasiping?). As for Nora Aunor, matapos ang grand entrance niya sa big league bilang major award-winning actress (with a double victory, unmatched at the time), isang actionromance- drama ang kanyang nagging panlaban: Augusto Buenaventura’s Bakya Mo Neneng, which paired her off with Tirso Cruz III and Joseph Estrada. The film won as Best Picture sa FAMAS. Nora’s and Vilma’s starrers were big moneymakers at the 1977 MMFF.

1978, Sa dinami-dami ng natamong karangalan nina Vilma Santos at Nora Aunor, interesting point of discussion pa rin among their followers ang nangyaring acting duel nila in the 1978 MMFF. Vilma was handled for the first time by Lino Brocka in Rubia Servios, produced by Sampaguita-VP Pictures. Vi enacted a rape victim na naghiganti sa kanyang rapist (Phillip Salvador) at napawalang-sala. On the other hand, Nora had Eddie Garcia for her director in Atsay, a serious look on housemaids, as written by the award-winning Edgardo M. Reyes and lensed by ace cinematographer Romeo Vitug. Sa MMFF that year, walang ibang acting category na mapapagwagian maliban sa Best Performer award, na si Nora ang nagwagi. “The triumph of restrained acting!” ayon sa sumunod na ulat matapos ang Gabi ng Parangal. All the while, perhaps almost everyone thought it would be Vilma Santos who’d get the award, dahil si Brocka na ang director niya. May talk show (the late Inday Badiday’s Would You Believe?) na sadyang iniangat ang pag-asa at pag-asam ni Vi na siya ang mananalo. At the awards night, papasok pa lang daw si Vi sa CCP Main Theater (venue ng rites), nilapitan agad siya ni Marichu “Manay Ichu” Perez-Maceda (her producer, na kabilang sa MMFF committee) and whispered: “I’m sorry, Vi, it’s not for you …” Nag-stay si Vi hanggang matapos ang ceremonies; nakipalakpak siya when her rival was declared winner. Katabi niya sa upuan si Christopher de Leon (Garrotte: Jai Alai King), who also lost. Ayon sa grapevine, naglasing si Vilma sa tindi ng siphayo. “Ang sakit, Manay!” Vi reportedly told Ichu, who also produced many of Nora’s earlier movies which made millions of pesos. In the Gawad Urian and FAMAS, naparangalan naman si Vilma, bilang producer ng Pagputi ng Uwak, Pag-Itim ng Tagak which won as Best Picture. That year, mayroong pinagsamahang movie since Nora at Vilma, TIIP’s Ikaw Ay Akin na dinirek ni Ishmael Bernal, for which they were both Best Actress nominees at the Urian, but lost to Beth Bautista (for Danny Zialcita’s Hindi sa Iyo ang Mundo, Babyb Porcuna). Sa FAMAS, hindi rin para kina Vi (Pagputi) at Nora (Atsay) ang Best Actress statuette, kundi kay Susan Roces (for Brocka’s gothic drama Gumising Ka … Maruja!). Fair enough?

1979 – 81 In 1979, 1980 and 1981, kapwa maningning ang mga pangalan nina Nora Aunor at Vilma Santos bilang box-office stars at awardwinning actresses. Pero hindi kahigpitan ang labanan nila sa iba’t ibang parangal. May panahong nananalo si Nora na ibang aktres ang mahigpit na kalaban; ganu’n din si Vilma. Nang ma-handle si Nora ni Brocka (in 1979’s Ina Ka ng Anak Mo, produced by Premiere Productions and written by Jose Dalisay Jr.), she was pitted with the formidable Lolita Rodriguez and it was to Nora’s credit na pumantay siya sa parangal – bilang MMFF Best Actress.

Sa 1979 FAMAS, Nora bested Lolita, who, with her performance in Brocka’s Tinimbang Ka Ngunit Kulang, beat Aunor in 1974. Ang “katapat” ng Nora-Lolita duo ay ang acting tandem nina Vilma Santos at Charito Solis in Bancom Audiovision’s Modelong Tanso, directed by Cirio Santiago. Sa 1979 Gawad Urian, it was neither Nora nor Lolita as Best Actress; the award instead went to Charito Solis for Brocka’s Ina, Kapatid, Anak.

In 1980, tatlong pelikula ni Nora Aunor ang maituturing na panlaban: two by Brocka (Nakaw na Pag-ibig and Bona) and the other by Laurice Guillen, Lea Productions’ Kung Ako’y Iiwan Mo. She won the Gawad Urian for Bona. Ang panlaban ni Vilma was Zialcita’s Langis at Tubig. Hindi taon ni Vilma ang 1980, which saw the emergence of other young and talented actresses like Gina Alajar (Brutal), naka-tie ni Nora sa Urian, and Amy Austria, na tumalo kay Aunor sa Metro Manila Film Festival. In the 1980 MMFF, Amy won with a lone entry – Brutal – while Nora got nominated for Bona and Kung Ako’y Iiwan Mo. (A case of split votes.) Sa 1980 Gawad Urian, nominated sina Nora, Gina (eventual winners) at Amy, samantalang si Vilma was “snubbed by the critics.” 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?

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!

1983, Noong 1983 at 1984, nagkalaban uli sina Vilma at Nora, with Vi getting an edge. Bernal’s Broken Marriage won Vi her second Urian trophy, while Nora didn’t get a nomination (“Nora Out,” ayon sa introduction ng Highspeed column ni Ronald K. Constantino tungkol sa pagkaka-release ng Urian nominees for that year.) May drama starrer si Nora in 1983: Maryo J. delos Reyes’ Minsan, May Isang Ina, for which she got nominated sa FAMAS, where Charito Solis (Don’t Cry for Me, Papa) won and got elevated sa Hall of Fame. Taong 1983 nang makamit ni Nora Aunor ang TOWNS (The Outstanding Women in the Nation’s Service) award for her contributions in media arts. Hindi man siya naka-Grand Slam as Best Actress, ang parangal ay natatangi at ipinagkakaloob hanggang ngayon sa outstanding women achievers in different socio-civic fields. Hindi dito natapos ang Nora-Vilma rivalry. Pero ang pagsasama ng dalawang aktres sa isang pelikula was not repeated after Danny Zialcita’s T-Bird at Ako (released in 1982). Their initial appearance together was in 1970’s Young Love; naulit in 1978, sa Ikaw Ay Akin ni Bernal; at mayroon silang tig-isang episode sa Dugo at Pag-Ibig sa Kapirasong Lupa in 1975 at Pinagbuklod ng Pag-Ibig, also released in early 1978.

At the height of the Nora-Vilma rivalry for acting supremacy, ang kanilang mga pelikula, magkahiwalay man sila o magkasama, ang may malaking kinikita for their producers. In 1982 and 1983, Vilma was Box-Office Queen and Urian Best Actress; while Nora did several blockbusters (like Beloved and Till We Meet Again). There was social unrest, following the Ninoy Aquino assassination on Aug. 21, 1983, pero masigla ang daigdig ng TV at pelikula. Sikat pa rin sina Nora at Vilma.

1984 – 85 – In 1984, Nora and Vilma each had three “pang-award” movies. Nora starred in ‘Merika by Gil Portes, Condemned and Bulaklak ng City Jail by Mario O’Hara. The latter was entry in the MMFF, winning Best Picture and Direction at nanalo ring Best Actress si Guy. Si Vilma was in Brocka’s Adultery: Aida Macaraeg, Mike de Leon’s Sister Stella L. and Marilou Diaz-Abaya’s Alyas Baby Tsina. Noong 1985 unang nagbigay ng Star Awards ang Philippine Movie Press Club (PMPC). Para sa taong 1984 ang mga parangal na ipapamahagi, at sina Nora at Vilma lang ang nominated for Best Actress: Guy for all her three starrers, Vilma for Aida Macaraeg and Sister Stella L. Mainitan umano ang nagging deliberation para sa kategoryang Best Actress, which earlier that year was bagged by Vilma (for Sister Stella L. sa Gawad Urian; her third straight win!) and by Nora (for Bulaklak ng City Jail sa CMMA). Sa 1st Star Awards for Movies, it was Nora Aunor who won for ‘Merika. The late movie scribe Frank Mallo, a self-confessed Noranian, fought hard for Aunor to clinch the Best Actress plum, especially for ‘Merika. He even wrote a letter (published in Constantino’s Highspeed column) disputing the Manunuri’s earlier choice of Vilma Santos as Urian Best Actress. Sa taong ito rin ng Gawad Urian nagtamo ng double nomination si Nora – for ‘Merika and Bulaklak ng City Jail. Sa pagtatapos ng award-giving season, si Nora uli ang Best Actress sa FAMAS (her third win) for Bulaklak ng City Jail. Dito niya unang naka-tie si Sharon Cuneta (for Borlaza’s Dapat Ka Bang Mahalin?). Pero hanggang ngayon, nakahihinayang na walang napanalunang award si Nora for Condemned, kung saan she was cited by Tempo entertainment editor Nestor Cuartero for that single scene in which she acted out a “cry of sorrow like no other” upon the death of actor Dan Alvaro who played her brother in that film which was rated “A” by the Film Ratings Board.

1986-88 – Sa mga taong 1986, 1987 and 1988, walang mainitang tunggalian sa acting sina Nora at Vilma. It was the period following the EDSA Revolution in February 1986. Nanamlay ang movie career ni Nora, na noon ay regular na naghu-host ng long-running Superstar show sa RPN 9. Manaka-naka’y she had hit movie – I Love You, Mama/Papa and Sana Mahalin Mo Ako in 1986 and 1988, respectively – and produced Halimaw (dinirek nina Mario O’Hara at Christopher de Leon), na Best Picture sa 1986 Metro Manila Film Festival. Papasikat noon ang mga anak niyang sina Lotlot, Ian Kristoffer, at ang child wonder na si Matet de Leon. Si Vilma ay mas pinalad kesa kay Nora sa awards in 1987 (Best Actress, for Maryo J. delos Reyes’ Tagos Ng Dugo, sa Catholic Mass Media Awards at sa FAMAS). Twenty-fifth anniversary sa showbiz ni Vi that year, at may grand celebration siya sa Vilma! With Nora Aunor as one of her special guests. In 1987, Vilma starred in Viva Films’ Saan Nagtatago ang Pag-ibig? (penned by Armando Lao, megged by Eddie Garcia). The komiks melodrama won a string of Best Picture awards (Star, FAMAS, FAP) sa taon na hindi nagbigay-parangal ang mga Manunuri ng Pelikulang Pilipino (Gawad Urian) sa alinmang kategorya “for lack of deserving winners.” In contrast, hindi markado ang performance ni Nora in the 1987 Mario O’Hara megger Tatlong Ina, Isang Anak, another vehicle for Matet, which pitted Guy against Gina Alajar and Celeste Legaspi.

In 1988, Nora did a guest role in Takot Ako, Eh! (topbilling her popular kids) and produced under her NCV Films outfit the ill-fated Greatest Performance (co-starring her were Tirso Cruz III and Julio Diaz), which was rejected by the executive committee of the 1988 MMFF. Nora then would have debuted as movie director, but unfortunately her Greatest Performance never got shown.

1989, 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).

1990, Dalawang malalaking pelikula ang tinampukan ni Vilma: Lino Brocka’s Hahamakin Lahat and Laurice Guillen’s Kapag Langit ang Humatol. Si Nora ay nakahabol sa MMFF with the low-budget social-realist drama Andrea, Paano Ba Ang Maging Isang Ina?, which she co-produced with an independent outfit, MRN Films, and was directed by Gil Portes based on a Ricardo Lee screenplay. Sa mga parangal para sa taong ito, si Nora Aunor ang nagwaging Best Actress sa ‘Movie Magazine” awards (ng GMA 7), Star Awards, FAMAS, FAP at Gawad Urian, making her a Grand Slam honoree. On May 22, 1991, Brocka’s sudden death in a vehiclar accident shocked the movie industry. Nora dedicated her FAP Best Actress award kay Brocka, na siyang dahilan upang maitanghal ang Bona sa Directors Fortnight ng Cannes Film Festival in 1981. May nagsasabing ‘hindi Grand Slam” ang pananalo ni Guy for Andrea dahil, sa CMMA, her costar Gina Alajar was declared Best Actress (with Nora as runner-up). But the CMMA was considered a minor award-giving body, at ‘yung apat na major ang ginagawang batayan for a Grand Slam win. Kaugnay rito, nagsimulang magbigay ng parangal ang UP-Young Critics Circle (YCC-Film Desk) at si Nora ang lone winner for Best Performance, also for Andrea. Hindi na nagbigay ng acting awards ang CMMA the following year, habang aktibo hanggang ngayon ang five major award-giving bodies, na nadagdagan ng iba’t ibang grupo. Nagkaloob ng Gawad Pandekada ang Manunuri – for achievements in acting – at sina Nora, Vilma, Vic Silayan, Phillip Salvador at Gina Alajar ang mga nagging karapat-dapat sa parangal (Nora having won Urian Best Actress trophies for Tatlong Taong Walang Diyos, Bona, Bilangin Ang Bituin Sa Langit and Andrea; Vilma for Relasyon, Broken Marriage, Sister Stella L. and Pahiram ng Isang Umaga).

1991 – 92 – Exciting uli ang labanang Vilma at Nora, para sa masusugid nilang tagahanga, noong 1991. Viva Films’ Ipagpatawad Mo starring Vilma Santos and Christopher de Leon was chosen as 1991 Gawad Urian Best Picture, with Vilma winning as Best Actress. Muli, nagproduce si Nora ng low-budget drama for MRN Films, Elwood Perez’s Ang Totoong Buhay ni Pacita M., na entry sa 1991 Metro Manila Film Festival. Its awards included Best Picture, Best Direction, and Best Actress for Nora Aunor.

In the award-giving season in early 1992, Nora won the Best Actress honors sa Star Awards and FAP, as well as the Best Performance award from the YCC-Film Desk’s 2nd Annual Circle Citations (with co-winner, Aga Muhlach, for Maryo J. delos Reyes’ Joeyboy Munti). Ang Pacita M. ay nanalo rin ng Best Picture and Best Direction among other awards as 1991 FAMAS. Nora scored three consecutive Best Actress triumphs sa FAP Awards: 1989 (Bilangin), 1990 (Andrea) and 1991 (Pacita M.). Ito bale ang katapat ng three straight victories ni Vilma sa Gawad Urian. Nora was elevated sa FAMAS Hall of Fame in 1991 for having copped five Best Actress statuettes: Tatlong Taong Walang Diyos, Ina Ka Ng Anak Mo, Bulaklak Ng City Jail, Bilangin Ang Bituin Sa Langit and Andrea, Paano Ba Ang Maging Isang Ina? Later, nagtamo siya ng Circle of Excellence awards sa FAMAS apara sa mahusay niyang pagganap sa Pacita M. in 1991 at sa The Flor Contemplacion Story in 1995.

To mark her 25th anniversary in show business, Nora starred in PETA’s Minsa’y Isang Gamugamo sa una niyang pagganap sa entablado. The play, an adaptation of Lupita Kashiwahara’s film based on a screenplay by Marina Feleo-Gonzales, was directed by Soxy Topacio mula sa script nina Ricky Lee at Boni Ilagan. It had a successful run at the Tanghalang Raja Sulayman in Fort Santiago in February-March 1991. Nora further acquitted herself in theater in December 1992 (DH by Topacio-Lee) and in the mid-1990s (Trojan Women, na dinirek ng isang Griyego and was staged at the Ninoy Aquino Parks and Wildlife). At tulad ng mga stage play na tinampukan, nagging malaking tagumpay ang unang major concert ni Nora (Handog ni Guy) sa Araneta Coliseum noong May 18, 1991.

1993, Hindi nagtapos ang labanang Nora-Vilma for Best Actress sa pagkaka-elevate nila sa FAMAS Hall of Fame. Dahil sa dumaming award-giving body since the mid-1980s, hindi nakuntento ang respective groups of fans nina Nora at Vilma sa pag-asam na patuloy silang gumawa ng magagandang pelikula na pagtatamuhan nila ng trophies. Sadly, dumating din sila sa punto ng kasalatan, careerwise.

In 1992, wala ni isang pelikulang tinampukan si Nora, samantalang si Vilma starred in only one: Maryo J. delos Reyes’ Sinungaling Mong Puso, na hindi niya pinagtamuhan ng anumang major Best Actress award. In 1993, gumawa si Vilma ng pelikula na ang kuwento’y base sa unang Pilipinang nag-reveal ng pagkakaroon niya ng AIDS (Acquired Immune Deficiency Syndrome), si Dolzura Cortez. Directed by Laurice Guillen for Octoarts Films, Dahil Mahal Kita (The Dolzura Cortez Story) won Vilma the Best Actress honors at the 1993 Manila Film Festival, Star, Gawad Urian and FAP. Si Nora ay gumawa ng Inay for Melanie Marquez’s MM Productions, by veteran megman Artemio Marquez (may-likha ng maraming box-office hit ni

Guy sa Tower Productions in the early 1970s). Natalo si Nora sa MMFF at ibang major awardings ng taon, but she won the Best Performance award, again from the UP-Young Critics Circle (YCC-Film Desk’s 4th Annual Circle Citations), with Aga Muhlach (for Jose Javier Reyes’ Hindi Kita Malilimutan) as co-winner.

1994, Mula 1994 hanggang 2003 ay hindi na nagkatunggali sa Best Actress award sina Nora at Vilma. Early 1994 nang huling magkasabay as contenders for the acting plum sina Nora (Inay) at Vilma (Dahil Mahal Kita). For the whole year, Nora didn’t topbill any movie. She hosted Modern Romance sa Telebisyon on GMA 7 and the monthly special Superstar Beyond Time on RPN 9, and appeared on several telesines and a successful two-night concert at the Mandarin Hotel Ballroom. Naulit ang pangyayari noong 1992 na walang pelikula si Nora (she only appeared in her second stage play, DH, na nag-world-tour in 1993) and this will be repeated 10 years later, when she did the ABS-CBN 2 drama series Bituin that aired from September 2002 to May 2003 and several concerts. Vilma notched two films: Regal’s Nag-iisang Bituin (by Joey Reyes) and Golden Lions’ Lipa Massacre (by Carlo J. Caparas), which won as Best Picture sa FAMAS.

1995 – 97 – Sa mga sumunod an taon, parehong nag-achieve sina Nora at Vilma in local award-giving groups and international film festivals. Nauna si Nora, in 1995, for The Flor Contemplacion Story, kuwento ng Pilipina na nasentensiyahang mamatay by hanging sa Singapore. Late 1995 nang maiulat na si Nora ang nagwaging Best Actress sa Cairo International Film Festival sa Egypt for her performance in the Joel Lamangan megger, which also won as Best Picture. Nanalo si Nora sa YCC-Film Desk’s 6th Annual Circle Citations (Best Performer) at sa Star Awards, FAP at Gawad Urian (Pinakamahusay na Pagganap – Pangunahing Aktres; with co-winner Helen Gamboa for Tikoy Aguiluz’s Bagong Bayani, another Flor Contemplacion filmbio). Top box-office hit ang The Flor Contemplacion Story, for which the Guillermo Mendoza Memorial Scholarship Foundation, Inc. (GMMSFI) chose Nora as Box-Office Queen, the same honor she received in the early 1970s and 1980s. Si Nora ang Best Actress sa 1995 MMFF for Viva Films’ Muling Umawit ang Puso. Sa international filmfests, Nora again won as Best Actress in 1997. She got the Golden Pearl Award in Penang, Malaysia, for Viva’s Bakit May Kahapon Pa? Para sa naturang Lamangan megger, Best Actress din sa Gawad Urian si Nora (with cowinner Sharon Cuneta, for Olive Lamasan’s Madrasta).

1998 – 2001 – Ang international fame, bilang Best Actress, ay nakamit ni Vilma in 1999, when her Star Cinema headliner Bata … Bata … Paano Ka Ginawa? – directed by Chito Rono – was entered as competition entry sa Brussels Film Festival. Released in 1998, Bata won for Vilma the Best Actress honors at the Star Awards, FAP and Gawad Urian, as well as the Best Performance award from the YCC-Film Desk. Dahil nahalal na alkalde ng Lipa City sa Batangas si Vilma Santos-Recto (she married then Batangas Congressman, now Senator Rafael ‘Ralph” Recto in December 1992), naging mas madalang ang paggawa niya ng pelikula. Pero hindi pa rin magmimintis si Vilma na manalo ng acting trophy, kapag din lang may panlabang pelikula, as in 2000 when she did Star Cineman’s Anak by Rory Quintos. Nanalo siyang Best Actress sa Star Awards.

2002, Vilma failed to win as Best Actress sa 2002 MMFF para sa major film na Dekada ‘70, megged by Chito Rono and produced by Star Cinema. Hindi naman nabigo ang Vilmanians sa mga sumunod na awarding, in early 2003, dahil kay Vilma napunta ang Best Actress trophies na kaloob ng Star Awards, FAP at Gawad Urian. Pati ng minor award-giving body na binubuo ng mga academician, ang PASADO (Pampelikulang Samahan ng mga Dalubguro). At ang kanyang ikalawang Best Performance award mula sa YCC-Film Desk in its annual Circle Citations. Panlaban ng bansa ang The Seventies (Dekada ‘70) sa 4th Makati CineManila International Film Festival (organized by Direk Tikoy Aguiluz). The film won a special jury prize at Best Actress award for Vilma (her second claim to international fame). In contrast, malaon nang walang pelikulang panlaban si Nora at this point. After Bakit My Kahapon Pa? In 1996, Nora did minor starrers: MAQ Productions ‘Mama, Dito sa Aking Puso, screenwriter Frank Rivera’s directorial debut; and Lupita Kashiwahara’s megger under Premiere Productions, Babae, an entry to the 1997 MMFF, for which Aunor got several acting nominations. Her last major performance was in Seven Stars Productions’ Sidhi, released in February 1999. Walang napanalunang trophy si Nora for her fourth Lamangan starrer, which was also panned by Manunuri ng Pelikulang Pilipino member Lito B. Zulueta. Both Nora and Vilma, however, were recipients of the Gawad Pan-Dekada (along with Richard Gomez) at the Urian rites in March 2001. Silang dalawa pa rin ang mga aktres na napagkalooban ng natatanging pagkilala ng Manunuri, para sa tigtatlong parangal na natamo nila – in the 1990s – sa kategoryang Pinakamahusay na Pagganap. Aunor won for Andrea, Paano Ba Ang Maging Isang Ina?, The Flor Contemplacion Story, and Bakit May Kahapon Pa?. Santos won for Ipagpatawad Mo, Dahil Mahal Kita and Bata … Bata … Paano Ka Ginawa?

2004, Kung susumahin, mahirap nang dagliang mabilang ang mga award nina Nora at Vilma, through the years, para sa mga pelikulang tinampukan nila. Ito rin ang puntong hindi ang pag-quantify sa mga natamong parangal ang mahalaga, kundi ang pagpapatunay na walang mintis sa kanya-kanyang laban, sa kahusayan, ang dalawang pinakamahigpit na magkaribal sa larangan ng pagganap pampelikula. The End. – “VERY LONG RIVALRY” By William Reyes

As of February 2012, Vilma Santos and Nora Aunor are very much in demand. Aunor finished a teleserye in 2011, “Sa Ngalan Ng Ina” and an unreleased movie with ER Ejercito.  She secured a contract for several projects under TV5 that include television projects and two films.  She also had a voice treatment (ala-Brit singer, Adele) to restore her much loved voice. Meanwhile Vilma Santos, remained politically involved with her job as the Governor of Batangas. She started a film with Kim Chiu, The Healing and slated to do another film and a semi-biographical book to celebrate her five decades film career. – RV

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Official Web-site: Vilma Santos Recto
Official Web-site: Nora Aunor ICON
Facebook: Vilma Santos Recto
Facebook: Nora Aunor
IMDB: Nora Aunor
IMDB: Vilma Santos
Wikipedia: Vilma Santos
Wikipedia: Nora Aunor
Superstar Nora Aunor
Star For All Seasons Vilma Santos
Nora Aunor Film Actress
Vilma Santos Film Actress
And God Smiled at Me vs. Dama de Noche
Vilma-Nora Then, Nora-Vilma Now
Boxing Matches (Part One)

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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Tele-Vilma (Videos)

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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)

Vilma Santos’ 18TH Birthday (Repost)

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The year was 1971, when ate Vi celebrated her debut. Ang tagal na pala. Parang kailan lang when I cut these photos sa isang newspaper. I was still in grade school then, at wala pang pambili ng mga magazines. So, I content myself sa newspaper naming sa bahay. As far as I can remember, isang bonggang birthday celebration iyon. Nagkaroon ng isang asalto on the eve of her birthday. Meron din fans party na ginanap sa Mehan garden, pero ang talagang coming-out party niya ay ginanap sa The Plaza restaurant. Wala na itong restaurant na ito ngayon, but it was very popular ng mga panahon na iyon.

The restaurant, which was, located sa Makati, ay siya ring naging venue ng reception ng wedding nina FPJ at Susan Roces. Ang asalto, fans party sa Mehan garden at ang debut party ay added attraction sa movie nina ate Vi at Edgar na “Eternally.” Ang gown ni ate Vi was made by Ben Farrales. Sa isang write-up interview kay Danilo Franco, na siyang gumawa ng wedding gown ni ate Vi, nabanggit nito that he was working for Mang Ben during that time. The white gown bore hand-painted pink roses, which were made by Danilo Franco. Star-studded ang party ni ate Vi. Halos lahat ng young stars of the era ay dumating. Ang mga kasamahan niya sa TV show na The Sensations ang siyang mga kasali sa cotillion.

Dumalo rin ang big stars of the era like sina Rosemarie at Ricky Belmonte, at doon nila inannounce na magpapakasal sila the following month. Special guest din si Mr. Manda Elizalde of Panamin, na tinulungan noon nina ate Vi at Edgar para ikampanya para sa Senado. Dumalo rin ang super big action star noon na si Tony Ferrer kasama ang kanyang misis na si Mutya Ng Pilipinas winner, Alice Crisostomo. Naroon rin ang mga producers ni Ate Vi at ang mga press people. It’s now 2005, 34 years na ang nakakaraan, pero andito pa rin si Ate Vi at siyang nangungunang Reyna ng pelikulang Pilipino. Nawala na ang mga kasabayan niya at maging ang mga sumunod sa kanya, pero nanatiling nag-iisa ang tunay na Reyna ng Pelikulang Pilipino sa lahat ng panahon. – Eric Nadurata, V Magazine 2006

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