Vilma Santos is a popular multi-awarded actress and politician in the Philippines. She's known as the "Queen of Philippine Movies," "Queenstar" and "Star for All Seasons." She is currently the Congresswoman of District of Lipa, Batangas (Philippines). This site is mostly about her film career.
Nangangatog ako ng una kong ma-meet si Vilma Santos in person. Ganoon pala talaga ang feeling kapag naka face to face mo ang idol mo. – Ana Capri
Hindi complete at walang katuturan ang pagiging producer ko kung hindi ako makagawa ng pelikula na bida ang hinahangaan kong si Vilma Santos – Donna Villa
Kahit one-fourth lang ng tagumpay ni Ate Vi. Ang marating ko masayang masaya na ako. Talagang idol ko siya. Idol siya ng buong pamilya ko – Kristine Garcia
I first worked with Vilma when she was just a child star. From then, alam kong malayo ang mararating niya as an actor dahil bata pa mahusay na. Hindi ako nagkamali. Hindi lang siya basta naging artista, kundi naging isa sa pinakamahusay at pinakasikat. – Gloria Romero
Simula ng mapanood ko si Vilma sa Trudis Liit naging Vilmanian na ako. Nobody comes close to her. – Armida Siguion Reyna
Naging Huwaran ko si Ate Vi hindi lang sa career ko kundi maging sa personal kong buhay. I am very proud to be a Vilmanian. – Snooky Serna
Bata pa ako hindi pa ako artista talagang idol ko na si ate Vi. Pinupuntahan ko pa yan sa bahay niya para lang makita at maka-usap kahit ako lang mag-isa.- Sharon Cuneta
Vilma is the most versatile actress in our time. Kahit anong role kaya niyang gampanan ng buong husay. Ang sarap makatrabaho ang isang Vilma Santos – Celia Rodriguez
Kung alam lang ni ate Vi kung ilang beses akong nadapa sa paghahabol na makita siya. Siya ang naging inspirasyon ko sa pagpasok ko sa showbiz. – Ai-Ai Delas Alas
Simula noon hanggang ngayon pagbalibaligtarin man ang mundo Vilmanian pa rin ako. – Korina Sanchez
Once you encounter and know ate Vi, you will realized how nice and thoughtful she is. She is always been an inspiration to me. Masarap siyang maging kaibigan. – Kris Aquino
Si Vilma Santos ang idol ko. Maganda na, magaling pa. – Amy Austria
Mahusay talaga si Vilma kahit saang aspeto. Napakagaan niyang katrabaho. Isa sa mga dream ko ang mai-direct si Vi. – Gina Alajar
Vilma Santos can compete with the top caliber actresses in Hollywood. She is an epitome of a real queen of Philippine Cinema. I really look up to her. – Lea Salonga
Makasama ko lang si ate Vi sa pelikula gagawin ko kahit libre. – Dawn Zulueta
Ng makasama ko si Mama Vilma sa pelikula feeling ko puwede na akong mamatay. – Carlos Agassi
Ang isa sa pinakamagandang nangyari sa buhay ko sa pagpasok ko sa showbiz ay ang makasama ang pinakamahusay na aktres na hinahangaan at nirerespeto ng lahat. Marami akong natutuhan kay Mama Vilma – Piolo Pascual
It would be a great fullfilment if I make a movie with my favorite actress Vilma Santos – Alvin Patrimonio
Actually, mag-cousin pa kami ni Ate Vi. Walang hindi Vilmanian sa pamilya namin – Raymart Santiago
Vilma is my favorite actress. She is the only actress I love to watch on local screen. She’s Great. – Martin Nievera
Bago ako naging artista, die hard Vilmanian na ako. Nakikipag-away pa nga ako dahil kay Vilma. – Rosanna Roces
Bata pa ako ginagaya ko na ang mga acting ni Ate Vi. Idol siya ng Nanay ko kaya naging idol namin siya – Glydel Mercado
I am very flattered when Lino Brocka said that I am the next Vilma Santos. But Vilma Santos is Vilma Santos, she is incomparable. – Ruffa Gutierez
Vilma Santos is the Greatest Actress of all times. Walang Katapat – Eric Quizon
Si Vilma ang isa sa madalas magpadala ng tulong kapag may mga pangangailangan o project kami sa Red Cross at Damayan. Iilan lang ang katulad niya na kusang tumutulong na hindi na kailangan pang ipaalam sa publiko. – Ms. Rosa Rosal
I am a closet Vilmanian before, pero ngayon nagladlad na ako. Maraming katangian si Vilma na talagang hahangaan mo – Boots Anson Roa
Bago ako pumasok sa showbiz, die hard Vilmanian na ako. Nakikipag-away pa nga ako dahil kay Vilma. – Jaclyn Jose
For me Vilma Santos is the Greatest Actress of all times. – Gabby Concepcion
Somebody would come from the Philippines and they’d bring in Vilma Santos films, and I just remember, ‘Oh, this woman is making me so emotional, I think I’m a Vilmanian. That’s what they call it, I think. – Mig Macario
She crosses over from politics to showbiz and back. She can say one thing and it can be about motherhood, or love, or stardom, or politics….ang taong for all seasons – award season, holiday season, election season, even back-to-school season. Over time I’ve had the chance to meet her, and nabigyan niya ako ng acting tips. She has validated my work and given me her friendship. – Jon Santos
Amy’s Jay – “…When Amy addressed some 40 guests at the True Riches Ministry (which meets every Thursday at 6:30 p.m. at Fusion Cafe, Greenbelt, Makati), she started off with question, “Those who know Jay Ilagan, raise their hands.” And then she talked about the man she never stopped loving. When you hear her story, at many points she sounds like people you know who aren’t stars. When she talks of how she lovede Jay, she reminds you of a friend who tended to love too much. When she talks of life after Jay (when she yearned for another partner in life), she sounds like single-parent friends of yours who also wnat to settle down. Sometimes she sounds like a typical working mother, struggling hard to make ends meet. At other times, she reminds you of a troubled friend who had wrestled with drugs. All your friends, married or single, at one point in time were Amy Austria. And she talks most candidly about it. Amy captivated the crowd without evem reading a script! She began by talking about her turbulent family, where her parents were “bati-hiwalay, bati-hiwalay” until they separated for good when she was 20. When she was only 14, she became the family breadwinner as an actress. She did “bold scenes,” the “wet look,” and long kissing scenes, the usual requirements of daring roles. But she was a good actress and by age 17, she had won her first award. The Amy fell in love and lived with Jay for nine years. “Although we weren’t married, I did everything for him. I quit show biz and was his barber, masahista, nurse, and doctor. I was handyman, I even did carpentry. But I couldn’t save him from death.” When Jay died on Feb 4, 1992, Amy wanted to die, too. She would comfort herself by thinking, “Atleast, I loved him completely.” But today she advises differently: “Never love nang todo,” she says, “It;s like idolatry…” – Mona Gonzalez, Philippine Daily Inquirer, May 18, 2002 (READ MORE)
God’s Choice – “…It reached a point where I didn’t know what love was anymore. I said to myself who would take me seriously? I didn’t believe in marriage because Jay and I lived together for so long and yet we never had marriage plans. I really got her drift because I’m also tired of having a full schedule but an empty life. Amy continued, “Until I met Duke Venture (who is half-Filipino, half-Korean). Before meeting him, though I went through a period of cleansing. I was seeking out the Lord’s will in my life so when I realized that ll the promiscuity is not pleasing to Him I had to give up my boyfriend (whom I was with for over a year) even if I really loved him. I was sick of the cycle already. “At first, I felt awkward with Duke. Inglesero kasi. Parang nakakailang kausap. He’s really the friend of Lorna and Rudy. We were hanging out as a group till one time Lorna and the rest got busy, so Duke and I were the only ones around during out regular get together.” Just like Amy, Duke was already a Born-Again Christian when destiny threw them together. What seemed to be a whirlwind romance is actually a will of God that’s never gone with the wind. For quite sometime, Amy tried to avoid falling for Duke but since God already gave all the signs she prayed for, she knew in her heart that Duke is indeed God’s choice for her life-time partner…When Duke came to attend Amy’s “baptism,” I could sense the stabilizing effect he has on her. Bubbling like a child full of excitement. Amy said, “Duke gets a thrill about doing things for me that no guy has done before. Like today, I was surprised he bought me a van. First time a guy gave me a car. It’s not the material side I appreciate. It’s the sweetness behind it. he loves surprising me!” Gone is the taray or palengkera Amy Austria. The distinctive cat eyes are still there and if Amy were a cat who had nine lives, I know for sure that she would want to spend all of those lifetimes with Duke by her side and God right in the heart of their love…” – Dolly Anne Carvajal (READ MORE)
Impressive Filmographies – “…We have quite a number of gifted veteran actresses, but why is it that our directors invariably opt to work with Amy in their most important projects? Marilou Diaz Abaya in “Bagong Buwan,” Maryo delos Reyes in “Magnifico,” and Mario O’Harra in “Babae sa Breakwater” are only three of our better directors who dote on Amy, thus enabling her to come up with one of the most impressive filmographies in the business. This is quite an achievement, especially when you factor in teh fact that some industry people think that Amy is past her stellar prime. But, that’s neither here nor there. On point of consistent quality and complete believability, Amy can’t be beat…Aside from her exceptional talent, a major asset Amy has is her relatively youthful projection. Thus, the versatile actress is able to believably play a wide range of characters age from their late 20s to their 50s, making her a director’s dream performer…” – Nestor U. Torre, Philippine Daily Inquirer, Aug 6, 2004 (READ MORE)
Amy Austria-Ventura (b. December 13, 1961 as Esmeralda Dizon Tuazon) is a FAMAS and Gawad Urian Award-winning Filipino film and television actress. Austria has starred in 70 films since 1976 in many of the Philippines’ most acclaimed films. Her most memorable role was in 1985 where she starred in the Ishmael Bernal classic melodrama Hinugot sa Langit alongside Maricel Soriano. Minsan Lang Kita Iibigin marked her return in acting via the small screen. – Wikipedia (READ MORE)
Amy Austria and Vilma Santos
Anak (2000) – “…Other important movies of the year 2000:…”Anak” (Star Cinema). The year’s most successful move sometimes leans toward the mawkish, the result perhaps of its director’s protracted work on TV where the success of productions is determined by how well they can populate an episode with bathos and melodrama the better to maintain the ratings and keep the advertisers coming. But in honest look at the domestic wages of migrant labor and the utterly moving performances of Vilma Santos and Baron Geisler, it is a signigicant movie…” – Lito Zulueta, Philippine Daily Inquirer, Jan 01, 2001 (READ MORE)
Ibigay mo sa akin ang bukas (1987) – “…It seems that Vilma Santos has finally learned her lessons about money matters. The actress is reportedly eyeing a house in Greenmeadows which she plan to buy with her earnings from her latest starrer Ibigay Mo Sa Akin Ang Bukas. “Siguro kung marunong lang kaming mag-ingat ng salapi ng kumare ko (Nora Aunor), pareho na kaming may subdivision sa ngayon,” Santos reportedly said. Now, she insists on knowing where every peso goes. Perhaps, Santos has taken her cue from Amalia Fuentes, said to be the richest actress in the business. The actress, however, will keep her house in Magallanes ‘for luck’…” – JC Nigado, Manila Standard, Mar 6 1987 (READ MORE)
Paano ba ang mangarap? (1983) – “…his best movies were domestic dramas that gripped audiences for their complex take on relationships and their tendencies toward tortured, twisted operations. Hallmarks of this genre were “Sinasamba Kita” in 1982 (Vilma Santos cruelly treating her half-sister), “Paano Ba ang Mangarap?” in 1983 (cruel mom-in-law seizing her grandkid from his mom, played by Santos)…” – Lito B. Zulueta (READ MORE)
Langis At Tubig (1980) – “…During the MMFF when Ate Vi won in Karma. It was a triple tie between Ate Vi, Gina Alajar and Charo Santos. JQ as one of board of jurors defended why Ate Vi should win. On the second deliberation JQ convinced one of the jurors and Ate Vi won by 1 point. JQ lambasted on his TV program the jurors in the MMFF when Ate Vi was not even nominated for her performance in Langis At Tubig. The nominees are Nora Aunor for “Bona” and “Kung Akoy IIwan Mo” and Amy Austria for Brutal. Its good that Amy won. JQ said that Ate Vi is good in langis compared to Nora in “Kung Akoy IIwan.” Obiously that was manipulated by Dean Lukresia Kasilag who was the Board Chairman that time and a certified Noranian. Kawawa talaga si Ate Vi basta involved si Kasilag lagi syang nabibiktima. Remember Rubia Serbios and Atsay. JQ always regarded Ate Vi as the real Queen of Philippine movies and a certified box Office Queen…” – V Magazine (READ MORE)
Swing It Baby (1979) – “…Sometime in the mid 70s, matinee idol Romeo Vasquez returned to the movie scene after a long absence, his movie career in limbo after his failed marriage with popular actress Amalia Fuentes. His teamup with Vilma Santos somehow rekindled and revived his career. Their first movie together, Nag-aapoy na Damdamin in 1976 turned out to be a big hit. Despite their age gap, reel and real life sweetheart, Romeo, 34 and Vilma, 23, soon became the hottest love team, doing one hit movies after another…” – Simon Santos (READ MORE)
The Plot: Bobby (Dindo Fernando) is a man secretly in love with his neighbour and friend Cory (Vilma Santos) but who is living-in with her partner Charlie (Ronaldo Valdez). However, Cory decides to leave Charlie upon discovering his deepest secret that he is a married man. This gives Bobby the chance to show his true feelings for Cory and marries her even adopting the child Charlie has left in her womb. Bobby lives the life of a perfect husband with Cory and accepts a job assignment in Albay shuttling to and from Manila to support his new family. In the province, he meets Pilar (Amy Austria) a lovely town girl. His friendship with Pilar blossoms and they find themselves falling for each other, with Bobby concealing his real marital status. Soon the two learn that she is pregnant and the family forces them into marriage. Consequently, the women discover that Bobby is living a lie and is married to two women. He is forced to make a crucial decision, which of his marriages must be honour? Or will he faced the prospect of getting charged with bigamy? – Philippine Movies (READ MORE)
The Reviews: Nang magkaroon ng chance si Bobby (Dindo Fernando) ay sinamantala niya ang sitwasyon ng matagal na niyang nililigawang si Cory (Vilma Santos). Hiniwalayan ng kapitbahay niya ang ka-live in nitong si Charlie (Ronaldo Valdez) dahil sa panloloko nito. Natuklasan ni Cory na may asawa na ito at kinakuwartahan lang pala siya. Buntis si Cory at para maiwasan ang kahihiyan ay pumayag itong pakasal sa manliligaw na si Bobby. Nagpakasal nga ang dalawa at sa kabila ng mga tsismisan ay natutunan rin ni Cory na mahalin si Bobby. Sa kabila ng kanilang matiwasay na pagsasama ay hindi pa rin magkaanak si Cory kay Bobby hanggang sa madestino si Bobby sa Bicol kung saan nabuntis niya si Pilar (Amy Austria). Napilitang pakasalan ni Bobby si Pilar dahil sa pananakot ng pamilya nito. Nang malaman ng masugid na manliligaw ni Pilar (George Estregan) na may asawa na pala ang pinakasalan ng kanyang nililigawan ay sinabi niya agad rito’t lumuwas si Pilar upang alamin kung tutoo nga ang balitang ito. Rito niya nalamang dalawa nga silang pinakasalan ni Bobby at nagsampa ito ng demandang “bigamy.” Nang malaman ni Cory ang nangyari, una’y nasaktan ito ngunit inintindi niya ang asawa at handa itong magparaya para lang hindi ito makulong. Nagkasundo si Cory at Pilar at iuurong na ni Pilar ang demanda ngunit nagdesisyon si Bobby at hinarap ang pagkakasala nito. Sa harap ng husgado ay sinabi niyang siya ay “guilty” at nakulong siya.
“…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?…” – William Reyes (READ MORE)
Sa direksiyon ni Danny Zialcita, ang Langis At Tubig ay isang pelikulang mabilis at nakakaaliw sa kabila ng pangkaraniwang istorya nito. Tinalakay ng pelikula ang tungkol sa bigami at inilahad ang mensahe na kahit na ano pa ang sitwasyong kinakaharap ng mga tauhan ng pelikula’y hindi maikakaila talaga na may kasalanan ang karakter na ginampanan ni Dindo Fernando. Sa bandang huli’y hayagan sinabi ng husgado na sa mata ng batas walang nangingibawbaw na kahit na sino, ang maysala ay dapat parushan. Isang lagda na ng director Zialcita ang nakakaaliw ng mga diyalogo at ang Langis ay hindi na naiiiba sa mga nagawa na niyang pelikula tulad ng “Gaano Kadalas Ang Minsan” at “T-Bird At Ako.” Ang huling pelikulang ginawa ni Zialcita ay nuong 1986 pa, sana ay magbalik pelikula na siya. Napakahusay ng cinematography ni Felizardo Bailen at ang mabilis ng editing ni Ike Jarlego Sr. Bagama’t maganda ang themesong na ginawa ni George Canseco ay nakaka-distract naman sa ilang eksena na bigla na lang pumapasok ang kanta ni Sharon na dapat sanay tahimik na lang. Kung ang pag-uusapan naman ay ang pagganap, mahusay si Amy Austria bilang Pilar. Makikitang pinaghandaan niya ang kanyang pagganap. Muli, binigyan ng magagandang linya si Vilma Santos mula sa umpisa kung saan kinompronta niya ang manloloko niyang ka-live in at sinabing: “namputsa naman nahuli ka na ayaw mo pang aminin” at sa bandang huli nang intindihin niya ang asawa at handing magparaya, sinabi niya “…handa akong magparaya, kung gusto niya isang lingo sa kanya, isang lingo sa akin…” Pero halatang ang pelikulang ito ay pelikula ni Dindo Fernando. Deserving si Dindo sa kanyang pagkapanalo sa Famas bilang pinakamahusay na actor bagamat nang taong ito’y mahusay rin si Christopher Deleon sa Aguila at Taga ng Panahon at Jay Ilagan sa Brutal. Tahimik lang ang pag-arte niya’t makikita ang kanyang intensity sa kanyang eksena kung saan nagtapat na siya sa asawang si Cory tungkol sa kanyang kaso. Mahusay rin siya nang hinarap niya si Pilar at sabihin niyang, “mahal ko kayong dalawa.” Maganda ang location ng pelikula. Makikita ang mga ordinaryong tanawin ng Albay sa Bicol at ang mga ordinaryong manggagawa rito mula sa mga nagtatanim ng palay hanggang sa mga nagtitinda ng mga paninda sa palengke ng bayan. Sa kabila ng ordinaryong istorya ng Langis At Tubig, ang mahusay na direksyon at mahusay na pagkakaganap ng mga artista rito’y nangibabaw ang tunay na karapatan nitong panoorin muli ng mga mahihilig sa pelikulang Pilipino. Sayang nga lang at hindi na gumagawa ng pelikula ang ang gumawa ng obrang ito. – RV (READ MORE)
Zialcita’s first movie with Vilma was the 1980 festival entry, a drama about bigamy, Langis at Tubig. The following year, Zialcita and Santos joined forces again in antoher festival entry, Karma. The film earned Vilma her second Metro Manila Film Festival Best Actress. The following year, Ziacita’s Gaano Kadalas Ang Minsan broke box office record, Earned P7.3 million during its first day of showing in Metro Manila and assured Vilma Santos the box office queen of 1982. The total number of Vilma Santos and Danny Zialcita colloborations were four (Gaano Kadalas ang Minsan? 1982, Karma 1981, Langis at Tubig 1980, T-Bird at Ako). – RV (READ MORE)
Basic Information: Directed: Al Quinn; Story, screenplay: Oscar Miranda; Cast: Romeo Vasquez, Vilma Santos, Tito Sotto, Vic Sotto, Joey de Leon, Amy Austria, V.S.T. & Company, Mike Monserrat, Sandy Garcia, Geleen Eugenio, Bing Davao, Walter Navarro, Nena Perez Rubio, Lirio Vital, Coritha, Ritchie D’Horsie, Val Sotto, Ernie Zarate; Executive producer: Emilia Blas; Original Music: Vicor Music Corporation; Cinematography: Joe Batac; Film Editing: Nonoy Santillan; Production Design: Orlando Tolentino; Art Direction: Francisco Faustino; Sound: Luis Reyes, Ramon Reyes; Theme Songs: “I-swing mo ako” performed by Sharon Cuneta
Plot Description: Love is like dancing. No matter how many times you have been out of tuned, you will always go back to hitting the right one. Learning it may not be easy at first but if you find the right partner for you, then you can sway together… forever. Let’s dance along with Marilen (Vilma Santos) and Ben (Romeo Vasquez) as they discover more about love and friendship. – TV Star Cinema (READ MORE)
Film Achievement: No Available Data
Film Review: “Sometime in the mid 70s, matinee idol Romeo Vasquez returned to the movie scene after a long absence, his movie career in limbo after his failed marriage with popular actress Amalia Fuentes. His teamup with Vilma Santos somehow rekindled and revived his career. Their first movie together, Nag-aapoy na Damdamin in 1976 turned out to be a big hit. Despite their age gap, reel and real life sweetheart, Romeo, 34 and Vilma, 23, soon became the hottest love team, doing one hit movies after another…” – Video 48 (READ MORE)
“…Romeo Vasquez is an oddity in Vilma’s life. Hindi akalain ng lahat na ang isang notorious playboy and balikbayan actor would capture the heart of the then elusive Ate Vi. Nagkaroon sila ng affair which lasted for more than a year. Kilala si Bobby sa pagiging bohemyo kaya naman walang kakilala si Ate Vi na bumoto sa aktor. Ate Vi was love struck at talagang na head-over heels in love. Nagsimula ang kanilang affair sa set ng kanilang pelikulang “Nag-aapoy na Damdamin”. True to this title, nagliyab silang dalawa at tunay ngang nag-apoy ang kanilang damdamin. May plano pa nga sila ni Bobby na magpakasal sa Europe. Talagang Ate Vi was ready to give up her life as an actress and would settle with the actor abroad. And with herb relationship with Bobby, nag-surface ang bagong Vilma Santos. Ate Vi realized that she cann’t sacrifice everything for love. Nagising siya sa katotohanan at nagkamali kung kaya nagdesisyon siyang kumalas sa bohemyong aktor…” – Willie Fernandez (READ MORE)
“…But it was with handsome actor Romeo Vasquez that Vilma Santos had her most controversial relationship. Romeo was the former husband of Philippine movie queen Amalia Fuentes. He and Vilma first paired in the movie Nag-aapoy na Damdamin (1976). It was also during this year that they became a couple. They made several movies together, all of which did well at the box-office. Vi and Bobby (Romeo’s nickname) became the most-talked about reel and real love team at the time. The relationship was always on the pages of showbiz magazines and tabloid entertainment section pages because of the intrigues and the personalities who got involved with them…” – Rommel R. Llanes (READ MORE)
“Dinaya n’yo ako! Saan n’yo dinala ang anak ko?…Hindi mo alam…Sinungaling!…Kasabwat ka ng ina mo! Alam ko matagal n’yo nang plano ito!…Dinaya n’yo ako! Mga Traydor Kayo! Traydor kayong lahat!…Wala akong pakialam! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin ang anak ko! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin…” – Lisa
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Basic Information: Directed: Eddie Garcia; Story: Nerissa Cabral; Screenplay: Orlando Nadres; Cast: Vilma Santos, Christopher Deleon, Amy Austria, Jay Ilagan, Peral Bautista, Armida Siguion Reyna, Vic Silayan; Executive producer: Vic Del Rosario; Cinematography: Romy Vitug; Theme Songs: “Paano Ba Ang Mangarap?” performed by Basil Valdez
Plot Description: Despite their different social backgrounds, Lisa (Vilma Santos) and Benny (Jay Ilagan) have found their match in each other. Unfortunately, Benny dies before they could marry, and Lisa is left with no choice but to seek the help of Benny’s parents. But their arrogance is as lofty as their fortune, and to them, Lisa is nothing but an opportunist. Their only concern is their late son’s unborn child that Lisa is carrying in her womb. The only person who treats Liza with kindness is Eric (Christopher de Leon), Benny’s brother, who has secretly fallen in love with her… – Kabayan web-site
Pregnant Lissa’s (Vilma Santos) misery starts when her wealthy boyfriend Benny (Jay Ilagan) dies in a motorcycle accident. Impoverished, Lissa seeks security for her child with Benny’s malevolent mother Doña Francia (Armida Siguion-Reyna). Her one request is to stay at their house until she gives birth, then leave the infant to their care. Doña Francia abuses Lissa who works for her like a maid, leading to the death of Lissa’s mother. Benny’s brother Eric (Christopher De Leon) falls in love with Lissa and marries her to the indignation of Doña Francia who denies Lissa of her son. Lissa marries Eric not for love but to be with her son and eventually gets pregnant but has a miscarriage. Disheartened, Eric turns to her ex-girlfriend Maya (Amy Austria) with whom Eric goes on a world tour. Meanwhile, Doña Francia surreptitiously brings Lissa’s son to the U.S. – TFC Now (READ MORE)
Film Achievement: 1983 FAP Best Cinematography – Romeo Vitug; 1983 FAMAS Best Cinematography – Romeo Vitug; 1983 FAMAS Best Screenplay – Nerissa Cabral, Orlando Nadres; 1983 FAMAS Best Story – Nerissa Cabral; 1983 FAMAS Best Theme Song – George Canseco; 1983 FAMAS nomination Best Director – Eddie Garcia; 1983 FAMAS nomination Best Picture; 1983 FAMAS nomination Best Supporting Actress – Armida Siguion-Reyna
Film Reviews: Paano Ba Ang Mangarap? rates high for its slickness and production gloss, something that its producers, Viva Films, shouldn’t hope would last them more than two seasons. Eddie Garcia is a good director. He stages his scenes well, with a minimum of fuss and a modicum of winning faith in narrative primacy. Viva’s movies are well-structured, well-paced, and at their best show how the cosmopolitan Filipino behaves under romantic stress. But if you get past that level and dig into substance, you encounter that self-same compost pit wherein all the biodegradable scraps of melodrama you can find southeast of your favorite mother’s kitchen have been thrown.
Such is the case, to a most lamentable extreme, with Paano Ba ang Mangarap? It’s well-acted, well-done, tastefully correct in elementary mode. But it is strictly local comics fare, this well-wrought turn of circumstantial twist and escalating conflicts which all spell high drama. Viva makes films that are at best our answer to Hollywoodian slick, the stuff of which The Other Side of Midnight and Imitation of Life are prime generational examples. The Barbra Cartlands and Harold Robbinses turned celluloid; Mills and Boon on the big screen. Here you have two fine actors, Christopher de Leon and Vilma Santos, waxing once again with their special chemistry. Boyet is so good he can, by merely varying his inflection, go through a simple line like “Tama na..” three times and prove positively sensitive and believable each time. Subtlety of feeling is shared equally well by Vilma Santos. They are both aware of the value of underplaying their emotional scenes, so much so that in any confrontation with other thespians who play their role to the hilt, these two, Boyet and Vilma, come out on top through the simple process of undercutting. Vic Silayan and Perla Bautista are equally good in Paano Ba ang Mangarap?, but it is Moody Diaz who wins us over by applying a different tack in her “mayordoma” role, something that is usually played for laughs and other such effects by less gifted, or less imaginative, performers. Armida Siguion-Reyna is hampered by her termagant mother-in-law role, the catch-all character of cruelty spawned by all the soap opera dramas of Philippine comics and radio serials. And she plays this thoroughly unbelievable character, typecast as she already is, much to the hilt. That fantasy scene where she makes out like a satanic figure, though well-shot by Romy Vitug, is quite embarrassing for a picture like this, except of course we know that it is based on a comics serial where such fictive excesses may appear.
Here is where this otherwise finely-crafted film suffers. Viva knew it had to be faithful to the comics serial, so in effect opted for the surefire commercial draw at the expense of a truly artistic, credible film. I’m not saying that a character like Mrs. Monteverde does not, or cannot, exist. Perhaps one in a million. Filipino mothers can be as overbearing, prejudiced, unfeeling, and downright cruel. But to have a situation where an improbable character like her meets up with other improbable characters like the one Vilma and Christopher play, is stacking up the cards too much on the side of atrocious melodrama. Vilma is the martyr type who would subject herself to indignities just so her coming child can have a name and possibly better upbringing. Boyet is the unloved son who would ditch his sophisticated girlfriend (Amy Austria, who is still uncomfortable in such role, so she doesn’t fare too well here) for this martyr-type who’s been impregnated by his brother. Now, any of these characters may exist, if by a long chance. But to have them all together living under the same roof is stretching the bounds of possibility much too much. Furthermore, it could have been a better ending had the Viva bosses decided to stop at that scene where Vilma finds herself left alone on Christmas in the rich surroundings she has always dreamt of. Now only the household help can give her token solace by way of a collective gift. It is a poignant scene, stylistically done to proper effect with the usual Viva-film theme wafting through in support of silent montage. It could have been a good open ending, with overtones of irony laying themselves squarely on Vilma’s character. But no, of course one can’t disappoint the followers of the original comics serial. So the story goes on through further typical maneuverings until we’re given at least a semblance of a happy ending. A missed chance, I say. – “A missed chance” by Alfred A. Yuson, Philippines Daily Inquirer – 17 July 1983
A true blooded Vilmanian will not forget the time when a teaser (a very brief movie trailer – around 20 seconds) was shown to the theatres in the summer of 1983. It was Viva films’ “Paano Ba Ang Mangarap?” Another box office hit from Vilma Santos and Christopher DeLeon. The teaser (almost worth the whole movie ticket) was the scene where Lisa, played by Vilma discovered that her son (to Eric’s brother, Jay Ilagan) was gone courtesy of her evil rich mother-in-law (Armida Sigueon Reyna). Here’s the lines and the explosive acting of the Queen. The scene: After running around looking for the baby in all the rooms in second floor of of this huge mansion, Lisa confronted Eric who were stunned to find Lisa’s hysterics.
Lisa: Dinaya n’yo ako! Saan n’yo dinala ang anak ko?!!! Eric: Hindi ko alam! Lisa: Hindi mo alam…Sinungaling! Eric: Lisa, makinig ka muna… Lisa: Kasabwat ka ng ina mo! Alam ko matagal n’yo nang plano ito!Eric: Ano bang pinagsasabi mo? Lisa: Dinaya n’yo ako! Mga Traydor Kayo! Traydor kayong lahat! Eric: Lisa, huminahon ka baka mapaano ang bata! Lisa: Wala akong pakialam! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin ang anak ko! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin…. AHHHH (mahuhulog sa hagdanan)
Just this scene alone, Vilma should be rewarded that year’s best actress award! Bravo! RV
“…The movie showed Garcia’s strengths as a director—able to motivate his actors, frame sequences and scenes, and efficiently tell a story. Those qualities would be very evident in the 1980’s when Eddie Garcia directed the biggest blockbusters of Viva Films…But his best movies were domestic dramas that gripped audiences for their complex take on relationships and their tendencies toward tortured, twisted operations. Hallmarks of this genre were “Sinasamba Kita” in 1982 (Vilma Santos cruelly treating her half-sister), “Paano Ba ang Mangarap?” in 1983 (cruel mom-in-law seizing her grandkid from his mom, played by Santos), and “Magdusa Ka” in 1986 (an illegitimate daughter claims her birthright but finds life in her rich dad’s mansion a cruel torture). His last most significant movie as a director was obviously “Abakada Ina” (2001). In telling the story of an illiterate mother struggling for her children’s attention against her mother-in-law who’s a schoolteacher, Garcia seemed to go back to the standard traits of his best domestic dramas, with their take on the meanness and cruelty that seem to underlie filial relationships…” – Lito B. Zulueta (READ MORE)
“…Despite their different social backgrounds Lisa (Vilma Santos) and Benny (Jay Ilagan) have found their match in each other. Unfortunately Benny dies before they could marry and Liza is left with no choice but to seek the help of Benny’s parents. But hteir arrogance is as lofty as their fortune and to them Liza is nothing but an opportunist. Their only concern is their late son’s unborn child that Liza is carrying in her womb. The only person who treats Liza with kindness is Eric (Christopher de Leon) Benny’s brother who has secretly fallen in love with her…” – Mav Shack (READ MORE)
“Dahil Father’s Day ngayon, nais nating bigyan ng magandang tribute ang nakilala nang ama ng maraming artista ng iba’t ibang henerasyon na si Eddie Garcia. Hindi lang mahusay na bida at kontrabida si Eddie kundi mahusay rin siya bilang isang film director. Taong 1961 nang idirek ni Eddie ang kanyang unang pelikula titled “Karugtong Ng Kahapon” kunsaan bida sina Mario Montenegro, Rita Gomez, Ric Rodrigo at Marlene Dauden. Higit na 36 movies pa ang dinirek ni Eddie na iba-iba ang tema…Paano Ba Ang Mangarap? (1983), Tungkol ito kay Lisa (Vilma Santos) na nabuntis ni Benny (Jay llagan) pero noong mamatay ito sa isang aksidente, ang kapatid nitong si Eric (Christopher de Leon) ang nagpakasal kay Lisa para mabigyan ng pangalan ang bata. Ginawa niya ito kahit na may girlfriend siya na si Maya (Amy Austria). Hindi pabor sa simula pa lang ang ina nila Benny at Eric na si Senyora Francia (Armida Siguion-Reyna) at gumawa ito ng paraan para mailayo kay Lisa ang anak nitong si Jun-Jun. Nanalo ito ng limang FAMAS Awards: Best Picture, Best Story, Best Screenplay, Best Cinematography at Best Theme Song…” – Ruel Mendoza, Abante, 15 June 2019 (READ MORE)
“Labanan natin siya…pupunta ako sa kanya, makikiusap, kung kailangang lumuhod, gagawin ko…isang linggo sa kanya, isang linggo sa akin…kung ayaw niya, anim na araw sa kanya, isang araw sa akin, kung ayaw pa rin niya lahat na ng araw ay sa kanya na…Bobby you gave me hope, you make me a wife, you showed me love when theres only hatred, ginawa mo ako kung ano ako ngayon, babae, ano pang hihilingin ko?” – Cory
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Basic Information: Directed, story: Danny Zialcita; Screenplay: Baby Nebrida, Danny Zialcita; Cast: Vilma Santos, Dindo Fernando, Ronaldo Valdez, Amy Austria, George Estregan, Ruben Rustia, Johnny Vicar, Lucita Soriano, Augusto Victa, Vic Diaz, Vic Silayan, Mario Escudero, Suzanne Gonzales, Adul De Leon, Martha Sevilla; Executive producer: Ernesto C. Rojas; Original Music: George Canseco; Cinematography: Felizardo Bailen; Film Editing: Ike Jarlego Sr.; Theme Songs: “Langis At Tubig” performed by Sharon Cuneta
Plot Description: Bobby (Dindo Fernando) is a man secretly in love with his neighbour and friend Cory (Vilma Santos) but who is living-in with her partner Charlie (Ronaldo Valdez). However, Cory decides to leave Charlie upon discovering his deepest secret that he is a married man. This gives Bobby the chance to show his true feelings for Cory and marries her even adopting the child Charlie has left in her womb. Bobby lives the life of a perfect husband with Cory and accepts a job assignment in Albay shuttling to and from Manila to support his new family. In the province, he meets Pilar (Amy Austria) a lovely town girl. His friendship with Pilar blossoms and they find themselves falling for each other, with Bobby concealing his real marital status. Soon the two learn that she is pregnant and the family forces them into marriage. Consequently, the women discover that Bobby is living a lie and is married to two women. He is forced to make a crucial decision, which of his marriages must be honour? Or will he faced the prospect of getting charged with bigamy? – Philippine Movies web-site
Film Achievement: 1980 FAMAS: Best Actor – Dindo Fernando; Best Actress Nnomination – Vilma Santos; 1980 Gawad URIAN: Best Actor Nomination – Dindo Fernando; Best Theme Song – George Canseco; 1980 FAMAS: Best Director Nomination – Danny L. Zialcita; Best Picture Nomination; 1980 Metro Manila Film Festival: Best Actor – Dindo Fernando; Best Story – Danny L. Zialcita; 3rd place – Best Film
Film Reviews: Nang magkaroon ng chance si Bobby (Dindo Fernando) ay sinamantala niya ang sitwasyon ng matagal na niyang nililigawang si Cory (Vilma Santos). Hiniwalayan ng kapitbahay niya ang ka-live in nitong si Charlie (Ronaldo Valdez) dahil sa panloloko nito. Natuklasan ni Cory na may asawa na ito at kinakuwartahan lang pala siya. Buntis si Cory at para maiwasan ang kahihiyan ay pumayag itong pakasal sa manliligaw na si Bobby. Nagpakasal nga ang dalawa at sa kabila ng mga tsismisan ay natutunan rin ni Cory na mahalin si Bobby. Sa kabila ng kanilang matiwasay na pagsasama ay hindi pa rin magkaanak si Cory kay Bobby hanggang sa madestino si Bobby sa Bicol kung saan nabuntis niya si Pilar (Amy Austria). Napilitang pakasalan ni Bobby si Pilar dahil sa pananakot ng pamilya nito. Nang malaman ng masugid na manliligaw ni Pilar (George Estregan) na may asawa na pala ang pinakasalan ng kanyang nililigawan ay sinabi niya agad rito’t lumuwas si Pilar upang alamin kung tutoo nga ang balitang ito. Rito niya nalamang dalawa nga silang pinakasalan ni Bobby at nagsampa ito ng demandang “bigamy.” Nang malaman ni Cory ang nangyari, una’y nasaktan ito ngunit inintindi niya ang asawa at handa itong magparaya para lang hindi ito makulong. Nagkasundo si Cory at Pilar at iuurong na ni Pilar ang demanda ngunit nagdesisyon si Bobby at hinarap ang pagkakasala nito. Sa harap ng husgado ay sinabi niyang siya ay “guilty” at nakulong siya.
Sa direksiyon ni Danny Zialcita, ang Langis At Tubig ay isang pelikulang mabilis at nakakaaliw sa kabila ng pangkaraniwang istorya nito. Tinalakay ng pelikula ang tungkol sa bigami at inilahad ang mensahe na kahit na ano pa ang sitwasyong kinakaharap ng mga tauhan ng pelikula’y hindi maikakaila talaga na may kasalanan ang karakter na ginampanan ni Dindo Fernando. Sa bandang huli’y hayagan sinabi ng husgado na sa mata ng batas walang nangingibawbaw na kahit na sino, ang maysala ay dapat parushan. Isang lagda na ng director Zialcita ang nakakaaliw ng mga diyalogo at ang Langis ay hindi na naiiiba sa mga nagawa na niyang pelikula tulad ng “Gaano Kadalas Ang Minsan” at “T-Bird At Ako.” Ang huling pelikulang ginawa ni Zialcita ay nuong 1986 pa, sana ay magbalik pelikula na siya. Napakahusay ng cinematography ni Felizardo Bailen at ang mabilis ng editing ni Ike Jarlego Sr. Bagama’t maganda ang themesong na ginawa ni George Canseco ay nakaka-distract naman sa ilang eksena na bigla na lang pumapasok ang kanta ni Sharon na dapat sanay tahimik na lang. Kung ang pag-uusapan naman ay ang pagganap, mahusay si Amy Austria bilang Pilar. Makikitang pinaghandaan niya ang kanyang pagganap.
Muli, binigyan ng magagandang linya si Vilma Santos mula sa umpisa kung saan kinompronta niya ang manloloko niyang ka-live in at sinabing: “namputsa naman nahuli ka na ayaw mo pang aminin” at sa bandang huli nang intindihin niya ang asawa at handing magparaya, sinabi niya “…handa akong magparaya, kung gusto niya isang lingo sa kanya, isang lingo sa akin…” Pero halatang ang pelikulang ito ay pelikula ni Dindo Fernando. Deserving si Dindo sa kanyang pagkapanalo sa Famas bilang pinakamahusay na actor bagamat nang taong ito’y mahusay rin si Christopher Deleon sa Aguila at Taga ng Panahon at Jay Ilagan sa Brutal. Tahimik lang ang pag-arte niya’t makikita ang kanyang intensity sa kanyang eksena kung saan nagtapat na siya sa asawang si Cory tungkol sa kanyang kaso. Mahusay rin siya nang hinarap niya si Pilar at sabihin niyang, “mahal ko kayong dalawa.” Maganda ang location ng pelikula. Makikita ang mga ordinaryong tanawin ng Albay sa Bicol at ang mga ordinaryong manggagawa rito mula sa mga nagtatanim ng palay hanggang sa mga nagtitinda ng mga paninda sa palengke ng bayan. Sa kabila ng ordinaryong istorya ng Langis At Tubig, ang mahusay na direksyon at mahusay na pagkakaganap ng mga artista rito’y nangibabaw ang tunay na karapatan nitong panoorin muli ng mga mahihilig sa pelikulang Pilipino. Sayang nga lang at hindi na gumagawa ng pelikula ang ang gumawa ng obrang ito. – RV
“…When I was 14, I rode on the float of the movie Langis at Tubig during the parade at the Cebu Film Festival. I sang the theme song of that movie (directed by Danny Zialcita). Ate Vi (Vilma Santos), one of the stars, was pregnant with Lucky so I kind of pinchhit for her. Direk Danny was very impressed by the public reaction. After the parade, he talked to my Mom about the movie Dear Heart. Hindi daw niya itutuloy if he couldnít get me to star in it…” – Ricky Lo (READ MORE)
“…During the MMFF when Ate Vi won in Karma. It was a triple tie between Ate Vi, Gina Alajar and Charo Santos. JQ as one of board of jurors defended why Ate Vi should win. On the second deliberation JQ convinced one of the jurors and Ate Vi won by 1 point. JQ lambasted on his TV program the jurors in the MMFF when Ate Vi was not even nominated for her performance in Langis At Tubig. The nominees are Nora Aunor for “Bona” and “Kung Akoy IIwan Mo” and Amy Austria for Brutal. Its good that Amy won. JQ said that Ate Vi is good in langis compared to Nora in “Kung Akoy IIwan.” Obiously that was manipulated by Dean Lukresia Kasilag who was the Board Chairman that time and a certified Noranian. Kawawa talaga si Ate Vi basta involved si Kasilag lagi syang nabibiktima. Remember Rubia Serbios and Atsay. JQ always regarded Ate Vi as the real Queen of Philippine movies and a certified box Office Queen…” – V Magazine (READ MORE)
“Sana sa tuwing umiinom ka ng alak…habang hinihitit mo ang sigarilyo mo at habang nilulustay mo ang perang pinapadala ko! Sana maisip mo rin kung ilang pagkain ang tiniis kong hindi kainin para lang makapagpadala ako ng malaking pera rito. Sana habang nakahiga ka diyan sa kutson mo, natutulog, maisip mo rin kung ilang taon akong natulog mag-isa nabang nangungulila ako sa yakap ng mga mahal ko. Sana maisip mo kahit kaunti kung gaano kasakit sa akin ang mag-alaga ng mga batang hindi ko kaanoano samantalang kayo, kayong mga anak ko hindi ko man lang maalagaan. Alam mo ba kung gaano kasakit iyon sa isang ina? Alam mo bang gaano kasakit iyon? Kung hindi mo ako kayang ituring bilang isang ina. Respetuhin mo man lang ako bilang isang tao. Yung lang Carla…yun man lang.” – Josie Agbisit
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Basic Information: Directed: Rory B. Quintos; Story: Raymond Lee, Ricardo Lee; Screenplay: Raymond Lee, Ricardo Lee; Cast: Vilma Santos, Claudine Barretto, Joel Torre, Amy Austria, Cherry Pie Picache, Baron Geisler, Leandro Muñoz, Gino Paul Guzman, Sheila Mae Alvero, Tess Dumpit, Jodi Sta. Maria, Cris Michelena, Hazel Ann Mendoza, Daniel Morial, Odette Khan, Troy Martino, John Lapuz, Jojo Saguin, Archie Adamos, Jiro Manio, Don Laurel, Nellie Sy, Andrew Chua, Jet Filipino, Manny Mendoza, Ron Christopher Flores, Mark Anthony Madronio, Aida Espiritu, Macy Masucol, Me-an Vargas, Girlie Alcantara, Jessette Prospero, Lawrence A. Roxas, Lui Villaruz, Sarji Ruiz, Mark De Guzman, Yiu Pong Lau, Zott Vincent Cailipan, Renan Giljang, Butch Jarlos, Aimee Marasigan, Ailyngail Mary Navarro; Executive Producers: Charo Santos Concio, Malou N. Santos; Original Music: Jessie Lasaten; Cinematography: Joe Batac; Film Editing: George Jarlego; Production Design: Danny Santiago, Nuel C. Naval; Sound: Ramon Reyes; Theme Songs: “Anak” written and composed by Freddie Aguilar, sung by Sharon Cuneta; Released: 2000 119 minutes color 35mm Star Cinema Productions
Plot Description: The main character is a Filipina Overseas Contract Worker, one of the many residents of the archipelago who is forced to leave her family and take a higher paying job in a more prosperous Asian country. While she is working her employer refuses to let her take a vacation, nor does he deliver her mail to her. She is unaware, therefore, that her husband has died. When she finally returns to the Philippines, she is met with resentment and hatred by her children. The movie studies how she overcomes these feelings and rebuilds the relationship with her family. – IMDB
Vilma Santos in her most dramatic role for a long time is back in “Anak”. She plays a mother trapped between providing to her family and being with them when she is most needed. In contrast to her sacrifices is an ungrateful daughter, played by Claudine Barretto. Also in the cast are Amy Austria, Cherrie Pie Picache, Baron Geisler and Leandro Munoz. – Mininova
This is the story of a mother’s agony and her desperate attempt to piece back the broken fragments of her shattered family. Josie (Vilma Santos) returns to Manila after working as a Domestic Helper in Hong Kong for ten years. Her beloved husband, Rudy (Joel Torre), who died five years ago, was good-natured, loving and kind but was not a good provider. She was forced out of financial need to go abroad and slave under abusive employers in order to provide a better life for the family. But her happy expectation of a joyful reunion with her beloved children is dashed to pieces when she finds that her absence, her family has fallen apart: her first-born, Carla (Claudine Barretto), has run loose and wild for lack of guidance; her son, Michael (Baron Geisler), is in deep trouble in school; and her youngest, Daday (Sheila Junsay), doesn’t even know who she is. Josie is a stranger to her own family. She tries to maintain a happy and cheerful exterior while desperately trying to reach out to her children but they continue to repel her tender appeals. Ironically, it is Daday, her youngest who grew up without knowing her, who first opens her own heart and embraces her into the family. Unknown to Josie, her two elder children harbours a deep and painful resentment toward her.
In their minds, their mother does not care for them. She had left for abroad even when they cried and begged her not to, and she did not even bother to come home to be with them for their father’s funeral. But Carla and Michael do not know their mother’s side of the story. Josie was devastated upon hearing of Rudy’s death but she had been unable to go home because her employers cruelly kept her locked inside the house. And she had endured another five years of hard labour knowing that her family would need money then, more than ever. Josie’s problem, despite all her desperate efforts, becomes worse and worse. She loses all of her savings in a failed business venture, Michael is kicked out of school, and worst of all, Carla becomes pregnant by one of her many lovers. Josie is horrible aggrieved when Carla, in a fit of helpless fury, throws at Josie’s face all her years of pent-up anger and resentment. She blames Josie for the aimless, ruined life. Josie was never here to give her love, she says, that is why she seeks it in the arms of men. Finally, Josie admits defeat. She has failed bitterly in her role as a mother. What is the right thing for her to do? Should she stay or should she go? Will she have the courage to try to reclaim her family, or will she take the easier way out and return to her familiar life in Hong Kong? – Star Cinema
A mother in anguish makes a last-ditch effort to piece back together the broken fragments of her shattered family. After ten years of working as a domestic helper in Hong Kong, she comes home to Manila but not to be greeted with a joyful reunion with her loved ones. She longs for her late husband who was kind and loving but not a good provider. Her firstborn has run wild for lack of guidance. Her only son is in deep trouble in school. Her youngest doesn’t even recognize her. She comes to realize that her children harbor resentment toward her as she left for abroad despite pleas for her not to and for the crucial fact that she missed their father’s funeral five years ago. Despite all indications to the contrary, she is determined to overcome all hindrances to still succeed in her maternal role. – UP Shots 6 Film Artists from Diliman (READ MORE)
Film Achievement: Philippines’ Official Entry to the Foreign Language Film Category to 73rd Academy Awards (OSCAR); Philippines’ Official Entry to the 2001 Fukuoka Asian Film Festival; Philippines’ Official Entry to the 2001 Fort Lauderdale International Film Festival; Philippines’ Official Entry to the 2001 San Francisco Asian American Film Festival; 2000 STAR Best Actress – Vilma Santos; 2000 FAP Best Screenplay – Ricardo Lee, Raymond Lee; 2000 FAP Best Supporting Actress – Amy Austria; Best Picture – 2000 Catholic Mass Media Awards; 2000 PASADO Best Picture – Star Cinema; 2000 PASADO Best Actress – Vilma Santos; 2000 GMMSF Box Office Queen – Vilma Santos
P14-M on Opening Day – The latest movie of Lipa Mayor Vilma Santos, “Anak,” grossed P14M when it opened last Wednesday, making it the third-in-a-row smash hit offering from Star Cinema. Two other big hits produced by Star Cinema were the Sharon Cuneta-Richard Gomez starrer “Minsan, Minahal Kita” and “Tunay Na Tunay, Gets Mo, Gets Ko,” which starred Robin Padilla and Jolina Magdangal. Moviegoers who went to watch “Anak” (Star Cinema’s latest offering for Mother’s Day) were only women, but also men. It was also heartwarming that people of all ages and from all levels of society are undoubtedly drawn by the heart-rending theme of the movie. The dramatic film tackles the plight of an overseas Filipino worker (played by Vilma Santos) who comes home again to a family in shambles after working in Hongkong for several years. “Anak” is directed by Rory Quintos from a well researched screenplay by Ricardo Lee and Raymund Lee. It also stars Claudine Barreto as the self-destructing and rebellious daughter who turns her mother’s (Vilma’s) homecoming into a veritable hell. Observes Malou Santos, managing director of Star Cinema, producer of Anak: “Siguro ang appeal ng ‘Anak’ stems from its plot, with which Filipino families can easily identify. May kamag-anak man silang overseas worker o hindi. Kasi, more than dealing with the story of an OFW, ‘Anak’ tackles family disputes, this time set in a contemporary setting and situation.” “Nakatulong din na parehong magaling sina Vi at Claudine sa pelikula. Pati na ang kanilang mga co-stars na sina Baron (Geisler), Cherry Pie (Picache) and Amy Austria. Kahit na si Joel Torre, na very special lang ang participation sa pelikula, proved to be a standout,” Ms. Santos further stated. – Sol Jose Vanzi, May 14, 2000 (READ MORE)
“…Anak, the movie by ABS-CBN’s film outfit Star Cinema, is a box-office hit. On its first day alone, the movie garnered more than P14 million at the tills. The Vilma Santos-starrer is the centerpiece of the projects and services being offered by the network and its various subsidiaries for Overseas Filipino Workers. Fittingly, the premiere of Anak was held in Hong Kong where a large number of Filipina OFWs are based. The global premiere was sponsored by ABS-CBN International, Forex Cargo and Marigold Commercial Enterprises…” – The Philippine Star, May 19, 2000 (READ MORE)
P160 million – “…Star Cinema’s “Anak,” directed by Rory Quintos and topbilled by Vilma Santos and Claudine Barretto as the mother and daughter at odds, will be submitted for consideration as the country’s entry to next year’s (73rd) Oscars in the Best Foreign Language Film category. It will have to compete with more than a hundred other films from countries around the world for the five slots as finalists. Anak was unanimously chosen by the Board of Governors (BOG) of the Film Academy of the Philippines as the country’s lone entry. The BOG picked Anak over two other films, Mike de Leon’s “Bayaning Third World” and Carlitos Siguion-Reyna’s “Azucena.” The film’s subtitled print will be sent to the Academy of Motion Pictures Arts and Sciences (AMPAS) in California next month. “Anak” is the highest-grossing (more than P160 million) Star Cinema project, shown in various parts of the world. It dramatizes the plight of OFWs and the effects of their absence on their families here….” – Ricardo F. Lo, October 04, 2000, The Philippine Star (READ MORE)
2000 Box Office Queen – “…The Guillermo Mendoza Memorial Scholarship Foundation, Inc. is staging the 31st annual Box Office King and Queen of Philippine Movies coronation night on April 4 at the UP Theater. Telecast date is on April 21 on RPN-9. This private foundation is headed by civic leader Corazon M. Samaniego, daughter of the late Guillermo Mendoza who was once a noted politician and philanthropist in Bulacan. Middle of this week, the members of the board of judges of this award-giving body (with Necy Marco Llarena as chairperson) sat down to deliberate on the winners of this yearly popularity contest. Lipa City Mayor Vilma Santos was voted Box Office Queen because of the strong showing at the tills of her film Anak last summer. Produced by Star Cinema and directed by Rory Quintos, Anak was one of the top-grossing films of the year 2000. Robin Padilla, on the other hand, was voted Box Office King of Philippine Movies. Padilla’s two movies last year were big winners at the box office: Kailangan Ko’y Ikaw with Viva Films and Tunay na Tunay — Gets Mo, Gets Ko, released under Star Cinema…Veteran performers Dolphy and Gloria Romero are also being honored as All-Time Favorite Actor and Actress. Dolphy may have lost in the Best Actor race in last December’s Metro Manila Film Festival, but he still made quite a splash in Gil Portes’ Markova: Comfort Gay. And Gloria? After so many decades, she’s once more the toast of the town – thanks to Tanging Yaman…Maribeth Bicharra should also be very happy with the list of winners in this year’s Guillermo Mendoza Memorial Scholarship Foundation awards rites. Her VIP was voted almost unanimously as the Most Popular Dance Group. In the television category, Rudy Fernandez’s Kasangga on Channel 7 was picked as the Most Popular TV Program…” – Butch Francisco, The Star, Feb. 25, 2001, Reposted by: Sol Jose Vanzi (READ MORE)
Big Success – “…Goodbye, Dragon; hello, Snake!…The movie industry, like its counterparts in all of Asia, got a much-needed shot-in-the-arm when the FPJ starrer Ang Dalubhasa ushered Year 2000 in with a merry ring at the box office (followed by half a dozen others as the months rolled by, such as Star Cinema’s Anak, Tunay na Tunay and Kahit Isang Saglit; Viva Films’ Kailangan Ko’y Ikaw, etc.; and Regal Films’ Laro sa Baga, etc.). The industry hasn’t fully recovered yet from the prolonged “slump” but it’s getting there, thank you!…The Big Success Of Vilma Santos In Anak. Lipa City Mayor Vilma Santos scored a smash hit by playing an OFW (Overseas Filipino Worker) who comes home after years of working as a domestic in Hong Kong to a hostile daughter (played by Claudine Barretto). Anak was the year’s biggest hit, raking in more than P150 million, shown to capacity crowds not only from Aparri to Jolo but also in other countries (like Japan, Hong Kong, Italy. etc.). There’s hope for the movie industry, yes?…Happy days are here again!…” – Ricky Lo, Philippine Star, Dec. 31, 2000, Reposted by: Sol Jose Vanzi (READ MORE)
Star Awards – “…At about the same time last Saturday night (March 10) that a nervous contestant at the 2001 Bb. Pilipinas Pageant was telling an excited SRO audience at the Araneta Coliseum to “Keep quiet!” while she tarried to answer a simple question from judge Gloria Diaz, 1969 Miss Universe (you know, “Which would you rather be, beautiful but not too smart or smart but not too beautiful”), the members of the Philippines Movie Press Club (PMPC), led by President Nora Calderon, were giving away trophies at the 17th PMPC Star Awards For Movies at the nearby UP Theater in Diliman, Quezon City. As in the Bb. Pilipinas Pageant, the winners at the Star Awards caught a lot of people “unaware,” turning that little Saturday night into one of big surprises such as, “What!?! Tanging Yaman won only one award (that of New Movie Actress of the Year for Janette McBride)?” And how can a member of the movie press be chosen, ehem, Darling of the Press? A case of, you know, “I love my own?” Anyway, will the Urian Awards come up with more “surprises” (they have to be “different,” you know) or the Film Academy Awards or the FAMAS? Movie of the Year: Bayaning Third World (Cinema Artist Phil.); Movie Director of the Year: Mike De Leon (Bayaning Third World/Cinema Artist Phil.); Movie Actress of the Year: Vilma Santos (Anak/Star Cinema); Movie Actor of the Year: Carlos Morales (Laro sa Baga/Regal Films); Movie Supporting Actress of the Year: Angel Aquino (Laro sa Baga/Regal Films); Movie Supporting Actor of the Year: Jeffrey Quizon (Markova: Comfort Gay/RVQ Production); Ulirang Artista Awardee: Boots Anson-Roa…” – Sol Jose Vanzi, March 12, 2001 (READ MORE)
Gloria Romero’s First Gawad Urian – “…Veteran actor Eddie Garcia and actress Gloria Romero bagged their very first Gawad Urian award for best lead actor and best lead actress Saturday night at the Manunuri ng Pelikulang Pilipino’s (MPP) 24th Gawad Urian awards at the University of the Philippines Theater in Quezon City…Romero, who won for her performance in “Tanging Yaman,” was in a tight race for the lead actress award with seven-time Urian best actress awardee Vilma Santos. “This is my first time to receive an award from the Manunuri and I would like to share this especially to Ms. Vilma Santos who I think deserves this as much”…Other major awards were given to Regal Film’s “Tuhog” for best picture; Laurice Guillen, best director for “Tanging Yaman”; Monique Wilson, best supporting actress for “Laro sa Baga,” and Jeffrey Quizon, best supporting actor for “Markova”…Urian’s sidetrack was the honoring of films, directors, and performances for the past decade via the Gawad ng Dekada. This segment pulled out acting recognitions for Richard Gomez, Vilma Santos, and Nora Aunor…This year’s crop of film critics comprising the Manunuri were MPP President Agustin Sotto, Grace Javier Alfonso, Butch Francisco, Mario Heranando, Bienvenido Lumbera, Ellen Paglinauan, Miguel Rapatan, Nicanor Tiongson, Rolando Tolentino, and Lito Zulueta…” – Sol Jose Vanzi, March 26, 2001 (READ MORE)
Film Reviews: “…Sa awiting iyan ni Freddie Aguilar, sinasabi na…Life is colorful because…Life is full of sacrifices…Life is full of challenges…Life is full of love, happiness and sadness…Life is a matter of choice. Sa kantang ito, sinasabi na ang nilalaman ng pelikula. Ganito nga siguro ang buhay, parang kanta, puno ng drama, saya, sakripisyo, pagsubok, at iba pa. Ito ang nakita ko sa pelikulang Anak (2000) ni Rory Quintos na pinagbibidahan nina Josie (Vilma Santos) at Carla (Claudine Barreto). Isang makabagbag damdamin, nakakaantig ng puso at nakakaiyak na pelikula. Isa na ito marahil sa mga pelikulang aking iniyakan. Marahil ganun din kayo. Sino ba naming hindi maiiyak sa kwento ng buhay pamilya ng ating mga tauhan. Pelikula man ang kanilang ginaganapan, isa naman itong makatotohanang pangyayari sa buhay ng marami sa atin…Sa pelikulang ito, malaki talaga ang papel ng mga ina sa anak. Sabi nga sa pelikula, ang ina kahit isakripisyo na nyan lahat hindi pa rin sapat. Kahit maghirap na yan kakatrabaho para lang maibigay ang mga pangangailangn ng mga anak, hindi pa rin sya mabuting ina. Siguro nga dahil hindi kayang higitan ng anumang salapi, materyal na bagay, luho at kung ano pa man ang pagmamahal, pag-aaruga, suporta at presensya ng isang ina. Na kahit maghirap ka, okay lang basta andyan yung nanay mo, kasama mo. Para naman sa mga magulang o OFWs, alam natin na hindi madali ang pinagdadaanan nila sa iba’t-ibang panig ng mundo. At alam din natin na sa bawat pakikipagsapalaran nila doon, pamilya ang pangunahing dahilan. Kaya sana, huwag silang mawalan ng oras sa pamilya. Oras na tanging pinakainaasam-asam ng kanilang mga mahal sa buhay. Sa pelikulang ito rin naipakita kung ano ang pinagdadaanan ng mga anak kapag malayo sa piling ng kanilang mga ina. Ngunit, hindi sana laging humantong sa pagrerebelde. Na sana unawain natin ang mga sakripisyong ginagawa ng mga magulang o ina nating OFWS. Mahirap makipagsapalaran lalo pa’t malalayo ka sa mga taong mahal mo. Kung kaya’t huwag natin sila sisihin sa kung ano man ang sa tingin nating pagkukulang nila bagkus pasalamatan natin sila at mas lalo pang pahalagahan at mahalin. Kung gaano tayo naghihirap pag wala sila, doble rin ang paghihirap nila na hindi tayo kasama…” – Elay Co, elayco20.wordpress.com, 28 September 2014 (READ)
Sabado ang aming regular movie day at ang SM Megamall ang paborito naming theater complex na pinupuntahan dahil nga for the usual amenities-restoran, shopping mall at iba pang panoorin. Tunay ngang kamangha-mangha ang aming nasaksihan nang Sabado ’yon, May 13, 2000 dahil punum-puno ang apat na sinehang pinaglalabasan ng pelikulang “Anak” ni Vilma Santos. The movie opened May 10, 2000, Wednesday. Kasama ang ilang kaibigang Vilmanians, hindi namin ininda ang hirap at haba ng pila ng mga manonood. Sa totoo lang, may advantage na agad sa mga manonood pag pelikula ni Ate Vi ang panonoorin dahil nga Vilma Santos ’yan. Pangit man ang istorya basta ang bidang aktres ay si Ate Vi, may mapupuri ka namang akting. Sa puntong ito, hindi ka bibiguin ng aktres, at kadalasan pa nga lalagpasan pa niya ang ating expectations gaya sa Anak. Masasabi naming sa akting lang ni Ate Vi, sulit na ang oras mo sa pelikulang ito. In fairness, well made for a melodrama ang Anak. At saka worth the price of admission na Php 50. Kung tutuusin, kasabay noon ang pagpapalabas ng pelikulang Music of the Heart na pinagbibidahan naman ni Meryll Streep na magkatulad ang tema-tungkol sa mga single mothers na nagtataguyod sa buhay ng kanilang mga anak. Pero kung akting at akting din lamang ang pag-uusapan, hindi naman mahuhuli si Ate Vi kay Meryll Streep. Kahit sabihing paborito namin ang numero unong aktres at long time fan niya kami.
Produced by Star Cinema and directed by Rory B.Quintos from a story by Ricky Lee and Raymond Lee, Vilma again plays a mother. This time in conflict with her three children who can’t accept the reality that their mother has to sacrifice the family to work as a domestic helper in Hongkong, only to come home 6 years later finding in shambles the same family that she’s working hard to keep intact. Ate Vi plays the role of Josie, a DH in Hongkong who, for a number of years, has not come home in her desire to bring more dollars to her family. Pagakatapos ng anim na taon bilang DH sa Hongkong, bumalik sa Pinas si Josie para makapiling ang mga anak pero hindi na sila nagkakilanlan ng mga ugali. Slowly, she realizes that her children resented her absence. Her eldest, Carla played by Claudine Barretto has become a rebellious adolescent. Naging adik at palipat-lipat ng lalake. Maiinis ka talaga sa kanyang pagrerebelde. Isinisisi sa pagtatrabaho ng ina sa Hongkong ang kanyang panlalake, paglalasing, paninigarilyo at pagkawala ng direksyon sa buhay. Her second child, the only boy, Michael played by Baron Geisler has turned to be a wayward kid. Her youngest na si Daday played by Sheila May Alvar hardly recognizes her.
Simple lang ang istorya. Pinatingkad lang ang pelikula ng matitinding dialogues. Tamang-tama ang pasok ng flashback scenes na nagpapaliwanag sa behavior ng mga tauhan.Kung tutuusi’y hindi na iba ang tema ng pelikula, pero ang pagkakaiba nito ay ang mga artistang nagbibigay buhay sa papel na kanilang ginagampanan. Damangdama namin ang panonood, naluluha-luha na kami sa mga eksenang napapanood. Grabeng lines, nanggagaling sa puso kaya tumatagos sa puso. Pagdating sa pagliltanya ni Ate Vi nang tuhog na tuhog, yung makapanindig-balahibong linyang marami siyang pinalampas na pagkalam ng sikmura para lang maipadala niya ang pambili sa kanyang mga anak. Ibang klase.Masikip sa dibdib, tahimik kang luluha dahil sapul na sapul ka ng kanyang pagganap. Sa tunay na buhay nga nama’y mas masakit at nakakakuha ng simpatiya ang paimpit na pag-iyak, at yun si Josie na ginagampanan ni buong ningning ni Ate Vi. Walang pakialam ang aktres sa magiging hitsura niya sa telon. Sinunod ni Ate Vi ang kagustuhan ng direktor. Ginawa niya ang hinihingi ng papel na maging deglamorize para mas maging makatotohanan ang kanyang pagbibigay buhay. Sa kanyang pag-iyak ay masisilip mo ang nagagait din niyang mga ugat sa leeg at kamay niya. Sa eksenang talagang sinusumbatan na niya si Claudine, she still amazes us on how she delivers the lines with varying degree of intensity na naaayon sa bawat bitiwang salita.
Alam namin at ng lahat kung gaano kahusay ang isang Vilma Santos, pero sa pelikulang ito ay ipinakita niya, she’s not just an instinctive actress, she’s soooo brilliant. Maririnig mo ang kaliwa’t kanang singhutan at sipunan ng mga katabi ko sa upuan. Hindi ko sila pinapansin dahil tahimik din akong nagpapahid ng luha para hindi mahalata. Bakit sila lang ba ang marunong umiyak? Remarkable din ang akting na ipinakita ni Claudine. Si Baron ay ginulat kami sa quiet acting niya. Amy Austria and Cherry Pie Picache delightful as the earthy DH friends of Josie. The movie is a certified tearjerker. I even found myself on the verge of tears in a couple of scenes. There’s nothing great about it. But what makes this movie worth watching is the transformation of Ate Vi as an actor. Anak ang pamagat ng pelikula pero kuwento ito ng isang ina. Lahat ng nakapanood ng pelikulang ito ay isa lang ang kanilang halos na pakorus na sinasabi, ibang klase talagang aktres si Ate Vi, kapos pa kung tutuusin para sa kanya ang taguring Star for All Seasons, dahil walang ibang makagaganap sa ganung uri ng papel ka natural, kungdi isang Vilma Santos lang. Paminsan-minsan mang gumawa ng pelikula si Ate Vi ay sulit naman, wala kang itatapon. ’Yun naman kasi ang tatak ni isang VILMA SANTOS, ang paggawa ng mga obra maestrang habam panahon nating maaalaala. Basta ang lahat ay pinag-uusapan ang tungkol sa pelikula dahil sa word-of-mouth component ng movie audiences. Anak grossed Php 14 Million on its opening day. Umabot ng Php 200 Million na nationwide box-office take, ranking number 2 sa box-office champion of all times. Talagang ayaw pa rin paawat at nakagugulat ang top box-office performance ng No.1 star-actress ng bansa for so many years now. May mga nagsasabing Php 5 Million ang ibinigay na bonus ng Star Cinema kay Ate Vi at may nang-iintriga naman kung ano daw ang talent fee ng aktres ay iyon din ang katumbas ng bonus nito, Php 10 Million? Naging very generous naman si Ate Vi to share her blessings sa mga miyembro ng showbiz media, na isa rin kami na tumanggap ng biyayang yon galing sa aming hinahangaang aktres. – Willie Fernandez, V magazine, Issue No. 5 2006
What the other critics said about Vilma Santos’ Anak…
Where to begin? Anak (or ‘The Child’ as it is known in the West) is an absolutely amazing movie, a movie so powerful that it deserves to be watched by everyone. The Story is set around Josie and her family, Many years ago – Josie had to leave her family and become a domestic over-seas so she that she could provide money to support her family, when Josies husband dies, Josie returns to her family to take over her job as mother, but when she returns, her family is anything but loving and welcoming. The acting in this movie is magnificent, I had never heard of Vilma Santos until I watched Anak, however after seeing it I had to rent out some of her other movies, the emotion shown by Vilma, and the other actors is amazing and at times, you really can find yourself believing that this family is real. There were times in the movie I laughed, times I cried, but I loved every second of it, and it blows almost every Hollywood movie out of the water. Anak just goes to show that a movie does not need to have sex, drugs & violence, and also not be a Children’s movie to be excellent and a must-see for the entire family. – Astrid Flava, LA, CA USA, 28 November 2004, IMDB Web site
There are drawbacks in Anak, small aspects that could be left out or be more emphasized; but forget that petty cash because…Just as I had forgotten the reason for making movies, that not all movies are justified merely as a moneymaking device where profit, spin off products and the inclusion of at least one major Hollywood movie star are dominant ingredients in the narrative formula; just as I had misplaced the argument for film production itself, Anak puts it all right again. Quintos peels away every superfluous non-significant element and leaves us with a nucleus so pure, so strong and so universally true that it touches all of us. Separation from loved ones, sacrifices and the complexity of family relations are key components of the narrative that, propelled by brilliant acting, drives this highly realistic and touching story forward. And realism and emotions are clues to what makes Anak such a gripping tale. In other, more conventional, ‘touching’ films I often feel left off with an awkward, almost embarrassed, feeling of having been tricked to tears by elementary storytelling mechanisms. But the feeling of a natural, almost improvised acting in Anak, conveys everyday life as well as the intense moments with an exceptional credibility which makes the overall narrative so strong it should leave its audience feeling that this is one of the primary reasons for storytelling. – Thingstad, Melbourne, Australia, 6 July 2004, IMDB
I absolutely loved this film! At first, I was a bit skeptic, but man….what great acting!! It seemed so real…not far from reality. Claudine did a great job as the snot nose brat of a daughter and Vilma was awesome as the loving, but misunderstood mother. It’s a great movie…go rent it! – Donna, Maryland USA, IMDB
The Philippine president praises the Overseas Filipino Workers (OFW) as hero. This is nothing more than delusive. The reality of OFWs is almost slavery exporting. In this film, Josie, the mother, was locked in the house while her master and his family were on long vacation. That was why she could not attend her husband’s funeral! Total remittance from the OFWs, who send most of their earnings from such humiliating work, amounts nearly US$ 10B annually. This film raises a serious issue in Philippine society, however, I think most of Philippine politicians may not even recognize how desperate a country which relies on exporting their people for such slavery jobs. They leave their family because they love family. Mother leaves her children whom she wants to embrace always, and works for them sacrificing everything. Children feel they are abandoned by their mother even they know their daily life is supported by her remittance. Mother’s love ends up with broken relationship. What a tragedy! The life of the family looks not bad in Philippine standard. In fact their house is large enough even in Japanese standard. However, their father, who looks a good man, do not have stable job, if not minimal income which is hard to afford their life. In fact, even working abroad as a maid is a kind of status. I don’t understand why the mother does not cancel going to Hong Kong and choose yet another life, to live with her family with less income, after reconciliation with her daughter. Unless Filipinos decide to quit working overseas for little money, I think this country would not become better. By the way, this is the first film I saw Vilma Santos. Her performance is superb. Few actresses can act both comical and serious sides of the same character. – Furuya Shiro, Kumamoto, Japan, IMDB
A topical dilemma for Filipinas — whether to take lucrative long-term jobs abroad and provide for their families’ future or stay home and play a more active role in their children’s lives — propels “Anak”, femme helmer Rory B. Quintos’ seventh feature. Vivid hook for domestic conflict makes this well-acted drama compelling until hitherto restrained approach succumbs to bathos in the last quarter. Offshore, best prospects outside fest circuit lie in TV sales. Bubbly, indomitable Josie (Vilma Santos) is thrilled to be returning home at last, having spent several years as a live-in nanny for Hong Kong yuppies — and enduring some serious mistreatment in that capacity. Loaded with presents and savings to invest in a business scheme, she gets a big welcome from everyone but her own children. Latter three have grown up without her, suffering especially since their father died in a workplace accident. While little Daday (Shiela May Alvero) and teenage Michael (Baron Geisler) soon get over their initial awkwardness, eldest offspring Carla (Claudine Barretto) remains bitterly resentful toward mom’s perceived abandonment. She goads Josie with serial boyfriends and open hostility before running away, straight into drug-abusive squalor. Limning complex emotions with subtlety and humor, pic resists melodrama until the dam abruptly burst after 90 minutes; ill-judged pileup of crying scenes, plot crises and more crying ensues. Josie’s final decision to leave for H.K. once again makes little sense, beyond its providing an excuse for “Anak’s” fourth hysterical-sobbing-at-the-airport sequence. That’s too bad, since early reels observe parent-child relationships with considerable delicacy. Quintos’ fluid handling of potentially claustrophobic, mawkish material underplays script’s more obvious gambits until they overwhelm pic. Veteran local star Santos is in fine form, while Barretto lends impressive shading to what might have been a stock sexy “bad girl” role. Tech package is polished. – Dennis Harvey, Variety Magazine, 19 March 2001
Maganda ang “Anak” pero palpak ang istorya at editing – Naku, sigurado kaming maglalaway ang mga Noranian kapag napanood nila itong “Anak” ni Vilma Santos. Paano’y bagay na bagay din kay Nora ang papel na ginampanan ni Ate Vi. pero dito sa “Anak”, walang pakundangan niyang inagaw ng tuluyan kay Ate Guy ang korona, pati na nag trono at sentro sa pagganap bilang tsimay…Halos tatlong dekada na naming napapanood si Vilma Santos sa pelikula, at alam namin mahusay siyang aktres. Kaya naming inakala na wala nang mapipiga pa sa kanya. Pero nagulat kami sa ipinakita niyang husay sa pelikulang “Anak” ng Star Cinema. Isa na marahil ito sa pinakamahusay na pagganap na aming nasaksihan mula sa isang Vilma Santos, at sa kahit na sino pang aktres, kasama na sina Nora Aunor at Elizabeth Oropesa…Naghudyat din ang “Anak” sa pagsibol ng isang bagong Vilma na hindi de-kahon ang ginagampanang papel. Nasanay na kasi kaming mapanood siya bilang magandang kabit, sosyal na asawa o isang modernong nanay…walang duda na ang pinakamapuwersang panghatak ng “Anak” ay ang galing ni Vilma. Lutang na lutang ang husay niya, mula simula hanggang wakas ng pelikula. Pero may tatlong eksenang mahirap malimutan. Una, yong tagpo kung saan umiihit siya ng tawa dahil sa kababawan nilang magkakabarkada, hanggang mauwi ang kanyang mga ngiti sa iyak dahil naalala niya ang sariling problema sa mga anak. Pabulosa rin para sa amin ang sumbatan nila ni Claudine sa bandang huli ng pelikula. Ke mereseng magmukhang kobra ang kanyang leeg, sanhi ng nag-iigtingan ugat dahil sa galit, at magkangiwi-ngiwi ang kanyang mukha sa tindi ng pagtatampo, wala siyang pakialam. Nakakaloka rin yung eksena nang pumasok siya sa kuwarto ni Claudine, at makitang may lalaking nakahiga sa kama nito. Ang galing-galing mo talaga, Ate Vi!…” – Gypsy Baldovino, Kabayan
A veritable tearjerker – “I’ve seen Vi act well in several movies. She has a volume of work which I truly admire. “Anak”, though, takes the cake. Perhaps, because of its universal appeal…I cried, especially in her confrontation scene with Claudine. That scene which shows her enumerating the hard work she had to go through just to be able to give her and her siblings a good life….” – Ethel Ramos, Malaya, 11 May 2000
It’s crying time in HK – “Vilma, as expected, turns in another “winning” performance (far better than her “Bata, Bata…Paano ka Ginawa?” acting) while Claudine is a big revelation as the rebellious daughter, so hateful (especially when she’s answering back at her mother) that when, in the final confrontation scene, Vilma slaps her and throws clothes at her and, okay, okay, “Lumayas ka sa bahay kung ayaw mo akong makita,” the crying audience erupted into an approving applause…” – Ricardo F. Lo, The Philippine Star, 09 May 2000
All Hers To Give – “The slick production is turned into art by its star Vilma Santos. Her magnetic star quality makes her look so wrong for the part and yet she makes it all her own. She’s a natural comedianne and a great tragedienne-her look of resignation is heartbreaking. Vilma discards the glittering clothes and make-up for Anak, but she still looks youthful. It wouldn’t come as a surprise if the sensitive young actor playing her son would go on to play her leading man a few years from now…” – Dennis Ladaw
Another View on Anak – “Actually, this film does not only tug at your heartstrings. It also tries to escape every nerve ending in your body. But despite its excesses, “Anak” is still a quality movie. It is a very well-made commercial film with a heart. This movie has three things going for it: a relevant subject matter , its thorough research and the wonderful performance of Vilma Santos. In this film, Vilma goes through a wide range of emotions from a spoiler of a mother to one who has had it with her ingrate of a daughter – and from a fun-loving barkada (to fellow domestic helpers Amy Austria and Cherry Pie Picache) who knows how to appreciate the simple joys of life to that of a breadwinner willing to slave it out for the sake of her children. This may not be a classic Vilma Santos performance in the tradition of “Sister Stella L”, “Relasyon”, and “Bata, Bata…Paano ka Ginawa?”, but it is definitely an inspired one. In fact, no other actress could have pulled it off the way she did – marvelously, if I may say.” – Butch Francisco, People’s Journal – 26 May 2000
Anak Belongs to Vilma – “Mas mahusay para sa amin ang pagkakaganap ni Vilma Santos sa “Anak” kaysa sa “Bata, Bata…Paano ka Ginawa?”. Hindi malayong humakot na naman siya ng award rito…But the film still belongs to Vilma, who goes through an entire spectrum of varied emotions as Josie, mula sa katuwaan at excitement niya sa pagbabalik sa Pilipinas (natural na natural ‘yung pagiging aligaga niya habang namamahagi ng pasalubong sa mga anak niya), ang disappointment niya nang matanto niyang hindi na niya kilala ang mga batang binalikan niya, hanggang sa finally ay sumambulat siya sa tagpong pinagsasampal na rin niya si Claudine at pinalalayas. It’s a bravura sequence and the performance is magnificent…” – Mario E. Bautista
“…If this movie is to be judged by the amount of tears shed by various actors during the performance and the amount of tears which are expected to be shed by the audience, then I think this film can be rated in the five gallons category rather than that of the five stars. Vilma Santos, as expected, effectively portrayed a role of a mother trying to reach out to her children who at first sees her as a stranger. The efforts and the hardships she acted relate the whole theme of the film. Claudine Barretto, on the other hand, though equipped with natural acting prowess, was not that believable and was disgusting at some moments. In particular, I would like to single out the performance of Baron Geisler. He didn’t have a whole lot lines in the movie but the impact of his facial expressions and body language were very powerful. As what said a while ago, this film was an inspired picture from Aguilar’s “Anak.” Every single line of the song pertains to the story of Josie and her children. The happiness and sacrifices of parents when their child is born were both seen as Josie showed the same feeling for her children upon seeing them as well as the sufferings she experienced in Hong Kong in order to give her family enough money for living. The line “Nagdaan pa ang mga araw at ang landas mo’y naligaw, ikaw ay nalulong sa masamng bisyo,” was also illustrated as Carla gets involve in men, sex and drugs and showing her mother her hatred for her. But all stories that end well, Carla repented and asked for forgiveness and vice-versa. This scene was literally the portrayal of the line “At and iyong mata’y biglang lumuha ng ‘di mo napapansin. Nagsisisi at sa isip mo’y nalaman mong ika’y nagkamali…” – Rodel GuerreroREAD MORE
“…TV/Film director Rory Quintos is a self-confessed Vilmanian so when she was given a chance to direct the latest Vilma Santos movie, “Anak,” Rory was admittedly star struck. “I was intimidated by Vilma,” Rory offers. “The fact that I’m her fan made it difficult for me.” No wonders on the first two weeks of filming, Rory discloses she could not get herself to give instructions to Vilma. Even if she had worked with the superstar in two previous films – “Ipagpatawad Mo” and “Kapag Langit ang Humatol” as assistant director to Laurice Guillen. Rory was initially uncomfortable with the actress. Thankfully, it was Vilma herself who opened the communication line with the director. Sensing they had no rapport on the set, Vilma sat down with Rory and the result was a more harmonious working relationship. Being a director is a dream fulfilled for Rory, who had always wanted to be a director since her childhood days…She considers “Anak” her most challenging work to date because she has Vilma in the cast. As director, she even did researched on Vilma’s role and talked to overseas Filipino workers. The movie is about a mother’s struggle to keep her family intact being away for 10 years.” Rory explaines. “We wanted to make the movie as realistic as possible so we listened to the experiences of OFWs…”Anak,” which is inspired by Freddie Aguilar’s haunting ballad, is Star Cinema’s Mother’s Day offering, opening May 10 in local theaters. Vilma flew to Hong Kong to grace the Asian premiere of the movie yesterday at the Cine Metro Theater in Kowloon. The film will also be shown in Milan, San Francisco, Tokyo and Dubai…” – Leah Salterio Gatdula, Philippine Daily Inquirer, May 8, 2000 (READ MORE)
“…To best understand how Filipino women have changed in the course of time, let us quote Lea’s final words: “OO, natuklasan ko ang mga bagay na hindi ko siguro natuklasan kung pinahawakan ko lang sa iba ang pagkatao ko. Hindi ako nagpakulong, sinikap kong lumaya. At mula sa paglaya ko sa makitid na papel ng isang babae, natiyak ko na ang kalayaan nga pala, sa higit na pangmalawakang kahulugan nito, ay hindi nahihingi kundi ipinakikipaglaban. Hindi lahat ng hinuhuli’y kriminal, at hindi lahat ng diyos ay may dangal! Hindi ako natatako. Babae ako at malakas ako. Ako ang tagapagsilang ng tao, pambuhay ng sanggol ang dibdib ko. Hindi porke ina na ‘ko’y tumigil na ‘ko sa paglaki. Hindi porke babae ako’y maiiwan ako sa labanan. Para sa kaligtasan ng lipunan at kinabukasan ng mga anak ko sa digmaan ng mga uri’t prinsipyo, sa mapayapa man o madugong pagbabago, magtiwala kayo…sasama ako!” We need more Josies adn Leas in our society tody, The time is ripe for Filipino women to rise above the society’s traditional views and coventions. Although ultimate freedom and due recognition of gender equlity remain a struggle and a serious concern, Filipino women are slowly gaining a strong foothold. In a book dedication written by Bautista to this writer, she wroteL “Ang mga kamay na nag-uugoy ng duyan ay kaya ring magtumba ng alon sa dagat.” And we belive that a freer woman is better mother. And every Filipino family needs her. Every family must have her. We remember what Vilma said in our interview with her during the last shooting day of her film “Bata, Bata…” “I would like to be remembered as a mother who would give her life to her children anytime…” She’s an accomplished actress, and many will remember her for that. But Vilma would rather be a mother in her films, in her life…” – Veron Dionisio, Philippine Daily Inquirer, Jul 29, 2000 (READ MORE)
“…Anak” is particularlay effective in that it strides for balance and realism. Scriptwriters Ricky Lee and Raymond Lee (no relations) told of basing and validating the situation in the movie on the real life experiences of Filipina domestics in Hong Kong, though much of the film takes place here. Director Rory Quintos is to be commended for the light and unobtusive tough she gives to what could be melodramatic material. The ensemble acting is also remarkable, with Claudine Barretto giving a fairly impressive turn as the troubled and self-destructive daughter, and Amy Austria and Cherry Pie Picache delightful as the earthy DH friends of the beleaguered Josie. Still, this is one movie that truly belongs to Vilma Santos, who is even more affecting and effective here than in “Bata, Bata…Paano Ka Ginawa?” for which she harvested many awards. As Josie, she is feisty and bubbly, steely and sof-hearted, the combination of grit and goodness that is the bedrock of every Pinay mother’s heart. Before the screening, she told the audience that after making the movie, she was more than ever determined to pursue a career in government to better help the OFWs. But watching her as Josie, I thought, it is not as a governement official that an actor like Vilma best helps people. it’s precisely as an actor, giving life to women like Josie and “standing up for the character,” that Vilma and artists like her help us understand people and take them into our hearts…” – Rina Jimenez-David, Philippine Daily Inquirer, May 10, 2000 (READ MORE)
“…Anak: is a bittersweet account of a mother’s dilemma: the money she brings in assures her children’s physical well-being, but her absence during their crucial growing years leaves them with a shaky foundation that takes its terrible toll on them, asw well as on her, when she finally decides to come home. Rory B. Quintos’ films hits intense emotional highs, especially in scene involving its veteran lead player, Vilma Santos, who feels her role so much that she comes across as a symbol of all mothers torn between their love for their children, and their need to earn money by working abroad to give their children a better life. Her pain is exarcerbated when they show their resentment over her long absences, as though she didn’t suffer from the separation as much as or even more than they…Instead, the movie keeps harping on the love-hate drama between “martyr” mother and “rebel” daughter, with Claudine’s character sinking deeper into her pit of anger and recrimination. All too soon, the pattern becomes tedious, and we keep hoping that the movie discovers other, more productive dramatic and thematic avenues to explore. To make things worse, Claudine acts her guts out in her “hurt and angry” scenes, but she can’t seem to rise to the thespic occassion…Whatever the reason, she falls short of the mark, particularly in her demanding confrontation scenes with Vilma. For her part, the veteran actress is given major dramatic challenges in this movie, and she meets them with her intensity and commitment. More, she embraces them, pushing her scenes “beyond acting,” into emotional reality that is truly moving…” – Nestor U. Torre, Philippine Daily Inquirer, May 14, 2000 (READ MORE)
Off-Beat Role – Multi-awarded actress Vilma Santos, popularly known as The Star For All Seasons” because of her consistent crowd-drawing power, has finally decided on the next film project to star in. Once again playing an off-beat but close to reality role, Vilma will reprise the role of an overseas worker who returns home to the Philippines with a personality, physical appearance and outlook drastically different from the meek person that she was when she left the country to seek employment abroad. Ably performing as well in her true-life roles as Mayor of Lipa City and wife of Batangas Congressman Ralph Recto, Ms. Vilma Santos has been very selective about the movies and the roles she accepts. The new project, tentatively titled “Anak” will be directed by Rory Quintos, whose last work was the popular TV drama series “Esperanza” which lasted two years on the air. Vilma’s last movie was the award-winning Star Cinema presentation “Bata, Bata, Paano Ka Ginawa?” “Anak” will also feature Clauudine Barreto as Vilma’s daughter. Claudine is understandably excited over being in the same movie with Vilma for the first time, and is getting ready to pit her acting talent against the undisputed drama queen of Philippine movies. – Sol Jose Vanzi, Aug. 12, 1999 (READ MORE)
About the Director – Rory B. Quintos is among the few Filipino female directors who have successfully inched her way to a profession mostly dominated by men. After graduating from the University of the Philippines, she began her career on television. She got her break as a freelance production assistant for different stations. Later on, she worked as floor director, production manager, associate producer and assistant director for various production outfits. Her stint as assistant director paved the way for a directorial career. Way back in college, Rory already had a growing interest in directing. She was lucky to have met a few people in the industry who were more than willing to give her the break that she deserved. Her directorial job for an episode of the drama anthology show, Maalaala Mo Kaya, inspired her to pursue her career as a feature film director. The first full-length film she directed was Basta’t Kasama Kita under Star Cinema Productions in 1995. She followed it up with more smash hits and crowd favorites such as Mangarap Ka (1996), Sa Aking Mga Kamay (1996), Paano ang Puso Ko (1997); Ipaglaban Mo—The Movie II (1997) and Kay Tagal Kang Hinintay (1998). The niche that Rory has successfully carved for herself as one of Philippine cinema’s well respected woman directors is further reinforced as she megged the much-heralded drama in tribute to overseas Filipino workers. Anak (2000) topbilled by Star for All Seasons Vilma Santos is to date the highest-grossing Filipino film ever made and the country’s official entry for the Best Foreign-Language Film Category of Oscars 2001. – UP Shots 6 Film Artists from Diliman (READ MORE)
Significant Movie – “…Other important movies of the year 2000…”Anak“(Star Cinema), the year’s most successful movie sometimes leans toward the mawkish, the result perhaps of its director’s protracted work on TV where the success of production is determined by how well they can populate an episode with bathos and melodrama the better to maintain the ratings and keep the advertising coming. But in its honest look at the domestic wages of migrant labor and the utterly moving performances of Vilma Santos and Baron Geisler, it is a significant movie…” – Lito B. Zulueta, Philippine Daily Inquirer, 01 Jan 2001, pA21 (READ MORE)
At Fukuoka – “…The Philippines also makes a particularly strong showing at Fukuoka (Focus on Asia Filmfest), what with the screening of Rory B. Quintos’ “Anak (Child)” and the retrospective showing of seven of Marilou Diaz-Abaya’s best films. These movies have had a strong impact on audience at Fukuoka because they deal with important themes, but make it a point to personalize them by focusing on individuals rather than stereotypes…” – Nestor U. Torre, Philippine Daily Inquirer, 02 Oct 2001, pA20 (READ MORE)
“…If there is one thing that stands out from all the shining, shimmering jewels that ought to be praised in Anak, it should be the top-notch acting of Claudine Barretto and Baron Geisler. Seriously. Who would have thought that two of the most notorious scandal-making Filipino actors of today were once brilliant performers whose portrayals equal, if not exceed, that of Vilma Santos’? Carla (Barretto) is the rebellious child and the one who weaves the main conflict of the story. Carla is a liberated character, taking all the drugs and having sex with any man she likes. Her fierceness, strength, and the uncontrollable swearing is what we exactly know of Claudine Barretto today. There are moments that we want to take Barretto’s role for ourselves and maybe make a twist on how she do things, but most of the time we just sat there at the sofa watching and hating her – then loving her altogether at the end of the film. On the other hand, Michael (Geisler) is an awkward teenager who finds it difficult to interact with every living soul save for his family. He is the typical bookworm with a certain peculiarity that some of the girls might like. This is exactly the catch. Baron Geisler is known for abusing women and causing many commotions in petty bars, and just one look at him and you could easily say he’s nothing sort of peculiar. His performance in Anak will remind you of Logan Lerman in Perks of Being a Wallflower. Every nuance, every expression, every delivery of lines is done in an engaging and poignant manner. Perhaps it’s the irony between Geisler and his character that is alluring, or perhaps not. Still, it just goes to show that popular actors are popular for a reason…” – Rick Patriarca, Rick Review, 27 September 2014 (READ MORE)
“…Also in the Cinema One Originals Festival restored classics lineup are: Kapag Langit ang Humatol, a drama directed by Laurice Guillen starring Vilma Santos as an oppressed housemaid who transforms herself into a successful businesswoman. Richard Gomez plays the leading man of the Star for All Seasons…Completing the list is Anak, the heartwarming OFW story directed by Rory Quintos starring Vilma Santos and Claudine Barretto. Released in 2000, it was the highest-grossing movie of that year and one of the biggest blockbusters in Star Cinema’s history. The unveiling at 2014 C1 Originals marks the first time the restored version of Anak will be seen on the big screen…” – Isah V. Red, Manila Standard Today, 08 Nov 2014 (READ MORE)
“…Film lovers from the Philippines and Hong Kong community packed the opening night of the 5th Philippine Film Festival on November 14 at the Hong Kong Visual Arts Centre Theatre. The critically acclaimed film “Anak” (Child), starring actress and now Batangas governor, Ms. Vilma Santos, was shown as the opening night film. “Anak” tells the story of a Filipino worker who left her family in the Philippines to take on a job as a household service worker in Hong Kong. Upon her return to the Philippines, she is met with resentment by her children. “Anak” was a heart-rending movie that moved viewers to tears. Prior to the film screening, a cocktail reception was held with guests from the consular corps, academe, media, and the Filipino community. The event featured Filipino food and cocktails such as suman panna cotta, adobo and mango-ginger mojito. This year’s festival pays tribute to overseas Filipino workers and features “Anak”, “Milan”, “Caregiver”, “Balikbayan Box” and “Purok 7”. Regular screening is on November 16 and 23. The film festival is an annual activity of the Philippine Consulate General in Hong Kong SAR organized in cooperation with the Film Development Council of the Philippines to promote the Philippine cinematic arts in Hong Kong. The event was supported by Genting Hong Kong Limited, Smart-PLDT Hong Kong, San Miguel, Prime Credit and Destileria Limtuaco…” – Department of Foreign Affairs, November 2014 (READ MORE)
Star For All Seasons 
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