Premiere Nights

Premiere Nights 1

Oh, it’s October, month of the “Holy Rosary!” Kay bilis malagas ng mga araw, hindi natin namamalayan, bagong taon na naman. Nagkakaedad na tayong lahat subali’t andito pa rin tayo…..humahanga pa rin kay Miss Vilma Santos. Kung sabagay, sabi nga nila, age is just a number, hehehe! Sa tinagal-tagal sa industriya ng pelikulang Pilipino ni Vilma, apatnapu at anim na taon na siya sa pelikula to be exact, kulang-kulang sa limang dekada ay hindi pa rin siya matinag sa kanyang kinalalagyan. Nagsilaho na ang kanyang mga kakontemporaryo. Nagsusulputan na ang mga bagong mukha subali’t parang bulalakaw na mabilis ding nawawala. Si Vilma ay andiyan pa rin…nagniningning pa rin ang kanyang bituin…tinitingala pa rin hindi lang bilang isang magaling na alagad ng sining kundi isa na ring mahusay na public servant. Pero kahit na nasa itaas siya ay nakatuntong pa rin siya sa lupa kaya naman lahat halos ng mga nangyayari sa kanya ay pulos positibo, kahit na minsan ay may mga taong bumabatikos sa kanya. Ipinagsasawalang kibo na lang niya ang mga ito, para que pa nga naman eh pampa-stress lang yan noh! At dahil diyan, siya pa rin ang Nag-iisang Bituin…nakakapag-demand ng mataas na talent fee sa kanyang mga pelikula at commercials na ginagawa. Siya pa rin ang “premiere actress” ng bansang Pilipinas. At yamang napapag-usapan ang kanyang pagiging “premiere actress” kung kaya’t balikan natin ang mga “premiere night” ng mga pelikula ni Governor Vilma Santos-Recto.

Noong araw, madalang ang mga pelikulang may “premiere night.” Ang mga sinehang pinagdarausan ng mga “premiere night” noon ay mga nangawala o nagsipagsara na katulad ng Galaxy Theater sa Avenida Rizal, Lyric Theater sa Escolta, Rizal at Magallanes Theater sa Makati City, New Frontier at Remar Theater sa Cubao, Quezon City at Gotesco Theater sa Recto Avenue, Quiapo, Manila. Nauso na ang mga “malls” na karaniwan ay may apat hanggang labingdalawang sinehan na pinagpapalabasan ng mga pelikula. Nilamon na ng mga sinehan sa mga naglalakihang malls ang mga lumang sinehan noon. Eh bakit pa nga ba ikaw manonood sa mga dating sinehan samantalang kung sa “mall” ka pupunta ay andun na lahat…..supermarket, department store, food court, amusement center at may mga shows pa. Ngayon…..halos lahat ng pelikulang tagalog ay may “premiere night”…..na karaniwan ay may mga nag-iisponsor at ito ay ginaganap sa mga sinehan sa mga malls. Pati ang mga digital films ay may “premiere night” na rin na sa UP Film Center ipinalalabas.

Ang pelikulang Pakawalan Mo Ako na ipinalabas noong Mayo 29, 1981 ay nag-premiere showing sa Lyric Theater at sponsored ito ng Catholic Women’s League Manila Chapter. Natandaan ko pa noon na ang pases na ginamit ko para manood ng pelikulang ito ay ibinigay lang sa akin ng isa kong kaopisinang tagahanga ni Nora Aunor. Eksaktong alas siyete ng gabi ito nagsimula. Walang artistang dumalo sa nasabing premiere night subali’t nang ito ay muling nag-premiere night sa Gotesco Theater ay talagang may mga nabasag na salamin sa lobby ng sinehan dahil sa pagkakagulo ng mga manonood. Si Vi ay hindi nakarating dahilan sa siya ay kapapanganak lamang kay Luis. Ang pelikulang ito kung saan si Elwood Perez ang naging direktor ay tinatampukan din nina Christopher de Leon at Anthony Castelo ay isa sa mga sumira ng takilya. Nakamit ni Vi ang pangalawang best actress award mula sa Famas sa pelikulang ito.

Nang mag-premiere night naman ang unang pelikula ni Vi sa Viva Films na Sinasamba Kita na idinerek ni Eddie Garcia ay talagang naging pandemonium. Ito ay ginanap sa New Frontier Theater, Cubao, Quezon City at nang makapasok na ang mga tao sa loob at magsisimula na ang pelikula ay nagkalat ang mga tsinelas sa lobby ng sinehan na naiwan ng mga tagahangang natapakan ng mga nais makapanood ng pelikula. Ito ay ipinalabas sa mga sinehan noong Agosto 19, 1982 at tinampukan din nina Christopher de Leon, Philip Salvador at Lorna Tolentino.

Sunud-sunod ang mga pelikula ni Vilma sa Viva Films na nagkaroon ng premiere night at katulad ng mga nauna ay nagkakagulo pa rin ang kanyang mga tagahanga. Ito ay ang mga pelikulang Gaano Kadalas Ang Minsan? at Paano Ba Ang Mangarap? na sa New Frontier Theater din ginanap. Ang New Frontier Theater pala ay itinuturing na pinakamalaking sinehan sa buong Asia nang mga panahong yun. Ang Gaano Kadalas Ang Minsan? na idinerek ni Danny L. Zialcita ay ipinalabas noong Nobyembre 11, 1982 at tinampukan din nina Dindo Fernando at Hilda Koronel…..samantalang ang Paano Ba Ang Mangarap? na idinerek naman ni Eddie Garcia ay ipinalabas noong Hunyo 9, 1983 at tinampukan din nina Christopher de Leon at Jay Ilagan.

Ang premiere night ng pelikulang Never Ever Say Goodbye ay sa Galaxy Theater naman ginanap. Bukod kay Vi ay dumalo din ang mga stars ng nasabing pelikula katulad nina Nonoy Zuñiga. Nagkaroon pa ng isang maliit na programa bago nag-umpisa ang pelikula. Ito ay ipinalabas sa mga sinehan noong Oktubre 7, 1982 sa direksiyon ni Gil Portes.

Sa Magallanes Theater ginanap ang premiere showing ng pelikulang tinatampukan ni Vi at ni Nora Aunor na T-Bird At Ako. Hindi dumalo ang dalawang lead stars ng pelikula, yung mga supporting stars lamang ang mga dumalo pati na rin ang prodyuser ng pelikula na si Irene Lopez. Si Danny L. Zialcita ang direktor ng pelikulang ito na ipinalabas noong Setyembre 2, 982 at tinampukan din nina Dindo Fernando at Tommy Abuel.

Sa Film Center sa Roxas Boulevard, Pasay City naman nag-premiere showing ang pelikula ng Mirick Films na inilahok sa 1982 Metro Manila Film Festival na Haplos. Kasama ni Vi sa pelikulang ito sina Christopher de Leon na nanalong best actor at Rio Locsin sa direksiyon ni Butch Perez. Hindi nakadalo si Vi at Boyet subali’t andun si Rio Locsin na kasama pa noon ang asawang si Al Tantay.

Premiere Nights 2Samantala, nagkaroon ng double screening sa loob lamang ng isang gabi sa Rizal Theater ang pelikulang Sister Stella L. Punung-puno ang dalawang screening at grabe ang naging reception ng mga tao. Umaatikabong palakpakan ang maririnig sa loob ng Rizal Theater nang matapos ang pelikula. Nakita kong dumalo doon sina German Moreno at Babette Villaroel. Palibhasa’y ang Rizal Theater ay malapit lang sa Forbes Park, Bel-Air, Dasmariñas Village at San Lorenzo kung kaya’t karamihan sa mga nanood ay mga alta sosyedad. Sosyal talaga ang pelikula at ito lang yata ang pelikulang pinapalakpakan ng mga tao pagkatapos ng screening, maging ng mga class C, D at E. Nagkaroon din ng mga special screening ang pelikulang ito ni Mike de Leon sa iba’t ibang paaralan ng Metro Manila. Di nga ba’t isa si NEDA Secretary Ralph Recto na nanood nito na noon ay estudyante pa lang? Inilabas ito sa mga sinehan noong Hulyo 12, 1983 at napanalunan ng pelikulang ito sa Urian ang halos lahat ng awards sa iba’t ibang kategorya kabilang na ang tatlong taong sunud-sunod na best actress award ni Vi.

Ang una’t huling pelikula ni Vilma sa Via Hoffman Films na Tagos Ng Dugo ay nag-premiere night sa New Frontier Theater din. Bago pa dumating si Vi ay halos isara na ng mga guwardiya ang pintuan ng sinehan dahilan sa hindi na nila ma-accomodate ang napakaraming taong manonood. Nang dumating si Vi ay agad sinimulan ang pelikula. Sa loge ng sinehan naupo si Vi at ang kanyang mga co-stars. Nang matapos ang pelikula at magbukas ang ilaw ay walang humpay sa pagkaway si Vi sa mga taong nasa ibaba ng sinehan. Ang mga taong nanood ay walang pagod sa kasisigaw sa pagtawag kay Vi. Ang pelikulang ito na idinerek ni Maryo J. de los Reyes ay nag-regular showing sa mga sinehan noong Enero 25, 1987. Sa pelikulang ito natamo ni Vi ang ikaapat na best actress award sa Famas at pangalawa naman niya sa Catholic Mass Media Award.

Ang pelikulang tinampukan ni Vi kasama sina Tonton Gutierrez, Ricky Davao at Cherrie Gil na may pamagat ng Saan Nagtatago Ang Pag-ibig? ay sa Rizal Theater din nag-premiere showing. Sobrang dami ding tao ang nanood palibhasa’y dito noon ginaganap ang Vilma Show nang panahong yun. Ang pelikulang ito na idinerek ni Eddie Garcia ay ipinalabas sa mga sinehan noong Setyembre 2, 1987. Dito sa pelikulang ito nanalo si Tonton Gutierrez ng kanyang best actor award mula sa Catholic Mass Media Award at Star Awards for Movies. Si Eddie Garcia ay nanalo ring best director mula sa iba’t ibang award giving bodies.

Ang true-to-life story ni Dolzura Cortez na pinamagatang Dahil Mahal Kita: The Dolzura Cortez Story ay sa New Frontier Theater nag-premiere night. Dumalo sa nasabing premiere showing ang dating Secretary of Health na naging senador na si Flaviano Javier na umaming isang Vilmanian siya. Ito ang kauna-unahang pelikulang tumatalakay sa isang taong may AIDS (Acute Immune Deficiency Syndrome). Ito ay inilahok ng Octo Arts Films sa Manila Film Festival kung saan nasungkit ni Vi ang best actress award. Ito ay sa direksiyon ni Laurice Guillen. Nakamit din ni Vi ang kanyang pangalawang grand slam sa pelikulang ito.

Sa Greenhills Theater naman nag-premiere showing ang pelikulang Nag-iisang Bituin na bukod kay Vi ay tinampukan din nina Christopher de Leon, Aga Muhlach at ng isa ring Vilmanian na si Jao Mapa. Ito ang unang pelikula ni Vi kay Jose Javier Reyes na nag-regular showing noong Agosto 31, 1994. Isa sa mga sponsors ng pelikulang ito, kung saan si Vi ang endorser, ay ang Eskinol Facial kung saan namahagi sila sa pamamagitan ng paghahagis ng maliliit na bote ng Eskinol sa mga taong manonood. Isa sa mga Vis na nanood ay aksidenteng tinamaan sa mata subali’t ito ay kanilang ipinagamot.

Ang pelikulang pinagsamahan nina Vi, Gabby Concepcion, Aga Muhlach at Aiko Melendez na may pamagat na Sinungaling Mong Puso ay nag-premiere night sa Gotesco Theater. Tulad ng dati, nagkabasag-basag na naman ang mga salamin sa lobby ng sinehan. Nang mag-regular showing na ang pelikulang ito sa mga sinehan noong Agosto 27, 1993 ay bumabagyo at binaha pa ang ibang sinehang pinaglabasan ng nasabing pelikula subali’t super blockbuster pa din ito quesehodang nakababad ang mga paa ng ibang taong nanood. Ang pelikulang ito ay idinerek ni Maryo J. de los Reyes. Dito nagwagi si Aga ng best actor award at si Gabby naman ay best supporting actor.

Sa Remar Theater naman nag-premiere night ang pelikulang tinampukan nina Vi, Cesar Montano at Ronnie Ricketts na Ikaw Lang sa direksyon ni Chito Roño. Hindi magkamayaw ang mga tao nang dumating ang mga lead stars. Ang pelikulang ito ay ipinalabas sa mga sinehan noong Enero 12, 1994.

Ang pelikula tungkol sa OFW na Anak ay nag-premiere showing sa dalawang sinehan ng SM Megamall. Hindi mahulugang karayom ang mga taong nanood ng nasabing pelikula. Dumating ang mga lead stars ng pelikula at talagang walang katapusang tilian at sigawan ang mga fans sa loob ng sinehan habang pinapanood ang nasabing pelikula. Ipinalabas ang pelikulang ito noong May 12, 2000 sa kasagaran ng mga bomb threats subali’t hindi ito naging hadlang para hindi pasukin ng tao ang pelikula. Ito na yata ang pelikulang pinilahan ng husto sa takilya. Ang pelikulang ito ay sa direksiyon ni Rory Quintos at dito muling nabigyan si Vi ng box-office queen award kahit na hall of famer na siya. Nanalo din si Vi ng best actress award mula sa Star Awards for Movies at Pasado. Ang pelikulang ito din ang nanalong best film ng Catholic Mass Media Awards.

Nagkaroon ng ilang linggong exhibit sa lobby ng Robinson’s Galeria noong December 2002 ang pelikulang Dekada ’70. Mga damit, sapatos at iba’t ibang aksesorya noong dekada ’70 ang naka-display sa exhibit. Ang premiere showing naman nito sa isang sinehan ng Robinson’s Galeria ay dinaluhan nina Charo Santos, Malou Santos, Chito Roño at ang mga stars ng pelikula na sina Vi, Boyet, Piolo Pascual, Marvin Agustin, Carlos Agassi, John Wayne Sace at Danilo Barrios. Dumalo din si Marilou Diaz Abaya at panay ang bati niya sa mga stars at direktor ng pelikula. Dito sa pelikulang ito nasungkit ni Vi ang kanyang pang-apat na grand slam.

Sinabi noon ni Mother Lily Monteverde na ang final Mano Po movie ay itong pelikula nina Vi at Boyet na panlaban nila sa 2004 Metro Manila Film Festival na Mano Po 3 My Love, subali’t hindi ito nangyari dahil may mga sumunod na Mano Po pa. Nagkaroon ng red carpet premiere night ang nasabing pelikula sa SM Megamall. Dumalo ang mga stars ng pelikula na sina Vi, Boyet, Angel Locsin, Karylle, Dennis Trillo, Angelica Panganiban, Carlo Aquino, Jay Manalo, Boots Anson Roa, Eddie Garcia, Patrick Garcia, John Pratts at iba pa. Nanalong best actress at best actor sina Vi at Boyet. Nanalo ring best picture ang pelikula ganundin ang best float. Ito ang unang directorial job ni Joel Lamangan kay Vilma. Nanalo din si Vi ng best actress award mula sa Star Awards for Movies, Gawad Tanglaw at Gawad Suri.

Sa kabuuan, ang lahat ng “premiere night” na pelikula ng tinaguriang “premiere actress” ng bansa ay talagang malaking tagumpay. Panalong-panalo talaga!!!. – Alfonso Valencia (READ MORE)

Premiere Nights 3Unprecedented Stella L Premiere – Kung ang batayan ay ang premiere night ng Sister Stella L na ginanap sa Rizal theater noong June 22, sigurado nang dudumugin nang masa ang pelikulang ito ni Mike De Leon kapag regula showing na ito sa commercial theaters. Talaga namang very, very successful ang nasabing premiere night at ayon nga sa mga nakakaalam, never in the history of local cinema na ang isang pelikula’y dalawa ang screenings sa premiere showing at parehong SRO. Obviously, maraming A-B crowd nung gabing ‘yon, tulad ng grupo ni Chona Kasten na namataan namin, pero marami ring mga manggagawa at mga miyembro ng iba’t ibang sektaryang pang relihiyon. Ang nag-isponsor ng premiere night na ‘yon ay ang The Organization for the Promotion of Church People’s Right/Response (PCPR). Ang Sister Stella L na pelikula ng Regal Films ay ipapaplabas umpisa sa July 14. – Movie Flash Magazine, July 12 1984

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

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

“…The Bicol Festival Foundation, in cooperation with Philtanco, is sponsoring the movie premiere of the film Saan Nagtatago ang Pag-ibig?, tonight at 7:30, at the Rizal Theatre in Makati. The movie, directed by Eddie Garcia, stars by Eddie Garcia, stars Vilma Santos, Gloria Romero, Ricky Davao, Cherie Gil, Alicia Vergel and Tonton Gutierrez. The Bicol Festival Foundation is headed by Justice Francis F. Gachitorena of the Sandiganbayan. Film director Garcia who is a Bicolano himself has offered this latest Vilma Santos starrer to the Bicolanos, many of whom have been devastated by typhoon Herming a few weeks ago. He said, ‘This is my little contribution in the Bicolano’s who will be celebrating the Penafrancia Festival next month.” The Bicolanos in Manila will hold teh Grand Bicolandia Festival from September 7-13 at the Manila Garden Hotel in Makati and many activities have been schedule to drum up support for the plight of the Bicolanos in the provinces. Tickets are available a the theater gate at Visual Horizons with telephone no. 815-0024 or Philtranco at telephone no. 833-7180…” – Manila Standard, Sep 01 1987 (READ MORE)

LATEST NEWS - Premiere Night Jul 25 2012 3The Healing’s Premiere Night – “…The entire cast of “The Healing,” led by multi-awarded actress and Batangas Gov. Vilma Santos and young actress Kim Chiu, arrived together, wearing red outfits and flashing smiles to fans who attended the event. Santos was escorted by her husband Senator Ralph Recto. Before the movie was screened, Santos said she is truly proud of this movie because she and the rest of the cast really worked hard to make it beautiful. “We’re all very excited and we would like to thank each and everyone of you for joining us in the premiere night of ‘The Healing.’ Pinamamalaki po naming lahat ito dahil pinagpaguran namin,” she said. Santos said she is hoping moviegoers would enjoy the film and feel scared at the same time. Among the celebrities who attended the premiere night were Piolo Pascual, Maja Salvador, Matteo Guidicelli and Robi Dominggo. Chiu’s former boyfriend Gerald Anderson was also there as well as actor Xian Lim, who is currently being linked to her…The Healing was graded A by the Cinema Evaluation Board and it opens in theaters nationwide today, July 25…” – ABS-CBN News (READ MORE)

LATEST NEWS - July 2013 Ekstra Gala 1Eksta’s Premiere Night – “…As early as 5:00 p.m., people were already queuing for the 6:15 screening. The line became longer in just a few minutes, while other people were excitedly awaiting the arrival of Gov. Vilma Santos-Recto. The Vilmanians were hoping to get a glimpse of their idol enter the Main Theater. The celebrities started arriving, which made the task of containing the crowd a little difficult for the ushers. But they politely obliged when they were asked to clear the area leading to the Main Theater. When the signal was given that the moviegoers could now enter the theater, the people dashed toward the main entrance, hoping to be the first to get inside. This could have been a scene straight from Philippine cinema’s classic eras, such as the pre-martial law Manila film festivals. And the star of the night was a veteran performer with 5 decades in the industry. Vilma said the premiere erased her apprehensions about venturing into independent cinema for the first time. “Yung pinaka-reception kanina, yun na ang pinaka-bayad namin (The reception was already the reward).” Jeturian was a PA (production assistant) in the 1984 production of Marilou Diaz Abaya’s “Alyas Baby Tsina.” Vilma was the star of that film, and Jeturian remembers already dreaming of becoming a filmmaker at the time…” – Rappler (READ MORE)

Advertisements

FILM REVIEW: ANAK

This slideshow requires JavaScript.

The Plot: 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) return 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 peices 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 harbor 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 labor knowing that her family would need money then, more than ever.

Josie’s problem, despite all her desperate efforts, become 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? – Dennis Harvey, Variety Magazine March 2001 (READ MORE)

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 (READ MORE)

The Reviews: “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 setro 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 (READ MORE)

“…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 (READ MORE)

“…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 (READ MORE)

“For ten consecutive years from 1995 to 2004, the Philippines submitted films for consideration for the Best Foreign Language Film category of the Oscar Awards. But up to this point of film history, we remain in the list of countries who has never won nor nominated for this award…In 2000, the country’s entry was Anak (Child), directed by Rory B. Quintos from the script of Raymond Lee and Ricardo Lee. It is the story of a Filipina domestic helper (Vilma Santos) in Hongkong who returns to Manila after 10 years and is greeted with her children’s resentment because their father died during their mother’s absence. She buckles down to pick up and string back together her shattered family…” – FAP (READ MORE)

“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 March 19 2001 (READ MORE)

“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” – IMDB (READ MORE)

“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 of

“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!” – IMDB (READ MORE)

“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.” – IMDB (READ MORE)

“…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 (READ MORE)

“…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 May 26 2000 (READ MORE)

“..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 May 09 2000 (READ MORE)

f 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.” – IMDB (READ MORE)

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

“…Sa umpisa pa lang ng pelikula, kinurot na ang puso ko. Damang dama mo ang pagkasabik ni Josie na muling makita’t makapiling ang mga anak, ang pagtataka’t hindi ipinahalatang pagdaramdam ng hindi siya kilala ng mismong bunsong anak. Natural na natural ang dating ng acting ni ate Vi sa eksenang hindi siya magkandaugaga sa pag-asikaso ng mga bisita sa kanyang welcome party pati na rin sa pagmumudmod niya ng mga pasalubong. Mararamdaman mo ang pagmamahal na ipinapakita niya sa mga anak bilang pagpupuno sa kanyang mga pagkukulang noong mga panahon na wala siya sa piling nila, kasama na ang pagtitiis at pagwawalang bahala sa kabastusan ng panganay na si Claudine na sa totoo lang ay napakahusay din. Nakiiyak at nakidalamhati ako kay Josie sa bawat sakit at hapdi ng kalooban na kanyang nadarama. Umabot sa sukdulan ang pagkahabag ko kay Josie at matinding galit naman ang nadama ko kay Claudine sa paglapastangan sa kanyang ina. Halos nadurog ang puso ko ng isa-isahin na ni Josie ang mga paghihirap at pagtitiis na kanyang pinagdaanan. Mahirap nga ba sa mga anak ang intindihin kung bakit kinakailangan lumayo ang isang magulang lalo pa’t ang ina sa kanyang mga mahal sa buhay para sa kapakanan ng pamilya? Maaaring oo, at maaaring hindi. Bagamat kailangan ng mga anak ng kalinga at gabay ng kanilang magulang sa kanilang paglaki, but the choice is theirs. They do and they can understand but the problem arises when a child refuses to understand the situation. Marahil dahil sa ako ay isang Overseas Filipino Worker kung kaya, kaya kong makarelate sa pelikula, but it doesn’t really matter you’re an OFW or not. Anak is a picture for everyone and it has successfully conveyed the importance of family being the basic unit of our society. In general, Anak is a well acted movie sa pangunguna ni Ms. Vilma Santos. No other actress can give justice to the role of Josie but Vilma herself, and that is setting aside my being a solid Vilmanian, at kahit pa sabihin na para akong sirang plaka…” – Eddie Lozano (READ MORE)

“…DID you know that as early as the ’80s, nagsusulat na ang award-winning scriptwriter na si Ricky Lee tungkol sa plight ng ating mga OFW (overseas Filipino workers)? He started with “Miss X”, filmed in Amsterdam in The Netherlands with now Lipa City Mayor Vilma Santos in the title role. For an entire month, namalagi sa Amsterdam si Ricky kasama ang cast and crew ng pelikula. Naging simula ang Miss X ng ilang collaboration sa pagitan nila ng equally award-winning director na si Gil Portes. Ang next movie together nila ni direk Gil was “Carnival In Rio”, which was filmed naman in Rio de Janeiro. Alma Moreno, who was at the height of her popularity as a bold star then, played the lead role. Then came “’Merika”, na isinapelikula naman sa New Jersey and New York with Nora Aunor playing the lead role. “Because of that movie,” ani Ricky, “I was able to explore New York, the city of my dream. After my travels to all these places, I wrote (direk) Gil a letter, thanking him for the rare chance he gave na marating ang mga lugar na ito na ’di ko Inakalang mararating ko,” pahayag ni Ricky. For Anak, which was filmed in Hong Kong, Ricky had the chance na makatrabaho muli si Vilma sa ibang bansa muli. This time, na-renew, wika nga, ang kanilang bonding. Ricky remembered that because Anak was a blockbuster, binigyan ng Star Cinema ng malaking bonus si Ate Vi. Nagulat daw siya when one day, he received a P40,000 check from the actress. Contribution daw ang pera ni Ate Vi sa isinagawa niyang workshop for aspiring scriptwriters….” – Nel A, The People’s Tonight, Aug 31 2005 (READ MORE)

“…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…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…” – Willie Fernandez (READ MORE)

“…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 Guerrero(READ MORE)

“…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)

“…You don’t have to be an overseas Filipino worker, or be related to one, to be moved by “Anak,” the latest Star Cinema production which is, fittingly enough, billed as its Mother’s Day offering. The movie was conceived and marketed as Star Cinema’s tribute to overseas workers. But anyone who is or has even been a parent, will find many echoes of their own experiences in “Anak.” It is this emotional resonance with the universal tug of war between parent and child that, I think, allows “Anak” to transcent its focus on the OFW’s and appeal to wider, general audience. And yet, there was something very right, very fitting, in the decision to hold “Anak’s” world premiere in Hong Kong, among the community of domestic workers whose ‘story” is told in the movie. The screening was peppered with moment of laughter and gasps of recognition. And by own reckoning, just 15 minutes into the movie, as the joyous homecoming of returning Hong Kong DH Josie, played by Vilma Santos, is shadowed by her re-entry problems, the tears start flowing. By the time Josie finally confronts her rebellious daughter played by Claudine Barretto, the sniffles and sobs that punctuated the quiet of the Cine Metro Theater had grown into a teary crescendo. It was, indeed, cathartic. And if I, a journalist and working mother who had left her family behind for a mere weekend, was assuaged by pangs of guilt and regret, how could it not resonate in the most powerful way with the proud and hardworking Pinays of Hong Kong?…Perhaps this is something we need to realize here, especially among the bleeding hearts and do gooders crying out for government to “do something” about the phenomenon of migrant labor. The struggle to secure the rights of overseas workers has shifted to the OFW’s themselves. Only when they assert themselves as a political force can they win respect and power and thereby determine and direct their own fate and welfare.

Critical to this development are movies like “Anak,” that manage to move beyond sterotypes to paint both the good and bad side of migration, demonstrating the rewards and growth attendant to working abroad, even if “only” as a domestic, as well as the loneliness that assails everyone, or the abuse and exploitation that befall some. “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)

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

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

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

Ensemble Acting – Besides Vilma Santos and Claudine Barretto as the clashing mother and daughter in Star Cinema’s currently-showing smash-hit drama ”Anak,” there are other actors in the Mother’s Day offering who shine in their own rights with sterling performances. There’s Cherry Pie Picache as Vilma’s fellow domestic helper in Hong Kong, acting her part with natural ease and spontaneity. And Amy Austria, also a domestic helper, whose character is a contrast to those of Vilma’s and Cherry Pie’s. Or Baron Geisler who’s a revelation as Vilma’s teenage son gone astray. Or newcomer Sheila Mae Alvero as Vilma’s youngest child rendered a stranger to her own mother by the mother’s long absence while working in Hong Kong. Directed by Rory B. Quintos from a screenplay by Ricky Lee and Raymond Lee, “Anak” is the best example of ensemble acting where all the performers seem to move to the same tune, as if in a symphony. Star Circle member Leandro Muñoz also gives a credible performance as the guy who doesn’t take advantage of the wayward Claudine, instead convin-cing Vilma of his good intentions toward her daughter. Joel Torre, as the three children’s dead father, appearing in poignant flashbacks, comes on as alive as the “live” performers are, making us believe how weak a father he is in the choice sequences he appears in. Also turning in fine performances no matter how brief their roles are the supporting actors and actresses. “Anak” is currently breaking box-office records. No doubt the big crowds that continue to flock to the theaters where it’s showing are attracted by its very timely story acted out with impressive beauty and with such impact by the movie’s cast which should be gathered again in a “reunion” vehicle, perhaps with Quintos again as director. – Sol Jose Vanzi, Manila Bulletin, May 16, 2000 (READ MORE)

Vima Santos on Motherhood

This slideshow requires JavaScript.

A fresh-looking Vima Santos greeted us at the presscom of her movie, “Anak.” Full of energy after a three week vacation in the States, she answered our question about her film with zest and pride.

Favorite song

What is your memory of “Anak?” It was a favorite song of mine. I always ran to the radio whenever they played the song. When the project was offered to me, I responded favorably to it right away.

Do you still feel challenged by the dramatic situations of the story? Of course. The challenge is always there Kahit na nasa Hall of Fame ‘ko. We have lots of comfrontation scenes in this movie and they are all difficult. I remember doing a scene in which I had two pages of dialogue. After doing the blocking. I asked for time to concentrate because the director would take a continuous shot. The point is to never be over-confident and always turn to the director for help.

How significant is “Anak” to you? This is the first time I am portraying a domestic helper and our one week of shooting in Hong Kong enabled me to talk to some of them and understand them better.

Lonely

Most of them are sacrificing mothers and they’re lonely because they are far away from their families.

Was it easy for you to relate to your character in the movie? I internalized my being a mother is real life and the fact that I am also working, hindi nga lamang abroad. It helped me a lot remembering what Mama did to me when I was young.

As a mother, what are your particular about? The health of my children. If you want me to get upset, just tell me that one of my sons is sick!”

What kind of a mother are your to your teenage son Luis? I am quite liberal dahil iba naman ang henerasyon ngayon as compared doon sa kinagisnan ko. Curfew hour for me then was midnight. But now, ganung oras pa lamang nagsisimula ang kanilang mga happenings.

No communication gap

I have no communicatin gap with my son. We talk about everything under the sun, including sex. Also, I allow my son to reason out with me since the saying mother knows best is not applicable in all circumstances.

Has Luis given you a headache? Sa awa ng Diyos ay wala pa namang grabeng sakit ng ulo idinudulot sa akin. Mabait siyang bata and he knows his responsibilities. But I recall punishing him over a failure to deliver good grades. I am particular about his studies. When he showed me his low grades, he promised he would do something about it. The third grading period came and there was no improvement, so I reminded himd of his promise. He was grounded for one week and was not allowed to use the telephone.

Was ther a time when you neglected your motherly duties? It was campaign season and you know how busy candidates are. Hindi ko nabantayan si Luis because I was busy campaigning, and he stayed in somebody else’s house at nagtampo. Vilma says her greatest joy is being a mother to Christian who is only four and Luis who is already a handsome teenager. Her greatest fear is to “lose” them one day, when they move out to have their own families. She says 85 percent of her life is devoted to being a loving mother! – Remy M. Umerez Philippine Daily Inquirer, May 12 2000 (READ MORE)

International Actress

This slideshow requires JavaScript.

The Longest Hundred Miles (1967)

Basic Information – Directed: Don Weis; Story: Hennie Leon; Screenplay: Paul Mason, Winston Miller; Cast: Doug McClure, Katharine Ross, Ricardo Montalban, Ronald Remy, Helen Thompson, Berting Labra, Loaki Bay, Vilma Santos, Danilo Jurado, Debra Gaza, Juan Marcelo, Danny Tariuam, Tom Bismark, Victor Vematsu, Bill Dunbar; Executive producer: Jack Leewood; Original Music: Franz Waxman; Cinematography: Ray Flin; Film Editing: Richard G. Wray; Art Design: Russ Lacap; Sound: Joseph Keener

About the film: – “…During the Japanese invasion of the Philippines, an assorted group of refugees, including an American soldier, an Army nurse, a priest and a group of local children, try to make their getaway aboard a rattletrap, creaky bus. The Longest Hundred Miles was among the first feature films produced specifically for television. Doug McClure stars as an American GI, stationed in the Philippines during World War II. Reluctantly, McClure is persuaded by army nurse Katharine Ross and local priest Ricardo Montalban to transport a bus load of native children across enemy lines. Filmed inexpensively on the Universal back lot, the film is distinguished by the musical score of Oscar-winning composer Franz Waxman. The Longest Hundred Miles debuted January 21, 1967. Vilma Santos’ first film for international release; Entry to the 1967 Manila Film Festival.

Twin Fist of Justice (Wild Whirlwind) (1974)

Basic Information – Directed: Yang Shih Chin, Danny Ochoa; Screenplay: Yang Shih Chin; Cast: Meng Fei, Vilma Santos, Philip Gamboa; Cinematography: Ho Huk Wai, Remigio Young

About the film: – Directed by Danny Ochoa and Ching-Yang Chen (stars – Phillip Gamboa, Vilma Santos and Meng Fei). When a poor wretch to his heir apparent of a large fortune, he finds himself in a web of intrigue. Nothing is what it seems when he receives the key to bring him to his wealth. Criminals sit on his heels and when he seeks help from justice appears to be corrupt. He will do everything possible and literally have to fight for his inheritance.

Anak (The Child) (2000)

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; 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

About the film: – 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.

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

In My Life (2009)

Basic Information – Directed: Olivia M. Lamasan; Story: Raymond Lee, Olivia M. Lamasan; Screenplay: Raymond Lee, Senedy Que, Olivia M. Lamasan; Cast: Vilma Santos, John Lloyd Cruz, Luis Manzano, Tirso Cruz III; Executive producer: Malou N. Santos; Original Music: Nonong Buencamino; Cinematography: Charlie Peralta; Film Editing: Marya Ignacio; Production Design: Elfren Vibar; Theme Song: “Something New In My Life” Performed by Sarah Geronimo

About the film: – Santos plays Shirley, a public school librarian who wants to be in control of everything. Her unwarranted intervention in the lives of her children and their families leads to their emotional detachment from each other. Feeling she has lost her command over her children, she flies to New York to reunite with his estranged son, Mark (Manzano) only to find out that her son is gay and she has to live with him and his lover, illegal immigrant Noel (Cruz). As Shirley struggles to deal with the situation and with living in the Big Apple, she discovers that being gay is not the only huge secret that Mark is keeping. Discovering what this is will change Shirley’s life forever. In My life screened in selected cities in United States and Canada in October of 2009 with huge success.

Ekstra: The Bit Player (2013) – Basic Information – Direction: Jeffrey Jeturian; Story and Screenplay: Zig Madamba Dulay, Antoinette Jadaone, Jeffrey Jeturian; Cast: Nenita Deanoso, Karen Leslie Dematera, Boobsie Wonderland, Cris Castillo, Raymund Ocampo, Abi Niesta, Cherry Pie Picache, Zyrus Imperial, Richard Yap, Ruby Ruiz, Vilma Santos, Ronaline Ronn Enriquez, Rita Rosario G. Carlos, Antonette Garcia, Linda Villalobos, Marlon Rivera, Vincent de Jesus, Piolo Pascual, Marian Rivera, Cherie Gil, Eula Valdez, Pilar Pilapil, Olive Cruz, Tom Rodriguez, Terence Baylon; Executive Producers: Joji Alonso, Jeffrey Jeturian; Associate Producer: Ron Gabriel Capili; Line Producer: Charyl Chan; Producer: Ferdinand Lapuz, Malou N. Santos, Vilma Santos, Charo Santos-Concio, John Victor Tence; Music: Vincent de Jesus; Cinematography: Lee Meily; Film Editing: Zig Madamba Dulay, Glenn Ituriaga; Production Design: Ericson Navarro; Art Direction: Erwin Sanchez; Production Co: Cinemalaya Foundation, Quantum Films; Release Date: 14 August 2013; Internationally released under the title, “The Bit Player” (IMDB)

LATEST NEWS 26 Ekstra at USTAbout the film: – “…Ekstra” is a very entertaining film that brings us into the world of a bit player or “ekstra” in the punishing world of television soap operas, where hectic daily shooting deadlines are the norm. This was not only a glimpse for the audience, but more of an immersion. We get an in-depth, no-holds-barred, brutally frank expose on how bit players are treated on and off the set of a location shoot. Loida Malabanan has been a bit player for many years already. This job, however unstable, had enabled her to get her daughter through college even as a single mother, albeit barely…Ms. Vilma Santos is the heart and soul of this film, and she was such a paradox in this role. She portrays her role in the most natural and realistic way, yet we know the character was so NOT her. Ms. Vilma was already the lead star in her very first film, “Trudis Liit”! Incredibly, she was able to successfully dim her megawatt star power to appear inferior in stature to stars like Marian Rivera and Piolo Pascual who were the lead stars of the soap being shot, yet Ms. Vilma still manages to outshine them all. Her most effective scenes had no spoken lines at all. Ms. Cherie Gil was so deliciously campy good in her villainous Doña Beatriz character. Tart Carlos, more popularly known for her role as the ditsy maid Doris on TV’s “Be Careful With My Heart,” has a marked role playing Loida’s friend and co-extra, where her skills in comedy shone. Musical director Vincent de Jesus was very effective as the harried assistant director, scrambling to accomplish all the orders of the impatient director…” – Fred Hawson, ABS-CBN News, 29 July 2013

“…Ekstra, which means bit player is a tribute to the nameless characters in Philippines cinemas who are paid a measly sum per day, and less often than not, graduates with “supporting” roles. Dhaka’s is Vilma’s third international Best Actress award. She first won at the Brussels International Film Festival with ‘Bata, Bata, Paano Ka Ginawa?’, followed by her popular film, Dekada ’70 at the Manila-based CineManila International Film festival. This year’s DIFF is the 13th edition of the annual festival held at the National Museum Auditorium in Dhaka, Bangladesh. Six of the twenty awards (including Best Director and Best Actor) went to the entry from Iran. There was no Best Picture winner since, according to the jurors as quoted in the Dhaka Tribune story, “no film stood out…” – Ely’s Planet, January 21, 2014 (READ MORE)

3 Days Box-Office Gross in North America (September 13-15) = $43,000; Total 3 day gross in North America is US$141,000.00 (P5,922,000.00) Source: Leonard Klady, Movie City News, 13-15 Sep 2013 (READ MORE)

Everything About Her (2016) – Basic Information – Direction: Joyce Bernal; Screenplay: Irene Villamor; Story: Mia Concio; Cast: Vilma Santos, Angel Locsin, Xian Lim, Michael De Mesa, Nonie Buencamino, Khalil Ramos, Devon Seron, Alexa Ilacad, Jana Agoncillo, Vangie Labalan, Buboy Villar, Niña Dolino, Dante Ponce, Bart Guingona, Sharmaine Buencamino; Executive Producers: Malou N. Santos, Charo Santos-Concio; Production Company: Star Cinema; Official music video of the movie ‘Everything About Her’ titled ‘Something I Need,’ performed by Piolo Pascual and Morissette, Arranged by Paulo Zarate, Mixed and Mastered by Dante Tañedo; Original Song from band, One Republic; Music Production by Jonathan Manalo; Language: Tagalog, English; Release Date: 27 January 2016; Country: Philippines; Also Known As: All of My Life

About The Film – The film earned ₱15 million on its first day of release; As of February 5, 2016 the film has earned ₱100 million; The film is graded A by the Cinema Evaluation Board (CEB) and is rated PG (Parental Guidance) by the Movie and Television Review and Classification Board (Wikipedia); All-Time U.S. and Canada Box Office – Weekend of Feb. 12, 2016 -Feb. 14, 2016 Weekend Gross #32 $245,000; Cumulative Gross for two weeks: $1,248,700 (59,474,956.65 Philippine Peso); # of Theaters: 50 (NY Times); Star Cinema’s most heartwarming movie of the season, “Everything About Her,” has already earned P208M worldwide since it opened in cinemas. Star Cinema Ad Prom director Roxy Liquigan posted the good news via his Twitter account last February 16. (Star Cinema ABS-CBN)

“…The story is simply told thus giving it a natural flow. The direction makes the film appealing for both millennials and non-millennials alike. You are almost tempted to wish and hope the film would end ala-Ishmael Bernal or ala-Lino Brocka. But Direk Bernal is into her own generation and knows her present audiences at the palm of her hand. Some dramatic scenes actually ended up funny but the actors were so versatile you end up laughing and in tears at the same time. Indeed, the performances of both lead actors and supporting cast were so compelling you felt almost everyone in the cast deserved an acting award. The surprise actor in the cast was Xian Lim who delivered not just a focused performance but a highly stirring one. His hospital scene with Vilma Santos was a stand-out one could hear people quietly sobbing behind me. Angel Locsin has no match as a supporting actress, the part of Nonie Buencamino (as the padre de familia) has all the hallmark of a good actor and the part of Shamaine Centenera Buencamino and Vangie Labalan (no matter how brief) registered with layers of pathos. Most of all, this could be Vilma Santos’ best performance to date. The transition of her character from corporate mogul to repentant mother revealed the true artist in her. The musical scoring blended with the story but my favorite part is the household scenes with the character of Vilma Santos noting the significance of the chandelier in the living room with a movement from Mozart’s Symphony No. 25 in the background. The grandness of the music matched the leading character’s grand ambition. It is also gratifying to find classical music find its way in a family drama…” – Pablo A. Tariman, Arts News Service, 6 February 2016

Top 100 Vilma Santos Films

Spanning five decades with 197 films credits and almost two hundred awards, Vilma Santos’ filmography is a kaleidoscope picture of changes in times. Different genres, from teen musicals, folksy fantasies, campy horrors, animated actions to mature adult dramas, her films demonstrated her inner acting talents honed by directors, maneuvered by film producers/benefactors (who some are no longer with us) and supported by her ever loyal fanatics. The results were a long list of film titles that covered several social relevance that capture each decades. A long list of record-breaking box office returns that gave her the title, “the longest reigning box office queen of all time.” A long list of films that sustained her career to different transformation, ensuring her longevity no other Filipino movie queen ever enjoyed. We have painstakingly choose the best of the best. Basing our selection with three criteria. First, the financial success of the film. Cliche it maybe, financial success sustained her bankability and longevity. Second is the critical recognitions the film received. Third, is the other factors that contribute to the overall success of the film, namely, relevance, entertainment value, and the question of, is this film a career milestone or is this film contributed to her popularity. Here are Vilma Santos’ top 100 films.

Total score consists of (A) 10 points for box office records, (B) 10 points for critics recognitions, (C) 10 relevance/longevity, (D) “other factors” that contribute to overall success, gives us total score of 30 points.

RANK, MOVIE TITLE, YR, DIRECTOR’S NAME, SCORE = (A) + (B) + (C) + (D)

RANK FILM (YEAR) SCORE
01. Burlesk Queen (1977) 30.90
02. Bata, Bata…Paano Ka Ginawa? (1998) 28.90
03. Dekada’70 (2002) 28.80
04. The Dolzura Cortez Story (1993) 28.70
05. Ikaw ay Akin (1978) 28.60
06. Rubia Servios (1978) 28.50
07. Relasyon (1982) 27.90
08. Pahiram Ng Isang Umaga (1989) 27.80
09. Broken Marriage (1983) 27.70
10. Lipad, Darna, Lipad (1973) 27.60
…LINK

11. Imortal (1989) 26.90
12. Anak (2000) 26.80
13. Tagos ng Dugo (1987) 26.70
14. Adultery (1984) 26.60
15. Pagputi ng Uwak Pag-itim ng Tagak (1978) 25.90
16. Trudis Liit (1963) 25.80
17. Gaano Kadalas ang Minsan? (1982) 25.70
18. Paano Ba ang Mangarap? (1983) 25.60
19. Sinasamba Kita (1982) 25.50
20. Tag-ulan sa Tag-araw (1975) 25.40
…LINK

21. In My Life (2009) 24.90
22. Saan Nagtatago Ang Pag-ibig? (1987) 24.80
23. Ipagpatawad Mo (1991) 24.70
24. Mano Po 3 My Love (2004) 24.60
25. Pakawalan Mo Ako (1981) 24.50
26. Karma (1981) 24.40
27. Hahamakin Lahat (1990) 24.30
28. Sinungaling Mong Puso (1992) 24.20
29. Dalawang Pugad, Isang Ibon (1977) 24.10
30. Ex-Wife (1981) 24.09
…LINK

31. D’ Lucky Ones (2006) 24.08
32. Dyesebel atang Mahiwagang Kabibe (1973) 24.07
33. Sister Stella L. (1984) 23.90
34. Kapag Langit Ang Humatol (1990) 23.80
35. Miss X (1980) 23.70
36. Ikaw Lang (1993) 23.60
37. Bato sa Buhangin (1976) 23.50
38. Nakakahiya? (1975) 23.40
39. Hindi Nakakahiya (1976) 23.30
40. Batya’t Palu-Palo (1974) 23.20
…LINK

41. Haplos (1982) 22.90
42. Ibulong Mo Sa Diyos (1988) 22.80
43. Pinay, American Style (1979) 22.70
44. Langis at Tubig (1980) 22.60
45. Palimos Ng Pag-ibig (1986) 22.50
46. Muling Buksan ang Puso (1985) 22.40
47. Kampanerang Kuba (1974) 22.30
48. Darna and the Giants (1973) 22.20
49. Dama De Noche (1972) 21.95
50. Hatinggabi Na, Vilma (1972) 21.90
…LINK

51. T-Bird at Ako (1982) 21.80
52. Alyas Baby Tsina (1984) 21.70
53. Halik sa Kamay, Halik sa Paa (1979) 21.60
54. Minsan pang Nakaraan (1983) 21.50
55. Masarap, Masakit ang Umibig (1977) 21.40
56. Hindi Nahahati ang Langit (1966) 21.30
57. Susan Kelly, Edad 20 (1977) 21.20
58. Hiwalay (1981) 21.10
59. Rock, Baby, Rock (1979) 21.09
60. Mga Mata Ni Angelita (1978) 21.08
…LINK

61. Bertang Kerengkeng (1976) 21.07
62. Ibong Lukaret (1975) 21.06
63. Vilma Viente Nueve (1975) 21.05
64. Takbo, Vilma, Dali (1972) 21.04
65. Nag-iisang Bituin (1994) 20.90
66. Karugtong ang Kahapon (1975) 20.80
67. Ging (1964) 20.70
68. Anak, ang Iyong Ina (1963) 20.60
69. Kay Tagal ng Umaga (1965) 20.50
70. Yesterday, Today and Tomorrow (1986) 20.40
…LINK

71. Magkaribal (1979) 20.30
72. Anak ng Aswang (1973) 20.20
73. Simula ng Walang Katapusan (1978) 20.10
74. Promo Girl (1978) 20.09
75. Biktima (1974) 20.08
76. Good Morning, Sunshine (1980) 20.07
77. Kasalanan Kaya? (1968) 19.90
78. Mga Rosas sa Putikan (1976) 19.80
79. Nakawin Natin ang Bawat Sandali (1978) 19.70
80. Modelong Tanso (1979) 19.60
…LINK

81. Darna at Ding (1980) 19.50
82. Mga Reynang Walang Trono (1976) 19.40
83. Nag-aapoy na Damdamin (1976) 19.30
84. Pulot-gata, Pwede Kaya? (1977) 19.20
85. Kamay na Gumagapang (1974) 19.10
86. Young Love (1970) 19.09
87. Ito ang Pilipino (1967) 18.90
88. Ikaw Lamang (1971) 18.80
89. Kampus (1978) 18.70
90. Coed (1979) 18.60
LINK

91. The Sensations (1971) 18.50
92. Never Ever Say Goodbye (1982) 17.90
93. Asawa ko, Huwag Mong Agawin (1986) 17.80
94. Ayaw Kong Maging Kerida (1983) 17.70
95. Ibigay Mo Sa Akin Ang Bukas (1987) 17.60
96. Gusto Ko Siya, Mahal Kita (1980) 17.50
97. Amorseko (1978) 17.40
98. Pag-ibig ko sa iyo lang Ibibigay (1978) 17.30
99. Tatlong Mukha ni Rosa Vilma (1972) 17.20
100. Pinagbuklod ng Pag-ibig (1978) 17.10
…LINK

Criteria: Box Office Records, Critics Recognitions, Other Factors(Relevance, Longevity, Entertainment Impact)

Top 100 Vilma Santos Films (part ten)

Spanning five decades with 197 films credits and almost two hundred awards, Vilma Santos’ filmography is a kaleidoscope picture of changes in times. Different genres, from teen musicals, folksy fantasies, campy horrors, animated actions to mature adult dramas, her films demonstrated her inner acting talents honed by directors, maneuvered by film producers/benefactors (who some are no longer with us) and supported by her ever loyal fanatics. The results were a long list of film titles that covered several social relevance that capture each decades. A long list of record-breaking box office returns that gave her the title, “the longest reigning box office queen of all time.” A long list of films that sustained her career to different transformation, ensuring her longevity no other Filipino movie queen ever enjoyed. We have painstakingly choose the best of the best. Basing our selection with three criteria. First, the financial success of the film. Cliche it maybe, financial success sustained her bankability and longevity. Second is the critical recognitions the film received. Third, is the other factors that contribute to the overall success of the film, namely, relevance, entertainment value, and the question of, is this film a career milestone or is this film contributed to her popularity. Here are Vilma Santos’ top 100 films.

Total score consists of (A) 10 points for box office records, (B) 10 points for critics recognitions, (C) 10 relevance/longevity, (D) “other factors” that contribute to overall success, gives us total score of 30 points.

RANK, MOVIE TITLE, YR, DIRECTOR’S NAME, SCORE = (A) + (B) + (C) + (D)

10.  Lipad, Darna, Lipad 1973
SCORE: 7(A) + 10(B) + 10(C) + 0.6(D) = 27.6(T)
Directed by Emmanuel H. Borlaza, Elwood Perez and Joey Gosiengfiao, co-starring: Gloria Romero, Celia Rodriguez, Liza Lorena, Marissa Delgado, Angie Ferro, Mary Walter,  Adul de Leon, Chanda Romero, Eddie Garcia, Ernie Garcia, Dick Israel, Ruel Vernal, Angelito, Cloyd Robinson. Based on the novel of Mars Ravelo.  Top Record-Breaking Box-office Film of 1973.   The first of four Darna films starring Vilma Santos. – MORE INFO (no available video)

9.  Broken Marriage 1983
SCORE: 10(A) + 7(B) + 10(C) + 0.7(D) = 27.7(T)
Directed by Ishmael Bernal, co-starring: Christopher De Leon,  Tessie Tomas, Harlene Bautista,  Orestes Ojeda, Lito Pimentel, Richard Arellano, Cesar Montano, Len Santos, Ray Ventura. Vilma received her second Gawad Urian Best Actress and a FAMAS nomination for best actress. – MORE INFO

8.  Pahiram Ng Isang Umaga 1989
SCORE: 10(A) + 7(B) + 10(C) + 0.8(D) = 27.8(T)
Directed by Ishmael Bernal, co-starring:  Gabby Concepcion, Eric Quizon, Billy Crawford, Zsa Zsa Padilla, Olivia Cenizal, Tita Muñoz, Dexter Doria, Vicky Suba, Gina Perez, Alma Lerma, Becky Misa, Gil de Leon, Subas Herrero, Cris Vertido, Toby Alejar.  Written by Jose Javier Reyes.  Vilma Santos received her first best actress from the PMPC Star Awards as well as the Gawad Urian.  She also received nomination from FAP. – MORE INFO

7.  Relasyon 1982
SCORE: 10(A) + 7(B) + 10(C) + 0.9(D) = 27.9(T)
Directed by Ishmael Bernal, co-starring: Christopher De Leon, Jimi Melendez, Lucy Quinto, Beth Mondragon, Olive Madridejos,  Ernie Zarate, Manny Castañeda, Bing Fabregas, Augusto Victa.  The very first “Grand Slam” for Best Actress in Philippine.  Vilma won all the Philippines’ best actress awards of 1982.   She received recognitions from Gawad URIAN, FAP, CMMA, FAMAS. – MORE INFO

6.  Rubia Servios 1978
SCORE: 10(A) + 10(B) + 8(C) + 0.5(D) = 28.5(T)
Directed by Lino Brocka, co-starring: Phillip Salvador, Mat Ranillo III.  Vilma received a nominationf for best performer in the 1978 Metro Manila Film Festival.  The film was the top revenue grosser.  – MORE INFO

5.  Ikaw ay Akin 1978
SCORE: 10(A) + 8(B) + 10(C) + 0.6(D) = 28.6(T)
Directed by Ishmael Bernal,  co-starring: Christopher De Leon, Nora Aunor, Ellen Esguerra, Odette Khan, Charmie Benavidez, Sandy Andolong, Nick Romano, Zandro Zamora, Ernie Zarate, Cris Vertido, Anton Juan.  Vilma received a Gawad URIAN Nomination for Best Actress. – MORE INFO

4.  Dahil Mahal Kita, The Dolzura Cortez Story 1993
SCORE: 10(A) + 8(B) + 10(C) + 0.7(D) = 28.7(T)
Directed by Laurice Guillen, co-starring:  Christopher De Leon, Charito Solis, Jackie Aquino, Maila Gumila, Mia Gutierrez, Eula Valdez,   Noni Buencamino, Gil Portes.  Vilma Santos won the Film Academy of the Philippines’ Best Actress.  She also won Gawad Urian, PMPC STAR, Metro Manila Film Festival and FAMAS Circle of Excellence. – MORE INFO

(no available video)

3.  Dekada’70 2002
SCORE: 10(A) + 8(B) + 10(C) + 0.8(D) = 28.8(T)
Directed by Chito S. Roño, co-starring: Christopher De Leon, Piolo Pascual, Marvin Agustin, Carlos Agassi, Danilo Barrios, Kris Aquino, Ana Capri, Dimples Romana, Marianne de la Riva, Tirso Cruz III, Orestes Ojeda, John Wayne Sace.  Written by Lualhati Bautista.  Vilma Santos won the 2003 Cinemanila International Film Festival Best Actress.  She also won the best actress from FAP, Gawad URIAN, PMPC Star and YCC Best Performer.  The film was the Philippines’ official entry at the 76th Academy Awards best foreign language film.  –  MORE INFO

2.  Bata, Bata…Paano Ka Ginawa? 1998
SCORE: 10(A) + 8(B)+ 10(C) + 0.9(D) = 28.9(T) Directed by Chito S. Roño, co-starring: Albert Martinez, Carlo Aquino, Raymond Bagatsing, Ariel Rivera, Serena Dalrymple, Angel Aquino, Cherry Pie Picache, Rosemarie Gil, Dexter Doria.  Written by Lualhati Bautista.  Vilma won the 1999 Brussels International Festival of Independent Films Best Actress.  She also won the best actress from FAP, Gawad Urian, PMPC Star and the Young Critics Circle Best Performer. – MORE INFO

1.  Burlesk Queen 1977
SCORE: 10(A) + 10(B) + 10(C) + 0.9(D) = 30.9(T)
Directed by Celso Ad. Castillo, co-starring:  Rolly Quizon, Leopoldo Salcedo, Rosemarie Gil, Dexter Doria, Yolanda Luna, Rio Locsin, Roldan Aquino, Chito Ponce Enrile, Joonee Gamboa.  Vilma Santos won the 1977 Metro Manila Film Festival Best Actress.  She also received best actress nominations from FAMAS and Gawad Urian.   The film was the Festival’s top box office grosser.  –  MORE INFO

RECAP:
10. Lipad, Darna, Lipad 1973
9. Broken Marriage 1983
8. Pahiram Ng Isang Umaga 1989
7. Relasyon 1982
6. Rubia Servios 1978
5. Ikaw ay Akin 1978
4. Dahil Mahal Kita, The Dolzura Cortez Story 1993
3. Dekada’70 2002
2. Bata, Bata…Paano Ka Ginawa? 1998
1. Burlesk Queen 1977

…for the complete list, CLICK HERE

Top 100 Vilma Santos Films (part three)

Spanning five decades with 197 films credits and almost two hundred awards, Vilma Santos’ filmography is a kaleidoscope picture of changes in times. Different genres, from teen musicals, folksy fantasies, campy horrors, animated actions to mature adult dramas, her films demonstrated her inner acting talents honed by directors, maneuvered by film producers/benefactors (who some are no longer with us) and supported by her ever loyal fanatics. The results were a long list of film titles that covered several social relevance that capture each decades. A long list of record-breaking box office returns that gave her the title, “the longest reigning box office queen of all time.” A long list of films that sustained her career to different transformation, ensuring her longevity no other Filipino movie queen ever enjoyed. We have painstakingly choose the best of the best. Basing our selection with three criteria. First, the financial success of the film. Cliche it maybe, financial success sustained her bankability and longevity. Second is the critical recognitions the film received. Third, is the other factors that contribute to the overall success of the film, namely, relevance, entertainment value, and the question of, is this film a career milestone or is this film contributed to her popularity. Here are Vilma Santos’ top 100 films.

Total score consists of (A) 10 points for box office records, (B) 10 points for critics recognitions, (C) 10 relevance/longevity, (D) “other factors” that contribute to overall success, gives us total score of 30 points.

RANK, MOVIE TITLE, YR, DIRECTOR’S NAME, SCORE = (A) + (B) + (C) + (D)

80.  Modelong Tanso 1979
SCORE: 3(A) + 10(B) + 6(C) + 0.6(D) = 19.6(T)
Directed by Cirio H. Santiago, co-starring: Charito Solis, Winnie Santos. Entry to 1979 Metro Manila Film Festival – MORE INFO

79.  Nakawin Natin ang Bawat Sandali 1978
SCORE: 6(A) + 7(B) + 6(C) + 0.7(D) = 19.7(T)
Directed by Elwood Perez, co-starring: Baby Delgado, Anita LindaChristopher De Leon, Roel Vergel de Dios, Freddie Yance, Romeo Rivera – MORE INFO (no available video)

78.  Mga Rosas sa Putikan 1976
SCORE: 6(A) + 7(B) + 6(C) + 0.8(D) = 19.8(T)
Directed by Emmanuel H. Borlaza, co-starring: Celia Rodriguez, Babara Luna, Trixia Gomez, Merle Fernandez, Monica Morena, Romeo Enriquez, Arnold Gamboa, Sandy Garcia, Ike Lozada. Vilma sings the film theme song! – MORE INFO

77.  Kasalanan Kaya? 1968
SCORE: 6(A) + 8(B) + 5(C) + 0.9(D) = 19.9(T)
Directed by Luis Enriquez, co-starring: Lolita Rodriguez, Marlene Dauden and Eddie Rodriguez with Roderick Paulate. Vilma received acting nomination for best supporting actress in 1968 FAMAS. – MORE INFO (no available video)

76.  Good Morning, Sunshine 1980
SCORE: 6(A) + 7(B) + 7(C) + 0.07(D) = 20.07(T)
Directed by Ishmael Bernal, co-starring: Sheryl Cruz, Debraliz, Anita Linda, Liza LorenaJunior, Lloyd Samartino – MORE INFO

75.  Biktima 1974
SCORE: 5(A) + 10(B) + 5(C) + 0.08(D) = 20.08(T)
Directed by Nilo Saez, co-starring: Helen Gamboa, Celia Rodriguez, Perla Bautista, Cristina Reyes, Divina Valencia Leopoldo Salcedo, Bert Leroy Jr., Tony Santos Jr., Yoyoy Villame, Tommy Abuel, Edgar Mortiz, Ike Lozada, German Moreno – MORE INFO

74.  Promo Girl 1978
SCORE: 6(A) + 8(B) + 6(C) + 0.09(D) = 20.09(T)
Directed by Joey Gosiengfiao, co-starring: Ricky Belmonte, Roel vergel De Dios, Eddie Gutierrez, Bembol Rocco – MORE INFO (no available video)

73.  Simula ng Walang Katapusan 1978
SCORE: 6(A) + 8(B) + 6(C) + 0.1(D) = 20.1(T)
Directed by Luis Enriquez, co-starring: Eddie Rodriguez, Carmen Soriano, Patria Plata, Ingrid Salas, Rio Locsin, Lito Anzures, Renato Robles, Nello Nayo, Ruben Rustia – MORE INFO (no available video)

72.  Anak ng Aswang 1973
SCORE: 4(A) + 10(B) + 6(C) + 0.2(D) = 20.2(T)
Directed by Romy Susara cp-starring: Gloria Romero, Daisy Romualdez, Rosanna Marquez, Lucita Soriano, Lita RodriguezEdgar Mortiz, Nick Romano, Leopoldo Salcedo, German Moreno, Pons De Guzman – MORE INFO (no available video)

71.  Magkaribal 1979
SCORE: 6(A) + 8(B) + 6(C) + 0.3(D) = 20.3(T)
Directed by Elwood Perez, co-starring: Alma Moreno, Christopher De Leon – MORE INFO

RECAP:
80. Modelong Tanso 1979
79. Nakawin Natin ang Bawat Sandali 1978
78. Mga Rosas sa Putikan 1976
77. Kasalanan Kaya? 1968
76. Good Morning, Sunshine 1980
75. Biktima 1974
74. Promo Girl 1978
73. Simula ng Walang Katapusan 1978
72. Anak ng Aswang 1973
72. Magkaribal 1979

…continue with countdown, CLICK HERE!