Filmography: Naligaw na Anghel (1964)

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Basic Information: Direction: Armando de Guzman; Cast: Willie Sotelo, Maggie de la Riva, Vilma Valera, Vilma Santos, Van de Leon, Anita Linda, Carol Varga, Jose Villafranca, Romeo San Jose, Rey Santiago, Toto; Production: Larry Santiago Productions, Inc.; Release Date: 8-17 August 1964; Film poster archived by: Video48

Plot Description: No Available Data

Film Achievement: No Available Data

Film Reviews: “…Ipinanganak nga marahil si Ma. Rosa Vilma Tuazon Santos sa show business dahil sa pagitan ng taping ng “Larawan..” ay nagkasunod-sunod na ang kanyang mga pelikula…“Naligaw Na Anghel” ng LSP (Agosto 8 – 17, 1964)…ng lumikha ng rekord sa takilya…Makalipas ang mga tatlong buwan, nakatanggap ng maikling sulat si Mama Santos muka lay G. Agra. Naghahanap ang Sampaguita Picutures ng batang babae na gaganap ng mahalagang papel sa “Anak, Ang Iyong Ina!” at isinali ng amain ang pangalan ni Vi. Hindi puwedeng lumiban si Papa Santos sa pinpasukang government office, at ayaw naman nilang mapahiya ang kamag-anak, kaya napilitan si Mama Santos na humingi ng day=off sa opisina (Aguinaldo’s). Pagdating sa studio, wala si G. Agra at nasa location shooting, ngunit totoong naroroon ang pangalan ni Vi, kaya’t pinapasok sila sa tanggapan. Napadaan sa harapan ni Mama Santos si Bella Flores na dala ang script ng “Trudis Liit.” Nagulumihanan si Mama Santos. Binasa niyang muli ang liham ni G. Agra. Mali yata ang napuntahan nila! Akma niyang tatawagin si Vi na noon ay nkikipaglaro sa iba pang mga bata upang yayain na itong umuwi, nang pumasok sina Mommy Vera, Dr. at Mrs. Perez, at Eddie Garcia. At doon nagsimula ang movie career ni Vi na magpahanggang ngayon ay batbat pa rin ng iba’t ibang panunuri, opinyon at konklusiyon…” – Ched P. Gonzales (READ MORE)

“…Ang kaunaunahang Teleserye o Telenobela sa Television ng ABS CBN Channel 3 ay pinagbidahan ni Vilma, ito ay ang Larawan ng Pagibig. Dinirek ni Jose Miranda Cruz at mga artista din dito sina Eva Darren, Willie Sotelo, at Rosita Noble. Si Vilma ay 11 years old pa lang dito. Pagkatapos ng taping ng Larawan ng Pagibig, lagare naman si Vi sa kanyang Radio Drama program sa DZRH ang Naligaw na Anghel, kasama nya sina Maggie de la Riva at si Anita Linda na gumanap na ina ni Vilma. Ang T.V. show at Radio drama program ni Vi ay tumagal sa ere ng 3 years…” – Jojo V. Lim (READ MORE)

“…Young and cute Vilma Santos is one of the few child stars who have hit the screen with continued success. Although not as well-publicized as the adult stars, she is gaining popularity with lot of fans who recognize her warm personality and talent. Her successful debut in Sampaguita Pictures’ Trusdis Liit gave her more movie offers. Vilma, who just turned 13 last Nov. 3, has been in the movies for three years and already has 16 pictures to her credit. A talented youngster, she often steals the spotlight from her senior colleagues. In Ging, Naligaw Na Anghel, Anak Ang Iyong Ina, and many other films, she was a standout in tear-jearking scenes. As a result, she is always in demand for such roles. Despite her success, Vilma remains unaffected as a child. At the St. mary’s Academy where she is a six-grader, she has more than her share of friends not because she is a celebrity but because of her natural chumminess. In fact, she is so fond of her friends that their house on Lunas St in La Loma, Quezon City is often filled with them. Her parents, Mr. and Mrs. Amado Santos, do not discourage her gregariousness and instead look upon it as part of her developing personality…Vilma’s movie commitments don’t prevent her from being a good student. She could have been easily way above average if only her shooting schedules sometimes do not prevent her from attending her classes. “Doing two tasks at the same time gave me a hard time at the beginning but I’ve adjusted to it now,” said this youngster who still goes for lollipops, ice cream, toys, and play. Vilma, who spends her leisure hours listening to radio dramas, dancing and playing with her three other sisters, will be seen in her coming films, Sigaw Ng Batingaw of Argo Productions…” – Julio F. Silverio, The Weekly Nation, 31 December 1965, reposted at Pelikula Atbp blog (READ MORE)

Filmography: Kampus (1978)

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Basic Information: Directed: Emmanuel H. Borlaza; Story, screenplay: Tom Adrales, Allan Jayme Rabaya; Cast: Vilma Santos, Bembol Roco, Mat Ranillo III, Allan Valenzuela, Freddie Yance, Liza Lorena, Anita Linda, Lorli Villanueva, Ann Villegas, Angie magbanua, Rosemarie De Vera, Lito Lapid, Leo Pilapil; Original Music: Tito Sotto; Cinematography: Totoy Jacinto; Production Design: George Vail Kabristante

Plot Description: In the film “Kampus?” (1978), Suzette (Vilma Santos) thinks she’s liberated woman who doesn’t believe in marriage matrimony while his boyfriend, Norman keeps on proposing the sacredness of marriage vow. These are two conflicting beliefs of two students undoubtedly in love with each other. Their relationship was put to a test when Suzette met Manny (Matt) who happens to be in accordance with what she thinks she believes in. A campus experiment for Suzette and she was the first to be affected by it. Will she swallow that so called principle and be merry with the one she truly loves? – Kabayan Central (READ MORE)

A cinematic view of campus life dealing with sexual permissiveness among teeners, dormitory life, fraternity affiliations and initiations, teenage crushes, among others. Vilma Santos is a coed torn between the man she really loves (Bemvol Roco) and the man she surrenders her virginity to (Mat Ranillo III), Liza Lorena is the teacher tormented by a student who has a terrible crush on her (Allan Valenzuela). An Emmanuel Borlaza film. – Century Video Inc.

Film Achievement: No Available Data

Film Review: “…But the biggest fear of Borlaza was when Agrix Films’ Kampus? was booked one week after the opening of VS Films’ Pagputi ng Uwak, Pagitim ng Tagak. The Celso Ad. Castillo film was an artistic triumph, and Borlza felt following it up with another Vilma-Bembol starrer would put them at a great disadvantage. The Vilma-Bembol fans might still be raving over Pagputi… instead of discussing Kamput? As it turned out, people let Pagputi…pass and waited for Kampus? judging from the comparative gate receiots of the two movies…Sabi ni Mama Santos, ako daw ang “pumatay” sa kanilang Pagputi…eto ang parusa ko, bigyan ko daw sila ng isang Kampus? so I’m making for them Coed. You see, when I was working on Kampus? at UP Los Banos, I realized their problems and lifestyle can be a source of even 10 movie materials. At kapag ang student force pala ang nag-patronize sa Tagalog movie, ang laki ng audience!” Borlaza revealed…I’m very meticulous about is: the audience were to identify itself with my main character, will it be happy with the poetic justice I execute? Will they find it correct and realistic? In Kampus? for instance, students who were pleased with the movie told me they liked the ending very much. They agreed with it. Vilma was bedded first by Mat Ranillo III, but ended up with Bembol who was the right choice after all. They say in real life, the man you walk down the aisle with is not necessarily the first man you had sex with. Also they say the dialouges were very in – like the way actual students would speak them. Siguro, once they sit in the theater, they are not bothered by such questions as ‘Why” or “how come?” Is the star value the main thing in selling movies? “In the case of Kampus?, yes, because Vilma Santos was my main star and she’s the current box office queen …” – Manny B. Fernandez, Expressweek, November 9, 1978 (READ MORE)

“…Fate would have it that in the space of three days I watched Vilma Santos as June (in Kampus, 1978), the firm believer of ‘free love’ caught between the attentions of two men, and Angel Locsin as the fierce Ces, setting the terms of an affair with a man she decidedly resists. Four decades apart, these representations of strong, independent women caught within obstacles premised on love remain appealing to viewers. The conflicts faced by June and Ces are hinged on unconventional ideas about the conduct of heterosexual relationships. These women characters unequivocally distance themselves from the bind of traditional relationships and the expectations that burden it; June with sophisticated musing and Ces with stoic distance…While Vilma Santos’s June ponders her preference for ‘free love’ intelligently, weighs her dilemmas with pensive introspection, faces her hurdles with sarcasm and humour; Angel Locsin’s Ces is denied this chance, wallows instead in denial which became infuriatingly tiresome. This is not to blame Locsin’s abilities as an actor (adept at she is in portraying conflicted characters, torn in situations not of their making) but on the film’s failure to fully flesh out its characters. The film failed to grasp a deeper vein of feeling…” – Tessa Maria Guazon (READ MORE)

Free Love – “…Fate would have it that in the space of three days I watched Vilma Santos as June (in Kampus, 1978), the firm believer of ‘free love’ caught between the attentions of two men, and Angel Locsin as the fierce Ces, setting the terms of an affair with a man she decidedly resists. Four decades apart, these representations of strong, independent women caught within obstacles premised on love remain appealing to viewers. The conflicts faced by June and Ces are hinged on unconventional ideas about the conduct of heterosexual relationships. These women characters unequivocally distance themselves from the bind of traditional relationships and the expectations that burden it; June with sophisticated musing and Ces with stoic distance…While Vilma Santos’s June ponders her preference for ‘free love’ intelligently, weighs her dilemmas with pensive introspection, faces her hurdles with sarcasm and humour; Angel Locsin’s Ces is denied this chance, wallows instead in denial which became infuriatingly tiresome. This is not to blame Locsin’s abilities as an actor (adept at she is in portraying conflicted characters, torn in situations not of their making) but on the film’s failure to fully flesh out its characters. The film failed to grasp a deeper vein of feeling. Thus, when we find Ces and Macky in strained conversations grappling with their predicaments as individuals and lovers, why do they seem unconvincing, their loneliness and dilemmas so affected?” – Deborah Jermyn, 2011, posted by YCC (READ MORE)

Filmography: Nakawin Natin ang Bawat Sandali (1978)

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Basic Information: Direction: Elwood Perez; Cast: Cast: Vilma Santos, Christopher De Leon, Baby Delgado, Roel Vergel de Dios, Freddie Yance, Anita Linda, Romeo Rivera, Tony Carreon, Lily Miraflor, Ven Medina, Jose Villafranca, Nina Lorenzo, Yolanda Luna, Mario Escudero, Jimmy Reyes, Vic Santos, Aring Bautista, Nat Mallares, Josefina Morato, Juanita Rodrigues, Rita Flores, The Thunder Boys; Sound: Lino Torres; Editing: Oscar Dugtong; Cinematography: Gener Bueneseda; Executive Producer: Marichu Perez Maceda; Stroy and Screenplay: Orlando Nadres; Music: Lutgardo Labad; Produced by Sampaguita Pictures Inc.; Theme Songs: Dahil Sa Pag-ibig (Music by Lutgardo Abad, Lyrics by George Canseco, Sung by Aloha, Released by Blackgold Records), Nakawin Natin Ang Bawat Sandali (Music by Lutgardo Abad, Lyrics by Orlando Nadres, Sung by Anthony Castelo, Released by Vicor Music)

Plot Description: “A young couple’s affair is marred by their feuding families and small-town intrigues. They meet years after as successful career people only to be drawn into another scandalous liaison.” Bamboo Gods and Bionic Boys (READ MORE)

Film Achievement: One of seven Perez-Santos collaborations.

Film Review: “…It has a uniformly good performance by the cast which includes Baby Delgado, Roel Vergel de Dios, Anita Linda, Jose Villafranca and the two leads Christopher de Leon and especially Vilma Santos who has done a surprisingly intelligent and affecting character portrayal. Not since Eddie Romero’s Sinong Kapiling, Sinong Kasiping? (1977) have we seen characters who think, behave and react to problems and situations like mature, sensitive and intelligent people. The characters do give way to occasional hysterical outbursts, but they somehow wake up to their senses before they completely forget themselves. And they are people in believable situations with real problems and genuine emotions. When they talk, they are seldom silly and when they are silly, they are aware of it. But even when they are silly or trite, they are never unsympathetic…” – Jojo Devera, Sari-saring Sineng Pinoy (READ MORE)

“…Elwood Perez and Vilma Santos colloborated in seven films (Ibulong Mo Sa Diyos 1988, Lipad Darna Lipad 1973, Magkaribal 1979, Masarap Masakit ang Umibig 1977, Nakawin Natin ang Bawat Sandali 1978, Pakawalan Mo Ako 1981, Pinay American Style 1979). The first one was the trilogy that he co-directed with two other director, Borlaza and Gosiengfiao (these three are the most underrated and under appreciated directors in the Philippines), the remake of Mars Ravelo comic super hero, Darna in Lipad Darna Lipad. The film was a record-breaking hit Box-office Film. They follow this up with a more mature projects as Vilma started to switched her image from sweet to a mature versatile actress, pairing her with Christopher DeLeon in five films starting with Masarap Masakit Ang Umibig in 1977. The Perez-Santos-DeLeon team produced seven blockbuster hits that gave Vilma two FAMAS best actress awards that secured her elevation to FAMAS highest honour, the FAMAS Hall of Fame award. She won in 1979 for Pakawalan Mo Ako and 1988 for Ibulong Mo Sa Diyos…” – RV (READ MORE)

Filmography: Dalawang Pugad, Isang Ibon (1977)

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Basic Information: Direction, Screenplay and Original Story: Ishmael Bernal; Cast: Romeo Vasquez, Vilma Santos, Mat Ranillo III, Ana Gonzales, Anita Linda, Fred Montilla, Mary Walter, Laila Dee, Roldan Rodrigo, Ann Villegas, Ernie Zarate, Catherine Santos, Val Mallari, Oscar Miranda, Ursula Carlos, Rene Magno, SOS Daredevils, Danie Ramirez, Danny Franco and Rheez Chua’s Models; Art Director: Bobby Bautista; Assistant Art Directors: Emiliano Gonzales, Virgilio Sanchez, and Bert Isleta; Electricians and Gripmen: Corpuz, Romeo Dueñas, Narsiso David, Mariano Guzman, Irinio Flores; Unit Driver: Jose Maigapo; Color Processed: LVN Laboratory; Director of Cinematography: Nonong Rasca; Assistant Cameraman: Felizardo Anastacio; Sound: Luis Reyes; Field Soundman: Jose Fortuno; Boomman: Alberto Dueñas; SFX Technician: Jun Martinez; Film Editor: Nonoy Santillian; Senior Editor: Ruben Pantua; Assistant Editors: Rico Salas, Ariel Quicho, Jun Calaguan; Music: The Vanishing Tribe; Theme Songs: “Puso’y Alinlangan” performed by Vilma Santos, “Torn Between Two Lovers” performed by Gracie Rivera, Dyna Records; Guest Choroeographer: Peter Estocado; Make-up Artists: Dading Ravela and Virgie F. Capulong; Legman: Rodolfo Basco; Publicities: Teresa Santos Blas, Beth Castillo; Stills: Ben Nollora and Lito Morales; Layout Artist: Hannibal Cambel; Title Designer: Marvin B. Panganiban; Production Manager and Assistant Director: Dante Javier; Production Staff: Nelson Sia, Ruben Fernandez, Gloria B. Agustin; Administrative and Sales: Jon Santos Blas, Estrella T. Mendoza, Lea Santos, Fidelio Santos, Julie S. Enriquez; Executive Production: T. Buhain Santos; Executive Producer: Emilia Santos Blas; Produced by Lea Production; 15th Years Anniversary Production; Film Poster Archived: Video48

Plot Description: Dalawang Pugad, Isang Ibon is a 1977 drama film directed by Ishmael Bernal. The film analyzes adultery in a mature way and presents reasons why many modern marriages in bourgeois families slowly dissipate into alienation and lead to adultery. The movie’s main plot involves a fashion model (Vilma Santos) who is torn between two men: her young boyfriend, who is a self-centered, airheaded fashion model (Mat Ranillo III), and an older married man (Romeo Vasquez), who is estranged from his domineering wife (Anna Gonzales). – Wikipilipinas

Film Achievement: 1977 Gawad Urian: Best Director – Ishmael Bernal; Best Editing Nomination – Nonoy Santillan; Best Picture Nomination; Best Production Design Nomination – Bobby Bautista; Best Screenplay Nomination – Ishmael Bernal; Best Sound Nomination – Luis Reyes; Best Supporting Actor Nomination – Mat Ranillo III

Film Review: “…Bernal, testing the tensions of triangular love (for geometry books, one of his characters wittily says) for some time now, plunges deeper into character analysis and metaphorizing… In Lumayo, Lumapit ang Umaga, the triangle was unevenly explored: the first love was sketchily drawn. Dalawang Pugad, Isang become a choice for a more stable relationship. Walang Katapusang Tag-araw was a strange reverse of characters for two women and an unusual development of love into hatred and hatred into love, where therefore the triangle was essentially illusions. Ikaw ay Akin finally sets an interlocked triangle on its bases and looks at it (from all 3 angles) squarely in the face…” – Petronila CletoPelikula, Atbp (READ MORE)

“…Her metamorphosis began in late 1976 when she agreed to be kissed by Rudy Fernandez in Makahiya at Talahib. It was a “feeler” of sort and when the public clacked its tongue in obvious approval, Vilma shelved her lollipops-and-roses image and proved that she, too, could be a woman – a wise move indeed because at that time her career was on a downswing and her movies were not making money. Then she did Mga Rosas sa Putikan for her own VS Films where she played a country girl forced into prostitution in the big city. The movie did fairly well at the tills. Good sign. And came her romance with Romeo Vasquez, boosting both their stocks at the box office (thier two starrers, Nag-aapoy na Damdamin and Pulot-Gata where Vilma did her own wet style, were big moneymakers). The tandem, although it did help Vilma, actually helped Vasquez more in re-establishing himself at the box office (without Vilma, his movies with other leading ladies hardly create any ripple). In Susan Kelly, Edad 20, Vilma played a notorious-woman role that required her to wear skimpy bikini briefs in some scenes, following it up with two giant sizzlers (Dalawang Pugad, Isang Ibon and Masarap, Masakit ang Umibig) that catapulted her as the newest Bold Queen. Then came Burlesk Queen…” – Ricardo F. Lo, Expressweek Magazine January 19, 1978 (READ MORE)

“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)

The first nine months fo 1977 saw the release of bad local movies that are unbelievable for their sheer contempt of the moviegoer and even more unbelievable for their increasing popularity. The few decent ones include Robert Arevalo’s Hubad na Bayani, Eddie Romero’s Sinong Kapiling, Sinong Kasiping, Manuel Cinco’s Hostage…Hanapin si Batuigas, Briccio Santos’ Manikang Papel and Luis Enriquez Malayo Man Malapit Din. These are films that respect their audiences and treat them not just paying patrons but also as thinking individuals. For the past two weeks, however, a film that say something and says it right have been packing moviehouses in competition with the James Bond movie, other “adults” local picture and the Dolphy-Nida comedy. This is a cheerful occassion for the local movie industry because rarely does a director hit two birds with one stone; that is Dalawang Pugad…Isang Ibon, a love-triangle drama that was a pre-sold on account of the publicity generated by the oprivate lives of its two principal stars. Its director and scriptwriter, Ishmael Bernal, however, deserves the greater part of the credit for the picture’s commercial and artistic success. For Beranal has done what was dismissed before as an impossibility – a good Vilma Santos-Romeo Vasquez movie. Dalawang Pugad is not just a good movie, it is a superior movie and the year’s best so far (and take this from one who earlieer wanted to avoid the movie like the plague). It has uniformly good performance by the cast, which includes Mat Ranillo III, Anita Linda, Fred Motnilla, Anna Gonzales, Laila Dee, Mary Walter, Ann Villegas, and the two lead, Vasquez and especially Vilma Santos who has done a surprisingly intelligent and affecting character portrayal.

Not since Romero’s Sinong Kapiling have we seen screen characters who think and behave and react to situations and problems like mature, sensitive and intelligent people. The characters do give way to occassional hysterical outbursts, but they somehow wake up to their senses before they forget themselves completely. And they are people in believable situations with real problems and genuine emotions. When they talk, they are seldom silly, and when they are silly, they are aware of it. But even when they’re silly or trite, they are never unsympathetic. Their conversations, in fact, are the most sophisticated heard in a local movie in a long time – shrewd, wry, loving, crisp and smart. You have to hand it to Bernal for making even a casual advertisement for motorcycle brand sound so much like an indispensable part of the dialogue. The story is simple enough, but the details can be so complicated. Twenty three year old Terry (Vilma) abandons her immature boyfriend and runs away with a married man against the vehement protestations of her parents. This is a common plot reworked to death in other movies. In another writer-director’s hans, the story would walk the tightrope between stale romantic melodrama and sensationalized New Morality expose, but Bernal invests it with such subtlety, sympathy, affection and full understanding, though inevitably with some slight cynicism, too, that he actually elevates the story into a search by intelligent people for meaning in human and personal relationships. – Mario A. Hernando, The Philippines Daily Express, Oct 21 1977 (READ MORE)

“…The 1977 Urian Awards further established the reputation of the Manunuris as discoverers of new or ignored talents. Word spread around that “you don’t have to spend a cent for PR to win in the Urian” after Daria Ramirez (Sino’ng Kapiling, Sino’ng Kasiping) bested formidable co-nominee Vilma Santos (Burlesk Queen) for the best actress plum. The choice of Ramirez was not a popular one either, for her portrayal of a middle-class wife was devoid of the “pang-FAMAS” hysterics usually equated with good acting in Philippine movies. The most significant event of 1977, however, was the debate on which criterion should take precedence in choosing the best film: cinematic style or filmic content? It had been decided before that if two films were equally well-made, the film with the more significant content would be chosen. But the application of the criterion became very difficult with the two films being deliberated on: Robert Arevalo’s Hubad na Bayani and Ishmael Bernal’s Dalawang Pugad, Isang Ibon. Hubad is a truthful portrayal of the peasant uprisings of the 30’s, but it was marred by technical flaws. Dalawang Pugad, centering on the problem of infidelity, was narrower in scope but was just as truthful in its portrayal. Hubad had its good moments but was uneven as a whole, while Dalawang Pugad had a tighter orchestration of cinematic elements. Which film should be given more weight? To an observer, the answer would have been obvious, but, taken in context, at the time when so many tired formula films on “the other woman” were being made, the achievement of Bernal’s film could not be underestimated. The upshot was that Hubad won as best picture and Bernal was awarded best director for Dalawang Pugad…” – The Urian Anthology 1970-79, Video 48, 24 May 2011 (READ MORE)

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Filmography: T-Bird at Ako (1982)

“Hindi naman ako ipokrita…ke tomboy ka, bakla ka, ok lang sa akin yon! Pareho lang yon! Kung saan ka maligaya duon sila…huwag na nating pakialamanan…alam mo kung nuong una sinabi na niya sa akin kung ano siya hindi na kami nagkaganito eh…akala ko tutoong tao siya!” – Isabella

“Putik nga ito! Pero kahit ganito ako, nagsisimba ako kahit papaano!…ang sabi ng nasa itaas, ang sala sa lamig, sala sa init, iniluluwa ng langit, isinusuka ng diyos!” – Isabella

“…ano ba naman ‘to katawan lang ‘to, ‘konting tubig, ‘konting sabon, wala na…tapusin na natin ang kaso, pagkatapos sabihin mo kung kailan, saan…darating ako, ang katawan ko!” – Isabella

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Basic Information: Directed: Danny Zialcita; Portia Ilagan; Screenplay: Danny Zialcita, Portia Ilagan; Cast: Vilma Santos, Nora Aunor, Dindo Fernando, Tommy Abuel, Tony Carreon, Baby Delgado, Rosemarie Gil, Suzanne Gonzales, Odette Khan, Liza Lorena, Alvin Enriquez, Adul de Leon, Rustica Carpio, Anita Linda; Original Music: Butch Monserrat; Cinematography: Felizardo Bailen; Film Editing: Ike Jarlego Sr.; Sound: Rudy Baldovino; Theme Songs: “Hiwaga ng Pag-ibig” performed by Nora Aunor

Plot Description: An interesting and witty play of events and characters directed by avant garde filmmaker Danny Zialcita. The story of a woman confused of her sexuality (played by Nora Aunor) who worked in a man’s world as a lawyer. A chance meeting with a bar girl (played by Vilma Santos) who would change the course of her life. The film portrays a woman who runs and holds her life, but when matters of the heart are concerned, she just lets fate takes it toll. She believes to be in love with the bar girl, or she thinks she is! At the end, a sudden twists explodes making her more vulnerable that she has ever imagined. A parody on the comic love and life of people caught up in a the middle of strange questions of gender issues. A seriously funny picture of the drama of life! – Kabayan Central (READ MORE)

Lesbian lawyer Nora, tried to assist the accused dancer, Vilma with her legal battles and unexpectedly, falls in love with her. The poorly written plot compensate with crisped dialogues and fast paced editing from one of the most finest commercial director of the 80s, Danny Zialcita.

Confused lawyer Sylvia Salazar (Nora Aunor) is infatuated by the oozing charm of ago-ago dancer Isabel (Vilma Santos) whom she has volunteered to defend in a criminal case. Sylvia’s persistent and dedicated suitor (Tommy Abuel), another lawyer of intelligence and a strong conviction, however, does not give up on her and resolves to pursue her or wait for that time when she will be more receptive to a man’s affections. Also stars Dindo Fernando, Liza Lorena, Baby Delgado, Leila Hermosa, Suzanne Gonzales and Odette Khan. Written by Portia Ilagan and directed by Danny L. Zialcita for Film Ventures, Inc. – Trigon Video

Film Achievement: The fourth Vilma Santos-Nora Aunor films (the other films are: Young Love, Pinagbuklod ng Pag-ibig, Ikaw Ay Akin.

Film Reviews: “…The remastered version of Danny Zialcita’s T-Bird AT Ako is clearly something that we can be proud of. At an age of total enlightenment, we no longer need to know who’s better between Aunor and Santos. What matters now is that we have a film we can return to, so we can once again, embrace the magic of cinema and understand why it continually touches our lives. Apart from a salute to a director, who has once graced our taste and tickled our sensitivities as Filipinos, it is also a celebration of two great actresses who will ceaselessly make us smile every time we wonder what magic they have that makes us submit to their bidding…”- Orly S. Agawin, Jellicle Blog, 26 February 2015 (READ MORE)

“…The restoration campaign focuses on directors primarily. In the case of the 33-year old ‘T-Bird at Ako,’ it’s vintage Danny Zialcita with his snappy dialogue and witty repartee. It’s also the last time that Nora and Vilma co-starred in a movie and with such a daring theme for its time. “T-Bird at Ako” tells the story of a sexy dancer (Santos) accused of homicide. She is defended by a female lawyer (Aunor) who tries to keep their relationship professional as the latter struggles with confusion as to her sexual preference. T-Bird at Ako is among the 75 films restored by ABS-CBN Film Archives, in collaboration with Central Digital Labs, since it started its restoration project in 2011. Some of these restored films were already screened internationally via film fests, screened locally via red carpet premieres, aired on free-to-air and cable television, viewed via pay-per-view and video-on-demand, distributed on DVD, and downloadable even on iTunes…” – LionhearTV, 26 February 2015 (READ MORE)

“…The 1982 blockbuster T-Bird At Ako was not the first movie to star rival screen icons Nora and Vilma, but it played up the rivalry of the two, even coming up with a circular “billing” so you couldn’t tell whose name appeared first. It also has a titillating premise: Nora Aunor plays Sylvia, a successful lawyer who finds herself sexually attracted to Vilma Santos’s Isabel, a nightclub dancer/hostess accused of murder. The movie is absolutely delightful, and its two stars never looked better, but if you’re looking for a serious discussion of LGBT issues, look elsewhere. As writer Portia Ilagan said in her introduction, she and the director had a spat over the “redeeming” ending, which in the tradition of old Tagalog movies suggests that homosexuality is a temporary phase that can be cured…In T-Bird at Ako, every character is a character, and even the most minor characters get to unleash verbal zingers. Many of these zingers seem like throwaway remarks, so you need to pay close attention. “Saan tayo?” says the taxi driver. “Sa impyerno,” says Vilma Santos, and the movie doesn’t make room for the audience’s laughter but barrels right into the next scene. It occurred to me that Danny Zialcita’s movies, which were marketed as melodramas, are really screwball comedies, the genre I love most in the world. The plots are preposterous, the story is only loosely related to real life, and everyone is clever. It doesn’t try to be like the actual world, it wonders why the world isn’t more fun like a movie…”

“…Nora Aunor has the more difficult role. Her Sylvia is a cerebral woman who has never paid much attention to her feelings and suddenly finds herself swamped with them. Could she be a lesbian? The movie’s timidity and its fear of offending the traditionalist audience doesn’t help her: she is reduced to being petulant and jealous when Vilma’s Isabel stays out late at night. But Nora uses her famous power of understatement to convey the confusion, discomfort, and amazement of emotional awakening. It’s also refreshing to see her play an established, affluent character whom no one would think of oppressing. Make her api at your own risk. Vilma Santos is in her element playing the quintessential Vilma role: the woman of feeling who has no qualms about expressing them. She also has a nightclub dance sequence that, far from portraying her as a downmarket floozy, makes her look like she should be headlining a TV variety show. Oh right, she’s done that. And her line readings are hilarious. Under cross-examination by Tommy Abuel, who asks if she can understand his questions in English, she says, “Opo, hindi naman malalim ang English niyo.” Offhandedly, without turning it into a moment…” – Jessica Zafra, Interaksyon, 27 February 2015 (READ MORE)

“…Ang husay talaga ng director na si Danny Zialcita. And the actors in the movie were equally good. Sa court scene, hindi nagpatalo sina Johnny Wilson at Tommy Abuel as the prosecutors. Ang gagaling nilang magbitaw ng mga dialouges. At hindi rin nagpatalo ang Superstar as the defense lawyer. Superb ang exchange words sa court room. We wondered kung sino ang scriptwriter ng pelikula. But Manay Ethel Ramos said na si Danny Zialcita is an expert on that area. Halos hindi maalis ang tutok ng lahat kay Ate Vi with her sexy dance number and she was in a red skin tight outfit with the lower part exposing very shapely thighs and legs. Sabi nga ng anak naming si Julienne who was with us during the viewing of the film, “Ang ganda ni Vilma lalo na ‘yung ilong niya. Girl na girl talaga siya. Ang ganda rin ni Nora pero pang-masa talaga ang dating niya. Very convincing siya as t-bird. Paglabas ko, Mommy, ng film center, tumatak sa akin na t-bird talaga siya.” Nandun sina Aiza Seguerra at Liza Dino to support the film since the film is about same sex relationship. Nandun din si Direk Perci Intalan who is, as everywone knows, married to writer Jun Lana. Kay Portia Ilagan (the right hand of Sen. Bong Revilla) pala ang kuwento ng T-Bird at Ako. Kuwento diumano ito ng buhay niya. Dahil yung same sex relationship ay hindi pa masyadong accepted nung time na ginawa ang movie, sa ending, hindi nagkatuluyan sina Vilma at Nora. May mga dialouges pa si Ate Vi na “Nandidiri ako sa ‘yo.” nung mag-attempt si Ate Guy na haplusin siya. So, sa ending si Nora ay napunta kay Tommy Abuel at si Vilma naman kay Dindo Fernando. Sey kuno ni Portia sa isa namaing kasamahan sa panulat na nag-interview sa kanya, ang ayaw niya sa ending ay pinag-bestida raw si Ate Guy. She accepted the ending na napunta si Ate Guy kay Tommy Abuel pero ang di niya nagustuhan ay pinagsuot ito ng bestida. In real life kasi, never sigurong nagsuot ng dress si Kabsat Portia…” – Len Ramos Llanes, Bulgar, 27 February 2015 (READ MORE)

“…Na-miss ng film critics at ng showbiz industry ang style ng yumaong Danny Zialcita sa pagdi-direk. Ilan sa kanyang mga obra ay ang Nagalit ang Buwan sa Haba ng Gabi at marami pang iba tulad ng T-Bird at Ako na ipinalabas sa UP Film Center las February 25. Ang bida ng classic film na ito ni Danny ay ang dalawang superstars ng local film na sina Vilma Santos at Nora Aunor. Ang said film ay ilan lang sa mga restored film into its original na gawa ng ABS-CBN Film Restoration. Ang mga nauna nang restored films na ipinalabas sa said venue ay ang tatlong pelikula ni Batangas Governor Vilma Santos-Recto like Bata Bata Paano Ka Ginawa at Anak. Anyway, dumating si Nora sa UP Film Center nang mas maaga sa takdang oras ng palabas na 6pm. Unfortunately, walang Vilma na dumating although nagpasabi ito sa kanyang mga Vilmanians na hindi siya makakarating due to important committment sa Batangas. Bagama’t wala si Ate Vi, kumpleto pa rin ang Vilmanians sa pangunguna ni Jojo Lim na siyang nag-asikaso sa mga press people na kanyang inimbitahan. Pagkatapos ng welcome speech ni Leo Katigbak, ang head ng Kapamilya Film Restoration, sumunod na nagpasalamat si Ate Guy sa mga dumalo sa event, maka-Nora man o Maka-Vilma. Nasa 4th row nakaupo si Ate Guy habang ongoing na ang viewing. Binulungan kami ng aming katabing isang radio host-columnist na “Tumatakas na si Nora.” True, napansin ng lahat na nu’ng ipinapakita ng ilaw, bakante na ang kinauupuan ng Superstar. Tuloy, ‘di na naman nakalusot sa intriga ang bulilit aktress at biro ng aming katabi, “Nag-walkout yat? e, kasi nga, kahit wala si Vilma, mas malakas ang palakpakan sa kanya,”sey ng aming katabi. Bago pa ang screening ng T-Bird at Ako sa UP Film Center, nagpaunlak ng pahayag si Nora at naitanong ng katotong Morly Alinio kung papayag ba ito sakaling magkaroon ng T-Bird At Ako part 2 kahit na pareho na silang may edad? Sagot ni Ate Guy, “Why not? Depende siguro ‘yun sa istorya,” sey sa amin. “Wala namang problema sa amin ng mare ko,”na tinutukoy ay ang Star for all Seasons…” – Ador Saluta, Bulgar, 27 February 2015 (READ MORE)

“…Ang kuwento ng T-Bird At Ako ay tungkol sa isang dancer (Vilma) na naakusahan ng homicide. Ipagtatanggol siya ng isang abogada (Nora) na susubukang panatilihing propesyunal ang kanilang ugnayan habang nilalabanan ang pagkalito sa kanyang sexual preference. Si Portia Ilagan ang sumulat ng script ng T-Bird At Ako at ayon sa kanya, magkakaroon daw ito ng remake. Ang gusto niyang magbida sa bagong version ng pelikula ay sina Angel Locsin (dancer) at Bea Alonzo (lawyer). Gusto rin niyang maging part ng pelikula sina Vilma at Nora, Aiza Seguerra at asawa nitong si Liza Dino…” – Leo Bukas, Journal, 28 February 2015 (READ MORE)

“…Humahantong ang resolusyon ng pelikula sa antas nang mapilitang magkasundo ang mga magkakatunggali. Sa pagtatapos nito ay bumalik si Aunor sa tunay na esensya ng kanyang pagkababae. Nagmula ito sa matagumpay na babaeng nagpasimula sa pagtagumpay ng mga tradisyonal na pagpapahalagang pang-kababaihan. Tulad ng inaasahan, napapalooban ang T-Bird At Ako ng mga kapani-paniwalang pagganap at pagtatapat. Higit na epektibo si Nora Aunor bilang isang lesbiyana sa pagpapahayag ng komplikasyon sa tauhang kanyang ginagampanan. Lubha namang nakakapagod ang pagganap ni Vilma Santos sa pelikula. Hindi makaramdam ng simpatiya ang manonood dito dahilan sa karton ang kanyang karakter. Samantala magiting ang suportang ipinamalas ni Tommy Abuel bilang matiyagang manliligaw ni Aunor, gayundin sina Dindo Fernando at Suzanne Gonzales. Sa maikling paggnap ay lubhang katangi-tangi sina Anita Linda at Odette Khan. Masasabing masinop ang mga elemento ng pelikula sa T-Bird At Ako, maliksi ang galaw ng mga biswal at masigla ang paggamit ng tunog upang mabisang mailarawan ang mundong ginagalawan ng mga tauhan nito.” – Jojo Devera, Sari-saring Sineng Pinoy (READ MORE)

“…Danny Zialcita’s T-Bird at Ako is entertaining cannot be doubted. The plot situations are funny. The lines are witty. The pacing is fast. The lesbian love of Nora Aunor for Vilma Santos, moreover, is extremely clever, since the two superstars in real life would not be caught dead in such a relationship. Zialcita has made a career of doing impossible things. He made he-man Dindo Fernando a homosexual in the Mahinhin series. He now makes Aunor a lesbian. When he tries to make Santos a low-class beerhouse dancer, however, he fails. That makes his record two out of three impossible things, not bad for normally sedate local cinema. This film shows Zialcita at his best – irreverent, tongue-in-cheek, unconcerned with larger themes, focused on obsessive sexual relationships. Let’s take the dialogue first, which cleverly juxtaposes the fiction of the film with the reality of the careers of the two superstars. Thus references are made to Santos’ being a “burlesque queen.” One character is even named “Rubia,” after Rubia Servios (1978), Santos’ competition film against Aunor’s Atsay (1978). More than these allusions, however, the film features sparkling exchanges between Santos and Aunor. Most impressive of all the lines perhaps are those in the court room sequence, since the opposing arguments are easy to follow, yet logical in structure. The direction is tight and masterful. Although one always gets reminded in a Zialcita film of sequences from foreign films, there is a minimum of unmotivated blocking in this film. Each sequence contributes to the whole film (if there is copying, in other words, and I do think there is in this film, the copying is not done simply to be cute or clever, but in accordance with the logical requirements of the plot). The performances, as expected of a Zialcita film, are excellent. Aunor is more effective as the confused lesbian, primarily because Santos is not able to get the rough and ready quality of low-class hospitality girls. Tommy Abuel is terrific in his role as the patient suitor. Fernando is given too little space to develop his character, but what he has, he makes good use of. Captivating is Suzanne Gonzales, though she has to learn to use her face a bit more to express varying emotions. In their brief roles, Anita Linda and Odette Khan are delightful.” – Isagani Cruz, September 22, 1982, Movie Parade Magazine

No More Superstar Image – “…Isa iyong ikslusibong pakikipanayam sa aktress sa set ng “T-Bird,” isang pelikulang tumatalakay sa mariing iksistensiya ng isang tomboy, at sa pagkakataong ito, muli na naman siyang makakasama ang kaytagal na niyang kakontemporaryong aktress, si Vilma Santos. Sa intriga’t kontrobersiya ng naturang pelikula, (sapagkat kamuntik nang hindi matuloy ang proyekto) nagpapasalamat si Nora at nagkaroon din iyon ng katuparan. Nagtapat siya: “Malaki rin ang naitulong nang pagkikita namin ni Vi sa Manila International Film Festival. Kasi, magkatabi kami. Kinabukasan nun, Saturday, meron nang shooting…Tapos, ang laki rin ng tulong nu’n kasi nagkakuwentuhan na rin kami, ang sarap! Ewan ko, ang sarap talaga ng pakiramdam kung halimbawang magkalaban kayo sa career…magkalaban, pagkatapos ang tagal-tagal n’yo, ‘yung ganu’n. ‘Yong bang hindi mo akalain…Kahit nga mga problema nag-kakuwentuhan din kami, eh…So, ‘nu’nung shooting namin, medyo hindi rin ako masyadong nahirapan sa pag-a-adjust…” Ang totoo, ayon kay Nora, medyo ayaw din niyang tanggapin noong una ang papel na iyon sa “T-Bird.” Unang-una naipangako niya sa sariling gagawa lamang siya ng tatlong pelikula para sa 1982, at hindi nakalinya ang obrang iyon ni Danny Zialcita. Isan linggo niyang pinag-isipan ang alok na iyon ay gumuhit nang malalim ang isang intrigang kanya rin napaglabanan, pagkatapos. “Kasi, unang-una, iniisip ko rin naman, siyempre maraming tao na mag-iisip na naman, magsasalita na naman ‘O baka naman tinatanggap ni Nora ‘yan kasi kakapit sa pangalan ni Vilma dahil alam na down na down na siya!…So, ‘yon, nag-worry ako pero pagkatapos kong pagaralan, naisip ko, bakit ko naman pakikialaman ‘yung ibang tao? Sa ngayon naman, nag-matured na kami. Wala na ‘yung mga batang isipan d’yang Superstar image. Unang-una nga, magsasama kami ngayon as actresses. Hindi na mga dating pa-bandying-bandying ang mga pelikula ngayon…saka isa pa, bakit ko ba iintindihin ang mga sasabihin ng tao? Kung maraming mga detractors ang magsasalit at mag-iisip nang ganun, hindi maiiwasan ‘yon. Maski anong paliwanang ang gawin mo, andu’n pa rin ‘yung kaumakalaban sa iyo…” Isang seryosong pelikula ang “T-Bird” at isang seryosong direktor naman si Danny Zialcita. Ang kay Nora ay ang maranasan ang pagpapel ng isang tomboy hindi sa paraang kumedya kundi sa isang paraang dramatika. Gusto rin niyang maranasan kung paano maiderihe ni Danny sa unang pagkakataon…” – Arthur Quinto, photos by Fely Igmat, Artista Magazine, 04 March 1982, Re-posted by James DR, Pelikula Atbp (READ MORE)

RELATED READING:

#noraaunor, #VilmaSantos, #TBirdatAko1982, #DannyZialcita

Filmography: Good Morning, Sunshine (1980)

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Basic Information: Direction: Ishmael Bernal; Story: Rolando Tinio; Screenplay: Rolando Tinio, Ishmael Bernal; Cast: Vilma Santos, Junior, Lloyd Samartino, Sheryl Cruz, Debraliz, Anita Linda, Liza Lorena; Production Co.: Lea Production; Release Date: February 1, 1980

Plot Description: No Available Data

Film Achievement: The single from the movie, “Yakap” was a hit single of film’s actor, Latin singer, Junior.  The song has been covered by several local singers the more recent was by Charice.

Film Review: “…Junior – Now 66 years old (can you believe that?), he was Vilma Santos’ leading man in Good Morning Sunshine in 1980. Born Antonio Morales Barretto, he was born in Manila, but moved to Spain with his family when he was 15. He was already a popular singer in Spain when he tried Pinoy showbiz. After doing a series of local movies (another one of his films was Disco Madhouse with Lorna Tolentino and Rio Locsin) and record albums (Yakap is still memorable to me), he went back to Spain (his wife and kids were all living there) where he continued singing. Eventually, he managed the showbiz career of his wife, Rocio Durcal, but she died of cancer in 2006…” – Butch Francisco (READ MORE)

“…Ate Vi thus became the chief opponent of Nora Aunor as the movie queen of the 1970s. Her edge is that she also became the queen of hit disco movies filled with singing and dancing, like “Swing It, Baby,” “Disco Fever,” “Rock Baby Rock,” “Let’s Do the Salsa,” and the movie she did with Latin idol Junior, “Good Morning Sunshine…” – Mario Bautista (READ MORE)

“…I credit Ronnie Henares for discovering me,” said Geleen. “He saw me in a fashion show in Hyatt in 1978. John Gaddi, my first dancing partner, and I were modeling na pa-sayaw-sayaw. I guess natuwa sa akin si Ronnie so he got me into Penthouse 7 hosted by Archie Lacson…I was Vilma’s choreographer for her movies (Disco Fever, Good Morning Sunshine, etc.) and at the same time I was also choreographing for Nora on her show Superstar. When Vilma had her own TV show, she got me as choreographer but I stayed with her for only one month. The network bosses told me that I shouldn’t be handling two superstars at the same time. Nora was on Channel 9 and Vilma was on Channel 13. Because of loyalty, I chose to stay with Nora kasi mas nauna naman ako sa kanya. I was with her for four years na at that time. But first, I talked to Vilma who is a ninang of my son Miggy. I left Vilma with a heavy heart…” – Ricardo F. Lo (READ MORE)

“…Every aspect of a Bernal film may not always be successfully realized, but his weakness is outshine by his strengths. In every film, he seems to be ready to try something new, whether it be a theme, conflict, character or scene. He is also out of the few major local directors to have covered the broadest range of film genres and theme with varying levels of success, from the historical drama, like the Bonifacio episode in the unreleased multi-million peso omnibus Lahing Pilipino (1976), to the disco musical Good Morning Sunshine (1980) and the personal, experimental films Nunal sa Tubig and Himala…” – Mario A. Hernando (READ MORE)

Filmography: Sister Stella L (1984)

“Ako ay kristyano, higit sa lahat ako ay tao. Kung nandito lamang si kristo sa ibabaw ng lupa alam kong kasama ko siya sa pakikipaglaban.” – Sister Stella Legaspi

“Kung walang kikilos sino ang kikilos, Kung hindi ngayon Kailan pa… Katarungan para kay Ka Dencio!” – Sister Stella Legaspi

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Basic Information: Directed: Mike De Leon; Story: Jose Almojuela, Mike De Leon, Jose F. Lacaba; Screenplay: Ricardo Lee; Cast: Vilma Santos, Jay Ilagan, Gina Alajar, Laurice Guillen, Tony Santos Sr., Anita Linda, Liza Lorena, Ruben Rustia, Eddie Infante, Adul de Leon, Rody Vera, Pen Medina; Executive producer: Lily Y. Monteverde; Original Music: Ding Achacoso; Cinematography: Rody Lacap; Film Editing: Jess Navarro; Production Design: Cesar Hernando; Sound: Ramon Reyes; Theme Songs: “Sangandaan”, “Aling Pag-ibig Pa?” performed by Pat Castillo; Sister Stella L. is titled “Sangandaan” when its exhibited in 1985 Venice Int’ Film Fest (“Incroci” in Italy and “Crossroad” in English)

Plot Description: Sister Stella L is the award-winning masterpiece by Mike de Leon. Its about a nun, Sister Stella Legaspi (played by Vilma Santos), who becomes involved in labor strikes after learning about the governments neglect of the poor and the working class. Her sworn duty to fight for the poor and the oppressed turns personal when her journalist friend Nick Fajardo (played by Jay Ilagan) is tortured and the union leader Dencio (played by Tony Santos) is kidnapped and killed. What follows is her eye-opening and tear-jerking battle against cruelty and injustice. This film is one of the most memorable roles for Vilma Santos. She is excellent in her portrayal of the resilient nun. – Regal Films (READ MORE)

A nun who acts as a counselor in a home for unwed mother undergoes political awakening when her friend and namesake belonging to the same congregation as hers inspires her to get involved in the struggle for justice and freedom of striking workers in a cooking oil company. – Database of Philippine Movies

Sister Stella L. is the award-winning masterpiece by Mike De Leon. It’s about a nun, Sister Stella Legaspi, who becomes involved in labor strikes after learning about the government’s neglect of the poor and the working class. Her sworn duty to fight for the poor and the oppressed turns personal when her journalist friend Nick Fajardo is tortured and the union leader Dencio is kidnapped and killed. What follows is her eye-opening and the tear-jerking battle against cruelty and injustice. The film broke censorship barriers back in 1984, during the final years of the US-backed Marcos dictatorship, for its realistic portrayal of labor struggles, and extrajudicial killings, hauntingly mirroring the reality of Philippine society today under Gloria Macapagal-Arroyo. – Filipinas for the Rights and Empowerment

Labor, politics and religion are the issues that come in conflict in Sister Stella L. The film tells the story of Sister Stella Legaspi, a nonpartisan religious, whose pacifist stance is challenged by an older radical colleague, her namesake, and Nick Fajardo, a concerned journalist, her ex-boyfriend, in response to the injustice being perpetrated on a group of factory workers in Barrio Aguho. When a strike is declared at the local oil factory, the young nun is thrown into the thick of the strike and leaves her convent work to help the workers in their efforts against unfair labor practices. While she looks upon the matter as an opportunity to put into practice the teachings of Christ, the strikers on the other hand are quick to realize the strategic advantage of having nuns at the picket line. This utilitarian stage gradually develops into a relationship of deep involvement. Sister Stella begins to think like a worker. She learns to identify with their cause. Denounced by corporate officials, the strikers and the nuns align themselves together to fight off harrassment from management and, para-military agents. On order from higher-up, the group’s labor leader, Ka Dencio, is abducted, tortured, and killed. But his death fails to destroy the spirit of the protest. The workers, Sister Stella L, and the journalist, resolve to carry on the fight. – MPP

“…The peaceful life of a young nun is transformed when she becomes involved in helping the cause of a group of factory workers in a nearby town. She asks to be transferred to the town where she dedicates herself to working against unjust labour practices in the factory…” – British Film Institute (READ MORE)

Film Achievement: 1984 Gawad Urian: Best Picture – Regal Films; Best Actress – Vilma Santos; Best Actor – Jay Ilagan; Best Direction – Mike De Leon; Best Editing – Jess Navarro; Best Music – Ding Achacoso; Best Screenplay – Jose F. Lacaba, Jose Almojuela, Mike De Leon; Best Sound – Ramon Reyes; Best Supporting Actor – Tony Santos Sr.; Best Supporting Actress – Laurice Guillen; Best Cinematography Nomination – Rody Lacap; Best Production Design Nomination – Cesar Hernando; Best Supporting Actress Nomination – Gina Alajar; Best Supporting Actress Nomination – Liza Lorena; 1984 Star Awards: Movie of the Year – Regal Films; 1984 Film Academy of the Philippines: Best Picture – Regal Films; Best Director – Mike De Leon; Best Actress Nomination – Vilma Santos; 1984 FAMAS: Best Supporting Actor – Tony Santos Sr.; Best Actress Nomination – Vilma Santos; Philippines’ entry to 1985 Venice International Film Festival; Sister Stella L. was one of 25 Filipino films shown in New York from July 31 to August 1999, organized by the Film Society of Lincoln Center; Special Selection: 2013 Cinemaralita Film Festival – Urban Poor Resource Center of the Philippines

25 Filipino films shown at Lincoln Center – “In celebration of the 100th year of Philippine Independence, the Film Society of Lincoln Center, in partnership with the Philippine Centennial Commission, the Cultural Center of the Philippines, IFFCOM, the Philippine Information Agency, the Consulate General of the Philippines in New York and the Philippine Centennial Coordinating Council – Northeast USA, presented a series of Filipino films at the Walter Reade Theater of the Lincoln Center. Slated July 31 through August 20, and with a line-up of about 25 films, the series was the most extensive Filipino film retrospective ever to take place in the United States. All prints are subtitled in English. By including old classics as well as contemporary films, the three-week festival brought the country’s centennial commemoration into sharper historical focus. It also featured some of the best works by acclaimed director Lino Brocka, and concluded with the award-winning short films and videos of young, upcoming Filipino and Filipino-American filmmakers. The members of the film selection committee were Richard Peña (Program Director of the Film Society of Lincoln Center), Domingo Hornilla, Jr., Vincent “Ting” Nebrida, and Agustin “Hammy” Sotto. Some of the titles shown in the festival were: In the Classics Category…two films by Mike De Leon: Sister Stella L. starring Vilma Santos and Batch ’81 starring Mark Gil; and three works by Ishmael Bernal namely Nunal sa Tubig (A Speck in the Water) starring Daria Ramirez, Aliw starring Suzette Ranillo and Relasyon starring Vilma Santos…Among Brocka’s films being spotlighted were Maynila sa Mga Kuko ng Liwanag, Insiang, Tinimbang Ka Nguni’t Kulang (You Were Weighed But Was Found Wanting) and Ina, Kapatid, Anak (Mother, Sister, Daughter)…” – Seapavaa Bulletin (READ MORE)

Film Reviews: “…Kung ang Pelikulang Karnal (1983) ay nagpapakita ng anti-feminist, kabaliktaran naman ito ng Pelikulang Sister Stella L. Sa pelikulang ito, matatapang ang mga kababaihan gaya nina Soledad, Aling Auring, Sister Stella B. At Sister Stella L. Sa pagsusuring ito, gusto kong bigyang atensyon ang katauhan ni Sister Stella L. Bagkus, bingyang pansin din sa pelikula ang pagwewelga ng mga manggagawa. Sa puntong ito, ayoko na ng maraming diskusyon sa mga manggawa. Wala namang pinagbago. Mula noon hanggang ngayon, pareho pa rin naman ang sistema. Natural na lang siguro ang pagwewelga lalo pa’t may gusto ka talagang ipaglaban at makamit ang ipinaglalaban mong iyon…Sa aking pagsusuri, nakita ko ang katapangan ni Sister Stella L sa pelikula na syang naging instrumento ng mga welgista upang mas lumaban pa. Nakita ko rin dito ang pabago-bagong desisyon ni Sister Stella L. Siguro ganon nga talaga ang mga babae, pabago-bago ng iniisip. Gayunpaman, napaisip ako. Dapat ba kung ano lang ang katayuan mo sa buhay hanggang dun ka na lang? Parang si Sister Stella L. Kung isang madre ka, dapat ba nasa simbahan ka lang? Hindi ba pwedeng tumulong sa iba pang nangangailangan?. Subalit, dito naman nagkaroon ng mali si Sister Stella L., ang pumasok sa isang sitwasyon na hindi nya pa lubos na alam. Wala namang mali sa pagtulong at lalong walang mali sa pakikipaglaban sa kung anong alam nating tama, siguro dapat suriin at unawain muna nating mabuti ang sitwasyon sapagkat sabi nga ni Ka Dencio, “Kung hindi tayo kikilos, sino ang kikilos? Kung hindi ngayon, kelan pa?…” – Elay Co, elayco20.wordpress.com, 15 September 2014 (READ)

“…The reason why historical revisionism and the support of Martial Law is still prevalent in our society is because there is no solid narrative about one of the country’s darkest moments in history. Our history books have given a watered-down version of its era, which is why it isn’t comprehended in its full gruesome form. Which is why we have movies to thank. Dekada ’70 isn’t the only Martial Law movie out there. As much as we love Nora Aunor and Christopher de Leon, the film industry has a plethora of movies that look at Martial Law through different eyes. With the long weekend and Independence Day coming up, here are some films to remind us of the freedom that we enjoy today. Be warned, most of these movies will include a lot of violence, sexual assault, and more disturbing themes. Sorry but that’s just how Martial Law was…This film is about the political awakening of Sister Stella Legaspi, played by the legendary Vilma Santos. Sister Stella decided to protest against the maltreatment of the government to the labor force and the poor despite the criticisms from her fellow activists. It’s an emotional roller coaster that makes one question what exactly is one’s duty during such hard times…” – Anna Cayco, The Philippine Daily Inquirer, 10 June 2017 (READ)

“…Mike de Leon’s Sister Stella L, which was such a masterpiece that it overshadowed the substantial achievements of several films of 1984 (such as Tikoy Aguiluz’s Boatman, Mario O’Harra’s Bulaklak sa City Jail, Gil Portes’ ‘Merika, Ishmael Bernal’s Working Girls, and Abbo de la Cruz’s Misteryo sa Tuwa). It was a good year for film, and in a good year, good films inevitably have to compete against each other. In fact, Sister Stella L won most of the film awards for 1984, a distinction that could have been Soltero’s in an earlier, less rich year…” – Isagani R. Cruz, Philippine Panorama, 6/2/85

Hindi kami nakakilos sa aming inuupuan matapos panoorin ang “Sister Stella L”. Para kaming sinampal, tinamaan ng kidlat right between the eyes. Masyado kaming naapektuhan. Gusto naming sumigaw. Talagang gagalitin ka ng pelikula. Kay raming eksena ang talagang titiim ang bagang mo. Manggigigil ka, magngingitngit ka. At pahahangain ka. Gusto mong sigawan ng bravo, yakapin at suubin ng papuri ang mga gumawa nito. Si Mike de Leon na siyang direktor. Si Lily Monteverde na naglakas loob na I-produce ito. Ang scripwriters, ang mga artista, at lahat na ng kaugnay sa pelikula. Alam mong itinataya nila ang kanilang kaligtasan sa paggawa ng ganitong uri ng pelikula. At bilang manunulat, naroon ang hangarin mo upang tulungan ang pelikulang ito na mapanood ng lalong nakararaming mga pilipino. ..nang walang putol!

Ang “Sister Stella L” ay kasaysayan ng isang madre, ng isang Pilipino, at ang pagkakamulat ng kanyang mga mata sa mga kaapihang sosyal na nagaganap sa kanyang paligid. Sa pagsisimula ng istorya as siyam na taon nang naglilingkod sa kumbento ng Caritas si Sister Stella Legaspi (Vilma Santos). Guidance counselor siya sa mga taong may problema na tulad ni Gigi (Gina Alajar), isang unwed mother. Minsa’y dinalaw siya ni Nick Fajardo (Jay Ilagan), isang peryodistang dati niyang katipan. May sinusulat itong artikulo tungkol sa mga aktibistang pari at madre. Agad inamin ni Stella na siya’y “walang masyadong alam sa socio-political involvement ng mga madre at pari.” Siya ang ginawang ehemplo ni Nick sa artikulo nito ng mga madreng kulang sa kamulatan. Nag-react dito si Stella at sinabi sa kanya: “ Hindi ba involvement din ang trabaho ko rito sa Caritas?” Madalas ma-depress si Gigi at kay Stella ito sumasandal. Nang minsang sabihin sa kanya ni Stella na kaya niyang dalhin ang kanyang mga problema ay sinumbatan siya nito: “Madaling magsalita. Hindi naman ikaw ang nahihirapan. Paano mo alam, hindi ka naman dumaan sa hirap? Nagbuntis ka na ba? Laging masakit ang suso mo. Nahihirapan kang tumae.” At nang patuloy pa ring malamig si Stella ay sinabi nito: “Bakit hindi ka gumaya sa ‘kin? Nagagalit, nagmumura, nagpapabuntis?”

May kaibigang madre si Stella, si Sister Stella Bautista (Laurice Guillen). Involved ito sa social action work at kasalukuyang tumutulong sa Barrio Agoho, isang factory town, na kung saan ang mga manggagawa sa Republic Cooking Oil ay nagbabantang mag-aklas. Naakit si Stella L. na tingnan ang uri ng trabaho roon ni Stella B. Sa araw ng kanyang pagdalaw sa Agoho ay tiyempo namang pagsisimula ng welga roon. Tuwang-tuwa si Stella B. Sumasama raw siya sa picket line dahil “pag may mga madre at pari sa picket line, nahihiyang pumasok ang mga eskirol.” Sa paglapit niya sa picket ay naabutan si Stella L. ng placard at siya man ay napabilang na rin sa welga. Puno pa siya ng mga katanungan: “Ano ba ‘tong napasukan ko? Anong gagawin ko?” Sabi naman ni Stella B.: “Basta gawin mo lang ang gagawin ko.” Sa paglipas ng oras ay nakausap niya ang mga manggagawang nagwewelga, nakitulong siya sa pagsandok ng kanin, sa paghugas ng plato. Nakilala niya ang lider ng mga welgista na si Dencio (Tony Santos) at ang asawa nitong si Auring (Anita Linda). Nang makita ni Nick ang mga larawang kuha sa welga at kabilang doon si Stella, nasabi nito sa kanyang editor (Liza Lorena): “Kilala ko si Stella. Madali siyang maimpluwensiyahan. Baka kung ano na ang napulot noon sa tokayo niyang radikal.” Nagsimula namang kuwestiyunin ni Stella ang trabaho niya sa Caritas. Binalaan siya ng kanyang superyorang si Juaning (Adul de Leon): “Hindi social action ang linya natin. At tandaan mo ang sabi ng Papa: huwag tayong humalo sa politika.” Sa kanyang mga alinlangan kung tama ang pasiya niyang maglingkod sa Agoho, ito ang payo ni Stella B.: “Paano mo malalaman kung hindi mo susubukan? Hindi ang mga tao ang dapat makinig sa ‘yo, ikaw ang dapat makinig sa kanila.” Dahil sa kanyang karanasan sa Agoho, nasabi ni Stella kay Gigi: “Ang kahirapang nababasa’t naririnig ko lamang ay naging buhay na sa akin. Ako pala’y nangangapa ring tulad mo.” Namulat ang mata niya sa “pang-aabuso sa mga naaapi” at na-touch siya ng “pag-aasikaso ng mga ito.” Aniya: “Sila na ang nangangailangan ay kami pa ang kanilang iniintindi.”

Duda pa rin si Nick sa involvement niya sa welga. Pasulpot-sulpot lang daw siya roon, patulong-tulong. “Kapag nagsawa ka,” anito, “uuwi ka rin sa komportableng kumbento.” Si Stella B. ay kinailangan namang magpunta sa Davao upang tumulong sa isa pa nilang kasamahan doon, lalong nangamba si Stella L. na iiwanan siya nito sa Agoho. “Baka hindi ko kaya,” aniya. Sabi naman ni Stella B. “Puro ka baka, e, kailan mo pa malalaman?” Pinatawag uli si Stella ni Juaning. Sabi nito: “Hindi payag ang kongregasyon sa trabaho mo sa Barrio Agoho.” Sa pagbabalik niya sa Caritas, nagpatiwakal naman si Gigi. Lalong naguluhan si Stella. “Parang bumaliktad ang mundo ko,” aniya. “Marami akong tinatanong. Bakit nga ba ako nag madre?” Sabi naman ni Stella B.: “Madreng lansangan ka pa rin hanggang mamatay ka.” Natuloy ang pag-alis nito, na ang akala’y pinoproblema niya na baka may pagtingin pa rin siya kay Nick. Bilin pa nito: “Kung mahal mo siya, sundin mong feeling mo. Marami namang paraan ngpaglilingkod sa Diyos.” Si Nick ay nagkaroon din ng problema sa trabaho niya. Isang artikulo niya tungkol sa karanasan ni Stella B. sa Isabela na pinamagatan niyang “A Nun’s Story: Military Atrocities” ang hindi pinalathala ng kanilang publisher. “I-rewrite mo,” sabi ng editor niya. “Bawasan mo’ng tapang.” “Ano?” balik niya. “Gawin kong love story?” “Sabi ko, i-rewrite mo, hindi babuyin,” anang editor. Pero sa bandang huli ay nag-give up na rin ito. Tanggapin na raw lamang ang kanilang mga limitasyon. “Hindi lahat ng legal ay makatarungan.” Nagbitiw si Nick sa trabaho niya sa Tribune at lumipat ng pagsusulat sa Malaya.

Nagbalik si Stella L. sa Agoho at naging mas aktibo na siya sa picket line. Nang minsang lalabas ang trak ng mga produkto mula sa pabrika ay siya pa ang nag wika: “Mga kasama, magkapit-bisig tayo.” Samantala’y nagsimula ang pangha-harass kay Dencio at sa pamilya nito. Una’y ginulpi ang anak niyang si Roger, pagkatapos ay binaril ang bahay nila. Ang huli’y kinidnap si Dencio. Nang papaalis na sina Stella at Nick upang humingi ng tulong, sila man ay kinidnap din. Nakita nila ang pagpapahirap kay Dencio. Sila man ay sinaktan din at si Stella ay binastos pa ng mga sanggano. Pinakawalan din sila. Di naglaon, ibinalik si Dencio. Patay na. Sa harap ng mga manggagawa, ipinahayag ng asawa nitong si Auring na tuloy ang welga. Nagsalita rin si Stella at sinabi niya: “Ilang beses akong pinaalalahanan na ako’y isang madre lamang. Pero una sa lahat, ako’y isang tao, ako’y isang Kristiyano.” At isinigaw niya: “Katarungan para kay Ka Dencio. Mabuhay ang uring manggagawa.” Sa last scene ng pelikula’y nagsasalita ng diretso si Stella L. sa mga manonood: “Marami pa akong hindi alam at dapat malaman tungkol sa kasalukuyang kalagayan ng ating sistema ng lipunan. Kailangan pa ‘kong patuloy na mag-aral at matuto. Pero ang mahalaga’y narito na ako ngayon, hindi na nanonood lamang. Nakikiisa sa pagdurusa ng mga di makaimik, tumutulong sa abot ng aking makakaya. Kung hindi tayo ang kikilos, sino ang kikilos? Kung hindi ngayon, kailan pa?”

More than anything else, ipinakita ni Mike de Leon bilang isang socially committed at responsible na director ang iba pang posibilidad ng pelikula bilang art at bilang medium of communication. ‘Yung mga laging pumipintas sa pelikulang lokal at nagsasabing walang kuwenta’t saysay ang mga ito, panoorin ninyo and “Sister Stella L” for it is Filipino moviemaking at its best: aware, concerned, and with a universally relevant message. It also shows that an artistic film can be entertaining and as a matter of fact, is necessarily intellectually entertaining (but an entertaining film is not necessarily an artistic one). The movie succeeds in delivering its message because all the elements that went into its completion are excellently executed. It is that rare kind of movie which has no false moves. The screenplay is brilliantly developed and constructed by Pete Lacaba, Jose Almojuela (who is also the assistant director), and Mike de Leon himself. The cinematography of Rody Lacap deserves nothing but superlatives and the musical score by Ding Achacoso is served in a silver platter (napakagaganda ng mga awiting “Sangandaan” at “Aling Pag-ibig Pa” na nilikha niya para sa pelikula). The editing by Jess Navarro and the production design by Cesar Hernando also deserve the highest commendation. We cannot help but gush dahil lahat ng aspeto ng produksiyong ito ay maganda.

The movie is sure to elicit all sorts of reactions from various quarters. The bigoted and the narrow-minded will no doubt readily brand it as the work of communists and subversives. The involved will merely find it interesting. But the enlightened will declare it as a socially committed work of art. No doubt that some concerned quarters will be offended. Some of the speeches are so frank and fearless. Dencio says in a May 1st rally: “Ang mga manggagawa ang lumilikha ng yaman ng bansa. Panahon na para ipakita ang lakas ng ating pagkakaisa, na makamtan ng bayan ang tunay na kalayaan. Ang manggagawa ang nagpapaandar ng makina, nagpapalago ng puhunan.” Pero ano ang nangyayari? Tayo ang namamatay sa gutom, ang naghihikahos. Hindi magbabago ang ating lipunan kung uupo lang tayo sa isang sulok at maghihimutok. kundi tayo ngayon kikilos, kailan pa?” Nang mamatay siya, sabi naman ng asawa niyang si Auring: “Noon, ang paniwala ko talaga, gano’n ang buhay, may nasa itaas, may nasa ibaba. May nag-uutos at may nagsisilbi. Pero kung tatahimik ka na lang lagi, ang konting meron ka, aagawin pa sa ‘yo. Patay na nga si Dencio pero tuloy ang welga.” Sabi naman ng anak niyang si Roger: “Kung kikilos tayo, dapat ngayon na. Ngayon pa lang, pinapatay na kami. Kaya mas mabuti pang mamatay ng lumalaban kaysa habang buhay kang nagtitiis.”

To make a film like this comes under the heading “they said it couldn’t be done.” Mike de Leon does it, splendidly. In these days when local film faces such problems as exorbitant production cost, commercialism, lack of an intelligent and responsive audience, and censorship, it is heartening to note that movies like this are still being made. Matthew Arnold said that art and society shape each other so artists should deal with serious subjects of moral and social value. This is exactly what Stella L. accomplished, for it allows the viewer to meditate on life and help him gain some insights. Surely no film is an island entire of itself because each movie is made by several men, but the distinguishable personality of an exceptional director is almost always imprinted on his film. We have never really liked the works of Mike de Leon that much and his movies (like “Itim”, “Kung Mangarap Ka’t Magising”, and “Kisapmata”) seemed nothing more to us as exercises in self-indulgence. Starting with “Kakaba-kaba Ka Ba?” though, he demonstrated a newfound cause in making movies, which is further reinforced by “Batch ‘81”. Now, Stella L., offers the pleasure of watching a director as he is hitting full stride, his craft and competence marching in step with history. His deft hand is quickly evident in the cinematography. There is no imposed prettiness in the photography, no straining for arty effects, but the texture is rich and palpable to validate reality, with the effective use of color-acting on the viewer to reinforce the temper and tenor of the story.

De Leon handles his intimate and delicate material powerfully, persuasively and penetratingly. He not only executes the technical aspects marvelously but also knows how to work with his actors, both individually and in the here all-important ensembles. The crowd scenes are a delight, with some sequences presented with the veristic quality of a documentary, and each scene is played for maximum impact, immaculately crafted and made with care and conscience, with dedication and devotion. If we now sound so much like an avid de Leon fan, it is because Stella L. is the kind of work that makes a reviewer long for new adjectives of praise. One knows very well that de Leon works for reasons other than money. This makes the strength, sensitivity and symetry of his direction deserve the highest praise and the sweet of music of thunderous applause for it is just better than perfect. Local cinema gives us very few occasions to rejoice and this is one of them. In the large and uniformly excellent supporting cast, Laurice Guillen stands out as Sister Stella B. She is one film director and actress who is really ablaze with talent. As the instrument to Stella L.’s involvement in a much more worthy cause, she imbuesher role with just the right mixture of intensity and charm. Equally memorable are Tony Santos as the beleaguered labor leader, Anita Linda as his courageous wife, and Liza Lorena as the sympathetic magazine editor who is willing to compromise. Gina Alajar is very effective in a very short role as the unwed mother. In the male lead role, Jay Ilagan proves once more that he is indeed one of our most competent young actors available.

And now, Vilma Santos. Playing the title role, Vilma tries a part that is totally different from her past roles and proves that she has indeed become a highly skilled professional. Her role is somewhat reminiscent of Audrey Hepburn’s in Fred Zinnermann’s “The Nun’s Story”, where a young nun discovers in a hospital at the Congo that she is first a nurse and only second a religious. But Stella’s awakening is much more vital and revolutionary than that of Sister Luke in the Hepburn movie. Vilma’s transformation from an innocent bystander to that of an active participant who is audacious enough to be in the thick of battle is truly quite awesome to behold. We could almost see and feel the internal changes in her. In a sense, the role is somewhat tailor made for her because her beauty is appropriate to the part of Stella L., but she also succeeds in transcending her established personality, delivering her lines and gestures with vigorous conviction and playing it to perfection that one can safely predict that she will again be running in the best actress derby come next year. And so, to Vi, Mike and Mother Lily, our heartfelt gratitude for giving us a film that has the power to cause insomnia. – Mario E. Bautista

Must the ability to entertain the audience be the constant guiding criteria in the film and in the performing arts? While certainly, one does not minimize the importance of the entertainment function of the arts, the film Sister Stella L shows that it is not much the ability to entertain that is crucial as the ability to stir and maintain interest. For, as in this film, one cannot really say that the audience is entertained, regaled with spectacular sights, provided a pleasant diversion or titillated by teasing or amusing scenes, but the audience is invited, through the skills of the performers and director, to engage in immediate issues which concern us today. This film thus poses a challenge to our usual notions and expectations of Philippine cinema, as it is not a romantic or domestic drama, a comedy or an action film. The fact that such a film as this appears at this point implies a belief in the development and maturity of the local audience who can, at least from the responses of previewers so far, be receptive to harder stuff.

Sister Stella L deals with the contemporary social issues through the experience of various characters, among them Sister Stella L (Vilma Santos) and Nick, her former boyfriend now a journalist (Jay Ilagan), Sister Stella B (Laurice Guillen), the union leader Ka Dencio (Tony Santos) and his wife (Anita Linda). Again, the film differs from most productions nowadays in its immersion in contemporary social reality. The characters, too, possess a strong active aspect of people engaged in a meaningful cause, the people’s struggle for social justice. The nun that Sister Stella B portrays typifies in her strength and honesty the person who has gone beyond purely personal and selfish concerns to embrace the larger role of service to the people. No doubt, it is a refreshing and exhilarating experience to see characters who realize themselves fully as human beings by transcending petty selfish interest and giving of themselves to people in need of support and protection. Because of this, the spirit of the film is highly optimistic and reassuring because it makes us strongly aware of the forces in our midst working for change and of the fact that history is moving forward with these forces assuming the active role.

The central issue of the film has to do with the involvement of religious like Sister Stella L and her senior, Sister Stella B, in socio-political affairs. We know, for instance, that one point of view will have priests and religious secluded behind convent walls where their activity is restricted to praying. They are to have nothing to do with life around them as social and political concerns are thought to corrupt their purity and bring in wordly moral dangers and temptations. Or that priests and religious should remain apolitical, not taking sides in socio-political issues, but as men of God, considering all men as brothers who will, in the end, become docile and receptive to preachings of love and unity. The other point of view believes that it is not as simplistic as all that. In fact, it believes that the adoption of a neutral attitude can only serve to dull one’s moral sensibilities and because one shirks from making moral choices, one also renouces one’s responsibility as a human being. In truth, it is of utmost importance, perhaps particularly so for religious, to have a fine and acute sense of moral discernment as applied to social relations, in which the idea of truth and justice operate. The religious who makes grand sermons on love and unity may not himself understand the meaning of truth and justice, because love and unity do not exist in the abstract but are social ideals possible of attainment – only and only when exploitative relationships are destroyed. Otherwise, one contents oneself with hypocrisies. What for instance, would be the love of the rich factory owner intent on profits for the worker, and vise versa. Workers’ wages are only to keep workers alive and in a measure of health for him to have enough strength to operate the machines of work in the fields. Is it enough for factory owner and worker to meet in church and perhaps occupy the same pew – or will religious feel sufficiently edified at the sight? But priests and nuns are citizens of this country as much as any of us and are thus part of the body politic in which they have the right to take active part. Likewise, they are as human as anyone else, and as human beings, they have the drive toward concreteness and totality realized only in social interaction. The Church, too, cannot afford to take a position of alienation and withdrawal, because by doing so it will only continually lose its influence in a time of urgent and pressing realities; otherwise, it will only end up as an outmoded medieval institution. The Church is continually called upon to make moral decisions, and it is through these that the people will know whether it truly supports their cause or whether it only acts as a liaison for exploitative interests.

In the film, for instance, there is a conflict between Sister Stella L and her superior who wants her to stay in the convent to act as guidance counsellor and not to engage in labor activities in Barrio Agoho where a strike in an oil factory is taking place. For a while, she obeys her superior to be spiritual adviser to an unwed mother, portrayed by Gina Alajar, who, however, throws her back the question of what does she know at all, as a nun, of human suffering. The task of counselling this individual soul lost in her private hell is fruitless and Gina eventually commits suicide, which serves to show the nun the narrow limitation of such a task. Sister Stella L henceforth knows that she must make the choice of the larger and more challenging field of the workers in struggle. It is also important to note that Sister Stella B tells her fellow nun that although her immediate superior may not approve of her social participation, it is possible that higher superiors will – thus showing that such is still possible within the fold of the congregation. Also, at one time, there arises the question of whether Sister Stella L will stick it out as a religious or continue her activities outside the convent. Upon consultation with her friend, Sister Stella B, she decides to carry on the struggle as a nun, and by so doing, show the importance of such a function for her fellow religious, as well as its validity as a position within the religious orders.

The central event in the film is the strike of workers in an oil factory in Barrio Agoho where nuns show their support for the workers by participating in the picket, thereby lending valuable protection. The factory owner (Ruben Rustia) sends goons to harass the picket line, and makes use of the military, which readily lends itself to protect the minority interests of wealthy property owners against the majority interests of the workers. When the strike continues despite inclement weather and hunger, the factory owner resorts to kidnapping the union leader, Sister Stella L, and her journalist friend. All are maltreated and tortured, but the old union leader is finally “salvaged” and thrown into a dump. In the confrontation between the factory owner and Sister Stella L, the former shows himself to be hostile to the workers and to the participation of the nuns: “Kung pati ang mga madre ay nagpapagamit sa mga Komunista, mabuti pang magbago na lang ako ng relihiyon.” To which the nun answers: “Mabuti na ngang magbago kayo ng relihiyon upang hindi parehong Diyos ang sambahin natin.” The murder of the union leader, Ka Dencio, only lends more fuel to the workers’ resolve to continue the strike, which is now led by his wife, with the militant participation of Sister Stella L. The latter’s exhortation to the workers – and by extension to the audience – to engage in the struggle ends the film.

A secondary theme is the issue of press freedom, which is explored, in the first-hand experience of Nick, the young journalist. He writes a series on the politicization of the religious and their active participation in mass actions. In the beginning, his motivations are somewhat confused – and this his editor points out clearly to him – because he may be using this as an excuse to follow and communicate with Sister Stella L, who used to be his girlfriend. The journalist, however, understands the futility of the religious confining themselves within convent walls and poses the challenge for involvement. Sister Stella L takes up the challenge – in fact, the journalist’s articles contribute to her politicization. When she gets more and more involved, he becomes protective and anxious for her safety. His articles on the subject barely squeeze through censorship and he experiences increasing difficulty in getting published. Sister Stella L and he are kidnapped by goons and they are physically assaulted even as they witness the torture of the union leader. Instead of intimidating them, the experience completes their politicization and in the end Sister Stella, militant and committed, finds her true social role.

Because this movie deals with issues, it has more than the usual amount of dialogue compared with other films. This, however, does not work against it. Since what is talked about is drawn from the very stuff of social reality and thus concerns a large number, it is able to sustain interest. Too much dialogue would be a defect if it dwelt on banalities or inanities or if it narrated incidents rather than portrayed them. In this case, dialogue is necessary for the exploration of issues, as well as for the portrayal of how the characters reckon with ideas and develop in their social consciousness. The audience is not bored provided the things talked about in the film have a bearing on their lives. Filipinos, after all, are a talky lot (think of the large amounts of time spent in coffee shops over coffee or beer). Moreover, these are talky times, because the larger public is rapidly developing critical awareness, and there is now a greater need for interaction and exchange in the interest of survival. There are references in the film which may, at first, seem extraneous, such as Sister Stella B’s mission to Davao where she joins a fact-finding group. However, such references serve to extend the “area of responsibility,” if we may borrow the expression, from Manila to the far-flung provinces. Thus, the unity of the film is not only in the events that engage the characters in Manila but also in a larger over-all spirit of solidarity in which vibrations of sympathy throughout the islands give strength and comfort to those of a common cause.

For a heart-warming film, the entire cast deserves congratulations, particularly Vilma Santos who reveals another aspect of her multi-faceted talent. From her usual soft and sweet romantic roles, she can be transformed into a strong and militant woman without losing any of her charm and beauty. Jay Ilagan, Tony Santos, Anita Linda and Liza Lorena are also in their best form. Mike de Leon as director, Jose F. Lacaba as scriptwriter are likewise to be congratulated for making a truly human film and for contributing to the cause of workers for justice and of the religious for the recognition of their social role. Not to be overlooked is the producer Lily Monteverde of Regal Films who has this time shifted from puerile erotic dramas to make a courageous film for which she will always be well remembered. – Alice G. Guillermo, Who Magazine, May 30 1984

There would have been two important Filipino films in this year’s prestigious Cannes Film Festival: Sister Stella L., directed by Mike de Leon and Kapit sa Patalim, directed by Lino Brocka. Both smuggled out to France and both vitally political in thrust, the two films were reportedly disowned by the Philippine embassy in France. Supposedly under instructions from the Philippine goverment, the embassy sent the following disclaimer to the festival directorate: “There are no Filipino films in the Cannes Film Festival.” The two films nevertheless made it to the festival site, though only one was screened as scheduled. Brocka’s film was in the category “In Competition,” and was tested against the works of such eminent directors as Werner Herzog, Wim Wenders, and Satyajit Ray. Early on, Kapit sa Patalim (which acquired a second title, Bayan Ko, in deference to another film project which had been approved before Brocka’s project) was rumored to be a strong contender for the Best Film award. Critic Bertrand Tavernier was quoted as saying, “It’s a toss-up between Wim Wenders’ Paris Texas and Brockas’s Bayan Ko.” De Leon’s film was to have had special screenings, on the unanimous request of the Cannes’ board of critics. Sister Stella L., however, suffered from the rush of subtitling work that descended upon Cannes’ select group of translators and De Leon opted not to show the film without subtitles. He nevertheless had the distinct honor of holding a retrospective under the sponsorship of the French Cinematheque right after the festival. The film eventually competed at the Venice Film Festival. Under its original title Sangandaan (Crossroads), Sister Stella L. was invited to the Venice Film Festival in 1984, the second Filipino film (after Genghis Khan in 1951) to be honored with such recognition. – Agustin L. Sotto and Pet Cleto, Philippine Panorama, Dec 02 1984

“…As I’ve said before, this is Pete Lacaba’s film more than it is Mike de Leon’s. Undeniably angry to the point of its indictment of the Marcos regime, the film illustrates the climate of emotions running perilously high in the aftermath of Senator Benigno Aquino’s assassination. Such emotions will culminate in a “people power” and the end of dictatorship two years later…” – Etchie (READ MORE)

“…Tatlong kanta ang ginamit sa Sister Stella L. Ang isa, “Manggagawa,” na kinanta ni Rody Vera sa pelikula (at sa programa noong Marso 20), ay ikini-credit sa akin kung minsan, pero ang talagang sumulat ng lyrics niyon ay si Peping Almojuela, at kay Ding Achacoso ang musika. Ang mga kantang ginawan ko ng lyrics (kinanta ni Pat Castillo, kay Ding Achacoso din ang musika), ay ang sumusunod…Ang isang linya sa kantang “Sangandaan”–“Saan ka tutungo?”–ay idinagdag ni Ding Achacoso dahil parang bitin daw ang ginawa kong lyrics…” – Pete Lacaba (READ MORE)

“…Sa pagkamatay ni Ninoy, ang napagbuhusan namin ng panahon nina Mike at Ding ay isang documentary na pinamagatang Signos at ang pelikulang Sister Stella L. Isang kanta mula sa binabalak na Brechtian zarzuela ang ginamit na isa sa mga theme songs ng Sister Stella L: ang “Aling Pag-ibig Pa,” na binigyang-tinig ni Pat Castillo sa pelikula at sa plaka. Nang ipalabas ang Sister Stella L. sa 1984 Venice International Film Festival, ang pamagat nito ay Sangandaan (Incroci sa Italyano, Crossroad sa Ingles). Pinagtiyap na sa unang storyline ay Sister Corazon de Jesus ang pangalan ni Sister Stella L. Ang nasa isip ko noon ay hindi si Corazon Aquino, kundi ang Sagrado Corazon de Jesus…” – Pete Lacaba (READ MORE)

Political Issues – “…The “Star for All Seasons” said she was not aware yet of political issues when she made the movie which was first shown in 1984 during the Marcos administration. “Hindi ko pa naiintindihan ang sitwasyon noon. All I had to do was act,” she confessed in her usual jolly and passionate mood. “But now I am aware of the condition already. Relevant ang ‘Sister Stella L.’ because it still speaks until now of the current situation in our society. Pareho pa rin ang nangyayari at pareho pa rin ang nakikita natin sa ating paligid,” she said. During the dialogue, it was Jose Lacaba, the scriptwriter of the film, who confirmed that it was only when Santos ran for mayor of Lipa City in Batangas that she came to understand what “Sister Stella L.” was all about. “Sabi sa akin ni Vilma, noon lang daw niya naintindihan ang mga pinagsasabi niya sa pelikula,” revealed Lacaba. “Sister Stella L.” was shown during the Marcos dictatorship in 1984 and had to contend with at the box-office with Viva Films’ “Bukas Luluhod ang mga Tala” topbilled by Sharon Cuneta. According to Young Critics Circle member Nonoy Lauzon, “Sister Stella L.” had to suffer a different form of censorship at that time because of the film’s theme and presentation. Lauzon said the Marcos government had to egg on Viva Films to immediately finish its Cuneta starrer to compete with Santos at the tills. “Bukas Luluhod ang mga Tala” was reportedly a glossed over escapist fare that juxtaposed the gap between the rich and the poor in our society. Lacaba attributed “Sister Stella L.”’s box-office failure to the moviegoers’ patronage of escapist entertainment. Santos was happy that until today, despite its dismal performance at the box-office, her movie about an activist nun is still remembered. “Hindi tulad ng ibang pelikula na nakalimutan na,” she proudly stated. Film director and actress Laurice Guillen was also very proud she was part of “Sister Stella L.” She said she could not forget the line thrown at her by co-star Jay Ilagan who played a journalist. “Memorable sa akin ang linya ni Jay nang tanungin ako kung ‘komunista ka ba, Sister?’” she said….” – Boy Villasanta, ABS-CBN NEWS.com, March 22 2009 (READ MORE)

About Mike de Leon – de Leon spent his childhood in the family owned LVN studio, one of the three major studios of the forties and the fifties. He studied cinematography in Germany and the United States and worked to create the quality that LVN laboratory is known for. In 1975, he formed his own company, CineManila, whose initial offering was the monumental Maynila: sa Kuko ng Liwanga, of which he was also the cinematographer. In 1976, he directed his first film, Itim (Pitch-Black), a psyhological drama of a psychic who is haunted by a past muder, in which the supernatural is suggested rather than exploited. His second film, Kung Mangarap Ka’t Magising (Moments in a Stolen Dream, 1977) touched on the bourgeois values of the upper class as two lovers meet and separate in Baguio ans Sagada. His film Kakaba-kaba Ka Ba? (Will Your Heart Beat Faster? 1980) is a fine, innovative sppof of the country’s sacred cows, using Mother Goose language to hit at, among others, the Japanese and Chinese presence in the Philippines. His fourth film Batch ’81 depicts the initiation rites of aspiring neophytes into quasi-tribal fraternities, and is injected with so much double meaning that the gory initiation rites become a disturbing metaphor of post-Martial Law Phlippines. His last film, Kisapmata (In the Wink of an Eye) delves into the misuse of authority in a closely-knit family. The Mike de Leon style always hints at meanings otehr than those plotted out and creates powerful, disturbing images. Mike de Leon’s last tow films Batch ’81 and Kisapmata were shown together at the 1982 Director’s Forthnight in Cannes, marking the first time in its history that two films by the same director were ever exhibited. – Rosauro de la Cruz (READ MORE)

“…Enigmatic director Mike de Leon has always been known as a risk taker. He pushed for ‘Itim’ as title of his debut film. The film might have ended a flop at the Metro Manila Film Festival but it is still a stunning first film. He also questioned martial law rule in Batch ’81. It was no surprise then that he would pursue a more political film after the assassination of Ninoy Aquino. But, the stars must be aligned too. The murder of Ninoy led to mass protests and a more relaxed censorship atmosphere. Mother Lily bravely took the option of producing Sister Stella L. Meanwhile, Vilma Santos was tired of portraying liberated women. She fought for the role of an activist nun. She begged Mother Lily to give her the role. The original script by Pete Lacaba was voluminous. He excused himself with the pruning of the script because he was then working on Bayan Ko: Kapit sa Patalim. De Leon and Jose Almojuela did the job of shortening the script. Ellen Ongkeko added some dialogues. Lacaba noted during the 2008 Active Vista Film Festival that de Leon found the Vilma film dated. The reclusive director preferred the showing of the magnificent documentary film Signos in lieu of Sister Stella L. While the former may have more bite, the Vilma starrer is still a highly relevant film and a true classic…” – 1505 Film Avenue (READ MORE)

“…But 25 years later, Vilma’s film is still the talk of the town and is rightly recognized as one of the best Filipino films of the 20th century. Roland Tolentino enumerated the three major reasons why the film is a gem of Philippine cinema. He noted the excellent acting by Vilma and the rest of the cast. Laurice Guillen remarked that she had to let go of her stage mannerisms in order to properly portray a nun. It remains a milestone in her acting career. A somewhat embarrassed Vilma admitted that she was clueless on the film’s message during the course of the shooting. Tolentino also highlighted the social realism of the film. Labor problems, persecution of media, and harassment of nuns were effectively portrayed in the film. A forum listener, Sister Rosario Battung, confirmed that her colleagues were stalked by military men during the Marcos regime. They were being harassed by the police and soldiers. A Kilusang Mayo Uno member said the film was always one of the films viewed at picket lines. Pete Lacaba butted in to say that hopefully the DVD copy was an original one. He also noted that media persecution got worse during the administration of President Gloria Macapagal Arroyo. Radio commentators and print journalists were being killed…” – Film Angel (READ MORE)

“…In the 70s, a period characterized by the emergence of a new breed of filmmakers, we witnessed the renascence of a new Philippine cinema. Through their ouevre, there were conscious attempts to examine signigficant Filipino experience. These films, imbued with the sensibility, of their creators, form part of our film legacy. These films, chosen by the critics as the best films of the decade, are Ishmael Bernal’s Nunal sa Tubig and Pagdating sa Dulo, Lino Brocka’s Maynila…Sa Mga Kuko ng Liwanag, Insiang and Jaguar, Mike de Leon’s Itim, and Eddie Romero’s Ganito Kami Noon, Paano Kayo Ngayon? As we journey toward the end of a new decade, the list of the best Filipino films will become longer and will have to include those made by these directors and a number of new ones, too. To this list, I would include Bernal’s Manila by Night, Mike de Leon’s Sister Stella L., Pegue Gallaga’s Oro, Plata, Mata, and Laurice Guillen’s Salome. These are the films I would proudly and justifiably call Filipino – films that are as much a source of genuine pleasure as a cause of great expectations in the future of Philippine cinema.” – Justino Dormiendo, Manila Standard, Apr 7, 1987 (READ MORE)

“…On Sister Stella L. “It will always be an important film. When I was doing this movie, I didn’t realize what it meant to me and the Filipino people. I only started to understand it when I became Mayor of Lipa and if you listen to one of the lines of the movie, you will realize that it is still relevant today. ‘Kung hindi tayo kikilos, sino? Kung hindi ngayon, kailan?…” – Boy Abunda, The Philippine Star, July 31, 2009 (READ MORE)

“…Ka Dencio will eventually be abducted and slain by armed men after being turned in by a comrade. As participants in the strike, Nick and Stella would share part of Ka Dencio’s burden but will live to tell the tale and struggle. Prior to this, Stella would already be tormented by the death Gigi comported to herself and her unborn child. The tragic deaths and the circumstances surrounding it are among the turning points and crossroads which the film is rife with. In the Venice Film Festival, the film was shown under its original title “Sangandaan (Crossroads).“ Until now, the movie theme song of the same title is sung by activists, mostly from petty-bourgeoisie origins like Stella. The Philippine title is said to be adopted by Regal as a scheme to solicit the interest of the same audience of sex flicks the production house is wont to produce on those days. The box office performance of the film however proved that the scheme went in vain. Vilma Santos guiltlessly remembers it as a commercial flop when it shared playdate with the Sharon Cuneta blockbuster “Bukas Luluhod ang Mga Tala.”. “Pinaluhod tlaga kami” she adds jokingly. Critics would later on absolve the film from its huge commercial defeat. The Manunuri ng Pelikulang Pilipino bestowed it with all major awards except production design. Other awards were given by the Film Academy of the Philippines, Star Awards, and FAMAS. It will also be named one of the most important Filipino films and Mike De Leon one of the most important Filipino filmmakers. The creative team which include scriptwriter Pete Lacaba, Cesar Hernando, Rody Lacap, Ding Achacoso continues to chart illustrious careers in the creative industry to this day…” – Dino Manrique, Pinoy Film, 2009-03-04 (READ MORE)

If we do not act, who will act? If not now, when? – “…In Mike de Leon’s “Sister Stella L,” Vilma Santos plays Catholic nun Sister Stella Legaspi. Searching for meaning behind the words in the Bible that teach people to serve the poorest of the poor, she is led to the picket line of striking workers. Gradually, she begins to see her role as a Christian to be amongst the poor and the oppressed in society. Eventually, the management (and military?) try to break the strike through terror and torture, something that is happening to this day. Different strategies of the strike are debated as well as the “sides” between the workers and capitalists. Although there is a simplistic framing of the “evil capitalist,” the issues raised by the union leaders ring very true today, especially in this economic crisis. No Filipino movie could be complete without a love story, or at least the background of one which thankfully doesn’t dominate this movie. Vilma Santos shines as the unsure but strong-willed nun in the beginning to a militant defender of the people by the end. It is a similar role she plays 18 years later in “Dekada ’70.” The movie ends in an almost-cheesy PSA but the message is clear and bold coming out after the Ninoy Aquino assassination. “If we do not act, who will act? If not now, when?…” – Identity & Consciousness (READ MORE)

Mother Mary John Mananzan – “…Nearly a day after watching Philippine President Gloria Macapagal-Arroyo’s deliverance of the State of the Nation Address (SONA) in Manila, Filipinos in New York, unconvinced by Arroyo’s speech, gathered for a in-door forum to discuss “the REAL State of the Nation Address” (SONA) at the BAYANIHAN Filipino Community Center followed by an outdoor march along Roosevelt Avenue in Woodside, Queens. Amongst the special guest speakers at the forum was none other than the real-life inspiration for the 1984 Filipino film “Sister Stella L” featuring actress Vilma Santos, Mother Mary John Mananzan…Aside from serving as the Chairperson for the Association of Major Religious Superiors of the Philippines (AMRSP), Mananzan has the distinguished title of Chairperson Emeritus of GABRIELA Philippines, the largest federation of women’s organizations in the country working for fundamental economic and social reforms. While in New York, Mananzan was happy to be joined by fellow members of Filipinas for Rights and Empowerment (FiRE), one of only a handful of Filipino women’s organizations in the US that are also members of GABRIELA-USA….” – Anakbayan New York-New Jersey (READ MORE)

Still Relevant – “…When “Sister Stella L.” starring Vilma Santos was shown in 1984 by Regal Films, it was up against Viva’s new Sharon Cuneta komiks mo-vie, “Bukas Luluhod ang mga Tala,” which clobbered it at the box office. Although it didn’t succeed at the box office, “Sister Stella L,” the story of a sheltered nun who becomes an activist, withstood the test of time. It won many awards and has been constantly praised through the years for being an excellent example of socially relevant filmmaking. Last Friday, the UP Film Institute (the haven of pornographic gay films) did something right and paid tribute to “Sister Stella L” on its 25th anniversary. Ate Vi, now Gov. Vi of Batangas, was candid enough during the open forum that at the time she did the movie when she was about 28 years old, the political issues that were delineated in the film (made at the time that the protest rallies against the Marcos regime was raging after the murder of Ninoy Aquino) were not really that clear to her. “Hindi ko pa talaga ganap na naiintindihan ang mga sitwasyon noon,” she says. “Basta ginawa ko lang ang pinaaarte sa akin ng director naming si Mike de Leon. But now, I’m more aware of the conditions shown there. Talaga ngang relevant pa rin up to now ang “Sister Stella L.” dahil ang mga sitwasyon na pinakikita roon, lalo na ang labis ng kahirapan ng mga manggagagawa, nangyayari pa rin hanggang ngayon sa ating paligid. It was only when I ran for mayor in Lipa City that I came to understand what “Sister Stella L.” was all about. Kaya proud akong kahit hindi maganda ang naging resulta nito sa takilya, heto’t patuloy pa rin siyang pinupuri at pinararangalan ng future generations. Hindi gaya ng ibang movies na nakalimutan na. I’m really proud na sa career at buhay ko, nagkaroon ako ng chance na gampanan si “Sister Stella L.”. Hanggang ngayon, gaya ng tauhan doong si Ka Dencio, marami pa rin tayong kababayan na naghahanap ng katarungan. Sabi nga sa movie, “kung hindi tayo ang kikilos, sino ang kikilos? Kundi ngayon, kailan pa?” In the panel discussion that preceded the showing of the film, the resource persons aside from Gov. Vi were Mother Lily Monteverde (the film’s producer), Pete Lacaba (the film’s scriptwriter), Laurice Guillen (who won best supporting actress for her role as the other Sister Stella in the film), production designer Cesar Hernando, and critics Mario Hernando and Roland Tolentino, with Prof. Ed Piano as moderator who cited Gov. Vi’s numerous accomplishments…” – Mario Bautista, People’s Journal March 25 2009 (READ MORE)

The Militant nun as political activist and feminist in martial law Philippines – “…The 1984 feature film Sister Stella L. had its main character, Sister Stella, say the activist slogan: “Kung hindi tayo kikilos, sino pa, kung hindi ngayon, kailna pa?” [If we do not act, who will, if not now, when else!] {Reyes 1989}. This slogan was one of the cathphrases of the activists of the 1970s. The fact that screenplay writer Jose Lacaba purposely gave these lines to the character who was a militant nun (not a priest or other activist) was testimony to the visibility of the militant nun as representative of opposition to the Marcos dictatorship. The plot of the movie involves a nun, Sister Stella Legaspi, who is initially politically indiferent, but who eventually becomes sensitized to the plight of the strikers during a labour dispute in a depressed area. Exposed to the miserable lives of the strikers, she joins them on the picket line, only to witness the military assault and murder of a labour leader. This experience strenghtens her determination to fight against tyranny and oppression and she delivers that activist slogan at the climax of the film. The fictionalized story of sister Stella L. (played by film star Vilma Santos) depicted the militant nun’s metamorphosis into political activist. Nuns were in fact interviewed and consulted by director Mike de Leon in the making of the film, which contributed to the film’s relatively accurate representation of the militant nun in the martial law years…” – Maja Mikula, Women, Activism And Social Change (READ MORE)

Justice to Ka Dencio, Kuala – “…Filipino activists gave justice to slain labor leader Ka Dencio (played by the late Tony Santos Sr.), one of the main characters in the movie Sister Stella L produced by Regal Films and directed by Mike de Leon. It was the fourth best film among our activist respondents, citing Lily Monteverde’s film 13 times. The film about an activist nun played by Vilma Santos was shown in 1984, two years before the first Edsa uprising. It was inspired by the people’s fight against the US-backed Marcos dictatorship with the labor front as its political backdrop in denouncing the fascist rule. Amy Dural of the Promotion of Church for People’s Response (PCPR) says Sister Stella L should be cited for its clear depiction of the struggle of workers against the exploiting capitalist class and the Church peoples’ involvement in this fight for class emancipation. “I gave this film a two-thumbs up for its courageous stand on the issue of labor, state fascism and its rallying call for Church people to absorb the workers’ fight for a just and humane society in flesh and in spirit,” says Dural. Brocka’s Tinimbang Ka Ngunit Kulang tied with Sister Stella L in the fourth spot. “If Ka Dencio was given justice, the same was done to Kuala played superbly by seasoned actress Lolita Rodriguez who was abandoned by a rich playboy acted by Eddie Garcia,” says a former UP student and now staff of the peasant group Kilusang Magbubukid ng Pilipinas (KMP)…” – Gerry Albert-Corpuz, Bulatlat (READ MORE)

The Ten Best Filipino Films of the Decade – “…The films which appear in this list were selected because the filmmakers who created them have chosen to break popular conventions, when the industry decrees otherwise. They have courageously attempted to treat Philippine cinema not only as an art form but also as a vehicle for hard-core social criticism. They have done this despite the threat of censorship. They are listed below according to year…Sister Stella L.(1984) – Winner of 10 Urian awards, this Mike de Leon film is the most celebrated work to emerge at a time when Filipinos where furious (yellow). This landmark film about labor unrest effectively captures the anger that gripped the country after the murder of Ninoy Aquino. Vilma Santos gives a memorable performance in the title role…” – Emmanuel Reyes, Manila Times, 1990 (READ MORE)

Media Repression – “…The Filipino film has shown an entire society working together and moving in concert to attain dreams the people hold in common. It has also shown itself capable of great intimacy, allowing us to witness an individual’s joy and pain and involving us in the workings of a particular character’s heart and mind. Sister Stella L., 1984, by Mike de Leon, made during the period when the Philippines was under the Marcos dictatorship, tells the story of a nun who witnesses actual cases of human rights violations committed against workers striking for better wages, and finds herself shedding personal problems and fears to commit herself to the struggle of the oppressed against those who wield power unjustly in our society…The martial law years under President Ferdinand Marcos were a period of media repression that saw radio, television, komiks and film kept under constant survillance with the collaboration of media owners and practitioners as well. Nevertheless, some filmmakers were not daunted by the state’s veiled terrorism. Realities the martial law government wanted to gloss over or conceal appeared in various guises in a number of feature films, such as Hubad na Bayani (The Barechested Hero, 1977, about a peasant revolt), Sakada (Sugar Workers, 1976, about unrest among sugar workers), Batch ’81 (1982, an allegory about fascism), Manila by Night/City after Dark (1980, about the seamy side of Imelda Marcos’ “City of Man”), Minsa’y Isang Gamugamo (Sometimes a Winged Ant, 1976, an exposure of ill effects of U.S. bases), Broken Marriage (1983, touching on media repression), Bayan Ko: Kapit sa Patalim (1984, touching on the repression of worker’s rights) and Sister Stella L. (1984, on media repression and violence against striking workers…” – Bienvenido L. Lumbera, Pelikula – An Essay on Philippine Film (READ MORE)

Film Criticism – “…Early days of Manunuri, ang palagi kong binabasa ay ang reviews ni Jun Cruz Reyes. Jun Cruz’ movie reviews were shaped up by the existing social injustices. Unlike most of the Manunuris na kadalasan, ang kanilang reviews reeked of the formalist tradition of the academe. You can’t read Jun Cruz these days, but I make it a point to read a Mario Bautista review in this mag. I noticed Mario has gone beyond the formalist approach. In Soltero, Mario deplores the fact na ang boredom ng middle-class ay iba sa boredom ng masa – ‘yung Pinoy whose basic problem is how to make both ends meet. Which is true. Mario did the same in his review of Sister Stella L, which I would call the movie of the decade, if not the height of Philippine cinema. I’m always partial to movie reviewers and artists as well whose hearts and eyes are with the masses. Kasi nga, given two equally well-crafted movies, to judge say Soltero or Sister Stella L., ang reviewer na walang social consciousness would have second thoughts of giving the highest award to Sister Stella L. Film criticism, as we know do change with the temperaments of a particualar time and milieu. Pati ang kosepto ng magandang pelikula must change. Kung nasa Third World country ka, kailangang may pagbabago ang batayan mo ng isang magandang pelikula dahil sa limitations. Kung nasa First World country ka naman, s’yempre iba rin ang pamantayan. Puwedeng gamiting pamantayan ang elitist view of art na pa-universal-universal-kuno. Naniniwala ako an art must serve to humanize the conditions of the sorry lot, and not just the conditions of the few elitist groups. After all, art and its greater number of poeole ought to shape each other. Ano’ng pakialam ng mga nagugutom na Pinoy sa boredom ni Jay Ilagan sa pelikulang Soltero? Mas nakaka-identify pa siguro sila sa exploitation theme ng Sister Stella L. kaysa Soltero, di ba? All other factors being equal, sa dalawang movies na ito, I guess those who cannot go beyond the chains of formalist approach to reviewing will take Soltero anytime, pero for those whose orientation is one of social concern, Sister Stella L. would be their kind of movie, Ang tanong, kailan naman kaya mapapanood ng masa ang Sister Stella L.? These days of sheer elitism, we need reviewers like Mario Bautista. Napuna n’yo ba, na wala nang ginawa ang vanguards of Philippine Cinema kundi, hala, magbigayan ng awards taun-taon. Wala silang paki sa mga masang Pinoy na naglulupasay sa kahirapan. As if they make movies para lang magkaroon sila ng elitistang seremonya year in and year out. Pag magkakagulo na ang Pilipinas katulad ng nangyari sa Nicaragua, siguro, ‘yon na. Magigising na tayo sa kahibangan ng mga pa-award-award blues natin. Meantime, let’s enjoy the circus of showbiz. Magpakahilo at magpakabaliw tayo like what Nero did amidst the burning Rome. The signs of bad times are coming. When that time comes, we must know which side of the fence to take para hindi tayo magmukhang daga na bumabahag ang buntot. ‘Yong lang at ‘yon na…” – BCMatignas, Movie Flash Magazine, 14 June 1984 (READ MORE)

Stella in Venice – “…We were quite hesitant at first to ask her…kung tutuong and Sister Stella ay hindi kumita na tulad ng inaasahan. “I was told by Mother Lily na kumita naman daw pero siyempre I still feel disappointed because of high expectations nga ng lahat ng tao…Pero nuong una pa, marami sa aking nagsasabi na baka hindi raw kikita dahil seryosong masyado ‘yung pelikula…Sa ngayon ngaý ipinadala ang pelikula sa Venice Film Festival na ginaganap ngayon. Nagpunta roon si Mike de Leon bilang kinatawanan ng pelikula at ng bansa at gusto ni Mother Lily na sumama na rin si Vi sa delegasyon roon. “Pero imposible nga akong umalis dahil sa commitment ko sa Baby Tsina, lalo na malapit nang matapos ang shooting namin.” At ang pelikula niyang Relasyon ay nakatakdang ilahok sa isang pestibal na gaganapin sa Jakarta next week…Again, Vi is not sure whether she can attend even if she really wanted to…” – Mario E. Bautista, Movie Flash, 1984

“…Biglang lumawak ang daigdig ng isang madre nang mamulat ang kanyang mata sa tunay na daloy ng buhay sa mga manggagawang nagwewelga. Mapuwersa ang istoryang ito ukol sa pag-aalsa ng maliliit laban sa kapitalista at kung paano masangkot sa kanila ang isang madreng datiý kuntento na sa kanyang dating gawaing itinalaga lamang ng kanilang kongregasyon. Tunay na nakaaantig damdamin ang Sister Stella L at ang teknikal na bahagi nito ay totoong mataas na uri, pati na ang pagbibigay buhay na mga artista sa kani-kanilang mga papel…Sa pelikulang Sister Stell L napanagumpayan ni Mike de Leon na ipakita ang mga tunggaliang namamahay sa damdamin at isipan ng isang alagad ng Diyos sa katauhan ng isang madreng napagitna sa isang marahas na kapaligiran. Makatotohanan ang tunggali ng ipinakita ng pelikula, tunggaliang higit na mas malawak, ang tunggalian ng manggagawa at ng kapitalista…Kasabay ng kanyang pag-alsa bilang reyna ng takilya (si Vilma Santos), ay ang nakakakumbinse niyang pagganap sa no mang tauhang binibigyan niya ng buhay sa sinema. Sa hanay ng mga pelikulang ginawa niya sa nakaraang taon, namumukod ang kinang niyang iyon sa “Sister Stella L,” kung saan siya gumanap bilang isang simpleng madre na unti-unting nagising sa dahas ng isang mapang-uring lipunan, at sa “Adultery,” kung saan siya naging biktima ng isang materyalistikong kapaligiran…” – Star Awards 1984

Sister Pilar is SSL – “…As a young journalist fresh out of college, one of this writer’s first jobs was as a former public relations officer of non-government organization Pro-Life Philippines. This writer then had a chance to ask her former boss and the organization’s founder, Sr. Mary Pilar Verzosa, if rumors were true that she is the real Sister Stella L. Sister Pilar, as we called her, admitted to be the nun from which one of the movie’s scriptwriters, Jose Lacaba, based the movie’s character played by Vilma. According to Sister Pilar, she was once arrested during martial law in the ‘70s as an alleged leader of a guerilla army hiding by the name Kumander Laura. She told her story to her cell mate, Lacaba. Years after they were released, Lacaba reportedly told Sister Pilar that she was his inspiration for co-writing Sister Stella L’s character. Sister Pilar placed number one in the nursing board exams, but she left being a nurse and her pilot boyfriend, who never married, she told this writer, to be of service to God and His people. She eventually became a part of the congregation Good Shepherd Sisters. Since she founded Pro-Life Philippines in 1975, she actively reached out to families, especially in depressed areas, through her TV appearances, radio programs, and books about her advocacy against abortion, premarital sex, and death penalty, among others. But also during the Martial Law years, she and Sr. Zenaida Pineda were charged with being a commander of the National People’s Army, allegedly responsible for murdering military informers in Lobo, Batangas. She was eventually given conditional release. Recently, she testified about the presence of human rights abuses during martial law years. Sister Pilar died of brain aneurysm in 2012. She was 67 years old. But thanks to movies like “Sister Stella L.” and award-giving bodies like Urian that pay tribute to such movies, memories and struggles of unsung martial law heroes like her will not go for naught…” – …” – Deni Rose M. Afinidad-Bernardo, Philstar, 21 July 2017 (READ MORE)

Incroci – “…With the assassination of #NinoyAquino the following year, De Leon conceived of a more critical movie about the Philippines under the dictatorship. He got José “Pete” Lacaba to write the script with José Almohuela about the growing activism of religious sisters on the union front. And since Regal Films boss Lily Monteverde was looking for another project to cash in on the box-office magic of Vilma Santos, the proper financing and casting were obtained. The result was the classic “Sister Stella L,” released in 1984. Among many superlatives of the historic movie was its original sound track that included two key songs written by Lacaba and musical director Ding Achacoso, “Aling Pag-ibig Pa?” and “Sangandaan,” which means “crossroads.” When the movie was accepted to the main competition of Venice in 1985, its title was changed to “Incroci,” Italian for “crossroads…” – Lito B. Zulueta, Philippine Daily Inquirer, 18 September 2017 (READ MORE)

On Martial Law – “…What I remember the most are the human rights abuses. In my line of work, I needed a curfew pass because shootings would often wrap up late at night. Martial law was no joke! When I did Mike de Leon’s “Sister Stella L.” in 1984, I didn’t know much about our society. But when I became a public servant, nakita ko na ang realidad ng buhay! Panoorin po ninyo ang movie at malalaman ninyo na ang problema noon sa lipunan ay siya pa ring problema at sitwasyon natin sa ngayon…” – Hon. Rep. Vilma Santos-Recto, Reported by Bayani San Diego Jr., Philippine Daily Inquirer, 20 September 2017 (READ MORE)

Relevant Films for Millenials – “…For the millennial generation who want to learn more about the relevant films during the martial law period, I would highly recommend the book Re-viewing Filipino Cinema by Bienvenido Lumbera, National Artist for Literature. I have not seen all the films during and about martial law. But, I remember those that I would highly recommend…Sister Stella L. was produced in 1984 when martial law was being publicly challenged on the streets of Metro Manila and all over the Philippines. I remember that when I watched it, I was surprised that Vilma Santos had accepted the role. She was then considered as the most glamorous star of Philippine cinema, and her role in Sister Stella L. was so different from her usual movie roles. Sister Stella Legaspi is a pacifist religious who is challenged by an older colleague and a concerned journalist to respond to the injustice being perpetrated on a group of factory workers. She leaves the convent to help the workers and to preach the teachings of Christ. She joins the workers in their picket line when they go on strike; and, she begins to identify with them. Then the workers’ leader is abducted, tortured and killed by para-military agents. Sister Stell L. and the journalist rally the workers and resolve to carry on the fight…There is no question that in today’s digital world, people – students, laborers, rich, poor – prefer film to reading books. Film has become the most powerful means of recreation; but, they can also be a means for education. Film may be the best medium to teach millennials and future generations about the true and unrevised version of Philippine history…” – Elfren S. Cruz, The Philippine Star, 24 September 2017 (READ MORE)

A die-hard Noranian, review of a Vilma Santos starrer…just a short one-sentence praise would be good enough…and he said: “Santos to her credit (it’s the performance of her career) gives the lines very little histrionics: just the facts, ma’am, no palabok.” – Noel Vera, Critic After Dark, 19 March 2009 (READ MORE)

“Sister Stella L. film influence what hero can be. Hero can be in any forms and can came from different class or situation. In this case I can say that different characters influence each other as to be one of the hero. In this movie Sister Stella L. is a hero.” – Quennie Marie M. Acedegbega, Mariteth F. Punzalan, BACR 4-1 Film Appreciation Blog, 10 February 2017 (READ MORE)

RELATED READINGS:

#VilmaSantos, #GawadUrian, #SSL, #SisterStelaL

Filmography: Ang Galing-galing Mo, Mrs. Jones (1980)

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Basic Information: Direction: Cirio H. Santiago; Story: Toto Belano; Screenplay: Ruben Rustia; Cast: Vilma Santos, Al Tantay, Marck Gil, Anna Gonzales, Vic Silayan, Josephine Manuel, Anita Linda, Ruben Rustia, Richard Romualdez, Tintoy, Rodolfo Boy Garcia, Don Pepot, Ruben Tizon, Pons De Guzman, Angie Salinas, Lito Calzado, Luis Benedicto, Marie Gonzales, Marites Cayado, Rita Bernales, Edna Valeriano, Sonny De Guzman, Monching Acuesta, Johnny Rito, Cesar Villa, Eddie Samorit, Nestor Brillantes, Nene Varga, Erwin Gasas, Manuel Horromeo; Asst. Director: Ruben Rustia; Soundman: Vic Salonga; Recordist: Pedro Nicolas; Asst Cameraman: Rene Pacheco; Asst Film Editor: Jess Aning, Totoy Vinarao, Ben Tala; Setting Director: Pepe Cruz; Sound Effects: Boy Calayog; Make-up Artist: Edna Valeriano; Vilma’s Make-up Artist: Dading Ravella; Stills: Olympio Geronimo; Sound Mixer: Juanito Perinion; Production Numbers: Lito Calzado & Associates; Cinematography: Sonny De Guzman; Vilma’s Costumes: Eddie Valeriano’s Hair and Dress Shop; Sound: Willie De Santos; Editing: Rene Tala; Music: A.S. Verdin; Color Processing: LVN Color Laboratory; Title Art: Cinema Artists; Post Production: Premiere Studio; Sales Manager: Tony L. Caringal; Publicity and Promotion: Billy Balbastro, Rod Samson, Lolita Solis; Production Manager: Bebot R. Perez; Film Administration: Mrs. Leticia M. Santiago; Executive Producer: Hermogenes P. Santiago; Production Company: HPS Film Production

Plot Description: No Available Data

Film Achievement: No Available Data

Film Review: “…Cirio H. Santiago had grown up in the studio owned by his parents and in 1957, aged only 21, had enough business acumen to forsee the grim future for the Big Three studios. Of particular interest to Santiago were the opportunities to be made in the lucrative and ever-expanding American drive-in circuit. With dreams of taking his films to the world’s screens, and with the American drive-in circuit firmly in his sights, Santiago took a huge financial risk for Premiere: along with Eddie Romero, he set up the Philippines’ first production, The Day Of The Trumpet (1957), for the international market. Santiago himself continued to pursue a career in the international whilst keeping Premiere Productions afloat. By the early Seventies Premiere began seeking out co-production deals with countries including the United States; Premiere, one of the Big Three studios of the Fifties, was rapidly evolving to become primarily, though not exclusively, a production unit for international features and co-productions including those of Roger Corman. In Corman, Santiago found the perfect partner in crime, and would continue a working relationship and close friendship from their first meeting in 1970 until Cirio passed away in 2008…” – Andrew Leavold (READ MORE)

“Victor Payumo Silayan (popularly known as Vic Silayan) is a veteran movie-stage Filipino actor. He was born in Manila on January 31, 1929 and died on August 30, 1987 due to heart attack. His acting prowess has been higlighted in the movie, Kisapmata where he played a man who had an incestuous attraction to his daughter, traumatizing everyone around them. Silayan’s sterling portrayals have earned him four awards…” – Wikipilipinas (READ MORE)

Filmography: Aida Macaraeg Adultery Case No. 7892 (1984)

“Huwag mo nang itanong. Baka mas masakit kung malaman natin ang sagot.” – Aida Macaraeg

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Basic Information: Directed: Lino Brocka; Story: Aida Sevilla Mendoza; Screenplay: Jose Javier Reyes; Cast: Vilma Santos, Phillip Salvador, Menggie Cobarrubias, Tita De Villa, Alvin Enriquez, Anita Linda, Mario Montenegro, Deborah Sun; Executive producer: Lily Monteverde; Original Music: Lutgardo Labad; Cinematography: Conrado Baltazar; Film Editing: Rogelio Salvador; Production Design: Joey Luna

Plot Description: Dreaming to be released from her miserable life of poverty, Aida, a waitress, abandons her bedridden father, her moralistic mother, her jobless brother and her good-for-nothing sister to live-in with her boyfriend Carding, whom she believes could give her salvation. But her plan only gives her more misfortunes. Carding gets jailed for drug peddling. Aida opts for an abortion. She later lives with a wealthy man to feul her ambition. Carding is released from prison and finds out about his wife’s illicit affair. – ctfabian (READ MORE)

Aida Macaraeg’s only dream is to be released from her miserable life of poverty. She is sick and tired of working day and night as a waitress to be able to feed her jobless brother and his family, her good-for-nothing sister, moralistic mother and bedridden father. One day, Aida decides to turn her back on them and settles for a live-in arrangement with her boyfriend Carding, who gives her a short-lived salvation. But her first attempt to escape a misfortune only brings her face to face with one after another. Carding gets jailed for drug peddling. Aida finds out she is pregnant and opts for an abortion. Forced by need and fueled by ambition, she lives with a wealthy man and has a son by him. Carding is released from prison and finds out about his wife’s illicit affair. They finally see each other again, in court. – Database of Philippine Movies

Film Achievement: 1984 Star Awards Best Actress nomination – Vilma Santos

Film Reviews: Adultery (Aida Macaraeg Case No. 7892) is not one of filmmaker Lino Brocka’s best works. It definitely cannot be lined alongside masterpieces like Tinimbang Ka Ngunit Kulang (You Were Weighed But Found Wanting, 1974), Maynila: Sa Mga Kuko ng Liwanag (Manila in the Claws of Neon, 1975), and Insiang (1976). At best, Adultery is a well-made melodrama that puts a social issue, that of marital infidelity as escape from poverty, at the center of its affairs. Jose Javier Reyes’ well-crafted screenplay (the story is credited to Aida Sevilla Mendoza) is supposedly sourced from a real life account, but one wonders if convenient happy endings (which the film unfortunately struggles with) exist in these kind of cases, especially ones as emotionally charged as in the film. In the Philippines, adultery cases stretch for years and any emotion resembling marital love and concern is replaced with scorching hate, the primary ingredient that fuels litigation.

Aida (Vilma Santos giving a very mature performance) is the sole breadwinner for her family, consisting of a bedridden father, a nagging mother, a good-for-nothing brother, his unemployed wife and baby. Unable to bear the hardships of living with her family, she takes the offer of her boyfriend Carding (Phillip Salvador) to simply live together, resisting his invitation to marry him despite the possible scandal that might arise out of their living arrangement. Carding gets caught peddling prohibited drugs and gets imprisoned, leaving Aida all alone to fend for herself. Years later, Carding gets released from prison and finds Aida, now a mistress of a wealthy executive (Mario Montenegro) and mother to a child that is not his. Aida is then sued for adultery by Carding, which if she is proven guilty would separate her from her son.

There’s one sequence in the film which clearly shows Brocka’s mastery. Aida visits Carding in prison, telling him of her pregnancy. Carding again offers to marry her, fearing that their child would be a bastard child. Supposedly out of pity, Aida agrees. The marriage is solemnized then and there. The prison chaplain officiates the ceremony where Aida is draped in an ordinary dress while Carding wears the orange colored uniform. Around are the witnesses of their marriage, felons all donning the same orange outfit Carding is wearing. Of course, these are mere background details, emphasizing the sullenness of the event that is ordinarily jovial and lively. Brocka concentrates on Aida. He closes up on her face, worried about the uncertainty of her future: she is after all pregnant and now married to a convict with absolutely no source of income. It is Aida’s point of no return and Brocka understands it as such, thus he presents it with understated elegance; no dialogue, just Lutgardo Labad’s swelling music and Brocka’s emphatic close-up of Vilma Santos’ apprehensive face.

The film attempts to criticize marriage, which is depicted not in its traditional sense (as the key to life’s bliss) but as a harrowing cage where women are left with no choices. It seems to advocate infidelity, especially when the requirements of life overtakes the facile concerns of societal and religious norms. Interestingly, Brocka does not antagonize any of his characters. Aida is a hardworking woman who we first see as the selfless sufferer who is charged with her family’s survival, a mere victim of fate and circumstance. Also, one cannot doubt Carding’s affection for Aida. His decisions in life may have been off, leading to his incarceration and Aida’s continuing suffering, but it cannot be denied that his love for his wife is indubitable. The blame does not go to any person but to the social institution of marriage, its sometimes shallow roots and the unbendable veneration the law and society gives to it to the detriment of the unique needs of individuals.

I am impressed as to how Brocka directed the courtroom sequence, without the usual pomp and unnecessary drama. The courtroom sequence gives the impression as to how the justice is bookish and blind to personal plights. One lawyer asks Aida a question, and she shies away saying that the question is too personal. Of course, the judge demands that she answer the question, which she does so unwillingly. In the eyes of the law, emotions, circumstance, fate, and needs are denied materiality. This should have been the instance wherein we’ll fall for Aida’s plight: that despite her being guilty for adultery, she does not deserve to be punished because she was forced to infidelity not by innate evil but by circumstances in her life. However, instead of dishing out an ending that would operate as the culmination of such criticism, Brocka and Reyes decided to succumb to sentimentality. Husband forgives wife. Wife gets her son back. Everybody’s satisfied. Unfortunately, reality, which the film tried so hard to emulate, isn’t anything like that. – Oggs Cruz, Lessons From The School of Inattention, Oggs’ Movie Thoughts (READ MORE)

Dalawang pelikula ni Vilma Santos ang napanood namin sa special previews: Adultery at Sister Stella L. Pinatunayan ng mga pelikulang ito na Vi is still the leading actress of the season and performances in both movies make her again the actress to beat in next year’s award derbies. No doubt, Vilma, right now, is at her peak. Adultery is a well made melodrama deftly written by Jose Javier Reyes and masterfully directed by Lino Brocka. Ang pangunahing tauhan, si Aida Macaraeg, ay isang dalagang breadwinner ng kanyang pamilya. May sakit ang kanilang ama at siya ang bumibili ng mga gamot nito. Nag-asawa nang maaga ang kapatid niyang lalaki at siya ang nagpapakain pati sa asawa t anak nito. Siya rin ang nagpapaaral sa bunso nilang kapatid na babae. Receptionist sa isang restaurant, may boyfriend si Aida na wala namang regular na trabaho. Ito ay si Carding (Phillip Salvador) na kumikita lamang kapag sumasama sa mga illegal na gawain ng sangganong si Bumbay. Nang malaman ni Aida na nagdadalantao na naman ang asawa ng kapatid niya, niyaya niya si Carding na magsama na sila. May kapatid si Aida na isinumpa ng kanilang ina dahil nakisama ito sa isang lalaking may-asawa. Si Aida lamang ang nakauunawa kay Miriam (Deborah Sun) at wala siyang kamalay-malay susundan pala niya ang mga yapak nito. Akala niya’y malulutas ng pagsama niya kay Carding ang mga problema niya ngunit lalala lamang pala ito. Nahuli si Carding sa pagsama sa pangkat ni Bumbay at nabilanggo. Naiwang nagdadalantao si Aida. Nang malaman ito ni Carding ay pinilit siyang pakasal na sila para hindi maging bastardo ang isisilang niya. Ikinasal sila ng pari sa piitan.

Nagbalik si Aida sa kanyang trabaho ngunit natuklasan ng may-ari na buntis siya. Naiisip ni Aida na lalo lamang siyang maghihirap at nadadamay pa pati ang kanyang magiging anak kung itutuloy niya ang kanyang pagbubuntis kaya t ipinasya niyang ilaglag ito sa tulong ni Miriam. Nang magaling na siya y napasok siyang tagapamahala sa isang kantina at dito niya nakilala si Tito Pangilinan (Mario Montenegro). Nagsama sila at nagkaroon ng isang anak. Si Carding naman ay nalipat sa Davao Penal Colony at nagtaka na lamang siya nang huminto na sa pagsulat si Aida. Lumaya si Carding pagkaraan ngpitong taon at hinanap agad si Aida. Nakita niya ito at si Aida ay nagsimulang maglubid ng buhangin. Ang batang kasama niya’y anak daw ni Miriam at mahigpit ang bagong kinakasama nito kaya’t hindi sila maaaring laging magkita. Ngunit natuklasan ni Carding ang katotohanan at sa galit nito’y sinaktan si Aida. Inihabla siya ni Carding at ang kaso y humantong sa husgado. Mabibilanggo kaya si Aida sa salang adultery? That, you’d have to find out for yourself. Mawawala ang suspence kapag ibinunyag namin agad sa inyo ang ending.

Based on a true legal story, nagawa nina Reyes at Brocka na very convincing ang pagkakalahad ng kuwento. Maingat ang development at talagang magsi-sympathize ka sa mga tauhan. Ang kaso ni Aida ay isa ring moral dilemma. Dapat ba siyang sisihin sa kanyang ginawa? Sa kanyang paglalaglag sa sanggol and finding the easy way out through having an affair with a rich old man? Maraming katulad ni Aida sa ating lipunan sa ngayon. Nagipit sila, humanap ng lubid na makakapitan upang huwag tuluyang mahulog sa bangin, kasalanan ba ang kanilang praktikal na solusyon sa kanilang mga problema? Morally, masasabi agad na mali nga sila. Pero madaling humusga kung hindi ikaw mismo ang nakaharap sa mga problemang iyon. Tao lamang si Aida. At ang kahinaan niya ang siyang dahilan kung bakit naging very human ang istorya ng Adultery. Kung bakit naging tutoong-tutoo angmga sitwasyon at ang lahat ng characters dito. Alam mong melodramatiko ang kuwento pero alam mo ring nagaganap ang gayon sa tunay na buhay, na talagang maraming Aida Macaraeg sa ating paligid. Namumukod-tangi ang mga aspetong teknikal ng pelikula: ang sinematograpiya ni Conrado Baltazar, ang musika ni Lutgardo Labad, ang editing ni Rogelio Salvador, ang disenyong pamproduksiyon ni Joey Luna at pati pagkakalapat ng tunog.

Mahusay rin ang acting ng lahat ng tauhan: si Deborah Sun bilang Miriam, si Anita Linda bilang ina, si Tita de Villa bilang tiyahin ni Carding. Maikli lamang ang papel ni Mario Montenegro bilang Tito pero epektibo ang pagkakaganap niya, lalo sa tagpong sinumbatan niya si Aida: “Pitong taon na kitang tinutulungan at pitong taon mo na rin akong niloloko.” Napakahusay ni Vilma sa mga eksenang nagngingitngit siya sa mga kapatid niya sa pagkawala ng uniporme o muling pagbubuntis ng mga ito. You can really feel the sense of rage, and futility that she is experiencing. Pero maging sa iba pang quiet scenes ay mahusay rin siya, o kaya y maging doon sa eksenang muntik na siyang mabuko ni Mario, at nang magkomprontasyon na sila ni Phillip. Pero, sa tingin namin, mas lumutang si Phillip sa pelikulang ito at tiyak na in the running na naman siya for best actor next year. Kung minsan ay mata lamang ang kanyang pinaaarte at wala siyang dialogue (like nang mabasa niyang nakunan si Aida o nang makita niya itong sinasalubong si Mario sa gate). Very touching din ang final scene na tinanong siya ni Vi: “Ano ng nangyari sa ‘tin?” At sumagot siya ng: “Huwag mo nang itanong. Baka mas masakit kung malaman natin ang sagot.” Maraming iba pang magagandang touches ang pelikula, tulad ng pagdalaw ng mga babaing taga-block rosary kina Aida at ang sagutan sa court scenes.

The movie also offers another view of prison life. Sa mga pelikulang lokal na tungkol sa piitan, karaniwan nang nalalagyan ng tattoo ang bida, ginagahasa ng kapwa bilanggo at ginugulpi ng husto. Dito, maayos ang naging kalagayan ni Carding habang nasa bilangguan at wala siyang naenkwentrong mga problema na gaya ng usual na napapanood natin sa prison movies. Maganda talaga ang Aida Macaraeg. – Mario E. Bautista, Movie Flash May 31, 1983

“…Masinop ang mga elemento ng pelikula sa Adultery (Regal Films, Inc., 1984). Madulas ang daloy ng dulang pampelikula ni Jose Javier Reyes, konsistent ang disenyong biswal at sinematograpiya, malinis ang editing, akmang-akma ang tunog at musika. Ang maalam at matatag na pagganap ni Vilma Santos ay nagsasaad ng pagkaunawa at metodo sa layuning dramatiko ng kanyang pelikula. Ang pagganap ni Phillip Salvador bilang Carding ay nagpahayag ng mithiin sa lahat ng di magkatugmang aspeto nito at nagbigay ng naiibang sigla sa tradisyon ng pagganap sa pelikula. Sa halip na unidimensiyonal ang pagsasalarawan sa karanasan ng isang babae ay binigyan ito ng maramihang posibilidad sa pamamagitan ng sinematikong pagsasadula ni Lino Brocka, ang istereotipong ito ay isinalaysay sa paglalakbay ng kababaihan tungo sa sariling pagkilala at katuparan.” – Jojo Devera, Sari-saring Sineng Pinoy (READ MORE)

“…Vilma Santos’ restrained acting in Adultery: Aida Macaraeg 7892 was due to Brocka’s expert direction. We wish he did the same thing to Tolentino and Bonneive in this film. But then, Maging Aking Ka Lamang is a big box-office success. Brocka probably feels that it’s high time he gives the masses what they want. And on this score, Brocka succeeds enormously…” – Luciano E. Soriano, Manila Standard, May 19 1987 (READ MORE)

“…Statistically, there are really more husbands who betray their wives than the other way around. And since films basically mirror life, there are more movies about philandering husbands than adulterous wives. In the eternal love triangle of Eddie Rodriguez, Lolita Rodriguez and Marlene Dauden, it is always the man who is at fault. And then, there are those film bios of our super cops who are always portrayed as having mistresses – like Joe Pring (played by Phillip Salvador), who had a legal wife in the film (portrayed by Aurora Sevilla) and yet maintained a mistress (Maila Gumila) on the side. Films about wives fooling around are actually fewer. However, these movies seem to be more exciting because they often have drama and suspense. This is likely because the adulterous character has to dangerously tread on the ego of the husband. In local cinema, I remember a few films about women characters playing with fire. Amalia Fuentes playing a married actress in love with co-star Eddie Rodriguez in Pag-ibig Mo, Buhay Ko; Hilda Koronel (married to an older man, Mario Montenegro), who falls for the charms of Orestes Ojeda in Marupok, Mapusok, Maharot; Vilma Santos agreeing to become the mistress of Mario Montenegro in order to have a better life – in spite of being married to Phillip Salvador in Adultery; Vilma Santos again, bored with her old husband (Eddie Garcia) and carries on an affair with Gabby Concepcion in Yesterday, Today and Tomorrow and Anna Marie Gutierrez in the aptly titled Unfaithful Wife…” – Butch Francisco (READ MORE)

“…When Aida (Vilma Santos), in Adultery (Aida Macaraeg Case No. 7892) (1984), offends the pride of her husband, he invokes the law to punish her. This mother, however, does not just accept the status quo. She actively fights for her rights — up to the extent possible for a woman judged by men — within the four walls of the courtroom which is ruled by patriarchal ideology. The mother finally reunites with her son in the end, notably, not because her husband pities her, but because her husband understands her as a person who fights for her rights…” – Jose C. Gutierrez III (READ MORE)

Working title – “Obsession (Separasyon Legal)” – “…By the time they got to be thirty, unti-unti nang nawala ang kanilang charisma sa publiko, at hindi na kagaya ng dati. Pero hindi ito nangyari kay Vilma. It is a fact na kung kailan pa siya nagkakaedad ay saka pa siya lalong tumatatag, lumalakas. And by almost all indications, it seems like magtatagal pa ito. Take a look at her harvest this year: “Ayak Kong Maging Querida,” “Paano Ba Ang Mangarap?,” “Broken Marriage,” “Obsession (Separasyon Legal),” “Minsan Pa Nating Hagkan Ang Nakaraan” and “Sor Stella L.” Although it appears na tila dalawang pelikula ang maaaring hindi na maipalabas sa taong ito (Obsession and Sor Stella L), hindi na rin maikakaila from the list above that Vilma Santos is still the biggest star of the season and the busiest among her contemporaries. At mayroon pa siyang mga nakatakdang gagawin sa pagpasok ng bagong taon. At the time when most stars are already collecting memoirs and reminiscing fond memories of past glories, Vilma is still soaring into newer heights as she goes from one competent film director to another and manages to become the highest paid actress in the country today. From Ishmael Bernal (Broken Marriage) to Lino Brocka (Obsession) to Marilou Diaz-Abaya (Misan Pa Nating Hagkan Ang Nakaraan) to Mike de Leon (Sor Stella L), the reigning movie queen is getting most of the choicest assignment these days and with the accompanying royal treatment…” – Julio Cinko N., Movie Flash Magazine, December 8 1983 (READ MORE)

“…Malalaking komplikasyon ang kinasuotan sa buhay ng isang babaeng nabilanggo ang asawa at naging kerida ng isang mayaman at may edad na lalaki. Ang tinamasang seguridad ni Aida Macaraeg, ang pangunahing tauhan sa istorya sa piling ng kanyang pangalawang “asawa” ay biglang naglaho ng lumabas sa piitan ang kanyang tunay na asawa. Humantong sa hukuman ang kaso, hanggang sa di-inaasahang masayang pagtatapos ng istorya, na lubhang taliwas sa mga naunang obra ni Brocka…Sa aspektong teknikal, superor ang pelikulang ito, ebidensiya ng mabusising pagkahawak ni Brocka ng renda niya bilang direktor. Ang akting ng mga pangunahing tauhan ay kapansinan din ng tatak Brocka. Tulad ng nangingislap na mata ni Phlip habang nagbibitiw ng mga mabibigat na linya, ng sinukat sa tiyempong pagpatak ng luha sa kaliwang gilid ng kaliwang mata ni Vilma Santos, ng masusing pagkaka-orkestrang komprontasyon ng dalawa mula sa salas hanggang kuwarto at maraming maliliit na tagpong dramatiko ang lapat…Kasabay ng kanyang pag-alsa bilang reyna ng takilya (si Vilma Santos), ay ang nakakakumbinse niyang pagganap sa no mang tauhang binibigyan niya ng buhay sa sinema. Sa hanay ng mga pelikulang ginawa niya sa nakaraang taon, namumukod ang kinang niyang iyon…sa “Adultery,” kung saan siya naging biktima ng isang materyalistikong kapaligiran…” – Star Awards 1984