Mga Hindi Natupad na Projects

ARTICLES - Vi 1980 7

Ipinamana Kay Rory – “…Sa kanyang paghahanda sa “kaganapan” ng kanyang buhay, nakakalungkot mang isipin, ay may mga projects na sana ay gagawin ni Direk Marilou, pero hindi na niya nagawa. “Ikaw Ang Pag-Ibig is my last film. It’s my swan song,” aniya. Binanggit din ni Direk Marilou ang mga bagong project na katuwang na lamang siya sa pagre-reseach at pagsulat ng screenplay. “I wish Olive [Lamasan] would directed John Lloyd Cruz in Juan Luna, which I’m researching on and co-writing with Ricky Lee. “O yung Nana Rosa, ipinamana ko yun kay Rory Quintos. Ang Nana Rosa, base sa totoong kuwento ni Nana Rosa Henson, na naging “comfort woman” noong Second World War sa Pilipinas, ay laan para kay Vilma Santos na ididirek sana ni Ishmael Bernal. Sabi ni Direk Marilou, “Hindi na si Ate Vi [ang gaganap]. Hahanap sila ng bagong artista for Nana Rosa…They wanted me to direct…ipinamamana ko na kina Olive at Rory…Next year, God willing, I was supposed to direct it, but nung nag-stage 4 ako, I told Ricky, ‘Isulat mo na, ako ang magre-research…Wag kang matakot…Tapos, sabi ko, ‘Olive, it’s time for you to do something like this. You do this…She’s ripe na, e,” sabi pa ni Direk Marilou. On her part, nakasulat na rin ng dalawang libro si Direk Marilou habang nasa kundisyong “unreliable” ang kanyang health condition. “The first one is Moonlit Seasons and then Reefs of Paradise. Both [about] underwater ‘yan,” banggit pa niya. Magku-collaborate din daw sila ni Ricky para sa isang “double memoir” na tala ng marami nilang pagsasama sa iba’t ibang proyekto at mga taong naging bahagi niyon…” – William R. Reyes, PEP (READ MORE)

Nora-Coco-Vilma – “May planong pelikula ang Star Cinema na ang magiging bida ay sina Nora Aunor, Coco Martin at Vilma Santos. Kinumpirma ito ng source namin sa numero unong film outfit sa bansa nang tawagan namin kamakailan. Drama movie raw ito na pamamahalaan ng isang dekalibreng director. Pero nagpahayag na si Governor Vi na hindi niya magagawa ang movie offer dahil sa pagiging busy niya para sa darating na kampanyahan, kaya papalitan na siya ng ibang aktres pero tuloy pa rin si Coco Martin. Bilang paghahanda sa pagpasok ni Nora sa Star Cinema, ang ABS CBN film outfit mismo ang gumawa ng paraan para maipalabas uli sa mga sinehan ang classic movie ni Ate Guy na Himala. Ginastusan nang husto ng Star Cinema ang restoration ng naturang movie ni Nora na parang bago lang gawin kapag pinanood. Pero update ng source namin, nadismaya raw ang executives ng Star Cinema sa resulta ng Himala. Umasa silang kikita ito nang husto, pero kabaligtaran ang nangyari. In fact, nagfirst day last day ang Himala sa mga sinehan. Wala talagang naganap na himala. Sa totoo lang, napapaisip kami kung naipalabas na nga ba ito o hindi pa. Wala man lamang kasi kaming naramdaman na naipalabas na pala ito. So, itutuloy pa rin ng Star ang movie with Ate Guy? “Well, pupuwede pa rin naman sanang ituloy `yun, pero nang sumemplang pa rin sa takilya ngayon ang Thy Womb, mukhang may kalabuan nang matutuloy `yun,“ sey pa ng source namin…” – Jimi Escala, Balita, Jan 01 2013 (READ MORE)

Stage Play – Vilma Santos had a meeting with her Vilmanians the other Friday at Max’s Libis. She reported that she had finally finished shooting her “Maalaala Mo Kaya” episode with Ricky Davao and Maja Salvador, directed by Olive Lamasan. “One year in the making ito, bale two episodes, but it’s really worth it and I’m impressed with the work of Direk Olive,” she says. “It’s based on the true story of a woman from Lipa.” She said she got an offer to do a stage play at the CCP. She’s willing to try the theatre but when she was told she has to rehearse for two months, she had to turn it down as she still has her duties as Lipa City mayor to attend to. She revealed she has new movie offers, but most of them are heavy drama. She wants to do something lighter that will be more appealing to the masa. Last March 8, Vilma was given the First Diwata Award in celebration of International Women’s Day. That coincided with the 16th International Women’s Film Festival by the UP Film Institute, the longest-running women’s filmfest in the country. She was cited for her roles in films like Sister Stella L, Relasyon, The Dolzura Cortez Story, Bata, Bata, Paano Ka Ginawa? and Dekada ’70, which are about women empowerment. She was honored with Lily Monteverde, Charo Santos-Concio and writer Lualhati Bautista. Vilma was warmly applauded by an adulating crowd and she delivered a very inspirational message, saying: “I strongly believe in these films with strong messages. It’s about time men believe in women empowerment. Don’t underestimate us, women and artists!” Ate Vi left Thursday with husband Sen. Ralph Recto to attend the investiture rites of our new cardinal in Rome (she was personally invited). After that, she will take a cruise with Ralph and meet with her family in Los Angeles. – Mario Bautista, People’s Journal, March 26 2006 (READ MORE)

Flores De Mara – It was last year when we officially heard about “Flores De Mara.” It was an event. With the advent of gay-theme movies like Brokeback Mountain and TransAmerica in Hollywood, it would be another milestone project for Vilma and the Vilmanians! Imagine the conservative Filipino church condemning anything about the gay life, it promises a controversial, scandalous film. The plot was Ate Vi will play a mother of not one but three gay sons. Three young actors lined-up, willing to take the risk just to be billed with the Queen of Philippine Cinema. But like the unpredictable Philippine weather, Flores De Mara met its untimely death early this year. Reports of so many script revisions, casting and director changes, plus the restricted availability of Ate Vi were the cause of this Star Cinema’s project being shelved. By February of this year, a new development arised when Lily Monteverde, Regal films big momah, announced she is now doing the project. Same plot (a mother of three gays) tentatively titled, “Manay Po.” Cherie Pie Picache fresh from her best supporting actress win for another comedy, “I Will Survive” took the leading role from Ate Vi and Joel Lamangan in the driver seat as the director. It is worth noting that Lamangan ventured in a string of gay induced films in the past. The latest one was “Aishite Imasu,” where Dennis Trillo portrayed a transvestite who fell in loved with a rebellious soldier. Aishite was a good attempt to show how people tend to dehumanized the gay people. “Manay Po” is set in today’s society where people are more tolerant and accepting. It will be exciting to see if Lamangan will treat these three gay characters as normal, respectable people and not your typical Aids patient or flambouyant caricatures that has been portrayed in many Filipino films in the past. I believe its time for Filipinos to accept and respect our gay brothers and sisters. – RV, V Magazine, No. 7 (READ MORE)

Isda – “Sasabak muna sa matinding kampanyahan si Governor Vilma Santos-Recto bago simulan ang paggawa ng indie film na balak isali sa Cinemalaya indie filmfest. Kinumpirma sa amin ng Batangas governor na on-going na ang preparasyon para sa kauna-unahang indie movie niya na ididirek ni Jeffrey Jeturian. Ilang taon ding niligawan ang Star for All Seasons na gumawa ng indie movie. Unang in-offer noon sa kanya ang movie na “Isda” (Chery Pie Picache did this film under the direction of Adolf Alix, Jr.).” Pero dahil sa schedules, hindi niya nagawa ito. Open naman si Ate Vi sa paggawa ng indie. Naiintriga rin kasi siya kung bakit patok na patok ngayon ang indie. So, sa text ng gobernadora sa amin, malamang na magawa niya ’yon this year after ng campaign period. “One day at a time muna. Eleksyon na kaya hinay-hinay muna ako,” saad pa ni Gov. Vilma sa text niya sa amin.” – Jun Nardo, People’s Journal, January 03 2013

Mater Dolorosa – “…Nasulat naman noon na na-offer din ang Isda ni Direk Adolf Alix kay Ate Vi (for Cinemalaya 2011), maging ang Mater Dolorosa ng same director (for Cinema One Originals 2012), pero sadyang ‘di pa nga siguro nakatakdang mag-indie film si Vilma…” – Mell T Navarro, Pinyparazzi, Jan 04 2013 (READ MORE)

“…It’s really meant for her and she even agreed to produce it,” says Adolf. “But then, TV5 didn’t allow her, so isinali ko sa Cinema One at nakuha naman as one of three entries in Category A that’s given a budget of P2 million. Dahil hindi puede si Ate Guy, then we considered other actresses who can do the role at napunta nga ito kay Direk Gina Alajar who’s also very good in it. Wag ng magalit ang Noranians dahil we have to meet the deadline of Cinema One at si Ate Guy naman ang hindi pumuede.” The role of Lourdes Lagrimas, Mater Dolorosa, is a very challenging one as she’s the female counterpart of Don Vito Corleone in “The Godfather”. She’s the Ma Barker who heads the illegal activities in an old district in Manila. As a crime lord, she’s notorious for doing criminal acts from jueteng and sakla to carnapping and drug trafficking. She faces competition from a man who wants to be the new king of the underworld, Phillip Salvador. Also in the cast are Alessandra de Rossi, Cogie Domingo, Carlo Aquino, Joem Bascon and Mercedes Cabral…” – Showbiz-portal (READ MORE)

“…Ikinuwento ni Ate Vi sa PEP na pagkatapos ng The Healing ni Direk Chito Roño, ang offer na indie movie ni Adolf Alix ang posible niyang maging next movie. Tapos na niyang basahin ang script nito at gustung-gusto niya raw itong gawin. Kuwento ni Ate Vi, “Istorya ito ng isang ina na Ma Barker ang dating.” Si Ma Barker ay isang ina ng mga gangster na kinatatakutan noon sa Amerika. “Isang matapang na nanay ako dito na illegal ang lahat ng trabaho ng mga anak. “’Tapos, isang anak niya napatay; then yung isang anak pa, e, nasangkot sa drugs. “Kumbaga, maganda ang story at ang daming twist. “At saka pati ang dialogue, gustung-gusto ko. “Medyo maghihiganti rin ako rito sa pumatay sa anak ko… maganda talaga.” Isang inang nagmumura, parang palaging galit, at bungangera ang papel ni Ate Vi sa magiging kauna-unahan niyang indie movie kung sakaling matuloy ito. Pero ayon kay Ate Vi, depende pa rin yun sa pelikula niyang The Healing at sa Star Cinema. “Nakausap ko na si Alix [Adolf], sabi ko sa kanya, pag-usapan namin kung papaano ko magagawa. “Pero sa totoo lang talaga, gusto kong gawin at very challenging ang role…” – Jimi C. Escala, PEP, May 04 2012 (READ MORE)

La Independencia – “…Early 20th century Philippines. The sounds of war signal the arrival of the Americans. A mother and son flee to the mountains, hoping for a quiet life. One day, the son discovers a wounded woman in the middle of the forest, and decides to bring her home. Years pass. Man, woman and child live in isolation from the growing chaos all over the country. But a coming storm soon threatens their existence, and American troops draw nearer…” – Festival Cannes (READ MORE)

“…In the 1980s they made movies that defied commercial considerations, she recalled, much in the same way that today’s independent filmmakers are “daring and different.” After turning down Raya Martin’s “La Independencia” (the role went to Tetchie Agbayani) two years ago, Santos almost did an indie this year – Adolfo Alix Jr.’s “Isda.” The role of a slum dweller who gives birth to a fish went to Cherry Pie Picache. Santos’ schedule didn’t allow her to accept the offer, but talks are ongoing with Alix. “I heard Adolf is working with scriptwriter Lualhati Bautista on another project,” she told the Philippine Daily Inquirer. Bautista penned the novels/screenplays of Santos’ Urian-winning films “Bata, Bata Paano Ka Ginawa” (1998) and “Dekada ’70” (2002). Santos said she closely follows the progress of indie filmmakers. “I ask my staff to buy DVDs of indie films, which I watch in my free time.” Among her favorites are Jeffrey Jeturian’s “Kubrador” and Brillante Mendoza’s “Lola.” “I get inspired watching veterans like Gina Pareño (“Kubrador”) and Anita Linda (“Lola”),” she said. “They’re amazing…” – Bayani San Diego Jr., Philippine Daily Inquirer, Aug 13 2011 (READ MORE)

“…Independent filmmaker Raya Martin has made history as the first Filipino to receive a 120,000-euro (P7-million) grant from the French government for his upcoming film “Independencia,” about a mother and son who run off to the mountains during the American occupation. “Independencia” is the first indie film of award-winning actress and Batangas governor Vilma Santos, line producer Arleen Cuevas told Inquirer Entertainment. “Fonds Sud Cinema” is a financial aid awarded by the French Ministry of Culture and Communication and French Ministry of Foreign Affairs to film productions in developing countries. Since 1984, the grant has funded over 400 documentaries, animation and feature films. Martin also won a Prince Claus Fund Grant of 15,000 euros (P960,000) in last year’s CineMart Awards in Rotterdam. The film was named Best CineMart Project of 2007. He likewise bagged the Hubert Bals Fund of the 2007 Rotterdam International Film Festival. Looking for local partner. “We are looking for a local partner [for ‘Independencia’],” said Cuevas. “Filming is tentatively set in September.” Written by Martin and Ramon Sarmiento, “Independencia” is a family drama set in the early 1900s. “We had a meeting with Vilma yesterday,” said Cuevas in a phone interview on Friday. “She liked the script and promised to fix her schedule.” Martin was the first Filipino to be granted a six-month filmmaking residency at the Festival du Cannes’ Cinefondation in France…” – Marinel Cruz, Philippine Daily Inquirer, Jan 28 2008 (READ MORE)

Naglalayag – “…Critics in the preview would whisper that this is Nora Aunor in a Vilma Santos role. Which is quite true for two reasons: that Vilma’s persona is more amenable to Dorinda’s instincts and that two of the films of the director wrestling with the theme of a “scandalous” May-December romance (Sinungaling Mong Puso) and the myth of menstrual blood (Tagos ng Dugo) starred Vilma. But Nora’s turbulent involvement with a younger man in real life is testament enough that she embodies this temperament as well. And that it is she, more than Vilma, who is inclined to flesh out the process of menopause (idiomatic translation of naglalayag) and mortality (the horror of age)—as well as of youth and allure—as personal and sociological afflictions, a motivation that reminds us of local titles like Halik sa Paa, Halik sa Kamay; Raquel at Rafael; Ligaw na Bulaklak; Mrs. Teresa Abad, Ako Po Si Bing; Totoo Ba ang Tsismis?; Tag-araw, Tag-ulan; Nagsimula sa Puso; Alaga; and Bayarang Puso; among others…” – Manila Standard, June 22 2004 (READ MORE)

“…A May-December love story. Nora fell in love with a poor taxi driver played convincingly by Yul Servo. The film achieved the festival’s best picture honour together with the best director award for Maryo J. delos Reyes and the coveted Best Actress for Nora Aunor. The film was first offered to Vilma Santos but she turned it down and Maryo De Los Reyes decided to give the project to Vilma’s rival, Nora…” – RV (READ MORE)

Annie Batungbakal – Prior to Nora Aunor securing the movie rights to this project and with several successful dance genre films, supporters of Vilma Santos expected that the project will go to her. Adding to the speculation was the fact that Vilma Santos is the “Dancer” and Nora Aunor is the “Singer.” Also, the film requires the lead actor to dance in several production numbers. According to the media and her supporter, the role fit Vilma to a T. But the fate of Annie landed on Nora, she bought the film and decided to shut her critics by learning how to dance. To the surprise of many and even the Noranians, Nora managed to dance her way to the bank. The film did well at the box office. To this days, Vi’s supporters still feel the disappointment of Vi not playing Annie B, who was a sales lady in the day and a dancing queen at night. Here are some notes…

Father J Gutierrez: “…During this time nagtampo naman si Kuya Eddie kay Ate Vi sa dahilang hindi ko na maalala. Kaya ng nangyari nabaligtad ang kanilang loyalty. Si Ate Luds panay si Ate Vi ang prino-promote sa radio program niya while si Kuya Eddie naman ay napunta kay Nora. Bumibisita ang mga Vilmanians noon sa radio program ni Ate Luds at ang mga Noranians sa radio program ni Kuya Eddie. This was also the time yung kainitan kung sino ang dapat gumanap na Annie Batungbakal. Many believed that na bagay na bagay yung role kay Ate Vi. Since she is considered as the Dancing Queen. But lo and behold, napunta yung role kay Nora. Balita ko she bought the rights to make it into a movie yata. Naalala ko rin noon si Kuya Eddie ilagan panay ang patugtog ng mga kantang ikaw ang superstar ng buhay ko (tama ba ang title, Kuya Charlz?) at yung ngang Anie Batungbakal dedicated kay Nora. Si Ate Luds naman may kantang dedicated kay Ate Vi. If I am not mistaken ito yung kantang “Pinakamagandang babae sa balat ng lupa” (Tama ba yung title, Kambal?) or is it “Ikaw ang Miss Universe ng Buhay Ko?” whatever the song was, palaging pina-patugtog ni Ate Luds iyon dedicated para kay Ate Vi at sa mga Vilmanians as well. Then one day just as nagkabati sina Ate Luds at Nora, nagkabati din sina Ate Vi at Kuya Eddie. So to be fair to both, ang ginawa ni Kuya Eddie Ilagan pinapatugtog niya pareho yung mga kantang dedicated for Ate Vi and Nora…”

F Gabriel: “…There was a time that he wrote a story for Vilma pero hanggang kwento lang siya hindi naman nagmaterialized dahil hindi naman niya ginagawa in writing. Binabangit lang niya sa Radio program niya yung plot ng story like yung “Kulaspira, Basag ang pula.” Kakatawa ang title pero gusto niya na luka-luka daw si Ate Vi dito or something like that. Meron pa ngang Annie Batungbakal na base sa hit song ng Hotdogs pero naunahan siya ng NV production at ginawang movie ni Guy. Inis na inis noon si Ike sa radio program niya pero wala naman siyang laban kasi nga hanggang kwento lang siya sa radio, walang black & white. Sabi pa nga niya si Guy daw ay mahusay kumanta pero sa sayaw daw ay mas bagay kay Vi ang Annie Batungbakal. Gosh, everyday ay naririnig ko sa radio program niya ang plot na plano niya for the said movie, naka-program na nga sa utak ko na para kay Ate Vi yon eh…”

Magkailanman – “…Magpakailanman was originally created by GMA Entertainment TV Group as a one-season inspirational drama special intended for the celebration of World Meeting of Families in January 23–24, 2003. Actress, Vilma Santos was the original choice of the network to host the show. It went to Mel Tiangco after the former refused the offer. Because of the overwhelming positive feedback from viewers and critics, and high ratings, the network decided to make it as a regular weekly drama anthology. It is originally shown every Monday night. The show premiered with the Bakit Ako Mahihiya? (lit. Why Should I Be Ashamed?), an episode about the life of former “Jukebox Queen”, Didith Reyes. On its second season, the network decided to move the show from Monday night to Thursday night timeslot. The Janet Clemente Story served as the show’s second season pilot episode. Because of its continues leadership in the ratings game, the show toppled the longest drama anthology “Maalaala Mo Kaya”, which later prompted to change its schedule from Thursday nights to Fridays. But after MMK changed its timeslot, the ratings of Magpakailanman began to decline, and later on, the management decided to axe the show. After a four-year hiatus and due to the growing clamor to revive the program, GMA Network decided to have Magpakailanman returned into the boobtube. The returning drama anthology premiered on November 17, 2012 and it again competes against MMK, which has been airing also every Saturday since 2008. Mel Tiangco retains as the show’s presenter…” – GMA KapusoTV Shows, 19 Oct 2013 (READ MORE)

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What Makes an Indie an Indie

FILMS - Ekstra scene feat Vi 2

Definition – An independent film is a professional film production resulting in a feature film that is produced mostly or completely outside of the major film studio system. In addition to being produced and distributed by independent entertainment companies, independent films are also produced and/or distributed by subsidiaries of major film studios. Independent films are sometimes distinguishable by their content and style and the way in which the filmmakers’ personal artistic vision is realized. Usually, but not always, independent films are made with considerably lower film budgets than major studio films. Generally, the marketing of independent films is characterized by limited release, but can also have major marketing campaigns and a wide release. Independent films are often screened at local, national, or international film festivals before distribution (theatrical and/or retail release). An independent film production can rival a mainstream film production if it has the necessary funding and distribution. – Wikipedia (READ MORE)

Critical vs Commercial – “…Some small independent films achieve nothing more than critical acclaim at film festivals while others achieve that, as well as financial success. This can happen if a “buzz” is created about a small film. Independent film distribution companies can offer a decent deal for independent films that do well at film festivals. They need to supply movies to hundreds of countries and thousands of cable and satellite TV channels all over the world. The film festival circuit provides them with a lot of good, yet cheap films to purchase. But every once in a while a small independent film gets so much media attention at a film festival that it is purchased by a major film studio and screened in major theaters all over the country. Case in point; The Blair Witch Project. The first official public screening was on January 23rd, 1999 at the Sundance Film Festival. Writer-directors Daniel Myrick and Eduardo Sanchez made this film for $25,000. By the end of the festival they sold their movie for 1.1 million dollars to Artisan Entertainment, who then went on to make $248 million dollars with this little movie!…” – Make Independent Films (READ MORE)

The Right to Control – “…So, now with the abridged history lesson of independent film under our belt let’s revisit our initial question, “what is an independent film”? Well, in reality there exists varying levels of independence. What it really boils down in the end is control. The ability of a filmmaker who has a vision and is able to stick to that vision with no compromises. A studio may partly fund or distribute a director’s film and yet it can still bear the title as an “independent”. With some level of studio involvement the end result may look more polished or reach a wider audience but if the director’s singular vision remains intact, in my opinion, it’s independent. As a brief afterthought, if a filmmaker makes the decision to self-finance, self-produce and self-distribute their film then by all means they deserve the right to market, promote and boast that their film is “100% Independent….” – Stephen Reilly (READ MORE)

What Makes an Indie an Indie

  • Low budget and/or if the film is funded or bought by a major studio, finance is less than 50% of the average mainstream film budget
  • Normally films with subtitles and with non-mainstream actors
  • Normally films with non-escapist, mega-expensive or formulaic theme
  • Normally with controversial subject matter or experimental film techniques using digital equipment
  • Screened in several prestigious competitions or film festivals
  • Exhibited in smaller venues or film art house and if it shown in megaplexes, it’s on a limited run
  • Films made outside the control of dominant major films studios
  • Filmmaker makes the decision to self-finance, self-produce and self-distribute/promote (100% Independent)

Work of Passion – “…Last Monday, the 1987 CCP Independent Cinema and Video Competition opened without much fanfare and with only few people in attendance. As a matter of fact, no one from the CCP’s top brass except for CCP Coordinator for Film, Hammy Sotto – graced the affair to launch the first short film and video competition under the new regime. Sad, but the event dramatizes the state of independent film making in this country: generally, the indifference and lack of interest on the part of the movie audience, not even the film students were there to lend support and a perceived feeling of distrust on the part of the film community. Nevertheless, it was an auspicious start as 27 short films were shown with about half of them of undoubtedly festival quality. The list represented shor-film output for two years (1985-1986). The same festival was not held last year because of the disbandment of the Experimental Cinema of the Philippines after the so-called February revold. With the subsequent reorganization of the Cultural Center of the Philippinbes, a coordinating center for film was created, one of its aims is to continue the tradition of giving recognition to the short-film makers who have excelled in a field that, “let’s face it, has remained unappreciated in this country. Despite ist lack of support, independent film making (I prefer the term “independent”over short-film making, which traditionally referes to the 8 and 16 mm films, because the former includes the 35 mm films and even video which are produced separate from the mainstream commercial cinema), has given us something which is sorely lacking in our daily movie fare. Independent cinemas is primarily a work of passion. It is cinema which tells of man’s unexplored fears and joys, a cinema that disturbs, a cinema that inspires…” – Mikr Feria, Manila Standard, 02 Aug 1987, p14 (READ MORE)

Blogger vs Reviewer – “…In this era of blogging, anyone and everyone who has access to a computer can be a film reviewer. But local moviegoers also don’t care as they don’t purposefully turn on their laptops just to read a movie review on line. And sadly, a lot of those who write blogs do not even have a good mastery of the English language and their distorted grammar often just give us a headache. Lately, though, the way the critics groups have totally rejected mainstream films released to wider, broader audiences to favor films only they themselves have seen and nobody else saw, has become truly quite disturbing. Are they really helping the movies that they choose to win? Are they really helping the local film industry at all? If you’d study the indie films that reaped awards in recent years, like “Damgo ni Eleuteria” (which we personally like), “Tirador”, “Shieka”, “Himpapawid”, etc. none of these films got a wide release even after winning awards. For that matter, Lav Diaz is one of our best known indie filmmakers and his 4 to 8-hour films have won accolades abroad, like “Ebolusyon”, “Death in the Land of Encantos”, “Melancholia” and the recent Cannes Filmfest entry, “Norte, Hangganan ng Kasaysayan”. But sadly, they were never shown in our commercial theatres and only a handful of avid cineastes saw them. The most familiar Lav Diaz films remain to be his “pito-pito” flicks “Kriminal ng Barrio Concepcion” and “Hubad sa Ilalim ng Buwan…” – Mario E. Bautista, Showbiz Portal, 23 June 2013 (READ MORE)

Vilma Santos’ Indie Projects:

  • Lamat sa Kristal (1988) – “…Vilma Santos went through with the taping of her first drama special, Lamat sa Kristal, during the rage of killer typhoon Unsang. While it wrought havoc in the entire nation and claimed numerous lives and destroyed properties, the whole production made good use of the terribly bad weather to set the mood for the top actress’ tele-movie. Indeed, there’s nothing like Mother Nature providing the real atmosphere, as the stars and crew braced the strong winds and heavy rains. To the said stars and crew the showbiz rule “the show must go on” still holds true, no matter what the weather is…” – Meg mendoza (READ MORE)
  • Lazarito (1990s) – “…Ang dream ko naman talaga—nung hindi ko alam na papasok ako sa pulitika—ay makapagdirek ng movie. Yun yung next step ko, parang maging Laurice Guillen, Marilou Diaz-Abaya. Nagpapaturo na nga ako ng anggulo! Yun ang dream ko talaga. But she was quick to point out that she already directed a telemovie for GMA-7 in the past. Titled Lazarito, it starred Dawn Zulueta and Ariel Rivera. “Nakapag-direct na ako para sa TV, pero ang dami ko pang mali. Nung mag-e-edit na ako, wala na akong material. Nung nag-shoot kasi ako, eksakto lang. Lesson learned: dapat pala ang dami mo talagang dapat [i-shoot]…” – Jocelyn Dimaculangan (READ MORE)
  • Ekstra, The Bit Player (2013) – “…We screened the edited materials of the film yesterday (without the ending) and the performance of the entire cast is something we are so proud of. Nobody was trying to upstage anyone. It was team work – pure and simple. A brilliant cast!!! I ended up with tears on my eyes – because I could not stop laughing and laughing with how the story was unfolding, with so many hilarious real life incidents that an ekstra has to go through. Then again, without knowing it, I found myself in tears, and this time for a different reason — because of the atrocities that TV production people have to face due to the economics of the industry, the people at the bottom of the line like the extras often end up having to bear the brunt. Time for a wake up call maybe?…” – Mario Bautista, Showbiz Portal, 18 Mar 2013 (READ MORE)

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Darna vs Super Gee

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Super Power/Weakness: Superman-like power (yes, she can fly). Unlike Superman, she have to swallow her magic stone to transform herself into Darna.

DARNA

Basic Info: Vilma Santos played Darna in the following films: Darna at Ding (1980); Darna vs. the Planet Women (1975); Darna and the Giants (1973); Lipad Darna Lipad (1973). According to Wikipedia, Darna is a fictional character and Filipino comics superheroine created by writer Mars Ravelo and artist Nestor Redondo. In her more popular incarnations, she is a deceased warrior from another planet manifesting herself through a girl from Earth, named Narda. She first appeared in Pilipino Komiks #77 (May 13, 1950).  Darna is a retooling of Ravelo’s earlier character Varga, whose stories he wrote and illustrated himself. She first appeared in Bulaklak Magazine, Volume 4, #17 (July 23, 1947). Ravelo left Bulaklak due to differences with the editors…Starting in 1951, several Darna movies were made. Some made from 1973 onwards starred the future multi-awarded dramatic actress and politician Vilma Santos. In these 1970s films, Darna’s origin was changed; no longer a little girl, Narda was now in her late teens. Also, she herself becomes Darna, unlike the original where she just “channels” her (not unlike Jason Blood and Etrigan). Only Ding knows her secret in this version. Also, the stone comes out of Narda’s mouth every time she changes back; she has to swallow it every time she wants to transform (This became standard for following versions). Darna is not specified as coming from Marte, just as a “warrior of Light”. This version of Darna became most people’s idea of the character for about 3 decades. A catchphrase popularized by the movies and said by Narda runs, “Ding, ang bato!” (“Ding, [give me] the stone!”). (READ MORE)

Film Review: “…Most people nowadays remember this 1974 “Silver age” re-invented version by legendary actress, Vilma Santos. Vilma Santos played both “Darna” and “Narda”. This practice continued in every movie version that followed after. Although Vilma didn’t possess Rosa Del Rosario’s goddess-like physique in the 1951 original, she made up for it in characterization and acting chops. Vilma Santos’ version became the template and few people remember the original where the part of Narda was played by a young girl actress, and the beautiful Rosa played the grown-up Darna …” – International Hero (READ MORE)

SUPER GEE

Super Power: Batman-like power (yes, she drive, a motorbike and helicopter!). Unlike Darna she doesnt have magical power, her strenght are more human, just like Batman.

Basic Info: Nora Aunor played Super Gee in 1973. Created by writer Zoila Meneses (or simply Zoila) and artist Rudy V. Villanueva, Super Gee originally ran in the pages of Darna Komiks from 1972 to 73. The character is best known for having been portrayed by the Superstar of Philippine movies, Nora Aunor, in a 1973 film adaptation. The heroine was revived in a sequel series, Supergee II, which ran from 1987 to 88 in Super Action Komiks (formerly Pocketkomiks), published by Atlas Publishing Co., Inc. Zoila returned as writer, while Romy T. Gamboa took over as artist….Supergee almost appeared on television in a 2006 episode of the ABS-CBN series Komiks. Starring actress Judy Ann Santos in the title role, the episode had actually been filmed, but was never aired. In 2009, US-based Filipino artist Dell Barras posted designs he had made for a proposed Supergee revival. You can view the rest of his designs on his blog Sketchpad…” – Aris B. Panganiban (READ MORE)

Film Review: “…Sa panahon ng aking pagsusulat, nakita ko na si Zoila Meneses o mas kilala sa Zoila lamang ng kanyang mga tagasubaybay sa komiks. Siya ang nakikita ko noong writer na may puting buhok. Sa mga hindi nakakaalam, si Zoila ay naging editor sa loob ng 14 years kaya hindi mapagdududahan ang kanyang kakayahan sa pagsusulat. Marami na rin siyang naging hit sa panahon ng pagsusulat niya ng nobela sa komiks. Ilan sa kanyang mga obrang sinulat ay ang “Naghihintay ang Kahapon” with Nar Castro sa Pilipino Reporter ng Affiliated Publication, “Horse-Man” , Super Action Komiks (1988) , “ Isinusumpa Kita” sa Tagalog Klasiks (1992), “Super Gee”, sa Darna Komiks, (1972, 1987) at marami pang iba. Hindi lang sa komiks, nagsusulat din ng mga romance pocket book novel si Zoila at aktibo pa rin sa kanyang writing career. Sa isang tabloid newspaper ay may nobelang serye rin siyang pinatatakbo sa kasalukuyan…” – Arman T. Francisco (READ MORE)

DARNA vs SUPER GEE

In 1973, Vilma’s box office clout flew higher and higher as the new Darna, Nora decided to match the new strategy her opponents were bringing in the table by producing her version of super hero via Batman inspired Super Gee. It was a perfect strategy as Vilma’s Darna was like Superman (basically Darna – – can fly), Supergee rode a vehicle, just like Batman! The customer was quite similar too as Super wore a mask, just like Batman. Just like Darna, Super Gee came from a comics serial. It was a creation by Zoila serialized ironically in “Darna” komiks. Like in Lipad Darna Lipad, Nora casted Celia Rodriguez as her nemesis and hired Armando Garces as director. Unfortunately Nora Aunor can’t replicate the success of Darna even with the presence of Jojit Paredes and teen star Arnold Gamboa. The uninspired direction of Armando Garces didn’t helped the case too. The movie bombed in the box office and the press ridiculed Nora’s Super Gee costumes. Speaking of costumes, Madonna maybe got the inspiration for her cone bra costumes from this film.

Vilma Santos made another milestone career move. She bravely starred as the new Darna despite her lack of height. Past Darnas, From Rosa Del Rosario to Gina Pareno, prior to Vi, were all tall and toned. So the stakes are high as the film were released in March of 1973. Vilma’s supporters were relieved and ecstatic to find out the huge crowed in each theatres. It was reported that the production company, Tagalog Ilang Ilang distributed Darna dolls and Coca-Cola gave Darna masks to thousand filmgoers. Vilma will continue to starred in four more Darna movies while Super Gee quickly disappeared to its deserving death. Lipad, Darna, Lipad were divided into three separate segments with each segments and was directed by three different directors. It its First episode, Emmanuel H. Borlaza handled the exciting fight between Darna and the “Impakta” played with much gusto by Gloria Romero that climaxed into that aerial fight that ends with Gloria falling down into the church’s cross. If the first one was exciting, the second director, Elwood Perez successfully gave us a strangely cold and campy episode. Maybe because Darna’s nemesis Valentina played by Celia Rodriguez were supposed to be a supermodel hence the overtly poised gestures. She turned out to be a snake queen, turning her hair into diabolical snakes with her eyes beams up and turning whatever that touch the beams into stone. The face-off between Darna and Valentina was so stylish, sizing each other by dirty glances. It was like watching a western cowboy movie. When finally Valentina used her beams to turned Darna into stone, she was outsmarted by Darna. Using a mirror Valentina beamed her own self and she turned into stone. Add to her demise, she fell from the building and was shattered into hundred pieces! The last episode directed by the late Joey Goseingfiao featuring Liza Lorena as the hawk lady or “Babaing Lawin.” As expected Darna defeated her third nemesis but compared to the first two episodes, the fight scenes here were less exciting. We both seen Super Gee and Lipad Darna Lipad. Unfortunately, Super Gee was so poorly done that we can’t remember it’s full story. The press were also in agreement with me as there were no articles whatsoever written about this film even via internet. – RV (READ MORE)

Wonder “V” and Super “G”“…Talk about Himala, it was because of this movie that two ladies in my neighborhood got into a nasty hair-pulling fight. Nora could have won the grand-slam for Best Actress in all the award-giving bodies for this movie in 1982 except that her archrival and now Batangas Gov. Vilma Santos won for the movie “Relasyon” in the Gawad Urian. The feisty Noranians in the neighborhood could not accept this, while the Vilmanians gloated. This irreconcilable difference unfortunately turned ugly. In those days, fans were fiercely loyal. When Vilmanians talked about “Wonder V,” expect Noranians to come up with “Super G.” When Vilmanians mentioned how they got scared in “Phantom Lady,” expect a multitude of Noranians to thwart their claim by discussing “Fe, Esperanza, Caridad,” Nora’s suspense thriller. Even when Nora and Vilma starred together in a movie, say “Pinagbuklod ng Pag-Ibig” or the legendary “T-Bird at Ako,” competition between fans of both camps still raged. But in my community, the Noranians always prevailed!…” – Bum D. Tenorio Jr. (READ MORE)

Vilma Santos: “…I saw Eva Montes’ “Darna at ang babaing Tuod” at the movies and Rosa Del Rosario’s Darna on TV. I also watched “Darna: Ang Pagbabalik (The Return)” on TV but don’t care for it… it had bad production values. Of course, I was excited when I was offered the role of Darna. I even had to ask permission from the Nuns at my school because of Darna’s 2 piece costume. Besides, there’s nothing obscene about the costume because this is a Superheroine after all. But I asked advice from some fans and they were concerned that I might get criticized for being daring. This is why I wore body stockings in the promotional pics for the movie. It looked so terrible and made me look fat with body stockings. William Leary and Douglas Quijano convinced me to remove the body stockings before the Press Con. I remember changing into my Darna costume and I remember their words telling me- “Vi, the stockings look terrible so why don’t you surprise all of them by not wearing them. Besides, you have the looks anyway.” So there I was at the Press con without the body stockings…” – Eric Cueto (READ MORE)

A Very Long Rivalry – 1982

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Pre-1982 – “…For Vilma Santos, The previous year, “Pakawalan Mo Ako” was a huge summer hit that earned her a surprised best actress in FAMAS. That year also, she released “Ex-Wife” and “Hiwalay,” both about marital problems. Art imitating life, as there were reports that Vilma and now, ex-husband, Edu Manzano were having some problems. But Vilma as trooper as she is, any personal troubles were not publicly noticeable as she goes on with her work, business as usual. Also, Vilma gave birth to her eldest son Luis “Lucky” Manzano. By December of 1981, her film festival entry, Karma earned her another surprise best actress trophy. In an unrelated news, the entertainment industry were shocked to found that matinee idol, Alfie Anido died on Dec 31st. Like the death of Julie Vega and Rico Yan, it is still unknown the reason behind Anido’s death. By the end of ’81, Vilma is determined to make the coming year another productive and successful year. She released a total of six films, out of six, two were certified record breakers, “Sinasamba Kita (I Idolized You)” released in August and “Gaano Kadalas ang Minsan? (How Many Times is Onced),” released in November, both produced by Viva Films. The other four films (Relasyon, T-Bird at Ako, Never Ever Say Goodbye, Haplos) were mild hits. All of her hard work paid off because as early as January of the 1983 she was already poised to reap major awards. Meanwhile for Nora Aunor, 1982 were a mixed bag of mild hits and failed opportunities. “Mga Uod at Rosas,” her collaboration with Lorna Tolentino and director Romy Zusara produced a mixed reviews from the critics. Her excellent performance did not help as the film were just mild hit with the audience. Her follow up films, “Annie Sabungera” and “Palenke Queen” both comedies also didn’t do well at the box office making the expectation from her next film higher, as she teamed-up with the hottest star of 1982, her closest rival, Vilma Santos in Danny Zialcita’s fast paced film, “T-bird at Ako.” T-bird’s high expectation wasn’t realized as the film earned just a modest income. By December, all eyes were focused again on Nora and her most ambitious project to date, Ishmael Bernal’s “Himala,” produced by Imee Marcos’ Experimental Cinema of the Philippines. The film was an entry to the Metro Manila film festival. Nora Aunor was again proclaimed the “queen of local festival” as she won her third Metro Manila Film Festival best actress. Nora’s momentum was rising and she was conditioned to make some serious dent in the following year’s award giving seasons. Critics were all going “gagah” with Aunor’s gigantic performance as Elsa. They said, Himala was very effective in communicating its film’s message, it has moving moments and raw power….” – RV (READ MORE)

Grand Slam – “…1982, Nauso ang so-called Grand Slam Best Actress in 1983, nang manalo si Vilma Santos for Ishmael Bernal’s Relasyon. That 1982 film was a small, low-budget drama of a husband and his mistress. Nag-hit ang tandem nina Vi at Christopher de Leon, starting in 1978, with Sampaguita Pictures’ Masarap … Masakit ang Umibig and Nakawin Natin ang Bawat Sandali (both by Elwood Perez), after their first pair-up in Celso Ad Castillo’s 1975 romance-drama Tag-Ulan sa Tag-Araw. For Relasyon, Vilma won as Best Actress sa CMMA, Gawad Urian, FAMAS and the debuting Film Academy of the Philippines (FAP) Awards. Maging sa “minor” parangal, like the TV show Let’s Talk Movies ng RPN 9 (hosted by Armida Siguion Reyna, Behn Cervantes and Mario Bautista), si Vilma rin ang Best Actress for the Regal Films drama. With Nora Aunor as Vilma’s main competitor, it was an interesting, but utterly disappointing, acting duel. Sa FAMAS, Nora got nominated for Romy Suzara’s Mga Uod at Rosas – and lost. Sa ibang award-giving bodies, isang malaking pelikula at pagganap ni Nora – sa Himala, as the visionary Elsa – ang natalo kay Vilma. The Ishmael Bernal opus was produced by the Marcos government-established Experimental Cinema of the Philippines (ECP).

Some were of the opinion na may bahagi ng pulitika sa pagkatalo ni Nora; marami raw sa movie industry ang anti-administration, kabilang ang sympathizers ng Free the Artists Movement na anti-censors. May malaking rally noon na hindi dinaluhan ni Nora, samantalang nakiisa sa protesta si Vilma. Gayon man, may parangal na natamo si Nora para sa Himala: the 1982 MMFF Best Actress, where it won 9 out of 13 awards, including Best Direction and Best Picture. Naging opening Film ang Himala sa 1983 Manila International Film Festival – organized by then First Lady Imelda Romualdez-Marcos – at inilahok sa Berlin International Film Festival in February 1983. Ayon kay Bernal, Nora lost in Berlin to a Russian actress by a mere vote. Sa 7th Gawad Urian in 1983, nominated in almost all major and minor categories ang Himala but never won a single award. Ilang taon ang lumipas, sa tuwing titingnan ko ang Honor Roll ng Manunuri sa ipinamamahaging souvenir program, sadyang “walang Himala” na nagtamo ng parangal. But in 2002, sa 25th year ng Gawad Urian, kabilang ang Himala sa Pinakamahuhusay (Best Films of the past three decades) na naparangalan, with Nora Aunor personally receiving the overdue award para sa isang totoong klasikong pelikulang Pilipino. At bigla ngang naghimala ang Himala!…” – William Reyes (READ MORE)

Nora Aunor’s Films (7): (Annie Sabungera; Himala; Mga Uod at Rosas; No Other Love; Palengke Queen; T-Bird at Ako; Tinimbang ang Langit) – Nora Aunor had a mix output of forgettable comedies and awards-worthy films. She did seven films, two of which were notable, Ishmael Bernal’s epic festival entry, “Himala” and Romy Zusara’s “Mga Uod at Rosad.” She also took some time to do the lesbian film, “T-bird at Ako” with her rival, Vilma.

Vilma Santos’ Films (6): (Gaano Kadalas ang Minsan?; Haplos; Never Ever Say Goodbye; Relasyon; Sinasamba Kita; T-Bird at Ako) – Compare to Nora, Vilma had a solid year, commercially and artistically, she had two major hits, “Sinasamba Kita” and “Gaano Kadalas Ang Minsan,” the other four were mild hits.

Nora Aunor’s 1982 acting recognition (7) – Best Actress from Metro Manila Film Festival and Parade Magazine Awards and nominations from URIAN; CMMA; Film Academy of the Philippines; Lets Talk Movies, all for “Himala” and a nomination from FAMAS for “Mga Uod at Rosas.”

Vilma Santos’ 1982 acting recognition (5) – Best Actress from FAMAS; URIAN; CMMA; Film Academy of the Philippines; Lets Talk Movies, all for “Relasyon.”

Sensitive, Polished and Highly Passive – “…The small, dissipated and forgotten dusty town without rainfall awakens to exploitation and commercialism when an innocent girl called Elsa (Nora Aunor) claims to have seen an apparition of the Blessed Virgin. She later acquires healing powers. Along the lines of Lourdes, the whole village becomes a bustling commercial venue for mass-produced statue saints and bottled holy or tonic water. In later excursions into subplots, a close friend of Elsa who becomes a woman of easy virtue returns to Cupang, a virginal sister who is totally devoted to the religious mission, some enterprising matrons, then a kaleidoscopic look at hundreds of sick people with diseased bodies. A pivotal character is a cynical and young film director (Spanky Manikan) with a conscience. The latter becomes obsessed in capturing Elsa’s healing sessions on celluloid which leads to his candidly catching on film (by accident) a dark secret of Elsa, a secret which prompted the suicide of her sister. Here is an eloquent, powerful film that is full of grandeur and simple segments. It shows an atmospheric environment where illiterate but adulating, praying crowds desperate for a cure can be a hostile mob when the miracle they crave for doesn’t materialize. Nora Aunor as Elsa gives a sensitive, polished and highly passive and consistently low-key performance. She is letter-perfect for the role. Meanwhile, Gigi Duenas (a stage actress) as a girl on the wrong side of the tracks who operates a cabaret-whorehouse is singularly brilliant and provides a striking contrast to the spiritual life of Elsa…” – Variety, January 26, 1983 (READ MORE)

Peeled-off Apprehensions – “…Thee film has unblushingly spoken for the Filipino urban society and its increasing acceptance of adultery as a social habit. It could have been a repetitious tale of a man with two women. But the writers have interestingly conducted the story through the precarious steps of a young, single, beautiful and supposedly decent girl. Marilou (Vilma Santos) has fallen helplessly in love with Emil (Christopher de Leon), a married man. When Emil’s wife decides to leave for Mindanao because she couldn’t stand him anymore, Marilou then decides for them to live together. Overjoyed with the prospect, she presses on to keep their relationship thrilling, warmer and stronger. But her efforts over the months only depresses her as she sees Emil gradually locking himself into a door she couldn’t enter. The mutual delights she had previously imbibed had soured into irritating silence and alienation. Her mounting disillusion flares up into throwing a couple of dishes. She opts for a separation only to yearn for him again. They go back to each other. She becomes pregnant. Suddenly, Emil suffers an attack and dies in her arms. Marilou whirls in grief for a time but bounces back to being “single”, attractive but perhaps no longer “decent”. The writers have fed significance into the conversations by filling them with popular ideas on marriage and relationships, engaging the viewers to respond with their own beliefs. There is irony though in the confessions of Emil and Marilou, in happier times, that each had been a better person upon being loved by the other. But their life together contradicted that statement. Her selfishness is revealed. “Ikaw lang ang iniintindi mo” he says and it uncovered his insensitivity. “Ako rin, may ego”, She replies. Vilma Santos confidently showed she felt the character she was portraying. Her depiction of feelings and emotions easily involve the viewers to share in her conflicts and joys. In this film, she has peeled-off apprehensions in her acting. Christopher de Leon has also been supportive in emphasizing the characterization of Marilou. He suitably complements Vilma’s acting. The director, Ishmael Bernal, displays his flair for taking scenes of Vilma putting on make-up. Unwittingly, he has suggested that whatever make-up is put on over adultery, it is still adultery…” – Lawrence delos Trinos, Star Monthly Magazine, July 1982 (READ MORE)

Post-1982 – “…While Vilmanians celebrated their idol’s historical win, Noranians redeemed their broken ego by lining up to the 1983 Manila International Film Festival on June 24th, “Himala” was chosen as the opening gala film together with Hollywood film, “Gandhi” as the closing. After the awards season of 1983, Vilma Santos released three more films after the disappointment, “Ayaw Kong Maging Kerida.” On June 9th, Viva Films released “Paano Ba ang Mangarap?” that turned out to be another box office hit. Few months afterwards Regal films released Bernal’s “Broken Marriage,” the follow-up film after the successful grand slam film, “Relasyon.” And finally, four days after Vi’s birthday, Viva Films released Marilou Diaz-Abaya’s drama, “Minsan pa Natin Hagkan Ang Nakaraan,” another box office hit. This film plus the two films mentioned above confirmed her bankable status. Not to be outshine again, “Himala” continued its relentless fight for recognition, winning the bronze prize at the 1983 Chicago International Film Festival on November of 1983 (Nov 4-18 1983)….” – RV (READ MORE)

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Follow in her footsteps

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Although she’s still very much in demand and still on top, Vilma Santos’ supposed to be “heir to the throne” is still nowhere in sight.  Some says her throne  has been filled several times, but whoever came, faded – fast and furious. They had a taste of fame but like a flashing meteor, they fade. Some remain active but still pale in comparison to the longevity and popularity of the Star for All Seasons. They follow her footsteps, patterned their career decisions to hers.  They become popular but some gradually retired.  Those remained are the lucky ones…who learned from her experiences and  followed her footsteps…

Victoria Lorna Aluquin, better known as Lorna Tolentino, sometimes known as L.T., an abbreviation of her screen name (born December 23, 1961), is a Filipina actress, host, executive producer and widow of actor Rudy Fernandez. Together, they bore two sons named Ralph and Renz. – Wikipedia (READ MORE)

Like Vilma Santos, Lorna started her stellar career as child star. She gradually transformed her image from sweet innocent teens into a mature versatile actress. Like Rio Locsin and Alma Moreno, Lorna started doing minor roles in earlier Vilma Santos films. Most notably, “Batya’t palu-palo” together with another up and coming actor, the young Philip Salvador. She eventually became as famous as Vilma with hit films like “Dulce Amor,” “Moral,” “Luksong Tinik,” “Abakada Ina” and her most controversial off-beat role, Brocka’s “Maging Aking Ka Lamang.” She even wore the “Darna” customes on small screen. With a series of dramatic roles, she always end up empty handed with award nighs as both Vilma and Nora were playing tug-of-war, during their hey days. When the Vi and Guy rivalry slow-down, she was able to succeed, receiving several trophies and even recorded a grand slam best actress win like Vilma. Lorna and Vilma finally did a movie where both played lead roles, in Eddie Garcia’s record breaking, “Sinasamba Kita.” The two remained friends through the years. Lorna even guested several times on Vi’s television show in the ’90s.

Alma “Ness” Moreno (born Vanessa Moreno Lacsamana born on May 25, 1959) is a Filipina actress politician who has made her mark both as a popular movie and television personality. She was born in Cervantes, Ilocos Sur to Frank Lacsamana, from Pampanga, and Jean Moreno. – Wikipedia (READ MORE)

Like Lorna, Alma played bit roles in a Vilma Santos starrer, Tag-ulan sa Tag-araw. Unlike Lorna whose acting talent was evident early on even as a child star, Alma lacks the intensity. She eventually realized she needed to accept more daring roles to survive in this business, accepting roles that required her to disrobe She almost surpassed the commercial success of Vilma with starring roles in smash hits like “Mrs Eva Fonda 16,” “Bomga Star,” “Bitayin si Baby Ama,” “Nympha,” and “City After Dark.” Alma’s stiff competition during the height of her career was Lorna Tolentino and later on, a more daring star, Rio Locsin. Rio and Lorna also had a competition goin’ on when they did a much publicized film, “Step-sisters.” Meanwhile, Alma and Lorna’s competition reached its pinacle when they did Bernal’s ‘City After Dark.” Their subdued comfrontation scene in a narrow street while rain was pourin heavily was one of the most memorable scene in the film. Alma held herself, acting wise. This is not the only time that the two were connected, in real life, they share the love of one man, the late Rudy Fernandez. Alma was Rudy’s live in partner in the 70s to the half of 80s while Lorna became Rudy’s wife in the later part of 80s until his untimely death. Both actresses have children with the late action star. If Lorna portrayed Darna like Vilma while Alma portrayed Dyesebel like Vilma. Alma and Vilma did one film during the height of Alma’s career, Elwood Perez’s hit film, “Magkaribal.” Like Lorna, she also guested a few times in Vi’s television show despite the fact she also compete with Vi with her own musical variety show, Lovely Ness. It was reported in tabloid during Dolphy’s funeral, that the two tried to avoid each other (by the way, Dolphy was Alma’s ex) for some unclear reasons, some think it was politically motivated as both are now politicians.

Sharon Cuneta-Pangilinan, better known as Sharon Cuneta, is a multi-awarded Filipino singer, actress and TV host dubbed the Megastar of Philippine Entertainment, and fondly called “Mega” by fans and people from the entertainment industry. Her success in the movies (53 starring roles), television (10 shows) and recording (40 albums) make her possibly the greatest Filipino entertainer of all time. Her popularity has translated well into the field of advertising, where she is the highest paid and most effective Filipino celebrity endorser. Cuneta’s long list of endoresements run the gamut from fastfood chain to bank, from make-up line to electronics, from ice cream to tele-communication company. On November 22, 2011, following months of speculations, Sharon’s big move to TV5 was made official by signing a staggering 1 Billion contract with the Kapatid Network – the highest ever paid to a Filipino artist. She parted ways with ABS-CBN, her home network of 24 years, on a cordial note. Her daily afternoon talk show Sharon: Kasama Mo, Kapatid premiered on May 14, 2012 and has been hailed as an engaging program that aims to entertain and to inspire. The show provides the perfect platform for Sharon to be in touch with her audience, reaffirming her stature as a well-loved icon who is now more accessible to fans and viewers alike…” – Wikipedia (READ MORE)

Like Alma and Lorna, Sharon Cuneta became part of Vilma Santos movie in their earlier showbiz career. This time, Sharon sings the theme song of a Vilma Santos starrer, “Langis at Tubig.” Self-confessed Vilmanian, she mentioned that she used to gawked at her idol whenever given a chance since they used to both live in a same closely gated subpision. As Sharon established herself as a huge star herself, the similarities in their career path were quite significant. Both became a singer, although Vi adminitedlly said singing wasn’t her forte, Vi recorded a string of hit albums. Both Vi and Sharon recorded their earlier albums titled “Sixteen.” Both became a bankable contract stars of Viva Films producing such record breaking films like “Bukas Luluhud Ang Mga Tala,” “Sa Hirap at Ginhawa,” and “Sana’y Wala Ng Wakas” for Sharon and “Sinasamba Kita,” “Gaano Kadalas Ang Minsan” and “Saan Nagtatago Ang Pag-ibig” for Vilma to name a few. During the 1990s, both became successful star on the small screen, Vi with her award winning show, “Vilma!” for GMA 7 and Sharon’s equally hit show, “TSCS” (The Sharon Cuneta Show) for ABS CBN Channel 2. In their long filmography, both became Darna, the Filipino flying-comic supershero and also did hit films with the late, Fernando Poe Jr. Sharon was quoted on several articles that she dreaming of one day doing a film with her idol, in an article written by Rose Garcia for PEP on May 14th 2009 she said: “…Bago pa man ang Sharon-Ai-Ai movie, matagal nang pinaplano ang pelikulang pagsasamahan sana ng Megastar at ng Star For All Seasons na si Gov. Vilma Santos. But how does she feel na mas nauna pa ang movie nila ni Ai-Ai sa movie nila ni Ate Vi? “Ay, naku, ‘yan naman talaga ang dream ko!” sambit ni Sharon. “I think, all actors, all actresses, we all have dreams, e, as to who we wanna work with. And I think, it’s a common knowledge na Vilmanian ako and I was never treated in a bad way palagi. And I think, I learn a lot from her on how to be a good idol at yung pakikisama sa tao at pag-appreciate. “I think, one of my ultimate dreams is to always work with Tito Dolphy. Isa sa dream ko, natupad na. Nakasama ko na si Ai and I always told her, before pa. Yung sa amin ni Ate Vi, probably will be a drama and by next year,” balita ni Sharon…”

Maricel Soriano (born Maria Cecilia Dador Soriano on February 25, 1965), known as the Diamond Star is a critically acclaimed Filipina film and television actress. She has starred in many films covering different genres including comedy, fantasy (Inday series), horror, suspense, action, romance and drama. She has appeared in hundreds of films and has scored a number of blockbuster hits. As well as acting, Soriano is also a singer and has recorded several songs including the theme song of her movie Oh My Mama in 1981. In 1987, she performed a sold out concert at the Araneta Coliseum titled “Hello, Hello Maricel.” – Wikipedia, 23 Jul 2009 (READ MORE)

When Sharon entered the scene, she find a stiff competition from the rival of her film studio Viva, Regal’s contract star, Maricel Soriano. Soriano like Vilma started as a child star and became a confident actress, tackling mature roles that her contemporary including Sharon didn’t dare to tackle. Like, Vi, she dared the public to accept her in such memorable films like “Hinugot sa Langit” and “Pinulot Ka Lang sa Lupa” where she played an abortionist and “bida-contrabida” sociallite. A similar career milestone movies patterned with Vi’s “Burlesk Queen” and “Sinasamba Kita.” The two finally did a film in the mid 1980’s in Regal’s commercial film, “Yesterday, Today and Tommorow.” Unlike Sharon who became known first as a singer, Maricel, like Vi were known for her dancing abilities. She did this in her own musical variety show, titled “Maricel Live!” and later in “Maria! Maria!” where she competed for TV ratings with Vi (and Sharon) during the 1990s (Like Vi, she also did TV drama anthology). During this time, Maricel became entangled with the controversial transfer of Vi’s TV co-host, Roderick Paulate to Maricel’s show. But in due time, all were forgotten and the three remained friends to this date. This is not the only time that Vi became part of Maricel’s personal relationships, Vi’s ex, Edu Manzano also became Maricel’s husband for awhile. Both Maricel and Edu, at one point, thought their relationship will last forever. But the two separated after a few years of bliss. Now, in her senior years, Maricel attempted several comeback after years of semi-retirement. Like, Sharon, Maricel confessed her respect and admiration for Vi in several movie articles. And after several year of semi-retirement, she is now reportedly starting some projects for ABS-CBN and also have some film projects lined up.

Claudine Margaret Castelo Barretto-Santiago (born July 20, 1979), popularly known as Claudine Barretto, is an entrepreneur, product endorser, film and television actress from the Philippines. – Wikipedia (READ MORE)

“…The premiere actress admitted that she has her own acting idols. She named the likes of Meryll Streep, Lolita Rodriguez, Nora Aunor, and Gina Alajar. Gov. Vilma also commended Claudine for her versatility as an actress. “Claudine is a very flexible actress. Pwede siyang gumanap na kaaawaan mo siya. Pwede ring sexy and very believable. In any roles na ginagawa mo ibinibigay mo lahat and you’re very believable. Kaya mo lahat gawin, believe me. Drama, sexy, action, comedy, you can do it. For that I commend you.” For Claudine’s exceptional talent, the Gov. Vi said she will not be surprised if Claudine becomes the next Star for All Seasons. “When we did Anak, sa mga promo for the movie, tinanong ako kung nakikita ko ba si Claudine na pwedeng maging next Vilma Santos, ang sagot ko, ‘Of course!’ You have a long way to go,” said Vilma to Claudine who became teary-eyed because of the compliment…” – Push, 14 Jul 2009 (READ MORE)

“…Ang sarap ng pakiramdam sobra, pero bilang isang Vilmanian ayokong may pumalit o sumunod sa yapak ni Ate Vi. There will never be another Vilma Santos. Nag-iisa lang siya. Ako mismo ayokong may magsabi na papalitan o ito ang susunod sa yapak ni Ate Vi unless anak niya parang ganun. Yun yung feeling ko bilang Vilmanian but I’m very honored na of course galing siyempre kay Ate Vi Star for All Seasons yun.” Claudine also said that she respects Ate Vi so much that the latter’s approval is like an award In itself. She said that she promised the Batangas governor that she’ll be the best Claudine Barretto that she can ever be and not a “replacement” for her. “Siya ang pinakamarami nang napanalunang award na grand slam, Hall of Fame award etc. ‘Pag galing kay Ate Vi na sobrang respetado sa industriya at pulitiko, grabe yung honor at privilege na napansin niya yun yung talent mo, para akong nag-grand slam sa sinabi ni Ate Vi,” Claudine shared…” – Push, 23 Jul 2009 (READ MORE)

Among the junior actresses that followed Sharon and Maricel, Claudine and Judy Anny were the most successful in terms of sustaining their popularity. Although Claudine’s career in now on its downward phase, she remained one of the most talented and was praised by Vi herself for being one of those versatile. Claudine, like Vi, started her career as a teen star with an on and off screen love partner, the late Rico Yan. Rico and Claudine was one rumoured to be engaged but his sudden death ruined this wishful dream for their die-hard fans. Prior to her teen transitions, Claudine was a regular cast in Dolphy’s TV sitcom, “Home Along da Riles.” After Yan’s death, Claudine became a serious contender for acting supremacy with several drama tele-series competing with her stiff rival Judy Ann and several drama films. She won acting recognitions with her performance in 2004’s “Milan” (where she competed for acting awards with her rival Judy Ann Santos and with veterans, Vi and Nora) and 2005’s “Dubai” and “Nasaan Ka Man” where she received several trophies and nominations. She also became a certified box office star with films, “Sukob” with Kris Aquino in 2006 and her sole movie with Vi, the blockbuster, “Anak” in 2000.

Judy Ann Santos (born Judy Anne Lumagui Santos-Agoncillo; May 11, 1978) is a Filipino film and television actress, product endorser, recording artist, and film producer. She began as a child actress and made her professional television debut in Kaming Mga Ulila (1986) before her screen debut in the film Silang Mga Sisiw Sa Lansangan (1988) where she appeared as part of the ensemble playing a supporting role. Her first leading role in a television series was in Ula, Ang Batang Gubat (1988), but she received media recognition in her breakthrough television series Mara Clara (1992). She has since spawned highly rated television series, amongst these are Esperanza (1996), Basta’t Kasama Kita (2003), Sa Piling Mo (2006) and Ysabella (2007). Santos starred in commercially successful films in the early 1990s following motion picture adaptations of Mara Clara (1996) and Esperanza (1999). She further achieved television and film success with pairings opposite Wowie de Guzman, Rico Yan and Piolo Pascual. Santos’ performance in the film Sabel (2004) received critical acclaim and earned her the Gawad Urian for Best Actress. – Wikipedia (READ MORE)

Claudine’s rival, Judy Ann also started as a child actress and a regular cast in several teleserye. Like Claudine she also transitioned into a teen star with her successful partner, Wowee de Guzman and later on, Piolo Pascual. Her rumoured real life relationship with Pascual was one of the most publicly dessiminated relationships in the local scene that did not resulted in happy endings, she ended up marrying a newcomer during that time, the more serious with intention to settle, Ryan Agocillio. Judy Ann with the guidance of Vilma’s former supporter Alfie Lorenzo, maintained her popularity compared to Claudine. She successfully turned her successful princess of teleserye career into a full-pledge serious actress with projects like “Magkapatid” (with Sharon Cuneta), and her more serious films “Sabel” and “Ploning.” Although many articles came that she prepared to work with Vi’s rival Nora, she recently clariffied this wasn’t the case, that she prepared to work with both.

Sarah Geronimo Sarah Asher Tua Geronimo, popularly known as Sarah Geronimo or Sarah G. is a Filipino recording artist and actress. Born and raised in Sampaloc, Manila she joined various singing and talent competitions with her father, Delfin Geronimo, as her trainer. In addition, she also joined the cast of now defunct ABS-CBN TV show, Ang TV. However, she rose to fame only after having won the Star for a Night singing competition in 2003. – Wikipedia (READ MORE)

Like Sharon, Sarah Geronimo’s career is similar to Vi’s rival Nora. Both became a singing contest winner. But because of her venturing into television musical variety hosting, her supporter wanted her to follow Vi’s television experience with Sarah venturing into more production numbers. Sarah’s recent success were her film projects opposite John Lyod Cruz, her recording albums and endorsements. She mentioned in several articles that it would be a dream come true to be cast in a Vilma Santos movie. She recorded the theme song of Vi’s 2009 film’s “In My Life.”

Kim Chiu (born Kimberly Sue Yap Chiu/Zhang Jinzhu; April 19, 1990), is a Filipina actress. She lived in Cebu City before she went to Manila for Pinoy Big Brother. Chiu was the first winner of Pinoy Big Brother: Teen Edition and is currently part of ABS-CBN’s Star Magic contract artists. She also having launched her only album entitled ‘Gwa Ai Di’ which means “I Love you” in Minnan dialect. Kim Chiu sometimes speak Hokkien at home back in Philippines. – Wikipedia (READ MORE)

Among the new crop of stars, Sarah’s closes rival would be Kim Chiu. Like Sarah, Kim was a product of reality show. Kim won the pinoy big brother show. She capitalized her popularity venturing into singing and also doing teleserye that Judy Ann and Claudine used to do. Kim’s first encouter with Vi was in television special where she was able to impressed Vi with her intepretation of Vi’s film role, Dolzura Cortez. After this Vi requested her to be cast in this year’s smash hit, “The Healing.” Like her predecessors, Kim also ventured in love team path, first with on and off screen love, Gerald Anderson and lately Xiam Lim. Anderson was once linked to Kim’s contemporary, Sarah Geronimo. It would be a good project if the three reprised the film, “Ikaw Ay Akin,” the Vi-Christopher de Leon-Nora Aunor film. Kim’s recent success is in small screen, co-starring with Maja Salvador in highly rating tele-serye, “Ina Kapatid Anak.”

Maja Ross Andres Salvador (born October 5, 1988) is a Filipina actress, dancer, model, and producer producer who is one of the latest in line of the showbiz clan of the Salvador family. She is currently under the management of ABS-CBN, and a member of Star Magic. – Wikipedia (READ MORE)

Maja Salvador, Kim’s co-star in TV’s “Ina Kapatid Anak” was onced Vi’s protege, she co-starred with Vi in 2006’s highly anticipated drama episode of “Maalaala Mo Kaya” titled “Regalo.” Her performance in this episode was highly praised and crtics even predicted that she is the one to watch. An article came that she was supposed to reprised Vi’s Burlesk Queen role but she clarified that she was too young to do a mature role. Prior to Ina Kapatid Anak, her recent success was her indie film, “Thelma” where she won a best actress trophy from the critic’s group, Gawad Urian.

Angel Locsin (born Angelica Colmenares; April 23, 1985) is a Filipina television and film actress, commercial model, film producer and fashion designer. She starred in the fantasy-themed television series Mulawin in 2004. Soon after, she starred as the superheroine Darna in the TV adaptation of the Mars Ravelo comics. When her contract expired on March 2007, Locsin did not renew her contract with GMA Network and signed an exclusive contract with ABS-CBN. Her first project under ABS-CBN was the television series Lobo. Locsin starred in her first box office movie under Star Cinema, Love Me Again, directed by Rory Quintos. In 2012, she starred in the film ÜnOfficially Yours which became her highest grossing film to date. – Wikipedia (READ MORE)

Angel’s recent project was the filmfest entry, “One More Try” where she played a mother of a sick boy reminiscent of Vi’s “Gaano Kadalas Ang Minsan.” The two first film together was in 2004’s Regal Film “Mano Po 3: My Love.” Prior to this, Angel was one of the two actress who recently wore the Darna customes (the other one was Marian Rivera), as you’ll probably known, Vi was one of the most successful Darna in the history of this franchise. Although Angel remained popular, she lacks a clear rival that other stars has, this maybe to her advantage. Recent articles mentioned that there are plans for a second film for Vi and Angel. Writer Ethel Ramos in her colum for Malaya on July 30, Jul 2012 said: “Two Darnas to join forces…Speaking of Angel, there are talks that she might finally co-star with “Star for All Seasons” Vilma Santos, in a movie. Probably next year, right after the 2013 elections. Ate Vi (as we in showbiz fondly call her), as we all know, is running for a third term as Batangas Governor. By the time she and Angel shoot their movie, she would have won the office anew. The Ate Vi-Angel movie, we also heard, will be Star Cinema’s 20th anniversary offering next year…By the way, come to think of it, Ate Vi, like Angel, has once appeared in a “Darna” movie….”

Snooky Serna (born Maria Milagros Sumayao Serna on April 4, 1966) is a Filipina film and television actress…Being the daughter of actors Von Serna and Mila Ocampo, she started acting early in life via her 1970 landmark debut Wanted: Perfect Mother, where she immediately captured the hearts of Filipino audience as a cute, sweet and smart-talking four-year old. That same year she earned her first acting nomination from FAMAS Awards as Best Child Performer for the film My Little Angel. Trained by acclaimed director and National Artist, Lino Brocka, Snooky showed promise as dramatic actress and later proved to be a fine one. In 1972, she won her first FAMAS Award as Best Child Actress for the film ‘Sana Mahalin Mo Ako’. As a mature actress, she tackled roles which earned acting nominations from various award giving bodies. She was also in Kapag Napagod Ang Puso with Christopher de Leon and Inagaw Mo Ang Lahat Sa Akin (Harvest Home – official Philippine entry to the 1995 Oscars) but unfortunately was snubbed during awards night. Her other major films include Aabot Hanggang Sukdulan, Yesterday, Today and Tomorrow, Hahamakin ang Lahat with Vilma Santos, the fantasy films Blusang Itim, Rosa Mistica, and Madonna: Ang Babaing Ahas. It was with Koronang Itim, that she finally won Best Lead Actress trophy. She has starred in over (80) films from 1970 to 2004…As a mature actress, she tackled roles which earned acting nominations from various award giving bodies. She was also in Kapag Napagod Ang Puso with Christopher de Leon and Inagaw Mo Ang Lahat Sa Akin (Harvest Home – official Philippine entry to the 1995 Oscars) but unfortunately was snubbed during awards night. Her other major films include Aabot Hanggang Sukdulan, Yesterday, Today and Tomorrow, Hahamakin ang Lahat with Vilma Santos, the fantasy films Blusang Itim, Rosa Mistica, and Madonna: Ang Babaing Ahas. It was with Koronang Itim, that she finally won Best Lead Actress trophy. She has starred in over (80) films from 1970 to 2004. – Wikipedia, 23 Jul 2009 (READ MORE)

Snook Serna and Vilma Santos first film together was the 1971 musical, “The Wonderful World of Music” where they co-starred with Tony Ferrer and Boots Anson Roa, Snooky was still a child star and Vi was in a teenage love team with reel and real life sweetheart, Edgar Mortiz. Both actresses started as a child star, Vilma in Trudis Liit in 1963, where she won a FAMAS best child actress while Snooky did seven film in her debut year in 1970 and won a FAMAS best child actress for My Little Angel. Both actress’ route to fame were similar, taking mature roles, started with Vilma in Burlesk Queen (1977) and Snooky in Bata Pa Si Sabel (1981). The two did three more films, in 1986 with the box office hit, “Yesterday, Today & Tomorrow” with Maricel Soriano; in 1988, Vilma appeared in a minor role in the forgettable film, “Bukas Sisikat Din Ang Araw,” with Gabby Concepcion; and finally in 1990 with Lino Brocka’s “Hahamakin Ang Lahat (All Be Damned).” Working with her former mentor, Brocka’s “Hahamakin…” earned both Vilma and Snooky several acting nominations but it was Snooky who was lucky enough to received a PMPC Star Award for supporting actress. Like Vilma, Snooky did television projects, she did a drama anthology for ABS-CBN in 1989 and several guest drama appearances after but her most successful stints was in 1987-88 where she tried to host a musical variety show titled, “Always, Snooky.” She earned two PMPC Star Awards nomination for TV Best Musical Variety Show Host but twice loss to Vilma.

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Discography: SIXTEEN (1970) Vilma Santos “Sixteen” Interview

What does Vilma Santos think of Vilma Santos now? At Sixteen, I guess is far cry from the Vilma Santos I’ve known eight years ago. I remember I was very childish and too carefree then, pretty naïve to what life would seem to offer and…oh yes, physically, I was skinny. But now, in such a little period of time, I’ve learned so many things about life really is, the differences between winning and losing…the many faces of happiness and success and yes, from a skinny girl…uh, what d’ya know, I fully bloomed into…ugh, would you believe fastest weight gainer! Gee whiz, it makes me feel sick everyday. I wonder how I will look come eight years more and the next to come. But one thing is sure, by that time I’m already a full-grown woman.

Do you have many friends? What king people do you choose for friends? I have lots of friends. But real friends, I doubt if there are many. I admire persons who know how to mingle with anybody and everybody. I despise the opportunist and the unkind.

At present, do you think people you meet are interested in you only as Vilma Santos, the movie star? Nope and…well, yes. There are some. I just don’t know the others.

Does acting come easy for you? Well, for me it’s only a matter of little concentration. I study the part I play and try to feel it in more realistic way. Emotion easily gets me you know, especially when I’m already in front of the camera.

How do you evaluate yourself as an actress? As a singer? I can act, yes but I don’t consider myself a very good actress yet. I guess, I have to learn more, especially in dealing with everybody, with people who support me and work with me and most especially I still have to learn how to accept criticism open-mindedly, gratefully and patiently in which some of the blasts you’ll deserve, many you won’t. And as a singer, gosh…I feel a funny thing inside everytime na naiisip kong I was not a born singer. But everytime I hear my records play, I couldn’t help but kid myself, that I was made after all.

What kind of reaction did you have when your first recording became a hit? Ofcourse I was very very very happy…overwhelmed with joy, for somehow, I didn’t fail my producer William Leary, and the great song writer, Dannie Subido.

Did you feel pressure in preparing your LP album, Sixteen? I’ve felt pressure ever since I began to work in show business. Let’s just say, I was a little nervous.

Is it true that after you were given five complimentary copies of your first LP album, you immediately gave them to five special people closest to your heart, and the two of them were Jay Ilagan and Edgar Mortiz? Yes, but it didn’t mean anything on my part. It’s just a sort of a token of friendship. Just like when they also gave me a copy of their first record.

Is it true that one of your favorite songs which is entitled “Dry Your Eyes” reminds you of Jay Ilagan? Why? Well, its not exactly that way. I mean, kayak o lang nasabi youn kasi… kuwan, ;yon bang…tsk. Kasi kuwa, e ah it reminds me of Jay, because I was deeply touched sa mga write-ups na nababasa ko tungkol sa kanya – na gusto raw niya akong maging ka-love team. But it seems, as he himself said before, were not meant for each other even in real life that’s why I couldn’t help but dedicate the lyrics fo that song to him which goes like this…”Look around, never try to run, for the things to come could be your chance. You’re still young to suffer and to cry, don’t you deny, for I know your part and don’t be afraid to be alone.” And that’s it.

Is it also true that Jay and Edgar are two of your most ardent suitors in real life? Hmmm….yes….

Between Edgar and Jay, who of the two do you think has the greater chance of winning your heart? I haven’t thought about it yet. And besides, I enjoy life as it is now – – being free from love worries. Just wait na lang till I have enough time to study the matter closely, huh?

Speaking of Jay, how did you feel when you were separated as loveteam in Bata-Batuta? I felt sad, not because si Edgar ang ipinalit sa kanya. It was not Edgar’s fault, nor Jay’s or mine. But I was happy, too not because nagkahiwalay kami ni Jay. Tsk…you see, it’s hard to explain eh! Some people might misunderstand me, so let’s better not talk about it anymore, okay?

But do you also dream of working with Jay someday? Yes, why not? Kung may alok, that is. I think Jay is a very nice guy to work with and I’ll look forward to make picture with him in the near future.

Why is it that Edgar reportedly always gets jealous everytime you talk with other boys? I don’t know that! All I know is that I’m free to talk with anybody, and I guess, I have all the freedom to do so.

What qualities of Edgar do you find most attractive? Ditto with Jay Ilagan? They are different personalities. And qualities too. But I like them both, as friends, that is.

Lastly, at what age do you want to go steady with somebody? After my 18th birthday. But it all depends upon the situation, you know. Maybe this year, maybe next year…or maybe never.  END.  –  Published in V Magazine 2006, courtesy of Alan Trambulo.

Gina Alajar and Vilma Santos

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The Truth – “…When you are young, malakas ang loob mong maghiwalay because it marks new beginning in your life. There are options to take and it was easy to let go. I tried to save my marriage and worked hard for it, and every time we’re back into each other arms, I felt God heard my prayers,” she reveals…Gina hopes to regain her self-esteem and self-respect with the decision she made. “I finally accepted the truth that the situation is real. I used to entertain false hopes. Not anymore, I feel totally free…” – Remy M. Umerez, Philippine Daily Inquirer, Jan 1, 2002 (READ MORE)

The Roles – “…Yes, I am aware that theater-owners have a say on the kind of movies they would exhibit in their theaters and they usually have suggestions on the stars producers should hire to recoup their investments,” she had said. . “But you can’t argue against formula movies. They make money for the producers and they are good business for theater exhibitors. However, I need not figure in those formula movies although I find myself in some of those predictable projects. But making movies is also about good craftsmanship, it is also about the fine art of acting and not always primarily about making oodles of money. In most of my movies, I sometimes sacrifice the fees I deserve to be identified with film projects you believe in.”…She garnered two trophies as a child star: one for Ang Kaibigan Kong Sto. Nińo (FAMAS) and Wanted: Perfect Mother (CMMA). She bagged three Best Actress awards from Urian (Brutal, Salome, Kapit sa Patalim) and one each from CMMA (Andrea) and Metro Manila Film Festival (Shake, Rattle and Roll). The last came from the Film Academy of the Philippines (Kaya Kong Abutin ang Langit) and one each from Urian, CMMA and FAMAS (all for Biktima). She was the struggling singer Kathy in Moral, the guilt-ridden Cynthia in Brutal by Marilou Diaz Abaya or the unforgettable child-woman in Salome directed by Laurice Guillen. Lino Brocka farther honed her acting prowess when he got her as the dissident’s wife in Orapronobis and an ill-fated worker’s wife in Kapit Sa Patalim all of which made waves in film fests abroad….

…Lino (Brocka) taught me how to act straight from the heart; Laurice (Guillen) taught me how to make the most of my body as an acting instrument and Marilou (Diaz-Abaya) taught me the value of spontaneous acting by constant rehearsals, how to make the memorized lines come naturally. I credit all of them for what I am now. That they trusted me with those sensitive roles was something I would always remember regardless of how the films fared at the box office.” Even if well-made films did not always translate into box office triumphs, she remembered those films for something that they had imparted to the moviegoers. She had pointed out in the past. “I am proud of Orapronobis, Kapit Sa Patalim, Salome, Moral and Brutal because I find joy in being part of a film that gave us all a lesson. I watch other good pictures to pick up something and be compelled to think – regardless of whether they are about love, friendship or family relationship. I like a film if it gives me something I can adapt to my own life. I do not dislike a film just because I disagree with its message. I also watch film to see other people’s point of view…” – Pablo A. Tariman (READ MORE)

Child Star – “…Ms. Alajar was a child star herself. She started acting when she was eight years old, so she knows the pressures of being a child star. “I am not against child acting because we need child stars. In fact, there are many acting greats who started out as child stars. I just want to make sure that laws on children are properly implemented when dealing with these child stars, for example, not staying up late beyond their sleeping hours. Although, these children do it because of the fulfillment that they get,” she said. Ms. Alajar recalled that when she was a child actress, she couldn’t sleep after eight in the evening because there are still shots that need to be taken after dinner. “So, I slept at 10 in the evening. Then, they woke me up at 2 in the morning. When they did that, I didn’t want to get up. Now, I don’t sleep at 10 in the evening until one in the morning because I get irritable when people wake me up. Somehow, I traced it back to when I was younger,” she said. Now, Ms. Alajar is 42 years old and still looking young and flawless as ever. “I’m glad I lasted this long. Well, I had nothing else to do. I love acting. The passion for acting made me stay,” she said…” – Kathy M. Villalon (READ MORE)

Re-launched – “…After the breathing spell, the teenage Alajar was re-discovered by the late producer Dr. Jose Perez of Sampaguita Pictures, who signed her to an eight-year build-up contract. In Sampaguita, she did teen-aged supporting roles in such films as My Little Brown Girl, Isa, Dalawa, Tatlo, Magtago Na Kayo, Young Dreams and Sweet Sixteen. A year later, she starred in Cofradia, a re-make of a successful film in the 1950s starring Gloria Romero. In this production, which was to launch her career as a star in her own right she met Michael de Mesa, who would later become her husband. Unfortunately, her stint with Sampaguita was interrupted by the death of Dr. Perez. She was thereupon released from her contract and, for a time, her acting career was in limbo. The situation was made worse by the upsurge of sex films in the country. She was thus compelled to take roles that she now herself considers forgettable. Her days as a sex symbol were short-lived, she recalls, for she had neither the heart nor the guts for such vehicles. In the late 1970s, her career was re-launched a second time, there was no looking back. The early 1980s saw her metamorphose into a serious actress via such films as Brutal, Salome, Playgril, Manila by Night and Kontrobersiyal. In Brutal, she distinguished herself winning the best supporting actress award in metro Manila Film Festival. She was also chosen 1980 best actress by the film critics’ group, the Manunuri ng Pelikulang Pilipino, for Brutal. She duplicated the feat by winning the best actress for Urian in Salome in 1981. In 1988, Alajar did only three films: Hiwaga sa Belete Drive, Minsan Pa Yakapin Mo Ako and Birds of Prey. In 1989, she appeared in a film by Lino Brocka, which was shown at the Cannes Film Festival in France. The film Fight for Us, says Gina, “was inspired by certain people and events in the country…” – Justino M. Dormiendo (READ MORE)

Regina Alatiit also known as Gina Alajar was born on (June 28, 1959) in Manila, she is a FAMAS and Gaward Urian Award winning Filipino film actress and television director. – Wikipedia (READ MORE)

Gina Alajar and Vilma Santos

Sister Stella L. (1984) – “…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)

Big Ike’s Happening (1976) – “…All star casts din ang pelikulang handog ng Larry Santiago at Ike Lozada Productions na Big Ike’s Happening (February 27, 1976) na tinampukan nina Vi, Tirso Cruz III, Walter Navaro, Ike Lozada, Aurora Salve, Gina Alajar, Jojit Paredes, Dondon Nakar, Winnie Santos, Arnold Gamboa, Maribel Aunor, Allan Valenzuela, Doyet Ilagan, Edward Campos, German Moreno, Inday Badiday, Ben David, Lilian Laing, Aruray, Nora Aunor, Perla Bautista, Charlie Davao, Esperanza Fabon, Eddie Peregrina, Bella Flores, Lito Legaspi, Christopher de Leon, Van de Leon, Pinky Montilla, Alma Moreno, Dencio Padilla, Andy Poe, Jerry Pons, Ric Rodrigo, Gloria Romero, Daria Ramirez, Darius Razon, Marianne de la Riva, Eddie San Jose, Ricky Santiago, Lorna Tolentino, Eddie Villamayor at Vic Vargas sa direksiyon nina Pablo at Bobby Santiago…” – Alfonso Valencia (READ MORE)

Dugo at pag-ibig sa kapirasong lupa (1975) – “…A Must for the Filipino History Students and for everyone who wants to awaken the innate nationalism in them. These series of stories depicting the fight of the Filipinos against colonialism of Spain, Japan and even their fellow Filipinos abusing the power in the government. A seemingly serious film but spiced with the star-studded cast like Fernando Poe Jr., Ramon Revilla, Joseph Estrada, Nora Aunor, Dante Rivero, Eddie Garcia, Vic Vargas, Goerge Estregan and the other all time favorite artists. This movie even highlighted the comparison between the love of country and the other kind of love we offer to our family and to our beloved as the story featured love stories in the midst of tragic and bloody war happening in our society…” – Kabayan Central (READ MORE)

Mga Batang Bangketa (1970) – “…By late 1969, movie producers had been tapping a Vilma Santos-Edgar Mortiz love team. Edgar was a Tawag ng Tanghalan winner. They started to be together in the movies, My Darling Eddie (1969) and The Jukebox King (1969)…In 1970, the love team of Vilma Santos and Edgar “Bobot” Mortiz was officially launched in the movie Young Love, together with the another popular love team during that time, Nora Aunor and Tirso Cruz III. The Vi and Bot love team went on to do 14 more movies in 1970—The Young Idols, Songs and Lovers, Sweethearts, Sixteen, Love Letters, Love is for the Two of Us, Mga Batang Bangketa, My Pledge of Love, Renee Rose, Baby Vi, Because You Are Mine, Edgar Loves Vilma, From the Bottom of My Heart, and I Love You Honey. All did well at the box-office…” – Rommel R. Llanes (READ MORE)

Sixteen (1970) – “…The success of Sixteen can be attributed to the playfulness and simplicity of the song selections. It suited the sweetness and purity of Vilma’s almost child like voice. The album earned Vilma her first golden record award and a remarkable signature song, “Sixteen.” The album established her as a successful recording artist. If I will compare her to today’s list of contemporary artists, I will compare Vilma to the likes of Jennifer Lopez, Britney Spears, and Madonna. Jennifer, Britney, and Madonna has thin but sweet voices just like Vilma. Like Vilma, these pop superstars have to work hard to achieve almost perfect products that their fans loved. Like Vilma, the three pop stars are great dancers which they all used to the max in their choreograph production numbers. The reluctant singer came out on top. Vilma Santos’s debut album made history. Sixteen made Vilma Santos a remarkable singer…” – RV (READ MORE)

Pinagbuklod ng Langit (1969) – “…Pero higit na tumatak si Luis nang gampanan niya ng dalawang beses si Pangulong Ferdinand Marcos. Ito’y sa kontrobersyal na pelikulang “Iginuhit ng Tadhana” bago tumakbo si Marcos bilang presidente noong 1965. Sinundan ito ng “Pinagbuklod ng Langit” noong 1969. Si Imee Marcos, na ginampanan noon ni Vilma Santos, naalala ang galing ni Luis na mahirap na daw tapatan ngayon. “His acting was understated. A great actor and a good friend. He played a big role in our lives. Halos naniniwala na ako na tatay ko siya dahil sa boses. Mahal na mahal namin si Luis Gonzales,” sabi ni Imee. Ayon sa kanyang kabiyak, huling hiling ni Luis na ipa-cremate ang kanyang labi…” – Mario Dumaual (READ MORE)

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A Very Long Rivalry – 1981

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Pre-1981 – As Brocka’s Bona toured the international festival, it looks like Nora was again in command with the acting contest and Vilma was content in making sure that her films were commercial success. By this time, Vilma’s tax problem has become a number one priority. No longer a teen pop star, both Nora and Vilma’s projects declined. It seems like yesterday, when in early 1970s both were releasing one or two films each month. Now, both have limited film projects and have to be selective to succeed at the box office.

Sign of Good Karma – “…In 1981, nanalong MMFF Best Actress si Vilma for Zialcita’s Karma, besting Nora’s multi-character portrayal in Maryo J. delos Reyes’ musical-drama Rock ‘N Roll. Vi, however, failed to win any other nomination for that starrer, while Nora went on to win a trophy (Catholic Mass Media Awards) and Best Actress nomination (Gawad Urian) for Mario O’Hara’s Bakit Bughaw ang Langit?…” – William Reyes (READ MORE)

Nora Aunor’s Films (7): (Bakit Bughaw ang Langit?; Dalaga si Misis, Binata si Mister; Gaano Kita Kamahal; Ibalik ang Swerte; Kami’y Ifugao; Rock N’ Roll; Totoo Ba Ang Tsimis?) – Nora Aunor did seven films this year, three more than her rival Vilma. Although she won on total output, the quality of these films were questionable. The only film critics were raving were Mario O’Harra’s Bakit Bughaw.

Vilma Santos’ Films (4): (Pakawalan Mo Ako; Hiwalay; Karma; Ex-Wife) – Vilma Santos did only four films in 19881, two were mild hits, Hiwalay and Ex-wife, both melodramas. The other two were big hits, “Pakawalan Mo Ako,” was directed by Elwood Perez and the summer’s biggest hit while “Karma” directed by Danny Zialcita was a big hit at the local festival. Both films earned her an acting trophies.

Nora Aunor’s 1981 acting recognition (3) – Best Actress from Catholic Mass Media Awards and two nominations from FAMAS and Urian, all for “Bakit Bughaw ang Langit? .”

Vilma Santos’ 1981 acting recognition (3) – Best Actress from Metro Manil Film Festival and Cebu City Film Festival for “Karma”and Best Actress from FAMAS for “Pakawalan Mo Ako.”

Not Blue – “…O’Hara dwells on Aunor’s face, to suggest that she is not just amused, but actually intrigued. O’Hara, however, does not take the easy way out: he does not allow the relationship of Aunor and Roldan to become actually physical. If there is a sexual love between the two, it is too deep inside them to be articulated. True enough, there are some glaring mistakes. The most obvious occurs when Roldan utters that key line “Bakit bughaw ang langit?” The camera pans out to the sky as expected, but instead of the sky being clear and blue (which is what “bughaw” means), the sky is cloudy and white. The symbol is totally destroyed by such a simple cinematographic mistake. In fact, almost all of the mistakes in the film can be attributed to the cinematographer, who seems not to know how to light a set. Night scenes appear brighter than day scenes, light filtering into houses has no clear sources, camera movements are jerky, shadows are not expressive. O’Hara should learn from this film: he should not use the same cinematographer again. Aunor’s performance here proves that her winning of the Urian Award for Bona is justified. She remains one of the best of our young actresses, especially in the hands of a director who understands film acting. In a film whose screenplay has undistinguished (in fact, even inane) dialogue, Aunor is able to express her emotions primarily through her silent moments. The mark of a true film actress is her behavior when she does not speak. Aunor is destined to become an all-time Best Actress. It is appropriate that Anita Linda – herself an all-time Best Actress- plays her mother in this film. The acting cannot be faulted, not even the acting of newcomer Roldan…” – Isagani R. Cruz, TV TIMES, March 15 -21, 1981 (READ MORE)

Good Karma – “…Happily, “Karma” turned out to be as good as I expected. It’s performers are first-rate – Vilma Santos, Ronaldo Valdez, Tommy Abuel, Chanda Romero, so their award-winning acting didn’t surprise me at all. The script was outstanding but even that was expected, coming from director Danny Zialcita. What impressed me was that minor parts were played by name actors. The housekeeper who appeared in one short sequence could have been played by any elderly woman but those who made the movie wanted nothing less than Etang Discher. The psychiatrist could have been played by any decent-looking man but they didn’t settle for anybody less than Vic Silayan. The male lover at the start of the story had to be acted out by Dante Rivero, that at the end by Christopher de Leon. The movie boasted of several bold scenes. Those involving Vilma weren’t much as we know for a fact that Vilma could show only so much. One scene showing Chanda was a different story. It showed her with absolutely nothing on, yet it didn’t offend anybody as it was executed in style, shot with great care. There was just one thing, which looked unnatural to me, the way in which one of the main characters killed himself. “That’s all right,” Danny assured me. “Before we shot it, we double-checked its possibility.” Reincarnation and transference are undoubtedly mind-boggling subjects but, to his utmost credit, Danny managed to present them simply, bringing them down for everybody to understand. “Bala lang yan. Katawan lang ito. Babalik at babalik kami sa mundong ito,” Dante vowed. Come back they did as they promised building the foundation of the story…” – Bob Castillo, People’s Journal Dec. 12, 1981 (READ MORE)

Post-1981 – “…For Vilma Santos, the previous year, Pakawalan Mo Ako was a huge summer hit that earned Vilma a surprised best actress in FAMAS. That year also released Ex-Wife and Hiwalay, about marital problems. Art imitating life, as there were reports that Vilma and now, ex-husband, Edu Manzano were having some marital problems. But Vilma as trooper as she is, any personal troubles were not publicly noticeable as she goes on with her work, business as usual. Also, Vilma gave birth to her eldest son Luis “Lucky” Manzano. By December of 1981, her film festival entry, Karma earned her another surprise best actress trophy after the FAMAS gave her the nod for Pakawalan Mo Ako. In unrelated news, the entertainment industry were shocked to found that matinee idol, Alfie Anido died on Dec 31st. Like the death of Julie Vega and Rico Yan, it is still unknown the reason behind Anido’s death. She’s determined to make 1982 another successful year. She released a total of six films, out of six; two were certified record breakers, “Sinasamba Kita (I Idolized You)” released in August and “Gaano Kadalas ang Minsan? (How Many Times is Once),” released in November, both produced by Viva Films. The other four films (Relasyon, T-Bird at Ako, Never Ever Say Goodbye, and Haplos) were mild hits. All of her hard work paid off because as early as January of the 1983 she was already poised to reap major awards. Meanwhile for Nora Aunor, 1982 were a mixed bag of mild hits and failed opportunities. “Mga Uod at Rosas,” her collaboration with Lorna Tolentino and director Romy Zusara produced mixed reviews from the critics. Her excellent performance did not help as the film were just mild hit with the audience. Her follow up films, “Annie Sabungera” and “Palenke Queen” both comedies also didn’t do well at the box office making the expectation from her next film higher, as she teamed-up with the hottest star of 1982, her closest rival, Vilma Santos in Danny Zialcita’s fast paced film, “T-bird at Ako.” T-bird’s high expectation wasn’t realized as the film earned just a modest income. By December, all eyes were focused again on Nora and her most ambitious project to date, Ishmael Bernal’s “Himala,” produced by the Imee Marcos’ Experimental Cinema of the Philippines. The film was an entry to the Metro Manila film festival. Nora Aunor was again proclaimed the “queen of local festival” as she won her third Metro Manila Film Festival best actress. Nora’s momentum was rising and she was conditioned to make some serious dent in the following year’s award giving seasons. Critics were all going “gagah” with Aunor’s gigantic performance as Elsa. They said, Himala was very effective in communicating its film’s message, it has moving moments and raw power….” – RV (READ MORE)

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The Untold Story of Vilma Santos

Anim na taong gulang lamang si Rosa Vilma Tuazon Santos nang ipasiya ng mga madre sa St. Mary’s College sa Magdalena na karapat-dapat siyang gawing madre superiora! Kaya wala silang atubiling isinagawa ang pagbibihis kay Vi bilang madre superiora. Tumayo si Vilma sa tanghalan ng graduation at siya ang naging taga-abot ng certificate sa mga nagtapos. And she was the cutest version of a mother superiora ever, as she stood there ang munting mestiza nina G at Gng. Amado Santos ng Bambang mistulang madre ngunit halos sing-laki lamang ng manyika. Ito ay isang practice na naging kaugalian sa mga ara sa Catholic schools maging para sa lalaki lamang o para sa mga babae lamang. Ang mga batang nagtatapos ng kindergarten ay karaniwang may graduation rites na wika nga, na ang mga selected at outstanding students na grade school ang pinagaganap sa papel ng mga outstanding officials ng eskuwela. Kung mga lalaki ay may arsobispo pa ets. samantalang sa mga babae ay mga characters or madre superiora ang pinakakatawan nila sa mga outstanding student. At laging ganito si Vi nang magsilmulang mag-aral. Kabilang siya sa mga masipag at masinop na pupils ng St. Mary’s. Marahil pinangarap pa ng mga madre na nasa paaralang yaon na baka sakaling magkaroon ng “vocation” si Vi for the call of Christ.

Mabait na bata, mabutihin, she had always been imaginative enough to be an asset to the school. Laging matulungin, usualy, umuuwing umiiyak ang nakatatandang kapatid na si Emily probably older by a year or so at dumarating ng gutom kasi ang Vi ay nauubos ang baon sa pagbibigay doon sa mga estudyantedng walang baon at pagkatapos nakikihalo na lamang sa kapatid na di naman siya mapahindian sapagkat very close sila sa kanilang family. Sa kabilang dako, halata na “for the arts” si Vi bagama’t wala pang nagaakala noon na magiging artista siya. Kasi bistado sa buong eskuwelahan ang hilig ni Vilma. Siya ang malimit na sumusulat ng mga scripts ng bolada para sa grade school. Simpple nga lang para nakababatid siya kaya siya ang naaatasan lagi sa ganitong chore. And this is not surprising. May hilig talaga si Vi noong bata pa siya. Maaaring di siya nagkahilig na malilimayon sa kalye ngunit laging nasa kanilang bahay ang mga kalaro niya at lagi siyang nagmamaestro-maestrohan. Kaya nga ba inakala ng yaya nilang magkakapatid na si Mamay na magiging teacher si Vi o propesora. Kung wala ang mga kalaro galing sa mga kapitbahay ang mga kapatid ang siyang tinitipon at ginagawang mga students niya. At ang katakataka, kahit noon pa, acccepted na ang leadership niya.

Somehow their world revolved around her, and enjoy naman sila sa kanyang company. Talaga nga yatang isinilang si Vi to be an object of admiration ang affection. If her family history is to be traced November 3 nang Vi made her appearance in the happy home of Amado Santos and the former Milagros Tuason some 19 years ago, sa Galang’s Clinic at noon pa man ay panay na ang hanga sa pagka-cute at sa kagandahan ng “mestisa” nila. At palibhasa’y doll-like, enjoy si Gng. Santos sa pagbibihis sa dalawang anak niyang babae sa magkasunod isinilang. Di tio mahirap gawin sapagkat woman executive si Mrs. Santos at this time, sa Aguinaldo department store noon sa Echague branch. Natatawa pa nga siya sa kanyang sarili sapagkat siya ay isang Pharmacy graduate ng MCU at sa nais na makapag-start noon napasok sa clinic helper at clerk ngunit dahil sa sipag at pagsisikap she rose from the ranks into the sales department hanggang sa maging supervisor. That is how systematic and how tiyaga the Santos family are. This was the happy home that Vilma Santos grew up in. Bagaman at working wife ang mother niya samantalang ang papa niya na isa ring pre med student bago nag-asawa ay nagtatrabaho sa isang movie company, the children na binubuo noon ng listong babae, sina Emelyn, Vilma at Maritess ay never felt neglected.

Isinasaayos ni Mrs Santos ang mga pagkain sa bahay baog pumapasok ng opisina at tuwing tanghali ay umuwi upang ma-check up ang mga girls with their Mamay. Tuwing linggo napapasiyal sila kung hindi sa luneta ay sa Lola pagkagaling nila sa lolo nila na si Dr. Patricio Santos ng Bamban. Capas of the sugar rice big estatea doon. Ngunit nang mag-asawa ang mga magulang ni Vil, ipinasya nang galawa to stand on their own two feet, tumigil ng pag-aaral si papa ni Vi at hinarap ang pagha-hanap-buhay. Palibhasa’y true love, lahat ng hirap ay ni-weather nila. As Mr and Mrs Amado Santos (they got married when Vi’s mother was 23) maaaring mahirap lamang sila ngunit at that stage sinikap nang mag-asawa na maidulot sa mga ank lahat ng pangangailangn. Maaaring nakatra sila sa isang paupahan ngunit silang lahat ay maligaya. Ngunit kahit na noong bata pa si Vi, she had that serious energy that keeps on going, endeavoring at dahil ke minsan nakapanggaling siya sa paglalaro na di mapapansin nang kanyang Mamay na basang basa siya nang pawis. She was then about four years old. Nakaligtaan ni Vi na magpalit at natuyuan ng pawis sa likod. Nang gabing yaon ay inapoy ng lagnat at nang di makuha sa mga aspirin at iba-iba pa, itinakbo siya sa ospital. That was the first time na ibinalik si Vi sa ospital buhat nang ipanganak ito because she had always been a healthy baby since birth. That was the time when the doctor shook his head! Napulmonya si Vilma at kailangan ang mariing pangangalaga. At ang mag-asawang Amado at Milagros ay mahigit na isang linggong hali-halili sa pagaalaga sa kanilang pangalawang anak. – Sixteen Magazine, No. 125, 23 June 1973

Why Vilma won’t stop singing

It’s been almost 20 years since Vilma Santos started to sing professionally, but until now she refuses to be called a singer. And, as everybody would agree, rightfully so. In fact, if there’s any single facet in her long and successful showbiz career that has been the object of continued public censure it is her singing. But be that as it may, the 33-year-old actress persists in singing, seemingly oblivious of the flak that comes her way. Has she, in any way, become calloused throught the years? “No, I still get affected by criticisms,” she onced said. “The thing is I have learned to accept them as part of the business and as something I can’t do without. I think the secret is in learning how to deal and live with them.” That singing was once a passion for her is a fact that the actress does not deny, but she adds “not anymore.” According to her, the success, her first and best-selling record, in the ’70s was fullfillment enough. But that doesn’t mean she no longer enjoys singing. As a matter of fact, she does

And, as far as her singing is concerned, this attitude is the hardest thing to contend with, Santos likes to sing and no amount of reproof – especially when it comes from people she doesn’t respect and believe in – could stop her from doing so. As I see if the actress is one person who does not run away from challenges or problems – the more she is criticized the more she tries to prove her point. Some time ago, in one of her late-night recordings, I asked the actress if she ever had to formal voice lessons. “No, I didn’t have,” she replied while waiting for her cue. “Some voice coaching lang tulad ngayon. Hindi naman talaga ako singer – it is not my craft. I only because I am requested to. Besides, I like doing it for my fans. I don’t think I’ll ever be a professional singer. Acting is really my career.” Tonight, as Vilma Santos celebrates her first year anniversary in Channel 7 and her seventh year on television. “The Star for all Seasons” will show her admirers and detractors alike that singing has not hurt her and her career. Instead, it has endeared her to her audiences and, whether we like it or not, her amateurish singing has helped made her show a sort of a “family affair.”

Anniversary Celebration Special Guest Co-Host: Edu Manzano

Opening Number – One of the biggest production numbers ever produced in television variety shows. GMA 7 says it is the first of its kind ever staged for Phlippine TV – in terms of costumes, special effects, set and other production design that go with it. With a cast of 35-40 dancers, the opening production number alone costs more or less P25,000.00 Vilma’s dance is expected to surpass even the most difficult and talked about numbers she has ever done on TV.

Boogie Dance No. – Vilma and Edu will do a boogie dance number that promises to bring the house down because its originality and showmanship. This is the first time Edu will do a spectacular boogie number on TV.

Revival Medly – Vilma and Ricky Davao will do a medley of this year’s most popular revivals like Black is Black, Sweet for my Sweet, When I Fall In Love, etc. Randy Santiago’s production number with V.I.P. Dancers features a sneak preview of his first major solo concert to be held at the ULTRA tomorrow. Maricel Soniano’s dance number after an absence from the TV variety scene. OPM medley of hits in 1987 as rendered by Aga Muhlach, JC Bonnin, Gretchen Barreto, Leah Salonga, Bing Loyzaga and Keno.

Pasadalamat sa Inyo – Kundimans of different regions in different dialects to thank Vilma! viewers all over the Philippines to be done by Lani Mercado, Manilyn Reynes, Marco Sison and Richard John Reynoso. Lorna Tolentino, Maricel Soriano and Gabby Concepcion Trio – the three stars will do a special number to promote their movie Pinulot Ka Lang Sa Lupa.

VMWVilma’s Music Watch to showcase once again the week’s hottest music and dance with Vilma, Maribeth and John Robinson and 40 dancers. Finale – a classical music disco dance – Disco dancing to the classical music of Mozart with special props.

Surprise Romantic NumberVilma and Edu will thrill their fans as they do another musical number.

Stars Greetings – From Sharon Cuneta, Kris Aquino, Tonton Gutierrez, Ricky Davao, Helen Vela, Kuya Germs, Inday Badiday, and many other Regal and Viva film stars. – JC Nigado, Manila Standard – Oct 2, 1987 (READ MORE)