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Vilma Santos’ Urban Legends and Trivias (Repost)

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Vilma’s Top 9 – Noong 70’s ay merong grupo ng mga tagahanga si Vi na tinawag nilang Top 9. Ayon kay Zeny Gelacio(aka Pitimini na Sec. ni Ike Lozada), lahat silang 9 ay mga babae. Kasama niya sina Manila, Mrs.Untalan na Canada base na, Chayong, Rita, Mrs.Panganiban, Linda na nasa U.S. na, Flor, and Nadia. Ayon kay Zeny na member din ngayon ng VSSI, Inc., madalas ay kasama ang Top 9 ni Vi sa mga showbiz happenings nito at sila ang nagaasikaso kay Vi. Naalala nya na kasama sila noon sa pagiikot nila Vi & Bot sa mga key cities ng Pilipinas sa pagpapaunlak sa iba’t ibang chapters ng Vi & Bot Fans clubs. Lagi na ay dinudumog sila saan man mapunta, dahil na rin sa kasikatan ng T.V. musical program na The Sensations.

Ang The Sensations ay produce ng ABS CBN at dinerek ni Tony Santos Sr. Consistent No. 1 Top rater ang show at kasama ni Vi & Bot sina Perla Adea, Romy Mallari, Rhodora Silva, Darius Razon, Baby de Jesus, Tony Santos Jr., Janine Frias, atbpa. Dahil sa kasikatan nila Vi & Bot ginawang movie ang The Sensations noong April, 1971, big boxoffice hit ito kaya sinundan agad ni direk tony ng ” Young Lovers ” noong August, 1971, big hit din ito. Ginawan din ng L.P. Album nila Vi & Bot ang The Sensations at muling tinangkilik ng masang pilipino. Pagkagaling nila Vi & Bot sa Amerika para sa shooting ng “Don’t Ever Say Goodbye”, ay sinayaw ni Vi sa The Sensations ang The Shaft na usong sayaw noon sa U.S., agad nagustuhan ng mga tao ang dancing skills ni Vi at nauso lagi ang mga sayaw ni Vi at mula noon ay kinilala ang charisma, grace, at natural dancing prowess ni Vi na later on ay pinakita niya at tampok lagi at inaabangan ng mga tao sa kanyang top rated musical variety shows na ang pinakahuli ay ang “Vilma !”.

Sa kasikatan ng loveteam nila Vi & Bot ay tinagurian silang “Subok na Matibay Subok na Matatag” at dahil dito ay ginawang slogan noon ng Banco Pilipino ang Bancong Subok na Matibay Subok na Matatag ! Mga 20 plus hit movies ang nagawa nila Vi & Bot bilang loveteam. Ayon pa kay Zeny ng Top 9 sa bahay noon nila Vi and Bobot sa Arfel Homes sa project 6 quezon city, kung saan magkapitbahay sina Vi & Bot, ay parang Fiesta araw araw sa Arfel, buses, jeepneys, na puno ng fans ang walang sawang nagaabang upang makita at makausap sila Vi & Bot. Sumusunod sila sa syuting at kahit saan sila pumunta. Kahit hindi singer si Vi ay naenganyo siya nila Bobot at William Leary ng Wilears record na gumawa ng Sweet Sixteen Album, ito ay naging Gold Record, at Ang Kantang Sweet Sixteen ang naging signature song ni Vi, ito ay nirevive ni Jolina Magdangal. Nakagawa si Vi ng 11 na albums, 3 dito ang Mini L.P.’s, 3 dito solo ni Vi at ang iba ay kasama si Edgar ‘bobot’ Mortiz at ibang artists, ang mga ito ay Sixteen, Sweet Sweet Vilma, Aloha My Love, All I see is You, Sweethearts, The Sensations, Christmas Tidings, Baby Vi, Mabuhay, Christmas Carols, and Sing Vilma Sing.

Vilma Always a Trendsetter! – Sa Kasaysayan ng Pelikulang Pilipino Tanging si Vilma Santos lang ang siyang Trendsetter. Lagi na siyang nagseset ng trend ng pelikulang kumikita at ginagaya tuloy ng iba. Kaya naman sa dami ng mga Pelikulang kumita ni Vilma at taon taon ay siya ang boxoffice queen ay ginawaran na siya ng Guillermo Mendoza Foundation ng Hall of Fame as The Perrenial Box Office Queen ! Consider the following…

Fantasy Movies – Simula sa Lipad Darna Lipad ni Vilma na pinalabas noong March 23, 1973, ay nauso na ang mga fantasy movies. Nagtala ang Lipad Darna Lipad bilang biggest Boxoffice hit ng 1973. Ilang buwan pinalabas ito sa mga sinehan na kahit ang movie ni FPJ ay napataob. Ito ay produced ng Sine pilipino ng grupo nila Douglas Quijano at ang 3 episodes ay dinirek nila Emmanuel Borlaza, Elwood Perez, and Joey Gosiengfiao. Pangunahing kontrabida ni Vi sina Gloria Romero, Liza Lorena, and Celia Rodriguez. Kinonsulta ni Vi ang RVM Sisters of St. Mary’s Academy Manila kung saan siya nagtapos ng elementary and high school, kung tatangapin nya ang Lipad Darna Lipad dahil that time medyo daring na ang costume na two piece ni Darna. Pumayag ang RVM Sisters provided na magbody stockings si Vi. Sa presscon ng movie ay nagDarna costume si Vi with body stockings, hindi nagustuhan ng press and producers at kinausap at pinaliwanagan si Vi nila Douglas Quijano na tanggalin na ang body stockings. Sa kalaunan ay napapayag din si Vi ganundin ang mama at papa nito. At present ay wala na ang original negatives kahit copy ng Lipad Darna Lipad, sabi ni douglas ay nabili ito ng isang Indonesian producer at matagumpay na pinalabas doon. Naka 4 na Darna movies si Vi : Lipad Darna Lipad, Darna and the Giants, Darna Vs. the Planetwomen, and Darna and Ding. Vilma holds the distinction as the only Actress in Philippine Cinema na gumanap bilang Darna and Dyesebel. Ginawa din ni Vi ang Kampanerang Kuba na niremake sa T.V. ni Anne Curtis at ang Vivian Volta na niremake ni Ai Ai De Las Alas sa movie and sa T.V.

Horror / Suspense Movies – Sinimulan ni Vi ang Horror / suspense Movie na Anak ng Aswang na nauso at naging trend noon., Nasundan ito ng Takbo Vilma Dali !, Kamay na Gumagapang, Hatinggabi na Vilma, atbpa.

Musical Movies – Naunang ginawa ni Vi ang Let’s Do the Salsa na pinalabas noong March 5, 1976, sinundan ito ng mga boxoffice hits na Disco Fever with boyet de leon na nagopen sa mga sinehan na may bagyong signal no.3 subali’t pinilahan pa rin talaga, Swing it Baby, Good Morning Sunshine, and Rock Baby Rock with Junior na nagbreak ng boxoffice record.

Movies based on Komiks Nobelas – Binigay ng Viva Films ni Mina Aragon kay Vi ang mga Komiks Nobelas at ginawang pelikula, nauna ang Sinasamba Kita na sinulat ni gilda olvidado, co stars ni Vi sina boyet, philip salvador, and lorna tolentino. Si Sharon Cuneta ang isa sa kumanta ng theme song nito. Blocbuster Hit ito, kaya nasundan pa ng Paano ba ang Mangarap na mula sa Pilipino Komiks at sinulat ni Nerissa Cabral at Saan Nagtatago ang Pagibig ni Gilda Olvidado na parehong dinirek ni Eddie Garcia. Mula sa Aliwan Komiks ang Palimos ng Pag ibig nila ni Edu Manzano, Muling Buksan ang Puso na dinirek ni Leroy Salvador kapareha ni Vi si Dindo Fernando.Asawa ko wag mong Agawin mula sa Kislap magazine na sinulat ni Pablo gomez.

Pawang mga blockbuster Hits ang mga movies ni Vilma, at noong 1982 ginawaran silang dalawa ni FPJ of the first and only CINEHAN Awards bilang All Time Boxoffice King ang Queen of Philippine Movies. Mula ito sa mga Theater owners, Bookers, and Checkers. Ginanap ito sa Manila Hotel at parehong dumalo sina Vi and FPJ, isang engrandeng show ang inihandog para sa Hari at Reyna ng Takilya. Dahil laging wagi sa takilya ang mga movies ni Vi na mula sa Komiks, ay pinagawa ni Mina Aragon ng Viva Films si Sharon Cuneta nito gaya ng Dapat ka bang Mahalin, Sanay wala ng wakas, atbpa. na siyang nagtaas kay Sharon para maging boxoffice star.

Si Sharon ay self avowed Vilmanian at consistent naman siya sa pagpapatunay nito hanggang ngayon. Sabi nga ng mama Milagros ni Vi, dalaginding pa lang si Sharon noon at kapitbahay nila sa Dasmarinas village ay laging kumakatok sa gate nila at panay tanong kay Vi, minsan naman ay naguusap sila Vi and Sharon habang nasa swimmming pool sila. Ang iba pang mga umiidolo, humahanga, at rumerespeto kay Vilma ay sina Kris Aquino, Claudine Baretto, Dawn Zulueta, Ai Ai de las Alas, Maricel Soriano, Eddie Garcia, Boots Anson Roa, Rosa Rosal, Toni Rose Gayda, Gabby Concepcion, Albert and Liezel Martinez, Amalia Fuentes, Gina Alajar, Jacklyn Jose, Piolo Pascual, Marvin Agustin, John LLoyd Cruz, Tirso and Lyn Cruz, Ruffa Mae Quinto, Anna Capri, Armida Sigeon Reyna, Coney Reyes, Tina Revilla, Imelda Papin, elizabeth Oropesa, Philip Salvador, Maja Salvador, Sandy Andolong, Directors Rory Quintos, Jerry Sineneng, Emmanuel Borlaza, Danny Zialcita, Jeffrey Jeturian, atbpa.

Ang first movie ni Vilma taong 1963 na Trudis Liit sa edad na 9 years old kung saan nagwagi siya ng unang Famas Best Child Actress nya ay serialized mula sa Liwayway magazine at ganon din ang second film nya na Ging taong 1964 with carol varga, ito ay mula sa panulat ni Mars Ravelo na siya ring lumikha ng Darna at Dyesebel. Ang kaunaunahang Teleserye o Telenobela sa Television ng ABS CBN Channel 3 ay pinagbidahan ni Vilma, ito ay ang Larawan ng Pagibig. Dinirek ni Jose Miranda Cruz at mga artista din dito sina Eva Darren, Willie Sotelo, at Rosita Noble. Si Vilma ay 11 years old pa lang dito. Pagkatapos ng taping ng Larawan ng Pagibig, lagare naman si Vi sa kanyang Radio Drama program sa DZRH ang Naligaw na Anghel, kasama nya sina Maggie de la Riva at si Anita Linda na gumanap na ina ni Vilma. Ang T.V. show at Radio drama program ni Vi ay tumagal sa ere ng 3 years. – Jojo V. Lim, President of Vilma Santos Solid International Inc. Global Vilmanians

Inspirasiyon/Inspiration

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Inspirasiyon (1953) – Produced by Sampaguita Pictures; Released on October 27 to November 5, 1953 at Life Theater; Story: Mars Ravelo; Screenplay and Direction: Armando Garces; Cast: Carmen Rosales, Norma Vales, Vam de Leon, Katy de la Cruz, Rosa Mia, Pedro Faustino, Jose de Villa, Rebecca del Rio, Panchito Alba, Aring Bautista, Horacio Morelos, Pablo Raymundo and Introducing Ricardo ‘Ric’ Rodrigo. – Simon Santos, Video 48 (READ MORE)

Januaria Keller (1918–1991) was a noted pre-WWII Filipina actress better known as Carmen Rosales and Mameng and is noted for her skill in acting and sweet voice. A native of Pangasinan born to American father and Ilocana mother, Rosales’ film debut was in the 1938 movie Ang Kiri which she made a double to Atang dela Rama. When her friend brought her to Quisumbing the man rejected Rosales because the young woman did not have an aura of an actress. But she became the most famous Filipina actress of the 1940s and 1950s and rivaled Rosa del Rosario at the box-office. She is famous for her sweet voice and recorded numerous songs. Rosales made her first debut in Ang Kiri aka The Flirt under Diwata Pictures. She starred in her first leading role opposite Jose Padilla Jr in Arimunding-Munding 1939. She became the most bankable star in Sampaguita Pictures and the highest paid actress of the 1940s and 1950s. Her unforgettable roles as a martyr lover of Rogelio dela Rosa in Maalaala Mo Kaya 1954 and a club-singer in Ang Tangi Kong Pag-ibig. She got her first Famas Award in 1954 via Inspirasyon opposite Van de Leon and a strict auntie in 1960 movie Estela Mondragon. She garnered fame in a hacendera role in Pablo Gomez’s version of MN. Her last appearance was in Inday Badiday’s Eye to Eye. Arguably, she was the undisputed and lone reigning Queen of Philippine Movies in the 40s. Her films, topbilled by her, were once vehicles that ushered the emerging popularity of Gloria Romero, Amalia Fuentes and Susan Roces, who all later became movie queens themselves decades after. Her royalty has been immortalized by naming a barrio in Rosales, Pangasinan after her, now currently divided into two barangays, Carmen East and Carmen West. – Wikipedia (READ MORE)

“…Her career spanned five generations of stars and superstars, in this wise: pre-war years – Rosa del Rosario, Rogelio de la Rosa, Leopoldo Salcedo, Jose Padilla, Jr., Fernando Poe, Sr., Angel Esmeralda, Ely Ramos, Corazon Noble, Mona Lisa, Rosario Moreno, Arsenia Francisco, Elsa Oria, Rudy Concepcion, Norma Blancaflor and Paraluman; second generation – Anita Linda, Lilia Dizon, Celia Flor, Lillian Leonardo, Alicia Vergel, Erlinda Cortes, Linda Estrella, Rebecca Gonzales; third generation – Gloria Romero, Nida Blanca, Delia Razon, Nestor de Villa, Tessie Quintana, Charito Solis, Edna Luna, Ric Rodrigo, Rita Gomez, Eddie Rodriguez, Ramon Revilla; fourth generation – Amalia Fuentes, Susan Roces, Marlene Dauden, Barbara Perez, Lita Gutierrez, Mina Aragon, Daisy Romualdez, Romeo Vasquez, Eddie Gutierrez, Jose Mari, Liberty Ilagan, Bernard Bonnin; fifth generation – Josephine Estrada, Rosemarie, Gina Pareño, Blanca Gomez, Loretta Marquez, and others. Carmen’s last movie was Gintong Recuerdo produced in early 1965. She co-starred with the then “Stars ‘66” of SPI. She was still billed above the title, ahead of her co-stars. But Mameng’s most memorable movies, today considered as classics of Philippine movies, in point of prestige and box-office records are Arimunding-munding, Señorita, Probinsiyana, Ang Guerrilyera, Takip-Silim, Debutante, Maalaala Mo Kaya, MN, Kamay Ng Diyos (directed by Eddie Romero), Hindi Kita Malimot, Sandra and Inspirasiyon. The last-mentioned movie won her a FAMAS Best Actress trophy in 1953. Like most artists any where in the world, La Rosales also had a “temper” on the set. “I hate co-stars who arrive late on the set. I arrive early or on time fully made-up,” she said. “I also hate scene-stealers. Kapag frame mo, kahit extra ka lang sa pelikula, e ibibigay ko. Pero kapag frame ko na, you better give what is due me!” But she is a natural scene-stealer. She can steal a scene with just a wink or movement of her eyes – this according to the late Doc Perez…” – Manny B. Fernandez, Pelikula, Atbp. (READ MORE)

“…She quit toward the mid-’60s because she wasn’t getting any younger and had to throw in the towel (she had been on top since the pre-war). However, she kept the public interested in her by being a recluse, a la Greta Garbo and everyone kept speculating about her (did she age gracefully or was she in dire straits?). She refused interviews for both print and television and that all the more added to her mystique. For about a quarter of a century, she kept everyone guessing how she looked by hiding (no photographs, please!) from public view. Oh, she would be seen in Uni-Mart from time to time, but it was only people of her generation who recognized her, or maybe they didn’t anymore. The last image moviegoers had of her was when she was still a glamorous movie queen, and she kept it that way. She agreed to a VTR shoot for the FAMAS in 1983, but on the condition that it was just going to be a silhouette shot. But before she passed away in December 1991, she allowed herself to be interviewed by German Moreno and Inday Badiday in 1987 and the curious finally saw how age had caught up with her (she looked like a glamorous grandmother). But the mystery that she allowed to envelop her lustrous Carmen Rosales: First bona fide local movie queenname worked to her favor for more than 25 years and to this day, she is still regarded as the first bona fide movie queen of the local big screen…” – Butch Francisco, The Star, 09 Oct 2010 (READ MORE)

Related to Vi and Chato – “…Si Mameng ay Carmen Keller sa tunay na buhay, bunso sa apat na magkakapatid. “Ang mother ko ay Constantino ang apelyido kaya’t kamag-anak ko sina Charito Solis at Vilma Santos. Constantino ang lola ni Vilma at gan’on din ang lola ni Charito. Kamag-anak ko rin ang direktor na si Felicing Constantino.” Sa ngayon ay masaya na raw siya sa takbo ng kanyang buhay. “Kinatutuwaan ko ngayon ang mag-alaga ng mga manok,” aniya. May mga limang manok nga kaming nakita sa paligid. Parang pets ang pagtingin niya sa mga ito. Ang isang puting tandang ay mabulas ang tindig at pinangalanan niya ng Peter. “Mabagsik ‘yan,” kuwento niya. “’Yan ang watchdog ko rito.” Nang dumating nga kami ay agad itong sumugod at akmang manunuka kundi pinigilan ng katulong. Busy rin si Mameng sa pagtatatag ng bible reading at charismatic movement sa pook nila. “Satisfied ako sa buhay ko at masaya ako sa paggawa ng mga gawaing bahay,” dagdag pa niya. Hindi na ba siya muling magka-comeback sa pelikula? “Last year, may offer sa ‘kin si Atty. Laxa ng Tagalog Ilang-Ilang. Pero tinaasan ko talaga ang presyo ko. Sabi naman niya sa ‘kin, “I cannot blame you, Mameng. You really deserve that much.” Pero ngayon, naisip kong ayoko na talagang bumalik pa sa pelikula. I retired while I was still on top at mataas pa ang rate ko. Gusto kong maging maganda ang alaala kong maiiwan sa publiko. Wala na naman akong dapat pang patunayan kahit kanino…” – Mario E. Bautista, Jingle Extra Hot Magazine (READ MORE)

Inspiration (1972) – Directed: Ishmael Bernal; Story, screenplay: Nestor Torre Jr.; Cast: Vilma Santos, Jay Ilagan, Carlos Salazar, Merle Tuazon, Geena Zabian, Lilian Laing, Richard La Torre, Mercy Sta Maria; Original Music: Danny Subido; Cinematography: Avelino Peralta (READ MORE)

“…In a musical era of 1970s, “Inspiration” was quite an experimental film, with no musical numbers, better screenplay, well-written characters. Nestor and Bernal works well in establishing the character of Jay and Vilma. Their dialouges are not “corny” and very realistic. There is no over the top dramatic scenes inserted between musical numbers here. The parent played wonderfully by Merle Tuazon and Carlos Salazar were convincing. Although both Vilma and Jay played their roles effectively, Lilian Laing steals the film as Lola Jane. She was bubly and funny, a sex-starved, karate black belter, polo game afficianado, who loves life and considering she playing the old grandma who is also the solution to all the complication in life. Bernal was on his element here, a good story teller, pre-”Dalawang Pugad Isang Ibon, Pahiram Ng Isang Umaga and Relasyon.” Although he is directing a light comedy, written by Nestor Torre Jr., he managed to established all the characters without relying on corny dialouges common in this era…” – RV (READ MORE)

Related Reading:

The Star For All Seasons (A Song)

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Music by Louie Ocampo
Lyrics by Edith Gallardo
Sang by Pops Fernandez

No One Can Never Measure
How Much Your Heart Can Cope
The thousand Stories
Of Your Goodness Are Still Untold
You Are A Mother, A Leader,
A Real And True Friend
We Love You
Because You Love Us
Your Concern Has No End

You Are The Greatest Star
The Phenomenal Woman
So Brave To Face Any Challenge
The Woman Who Can
You Are A Lovely Star
The Star For All Reasons
You Are The Greatest Star
The Star For All Seasons

You Put A Dash Of Love
In Everything You Do
You Are The Wishing Star
You Made Our Dreams Come through
You Are A Shinning Star
The Star For All Reasons
You Are The Greatest Star
The Star For All Seasons

Just A Click Of Your Heels
Is Enough To Make Us Smile
How Lovely Woman
You Inspire Us
By The Grace Of Your Star
Your Star
(repeat ll & lll)
Source: Global Vilmanians

ARTICLES - A Star For All Season - Pops Fernandez

Vilma! Show (Videos) 3/3

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Vilma! is a Friday Primetime musical variety show formerly aired by GMA Network from 1986 to 1995 hosted by Vilma Santos. Formerly known as Vilma In Person, Vilma! (also known as Vilma on Seven) was debuted on August 8, 1986, the pilot episode is shown from the Metropolitan Theater as a temporary studio where Vilma Santos and the VIP Dancers are performed there. Until 1987, the Friday Primetime musical variety show moved to Broadway Studios as a new location and it is shown on the first StereoVision format which features dance and love song performances. Vilma! was competed by two other variety shows Loveli-Ness and Dance-2-Nite of ABS-CBN (originally debuted in 1987) as rivals, but the variety show maintained its ratings. Vilma! received four nominations in the PMPC Star Awards for TV from 1988 to 1990, 1992 and 1994, as well as Best Female Musical Variety Show Host from 1987 to 1988, they also produced anniversary and birthday specials from 1987 to 1994 as well. After nine years, Vilma! produced the 479th and the last episode on September 29, 1995, brought many fans and supporters bade farewell to the Star for all seasons, and made as the longest-running Musical Variety Show. Truly, Vilma! was ended on September 29, 1995 and it was replaced by Bubble Gang. – Wikipedia (READ MORE)

ARTICLES - 8 PMPC Star Awards for TVRelated Reading:

Ang Sarap ng Buhay Kapag May Isang Vilma Santos (Repost)

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Yan po ay katagang namutawi sa labi ng isa nating magaling na taga-panulat at kasama sa Editorial staff ng VS Newsletter, ang VILMA!

Ang tinutukoy ko po ay ang kasama nating Vilmanian na si Mr. Mario Garces na ngayo’y naka-base sa New Jersey, U.S.A. Hihiramin ko po panandalian ang katagang yan ni kuya Mar as I fondly called him with his kind permission upang maibahagi at maipadama sa inyo ang nararamdaman ng milyun-milyong Vilmanians all over the GLOBE sa patuloy na tagumpay na ipinagkakaloob ng Maykapal sa Nag-iisang Bituin at Reyna ng Pelikulang Pilipino, Ms. Vilma Santos-Recto. Tunay na maipagmamalaki ng kahit sinumang Vilmanians (at maging ng mga di Vilmanians) ang isang Vilma Santos.

Patunay niyan ay ang bagong karangalang iginawad sa tinaguriang Star for All Seasons, ang 2005 Plaridel Award for Film na kamakailan ay iginawad ng U.P. College of Mass Communications sa seremonyang ginanap sa Cine Adarna (formerly U.P. Film Center) nung nakaraang ika-apat ng Hulyo ng taong kasalukuyan. Ito ang ikalawang taon ng pagkakaloob ng U.P. College of MassCom ng karangalan sa mga alagad ng sining na nakapag-ambag ng malaking kontribusyon sa larangang kanilang ginagalawan, tulad ng film or cinema. Nung nakaraang taon ang recipient ng prestihiyosong award na ito ay si Gng. Eugenia Apostol, ang founding chair ng Philippine Daily Inquirer. Ito’y sa larangan naman ng print media. At sa taon ngang ito ang butihing Mayor ng Lipa at kilalang “Ate Vi” sa karamihang Pilipino mula Appari hanggang Jolo ang ginawaran ng Plaridel Award sa larangan ng film.

Maituturing ito na pinakamataas at prestihiyosong karangalang natanggap ng iginagalang na aktres simula ng pasukin niya ang mundo ng pelikula sa edad ng siyam sa pelikulang “Trudis Liit” kung saan siya ang title role. Sa pelikulang ito natanggap niya ang kauna-unahang karangalan, ang FAMAS Best Child Actress nung 1963. Makalipas ang apatnapung-taon, ang dating “Trudis Liit” ay isa ng nirerespetong haligi ng sining ng pelikula, ang Gawad Plaridel awardee for film.

Ang Gawad Plaridel na kanyang natanggap ay patunay sa angking galing at respeto na ibinibigay sa nangungunang aktres ng bansa at sa kanyang naiambag sa industriya ng Pelikulang Pilipino. She prevailed over her co-nominees for this award, namely, the 2003 National Artist awardee for cinema, Mr. Eddie Romero, and the highly-rated and A-1 Director, Mr. Mike de Leon, whose body of works include the now classic and De Leon’s most awarded film “Sister Stella L” that stars Ms. Vilma Santos herself.

Kung kaya’t napakasarap ng pakiramdam sa isang Vilmanian na tulad ko. If I may borrow the now famous line of Ate Vi, “Heaven” ang feeling. Lalo na’t kung maririnig mo ang mga papuri na ibinibigay ng iba’t ibang tao sa iba’t ibang antas ng lipunan. Tulad na lamang ng mga pananalitang ito na binitawan ng mga nakasaksi sa seremonyang ginanap sa Cine Adarna.

“Ms. Santos’ speech, for me, was very profound and candid. I always had great respect and admiration for her as a person, public servant, and actress. After the lecture, that respect and admiration hot-air-ballooned. It became clear to me that even if this person is now worthy of having a constellation named after her, she is still as human and feet-on-the-ground as possible.” (written by Ringhithion at 07:16 pm, posted in VS-R egroup on 13 July 2005)

“Natatawa ako habang kumukuha ng pictures, dahil dumadaloy pa rin pala kay mama ang dugong Vilmanian kahit ang tagal-tagal na. Umuwi kaming parang nasa langit si mama dahil nakamayan pa nya si Vilma Santos” (shared by Jeannie Wong in Vilma’s eGroups, as taken from armidoodles. “She gambles her popularity to widen her scope as an actress,” proclaims Dr. Nicanor Tiongson, Dean of the College of Mass Communication of the University of the Philippines (UP). He adds, “She proves popularity and ratings need not degrade the craft.” (taken from an article by Rome Jorge)

“Star power is real power. It is the power to move people to tears, to make them cry and laugh and urge them to by with endorsements. It is to make them think what you want them to think, to make them feel what you feel. They should use it wisely, make people do good and aspire for better lives.” (Dr. Sergio Cao, chancellor of UP Diliman who confessed being a star-struck fan, “I had to nebulize before coming here; I couldn’t breath.”)

“Because of her dedication to her craft and her portrayal of roles important to women and society, Ms. Santos deserves recognition not only from the viewing public, but also from the academic community.” (UP President Emerlinda Roman)

Producer Atty. Espiridion Laxa says Vilma “has reached this incomparable height of success because of several good traits: her discipline, her determination to excel in her acting profession and her knack for choosing the right roles.” (takern from Sights and Sounds by Gigi Javier-Alfonso)

Producer/actress Charo Santos-Concio speaks of her as a “passionate thespian, her filmography boasts of a list films that are audacious, artistic, classic and socially relevant. Inevitably, she has brought to the limelight ordinary people with extraordinary lives and has created awareness of various socio-political issues.” (also from Sights and Sounds). Ilan lamang ito sa maraming papuring natanggap, natatanggap at patuloy na tatanggapin pa ng Nag-iisang Bituin.

Tunay ngang “napakasarap ng buhay kapag may isang Vilma Santos”. May inspirasyon at palaging ngiti ka sa iyong labi. And what the next stop? Di malayong ang kasunod nito’y ang “Gawad Pambansang Alagad Ng Sining” na o ang National Artist Award. Am I dreaming? Nope, am not. After all, “Trudis Liit” is not the small lady anymore in the movie screen. She’s gone a long, long way, dwarfing all pretending to the throne. Vilma, mabuhay ka! – Charlie Gomez, V magazine 2005 Global Vilmanians

Purihin Ang Ngalan Mo, Vilma! (Repost)

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Kahit ano ang sabihin ng kabilang kampo as they always claim na matindi pa rin ang kasikatan ng kanilang iniidolong aktres, aminin man o hindi, ang kainitan ng kasikatan at patuloy na pamamayagpag sa pelikula at telebisyon ni Ate Vi sa ngayon ay tumatagal na ng apat na dekada ay malinaw na katotohanan. Sabihin na nilang sikat ang fading Sufferstar, pero gaano ba kahaba ang itinakbo ng kanyang naghingalong career?

Nagsimula si Ate Vi bilang isang child star sa pelikulang Trudis Liit at the age of 9. Noong nagkamit siya ng FAMAS Best Child Actress sa naturang pelikula, marami ang nagsabing nakatagpo na naman ang Sampaguita Pictures ng isang child wonder sa kagaya ni Tessie Agana. Lalong tumingkad ang angking kagandahan ni Ate Vi noong nagdalaga na siya at nagpatuloy bilang teenage star. Taong 1969, at the age of 14, nagsimula ang bagong pahina sa buhay at career niya. At that time, sumisikat naman ang isang singing star na si Nora Aunor na naging karibal as movie queen noong dekada ’70. One incontrovertible fact then is that Nora is number one at si Ate Vi ay second lang in terms of popularity. Of course, at this point, that no longer applies because the tables have been turned. Hanggang ngayon ay mabango pa rin ang career ni Ate Vi while Nora, with no major films or TV shows up her sleeve for years. Hindi matatawaran ang galing bilang aktres ni Ate Vi kayan naman iginawad ang FAMAS ang Best Actress Award sa pelikulang Dame de Noche. At nagsimulang magpakitang-gilas sa takilya on her own noong 1973 nang itampok sa Takbo, Vilma Dali at sinundan ng Hatinggabi Na Vilma na pawang big box-office hits. Mid 1973, ginawa ni Ate Vi ang Lipad, Darna Lipad which became her biggest hit then. Ginawa din niya ang Dyesabel. By that time, nagsimula na si Ate Vi na tawagin as Takilya Queen, dahil lahat nga ng mga pelikula niya ay kumita. Siya rin ang unang-unang itinanghal na Box-Office Queen at inakyat sa Hall of Fame matapos ang limang taong sunud-sunod na siya ang nagwagi bilang Box-Office Queen.

Si Ate Vi ang unang-unang naka-grandslam sa taunang pagbibigay ng Best Actress award noong 1982 sa pelikulang Relasyon. Kahit nga naiakyat na siya sa HALL of FAME bilang Best Actress sa FAMAS, siya din ang unang aktres na nagtamo ng kanilang Circle of Excellence. Si Ate Vi rin ang kauna-unahang aktres na napagsabay ang popularidad sa pelikula at telebisyon. Kumita ang lahat ng kanyang pelikula at sa telebisyon, walang nakapagpataob sa rating’s game ng “VILMA”. Kaya nga siya ang tinaguriang Star for All Seasons and Reasons. Hindi kasi lumilipas ang kanyang panahon. Sa ganang popularidad, o kakayahang maging box-office attraction ay hindi pa rin mapapataob si Ate Vi hanggang ngayon. Kailanman ay hindi nanganib sa takilya ang kanyang mga pelikula.

In terms of definition, ang titulong taglay ni Ate Vi ay nangangahulugang na namumukod-tangi, pangunahin at walang kamatayan. Siya ang pinaka super ehemplo ng isang glamorous star. Anupanga’t patuloy na nagsasabog ng kanyang halimuyak at kasikatan ang Vilma Santos sa langit-langitan ng Pelikulang Pilipino at maituturing na the longest-reigning movie-queen sa bansa. 42 years na siya sa lokal na aliwan and her career still continues to go strong. No one but no one has duplicated Vilma’s achievement. Sa kaso ni Ate Vi, kung tutuusin ay hindi niya kailangan ang anumang klase ng titulo. Hindi kakulangan ang walang nakakabit na title sa kanyang pangalan simula pa noong nahirang siyang natatanging batang aktres sa pamosong pelikulang Trudis Liit.

Purihin at Sambahin, ang Ngalan Mo, Vilma! Isa kang huwaran!Marapat lang na ipagkaloob sa ‘yo ang most coveted National Artist Award at Ramon Magsaysay Award. Akala ba ninyo natitigil si Ate Vi sa kanyang winning streak? Hindi, huh. – Willie Fernandez, V Magazine, 2005 Global Vilmanians

1973 FAMAS Awards Night

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1973 FAMAS – “…Halos mangilid ang luha sa kanyang mga mata nang tanggapin niya ang kanyang FAMAS Awards. Sa wakas ay nagtamo rin ng karangalan at pagkilala ang kanyang pagsisikap at kakayahan. Baguhan pa lamang si Nick Romano sa pelikula at iyon ay ang una niyang nomination at nakamit din niya ang kanranagalan best bilang supporting actor nang gabing iyon. Kung naruwa man si Joseph Estrada sa inaning karangalan ng kapatid niya nang gabing iyon ay ganoon din si Tony Ferrer sa kapatid niyang si Nick Romano. Most applauded si Marrissa Delgado nang gabing iyon dahilan sa noong nakaraang taon ay siya ang nagkamit ng FAMAS award for best supporting actress at ngayon ay siya na naman na nagpapatunay lamang na talaganag karapatdapat siya sa karangalang natamo niya last year. Hindi mailarawan ang kagalakan niya ng gabing iyon. Umiiyak siya’t naliligayahan nang siya mismo ang tumanggap ng tangan niyang trophy na ang buong akala niya’y ibibigay niya sa bagong awardee. Dalawa ang best Actress ng gabing iyon. Nangangahulugang kapuwa mabigat ang labanan at walang itulak kabigin kina Boots Anson Roa at Vilma Santos kaya minabuti ng inampalan na bigyan kapwa ng best actress award sina Boots at Vilma…” – Aruy Tapusan Komiks Magasin, No. 32, 19 Hunyo 1973

21st FAMAS AWARDS (1972)

DATE: April 29, 1973

PLACE: Coral Ballroom, Manila Hilton Hotel, United Nations Avenue, City of Manila

Best Picture(nominees)

  • Ang Alamat [FPJ Productions]
  • Babae, Ikaw ang Dahilan [Virgo Production]
  • Kill the Pushers [JE Productions] [WINNER]
  • Mahalin Mo Sana Ako [Virgo Production]
  • Tatay na si Erap [JE Productions]
  • Villa Miranda [Lea Productions]

Best Actor(nominees)

  • Jun Aristorenas for Elias, Basilio at Sisa
  • Joseph Estrada for Kill the Pushers
  • George Estregan for Sukdulan [WINNER]
  • Fernando Poe, Jr. for Ang Alamat
  • Ramon Revilla for Nardong Putik
  • Dante Rivero for Villa Miranda
  • Eddie Rodriguez for Babae, Ikaw ang Dahilan

Best Actress(nominees)

  • Nora Aunor for A Gift of Love
  • Marlene Dauden for Babae, Ikaw ang Dahilan
  • Amalia Fuentes for Babae, Ikaw ang Dahilan
  • Pilar Pilapil for Isinilang Ko ang Anak ng Ibang Babae
  • Boots Anson – Roa for Tatay Na Si Erap [tie-WINNER]
  • Susan Roces for Bilangguang Puso
  • Vilma Santos for Dama De Noche [tie-WINNER]

Best Supporting Actor(nominees)

  • Romy Diaz for Ang Alamat
  • Eddie Garcia for ‘Til Death Do Us Part
  • Eddie Mercado for Dito sa Aking Puso
  • Jose Padilla, Jr. for Ang Alamat
  • Nick Romano for Tatlong Mukha ni Rosa Vilma [WINNER]
  • Ruben Rustia for Kill the Pushers
  • Lou Salvador, Jr. for Villa Miranda

Best Supporting Actress(nominees)

  • Alicia Alonzo for Villa Miranda
  • Zenaida Amador for Kill the Pushers
  • Chichay for Bilangguang Puso
  • Marissa Delgado for ‘Til Death Do Us Part [WINNER]
  • Cristina Reyes for Sukdulan
  • Ely Roque for Tatay na si Erap
  • Mary Walter for Babae, Ikaw ang Dahilan

Best Child Actor(nominees)

  • Robin Aristorenas for Elias, Basilio at Sisa [WINNER]
  • Marlon Bautista for Nardong Putik
  • Frankie Navaja, Jr. for Ang Alamat
  • Randy for Isinilang Ko ang Anak ng Ibang Babae

Best Child Actress(nominees)

  • Jingle for Babae, Ikaw ang Dahilan
  • Beth Manlongat for Tatlong Mukha ni Rosa Vilma
  • Maricris for Babae, Ikaw ang Dahilan
  • Snooky Serna for Mahalin Mo Sana Ako [WINNER] [as Snooky]

Best Director(nominees)

  • Lino Brocka for Villa Miranda
  • Augusto Buenaventura for Kill the Pushers [WINNER]
  • Celso Ad. Castillo for Ang Alamat
  • Tony Cayado for Nardong Putik
  • Manuel Cinco for Isinilang Ko ang Anak ng Ibang Babae
  • Armando Garces for Sukdulan
  • Eddie Rodriguez for Babae, Ikaw ang Dahilan [as Luis Enriquez]

Best Story – Liza Moreno for Babae, Ikaw Ang Dahilan [WINNER] [as Louise de Mesa]

Best Screenplay – Augusto Buenaventura for Kill the Pushers; Eddie Rodriguez for Mahalin Mo Sana Ako [tie-WINNER] [as Luis Enriquez]

Best Cinematography B/W – Ricardo Remias for Babae, Ikaw Ang Dahilan [WINNER]

Best Cinematography Color – Nonong Rasca for Nardong Putik [WINNER]

Best Editing – Marcelino Navarro for Nardong Putik [WINNER]

Best Musical Score – Restie Umali for Ang Alamat [WINNER]

Best Sound – Angel Avellana for Kill the Pushers

Dr. Cirio Santiago Memorial Award – To Jose Perez

Source: FAMAS Unofficial web-site

Governor Vilma Santos talks about her family, showbiz, and politics (Repost)

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Mauurong sa isang taon ang shooting sa New York ng Star For All Season at Batangas Governor na si Vilma Santos para sa unang pelikula na pagsasamahan nila ni John Lloyd Cruz under Star Cinema, na supposed to be ay kukunan ngayong Nobyembre. Napabalita kasi na posibleng sa New York na rin magse-celebrate ng kanyang birthday si Governor Vi on November 3. “Hindi,” tanggi ni Governor Vi sa panayam sa kanya ng PEP (Philippine Entertainment Portal). “Dito ako magbe-birthday. Alam ko nga magku-co-host ako sa Wowowee. Tapos nangako si Kris [Aquino] na dadalhin niya sa Batangas ‘yung Deal or No Deal. So, looking forward ako diyan.”

Sobrang nag-enjoy naman si Governor Vi sa naging experience niya as celebrity contestant sa Kapamilya Deal or No Deal last Friday, August 17. Mapapanood ang episode ni Governor Vi ngayong Huwebes, August 23. Mula sa taping niya ng Deal Or No Deal, dumiretso si Governor Vi at ang mga naimbitahan niya for dinner sa Annabel’s restaurant sa Tomas Morato, Quezon City.

EDU MANZANO. Dito nakipagkwentuhan si Governor Vi sa ilang entertainment press na sinamahan siya sa taping. Obviously, na-miss ni Governor Vi ang showbiz kaya ang dami-dami niyang kuwento. Naging biruan at tuksuhan ang paglabas ng ex-husband niya na si Edu Manzano sa guesting niya sa Deal Or No Deal. Nasorpresa si Governor Vi kay Edu dahil akala niya ay si Banker ang bababa at makikipagsayaw sa kanya. Walang choice si Governor Vi kundi ang makisayaw kay Edu sa tugtog ng ‘theme song’ nito sa Pilipinas, Game KNB. Naniniwala ba si Governor Vi sa kasabihang “old flames can be friends”?

“Ay, siguro that’s one perfect example kami ni Eduardo,” sabi ni Vilma. “In spite of everything, we’re still very close friends. We always talk ‘tsaka ano, e, kapag kailangan niya ako, nandun ako. Kapag kailangan ko siya, nandun siya. And yet, meron na kaming sari-sariling buhay. “Nirerespeto niya si Ralph [Recto, her second husband]. Ako naman, nirerespeto ko rin ‘yung partner niya [Edu] at mga anak niya. Si Lucky [Luis Manzano], nandiyan palagi sa kanya. Mahal siya ni Ryan [Christian, her youngest son with former Senator Recto].”

RYAN & LUIS. Nagkasama na noon sina Edu at Ryan sa dating sitcom ng una with Aga Muhlach sa ABS-CBN kaya kahit papaano ay may bonding na silang dalawa. Ngayon, pinayagan na rin ni Governor Vi na mag-artista si Ryan gaya ng kanyang Kuya Luis. “Hindi naman ‘yung talagang mag-aartista na si Ryan. Special guest, uh, permanent special guest ng Goin’ Bulilit siya once a month.”

Bakit hindi pa maging regular member ng show si Ryan? “Huwag, nag-aaral pa, e,” sabi ng actress-governor. “Pinagbibigyan ko lang, gusto kasi ring mag-artista. Mahilig talaga si Ryan. Kaya once a month, ‘Sige, mag-guest ka anak.’ Sabado naman ang taping, e. Si Bobot [Edgar Mortiz] pa ang direktor. I trust Bobot naman. ‘Tsaka maganda naman ang grade niya [Ryan].”

How true na dinagdagan niya ng P100,000 ang talent fee ni Ryan?”Hindi naman!” natatawang sagot ni Governor Vi. “Pinagbibigyan ko lang ‘yung hilig ng bata. At least, kapag maganda naman ang grade niya at saka he has his own money na. Kasi gusto ko ma-experience niya ‘yung tinatrabaho niya, ‘yung pera niya. And then, ina-appreciate niya kasi like, ‘Mommy, can I buy toys?’ ‘Okay,’ sasabihin ko naman sa kanya. Kasi pera niya ‘yon at wala namang problema sa grades niya. “But now, I tell him na, ‘You work hard on it, use your money.’ Iyon ang ginagamit niya. Di ba as early as that, e, natututo siya? E, ganyan din ang training ko kay Lucky.”

Speaking of Luis, hindi ba siya naiinip na mag-asawa na si Luis? “Naku, hindi!” tawa ni Governor Vi. “Bayaan na muna siya kasi natutuwa ako na ganyan lang siya. Nakikita ko na every time na nag-uusap kami, nakikita ko pa ang enjoyment niya.

“Ngayon pa? Ang mga bata ngayon, matatatagal na mag-asawa and not for anything, lalaki pa si Lucky. So, 26 [years old] lang siya, bayaan mo na siya. Kaya lang, kapag may makita lang na kasama ng anak ko, parang girlfriend na niya. “Kapag malapit lang naman siya, malambing lang siya. ‘Tsaka yung ginagawa niya, ganyan talaga siya, di ba? Nagsu-surprise siya ng dinner, nagsosorpresa siya ng bulaklak. He’s really like that.”

Si Mariel Rodriguez daw ang pinakamalapit sa puso ngayon ni Luis. Ano ang masasabi ni Ate Vi rito? – “Okay lang sa akin,” sagot niya. “Walang problema kung sino ang gusto niya. Hindi naman ako ang makikisama Nakikita ko lang si Mariel, pero ‘yung sabihin mo nagkilala na kami ni Mariel, hindi pa.”

What about si Anne Curtis? – Yes, si Anne nakilala ko rin siya,” sabi ni Governor Vi. “Ano naman niya ‘yon, e, parang soulmate niya, di ba? Okay naman ‘yon. “E, si Angel [Locsin] naman…” patuloy niya. “Ano ba itong kay Angel? Ano ba ‘yan? Kilala ko si Angel, e, hindi ba nagkasama kami sa Mano Po 3? Mabait ang batang ‘yan. They’re close.” Masuwerte raw si Governor Vi sa mga anak dahil bukod sa mapagmahal, may malaking interes pa ang mga ito sa pag-aaral. “Kahit anong pagod ko, sila ang nagibibigay ng adrenalin sa akin. I thank God kasi intact ang pamilya ko. Kung ‘yan makakagulo sa pamilya ako, hindi ako tatakbo,” pahayag niya.

RALPH RECTO. – Wala raw political agenda si Governor Vi after her first term as governor of Batangas. Lagi lang daw niyang iniisip ang kapanakanan ng kanyang constituents sa tuwing iniluluklok siya sa public office. “Sa ngayon, we’re still in the process of housekeeping. Siguro by second or third week of September, maluwag na. Kasi ngayon, inaalam ko na lahat. Inaayos ko ‘yung fiscal management, ‘yung financial status ng Batangas. Tinutulungan ako ni Ralph. “Alam mo, laking tulong sa akin ni Ralph kasi pagpasok ko, hindi magulo. Ngayon, itinatama ni Ralph ngayon ang pagsasaayos ng financial status ng Batangas na magiging madali sa akin to understand. Kasi may budget dito, nandidito; may budget dito, nandidito. So, inaayos ngayon ni Ralph sa akin na kung ano ‘yung klase ng pag-aayos ng budget ko sa Lipa. Ganun niya inaayos para mas maging kumportable ako,” lahad ng gobernador.

May naiwang pera naman daw ang dating nakaupo sa Kapitolyo ng lalawigan ng Batangas. “Tama naman,” sabi ni Governor Vi. “Ayun, naka-ready na ako for my one hundred-days project. Naka-ready na ako ng six months. Ginagawa na namin ang 2008 budget. Tinutulungan ako ni Ralph, malaking bagay ‘yon.”

Kumusta naman si Ralph na hindi pinalad nang tumakbo itong muli para senador noong huling halalan. “He’s much better now. Sabi ko nga, e, huwag namang ipahintulot ni Lord…sabi ko nga, blessing din ‘yung ano [pagkatalo]. Kasi I cannot imagine myself, buong Batangas na, tapos hindi ko maayos nang tama ‘yan? Kaya napakalaki ng tulong ni Ralph sa akin ngayon. “Ngayon, isang sabi na lang, alam ko na agad. E, nung una, hindi ko alam kung saan ko kukunin ang budget. Ngayon, inaayos niya para pag magdesisyon ako, alam ko na agad.” Ayon kay Governor Vi, may posisyon daw na inaalok kay Ralph sa gobyerno. Tatanggapin ba ito ng mister niya? “Why not? Pero sabi niya, i-feel muna natin ang panahon kung nararapat kasi tatakbo ulit siya 2010. Definite na ‘yon,” aniya.

KORINA & NORA. – During the May elections, nabalita na nagkatampuhan sila ng news personality ng ABS-CBN na si Korina Sanchez. Okay na ba sila ngayon? “Wala naman,” sabi ni Governor Vi. “Nakausap ko na si Korina. I mean, at this point in time, para ano pang magtatampo ka? Magtatampo ka for a while, pero para itanim mo pa? Tapos nakikita mo kung ano ang nangyayari diyan?” Bilang panghuli, kinuha namin ang pahayag si Ate Vi tungkol sa kanyang archrival at superstar na si Nora Aunor na naninirahan ngayon sa Amerika. Ayaw na raw kasing bumalik ng Pilipinas ni Ate Guy hangga’t hindi bumababa or nagpapalit ng administrasyon ang pamahalaan ng Pilipinas at balita ring nagpakasal ito sa kanyang manager na si Norie Sayo.
Tahimik muna si Governor Vi ng ilang sandali. Hangga’t maaari raw ay ayaw niyang magbigay ng pahayag, lalo na sa ganyang isyu. “Mahirap, e. Kahit ano ang sabihin ko, still, may mga magre-react. Sa akin, let’s just respect her decision,” pagtatapos ni Governor Vi. – Julie Bonifacio, Aug 212007, PEP Global Vilmanians

The Gawad Urian Through The Years 3/3

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The Best Actresses and their First Gawad Urian

2011 – Maja Salvador for “Thelma” – “…Ganito pala ang pakiramdam,” said Maja as tears streamed down her face during her acceptance speech. Gawad Urian, maraming-maraming salamat po. Sampung taon na ‘ko sa industriya, ngayon lang ako nanalo ng Best Actress award. Sa mga producers, maraming salamat sa tiwala dahil sa akin ninyo ibinigay ang Thelma. Sa aking director na si Paul Soriano, maraming salamat. Sa aking managers, Tita Mariole [Alberto], Mr. M [Johnny Manahan], sa mama ko, sa papa ko na nasa heaven na, para sa Kanya ito.” Maja then thanked her make-up artist who gave her a vote of confidence that night. “Salamat sa pag-makeup mo. Sabi niya, ‘Papagandahin kita, baka manalo ka. Siguro nga, nagandahan sila sa akin kaya ako nanalo. Salamat po, Gawad Urian, maraming-maraming salamat.” After the awarding ceremony, Maja told the press: “Lahat ng hirap ko sa paggawa ng pelikula, lahat yun nawala dahil may nakapansin po ng talento. Maraming salamat po…” – Jocelyn Dimaculangan, PEP, June 14, 2012 (READ MORE)

2009 – Rustica Carpio for “Lola” – “…Anita Linda and Rustica Carpio, both past their physical primes, may have just given their more-than-impressive swan songs. Director Mendoza, who is not that much known on squeezing out pure performances from his actors/actresses (as his characters usually just blend in into the realistic palette of the surroundings), handled may be the two most astounding ones from aged performers. In some ways, it’s almost a miraculous feat on his part (and cinematographer Odyssey Flores) in terms of enhancing Anita Linda and Rustica Carpio’s natural and honest evocation of suppressed sufferings and prolonged sacrifices as impoverished grandparents through a panoramic view of the present social state of those inflicted with destitution. But the real highlight is of course from the two brave, nagging, and at times, swindling heroines who will do just about anything not just to resolve their numerous woes, mostly involving money, but also to unconsciously prove their ‘worth’. Throughout the film, as the camera follows them both, we see them express stern authority to younger people, ask for directions and assistance like one, and show extreme determination like middle-aged fellows…” – Ivan6655321 (READ MORE)

2006 – Gina Pareño for “Kubrador” – “…Veteran actress Gina Pareño led the awards for Kubrador with her win in the Best Actress category. She was already honored at the Golden Screen Awards earlier this year, as well as numerous citations from international film festivals. “Apat na dekada bago ko napanalunan ang tropeo ng Gawad Urian. Sa wakas, nagkaroon din ako ng pag-aari na ganito… Napakasarap na nandito ako sa Pilipinas. Nanalo ako sa bayan ko,” she said in her speech. Kubrador won in five out of the ten categories it was nominated. It won Best Picture for MLR Films as well as Best Director for Jeffrey Jeturian. It also took home Best Production Design for Leo Abaya and Best Cinematography for Roberto ‘Boy’ Yñiguez…” – Philippine Entertainment Portal (READ MORE)

2005 – Hilda Koronel (best supporting) for “Nasaan Ka Man” – “…In 1975 and 1976, she starred in the Lino Brocka classics Maynila: Sa Mga Kuko ng Liwanag which won six FAMAS awards in 1976 and Insiang which received FAMAS and Gawad Urian awards in 1977. It was Lino who turned her into a high-caliber actress with movies like Santiago, Tubog sa Ginto, Maynila sa mga Kuko ng Liwanag, Tatlo Dalawa Isa, Init, Insiang, etc. Insiang is the first Filipino film to be screened at the Cannes Film Festival in 1978 where both Lino and Hilda earned rave reviews from the international film community. Her illustrious career was highlighted with her winning the Best Supporting Actress awards from the FAP, Gawad Urian and Maria Clara for Nasaan Ka Man (2006); Best Performance by Male or Female, Adult or Child, Individual or Ensemble in Leading or Supporting Role from the Young Critics Circle for Tanging Yaman (2001); and Best Actress from the MMFF for Insiang (1976)….” – Boy Abunda, The Philippine Star, 30 August 2012 (READ MORE)

2004 – Judy Ann Santos for “Sabel” – “…Complementing Judy Ann’s excellent performance are Wendell Ramos as the ex-convict who rapes and hopelessly falls in love with her (this early, I can say he’s already assured of an acting nomination in next year’s awards race), Rio Locsin as the mother who can’t get along with her headstrong daughter, Iza Calzado as the writer Wendell eventually marries, Sunshine Dizon as the lesbian lover of Sabel, Jeffrey Hidalgo as Sabel’s ex-boyfriend, and even Jim Pebanco as the wayward priest (I just don’t know how the Catholic Church would react the way he blabbers about Sabel’s secrets—all revealed within the confines of the confessional box)…” – Butch Francisco, The Philippine Star (READ MORE)

2003 – Cherrie Pie Picache for “Bridal Shower” – “…Cherry Pie has won two Best Actress awards from the Urian, first for the comedy “Bridal Shower” in 2003, and then for “Foster Child” in 2007. Both movies were directed by Jeffrey Jeturian. Cherry Pie won the same award (Best Performance by an Actress in a Leading Role) for “Bridal Shower” from the Golden Screen Awards (given by the Entertainment Press Society) and in 2007, Best Performance by an Actress in a Leading Role (drama) for “Foster Child.” These were Cherry Pie’s first awards from the distinguished award-giving bodies. In addition to that, she also won the Best Supporting Actress award from the Golden Screen Awards in 2006 for her outstanding performance in “Twilight Dancers.” Cherry Pie’s latest film project is “Isda,” which is about a woman who gives birth to a fish. The movie is being directed by Adolf B. Alix Jr., who also directed “Donsol,” “Kadin,” “Presa,” “Muli” and other noteworthy indie films…” – Crispina Martinez-Belen (READ MORE)

2001 – Rosanna Roces for “La Vida Rosa” – “…I’m not saying this only because we work together in a television show. If you don’t believe me, see the movie yourself once it opens in downtown theaters within the next few weeks and I think you will agree with me that she had already ensconced herself as one of the best actresses in Philippine movies because of this film. Insome of her scenes, in fact, she reminds me of a young Rosa Rosal (one of the greatest we have) in the classic film, Anak-Dalita. Actually, even in her old, sex films like Basa sa Dagat and Patikim ng Piña, Rosanna was already showing flashes of brilliance – which was quite a feat considering that those movies were, well, trashy and exploitative. Fortunately, she had her chance to redeem herself as an actress in Ligaya ang Itawag Mo sa Akin and in Ang Lalake sa Buhay ni Selya under the guidance of Carlos Siguion Reyna. In fact, I thought that those two films would already be the pinnacles of her film career. I was wrong. Here in La Vida Rosa, she even gives an even more sterling (and far more colorful) performance compared to both Selya and Ligaya. Her best scene in the film is the part where she confronts Pen Medina and, later, drops one of her delicious trademark Osang one-liners. If only for this scene, La Vida Rosa is already worth watching…” – Butch Francisco, The Philippine Star, 06 September 2001 (READ MORE)

2000 – Gloria Romero for “Tanging Yaman” – “…As with all films that are inspired with overly good intentions, Tanging Yaman is enveloped by an atmosphere that predictably directs the narrative towards its amiable conclusion. From the light effects that drown the face of Romero during her moment of self-sacrifice that has been done and redone in various films for comedic effect to the use of mass songs to provide a sense of overt religiosity in the plot, the film is too littered with significant details that nearly push the film from being merely a portrait of a family nearly torn to pieces by greed and envy into a proselytizing sermon that seeks for its audience a result that is more likely achievable in a sharing session than inside the darkened halls of a movie theater. Thankfully, the film is balanced enough to be enjoyed even from the perspective of a viewer who has no intention of being pulled into religious didactics. It is exquisitely put together. Guillen, who has always laced her films with a certain sensuality that can only be fleshed out by a feminine mind, only subtly suggests that kind of sensuality here. In one scene, Hilda Koronel’s character talks of her dreams of travelling to the United States to her humble husband, dancing with her husband to the romantic song from the radio. The scene by itself seems very ordinary, but as framed by Guillen, and as acted by both Koronel and Delgado with enough levels of playfulness and domestic mischief, it results in something subtly sweet and tender…” – Oggs Cruz (READ MORE)

1996 – Sharon Cuneta for “Madrasta” – “…Madrasta is very special to me. It was not only my first time to work with Star Cinema, it was also my first time to work outside Viva. Meaning it was the first movie I did without the professional advice of the people I grew up with, the people who have handled my career since Day One. It was the first time I ventured out on my own – made a decision solely by myself, for myself. And the gambit paid off. God has been so good…The first time I won at the Star Awards, I cried because when I looked at the audience, I saw fellow actors and actresses cheering me on. They were so happy to see me onstage. It felt good because I’m not really that close to them. It felt great because they were some of the best performers in the industry…It had a good effect on me. It didn’t change me as a person per se. But I think it changed something in me, in the sense that it inspires me to want to do better. Now, I am trying to find a way to take care of all the wonderful things I’ve been blessed with…” – The Movie Queen (READ MORE)

1995 – Helen Gamboa for “Bagong Bayani (OCW)” – “…This powerful docu-drama by Tikoy Aguiluz attempts to seek answers to the question raised by the murder of Delia Maga and the execution of Flor Contemplation – two of the countless Filipina OCWs who are forced to leave their children for better opportunities in life, only to end up lost and hlepless in hostile lands. The heartbreaking plight of the overseas contract workers is dramatized in the tragic tale of Flor Contemplacion – the Filipino domestic helper in Singapore convicted of murder and condemned to death. Accounts culled from reports of Amnesty International as well as classified info gathered in the Asian city-state itself are combined with actual footages and recreated scenes of events leading to the heroine’s execution…” – Database of Philippine Movies (READ MORE)

1992 – Lorna Tolentino for “Narito ang Puso Ko” – “…The 48-year-old star is best remembered for having portrayed many strong characters in unforgettable movies like Maging Akin Ka Lamang, Nagbabagang Luha, and Narito Ang Puso Ko. But according to Lorna, she still found her role as Amanda in Sa ‘Yo Lamang challenging to do. “Ang role ng isang may asawa at ina ‘yun ang talagang hawig sa mga nagawa ko dati. Pero ‘yung role ko talaga na Amanda dito e kakaiba. Iba ang pinagdaanan niya kesa sa mga babaeng roles na ginawa ko. Si Amanda mas malalim na ‘yung pagiging ina niya, asawa, at bilang tao. Siyempre noon mas bata pa kami kaya kung ikukupara mo sa mga characters namin ngayon mas malalim na…” – Star Times (READ MORE)

1986 – Jaclyn Jose for “Takaw tukso” – “…Its sexual dynamics bears a striking resemblance to Scorpio Nights, Peque Gallaga’s 1985 film about a student bedspacer peeping through a hole on the floor and fancying the sight of a woman in her lingerie, whom he eventually sleeps with. Both movies depict the claws of darkness that hovers around the setting, particularly the bedroom, and in Takaw Tukso’s case, the car repair shop. These confined spaces breathe a life of their own and provide a distinct mood of claustrophobia. Debbie, Boy, Nestor, and Letty get trapped in some sort of black hole: they act according to their instincts and turn into animals when provoked. Lao is less conscious about the scruples of morality than the logic of dramaturgy, putting danger signs everywhere, and keeping track of each character’s misstep. Like most directors of Lao’s scripts, Pascual allows himself to be controlled and overpowered, yet there are crucial scenes in the film whose strength comes from his directorial command, most especially the confrontations among the four characters. The manner in which the acting is delivered to perfection—the vulnerability that warrants an explosion anytime—owes a lot to his discipline as a director…” – Richard Bolisay (READ MORE)

The Gawad Urian Awards are annual film awards in the Philippines held since 1977. It is given by the Manunuri ng Pelikulang Pilipino (the Filipino Film Critics) and is currently regarded as the counterpart of the United States’ New York Film Critics Circle. – Wikipedia (READ MORE)

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The Gawad Urian Through The Years 2/3

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The Best Actresses and their First Gawad Urian

1986 – Pilar Pilapil for “Napakasakit Kuya Eddie” – “…By the mid-’80s, Pilar agreed to do mother roles and was amply rewarded for her efforts. In 1986, she and Aga Muhlach played mother and son in the Lino Brocka film Napakasakit Kuya Eddie and were declared Best Actress and Best Supporting Actor the following year in the Urian. She also played mother to Lorna Tolentino in 1989 in another Brocka film, Kailan Mahuhugasan ang Kasalanan, and received an acting nomination from the Manunuri. (In 1997, she was excellent in her portrayal of a Mrs. Robinson type of character in Star Drama Theater Presents Diether)…” – The Philippine Star (READ MORE)

1986 – Anita Linda (supporting actress) for “Takaw tukso” – “…Anita Linda is the recipient of several acting awards, among them, Best Actress of the Maria Clara Awards in 1951 for Gerardo de Leon’s Sisa, where she played the title role, which she considers her most challenging and memorable. “Of course when I made Sisa…Sisa, the crazy woman, in our Noli Me Tangere written by Jose Rizal is a role I can’t forget. It’s my first award – the Maria Clara award…it’s very intense…Sisa in our history represents the Philippines itself (because) Sisa was …being maltreated by the Spanish…She represents the country itself, ‘yung kanyang pinagdaanan (what she had gone through). Iyon ang feeling ko (That was how I felt).” She again won critical acclaim in the role she played for director Lino Brocka’s Tinimbang Ka Nguni’t Kulang (You Were Weighed But Found Wanting) 1974; Tatlo, Dalawa, Isa (Three, Two, One), 1974; and Jaguar 1979, the first Filipino film to compete at the Cannes Film Festival. Other leading films she had appeared in the 80s and 90s included Mike de Leon’s Sister Stella L., 1984; William Pascual’s Takaw Tukso (Flirting with Tempation), 1986; Chito Rono’s Itanong Mo sa Buwan (Ask the Moon), 1988; Brocka’s Gumapang Ka Sa Lusak (A Dirty Affair) 1990; and Mario O’Hara’s Ang Babae Sa Bubungang Lata (Woman on a Tin Roof)1998…” – Mila Astorga-Garcia, The Philippine Reporter, 16 September 2008 (READ MORE)

1985 – Nida Blanca for “Miguelito, Ang Batang Rebelde” – “…I did, however, have the privilege of writing the scripts for two movies in which she acted–Miguelito, ang Batang Rebelde (1985), where she played a young Aga Muhlach’s oppressed mother, and Tayong Dalawa, a few years later, where she played the comic foil as housemaid to career girl Sharon Cuneta. She won a raft of well-deserved awards for her performance in Miguelito, which was a relatively low-budget movie that the late Lino Brocka had been asked by Aga’s dad to do to launch his teenage son’s career, and which turned out to be one of my personal favorites among the 14 or 15 scripts I wrote for Lino…” – Butch Dalisay (READ MORE)

1982 – Vilma Santos for “Relasyon” – “…Noticeably ignored many times by the Manunuri, Vilma Santos was nominated for her sympathetic mistress role in Relasyon. She is up against Nora Aunor’s epical role for Himala, Gina Alajar and Lorna Tolentino’s feminist film Moral. The Manunuri surprised everyone by declaring Vilma Santos as their 7th best actress winner. The other award giving bodies (FAMAS, Film Academy of the Philippines, CMMA) also declared Vilma Santos as their best actress and the term “grand slam” were born in local entertainment industry. As for the other acting categories, Philip Salvador won the lead actor and Baby Delgado, supporting actress both for Cain At Abel, and Mark Gil won the supporting actor for Palipat-lipat, Papalit-palit. The Manunuri gave the Natatanging Gawad Urian to veteran actress, Anita Linda, who is still very active today. She starred in this year’s Venice Film Festival entry, Lola…” – RV (READ MORE)

1981 – Gina Alajar for “Brutal” – “…Alajar was already recognized for her acting talent even when she was a child star. In the mid—’70s, Sampaguita Pictures tried to launch her as a teen star via a remake of Cofradia, but this film bombed at the box-office. In 1980, Regal took a chance on her by re-launching her in Diborsyada, a certified box-office hit. While she gave a decent performance here (she’s always good at anything she does on screen), the very exploitative material that capitalized on her even then shaky marriage didn’t sit well with the critics. Two months after the commercially successful exhibition of Diborsyada, however, Brutal was entered in the Metro Filmfest and she won Best Supporting Actress for playing the liberated friend of the heroine (Amy Austria). In the Gawad Urian, a few months later, she was adjudged Best Actress for the same film and she was on her way to becoming one of the finest actresses produced by the Philippine movie industry. Salome – Prior to the 1981 Gawad Urian, Armida Siguion-Reyna, who produced Salome, was already predicting that Gina Alajar was going to be a runaway winner for Best Actress in this film. Armida didn’t have to be a psychic to know that because that was really an unbeatable performance that Ms. Alajar gave in this Laurice Guillen movie where she played a femme fatale. True enough, she was proclaimed Best Actress (the first to win two years in a row) by the Manunuri…” – Wikipedia (READ MORE)

1979 – Charito Solis for “Ina, Kapatid, Anak” – “…the film that defined her 1970s career was not an adult film, but a dramatic film, her specialty. Pitted with the “other dramatic empress” Lolita Rodriguez, she contrasted her usual acting style with Rodriguez’ restrained, quiet style in Ina, Kapatid, Anak (1979). At that time already acknowledged as Philippine Cinema’s Hall of Famer for Best Actress, Charito Solis showed her acting prowess in a way that did not swallow Rodriguez nor did not allow to be shadowed by Rodriguez’ subtle style. Come FAMAS time, she had another Best Actress nod but lost to Nora Aunor for Ina Ka ng Anak Mo, but the “other” awards, the Gawad Urian, granted her its Gawad para sa Pinakamahusay na Pangunahing Aktres (Best Actress). Interesting enough, her penchant for top-billing persisted: the usual tool for billing two actresses demanding top billing was employed (see left). She also appeared with Vilma Santos in Modelong Tanso, a pale competitor to Rodriguez’ and Nora Aunor’s Ina Ka ng Anak Mo. Because Vilma Santos was another actress known for her penchant with billing, the same tool was used…” – Gypsy Baldovino and Yolly Tiangco, Philippine Daily Inquirer; IMDb (READ MORE)

1979 – Amy Austria for “Jaguar” – “…The 49-year-old actress claimed spotlight after joining Lino Brocka’s “Jaguar” in 1979 where she won Gawad Urian best supporting actress award. Meanwhile, Austria’s outstanding performance for film “Brutal” made her clinched her first best actress award for Film Academy of Movie Arts and Sciences (FAMAS) and Metro Manila Film Festival (MMFF). The pride of Tondo was part of notable movies “Hinugot sa Langit”, “Anak”, “Bagong Buwan”, “Muro Ami” and “Beautiful Life.” Aside from her drama classics, Austria joined several hit TV series including “Walang Kapalit”, “Bituing Walang Ningning” and “Pangako Sa’yo.” Austria was previously married to late actor Jay Ilagan. She later settled down with Filipino-Korean Duke Ventura…” – ABS-CBN News, 13 December 2010 (READ MORE)

1978 – Chanda Romero (supporting actress) for “Boy Pana” – “…The last time I bumped into Chanda Romero, she was socializing with friends at the Cebu Country Club. My niece, Rovi, asked me, “Le conoces (Do you know her)?,” after the award-winning Cebuana actress greeted me rather fondly. “Yes.” I replied. “We go back a long way.” I can’t remember which Joey Gosiengfiao or Elwood Perez film I first appeared in with Chanda, as the flamboyant filmmakers had the “habit” of casting me in their productions, either as a temperamental director or a bitchy movie critic. With Chanda, the film I remember most is Eddie Romero’s multigenerational tale, “Aguila,” shot in 1979 and considered the epic to end all screen epics. Fernando Poe Jr., then the country’s Box Office King, was cast as the lead character. Appearing with him and Chanda were many other screen luminaries, like Amalia Fuentes, Elizabeth Oropesa, Jay Ilagan, Christopher de Leon, Charo Santos, Orestes Ojeda, Joonee Gamboa and Roderick Paulate. (I think even Aga Muhlach appeared in it as the young Ronnie)…” – Behn Cervantes, Philippine Daily Inquirer, 09 July 2011 (READ MORE)

1978 – Beth Bautista for “Hindi Sa Iyo Ang Mundo, Baby Porcuna” – “…If Zialcita was the master of improvisation on the set, he also had the knack for casting the right actors, choosing the right material, and pleasing his producers. One of his favorite actors was Dindo Fernando whom he termed “the compleat actor” and cast him in such movies as Langis at Tubig, Karma, Gaano Kadalas ang Minsan, Mahinhin at Mahinhin, its sequel Malakas, si Maganda at si Mahinhin and Ikaw at ang Gabi which gave Dindo his first Urian Best Actor trophy. Other favorites were Vilma Santos cast in Karma, T-Bird at Ako, Langis at Tubig; Pinky de Leon; Laurice Guillen; Ronaldo Valdes; and Beth Bautista who won Best Actress award in Hindi sa Iyo ang Mundo Baby Porcuna…” – Bibsy M. Carballo, The Star, 12 May 2008 (READ MORE)

1977 – Daria Ramirez for “Sino’ng Kapiling, Sino’ng Kasiping” – “…“…The 70s saw the rise of several talented and sexy stars besides the so-called Crown Seven beauties namely Chanda Romero, Elizabeth Oropesa, Daria Ramirez, Alma Moreno, Lorna Tolentino, Beth Bautista and Amy Austria. Stars like Vivian Velez, Leila Hermosa, Carmen Ronda, Barbara Luna, Janet Bordon, Trixia Gomez and Rio Locsin also made their mark in the movie world in the 70s. They were launched to stardom though most of them had a brief and short movie career…” – Simon Santos, Video 48 (READ MORE)

1976 – Yvonne (supporting actress) for “Ligaw na bulaklak” – “…Yvonne, one of the most daring stars during the “bomba” films period in the 1970s, is back on the movie screen after 30 years. Yvonne, who was named best supporting actress by the Gawad Urian in 1976 for her performance in Ishmael Bernal’s “Ligaw na Bulaklak,” finished shooting an independent film with Eddie Garcia and Boots Anson Roa about senior citizens. Directed by Neal “Buboy” Tan, “Talo, Tabla, Panalo” features Yvonne, 59, in the role of a nun. “Imagine, madre ang role ko. Hindi ba kapani-paniwala?” Yvonne said in an exclusive interview with ABS-CBNnews.com. Yvonne gained notoreity when she walked to a movie house in Manila during the pre-Martial Law days in her naked glory and proclaimed to all and sundry that she shaves her pubic hair….” – ABS-CBN News, 04 July 2012 (READ MORE)

1976 – Maya Valdez (supporting actress) for “Lunes, Martes, Miyerkules, Huwebes, Biyernes, Sabado, Linggo” – “…Actor and singer; her roots began in the theatre, working as props person, costume mistress, and stage manager before she became an actor. She won acclaim for her acting and singing as Magdalene in the rock opera Jesus Christ Superstar (1971), directed by Behn Cervantes. She made her mark as a comedian in the television shows Super Laff-ins (1971-72); Cleofatra (1974); Champoy (1980) and U.F.O. (Urbana, Felisa, and Others) (mid-1980s). After a period of lull in her career, she appeared in the musical stand-up comedy act Tit for Tat (1984-85), the first in the string of hit shows with singer-comedian Nanette Inventor. Valdes’ first appearances in the movies were in roles, which displayed her comedic prowess, like Hoy, Wala Kang Paki and Anomalya ni Andres de Saya. She showed she was equally good as a dramatic actor in films such as Oro Plata Mata (1982) and then in Bulaklak sa City Jail (1984). She showed she could combined her considerable talents as actress and singer in her highly praised performance as Katy de la Cruz in the hit musical Katy! (1988), staged at the Rizal Theatre and later at the CCP Tanghalang Nicanor Abelardo, under the direction of Nestor U. Torre. Valdes won the best supporting actress award from the Urian for the Lino Brocka film, Lunes, Martes, Miyerkules, Huwebes, Biyernes, Sabado, Linggo in 1976. At present she is the president of the Organisasyon ng Pilipinong Mang-aawit (OPM)…” – he Performers’ Rights Society of the Philippines (READ MORE)

1976 – Nora Aunor for “Tatlong Taong Walang Diyos” – “…The Manunuris further enhanced their image as “champions of the underdog” with the following selections: bomba star Yvonne, as best supporting actress (Ligaw na Bulaklak); stage actress Maya Valdez, as best supporting actress (Lunes, Martes. . .), and villain-type Ruel Vernal, as best supporting actor (lnsiang). The most significant choice, however, was Nora Aunor, who was voted best actress for her performance in “Tatlong Taong Walang Diyos” (directed by Mario O’Hara). The Manunuri can claim without blushing that the Urian made Nora Aunor and Nora Aunor made the Urian. Her winning emphasized the group’s complete disregard for stereotypes. Aunor’s image as “bakya” idol had typecast her as a non-actress, but this did not hinder the Manunuri’s collective judgment that she had the makings of a serious actress. With her triumph, the critics clarified their standard of performance and accidentally won over the obstinate movie scribes…” – The Urian Anthology 1970-79 (READ MORE)

The Gawad Urian Awards are annual film awards in the Philippines held since 1977. It is given by the Manunuri ng Pelikulang Pilipino (the Filipino Film Critics) and is currently regarded as the counterpart of the United States’ New York Film Critics Circle. – Wikipedia (READ MORE)

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