Vilma Santos-Recto is a popular multi-awarded actress and politician in the Republic of the Philippines. *** She is known as "Queen of Philippine Movies," "Queenstar," "Grand Slam Queen," "Box Office Queen," and "Star for All Seasons." *** This website is mostly about her iconic film career.
Ngayong masasabing kay Vi lahat nakatutok ang mga mata ng mga taong nagbabasa sa local showbiz world. At marahil gayon din ang mga nasa labas nito…ang kanyang hindi mabilang na fans at ang mga movie public. Pagka’t bukod sa pagiging isang aktress, isa na ring movie producer si Vi. Nakikiramdam ang mga naturan kung mahusay niyang magampanan ang dalawang papel na ito ngayon. Bilang aktres, ang paglabas ni Vi sa Mga Rosas Sa Putikan, na isang movie production ng kanyang kompanya ay isa ring puntos ng interes para sa mga naturan. Pagka’t dito’y maiiba sa dating uring role ang ginagampanan ni Vi. Magsisilbing tunay na hamon sa career niya. Dito kasi’y gagawa si Vi ng mga eksenang hindi niya ginagawa-gawa sa pelikula. Sa Mga Rosas mababatid kong maiibigan ng movie public at ng mga fans niya in particular ang gagawin niya o hindi. Kung ipagpapatuloy niya ito o hindi, kaya ang mahalagang katanungang malikha tungkol dito ay “tanggapin kaya ang pagbabago” (na marami ring nagsasabing pagpapaunlad sa kanyang career na panahon na niyang gawin( ng kanyang image?” Ang isa pang interesadong malaman ng publiko’y ang tungkol sa unang movie production niya, ang Mga Rosas Sa Putikan nga.
Hindi kaila kasi sa mga ito na maraming pumapasok sa movie making business na sa unang produksiyon pa lang ay bagsak na agad. Hindi kasi kumuwela ito. Bagama’t nakakahigit mang malaki ang nagsasabing ki-click ang Mga Rosas, kahit paano’y naroon pa rin ang katanungang, “Mag-click kaya ang first movie productions nina Vi!” Ngunit ang katanungang ganito’y pangkaraniwan sa showbiz. People in and out of the showbiz world will always wonder if a movie will be a hit or not in the box office. Kaya’t higit ngayong marahil ang responsibilities ni Vi hindi lang sa kanyang sarili kungdi sa kanya ring fans, the movie public, sa mga mahal niya sa buhay, sa mga kaibigan, at sa local showbiz industry. Wala nang hangarin si Vi sa pagiging aktres n’ya. She has more than proven herself in this. Ngunit, masasabing mayroon din naman. Pagka’t sa pagpasok niya sa movie productions, hindi niya dapat payagang mabawasan ang ningning ng kanyang nakakasilaw na katayuan bilang isang artista. She owes this much to her countless followers. At bilang aktres ay nararapat niya ring ibuhos ang kanyang lahat sa unang produksiyon niya kung saan siya rin ang pangunahing bituin. – Cleo Cruz, Darna, No. 304, 30 Aug 1974
Cleo Cruz was Vilma Santos’ publicist in the early part of her movie career. Vi normally calls her, “Mommy” or Mommy Cleo. Now retired from entertainment journalism, Cleo Cruz is reportedly living in the United States. She referred Vi’s followers in many of her columns and articles as “Luvs.” – RV
Have you ever stop to wonder kung paanong ginagasta ni Vilma Santos ang “limpak-limpak” na salaping kinikita niya? Marami ang nagsasabi na ‘talagang masuerte ang batang yang si Vi. Kahit na ano ang hilingin niya ay kayang bilhin…Sunod-sunod ang pelikula na halos P100,000 per picture ang bayad sa kanya…hindi naman mahilig sa night clubbing! Kayang kayang magbuhay reina n’yan!” Kung iisipin nga ang inaakalang kitang ito ni Vilma, ay madaling isipin ang ganito. Kumikita, hinahangaan, pinupupog ng fans, at minamahal ng maraming kabinataan, pambihira na nga ang suerteng pamoso ngayon kay Vi. Puede na ngang magbuhay reina, ngunit sabi ng kanyang family, “Vi is a professional sa kanyang gawain, ngunit isa lamang siyang karaniwang tao sa loob ng tahanan. Kapatid lamang naman siya. Marahil kung tatratuhin namin siyang parang reina, ay siya ang ma-iiwas sa amin at siya pa ang maiirita!” Sa mga pakikipanayam noon kay Vilma ay napatunayan ang ganitong attitude niya. The only time na mistulang reina ang trato kay Vi ay tuwing matutulog ito. Lahat sila ay sinisikap na huwag siyang magambala sapagkat batid nilang pagod na pagod siya at mahalagang mahalaga na siya ay makapagpahinga nang husto.
Batid nilang napakademanding ng career ni Vi, na walang oras na iginigalang basta’t kailangang tapusin ang pelikula, at si Vilma, kalimitan na kahit na may sakit ay sinisikap na tapusin ang sariling commitment. Sa sandaling mabatid na ready na siya o gising na, mistulang central park ang silid niya sapagkat doon nakikilumpon ang mga kapatid na kung tulog siya ay sa silid naman ng mga parents nila naglilipon. Hindi na yata mauubusan ng balitaan, tanungan, at biruang magkakapatid, at si Edgar Mortiz na tumutungo rin doon kapaga batid na gising na si Vi o nakikibantay kapag tulog ito. That’s right, Vilma Santos is just big sister to Maritess, 14, Winnie, 11 and Sonny, 8 and plain younger sister to Emmelyn, Vi’s older sister. At ganito rin siya sa gastusan. Si Vi, tulad ng mga kapatid ay ang allowance lamang niya ang ginagasta. Binibigyan siya ng P200 a week ng ina, ng kalimitan ay binabahagi pa rin sa mga kapatid tulad nang magtopnotcher si Maritess sa klase. Binigyan niya ito ng P20.00 bilang premyo. Dito ay kinukuha pa rin niya ang pambile nang ilang damit at di dahil sa pinagdadamutan ina kundi Vi does not ask. Pinaghuhusto ang kanyang allowance. Magrebelde kaya si Vi sa ganitong pasunod ng mga magulong, gayong mapagmamalaki naman niyang siya ang kumikita na rin tulad ng father at mother?
Minsan ay tuwang tuwa na ikinuwento ni G. Amado Santos na father ni Vi, napakasuwerte raw nilang mag-asawa. Imagine raw ng minsan ay masayang masaya na umuwi si Vi kasama ng ina, buhat sa pamimili. “Ay nadaya ko si Mama! Siya ang nagbayad ng blouse na ito. Ang sweet sweet po naman ng mama ko!” at walang higit na pinupopog ng halik ang ina. Nangiti lamang…silang mag-asawa sa pagsasalimuot ay sana manatiling gayong kabait ang anak nila. Kung tutuusin ay sa kinikita ni Vi ay kahit ano kaya niyang bilhin, ngunit higit siyang maligaya na mapabilang sa mga mahal na kapatid. Tutungo roon at siyang bumubili. Batid nilang dahil sa pelikula kailangang ni Vi ng pambihirang mga damit at kagamitan. Lahat nang ito ay ipinauubaya ni Vi sa ina. Parang siyang-siya siya that there is somebody else to take care of things for her, someone who had known her all her life. And because she respects her mother’s business accumen, Vi and Mrs Santos used to sit up nights, making plans and later on making it up with the rest of the members of the family. Hanggang sa mga sandaling ito, hindi pa nagre-resign o nagre-retire si Mr. Santos sa kanyang gawain sa isang booking office. Sa kanyang pakiwari, itinuturing pa hanggang ngayon ni Vi na isang privilege na ang mapabilang sa kanyang mga kapatid at mapamahal sa mga ito.
Isa na ring kaligayahan niyang isipin na siya ay pinagagastusan ng kanyang parents. Lahat ng kinikita ni Vi ay pino-program ng kanyang mga parents. Namimili sila ng lupa, noong nagsisimula siya (mga 9 na taon gulang) namili na rin ng bahay at ang balak pa rin pumasok sa isang negosyo na malaki ang maitutulong sa suliranin ng tourism sa bansa, ang pagpapatayo ng gusaling puedeng makatawag sa housing problems sa ngayon. At sa mga Santoses, mula pa kay Vi…na siyang nagpasiya nito…may kabuhayan silang lahat, may bahagi sa kanilang pinagsikapan, sapagkat sila ang family who lives and loves together…lahat ay galak sa kasiyahan sa mga tagumpay ni Vi sapagkat itinuturing nilang kanilang tagumpay rin tio at si Vi naman ay walang atubili ng pagtanggap ng kanilang mga tulong at kalinga. Vi knows what money can do for their family but it has not yet occured to her what it can do for her only! Vi has never been placed in a position na inisip niyang siya ang workhorse…because she now makes the decisions. The whole household is made to revolve around her and the demands of her profession, without losing sight at the idea that she is a member of a whole and not the whole thing. Father and mother are the principal personalities in the vortex and Vi is just another daughter, able to make full use of her profession. And this is what makes life beautiful for Vi, being fullfilled as a professional and yet remaining a daughter of a family, “belonging” to someone, that “sense of belonging” providing her the security so essential to people in her profession. – TSS Magazine, No. 169, 08 Feb 1974
She has won 33 major acting awards, the highest output for any woman thespian in these parts. “Vi did it with the single-mindedness of a homing pigeon,” said Laurice Guillen, director of Dahil Mahal Kita: The Dolzura Cortez Story, which ran away with the lion’s share of the major awards in this year’s Manila Film Festival including, among others, the trophies for Best Picture, Best Actress, Best Actor and Best Director. Laurice, of course, was referring to Vilma Santos, who won the 1993 Manila Filmfest Best Actress plum for reastically portraying a PWA (person with AIDS). “Vi was determined to portray Dolzura Cortez – warts and all – no matter what,” Guillen stressed. “Walang pa-charming. An ectopic pregnancy and a bout with diarrhea only temporarily derailed her train but she reached her destination, and she got a statuette in the process.” When she received her trophy during the glittering awards rites held at the Manila Midtown Hotel last June 25, Vi raised her statuette and declared in Pilipino: “I gave it all I had. To Dolly (nickname of the PWA she portrayed), wherever you are, this is for you.”
Dolly herself (who died shortly after investigative reporter Ceres Doyo wrote the series about her (Dolly’s) life and times in the Philippine Daily Inquirer) had expressed the wish that Vilma portray her in a movie dramatizing her experience as a PWA. People behind the project hope the movie will raise public awareness about Acquired Immune Deficiency Syndrome (AIDS) and how to prevent it. There are an estimated 35,000 people with HIV (human immune-deficiency virus) that caused AIDS in the Philippines although Health Secretary Juan Flavier believes the number is actually higher. Vilma’s triumph in this year’s filmfest was par for the course. In three decades in showbiz, Ate Vi, as the Vilmanians (loyal Santos fans) love to call her, has won 33 major acting awards (the highest output for any woman thespian hereabouts) and has appeared in about 120 movies. “It took us 25 shooting days to wrap up the movie,” Guillen continued. “It would have taken us longer if Vi had not been as dedicated to her work because she was practically in every scene and her stick-to-itiveness helped us a lot because, whenever she was on camera, there was no goldbricking. It was work, work, work for Vi and, although I could say the same thing for the rest of the cast, Vi really set the pace for the others to follow.”
In her thank-you speech at the awards ceremony, Vi acknowledged the fact that “I would have been helpless without Tita Laurice, Tita Chato (Charito Solis, who played Vi’s mother), Boyet (Christopher de Leon) and other members of the cast and crew.” As usual, Vi was generous in her acknowledgments and ever her husband, Batangas Representative Ralph Recto, “above all”, got his share of the kudos. Even the jurors of whom I was one, were impressed by her acting. “She would win in any festival with this kind of performance,” says Gina Alajar, herself a Metro Manila Film Festival Best Actress awardee earlier this year, who pinchhit for Rudy Fernandez as juror. “What I like about her performance,” juror Josefino Cenizal, veteran composer and musical director, chimed in, “is that she never overacted in many scenes where less experienced thespians would have. She gives the impression that she’s not acting but just going through the scenes as if she’s a natural part of the scenery.” There’s only one actress I’ve seen in action who seems not to be aware of any camera (just like Vi) and that’s Julie Christie, the British actress, who did a movie scene in front of several journalists from all parts of the globe, including this writer, in a London pub in the 1960s.
I have to confess that this article is a bit partial to Vilma Santos because I’ve been a Vilmanian from Day One. I remember the first time I saw Vi was in 1962 when Dr. Jose “Pinggot” Perez, Sampaguita Pictures executive, invited me to watch the filming of a movie called Trudis Liit. It was a nine year-old Vilma Santos who played the title role and she was so good, Doc Perez raved: “May kinabukasan ang batang ito (this child has a bright future).” Vi still remembers the reporter “who asked me silly questions like what’s my favorite dish, etcetera”. It was the beginning of a lifetime friendship and during those intervening 31 years, I’ve seen Vi blossom from a shy but hoydenish teenager, to the Vilma Santos of today, a confident woman of 39 “na maraming karanasan sa buhay (her own words)” pero sweet na sweet pa rin like the Vi of old. Some of those experiences would have driven an ordinary woman to perdition but not Vi, who says quietly: “A woman should grow wiser through the years.” Vi had the best teachers in the field of love. During the late ‘60s and early ‘70s, her “puppy love” was Edgar Mortiz which gave birth to the Edgar-Vilma loveteam, the only noteworthy rival of the Pip (Tirso Cruz III)-Guy (Nora Aunor) tandem. Her subsequent romance with Romeo Henares, son of former Inquirer columnist Larry Henares, nearly ended at the altar. “But I was not ready to make a lifetime commitment,” she disclosed. “Commitment” is one of Vi’s favorite words.
And then came Romeo Vasquez. It was during her relationship with Romeo in the mid-70s that what’s not known as the Betamax scandal came about. There was this lurid chismis that Bobby (Romeo’s nickname) and Vi had been captured on Betamax tape while rolling in the hay. I personally investigated this rumor and discovered it was just that -a rumor. I remember the many times that Vi and Bobby guested in my Seeing Stars TV show on Channel 13 where they sang as duet their theme song: Pag-ibig Ko Sa Iyo Lang Ibibigay. After her breakup with Romeo, I used to tease Vi by singing the opening lines of that ditty, and she would squirm and say, “Ayaw ko na, Tito Joe.” Recently, when Marra PL. Lanot and I interviewed Vi at a local recording shop, I sang the opening line and Vi sang it with me without any qualms. It’s because Vi has blossomed into a mature woman who’s confident of the love of her husband, Representative Recto, who’s admittedly 10 years younger that Vi (he’s 29 to Vi’s 39). But before her marriage to Recto was her interlude with Edu Manzano by whom she has a son, Lucky. “Doods and I really tried to preserve our marriage but things went awry,” she now says philosophically. It’s a measure of Vi’s diplomacy that she has remained friends with all her past lovers. – Joe Quirino, Philippine Graphic, June 16, 1993, transcribed and posted by Jeannie Wong (READ MORE)
The set-up – “In a time when the concept of divorce does not exist, much less imagined possible, we find Marilou, a planetarium guide who decides to pursue an affair with Emil, a college teacher sepatated from his wife. They seem perfect for each other, and soon decide to move in together. Their once happy affair turns sour as Marilou slowly discovers the real Emil, a chauvinistic, domineering, and emotionally abusive man who disctates everything to her, from how she should act and manage her life to the most inconsequentials details of running their house. They soon find themselves in an on-again, off – again relationship, with Malou going as for as laying a let’s meet only three times a week rule to protect herself.” – UP (READ MORE)
The 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)
The Role – “…Sinasabi ng mga drumbeater ni Vi na ang kanyang role sa pelikulang ito ay pang-award, pang-FAMAS, pang-URIAN o pang-Film Academy Award kung matutuloy ito. Hindi kami tumututol sa kanilang palagay laluna’t napanood namin ang pelikulang ito. Masuwerte si Vi at sa ganitong maselang role ay dinirek siya ng isang katulad ni Bernal. Tulad nang binigyang diin namin sa unang bahagi, ang mga pelikula ni Bernal, ang “Pagdating sa Dulo”, “Nunal sa Tubig”, “Mister mo, Lover Boy ko” at “City after Dark” ay mga malinaw at makatotohang salamin ng buhay. Kaya sa “Relasyon” ay natural lamang na makakita tayo ng mga sitwasyong tila aktuwal na kinuha sa tunay na buhay at inilipat nang buong-buo sa puting tabing…” – Mando Plaridel, Star Monthly Magazine July 10, 1982 (READ MORE)
After the Slam – “…Like 1972 of the previous decade, 1982 turned out to be a repeat in terms of success for Vilma Santos. If critics took noticed in 1972, her performance in Dama De Noche, a decade after, the critics went gagah over her performance in ”Relasyon,” directed by Bernal. The film earned Vilma all the local best actress trophies from all award-giving bodies. Aside from this success, she will also be crowned as the box office queen of 1982 (the next year for her body of work this year) because of the financial success of her six films notably, “Sinasamba Kita” a film directed by Eddie Garcia and “Gaano Kadalas ang Minsan?’ directed by Danny Zialcita. Bernal on the other hand not only was credited for Vilma success for “Relasyon” he also received accolades for “Himala” a film by Nora Aunor, Vilma’s rival. Both “Himala” and “Relasyon” were considered two of Bernal’s signature films. In addition to this, he did two Marecel Soriano films, the comedy “Galawgaw” and the drama, “Hindi Kita Malimot” and finally another Cherrie Gil film, “Ito Ba Ang Ating Mga Anak…Bernal gave Vilma Santos her first grandslam best actress awards and consecutive Gawad Urian best actress (1982 and 1983). Their first film together was Inspiration (1972) and last was Pahiram Ng Isang Umaga (1989).” – RV (READ MORE)
Still Relevant? – “Relasyon was the only film with three screenings at the on-going Pelikua at Lipunan last March 3, 2006. No other films hold this record. We were enthusiastic about the students who reviewed the film of more than two decades. Talagang relevant and timeless ang theme at plot ng nasabing pelikuka at maituturing na isa sa great films of Philippine Movie history. Before the screening of the film ay masaya kaming nag-uusap and at times our attention was called sa mga updates and or instructions ni Jojo Lim for the next group activity like March 8 sa U.P. sa Cine Adarna para sa Diwata Awards kung saan ay confirmed na darating si Ate Vi who is one of 4 distinguised honorees. Tumigil lang kami ng magsimula na ang screening. Wala ka ng makausap pa. Nakatuon lahat sa pelikula. Animo’y mga magagaling na kritiko ng gawad Urian na magre-review ng nasabing pelikula sa unang pagkakataon?! Hmp. For the film’s final highlight, we all sat in real silence. Motionless. Then, the expected tour de force/acting coup cum real drama essayed by Ate Vi. Her solitariness remained absolute in this particular scene with her heart wrenching monolgue. Then I thought I caught a glimpse of some of our co-Vilmanians wiping away “precious tears” in between sobs. Several more moments passed in silence. Tinapos namin ang panonood ng pelikula with an ovation. ’Di lang kaming mga Vilmanians ang pumalakpak! We hope ay nakapag-contribute ang mga Vilmanians in support of Mowelfunds worthy projects. Mabuhay Ms. VILMA SANTOS The Philippines Movie Queen For All Seasons. Mabuhay Vilmanians around the globe.” – June Sison, 5 Mar 2006 (READ MORE)
24 years after its release, Relasyon remained relevant and fresh due to its social topic (the flight of many mistresses in society) and Vilma Santos’ performance in this film made it possible for everyone to sympathize their (mistresses) flight. Even critics agrred Heres what one said: “…Napakahusay ni Vilma Santos sa papel ng pangunahing tauhan, isang dalagang umibig sa isang may asawa. It’s one hell of a role and a heaven of a performance. Kasama si Vilma sa lahat ng eksena sa pelikula at talagang ito na ang pinakamabigat na papel na napaatang sa mga balikat ng isang local actress mula ng gampanan ni Gina Alajar and lead role sa “Salome.” This time, sigurado nang mano-nominate si Vilma sa Urian (ito lamang ang award na hindi niya napapagwagihan) at malamang na ang maging pinakamahigpit niyang kalaban dito ay si Nora Aunor na very demanding din ang role sa “Himala” (na si Bernal din ang direktor). Ito’y kung matatapos ang ECP project na ito sa taong ito na sa palagay namiy hindi kahit gusto ng ECP na isali ito sa filmfest sa Disyembre. Dinalirot ng “Relasyon” ang lahat ng mga anggulong maaaring suutan ng isang babaing nagiging kerida. Maraming madamdaming tagpo sa pelikula, lalo na ang death scene ni Christopher de Leon na tuhog ang pagkakakuha. Bagay na bagay kay Jimi Melendez ang papel niya bilang torpeng talisuyo ni Vilma. Hit na hit siya sa audience…” – Mario Bautista, Puna at Puri People’s Journal July 1982 (READ MORE)
Spanning five decades with 197 films credits and almost two hundred awards, Vilma Santos’ filmography is a kaleidoscope picture of changes in times. Different genres, from teen musicals, folksy fantasies, campy horrors, animated actions to mature adult dramas, her films demonstrated her inner acting talents honed by directors, maneuvered by film producers/benefactors (who some are no longer with us) and supported by her ever loyal fanatics. The results were a long list of film titles that covered several social relevance that capture each decades. A long list of record-breaking box office returns that gave her the title, “the longest reigning box office queen of all time.” A long list of films that sustained her career to different transformation, ensuring her longevity no other Filipino movie queen ever enjoyed. We have painstakingly choose the best of the best. Basing our selection with three criteria. First, the financial success of the film. Cliche it maybe, financial success sustained her bankability and longevity. Second is the critical recognitions the film received. Third, is the other factors that contribute to the overall success of the film, namely, relevance, entertainment value, and the question of, is this film a career milestone or is this film contributed to her popularity. Here are Vilma Santos’ top 100 films. – RV (READ MORE)
Rank
The Top 100 – The Films (click title for link to available film info)
FAIR USE NOTICE: This site contains copyrighted materials the use of which has not always been specifically authorized by the copyright owner. We are making such material available in our efforts to preserve the film legacy of actress, Ms. Vilma Santos-Recto and information available to future generations. We believe this is NOT an infringement of any such copyrighted materials as in accordance to the fair dealing clauses of both the Canadian and U.S. Copyright legislation, both of which allows users to engage in certain activities relating to non-commercial/not for profit research, private study, criticism, review, or news reporting. We are making an exerted effort to mention the source of the material, along with the name of the author, performer, maker, or broadcaster for the dealing to be fair, again in accordance with the allowable clauses. – Wikipedia (READ MORE)
Pre-1979 – 1978 was a very productive for both Nora Aunor and Vilma Santos. Nora did eleven films (Atsay; Bakekang; Das A Las of Nonsense; Huwag Hamakin: Hostess; Ikaw ay Akin; Isinilang Ko ay Hindi Ko Tunay na Anak; Jack N Jill of the Third Kind; Mahal Mo Mahal Ko; Mga Mata ni Angelita; Pinagbuklod ng Pag-ibig; Sa Lungga ng mga Daga) and Vilma, thirteen (Mga mata ni Angelita; Amorseko: Kumakabit, Kumakapit; Bakit Kailangan Kita?; Kampus; Disco Fever; Ikaw ay Akin; Nakawin Natin ang Bawat Sandali; Pag-ibig ko sa iyo lang Ibibigay; Pagputi ng Uwak, Pag-itim ng Tagak; Pinagbuklod ng Pag-ibig; Promo Girl; Rubia Servios; Simula ng Walang Katapusan). They also did four films, Bernal’s “Ikaw ay Akin,” the forgettable “Pinagbuklod ng Pagibig” and two cameo roles, both did “Mga Mata ni Anghelita,” where they did separate episodes and lastly, Vilma appeared in the Alma Moreno-Nora Aunor flop, “Huwag Hamakin Hostess.” From the looks of it, Vilma dominated the year with one hit after another despite the commercial disappointment of critics’ favorite “Pagputi ng Uwak, Pagitim ng Tagak.” Meanwhile Nora’s momentum seem to surged with the film adaptation of comic hit, “Bakekang.” She also had a hit with her second film with Dolphy, “Jack and Jill of the Third Kind.” Come, December, the question remained, after the success of last year’s “Atsay,” where she won the lone acting award, would Nora repeat her success at the local festival? When the news of Brocka doing a Lolita-Nora film, Vilma’s camp answered back with a Charito-Vilma project. Critics noted that the festival is gearing up to be the battle of “dramatic superstars.” Also, the critics noted the director of each project, Brocka is still at his prime as the country’s top director, would Cirio Santiago, a director of previous decades, match up with Brocka? Would it be different if Bernal handled the Solis-Santos project?
Nora-Lolita vs Charito-Vilma – “…In 1979, 1980 and 1981, kapwa maningning ang mga pangalan nina Nora Aunor at Vilma Santos bilang box-office stars at awardwinning actresses. Pero hindi kahigpitan ang labanan nila sa iba’t ibang parangal. May panahong nananalo si Nora na ibang aktres ang mahigpit na kalaban; ganu’n din si Vilma. Nang ma-handle si Nora ni Brocka (in 1979’s Ina Ka ng Anak Mo, produced by Premiere Productions and written by Jose Dalisay Jr.), she was pitted with the formidable Lolita Rodriguez and it was to Nora’s credit na pumantay siya sa parangal – bilang MMFF Best Actress. Sa 1979 FAMAS, Nora bested Lolita, who, with her performance in Brocka’s Tinimbang Ka Ngunit Kulang, beat Aunor in 1974. Ang “katapat” ng Nora-Lolita duo ay ang acting tandem nina Vilma Santos at Charito Solis in Bancom Audiovision’s Modelong Tanso, directed by Cirio Santiago. Sa 1979 Gawad Urian, it was neither Nora nor Lolita as Best Actress; the award instead went to Charito Solis for Brocka’s Ina, Kapatid, Anak…” – William Reyes (READ MORE)
Nora Aunor’s Films (8): (Ang Tsimay at ang Tambay; Annie Batungbakal; Bakit May Pag-ibig Pa; Disco King; Dobol Dribol; Ina Ka ng Anak Mo; Kasal-Kasalan Bahay-Bahayan; Si Mahal, Nakialam Na Naman) – Nora ventured into the dance-craze genre, with “Annie Batungbakal” that even the Santos camp, knowing that Nora can’t dance, were surprised that the film was big hit. She also did few comedies, “Ang Tsimay at ang Tambay,” “Dobol Dribol;” “Kasal-Kasalan Bahay-Bahayan; and “Si Mahal, Nakialam Na Naman,” all were quite a disappointments. Her only serios project was the Brocka film.
Vilma Santos’ Films (8): (Buhay Artista, Ngayon; Coed; Halik sa Kamay, Halik sa Paa; Magkaribal; Modelong Tanso; Pinay, American Style; Rock, Baby, Rock; Swing it, Baby) – For Vilma, after the disappointment of last year’s festival, atleast in the award contest, she concentrated in making sure her film become commercial success, giving what her fans wanted. It showed with all her projects, most were box office hits. The top three were, “Pinay, American Style;” “Rock, Baby, Rock;” and “Swing it, Baby.” The only exception to this were the critic’s favourite, “Pagputi ng Uwak, Pagitim ng Tagak” her reunion film with “Burlesk Queen” director, Celso Ad Castillo. Aside from doing the Charito Solis project, she also did a film with Dolphy, her first after co-starring with him when she was just a child actress.
Nora Aunor’s 1979 acting recognition (3) – Best Actress from Metro Manila Film Festival and FAMAS; and a nomination from URIAN, all for “Ina Ka ng Anak Mo.”
Vilma Santos’ 1979 acting recognition (1) – Best Actress nomination from FAMAS for “Halik sa Kamay, Halik sa Paa.”
Full Confrontations – “…Filipino movies are nothing if they do not have confrontations, and Ina Ka ng Anak Mo has one confrontation after another. The best one occurs when Aunor sees Rodriguez and the baby for the first time. Aunor silently moves from shock to hurt to rage to hysterics.The scene is spoiled only at the end, when she bursts out that she will see the pair in court; in the heat of such passion, no Filipina will think of impersonal legal proceedings. More characteristic would have been a search for a weapon or for an exit door. Brocka specializes in acting vehicles. Aunor clearly deserves the Best Actress Award. In fact, she deserves it more than Rodriguez, if only because she is younger and has less experience. Before Ina Ka Ng Anak Mo, only Charito Solis could stand up to Rodriguez; now Aunor is on par with both veteran actresses. Even Aragon, not one of our best actors, gives an adequate performance opposite the two women; his success must be largely due to Brocka’s direction…” – Isagani R. Cruz, TV Times, January 20 -26, 1980 (READ MORE)
Good Model – “…Another “good” movie is “Modelong Tanso” directed by Cirio Santiago. It is based on a novel by Nerissa Cabral. This movie has one hell of a different plot: that of an obsessed woman who would get wealth and power against odds. The woman (ably portrayed by Charito Solis), forsakes husband, morals, children, for the sake of the over-riding ambition. The driving force is rooted in an impoverished childhood. She had to beg for food. She would get out of her squalid surroundings by any means. Only trouble was, she was still at it, long after she had left the barung-barong. Ang bigat ng paper ni Solis dito. At believeable siya. The conflict in this film comes off naturally. No issue is forced each incident is the result of a logical buildup in the plot. Vilma Santos, who marries a filthy rich fag in this movie, sees that she is starting to take up to her mother’s ways and stops, in this time, Solis, however, remains “unreconstructed” up to the very last. As the movie ends, she has assumed command of an even bigger business empires. Nagustuhan ko ang pelikulang ito dahil may sinasabi. It should have won some awards. The fact that it didn’t again speak of the “consistency” of the judges…” – Ros H. Matienzo, JEH Jan 21 1980 (READ MORE)
Post-1979 – The December festival favoured Lolita and Nora, both were recognized in the festival awards Night. Their rival Charito and Vilma take the consolation of the fact that their film remained one of the top revenue earner. It’s the end of the decade and both Nora and Vilma are looking forward to a brighter career. Both wanted to remain as bankable and popular. For Nora, the end of the 70s cemented her reputation as an actress. For Vilma, the end of the decade seem to be a disappointment, at least in awards derby, as she seems to be snub by the award giving organizations several times. She has promised herself not to expect to win any award.
In the 1980’s, Nora Aunor’s Superstar show was losing viewership and her box-office appeal was also in question. Suddenly, the 70’s superstar was being eclipsed by a non-singer but an excellent dancer and versatile actress Vilma Santos. She has just scored her first of four grand slams for the movie Relasyon and continued to reign as the Longest Box-office Queen of Philippine Cinema. And slowly but surely, her VIP (Vilma In Person) TV show was gaining patronage/high ratings too from the precious class ABC households nationwide, TV advertisers’ prime target audience for their products.
Smart Move – There was no stopping Vilma Santos. She was about to conquer the TV musical-variety genre where Nora Aunor ruled for years. Early on, Vilma Santos had rough sailings with her musical variety show. VIP was being broadcast from Channel 2, which had a bad reception among TV homes nationwide, and was no match to the more modern RPN Channel 9 where Nora’s Superstar show was simultaneously shown from Luzon to Mindanao in vivid, crisp color. When VIP moved to GMA Channel 7, it was the best move that Vilma’s think tank ever did. With better satellites, shrewd marketing, state of the art facilities, and more ambitious production numbers and with the Dancing Queen Vilma at the center of it all, and with the genius of Maribeth Bichara’s choreography and musical concepts written all over the show – “Vilma!” became the most watched and the most awarded TV show in the musical/variety category.
52 – Every Friday, 52 weeks a year, there was Vilma Santos’ most awaited opening number that never failed to surprised, amused and elicited ooohhhs and aaahhhs as the TV Musical Variety Queen won the hearts of music and dance aficionados here and abroad. Who would ever forget these outstanding, well-rehearsed, high performance level and unforgettable numbers?: Madonna — The Madonna Material Girl number, which would make Madonna proud. She sashays, gyrates, and pirouettes ala Tina Turner for Vilma’s version of Private Dancer.? (“I’m your private dancer, a dancer for money, do what you want me to do?” Talbog ang Burlesk Queen! My most memorable Maribeth B. and Vilma Santos sexy number was when they showed their legs and swing those hips as the Swing Out Sisters belt out their number one hit Breakout…The “A Chorus Line” ensemble, “On Broadway” with Queen Vilma leading the group with a hat, gloves, a cane and a glossy costume. Who would ever forget her swing number with then sweetheart Ralph Recto? Or a dance number with the late Nida Blanca? Or a naughty, haughty dance number La Conga, sung by Gloria Stefan? And many, many more production numbers that were shot from Luzon to Mindanao, and even in the U.S., like The Raging Waters in California.
Imitated – Vilma! was imitated but never equaled by the fly by night copycats: Snooky Serna, Maricel Soriano, even Alma Moreno in Love-liness. Sharon stuck to singing and wers-wers English. At one time, Nora Aunor was guest. Pinaluhod lahat sila ni Ms. Vilma Santos! Whenever a Regal or a Viva movie promo was in progress, they all trooped to the ratings winner Vilma! From GMA studio, to the Metropolitan Theater, Vilma! made history. From the cha-cha, the boogie, to tinikling to meringue and the swing – Vilma did them all. She was everybody’s Ate Vi or Tita Vi. The TV Queen. The Dancing Queen, and how! Here are some of the awards the Queen Star and her famous Vilma! show had won: • 1987 STAR Award Best Musical Variety Show Host
• 1987 CMMA Best Musical Variety Show
• 1988 STAR Award Best Musical Variety Show Host
• 1988 STAR Award Best Musical Variety Show
• 1988 CMMA Best Musical Variety Show
• 1989 STAR Award Best Musical Variety Show
• 1989 CMMA Best Musical Variety Show
• 1990 CMMA Hall of Fame in Musical Variety Show
• 1990 STAR Award Best Musical Variety Show
• 1990 New York International Awards for TV Finalist
• 1991 STAR Award Best Musical Variety Show
• 1991 Dove Awards Best Musical Variety Show
• 1992 STAR Award Best Musical Variety Show
• 1994 STAR Award Best Musical Variety Show
• 1998 STAR Award Ading Fernando Lifetime Achievement Award
My wish: Please bring back Vilma!, the dancer and entertainer par excellence, even if it’s just one show. Sayaw, Vilma, sayaw! The whole world awaits. Who cares if you’re 51? Tina Tuner is almost 70. Vilma, you are the Eternal Youth and the Dancing Queen Forever! – Mar Garces, V magazine, 2005 Global Vilmanians
Vilma Santos sees nothing wrong with breast implants. “A lot of women get it,” she said. “Why are we making a big fuzz about it?” Inquirer Entertainment sought the opinion of the A-List actress-turned-Batangas governor on the report that President Gloria Macapagal-Arroyo had a breast implant procedure done sometime in the 1980s. According to Arroyo’s deputy spokesperson Lorelei Fajardo, the President was “offended” by talk about her breast augmentation. The Chief Executive recently had a lump on her left breast removed.
“Our President may be the most powerful person in the land, but she’s also human. There are things that should be left private,” said Vilma in exclusive interview on the set of her upcoming TV special on ABS-CBN. “If you study it carefully, would talking about it have a positive effect on the nation’s economy? Let’s give the President the respect that’s due her.”
Not ready – While the award-winning actress said she respects whatever view the President may have of cosmetic surgery, she pointed out that she has not had any beauty enhancing procedure on herself. “I have nothing against it. I’m just not ready for it now, not even for Botox,” said Vilma, who at 55 is aging gracefully. For five Saturdays this August, Vilma will be seen on the Kapamilya channel in a TV special titled “Vilma: A Woman For All Seasons.” A combined documentary and reality show, “Vilma” will feature the subject as a movie and TV icon, as well as her life as a wife to National Economic Development Authority chief Ralph Recto and mother to sons Luis Philippe and Ryan Christian. It will also discuss her being a symbol of woman empowerment.
New movie – The show is expected to drum up interest for Vilma’s forthcoming movie, “In My Life,”—her first in five years. ABS-CBN special projects group head Chit Guerrero says Vilma “will get to share with younger stars what she has learned over the years. You’ll see something that hasn’t been done yet on local television.” Wearing a Danilo Franco off-shoulder black dress and a pair of Stella Luna pumps, Vilma sat with the Inquirer for this interview. We see your youngest son Ryan Christian on TV, too.
Does this mean you don’t mind his being exposed to show biz at an early age, like you? I don’t mind, but you see, he’s really not that active in the business. He just did one TV commercial and appeared on “Goin’ Bulilit” during the summer break. School is still his priority. He’s in seventh grade now and is an honor student.
Did you ever imagine that you’d be working on a film with your eldest son Luis? I never thought so. I found working with him a challenge. There were times when I wanted to coach him but I always stopped myself. I only remember telling him one thing: “Anak, di ka nagho-host dito. You’re portraying a role.” I believe in our director (Olive Lamasan). She’s the captain of the ship. We follow her. Minsan napapagalitan n’ya si Luis. I just keep my mouth shut. Luis is super kulit in real life, but when we were working he’s serious, quiet and focused. He was ready with his lines and he followed what the director told him to do.
After working for more than four decades in show biz, do you still have a dream role? I still want to do a lot of things. I never expected I’d land this role, for instance. This is something new for me. I don’t want to be complacent just because I’ve gotten awards for the roles I’ve played in the past. This job is a continuous learning process. You have to continually hone your craft. You’re the most awarded Filipina actress.
You’ve also won awards as a public servant. Is there anything else that you want to win an award for? I simply feel very blessed. I appreciate the recognition that other people give me. I consider awards as bonuses for my hard work. They inspire me to do more. They’re indicators that I’m on the right track, but I don’t work for the sake of getting awards. Nakakadiskaril ’yun.
You’re very visible on TV these days because of your commercials. What’s your policy on accepting product endorsements? I get a lot of offers that require me to be seen cooking and washing the laundry. I turn them down. I don’t cook or do the laundry. If I’d endorse something, it has got to be something that I really use. I ask a lot of questions about the product. My shampoo commercial, for example, carry the theme “Ibalik sa nature.” I had asked if the product really uses natural ingredients like aloe vera. I’m very meticulous.
You play two roles, as a show biz icon and a public servant. Which is more difficult to portray? It’s tough to be a public servant. I grew up in show biz. I was 9 when I started working. It’s more manageable. Politics is different. Iba ang labanan. Kung kailangan na one inch ang kapal ng mukha mo sa show business, dapat sa pulitika, five inches. If I may say so, I didn’t ask to become governor. God gave this role to me. There’s a big difference between ambition and destiny.
You have offers to run for Vice President. Yes, there are offers. I’m not meant for that kind of role. I’m not interested in running for a national position, but I would want to run for governor again. I know what I want for Batangas.
Would you campaign for Edu Manzano (Luis’ dad) in case he decides to run for public office? Walang problema d’yan. The only difficulty I see is if we end up being members of different parties. In politics, affiliation does matter.
How do you handle death threats? The death threats I got a few years back almost made me want to quit. But Ralph reminded me that it’s part of my job. I don’t want to disappoint my constituents by quitting. Now, I just offer a prayer to God every time I leave for work. I still get scared, but I can’t keep hiding forever. After all, I have nothing but good intentions for the people.
Have you thought about your legacy in show biz? I want to be remembered as an actor who makes inspiring and relevant films. I’ve dedicated more than half of my life to show biz.
How do you compare actors during your teen years to young actors today? We were not as many as the number of teen actors today, that’s why mas madaling mag-stand out noon. Today’s artists all know how to dance, sing and act well. All of them are good-looking. The competition is stiffer now. You have to have that X-factor to survive. But when it comes to professionalism and learning things the hard way, mas sanay kami. I guess the most important thing is to take your career seriously. – Marinel Cruz, Inquirer Jul 11, 2009
Novel to Film “…”Dekada ’70,” the eagerly awaited filmization of Lualhati Bautista’s seminal novel in the explosive ’80s, has eight nominations. Best director nominee Chito Rono successfully focuses the novel’s many-sided dimensions on a mother’s stirring from domestic conventions and sensibilities as her family copes with the changes wrought by a collapsing order. The movie, written by Bautista herself and nominated for best screenplay, manages to provides viewers, particularly the young, with the feel of the Marcos years, reacquainting them with a particularly sordid passage in history when innocence was ravaged and continuity was ruptured. The wonder is that the movie did not get the lion’s share of the technical design (Manny Morfe), and sound (Albert Michael Idioma and Alex Tomboc) – should at least suggest its achievement. Vilma Santos and Christopher de Leon are strong contenders for best actor and best actress, while yound actor Piolo Pascual is nominated for best supporting actor. The 26th Gawad Urian of the Manunuri ng Pelikulang Pilipino, the society of respected film critics, will be held on May 17 at the AFP Theater…” – Lito B. Zulueta, Philippine Daily Inquirer, April 28, 2003 (READ MORE)
The Light “…Topping the Urian for surprise value was the join award for Best Picture to “Dekada ’70” and “Mga Munting Tinig,” This was unexpected because “Dekada” was a major production that took many months to make, while “Munting Tinig” was a small low-budget film that was shot in only a few weeks. Despite this, both films were cited as the best local movies for 2002. A possible interpretation of the twin awards could be “Dekada” is cited for tackling asn important period in the country;s political life with extensive resources of a major studio, while “Munting Tinig” is honored for its ability to dramatize a simple, heartwarming tale that provides much-needed inspiration, despite its limited budget. In other words, the two films’ contrasting approaches are both needed by local movies today, hence the decision for them to share the Urian’s Best Picture award…The Best Actress trophy that Vilma Santos won for her performance in “Dekada ’70” is another noteworthy decision because, when the film was first shown, even veteran observers rapped Vilma for her relatively “passive,” “colorless” and “undramatic” portrayal in the movie. This was because her character, the wife and mother in the movie’s central Bartolome family, spent most of the film’s running time meekly following her husband’s dictates, like most women in the ’70s. Some people took this as a weak thespic stance, and we had to point out in some articles taht his wasn’t true at all. In fact, given the convention of the movie’s time frame, this “passivity” was an astute artistic decision on Vilma’s part, and thoroughly merited by her character and the period in which she lived. In fact, what Vilma did in “Dekada” was more difficult because it was so controlled and subtle, it would have been far easier for her to melodramatically tear up the scenery and act up a storm. Gratifyingly, by the time the film awards season came around, enough people has seen the light, and Vilma went on to win a phalanx of Best Actress trophies, now including the Urian…” – Nestor U. Torre, Philippine Daily Inquirer – May 24, 2003 (READ MORE)
Anak natin si Piolo? “…Gawad Urian best supporting actor Piolo Pascual (“Dekada ’70”) arrived early at the awards ceremony Saturday night and reserve a seat for “Dekada ’70” costar Vilma Santos, who would later be declared best actress. Vilma and Piolo played mother and son in the moving Chito Rono movie based on the screenplay by Lualhati Bautista, who won for best screenplay. Piolo was very affectionate to “mom” Vilma, hugging and kissing her when she arrived. He was seen clasping her hands moments before his name was announced as best supporting actor at theTeatro Arturo Enrile in Camp Aguinaldo, Quezon City…The movie critics’ group paid tribute to writer Ricardo “Ricky” Lee by naming him the recipient of the Natatnging Gawad for lifetime achievement for his invaluable contributions to the film industry for more than three decades. The award was handed to him by three of the many actresses who breathed life to his creations – Vilma (“Relasyon”), Dina Bonnevie (“Gumapang Ka Sa Lusak”) and Gina Alajar (“Salome”). Lee has so far written about 120 screenplays and won some 50 awards. His most recent work, Marilou Diaz-Abaya’s “Bagong Buwan,” was honored by many local and international award-giving bodies…Edu Manzano was very effective as the show’s only host. He kept the audience awake and laughing with his witty remarks, delivered with his trademark deadpan expression. Even Piolo and Vilma were not spared from Edu’s jokes. he imitated Piolo after the young actor delivered a very emotional acceptance speech. When Vilma said she was sharing her award with her costars in “Dekada ’70,” particularly to her “eldest son” Piolo, the camera caught Edu having his own dramatic highlights.” “What?” he asked his ex-wife in mock surprise, “Anak natin si Piolo?…” – Marinel R. Cruz, Philippine Daily Inquirer, May 20, 2003 (READ MORE)
Star Awards “…Star for All Seasons Vilma Santos still gets the jitters when accepting acting awards. She bested five other equally worthy nominees to the best actress throne in last Saturday’s Star Awards for Movies at the UP Theatre. She won for her moving portrayal of a timid mother empowered by the death of her son in Chito Rono’s period drama, “Dekada ’70,” which was an official entry in the Metro Manila Film Festival (MMFF) last December. Ironically, Ara Mina, who edged out Vilma from the best actress derby in the MMFF, was not among those cited by Star Awards. Vilma competed with Sharon Cuneta (“Magkapatid”), Maricel Soriano (“Mano Po”), Claudine Baretto (“Kailangan Kita”), and Alessandra de Rossi (“Mga Munting Tinig”)…” – Marinel R. Cruiz, Philippine Daily Inquirer, March 11, 2003 (READ MORE)
Star For All Seasons 
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