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In Memoriam

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Dolphy – Rodolfo Vera Quizon, Sr., OGH (July 25, 1928 – July 10, 2012), known by his screen names Dolphy, Pidol, and Golay (1944), was a Filipino comedian-actor in the Philippines. He is widely regarded as the country’s “King of Comedy” for his comedic talent embodied by his long roster of works on stage, radio, television and movies. Dolphy was born on July 25, 1928 in Calle Padre Herrera (now P. Herrera St.) of Tondo, Manila. His father was Melencio E. Quizon, a ship engine worker in the Atlantic Gulf and Pacific Company of Manila, and the son of Modesto Quizon and Adorable Quizon (née Espinosa). His mother was Salud V. Quizon (née Vera), the daughter of Maximo Vera and Ninay Vera (née de la Rosa). He was the second eldest of ten children. Dolphy sold peanuts and watermelon seeds at movie theaters as a boy, which enabled him to watch movies for free. He was about thirteen when World War II started. He did odd jobs including shining shoes; attaching buttons at a pants factory; sorting bottles by size; working as a stevedore at the pier; trading; and driving calesas. In his free time he regularly watched stage shows at the Life Theater and the Avenue Theater. His favorite performers included the comedy duo Pugo and Togo, and the dancers Benny Mack and Bayani Casimiro. He started performing onstage during the Japanese occupation of the Philippines. Dolphy was turning 17 when Benny Mack got him a job as a chorus dancer for a month at the Avenue Theater and subsequently on the Lyric Theater. He also appeared in shows at the Orient Theater. Golay was his first stage name. During air raids, they would interrupt the show and run for the air-raid shelter in the orchestra section together with the audience. If no bombs exploded, the show resumed…Dolphy died on July 10, 2012, 20:34 (Philippine time, 01:34 UTC), at the age of 83 due to multiple organ failure, secondary to complications brought about by pneumonia, chronic obstructive pulmonary disease and acute renal failure. President Benigno Aquino III declared July 13, 2012 as “National Day of Remembrance” in honor of Dolphy’s contributions to the Philippine showbiz industry. – Wikipedia (READ MORE)

“…Dolphy and Vilma Santos did four films together. The first one was in her first year in show biz and in a Dolphy-Chichay film. After six years, the two reunited in one of early films of Nida Blanca and Dolphy. The film was sort of about family planning and birth control. Vi was in minor role and one of the child actors featured in the film. They followed this up with minor roles in the Cirio Santiago’s all-star-cast film. By later part of 1970s, both Dolphy and Vilma became a regular staples in award shows receiving several trophies as box office king and queen. Finally, after almost a decade from their last outings and no longer his film daughter, Dolphy and Vilma did their last film (to this day), this time, Vilma played the leading lady, in a film, ironically, about show business. Also, that year, Doply became the only male actor who portrayed Darna, the female comic-super-heroine in Darna Kuno. Not to be undone, Vilma will reprise the role the following year in her fourth and final film as Darna in Darna at Ding. At present time, both superstars made headlines as contenders for Philippines’ National Artists honors. Vilma respectfully and publicly asked for Dolphy to confer the title ahead of her…” – RV (READ MORE)

Mario O’Hara (Director, Writer (Rubia Servios) – Mario Herrero O’Hara (born April 20, 1946 – died 26 June 2012) was an award-winning Filipino film director, film producer and screenwriter known for his sense of realism often with dark but realistic social messages. He was born in Zamboanga City on April 20, 1946. His mother was Basilisa Herrero, who has Spanish lineage and hails from Ozamis Oriental. His father Jaime O’Hara was the son of Irish-American Thomasite; Jaime was a member of the UP Dramatic club. Mario had eight brothers and three sisters. Because Jaime was the son of an American citizen, Mario’s family was eligible to apply for US citizenship; however, Mario rejected any such offers…He was born in Zamboanga City on April 20, 1946. His mother was Basilisa Herrero, who has Spanish lineage and hails from Ozamis Oriental. His father Jaime O’Hara was the son of Irish-American Thomasite; Jaime was a member of the UP Dramatic club. Mario had eight brothers and three sisters. Because Jaime was the son of an American citizen, Mario’s family was eligible to apply for US citizenship; however, Mario rejected any such offers. – Wikipedia (READ MORE)

“…In 1978, he wrote the screenplay for Lino Brocka’s Rubia Servos. This led to the first award in his film career (Best Screenplay at the Metro Manila Film Festival)…” – Wikipedia

Marilou Diaz-Abaya is a multi-awarded film director in the Philippines. She is the founder and current president of the Marilou Diaz Abaya Film Institute and Arts Center, a film school based in Antipolo City, Philippines. She is the director of José Rizal, a biopicture on the Philippines’ national hero…Diaz directed and released her first feature film, Tanikala (Chains) in 1980. Since then, she has been one of the most active and visible directors in Philippine cinema…Her early films Brutal, Karnal (Of the Flesh), and Alyas Baby Tsina, sharply condemn the oppressive social system during the administration of Philippine President Ferdinand Marcos. When the Marcos was deposed in 1986, Diaz left filmmaking. – Wikipedia (READ MORE)

“…Batangas Governor Vilma Santos, who was directed by Diaz-Abaya in one of her landmark films, said, “Direk Marilou was like a mother to me, especially on the set of ‘Baby Tsina.’ I remember that she would always bring for the cast members pandesal and Spanish sardines, which we ate before shooting. “I love her and her husband, Direk Manolo, who I always requested to be my cinematographer in all of my Eskinol commercials before. “The last time I saw Direk Marilou was at the wake of actor Johnny Delgado. She was already sick then. She was a fighter. She told me, “kaya ko ‘to! I pray for her family and for the eternal repose of her soul…” – Philippine Daily Inquirer, Oct 09 2012 (READ MORE)

Celso Ad. Castillo began directing films mid-60′s at an early age, but he has since then gained reputation for many other aspects of the craft particularly scriptwriting and acting. In the Filipino movie industry, he holds the unique repuation of being controversial, trendsetter,enfant terrible and messiah of Philippine cinema, and his track record justifies it: he introduced artistry and commercialism in sex films (nympha) when the two were considered incompatible, and introduced sex in artistic projects ( Ang Pinakamagandang Hayop sa Balat ng Lupa/The Most Beautiful Animal on Earth)when moralistic repression was in vogue. An unfortunate and unfair consequence of the controversy is the recognition due him as one of the finest film commentators on the Philippine social scene, with a visual fluency unmatched by any other contemporary filipino film director. – Celso Ad Castillo Web-site (READ MORE)

“…Castillo gave Vilma Santos her first mature role in Burlesk Queen resulting with her first local film festival best actress award. He also directed Pagputi Ng Uwak Pagitim Ng Tagak where Vilma Santos starred and produced. The film received several best picture awards and was considered one of Castillo’s best works…” – RV (READ MORE)

Luís Mercado (August 8, 1928 – March 15, 2012) also known as Luís Gonzales, is a Filipino actor who appeared in more than 100 films during his career, most of them by Sampaguita Pictures. Raised in Tondo, Manila, Gonzales may be best known for his portrayals of former President Ferdinand Marcos in two biographical films in the 1960s: Iginuhit ng Tadhana (“Marked by Fate”, 1965), a political propaganda film; and a dramatic film, Pinagbuklod ng Langit (“Heaven was Gathered”, 1965). Actress Gloria Romero starred opposite him as Imelda Marcos in both films. Gonzales and Romero starred in numerous other films together as well. They first worked together on the 1955 film, Despatsadora. In December 2010, Gonzales received a star of the Eastwood Walk of Fame, which marked his last public appearance. – Wikipedia (READ MORE)

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

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A Very Long Rivalry – 2004

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Pre-2004 – After 1989, Vilma and Nora continue to fight for acting supremacy. In 1989, Vilma was elevated to the FAMAS Hall of Fame making her ineligible to compete with Nora. With this, Nora won her fifth trophies which also made her elegible for the Hall of Fame. Also this year, there’s “First” in both Vi and Guy. Vilma’s Star Award best actress was her first from the PMPC while Nora’s Luna Award best actress was her first academy award. At the URIAN, they tied as their best actress. When the award seasons ends, Nora and Vilma completed and releases three films, Nora Aunor released the much loved, “Andrea, Paano ba ang Maging Isang Ina” while Vilma tapped A-1 list directors, Lino Brocka for “Hahamakin Lahat” and Laurice Guillen for “Kapag Langit Ang Humatol.” It was a repeat in 1991, Vilma and Nora remained prominent in the acting contest, with Nora taking a landslide advantage for “Andrea…,” winning nine nods while Vilma recieved only four nominations. Then the next year, it was almost an even outcome for both, Nora’s “Ang Totoong Buhay ni Pacita M.” earned her seven recognitions, six wins and a nomination from URIAN. The Urian award went to Vilma for “Ipagpatawad Mo.” She also received several nominations. The following year, Nora did not complete any film while Vilma releases “Sinungaling Mong Puso,” an acting triumph for Aga Muhlach. She also appeared in cameo role in fantasy festival film “Engkanto.” In 1993, both Nora and Vilma releases two films each. Nora did the forgettable “Inay” and the tired “Ligaw-ligawan, Kasal-kasalan, Bahay-bahayan.” Vilma was more successful with the socially relevant AIDS film, “Dahil Mahal Kita, The Dolzura Cortez Story” and her first Chito Rono film and the smash hit, “Ikaw Lang.”

The next year, Vilma Santos earned more trophies (seven best actress awards and two nominations) while Nora received a lifettime achievement at FAP and her sole acting trophy for “Inay” from the Young Critics Circle. Then in 1994 Vilma followed the massacre trend with “Lipa: Arandia Massacre,” a big hit and the forgettables, “Nag-iisang Bituin” and “Relaks ka Lang, Sagot Kita.” Theres no Nora movie in 1994. Her big screen absence were a blessing because the following year, she released two hit films, “Muling Umawit ang Puso” and “The Flor Contemplacion Story.” Theres No Vilma movie in 1995. As Nora Aunor reaped the rewards of the previous year, she won eight trophies plus international recognition, she released the critically acclaimed “Bakit May Kahapon Pa?” while Vilma teamed up for the last time with FPJ as her comeback movie after her absence in the forgettable and flop movie, “Ikaw Ang Mahal Ko.” The next year, Nora Aunor releases two film. She teamed up with Judy Ann Santos in the dissapointing film, “Babae” and much more dissapointing, “Mama Dito sa Aking Puso.” If 1997 was a big dissapointment for Nora, Vilma also has a film slump, her only film, “Hanggang Ngayon Ika’y Minamahal” with perennial love-team, Christopher de Leon was a big dissappointment too. There is no Nora movie the following year, while Vilma finally came-up with a more serious project, Lualhati Bautista’s “Bata, Bata…Paano Ka Ginawa?” and gamely appeared in a cameo role in “Ang erpat kong Astig.”

The following year, Vilma reaped more acting trophies plus international recognition for “Bata, bata…” and at the same time, becoming more like a seasoned politician as she entered politics during the last few years of this decade. For Nora, 1999 started her becoming the darling of indie films, she released “Sidhi” co-starring with Albert Martinez. While there is no Vilma movie in 1999, the coming of new millenium turned out to be a lucky year for her. She did “Anak” with Claudine Barretto, a record-breaking film of year. It was clear by this time that Nora Aunor’s film career is on decline, there is no film for her in the next three years. If Nora’s film career is on decline, it seems like Vilma’s film career is experiencing the same but her camp explained, due to her tight schedule as politician, her tight schedule doesn’t allowed her to do film projects. On occassion she find time to do special one, in 2002, she entered the local festival via Chito Rono’s in “Dekada 70,” in another Lualhati Bautista novel. Her rare film excursion were fruitful as she earned nine acting trophies and another international recognition in 2003. Despite this, theres no more new film for her and also for Nora. The following year, their fans rejoice as both came up with a respectable projects, an indie film for Nora and a commercial mainstream film for Vilma. Perhaps a final showdown is brewing?

Resurgence Rivalry – “…Vilma Santos’ triumph as Best Actress – for Mano Po 3 (My Love) at the Metro Manila Film Festival in December 2004 parallels her greatest rival Nora Aunor’s similar feat at the Manila Film Festival last June, where Nora won for Naglalayag. So it goes without saying Nora and Vilma will once again be major contenders for the top acting honors in this year’s awards season. Nora, for the Maryo J. delos Reyes opus in which she portrayed a lady judge who fell in love with a man half her age; while Vilma, for Joel Lamangan’s romance-drama about a Chinese anti-crime crusader torn between her family and a past love. Nora versus Vilma. Their acting duel is never ending. All these years, their fight for the Best Actress plum in practically all the local award-giving bodies has been much anticipated since…Kung susumahin, mahirap nang dagliang mabilang ang mga award nina Nora at Vilma, through the years, para sa mga pelikulang tinampukan nila. Ito rin ang puntong hindi ang pag-quantify sa mga natamong parangal ang mahalaga, kundi ang pagpapatunay na walang mintis sa kanya-kanyang laban, sa kahusayan, ang dalawang pinakamahigpit na magkaribal sa larangan ng pagganap pampelikula…” – William Reyes (READ MORE)

Nora Aunor’s 2004 acting recognition (9) – Naglalayag – Best Actress from Brussels Independent Film Festival (Belgium); BALATCA (Batangas-Laguna Association of Teachers of Culture and Arts); Gawad Tanglaw Awards; Manila Film Festival; PASADO (Pampelikulang Samahan ng mga Dalubguro); S Magazine People’s Choice; YHC (Young Heart’s Club); 1st Cape Tip Festival; and a nomination from URIAN

Vilma Santos’ 2004 acting recognition (6) – Mano Po 3: My Love – Best Actress from MMFF; Gawad Suri Awards; Star Awards; Gawad Tanglaw Awards and nominations from FAP; URIAN

Pain and Courage – “…Nora Aunor delivers a remarkably competent and mature performance, exhibiting not only skill and talent but fine dramatic sensibility as well. Aunor envinces an acting style that is sure, keen and affecting. Her fortitude and daring to star in this type of film, manifests rare artistic insight into the problematics of social change. In the much talked about funeral scene, Aunor saturates the screen with the pain and courage of a woman on the brink of the darkest despair. Yul Servo’s smoldering passion and repressed aspirations lift the film to its heights, his performance in fact maps out the film’s journey from the thickets of conflict to a most soulful destination. Servo avoids the well trodden path of facile tearjerker techniques and cogently reiterates the tenderness, helplessness, violation and rage that consume his character. The writing merits of Naglalayag offers solid characterization that sustains momentum and surges into a tour de force conclusion. The screenplay’s achievement rests on its skillful appropriation of the conventions of a commercial feature in its earnest effort to come up with a truly artistic, purposive and serious motion picture. The film moreover exposes the complex processes by which people are lured into, weakened and trapped in a web of crime and poverty, from which death becomes the only possible escape…” – Jojo Devera (READ MORE)

Strange Casting – “…Without the Chinese trappings, Mano Po 3: My Love is a typical Vilma Santos movie designed to highlight all the wonderful elements that make her a star for all seasons. Again, she sobs, laughs and acts pensive in that distinctive fashion Santos is famous for in one sudsy scene after another. Yet even as an emblematic Vilma Santos movie, Mano Po 3 is below par. The Star was better in other films that had better material. In this movie, screenwriter Roy Iglesias and director Joel Lamangan shamelessly force the star to imitate Meryl Streep in a scene stolen from Clint Eastwood’s Bridges of Madison County (1995). And like the two first installments, Mano Po 3 features some strange casting. Jay Manalo is supposed to be a contemporary of de Leon and Santos but when you see them together, Manalo looks more like their son than a classmate. Lamangan’s storytelling is fluid and deliberate but being deliberate can be deadly when almost every scene is all talk. Talk is fine if the words are inspiring but when the lines are pallid and of the telenovela variety, we’s just rather stick to the Korean soap they show on TV. While actors deliver modulated performances, this writer feels that Christopher de Leon’s role is too small to warrant a best actor nomination and award. I think he should have listed in the supporting category but I’m opening a can of worms here. Let’s just be thankful that this is the last Mano Po movie to be ever made…” – Dennis Ladaw, The Manila Times, Feb 28, 2005 (READ MORE)

No Fear – “…In seeing both films, Vilma gave a far more superior performance than Nora Aunor’s “Naglalayag.” Again, how can anyone not noticed? I mean, it could probably be blamed to their directors. Lamangan able to come up with a far more superior script and direction than De Los Reyes. Vilma’s role composed of so many highlights that are so hard to pick which one is the best compare to one from Nora’s film. Funny both Vilma and Nora’s film has some similarities. Both have a scene were they both accepted an award and they have to do speeches in front of adoring audiences. Another similarities, the two characters have to dealt with the gossiping and the bad publicity that their personal lives creates affecting their respective communities. Although in Naglalayag, Nora’s character wasn’t fully established as how’s her overall standing/status in the community. Now the difference, Vilma’s crisped delivery of lines came as natural, even when she talks in Tagalog, English or Cantonese/ Mandarin but Nora’s delivery of lines were as awkward as a kid trying to learn how to speak English for the first time. Her tendency to make “SSSS” sound in every English word she has on her lines were very distracting to audience and at times laughable. Her clothes are dated too, for a rich judge, one may wonder if she’s just a thrifty judge or just don’t know how to dress up, the opposite can be said with Vilma, her pink/orangey gown on the death scene was elegant. Admittedly, both Vilma and Nora have no fear of showing their age. There was a scene in both movies where they didn’t wear any make up and their faces showed their real ages. Overall, Nora’s performance lacks control and finesse while Vilma’s performance excels in restraints and effectiveness. Nora’s not credible as Dorinda, the judge while Vilma became Lilia Chiong Yang, the anti-crime crusade activist and businesswoman …” – RV (READ MORE)

Post-2004 – After a successful 2004 where she seem to reclaim the top spot by winning another international award, Nora Aunor released two indie film in 2006, Ingrata and Care Home both 2006. Unfortunately both films failed commercially. Meanwhile Vilma did “In My Life” in 2009 where she won six best actress (STAR, GMMSF, MTRCB, GTA, GSA, Gawad Genio) and two nominations (URIAN; EGSA).

2012 – “…The following year, 2005, both Nora and Vilma competed in every acting award contests. In the mix were Claudine Barretto for “Milan” and Judy Ann Santos for “Sabel.” Nora won a commanding lead with six wins and one international recognition over Vilma’s only four, plus Judy Ann and Claudine’s entry to the contest took some trophies out of the two veterans. There is no films for both veterans the following year. More so for Vilma who will not do another full length film until 2009, she appeared in a guest role as herself in 2006’s “D’Lucky Ones.”  For Nora, she came up with two respectable indie films in 2006, “Care Home” and “Ingrata” both were ignored by many critics and failed commercially.  She will not do another film until 2012, some considered her big comeback, a special role in period movie, “El Presidente” and the much praised, Brilliante Mendoza’s “Thy Womb.” Like Nora, Vilma is also absent on big screen for so long until her big mainstream film with son, Luis Manzano and John Lyod Cruz, Star Cinema’s “In My Life.” The film received a mix reviews but was a commercial success. Vilma again will not do another film until 2012, the horror film, “The Healing.”  Both “The Healing” and “Thy Womb” made history.  Nora won two international awards in Australia and Italy and a Manila Film Festival trophy, her historical eight best actress.  While Vilma’s movie did not earned her any acting trophy, the film was a commercial success ranking among top ten films that earned more than 100 Million Pesos in its exhibition and reviving the horror trend.

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The Vindication of Celso Ad Castillo

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‘Twas two weeks before Christmas – and Metro Manila Filmfest time. With the exception of Armida Siguion Reyna’s Mga Bilangong Birhen, all the contending films had either been premiered or previewed, various places yet: at Magnatech, Greenhills, San Miguel Auditorium, Phil-Am Laboratories, Ocean Cinema. Some of the films, such as Sugapa and Banta ng Kahapon had been shown twice, thrice already. That early one film had very surprisingly become heavy favorite – Celso Ad Castillo’s Burlesk Queen. Its inclusion in the Filmfest was in itself a big surprise since only very few knew it was in the running. Everyone who saw the film had noticed at least one good point, sending many people’s careers soaring. Even before the film had its regular run it was already being rumored that Vilma Santos had upped her price from P100,000 to thrice that much. Can anyone beat that? What about Celso Ad Castillo, Burlesk’s creator? How was he taking all the praises, the excitement his film had generated? We found him drinking and smoking in his office, which looked like it did a year ago except for some new pictures on the walls, blow-up stills of Vilma doing a striptease. Celso was taking everything so nonchalantly, so unlike him. “If I were my usual self, I would be most mayabang now,” he very casually admitted. “I’m taking all of it silently and that takes a lot of effort.” He laughed, long and hard. He was with his wife and kids in the States when he decided to do the film. It was some sort of reenactment of a part of Celso’s childhood, particularly the days he spent watching burlesque dancers at the Inday Theater. “This is where I lost my virginity,” he chuckled, making us doubt whether he was serious or not. “Burlest is very special to me,” Celso expressed. “For the first time in my life since I did Nympha I was being faithful to myself.”

As long as he could, he stayed away from the finished product, seeing it only in its entirety during the premiere and only because he had to. That is because he wants to be a “virgin” every time he starts a film, unencumbered by the glories and/or defects of his past films. “Burlesk is the work of an auteur,” he eulogized. “I practically did everything in the movie. It was from me the plot came, I did half of the script, I personally supervised the editing, recording, even the mixing and the dubbing.” What’s more, he even sang the theme song, a George Canseco composition; he even played a bit part. Except for the financing, he encountered no problem in doing the movie. The censors frowned on the title at first, considering it too risque for popular consumption, but Celso explained his purpose, settling for no compromises, requesting that the title be judged from the torality of the picture. Burlesk didn’t only retain its title – it was even passed by the Filmfest screening committee without any cuts. Celso hadn’t had a single headche with his crew, his stars. This has been so because he personally chose the men he was to work with, from the leads, the extras, down to the lowliest member of the crew. Expectedly, Celso was raving about Vilma Santos. “I’m in love with Vilma,” he confessed. “No, no, I don’t mean I want to go to bed with her, ” he qualified. “I simply care for her. I have to care for my star to be able to do beautiful things with her for the movie. “Vilma has arrived,” he continued. “Burlesk is her signature picture. From now on, she’s Number One. The way she did the climatic striptease act is tantamount to doing seven extremely difficult scenes.” It took Celso exactly seven days – nights – to shoot this particular part. “For six nights, Vilma refused to do the scene,” Celso recalled. “She was there all right, advancing one lame reason after another.

I was slowly losing my cool, till it came to a point that I refused to talk to her. Feeling my fury she gifted me with a bilao full of fruits. When she reported to the set the next day she was all ready, very willing. And she didn’t disappoint me a bit. She’s a born actress. Acting for her is no more difficult than brushing her teeth, going to the toilet. She uses Method acting without her knowing it.” For the benefit of two other men in the room, Celso explained what this Method thing is. Another performer Celso’s so proud of is Joonee Gamboa. “He’s the greatest character actor who ever lived in the country,” he swooned. Of all the players, however, it was Rollie Quizon who represented him. “Like the character he played, I used to be a weakling,” he explained. “It’s only now that I’m accepting responsibility, that I’m letting my inner self come out, that I’m really letting go.” It was money matters which troubled him a lot. Such as the time when he needed gifts as props, and there was no money to buy these with. Such as the time when he needed a generator and there wasn’t a drop of gasoline around. “If this happened to me when I was younger, say two years ago, I would have abandoned the project completely. I have changed considerably, if I say so myself. I am more mature now. What matters now is finishing the film I’m doing, nothing else.” What expectations does he have for his film? Celso face lit, giving the sweetest smile. “It will shock and shatter the whole country,” he said, “the very same way that Rocky, One Flew Over The Cuckoo’s Nest and Carrie shocked and shattered the whole world. I expect it to give the local industry a much-needed shot in the arm. My Pinakamagandang Hayop Sa Balat Ng Lupa introduced such a thing as the wet look and it gave everybody a chance to make money.

I hope Burlesk will accomplish the same.” Expectedly, directorial offers have been pouring in – Paraisong Kristal, Kandilang Bubog, Nang Ang Mundo’y Naging Laman at Dugo, being just a few of them. He has a personal project which he plans to film next year, something called Noche de Ronda. If he has his way he direct nothing but films showing the common man – “the girl who works in a siopao take-home counter, someone who is just about to die,” he cited as examples. As soon as his schedule will permit, he’ll go to Hong Kong and seek a job with Run Run Shaw. He believes this wil pave new roads for him, hopefully a Hollywood assignment. At the moment there’s nothing more he’d like to do than get out and run away from everybody, friends and foes alike, donning the thickest, darkest glasses, bumming around as is his won’t. The film has given him tremendous self-confidence. “I can take it easy now,” he stresses. “After doing Burlesk I won’t have to prove myself to anyone anymore. He talked about the film again, very obviously so close to his heart. “With it I wanted to show some kind of heroism,” he explained. “In the movie Vilma is pregnant and she knows very well that by dancing the striptease she runs the risk of losing not only her baby but her own life. Yet, she goes on, dying in the end. I want to tell the audience – The show is over but the show must go on. Before doing it anything, one should ask himself, ‘Is it worth it?” Vilma loses her life – is it really worth it?” What he fears most now is the sweet smell of success. “I couldn’t imagine myself moving around in a plane or speedboat. When I do this, I will have finally prostituted my art.” Still and all, he coundn’t be happier with the way Burlesk Queen has turned out. “Ngayon, malalaman na kung sinong tunay o hindi,” he gloated. – Robert Q. Castillo, MOD Magazine, Jan 6 1978 (READ MORE)

TV: VILMA (1986-1995) 2/2

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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)

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1978 FAMAS

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An All-Bold FAMAS: Untold Tales Behind The Scenes! This year’s FAMAS affair is the most orderly. Ang dahilan? Isa na ang kawalan ng admission tickets. Sold out! Nagtataka ang ibang movie companies, participating or not, kung bakit hindi nangyari ang customary practice na pagpapadala ng bilang ng mga tickets sa kanila. Isa lang ang VS Films sa nagtataka kung bakit limang piraso ng tickets lang ang naipadala sa kanila gayong higit na nakararami ang bilang ng nominasyon ng entry nilang “Pag-puti ng Uwak, Pag-itim ng Tagak.” Ticket ang naging pangunahing problema sa pagtatanghal. Ang mga portera ng Metropolitan Theatre, pati ng mga security guards followed instruction to the letter. Basta walang tiket, huwag papasukin. Kaya kahit na artista ka, kung wala kang tiket, bawal pumasok! Sina Al Tantay at Tet Antiquiera ay mga presentors. Pagpasok sa gate ay hinanapan sila ng ticket. Napakamot na lang ng ulo kapuwa ang dalawa nang mabatid na wala nga pala silang mga dalang tickets dahil sinabihan lang sila bilang mga presentors. Naayos din naman. Bagaman may numro ang mga tickets with corresponding seats ay hindi rin nasunod ang seating arrangements. Umupo ka kung saan mo gusto. Going to the comfort room was even worst. Papayagan kang lumabas ng portera. Pagpasok mo uli, hahanapan ka ng kaputol ng ticket mo. Ang awardee na si Director Armando Garces na bago pa lamang gumagaling sa matagal na naging karamdaman at iika-ika pang lumakad ay naisipan munang tumayo at magtungo sa CR. Pagbalik, one rude usher asked for his ticket. He was even pushed back raw nang walang maipakitang kaputol na ticket.

Paistaran sa costumes! – Anuman ang maging impression sa FAMAS, its being infamous, biased and all the bad things one could think of, still namumukod-tangi pa rin ito at siyang tanging grandiose affair na sadyang pinaghahandaan ng movie industry as one affair that shouldn’t be missed. Costumes purposely ordered for the occassion cost thousands of pesos more than whan an ordinary starlet would earn in one movie. One bold star reportedly ordered a gown worth P10,000.00 hoping her husband would win sa “Best Actor,” but he lost! Sa lahat ng okasyon, expect the unexpected from Ellen Esguerra. Dumating siyang daig pa si Queen Juliana o si Princess Grace o si Jacqueline Kennedy sa pagkabonggadera. She arrived in a carriage na parang galing sa pamamasyal sa Central Park ng New York in white gown complete with boa feather, bra-less and panty-less. Saan galing ang karwahe? “Kasalanan ko ba kung ipahiram sa akin ni Maria Montelibano?,” tanong pa niya. Her hair was done in braids, Negro-style with feathers inset, by Budjiwara. Doing it took all of four hours! Vilma Santos drew the biggest commotion. Tilian, reminiscent of the early 70’s heralded her dramatic entrance with singer-actor Junior. She was wearing an all-brown gown fresh from a fashion center of Paris with a cape and dangling ostrich feathers in the arms. Timing na timing ang pagdating ni Vi. Nagsisimula pa lang ang television coverage ng proceedings. Sinundin ni Vi ang firest interviewee na si Pilar Pilapil. Pag-entra, ang bida ulit ay ang mga portera, “Ticket n’yo ho?”

Nilapitan kami ni Rudy Fernandez. Anong feeling niya sincerely afternoon pa lang ay rumored na siyang mananalo? “Wala, okey lang, medyo kabado.” Paghawak sa kamay niya, daig pa nito ang ibinabad sa yelo sa lamig at pinapawisan gayung air-conditioned ang buong thetre. Maging and nominee at finalist for “Best Actor na si Boyet de Leon ay binabati na in advance. “No, alam kong hindi ko gabi ngayon.” As usual, Boyet came in his casual self. Nagpunta siya sa backstage. When he found out na hindi siya presentor balik siya sa may likuran ng teatro, umupo sa isang sulok at nakipaghuntahan na lang kina Rez Cortez at Lloyd Samartino. Halos magkasabay na pumasok si Nora Aunor at ilang alalay, Llyod Samartino and Jacqui Lou Blaco. “Kami,” sagot naman ni Lloyd. You mean triangle ang gabing ito? Oo lang ang sagot, ni Lloyd. Tumuloy na sa may harapan si Aunor para maupo. Mayamaya, heto na si Carmen Soriano at tinawag ang anak. Pinaupo nila si Jacqui Lou sa tabi nila ni Eddie Rodriguez. Tense ang Inday Badiday. Nakipagpustahan siya ng sinundang gabi na mananalo si Vilma. Ang five hundred niya ay mananalo ng isang libo. Dumaan ang pangulo ng FAMAS, Mario Cabling. “Balita ko ay may sariling set ka ng winners na ini-annouced sa radio program mo,” tanong ng Cabling kay Inday. “May tumawag kasi sa akin, sina Rudy Fernandez at Chanda Romero raw as Best Actor and Actress with Amy Austria for Supporting,” sagot naman ni Inday. “Tignan natin kung tama ang hula mo,” medyo may pagka-sarcastic na wika ni Mang Mario.

Ang first portion ng programa ay isang comedy of errors. Ang mga tinatawag ng presentors ay hindi umaakyat o lumalabas sa entablado. Bagkus, sa halip na ang tinawag, ibang tao ang lumalabas. Lumabas si Ruby Anna na walang plaque at ni hindi alam ang gagawin. Si Tina Monasterio ay mistulang isang fashion model sa gitna ng stage na wala rign ginawa. Tinawag si Tina Monasterio nina Amalia Fuentes at Carlos Salazar. Ang lumabas ay iba, si Josephine Garcia. Lumabas si Tito Nards bilang escort ng isang artista pero wala silang nai-prisintang plaque. Balik sila sa loob. Tawag uli kay Tito Nards. Ang lumabas ay si Rudy Gernaskey. Tawanan ang tao. Kasama ni Rio Locsin sa backstage ang tunay niyang ama, si Mr. Sta, Ana. Ninerbiyos si Rio dahil naduon daw ang nanay niya at balak siyang iuwi sa bahay nila. Lumayas pala at kumuha ng sariling bahay niyang titirhan si Rio. When it was time for her to mount the stage, biglang may nagbiro, “Andiyan na ang nanay mo, Ogie!” Takbo kaagad si Rio kung saan at ibinalot ang sarili sa kurtina ng entablado para makapagtago! Maugong pa rin ang balita na si Chanda Romero ang siyang “Best Actress” awardee. Wala si Chanda, nasa ospital daw at nagkasalit bigla. Insecure sa suot niyang fishnet-mini si Tet Antiquiera. Patalikod kasi ay litaw ang puwit niya dahil wala siyang panty! na-at-home lang siya nang dumating din sina Aurora Salve na bukas ang tagiliran ng gown, pati si Deborah Sun na laylay nga hanggang likod ang gown pero kita naman ang parang panty niya sa harapan na kulay silver.

Kurtina lang ang pagitan nina Deborah Sun at Al Tantay, reported to be feuding. Nawala bigla sa entablado si Al dahil to his right was Deborah and to his left was Rio Locsin naman, his rumored sweetheart at the moment. And in front of hims is partner Tet Antiquiera. Bumalik lang sa stage si Al nang wala na sina Deborah at Tet. Ngayon ay kausap naman niya si Rio, sa harapan ng nanay ni Mat Ranillo na si Gloria Sevilla. Sa umpukan nina Tony Santos, Sr., Amado Cortez at Leroy Salvador, isang tao raw ang kulang si Eddie Rodriguez. Tinawag. Kumpleto na raw ang casting. All three raw have one thing in common. Amalia Fuentes, finally realizing na tila they have been calling the wrong persons on stage decided: “Ako na lang ang magsasabi ng pangalan kung sinuman ang lalabas” dahil nga sa maling mga cue sheets. Di okey naman. Kaso, lumabas uli ang isang FAMAS member na ineskotan ang isang baguhan. “Sino naman ito?” tanong uli ni Amalia. Sa labas, pinapawisang maige si Johnny Litton sa pagmo-monitor sa mga celebrities na dumarating. Tagaktak ang pawis sa noo niya habang buong kapakumbabaang panay naman ang pahid ng napkin ni Frankie Clemente sa noo at mukha ni Litton. Namamayani ang taginting ng halakhak ni Elvira Manahan sa buong teatro sa bawat pagkakamali. “I’m used to it already, siya hindi pa kasi,” depensa ni Nestor Torre Jr na co-host ng “Two for the Road.”

Nora Aunor made the mvoe para lapitan si Inday Badiday. Kaso mo ay alert naman pala itong si Badiday. Nagkunwa itong may kinakausap nang palapit si Aunor. Saka lumakad palayo si Inday nang malapit na sa kanya si Aunor. Snob! Break na kami, si Azenith Briones na ngayon ang asawa ko,” ani Elizabeth Oropeza nang may magtanong sa kanya kung nasaan si Ingrid Salas. Kinakantiyawan ni Amalia Fuentes si Aurora Salve. “Bah, ang isusuot ba naman e ‘yong long sleeves niyang gown na closed neck pa mandin! Wala kang karapatang magsuot ng ganoon. Bakit, si Susan Roces ka ba? Si Susan lang ang puwedeng magsuot ng ganoon1″ Tawanan. Sumama ka sa akin, mag-Joanne Drew tayo,” yaya ni Nena kay Divina Valencia na medyo tumaba nang husto. “Mahal naman doon, four thousand!” tanggi ng nanay ni Dranreb. “Bembol Roco and Rita Gomez!” tawag ng monitor girl sa dalawa, na siyang mag-e-emcee sa next portion ng affair. Both mounted the stairs na siyang magluluwa sa kanila sa entablado. “Siguruhin mo lang na ang mga tatawagin kong pangalana ay siyang lalabas sa stage,” warning ni Ms. Gomez. Tumagal nang konti bago pa lumabas sina Bembol at Ms. Gomez. “Sabihin mo naman na dalian na, humuhulas na ang make-up ko,” ani Ms. Gomez sa monitor-girl. “Okey na ho,” sagot pa nito. Maya-maya ay nag-dim ang mga ilaw. “Hoy, bakit namatay ang mga ilaw?” naiinip na tanong ni Ms. Gomez. Commercial pa muna! “Punyeta,” inis na sagot ni Mother Rita. “Wala bang may lipstick at compact? Ihiram mo naman ako,” pakiusap ni Manay Ichu. Nakahagilap kami kay Ellen Esguerra. Very ironic naman. Ini-announce ni Ms. Gomez ang susunod na parangal ay para sa “Dr. Jose R. Perez Memorial Award” at ang magpi-present ng award ay si Marichu Vera-Perez-Maceda! Di Ba starwars sila since “Eva Fonda?”

Hinila ni Liza Lorena si Dante Rivero sa isang tabi. Ang bulong nito: “Dante, ipinagpalit mo na raw ako sa iba?” “Wala ‘yun, ‘Perfect Mother,” sagot naman ni Dante. Umakyat sa stage si Alma Moreno at siyang magpi-present together with Dondon Nakar and Raul Aragon ng award for “Best Actor.” Ah, tiyak na si Rudy Fernandez na, hula ng marami. Ugong naman ang bulungan na si Mat Ranillo III na. Ayaw maniwala ni Gloria Sevilla. Imposible raw. Kahit si Mat daw ang winner, “If I know si Rudy pa rin ang babasahing pangalan,” biro ni Nene Riego. At nang si Mat nga ang tinawag, napa-kurus bigla si Gloria at umiyak sa halip na maglulundag sa tuwa! Five minutes bago i-announce ang winner for “Best Actor,” alam na pala ni Alma na matatalo ang mister niya kaya gusto nang umuwi. Pero pinigil lang ng PRO niyang si Nene Riego para nga naman makaakyat din sa stage at mai-display ang sinasabing P10,000.00 gown. Gusto ko, si Aurora Salve ang partner ko,” pagpipilit ni Dondon Nakar sa monitor girl. “Wala nang changes, last few awards na,” say naman sa kanya. All throughout the proceedings, lanta at mukhang matamlay si Nora Aunor. Wala ni kapiranggot na award kasing natamo ang kanyang “Atsay.” When Celso Ad Castillo won the “Best Director” award, pumuwesto siya sa tabi ng pitno. Mahaba ang kanyang ceremonial walk patungo sa stage. Pero panay jogging ang ginawa. “I’m glad I didn’t win,” say ni Eddie Garcia kay Celso Kid. “Marami ka na raw award kaya sa akin na ibinigay,” sey naman ni Celso kay Eddie.

Hindi na tinapos ni Aunor ang buong programa. Umalis kaagad siya. Pero bago ‘yon, nauna nang umiskapo si Boyet de Leon. Amy Austria took everything in good stride. She’s great sport at kalmanteng-kalmante hanggang sa huli. High nang gabing iyon si Anthony Alonzo. Kabado nga raw siya pero hindi tense. Naka-diyes litros kasi. Hindi na namain siya namataan after the announcement of the winner for Supporting Actor. Nagpakuha ng larawan magkasama sina Imelda Papin, Eva Eugenio at Claire ang pictorial nilang tatlo ay for the benefit ng magasign ito laman. Lorna Tolentino was stunning in her sequined-fitting pants, kumpleto sa naghahabaang feathers sa ulo niya. Hindi pa rin nagbabati sa mga nasa paligid, Tinaasan namin siya ng kilay. Dinilaan lang kami! “Tito Leroy, pagsabihan mo naman siya,” daing na pakiusap ni Rio Locsin kay Leroy Salvador. Kung si Rey dela Cruz o si Charito Garcia ang isinusumbong ni Rio, hindi namin nabatid. Si Pete ang naiwan ngayon sa Barnyard (restaurant nila),” ani Boots Anson-Roa who came with her dad, Oscar Moreno, now staying here and is managing the resto. “Are you sure na hindi nangungu-Pete sa kaha si Pete?” question ng isang punny ones. “Wala ‘yung nangungu – Pete Lang,” was Boots witty remark too. “Wala bang softdrinks man lang dito o anumang makakain?” ask ng isang presentor na hindi pa yat naghahapunan. “Wala, poor kasi ang FAMAS,” paliwanag ng isang miyembro-opisyal. Si Beth Bautista ay naka-gown na ang slit o biyak ay abot hanggang balakang. Nang makita ang mga matang nakapako sa kanya, sabay ang mga kilay na nagtaasang nagtatanong na nawika nitong: “Bakit, wala ba akong karapatang magsuot nang ganito?” to the amusement of Cheng Muhlach walking behind her.

Ninety percent of the women were dressed in black formal evening gowns. The rest were either in white or brown…and minis, too! “Why do you tolerate Llyod in courting Nora, Lorna and other girls? Tipo bang pa-martir ka nga ba?” was asked of Jacqui Lou Blanco. “That’s what you think,” sagot ng tisay na anak ni Pilita who also wore a smashing gown that evening. Pitong awards ang nakopo ng “Pagputi ng Uwak…” ni Vilma. Nag-blow-out ang VS Films sa coffee shop ng Manila Hotel. Nagtungo rin doon ang grupo nina Alma Moreno pero nang makitang maraming tao sa lobby ng hotel ay bigla nilang inilikong paalis ang kotse nila. sa 1571 na lang daw sila. Sa Manila Hotel, nasa isang hapag sina Amalia Fuentes and company. Sa isang mesa naman, iyong grupo ni Marissa Delgado at Imelda Ilanan. Sa isang mesa ay ang grupo ni Dorothy Laforteza, Tony Bernal at Rudy Genaskey. At doon sa isa pa ring mesa, grupo naman nina Elvira Manahan at Nestor Torre, all out for an early breakfast. The rest of the tables were occupied by VS Films and well wishers. Nandoon sina Manay Ichu, Celso Castillo, Romy Vitug, Junior and others to help celebrate VS Films’ Triumph. Naguwian ang barkada bandang alas-kuwatro na. Hindi rin gaanong nagpaumaga sina Eddie Rodriguez, Carmen Soriano, Lloyed Samartino at Jacqui Lour dahil may curfew raw itong huli sa kanila. Umalis sila bandang alas-dos nang umaga. Nilapitan ni Vilma ang grupo. Binati niya isa-isa. Tanging si Eddie R. ang hinalikan sa pisngi ni Vi. Kinamayan lang sina Mameng, Jackie at Lloyd.

Ineskortan nanan ni Joey Gosiengfiao ang magka-date na Greg Liwag at Deborah Sun sa isang mesa. Umalis din sila kaagad without joining the VS camp. Kinilig at halos himatayin sa upuan niya si Gil Villasana nang magpaalam sa kanya si Eddie Garcia with a flying kiss! Ang pinakamalaki raw boner noon ay ang pagkakabasa sa sulat ni Angie Ferro sent in advance saying: “In case na manalo” siya. The valedictory address should have been done away with. Naghinala tuloy ang marami na sadyang may leakage na ang mga winners bago pa man mabuksan ang envelope! Hindi umakyat ng entablado si Vilma Santos to pose with the winners of the four major categories. She was an attraction sa ibaba with congratulations being raised on her left and right kaya hindi na ito nakaakyat to pose beside Susan Roces. Dalawang ulit daw nanalo nang magkasunod na FAMAS si Susan. Sadya nga raw kayang when it rains, it pours? Pareho raw temang horror ang mga roles na napanalunan ni Swanie. Next year daw ay nakakasiguro nang gagawa uli ng horror movie si Suisan upang ipanlaban sa next FAMAS derby. Maging si Mat Ranillo III ay winner last year. For “Best Supporting Actor,” he won in “Masarap, Masakit ang Umibig” and this year, he won for “Isang Ama, Dalawang Ina” for Best Actor award. Pelikulang hawig sa tunay na buhay: “Isang Ina, Dalawang Ama!” Ngayon lamang nakakuha ng award buhat sa FAMAS si Celso Ad.

At ngayon lamang nagtally ang mga awards ng URIAN at FAMAS. This year ay nanalo rin si Celso at ang “Pagputi ng Uwak…” ng Best Director at Best Picture award sa Urian. Baka raw may bawian na naman sa award ni Celso Kid, tulad nang manalo siya for “Burlesk Queen.” Ang speech niya noon ay handog at alay di sa Pangulo at Unang Ginang. Pero binawi ang award! Si George Estregan ay nanalo muna bilang “Best Actor” in 1972 for “Sukdulan” bago siya nagwagi uli this time ng “Best Supporting Actor” award. Pagganito ang trend, ibig sabihin kaya nito ay pababa na ang rating ni George, from leading to supporting role na lang ba, ha Jesse? Ayon sa balita, isang boto lang daw ang inilamang ni Susan Roces kay Vilma Santos. Pero lagi yatang “isa ang lamang” ang katuwiran para sa mga natalo. Ngayon kami naniniwala na hindi nagkamali si Ronnie Poe nang payagan niya uling mag-comeback sa pelikula si Susan. She kept on trying till she won the FAMAS. Ngayon naman ay pinagsunud-sunod na ang panalo. Talbog ang Amalia Fuentes! “Nang matanong si Amalia kung muli pa itong gagawa ng pelikula…”Stop na muna ako, bankrupt na kasi ako,” sey niya in all candor. Kasi raw ay naniniwala raw ang BIR sa mga nababasa nila tungkol sa pasobrang kita ng mga PRO. Bunga tuloy nito ay hinahabol ng BIR ang malalaking taxes na due sa huge earnings ng mga artista.

“Bah, ako man ay nalulugi rin. Lahat ng pelukula ko, in fact, ay pawang lugi,” sey na rin ni Leroy Salvador. Paging BIR then! Kawawa naman pala itong si Leroy, buong pagaakala pa naman namin e blockbuster ang mga movies niya! “Alam n’yo ba na may isang actress-singer dito na hanggang ngayon ay hindi pa binabayaran ang utang niya sa madyungan after twenty years?” tanong ng isang veteran actress-awardee. “Nakakatakot palang manalo!” Buti na lang at hindi ako candidate. Ayoko nang mawalan uli ng pelikula,” say ni Daria Ramirez na ngayon ay muling nagka-comeback sa pelikula. Tanong ni Carmen Soriano: “Tell me honestly, do you think na may lakaran ngayon sa FAMAS?” Kung anong dami ng mga policemen at mga cadets present bago simulan ang palatuntunan, wala isa mang secutiry sa gate noong matapos ang show. Dinumog tuloy nang husto ang mga artista paglabas. The colros of the ngith were red, black and white to the fullest. Although medyo nakalamang ang itim sa mga damit nina Nora Aunor, Boots Anson Roa, Gloria Sevilla, Leila Hermosa, Aurora Salve, Tet Antiquiera, (siya ang pinaka-star nang gabing yaon dahil sa kanyang suot na black body net with nothing underneath to cover her delicate parts), Julie Ann Fortich (na ang costume ay lift-up mula sa isang Barbara Cartland novel), Rio Locsin, Veronica Jones and others whose name in black escaped us for the moment. Kung sinumang paboritong artista na hindi nabangit sa black list ay siugradong dumating na ang kulay ng damit ay pula o di kaya’y ibang kulay. Amalia Fuentes was ravishing in a beige from Rome. – Alfie Lorenzo and Joey de Castro, Jingle Extra Hot Magazine, December 10, 1979 (READ MORE)

Sweetest Partners of teh Night: Llyod Samartino and Jackie Lou Blanco na magkahawak kamay nang pumasok sa bulwagan. (Who sez na nagkakalabuan ang dalawang ito?) Marahil ay gutom na si Lloyd noon, we caught him religiously muching a sandwich na tangan ni Jacki Lur. Pinaka-self-confident ng gabi: Celso Ad Castillo who declared na “I’m expecting seven to eight awards, kaya’t steady lamang ako rito.” (Baby…”Pagputi ng Uwak, Pagitim ng Tagak” got the lion’s share totalling seven awards.) Gesture of the Night: George Estregan bussing Baby Delgado heavily bago umakyat at tanggapin ang kanyang tropeo. Runner-upL Alma Moreno who kept pressing Rudy Fernandez’ hands upang maibsan ang pagka-tense ng asawa. (Rudy Fernandez was resting heavily on the hope of winning that night. He lost.) Comment of the nightL “Nasaan ang mga cue cards namin?” mararay na wika ni Mother Rita Gomez pagpasok sa podium. Runner-up: Gloria Sevilla checking on daughter Bebeth: :Sabi ko naman sa’yo huwag kang iiyak…” Mommy Gloria was howling backstage upon learning na Archie won. Costume of the Night: Tet Antiquiera who stoel the show on stage and backstage dahil sa kanyang revealing otufit, reminding us of Marilyn Monroe at Jean harlow. Very sexy! Runner-up: Aurora Salve’s gown na may malaking slit sa side pababa at alam mong walang suot na underwear dahil paano? Sans-Vicks-Vaporub-Eye-Mo of the Night: Julie Vega who romped onstage blinded with tears dahil sa pagkapanalo niya. Biggest disappointment of the Night: Vilma Santos hellbent in winning the Best Actress, ’cause prior to that, nanalo na ang “Pagputi ng Uwak…” ng Best Picture at Best Director. Susan Roces queenly grabbed the coveted award for “Gumising Ka, Maruja.” Runner-up: The whole of Metropolitan Theater when Rudy Fernandez’ fine and exquisite performance in “Anak sa Una, Kasal sa Ina” failed to bring him the bacon. “We were expecting Rudy Boy to win…” comment Auggie Cordero. “Bakit naman ganoon? Sayang!” wika ni Claire. “Nang pumasok si Alma Moreno para mag-abot ng trophy for Best Actor, sigurado kong panalo na si Rudy,” wika ni Philip Salvador, nang magkita-kita kami sa Manila Peninsula. Great Escape of the Night: Rio Locsin making a dash with Al Tantay upon learning na hinahanap siya ng kanyang mama. Runner-up: Singer Eva Eugenio na biglang nawala nang malamang sa Seq. 5 ng script siya dapat kumanta, mahuhuli sina Claire at Imelda Papin. So, from Seq 28, lipat si Claire sa Seq. 5, Pagkatapos ng kanta ni Claire, lumitaw ang eva Eugenio: “Bakit hindi ninyo ako tinawag, ako pala ang kakanta…” dialogue niya. – Joey de Castro, Jingle Extra Hot Magazine, December 10, 1979 (READ MORE)

FAMAS: Gabi ng Mga Cliche: – Ano ang kahulugan sa iyo ng FAMAS, tanong ko kay Elizabeth Oropesa sa lobby ng Metropolitan Theatre, November 21. “My only acting award came from the Famas.” “Prestige to a certain extent,” sagot ni Bembol Roco. “Next to the stars, the technical men in the industry expect much from it,” chirped Marichu Maceda. “Disappointed sila nang early this year ay kumalat ang tsismis na hindi magbibigay ng parangal ang Famas for reasons other than professional.” Nakakalungkot, di ba? Papatayin nang gayon na lamang ang 28 taong institusyon na tanging witness ng rise and fall and rise of Philippine movies. Ang mas malungkot nito’y hindi naman sa mga dahilang propesyonal papatayin ang Famas. Mga personal daw na dahilan. Nag-resign si Lilia Andolong nang hindi man lang tumawag ng isang eleksyon. Ang nangyari’y naglakas-loob na lang ang natirang mga miyembro upang itaguyod ang Famas. Tradisyon, tradisyon. Kaalakbay na ng karangalang Famas ang intriga, controversy. Halos taun-taon, pagkatapos parangalan ang mga aktor at aktress, may mga kilay na hindi mapigil ang pagtaas, nagtatanong. Bakit? Bakit halimbawa nanalo si Mat Ranillo III ng best actor award gayong hindi naman siya ang lead sa “Isang Ama Dalawang Ina?” Ganoon ba ang standard na gustong ipahatid ng mga hurado – ang acting na kasing-putla ng sukang Baliuag? Does Mat Ranillo deserve that trophy? I doubt very much. Hindi sa gusto kong i-put-down si Ranillo. He’s fine young gentleman but a lousy actor. He has yet to internalize, to let go. Mababaw and kanyang facial expression. Walang substance. And to use a movie cliche, walang depth. Walang relevance, say ng swardspeak. Kung sa palagay ng Famas judges, talagang kapuri-puri ang acting ni Ranillo sa nasabing pelikula, makatotohanan siguro kung ang aktor ay na-nominate sa best supporting actor category.

Susan Roces makes for a more credible winner. And we’re not even saying this because we’re fans of hers. Kay Amalia Fuentes ako, kung itatanong mo. Ibig sabihin, mas kapani-paniwala ang pagkakapanalo ni Susan kaysa kay Mat. Sabihin nang mahigpit ang labanan sa best actress category, may laban naman kahit paano ang reyna. Susan’s role sa “Maruja” is one of her best, of not her best portrayal so far. Flaw, flaws. Ang pinakamasaya, magulong bahagi ng gabi ng Famas ay ang portion na pinamahalaan nina Amalia Fuentes at Carlos Padilla, Jr. Ito ay ang bahaging pinarangalan ng Famas ang kanyang sarili. Lahat na yata ng miyembro ng Famas ay pinarangalan, at sino pa’ng nagaabot sa kanila ng parangal kundi ang mga direktor mismo ng Famas. Ang saya! Mas masaya ang production flaws sa portion na ito, an unforgettable moment in Philippine television, if you ask me. Hayan si Amalia Fuentes, kuntodo paganda, mala-sutlang gown ang suot at glamorous talaga, star na star, subalit ano’ng nangyari sa hosting nila ni Padilla? A comedy of errors, as she herself pointed out. Ganito. So tinawag ni Amalia ang pangalan ni Ingrid Salas upang magpresent ng parangal. Ang lumabas sa backstage ay si Azenith Briones. Nagkatinginan sina Amalia at Carlos pero tuloy-tuloy lang ang show. Next, tinawag ang pangalan ni Janet Bordon, ang lumabas naman ay si Tina Monasterio. Nang tinawag naman ang pangalan ni Tina, si Josephine Garcia naman ang nag-abot ng tropeo. Ganito rin ang sitwasyon nina Deborah Sun at Baby Delgado. Later on, hindi na rin napigil nina Amalia ang kanilang sarili. Sila man ay hindi na nagseryoso sa kanilang trabaho. “Ano ba itong nangyayari sa atin?” tanong ng aktress. Nagmumukha kasi silang kuwan sa entablado. And the poor production staff did not come to their rescue. To save themselves from further shame and embarassment, sina Amalia man ay nagenjoy na sa mababaw na kaligayahan. Inaliw ang mga sarili sa kanilang mistakes.

Fashion and passion. Bakit ba sa tuwing dadalo ang ilang artista sa mga ganitong okasyon ay pilit silang nakikipagkumpetensiya kay Lady Famas sa pabonggang damit o kawalan nito? Aba’y maloloko ka sa suut-suot na headdress nitong si Ellen Esguerra. Saan ba siya pupunta’t nagkagasta pa siya nang malaki sa kanyang gown na sumisigaw, nang-aagaw ng eksena? Mainam sana kung nominee man lang ang actress. Did she lend glamour to the occassion? Mmmm. Kopya raw si Celia Rodriguez, kung bonggahan lang ang pinag-uusapan. Talaga? (This is one thing I hate about movie writing. I hate bitching around). I admire Rita Gomez. Prangka niyang sinabi sa kanyang co-host na si Bembol na “totoo, wala akong offers ngayon. Iyan ang katotohanan.” Ano pa, at sino? Iyak nang iyak si Julie Vega nang ideklara siyang best child actress. Cool na cool naman si Niño Muhlach nang manalo ito. Parang hindi bata, hindi yata excited. Kapansin-pansin na ang dalawang child stars na ito ay pawang lead roles ang ginampanan sa kanilang mga winning entries. Al Tantay and Tet Antiquiera, Llyod Samartino at Jacqui Lou Blanco. Nag-kiss sina Jacqui Lou at Oropesa. Malisya, malisya sa iyong mga mata. Si Ruby Anna sa isang mapang-akit na kasuotan, itim na blouse na pagkanipis-nipis, mababakas mo ang kanyang kinabukasan. Hu-huhhh. Iyon ba si Manding Garces, ang direktor ng maraming action pictures noong araw? Mukhang masasakitin si Garces. He walked with a limp as he received his award of recognition from the ever recognizing body. Sabi ni Mario Cabling, pangulo ng Famas, kailangan nating iligtas ang akademya. Kailangan ang koordinasyon. For once, mukhang nakinig sa Famas ang mga artista. Sa dami ng dumalo nang gabing yaon, hindi mapigil ni Johnny Litton ang malunod sa mga cliche. Ang buong gabi ay isang cliche. – N Miguel II, Jingle Extra Hot Magazine, December 10, 1979 (READ MORE)

TV: VILMA (1986-1995) 1/2

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The Title “…The camp of Gov. Vilma Santos credits movie journalist JC Nigado for giving the actress-turned-politician the tag Star for All Seasons. For the longest time — since the early ’70s, rival Nora Aunor was called Superstar. In 1986, Sharon Cuneta was built up as the Megastar and yet Vilma remained untitled. In 1988, when Vilma marked her 25th year in show business in a PICC extravaganza put up by GMA 7 with the help of Chit Guerrero for her weekly variety show, Vilma!, Nigado wrote a series of articles where he called her Star for All Seasons. Other titles were coined for other stars after that, but only a few managed to maintain those titles and Vilma is undeniably one of them….” – Butch Francisco (READ MORE)

Something To Look Forward To – “…Vilma could not compete with Nora’s singing so she concentrated on perfecting her skills as a dancer. Her opening production number on her weekly show on GMA-7’s “Vilma” was something to look forward to. She showed the audience that she was not only an excellent actress but a terrific dancer as well. That show lasted for nine years, 1986 to 1995, and attracted a wide viewership. When the show finally ended, the Metropolitan Theater, where she did her show, would stay idle until today. There have been plans to renovate the historic venue but nothing has materialized….” – Ed Sicam (READ MORE)

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…” – Mar Garces (READ MORE)

100 percent performance “…Minsan while performing nasabit ‘yong damit niya. But nobody noticed it at hindi naman nakita sa camera. Would you believe na ipinaulit pa ‘yong number niyang ‘yon despite our persistence na hindi naman nahalta sa screen ang nangyari? But she said, “I want it to do it again. I want a 100 percent performance na walang sabit-sabit kahit damit o anuman.” She insisted. That’s how concerned she is with her performance. Siya nga naman ang nakikita ng audience at hindi kami.
You don’t do things halfway with her. Ibang klase ‘yan. She is a perfectionist. In Vilma In Person, she got fitted every Monday. Thursday pag-isinuot na niya ‘yon, dapat walang kulubot, walang pin sa strap. Anything she noticed that she thinks wouldn’t be perfect in the eyes of the audience, hindi uubra sa kanya. If something happens, ayan tatakbo kami ng Rustans para ikuha ng eksaktong fitted na damit para sa kanya. She’ll never go onstage unprepared. She used to tell us, “Those people go out their way to see me. Some of them have traveled a long way so they could come.” She wanted to give her audience what they deserve to see…” – Super Morales, Len Llanes, Starstudio Magazine, December 2002 (READ MORE)

Most-Watched Episode “…The highlight of the evening was when Vilma introduced another special guest, the other Queen of Philippine movies, Amalia’s rival, Ms. Susan Roces. Radiant and regal in her Susan Roces hairdo and dark, glossy gown, Ms. Roces was polite and generous with her comments on her kumare-rival. Vilma, obviously starstruck, throws a question to Susan: “What can you say about Ate Nena as being mataray and you Ate Susan as soft-spoken?” Susan: “I’d like to make a correction Vi, Amalia is not mataray, she is just outspoken, pero nasa lugar, so there’s a difference there.” Applause from the audience. ”Alam mo ba Vi na my mother dotes on Amalia dahil pareho silang prangka? Sabi ng Mommy ko, iyang si Susan hindi pumaris kay Amalia, prangka at di iyakin.”…” – Mario O. Garces, V Magazine (READ MORE)

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)

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Gina Pareño and Vilma Santos

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Mellowed and Stronger – “…After my one-year rehab (thanks to Kapisanan ng mga Artistang Pilipino’s Rudy Fernandez and Rez Cortez and the late Inday Badiday), I realized how much I love my work. I appreciated the talent God gave me a lot more,” says Gina. Thanks to that momentous phase in her life, Gina admits she has mellowed and become stronger. “I used to ram my ambitions about Jannica becoming an actress down her throat. I’m not that pushy anymore,” Gina admits. There’s another reason behind Gina’s glowing skin: the inner peace that makes her exude an aura of calm and happiness. “I want to be remembered in showbiz as someone who made people happy,” she says with a smile. …” – Maridol Rañoa-Bismark, Star, Apr 05 2004 (READ MORE)

Accomplished Actress – “…Another successful comeback story is that of award-winning actress Gina Pareño. Before Jurado dominated the sexy comedy genre, Pareño flourished in that mold. She was discovered in the ’60s and enjoyed a robust career in the movies. But she was also stubborn and ignored the rigid rules imposed on contract stars. Her carefree ways led to an unplanned pregnancy in 1968, even before she could finish her launching movie, “Mama.” After giving birth in 1969, she staged a successful comeback when she donned Pinay super heroine Darna’s scarlet costume to star in the hit movie “Si Darna at ang Planetman.” She relished her success for over a decade but stumbled anew because of drugs. At one time, tabloid headlines bannered her reduced circumstances that had her selling dusters in Baclaran. A public admission of her drug problem and a plea for understanding resulted in a helping hand and a stint at the rehab center. Soon enough, the movie roles started coming again. Today, Pareño is one of the most accomplished actresses in the industry, with international acting awards attached to her name, especially for her role in the independent films “Serbis” and “Kubrador…” – Armin Adina, Philippine Daily Inquirer, Oct 01 2011 (READ MORE)

Gina Pareño and Vilma Santos

    • Vilma Santos and Gina Pareño’s only film together was Ibigay mo sa akin ang bukas, released in March 4, 1987. The film was first serialized in DZRH Radio and was directed by now the MTRCB chairman, Emmanuel H. Borlaza and produced by EDL Productions. Ibigay Mo Sa Akin Ang Bukas featured Vilma, Gabby Concepcion and Richard Gomez in leading roles while Gina Pareño together with Liza Lorena, Orestes Ojeda, Amy Austria, Al Tantay and Gretchen Barretto in supporting roles. The film was about a neglected married woman of a closeted homosexual who had an affair with her student.
    • Two of the original Tondo Girls who became famous celebrities, both Gina and Vilma were from Tondo. Gina from Gagalangin, Tondo while Vilma was from Trozo Magdalena, Tondo, both places were part of Manila. These two bubly stars became box office giants after portraying comics superheroine, Darna. Gina in 1969 in “Darna At Planetman” and Vilma in 1973 via “Lipad Darna Lipad” (Fly Darna Fly)
    • Both Gina and Vilma portrayed characters that ended up in jail, Gina in 1973 film, “Bakit May Bilanggo Sa Anak Ni Eba?” and Vilma in 1984’s Marilou Diaz-Abaya film, “Alyas Baby Tsina“
    • Gina and Vilma had several leading men in several memorable films, one of the most notable was their films with dramatic actor, Dindo Fernando. Gina co-starred with Dindo in 1968 via “Dalawang Mukha Ng Anghel” while Vilma first co-starred wirh Dindo in “Kampanerang kuba” in 1974.
    • In their earlier years in showbiz, both Gina and Vilma co-starred with veteran movie queen, Gloria Romero. Both in title/lead roles and where their film directors were the same, Mar S. Torres. Gina was tested by Gloria in 1969 film, “Paula” and Vilma was still a child star in “Anak, Ang Iyong Ina” (“Child, This is Your Mother”) in 1963
    • In 2010 “Dalaw” (“The Visit”) Gina play support to Diether Ocampo and horror queen, Kris Aquino. The film has nothing to do with Vilma Santos but Gina’s film character named Aling Olga, the elderly servant with an open third eye, speaks mostly using lines from Vilma Santos films.
    • It was reported that the film “Kubrador” was intended for Vilma Santos, and the role landed in Gina and several international acting awards. Director Jeffrey Jeturian, like Raya Martin, wanted Vilma to do a movie that he is planning another project for her. Raya Martin ofcourse did La Indepedencia, with Techie Agbayani substituting for Vilma. The films had been screened in several film festival. With several local and international acting awards, Gina Pareño was not listed in 2006’s S magazine’s Philippine Cinema’s 15 Best Actresses of All Time.

Gina Pareño (born Gina Acthley on December 17, 1949) is an actress in the Philippines born to a Filipina mother and German- American father. She first worked as an extra in some films and then later on became one of the artists of Sampaguita Films. She has worked in television and film in the Philippines since the 1960s. Recently her work has won international recognition; at the Osian’s Cinefan Festival of Asian and Arab Cinema held in New Delhi in July 2006 she won Best Actress award for her role in Kubrador (The Bet Collector). – Wikipedia (READ MORE)

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Lorna Tolentino and Vilma Santos

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Film Actress “…Tolentino first faced the cameras at age seven in the film Divina Gracia of FPJ Productions. She later landed parts in two productions of LEA. For a year or two, she disappeared from the movie scene, but later resurfaced as a singer who went on to do two single records. She returned to acting in 1976 and was launch as a full-fledge actress in Crown Seven Productions’ Dulce Amor in 1978. Tolentino, who has worked with a host of directors, has deep esteem for Marilou Diaz Abaya, Ishmael Bernal, Peque Gallaga, and Lino Brocka, the last for having been chiefly responsible for her two acting awards. “These directors,” she explains, “have their own distinct approaches in extracting the best from me. I would read the script and think that this or that scene would be easy or simple, but in actual shooting, these directors would make me realize that it wasn’t so.” The 26-year-old actress considers the films Moral, Pinulot Ka Lang sa Lupa, Maging Ka Lamang, Natutulog Pa Ang Diyos, Init Sa Magdamag and Sinasamba Kita as among the more memorable pictures she has done. She says, “The first thing I do is read the script. I turn it down if I feel that the storyline is not different from the films I’ve done before. If I didn’t do that then there would be no fulfillment on my part.” She claims that she owes husband Rudy Fernandez, a top-rated action star, her improved attitude towards work. He made her see that acting is not merely a job that earns. It is an art that demands dedication….” – Justino M. Dormiendo (READ MORE)

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

Lorna Tolentino and Vilma Santos

Lorna Tolentino and Vilma Santos started their stellar career as child stars. Both transformed their career from sweet teens into mature versatile actress. Like Rio Locsin and Alma Moreno, Lorna started doing bit roles in a Vilma Santos starrer. She eventually became as big star as Vilma with Dulce Amor, Moral, Luksong Tinik, Abakada Ina and Maging Aking Ka Lamang. Lorna also wore the Darna costume and beame a grand slam best actress winner.

Muling buksan ang puso (1985) – “…Jim (Dindo Fernando) is a doctor and Cristy (Vilma Santos) is his nurse. Good looking and successful Jim finds himself an ardent admirer in Cristy. But Cristy is not an ordinary lady – she’s daring and defiant. She’ll do whatever it takes to win him even if he’s very much married. Cristy’s persistence and Jim’s longing for a child leads to an illicit relationship. But too much love suffocates and covetousness can breed hate…” – Mavshack (READ MORE)

Sinasamba kita (1982) – “…his best movies were domestic dramas that gripped audiences for their complex take on relationships and their tendencies toward tortured, twisted operations. Hallmarks of this genre were “Sinasamba Kita” in 1982 (Vilma Santos cruelly treating her half-sister), “Paano Ba ang Mangarap?” in 1983 (cruel mom-in-law seizing her grandkid from his mom, played by Santos)…” – Lito B. Zulueta (READ MORE)

Apoy sa ilalim, apoy sa ibabaw ( (1977)) – “…Direction, Story, Screenplay: Ben Feleo; Cast: Romeo Vasquez, Chanda Romero, Lorna Tolentino, Barbara Luna; Original Music: Demet Velasquez; Cinematography: Max de la Peña; Release Date: December 9 1977; Production Co: VS Films…No information available except that the Vilma Santos’ birthday celebration was added as bonus feature of the film…” – RV (READ MORE)

Big Ike’s Happening (1976) – “…Enrique “Big Ike” Lozada (August 13, 1940-March 8, 1995) was a Filipino comedian, actor and TV host. He was born on August 13, 1940 in Iloilo City. He started acting at the age of 11 on the movie Mga Bituin ng Kinabukasan with the younger Susan Roces. He died on March 10, 1995 in Manila, of heart attack. He was 54. His had lain at Manila Memorial Park in Parañaque City…” – Wikipedia (READ MORE)

Batya’t palu-palo (1974) – “…Nang magkita sina Ronnie at Vilma sa first shooting day sa Montalban, Rizal, halos hindi mapatid ang batian, katiyawan at biruan. Pareho silang masayang-masaya. Sapagka’t at long last daw, natuloy din ang kanilang pagtatambal pagkalipas ng halos kulang sa isang taong paghihintay na ma-vacant si Vilma sa dami ng pelikulang ginawa. As sa simula ng siyuting, akala mo hindi sila magkakilala. Dibdiban ang acting at dialogue. Sunod-sunod ang take ng iba’t ibang angulo. Kalahating araw silang walang biruan at nang matapos ang maraming eksena ay saka lamang sila muling nagtawanan. “Mahirap na,” sabi ni Vi, “Kailangang makarami ng scenes para naman makabawi sa akin ang FPJ. Biruin naman ninyong ang tagal din ang ipinaghintay nila sa akin. Nagpapasalamat ako sa napakahabang patience nila. Kung tulad ng iba, baka pinalitan na lamang ako ng ibang leading lady. Masyado silang professional sa pakikipag-deal, lalo na si Ronnie kaya nahihiya man ako sa atraso, hindi naman makapag-back out doon sa mga naka-schedule ko na. Dapat na tapusain ko rin para walang magalit na producer sa akin…” – Letty G. Celi (READ MORE)

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TV: VIP – Vilma In Person (1985)

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Wardrobes – “…My favorite job, by far, was at “VIP (Vilma in Person),” Ate Vi’s variety show in the ’80s. I loved this job because I got to go into Ate Vi’s van and bring out her wardrobe that wasa kept extremely well. All her clothes were hung neatly and covered with garment bags. Her shoes were kept in their original boxes. To this day, when I want to just stick something in my closet without hanging or folding it, I remember Ate Vi and her well-tended wardrobe. I also had the honor of collecting sampaguita, bouquets and Santo Ninos from her adoring fans. I would have made a lifetime career of it but, sadly, I had to finish college…” – Kitty Go, Philippine Daily Inquirer, Dec 29 2002 (READ MORE)

100 Percent Performance – “…Minsan while performing nasabit ‘yong damit niya. But nobody noticed it at hindi naman nakita sa camera. Would you believe na ipinaulit pa ‘yong number niyang ‘yon despite our persistence na hindi naman nahalta sa screen ang nangyari? But she said, “I want it to do it again. I want a 100 percent performance na walang sabit-sabit kahit damit o anuman.” She insisted. That’s how concerned she is with her performance. Siya nga naman ang nakikita ng audience at hindi kami.
You don’t do things halfway with her. Ibang klase ‘yan. She is a perfectionist. In Vilma In Person, she got fitted every Monday. Thursday pag-isinuot na niya ‘yon, dapat walang kulubot, walang pin sa strap. Anything she noticed that she thinks wouldn’t be perfect in the eyes of the audience, hindi uubra sa kanya. If something happens, ayan tatakbo kami ng Rustans para ikuha ng eksaktong fitted na damit para sa kanya. She’ll never go onstage unprepared. She used to tell us, “Those people go out their way to see me. Some of them have traveled a long way so they could come.” She wanted to give her audience what they deserve to see…” – Super Morales, Len Llanes, Starstudio Magazine, December 2002 (READ MORE)

The Move – “…Also dislocated with the closure of BBC-2 was Vilma Santos’ variety program Vilma in Person or VIP. Vilma in Person – in spite of the fact that it was given the VIP treatment by the Benedicto management – never did well in the ratings game when it was with the old Channel 2. But when it moved to Channel 7 – where it was called Vilma, the show immediately shot up in the ratings chart. Vilma! had grand productions week after week and was a consistent winner in the various awards races in the field of television. It went off the air in 1995 only because Vilma got pregnant with Ryan Christian and needed to have a complete rest…” – Butch Francisco (READ MORE)

The Dancers – “…The Vilma In Person Dancers, better known as the VIP Dancers, started way back in 1987 as part of the popular television show of actress Vilma Santos. Ms. Maribeth Bichara, together with eight other dancers, made a dynamic group of talented and hardworking individuals worthy of popularity. In 1988 and 1997, the group received the Guillermo Mendoza Memorial Awardee for The Most Popular Dance Group…” – Wikipilipinas (READ MORE)

The First Co-Host – “…Although Joey de Leon became very big in the movies and of course, on television and has recently returned to the world of recording with the release of his novelty album, Joey to the World (released by BMG Records, Pilipinas, Inc.), he will forever be indebted to radio, which paved the way for him to enter show business in 1968…After Okay Lang came a lot of other shows (around 44 by Joey’s estimate) and going over the list is like a walk through TV history. Here are the more significant ones…V.I.P. (Vilma in Person) — Aired over the old BBC-2, Joey was Vilma Santos’ first co-host…” – Butch Francisco (READ MORE)

The Money – “…Before Lucky’s birth she had no contract with any studio but after his birth the two leading studios, Regal and Viva, asked to place her under contract and she signed up with both! ‘It was arranged that everything they paid me went straight to the banks, to pay off my debts. Not a centavo of my movie earnings passed through my hands. We lived on my television earnings. I had been offered this TV show, VIP Vilma in Person. It was a Sunday show and Sunday was the only day I could spend with my family but I had to sacrifice my day with them because that weekly show provided us with maintenance money. Unfortunately, my marriage suffered because of that. At that time, Edu wasn’t active in the movies yet; he was working in an office and, of course, his schedules and my schedules were in conflict. I think he suffered some kind of culture shock. Oh, he tried to be understanding but imagine him coming home at seven o’clock in the evening and me coming home at four o’clock in the morning. That won’t work – but I had to work.” She says…” – Quijano De Manila (Nick Joaquin), Philippine Graphic Magazine 05 November 1990 (READ MORE)

The Rival “…Samantala, si Vilma ay nagsolo sa television via Ayan Eh while si Edgar naman ay may People. Nawala din ang Ayan Eh at pinalitan ng Vilma Santos Very Special. Pansumandaling nawala sa television si Vi nguni’t noong 1981 ay nagkaroon siya ng tv show na Vilma In Person (VIP) sa BBC Channel 2. Noong una ay kasabay nito ang Superstar ni Nora Aunor tuwing Linggo ng gabi. Ang mga programa nila ay ginaganap sa Broadcast City kung saan magkatabi lang ang studio ng Superstar sa Channel 9 at ang Vilma In Person sa BBC 2, pero hindi naglaon at ang VIP ay ginawa na tuwing Sabado ng gabi. Noong unang mga episode ng VIP ay si Joey de Leon ang co-host ni Vi subali’t hindi naglaon ay si Roderick Paulate na ang permanenteng naging co-host ni Vi hanggang sa lumipat sila sa GMA 7 at ito ay ang Vilma. Dahil hindi na magkasabay ang Superstar at Vilma In Person ay nagkaroon ng pagkakataon na mag-guest sina Vi at Roderick sa Superstar at ito ay ginanap sa open air ng Ultra. “Solid As a Rock” ang inawit ni Vi at Roderick. Noon ay malapit nang umalis si Vi papuntang USA para sa isang show. Biniro pa nga ni German Moreno si Roderick na pag wala si Vi ay magiging Roderick In Person ang title ng show o RIP pag pinaikli…” – Alfonso Valencia (READ MORE)

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