Tag Archives: ARTICLES

Sino’ng Talaga Ang Superstar ’78, Si Vilma o si Nora? 1/2

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“…Whew, ang bigat! Talaga nga palang napakahirap ang masabit sa showbiz, lalo pa nga kapag hindi ka sanay sa mga intriga. More pa kung nasa gitna ka ng dalawang nag-uumpugang bato. Mapadikit ka lamang sa isang side, aakalain na ng kabilang bato na kampi ka na sa kaumpugan nila at vice versa. Ito ngayon ang nangyayari sa akin, mula nang mapasabit ang pangalan ko bilang manghuhula kina Vilma Santos at Nora Aunor, pakiramdam ko ba sa sarili ko’y parating nasa alanganin. Dapat nga ay may article akong susulatin na ang pamagat ay “Si Nora Aunor at Vilma Santos…Sa Paningin ng Isang Manghuhula” na lalabas din sana sa komiks magazine na ito, pero dalawang buwan na ang nakakalipas, hindi ko pa maisulat-sulat, kasi nga ayokong masabit sa gulo. Pero ang nangyari, ang kinatatakutan ko’y naganap din. Could be na pag labas ng artikulong ito, mayroon na kayong narinig sa radyo o nabasa sa mga komiks magazines na mga pagpuna sa mga ipinahayag ko sa programa ni Inday Badiday, ang “Would You Believe” noong ako’y mag-guest dito noong August 4, 1978. Although it looked na, I am pro-Vilma, based on my statements on the said program, I am not. In fact, we were never close. Dalawang beses ko lamang siyang nakaharap nang personal at sa dalawang meeting naming iyon, it was a pure psychic-client meeting.

Sa madaling salita, kung paano ko hinaharap bilang manghuhula ang aking mga kliyente ganoon ko din hinarap si Vi. (Si Vi mismo ay makapagpapatunay nito.) Kung madalas man ninyong mabasa sa mga komiks na nakakabit ang pangalan ko kay Vilma, it’s simply because I am close to Cleo Cruz, Vi’s confidante and PRO, and to Chito Memije, Cleo’s hubby. At dahil nga close ako sa dalawang ito, ‘pag may vibes ako sa maaaring mangyari kay Vi, tatawagan ko sila, o kaya naman si Cleo ang tatawag sa akin, kung gusto niyang sumulat tungkol sa mga hula ko kay Vi. Sa awa naman ng Diyos, kung hindi man lahat, at least, halos lahat ng mga inihula ko kay Vi ay nagkatutoo. Siguro, kung may PRO lamang si Guy na malapit sa akin, ginawa ko rin sa kanya ito. Ang kaso, wala eh. Kaya nga, noong unang telecast ng ‘Would You Believe,” nang maging guest din ako, nang mamataan ko sina Baby K. Jimenez at Mercy Lejarde na mga PRO ni Guy, lumapit ako agad at sinabi ko sa kanila ang tungkol sa nabavibes kong maaaring maging sakit ni Nora Aunor sa tiyan. ‘Di ba na-publish pa iyon, nagkatutoo ang sinabi ko, dahil nang magpatingin si Guy sa doktor niya, natuklasang siya ay may slight kidney trouble. ito pa nga rin ang dahilan upang sa pangalawang pagkakataon, pagkaraan ng kung ilang taon, ay maisipang muli ni Guy ang magpahula sa akin.

Ang hulaan session naming iyon ni Guy, siguro, may ilang beses munang na-cancelled bago natuloy. Ako na mismo ang gumawa ng paraan. Kinansela ko ang appointment ko for that day, para lang matuloy ang aming meeting. Sina Deo Fajardo at Mercy Lejarde ang sumundo sa akin ng mga bandang pasado alas-tres na yata ng hapon. Akala ko, sa Valencia residence ni Guy gagawin ang hulaan session, iyon pala’y sa labas ng Maynila. Deep down inside me, during our trip, going to the place where Nora Aunor was taping “Guy and Pip Special,” I felt bad. Naasar ako, kasi wala sa usapan namin na ganoong kalayo ang lugar na aming tagpuan. Sabi ko sa sarili ko, kung mayroon lang akong sariling sasakyan, bumalik na sana ako, hindi na baleng hindi na matuloy ang hulaan at hindi na ako kumita. Halos madilim na nang sapitin namin ang said place. Nang makaharap ko si Guy at batiin niya ako ng “hi, kuya Rene,” para akong nabuhusan ng malamig na tubig, lahat ng inis ko at sama ng loob nawala. Nag-taping pa muna si Nora ng ilang scenes sa tv special nila bago nagpahula. Hindi ko tatalakayin kung ano ang mga hulang iyon dahil tiyak nabasa na ninyo iyon bilang isang article na isinulat ni Mercy Lejarde, I think sapat ng sabihin kong, lahat ng isinulat ni Mercy sa article na iyon ay tutoong sinabi kong lahat.

Pagkatapos ng hulaan namin ni Guy sa Novaliches, together with Mercy, tumuloy kami sa Valencia residence ni Guy. Nilibot ko ang buong kabahayan, pinakiramdaman ko kung may malas sa bahay na iyon. The house itself is not malas, sa katunayan nga, ang atmosphere, hindi lang bahay, talagang home. Anyway, sa paglilibot naming iyon, na-confirm, ang sinabi ko kay Nora na may object sa bahay niya na nagbibigay sa kanya ng kaunting malas noong nasa Novaliches pa kami. “It is,” sabi ko, “isang maliit na swords na naka-display.” Sagot naman ni Guy, “Wala akong matandaan, kuya Rene.” Kaso nga, sa paglilibot namin sa Valencia residence, among her antique collections, nakita namin ang dalawang antique na letter opener na ang hitsura ay talagang maliliit na swords. Past twelve midnight na nang iwanan ko ang Valencia residence. si Guy pa mismo ang nag-asikaso na maghahatid sa aking pag-uwi. Inihatid pa nga niya kami hanggang hindi nakakalabas ng daan ang aming sasakyan. I remember tumawag pa si Douglas Quijano, si Guy pa ang nag-relay ng message, pero dahil gabi na, hindi ko na kinausap si Douglas. With all honesty, I was touched by Nora’s hospitality. More pa, nang nasa bahay na ako at matuklasan kong ang ibinayad pala ni Guy sa akin ay times five ng usual fee na aking tinatanggap ‘pag ako’y nagho-home service.

And would you believe, may tatlong linggo muna ang nagdaan bago ko nagamit ang perang iyon, at sapilitan pa. Siguro, kung hindi ako talagang gipit sa pera ng mga panahong iyon, hanggang ngayon nasa wallet ko pa ang perang ibinayad ni Guy sa akin. Hindi lang bilang souvenir kundi as my lucky money, naniniwala kasi ako na ang suwerte ni Nora Aunor ay likas, at siyempre, anything na galing sa kanya ‘pag bigay niya sa kin, maaaring magbigay rin ng suwerte sa buhay ko. Si Vilma Santos, may ginawa rin ba sa iyo na na-touched ka rin? Marahil maitatanong ninyo. Ang sagot ko, yes. Simple as it may seem, I was really touched when she called me personally just to give her thanks. It happened twice. Iyong una, noong maging guest din ako sa premiere telecast ng ‘Would You Believe” at mayroon isang scribe doon na nagsabi na si Nora Aunor lamang ang maituturing na superstar ng Philippine Movies, umiling ako na tanda nang ‘di ko pagsang-ayon. At ang ikalawa naman ay naganap the following morning after I guested again sa same program, the previous night, na kung saan ko nga ipinahayag na as of now, meaning year 1978, si Vilma Santos ang itinuturing kong superstar ng Philippine Movies. I could still recall, I told Vi during our telephone conversation, na wala siyang dapat na ipagpasalamat sa akin dahil iyon naman ang tutoo.

In short, ang ibig kong iparating kay Vi, I gave those statements not because I wanted to please her or to show to the public that I am a Vilmanian (although parang ganoon nga ang naging impression ng public) kundi dahil bilang isang manghuhula, iyon ang na-vibes kong mga pangyayari sa daigdig ng pelikula. Kung tutuusin nga, inulit ko lang ang statements kong iyon. Late 1967, sinabi ko kay Vi, kay Mama Santos at kay Cleo Cruz, na kung magiging buo at determinado ang isip ni Vilma sa kanyang career, sa mga taong 1977 at 1978, siya ang tatanghaling superstar. Siguro, ngayong naipahayag ko na sa inyo ang mga pangyayari bago naganap ang mga misinterpretation at samaan ng loob na resulta ng pag-guest ko sa “Would You Believe,” makikita ninyo na kahit na kanino sa dalawang ito, kay Vilma at Nora, ay hindi ako naging close. At dahil sa parehong nagpakita ng kabutihan sa akin, wala akong right na bigyan ng sama ng loob kahit na sino sa kanila. Sira na siguro ang ulo ko kapag sinaktan ko ang loob ng kahit na sino sa kanila, and I believe, hindi pa naman ako sira. So, ipinasiya kong kailangang neutral ako. Alam mo palang dapat neutral ka, eh bakit ang mga pahayag mo’y masyadong maka-Vilma. Tiyak iyan ang say ng ilan sa inyo na masama ang loob sa akin. Let me explain. Exactly nine o’clock ng gabi, nang dumating kami sa istudyong pagdadausan ng “Would You Believe.” I remember, I was the one who suggested kay Inday Badiday na tanungin ako tungkol kay Guy at Vi para maging interesting ang subject matter namin ng gabing iyon. Ang talagang plano ko noon, ay para ipakita sa public na sang-ayon sa mga na-vibes ko sa dalawang ito bilang isang manghuhula, bawa’t isa sa kanila ay mayroong kanya-kanyang accomplishments sa movie world, kaya hindi puwedeng paglabanin o kaya naman ay ikumpara si Vi kay Guy, si Guy kay Vi. Kaya nga, nang i-on na ang show at tanungin na ako ni Inday, ang sagot ko’y, “Pareho ko nang nahulaan sina Vi at Guy, at kung tatanungin ninyo ako kung sino ang mas superstar sa kanilang dalawa, para nang itinanong ninyo sa akin kung sino ang mas banal si jesus Christ ba o si Gautama Buddha? “At dahil sa naisip ko na hindi masisiyahan sa ganoong kasagutan ang viewing public, idinugtong ko na sa taong ito 1978, dahil ang suwerte ay nasa side ni Vi, si Vi ang superstar.

Nguni’t hindi nangangahulugang hindi na superstar si Guy, kaya lamang ang taong ito para sa kanya ay hindi gaanong masuwerte, I would say. This is a very emotional year for her, meaning madalas siyang makakaranas ng mga emotional turmoil na maaaring makaapekto sa mga decisions niya na may kinalaman sa kanyang career sa movies. During the show, may isang manghuhula rin na katulad ko na nag-comment, na ang hula naman niya ay hindi na magkakabalikan sina Guy at Boyet. Nang ako naman ang tanungin, ang sagot ko’y may posibilidad na magkabalikan pa, ang ibig kong sabihin hindi tiyak na magkakabalikan pero may pag-asa, ang dahilan ko’y…mas mahal ni Guy si Boyet kaysa kay Pip. Bakit ko nasabi ito, ano ang batayan ko? Well, nang hulaan ko si Guy sa Novaliches, isang quality na na-vibes ko kay Nora na hinangaan ko ay ang kanyang pagiging ina. In other words, handa si Guy na ipagpakasakit ang kanyang pansariling kaligayahan alang-alang sa kanyang anak. Dahilan dito, na-conclude ko na kung kailangan, para kay Ian, muli niyang pakikisamahan si Boyet na siyang ama ng kanyang anak. Siyempre, dahil ama ni Ian, mahal niya. After sometime, the same manghuhula, predicted naman na sa last part daw ng taong ito 1978 hanggang sa susunod na taon 1979, magkakalaban daw sa pagka-superstar sina Charito Solis, Nora Aunor at Alma Moreno, hindi niya binanggit si Vilma Santos.

Nang ibigay naman sa akin ang pagkakataon para magsalita, ang sabi ko’y hindi maaaring labanan nina Guy at Ness si Chato dahil isa na itong institusyon. (Si Inday ang nagsabing institusyon, nang makita niyang hindi ko maapuhap ang right word to describe Charito Solis.) Sabi ko pa, ang magkakalaban-laban sa last part ng taong 1978 ay sina Nora Aunor at Alma Moreno, at dahil nga hindi na-mentioned ang pangalan ni Vi, nawala na rin sa isip ko, hindi ko tuloy nabanggit. Ang dapat talagang sabihin ko’y sina Vilma, Nora at Alma ang maglalaban-laban sa pagka-superstar. Sa pagwawakas ng show, bigla na lamang akong tinanong ni Inday, na sa pandinig ko…ang tanong niya’y, “Rene, as of now, sino para sa iyo ang superstar?’ ang sagot ko, “VILMA SANTOS.” I think na-explain ko na ang dahilan kung bakit nasabi kong si Vi ang superstar, sa bandang kalagitnaan ng article na ito, kaya hindi ko na tatalakayin pang muli. Pero I want to stress the point na hindi porke sinabi kong si Vi ang superstar, hindi na superstar si Guy. Kung itatanong ninyo sa akin, ano si Guy para sa iyo, kung sa ngayon si Vi ang kinu-consider mong Superstar, ang sagot ko, sang-ayon sa mga vibes na na feel ko noong naghuhulaan kami ni Nora. Si Guy lamang ang masasabi kong, sa mga artistang nahulaan ko rin naman, siya lang ang may likas na magandang kapalaran, kaya nga, siya lang ang maituturing kong phenomenal superstar ng Philippine showbiz.

But, and this is with a big BUT…Guy’s strature sa movies (I am sorry to say this but i think I have to) as of now, is dwindling. Ang maipapayo ko kay Guy, kailangang pagbuhusan niya ng buong panahon at konsentrasyon ang pelikula niyang “Atsay” sapagka’t, bilang isang manghuhula ang pelikula niyang ito ang vibes kong maaaring magtaas na muli sa kanyang dating kalagayan. Sa palagay ko, sa pamamagitan ng article kong ito, naayos ko na ang mga kaguluhang nalikha ng pag-appear ko sa “Would You Believe” at sa pagpapahayag ko sa programang ito na si VILMA SANTOS ang Superstar ’78. Ngayon kung sakali naman na may mga tao pang gustong gumawa pa ng pakulo sa bagay na ito, bahala na lang sila. Inuulit ko, wala akong pinapanigan between Vilma and Guy. Hindi ko rin naman kinakaila ang pagka-phemonenal superstar ni Guy at lalong hindi ko mababawi ang sinabi ko bilang isang manghuhula, sa ‘WOULD YOU BELIEVE” noong gabi ng August 4, sapagka’t iyon ang tutoo sang-ayon sa vibes ko, na…it’s VILMA SANTOS, who reigns supreme sa box-office, therefore, siya ang Superstar 1978!…” – Rene Mariano, Weekly Mars Ravelo Komiks, September 7, 1978 (READ MORE)

In Appreciation of Writers

Posted on by Standard

Here are some personality in some way have been defending Vilma in the past and

Cleo Cruz

“…Pero sa totoo lang, sa kanilang tatlo, si Cleo Cruz lang ang masasabi kong trusted at loyal kay Vi dahil si Cleo ay hindi nagsusulat ng mga negative write-ups kay Vi. Si Cleo ay asawa ng isa ring writer/reporter na si Chito Mimije (isa rin sa mga tagapagtanggol ni Vi). Nang pumanaw si Chito ay nangibang bansa na lang si Cleo at iniwan na ang Pilipinas…” – Alfonso Valencia (READ MORE)

“…I think mommy Cleo, as Ate Vi calls her, is in Los Angeles. I read an article that Mario Bautista wrote a few years ago that he attended a wedding in Los Angeles and Cleo Cruz was there. If I am not mistaken she still gets in touch with mommy Santos in Los Angeles. Cleo Cruz was married to the late brother of the movie scribe Chit Ramos. Cleo was the P.R.O. of Ate Vi in the 70’s and 80’s. I remember reading her column Vilma Variety in Bulaklak at Paru-Paro Magazine. The column for Ms. Aunor was written by Baby K. Jimenez. There was a time when Cleo Cruz and Baby K. Jimenez had a series of heated argument in their columns on who is the real queen of the Philippine movies. It stemmed from the fact that at that time Ate Vi was being called as the Takilya Queen by the press. Now we know who is the real and longest reigning queen Vilma!…” – Fr. J Gutierrez (READ MORE)

Babette Villaruel

“…Sosyal! Si Babette naman ay nagkaroon ng Sunday noontime show sa Channel 13, kasama si OMB Chairman Edu Manzano na pinamagatang Sunday Special Iba Ito. Sino ang makakalimot sa kanyang portion na may pamagat na “Say, Say, Say” sa nasabing programa na tuwing papatugtugin ito ay kinakalog niya ang ulo niya. Si Babette ay best friend ni German Moreno at noong nagkaroon sila ng hidwaan ay palaging sinasabi ni Babette na nagtitirik siya ng kandilang itim. Pero bago pumanaw si Babette ay nagkabati din sila ni Kuya Germs. Nasaan na kaya ang mga koleksiyones niya na “PH” ng mga artistang lalaki? Samantala, ang kontrobersiyal talent manager na si Alfie ay nagkaroon ng radio program sa DZBB na pinamagatang “What Is All About Alfie?” Nagkaroon din siya ng mga tv talk shows katulad ng Rumors, Facts & Humor kasama si Janice Jurado, Troika kasama sina Oskee Salazar at Billy Balbastro at yung isa ding tv talk show sa ABS CBN 2 kasama sina Edu Manzano at Cristy Fermin na katapat ng Startalk sa GMA 7…” – Alfonso Valencia (READ MORE)

“…I am thinking, what could be more “kabastusan” than showing a funeral cortege as a PIP ( Picture in Picture) in a noontime game show, full of gyrating dancers and contestants jumping and up and down, audience cheering and clapping? What was ABS-CBN’s motivation to do this? I can only think of one reason; TV rating – hitting two birds with one stone, so that viewers need not switch channels. In short, you’re “entertained” by both events by a single channel. I am reminded of a light hearted statement made by the late movie reporter Babette Villaruel when asked about the funeral of his deceased father “ Okay naman ho. Successful naman yung burol niya”. Clearly, he was adding a showbiz twist to the event, in levity of course….” – BW (READ MORE)

“…Catch a flashback of an evening of confidences written for a column on Jan. 5, 1989. It was an interesting mix to start with. Babette Villaruel, Mama Monchang, Bong de Leon and Mar Cornes hugging a corner of that magnificent garden at Forbes Park. We have come a long way, baby, since that time we all enjoyed the highlights of Aling Maring’s merienda at El Oro. But the elegant domain in this conclave of the rich is owned by banker Danny Dolor, a friend of Ronald Constantino, whose birthday was the reason for that evening of fun. It also turned out to be an evening of confidential declaration. June Torrejon, who has dropped Rufino from her name, was happy to note that her children will not have a half-brother or sister since Nena V. disclosed that during a religious confrontation, the real father came out in a confession while he was getting married to another one. If you find this had to follow, so do I. But the most incredible things happen in showbiz and this is one of those. “It was an answer from above,” June said. “He knows how to take care of his children.” The talk that night also centered on other separations, like that of Inday Badiday and Gene Palomo and as usual with such embellishment to make light of the situation…

…Vilma Santos, looking as stunningly beautiful as you see her on TV, sat at our table. Which turned the talk now to Edu Manzano and current love Maricel Soriano. Details were again embellished, some outrageously so just for fun. Maricel is a great cook, someone said looking at Vi, now the butt of all jokes. “Perhaps he left because you never cooked for him!” “But I don’t know how to cook!” Vilma laughed. But I learned some recipes from my mother-in-law.” Our table decided to form the Edu-Vilma movement with Edu’s mom Mrs. Manzano as president and June as vice president. Vilma is their favorite but Vilma herself just flashed her Mona Lisa smile. Danny Dolor’s home sits on top of a knoll this side of Forbes. It is one of those houses with an open façade, giving it a more welcoming atmosphere than the usual high walls. At our corner table, gossip was the main menu. June consulted her lawyer to sue a starlet saying nasty things in print about her when the starlet became close to Randy Rufino. Vilma was the only actress at our table of movie writers which included Bibsy Carballo, Romy Vitug, Ethel Ramos, Letty Celi, Nena V. , Ricky Lo, Nestor Cuartero and Babette. “Oh Vi, don’t write about this, ha!” Now: March 26, 2010: Vilma is happily married to Ralph Recto who is running for the Senate. She is the very popular governor of Batangas. Her son with Edu, Lucky Manzano, is now a popular actor and TV host. Edu, who has moved on to other loves after Maricel, has become a popular TV host. He is running for vice president of the Philippines under the administration party. Babette Villaruel, Nena V. , Mar Cornes and Mama Monchang are dead. June and Randy are now friends but still separated…” – The Philippine Star (READ MORE)

Alfie Lorenzo

Alfie Lorenzo – “…Alfie interviewed Nora who professed her still lingering passion for Manny de Leon. Again it was duly reported by Alfie. Again he was belied, this time by Nora Aunor. This twin denials did not deter Alfie from pursuing a more rabid reporting stance. Now with the Vilma-Bobot group, he would rake coals and embers and fan the escalating Nora-Vilma war. Gradually the Nora-Vilma fight settled into a more subdued form of rivalry. From proing for movie stars, Alfie Lorenzo teamed up with the members of what would eventually be the Laperal Mafia and the Ligaya Brotherhood (or Sisterhood, whichever the case maybe) and went into proing for movie companies – Sine Pilipino, Juan de la Cruz, Lyra Ventures – moving into Regal where he is more or less a fixture. Before latching on to these companies, Alfie and Douglas ventured into movie production coordinating for a freelance producer and came up with forgettable movie called, “Wild, Wild Pussycat.” “Lahat kaming malas nagsama-sama sa Sine Pilipino. Elwood directed “Blue Boy,” flop. Joey directed for Tower, flop, buti na lang kumuwela si Vilma.” remembers Alfie. At Sine Pilipino, Vilma Santos finally made the big leap to superstardom then held solely by the dark girl from Iriga. With a couple of hits which raked in the box-office, Sine Pilipino was able to establish the careers of Joey Gosiengfiao, Elwood Perez, and even when Sine Pilipino went under because of what has been reported as faulty management, Alfie managed to breast the waves of bankruptcy and the board of censors’ ire to stay in business as a movie writer-pro-columnist-manager. At Lyra Ventures, Alfie was part of the project-makers of “Uhaw” parts I and II, the scenes of which caused a turnover in the board of censors. Today, Alfie Lorenzo’s cheek and guts have taken him around the world in pursuit of his own star. Managing of being pro for stars like Vilma Santos, Charito Solis, Al Tantay, Cherie Gil, Mark Gil and Dante Rivero has made Alfie more or less an indispensable fixture in the movie scene…” – TV Times, 27 April – May 3 1980

“…Noong dekada ’80 ay naging manager si Alfie ng Liberty Boys na kinabibilangan nina Rey “PJ” Abellana, Edgar Mande at Lito Pimentel to name a few. Liberty Boys ang itinawag sa kanila dahil nakatira sila sa Liberty Avenue, Murphy, Cubao, Quezon City. Si PJ ay naging manugang ni Ms. Delia Razon at ang anak niya ay si Carla Abellana, ang Rosalinda. Si Edgar naman ay nakasama ni Vi sa pelikulang Relaks Ka Lang Sagot Kita samantalang si Lito ay nakasama ni Vi sa mga pelikulang Broken Marriage at Tagos Ng Dugo. Sa mga Liberty Boys, tanging si Lito lang nagkaroon ng acting award. Siya ang best supporting actor ng Urian noong 1988 para sa pelikulang Kapag Napagod Ang Puso. Noong huling bahagi ng dekada ’80 na nauso ang mga musical variety show katulad ng The Sharon Cuneta Show ni Sharon Cuneta, Maria Maria ni Maricel Soriano, Always Snooky ni Snooky Serna, Loveliness ni Alma Moreno, Superstar ni Nora Aunor, Tonight with Dick & Carmi nina Roderick Paulate at Carmi Martin at Vilma ni Vilma Santos ay naging PRO si Alfie ng Loveliness. Nang mga panahong ito ay galit na galit si Alfie sa executive producer ng Vilma Show na si Chit Guerrero. Pati si Vilma ay nadadamay sa mga galit niya kay Chit. Talagang personal na ang banat niya kay Vilma. Posible kayang ang dahilan ng galit niya eh dahil hindi man lang makaangat ang Loveliness sa Vilma Show sa dami ng commercials, production numbers, guests at higit sa lahat ay rating? Ang Vilma Show ay palaging numero uno, walang makaabante maging ang sinasabi nilang longest-running musical variety show na Superstar. Si Vilma ang highest paid tv star at ang Vilma Show ang tinaguriang Central Bank ng GMA 7…” – Alfonso Valencia (READ MORE)

“…Apparently, the two haven’t been on speaking terms ever since Vilma supposedly failed to meet up with him in New York while she was shooting the movie In My Life last summer. The controversial talent manager wrote at least two angry blog posts about Vilma having forgotten their friendship (plus loads of shocking allegations) which, he claimed, dates all the way back to the ‘70s. Despite the malicious remarks in the articles, Vilma kept her silence on the issue, stating that she and Alfie would surely mend their differences when the right time comes. “Hindi, si Alfie, aminin naman natin…nung bata ako kasama ko naman ‘yan, sa totoo lang. It’s just a matter of miscommunication…True to the title of her special A Woman of All Seasons, Vilma refused to take offense and kept her side open for reconciliation with the ever-feisty talent manager. “Naiintindihan ko si Alfie. Baka hinanap niya yung nagtravel kami nila Manay Ethel (Ramos) sa Amsterdam, Pinay American Style… Hindi lang siguro na-ano ni Alfie. But still, sa pinagsamahan namin, sinabi ko sa mga Vilmanians, ‘Huwag kayo sasagot. ‘Pag ako may narinig sa inyo…’ Kasi that’s out of respect for Alfie. ‘Kahit pinakagrabe na yung tinira ako talaga, walang sasagot.’ Kahit yung [fans ko na] taga-New York [hindi na nagsalita tungkol dun]. Nagtampo lang yun (Alfie),” she graciously stated…” – Rachelle Siazon (READ MORE)

Ricky Lo

“…Ricardo F. Lo, the very first movie writer who interviewed me when I was 12 pa lang yata and who even paid the fare for the taxi that he, my mom and I took to the Manila Times building on Florentino Torres St. in Sta. Cruz, Manila, where we did the cover pictorial for Variety, one of the paper’s Sunday magazines…” – Ricky Lo, The Philippine Star, October 31, 2010 (READ MORE)

“…Ricardo F. Lo, more popularly known as Ricky Lo, is an entertainment writer, showbiz commentator from the Philippines. He is of Chinese descent. He was born on April 21. He is a native of Las Navas, Northern Samar, where he finished grade school. He finished high school at the bilingual Tabaco Pei Ching School in Tabaco, Albay, and took up AB English at the University of the East. From 1969 to 1972, Ricky worked as editorial assistant of Variety magazine, the Sunday supplement of the old Manila Times where he started his Funfare column. After this, he joined the Philippine Daily Express first as staff writer of its Express Week magazine and then as deskman of The Evening Express and eventually its main broadsheet. He later went on to work as editorial assistant for its Sunday magazine, Weekend, until 1986. Lo did stint as entertainment editor- first at The Manila Times and then at The Manila Chronicle and currently at The Philippine Star where he also writes his revived FunFare column and his regular Sunday feature, Conversations with Ricky Lo. Ricky is the author of Star-Studded, the first compilation of his articles on movie stars, which he released in 1995. Another book, Conversations with Ricky Lo was released in 2001. The book bear Lo’s trademark sensitive, intelligent and penetrating style of handling interviews…” – Wikipedia (READ MORE)

Mario Bautista

“…I started my professional career in Channel 5, the carrier station of the Manila Times, in 1965. I was with the film programming department. We got to screen old movies, both local and foreign before it was aired on shows like “Million Dollar Movies”, “Sinagtala” and “Bahaghari”. I also helped in the production of some TV shows, like “Magmahal ay Langit”, then directed by Celso Ad. Castillo, and “Pamilya Kontra-Partido”, a sitcom. The station was closed down by martial law in September of 1972. During that time, I was already the head of the film programming department. In 1976, I was invited to write film reviews for “TV Guide”, edited by Rod Reyes. I was invited to be a member of the Manunuri ng Pelikulang Pilipino that gave out the Urian Awards. Newspapers then invited me to write entertainment columns and reviews for them, including “People’s Tonite”, “People’s Journal”, “Times Journal”, and “The Philippines’ Daily Express”. Later, I also wrote columns for “Ang Masa”, “The Manila Chronicle”, and “The Manila Bulletin”. I likewise had regular columns for several magazines, including Jingle Extra Hot, Movie Flash, Intrigue, Expose, Fame, Hot Copy, Parade, People’s, and others. On TV, I was a co-host of Armida Siguion Reyna and Behn Cervantes in “Let’s Talk Movies” and did film reviews on air for “The Big, Big Show”. In 1985, I became a member of the Philippine Movie Press Club that gave out the Star Awards for Movies. In 1987, I was instrumental in putting up the Star Awards for Television. When the Manila Times resumed publication in 1999, I was invited by then publisher Katrina Legarda to be its entertainment editor. I now write regular columns for People’s Journal and Malaya, and for the Japanese based fortnightly, Pinoy Gazette…” – Showbiz Portal (READ MORE)

Vima Santos on Motherhood

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A fresh-looking Vima Santos greeted us at the presscom of her movie, “Anak.” Full of energy after a three week vacation in the States, she answered our question about her film with zest and pride.

Favorite song

What is your memory of “Anak?” It was a favorite song of mine. I always ran to the radio whenever they played the song. When the project was offered to me, I responded favorably to it right away.

Do you still feel challenged by the dramatic situations of the story? Of course. The challenge is always there Kahit na nasa Hall of Fame ‘ko. We have lots of comfrontation scenes in this movie and they are all difficult. I remember doing a scene in which I had two pages of dialogue. After doing the blocking. I asked for time to concentrate because the director would take a continuous shot. The point is to never be over-confident and always turn to the director for help.

How significant is “Anak” to you? This is the first time I am portraying a domestic helper and our one week of shooting in Hong Kong enabled me to talk to some of them and understand them better.

Lonely

Most of them are sacrificing mothers and they’re lonely because they are far away from their families.

Was it easy for you to relate to your character in the movie? I internalized my being a mother is real life and the fact that I am also working, hindi nga lamang abroad. It helped me a lot remembering what Mama did to me when I was young.

As a mother, what are your particular about? The health of my children. If you want me to get upset, just tell me that one of my sons is sick!”

What kind of a mother are your to your teenage son Luis? I am quite liberal dahil iba naman ang henerasyon ngayon as compared doon sa kinagisnan ko. Curfew hour for me then was midnight. But now, ganung oras pa lamang nagsisimula ang kanilang mga happenings.

No communication gap

I have no communicatin gap with my son. We talk about everything under the sun, including sex. Also, I allow my son to reason out with me since the saying mother knows best is not applicable in all circumstances.

Has Luis given you a headache? Sa awa ng Diyos ay wala pa namang grabeng sakit ng ulo idinudulot sa akin. Mabait siyang bata and he knows his responsibilities. But I recall punishing him over a failure to deliver good grades. I am particular about his studies. When he showed me his low grades, he promised he would do something about it. The third grading period came and there was no improvement, so I reminded himd of his promise. He was grounded for one week and was not allowed to use the telephone.

Was ther a time when you neglected your motherly duties? It was campaign season and you know how busy candidates are. Hindi ko nabantayan si Luis because I was busy campaigning, and he stayed in somebody else’s house at nagtampo. Vilma says her greatest joy is being a mother to Christian who is only four and Luis who is already a handsome teenager. Her greatest fear is to “lose” them one day, when they move out to have their own families. She says 85 percent of her life is devoted to being a loving mother! – Remy M. Umerez Philippine Daily Inquirer, May 12 2000 (READ MORE)

2002 Best Actress Awards

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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)

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)

Actress-Lipa City Mayor Vilma Santos, new actor Yul Servo, and the independent film, “Mga Munting Tinig,” proved that the local movie industry recognizes talent and good films, veteran or newcomer, when they bagged top honors at the 19th Star Awards for the Movies held last Saturday night at the UP Theater in Diliman, Quezon City. Santos was named “Movie Actress of the Year” for her role as a mother who experienced awakening during the ’70s turmoil in “Dekada ’70.” Santos, one of the country’s most awarded actresses, admitted she still feels the tension from the announcement of nominees to the winner. “Nakakakaba pa rin po hanggang ngayon (I still feel nervous even now),” she said in her acceptance speech. Meanwhile, newcomer Yul Servo was named “Movie Actor of the Year” for playing a young husband subjected to extreme culture shock when he finds life hard in a Manila suburb in the controversial movie, “Laman.” The rest of the major trophies went to Gil Portes, “Movie Director of the Year” for “Munting Tinig;” Piolo Pascual, “Movie Supporting Actor of the Year” for “Dekada ’70”; and Kris Aquino, “Movie Supporting Actress of the Year” for “Mano Po.” “Mga Munting Tinig” won most of the awards, copping with seven out of 16, including Child Performer of the Year (Brian Ronquillo), Musical Score (Joy Marfil), Production Design (Arthur Licdao) and Original Screenplay. According to its director and scriptwriter, Portes, the group completed “Munting Tinig” in only 15 days. He added, “This movie just won in the Sta. Barbara International Film Festival and is the first locally produced movie bought by Warner Bros. for worldwide distribution.” Other winners at the 19th Star Awards were “Agimat” for Best Special Effects; Jordan Herrera, New Movie Actor of the Year for “Gamitan;” Nancy Castiglione, New Movie Actress of the Year for “I Think I’m in Love;” Ogie Alcasid for “Kailangan Kita,” Best Movie Theme Song; and Lualhati Bautista for Best Adapted Sceenplay, “Dekada ’70.” Special awards given were the “Darling of the Press” for Onemig Bondoc, the “Male Star of the Night” for Bong Revilla, the “Female Star of the Night” for Maricel Soriano and the “Lifetime Achievement Award” for Sen. Ramon Revilla, Sr. Trivia host was Charlene Gonzales. Hosts of last night’s Star Awards were Cesar Montano, Bong Revilla, Philip Salvador, Kris Aquino, Maricel Soriano and Vilma Santos. Performers were Sharon Cuneta, Jolina Magdangal, Ogie Alcasid, Jaya, Angelika de la Cruz, Patricia Javier, Karylle, and Zsa Zsa Padilla. – Sol Jose Vanzi, March 10, 2003 (READ MORE)

Gawad Urian Awards “…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)

On Edu, Ralph, and Luis

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On Edu, Ralph, and babies – “…It’s been over five year since Vilma Santos and Edu Manzano have gone their separate ways and a little over years that Vilma had lived-in with current flame Ralph Recto, but still, Vi and Doods have remained the closest of friends. “It’s better this way, no more constant bickering. May respeto pa rin naman kami sa isa’t-isa, so all is well between us.” says Ms. Santos. Edu was rumored to have had an affair and that triggered the break-up. “We really didn’t know why and how we parted ways. We could not pinpoint the problem. It just happened. We gradually drifted apart and before we knew it, we were so far away from each other that any holding on proved to be futile,” said Edu. “Hindi namin talaga alam kung ano ang nangyari, because had we known the root, we would not be apart from each other now.” Vilma no longer makes as many movies as she did before. A lot of showbiz insiders said that the timing of Edu’s marriage to Vi was all wrong. Vi was then making a lot more dough than her husband was and this fact contributed much to the strain in their relationship. Vilma’s romance with Ralph Recto started tongues wagging and a lot of speculations cropped up, especially so, since Edu, after the break-up had remained unattached for a long time. Talks circulated that Edu left Vilma because she was first to fall-out of the bonds of marriage. “Hindi totoo iyan,” Vilma was quoted in an interview “nauna si Eduardo at alam niya iyon.” But the past is past and Vilma can now look back with a smile on her lips. “Mas maganda ang relasyon namin ni Eduardo ngayon.

We are friends. I know I can count on him kung mayroong malaking problema. We understand each other, kaya nga may ganitong arrangement.” Vilma says she is happy now for Doods who has found his right girl. “Naiintindihan ko naman si Edu and I’m happy for him. If he thinks Maricel is right for him, I know Edu when he makes a decision, then, I am happy for them both. Wala naman akong hinangad kundi matagpuan na ni Doods ang babaeng para sa kanya. Ako naman, I’m very happy and contented with my personal life kaya I wish him all the best.” Asked if she is against Edu having a child with another woman, Vi replied: “Bakit naman? We now lead separate lives at sa mga ganung sitwasyon, hindi na pinagtatalunan pa. I’m not against Edu having a child with any woman, basta ba alam kong nagmamahalan sila and having a baby will make their happiness complete, bakit naman ako magagalit? Siguro naman, If I decide that I too would want to have a baby with the man I am living with, Doods will not make it difficult for me. Hindi siya hahadlang dahil he also has my happiness at heart. Like I said before, mayroon na kaming arrangement and we’re both contented with the ways things have turned out, so walang problema.” Talks are spreading like wildfire that Vilma is about to move out of her Magallanes digs and that she has bought a house for her current hearthrob. “Unfair naman iyon. I wanted to buy this house for my family, kay Lucky. Just because Ralph is not visible in the movie scene, eh pagiisipan na siya ng hindi maganda.

I intend to keep this phase of my life private and hindi naman siya showbiz personality so why can’t we spare him from the intrigues? Iba naman ang mundo niya.” Vilma has other plans aside from just staying as an actress all her life. “I plan to go into production and television, ibabalik ko rin ang VS Films. I have plans pero hindi pa naka-set. There are so many factors to consider at hindi bigla-bigla ang ganitong desisyon. Sabi nga ng marami, I’m not getting any younger daw and many people would like to see me retire from film making. Sabi ko nga, as long as there are people who still watch me on the screen, as long as there are fans supportive of my career, nandito pa rin ako. When that time comes na aalis ako sa showbiz, hindi naman totally na mawawala ako. Siguro, behind the cameras na lang ako. Directing maybe. Producing, why not? But that wuold still be a long time. I’m enjoying my profession and no one can stop me from enjoying what I want most.” Not even having a baby? “I know I’m not getting any younger and I’d like to have another baby after Lucky. Sino ang makapagsasabi, maybe this year, bakit nama hindi?…” – Lulubelle Lam, Manila Standard, Mar 29, 1989 (READ MORE)

Luis knows his limitations – “…Lipa City Mayor Vilma Santos-Recto denies reports that she is having problems with her 17-year-old son Luis, the boy TV fans remember as Lucky, who is the offspring of Vilma and her first husband, actor Edu Manzano, now Vice Mayor of Makati City. Luis, who is a high school student at the San Agustin College in Makati, lives with Edu in the Vice Mayor’s Ecology Village residence during weekdays while Vilma stays in Lipa City attending to her constituents. On weekends, both Vilma and Lucky move to her Green Meadows residence where the actress- politician relaxes and plays Mom before going back to Lipa on Monday. Luis was reported to be so in love with his Filipino-American girl friend Nicole that he is allegedly neglecting his studies. Vilma, who is married to Batangas Congressman Ralph Recto, reacted sharply to these reports. “Luis knows his limitations,” Vilma is quoted by Malaya’s Ethel Ramos. “While Edu and I do not stop him from falling in love, for that is but natural among boys his age, we keep reminding him that he is too young to get involved seriously. Edu an I want him to finish his studies first before he becomes involved seriously with any girl…” – Sol Jose Vanzi, Oct. 21, 1998 (READ MORE)

Family is First Priority – “…A prominent resident of Lipa has told Manila Standard columnist Isah Red that his city’s mayor, actress Vilma Santos, spends only three days of each week in Lipa, and the rest of the week in her Metro Manila residence. “For the past weeks, she’s been working only for three days a week: Monday to Wednesday,” Isah quotes his source. The writer adds that “the multi-awarded actress might have been overwhelmed by the scope of her duties as a local government official, plus the numerous problems in the city that need to be addressed.” Vilma had told everyone from the very beginning that she’s going to divide her time between her family and her duties and obligations to Lipa City as mayor. Her supporters claim that even when she’s not in Lipa, she is in constant touch with her Lipa-based staff, monitoring activities from wherever she happens to be. But Isah’s source says that is not enough. “She has to make herself visible to her constituents. Nothing is decided upon (at the City Mayor’s office) after Wednesday. People who want to do business in the city have to wait until the following Monday to get things done, especially those whose documents need the approval or signature of the mayor,” he complained. Vilma claims that “It’s already a sacrifice for me to be away from my kids for three days.” The actress tries to make up by staying in the mayor’s office beyond the regular office hours. “Now I also need to be with my children and my husband for the weekend,” Mayor Vilma Santos- Recto said. Her husband, Batangas Congressman Ralph Recto, holds office in Metro Manila because he reports for work at the Batasang Pambansa complex which houses the House of Representatives…” – Sol Jose Vanzi, Nov. 21, 1998 (READ MORE)

Luis Manzano is a better actor than dad Edu Manzano – “…Yung movie na ginawa naman namin ni Eduardo (Edu) eh romance. Bagong kasal lang kami noon, hindi ko pa siya nakita at naka-eksena talaga na really heavy. That time nung [kasama] kami nina Dina (Bonnevie) sa Palimos ng Pag-ibig, mas nataon si Eduardo sa action eh so hindi ko talaga na-pick up ‘yung dramang-drama na acting [sa kanya]. But dito kasi, first time with my son meron siyang moment dito na isang eksena na nadala ako bilang nanay. But kung sino ang mas magaling, magaling naman si Eduardo, pero mas magaling si Lucky (Luis)…” – Bernie Franco (READ MORE)

“…Ralph. “He is the most secure man I have known. I want to grow old with him.” Luis. “Who he is today, he worked hard for. I am proud of him.” Ryan Christian. “He is very passionate. One time he told me he wanted to get into politics and showbiz. And I told him, ‘It’s hard anak’ and he shot back ‘Bakit ikaw mommy?…” – Boy Abunda, The Philippine Star, July 31, 2009 (READ MORE)

Leron Leron Sinta Films

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Leron leron sinta (1972) – Directed by Emmanuel H. Borlaza, written by Nestor Torre, produced by Tagalog Ilang-Ilang Productions, featured Vilma Santos, Edgar Mortiz, Jay Ilagan, Florence Aguilar, Lillian Laing, Karlo Vero, Beth Manlongat, Ruben Tizon, Angelito, The Family Birth Control, Julius Obregon, Romeo Miranda, Rene Baraza, Lito Ladores, Eric Domingo, Caloy Distrito, Raffy Engle, Geoffrey Beltran, Catalino Almario Jr., Tacio Tangkad, Bayani Casimiro, Lito Calzado, Daisy Romualdez, and Manny Paner. (READ MORE)

Leron leron sinta (1964) – Directed by Rosa Mia, written by Gina Leonardo and Chari C. Araullo, adapted for screen by Medy Tarnate and Leticia Roxas, produced by Sampaguita Pictures, featured Susan Roces, Eddie Gutierrez, Liberty Ilagan, Introducing Ramil Rodriguez, Meldy Corrales, Bella Flores, Gina Pareno, Vic Pacia, directed by Rosa Mia. (READ MORE)

Celso Ad Castillo’s Vilma Santos Films

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“…Mr. Castillo, who directed more than 60 movies including “Asedillo” in 1971 and “Burlesk Queen” in 1977, died in his home in Siniloan, Laguna. In 2007, Mr. Castillo was diagnosed with stage 1 lung cancer. Born in Siniloan in Sept. 12, 1943, Mr. Castillo is the son of lawyer Dominador Ad Castillo and Marta Adolfo. He graduated in 1964 from the Manuel L. Quezon University with a degree in English Literature. Mr. Castillo started as a writer for a komiks magazine, until he was commissioned to write a script for a spoof of the British superspy James Bond in 1965. He directed his first movie, Misyong Mapanganib in 1966. But it was the film Asedillo in 1971 that made Mr. Castillo popular. Based on the story of a Filipino rebel of the 1920s who was hunted down as a bandit by the American colonial government, the movie gave its lead actor, Fernando Poe, Jr. his second Best Actor trophy from the Film Academy of Movie Arts and Sciences (FAMAS)…Before he died, he has just launched his tell-all book Celso Ad Castillo: An Autobiography and His Craft…” – Jeffrey O. Valisno (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)

Tag-ulan sa tag-araw (1975) – “…The two main characters, Christopher Deleon and Vilma Santos obviously carried the film with surprising maturity. Considering this was their first team-up and both were very young. In 1975, both were still in transitions, from teenybopper stars of the musical era to serious actors. Christopher Deleon’s performance was quite impressive as the apologetic Rod, except for some scenes where you can see his nostril moves, he gave a very affecting performance. Vilma Santos equally balance the equation with a touching show of emotions that we seldom see in her early films that are mostly musicals, fantasy or comedies. Three scenes stand out. First was in the bus where she confronted her “Kuya Rod” to not to give-up on their relationship. Second when her parents caught them in the balcony. She begs them to stop beating up her “Kuya Rod.” And then finally, the driving to the abortion clinic scene, she cried her heart out begging them to stop and cried for help to her “Kuya Rod,” who was running behind and trying very hard to stop the car. Celso Ad Castillo successfully gave us a very moving film. Even with the very annoying number of voice-over scenes, scenes that you will hear the two main characters talks but you will see them not opening their mouth, the film has so many good qualities that you will forgive these flaws. We probably attributed these flaws to the style of many films in the 60s and 70s…” – RV (READ MORE)

Burlesk Queen (1977) – “…Burlesk Queen is much more than a gripping commercial melodrama. It is also a scathing commentary on the sarcastic sexual politics that has become the atmosphere of Philippine society: of hardworking women and the good-for-nothing men they serve (in other words, a patriarchal society gone awry). It is also a fervent reminder of the redemptive and equalizing power of art, which is the reason why it will always be a threat to those who hold power. Multi-faceted, committedly acted, and very well-directed, Burlesk Queen, I opine, is an unsung masterpiece.” – Francis Cruz (READ MORE)

Pagputi ng uwak, Pag-itim ng tagak (1978) – “…Celso Ad. Castillo’s Pagputi ng Uwak, Pag-itim ng Tagak (When the Crow Turns White, When the Heron Turns Black) injects political overtones into its story, about a poor young man (Bembol Roco) who, when abandoned by his upper-class lover (Vilma Santos), joins the Hukbalahap rebels. Ad. Castillo in this film demonstrates an amazing visual language–not flashy, but quietly, lyrically brilliant. He also demonstrates a more masterful grasp of music and song than possibly any other Filipino director–the film is a model on how to use kundimans, ballads, pop songs to differentiate social classes, to satirize and comment on the narrative action.” – Noel Vera (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)

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Early Female Directors

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Karugtong ang Kahapon

Before Marilou Diaz Abaya (Minsan Pa Nating Hagkan Ang Nakaraan, 1983; Alyas Baby Tsina, 1984), Rory Quintos (Anak, 2000), Olivia Lamasan (In My Life, 2009; Maalaala Mo Kaya? Regalo episode, 2005), and Laurice Guillen (Dahil Mahal Kita: The Dolzura Cortez Story, 1993; Kapag Langit Ang Humatol, 1990; Ipagpatawad Mo, 1991), Fely Crisostomo, Maria Saret, Leody Diaz, and Consuelo P. Osorio were the only known female directors. They have become part of Vilma Santos’ filmography.

Fely Crisostomo is a Filipina film director and actress. She was the first woman to win the FAMAS Award for Best Director in 1967.- Wikipedia (READ MORE)

Fely Crisostomo’s Vilma Santos Films

Susan Kelly

Maria Saret is a Filipina film director and writer. She was first recognized for her 1966 screenplay of the film Miranda: Ang lagalag na sirena starring teen star, Marifi. In 1973 she directed her first feature film, the drama about women in prison, “Bakit may bilanggo sa anak ni Eba?” starring Gina Pareño, Rosanna Ortiz and Alona Alegre. Saret was nominated for the 1989 FAMAS best director award for the movie Lorenzo Ruiz, The Saint…A Filipino! She won the best screenplay at the Film Academy of the Philippines for the same film.

Maria Saret’s Vilma Santos Films

– Vi co-starred with Dante Rivero (their second film, after Mga Tigre ng Sierra Cruz), Anthony Alonzo, Sandy Garcia, Cloyd Robinson.(READ MORE)

Sweethearts

Leody Diaz is a Filipina film director and actress. Her earlier credit consists of 1965’s Labanang Babae (The fight of Women) as an actor and as the writer of Bella Bandida (Bella, The Woman Bandit), She started directing in 1967 via Target: The A-go-go Generation, a comedy musical which became her main genre of her body of work.

Topical, Realistic Themes “…Tony and the Tagalog Ilang-Ilang Productions plan not only to produce big budgeted films for international competition next year, but to bring into local movies topical, realistic themes like student power, social unrest, violence in our midst, etc. But meanwhile, the gring has to go on. Right now he is filming Blue Seal Mata Hari under the direction of Leody Diaz, where he is experimenting on teaming up Filipino actors with colored women and vice – versa. And for the first time, he said, a Filipina actress, sex siren Liza Belmonte, consented to be kissed by a colored man in this film. So it goes too with Tony, where he is paired with two colored women with kissing scenes…” – P. Oden Amurao, Republic Weekly, 03 October 1967 (READ MORE)

Leody Diaz’s Vilma Santos Films

Jukebox King

Consuelo P. Osorio is a Filipina film director and actress. Her earlier acting credits consists of 1949’s Bulakenyo and 1984’s Bagets Part 2, her first and last films.. Like Leody Diaz, Consuelo became active in late 60s to early 70s directing singing teen stars in musical-comedy or musical-drama genres. Peque Galaga, the popular director of Oro Plata Mata fame, was quoted saying, Consuelo P. Osorio of Premiere Productions as his early mentor because, “It was she who tutored him on points such as casting that would spell success in surviving in the industry.”

Ateng Osorio – “…I asked the receptionist who was the TV writer present that day and she mentioned the name: Consuelo Osorio, also known as Ateng Osorio. She told me which studio she was working that time and I proceeded to find her. Unfortunately, upon entering the TV barn, a production assistant told me that she actually went to the cafeteria to have coffee. So I went to the cafeteria and tried to find her. I asked the person at the till to point out to me Miss Osorio, and she did. She was seated at a table, smoking, talking to another lady, and both of them, I noticed, were looking at me. I approached them and introduced myself. She gave me a handshake and introduced the other lady: “She’s Mitos Villareal, our director.” After shaking Miss Villareal’s hand, I didn’t hesitate to tell them that I was there because I want to become a writer for TV and the movies. They both smiled. “You’re a bit too young to work as a writer,” Ateng told me. “Besides, you look more like an actor than a writer! We immediately noticed you the moment you entered this room. You are unusually fair. You are even fairer than Jeanne Young. Leave your phone number with me, I’ll find something and I’ll give you a call….Well, perfect timing. I need someone your age. I am auditioning today and tomorrow for new talents for BBC Channel 2. Since I already know that you can do it, you’re in. I need you to come for taping on Saturday night. Come with me and I’ll give you the script.” I wanted to say no, but for some reason, I couldn’t. Besides, this lady was super nice and I didn’t want to say no to her. So I went with her and we proceeded to the office and the producer of the show handed me a blue mimeographed script. It says: PROGRAM: Dulambuhay ni Rosa Vilma WRITER: O.B. Pangilinan MAINSTAY: Vilma Santos. To make the long story short, I ended up appearing with Vilma Santos and Walter Navarro. I played Walter’s younger brother in that episode. Thank God all my scenes were take one. And after the show aired, all my friends teased me non-stop about it. Ateng Osorio was directing films that time as well and she wanted to cast me in them but I begged off. I finally told her that acting is not what I wanted to do. I want to write. She then said: “I’m committed for seven months to direct movies which I have already written myself. After they are all finished, we’ll discuss a movie I will be directing for Barangay Pictures. I have a storyline. You will write the screenplay…” – Jose Mari Lee, Pinoy Comics TV Movies (READ MORE)

Consuelo P. Osorio’s Vilma Santos Films

  • I Do Love You (1970) – Eddie Peregrina-Vilma Santos film with Esperanza Fabon and Bebong Osorio. (READ MORE)
  • Jukebox King (1969) – Eddie Peregrina-Vilma Santos film with Edgar Mortiz, Esperanza Fabon and Bebong Osorio. (READ MORE)
  • Mardy (1969) – Eddie Peregrina-Vilma Santos film with Esperanza Fabon and Bebong Osorio. (READ MORE)
  • My Darling Eddie (1969) – Eddie Peregrina-Vilma Santos film with Edgar Mortiz, Esperanza Fabon and Bebong Osorio. (READ MORE)

Other Female Directors

  • Ophelia Paris (1973) Directed by Celia Diaz-Laurel. The first movie of Vilma Santos and Cocoy Laurel, the other films are: Disco Fever and Pinay American Style (READ MORE).
  • Mga Reynang Walang Trono (1976) Directed by Amalia Muhlach (Amalia Fuentes). “…Amalia directed Vilma’s episode in Mga Reyna and agreed to second billing to Vilma in Asawa Ko. No doubt about it, Amalia Muhlach Sumilang Fuentes, is a Vilmanian. To seal their sisterhood and camaraderie, Vilma is Ninang to Liezl Martinez and to the latter’s son Alfonso. Why, Liezl even sang a song ’’Wind Beneath My Wings’ to her surprised mother that night which drove the strong-willed and still beautiful Amalia to tears…” – Mario O. Garces (READ MORE)

2002 Metro Manila Film Festival

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Hindi ako kumbinsido na isang Ara Mina ang tumalo sa isang Vilma Santos sa nakaraang Metro Manila Film Festival Philippines. Isang malinaw na pang-iinsulto ito sa kakayahan ng Star for all Seasons bilang aktres. Hindi namin minamaliit ang kakayahan ni Ara Mina. Pero para sa amin, hindi pa siya ganap na aktres para talunin si Vilma. Kung pagbabasehan ang performance niya sa Mano Po, compared kay Vilma sa Dekada ‘70, hindi ito sapat para pumantay kay Vilma. Sa katunayan, ang performance ni Vilma sa Dekada ‘70 ang masasabi naming pinakamahusay niya. Napakahusay ng transformation ni Vilma bilang isang ina na sunud-sunuran sa kanyang asawa to a mother na nakikipaglaban para sa karapatan ng isang ina para sa kanyang pamilya. Kahit si Kris Aquino na co-star ni Ara sa Mano Po ay hindi kumbinsido na tinalo nito si Vilma. Vindicated kuno si Ara Mina sa pagkakapanalo nito. Vindicated saan? Pinaingay lang ng Regal Films ang kanyang performance kaya tumatak sa isip ng ilan na pang-Best Actress ang performance niya. Ang nakakapagtaka, ilang araw bago ang awards night, pinaingay ng Regal ang pangalan niya for Best Actress. Mukhang siguradung-sigurado na silang makukuha nila ang majority awards. At nangyari na nga. Nakuha ng Regal movie ang majority ng awards. Kahit nga sa Best Actor award, nakakapagtaka na talunin ni Eddie Garcia sa Mano Po si Christopher de Leon sa Dekada ’70.

At ang nakakabaliw pa, ilang oras bago ang awards night, may tumawag sa Star Cinema office na taga-MMFFP para sabihing in-elevate nila si Piolo Pascual para sa Best Actor category. Pero nung presentation na, balik ito sa Best Supporting Actor. Di ba, normally may deliberation na tinatawag? Ibig sabihin ilang oras bago ang awards night ay nagdi-deliberate pa sila? Ni hindi nila iprenesent kung sino ang board of judges. Kahit ang souvenir program kung saan naglalaman ng composition ng members ng bawat committee ay wala. Deliberate bang hindi pinamigay para hindi ma-pinpoint kung sino ang sisisihin sa mga kapalpakan? Umpisa pa lang ng MMFFP ay palpak na. Announcement pa lang ng 7 official entries ay nagkagulo na. At tama ba namang iurong ang deadline para ma-accommodate ang ibang entries dahil hindi pa ito tapos? Hanggang sa kailangan pang mag-usap-usap ang mga producers para alamin kung ano ang kanilang decision sa bagong ruling na ipinalabas. Bakit kailangang producers ang masunod kung may sinusunod na rulings taun-taon? Kulang sa paninindigan ang pamunuan ng MMFFP ngayong taon. Sa interbyu ni Mayor Rey Malonzo sa The Buzz, nagpaliwanag ito sa mga naganap na kapalpakan. Ipinipilit niya ang kanyang katwiran na nasusupalpal naman ng mas mabigat na ebidensya. Tulad na lamang sa hindi pagkasama ni Lualhati Bautista sa dalawang kategorya, ang Best Original Story at Screenplay.

Aniya, nabanggit naman daw, baka hindi lang narinig dahil sa studio problems sa PICC. Isisi pa ba kay Lani Mercado ang kapalpakan eh ang husay nga nitong mag-present? Bakit ayaw tanggapin ni Mayor Rey Malonzo na lantaran ang kapalpakan sa MMFFP ngayong taon? Ewan pero nakakawalang gana na yang MMFFP na yan. Taun-taon na lang may gulo, kontrobersya at higit sa lahat, umiiral ang kapangyarihan ng ilan. Kaya kung kami sa ilang film production like Star Cinema at Imus Productions, mag-isip-isip sila ng maraming beses kung sasali pa sila next year. At kung sasali man sila, gumawa na lang sila ng ka-cheapang pelikula para matalo man sila, hindi masakit. At kung iisip man sila ng pang-entry next year, huwag na silang mag-strive for cinematic excellence and globally competitive movies dahil hindi sila kikilalanin at bibigyan ng parangal. Sayang lang ang efforts nila. Magpatuloy pa rin sila sa paggawa ng pelikulang magaganda pero ipalabas na lang nila sa regular showing at huwag magpagamit dyan sa mga kung sinu-sinong malalaking tao sa industriya at pulitika. Kay Direk Chito Roño, ipagpatuloy mo ang paninindigan mo. Wala ka ng kailangang patunayan bilang isang direktor dahil ginawa mo ang alam mong pinakamahusay mo, pero yung hindi ka kikilalanin, hindi mo na kasalanan yun. Salamat sa pagsasabuhay mo ng pelikulang Dekada ‘70.

At para kay Vilma Santos, mananatali pa rin siyang pinakamahusay na aktres para sa inyong lingkod at sa kanyang mga tagahanga. Binastos man siya ng MMFFP, marami pa rin ang naniniwala na siya pa rin ang rightful winner. Hindi ang MMFFP ang sisira sa legacy ng isang Vilma Santos. Sa awards derby next year, pupusta ako na aanihin niya ang prutas na hindi niya inani ngayon sa MMFFP. Sa MMFFP, nakakalungkot na hinayaan ninyong dungisan ng ilan ang imahe ng taunang parangal na ito. Hindi ninyo dapat hinayaan na gamitin kayo ng mga gahaman. You are not indebted sa iilang makapangyarihan kundi sa sambayanang Pilipino. Tiyak na may magri-react sa aking sinulat sa kolum na ito. Ito ang nararamdaman ko. Matindi ang epekto sa akin ng mga pangyayari at kung paanong tumimo sa aking puso at isipan ang Dekada ’70, ang pelikulang nagpamulat sa akin kung gaano kasarap magkaroon ng isang pamilya at makipaglaban para sa iyong minamahal. Kay Vilma, Boyet, Piolo, Direk Chito, Lualhati Bautista at sa Star Cinema, maraming salamat sa Dekada ’70. Mabuhay ang tunay na pelikulang Pilipino! – Eric John Salut, Pilipino Star, December 31, 2002, Reposted by: Sol Jose Vanzi (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)

2002 Gawad Urian Best Actress

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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)

For the first time in the history of the Manunuri ng Pelikulang Pilipino’s Gawad Urian Awards and probably in any national award giving ceremony, for that matter a tie was announced in the Best Film category. Star Cinema’s Dekada ’70 and Gil Portes and Ray Cuerdo’s Munting Tinig were declared as the best of the 2002 produced films. The Urian is known as the award-giving body that has most often declared ties. Allow me to explain why. A certain standard of excellence in every category has been set by the critics. In the case of the best film, it has to be one that is technically proficient in all aspects such as sound, music, production design, editing and cinematography. Beyond technical excellence and artistic sense in storytelling, it must always have a theme that is not pretentious. The film should successfully capture that “truth” grounded on the Filipino experience. Based on these, it is, thus, possible to have more than two films hitting the grade. Declaring ties, therefore, is only tantamount to saying that there may be more than one film which deserved to be called excellent.

It certainly happened this year for Dekada ’70 and Mga Munting Tinig. Both hit that mark of excellence. Congratulations to all those who contributed to the creation of these two momentous films. The Manunuri ng Pelikulang Pilipino has always dedicated itself to selecting and recognizing the best films. When the group was created in May 1, 1976, it declared itself as an alliance of consumer activists who write articles, not for PR, but as independent reviews that give citations and awards. The present group has never deviated from the same objectives and values as that of the first group. Three members who were part of the original one are still with the present crop of critics. They aim to continue awarding the best works and performances; encouraging continuous dialogue on film; and exploring and redefining the responsibilities of the industry practitioners and filmmakers to the public. The Gawad Urian recently held at the AFP theater started with a production number featuring Regine Velasquez, who was draped with filmstrips. She changed into two elegant gowns during the opening salvo.

The other artists who participated in the production were Janno Gibbs, Anna Fegi, JR, Jose Illana, Arni Hidalgo, Rufa Mae Quinto, Marissa Sanchez with the Sex Bomb dancers, and video assists by Michael V and Ogie Alcasid. Capping the evening was a musical number by Aiza Seguerra, 1728, 604 and Ciara Sotto. The presentors were Richard Gomez, Lucy Torres, Assunta de Rossi, Cherrie Gil, Rudy Fernanadez, Dingdong Dantes, Tanya Garcia, Jeffrey Quizon, Giselle Tongi, Judy Ann Santos, Maricel Soriano, Danica Sotto, James Blanco, Angelu de Leon, Vhong Navarro and Butch Francisco. Memorable “thank you” speeches started with Ricky Lee’s, who praised film artists and producers with whom he has worked. He also expressed his appreciation to the Manunuri ng Pelikulang Pilipino for finally recognizing and presenting a Natatanging Gawad Urian to a scriptwriter. Piolo Pascual was in tears and had a litany of names to thank as he completed his grand slam for the Best Supporting Actor category with his Urian award. Elizabeth Oropesa earned a good round of applause as she thanked her “Honey” when she received her Best Supporting Actress award.

Jay Manalo seemed rather touched by the Best Actor Award and thanked all his children quite a number, which did not escape the audience’s interest. Gil Portes was in high spirits when he finally bagged the Best Director award, after numerous nominations from the Manunuri. Vilma, who won the Best Actress Award, thanked the special people in her life, including host, Edu Manzano, who was miming on the side, hoping Vilma would include him in her speech. He certainly got the crowd in the theater roaring with his antics when he embraced Piolo and declared that he was a long lost son…The special award, Natatanging Gawad Urian, was presented to Ricky Lee for his numerous outstanding screenplays. A special reading was performed by Gina Alajar and Dina Bonnevie. Vilma Santos read the citation for the Ricky Lee’s recognition. The Gawad Urian Night was not too overwhelming, but friendly and exciting. It was not glittering, but it was colorful. It was not ostentatious, but it was substantial. It was not huge, but it was meaningful. Also contributing significantly to the successful presentation this year was the masterful and witty hosting by Edu Manzano. – Sol Jose Vanzi, May 20, 2003 (READ MORE)

2002 Gawad Urian

A few days before the Urian Awards last Saturday, some movie writers attending the presscon of Jose Llana said they already know the winners in the acting categories. Vilma Santos as best actress for “Dekada ’70,” Jay Manalo as best actor for “Prosti,” Beth Oropesa as best supporting actress for “Laman,” and Piolo Pascual as best supporting actor for “Dekada.” They claim to have heard this from some Urian members. The day before the awards night, we attended the presscon of “Huling Birhen sa Lupa” at Viva and Director Joel Lamangan told us he already knew Beth and Jay, who are shooting the film with him on location in Batangas, would win because he was requested to let them leave the set to attend the awards night. True enough, when awards night came at the AFP Theater, these are really those who won. Maybe the Manunuri should be more discreet next time to prevent such leakage. But the show itself is indeed smooth and slick, starting with the great opening number by Regine Velasquez. The tribute to Ricky Lee, who won the Natatanging Gawad Urian for his work as a scriptwiter, is particularly good. Singers Michael Santana, Ana Fegi and Janno Gibbs sang songs from Ricky’s films, Gina Alajar and Dina Bonnevie read excerpts from his scripts, Nora Aunor, Sharon Cuneta and Beth O. sang hosannahs to him, then Vilma Santos handed him the actual trophy.

Ricky, a founding member of the Urian himself (we left it at the same time in 1980), deserves the award because he is really the first scriptwriter to become a household name. We just wish he delivered a shorter acceptance speech since there’s beauty in brevity. Another winner who rumbled on and on is Piolo Pascual, who really put on an act along with Judy Ann Santos, who presented him his award. He’s the only one who scored a grand slam this year, so we can understand why he is a tad too emotional for comfort. Jay Manalo was more coherent and even managed to make a roll call of all his kids with various women, including his current wife, Raiza. Beth O., in turn, looked like a blushing bride as she received her award (her second best supporting actress plum from the Urian after “Milagros”), thanking her much younger husband, Joel Valdez, so sweetly. Mercifully, she gave a very short speech. Another winner who is obviously so overwhelmed is Gil Portes, best director for “Munting Tinig,” as he kept on giggling while delivering his acceptance speech. As for Ate Vi, this is her eighth Urian best actress trophy after “Relasyon,” “Broken Marriage,” “Sister Stella L,” “Pahiram ng Isang Umaga,” “Ipagpatawad Mo,” “Dahil Mahal Kita (Dolzura Cortez Story),” and “Bata, Bata, Paano Ka Ginawa.” This makes her the winningest actress ever and her Vilmanians have reason to gloat.

The concept of singing the songs from the nominated best films (by Tex Ordonez, Jose Llana, Jay Ar and Arnee Hidalgo) is good, along with the idea of lining up all the winners on stage for a final tribute before they announced the last awardee, Vilma Santos. Ate Vi was inexplicably already on stage but without a trophy, so you already know she’d be handed the award for the last category, which is the best actress award. But the production number involving Rufa Mae Quinto, the Sex Bomb, Marissa Sanchez, Michael V. and Ogie Alcasid was a dud. They tried to be funny spoofing Katya Santos and Mother Lily but only ended up being silly and corny. Host Edu Manzano did a fairly good job and even stole the scene when he too cried as ex-wife Ate Vi delivered her acceptance speech. In fairness, the Urian had a good roster of presentors like Rudy Fernandez, Maricel Soriano, Richard Gomez, Lucy Torres, Cherie Gil, etc. Unlike other award-giving bodies who just call on stage whoever is available inside the theater to act as presentors. As Rudy Fernandez himself pointed out, “Ang Urian talaga, mahilig sa tie,” so this year, the tie is in the best picture category, with Star Cinema’s “Dekada” and Teamwork Productions’ “Mga Munting Tinig” sharing the honor. – Sol Jose Vanzi, Malaya, May 23, 2003 (READ MORE)