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Manunuri Ng Pelikulang Pilipino Recognition

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On May 1, 1976, ten Filipino critics agreed to discuss the annual award-giving situation in the local industry. All in agreement that there must be an alternative to FAMAS, the only award giving body in the Philippines. The ten critics, mostly academics, were Pio de Castro, Behn Cervantes, Pete Daroy, Mario Hernando, Bien Lumbera, Doy del Mundo, Manny Pichel, Nick Tiongson, Gino Dormiendo, and Nestor Torre. Most of them were part of FAMAS roster of judges. Most, questioned the recent years winners. According to the website, Wikepedia: “The 1972 Best Actress tie that materialized between major star Boots Anson-Roa and then-rising star Vilma Santos” was a good example of the disillusionments experience by the academics. “…the tie was unheard of at that time, which resulted in accusations of lessening prestige on the part of FAMAS.” Ironically, Gawad will have numerous ‘tie” winners in their future set of winners, including a string of ‘tie” involving their early favorite, Nora Aunor. Headed by Nestor Torre, the nine critics agreed to review films and release quarterly citations of best films with the final nominations and winners announce at the end of the year.

Over the years, the Manunuri Ng Pelikulang Pilipino (Filipino Film Critics) considered the equivalent of the United States’ New York Film Critics Circle, established themselves as the most credible award giving bodies in the Philippines. They are known for having a long discussion for each of their award categories resulting sometimes in heated debate and unfortunately the unavoidable “tie” between nominees. Since 1976, the group has eluded controversies that rival groups endured. The oldest award, FAMAS has experienced two renegade or break away groups resulting in costly legal battles and low television ratings. Another group, the Philippine Movie Press Club is considered second to Gawad Urian, Star Awards had experience a similar fate, they also had a break away group, creating their own awards, the Golden Screen Awards. With the advent of new awards, now ten, and still counting. Gawad Urian remained strong and the most sought after. Currently, the Manunuri are consists of: Rolando B. Tolentino, Grace Javier Alfonso, Butch Francisco, Mario A. Hernando, Bienvenido Lumbera, Miguel Q. Rapatan, Benilda S. Santos, Dr. Nicanor G. Tiongson, Tito Genova Valiente and Lito B. Zulueta

Vilma Santos has become a big part of Gawad Urian. Although she wasn’t considered their early favourite, they developed a long fondness to the actress, many considered as the Meryl Streep of the Philippines cinema. Fourteen best actress nominations spanning three decades and eight wins: 1982’s Relasyon, 1983’s Broken Marriage, 1984’s – Sister Stella L; 1989’s – Pahiram Ng Isang Umaga; 1991’s Ipagpatawad Mo; 1993’s Dahil Mahal Kita: The Dolzura Cortez Story; 1998’s – Bata Bata Paano Ka Ginawa; and 2002’s Dekada 70. Most of these films were cited when Vilma received the University of the Philippines’ highest honours, the Gawad Plaridel in 2005. Vilma also won two Gawad Urian special awards as the Actress of the Decade, for her body of work and Gawad Urian wins for the 1980s and 1990s. She also recieved a Gawad Urian best picture award in 1978, as film producer for the film, Pagputi Ng Uwak Pagitim Ng Tagak.

Vilma Santos did ten films in 1976, mostly for commercial release. The only serious contenders for award derby were the dramedy directed by Eddie Rodriguez, Hindi Nakakahiya, and Emmanuel Borlaza’s drama, Mga Rosas sa Putikan. Clearly, Vilma Santos wasn’t ready for the big league drama competition. Ganito Kami Noon…Paano Kayo Ngayon dominated the very first URIAN awards with nominations for several major categories and winning best picture, best director (Eddie Romero) and best screenplay (Eddie Romero and Roy Iglesias). Romero defeated a worthy bunch of directors, Bernal for Nunal Sa Tubig, Brocka for Insiang, Mike De Leon for Itim and lupita Concio for Minsa’y Isang Gamogamo. The acting awards went to Vic Silayan for Ligaw na Bulaklak and Nora Aunor for Tatlong Taong Walang Diyos. Vic Silayan’s stiff competition was from the very young Christopher De Leon in Ganito Kami while Nora’s four other competitors were Charo Santos (Itim), Daria Ramirez (Nunal sa Tubig), Hilda Koronel (Insiang), Lolita Rodriguez (Lunes, Martes …), and Mona Lisa (Insiang). Supporting actor went to Ruel Vernal for Insiang while Maya Valdez (Lunes, Martes …) and Yvonne (Ligaw na Bulaklak) were tie for supporting actress.

The next year, Vilma Santos were more equipped with three films: Castillo’s festival entry, Burlesk Queen; Bernal’s Dalawang Pugad Isang Ibon and Elwood Perez’ Masarap Masakit ang Umibig. The Manunuri took noticed and cited the three films in several categories, including best actress. Hubad Na Bayani was acclaimed as the best picture of 1977. Compensated for the noticeable absence on their very first award ceremony, Vilma Santos’ films Burlesk Queen and Dalawang pugad…Isang Ibon gave Hubad na Bayani a stiff competitions. Ishmael Bernal, the director of Dalawang Pugad snatched the best director award from remarkable nominees, Lino Brocka for Tahan na Empoy Tahan, Celso Ad. Castillo for Burlesk Queen, Mike De Leon for Kung Mangarap Ka’t Magising, Eddie Romero for Banta ng Kahapon, and Hubad Na Bayani’s director, Robert Ylagan. The acting went toBembol Roco for Sa Piling ng Mga Sugapa (he was using the screen name, Rafael Roco Jr. back then) and Daria Ramirez for Sino’ng Kapiling, Sino’ng Kasiping. Aunor wasn’t even nominated, Vilma was nominated for her breakthrough film, Burlesk Queen and Hilda Koronel for the slick and glossy film, Kung Mangarap Ka’t Magising. For the supporting categories, Vilma’s co-stars, Mat Ranillo III (Dalawang pugad… Isang Ibon) and Rolly Quizon (Burlesk Queen) were nominated for best supporting actor that went to Lito Legaspi for Sino’ng Kapiling, Sino’ng Kasiping. The best supporting actress went to Armida Siguion-Reyna for Tahan na Empoy, Tahan. Rosemarie Gil was nominated for Burlesk Queen.

Then in 1978, the Manunuri cited only three films for their top awards. Hindi Sa Iyo Ang Mundo Baby Porcuna, Ikaw ay akin and Pagputi ng Uwak Pagitim ng Tagak duke it out with Vilma Santos self produced Film winning. Pagputi won four awards including best director for Celso Ad Castillo; best screenplay for Castillo, Ishko Lopez, Lando Perez Jacob and Ruben Arthur Nicdao; best supporting actor for Joone Gamboa; and best sound for Gaudencio Barredo. Castillo’s main competitor for the best director award were Ishmael Bernal for Ikaw ay akin, a Vilma Santos-Nora Aunor starrer, Lino Brocka for Mananayaw, Eddie Garcia for the controversial local festival entry, Atsay and Danny Zialcita for Baby Porcuna. For acting categories, Christopher De Leon received her very first URIAN for Ikaw ay akin, defeating Dolphy in Ang Tatay Kong Nanay and Bembol Roco for Boy Pana. Vilma Santos wasn’t nominated for Pagputi or for her Brocka film, Rubia Servious instead she was cited together with he co-star Nora Aunor in Bernal’s Ikaw Ay Akin. Both lost to Beth Bautista for Hindi Sa Iyo Ang Mundo, Baby Porcuna. The supporting actor nod went to Joone Gamboa for Pagputi and Chanda Romero for Boy Pana.

Like the previous year, URIAN nominated only three films for their best picture award, Berbal’s Aliw, Zialcita’s Ikaw at ang Gabi and Brocka’s Jaguar fight it out with Jaguar claiming victory. The three directors also fought for the best director together with Maryo J. De Los Reyes who were nominated for High School Circa ’65. Jaguar also won the writing category for Jose Lacaba and Ricardo Lee. From last year’s big win as film producer and nomination for Ikaw Ay Akin, Vilma wasn’t even nominated for any of her films in 1979, particularly, Halik sa Kamay Halik sa Paa or Pinay, American Style. The female lead role award went to Charito Solis for Ina, Kapatid, Anak. Her stiff competition were Lolita Rodriguez and Nora Aunor both for Ina Ka ng Anak Mo. While Jaguar dominated the supporting acting categories, won by Menggie Cobarrubias and Amy Austria, the film’s lead, Philip Salvador failed to grab the best actor. The award went to Dindo Fernando for Ikaw…at ang Gabi.

1980 produced five high quality films. Eddie Romero’s Aguila; Brocka’s Bona; Abaya’s Brutal; Bernal’s City After Dark, Kakabakaba ka ba got the best picture nominations with Bernal’s film taking the top prize. All of these directors were nominated for best director together with Laurice Guillen for Kasal with Mike De Leon edging them out. Kakabakaba kaba will also win the best supporting actor for Johnny Delgado. In addition to the top prize, City After Dark received the best screenplay for Ishmael Bernal and the best actor for Bernardo Bernardo, a surprise winner against Dindo Fernando (Langis at Tubig) and Phillip Salvador (Bona). For the best supporting actress, Daria Ramirez won her second URIAN for Aguila. Like the previous year, Vilma was not nominated for any of her efforts, Langis at Tubig or Miss X. The best actress were a tie. Gina Alajar (Brutal) and Nora Aunor (Bona) were declared the co winners.

For their 6th year, the 1981 Gawad Urian cited four films for their best picture category: Romy Suzara’s Pepeng Shotgun, Mel Chionglo’s Playgirl, Mike de Leon’s Kisap Mata and Laurice Guillen’s Salome. Salome was the winner. The four directors were also nominated for best director together with Ishmael Bernal for Pabling. Guillen was also the winner for Salome. In addition to picture and director awards, Salome also won the best screenplay for Ricardo Lee and the best actress award for Gina Alajar. Alajar’s strong competitors were Charito Solis for Playgirl and Nora Aunor for the forgettable Bakit Bughaw ang Langit. Vilma Santos were again got the cold shoulder from the Manunuri as she wasn’t even cited for any of her films: Pakawalan Mo Ako (where she won a FAMAS), Hiwalay, Karma (where she won the best actress from Metro Manila Film Festival) or Ex-Wife. For male acting categories, Vic Silayan received his second best actor defeating the late Johny Delgado, nominated for Salome. Charito Solis received her second URIAN, this time for the supporting role.

1982 harvested a string of high quality films: Batch ’81, Himala, Moral, Oro Plata Mata and Relasyon, all vying for the best pictures Urian. Oro Plata Mata edged out the other four. It also won the best director honour for Peque Gallaga. Gallaga defeated Marilou Diaz-Abaya (Moral), Ishmael Bernal (Himala and Relasyon), Lino Brocka (Cain at Abel) and Mike de Leon (Batch ’81). The writing category went to Clodualdo del Mundo, Raquel Villavecencio at Mike de Leon for Batch ’81.

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

The following year, the Manunuri nominated only two films for their best picture, a quick turn around from a very promising 1982. Regal Films’ Broken Marriage joined Cine Suerte’s Karnal in a two way run for each categories. Broken Marriage won the top award for Mother Lily Monteverde of Regal and best director for Ishmael Bernal. Bernal defeated four worthy competitor: Maryo J. De Los Reyes for Saan Darating ang Umaga, Lino Brocka for Hot Property; Marilou Diaz-Abaya for Karnal and Laurice Guillen for Init sa Magdamag. In addition to best picture and director, Broken Marriage also win best screenplay for Jose Carreon, Bing Caballero and Bernal; Best Editing for Jesus Navarro; Best Sound for Rudy Baldovino as well Vilma Santos’ second best actress award. Proving that her win for Relasyon from last year wasn’t just a fluke, Vilma handedly won the trophy without much competition, literally. She won only up against one competitor, Cecille Castillo for Karnal. The best actor went to Phillip Salvador for Karnal, which just like the best actress category was up against one competitor, Vilma’s co-star, Christopher De Leon. The supporting categories were much more competitive, veteran Actor Vic Silayan won her third URIAN for Karnal (he already won for best actor for Ligaw Na Bulaklak and supporting for Kisap Mata). He defeated Joel Torre (Karnal), Len Santos (Broken Marriage), Rey Ventura (Broken Marriage). Notice the four actors were from the two films, Broken and Karnal. Just like Vic Silayan, Charito Solis received her third URIAN, also for Karnal besting out co-star, Grace Amilbangsa and a surprise nominee, Liza Lorena for the melodrama, Don’t Cry For Me Papa.

Vilma Santos dominated the URIAN for the past two years, with the initial grand slam feat in 1982 for Relasyon and the dominance of Broken Marriage the following year. Her string of hits, like Gaano Gadalas Ang Minsan, Sinasamba Kita, and Paano Ba Ang Mangarap established her as the most bankable stars of the 80s. In the mixed of these glossy, commercial projects were quality films like Relasyon and Broken Marriage. Both films fared well at the box office and award. Would three in row be possible? Vilma’s 1984 film projects consists of: Lino Brocka’s Adultery, Marilou Diaz Abaya’s Alyas Baby Tsina and Mke De Leon’s Sister Stella L. The first two, managed to do well at the box office, but the last wasn’t lucky enough. It did poorly against Sharon Cuneta’s film, Bukas Luluhod Ang Mga Tala. Vilma’s dominance in the last two years revamped the interest for her rival, Nora Aunor to come up with more serious projects. And this year proved to be a good match, mano a mano. Nora came up also with three films: Gil Portes’ ‘Merika; Mario O’Hara’s Bulaklak sa City Jail and Condemned.

Come URIAN, Vilma and Nora received the attention their fans has been craving for since the mid 70s. The arrival of Sharon Cuneta as a threat to Vilma Santos’ supremacy at the box office and the impossibility that the Manunuri will give Vilma a third consecutive best actress put high hope to many Nora Aunor fans. They are all in high spirits as two Nora Aunor films were nominated for the best picture Bulaklak sa City Jail and ‘Merika against only one for Vilma, the box office flop, Sister Stella L. Another Regal Film, Sinner or Saint, completed the four nominated best picture films. Sadly, the Manunuri can’t ignore the quality of Mike De Leon’s film. Sister Stella L won best picture, director, screenplay (Jose F. Lacaba, Jose Almojuela and Mike de Leon), actor (Jay Ilagan), supporting actor (Tony Santos, Sr.), supporting actress (Laurice Guillen), editing (Jesus Navarro), music (Ding Achacoso), sound (Ramon Reyes) and the best actress to Vilma Santos! Vilma won three consecutive best actress, a feat at that time. She defeated Claudia Zobel for Sinner or Saint, Gina Pareño for Working Girls, Sarsi Emmanuelle for Boatman and two nominations for rival, Nora Aunor, ‘Merika and Bulaklak sa City Jail.

Meanwhile, De Leon defeated a bunch of good directors, Marilou Diaz-Abaya for Vilma’s Baby Tsina, Tikoy Aguiluz for Boatman, Pio de Castro III for Soltero, Mel Chionglo for Sinner or Saint and the two Aunor films, Mario O’Hara for Bulaklak sa City Jail and Gil Portes for ‘Merika. In the lead actor, Jay Ilagan who is also nominated in his other film, Soltero defeated, Tommy Abuel for Bukas May Pangarap, Ronnie Lazaro for Boatman and Phillip Salvador for Baby Tsina. In the supporting actor, Tony Santos Sr, Ka Dencio in SSL, defeated unknown actors Alfredo Salanga for Boatman and Cesar Aliparo for ‘Merika and two actor for Baby Tsina, Len Santos and the late Dindo Fernando. And in the supporting actress, Laurice Guillen defeated co-stars in SSL, Gina Alajar and Liza Lorena and for Bulaklak sa City Jail, Celia Rodriguez Perla Bautista.

Vilma Santos did two films in 1985, the comedy Doctor Doctor We Are Sick and the melodrama, Muling Buksan ang Puso both were deservingly ignored by the Manunuri. The critics refocused their attention to the comeback works of their favorite directors Bernal, Brocka, Castillo and Gallaga. The five best picture bets were Bernal’s Hinugot sa Langit, Brocka’s Kapit sa Patalim and Miguelito Ang Batang Rebelde, Peque Gallaga’s Virgin Forest and Celso Ad. Castillo’s Paradise Inn. Brocka’s Bayan Ko won the top award but the best director went to his rival, Ishmael Bernal for Hinugot sa Langit. Kapit also won writing for Jose Lacaba, and lead actor for Phillip Salvador. The lead actress went to a tie between, Gina Alajar for Kapit sa Patalim and the late, Nida Blanca for Miguelito, Ang Batang Rebelde. And the supporting acting categories went to Lito Anzures for Paradise Inn and Liza Lorena for Miguelito.

The start of mid 80s wasn’t as promising for the film critics, as happened in late 70s only three films were cited for the top award, Bagong Hari, Takaw Tukso and Unfaithful Wife. Takaw Tukso won. Takaw’s director, William Pascual won the best director and its lead role, Jacklyn Jose won the best actress, co-sharing the honour with Pilar Pilapil for Napakasakit Kuya Eddie. In another tie, Anita Linda for Takaw Tukso and Nida Blanca for Magdusa Ka were declared co-winners in supporting actress as well. The best actor went to Unfaithful Wife’s Michael de Mesa and supporting actor went to Napakasakit Kuya Eddie’s Aga Muhlach. As for Vilma, she did three box office hits in 1986, Asawa ko Huwag Mong Agawin, Palimos Ng Pag-ibig and Yesterday Today & Tomorrow. All three were commercial success but was ignored by the Manunuri. The following year, 1987, the Manunuri decided not to hand out any awards.

For the 1988 awards, the Manunuri rewarded four films with best picture nominations: Anak ng Cabron, Itanong Mo Sa Buwan, Kapag Napagod ang Puso, and Misis mo Misis Ko. Itanong Mo Sa Buwan, a Chito Rono film won the top honours as well as best director for himself. The acting categories went to Ace Vergel (Anak ng Cabron) and Jaclyn Jose (Itanong Mo Sa Buwan) for leading roles. The supporting went to Lito Pimentel (Kapag Napagod ang Puso) and Perla Bautista (Anak ng Cabron). Vilma did one film this year, Elwood Perez’ Ibulong Mo Sa Diyos that the Manunuri ignored.

By the end of 80s, Vilma Santos has curved her mark in the URIAN history. Three remarkable wins (1982, 83, 84), Could 1989 be added to the three year feat? The shortage of quality films were noticeable in the later part of the 80s. 1989 was an exemption. The Manunuri generously nominated five films: Willie Milan’s Ang Pumatay ng Dahil Sayo, Elwood Perez’ Bilangin ang Bituin Sa Langit, Augusto Salvador’s Joe Pring, Brocka’s Macho Dancer, Bernal’s Pahiram Ng Isang Umaga. Ishmael Bernal’s film about life and death, Pahiram ng Isang Umaga won him the best director award, best picture for Regal, best screenplay for Jose Javier Reyes, and best cinematography for Manolo Abaya, Eduardo Jacinto at Nonong Rasca. For the acting categories: Christopher De Leon for another Vilma Santos starrer Imortal and Gabby Concepcion for Pahiram were nominated for lead actor but both failed to win as Daniel Fernando claimed his very first URIAN for Macho Dancer. As Vilma’s best friend who took care of her finances in Pahiram Ng Isang Umaga, Vicky Suba was cited in the supporting actress but it wasn’t enough to dethrone Jaclyn Jose. Jose won the best supporting actress award, also for Macho Dancer. In the supporting actor, Eric Quizon, claimed his first URIAN as the volatile painter in Pahiram. Then the best actress, went to: IT’S A TIE! Again! Beating Helen Gamboa for Kailan Mahuhugasan Ang Kasalanan and a very strong performance from post child actress, Janice de Belen for Rosenda, Nora Aunor (Bilangin ang Bituin Sa Langit) and Vilma Santos (Pahiram Ng Isang Umaga) were declared co winners!

The new decade brought two worthy films from Vilma Santos: Laurice Guillen’s Kapag Langit Ang Humatol and Lino Brocka’s Hahamakin Lahat. The Manunuri took noticed and rewarded the films with nominations. Brocka did the Vilma starrer, Hahamakin Lahat for Regal and Gumapang Ka Sa Lusak for Viva Films, a Dina Bonevie drama. Gumapang proved to be the better of the two as it won the best picture and best director nominations. But Hahamakin earned best actor nomination for Gabby Concepcion. Meanwhile Guillen’s Kapag Langit earned the best picture nomination together with Andrea Paano Ba Ang Maging Isang Ina, My Other Woman and Gumapang. Surprisingly, Guillen won the best director defeating Lino Brocka, Maryo J. De Los Reyes (My Other Woman) and Chito Roño (Kasalanan Bang Sambahin Ka). Kapag Langit also earned nominations for writing, Emmanuel Borlaza and Salvador Royales; actress, Vilma Santos; supporting actress, Carmina Villaroel and Kristine Garcia; production design, Edgar Martin Littaua. It won two technical awards in addition to Guillen’s best director: cinematography for Romeo Vitug and editing for Efren Jarlego. The leading actor went to Christopher De Leon for My Other Woman and leading actress, to Nora Aunor for Andrea Paano Ba Ang Maging Isang Ina. The supporting awards went to Michael de Mesa (Ikasa Mo, Ipuputok Ko) and Gina Alajar (Biktima). Despite losing the best actress award, Vilma did not went home empty handed, she received the highest award as one of three top actress of the past decade (1980s). the other actress were Nora Aunor and Gina Alajar. Philip Salvador received the male category.

Vilma Santos did only one film in 1991. In comparison to two the previous year. Guillen’s follow-up film from last year’s Kapag Langit ang Humatol was Ipagpatawad Mo, a family drama about an autistic child. Laurice’s second film with Vilma as director proves to be a memorable one for Viva Films, known for their slick, glossy films. Guillen secured the best picture award for Viva defeating Lino Brocka’s Sa Kabila ng Lahat and a strong film from Carlos Siguion-Reyna’s Hihintayin Kita sa Langit. Last year’s best director Guillen missed this time. The best director went to Siguion-Reyna. Over all, Ipagpatawad mo earned nominations for best director for Laurice Guillen; best actor for Christopher De Leon; best supporting actor for Terence Baylon; best production design for Edgar Martin Littaua; best cinematography for Eduardo Jacinto; and best editing for Efren Jarlego. And won best picture for Viva films, best screenplay for Olive M. Lamasan and best actress for Vilma Santos. She defeated four of the most in-demand actress of the early 1990s: Dawn Zulueta for Hihintayin Kita sa Langit; Dina Bonnevie for Sa Kabila ng Lahat; Lorna Tolentino for Kislap sa Dilim and Nora Aunor for Ang Totong Buhay ni Pacita M. The other acting trophies went to: Richard Gomez, best actor for Hihintayin Kita sa Langit; Gabby Concepcion best supporting for Makiusap Ka sa Diyos; and Nanette Medved, best supporting actress for Sa Kabila ng Lahat.

Like the previous year, Vilma did one film, Maryo De Los Reyes’s Sinungaling Mong Puso. Although not nominated for best picture, Sinungaling won nominations for acting and other categories in 1992’s Gawad Urian. The Manunuri gave two films: Ikaw ang Lahat sa Akin of Regal Films and a co production of Regal and Reyna Films, Ikaw Pa Lang ang Minahal their best picture nominations. Ikaw Pa lang won the best picture together with best director for Carlos Siguion-Reyna. Sinungaling Mong Puso was nominated for best director, Maryo J. De Los Reyes; best supporting actor, Gabby Concepcion and best actress for Vilma. Three of the acting awards went to Narito Ang Puso Ko: lead actors to Gaby Concepcion and Lorna Tolentino; and supporting to Amy Austria while the supporting actor went to Tirso Cruz III for Kahit Buhay Ko. The Natatanging Gawad Urian was given to Mary Walter, the veteran actress who co-starred with Vilma in memorable films like Baby Tsina (1984), Dalawang pugad, isang ibon (1977), Lipad, Darna, lipad! (1973) and Edgar Loves Vilma (1972).

The following year, Vilma did two films, Guillen’s Dahil Mahal Kita The Dolzura Cortez Story and Chito Rono’s Ikaw Lang. Both did well at the box office and earned nominations from the Manunuri. Dahil Mahal Kita was cited for best picture and best director but lost to Jose Javier Reyes film, Makati Ave. Office Girls produced by Regal films. For acting categories: Saan Ka Man Naroroon won best actor for Richard Gomezand best supporting actress for Sharmaine Arnaiz. The best supporting actor went to Ronaldo Valdez for May Minamahal. Finally, the best actress went to Vilma Santos for Dolzura.

Vilma Santos did three films in 1994, all were commercial success: Nag-iisang Bituin, Relaks ka Lang Sagot Kita and Lipa: Arandia Massacre. The last two won awards at FAMAS including best picture for Lipa. However, the Manunuri deservingly ignored these films. Their top films were Regal films’ The Fatima Buen Story and The Secrets of Sarah Jane Salazar and Maq’s Wating. Fatima Buen, Kris Aquino’s first attempt to big league acting was the big winner with its director, Mario O’Hara defeating notable directors, Ishmael Bernal for Wating, Maryo J. De Los Reyes for Sarah Jane, Laurice Guillen for Bakit Ngayon Ka Lang. For the acting categories: Richard Gomez won best Actor for Wating, John Regala won supporting actor for The Fatima Buen Story and Chin-Chin Gutierrez won supporting actress for Maalaala Mo Kaya. For the best actress, the Manunuri decided to give their best actress to Gelli de Belen for The Secrets of Sarah Jane Salazar instead of Carmina Villaroel for Wating or Kris Aquino for Fatima. The only notable citation that was related to Vilma Santos was the best screenplay nomination Jose Javier Reyes earned for Nag-iisang Bituin. Lastly, the Natatanging Gawad Urian went to Leopoldo Salcedo, the character actor who co-starred with Vilma Santos in her breakthrough film Burlesk Queen in 1977. Also, Happy Days Are Here Again (1975), Darna and the Giants (1974), Biktima (1974), Anak ng aswang (1973), De colores (1968).

No Vilma Santos film in 1995. The big winner in URIAN was Star Cinema’s Sana Maulit Muli. The film won best picture defeating The Flor Contemplacion Story, a Nora Aunor starrer. Despite the failure of Flor to win the top award, the film won best director for Joel Lamangan and best actress to Nora. Nora shared the award with co-winner, Helen Gamboa for Bagong Bayani. Best Actor went to Aga Muhlach for Sana Maulit Muli. Supportings went to Ricky Davao for Ipaglaban Mo, The Movie and Jaclyn Jose for Flor. The next year, Vilma Santos did Ikaw Ang Mahal Ko, with the late Fernando Poe Jr. The forgettable film did poorly at the box office and was automatically ignored by the Manunuri. Six citations were given to six films this year, noticeably plentiful for the top honour in URIAN’s standard. Bakit May Kahapon Pa?, Istokwa, Madrasta, Mulanay, Radio Romance, and Segurista were all nominated with the last declared the winner. The film’s director, Tikoy Aguiluz also won the best director. For the best actress, Nora Aunor, again share the honour with another actress. She won for Bakit May Kahapon Pa, with Sharon Cuneta for Madrasta. Sharon will record a grand slam this year, winning the best actress in the other award giving bodies. The following year, 1997, Vilma Santos’ only film was with Christopher De Leon. This was their 20th film. Hanggang Ngayon Ika’y Minamahal, directed by Ike Jarlego Jr was a commercial success but was ignored by the Manunuri. Just like last year, six films were cited for the top honour, Batang PX, Damong Ligaw, Ligaya ang Itawag Mo sa Akin, Milagros, Minsan Lamang Magmamahal and Nang Iniwan Mo Ako. Marilou Diaz-Abaya’s Milagros won best picture and best director for herself. Best actress went to Zsa Zsa Padilla for Batang PX.

Vilma Santos did another breakthrough performance in 1998. Her performance earned her several Best actress trophies locally. Star Cinema won top honours from the URIAN in their 22nd ceremony for Chito Roño’s Bata, Bata, Paano Ka Ginawa defeating Marilou Diaz Abaya’s two important films, Jose Rizal and Sa Pusod ng Dagat both produced by rival company GMA films. The other competitions were both from Good Harvest films, Jeffrey Jeturian’s Sana Pag-ibig Na and Lav Diaz’s Serafin Geronimo, Kriminal ng Baryo Concepcion. All the above directors were nominated for best director that Abaya won for Jose Rizal. Bata Bata nominations for best editing for Jaime Davila; best music for Jesse Lasaten; best sound for Michael Albert Idioma and best supporting for Raymond Bagatsing. Despite losing in supporting category, Jaime Fabregas was declared the winner for Jose Rizal, Bagatsing won in the male lead role for Kriminal ng Baryo Concepcion. In addition to nominations and best picture win, Bata Bata won three more: best screenplay for Lualhati Bautista, best supporting actress for child star, Serena Dalrymple and best actress for Vilma Santos. The Natatanging Gawad Urian was given to comedian, Dolphy. Vilma and Dolphy did one film together, 1979’s Buhay Artista Ngayon. There is no Vilma Santos film in 1999. Despite this, Bata Bata Paano Ka Ginawa, now re-titled Lea’s Story continued its winning streak. Touring the festival circuit, the film earned Vilma, her first international best actress at a festival in Brussels. The film was also exhibited in different cities in Canada and the USA. The Manunuri awarded their top honours of 1999, Bayaning 3rd World including best director to Mike De Leon. Best Actress went to Elizabeth Oropesa for Bulaklak ng Maynila defeatingNora Aunor for her comeback film, Sidhi.

For the first year of the new millennium, Vilma Santos did one film. Rory Quintos’ Anak. The film was a commercial succes and earned two citations from the Manunuri: best actress nomination for Vilma and best supporting actor nomination for Baron Geisler. The Manunuri gave the best picture to Regal’s Tuhog while Tanging Yaman received the other top honours for best director for Laurice Guillen and best actress for Gloria Romero. Another veteran, Eddie Garcia won best Actor for Deathrow. The Natatanging Gawad Urian was given to the late Nida Blanca. Vilma and Nida worked together in Elwood Perez’ Ibulong mo sa Diyos. The Manunuri also handed out their Actress of the Decade award. Vilma Santos shared the actress category with rival, Nora Aunor and Richard Gomez received the actor.

No Vilma Santos film the following year, 2001. The Manunuri, rewarded Lav Diaz the best director and JmCN Productions the best picture for Batang West Side respectively. Then on 2002, Vilma Santos did another memorable performance in another Lualhati Bautista novel, Dekada 70. Dekada earned nominations in several categories at the 26th Gawad Urian. It shared top honours with Mga Munting Tinig, both proclaimed as 2002’s best picture. Best Director went to Munting Tinig’s Gil Portes while the writing went to Lualhati Bautista for Dekada. Other nominations for dekada went to Manny Morfe for production design and Albert Michael Idioma for sound. Christopher De Leon earned nomination for best actor for Dekada but lost to Jay Manalo, the winner for Prosti. The other awards won by Dekada were for acting. Best Actress went to Vilma Santos and best supporting actor to Piolo Pascual. The supporting actress went to Elizabeth Oropesa for Laman. The Manunuri gave their Natatanging Gawad Urian to film legend, Fernando Poe Jr. FPJ and Vilma did three films together, Batya’t Palu-palo, Bato Sa Buhangin and Ikaw Ang Mahal Ko.

As expected, there’s no Vilma film in 2003. The Manunuri bestowed their accolades to Star Cinema’s Magnifico. Its director Maryo J. De Los Reyes, previously ignored by the Manunuri finally got the best director award. Three acting awards went to Magnifico: best actor to child star, Jiro Manio; best supporting actor to Albert Martinez and best supporting actress to Gloria Romero. The best actress went to Cherrie Pie Picache for Bridal Shower. For the Natatanging Gawad Urian, Ricardo Lee joined the prestigious lists that includes Manuel Conde, Lamberto Avellana and Gerardo De Leon. Some of the Vilma Santos films that Ricardo Lee wrote were: Anak (2000), Dahil mahal kita: The Dolzura Cortez Story (1993), Hahamakin lahat (1990), Baby Tsina (1984), Haplos (1982), Relasyon (1982), and Miss X (1980).

The next year, 2004, Regal films asked Vilma to do the third installment to the Mano Po franchise. A Metro Manila Film Festival entry, MP3: My Love was a big hit and won awards. Despite a strong competition from Ebolusyong ng Isang Pamilyang Pilipino, Milan and Sabel, Cesar Montano’s self-produced film, Panaghoy sa Suba dominated the 28th Gawad Urian. The film won three major awards for Cesar Montano: best picture, director, and actor. Sabel won two acting awards: Wendell Ramos won best supporting and lead star, Judy Ann Santos defeated contemporary, Claudine Barreto for Milan and the two veterans, Nora Aunor for Naglalayag and Vilma Santos for Mano Po 3: My Love. The Manunuri gave the Natatanging Gawad Urian to veteran actress, Gloria Romero. Vilma Santos and Gloria worked together in films like: Saan nagtatago ang pag-ibig? (1987), Makahiya at Talahib (1976), Karugtong ang kahapon (1975), Lipad, Darna, lipad! (1973), Anak ng aswang (1973), Pinagbuklod ng langit (1969), Iginuhit ng Tadhana (1965).

The next two years, she did guest appearance as herself in 2006’s D’Lucky Ones and some TV guest appearances. Meanwhile the Manunuri rewarded Ang Pagdadalaga ni Maximo Oliveros as their top film for 2005 and its film director, Mes de Guzman the best director. Robin Padilla won best actor for La Visa Loca and Jaclyn Jose won best actress for Sarung Banggi. The next year, 2006, Kubrador won best picture and Jeff Jeturian the best director. For the top acting awards, Gina Pareno won best actress again for Jeturian’s Kubrador. And another Padilla won the best actor, this time Robin’s brother, Rustom won the best actor for his role as gay super hero, ZsaZsa Zaturnah. Eddie Garcia received the Natatanging Gawad Urian. Eddie Garcia’s most notable works with Vilma as an co-stars were: Mano Po III: My love (2004), Ibulong mo sa Diyos (1988), Yesterday, Today & Tomorrow (1986), Minsan pa nating hagkan ang nakaraan (1984) and Karugtong ng kahapon (1971). He also worked with Vilma as director in memorable films like: Imortal (1989), Palimos ng pag-ibig (1985); Sinasamba kita(1982); and Pinagbuklod ng langit (1969).

For the 31st Gawad Urian, Tirador was acclaimed as 2007 best film, and the film’s director, Brilliante Mendoza, pre-Cannes fame, won best director. Mendoza’s other film Foster Child gave Cherry Pie Picache the best actress. The Natatanging Gawad Urian went to Marichu Vera Perez Maceda, she produced several Vilma Santos starrer, most notably, Nakawin natin ang bawat sandali (1978), Pakawalan Mo Ako (1981) and Rubia Servios (1978).  Indie films dominated 2008 Urian with Mylene Dizon for “100” and Coco Martin for “Jay” received the acting awards.  Then the following year, veteran actresses Rustica Carpio and Anita Linda were the big winner, rewarded for their international film, “Lola.”  For 2010, non-mainstream films continued to dominate the Urian with unknown Fe Virtudazo-Hyde for “Sheika” winning the best actress trophy.  2011 brought new breed of serious actors, Maja Salvador who co-starred with Vilma in 2006 tele-movie of Maala-ala Mo Kaya titled “Regalo” won the best actress for her performance in “Thelma” and Paulo Avelino won the best actor for “Ang Sayaw ng Dalawang Kaliwang Paa.” – RV, December 2009; Additional Source info: Manunuri, Wikepedia

Vilma Santos Gawad Urian Recognitions:

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Ang Mga Pantansiyang Pelikula ni Vilma Santos 1/2

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“…There was a time in the 70s, particularly in 1973 and 1974, when a spate of Pinoy fantasy films featuring Pinoy superheroes graced our big screens. I think it was Vilma Santos’ Lipad Darna Lipad that started it all. It ushered in this wave of so-called trend in fantasy movies. Besides Darna, Vilma came up with Wonder Vi (1973), Phantom Lady (1974) and Vivian Volta (1974); Nora Aunor had Super Gee (1973) based on a popular komik serial; Superman and Batman had their local counterparts in Zoom, Zoom Superman (1973) with Ariel Ureta and Fight Batman Fight with Victor Wood. Vilma came out with another sequel of Darna titled Darna and the Giants, also in 1973; Dolphy had his own version of Captain Barbell in Captain Barbell Boom (1973). It was the movie, Supergirl (1973) which starred Pinky, that made a major impact among the moviegoers that time. It was a surprise hit that year. It was reshown several times due to insistent public demand…” – Simon Santos (READ MORE)

Ang Mga Pantasiyang Pelikula ni Vilma Santos 2/2

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“…There was a time in the 70s, particularly in 1973 and 1974, when a spate of Pinoy fantasy films featuring Pinoy superheroes graced our big screens. I think it was Vilma Santos’ Lipad Darna Lipad that started it all. It ushered in this wave of so-called trend in fantasy movies. Besides Darna, Vilma came up with Wonder Vi (1973), Phantom Lady (1974) and Vivian Volta (1974); Nora Aunor had Super Gee (1973) based on a popular komik serial; Superman and Batman had their local counterparts in Zoom, Zoom Superman (1973) with Ariel Ureta and Fight Batman Fight with Victor Wood. Vilma came out with another sequel of Darna titled Darna and the Giants, also in 1973; Dolphy had his own version of Captain Barbell in Captain Barbell Boom (1973). It was the movie, Supergirl (1973) which starred Pinky, that made a major impact among the moviegoers that time. It was a surprise hit that year. It was reshown several times due to insistent public demand…” – Simon Santos (READ MORE)

When Sharon Meets Vilma

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What do Vilma Santos and Sharon Cuneta have in common, aside from being married to senator-husbands (Senator Ralph Recto and Senator Francis Pangilinan)?

The answers are as follows:

  • Both Vilma and Sharon are the highest paid actresses of the Philippines.
  • Both won the Brussels Independent International Film Festival best actress trophy (Bata, Bata…Saan Ka Ginawa? for Vilma and The Crying Ladies for Sharon).
  • Both were directed by award-winning directors Lino Brocka, Joel Lamangan and Olivia Lamasan, among others.
  • Both were Urian best actress awardees, with Vilma having the most Urian ever, 8, to Sharon’s one.
  • Both shared Urian best actress honors with Nora Aunor (Pahiram ng Isang Umaga for Vilma, and Madrasta for Sharon).
  • Both were grand slam winners, with Vilma having a record 4, to Sharon’s one.
  • Both had a slew of movie and box-office queen titles between them, but apparently Vilma seems to have an edge as the Philippines’ Longest-reigning Movie and Box-office Queen, given her longevity and continuing winning streak.
  • Both were PMPC Star TV awardees for best musical-variety host and show, but records show that Vilma had the most awards from the PMPC group and the CMMA for her defunct musical-variety show Vilma!.
  • Both had demonstrated excellent track records as two of the most disciplined, hard-working and professional entertainers in the business.
  • Both had been successful in their married life (second chance), and as mothers. Interestingly, like Vilma, Sharon sacrificed her career in favor of motherhood, albeit temporarily, with fruitful results. Three beautiful daughters for Sharon and two handsome sons for Vilma.
  • Both guested in and acted as substitute host for their respective TV shows Vilma! and Sharon.
  • Both continue to rake in hefty talent fees for endorsing products.
  • Both have graced the TV screen with memorable performances in Maalaala Mo Kaya.
  • Both had numerous blockbuster movies from Viva Films.
  • Both enhanced each others’ careers, directly or indirectly, such as when Sharon sang the theme songs for Vilma’s memorable and ever popular box-office hits Langis at Tubig and Sinasamba Kita.
  • Both have handled their money well, based on published accounts of their ‘healthy’ and enviable net worth (source: the tabloids).
  • Both figured in the top 100 Philippine Movers and Shakers based on public opinion and marketing research data, confirming the Filipinos’ high regard and admiration for the two charismatic celebrities.

And the list goes on…

Vilma Santos and Sharon Cuneta. Sharon Cuneta and Vilma Santos. – They are like two peas in a pod, like Yin and Yang, like Successful Twins, despite the age gap of thirteen years. It seems that the documented and observed Mutual Admiration, Respect and Friendship of the Star for All Seasons and the Megastar with each other are even more legendary than that of Amalia Fuentes and Daisy Romualdez and Thelma and Louis’ special bonds.

What are the divine secrets of the Vilma-Sharon Sisterhood, that it seems to grow sweeter and closer through the years? – It all began when the teen-age singing sensation and her Ate Vi were neighbors at the Dasmarinas Village in Makati . Sharon gushed: “Vilma has always been one of my favorites, from way back. Everybody knows that. When I was younger and not yet in the movies, our family used to live in Dasma, at the corner of Paraiso and Morado Streets. Vilma naman lived nearby, also on Morado St. So I grew up passing by her house everyday and looking at it. Fan na niya ako!” (Source: Ricky Lo) As Fate would have it, the two friends cum showbiz rivals have had inevitable collision courses, such as when their TV shows would compete for higher TV ratings and commercial endorsements, and when, at the height of their rivalry, Sharon ’s Bukas, Luluhod ang Mga Tala clobbered Vilma’s Sister Stella L. at the box office. An old Movie Flash magazine review of both movies by Mario Bautista entitled Pinaluhod Talaga ni Sharon si Vilma had Mr. Bautista acknowledging Sharon’s clout at the box-office with the ‘bakya’ and comics appeal of Bukas, but praising to the hilt Vilma’s tour de force performance in Sister Stella L., the winner of most awards at the 1984 Urian, including Vilma’s historic third Urian best actress win for the classic movie.

Vilma and Sharon’s last ‘clash’ was at the 2002 Urian where Vilma made history (again) when she won her eighth Urian best actress trophy for Dekada 70, beating Sharon who was nominated for her heartfelt performance in Magkapatid. Through the years and after equally successful film and TV careers for two of the most beloved Pinoy celebrities, Vilma and Sharon never seem to run out words of praise for each other. Says Sharon on her role model in the latter’s 25th, anniversary in showbiz: “Ate Vi, you know I love you. And I’ll always always look up to you.” She continues: ‘I learned from the examples set by Vilma Santos. I learned to be an idol because my idol is a good one.’ I remember one time Vilma was asked how she felt about my winning, I think as Box-Office Queen and she said, ‘She deserves it!’ I’ll never forget that. That’s why I love that woman!”

Was there jealousy between the two? – “Never! I really look up to her. Time and again, I say I never wanted to take anybody’s place. I always wanted to take my own place in the business, but never to take somebody else’s place. I learn from Vilma’s examples,” Sharon concludes. (excerpts from Ricky Lo’s 1997 article, Sharon on Vilma).

Respect begets respect – Vilma Santos’ humility and professional ways really impressed Megastar Sharon Cuneta, herself a successful multi-media artist. Will they appear in a movie someday? What about the legitimate stage? Will they, ehem, compete as Future First Ladies? Will they interview each other on TV? Or co-host an awards show? Will Sharon oblige to hand the National Artist Award to Vilma in the near future? Will Sharon allow her Ate Vi to direct her in a movie? And vice versa? The possibilities are really endless and mind-boggling… when Sharon meets Vilma. – Mario O. Garces, FAP Forum, Mar 25, 2008 (READ MORE)

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

NOTE: It was reported in February of 2011 that Sharon Cuneta and Vilma Santos will do a horror film under the direction of Chito S. Roño. Unfortunately, the film didn’t materialize as Sharon decided to move to another network station. It was reported that her multi year contract to TV5 was worth one billion pesos, considered the highest contract ever recorded in local entertainment history.  The Chito S. Roño horror film was completed this year and was released on the 25th of July (2012), Vilma was paired wtih new star, Kim Chiu. The film was a huge success. Sharon is currently hosting a television talk show while Vilma is gearing up for re-election as Governor of Batangas.  She hasn’t appear on Sharon’s talk show.  There’s is no plans for future movie for the two.

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Marilou Diaz Abaya’s Vilma Santos Films

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204 films, 70 directors, 5 decades, Vilma Santos, one of the original Philippine movie queens, rose up to become the versatile actress that has been given the fitting title of “Star for All Seasons” because of her capacity to adapt to the changing mores and values of the Filipino woman, giving a face to their plight and struggles, albeit in success both critically and box-office wise in some of Philippine cinema’s classics such as Trudis Liit (1963), Lipad, Darna, Lipad (1973), Burlesk Queen (1977), Relasyon (1982), Sister Stella L. (1984), Alyas Baby Tsina (1984), Pahiram ng Isang Umaga (1989), Dahil Mahal Kita: The Dolzura Cortez Story (1993), Anak (2000) and Dekada ’70 (2002). This are top ten directors who contributed to her success. – RV (READ MORE)

Minsan pa nating hagkan ang nakaraan (1983) – “…Isa pa rin ito sa mga mahalagang pelikulang nagawa ni Ate Vi na nagbigay sa kanya ng karangalan bilang mahusay na aktres sa URIAN and of course kay Boyet bilang mahusay na aktor. Sa Viva Films sila nakagawa ng maraming pelikulang pinagtambalan dahil na rin sa isinasaad ng kani-kanilang mga kontrata. Kaya naman sa pagtatapos ng taong 1983, ginawa nila ni Boyet ang “Minsan Pa Natin Hagkan Ang Nakaraan”, the only movie na namatay silang magkasama kung saan asawa siya ni Eddie Garcia sa pamamahala ni direk Marilou Diaz Abaya…” – Willie Ferrnandez (READ MORE)

Baby Tsina (1984) – “…Ang istoryang ito ay matagal nang ikinukuwento sa akin ni William. Wala pa akong asawa, pangarap na ni William na magawa ang pelikula. He had the story at hand. Siya talaga ang nag-negotiate para makuha ang istorya. Noong una nga raw, ayaw pumayag ni Baby Tsina at ng kanyang asawa dahil gusto na nilang kalimutan yun. Eh, si William alam ko yan kung magpilit, tsaka personal kasi niyang kilala si Baby Tsina, nakuha rin ang istorya,” salaysay ni Vilma…”Noong una kong mabasa ang script, ayoko sanang maniwala na nangyari talaga yun. Masyadong cinematic, eh. Para bang sa pelikula at sa komiks lang nangyayari. Until the day nga that I met the real Baby Tsina. Nang siya na ang makuwento sa akin ng naging buhay niya, lalo na after the crime at sa loob Correctional, saka ko lang nalaman na ang nakalagay sa script ay kulang pa pala. Mas matindi ang istorya niya, pero hindi na maaring isamang lahat sa pelikula. Baka namang masyadong humaba eh. Malakas ang istorya. I think the story alone will sell the movie. Lalo na kung iisiping isa itong celebrated case at nasundan ng mga tao noon sa mga diyaryo. Front page stories pa raw lagi iyang si Baby Tsina noon eh…” – Ariel Francisco (READ MORE)

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)

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Remembering Marilou Diaz-Abaya

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First Film – “…Diaz directed her first feature film, “Tanikala,” in 1980. But her follow-up movies, “Brutal,” “Moral,” “Karnal” and “Alyas Baby Tsina” quickly established her reputation as one of the country’s most exciting filmmakers. Her most famous movie is arguably the biopic “Jose Rizal” with Cesar Montano as the national hero, released in 1998 in time for the country’s centennial celebrations. This marked the start of her successful collaboration with Montano, who starred in her succeeding movies, “Muro Ami,” about the problem of dynamite fishing; and “Bagong Buwan,” which addressed the conflict in Mindanao. Montano said the Philippine movie industry has lost a “rare gem.” In a statement after learning of Diaz-Abaya’s death, Montano said: “This is a very, very sad day for us and the movie industry. We lost not only a dear friend and family but also a rare gem in the industry.” “Direk Marilou fought the good fight. She will always be remembered for all her contribution to the industry and the excellence by which she rendered all those,” he added. “She will always be an inspiration.” Diaz-Abaya’s last movie was last year’s “Ikaw Ang Pag-ibig,” released by Star Cinema…” – ABS-CBN News, Oct 08 2012 (READ MORE)

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

Marilou Diaz Abaya’s Vilma Santos Films

  • Minsan pa nating hagkan ang nakaraan (1983) – “…Sa 1983, ang mga mapagpipilian lamang ay Broken Marriage…On a lower randk would be…Minsan Pa Nating Hagkan ang Nakaraan…Now that we have discussed this year’s better films and the directors who made them, tunghayan natin ang listahan ng best screen performances…ang pinagtaksilang aswang labis ang pagmamahal sa kanyang kabiyaksa Minsan Pa Nating Hagkan ang Nakaraan, ibang uri ng akting ang ipinamalas ni Eddie (Garcia) rito at talaga namang namumukod-tangi ang kanyang pagkakaganap… ” – Movie Flash Magazine, Jan 05 1984 (READ MORE)
  • Baby Tsina (1984) – “…Marilou Diaz-Abaya will forever live with her magnum opuses like Brutal, Moral, Karnal, Muro Ami, Baby Tsina, Sa Pusod ng Dagat, Bagong Buwan and the multi-awarded period masterpiece Jose Rizal released in the ’90s and still gets screened to this day in schools and historical festivals even abroad…” – Ricardo F. Lo (READ MORE)

Marilou Diaz-Abaya (March 7, 1955 – October 8, 2012) was a multi-awarded film director in the Philippines. She was the founder and president of the Marilou Diaz-Abaya Film Institute and Arts Center, a film school based in Antipolo City, Philippines. She was the director of the 1998 film José Rizal, a biopicture on the Philippines’ national hero. – Wikipedia (READ MORE)

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Remembering Charito Solis

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Body of Work – “…Sa 1983, ang mga mapagpipilian lamang ay…Karnal…Now that we have discussed this year’s better films and the directors who made them, tunghayan natin ang listahan ng best screen performances…Kung ang paraan sa paghatol sa Best Actress ay for the actress with most commendable body of work, tiyak nang ang mananalo, hands down, ay si Charito Solis. Charito Solis is very good as the bitter lola in Boyfriend Kong Kano, laudable as the stern mother who nearly ruined her children in Minsan May Isang Ina, terrific as the impoverished mom who slowly loses her sanity in Don’t Cry For Me, Papa and simply pathetic as the derange ex-prostitute in the released Pusakal. Idagdag pa nga rito ang matindi rin niyang pagkakaganap sa Karnal, talagang top contender si Chato for best actress this year…” – Movie Flash Magazine, January 5, 1984 (READ MORE)

Acting Trophies – “…Charito Solis’ “antics” were the toast of the tabloids when she was younger, from the admirable to the ridiculous. Her volatile outbursts on sets when professionalism was not observed was a common story written in the movie magazines. Ever a stickler for promptness and professionalism, she was said not to allow any one to make a noise during her performances because it detracts from her concentration. She would even go to the lengths of bringing her acting trophies on movie sets so that she can show the younger stars that they were dealing with a competent and award-winning actress that they have to respect in terms of promptness and performance. Both Vilma Santos and Nora Aunor, future FAMAS Hall of Famers, were said to have experienced this. She was also said to “meddle” with directors in terms of movie directing, an accusation that she had denied and explained: she was not meddling with the direction of the film but with the direction of her acting. She was an active artist; she would suggest ways on how to better her performance, but the director’s approval was needed to seal it, which she obeyed. She was just disappointed that because she was Charito Solis that her directors usually do not bring out the best in her, believing and excusing themselves that what she was giving was already the best. Other tabloid rumors were that she slept in a temperature-controlled room to preserve her beauty and that she brought her own arinola (potty) on film sets as she refused to use public toilets. She is also known to drum up interest with her name through her personal makings, such as the beggar garb in the 1968 FAMAS Awards. Her career was top one in her life, a probable reason why she never married. After her death, it was revealed that the only boyfriends she ever had were the King of Philippine Movies Fernando Poe, Jr. when they were both starting out and film director Danny Zialcita…” – Gypsy Baldovino and Yolly Tiangco (READ MORE)

Lolita Rodriguez – “…Lolita and Charito maintained mutual respect and fondness, unusual to find in top actresses. Actually, the “clashes” exist largely in the minds of the public. Lolita says she has always been in the best of terms with LVN stars, among them Charito. Echoing the same sentiment, Charito say she works well with professionals “and who can be more professional than Lolita?” In the “clashes” in Larawanm one couldn’t say who really “won.” Lolita, having the stronger role (Candida) and being more familiar with the medium, dominated Larawan. But Charito turned her awkwardness with the stage into a virtue. She gave Paula an endearing quality…” – Ronald K. Constantino, Expressweek Magazine, April 19, 1979 (READ MORE)

Ishmael Bermal – “…So far, lahat naman siguro ng magagaling na directors noong araw, I’ve worked with na. Sa bagay, iba rin ang style nila noon, iba kaysa sa ngayon. At iba’ng galing nila, iba rin naman ang galing ng mga director ngayon.:” She paused and thinks awhile. “But I take special note of Bernie (Ishmael Bernal, who directed her late last year in “Walang Katapusang Tag-araw). Ibang klase siyang director, e. ‘yung bang pipigain ka niya nang husto. When he doesn’t like what you’re doing, he tells you. Kasi, kadalasan ang mga director ngayon, ano, just because I’m Charito Solis, it seems they don’t even bother to correct me. ‘Yung bang kundi pa ko magtatanong, hindi pa nila sasabihin. Si Bernie he can even tell me, “O, wala ka yata sa mood ngayon, a.” Things like that. And he really insists on what he wants you to do “hanggang sa makuha mo. Okey lang yon. Meron din naman akong ka-vives na director, kasundo ko sa shooting, I like him pero I cannot really, honestly respect him as a director, ganyan. Sa LVN din noon, iba. Mahigpit sila diyan. Hindi puwede ‘yung pa-wise guy wise guy ka. You have to obey everything they tell you…” – Mario E. Bautista, Philippines Daily Express, October 5, 1978 (READ MORE)

Better Actress – “…Oops! Keep your cool, dear Noranians, and listen to Charito Solis’ explanation before you accuse her of being, uh, “maka-Vilma.” “Vilma has a wider range as an actress while Nora is limited and typecast in certain roles,” Charito said in a tone devoid of intrigue, answering our question in a straightforward, matter-of-fact manner. “Si Vilma, puede kahit anong role, kahit bold. You can’t imagine Nora doing a bold role, can you?” But, and that’s the big but, “Nora has more depth than Vilma,” Charito added, “and it’s because of her expressive eyes. Nora is very effective in scenes where she doesn’t say anything, just act with her eyes, at ‘yan ang kulang ni Vilma. Vilma has to say something to be effective.” Charito has worked with Vilma twice (in “Mga Tigre ng SierraCruz” and “Modelong Tanso”) and with Nora once (“Minsan May Isang Ina”). Speaking in general now, said Charito, “Vilma is the better actress.” We asked Charito that ticklish question during the lunch presscon for her latest movie, the star-studded Mother’s Day offering of Regal Films titled “Dear Mama”, which also stars Gloria Romero, Laurice Guillen, Snooky, Janice de Belen, Julie Vega, Manilyn Reynes, Jaypee de Guzman, Rey “PJ” Abellana and Alicia Alonzo in the title role. Our own personal opinion somehow jibes with that of Charito whose “throne”, I suppose, will be inherited by Vilma (while Nora will inherit the “throne” of the other drama queen, Lolita Rodriguez)…” – Ricardo F. Lo, The Phil. Star, 03 April 1984 (READ MORE)

Charito Solis (6 October 1935 – 9 January 1998) was a FAMAS and Gawad Urian award-winning Filipino film actress. Acknowledged as one of the leading dramatic actresses of post-war Philippine cinema, she was tagged either as the “Anna Magnani of the Philippines” or as “the Meryl Streep of the Philippines. – Wikipedia (READ MORE)

Charito Solis and Vilma Santos Trivia

  • Contrary to popular belief, Charito Solis and Vilma Santos’ first project together wasn’t the festival entry, Modelong Tanso (this was their second film), It was a Cultural Center of the Phillipines’ passion play titled, “Ang Hari.”
  • According to film critic, Mario Bautista, on his interview with the screen legend, Carmen Rosales, both Santos and Solis are distant relative to her.
  • Charito Solis was one of the instigator of the Ralph Recto and Vilma Santos romance, she insisted on Vilma to give Ralph a chance after he asked her for a dance inside Kingkong Disco owned by director, Marilou Diaz Abaya. The group was unwinding after the rigid night of television work.
  • Charito Solis and Vilma Santos joined forces for the second time in the hit film, Modelong Tanso where Charito slapped Vilma several times. This scene was used to promote the film.
  • While Vilma Santos tried to be sexy in several films, it was Charito Solis who exposed herself literally. Her film, Igorota required her to show her breast, a very controversial scandal during that perod.
  • During her heyday and to make a point about professionalism, Charito Solis will bring her FAMAS trophies to the set, saying: “…tapatan mo ang mga trophies na yan (match these trophies),” probably insinuating, before you act like a diva, match these trophies! And Vilma Santos took noticed, she surpassed La Solis, in quantities and qualities.
  • Charito Solis and Vilma Santos both started their career through the help of their respective uncle, both connected in film productions.
  • Charito Solis played mother to Vilma Santos five times.
  • In 1963, Charito Solis won her third FAMAS best actress for Angustia and Vilma Santos her very first as best child actress for Trudis Liit.
  • Charito Solis and Vilma Santos both FAMAS Hall of Fame awardees
  • Charito Solis won the FAMAS best actress for: Kundiman ng Lahi, 1959; Emily, 1960; Angustia, 1963; Igorota, 1968; Don’t Cry for Me Papa, 1983 (also, she received 14 Best Actress nominations and 2 Best Supporting Actress nominations
  • Vilma Santos won the FAMAS best actress for: Dama de Noche, 1972; Pakawalan Mo Ako, 1981; Relasyon, 1982; Tagos Ng Dugo, 1987; Ibulong Mo Sa Diyos, 1988 (also, she received 12 Best Actress nominations, 2 Best Supporting Actress Nominations and won one Best Child Actress award).
  • Because of their talent, versatility and several acting awards, both Charito Solis and Vilma Santos are tagged at one point in their career, as the Meryl Streep of the Philippines.
  • Charito Solis’ Dahil sa Isang Bulaklak, was the Philippines’ entry to the Oscar’s best foreign film of 1969 while Vilma Santos’ Dekada 70 and Anak were the Philippines entries in 2003 and 2000.
  • Also in 1969, Charito Solis won the Asian Film Festival’s best actress honor for Dahil sa Isang Bulaklak (Because of One Flower) while Vilma Santos surpassed this by winning the best actress trophies in 1999 Brussels Festival of International Independent Films, for Bata, Bata…Paano Ka Ginawa? (Leah’s Story) and 2003 CinaManila International Films Festival, for Dekada ’70 (The Seventies).
  • Both Charito Solis and Vilma Santos did drama anthologies on small screen. Solis did “The Charito Solis show” while Santos did “Ang Talambuhay ni Rosa Vilma” both for ABS-CBN. Solis stiff competition was Marlen Dauden’s “Salamisim” while Santos’ was Nora Aunor’s “Makulay na Daigdig ni Nora,” these shows were from rival station, RPN channel 9.
  • Charito Solis and Vilma Santos transformed themselves into mature actress venturing into the sexy films, Solis via Araw-Araw, Gabi-Gabi and Santos via Burlesk Queen, both films were entries to the Metro Manila Film Festival. They both won the best actress awards.
  • Charito Solis and Vilma Santos portrayed the role of a burlesk dancer, Charito in Huwad na Mananayaw and Vilma in Burlesk Queen.
  • While Charito Solis did two films with Japanese actor Kojiro Hongo in 1960 (The Life of Gautama Budha) and 1961 (The Princess and I), Vilma Santos did Twin Fist of Justice in 1975, with Chinese actor, Meng Fei.

Charito Solis and Vilma Santos Films

Hanggang Ngayon Ika’y Minamahal (1997) – “…You know, it’s amazing because we’ve never been linked to each other and yet the public loves seeing our movies together. Siguro it’s because we have this unbelievable chemistry. We know each other so well that tinginan lang on screen, we already know what to do to make a take very good…” – Mario E. Bautista (READ MORE)

Dahil Mahal Kita: The Dolzura Cortez Story (1993) – “…The 1990s saw Charito Solis graduate to mother and grandmother roles, which she had done with frequency in the 1980s. In another nod to her age, she finally allowed herself to be billed above Vilma Santos, then acknowledged as the Longest-Reigning Box Office Queen of Philippine Movies, albeit above-the-title in films such as Ipagpatawad Mo (1992) and Dahil Mahal Kita: The Dolzura Cortez Story (1993)…” – Gypsy Baldovino and Yolly Tiangco (READ MORE)

Ipagpatawad Mo (1991) – “…Ninety percent of these autistic children are very good-looking and are good in numbers but they have a world of their own. If you teach them something, yon kung ang alam nila, no other world exists. Autism is like virus and it is not hereditary. Hindi malalaman na autistic ang isang bata until they are about three or four years old. But doctors know, when a baby is born that he or she is autistic, only they don’t dare tell the parents about it. This movie should be an eye opener for such doctors and parents…” – Nena Z. Villanueva, Manila Standard, Oct 28 1991 (READ MORE)

Modelong Tanso (1979) – “…The multi-awarded actress even related her personal experience about feeling inadequate when she did the 1979 movie Modelong Tanso with the late Charito Solis who played her mom in the story. “Ako ang naintimidate noon. Naranasan ko yun noong araw kay Ms. Charito Solis na ngayon parang yun naman ang nangyayari sa akin [with the young stars.] So tinuro ko sa kanila na kahit may ka-eksena kayo na senior stars, kapag sinabi ng direktor ni’yo na kailangan niyong sampalin/sigawan sila, wala kayong choice. Gawin ni’yo yun, kahit sabihin niyong senior or respected star man yun, hindi kayo pwedeng magpa-intimidate. Kasi lahat sila kinakabahan lalo na nung pinapasampal ako kay Megan…” – Rachelle Siazon (READ MORE)

Happy Days Are Here Again (1974) – “…In 1974, the Big 3 studios of the 50s, LVN Pictures, Sampaguita Pictures and Premiere Productions reproduced a full-length movie showcasing a compilation of the musical comedies produced by the three studios. It was a painstaking job for the researchers since most of the best musicals produced by the three studios were either lost or destroyed. At the start of the project, director Lamberto V. Avellana was supposed to direct the film but eventually replaced by Cirio Santiago after so many changes in the project including the script. He ended up as consultant of the movie. The film was HAPPY DAYS ARE HERE AGAIN, with brief narrations by movie stars like Gloria Romero, Nida Blanca, Susan Roces, Leopoldo Salcedo, Jaime de la Rosa, Eddie Gutierrez, Tirso Cruz III, Pugo, German Moreno and Ike Lozada…” – Pelikula Atbp (READ MORE)

Mga Tigre ng Sierra Cruz (1974) – “…Charito Solis, who initially had a tempestuous and hostile relationship with Vilma while making the ill-fated but box-office MMFF champ Modelong Tanso, had a change of heart when the reborn versatile/professional/charismatic actress Vilma impressed her through the years, at idineklara niya sa buong mundo, without batting an eyelash. na di hamak na mas magaling na aktres si Vilma kaysa kay Nora Aunor. Walang kumontra kay Chato dahil totoo ang sinabi niya, si La Solis yata iyan, at pati nga si Amalia Fuentes, another certified Vilmanian, at “kaaway” na mortal ni La Solis, ay sumang-ayon sa kanya. Si Susan Roces, ano naman kaya ang opinion niya sa obserbasyon ni Chato? Ah, Nida Blanca. Ang dami nilang pinagsamahan ni Vilma, mula TV hanggang sa movies. Dati ay una sa billing si Nida, subali’t dahil nga sa gulong ng buhay ay kailangang maging praktikal at handa ka sa katotohanang magiging second lead ka lang in the future…” – Mario O. Garces (READ MORE)

Related Reading:

Vilma Santos’ Top Director – Bernal

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197 films, 70 directors, 5 decades, Vilma Santos, one of the original Philippine movie queens, rose up to become the versatile actress that has been given the fitting title of “Star for All Seasons” because of her capacity to adapt to the changing mores and values of the Filipino woman, giving a face to their plight and struggles, albeit in success both critically and box-office wise in some of Philippine cinema’s classics such as Relasyon (1982), Pahiram ng Isang Umaga (1989), Broken Marriage (1984) and Ikaw ay Akin (1978).  This is the number one director who contributed to her success.

Considered the number one director of Vilma Santos, National Artist, Ishmael Bernal contributed significantly to her success. Their collaborations as actor and director spanned three decades. Eight films in total, almost a dozen best actress for Santos and a several best director for Bernal not including nominations both locally and internationally. He was quoted saying: “In Ikaw ay Akin, Vilma was already conscious of her own particular style of acting…which can be described as minimal, less is more. The fewer and simpler gestures, the greater effect…(Working in Pahiram Ng Isang Umage, Bernal said)…she had become an artist, no longer a movie star and just following the director’s instructions..” Their films are still relevant, timeless and to this day, being celebrated by many. READ MORE

Ishmael Bernal – A filmmaker of the first order and one of the very few who can be truly called a maestro. Critics have hailed him as “the genius of Philippine cinema.” He is recognized as a director of films that serve as social commentaries and bold reflections on the existing realities of the struggle of the Filipino. His art extends beyond the confines of aesthetics. By polishing its visuals, or innovating in the medium, he manages to send his message across: to fight the censors, free the artists, give justice to the oppressed, and enlighten as well as entertain the audience. Among his notable films are “Pahiram ng Isang Umaga” (1989), “Broken Marriage” (1983), “Himala” (1981), “City After Dark” (1980), and “Nunal sa Tubig” (1976). He was recognized as the Director of the Decade of the 1970s by the Catholic Mass Media Awards; four-time Best Director by the Urian Awards (1989, 1985, 1983, and 1977); and given the ASEAN Cultural Award in Communication Arts in 1993 (NCCA.gov.ph). Bernal was born in Manila on September 30, 1938, the son of Elena Bernal and Pacifico Ledesma. He studied at Burgos Elementary School and Mapa High School before entering the University of the Philippines, and graduated in 1962 with a degree of Bachelor of Arts degree in English. For a time he worked with Lamberto Avellana’s documentary outfit. He went on to earn his Licentiate in French Literature and Philosophy at the University of Aix-en-Prevence in France, and then in 1970 his Diplomate in Film Directing at the Film Insititue of India in Poona, under the Colombo plan scholarhip. Bernal was a board member of the Concerned Artists of the Philippines and the Directors Guild of the Philippines, Inc., an organization that studies the role of film as an instrument of entertainment, education and development. He actively crusaded for the rights and welfare of artists for as long as he lived. He died in Quezon City on June 2, 1996 (Wikipilipinas).

Total Number of directed films with Vilma Santos: 8  – Inspiration, Now and Forever, Dalawang Pugad Isang Ibon, Ikaw ay Akin, Good Morning Sunshine, Relasyon, Broken Marriage, Pahiram ng Isang Umaga

HIGHLIGHTS: Bernal gave Vilma Santos her first grandslam best actress awards and consecutive Gawad Urian best actress (1982 and 1983). Their first film together was Inspiration (1972) and last was Pahiram Ng Isang Umaga (1989).

RELATED READING:

Remembering Ishmael Bernal

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Ishmael Bernal, 58, leading Filipino movie director who made about 60 films on social injustice. He studied diplomacy at the University of the Philippines and was in the diplomatic service until he switched to filmmaking in the early 1970s. Over the last quarter-century, he used satire to describe social and political problems, often angering the late President Ferdinand Marcos and his wife, Imelda. The couple often had large portions of Bernal’s films cut by censors, including 1982’s “Manila by Night,” a film illustrating the poverty that drives people to act irresponsibly. Bernal overcame the censorship by having his films shown in their entirety at film festivals around the world. On Sunday in Manila of a heart attack. – L. A. Times, June 08, 1996 (READ MORE)

Worthy Films “…Of the 39 films he has made, at least 20 are worthy of his name, out of which seven are quite good, nine others are very good or outstanding – Pagdating sa Dulo (1971), Ligaw na Bulaklak (1975), Nunal sa Tubig (1976), Dalawang Pugad Isang Ibon (1977), Ikaw ay Akin (1978), Aliw (1979), City After Dark (1980, and Relasyon and Himala (1982). With all these films to his credit, Bernal has already assured himself of a prominent position in the history of Philippine cinema even if he decides to stop working now. as many of these films prove, he has done what was earlier cosidered to be impossible – reconcile the box-office with aesthetic daring and intellectual dynamism, virtues hardly found together before in Philippines movies…Every aspect of a Bernal film may not always be successfully realized, but his weakness is outshine by his strengths. In every film, he seems to be ready to try something new, whether it be a theme, conflict, character or scene. He is also out of the few major local directors to have covered the broadest range of film genres and theme with varying levels of success, from the historical drama, like the Bonifacio episode in the unreleased multi-million peso omnibus Lahing Pilipino (1976), to the disco musical Good Morning Sunshine (1980) and the personal, experimental films Nunal sa Tubig and Himala…” – Mario A. Hernando (READ MORE)

Hataw Na! – “…Direk Joey has fond memories of the legendary Bernal whom he worked with as screenwriter for ‘Pahiram ng Isang Umaga” in 1989…Since I was a screenwriter during the Second Golden Age of Philippine cinema, I met Bernal, along with Lino Brocka. The only script of mine that Bernal directed, “Pahiram ng Isang Umaga,” won for me my first Urian (critics’ award) for Best Screenplay. I will never forget how Bernal sent a message to my Pocketbell unit, congratulating me for “Hataw Na!” in 1995. (He was a big fan of Gary Valenciano kasi.) Or how he hugged me after seeing “Iisa Pa Lamang,” the second film I wrote and directed in 1992. A director like Bernal is a rarity. He saw his peers not as competition, but as comrades. His life to the very end was to inspire young filmmakers to be original and to fight for their identities. Apart from “Working Girls,” what are your favorite Bernal films? “Relasyon,” “Broken Marriage,” “Manila by Night” are three films that have sunk into my very being. [They represent] the image of the ultimate Filipino filmmaker….” – Bayani San Diego Jr., Philippine Daily Inquirer, Apr 18 2010 (READ MORE)

Last Film – “…Bernal’s film career was characterized by a highly successful combination of form and content. He was as passionate about the techniques of scriptwriting and camera movement as he was about the use of his art to impart scathing social commentary. As is usual in the film industry, Bernal started out with commercially-oriented films before he could venture into cause-oriented cinema. In fact, even when he was already identified with socially-committed film, he did a commercially-oriented film every now and then. But he took care not to make films that ran counter to his basic principles. Thus, even as he occasionally made commercially-oriented films, he made sure they were not films that reinforced the societal values he abhorred. Socially committed films—the likes of his classics “Nunal sa Tubig,” “Manila After Dark,” “Himala,” and “Wating” — made the bulk of his work. The ruling classes’ employment of deceit to make the people accept social injustice, the hypocritical values that prevail in society, unequal gender relations—these were the themes he frequently dealt with. He is best known for the 1980 film “Manila by Night,” a film that depicts the decadence of the night life in Manila. In the 1990s, he got disillusioned with the trend of degeneration in the film industry which started in the late 1980s—a reversal of what he and his contemporaries Lino Brocka, Behn Cervantes, and Mike de Leon had achieved in the 1970s. After making his last film, “Wating,” an action movie which is at the same time an attack on the religious establishment, he decided to quit filmmaking. He turned to theater and directed plays for the militant mass movement while occasionally making television commercials…” – Alexander Martin Remollino, Bulatlat.com (READ MORE)

Bernal and Rodriguez – “…After he got back from India, Manila’s art scene reverted to its “normal” state of inspired insanity, and he went about trying to get his movie produced. No, I told the film students—and they were “shocked” to hear it—it wasn’t “Pagdating sa Dulo,” as they had been taught in their film history subjects, but a Virgo Productions movie titled (take a deep breath) “Ah, Ewan, Basta sa Maynila Pa Rin Ako!” Virgo, by the way, was the production company of “drama king” Eddie Rodriguez. Ishmael’s brilliance, wit, loquaciousness and volatility had impressed Eddie, and he agreed to produce the first Bernal opus, which was meant to be a “loving” satire on the city of Manila. During the production’s shooting phase, Ishmael invited us to watch some rushes with him, and we were delighted at how funny and spot-on his satirical scenes were. We remember one series of sequences in particular in which Ishmael spoofed the many vendors who came up to cars and other vehicles caught in traffic, selling all sorts of wares, from apples to zebras (well, you get the picture). In one especially droll scene, a vendor lugged an entire aparador past the camera! In another, the traffic jam took so long to unravel that, by the time it flowed again, the little seedling a vendor had sold a customer had grown into—a tree! Really outrageously funny stuff like that…But it turned out that, while we were laughing our heads off, the producer wasn’t having such a fun time. The way we see it now, he may have been worried that Ishmael’s acerbic kind of wit would not be all that easy for ordinary local moviegoers (used to more slapstick stuff, perhaps) to relate to. So, it appears that he and his young writer–director had a talk, during which he asked for changes—and the result was, Ishmael bowed out of the project! That’s right, with the movie not completely finished, it lost its director, and Eddie had to finish shooting the movie himself. We watched “Ah, Ewan…” when it opened in theaters, and quite expectedly, it was pretty much a mish-mash that didn’t amount to much. What was interesting and instructive to us was the fact that we could readily tell which scenes had been shot by Bernal, and which had been appended by Rodriguez. Eventually Ishmael got over his unfortunate first experience in filmmaking and went on to do “Pagdating sa Dulo,” which was a singular success, along with the many other fine films that followed…” – Nestor U. Torre, Philippine Daily Inquirer, September 18, 2011 (READ MORE)

Bernal’s Family – “…Ishmael Bernal grew up in the Santa Mesa district where a mestizo streak persists to date, with his mother Elena Bernal, in an extensible family setup under the proximate wings of a maternal grandfather Lope K. Santos, who had survived a jazz age image of a man in white sharkskin, beloved of ideologues and obreros, Rizalistas and fragile Spanish-speaking Tagalas. They lived not far from where the conquistadores had built in late-18th century a pied-a-terre, its back to a river which bisects the city before debouching into Manila Bay. It would pass on to American civil governors at the turn of the 20th century and to Filipino presidents since the end of the Pacific War, as the Yanks reference the backdrop to the Filipinos’ cameo role in a theater of World War II. But a more important landmark than Malacanang Palace to Bernal was Embassy theater, a minute’s dash from his childhood niche, which provided him with an early arsenal of images to use later in what we called Project Wham+a, for Winning Hearts and Minds plus arse, after an American hybrid of Madison Avenue stratagems vis-a-vis the exigencies of the war in VietNam where victory was elusive in the 60’s. We affixed arse as a realistic ancillary target and motivation of a film director’s career…For some years after we first met Ishmael never mentioned his father. He did make brief references to an uncle in Mariano Toledo to whom his mother was married: a tall man who lumbered unsmiling across our field of vision for many years, at their house in Caloocan, whose windows he would shut when Nena would play an opera; then upstairs of When It Is a Grey November in Your Soul Coffee Shop in Malate, where I often crashed in the late Sixties, before Ishmael left for India and the Poona Film Institute.

I would be a conspirator in the task of making it known to Nena that her only child had long known who his biological father was; that they had met ( I tried to annoy him by asking if it was like James Dean in a scene from East of Eden but I never succeeded) before he went aboard a cargo ship that would take him to France (among the passengers was an Indian who would borrow his toothbrush) to get a licentiate in French at Aix-en-Provence; and that cinema was instrumental in introducing him to his father’s family as well as in getting him to call Tio Mar “Father” toward the end of their lives which had come in fairly quick succession, for Nena died within a year of Ishmael (I could not bear to see her, she was never quite the same, she told someone who had asked her why she never visited Ishmael’s old room that she would not be responsible if she never came down again), and Tio Mar within a year of the woman he had taken care of with unquestioning devotion. Bernal used to say, in getting me to agree to write his biography, that there was nothing I forgot and pretended to overlook the fact that I remembered only odds and ends and irrelevant details. He tempted me with the admonition to by all means “Tell all”. He even agreed to record a number of conversations on subjects usually considered germane to a biography. The tapes were mercifully lost in a fire that destroyed everything I had ever owned except what I was wearing and, by happenstance, a suitcase bursting with Bernal’s photos, notes, and occasional journals, enough surely to start a bio….” – Jorge Arago (READ MORE)

Cinema Bernal “…As artist lock horns with Malacanang and the Church over freedom of expression, a novelist, an experssionist painter, a dramatist and a filmmaker have been named the country’s newest Natiional Artists…Ironically, one of the newest National Artist, Bernal had had a storied career battling state censors over the social content and sexy scenes of his movies which had won acclaime here and abroad. Bernal (1938-1995) studied literature at the University of the Philippines and obtained a licentiate in French literature and philosophy at the Universtiy of Aix-en-Provence in France. He became a Colombo Plan scholar and studeied film directing at the Film Institute of India in Poona, under the tutelage of the Indian master Satyajit Ray. Returning to the PHilippines, Bernal established himself early on as a leading voice of the cinema with his first movie, “Pagdating sa Dulo” (1971), a gritty movie about the “bomba” (soft-porn) film industry before martial law. Starring the irreverent Rita Gomez in what was perhaps the high point of her career, the movie had the hall marks of what was to become the cinema of Bernal: campy wit, accerbic dialogue, sexy tenor, trenchat characterization, and inventive camera work. In the following years, Bernal, together with Lino Brocka (who was also awarded the National Artist posthumously) made some of the most memorable films of so-called second golden age of Philippine cienma. He directed the innovative “Nunal Sa Tubig,” which despite the criticism of conservative groups, went on to win the best picture in the Catholic Mass Media Awards in 1977and was named one of the top international movies of the 1970s by the Internatinal Catholic Committee of the Cinema. Bernal’s other notable films were “City After Dark” (1980), “Himala” (1982), “Relasyon” (1982), and “Broken Marriage” (1983), Last Saturday, the Manunuri ng Pelikulang Pilipino named, “Wating,” Bernal’s last movie as one of the best movies of the 1990s…” – Lito B. Zulueta, Philippine Daily Inquirer, March 27, 2001 (READ MORE)

Ishmael Bernal and Vilma Santos

Bernal gave Vilma Santos her first grandslam best actress awards and two consecutive Gawad Urian best actress (1982 and 1983). Their first film together was Inspiration (1972) and last was Pahiram Ng Isang Umaga (1989).

Inspiration (1972) – “…In a musical era of 1970s, “Inspiration” was quite an experimental film, with no musical numbers, better screenplay, well-written characters. Nestor and Bernal works well in establishing the character of Jay and Vilma. Their dialouges are not “corny” and very realistic. There is no over the top dramatic scenes inserted between musical numbers here…” – RV (READ MORE)

Now and Forever (1973) – “…1973 turned out to be a banner year for Vilma Santos as she emerged on top with box office hits one film after another. Nine films altogether that featured her in different genres (comedy – “Tsismosang Tindera;” fantasy – “Maria Cinderella,” “Dyesebel at ang Mahiwagang Kabibe” and ”Ophelia at Paris;” action/fantasy – “Wonder Vi,” “Lipad, Darna, Lipad,” and “Darna and the Giants;” horror – “Anak ng Aswang” and teenybopper – “Carinosa” and “Now and Forever”). While Vilma was productive Bernal, like the past two years did only two films, one was the comedy fantasy starring television host and comedian Ariel Ureta in a spin off of Superman, “Zoom, Zoom, Superman!” and his film wih Vi, “Now and Forever” with Edgar Mortiz…” – RV (READ MORE)

Dalawang Pugad Isang Ibon (1977) – “…Bernal, testing the tensions of triangular love (for geometry books, one of his characters wittily says) for some time now, plunges deeper into character analysis and metaphorizing… In Lumayo, Lumapit ang Umaga, the triangle was unevenly explored: the first love was sketchily drawn. Dalawang Pugad, Isang become a choice for a more stable relationship. Walang Katapusang Tag-araw was a strange reverse of characters for two women and an unusual development of love into hatred and hatred into love, where therefore the triangle was essentially illusions. Ikaw ay Akin finally sets an interlocked triangle on its bases and looks at it (from all 3 angles) squarely in the face…” – Petronila Cleto, Pelikula Atbp (READ MORE)

Ikaw ay Akin (1978) – “…The film is greatly enhanced by Jose Carreon’s vibrant script, Mel Chionglo’s superb production design, the Vanishing Tribe’s fine musical score, and Augusto Salvador’s brisk editing (few scenes last longer than a couple of minutes). But the lion’s share of credit goes to Bernal. I particularly like his splendid use of meaningful pauses and oppressive silences, as in Sandra and Tere’s accidental first meeting at Rex’s house, Sandra’s soundless dinner with her father that leads to her breakdown, and the long, quiet ending scene where Sandra and Tere never say a word and yet succeed in finally communicating with each other. Our viewers are discomfited by this exhausting process, what with the underdeveloped tastes of our mass audience perpetuated by irresponsible irectors. But one fervently hopes for Bernal, who apparently believes he owes the audience his best even if they are more likely to love his third best more, that they would get the film’s message and, perhaps, even accept and like it…” – Mario E. Bautista, Philippine Daily Express, 1978 (READ MORE)

Good Morning Sunshine (1980) – “…Junior – Now 66 years old (can you believe that?), he was Vilma Santos’ leading man in Good Morning Sunshine in 1980. Born Antonio Morales Barretto, he was born in Manila, but moved to Spain with his family when he was 15. He was already a popular singer in Spain when he tried Pinoy showbiz. After doing a series of local movies (another one of his films was Disco Madhouse with Lorna Tolentino and Rio Locsin) and record albums (Yakap is still memorable to me), he went back to Spain (his wife and kids were all living there) where he continued singing. Eventually, he managed the showbiz career of his wife, Rocio Durcal, but she died of cancer in 2006…” – Butch Francisco (READ MORE)

Relasyon (1982) – “…The writers have fed significance into the conversations by filling them with popular ideas on marriage and relationships, engaging the viewers to respond with their own beliefs. There is irony though in the confessions of Emil and Marilou – in happier times – that each had been a better person upon being loved by the other. But their life together contradicted that statement. Her selfishness is revealed. “Ikaw lang ang iniintindi mo” he says and it uncovered his insensitivity. “Ako rin, may ego”, She replies. Vilma Santos confidently showed she felt the character she was portraying. Her depiction of feelings and emotions easily involve the viewers to share in her conflicts and joys. In this film, she has peeled-off apprehensions in her acting. Christopher de Leon has also been supportive in emphasizing the characterization of Marilou. He suitably complements Vilma’s acting. The director, Ishmael Bernal, displays his flair for taking scenes of Vilma putting on make-up. Unwittingly, he has suggested that whatever make-up is put on over adultery, it is still adultery…” – Lawrence delos Trinos, Star Monthly Magazine, July 1982 (READ MORE)

Broken Marriage (1983) – “…Vilma Santos is not about to be a letdown, not this time when the most important female roles are coming her way. A new intelligence she infuses in the character Ellen. Like De Leon, she turns Ellen into a woman-child, but the stress is less on her part as she has done similar roles before. Her beautiful face is flush receptive: the quiet moments of just observing the people around her are moments of perfect acting. Her body moves with an agility that is both funny and dramatic. Her two monologues – the first with her friends in the cafe when she informs them that she is bored, and the second with Rene when she tells him that they are not children anymore – are her best scenes: the camera lingers upon her countenance and she enunciates in return with ironic ease. She should watch out for next year’s awards race – there is simply no stopping her at the moment…” – Joselito Zulueta, Sine Manila – 1983 (READ MORE)

Pahiram ng Isang Umaga “…Director Ishmael Bernal has seen in the material an opportunity to put substance to what has often been denigrated as the unthinking man’s entertainment, and to a considerable degree, his attempt has been a success. Pahiram is both effective as a tearjerker and meaningful as a depiction of people in crisis. Using a traditional element of the genre, the theme of death, Bernal and writer Jose Javier Reyes probe into the life of a woman who has been told that the end is near. Juliet (Vilma Santos, one of the two reigning Philippine female superstars for the past two decades now) is told that she has eight or maybe seven months to live. As a progressive advertising creative director who has been promoted (rather late) as vice president of her company, she has the means to attend to the less mundane demands of life, examine what may have been an unexamined life, and make the most of the limited time left…” – Mario A. Hernando, Malaya – 5 March 1989 (READ MORE)

Physical Endurance – “…Ishmael Bernal, who claims to have directed Vilma’s best pictures, believes she has endured because she has physical, emotion and mental endurance. ‘She could work for 24 hours straight without getting tired, without flagging in her acting. There were times when we had to shoot for three or four successive days, getting very little sleep, but there Vilma would be: fresh, enthusiastic, rarin’ to go. Physical endurance is very important to a star. Another thing I noticed was her strong sense of competition. At that time, though of course, she didn’t say so, it was Nora she wanted to beat. Vilma was out to be the bigger star, the better actress. And so she geared her career for a zoom to the top.” Bernal first directed her in Inspiration (1971), produced by Tagalog Ilang-Ilang from a script by Nestor Torre. ‘This was at the height of the Nora-Vilma rivalry and the competing love teams were Nora-Tirso[Cruz] and Vilma-Edgar[Mortiz]. But in Inspiration, Atty. Laxa decided to pair Vilma with a rising new star: Jay Ilagan. That early, I noted that Vilma had the potential to become a great dramatic star. At that time she was not yet doing actress roles, only juvenile fan movies. Her assets were the expressiveness of her eyes, very important for the camera; the creaminess of her complexion, very important on the screen; and the ability to make her audience sympathize if not identify with her. Another thing I noticed was that she’s perfectly relaxed in front of the camera: no sense of compulsion. She just stands there and with a flick of the eye, a movement of the hand, she communicates whatever emotion has to be communicated to the audience. Unlike theater actors who feel they have to use the entire body to communicate, she achieves her effects with the simplest gestures. She already had perfect timing…” – Quijano De Manila (Nick Joaquin), Philippine Graphic Magazine 05 November 1990 (READ MORE)

The Mistress as The Heroine – “…In the documentary, Santos admitted that working with Bernal brought out the best in her as an actress. “She made me do this scene in ‘Relasyon’ that was really tough as it was unpredictable. I think Bernal was the first director to risk putting the character of The Mistress as The Heroine. In the past, the roles of mistresses were mere punching bags of The Wives in many confrontation scenes in Filipino movies,” she added…” – Pablo A. Tariman, VERA Files (READ MORE)

Ishmael Bernal, a filmmaker of the first order and one of the very few who can be truly called a maestro. Critics have hailed him as “the genius of Philippine cinema.” He is recognized as a director of films that serve as social commentaries and bold reflections on the existing realities of the struggle of the Filipino. His art extends beyond the confines of aesthetics. By polishing its visuals, or innovating in the medium, he manages to send his message across: to fight the censors, free the artists, give justice to the oppressed, and enlighten as well as entertain the audience. Among his notable films are “Pahiram ng Isang Umaga” (1989), “Broken Marriage” (1983), “Himala” (1981), “City After Dark” (1980), and “Nunal sa Tubig” (1976). He was recognized as the Director of the Decade of the 1970s by the Catholic Mass Media Awards; four-time Best Director by the Urian Awards (1989, 1985, 1983, and 1977); and given the ASEAN Cultural Award in Communication Arts in 1993 (NCCA.gov.ph). Bernal was born in Manila on September 30, 1938, the son of Elena Bernal and Pacifico Ledesma. He studied at Burgos Elementary School and Mapa High School before entering the University of the Philippines, and graduated in 1962 with a degree of Bachelor of Arts degree in English. For a time he worked with Lamberto Avellana’s documentary outfit. He went on to earn his Licentiate in French Literature and Philosophy at the University of Aix-en-Prevence in France, and then in 1970 his Diplomate in Film Directing at the Film Insititue of India in Poona, under the Colombo plan scholarhip. Bernal was a board member of the Concerned Artists of the Philippines and the Directors Guild of the Philippines, Inc., an organization that studies the role of film as an instrument of entertainment, education and development. He actively crusaded for the rights and welfare of artists for as long as he lived. He died in Quezon City on June 2, 1996. – Wikipilipinas (READ MORE)

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Santos-Bernal Films

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197 films, 70 directors, 5 decades, Vilma Santos, one of the original Philippine movie queens, rose up to become the versatile actress that has been given the fitting title of “Star for All Seasons” because of her capacity to adapt to the changing mores and values of the Filipino woman, giving a face to their plight and struggles, albeit in success both critically and box-office wise in some of Philippine cinema’s classics such as Relasyon (1982), Pahiram ng Isang Umaga (1989), Broken Marriage (1984) and Ikaw ay Akin (1978). This is the number one director who contributed to her success.

Considered the number one director of Vilma Santos, National Artist, Ishmael Bernal contributed significantly to her success. Their collaborations as actor and director spanned three decades. Eight films in total, almost a dozen best actress for Santos and a several best director for Bernal not including nominations both locally and internationally. He was quoted saying: “In Ikaw ay Akin, Vilma was already conscious of her own particular style of acting…which can be described as minimal, less is more. The fewer and simpler gestures, the greater effect…(Working in Pahiram Ng Isang Umage, Bernal said)…she had become an artist, no longer a movie star and just following the director’s instructions..” Their films are still relevant, timeless and to this day, being celebrated by many. READ MORE

HIGHLIGHTS: Bernal gave Vilma Santos her first grandslam best actress awards and consecutive Gawad Urian best actress (1982 and 1983). Their first film together was Inspiration (1972) and last was Pahiram Ng Isang Umaga (1989).

Inspiration (1972) – “…In a musical era of 1970s, “Inspiration” was quite an experimental film, with no musical numbers, better screenplay, well-written characters. Nestor and Bernal works well in establishing the character of Jay and Vilma. Their dialouges are not “corny” and very realistic. There is no over the top dramatic scenes inserted between musical numbers here. The parent played wonderfully by Merle Tuazon and Carlos Salazar were convincing. Although both Vilma and Jay played their roles effectively, Lilian Laing steals the film as Lola Jane. She was bubly and funny, a sex-starved, karate black belter, polo game afficianado, who loves life and considering she playing the old grandma who is also the solution to all the complication in life. Bernal was on his element here, a good story teller, pre-”Dalawang Pugad Isang Ibon, Pahiram Ng Isang Umaga and Relasyon.” Although he is directing a light comedy, written by Nestor Torre Jr., he managed to established all the characters without relying on corny dialouges common in this era…” READ MORE

Now And Forever (1973) – Produced by Tagalog Ilang-Ilang Productions, Now and Forever was the lesser know Bernal-Santos collaboration. Vilma was teamed-up with teen idol, Edgar Mortiz. READ MORE

Dalawang Pugad, Isang Ibon (1977) – “…Dalawang Pugad, Isang Ibon is a 1977 drama film directed by Ishmael Bernal. The film analyzes adultery in a mature way and presents reasons why many modern marriages in bourgeois families slowly dissipate into alienation and lead to adultery. The movie’s main plot involves a fashion model (Vilma Santos) who is torn between two men: her young boyfriend, who is a self-centered, airheaded fashion model (Mat Ranillo III), and an older married man (Romeo Vasquez), who is estranged from his domineering wife (Anna Gonzales)…” READ MORE

Ikaw ay Akin (1978) – “…Unlike other superstar team-ups that fail to exploit the golden opportunity of pulling in sure audiences to watch a serious work, Bernal’s greatest achievement lies not so much in putting his three big stars together but in making use of them to lure their fans and followers intos eeing a mature, sensible film. And his cast serves Bernal very well. In the hands of a capable director, Christopher de Leon proves that his forgettable appearance in such odious films as “Topo-Topo Barega” and “Disco Fever” are mere lapses in judgment that do not entirely discredit his craft. He also shows enough gallantry by not getting into the way of his leading ladies, whose roles are undoubtedly more demanding than his. As the uptight Sandra, Vilma Santos has the script’s choicest, wittiest lines. She makes the most of them and succeeds in giving a fairly accurate portrait of an emotionally insecure young woman. And when she tells Rex: “sabi nila liberated ako, front lang. Kalog daw, front din. Alam mo namang kulang-kulang ako. Pag wala ka, magkakalat ako. Para akong manok, takbo ng takbo wala namang ulo.” She likewise handles her final breakdown exceedingly well. Nora has less lines but she nevertheless manages to conveys her emotions very effectively. In that family reunion-party which is so engrossed in gossip and banter, she remains so detached, speaking nary a word — a triumph for both Bernal and her. The hurt in her eyes continues to build up until that disrupted dinner scene where she rushes to her room and, unable to contain herself, finally cries. The most stable of the three, you could really believe her when she tells Rex: “Galit ako sa ‘king sarili, dahil sinasaktan mo na ako nang todo-todo pero lalo ka namang napapamahal sa akin.” The film is greatly enhanced by Jose Carreon’s vibrant script, Mel Chionglo’s superb production design, the Vanishing Tribe’s fine musical score, and Augusto Salvador’s brisk editing (few scenes last longer than a couple of minutes). But the lion’s share of credit goes to Bernal. I particularly like his splendid use of meaningful pauses and oppressive silences, as in Sandra and Tere’s accidental first meeting at Rex’s house, Sandra’s soundless dinner with her father that leads to her breakdown, and the long, quiet ending scene where Sandra and Tere never say a word and yet succeed in finally communicating with each other…” READ MORE

Good Morning, Sunshine (1980) – The 80’s first Santos-Bernal film, GMS stars Vi with musical idol, Junior and with veteran Liza Lorena and Anita Linda. READ MORE

Relasyon (1982) – “…The writers have fed significance into the conversations by filling them with popular ideas on marriage and relationships, engaging the viewers to respond with their own beliefs. There is irony though in the confessions of Emil and Marilou – in happier times – that each had been a better person upon being loved by the other. But their life together contradicted that statement. Her selfishness is revealed. “Ikaw lang ang iniintindi mo” he says and it uncovered his insensitivity. “Ako rin, may ego”, She replies. Vilma Santos confidently showed she felt the character she was portraying. Her depiction of feelings and emotions easily involve the viewers to share in her conflicts and joys. In this film, she has peeled-off apprehensions in her acting. Christopher de Leon has also been supportive in emphasizing the characterization of Marilou. He suitably complements Vilma’s acting. The director, Ishmael Bernal, displays his flair for taking scenes of Vilma putting on make-up. Unwittingly, he has suggested that whatever make-up is put on over adultery, it is still adultery…” READ MORE

Broken Marriage (1983) – “…Bernal shows Ellen’s retrospective mood minus the conventional flashback: her younger sister is engaged to be married, and Ellen watches the two lovebirds running like children, with a bright but painful smile, even with jealousy, knowing that after the ceremonies, the two will lose the innocence which tradition stifles. This is a repetition of the technique Bernal used in Relasyon – the mistress attending the wedding of her cousin – with just the same effect, namely, sympathy. The screenplay plunges right into the boiling point, the issues hurled to the foreground like machine-gun fire, the familiar scenes of hatred and division treated like aimless confetti so that the audience neither breathes nor is excused. It jolts us at the outset and after the terrible whipping, when the squabbles lessen and finally ebb into peace, we realize that these two handsome people must have had only one tragic flaw: they did not keep mum for a while. Manolo Abaya’s cinematography dances with the jetstyle rhythm of the two protagonists. From the clever blocking of the morningjumble scenes to the hurried bustle of the television studio, Abaya’s camera sweeps avidly and flawlessly. In his hands, the incessant quarrels of Rene and Ellen seem like a vengeful lovemaking. The long shots, conventions of a Bernal, are more developed here. Above all, Abaya’s camera has humor and pathos. The production design never digresses from its limited scope but manages to make poetry out of cluttered rooms and artificial television set-ups. The claustrophobia one feels at the outset of the movie with the couple’s disorderly room easily renders the hopelessness of the two people’s situation. The music filters the emotions of the characters with a detached but effective air. Jesus Navarro’s splendid editing is a breathless canvass of cosmopolitan animation…” READ MORE

Pahiram Ng Isang Umaga (1989) – “…Vi goes to the kitchen to prepare breakfast at habang nagbabati siya ng itlog, doon pa lang ipinakitang una siyang nag-breakdown. And this is shown nang nakatalikod siya sa camera. No overly ornate kind of emoting na akting na akting ang dating. Pero damang-dama mo pa rin…she becomes the part (lalo na sa eksena nila ni Gabby Concepcion sa simbahan na binalikan nila kung paano sila nagkasira), and if you notice that she is good, well, salamat po…Sa second viewing ng movie namin lalong napansin ang subtle nuances ng performance ni Vi, up to her death scene which confirms our supposition that the movie is not really so much about death than a celebration of life..’yan ang opinion namin…” READ MORE

RELATED READING:
Wikipedia: Ishmael Bernal
Ishmael Bernal (1938-1996)
The Films of Ishmael Bernal Circa 1971-79, Part One
The Films of Ishmael Bernal Circa 1980-94, Part Two
Tribute to Ishmael Bernal
The new ‘Working Girls’ front and center
Ishmael Bernal (1938-1996)
The Films of Ishmael Bernal Circa1980-96, Part Two
Remember The Face: Bernal Film Director
The Bernal-Santos Collaborations
Inspiration
Now and Forever (1973)
Dalawang Pugad Isang Ibon
Ikaw ay Akin
Good Morning Sunshine
Relasyon
Broken Marriage
Pahiram ng Isang Umaga