Vilma Santos-Recto is a popular multi-awarded actress and politician in the Republic of the Philippines. *** She is known as "Queen of Philippine Movies," "Queenstar," "Grand Slam Queen," "Box Office Queen," and "Star for All Seasons." *** This website is mostly about her iconic film career.
“Mr. Silayan, I would like to do a documentary on your career as an actor.” “A what?” came his voice over the telephone. “A documentary – on your life.” This was June of 1984. Sadly, he was perplexed at the idea of committing his life story for the screen. He didn’t know who I was and my request was even stranger. He hesitated for a few seconds. “Why don’t we talk about it. Are you busy right now?” “No,” I replied. ‘Why don’t you come over?” I got on the first bus to the Villamore Driving Range. It was his “office.” People who needed to get in touch with him called or went to this place. When I arrived, he was watching some golfers practice. Later, I found out that he spent most of his time in the driving range just watching. “I’m not allowed to play. I haven’t played in two years. Doctor’s orders, you see.” His heart trouble prevented him from doing a lot of things. Including accepting certain movie roles. But despite his precarious health, he persisted on taking certain risks. For instance, he drove his own car. I introduced myself as a preservor of films from De La Salle University. Our first meeting, a short one we both assessed, stretched to four hours. He was a fascinating storyteller. With some prodding, he unleashed a storm of details about his youth, his experiences in the war and his work in the movies. He capped the meeting with a fervid account of his close brush with death which happened towards the end of the second world war. “I was talking to a group of friends when a bomb exploded a ten meters away from where we were seated.” He was 16 at that time. “I remember getting up from my seat when the explosions came. As I was being helped back to the house, all I could hear was a sharp ringing sound in my ear. As we entered, my sister saw me and they started screaming. Later, they told me that while I was trying to explain what has happened, blood was profuse coming out from mouth.” he has shown wound all over his body. His right leg got partly burned and he lost his toenails. I remember the day flies crawling on the wounds on my upper legs. (later, he grew a mustache to cover the scar.) I was brought to San Lazaro where the doctors tried pulling the steel wires that got embedded in my chest. They pulled me up as they tried to pull out the wires.” Born in Manila on Jan. 31, 1929, Vic Silayan is unquestionably one of the finest Filipino actors of this century. A Bachelor of Arts graduate from Ateneo, 1951, he once said that his education had a strong influence on his acting style. As an actor, he is a multi-media talents: be excelled on stage, on radio, on TV and in film. “Acting came naturally to me.” He had done Shakespeare, Arthur Miller and even Broadway musicals. In the times that we met during and after the making of the documentary, he often talked about his own feeling about performing and creating character before an audience.
Among his early plays, Cyrafina J. Bergerac (1952), where he did the starring role, comes foremost to mind. “I remember the applause even though one is exhausted, the applause fills the heart. I remember Carlos P. Romulo being in the audience. I also remember Hilarion Henares, Sr. talking about Jose Ferrer’s Broadway performance and how I compared to it; he said the limited budget did not diminish the impact of my performance at all. I only overheard it and I cried in the dark.” A legend in his own time, Vic Silayan’s film career began in 1953 when he was cast by director Lamberto Avellana to appeal in the role of a PC captain in the film Huk sa Bagong Pamumuhay. Since then he has appeared in over 300 films some of which where foreign production. Often, he was cast as a bad guy, a part which according to him, is more difficult to portray. Needless to say, he was a victim of typecasting – for a time he was the film industry’s favorite Japanese officer. But it’s to his credit that he has managed to make a mark in several Filipino classic. Among them are Anak Dalita, Badjao and Malvarosa. However, he is best remembered for his role of a psychologically imbalanced retired policeman in Mike de Leon’s Kisapmata. In the film, he portrays an over possessive father who murders his whole family and eventually kills himself. “I didn’t like the person I portrayed in that film,” the actor once said. “There have been bad-men roles that I liked. But that one I didn’t like. May diperensiya siya. He was mean to other people who couldn’t fight back.” Nonetheless, it was performance that earned him an Urian best actor award, his second. (In 1983, he won best supporting actor honors for Marilou Diaz Abaya’s Karnal.) Aside from his work as an actor, many remember him for the rich, deep quality of his voice. Yet, he is modest about it.
“My father had a better voice. He was good in public speaking. He spoke excellent English. He even had a good singing voice but he refused to sing professionally.” I say Vic Silayan for the last time at the Kidney Center, three weeks before he died. Obviously, his health had deteriorated – he had lost so much weight and he had difficulty in breathing. With his weak voice, he asked me how I was. I said, “Fine.” “It’s my heart,” he mumbled. “The doctors said they couldn’t do anything for me anymore.” He had aneurism, a lump on a blood vessel in his heart, which he said could rupture anytime and kill him. I promised to do all the talking that afternoon. And as if on cue, I started out on the subject of old movies, a subject which he always relished. Despite his condition, he tried recalling some films that he had seen as a boy. He also tried his best to show me that his memory has not failed him. We ended our talk on the subject of Filipino short films. “It’s quite promising,” I assured him. Before we parted, he asked me, “Do you think I should start thinking about another career?” “Why not try writing?” I replied. “I don’t know. Sometimes it’s fear that stops people from trying anything. Maybe I should.” When I learned about his death last August 30, my mind raced back to the time after we had our first meeting. At that time, a thought crossed my mind: If I had lived just to hear him tell his own story, I believe it was worth it. The same thought still holds true today. – Emmanuel A. Reyes, Manila Standard, Sep 06 1987 (READ MORE)
Vic Silayan and Vilma Santos
Paano Ba Ang Mangarap (1983) – Vic Silayan played the husband of domineering snotty rich, Armida Sigueon Reyna and Vilma Santos played the unwed pregnant fiance of their son, played by the late Jay Ilagan.
Sinasamba Kita (1982) – Vic Silayan played the rich death-stricken father of Vilma Santos whose last wish is for Vilma to find her illigitimate daughter played by Lorna Tolentino.
Karma (1981) – Vic Silayan played a hypnotist/psychiatrist who explained to Ronaldo Valdez the concept of reincarnation. Vilma played the lover of Ronaldo Valdez.
Langis at tubig (1980) – Vic Silayan played the judged who convict the bigamist, Dindo Fernando. Vilma played one fo the two wives Dindo wed.
Ang galing-galing mo, Mrs. Jones (1980) – Vic Silayan played a conniving politician who abuse, Mrs Jones played by Vilma Santos.
Ikaw lamang (1973) – Vic Silayan played the supporting role to the new team of Paolo Romero and Vilma Santos.
Ito ang Pilipino (1966) – Vic Silayan played one of the major role in this Joseph Estrada-Barbara Perez film. Vilma Santos played a minor child star role with another child protege, Jay Ilagan.
Victor Payumo Silayan (popularly known as Vic Silayan) is a veteran movie-stage Filipino actor. He was born in Manila on January 31, 1929 and died on August 30, 1987 due to heart attack. His acting prowess has been higlighted in the movie, Kisapmata where he played a man who had an incestuous attraction to his daughter, traumatizing everyone around them. Silayan’s sterling portrayals have earned him four awards. – Wikipilipinas (READ MORE)
In 1985, the Philippine Movie Press Club initiated the Star Awards for Movies and Television, which is currently the Philippines’ Golden Globes’ counterpart. The very first recipient of Star best actress was Nora Aunor for Merika while Vilma’s movie Sister Stella L. received the movie of the year award. Vilma Santos was nominated for Palimos Ng Pag-ibig in 1986 but failed to win the best actress. Unfaithful Wife was judged the STAR best picture of this year. The next year, Vilma’s film, Saan nagtatago ang pag-ibig was proclaimed the movie of the year. Vilma received a best actress nomination for her FAMAS winning film, Tagos Ng Dugo. The fifth year, Vilma was nominated again, this time for Ibulong Mo Sa Diyos.
PMPC finally gave the trophy to Vilma in 1989 Star Awards. Vilma’s Pahiram Ng Isang Umaga four major awards: actress of the year for Vilma, supporting actor for Eric Quizon, director of the year for Ishmael Bernal, and Movie of the year for Regal films. Pahiram also won technical awards for cinematography, musical score, and production design. The following year, Snooky Serna won the supporting actress for Vilma’s “Hahamakin Ang Lahat.” Vilma was nominated for Hahamakin but the Star went to Nora Aunor for Andrea paano ba ang maging isang ina. Despite the lost, Vilma received a very special award from the PMPC, the “Darling of the Press” award. The next year, 1991, Nora Aunor again received the Star Award Actress of the Year for Ang totoong buhay ni Pacita M. Vilma was nominated for Ipagpatawad Mo.
In 1992, Vilma was nominated again, for Sinungaling Mong Puso that Lorna Tolentino won for Narito ang puso ko. After winning her first Star Award in 1989 and nominated three consecutive years, Vilma finally win her second Star in 1993 for Dahil mahal kita: Dolzura Cortez Story. The next year, Vilma was nominated for Nagiisang Bituin but Dawn Zulueta took home the trophy for Buhay ng buhay ko.
In 1995, Nora Aunor was the big winner again with her film, Flor Contemplacion Story. Then in 1996 was Sharon‘s grand slam year. She won the Star for Madrasta with co-star, Christopher De Leon taking the actor of the year. In 1997, Zsa Zsa Padilla defeated Nora, Vilma, Marecel and Sharon for actress of the year for Batang PX. Vilma was nominated for Hanggang Ngayon Ika’y Minamahal. Vilma was the big winner in ’98 for her film, Bata bata paano ka ginawa. She won actress of the year while co-star Serena Dalrymple won the supporting actress. Elizabeth Oropesa followed Vilma’s win the following year via Bulaklak ng Maynila. The new millennium brings another Star to Vilma as she claimed her fifth actress of the year for her film, Anak. The next year the Tuhog was the top film while Snooky Serna won the actress of the year for Habang kapiling ka.
Vilma won her sixth actress of the year from Star in 2002 for the film, Dekada ’70. She will win her seventh Star again in 2004 for Mano po III: My love in 2004. The next three years, Judy Ann Santos (Kasal, kasali, kasalo – 2006); Ai-Ai de las Alas (Ang cute ng ina mo! – 2007) and Sharon Cuneta (Caregiver – 2008) received the Star actress of the year. Vilma Santos received the lifetime achievement award in the 2008 Star Awards while Nora Aunor’s film Himala was given a special citation award. By 2010, Vilma received her 18th best actress nominations (surpasing Meryl Streep’s historical 17th OSCAR nominations) and won another STAR for her 2009 film, In My Life. – RV (READ MORE)
Bumandila na anaman ang JE Productions sa nakaraang FAMAS awards night nang makopo nila ang tatlong pinakamalalaking tropeo ng karangalan kabilang na ang Best Picture para sa Kumander Alibasbas, Best Actor para kay Joseph Estrada at sa Best Director para kay Augusto “Totoy” Buenaventura sa sermeonyang ginanap sa Metropolitan Theatre. Ito ang ikalimang karangalan natamo ni Erap sa iisang kategorya na nag-akyat sa kanya sa tinatawag na Hall of Fame, at siya rin ang kauna-unahang aktor na hall of famer sa best actor category. Natamo ni Erap ang unang best actor award noong 1962, Patria Adorada at ngayong 1981, Kumander Alibasbas. Ito namang Kumander Alibasbas ang ikatlong best director award na natamo ni Totoy Buenaventura. Una ay ang Kill the Pushers noong 1971 at Bakya Mo Neneng noong 1978. Sa best screenplay award ay hall of famer na si Buenaventura. Sobra pa nga sa quota ang natamong karangalan ni Buenaventura sa dapat na maging hall of famer. Anim na best screenplay awards na ang kanyang natatamo sa FAMAS: Kalibre .45 noong 1956, Psycho Sex Killer, 1968, Patria Adorada, 1969, Tatay na si Erap, 1970, Kill the Pushers, 1971, Bakya Mo Neneng, 1978.
Ang Kumander Alibasbas din ang isa sa mga box-office hit nang nakaraang taon. Kasaysayan ng isang rebel leader sa gitna ng tinatawag na labor unrest sa Central Luzon before Martial Law, ang Kumander Alibasbas ay naging kontroberyal sapagkat tumalakay rin ito sa ilang political problems ng bansa. Tinatayang may maselang tema, subalit mahusay na nailarawan nang walang “nasagasaan.” Umiiral ang cinematic effects ng pelikula na siyang nakatawag ng pansin sa mga humusga. Ang aktress na si Vilma Santos naman ang nagkamit ng Best Actress award dahilan sa makatotohanan niyang pagganap sa pelikula ng MVP na Pakawalan Mo Ako na tumatalakay sa tatsulok na pag-ibig na kung saan ay nakapareha niya sina Christopher de Leon at Anthony Castelo sa direksiyon ni Elwood Perez. Nakamit ni Chanda Romero ang Best Supporting Actress award sa pelikulang Karma na siya rin pinagwagihan sa best supporting actor award ni Tommy Abuel. Tatlong award rin ang natamo ng FPJ para sa pelikulang Ang Pagbabalik ng Panday: Best Art Direction, Rolando Sacristia; Best Sound para kay Cesar Lucas at Best Cinematography para kay Vir Reyes. Tuwang tuwa ang mga fans ng bulilit na si Sheryl Cruz na hinirang bilang Best Child Actress para sa Basang Sisiw at ang Best Child Actor ay natamo ng isang baguhang si Mark Versoza para sa pelikulang I Confess. Si Sheryl ay anak ng magasawang artistang sina Ricky Belmonte at Rosemarie Sonora. Sabi nga ni Inday Badiday, naunahan pa ni Sheryl na magka-award sina Ricky at Rosemarie. Dalawang award naman ang natamo ng pelikulang Init o Lamig; Best Editing for Edgardo Vinarao at Best Story for Baby Nebrida. Bukod kay Vilma Santos, ang Pakawalan Mo Ako ay nagkamit din ng dalawa pang award: Best Theme Song for Louie Ocampo at Jimmy Santiago at Best Music for Lutgardo Labad.
Nakamit ni Mother Lily Monteverde ang special award na Cirio Santiago Memorial Award; kay German Moreno ang Jose R. Perez Memorial Award; at Marichu Vera Perez ang Gregorio Valdez Memorial Award. Stage emcees sina Bert “Tawa” Marcelo at Coney Reyes-Mumar at achor woman naman si Helen Vela. Naging performer sina Rico J. Puno, Sharon Cuneta, Ivy Violan, Something Special, Lirio Vital, at Obusan Dance Troupe. Matabang mataba marahil ang puso ng presidente ng FAMAS na si Ros H. Olgado, sampu ng mga opisyales at kasapi ng akademiya dahil sa talumpati ng guest of honor na si Ms. Imee Marcos, ang direktor general ng Experimental Cinema of the Philippines. Lalo na nang ipahayag niya ang pagnanasang makapagpatuloy pa ang FAMAS sa pagkakaloob ng prestihiyosong awards ng tulad nang ipinamahagi nang gabing iyon. Sinabi pa ni Imee na kung nagkakaroon man ng krisis sa FAMAs, iyon ay bahagi ng pagunlad. Aniya, parang puno ng kawayan ang FAMAS na maaaring humahapay kapag may malakas na unos subalit makaraan ang unos na ‘yon ay muling titindig na tila aabutin pati ang langit. Ayon sa mga observer, ang nakaraang awards night ay lalong nagpatunay na ang FAMAS ay matibay pa rin at may prestihiyo at ito pa lamang ang kaisa-isang award giving body na nirerespeto at pinagsisikapang makamit ng mga taga-industriya. Sa lahat ng mga awardee, congratulations and mabuhay kayong lahat! – Mar D’Guzman Cruz, Pelikula ATBP (READ MORE)
superwoMOM “…Watching all the tributes and reading all the superlative articles about you leaves me in awe. But even without all those accolades, I have always known what an exceptional woman you are. I call you superwoMOM and there will never be any runners-up, no matter how sincerely they try to play second mom to Ricky, Clara and me. When people ask me if I am going to continue what you started, I am dumbfounded. Nobody, not even me whom you have always called your extension, is qualified to be the next Inday Badiday. The least I could do to honor you is to add up the bits and pieces of our wonderful, colorful life together and keep on living and loving the way you taught me how…” – Dolly Ann Carvajal, Philippine Daily Inquirer, Oct 16, 2003 (READ MORE)
The Queen is dead. Inday Badiday, real name Lourdes Jimenez Carvajal, in her lifetime was known as the Queen of Intrigues. No one is ready to wear that crown. Many have learned from her, but no one can yet make superstars and play godmother to a mudfish at the same time without losing the public’s respect. No one has yet mastered her knack for asking the right probing questions at the right time, for probing and then pulling back without really hurting. Her show biz talk shows are memorable like her laughter and her closing line, “Saranghameda,” but it is best to remember Inday in her own words. In an interview with Inquirer Entertainment in 2002, Inday was asked which she loved to do most, TV, radio, print. She said: “Radio and print are more freewheeling. You can choose the topics you like. Mas nailalabas mo ang innermost feeling mo, mas open ka. Unlike sa TV mas limitado and oras at and emotions.”
Why did shoe biz reporting today jolt her? “Minsan kasi parang, tama na! Haggang diyan ka na lang. Wala nang limit kasi. Ang nangyayari, the more na bulgar, more probing, more vicious, the more na gusto nila.”
When did she stop smoking? “1996. The bypass operation did it. Talagang ayoko na talaga. sabi ko nga kay (brother-in-law Dr. Carlitos Magsanoc), ” (sister and Inquirer edition in chief) letty (Jimenez-Magsanoc) smokes, I smoke. Seh drinks, I drink. I sleep late, mas lalo kung magpuyat si Letty. Mapag-isip ako, mas lalo si Letty. Pareho lang kami ng ginagawa. Pero bakit ako nagkakasakit, si Letty hindi? Letty still smokes. Grabe!”
What’s a good talk show to her? “No script. Freewheeling. Yung ang mga saopt ng mga artista hindi mag-uumpisa sa “Well…” or “Actually…”
Did she think she would regain her crown as queen of intrigues and talk show? “I’m not trying to regain anything. What crown are you talking about? Sila lang naman ang nag-name sa kin ng Queen of Intrigues. I don’t pretend to have a title. I’m just me. I don’t want to compete with any of them. I’m just here to join the parade, not to lead the parade.”
What first things did she do as a host? “Ang dami-dami. Lahat ng kababalaghan! Nung namatay ang dalag, nakiburol kami. Diyos ko! para akong luka-loka! May mga bulaklak pa kami. Ang tawag ko sa ganyan, “Aliw Awards.” Kagaya nung bumubuhay ng patay, yung ngasasayaw na Sto. Nino. Lahat ng ipinalihi sa kung saan. You name it, I did it.” In her Christmas Day “Face to Face” column in 1999, Iday Listed the “little and big monuments and milestones in my life.” Among them were Nora Aunor and public service. “Whether I like it or not,” she wrote, “the superstar’s name shall forever be a part of my life in show business. Seh has been the star to whom i hitched my wagon.” Of public servie, she wrote: “There was a time when public service weren’t watchable. But “Eye to Eye” changed that. It makes me happy to say this show helped institutionalize the Filipino’s innate gift of generosity. I’ve always been amazed by how the number of people needing help is always matched by the people willing to give it.”
What was she most proud of as a talk show host? “Before, show biz reporters were taboo on the air, Ipinaglaban ko ‘yun. My point was, they are the people who know what questions to ask the stars, who know what’s happening. “Many people did not like that idea, putting show biz reporters on the air. At least ngayon tanggap na tanggap na sila.” Indeed, entertainment columnist Butch Francisco wrote in July 2000: “Before Inday Badiday, entertainment writers were mere by-lines in fan magazines and the movie pages of newspapers. But through the trailblazing efforts of this woman with a vision, some movie journalists have become personalities themselves, hosting their own show biz talk show on TV.” Francisco proceeded to enumerate Inday’s “creations” – Cristy Fermin, Aster Amoyo, Lolit Solis, Nap Gutierrez, and Francisco himself. What was she like as a mother? “Normal.” Writer Anselle Beluso, one of her closest friends: “Depende kung sinong anak.” Inday: Gaga! Should other hosts be afraid of her comeback? “Why should they be? ‘There’s no reason to be afraid of me. I’m just one of them.” No more “Saranghameda?” “It will just come. That was the time I met Bo (Gene Palomo), so saranghameda. The word is Korean for I love you. Malay mo, baka may makilala ako sa show ko, e ‘di iba naman (laughs).” – Louie C. Camino, Philippine Daily Inquirer, Sep 28, 2003 (READ MORE)
Irreplaceable. “…its impossible to find somebody like Inday Badiday,” said Ansel Beluso, head writer of the show biz talk show “Inday: Heart to Heart” on GMA 7 last Sunday at Inday’s wake at the Santuario de San Antonio in Forbes Park, Makati City. He said that whoever would replace Inday should be someone who’s as credible and as highly respected in show biz as the Queen of Intrigues herself. “Whoever will take over the show would only have to be who he or she really is,” Beluso added. “The new host would have to be someone who’s motherly, like Inday,” said Bibeth Orteza, who’s also a head writer of “Heart to Heart” and one of Inday’s long-time friends. Inday, Lourdes Jimenez Carvajar in real life, pioneered show biz talk shows in the Phlippines, hosting TV shows like “See True,” which ran for seven years, “The Truth and Nothing But,” four years, and “Eye to Eye,” 10 years. She died on Sept. 27 of a lingering illness at the St. Luke’s Medical Center in Quezon City after being confined in the hospital’s intensive care unit since Aug. 18…At Inday’s wake last Sunday, show biz writer Ronald Carballo shared: For years, Inday had paid the bill of his birthday parties. “This happened when Inday was at the peak of her career in the ’80s,” said Carballo, “She would call me a week before my birthday, ask me how much I would need for the party and, on the day of the celebratin, send a check with an amount double than waht I told her.” Carballo said he was present during Inday’s Aug .7 birthday celebration at the Trader’s Hotel in Pasay City. “She hugged me and said, “Salamat, Ronald, Nawala na silang lahat, ikaw na alng ang naiwan (Thank you for being here, They are all gone, and you are the only one who has remained)…” – Marinel R. Cruz and Jocelyn Valle, Inquirer, Sep 30, 2003 (READ MORE)
Funny Lady “…She recalled how Inday once “tutored” her about how to act like a lady during a visit to South Korea in the ’80s, when Inday’s late father, Nicanor Jimenez, had been the Philippines ambassador to that country. “She lectured me about my behavior and warned me that I must not embarrass her dad,” Solis said. “But duiring a Mass which we attended, she fell asleep because she had too much wine to drink earlier. The following day, she couldn’t face her dad!” Expect the unexpected with Inday, Solis said. “Like how she would always find something to laugh about even if she was talking to the grimmest person on earth.” she added…” – Nini Valera, Philippine Daily Inquirer, Sep 29, 2003 (READ MORE)
Truth and Frienship When Aiko Melendez guested on “Eye to Eye” before going to her debut, Ate Luds presented to her a heart wrenching interview with her dad Jimi Melendez, who was dying in remote seashore village in Batangas. But Ate Luds was averse to inventing news. While others resorted to manufacturing lies which they then asked the movie stars converned to react to – an exercise that they passed on as news reporting – Ate Luds always chose to dig. “There is no need to invent news,” she always said. “You just have to dig deeper, and there’s always a gem out there waiting to be found.” I remember Ate Luds being very happy about a reaction that was attributed to Fernando Poe jr. when “Eye to Eye” went off the air. The king of Philippine Movies said, “Without Inday, we will never know what the truth is about show biz news.” “Be aware always about the fine line that divides friendship and show biz truth, and always choose to be on the side of friendship, because show biz truth is all a matter of perception.” I saw it happen: When her friends went through rough times, Ate Luds always chose to be by their side, even at the expense of her own credibility as a a broadcaster. Because of this, when bigger issues happened, her friends always honored her with the first shot at the truth. “Truth in show biz is different from truth in politics,” Ate Luds once explaine to me. “In show biz, when a movie star tells a lie, it is entertaining. In politics, when a politician tells a lie, no matter how small, it can ruin the nation.”
Affection for People “Beware of people you don’t know – but even more, of people you do know.” Ate Luds’ people skills were incredible. If she were fish, people were her water. And she could swim both in fresh and tropical waters. She had genuine love and affection for people. This was the key to her success. She knew what made people tick. She knew what turned them on or off. She also knew about the exquisite joy of loyalty, as well as the bitter taste of betrayal. “Friendship in show biz does not exist. So you have to make it for yourself. Friendship in show bix is an act of will.” Ate Lud was known by all, but she once admitted to me that she only had very few friends in show biz. A lot of her friends were not from the entertainment world. They were “ordinary” people who derived nothing from her except the joy of simple friendship. “In show biz, when you see someone who can be a friend, hold on to that person and protect your realtionship with everything you’ve got. Friendship is measured not by what you can get from it, but by what you are willing to give up for it – so choose wisely. A good friendship can enrich you, but a bad one can bankrupt you.” Ate luds gave up a lot for frienship. Of course, it was very sad that a few of these friendships proved to be wrong choice. “Show biz is serious business. But never take yourself seriously. Laugh hard – and laugh hardes at yourself.” Ate Luds’ self deprecating humor was legendary. “Hoy! Anak ako ng ambassador, no!,” She’d holler at anyone who pointed out some gaffe or breach in protocol she had committed. “Ako pa?,’ she’d self-mockingly proclaim each time a folly or foible was attributed to her, and you couldn’t help but laugh at her little idiosyncracies. Goodbye, Ate Luds. – Ansel Beluso, Philippine Daily Inquirer, Oct 11, 2003 (READ MORE)
Constant Reminder “…Inday Badiday (a.k.a. Ate Luds) doesn’t remember now who gave her the tableau containing that little prayer (“Ewan ko kung kaaway ko o kaibigan ko”) but that’s beside the point. The tableau stands on her headboard and it’s the first thing Inday sees when she wakes up every morning. Sa totoo lang, Inday has been trying, during the past many years, to observe that prayer — to no avail. “Para akong si Mother Lily,” says Inday, “pag hindi ko binuksan ang bibig ko, magugutom ako, hindi ako kikita. Aray ko!…Remember when Nora Aunor, displeased by a news report which she deemed favored Vilma Santos at her expense, asked her secretary to get back (that same evening!) a P5,000 check she had gifted Inday with a week earlier during the blessing of Inday’s house in Meycauayan, Bulacan?….Inday’s constant reminder to her children is this: “Don’t come to me crying!” That is also what the Ambassador would often tell his children: “Don’t ever come to me crying.” “Military man kasi ‘yon, e.” Inday hasn’t run back to Daddy crying ever since. “Alam mo,” she admits, “people can accuse me of not having been a good wife. Pero walang makapagsasabing hindi ako naging mabuting ina.” And that, would you believe, is the truth and nothing but…” – Ricky Lo, Weekend magazine, March 10 1985 (READ MORE)
Investigative Journalism – “…I follow up on events and I always add that dash of scoop by getting at the real story behind the news item.” Inday Badiday’s brand of gossip, therefore, is more akin to investigative journalism. Never mind the fact that her investigations always end up in the same way. For nobody can quite ransack a “ropero” as thoroughly as Inday can. Inday Badiday or Ludy Jimenez Carvajal also admits to having”sources” who relay precious information to her but she sifts these carefully and only follows up on the “more interesting” bits. “The hotel guest registry is not my cup of tea, I leave it to others to do that type of reporting. If I get a lead about so-and-so cheking in at this hotel, I sometimes pass on the information to another reporter and leave it up to him to follow the story if he cares to.” Inday’s chitchat being more issue-oriented has landed her into more controversies than she’s ready to bargain for. “In the Amalia-Romeo-Vilma affair, for instances, I was only a bystander. They were the ones who did all the talking, most especially Bobby. But it was my program which took the brunt of it all. Sabi ko nga, para bang nag-away ang mga bisita mo sa bahay mo. Anong magagawa mo?” Inday confesses that her job is not exactly a bed of roses. “Anong gagawin mo pag sinabi sa iyo ng artista, “Ate Luds, ito ang tunay na nangyari pero huwag mong sasabihin. Ito na lang ang sabihin mo, Sasakit ang ulo mo talaga.” The constant ringing of the phone, the centenarian who came to visit Inday that day, the unending parade of people streaming in and out of Inday’s tiny office-all these attest to the queen’s popularity. “My sister (Letty Jiminez-Magsanoc of Panorama) tells me that I’m but a mere spectator of this circus.” What LJM meant was perhaps that Inday’s life is the anti-thesis of the sordid world of her occupation. Inday after all started out as a ballet teacher at Joji Felix’s dance studio (would you believe?) where perhaps the most awkward event of any given day was a ballerina’s lazy arabesque. Now that her world has changed from ballet to bod stars, she remains even more certain of her ground. “The point of interest being facets of the stars’ private lives,” says Inday, “and this means I cannot write or talk about how many times they go to church. I cannot imagine why some peole would like us to turn plastic, too, by writing plastic things about their plastic selves. Ang sabi nga kung naiinitan ka sa apoy ng nagluluto, di umalis ka sa kusina.” It is the movies where one worries most when the gossip stops. Very few attain that sought-after state of virtual imperviousness. Should anything truly sensational happen in their lives, who do you think will merit bigger headlines today, Vilma Santos or Tita Duran? What worries certain movie scribes, Giovanni Calvo included…” – TV Times, 27 April – May 3 1980
Incredible Legacy “…Speaking of lessons I’ve learned in the talk show circuit, my mom’s (“the mother of all talk shows.” as she’s been dubbed) countless tips remained unparalleled in my book. You’ll be privy to all this when you catch our one-on-one interview in “CelebrityDAtCom’s” first episode. Due to time constraints, our interview was cut short just when it was getting juicy. But there will be a part 2 of that dream interview. Truth to tell, my mom has politely declined many invitations to be interviewed on other talk shows. As she says, “I’m beyond show biz.” That’s why I’m so grateful that she agreed to appear on my new show with TJ and Angelo. It;s not that she was obliged to just because I have to be her daughter. I know she wanted to be around to show me her support. Her presence was the only adrenaline shot I needed to perk me up for the initial telecast. I know that even when she was the one who asked me to take over the hosting chores on “Movie Magazine” many years ago, deep inside her she wished that I had pursued my dreams to become an interpreter in the United Nations. That dream may or may not be fullfilled but it doesn’t bother me much. Foregoin one dream to be able to continue my mom’s incredible legacy in show biz is more than enough compensations. It’s the least I can do to give something back to all the people whose live she has not only touched but changed for the better…” – Dolly Ann Carvajal, Philippine Daily Inquirer, May 13, 2003 (READ MORE)
The Bukas Palad Awardee – Inday Badiday Recipient (1998) – “…The Bukas Palad Award (Open-Armed Award) was awarded by the Filipino Academy of Movie Arts and Sciences in the 47th FAMAS Awards (1998) in 1999 to honor the generosity and indelible contributions of the Philippines’ original Queen of Talk, gossip columnist and TV host Inday Badiday, to the Philippine motion picture industry. Inday Badiday, who is Lourdes Carvajal in real life, not only boosted star’s careers through her gossip shows but had been also known to help various stars in their times of need. In addition, she had been known to help various local charities that promoted various social causes…” – FAMAS (READ MORE)
Lourdes Jimenez Carvajal (August 6, 1944 – September 26, 2003), better known as Inday Badiday, was a Filipino host and journalist who was known as Philippine television’s “queen of showbiz talk shows” and “queen of intrigues”. Referred to by many in the entertainment industry as “Ate Luds”, Inday began her broadcasting career as a radio host who talked about show business. Her commentary and knowledge about the industry eventually brought her fame. One of her first shows was Nothing but the Truth and later See-True and Eye to Eye, which served as Philippine television’s template for showbiz talk shows. These shows were all produced by GMA News and Public Affairs and her production company, LoCa Productions (LoCa is the combination of the first two letters of her names, Lourdes Carvajal). She made her television comeback in GMA Network in 2002 with the show Inday, Heart to Heart. Inday Badiday died on September 26, 2003, from multiple organ failure due to two strokes at 59 years old, at St. Luke’s Medical Center, Quezon City. She had three children, Dolly Anne and Ricky from a previous marriage, and Clara (Klang-klang) by her beloved Gene “Bo” Palomo, the man Inday referred to in her famous parting shot, “Saranghamnida, Bo” (Korean for “I love you, Bo”) in her program Eye to Eye. She was also the grandmother of Juicy co-host IC Mendoza. – Wikipedia (READ MORE)
Magmula pa nang magsimula si Vilma Santos sa pag-arte, sa munting edad na siyam, ipinakita na niya na nasa puso niya ang pag-ganap. Sa “Trudis Liit” makikita ang kusang pag-patak ng luha at tamang pagbibigay ng emosyon. Ito ay likhang talento na hindi makikita sa ibang mga batang artista ngunit hindi rin ito sapat upang sa paglaki mo’y manatili ang talento nakagisnan mo nang kabataan. Mangilan-ngilan lamang ang namulat sa katotohanang hindi hanggang sa pagtanda ay mananatili kang magaling sa pagganap. Hindi nga ba’t hindi naging isang mahusay na artista si Nino Muhlach nang itoy maging isang binata na. Si Snooky Serna na kailangan ng mahusay na direktor upang mapalabas ang tunay na tinatagong galing. Nasaan na si Connie Angeles, si liezl (na anak ni Amalia), si Bentot Jr at marami pang hindi malilimutang mga batang aktor na nagpakitang gilas. Ang katotohanan ay kailangang patuloy ang pag-aaral sa pag-ganap. Ang katotohanan ay ang paghahanda sa pagbabago ng imahen at pagtanggap ng mga naiibang papel. Upang patuloy ang paghasa ng talentong kinagisnan mula pa nuong kabataan. Iyan ang sikreto ni Vilma Santos. Mula pa nang Trudis Liit, umikot ang mundo ni Rosa Vilma. Sinagupa niya ang labanan sa pag-arte ng buong tapang. Ito ang tunay na marka ng mahusay na aktor. Walang papel na maliit, walang papel na hindi puedeng kakaiba ang pagganap. Ilang pelikula ang nagmarka sa lipunan. Nagbigay ito ng kahulugan sa mga pakay ng ordinaryong buhay ng mga pilipino.
Pumaimbulog ang kakaibang pagarte niya sa Dama De Noche. Maalala ng lahat ang pagsusuot niya ng “two-piece bikini” sa Nakakahiya ngunit ang pagganap niya bilang “spoiled brat” na umiibig sa mas matandang lalaki ang dapat bigyan ng pansin. Matapang na unang pag-iiba ng imahen. Senyales ng Masagana’t markadong mga papel na darating. Bago pa man nauso ang mga pelikulang “horror-scream fest” ay naging tatak na ito ni Rosa Vilma. Mula sa mga patok sa takilya na “takbo Vilma Dali”, “Hatinggabi na Vilma” at “Anak ng Aswang.” Sinundan pa ito ng mga pelikulang pang-aksiyon at pantasya na nagbigay ng kayamanan sa Tagalog Ilang Ilang Production. Katulad ng “Wonder Vi”, “Dyesebel”, “Phantom Lady,” “Kampanerang Kuba” at ang pinakamatagumpay ng Darna na hindi na mapapantayan pa, “Lipad Darna Lipad”. Hindi maitatago ang tagumpay ng mga pelikula niya magmula pa ng tumigil na ang mga pelikulang “musikal”. Ito ang naging hugyat ng pagbaba ng kasikatan ng mga kakontemporaryo niya. Nang dumating ang huling parte ng dekad 70 kung saan ang mga pelikulang musikal ay hindi na kumikita, ang mga pelikulang komersiyal na tinatampukan ni Vilma Santos ang nanguna at masasabing naging sulosyon sa papahinang kita ng mga pelikula nuon. Kasabay pa nito ang pagrami ng mga pelikulang banyaga.
Ang pagdating na dekada 80 ay naging isang patunay na ang sinasabing “Superstar” na kalaban ay hindi na kapantay ng sinasabi nilang “poor second.” Mabibilang lamang sa kamay ang mga pelikualang ginawa niya na hindi naging matagumpay sa takilya. Magmula ng huling parte ng dekada 70 at sa pagpapatuloy ng mga pelikula niya sa dekada 80, ang mga markadong papel na ginampanan ni Vilma ay naging isang pagpapatunay ng kanyang patuloy na paghuhudyat ng kanyang galing sa pag-arte. Ng patuloy niyang paghuhubog sa kanyang sining. Ng patuloy na pag-aaral hanggang sa marating niya ang halos perpektong pagganap. Hanggang sa marating niya ang malalim na kahulugan ng bawat papel. Si Chato, Rubia, Marilou…Baby Tsina, Fina, Aida…si Stella, Dolzura, Leah, Amanda…hanggang kay Josie at kay Lilian…makikita mo ang iba’t ibang lalim ng pagganap na kung ang isang ordinaryong artista lamang ang gaganap ay hindi makikita ang epektibo, hindi mo makikita ang tunay na katauhan. Ang mga pelikulang ginampanan niya, makikita mo ang mga katauhan, hindi mo makikita si Vilma Santos kundi ang mga babae kanyang buong tapang na isinalarawan sa puting telon. Kapag pagarte ang pag-uusapan, ano ba ang kaibahan ng isang Vilma Santos. Ang sagot: siya ay isang orihinal. Hindi siya isang kahawig lamang ng ibang artista. Makikita sa kanyang buongbugong pagganap. Magmula sa kanyang likuran, tuktok, paa, kamay, mukha, luha at mga salita, ang makikitang gumaganap ay ang kanyang buong katauhan. Sa ilang dekadang ibinigay niya sa ating mga tagasubaybay, eto ang ilang markang Vilma Santos na hindi makikita sa iba o kung Makita man ay pilit na tinutularan.
Kamay sa mukha habang umiiyak – Ilang beses nang pinagbawalan ng mga direktor ang habituwal na kamay ni Vilma na madalas makita sa kanyang mukha habang umiiyak. Magmula kay Lino Brokha, pilit nilang inaalis ang markang Vilma Santos na ito. Pero ang katotohanan, kapag umiiyak ang isang ordinaryong tao, mapapansin na ang ating mga kamay ay laging napupun a sa ating mukha upang magkaroon ng kaunting kontrol sa anumang pinagdadalamhati natin. Natural na habitwal ng isang ordinaryong tao. Ito marahil ay pagpapatunay lamang na kuhang kuha ni Vilma ang tunay na gawi at kilos ng isang ordinaryong tao na umiiyak. Magmula kay Julia Roberts hanggang kay Natali Portman ang markang kamay ni Vilma sa pagiyak ay makikita sa mga banyagang pelikula. Sa ating lokal na pelikula, magmula kay Sharon Cuneta hanggang kay Claudine Barreto o Judy Ann Santos, makikita na mayroong kahawig sa kanilang pagiyak sa mga pelikula kung saan ang kanilang mga kamay ay makikitang humahaplos sa kanilang mga mukha?t mata habang dumadaloy ang mga luha. Maling mali ang mga kritiko nuong panahon nila Broka at Bernal kung ganoon. Ang markang kamay sa mukha habang umiiyak ni Vilma ay hindi distraksyon sa pagganap kundi isang patunay ng tunay na gawi ng isang ordinaryong tao habang umiiyak. Makikita sa pagarte ni Nora Aunor sa “Ina Ka Ng Anak Mo” kung saan nakapokos ang kamera sa kanyang mukha (sa kanyang mga mata) habang nag-e-emote nang mahuli nito ang pagtataksil ng kanyang asawa at ng kanyang ina. Makikitang umiiyak ito sa harap ng kamera. Ito ay isang arte na hindi makatotohanan. Kung nangyari ito sa tutoong buhay marahil ang mga sandaling pageemote ay makikitang sinasabunutan nito ang inang walang kahihiyan at malaking away ang magaganap. Sa halip iniksployt ni Brokha ang mga mata ni Nora dahil nga ang usapan nuon ay magaling ang mata ni Nora, yun lang at tama na. Ang naging bunga naman nitoy hindi makatototohan at hindi hango sa tunay na buhay na paglalarawan ng isang babaeng pinagtaksilan. Kung pag-aaralan nating buong buo, makikitang ang mga kamay sa mukha habang umiiyak ni Vilma ay mas epektibong paglalarawan ng tunay ng nagdadalamhating ordinaryong tao kaysa sa ipinopokus na mga mata ni Nora. Ito marahil ang dahilan kung bakit hanggang ngayon ay makikita sa mga pelikula, lokal o banyaga ang markang Vilma na ito at wala kang makikitang pelikulang lokal man o banyaga na nagpopokus lamang sa mga mata habang umiiyak dahil itoy hindi epektibong at hindi makatotohanang pagganap.
Mga kilo-kilometrong linya at tono – Kung hindi man magaling kumanta si Vilma, binawi niya ito sa kanyang orihinal na talento sa pagbibitaw ng kilo-kilometong linya at sa iba’t ibang tono ng pagbibitaw at pagbibigkas ng mag linyang ito. Bago pa man nauso ang mahahabang linya sa mga pelikulang The English Patient at Magkapatid, pina-uso na ito ni Vilma. Magmula sa eksena ni Chato sa Burlesk Queen kung saan kinakausap niya ang patay niyang tatay sa ospital hanggang sa konprontasyon ni Josie sa suwail na anak na ginampanan ni Claudine Baretto, milya milyang linya ang binitawan ni Vilma. Kung pagdudugtungin lahat ng mga linya niya parang lubid, marahil aabot ito sa buong mundo papunta at pabalik. At hindi lamang basta bastang linya kundi mga linyang tumatanim sa iyong utak. Magmula sa linyang “Ding ang Bato Dali!” hanggang sa “para kang karinderyang bukas sa lahat ng gustong kumain”…at sa “Katarungan para kay Ka Dencio”…at sa “kung hindi mo kayang respetohin ako bilang isang ina…respetohin mo ako bilang isang tao!” Maalala mo itong mga linyang ito kapag narinig mo ang pangalang Vilma Santos. At hindi mo ito basta basta makakalimutan dahil sa bawat salita nito’y may katumbas na kakaibang tunog, diin at lalim ng kahulugan. Hindi nga ba’t hindi natin malilimutan ang halos pabulong niyang mga linya sa may tabing dagat sa “Pahiram ng Isang Umaga” kung saan binitawan niya ang mga linyang…”ang sarap mabuhay…” o ang matalim na pagtatanong niya sa ospital sa Dulzura ng mga linyang “…Bakit diyos ka ba? Sino Ka ba? Ikaw ba ang nagbigay buhay sa akin? Sino ka ba?!” Kung kaya ang bawat magsasabi ng mga linyang ito, ay pumapailalim sa kakaibang karakter. Kung ibang artista lamang ang bumigkas o nagbitiw ng mga linyang ito, marahil ay hindi magiging epektibo at hindi matatanim sa mga ordinaryong tao. Hindi nga ba’t ilang dekada na ang dumaan ngunit nanatili pa rin sa ating mga alaala ang mga linyang binitiwan ni Vilma sa mga pelikulang Sister Stella L, Pahiram ng Isang Umaga, Gaano Kadalas Ang Minsan, Sinasamba Kita, Muling Buksan Ang Puso, Anak at marami pang iba na kung ililista natin ay kulang pa ang isang pahina? Tatak Vilma Santos, ang pagbibitaw ng kilo-kilometrong linya na may lalim at galling, may puso at tapang.
Mataray na Karakter – Nag-umpisa marahil sa pag-iiba ng karakter bilang hindi laging martir sa pagganap si Carmen Rosales ngunit ang nagpauso nito sa mga hindi makakalimutang komersiyal na pelikulang lokal ay walang iba kundi si Vilma Santos. Siya ang nagpa-uso o nagpasikat ng mga bida/kontrabidang papel. Bago pa man ginawa ni Demi More sa “Disclosure” o nitong huli si Meryl Streep sa “The Devil Wears Prada” ginawa na niya ito sa mga pelikulang “Sinasamba Kita,” “Hahamakin Lahat” at sa iba pang pelikula kung saan ang bida ay hindi pa-martir habang inaapi ng mga kontrabidang walang ginawa kundi magsisigaw o manakit. Kung iisipin marahil kung sinuman ang sumulat ng pelikula ni Meryl Streep (the Devil wears Prada) ay isang Vilmanian o napanood ang pelikula ni Ate Vi na Sinasamba Kita. Ang karakter ni Meryl sa pelikula ay isang “cold-low-tone-bitch” ganitong ganito kung magsalita at umarte si Vilma sa Sinasamba Kita. Kung tinaray tarayan ni Meryl si Anne Hathaway sa kanyang pananamit, ganuon rin si Vilma sa pa nanamit ni Lorna. Sa tono ng pagsasalita ni Meryl na monotone at talangang mararamdaman mo ang bichy attitude nito, ganito rin ang mararamdaman mo sa pelikula ni Vilma. Kung iisipin ang pagganap ni Vilma sa maraming pelikulang naglalarawan sa iba’t ibang klase ng babae sa lipunan ay nagpabago sa kaisipan ng marami. Naunawaan natin ang kalagayan ng mga kabit lang na babae sa mga pelikula ni Vilma. Naunawaan natin na hindi perpekto ang buhay ng mga mayayamang babae. Ginampanan ni Vilma ang mga papel na matataray, mayaman, sosyal na mga babae pero sa likod nito’y pareho lamang ang nais nila tulad ng mga ordinaryong mahirap na mga babae. Ito ay ang mainitindihan sila’t mahalin. Kung iisipin sa ilang dekadang ibinigay sa atin ni Vilma hindi natin masasabing iisang papel or karakter lamang ang binigay niya sa mga pelikula niya. Kung ang kakontemporaryo niya, masasabing halos lahat ng pelikula’y naging pa-martir at laging api, si Vilma’y kasalungat o higit pa rito ang nagampanan. Iba’t ibang putahe ngunit hindi api-apihan kundi ang karakter ng isang taong lumalaban sa buhay, isang mataray, isang bida/contrabida, markang Vilma. Kung ang kamay sa mukha habang umiiyak, kilo-kilometrong linya at mataray na karakter ay mga tunay na markang Vilmang-Vilma, marami pang maidadagdag natin sa mga unang nabanggit ko. Sa loob ng apat na dekada patuloy ngayon sa bagong milenyo, pumapaindayog pa rin ang orihinal at kakaibang uri ng pag-arte ng isang Vilma Santos.
Gripo – Sinabi ni Binibining Boots Anson Roa sa isang artikulo na kakaiba ang isang Vilma Santos dahil kakayahan niyang magkaroon ng iba’t ibang klase ng luha. Sinabi ng beteranang aktress na kapag umiyak si Vilma’y mayroong pumapatak lang ang luha, mayroong tuloytuloy ng pagpatak ng luha at mayroong parang gripo. Ito ay kusang nagagawa ni Vilma dahil sa kanyang malalim na talento sa pagganap. Matatandaan na magmula pa sa murang edad na siyam ay taglay na ni Vilma ang kakayahan sa pag-iyak ngunit paano niya ito nanantili ay ang tanong. Marahil sa mga malulungkot niyang karanasan hinihigop niya ang mga eksenang nangangailangan ng iba’t ibang klase ng pag-iyak. Kung sinasabi nila na laging kontrolado ang pag-arte ng mahigpit niyang kalaban dahil sa mga mata nito’y ang sagot naman ng mga taga-subaybay ni Vilma’y ang kontroladong kakayahan nito sa iba’t ibang klase ng pag-iyak. Kung ikukumpara mo ang pag-iyak ni Nora sa Naglalayag at ang mga eksena ni Vilma sa Mano Po 3, makikita ang katotohanang ang pag-iyak ni Nora na pawang ngumangawa’t naglulupasay ay taliwas sa iwinawagayway na argumento ng kanyang mga tagasubaybay na ang pagarte nito’y laging kontrolado. Samantala sa maraming eksena ni Vilma na umiiyak sa Mano Po 3, makikita ang iba’t ibang klaseng pag-iyak. Nariyan ang untiunting tumutulo ang luha sa eksena sa ospital kung saan namatay si Jay Manalo, ang eksena sa simbahan kung saan ang luha ni Vilma’y kusang umaagos habang dinarasal nito na tulungan siya sa kanyang magiging desisyon. Ang halos bumagsak na luha habang sinasabi niya sa kanyang anak na babae nang lisanin siya sa hapag kainan: “aalis ka rin ba katulad nila?…iyan ang storya ng buhay ko…” Hanggang sa eksenang nagmamakaawa siya dahil sa pagkabaril ni Jay, umaagos ang luha niya, parang gripo ngunit may kontrol at alam mo na may katapusan ang pag-iyak. Marahil iisipin ng marami ng kaya rin ng mga kalaban ni Vilma sa pagganap ang iba’t ibang klaseng pag-iyak na ito. Ngunit mananatiling kulang pa rin ito sa mga sangkap na kaya lang ibigay ng isang Vilma Santos. Ang iba’t ibang klase ng pag-iyak kasabay ng epektibong pagbibigay ng malalim na bigkas sa mga kilokilometrong linya kasabay ng pisikal na galaw at pag-aaral ng papel (mataray, pa-martir o palaban), ito ang mga tatak o markang Vilma na hindi kailanman matutumbasan ng kahit na sinong artista, kasama na riyan ang mahigpit niyang karibal, si Nora Aunor.
Istilo sa pananamit – Sinasabi nila na ang tamang damit o kustom ng mga papel na ginagampanan ng isang artista ay nakakatulong sa epektibong pagganap. Ito marahil ang isa sa mga dahilan kung bakit ilang beses ko na sinabi na hindi epektibo ang pagganap ni Nora Aunor sa Naglalayag dahil sa ang isang mayamang hukom ay dapat lamang na magsuot ng mga tamang damit, ang isang eksena kung saan ito ay dapat nakasuot ng damit pampaligo sa sariling “swimming pool” ngunit nakasuot lang ito ng t-shirt. Ang kustom ni Nora sa Super Gee marahil ang dahilan kung bakit sumemplang ito sa takilya samantalang ang mga kustom ni Vilma sa Darna, Wonder Vi at maging sa Dyesebel at Kampanerang Kuba ay nakatulong lahat upang magampanan ni Vilma ang mga komersyal na papel na ito na epektibo’t naging patok sa takilya. Kung ang pagbabatayan ay ang mga damit na suot ng mga artista’y maraming mga pelikula kung saan nakatulong ang tamang istilo sa mga matatagumpay na pelikula ni Vilma. Sa mga papel na ito binigyan ni Vilma ang kanyang manonood ng iba’t ibang klase ng istilo sa pananamit. Sa Burlesk Queen hindi lamang ang makikinang na seksing damit ng isang mananayaw kundi ibang klaseng istilo kung saan makikita sa maraming eksena na naka-“short-sleeve-polo-shirt” siya na halatang panglalaki at nakatupi ang laylayan ng sleeve. Isang senyales ng pagka-peminista ng papel na ito. Kasabay pa nito ang maikling buhok ni Vilma na may mahabang patilya. Sinadya ba ito o talagang ito ay isang hudyat ng liberasyon ni Vilma bilang isang modernong pilipina na patapos na ang dekada 70? Istilong Vilma, epektibong panglahok sa epektibong pagganap. Sa dekada 70 pa rin binigyan niya tayo ng magagandang istilo sa pananamit na makikita sa mga papel niyang ginampanan tulad ng mga damit niya sa Rubia Servious, Nag-aapoy na Damdamin, Ikaw Ay Akin at marami pang iba. Natatandaan n’yo ba ang damit ni Vilma nang gabi ng parangal, nuong Rubia bersus Atsay? Napakaganda ni Vilma. Makikita ang kakaibang pananamit na nagsasabing “to hell to all of you”, malaya akong gagawin ang sa tingin ko’y nabubuti sa akin. Malaya sa pag-iisip at ito ay makikita sa mga aksesorya niya tulad ng mga perlas na hikaw at mahahabang kwintas. Ang pagpasok ng dekada 80 ay naghudyat na panibagong Vilma Santos. Ginamit niya ang makabagong pananamit sa maraming makukulay, matitingkad na komersiyal ng pelikula niya sa Viva at Regal. Kung konserbatibo ang mga damit niya sa “Gaano Kadalas Ang Minsan,” kabaligtaran naman ang mga damit niya sa “Sinasamba Kita.” Sa dekada ring ito’y naghudyat ang maraming papel na nangangailangan ng ibang klaseng istilo sa pananamit. Katulad ng mga damit niya sa Baby Tsina. Mahusay na isinuot niya ang maraming “mini skirt” bilang patunay na ito ang uso ng panahong iyon. Samantala’y narumihan ang puting damit niyang sinuot habang nakikibaka sa pelikulang Sister Stella L. Sinong makakalimot sa puting “night gown” niya sa tabing dagat sa eksenang kasama si Eric Quizon sa Pahiram Ng Isang Umaga. Hindi rin natin malilimutan ang mga “power suit”, mga pasosyal niyang damit at mga high heels niya sa “Sinungaling Mong Puso.” Hindi lang naman puro mga magagandang damit ang ibigay niya sa atin. Makikita rin siya sa ordinaryong “daster” na pambahay sa Relasyon o nitong huli bilang katulong na nagtratrabaho sa Hongkong sa pelikulang Anak. At isa rin sa mga dahilan kung bakit ko pina-ulitulit na sabihing ang pagganap ni Vilma sa Mano Po 3 ay mas epektibo dahil sa mga pananamit pa lamang makikita natin na ang napapanood natin sa telon ay hindi si Vilma kundi si Lilian Cheong Yang. Ito’y makikita sa tamang pananamit at istilo na ankop na pinag-aralan at hindi basta basta ipinagpaliban lamang. Ang isang Vilma Santos ay nagiisip ng tamang istilo ng pananamit upang maging epektibo ang paglalarawan ng mga papel sa telon. Ito ay isa sa tatak Vilma na hindi matu tularan ng iba.
Klase ng pag-arte – Merong iba’t ibang klase ng pag-arte. Nuong dekada 70, pinagbasihan ang mga klaseng kontroladong pagarte bersus pisikal na pagarte. Sinabi nila na si Nora Aunor at Lolita Rodriguez ang magkahawig dahil sa kanilang kontroladong pag-arte samantala si Vilma Santos at Charito Solis ang magkasama dahil sa kanilang pisikal na pagarte. Alin sa dalawang uri ng pagarte ang makakatotohanan at hango sa tunay na buhay? Depende kung sino ang tatanungin mo. Unang-una, kung ang pagbabasihan ay ang “longevity” at tagumpay sa kani-kanilang karir. Masasabing pawang mahina or tuluyang nawala na ang kinang ng karir ni Nora at Lolita. Samantala’y aktibo pa rin si Charito bago pa man ito sumakabilang buhay at tatanungin pa ba natin ang lagay ng karir ng isang Vilma Santos? Hanggang ngayon siya lamang ang nag-iisang nakatayong reyna na nanggaling sa dekada 70. Balikan natin ang ating tanong, alin sa dalawang uri ng pagarte ang mas epektibo? Nuong panahon nila Lino Brocka, madalas nilang sabihin na ang tahimik at kontroladong pag-arte ay mas epektibo ngunit hindi n’yo ba napupuna na hanggang sa bandang huli halimbawa sa huling pelikula ni Nora Aunor sa Naglalayag ay taliwas ang ginawang pagarte nito? Ang ibig kong sabihin naiba ang klase ng pagarte niya’t parang ginaya niya ang pagka-pisikal na pagarte. Sino ang hindi mababaliw sa parang may epelepsi niyang pag-iika-ika, pag-ngingisay-ngisay at pagbubunganga sa sinasabi nilang eksena sa burolan sa Naglalayag. Minsan pang iniksployt ng direktor ang sinasabi nilang galing ni Nora Aunor ngunit sa ganang akin, ang naging resulta ay maliwanag na “uma-arte” si Nora at walang makikitang kahit isang katiting na natural na pag-arte. Ang pisikal na pag-arte ni Vilma ay kakaiba. Hindi ito lutong-luto kung baga sa pagkain. Halimbawa, nang malaman niyang pinatay ang anak niya sa Dekada 70. Hindi siya nagngangawa at nagsalita ng kung ano-anong pagmumura o anumang salita sa halip hinimatay siya. Sa iba isang kakulangan ito. Sasabihing anong klaseng pag-arte ito? Pero sa tutoong buhay, ito ang talagang mas epektibong paglalarawang kung paano mo makakayanang malamang ang sarili mong anak ay pinaslang.
Isa pang halimbawa ng pisikal na pag-arte ni Vilma na epektibo ay ang eksenang nagbabati siya ng itlog siya sa Pahiram ng Isang umaga, kaka-alam lang niya na may sakit siyang kanser at unti-unting pumapasok sa kanyang kaisipan na mayroong posibilidad na mamatay siya ng maaga. Ipinapakita sa eksenang ang bigat ng kanyang dinadala. Hindi lamang ang mga huling pelikula ni Vilma ipinakita niya ang kakaibang pisikal na pag-arte na hindi lutong-luto kundi tamang-tama lang ang timpla. Halimbawa, habang gumagapang siya sa lupa pagkatapos pagsamantalahan ni Philip Salvador sa Rubia Servious. Paano mo ipapakita ang sakit ng katawang inabot niya sa sadistang si Philip? Makikita sa kanyang mukha ang hapdi hindi lang na inabot niya sa katawan kundi ang bangis ng ruming ibinigay ni Philip sa kanyang isip at puso. Hindi na siya malinis at kitang kita sa kanyang mga mata. Sa bandang huli makikita ang puot sa kanyang mukha habang pinapalo niya ng sagwan ang manggagahasang si Philip. Pagpupunyagi ang madarama mo, “sige patayin mo ang hayup na iyan!” ang paulit-ulit kong binibigkas sa eksenang ito. Kung ibinansag ng mga grupo na ang klase ng pag-arte ni Vilma’s pisikal, aking sinasabing hindi ito tutoo. Ang katotohanan ay ang pagarte ni Vilma’y kumbinasyon ng dalawang klase. At ito ang dahilan kung bakit naiiba ang markang Vilmang klase ng pag-arte. Halimbawa, sa Dekada 70, maraming eksena ang tahimik lamang at kontrolado ang pag-arte niya. Nang makita niya ang anak niya sa detensyon na puro pasa at iika-ika dahil sa “torture” na sinapit nito, makikitang tumayo lamang ito sa kinaka-upuan at yinakap ang anak habang umiiyak ito. Ang eksena sa kuwarto habang yakap yakap nito ang damit ng namatay na anak. Ngunit nang mamulat na siya sa konsepto na kailangang kumilos siya upang maging makabuluhan ang kanyang lagay bilang tao sa lipunan, nagsimula na siyang magsalita, magbigay ng opinyon sa mundo ng mga lalaki. Unti-unting nakikita ang pisikal niyang pag-arte. Pisikal na tamang-tama lang. Hindi niya kailangang mag-ngingisay-ngisay at magwala katulad ni Nora sa Naglalayag upang masabing umaarte siya. Hindi mo na kailangang maging isang kritiko Santos. Ito ay kumbinasyon na maraming klase na natutunan niya sa iba’t ibang direktor. Makikita mo na hindi mawawala ang pagka-pisikal niyang pag-arte at makikita mo rin ang mga tahimik na eksena.
Anong bago – Sa hinaba-haba ng mga pelikulang ibinigay niya sa kanyang mga taga-subaybay, ang laging tanong ng mga manunulat ay “Anong bago sa pelikulang ito?” Iyan marahil ang isa sa mga unang katanungan kung paano tinatanggap ni Vilma ang kanyang mga proyekto. Kung susumahin, naranasan ni Vilma ang gumawa ng sampu samperang pelikula nuong dekada 70. Nariyang kumanta siya’t sumayaw makipagsabayan sa kanyang mahigpit na kalaban at ito marahil ay ang naging daan kung bakit nalagpasan niya ang lahat ng mga kasabay niyang artista. Ang isa pang sangkap ng tagumpay ni Vilma ay ang pagyakap niya sa mga pagbabago. Nang hindi na uso ang mga musikal na mga pelikula naging matapang ito sa pagtanggap ng iba’t ibang klaseng pelikula. Nariyan ang mga pelikulang kakatakutan, mga pantasya’t kakatawanan. Nariyang maging serena siya, tinderang tsismosa, anak ng aswang o maging isang malditang anak. Buong tapang niyang ginampanan ang iba’t ibang klaseng papel na sumasagot sa katanungan, anong kakaibang aliw ang maibibigay ko sa aking mga taga-subaybay. Sa mga kasabay niya’t karibal, otsenta porsiyento na ang mga naging pelikula’y halos pare-pareho. Katulad ng mga pelikula ni Nora Aunor. Naging sagabal sa kanyang pag-unlad ang hindi nito pagtanggap ng matatapang na papel. Laging pa-martir at api-apihan ang mga papel na ginampanan nito. Walang pagbabago kasabay ng hindi nito pagtanggap ng katotohanang ang pag-arte ay patuloy na pag-aaral. At hindi palaging sa bawat pelikula’y kailangang ifokos ang “over-rated” niyang mga mata. Ang isang markang Vilma na hindi maitatanggi maging ng kanyang mga kalaban ay ang laging sariwang pananaw nito sa mga proyektong kanyang ginagawa. Kung kaya naman halos lahat ng pelikulang ginawa niya ay naging matagumpay sa takilya. Dahil sa laging mayroong bagong makikita ang mga manonood. Dahil ibang “aliw” ang kanilang malalasap. Ang mga markang Vilmang-Vilma: kamay sa mukha habang umiiyak, kilo-kilometrong linya, mga makukulay na karakter sa pagganap, Iba’t ibang klase ng pag-iyak, iba’t ibang istilo ng pananamit, Iba’t ibang kumbinasyon ng klase ng pag-arte at ang maaasahang bagong sangkap ng pelikula. Eto ang mga dahilan kung bakit orihinal sa pag-arte ang taglay ni Vilma Santos. Sa buong tapang niyang sinagupa ang mga kalaban, sa halos maglilimang dekada niya sa larangan ng pagganap, nag-iisa lamang siyang natitirang nakatayo sa itaas. Nag-iisang pagpupugay sa lahat ng mga taong sumubaybay sa kanyang kasikatan mula sa Trudis Liit hanggang sa Regalo. Buong pagpapakumbaba niyang pinahahalagahan ang mga taong tumulong sa kanya upang hubugin ang kakayahan niya sa pagganap. Kung bibigyan laman ako ng kapangyarihan upang magdagdag ng salita sa diksyunaryo, aking isasama ang salitang “Vilma.” Ang salitang Vilma na ibig sabihin ito ay “orihinal sa pag-arte,” natatanging katauhan ng isang mahusay na alagad ng sining. Katulad ng ginawa nila kay Imelda Marcos (ang salita “Imeldific”). Tunay, ka, ang isang Vilma Santos ay nag-iisa. Isang orihinal na kayamanan na hindi matutumbasan ng kahit na sinong artista nuon at ngayon. – RV, V Magazine Issue Nos 10 (READ MORE)
Gawad Plaridel – The University of the Philippines (UP) College of Mass Communica-tion (CMC) is pleased to announce the recipient of the 2012 UP Gawad Plaridel in the person of Florence Danon Gayda, better known as Rosa Rosal. Rosal was chosen for her outstanding contributions to the broadcasting industry, particularly in the field of television. An accomplished film and television actress whose career spans six decades. Rosal is best known for her tireless work with the Philippine Red Cross serving as a volunteer-member for its blood program in the 1950s and later elected to its Board of Governors in 1965. She has been in the board up to the present. Her committed philanthropic work led to her receiving the 1999 Ramon Magsaysay Award for Public Service. The UP CMC is honoring Rosal with the 2012 Gawad Plaridel for her contribution to the Philippine television industry, particularly in affecting media for public service. Rosal utilized her popularity and successfully employed television to benefit the less fortunate without fanfare and sensationalism. Her public service program has set the standard for genuine public service in the television industry. Ms. Rosal’s unquestionable integrity, unceasing and genuine volunteerism, and tireless humanitarian work and advocacy epitomize the value that other public persons have forgotten or taken for granted.
The Gawad Plaridel award comes with a trophy specially designed by National Artist, Dean Napoleon Abueva, which will be awarded to Ms. Rosal by UP president Alfredo Pascual and UP Diliman chancellor Caesar Saloma in ceremonies on July 31 at 2 p.m. at the UP Film Institute Film Center’s Cine Adarna. Ms. Rosal will deliver a lecture on using television for public service and humanitarian work during the ceremonies. Established by the UP CMC, the annual UP Gawad Plaridel recognizes Filipino media practitioners who have excelled in any of the media (print, radio, film, and television) and have performed with the highest level of professional integrity in the interest of public service. Its roster of honorees include Eugenia Duran-Apostol (2004), Vilma Santos (2005), Fidela “Tiya Dely” Magpayo (2006), Cecilia “Cheche” Lazaro (2007), Pachico Seares (2008), Kidlat Tahimik (2009) and Eloisa “Lola Sela” Canlas (2011). – Tribune, June 22 2012 (READ MORE)
“…In an interview with ABS-CBN News, Rosal said she is truly grateful to be given the award because all she really wanted was to be of help to other people. “Noon ang gusto ko lang makakuha ng maraming dugo at pera para sa Red Cross. Iyan ang aking pangarap sa buhay. I hope the government would have a steady income for the blood donors,” she said. “Hindi ko na kailangan ng title. Ang importante sa akin, anong maitutulong natin sa bayan kagaya ng blood donation,” she added. Rosal also said she is hoping her legacy will live on even when she passes away. “The Lord can take me home anytime… sana kahit mamatay na ako, may mga magpapatuloy nitong legacy na iniwanan ko. I have no regrets in my life. I have so much blessings. Sana may mga kabataan na artista na susunod sa yapak ko,” she said. During the awarding ceremony held in UP, Rosal received her trophy, which was designed by National Artist Napoleon V. Abueva. It was awarded to her by UP president Alfredo E. Pascual and UP Diliman chancellor Caesar A. Saloma. Last year, the award was given to Eloisa C. Canlas (a.k.a. Lola Sela) for her outstanding contributions in the field of radio…” – ABS-CBN News, Jul 31 2012 (READ MORE)
Red Cross – “…She now wears braces to hold her body (I’m afraid that she’s getting frailer and frailer) and her knees got all worn out from soliciting contributions for the Red Cross. Do you think she is charging any government agency to reimburse her for her medical bills? That is after giving all her life to charity — and after being there in the middle of a calamity (typhoons, earthquakes, name it) or even those EDSA revolutions. That was the only headache she gave her late mother, who had always feared for Rosa Rosal’s safety during these emergency cases and crises. Her mother and then, later, daughter Toni Rose Gayda, would always want her to just stay put at home when there was danger outside, but she would find a way to escape and her loved ones would just see her on TV riding an amphibian tank – like that time during the great flood that hit Central Luzon in 1972…” – Butch Francisco (READ MORE)
The Roles – “…Two memorable scenes in Filipino movies. Rosa Rosal, as the proverbial prostitute with a golden heart in Bert Avellana’s “Anak Dalita,” being confronted by a jealous Tony Santos. Avellana’s camera seamlessly tracking Tony Santos as he demands where Rosal had been and the near-frozen close-up of that pair of grief-stricken, haunting eyes of arguably the finest dramatic actress that has ever graced the local screen. In sharp contrast is the practically static camera work of Behn Cervantes as Rosal stands behind Roberto Arevalo, her hands on his shoulders as they both contemplate the inexorable unfolding of the doomed sugar plantation workers’ uprising in “Sakada.” Those heart-wrenching eyes again, seeing in the morrow a repetition in the son of the tragedy that has befallen the father…” – Sol Jose Vanzi (READ MORE)
Remarkable Legacy “…Rosa Rosal She may have made it to the top on a stack of villainess roles making life miserable for the leading lady but she made so many films for LVN Pictures and became extremely popular that no less than a fan magazine declared her the year’s top movie queen so early in her career. And today, Rosa Rosal will be the one member of entertainment who will leave a most remarkable legacy, not only as a performer, but as a humanitarian as well (after all, she is a Ramon Magsaysay awardee and recently voted Reader’s Digest’s Most Trusted). There is no greater way to be remembered than the option she took and this was to do charity work…” – Butch Francisco (READ MORE)
Five Days Bride – “…I was married for five days only,” she says bravely, with none of the sadness, much less bitterness, she has every right to still feel. “He looked like Clark Gable, this American-Polish man who was a very good pilot. His name was Walter Gayda. We met in Hong Kong. I had long black hair and a 22-inch waistline. After three months of courtship, we got married. I was 28, he was 15 years older.” If the name of the church was a portent of things to come, then the union was doomed from the start. They wed at the church of Our Lady of Sorrows. No invites were sent out, only phone calls were made. But Rosa Rosal was already a big star then and her celebrity ensured that the church was packed to the brim. She remembers a statue falling because of the crowd that had gathered. “It was a bad omen,” she says, shaking her head. When Walter Gayda saw the crowd, he turned to his very new bride and told her, “I will take you to Hawaii.” They honeymooned at the Bayview Hotel and flew out after one day. As the plane hovered over the landing strip in Hawaii they looked out their plane window, wondering why there were photographers waiting. For whom, the newlyweds wondered. As it turned out, the press people were looking out for her. This displeased Walter Gayda all over again, although his new bride had yet to find out just how much. As we talk, Tita Rose gives more random details of her very brief marriage. “The straw that broke the camel’s back was a TV guesting while we were there. I remember going back to the hotel after appearing on the show and he was very, very cold. I could not understand where that coldness was coming from. The next day, I woke up early. I looked for Walter because we were going to have breakfast together, or so I thought. His friend went up to me and said, “Rose, pack your bags. Don’t call him anymore, he has left you…” – Lucy Gomez (READ MORE)
On Vilma Santos – “…Si Vilma ang isa sa madalas magpadala ng tulong kapag may mga pangangailangan o project kami sa Red Cross at Damayan. Iilan lang ang katulad niya na kusang tumutulong na hindi na kailangan pang ipaalam sa publiko…” – Global Vilmanians (READ MORE)
Trivia
Aside from sharing the name “Rosa,” Gawad Plaridel Awardees, Rosa Rosal (2012) and Vilma Santos (2005) are Kapangpangans.
Both Rosa Rosal and Vilma Santos co-starred with the late Tony Santos Sr and earned critical success. Rosal for Biyaya ng Lupa and Santos for Sister Stella L.
In 2010, a survey proclaimed Rosa Rosal as the most trusted woman in the Philippines, not too far behind is Vilma Santos at number 17.
Even with her long years of public services, Vilma Santos admitted she’s still not as deserving as Dolphy and Rosa Rosal for the National Artist honors and suggested this honor be given to the two ahead of her.
Public servants, Rosa Rosal and Vilma Santos received a doctorate Degrees of Humanities honoris causa, Rosal from Far Eastern University (2005) and Santos from the University of Northeastern Philippines (2009) and the Lipa City Public College (2005).
Rosa Rosal is the mother of TV host Toni Rose Gayda while Vilma Santos is the mother of TV host Luis Manzano.
In 1993 Rosa Rosal appeared in TV drama series, Maala-ala Mo Kaya, entitled “Baby Picture.” Thirteen years after, Vilma Santos appeared in the same drama series. The episode was titled, “Regalo.”
In 1947, Rosa Rosal was cast opposite Leopoldo Salcedo in Kamagong (1947), her first film. In 1977, Vilma Santos was cast together with Leopoldo Salcedo in Burlesk Queen, her milestone career transformation.
Rosa Rosal recieved the FAMAS Best Actress in 1955 for Sonny Boy, while Vilma Santos received her first FAMAS Best Actress in 1972 for Dama de Noche.
In 1976, Rosa Rosal did Behn Cervantes’s Sakada, a socio-political film which was banned by the martial law government of President Ferdinand Marcos (It was shown finally in 2005). In 1984, Vilma Santos did Mike de Leon’s Sister Stella L, a socio-political film shot post-martial law and the ending era of the Marcos administration. Both Sakada and Sister Stella L are about labour unrest.
Rosa Rosal did “Balintataw,” a drama series on ABC-5 (now TV5) in the 1960’s and “Iyan ang Misis Ko,” a family-oriented sitcom with Ronald Remy in 1970’s. Also in the 70’s, Vilma Santos did “Dulambuhay ni Rosa Vilma” on ABS-CBN 2 and a several musical variety shows. Both artists, received Ading Fernando Lifetime Achievement Award for television body of work, Rosal in 2008 and Santos in 1998.
Florence Danon Gayda (born October 16, 1931), better known as Rosa Rosal, is a FAMAS award-winning Filipino film actress dubbed as the “original femme fatale of Philippine cinema”.[1][2] She is also known for her work with the Philippine National Red Cross. For her humanitarian activities, she received the 1999 Ramon Magsaysay Award for Public Service,[3] an award widely considered as Asia’s Nobel Prize.[4][5][6] She is the mother of TV host Toni Rose Gayda. – Wikipedia (READ MORE)
Gerald Anderson – “…Abala muna si Kim sa shooting ng horror film na The Healing, kung saan gumaganap siya bilang anak ng Star for All Seasons na si Vilma Santos. First time ni Kim na gumawa ng isang horror film kaya aminado siyang nahirapan. “Medyo mahirap lang kasi horror ‘tapos may mga effects-effects, kaya ayun, nakakapanibago,”sabi ni Kim nang makausap ng PEP.ph (Philippine Entertainment Portal) kahapon, March 11, pagkatapos ng ASAP 2012. Aminado si Kim na noong una ay medyo nahihiya siya sa mga eksena nila ni Ate Vi, pero ngayon ay wala na raw siyang ilang na nararamdaman dito. “Mabait naman kasi talaga siya, e,” pagtukoy niya sa Batangas governor. “‘Pag na-meet mo siya, close na kayo agad. Parang ganoon. Ganoon ang personality niya.” Si Chito Roño ang director ng The Healing. Kamusta namang katrabaho si Direk Chito? “Maayos naman siyang magdirek. Nakakatakot, pero at least, matututo ka,” sabi ni Kim…Kasi siyempre, two years na rin ang nakalipas. “Kaya ayun, kailangan na rin ng inspirasyon.” Ang ibig sabihin ni Kim dito ay dalawang taon na ang nakalipas mula nang mabalitang naghiwalay sila ni Gerald Anderson. Posible ba na si Xian na ang susunod niyang maging boyfriend? “Ay, ayoko namang sabihin kasi nakakahiya. Basta!…” – Rommel Placente (READ MORE)
Fuller and Gorgeous – “…Everyone gushes that pretty as she was, the new fuller Kim Chiu is now even more gorgeous. It all started with her role in the 2011 ABS-CBN television series My Binondo Girl where she likened her role to Disney’s Mulan. She had to appear stronger, fiercer. She was determined to gain weight and so she went to the gym. It was in the same show that the public warmed up on her team-up with Xian Lim, also a Star Magic talent. I invited myself to one of the photo shoots featuring the famous love team and they filled me in on how they keep fit. My daughter reminded me to tell Kim and Xian that I am one of the avid fans of their team-up. Endearing as they were on television, I walked out of the shoot liking them a lot more. Star Magic, now celebrating its 20th year in managing talents, has done a remarkable job not only in developing talents but also in nurturing great character. Kim was everything she was on TV – sweet, kind, friendly, charming, real, and funny. Her personal trainer Boyet Trinidad describes Kim as a model client. “She is very committed. She hits the gym thrice a week despite being extremely busy. She follows the exercise regimen without any complaint. She has gained pounds already, improved her cardio, strength, and has developed muscle endurance. She can now run 3k on the treadmill…” – Mylene Mendoza-Dayrit (READ MORE)
The Ultimate ‘It’ Girl – “…Kim looked exhausted from taping, but still agreed to do the photo shoot on a Sunday when she should have been resting. She arrived on time and smiled at everyone on the set, even to some fans. Kim showed energy posing for the camera, changing outfits, and sitting down for an interview…She considers having legions of fans, most of which are young girls, as a great blessing. Being famous, she is often allowed to cut into the front of the line or avail of a discount when she shops in stores. But in spite all these, Kim doesn’t see herself as a superstar. “I’m an actress,” as she prefers to be called…Kim confessed that when she has nothing else to do, she would splurge on shopping. She also revealed that when she chooses items, she doesn’t look at the price tag. Kim doesn’t have a stylist, so she relies on her own taste to come up with a look from head to toe. “I mix and match my own clothes. I like colorful dresses that are unique.” She admitted she feels uneasy if she doesn’t have lipstick in her purse. “Kahit maiwan na ang powder o ang concealer, basta huwag lang ang lipstick.”…Kim is constantly on her cellphone and the Internet to keep in touch with family and friends. “I ask them (older brothers) what they are having for dinner and what are they doing. For my friends, I invite them to join me at tapings to keep me company…” – Napoleon Quintos (READ MORE)
The Role – “…While filming the movie, there were moments wherein she felt intimidated by Vilma’s stature as an actress, which made it a bit difficult for her to deliver certain scenes. But Kim was grateful to Vilma because the latter encouraged her to stay focused in her role. “Sabi niya gawin mo dapat mong gawin sa isang eksena. Huwag mong sasayangin. Paulit-ulit niyang sinasabi na sayang yung eksena.” Vilma was equally very taken with Kim ever since they did a sample of a confrontation scene for Vilma: A Woman For All Seasons (a five-part TV special in 2009). In the meantime, Kim is gearing up for her newest soap Ina, Kapatid, Anak which also top-bills Maja Salvador, Xian Lim, and Enchong Dee. Aside from her easy camaraderie with fellow young stars, she is also excited to play Cherry Pie Picache’s daughter in the story. “It’s different dynamic. First time namin magkatrabaho ni Ms. Pie na mag-ina kami. Madaming beses na kaming nagkasama sa teleserye pero hindi siya yung kakampi ko. Yun ang isa sa mga dapat abangan ng viewers dito…” – Rachelle Siazon (READ MORE)
Kim Chiu (born Kimberly Sue Yap Chiu on April 19, 1990 in Tacloban/Chinese name: Zhang Jinzhu, Chinese characters, is a Filipino-Chinese actress. She lived in Cebu City before she went to Manila for Pinoy Big Brother. Chiu was the first winner of Pinoy Big Brother: Teen Edition and is currently part of ABS-CBN’s Star Magic contract artists. She is also a recording artist, having launched her only album entitled ‘Gwa Ai Di.’…Chiu is slated to do a horror film with Vilma Santos titled, The Healing and a reunion movie project with perrenial leading man, Anderson tentatively titled, For The Sake Of Love. Chiu will also be starring in a new upcoming drama entitled, Ina, Kapatid, Anak with Xian Lim, Maja Salvador and Enchong Dee and set to do a romantic-comedy movie with Xian Lim. – Wikipedia (READ MORE)
Kim Chiu and Vilma Santos
The Healing (2012) – “…Stories about the Filipino tradition of going to faith healers for guidance and treatment of ailments have not yet been tackled in-depth in movies. And in our film, the viewers will not just be horrified, they’ll somehow be challenged to think as to how faith healing has already been part of our culture…” – ABS-CBN News (READ MORE)
Challenging Roles – “…It’s “those eyes” that became Martin’s asset in fleshing out his roles that are more daring than those young stars like him would take the risk of doing, such as a teener raped by his own father, an autistic, a drug addict, a teenager who takes his father’s mistress as his lover to save their family and a gay sampaguita vendor, all in Charo Santos Concio’s long-running, top-rating 20-year-old ABS-CBN drama anthology Maalaala Mo Kaya (MMK). Martin was nominated for that gay role. Then, he won Best Supporting Actor for the indie Dagim, directed by Joaquin Valdez for Cinema One, not just once but twice, first in the Star Awards for Movies of the Philippines Movie Press Club (PMPC) and then from the Golden Screen Awards given by Enpress (Entertainment Press, the movie reporters’ breakaway group). In Dagim, Martin plays one of two brothers looking for their missing father until they end up with a tribe that turns out to be cannibals. “I love doing challenging roles, ‘yung mga off-beat,” said Martin whose father Robert del Rosario, and late uncle, Joey del Rosario, briefly did supporting roles (in Waywaya and Bagets) during their high school days at Aquinas in San Juan City. Martin has other showbiz relatives: Connie Sison is his aunt (Martin’s father’s youngest sister) and his mom, Maria Teresa Mangay, is the younger sister of Ces Quesada. After winding up work in the just-concluded ABS-CBN soap Minsan Lang Kita Iibigin (where he played Coco Martin’s rival for Andi Eigenmann), Martin is now cast in the reteam-up yet untitled movie (for Star Cinema) of Sarah Geronimo and Gerald. A Sagittarian (born Nov. 25, 1992), Martin stands 5’7.5”; weighs 130 lbs.; and wears small-size shirt, medium-size briefs and size-9.5 shoes….” – Ricardo F. Lo (READ MORE)
First Award – “…Sa ginanap na press conference kahapon, Abril 5, para sa endorsement niyang BNY Jeans, lubos pa rin ang pasasalamat ng 18-year-old actor sa natamong pagkilala sa kanyang kakayahan sa pag-arte. “Tuwang-tuwa ako kasi first time ko ‘yon na-receive. Unang acting award sa buhay ko ‘yon!” nakangiting sambit ni Martin…Pero parang nawala lahat ng hirap noong nalaman ko na nanalo ako ng Best Breakthrough Performance as an Actor. “Parang nakaka-inspire na ipagpatuloy, pagbutihan pa ‘yong mga ginagawa kong project.” Sa halip na kabahan sa mga susunod pang trabaho dahil sa nakuhang award, mas nagiging inspirasyon pa raw ito upang paghusayin pa ang kanyang kakayahan bilang aktor. Para kay Martin, “Siguro hindi ito pressure, but more on to inspire. As of now, medyo fresh pa ‘yong award na ‘yon, puro congratulations pa lang ang natatanggap ko. “Wala pang ‘dapat i-maintain,’ wala pang gano’n sa utak ko. Pero more than pressure, it’s an inspiration talaga…Aminado ang binatang artista na mahirap pagsabayin ang pag-aaral at trabaho. Gayunman, ginagawan niya ito ng paraan upang maiwasan ang sobrang pagod na dulot nito. Kuwento pa niya, “Kahit na pagod na pagod, wala akong magagawa. “Sina Mama pa, kunwari kahit makita na nilang hinang-hina ako, ‘Pasok ka sa school.”…Hangga’t maari, iniiwasan ni Martin na huminto muna sa pag-aaral upang maibigay ang kanyang buong atensiyon sa pag-arte. Aniya, “Basta ayaw ko totally na mawala ‘yong school. “Kasi, sabi ng ibang artista, nakakabobo raw kapag hindi ka na bumalik, tatamarin ka. “So, ako, kahit eight years pa akong nasa UP, basta masasabi kong nag-aaral ako…” – Nerisa Almo (READ MORE)
Dramatic Actor – “…Martin recalled his enthusiasm when he learned that he was working with his idol, Coco Martin. “Kasi before [our teleserye] nakita ko [na umarte] si Coco, ang galing na aktor talaga,” beamed Martin. “Grabe ang galing-galing niya.” Tinuturuan din nga niya ako eh. Kunwari sa scene sinasabi niya sa akin, ‘Huwag mag-monotone ‘pag character.’ ‘No, hindi mo character ‘yan dapat ganito ka.’” The 18-year-old actor continued that one more thing he admires about the versatile actor is his humility despite his stellar status. While he is flattered to be called the next Coco Martin, Martin pointed out that he prefers to carve out his own niche in showbiz. “Ayoko namang maging Coco Martin talaga. Siyempre gusto ko rin bago, although gusto ko rin makilala as a dramatic actor. Pero siyempre ayoko naman ‘yung parehong pareho, baka isipin, ay parang si Coco lang.” Martin has already bagged two awards for his portrayal in the indie film Dagim, the Breakthrough Performance by an Actor trophy from the Golden Screen Awards and New Movie Actor of the Year award from the PMPC Star Awards for Movies. Martin has yet to be paired with a leading lady and the closest he has gotten to that was when he played the third wheel in the Coco Martin-Andi Eigenmann love team in Minsan Lang Kita Iibigan. However, the young actor said he prefers to be teamed up with different leading ladies. He explained that apart from getting the chance to work with different actresses, this will also enhance his versatility as an actor. Given the chance, he would like to be teamed up with friends Jessy Mendiola and Julia Montes, whom Martin described as both pretty and good actresses…” – Bernie Franco (READ MORE)
Most Beautiful – “…Kabilang si Martin sa pinarangalan sa nakaraang 100 Most Beautiful Stars ng YES! magazine para sa Filmfest Stars category, along with Paulo Avelino, Rocco Nacino, and Edgar Allan Guzman. Aniya, “Second time ko na ito, last year nasama din ako. “Actually nakakatuwa, nakaka-flatter kasi iba ang category ko ngayon. “Kung before heartthrob, ngayon Filmfest Stars category. “I’m overwhelmed. Sobrang nakakatuwa kasi pinili pa rin nila ako. Nakaka-inspire lang…” – Melba Llanera (READ MORE)
Martin del Rosario (born November 25, 1992) is a Filipino actor. Martin del Rosario met Jun Reyes, his manager, on his way to Lourdes School of Quezon City, his highschool alma mater -in the summer of 2007. Reyes, who was in the area at that time to buy lechon for Gerald Anderson’s birthday, came to him and asked if he wanted to be an actor. He replied ‘No’ but Reyes left him a calling card and asked for his phone number. He gave Jun Reyes his mom’s phone number. He then went to ABS-CBN for acting workshops. After this, he was launched as one of the new talents launched of Star Magic on its 15th anniversary last May 2007. – Wikipedia (READ MORE)
Martin del Rosario and Vilma Santos
“…Tinanong namin ang aktor kung anong preparasyon ang ginawa niya para sa series. “Siguro studying the script, tapos magpapayat, magmukhang bata. Nag-gym ako, new hairstyle, pampa-bata.” Since may pagka-sexy nga ang tema ng “Pintada,” nangangahulugan kaya ito na handa na rin rumampa si Martin sa Cosmpolitan Bachelor Bash? “Okay naman sa akin kung rampa lang. Di pa ako nakaka-rampa, sa akin wala namang problema. Open ako to that,” aniya…Tinatapos ni Martin ang pelikulang The Healing ng Star Cinema kung saan makakasama niya sila Kim Chiu at Governor Vilma Santos. Nagbigay siya ng update sa pelikula. “Tapos na. Malapit na siyang ipalabas. Siyempre nakakatuwa kasi matagal-tagal naming shinoot yun. Since last year pa, magkakasamana kami. “Two weeks ago, natapos na kami. It’s a horror movie na talagang nakakatakot. “Halos lahat ng eksena ko kasama ko si Ate Vi. Sobrang bait niya. Tinuturuan niya ako sa bawat eksena,” ang sabi ni Martin. “Madalas ko ring kasama si Kim Chiu sa mga scenes. Masaya. Naging close na rin kami. Nakilala namin ang isa’t-isa kasi kapatid ko siya [sa pelikula]…” – Melba R. Llanera (READ MORE)
“…Pero ang mas ipinagmamalaki nga ni Martin ngayon ay ang pagkakataong ibinigay sa kanya ng Star Cinema para makatrabaho sa isang pelikula ang Star for All Seasons at Batangas Governor na si Vilma Santos-Recto. The Healing ang working title ng horror movie nila kung saan kasama rin sa cast si Kim Chiu. Anak ni Vilma ang papel na ginagampanan ni Martin. Nakapag-first shooting day na raw sila at kaeksena niya kaagad si Ate Vi. Ano naman ang pakiramdam na makatrabaho ang Star for All Seasons? “Natakot po ako nung una kasi kaeksena ko agad si Ms. Vilma. “Tapos may eksena po kami na hihilahin ko siya. Horror po kasi yung ginagawa namin e.” Ipinagmamalaki ba niya na kasama niya si Ate Vi sa pelikula? “Very proud kasi bihira namang makatrabaho ng mga artista si Ms. Vilma. “Ang alam ko po kasi matagal na rin siyang hindi gumagawa ng movie. Ngayon na lang po siya yata gumawa ulit. “Tapos kasama pa ako. Bumilib po talaga ako sa kanya. Magaling po siyang umarte.” Nakakausap ba niya si Ate Vi sa set? “Opo, napakabait po niya. Ang dami rin po naming pinagkukuwentuhan e…”Nagbibigay din po siya ng advice sa acting. One time nga nag-sorry ako sa kanya kasi hahatakin ko siya sa hagdan. “Sabi niya, ‘Hindi, okay lang. Dapat nga ganyan e…” – Glen P. Sibonga (READ MORE)
The Healing (2012) – “…Stories about the Filipino tradition of going to faith healers for guidance and treatment of ailments have not yet been tackled in-depth in movies. And in our film, the viewers will not just be horrified, they’ll somehow be challenged to think as to how faith healing has already been part of our culture…” – ABS-CBN News (READ MORE)
Rebuilding Relationship – “…There was never really an issue” between the two of them, Janice maintained, even when Charlene married Aga in 2001. “Siguro nagkakaron lang ng issue whenever it’s being talked about that way kahit wala naman talaga. “Seriously, it was okay. Ako kasi, ‘pag tapos na, ‘di ba, move on na… ‘Pag may kinasal, wala nang drama. Kasi ‘yun na, ‘pag naghiwalay kayo, naghiwalay na kayo. So dapat maisip mo na ‘yon na, ito na ‘yung mga posibleng mangyari. It’s really fine,” she said. The returning Kapamilya actress also encourages Luigi, who now has a family of his own, to “rebuild” his relationship both with Aga and Charlene. “I have no problems with that. I tell Luigi, ‘Go to your dad, go to your Tita Charlene. Always be there, because [it’s making up for] lost time. We’ve been together for a long time, I think it’s time you start rebuilding your relationship with your dad and with your Tita Charlene and with your brother (Andres) and sister (Atasha),’” she said…Aga and I have no problem. Whatever differences we may have had in the past, tapos na ‘yon. I guess we’re mature na rin. Diyos ko, matanda na kami eh. May mga apo na nga kaming dalawa, ‘di ba?” she said…” – Rowena Joy A. Sanchez (READ MORE)
Innate Sensitivity and Warmth – “…Interestingly enough, at this early stage, the most exceptional performance in “Budoy” is turned in, not by Anderson, but by Janice de Belen as his surrogate mother. The new drama series benefits greatly from having De Belen play her pivotal role, because the actress has the vast experience and innate sensitivity and warmth to make her scenes with Budoy moving and memorable. It’s instructive to note that De Belen played a TV waif for years (on “Flordeluna”), so she knows how those handkerchief teleseryes operate. But the quality and affective worth of her portrayal go beyond TV smarts-they’re more the result of her acute “emotional understanding” of her character’s own loneliness, thus her ability to feel for and with the “reject” she’s chosen to mother…” – Nestor U. Torre (READ MORE)
Floredeluna – “…Dahil sa TV soap opera na “Flordluna,” ang longest running at most popular TV soap opera sa buong Pilipinas sa kasalukuyan, nakilala si Janice ng masa. Hindi lamang siya nakilala kundi higit sa lahat, siya ay hinangaan at minahal. Si Janice bilng “Flordeluna” ay simbolo ng kabutihan sa makasalanang daigidig. Siya ay sagisag ng pag-asa hindi lamang sa mga kababaihan kundi higit sa lahat ay sa mga kabataan. Sa gitna ng cass materialism at kalupitan ng mga tao sa kanyang kapuwa, na siyang tema ng ibang mga soap operang paatuloy na nilalason ang isip ng masa at ng mga kabataaan, si “Flordeluna” ay isang mood. Isang pedestal na kumakatawan sa lahat ng bagay na mabuti at maganda. Ang sweet at immaculate image ni “Flordeluna” (bagama’t mayroon ding sumpong at kapintasan) na buong katapatang binibigyan ng buhay ni Janice sa loob ng halos tatlong taon ngayon ay isang hiyas. Isang brilyante sa lipunang pinapamayagpagan ng mga huwad. Ang kanyang pagiging matiisin at makatao ay siyang ikinikintal ng mga educators sa mga estudyante sa elementary at high school level. Ang kanyang mga positive values na winawasak ng ibang soap operas sa ngalang ng sensayonalismo at realismo (raw) upang sila’y panoorin ay kailangan-kailangan sa ating kasalukuang henerasyon. Si “Flordeluna” ay catalyst ng kabitihan, ng anumang bagay na mabuti at maganda. Ganyan si Janice…” – Fundador Soriano, Artista Magazine, September 17, 1981 (READ MORE)
Farmhouse – “…Hindi ba tatlong buwan pa lamang ang nakalilipas mula nang buong kadramahan niyang ipinahayag sa madla na she is quitting showbiz for good? Marami siyang pinahanga sa deklarasyon niyang iyon: na sawa na siya sa mga intriga, gusto naman niyang magbalik sa dati niyang buhay na normal, gusto niyang tumawa’t sumimangot kung kailan niya gustong tumawa’t sumimangot at hindi ‘yung lagi siyang nakangiti…sikat na sikat siya, she’s at the peak of her career, tapos, buong tatag ng loob na tatalikuran niya ang showbiz…Siguro ay pinili niyang maging isang mabuting anak at sundin ang payo na kanyang mga magulang (lalo na ng kanyang ama) na ipagpatuloy na lamang ang kanyang pag-aaral…Pero lahat ng mga iyan ay tubig na lamang na dumaan sa ilalim ng tulay sa ngayon. Paano’y biglang kumambiyo si Janice at nagbago ng kanyang pasiya. Tiyak na lahat ng mga humahanga sa kanya ay mata-turn off. At kahit itatwa pa niya, lalabas at lalabas na nanggi-gimmick lamang pala siya, na niloloko lamang niya tayo. Such a kid, mautak na pala sa ganitong klase ng panlilinlang! But ultimately, she might find out that the rug she pulled off was not from under our feet but hers. Ngayong nagdeklara na siyang babalik sa showbiz through a TV show in such a short time…”I want a farmhouse. This will cost so much so I’ll have to work hard to have money to buy it with. I will have a swimming pool in front, a stable of hourse in the back…” – Mario E. Bautista, Movie Flash Magazine, October 6, 1983 (READ MORE)
Her Karma – “…Janice started as a child newscaster in “Newswatch Junior Edition” and hit it big as a child star in “Flor de Luna”. At 18, she had son Luigi with Aga Muhlach. She later married John Estrada and they have four kids. It was not an easy ride for Janice as a mom. She admitted in “SIR” that Luigi got into drugs, sent into rehab and she was not in favor when he became a dad and got married at 22, but having his own family no doubt straightened out Luigi. We cannot blame him if he went astray as he comes from a dysfunctional family. He saw his mom having her own family and also his dad with his own family, and no matter what you say, he must’ve felt like an outsider hovering somewhere in between. Janice was honest enough to admit that her problems with Luigi must’ve been her karma for her own sins that made her parents cry when she got pregnant out of wedlock. “It was so hard for me as a parent na tanggaping hindi ko siya napalaki nang maayos. Kasi ‘pag single parent ka, ‘pag maayos ‘yung nangyayari sa anak mo, hindi mo naman nakukuha ‘yung credit nang solo eh. Pero ‘pag napariwara ‘yung anak mo, ikaw lang mag-isa ang may kasalanan niyan.” But somehow, it ended well for Luigi, who finished culinary arts and now has his own restaurant. He has given Janice two grandchildren so far….” – Mario Bautista (READ MORE)
Catherine Janice Yap de Belen or Janice de Belen is a Filipina actress, commercial model and television host who was a GMA Network contract artist. She returns back to ABS-CBN via Budoy. She is currently part of ABS-CBN contract actresses. She was born November 9, 1968 to Philip de Belen and the former Susan Yap. She has a younger sister Gelli who is also an actress. At the age of nine, she became a newscaster for the RPN 9’s Newswatch Junior Edition. She got her biggest break from the same channel when she got the lead role in the soap opera Flordeluna. Two years later, she entered the movies via her launch movie Mga Basang Sisiw. Janice is also credited as co-writer of Joey Albert’s smash hit It’s Over Now. – Wikipedia (READ MORE)
Janice de Belen and Vilma Santos
“…Ang nasabing pelikula ay ang The Healing, tungkol sa paniniwala ng ilan sa atin sa faith healers. Kuwento ni Janice, “It’s with Vilma Santos. Ang role ko rito ay friend of Vilma. Makakasama rin namin dito sina Kim Chiu, Pokwang, Mark Gil and Chris Villanueva, directed by Chito Roño.” Na-miss kaya niya ang paggawa ng mga ganitong klaseng pelikula? Tugon nito, “May mga indie ako, pero ‘yung mainstream film parang ngayon lang uli ako gagawa ng mainstream film.” Hindi naman daw ito ang unang pagkakataong makakasama niya ang Star for All Seasons, pero excited daw siya dahil si Ate Vi ang pangarap ng karamihan na makatrabaho kahit isang beses man lang sa kanilang mga career. Masayang sagot ni Janice, “I worked with her before ‘di ba? Dati may show siya ‘yung VIP, pagka mga holidays, meron silang parang nagda-drama sila, I worked with her there. “Iba ‘tong movie na ‘to saka many years after, sobrang many years after I think mga 20 years ago na ‘yun, so to work with Vilma now na parang napaka-exciting, ‘di ba? Oo, masabi ko man lang na nakatrabaho ko si Vilma Santos, si Ate Guy (Nora Aunor) nakatrabaho ko na siya. Gusto ko man lang once in my career masabi ko ‘yun…” – Arnel Serato (READ MORE)
The Healing (2012) – “…Stories about the Filipino tradition of going to faith healers for guidance and treatment of ailments have not yet been tackled in-depth in movies. And in our film, the viewers will not just be horrified, they’ll somehow be challenged to think as to how faith healing has already been part of our culture…” – ABS-CBN News (READ MORE)
Payaso (1986) – “…The 1986 Metro Manila Film Festival may have been the worst in the 12-year history of the annual 10-day festival of local films, but it set a precedent; it did not give out the traditional first and second best picture awards…Romy Vitug won the best cinematography award for Celso Ad Castillo’s Payaso and Chris Ad Castillo, the director’s son, ran away with the best supporting actor award…The unprecendented move, according to another juror, Nick Deocampo, was arrived at after a heated discussion. An insider said it was spearheaded by Deocampo and another juror, Justino Dormiendo of the Manunuri. In a prepared statement read by Cojuangco during ceremonies, the board of juror annouced: “We, the members of the Board of Jurors of the 1986 Metro Manila Film Festival, would like to express our concern over the current state of the Philippine movie industry as reflected in the entires to this year’s MMFF. It added that the entries “failed to reinforced and inculcate positive Filipino values by portraying negative stereotypes, imitating foreign films and perpetuating commercially-oriented movies…” – JC Nigado (READ MORE)
Reincarnation of Aruray – “…In 1998 while she was working in Abu Dhabi, Pokwang received the sad news that her son died of a congenital brain ailment. “Of course, I felt guilty na wala man lang ako sa tabi ng anak ko nang kailangang-kailangan niya ako,” admitted Pokwang, the wacky comedienne (suspected to be the “reincarnation” of Aruray) who in real life is a serious mother. She changed moods from sadly reflective to hilariously comedic. “Shin was made in the Philippines, pero assembled by a Japanese. I met his father here before I went to Japan. Magulo ang relasyon namin. Away kami nang away, nagbabatuhan kami ng kung anu-ano, nagsasakitan kami talaga, that’s why the baby inside me was badly affected. Kawawa naman siya. When the baby was born, kami ng ama niya nagbabatuhan kami ng crib.” Ria Mae was also sired by a Japanese whom Pokwang met in Japan where she worked as a dancer. “I never lived with my children’s fathers,” Pokwang said. “Nabuntis lang nila ako.” Still haunted by the death of Shin, Pokwang is over-protective of Ria. In the four-storey house that she has built in Antipolo City, Ria has her own room but she’d rather sleep with her mom — “Malambing siya because I’m always out of the house working and we seldom see each other.”…” – Ricardo F. Lo (READ MORE)
Komiks Character – “…The name Pokwang (given to her by a friend who got it from a Universal Komiks character) must have proven a lucky charm to the woman who was born to make people laugh. “According to my mother, I was so malikot inside her stomach that when I was born, nahulog ako sa sahig.” Her victory as the Clown in a Million has radically changed the life of Pokwang and that of her family. They used to live in a humble hut several minutes walk (they couldn’t afford to ride the tricycle, you know) from the highway but near the Hinulugang Taktak. That has drastically undergone an overall improvement. Pokwang doesn’t have to walk the distance now nor ride the tricycle. She now goes around in an Adventure bought on installment basis. “That’s why I have a lot to be thankful for this Christmas,” she said. “And I’ll start by giving orphans a merry Christmas…” – Ricardo F. Lo (READ MORE)
Hard Work – “…“It’s Pokwang’s time to shine. Nora Aunor made an OFW film, ‘The Flor Contemplacion Story,’ in 1995. Vilma Santos did ‘Anak’ in 2000. Eleven years later, Pokwang comes up with this. We want to update the stories of OFWs. A lot has happened including the 9/11 bombing that brought major changes.” In spite of favorable reactions from viewers abroad, Pokwang says she’s still nervous to know how the local audience would react to the film. “I kept thinking, people know me as a comedienne, so how would they respond to seeing me doing drama? It helps that I’ve done five episodes of ‘Maalaala Mo Kaya.’ I learned a lot from the experience,” she says. “Even though I gave this project my all, I’m still feeling the pressure.” Pokwang claims she is not expecting an acting award for her performance. “Our focus right now is to let the people know that a film like this exists. We want to open the eyes of OFW parents about the repercussions of leaving their kids alone at home. We also want to teach kids of OFWs to give importance to their parents’ hard work…” – Marinel R. Cruz (READ MORE)
Aruray ni Dolphy – “…Aruray pala ang binansag ni Mang Dolphy kay Pokwang. Ito ay ikinuwento ni Pokwang sa preskon ng The Healing kung saan si Governor Vilma Santos ang bida. Aru kung tawagin ni Mang Dolphy si Pokwang. Sino nga ba si Aruray? Siya po ang komedyante noong araw na matagal na ring namayapa. Kahawig nga ni Pokwang si Aruray pero siyempre mas maganda si Pokwang, in all fairness. Bumunghalit ng tawa si Governor Vi nang marinig ang kuwento ni Pokwang na binansagan siyang Aru ni Mang Dolphy. Hindi naman makapag-react si Kim Chiu dahil hindi niya kilala si Aruray. Hindi pa yata siya ipinanganak nang mamatay si Aruray…” – Joe Barrameda (READ MORE)
Pokwang Marietta Subong (born August 27, 1970), better known by the mononym Pokwang is a Filipina comedienne, actress, TV host, singer, impersonator and salon co-owner. She started in a reality show in ABS-CBN and subsequently appeared in dramas and sitcoms of the network. She also received the Best Comedy Actress award from the Philippine Movie Press Club for her portrayal in the sitcom Aalog-Alog and the Best Female Comedian award from People’s Choice Awards. She became a host of the variety show Wowowee,”Pilipinas Win na Win” and “Happy Yipee Yehey”. She is also known for impersonating actress Annabelle Rama, Dionisia Pacquiao (Manny Pacquiao’s mother), and Marlene Aguilar, the sister of singer Freddie Aguilar. Pokwang is a member of ABS CBN’s Star Magic group of entertainers. She is currently residing in Antipolo. – Wikipedia (READ MORE)
Pokwang and Vilma Santos
“…Nakaka-amaze siyang ka-trabaho (Vilma Santos). Madami kang matututunan hindi lang bilang artista kung hindi bilang tao,” Pokwang said. “Natutunan ko sa kanya ‘yung talagang magandang pinaghihirapan mo ang lahat ng bagay. At kita naman sa na-achieve niya. Alam mo napakagaan niyang ka-trabaho, ang sarap sarap. Tapos ang hilig pang magpakain. Makuwento din siya,’ yung mga masasayang nangyari sa buhay,” she added. Asked if she feels intimidated working with Santos, Pokwang replied: “Noong una. Pero ipaparamdam niyang kumportable siya kapag ka-eksena mo siya…” – ABS-CBN (READ MORE)
The Healing (2012) – “…Stories about the Filipino tradition of going to faith healers for guidance and treatment of ailments have not yet been tackled in-depth in movies. And in our film, the viewers will not just be horrified, they’ll somehow be challenged to think as to how faith healing has already been part of our culture…” – ABS-CBN News (READ MORE)
D’Lucky Ones (2006) – “…Then there’s the silly subplot where the two friends, while trying to search for Lucky Girl, somehow fall in with a handsome young man, and both of them are fighting each other for his attention. It’s clear that he has no romantic interest in either one, who are both old enough to be his mother, but he’s hanging around as a friend. The two mothers go to a bar and join in a dance contest to impress the young man. They make their two children look incredibly mature by comparison. There’s one intense scene between Lucky Girl and her mother where Lucky Girl learns that her South Korean father abused her mother, and all the inlaws hated her because she was Filipino rather than Korean. Many times they would not allow her stay in the house with her daughter, but she begged for food on the streets. Watching Vilma Santos movies was her escape from this reality. This may also make Lucky Girl rethink her preference for living in South Korea over The Philippines (she’d been planning to return to the only country she knew as home. Heck, she only knew how to speak Tagalog from her mother forcing her to watch Vilma Santos movies.) The ending is obvious. Send the Vilma Santos fans to a Vilma Santos reunion party and get Ate Vi (Older Sister Vi) to patch up the two friends. And then everybody gets to dance. Hey, it’s The Philippines…” – That Awesome TV (READ MORE)
Star For All Seasons 
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