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.
Star for All Seasons Vilma Santos proved that every woman could conquer whatever field she wants to pursue as long as she gives her heart and soul to it.
She’s so petite and yet so tall in all her accomplishments in life: as a loving and dedicated wife, a devoted mother to her two sons, a multi-awarded actress, a dedicated public servant and most especially a woman worth emulating. Indeed, Vilma Santos-Recto is also a woman for all seasons. She was able to cross the border of many boundaries in life, in her chosen profession as an actress and now as a public servant. “Gusto ko ang mga challenges sa buhay. Pag sinabi nila na hindi ko kaya, pinatutunayan kong mali sila (I love challenges in life. Whenever they underestimate my ability, I’ll prove to them that I can), ‘Vilma says when asked by Cito Beltran during the launching of Ponstan SF where she was launched as its official model endorser.
BEGINNINGS – Maria Rosa Vilma Tuazon Santos started as a child actress at the age of nine in Tudis Liit in 1963, the same movie that gave her first FAMAS best child actress award. The daughter of Milagros and the late Amado Santos, Vilma was seen by her mother as a real trooper. Mrs. Milagros recalls, “When she was still a little girl, I saw her ability to make it big someday.” Her mother, who was also present during the launching, was acknowledged by Vilma to have introduced her to Ponstan when she was just 21 years old. From Trudis Liit, Vilma transformed to be a lovely teen icon in the late ’60s until the ’70s with blockbuster movies like Lipad, Darna, Lipad, Dyesebel at ang Mahiwagang Kabibi, Kampanerang Kuba, among others.
WOMAN’S ROLES– With almost 200 films under her belt, Vilma is regarded as the longest reigning Box-Office Queen of Philippine Cinema. And among these films are critically acclaimed for tackling roles on various women’s issues. Burlesk Queen was one of the turning points in Vilma’s life and career. From being a sweet teen icon, she proved to be a mature actress in this movie. It was followed by other award-winning movies like Rubia Servious, Relasyon, Sister Stella L, Dolzura Cortez, Dekada ’70, Bata, Bata, Paano Ka Ginawa?, and Anak. A versatile and intense actress, Vilma honed her craft through the various top caliber directors, writers and actors she worked with.
MUSICAL SHOWS – Though Vilma admitted that only her fans would love to hear her singing prowess, Vilma’s musical variety TV shows emerged on top for many years – The Sensations, VIP and the long-running multi-awarded Vilma. Again, Vilma proved that she can make wonders whatever it takes. “It’s really blood, sweat and tears. But when you love your work, it will love you back,” she says recalling her struggles to stay on top of the entertainment industry.
THE BIG LEAP – Marrying Ralph Recto was one of the happiest changes in Vilma’s life and it turned to be the road to another career in her life. “I never thought that I will be a public servant, not in my wildest imagination,” Vilma admitted while talking to a lot of eager reporters and writers she obviously missed for a long time. “But this is the life I have now and I believe it was given to me because He (referring to GOD) wants me to make a difference in other people’s lives,” Vilma enthuses. The first woman mayor of Lipa and now the first woman governor of Batangas, Vilma considers herself lucky for having earned the trust of Batangueños. “Their faith in me is priceless,” says Vilma in another interview.
WOMAN STRATEGY – A real woman in all her endeavors, Vilma considers herself the mother of all her constituents in Batangas. She looks upon them as children who need her care and attention. “At first, I did the housekeeping of the province. We had the poverty diagnostic approach to know the concerns of all the constituents of Batangas, then when we got the budget we allocated to my HEARTS priorities,’ Vilma shares when asked about her priority projects for Batangas. HEARTS means health, education, agriculture, road (infrastructure), tourism and security. “I believe in teamwork and family approach. I consider them my family, that’s why last Valentine, I gave chocolates to all the departments of the governor’s office to let them know that we can make HEARTS work if we are team,'” Vilma recalls.
ACTING AGAIN – For this year, Vilma has two wishes: to start implementing her projects and to make movie. “There are three movies I committed to finish – one with John Lloyd, one with my son Luis and one with Sharon Cuneta but because I became the governor of Batangas, I have to ask for extension because I have to see to it that I implement my projects in Batangas first,” Vilma explains begging her fans to wait for her. But she quickly adds, “Whatever I have now is because I am a showbiz personality. I owe it to my first profession but my role is real life. Isang pagkakamali ko lang at pumalpak, masisira ako at ang mga constituent ko. Ayaw kong sumugal (One mistake and it will ruin not only my name but also the lives of my constituents, and I don’t gamble).
FIRST PRIORITY – But above all these priorities, Vilma admits that being a wife to Ralph and mother to her two sons Luis and Ryan are still her number one priority. Still a woman devoted to her husband, Vilma always acknowledge Ralph’s help and inspiration in her career as a public servant. “Public service is Ralph’s life and I learned to embrace it through him. Though we have differences in ideas, sometimes we clash, at hindi naman ako magpapatalo (I will not give in without a fight), I listen to Ralph. After all, whatever I achieve as a public servant, I owe it to my husband who has been my mentor up to now,” Vilma enthuses. With Luis, Vilma is a doting mother who just listens to his son’s escapades and love life. “I don’t want to meddle with my son’s life. I just advice him to enjoy life and to do what is right so that he will not commit mistakes that he might eventually regret.” She also finds time to help Ryan in his studies. “I help him in doing his projects especially when there are art works and proud ako na honor student ang anak ko,” Vilma says.
TIME FOR MYSELF – With all her roles in life, Vilma sees to it that she finds time for herself. “Ah, yan ang hindi mawawala. Every weekend, I do the treadmill, tae boxing, and yes, even swimming,” she proudly says. I also eat anything but always in moderation. Medyo conscious na ako kasi 38 na ako eh,” she jokingly says. Vilma will turn 55 this year and is not scared to age gracefully. “I think when you’re happy, you’re comfortable, you find time for yourself, you exercise, you eat good food in moderation and you love what you’re doing, then it’s the secret.” As a parting word Vilma says, “When I was able to make a difference in other people’s lives, then it adds to my positive outlook in life and it inspire me to do more.”
UNSTOPPABLE PARTNERSHIP – For more than four decades, Ponstan has been relieving body aches, pains, making it a household name when it comes to reliable fast relief. Just about the same time when Ponstan was strongly gaining the trust of consumers, the public witnessed the emergence of a talented and eye-catching young performer who will later become the country’s multi-awarded actress and eventually the first woman governor of the province of Batangas. “We are very excited and honored to have Gov. Vilma Santos-Recto as our celebrity endorser. We could not have chosen anyone else to effectively communicate the brand’s message to the public,” says Laiza Filart, Ponstan SF product manager. Filart further states that the choice to have Gov. Vi as the latest face behind Ponstan is the striking parallelism between the brand and the hardworking public official. “They are really fit to be unstoppable partners,” she adds. Gov. Vi has been known to pull all the stops whenever she sets her eye on her goals. As a show business personality, she aimed only for the best, which made her the most awarded actress in the country. As a politician, she willingly took the challenge posed by her constituents and run for the gubernatorial seat in the province of Batangas in 2007, earning her the title Ina ng Batangas. And as a family woman, she is never short in filling their home with love, respect and happiness. As Gov. Vi juggles her schedule as a politician, an actress, a wife and a mom, she sometimes finds herself in pain – whether in the form of a headache or backache. Whenever such pains strike, Gov. Vi relies on Ponstan to help her get through the day. “My work is physically, mentally and emotionally demanding. So when I get a headache, I immediately take Ponstan to relieve the pain.” states Gov. Vi. – Source: “Woman For All Seasons” by Lea Manto-Beltran, HEALTH NEWS magazine, Mar 2008, Vol. 12 No. 4. Transcribed by Alfonso Valencia and posted at the three Vilma Santos Yahoo e-groups, March 2008.
How can we forget these dialogues? All of these lines are embedded in our memories. In it were the unforgettable performances in unforgettable films.
PAHIRAM NG ISANG UMAGA: “Irene…Di ko kaya ang walong buwan! Kung mamatay rin lang ako…mamatay na ako ngayon o bukas o sa linggo pero hindi ko kaya ang walong buwan!”
“Irene, ayoko ng mahabang burol kung maari kinabukasan rin ipalibing mo na ako.”
“Ayoko ko pang mamatay…paano si Chad?…hahanapin ako ng anak ko, hindi siya sanay ng wala ako…Ariel…gusto ko pang mabuhay, kahit ilang araw lang, kahit konting oras lang, kahit isang umaga lang…”
“Ariel maliwanag na ba?…anong kulay ng langit?…at ang dagat?…ang mga mangingisda nandiyan na ba?…Ariel…ang ganda ng mundo!…ang sarap mabuhay!”
IKAW AY AKIN: “Rex,,,anong gagawin mo? Ako anong gagawin ko? Ako baa ng nagpapagulo sa otherwise your perfect world?…sure? Rex ang problem ako hindi lang ako eh…si Teresita rin,,,nasasaktan ko na siya…anong gagawin ko iwasan kita eh de ako naman ang nasaktan? Shit! Bakit? Ewan…nahihiya nako kay Teresita at saka sa’yo eh!…Rex huwag mong sabihin yan, naiintindihan mo ba ako? I need your presence more than anything else. Sabi nila liberated woman raw ako, front lang, kalog raw, front din…alam mo namang kulang-kulang ako eh sinabi ko na sayo nun pa…ninenerbiyos ako kapag hindi kita kasama eh, baka dapuan ako ng kung ano diyan, bery-bery, typoid fever! Pakiramdam ko safe lang ako kapag nariyan ka eh…pag wala ka,huh, nagwawala ako parang manok takbo ng takbo wala namang ulo!…Rex, anong gagawin mo?”
Dahil Mahal Kita: The Dolzura Cortez Story: “Hindi ako naniniwala…Putang…anong karapatan mong sabihin sa akin yan?! Diyos ka ba?! Ikaw ba na nagbigay ng buhay sa akin?! Sino ka ba?…Akala mo alam n’yo nang lahat ayoko nito! Akala mo alam n’yong lahat hah..Ayoko nito…ayoko nito..ayoko pang mamatay!…anong mangyayari sa mga anak ko…mga putang ina n’yo…ayoko nito!”
LANGISIS AT TUBIG: “Labanan natin siya…pupunta ako sa kanya, makikiusap, kung kailangang lumuhod, gagawin ko…isang linggo sa kanya, isang linggo sa akin…kung ayaw niya, anim na araw sa kanya, isang araw sa akin, kung ayaw pa rin niya lahat na ng araw ay sa kanya na…Bobby you gave me hope, you make me a wife, you showed me love when theres only hatred, ginawa mo ako kung ano ako ngayon, babae, ano pang hihilingin ko?”
SAAN NAGTATAGO ANG PAGIBIG: “…Si Val! Si Val! Si Val! Si Val na walang malay?! Si Val na ang tanging kasalanan ay naging anak ng mommy mo sa ibang lalaki! At nitong nasira na ang kanyang pagiisip…ay alam n’yo bang si Val pa rin ang pinanagot nila sa isang responsibilidad na dapat sana’y ikaw Rick ang nanagot!…ayan ang magaling n’yong apo, itanong n’yo sa kanya kung sinong ama ng batang binigyan ng pangalan ni Val!”
PINAY AMERICAN STYLE: “I’m PX, short for Paula Xavier, I’m a Filipina…kyontiii…I can understand Tagalog but I’m having a hard time speaking it…actually, I’m not hungry…but on the second thought, why not?”
“one-fourth Japanese, one-fourth Chinese, one-fourth Indonisian, one-fourth Filipino but I was born in Hongkong…you see my mom was a tourist in Hongkong when she met my Japanese father, my Chinese father, my Indonisian father and my Filipino father!”
TAGOS NG DUGO: “Di ko sinasadya! Di ko sinasadya!!!!”
PAKAWALAN MO AKO: “Kukunin ko ang bayad ng halik! May sukli ka pa!”
“Puta! Sige ituloy n’yo! Sabihin n’yo! Hindi lang naman kayo ang ang unang nagparatang sa akin ng ganyan. Puta! Puta! Puta! Putang-ina n’yong lahat! Putang-ina n’yong lahat! Sige! Sabihin n’yo! Isigaw n’yo! Kung sa inyo lang ay malinis ang aking konsensiya!”
“nababaliw ka na noh…puro kabaliwan yang nasa isip mo…hindi Jason, meron iba tayong dapat nating sundin…meron iba! Gamitin natin ang sinasabi ng isip natin, ang ipinararamdam ng kaluluwa natin, yun! Dahil madalas yun ang nagsasabi ng tama, yun ang nagsasabi ng nararapat nating gawin hindi ang puso…hindi ang puso Jason, hindi ang sinungaling mong puso…huwag kang padadala, ililgaw ka niyan…ililigaw ka dahil marunong manglinlang ang puso dahil alam ko ang tama huwag kang magpapadala…huwag kang magpapadala, hindi mababago ang katotohanang mali ang ginagawa natin, mali…”
GING: “Pagmasdan n’yo ako…ako po’y ulilang lubos…inaapi at hinahamak…kung hindi n’yo po kahahabagan ay nasaan ang katarungan?!”
KARMA: “Ganuon naman pala eh, de alam mo na may asawa na ako…bitiwan mo ako…alright wise guy, gypsy pala ako nun hah…sinabi mo rin mahilig ako sa music, dancing, siguro may favourite song ako, huwag nang yung napakalayong kahapon, baka hindi mo mabasa eh, yun na lang natapos na kahapon, twenty, twenty five years ago…ano kayang favourite song ko?”
SINASAMBA KITA: “For godsake, Nora! Magkaroon ka nga ng sarili mong identity!”
“Imposible namang lumaki ang tingin ko sa taong tinutulungan ko lang!..kungsabagay magkaiba tayo ng ina…bakit kaya pinatulan ni papa ang iyong inay?…hindi ko siya iniinsulto sinasabi ko lang sayo ang totoo…magkaiba tayong dalawa…hindi mo ako matutularan at hindi kita tutularan. Nora, ang hindi mo maabot huwag mong pagplitan abutin, wala ka pang pakpak kaya huwag ka pang lumipad ng ubod ng taas!”
PALIMOS NG PAG- IBIG: “Para kang karinderyang bukas sa lahat ng gustong kumain.”
“Mahal Kita at yan ay di ko kayang maihati sa iba. Pero kung ganitong niloloko mo lang ako kaya kitang palitan kahit sampung Lalaki!”
YOUNG LOVE: “I hate you…dirty…you’re dirty! I hate youuuu!…huwag n’yo nang mabangit-bangit ang pangalan nyan! Kinasusuklaman ko siya!..ngayon ko lang nakita ang kapangitan ng buhay ang akala ko masaya’t maganda na ang daigdig..”
SISTER STELLA L: “Ako ay kristyano, higit sa lahat ako ay tao. Kung nandito lamang si kristo sa ibabaw ng lupa alam kong kasama ko siya sa pakikipaglaban.”
“Kung walang kikilos sino ang kikilos, Kung hindi ngayon Kailan pa… Katarungan para kay Ka Dencio!”
ADULTERY: AIDA MACARAEG: “Huwag mo nang itanong. Baka mas masakit kung malaman natin ang sagot.”
AYAW KONG MAGING KERIDA: “No woman can seduce a happy husband.” and “Ang asawa ang karugtong ng buhay, kasiping sa kama.”
YESTERDAY, TODAY AND TOMORROW: “I refuse to dignify your question. Unang-una hindi ka nagtatanong, Nagbibintang ka.”
ANAK: “Sana tuwing umiinom ka ng alak…habang hinihitit mo ang sigarilyo mo at habang nilulustay mo ang perang pinapadala ko! Sana maisip mo rin kung ilang pagkain ang tiniis kong hindi kainin para lang makapagpadala ako ng malaking pera rito. Sana habang nakahiga ka diyan sa kutson mo, natutulog, maisip mo rin kung ilang taon akong natulog mag-isa nabang nangungulila ako sa yakap ng mga mahal ko. Sana maisip mo kahit kaunti kung gaano kasakit sa akin ang mag-alaga ng mga batang hindi ko kaanoano samantalang kayo, kayong mga anak ko hindi ko man lang maalagaan. Alam mo ba kung gaano kasakit iyon sa isang ina? Alam mo bang gaano kasakit iyon? Kung hindi mo ako kayang ituring bilang isang ina. Respetuhin mo man lang ako bilang isang tao. Yung lang Carla…yun man lang.”
“Hindi ako nagpakahirap sa Hongkong para lang mauwi tayo sa Ganito. At ang mga kasama mo mga mukhang ADDICT.” “Bakit pag ang lalake ang nagbigay ng damit, pagkain sasabihin ng mga tao “Aba mabuti siyang ama” pero pag ang babae, kasama na pati pusot kaluluwa hindi pa rin sapat.”
“Putik nga ito! kahit ganito ako, nagsisimba ako kahit paano, ang sabi ng nasa itaas, ang sala sa lamig, sala sa Init iniluluwa ng langit, isinusuka ng diyos!”
“Ano ba naman ito, katawan lang ito…konting tubig konting sabon wala na…tapusin na natin ang kaso, pagkatapos sabihin mo kung kalian, saan…darating ako, ang katawan ko!”
“…hindi naman ako ipokrita, kung tomboy ka bakla ka, ok lang sa akin yon…pareho rin yon eh, tao rin yon, kung saan sila maligaya duon sila…huwag nating pakialamanan. Alam mo kung nuong una sinabi na niya sa akin kung ano siya, hindi na kami nagkaganito eh, akala ko kaseh tutoong tao siya…”
PAANO BA ANG MANGARAP: “Dinaya n’yo ako! Saan n’yo dinala ang anak ko?.. Hindi mo alam…Sinungaling!… Kasabwat ka ng ina mo! Alam ko matagal n’yo nang plano ito!… Dinaya n’yo ako! Mga Traydor Kayo! Traydor kayong lahat!… Wala akong pakialam! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin ang anak ko! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin…”
BURLESK QUEEN: “Kung Inutil kayo, Di Inutil kayo. Wala naman tayong magagawa kung yan ang gusto ng Diyos para sa inyo.”
BATA, BATA PAANO KA GINAWA: “Sister nain-love ka na ba. Hindi yong Love kay Kristo ha, yong love na may sex. Wala akong Ginagawang mali!”
“Namputang Itlog yan, gawing mong manok!”
MANO PO 3: MY LOVE: “Pinuntahan n’yo ako rito para awayin?…silang dalawa,,,mahal ko silang dalawa, bago ko pa man naging boyfriend si Michael, naging asawa si Paul, magkakasama na kami, kaya mahal ko silang dalawa, mahirap bang intindihin ‘yon?…walang batas na nagsasabing bawal magmahal ng dalawa….”
“Aalis ka rin ba, Judith? Naiintindihan mo ba kung para saan yung ginawa nila?…sanay akong tinatalikuran at iniiwanan. Alam mo bang yan ang istorya ng buhay ko.”
RELASYON: “Emil, Emil, Diyos ko anong gagawin ko? Emil! Mommy Patay na si Emil.”
“Ang hirap dito sa relasyon natin, puro ikaw ang nasusunod, kung saan tayo pupunta, kung anong oras tayo aalis, kung anong kakainin natin, kung anong isusuot ko sa lahat ng oras, ako naman sunod ng sunod parang torpeng tango ng tango yes master yes master!”
“Ano ba ako rito istatwa? Eh dinadaan daanan mo na lang ako ah, hindi mo na ako kinakausap hindi mo na ako binabati hindi mo na ako hinahalikan ah…namputsang buhay ‘to. Ako ba may nagawa akong kasalanan hah? Dahil ang alam ko sa relationship, give and take. Pero etong atin, iba eh! Ako give ng give ikaw take ng take! Ilang taon na ba tayong nagsasama? Oo, binigyan mo nga ako ng singsing nuong umpisa natin, pero pagkatapos nuon ano? Wala na! Ni-siopao hindi mo ako binigyan eh dumating ka sa bahay na ito ni butong pakwan hindi mo ako napasalubungan sa akin eh kaya kung tiisin lahat pero sobra na eh…hindi naman malaki hinihingi ko sayo eh konti lang… alam ko kerida lang ako…pero pahingi naman ng konting pagmamahal…kung ayaw mo ng pagmamahal, atleast konsiderasyon man lang. Kung di mo kayang mahalin bilang isang tunay na asawa, de mahalin mo ako bilang isang kaibigan, Kung ayaw mo pa rin nun bigyan mo na lang ako ng respeto bilang isang tao hindi yung dadaan daanan mo lang sa harapan na para kang walang nakikita!”
ALYAS BABY TSINA: “Kung ano ang kinatatayuan ko, Yon ang teritoryo ko.”
BROKEN MARRIAGE: “May mga anak ako, Nagtratrabaho ako, Nag-aaral ako tapos lagi pa kaming nag-aaway na mag-asawa. So tense, Minsan gusto ko ng tumalon sa bintana.”
“Bakit nababawasan din naman ang pagkatao ko kapag sinisigawan mo ako.”
”Nawawala din naman ang pagkababae ko pag sinisigawan mo ako ah! Huwag mo kong duduruin.”
“Ang marriage trinatrabaho yan…twenty four hours…”
Dekada ’70: “Buong buhay ko yan na lang lagi ang sinasabi nila sa akin…wala kang magagawa eto ang gusto ng asawa mo…wala kang magagawa eto ang kapalaran mo…wala kang magagaw dahil dapat…putris naman, dapat hindi ganuo…tapos sasabihin ng daddy n’yo hindi lang ang anak ko ang pinatay hindi lang ang anak ko ang dinukot…lolo akong nanggigigil, lalo akong nagagalit dahil kung nanay ka talaga, hindi ka lang dapat nanganganak kundi naiapaglaban mo rin ang anak mo dapat kaya mong pumatay para sa anak mo…gusto ko lang malaman bakit nila pinatay ang anak ko…hindi masamang tao ang anak ko, kahit sa oras na ito humarap ako sa diyos kahit sa dimonyo hindi masamang tao ang anak ko…hindi masamang tao ang anak ko!”
“You could stop being proud of me! Nagsawa na ako sa ganuon, gusto ko naman ngayon ako mismo just for a change, maging proud sa sarili ko!”
Regalo: “Bakit ang mga anak pag nawalan ng magulang ang tawag sa kanila ulila, ang magasawa kapag nawala ang asawa nila ang tawag sa kanila balo…bakit kapag ang isang ina nawalan ng anak walang tawag sa kanila?” – Aries Roll-on, Franco Gabriel, V Magazine, Issue No. 7, The Literary Issue, 2006; Updates: RV 2007-08
I saw this book of Lorna Kalaw Tirol titled “Above the crowd.” It caught my attention when I saw the drawing of Vilma’s face which was the most beautiful one compared to other caricatures. This book contained interviews of Kris, Kuh, Nora, Lino Brocka, and others. The pictures were illustrated by Nonoy Marcelo. Let me share you the article about Vi (Vilma Santos) and Bot (Edgar Mortiz)…
“If Vilma comes, can Edgar be far behind?” – In the colorful world of the Filipino movie fan, circa 1971, the ideological lines (with all due respect to the radicals and the moderators in the movement) are sharply drawn. One is either for Nora Aunor or for Vilma Santos. One cannot like both and be worthy of the name “movie fan.” In fact, there are no fans in the case of Nora and Vilma; they are only fanatics. Nora, her loyal subjects maintain, has a far better singing voice than Vilma. That, counters the Santos camp, is because Vilma is primarily an actress and only incidentally a singer. And Vilma of the doll-like face is definitely the prettier of the two, her fanatics boast. There, we think, the debate should end. The assignment was to interview Vilma Santos for a cover story. We were told that we could catch her one Saturday morning at an Antipolo resort where she was shooting “Wonderful World of Music” for Tagalog Ilang Ilang. Her director was there, all right, and so was Snooky (child star), too self conscious and too small for her age. But Vilma was still in Cabanatuan, and so was Edgar.
The following Wednesday she was scheduled to start filming for another Tagalog Ilang Ilang picture, Young Lovers. With a title like that, we thought, the movie couldn’t be anything but a further buildup of the Edgar-Vilma love team. But who wants a story when you can have your fill of Vilma and Edgar exchanging sweet words and glances? We were at this house in Quezon City, site of the first day of shooting, at nine in the morning. The entire cast and crew were there, except for the leading lady and her leading man. When they arrived an hour and a half later, the place seemed to come alive. The young lovers were chaperoned by Mrs. Santos, pretty and amply proportioned. We were relieved to see none of the burly tomboys who smothered Nora. It was Edgar Mortiz, with his height and size, who looked more like Vilma’s bodyguard. If he were slim and shorter, he could pass for her shadow. Yet it is difficult to imagine him in the role of bodyguard, he is what older folk would describe as mukhang musmos pa. Edgar Mortiz is, in fact, younger than Vilma Santos who, at 17, is no giggly teenager. She is a woman and she knows it. “A LOT of people tells me that I am very mature for my age,” she says at the start of the interview. “I feel it myself. I like to think that I have the mind of 23-year old woman.” She speaks with unusual poise and self-confidence, a self-assurance that must explain why she strikes some people as suplada. Vilma had little time to be a child. When she was nine and a student at St. Mary’s Academy in Manila, an uncle who was a cameraman at Sampaguita introduced her to Dr. Jose Perez. Not long afterward, Rosa Vilma Santos made her first film, Trudis Liit, where she played the title role. Shooting schedules were arranged so as not to conflict with her studies. She attended school in the morning, reported to the set in the afternoon. More pictures for Sampaguita followed, including two on the life of Ferdinand Marcos, in which she was cast as Imee. When the time came for Vilma to choose between school and a film career, she readily chose the latter.
“We study so we can get a job later, di ba? Well, I have a job already.” When she does decide to resume her studies (she was in fourth year high school when she quit), she wants to go into fine arts. Right now however, her thoughts are on her career and, if we are to believe her studio’s drumbeaters, Edgar. Is he or isn’t he? That is as intriguing a question to their fanatics as Imelda Marcos’s political ambition is to newspaper columnists. The love team of Vilma and Edgar has been going strong for two years now. Whether on TV’s Sensations and Edgar Loves Vilma or on radio’s “Hot line 1250 with Edgar and Vilma” or in advertising gimmicks, the latest of which is birthday party with Vilma and Edgar, the team-up has proved to be a hit. They are, in addition, neighbors somewhere in Quezon City. Doesn’t she get tired of being paired with him? “Of course not,” she says petulantly. Whether their apparent fondness for each other is the real thing or just plain acting is hard to tell. When not holding hands, which are most of the time, they have their arms around each other. “I’m not really a singer,” Vilma admits, “but Edgar is teaching me how to sing.” Love team come and goes, but that is the least of Vilma’s worries. Show business is her world. She wants to stay in it for as long as she can. “Sana magtagal ako” she says. Even without Edgar? – Asia-Philippines Leader, July 9, 1971
Today, Vilma Santos is still the most bankable star of Philippine cinema. Her movies continued to be box office hits. She is the most awarded actress in the country and a respected public servant. Edgar on the other hand is now a TV director. He is now a happy family man. He’s now part of the Teleserye “Kampanerang Kuba” which happened to be the remake of a Vi & Bot hit during the 70’s. Recently, Vilma was one of the sponsors of Edgar’s daughter’s wedding. The former love team is now Kumpares & Kumares. – Franco Gabriel, V magazine, Volume 1 Issue Nos. 1 June – July 2005
Tinatawag natin ang ating sarili bilang Vilmanian. Paano tayo naging ganito? Eto ang ating mga alaala…ng ating pinamulan.
John Malit – Noong panahon na nakamulatan kong ako’y isang Vilmanian, napakalaking ligaya kapag may nababasa akong balita mula sa kanya. Kahit na 2 yrs old na ‘yung balita, bago pa rin iyon para sa akin. ‘yun nga lang, sa tv lang ako umaasa para mapanood ko si Ate Vi, kasi hirap po ang buhay namin noon. 23 yrs old na po ako ng makapanood ng sine. Can u imagine, wala akong ginawa kundi igala ang paningin ko sa loob ng sine, nakakahiya man sabihin, gf ko pa ang nagbayad ng ticket para mapanood namin iyong Bituin walang ningning” ni Sharon (kc sharonian yung gf ko nun). Ayun nasundan lang noong maka-graduate na ako ng college at magkatrabaho. Vilma movie na yung mga pinapanood ko. Ang sarap sariwain ang nakaraan kahit gaano man ang kahirap ng buhay, sa simpleng picture at balita mula sa ating mahal na idolo ay nakaka-alis na ng problema. Kahit nga ngayon, pag-stress na ako sa trabaho lalo sa amin ni misis, magbabasa lang ako ng balita mula dito sa e-groups ng mga Vilmanians, masaya na ako.
Rene Maximo – Akala ko magiging silent Vilmanian na lang ako forever. Una sa lahat…way back 1970s, panahon pa ng The Sensations, doon yata ako nagsimulang humanga sa The Queen. Lahat halos ng kamag-anak kong babae eh pulos Vilmanian lahat. Kaya masayang manood ng TV na black & white pa. Tuwing tanghali, palagi kong dinadasal na sana eh puro movies ni Ate Vi ang ipalabas. Ang saya-saya ko pag natutupad ang wish ko. Natatandaan ko pa yung Vilma & The Beep Beep Minica, Ophelia at Paris, King Khayyam & I, Baby Vi, Dama de Noche, and the list goes on. Unang movie na napanood ko sa sinehan ay yung Rubia Servios. Kahit na I was a minor then, mabuti at napakiusapan ng pinsan ko ang takilyera kaya pinapasok ako. Gandang-ganda ako sa pelikula. Tapos nung awards night na, 3 kaming Vilmanians ang nanood, while yung tiyahin naming Noranian eh natulog na dahil unang mga technical awards eh nakuha ng Rubia (besides sa mga hula na si Ate Vi daw ang mananalo) kaya maaga syang natulog. Then nanalo nga si Ms. Aunor. While walking paakyat sa stage, one of my cousins said na sana ay madapa si Ms. Aunor. Unknowingly, nakikinig pala yung tiyahin namin kaya biglang lumabas at inaway kaming tatlo. Nalaman ng father ko ang nangyari kaya pinagalitan kaming lahat. One stormy weather noon, we were eating sa kitchen namin, at walang kuryente. Bigla na lang nagliwanag ang paligid at na shocked na lang kaming lahat na wala na pala kaming bubong, natangay ng bagyo. All of us hurriedly went up to save things na huwag mabasa ng ulan. Ang una kong binuhat ay yung kahon ng clippings ko ni Ate Vi. I was worried kasi na baka mabasa at matangay ng tubig. Until now, nasa kahon pa rin yung mga clippings ko at palagi kong tinitingnan pag umuuwi ako ng Pilipinas. One of my sisters was an officer in CAT when she was in high school. One time, she asked me what kind of parusa daw sa mga COCCs na madali lang, ayaw daw nyang pahirapan ang mga bata. Sabi ko everyday magdala sila ng mga pictures ni Ate Vi. Kaya araw araw may pasalubong sa akin ang sister ko ng mga pictures ni Ate Vi, additional sa mga collections ko. There was one time when Ate Vi shot a movie in our place. The movie was Biktima. I was in elementary then. After school, my classmate told us na andun nga daw sa dam si Ate Vi. Without hesitation, lumusong ako sa tubig at halos hanggang baywang ko na yung tubig, tumuloy pa rin ako para makita ng personal si Ate Vi. I was in heaven then. First time ko syang makita ng personal. Palagi akong nakasubaybay sa lahat ng nangyayari sa kanya. Maganda man o hindi magandang balita, wala akong pakialam, ang alam ko karugtong na ng buhay ko si Ate Vi. Kahit na nung mag work ako sa isang bank sa Makati, I made it a point na manood ng live sa Metropolitan Theater ng ‘Vilma.” Kahit na naka necktie ako, wala akong pakialam na pumipila sa labas ng Met, kasama ko yung officemate kong Vilmanian din. Then lumipat for a while ang show sa Rizal Theater dahil sa away nila ni Mrs. Manzano, pumila din kami doon to get tickets days before the show. Marami rami din akong collection ng movies ni Ate Vi, in VHS format nga lang. Pag umuuwi ako hindi ako nagsasawang panoorin lahat ang mga tapes na yon. Then I’ve read na meron nga daw na Vilma Newsletter na ginawa ang mga dear Vilmanians. Only last December that I got the courage to request, at pinagbigyan naman ako. I was so happy. Lastly, salamat sa magagandang postings na inilalagay ninyo sa board. Hindi nyo lang alam ang laking tulong nun. Nakakaalis kasi ng lungkot pag nagbabasa ako ng mga postings ninyo.
Franco Gabriel – Early ’70’s when I first heard of Vilma-Edgar team, eh kasi naman puro sila ang topic sa bahay, my mom loves Ate Vi so much at syempre kampi lahat ang sisters ko sa pagka-Vilmanian ni nanay. Bata pa ko noon, di pa ko nag-aaral pero napapanood ko na siya sa TV. It was year 1973 when I reached grade school ang unang bag ko pa noon ay may design nina Ate Vi at Bot na nakahawaiian sila, kuha yata sa “Aloha My Love”, syempre si Mother ko ang namili ng school supplies, so what do we expect? As a kid, aliw na aliw ako sa mga fantasy movies ni Ate Vi like Darna, Dyesebel, Phantom Lady etc. at syempre yung mga suspense thriller nya like Takbo, Vilma, Dali at saka yung Hatinggabi na Vilma. Puro nga iyon ang topic namin sa school kahit pare-pareho naman namin itong napanood. Ito yung panahon na nauso ang kanta para kay Guy na “it’s the real thing, si Norang maitim, nagtago sa dilim and so-on” (jingle yun sa coke). Pang-asar ba namin sa mga noranians. Ito rin yung panahong nanonood ako regularly ng “Ayan eh” at saka “Dalambuhay ni Rosa Vilma,” Meron pang mga ibang TV shows noon na di ko rin makalimutan like “Tangtarantang” ni Mang Nano pag weekend, saka yung “Oras ng Ligaya” nina Sylvia La Torre at Oscar Obligacion pag tanghali. Fast Forward. Kainitan ng Vilma-Nora noon labanan nina Senyorita Rubia Servios at ang kanyang Atsay, nasa high school na ako noon. Masiglang masigla ang rivalry ng dalawa. Syempre merong awards night na panalo at meron ding talo, pinakamasakit ay yung sa Rubia Servios, walang kibuan sa breakfast, parang ayaw naming pag-usapan ang MMFF last night, malungkot kaming lahat. change the topic please sabi ng Ate ko. I considered the ’80’s as one of my colorful years as Vilmanian, kasi lahat na yata ng movies niya ay pinanood ko, mula Pakawalan mo Ako, Langis at Tubig, Paano ba ang Mangarap up to Pahiram ng isang Umaga. Silent Vilmanian ako nung 80’s kasi naman nasa college na ko noon eh pero panay pa rin ang pila ko sa mga movies niya. Ito rin yung dekada na super init ng career ni Ate Vi mapa TV, movie or endorsement. I left the Philippines during the ’90’s but it did’nt stop me to search for Vilma Santos news. Umuwi ako noong 2002, I had a chance to watch Dekada ’70 masaya dahil alam kong big hit ang movie, talagang siksikan ang bawat sinehan pero bumalik ako sa States ng mabigat ang dibdib natalo si Ate Vi sa MMFF 2002. But if I look at the brighter side, this incident became the way to meet Jojo Lim the Solid Vilmanian president and the rest was history. Nasa Abante ang name ni Jojo, hindi daw makatulog at makakain ang Vilmaniang ito dahil sa pagkakapanalo ni Ara Mina over Ate Vi nandoon din ang contact number niya sa article ni Allan Diones. I did’nt hesitate to call Jojo & introduced myself. Yun na ang naging daan para makilala ko si Ate Vi in person. The first encounter was during the Lipa fiesta in 2003 hanggang sa maging every year na pero ang pinaka the best ay sa New York during her show. Ang haba ng kwentuhan namin noon ni Ate Vi at mga Vilmanians inabot ng 3:00 am at talagang naka upo na kaming lahat sa hallway ng hotel, very sweet siya at parang di napapagod. Ang sarap ng pakiramdam, doon ko napatunayan kung gaano kabait at down to earth si Ate Vi. Kung gaano kaganda ang mukha niya ay ganoon din kaganda ang kalooban niya. Thanks to my mom & sisters for bringing me up of becoming a Vilmanian.
German Shepherd – Noong unang bahagi ng dekada ’70, maliit pa akong bata at wala pang muwang, ay karay-karay ako ng Nanay ko sa panulukan ng Quezon Ave. at Zurbaran para manood ng parada ng mga bituin na kasali sa Manila Film Festival. Naroon kami, ako at ang isa ko pang kapatid na babae, upang hintayin ang float nina Vi at Bot sa pelikulang LOVE LETTERS. Tuwang tuwa kaming lahat nang magdaan sa harapan namin ang float ng LOVE LETTERS. Nang biglang bumuhos ang malakas na ulan. Awang-awa ako sa aking sarili dahil basang-basa ako. Pero ang Nanay ko at kapatid ay halos di ako pansin maging ang kanilang mga basang-basang sarili dahil naririnig ko kung kagaano sila ka-worried at baka raw magsakit sina Ate Vi at Kuya Bobot. Sa loob-loob ko, basang-basa na kaming lahat pero ang nasa isi[p pa rin ng Nanay at Ate ko ay ang kapakanan ng aming mga idolo. Sa mura kong nagtataka ako kung bakit ganoon na lamang ang kanilang pagmamahal sa dalawang taong hindi naman sila kakilala. Only when I reached the age of reason that I came to realize that one would do everynting for his movie idol. My love for the Queenstar has grown through the years, a legacy that I inherited from my late Nanay. I watched the many so-so / sing and dance movies of Her Royal Highness, Queen Vi. To me, all of them were beautiful because of her mere presence in those films. One of my favorites was her movie with Bobot entitled ANGELICA. Even the theme song interpreted by Bobot with the same title was haunting. Then came DAMA DE NOCHE. It was one of Vilma’s early acting greats. She was barely eighteen but she played the dual role with aplomb. And there were others: WONDER VI, PHANTOM LADY, KAMPANERANG KUBA, IBONG LUKARET, ANAK NG ASWANG, and the list is endless. Of course, I loved LIPAD, DARNA, LIPAD with Ate Vi in a modest two-piece costume. It was the first time ever that the term BLOCKBUSTER was used in a local movie because of the record-breaking gross and the over-extended run which made an FPJ movie shown at the same time a poor and distant second. I also saw all her DARNA installment but DARNA ANG THE GIANTS is particularly memorable because it was a Metro Manila Filmfest topgrosser. DYESEBEL AT ANG MAHIWAGANG KABIBE with its famous scene showing Ate Vi riding a giant seahorse was also a film fest top grosser and Best Musical Movie. Until she metamorphosed into the great BURLESK QUEEN, another film fest top grosser besides sweeping almost all the major awards including Best Actress for the Queen and Best Picture. From then on, there was no stopping Ate Vi who tackled a kaleidoscope of roles while her rival YKW continued to play just “api” and “kawawa” roles. The first grandslam via RELASYON, ironically was a quiet and restrained role. A far cry from her usual body-and-soul style of acting. BROKEN MARIAGE AND SISTER STELLA L continued to bring her endless honors. Vilma won in RELASYON against Nora Aunor in Himala which most Noranians considered as her most memorable role to date. The movie did not give her a miracle in terms of acting award. Then came TAGOS SA DUGO which i think was one of her most well-acted movie. She was robbed of a grandslam in this Maryo J. delos Reyes opus. Fast forward: After reigning the longest as Box Office Queen, she had once again regained the same title (in spite of her being already a Hall of Famer in this title) via ANAK which is still the second highest grossing movie in the Philippines after TANGING INA, which Ai Ai delas Alas, who according to her words, is a Vilmanian from birth and her tribute to her idol as she mimicked her in many a scene in the said movie. ANAK should have been another grand-slam for the Queen but the award-giving bodies, except Star Awards, made Gloria Romero a sentimental favorite, an accolade which she deserved considering her age. Realizing that then Queen has gathered the most number of grand slams in RELASYON, DOLZURA CORTEZ STORY, BATA, BATA PAANO KA GINAWA, DEKADA ’70 and the prestigious UP GAWAD PLARIDEL plus two international awards, my Nanay’s legacy was worth inheriting.
Buboy Medina – Noong nasa kindergarten pa lang ako ng napanood ko ang “Lipad, Darna Lipad” sa television. Ginagaya ko talaga siya then gumawa ako ng costume like Darna then isinusuot ko pa. Pinakamemorable experience ko bilang isang Vilamanian ay noong nagkausap kami last May 2003 ng manalo siya sa Gawad Urian. Overseas call ito at siya mismo ang nakausap ko. HEAVEN ANG FEELINGS KO NOON, TEARY EYED PA AKO. Mahal na mahal ko si Queen Vi, kaya ko siyang ipaglaban. Hahamakin ang lahat…maipagtanggol ko lamang ang nagiisang REYNA!
Eric Nadurata – I saw her on TV, “The Sensations” iyon, nasa grade school pa ako. Gustong-gusto ko ang sweetness ng beauty niya at ang galing niya sa pagsagot sa Q&A portion ng show. Ate Vi always surprises me. She always reinvents herself, and comes out victorious each time. Sabi ko nga she started very sweet, then came “Lipad, Darna, Lipad”, she then went daring via “Burlesk Queen”, then came her award-winning films that tackled an impressive range of themes. Ang mga roles that she portrayed is also very impressive. Naging madre siya at querida, naging Darna at Dyesebel, may Aids at may cancer, naging mahirap at mayaman, naging abugado at doctor, schizophrenic at napakarami pang iba. Siya lang ang tanging batang aktres na naka-sustain ng kaniyang popularity hanggang sa pagiging dalaga. Tessie Agana and Snooky were big child stars, pero hindi nila narating ang kasikatan na narrating ni Ate Vi. In fact, even the other Movie Queens can’t match her enduring popularity and box-office appeal. None of our movie queens reigned for more than 10 years, but Ate Vi, the Queen of them all is still at her peak for 35 years already! Iba ang aura ni Ate Vi, nakakahawa ang pagka-positive niya. First time I saw her face to face noon YCC awards for Dakada ’70. Grabe ang magic niya pagpasok niya sa venue. Memorable din kasi, nagloko ang dala kong camera, mabuti na lang nakapagpa-picture pa rin ako with her sa tulong ng isang vilmanian. Nangyari uli ito, sa opening ng CineManila International Film Festival. Nagloko uli ang camera ko, when I was about to take shots of Ate Vi with Lou Diamond Phillips and Tia Carrere. Sayang ito, kasi ang daming foreign celebrities na dumating noon. Aral ito sa akin kaya, ngayon dalawang camera na ang dala ko each time may affair with her. Nuong nagpa-pirma ako kay Ate Vi. Medyo ninerbiyos ako kasi baka hindi natandaan ni Ate Vi ang pangalan ko. Bago lang ako, at hindi naman kami madalas na magkita, pero to my pleasant surprise, sinulat niya ang name ko! Natandaan niya ang name ko! Grabe iyon! Imagine, with all her works both as an actress and public servant, not to mention as a mother and wife, natandaan niya ang name ko! Naku, heaven talaga iyon! Kung may mas mataas pa sa heaven iyon pa rin iyon! Another instance, magbi-birthday siya noon. May dala akong gift na image ni Padre Pio, pero because of “lapse of judgment” (di ba, Garci?) nakalimutan kong isulat ang name ko sa card. In short, nai-abot ko ang gift without my name. After several weeks, nang magkita kami uli sa isang taping, I told her about my gift. Sabi ko “Ate Vi, I forgot to write my name doon sa card, but I hope you liked it.” Sabi niya “Alin ba ang gift mo?” nang sinabi ko na it was the image of Padre Pio, her face light up and sincerely said, “thanks ha.” Ramdam na randam mo ang kaniyang sincerity.
Father Juancho Gutierrez – Meeting Vilma Santos at the Philippine Fiesta on August 21, 2005 was truly a moment of blessing for me. I have been an avid fan of hers since Grammar School. I never thought in my wildest dream that I would meet her face to face here in New Jersey. Meeting her, I found out that she was really a downto-earth person. She never acted like a diva or the famous movie star and successful Mayor that she is in the Philippines. I admire her more for this. I guess this is the reason why today more and more people continue to admire her….she showed me the traditional respect that we Filipinos give to our elders and those in position of leadership in our community by making the “mano” gesture to me. I admired her more for this because it was a sign of her humility and grace. The greatest actress the Philippine Cinema has ever produced making “mano” to an unknown priest in New Jersey was truly a Memoirs of Vilmanians humble experience not only for her but for me as well. At that moment, I see in Vilma someone who is humble, approachable and sincerely acknowledges the blessings God has bestowed on her. August 21, 2005 will always be a very special day for me. I will always remember it as a blessing from God.
Nelvin M. Rea – Pagmamahal at biyaya ng Diyos ang siyang naging susi at naglilok sa pagiging Vilmanian ko. Inimulat sa akin ng aking nanay at iniukit niya sa isipan ko na “Si Vilma Santos… iyan ang idolo ko at magiging huwaran mo— wala nang iba!” “Ang pagsunod sa payo ng magulang ay ang pagsunod sa tamang daraanan”. Sa mga panahong iyon sa pagiging musmos ko, wala akong panahon kay Vilma…ang nais ko ay maging malaya, ang eskuwela, libangan,at maraming laruan. At siguro dahil sa hirap ng buhay, kailangan kong iwaksi sa isipan ko ang lahat ng NAIS ko. Ang ganang prayoridad ko ay ang tumulong sa lahat ng gawaing bahay, punuin ng tubig ang aming paminggalan, mamulot ng plastik sa dalampasigan at mangahoy sa hulo kasama ng mga kapatid ko. Sa hirap na dinanas ko ay sapat na para makalimutan ko ang makipagsabayan sa mga pangarap ko…Hindi siya nagbago ang inay ko sa kanyang pag-ibig kay Ate Vi… nanatili siyang matatag…lumalaban hanggang sa huling sandali ng kanyang buhay. At kahit ngayong wala na siya. Hinahangaan ko ang kanyang paninindigan sa isang Vilma Santos. Isang hindi mapapantayang pamana ni Inay sa akin ay ang mamuhay na may isang Vilma Santos sa aking puso.
Alan Trambulo – Lipad Darna Lipad, ang unang movie ni Vi na napanood ko sa amin sinehan sa Batangas. I was 6yrs old at kasama ko ang buong pamilya ko. Last full show na kami nanood kasi during the day sold out ang ticket at wala ka nang silya maupuan. Sigawan at palakpakan kami kay Darna Vi. After the movie, wala lang , sigaw ako ng sigaw ng “Darna!”. Ang mukha ni Ate Vi ang nakiki- ta sa panaginip ko habang hinabol ako ni Gloria Romero na gumanap na aswang. She saved my life so manytimes sa aking nightmare kay aswang Gloria. She became my heroine. Iba ang naging impact sa akin ni Darna dahil di lang isang hero sa aking musmos na pag-iisip ang ibinigay nya, she gave me a superwoman, a role model sa persona ni La Santos. My family is all Vilmanian, specially my sister who keep copying the styles of Vilma, from her hair styles to fashion. My sister Carol even sneaked me in sa controversial movie ni Ate Vi, “Rubia Servious” sa Magalles Theater noon. Habang hinuhubog ako ng aking kapatid na maging Vilmanian, I became aware sa mga nagaganap sa showbiz. Ang awayan Vi-Guy fanatics. Lumaban at nakipagsabunatan din ako sa bestfriend ko na Noranian na para sa amin ay katuwaan lamang. Ang pakikipagtalo sa aking kapatid na lalake over basketball versus Vilma show. Magdamagan puyatan sa awards nights, win or lose si Mayor. Through the years, di nagbago ang paghanga ko sa kanya, but lalo pang tumindi, sobra! Wala na makakapigil pa sa akin pagiging isang “VILMANIAN.” … ‘yung NY-NJ visit nya sa Phil.Fiesta 05, grabe ang experienced ko sa kanya. Unforgetable dahil we communicate almost everyday. ‘Yung closed door meeting namin ng producer, I saw her other side. For being frank and honest n’ya sa nararamdaman nya. I know she was death tired from her trip sa NY, pero sige pa rin sya basta para sa Vilmanians ito. Very quick lang, alam n’yo i was with her sa loob ng hotel room niya while she was being prep by her makeup artist, busy na ang lahat , i voluntarily ironed her outfit that day. Just imagine, pina-plantsa ko ang suit ni Ate Vi for the show.
Charles Gomez – Sa unang pagtatagpo pa lamang namin ni Ate Vi sa kaniyang opisina sa Lipa, ay nadama ko na ang kakaibang pagmamahal na ibinibigay niya sa kaniyang mga tagahanga. Magiliw niya akong sinalubong at kinamayan, at idinampi pa niya ang kanyang kamay sa aking mga pisngi. Hindi-hindi ko makakalimutan ang pagkakataong iyon. Nung kami nama’y magkatagpong muli sa press party sa Libis, buong lambing taglay ang kakaiba niyang nigiti na binansagan niya ang inyong lingkod ng bagong pangalan. “Dubai” na raw ang itatawag niya sa akin, at pangatawan ko na raw iyon. Galing sa isang Vilma Santos, who can say otherwise? Nung ako nama’y nasa Lipa Fiesta, buong pagmamahal niya akong dinampian ng halik nang iabot ko sa kaniya ang aking handog. Bagama’t pagod sa buong gabing iyon, nandun pa rin ang tatak niyang ngiti. Iba-ibang nga ang isang Vilma Santos. At nang gabing pabalik na ako rito sa aking pinagtratrabauhan sa Gitnang Silangan, she sweetly called me to say “hello” and bid her best wishes. Iyon ang gabing di ko makakalimutan. Kumpletong-kumpleto ang pagiging Vilmanian ko. – to be continued
When Ate Vi accepted the 2005 Gawad Plaridel last year, on her speech, she said: “”Nilangaw po ang pelikula ko” referring her film, Sister Stella L competing to a forgettable commercial film by Sharon Cuneta in mid 80s pero sa kabila ng kamalasan sa takilya nasuklian naman ito ng mga papuri na hanggang sa ngayon ay ikikunsidera ang SSL na isa sa pinaka-klasikong pelikula sa kasaysayan ng pelikulang tagalog. Ipinagmamalaki ni Ate Vi ang pelikulang ito. Narito ang ilang “facts: tungkol kay SSL. Sa ibaba, numbero 10 ay sasagutin natin kung sino ba talaga si SSL.
1. Ang SSL ay lumaban nuong 1985 sa Venice Film Festival.
2. Kung ang pangalan ng karakter ni Vilma Santos sa pelikula’y Sister Stella Legaspi ang pangalan naman ng karakter ni Jay Ilagan na katambal niya ay Nick Fajardo. Nanalo si Jay Ilagan bilang pangunahing aktor sa URIAN nuon 1984 para sa SSL.
3. Ang linyang: “katarungan para kay Ka Dencio!” referred to the character played by Tony Santos Sr. Oo, siya rin ang direktor ni Ate Vi sa kanyang tv show nuon na “D’Sensations.” Nanalo si Tony Santos Sr ng Best Supporting Actor sa Famas at Urian para sa pelikulang ito.
4. Ang linyang: “bakit hindi ka gumaya sa akin… nagmumura, nagpapabuntis!!!” ay mula sa papel ni Gina Alajar. Natalo si Gina Alajar sa kanyang papel sa SSL kay Laurice Guillen na gumanap na madreng kasa-kasama ni SSL bilang pangalawang aktress sa URIAN nuong 1984.
5. Sampung tropeyo ang napanalunan ng SSL sa Gawad Urian nuong 1984.
6. Regal Films recently released SSL in DVD/VCD format. The on-line price for SSL is on the average 15 US. dollars.
7. Dalawang pelikula ang pinanlaban ni Nora Aunor nuong taong 1984 sa Urian, ang “Bulaklak ng City Jail” at “Merika”, walang nakuhang kahit isang tropeyo ang mga pelikulang ito.
8. Vilma Santos portrayed another role as a nun in Eddie Garcia’s last directorial job in Viva films’ Immortal opposite Christorpher DeLeon.
9. UP’s 1st Diwata Awards was given to four women, Vilma Santos was one of them, UP cited SSL as one of her remarkable contribution to film history.
10. Ngunit sino ba talaga si SSL? According to this article SSL was based on the life of Sister Coni Ledesma.
KASAMA Newspaper (Vol. 12 No. 2 April–May–June 1998) – Solidarity Philippines Australia Network (Frank Cimatu of Norther Dispatch) interviewed Coni Ledesma and Luis Jalandoni during their visit to Baguio City this year. The following is a compilation from two articles that appeared in NORDIS on May 16, 1998
She is known by many in the Left as Sister Stella L. but Coni Ledesma brushed this innuendo aside. “I have not even seen the movie,” Ledesma said of the popular and influential Mike de Leon movie about the rites of passage of a militant nun played by Vilma Santos.
“I met with Pete Lacaba (the movie’s script writer) and he didn’t tell me about it,” she said. “All I know is that it was a composite of different nuns. I can not take the solo credit.”
If “Sister Stella L” was wholly based on former Sister Coni L’s life, the storyline would have been far more radical, literally and figuratively. Ledesma was already an activist nun during the turbulent end of the 1960s. She was a founding member of Christians for National Liberation, the underground organization for subversive priests and nuns.
In August 1972, Ledesma was captured and detained for almost a year. She was released with the intercession of the Catholic bishops and the National Council of Churches in the Philippines.
In 1976, she began international work for the National Democratic Front. In the same year, she married Louis Jalandoni, himself a former Catholic priest before becoming one of the leaders of the NDF. The couple, who had their 25th wedding anniversary last month, were married by Jaime Cardinal Sin. They migrated to the Netherlands and were the first Filipinos to be granted political asylum in that country. They have a 22-year-old son, Jose, who is now taking up law at the University of Amsterdam.
Ledesma is now a member of the NDF negotiating panel and a member of the reciprocal working committee for human rights and international humanitarian law. She is also the international representative of Makibaka, an underground feminist organization. She recalls with fondness the “language restructuring” they’ve been having with the government panel which insists on not giving the NDF an equal stature even in the field of semantics.
Ledesma said the government was so extra careful in setting aside the NDF’s “status of belligerency” that the NDF panel had to exhaust their thesaurus to come to terms with them. Instead of “prisoners of war”, for example, the NDF had to come up with “persons deprived of their liberty for reasons of armed conflict”. The “white flag of truce” was replaced by “flag of peaceful intentions”, even if the flag remains white, Ledesma said. “Ceasefire” is now “suspension of military operations” and the “oppressed masses” is the “toiling masses”.
Ledesma said it was their first time to really come back to the Philippines except for that very brief stint in 1986 with the failed talks between the government and the NDF. The couple had been going around the country giving talks and speaking with the so-called “toiling masses”.
She said Filipinos have become politically mature. “Malakas ang revolutionary movement (The revolutionary movement is strong). I observed the political maturity in all sectors. They know their rights and they have a clear grasp of the basic issues,” she said. However, she said the economic poverty is deplorable. The Jalandonis went back to their native Negros where both families belong to the landed rich.
“I talked to the sacadas (sugar workers). Their condition was terrible. They get paid ten pesos a day and yet they can not even get hold of that money. They are instead issued receipts to buy at the company store. It’s back to the 1960s,” Ledesma said.
“The urban poor in Negros are in turmoil. It is in a situation where the call for change can not but grow kasi galit na yung mga tao (because the people are already angry),” she said.
Ledesma had already met with President-in-waiting Joseph Estrada with regards to the resumption of the peace talks. She has the same apprehension as her husband that the “Erap Para Sa Mahirap (Erap for the Masses)” may be put aside. “His first meeting was with the businessmen. He should have talked with the peasants. Ang dami nilang (They have so many) struggles. Pakinggan naman sana niya sila (I hope he listens to them).”
Ledesma said she is looking forward to the 100th year of Philippine independence on June 12. “It is a hundred years of struggle against colonialism and imperialism. It is a legacy that has been passed on to us. The struggle for true freedom rests on us,” she said.
Ledesma’s husband, NDF leader Luis Jalandoni said he is optimistic the peace talks will go on with president-in-waiting Joseph Estrada. But as for now, Jalandoni said Estrada is not as receptive as they wanted him to be.
The NDF is also concerned with Estrada’s statement that he is committed to embrace President Fidel Ramos’ economic policies particularly towards globalization and liberalization. Jalandoni, who spoke last Wednesday at the University of the Philippines College in Baguio, said this may affect the forging of a permanent peace agreement between the government and the NDF. Jalandoni said among Estrada’s first statements were the favouring of a hero’s burial for former strongman Ferdinand Marcos and the exoneration of the charges against his first lady Imelda Marcos.
Jalandoni also said the Mining Act of 1995 should be reconsidered by the Estrada administration. He said about ten million hectares of Philippine land have been applied for by foreign mining corporations for mining exploration and mineral production. He said the NDF’s position is for indigenous people’s rights yet these lands are covered by applications mostly of foreign mining corporations.
Jalandoni also said the mutual cessation of hostilities has not been followed by the government. He cited the flagrant violations made by the government such as the launching of a military offensive in Calinan, Davao City by the Army’s 73rd Infantry Battalion against the New People’s Army on May 2. Five NPA members were killed as well as a civilian in the attack. The next day, the same battalion attacked and killed four NPA men in Marilog District also in Davao City. – Frank Cimatu/Northern CP Cabrisbane.org
11. According to Regal Films web-site: Sister Stella L is the award-winning masterpiece by Mike de Leon. It’s about a nun, Sister Stella Legaspi (played by Vilma Santos), who becomes involved in labor strikes after learning about the government’s neglect of the poor and the working class. Her sworn duty to fight for the poor and the oppressed turns personal when her journalist friend Nick Fajardo (played by Jay Ilagan) is tortured and the union leader Dencio (played by Tony Santos) is kidnapped and killed. What follows is her eye-opening and tear-jerking battle against cruelty and injustice. This film is one of the most memorable roles for Vilma Santos. She is excellent in her portrayal of the resilient nun. – Regal Films
12. From another web-site: Sister Stella L is a nun who acts as a counselor in a home for unwed mother undergoes political awakening when her friend and namesake belonging to the same congregation as hers inspires her to get involved in the struggle for justice and freedom of striking workers in a cooking oil company. – Geocities
13. The complete cast of Sister Stella L are: Vilma Santos, Jay Ilagan, Gina Alajar, Laurice Guillen, Tony Santos, Anita Linda, Liza Lorena, Ruben Rustia, Eddie Infante, Adul de Leon, Rody Vera.
14. SSL has bee exhibited in several American universities which include UCLA, here’s the proof:
Lectures and Screenings by Nicanor G. Tiongson, Film Dept., University of the Philippines
Session 6. Screening: Sister Stella L., 1984; Mike de Leon, Director -Discussion: Allegories of Resistance Sunday, May 12, 2002, 6:00 PM – 9:00 PM 2534 Melnitz Hall, UCLA Campus, Los Angeles, CA Source: Isop.ucla.edu
Another article mentioning about the real SSL: Nuns from the Sisters of Good Shepherd are calling for President Arroyo’s resignation following issues that continued to hound her administration. The Sisters of Good Shepherd were conducting their provincial assembly Nov. 12 to 14 when the bomb attack at the Batasan Pambansa Complex that killed four people including Basilan Rep. Wahab Akbar occurred.
The incident prompted them to hold discussions on the country’s situation and decided to craft and sign a declaration asking President Arroyo to resign. “Moral bankruptcy of the government na parang wala na siyang karapatang mag-lead sa mamamayang Pilipino lalo na ang ating gubyerno ay hindi na natin maasahan na sila pa talaga ang nai-involve sa mga bribery, graft and corruption,” said Sr. Maureen Catabian, Chairperson of the W-JPIC, Sisters of Good Shepherds, Philippines. (Moral bankruptcy of the government that says that she no longer has a right to lead the Filipino people especially that we can no longer rely on the government which is involved in bribery, graft and corruption). Reports said the nuns of the Sisters of Good Shepherds were active participants against martial law during the 70’s.
The nun portrayed by actress and now Batangas Gov. Vilma Santos in the movie “Sister Stella L” was the story of Sister Christine Tan and Connie Ledesma of Good Shepherd. In the light of the divided opinion of the Catholic Church on the issue, some priests still admired the sisters’ bravery for the declaration. “Sana magkaisa ang simbahan doon sa pag-condemn o pag-denounce doon sa moral bankruptcy (We hope that the church would unite to condemn or denounce moral bankruptcy),” Sister Catabian said. The nuns were also shocked with Mrs. Arroyo’s statement during the Association of Southeast Asian Nations Summit condemning the violation of human rights in connection with the military junta in Myanmar.
“Tingnan niya muna ang sariling bakuran sa Pilipinas na ano ba ang ginagawa doon sa mga sunod-sunod na issue [na] mga scandals and scams iyung extrajudicial killings di ba na internationally na-condemn na tayo ng community. Pinapaalam na sa gobyerno natin na hindi tama iyung nangyayari pero parang hindi ganoon kasigasig iyung gubyerno para tutukan ito,” added Sister Catabian. (She should look at her own backyard Philippines on what is being done on the successive issues of scandals and scams, extrajudicial killings which have been condemned by the international community. The government was being put on notice that what was happening was not right but the government seems not intent on focusing on these.) – Source: “Nuns call for Arroyo’s resignation” ABS-CBN Interactive 11/23/2007
Tinatawag natin ang ating sarili bilang Vilmanian. Paano tayo naging ganito? Eto ang ating mga alaala…ng ating pinamulan.
Eddie Lozano – Simula sa pagkabata at matutong humanga, siya lamang talaga ang una at wala nang iba pa. Noong elementary ako ay picture ni Ate Vi as in picture talaga ang nasa cover ng notebook ko, mostly nga black and white pa. Dahil ang aming ama ay hindi mahilig sa mga palabas na tagalog, ang aming tv ay laging nasa may English na palabas. Kaya kadalasan, kapag palabas na ang D’ Sensations, ay nakikipanood ako sa kapitbahay, maliban na lamang kung nasa duty si ama. Hindi nga ba’t mayroon pa siyang Dulambuhay ni Rosa Vilma, at yung sitcom with Nida Blanca and Rod Navarro, yung Kelan Pa? Remember ba ninyo yon? Kahit pa noon sa D’ Sensations, ang most awaited na portion ay ang dance number ni Ate Vi. Doon ko siya nakitang sumayaw ng singkil, Tahitian at kung anu-anong sayaw pa, pero ang talagang nagaya ko ng husto ay yung ‘penguin’ na hanggang ngayon ay sinasayaw ko pa rin, kahit na nga tumatalbog-talbog yung tiyan ko. Nung mabuwag ang love team na subok na matibay, subok na matatag, kay Ate Vi ako pumanig, dahil kahit na sino naman ang ka-partner niya ay okay lang sa akin, I realized then na Solid Vilmanian ako. Those were the days na wala akong pakialam kung maganda o hindi ang pelikula ni Ate Vi, ang importante sa akin ay enjoyment at makita siya sa wide screen at sa pagbabaka-sakaling mag-theater tour siya, kaya most of the time, ay sa opening day ako nanonood. Nag-aaral pa man ako hanggang sa magka-trabaho ay ganun pa rin ang aking naging routine kapag may pelikula si Ate Vi. Ilang beses ko na rin siyang nakita ng personal, malapitan man o malayuan pero hindi ako nagkalakas ng loob na batiin siya, hanggang tingin na lamang ako’t nagpipigil ng damdamin at baka bigla akong mapatili. Katulad ng mga nabanggit ko noon, yung makita ko lang siya ng personal ay nangingilid na ang luha ko sa sobrang kasiyahan, ano pa kayang mangyayari kung ma-experience ko ang katulad ng kay Kuya Father J and bespren Charls, to name a few? Remember Kuya Father ang experiences natin kapag nanonood tayo ng parade of stars sa Roxas Boulevard? Hindi man tayo magkakilala at magkasama, pero iisa ang ating ginagawa, ang humabol sa karosa ng Reyna Vilma na talaga namang may magnetic charm.
Aries Rollon – Ano ba, wala ka na bang gagawin maghapon kundi gumupit ng mga articles at pictures ni Vilma Santos? That was my mother always asked me more or less 20 years ago . But what can I Do? I really admired Vilma Santos. Minsan tinatanong ko ang sarili ko kung normal pa ba ang ginagawa ko? Wala bang mali sa inaasal ko? Bakit ako ganito? Bakit sobra sobra ang paghanga at panahong inuukol ko kay Vilma Santos? Ako lang ba ang ganito? Na-addict ako kay Vilma Santos. Natatandaan ko noong high school pa lang ako, hindi naman ako actually ganoon ka devoted as Vilma Santos fan. But I really admired her dahil na rin sa impluwensya ng mother at mga pinsan ko. Yes napaanood ko na ang mga pelikula nya sa TV and to think na ang first movie na napanood ko sa sine ay ang LIPAD DARNA LIPAD. Sometimes sinasabi ko rin sa Nanay ko na nahawa lang naman ako sa kanya. Kaya lang mas naging malala lang ang Vilma fever ko. Actually hindi nga ako mahilig sa showbiz at wala akong panahon sa mga artista. But when I started watching Vilma on television and started watching her good movies, nagsimula na ang hysteria sa buhay ko. Ano ba ang meron si Vilma na wala ang iba? Well, hindi ko na siguro kailangang isa-isahin ang mga achievements niya. Tanging manhid at walang pakiramdam ang hindi nakakaalam. Personally, of course hindi ko siya kilala at hindi rin ako interesado sa pinagdaanan niya. Ang alam ko lang, heto nalulong ako kay Vilma. Vilma, Vilma puro na lang Vilma. Bakit pati sa panaginip Vilma pa rin. Nasasaktan ako kapag mayroong hindi magandang sinasabi kay Vilma. Nagmumura ako at nakiki-pag-away kapag may pumipintas kay Vilma. Naghahanap ako ng mapapangasawa na kamukha ni Vilma. But of course, my wife for the past thirteen years ay hindi naman kamukha ni Vilma. Iisa lang si Vilma Santos and she’s incomparable. Nobody comes close to the One and only Star For All Seasons. She was branded as poor second sa tinaguriang phenomenal Star. Marami ang nooy nagsasabi na siya ay hanggang doon lang, laging sunod lang ang pangalan sa nag-iisang Superstar. Ngunit ang panahon ay sadyang nag-iiba, ang poor second nasa TOP of the World na ngayon. Sa tatlong dekada na nagdaan walang nakahadlang sa kinang ng Bituin ng lahat ng panahon. Pinataob niya ang lahat ng bituin na minsay kuminang at nabigyan ng pagkakataon…I got married on the same year that Vilma got married to Sen. Ralph Recto. Medyo nag lie low na ako sa pagiging Vilma fanatic, but still hindi pa rin nagbago ang paghanga at pagmamahal ko kay Vilma.
Willie Fernandez – May simula pero walang katapusan hanggang sa kabilang buhay. Yes, I breath and exist for Vilma. All my waking hours, si Ate Vi lang yata ang laman ng puso at utak namin. Maging sa pagtulog ay dala-dala namin sa diwa ang ala-ala ng aktres. Kesehodang nakatira kami sa bahay ng kaibigang aktor na si Daniel Fernando, na ngayon ay senior Board Member ng Bulacan. May pagkakataon pa ngang nagseselos ang actor – pulitiko kay Ate Vi sa tuwina’y siya ang paksa ng aming usapan. Alam ni Ate Vi ang tungkol sa sakit ko, hypertension (high blood pressure: 190 over 120). Hindi namin malilimutan ’yumg pagtulong niya nang kami’y ma-confine sa hospital. What a big surprise when she gave me a call at nangumusta. Tinanong niya kami kung ano pa ang mga pangangailangan. Siempre, tameme ang inyong lingkod for her nice gesture. Nang lumabas na kami ng hospital, at minsan nang dumalo kami sa shooting ng kanyang pelikula, in one of our friendly tender moments, sinabi ng butihing aktres na siya ang bahala sa mga gamot na kailangan for my continuous medication…Iba ang “magic” na nagagawa ng pagmamahal, lalo na kung ito’y nangagaling sa isang minamahal at iniidolo pa. There were times, halos hindi na kami makatulong at makakain nang maayos sa kaiisip at kapapangarap sa aking idolo for all seasons. Lalong tumingkad ang katuparan na lubos namin siyang “makilala” nang kami’y pumasok sa showbiz media. Inamin na “i will not grow as a writer” dahil talagang laging nananaig ang aking pagiging Vilmanian sa lahat ng oras. Hindi maalis sa amin ang “fan mentality”. Pawang maganda at positibo ang sinusulat namin sa aktres sa aming kulom sa mga diariong pinagsusulatan. Madalas kaming sermonan ng editor sa tuwing mag-submit ng artikulo na si Ate Vi ang nilalaman. Katuwiran niya, wala na nga bang kaming alam isulat kungdi ang aktres. Basta naman kasi ang subject namin ay si Ate Vi, walang duda, napakapositibo namin. Hindi dahil mahal namin siya at nagiisang idolo na hinahangaan sapul sa pagkabata, kungdi dahil ang sarap-sarap niyang iluklok sa pedestal dahil lahat ng bagay sa kanya ay positibo.
Julie Ouano Haglund – Well what more can one say about Vilma Santos, it’s not enough to say that she is the best. I haven’t met her personally but I have loved her and admired her ever since i was a little kid. I remember waiting every friday just to watch “VILMA” in GMA7 and that 2 hours of pure entertainment makes me kilig and proud at the same time that it’s her I idolized. I’ve watched the Vilma movies that is being shown on Tv as well as in the movie theater, laugh with her when she’s happy and cry as well when she’s hurt. There was a time that I was so closed in meeting Ate Vi when my best friend who is Chit Guerrero’s niece April and I were in Manila for a job interview in Cathay Pacific as a flight stewardess, we asked tita Chit if maybe just maybe we can visit Ate Vi and to finally meet her in person but unfortunately at that time she was pregnant with Ryan Christian and the pregnancy was difficult that Tita Chit has to begged off we were disappointed but pray for her that everything is gonna be fine. After many years of working and living abroad nothing has changed I’m still an avid and true Vilmanian in fact I’m still watching her old movies now and then even if I have seen it like a thousand times and still buying and ordering the ones that I don’t have. I want to thank this group for giving me the opportunity to know some of you ( VILMANIANS) all over the globe and really hope to meet some if not all of you in person one day. To you Ate Vi I love you so much and that you are an inspiration to everyone who loves you. I really wish you all the best and my prayers for you and to your family.
Jeannie Wong – I first saw Ate Vi in person at the Manila International Airport. She was still sporting shoulder-length hair, ka-loveteam pa niya si Bobot Mortiz. I think they were having a show there. I went to the MIA’s ladies room and few minutes later Ate Vi and two ladies came in. Ate Vi was in front of the mirror touching up her make-up and the two ladies were helping her get ready for the show. Only 4 of us were in there and yet all I did was stare at her. I didn’t even get enough courage to approach her. If only I can rewind it back, it would be different approach this time around. Magawa ko kaya yon? The second time I saw her was at the theater showing of her movie with Manny de Leon. My friends (Ana, Mitzi and I) went to watch the movie. The movie theater was SRO even lodge section, grabe ang dami ng tao. All of the sudden, everyone watching were rushing outside instead of watching the movie. Know why? Ate Vi and Manny de Leon dropped by to greet their supporters. Everyone crowded around them. I lost one of my earring that my mom just gave me sa dami ng tao. I had that earring only for 3 days yata. Well, anyway that’s not the first time I lost my earring. There were other occasion isang araw pa lang (baka nga ilan oras lang) sa akin nawala ko na. Mabuti na lang hindi nagalit ang mother ko sa akin. Ate Vi and Manny de Leon didn’t stay long, pupunta pa sila sa ibang sinehan. After they left, everyone went back in and continued the movie. That was an added bonus watching the movie and seeing Ate Vi in person. HEAVEN! The third time I saw Ate Vi was in California, USA. The year was 1980. I was in America for a month long vacation. My aunt told me that their church planned a Great America trip for the youth with special price of only $4.00 per person including admission entrance to the park and bus ride from the church to Great America and back to the church. I asked my cousin to go with me nilibre ko siya. We went on so many rides, believe me I’m not crazy with wild rides. Should I say, super takot ako sa mga wild rides! When we were on queue for the log ride (not a wild ride) on the upper section. Guess what? I saw Ate Vi with Edu Manzano, they were in the lower section, it was their turn to hop in the log for the logride. Nakasandal si Ate Vi kay Edu. SUPER BEAUTY si Ate Vi, she must have only very very light make-up on parang wala pa nga pero ang GANDA-GANDA niya. From the upper section, I wanted so much to call out her name sa tuwa ko, kaya lang natulala ako! Guwapo ni Edu kaya lang mukhang masungit. Like the first time, the only thing I managed to do was my eyes following them until I couldn’t see them anymore. All that time, I didn’t see Edu smile at all, serious looking siya! Masungit nga! Si Ate Vi was wearing jeans and high heels, diyan ka bibilib kay Ate Vi! Ate Vi and Edu weren’t holding hands, bakit kaya? May sompi yata si Edu kaya hindi siya ngumigiti. I can’t get that picture off my mind. Again, if I can rewind it back, the approach would be different. Siguro kung kasama ko ang mga Vilmanians dito sa egroups lalakas siguro ang loob ko. August 21, 2005, Sunday around 11:00am. Our TV was on cable channel 8, the program was MMK. Our home phone rang, Alan T. called (Thanks, Alan!) and passed the phone to someone and guess who was on the other end? Si Ate Vi nga! Naka-usap ko si Ate Vi. She was having lunch with the Vilmanians at the Radisson Hotel, NY. I must have ESP and stayed home that day kung hindi na miss ko ang chance na maka-usap si Ate Vi. That moment was Heaven! Parang mayroon MAGNET at MAGIC si Ate Vi. Lalong lumalim ang pahanga ko sa kanya ngayon. That was my fourth encounter with Ate Vi. Ano kaya ang susunod? I hope to meet and bond with her. That would be HEAVEN!
Mario O. Garces – I am a baby boomer and come from a large family. The seventh of 11 children (5 boys and 6 girls), with one breadwinner, my Tatay, I knew what poverty was like. Dad was only a high school graduate but he was smart. He was the eldest of 8 children. They started rich: they had a big house, a car, and he enrolled at the U.P. College of Fine Arts. He painted/ drew well and was a great writer. His father, a church deacon, led a double life. He was a compulsive gambler. He forgot his marriage vow and covenant with God to serve His people. He died a pauper. From rags to riches. In his deathbed, he called all of his children to swear not to do what he did. “Isumpa ninyo ang pagsusugal. Malas iyan sa buhay. Sa demonyo iyan.” How I wish I could tell this story to some celebrities I truly admire and respect. Dad had to stop studying and started doing odd jobs to support his mother who had TB. He cried when his younger brothers lied about their age to be able to work as ’kargador’ in the public market. His strong belief in his Creator helped him move on. He dabbled in self-study oil painting, wrote some zarsuelas, even wrote for Tiktik and Liwayway magazines. He ended up being employed by a printing company and served as its lead writer and lay-out artist. My mother only finished the second grade but she knew how to sew clothes and manage our little tienda or sari-sari store. Dad won in some oil painting contests. National Artist Fernando Amorsolo was his role model. All of us 11 children had to help with the family business, household chores and must be at the church every Sunday. Dad’s orders. We had our first black and white Radioweatlh television set and we, eleven siblings would all fight for our favorite channels. Dad preferred to watch stuffs like Alfred Hitchcock Presents, The Rifleman, Combat or Bonanza. Mom would settle for Mga Aninong Gumagalaw (she swooned over Carmen Rosales and Rogelio De La Rosa), and Oras ng Ligaya with her favorites Chi-chay, Sylvia La Torre and Oscar Obligacion. But all of us younger kids were unanimous that Popeye is forever. We would all watch the very slim Pilitia Corrales sing the Pilita Corrales ’patuwad’ way: “the day you came along, with your song, my heart began to sing dear, a million thanks to you my love.” Not to be outdone, Carmen Soriano sang and sashayed to televiewers on Carmen on Camera. We would imitate Joe Quirino’s accent and ’take it away’ lines in Seeing Stars with Joe Quirino. Before Penthouse Live with Martin and Pops, there was Dance-O-Rama with Pete Roa and Baby O’Brien and later replaced by the new U.P. graduate Boots Anson. Yes, we were all hungry for local entertainment. There were no cable, TFC, or the Internet at the time. The proverbial Tagalog weekly comics were our other source of ’escape.’ Kalabog en Bosyo. Booma. Tanikalang Apoy. Gumuhong Bantayog. On radio, Sebya, Mahal Kita and Mga Kuwento ni Lola Basyang were on our must listen to list. On weekdays, my Mom’s day would not be complete without listening to her favorite Dear Abby counterpart, Dely Magpayo. Coming from school, I could hear these lines: “Alas tres na naman po ng hapon. Ito po ang inyong Tiya Dely.” And then there were Nora Aunor and Edgar Mortiz in Tawag ng Tanghalan. I never saw anyone sang People better than Nora. I noticed something different about her eyes. They looked sad yet hopeful. When she was declared champion, I knew something was set free from our masses. There were Vilma Santos and Connie Angeles in Eskuwelahang Munti. Vilma Santos made everybody cry as a hostage victim who softened bad boy Martin Marfil’s heart of stone in the original teleserye of all teleserye, Larawan ng Pag-ibig on ABS-CBN. Some episodes were live but the audience did not notice. I did. The Gripo Princess, Vilma Santos, was on everyone’s lips as Trudis Liit, Ging and that ’cry me a river tot’ in that high rating TV soap tearjerker. Tirso Cruz III in pre-Aunor era was a hit in Nine Teeners. Elvis hairdo, matchstick thin and all. He could hit the high notes of such love ballads like My Cherie Amor by Stevie Wonder. Dad would require us to read Bible verses aloud some days of the week so we could practice our English. I was the champion. I memorized Psalm 23. The winner got to join him and Mom to a double feature in nearby Scala theater. Not that he did not like Tagalog movies. His goal was to teach his kids literature, art and movie appreciation. He was different from other fathers. He would rather tinker around the house, read Time magazine, the Bible or write sermons from an old Underwood typewriter, rather than dwell on idle talk and drink beer like those big-bellied gents at a corner barber shop. To augment family income and help support our tuition and pang-sine, my sisters and brothers would sell ’jewelries’ made from Meycauayan and our house to market stalls in Central and Bambang markets. The boys would trek to Daniel Barrion by FPJ or an Erap action movie. We would save money to be able to watch James Bond’s new movie every Christmas season. Or patiently wait for it to run in double feature theaters. The girls swooned over Rock Hudson and Doris Day, Amalia Fuentes, Susan Roces, Gloria Romero and Nida Blanca. But my favorite was Lolita Rodriguez. She is ahead of her contemporaries. She reminds me of Liv Ullman and today’s Michelle Williams. Oh the power and triumph of restraint. Nora, Vilma, Charito, Hilda, Gina Alajar must have taken a cue from this great actress. Less is more. Where the hell is she? And Vilma Santos? There’s something that’s different about her. I loved Ging but I loved her more in the company of Marlene Dauden (Sa Bawa’t Pintig ng Puso) and with Lolita/Marlene/Eddie R. menage a trois like in Kasalanan Kaya? I didn’t know she won the best supporting actress award from this movie until I was older. All I knew was she is pretty, cute and always cries in her movies. The 70’s I knew that Vilma can act but Nora can sing. U.P. was split between Nora, (Turn to next page) Hilda and Vilma. Communism and the status quo. The avant garde and the weirdos went gaga over Hollywood and European films, especially France’s Truffaut and Company. Movie appreciation started with my Dad and encouraged by the U.P. system. My eyes popped out watching foreign flicks like Fritz Lang’s Birth of a Nation, and some classics like The Cabinet of Dr. Caligari, The Seventh Seal and La Strada. I knew my Truffaut from Bergman and Kurosawa. Even the Apu Trilogy. Over at nearby Delta theater, I saw intriguing avant-garde movies like the one with Glenda Jackson in Women In Love, from hardearned money. I would walk miles to save on U.P. Ikot jeep and bus fares and spend it on movies. I was paper thin. I was addicted to the movies and reading. Since money was tight, I would wait long lines and wake up early to get an expensive reserve book, a required reading in school. I would bring itlog na maalat and rice as baon, and spend lunch money on film retrospective festival tickets at the school and other venues in Makati. My PETA acting experience taught me a lot about how difficult and disciplined stage acting is. One summer before Martial Law was declared, I appeared as one of the angry market vendors in Nikolai Gogol’s drama-comedy five act play, The Inspector General, presented by Campus Crusade for Christ and PETA. Fellow schoolmates Lutgardo Labad and Maryo J. De Los Reyes were at the helm. I didn’t have a clue on what to expect as I never acted on stage before. PETA stalwarts Soxy Topacio, Angie Ferro, even Lino Brocka were happy and generous to teach us acting 101. My parents almost disowned me as I came home late and hungry from rigorous rehearsals at the Raha Sulayman Theater in Fort Santiago. I saw Dama De Noche with Vilma in a dual role. I thought her breakdown scene in this Nestor Torre scipted movie, akin to her similar and memorable role in Ikaw Ay Akin would win her a grand slam in the Quezon City Film Festival and the FAMAS. Well, at least the FAMAS chose wisely. And then, when Vilma donned the Darna costume, there was no looking back. There I was at the jampacked Grand theater in Cubao, a witness to history when the New Box-office Queen was born. All of Metro Manila citizens trooped to the theaters and witnessed the Longest-Reigning Box-office Queen Vilma Santos kicked the bad guys’ ass as the flying super heroine in Lipad, Darna, Lipad. Up, up and away and Vilma took off. Bye-bye, forever, arch-rivals! Ecu tatakot, keka pa, ne? At the height of the Vilma-Nora rivalry, I didn’t sleep when Vilma didn’t bring home the trophy in the 1978 MMFF. I was one of the millions who went to bed depressed, maybe along with Manunuri Isagani Cruz (who thought that Vilma’s role in Rubia Servios was more complex and difficult to do). The whole brouhaha was, I believe an offshoot of Vilma’s earthshaking win in the 1977 MMFF where she made the greatest career turn via Burlesk Queen. At last, the box-office queen and overshadowed Actress found her niche in Philippine Cinema. From Burlesk Queen to Relasyon, Dekada ’70, and Mano Po 3, on one end, and from Minsa’y Isang Gamugamo to Sidhi on the other side of tinseltown, someone had to win the prestigious U.P. Gawad Plaridel Award. Overnight, the 1972 QCFF and the 1978 MMFF nighmares were erased. It was more than revenge, it was poetic justice. For Vilma, these words of wisdom ring true: “thus, the last will be first, and the first will be last. Weeping may endure for a night, but joy cometh in the morning.” “And he who perseveres to the end will be…saved.” Flash forward to August 19 and 20, 2005. At long last, Vilma In Person. A dream come true. The object of my inspired articles, movie-going life and movie reviews stood beside me and my wife. She shook our hands. Now I know why she is still what she is then and now. You would forget she is the greatest actress of the Philippines, or a surprisingly capable Mayor with a PhD degree in Humanities. The Queen is indeed charming, pretty, humble, down to earth, funny and smart. From reel to real, Vilma Santos is God’s gift to the Filipinos. May she live long and healthy to continue to inspire us all.
John Agra Amauri – Lumaki ako sa kapaligirang baduy ang humanga o umidolo sa artistang lokal. 1970’s: Noong mga panahong ito, malaki at matindi ang tunggaliang Vilma-Nora kung kaya’t hindi mo ito matatakasan. Laman sila ng halos lahat ng balitang pangartista at sa aking murang pag-iisip, marami akong katanungan. Sinagot yun isang hapon ng isang aleng maglalako. Nakiusap ito sa aking mga magulang kung puwede siyang pumuwesto sa gilid ng aming ng aming bahay at magtinda ng iba’t-ibang gulay at prutas na may kasamang paarkilahan ng mga Komiks/Magasin. Pinayagan naman siya at bilang pasasalamat, inaabutan niya kami ng pinakasariwa niyang paninda paminsan-minsan. Pinayagan rin niya akong arkilahin ng libre ang mga Komiks/ magasin niya at iyon ang naging simula ng isang hindi inaasahang mahabang sikretong ’relasyon’ at tumulong sa paghugis ng aking pagkatao magpahanggang ngayon. Patago kung basahin ko ang mga Komiks at Magasing balitang artista. Istrikto kasi si Itay, napakarami niyang hirap na dinanas sa pagtaguyod sa aming pamilya at para sa kanya, walang maidudulot ang mga artista, lokal man o banyaga, kundi ang pagtatapon ng oras at pera. Ilang ulit din akong nahuhuli ng aking ama at napapagalitan ngunit hindi talaga ako mapigilan. Panahon iyon ng pamamayagpag ni Nora ngunit mas nahulog ang loob ko sa naaapi. Ang naaalala ko ay ang husay ng pagdala sa sarili ng puma-pangalawang labtim ni Vilma at dito ako unang humanga. Sa aking panakaw na pagbabasa, sa bawa’t tagumpay na tinatamo niya, patago akong ngumingiti sa aking sarili. At sa bawa’t dagok na dumadating sa kanya, patago rin akong nagdadalamhati. Maging sa paaralan, bihirang mapagusapan ang mga kuwentong artistang lokal sa aming grupo. Ang kinagigiliwan noon ay mga pelikulang aksiyon mula Hollywood. ’Colonial mentality’ ngang tunay. Dahil dito, marami akong pinalampas na pelikula ni Vilma. Maliban sa mga aguinaldo, tuwang tuwa ako sa pagsapit ng Pasko at Bagong Taon dahil sa MMFF. Pelikulang Pilipino lamang ang mapapanood at pelikula ni Vilma ang pinapanood namin kapag kasali siya. Ngayon ko lang napag-isip, hindi kaya secret Vilmanian rin ang mga barkada ko noon? Panahon ito ng Lipad,Darna, Lipad. 1980’s: Kolehiyo. Sa unang pagkakataon, ako ay lumisan ng bahay upang tumira sa kampus ng Pamantasan. Dito naman, mas lalong hindi pinapansin ng akademya ang mga artistang lokal at bagkus, mababa pa ang tingin sa kanila kung minsan. Hindi rin nakatulong na dormitoryo ng mga dayuhang estudiante ang napili kong tirahan. Subali’t nakamtan ko naman ang sariling laya sa mga panahong ito. Para akong ibong nakawala sa hawla at natutung maging magsarili. Mag-isa kong pinapanood ang mga pelikula ni Vilma at masaya na ako sa ganoon kahit na papaano. Pero hindi pa rin ako matatawag na ’die hard fan’ dahil hindi lahat ng Vilma Santos movie ay aking pinapanood tulad ng Doctor, doctor…at Ayaw kong maging Kerida. Namimili pa rin. Ang dalawang pelikulang hinding hindi ko nakakalimutan at lalong nagpahanga sa akin ay ang Pahiram ng Isang Umaga at ang makabuluhang Sister Stella L. Dito na nag-iba ang pagtingin ko sa kanya. Artistang may ’social at political relevance’ sa mga trabaho niya. Matapang. Noong mga unang taon ng dekada ’80, ako’y nagumpisang mangolekta ng mga librong Anthology ng Don Carlos Palanca Memorial Award for Literature na bigay ng La Tondena Distillery. Dito ko unang nakilala si Lualhai Bautista at nabasa ang Dekada ’70. Mainit ang librong ito noong panahong iyon. Nangarap akong sana’y isapelikula ni Vilma ito. May matinding mensahe at ang babae dito ay ayaw nang magsawalang kibo sa nangyayari sa kapaligiran niya. Vilmang Vilma. Ito, sabi ko ang kasunod ng Sister Stella L. Nang sumunod naman ang nobelang Bata-Bata, Paano ka Ginawa noong 1984, nangarap uli ako at pumasok talaga sa isip ko ang padalhan si Ate Vi ng dalawang aklat na ito at imungkahing gawin niya. Nabanggit ko ito sa aking matalik na kaibigan at ako’y tinawanan lamang at sinabing ako’y nahihibang. Siyempre, Isa ako sa unang labis na natuwa at nagalak nang ito ay natupad pagkaraan ng halos dalawang dekadang paghihintay. 1990’s-2003: Memoirs of Buhay ’Merika. Malayo man ako sa inang bayan, balitang Vilma pa rin ang aking unang hinahanap. Ilang minuto lamang ang Hollywood mula sa trabaho o tirahan at naglilipana rin ang mga babasahin at balita tungkol sa mga bituin ng Hollywood pero wala pa rin. Merong Kulang. Paminsan-minsan ay merong balitang Ate Vi sa mga diaryong Pilipino dito at nakaka-dulot na ito ng saya ngunit bitin pa rin. Malaki ang pasasalamat ko sa internet at naging mas madali at mabilis ang paghanap ng mga balita tungkol kay Mayor Vi. Palihim at panakaw akong naghahanap ng balita sa net kapag nasa trabaho ako. Sa internet ko nalaman ang unang pagkapanalo niya sa eleksiyon. Ganoon din ang pangalawa at ang pangatlo. Sa mga panahong ito, ako ay sumaludo at naging 100% Vilmanian at taas noong pinagmamalaki siya noong pinatunayan niya ang pagiging epektibo niya sa kanyang panungkulan bilang Mayor. Sa kauna-unahang pagkakataon, may ’clippings’ ako ni Ate Vi at iyon ay pinamagatang Starring: Vilma Santos sa Newsbreak ng Inq7 (Oct. 27, 2003). Sa tuwa ko ay gumawa ako ng maraming kopya at pinamudmod ito sa mga kaibigan kong pinoy na gustong makinig. Kasabay sa isyung ito ang artikulong The Bad Mayor na si Joey Marquez. Tunay nga siyang kahanga-hanga. Hindi na isang artista lamang ang tingin ko sa kanya mula noon. Role Model at Inspirasyon. Magaling na aktres, marunong bumangon sa pagkadapa, maganda at mabait, mapagkumbaba, kagalang-galang at mas may bayag pa kesa sa ibang lalaki. Sa mga iilang taong iniluluklok ko sa pedestal na nabubuhay pa ay pawang mga lalaki iyon at maituturing kong malaking karangalan at pasasalamat at nakaharap ko sila sa magkakaibang okasyon. Sina Noam Chomsky, Warren Buffett at HH the Dalai Lama. Ikinagagalak kong sabihin na si Ate Vi ay kabilang na ngayon sa mga ito. Sana ay makadupangpalad ko siya. Sa pamamagitan pa rin ng internet, nalalaman ko ang mga bago niyang pelikula at aking inaabangan sa mga tindahang Pilipino sa may Vermont St., Temple St. at sa Glendale kung saan pugad ng ang Pinoy. Kasama ang kaibigan kong Vilmanian at ang buong pamilya niya, sabay kaming manonood ng mga pelikulang Vilma sa kanilang bahay tuwing linggo habang kumukukot ng cornicks, Chippy o V-Cut, chicharon na may suka o di kaya ay manggang hilaw at bagoong at minsan naman ay caramel pop-corn at pulvoron ng Goldilock’s. Kahit papaano, nasa Pilipinas uli kami sa mga sandaling iyon. Panahon naman ito ng mga Ipagpatawad mo, Dolzura Cortez, Sinungaling mong Puso at Bata-bata. Halos linggu-linggo kung dalawin ko ang aking nakababatang kapatid at kalapit nito ang West Covina. Sa aking pagkaka-alam, dito nakatira ang pamilya Santos. Minsan ay nababasa ko na lamang na nasa California si Ate Vi at nagbabakasyon. Natutuwa naman ako at alam kong naririyan lamang siya sa malapit ngunit wala naman akong maisip na paraan kung paano siya makaharap. So near and yet so far nga. 2004 noong una kong matunghayan ang ibat-ibang website ni Ate Vi. Nagmamasid lamang ako noon at naglakas loob lamang sumali noong 2005. Nasa ibang bansa na uli ako at malayo pa rin sa sariling bayan ngunit hindi na ako pipi ngayon bilang Vilmanian. Salamat sa grupong ito at nabigyan ako ng boses bilang isang Vilmanian. Nang dumating ang UP Gawad Plaridel ay hindi ko maiwasang mapaluha sa galak. Gustong gusto kong maging bahagi sa okasyong ito na handog ng sistemang aking pinagmulan subalit sadyang hindi nauukol. Hindi pa rin ako mapakali at nakadalawang tawag ako sa kolehiyo ng Mass Comm noong araw ng parangal upang makibalita. Madaling araw man dito noon ay hindi ko ininda. Ito kasi ang itinuturing kong pinakamahalagang parangal na natamo niya sa buong buhay niya. Bindikasyon ito sa lahat ng nagawa at nai-ambag niya sa sining at taong bayan. At nagpapatunay lamang ito na hindi nga ako nagkamali sa pagpili ng hinahangaan. Ngayon, dito sa grupong ito ko na kinukuha ang mga pinakasariwang balita tungkol kay Ate Vi at ang magbigay o makinig ng opinyon. Dito ako nakatagpo ng maraming kapwa Vilmanian na hindi ko naranasan noon. Ang unang-una kong pakikipag-tanggol at pakiki-pagsagutan sa kampong mapang-away kahit man lang sa pagsulat. Unti-unti ko ring hinahasa dito ang kinakalawang kong pag-sulat sa Ingles man o sariling wika. Dito ko naranasan ang pinakamalapit kong pakikiharap kay Mayor Vi sa pamamagitan ng kanyang pagbati at pagsulat. At siya, bilang aking inspirasyon, ang nakapag-udyok sa aking makagawa at maibahagi dito ang kauna-unahang ’haiku’ sa tanang buhay ko na hindi ko inaasahang mangyayari. Salamat, Ate Vi. Agra Amauri, n.b. Ang paggamit ng pangalang ito ay pagbibigay pugay sa isang taong naging tulay upang madiskubre ang isang munting Vilma Santos. Kung hindi ako nagkakamali, ang ’uncle Amaury Agra’ ni Ate Vi ang unang nagdala at nagprisinta kay Doc Perez sa Sampaguita Pictures. After that, the rest is history. Ano na kaya ang nangyari sa kanya? Wala akong nababasa tungkol sa kanya. Kung saan man siya naroroon, maraming salamat.
R Viray – Maliit pa akong bata, mulat na ang kaisipan ko tungkol sa mga bagay bagay tungkol kay ate Vi. Madalas yung mga amiga ng auntie kapag nagmamadjong, isa sa mga usapan nila lagi ay nauuwi sa mga maiinit na debate tungkol kung sinong mas mas maganda, kung sinong mas magaling kumanta, sumayaw. Kadalasan ang kinauuwian nito’y ang pagliliparan ng mga “tiles” ng madjong. Ang mga amiga ng tita’y ang mga makukulay na karakter sa aking kabataan. Nakasanayan ko nang manood ng mga pelikula ni Ate Vi mula pa sa aking kabataan. Mayroon kaming kamaganak na takilyera kung kaya madalas ang pagpasok namin sa mga sinehan na walang bayad. Ilang sa mga pelikulang napanood ko na nagbigay sa aking ng ilang bangungot ay ang mga pelikula ni Ate Vi na kakatakutan. Katulad ng Lipad Darna Lipad, Hatingabi na Vilma at Anak ng Aswang. Kung sa gabi’y banungot ang lagi kong nararanasan salamat naman kay Darna at ang kapatid niyang si Ding laging nasasagip ako sa ending ng bawat masamang panaginip ko. Sa tuwing hapon matapos ang aking klase, takbo ako ng takbo, kalaro ko ang aking pinsan. Ako si Darna at ang pinsan ko naman ang babaing ahas! Labanang umaatikabo. Takbo kami sa bubong hanggang sa silong na aming bahay. Sigaw ng sigaw si inay lalo na nang marumihan namin ang puting kulambo na kakaalmirol lamang niya’t nakasabit kisame ng aming sala. Takbo rito, takbo ruon habol na rin si inay sa amin. Kapag dumarating na si tatay na lasing, naiisip ko lagi si Max Alvarado sa Darna and the Giants. Dahil sa mga yabag niya, nabubugabog ang buong bahay namin. Kapag dumarating rin si tatay ay laging napuputol ang panonood ko sa tv. Taong 1973, gabi ng parangal ng FAMAS. Nominado si Ate Vi. Nakatutok ako sa telebisyon habang nanahi ang nanay ko ng mga belong itinitinda niya sa Quiapo. Hating-gabi na pero dahil sa kaabalahan ay hindi ako pansin ni inay. Malapit nang i-proklama kung sino ang best actress. Hanggang sa dumating si Itay, si Max. Bakit raw gising pa ako! Inutusan akong bumili ng kanyang lapad. Nagdadabog akong tumakbo sa tindahan. Malayo-layo rin ito. Mabilis akong kumilos dahil sa banta ni itay na kung hindi ako kikilos agad papatayin niya ang telebisyon. Mga sampung kanto rin ang tindahan mula sa aming bakuran. Ilang araw na ulan kung kaya ang lupa sa aming bakuran ay basa’t maputik. Sa tindahan magsasara na si Aling Toyang mabuti na lang at naabutan ko kung hindi’y ang lalakbayin ko’y dagdag na anim na kanto, duon sa susunod na tindahan, kay Mang Tomas. Kapag kuha ko ng lapad ay takbo na ako. Sigaw ako ng Darna at ang pakiramdam ko talaga’y lumilipad ako. Malapit na ako sa aming pinto’t tumatakbo ako sa aming bakuran ng marinig ko ang mga kahol ng aso ng aming kapitbahay. Sa tako’t ko’y lalo ko pang binilisan ang pagtakbo hanggang sa madapa ako sa gitna ng putikan. Galit na galit ang tatay ko. Bakit raw puro putik ang lapad niya, pero mabuti raw at hindi nabasag. Galit na galit ang nanay ko at nag-umpisa na silang mag-away dahil ang sabi ni nanay mas mahalaga pa raw kay Max ang lapad niya. Naligo agad ako’t nagbihis at bumalik sa harap ng telebisyon habang patuloy na nagaaway ng tatay at nanay ko. Malapit nang sabihin kung sino ang mananalo nang bigla na lamang akong sigawan ng tatay ko’t ibig paalisin sa harap ng telebisyon. Napatingin na lamang ako sa nanay ko upang humingi ng saklolo. Hatak hatak ako ng tatay ko pero nakatutok pa rin ang mga mata ko sa telebisyon. Iprinoklaman si Ate na ka-tie ni Boots Anson Roa bilang best aktres! Habang paakyat ng entablado si Ate Vi, nakangiti ako, hindi ko alam na pinapalo na pala ako ng tatay ko ng kanyang sinturon. Nang patayin ng tatay ko ang telebisyon ay saka ako napasigaw sa sakit, latay latay na pala ang katawan ko hindi ko pa pansin dahil sa epekto ni Ate Vi sa akin. Bata pa ako nuon hanggang sa lumaki ako, lahat ng sakit sa puso at kung ano anong problema hindi ko naaalintana dahil nariyan si Ate Vi. – Unang nilathala nuong 2005 sa V magazine at VS Yahoo e-group
Figure 1: Best Actress from FAMAS, Gawad Urian, Film Academy of the Philippines, and CMMA
The oldest award giving body in the Philippines was the Filipino Academy of Movie Arts and Sciences simply called FAMAS. It was launch two years after the Maria Clara awards folded in 1951. FAMAS shared the same name with the American film academy; AMPAS until the later complained and the Filipino organization have to change theirs into the current acronym. FAMAS created a history of controversies throughout their more than sixty years in award-giving business mostly due to their questionable selection of winners. In 2006, FAMAS experienced another setback when two groups divided the organization due to a controversial election of its officers. As the legal battle settled, the battling groups decided to just hand out their own awards, one used the name FAMAS and the other the Maria Clara Awards. Like its infancy, the Maria Clara Awards did not reach its maturity and died the second time. This is not the first time FAMAS experience disgruntled “break-away” members forming their own award. Prior to 1976, FAMAS retained their status as the most prestigious recognition a Filipino actor could have. Charito Solis, who won best actress at the Asian Film Festival in 1967 used to proudly bring her FAMAS trophies on the film set to intimidate starlets and to instigate professionalism. The breakaway group of critics wish to distinguish themselves from FAMAS by successfully branded their award as not for actors who overtly act in films, they catered to the ones who are restrained and controlled. Hence, the term “Pang-FAMAS na acting” was born, which means over-acting.
The new group of practicing critics handed out their first award in 1976 and called themselves as the Manunuri ng Pelikulang Pilipino (The Filipino Film Critics) and their awards as Gawad Urian. The critics created a name for its credible choices of winners throughout the years. This untainted reputation made the Gawad Urian, the most sought after award in the Philippines.
Two years after the critics handed out their Gawad Urian, the Catholic Church joined the derby by handing out their own version of movie awards. The Catholic Mass Media Awards came to fruition in 1978 with the late Cardinal Jaime Sin in charge of the ceremony. CMMA honour not only films but also television, print, radio, and recently advertisement.
Five years afterwards, came the establishment of the Philippines’ counterpart of OSCAR. Consists of different guilds, the very first academy awards, now called Luna Awards, handed out in 1983. After 25 years, the Luna Awards cemented a reputation as “the popularity contest awards,” which means each guild votes for their favourites and not necessarily about merits. They tried very hard to adopt a new set of voting rules including different nominating group that represented each guild to resolve this issues but like the OSCAR, the results are sometimes questionable. The common consensus was that the Luna Awards remained far behind Gawad Urian. Two years after the creation of Film Academy of the Philippines’ Luna awards, another group joined the award giving business.
The Philippines Movie Press Club or the PMPC handed out their first Star awards in 1985. The Star awards were considered the Philippines’ counterpart of the Golden Globes. And like the Golden Globes, the Star also honours television. The only difference is that the Star Awards hands out their film and televisions ceremonies separately. Consists of publicists and entertainment writers, who are member of PMPC (Philippine Movie Press Club) the Star Awards followed the footsteps of Gawad Urian with very credible choices of winners but just like FAMAS, the Star Awards experienced the same fate with a disgruntled members formed their own version of the same awards. The Entertainment Press Society was born with their Golden Screen Awards in 2004.
Today, in addition to the Gawad Urian, FAMAS, Luna, CMMA, Star Awards, and Golden Screen, we also have the PASADO awards from an organization of academics; the YCC, Young Critics Circle Awards from a group of film students; the Gawad Tanglaw from an organization of film and arts’ instructors. Lately, the OMG Awards by the internet company, Yahoo Philippines, and the MTRC Awards by the board of censors joined the now, overcrowded award giving bodies.
Before 1982, the word grandslam were only used in sports. The term grandslam according to Wikipedia in terms of tennis is a singles player or doubles team that wins all four major tournaments (Australian, French, Wimbledon, US) in the same calendar year, is said to have achieved the “Grand Slam” or a “Calendar Year Grand Slam,” just like what Steffi Graf, the retired German tennis superstar did in 1988. Meanwhile the American Heritage dictionary described the term “grand slam” as follows: first, the winning of all the tricks during the play of one hand in bridge and other whist-derived card games. Second, the winning of all the major or specified events, especially on a professional circuit. And third, in baseball, a home run hit when three runners are on base. From this set of definitions comes the term “grand slam best actress” which basically winning all the best actresses awards from all major award giving bodies. And in 1983, the four majors were FAMAS, Gawad Urian, CMMA, and the FAP (or Luna now).
The Beginning – The Marcos administration created the Film Academy of the Philippines in 1981 under the guidance of first lady Imelda Marcos and Imee Marcos as Experimental Cinema of the Philippines’ director-general. ECP started to ambitiously produced films to showcase local talents for its inaugural Manila International Film Festival. The organization produced two memorable films, Peque Gallaga’s period film, “Oro, Plata, Mata” and Ishmael Bernal’s French influenced film, “Himala.” Come Gawad Urian night, both films received its stiff competitions from three other films, Mike Deleon’s “Batch ’81,” Lino Brocka’s “Cain at Abel” and Marilou Diaz Abaya’s “Moral.” For the Manunuri, the previous year produced only two stand out films, Mike De Leon’s Kisap Mata and Laurice Guillen’s Salome. A big contradiction this year, as not only they have the tasks of sorting out the best in each categories from these five films mentioned above but also other worthy films. Famous with their long heated debates, the local critics added the following films in their list of best films: Nora Aunor’s “Mga Uod at Rosas,” Vilma Santos’ “Relasyon” and Hilda Koronel’s “PX.” The three were cited not only for the overall production but also for the performances of the film’s lead actresses. Also cited were, ECP’s delicate horror film, “Haplos” directed by Jose Perez and two Lino Brocka films, the comedy “Palipat-lipat, Papalit-palit” and the drama “In this Corner.”
For Vilma Santos, The previous year, Pakawalan Mo Ako was a huge summer hit that earned Vilma a surprised best actress in FAMAS. That year also released Ex-Wife and Hiwalay, about marital problems. Art imitating life, as there were reports that Vilma and now, ex-husband, Edu Manzano were having some marital problems. But Vilma as trooper as she is, any personal troubles were not publicly noticeable as she goes on with her work, business as usual. Also, Vilma gave birth to her eldest son Luis “Lucky” Manzano.
By December of 1981, her film festival entry, Karma earned her another surprise best actress trophy after the FAMAS gave her the nod for Pakawalan Mo Ako. In an unrelated news, the entertainment industry were shocked to found that matinee idol, Alfie Anido died on Dec 31st. Like the death of Julie Vega and Rico Yan, it is still unknown the reason behind Anido’s death.
She is determined to make 1982 another successful year. She released a total of six films, out of six; two were certified record breakers, “Sinasamba Kita (I Idolized You)” released in August and “Gaano Kadalas ang Minsan? (How Many Times is Once),” released in November, both produced by Viva Films. The other four films (Relasyon, T-Bird at Ako, Never Ever Say Goodbye, Haplos) were mild hits. All of her hard work paid off because as early as January of the 1983 she was already poised to reap major awards.
Meanwhile for Nora Aunor, 1982 were a mixed bag of mild hits and failed opportunities. “Mga Uod at Rosas,” her collaboration with Lorna Tolentino and director Romy Zusara produced a mixed reviews from the critics. Her excellent performance did not help as the film were just mild hit with the audience. Her follow up films, “Annie Sabungera” and “Palenke Queen” both comedies also did not do well at the box office making the expectation from her next film higher, as she teamed-up with the hottest star of 1982, her closest rival, Vilma Santos in Danny Zialcita’s fast paced film, “T-bird at Ako.” T-bird’s high expectation wasn’t realized as the film earned just a modest income.
By December, all eyes were focused again on Nora and her most ambitious project to date, Ishmael Bernal’s “Himala,” produced by the Imee Marcos’ Experimental Cinema of the Philippines. The film was an entry to the Metro Manila film festival. Nora Aunor was again proclaimed the “queen of local festival” as she won her third Metro Manila Film Festival best actress. Nora’s momentum was rising and she was conditioned to make some serious dent in the following year’s award giving seasons. Critics were all going “gaga” with Aunor’s gigantic performance as Elsa. They said Himala was very effective in communicating its film’s message; it has moving moments and raw power.
Communicated It Really Well – “…Nestor Torre…he finds Batch ’81 the best movie made in 1982. “The movie had something very important to say and it communicated it very well…As for the best actress, it’s Nora Aunor in Himala. “It was a good role, and she communicated it very well. At least, Nora wasn’t api here for a change, It was quite a complicated role, but she handled it very well….Other choices were Gina Alajar and Lorna Tolentino in Moral…Vilma Santos, Nestor notes, is admittedly a “very hard worker but her physical structure really makes it difficult for her to be really effective—hindi malalim—and her voice is not that expressive.” Nestor adds, though, once in a while, Vilma “transcends her physical limitations, as in Rubia Servios…” – Nestor Torre Jr. (film critic), Parade Magazine, January 19, 1983
Moving Moments – “…Best Films: (in the order of preference) 1. Oro, Plata, Mata and Batch ’81; 2. Relasyon and Himala; 3. Moral. Best Directors: (in no particular order) 1. Ishmael Bernal for Relasyon and Himala; 2. Peque Gallaga for Oro Plata Mata; 3. Mike de Leon for Batch ’81. Actresses: 1. Vilma Santos for Relasyon; 2. Nora Aunor for Himala and Uod at Rosas; 3. Sandy Andolong for Moral and Oro Plata Mata; 4. Gina Alajar for Moral. Actors: 1. Mark Gil for Batch ’81 and Palipat-lipat, Papalit-palit; 2. Joel Torre for Oro Plata Mata; 3. Christopher de Leon for Relasyon. Most movies are usually flawed, and those in my list are no exception. However, apart from the standard criteria I am applying to them (the classic from and content balance), I am giving much weight on impact and emotional power. So, my top two are Oro and Batch. Himala is an ambitious film and much flawed, but it has visual beauty and emotional wallop.
Relasyon is more modest in scope, but I think is more successful on its own terms. Moral has many good things going for it, from direction and writing, to performances, but it does not match the four other films in impact (though it has some moving moments) and originality…” – Mario Hernando (film critic), Parade Magazine, January 19, 1983
Raw Power – “…Ding Nolledo…confesses to liking Himala “very much” but mentions that he hasn’t seen Oro Plata Mata…because the film exudes “raw power,” not to mention the excellent acting and the direction, which was like early Fellini, especially the middle part…Ding doesn’t agree with Moral’s rave reviews because “I’ve seen Moral in about 369 other films.” It’s not that original, he implies. As for best actress, it’ll have to be Nora in Himala. “She reminds me of the young Anna Magnani. Besides, the script fitted her to a T. The role practically coincides with what she is in real life…” – Wilfrido Nolledo (novelist, screenwriter, film critic), Parade Magazine, January 19, 1983
Himala won nine out of eleven local festival awards. A sort of repeat of what Vilma’s “Burlesk Queen” achieved in 1977 but without the complaints or sour grapes.
Body of Work – The success of Himala in the December festival has been overshadowed by the commercial success of Vilma Santos’ body of work. In fact, on Dec 14, 1982, Channel 9’s talk show, Let’s Talk Movies recognized Vilma Santos as their best actress for her body of work. Nora Aunor was nominated for her films excluding her epic movie Himala which was not qualified due to the show’s fiscal year requirements which covers December 1981 to November 1982 (More about this below).
On January 20, 1983, Vilma was crowned the Box Office Queen by the Metro Manila Theaters Association in their very first The 1st Cinehan Awards. Reporter Meg Mendoza wrote in an article for Prime Magazine, “…Vilma gave Viva Films its first biggest hit in Sinasamba Kita earning over P7M in Metro Manila alone. Then came T-Bird at Ako (a mild hit), Never Ever Say Goodbye (a sorry miss), Gaano Kadalas ang Minsan? (her biggest hit for that year) and Haplos. As early as January 20, 1983, Vilma began to reap several victories when she was awarded by the Metro Manila Theaters Association on their first Cinehan Awards together with Fernando Poe, Jr. held at the Philippine Plaza.
National Artist Nick Joaquin, in an article that came out in the Bulletin Today on February 11, 1983 wrote: “By emerging as box-office queen, Vilma Santos proved herself to be the Philippine Cinema’s Superstar – a title, it’s to be realized now, that can be bestowed only by the Cinehan.” So, on Cinehan Awards Night, Vilma was the very picture of the conquering heroine, drawing all eyes as she glowed and glittered, a rapture of radiance in her strapless white gown with lilac sash – and in white gloves yet! In her triumph joined both cinema and cinehan. Her pictures were all well done – and they also did very well at the box-office. In the same awards night, Ambassador Jaime Zobel de Ayala, another recipient of the Cinehan, upon receiving his award from Dean Lucresia Kasilag said: “I’m only a little bit sorry that Vilma didn’t give me the award. But it’s all right, I’ll try again next year. You’re my favorite star, you’re my muse! I’ll suffer in silence…”
Ironically, few weeks after her crowning as box office queen, Vilma released Ayaw Kong Maging Kerida, the result was average, proving the Romeo Vasquez and Vilma Santos screen charisma has subsided immensely.
Not to be outdone with Vilma’s latest feat, Nora’s “Himala” competed in the 1983 Berlin International Film Festival the following month. The film was the Philippines’ sole entry. The rave reviews were solid, Aunor’s performance was recognized by a nomination but unfortunately, according to Bernal, she lost the race by a mere vote. Would a similar fate awaits Aunor as the local award giving seasons begins?
First Major – By late February, the award-giving season in the country started. In their website, the Catholic Mass Media Awards recalled, “…The Archdiocese of Manila, through His Eminence Archbishop Jaime L. Cardinal Sin, organized the Catholic Mass Media Awards (CMMA) in 1978, in observance of the International Social Communication Day (established by the Universal Church to stress the importance of mass media and to instill a sense of responsibility in communicators). An outstanding way, in radio, print, advertising, television, and film. It was first given out in 1978; since then the CMMA was held every year onwards. In 1980, His Holiness Pope John Paul II graced the awarding ceremonies. Handing out personally the trophies to the winners, the Pontiff illustrated the significant place of mass media in today’s society, and its pervasive influence in the lives of the people…”
Just the previous year, the CMMA praised Nora Aunor’s acting in the late Mario O’harra film, “Bakit Bughaw ang Langit?” and she was adjudged their best actress. There is a great chance that Nora would repeat the feat, as many expected the church would favor a well-crafted film with religious theme.
On February 29, 1983, the fight between Nora Aunor’s “goliath” type of performance in “Himala (Miracle)” versus the “davidian” type of performance in Vilma Santos’ “Relasyon (the affair)” begins. The media were partly right, CMMA gave their best picture, screenplay, supporting actor/actress to Himala. But despite its, taboo story of a mistress, the Catholic Church’s award giving body favoured Vilma’s sympathetic performance.
Vilma won the first bout. Nora left empty-handed. The first blood has been drawn and Noranians, Nora Aunor’s fanatic fans were furious. The fight didn’t stop at the Catholic Mass Media Awards. The next one was a big one.
Second Major – Noranians expected a third Urian best actress considering the magnitude of Aunor’s performance in Himala and the positive reviews it received. Positive reviews that were written by the Manunuri critics themselves. Noranians dismissed Vilma’s win at the CMMA and expected that metal sculpted trophy was in the bag already. By the way, who are these critics anyway?
Practicing Film Critics – Movie writer, Billy R. Balbastro described the Manunuris: “…The Manunuri ng Pelikulang Filipino…is an organization of practicing film critics established in 1976. Most came from the Academe then with Nestor U. Torre becoming its first president. The Manunuri had its Gawad Urian in simple one hour-long rites at the CCP then. Dr. Bienvenido Lumbera Jr. became its second president. Other presidents include: Mario Hernando, Butch Francisco, Agustin “Hammy” Sotto, Gigi Javier Alfonso of UP. Each critic-member is expected to write regularly film reviews or film criticism which must be published in national publications. Each year too they give out awards for achievements in the movie industry, thus joining the FAMAS, the Film academy of the Philippines and the Philippine Movie Press Club’s Star Awards in this aspect of endeavor. During their first decade (1976 to 1985), they also came up with their Stars of the Decade: Nora Aunor, Vilma Santos, Vic Silayan and Phillip Salvador. The members of the Manunuri are: Mario Hernando (editor of Sunday Malaya), Bienvenido Lumbera Jr.(1993 Ramon Magsaysay awardee for journalism, literature and creative communication), Nicanor Tiongson (former artistic director of the Cultural Center of the Philippines, and former MTRCB chair), Butch Francisco (TV personality), Agustin “Hammy” Sotto (founding president of the Society of Film Archivists), Paul Daza (columnist), Gigi Javier Alfonso (dean of the UP-Diliman Open University and professor at the UP College of Mass Communication –UP-CMC), Ellen Paglinauan (dean of UP-CMC), Bro. Miguel Rapatan (DLSU), and Lito Zulueta (Inquirer sub-editor and faculty member of the UST Faculty of Arts and Letters)…”
The 1973 Scandal – Speaking of co-winner or “tie,” writer Rolfie Velasco pointed out in his article, “…FAMAS was the sole award-giving body for film in the Philippines from 1952 until 1976, when the Manunuri ng Pelikulang Pilipino (MPP) formed the Gawad URIAN (FAMAS was also contested by the Manila Film Festival, established in the 1960s, but a film festival cannot be considered as a major award-giving body). From 1952 to 1976, FAMAS alone has awarded the most foremost performers and craftsmen of Filipino films, from screen legend Rosa Rosal to master director Gerardo de Leon. Winning a FAMAS Award became the target obsession for many film craftsmen, for it was, after all, the Philippines’ counterpart of the Oscars. The awards itself, then held mostly in the Manila Hotel, was the biggest annual event in the Philippine movie industry…In 1973, the FAMAS was rocked by a terrible scandal. It awarded the first tie in the lead categories in the history of Philippine cinema. Before this, the only recorded tie was in 1968, when Tito Arevalo and Tony Maiquez shared the Best Musical Score honors. Because of the popular nominees with their loyal supporters, the tie in the 1973 best actress category became a hot topic with both Boots Anson-Roa (Tatay Na Si Erap) and Vilma Santos (Dama De Noche) sharing the honors. Because a tie in the lead categories was unheard of, the public dissented the vote. Therefore, for the next years, the FAMAS invited film critics to be members of its nominating and awarding committee. These critics left the FAMAS in 1976 to form MPP and subsequently, the Gawad Urian (Urian Award), named after the Tagalog word for gold standard…”
On April 15, 1983, the Gawad Urian was set to give out their hardware. It was known by many, that the critics or the Manunuris were pro-Nora Aunor. They gave Aunor their very first best actress award in 1976 for her excellent performance in “Tatlong Taong Walang Diyos (three years without God)”. They also gave Aunor a second nod in 1980 in her wonderful performance in “Bona” with Gina Alajar as co-winner.
When the winner was read, even Vilma was surprised. After so many years of snubs, she finally received the recognition she truly deserved. The critics finally came to their senses and recognized Vilma’s explosive and giant killer performance.
By winning the Gawad Urian, Vilma defeated not only Nora but also Lorna Tolentino and Gina Alajar both equally gave a felt performance in the feminist film, “Moral.”
Adding cherry to an already sumptuous plate, at the same night, on April 15, 1983, Vilma have to rush to another ceremony, she was crowned by the Guillermo Mendoza Memorial Foundation as the 1982 – 83 Box Office Queen of Philippine Movies at the Celebrity Sports Plaza with Fernando Poe Jr as the Box Office King, her second crown/title after January’s Cinehan Awards.
This was Vilma’s second major best actress wins in the same calendar year. She was half way there. People are now starts talking about the possibility of Vilma winning all the best actress awards.
Not to be outdone, Noranians regained from their disappointments as Nora Aunor received an award from a socio-political group, the TOWNS on April 23, 1983. Nora Aunor received (The Outstanding Women in the Nation’s Service) or simply TOWNS award from the former first lady, Madame Imelda Romualdez Marcos, at the Plenary Hall of the Philippine Convention Center. With the first lady handing out the TOWNS to Nora, people are started to insinuate that Nora Aunor’s defeat in two previous majors are politically motivated.
Third Major – The next race was the very first Luna Awards, back then, simply called the Film Academy Awards, Philippines’ counterpart of OSCAR.
On April 27, 1983 the First Film Academy of the Philippines Awards were held at the Manila Film Center. The FAP official web site provided some basic information about The Luna Awards, “…Established in 1981 as mandated by Executive Order No. 640-A, the Academy has been able to forge an alliance among the various guilds of the movie industry. Serving as the umbrella organization, the Film Academy oversees the welfare of the guilds thru an assortment of subsidies, projects and opportunities that would bring about the upgrading of the knowledge and expertise of the guild members. The principal function of the Academy is to give awards in recognition of the artistic and technical excellence of the performances and to accentuate the value of quality works of the people behind the outstanding films shown during the year. The Annual Luna Awards is intended to provide the necessary motivation in enhancing the craftsmanship of movie industry workers that will eventually uplift the quality of local films. The Academy also assists in the staging and managing of the annual Metro Manila Film Festival from which proceeds the Film Academy gets a share. Delegates to foreign film festivals are primarily sent thru the intercession of the Academy. The Academy also spearheads the collaboration of the movie industry with government agencies in order to gain opportunities for the guilds and its members…”
Academy insider, Jose N. Carreon wrote: “…At seven o’clock on a Wednesday evening on April 27, 1983, the Film Academy of the Philippines held its first ever awards night for distinguished works and performances in films exhibited in 1982. The venue was the Manila Film Center, one of the cultural edifices that were constructed under the auspices of former First Lady, Madame Imelda Romualdez-Marcos…The first ever Academy award winner was the late Rodolfo ‘Boy’ Garcia who was adjudged the best supporting actor for his role in Ito Ba ang Ating mga Anak?…Liza Lorena was best supporting actress for her role in Oro, Plata, Mata…The late Vic Macamay won the best sound award for Gaano Kadalas ang Minsan?…The best cinematography award was won by Romy Vitug for Sinasamba Kita…Sinasamba Kita by the late George Canseco was voted the best original song…The late Orlando Nadres won the best screenplay adaptation for Sinasamba Kita…Romy Suzara won as best director for Uod at Rosas…Manay Ichu’s MVP Pictures’ Batch ’81 was voted the first best picture of the academy awards…With the stage overflowing with showbiz people, the best actor and best actress awards were announced. Philip Salvador (for Cain at Abel) was declared best actor over Robert Arevalo (Santa Claus is Coming to Town), Mark Gil (Batch ’81), Christopher de Leon (Relasyon) and Joel Torre (Oro, Plata, Mata). The last winner of the night turned out to be Vilma Santos who was best actress for her performance in Relasyon. The other aspirants were Gina Alajar (Moral), Nora Aunor (Himala), Coney Reyes-Mumar (Pedring Taruc) and Lorna Tolentino (Moral). Then everything was history. After 25 years, we remember and we celebrate and we recommit ourselves for another quarter of a century. The Film Academy of the Philippines and its Luna Awards live on…”
Vilma Santos faces again a stiff resistance from Nora Aunor. In the end, Vilma received her fourth best actress award. And like when Nora received her TOWNS award, the former first lady, Imelda Marcos handed out the very first Academy award best actress to Vilma.
Vilma won her third major best actress in the same calendar year. One short of a complete overhaul.
Fourth Major – The award season of 1983 ended with the handing out of the FAMAS. The Manila Film Center was jam packed with not only celebrities but also a boisterous group of Noranians and Vilmanians. Unfortunately, Nora Aunor wasn’t nominated for her gigantic role of Elsa in “Himala” instead, she was nominated for her portrayal of an underdog lover of the late Johnny Delgado in Romy Zusara’s “Mga Uod at Rosas (The Worms and Roses)”. The competition didn’t stop with Vilma’s “Relasyon,” Noranians were worried about the other nominees too. Hilda Koronel was cited for her solo starrer, “PX” and Alma Moreno was nominated for her daring role as Cristina Gaston in the “Diary of Cristina Gaston.” The list of Nominees were completed with the inclusion of two veterans: Mona Lisa for her supposed to be supporting role in “Cain at Abel” and Liza Lorena for her surprising role in “Santa Claus is Coming to Town.” With this list comes a lesser expectation from Noranians, as Nora wasn’t nominated for her more intense role as Elsa. But this didn’t bother them as they raided the Manila Film Centre with so much fanfare.
The unofficial FAMAS website declared the winners, “…The 31st FAMAS Awards was held at the Manila Film Center on May 28, 1983. The Best Picture went to Cine Suerte’s Cain at Abel defeating Gaano Kadalas Ang Minsan [Viva Films], Himala [Experimental Cinema of the Philippines], Ang Panday: Ikatlong Yugto [FPJ Productions] and Sinasamba Kita [Viva Films]. The Best Actor went to Anthony Alonzo for Bambang defeating Christopher de Leon for Relasyon, Dolphy for My Heart Belongs to Daddy, George Estregan for Lalaki Ako, Dindo Fernando for Gaano Kadalas Ang Minsan, Fernando Poe, Jr. for Ang Panday: Ikatlong Yugto, and Philip Salvador for Cain at Abel. The best supporting Actor went to Tommy Abuel for Gaano Kadalas Ang Minsan while the best supporting Actress went to Sandy Andolong for Moral. Eddie Garcia won the best director Sinasamba Kita defeating Marilou Diaz-Abaya for Moral, Ishmael Bernal for Himala, Lino Brocka for Cain at Abel, Fernando Poe, Jr. for Ang Panday: Ikatlong Yugto and Danny Zialcita for Gaano Kadalas Ang Minsan. Gaano Kadalas Ang Minsan also won the best story for Tom Adrales; best screenplay for Tom Adrales and Danny Zialcita; best editing for Ike Jarlego, Jr.; best musical score and theme song for George Canseco and best sound for Vic Macamay. Joseph Estrada received the Hall of Famer Award for winning five times as producer. The most anticipated award was for best actress which went to Vilma Santos for Relasyon defeating Nora Aunor for Mga Uod at Rosas, Hilda Koronel for PX, Mona Lisa for Cain at Abel, Liza Lorena for Santa Claus is Coming to Town, Alma Moreno for The Diary of Cristina Gaston ..”
Unfortunately, for Noranians, their idol went empty handed again for the last time. Vilma claimed her fourth major best actress in one calendar year. The night for Vilmanians didn’t stop from Vilma’s win. Eddie Garcia won the best director award for a Vilma Santos’ blockbuster film, “Sinasamba Kita.”
Noranians were all mad as hell. Writer Bum D. Tenorio Jr., in his article for Philippine Star, described how the feisty Noranians reacted on Vilma’s win on their home turf, the Gawad Urian, “…Talk about Himala, it was because of this movie that two ladies in my neighborhood got into a nasty hair-pulling fight. Nora could have won the grand slam for Best Actress in all the award-giving bodies for this movie in 1982 except that her archrival and now Batangas Gov. Vilma Santos won for the movie “Relasyon” in the Gawad Urian. The feisty Noranians in the neighborhood could not accept this, while the Vilmanians gloated. This irreconcilable difference unfortunately turned ugly. In those days, fans were fiercely loyal. When Vilmanians talked about “Wonder V,” expect Noranians to come up with “Super G.” When Vilmanians mentioned how they got scared in “Phantom Lady,” expect a multitude of Noranians to thwart their claim by discussing “Fe, Esperanza, Caridad,” Nora’s suspense thriller. Even when Nora and Vilma starred together in a movie, say “Pinagbuklod ng Pag-Ibig” or the legendary “T-Bird at Ako,” competition between fans of both camps still raged. But in my community, the Noranians always prevailed!…”
Paranoia seeped in their brain as they hypothesized the reasons why Nora failed to win any awards. Sabotage according to them was the only reason. The political repercussion of the film being made under the Marcos administration resulted Nora Aunor being ignored by all award-giving bodies! Never mind that Vilma Santos deserved all the wins. Vilma Santos swept the entire best actress in four major award-giving bodies in one calendar year. The tag line “grand slam” was born.
In addition to the above majors, talk show, “Let’s talk movies” came up with their own film awards on its anniversary presentation at the end of 1982. The hosts, Behn Cervantes (filmmaker, film critic), Armida Siguion Reyna (film actress, producer) and Mario Bautista (movie reporter, critic, columnist) were quoted as who they think deserve the year’s accolade.
Behn Cervantes: “…Behn’s choice for best movie of 1982 comes easy, with one qualification (he has not seen Oro, Plata, Mata). “It’s Batch ’81 because it was innovative and more daring…As for the choice of best actress, “mahirap iyan,” Behn admits spontaneously. “It’s a difficult choice between Gina Alajar in Moral and Nora Aunor in Himala. Gina was beautifully flamboyant and effective as the funky character in Moral, while Nora was very cinematic in Himala. Nora is one actress who knows how to use her medium…Vilma is also good. She knows her craft, but somehow, at the moment of truth, physically she doesn’t quite hit me. There’s something very cutesified about it…”
Armida Siguion Reyna: “…Armida has said it in her TV show Let’s Talk Movies and she’s saying it again: her choice for best movie not only for the film fest but for the entire 1982 is Moral. “It’s very ‘today,’ NOW. You really get to identify with the characters in the movie…After Moral, Armida chooses Oro, Plata, Mata and Cain at Abel, respectively, as among 1982’s best…Armida chooses Vilma Santos as best actress for her performance in Relasyon. “I can’t explain my choice in the beautiful language of the Manunuri but I go by gut and alam kong maganda.” She is also more inclined toward Vilma because the actress made a number of good movies last year…”
Mario E. Bautista: “…For us, sinuman ang manalo kina Vilma Santos o Lorna Tolentino ay okey lang. Both Gina and Nora have won the Urian best actress awards twice. Gina for Brutal and Salome, Nora for Tatlong Taong Walang Diyos and Bona. Napakagaling ni Gina in portraying the role of the trying hard Kathy in Moral. Hindi biru-biro ang ganoong character na gagawin mong sympathetic dahil mas malamang na lumabas itong ridiculous lang kaysa nakakakuha ng simpatiya. But Gina succeeded in making her Kathy both ridiculous and sympathetic. As Elsa, Nora’s case is that of star and role merging into one, fitting into each other perfectly dahil alam nating ang karisma ni Guy sa kanyang fans ay siya ring karisma ni Elsa sa kanyang naging followers. Pero palagay namin, kung hindi magta-tie sina Lorna at Vilma, mananalo ng solo si Vilma Santos. Vi has never won the Urian. She should have gotten it in 1977 for Burlesk Queen but the trophy went to Daria Ramirez in Sinong Kasiping. Maraming acting highlights ang papel ni Vi bilang Marilou sa Relasyon. Sa confrontation scenes nila ni Boyet, superb siya roon sa tagpong sinusumbatan niya ito dahil ginagawa na lamang siyang tau-tauhan. Ang acting niya sa death scene ni Boyet na hindi malaman ang gagawin sa katarantahan is also awesome to behold…”
Unfortunately, despite their highly praises of Nora Aunor, the talk show hosts gave their nod to Vilma Santos due to their technical rules. An article from Movie Flash explained: “…In celebration of its first anniversary, Channel 9’s Let’s Talk Movies will have a special presentation on December 14 from 9:30 to 11:30 pm. The talk show hosted by Armida Siguion-Reyna, Behn Cervantes and Mario E. Bautista will distribute seven major awards to deserving artists who excelled in local pictures shown from Dec, 1981 to November, 1982. The Let’s Talk Movies awards differ from those of other award-giving bodies in that they honor a director or performer not for just a single work or performance in one movie but for a body of outstanding works or performances shown during the said fiscal year. This is in line with the show’s aim to help uplift local movies. To qualify, a nominee should have at least two significant contributions. Nominees for…best actress…are Gina Alajar (Init o Lamig, Pusong Uhaw), Nora Aunor (Uod at Rosa, T-bird, Rock ‘n Roll, Palengke Queen), Amy Austria (Katas ng Langis, Waywaya, Pusong Uhaw), Vilma Santos (Karma, Relasyon, T-bird, Sinasamba Kita, Never Ever Say Goodbye) and Maricel Soriano (Galawgaw, Mother Dear, Schoolgirls)…An award for best producer will be given to the company which has produced the most number of outstanding films during the year. Special citations will be given to movie personnel who made worthy contributions to the industry during the year…”
While Vilmanians celebrated their idol’s historical win, Nora Aunor redeemed their broken ego by lining up to the 1983 Manila International Film Festival on June 24th, Himala was chosen as the opening gala film together with Hollywood film, Gandhi as the closing.
After the awards season of 1983, Vilma Santos released three more films after the disappointment, Ayaw Kong Maging Kerida.
On June 9th, Viva Films released Paano Ba ang Mangarap? that turned out to be another box office hit. Few months afterwards, Regal films released Bernal’s Broken Marriage, the follow-up film after the successful grand slam film, Relasyon.
Finally, four days after Vi’s birthday, Viva Films released Marilou Diaz-Abaya’s drama, Minsan pa Natin Hagkan Ang Nakaraan, another box office hit. This film plus the two films mentioned above confirmed her bankable status. Not to be outshine again, “Himala” continued its relentless fight for recognition, winning the bronze prize at the 1983 Chicago International Film Festival on November of 1983 (Nov 4-18 1983).
Vilma Santos made history. The first grand slam win of Vilma Santos was repeatedly analyzed over and over again. Mostly to give accolade to Nora Aunor.
Joel David, in his article titled “Performances of the Age” wrote: “…the outstanding performance of the period belongs to that of Nora Aunor in Himala, which was honoured only by the MMFF….In Himala the director and writer seemed to have agreed to a mutual stand-off, thus amplifying the theatrical potential of an expansive locale with a protracted takes; stage-trained talents ensured the competent execution of histrionic stylizations, with the climax set on an open-air platform before a hysterical audience. It was a truly great actress’ opportunity of a lifetime, and Nora Aunor seized it and made it not just her role, but her film as well. Not since Anita Linda in Gerardo de Leon’s Sisa (circa the first Golden Age) had there been such a felicitous exploitation by a performer of ideal filmmaking conditions – and in this instance, Himala has the decided advantage of being major-league and universal….”
Arnel Resma Ramos’ article titled “Himala Revisited” praised Nora’s complex role: “…we believe that Nora Aunor should have swept all the best actress awards for that particular year…Aunor had the more complex role and only an actress of her calibre can pull off the part with much persuasion. It calls for a restrained, self-effacing acting style. And Aunor, the consummate actress that she was…strikes not a false note in her performance. It is, in one word, mesmerizing. And Himala is without a scintilla of a doubt the pinnacle of her cinematic achievements.”
In recent years, Himala was recognized in many film exhibitions around the world. Even international television network fell on the prey and held an international internet poll, raising Himala to its highest glory, proclaiming the film as one of Asia’s best film. They hail, finally, Aunor were given the citations its truly deserved!
Again, never mind that Vilma Santos gave the most effective performance in the history of local movie screen. The fact is, no matter what they do or say they can’t change history. Vilma Santos was the very first “grand slam” best actress winner.
The history continues – Three years after Vilma Santos registered the very first grand slam win, Philip Salvador replicated the honours by winning all the best actor in 1985 via Lino Brocka’s political drama, ‘Bayan Ko kapit sa Patalim.’ Salvador won five majors as Star Awards were added to the four. The next year, 1986, Nida Blanca followed suit with a best supporting actress grand slam for her outstanding performance in the film, “Magdusa Ka.” Then four years after Blanca’s came the most awaited turn for Vilma’s rival.
Noranians were ecstatic as their idol claimed all the best actress hardwares of 1990 for “Andrea Paano Ba Ang Maging Isang Ina.” A deserving consolation as the film bombed at the box office. Nora’s stiffest competition came from Vilma’s two films, Lino Brocka’s “Hahamakin Lahat,” and Laurice Guillen’s “Kapag Langit ang Humatol.” But the table was turned and Nora claimed almost all of the major awards except from CMMA where she was declared runner up to Gina Alajar.
By 1990, CMMA was relegated into the minor league of award giving bodies replaced by much more popular Star Awards. Two years after Nora Aunor claimed the honour as grand slam winner, Lorna Tolentino took the crown for her effective performance in 1992′s “Narito Ang Puso Ko.”
Then back to Vilma again. – In 1993, Vilma Santos successfully relived the life of the first PWA in Laurence Guillen’s “Dahil Mahal Kita: Dolzura Cortez Story.” Not only the film recorded the second grand slam win for Vilma as best actress of 1993, the film was also a smashed hit. The two years intervals prove to be a normal pattern as Vilma’s closest rival took all the trophies again in 1995.
Nora Aunor hit the jackpot via true to life film, the “Flor Contemplacion Story.” And not only did she won the grand slams, she added an international recognition winning the best actress at Cairo International Film Festival. In addition to the majors, Aunor also received the best performer from YCC and the box office queen title from the Guillermo Mendoza Memorial Scholarship Foundation, Inc. (GMMSFI).
The next years, two actresses claimed the grand slam honours. Sharon Cuneta as best actress for her effective performance in “Madrasta (the Stepmother)” and the best supporting actress awards for Gina Alajar in “Mulanay, Sa Pusod Ng Paraiso.”
Then back to Vilma Santos again after two years for the third time. Vilma Santos won all the best actress awards for 1998′s “Bata Bata Paano Ka Ginawa (Lea’s Story)”. Then like Aunor in 1995, she added an international recognition with her grand slam win. Vilma was cited as the best actress at the Brussels International Film Festival. And also received the YCC-Film Desk’s best performer award.
By 1999, the grand slams wins were alive and kicking. Elizabeth Oropeza won all the best actress hardwares for her very intense performance as a prostitute in 1998′s “Bulaklak Ng Maynila.” The same year, an unknown actress Glydel Mercado, surprised everyone as she won all the best supporting actress awards coincidentally from a Nora Aunor comeback vehicle, “Sidhi.”
Then in 2002, Vilma Santos for the fourth time claimed the grand slam title by winning all the best actress awards for her superb performance in the film, “Dekada 70 (the seventies).” At the same time, Vilma’s co-star, Piolo Pascual declared his arrival to the big league of fine acting by winning all the best supporting actor awards. The film also gave Vilma her second international recognition winning the best actress from Cinemanila International Film Festival. In addition, she also received hardwares from PASADO (Pampelikulang Samahan ng mga Dalubguro) and YCC-Film Desk in its annual Circle Citations.
In Conclusion – For Noranians, Nora Aunor should be given the honour as the very first grand slam win in 1976 as they argued Aunor won the best actress from FAMAS and Gawad Urian, the only major award giving bodies back then. Unfortunately, this wins didn’t create the tag line, grand slam. Also, Vilma Santos, as film producer won all the best picture award in 1978 for Pagputi ng Uwak Pagitim ng Tagak from FAMAS and Gawad Urian, still the only major award giving bodies. Unfortunately, no one said this is a grand slam win.
It was only when Vilma Santos won four majors in 1983 did the tag line “grand slam” came to its birth at least in Philippine award giving film history. And so, history will record Vilma’s achievements as the very first actress who claimed all four major best actresses in one calendar year based on the true meaning of the word “grand slam.” She is also the current record holder of the most grand slam wins, four [Relasyon (1982); Dahil Mahal Kita – The Dulzora Cortez Story (1993); Bata, Bata, Paano Ka Ginawa? (1998); and “Dekada 70” (2002)]. – Florencio “Rendt” Viray, V Magazine 2007, (READ MORE)
The idea of doing a film about an activist nun occurred to director Mike De Leon in 1982 while he was thinking of a possible story material for a Vilma Santos starrer at the suggestion of Marichu Maceda, producer of his critically-acclaimed Batch’ 81. Mike’s production company, Cinema Artists Philippines, was then applying for a loan from the Film Fund where Marichu was then administrator. “I can’t remember why I chose the subject,” said the 34-year old scion of the moviemaking family behind LVN in an interview with a Sunday magazine. “I’ve been hearing about nuns who are politically involved for sometime although I did not really know anything about them.” When Mike learned that an associate of noted screenwriter Pete Lacaba had a story idea entitled Sangandaan (about a nun who gets involved in the problem of agrarian arrest), he saw it as a good starting point for the movie project. Marichu, however, suggested some changes. “Why don’t you make the setting urban to make it more commercial?” She reportedly told Mike and Pete, pointing out the movie going public has difficulty accepting Vilma Santos in rural milieu. The change in the story setting thus explains how Stella L. came to deal with urban labor problem. A less explosive issue than the original theme. Stella L. touched on the labor issue but it focused more on Vilma as cloistered nun who awakens to the need for involvement in matters less personal than the psychological problems of her wards in Caritas, a home for unwed mothers run by her congregation. An elder nun (played by Laurice Guillen) guides her in the development of her new commitment until she is fully involved with the more pressing problems of workers staging a strike in a city-based cooking oil factory. This involvement results in conflict between her and her superiors and exposes her to the dangers not found within the convent walls. Her commitment, however, is so strong that when the elder nun leaves for larger concerns, Sister Stella L. takes her role in the strike. In the process, she finds an unexpected ally in her former boyfriend journalist Nick Fajardo.
In December 1982, the loan was approved and part of the 800,000.00 Mike gave to Vilma as down payment. Meanwhile, events taking place in the local political scene that time started having distinct parallelisms with the themes being dealt with in the movie: press freedom, labor unrest and religious involvement. The Film Fund backtracked. “It’s dangerous to continue with it,” a top official of ECP was said to have forewarned Mike in late 1983. By then, the director was about ready to start shooting: the cast had been line-up, contracts had been signed (Joseph Sytangco and Chanda Romero were originally tapped to play the militant journalist Nick Fajardo and Sister Stella B, respectively). Mike was asked to re-write Stella L. and turn it to a love story. But the director was firm he turn down the overtures. As events would have it, Stella L. was shelved. The director looked for anyone who might be interested in buying Vilma’s contract. So he could pay back the Film Fund. He tried Viva films, which asked him instead to direct the “political” film, “Ang Imbestigasyon Ni Juan San Diego.” For sometime, it seemed that Mike had totally forgotten Stella L. when he immersed himself in the production of Juan Diego – that is until Viva suddenly dropped the project. In the meantime, Regal Films’ Lily Monteverde had been sending feelers to Mike to work for her movie outfit through several intermediaries. In August 1983, after the dumping of Juan Diego and the Aquino assassination, Lily repeated her offer to Mike. He could do whatever he wanted, she said, as long as casting is left to her discretion. As things turned out, Mike told her all about Stella L. and Lily, obviously impressed with its possibilities, agreed to bankroll the film. Mike was totally surprised to Lily’s decision since he had warned her about the controversy the film may create. The only demand Regal made concerned casting, particularly the choice of Joseph and Chanda. Lily wanted Joel Torre to play the male lead role. The idea, however, had to be dropped when the revision of the script based on Joel proved unwieldy. The director reckoned that Joel, who was supposed to play a campus writer-activist, was too young to be Vilma’s leading man. The role of Nick Fajardo, the ex-boyfriend of Sister Stella L eventually went to Jay Ilagan.
The film was finally shown amidst controversy. In a public gathering, a top government official denounced it as “negative” and admitted that the government was wary of it’s possible influence in the movie going masses. The official has gone on record as saying “we were apprehensive that it may further agitate the people…so they kept on telling the President not to approve the film but the President said, ’No, let it be!’,” The censors board apparently followed the presidential direction and approved the film without cuts and for general patronage. The producers were said to have been bitter over Stella L disappointing box office performance, losing as it did to the immensely popular Sharon Cuneta rags to riches starrer “Bukas Lulohid Ang Mga Tala,” but they can content themselves with the fact that the movie has been unanimously acclaimed as a milestone in the history of filmmaking. – Alan Trambulo. Published at V magazine Issue No. 7 Literary Issue April 2005
Kapag nakikita ko ang maraming taong nagra-rali sa Mediola, sa Liwasang Bonifacio o sa Edsa laging pumapasok sa isip ko ang maraming Pilipino na sa kabila ng pagsusumikap, ay patuloy na naghihikahos sa buhay. Mayroong panahong na ang tanging libangan ng mga ordinaryong mangagawa sa ating bansa ay ang magpunta sa naglalakihang sinehan sa Maynila upang mag-libang at kalimutan ang mga paghihirap sa buhay. Naalala ko nuon, maraming pelikula si Vilma na pumapawi sa mga paghihirap ng masa. Magmula pa nuong dekada sitenta, mga pelikulang dinudumog ng masang pilipino. Sobrang haba ng pila sa Cinerama nang ipinalabas ang Lipad Darna Lipad kahit na mainit ang kalagayang pang-politika sa ilalim ng administrasyon ni Marcos. Nang sumapit na ang dekada otsenta’y pinawi ni Vilma ang pangamba ng masa sa mga pelikulang komersyal tulad ng Sinasamba Kita at Gaano Kadalas Ang Minsan. Sa mga sumunod na dekada’y patuloy niyang inaliw ang masa sa mga matatagumpay na pelikula tulad ng Bata Bata Paano Ka Ginawa at Anak. Sa mahabang panahong ito’y maraming pelikula si Vilma na nag-lalarawan ng mga pakikibaka ng isang manggagawa. Mga pelikulang may intelehente at puso, Mga pelikulang nagsasalarawan ng mga gustong ipahatid ng mga taong sumisigaw sa kalye ng Mediola at Edsa. Itaaas ang sahod. Ibaba ang buwis. Ibagsak ang nakaluklok. Tama na, Palitan na! Ang sigaw ng masang Pilipino. Makikita ang mga pakikibaka ng mga mangagawa sa maraming pelikula ni Vilma. Naririto ang aking listahan na nagsasalarawan ng mga buhay mangagawa..
Ging – Isang batang batang Vilma Santos sa papel na manganganta at mananayaw sa pelikulang Ging. Sa kamay ng kanyang bagong ina-inahan, na ginampanan ni Carol Varga, dumanas si Ging ng parusa sa mahabang oras ng trabaho at limitadong pagkain at pagtulog. Pilit na pinigil ni Carol ang pagkain at pagtulog ng bata dahil ayaw agad nitong lumaki si Ging dahil sa takot na mawala ang pagiging bibo at ang kikitain pa habang bata pa ito. Mahabang oras ng trabaho at abuso ng may nasa kapangyarihan, isang pangkaraniwang karanasan ng masang Pilipino. Unang nakita sa pelikula ni Vilma kahit sa murang edad pa lamang.
Burlesk Queen – Nang magdesisyon si Vilma sa sagupain ang matapang na papel, nakita ng masang Pilipino ang sarili nila sa pelikulang Burlesk Queen. Bilang Chato, ang ninais niya’y bigyan ng kaginhawaan ang kanyang lumpong ama at magkaroon ng magandang buhay sa pamamagitan ng natatanging alam niya, ang talento bilang isang mananayaw. Itinakwil siya ng kanyang ama, iniwan ng kanyang katipan at sinagupa ang hamon ng buhay hanggang sa kanyang wakas. Ang pangarap ni Chato na makaahon sa kahirapan ay tumumbok sa isang pangkaraniwang hangad ng isang ordinaryong manggagawa.
Baby Tsina – Isinalarawan ni Baby Tsina ang buhay ng dekada sitenta sa kanyang trabaho bilang hostes sa klub. Makikita sa kanyang katapatan sa katipan at sa sitwasyon ng kanilang sinuong. Sa bandang huli ng pelikula makikita ang talumpati ni Baby tsina sa piitan na parang eksena sa mga rali sa Edsa o Mediola.
Adultery Aida Macaraeg – Si Aida ang siyang nagpapa-aral sa kanyang mga kapatid at ang tumayong ama ng kanilang malaking pamilya, magmula sa bayad sa kuryente hanggang sa matrikula ng mga kapatid, saan niya kukunin lahat ng gastusin. Natutong kainin ni Aida ang kanyang dignidad at pumatol sa isang mayamang matanda at tinalikuran ang katulad niyang mahirap na kasintahan. Isang buhay ng pangkaraniwan sa masang manggagawang Pilipino.
Pinay American Style – Tago ng tago at nagpapanggap ng mayaman sa America. Ito ang buhay ni PX. Sa kabila ng komersyal na direksyong ng pelikula naisalarawan ni Vilma ang papel ng isang pilipina na naghahangad ng magandang kinabukasan sa ibang bansa.
Pakawalan Mo Ako – Sinubukan niyang magtinda ng sabon sa kalye. Hopya at tubig lamang ang kanyang pananghalian habang nilalako niya ang mga paninda. Sa kahirapan niya naisip niyang maging isang call girl. Muli ninais niyang makaahon sa kahirapan, isang tipikal na suliranin ng masang mangagawang Pilipino.
Relasyon – Nagtratrabaho si Marilou sa Planetarium ngunit sa kabila ng medyo angat ng kita’y nagkaroon siya ng suliranin dahil sa pagpatol niya sa isang lalaki na may asawa na. Mga tanong pangpinansyal dahil hindi siya makakuha ng “joint bank account” na kailangan upang makabili siya ng ari-arian bilang may asawa. Isang panglipunang hamon ng sa isang kabit lamang.
Sister Stella L – Ang pagkakamulat ni Sister Stella Legaspi ang pinaka-sentral na mensahe ng pelikulang ito. Magmula umpisa hanggang sa huli’y makikita ang mga suliraning kinakaharap ng mga ordinaryong manggagawa sa aking bansa at kung paano ang isang tagamasid lamang ay humakbang upang makibaka at kumilos.
Bata Bata Paano Ka Ginawa – Ang isang pagiging babae ba’y sagabal upang patunayan mo na kapantay mo rin ang mga lalaki? Ang buhay ni Lea ay nagbibigay sigla sa katotohanang walang sagabal sa pagnanasang makuha mo ang mga pinapangarap mo sa buhay babae ka man o lalaki. At may karapatan kang hanapin ang kaligayahan sa kabila ng walang tamang panghuhusga ng lipunan dahil sa babae ka. Iniwan niya ang mga lalaking hindi nagpaligaya sa kanya at patuloy niyang tinaguyod ang mga anak. Makikita sa papel na ito ni Vilma ang tunay na pagsasalarawan ng isang makabagong liberal ng babaeng Pilipino.
Dolzura Cortez – Bukod sa inamin niyang gusto niya ang mga lalaki’y ninais rin niyang bigyan ng magandang kinabukasan ang kanyang mga anak. Ang buhay ni Dolzura ay isang kasaysayan ng ordinaryong manggagawa. Ninais niyang makaahon sa kahirapan at kumapit sa patalim naging isang tagapag-benta ng aliw. Binigyan nya ng mukha ang sakit na AIDS sa Pilipinas. Ibinunyag niya ang isang mensahe upang huwag tularan ang kanyang naging buhay at upang maisalba ang ibang babaeng tulad niya. Isang bayaning pagpapasya.
Anak – Si Josie Agbisit ay isang tipikal ng mangagawa ng makabagong panahon. Nangibang bansa upang mabigyan ng magandang kinabukasan ang kanyang tatlong anak at ang naging bunga nito’y ang pagkapariwa ng mga anak. Sa kabila ng mga sakripisyo’y kulang pa rin ang pakiramdam ng isang ina. Isang ina na sa mata ng lipunan ay nanatiling hindi pantay. Ang buhay ni Josie ay isang larawan ng mga makabagong bayani ng ating bansa, ang mga manggagawa.
Dekada 70 – Tulad ni Sister Stella Legaspi ang buhay ni Amanda Bartolome ay isang ehemplo ng isang ordinaryong ina na nakamasid lamang ngunit naging matapang at naging isang militante. Hango sa masalimuot ng dekada sitenta, ang papel ni Vilma sa pelikulang ito’y isang matapat na pagsasalarawan ng ordinaryong Pilipino na naging bukas ang isip at tumanggap ng hamon upang kumilos para sa pagbabago hindi lamang sa kanyang personal na buhay kundi sa pagbabago sa lipunan.
Ang mga pelikulang binangit ko sa itaas ay mga pelikulang naghudyat sa atin na mag-isip o buksan ang ating kaisipan sa mga konsepto na karamihan ay mga suliraning panglipunan, mga suliraning kinakaharap ng ordinaryong manggagawa, ng masa. Sa halos dalawang daang pelikulang ginawa ni Vilma Santos, ilan lamang ito sa mga papel na nagsalarawan ng buhay ng mga Pilipino sa ilang dekadang tadtad ng naggagandahang pelikulang pangkomeryal o pangintelektuwal. Ang halos lahat ng mga pelikulang ito’y nagdulot ng ligaya sa masang Pilipino ngunit higit sa lahat naghudyat upang bigyan daan ang bukas na paguusap sa mga isyu na kinakaharpa ng pangkaraniwang mangagawa o ng masa. –RV, Aug 30, 2005
(Or, Random Thoughts on Billing, My Favorite Movie Queens of All Time, and other Etchings)
In the egoistic world of movie stardom or stardoom, there are no permanent friends or enemies, only permanent interests. Stars may hate each other to death but in the name of “professionalism,” the show must go on. They dig into the characters once the director yells action! And quickly revert to their bitchy and selfish ways once the director says cut or pack-up. Dedmahan blues. ”Masquerade, paper faces on parade, masquerade!” Amalia Fuentes and Susan Roces were the original “pabilog” billing movie queens, such as in Cover Girls, which was produced by the late FPJ. Vilma Santos and Nora Aunor followed suit via their “Ikaw ay Akin” and “T-Bird at Ako” projects. Susan and Amalia became friends at mag-kumare in real life, ditto with Nora Aunor and Vilma Santos.
Ego aside, Gloria Romero, forever the revered movie queen then and now, was billed second to the late Nida Blanca in such movies as “Huwang Kang Sumingit,” together with their ka-love teams Nestor De Villa (SLN) and Luis Gonzales. Interestingly, Nida and Gloria were close friends up to the time of Nida’s gory death (whatever happened to her murder case?). I recalled how the regal La Romero (Saan Nagtatago ang Pag-ibig?) lovingly threw a flying kiss to her “rival” Nida (Kid, Huwag Kang Susuko) who defeated her for the best supporting race in the 1987 FAMAS when Nida said: “sorry, “Mare, di ko sinasadya!” Terms of endearment. Unfortunately, it did not happen between the late Charito Solis and the ‘60’s Uncrowned Movie Queen Amalia Fuentes. The volcanic and a stickler for details Charito Solis ignored the ‘60’s “taray movie queen” Amalia Fuentes and vice versa while doing a Regal Film Mother’s day film in the 80’s. La Solis enjoyed top billing over the former movie and box-office champ La Fuentes. They just did not click, period. Charito only allowed to be billed second to dramatic great Lolita Rodriguez (Ina, Kapatid, Anak), and to Vilma Santos in such movies as Dolzura Cortez and Ipagpatawad Mo. As far as I know, only Eddie Garcia and Gloria Romero are two stars who never had billingitis. There are no small roles. It is how you interpret them. That is why they are still very much around. Because of their stature in the movie industry, the studios respected them and knew how to put them in their proper place. As fate would have it, billing was never a problem between the Veteran Movie Queen Gloria Romero and the Philippines’ Movie Queen for All Seasons Vilma Santos. Ms. Romero, the ever practical and realistic auteur has so much respect and love for her “daughter” Ms. Santos that she allowed to be billed after the longest reigning box-office and movie queen since the 70’s (the monster hit “Lipad, Darna, Lipad” and the blockbusters “Nakakahiya I and II,” for example).
Let’s start from the very beginning, a very good place to start. When you act, you begin and end with humility and professionalism. The young Vilma acquired and inherited these traits from her favorite actresses Lolita Rodriguez and Gloria Romero. The dramatic child actress learned fast from her co-stars/mentors Lolita (Trudis Liit) and Gloria (Anak, ang Iyong Ina). As she was growing up, Vilma played daughter to Lolita, Gloria and Marlene Dauden. She even won a best supporting actress for her performance in the Lolita-Eddie-Marlene troika of a movie, Kasalanan Kaya? But it was the Gloria/Vilma collaborations that are forever etched in the minds and hearts of every Pinoy filmgoer, including yours truly. Ms. Romero was born in 1933 while Ms. Santos was born in 1953. Talk of 20 degrees of separation. And more than four decades as best friends and colleagues.
1963 – Anak, Ang Iyong Ina – Vilma has “two” mothers in Gloria Romero and the late Ms. Rita Gomez. Vilma’s name was itsy bitsy tiny in the theater marquees. She started her career right, to be acting with the brilliant and professional actors of the era.
1965 – Iginuhit ng Tadhana – Vilma, all of 12, played the young Imee Marcos to Gloria’s Imelda. Of course, La Romero and Luis Gonzales enjoyed top billing over Junior stars Vilma and Gina Alajar.
1968 – De Colores – An all-star cast flick with such superstars as Joseph Estrada, Amalia Fuentes, and Gloria Romero. Despite multiple episodic stories of this movie about the “cult” “religious” revival among the elite Catholics, Vilma was in a forgettable episode. I wasn’t sure if she played a rebellious daughter turned good via the Cursillo, and whether she shared scenes with Ms. Romero. What mattered was that she bumped into her Tita Gloria on the set. More bonding, please.
1969 – Pinagbuklod ng Langit – Vilma, now 16, reprises her role as Imee. No longer a girl, not yet a woman, Vilma was competent in her role like her Mommy Imelda (Gloria).
1973 – Lipad, Darna, Lipad – Vilma, now 20, still looking virginal and sweet kicked 70’s phenomenal superstar Nora’s butt at the boxoffice and earned her box-office wings via this monumental hit. The Emancipation of Baby Vi. Mariah Carey could not agree more. There was no turning back since then. The Fantasy Queen was born. Forty-three year old Tita Gloria gamely and bravely accepted the role of Ms. Luna, teacher by day and Manananggal by night. Movie Queen Gloria was deglamorized and became the evil incarnate as a vampire. Amalia Fuentes was the original movie queen who bravely accepted a daring role such as a vampire that won her a FAMAS statuette in Gerry De Leon’s Ibulong Mo Sa Hangin, and changed her goody-two-shoe image forever. Was she the original queen of reinvention that gave Vilma an idea to do the same via the landmark movie Burlesk Queen? Hmmm…for the first time, La Santos was billed above La Romero. Times have changed. The tables were turned. Vilma Santos is the New Box-Office Champ and Tita Glo and Company could only “bow” to the Reel/Real Queen: Ms. Rita Gomez, Helen Gamboa, Boots Anson-Roa, Barbara Perez and others did not have second thoughts to do a movie with the resurgent Vilma. Who wouldn’t want to be famous again and have fun working with the most hardworking and versatile actress? In my book, the aerial Good versus Evil fight of Vilma and Gloria as Darna and Impakta was one of the most thrilling and unforgettable scenes of my movie-going life. How I wish the movie resurfaces from Indonesia or from Timbuktu and my Vilma collection will be complete. That will be heaven! Where, oh, where is that classic movie? The Manananggal episode of Lipad, Darna, Lipad was so good that the two have to followed up their success via “Anak Ng Aswang.”
1973 – Anak ng Asuwang – featuring the Vilma/Gloria mother and daughter team had to be made. Gloria reprised her role as the vampire minus Darna. Vilma was her “doomed” daughter. Gloria was so identified as Impakta that when the second Darna flick came about she have to do do a cameo appearance!
1973 – Darna and the Giants – was shown at the Manila Film Festival, Gloria had a cameo role as a “mysterious” woman who comes out at night. People couldn’t get enough of La Romero and La Santos together. The film was a top grosser at the festival. Vilma is Darna and vice-versa. No doubt, she is the real Box-office Queen! Isa pa nga!
1975 – Nakakahiya – Starring Eddie Rodriguez who was married to Barbara Perez who was the best friend of Gloria Romero whose daughter (again!) Vilma Santos fell in love with Mr. Rodriguez, Vilma’s first of May-December flicks. Oh, what a shame and a scandal in the family. A Morality play? You betcha. It’s the 70’s and the times they were changin’. Nakakahiya? Vilma donned a bikini for the first time and the public did not mind. Vilma and Eddie were so good that they triumphed at the Bacolod City Film Festival. Best Picture. Best Director. Best Actress. Best Actor. Beating the likes of Nora Aunor and Gerry De Leon. Ms. Romero and Ms. Perez did not mind second billings. It’s the role that mattered most.
1975 – Karugtong ng Kahapon – Starring Vilma, daughter of a “happy” couple Eddie Garcia and Gloria Romero. Throw in the other woman of Eddie, Celia Rodriguez and as expected, another morality play was born. Shown at the first MMFF.
1976 – Hindi Nakakahiya? – Starring Eddie Rodriguez, Vilma Santos and Ms. Gloria Romero, a reprise of their first Nakakahiya film.
1987 – Saan Nagtatago ang Pag-ibig? – Ah, how I love the Vilma-Gloria confrontations. “Si Val, si Val, ang kawawang si Val!…” The movie was again a monster hit from Viva Films. FAMAS Best Picture and a supporting actress award for Ms. Romero.
1990 – Kapag Langit ang Humatol – The scene where the avenging Floreida (Vilma) to Gloria’s Octavia- wine-in-your face thing, followed by Vilma’s hysterical laughter is, to my mind the best scene in the movie. Catharsis at its best. Two great actresses. Bow!
As if Fate would have it, who would ever think that the Two Queens would duke it out in the 2000 awards derbies? Anak versus Tanging Yaman. Gloria may have won the Urian but she shared the award with her “daughter”: “I share this award with Ms. Vilma Santos who is so good in Anak.” So what do Vilma Santos and Gloria Romero have in common? Why are they still Philippine Cinema’s Regal Movie Queens? They are both professionals, humble in both defeat and victory, clean living, and have respect for the profession that is their bread and butter. They are the Katherine Hepburn and the Meryl Streep of the Philippines. Kate Hepburn disliked Streep in real life. She called Ms. Streep’s acting too cerebral. Was it envy, billingitis, or ego? Thank heavens for Gloria and Vilma. They respect and love each other. Terms of endearment. Friends for life. We shall never see their kind anymore. Vilma Santos and Gloria Romero. When will we see them on the big screen again? May their tribe increase! – Mario O. Garces, V magazine, Vol 1, Issue 4 Oct/Nov 2005
Star For All Seasons 
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