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.
Isang pelikulang fantasy ang handog ng TIIP para sa nalalapit na 4th Quezon City Film Festival. Ito’y ang Maria Cinderella na isa na namang tambalan nina Vilma at Jay. napag-alaman naming hindi isang karaniwang fantasy ang nasabing pelikula. Manapa’y bibigyang-kulay nila at ningning ang tunay na Sining-Pilipino (Pilipino Art) in the serye na kahit na itanghal ito sa ibang bansa ay makapagbibigay inpormasyon sa mga foreigners. Ang location maging ang set ay talaga namang ating-atin. Ang bagay na ito ay isa sa mga nais mangyari ni Atty. Laxa, lalo na kung sa bakuran nila o oufit gagawin ang isang pelikula. Naging tradisyon na ng TIIP ang pagbibigay ng prestihiyosang movies sa publiko. Sa loob ng labingtatlong taong nagdaan ay napatunayan na nila iyon. Katunayan, sila ngayon ang sinasabing starmaker. Ang Maria Cinderella ay isang big budgeted movie. At alam ba ninyo na sa pelikulang ito ay nagbalik ang matagal na rin namang nawawalang bituin na si Blanca Gomez! Bukod kay Blanca, kasama rin nina Vilma at Jay Ilagan sina Geena Zablan, Janet Clemente, Janina Frias, Ike Lozada, German Moreno. Kabituin sina Jingle, Beth Manlongat, Don Don Nakar, Jon Jon Salvador, Maria Rosie Jico at Winnie Santos. Narito rin sina Joseph Sytangco, Elizabeth Vaugh, Greg Lozano at Dave Esguerra. Si Maning Borlaza ang siyang nagdirehe.
Pagkatapos ng pelikulang ito, nabanggit din ni Atty Laxa na magkakaroon ng ng iba-ibang leading man si Vilma. Ang bibigyan ng pagkakataon ay iyong mga walang gaanong pangalan. Sa gayong paraaan nga naman mabibigyan pa nila ng break iyong mga may kakayahan ngunit wala lamang pagkakataong maipakita ang kanilang talent. May seven fairies ang Maria Cinderella. At itoy’s binubuo ng pitong naggagandahang starlet! Nasabi rin ni Vilma na nang mabasa niya ang kabuuan ng kasaysayan ng Maria Cinderella ay natuwa siya pagka’t iyan ang uri ng storya na pang-fantasy na matagal na niyang ibig gawin. Sa side ni Jay Ilagan, isang karangalan umano ang muli nilang pagsasama sa isang pelikula ni Vi. Sana’y higit na ngayong maibigan ng mga manonood kaysa una namaing ginawang pelikula ni Vi – sabi ni Jay. Simula na nga ang puspusang pagsisiyuting ng Maria Cinderella at sa husay at tiyaga naming nakikita… walang dudang ito’y isa na namang panlaban ng TIIP sa mga makakasabay niya sa nalalapit na Pista ng Pelikulang Pilipino sa lunsod ng Quezon. At isa na namang karangalan para kay Vilma Santos! – Deo Fajardo Jr., Topstar Magazine, No. 73, 14 Sep 1973
Oh, it’s October, month of the “Holy Rosary!” Kay bilis malagas ng mga araw, hindi natin namamalayan, bagong taon na naman. Nagkakaedad na tayong lahat subali’t andito pa rin tayo…..humahanga pa rin kay Miss Vilma Santos. Kung sabagay, sabi nga nila, age is just a number, hehehe! Sa tinagal-tagal sa industriya ng pelikulang Pilipino ni Vilma, apatnapu at anim na taon na siya sa pelikula to be exact, kulang-kulang sa limang dekada ay hindi pa rin siya matinag sa kanyang kinalalagyan. Nagsilaho na ang kanyang mga kakontemporaryo. Nagsusulputan na ang mga bagong mukha subali’t parang bulalakaw na mabilis ding nawawala. Si Vilma ay andiyan pa rin…nagniningning pa rin ang kanyang bituin…tinitingala pa rin hindi lang bilang isang magaling na alagad ng sining kundi isa na ring mahusay na public servant. Pero kahit na nasa itaas siya ay nakatuntong pa rin siya sa lupa kaya naman lahat halos ng mga nangyayari sa kanya ay pulos positibo, kahit na minsan ay may mga taong bumabatikos sa kanya. Ipinagsasawalang kibo na lang niya ang mga ito, para que pa nga naman eh pampa-stress lang yan noh! At dahil diyan, siya pa rin ang Nag-iisang Bituin…nakakapag-demand ng mataas na talent fee sa kanyang mga pelikula at commercials na ginagawa. Siya pa rin ang “premiere actress” ng bansang Pilipinas. At yamang napapag-usapan ang kanyang pagiging “premiere actress” kung kaya’t balikan natin ang mga “premiere night” ng mga pelikula ni Governor Vilma Santos-Recto.
Noong araw, madalang ang mga pelikulang may “premiere night.” Ang mga sinehang pinagdarausan ng mga “premiere night” noon ay mga nangawala o nagsipagsara na katulad ng Galaxy Theater sa Avenida Rizal, Lyric Theater sa Escolta, Rizal at Magallanes Theater sa Makati City, New Frontier at Remar Theater sa Cubao, Quezon City at Gotesco Theater sa Recto Avenue, Quiapo, Manila. Nauso na ang mga “malls” na karaniwan ay may apat hanggang labingdalawang sinehan na pinagpapalabasan ng mga pelikula. Nilamon na ng mga sinehan sa mga naglalakihang malls ang mga lumang sinehan noon. Eh bakit pa nga ba ikaw manonood sa mga dating sinehan samantalang kung sa “mall” ka pupunta ay andun na lahat…..supermarket, department store, food court, amusement center at may mga shows pa. Ngayon…..halos lahat ng pelikulang tagalog ay may “premiere night”…..na karaniwan ay may mga nag-iisponsor at ito ay ginaganap sa mga sinehan sa mga malls. Pati ang mga digital films ay may “premiere night” na rin na sa UP Film Center ipinalalabas.
Ang pelikulang Pakawalan Mo Ako na ipinalabas noong Mayo 29, 1981 ay nag-premiere showing sa Lyric Theater at sponsored ito ng Catholic Women’s League Manila Chapter. Natandaan ko pa noon na ang pases na ginamit ko para manood ng pelikulang ito ay ibinigay lang sa akin ng isa kong kaopisinang tagahanga ni Nora Aunor. Eksaktong alas siyete ng gabi ito nagsimula. Walang artistang dumalo sa nasabing premiere night subali’t nang ito ay muling nag-premiere night sa Gotesco Theater ay talagang may mga nabasag na salamin sa lobby ng sinehan dahil sa pagkakagulo ng mga manonood. Si Vi ay hindi nakarating dahilan sa siya ay kapapanganak lamang kay Luis. Ang pelikulang ito kung saan si Elwood Perez ang naging direktor ay tinatampukan din nina Christopher de Leon at Anthony Castelo ay isa sa mga sumira ng takilya. Nakamit ni Vi ang pangalawang best actress award mula sa Famas sa pelikulang ito.
Nang mag-premiere night naman ang unang pelikula ni Vi sa Viva Films na Sinasamba Kita na idinerek ni Eddie Garcia ay talagang naging pandemonium. Ito ay ginanap sa New Frontier Theater, Cubao, Quezon City at nang makapasok na ang mga tao sa loob at magsisimula na ang pelikula ay nagkalat ang mga tsinelas sa lobby ng sinehan na naiwan ng mga tagahangang natapakan ng mga nais makapanood ng pelikula. Ito ay ipinalabas sa mga sinehan noong Agosto 19, 1982 at tinampukan din nina Christopher de Leon, Philip Salvador at Lorna Tolentino.
Sunud-sunod ang mga pelikula ni Vilma sa Viva Films na nagkaroon ng premiere night at katulad ng mga nauna ay nagkakagulo pa rin ang kanyang mga tagahanga. Ito ay ang mga pelikulang Gaano Kadalas Ang Minsan? at Paano Ba Ang Mangarap? na sa New Frontier Theater din ginanap. Ang New Frontier Theater pala ay itinuturing na pinakamalaking sinehan sa buong Asia nang mga panahong yun. Ang Gaano Kadalas Ang Minsan? na idinerek ni Danny L. Zialcita ay ipinalabas noong Nobyembre 11, 1982 at tinampukan din nina Dindo Fernando at Hilda Koronel…..samantalang ang Paano Ba Ang Mangarap? na idinerek naman ni Eddie Garcia ay ipinalabas noong Hunyo 9, 1983 at tinampukan din nina Christopher de Leon at Jay Ilagan.
Ang premiere night ng pelikulang Never Ever Say Goodbye ay sa Galaxy Theater naman ginanap. Bukod kay Vi ay dumalo din ang mga stars ng nasabing pelikula katulad nina Nonoy Zuñiga. Nagkaroon pa ng isang maliit na programa bago nag-umpisa ang pelikula. Ito ay ipinalabas sa mga sinehan noong Oktubre 7, 1982 sa direksiyon ni Gil Portes.
Sa Magallanes Theater ginanap ang premiere showing ng pelikulang tinatampukan ni Vi at ni Nora Aunor na T-Bird At Ako. Hindi dumalo ang dalawang lead stars ng pelikula, yung mga supporting stars lamang ang mga dumalo pati na rin ang prodyuser ng pelikula na si Irene Lopez. Si Danny L. Zialcita ang direktor ng pelikulang ito na ipinalabas noong Setyembre 2, 982 at tinampukan din nina Dindo Fernando at Tommy Abuel.
Sa Film Center sa Roxas Boulevard, Pasay City naman nag-premiere showing ang pelikula ng Mirick Films na inilahok sa 1982 Metro Manila Film Festival na Haplos. Kasama ni Vi sa pelikulang ito sina Christopher de Leon na nanalong best actor at Rio Locsin sa direksiyon ni Butch Perez. Hindi nakadalo si Vi at Boyet subali’t andun si Rio Locsin na kasama pa noon ang asawang si Al Tantay.
Samantala, nagkaroon ng double screening sa loob lamang ng isang gabi sa Rizal Theater ang pelikulang Sister Stella L. Punung-puno ang dalawang screening at grabe ang naging reception ng mga tao. Umaatikabong palakpakan ang maririnig sa loob ng Rizal Theater nang matapos ang pelikula. Nakita kong dumalo doon sina German Moreno at Babette Villaroel. Palibhasa’y ang Rizal Theater ay malapit lang sa Forbes Park, Bel-Air, Dasmariñas Village at San Lorenzo kung kaya’t karamihan sa mga nanood ay mga alta sosyedad. Sosyal talaga ang pelikula at ito lang yata ang pelikulang pinapalakpakan ng mga tao pagkatapos ng screening, maging ng mga class C, D at E. Nagkaroon din ng mga special screening ang pelikulang ito ni Mike de Leon sa iba’t ibang paaralan ng Metro Manila. Di nga ba’t isa si NEDA Secretary Ralph Recto na nanood nito na noon ay estudyante pa lang? Inilabas ito sa mga sinehan noong Hulyo 12, 1983 at napanalunan ng pelikulang ito sa Urian ang halos lahat ng awards sa iba’t ibang kategorya kabilang na ang tatlong taong sunud-sunod na best actress award ni Vi.
Ang una’t huling pelikula ni Vilma sa Via Hoffman Films na Tagos Ng Dugo ay nag-premiere night sa New Frontier Theater din. Bago pa dumating si Vi ay halos isara na ng mga guwardiya ang pintuan ng sinehan dahilan sa hindi na nila ma-accomodate ang napakaraming taong manonood. Nang dumating si Vi ay agad sinimulan ang pelikula. Sa loge ng sinehan naupo si Vi at ang kanyang mga co-stars. Nang matapos ang pelikula at magbukas ang ilaw ay walang humpay sa pagkaway si Vi sa mga taong nasa ibaba ng sinehan. Ang mga taong nanood ay walang pagod sa kasisigaw sa pagtawag kay Vi. Ang pelikulang ito na idinerek ni Maryo J. de los Reyes ay nag-regular showing sa mga sinehan noong Enero 25, 1987. Sa pelikulang ito natamo ni Vi ang ikaapat na best actress award sa Famas at pangalawa naman niya sa Catholic Mass Media Award.
Ang pelikulang tinampukan ni Vi kasama sina Tonton Gutierrez, Ricky Davao at Cherrie Gil na may pamagat ng Saan Nagtatago Ang Pag-ibig? ay sa Rizal Theater din nag-premiere showing. Sobrang dami ding tao ang nanood palibhasa’y dito noon ginaganap ang Vilma Show nang panahong yun. Ang pelikulang ito na idinerek ni Eddie Garcia ay ipinalabas sa mga sinehan noong Setyembre 2, 1987. Dito sa pelikulang ito nanalo si Tonton Gutierrez ng kanyang best actor award mula sa Catholic Mass Media Award at Star Awards for Movies. Si Eddie Garcia ay nanalo ring best director mula sa iba’t ibang award giving bodies.
Ang true-to-life story ni Dolzura Cortez na pinamagatang Dahil Mahal Kita: The Dolzura Cortez Story ay sa New Frontier Theater nag-premiere night. Dumalo sa nasabing premiere showing ang dating Secretary of Health na naging senador na si Flaviano Javier na umaming isang Vilmanian siya. Ito ang kauna-unahang pelikulang tumatalakay sa isang taong may AIDS (Acute Immune Deficiency Syndrome). Ito ay inilahok ng Octo Arts Films sa Manila Film Festival kung saan nasungkit ni Vi ang best actress award. Ito ay sa direksiyon ni Laurice Guillen. Nakamit din ni Vi ang kanyang pangalawang grand slam sa pelikulang ito.
Sa Greenhills Theater naman nag-premiere showing ang pelikulang Nag-iisang Bituin na bukod kay Vi ay tinampukan din nina Christopher de Leon, Aga Muhlach at ng isa ring Vilmanian na si Jao Mapa. Ito ang unang pelikula ni Vi kay Jose Javier Reyes na nag-regular showing noong Agosto 31, 1994. Isa sa mga sponsors ng pelikulang ito, kung saan si Vi ang endorser, ay ang Eskinol Facial kung saan namahagi sila sa pamamagitan ng paghahagis ng maliliit na bote ng Eskinol sa mga taong manonood. Isa sa mga Vis na nanood ay aksidenteng tinamaan sa mata subali’t ito ay kanilang ipinagamot.
Ang pelikulang pinagsamahan nina Vi, Gabby Concepcion, Aga Muhlach at Aiko Melendez na may pamagat na Sinungaling Mong Puso ay nag-premiere night sa Gotesco Theater. Tulad ng dati, nagkabasag-basag na naman ang mga salamin sa lobby ng sinehan. Nang mag-regular showing na ang pelikulang ito sa mga sinehan noong Agosto 27, 1993 ay bumabagyo at binaha pa ang ibang sinehang pinaglabasan ng nasabing pelikula subali’t super blockbuster pa din ito quesehodang nakababad ang mga paa ng ibang taong nanood. Ang pelikulang ito ay idinerek ni Maryo J. de los Reyes. Dito nagwagi si Aga ng best actor award at si Gabby naman ay best supporting actor.
Sa Remar Theater naman nag-premiere night ang pelikulang tinampukan nina Vi, Cesar Montano at Ronnie Ricketts na Ikaw Lang sa direksyon ni Chito Roño. Hindi magkamayaw ang mga tao nang dumating ang mga lead stars. Ang pelikulang ito ay ipinalabas sa mga sinehan noong Enero 12, 1994.
Ang pelikula tungkol sa OFW na Anak ay nag-premiere showing sa dalawang sinehan ng SM Megamall. Hindi mahulugang karayom ang mga taong nanood ng nasabing pelikula. Dumating ang mga lead stars ng pelikula at talagang walang katapusang tilian at sigawan ang mga fans sa loob ng sinehan habang pinapanood ang nasabing pelikula. Ipinalabas ang pelikulang ito noong May 12, 2000 sa kasagaran ng mga bomb threats subali’t hindi ito naging hadlang para hindi pasukin ng tao ang pelikula. Ito na yata ang pelikulang pinilahan ng husto sa takilya. Ang pelikulang ito ay sa direksiyon ni Rory Quintos at dito muling nabigyan si Vi ng box-office queen award kahit na hall of famer na siya. Nanalo din si Vi ng best actress award mula sa Star Awards for Movies at Pasado. Ang pelikulang ito din ang nanalong best film ng Catholic Mass Media Awards.
Nagkaroon ng ilang linggong exhibit sa lobby ng Robinson’s Galeria noong December 2002 ang pelikulang Dekada ’70. Mga damit, sapatos at iba’t ibang aksesorya noong dekada ’70 ang naka-display sa exhibit. Ang premiere showing naman nito sa isang sinehan ng Robinson’s Galeria ay dinaluhan nina Charo Santos, Malou Santos, Chito Roño at ang mga stars ng pelikula na sina Vi, Boyet, Piolo Pascual, Marvin Agustin, Carlos Agassi, John Wayne Sace at Danilo Barrios. Dumalo din si Marilou Diaz Abaya at panay ang bati niya sa mga stars at direktor ng pelikula. Dito sa pelikulang ito nasungkit ni Vi ang kanyang pang-apat na grand slam.
Sinabi noon ni Mother Lily Monteverde na ang final Mano Po movie ay itong pelikula nina Vi at Boyet na panlaban nila sa 2004 Metro Manila Film Festival na Mano Po 3 My Love, subali’t hindi ito nangyari dahil may mga sumunod na Mano Po pa. Nagkaroon ng red carpet premiere night ang nasabing pelikula sa SM Megamall. Dumalo ang mga stars ng pelikula na sina Vi, Boyet, Angel Locsin, Karylle, Dennis Trillo, Angelica Panganiban, Carlo Aquino, Jay Manalo, Boots Anson Roa, Eddie Garcia, Patrick Garcia, John Pratts at iba pa. Nanalong best actress at best actor sina Vi at Boyet. Nanalo ring best picture ang pelikula ganundin ang best float. Ito ang unang directorial job ni Joel Lamangan kay Vilma. Nanalo din si Vi ng best actress award mula sa Star Awards for Movies, Gawad Tanglaw at Gawad Suri.
Sa kabuuan, ang lahat ng “premiere night” na pelikula ng tinaguriang “premiere actress” ng bansa ay talagang malaking tagumpay. Panalong-panalo talaga!!!. – Alfonso Valencia (READ MORE)
Unprecedented Stella L Premiere – Kung ang batayan ay ang premiere night ng Sister Stella L na ginanap sa Rizal theater noong June 22, sigurado nang dudumugin nang masa ang pelikulang ito ni Mike De Leon kapag regula showing na ito sa commercial theaters. Talaga namang very, very successful ang nasabing premiere night at ayon nga sa mga nakakaalam, never in the history of local cinema na ang isang pelikula’y dalawa ang screenings sa premiere showing at parehong SRO. Obviously, maraming A-B crowd nung gabing ‘yon, tulad ng grupo ni Chona Kasten na namataan namin, pero marami ring mga manggagawa at mga miyembro ng iba’t ibang sektaryang pang relihiyon. Ang nag-isponsor ng premiere night na ‘yon ay ang The Organization for the Promotion of Church People’s Right/Response (PCPR). Ang Sister Stella L na pelikula ng Regal Films ay ipapaplabas umpisa sa July 14. – Movie Flash Magazine, July 12 1984
Paano malalaman kung magiging malakas sa takily ang isang pelikula? Isa sa mga sukatan ang premiere ngiht. Hangga’t maari’y ayaw ng ibang produser na magpa-premiere night. Usually kasi, may nag-iisponsor nito, at sa kanila, sa charity – kung tutoo mang sa charity – napupunta ang bayad sa takilya. At siyempre pa, dahil premiere night ekstra ang halaga ng tiket, P25 sa orkestra, P50-100 sa balcony at loge. Bukod sa malaking kawalan din yon sa produser sa regular run ng pelikula, puewede pang mapintas-pintasan ito, at pag kumalat iyon, bagsak ang pelikula! Sa isang dako, kung gustong makatulong ng produser sa charity, at kung sampalataya siya sa kanyang pelukula, mainam magpa-premiere night para higit na maipaalam sa lahat na maganda ito. Iyon ang nasa isip ni Mother Lily nang ipa-premiere night ang “Sister Stella L.” sa Rizal theater sa Makati. Umbrella organization ng mga madre ang nag-isponsor ng premiere night, dalawang screening iyon. Umuulan nang gabing iyon, pero dagsa pa rin ang mga tao. Siksikan. Gayunpama’y disiplinado. Marami rin kasi sa mga ito ang mga madre. Kung karaniwan nang umaasa pa rin sa walk-in ang ibang nagpapa-premiere night, iba naman ang nangyari sa “Sister Stella L.”
Bago pa ang first screening, dakong alas sinko-medya, sold out na ang tiket. Nakikiusap na talaga ang mga hindi nakabili ng tiket na bibili sila, pero ubos na. Dumating doon ang ina ng tunay na Sister Stella L. “No, my daughter is not an activist, she only wanted to help the needy,” sabi nito. Sa kasalukuya’y nasa abroad daw ito, nagtungo roon pagkaraang lumabas mula sa pagkaka-detain ng 11 months sa isang militar camp. Mula sa siyuting ng “Alyas Baby Tsina,” dumating si Vilma Santos. Kagulo sa kanya ang mga tao sa lobby. Magkasabay na pumasok sina Gina Alajar at Michael De Mes, at naisip namin, mali nga ‘ata ‘yung balitang nagkahiwalay sila. Very, very successful ang premiere night na iyon. Katunayan, gusto pa itong masundan ng isang labor sector, tumanggi na lang si Mother Lily. “They will give me raw three hundred thousand, but I said no. Paano naman ang regular run ko?” – Bibsy Estrella (READ MORE)
“…The Bicol Festival Foundation, in cooperation with Philtanco, is sponsoring the movie premiere of the film Saan Nagtatago ang Pag-ibig?, tonight at 7:30, at the Rizal Theatre in Makati. The movie, directed by Eddie Garcia, stars by Eddie Garcia, stars Vilma Santos, Gloria Romero, Ricky Davao, Cherie Gil, Alicia Vergel and Tonton Gutierrez. The Bicol Festival Foundation is headed by Justice Francis F. Gachitorena of the Sandiganbayan. Film director Garcia who is a Bicolano himself has offered this latest Vilma Santos starrer to the Bicolanos, many of whom have been devastated by typhoon Herming a few weeks ago. He said, ‘This is my little contribution in the Bicolano’s who will be celebrating the Penafrancia Festival next month.” The Bicolanos in Manila will hold teh Grand Bicolandia Festival from September 7-13 at the Manila Garden Hotel in Makati and many activities have been schedule to drum up support for the plight of the Bicolanos in the provinces. Tickets are available a the theater gate at Visual Horizons with telephone no. 815-0024 or Philtranco at telephone no. 833-7180…” – Manila Standard, Sep 01 1987 (READ MORE)
The Healing’s Premiere Night – “…The entire cast of “The Healing,” led by multi-awarded actress and Batangas Gov. Vilma Santos and young actress Kim Chiu, arrived together, wearing red outfits and flashing smiles to fans who attended the event. Santos was escorted by her husband Senator Ralph Recto. Before the movie was screened, Santos said she is truly proud of this movie because she and the rest of the cast really worked hard to make it beautiful. “We’re all very excited and we would like to thank each and everyone of you for joining us in the premiere night of ‘The Healing.’ Pinamamalaki po naming lahat ito dahil pinagpaguran namin,” she said. Santos said she is hoping moviegoers would enjoy the film and feel scared at the same time. Among the celebrities who attended the premiere night were Piolo Pascual, Maja Salvador, Matteo Guidicelli and Robi Dominggo. Chiu’s former boyfriend Gerald Anderson was also there as well as actor Xian Lim, who is currently being linked to her…The Healing was graded A by the Cinema Evaluation Board and it opens in theaters nationwide today, July 25…” – ABS-CBN News (READ MORE)
Eksta’s Premiere Night – “…As early as 5:00 p.m., people were already queuing for the 6:15 screening. The line became longer in just a few minutes, while other people were excitedly awaiting the arrival of Gov. Vilma Santos-Recto. The Vilmanians were hoping to get a glimpse of their idol enter the Main Theater. The celebrities started arriving, which made the task of containing the crowd a little difficult for the ushers. But they politely obliged when they were asked to clear the area leading to the Main Theater. When the signal was given that the moviegoers could now enter the theater, the people dashed toward the main entrance, hoping to be the first to get inside. This could have been a scene straight from Philippine cinema’s classic eras, such as the pre-martial law Manila film festivals. And the star of the night was a veteran performer with 5 decades in the industry. Vilma said the premiere erased her apprehensions about venturing into independent cinema for the first time. “Yung pinaka-reception kanina, yun na ang pinaka-bayad namin (The reception was already the reward).” Jeturian was a PA (production assistant) in the 1984 production of Marilou Diaz Abaya’s “Alyas Baby Tsina.” Vilma was the star of that film, and Jeturian remembers already dreaming of becoming a filmmaker at the time…” – Rappler (READ MORE)
I would like to share with you some songs that have been written originally as theme songs for Vilma Santos movies. Song that became big hits and now considered as Original Pilipino Classic.
01. DITO BA – Composed by the late George Canseco. This song was the theme song of MISS X. Ito ang awi-ting nagpakilala at nagpasikat kay Kuh Ledesma. This was one of Ledesma’s earliest hit which also gave her multiplatinum awards. Kaya sa ayaw at sa gusto ni Kuh, malaki ang naitulong ng awiting ito sa kanyang career. Kahit nag-concert siya USA, kasama si Nora Aunor alam kong mas malapit sa puso niya si Vilma. Isa pang awitin ni Kuh na talaga namang napakaganda at mangangarap ka kapag pinakikinggan mo ay ang MINSAN SA ISANG PANAHON. Gawa din ito ni George Canseco para maging theme song ng pelikulang KARMA.
02. LANGIS AT TUBIG – Another Canseco composition that have been made for the movie of the same title. Dito nagsimulang marinig ang kakaibang tinig ni Sharon Cuneta. Naging mega hit ang awiting ito at maririnig sa lahat ng sulok ng Pilipinas, dahil walang singing contests na hindi mo maririnig ang awiting ito. The people behind the making of this Vilma Santos classic movie were also the people behind Sharon Cunetas first movie DEAR HEART. I believe that LANGIS AT TUBIG is a big influence to Sharon Cunetas film career, remember she is originally known as a singer.
03. IBIG KONG IBIGIN KA – The song have been composed by Vic Villafuerte for the movie “PAKAWALAN MO AKO.” Sang by one of Ate Vis leading men in the film, the dashing debonaire, Anthony Castelo. Actually, during that time “BALATKAYO” lang ang talagang hit ni Anthony. But because of this song muling nagkaroon ng hit si Anthony and actually gave him a gold record award. Naging favorite din ito ng mga sumasali sa singing contest, pero talagang ang may mahusay lang na tinig ang pwedeng umawit nito. To date, this is still one of my favorite OPM.
04. KUNG KAILANGAN MO AKO – This was composed by Rey Valera as theme song of the movie “ROMANSA.” The movie is the first team-up of Ate Vi and former husband Edu Manzano. Sa trailer palang ng movie ang awiting ito kaagad ang bubungad. Ito ang isa sa biggest hits ni Rey Valera at naging multiplatinum din and awiting ito. Hanggang Ngayon sikat pa rin ang awiting ito at madalas gamitin na theme songs ng pelikula at television drama. Naging title at theme song din ito ng pelikula ni Sharon Cuneta at Rudy Fernandez, ditto with one of teleserye in ABS-CBN kung saan unang napansin at nakilala si PIOLO PASCUAL. Incidentally Piolo became one of Ate Vis anak in DEKADA 70.
05. KUNG TAYOY MAGKAKALAYO – Another Rey Valera composition that was used as theme song of the movie “HIWALAY.” The song is also a hit and considered by song critics as one of Rey Valeras best composition. This is one of my favorite song and I enjoyed singing it on videoke. Madamdamin talaga ang awiting ito and Rey Valera admitted that this is one of his favorites and would you believe he composed this song alone in LA LOMA CEMETERY?
06. HIRAM – This was again originally written by George Canseco for the movie “PALIMOS NG PAG-IBIG.” Magnificently rendered by ZSA ZSA PADILLA that gave her first platinum record and her biggest hit. Ito ang awiting nagpasikat ng husto kay ZSA ZSA PADILLA aminin man nya o Hindi. Hanggang sa Ngayon bumebenta pa ang awiting ito. Inawit din ito ni Sharon Cuneta at ginamit na theme song ng pelikula nila ni Richard Gomez ang MINSAN MINAHAL KITA. And now it was the title and theme song of ABS-CBN Soap Opera staring Kris Aquino.
07. SINASAMBA KITA– Written by Rey Valera and Lyrics by George Canseco was made for the movie of the same title. Katulad ng movie record breaking din ang song dahil naging mega hit ito sa mga record bar and naging multi platinum din ito. This is Rey Valera’s biggest hit. Lalong sumikat nang awitin din ni Sharon Cuneta. This was also included in one of Regine Velasquez’ album. That meams marami ang kumita sa awiting ito at hanggang ngayon sikat pa rin.
08. Sino ang makakalimot sa mga walang kamatayang awitin ni BASIL VALDEZ na sadyang ginawa para sa pelikula ni Vilma Santos. Kung ano ang title ng song siya ring title ng movie. Ang mga awiting ito ay all time favorites ng mga videoke officionados. Mostly if not all composed by George Canseco, these songs gave Basil either Gold or Platinum. Here they are: GAANO KADALAS ANG MINSAN; PAANO BA ANG MANGARAP; MINSAN PA NATING HAGKAN ANG NAKARAAN; MULING BUKSAN ANG PUSO; SAAN NAGTATAGO ANG PAG-IBIG
09. SANA MAULIT MULI – This song was used as theme song of the movie “IBULONG MO SA DIYOS.” Originally sang by GARY VALENCIANO and one of Ate Vi’s leading men in the film. This is Gary’s first hit tagalog song. Lalong sumikat ang kanta nang awitin ni Regine Velasquez. Inawit din ito ni Lea Salonga at naging theme song ng ng movie nila ni Aga Muhlach sa Star Cinema. The movie won Best Picture and gave Aga his first Best Actor trophy sa URIAN.
10. SANGANDAAN & ALING PAG-IBIG PA – Kung madalas kang mag-attend ng mga rallies especially during the time of EDSA revolution and up to now sa mga labor rallies madalas mong maririnig ang mga awiting ito. These songs have been featured in the movie SISTER STELLA L. These were magnificently rendered by Pat Castillo. Ang mga awiting ito ang nagpakilala sa singer na ito. Sa mga music lounge lang naman talaga sya maririnig at makikita, pero simula ng awitin nya ang mga songs na ito nagsimula syang makilala ng masa. Laging kasama ang mga awiting ito sa mga Nationalistic and Patriotic albums. We can now consider Vilma Santos not just a powerful figure in the movie industry but in the music industry as well. Kahit hindi sya and singer or composer malaki ang naiambag nya sa pagsikat ng Original Pilipino Music. Imagine how influential Ate Vi is, mapa-kanta or singer napapasikat nya as long as ma-identify ito sa kanya. And now Vilmanians, start compiling these songs in one CD and be proud to be a true blooded Vilmanians Saranghamnida Ate Vi! – a – V Magazine (READ MORE)
We’re back!.” once more to bring you the best of the best on Ate Vi. Fresh from the success of the maiden issue of our newsletter, the V-5 is back. This time theyre not just five, but five times five. The talented and wonderful Vilmanians across the globe have joined forces to come up with more exciting contributions and write-ups to ensure that only a quality and entertaining newsletter is delivered right at your door. Besides, this newsletter is for all of us – you and I, the forever Vilmanians! We thank everyone who have appreciated our first salvo and those who unselfishly imparted suggestions and encouraging words, including the negative ones. We truly appreciate them Rest assured that we would take everything positively and constructively. Our theme for the second issue as Rendt emphasizes to us, is Retro/Nostalgia. What a fitting follow-up indeed!
For there’s so much that can be written of the Philippines’ legendary and ultimate movie queen. Having weathered a successful career that spans for three decades now. Yet, I’m in quandary as to how would I start. Perhaps, words arent enough to describe her majestic resume and refreshing persona that anyone who intends to write about her would be taken aback in bewilderment. But alas! As I contemplate in front of my PC, a perfect word came along. And this is it – “Viva La Vilma!” “Perfect!” I said to myself. And the keyboard started to tick. It’s a nomenclature that speaks of the Queen Star’s revered stature in the Philippine movie industry as country’s prime and greatest actress of all times, and Star for All Seasons and Reasons. Likewise, it hails of the diminutive actress’ charm and strength in political arena where she is now serving her third term as Lipa City’s mayor, and the bright promise of an endless possibilities her innate and God-given talents will bring.
What’s in a name anyway? Spelled as capital V-I-L-M-A. Let me put words to each to get the right picture.
V – is for victorious! Indeed she is, right from the start. Her very first outing into celluloid world in 1963 where she was then 9 years old via the film “Trudis Liit” opposite Lolita Rodriguez bestowed her that year’s FAMAS Best Child Actress. Also worth mentioning is – at that same year while filming Trudis, she is wrapping up another movie titled “Anak ang Iyong Ina” where she shared stellar highlights with acting stalwarts, Gloria Romero and the late Rita Gomez. Thus, shes the only child actress who started her career via two movies. What a feat! And La Vilma did. The winning streak continues. From Trudis Liit (1963) to Mano Po 3 (2005), the victorious La Vilma always emerges triumphant year after year even in the midst of storms that beset her in life, she wears still the crown. Nothing and no one can ever stop the winningest actress of all time, La Vilma. The record speaks for itself: Four-times Grand Slammer for Best Actress 1982 in “Relasyon,” 1993 in “Dahil Mahal Kita (The Dolzura Cortez Story),” 1998 in “BataBata Paano Ka Ginawa?,” and 2002 in “Dekada 70.” 8 times URIAN awardees for Best Actress (one more is coming up), 6 times in PMPC Star Awards for Movies, and 5 times in FAP. Best Actress Hall of Fame in FAMAS and Lifetime Achievement awardees. Box Office Queen Hall of Fame awardees. Cine Manila and Brussels International Film Festival Best Actress awardees. And lots more. The list goes on and on.
V – is also for versatility! Only La Vilma can essay varied roles in every movie she made with finesse and perfection. This is very true during the early 70’s especially after she won her very first FAMAS Best Actress trophy via “Dama de Noche” in 1972. She was the super Filipino flying heroine in “Lipad, Darna, Lipad,” the all-time favorite and most successful Darna movie ever made, box-office wise speaking. The testament to her effectual performance of this Filipino heroine is her having played the role four times, namely “Lipad, Darna, Lipad,” “Darna and the Giants,” “Darna and the Planet Women” and “Darna at Ding.” That’s another feat unparalleled in the history of movie-making that only La Vilma can deliver.
She was the beautiful mermaid in “Dyesebel at ang Mahiwagang Kabibe,” the champion of the jungle in “Wonder Vi,” and the action heroine in “Vilma Veinte Nueve,” “Phantom Lady”and “Vivian Volta” – all box-office hits of the 70’s.
She’s exciting to watch in heart-pounding, hair-rising suspensehorror movie in “Kamay na Gumagapang” and “Anak ng Asuwang,” and in heart-warming drama-fantasy movie “Kampanerang Kuba,” the latter now being aired as ABSCBN’s latest teleserye. She’s equally refreshing and hilarious in “Kundoktora,” “Teribol Dobol,” “Tok Tok Palatok,” and “Vilma and the Beep Beep Minica” where she played a young socialite opposite a talking minica. The latter movie was truly hilarious. The audience had a great laugh when it was shown in theatres many years back.
She’s so sweet and amorous in “Batya’t Palu-Palo” and “Bato sa Buhangin” opposite the late king of the Philippine movie, FPJ, and in “Nakakahiya” and “Nakakahiya II” opposite the late drama king, Eddie Rodriguez, that you cannot help but fall in love with her. I did, and still am.
She’s riveting and magnificent various award-winning movies she did with country’s finest directors such as in Celso Ad Castillo’s epics, “Tag-ulan sa Tag-araw,” “Pagputi ng Uwak, Pag-itim ng Tagak” and “Burlesk Queen.” In the late Lino Brocka’s “Rubia Servios,” “Aida Macaraeg: Adultery,” and “Hahamakin Lahat,” and in the late Ishmael Bernal’s “Relasyon,” “Broken Marriage,” “Ikaw ay Akin,” “Dalawang Pugad, Isang Ibon” and “Pahiram ng Isang Umaga.” In Mike De Leon’s “Sister Stella L,” Chito Rono’s “Ikaw Lang,” “Bata Bata Paano Ka Ginawa?” and “Dekada 70,” and Gil Portes’ “Miss X.” In Danny Zialcita”s “Gaano Kadalas ang Minsan,” “Langis at Tubig,” “Karma” and “T-Bird At Ako,” and Laurice Guillen’s “Ipagpatawad Mo,” “Kapag Langit ang Humatol,” “Dahil Mahal Kita (The Dolzura Cortez Story).” In Eddie Garcia’s “Sinasamba Kita,” “Paano Ba ang Mangarap?,” and “Imortal,” and in Marilou Diaz Abaya’s “Alyas Baby Tsina” and “Minsan Pa Nating Hagkan ang Nakaraan.”
Indeed, that’s versatility at its peak that only La Vilma possesses. Shall I need to say more? But let’s finish it anyway.
V – is for Victorious and Versatility.
I – is for ingenuity. The QueenStar never stop reinventing herself. She has a lot of creativity in her sleeves. Her latest project would be another off beat role, Star Cinema’s “Flores De Mara.” She will be playing a mother to three gay sons.
L – is for longevity. At 51, she still commands the highest pay in Philippine movie world. She was recently named the All-Time Favorite Actress by Guillermo Mendoza Foundation. Whats the secret of her longevity? It’s her dedication and love to her career and her humility.
M – is for magnanimity. Vilma’s kindness and benevolence to both her family, her constituents in Lipa and to her millions of adoring fans are shining testimonies of her being God-fearing and magnanimity of her heart. She’s both a blessing and a blessed lady.
A – is for affinity. Vilma is not just an actress, an A1 star, Mayor, but a friend, a sister, and a mother to millions and millions of Vilmanias at every nook of the world, and in all strata of life. She is a part of the family. Remember, the adage “We are family?” That’s what we are. Therefore, the next time we say V-I-L-M-A, theres only one beautiful woman that will come up to our mind, none other than the woman of substance, Lady Vilma. Long Live the Queen! Viva La Vilma! – Charles Gomez (READ MORE)
Friendship and goodwill to man. Ito ang patakaran ng bawat bansang nagsasanig sa buong daigdig. At ang palagayan ng mga tao sa mundo’y minsan pang nabigyan ng katuparan nang ang dayuhang artista (Meng Fei), ang humanga at hinahangan naman ng mga Pilipino. Tulad ng paghanga ni Meg Fei kay Vilma at paghanga naman ni Vilma kay Meng Fei. “Hinahangaaan niya ang mga dalagang Filipina,” simula ni Vilma. “Nang may sabihin si Meng Fei, ang una bang nadama ay pagmamalaki sa aking sarili para sa kapwa ko dalagang Filipino. Hindi ba karangalan nating lahat na madama at marinig mula sa dayuhang ang paghanga nila sa akin?” Napangiti si Vilma nang sabihin niya na amini ang pagiging tunay na maginoo ni Meng Fei. Sa loob ng maraming araw na pagkakalapit nina Vilma at Meng Fei, mula nang magshooting sila sa Cebu City na ginagawa nilang bagong pelikula, ang Two Fists For Justice, ay lubusang nakilala ni Vilma ang tunay na pagkatao at paguugali ng Chinese actor na ito. “Never na never sa pag-uusap namin ay pinuri ko si Meng Fei o ang mga kaugalian nila. Nakikisama ako sa kanya bilang isang kaibigan at siya, bilang isang dayuhan ay pinakitunguhan ko bilang panauhin.” But most of all the time, laging nasasabi ni Meng Fei ang kanyang paghanga sa Filipina at sa mga Pilipino. Sa ganyang paraan ay makakadama ako ng kasiyahan dahil ako’y Pilipino.
Sinisikap ni Meng Fei na makapagsalita at matuto ng wikang Tagalog. Tuwing mag-uusap kami’y ugali ng mga dalagang Filipina ang lagi niyang tinutukoy. At maging kapansin-pansin para sa kanya ang pagkakaroon natin ng mga beauty queens na isang malaking karangalan sa buong mundo.” ani Vilma. “Natuklasan ko ang pagiging edukado at makabayan ni Meng Fei. Bakas na bakas sa kanya ang pagmamahal sa kanyang sariling wika. Kaya nga hindi siya sanay magsalita ng Ingles. Ayong sa kanya, sa kanilang bansa ay higit na hinahangaan ang mga taong nagbibigay dangal sa sarili nilang wika. Naniniwala ako, pagka’t nang makarating ako sa Japan noon ay napansin kong karamihan sa mga Japanese ay hindi makapagsalita ng ibang wika. Sarili nilang wika ang kanilang ginagamit at sa kabila nito ay makikita naman natin ang progreso ng kanilang bansa. Ang hapon ay isa sa maunlad na bansa sa buong mundo. Subalit ang China ay humahabol ngayon sa kanila. Sa kabila nito, ayon kay Meng Fei, ay mayroon silang dapat ipagmalaki ang mga Filipina. Ang kanilang mga katutubong kaugalian. Amg kaugalian natin, ang katahimikan ng ating bansa at pamahalaan, ito ay hinahangaan at pinuring lahat ni Meng Fei.” Ayon naman kay Meng Fei, ang kanilang pelikulang Two Fists For Justice ay naka-booked na for intenational release. Ibig din niyang ipakita sa ibang bansa ang kagandahan ng Pilipinas na nasaksihan niya sa pamamagitan ng pelikulang ito. – Ric S. Aquino, Modern Romances Illustrated Magazine, No. 13, 17 Sep 1973
Ric S. Aquino is a Filipino movie reporter, writer, columnist who was part of Vilma Santos’ circle of movie writers in the early part of her film career. He mostly reports about the latest news about Vilma. He also wrote several pieces about her relationships with Edgar Mortiz and other admirers. His articles, mostly written in Tagalog were mostly published at Movie Queen magazine, a magazine identified with Vilma Santos. – RV
The Beginning – When I was a little kid, I remember watching my very first Vilma movie with my aunt. It was “Lipad Darna Lipad.” The theatre was Cinerama on Claro M Recto near the underpass headin’ towards Quiapo. I remember the crowded theatre. The carpeted floor and velvet curtains. With no more seats and an SRO crowd, we sat on the stairs near the balcony area. People were screaming and into each fight scenes. I remember vividly how my aunt almost got into a fight because she wanted me to sit on one of the seat that was vacated and a man standing in front of us wanted the seat too. Celia Rodriguez was really scary with her head covered with snakes and her voice was so icy cold. Liza Lorena didn’t registered much on me but Gloria Romero was even scarier! This film brought me some nightmares but it also gave me and my cousins something to play about every afternoon after school.
Pakawalan – The second memorable film experience for me was during early 80s where I saw the free sneak preview of “Pakawalan Mo Ako” at Gotesco Theatre near University of the East. I was one of the lucky ones who managed to get in. My college mates weren’t. They got stocked in the pandemonium outside. I was worried sick as I took the long escalator and saw them being crashed by the crowed. The security guards have to closed the gate of the lobby. Fans became so restless and broke the glass windows (where they displayed posters and still photos) . Inside, It was crowded, hot and wild. We were seeing a more mature Vilma Santos. From the very beginning, the crowed went along the story until one of the climatic scene – the courtroom scene where she cried and swear! Oh my god I still remember the crowd swearing and cursing too! It was so wild!
Activism – The third movie experience was when I saw Sister Stella L at Capri near the Philippine Rabbit Bus Station on Rizal Avenue (it is always called Avenida). Now, the total opposite happened to me. The theatre was half empty but most of the people I noticed were students and office workers. This film affected me so much and I started to join rallies and demonstration along Mediola and at our school. I also remember that Sharon Cuneta had a film showing at the same time, and most of my friends watched this film instead. I was so disappointed that they decided to see this film instead of SSL. This film also became my mantra at school. It inspired me to take issues and voice out what I think, I became militant. I rebelled against my family who I believe were too strict. I wanted my freedom and so this film inspired me. The end result was my independence. Up to this day, I will never forget the time when I had an argument with my grandfather, it wasn’t funny back then. I told him: “Tama na, panahon na, hindi habang panahon pipigilan n’yo ako sa pagsasalita” – the line from SSL.
Why does he have to rape Rubia? – Another memorable experience was when my aunt got into a huge fight in front of Galaxy Theatre on Avenida. Being a true Vilmanians and with her deadly weapon, her umbrella, my aunt pulled the hair of this two crazy Nora Aunor fans. This was after the two said nasty things about Vilma while passing on in front of the theatre. I ended up on the cement floor hiding near the newspaper stands. Thank god she always came up on top because we were always able to go home uninjured. Rubia Servios was showing at the Galaxy Theatre back then. Again we have to sat down on floor, my aunt’s realized that she can’t put me on her lap anymore as I am a bit heavier now. As I observe, people are more serious this time. No shouting but silence as the story being told to us. The crowd was so into it too but no shouting instead a feeling of sighs and sadness. My aunt cried as she watched Rubia crawled on the sandy side of the beach. Rubia Servious was for adults only but my aunt’s sister was the ticket collector or “takilyera”. So I was able to get in. Philip Salvador was so hot in his black swimming trunk, I dreamt of him a number of times. As we watched the film, I remember asking my aunt about why does he (Philip) have to rape Darna? My aunt patiently explained, about love and lust. My innocent mind were corrupted that day. Eventually, I got over that rape scenes but revenge when Vilma killed Phillip using a boat paddle still stucked on my mind.
Naked Christopher – Lastly, the one that was so special to me, was when I saw Magkaribal at Luneta theatre. I went to so many theatres to get in but at last the woman at the box office was so busy reading comics that she didn’t even bother to ask about my age. The film was “For Adults Only” and I agreed. Christopher De Leon here was so sexy, riding a horse, naked. And Alma Moreno was so young and thin. Even her boobs here are well proportioned to her body, although its already huge. And ate Vi here was at her best, acting wise. The crowd here are more mature, a combination of college students and office workers. The theatre was not SRO but all the seats are taken and it was obvious that the film was catered to couples. – RV
To honor the Women Suffragist Movement and celebrate womens participation in politics and governance, the Barangay Bayan Governance Consortium and the Institute of Politics and Governance (IPG) are honoring 10 women with the 2007 Bayani Citation. The Bayani Citation is conferred to great women who have gone beyond the suffragist movement to bring forth transformative power. The awarding ceremonies held at the Club Filipino yesterday. Leading the list of awardees was Mayor Vilma Santos-Recto, for her admirable effort to redefine herself from being a star for all seasons to a mayor for all seasons, performing exceptionally well in public administration and meritoriously in delivering education and health services. Congrats to Ate Vi who has given her diehard Vilmanians another reason to crow about and be proud of her. Shes the only actress-turned-politician who was given this kind of honor and even her showbiz colleagues should be proud of her. – ABS-CBN, April 2007 (READ MORE)
Pagka’t mabait masunurin, uliran, masipag, model daughter…a living symbol of a true Filipina, kaya’t napili si Vilma Santos na gawing magandang inspirasyon ng kabataaan ng ating bansa. Iyan ang sabi ni Mrs. Lianina C. Alday, Directress of Bureau of Women and Minors Auxilliary, a goverment-formed entity, in the Department of Labor. The policy of the said entity is welfare beyond protections para sa kabataan ng ating bansa. To extend assistance and help to those hope of our land. Ang paraan ng pagtulong na ginagawa ng bureao ay sa pamamagitan ng Working Youth Centers na nasa iba’t ibang siyudad o provinces. Sa mga ito, tuturuan ang may mga ambisyong maging marangal ang hanap-buhay. At kung ang isang mag-aaral ng trade ay nasa ganoong center sa isang siyudad…ipapadala siya sa center na nakatalaga sa kanya. It will be similar to the procedure done in exchange students programs. In this way, mapuprotektuhan ang kalagayan ng nag-aaral. Lalo na’t kung isang babae. Sa Manila, nakakaroon ng isang main Working Youth Centers where all the activities of the strategically located Working Youth Centers will be centralized. Isa pang tulong na ginagawa ng Bureau of Women and Minors Auxilliary ay ang rehabilitation ng karakter ng mga kabataang napapalungi o kinakapus-palad. Give them moral, legal and if possible, material help. So it can be glanced from the aforementioned explanation na gigantic ang scope ng kilusan ng naturang entity. Nationwide. But to maximize ang realization ng aims ng bureau, nagtatag pa ng entity upang makatulong sa kanyang efforts. The Bureau of Women and Minors Junior Auxilliary was expanded.
After much deliberations, ang officers at members nito’y nagkaisa na si Vilma ang gawing Pangulo ng organisasyon. Napili nila ang superstar because she merits the positions. At bilang President nito, maging magandand inspirations. At incentive ito sa mga kabataang tutulungan ng kanilang samahan. In gact, ng youth of the Philippines na ayong kay Mrs Albay, na siyang nagpa-oath taking kay Vi, sa kanilang tahanan sa Arfel noong Aug 3, the superstar being a shining examples of a model Phillipine youth will be “explited” to the gull. At ito nga raw ay napakaganda kasing inspiration para sa kabataan ng bansa. Vilma was awed by the duty placed upon her by the government. Modest pa man siya at kung bakit siya ang napili sa prestigeous position na naturan. “Pero, I am very much honored. At gagawin ko ang lahat ng aking makakaya upang ako’y maging karapat-dapat sa kanilang pagtitiwala sa aking kakayahan. Ang totoo, I have been pondering the plight ng less fortunate youths ng ating bansa. Kung minsan, nakakalungkot nang talaga ang kanilang kalagayan. And I sincerely want to help them. sa pagiging involved ko sa governement agencies na ang aim ay nasa pagtulong sa ating kabataan, marahil naman magagawa ko ito. Muli, I am honored and thankful at binigyang opportunity ako upang makatulong sa mga ito.” That said, Vilma Santos, Ang magandang inspiration ng ating kabataan. – Deo Fajardo Jr., Topstar Magazine, No. 73, 14 Sep 1973
Castillo gave Vilma Santos her first mature role in Burlesk Queen resulting with her first local film festival best actress award. He also directed Pagputi Ng Uwak Pagitim Ng Tagak where Vilma Santos starred and produced. The film received several best picture awards and was considered one of Castillo’s best works. Total Number of collaboration with Vilma Santos: 3 (Burlesk Queen 1977, Pagputi ng Uwak Pag-itim ng Tagak 1978, Tag-ulan sa Tag-araw 1975)
The “Bomba” Movies – “…In the early seventies, these magazines showed a certain boldness in publishing sex-oriented stories, with accompanying explicit illustrations. The big companies reluctantly ignored these stories, and it was the independent film producers who dared bring them to the screen. The bomba movie was born, shaking the whole industry to its very foundations. New directors were tried out. And a new breed of actors and actresses, who were willing to do anything in front of the camera, threatened to put the more established crowd-drawing out of business. Sex became the staple of the film industry. It was during this time that a new film director surfaced – Celso Ad. Castillo, then in his twenties. His vehicle, Nympha, was the simple story of a girl from a very religios family who ran away and got involved with four men. This story has been done over and over again in a number of forgettable movies and is a staple of the comic magazines. In its attempt to ride the bomba bandwagon, it featured enough sex scenes to satisfy the male audiences who expected every new movie to be still more daring. But Castillo had more to offer than steamy sex. He told his story in such a way that details previously considered taboo were exploited. In one of the first scenes, Nympha, the cooped-up virgin, is shown praying with her spinster aunt, when her attention is caught by the illicit coupling between two young lovers just outside their window. The scene of the novena is intercut with the groaning and moaning couple. At the end of the novena (coinciding with the consumation of the sexual act), the image of Christ is shown staring down at her, reprimanding her for her sin. The movie ends with an abortion scene shown in all its gory details, a literal bloodbath which causes the death of the girl. In a strictly Catholic society like the Philippines, a film like Nympha was bound to create a sensation. It was, for the younger generation of Filipinos who missed the so-called Golden Age of Philippine movies in the 50s, their first auteur film. Castillo showed a flair for visual narrative, emphasis and texture never before seen on screen…” – Rosauro de la Cruz, Focus On Filipino Films, A Sampling 1951-1982 (READ MORE)
“The Messiah” – “…Castillo said he had his hair completely shaved to insure the completion of “Pagputi.” The film had been so plagued by problems – production delays, unavailability of stars, bad weather, that they were all set up to give up. He had to stay put in Laguna and finish all the remaining scenes, fearing he might not have the energy and enthusiasm to return to the location sites should he leave for Manila. An effective way of nailing him down in one place was parting with his hair. “It was also a symbolic act of himility, of shedding my vanity,” Castillo added. Which was unusual for one who proclaimed himself “The Missiah and The Uncrowned.” “But they were not meant to be taken seriously. Of course I was kidding when I called myself “The Messiah.” Castillo said. The money and the effort, not to mention frayed nerves and emotions, tears and high blood pressure, poured into “Pagputi” is paying off. The film is making money and reaping accolades from critics and moviegoers alike. The latter are almost unanimous in saying that “Pagputi” is one of the most meaningful film in years and most probably the best of 1978…In fairness to director Castillo, it must be said he could make films, good films, without waiting for over two years (as the case in “Pagputi”) and depleting the producers’ pocketbooks. He finished “Pinakamagandang Hayop sa Balat ng Lupa” in one month, “Burlesk Queen,” the top grosser in last year’s Metro Manila Filmfest, was made in two months. He admitted however that he does not follow scripts rigidly, (even if its his own scripts), but rather improves and relies on his instincts right on the set. He refuses to resort to shortcuts and daya. It may not be the most economical and ideal way of filmmaking, but judging from the results (artistic and money wise) of his movies, it had served director Castillo well…” – Ronald K. Constantino, Expressweek Magazine, 03 August 1978 (READ MORE)
The Vindication – “…As soon as his schedule will permit, he’ll go to Hong Kong and seek a job with Run Run Shaw. He believes this wil pave new roads for him, hopefully a Hollywood assignment. At the moment there’s nothing more he’d like to do than get out and run away from everybody, friends and foes alike, donning the thickest, darkest glasses, bumming around as is his won’t. The film has given him tremendous self-confidence. “I can take it easy now,” he stresses. “After doing Burlesk I won’t have to prove myself to anyone anymore. He talked about the film again, very obviously so close to his heart. “With it I wanted to show some kind of heroism,” he explained. “In the movie Vilma is pregnant and she knows very well that by dancing the striptease she runs the risk of losing not only her baby but her own life. Yet, she goes on, dying in the end. I want to tell the audience – The show is over but the show must go on. Before doing it anything, one should ask himself, ‘Is it worth it?” Vilma loses her life – is it really worth it?” What he fears most now is the sweet smell of success. “I couldn’t imagine myself moving around in a plane or speedboat. When I do this, I will have finally prostituted my art.” Still and all, he coundn’t be happier with the way Burlesk Queen has turned out. “Ngayon, malalaman na kung sinong tunay o hindi,” he gloated…” – Robert Q. Castillo, MOD Magazine, Jan 6 1978 (READ MORE)
Dalang-dala si Leopoldo – “…The last film of Vilma and Leopoldo. He played the crippled father who is against his dauther working as a burlesque dancer. Writer, Ricardo Lee interviewed director Celso Ad Castillo about the directing Salcedo and Santos: “…Tuloy-tuloy ‘yun…(the hospital scense with Vilma and Leopoldo Salcedo) nag-experiment ako noong una, kumuha ako ng second take, pero di ko na rin tinapos. Perfect na iyong una. Alam mo bang nang gawin namin ang eksenang iyon tatlo kaming umiiyak sa set? Ako, si Vilma, at si Leopoldo? Dalang-dala si Leopoldo sa pagsasalita ni Vilma, lumuha siya kahit patay siya dapat doon. Buti na lang di siya nakuha ng kamera…(Kung Nahirapan ka ba kay Vilma?) …Oo, hindi sa acting dahil mahusay talaga siya kundi sa scheduling. Alam mo kasi it takes time before I can really get into the mood of a picture, mga two weeks, tapos kapag nandiyan na, that’s the stage when I’m ready to give my life to the project. Tapos biglang walang shooting ng two weeks dahil busy siya sa ibang pelikula…” – Ricardo Lee, Manila Magazine, Dec 1- 31, 1977 (READ MORE)
“Aktres” Na Talaga – “…“I was shocked,” said Vilma who played the title role in the movie that marked the turning point in her career. “He was too young to go…Celso Kid was the first director who told me na aktres na talaga ako after we shot Burlesk Queen,” added Vilma who won Best Actress at the 1977 Metro Filmfest, but the same award, including those for Best Director and Best Film, were taken back after a controversial Awards Night. “That was the turning point of my career,” said Vilma. After Burlesk Queen, Vilma worked again with Celso in Pagputi ng Uwak, Pag-itim ng Tagak which took three years to finish, causing a big rift between them. “I didn’t only star in the movie, I was also its producer,” recalled Vilma. “I remember Celso Kid as a genius, an intense director. We have forgotten our differences and we resumed our communication. I knew that he was sick. Only a few days ago, I was coordinating with him for his book. He was asking for pictures for the book’s cover. I will pray for the repose of his soul and for his family. I just hope that he was able to finish the book.” Celso also directed Vilma in Tag-ulan sa Tag-araw,” the movie that launched Vilma’s long-running team-up with Christopher de Leon (they have starred in more than two dozen movies since then)…” – Ricky Lo, The Philippine Star, 27 Nov 2, 2012 (READ MORE)
The wisdom and intellect of the Filipino moviegoers – “…”…So the premise goes like this: If it’s good (the film) then why does it fail (at the box-office)? A film makes money because it is effectively communicated visually with its basic intent and purpose within the framework of desired entertainment value, simply saying that if you’re smart, they why aren’t you rich? Also I believe that it is the ultimate idiocy to regard a film as artistic or commercial during the stage of its conception. So that no one may classify a film before or during or after its principal photography. A film only becomes commercial when it has achieved the desired box-office results and only destiny and its timelessness can make a film an art. I dare again say that “classics are not product of presents times but are babies of tomorrow.” And yes, Viriginia, we have indeed in our midst a new breed of moviegoers. In fact it has outgrown our movie industry which up to now still clings to the traditional star and producership systems of the 50’s. The industry still sells the recycled films smorgasbord of Dona Sisang and Dr. Perez to a public has been educated tremendously (sic) by the technology of the 20th century communication arts. Damn those people who insists that the wisdom and intellect of the Filipino moviegoers did not progress even as man had already set foot on the moon and the revolution of modern man had already happened in Asia! For after a thorough theoretical evaluation we can not dismiss the wisdom of acceptance that what precipitated the great awakening of the Filipinos to aesthetic appreciation of modern cinema are: the invasion of television sets in our living rooms which is tantamount to day-to-day exercise of our visual appreciations, the prerogative to chose our line of vision through betamax and the great exports of Filipinos in any capacity to that their return to our homeland bring with them a more civilized attitude towards the intellect of both personal and cinematic arts of existence…” – JC Nigado, Manila Standard, 12 Feb 1987 (READ MORE)
Celso Ad Castillo – “…Born in Siniloan, Laguna 12 Sept 1943. Movie director, scriptwriter, actor. He is the son of Atty. Dominador Ad Castillo, lawyer/writer, and Marta Adolfo. He studied at Manuel L. Quezon University and obtained his Bachelor of Arts degree in English Literature in 1964. Castillo started as a writer for a komiks magazine. With the help of his father, he published his own magazine where he wrote all the stories from cover to cover, using different names as authors. A movie producer commissioned him to write a script on the character of ” James Bandong.” named after Britain’s superspy. The film made money and it was followed by a sequel, “Dr. Yes,” 1965, a spoof on the British film, Dr. No. He wrote and directed his first movie, “Misyong Mapanganib” (Dangerous Mission), in 1966. The most memorable of his earlier films is “Asedillo,” 1971, based on a Filipino rebel of the 1920s who was hunted down as a bandit by the American colonial government. With this film, Fernando Poe, Jr. acquired the image that was to set him off as a legendary gunslinger, a defender of the poor and oppressed. Castillo also made Ang Alamat (The Legend), 1972, with Poe as a reluctant hero who battle a whole private army all by himself to defend his townfolks. Succeeding Castillo films aspired towards thematic originality: small-town perversion in Ang Madugong Daigdig ni Salvacion (The Bloody World of Salvacion), 1975; incest in Tag-ulan sa Tag-araw (Rainy Days in Summer), 1975; political and period gangsterism in Daluyong at Habagat (Tall Waves, Wild Wind), 1976. Even his sex films had a to message to tell. One finds spiritual undertones in the story of an oversexed girl in “Nympha” (Nymph), 1971; a struggle of conscience in a stripteaser who laughed on the outside but cried on the inside in “Burlesk Queen” (Burlesque Queen), 1977; tribal conflict in “Aliw-iw,” 1979; a conflict of family values in “Snake Sisters,” 1983; and the politics of domination in “Isla” (Island), 1983…Castillo won the Filpino Academy of Movie Arts and Sciences (FAMAS) awards for best director and best story for “Pagputi ng Uwak, Pag-itim ng Tagak” (When the Crow Turns White, When the Heron Turns Black), 1978, and also won the Urian awards for best director and best screenplay for the same picture. He shared the story credits with Ruben Nicdao, and the screenplay credits with Lando jacob, Ishko Lopez and Ruben Nicdao. He won the FAMAS best director trophy again in 1985 for “Paradise Inn,” a Lolita Rodriguez-Vivian Velez starrer. He also has a FAMAS best supporting actor award, for “Sampung Ahas ni Eba” (Ten Snakes of Eve), in 1984…” – Excerpts from Encyclopaedia of Philippine Arts by L. Pareja, Celso Ad Castillo Presents web-site (READ MORE)
1982 was a banner year for Vilma Santos. Aside from the acting gem, “Relasyon,” she also established her bankable status, thanks to Viva film’s “Sinasamba Kita.” This film grossed 6.2 million in just 6 days, a box office record! Directed by Eddie Garcia, the film featured Vilma as the “bitchy-rich” anti-heroine executive, Lorna Tolentino as the younger sister who idolized her older sister, Christopher DeLeon as Gerry the rich executive who work for Vilma’s rival company and Philip Salvador as the obsessed admirer of Lorna.
The intertwined love quadrangle between the four characters enhanced by crisp dialogue, glossy production design and catchy theme song made this movie effective and very commercial. Two scenes stands out, both involved Vi and Lorna. (By the way, Lorna’s name in this film was Nora and Vilma, Divina, which made us wonder if this is supposed to be a Nora-Vilma film?)
In one scene, Vilma was waiting for her younger sibling Lorna, when she finally arrived, she accused the younger sister of wearing her perfume, the accusation made Lorna defensive and replied: “Hindi Ate…Bumili ako para sa sarili ko nagustuhan ko kasi ang amoy! (No sis, I bought the same perfume because I like the smell!)” In which Vilma countered: “For Godsake, Nora, bakit hindi ka magkaroon ng sarili mong identity!..Hindi kita anino! (For Godsake, Nora, Why don’t you have your own identity! You’re not my shadow!)”
Another scene, Vilma caught Lorna wearing the same designer clothe that her fashion designer, Fanny Serrano design: Vilma: “Iniinsulto mo ba ako? Anong gusto mong palabasin…bakit ginagaya mo ang damit ko? (Are you insulting me? What are you trying to prove…why are you immitating my clothes?)” Lorna: “Ate naman ano naman ang masama kung gayahin kita? (Sis, I don’t see anything wrong If I emulate you?)” Vilma: “Alamin mo muna ang iyong limitasyon…baka nakakalimutan mo kung saan kita pinulot…kinikilala kitang kapatid pero hindi tayo magkapantay! (You have to make sure you know your limit…are you forgeting where I got you…I recognized you as my sibling but we are not equal!)” Lorna: “napakaliit naman pala ng pagtingin mo sa akin…(I didn’t realized how small am I to you…)” Vilma: “Imposible naman lumaki ang pagtingin ko sa taong tinutulungan ko lang?…kung sabagay magkaiba tayo ng ina…bakit kaya pinatulan ng papa ang iyong ina? (It’s is impossible for me to treat you like in high regard since I am just helping you…well, it is because we have different mother…it makes me wonder why did my papa had an affair with your mother?)” Lorna: “huwag mo naming insultuhin ang inay, patay na siya… (don’t insult my mom, she’s already dead…)” Vilma: “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 mog pagpilitang abutin, wala kang pang pakpak kya huwag lumipad ng pagkataas-taas! (I’m am not insulting her, I’m telling the truth! We’re both different, You can never be me and I will never be you! Nora, don’t reach things that you can never reach, you don’t have wings, so don’t fly so high!” – RV (READ MORE)
Star For All Seasons 
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