Elwood Perez’ Vilma Santos Films

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

Elwood Perez and Vilma Santos collaborated in seven films. The first one was the trilogy that he co-directed with two other directors, Borlaza and Gosiengfiao (these three are the most underrated and under appreciated directors in the Philippines), the remake of Mars Ravelo comic super hero, Darna in Lipad Darna Lipad. The film was a record-breaking hit film. They followed “Lipad…” with more mature project as Vilma started to transform her sweet image to serious mature/versatile actress. The film was “Masarap Masakit Ang Umibig” in 1977 that also featured Christopher de Leon and Mat Ranillo III. The Perez-Santos team produced seven blockbuster hits that gave Vilma two FAMAS best actress awards. The last one was in 1988 for “Ibulong Mo Sa Diyos” that elevated her to FAMAS highest honour, the FAMAS Hall of Fame award (She won for Dama de Noche 1972, Relasyon 1982, Pakawalan Mo Ako 1981, Tagos Ng Dugo 1987 and Ibulong Mo Sa Diyos 1988). – RV (READ MORE)

Lipad Darna Lipad! (1973) – “…In this episode Valentina, tried to steal Narda’s magical stone. Also, there was a scene where Valentina dressed up as Darna. I love the exciting part where Darna and Valentina battled on top of a high rise building. Darna, was almost a no match to her mortal enemy. Dangerously armed with lazer beams coming out from Valentina’s eyes, Darna was helpless and knocked down several times. Until, she stumbled upon into a piece of broken mirror and used it as a shield againts Valentina’s deadly lazer beams. Darna quickly made her looked in the mirror. Her lazer beams bounced back and she turned into a stone. From the roof, Valentina fell hard on the ground and broked into shattered pieces. Anjanette Abayarri and Cherrie Gil almost did the same scene in ” Darna, Ang Pagbabalik! ” Second Episode was directed by Elwood Perez…” – Eric Cueto (READ MORE)

Masarap, Masakit ang Umibig (1977) – “…Sa pelikulang ito, unang ipinamalas ang senswalidad ni Vilma Santos. Maraming eksenang sekswal ang aktres at maaari talaga siyang makipagsabayan sa mga tulad nina Alma Moreno at Trixia Gomez. Karamihan ng mga sitwasyong ibinigay sa kanyang karakter ay hindi kapani-paniwala. Nariyang gawin siyang modelo, sa ilang piling tagpo ipinakita din ang pagiging estudyante ni Estella ngunit hindi naman tinahak ang mga ito sa kabuuan ng pelikula. Hindi rin maikakaila ang husay ni Christopher de Leon bilang aktor ngunit sa pelikulang ito ay nasayang lamang ang kanyang pagganap. Hindi nabigyan ng tamang direksyon ang aktor kung kaya’t lumabas na sabog ang kanyang karakterisasyon. Si Mat Ranillo III naman ay tila hindi na natutong umarte. Kadalasa’y pinaghuhubad siya ng direktor sa mga eksena upang mabigyang pansin. Masyadong mahaba ang pelikula dahil na rin siguro sa panghihinayang ni direk Elwood na masayang ang magagandang eksenang kanyang nakunan ngunit hindi naman nakaapekto ang mga ito sa takbo ng istorya. Kadalasa’y nakababad lamang ang kamera at nakatanghod sa susunod na gagawin ng mga artista. Hindi ito nakatulong upang mapabilis ang takbo ng pelikula, nakakainip panoorin ang ganitong mga eksena…” – Jojo Devera (READ MORE)

Nakawin Natin ang Bawat Sandali (1978) – “…It has a uniformly good performance by the cast which includes Baby Delgado, Roel Vergel de Dios, Anita Linda, Jose Villafranca and the two leads Christopher de Leon and especially Vilma Santos who has done a surprisingly intelligent and affecting character portrayal. Not since Eddie Romero’s Sinong Kapiling, Sinong Kasiping? (1977) have we seen characters who think, behave and react to problems and situations like mature, sensitive and intelligent people. The characters do give way to occasional hysterical outbursts, but they somehow wake up to their senses before they completely forget themselves. And they are people in believable situations with real problems and genuine emotions. When they talk, they are seldom silly and when they are silly, they are aware of it. But even when they are silly or trite, they are never unsympathetic…” – Jojo Devera (READ MORE)

Magkaribal (1979) – “…Christopher de Leon embodies the physicality and psyche of a sexy beast whose complexity is at par with that of a De Niro or Pacino. De Leon, here in his prime epitomizes the dramatic range and animal magnetism akin to Marlon Brando’s Stanley Kowalski. Alma Moreno’s portrayal of a woman who desires a new life in the face of a very uncertain future is competent. The acting method employed here is able to twist the logic of cliché and reconstitutes the drama of yearning with passion and grace. Vilma Santos shows that the strength of women need not come from the repudiation of “feminine” traits and roles. Neither should they come from brute, shrewish adamance as exemplified by the stereotype, nor from machismo as embodied by her husband. Santos demonstrates that the concept of the beautiful, dainty, feminine and strong are not necessarily mutually exclusive. Rather, these form a character that is finally textured, complex and potentially oppositionist. Magkaribal is commendable for staging clever and well-thought out situations partaking of actual tension and punctuated by defamiliarizing comical scenarios and melodramatic circumventions. A certain style of filmmaking based on genre or other considerations is taken as any distinct mode of creating form in film and is made possible only against a background of options that makes a particular choice significant, meaningful and therefore recognizable stylistically. Film artists work within these possibilities in the process of making art, but are never limited to custom and habit…” – Jojo Devera (READ MORE)

Pinay, American Style (1979) – “…The film was so forgettable that the critics didn’t even bother to write any reviews. The lack of enthusiasm on the part of the critics was compensated with the box office success of the film. Vilma fits the role as the illegal alien, PX. Her attempt to speak fluent English and pretend that she’s rich when she met the boyish looking Christopher was funny and poignant. She was given enough scenes to shine. One was when she was harassed by her landlady, she promised her the rent money the next day and when she’s gone, she opened her refrigerator and found a staled piece of bread. She took bottled water and ate the staled bread, went to the bedroom and found her mom’s letter. Lying down in bed, she started to break down. A quiet scene without dialogue. A contrast from the earlier scenes where she was talkative as she tried to impress Christopher and telling him she’s rich and from a well-known family. It was obvious in 1979, Elwood Perez wasn’t the kind of director you will expect to produce a serious output. He wasn’t a Bernal or Brocka. He’s a commercial director. It was a better effort though, compared to a much more convoluted Magkaribal or their past successful projects like Nakawin natin ang bawat sandali and masakit masarap ang umibig. In Pinay, Toto Belano’s script wasn’t efficient in ironing out the “love quadrangle” plot twists and establishing the characters of four actors. So the blame can’t be put to solely to Perez’ shoulder. There was a scene were Vilma Santos and Christopher were watching a concert which was obviously not part of the script.” – RV (READ MORE)

Pakawalan Mo Ako (1981) – “…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!…” – RV (READ MORE)

Ibulong Mo Sa Diyos (1988) – “…Vilma hit the jackpot. After 11 nominations with four wins, her twelfth nomniation produced her an unexpected win. It elevated her to the hall of fame status. All artist who wins five automatically put them to the hall of fame list. It is a big honour but prohibit any one on the list to compete in the future for the same category. Regal films’ Ibulong Mo Sa Diyos, directed by Elwood Perez was a surprised winner. Not only it earned Vilma her fifth award as best actress, it also gave the late Miguel Rodriguez a best supporting actor award and the best director for Perez. Technical awards were also given to Ricardo Jacinto, cinematography, Rey Maliuanag, production design, Gary Valenciano, theme song, and George Jarlego, editing. The late Nida Blanca was also nominated for best supporting actress…” – RV (READ MORE)

“…Elwood Perez is a virtuoso of the camera and is the man behind numerous classic Filipino movies. His intuitive approach to filmmaking and scriptwriting is something worth emulating not because they are campy and sexy but they discuss social ills and promote solutions while tickling the most delicate part of our consciousness—our emotion. Born during the near end of World War II on Feb. 4, 1945 in Mabalacat, Pampanga, Elwood Perez started watching movies at the age of three. He practically grew up breathing, feeling, and thinking about movies. “I want [a] vicarious experience. That’s the only thing I want in my life. I hate the effort to go, let’s say for example to Venice. That’s why I watch films every day. Until now,” the 64-year-old director says. He wrote, directed and acted the lead role in his first Filipino play, Ander di Saya. And he was only nine years old then. From then on, Perez knew what he wanted to do for the rest of his life. At age 25, Perez marked his debut as a film director with Blue Boy in 1970. The film was a flop at the box office but it was revered by critics. Maturing as a scriptwriter and film director, in 1973, commercially successful Lipad, Darna Lipad! was released. Award-winning actress Celia Rodriguez essayed the role of Medusa-like villainess, Valentina, nubile Vilma Santos played the Filipino supergirl (a role that launched her in a series of Darna flicks). To Filipino film industry insiders, Perez is known as the most sought-after movie director of his generation…” – Nickie Wang (READ MORE)

Related Reading
The Underrated Director Elwood Perez
Elwood Perez marks 67th birthday, Mother Lily launches new ‘baby’
Film archivist group unearths rare Elwood Perez movie
Silip (1985) DVD out now
How Shameful is Elwood Perez’s Shame (1983)
Elwood Perez: Master of mise en scene
Elwood Perez film festival at UP Film Institute
PEP: Perez’ masterpieces that gave birth to showbiz’s brightest stars
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Danny Zialcita’s Vilma Santos Films

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

Zialcita’s first movie with Vilma was the 1980 festival entry, a drama about bigamy, Langis at Tubig. The following year, Zialcita and Santos joined forces again in another festival entry, Karma. The film earned Vilma her second Metro Manila Film Festival Best Actress. The following year, Ziacita’s Gaano Kadalas Ang Minsan broke box office record, Earned P7.3 million during its first day of showing in Metro Manila and assured Vilma Santos the box office queen of 1982. – RV (READ MORE)

Langis at Tubig (1980) – “…Muli, binigyan ng magagandang linya si Vilma Santos mula sa umpisa kung saan kinompronta niya ang manloloko niyang ka-live in at sinabing: “namputsa naman nahuli ka na ayaw mo pang aminin” at sa bandang huli nang intindihin niya ang asawa at handing magparaya, sinabi niya “…handa akong magparaya, kung gusto niya isang lingo sa kanya, isang lingo sa akin…” Pero halatang ang pelikulang ito ay pelikula ni Dindo Fernando. Deserving si Dindo sa kanyang pagkapanalo sa Famas bilang pinakamahusay na actor bagamat nang taong ito’y mahusay rin si Christopher Deleon sa Aguila at Taga ng Panahon at Jay Ilagan sa Brutal. Tahimik lang ang pag-arte niya’t makikita ang kanyang intensity sa kanyang eksena kung saan nagtapat na siya sa asawang si Cory tungkol sa kanyang kaso. Mahusay rin siya nang hinarap niya si Pilar at sabihin niyang, “mahal ko kayong dalawa.” Maganda ang location ng pelikula. Makikita ang mga ordinaryong tanawin ng Albay sa Bicol at ang mga ordinaryong manggagawa rito mula sa mga nagtatanim ng palay hanggang sa mga nagtitinda ng mga paninda sa palengke ng bayan. Sa kabila ng ordinaryong istorya ng Langis At Tubig, ang mahusay na direksyon at mahusay na pagkakaganap ng mga artista rito’y nangibabaw ang tunay na karapatan nitong panoorin muli ng mga mahihilig sa pelikulang Pilipino. Sayang nga lang at hindi na gumagawa ng pelikula ang ang gumawa ng obrang ito.” – RV (READ MORE)

Karma (1981) – “…The movie boasted of several bold scenes. Those involving Vilma weren’t much as we know for a fact that Vilma could show only so much. One scene showing Chanda was a different story. It showed her with absolutely nothing on, yet it didn’t offend anybody as it was executed in style, shot with great care. There was just one thing, which looked unnatural to me – the way in which one of the main characters killed himself. “That’s all right,” Danny assured me. “Before we shot it, we double-checked its possibility.” Reincarnation and transference are undoubtedly mind-boggling subjects but, to his utmost credit, Danny managed to present them simply, bringing them down for everybody to understand. “Bala lang yan. Katawan lang ito. Babalik at babalik kami sa mundong ito,” Dante vowed. Come back they did as they promised building the foundation of the story…” – Bob Castillo (READ MORE)

Gaano Kadalas ang Minsan? (1982) – Gaano Kadalas ang Minsan? (1982) – “Gaano kadalas ang Minsan” Grossed 7.3 Million in its few days run in Metro Manila in 1982 outgrossing “Sinasamba Kita” for Philippine movies’ all-time box office tally. With inflation and currency rate in consideration that will be around 95 million. But that’s not the only exciting thing about these film. It was the only film that Vilma Santos and Hilda Koronel did together and when Hilda was still at her peak of her illustrious career. Ofcourse, Ate Vi’s career remained as hot as ever, still able to carry a film while Koronel now accepts supporting roles. It was obvious that when both star did Gaano, Hilda was more glamourous than Vilma but looking at the two right now, Vilma maintained that slim, youthful look while Hilda struggled and visibly gained so much weight she can be mistaken as Ate Vi’s aunt or mother (As of 2012, Hilda shed that pounds and now back to her glamourous looks!)! After Gaano, Hilda did a few more leading roles under Viva Films even co-starred with Nora Aunor but didn’t get the same results as Gaano. Like what William Leary says, “mahirap matalbugan si Vilma, Vilma is Vilma in any seasons and whatever movie!” – RV (READ MORE)

T-bird at Ako (1982) – “…For him, every dialogue is a song,” says Mark. “May intro, may refrain. You don’t go to the refrain right away.” Consider this confrontation scene between Vilma Santos and Nora Aunor in T-bird at Ako. Nora’s character, a lawyer, has just expressed her romantic intentions to Vilma, a nightclub dancer, who responds to the proposition, quietly, with “Nandidiri ako.” Nora: Bakit, sino ka ba? Ano bang pinagmamalaki mo? Katawan lang yan ah, sa’n ba galing yan? Sa putik! Vilma: Putik nga ako pero kahit ganito ‘ko nagsisimba ako kahit papa’no. At ang sabi ng nasa itaas ang sala sa lamig, sala sa init, iniluluwa ng langit, isinusuka ng Diyos! Which takes us back to Mark’s statement. First, you have to be a competent actor to come to work without a script. Danny is famous for not doing scripts, only rough storylines and sequence guides that get revised easily on the set when a new idea strikes him. “I don’t want them coming to the set with a planned line, a planned movement. So that they can surpass their own,” says Danny. Second, you have to be an intelligent actor to deliver lines like the ones above, to convince the audience that the character is capable of churning out knockout philosophical punches at the tip of a hat—which, incidentally, people wore in Zialcita films. …” – Jerome Gomez (READ MORE)

Danny Zialcita is a fun-loving gifted and colorful filmmaker who left his mark as one of the best in the stimulating era of the ’60s and ’70s. Then without any warning he left the industry. Stories of drug addiction, withdrawal from the world, and worse, loss of sanity dogged his absence until even his colleagues lost touch with him and didn’t know what to believe. Zialcita is a master of improvisation on the set, he also had the knack for casting the right actors, choosing the right material, and pleasing his producers. One of his favorite actors was Dindo Fernando whom he termed “the complete actor” and cast him in such movies as Langis at Tubig, Karma, Gaano Kadalas Ang Minsan, Mahinhin at Mahinhin, its sequel Malakas, si Maganda at si Mahinhin and Ikaw at ang Gabi which gave Dindo his first Urian Best Actor trophy. Other favorites were Vilma Santos cast in Karma, T-Bird at Ako, Langis at Tubig; Pinky de Leon; Laurice Guillen; Ronaldo Valdes; and Beth Bautista who won Best Actress award in Hindi sa Iyo ang Mundo Baby Porcuna. – Bibsy M. Carballo (READ MORE)

Related Reading
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FILMOGRAPHY: RELASYON (PHOTOS)

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“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!” – Maria Lourdes Castaneda

“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!” – Maria Lourdes Castaneda

Emil, a young executive, and his mistress Marilou, a planetarium guide, decide to be live-in partners. In the process, they discover each other’s failing, which result in the strain in their relationship, bringing about their temporary separation. When they finally decide to resume their relationship, under a set-up wherein the man devides his time between his family and mistress, he dies frpm an attack of cerebral aneurysm. The woman decides to start a new life abroad, finding strength in the Jove of her departed lover. – Manunuri web-site

RELATED READING:
Relasyon, Ishmael Bernal (1982)
Nora at Vilma… Ang RELASYON Ng HIMALA
IMDB: The Affair
Relasyon (Photos)
Relasyon (1982)
Wikipedia: Ishmael Bernal
Ishmael Bernal (1938-1996)
The Films of Ishmael Bernal Circa 1971-79, Part One
The Films of Ishmael Bernal Circa 1980-94, Part Two
Tribute to Ishmael Bernal
Ishmael Bernal (1938-1996)
The Films of Ishmael Bernal Circa1980-96, Part Two
Remember The Face: Bernal Film Director
The Bernal-Santos Collaborations
Relasyon

TOP 100 FILMS

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Spanning five decades with 197 films credits and almost two hundred awards, Vilma Santos’ filmography is a kaleidoscope picture of changes in times. Different genres, from teen musicals, folksy fantasies, campy horrors, animated actions to mature adult dramas, her films demonstrated her inner acting talents honed by directors, maneuvered by film producers/benefactors (who some are no longer with us) and supported by her ever loyal fanatics. The results were a long list of film titles that covered several social relevance that capture each decades. A long list of record-breaking box office returns that gave her the title, “the longest reigning box office queen of all time.” A long list of films that sustained her career to different transformation, ensuring her longevity no other Filipino movie queen ever enjoyed. We have painstakingly choose the best of the best. Basing our selection with three criteria. First, the financial success of the film. Cliche it maybe, financial success sustained her bankability and longevity. Second is the critical recognitions the film received. Third, is the other factors that contribute to the overall success of the film, namely, relevance, entertainment value, and the question of, is this film a career milestone or is this film contributed to her popularity. Here are Vilma Santos’ top 100 films. – RV (READ MORE)

Rank The Top 100 – The Films (click title for link to available film info)
001 Burlesk Queen (1977)
002 Bata, Bata…Paano Ka Ginawa? (1998)
003 Dekada’70 (2002)
004 The Dolzura Cortez Story (1993)
005 Ikaw ay Akin (1978)
006 Rubia Servios (1978)
007 Relasyon (1982)
008 Pahiram Ng Isang Umaga (1989)
009 Broken Marriage (1983)
010 Lipad, Darna, Lipad (1973)
011 Imortal (1989)
012 Anak (2000)
013 Tagos ng Dugo (1987)
014 Adultery (1984)
015 Pagputi ng Uwak Pag-itim ng Tagak (1978)
016 Trudis Liit (1963)
017 Gaano Kadalas ang Minsan? (1982)
018 Paano Ba ang Mangarap? (1983)
019 Sinasamba Kita (1982)
020 Tag-ulan sa Tag-araw (1975)
021 In My Life (2009)
022 Saan Nagtatago Ang Pag-ibig? (1987)
023 Ipagpatawad Mo (1991)
024 Mano Po 3 My Love (2004)
025 Pakawalan Mo Ako (1981)
026 Karma (1981)
027 Hahamakin Lahat (1990)
028 Sinungaling Mong Puso (1992)
029 Dalawang Pugad, Isang Ibon (1977)
030 Ex-Wife (1981)
031 D’ Lucky Ones (2006)
032 Dyesebel atang Mahiwagang Kabibe (1973)
033 Sister Stella L. (1984)
034 Kapag Langit Ang Humatol (1990)
035 Miss X (1980)
036 Ikaw Lang (1993)
037 Bato sa Buhangin (1976)
038 Nakakahiya? (1975)
039 Hindi Nakakahiya (1976)
040 Batya’t Palu-Palo (1974)
041 Haplos (1982)
042 Ibulong Mo Sa Diyos (1988)
043 Pinay, American Style (1979)
044 Langis at Tubig (1980)
045 Palimos Ng Pag-ibig (1986)
046 Muling Buksan ang Puso (1985)
047 Kampanerang Kuba (1974)
048 Darna and the Giants (1973)
049 Dama De Noche (1972)
050 Hatinggabi Na, Vilma (1972)
051 T-Bird at Ako (1982)
052 Alyas Baby Tsina (1984)
053 Halik sa Kamay, Halik sa Paa (1979)
054 Minsan Pa Nating Hagkan Ang Nakaraan (1983)
055 Masarap, Masakit ang Umibig (1977)
056 Hindi Nahahati ang Langit (1966)
057 Susan Kelly, Edad 20 (1977)
058 Hiwalay (1981)
059 Rock, Baby, Rock (1979)
060 Mga Mata Ni Angelita (1978)
061 Bertang Kerengkeng (1976)
062 Ibong Lukaret (1975)
063 Vilma Viente Nueve (1975)
064 Takbo, Vilma, Dali (1972)
065 Nag-iisang Bituin (1994)
066 Karugtong ang Kahapon (1975)
067 Ging (1964)
068 Anak, ang Iyong Ina (1963)
069 Kay Tagal ng Umaga (1965)
070 Yesterday, Today and Tomorrow (1986)
071 Magkaribal (1979)
072 Anak ng Aswang (1973)
073 Simula ng Walang Katapusan (1978)
074 Promo Girl (1978)
075 Biktima (1974)
076 Good Morning, Sunshine (1980)
077 Kasalanan Kaya? (1968)
078 Mga Rosas sa Putikan (1976)
079 Nakawin Natin ang Bawat Sandali (1978)
080 Modelong Tanso (1979)
081 Darna at Ding (1980)
082 Mga Reynang Walang Trono (1976)
083 Nag-aapoy na Damdamin (1976)
084 Pulot-gata, Pwede Kaya? (1977)
085 Kamay na Gumagapang (1974)
086 Young Love (1970)
087 Ito ang Pilipino (1967)
088 Ikaw Lamang (1971)
089 Kampus (1978)
090 Coed (1979)
091 The Sensations (1971)
092 Never Ever Say Goodbye (1982)
093 Asawa ko, Huwag Mong Agawin (1986)
094 Ayaw Kong Maging Kerida (1983)
095 Ibigay Mo Sa Akin Ang Bukas (1987)
096 Gusto Ko Siya, Mahal Kita (1980)
097 Amorseko (1978)
098 Pag-ibig ko sa iyo lang Ibibigay (1978)
099 Tatlong Mukha ni Rosa Vilma (1972)
100 Pinagbuklod ng Pag-ibig (1978)

FAIR USE NOTICE: This site contains copyrighted materials the use of which has not always been specifically authorized by the copyright owner. We are making such material available in our efforts to preserve the film legacy of actress, Ms. Vilma Santos-Recto and information available to future generations. We believe this is NOT an infringement of any such copyrighted materials as in accordance to the fair dealing clauses of both the Canadian and U.S. Copyright legislation, both of which allows users to engage in certain activities relating to non-commercial/not for profit research, private study, criticism, review, or news reporting. We are making an exerted effort to mention the source of the material, along with the name of the author, performer, maker, or broadcaster for the dealing to be fair, again in accordance with the allowable clauses. – Wikipedia (READ MORE)

RECORDED SONGS

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NOS RECORDED SONGS
1 A Kookie Little Paradise
2 A Love unspoken
3 A Wonderful Day
4 Abadaba Honeymoon
5 All Alone Am I
6 Aloha Oe
7 Always
8 Always With You
9 Among My Souvenir
10 Anywhere I Wonder
11 Ating Cu Pung Singsing
12 Baby Baby Baby
13 Baby Cakes
14 Batya’t Palupalo
15 Better Than All
16 Beyond The Reef
17 Bo Weebel
18 Bobby Bobby Bobby
19 Breaking Up Is Hard to Do
20 Bring Back Your Love
21 Da Doo Ron Ron
22 Daddy
23 Do Re Mi Fa Sol I Love You
24 Don’t You break My heart
25 Donde Este Santa Claus
26 Dream
27 Drop A Line
28 Dry your Eyes
29 El Condor Pasa
30 Eternally
31 From The Bottom Of my Heart
32 Good Morning Starshine
33 Goodnight My Love
34 Green Grass Of Home
35 Grown Up Like Me
36 Have A Good time
37 Hawaiian Medley
38 Hawaiian Wedding Song
39 He’s so Near ( Yet So Far Away)
40 Holy Night
41 How I Wish I Were A Model
42 I Believe
43 I Have Dream
44 I Have dream
45 I Love You Honey
46 I Saw Mommy Kissing Sta. Claus
47 I Saw mommy Kissing Sta. Claus
48 I Understand
49 I Wonder Why
50 I Wonder Why
51 I’m The One For You
52 Isipin Mong Basta’t Mahal Kita
53 It’s Been A Long Long Time
54 It’s Wonderful To be In Love
55 Jealous Heart
56 Jingle bell Rock
57 Jingle Bells
58 Just Say You Be Mind
59 Little Brown Gal
60 Love Love
61 Mama
62 Mama Don’t Cry At My Wedding
63 Mamang kutsero
64 Mandolins In The Moonlight
65 Mary’s Boy Child
66 Mary’s Boy Child
67 May The good Lord Bless And Keep You
68 My Boy Lollipop
69 My First Kiss
70 My Promise To You
71 My Rosary
72 My Special Angel
73 My World Is Your World
74 Nine Little Teardrops
75 Oh Lonesome Me
76 Our Day Will Come
77 Palong Palo
78 Raindrops Keep Falling On My Head
79 Rudolph The red Nosed Raindeer
80 Sad Movies
81 Santa Claus Is Coming to Town
82 Sealed With a kiss
83 Seven Lonely Days
84 Seventeen
85 Silent Night
86 Silver Bell
87 Sixteen
88 So With me
89 Something Stupid
90 Sometimes
91 Spinning Wheel
92 Sta. Claus Is Comming To Town
93 The Birds And The bees
94 The Rick-Tick Song
95 Then Along Came You Edgar
96 To Love Again
97 Tok Tok Palatok
98 Tweedle Dee
99 Two People In Love
100 Walang Umiibig
101 When The Clock Strikes one
102 White Christmas
103 Why Don’t You Beleive Me
104 Wonderful World Of Music
105 Yeahoo
106 You Don’t Love Me Any More
107 You Made Me Love you
108 Your Kisses Are Losing Their Sweetness
109 You’re All I Want For Christmas
110 Mga Rosas Sa Putikan

RELATED READING:
Vilma Santos From Wikipedia
The Sweet Voice of Vilma Santos
Sixteen Album Songs (Lyrics)
Love Letters (1970)
Vilma Santos-Edgar Mortiz Love Team Circa 1970
Ultimate Scrapbook (Repost)
Edgar Loves Vilma
Sing Vilma Sing (Repost)
Discography: Sixteen (1970)
Theme Songs (1964 – 2009)
Vilma Santos’ Discography (Repost)
Discography: Sing Vilma Sing Greatest Hits
Vilma Santos’ “Sixteen” Interview
Vilma Santos’ MUSIC uploaded by Wilbert’s Rare Oldies

Discography: SIXTEEN (1970) Lyrics


SIXTEEN
(DANNY SUBIDO)

Kissing On The Park
Hugging On The Phone
Holding Hand In Hand
Down The Avenue

II
Strolling Down The Land
With Castles In The Air
A Kissin’ a Lovin’
A Kissin’ a Lovin’
A Kissin’ All Night Long

III
They Say I’m Only Sweet Sixteen
I’ve Never Been Kiss
I’ve Never Been Love
And All I Want Is Candy
Ice Cream, Teddy Bear and Lollipop

IV
Riding On The Sun
A Lot Of Things We Do
Whispering To My Ears ” I Love You So”
Repeat II, III, I, II

A Kissing, A Lovin’
A Kissing, A Lovin’
A Kissing All Night Long (Fade)

DRY YOUR EYES
(DANNY SUBIDO)

I
Dry Your Eyes
Have A Little Smile
Won’t You Let The Sunshine through Your Hair
Wipe The tears
Discard Away The Fears
Don’t Be Afraid , To Walk By Yourself
Don’t Be Afraid , To Be Alone

(refrain)
And All The Blows,
That She Gave To You
Somehow Would Disappear From View
Then You Could Face The World With No regret
Just Like Before

II
Look Around
Never Try To Run
For The Things To Come
Could Be Your Chance
You’re Still Young,
To Suffer And To Cry
Don’t You Deny
For I Know your Part
I Also Cry, But They’re Gone
(repeat refrain, I )

RAINDROPS KEEP FALLING ON MY HEAD

I
Raindrop Keep falling On My Head
And Just Like The Guy
Who’s Feet Are To Big For His Bed
Nothing Seems To Fit
Those Raindrops Are Falling On My Head
They Keep Falling
So I Just Did Me Some Talking To The Sun
And I Say I Didn’t Like The Way
He’s Got Things Done
Sleeping On The Job
Those Raindrops Are Falling On My Head
They Keep Falling
But There’s One Thing I Know
The Blues They Sends To Meet
Won’t Defeat Me
It Won’t Be Long Till Happiness
Steps Up to Greet Me

II
Raindrops Keep Falling On My Head
But That Doesn’t Mean My Eyes
Will Still Be turning Red
Crying Is Not For Me
Cause I’ll Never Gonna Stop
The Rain By Complaining
Because I’m Free
Nothings Worry In Me

WHEN THE CLOCK STRIKE ONE

I
When The Clock Strike One
We Gonna Have Some Fun
When The Clock Strikes Two
I’m Outing For Two
My Love It’s You And Me
Your Hand, Holding Mine
We’ll Start The Fun
When The Clock Strike One

II
Your Sweet, Sweet Lips
Your Eyes That Shine
Your Rosy Cheeks
I Know They’re All Mind
(repeat I )

I’m Feeling Fine
Having So Much Fun
I’m Feeling Alright
Just Holding you Tight

IV
When The Clock Strike Three
Love For You And Me
When The Clock Strike Four
We Gonna Have a Tour
In The Outer Space Of Love
With Kisses, romancing And Hugging
We’ll Start When the Clock Strike One
(repeat III, I )

SOMETIMES

I
Sometimes I wonder Why
You Couldn’t Love me
When You Could See From The Start
How Much You Mean To Me
So Darling Tell Me Now
If I Could Get Your heart
So I Could held Myself really Tough

II
Sometimes, When I Feel Sad
I Always Call Your Name
And These I Can’t Explain
Cause Your Driving Me Insane
So Darling Tell Me Now
If I Could Get Your Heart
So I Could Told Myself Really Tough

III
La, la, la, la, la, la, la, la
My Heart Is Aching
La, la, la, la, la, la , la,
I Think I’m Dying

(repeat I, III, II)

THEN ALONG CAME YOU,”EDGAR”

I
Used To be Afraid
I’ll Never Find, A Boy To Love
Hopefully, Good And Kind
Always On My Mind
Used To be Afraid
I’ll Never Find, A Boy To Love
Good And Kind

(refrain)
Then Along Came You “Edgar”
And I Know You’ll Be My Star
Young and Very Handsome
Full Of Lovely Things To Say
As Along Came You “Edgar”
And you ‘re A Star, You are

II
Used To Be An Ordinary
Lonely Little Girl
Living In A Shell
Never Having Fun
Used To Be An Ordinary
Lonely Little Girl
Living In A Shell
Not Having Fun

(repeat refrain)

Used to Date a Boy Who Swept Me Off My Feet
Someone I Admit While Walking Down The Street
Used to Date a Boy Who Swept Me Off My Feet
One Admit While Walking Down the Street
(repeat refrain)

SEALED WITH A KISS

I
Though’ We Gotta Say Goodbye
For The Summer
Darling I Promise You This
I’ll Send You All My Love
Everyday In A Letter
Sealed With A Kiss

II
Guess It’s Gonna Be A Cold
Lonely Summer
But I’ll Find The Emptiness
I’ll Send You All Love
Everyday In A Letter
Sealed With A Kiss

(refrain)
I’ll See You In The Sunlight
I’ll Hear Your Voice Everywhere
I’ll Run To Tenderly Hold You
But Darling You Wont Be There
I Don’t Wanna Say Goodbye
For The Summer
Knowing The Love We’ll Miss
Oh Let us Make A Pledge To Me in September
And Sealed With A Kiss

IT’S WONDERFUL TO BE IN LOVE

I
People Always Say
Love Is Blind
Around Your Eyes
You’ll See Tears And Clouds
Before Myself I Think
It is Nice
It is Wonderful To Be In Love

II
But If this Feeling Inside My Heart
But There’s A Room
Cause You’re Bt My Side
Before Myself
I Think It Is Nice
It is Wonderful To be In Love

(refrain)
I Wanna Tell YouI’m Satisfied
To Be In Love
With The Boy Like You
I Didn’t Know
That Love Could be
As Wonderful As You
(repeat I, II, I )

It Is Wonderful To Be In Love
It Is Wonderful To Be In Love

BRING BACK YOUR LOVE
(DANNY SUBIDO)

(Bring Back Your Love 3x To Me)
You Used To Tell Me Honey ” I Love You So”
And You Make Me Believe, You’re always true
But One day, While I was Walking
I Saw You With My Best Friend
Sharing Laughs, While You Broke All My Dreams
(refrain)

Bring Back Your Love (3X)
You Once Gave To Me
Bring Back Your Love (3X)
To Me

II
I Hate To do, For What You Did
Still I’m In Love With You
Cause the Feeling I Used To Hide
Stronger Than My Pride
If You Could Still Remember It Right
What I Told You Before
No Matter How You Hurt me
I Will Love You More

(repeat refrain 2x)
LOVE, LOVE
La, la, la, la, la, la, la, la, la (4x)
Yesterday I Found Myself
Crying Alone With A Broken Heart
All The Promise You Make to me
They Just Banish
When you said Goodbye
(refrain)
Love, Love
You Make Me Sad
Love Love
You Broke My Heart
When Will I Find
Someone To mend
The Things You Left in My heart

II I
Was Left Alone And Blue
Crying Alone Over You
Since For Me
There’s No Regret
Though I Felt It Hurt Inside Of Me
(repeat refrain)
La, la, la, la, la, la, la, la, la, la
(repeat refrain. I refrain 2x)

SO WITH ME

I
You Boy, Say To Me
That You Care
That You Like To Be
My Only One Forevermore

II
And You Say
Though You Are Away
I’m Always In Your Mind
And Till The End Of Time
You Say That You will always be True
Never Leave Me Blue

III
(Now) It’s My Turn
To Say My Heart Burst
And That It Fits
For Only You
And As For all
The Things You’ve set
I Say, So With Me
So With Me
(repeat III)

BABY BABY BABY

I
I’ve Been Alone For Long
I’ve been Crying, Over You
I Never Thought
You Leave Me Here
And Then You Run Away From Me

(refrain)
You’ve Been Playing A Game or Two
You’ve been Treating Me
So Bad When I’m With You
Baby, Baby, Baby
You (Don’t) Made A Fool
Out Of me

II
You Know It’s Wrong To Lie
Cause Someone
Will Surely Cry

Photos and lyrics transcription courtesy of Nar Santander

The Classic Vilma Santos Movies

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1. RELASYON (1982) – “Vilma Santos represents womanhood in the film…Santos portrays a mistress who is an out-and-out martir. She serves De Leon hand and foot, ministering to his every need, including fetching beer for him, washing his clothes, serving as his shoulder to cry on, even baby-sitting his child. In return, all she gets from De Leon is chauvinistic love, void of tenderness, full of immature aggressiveness… Vilma Santos’ acting is adequate and extraordinary…” – Isagani Cruz, Parade 01 July 1982.

“Vilma Santos confidently showed she felt the character she was portraying. Her depiction of feelings and emotions easily involve the viewers to share in her conflicts and joys. In this film, she has peeled-off apprehensions in her acting. Christopher de Leon has also been supportive in emphasizing the characterization of Marilou. He suitably complements Vilma’s acting.” – Lawrence delos Trinos, Star Monthly 10 July 1982

”Vilma Santos holds the first ace on acting this year with her terrific performance in Relasyon – the range is wide, the insight deep, hardly a false note in the entire performance – she was always in control, even when she seemed totally lost in her role…basta magaling si Vilma, tapos!“ – Ador Cs Tariman

FACTS: Vilma Santos’s first best actress grand slam win.

FICTION: Vilma Santos’ wins can be attributed to her connection to Imelda Marcos. (That’s absurd.)

2. BURLESK QUEEN (1977) – “…naiiba ang Burlesk Queen, kahit ikumpara sa mga naunang trabaho ni Celso at sa iba pang direktor na nagtangkang tumalakay sa paksang ito. Matagal-tagal na rin namang nauso ang kaputahan sa pelikula, pero walang nakapagbigay ng katarungan sa lahi ni Eba bilang Pilipina at bilang puta… para kay Celso…ang tao ay hindi basta maghuhubad at magtatalik. Maraming pangyayari sa buhay ang dapat munang linawin at unawain, at iyon ang basehan ng kasaysayan.” – Jun Cruz Reyes, MPP, Manila magazine Dec 1977

“(about the hospital scense with Vilma and Leopoldo Salcedo) Tuloy-tuloy ‘yun. 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. 1977

FACTS: The film won 10 out of 13 Awards at the 1977 Metro Manila film festival including Best Actress for Vilma Santos.

FICTION: All of the awards that’s been given to the film has been given back due to the investigation that the verdict were rigged. (Up to this date, Vilma still has her medal and award.)

3. RUBIA SERVIOS (1978) – “The second rape scene in “Rubia Servios” which stars Vilma Santos, is reminiscent of the rape scene in “Santiago”, shown in 1970. Instead of Caridad Sanchez as the wife who is assaulted in full view of husband Mario O’Hara, it has Vilma Santos and Mat Ranillo III. This coincidence is not surprising since Brocka also directed Santiago, and O’Hara, who has since graduated from supporting roles, is the scriptwriter for “Rubia Servios”. Vilma does not expose much skin and Philip Salvador (as the attacker) has his pants on, but the scene could well be one of the most realistic rape scenes on screen in a long, long time. The anguish in Vilma’s face and the lust in philip’s eyes blended so well the effect was dramatic rather than sensual. The real climax of the film, however, is the killing of Philip by Vilma with a paddle aboard a motorboat at sea. Lino Brocka, who directs Vilma for the first time, succeeded in muffling her sobs even in the most hysterical moments. To our mind, “Rubia Servios” is geared towards mature audiences. It is engrossing despite the lack of fancy camera shots and an almost chronological presentation.” – Ricky Lo

FACTS: Vilma Santos lost The Best Performer Award in this 1978 Metro Manila Film Festival to rival Nora Aunor. Admittedly, this was the most painful lost she experienced in her whole career. With its “For Adults Only rating” in consideration, the film still managed to end up as one of the Festival’s top grosser.

FICTION: Vilma committed suicide after her lost, luckily Manay Ichu, her Rubia Servios producer came and rescued her. (Both Manay Ichu and Vilma managed to get drunk but Vilma did not commit suicide.)

4. DOLZURA CORTEZ (1993) Dahil Mahal Kita (Because I Love You): The Dolzura Cortez Story 1994, This Philippine drama chronicles the colorful life of Dolzura Cortez, the first publicly recognized AIDS patient in the Philippines. The film begins with a brief examination of Cortez’s pre-AIDS life. Initially she lived in a small village with her cruel husband and three kids. The spunky woman leaves them and moves to the big city where she engages in several affairs. Her second marriage to a rich foreigner does not last long. To support her children, Dolly begins an all woman “contract worker” agency. This also serves to facilitate her love of night-life. Tragedy comes to Dolzura after she collapses on a dance floor one night and learns that she has full-blown AIDS. At a Manila hospital she meets ex-lover Paulo, an AIDS researcher who encourages to tell her story publicly. The courageous woman does and she becomes instrumental in spreading AIDS awareness to the islands. – Sandra Brennan, The New York Times

“Still bearing activist weight is Vilma’s effort in Laurice Guillen’s Dahil Mahal Kita: The Dolzura Cortez Story in which she fleshes out a body and a mind for a person with AIDS. This initiative constitutes an advocacy not only for people afflicted with the dreaded pandemic, but also for women who have to overcome strata of ostracism in the process of survival and resist their being reduced to an aberration, in this case, a pathology.” – Patrick Flores, Manila Standard Today Jan 11, 2003

FACTS: Vilma Santos’ earned her 2nd Best Actress grand slam wins.

FICTION: Dolzura Cortez wanted Nora Aunor to play herself in this film. Aunor declined. (No. No. No. That’s the most ridiculous thing I have ever heard – Simon Cowell from AI)

5. PAHIRAM NG ISANG UMAGA (1989) – “…a striking part of the movie (was when), Juliet watching intently as morticians work on her father’s remains, as everyone weeps when the coffin is lowered to its final resting place, and during the ritualistic pasiyam, the nine-day novena for the dead. It’s as though Juliet can see herself in her father’s lifeless body while mourners mill around it. The attempts to raise the level of the melodrama and present insights on life and death provide the movie its greatest strength – and wide appeal. How strangely ironic that a movie dealing with death could have so much life.” – Mario Hernando, Malaya 05 March 1989

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

FACTS: Vilma Santos won her first PMPC Star Awards Best Actress.

FICTION: Mario Bautista fought hard to make sure Nora Aunor won the Star Awards. (It was actually the opposite!)

6. LIPAD, DARNA, LIPAD (1973) – “the quintessential actionfantasy Pinoy flick that appeals to all ages, from generation to generation. This movie is a major milestone for Vilma because it proved that she could really carry a solo movie and bring in the dough (up to now of course!). Vilma’s Darna franchise is the most memorable and successful of all Pinoy fantasy-action genre. Imitated but never equalled, Vilma’s Darna lives on. Unforgettable. Memorable. It grows on you. No Pinoy kid ever grows up without being a part of the Darna magic. Vilma, practically flew at the top of the box office in Sine Pilipino’s trend setting trilogy “Lipad, Darna, Lipad!” Many fans consider Lipad, Darna, Lipad, as one of the most entertaining Darna movies ever. After all, who could forget that climactic aerial battle scene between Darna and the Impakta (Gloria Romero)? That shot of Romero impaled in a giant crucifix ensconced on top of a church tops any gory scene in The Omen. The enormous success of Lipad, Darna, Lipad led to three more Darna movies with Vilma Santos. As a result, the star for all seasons became the star for all Darnas—Santos played her four times, more than any other actress in the superheroine’s history. “Lipad, Darna, Lipad!” were divided into three separate segments, directed by three different directors. In Darna’s case, the three directors were Maning Borlaza, Joey Goesiengfao, and Elwood Perez—three names that promised an adventure that could do Andy Warhol proud.” – Eric Cueto

FACTS: Lipad Darna Lipad broke all box office records and made Vilma as the most successful Darna to date.

FICTION: Vilma was immediately wanted to wear the two-piece sexy Darna cutomes. (Vilma wore skin coloured suit on top of the Darna custom but after some people who works for TIIP and her entourage convinced her that it looks tacky, she agreed to wear the custom without it.)

7. ANAK (2000) – “Living complex emotions with subtlety and humor, pic resists melodrama until the dam abruptly burst after 90 minutes; ill judged pileup of crying scenes, plot crises and more crying ensues…That’s too bad, since early reels observe parent-child relationships with considerable delicacy… veteran local star Santos is in fine form, while barretto lends impressive shading to what might have been a stock sexy “bad girl” role…” -Dennis Harvey, Variety Magazine 19 March 2001

“The slick production is turned into art by its star Vilma Santos. Her magnetic star quality makes her look so wrong for the part and yet she makes it all her own. She’s a natural comedianne and a great tragedienne-her look of resignation is heartbreaking. Vilma discards the glittering clothes and make-up for Anak, but she still looks youthful. It wouldn’t come as a surprise if the sensitive young actor playing her son would go on to play her leading man a few years from now.” – Dennis Ladaw

FACTS: Official Philippine Entry to the 73rd Academy Awards Best Foreign Film. Anak grosses 14 Million Pesos, a record breaking for a Filipino film!

FICTION: Vilma can’t portray a poverty stricken maid or “atsay” role, that role only suited Nora! (Tell that to the marines!)

8. SISTER STELLA L. (1984) – “…For a heart-warming film, the entire cast deserves congratulations, particularly Vilma Santos who reveals another aspect of her multi-faceted talent. From her usual soft and sweet romantic roles, she can be transformed into a strong and militant woman without losing any of her charm and beauty. Jay Ilagan, Tony Santos, Anita Linda and Liza Lorena are also in their best form. Mike de Leon as director, Jose F. Lacaba as scriptwriter are likewise to be congratulated for making a truly human film and for contributing to the cause of workers for justice and of the religious for the recognition of their social role. Not to be overlooked is the producer Lily Monteverde of Regal Films who has this time shifted from puerile erotic dramas to make a courageous film for which she will always be well remembered.” – Alice G. Guillermo, Who Magazine 30 May 1984

“…De Leon’s film was to have had special screenings, on the unanimous request of the Cannes’ board of critics. Sister Stella L., however, suffered from the rush of subtitling work that descended upon Cannes’ select group of translators and De Leon opted not to show the film without subtitles. He nevertheless had the distinct honor of holding a retrospective under the sponsorship of the French Cinematheque right after the festival. The film eventually competed at the Venice Film Festival. Under its original title Sangandaan (Crossroads), Sister Stella L. was invited to the Venice Film Festival in 1984, the second Filipino film (after Genghis Khan in 1951) to be honored with such recognition.” – Agustin L. Sotto, Pet Cleto, Philippine Panorama 02 December 1984

FACTS: Vilma Santos admittedly confessed SSL was a flop at the box office.

FICTION: Vilma was overshadowed by the supporting cast of this film. (The Urian critics disagreed! They gave Vilma, her third consecutive best actress! Hah! Beat that!)

9. DEKADA 70 (2002) – “Santos’ Amanda effortlessly and movingly chronicles the changed consciousness of the family and the country, with understatement her most reliable tool. Pic begins and ends with images of Santos at the forefront of a political demonstration, and nothing, from first image to last, for 128 minutes, is allowed to spontaneously or slyly deviate from the logic of her consciousness-raising.” – Ronnie Scheib, Variety Magazine “Last seen in ANAK (SFIAAFF ‘01), Vilma Santos delivers an understated, profoundly moving performance as the matriarch whose awakening redefines the traditional mother and wife role she donned for years. This is the story of an incredible character that survived an unforgettable decade.” – Michael Magnaye, The 22nd San Fransisco Asian-American Film Festival 2004

“As Amanda, Vilma Santos shows again why Brocka, before he died, had likened her to water. “She can register anything,” he said. In “Dekada”, its the same Santos of vigor and transparency. The only difference is the depth, the resonance, and the greater confidence. Can she ever go wrong?” – Lito B. Zulueta, Philippine Daily Inquirer 30 December 2002

FACTS: Vilma Santos’ 4th Grand Slam wins for Best Actresses. The film was exhibited in last year’s “Cinema of the world” section at Cannes. Philippines’ Official Entry at the 76th Academy Awards Best Foreign Language Film. Vilma’s 4th Grandslam Best Actress wins.

FICTION: Dekasa 70 was written by Lualhati Bautista for Nora Aunor.

10. BATA BATA PAANO KA GINAWA? (1998) “Sa tingin ko, sa Bata, Bata… pinakamagaling si Vilma Santos. Sa dami ng kanyang award, may ibubuga pa pala siya. Iba ang akting niya rito…Halatang feel na feel ni Vilma Santos ang kanyang papel dahil, gaya ng karakter ni Lea Bustamante, dalawa ang anak ni Vilma sa magkaibang lalake.” – Marra Pl. Lanot, Diario Uno 16 Sept. 1998

”And Vilma Santosis more than up to the challenge. Gone are the hysterically flapping hands, the melodramatic emoting, all the trademark acting tics. In their place is a heartfelt performance that distills Lea’s essence to an exquisite point-no movements are wasted, no gestures are overwrought. …Vilma rolls them on her tongue like the finest wine; when Lea is on the verge of breaking down, Vilma remains true to the spirit of her character… If the Lipa City mayor decides never to do another movie again, she can retire assured that her last performance-in a career already studded with formidable portrayals-may conceivably have been her best.” – Andrew E. Pardes, Manila Times 13 Sept 1998

FACT: Opening gross was 5.2 million pesos. Another record breaking for Vilma. The film earned her a third grandslam best actress wins and her very first international recognition, winning the Brussel International film festival’s best actress award.

FICTION: The film was offered to Nora Aunor

58 Lessons in Life: Let It Vi!


If I were to write the biography of Batangas Gov. Vilma Santos, I would open it when she was around 14, a period when a girl is deemed too old for dolls but too young for guys.

I was barely out of college then and Vilma was in her bobby socks stage. I fetched her and her mom, Milagros Santos (now into her mid-80s), from Torres Auto Supply on España St., Sampaloc, Manila, and we took a taxi to Manila Times office on Florentino St. in Sta. Cruz, Manila. Vilma was going to be featured on the cover of Variety, one of the then No. 1 broadsheet’s Sunday magazines, and I was tasked to do the cover story.

She was in that awkward stage, too old for tearjerker kiddie roles such as those in Trudis Liit and Ging that propelled her to child stardom and too young for adolescent roles that she would be doing shortly, such as those saccharine flicks that she did with Edgar Mortiz in the Vi-Bobot era that pitted them against the Guy & Pip tandem of Nora Aunor and Tirso Cruz III.

She’s called a Star For All Seasons for a good reason: She has successfully navigated the dangerous waters from being a matinee idol to a serious actress, paving the way for those in her league to go “daring” via her award-winning portrayal as the title role in Celso Ad. Castillo’s landmark movie Burlesk Queen. From then on, Vilma (who will forever be simply Vi to her family, fans and friends) successfully ventured into other fields, including doing an album that has become some kind of a “classic” that is a perfect soundtrack for a workout (try it!). She reaped awards along the way.

The bio will discuss how she manages to play to the hilt her real-life triple roles — in this order — family woman (wife to Sen. Ralph Recto and mother to Lucky/Luis and Ryan Christian), public servant (beautifully wrapping up three terms as Lipa City Mayor before becoming the province’s governor) and actress par excellence (she’s shooting The Healing for Star Cinema, directed by Chito Roño).

Of course, several chapters will be devoted to Vi’s colorful love life, punctuated by episodes of her running away from home with a leading man and holing herself up for days at a five-star hotel. If made into a movie, Vi’s love life will require several (a dozen?) leading men but there should be a “disclaimer” to the effect that it’s a “fictionized true story” lawsuits that may be filed by some of the men most of whom are now happily married.”

And how will the bio end?

It will be a cliff-hanger because the life of Vi is like an extended teleserye with subplots cropping up at every twist and turn. But it will hopefully have a happily-ever-after ending like a fairy tale that Vi’s life is likened to.

Anyway, before that tell-all biography, let’s ask Vi what lessons she has learned as she celebrated her 58th birthday last Nov. 3, taking time out for her annual family vacation, this time on an Asian jaunt kicked off by a weekend in Phuket, Thailand.

Vi herself made the list in her own handwriting, using her left hand, she being kaliwete.

01. Pray for guidance.

02. Respect the opinion of others.

03. Sing and dance.

04. Forgive and forget.

05. Drive.

06. Exercise.

07. Apply my own make-up.

08. Dress up properly.

09. Drink (socially) occasionally.

10. Be patient.

11. Work with dedication.

12. Respect colleagues in the movie industry and politics.

13. Talk with sense.

14. Make friends.

15. Appreciate good deeds.

16. Trust people who are trustworthy.

17. Share my blessings.

18. Wake up early.

19. Speak with responsibility in public.

20. Deal properly with my constituents.

21. Understand the problems of other people.

22. Be a liberated mother to my sons.

23. Be a good (not necessarily a model) wife.

24. Give priority to my family.

25. Budget household expenses.

26. Spend less than what I earn.

27. Manage my own finances.

28. Pay my taxes on time.

29. Appreciate the love and support of all my fans (the Vilmanians).

30. Extend a helping hand to people in need.

31. Be more humble.

32. Appreciate CNN (World News).

33. Be considerate of the feelings of other people.

34. Treasure true and real friends.

35. Respect my subordinates and treat them fairly.

36. Try to live up to advances in technology.

37. Accept my mistakes.

38. Run a local government.

39. Hone my craft.

40. Honor my commitments.

41. Love my career as an actress.

42. Respect my position as a public servant.

43. Be tough in facing challenges.

44. Not to disappoint people who give me their trust.

45. Choose my battles.

46. Love my enemies.

47. Eat healthy food.

48. Not to underestimate children.

49. Spend money wisely.

50. Always keep an open eye.

51. Not to hesitate to ask questions when I don’t understand the issues.

52. Read more books.

53. That health is wealth.

54. Be a nature lover.

55. Waste segregation.

56. Pay attention to constructive criticism.

57. Express gratitude to whoever, whatever and however minor the things are said about or done to and for me.

58. Say a never-ending “Thank you, Lord!” for all the blessings. (E-mail reactions at entphilstar@yahoo.com. You may also send your questions to askrickylo@gmail.com. For more updates, photos and videos visit http://www.philstar.com/funfare.) – Ricky Lo, The Philippine Star (READ MORE)