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.
Kisapmata, a movie about a deranged retired policeman, got nine of the 13 awards, including best picture, in the 1981 Metro Manila film festival awards ceremonies held at the Cultural Center of the Philippines last night.
The movie, earlier banned from being shown until the hearing on a suit involving it starts on Jan. 4, also won for Mike de Leon the best director award, De Leon, together with Clodualdo del Mundo and Raquel Villavicencio, also won the best screenplay award. Vic Silayan, the lead actor in Kisapmata, won the best actor award, Jay Ilagan and Charito Solis were adjudged best supporting actor and actress, respectively. Kisapmata, produced by Bancom Audiovision, also got the best production design, best sound, and best editing awards.
This year’s best actress is Vilma Santos, who appeared in Sining Silangan’s Karma. Other awards went to Pagbabalik ng Panday, for best cinematography and best child performer (Bentot Jr.); Kamlon, best musical scoring; Kapitan Kidlat, also for best child performer (Dranreb). Press photographers walked out shortly after the evening show started. A man who was directing people on the stage shooed the photographers away, saying they were not allowed near the stage. – The Times journal December 28, 1981, Source: Video 48 (READ MORE)
From Wikipedia: In 1981, President Ferdinand Marcos passed Executive Order 640-A, which established the Film Academy of the Philippines, the Philippines’ official counterpart of the United States’ Academy of Motion Picture Arts and Sciences.
The very first Film Academy of the Philippines’ best actress winner was Vilma Santos in 1982, for Relasyon. Also, two Vilma Santos movies, Sinasamba Kita and Gaano Kadalas Ang Minsan won technical awards for sound, original score, cinematography, and adapted screenplay.
Paano Ba ang Mangarap, a Vilma Santos movie won best cinematography for Romy Vitug the following year.
The third FAP confirmed the arrival of Sharon Cuneta, as she was adjudged by the guilds, their best actress in 1984 beating Vilma and Nora for Sa Hirap At Ginhawa. Vilma’s Sister Stella L director, Mike De Leon won the best director. Vilma’s other film, Alyas Baby Tsina won best in musical score and production design.
Nida Blanca won best actress for Miguelito and Lino Brocka best director for Kapit sa Patalim in 1985.
Vilma’s Saan Nagtatago Ang Pag-ibig won best director for Eddie Garcia and best cinematography for Romy Vitug in 1987. Lorna Tolentino won the best actress for Maging Akin Ka Lamang. Tagos Ng Dugo, Vilma’s winning film at the FAMAS won, best musical score. Veteran actress, Mary Walter received the lifetime achievement award.
Amy Austria and Philip Salvador was the big winner in 1988, for surprisingly for forgettable films, Boy Negro and Celestina Sanchez aka Bubbles respectively.
As both Vilma and Nora shared the best actress at the URIAN, FAP gave the best actress solely to Nora Aunor in 1989. Her film Bilangin Mo Ang Bituin Sa Langit, won best actor, best director as well. Vilma’s film, Pahiram ng Isang Umaga won two, best production design and best sound. Director Lamberto Avellana received the posthumous recognition award and veteran actors, Leopoldo Salcedo and Bella Flores, the lifetime achievement awards. Leopoldo did the memorable film Burlesk Queen with Vilma while Bella Flores was Vilma’s torturer in her very first film as a child actress in Trudis Liit.
As Vilma Santos won three times in rival award giving bodies, URIAN, Nora Aunor did the same with her three consecutive best actress in 89, 90, and 91. Both Vilma and Nora have four Lunas.
Vilma’s Kapag Langit ang Humatol won best story and cinematography and Joseph Estrada received the lifetime achievement award in 1990. Also, this year, the Lamberto Avellana Memorial Award was given to Lino Brocka.
Vilma’s Ipagpatawad Mo won best child performer for Terence Baylon and best Editing while the lifetime achievement award went to Fernando Poe Jr in 1991.
Nora’s three-year feat ends when Lorna Tolentino won the best actress in 1992 for Narito ang Puso Ko.
Vilma won her second best actress after seven nominations in 1993 for Dolzura Cortez Story. The film also won best adaptation story and musical score. Lifetime achievement awards went to Espiridion Laxa and Nora Aunor. Laxa was Vilma’s film producer of so many memorable films like, Dama De Noche and Lipad Darna Lipad.
Nora won her fourth best actress in 1995 for The Flor Contemplacion Story and Sharon Cuneta in 1996 for Madrasta. The 1996 lifetime achievement award went to Anita Linda.
Maricel Soriano’s turn to receive the best actress happened in 1997. She won for Nasaan ang Puso. Also, this year, Vilma Santos received the lifetime achievement award and the posthumous recognition award to Charito Solis.
Vilma Santos won her third best actress in 1998 for Bata, Bata, Paano Ka Ginawa, her co-stars, child actors, Carlo Aquino and Serena Dalrymple won the supporting acting trophies. The film also won best in production design. Vilma’s director in box office hits like Sinasamba Kita and Imortal, Eddie Garcia, received the lifetime achievement award.
Bulaklak ng Maynila win big in 1999, best director (Joel Lamangan), best actor (Christopher de Leon) and best actress (Elizabeth Oropesa). Vilma’s blockbuster movie, Anak won two trophies in 2000: best supporting actress for Amy Austria and best screenplay for Ricardo Lee. Gloria Romero won the best actress for Tanging Yaman. Vilma’s director and co-star in memorable films Nakakahiya and sequeal, Hindi Nakakahiya, Eddie Rodriguez received the lifetime achievement award.
Lorna Tolentino reclaimed her spot in FAP history when she won the following year her second best actress for Abakada Ina.
Vilma won her fourth best actress in 2002 via Chito Rono’s Dekada ’70. Her co-star, Piolo Pascual won the best supporting and the film also won best production design.
Maricel Soriano won again in 2003 for Filipinas while Susan Roces received the lifetime achievement award. The next year, Claudine Barretto won her very first academy award for her film, Milan. The following year, Vilma received her 13th best actress nomination for Mano Po III: My Love.
In 2005, the FAP award became, the “Luna Awards.”
In 2006, Nida Blanca and George Canseco received the posthumous recognition award. Nida Blanca co-starred with Vilma in 1988’s Ibulong Mo Sa Diyos. George Canseco created so many memorable songs for films starring Vilma Santos. In 2007, the special posthumous award was given to Armando Garces and Fernando Poe Jr.
Highlights: In 1985, the Philippine Movie Press Club initiated the Star Awards for Movies and Television, which is currently the Philippines’ Golden Globes’ counterpart. The very first recipient of Star best actress was Nora Aunor for Merika while Vilma’s movie Sister Stella L. received the movie of the year award. Vilma Santos was nominated for Palimos Ng Pag-ibig in 1986 but failed to win the best actress. Unfaithful Wife was judged the STAR best picture of this year. The next year, Vilma’s film, Saan nagtatago ang pag-ibig was proclaimed the movie of the year. Vilma received a best actress nomination for her FAMAS winning film, Tagos Ng Dugo. The fifth year, Vilma was nominated again, this time for Ibulong Mo Sa Diyos.
PMPC finally gave the trophy to Vilma in 1989 Star Awards. Vilma’s Pahiram Ng Isang Umaga four major awards: actress of the year for Vilma, supporting actor for Eric Quizon, director of the year for Ishmael Bernal, and Movie of the year for Regal films. Pahiram also won technical awards for cinematography, musical score, and production design. The following year, Snooky Serna won the supporting actress for Vilma’s “Hahamakin Ang Lahat.” Vilma was nominated for Hahamakin but the Star went to Nora Aunor for Andrea paano ba ang maging isang ina. Despite the lost, Vilma received a very special award from the PMPC, the “Darling of the Press” award. The next year, 1991, Nora Aunor again received the Star Award Actress of the Year for Ang totoong buhay ni Pacita M. Vilma was nominated for Ipagpatawad Mo. In 1992, Vilma was nominated again, for Sinungaling Mong Puso that Lorna Tolentino won for Narito ang puso ko. After winning her first Star Award in 1989 and nominated three consecutive years, Vilma finally win her second Star in 1993 for Dahil mahal kita: Dolzura Cortez Story. The next year, Vilma was nominated for Nagiisang Bituin but Dawn Zulueta took home the trophy for Buhay ng buhay ko.
In 1995, Nora Aunor was the big winner again with her film, Flor Contemplacion Story. 1996 was Sharon‘s grand slam year. She won the Star for Madrasta with co-star, Christopher De Leon taking the actor of the year. In 1997, Zsa Zsa Padilla defeated Nora, Vilma, Marecel and Sharon for actress of the year for Batang PX. Vilma was nominated for Hanggang Ngayon Ika’y Minamahal. Vilma was the big winner in ’98 for her film, Bata bata paano ka ginawa. She won actress of the year while co-star Serena Dalrymple won the supporting actress. Elizabeth Oropesa followed Vilma’s win the following year via Bulaklak ng Maynila. The new millennium brings another Star to Vilma as she claimed her fifth actress of the year for her film, Anak. The next year the Tuhog was the top film while Snooky Serna won the actress of the year for Habang kapiling ka. Vilma won her sixth actress of the year from Star in 2002 for the film, Dekada ’70. She will win her seventh Star again in 2004 for Mano po III: My love in 2004. The next three years, Judy Ann Santos (Kasal, kasali, kasalo – 2006); Ai-Ai de las Alas (Ang cute ng ina mo! – 2007) and Sharon Cuneta (Caregiver – 2008) received the Star actress of the year. Vilma Santos received the lifetime achievement award in the 2008 Star Awards while Nora Aunor’s film Himala was given a special citation award. By 2010, Vilma received her 18th best actress nominations and won for her 2009 film, In My Life. – RV
Vilma Santos’ STAR for TV Recognition – In the 1980’s, Nora Aunor’s Superstar show was losing viewership and her box-office appeal was also in question. Suddenly, the 70’s superstar was being eclipsed by a non-singer but an excellent dancer and versatile actress Vilma Santos. She has just scored her first of four grand slams for the movie Relasyon and continued to reign as the Longest Box-office Queen of Philippine Cinema. And slowly but surely, her VIP (Vilma In Person) TV show was gaining patronage/high ratings too from the precious class ABC households nationwide, TV advertisers’ prime target audience for their products. There was no stopping Vilma Santos. She was about to conquer the TV musical-variety genre where Nora Aunor ruled for years. Early on, Vilma Santos had rough sailings with her musical variety show. VIP was being broadcast from Channel 2 which had a bad reception among TV homes nationwide, and was no match to the more modern RPN Channel 9 where Nora’s Superstar show was simultaneously shown from Luzon to Mindanao in vivid, crisp color. When VIP moved to GMA Channel 7, it was the best move that Vilma’s think tank ever did. With better satellites, shrewd marketing, state of the art facilities, and more ambitious production numbers and with the Dancing Queen Vilma at the center of it all, and with the genius of Maribeth Bichara’s choreography and musical concepts written all over the show – “Vilma!” became the most watched and the most awarded (SEE LIST BELOW) TV show in the musical/variety category.. (READ MORE).
1987 – Best Musical Variety Show Host
1988 – Best Musical Variety Show Host
1988 – Best Musical Variety Show
1989 – Best Musical Variety Show
1990 – Best Musical Variety Show
1991 – Best Musical Variety Show
1992 – Best Musical Variety Show
1994 – Best Musical Variety Show
1998 – Ading Fernando Lifetime Achievement Award
2006 – Best Actress in a Single TV Performance – MMK: Regalo
Honorary Doctorate Degree in Humanities by the Lipa City Public College
Mayor Vilma Santos-Recto (she is now, the Governor of Batangas) was given an honorary degree of Doctor in Humanities by the Lipa City Public College (LCPC) last November 10, 2005. The Doctorate degree was given after resolution no. 01-05 of the Academic Council was passed. The head of the Academic Council, Dr. Armando Badillo and the Board of Trustees, including City Adminstrator Mr. Pedrito Martin M. Dijan, approved the resolution. The Commission on Higher Education (CHED) also approved the resolution on May 11, 2005. The resolution states that they acknowledge the leadership and talent of Mayor Vi not only in the art of Film, but also her sincerity and effective management as a Mayor and for being a good role model for a new Filipina, beautiful inside and out. It is further stressed in the resolution that the life of Mayor Vi as a public servant and as a multi-awarded actress clearly mirrors her deep understanding of how she can serve the public, her respect for human dignity and her genuine belief in the goodness of men to serve and help one another. Dr. Cristeto Pamplona, Schools division superintendent of DepEd Lipa; Atty. Joel Montealto, City Legal Officer; Lipa City Councilor Romy Macasaet and Ronaldo de Castro, City Personnel Officer completes the LCPC Academic Council. – Eric Nadurata, V magazine Vol 2 No 6 The Valentine’s Day Issue 2005
2000 Box Office Queen – “…The Guillermo Mendoza Memorial Scholarship Foundation, Inc. is staging the 31st annual Box Office King and Queen of Philippine Movies coronation night on April 4 at the UP Theater. Telecast date is on April 21 on RPN-9. This private foundation is headed by civic leader Corazon M. Samaniego, daughter of the late Guillermo Mendoza who was once a noted politician and philanthropist in Bulacan. Middle of this week, the members of the board of judges of this award-giving body (with Necy Marco Llarena as chairperson) sat down to deliberate on the winners of this yearly popularity contest. Lipa City Mayor Vilma Santos was voted Box Office Queen because of the strong showing at the tills of her film Anak last summer. Produced by Star Cinema and directed by Rory Quintos, Anak was one of the top-grossing films of the year 2000. Robin Padilla, on the other hand, was voted Box Office King of Philippine Movies. Padilla’s two movies last year were big winners at the box office: Kailangan Ko’y Ikaw with Viva Films and Tunay na Tunay — Gets Mo, Gets Ko, released under Star Cinema…Veteran performers Dolphy and Gloria Romero are also being honored as All-Time Favorite Actor and Actress. Dolphy may have lost in the Best Actor race in last December’s Metro Manila Film Festival, but he still made quite a splash in Gil Portes’ Markova: Comfort Gay. And Gloria? After so many decades, she’s once more the toast of the town – thanks to Tanging Yaman…Maribeth Bicharra should also be very happy with the list of winners in this year’s Guillermo Mendoza Memorial Scholarship Foundation awards rites. Her VIP was voted almost unanimously as the Most Popular Dance Group. In the television category, Rudy Fernandez’s Kasangga on Channel 7 was picked as the Most Popular TV Program…” – Butch Francisco, The Star, Feb. 25, 2001, Reposted by: Sol Jose Vanzi (READ MORE)
1970 – Most Popular Loveteam ang Vilma-Edgar (Liwayway Publications)
1971 – Miss Philippine Movies
1972 – Reyna ng Pelikulang Pilipino
1973 – Queen of Philippine Movies (BAMCI Promotions)
1974 – Queen of Movie Stars (Life Publishing)
1974 – Miss RP Movies (BAMCI Promotions)
1975 – Miss RP Movies
1975 – Queen of Southern Luzon Movies
1974 – Box-Office Queen of Philippine Movies (Manila Overseas Press Club)
1977 – Box Office Queen of Philippine Movies (GMMSF)
1978 – Philippine Movie Box Office Queen (PD Promotions)
1978 – Box-Office Champion (Grand Total Productions)
1978 – Box-Office Champion (Big Ike’s Happening)
1979 – Box-Office Champion (Gand Total Productions)
1979 – Box-Office Champion (Big Ike’s Happening)
1979 – Box-Office Queen of Philippine Movies (Mecca Productions)
1980 – Box-Office Queen of Philippine Movies (PD Productions)
1980 – Miss Philippine Movies (PD Productions)
1981 – Miss Philippine Movies-USA
1981 – Box-Office Queen of Philippine Movies (Geebees Productions)
1982 – Box-Office Queen of Philippine Movies (GMMSF)
1982 – Cinehan Award’s Box-Office Queen (Metro Manila Theaters Association)
1982 – Top Female Star-Takilya Award (KASIPIL)
1983 – RP Movies Queen of Queens (Prime International Promotions)
1983 – Her Highness Queen of Philippine Movies (Catholic Women’s League)
1984 – Box-Office Queen of Philippine Movies (GMMSF)
1988 – Queen of Philippine Movies (Star Publishing)
1996 – Longest Reigning Box-Office Queen (City of Manila)
2001 – Box-Office Queen of Philippine Movies (GMMSF)
Naging perya ang mga sinehan ng Kamaynilaan sa nakaraang 1978 Metropolitan Manila Film Festival. Bumalik sa dating sistema ng palabunutan ang tambiyolo ng kapalaran, sa halip na magkaroon ng pamimili sa mga produktong may uri at karapat-dapat ipalabas tulad ng nangyari noong nakaraang pista. Dinagdagan ang singil ng singkuwenta sentimos (para daw sa Mowelfund ni Joseph Estrada na muling nahirang na pangulo ng PMPPA, ang samahan ng mga malalaking prodyuser) at nagkaroon ng bolahan, at may mga nakalaang premyo tulad ng kotse at mga appliances para sa masusuwerteng ticket holders. Sige na, matuloy lang ang perya.
Dahil sa mula’t mula pa’y hindi agad masiguro kung tuloy o hindi ang pestibal (dahil rin sa ayaw makipagtulungan ng mga may-ari ng sinehan), ang karamihan sa mga pelikulang lahok ay yaong mga yari na, o di kaya’y nilagare para humabol sa pestibal, at galing sa mga prodyuser na nagkasuwerteng makabunot ng sinehan. Nang magmatigas ang mga may-ari ng teatro sa pamumuno ni Johnny Litton, sumugod ang mga taga-PMMPA sa Malacanang para kausapin si Gng. Imelda Marcos. Nang mabigyan sila ng opisyal na pahintulot, walang nagawa ang mga theatre owners kundi sundin ang direktiba.
Tuloy ang pista, ang parada, ang bolahan nitong kapaskuhan. Tulad ng nakaraang taon, siyam din ang kalahok (bagama’t noon ay idinaan sa mahigit na pamimili ng mga hurado). Kung nagkaroon ng screening, dalawa lamang siguro ang makakapasa. Ang pito ay dapat sanang pinalabas sa Mahal na Araw bilang penitensiya sa mga manonood (ngunit tinapat din sa Pasko, kung kailan pa naman naghahanap ang mga manonood ng mapaglilibangan hindi ng kalbaryo). Sa katunayan, may isang pangkat na nagpetisyon sa pangulo tungkol sa karahasan ng mga pelikula, sa tema at paksa, ngunit madali silang sinagot ni Meyor Estrada. Kulang daw talaga sa panahon at preparasyon, at aprobado daw ng sensor ang mga ito, giit niya. At saka mas mabuti na raw ang local garbage kaysa sa imported garbage. Maitatanong tuloy: Kung basura ang mga pelikula, bakit hindi ipahakot sa Metro Manila Aide sa halip na ipakita sa mga tao? Kung basura’y bakit binabayaran ng kuwatro pesos?
Tunay ngang mababa ang uri ng mga pelikula. Magsimula tayo sa ibaba. Nangunguna na sa grupong ito ang Salonga, na ibinatay raw sa tunay na buhay ni Nicasio “Asiong” Salonga, kilalang lider ng isang gang sa Maynila nang mga huling taon ng 1940. Sa direksiyon ni Romy Suzara, naging malabo ang kuwento. Hindi mo maintindihan kung bakit naging hoodlum si Salonga, kung bakit gusto ng mga taong magbigay ng tong sa kanya, kung bakit siya naging pinuno ng kanyang gang, at kung bakit siya naging public enemy no 1. Walang direksiyon ang iskrip ni Humilde Roxas, maliban sa pagpapakita ng kaunting aksiyon, kaunting romansa, kaunting drama, at kaunting pakuwela. Ni wala kang makitang insight sa mga tauhan at sa kapaligirang nagluwal ng ganitong klaseng karahasan. Bilang action picture, amateurish ang pagkakadirehe ng mga bakbakan (malayong-malayo sa Boy Pana ni Suzara). At bilang artista, si Rudy Fernandez ay may all-purpose look sa kanyang baby face na una na nating nasialayan sa Baby Ama. Sa pangkalahatan, ang pelikula ay dapat tinaguriang “Asiong Aksaya.”
Isa pang aksaya ng pera at panahon ang Jai Alai King. Kuwento naman ito ni Drigo Garrote (Christopher de Leon) na isang amateur pelotari na may ambisyon maging propesyonal. Sa tulong ng kanyang sidekick na bata (Dranreb) ay malapit nang matupad ang kanyang pangarap. Ngunit may malaking problema: maraming naiingit sa kanya ang mga kapwa-pelotari, na pinamumunuan ni Juan Delgado (Johnny Delgado). Naroong ipabugbog siya. Naroong patamaan siya ng bola. Naroong agawin ang kanyang babae. Sa madaling salita, madali pormuang ginamit: may pag-ibig (tatlong babae ang may gusto kay De Leon), may drama (nagtampo ang batang sidekick), may aksiyon (maraming alalay si Delgado na wala namang ginawa sa pelikula), at maraming pakwela si Boyet at Dranreb na dito’y walang-iniwan sa matandang dalaga. Biro mong siya ang manedyer, kahero, tagapayo, at numero unong tagahanga ni Garrote.
Nagka-routine ng direksiyon ni Manuel Cinco (kung matatawag itong direksiyon). Napakaraming butas ng istorya (ni hindi ipinaliwanag kung bakit nakatira ang Jai-Alai player sa guhong bahay). Malabo rin ang mga kuha ng kamera kaya sasakit ang mga mata mo. At maraming kuha sa jai-alai na hindi magkasabay na ipinapakita ang mga manlalaro at ang mga tao. Nakapanghihinayang na wala rito ang mga bagay-bagay na inaasahan mong makita: ang intriga, ang pagbebenta ng laro, ang manipulasyon ng mga kapitalista, ang adiksiyon ng masa sa sugal na ito, ang tunay na daigdig ng jai-alai.
Wala ring sinabi at sinasabi ang The Jess Lapid Story, isang pagtatangkang buhayin ang pangalan ng kilalang stuntman na sumikat sa pelikula noong mga taong sisenta, nang mauso ang aksiyon. Sa halip, binibigyan tayo ng mga de-kahong sitwasyong nagpapakita ng 1) kanyang buhay 2) pag-ibig 3) pakikipagsapalaran sa daigdig ng pelikula. Ipinakita ang kanyang kahirapan sa probinsiya, ang pagpapalit-palit niya ng trabaho, ang pagsisimula niya bilang boksingero, utility man, stuntman, at hanggang maging action king siya sa kama at telon. Ngunit sino talaga si Jess Lapid, at bakit siya kinainggitan ng ilang tao at pa-traydor pang binaril? Itanong mo na lang sa mga sumulat ng iskrip, sina Diego Cagahastan at Tony Mortel, at kay Cesar Gallardo, direktor ng pelikula, na patuloy ang pagbulusok sa kawalang-sinabi. Lahat ng mga pelikulang hawakan ni Gallardo ngayon ay paurong nang paurong mula sa kalidad ng Kadenang Putik noong 1950.
Magaling bilang stuntman si Lito Lapid (pamangkin ni Jess sa tunay na buhay). Ngunit bilang aktor, marami siyang dapat matutunan. Una na rito, ang kanyang pananalog. Halatang Pampanggo ang dila niya, at napaka-conscious niya sa kamera. Malimit siyang naka-pose bago magpakita ng stunts, na kalimita’y lundag at lipad. (‘The Flying Lapid’, puna ng isang kaibigan ko). Nasayang lang si Beth Bautista rito bilang martir na asawa ni Jess, samantalang sina Tina Monasterio at Trixia Gomez, mga naging kabit ni Jess sa pelikula, ay talagang wala nang pag-asa. Ipinapayo kong magpalit na lang sila ng trabaho at huwag na tayong idamay sa kanilang walang talino o galing.
May maganda sanang materyal ang pelikula ng isang stuntman, Ang Huling Lalaki ng Baluarte. Mayaman sa alegorya at simbolismo ang kuwento nito tungkol sa isang lugar na nililigalig ng isang ganit na pinuno at kinikidnap ang kalalakihan para sapilitang pagtrabahuhin sa minahan ng ginto. Isang lalaki na lang ang natitira sa lugar, na siyang tanging pag-asa ng mga kababaihan, hinanap ni Isaac (Malonzo) at ng ilang babaeng kanyang tinuruang makipalaban, ang nawawalang mga lalaki ng Baluarte. Sa wakas, siyempre, natagpuan din nila ang minahan, napatay lahat ang masasamang-loob, at naipakita rin ni Malonzo ang kanyang husay sa martial arts. Beterano siya kung ihahambing kay Lapid, at puwede rin sa drama.
Ngunit sayang. Sa kamay ng isang direktor na may malawak na imahinasyon, naiangat sana ang materyal nito para maging makabuluhan sa karanasan ng mga Pilipino, at sa mga tungaliang nagaganap sa ating paligid. Kung di nga nauwi sa bakbakan, barilan at bidahan. Sa kamay ni Artemio Marquez, ang kuwentong pangkomiks ni Carlo Caparas ay naging behikulo para ipakita ang huling gimik ni Malonzo sa karate, sa judo at sa baril.
Kung nauwi sa aksiyong nakasasawa ang Baluarte, naging malapot na drama naman ang Katawang Alabok ni Emmanuel Borlaza, na sa pamamaraan at pananaw ay dapat tanghaling Huling Direkto sa Pilipinas. Hindi na uubra ang kanyang mga obra. Mga diskurso sa Eva Fonda. Mga bodabil sa Dodong Diamond. Mga pa-bold-bold sa Mga Bulaklak ng Teatro Manila. Bawat tauhan ni Borlaza ay kinakailangang mag-drama. At dramang pag-Gala. Magandang halimbawa ang Katawang Alabok.
Sa kanyang sinasayawang teatro natipuhan si Lorna Tolentino ng mayamang matanda (Vic Silayan), na may baliw na asawa (Lucita Soriano) at may anak na direktor (Robert Arevalo). Gustong pag-artistahin ni Arevalo ang dalagita kaya naiinggit ang iba niyang artista sina Orestes Ojeda at Janet Bordon at ang doktora ng pamiya na si Daisy Romualdez. Kaya lumayas si Lorna at nakilala niya ang isang bulag (Manny Luna), na anak ng masungit na trabahadora (Anita Linda) na… Magulo ano? Hindi. Masalimuoot. Tipikal na produkto ng panulat ni Pablo Gomez na lalo pang nagkalikaw-likaw sa iskrip ni Allan Jayme Rabaya.
Sa dami ng artista, hindi mo malaman kung uuwi ang Katawang Alabok sa alabok na pinagmulan. Isa lamang ang namumukod dito: si Robert Arevalo. Sa tabi niya, nagmistulang katawan lamang ang mga tulad ni Orestes Ojeda (hindi marunong magsalita), Daisy Romualdez (hindi marunong mag-ayos), Lucita Soriano (hindi marunong magloka-lokahan), Manny Luna (hindi marunong magbulag-bulagan), Lorna Tolentino (hindi marunong mag-bold), at Vic Silayan (hindi marunong pumili ng pelikula). Hindi ko alam kung bakit ang katulad ni Borlaza ay patuloy na kinakandili ng makabagong istudyo na tulad ng Agrix. Siguro, kung sa Gala, maari pang umangat ang katawan ni Borlaza sa Alabok.
Pang-stage show rin ang Jack and jill of the Third Kind, lalo na ang mga pakulo nina Dolphy at Nora Aunor. Pangatlong daan na siguro itong papel ni Dolphy na talyadang kinahumalingan ng isang mayamang hindi marunong kumilatis kung talyada o tandang ang kaharap. May pagkakatulad sina Panchito at Rolly Quizon: kailangan nila ng larga bista para malaman kung babae o lalaki ang tsuper nitong si Nora, at kung si Dolphy ay tunay na babae o manlalabas sa perya sa San Andres. Maging ang mga pagpapatawa ni Dolphy ay gasgas na gasgas na: matutumba sa swimming pool, nakabestida ng satin at kakanta sa hardin, maglalagay ng itlog ng manok sa dibdib na mapipisa at tutulo sa binti, hahawahan ng pagka-talyada ang matong nagtuturo sa kanyang lalaki, ad nauseum. Nalipasan na nga ng panahon ang pagkatalyada ni Dolphy, tulad din ng Jack and Jill ni Mars Ravelo, na hinalukay pa sa antigong baul ni Orlando Nadres.
Kung uri ang paguusapan, de-kalidad ang Rubia Servios. Kaya lamang, may sabit. Maraming butas ang iskrip ni mario O’Hara.
1978
Ang istorya ng Rubia Servios ay batay sa mga legal story ni Aida Sevilla Mendoza, at ito’y pumapaksa sa babaeng ginahasa ng kanyang masugid na manliligaw. Si Rubia (Vilma Santos) ay isang medical student na may kasintahang kaeskuweala, si Norman (Mat Ranillo III). Balak nilang magpakasal pagkatapos ng kanilang pag-aaral. Karibal ni Norman si Willie (Philip Salvador) na ayaw tumanggap ng kabiguan sa pag-ibig. Anak siya ng mayaman at maipluwensiyang pamilya sa Kabite. Kaya nang tapatin siya ng dalaga na wala siyang maaasahan, kinidnap niya si Rubia sa isang bahay-bakasyunan at ginahasa ito. Nang magkaroon ng pagkakataon ang babae, tumakas ito at isinuplong si Willie. Idinemanda ang lalaki at nahatulang mabilanggo ng anim na taon. Paglabas ng lalaki sa bilangguan, ginulo na naman niya ang buhay ng babae na ngayo’y asawa na ni Norman at may dalawang anak (ang una’y anak niya kay Willie). Dahil sa pananakot ng hui, nakipagtagpo si Rubia, at muli na namang ginahasa sa sementeryo sa harapan pa naman ng asawa. Kinidnap ni Willie ang anak niya para gawing pain sa pagtatagpo nila ni Rubia at para sumama na tio sa kanya. Ngunit nagkakaroon na naman ng pagkakaton ang babae na lumaban at sa bangka, hinampas niya si Willie ng sagwan, at pagkatapos ay binaril ang lalaki hanggang sa ito’y tuluyan nang malunod.
Simplistiko ang materyal at lalong simplistiko ang pamamaraan ni O’Hara sa karakterisasyon. Nagmumukha tanga ang mga tauhan (si Rubia at si Norman) samantalang medical students at naturingang doktor pa naman sial. Tinatakot na sila’y hindi pa sila humingi ng proteksiyon sa pulis. Ginahasa na si Rubia ay nakipagtagpo pa sa sementeryong madilim nang nag-iisa at nagpaganda pa mandin siya nang husto. At ang asawa niya’y wala ring utak. Biro mong sinundan ang asawa sa sementeryo nang nag-iisa! Dapat nga palang magkaganito sila kung napakakitid ng kanilang utak.
Sa direksiyon ni Brocka, lumitaw ang galing ni Vilma Santos, at nakontrol ang labis na pagpapagalaw ng kanyang labi. Mahusay din ang eksena ng gahasa. Si Philip Salvador naman ay tulad sa isang masunuring estudyante na sinusunod lahat ang direksiyon ng guro. Kitang-kita mo sa kanyang pagganap ang bawat tagubiling pinaghihirapan niyang masunod: kilos ng mata, buntong-hininga, galaw ng daliri, kislot ng kilay. Limitado ang kanyang kakayahan at makikia ito sa kanyang mukha (na limitado rin). Walang-wala rtio si Mat Ranillo III, na parang pinabayaan para lalong lumitaw ang papel at pag-arte ni Salvador. Samantala, ang kamera ni Conrado Salvador ay hindi gaanong nakalikha ng tension at suspense, bukod sa napakaliwanang ng disenyo ng produksiyon ang pagbabago ng mga tauhan sa loob ng pitong taon batay sa estilo ng damit at buhok.
Namumukod ang Atsay sa sampung pelikula sa pestibal. Kung ako ang tatanungin, isa ito sa tatlong pinakamahusay na pelikula ng taon (kasama na ang Ikaw ay Akin ni Ishmael Bernal). Bagama’t melo-dramatiko at epi-episodyo ang iskrip ni Edgardo Reyes, sinematiko naman ang pamamaraan ni Romy Vitug, malinis at makinis ang direksiyon ni Eddie Garcia. Ang unang mapupuna mo sa Atsay ay ang husay ng craftmanship (resulta ng matagal at maingat na paghahanda, mabusising direksiyon, matinong materyal). Bagay na bagay si Nora Aunor, at tunay na kapani-paniwala siya sa papel niya rito (hindi sa minamaliit ko siya).
Nagsimula ang pelikula nang ilibing ang tatay ni Nelia (Nora). Para mabuhay, natuto silang magtrabaho ng kanyang ina at mga kapatid. Isang araw, dumating si Bella Flores na nanghahakot ng babae para dalhin sa Maynila. Para sa pabrika raw, iyon pala’y gagawin atsay o mananayaw sa beerhouse. Natagpuan na lang ni Nelia ang sarili bilang atsay sa bahay ni Anggie Ferro na masungit na’y sadistiko pa. Nag-layas ang babae. Sa bawat lipat niya ay sinusundan siya ng isang matandang pipi na lumayas din sa bahay ni Bella. Inirekomenda ni Nelia ng kaibigang atsay, sa bahay ni Armida Siguion-Reyna, na may malamig na relasyon sa asawang si Renato Robles. Naakit ang lalaki sa katulong. At nang malaman ng asawa na buntis ang kanyang katulong, binugbog ang babae hanggang makunan. Tinulungan siya ng pipi ngunit binaril ni Armida ang inaakalang magnanakaw. Na-ospital si Nelia at sa kanyang paggaling ay nagpasiyang umuwi. Naglakad siya patungo sa istasyon at dito siya hinimatay. May nagmagadang-loob sa kanya (Mona Lisa) na may ampong anak na lalaki (Ronald Corveau). Sa simula, galit ang binata ngunit nang alagaan siya ni Nelia pagkatapos niyang maaksidente, ay nagkalapit ang kanilang damdamin. Kailangan nang umuwi ni Nelia, pinigilang siya ng lalaki. Pasakay na si Nelia ng tren, nang makita siya nang binata at… Kung ihahambing ang Atsay sa ibang pelikula ng pestibal, malayung-malayo ang uri nito. Isa itong magandang halimbawa ng produksiyong pinaghirapan at pinag-ingatan para ipalabas sa pestibal. Limang buwan itong inihanda. Tanging Atsay ang nagbigay-dangal sa sampung araw ng bolahan ng kung tawagin ay Metropolitan Manila Film Festival, at isa sa kakarampot na pelikulang nagbigay ng buhay at kulay sa buong taon ng 1978. – Justino M. Dormiendo, Sagisag, February 1979 (READ MORE)
Aside from Gawad Urian, Star Awards, Film Academy Awards and FAMAS, the annual local festival, called MMFF or Metro Manila Film Festival has become a part of Vilma Santos’ film career. From the 70s to the new millennium, Vilma Santos was able to entered memorable films that earned her awards, record-breaking ticket revenues, career breakthrough performances and even some memorable heartache. Spanning four decades, the MMFF earned Vilma 7 acting nominations with four wins.
Here are the highlights: The Martial Law established the amalgamation of the surrounding cities in Manila. Prior to 1975, three local film festivals showcase Filipino films, Quezon City and Manila each has their own festivities and another one in Southern part of the country, Bacolod City. The local festivals started the acting competition between rival, Vilma Santos and Nora Aunor. In 1970 Manila Film Festival, Nora’s Nora in Wonderland and Young Heart compete with Vilma’s sole entry, Love Letters. Two years afterwards, the acting race will heat up in Quezon City Film Festival when the two collided with Nora’s And God Smiled at Me and Vilma’s Dama De Noche. After the Martial Law, cities were amalgamated with Manila. And the Quezon City Film Festival and the Manila Film Festival ends creating the December festival in 1975. Occasionally, Manila will have their own festival every summer in connection to city’s “Araw Ng Manila” celebration. Tthe last time Vilma entered a film at MFF was in 1993 via Dahil Mahal Kita: The Dolzura Cortez Story where she won the best actress. Meanwhile, Nora Aunor’s last venture to MFF was in 2004’s Naglalayag where like Vilma, she won the best actress too.
The Metropolitan Manila Film Festival, now simply called, MMFF, (the “politan” was dropped eventually) or Metro Manila Film Festival exhibits only local films in all its theatres from Christmas Eve to the first week of the following New Year. The festival has its street parade at the eve of Christmas Day and each films contesting for best float. The festival has its awards night at the third or fourth nights.
Not surprisingly, both Nora and Vilma have competed in the first MMFF. Nora’s entry was her self-produced film directed by Luciano B. Carlos, Batu-Bato sa Langit and Vilma’s entry was the melodrama, Karugtong ang Kahapon. The big winner was the pre-presidential, Joseph Estrada. Directed by Augosto Bunaventura, Estrada’s Diligin Mo ng Hamog ang Uhaw na Lupa won the major awards: Best Picture, Best Director, and Best Actor. Best Actress went to Charito Solis for Araw-Araw, Gabi-Gabi.
The second year, the festival was noticeably the precursor to the awards race. It was a showcase of who’s who in the local film industry. Lino Brocka, Eddie Romero, Lupita Concio were among the big name directors competing. Romero’s Ganito Kami Noon, Paano Kayo Ngayon dominated the awards night winning the best director and Christopher de Leon the best actor. Hilda Koronel was proclaimed the best actress for her impressive performance in Insiang. Concio’s Minsa’y Isang Gamo-gamo, Brocka’s Insiang and Romero’s Ganito will be the top films competing for the first Gawad Urian.
The third MMFF, brought controversy to Vilma Santos. Now starting to accept offbeat roles and learning to adopt versatility to her arsenal, she bravely entered the festival with Celso Ad Castillo’s Burlesk Queen. The gamble paid off as the film became the top grosser and won eight awards out of ten. Burlesk won best picture and best in direction, lead actor, actress, screenplay, supporting actress/actor and cinematography.
Burlesk defeated Lino Brocka’s Inay, Mario O’Hara and Romy Suzara’s Mga Bilanggong Birhen, Mike de Leon’s Kung Mangarap Ka’t Magising, Eddie Romero’s Banta ng Kahapon, Ishmael Bernal’s Walang Katapusang Tag-araw, Joey Gosiengfiao’s Babae, Ngayon at Kailanman, Gil Portes’ Sa Piling ng mga Sugapa. A very impressive list, no wonder some critics loudly complained about the awards results. And according to Armida Sigueon Reyna, in her newspaper column, Brocka walked out the awards night in protest and even cursed the juror on the way out ot the auditorium. It was also reported that the organizer asked the winners to return their medals (they hand out medals that year) but no such things happened, Vilma still has her medal in her fully loaded cabinet of hardwares.
The success of Burlesk Queen commercially and critically brought down some senses to some Nora Aunor followers. Clearly, Vilma Santos’ willingness to accept mature and offbeat roles became a threat to Nora Aunor’s standing as the number one actress. Vilma Santos’ entry was Lino Brocka’s true to life film about rape victim, Rubia Servios. Critics and media have predicted Vilma was dead lock for the best actress. Come awards night, the juries’ award Nora’s film about a maid abused by her employer, Atsay won the major awards including best picture and best director for Eddie Garcia. The top acting award was changed to best performer that Nora Aunor won. A vindication from last year’s result? Wait, there wasn’t even an Aunor film last year. For some consolation, Rubia won two technical awards, one for editing and screenplay for Mario O’Harra. The film also became the top grosser of the festival even with the lost to Aunor. According to Isagani Cruz on his TV Times article in 1979: “…Nora does an excellent acting job; but so does Vilma Santos, and Rubia is a much more demanding and difficult role….Overall, Atsay may be much more impressive than Rubia Servios. In terms of challenging our moral and legal convictions, however, Rubia Servios is much more significant.”
1979 brought the tandem of Charito Solis & Vilma Santos versus Lolita Rodrigues and Nora Aunor. The clear winner was the latter team. Although Solis and Santos film did much better at the box office. Ina Ka Ng Anak Mo, a much better film, directed by Lino Brocka won the major awards, best picture, director and acting awards for Raul Aragon and Nora Aunor. For film aficionado, the scene where Solis slapped Santos in Modelong Tanso was memorable. Many reprised that scene, Vilma did it in Anak (with Claudine) and recently Sharon Cuneta with Heart Evangelist in the recent Mano Po.
By 1980, Nora Aunor kept on pushing for festival supremacy and like last year, she entered two films. This time, with Lino Brocka’s Bona and Laurice Guillen’s Kung Ako’y Iiwan Mo. Vilma’s lone entry was Danny Zialcita’s Langis at Tubig. Nora came up short, as both of her film missed the major awards. The big winner was Christopher De Leon and Bembol Roco’s film Taga Sa Panahon. Taga won the top awards while Marilou Diaz Abaya’s film Brutal won directing and best actress for Amy Austria. Langis At Tubig won best actor Dindo Fernando.
After winning in 1977 and a big loss in 1978, Vilma’s enthusiasm in winning at the MMFF subsided significantly. Her film entries were now focused on entertainment value aimed at getting commercial success instead of awards. 1980 and 1981 was a big example. Danny Zialcita’s Langis At Tubig did very well at the box office in ’80 and her entry the following year was a glossy production, Karma. Karma was a big hit and earned nominations but one film dominated all the 1981’s MMFF, Kisap Mata, directed by Mike De Leon won eight out of ten awards except for best actress, that award went to Vilma Santos. Vilma didn’t attend the ceremony, her co-star, Chanda Romero, accepted the award.
Nora’s absence in 1981 add motivation to her camp, she entered the festival with the epic film, directed by Ishmael Bernal, Himala, now considered by many as one of the best Filipino film of all time. Himala won seven major awards including best picture, director, screenplay and actress. Vilma’s entry Haplos was a distant third, with a win for lead actor, Christopher De Leon. The following year, Himala harvested nominations from four award-giving bodies particularly the best actress nominations for Nora but failed to win any, all the trophies went to Vilma, earning her first grand slam best actress. The next six years, no film by Vilma Santos in the festival. The big winners during these years are: 1983 – Karnal, 1984 – Bulaklak ng City Jail, 1985 – Paradise Inn, 1986 – Halimaw sa Banga, 1987 – Olongapo, 1988 – Patrolman.
The 1989 MMFF brought back the team of Vilma Santos and Christopher De Leon. Viva film’s Immortal directed by Eddie Garcia won major awards including best picture, director and the acting for Christopher and Vilma. Not to be undone, Nora Aunor entered the race the following year via Elwood Perez’ Andrea Paano ba ang Maging Isang Ina. The film won best picture, director and actress for Nora. Best actor went to Dolphy for Espadang Patpat. Then 1991 was a repeat for Nora as her film, again directed by Perez, Ang Totoong Buhay ni Pacita M. won major awards.
The next twelve years seems to be non-existent for Vilma followers as there were no entries from Vilma Santos in these years. There were no films that stands out compare to the high caliber films entered during the peak of the Vilma-Nora rivalry. There are six films that were praised by the critics though, Chito Rono‘s films Nasaan ang Puso (1997) and Bagong Buwan (2001), Marilou Diaz-Abaya’s Jose Rizal (1998) and Muro-ami (1999) and Laurice Guillen’s Tanging Yaman (2000). In the acting category, only Elizabeth Oropesa win in 1999 for Bulaklak ng Maynila and Gloria Romero’s win in 2000 for Tanging Yaman stands out.
By 2002, it was déjà vu all over again, Vilma Santos convinced by many as a sure bet for the best actress lost again for her festival entry, Dekada 70. The award was given to Ara Mina for her supposed to be supporting role in the very first Mano Po. Dekada will dominate the awards race the following year, Vilma will win several best actress awards. Vilma’s co-star, Piolo Pascual will win all the best supporting actor making him a grand slam winner. The next year, Crying Ladies, starring Sharon Cuneta, Hilda Koronel and Angel Aquino won the best picture, best actor for Eric Quizon, best supporting actress for Hilda while Maricel Soriano snatched the best actress for Filipinas. The next year, Vilma came back again with Regal’s third installment to the Mano Po series. Titled, Mano Po 3: My Love and directed by Joel Lamangan, the film won best picture and the lead acting for Vilma and Christopher De Leon. Cesar Montano’s self-produced and directed film, Panaghoy sa Suba won best actor.
No Vilma Santos or Nora Aunor films the next five years. Vilma visibly concentrated with her political career and Nora retired in the United States. The film festival continued its annual fan fare with some memorable films. Zsazsa Padilla and Cherry Pie Picache continued the Mano Po series with a comedy, Ako Legal Wife, Mano Po 4 won the female acting awards in 2005. Judy Ann Santos comedy film, directed Joey Reyes, Kasal, Kasali, Kasalo top the 2006 festival. Maricel Soriano received another best actress the following year for Bahay Kubo, The Pinoy Mano Po. Anne Curtis arrived in the big league as she wins best actress for Baler in 2008 and then this year, Bong Revilla won best actor for Ang Panday and Sharon Cuneta best actor for Mano Po 6: A Mother’s Love, both first time winner.
Vilma Santos’ Manila Film Festival and Metro Manila Film Festival Entries and Recognitions
(2 nominations, 5 wins)
For some, Vilma Santos MMFF recognitions in terms of awards wasn’t as significant compare to lets say, her number of URIAN or FAMAS awards but all the shortcomings were forgotten when you think about the successful revenue of her film entries recorded. From Burlesk Queen, Rubia Servios, Karma, Langis at Tubig to her last one, Mano Po 3, all of her films did very well. At the end of the day, producers would still prefer a little profit than trophies that will just eat dusts in the attic. – RV
On May 1, 1976, ten Filipino critics agreed to discuss the annual award-giving situation in the local industry. All in agreement that there must be an alternative to FAMAS, the only award giving body in the Philippines. The ten critics, mostly academics, were Pio de Castro, Behn Cervantes, Pete Daroy, Mario Hernando, Bien Lumbera, Doy del Mundo, Manny Pichel, Nick Tiongson, Gino Dormiendo, and Nestor Torre. Most of them were part of FAMAS roster of judges. Most, questioned the recent years winners. According to the website, Wikepedia: “The 1972 Best Actress tie that materialized between major star Boots Anson-Roa and then-rising star Vilma Santos” was a good example of the disillusionments experience by the academics. “…the tie was unheard of at that time, which resulted in accusations of lessening prestige on the part of FAMAS.” Ironically, Gawad will have numerous ‘tie” winners in their future set of winners, including a string of ‘tie” involving their early favorite, Nora Aunor. Headed by Nestor Torre, the nine critics agreed to review films and release quarterly citations of best films with the final nominations and winners announce at the end of the year.
Over the years, the Manunuri Ng Pelikulang Pilipino (Filipino Film Critics) considered the equivalent of the United States’ New York Film Critics Circle, established themselves as the most credible award giving bodies in the Philippines. They are known for having a long discussion for each of their award categories resulting sometimes in heated debate and unfortunately the unavoidable “tie” between nominees. Since 1976, the group has eluded controversies that rival groups endured. The oldest award, FAMAS has experienced two renegade or break away groups resulting in costly legal battles and low television ratings. Another group, the Philippine Movie Press Club is considered second to Gawad Urian, Star Awards had experience a similar fate, they also had a break away group, creating their own awards, the Golden Screen Awards. With the advent of new awards, now ten, and still counting. Gawad Urian remained strong and the most sought after. Currently, the Manunuri are consists of: Rolando B. Tolentino, Grace Javier Alfonso, Butch Francisco, Mario A. Hernando, Bienvenido Lumbera, Miguel Q. Rapatan, Benilda S. Santos, Dr. Nicanor G. Tiongson, Tito Genova Valiente and Lito B. Zulueta
Vilma Santos has become a big part of Gawad Urian. Although she wasn’t considered their early favourite, they developed a long fondness to the actress, many considered as the Meryl Streep of the Philippines cinema. Fourteen best actress nominations spanning three decades and eight wins: 1982’s Relasyon, 1983’s Broken Marriage, 1984’s – Sister Stella L; 1989’s – Pahiram Ng Isang Umaga; 1991’s Ipagpatawad Mo; 1993’s Dahil Mahal Kita: The Dolzura Cortez Story; 1998’s – Bata Bata Paano Ka Ginawa; and 2002’s Dekada 70. Most of these films were cited when Vilma received the University of the Philippines’ highest honours, the Gawad Plaridel in 2005. Vilma also won two Gawad Urian special awards as the Actress of the Decade, for her body of work and Gawad Urian wins for the 1980s and 1990s. She also recieved a Gawad Urian best picture award in 1978, as film producer for the film, Pagputi Ng Uwak Pagitim Ng Tagak.
Vilma Santos did ten films in 1976, mostly for commercial release. The only serious contenders for award derby were the dramedy directed by Eddie Rodriguez, Hindi Nakakahiya, and Emmanuel Borlaza’s drama, Mga Rosas sa Putikan. Clearly, Vilma Santos wasn’t ready for the big league drama competition. Ganito Kami Noon…Paano Kayo Ngayon dominated the very first URIAN awards with nominations for several major categories and winning best picture, best director (Eddie Romero) and best screenplay (Eddie Romero and Roy Iglesias). Romero defeated a worthy bunch of directors, Bernal for Nunal Sa Tubig, Brocka for Insiang, Mike De Leon for Itim and lupita Concio for Minsa’y Isang Gamogamo. The acting awards went to Vic Silayan for Ligaw na Bulaklak and Nora Aunor for Tatlong Taong Walang Diyos. Vic Silayan’s stiff competition was from the very young Christopher De Leon in Ganito Kami while Nora’s four other competitors were Charo Santos (Itim), Daria Ramirez (Nunal sa Tubig), Hilda Koronel (Insiang), Lolita Rodriguez (Lunes, Martes …), and Mona Lisa (Insiang). Supporting actor went to Ruel Vernal for Insiang while Maya Valdez (Lunes, Martes …) and Yvonne (Ligaw na Bulaklak) were tie for supporting actress.
The next year, Vilma Santos were more equipped with three films: Castillo’s festival entry, Burlesk Queen; Bernal’s Dalawang Pugad Isang Ibon and Elwood Perez’ Masarap Masakit ang Umibig. The Manunuri took noticed and cited the three films in several categories, including best actress. Hubad Na Bayani was acclaimed as the best picture of 1977. Compensated for the noticeable absence on their very first award ceremony, Vilma Santos’ films Burlesk Queen and Dalawang pugad…Isang Ibon gave Hubad na Bayani a stiff competitions. Ishmael Bernal, the director of Dalawang Pugad snatched the best director award from remarkable nominees, Lino Brocka for Tahan na Empoy Tahan, Celso Ad. Castillo for Burlesk Queen, Mike De Leon for Kung Mangarap Ka’t Magising, Eddie Romero for Banta ng Kahapon, and Hubad Na Bayani’s director, Robert Ylagan. The acting went toBembol Roco for Sa Piling ng Mga Sugapa (he was using the screen name, Rafael Roco Jr. back then) and Daria Ramirez for Sino’ng Kapiling, Sino’ng Kasiping. Aunor wasn’t even nominated, Vilma was nominated for her breakthrough film, Burlesk Queen and Hilda Koronel for the slick and glossy film, Kung Mangarap Ka’t Magising. For the supporting categories, Vilma’s co-stars, Mat Ranillo III (Dalawang pugad… Isang Ibon) and Rolly Quizon (Burlesk Queen) were nominated for best supporting actor that went to Lito Legaspi for Sino’ng Kapiling, Sino’ng Kasiping. The best supporting actress went to Armida Siguion-Reyna for Tahan na Empoy, Tahan. Rosemarie Gil was nominated for Burlesk Queen.
Then in 1978, the Manunuri cited only three films for their top awards. Hindi Sa Iyo Ang Mundo Baby Porcuna, Ikaw ay akin and Pagputi ng Uwak Pagitim ng Tagak duke it out with Vilma Santos self produced Film winning. Pagputi won four awards including best director for Celso Ad Castillo; best screenplay for Castillo, Ishko Lopez, Lando Perez Jacob and Ruben Arthur Nicdao; best supporting actor for Joone Gamboa; and best sound for Gaudencio Barredo. Castillo’s main competitor for the best director award were Ishmael Bernal for Ikaw ay akin, a Vilma Santos-Nora Aunor starrer, Lino Brocka for Mananayaw, Eddie Garcia for the controversial local festival entry, Atsay and Danny Zialcita for Baby Porcuna. For acting categories, Christopher De Leon received her very first URIAN for Ikaw ay akin, defeating Dolphy in Ang Tatay Kong Nanay and Bembol Roco for Boy Pana. Vilma Santos wasn’t nominated for Pagputi or for her Brocka film, Rubia Servious instead she was cited together with he co-star Nora Aunor in Bernal’s Ikaw Ay Akin. Both lost to Beth Bautista for Hindi Sa Iyo Ang Mundo, Baby Porcuna. The supporting actor nod went to Joone Gamboa for Pagputi and Chanda Romero for Boy Pana.
Like the previous year, URIAN nominated only three films for their best picture award, Berbal’s Aliw, Zialcita’s Ikaw at ang Gabi and Brocka’s Jaguar fight it out with Jaguar claiming victory. The three directors also fought for the best director together with Maryo J. De Los Reyes who were nominated for High School Circa ’65. Jaguar also won the writing category for Jose Lacaba and Ricardo Lee. From last year’s big win as film producer and nomination for Ikaw Ay Akin, Vilma wasn’t even nominated for any of her films in 1979, particularly, Halik sa Kamay Halik sa Paa or Pinay, American Style. The female lead role award went to Charito Solis for Ina, Kapatid, Anak. Her stiff competition were Lolita Rodriguez and Nora Aunor both for Ina Ka ng Anak Mo. While Jaguar dominated the supporting acting categories, won by Menggie Cobarrubias and Amy Austria, the film’s lead, Philip Salvador failed to grab the best actor. The award went to Dindo Fernando for Ikaw…at ang Gabi.
1980 produced five high quality films. Eddie Romero’s Aguila; Brocka’s Bona; Abaya’s Brutal; Bernal’s City After Dark, Kakabakaba ka ba got the best picture nominations with Bernal’s film taking the top prize. All of these directors were nominated for best director together with Laurice Guillen for Kasal with Mike De Leon edging them out. Kakabakaba kaba will also win the best supporting actor for Johnny Delgado. In addition to the top prize, City After Dark received the best screenplay for Ishmael Bernal and the best actor for Bernardo Bernardo, a surprise winner against Dindo Fernando (Langis at Tubig) and Phillip Salvador (Bona). For the best supporting actress, Daria Ramirez won her second URIAN for Aguila. Like the previous year, Vilma was not nominated for any of her efforts, Langis at Tubig or Miss X. The best actress were a tie. Gina Alajar (Brutal) and Nora Aunor (Bona) were declared the co winners.
For their 6th year, the 1981 Gawad Urian cited four films for their best picture category: Romy Suzara’s Pepeng Shotgun, Mel Chionglo’s Playgirl, Mike de Leon’s Kisap Mata and Laurice Guillen’s Salome. Salome was the winner. The four directors were also nominated for best director together with Ishmael Bernal for Pabling. Guillen was also the winner for Salome. In addition to picture and director awards, Salome also won the best screenplay for Ricardo Lee and the best actress award for Gina Alajar. Alajar’s strong competitors were Charito Solis for Playgirl and Nora Aunor for the forgettable Bakit Bughaw ang Langit. Vilma Santos were again got the cold shoulder from the Manunuri as she wasn’t even cited for any of her films: Pakawalan Mo Ako (where she won a FAMAS), Hiwalay, Karma (where she won the best actress from Metro Manila Film Festival) or Ex-Wife. For male acting categories, Vic Silayan received his second best actor defeating the late Johny Delgado, nominated for Salome. Charito Solis received her second URIAN, this time for the supporting role.
1982 harvested a string of high quality films: Batch ’81, Himala, Moral, Oro Plata Mata and Relasyon, all vying for the best pictures Urian. Oro Plata Mata edged out the other four. It also won the best director honour for Peque Gallaga. Gallaga defeated Marilou Diaz-Abaya (Moral), Ishmael Bernal (Himala and Relasyon), Lino Brocka (Cain at Abel) and Mike de Leon (Batch ’81). The writing category went to Clodualdo del Mundo, Raquel Villavecencio at Mike de Leon for Batch ’81.
Noticeably ignored many times by the Manunuri, Vilma Santos was nominated for her sympathetic mistress role in Relasyon. She is up against Nora Aunor’s epical role for Himala, Gina Alajar and Lorna Tolentino’s feminist film Moral. The Manunuri surprised everyone by declaring Vilma Santos as their 7th best actress winner. The other award giving bodies (FAMAS, Film Academy of the Philippines, CMMA) also declared Vilma Santos as their best actress and the term “grand slam” were born in local entertainment industry. As for the other acting categories, Philip Salvador won the lead actor and Baby Delgado, supporting actress both for Cain At Abel, and Mark Gil won the supporting actor for Palipat-lipat, Papalit-palit. The Manunuri gave the Natatanging Gawad Urian to veteran actress, Anita Linda, who is still very active today. She starred in this year’s Venice Film Festival entry, Lola.
The following year, the Manunuri nominated only two films for their best picture, a quick turn around from a very promising 1982. Regal Films’ Broken Marriage joined Cine Suerte’s Karnal in a two way run for each categories. Broken Marriage won the top award for Mother Lily Monteverde of Regal and best director for Ishmael Bernal. Bernal defeated four worthy competitor: Maryo J. De Los Reyes for Saan Darating ang Umaga, Lino Brocka for Hot Property; Marilou Diaz-Abaya for Karnal and Laurice Guillen for Init sa Magdamag. In addition to best picture and director, Broken Marriage also win best screenplay for Jose Carreon, Bing Caballero and Bernal; Best Editing for Jesus Navarro; Best Sound for Rudy Baldovino as well Vilma Santos’ second best actress award. Proving that her win for Relasyon from last year wasn’t just a fluke, Vilma handedly won the trophy without much competition, literally. She won only up against one competitor, Cecille Castillo for Karnal. The best actor went to Phillip Salvador for Karnal, which just like the best actress category was up against one competitor, Vilma’s co-star, Christopher De Leon. The supporting categories were much more competitive, veteran ActorVic Silayan won her third URIAN for Karnal (he already won for best actor for Ligaw Na Bulaklak and supporting for Kisap Mata). He defeated Joel Torre (Karnal), Len Santos (Broken Marriage), Rey Ventura (Broken Marriage). Notice the four actors were from the two films, Broken and Karnal. Just like Vic Silayan, Charito Solis received her third URIAN, also for Karnal besting out co-star, Grace Amilbangsa and a surprise nominee, Liza Lorena for the melodrama, Don’t Cry For Me Papa.
Vilma Santos dominated the URIAN for the past two years, with the initial grand slam feat in 1982 for Relasyon and the dominance of Broken Marriage the following year. Her string of hits, like Gaano Gadalas Ang Minsan, Sinasamba Kita, and Paano Ba Ang Mangarap established her as the most bankable stars of the 80s. In the mixed of these glossy, commercial projects were quality films like Relasyon and Broken Marriage. Both films fared well at the box office and award. Would three in row be possible? Vilma’s 1984 film projects consists of: Lino Brocka’s Adultery, Marilou Diaz Abaya’s Alyas Baby Tsina and Mke De Leon’s Sister Stella L. The first two, managed to do well at the box office, but the last wasn’t lucky enough. It did poorly against Sharon Cuneta’s film, Bukas Luluhod Ang Mga Tala. Vilma’s dominance in the last two years revamped the interest for her rival, Nora Aunor to come up with more serious projects. And this year proved to be a good match, mano a mano. Nora came up also with three films: Gil Portes’ ‘Merika; Mario O’Hara’s Bulaklak sa City Jail and Condemned.
Come URIAN, Vilma and Nora received the attention their fans has been craving for since the mid 70s. The arrival of Sharon Cuneta as a threat to Vilma Santos’ supremacy at the box office and the impossibility that the Manunuri will give Vilma a third consecutive best actress put high hope to many Nora Aunor fans. They are all in high spirits as two Nora Aunor films were nominated for the best picture Bulaklak sa City Jail and ‘Merika against only one for Vilma, the box office flop, Sister Stella L. Another Regal Film, Sinner or Saint, completed the four nominated best picture films. Sadly, the Manunuri can’t ignore the quality of Mike De Leon’s film. Sister Stella L won best picture, director, screenplay (Jose F. Lacaba, Jose Almojuela and Mike de Leon), actor (Jay Ilagan), supporting actor (Tony Santos, Sr.), supporting actress (Laurice Guillen), editing (Jesus Navarro), music (Ding Achacoso), sound (Ramon Reyes) and the best actress to Vilma Santos! Vilma won three consecutive best actress, a feat at that time. She defeated Claudia Zobel for Sinner or Saint, Gina Pareño for Working Girls, Sarsi Emmanuelle for Boatman and two nominations for rival, Nora Aunor, ‘Merika and Bulaklak sa City Jail.
Meanwhile, De Leon defeated a bunch of good directors, Marilou Diaz-Abaya for Vilma’s Baby Tsina, Tikoy Aguiluz for Boatman, Pio de Castro III for Soltero, Mel Chionglo for Sinner or Saint and the two Aunor films, Mario O’Hara for Bulaklak sa City Jail and Gil Portes for ‘Merika. In the lead actor, Jay Ilagan who is also nominated in his other film, Soltero defeated, Tommy Abuel for Bukas May Pangarap, Ronnie Lazaro for Boatman and Phillip Salvador for Baby Tsina. In the supporting actor, Tony Santos Sr, Ka Dencio in SSL, defeated unknown actors Alfredo Salanga for Boatman and Cesar Aliparo for ‘Merika and two actor for Baby Tsina, Len Santos and the late Dindo Fernando. And in the supporting actress, Laurice Guillen defeated co-stars in SSL, Gina Alajar and Liza Lorena and for Bulaklak sa City Jail, Celia Rodriguez Perla Bautista.
Vilma Santos did two films in 1985, the comedy Doctor Doctor We Are Sick and the melodrama, Muling Buksan ang Puso both were deservingly ignored by the Manunuri. The critics refocused their attention to the comeback works of their favorite directors Bernal, Brocka, Castillo and Gallaga. The five best picture bets were Bernal’s Hinugot sa Langit, Brocka’s Kapit sa Patalim and Miguelito Ang Batang Rebelde, Peque Gallaga’s Virgin Forest and Celso Ad. Castillo’s Paradise Inn. Brocka’s Bayan Ko won the top award but the best director went to his rival, Ishmael Bernal for Hinugot sa Langit. Kapit also won writing for Jose Lacaba, and lead actor for Phillip Salvador. The lead actress went to a tie between, Gina Alajar for Kapit sa Patalim and the late, Nida Blanca for Miguelito, Ang Batang Rebelde. And the supporting acting categories went to Lito Anzures for Paradise Inn and Liza Lorena for Miguelito.
The start of mid 80s wasn’t as promising for the film critics, as happened in late 70s only three films were cited for the top award, Bagong Hari, Takaw Tukso and Unfaithful Wife. Takaw Tukso won. Takaw’s director, William Pascual won the best director and its lead role, Jacklyn Jose won the best actress, co-sharing the honour with Pilar Pilapil for Napakasakit Kuya Eddie. In another tie, Anita Linda for Takaw Tukso and Nida Blanca for Magdusa Ka were declared co-winners in supporting actress as well. The best actor went to Unfaithful Wife’s Michael de Mesa and supporting actor went to Napakasakit Kuya Eddie’s Aga Muhlach. As for Vilma, she did three box office hits in 1986, Asawa ko Huwag Mong Agawin, Palimos Ng Pag-ibig and Yesterday Today & Tomorrow. All three were commercial success but was ignored by the Manunuri. The following year, 1987, the Manunuri decided not to hand out any awards.
For the 1988 awards, the Manunuri rewarded four films with best picture nominations: Anak ng Cabron, Itanong Mo Sa Buwan, Kapag Napagod ang Puso, and Misis mo Misis Ko. Itanong Mo Sa Buwan, a Chito Rono film won the top honours as well as best director for himself. The acting categories went to Ace Vergel (Anak ng Cabron) and Jaclyn Jose (Itanong Mo Sa Buwan) for leading roles. The supporting went to Lito Pimentel (Kapag Napagod ang Puso) and Perla Bautista (Anak ng Cabron). Vilma did one film this year, Elwood Perez’ Ibulong Mo Sa Diyos that the Manunuri ignored.
By the end of 80s, Vilma Santos has curved her mark in the URIAN history. Three remarkable wins (1982, 83, 84), Could 1989 be added to the three year feat? The shortage of quality films were noticeable in the later part of the 80s. 1989 was an exemption. The Manunuri generously nominated five films: Willie Milan’s Ang Pumatay ng Dahil Sayo, Elwood Perez’ Bilangin ang Bituin Sa Langit, Augusto Salvador’s Joe Pring, Brocka’s Macho Dancer, Bernal’s Pahiram Ng Isang Umaga. Ishmael Bernal’s film about life and death, Pahiram ng Isang Umaga won him the best director award, best picture for Regal, best screenplay for Jose Javier Reyes, and best cinematography for Manolo Abaya, Eduardo Jacinto at Nonong Rasca. For the acting categories: Christopher De Leon for another Vilma Santos starrer Imortal and Gabby Concepcion for Pahiram were nominated for lead actor but both failed to win as Daniel Fernando claimed his very first URIAN for Macho Dancer. As Vilma’s best friend who took care of her finances in Pahiram Ng Isang Umaga, Vicky Suba was cited in the supporting actress but it wasn’t enough to dethrone Jaclyn Jose. Jose won the best supporting actress award, also for Macho Dancer. In the supporting actor, Eric Quizon, claimed his first URIAN as the volatile painter in Pahiram. Then the best actress, went to: IT’S A TIE! Again! Beating Helen Gamboa for Kailan Mahuhugasan Ang Kasalanan and a very strong performance from post child actress, Janice de Belen for Rosenda, Nora Aunor (Bilangin ang Bituin Sa Langit) and Vilma Santos (Pahiram Ng Isang Umaga) were declared co winners!
The new decade brought two worthy films from Vilma Santos: Laurice Guillen’s Kapag Langit Ang Humatol and Lino Brocka’s Hahamakin Lahat. The Manunuri took noticed and rewarded the films with nominations. Brocka did the Vilma starrer, Hahamakin Lahat for Regal and Gumapang Ka Sa Lusak for Viva Films, a Dina Bonevie drama. Gumapang proved to be the better of the two as it won the best picture and best director nominations. But Hahamakin earned best actor nomination for Gabby Concepcion. Meanwhile Guillen’s Kapag Langit earned the best picture nomination together with Andrea Paano Ba Ang Maging Isang Ina, My Other Woman and Gumapang. Surprisingly, Guillen won the best director defeating Lino Brocka, Maryo J. De Los Reyes (My Other Woman) and Chito Roño (Kasalanan Bang Sambahin Ka). Kapag Langit also earned nominations for writing, Emmanuel Borlaza and Salvador Royales; actress, Vilma Santos; supporting actress, Carmina Villaroel and Kristine Garcia; production design, Edgar Martin Littaua. It won two technical awards in addition to Guillen’s best director: cinematography for Romeo Vitug and editing for Efren Jarlego. The leading actor went to Christopher De Leon for My Other Woman and leading actress, to Nora Aunor for Andrea Paano Ba Ang Maging Isang Ina. The supporting awards went to Michael de Mesa (Ikasa Mo, Ipuputok Ko) and Gina Alajar (Biktima). Despite losing the best actress award, Vilma did not went home empty handed, she received the highest award as one of three top actress of the past decade (1980s). the other actress were Nora Aunor and Gina Alajar. Philip Salvador received the male category.
Vilma Santos did only one film in 1991. In comparison to two the previous year. Guillen’s follow-up film from last year’s Kapag Langit ang Humatol was Ipagpatawad Mo, a family drama about an autistic child. Laurice’s second film with Vilma as director proves to be a memorable one for Viva Films, known for their slick, glossy films. Guillen secured the best picture award for Viva defeating Lino Brocka’s Sa Kabila ng Lahat and a strong film from Carlos Siguion-Reyna’s Hihintayin Kita sa Langit. Last year’s best director Guillen missed this time. The best director went to Siguion-Reyna. Over all, Ipagpatawad mo earned nominations for best director for Laurice Guillen; best actor for Christopher De Leon; best supporting actor for Terence Baylon; best production design for Edgar Martin Littaua; best cinematography for Eduardo Jacinto; and best editing for Efren Jarlego. And won best picture for Viva films, best screenplay for Olive M. Lamasan and best actress for Vilma Santos. She defeated four of the most in-demand actress of the early 1990s: Dawn Zulueta for Hihintayin Kita sa Langit; Dina Bonnevie for Sa Kabila ng Lahat; Lorna Tolentino for Kislap sa Dilim and Nora Aunor for Ang Totong Buhay ni Pacita M. The other acting trophies went to: Richard Gomez, best actor for Hihintayin Kita sa Langit; Gabby Concepcion best supporting for Makiusap Ka sa Diyos; and Nanette Medved, best supporting actress for Sa Kabila ng Lahat.
Like the previous year, Vilma did one film, Maryo De Los Reyes’s Sinungaling Mong Puso. Although not nominated for best picture, Sinungaling won nominations for acting and other categories in 1992’s Gawad Urian. The Manunuri gave two films: Ikaw ang Lahat sa Akin of Regal Films and a co production of Regal and Reyna Films, Ikaw Pa Lang ang Minahal their best picture nominations. Ikaw Pa lang won the best picture together with best director for Carlos Siguion-Reyna. Sinungaling Mong Puso was nominated for best director, Maryo J. De Los Reyes; best supporting actor, Gabby Concepcion and best actress for Vilma. Three of the acting awards went to Narito Ang Puso Ko: lead actors to Gaby Concepcion and Lorna Tolentino; and supporting to Amy Austria while the supporting actor went to Tirso Cruz III for Kahit Buhay Ko. The Natatanging Gawad Urian was given to Mary Walter, the veteran actress who co-starred with Vilma in memorable films like Baby Tsina (1984), Dalawang pugad, isang ibon (1977), Lipad, Darna, lipad! (1973) and Edgar Loves Vilma (1972).
The following year, Vilma did two films, Guillen’s Dahil Mahal Kita The Dolzura Cortez Story and Chito Rono’s Ikaw Lang. Both did well at the box office and earned nominations from the Manunuri. Dahil Mahal Kita was cited for best picture and best director but lost to Jose Javier Reyes film, Makati Ave. Office Girls produced by Regal films. For acting categories: Saan Ka Man Naroroon won best actor for Richard Gomezand best supporting actress for Sharmaine Arnaiz. The best supporting actor went to Ronaldo Valdez for May Minamahal. Finally, the best actress went to Vilma Santos for Dolzura.
Vilma Santos did three films in 1994, all were commercial success: Nag-iisang Bituin, Relaks ka Lang Sagot Kita and Lipa: Arandia Massacre. The last two won awards at FAMAS including best picture for Lipa. However, the Manunuri deservingly ignored these films. Their top films were Regal films’ The Fatima Buen Story and The Secrets of Sarah Jane Salazar and Maq’s Wating. Fatima Buen, Kris Aquino’s first attempt to big league acting was the big winner with its director, Mario O’Hara defeating notable directors, Ishmael Bernal for Wating, Maryo J. De Los Reyes for Sarah Jane, Laurice Guillen for Bakit Ngayon Ka Lang. For the acting categories: Richard Gomez won best Actor for Wating, John Regala won supporting actor for The Fatima Buen Story and Chin-Chin Gutierrez won supporting actress for Maalaala Mo Kaya. For the best actress, the Manunuri decided to give their best actress to Gelli de Belen for The Secrets of Sarah Jane Salazar instead of Carmina Villaroel for Wating or Kris Aquino for Fatima. The only notable citation that was related to Vilma Santos was the best screenplay nomination Jose Javier Reyes earned for Nag-iisang Bituin. Lastly, the Natatanging Gawad Urian went to Leopoldo Salcedo, the character actor who co-starred with Vilma Santos in her breakthrough film Burlesk Queen in 1977. Also, Happy Days Are Here Again (1975), Darna and the Giants (1974), Biktima (1974), Anak ng aswang (1973), De colores (1968).
No Vilma Santos film in 1995. The big winner in URIAN was Star Cinema’s Sana Maulit Muli. The film won best picture defeating The Flor Contemplacion Story, a Nora Aunor starrer. Despite the failure of Flor to win the top award, the film won best director for Joel Lamangan and best actress to Nora. Nora shared the award with co-winner, Helen Gamboa for Bagong Bayani. Best Actor went to Aga Muhlach for Sana Maulit Muli. Supportings went to Ricky Davao for Ipaglaban Mo, The Movie and Jaclyn Jose for Flor. The next year, Vilma Santos did Ikaw Ang Mahal Ko, with the late Fernando Poe Jr. The forgettable film did poorly at the box office and was automatically ignored by the Manunuri. Six citations were given to six films this year, noticeably plentiful for the top honour in URIAN’s standard. Bakit May Kahapon Pa?, Istokwa, Madrasta, Mulanay, Radio Romance, and Segurista were all nominated with the last declared the winner. The film’s director, Tikoy Aguiluz also won the best director. For the best actress, Nora Aunor, again share the honour with another actress. She won for Bakit May Kahapon Pa, with Sharon Cuneta for Madrasta. Sharon will record a grand slam this year, winning the best actress in the other award giving bodies. The following year, 1997, Vilma Santos’ only film was with Christopher De Leon. This was their 20th film. Hanggang Ngayon Ika’y Minamahal, directed by Ike Jarlego Jr was a commercial success but was ignored by the Manunuri. Just like last year, six films were cited for the top honour, Batang PX, Damong Ligaw, Ligaya ang Itawag Mo sa Akin, Milagros, Minsan Lamang Magmamahal and Nang Iniwan Mo Ako. Marilou Diaz-Abaya’s Milagros won best picture and best director for herself. Best actress went to Zsa Zsa Padilla for Batang PX.
Vilma Santos did another breakthrough performance in 1998. Her performance earned her several Best actress trophies locally. Star Cinema won top honours from the URIAN in their 22nd ceremony for Chito Roño’s Bata, Bata, Paano Ka Ginawa defeating Marilou Diaz Abaya’s two important films, Jose Rizal and Sa Pusod ng Dagat both produced by rival company GMA films. The other competitions were both from Good Harvest films, Jeffrey Jeturian’s Sana Pag-ibig Na and Lav Diaz’s Serafin Geronimo, Kriminal ng Baryo Concepcion. All the above directors were nominated for best director that Abaya won for Jose Rizal. Bata Bata nominations for best editing for Jaime Davila; best music for Jesse Lasaten; best sound for Michael Albert Idioma and best supporting for Raymond Bagatsing. Despite losing in supporting category, Jaime Fabregas was declared the winner for Jose Rizal, Bagatsing won in the male lead role for Kriminal ng Baryo Concepcion. In addition to nominations and best picture win, Bata Bata won three more: best screenplay for Lualhati Bautista, best supporting actress for child star, Serena Dalrymple and best actress for Vilma Santos. The Natatanging Gawad Urian was given to comedian, Dolphy. Vilma and Dolphy did one film together, 1979’s Buhay Artista Ngayon. There is no Vilma Santos film in 1999. Despite this, Bata Bata Paano Ka Ginawa, now re-titled Lea’s Story continued its winning streak. Touring the festival circuit, the film earned Vilma, her first international best actress at a festival in Brussels. The film was also exhibited in different cities in Canada and the USA. The Manunuri awarded their top honours of 1999, Bayaning 3rd World including best director to Mike De Leon. Best Actress went to Elizabeth Oropesa for Bulaklak ng Maynila defeatingNora Aunor for her comeback film, Sidhi.
For the first year of the new millennium, Vilma Santos did one film. Rory Quintos’ Anak. The film was a commercial succes and earned two citations from the Manunuri: best actress nomination for Vilma and best supporting actor nomination for Baron Geisler. The Manunuri gave the best picture to Regal’s Tuhog while Tanging Yaman received the other top honours for best director for Laurice Guillen and best actress for Gloria Romero. Another veteran, Eddie Garcia won best Actor for Deathrow. The Natatanging Gawad Urian was given to the late Nida Blanca. Vilma and Nida worked together in Elwood Perez’ Ibulong mo sa Diyos. The Manunuri also handed out their Actress of the Decade award. Vilma Santos shared the actress category with rival, Nora Aunor and Richard Gomez received the actor.
No Vilma Santos film the following year, 2001. The Manunuri, rewarded Lav Diaz the best director and JmCN Productions the best picture for Batang West Side respectively. Then on 2002, Vilma Santos did another memorable performance in another Lualhati Bautista novel, Dekada 70. Dekada earned nominations in several categories at the 26th Gawad Urian. It shared top honours with Mga Munting Tinig, both proclaimed as 2002’s best picture. Best Director went to Munting Tinig’s Gil Portes while the writing went to Lualhati Bautista for Dekada. Other nominations for dekada went to Manny Morfe for production design and Albert Michael Idioma for sound. Christopher De Leon earned nomination for best actor for Dekada but lost to Jay Manalo, the winner for Prosti. The other awards won by Dekada were for acting. Best Actress went to Vilma Santos and best supporting actor to Piolo Pascual. The supporting actress went to Elizabeth Oropesa for Laman. The Manunuri gave their Natatanging Gawad Urian to film legend, Fernando Poe Jr. FPJ and Vilma did three films together, Batya’t Palu-palo, Bato Sa Buhangin and Ikaw Ang Mahal Ko.
As expected, there’s no Vilma film in 2003. The Manunuri bestowed their accolades to Star Cinema’s Magnifico. Its director Maryo J. De Los Reyes, previously ignored by the Manunuri finally got the best director award. Three acting awards went to Magnifico: best actor to child star, Jiro Manio; best supporting actor to Albert Martinez and best supporting actress to Gloria Romero. The best actress went to Cherrie Pie Picache for Bridal Shower. For the Natatanging Gawad Urian, Ricardo Lee joined the prestigious lists that includes Manuel Conde, Lamberto Avellana and Gerardo De Leon. Some of the Vilma Santos films that Ricardo Lee wrote were: Anak (2000), Dahil mahal kita: The Dolzura Cortez Story (1993), Hahamakin lahat (1990), Baby Tsina (1984), Haplos (1982), Relasyon (1982), and Miss X (1980).
The next year, 2004, Regal films asked Vilma to do the third installment to the Mano Po franchise. A Metro Manila Film Festival entry, MP3: My Love was a big hit and won awards. Despite a strong competition from Ebolusyong ng Isang Pamilyang Pilipino, Milan and Sabel, Cesar Montano’s self-produced film, Panaghoy sa Suba dominated the 28th Gawad Urian. The film won three major awards for Cesar Montano: best picture, director, and actor. Sabel won two acting awards: Wendell Ramos won best supporting and lead star, Judy Ann Santos defeated contemporary, Claudine Barreto for Milan and the two veterans, Nora Aunor for Naglalayag and Vilma Santos for Mano Po 3: My Love. The Manunuri gave the Natatanging Gawad Urian to veteran actress, Gloria Romero. Vilma Santos and Gloria worked together in films like: Saan nagtatago ang pag-ibig? (1987), Makahiya at Talahib (1976), Karugtong ang kahapon (1975), Lipad, Darna, lipad! (1973), Anak ng aswang (1973), Pinagbuklod ng langit (1969), Iginuhit ng Tadhana (1965).
The next two years, she did guest appearance as herself in 2006’s D’Lucky Ones and some TV guest appearances. Meanwhile the Manunuri rewarded Ang Pagdadalaga ni Maximo Oliveros as their top film for 2005 and its film director, Mes de Guzman the best director. Robin Padilla won best actor for La Visa Loca and Jaclyn Jose won best actress for Sarung Banggi. The next year, 2006, Kubrador won best picture and Jeff Jeturian the best director. For the top acting awards, Gina Pareno won best actress again for Jeturian’s Kubrador. And another Padilla won the best actor, this time Robin’s brother, Rustom won the best actor for his role as gay super hero, ZsaZsa Zaturnah. Eddie Garcia received the Natatanging Gawad Urian. Eddie Garcia’s most notable works with Vilma as an co-stars were: Mano Po III: My love (2004), Ibulong mo sa Diyos (1988), Yesterday, Today & Tomorrow (1986), Minsan pa nating hagkan ang nakaraan (1984) and Karugtong ng kahapon (1971). He also worked with Vilma as director in memorable films like: Imortal (1989), Palimos ng pag-ibig (1985); Sinasamba kita(1982); and Pinagbuklod ng langit (1969).
For the 31st Gawad Urian, Tirador was acclaimed as 2007 best film, and the film’s director, Brilliante Mendoza, pre-Cannes fame, won best director. Mendoza’s other film Foster Child gave Cherry Pie Picache the best actress. The Natatanging Gawad Urian went to Marichu Vera Perez Maceda, she produced several Vilma Santos starrer, most notably, Nakawin natin ang bawat sandali (1978), Pakawalan Mo Ako (1981) and Rubia Servios (1978).
It was a sweet sweep for Sister Stella L., the movie which garnered ten of the twelve trophies at stake during Friday night’s 9th Urian Awards rites. The Regal Films production was hailed the best film; Sister Stella L herself, Vilma Santos, Best Actress; Jay Ilagan, Best Actor; Mike De Leon, Best Director; Laurice Guillen, Best Supporting Actress; Tony Santos Sr., Best Supporting Actor; Sister Stella L’s Jose Lacaba, Jose Almoujuella, and Mike de Leon were cited for the Best Screenpla category; Jess Navarro, for Best Editing; Ding Achacoso, for Best Music; and Ramon Reyes, for Best Sound. This is more than enough to compensate for its poor performance at the box office.
ECP’s Misteryo sa Tuwa went home with two remaining awards for Best Production Design for Don Escudero and Rodel Cruz; and for Best Cinematography by Rod Lacap. For his outstanding contribution to the film industry, the Manunuri ng Pelikulang Pilipino bestowed a special award to William Smith. Smith is particularly renowned for bringing into the country the first colored film laboratory.
Some people could use a lesson in courtesy. At his age, Smith, understandably, could hardly walk, speak well or display clarity of thought, theresore, the need for him to read his remark of thanks from a piece of paper. While national artist Lamberto Avellana and veteran actress Mary Walter paid due respect for Smith, a young man seated beside us took note of this and declared, “Pare, ‘yung speech niya binbabasa pa niy, o!”
Although the presentation ran smoothly and briefly (yes, the audience were relieved of long waits and intermissions), notable was the marked seriousness about the atmosphere that night. Champoy’s twosome’s (emcee Cherie Gil and Noel Trinidad) efforts to perk up the audience were futile.
The Urian show, furthermore, lacked star luster. Several guest stars failed to attend the ceremony as shown by the many vacant seats. Some presentors even had to go upstage twice. Have we sudenly grown weary of awards rites?
Star For All Seasons 
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