Top 100 Vilma Santos Films (part seven)

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.

Total score consists of (A) 10 points for box office records, (B) 10 points for critics recognitions, (C) 10 relevance/longevity, (D) “other factors” that contribute to overall success, gives us total score of 30 points.

RANK, MOVIE TITLE, YR, DIRECTOR’S NAME, SCORE = (A) + (B) + (C) + (D)

40. Batya’t Palu-Palo 1974
SCORE: 6(A) + 10(B) + 7(C) + 0.2(D) = 23.2(T)
Directed by Pablo Santiago, co-starring: Fernando Poe Jr.,Mila del Sol, Janine Frias, Lorna Tolentino, Liza Anzures, Angge, Fred Montilla, Dencio Padilla, Phillip Salvador, Liza Anzures, Paquito Diaz, Max Alvarado, Lito Anzures. FPJ and Vilma Santos first film together. A big box-office hit during its theater run in 1974. Vilma sings the film theme song! – MORE INFO

39. Hindi Nakakahiya 1976
SCORE: 7(A) + 10(B) + 6(C) + 0.3(D) = 23.3(T)
Directed by Luis Enriquez, co-starring: Eddie Rodriguez, Ernie Garcia, Gloria Romero, Marissa Delgado, Patricia Mijares, Renato Robles, Nello Nayo. Part two of the box office hit, Nakakahiya. – MORE INFO (no available video)

38. Nakakahiya? 1975
SCORE: 7(A) + 10(B) + 6(C) + 0.4(D) = 23.4(T)
Directed by Luis Enriquez, co-starring: Eddie Rodriguez, Gloria Romero, Barbara Perez. Vilma received the 1975 Bacolod City Film Festival Best Actress. – MORE INFO (no available video)

37. Bato sa Buhangin 1976
SCORE: 6(A) + 10(B) + 7(C) + 0.5(D) = 23.5(T)
Directed by Pablo Santiago, co-starring: Fernando Poe Jr., Dencio Padilla, Jun Soler, Jumbo Salvador, Phillip Salvador, Rowell Santiago, Millie Mercado, Connie Angeles, Yvonne Salcedo, Tina Monasterio. MORE INFO

36. Ikaw Lang 1993
SCORE: 6(A) + 10(B) + 7(C) + 0.6(D) = 23.6(T)
Directed by Chito S. Roño, co-starring: Ronnie Ricketts, Cesar Montano, with Janine Barredo, Vangie Labalan, Josie Tagle, Evelyn Vargas, Dencio Padilla, Roldan Aquino, Cris Daluz, Mon Fernandez. Written by Bibeth Orteza. Box office hit of 1993. – MORE INFO

35. Miss X 1980
SCORE: 7(A) + 10(B) + 6(C) + 0.7(D) = 23.7(T)
Directed by Gil M. Portes, co-starring: Mark Gil. Filmed in the red district of Armsterdam. – MORE INFO (no available video)

34. Kapag Langit Ang Humatol 1990
SCORE: 7(A) + 8(B) + 8(C) + 0.8(D) = 23.8(T)
Directed by Laurice Guillen, co-starring: Richard Gomez, Gloria Romero, Charo Santos-Concio, Kristine Garcia, Carmina Villaroel, Eula Valdez, Metring David, Lillian Laing, Vangie Labalan, Jeffrey Santos, William Lorenzo, Tony Carreon, Terence Baylon. Written by Salvador Royales. Vilma received a best actress nomination from the Manunuri. – MORE INFO

33. Sister Stella L. 1984
SCORE: 10(A) + 3(B) + 10(C) + 0.9(D) = 23.9(T)
Directed by Mike De Leon, co-starring: Gina Alajar, Laurice Guillen, Anita Linda, Liza Lorena, Adul de Leon, Jay Ilagan, Tony Santos Sr., Ruben Rustia, Eddie Infante, Rody Vera, Pen Medina. Vilma Santos recived her third consecutive Gawad Urian best actress. She also received nominationf from FAMAS and FAP. The film was the official Philippines’ entry to the 1985 Venice International Film Festival. – MORE INFO

32. Dyesebel at ang Mahiwagang Kabibe 1973
SCORE: 6(A) + 10(B) + 8(C) + 0.07(D) = 24.07(T)
Directed by Emmanuel H. Borlaza, starring: Divina Valencia, Mina Aragon, Rossana Marquez, Chanda Romero, Elizabeth Vaughn, Patria Plata, Romeo Miranda, Joseph Sytangco, Lito Calzado, Ricky Valencia, Ike Lozada, German Moreno, Greg Lozano. 2nd Top Grosser of the 8th Manila Film Festival – READ MORE

31. D’ Lucky Ones 2006
SCORE: 7(A) + 10(B) + 7(C) +0.08(D) = 24.08(T)
Directed by Wenn V. Deramas, starring: Sandara Park, Pokwang, Eugene Domingo, Nikki Valdez, Candy Pangilinan, Joseph Bitangcol. Box office hit of 2006. A Vilma Santos tribute film – MORE INFO (no available video)

RECAP:
40. Batya’t Palu-Palo 1974
39. Hindi Nakakahiya 1976
38. Nakakahiya? 1975
37. Bato sa Buhangin 1976
36. Ikaw Lang 1993
35. Miss X 1980
34. Kapag Langit Ang Humatol 1990
33. Sister Stella L. 1984
32. Dyesebel at ang Mahiwagang Kabibe 1973
31. D’ Lucky Ones 2006

…continue with countdown, CLICK HERE!

Top 100 Vilma Santos Films (part six)

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.

Total score consists of (A) 10 points for box office records, (B) 10 points for critics recognitions, (C) 10 relevance/longevity, (D) “other factors” that contribute to overall success, gives us total score of 30 points.

RANK, MOVIE TITLE, YR, DIRECTOR’S NAME, SCORE = (A) + (B) + (C) + (D)

50. Hatinggabi Na, Vilma 1972
SCORE: 6(A) + 10(B) + 5(C) + 0.9(D) = 21.9(T)
Directed by Joey Gosiengfiao, co-starring: Barbara Perez, Zeneda Amador, Angie FerroRomeo Rivera, Ruel Vernal, Dick Israel, Ernie Garcia, Cloyd Robinson, Subas Herrero, Lito Trinidad – MORE INFO (no available video)

49. Dama De Noche 1972
SCORE: 7(A) + 7(B) + 7(C) + 0.95(D) = 21.95(T)
Directed by Emmanuel H. Borlaza, co-starring: Edgar Mortiz, Lillian Laing, Matimtiman Cruz, Fred Montilla, Cloyd Robinson. Recieved first FAMAS Best Actress and best actress nomination at the 1972 Quezon City Film Festival. – MORE INFO

48. Darna and the Giants 1973
SCORE: 6(A) + 8(B) + 8(C) + 0.2(D) = 22.2(T)
Directed by Emmanuel H. Borlaza, co-starring: Helen Gamboa, Loreta Marquez, Rosanna Marquez, Desiree Destreza, Florence Aguilar Romeo Miranda, Ike Lozada, Pepito Rodriguez, Cesar Ramirez, Zandro Zamora, Max Alvarado. Top Box Office Film of 1973 Metro Manila Film Festival – MORE INFO

47. Kampanerang Kuba 1974
SCORE: 6(A) + 10(B) + 6(C) + 0.3(D) = 22.3(T)
Directed by Nilo Saez, co-starring: Edgar Mortiz, Patria Plata, Metring David, Greg Lozano, Joaquin Fajardo. – MORE INFO

46. Muling Buksan ang Puso 1985
SCORE: 7(A) + 8(B) + 7(C) + 0.4(D) = 22.4(T)
Directed by Leroy Salvador, co-starring: Dindo Fernando, Lorna Tolentino, Sandy Andolong, Coney Reyes, Rowell Santiago, Jimi Melendez. Written by Nerissa Cabral. Vilma received a best actress nomination from 1985 FAMAS – MORE INFO

45. Palimos Ng Pag-ibig 1986
SCORE: 7(A) + 8 (B)+7 (C)+0.5 (D)=22.5(T)
Directed by Eddie Garcia, co-starring: Dina Bonnevie, Cherie Gil, Laurice GuillenEdu Manzano, Pepito Rodriguez. Written by Nerissa Cabral. – MORE INFO

44. Langis at Tubig 1980
SCORE: 7(A) + 8(B) + 7(C) + 0.6(D) = 22.6(T)
Directed by Danny Zialcita, co-starring: Amy Austria, Lucita Soriano, Suzanne Gonzales, Adul De Leon, Martha SevillaDindo Fernando, Ronaldo Valdez, George Estregan, Ruben Rustia, Johnny Vicar, Augusto Victa, Vic Diaz, Vic Silayan, Mario Escudero. Vilma received a best actress nomination from 1980 FAMAS – MORE INFO

43.Pinay, American Style 1979
SCORE: 7(A) + 8(B) + 7(C) + 0.7(D) = 22.7(T)
Directed by Elwood Perez, co-starring: Christopher De Leon, Bembol Roco, Cocoy Laurel with Rosa Mia, Alexandra Dulaney, Nova Villa, Bella Flores, Angge. One of eight box office hit films Vilma Santos did in 1979 – MORE INFO

42.Ibulong Mo Sa Diyos 1988
SCORE: 7(A) + 8(B) + 7(C) + 0.8(D) = 22.8(T)
Directed by Elwood Perez, co-starring: Eric Quizon, Gary Valenciano, Miguel Rodriguez, Eddie Garcia, Nida Blanca, Barbara Perez, Nadia Montenegro, Armida Siguion-Reyna, Perla Bautista, Rachel Ann Wolfe, Deborah Sun, Vangie Labalan, Nena Perez Rubio, Ruben Rustia. Written by Orlando Nadres. Vilma recieved her fifth FAMAS best actress that earned her the FAMAS Hall of Fame award. She also received a film academy nomination. – MORE INFO

41.Haplos 1982
SCORE: 7(A) + 8(B) + 7(C) + 0.9(D) = 22.9(T)
Directed by Antonio Jose Perez, co-starring: Christopher De Leon, Rio Locsin, Delia Razon, Eddie Infante, Rez Cortez, Juan Rodrigo, Jaime Fabregas. Written by Ricardo Lee. The film won the 1982 Metro Manila Film Festival 3rd Best Picture award. – READ MORE

RECAP:
50. Hatinggabi Na, Vilma 1972
49. Dama De Noche 1972
48. Darna and the Giants 1973
47. Kampanerang Kuba 1974
46. Muling Buksan ang Puso 1985
45. Palimos Ng Pag-ibig 1986
44. Langis at Tubig 1980
43. Pinay, American Style 1979
42. Ibulong Mo Sa Diyos 1988
41. Haplos 1982

…continue with countdown, CLICK HERE!

Top 100 Vilma Santos Films (part five)

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.

Total score consists of (A) 10 points for box office records, (B) 10 points for critics recognitions, (C) 10 relevance/longevity, (D) “other factors” that contribute to overall success, gives us total score of 30 points.

RANK, MOVIE TITLE, YR, DIRECTOR’S NAME, SCORE = (A) + (B) + (C) + (D)

60.  Mga Mata Ni Angelita 1978
SCORE: 6(A) + 10(B) + 5(C) + 0.08(D) = 21.08(T)
Directed by Lauro Pacheco, starring: Julie Vega, Gloria Sevilla, Boots Anson-Roa, Alma Moreno, Rosanna Ortiz, Nora Aunor, Trixia Gomez, Marissa Delgado, Etang DischerMat Ranillo III, Roldan Rodrigo, Christopher De Leon, German Moreno, Rez Cortez, Eddie Rodriguez, Dolphy, Fernando Poe Jr. Vilma’s segments made this film in our list of memorable non-lead role. – MORE INFO

59.  Rock, Baby, Rock 1979
SCORE: 6(A) + 10(B) + 5(C) + 0.09(D) = 21.09(T)
Directed by Oscar Miranda, starring: Leah Navarro, Lorli Villanueva, Geleen EugenioJunior, Rolly Quizon, Tito Sotto, Vic Sotto, Joey de Leon, Val Sotto, VST & Company – MORE INFO

58.  Hiwalay 1981
SCORE: 7(A) + 8(B) + 6(C) + 0.1(D) = 21.1(T)
Directed by Romy Susara, starring: Dindo Fernando, Eddie Rodriguez – MORE INFO (no available video)

57.  Susan Kelly, Edad 20 1977
SCORE: 6(A) + 10(B) + 5(C) + 0.2(D) = 21.2(T)
Directed by Maria Saret, starring: Laila Dee, Dante Rivero, Anthony Alonzo, Romeo Enriquez, Chito Ponce Enrile, Cloyd Robinson, Sandy Garcia, Laila Dee, Ramon Zamora – MORE INFO (no available video)

56.  Hindi Nahahati ang Langit 1966
SCORE: 7(A) + 8(B) + 6(C) + 0.3(D) = 21.3(T)
Directed by Lauro Pacheco, starring: Lolita Rodriguez, Marlene Dauden, Eddie Rodriguez – MORE INFO (no available video)

55.  Masarap, Masakit ang Umibig 1977
SCORE: 7(A) + 8(B) + 6(C) + 0.4(D) = 21.4(T)
Directed by Elwood Perez, co-starring: Christopher De Leon, Mat Ranillo III with Anita Linda, Ma-An Hontiveros, Lillian Laing, Laila Dee, Amado Cortez, Sandy Garcia, Cloyd Robinson. Official Philippines’ entry to the 1981 ASEAN Film Festival and Sydney Film Festival. Official entry to 1978 Asia-Pacific Film Festival in Taipei. – MORE INFO

54.  Minsan pa Natin Hagkan Ang Nakaraan 1983
SCORE: 7(A) + 7(B) + 7(C) + 0.5(D) = 21.5(T)
Directed by Marilou Diaz-Abaya, co-starring: Christopher De Leon, Eddie Garcia. – MORE INFO

53.  Halik sa Kamay, Halik sa Paa 1979
SCORE: 7(A) + 7(B) + 7(C) + 0.6(D) = 21.6(T)
Directed by Luis Enriquez, co-starring: Rosemarie Gil, Ester Chavez, Angie Ferro, Angge, Virginia Montez, Aurora SalveRonald Corveau, Eddie Rodriguez, Jose Vergara, Roderick Paulate. Vilma recieved a best actress nominationf from 1979 FAMAS. – MORE INFO

52.  Alyas Baby Tsina 1984
SCORE: 7(A) + 7(B) + 7(C) + 0.7(D) = 21.7(T)
Directed by Marilou Diaz-Abaya, co-starring: Phillip Salvador, Dindo Fernando withZeny Zabala, Cecille Castillo, Chanda Romero, Raquel Villavicencio, Caridad Sanchez, Maria Isabel Lopez, Dexter Doria, Mary Walter, Vangie Labalan, Harlene Bautista, Rez Cortez, Rolando Tinio, Len Santos, Johnny Delgado – MORE INFO (no available video)

51.  T-Bird at Ako 1982
SCORE: 7(A) + 7(B) + 7(C) + 0.8(D) = 21.8(T)
Directed by Danny Zialcita, co-starring: Nora Aunor, Baby Delgado, Rosemarie Gil, Suzanne Gonzales, Odette Khan, Anita Linda, Liza Lorena, Adul de Leon, Rustica Carpio, Anita LindaDindo Fernando, Tommy Abuel, Tony Carreon, Alvin Enriquez. Written by Portia Ilagan. – MORE INFO

RECAP:
60. Mga Mata Ni Angelita 1978
59. Rock, Baby, Rock 1979
58. Hiwalay 1981
57. Susan Kelly, Edad 20 1977
56. Hindi Nahahati ang Langit 1966
55. Masarap, Masakit ang Umibig 1977
54. Minsan pa Natin Hagkan Ang Nakaraan 1983
53. Halik sa Kamay, Halik sa Paa 1979
52. Alyas Baby Tsina 1984
51. T-Bird at Ako 1982

…continue with countdown, CLICK HERE!

Top 100 Vilma Santos Films (part nine)

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.

Total score consists of (A) 10 points for box office records, (B) 10 points for critics recognitions, (C) 10 relevance/longevity, (D) “other factors” that contribute to overall success, gives us total score of 30 points.

RANK, MOVIE TITLE, YR, DIRECTOR’S NAME, SCORE = (A) + (B) + (C) + (D)

20.  Tag-ulan sa Tag-araw 1975
SCORE: 8(A) + 10(B) + 7(C) + 0.4(D) = 25.4(T)
Directed by Celso Ad. Castillo, co-starring:  Christopher De Leon, Eddie Garcia, Joseph Sytangco, Lorli Villanueva, Odette Khan, Alma Moreno, Eva Darren, Edna Diaz, Nympha Bonifacio, Joonee Gamboa, Rez Cortez, Soxy Topacio.  The first film of Christopher Deleon and Vilma Santos, as of 2008, total 23 films. – MORE INFO

19.  Sinasamba Kita 1982
SCORE: 7(A) + 10(B) + 8(C) + 0.5(D) = 25.5(T)
Directed by Eddie Garcia, co-starring:  Christopher Deleon, Philip Salvador, Lorna Tolentino, Irene Celebre, Loleta Abesamis, Norma Blancaflor, Moody Diaz, Luz Fernandez, Kristina Paner, Yvonne, Ramil Rodriguez, Danny De Cordova, Larry Leviste, Fanny Serrano.  Written by Gilda Olvidado.  1982 Top Box Office Record Breaker.  The original film became a TV movie in 2007 by GMA Network, directed by Joel Lamangan, starring Sheryl Cruz as Divina and Valerie Concepcion as Nora. – MORE INFO

18.  Paano Ba ang Mangarap? 1983
SCORE: 7(A) + 10(B) + 8(C) + 0.6(D) = 25.6(T)
Directed by Eddie Garcia, co-starring:  Christopher Deleon, Jay Ilagan, Amy Austria, Perla Bautista, Armida Siguion Reyna, Vic Silayan.  Written by Nerissa Cabral.  Broke box office record of 1983 – MORE INFO

17.  Gaano Kadalas ang Minsan? 1982
SCORE: 8(A) + 10(B) + 7(C) + 0.7(D) = 25.7(T)
Directed by Danny Zialcita, co-starring:  Dindo Fernando, Hilda Koronel, Chanda Romero, Suzanne Gonsales, Tommy Abuel, Mark Joseph Enriquez.  Broke box office record of 1982, Earned P7.3 million during its first day of showing in Metro Manila – MORE INFO

16.  Trudis Liit 1963
SCORE: 7(A) + 10(B) + 8(C) + 0.8(D) = 25.8(T)
Directed by Jose De Villa, co-starring: Luis Gonzales, Lolita Rodriguez, Connie Angeles, Bella Flores, Charlie Davao, Ramon D’Salva.  Written by Mars Ravelo.  This film is immortalized in small screen in 2010 by GMA 7 .  A remake was filmed in the 1990s.  Vilma Sanots won a FAMAS Best Child Actress.  – MORE INFO (no available video)

15.  Pagputi ng Uwak, Pag-itim ng Tagak 1978
SCORE: 10(A) + 5(B) + 10(C) + 0.9(D) = 25.9(T)
Directed by Celso Ad. Castillo, co-starring:  Bembol Roco, Angie Ferro, Olivia O’Hara, Mona Lisa, Robert Talabis, Joonee Gamboa, Mario Escudero.  As the film producer, Vilma received the highest recognition for best film of the year FAMAS and Gawad URIAN.  She also received a nomination for best actress from FAMAS. – MORE INFO

14.  Adultery: Aida Macaraeg 1984
SCORE: 10(A) + 8(B) + 8(C) + 0.6(D) = 26.6(T)
Directed by Lino Brocka, co-starring:  Phillip Salvador, Anita Linda, Deborah Sun, Alvin Enriquez, Mario Montenegro.  Vilma received best actress nomination from PMPC Star Awards. – READ MORE

13.  Tagos ng Dugo  1987
SCORE: 8(A) + 10(B) + 8(C) + 0.7(D) = 26.7(T)
Directed by Maryo J. De los Reyes, co-starring:  Caridad Sanchez, Lucita Soriano, Alicia Alonzo, Mia Gutierrez, Raquel VillavicencioMichael De Mesa, Miguel Rodriguez, Francis Arnaiz, Richard Gomez, Mark Joseph, Lito Pimentel, Joey Hipolito, Joey Marquez, Tony Santos Sr.  Vilma Santos won the 1987 FAMAS and CMMA Best Actress awards.  She also received nomination from FAP. – MORE INFO

12.  Anak 2000
SCORE: 8(A) + 10(B) + 8(C) + 0.8(D) = 26.8(T)
Directed by Rory B. Quintos, co-starring: Claudine Barretto, Amy Austria, Cherry Pie Picache, Sheila Mae Alvero, Tess Dumpit, Jodi Sta. Maria Joel Torre, Baron Geisler, Leandro Muñoz, Gino Paul Guzman, Cris Michelena.  Philippines’ official entry to 73rd best foreign language OSCAR.  Philippines’ official entries to 2001 international film festivals including Fukuoka, San Francisco.  Vilma received the 2000 PMPC STAR award for best actress as well as the 2000 PASADO and nomination from FAP.  She was also crowned the 2000 GMMSF Box Office Queen.  – MORE INFO

11.  Imortal 1989
SCORE: 8(A) + 10(B) + 8(C) + 0.9(D) = 26.9(T)
Directed by Eddie Garcia, co-starring:  Christopher De Leon, Tommy Abuel, Ricky Davao, Gelli De Belen, Cherie Gil, Jacklyn Jose, Liza Lorena Richard Reynoso, Roi Vinzon.  Written by Orlando Nadres.  Vilma won the 1989 Metro Manila Film Festival Best Actress. –  MORE INFO

RECAP:
20. Tag-ulan sa Tag-araw 1975
19. Sinasamba Kita 1982
18. Paano Ba ang Mangarap? 1983
17. Gaano Kadalas ang Minsan? 1982
16. Trudis Liit 1963
15. Pagputi ng Uwak, Pag-itim ng Tagak 1978
14. Adultery: Aida Macaraeg 1984
13. Tagos ng Dugo 1987
12. Anak 2000
11. Imortal 1989

…continue with countdown, CLICK HERE!

Top 100 Vilma Santos Films (part four)

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.

Total score consists of (A) 10 points for box office records, (B) 10 points for critics recognitions, (C) 10 relevance/longevity, (D) “other factors” that contribute to overall success, gives us total score of 30 points.

RANK, MOVIE TITLE, YR, DIRECTOR’S NAME, SCORE = (A) + (B) + (C) + (D)

70.  Yesterday, Today and Tomorrow 1986
SCORE: 6(A) + 8(B) + 6(C) + 0.4(D) = 20.4(T)
Directed by Emmanuel H. Borlaza, co-starring: Snooky Serna, Maricel Soriano, Liza Lorena, Chanda Romero, Deborah SunGabby Concepcion, Richard Gomez, Eddie Garcia, Jimi Melendez – MORE INFO

69.  Kay Tagal ng Umaga 1965
SCORE: 6(A) + 8(B) + 6(C) + 0.5(D) = 20.5(T)
Directed by Lauro Pacheco, starring: Lolita Rodriguez, Eddie Rodriguez, Marlene Dauden with Vilma Valera. Film adaptation of Aning Bagabaldo’s radio drama broadcasted on DZRH. – MORE INFO (no available video)

68.  Anak, ang Iyong Ina 1963
SCORE: 7(A) + 8(B) + 5(C) + 0.6(D) = 20.6(T)
Directed by Mar S. Torres, co-staring: Gloria Romero, Rita Gomez, Mario Montenegro, Eddie Garcia – MORE INFO (no available video)

67.  Ging 1964
SCORE: 6(A) + 8(B) + 6(C) + 0.7(D) = 20.7(T)
Directed by Cirio H. Santiago, co-starring: Carol Varga, Olivia Cenizal, Jose Padilla jr, Ramon D’Salva. Written by Mars Ravelo. – MORE INFO

66.  Karugtong ang Kahapon 1975
SCORE: 5(A) + 8(B) + 7(C) + 0.8(D) = 20.8(T)
Directed by Fely H. Crisostomo, co-starring: Gloria Romero, Celia Rodriguez, Patria Plata, Edgar Mortiz, Eddie Garcia, Jay Ilagan, Romy Mallari, Joseph Sytangco. Entry to the 1975 MMFF. Film was written by Nerissa Cabral. – MORE INFO (no available video)

65.  Nag-iisang Bituin 1994
SCORE: 7(A) + 7(B) + 6(C) + 0.9(D) = 20.9(T)
Directed by Jose Javier Reyes, co-starring: Christopher De Leon, Aga Muhlach with Cherrie Pie Picache, Amy Perez, Jao Mapa, Orestes Ojeda. Vilma received a best actress nomination from PMPC’s 1994 Star. – MORE INFO (no available video)

64.  Takbo, Vilma, Dali 1972
SCORE: 5(A) + 10(B) + 6(C) + 0.04(D) = 21.04(T)
Directed by Joey Gosiengfiao, co-starring: Rita Gomez, Paquito Diaz, Max Alvarado, Romeo Rivera, Ernie Garcia – MORE INFO (no available video)

63.  Vilma Viente Nueve 1975
SCORE: 5(A) + 10(B) + 6(C) + 0.05(D) = 21.05(T)
Directed by Pablo Santiago, co-starring: Anita Linda, Jun Aristorenas, Max Alvarado, Lito Legaspi, German Moreno, Martin Marfil – MORE INFO (no available video)

62.  Ibong Lukaret 1975
SCORE: 6(A) + 10(B) + 5(C) + 0.06(D) = 21.06(T)
Directed by Tito C. Sanchez, co-starring: Alona Alegre, Marissa Delgado, Daria Ramirez, Lucita Soriano, George Estregan, Nick Romano, Rudy Fernandez, Arnold Mendoza – MORE INFO (no available video)

61.  Bertang Kerengkeng 1976
SCORE: 6(A) + 10(B) + 5(C) + 0.07(D) = 21.07(T)
Directed by Tito C. Sanchez, co-starring: Edna Diaz, Lito Anzures, Rudy Fernandez, Greg Lozano – MORE INFO (no available video)

RECAP:
70. Yesterday, Today and Tomorrow 1986
69. Kay Tagal ng Umaga 1965
68. Anak, ang Iyong Ina 1963
67. Ging 1964
66. Karugtong ang Kahapon 1975
65. Nag-iisang Bituin 1994
64. Takbo, Vilma, Dali 1972
63. Vilma Viente Nueve 1975
62. Ibong Lukaret 1975
61. Bertang Kerengkeng 1976

…continue with countdown, CLICK HERE!

Filmography: Broken Marriage (1983)

“May mga anak ako, Nagtratrabaho ako, Nag-aaral ako tapos lagi pa kaming nag-aaway na mag-asawa. So tense, Minsan gusto ko ng tumalon sa bintana.” – Ellen

“Bakit nababawasan din naman ang pagkatao ko kapag sinisigawan mo ako!” – Ellen

“Ang marriage trinatrabaho yan…twenty four hours…” – Ellen

This slideshow requires JavaScript.

Basic Information: Directed: Ishmael Bernal; Story: Bing Caballero, Jose Carreon; Screenplay: Ishmael Bernal, Bing Caballero, Jose Carreon; Cast:Vilma Santos, Christopher De Leon, Orestes Ojeda, Lito Pimentel, Tessie Tomas, Richard Arellano, Cesar Montano, Len Santos, Ray Ventura, Harlene Bautista; Executive producer: Lily Monteverde; Original Music: Max V. Jocson; Cinematography: Manolo Abaya; Film Editing: Jess Navarro; Production Design: Len Santos; Sound: Rudy Baldovino; Production Co: Regal Films; Release Date: 2 September 1983 (Philippines) – IMDB

Plot Description: Trapped in a world of hectic schedules, pressure and little time for each other, Ellen (Vilma Santos) and Rene (Christopher de Leon) decided to have a temporary separation. One of the things that is against traditional Filipino culture is a marriage break-up. And that is what they went through as their maariage reaches one of its lowes points. Saddled by their two children, Ellen tried her best to live a normal life as possible, eventually finding a prospective lover (Orestes Ojeda). But something is missing from her life that not even a new flame could fill. A self-discovery both for Ellen and Rene, one great film that will surely make you realize the value of marriage. – Regal Films (READ MORE)

After ten years and two children, Rene and Ellen find their marriage on the brink of breaking up. They seem to have fallen out of love and life has become a series of verbal hussies and conflicts. They decide that the only way out is a temporary separation. Rene, a police reporter, and Ellen, who is a television production assistant, begin to live apart from each other. Rene moves into his friend’s apartment while Ellen has to cope with running a household by herself. But they soon begin to feel the effects of their separation. A series of events that follow drastically change their lives. Rene is mauled for his expose of a gambling casino owned by a high ranking government official. He is forced to stay temporarily in the house of Ellen’s mother. As he recuperates from his injuries, both he and Ellen attempt to rebuild their shattered relationship. – Manunuri

Rene (Christopher de Leon) is a police reporter for a daily newspaper married to Ellen (Vilma Santos) who works as TV production assistant. Both are full of enthusiasm, career-conscious individuals who have no time for each other or for their two children, until they are forced to try to live separately. Broken Marriage won awards from the 1983 Urian for best picture, (Ishmael Bernal), best actss (Vilma Santos), best screenplay (Jose N. Carreon), best editing (Jess Navarro), as well as several nominations from the Film Academy Awards and FAMAS. Music by Max Jocson and Cinematography by Manolo Abaya. Also stars Orestes Ojeda and Spanky Manikan. From Regal Films. – Trigon Video

Film Achievement: 1983 Gawad Urian: Best Picture – Regal Films; Best Actress – Vilma Santos; Best Director – Ishmael Bernal; Best Editing – Jess Navarro; Best Screenplay – Jose Carreon, Bing Caballero, Bernal; Best Sound – Rudy Baldovino; Best Actor Nomination – Christopher De Leon; Best Cinematography Nomination – Manolo Abaya; Best Music Nomination – Max V. Jocson; Best Production Nomination – Len Santos; Best Supporting Actor Nomination – Len Santos; Best Supporting Actor Nomination – Ray Ventura; 1983 FAMAS: Best Actor Nomination – Christopher De Leon; Best Actress Nomination – Vilma Santos; 1983 Best Child Actress Nomination – Harlene Bautista; Official Selection: 1984 Moscow Film Festival; Prague Film Festival; Vienna Film Festival

Film Reviews: “…Comparisons dawn inexorably: how does Broken Marriage fare as a follow-up to the bravura of Relasyon? This is tough inquiry. If intentions were to be the starting point, then the new movie is a better achievement. Relasyon, judging from its title, was supposed to be about a man and other woman relationship; but the feminist tendencies of our cinema had pinned the movie to a fateful drift: the travails of the modern mistress. Broken Marriage never swerves from its goal; from start to finish it is a portrait of two persons and the bond which they discover smothering and smoldering. But the ordinary moviegoer does not assess by artist’s intentions – he does not even care about the artist (I mean here the one behind the work. On one hand, the film in front of him is the present; and on the other hand, it is the past. Broken Marriage is made to appear to him as a sequel to Relasyon. The process of integrating the past and the present is a challenge for him. For him are opened two avenues: to start with past and proceed with present; or start with present and proceed with past. If he chose the former, the condemnation for Broken Marriage would clang like a wild cymbal. If he chose the latter, the outcome is a laudatory comment). Nonetheless, one has to prove that the new movie can stand on its own feet. What Relasyon sadly lacked (albeit not too sadly) was humor. Broken Marriage has tons of it – the caustic swaps, the funny characterizations, the clever plottings – so that the audience’s conditioned response for a supposedly serious movie shifts irrevocably to playful irreverence. Vintage Ishmael Bernal. It is a masterly stroke – the proverbial Bernal sleight-of-hand at work, this time with more gusto and style. If the Inquisition were still around, he would be branded and burned seven times as a heretic for turning a marriage gone sour into an off-beat frolic suddenly turned sweet – at least, to the viewer’s mirth-hungry belly.

But none may claim that Bernal’s treatment loses its mark of delineating the disadvantages of separation. The humor chisels the message so that it comes to us shining and double-edged, while doing its duty of alleviating an otherwise gloomy impression which accompanies every disillusioning subject matter. Not only does it come through humorously but also simply. Nowhere is the strain which anyone expects from grave subjects present here. It is as if the dreary topic had been borne on the Lord’s shoulders so that the yoke – and audiences love to be martyrs of maudlin tears – becomes, this rare time, light and easy…De Leon adds a boyish smile as if the lesson were amusing. We watch De Leon, elated and entertained: he is never so old as to appear too distant nor is he too young as to seem undocile. Broken Marriage is a gift to this actor. He is not propelled here to be more manly; since his character is made to contribute to a lot of oversights, De Leon’s doesn’t have to put a mask of strength: he just has to be himself and act with ease. Vilma Santos is not about to be a letdown, not this time when the most important female roles are coming her way. A new intelligence she infuses in the character Ellen. Like De Leon, she turns Ellen into a woman-child, but the stress is less on her part as she has done similar roles before. Her beautiful face is flush receptive: the quiet moments of just observing the people around her are moments of perfect acting. Her body moves with an agility that is both funny and dramatic. Her two monologues – the first with her friends in the cafe when she informs them that she is bored, and the second with Rene when she tells him that they are not children anymore – are her best scenes: the camera lingers upon her countenance and she enunciates in return with ironic ease. She should watch out for next year’s awards race – there is simply no stopping her at the moment…” – Joselito Zulueta, Sine Manila – 1983 (READ MORE)

“…Ang sensitibong paglikha ni Vilma Santos kay Ellen ay isang marubdob at personal na layon kung ihahambing sa kanyang pagsasakarakter ng papel ni Marilou bilang kerida sa Relasyon. Hinamon ni Ellen ang kumbensiyonal na depinisyon ng pagiging asawa at pagkaina sa paghahanap ng mga alternatibo sa gitna ng makainang pagpapalaki sa mga anak. Ginawan niya si Ellen ng sariling silid kung saan nakahanap ito ng solitaryong kanlungan nang hindi pinuputol ang pakikipag-ugnayan sa asawa. Iniugnay ni Ellen ang ang kanyang pribadong hapdi sa spectrum ng kanyang relasyon. Samantala, nakatutok ang tunggalian sa Broken Marriage hindi lamang kay Vilma Santos kundi kay Christopher de Leon. Nasa asawang lalaki ang bulto ng suliranin kaya sa kanya umiikot ang kuwento, ang relasyon ni Rene kay Ellen at ang relasyon ni Rene sa kanyang mga anak. Ang maalam na pagpasok ni de Leon sa katauhan ni Rene ang lumiligalig sa mga kontradiksiyong talamak sa sistemang patriarkal. Kaakibat ng Broken Marriage ang manipestasyon ni Bernal sa pagbibigay ng representasyon sa reyalidad at partikular na pagsasaayos ng iba’t-ibang elementong kaagapay sa masining na pagbuo ng pelikula.” – Jojo Devera, Saring Sineng Pinoy (READ MORE)

“…Sa 1983, ang mga mapagpipilian lamang ay Broken Marriage…On a lower rank would be…Minsan Pa Nating Hagkan ang Nakaraan…Ang Broken Marriage ni Ishmael Bernal ay isang masusing pagsusuri sa lumabnaw na pagtitinginan ng isang young married couple; ang problema ng mag-asawa sa kani-kanilang trabaho, ang mga suliranin ng isang working mother, ang iba’t ibang uri ng relationship between spouses and friends, at ang unti-unti’y muling pagkakalapit ng naghiwalay na mag-asawa. Maraming nagrereklamo sa happy ending ng pelikula na para bang masama ang loob nila’t lumigayang muli ang mag-asawa. Pero sa amin, talagang napaghandaan ang masayang eksena sa beach ng buong pamilya dahil sa simula pa lamang ay inuungot na ng mga anak ang pagpunta roon. So, sa wakas, nakapunta rin sila sa beach and it’s a fitting end indeed……Now that we have discussed this year’s better films and the directors who made them, tunghayan natin ang listahan ng best screen performances…Susunod sa aming listahan ay sina Christopher de Leon, ang batambatang amang may problema sa kanyang pamilya sa Broken Marriage…Then there’s Vilma Santos as the working mother who does a tough balancing act in her dedication to her career and to her family in Broken Marriage… ” – Movie Flash Magazine, January 5, 1984 (READ MORE)

“…Though in the last cited awards, Karnal did not make it as best films, it nevertheless gave Broken Marriage a tough fight for the honor, in fact winning more nominations than Berna’s films. It evetually won prizes for performances, cinematography, music and editing…A product of film schools, Marilou earned her M.A. in Film and Television from Loyola Marrymount College in Los Angeles and received a diploma in film from the London Film School. In May, she will be flying to Moscow to attend the Philippine Film Week, where Karnal, Broken Marriage and Soltero will be exhibited. Then it will be Prague and Vienna for both Karnal and Broken Marriage. Her earlier work, Brutal has also been invited to Tokyo’s Pia Film Festival, which is sponsored by critics and journalist to showcase the works of young directors from 10 countries. International may have come her way, but at the moment, Marilou is earnestly preoccupied with starting her latest project, Baby Tsina, which will star two-time Urian best actress Vilma Santos, and written by Marilou’s signature scenarist Ricky Lee. In a few days, the camera are set to start grinding for the director’s new film…” – Justino Dormiendo, Movie Flash Magazine, April 26, 1984 (READ MORE)

“…On a final note, it’s rather unfair that when it comes to actors, Brocka always gets the authority to be called the actor’s director. Not to discredit Brocka of course but Bernal always exceeds Brocka in terms of directing comedies. And humor is only as hard as drama can get; and oftentimes even harder. Ilagan, Andolong, Ranillo, and Locsin may not be the best to portray their roles but their characters don’t need the best—they need believability more, and their youth exudes that, more than their acting chops. They grip on their dialogues so much that watching them is such a delight. There’s this anecdote told by Vilma Santos when she won her grandslam for Relasyon that she walked into Bernal’s shoot a little unmotivated and still high after her big win. She couldn’t get her acting right. And then Bernal said to her, “O, bakit parang lutang ka diyan? Porke’t naka-grand slam ka, feeling mo, magaling ka na?” That’s one-big-“OH”. And to think that Ate Vi was already a big star that time, and getting bigger and bigger thanks to her roles, it does not only give an impression of “katarayan” on Bernal’s part, but more of brilliance…” – Richard Bolisay (READ MORE)

“… Reportedly Ms. Santos, buoyed by the many acting awards earned by the previous film, was so eager to do well in the new production that Bernal got irritated, locked her in a bathroom, and delivered to her an ultimatum: she was not coming out till she got over her ‘hysteria.’ One sees what made the latter so successful, the same time watching this one sees why Bernal didn’t want to simply duplicate that success. Relasyon was a lean and elegantly told melodrama that took a sidelong glance at the institution of Filipino marriage; in Broken Marriage Bernal wanted to examine the institution directly, without the oblique glances. He didn’t want to film some doomed struggle to keep love alive but something less dramatic, far more difficult to capture: the aftermath of a protracted war, where the ultimate casualty is married love. He in effect didn’t want Ms. Santos at her perkiest and most energetic–he wanted her exhausted, looking for a way out, and to her credit Ms. Santos delivers exactly this with her performance…” – Noel Vera, Critique After Dark, 08 April 2012 (READ MORE)

“…In Filipino melodramas, the heroines often lean on against a hostile environment. Some no less combative women have created a permanent place in the film industry of the country…Lino Brocka and Ishmael Bernal devoted themselves repeatedly with a strong social and political consciousness of the popular form of melodrama. More than Brocka himself Bernal frequently focused on strong female characters that need to manage their lives under unfavorable circumstances. In his films female stars in the spotlight, without the problems of everyday life would go by the board. With Vilma Santos in 1982 he turned Relasyon, wherein the main character wants to escape from a stifling marriage and not only emotionally, but also legally reaches its limits (a year later with Santos Bernal turned the thematically similar mounted Broken Marriage). Was produced Relasyon of Lily Monteverde , who plays an influential role in the Philippine film industry today. Already at the beginning of the 20th century there were in the studios and production companies in the country powerful women who ruled with a firm hand and were addressed by their subordinates even as mothers. “Mother Lily” made his mark as a hard nosed business woman, often more economic than artistic interests followed, understandably, not just friends. The young director Raya Martin let her in his short film Long Live Philippine Cinema! (2009) even to death to save the Philippine cinema…” – Michael Kienzl, Critic.de, 10 Sep 2014 (READ THE TRANSLATION)

“Reportedly Ms. Santos, buoyed by the many acting awards earned by Relasyon, was so eager to do well in the new production that Bernal got irritated, locked her in a bathroom, and delivered to her an ultimatum: she was not coming out till she got over her ‘hysteria.’ One sees what made the latter so successful, the same time watching this one sees why Bernal didn’t want to simply duplicate that success. Relasyon was a lean and elegantly told melodrama that took a sidelong look at the institution of Filipino marriage; in Broken Marriage Bernal wanted to focus on the institution sans oblique glances. He didn’t want to film some doomed struggle to keep love alive but something less dramatic, far more difficult to capture: the aftermath of a protracted war, where the ultimate casualty is married love. He in effect didn’t want Ms. Santos at her perkiest and most energetic–he wanted her exhausted, looking for a way out, and to her credit Ms. Santos delivers.” – Noel Vera, Critic After Dark, 13 September 2014 (READ MORE)

RELATED READING: