#Larawan, #LolitaRodriguez, #RitaGomez, #CharitoSolis, #CeliaRodriguez, #EddieRodriguez, #FernandoPoeJr, #HildaKoronel, #IshmaelBernal, #CarmenRosales, #LuisGonzales, #SharonCuneta, #JayIlagan, #AgaMuhlach
Plot Description: Sarah (Vilma Santos) is forced to defer her wedding when she scheduled to flight was delayed. At a hotel where she is staying, Sarah encounters Eric (Ronaldo Valdez), a regular guest who forces himself on her. The incident leaves a stigma not just on Sarah but more so on her fiancé, Alfredo (Tommy Abuel) whose dream of marrying a “virgin” is dashed. Strangely, Sarah and Eric’s paths cross again at a time when their respective marriages are in disarray. Their meeting strikes both as “déjà vu.” Could it be that they have met each other in the past? Their suspicious are confirmed after Eric consults a psychic. As it turns out, Sarah and Eric are the reincarnation of Guada and Enrico, two lovers who had an illicit affair sixty years ago. When Guada’s husband, Limbo (Ruel Vernal), learned of her affair, he went on a murderous rampage. Now Sarah and Eric seem destined to follow the same path. But in whose spouse does the spirit of Limbo rest? Is it the disabled Alfredo? Or Eric’s estranged wife Cristy (Chanda Romero)? – Viva Films
Film Review: The technical preview of “Karma” the other night was delayed for about an hour but I did not mind waiting because I was quite certain that I’d be seeing a fine film. To while away the time, “Firecracker,” co-starring American actors with local talents like Chanda Romero, Vic Diaz, and Rey Malonzo was shown. Chanda and Vic delivered their lines themselves but surprisingly Rey didn’t. Before one whole reel could roll, the prints of “Karma” arrived. “Don’t stop it yet, a bed scene is coming,” Mario Bautista protested. Happily, “Karma” turned out to be as good as I expected. It’s performers are first-rate – Vilma Santos, Ronaldo Valdez, Tommy Abuel, Chanda Romero – so their award-winning acting didn’t surprise me at all. The script was outstanding but even that was expected, coming from director Danny Zialcita. What impressed me was that minor parts were played by name actors. The housekeeper who appeared in one short sequence could have been played by any elderly woman but those who made the movie wanted nothing less than Etang Discher. The psychiatrist could have been played by any decent-looking man but they didn’t settle for anybody less than Vic Silayan. The male lover at the start of the story had to be acted out by Dante Rivero, that at the end by Christopher de Leon. The movie boasted of several bold scenes. Those involving Vilma weren’t much as we know for a fact that Vilma could show only so much. One scene showing Chanda was a different story. It showed her with absolutely nothing on, yet it didn’t offend anybody as it was executed in style, shot with great care. There was just one thing, which looked unnatural to me – the way in which one of the main characters killed himself. “That’s all right,” Danny assured me. “Before we shot it, we double-checked its possibility.” Reincarnation and transference are undoubtedly mind-boggling subjects but, to his utmost credit, Danny managed to present them simply, bringing them down for everybody to understand. “Bala lang yan. Katawan lang ito. Babalik at babalik kami sa mundong ito,” Dante vowed. Come back they did as they promised building the foundation of the story. – Bob Castillo, People’s Journal Dec. 12, 1981 (READ MORE)
Sa pagbabago ng estado ni Vilma Santos, tila nagbabago na rin ang kanyang approach sa kanyang career. Dahil hindi na career ang unang priority niya sa buhay, lalong nagiging professional ang kanyang tingin sa trabaho. Dahil hindi na twenty-four hours a day ang kanyang buhay artista, alam na niyang I-apportion ang bawat minuto na walang aksaya. Sa set ng Relasyon ni Ishmael Bernal, hangang-hanga ang director sa bagong pang-unawa ni Vilma sa trabaho. Dumarating sa oras, kabisado ang linya (memorizing lines for Vilma, of course, was never a problem even the days she was shooting five pictures simultaneously), full attention sa sinasabi ng direktor, walang problema. Kung pagbabasehan sa naging resulta ng Karma, lalong maganda ngayon si Vilma, mas mariin ang kanyang pagganap, mas mature ang kanyang approach at understanding sa kaniyang papel. Swerteng-swerte ang pagkapanalo niya ng best actress sa nakaraang Film fest. Sayang at wala siya upang tanggapin mismo ang tropeo. Pero lalong naging makabuluhan para sa kanya ang sinabi ng kapwa niya artista sa Karma nang sabihin ni Chanda Romero na “napakaganda naman ng karma ni Vilma. Mayroon na siyang Edu, mayroon siyang Lucky, ngayon ay mayroon pa siya nito (ang ibig sabihin ay ang best actress trophy),” sabay tilian ng mga fans sa loob ng Cultural Center, walang makapigil, walang makasaway. Pero, gaya ng dati, hindi naging madali kay Vilma ang pananalo. Nagpatas ang botohan ng dalawang beses – triple tie sila ni Gina Alajar at Charo Santos, hanggang ma-break ang deadlock at nakaungos ng isang boto si Vilma sa dalawa pa niyang kalaban. Tinawagan si Vilma ni Cirio Santiago, pinasundo sa isang limousine, pero nagdahilan ang Vilma. Ayaw niya sigurong umasa dahil minsan, sa isang awards night din, sinigurong siya ang mananalo pero hindi ganun ang nangyari. (I understand that Vilma really won but the verdict was changed afterwards through the representations and machinations of some influential press sectors.) Kunsabagay, wala rin si Charito Solis noong awards dahil sabi sa akin ni Chato, talagang hindi niya inaasahang manalo ang maliit na papel na iyon sa Kisapmata. Noon pa mang preview pa lamang, maugong na ang balitang baka si Charito ang manalo bilang supporting actress pero hindi niya yun pinansin dahil tiyak na tiyak siya na si Vic Silayan ang mananalo. Sinabi pa niya sa interview niya kay Armida Siguion-Reyna sa Let’s Talk Movies na napakagaling ni Vic. Sa set pa lamang daw, natitiyak na niya halos na si Vic ay mananalo sa Kisapmata. Sa naturan ding programa, sinabi ni Armida sa pagre-review niya ng Karma na talagang magaling ang pagkakaganap ni Vilma sa Karma na parang nakuha nitong punuan ang ilang mahalagang kakulangan ng pelikula. – Oscar Miranda (READ MORE)
“26 years after we first seen “Karma,” the film remained Vilmanians’ favorites and one of Dany Zialcita’s best film. Glossy with crisp dialouge, the film was a big hit at the 1981 Metro Manila Film Festival and earned Vilma the festival’s best actress. Here was what movie reporter Mario Bautista said about her acting: “Ibang-iba” rin ang Vilma Santos sa “Karma.” Subdued na subdued ang performance ni Vi rito unlike in other films na all out ang emoting niya. Dito’y restrained siay at napaka-effective. Halimbawa sa eksena after the rape sa kanya ni Ronaldo Valdez. Nang sabihin niyang siya’y patungo sa kasal niya’y halos hindi na marinig ang kanyang tinig pero talaga namang damang-dama mo ang kirot sa kanyang dibdib. O kaya’y sa mga tagpong sinusumbatan siya ni Tommy Abuel na nanatili siyang kalmado at soft-spoken. We never thought Vilma can be that versatile!” – RV (READ MORE)
Zialcita’s first movie with Vilma was the 1980 festival entry, a drama about bigamy, Langis at Tubig. The following year, Zialcita and Santos joined forces again in antoher festival entry, Karma. The film earned Vilma her second Metro Manila Film Festival Best Actress. The following year, Ziacita’s Gaano Kadalas Ang Minsan broke box office record, Earned P7.3 million during its first day of showing in Metro Manila and assured Vilma Santos the box office queen of 1982. The total number of Vilma Santos and Danny Zialcita colloborations were four (Gaano Kadalas ang Minsan? 1982, Karma 1981, Langis at Tubig 1980, T-Bird at Ako). – RV (READ MORE)
“One of the most misunderstood occult concepts. The nearest equivalent in European thought is contained in the idea of fate, though the oriental term indicates the fate is not a haphazard sequence of events of experiences, but is dependent on actions of previous lives or spiritual conditions. The idea is that a spirit undertakes to live in an earthy body for a given period of time, usually in order to learn something which cannot be learned in a disembodied state, and has to accept rewards and punishments for good and bad deeds committed in previous incarnations. In order that understanding may grow, any evil committed against another person will have to be experienced by the perpetrator. The working out of Karma is not done consciously by ordinary people. The real reasons for the majority of people’s actions and relationships may be understood only when nature of their Karma is grasped – which is tantamount to saying that it is virtually impossible to understand or judge another person when seen in the context of one material lifetime only. Vilma Santos fits the role to a T. For the past years that she has suffered a string of major misfortunes and setbacks in real and reel life, she has hone herself as promise, a common objective: to give the viewing public what it wants – entertainment with a capital E. For Danny Zialcita, aside from having a good screenplay, good direction and brilliant actors and actresses, the movie should have artistic values. Karma promises to be a very good vehicle not only for Zialcita but also for Vilma Santos and the rest of the cast. Will this movie be a good KARMA for director Danny Zialcita, Vilma Santos and the rest of the cast? Watch the movie! It’ll be a different kind of feeling you’ll get after viewing it.” – Bond De Leon (READ MORE)
“…First, Karma is a quality picture. According to Mr. Ernie Rojas ng Sining Silangan, it was produiced not only to make it good in the box-office kungdi maging sa mga awards. Kungsabagay, may laman ang sinabi ni Mr. Rojas simply because Langis at Tubig, which was also producede by Sining Silangan last year, placed second in the tops earners and bagged the Best Actor Award for Dindo Fernando. Second, matagal na ring naipalabas ang latest film ni Vi na Hiwalay. Samakatuwid, maganda ang spacing ng mga pelikula niya, ‘Ika nga, hindi over-exposed ang beauty ni Vi. Dahil dito, nandiyan pa rin ang pananabik ng manonood kaya’t siguradong dudumugin ang Karma. …” – Manny A. Valera (READ MORE)
“…In my limited understanding it takes lifetimes to work off one’s karma. Movies, however, only run for two hours so filmmakers have to take liberties. In Danny Zialcita’s 1981 film Karma the protagonists have the added advantage of knowing exactly who they were in their past lives, thanks to a psychiatrist (Vic Silayan) who practices regression hypnosis. Eric (Ronaldo Valdez, who is smoking, and not just in the library where he researches his former incarnation) and Sarah (Vilma Santos) have already met under awful circumstances, but it turns out they’ve known each other much longer than that. In the past they were Enrico and Guada, illicit lovers murdered by Guada’s husband, Limbo. Limbo vows to follow them to the next life, but which form does he take? Is he now Enrico’s mentally unbalanced, pathologically jealous wife Cristy (Chanda Romero), or Sarah’s cruel, sadistic husband Alfredo (Tommy Abuel). It’s not a whodunnit, it’s a who-will-do-it? Vilma Santos turns in another fine portrayal of emotional turmoil. Nora Aunor had the advantage of expressing volumes with her eyes; Vilma expresses with her face, hands, and entire body. Nora was inward, Vilma outward. Ronaldo Valdez gives an understated performance, coolly delivering lines like, “In love there’s no measure of time”. Tommy Abuel overacts ridiculously, even for a guy so suspicious that he has his wife examined by a gynecologist to see if she’s had sex. Chanda Romero is fabulous. Her Cristy is a psychotic who never raises her voice; you can tell she has tranquilizers for breakfast, lunch, and dinner. The first time Cristy and Sarah meet is at the antique store Sarah manages at the old Virra Mall. Cristy breezes in, picks out a bunch of stuff, and announces that she doesn’t carry cash or credit cards, just send the bill to her husband. She points to another piece she buys, and Sarah says, helpfully, “That’s P9,500.” “Ok lang,” Cristy says, “Nagtanong ba ako? (Did I ask?)” One thing about Danny Zialcita movies: his rich people looked and sounded like rich people. He made movies for sophisticated grown-ups. If they don’t make movies like Zialcita’s anymore, it’s because people are no longer that articulate. Nobody casually tosses off bon mots anymore, everything has to be overstated for the dim. So we Zialcita fans are reduced to reciting favorite lines from his movies: “Puede bang makausap ang asawa ko na asawa mo na asawa ng buong bayan?” (May I speak to my husband who’s your husband who’s everybody’s husband?)…” – Jessica Rules The Universe (READ MORE)
The Plot: Directed by Cirio H Santiago. Serialized from comics story of Nerissa Cabral. Film with Charito Solis.
The Reviews: “…The multi-awarded actress even related her personal experience about feeling inadequate when she did the 1979 movie Modelong Tanso with the late Charito Solis who played her mom in the story. “Ako ang naintimidate noon. Naranasan ko yun noong araw kay Ms. Charito Solis na ngayon parang yun naman ang nangyayari sa akin [with the young stars.] So tinuro ko sa kanila na kahit may ka-eksena kayo na senior stars, kapag sinabi ng direktor ni’yo na kailangan niyong sampalin/sigawan sila, wala kayong choice. Gawin ni’yo yun, kahit sabihin niyong senior or respected star man yun, hindi kayo pwedeng magpa-intimidate. Kasi lahat sila kinakabahan lalo na nung pinapasampal ako kay Megan…” – Rachelle Siazon (READ MORE)
“…Sa 1979 FAMAS, Nora bested Lolita, who, with her performance in Brocka’s Tinimbang Ka Ngunit Kulang, beat Aunor in 1974. Ang “katapat” ng Nora-Lolita duo ay ang acting tandem nina Vilma Santos at Charito Solis in Bancom Audiovision’s Modelong Tanso, directed by Cirio Santiago. Sa 1979 Gawad Urian, it was neither Nora nor Lolita as Best Actress; the award instead went to Charito Solis for Brocka’s Ina, Kapatid, Anak…” – William Reyes (READ MORE)
“…the film that defined her 1970s career was not an adult film, but a dramatic film, her specialty. Pitted with the “other dramatic empress” Lolita Rodriguez, she contrasted her usual acting style with Rodriguez’ restrained, quiet style in Ina, Kapatid, Anak (1979). At that time already acknowledged as Philippine Cinema’s Hall of Famer for Best Actress, Charito Solis showed her acting prowess in a way that did not swallow Rodriguez nor did not allow to be shadowed by Rodriguez’ subtle style. Come FAMAS time, she had another Best Actress nod but lost to Nora Aunor for Ina Ka ng Anak Mo, but the “other” awards, the Gawad Urian, granted her its Gawad para sa Pinakamahusay na Pangunahing Aktres (Best Actress). Interesting enough, her penchant for top-billing persisted: the usual tool for billing two actresses demanding top billing was employed (see left). She also appeared with Vilma Santos in Modelong Tanso, a pale competitor to Rodriguez’ and Nora Aunor’s Ina Ka ng Anak Mo. Because Vilma Santos was another actress known for her penchant with billing, the same tool was used…The 1990s saw Charito Solis graduate to mother and grandmother roles, which she had done with frequency in the 1980s. In another nod to her age, she finally allowed herself to be billed above Vilma Santos, then acknowledged as the Longest-Reigning Box Office Queen of Philippine Movies, albeit above-the-title in films such as Ipagpatawad Mo (1992) and Dahil Mahal Kita: The Dolzura Cortez Story (1993)…Charito Solis’ “antics” were the toast of the tabloids when she was younger, from the admirable to the ridiculous. Her volatile outbursts on sets when professionalism was not observed was a common story written in the movie magazines. Ever a stickler for promptness and professionalism, she was said not to allow any one to make a noise during her performances because it detracts from her concentration. She would even go to the lengths of bringing her acting trophies on movie sets so that she can show the younger stars that they were dealing with a competent and award-winning actress that they have to respect in terms of promptness and performance. Both Vilma Santos and Nora Aunor, future FAMAS Hall of Famers, were said to have experienced this…” – FAMAS (READ MORE)
“…Charito Solis, who initially had a tempestuous and hostile relationship with Vilma while making the ill-fated but box-office MMFF champ Modelong Tanso, had a change of heart when the reborn versatile/professional/charismatic actress Vilma impressed her through the years, at idineklara niya sa buong mundo, without batting an eyelash. na di hamak na mas magaling na aktres si Vilma kaysa kay Nora Aunor. Walang kumontra kay Chato dahil totoo ang sinabi niya, si La Solis yata iyan, at pati nga si Amalia Fuentes, another certified Vilmanian, at “kaaway” na mortal ni La Solis, ay sumang-ayon sa kanya. Si Susan Roces, ano naman kaya ang opinion niya sa obserbasyon ni Chato? Ah, Nida Blanca. Ang dami nilang pinagsamahan ni Vilma, mula TV hanggang sa movies. Dati ay una sa billing si Nida, subali’t dahil nga sa gulong ng buhay ay kailangang maging praktikal at handa ka sa katotohanang magiging second lead ka lang in the future. Walang problema sina Nida at Vilma ke mag-Ate o mag-Ina sila sa mga proyekto, may chemistry sila and mutual respect. Patok ang kanilang pagsasama. Remember their mother and daughter roles in Ibulong Mo Sa Diyos? Sayang at wala na ang original versatile movie and dancing queen Nida mapa-aksiyon (Babaing Isputnik), musical (Huwag Kang Sumingit with Gloria Romero), comedy (Waray-waray) at drama (Miguelito at Magdusa Ka!). Kung tutuusin ay tunay na maigsi ang ating hiram na buhay. Kung buhay nga lang ang mga nabanggit sa itaas ay mas lalu sanang makulay ang daigdig ng sining. Subalit ang lahat ay may katapusan. Ating suriin ang mga sumusunod na talata….” – Mario O. Garces (READ MORE)
“…Vilma in 1979 was a picture of self-assured bankable star. She did two movies with Elwood Perez, Magkaribal and Pinay American Style both were box office hits. She also produced an Eddie Rodrigues starrer Halik sa Paa Halik sa Kamay, and teamed-up with comedy king, Dolphy in Buhay Artista. As the year 1979 ends, she battled the drama queen Charito Solis in the local festival entry, Modelong Tanso. The end of the decade marked her stronghold as the box office queen. Clearly, Vilma Santos’ versatility as an actress was the secret weapon of her box office success. And this weapon was in full display in Pinay American Style…” – RV (READ MORE)
“Ooops! Keep your cool, dear Noranians, and listen to Charito Solis’ explanation before you accuse her of being, uh, maka-Vilma. “Vilma has a wider range as an actress while Nora is limited and typecast in certain roles,” Charito said in a tone devoid of intrigue, answering our question in a straightforward, matter-of-fact manner. “Si Vilma, puede kahit anong role, kahit bold. You can’t imagine Nora doing a bold role, can you?” But, and that’s the big but, “Nora has more depth than Vilma,” Charito added, “and it’s because of her expressive eyes. Nora is very effective in scenes where she doesn’t say anything, just act with her eyes, at “yan ang kulang ni Vilma. Vilma has to say something to be effective.” Charito has worked with Vilma twice (in “Mga Tigre ng SierraCruz” and “Modelong Tanso”) and with Nora once (“Minsan May Isang Ina”). Speaking in general now, said Charito, “Vilma is the better actress.” We asked Charito that ticklish question during the lunch presscon for her latest movie, the star-studded Mother’s Day offering of Regal Films titled “Dear Mama,” which also stars Gloria Romero, Laurice Guillen, Snooky, Janice de Belen, Julie Vega, Manilyn Reynes, Jaypee de Guzman, Rey PJ Abellana and Alicia Alonzo in the title role. Our own personal opinion somehow jibes with that of Charito whose “throne,” I suppose, will be inherited by Vilma (while Nora will inherit the “throne” of the other drama queen, Lolita Rodriguez).” – Ricardo F. Lo, The Phil. Star April 031984 (READ MORE)
“…what the non-winning dramatic films (Modelong Tanso, Alabok na Ginto, and Julian Makabayan) have in common are disappointments. Cirio H. Santiago’s Modelong Tanso is another of those Electra-complex explorations which lately have become so strangely fashionable in local cinema: in fact one of the festival winners, Ina Ka, falls in the same category. Modelong Tanso is about the conflict between a materialistic mother and an idealistic daughter, each of whom gets what she wants and pays the proper price for it. Santiago also pays a price: stereotypical acting, carelessly executed multiple roles, and embarrassing approximations of social sophistication. As in the other entries, Modelong Tanso attempts at significance through developmentalisms (i.e., favorable references to the barangay and the Bagong Lipunan Sites and Services program); as in the other entries, the attempts deservedly fail. Antonio C. Martinez’s Alabok na Ginto may have been the festival’s dark horse, a love triangle consistent in many ways, mostly technical. Thematically, it falls short of realizing the ambitious statements it makes about fairness (or the lack of it) in love and war. As its title suggests, the movie glitters, but it certainly isn’t gold. As least it is better than the uneven alloy Modelong Tanso turned out to be…” – Joel David, WHO, 19 January 1980 (READ MORE)
Body of Work – “…Sa 1983, ang mga mapagpipilian lamang ay…Karnal…Now that we have discussed this year’s better films and the directors who made them, tunghayan natin ang listahan ng best screen performances…Kung ang paraan sa paghatol sa Best Actress ay for the actress with most commendable body of work, tiyak nang ang mananalo, hands down, ay si Charito Solis. Charito Solis is very good as the bitter lola in Boyfriend Kong Kano, laudable as the stern mother who nearly ruined her children in Minsan May Isang Ina, terrific as the impoverished mom who slowly loses her sanity in Don’t Cry For Me, Papa and simply pathetic as the derange ex-prostitute in the released Pusakal. Idagdag pa nga rito ang matindi rin niyang pagkakaganap sa Karnal, talagang top contender si Chato for best actress this year…” – Movie Flash Magazine, January 5, 1984 (READ MORE)
Acting Trophies – “…Charito Solis’ “antics” were the toast of the tabloids when she was younger, from the admirable to the ridiculous. Her volatile outbursts on sets when professionalism was not observed was a common story written in the movie magazines. Ever a stickler for promptness and professionalism, she was said not to allow any one to make a noise during her performances because it detracts from her concentration. She would even go to the lengths of bringing her acting trophies on movie sets so that she can show the younger stars that they were dealing with a competent and award-winning actress that they have to respect in terms of promptness and performance. Both Vilma Santos and Nora Aunor, future FAMAS Hall of Famers, were said to have experienced this. She was also said to “meddle” with directors in terms of movie directing, an accusation that she had denied and explained: she was not meddling with the direction of the film but with the direction of her acting. She was an active artist; she would suggest ways on how to better her performance, but the director’s approval was needed to seal it, which she obeyed. She was just disappointed that because she was Charito Solis that her directors usually do not bring out the best in her, believing and excusing themselves that what she was giving was already the best. Other tabloid rumors were that she slept in a temperature-controlled room to preserve her beauty and that she brought her own arinola (potty) on film sets as she refused to use public toilets. She is also known to drum up interest with her name through her personal makings, such as the beggar garb in the 1968 FAMAS Awards. Her career was top one in her life, a probable reason why she never married. After her death, it was revealed that the only boyfriends she ever had were the King of Philippine Movies Fernando Poe, Jr. when they were both starting out and film director Danny Zialcita…” – Gypsy Baldovino and Yolly Tiangco (READ MORE)
Lolita Rodriguez – “…Lolita and Charito maintained mutual respect and fondness, unusual to find in top actresses. Actually, the “clashes” exist largely in the minds of the public. Lolita says she has always been in the best of terms with LVN stars, among them Charito. Echoing the same sentiment, Charito say she works well with professionals “and who can be more professional than Lolita?” In the “clashes” in Larawanm one couldn’t say who really “won.” Lolita, having the stronger role (Candida) and being more familiar with the medium, dominated Larawan. But Charito turned her awkwardness with the stage into a virtue. She gave Paula an endearing quality…” – Ronald K. Constantino, Expressweek Magazine, April 19, 1979 (READ MORE)
Ishmael Bermal – “…So far, lahat naman siguro ng magagaling na directors noong araw, I’ve worked with na. Sa bagay, iba rin ang style nila noon, iba kaysa sa ngayon. At iba’ng galing nila, iba rin naman ang galing ng mga director ngayon.:” She paused and thinks awhile. “But I take special note of Bernie (Ishmael Bernal, who directed her late last year in “Walang Katapusang Tag-araw). Ibang klase siyang director, e. ‘yung bang pipigain ka niya nang husto. When he doesn’t like what you’re doing, he tells you. Kasi, kadalasan ang mga director ngayon, ano, just because I’m Charito Solis, it seems they don’t even bother to correct me. ‘Yung bang kundi pa ko magtatanong, hindi pa nila sasabihin. Si Bernie he can even tell me, “O, wala ka yata sa mood ngayon, a.” Things like that. And he really insists on what he wants you to do “hanggang sa makuha mo. Okey lang yon. Meron din naman akong ka-vives na director, kasundo ko sa shooting, I like him pero I cannot really, honestly respect him as a director, ganyan. Sa LVN din noon, iba. Mahigpit sila diyan. Hindi puwede ‘yung pa-wise guy wise guy ka. You have to obey everything they tell you…” – Mario E. Bautista, Philippines Daily Express, October 5, 1978 (READ MORE)
Better Actress – “…Oops! Keep your cool, dear Noranians, and listen to Charito Solis’ explanation before you accuse her of being, uh, “maka-Vilma.” “Vilma has a wider range as an actress while Nora is limited and typecast in certain roles,” Charito said in a tone devoid of intrigue, answering our question in a straightforward, matter-of-fact manner. “Si Vilma, puede kahit anong role, kahit bold. You can’t imagine Nora doing a bold role, can you?” But, and that’s the big but, “Nora has more depth than Vilma,” Charito added, “and it’s because of her expressive eyes. Nora is very effective in scenes where she doesn’t say anything, just act with her eyes, at ‘yan ang kulang ni Vilma. Vilma has to say something to be effective.” Charito has worked with Vilma twice (in “Mga Tigre ng SierraCruz” and “Modelong Tanso”) and with Nora once (“Minsan May Isang Ina”). Speaking in general now, said Charito, “Vilma is the better actress.” We asked Charito that ticklish question during the lunch presscon for her latest movie, the star-studded Mother’s Day offering of Regal Films titled “Dear Mama”, which also stars Gloria Romero, Laurice Guillen, Snooky, Janice de Belen, Julie Vega, Manilyn Reynes, Jaypee de Guzman, Rey “PJ” Abellana and Alicia Alonzo in the title role. Our own personal opinion somehow jibes with that of Charito whose “throne”, I suppose, will be inherited by Vilma (while Nora will inherit the “throne” of the other drama queen, Lolita Rodriguez)…” – Ricardo F. Lo, The Phil. Star, 03 April 1984 (READ MORE)
Charito Solis (6 October 1935 – 9 January 1998) was a FAMAS and Gawad Urian award-winning Filipino film actress. Acknowledged as one of the leading dramatic actresses of post-war Philippine cinema, she was tagged either as the “Anna Magnani of the Philippines” or as “the Meryl Streep of the Philippines. – Wikipedia (READ MORE)
Charito Solis and Vilma Santos Trivia
Charito Solis and Vilma Santos Films
Hanggang Ngayon Ika’y Minamahal (1997) – “…You know, it’s amazing because we’ve never been linked to each other and yet the public loves seeing our movies together. Siguro it’s because we have this unbelievable chemistry. We know each other so well that tinginan lang on screen, we already know what to do to make a take very good…” – Mario E. Bautista (READ MORE)
Dahil Mahal Kita: The Dolzura Cortez Story (1993) – “…The 1990s saw Charito Solis graduate to mother and grandmother roles, which she had done with frequency in the 1980s. In another nod to her age, she finally allowed herself to be billed above Vilma Santos, then acknowledged as the Longest-Reigning Box Office Queen of Philippine Movies, albeit above-the-title in films such as Ipagpatawad Mo (1992) and Dahil Mahal Kita: The Dolzura Cortez Story (1993)…” – Gypsy Baldovino and Yolly Tiangco (READ MORE)
Ipagpatawad Mo (1991) – “…Ninety percent of these autistic children are very good-looking and are good in numbers but they have a world of their own. If you teach them something, yon kung ang alam nila, no other world exists. Autism is like virus and it is not hereditary. Hindi malalaman na autistic ang isang bata until they are about three or four years old. But doctors know, when a baby is born that he or she is autistic, only they don’t dare tell the parents about it. This movie should be an eye opener for such doctors and parents…” – Nena Z. Villanueva, Manila Standard, Oct 28 1991 (READ MORE)
Modelong Tanso (1979) – “…The multi-awarded actress even related her personal experience about feeling inadequate when she did the 1979 movie Modelong Tanso with the late Charito Solis who played her mom in the story. “Ako ang naintimidate noon. Naranasan ko yun noong araw kay Ms. Charito Solis na ngayon parang yun naman ang nangyayari sa akin [with the young stars.] So tinuro ko sa kanila na kahit may ka-eksena kayo na senior stars, kapag sinabi ng direktor ni’yo na kailangan niyong sampalin/sigawan sila, wala kayong choice. Gawin ni’yo yun, kahit sabihin niyong senior or respected star man yun, hindi kayo pwedeng magpa-intimidate. Kasi lahat sila kinakabahan lalo na nung pinapasampal ako kay Megan…” – Rachelle Siazon (READ MORE)
Happy Days Are Here Again (1974) – “…In 1974, the Big 3 studios of the 50s, LVN Pictures, Sampaguita Pictures and Premiere Productions reproduced a full-length movie showcasing a compilation of the musical comedies produced by the three studios. It was a painstaking job for the researchers since most of the best musicals produced by the three studios were either lost or destroyed. At the start of the project, director Lamberto V. Avellana was supposed to direct the film but eventually replaced by Cirio Santiago after so many changes in the project including the script. He ended up as consultant of the movie. The film was HAPPY DAYS ARE HERE AGAIN, with brief narrations by movie stars like Gloria Romero, Nida Blanca, Susan Roces, Leopoldo Salcedo, Jaime de la Rosa, Eddie Gutierrez, Tirso Cruz III, Pugo, German Moreno and Ike Lozada…” – Pelikula Atbp (READ MORE)
Mga Tigre ng Sierra Cruz (1974) – “…Charito Solis, who initially had a tempestuous and hostile relationship with Vilma while making the ill-fated but box-office MMFF champ Modelong Tanso, had a change of heart when the reborn versatile/professional/charismatic actress Vilma impressed her through the years, at idineklara niya sa buong mundo, without batting an eyelash. na di hamak na mas magaling na aktres si Vilma kaysa kay Nora Aunor. Walang kumontra kay Chato dahil totoo ang sinabi niya, si La Solis yata iyan, at pati nga si Amalia Fuentes, another certified Vilmanian, at “kaaway” na mortal ni La Solis, ay sumang-ayon sa kanya. Si Susan Roces, ano naman kaya ang opinion niya sa obserbasyon ni Chato? Ah, Nida Blanca. Ang dami nilang pinagsamahan ni Vilma, mula TV hanggang sa movies. Dati ay una sa billing si Nida, subali’t dahil nga sa gulong ng buhay ay kailangang maging praktikal at handa ka sa katotohanang magiging second lead ka lang in the future…” – Mario O. Garces (READ MORE)
The Plot: “Dahil Mahal Kita (Because I Love You): The Dolzura Cortez Story 1994, This Philippine drama chronicles the colorful life of Dolzura Cortez, the first publicly recognized AIDS patient in the Philippines. The film begins with a brief examination of Cortez’s pre-AIDS life. Initially she lived in a small village with her cruel husband and three kids. The spunky woman leaves them and moves to the big city where she engages in several affairs. Her second marriage to a rich foreigner does not last long. To support her children, Dolly begins an all woman “contract worker” agency. This also serves to facilitate her love of night-life. Tragedy comes to Dolzura after she collapses on a dance floor one night and learns that she has full-blown AIDS. At a Manila hospital she meets ex-lover Paulo, an AIDS researcher who encourages to tell her story publicly. The courageous woman does and she becomes instrumental in spreading AIDS awareness to the islands.” – Sandra Brennan, All Movie Guide, The New York Times (READ MORE)
The Reviews: This Philippine drama chronicles the colorful life of Dolzura Cortez, the first publicly recognized AIDS patient in the Philippines. The film begins with a brief examination of Cortez’s pre-AIDS life. Initially she lived in a small village with her cruel husband and three kids. The spunky woman leaves them and moves to the big city where she engages in several affairs. Her second marriage to a rich foreigner does not last long. To support her children, Dolly begins an all woman “contract worker” agency. This also serves to facilitate her love of night-life. Tragedy comes to Dolzura after she collapses on a dance floor one night and learns that she has full-blown AIDS. At a Manila hospital she meets ex-lover Paulo, an AIDS researcher who encourages to tell her story publicly. The courageous woman does and she becomes instrumental in spreading AIDS awareness to the islands. It was the first movie on AIDS in the Philippines that provided ‘a name and a face’ among the 50 recorded lives that were lost to AIDS in 1992. This movie was utilized as a focus of discussion by some health care personnel to express their thoughts, opinions and recommendations regarding the use of cinema as a powerful tool for AIDS information dissemination. – You and Aids web-site
The “Dolzura Cortez Story” was the Philippines’ first movie on AIDS that provided ‘a name and a face’ among the 50 recorded lives that were lost to AIDS in 1992. This movie was utilized as a focus of discussion by some health care personnel to express their thoughts, opinions and recommendations regarding the use of cinema as a powerful tool for AIDS information dissemination.
Responding to a newspaper advertisement looking for a person with AIDS, Ms. Dolzura Cortez agreed to have her life story serialized in print and later developed into a movie. The “Dolzura Cortez Story” was subsequently produced as the Philippines’ first movie on AIDS which documented the real experiences of a person living with AIDS in the country. The author reports findings from a study conducted to determine the social impact of the movie as perceived by some health care personnel. Specifically, it aimed to identify the messages that health care providers derived from watching the movie and to make recommendations on how this and subsequent films could serve as an effective tool for AIDS education. 134 health care personnel representing 13 regional hospitals from all over the country watched the film, then answered a questionnaire. The sample was of mean age 35.6 years, 84.3% female, and with mean experience of 10.1 years. 20.1% were doctors, 21.6% nurses, 32.4% social workers, and 25.4% other health personnel. 22.9% had direct experience caring for persons with AIDS and 32.8% knew someone with AIDS. Although these participants perceived some simple and subtle messages from the movie, they also noted its shortcomings. The movie lacked realism; overemphasized the dangers of having multiple sex partners at the expense of warning about other risk factors for HIV transmission; the counsellor pressured the patient and failed to provide enough information on infection control; the psychosocial, economic, and spiritual concerns of people with AIDS were not addressed; and there were some misinterpretations and twisted truths about AIDS facts and the story itself. The respondents suggested that health care providers and people directly involved in AIDS education and counseling be involved in the production of such movies. Moreover, documentary pictures and testimonial footage of the woman would have added realism, while additional basic information about AIDS could have been mentioned in either the movie or a trailer. – NCBI
‘Dolzura Cortez Story’ is an artistic and brilliant film from Manila’s finest director. The movie’s leading actress, Ms. Santos, played her part so powerfully, and is very convincing as Dolzura, the first Filipino HIV/AIDS patient to come- out to the public. The movie is a thought- provoking film, ready to challenge the Filipino idea of what is right and what is wrong. – Jonard, “A thought- provoking, honest film from Philippine’s finest director,” IBDB, March 11, 2000
“…In 1992, wala ni isang pelikulang tinampukan si Nora, samantalang si Vilma starred in only one: Maryo J. delos Reyes’ Sinungaling Mong Puso, na hindi niya pinagtamuhan ng anumang major Best Actress award. In 1993, gumawa si Vilma ng pelikula na ang kuwento’y base sa unang Pilipinang nag-reveal ng pagkakaroon niya ng AIDS (Acquired Immune Deficiency Syndrome), si Dolzura Cortez. Directed by Laurice Guillen for Octoarts Films, Dahil Mahal Kita (The Dolzura Cortez Story) won Vilma the Best Actress honors at the 1993 Manila Film Festival, Star, Gawad Urian and FAP…” – William Reyes (READ MORE)
“Still bearing activist weight is Vilma’s effort in Laurice Guillen’s Dahil Mahal Kita: The Dolzura Cortez Story in which she fleshes out a body and a mind for a person with AIDS. This initiative constitutes an advocacy not only for people afflicted with the dreaded pandemic, but also for women who have to overcome strata of ostracism in the process of survival and resist their being reduced to an aberration, in this case, a pathology.” – Patrick Flores, Manila Standard Today Jan 11, 2003 (READ MORE)
“…Previously, HIV/AIDS “victims” were seen either as homosexual men, or women who worked in the sex industry. The former stereotype was even turned into a mainstream 1993 Hollywood movie Philadelphia that won a best actor Academy Award for Tom Hanks. The latter, on the other hand, was the subject of a 1993 Filipino film The Dolzura Cortez Story starring Vilma Santos. As a disease, AIDS was highly misunderstood two decades ago. Religious fanatics considered it “a punishment from God” for the sexual excesses of its victims. While a complete falsehood, there was some truth to the other mistaken belief about AIDS—that it would lead to certain death for whoever had the disease, which had no known cure. Fast forward to 2013 and Filipinos still generally remain in the dark about HIV/AIDS…” – Beting Laygo Dolor, Manila Times, 14 August 2013 (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.
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’ MMFF Best Actress from 1975 to 2008
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 recorded revenue of her festival entries. From Burlesk Queen, Rubia Servios, Karma, Langis at Tubig and to her last one, Mano Po 3, all did very well. At the end of the day, producers would still prefer a little profit than trophies. – RV
Vilmanians, diehard fans of Vilma Santos, 45, the renowned actress-politician and the longest-reigning box-office queen in the Philippines. Last year, hundreds of screaming Vilmanians jammed the Quezon City tax office as Santos showed up to pay delinquent taxes. Many of them had come to seek her authograph. Santos, whose full name is Rosa Vilma Tuazon Santos-Recto, began her career as an award-winning child actress and singer in 1963. In 1992, she married Ralph Gonzalez Recto, scion of a famous political clan in Batangas province, just south of Manila. Recto, then only 28, parlayed his wife’s name to win a congressional seat in Batangas. He ran as “Mr. Vilma Santos.” Last year, Santos herself contested and won the elections for mayor of Lipa City in Batangas. She has denied accusations that her family is trying to build a political dynasty. People vote for the Recto clan, she said in a television interview before the elections, because “they had done a good job in the province.” Vilmanians would unhesitatingly agree. – June 25, 1999 Asiaweek
Vilma Santos ranked 86th in BizNewsAsia Magazines’ 100 Most Powerful Filipinos – Education: Crash course on local governance, primary health care, human resource development and fiscal administration, UP. The Star for all season has proved cynics wrong that movie people have little between their ears, aside from a beautiful face or a handsome profile. As mayor of burgeoning Lipa, she has been chosen “most outstanding city mayor” in 2000 by the Civil Service Commission. Her popularity helped her husband Ralph Recto win a senate seat in 2001, and she can easily win a senate seat for herself if she gets tired of running Lipa city. The mayor with an ageless face received the Ten Young Achievers award in 1992. – BizNewsAsia Magazine, June 2004
Charito Solis: “Vilma is a better actress than Nora” – OOPS! Keep your cool, dear Noranians, and listen to Charito Solis’ explanation before you accuse her of being, uh, “maka-Vilma.” “Vilma has a wider range as an actress while Nora is limited and typecast in certain roles,” Charito said in a tone devoid of intrigue, answering our question in a straightforward, matter-of-fact manner. “Si Vilma, puede kahit anong role, kahit bold. You can’t imagine Nora doing a bold role, can you?” But, and that’s the big but, “Nora has more depth than Vilma,” Charito added, “and it’s because of her expressive eyes. Nora is very effective in scenes where she doesn’t say anything, just act with her eyes, at ‘yan ang kulang ni Vilma. Vilma has to say something to be effective.” Charito has worked with Vilma twice (in “Mga Tigre ng SierraCruz” and “Modelong Tanso”) and with Nora once (“Minsan May Isang Ina”). Speaking in general now, said Charito, “Vilma is the better actress.” We asked Charito that ticklish question during the lunch presscon for her latest movie, the star-studded Mother’s Day offering of Regal Films titled “Dear Mama”, which also stars Gloria Romero, Laurice Guillen, Snooky, Janice de Belen, Julie Vega, Manilyn Reynes, Jaypee de Guzman, Rey “PJ” Abellana and Alicia Alonzo in the title role. Our own personal opinion somehow jibes with that of Charito whose “throne”, I suppose, will be inherited by Vilma (while Nora will inherit the “throne” of the other drama queen, Lolita Rodriguez). – Funfare by Ricardo F. Lo, The Phil. Star – 03 April 1984
Vilma is the first Filipino actress to be featured in Time Magaziine. – The Philippines: Let Them See Films. When politics became pretty much a one-man show in the Philippines, the people lost a prime source of entetainment. Part of the gap has been filled by a burhome-grown film industry, which displayed nine of its new productions at the Manila Film Festival last month. Some 2 million moviegoers saw the films. Some of the movies were historical dramas pointing up the search for a Filipino identity during the long years of Spanish rule. But the most acclaimed were contemporary stories with a heavy populist touch. The festival’s smash hit was Burlesk Queen, starring Filipino Superstar Vilma Santos. It tells the syrupy tale of a poor girl who turns to burlesque dancing to support a crippled father. She falls in love with the son of a politician, elopes with him, and then tragically loses him back to his possessive mother. The treacle is supplemented with some gritty argument about the rights and wrongs of burlesque, with a lefthanded dig at censors. Huffs the burlesque impresario at one point: “Who are they to dictate what the people should see?” – Time Magazine Feb. 13, 1978 Vol. 111 No. 7
Actress-politician Vilma Santos Recto receives a picture frame containing her image and that of the gumamela named after her, Hibiscus-Rosasinensis, from plant breeder Reynold Pimentel.
Manila – TV artist Mari-Len Martinez’ single debut on Villar is “If You Could Read My Mind.” her signing fee is one fo the highest here….Jean Young, another TV artist whose national breakout years ago was “Nikki Hoeki,” also was signed by Villar. Formerly, she was recording artist of Jonal, now in the verge of closing up…The new male contractees of Villar are the Two of Us (Jojit Paredes and Ronnie Henares) and balladeer Jun Polistico. Single debut of the Two of Us is “Snow Queen of Texas” while Polistico’s is “Theme from “Godfather.” Alice Mendez, grand national champion of the institurional “Tawag ng Tanghalan” radio-TV amateur program, debuted in the release of a “A House is Not a Home” on Pioneer, a label of Vicor Music. The song was her winning piece last year…Vicor is preparing the album debut on Badjaoof TV host and columnist Justo C. Justo. The LP will be in the Visayas-Mindanao region of the Philippines. Film artist Walter Navarro (Vicor) will have his first LP, “King of Balladeer,” this month. He is a contract star of Lea Productions and principal mainstay of the El Bodegon Club. Navarro is doing a film musical with Vilma Santos (Wilear’s) with Mirick Productions…the film musical “Winter Holiday,” which stars Nora Aunor (Alpha) and Tirso Cruz III (Vicor) was second top grosser in the recently concluded Manila Film Festival. The team’s movie musical “Guy and Pip” was the top grosser last year…”Remembrance,” another film musical, was chosen “best musical” in the Manila Film Festival. The film stars Vilma Santos (Wilear’) and Edgar Mortiz (Wilear’s). The film also won in the categories of best film editing, best sound and best script…Vicor artist Victor Laurel will do a film with Lea Productions opposite Hilda Koronel. – Oskar Salazar, Billboard July 29 1972