Vilma Santos is a popular multi-awarded actress and politician in the Philippines. She's known as the "Queen of Philippine Movies," "Queenstar" and "Star for All Seasons." She is currently the Congresswoman of District of Lipa, Batangas (Philippines). This site is mostly about her film career.
Broken Marriage; directed by Ishmael Bernal; written by Jose Carreon and Bing Caballero; starring Vilma Santos and Christopher De Leon; produced by Regal Films (* * * * *). Broken Marriage is Ishmael Bernal’s best film since his ill-fated Manila by Night/City After Dark (1980). In fact, Broken Marriage is-in the sense the term is used by painters-a detail from the huge canvas of City After Dark. The theme of this latest masterpiece from the Master is simple: the emotional violence in a marriage mirrors the physical, political, and social violence of the city, City After Dark gave a bird’s eye view of the city. Broken Marriage looks at the city through the eyes of a woman. The violence in the marriage of Christopher de Leon and Vilma Santos is obvious enough. He is a conscientious, compassionate, successful police reporter who is just about to be promoted. They are, in other words, alike. Like poles repel, goes the age-old adage from physical science, and these two career-conscious individuals have no time for each other. He spends his leisure hours reading or catching up on videotaped films. She spends her time on the telephone, making her home an extension of the studio. Bernal cleverly places an issue of Time magazine always within reach of de Leon. The director is saying that time is what is just beyond the reach of these two persons who are in love, not with each other, but with themselves. In fact, their very similarity (they are both sloppy in dressing, in fixing their things, in working habits) points to what must have made them fall in love in the first place; they both see themselves in each other.
To say that the two persons are “incompatible”is to miss a lot. They are, in fact, extremely compatible, because they look, think, and act the same. They both want the marriage to revolve around themselves. They both want fame and fortune. They both want to be loved by the children but not to spend time loving them. They are both stubborn, yet forgiving. They are both faithful to each other, almost to a fault, yet they cannot stand each other. Is Bernal saying that marriages can never work if the two partners are equal in every respect? Is he saying that only a male chauvinist marriage can work, where the man works all day and the woman stays home? Or is he subtly suggesting that marriage itself as an institution is an anchronism in a rapidly-changing world? There will be various interpretations of this film, depending on one’s own preception of one’s own marriage. But disagree or not, viewers cannot fail to see what Bernal’s underying thesis is-that the violence in urban, middle-class marriages is caused by violence outside the house. The home is the center that has failed to hold together. The city is the world that has become “broken.”
Bernal cleverly shows that he is interested not only in a marriage, but in the city, when he lets his background seep into the interstices of the plot. In the first sequence, for instance de Leon is watching Bonnie and Clyde on videotape, an obvious hint that Broken Marriage will also be about love in a violent setting. In Bonnie and Clyde, if you recall, the two lovers-having rediscovered each other are mercilessly mowed down by law enforcement officers. Similarly, the marriage in Broken Marriage is “mowed down”by the lawlessness of society. Again ang again, Bernal includes violent news from the otuside of the home. Rod Navarro’s voice is heard talking about the Middle East war. A bank shoot-out is headlined by de Leon’s paper. During the climactic break-up scene, The Greatest American Hero is showing; in that series, the hero needs extraterrestrial help to combat crime in the modern world. The registration scene in the university shows the lack of discipline that pervades Manila. If the city is not disciplined how can a small family be? Sprinkled throughtout the screenplay are derogatory remarks against institutions noted for their lack of discipline-Meralco (taping is hurried because of an imprending brown-out), MWSS (Santos refuses to pay a bill for water since there has been no water in her neighborhood for months), the Ministry of Publick Highways (streets are described and shown to be full of diggings), the police (who are asked by de Leon to “salvage” or murder a Chinese prostitution king pin), movie actresses (one star fails to appear for a song number), movie producers (Orestes Ojeda’s only object is to sleep with Santos), and, most appalling of all, politicians (personafied by a fictional mayor who points a revolver at de Leon). In short, this is City After Dark all over again, but with more subtle, probably more lasting, effect.
The ending has been criticized by a couple of reviewers. It is true that the beach sequence smacks of commercialism. All’s well that ends well, and all that. But City After Dark, we may recall, also ends on such a happy note. We may disagree with Bernal’s perception that there is always hope left fro man, woman, and the city, but we cannot disallow him his views. In other words, most of us cannot agree that the broken marriage can be mended, but Bernal thinks so, and his films have all ended on such an up-note. I personally would rather see a darker, more realistic ending, but Bernal would not be Bernal without his happy endings. It’s not a completely happy endings, anyway. Two sequences before the beach scene. Bernal films the wedding scene in a haze, as though he were saying that whatever follows the wedding is mere romance. It is like Bonnie and Clyde. The gansters dream of a happy life together, spinning romantic castles in the air. But as soon as it is time to go out into the real world, violence is right there at the doorstep. The ending is filmed as a romantic interlude, but the reality is waiting around the dark corners of the city, like the mayor’s goons who cannot stand the thought that someone is finally about to tell the truth. – Isagani Cruz, Parade Magazine 1983, reposted by Pelikula Atbp (READ MORE)
“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)
Plot Description: A story of a woman whose closest friend became her worst rival. They were once very close to each other-almost like sisters. She even confides all her troubles and heartaches to this friend. Later, she sensed some changes in her friend’s attitude towards her which became obvious when this friend of hers tried to outshine her in everything. She tried not to mind this but worse came to worst when she discovered that the other woman in her love one’s life is the very same friend thus a never-ending conflict arised. It stars: Vilma Santos, Christopher de Leon, Alma Moreno. – Trigon Video
Plot Description: Al (Christopher De Leon) is a balikbayan who returns to his former hometown where his mother is buried. There he meets his childhood friend Cristy (Vilma Santos) who works as a counselor for family planning. Eventually they develop a romantic relationship and end up as a couple. However, a mysterious lady appears one day while Al tends to his mother’s grave. Al falls in love with the stranger and is now torn between her and Cristy. Haplos is another cinematic masterpiece by famed screenwriter Ricardo Lee. It is the official entry to the 1982 Metro Manila Film Festival. With Vilma Santos and Christopher De Leon in the lead roles and supported by Rio Locsin, Haplos is a brilliant movie with a mind-boggling twist in the story. It’s a must-see for all Pinoy film buffs. – neTVision
The Beginning – When I was a little kid, I remember watching my very first Vilma movie with my aunt. It was “Lipad Darna Lipad.” The theatre was Cinerama on Claro M Recto near the underpass headin’ towards Quiapo. I remember the crowded theatre. The carpeted floor and velvet curtains. With no more seats and an SRO crowd, we sat on the stairs near the balcony area. People were screaming and into each fight scenes. I remember vividly how my aunt almost got into a fight because she wanted me to sit on one of the seat that was vacated and a man standing in front of us wanted the seat too. Celia Rodriguez was really scary with her head covered with snakes and her voice was so icy cold. Liza Lorena didn’t registered much on me but Gloria Romero was even scarier! This film brought me some nightmares but it also gave me and my cousins something to play about every afternoon after school.
Pakawalan – The second memorable film experience for me was during early 80s where I saw the free sneak preview of “Pakawalan Mo Ako” at Gotesco Theatre near University of the East. I was one of the lucky ones who managed to get in. My college mates weren’t. They got stocked in the pandemonium outside. I was worried sick as I took the long escalator and saw them being crashed by the crowed. The security guards have to closed the gate of the lobby. Fans became so restless and broke the glass windows (where they displayed posters and still photos) . Inside, It was crowded, hot and wild. We were seeing a more mature Vilma Santos. From the very beginning, the crowed went along the story until one of the climatic scene – the courtroom scene where she cried and swear! Oh my god I still remember the crowd swearing and cursing too! It was so wild!
Activism – The third movie experience was when I saw Sister Stella L at Capri near the Philippine Rabbit Bus Station on Rizal Avenue (it is always called Avenida). Now, the total opposite happened to me. The theatre was half empty but most of the people I noticed were students and office workers. This film affected me so much and I started to join rallies and demonstration along Mediola and at our school. I also remember that Sharon Cuneta had a film showing at the same time, and most of my friends watched this film instead. I was so disappointed that they decided to see this film instead of SSL. This film also became my mantra at school. It inspired me to take issues and voice out what I think, I became militant. I rebelled against my family who I believe were too strict. I wanted my freedom and so this film inspired me. The end result was my independence. Up to this day, I will never forget the time when I had an argument with my grandfather, it wasn’t funny back then. I told him: “Tama na, panahon na, hindi habang panahon pipigilan n’yo ako sa pagsasalita” – the line from SSL.
Why does he have to rape Rubia? – Another memorable experience was when my aunt got into a huge fight in front of Galaxy Theatre on Avenida. Being a true Vilmanians and with her deadly weapon, her umbrella, my aunt pulled the hair of this two crazy Nora Aunor fans. This was after the two said nasty things about Vilma while passing on in front of the theatre. I ended up on the cement floor hiding near the newspaper stands. Thank god she always came up on top because we were always able to go home uninjured. Rubia Servios was showing at the Galaxy Theatre back then. Again we have to sat down on floor, my aunt’s realized that she can’t put me on her lap anymore as I am a bit heavier now. As I observe, people are more serious this time. No shouting but silence as the story being told to us. The crowd was so into it too but no shouting instead a feeling of sighs and sadness. My aunt cried as she watched Rubia crawled on the sandy side of the beach. Rubia Servious was for adults only but my aunt’s sister was the ticket collector or “takilyera”. So I was able to get in. Philip Salvador was so hot in his black swimming trunk, I dreamt of him a number of times. As we watched the film, I remember asking my aunt about why does he (Philip) have to rape Darna? My aunt patiently explained, about love and lust. My innocent mind were corrupted that day. Eventually, I got over that rape scenes but revenge when Vilma killed Phillip using a boat paddle still stucked on my mind.
Naked Christopher – Lastly, the one that was so special to me, was when I saw Magkaribal at Luneta theatre. I went to so many theatres to get in but at last the woman at the box office was so busy reading comics that she didn’t even bother to ask about my age. The film was “For Adults Only” and I agreed. Christopher De Leon here was so sexy, riding a horse, naked. And Alma Moreno was so young and thin. Even her boobs here are well proportioned to her body, although its already huge. And ate Vi here was at her best, acting wise. The crowd here are more mature, a combination of college students and office workers. The theatre was not SRO but all the seats are taken and it was obvious that the film was catered to couples. – RV
Christopher de Leon (born October 31, 1956) is a Filipino film actor and politician. De Leon appeared on the gag show Going Bananas and has appeared in over 120 films since the early 1970s. On July 1, 2010, he was sworn into office as the board member of the 2nd district of Batangas. He studied Fine Arts at the University of the East in Manila. – Wikipedia (READ MORE)
“Ang hirap dito sa relasyon natin, puro ikaw ang nasusunod, kung saan tayo pupunta, kung anong oras tayo aalis, kung anong kakainin natin, kung anong isusuot ko sa lahat ng oras, ako naman sunod ng sunod parang torpeng tango ng tango yes master yes master!” – Maria Lourdes Castaneda
“Ano ba ako rito istatwa? Eh dinadaan daanan mo na lang ako ah, hindi mo na ako kinakausap hindi mo na ako binabati hindi mo na ako hinahalikan ah…namputsang buhay ‘to. Ako ba may nagawa akong kasalanan hah? Dahil ang alam ko sa relationship, give and take. Pero etong atin, iba eh! Ako give ng give ikaw take ng take! Ilang taon na ba tayong nagsasama? Oo, binigyan mo nga ako ng singsing nuong umpisa natin, pero pagkatapos nuon ano? Wala na! Ni-siopao hindi mo ako binigyan eh dumating ka sa bahay na ito ni butong pakwan hindi mo ako napasalubungan sa akin eh kaya kung tiisin lahat pero sobra na eh…hindi naman malaki hinihingi ko sayo eh konti lang… alam ko kerida lang ako…pero pahingi naman ng konting pagmamahal…kung ayaw mo ng pagmamahal, atleast konsiderasyon man lang. Kung di mo kayang mahalin bilang isang tunay na asawa, de mahalin mo ako bilang isang kaibigan, Kung ayaw mo pa rin nun bigyan mo na lang ako ng respeto bilang isang tao hindi yung dadaan daanan mo lang sa harapan na para kang walang nakikita!” – Maria Lourdes Castaneda
Emil, a young executive, and his mistress Marilou, a planetarium guide, decide to be live-in partners. In the process, they discover each other’s failing, which result in the strain in their relationship, bringing about their temporary separation. When they finally decide to resume their relationship, under a set-up wherein the man devides his time between his family and mistress, he dies frpm an attack of cerebral aneurysm. The woman decides to start a new life abroad, finding strength in the Jove of her departed lover. – Manunuri web-site
The Plot: The first time they laid eyes on each other, they knew from that very moment that they were destined to be together. But their love was not meant to be consummated instantly-they had to wait. But their waiting spanned not just year but lifetimes. The time comes that they meet again. But now, they must break the walls that have for so long kept them apart. They must fight for their love because now is their last chance. – Viva Films
The Reviews: We saw the movie “Imortal” starring Vilma Santos and Christopher de Leon, and directed by Eddie Garcia, which won most of the awards in the last Metro-Manila Festival. It was awful. People who make such movies, and those who hand out awards to them, thoroughly deserve each other. In its asinine plot, “Imortal” tells of the immortal love between two siblings with a common father — a doctor Christopher de Leon and Vilma Santos who becomes a nun, wife of an impotent husband, adulteress and a whore. They never make it because movie censor Manoling Morato would have gotten mad, but in the next generation, the daughter of the whore with foreigner (without AIDS, we hope) — also played by a younger Vilma Santos — marries the son of the doctor, played by a young Christopher de Leon, in a psychedelic wedding in the year 2016 AD. In the year 2016, youngsters Vilma (with brown skin and blue eyes) and Boyet are singing Happy Birthday to the father Old Christopher, a senile old man in a wheel chair. “Happy Birthday, Papa,” says Vilma as she kisses him on the cheek; he does not respond so she panics: “Papa… Papa… PAPA!” He does not answer because he is dead. According to the movie script, the father Christopher was born in 1954, which makes him in 2016 only 62 years of age — much younger than Director Eddie Garcia or even Dolphy, hardly an age to be senile and dying.
There are other laughable scenes. Vilma says, “My husband is (music rises ominously) — my husband is (music again) IMPOTENT (music rises to a climax)!” You’d think the husband just contracted the AIDS virus or got castrated by Sparrow units! Shucks, I know several husbands who just can’t do it anymore, and I hear no heavy music when their wives complain. As a matter of fact, wives prefer their husbands to be impotent, rather than be sexually active with other women. Another terrible scene. The car ridden by Christopher and wife Cherie Gil falls off a cliff. Cherie who is pregnant is mortally wounded and dies. And Christopher looks at his dead wife, and holds aloft a new born baby complete with umbilical cord. This is absurd without a caesarian operation by a doctor. The worst scene is when Christopher digs up the corpse of Vilma at the cemetery, amidst thunder, lightning, wind and rain, and embraces her passionately, while she exhibits no rigor mortis, and apparently no smell of formalin. You don’t find this kind of idiocy in a television commercial. Most of my grandchildren, including Angeli who is only four months of age, enjoy commercials more than dramas.
Some TV commercials can tell the story vividly, memorably, with impact in 30 seconds, better than two hours of unmitigated nincompoopery in filmed dramas. A simple love story is telescoped into a heartwarming half a minute of the Lizl Lebron commercial for San Miguel — boy meets girl against the parents’ wishes, in the tennis court, Fort Santiago in the rain, in the balcony — and ends as he gives her a engagement ring. Actresses with a roomful of acting awards can never match the birth of love and passion in the virginal innocence of this young girl. The same love story is retold in the Ligaw ad of Jollibee chronicling the Filipino traditional courtship — the chaperoned visit, permission to take the girl out for a snack, “Sigurado ka bang sa Jollibee?” the first tentative holding of hands, and the sudden appearance of papa — a slice of true life experience every young person can identify with, more than the bizarre events of “Imortal.” Movies are a director’s medium, the stage is an actor’s medium, a TV commercial is the medium of the advertiser who pays for the ad. The advertiser conducts enough studies to justify the expenditure in a logical way: product and consumer research to determine the most compelling reason to buy the product; careful attention to story boards, makeup, hair style, with no waste, irrelevances or digressions — long before shooting even starts.
A commercial of 30 seconds takes from P800,000 to P2 million to produce or as much as P67,000 per second. A movie of two hours or 9,600 seconds may take P5 million to produce, or P520 per second. A commercial costs as 128 times as much as a movie. Del Monte’s Spaghetti Sauce’s Godfather ad, mechado sauce’s Candida ad, and ketchup’s Family Dinner ad; the San Miguel series with Fernando Poe Jr., Tawa Marcelo and Freddie Aguilar; Jollibee’s Lola ad; and the Sarsi ad — are technical and artistic masterpieces. The Hope cigarette ads are colonial, sexist and insulting to the intelligence, as are those of Vos Brandy, White Castle Whisky and Old Captain Rum. But even the worst TV ad is better than “Imortal.” – Hilarion M. Henares Jr., Jan 14, 1990, Philippine Daily Inquirer READ MORE
Watching Imortal on ABS-CBN was purely out curiosity. At first I thought it was a remake of the old Vilma Santos-Christopher De Leon movie entitled Imortal. Gosh. Then only to find out the teleserye is about feuding wolves and vampires. You don’t have to be Twilight fan to realize how Twilight-y the plot is not even halfway into the first episode. And like any other Pinoy plot, the story line is just so darn predictable! The first episode isn’t over yet but you already know how it’s going to end. Why is it always like that? Can’t the writers think of new twists and be creative for once? (I’m already in my late 30s and they’ve been at it since I was in grade school.) Or is it that unpredictable twists don’t sell to the masses? Most probably! Either way, don’t blame me for being ‘unpatriotic’ because I get more satisfaction watching reruns of good old foreign films. – READ MORE
The Plot: Anti-crime crusader Lilia Chiong Yang (Vilma Santos) seems to have everything a woman could want and need: a husband (Jay Manalo) who pampers her; children (Patrick Garcia, Karylle, Angel Locsin) whom any parent would be proud of; and the respect & admiration of the most powerful people in the land. But just as Lilia prepares for her 25th wedding anniversary celebration, a chance encounter in Thailand with her first love Michael (Christopher De Leon) throws Lilia’s life into chaos. So begins the resumption of a relationship that threatens to unravel the delicate threads connecting Lilia to the other people in her life. “Mano Po 3” is a heartfelt tearjerker which was declared Best Picture at the 2004 Metro Manila Film Festival Philippines. Vilma Santos and Christopher de Leon also won well-deserved awards for Best Actress and Best Actor, respectively, in this moving film about the choices we must make for the sake of those we love. – Regal Films (READ MORE)
The Reviews: They say if you strike the third time, you’re out. Thank goodness, it’s not a strike the third time, instead, it’s a homerun hit for the third sequel of this franchise. “Mano Po 3: My Love” was as grand as the first two but with simple well-written story line. The film managed to iron out the past and present events through flashbacks and thanks to the editor (Tara Heinberger), the continuity of each scene were smooth. Mano Po 3: My Love is a life story of Chinese-Filipino anti-crime crusade, Lilia Chiong Yang. A Chinese couple who left Fujian, China in 1959, brought her here. Her mother beg this couple to bring her with them because she’s going to be put into the orphanage just because she is a girl and having so many baby girl, the Chinese government will not support them financially. Living now in the Philippines and now a young adult (Angelica Panganiban), Lilia met and fell in love with Michael (Cogie Domingo), her classmate and fellow activist. Together with Paul (Patrick Garcia), their classmate, they engaged into activism during the martial law. One night, during the curfew hours, they got into trouble and were hunted down by the military. Michael sacrificed himself and was caught. Lilia was pregnant with Michael’s child but he already left the country and so, Lilia fell to the hands of Paul.
Now, a mature Lilia (Vilma Santos), her quiet life was rattled when Michael (Christopher DeLeon) came back. They accidentally met in Thailand; Michael decided to win her back. Both were surprised to learn that Paul (Jay Manalo) deceived them by not giving all of Michael’s letters to Lilia when he left the country. With Lilia being a popular media personality, people have started talking, gossiping about Lilia’s secret affair with another man particularly in the Chinese community. It also added stress to her family and eventually they turned their back to their own mother. Finally, it all comes down to Lilia making decision on which man to choose. She finally decided to stay with her husband despite her undying love for Michael. Then the tragic end. Lilia’s anti-crime activism created her enemies. One of them tragically killed Paul. Again, her family blamed her. The end part of the film was a typical Regal tradition – that of reconciliations. Lilia’s family accepted her again and all wounds got heal. And what happened to Lilia and Michael? They remained friends as Lilia realized they are not really meant for each other.
People are saying that her scene in the car where Paul (Jay Manalo) was shot was reminiscent of her death scene in “Relasyon.” Yes, there was a touch of it but the scene in MP3 was more intense because it’s shorter and the pacing was faster. Christopher as Michael deserves his best actor award during the film festival. Finally, Lamangan managed to control Christopher’s dialogue mannerism. Christopher has the tendency to starts his line with “well….” Probably because the MP3′s script was tighter and requires him to follow strictly each lines because each lines most of the time have other meanings. For example, when the three of them finally met, Christopher said: “Isa sa mga natutunan ko nuon sa kilusan is Honesty.” Which he is actually saying to Paul that he is dishonest and deceitful; particularly for not giving to Lilia, all of his letters when he left the country during the martial law years. As Paul, Jay Manalo, despite his young look managed to convinced us with his restraint performance. I wonder if Philip Salvador would give as strong performance as Jay Manalo in this role. Jay showed us that he’s indeed one of our great actors today. Sheryl Cruz didn’t do much as Bernadette. Her performance was one dimensional, a trap for villain roles. And all can be blamed to the three writers – Roy Iglesias, Lily Monteverde and Joel Lamangan. Maybe because they concentrated their efforts to established the three main characters and so they neglected the others. Eddie Garcia and Boots Anson Roa played the usual supporting roles but Boots gave us the most memorable lines in all of the movies showed in 2004: “hindi ka puedeng magmahal sa dalawa lalake…” of course, with her Chinese accent.
Vilma also will not be far behind with her lines: “hindi ka ba sasama sa kanila Judith? Alam mo ba kung para saan ang kanilang ginawa?… sanay na akong tinatalikuran at iniiwanan yang ang storya ng buhay ko…” Vilma’s performance here was an example of how she matured and became an A1 actress. From the start to the end, she transformed herself to be the character. She became Lilia Chiong Yang. Here are the highlights: Her scene in Tagaytay Highland: Her breakfast scene with her family, where all except for one, left her; The scene where she and Paul finally met Michael in a restaurant was full of irony and sarcasm; The scene where Bernadette and three other relatives one of them was Boots Anson Roa confronted Lilia. Like a true fighter and speaking in Mandarin, she told them, she’ll be back in five minutes and if they’re all still in her office they will see the worst of her; The scene where Lilia and Paul were in a middle of an argument and suddenly they calmed themselves down because their dressmakers arrived (to measure their sizes for the clothes their going to wear on their wedding anniversary) was poignant and funny at the same time; Then Paul’s death scene that followed the hospital scene. All in all, a controlled, restraint, riveting performance. How can someone not noticed? If I will evaluate “Mano Po 3: My Love”, I will give the film an A for its excellent production and magnificent performances…” – RV (READ MORE)
“The performances of Christopher De Leon and Vilma Santos are great. It’s a great movie, the director made a good job. The flow of events and the pace of the story are nicely plotted. You won’t feel unease when Michael Lim (Christopher) come back to Lilia Chiong (Vilma) and interfered with her “happy” married life. Compare to the passed 2 Mano Po movies, Mano Po 3 doesn’t have enough Chinese tales, it can stand alone as a pure love story movie without involvement of Chinese culture. In my personal opinion, if Christopher De Leon character was a pure Filipino, and if the reason why he was separated from Vilma was due to rejection from Vilma’s Chinese parents, and Vilma was arranged-marriage “kai-siaw” to Paul (Jay Manalo), then this would be a better Chinese foundation as the background for Christopher and Vilma to met after 25 years. It might not be a happy ending, but it was a rational ending given the circumstances of the events. This movie will definitely make you cry in the end.” – IMDB (READ MORE)
“…Vilma Santos did a great job and really deserved her best actress honour at the MMFF. Certainly her efforts overshadowed those of here co-stars, Christopher De Leon and Jay Manalo. It’s a shame really that her duties in Lipa are keeping her from other movies. Eddie Garcia, I thought could have done a better job in delivering his lines. I realize that he is playing a character that was not that fluent in Filipino but some of his words were just garbled and found it hard to understand. My only gripe maybe in the casting of Jay Manalo as the husband of Lilia. In the story Manalo is portrayed as the same age as De Leon and Santos which frankly I find hard to believe since Manalo looks many years younger. In terms of production, I thought Regal Films did a good job in setting an overall atmosphere by bringing in good costumes and props. It was also nice to see them speaking in Chinese so as to make the situations more authentic and believable.” – IMDB (READ MORE)
“…actors Vilma Santos and Christopher de Leon portray roles that they have exceptionally portrayed before in their lustrous 40 years in Philippine show business. To even think of casting these superb actors in roles that are at least 15 years their junior, that defies their age, is indeed insulting to the intelligence of the Filipino viewers. But hey! Nobody’s complaining! Right? In fact, they both won the Best Actors awards in the said film fest! Sad, sad, sad…” – IMDB (READ MORE)
“…This is about Lilia Chiong-Yang (Vilma Santos) a Chinese-Filipino woman. She was torn from her first and only love, and ended up marrying the person she didn’t want (Jay Manalo). One faithful day, she met up with her old love Michael (Christopher De Leon) and things began to get rocky then. He wanted her to choose between her family and the only man she truly loved. The good thing about this movie is she made a decision in the end. For me, this third and last installment was the best among the rest. The movie made me laugh, cry, angry, sad and everything else. That’s really rare the Philippines’ movie industry now. Vilma Santos did a wondrous job in portraying her role. After her 2-year absence in the movie industry, she still had the touch. The only thing i didn’t like about the movie was Jay Manalo. He really was too young to be Vilma’s husband in the movie. They were supposed to be the same age though, but remarkably he did a very good job playing his role as well. How can we not forget Boyet? He was marvelous! Without him, this movie wouldn’t be the best one yet. People say this is such an ordinary love story, but in my eyes, this is the best Filipino movie ever made in my time…” – IMDB (READ MORE)
“…Mano Po III is definitely a showcase for Philippine cinema. It is basically a love story, but without any melodrama. Kudos for Joel Lamangan who brings out much emotion without ranting and violent tears that other filmmakers find so necessary to tell a story. Christopher de Leon and Vilma Santos are both subdued but effective in their portrayal of restrained lovers. One particular scene with Christopher, Vilma and Jay is a highlight of the film. It is a scene where the three are having a seemingly innocent conversation about business but with underlying dialogues about love and betrayal. The screenplay written by Roy Iglesias is exceptional, witty and effective. The credible acting would not be possible without such a script. In all, Mano Po is a must-see this filmfest. It was sold out the first time I tried to see it, but it was worth the wait.” – ABS-CBN (READ MORE)
“For the purported final entry in an envisioned trilogy. Regal matriarch Lily Monteverde has pulled out all the stops. The story is centered squarely on Mayor Vi and Boyet, whose cozy chemistry still crackles with a romantic thrill even after 24 movies together.” – Andrew Paredes, Manila Standard (READ MORE)
““As a love story, it is romantic as romantic can be – passionate even. And you really have to give it to the durable love team of Vilma Santos and Christopher de Leon to be able to pull off a material like Mano Po 3 and give the kilig effect of expected by most viewers and fans of love stories. It is handsomely-mounted, glossy and very entertaining. Its production values are far more superior compared to other local movies.” – Butch Francisco, Philippine Star (READ MORE)
“Kahanga-hanga ang ipankitang pagpapahalaga ng pelikula sa pamilya at pagaasawa.” – CINEMA (Catholic Initiative For Enlightened Movie Appreciation) (READ MORE)
A week before Christmas, the Star for All Seasons, Vilma Santos, shared with us her thoughts on son Luis and her first film in three years, “Mano Po 3.” She is thankful for the support of her family. When “Mano Po 3” was offered to her, Vilma sought the advice of husband Ralph and son Luis. They need the script, and exchanged views on scenes that they found objectionable. In everything she does, communication lines with son are open.
Fullfiling task: For, Vilma, raising her sons Luis and Ryan is a most fulfilling tasks. “My parents taught me to be God-fearing, respectful, responsible and law-abiding. Luis has never given me headaches. I am very liberal, but once you betray my trust, mag-ingat ka! Scorpio trait ito. Luis knows that, at binusog ko siya sa pangaral. I always tell him that he is old enough to differentiate right from wrong, so he should never do something that he’d regret later on,” she says.
No secrets: Although Luis has his own condo, he stays with Vi most of the time. There are no secrets between mother and son – – according to Vi, Luis tells her everything! On a few occassions, he’d introduce a girl to Vilma, and she’d know instantly if she was special to him or not. Vilma observes that Luis is more focused now. He dreams of owning his own restaurant-bar. And she’s surprised at how thrifty Luis has become – a trait that the actress also possesses. The Lipa City Mayor ends the year with her filmfest entry, “Mano Po 3.” In this last compilation of Tsinoy tales, Vilma is cast as a crusader, a mother of three children and supportive wife to Paul Yang, her devoted husband of 23 years. Then, her first love, Michael Lim (now a widower) resurfaces, and she finds herself in love again.
Three reasons Vilma cited three reasons why she accepted “Mano Po 3:” It gave her the opportunity to work with Christopher de Leon again; she couldn’t say no to Mother Lily, who has produced some of Vilma’s unforgettable movies (“Sister Stella L.,” “Broken Marriage,” and “Relasyon”), and the film’s interesting story centers on a fmily collapses due to infidelity. – Remy Umerez, Philippine Daily Inquirer, Dec 25 2004 (READ MORE)
Short and sweet. – Make that short and sedate. The awards ceremony for the 30th Metro Manila film Festival, now called MMFF Philippines, on Wednesday night was over in three hours, where it used to take twice as long. It was also less colorful than last year’s edition and the one before that, which more spontaneous action – a flea market and an auction of movie memorabilia – happening right outside the venue, the Aliw Theatre at the Cultural Center of the Philippines complex. Even the “Stars of teh Night,” Vilma Santos and Christopher de Leon, wore back and grey. A series of technical problems early on in the show was the closest that the evening got to be “eventful.” There were no walkouts, no brickbats, no exposed breasts. In short, the proceedings were orderly and the sexy starlets behaved. Juliana Palermo – she who flaunted her assets without breast-beating at a previous showbiz events – was in a cover all debutante-pink gown that was almost puritan acceptance speech – for her MAQ Films’ “Mano Po 3” as Best Picture – was met with no more than polite applause. “I’ve not been making money from producing,” Monteverde said, “but I continue to make movies because I love the industry.” Four of the eight festival entries were reportedly made by her companies.
FPJ in the house Perhaps the fact that the program had been dedicated to the memory of Fernando Poe Jr. contributed to the somber atmosphere. Elizabeth Poe received the posthumous “Idolo ng Masa” award for “Da King” of Philippine Movies, who died earlier this month. “I call on the people to not abadon his dream,” Elizabeth said, “to continue to fight.” Apparently touched, the audience took a few seconds before applauding. Director Joel Lamangan’s fiery acceptance of the Best Picture award alongside Monteverde – in which he ranted against taxes and government’s “neglect” of the industry – failed to rouse as much enthusiasm in his listeners. Producer and festival committee member Espiridion Laxa received a lifetime achievement award. He dedicated it to Vilma Santos and FPJ…”and to Erap (former President Joseph Estrada).” “Da King” starred in the first seven films that Laxa made under Tagalog Ilang-Ilang Productions. Santos, who was also named Best Actress for “Mano Po 3,” led the standing ovation for Laxa. The Vilmanians in the hall must have thought their idol was getting another award, as they led the screaming in return.
No teleprompter Cesar Montano, winner of the Best Director trophy for his CM Films’ “Panaghoy sa Suba,” won the women’s hearts, too. He was the perfect gentleman and escort to his wife Sunshine Cruz, who needed help with her petticoat as they went up and down the stage to receive awards for absent cast and crew members. The banter among the three emcees – Judy Ann Santos, Jomari Yllana and Marvin Agustin – was light and breezy, although they had to do without teleprompers. This means they read from cue cards, which kept them from maintaining precious eye contact with the audience. Young screen love teams Angel Locsin and Richard Guttierez, stars fo the TV hit series “Mulawin,” and Mark Bautista and Sarah Geronimo, stars of “Lastikman,” turned heads, as did reel-and real-life partners Mark Herras and Jennylyn Mercado, who were inseparable.
7 awards each “Mano Po 3” and “Panaghoy sa Suba” each won seven awards. Veteran stage and movie actor Cris Vertido bagged the Best Screenplay trophy for “Panaghoy.” He was happy, and it showed. “I’ve been acting for 40 years and never won anything,” he said. “I write my first screenplay and I get this.” Santos and de Leon won acting awards for their roles in “Mano Po 3.” MAQ Films got the Best Float trophy. De Leon would admit later that he considered Montano, as his stiffest rival for the award. “I thought it would be him (the winner),” De Leon said.
“A” rating Rebecca Lusterio, also of “Panaghoy,” was cited as Best Supporting Actress. The Cinema Evaluation Board, in giving the movie an “A” rating, earlier singled out the teenage performer as “silent and powerful, full of conviction and charm.” Other winners were Dennis Trillo, Best Supporting Actor for “Aishite Imasu 1941”; Ella Guevarra, Best Child Performer for “Sigaw”; Manny Dayrit, Best Editing, “Sigaw,” Best Sound Recording, “Sigaw”; Best Musical Score, “Panaghoy”; and Best Visual; Effects, Roadrunner Network Inc., for “Lastikman.” – Marinel R. Cruz Philippine Daily Inquirer, Dec 31, 2004 (READ MORE)
Joel Lamangan’s Mano Po, My Love dominated the Metro Manila Film Festival awards Wedenesday evening when it won all the top awards – Best Picture, Best Actor (Christopher de Leon), Best Actress (Vilma Santos) and Best Director (Lamangan). In the Philippine movie industry, the term Best Picture actually means the least bad movie of the crop. By that measure, Mano Po 3 perhaps does deserve the award. At least Mano Po 3 is slickly and tastefully produced. It boasts of a prestigious cast and tries to address a few pressing issues that affect the Chinese community in the Philippines. All the looks good on paper and the movie does look good most of the time but the resulting movie, like its two predecessors, falls short on expectations. The Mano Po series was designed to present the travails of today’s Chinese. Most of the problems they face today are rooted from old traditions that originate from the great land they had come from. In the third movie, Vilma Santos plays Lilia Chiong Yang, a successful real-estate developer who does some important civic work on her free time. She helps the police capture kidnap gangs although it’s never explained how she assists them. She’s only shown accepting awards of grattitude for her courageous fight against crime.
Lilia’s perfect life is shattered when she bumps into the real love of her life, Michael Lim (Christopher de Leon). They went to school together but being an activist, he was compelled to flee the country to avoid being persecuted by the Marcos regime. Not long after Lilia marries Michael’s best friend, Paul yang (Jay Manalo). Of course, a flame is reignited when they meet again and plans for the 25th wedding anniversary of Lilia and Paul are shattered. Such soapy contretemps are old hat and it has nothing relevant to say about the Chinese. Consequently, the Chinese connection feels tacked on – the audience is sporadically reminded of Lilia’s heritage through elaborate scenes (the birth of Lilia in a small village in China) and some colorful costumes and Chinese dragon parades. Frankly, you’ll learn more about Chinese tradition from Mark Meily’s classic film Crying Ladies (2003). Likewise, the film’s social commentary is contrived and rings false, what with the stilted, elementary dialogue the actors have to deliver. Without the Chinese trappings, Mano Po 3: My Love is a typical Vilma Santos movie designed to highlight all the wonderful elements that make her a star for all seasons.
Again, she sobs, laughs and acts pensive in that distinctive fashion Santos is famous for in one sudsy scene after another. Yet even as an emblematic Vilma Santos movie, Mano Po 3 is below par. The Star was better in other films that had better material. In this movie, screenwriter Roy Iglesias and director Joel Lamangan shamelessly force the star to imitate Meryl Streep in a scene stolen from Clint Eastwood’s Bridges of Madison County (1995). And like the two first installments, Mano Po 3 features some strange casting. Jay Manalo is supposed to be a contemporary of de Leon and Santos but when you see them together, Manalo looks more like their son than a classmate. Lamangan’s storytelling is fluid and deliberate but being deliberate can be deadly when almost every scene is all talk. Talk is fine if the words are inspiring but when the lines are pallid and of the telenovela variety, we’s just rather stick to the Korean soap they show on TV. While actors deliver modulated performances, this writer feels that Christopher de Leon’s role is too small to warrant a best actor nomination and award. I think he should have listed in the supporting category but I’m opening a can of worms here. Let’s just be thankful that this is the last Mano Po movie to be ever made. (Star rating: one star 1/2 out of four) – Dennis Ladaw, The Manila Times, Feb 28, 2005 (READ MORE)
The Plot: “Despite their different social backgrounds, Lisa (Vilma Santos) and Benny (Jay Ilagan) have found their match in each other. Unfortunately, Benny dies before they could marry, and Lisa is left with no choice but to seek the help of Benny’s parents. But their arrogance is as lofty as their fortune, and to them, Lisa is nothing but an opportunist. Their only concern is their late son’s unborn child that Lisa is carrying in her womb. The only person who treats Liza with kindness is Eric (Christopher de Leon), Benny’s brother, who has secretly fallen in love with her…” – Kabayan (READ MORE)
“Despite their different social backgrounds, Lissa and Benny have found their match in each other. Unfortunately, Benny dies before they could marry, and Lissa is left with no choice but to seek the help of Benny’s parents. But their arrogance is as lofty as their fortune, and to them, Lissa is nothing but an opportunist. Their only concern is their late son’s unborn child that Lissa is carrying in her womb. The only person who treats Lissa with kindness is Eric, Benny’s brother, who has secretly fallen in love with her, Eric even made a promise to Benny that he would find Lissa & take good care of her, a promise that Eric vowed he will never break.” – Wikipedia (READ MORE)
The Reviews: “Paano ba ang mangarap?” rates high for its slickness and production gloss, something that its producers, Viva Films, shouldn’t hope would last them more than two seasons.
Eddie Garcia is a good director. He stages his scenes well, with a minimum of fuss and a modicum of winning faith in narrative primacy. Viva’s movies are well-structured, well-paced, and at their best show how the cosmopolitan Filipino behaves under romantic stress. But if you get past that level and dig into substance, you encounter that self-same compost pit wherein all the biodegradable scraps of melodrama you can find southeast of your favorite mother’s kitchen have been thrown.
Such is the case, to a most lamentable extreme, with Paano Ba ang Mangarap? It’s well-acted, well-done, tastefully correct in elementary mode. But it is strictly local comics fare, this well-wrought turn of circumstantial twist and escalating conflicts which all spell high drama. Viva makes films that are at best our answer to Hollywoodian slick, the stuff of which The Other Side of Midnight and Imitation of Life are prime generational examples. The Barbra Cartlands and Harold Robbinses turned celluloid; Mills and Boon on the big screen.
Here you have two fine actors, Christopher de Leon and Vilma Santos, waxing once again with their special chemistry. Boyet is so good he can, by merely varying his inflection, go through a simple line like “Tama na..” three times and prove positively sensitive and believable each time. Subtlety of feeling is shared equally well by Vilma Santos. They are both aware of the value of underplaying their emotional scenes, so much so that in any confrontation with other thespians who play their role to the hilt, these two, Boyet and Vilma, come out on top through the simple process of undercutting.
Vic Silayan and Perla Bautista are equally good in Paano Ba ang Mangarap?, but it is Moody Diaz who wins us over by applying a different tack in her “mayordoma” role, something that is usually played for laughs and other such effects by less gifted, or less imaginative, performers. Armida Siguion-Reyna is hampered by her termagant mother-in-law role, the catch-all character of cruelty spawned by all the soap opera dramas of Philippine comics and radio serials. And she plays this thoroughly unbelievable character, typecast as she already is, much to the hilt. That fantasy scene where she makes out like a satanic figure, though well-shot by Romy Vitug, is quite embarrassing for a picture like this, except of course we know that it is based on a comics serial where such fictive excesses may appear.
Here is where this otherwise finely-crafted film suffers. Viva knew it had to be faithful to the comics serial, so in effect opted for the surefire commercial draw at the expense of a truly artistic, credible film. I’m not saying that a character like Mrs. Monteverde does not, or cannot, exist. Perhaps one in a million. Filipino mothers can be as overbearing, prejudiced, unfeeling, and downright cruel. But to have a situation where an improbable character like her meets up with other improbable characters like the one Vilma and Christopher play, is stacking up the cards too much on the side of atrocious melodrama.
Vilma is the martyr type who would subject herself to indignities just so her coming child can have a name and possibly better upbringing. Boyet is the unloved son who would ditch his sophisticated girlfriend (Amy Austria, who is still uncomfortable in such role, so she doesn’t fare too well here) for this martyr-type who’s been impregnated by his brother. Now, any of these characters may exist, if by a long chance. But to have them all together living under the same roof is stretching the bounds of possibility much too much.
Furthermore, it could have been a better ending had the Viva bosses decided to stop at that scene where Vilma finds herself left alone on Christmas in the rich surroundings she has always dreamt of. Now only the household help can give her token solace by way of a collective gift. It is a poignant scene, stylistically done to proper effect with the usual Viva-film theme wafting through in support of silent montage. It could have been a good open ending, with overtones of irony laying themselves squarely on Vilma’s character. But no, of course one can’t disappoint the followers of the original comics serial. So the story goes on through further typical maneuverings until we’re given at least a semblance of a happy ending. A missed chance, I say. – Alfred A. Yuson, Philippines Daily Inquirer July 17 1983 (READ MORE)
“A true blooded Vilmanian will not forget the time when a teaser (a very brief trailer) was shown to the theatres in the summer of 1991. It was Viva films’ “Paano Ba Ang Mangarap?” Another box office hit from Vilma Santos and Christopher DeLeon. The teaser (almost worth the whole movie ticket) was the scene where Lisa, played by Vilma discovered that her son (to Eric’s brother , Jay Ilagan) was gone courtesy of her evil rich mother-in-law (Armida Sigueon Reyna). Here’s the lines and the explosive acting of the Queen. The scene: After running around looking for the baby in all the rooms in second floor of of this huge mansion, Lisa confronted Eric who were stunned to find Lisa’s hysterics. Lisa: “Dinaya n’yo ako! Saan n’yo dinala ang anak ko?!!!” Eric: “Hindi ko alam!” Lisa: “Hindi mo alam…Sinungaling!” Eric: “Lisa, makinig ka muna” Lisa: “Kasabwat ka ng ina mo! Alam ko matagal nyo nang plano ito!” Eric: “Ano bang pinagsasabi mo?” Lisa: “Dinaya n’yo ako! Mga Traydor Kayo! Traydor kayong lahat!” Eric: “Lisa, huminahon ka baka mapaano ang bata!” Lisa: “Wala akong pakialam! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin ang anak ko! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin! AHHHH! (mahuhulog sa hagdanan)” Just this scene alone, Vilma should be rewarded that years best actress award! Bravo!” – RV (READ MORE)
“Dahil Father’s Day ngayon, nais nating bigyan ng magandang tribute ang nakilala nang ama ng maraming artista ng iba’t ibang henerasyon na si Eddie Garcia. Hindi lang mahusay na bida at kontrabida si Eddie kundi mahusay rin siya bilang isang film director. Taong 1961 nang idirek ni Eddie ang kanyang unang pelikula titled “Karugtong Ng Kahapon” kunsaan bida sina Mario Montenegro, Rita Gomez, Ric Rodrigo at Marlene Dauden. Higit na 36 movies pa ang dinirek ni Eddie na iba-iba ang tema…Paano Ba Ang Mangarap? (1983), Tungkol ito kay Lisa (Vilma Santos) na nabuntis ni Benny (Jay llagan) pero noong mamatay ito sa isang aksidente, ang kapatid nitong si Eric (Christopher de Leon) ang nagpakasal kay Lisa para mabigyan ng pangalan ang bata. Ginawa niya ito kahit na may girlfriend siya na si Maya (Amy Austria). Hindi pabor sa simula pa lang ang ina nila Benny at Eric na si Senyora Francia (Armida Siguion-Reyna) at gumawa ito ng paraan para mailayo kay Lisa ang anak nitong si Jun-Jun. Nanalo ito ng limang FAMAS Awards: Best Picture, Best Story, Best Screenplay, Best Cinematography at Best Theme Song…” – Ruel Mendoza, Abante, 15 June 2019 (READ MORE)
Drama King – “…Ang sarap, I like working with people like them…iyong passion nila, yung enthusiasm nila in acting in what they’re acting is very contagious especially sa katulad ko I’d been in the business for so long and I needed to be rejuvenated,” de Leon added. De Leon added that it’s unfair to all the good young actors to be tagged as “the next Christopher de Leon”. “That’s not fair for them. I mean they have their own talent, magic, identity. Their careers will not be like mine but one thing I’m proud of is I’ve worked with the best directors in Philippine Cinema – Eddie Romero, Jerry de Leon the master, Ishmael Bernal, Lino Brocka, Mike de Leon…I don’t know about them,” he explains…” – Reyna Buan-Deveza, ABS-CBN News, 09/05/2008 (READ MORE)
Politics – “…The actors are very ano, e, very…well, one is we are influential, yes. We are all known. But not all actors can be that, but it’s… we also deal with more people often, with the fans. So, we just extend that a little. And then you reach out to the people, ask people what they need, and [eventually] help in your own small way…You learn more, you learn a lot. Aside from the people, aside from the needs of the people, you learn more about the law. You study about the law, you learn about the process, how to preside over meetings, learn how to make a resolution, ordinance. And that’s fun, that’s fun…it’s really fun! I mean, it’s a different horizon. At the same time, you deal with people – magaling kami diyan!” natatawang sabi ni Boyet…It [just] rubbed in when they offered me. And then there’s what you call a… political bug that rubs on you. You look for it. I don’t know what it is. It’s more of ‘Will I win?’ It’s more of a challenge.” Handa raw ang loob ng aktor sa mga posibleng mangyari sa muli niyang pagtakbo. “Hopefully, if God willing…If this doesn’t push through, it’s okay. But since they’re ready, I might as well grab it… take the opportunity.” Ang kasalukuyang kongresista ng second district ng Batangas ay si Hermilando “Dodo” Mandanas, na tumalo kay Boyet noong 2007 elections….” – Abby Mendoza, PEP (READ MORE)
Spirituality – “…Then came the “bump on the head,” as he put it, and appropriately enough, it was reinforced by an invitation to take a three-day spiritual retreat in Baguio. It was May 1988, and it was the best thing that had ever happened to him. Suddenly he was a happy person, reported the organizers of the retreat. Suddenly he liked the feeling of being an altar boy all over again. Without going to a hospital, without having to be rehabilitated in a drug center, Christopher de Leon withdrew from drugs. “I got the strength from Him. If you have been on drugs, you would know you can’t fight drugs without God…Somebody’s touching me to tell our people we should go back to spirituality,” Boyet said, and when he beamed, he could have passed for a fallen but lovable angel who’s trying to fit on a new pair of wings…” – Julie Y. Daza, Manila Standard, Feb 12, 1989 (READ MORE)
Sandy Andolong – “…What is striking about Sandy is that she took me for what I am, for who I am. She took everything. When I was doing drugs, she understood. When I was recovering, she was there. Before, she caught me with somebody else. There was a breakup but she took me back. She accepted me as I am, and that is important…” – Stef Juan, People Asia Magazine, MAY 11, 2006 (READ MORE)
Nora Aunor – “…“At first it was awkward,” said Boyet, who is teamed up with the Superstar on TV5’s “Sa Ngalan ng Ina.” “But we warmed up to each other right away. It’s a plus factor that our son Ian is with us in the series, which is more like a movie because of the grandiose production.” What makes it different from all the teleseryes he has done? “I portray a crippled man. So the whole time I’m in a wheelchair. It’s not easy to act when you’re confined to sitting down. It limits the way you can express yourself. So since it’s a first for me, it’s something worth watching, aside from my long overdue onscreen reunion with Guy.” Didn’t his wife, Sandy Andolong, have apprehensions about his team-up with Ate Guy? “I have her all-out support. She knows it’s a once-in-a-lifetime project that I should not pass up.” But there are some movies of his which he would rather forget. “When I chance upon some of my old films on TV, gusto ko sunugin lahat ng kopya ng pelikula na ’yon,” he said, laughing. “But that’s part of the process. All actors have good and bad projects.” Boyet’s eyes lit up when he talked about his grandson. “I am a doting grandpa. Since my son and his wife are in the United States, kami ni Sandy ang nag-aalaga ng apo namin. It seems like he will follow in my footsteps because even at a young age marunong na umarte na a la action star.” The award-winning actor is playing his lolo role to a hilt…” – Dolly Anne Carvajal, Philippine Daily Inquirer, September 27, 2011 (READ MORE)
Dekada ’70 (2002) – Christopher de Leon played Julian, the chauvinistic head of the Bartolome family while Vilma Santos played his wife, Amanda. – read more
Bugso (2002) TV Movie – Christopher de Leon directed this film for television, while Vilma Santos lead the cast. – read more
Hanggang ngayon ika’y minamahal (1997) – Christopher de Leon played the irresponsible and disorganized Leo, while Vilma Santos played his wife, Margot. – read more
Nag-iisang bituin (1994) – Christopher de Leon played the bother of learning-disabled person Miggy (Aga Muhlach), while Vilma Santos played his wife. – read more
The Dolzura Cortez Story (1993) – Christopher de Leon played the ex-lover of Dolzura, while Vilma Santos played the title role. – read more
Ipagpatawad mo (1991) – Christopher de Leon played an unaccepting father of an autistic child, Atty Mike Esquivel, while Vilma Santos played the caring mother, Celina. – read more
Imortal (1989) – Christopher de Leon played several reincanations as the lover of Vilma Santos. – read more
Broken Marriage (1983) – Christopher de Leon played Rene, the newpaper reporter while Vilma Santos played his career minded wife, Ellen. – read more
Paano ba ang mangarap? (1983) – Christopher de Leon played dutiful son Eric, while Vilma Santos played his naive wife, Lisa. – read more
Haplos (1982) – Christopher de Leon played Al, the engineer who falls in love with two woman, one is a social worker, the other is a ghost. Vilma Santos played Cristy, the family planning social worker. – read more
Sinasamba kita (1982) – Christopher de Leon played rich executive Jerry, while Vilma Santos played Divina, his powerful business rival. – read more
Relasyon (1982) – Christopher de Leon played the chauvinistic Emil, while Vilma Santos played Marilou, his mistress. – read more
Pakawalan mo ako (1981) – Christopher de Leon played the public defender Freddie Villasenor, while Vilma Santos played the accussed murderer, Ana. – read more
Karma (1981) – Cameo Role – Christopher de Leon played the newly reincarnated lover of Vilma Santos in the end part of the movie. – read more
Magkaribal (1979) – Christopher de Leon played Eric Guerrero, the man behind the rivalry childhood friends, Vilma Santos and Alma Moreno. – read more
Pinay, American Style (1979) – Christopher de Leon played workoholic Fil-Am, Chris, while Vilma Santos played the Filipino illegal alien, Paula Xavier, PX. – read more
Gusto kita mahal ko siya (1979) – Christopher de Leon played the other lover of Vilma Santos, the other was Romeo Vasquez. – read more
Ikaw ay akin (1978) – Christopher de Leon played the conflicting and comfused Rex Aguilar, while Vilma Santos played Sandra, the rival of Tere played by Nora Aunor. – read more
Disco Fever (1976) – Christopher de Leon played the other lover of Vilma Santos, the other one was Victor Cocoy Laurel. – read more
Mga mata ni Angelita (1978) Cameo Role – Christopher de Leon played the “lover” rod, while Vilma Santos played the “worried wife” in this multi-casted film. – read more
Masarap, masakit ang umibig (1977) – Christopher de Leon played the adopted and responsible son, Alonzo and Mat Ranillo III, played the carefree son, Alvaro, both falls to the ambitious Estella, Vilma Santos. – read more
Tag-ulan sa tag-araw (1975) – Christopher de Leon played Rod, unwed father of the unborn child of Nanette (Vilma Santos). – read more
Christopher de Leon (born October 31, 1956 in Manila) is a Filipino film actor and politician. De Leon appeared on the gag show Going Bananas and has appeared in over 120 films since the early 1970s. On July 1, 2010, he was sworn into office as the board member of the 2nd district of Batangas. – Wikipedia (READ MORE)
The ending has been criticized by a couple of reviewers. It is true that the beach sequence smacks of commercialism. All’s well that ends well, and all that. But City After Dark, we may recall, also ends on such a happy note. We may disagree with Bernal’s perception that there is always hope left fro man, woman, and the city, but we cannot disallow him his views. In other words, most of us cannot agree that the broken marriage can be mended, but Bernal thinks so, and his films have all ended on such an up-note. I personally would rather see a darker, more realistic ending, but Bernal would not be Bernal without his happy endings. It’s not a completely happy endings, anyway. Two sequences before the beach scene. Bernal films the wedding scene in a haze, as though he were saying that whatever follows the wedding is mere romance. It is like Bonnie and Clyde. The gansters dream of a happy life together, spinning romantic castles in the air. But as soon as it is time to go out into the real world, violence is right there at the doorstep. The ending is filmed as a romantic interlude, but the reality is waiting around the dark corners of the city, like the mayor’s goons who cannot stand the thought that someone is finally about to tell the truth. – Isagani Cruz, Parade Magazine 1983, reposted by Pelikula Atbp (READ MORE)
Star For All Seasons 
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