Filmography: Dama De Noche (1972)

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Basic Information: Directed, story: Emmanuel H. Borlaza; Cast: Vilma Santos, Edgar Mortiz, Fred Montilla, Lillian Laing, Matimtiman Cruz, Ruben Tizon, Jovie Barse, Priscilla Ramirez, Danilo Jurado, Cloyd Robinson; Screenplay: Nestor Torre

Plot Description: A dual role – demented lead. She plays the role of twin sisters, one of whom is a lunatic.

Film Achievement: 1972 FAMAS Best Actress; 1972 Quezon City Film Festival Nomination Best Actress – Vilma Santos

Film Review: “…This being Vilma Santos’ 50th year in show business (she started as a child star in 1963 with the dramatic tearjerker, “Trudis Liit”), her loyal fans are perfervidly recalling the highlights of her “golden” acting career…The year 1972 turned out to be a most productive season for Vilma, who started to do different and better movies that required her to go beyond teen-fave cuteness. In “Inspiration,” she was partnered with Jay Ilagan, and they came up with memorably endearing portrayals. In “Takbo, Vilma, Dali,” she was dynamic instead of soporifically sweet. In “Ang Konduktora,” she revealed her penchant for comedy. And, in “Dama de Noche,” where she played a psychologically troubled young woman, she won her first big acting award. This was a major milestone and triumph for the young actress, because heretofore most of the acting honors in film competitions went to Nora…What’s up next for everybody’s Ate Vi? Higher political office, quite logically and obviously. But, we hope against hope that, every couple of years or so, she will continue to gift us with another memorable screen portrayal, to further enhance her already exceptional filmography. She’s simply too good a thespian to surrender completely to politics…” – Nestor U. Torre, Philippine Daily Inquirer, 03 August 2012 (READ MORE)

A very young Vilma Santos plays twins—a goody-two shoes and a manic meanie. They fall for the same guy—if I’m not mistaken, a slim Edgar Mortiz. The good twin sings pretty songs, looks morose most of the time, and is often helpless; the bad twin is active, take-charge, and flashes her eyes at the camera a lot. In the end she burns the house down; unfortunately she traps herself in it. Good Vi and Bot escape, and watch the house go down in flames while holding on to each other beside a dama de noche shrub (or at least I assume it’s one). And yes, there is a theme song that goes, “Daaaama de noche… daaaaaaaaamaaaaa de nocheeeeee….” (P.S. Vilma Santos won best Actress in the 1972 Famas Awards for her role/s in the movie.) – Joel McVie, the McVie

Dama de Noche is showing in three theaters— Remar, Delta and Sampaguita. It is, Vilma was quoted as saying, her dream role fulfilled. The very professional Vilma has come out with the resolution than henceforth she will demand to see the script and also see that the script is demanding— or she’ll say nix. Well, Dama de Noche is exactly just that: demanding. In it she delineates the twin-sister roles of sweet Armida and deranged Rosanna. Vilma sobs and screams, giggles, and crazy-dances, claws and clowns, sobs again and screams some more. But she does more than all these things. She acts. In the Filipino movieworld where crying is synonymous with acting, that certainly is being ahead of one’s kind.

Vilma as Armida is drab and dry, almost a movie prop. It is in the portrayal of Rosanna that Vilma would tear one’s heart away. The many close-ups so effectively used throughout the movie show the unglamorous Vilma: her frowns, her lip-twitching, her uninhibited and stifled sobs. But Vilma is less successful with the shifty look that is the distinctive trait of the deranged. She compensates for this in the ‘betrayal’ scene when Rosanna suspects that Leo, Armida and the psychiatrist (Fred Montilla) all conspired to imprison her in the hospital. Another outstanding feat is the subdued scene where Rosanna learns that Leo has gone to the Lerma villa to meet Armida.

The vivacious Rosanna is just as winsomely pathetic. Watching her is just like seeing a bosom friend trying to pretend she’s happy when both of you know she’s not only in this case, Rosanna is truly happy. Her non-knowledge of her plight is what is particularly heart-curling. Dama de Noche is Tagalog Ilang-Ilang Production’s entry in the QC filmfest which started on Oct.15. It is a very simple story, almost run-of-the-mill, but Nestor Torre, Jr. who wrote the screenplay saved it with his meaningful and amusing lines. However, the movie is occasionally dragging with the Filipino moviemania for spoonfed sequences. – Times Jornal October 24, 1972 (READ MORE)

“…I didn’t expect to win, although marami ang nagsasabi sa akin na malaki ang pag-asa ko. Ako naman, I don’t believe anything unless talagang nangyayari. Kasi noon, I expected to win, sa film festival din sa Quezon City, but somebody else did. I was very disappointed. Noong awards night nga, I wasn’t convinced I would win hanggang hindi ko pa hawak ‘yong trophy…” – Ricardo F. Lo, Expressweek Magazine January 19, 1978 (READ MORE)

“…We wrote quite a number of scripts for Vilma, including the screenplay for “Dama de Noche,” which turned out to be the first film that gave her an acting award. “This was a big deal for Vi because she was very frustrated at the time due to the fact that she was always losing to Nora in acting derbies in the ’70s. Thus, when she won her Famas trophy, she felt vindicated. It was when “Dama de Noche” was being shot that we had an instructive experience with Vilma. She played a mentally disturbed girl in the story, and there was one scene in which she was supposed to dance her way through a forest. Somebody had interpreted this to mean that the dance would be choreographed number, so a ballet-like dance costume had been made for Vilma! When we got to the movie set that day, Vilma showed us her dance costume, and we were shocked. We explained that the “dance” was supposed to be spontaneous, thus unchoreographed and uncostumed! After our explanation, Vilma returned the costume to the production people, and simply “danced” the scene at her mentally challenged character would, spontaneously. This experience told us that, despite her young age then, Vilma was determined to do her job well, and once she understood how a scene should be done she would insist on doing it the right way, no matter if she ruffled the feelings of some people in the production…” – Nestor U. Torre, Philippine Daily Inquirer, June 6, 2003 (READ MORE)

“…And God Smiled at Me vs. Dama De Noche, 1972 – a German Moreno- directed escapist fare vs. a dual-role directed flick by Emmanuel Borlaza at the QC FF. Nora’s first best actress award, Vilma’s first of many defeats vs. La Aunor in the acting field. Nora’s role was simple, she was playing herself. Vilma’s dual role had degree of difficulty. She had a breakdown scene, with the camera showing a close up of Vilma crying and laughing all at once – the “luka-luka role.” Many fans and critics disagreed with the verdict. Come 1973 FAMAS awards, Vilma had her vengeance. She won over Nora, but she shared the award with Boots Anson-Roa. It’s not a complete victory…” – Anonymous (READ MORE)

“…Sa Amerika at iba pang bansa, palasak ang mga organized schools of acting na doon ay p’wedeng mag-enrol ang isang nag-aambisyong mag-artista at nang ma-refine niya o lalong mapagbuti ng anumang likas niyang kakayahan sa pag-arte. Isa sa mga pinakatanyag nilang acting techniques ay iyong tinatawag na Method Acting. Ang taguriang The Method ay pinaiklu mula orihinal na Stanislovsky Method, sinulan noong 1909 bg Rusong aktor-direktor na si Konstantin Stanislavsky. Si Stanislavsky ay mula sa Moscow Art Theatre at ang kanyang pamosong pamamaraan sa pag-arte ay pinakilala naman sa Estados Unidos ng kanyang mga disipulo. Ang Method Acting ay isang well-rounded system of training na binibigyang-pansin hindi lamang ang pag-arte kundi pati na ang wastong pagtindig, paglakad, at paggamit ng boses. Ang pinakabantog na paaralan ng Method Acting ay ang Actor’s Studio ni Lee Strasberg sa Nuweba York…Ang pinakatanyag niyang estudyante ay sina Marlon Brando, Julie Harris, Patricia Neal at ang yumaong James Dean…Sa pelikulang Pilipinoay maaaring hatiin ang mga uri ng pag-arte sa dalawang pangkat. Ang una’y kinabibilangan nina Lolita Rodriguez at Nora Aunor. Ang pangalawa’y binubuo nina Charito Solis at Vilma Santos. Ang istilo ng acting nina Lolita ay banayad, mahinahon, pigil. Ang nadarama’y mababasa sa mga mata at sa bahagyang kiling ng ulo o sa kilos ng katawan. Kung ihahambing dito ang klase ng arte nina Charito, ay iyon namang matatawag na obvious, halos natatawag ng pansin. Kung nagagalit ay talagang hysterical na, nangininig ang mga labi, nandidilat ang mga mataat nagtutumili sa pagsasalita (ang buong katawa’y nangangatal). Natatandaan marahil ninyo si Charito doon sa eksena sa “Araw-Araw, Gabi-Gabi” (nanalo siya rito ng best actress sa Manila Filmfest) na muli silang nagkasama-sama ng kanyang mga napahiwalay na kapatid. Napaluhod pa siya at napahagulgol sa matinding tuwa. (Pero tila nagbago na si Ms. Solis sa ganitong estilo mula nang mahawakan siya ni Brocka “Larawan”). …Natatandaan din siguro ninyo si Vilma Santos sa “Dama De Noche” (nanalo siya rito ng best actress sa Famas), doon sa eksenang dinala siya sa pagamutan ng mga baliw at nang matuklasan niya ito’y nagsisigaw siya, nanlalaki pati mga butas ng ilong at halos lumuwa ang mata sa galit. Sa malas naman ay ito ang higit na naiibigang istilo sa pagarte ng ating publiko. Kung bigay-tudo at eksaherado ay mas maganda para sa kanila. Di ba’t maging sa buntalan ay mas nagugustuhan nila yung matatagal na eksena ng bakbakang walang patlang ang palitan ng mga suntok at sipa?…” – Mario E. Bautista, Jingle Extra Hot Magazine, 11 February 1980 (READ MORE)

“…Matunog ang bulungan na maaaring maglaban daw sina Vi at Guy sa Best Dramatic Actress category sa Q.C. Filmfest. Si Guy sa kanyang “And God Smiled At Me” at si Vi sa “Dama de Noche.” Sabagay, tops si Vi basta’t drama. Pero isa na ako sa nagsasabing si Guy ay hindi patatalbog sa kanya sa linyang ito. Nakita ko na itong gumagawa ng drama scene (And God) at tutoo pa namang susmaryosep! Ang galing! But then, talagang heavy ang role ni Vi sa drama. Dual pa which makes it doubly mahirap. Magkapatid na ang isaý luka-luka…” – Cleo Cruz, Superstar Magazine, 16 October 1972

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Filmography: Mardy (1970)

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Basic Information: Directed, story, screenplay: Consuelo P. Osorio; Cast: Eddie Peregrina, Vilma Santos, Esperanza Fabon, Bebong Osorio, Perla Adea, Joe Alvarez, Dolly Favorito, Nick Aladdin, Ben David, Betty Mendez, Tommy Angeles, Danilo Jurado, Danny Boy; Original Music: Demet Velasquez; Film poster: Video48

Plot Description:  No Available Data

Film Achievement:  No Available Data

Film Review: “…Ipinanganak nga marahil si Ma. Rosa Vilma Tuazon Santos sa show business dahil sa pagitan ng taping ng “Larawan..” ay nagkasunod-sunod na ang kanyang mga pelikula…“My Darling Eddie” ng JBC (Disyembre 16 – 23, 1969, “Mardy” ng JBC (Disyembre 31 – Enero 6, 1969)…hanggang “Young Love” ng VP Enero 1 – 21, 1970) ng lumikha ng rekord sa takilya….Makalipas ang mga tatlong buwan, nakatanggap ng maikling sulat si Mama Santos muka lay G. Agra. Naghahanap ang Sampaguita Picutures ng batang babae na gaganap ng mahalagang papel sa “Anak, Ang Iyong Ina!” at isinali ng amain ang pangalan ni Vi. Hindi puwedeng lumiban si Papa Santos sa pinpasukang government office, at ayaw naman nilang mapahiya ang kamag-anak, kaya napilitan si Mama Santos na humingi ng day=off sa opisina (Aguinaldo’s). Pagdating sa studio, wala si G. Agra at nasa location shooting, ngunit totoong naroroon ang pangalan ni Vi, kaya’t pinapasok sila sa tanggapan. Napadaan sa harapan ni Mama Santos si Bella Flores na dala ang script ng “Trudis Liit.” Nagulumihanan si Mama Santos. Binasa niyang muli ang liham ni G. Agra. Mali yata ang napuntahan nila! Akma niyang tatawagin si Vi na noon ay nkikipaglaro sa iba pang mga bata upang yayain na itong umuwi, nang pumasok sina Mommy Vera, Dr. at Mrs. Perez, at Eddie Garcia. At doon nagsimula ang movie career ni Vi na magpahanggang ngayon ay batbat pa rin ng iba’t ibang panunuri, opinyon at konklusiyon…” – Ched P. Gonzales (READ MORE)

“Eddie Peregrina was another OPM (Original Pilipino Music) legend. While he sang with The Blinkers in Japan, he also became the first jukebox king in his homeland where Filipinos thronged around the coin-operated machines to drop 20 centavos to listen to their favorite singing idol. With the band, Eddie Peregrina gave us memorable hits like Blue Eyes and Together Again. During his prime, Eddie Pergrina was also doing TV (like the popular The Eddie-Nora Show) and acted in movies with leading ladies (like Vilma Santos, Espie Fabon, Nora Aunor). Eddie died from a car accident at the age of 32 in 1977. He was survived by his wife, Lyn, and two daughters, Edlyn and Michelle. He left a legacy of evergreen songs like Alaala ay ikaw and Nabubuhay ako dahil sa’yo…” – Questing Bandstand (READ MORE)

“…Peregrina’s popularity was high, particularly among masses. Jukebox, the coin-operated machine which plays selected music, was said to have attained much popularity as well because of continuous requests of Peregrina’s songs. His fame surge even more among the Filipino masses when he became movie star, cast with the leading ladies of the 1970s, including Esperanza Fabon and Nora Aunor, with whom he had a TV show entitled The Eddie-Nora Show on Channel 9 in the 1960s. Among his movies included Mardy, Memories of Our Dreams with Esperanza Fabon. He co-starred with his wife Lyn Salazarin in Batul of Mactan in 1974. He was also the leading man in Dito sa Aking Puso (1970) with Nora Aunor and with Vilma Santos in Mardy. Most of his films were produced by JBC Productions, which invariably paired him with Vilma Santos, Edgar Mortiz, Esperanza Fabon, and directed by Bebong Osorio. When not busy attending show business commitments, he managed his own business, including Edviper Records and the Pervil Photo Studio…” – Wikepedia (READ MORE)

“…During the early 60’s, a singer’s popularity was practically determined by the jukebox, a coin-operated machine that can play specially selected songs from self-contained media. It was a period when fans dropped 20 centavos in a jukebox to listen to Timi Yuro’s “Crazy” or Matt Monro’s “Walk Away” and “Before You Go.” Of course, Eddie’s songs like “Together Again,” “Two Lovely Flowers,” “Mardy” and “I Do Love You” were such national anthems and outdid their foreign counterparts not only in the jukebox market but also on the airwaves, in restaurants and well…the local cabarets…” – Gypsy Baldovino (READ MORE)

“…If you don’t even get one answer right, you are, if not a foreigner, either a hopeless bourgeois or an incurable egghead. But if you guess that (a) “Mardy” is an Eddie Peregrina top tune and the title of one of his movies; (b) Orasyon na naman is the standard opening line of Johnny de Leon’s afternoon radio program, Lundagin Mo, Baby; (c) Nora Cabaltera Villamayor is the real name of Nora Aunor; (d) Pilyo, nguni’t clean fun is the slogan of Pogi; Ricky Na, Tirso Pa is the movie that brings together for the first time those real-life first cousins, Ricky Belmonte and Tirso Cruz III, congratulations: you are true connoisseur of bakya…” – Pete Lacaba (READ MORE)

Filmography: Longest Hundred Miles (1967)

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Basic Information: Directed: Don Weis; Story: Hennie Leon; Screenplay: Paul Mason, Winston Miller; Cast: Doug McClure, Katharine Ross, Ricardo Montalban, Ronald Remy, Helen Thompson, Berting Labra, Loaki Bay, Vilma Santos, Danilo Jurado, Debra Gaza, Juan Marcelo, Danny Tariuam, Tom Bismark, Victor Vematsu, Bill Dunbar; Executive producer: Jack Leewood; Original Music: Franz Waxman; Cinematography: Ray Flin; Film Editing: Richard G. Wray; Art Design: Russ Lacap; Sound: Joseph Keener

Plot Description: During the Japanese invasion of the Philippines, an assorted group of refugees, including an American soldier, an Army nurse, a priest and a group of local children, try to make their getaway aboard a rattletrap, creaky bus. – IMDB

Film Achievement: Vilma Santos’ first film for international release; Entry to the 1967 Manila Film Festival

Film Review: The Longest Hundred Miles was among the first feature films produced specifically for television. Doug McClure stars as an American GI, stationed in the Philippines during World War II. Reluctantly, McClure is persuaded by army nurse Katharine Ross and local priest Ricardo Montalban to transport a bus load of native children across enemy lines. Filmed inexpensively on the Universal back lot, the film is distinguished by the musical score of Oscar-winning composer Franz Waxman. The Longest Hundred Miles debuted January 21, 1967. – Hal Erickson, All Movie Guide

“…This 1966 film was shot in the Bicol region and starred Doug McClure, Katherine Ross and Ricardo Montalban who portrayed an army corporal, a lady lieutenant and a padre respectively. Included in the cast was the young Vilma Santos…” – Tante de Ramos (READ MORE)

“…This started the showbiz career of Ate Vi. Her most unforgettable film as a child actress is the Hollywood movie, “The Longest Hundred Miles,” where she co-starred with international film stars Ricardo Montalban, Katharine Ross and Doug McClure. From 1963 to 1969, she did 27 movies as a child actress. At 14, she got her first FAMAS nomination as a supporting actress in “Kasalanan Kaya?” where she played the daughter of Lolita and Eddie Rodriguez…” – Mario Bautista (READ MORE)

“…Ipinanganak nga marahil si Ma. Rosa Vilma Tuazon Santos sa show business dahil sa pagitan ng taping ng “Larawan..” ay nagkasunod-sunod na ang kanyang mga pelikula…“The Longest Hundred Miles” ng VIP (Hunyo 18 – 27, 1967)…hanggang “Young Love” ng VP Enero 1 – 21, 1970) ng lumikha ng rekord sa takilya….Makalipas ang mga tatlong buwan, nakatanggap ng maikling sulat si Mama Santos muka lay G. Agra. Naghahanap ang Sampaguita Picutures ng batang babae na gaganap ng mahalagang papel sa “Anak, Ang Iyong Ina!” at isinali ng amain ang pangalan ni Vi. Hindi puwedeng lumiban si Papa Santos sa pinpasukang government office, at ayaw naman nilang mapahiya ang kamag-anak, kaya napilitan si Mama Santos na humingi ng day=off sa opisina (Aguinaldo’s). Pagdating sa studio, wala si G. Agra at nasa location shooting, ngunit totoong naroroon ang pangalan ni Vi, kaya’t pinapasok sila sa tanggapan. Napadaan sa harapan ni Mama Santos si Bella Flores na dala ang script ng “Trudis Liit.” Nagulumihanan si Mama Santos. Binasa niyang muli ang liham ni G. Agra. Mali yata ang napuntahan nila! Akma niyang tatawagin si Vi na noon ay nkikipaglaro sa iba pang mga bata upang yayain na itong umuwi, nang pumasok sina Mommy Vera, Dr. at Mrs. Perez, at Eddie Garcia. At doon nagsimula ang movie career ni Vi na magpahanggang ngayon ay batbat pa rin ng iba’t ibang panunuri, opinyon at konklusiyon…” – Ched P. Gonzales (READ MORE)

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1967 2nd Manila Film Festival: “Dahil Sa Isang Bulaklak” Best Picture
IMDB: The Longest Hundred Miles (1967)
IMDB: Don Weis
IMDB: Doug McClure
IMDB: Katharine Ross
IMDB: Ricardo Montalban
Actor Ricardo Montalban dead at 88
Vilma Santos- the Child star
Fil-American cast in film about Bataan
The Movies of Ronald Remy (Movie Ads Circa 1959-62)

Filmography: Duwelo sa Sapang Bato (1963)

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Basic Information: Direction, Screenplay: Jose Miranda Cruz; Cast: Vilma Santos, Ronald Remy, Willie Sotelo, Bert Silva, Oscar Keesee, Vilma Valera and Liza Moreno; Production Co.: Larry Santiago Productions; Release Date: July 13, 1963

Plot Description: Duelo Sa Sapang Bato was a DZXL radio serialized drama. Serious citations are needed to find basic information about this film. One writer cited FPJ was the lead actor but this was confusing since FPJ also has a film with similar title, Bandido ng Sapang Bato. Also, the director cited for this film was Jose Miranda Cruz who also has a similar film (another serialized radio drama), Hiwaga sa Bahay Bato.

Film Achievement: On march 21, 1964, The 12th FAMAS Awards Night was held at the Fiesta Pavillion of the Manila Hotel. Vilma Valera was nominated for Best Supporting Actress for her role in Duelo sa Sapang Bato. Unfortunately, she lost to Marlene Dauden for Sapagkat Kami’y Tao Lamang. The other Vilma won that night – Vilma Santos, the child star received her first acting award for her title role film, Trudis Liit.

Film Reviews: “…Ipinanganak nga marahil si Ma. Rosa Vilma Tuazon Santos sa show business dahil sa pagitan ng taping ng “Larawan..” ay nagkasunod-sunod na ang kanyang mga pelikula…“Duelo Sa Sapang Bato” ng Larry Santiago Productions (Hulyo 13 – 22, 1963)…ng lumikha ng rekord sa takilya…Makalipas ang mga tatlong buwan, nakatanggap ng maikling sulat si Mama Santos muka lay G. Agra. Naghahanap ang Sampaguita Picutures ng batang babae na gaganap ng mahalagang papel sa “Anak, Ang Iyong Ina!” at isinali ng amain ang pangalan ni Vi. Hindi puwedeng lumiban si Papa Santos sa pinpasukang government office, at ayaw naman nilang mapahiya ang kamag-anak, kaya napilitan si Mama Santos na humingi ng day=off sa opisina (Aguinaldo’s). Pagdating sa studio, wala si G. Agra at nasa location shooting, ngunit totoong naroroon ang pangalan ni Vi, kaya’t pinapasok sila sa tanggapan. Napadaan sa harapan ni Mama Santos si Bella Flores na dala ang script ng “Trudis Liit.” Nagulumihanan si Mama Santos. Binasa niyang muli ang liham ni G. Agra. Mali yata ang napuntahan nila! Akma niyang tatawagin si Vi na noon ay nkikipaglaro sa iba pang mga bata upang yayain na itong umuwi, nang pumasok sina Mommy Vera, Dr. at Mrs. Perez, at Eddie Garcia. At doon nagsimula ang movie career ni Vi na magpahanggang ngayon ay batbat pa rin ng iba’t ibang panunuri, opinyon at konklusiyon…” – Ched P. Gonzales (READ MORE)

“…Ang Duwelo Sa Sapang Bato (July 13, 1963) ay serialized sa DZXL Radio sponsored by PMC at prinodyus ng Larry Santiago Productions. Pinangunahan ito nina Vi, Ronald Remy, Willie Sotelo, Bert Silva, Oscar Keesee, Vilma Valera at Liza Moreno. Ang sumulat ng istorya at nagdirek ay si Jose Miranda Cruz….” – Alfonso Valencia (READ MORE)

Citation Needed – Child star, Danilo Jurado’s Wikipilipinas biography listed “Duwelo Sa Sapang Bato,” directed by Jose Miranda Cruz and produced by Larry Santiago Production in 1963 as part of his filmography. – Wikipilipinas (READ MORE)

Similar Title – “…Hiwaga sa Bahay na Bato (1962-63), written and directed by Jose Miranda Cruz, stars Dalton de Castro, Flora Cristobal, Eva Darren, Teddy Santos, Noel Nolasco, Estela Grande, Lita delos Reyes, Baby Bernardo, Ernesto Fajardo, Lina Chico and Ben David…You had your first television set sometime in 1961 or 62, a black-and-white RCA Victor (there’s no color TV that time). You remember rotating the knob and tuning to Channel 3, watching old tagalog classics or Channel 7, with Uncle Bob’s Lucky 7 or reruns of Popeye animated cartoons. At this time, ABS-CBN Channel 3 premiered the first TV soap opera titled Hiwaga sa Bahay na Bato. It was aired from Monday to Saturday, 6:30 to 7:00 pm. That was in the latter part of 1962 and as a child, You were horrified seeing a monstrous and disfigured hunchback who lived beneath the stone house unknown to the owner, a filthy rich hacendero (played by Dalton de Castro). The hunchback was played by a radio talent, Ben David, who later became popular for being overacting or “OA.” He was known portraying Judas or Hudas in Lenten plays and would burst with phrases like “O…Hindi…” or “ngingit ng mga pangit” Ben David’s love interest was the very young Eva Darren, who up to now is appearing in TV soaps (now called telenovelas or teleseryes). Darren is one of the pioneers as far as TV soap operas are concerned. Hiwaga ran for about 4 to 5 months, from September 1962 to January 1963. It was one of the most successful early soap operas and made unheralded Director Jose Miranda Cruz a household name. Cruz went on to do more soap operas— Prinsipeng Tulisan, Hanggang May Buhay, Larawan ng Pag-ibig, among others. …” – Missosology (READ MORE)

“Born in Sta Cruz, Manila on November 25, 1951 to Jose Jurado a stage comedian also known as “Bembot” and wife Lydia Galura He is popularly known in showbiz circles as Danilo or Danny Jurado, a former child star of the late 50’s until the 60’s era. He was one of the most promising young actors of his time, as an adolescent he became a radio talent in the 70’s hit musical-variety show Operetang Putol-Putol of Johnny de Leon which holds the stellar cast of Edgar Mortiz, Jay Ilagan, Richard Merk, Perla Adea, Tessie Lagman-Balboa, Dolly Favorito, Joe Alvarez, Elizabeth Ledesma, Esperanza Fabon Ben David at Danny Taguiam which is written and directed by Manolo Favis…” – Wikipilipinas (READ MORE)

The Other Vilma “…Vilma Valera (her real name is Judy Johnson) is no exception. She is a “tisay” (short for mestiza). Her father, Vincent Johnson, is an American while her mother, Judy San Jose, is a Filipina from Bicol. She was born on July 2, 1945 in Bicol but she grew up in Manila. She spent many years in a convent in Quezon City which was ran by Irish sisters. She spent her years there until her third year in high school. Like many movie stars, she became preoccupied with her acting, which prevented her from finishing high school. It was when she moved to the United States, that she was finally able to complete high school and pursue higher education. Vilma’s biggest break was in 1964 in the movie, “Salambao” with Eddie Rodriguez and Van de Leon as her co-stars.

She was nominated as FAMAS best actress in “Salambao.” She was versatile as an actress that landed her in several roles in action, drama, comedy, musical with top actors at that time as her leading men: Ronnie Poe, Jr., Dolphy, Eddie Mesa, Eddie Gutierrez, among others. When LVN studio closed shop, Vilma signed a contract with Larry Santiago Production. She decided to join Larry Productions upon the invitation of Pablo Santiago, who was then the boyfriend of Vilma’s aunt Cielito Legaspi. Although Vilma had an exclusive contract with Larry Santiago Productions, she was allowed to do movies with other companies like Sampaguita Pictures and Sultana Productions. When we talked about the movie, “Pogi” (1967), which she did with Eddie Gutierrez, I couldn’t help but ask Vilma if there was any truth to the rumors back then that she got romantically involved with Eddie. She responded, “Nung magkasama kami sa “Stop, Look, and Listen,” naging close kami. Lahat ng problema ko, at kung ano-ano pa, siya ang binubulungan ko, Vilma continued. “Sa studio, laging naka-akbay sa akin si Eddie. Akala ng mga fans ko may affair kami. Hindi nila alam cover-up lang ako ng relationship nya kay Pilita Corrales. When Pilita needed to take a leave from her TV show, Eddie wanted her to take the place of Pilita. “Ako ang gusto ni Eddie na pumalit kay Pilita,” she added. “Nung pumalit ako kay Pilita, akala ng mga fans ko, kami na ni Eddie. Ang hindi nila alam, pakulo lamang namin yon.”

…Among the movies she made where she had the title role were “Reyna ng Tundo” (1964), with Amado Cortez, Van de Leon, Charlie Davao, Vic Diaz, and Willie Sotelo; “Pitong Desperada” (1964) with Liza Moreno, Miriam Jurado, Stella Suarez, Mila Montanez, Juvy Cachola and Zeny Zabala; “Mamatay sa Laban” (1964) with Willie Sotelo, Cynthia Lopez, and Eddie Rodriguez; “Naligaw na Angel” (1964) with Willie Sotelo, Maggie de la Riva, Vilma Santos and Van de Leon; “Let’s Go” (1964) starring Eddie Mesa, Jose Mari, Helen Gamboa, Reycard Duet, Elizabeth Ramsey, and Jerry Pons; “Danilo Ronquillo: Cavite Boy” (1965) starring Jun Aristorenas, Van de Leon and Ponga; “Kay Tagal ng Umaga” (1965) with Lolita Rodriguez, Marlene Dauden, Eddie Rodriguez with special participation of Vilma Santos. “”Pogi” (1967) with Eddie Gutierrez and Nora Aunor as guest star; “Shake-a-Boom” (1997) with Dolphy, Merci Molina, Ike Lozada, and Norma Ledesma; “Way Out in the Country” (1967) with Bert Leroy, Jr. Blanca Gomez, Gina Pareno, Edgar Salcedo and Ricky Belmonte; “Batang Matadero” (1969) with Fernando Poe, Jr.; “Nardong Kutsero” (1969) with Fernando Poe, Jr., Paquito Diaz, Pablo Virtuoso, and Dencio Padilla’ “Boogaloo” (1968) with Helen Gamboa, Bobby Gonzales, and Roger Calvin.

…Vilma was not only a movie star but also a singer. She remembers well her years as a choir member while she was at the convent. That was how she developed her singing talent, which later on became part of her career. “I really wanted to be a singer, so I joined a band,” she said. She put up her own band, “R-Gents Band” (so named because all the names of the members of the band started with letter “R.” She studied how to play the drums. Eventually she was not only the band’s soloist singer but also a drum player. The band performed in Hawaii, Okinawa, and Asian countries. At one event, she had a concert with Eddie Mesa. In between her concert tours, she would make movies. Vilma recorded several albums before her retirement from show business. Her signature songs were “It Must Be Him” and “One Day…” – Romy R. Protacio (READ MORE)