Bagong Porma sa Lumang Pormula

Sa Gaano Kadalas Ang Minsan?, Minsan pang pinatunayan ni Danny Zialcita ang kanyang pambihirang abilidad sa pagbibigay ng bagong treatment sa lumang tema ng pag-ibig, na kadalasa’y umiikot sa pormula ng trianggulo. (Hindi nga ba’t maging sa kanyang mga naunang obra tulad ng Hindi sa Iyo Ang Mundo, Baby Porcuna at Ikaw at ang Gabi, ay naitatak ni Zialcita ang kanyang makabagong sensibilidad sa pagtalakay sa mga kuwento ng pag-ibig?) Mula sa istorya ni Tom Adrales (na nagsilbing katulong ni Zialcita sa iskrip at sa direksiyon), ang Gaano Kadalas ay tungkol sa magkaibigang Lily (Vilma Santos) at Elsa (Hilda Koronel), na bagama’t kapwa nakaririwasa sa buhay ay magkaiba naman ng suwerte. Matapos magpatingin si Hilda sa doktor, nalaman niyang wala na siyang pag-asang magkaanak pa. Si Vilma nama’y may kaisa-isang anak nga sa pagkadalaga pero wala naman itong ama at mas grabe pa, may taning na ang buhay ng bata (may congenital heart desease ito). Minsan, nagkahingahan ng problema ang magkaibigan, at sa kanilang pag-uusapa, inalok ni Hilda si Vilma na gawing ama ng kanyang anak ang asawa nitong si Louie (Dindo Fernando). Bagama’t ipinalabas niyang mahal din niya ang bata at gusto niya itong mapaligaya kahit pansamantala lang, ang kanyang tunay na pakay ay mapaglapit ang kaibigan at ang asawa nang sa gayo’y magakaroon siya ng maaampong anak mula sa relasyon ng dalawang taong kapwa niya mahal.

Nagtagumpay ang tatlo sa kanilang pagpapanggap, at gay ng inaasahan, nagka-ibigan nga ang dalawa. Pagkatapos mamatay ang anak, nagbuntis si Vilma. Dahil delikadong manganak siyang muli (diumano’y may sakit siya sa puso), nagtangkang ipalaglag ni Vilma ang nasa kanyang sinapupunan. Napigilan siya ng kaibigang si Chanda Romero at ni Dindo mismo. Perso sa wakas, nang siyang magsilang, nawalan si Elsa ng asawa, kaibigan at anak. Mahusay ang pagkakadevelop sa kuwento ng Gaano Kadalas at epektibo ang direksiyon ni Zialcita. Nagawa nitong masangkot ang manonood sa problema ng mga tauhan. Absorbing ang naging tunggalian ng mga puso’t damdamin. Naipakitang may sapat na motibasyon ang kanyang mga tauhan para pumasok sa ganoong arrangement. Gayunman, may ilang katanungang hindi nasagot sa pelikula. Una, paano nakakasiguro si Hilda na ipagkakaloob sa kanya ni Vilma ang anak nito kay Louie sakali ma’t hindi namatay ang bata? Ikalawa, bakit masyadong naging hayagan ang relasyon nina Vilma’t Dindo lalo pa kung isasaalang-alang ang kanilang tayo sa sosyedad? Ikatlo, kung totoong mapera si Vilma, bakit nahirapan siyang kumontak ng abortionist at dahil nga dito’y isinugal pa ang buhay? Kung tutuusin, lalo pang naging prominente ang mga kakulangang ito dahil lubusang nag-rely ang pelikula sa samu’t saring medical convolutions ng plot: kesyo may anak nga si Vilma pero blue baby naman at kesyo hindi rin siya puwedeng manganak ulit dahil sa sakit niya sa puso (at ang mga ito ay nakapagtatakang hindi pa nalalaman ni Dindo).

Ang madalas magpaangat sa pelikula ay ang acting cast. Dahil mas malaman ang kanyang papel at tila naperfect na ni Vilma Santos and agony ng other woman mas nangibabaw ang kanyang performance kay Hilda Koronel. Kahit na mas marami ang nagsasabing si Hilda ang mas angat dito. Pasulpot-sulpot ang papel ni Hilda at may kahinaan ang motibasyon (isipin mong siya pa ang nagtulak sa sariling asawa sa ibang babae!). Medyo nakaka-distract ang kanilang mga kasuotan (mga gawa ni Christian Espiritu), gaya rin ng ayos ng mga bahay at kasangkapang tila nakikipagkumpetensiya sa tauhan. Epektibo rin ang pagganap ni Dindo Fernando bilang Louie na nakati ang puso para sa dalawang babae. Magagaling din ang supporting cast, lalo na si Suzzanne Gonzales, ang yayang sosyal at ang batang si Alvin Joseph Enriquez. Kahit maikli ang kanilang papel, mahusay rin ang rehistro nina Tommy Abuel, ang doktor na nanliligaw kay Vilma, at si Chanda Romero, bilang matalik na kabibigan ni Vilma. – Justino Dormiendo, Manunuri Ng Pelikulang Pilipino, Jingle Extra Hot Magazine 1982, reposted by Pelikula Atbp (READ MORE)

One More Time T-Bird At Ako

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Starring: Vilma Santos, Nora Aunor, Dindo Fernando, Tommy Abuel, Directed by Danny Zialcita

That Danny Zialcita’s T-Bird at Ako is entertaining cannot be doubted. The plot situations are funny. The lines are witty. The pacing is fast. The lesbian love of Nora Aunor for Vilma Santos, moreover, is extremely clever, since the two superstars in real life would not be caught dead in such a relationship. Zialcita has made a career of doing impossible things. He made he-man Dindo Fernando a homosexual in the Mahinhin series. He now makes Aunor a lesbian. When he tries to make Santos a low-class beerhouse dancer, however, he fails. That makes his record two out of three impossible things, not bad for normally sedate local cinema.

This film shows Zialcita at his best – irreverent, tongue-in-cheek, unconcerned with larger themes, focused on obsessive sexual relationships. Let’s take the dialogue first, which cleverly juxtaposes the fiction of the film with the reality of the careers of the two superstars. Thus references are made to Santos’ being a “burlesque queen.” One character is even named “Rubia,” after Rubia Servios (1978), Santos’ competition film against Aunor’s Atsay (1978). More than these allusions, however, the film features sparkling exchanges between Santos and Aunor. Most impressive of all the lines perhaps are those in the court room sequence, since the opposing arguments are easy to follow, yet logical in structure.

The direction is tight and masterful. Although one always gets reminded in a Zialcita film of sequences from foreign films, there is a minimum of unmotivated blocking in this film. Each sequence contributes to the whole film (if there is copying, in other words, and I do think there is in this film, the copying is not done simply to be cute or clever, but in accordance with the logical requirements of the plot). The performances, as expected of a Zialcita film, are excellent. Aunor is more effective as the confused lesbian, primarily because Santos is not able to get the rough and ready quality of low-class hospitality girls. Tommy Abuel is terrific in his role as the patient suitor. Fernando is given too little space to develop his character, but what he has, he makes good use of. Captivating is Suzanne Gonzales, though she has to learn to use her face a bit more to express varying emotions. In their brief roles, Anita Linda and Odette Khan are delightful. – Isagani Cruz, Parade, 22 September 1982 (READ MORE)

“…The restoration campaign focuses on directors primarily. In the case of the 33-year old ‘T-Bird at Ako,’ it’s vintage Danny Zialcita with his snappy dialogue and witty repartee. It’s also the last time that Nora and Vilma co-starred in a movie and with such a daring theme for its time. “T-Bird at Ako” tells the story of a sexy dancer (Santos) accused of homicide. She is defended by a female lawyer (Aunor) who tries to keep their relationship professional as the latter struggles with confusion as to her sexual preference. T-Bird at Ako is among the 75 films restored by ABS-CBN Film Archives, in collaboration with Central Digital Labs, since it started its restoration project in 2011. Some of these restored films were already screened internationally via film fests, screened locally via red carpet premieres, aired on free-to-air and cable television, viewed via pay-per-view and video-on-demand, distributed on DVD, and downloadable even on iTunes…” – LionhearTV, 26 February 2015 (READ MORE)

“…The 1982 blockbuster T-Bird At Ako was not the first movie to star rival screen icons Nora and Vilma, but it played up the rivalry of the two, even coming up with a circular “billing” so you couldn’t tell whose name appeared first. It also has a titillating premise: Nora Aunor plays Sylvia, a successful lawyer who finds herself sexually attracted to Vilma Santos’s Isabel, a nightclub dancer/hostess accused of murder. The movie is absolutely delightful, and its two stars never looked better, but if you’re looking for a serious discussion of LGBT issues, look elsewhere. As writer Portia Ilagan said in her introduction, she and the director had a spat over the “redeeming” ending, which in the tradition of old Tagalog movies suggests that homosexuality is a temporary phase that can be cured…In T-Bird at Ako, every character is a character, and even the most minor characters get to unleash verbal zingers. Many of these zingers seem like throwaway remarks, so you need to pay close attention. “Saan tayo?” says the taxi driver. “Sa impyerno,” says Vilma Santos, and the movie doesn’t make room for the audience’s laughter but barrels right into the next scene. It occurred to me that Danny Zialcita’s movies, which were marketed as melodramas, are really screwball comedies, the genre I love most in the world. The plots are preposterous, the story is only loosely related to real life, and everyone is clever. It doesn’t try to be like the actual world, it wonders why the world isn’t more fun like a movie…”

“…Nora Aunor has the more difficult role. Her Sylvia is a cerebral woman who has never paid much attention to her feelings and suddenly finds herself swamped with them. Could she be a lesbian? The movie’s timidity and its fear of offending the traditionalist audience doesn’t help her: she is reduced to being petulant and jealous when Vilma’s Isabel stays out late at night. But Nora uses her famous power of understatement to convey the confusion, discomfort, and amazement of emotional awakening. It’s also refreshing to see her play an established, affluent character whom no one would think of oppressing. Make her api at your own risk. Vilma Santos is in her element playing the quintessential Vilma role: the woman of feeling who has no qualms about expressing them. She also has a nightclub dance sequence that, far from portraying her as a downmarket floozy, makes her look like she should be headlining a TV variety show. Oh right, she’s done that. And her line readings are hilarious. Under cross-examination by Tommy Abuel, who asks if she can understand his questions in English, she says, “Opo, hindi naman malalim ang English niyo.” Offhandedly, without turning it into a moment…” – Jessica Zafra, Interaksyon, 27 February 2015 (READ MORE)

“…Ang husay talaga ng director na si Danny Zialcita. And the actors in the movie were equally good. Sa court scene, hindi nagpatalo sina Johnny Wilson at Tommy Abuel as the prosecutors. Ang gagaling nilang magbitaw ng mga dialouges. At hindi rin nagpatalo ang Superstar as the defense lawyer. Superb ang exchange words sa court room. We wondered kung sino ang scriptwriter ng pelikula. But Manay Ethel Ramos said na si Danny Zialcita is an expert on that area. Halos hindi maalis ang tutok ng lahat kay Ate Vi with her sexy dance number and she was in a red skin tight outfit with the lower part exposing very shapely thighs and legs. Sabi nga ng anak naming si Julienne who was with us during the viewing of the film, “Ang ganda ni Vilma lalo na ‘yung ilong niya. Girl na girl talaga siya. Ang ganda rin ni Nora pero pang-masa talaga ang dating niya. Very convincing siya as t-bird. Paglabas ko, Mommy, ng film center, tumatak sa akin na t-bird talaga siya.” Nandun sina Aiza Seguerra at Liza Dino to support the film since the film is about same sex relationship. Nandun din si Direk Perci Intalan who is, as everywone knows, married to writer Jun Lana. Kay Portia Ilagan (the right hand of Sen. Bong Revilla) pala ang kuwento ng T-Bird at Ako. Kuwento diumano ito ng buhay niya. Dahil yung same sex relationship ay hindi pa masyadong accepted nung time na ginawa ang movie, sa ending, hindi nagkatuluyan sina Vilma at Nora. May mga dialouges pa si Ate Vi na “Nandidiri ako sa ‘yo.” nung mag-attempt si Ate Guy na haplusin siya. So, sa ending si Nora ay napunta kay Tommy Abuel at si Vilma naman kay Dindo Fernando. Sey kuno ni Portia sa isa namaing kasamahan sa panulat na nag-interview sa kanya, ang ayaw niya sa ending ay pinag-bestida raw si Ate Guy. She accepted the ending na napunta si Ate Guy kay Tommy Abuel pero ang di niya nagustuhan ay pinagsuot ito ng bestida. In real life kasi, never sigurong nagsuot ng dress si Kabsat Portia…” – Len Ramos Llanes, Bulgar, 27 February 2015 (READ MORE)

“…Na-miss ng film critics at ng showbiz industry ang style ng yumaong Danny Zialcita sa pagdi-direk. Ilan sa kanyang mga obra ay ang Nagalit ang Buwan sa Haba ng Gabi at marami pang iba tulad ng T-Bird at Ako na ipinalabas sa UP Film Center las February 25. Ang bida ng classic film na ito ni Danny ay ang dalawang superstars ng local film na sina Vilma Santos at Nora Aunor. Ang said film ay ilan lang sa mga restored film into its original na gawa ng ABS-CBN Film Restoration. Ang mga nauna nang restored films na ipinalabas sa said venue ay ang tatlong pelikula ni Batangas Governor Vilma Santos-Recto like Bata Bata Paano Ka Ginawa at Anak. Anyway, dumating si Nora sa UP Film Center nang mas maaga sa takdang oras ng palabas na 6pm. Unfortunately, walang Vilma na dumating although nagpasabi ito sa kanyang mga Vilmanians na hindi siya makakarating due to important committment sa Batangas. Bagama’t wala si Ate Vi, kumpleto pa rin ang Vilmanians sa pangunguna ni Jojo Lim na siyang nag-asikaso sa mga press people na kanyang inimbitahan. Pagkatapos ng welcome speech ni Leo Katigbak, ang head ng Kapamilya Film Restoration, sumunod na nagpasalamat si Ate Guy sa mga dumalo sa event, maka-Nora man o Maka-Vilma. Nasa 4th row nakaupo si Ate Guy habang ongoing na ang viewing. Binulungan kami ng aming katabing isang radio host-columnist na “Tumatakas na si Nora.” True, napansin ng lahat na nu’ng ipinapakita ng ilaw, bakante na ang kinauupuan ng Superstar. Tuloy, ‘di na naman nakalusot sa intriga ang bulilit aktress at biro ng aming katabi, “Nag-walkout yat? e, kasi nga, kahit wala si Vilma, mas malakas ang palakpakan sa kanya,”sey ng aming katabi. Bago pa ang screening ng T-Bird at Ako sa UP Film Center, nagpaunlak ng pahayag si Nora at naitanong ng katotong Morly Alinio kung papayag ba ito sakaling magkaroon ng T-Bird At Ako part 2 kahit na pareho na silang may edad? Sagot ni Ate Guy, “Why not? Depende siguro ‘yun sa istorya,” sey sa amin. “Wala namang problema sa amin ng mare ko,”na tinutukoy ay ang Star for all Seasons…” – Ador Saluta, Bulgar, 27 February 2015 (READ MORE)

“…Ang kuwento ng T-Bird At Ako ay tungkol sa isang dancer (Vilma) na naakusahan ng homicide. Ipagtatanggol siya ng isang abogada (Nora) na susubukang panatilihing propesyunal ang kanilang ugnayan habang nilalabanan ang pagkalito sa kanyang sexual preference. Si Portia Ilagan ang sumulat ng script ng T-Bird At Ako at ayon sa kanya, magkakaroon daw ito ng remake. Ang gusto niyang magbida sa bagong version ng pelikula ay sina Angel Locsin (dancer) at Bea Alonzo (lawyer). Gusto rin niyang maging part ng pelikula sina Vilma at Nora, Aiza Seguerra at asawa nitong si Liza Dino…” – Leo Bukas, Journal, 28 February 2015 (READ MORE)

#noraaunor, #VilmaSantos, #TBirdatAko1982, #DannyZialcita

Vilma, Vilma, Ang Sarap Mong I-direk

ARTICLES - Directors

Sa langit-langitan ng pagganap sa pelikula ay walang aktres ang makakatapat kay Vilma Santos sa husay at versatility nito. Maging si Nora Aunor na mahigpit niyang karibal sa larangang ito ay nagsimulang nagpakita ng gilas at halos pinaluhod ang QueenStar noong ginawa niya ang Minsa’y Isang Gamu-gamo, Tatlong Taong Walang Diyos, Bona at Ina Ka ng Anak Mo. Sa katunayan, unang narecognize si Nora sa Urian at sa international film community sa Cairo Film Festival kung saan hinangaan siya sa Flor Contemplacion Story at nakopo niya ang best actress award, mula YCC hanggang sa Cairo nga. Ito lang ang tanging grand slam niya. Hindi nagpatalbog ang former Scream/Gripo Queen kay forever Ice/Eye/Diin Queen by reinventing herself magmula noong mapangahas niyang pagganap sa Burlesk Queen at nang talunin siya ni Nora sa 1978 MMFF kung saan nilampaso siya ng Atsay at umuwi siyang luhaan like Rubia Servios. As fate would have it, at dahil na rin sa kanyang competitive spirit at nerve of steel, she re-grouped and vowed never to be second banana sa kapuwa bulilit niyang karibal. “Anything she can do, I can do better, I can do anything better than her.” Yes, I can, oh yes I can!” ang bulalas ng most awarded actress and mayor ng bansa sa sarili. And she did it. By George, she got it! And she could dance all night, along with her millions of fans. Nag-aral siya, nagmasid, nagtanong, nagtiyaga, ibinuhos ang kaalaman niya sa sining, at inalagaan ito ng husto. At mula noong naka-grand slam siya sa Relasyon in 1982 ay para bang nabuksan ang langit at ang mga paghihirap at tiyaga niya ay tinumbasan ng walang katapusang ulan ng mga tropeo, honors and citations bilang pinakamahusay na aktres ng kanyang henerasyon, at possible sa buong kasaysayan ng pelikulang Pilipino. Na-validate pa nga ito ng pagkawagi niya as exemplary media practitioner for film via the prestigious U.P. Gawad Plaridel Award recently. Nominations pa nga lang ay eliminated na kaagad ang supposedly strong contender na si Nora Aunor.

Napasama ang Reyna sa last three finalists at mantakin mong sina Mike De Leon at Eddie Romero ba naman ang kahelera mo at talunin mo ay daig pa ang manalo ka sa lotto. Talagang hindi basta-basta aktres ang the longest reigning movie and box-office queen of Philippine Cinema: Isa na talaga siyang icon or national treasure ng bansa. Kasunod na kaya ang National Artist Awsrd? Abangan! Nakagawa na siya ng mahigit 200 na pelikula, kasama na ang mga special guesting niya, at nagtamo nga ng pinakamaraming acting awards, mula sa Trudis Liit hanggang sa Mano Po 3 – My Love. Kamanghamangha talaga! Atin ngayong suriin kung sinu-sinong director ang pumiga sa Meryl Streep of the Philippines at sa the Filipino Cinematic Diva (ayon sa U.S. Variety magazine) at tuloy ay nagkamit ng mga di matatawarang karangalan sa kahusayan sa pagganap. Sa mga batikang director natin, tanging sina Lino Brocka (SLN) at Marilou-Diaz Abaya ang di pinalad na panalunin si La Vilma sa mga klasikong Rubia Servios, Adultery and Hahamakin Lahat for Brocka, at Alyas Baby Tsina naman kay Abaya. At ang mga ilan sa matitinik nating direk na di nakatrabaho ng Reyna ay sina Lupita Kashihawara at Mario O’Hara na pawing identified kay Nora Aunor. Malay natin, baling araw ay may mga pelikula na silang gagawin. Narito ang talaan ng mga director na nagpanalo sa Greatest Actress of Philippine Cinema…

  • Jose de Villa – in 1963 for Trudis Liit. Vilma’s first acting trophy (FAMAS best child actress).
  • Luis Enriquez (aka Eddie Rodriguez, SLN) – 1968 best supporting actress for Kasalanan Kaya? mula sa San Beda College Awards; 1975 best actress for Nakakahiya?, Bacolod City Film Festival. The most successful May December acting team in Philippine Cinema, ever.
  • Emmanuel Borlaza – 1972 FAMAS best actress (her first as an adult actress and her one of five from the FAMAS), for Dama De Noche.
    Celso Ad. Castillo – 1977 best actress, MMFF, for Burlesk Queen. Her change of image changed everything. The best career move she ever did. There was no looking back.
  • Danny Zialcita – 1981 MMFF and Cebu City Film Festival for Karma.
    Elwood Perez – 1981 FAMAS best actress (Pakawalan Mo Ako) and 1988 FAMAS best actress (Ibulong Mo Sa Diyos).
  • Ishmael Bernal (SLN) – hold your breath! 1982 Grand slam for Relasyon (her first of four grand slams, a record!); 1983 Urian best actress, Broken Marriage; 1989 Urian best actress, Pahiram ng Isang Umaga. Sayang at pumanaw na si ‘Ishma” – ang dami pa sana nilang pelikulang pagsasamahan. The most successful actress/director collaboration in Pinoy Cinema. Pinasabog na ang takilya, inulan pa ng awards.
  • Maryo J. De Los Reyes – 1987 FAMAS best actress, Tagos ng Dugo; 1992 New Fame Mag Readers’ Choice Award for best actress, Sinungalinng Mong Puso. Sana matuloy iyong Vilma-Christopher project sa Violet Films’ Huwag Hatulan ang Puso. Sana. It’s time for a Maryo J. and a Vilma reunion – perfect for each other – they’ll make a splash at the local and foreign markets. Abangan!
  • Mike de Leon – 1984 Urian best actress, Sister Stella L. In the recent U.P. Gawad Plaridel award for exemplary film practitioner, La Santos bested De Leon. Whew! Will Mike lure Vilma or vice-versa to make a movie together? Heaven, must be missing an angel: Mr. Mike De Leon, that is. It’s time for a reunion. Isa pa nga, oh! Hold your breath. I can see it coming. Mover over, Madam Auring!
  • Laurice Guillen – ah, the woman’s director – who better understands women but the outstanding actress cum director herself, Laurice? Her presence at Vilma’s coronation at the U. P. last July 4 is proof that Ms. Guillen is a true-blue Vilmanian. She gave the Queen two best actress awards: 1993 Grand slam (her second) for Dolzura Cortez; and in 1991 at the Urian for Ipagpatawad Mo, halting Nora’s almost second grand slam win for Pacita M. Laurice’s presence at the U.P. Cine Adarna is, probably, an open invitation for Ms. Versatile Vilma to say – OK – to Guillen’s script about a woman who spent most of her life taking care of family business, only to be abandoned or dumped like a hot potato by the ones she loved to death – with nowhere to go – no career/office skills – nothing. Do I hear a fifth grand slam? Aw, c’mon, Vilma, grab the script before it lands in another’s lap. Si Guillen yata iyan! Atat na ata na, umoo ka na, oh!
  • Chito Rono – is he Bernal II? His approach, his dark comedy, his overall style is vintage Bernal, yet very original, with Chito’s stamp of excellence all over it. Two grand slams for Vilma, for a total of four grand slams, plus 2 international acting trophies from the Brussels and CineManila, (1998’s Bata-bata and 2002’s Dekada ’70), is not bad. Is there a reunion in the offing? Direk Rono: “Vi, gawin na natin iyong script, bago ni Lualhati, bagay sa iyo iyon?” Vilma: “Naku, Chito, litung-lito na ako sa dami ng offers. Di ko alam ang uunahin. Ang hirap i-pass by. Nakapanghihinayang. Kung puede ko lang i-clone ang sarili ko, gagawin ko lahat ng offers sa akin. Kaso mo, so many good movies, so little time.” Chito: “Ako hintay sa iyo. Ayaw ko sagot mo Pagputi ng Uwak, Pag-itim ng tagak. Basta ako hintay sa iyo.”
  • Rory Quintos – Anak shattered box-office records in 2000 and was the highest-grossing Pinoy film ever until Ang Tanging Ina (Solid Vilmanian Ai-Ai) zoomed to the top of the box-office. The 2000 best actress awards from the PMPC Star and PASADO are puede pasar, but millions of ‘luhaang’ viewers swear she should have brought home the bacon. All they were saying, please give Glo a chance! Sige na nga, senior citizen kasi eh. Doon nga sa Urian when Ms. Gloria Romero gave her speech: “I-share this award with Vilma who was so good in Anak.” BOW! Respect begets respect. Biglang sing si Aretha Franklin ng R-E-S-P-E-C-T.
  • Joel Lamangan – the newest Vilma convert after he made Vilma grab best actress awards in the 2004 MMFF (Mano Po III), at the PMPC Star (her sixth), Tanglaw (her second) and Gawad Suri. He was so impressed by the QueenStar that he offered her a script she couldn’t resist, about the slums, a role to die for. Vi: “Joel, ang hirap naman, awa ako time. Gulong-gulo nga ang isip ko kung ano ang tatanuan ko eh. Puede bang next year na lang iyan?” – Mario O. Garces (READ MORE)

Special Film: Mahinhin vs. mahinhin (1981)

Mahinhin vs. mahinhin (1981) is a movie directed by Danny L. Zialcita. It was a continuation of the film Si Maganda at Si Mahinhin which was produced in 1980. Produced by Sine Silangan Productions in 1981, the movie featured the late Dindo Fernando, Ronaldo Valdez, Adul de Leon, and Elizabeth Oropesa. The young Carmi Martin and Edu Manzano were also part of the movie. The story revolved around the life of Billy de Gracia (Dindo Fernando), a homosexual who tried to live as a man by marrying Juana (Elizabeth Oropesa). Billy’s life turned upside down as he met Archie (Edu Manzano), boyfriend of Peter Frias (Ronaldo Valdez). Peter, unlike Billy, was a multi-millionaire homosexual. Billy pretended to be woman when he tried to offer Archie some money. When Peter learned about that, he and Billy agreed to share Archie with each other. The following scenes showed how Peter and Billy rivaled for Archie’s attention. – Wikipilipinas (READ MORE)

Danny Zialcita is a fun-loving gifted and colorful filmmaker who left his mark as one of the best in the stimulating era of the ’60s and ’70s. Then without any warning he left the industry. Stories of drug addiction, withdrawal from the world, and worse, loss of sanity dogged his absence until even his colleagues lost touch with him and didn’t know what to believe. Zialcita is a master of improvisation on the set, he also had the knack for casting the right actors, choosing the right material, and pleasing his producers. One of his favorite actors was Dindo Fernando whom he termed “the complete actor” and cast him in such movies as Langis at Tubig, Karma, Gaano Kadalas Ang Minsan, Mahinhin at Mahinhin, its sequel Malakas, si Maganda at si Mahinhin and Ikaw at ang Gabi which gave Dindo his first Urian Best Actor trophy. Other favorites were Vilma Santos cast in Karma, T-Bird at Ako, Langis at Tubig; Pinky de Leon; Laurice Guillen; Ronaldo Valdes; and Beth Bautista who won Best Actress award in Hindi sa Iyo ang Mundo Baby Porcuna. – Bibsy M. Carballo (READ MORE)

Source: Pinoybwuahaha69

FAIR USE NOTICE (NOT FOR COMMERCIAL USE): This site contains copyrighted materials the use of which has not always been specifically authorized by the copyright owner. We are making such material available in our efforts to preserve the film legacies of actress, Vilma Santos, and to make her career information available to future generations. We believe this is NOT an infringement of any such copyrighted materials as in accordance to the the fair dealing clauses of both the Canadian and U.S. Copyright legislation, both of which allows users to engage in certain activities relating to research, private study, criticism, review, or news reporting. We are making an exerted effort to mention the source of the material, along with the name of the author, performer, maker, or broadcaster for the dealing to be fair, again in accordance with the allowable clauses. – Wikipedia (READ MORE)