Filmography: Pakawalan Mo Ako (1981)

“Kukunin ko ang bayad ng halik! May sukli ka pa!” – Anna

“Puta! Sige ituloy n’yo! Sabihin n’yo! Hindi lang naman kayo ang ang unang nagparatang sa akin ng ganyan. Puta! Puta! Puta! Putang-ina n’yong lahat! Putang-ina n’yong lahat! Sige! Sabihin n’yo! Isigaw n’yo! Kung sa inyo lang ay malinis ang aking konsensiya!” – Anna

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Basic Information: Directed: Elwood Perez; Story: Pete Lacaba; Screenplay: Jose F. Lacaba, Iskho Lopez, Mauro Gia Samonte; Cast: Vilma Santos, Christopher De Leon, Anthony Castelo, Deborah Sun, Subas Herrero, Mila Ocampo, Ed Villapol; Executive producer: Marichu Maceda; Original Music: Lutgardo Labad; Cinematography: Johnny Araojo; Film Editing: Jose Tarnate; Production Design: Angel Tantoco; Sound: Gaudencio Barredo; Theme Songs: “Dati” performed by Anthony Castello; Production Co: MVP Pictures; Release Date: 29 May 1981 (Philippines) – IMDB

Plot Description: When Ana’s (Vilma Santos) father died they experience hardship. She decided to stop her schooling and work (selling beauty soaps on the street). Despite being poor, she decided not to ask help from her rich boyfriend Freddie Villaseñor (Christopher DeLeon). When the hardship reached its peak, she decided to join her friend, Bernadette Santos (Deborah Sun) as escort girls. There she met Bernard, a son of a rich clan, who courted her when Anna’s relationship with Freddy failed. As it turned out Anna was pregnant and despite the disapproval of Bernard’s rich father (Subas Herrero), they continued their relationship. The continuing harassment of Bernard’s father and his entourage resulted in Bernard being shot as one of the goons tried to rape Anna and was caught by Bernard. Anna was framed and Bernard rich father hired Freddy to prosecute Anna. The film climax with the prosecutor Freddy discovered the bullet that killed Bernard. This was when he decided to visit Ana’s family and met her son. The film ends with Ana being acquitted and Freddy discovered that Ana’s son was his son. – RV

Namatay ang tatay ni Ana (Vilma Santos) at dahil rito’y naghirap sila. Napilitan siyang magtinda ng sabon at tumigil sa pag-aaral. Sa kabila nito hindi siya humingi ng tulong sa katipan na si Freddie Villasenor (Christopher DeLeon). Dahil sa hirap ay napilitang pumasok si Ana sa isang escort service sa tulong ng kanyang kaibigang si Bernadette Santos (Deborah Sun). Nakilala ni Ana si Bernard San Diego (Antony Castelo) sa kanyang trabaho bilang escort girl. Sa gabing iyon nakita siya ng kapatid na babae ni Freddy. Nang yayain ni Freddy si Ana para magpakasal pumayag na ito at pumunta siya sa bahay ni Freddy para makilala ang pamilya ni Freddy. Hindi nila alam ay inimbitahan ng kapatid ni Freddy si Bernard San Diego. At sa hapag ng kainan ay binisto nito ang tunay na trabaho ni Ana. Umalis nang umiiyak si Ana at nagkagalit sila ni Freddy. Pinuntahan ni Bernard si Ana para humingi ng paunmanhin ngunit naabutan sila ni Freddy at nag-away sila ni Bernard. Inakala ni Freddy na talagang may relasyon si Bernard at Ana kung kaya iniwanan niya ito. Nagbalik si Ana sa kanyang trabaho. Nagkaroon ng secret admirer ito. Yung pala ito ay si Bernard. Nalaman rin ni Ana na buntis siya at ang ama ng dinadala niya ay si Freddy. Inalok ni Bernard si Ana ng kasal at pumayag naman ito sa kabila ng pagtutol ng kanyang mayamang ama. Lumaki ang bata at apat na taon na ito nang magdesisyon ang ama ni Bernard na tigilan na ang pagsasama ng dalawa. Inalok si Ana ng malaking halaga ngunit tumutol ito. Nang umalis ang ama ni Bernard ay pinaiwan nito ang isa sa kanyang mga tauhan para gahasain si Ana. Dumating si Bernard at nagaway sila ng tauhan ng kanyang ama. Sa kaguluhan ay nabaril ng tauhan ng kanyang ama si Bernard mismo. Sinet-up ng ama ni Bernard si Ana. Pinakulong at kinuhang abogado si Freddy. Sa hukuman ay nakuhang magduda ni Freddy sa dating katipan. Nagpunta ito sa bahay ng ina ni Ana upang kausapin ang batang anak ni Ana. Natuklasan ni Freddy ang tutuong nangyari at ang testigo ay ang anak ni Ana. Sa closing ng kaso ay inihayag ni Freddy na walang kasalanan si Ana at ang pumatay kay Bernard ay ang tauhan ng sarili nitong ama. Napawalang sala si Ana at nalaman ni Freddy na ang bata’y ang sarili niyang anak. – RV

Film Achievement: 1981 FAMAS Best Actress – Vilma Santos; 1981 FAMAS Best Musical Score – Lutgardo Labad; 1981 FAMAS Best Theme Song – Louie Ocampo; 1981 FAMAS Nomination Best Actor – Christopher De Leon; 1981 FAMAS Nomination Best Director – Elwood Perez; 1981 FAMAS Nomination Best Picture; 1981 FAMAS Nomination Best Supporting Actor – Anthony Castelo; 1981 FAMAS Nomination Best Supporting Actress – Deborah Sun

Film Review: Dalawangpu’t Anim na taon na ang nakakalipas nang una nating napanood ang pelikulang Pakawalan Mo Ako. Tumabo ito sa takilya at nagbunga ng pagkapanalo ni Ate Vi ng Best Actress mula sa Famas para sa taong ito. Prinudyus ng Sampaguita Pictures, ang “Pakawalan Mo Ako” ay isa sa mga pruweba na nasa ikataas na puwesto si Vilma Santos nang bagong dekada otsenta. Mula umpisa hanggang sa huli’y umiikot ang istorya sa karakter ni Vilma bilang si Ana, isang escort girl. Markado ang papel ni Vilma at makikita ito sa mga eksena sa kulungan at hukuman. Ang Pakawalan Mo Ako ay mula sa panulat ni Pete Lacaba at iskrinplay nina Pete Lacaba, Mao Gia Samonte at Isko Lopez. Kung ikukumpara sa mga ibang pelikula ni Elwood Perez mas pulido at makatotohanan ang mga eksena’t dialouge ng pelikula. Tulad ng konprontahin nga ma ni Bernard si Ana sinabi nito na: “Puta, Puta! Puta! Hindi lang naman kayo ang unang nagparatang sa akin ng ganyan! Puta! Puta! Putang Ina n’yong lahat…” At nang unang dalhin ni Bernard si Ana sa bahay nito at pagtangkaang gahasain, pumiglas si Ana at sabay kuha sa pera at sabay sabing: “kukunin ko ang bayad sa halik may sukli ka pa!” At siyempre ang eksena sa hukom kung saan paulit ulit niyang sinasabi ang salitang: “Sinungaling!…” Ang musika ni Lutgardo Labad ay minsan nakakaabala sa tunay na eksena ngunit angkop na angkop ang theme song ng pelikula, ang “Dati” na kinanta mismo ni Antony Castelo. Merong mahahabang linya si Christopher DeLeon sa bandang huli at nakuha naman niyang bigyan ng buhay ang papel niya bilang abogado ng taga-usig kahit na parang pilit ang pagpapalit niya ng panig para sa tagapagtanggol sa bandang huli, sa kanyang closing remarks. Alam niya marahil na talagang pelikula ito ni Ate Vi. Mahusay rin ang pagganap ni Antony Castelo bilang isang matigas na ulong anak ng isang mayaman. Sa papel na ina ni Ana, nakaka-distract ang hindi tunay na boses ni Mila Ocampo. Bilang ama ni Bernard San Diego, very one-dimensional ang papel ni Subas Herrero. Ang pinakanakakatuwang papel ay ang papel na kaibigan ni Ana na ginampanan ni Deborah Sun. Meron siyan eksena sa hukuman kung saan tumistigo siya at natural na natural ang pagkababaeng bakla niya. Mabilis ang pacing ng pelikula at walang mahusay ang pagkakaedit nito. Hindi ako nagtaka kung bakit nanalo si Ate Vi para sa pelikulang ito mula sa Famas. Ito rin ang bale hudyat ng pagsibol ng bagong Vilma Santos pagpasok ng dekada otsenta dahil sa sumunod na taon ay nagkasunod sunod na ang parangal sa pagarte ni Ate Vi mula sa iba’t ibang award giving bodies. – RV

“…Elwood Perez and Vilma Santos collaborated in seven films. The first one was the trilogy that he co-directed with two other director, Borlaza and Gosiengfiao (these three are the most underrated and under appreciated directors in the Philippines), the remake of Mars Ravelo comic super hero, Darna in Lipad Darna Lipad. The film was a record-breaking hit Box-office Film. They follow this up with a more mature projects as Vilma started to switched her image from sweet to a mature/versatile actress, pairing her with Christopher DeLeon in five films starting with Masarap Masakit Ang Umibig in 1977. The Perez-Santos-DeLeon team produced several blockbuster hits and also gave Vilma two FAMAS best actress awards.  Both wins contributed to her elevation to the FAMAS’ highest honour, the “Hall of Fame” award she received in 1989.  The wins were for Pakawalan Mo Ako (1979) and Ibulong Mo Sa Diyos (1988)…” – RV  (READ MORE)

“…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 crowd. 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.  The moviegoers reacts to every scenes from the very beginning up to the very end (the courtroom scene where Vilma cried and swear, “Liars!  Liars! You’re all Lying!”)…” – RV (READ MORE)

“…Natatangi ang pelikulang Pakawalan Mo Ako (MVP Pictures, 1981) dahil sa matagumpay nitong pagtatangkang ilahad ang proseso tungkol sa pag-ibig at pagbabahagi ng sarili nang buo ang pagkatao. Nilinaw ng pelikula ang mga personal at pang-ekonomiyang salik na naghatid sa pangunahing tauhan tungo sa pagpuputa at inilalantad ang bunga nito gaya ng madamdaming pagsasadula ni Vilma Santos. Nang muli silang magkita ng kasintahan, ibang babae na ang kanyang nakatagpo, mas may tiwala sa sarili at mulat na sa kalakaran ng mundo. Nakakaantig ang transpormasyon ng kanyang karakter mula biktima ng nasawing pag-ibig at di-makalingang propesyon tungo sa pagbabago at paninindigan ng kanyang pagiging babae. Mapangumbinsi rin ang pagganap ni Christopher de Leon dahil sa kanyang sensitibong pagpasok sa katauhan ng isang abogadong makiling sa sistema ng batas. Sa unang tingin, tila makababae ang punto de bista ng Pakawalan Mo Ako dahil sa paglalahad ng babae bilang biktima pa rin ng ispontanyong reaksiyon ni Bernard, ang lalaking nagnanasa sa kanyang katawan. Subalit madulas ang daloy ng iskrip nina Pete Lacaba, Mao Gia Samonte at Iskho Lopez, konsistent ang disenyong biswal at sinematograpiya. Malinis ang editing at akmang-akma ang musika. Ngunit habang hinihimay ang naratibo, unti-unting natuklasan ang melodramatikong proposisyong ipinapakain ng pelikula. Isang proposisyong taliwas sa pagnanasang patuloy na makibaka, magmahal at mabuhay…” – Jojo Devera, Sari-saring Sineng Pinoy (READ MORE)

Deborah Sun – “…Bonggang-bongga ang papel ni Deborah Sun sa “Pakawalan Mo Ako.” Even her co-stars here, Vilma Santos, Christopher de Leon, and Anthony Castelo joked na madalas silang maagawan ng eksena ni Deborah. Tila nga lalong tumataas ang career ni Gigi (her monicker in real life). Bukod sa “Pakawalan,” lumabas din siya sa “Rosang Tatak” at sa highly successful na first directorial job ni Bembol Roco, ang “Asal Hayop…” – Artista Magazine, 1981 (READ MORE)

“…One of the pioneers of the indie scene in the 1970s, Perez eventually became one of most bankable directors of that same golden era which spawned the biggest hits of acting superstars Nora Aunor (“Mahal Mo, Mahal Ko,” “Till We Meet Again”) and Vilma Santos (“Pakawalan Mo Ako,” “Ibulong Mo sa Diyos”). “Masarap, Masakit ang Umibig” was screened in the Asia-Pacific Film Fest in Taiwan in 1978 and the Asean Film Fest in Australia in 1981…” – Bayani San Diego Jr., Philippine Daily Inquirer, 11/01/2009

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Filmography: Yesterday, Today and Tomorrow (1986)

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Basic Information: Directed: Emmanuel H. Borlaza; Story: Jose Javier Reyes; Screenplay: Jose Javier Reyes; Cast: Vilma Santos, Snooky Serna, Maricel Soriano, Gabby Concepcion, Richard Gomez, Eddie Garcia, Liza Lorena, Chanda Romero, Deborah Sun, Jimi Melendez; Executive producer: Lily Y. Monteverde; Original Music: Willy Cruz; Cinematography: Conrado Baltazar; Film Editing: George Jarlego; Production Design: Dez Bautista, Rei Nicolas; Art Direction: Arlene Abuid, Judy Lou de Pio; Sound: Rudy Baldovino

Plot Description: After a string of unsuccessful relationships, Corina married Teddy, an old widow whose daughter, Ana and sister Julita never approved of his new wife.

An assertive young stepmother, a rebellious stepdaughter, and a working wife whose career provides tension between the wife and her husband are the portraits of the strong-willed woman of the 1980s. – ABS-CBN (READ MORE)

After a string of unsuccessful relationships with different men, Corina (Vilma Santos) finally settles down with Teodolfo/Teddy, (Eddie Garcia), an old widowed man whose daughter, Ana (Maricel Soriano) and sister Julita (Rosemarie Gil), never approved of his new wife. In her best attempt of being a good wife and stepmother to her new family, Corina gets smitten by Neil (Gabby Concepcion), a married man with a kid whom she had an affair with. Things get haywire as Corina starts to feel guilty about cheating on Teddy who has been good to her. Ana also discovers her adulterous acts and tries to kick her out of the family. Just when Neil is ready to leave his wife Vicky (Snooky Serna) and their kid for Corina, everything turns around when Teddy’s death revealed a secret that changed their lives forever. – Regal (READ MORE)

Film Review: “…Often pitted against then-rival Maricel Soriano, she made numerous blockbuster movies with her in the ’80s like Underage, Schoolgirls, Story of Three Loves and Anak ni Waray vs. Anak ni Biday, among others. She also had her share of TV shows including the weekly musical variety ‘Always Snooky’ and weekly drama feature on ‘Regal Drama Presents: Snooky’ in ABS-CBN Channel 2. As a mature actress, she tackled roles which earned acting nominations from various award giving bodies. She was also in Kapag Napagod Ang Puso with Christopher de Leon and Inagaw Mo Ang Lahat Sa Akin (Harvest Home – official Philippine entry to the 1995 Oscars) but unfortunately was snubbed during awards night. Her other major films include Aabot Hanggang Sukdulan, Yesterday, Today and Tomorrow, Hahamakin ang Lahat with Vilma Santos, the fantasy films Blusang Itim, Rosa Mistica, and Madonna: Ang Babaing Ahas. It was with Koronang Itim, that she finally won Best Lead Actress trophy. She has starred in over (80) films from 1970 to 2004…” – Wikipedia (READ MORE)

“…Statistically, there are really more husbands who betray their wives than the other way around. And since films basically mirror life, there are more movies about philandering husbands than adulterous wives. In the eternal love triangle of Eddie Rodriguez, Lolita Rodriguez and Marlene Dauden, it is always the man who is at fault. And then, there are those film bios of our super cops who are always portrayed as having mistresses – like Joe Pring (played by Phillip Salvador), who had a legal wife in the film (portrayed by Aurora Sevilla) and yet maintained a mistress (Maila Gumila) on the side. Films about wives fooling around are actually fewer. However, these movies seem to be more exciting because they often have drama and suspense. This is likely because the adulterous character has to dangerously tread on the ego of the husband. In local cinema, I remember a few films about women characters playing with fire. Amalia Fuentes playing a married actress in love with co-star Eddie Rodriguez in Pag-ibig Mo, Buhay Ko; Hilda Koronel (married to an older man, Mario Montenegro), who falls for the charms of Orestes Ojeda in Marupok, Mapusok, Maharot; Vilma Santos agreeing to become the mistress of Mario Montenegro in order to have a better life – in spite of being married to Phillip Salvador in Adultery; Vilma Santos again, bored with her old husband (Eddie Garcia) and carries on an affair with Gabby Concepcion in Yesterday, Today and Tomorrow and Anna Marie Gutierrez in the aptly titled Unfaithful Wife…” – Butch Francisco (READ MORE)

Filmography: Aida Macaraeg Adultery Case No. 7892 (1984)

“Huwag mo nang itanong. Baka mas masakit kung malaman natin ang sagot.” – Aida Macaraeg

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Basic Information: Directed: Lino Brocka; Story: Aida Sevilla Mendoza; Screenplay: Jose Javier Reyes; Cast: Vilma Santos, Phillip Salvador, Menggie Cobarrubias, Tita De Villa, Alvin Enriquez, Anita Linda, Mario Montenegro, Deborah Sun; Executive producer: Lily Monteverde; Original Music: Lutgardo Labad; Cinematography: Conrado Baltazar; Film Editing: Rogelio Salvador; Production Design: Joey Luna

Plot Description: Dreaming to be released from her miserable life of poverty, Aida, a waitress, abandons her bedridden father, her moralistic mother, her jobless brother and her good-for-nothing sister to live-in with her boyfriend Carding, whom she believes could give her salvation. But her plan only gives her more misfortunes. Carding gets jailed for drug peddling. Aida opts for an abortion. She later lives with a wealthy man to feul her ambition. Carding is released from prison and finds out about his wife’s illicit affair. – ctfabian (READ MORE)

Aida Macaraeg’s only dream is to be released from her miserable life of poverty. She is sick and tired of working day and night as a waitress to be able to feed her jobless brother and his family, her good-for-nothing sister, moralistic mother and bedridden father. One day, Aida decides to turn her back on them and settles for a live-in arrangement with her boyfriend Carding, who gives her a short-lived salvation. But her first attempt to escape a misfortune only brings her face to face with one after another. Carding gets jailed for drug peddling. Aida finds out she is pregnant and opts for an abortion. Forced by need and fueled by ambition, she lives with a wealthy man and has a son by him. Carding is released from prison and finds out about his wife’s illicit affair. They finally see each other again, in court. – Database of Philippine Movies

Film Achievement: 1984 Star Awards Best Actress nomination – Vilma Santos

Film Reviews: Adultery (Aida Macaraeg Case No. 7892) is not one of filmmaker Lino Brocka’s best works. It definitely cannot be lined alongside masterpieces like Tinimbang Ka Ngunit Kulang (You Were Weighed But Found Wanting, 1974), Maynila: Sa Mga Kuko ng Liwanag (Manila in the Claws of Neon, 1975), and Insiang (1976). At best, Adultery is a well-made melodrama that puts a social issue, that of marital infidelity as escape from poverty, at the center of its affairs. Jose Javier Reyes’ well-crafted screenplay (the story is credited to Aida Sevilla Mendoza) is supposedly sourced from a real life account, but one wonders if convenient happy endings (which the film unfortunately struggles with) exist in these kind of cases, especially ones as emotionally charged as in the film. In the Philippines, adultery cases stretch for years and any emotion resembling marital love and concern is replaced with scorching hate, the primary ingredient that fuels litigation.

Aida (Vilma Santos giving a very mature performance) is the sole breadwinner for her family, consisting of a bedridden father, a nagging mother, a good-for-nothing brother, his unemployed wife and baby. Unable to bear the hardships of living with her family, she takes the offer of her boyfriend Carding (Phillip Salvador) to simply live together, resisting his invitation to marry him despite the possible scandal that might arise out of their living arrangement. Carding gets caught peddling prohibited drugs and gets imprisoned, leaving Aida all alone to fend for herself. Years later, Carding gets released from prison and finds Aida, now a mistress of a wealthy executive (Mario Montenegro) and mother to a child that is not his. Aida is then sued for adultery by Carding, which if she is proven guilty would separate her from her son.

There’s one sequence in the film which clearly shows Brocka’s mastery. Aida visits Carding in prison, telling him of her pregnancy. Carding again offers to marry her, fearing that their child would be a bastard child. Supposedly out of pity, Aida agrees. The marriage is solemnized then and there. The prison chaplain officiates the ceremony where Aida is draped in an ordinary dress while Carding wears the orange colored uniform. Around are the witnesses of their marriage, felons all donning the same orange outfit Carding is wearing. Of course, these are mere background details, emphasizing the sullenness of the event that is ordinarily jovial and lively. Brocka concentrates on Aida. He closes up on her face, worried about the uncertainty of her future: she is after all pregnant and now married to a convict with absolutely no source of income. It is Aida’s point of no return and Brocka understands it as such, thus he presents it with understated elegance; no dialogue, just Lutgardo Labad’s swelling music and Brocka’s emphatic close-up of Vilma Santos’ apprehensive face.

The film attempts to criticize marriage, which is depicted not in its traditional sense (as the key to life’s bliss) but as a harrowing cage where women are left with no choices. It seems to advocate infidelity, especially when the requirements of life overtakes the facile concerns of societal and religious norms. Interestingly, Brocka does not antagonize any of his characters. Aida is a hardworking woman who we first see as the selfless sufferer who is charged with her family’s survival, a mere victim of fate and circumstance. Also, one cannot doubt Carding’s affection for Aida. His decisions in life may have been off, leading to his incarceration and Aida’s continuing suffering, but it cannot be denied that his love for his wife is indubitable. The blame does not go to any person but to the social institution of marriage, its sometimes shallow roots and the unbendable veneration the law and society gives to it to the detriment of the unique needs of individuals.

I am impressed as to how Brocka directed the courtroom sequence, without the usual pomp and unnecessary drama. The courtroom sequence gives the impression as to how the justice is bookish and blind to personal plights. One lawyer asks Aida a question, and she shies away saying that the question is too personal. Of course, the judge demands that she answer the question, which she does so unwillingly. In the eyes of the law, emotions, circumstance, fate, and needs are denied materiality. This should have been the instance wherein we’ll fall for Aida’s plight: that despite her being guilty for adultery, she does not deserve to be punished because she was forced to infidelity not by innate evil but by circumstances in her life. However, instead of dishing out an ending that would operate as the culmination of such criticism, Brocka and Reyes decided to succumb to sentimentality. Husband forgives wife. Wife gets her son back. Everybody’s satisfied. Unfortunately, reality, which the film tried so hard to emulate, isn’t anything like that. – Oggs Cruz, Lessons From The School of Inattention, Oggs’ Movie Thoughts (READ MORE)

Dalawang pelikula ni Vilma Santos ang napanood namin sa special previews: Adultery at Sister Stella L. Pinatunayan ng mga pelikulang ito na Vi is still the leading actress of the season and performances in both movies make her again the actress to beat in next year’s award derbies. No doubt, Vilma, right now, is at her peak. Adultery is a well made melodrama deftly written by Jose Javier Reyes and masterfully directed by Lino Brocka. Ang pangunahing tauhan, si Aida Macaraeg, ay isang dalagang breadwinner ng kanyang pamilya. May sakit ang kanilang ama at siya ang bumibili ng mga gamot nito. Nag-asawa nang maaga ang kapatid niyang lalaki at siya ang nagpapakain pati sa asawa t anak nito. Siya rin ang nagpapaaral sa bunso nilang kapatid na babae. Receptionist sa isang restaurant, may boyfriend si Aida na wala namang regular na trabaho. Ito ay si Carding (Phillip Salvador) na kumikita lamang kapag sumasama sa mga illegal na gawain ng sangganong si Bumbay. Nang malaman ni Aida na nagdadalantao na naman ang asawa ng kapatid niya, niyaya niya si Carding na magsama na sila. May kapatid si Aida na isinumpa ng kanilang ina dahil nakisama ito sa isang lalaking may-asawa. Si Aida lamang ang nakauunawa kay Miriam (Deborah Sun) at wala siyang kamalay-malay susundan pala niya ang mga yapak nito. Akala niya’y malulutas ng pagsama niya kay Carding ang mga problema niya ngunit lalala lamang pala ito. Nahuli si Carding sa pagsama sa pangkat ni Bumbay at nabilanggo. Naiwang nagdadalantao si Aida. Nang malaman ito ni Carding ay pinilit siyang pakasal na sila para hindi maging bastardo ang isisilang niya. Ikinasal sila ng pari sa piitan.

Nagbalik si Aida sa kanyang trabaho ngunit natuklasan ng may-ari na buntis siya. Naiisip ni Aida na lalo lamang siyang maghihirap at nadadamay pa pati ang kanyang magiging anak kung itutuloy niya ang kanyang pagbubuntis kaya t ipinasya niyang ilaglag ito sa tulong ni Miriam. Nang magaling na siya y napasok siyang tagapamahala sa isang kantina at dito niya nakilala si Tito Pangilinan (Mario Montenegro). Nagsama sila at nagkaroon ng isang anak. Si Carding naman ay nalipat sa Davao Penal Colony at nagtaka na lamang siya nang huminto na sa pagsulat si Aida. Lumaya si Carding pagkaraan ngpitong taon at hinanap agad si Aida. Nakita niya ito at si Aida ay nagsimulang maglubid ng buhangin. Ang batang kasama niya’y anak daw ni Miriam at mahigpit ang bagong kinakasama nito kaya’t hindi sila maaaring laging magkita. Ngunit natuklasan ni Carding ang katotohanan at sa galit nito’y sinaktan si Aida. Inihabla siya ni Carding at ang kaso y humantong sa husgado. Mabibilanggo kaya si Aida sa salang adultery? That, you’d have to find out for yourself. Mawawala ang suspence kapag ibinunyag namin agad sa inyo ang ending.

Based on a true legal story, nagawa nina Reyes at Brocka na very convincing ang pagkakalahad ng kuwento. Maingat ang development at talagang magsi-sympathize ka sa mga tauhan. Ang kaso ni Aida ay isa ring moral dilemma. Dapat ba siyang sisihin sa kanyang ginawa? Sa kanyang paglalaglag sa sanggol and finding the easy way out through having an affair with a rich old man? Maraming katulad ni Aida sa ating lipunan sa ngayon. Nagipit sila, humanap ng lubid na makakapitan upang huwag tuluyang mahulog sa bangin, kasalanan ba ang kanilang praktikal na solusyon sa kanilang mga problema? Morally, masasabi agad na mali nga sila. Pero madaling humusga kung hindi ikaw mismo ang nakaharap sa mga problemang iyon. Tao lamang si Aida. At ang kahinaan niya ang siyang dahilan kung bakit naging very human ang istorya ng Adultery. Kung bakit naging tutoong-tutoo angmga sitwasyon at ang lahat ng characters dito. Alam mong melodramatiko ang kuwento pero alam mo ring nagaganap ang gayon sa tunay na buhay, na talagang maraming Aida Macaraeg sa ating paligid. Namumukod-tangi ang mga aspetong teknikal ng pelikula: ang sinematograpiya ni Conrado Baltazar, ang musika ni Lutgardo Labad, ang editing ni Rogelio Salvador, ang disenyong pamproduksiyon ni Joey Luna at pati pagkakalapat ng tunog.

Mahusay rin ang acting ng lahat ng tauhan: si Deborah Sun bilang Miriam, si Anita Linda bilang ina, si Tita de Villa bilang tiyahin ni Carding. Maikli lamang ang papel ni Mario Montenegro bilang Tito pero epektibo ang pagkakaganap niya, lalo sa tagpong sinumbatan niya si Aida: “Pitong taon na kitang tinutulungan at pitong taon mo na rin akong niloloko.” Napakahusay ni Vilma sa mga eksenang nagngingitngit siya sa mga kapatid niya sa pagkawala ng uniporme o muling pagbubuntis ng mga ito. You can really feel the sense of rage, and futility that she is experiencing. Pero maging sa iba pang quiet scenes ay mahusay rin siya, o kaya y maging doon sa eksenang muntik na siyang mabuko ni Mario, at nang magkomprontasyon na sila ni Phillip. Pero, sa tingin namin, mas lumutang si Phillip sa pelikulang ito at tiyak na in the running na naman siya for best actor next year. Kung minsan ay mata lamang ang kanyang pinaaarte at wala siyang dialogue (like nang mabasa niyang nakunan si Aida o nang makita niya itong sinasalubong si Mario sa gate). Very touching din ang final scene na tinanong siya ni Vi: “Ano ng nangyari sa ‘tin?” At sumagot siya ng: “Huwag mo nang itanong. Baka mas masakit kung malaman natin ang sagot.” Maraming iba pang magagandang touches ang pelikula, tulad ng pagdalaw ng mga babaing taga-block rosary kina Aida at ang sagutan sa court scenes.

The movie also offers another view of prison life. Sa mga pelikulang lokal na tungkol sa piitan, karaniwan nang nalalagyan ng tattoo ang bida, ginagahasa ng kapwa bilanggo at ginugulpi ng husto. Dito, maayos ang naging kalagayan ni Carding habang nasa bilangguan at wala siyang naenkwentrong mga problema na gaya ng usual na napapanood natin sa prison movies. Maganda talaga ang Aida Macaraeg. – Mario E. Bautista, Movie Flash May 31, 1983

“…Masinop ang mga elemento ng pelikula sa Adultery (Regal Films, Inc., 1984). Madulas ang daloy ng dulang pampelikula ni Jose Javier Reyes, konsistent ang disenyong biswal at sinematograpiya, malinis ang editing, akmang-akma ang tunog at musika. Ang maalam at matatag na pagganap ni Vilma Santos ay nagsasaad ng pagkaunawa at metodo sa layuning dramatiko ng kanyang pelikula. Ang pagganap ni Phillip Salvador bilang Carding ay nagpahayag ng mithiin sa lahat ng di magkatugmang aspeto nito at nagbigay ng naiibang sigla sa tradisyon ng pagganap sa pelikula. Sa halip na unidimensiyonal ang pagsasalarawan sa karanasan ng isang babae ay binigyan ito ng maramihang posibilidad sa pamamagitan ng sinematikong pagsasadula ni Lino Brocka, ang istereotipong ito ay isinalaysay sa paglalakbay ng kababaihan tungo sa sariling pagkilala at katuparan.” – Jojo Devera, Sari-saring Sineng Pinoy (READ MORE)

“…Vilma Santos’ restrained acting in Adultery: Aida Macaraeg 7892 was due to Brocka’s expert direction. We wish he did the same thing to Tolentino and Bonneive in this film. But then, Maging Aking Ka Lamang is a big box-office success. Brocka probably feels that it’s high time he gives the masses what they want. And on this score, Brocka succeeds enormously…” – Luciano E. Soriano, Manila Standard, May 19 1987 (READ MORE)

“…Statistically, there are really more husbands who betray their wives than the other way around. And since films basically mirror life, there are more movies about philandering husbands than adulterous wives. In the eternal love triangle of Eddie Rodriguez, Lolita Rodriguez and Marlene Dauden, it is always the man who is at fault. And then, there are those film bios of our super cops who are always portrayed as having mistresses – like Joe Pring (played by Phillip Salvador), who had a legal wife in the film (portrayed by Aurora Sevilla) and yet maintained a mistress (Maila Gumila) on the side. Films about wives fooling around are actually fewer. However, these movies seem to be more exciting because they often have drama and suspense. This is likely because the adulterous character has to dangerously tread on the ego of the husband. In local cinema, I remember a few films about women characters playing with fire. Amalia Fuentes playing a married actress in love with co-star Eddie Rodriguez in Pag-ibig Mo, Buhay Ko; Hilda Koronel (married to an older man, Mario Montenegro), who falls for the charms of Orestes Ojeda in Marupok, Mapusok, Maharot; Vilma Santos agreeing to become the mistress of Mario Montenegro in order to have a better life – in spite of being married to Phillip Salvador in Adultery; Vilma Santos again, bored with her old husband (Eddie Garcia) and carries on an affair with Gabby Concepcion in Yesterday, Today and Tomorrow and Anna Marie Gutierrez in the aptly titled Unfaithful Wife…” – Butch Francisco (READ MORE)

“…When Aida (Vilma Santos), in Adultery (Aida Macaraeg Case No. 7892) (1984), offends the pride of her husband, he invokes the law to punish her. This mother, however, does not just accept the status quo. She actively fights for her rights — up to the extent possible for a woman judged by men — within the four walls of the courtroom which is ruled by patriarchal ideology. The mother finally reunites with her son in the end, notably, not because her husband pities her, but because her husband understands her as a person who fights for her rights…” – Jose C. Gutierrez III (READ MORE)

Working title – “Obsession (Separasyon Legal)” – “…By the time they got to be thirty, unti-unti nang nawala ang kanilang charisma sa publiko, at hindi na kagaya ng dati. Pero hindi ito nangyari kay Vilma. It is a fact na kung kailan pa siya nagkakaedad ay saka pa siya lalong tumatatag, lumalakas. And by almost all indications, it seems like magtatagal pa ito. Take a look at her harvest this year: “Ayak Kong Maging Querida,” “Paano Ba Ang Mangarap?,” “Broken Marriage,” “Obsession (Separasyon Legal),” “Minsan Pa Nating Hagkan Ang Nakaraan” and “Sor Stella L.” Although it appears na tila dalawang pelikula ang maaaring hindi na maipalabas sa taong ito (Obsession and Sor Stella L), hindi na rin maikakaila from the list above that Vilma Santos is still the biggest star of the season and the busiest among her contemporaries. At mayroon pa siyang mga nakatakdang gagawin sa pagpasok ng bagong taon. At the time when most stars are already collecting memoirs and reminiscing fond memories of past glories, Vilma is still soaring into newer heights as she goes from one competent film director to another and manages to become the highest paid actress in the country today. From Ishmael Bernal (Broken Marriage) to Lino Brocka (Obsession) to Marilou Diaz-Abaya (Misan Pa Nating Hagkan Ang Nakaraan) to Mike de Leon (Sor Stella L), the reigning movie queen is getting most of the choicest assignment these days and with the accompanying royal treatment…” – Julio Cinko N., Movie Flash Magazine, December 8 1983 (READ MORE)

“…Malalaking komplikasyon ang kinasuotan sa buhay ng isang babaeng nabilanggo ang asawa at naging kerida ng isang mayaman at may edad na lalaki. Ang tinamasang seguridad ni Aida Macaraeg, ang pangunahing tauhan sa istorya sa piling ng kanyang pangalawang “asawa” ay biglang naglaho ng lumabas sa piitan ang kanyang tunay na asawa. Humantong sa hukuman ang kaso, hanggang sa di-inaasahang masayang pagtatapos ng istorya, na lubhang taliwas sa mga naunang obra ni Brocka…Sa aspektong teknikal, superor ang pelikulang ito, ebidensiya ng mabusising pagkahawak ni Brocka ng renda niya bilang direktor. Ang akting ng mga pangunahing tauhan ay kapansinan din ng tatak Brocka. Tulad ng nangingislap na mata ni Phlip habang nagbibitiw ng mga mabibigat na linya, ng sinukat sa tiyempong pagpatak ng luha sa kaliwang gilid ng kaliwang mata ni Vilma Santos, ng masusing pagkaka-orkestrang komprontasyon ng dalawa mula sa salas hanggang kuwarto at maraming maliliit na tagpong dramatiko ang lapat…Kasabay ng kanyang pag-alsa bilang reyna ng takilya (si Vilma Santos), ay ang nakakakumbinse niyang pagganap sa no mang tauhang binibigyan niya ng buhay sa sinema. Sa hanay ng mga pelikulang ginawa niya sa nakaraang taon, namumukod ang kinang niyang iyon…sa “Adultery,” kung saan siya naging biktima ng isang materyalistikong kapaligiran…” – Star Awards 1984

Filmography: Asawa ko Huwag Mong Agawin (1986)

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Basic Information: Direction: Emmanuel H. Borlaza; Story: Pablo S. Gomez (based on the novel “Paano Ba Sasabihing Paalam Na”); Screenplay: Jose Javier Reyes, Jake Cocadiz; Cast: Vilma Santos, Amalia Fuentes, Eddie Gutierrez, Gabby Concepcion, Gretchen Barretto, Sheryl Cruz, Elvis Gutierrez, Romeo Rivera, Ramil Rodriguez, Deborah Sun, Debraliz, Noel Colet, Jaime Fabregas, Cris Castillo, Vicky Suba, Ena Alli, Kess Burias, Marie Barbacui, Malen Dela Trinidad, Wilson Ferrer, Reymond Rodriguez, Martin Santos, Archie Delos Santos, Alfred Barretto, Ferdie Fernando; Producer: Lily Y. Monteverde, Malou N. Santos, Charo Santos-Concio; Original Music: Willy Cruz; Cinematography: Rey Lobo; Film Editing: George Jarlego; Art Direction: Nonoy Fuentes; Release Date:1987 (Philippines); Production Company: Regal Films; Theme Song: Sung by Marissa Martin, Composer: Willy Cruz – IMDB (READ MORE)

Plot Description: Ayaw kong maging querida is a story about three people caught in a whirlwind romance bound in the norms of society class. Will love conquer all or will wealth and power dictate their destinies? – Kabayan Central (READ MORE)

A middle-aged martyr wife loses her husband to an equally beautiful but much younger woman. – ABS-CBN (READ MORE)

Film Achievement: No Available Data

Film Review: “…To recall, the senior and junior movie queens appeared in these movies: Bulaklak at Paru-paro (1970), Mga Reynang Walang Trono(1976) and Asawa Ko, Huwag Mong Agawin (1986). Amalia directed Vilma’s episode in Mga Reyna and agreed to second billing to Vilma in Asawa Ko. No doubt about it, Amalia Muhlach Sumilang Fuentes, is a Vilmanian. To seal their sisterhood and camaraderie, Vilma is Ninang to Liezl Martinez and to the latter’s son Alfonso. Why, Liezl even sang a song ’’Wind Beneath My Wings’ to her surprised mother that night which drove the strong-willed and still beautiful Amalia to tears. A Kodak moment, indeed. Priceless! While interviewing the three Muhlach generations, Fuentes, Liezl and young daughter Aliyanna, Amalia revealed to Vilma that she is protective of her ’unica hija’ Liezl. ”Ay naku, I think I also have become like my Mom, I’m also very protective of my children,” Liezl remarks…” – Mario O. Garces (READ MORE)

“…You can never go wrong if you choose a Vilma Santos film and if you want a story that gives a different twist to the “other woman” issue, then Asawa Ko Huwag Mong Agawin might give you the satisfaction you are aiming for. It shows two women in their usual roles and stereotypes: the other woman who knows all about pleasures and the wife who knows all about pain…” – Bon Ching (READ MORE)

“…Ang tatay ni KC Concepcion na si Gabby Concepcion ay isa rin sa mga kaibigan ni Vi. Ilan ding pelikula ang ginawa ni Vi at Gabby katulad ng Pahiram Ng Isan Umaga, Sinungaling Mong Puso, Hahamakin Lahat, Ibigay Mo Sa Akin Ang Bukas at Asawa Ko Huwag Mong Agawin. Sa pelikulang Bukas Sisikat Din Ang Araw, kung saan si Gabby ang prodyuser ay naging special guest si Vi na sa totoo lang ay halos kasinlaki ang billing niya (Vi) sa mga major characters nito. Isa sa mga anak ni Gabby, anak niya kay Grace Ibuna ay inaanak ni Vi katuwang sina Lorna Tolentino, Alma Moreno, Snooky Serna at Maricel Soriano. Noong last episode ng Vilma show sa GMA 7 ay isa si Gabby sa mga special guests ni Vi at nag-compose pa ng tula si Gabby para kay Vi. Noon namang nagkaroon ng problema si Gabby dahil sa kontrobersiya sa Manila Film Festival noong 1994 ay isa si Vi sa mga naging sabihan niya ng kanyang mga problema. Si Gabby ay naging best supporting actor ng Star Awards for Movies noong 1992 para sa pelikulang Sinungaling Mong Puso, best actor ng Urian noong 1992 para sa Narito Ang Puso Ko at best supporting actor ng Urian para sa pelikulang Makiusap Ka Sa Diyos noong 1991…” – Alfonso Valencia (READ MORE)

Filmography: Ibulong Mo Sa Diyos (1988)

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Basic Information: Directed: Elwood Perez; Story, screenplay: Orlando Nadres; Cast: Vilma Santos, Eric Quizon, Gary Valenciano, Miguel Rodriguez, Eddie Garcia, Nida Blanca, Barbara Perez, Nadia Montenegro, Armida Siguion-Reyna, Perla Bautista, Rachel Ann Wolfe, Deborah Sun, Ruben Rustia, Vangie Labalan, Nena Perez Rubio; Executive producer: Lily Y. Monteverde; Original Music: Jaime Fabregas; Cinematography: Ricardo Jacinto; Film Editing: George Jarlego; Production Design: Ray Maliuanag; Sound: Joe Climaco; Theme Songs: “Ibulong Mo Sa Diyos” performed by Gary Valenciano

Plot Description: When her boyfriend leaves for Japan on a singing contract, a dancer is so distraught she does not see the car that hits her. The driver pretends to be a helpful passer-by; they fall in love and gets married. Only bringing her to a more complicated life. – Regal films

Film Achievement: 1988 FAP: Best Actress Nomination – Vilma Santos; 1988 FAMAS: Best Actress – Vilma Santos; Best Cinematography – Ricardo Jacinto; Best Director – Elwood Perez; Best Editing – George Jarlego; Best Picture; Best Production Design – Ray Maliuanag; Best Supporting Actor – Miguel Rodriguez; Best Theme Song – Gary Valenciano (for the song “Ibulong Mo Sa Diyos”); Best Supporting Actress Nomination – Nida Blanca

Film Review: “…Vilma hit the jackpot. After 11 nominations with four wins, her twelfth nomniation produced her an unexpected win. It elevated her to the hall of fame status. All artist who wins five automatically put them to the hall of fame list. It is a big honour but prohibit any one on the list to compete in the future for the same category. Regal films’ Ibulong Mo Sa Diyos, directed by Elwood Perez was a surprised winner. Not only it earned Vilma her fifth award as best actress, it also gave the late Miguel Rodriguez a best supporting actor award and the best director for Perez. Technical awards were also given to Ricardo Jacinto, cinematography, Rey Maliuanag, production design, Gary Valenciano, theme song, and George Jarlego, editing. The late Nida Blanca was also nominated for best supporting actress…” (READ MORE)

“…Elwood Perez and Vilma Santos colloborated in seven films. The first one was the trilogy that he co-directed with two other director, Borlaza and Gosiengfiao (these three are the most underrated and under appreciated directors in the Philippines), the remake of Mars Ravelo comic super hero, Darna in Lipad Darna Lipad. The film was a record-breaking hit Box-office Film. They follow this up with a more mature projects as Vilma started to switched her image from sweet to a mature versatile actress, pairing her with Christopher DeLeon in five films starting with Masarap Masakit Ang Umibig in 1977. The Perez-Santos-DeLeon team produced seven blockbuster hits that gave Vilma two FAMAS best actress awards that secured her elevation to FAMAS highest honour, the FAMAS Hall of Fame award. She won in 1979 for Pakawalan Mo Ako and 1988 for Ibulong Mo Sa Diyos…” – RV (READ MORE)

“…Shamefully, only the way Vilma Santos is photographed and her face are the film’s glimpses of divine magnificence. She is superficially iridescent here. It’s a pity such iridescence doesn’t emanate from her character’s sould, but from the delightfully overindulgent lights of the cinematographer. Santos does manage, in at least three instances, to emerge from the limbo of her self-consciousness. Still, she largely remains in the dark as to the true significance of divine light in her character’s life. On the whole, the film should have been more effective as a radio show. Cinematic carnage such as this really deserves divine indifference…” – Henry C. Tejeros, Manila Standard, Feb 29, 1987 (READ MORE)

“Again, it was a bad year for the movies in 1988, the industry reached a critical low – a total output of 132 films to 150 of the previous year. Certainly, the situation, has become worse, a foreboding that may prove irreversible unless appropriate measures are instituted…On the other hand, Vilma Santos, although she starred in only one movie, Ibulong Mo sa Diyos, lorded it over in television with the top rated Vilma and a top-rating drama special (Lamat sa Kristal) she herself produced…….” – Mike Feria, Manila Standard, Jan 5 1989 (READ MORE)

“…These songs are all included in Gary V at the Movies. Fans will be glad to know that they now have Kailangan Kita and I Will Be Here in one album! The real gems here though are the oldies, which have also been compiled in a single album for the first time. The only beef I have with the collection is that Sana Maulit Muli, the most enduring Gary V. composition, is presented as a duet with Kayla. I have nothing against Kayla and I agree that the duet version gave a new spin to the old favorite but this is Gary V at the Movies and I would have preferred to get the now classic original rendition of Sana Maulit Muli, from Ibulong Mo Sa Diyos solo by Gary V….” – Baby Gil, Philstar, May 7, 2003 (READ MORE)

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