Vilma Santos-Recto is a popular multi-awarded actress and politician in the Republic of the Philippines. *** She is known as "Queen of Philippine Movies," "Queenstar," "Grand Slam Queen," "Box Office Queen," and "Star for All Seasons." *** This website is mostly about her iconic film career.
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)
Komiks Genre – “…Encouraged by the huge successes of Viva Films’ komiks melodramas, a lot of local film producers are reviewing their producers are reviewing their production thrusts for the year to see if they can fit in the illustrated komiks materials, if any titles are left unsold and unoptioned. It would seem that Viva, Seiko, Amazaldy and Cine Suerte have cornered practically all the popular serials running in various komiks magazines, such is the faith of our local producers in the works of our komiks masters, the likes of Carlo Caparas, Jim Fernandez, Nerissa Cabral, Elena Patron, et al. The komiks, made no mistake about it, has been mined by local moviemakers before. A generation of Sampaguita stars should be grateful for the komiks for practically all of them got their awards essaying a komiks characters, Inspirasyon for Carmen Rosales, Basahang Ginto for Alicia Vergel, Gilda for Lolita Rodriguez, Bondying for Fred Montilla, the list can go on and on…the glory days of komiks were raised to a new plateau by Viva Films whose devotion and belief in the komiks serial proved to be Sharon Cuneta’s (also Vilma Santos’) box office blessing. With the Viva’s success formula, most film company are following suit. Regal’s Yesterday, Today and Tomorrow, for example, is a huge success. It is also a tried-and-tested komiks formaula film. Parang Viva Films, observed one moviegoers, with all that gloss, quatable dialogue, and seeming superficialities of the komiks aristocracy…” – Oscar Miranda, Timesweek, 9 February 1986, reposted by Pelikula Atbp blogsite (READ MORE)
“For godsake, Nora! Magkaroon ka nga ng sarili mong identity!” – Divina Ferrer
“Imposible namang lumaki ang tingin ko sa taong tinutulungan ko lang!..kungsabagay magkaiba tayo ng ina…bakit kaya pinatulan ni papa ang iyong inay?…hindi ko siya iniinsulto sinasabi ko lang sayo ang totoo…magkaiba tayong dalawa…hindi mo ako matutularan at hindi kita tutularan. Nora, ang hindi mo maabot huwag mong pagplitan abutin, wala ka pang pakpak kaya huwag ka pang lumipad ng ubod ng taas!” – Divina Ferrer
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Basic Information: Directed: Eddie Garcia; Story: Gilda Olvidado; Screenplay: Orlando Nadres; Cast: Vilma Santos, Christopher Deleon, Lorna Tolentino, Philip Salvador, Ramil Rodriguez, Irene Celebre, Loleta Abesamis, Norma Blancaflor, Danny De Cordova, Moody Diaz, Luz Fernandez, Larry Leviste, Kristina Paner, Fanny Serrano, Yvonne; Executive producer: Vic del Rosario Jr.; Sinasamba Kita Theme Song Arrange by Armando Triviño, Sung by: Sharon Cuneta; Sinasamba Kita Theme Song Arrange by Danny Favis, Sung by Rey Valera; Words and Music: George Canseco; Cinematography: Romeo Vitug; Production Design: Manny Morfe; Art Direction: Donnie Gonzales, Arthur Santamaria; Sound: Rolly Ruta; Original story serialized in Tagalog Klasiks comics published Atlas Publication.
Plot Description: Strong-willed and sophisticated, Divina (Vilma Santos) takes over the business of her late father Don Ferrer (Eddie Garcia) who had requested Divina to ensure that his daughter Nora (Lorna Tolentino) with his mistress is cared for. But Nora wins the love of Jerry (Christopher De Leon), the only man who has captivated Divina’s discriminating heart. From the start. Jerry is attracted to Nora whose steadfast suitor Oscar (Phillip Salvador) respects and honors her chastity, only to find out that she has fallen in love and has given herself to Jerry. But Will Divina ever give up fighting for Jerry’s love? – TFC Now (READ MORE)
Film Achievements: 1982 FAMAS Best Director – Eddie Garcia; 1982 FAMAS Nomination Best Picture; 1982 FAP Best Cinematography – Romeo Vitug; 1982 FAP Best Original Song – George Canseco; 1982 FAP Best Story Adaptation – Orlando Nadres; 1982 Top Box Office Record Breaker; The original film became a TV movie in 2007 by GMA Network, directed by Joel Lamangan, starring Sheryl Cruz as Divina and Valerie Concepcion as Nora.
Napanood namin ang “Sinasamba Kita” at hindi nga pala kayang iarte ni Lampel Luis ang role na napunta kay Lorna Tolentino. Parang komiks talaga ang istorya ng pelikulang hanggo nga sa nobelang komiks. Melodramatiko at kung minsan ay mahirap paniwalaan ang mga sitwasyon. Pero mapupuri na rin ang iskrip ni Orlando Nadres dahil nagawa niyang credible ang mga tauhan sa istorya. At talagang mahuhusay ang acting ng mga artista. Napakagaling ni Vilma Santos sa papel ng mataray na business executive. Para talagang alam niya ang bawat kilos at hakbang na ginagawa niya. Very sympathetic namang tunay si Lorna sa kanyang role bilang inaaping kapatid. At for once, hindi nasapawan si Christopher de Leon ng kanyang co-star. Kontroladong-kontrolado ang acting niya rito. Si Phillip Salvador nga ang nagmukhang dehado, iba pati ang hitsura niya sa pelikula. Mukha siyang tumandang hindi mawari. Maganda rin ang theme song ng pelikula. At dito kami naniwalang totoo ang kasabihang it’s the singer not the song. – Mario E Bautista, Puna at Puri, 1982 (READ MORE)
“Muli na namang ipinakita ni Vilma Santos ang kanyang husay sa pagganap sa pelikulang “Sinasamba Kita”. Consistent ang characterization ni Vilma sa naturang pelikula, at nagmukhang supporting na lahat ang kasama niyang may malalaki din namang pangalan.” – Arthur Quinto
“Sobra pala ang lakas ng “Sinasamba Kita.” Tuwang tuwa sina Vic at Mina del Rosario. They started with 38 theatres, by the weekend, 41 theatres na ang nagpapalabas ng pelikula. After 6 days, kumita na ito ng P5,207,416.00. After a week’s time, almost P6 million na ito.” – Billy Balbastro
“1982 was a banner year for Vilma Santos. Aside from the acting gem, “Relasyon,” she also established her bankable status, thanks to Viva film’s “Sinasamba Kita”. This film grossed 6.2 million in just 6 days, a box office record! Directed by Eddie Garcia, the film featured Vilma as the “bitchy-rich” anti-heroine executive, Lorna Tolentino, Christopher DeLeon and Philip Salvador. The intertwined love quadrangle between the four characters enhanced by crisp dialogue, glossy production design and catchy theme song made this movie effective and very commercial. Two scenes stands out, both involved Vi and Lorna. (By the way, Lorna’s name in this film was Nora and Vilma was Divina, which made us wonder if this is supposed to be a Nora-Vilma film.) In one scene, Vilma was waiting for her younger sibling Lorna, when she finally arrived, she accused the younger sister of wearing her perfume, the accusation made Lorna defensive and replied: “…bumili ako para sa sarili ko nagustuhan ko kasi ang amoy!” In which Vilma countered: “…for godsake, Nora, bakit hindi ka magkaroon ng sarili mong identity!..Hindi kita anino!” Another scene, Vilma caught Lorna wearing the same designer clothes: Vilma: “Iniinsulto mo ba ako? Anong gusto mong palabasin bakit ginagaya mo ang damit ko?” Lorna: “Ate naman ano naman ang masama kung gayahin kita?” Vilma: “Alamin mo muna ang iyong limitasyon…baka nakakalimutan mo kung saan kita pinulot…kinikilala kitang kapatid pero hindi tayo magkapantay!” Lorna: “Napakaliit naman pala ng pagtingin mo sa akin…” Vilma: “Imposible naman lumaki ang pagtingin ko sa taong tinutulungan ko lang?…kung sabagay magkaiba tayo ng ina…bakit kaya pinatulan ng papa ang iyong ina?” Lorna: “huwag mo naming insultuhin ang inay, patay na siya…” Vilma: “Hindi ko siya iniinsulto sinasabi ko lang sayo ang totoo! Magkaiba tayong dalawa, hindi mo ako matutularan at hindi kita tutularan! Nora, ang hindi mo maabot huwag mog pagpilitang abutin, wala kang pang pakpak k’ya huwag lumipad ng pagkataas-taas!” – RV (READ MORE)
“…The movie showed Garcia’s strengths as a director—able to motivate his actors, frame sequences and scenes, and efficiently tell a story. Those qualities would be very evident in the 1980’s when Eddie Garcia directed the biggest blockbusters of Viva Films…But his best movies were domestic dramas that gripped audiences for their complex take on relationships and their tendencies toward tortured, twisted operations. Hallmarks of this genre were “Sinasamba Kita” in 1982 (Vilma Santos cruelly treating her half-sister), “Paano Ba ang Mangarap?” in 1983 (cruel mom-in-law seizing her grandkid from his mom, played by Santos), and “Magdusa Ka” in 1986 (an illegitimate daughter claims her birthright but finds life in her rich dad’s mansion a cruel torture). His last most significant movie as a director was obviously “Abakada Ina” (2001). In telling the story of an illiterate mother struggling for her children’s attention against her mother-in-law who’s a schoolteacher, Garcia seemed to go back to the standard traits of his best domestic dramas, with their take on the meanness and cruelty that seem to underlie filial relationships…” – Lito B. Zulueta (READ MORE)
“…Lorna the illegitimate daughter of a business tycoon was left in the care of her half-sister Vilma upon the death of their father. Though she took care of all her material needs she refused to show the girl any kind of affection. In contrast Lorna absolutely adored her and wanted to be like her older sister in every way. She was hoping that someday Vilma would learn to love her too like a real sister. What Lorna did not know was that it was now become very difficult for Vilma to do so because the man she loved was in love with Lorna and the older sister was determined to win him at all costs…” – Mav Shack (READ MORE)
“…Si Val! Si Val! Si Val! Si Val na walang malay?! Si Val na ang tanging kasalanan ay naging anak ng mommy mo sa ibang lalaki! At nitong nasira na ang kanyang pagiisip…ay alam n’yo bang si Val pa rin ang pinanagot nila sa isang responsibilidad na dapat sana’y ikaw Rick ang nanagot!…ayan ang magaling n’yong apo, itanong n’yo sa kanya kung sinong ama ng batang binigyan ng pangalan ni Val!” – Stella
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Basic Information: Directed: Eddie Garcia; Story: Gilda Olvidado, serialized in Pogi Komiks; Screenplay: Armando Lao; Cast: Vilma Santos, Ricky Davao, Tonton Gutierrez, Cherrie Gil, Gloria Romero, Alicia Vergel. Alicia Alonzo, Perla Bautista, Jonee Gamboa, Rey Hipolito, Suzanne Gonzales, Eddie Arenas, Rose Rosado, Vangie Labalan; Executive producer: Vic Del Rosario; Original Music: George Canseco; Cinematography: Romy Vitug; Film Editing: Ike Jarlego Jr, George Jarlego; Production Design: Manny Morpe; Sound: Rolly Ruta; Theme Songs: “Saan Nagtatago Ang Pag-ibig?” performed by Basil Valdez
Plot Description: Stella got pregnant by boyfriend Rick. Unfortunately, Rick is not willing to gamble on his inheritance. He is tied up with a promise to his super snotty, super rich old grandmother that he have to finish law school before he can get any money. In order to avoid scandal Stella agreed to be married to Rick’s retarded brother, Val. Together with his adopted family Stella learned to love the retarded Val and at the same time discovered that Val is a product of infidelity that cause the suicide of Rick and Val’s father. Unfortunately Stella’s new found love ended when Val accidentally fell from a window when he had a fight with his irrational brother one night. – RV
Rick (Ricky Davao), an irresponsible, lecherous law student, always makes his brain-damaged half-brother Val (Tonton Gutierrez) his fall guy for fear of losing the inheritance from his wealthy authoritarian grandmother Doña Pacing (Alicia Vergel). This time he makes Val marry his pregnant girlfriend Stella (Vilma Santos) to save her face and to mollify her parents. Bankrupt with their house facing forfeiture, their mother Carmen (Gloria Romero) is completely fearful and subservient to her intimidating mother in-law Doña Pacing who hates and blames her for the suicide of her son due to Carmen’s past indiscretion. Though trapped in her dire circumstances, Stella stays faithful to her marriage and tries to be a good wife by diligently teaching the childlike Val who finds comfort and love for Stella. – TFC Now (READ MORE)
Film Achievement:1987 FAMAS: Best Director – Eddie Garcia; Best Picture – Viva Films; Best Cinematography – Romy Vitug; Best Sound – Rolly Ruta; Best Story – Gilda Olvidado; 1987 FAP: Best Cinematography – Romeo Vitug; Best Director – Eddie Garcia; Best Picture – Viva Films; Best Supporting Actress – Gloria Romero; 1987 STAR: Best Picture – Viva Films; Best Supporting Actress nomination – Gloria Romero; Best Actor nomination – Tonton Gutierrez
One of Vilma Santos and Gloria Romero 13 films – (Anak ang Iyong Ina, Iginuhit ng Tadhana, De Colores, Pinagbuklod ng Langit, Anak ng Aswang, Lipad Darna Lipad, Happy Days are Here Again, Karugtong ang Kahapon, Nakakahiya?, Hindi Nakakahiya, Makahiya at Talahib, Saan Nagtatago Ang Pag-ibig?, Kapag Langit Ang Humatol) – RV (READ MORE)
Star Awards – “Lorna Tolentino leads the list of winners in the PMPC’s fourth Star Awards held last night at the Folk Arts Theater…The other winners are: Best actor – Tonton Gutierez (Saan Nagtatago ang Pag-ibig?); Best picture – Saan Nagtatago ang Pag-ibig? (Viva Films); Best director – Eddie Garcia (Saan Nagtatago ang Pag-ibig?); Best supporting actress – Gloria Romero (Saan Nagtatago ang Pag-ibig?)…Best screenplay (adaptation) – Armando Lao (Saan Nagtatago ang Pag-ibig?); Best cinematographer – Romeo Vitug (Saan Nagtatago ang Pag-ibig?)…” – Manila Standard, Apr 21, 1988 (READ MORE)
Film Reviews: Nang malaman ni Stella na buntis siya ay pinilit niyang managot ang kasintahan nitong si Rick, isang law student na tagapagmana na ariarian ng kanyang matapobreng lola. Dahil sa panakot na mag-i-iskandalo’y ipinakasal nila si Stella sa kapatid ni Rick na retarded upang hindi mawala ang mana nito at kasabay ay maiwasan ang kahihiyan ni Stella na mabuntis ng walang asawa at ama ang kanyang dinadalang bata. Kasabay ng pagbubuntis ni Stella ay natutunan nitong mahalin ang retarded na si Val. Kasabay rin nito’y natuklasan ni Stella na si Val ay anak sa labas ng kanilang ina at ito’y hindi sinilang na kulang-kulang. Dahil sa kalupitan ng matapobreng lola ng mga bata’y nahulog ito sa hagdanan ng pagbintangan si Val ng matandang nagnanakaw ng pera. Nahulog ang batang si Val habang pinapalo ito ng kanyang ina. Isang gabi’y nagwala si Val nang Makita nitong nakikipagtalo si Stella kay Rick. Sinunggaban ni Val si Rick at nagaway sila. Ang naging resulta ng pag-aaway na ito’y aksidenteng nahulog sa balkonahe ang kaawa-awang si Val.
Namatay ito at sa araw ng libing ay dumating ang matapobreng matanda para ibigay ang abuloy nito kay Stella. Isinauli ni Stella ang tseke sa matanda at ipinahayag na si Val ang ginawa nilang ama ng kanyang anak pero ang tutoo’y dahil sa takot na mawalan ng mana’y ito ang pinaako ng responsibilidad ni Rick. Galit na umalis ang matanda at tuluyang naglaho ang mana ni Rick. Nagdesisyon na iwan ni Stella ang bahay kasama ng kanyang anak. Mula sa direksiyon ni Eddie Garcia, ang Saan Nagtatago Ang Pag-ibig ay hango sa komiks. Bagama’t mahahalatang puro isang dimensiyon lamang ang halos lahat na karakter ng pelikula’y mahusay naman naihayag ni Direktor Eddie ang komiks na komiks na istorya nito. Bakit kailangang maging binata si Rick habang nagaaral ito ng abogasya? Bakit napakahalaga ito sa matapobreng si Alicia Vergel? Bakit may nakatakip ang isa sa mata ng matanda na parang bandido? Sa ubod ng yaman ng matanda hindi ba puedeng maglagay ng pekeng mata kesa sa bendang itim? Bagamat nakakatawa ang obserbasyon na ito’y dahil sa bisyuwal na kaanyuan ng matapobreng matanda kung kaya naman epektibong makikita ang pagiging kontrabida nito.
Tulad ng “Paano Ba Ang Mangarap,” merong ‘dream sequence” ang pelikula kung saan kunwari’y hinuhusgahan si Val na isang baliw. Kung puputulin ang eksenang ito’y hindi magiging sagabal sa paglalahad ng buong istorya ni Gilda Olvidado. Mula sa lumang bahay hanggang sa eksena sa libingan ay mahusay ang sinematograpiya ni Romy Vitug at disenyong pangproduksiyon ni Manny Morpe. Mahusay ang mga katulong na artista mula kay Cherrie Gil, Alicia Alonzo at Alicia Vergel. Mahusay rin si Ricky Davao bilang Rick at Gloria Romero bilang ina ni Rick at Val. Ngunit ang pelikulang ito’y tungkol kay Val at bilang si Val ay nabigyan ng mahusay na pagganap ni Tonton Gutierrez ang papel na sinto sinto mula sa pagsasalita na utal utal haggang sa pisikal na mukha at pa-ika-ikang paglalakad. Tulad ng inaasahan, mahusay si Vilma bilang si Stella. At tulad ng maraming pelikulang ginawa niya sa ilalim ng Viva at sa direksiyon ni Eddie Garcia ay merong linya o dayalogo siya na hindi malilimutan, ito ay nang bigkasin niya ang linyang, “…si Val, si val na wala naman malay…” na magpahanggang ngayon ay natanim sa mga Pilipino na mahihilig sa pelikulang tagalog. – RV
“…When Eddie first entered show business, “I said to myself, I’m going to give myself 15 years to be able to direct my first movie. Fortunately, it took me 12 years–or three years earlier than I had planned.” He considers Saan Nagtatago ang Pag-Ibig as his most memorable directorial assignment…” – Sol Jose Vanzi (READ MORE)
“…Ah, how I love the Vilma-Gloria confrontations. “Si Val, si Val, ang kawawang si Val!…” The movie was again a monster hit from Viva Films. FAMAS Best Picture and a supporting actress award for Ms. Romero…” – Mario O. Garces (READ MORE)
“…He explained that a lot of craft likewise went into these glossy dramas. He cited two scenes in the Vilma Santos tearjerker “Saan Nagtatago ang Pag-Ibig,” released in 1987: “Cinematographer Romy Vitug and I waited until late afternoon, when the columns at the back of the Manila Film Center formed long shadows. For another scene, we waited until dusk so the funeral procession would be reflected on a pond in the cemetery…” – Bayani San Diego Jr. (READ MORE)
The Bicol Festival Foundation, in cooperation with Philtanco, is sponsoring the movie premiere of the film Saan Nagtatago ang Pag-ibig?, tonight at 7:30, at the Rizal Theatre in Makati. The movie, directed by Eddie Garcia, stars by Eddie Garcia, stars Vilma Santos, Gloria Romero, Ricky Davao, Cherie Gil, Alicia Vergel and Tonton Gutierrez. The Bicol Festival Foundation is headed by Justice Francis F. Gachitorena of the Sandiganbayan. Film director Garcia who is a Bicolano himself has offered this latest Vilma Santos starrer to the Bicolanos, many of whom have been devastated by typhoon Herming a few weeks ago. He said, ‘This is my little contribution in the Bicolano’s who will be celebrating the Penafrancia Festival next month.” The Bicolanos in Manila will hold teh Grand Bicolandia Festival from September 7-13 at the Manila Garden Hotel in Makati and many activities have been schedule to drum up support for the plight of the Bicolanos in the provinces. Tickets are available a the theater gate at Visual Horizons with telephone no. 815-0024 or Philtranco at telephone no. 833-7180.” – Manila Standard, Sep 01 1987 (READ MORE)
“…For sure, the film has been well-acted. Vilma, once again awes us with her astringent putdowns in her familiar facial expressions and pertinent body language. That long monologue in front of the dying Tonton is an eloquent testimony to her acting talent. Tonton is worthy of notice as the retardate but we have to be assured that he is capable of doing the things he does in the film. Can he really remember the past with such clarity despite his brain damage? Nevertheless, he has captured the mannerisms and speech of the character he portrays. Alicia Vergel comes on too strong as the aristocratic Nyora Pacing who wears an eyepatch and walks with a cane. Ricky Davao vies for attection in his anti-hero role. Cherie Gil as Ricky’s flighty sister is less fierry but more believable. Gloria Romero delivers a sensitive portrayal of the weak mother with a dark past while Alicia Alonzo plays her sister who is privy to the family’s secrets. Eddie Garcia should be commended for toning down his confrontation scenes. His familiarity with this film genre shows in the way he manipulates the characters and builds up the scene. Still, one cannot help but questions the logic behind that sham marriage…” – Luciano E. Soriano (READ MORE)
“…When Gloria Romero won the best supporting actress award in Saan Nagtatago ang Pag-ibig?, she almost ran onstage and was beside herself for atleast three minutes. The ’50s queen of Philippine cinema could just ohh and aah that the audience gladly saved her with a standing ovation. Thirty four years ago, in 1954, she won her first acting award; and now she was lovelier, this second time around. But with an almost sad certainty, she acclaimed, “…To all the press people. I love you! Baka hindi na ako makabalik.” The moment was on overpouring of emotion and elegant hysteria only a true silver screen queen could summon. At least Romero thanked her make-up artist, Monching Morato as if to acknowledge her eternal celluloid persona that had flickered across the screeen and inflamed popular imagination for almost half a century. That was real romance in the movies. And even for a fleeting moment, Romero gave us a vision of what stuff real romance was made of. She made us comprehend that sense of almost indefinable sadness and fragility of life and beauty, a heightened awareness that even the subtlest of things suggested the unalterable rule of fate. Tonton Gutierrez was visibly euphoric when he accepted his best actor award for his performance in Saan Nagtatago ang Pag-ibig? Dutifully, he thanked the movie’s cast and crew, his director, his family; and of course, he never forget to thank God who gave him the talent to uplift, in his own way, the human condition…” – Henry C. Tejero, Manila Standard, Apr 24, 1988 (READ MORE)
“Dahil Father’s Day ngayon, nais nating bigyan ng magandang tribute ang nakilala nang ama ng maraming artista ng iba’t ibang henerasyon na si Eddie Garcia. Hindi lang mahusay na bida at kontrabida si Eddie kundi mahusay rin siya bilang isang film director. Taong 1961 nang idirek ni Eddie ang kanyang unang pelikula titled “Karugtong Ng Kahapon” kunsaan bida sina Mario Montenegro, Rita Gomez, Ric Rodrigo at Marlene Dauden. Higit na 36 movies pa ang dinirek ni Eddie na iba-iba ang tema…Saan Nagtatago Ang Pag-ibig (1987), Kuwento ito ni Estella (Vilma Santos) na nabuntis ng boyfriend niyang si Ric (Ricky Davao), pero hindi ito pinakasal ng kanyang lola (Alicia Vergel) dahil pinapatapos niya ito ng pagiging abogado. Pinakasal nila si Estella kay Val (Tonton Gutierrez) na naging mentally retarded dahil sa isang aksidente sa bahay na pinagsisisihan habambuhay ng kanilang ina na si Carmen (Gloria Romero). Nabaling ang pagmamahal ni Estella kay Val hanggang sa mamatay ito sa isang aksidente nang dahil sa selos ni Ric. Nanalo rito si Eddie bilang Best Director sa FAMAS at FAP Awards. Nanalo namang Best Actor at Best Supporting Actress sina Tonton Gutierrez at Gloria Romero sa Star Awards. Nagwagi naman itong Best Picture sa FAMAS, FAP at Star Awards…” – Ruel Mendoza, Abante, 15 June 2019 (READ MORE)
Basic Information: Directed, screenplay: Carlo J. Caparas; Cast: Eddie Garcia, Ramon Revilla, Vilma Santos, Marianne De La Riva, Raoul Aragon, Joonee Gamboa, Antonio Carreon, Paquito Diaz, Charlie Davao; Executive producer: Donna Villa; Cinematography: Ramon Marcelino
Plot Description: Rizal Alih was a rogue cop who fought with his superior Brig. Gen. Eduardo Batalla in January 1989, then held him and several others hostage in Camp Cawa-Cawa, Zamboanga City. By the time the hostage-taking ended, 19 people were dead, including Batalla…” – Carlo J. Caparas, GMANews.TV The Revenge of Carlo J. Caparas (God Help Us)
Film Achievement: No Available Data
Film Review: “Of all the films he has made, Caparas says the ones he is proudest of are Pieta, Kahit Ako’y Lupa, Bubbles, and Zamboanga Massacre…Zamboanga Massacre was one big testosterone rush. “Hino-hostage pa lang si General Batalla, nagsu-shooting na ako, kasi gusto ko fresh talaga.” (“General Batalla was still being hostaged, I was already shooting because I wanted the footage to be really fresh.”)…(Rizal Alih was a rogue cop who fought with his superior Brig. Gen. Eduardo Batalla in January 1989, then held him and several others hostage in Camp Cawa-Cawa, Zamboanga City. By the time the hostage-taking ended, 19 people were dead, including Batalla.) – Stephanie Dychiu (READ MORE)
“…Why the big fuss over Vilma Santos’ participation in the Risal Alih movie. Bakit pinapalabas nilan isa sa tatlong main stars si Vi, samantalang guest lang pala ito at isang araw lang nag-shooting? Bakit? Ginagamit lang ba nilang box office bait ang aktress?…” – Dennis Adobas, Manila Standard, Mar 9 1989 (READ MORE)
“…He said the policeman later lent him a laptop so he could finally see the movie on Youtube. “I was indeed so shocked, speechless and angry that I was not able to finish watching the entire film,” he said in his complaint. Alih is facing charges in connection with the 1989 siege of Camp Cawa-Cawa in Zamboanga City, which left a number of his supporters and two top police officials dead. In his complaint filed through lawyer Fernando Pena in the Quezon City prosecutors’ office, Alih, 67, said the movie depicted him as having beheaded Gen. Eduardo Batalla during the siege. “The portrayal that I allegedly beheaded Batalla in the movie was utterly baseless, malicious and a downright lie perpetrated in order to make the movie such a big hit and to make a huge profit at the expense of maligning my name and reputation,” he argued. “I was likewise informed that the said film … became a blockbuster movie,” Alih said in his affidavit. “The only way we can rewrite history is file this case in hopes of rectifying a decades-long error,” Pena told reporters in an interview. Pena also maintained that the prescription period for filing a libel complaint is one year from the time the offense was discovered by the complainant, and not from the time of publication or release of the questioned material. Asked why Alih filed the case only now, the lawyer said his client went into hiding in Malaysia for a long time and had no access to traditional media. He said the government even declared Alih dead at one point. The movie had a star-studded cast that included veteran actors like Ramon Revilla Sr. as Rizal Alih, with Eddie Garcia portraying Batalla. Vilma Santos played Alih’s wife…” – Julie M. Aurelio, With a report from Bayani San Diego, Philippine Daily Inquirer, Aug 24 2012 (READ MORE)
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)
Basic Information: Directed: Eddie Garcia; Story: Orlando Nadres; Cast: Vilma Santos, Christopher De Leon, Tommy Abuel, Ricky Davao, Gelli De Belen, Cherie Gil, Jacklyn Jose, Liza Lorena, Richard Reynoso, Roi Vinzon; Executive producer: Vic del Rosario Jr.; Original Music: George Canseco; Cinematography: Joe Batac Jr.; Film Editing: Ike Jarlego Jr.; Production Design: Elmer Manapur; Theme Songs: “Imortal” performed by Basil Valdez
Plot Description: The first time they laid eyes on each other, they knew from that very moment that they were destined to be together. But their love was not meant to be consummated instantly-they had to wait. But their waiting spanned not just year but lifetimes. The time comes that they meet again. But now, they must break the walls that have for so long kept them apart. They must fight for their love because now is their last chance. – Viva Films
Film Achievement: 1989 FAMAS Best Director – Eddie Garcia; 1989 FAMAS Best Story – Orlando Nadres; 1989 FAMAS Nomination Best Actor – Christopher De Leon; 1989 FAMAS Nomination Best Picture; 1989 Gawad Urian Nomination Best Actor – Christopher De Leon; 1989 Metro Manila Film Festival Best Actress – Vilma Santos; 1989 Metro Manila Film Festival Best Film
Film Reviews: We saw the movie “Imortal” starring Vilma Santos and Christopher de Leon, and directed by Eddie Garcia, which won most of the awards in the last Metro-Manila Festival. It was awful. People who make such movies, and those who hand out awards to them, thoroughly deserve each other. In its asinine plot, “Imortal” tells of the immortal love between two siblings with a common father — a doctor Christopher de Leon and Vilma Santos who becomes a nun, wife of an impotent husband, adulteress and a whore. They never make it because movie censor Manoling Morato would have gotten mad, but in the next generation, the daughter of the whore with foreigner (without AIDS, we hope) — also played by a younger Vilma Santos — marries the son of the doctor, played by a young Christopher de Leon, in a psychedelic wedding in the year 2016 AD. In the year 2016, youngsters Vilma (with brown skin and blue eyes) and Boyet are singing Happy Birthday to the father Old Christopher, a senile old man in a wheel chair. “Happy Birthday, Papa,” says Vilma as she kisses him on the cheek; he does not respond so she panics: “Papa… Papa… PAPA!” He does not answer because he is dead. According to the movie script, the father Christopher was born in 1954, which makes him in 2016 only 62 years of age — much younger than Director Eddie Garcia or even Dolphy, hardly an age to be senile and dying.
There are other laughable scenes. Vilma says, “My husband is (music rises ominously) — my husband is (music again) IMPOTENT (music rises to a climax)!” You’d think the husband just contracted the AIDS virus or got castrated by Sparrow units! Shucks, I know several husbands who just can’t do it anymore, and I hear no heavy music when their wives complain. As a matter of fact, wives prefer their husbands to be impotent, rather than be sexually active with other women. Another terrible scene. The car ridden by Christopher and wife Cherie Gil falls off a cliff. Cherie who is pregnant is mortally wounded and dies. And Christopher looks at his dead wife, and holds aloft a new born baby complete with umbilical cord. This is absurd without a caesarian operation by a doctor. The worst scene is when Christopher digs up the corpse of Vilma at the cemetery, amidst thunder, lightning, wind and rain, and embraces her passionately, while she exhibits no rigor mortis, and apparently no smell of formalin. You don’t find this kind of idiocy in a television commercial. Most of my grandchildren, including Angeli who is only four months of age, enjoy commercials more than dramas.
Some TV commercials can tell the story vividly, memorably, with impact in 30 seconds, better than two hours of unmitigated nincompoopery in filmed dramas. A simple love story is telescoped into a heartwarming half a minute of the Lizl Lebron commercial for San Miguel — boy meets girl against the parents’ wishes, in the tennis court, Fort Santiago in the rain, in the balcony — and ends as he gives her a engagement ring. Actresses with a roomful of acting awards can never match the birth of love and passion in the virginal innocence of this young girl. The same love story is retold in the Ligaw ad of Jollibee chronicling the Filipino traditional courtship — the chaperoned visit, permission to take the girl out for a snack, “Sigurado ka bang sa Jollibee?” the first tentative holding of hands, and the sudden appearance of papa — a slice of true life experience every young person can identify with, more than the bizarre events of “Imortal.” Movies are a director’s medium, the stage is an actor’s medium, a TV commercial is the medium of the advertiser who pays for the ad. The advertiser conducts enough studies to justify the expenditure in a logical way: product and consumer research to determine the most compelling reason to buy the product; careful attention to story boards, makeup, hair style, with no waste, irrelevances or digressions — long before shooting even starts.
A commercial of 30 seconds takes from P800,000 to P2 million to produce or as much as P67,000 per second. A movie of two hours or 9,600 seconds may take P5 million to produce, or P520 per second. A commercial costs as 128 times as much as a movie. Del Monte’s Spaghetti Sauce’s Godfather ad, mechado sauce’s Candida ad, and ketchup’s Family Dinner ad; the San Miguel series with Fernando Poe Jr., Tawa Marcelo and Freddie Aguilar; Jollibee’s Lola ad; and the Sarsi ad — are technical and artistic masterpieces. The Hope cigarette ads are colonial, sexist and insulting to the intelligence, as are those of Vos Brandy, White Castle Whisky and Old Captain Rum. But even the worst TV ad is better than “Imortal.” – Hilarion M. Henares Jr., January 14, 1990, Philippine Daily Inquirer (READ MORE)
“…Jacklyn is cast with Vilma Santos and Christopher De Leon in Viva’s “Immortal.” This is Vilma and Christopher’s first film together after several years of making movies separately. Although Jacklyn is cast in a supporting role, she is excited in doing the dramatic opus since it is a Vilma starrer. Jacklyn is vocal to admit that she is an avid fan of Vilma. This is the second time she co-stars with her favorite idol. The first one was on a TV dramatic special “Lamat sa Kristal,” which was produced by Vilma herself. Besides, Jacklyn is also happy to note that she will be directed by one of her favorite directors, Eddie Garcia…” – Eddie O. Liboon (READ MORE)
“Dahil Father’s Day ngayon, nais nating bigyan ng magandang tribute ang nakilala nang ama ng maraming artista ng iba’t ibang henerasyon na si Eddie Garcia. Hindi lang mahusay na bida at kontrabida si Eddie kundi mahusay rin siya bilang isang film director. Taong 1961 nang idirek ni Eddie ang kanyang unang pelikula titled “Karugtong Ng Kahapon” kunsaan bida sina Mario Montenegro, Rita Gomez, Ric Rodrigo at Marlene Dauden. Higit na 36 movies pa ang dinirek ni Eddie na iba-iba ang tema…Imortal (1989), Ito ang pinakamalaking cast na dinirek ni Eddie at pinagbidahan ito nina Vilma Santos at Christopher de Leon. Kasama rin sina Ricky Davao, Cherie Gil, Jaclyn Jose, Tommy Abuel, Liza Lorena at marami pang iba.
Kuwento ito ng walang kamatayan na pag-iibigan nila Nic at Sandra na nabuhay at namatay sa iba’t ibang katauhan sa mga nagdaang taon. Hanggang sa nagkasama na rin sila at mag-isang dibdib. Isa ito sa official entries sa 1989 Metro Manila Film Festival at napanalunan nito ang 11 awards including Best Picture, Best Director, Best Actress, Best Actor at Best Supporting Actress for Cherie Gil. Nanalo rin si Eddie bilang Best Director sa FAMAS…” – Ruel Mendoza, Abante, 15 June 2019 (READ MORE)
“Aalis ka rin ba, Judith? Naiintindihan mo ba kung para saan yung ginawa nila?…sanay akong tinatalikuran at iniiwanan. Alam mo bang yan ang istorya ng buhay ko.” – Lilia Chiong Yang
“Pinuntahan n’yo ba ako rito para awayin?…silang dalawa,,,mahal ko silang dalawa, bago ko pa man naging boyfriend si Michael, naging asawa si Paul, magkakasama na kami, kaya mahal ko silang dalawa, mahirap bang intindihin ‘yon?…walang batas na nagsasabing bawal magmahal ng dalawa….” – Lilia Chiong Yang
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Basic Information: Directed: Joel Lamangan; Story: Lily Monteverde, Roselle Monteverde-Teo, Roy Iglesias, Joel Lamangan; Screenplay: Roy C. Iglesias; Cast: Vilma Santos, Christopher De Leon, Jay Manalo, Boots Anson-Roa, Carlo Aquino, Amy Austria, Sheryl Cruz, Eddie Garcia, Jean Garcia, Patrick Garcia, Karylle, Angel Locsin, Angelica Panganiban, Allan Paule, Cherry Pie Picache, John Prats, Dennis Trillo, Gardo Versoza; Executive producer: Charo Santos-Concio, Malou N. Santos; Original Music: Jesse Lucas; Cinematography: Rolly Manuel; Film Editing: Tara Heinberger; Production Design: Rodell Cruz; Sound: Albert Michael Idioma; Theme Songs: “Pagbigyan Ang Puso Ko” composed by Ito Rapadas, sung by Karylle and Jerome John Hughes and produced by Bella Tan’s Universal Records, music video was directed by Jeffrey Tan
Plot Description: Anti-crime crusader Lilia Chiong Yang (MISS VILMA SANTOS) seems to have everything a woman could want and need: a husband (JAY MANALO) who pampers her; children (PATRICK GARCIA, KARYLLE, ANGEL LOCSIN) whom any parent would be proud of; and the respect & admiration of the most powerful people in the land. But just as Lilia prepares for her 25th wedding anniversary celebration, a chance encounter in Thailand with her first love Michael (CHRISTOPHER DE LEON) throws Lilia’s life into chaos. So begins the resumption of a relationship that threatens to unravel the delicate threads connecting Lilia to the other people in her life. “Mano Po 3” is a heartfelt tearjerker which was declared Best Picture at the 2004 Metro Manila Film Festival Philippines. Vilma Santos and Christopher de Leon also won well-deserved awards for Best Actress and Best Actor, respectively, in this moving film about the choices we must make for the sake of those we love. Also starring: Karylle, Angel Locsin, Patrick Garcia, Angelica Panganiban, Carlo Aquino, John Prats & Dennis Trillo – Regal Films
Film Achievement: 2004 Metro Manila Film Festival Best Picture – Mac Productions; 2004 Metro Manila Film Festival Best Actress – Vilma Santos; 2004 Metro Manila Film Festival Best Actor – Christopher de Leon; 2004 Metro Manila Film Festival Best Story – Lily Monteverde, Roselle Monteverde-Teo, Roy Iglesias, Joel Lamangan; 2004 Metro Manila Film Festival Best Production Design – Rodell Cruz; 2004 Metro Manila Film Festival Best Original Theme Song – Ito Rapadas; 2004 Metro Manila Film Festival Best Festival Parade Float – Mac Productions; 2004 STAR Best Actress – Vilma Santos; 2004 STAR Best Supporting Actor – Jay Manalo; 2004 STAR Best Theme Song – Ito Rapadas; 2004 FAMAS Best Musical Score – Jesse Lucas; 2004 Philippine Official Entry – 2005 8th Shanghai International Film Festival; 2004 Gawad Suri Best Picture – MAQ Productions; 2004 Gawad Suri Best Actress – Vilma Santos; 2004 Gawad Suri Best Director – Joel Lamangan
Other Film Achievements: 2004 Metro Manila Film Festival, Male Star of the Night – Christopher de Leon; 2004 Metro Manila Film Festival, Female Star of the Night – Vilma Santos; 2004 FAP Best Actor nomination – Christopher De Leon; 2004 FAP Best Actress nomination – Vilma Santos; 2004 FAP Best Screenplay nomination – Roy C. Iglesias; 2004 FAP Best Supporting Actor nomination – Eddie Garcia; 2004 URIAN Best Actress nomination – Vilma Santos; 2004
Film Reviews: They say if you strike the third time, you’re out. Thank goodness, it’s not a strike the third time, instead, it’s a homerun hit for the third sequel of this franchise. “Mano Po 3: My Love” was as grand as the first two but with simple well-written story line. The film managed to iron out the past and present events through flashbacks and thanks to the editor (Tara Heinberger), the continuity of each scene were smooth. Mano Po 3: My Love is a life story of Chinese-Filipino anti-crime crusade, Lilia Chiong Yang. A Chinese couple who left Fujian, China in 1959, brought her here. Her mother beg this couple to bring her with them because she’s going to be put into the orphanage just because she is a girl and having so many baby girl, the Chinese government will not support them financially. Living now in the Philippines and now a young adult (Angelica Panganiban), Lilia met and fell in love with Michael (Cogie Domingo), her classmate and fellow activist. Together with Paul (Patrick Garcia), their classmate, they engaged into activism during the martial law. One night, during the curfew hours, they got into trouble and were hunted down by the military. Michael sacrificed himself and was caught. Lilia was pregnant with Michael’s child but he already left the country and so, Lilia fell to the hands of Paul.
Now, a mature Lilia (Vilma Santos), her quiet life was rattled when Michael (Christopher DeLeon) came back. They accidentally met in Thailand; Michael decided to win her back. Both were surprised to learn that Paul (Jay Manalo) deceived them by not giving all of Michael’s letters to Lilia when he left the country. With Lilia being a popular media personality, people have started talking, gossiping about Lilia’s secret affair with another man particularly in the Chinese community. It also added stress to her family and eventually they turned their back to their own mother. Finally, it all comes down to Lilia making decision on which man to choose. She finally decided to stay with her husband despite her undying love for Michael. Then the tragic end. Lilia’s anti-crime activism created her enemies. One of them tragically killed Paul. Again, her family blamed her. The end part of the film was a typical Regal tradition – that of reconciliations. Lilia’s family accepted her again and all wounds got heal. And what happened to Lilia and Michael? They remained friends as Lilia realized they are not really meant for each other.
People are saying that her scene in the car where Paul (Jay Manalo) was shot was reminiscent of her death scene in “Relasyon.” Yes, there was a touch of it but the scene in MP3 was more intense because it’s shorter and the pacing was faster. Christopher as Michael deserves his best actor award during the film festival. Finally, Lamangan managed to control Christopher’s dialogue mannerism. Christopher has the tendency to starts his line with “well….” Probably because the MP3’s script was tighter and requires him to follow strictly each lines because each lines most of the time have other meanings. For example, when the three of them finally met, Christopher said: “Isa sa mga natutunan ko nuon sa kilusan is Honesty.” Which he is actually saying to Paul that he is dishonest and deceitful; particularly for not giving to Lilia, all of his letters when he left the country during the martial law years. As Paul, Jay Manalo, despite his young look managed to convinced us with his restraint performance. I wonder if Philip Salvador would give as strong performance as Jay Manalo in this role. Jay showed us that he’s indeed one of our great actors today. Sheryl Cruz didn’t do much as Bernadette. Her performance was one dimensional, a trap for villain roles. And all can be blamed to the three writers – Roy Iglesias, Lily Monteverde and Joel Lamangan. Maybe because they concentrated their efforts to established the three main characters and so they neglected the others. Eddie Garcia and Boots Anson Roa played the usual supporting roles but Boots gave us the most memorable lines in all of the movies showed in 2004: “hindi ka puedeng magmahal sa dalawa lalake…” of course, with her Chinese accent.
Vilma also will not be far behind with her lines: “hindi ka ba sasama sa kanila Judith? Alam mo ba kung para saan ang kanilang ginawa?… sanay na akong tinatalikuran at iniiwanan yang ang storya ng buhay ko…” Vilma’s performance here was an example of how she matured and became an A1 actress. From the start to the end, she transformed herself to be the character. She became Lilia Chiong Yang. Here are the highlights…
Her scene in Tagaytay Highland.
Her breakfast scene with her family, where all except for one, left her.
The scene where she and Paul finally met Michael in a restaurant was full of irony and sarcasm.
The scene where Bernadette and three other relatives one of them was Boots Anson Roa confronted Lilia. Like a true fighter and speaking in Mandarin, she told them, she’ll be back in five minutes and if they’re all still in her office they will see the worst of her.
The scene where Lilia and Paul were in a middle of an argument and suddenly they calmed themselves down because their dressmakers arrived (to measure their sizes for the clothes their going to wear on their wedding anniversary) was poignant and funny at the same time.
Then Paul’s death scene that followed the hospital scene.
All in all, a controlled, restraint, riveting performance. How can someone not noticed? If I will evaluate “Mano Po 3: My Love”, I will give the film an A for its excellent production and magnificent performances.
Vilma versus Nora – In seeing both films, Vilma gave a far more superior performance than Nora Aunor’s “Naglalayag.” Again, how can anyone not noticed? I mean, it could probably be blamed to their directors. Lamangan able to come up with a far more superior script and direction than De Los Reyes. Vilma’s role composed of so many highlights that are so hard to pick which one is the best compare to one from Nora’s film. Funny both Vilma and Nora’s film has some similarities. Both have a scene were they both accepted an award and they have to do speeches in front of adoring audiences. Another similarities, the two characters have to dealt with the gossiping and the bad publicity that their personal lives creates affecting their respective communities. Although in Naglalayag, Nora’s character wasn’t fully established as how’s her overall standing/status in the community. Now the difference, Vilma’s crisped delivery of lines came as natural, even when she talks in Tagalog, English or Cantonese/ Mandarin but Nora’s delivery of lines were as awkward as a kid trying to learn how to speak English for the first time. Her tendency to make “SSSS” sound in every English word she has on her lines were very distracting to audience and at times laughable. Her clothes are dated too, for a rich judge, one may wonder if she’s just a thrifty judge or just don’t know how to dress up, the opposite can be said with Vilma, her pink/orangey gown on the death scene was elegant. Admittedly, both Vilma and Nora have no fear of showing their age. There was a scene in both movies where they didn’t wear any make up and their faces showed their real ages. Overall, Nora’s performance lacks control and finesse while Vilma’s performance excels in restraints and effectiveness. Nora’s not credible as Dorinda, the judge while Vilma became Lilia Chiong Yang, the anti-crime crusade activist and businesswoman. – RV
Other Reviews: The performances of Christopher De Leon and Vilma Santos are great. It’s a great movie, the director made a good job. The flow of events and the pace of the story are nicely plotted. You won’t feel unease when Michael Lim (Christopher) come back to Lilia Chiong (Vilma) and interfered with her “happy” married life. Compare to the passed 2 Mano Po movies, Mano Po 3 doesn’t have enough Chinese tales, it can stand alone as a pure love story movie without involvement of Chinese culture. In my personal opinion, if Christopher De Leon character was a pure Filipino, and if the reason why he was separated from Vilma was due to rejection from Vilma’s Chinese parents, and Vilma was arranged-marriage “kai-siaw” to Paul (Jay Manalo), then this would be a better Chinese foundation as the background for Christopher and Vilma to met after 25 years. It might not be a happy ending, but it was a rational ending given the circumstances of the events. This movie will definitely make you cry in the end. – IMDB
Some people were pointing out that there was nothing new shown in this movie that was not already shown in previous films. However since this is the first Mano Po movie I have watched I actually found the screenplay satisfactory. Nothing great but nonetheless it was ample. One thing that I found refreshing was the fact that this film was less of a mellow dramatic soap opera type of drama, which is prevalent in Philippine movies. Yes there are no shouting and slapping matches in this one. There were some sub-plots, which seemed unnecessary such as the story of the children of Lilia. In terms of performances, I thought that the lead actors did a splendid job in acting out their roles. Vilma Santos did a great job and really deserved her best actress honour at the MMFF. Certainly her efforts overshadowed those of here co-stars, Christopher De Leon and Jay Manalo. It’s a shame really that her duties in Lipa are keeping her from other movies. Eddie Garcia, I thought could have done a better job in delivering his lines. I realize that he is playing a character that was not that fluent in Filipino but some of his words were just garbled and found it hard to understand. My only gripe maybe in the casting of Jay Manalo as the husband of Lilia. In the story Manalo is portrayed as the same age as De Leon and Santos which frankly I find hard to believe since Manalo looks many years younger. In terms of production, I thought Regal Films did a good job in setting an overall atmosphere by bringing in good costumes and props. It was also nice to see them speaking in Chinese so as to make the situations more authentic and believable. – IMDB
It is indeed a sad day in Philippine cinema when this movie, mano po 3 (which is an installment in a series of stories, totally unconnected with each other, about filipino-Chinese in the Philippines), won in the Metro Manila Film Festival. It is as if the film festival has turned into an award giving that celebrates mediocrity. What ever happened to the high standards that the film fest clung to in the past? Indeed, it is sad to see GERIATRIC actors Vilma Santos and Christopher de Leon portray roles that they have exceptionally portrayed before in their lustrous 40 years in Philippine show business. To even think of casting these superb actors in roles that are at least 15 years their junior, that defies their age, is indeed insulting to the intelligence of the Filipino viewers. But hey! Nobody’s complaining! Right? In fact, they both won the Best Actors awards in the said film fest! Sad, sad, sad… (Trivia: It seems that Vilma Santos cannot appear in any movie without clinging to a white hankie, see for yourself!) Question: Is there a dearth of good Filipino actors? Why can’t the director, Joel Lamangan, cast actors that befit the role… I used to admire Mr. Lamangan but after seeing this movie, I don’t know anymore…And the movie is just a futile exercise in method acting, and is just full of empty rhetorics. I’m sure the Chinese community in the Philippines were scandalized by this shallow portrayal of their values, of their identity and of their personalities! I mourn for Philippine cinema! I’m sure Lino Brocka must be turning in his grave now for the sad state of the movies in the Philippines. – IMDB – Matthew Ashley from Sturgeon Bay, Wisconsin
“Mano Po 3: My Love” is far better off than the previous Mano Po movies. If the other to MP movies talked about family and home, this 3rd franchise talks about the most universal language of all: Love. This is about Lilia Chiong-Yang (Vilma Santos) a Chinese-Filipino woman. She was torn from her first and only love, and ended up marrying the person she didn’t want (Jay Manalo). One faithful day, she met up with her old love Michael (Christopher De Leon) and things began to get rocky then. He wanted her to choose between her family and the only man she truly loved. The good thing about this movie is she made a decision in the end. For me, this third and last installment was the best among the rest. The movie made me laugh, cry, angry, sad and everything else. That’s really rare the Philippines’ movie industry now. Vilma Santos did a wondrous job in portraying her role. After her 2-year absence in the movie industry, she still had the touch. The only thing i didn’t like about the movie was Jay Manalo. He really was too young to be Vilma’s husband in the movie. They were supposed to be the same age though, but remarkably he did a very good job playing his role as well. How can we not forget Boyet? He was marvelous! Without him, this movie wouldn’t be the best one yet. People say this is such an ordinary love story, but in my eyes, this is the best Filipino movie ever made in my time. Teenagers like me and adults could easily understand the plot. I’m not surprised why when I tried to watch the movie, it was sold out. It’s THAT good. – IMDB
The measure of a good movie is if it can transport you to another world or another time and make you forget na hindi pala totoo ang nakikita mo on screen. Dahil sa magagaling at pinagkaka-gastusan na pelikula abroad, we have higher standards each year, even for our own Metro Manila Film Festival. Mano Po III, My Love is one of the entries of Regal Entertainment. Regal’s matriarch Lily Monteverde says the film outfit really spent for this movie kasi last na ito sa Mano Po series.
It is a love story that spans generations. Lilia Chiong (Vilma Santos) is born in China to a poor family. Ipinanganak siya sa isang family na marami ng anak na babae, something that was considered a curse in China at that time. Her mother gave her away to spare her life, and she ended up with a couple who brought her and raised her in the Philippines. The young Lilia (played by Angelica Panganiban) has a childhood sweetheart Michael Lim (the young one is played by Carlo Aquino). The two are inseperable and vow eternal love against the wishes of their loved ones. Their best friend Paul Yang (John Prats) helps them through troubled times. During Martial Law, the three friends are in danger of being caught by the military and Michael sacrifices himself for his friends. Michael leaves the country and is never heard from again. Since Lilia is carrying his child, Paul marries her and cares for their eldest (Patrick Garcia) as his own.
In present-day Philippines, Lilia is a prominent anti-crime advocate. Her life in endangered when she pinpoints police officers involved in crime. Meanwhile, on a business trip in Thailand, Lilia meets up with Michael after many years. In their reminiscing they discover that Michael had been writing Lilia for a long time but Paul (older version played by Jay Manalo), out of love for Lilia, hid his letters from her. Since Paul’s wife had since died, Lilia is now struggling about whether she should leave her faithful (yet deceptive) husband of 25 years. In the meantime, she is losing her family with the rumors going around about her and Michael. The best part about this film is the decision Lilia makes in the end so I will not spoil that for you.
The film is shot in the Philippines, China and Thailand and all its sets are remarkably authentic. The bluish hue in the shots in old-time China give it a sad feeling of poverty and hardship. The bright colors and amazing scenery of Thailand give the sense of excitement and anticipation. Parts of the film were also taken in tagaytay Highlands, a perfect site for Michael to profess his love for Lilia. Also notable are the shots of traditional Chinese theater performances and festivities like the dragon dance. Karylle, who plays Lilia’s daughter, does a song and dance number with traditional Chinese dress.
Authentically Chinese –I noted that there were some Filipino-Chinese members of the audience who were delighted at some phrases used in their language. I was amazed at how convincingly the cast spoke although I’m no expert. What is truly portrayed is the Chinese love for family and respect for tradition. The role of Eddie Garcia, who plays Lilia’s devoted adoptive father, is one of the most touching in the film. Though not her biological father, the Chiong patriarch is loving, faithful and understanding of his daughter to the very end.
Undying love – Mano Po III is definitely a showcase for Philippine cinema. It is basically a love story, but without any melodrama. Kudos for Joel Lamangan who brings out much emotion without ranting and violent tears that other filmmakers find so necessary to tell a story. Christopher de Leon and Vilma Santos are both subdued but effective in their portrayal of restrained lovers. One particular scene with Christopher, Vilma and Jay is a highlight of the film. It is a scene where the three are having a seemingly innocent conversation about business but with underlying dialogues about love and betrayal. The screenplay written by Roy Iglesias is exceptional, witty and effective. The credible acting would not be possible without such a script. In all, Mano Po is a must-see this filmfest. It was sold out the first time I tried to see it, but it was worth the wait. – ABS-CBN
“For the purported final entry in an envisioned trilogy. Regal matriarch Lily Monteverde has pulled out all the stops. The story is centered squarely on Mayor Vi and Boyet, whose cozy chemistry still crackles with a romantic thrill even after 24 movies together.” – Andrew Paredes, Manila Standard
“As a love story, it is romantic as romantic can be – passionate even. And you really have to give it to the durable love team of Vilma Santos and Christopher de Leon to be able to pull off a material like Mano Po 3 and give the kilig effect of expected by most viewers and fans of love stories. It is handsomely-mounted, glossy and very entertaining. Its production values are far more superior compared to other local movies.” – Butch Francisco, Philippine Star
“Kahanga-hanga ang ipankitang pagpapahalaga ng pelikula sa pamilya at pagaasawa.” – CINEMA (Catholic Initiative for Enlightened Movie Appreciation)
MAQ Productions’ “Mano Po 3: My Love,” starring the legendary screen pairing of Mayor Vilma Santos and Christopher de Leon, began principal photography last week. The energy of the cast and crew was electric, everyone knows that there is something unique and special about the project. Directed by Joel Lamangan from a screenplay by Roy Iglesias, “MP3” will be the last in executive producer Lily Yu Monteverde’s anthology of dramatic, culturally-enriching films about the experiences of Chinese-Filipinos of Chinoys in the Philippines. “Mano Po 3” also stars the most popular artists of film and television, including Boots Anson-Roa, Sheryl Cruz, Jay Manalo, Carlo Aquino, John Prats, Angelica Panganiban, Angel Locsin, Dennis Trillo, Karylle, Patrick Garcia, and Eddie Garcia.
The main cast members recently returned from an exhausting but creatively rewarding pictorial in Beijing, China to shoot publicity stills and scenes to be used in the movie. The photogenic actors were filmed in distinctly Chinese environs such as Wangfujiang Street, the Summer Palace, Ming�s Tomb and the Great Wall of China. MAQ is proud to share these exclusive photographs with this publication. The beautiful photos were taken by award-winning lensman Raymond Isaac under the creative supervision of Jun Poblador. Ace photographers Richard Chen and Jay Alonzo shot second unit stills. The general public will also have a chance to see the best photographs from the film in the special “Mano Po 3” exhibit which will coincide with the film’s release this Christmas.
Currently, the inspired cast & crew are working non-stop to bring Mother Lily’s unique vision to the screen in time for the Metro Manila Film Festival, and she’s sparing no expense to bring her most personal project to the screen. In between shooting, the stars are learning how to speak Fookien and Mandarin Chinese from linguist Jubilee Ong. In terms of the sets, an authentic Chinese village is being erected at a cost of over three million pesos. Conceived and executed by award-winning production designer Rodell Cruz, the expensive set will be seen in the film’s opening scenes. “I’m going all out with “Mano Po 3,” declares Mother Lily. “The moviegoers deserve the best movie we can give them, and if that means spending more money, so be it.” The script for “Mano Po 3: My Love” was ranked first among all scripts submitted to the Metro Manila Film Festival Philippines (MMFFP) Committee. – “MP3: A vision becoming a reality”- Manila Bulletin
“Mother (Lily) and I haven’t even discussed money matters yet!” That, according to Lipa City Mayor Vilma Santos, is the truth (and nothing but?) about her and the Regal Matriarch. You see, a minor issue cropped up about Vilma’s talent fee for Mano Po 3, intended by Regal Films for the Metro Manila Filmfest in December. Was Vilma really asking for P7 million (later reduced to P4 million)? That was the ticklish P7-million question. “As I was saying,” Vilma said during a phone chat with Funfare (she was in Lipa City busy with the preparations for the celebration of the city’s 57th foundation this week), “ang usapan namin ni Mother ay hindi pa umaabot sa talent fee ko. So far, we’ve been discussing only the script.” But Vilma admitted that she “got hurt” when the matter about her talent fee leaked to the press. “What I know is that I gave a copy of my Star Cinema contract to Regal so more or less they’d know,” said Vilma. “Everything was supposed to be confidential. I don’t know kung paano nakarating sa press.” Vilma added that she was touched when Mother Lily called her up to say she felt sorry for the incident. “How nice of her,” said Vilma. All’s well that ends well.
“The project goes on,” assured Vilma who will play the matriarch (similar to those played by Boots Anson-Roa and Susan Roces in Mano Po parts 1 and 2 respectively) of a Chinese clan, with Judy Ann Santos as one of her children. “May konting inaayos na lang sa script. I have to do the movie because it’s my commitment to Mother. Si Mother pa!” Cameras are expected to, hopefully, start grinding for Mano Po 3 first week of September and principal photography will, hopefully, be finished in time for the Metro Filmfest. “We’re again going to shoot some scenes in Shanghai,” said Mother Lily, “just like we did for Mano Po 1 and 2. Ate Vi will be in those scenes.” Last seen in Star Cinema’s Dekada ’70 (shown at the 2001 Metro Filmfest), Vilma has been begging off from doing movies because of her pressing obligations as Lipa City mayor. But Mano Po 3 is too good a project to let pass. “Besides,” said Vilma, “commitment ko kay Mother, e!” – Ricardo F. Lo, Philippine Star, August 10, 2004
Joel Lamangan’s Mano Po, My Love dominated the Metro Manila Film Festival awards Wedenesday evening when it won all the top awards – Best Picture, Best Actor (Christopher de Leon), Best Actress (Vilma Santos) and Best Director (Lamangan). In the Philippine movie industry, the term Best Picture actually means the least bad movie of the crop. By that measure, Mano Po 3 perhaps does deserve the award. At least Mano Po 3 is slickly and tastefully produced. It boasts of a prestigious cast and tries to address a few pressing issues that affect the Chinese community in the Philippines. All the looks good on paper and the movie does look good most of the time but the resulting movie, like its two predecessors, falls short on expectations….Without the Chinese trappings, Mano Po 3: My Love is a typical Vilma Santos movie designed to highlight all the wonderful elements that make her a star for all seasons. Again, she sobs, laughs and acts pensive in that distinctive fashion Santos is famous for in one sudsy scene after another. Yet even as an emblematic Vilma Santos movie, Mano Po 3 is below par. The Star was better in other films that had better material. In this movie, screenwriter Roy Iglesias and director Joel Lamangan shamelessly force the star to imitate Meryl Streep in a scene stolen from Clint Eastwood’s Bridges of Madison County (1995). And like the two first installments, Mano Po 3 features some strange casting. Jay Manalo is supposed to be a contemporary of de Leon and Santos but when you see them together, Manalo looks more like their son than a classmate. Lamangan’s storytelling is fluid and deliberate but being deliberate can be deadly when almost every scene is all talk. Talk is fine if the words are inspiring but when the lines are pallid and of the telenovela variety, we’s just rather stick to the Korean soap they show on TV. While actors deliver modulated performances, this writer feels that Christopher de Leon’s role is too small to warrant a best actor nomination and award. I think he should have listed in the supporting category but I’m opening a can of worms here. Let’s just be thankful that this is the last Mano Po movie to be ever made. (Star rating: one star 1/2 out of four) – Dennis Ladaw, The Manila Times, Feb 28, 2005 (READ MORE)
“…Lamangan seems to be fond of this. In Mano Po 3, the teary scene in the car where Vilma Santos must eventually make her choice between Jay Manalo and Christopher de Leon, is an unabashed copying of a similar scene in The Bridges of Madison Country, where Meryl Streep must also make her choice between her husband and Clint Eastwood. Needless to say, Eastwood’s film has more resonance…” – Ian Rosales Casocot, Eating The Sun, blog, Nov 2005 (READ MORE)
Star For All Seasons 