Relasyon (Videos)


Basic Information: Directed: Ishmael Bernal; Story: Ricardo Lee; Screenplay: Ricardo Lee, Raquel Villavicencion, Ishmael Bernal; Cast: Vilma Santos, Christopher De Leon, Jimi Melendez, Ernie Zarate, Lucy Quinto, Manny Castañeda, Beth Mondragon, Bing Fabregas, Olive Madridejos, Augusto Victa, Dante Castro, Tony Angeles, Thaemar Achacoso; Executive producer: Lily Monteverde; Original Music: Winston Raval; Cinematography: Sergio Lobo; Film Editing: Augusto Salvador; Production Design: Benjie De Guzman; Art Direction: Dennis Cid; Sound: Vic Macamay; Theme Songs: “Relasyon” performed by Eva Eugenio

Plot Description: He sees nothing wrong in having a wife and a mistress. She would do anything to make him happy, including putting up with his idiosyncrasies, babysitting his child, and finding loopholes in the law so she could be with him. The characters are so familiar and so realistic that you might see yourself. Vilma Santos and Christopher de Leon star in this very touching story about two people who truly love each other but are trapped by the circumstances. Relasyon is another fine motion picture from director Ishmael Bernal. – Regal Films

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Filmography: Mga Tigre ng Sierra Cruz (1974)

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Basic Information: Directed: Augusto Buenaventura; Screenplay, story: Augusto Buenaventura, Ruben Rustia; Cast: Charito Solis, Vilma Santos, Dante Rivero, Eddie Garcia, Paquito Diaz, Ruben Rustia, Raul Aragon, Estrella Kuenzler, Ernie Zarate, Mandy Bustamante, Ruel Vernal, Robert Talby, Bert Laforteza, Angero Goshi, George Henson, Sam Jorge, Pons De Guzman, Mary Martin, Lito Cruz, The PMP Boys, The SOS Daredevils; Executive producer: Emilia Blass; Original Music: Restie Umali; Cinematography: Fortunato Bernardo

Plot Description: No Available Data

Film Achievement: One of six (and the first!) Solis and Santos’ collaborations (Happy Days are Here Again, Mga Tigre ng Sierra Cruz, Modelong Tanso, Ipagpatawad Mo, Dahil Mahal Kita The Dolzura Cortez Story, Hanggang Ngayon Ika’y Minamahal) – RV (READ MORE)

Film Review: “Ooops! Keep your cool, dear Noranians, and listen to Charito Solis’ explanation before you accuse her of being, uh, “maka-Vilma. “Vilma has a wider range as an actress while Nora is limited and typecast in certain roles,” Charito said in a tone devoid of intrigue, answering our question in a straightforward, matter-of-fact manner. “Si Vilma, puede kahit anong role, kahit bold. You can’t imagine Nora doing a bold role, can you?” But, and that’s the big but, “Nora has more depth than Vilma,” Charito added, “and it’s because of her expressive eyes. Nora is very effective in scenes where she doesn’t say anything, just act with her eyes, at “yan ang kulang ni Vilma. Vilma has to say something to be effective.” Charito has worked with Vilma twice (in “Mga Tigre ng SierraCruz” and “Modelong Tanso”) and with Nora once (“Minsan May Isang Ina”). Speaking in general now, said Charito, “Vilma is the better actress.” We asked Charito that ticklish question during the lunch presscon for her latest movie, the star-studded Mother’s Day offering of Regal Films titled “Dear Mama,” which also stars Gloria Romero, Laurice Guillen, Snooky, Janice de Belen, Julie Vega, Manilyn Reynes, Jaypee de Guzman, Rey “PJ” Abellana and Alicia Alonzo in the title role. Our own personal opinion somehow jibes with that of Charito whose “throne,” I suppose, will be inherited by Vilma (while Nora will inherit the “throne” of the other drama queen, Lolita Rodriguez).” – Ricardo F. Lo, The Phil. Star April 031984 (READ MORE)

“…To the right are the living quarters, including the high ceiling bedrooms topped with transoms or carved room vents for air circulation. The expansive dining room features an old-fashioned banguerra, where tableware and glasses are left to dry. This area of the house figured prominently in the 1972 shooting of the Vilma Santos-Dante Rivero-Charito Solis war-themed movie, Mga Tigre ng Sierra Cruz…” – Heritage Conservation Society (HCS) (READ MORE)

“…Charito Solis, who initially had a tempestuous and hostile relationship with Vilma while making the ill-fated but box-office MMFF champ Modelong Tanso, had a change of heart when the reborn versatile/professional/charismatic actress Vilma impressed her through the years, at idineklara niya sa buong mundo, without batting an eyelash. na di hamak na mas magaling na aktres si Vilma kaysa kay Nora Aunor. Walang kumontra kay Chato dahil totoo ang sinabi niya, si La Solis yata iyan, at pati nga si Amalia Fuentes, another certified Vilmanian, at “kaaway” na mortal ni La Solis, ay sumang-ayon sa kanya. Si Susan Roces, ano naman kaya ang opinion niya sa obserbasyon ni Chato? Ah, Nida Blanca. Ang dami nilang pinagsamahan ni Vilma, mula TV hanggang sa movies. Dati ay una sa billing si Nida, subali’t dahil nga sa gulong ng buhay ay kailangang maging praktikal at handa ka sa katotohanang magiging second lead ka lang in the future. Walang problema sina Nida at Vilma – ke mag-Ate o mag-Ina sila sa mga proyekto, may chemistry sila and mutual respect. Patok ang kanilang pagsasama. Remember their mother and daughter roles in Ibulong Mo Sa Diyos? Sayang at wala na ang original versatile movie and dancing queen Nida – mapa-aksiyon (Babaing Isputnik), musical (Huwag Kang Sumingit with Gloria Romero), comedy (Waray-waray) at drama (Miguelito at Magdusa Ka!). Kung tutuusin ay tunay na maigsi ang ating hiram na buhay. Kung buhay nga lang ang mga nabanggit sa itaas ay mas lalu sanang makulay ang daigdig ng sining. Subali’t ang lahat ay may katapusan. Ating suriin ang mga sumusunod na talata…” – Mario O. Garces (READ MORE)

“…The best part of the shoot was meeting the stars of the movie in person. I became an instant Ate Vi fan when she obliged the townpeople gathered outside the gate with a personal appearance, waving her hands to the crowd below from the balcony. The whole town just went mad. Later, with my portable cassette recorder, I even managed to interview Ate Vi, asking how she could possibly retain her composure despite her stardom. I asked a lot of showbiz questions that would put Ricky Lo to shame. I kept playing our recorded conversations for months after that, until I lost the cassette tape. Co-starring with Vilma in the movie was another Kapampangan, Dante Rivero (aka, Luisito Mayer Jr., from Floridablanca). Unlike Ate Vi who was always game, Dante was not too accommodating, brushing my request for interview with a terse “Can I talk later?”. But he took a shine to my cousin Beng, who later asked her for a date. I was also luckless with supporting actor Ruel Vernal, who intimidated me with his height. Charito Solis, a co-starrer, was unfortunately not part of any scenes that were for shooting here…When it was all over, the house and its garden were a mess, with most of the flowering plants in the garden dead and trampled. Worse, when the movie was finally shown in local theaters after months of anticipation, the house was just seen on screen for a minute or so, I could barely recognize it. Even the part of the Filipina househelp played by a local Mabalacat girl was edited out, her 15 minutes of fame down the drain. I don’t think “Mga Tigre ng Sierra Cruz” made a killing in the box office, either. Many shootings have been held at the grand Morales mansion since then—the most recent one was undertaken by U.P. film students in March 2009. But old folks who pass by the street still point to the old mansion and refer to it as “the house where they shot the movie ‘Mga Tigre ng Sierra Cruz’ starring Vilma Santos and Dante Rivero…” – Alex R. Castro (READ MORE)

“…The expansive dining room features an old-fashioned banggera, where table ware and glasses are left to air-dry. This area of the house figured prominently in the 1972 shooting of the Vilma Santos-Dante Rivero-Charito Solis war-themed movie, “Mga Tigre ng Sierra Cruz”. A utility wing is conjoined with the dining area. A small veranda and the white-tiled bathroom are found here, complete with claw foot porcelain tubs and modern plumbing. Space flows from one room to another leading you to the kitchen and semi-enclosed azotea with stairs that you down almost down the Sapang Balen bank…” – Alex R. Castro, Views from Pangpang, Dec 10 2008 (READ MORE)

“…She had come to Mabalacat to film the war movie, “Mga Tigre ng Sierra Cruz”and several key scenes were to be filmed in my granduncle’s old house in Sta. Ines, conveniently right next to ours. That meant instant access to the production, as we were the designated caretakers of the Morales mansion. The enviable task of fetching Vilma from an undisclosed hotel to be brought to the house was assigned to my father. To get to the shooting venue without attracting the attention of the motley crowd to get a glimpse of the stars, Vilma was whisked off to our own house which had a connecting passage to my relatives’place. For the next three days, I fell under the spell of Ate Vi—easily transforming me from a Noranian to Vilmanian. More so when, during a lull moment in the shoot, I had the gumption to talk to her (her co-star Dante Rivero refused to be interviewed!), and I even managed to put on tape our short conversation which began with her greeting ”To all the people of Mabalacat, I love you all!!”. Who wouldn’t be charmed by her sweetness? (Though I bet that was a standard line she said to ALL the people in ALL the towns she visited)…” – Alex R. Castro, Views from Pangpang, Sep 10 2012 (READ MORE)

Filmography: Now And Forever (1973)

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Basic Information: Directed: Ishmael Bernal; Cast: Vilma Santos, Edgar Mortiz, Tommy Abuel, Mercy Pantamaria, Lorli Villanueva, Ernie Zarate, Buth Josue, Jaime Asensio, Ed Villapol, Tony Carrion, Carmen Jiongco, Chito Guerero, Chanda Romero, Elizabeth Vaughn, Randy Robledo; Executive producer: Espiridion Laxa; Cinematography: Benjamin Lobo

Plot Description: No Available Data

Film Achievement: Total Number of Bernal directed films = 8 (Broken Marriage, Dalawang Pugad Isang Ibon, Good Morning Sunshine, Ikaw ay Akin, Inspiration, Now and Forever, Pahiram ng Isang Umaga, Relasyon)

Film Review: “…By late 1969, movie producers had been tapping a Vilma Santos-Edgar Mortiz love team. Edgar was a Tawag ng Tanghalan winner. They started to be together in the movies, My Darling Eddie (1969) and The Jukebox King (1969)…In 1970, the love team of Vilma Santos and Edgar “Bobot” Mortiz was officially launched in the movie Young Love, together with the another popular love team during that time, Nora Aunor and Tirso Cruz III. The Vi and Bot love team went on to do 14 more movies in 1970—The Young Idols, Songs and Lovers, Sweethearts, Sixteen, Love Letters, Love is for the Two of Us, Mga Batang Bangketa, My Pledge of Love, Renee Rose, Baby Vi, Because You Are Mine, Edgar Loves Vilma, From the Bottom of My Heart, and I Love You Honey. All did well at the box-office…” – Rommel R. Llanes (READ MORE)

“…Noong Dekada ’70, ang mga young stars ay kailangang marunong kumanta dahil yun ang uso kaya naman nagtayo ng sariling recording company ang nasirang manager ni Vi na si William Leary dahil ayaw niyang pahuhuli sa uso ang kanyang alaga. Ilan sa mga naging recording artists ng WILEARS RECORDS bukod kay Vi ay sina Edgar Mortiz, Ed Finlan, Sahlee Quizon, Hilda Koronel at Esperanza Fabon. According to Vi, kapag nagrerecord siya ng kanta ay nakatalikod siya sa dingding ng recording company at si Bobot ang umaalalay sa kanya. Ang SIXTEEN, na sinulat ni Danny Subido ang unang recording na ginawa ni Vi at ito ay flipsided by It’s So Wonderful To Be In Love. Ang SIXTEEN ay agad naging gold record at dahil dito ay gumawa ng pelikula ang Tagalog Ilang Ilang Productions, ang home studio ni Vi at ito ay ginawa nilang pamagat katambal si Edgar Mortiz. Hindi nyo naitatanong, muntik nang manalo si Vi bilang most promising singer sa AWIT AWARDS noong early ’70s…” – Alfons. Valencia (READ MORE)

“…The loveteam of Edgar Mortiz and Vilma Santos endured a stiff competition from teeny bopper love team of Nora Aunor and Tirso Cruz III and came up with equal success with string of hit films during the musical era of the 70s. Together they did forgettable but commercial hits and also some hints of the years to come to Vilma Santos’ long career. The most notable one: Dama De Noche. Total Number of films with Vilma Santos – 25 (Young Love, Teenage Jamboree, Songs and Lovers, Renee Rose, My Pledge of Love, Mga Batang Bangketa, Love Is for the Two of Us, I Love You Honey, From the Bottom of My Heart, Baby Vi, Love Letters, The Wonderful World of Music, The Sensations, The Young Idols, Sweethearts, Sixteen, Leron-Leron Sinta, Edgar Love Vilma, Don’t Ever Say Goodbye, Dama de Noche, Anak ng Aswang, Because You Are Mine, Kampanerang Kuba, Kasalanan Kaya, Karugtong ang Kahapon…” – RV (READ MORE)

“…The following year, Santos made fourteen films, mostly forgettable musicals. It was also a year where her benefactor started to positioned her as more of a film actress than a singing film star. The results was successful experiments that showcased her comedic ability (Ang Kundoktora), screaming action stunts (Takbo Vilma Dali) and dramatic capability (Dama De Noche). Her followers was delighted when she earned her first acting recognition the next year receiving the FAMAS best actress via Dama De Noche. Most of her films in 1972 were directed by Emmanuel Borlaza however, she was able to do one film with Ishmael Bernal, “Inspiration” with the late Jay Ilagan, one of her regular film partner. According to Bernal, the film wasn’t as successful as what he expected, as the film flopped. Aside from Inspiration, Bernal did two other films, El Vibora (starring Vic Vargas and Boots Anson Roa) and Till Death Do Us Part (starring the young Hilda Koronel and Victor Laurel). 1973 turned out to be a banner year for Vilma Santos as she emerged on top with box office hits one film after another. Nine films altogether that featured her in different genres (comedy – “Tsismosang Tindera;” fantasy – “Maria Cinderella,” “Dyesebel at ang Mahiwagang Kabibe” and ”Ophelia at Paris;” action/fantasy – “Wonder Vi,” “Lipad, Darna, Lipad,” and “Darna and the Giants;” horror – “Anak ng Aswang” and teenybopper – “Carinosa” and “Now and Forever”). While Vilma was productive Bernal, like the past two years did only two films, one was the comedy fantasy starring television host and comedian Ariel Ureta in a spin off of Superman, “Zoom, Zoom, Superman!” and “Now and Forever” the film that reunited him with Jay Ilagan and Vilma…” – RV (READ MORE)

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Filmography: Ikaw ay Akin (1978)

“Rex…anong gagawin mo? Ako anong gagawin ko? Ako ba ang nagpapagulo sa otherwise your perfect world?…sure? Rex ang problem ako hindi lang ako eh…si Teresita rin…nasasaktan ko na siya…anong gagawin ko iwasan kita eh de ako naman ang nasaktan? Shit! Bakit? Ewan…nahihiya nako kay Teresita at saka sa’yo eh!…Rex huwag mong sabihin yan, naiintindihan mo ba ako? I need your presence more than anything else. Sabi nila liberated woman raw ako, front lang, kalog raw, front din…alam mo namang kulang-kulang ako eh sinabi ko na sayo nun pa…ninenerbiyos ako kapag hindi kita kasama eh, baka dapuan ako ng kung ano diyan, bery-bery, typoid fever! Pakiramdam ko safe lang ako kapag nariyan ka eh…pag wala ka,huh, nagwawala ako parang manok takbo ng takbo wala namang ulo!…Rex, anong gagawin mo?” – Sandra

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Basic Information: Directed, screenplay: Ishmael Bernal; Story: Jose Carreon; Cast: Vilma Santos, Nora Aunor, Christopher De Leon, Nick Romano , Ellen Esguerra, Zandro Zamora, Odette Khan, Charmie Benavidez, Ernie Zarate, Cris Vertido, Anton Juan, Sandy Andolong; Executive producer: Experidion Laxa; Original Music: The Vanishing Tribe; Cinematography: Sergio Lobo; Film Editing: Augusto Salvador; Production Design: Mel Chionglo; Sound: Teddy Ramos, Rolly Ruta

Plot Description: Botanist, Tere’s (Nora Aunor) long stable relationship with business executive Rex (Christopher Deleon) was shaken when Sandra (Vilma Santos) came into their lives. A pill popping liberal career minded, Sandra made Rex’s monotonous life colourful and exciting. He later realized that both women complete his existence. – RV

An unusual story of three people caught in the unexplainable intricacies of love and need. The five year old relationship of Rex and Tere is put to a test as Sandra, the kooky, talented and aggressive designer rocks the picture perfect and peaceful relationship. The solid and unruffled engagement cracks as Rex is immediately smitten by Sandra’s dynamic persona. The film features the superstar team-up of award winning artists Nora Aunor and Vilma Santos and the drama king, Christopher de Leon. – Database of Philippine Movies

Ang ‘Ikaw ang Akin’ ay tungkol sa isang paboritong paKsa sa ating puting-tabing: ang trianggulo ng pag-ibig. Si Rex (Christopher de Leon) ay batambatang tagapamahala ng isang pagawaan ng dyipni. Limang taon na silang magkatipan ni Tere (Nora Aunor), isang dalubhasa sa paghahalaman. Mapayapa at maayos ang kanilang pagsasama hanggang makilala ni Rex si Sandra (Vilma Santos), isang designer. Nagsimulang magkaroon ng sigalot ang pagsasama nina Rex at Tere. Hindi makapagpasiya si Rex kung sino ang pipilijn sa dalawa na kapwa naging matimbang sa kanya. Sa huli, nataios ni Rex na ang pag-ibig at pag-aangkin sa isang nilalang ay isang masalimuot na damdaming hindi nararapat sarilinin ng isang tao lamang. – Manunuri

Tagalog movie’s traditional love triangle is told in a sophisticated, unconventional way. Stars three of the country’s younger superstars – Christopher de Leon torn between a quiet, conservative type played by Nora Aunor, and a contemporary “free spirit”, Vilma Santos. Excellent performances by the three principal players with fine support by Ernie Zarate, Ellen Esguerra, and Rene Requiestas. Earned the critics Urian nominations for best actress (Aunor and Santos), supporting actor (Zarate), screenplay (Jose N. Carreon), cinematorgraphy, editing, sound, direction and best picture. Urian awardees for best actor (De Leon), production design (Mel Chionglo) and musical score (Vanishing Tribe). Directed by Ishmael Bernal for Tagalog Ilang-Ilang. – Trigon Video

Film Achievement: 1978 Gawad URIAN Best Actor – Christopher De Leon; 1978 Gawad URIAN Best Music – “The Vanishing Tribe”; 1978 Gawad URIAN Best Production Design – Mel Chionglo; 1978 Gawad URIAN Nomination Best Actress – Vilma Santos; 1978 Gawad URIAN Nomination Best Actress – Nora Aunor; 1978 Gawad URIAN Nomination Best Cinematography – Sergio Lobo; 1978 Gawad URIAN Nomination Best Director – Ishmael Bernal; 1978 Gawad URIAN Nomination Best Editing – Augusto Salvador; 1978 Gawad URIAN Nomination Best Picture; 1978 Gawad URIAN Nomination Best Screenplay – Jose Carreon; 1978 Gawad URIAN Nomination Best Supporting Actor – Ernie Zarate

Film Reviews: “…After 37 years, Ikaw Ay Akin becomes a materialist indictment of the patriarchal deceit cisgender passion must contend with, opening up the queerness that emerges from feminine confidence as zone of alternative feelings. And, of course, Nora still punctures the assault with an imperturbable will to punctuate the sentence, despite the adages of her time failing to utter competitive affection, convincing Vilma that the encounter isn’t just about female rivalry, but also masculine decadence…” – J. Pilapil Jacobo, Young Critics Circle Film Desk, 21 November 2015 (READ MORE)

“Ikaw ay Akin” is the latest addition to Ishmael Bernal’s continuing attempt to portray how people and relationships are at once simple and complex. It is also the most engaging local movie shown this year, once again proving that the marriage of commerce and art can be remarkably fruitful. Those who expect the film to be one of those triangles of the “Sapagkat Kami’y Tao Lamang” variety will be disappointed. Made with taste and finesse uncommon in Pilipino movies. “Ikaw” surveys the interactions of three people caught in the unexplainable intricacies of need and love.

Rex, the young executive of a jeepney-producing firm, has been going steady with Tere, a demure orchid expert, for five years. Theirs is the kind of self-satisfied relationship that results from along, unruffled engagement. That is until he meets Sandra. An artist-designer, Sandra is kooky, talkative, aggressive career girl who is also neurotic, chain-smoking, tranquilizer-gulping, phobia-laden product of a broken family. Rex is immediately attracted to Sandra’s seemingly boundless energy. Compared to her, Tere is a calm, reserved, efficient, level-headed woman who looks totally in control of herself.

The “menage-a-trois” is then sensitively laid out for viewers to look into the hurts and joys, hesitations and decisions, delights and agonies of each character. At film’s end nothing is really resolved. Most loyal viewers will be revolted by this ambiguity. To get their money’s worth, they feel they must be sure “kung kanino talaga napunta si Christopher, kay Nora ba o Vilma?” But Bernal is not so much concerned with fulfilling audience expectations than with putting across his message: that no one can totally, absolutely, fully own another human being. The best thing is to understand the needs of a person and love him according to his limitations. This is evident in the lines of Rex, whose character we completely grasp only as the film nears its conclusion. Rex tells Tere: “Kailangan ako ni Sandra hindi lamang sa pisikal kundi sa emosyonal din. Tulad ng pangangailangan ko sa iyo. Sa kanya, parang nagkaroon ako ng gamit. Kailangan ko kayong dalawa para mabuo ako.” To Sandra, he says later: “Si Tere, tinaggap nang hindi niya ako maaangkin nang buong-buo. Kung sasabihin mong nakuha mo nang buong-buo ang isang bagay, kulang pa rin.”

Unlike other superstar team-ups that fail to exploit the golden opportunity of pulling in sure audiences to watch a serious work, Bernal’s greatest achievement lies not so much in putting his three big stars together but in making use of them to lure their fans and followers intos eeing a mature, sensible film. And his cast serves Bernal very well. In the hands of a capable director, Christopher de Leon proves that his forgettable appearance in such odious films as “Topo-Topo Barega” and “Disco Fever” are mere lapses in judgment that do not entirely discredit his craft. He also shows enough gallantry by not getting into the way of his leading ladies, whose roles are undoubtedly more demanding than his. As the uptight Sandra, Vilma Santos has the script’s choicest, wittiest lines. She makes the most of them and succeeds in giving a fairly accurate portrait of an emotionally insecure young woman. And when she tells Rex: “sabi nila liberated ako, front lang. Kalog daw, front din. Alam mo namang kulang-kulang ako. Pag wala ka, magkakalat ako. Para akong manok, takbo ng takbo wala namang ulo.” She likewise handles her final breakdown exceedingly well. Nora has less lines but she nevertheless manages to conveys her emotions very effectively. In that family reunion-party which is so engrossed in gossip and banter, she remains so detached, speaking nary a word — a triumph for both Bernal and her. The hurt in her eyes continues to build up until that disrupted dinner scene where she rushes to her room and, unable to contain herself, finally cries. The most stable of the three, you could really believe her when she tells Rex: “Galit ako sa ‘king sarili, dahil sinasaktan mo na ako nang todo-todo pero lalo ka namang napapamahal sa akin.”

The film is greatly enhanced by Jose Carreon’s vibrant script, Mel Chionglo’s superb production design, the Vanishing Tribe’s fine musical score, and Augusto Salvador’s brisk editing (few scenes last longer than a couple of minutes). But the lion’s share of credit goes to Bernal. I particularly like his splendid use of meaningful pauses and oppressive silences, as in Sandra and Tere’s accidental first meeting at Rex’s house, Sandra’s soundless dinner with her father that leads to her breakdown, and the long, quiet ending scene where Sandra and Tere never say a word and yet succeed in finally communicating with each other. Our viewers are discomfited by this exhausting process, what with the underdeveloped tastes of our mass audience perpetuated by irresponsible irectors. But one fervently hopes for Bernal, who apparently believes he owes the audience his best even if they are more likely to love his third best more, that they would get the film’s message and, perhaps, even accept and like it. – Mario E. Bautista, Philippine Daily Express, 1978

“…Mas challenging ang role ni Ate Vi rito kumpara kay nora…mas magaganda ang mga dialogues ni Ate Vi na nakakatuwa at magaling ang pagkakadeliver niya ng mga linya. Sexy siya ha at magaganda ang mga damit na ginamit niya rito. Maigsi ang buhok na medyo curly. Bagay na bagay sa kanya. Komento ko lang ay medyo matinis pa ang boses ni Ate Vi rito…Ok din naman si Nora dito kaso nga gaya nga sabi ko, mas malaman ang role na napunta sa kanyang kumareng Vilma. Asiwa rin ako sa wig niya…teka naka wig nga ba siya rito na mahabang makapal? Di ko lang type ang pag-iyak ni nora…ewan ko ha pero wag naman sanang magagalit ang mga Noranians, medyo napapangitan talaga akong umiyak si Nora kahit noong bata pa ako. Pangit na pangit ako sa pag-iyak niya. Parang pinipilit niyang mag emote. Di rin ako sanay na nakikipaghalikan si Nora sa mga movies, sabagay bibihira naman talaga makipaghalikan si Nora sa mga screen partner niya at usually naman si Boyet ang kahalikan niya pero noong pinapanood ko ang halikan scene nila Nora at Boyet, parang naaasi-wa ako. Ewan ko ba…parang nakakadiring tignan ewan…upps, komento ko lang iyan ha…sa sine parang sa tingin ko ay di sabay ito kinunan sa tingin ko lang ay di sila magkaeksena rito bagamat pareho silang nasa sinehan. b) bahay scene – ang ikli ng pagsasama nilang dalawa rito na parang pinasabik ang mga manonood kung may iringan ba or acting sa acting ang magaganap, pero walang naganap na ganun! c) No Dialogue Scene – Grabe!! Ang galing ng eksenang ito. First time kong makanood ng ganitong ending…walang salitaan, sagutan, walang murahan, walang away, wala as in wala except labanan ng facial expression, eye acting ika nga. Kainis lang ang director na ito kasi pinaglaruan lamang ang imahinasyon ng mga manonood at ng mga Vilmanians-Noranians!!! huh… Mas gusto ko pa rin na marami sana silang eksena na magkasama…sayang!…” – Dream Forest, V magazine Nos. 7 2006

“…Makikita sa Ikaw Ay Akin ang dalawang magkaibang estilo ng pagganap na ipinamalas nina Nora at Vilma at kapwa akmang-akma ito sa buong katauhan ng mga karakter na kanilang ginampanan. Sino ang mas mahusay sa kanilang dalawa? Kani-kaniyang opinyon, depende sa mga nakapanood ng pelikula. Maraming nagsabing mas pinaboran daw ni Bernal si Vilma sa dahilang mas maramin itong mabibigat na eksena kaysa kay Nora, ngunit paano makakalimutan ang huling tagpo sa Ikaw Ay Akin kung saan mahabang katahimikan ang naging daan upang higit na magkaintindihan sina Tere at Sandra tungkol sa kanilang pag-ibig kay Rex. Kung totoong mas pinaboran ng direktor si Vilma ay nakabawi naman ito ng husto kay Nora pagdating sa nabanggit na eksena. Kakaiba din ang husay na ipinamalas ni Christopher de Leon, maaring alam niyang ang Ikaw Ay Akin ay pelikula ng dalawang malalaking aktres kung kaya tama lamang ang bigat ng pagganap na ipinamalas ng aktor sa papel ni Rex. Napagwagihan ni Christopher ang Pinakamahusay Na Pangunahing aktor mula sa Manunuri Ng Pelikulang Pilipino nang sumunod na taon samantalang kapwa nakatanggap ng nominasyon bilang Pinakamahusay Na Pangunahing Aktres sina Nora at Vilma sa Ikaw Ay Akin ngunit kapawa sila natalo ni Beth Bautista para sa kanyang mahusay na pagganap sa Hindi Sa Iyo Ang Mundo, Baby Porcuna. Hindi matatawaran ang tagumpay ng mga manlilikhang bumuo sa Ikaw Ay Akin na nagtaas ng kalidad ng dramatikong pelikulang Pilipino, nagturong umintindi ng husto sa damadamin ng mga taong tunay na nagmamahalan.” – Jojo Devera, Sari-saring Sineng Pinoy (READ MORE)

“…“Ikaw Ay Akin,” 1978, Ishmael Bernal. A refreshing change of role for the superstar, cast here as a smart and sophisticated horticulturist at odds with best friend and real-life rival Vilma Santos. Notable for its experimental and long closing shot of the two friends’ reunion, with only their eyes talking…” – Mario A. Hernando, Philippine Daily Inquirer, 01 October 2011 (READ MORE)

Silent Confrontation – “…The movie brings together fierce cinema rivals Aunor and Vilma Santos as well as Aunor’s then-husband, Christopher de Leon. Skydiving enthusiast Rex (De Leon) and horticulturist Tere (Aunor) are in a stable relationship until the arrival of Sandra (Santos), a liberal-minded artist. Rex embarks on an affair with her, then becomes overcome with guilt when Tere discovers the relationship. Ikaw ay Akin is best known for the “silent” confrontation scene between Aunor and Santos, where neither speak a single line and communicate by just staring at each other…” – Coconuts Manila, 27 July 2018 (READ MORE)

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Filmography: Relasyon (1982)

“Ang hirap dito sa relasyon natin, puro ikaw ang nasusunod, kung saan tayo pupunta, kung anong oras tayo aalis, kung anong kakainin natin, kung anong isusuot ko sa lahat ng oras, ako naman sunod ng sunod parang torpeng tango ng tango yes master yes master!” – Maria Lourdes Castaneda

“Ano ba ako rito istatwa? Eh dinadaan daanan mo na lang ako ah, hindi mo na ako kinakausap hindi mo na ako binabati hindi mo na ako hinahalikan ah…namputsang buhay ‘to. Ako ba may nagawa akong kasalanan hah? Dahil ang alam ko sa relationship, give and take. Pero etong atin, iba eh! Ako give ng give ikaw take ng take! Ilang taon na ba tayong nagsasama? Oo, binigyan mo nga ako ng singsing nuong umpisa natin, pero pagkatapos nuon ano? Wala na! Ni-siopao hindi mo ako binigyan eh dumating ka sa bahay na ito ni butong pakwan hindi mo ako napasalubungan sa akin eh kaya kung tiisin lahat pero sobra na eh…hindi naman malaki hinihingi ko sayo eh konti lang… alam ko kerida lang ako…pero pahingi naman ng konting pagmamahal…kung ayaw mo ng pagmamahal, atleast konsiderasyon man lang. Kung di mo kayang mahalin bilang isang tunay na asawa, de mahalin mo ako bilang isang kaibigan, Kung ayaw mo pa rin nun bigyan mo na lang ako ng respeto bilang isang tao hindi yung dadaan daanan mo lang sa harapan na para kang walang nakikita!” – Maria Lourdes Castaneda

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Basic Information: Directed: Ishmael Bernal; Story: Ricardo Lee; Screenplay: Ricardo Lee, Raquel Villavicencion, Ishmael Bernal; Cast: Vilma Santos, Christopher De Leon, Jimi Melendez, Ernie Zarate, Lucy Quinto, Manny Castañeda, Beth Mondragon, Bing Fabregas, Olive Madridejos, Augusto Victa, Dante Castro, Tony Angeles, Thaemar Achacoso; Executive producer: Lily Monteverde; Original Music: Winston Raval; Cinematography: Sergio Lobo; Film Editing: Augusto Salvador; Production Design: Benjie De Guzman; Art Direction: Dennis Cid; Sound: Vic Macamay; Theme Songs: “Relasyon” performed by Eva Eugenio

Plot Description: A young woman falls in love with a married man, and they eventually try to live together — may be tame for Western audiences, but director Ishmael Bernal made this film for the Philippines, where divorce is forbidden at this time. Marilou (Vilma Sanders works as a guide in a Planetarium and has an on-going affair with Emil (Christopher de Leon) that neither her family nor friends can condone — Emil is married and has two sons. But when his wife leaves him, Emil and Marilou move in together, and that is when the problems start. She tries to make everything work out perfectly, and Emil, in turn, shows an arrogance that was quite hidden before. Given society’s disapproval of their arrangement in the bargain, their future together hardly seems bright. Ishmael Bernal was one of the most prolific directors in Philippine film history, he died in 1996 after making more than 50 films. – Eleanor Mannikka, All Movie Guide web-site

Emil, a young executive, and his mistress Marilou, a planetarium guide, decide to be live-in partners. In the process, they discover each other’s failing, which result in the strain in their relationship, bringing about their temporary separation. When they finally decide to resume their relationship, under a set-up wherein the man devides his time between his family and mistress, he dies frpm an attack of cerebral aneurysm. The woman decides to start a new life abroad, finding strength in the Jove of her departed lover. – Manunuri web-site

He sees nothing wrong in having a wife and a mistress. She would do anything to make him happy, including putting up with his idiosyncrasies, babysitting his child, and finding loopholes in the law so she could be with him. The characters are so familiar and so realistic that you might see yourself. Vilma Santos and Christopher de Leon star in this very touching story about two people who truly love each other but are trapped by the circumstances. Relasyon is another fine motion picture from director Ishmael Bernal. – Regal Films web-site

“…The story of an adulterous affair, and its implications for the families involved…” – British Film Institute (READ MORE)

Film Achievement: 1982 FAMAS Best Actress – Vilma Santos; 1982 Gawad URIAN Best Actress – Vilma Santos; 1982 Film Academy of the Philipiines Best Actress – Vilma Santos; 1982 Catholic Mass Media Awards Best Actress – Vilma Santos; 1982 The very first “Grand Slam” for Best Actress in Philippine Entertainment history; 1982 RPN Channer 9’s Let’s Talk Movies Awards Best Actress for body of Works – Vilma Santos for Relasyon, Sinasamba Kita, T-Bird At Ako, Never Ever Say Goodbye, Gaano Kadalas Ang Minsan? and Haplos; 1982 FAMAS Nomination Best Actor – Christopher De Leon; 1982 Gawad Urian Nomination Best Direction – Ishmael Bernal; 1982 Gawad Urian Nomination Best Picture; 1982 Gawad Urian Nomination Best Screenplay – Ricardo Lee, Raquel Villavicencio, Ishmael Bernal

Official Selection – 1983 Manila International Film Festival: Restrospective Festival “Focus on the Philippines”; 25 Filipino films shown at Lincoln Center – “In celebration of the 100th year of Philippine Independence, the Film Society of Lincoln Center, in partnership with the Philippine Centennial Commission, the Cultural Center of the Philippines, IFFCOM, the Philippine Information Agency, the Consulate General of the Philippines in New York and the Philippine Centennial Coordinating Council – Northeast USA, presented a series of Filipino films at the Walter Reade Theater of the Lincoln Center. Slated July 31 through August 20, and with a line-up of about 25 films, the series was the most extensive Filipino film retrospective ever to take place in the United States. All prints are subtitled in English. By including old classics as well as contemporary films, the three-week festival brought the country’s centennial commemoration into sharper historical focus. It also featured some of the best works by acclaimed director Lino Brocka, and concluded with the award-winning short films and videos of young, upcoming Filipino and Filipino-American filmmakers. The members of the film selection committee were Richard Peña (Program Director of the Film Society of Lincoln Center), Domingo Hornilla, Jr., Vincent “Ting” Nebrida, and Agustin “Hammy” Sotto. Some of the titles shown in the festival were: In the Classics Category…two films by Mike De Leon: Sister Stella L. starring Vilma Santos and Batch ’81 starring Mark Gil; and three works by Ishmael Bernal namely Nunal sa Tubig (A Speck in the Water) starring Daria Ramirez, Aliw starring Suzette Ranillo and Relasyon starring Vilma Santos…Among Brocka’s films being spotlighted were Maynila sa Mga Kuko ng Liwanag, Insiang, Tinimbang Ka Nguni’t Kulang (You Were Weighed But Was Found Wanting) and Ina, Kapatid, Anak (Mother, Sister, Daughter)…” – Seapavaa Bulletin (READ MORE)

Film Reviews: “…The notion of the martir resurfaces in Relasyon (1982), a stellar example of a mistress movie with genuine depth. It portrays Marilou (Vilma Santos) as not just a mistress, but also a servant for the chauvinistic Emil (Christopher De Leon). There is a poignant scene in the aforementioned: in spite of catering to her lover’s every need, she is still left alone in the house on Christmas Eve, because he really isn’t hers to begin with. Santos’ brilliant, appropriately emotive acting in the movie gave the star her big break. Filipino Department faculty member Jayson Jacobo, PhD expounds on Santos’ role in Philippine media. “[Her] middle period presents us a social sphere of material conditions which articulate the context of amorous situations that persuade a woman to enter and exit a relasyon.” Jacobo finds that more recent mistress films are devoid of the dramatic sophistication that these older films presented. He points out their key faults, saying, “These films of late are too concerned with the calisthenics of sexual encounter, the scandalous confrontation, the fashionable hysteria, the publicity of neurosis and the contrivance of normative resolution…” – Rissa A. Coronel, Katipunan The Guidon Magazine, 30 January 2013 (READ MORE)

Finally in Ishmael Bernal’s Relasyon, we have a film made explicitly for adults. There is no explicit sex sequence (adults don’t really go for that sort of thing, only adolescent boys do). But the psychological problems faced by the film are comprehensible only to adults, those who know what it means to live with someone one loves (or, at least, used to love). This film is, thus, not entertaining in the usual prurient sense, but in a deeper, psychological, intellectual sense.

There are basically two themes that this film tackles: sex roles and divorce. – Vilma Santos represents womanhood in the film: Christopher de Leon represents manhood. The Filipina woman is commonly thought of as a martir or long-suffering masochist. Santos portrays a mistress who is an out-and-out martir. She serves De Leon hand and foot, ministering to his every need, including fetching beer for him, washing his clothes, serving as his shoulder to cry on, even baby-sitting his child. In return, all she gets from De Leon is chauvinistic love, void of tenderness, full of immature aggressiveness.

De Leon represents chauvinist maleness. He portrays a character who is totally insensitive to his woman’s needs. He wants the house done exactly to his own taste. He expects his woman to be there when he needs her, but does not even think that he should be there when she wants him. He finds nothing wrong with having a wife and a mistress at the same time. On the other hand, he sees everything wrong with Santos entertaining suitor Jimi Melendez in the house. He’s even jealous of Manny Castaneda, Santos’ gay acquaintance. In short, he is selfishness personified.

The trouble with sex roles in our society, the film argues, is that they are widely accepted without question. Men are suposed to have mistresses, and women are supposed to be faithful. Men are supposed to make the decisions (about where to live, what job to get, when to dine out), and women are supposed merely to follow. The Philippines may justifiably boast that, in politics, women are almost as powerful as men, but it is undeniable that in every other field including the home, it is the men who are the masters and the women who are the slaves.

The other theme tackled by the film is that of divorce. Again and again, the characters discuss the lack of divorce in the Philippines. If De Leon could only annul his marriage, if he could only divorce his wife, if he could only get to Las Vegas and marry Santos there… Such possibilities remain mere possibilities, because Philippine law, unfortunately, still does not allow for divorce. In the film, it is made clear that the marriage of De Leon and his wife is totally beyond repair. With De Leon, being the male chauvinist pig that he is, and with his wife, being the non-entity that she is, there is no hope for the loveless couple. On the other hand, Santos and De Leon clearly love each other, clearly deserve chance to be man and wife, clearly should be helped (not damned) by society. It is an implicit case for divorce, made even more convincing by the fact that the characters are so familiar, so realistic.

Technically, the film does not rank high in Ishmael Bernal’s canon of films. The production design, presumably middle class, raises questions (especially about the fact that Santos can withdraw a thousand pesos from a bank at a moment’s notice:lower middle class persons do not have that kind of instant money.) The music is undistinguished, and the cinematography sometimes places the actors in shadows. There is one technical achievement worth watching for: De Leon’s death scene, covering more than one minute, is taken with one continuous shot (no cuts). Otherwise, the editing is spotty, especially with one sequence completely out of its proper place (before Santos says in one sequence that they have been together only for eight months, a sequence is shown in which she asks De Leon how many years they have been together, even allowing for hyperbole, that is too much of an exaggeration). Santos’ acting is adequate and extraordinary. De Leon gives another of his solid performances, though he could have worked harder to show how inconsiderate his character is. The supporting cast do not stand out; since two of them are supposed to be mistresses themselves, and the third loses much of her credibility when she starts lecturing on man’s selfishness. – Isagani Cruz, Parade magazine, July 21, 1982

Thee film has unblushingly spoken for the Filipino urban society and its increasing acceptance of adultery as a social habit. It could have been a repetitious tale of a man with two women. But the writers have interestingly conducted the story through the precarious steps of a young, single, beautiful and supposedly decent girl. Marilou (Vilma Santos) has fallen helplessly in love with Emil (Christopher de Leon), a married man. When Emil’s wife decides to leave for Mindanao because she couldn’t stand him anymore, Marilou then decides for them to live together. Overjoyed with the prospect, she presses on to keep their relationship thrilling, warmer and stronger. But her efforts over the months only depresses her as she sees Emil gradually locking himself into a door she couldn’t enter. The mutual delights she had previously imbibed had soured into irritating silence and alienation. Her mounting disillusion flares up into throwing a couple of dishes. She opts for a separation only to yearn for him again. They go back to each other. She becomes pregnant. Suddenly, Emil suffers an attack and dies in her arms. Marilou whirls in grief for a time but bounces back to being “single”, attractive but perhaps no longer “decent”.

The writers have fed significance into the conversations by filling them with popular ideas on marriage and relationships, engaging the viewers to respond with their own beliefs. There is irony though in the confessions of Emil and Marilou – in happier times – that each had been a better person upon being loved by the other. But their life together contradicted that statement. Her selfishness is revealed. “Ikaw lang ang iniintindi mo” he says and it uncovered his insensitivity. “Ako rin, may ego”, She replies. Vilma Santos confidently showed she felt the character she was portraying. Her depiction of feelings and emotions easily involve the viewers to share in her conflicts and joys. In this film, she has peeled-off apprehensions in her acting. Christopher de Leon has also been supportive in emphasizing the characterization of Marilou. He suitably complements Vilma’s acting. The director, Ishmael Bernal, displays his flair for taking scenes of Vilma putting on make-up. Unwittingly, he has suggested that whatever make-up is put on over adultery, it is still adultery. – Lawrence delos Trinos, Star Monthly Magazine, July 1982

Isang mayamang karanasan ang panonood ng pelikula ni Ishmael Bernal. Kahit ikaw ay isang masugid na estudyante ng sining ng pelikula o isang karaniwang tagahanga lamang. Sinasabing ang pelikula ay salamin ng tunay na buhay. Ang mga pelikula ni Bernal ay malilinaw na salamin. Buhay na buhay ang mga tauhan, ang istorya ay pamilyar sa atin at ang leksiyong itinuturo ay simple lang pero hindi direktang isinisermon sa manonood. Ang mga pelikula ni Bernal ay realistikong drama ng buhay. Tulad nitong “Relasyon” na ang mga bida ay sina Vilma Santos, Christopher de Leon at Jimi Melendez. Ito’y mula sa istorya at dulang pampelikula nina Ricky Lee, Ishamel Bernal at Raquel Villavicencio. Pang araw-araw ang drama ng “Relasyon”. Marahil mas komersiyal na titulo nito ang Kerida o kaya’y No. 2. Pero sa aming palagay ay mas makabuluhan ang pamagat na Relasyon dahil higit na malalim ang sinasakop nitong kahulugan. Simple lang ang istorya nito. Dalaga si Marilou (Vilma Santos). Liberated ang orientasyon. Nagtratrabaho sa Planetarium. May-asawa si Emil (Christopher de Leon). May isang anak na lalaki. Nagtratrabaho hanggang hapon, nagtuturo sa gabi. (Hindi tiniyak sa pelikula kung ano ang trabaho ni Christopher at kung ano ang kanyang itinuturo sa gabi.)

Hindi maayos ang takbo ng buhay nilang mag-asawa. Kaya nga bumaling si Emil kay Marilou na pinili ang may-asawa kaysa sa biyudong si Jun-jun (Jimi Melendez) na wala namang matatag na hanapbuhay. Sa simula’y patagpu-tagpo lang sa mga hotel sina Marilou at Emil pero higit na naging kumplikado ang kanilang buhay nang ipasiya nilang kumuha ng isang permanenteng bahay. Dito nagsimula ang kanilang tunay na relasyon. Sa umpisa’y para silang mga bagong kasal pero nang tumagal na, dahil kailangang magtrabaho nag husto si Emil upang masuportahan ang dalawang pamilya, ay naging parang mag-asawa na sila. Nang maging parang “misis” na siya ay doon nagkaproblema si Marilou. Sa paningin ni Emil ay naging mapaghanap ang babae at tinatangkang baguhin siya. Hindi nakatagal si Marilou sa isang relasyong “taken for granted” na siya. Naghiwalay ang dalawa. Bumalik ang asawa ni Emil. Pero dahil tunay na minamahal ni Marilou si Emil ay ipinasya na niyang maging kerida kaysa ganap na mawala ito sa kanyang buhay. Pero hindi lumigayang habang buhay si Marilou. Namatay si Emil at ang kanyang bangkay ay inangkin ng tunay niyang misis. Ipinasiya ni Marilou na humanap ng bagong buhay sa Amerika.

Makatotohanan ang akting sa pelikulang ito. Hindi sila caricature. Sila’y mga karakter na marahil ay mga kapitbahay natin. Muli na namang ipinamalas ni Bernal ang kanyang kakayahan sa pagpapagalaw ng mga artista. Hindi lang akting ang mapapanood mo. Ang nakikita mo ay ang tunay na takbo ng buhay. Nananatili si Christopher bilang isa sa iilan nating mahuhusay na kabataang actor. Makakalimutan mo na siya si Cris at ikaw ay ganap na mabibihag ng karakter na kanyang binubuhay sa aninong gumagalaw. Marahil, higit pa nating mauunawaan sana ang karakter na ginagampanan ni Chris kung nalaman natin kung ano ang kanyang propesyon at nagkaroon pa tayo ng ilang background ng kanyang buhay. Hindi tulad ni Vi na medyo kumpleto ang background. Kaisa-isa siyang anak. Edukada at masasabing liberated o mayroong malayang kaisipan. Sa pamamagitan ng konserbatibong ama ni Vi ay masusuri natin ang kanyang pamilya at kung paano niya haharapin ang mga situwasyon sa buhay. Sinasabi ng mga drumbeater ni Vi na ang kanyang role sa pelikulang ito ay pang-award, pang-FAMAS, pang-URIAN o pang-Film Academy Award kung matutuloy ito. Hindi kami tumututol sa kanilang palagay laluna’t napanood namin ang pelikulang ito. Masuwerte si Vi at sa ganitong maselang role ay dinirek siya ng isang katulad ni Bernal. Tulad nang binigyang diin namin sa unang bahagi, ang mga pelikula ni Bernal, ang “Pagdating sa Dulo”, “Nunal sa Tubig”, “Mister mo, Lover Boy ko” at “City after Dark” ay mga malinaw at makatotohang salamin ng buhay. Kaya sa “Relasyon” ay natural lamang na makakita tayo ng mga sitwasyong tila aktuwal na kinuha sa tunay na buhay at inilipat nang buong-buo sa puting tabing : Ang eksena sa kainan ng mga lovers na sina Vi at Cris; ang pagtratrabaho sa bahay ni Vi; ang usapan ni Vi at ng kanyang mga barkada; ang pagkabagot ni Vi samantalang gusto ng matulog ni Chris at iba pang eksena na karaniwan na sa tunay na mag-asawa.

Napakadramatiko ang pagkompronta ni Vi kay Chris sa direksyon ng kanilang relasyon. Higit sa lahat, sa pamamagitan ng huling eksena, ang pagsasara ni Vi sa pinto ng kanilang bahay, ang pugad ng kanilang “relasyon”, inihayag ni Bernal na ang ganitong relasyon ay may hindi maiiwasang magwakas tulad ng sa tunay na buhay. Maaaring kamatayan o isang panibagong relasyon. Kung ang isang lalaki ay may-asawa, at mayroon na siyang relasyon o nagbabalak pa lang magkaroon ng relasyon sa ibang babae, dapat niya itong panoorin ng dalawang beses. Una, kasama ang kanyang misis at ikalawa, kasama angkanyang no. 2 o magiging ka-relasyon. Sa mga babaing katulad ni Vi sa pelikulang ito, mabuting panoorin ninyo nang nag-iisa ang pelikulang ito upang higit na maunawaan ninyo ang inyong relasyon o magiging relasyon. – Mando Plaridel, Star Monthly Magazine July 10, 1982

Dalawang magagandang pelikula ang sabay na itinatanghal ngayon. Ito’y ang “Relasyon” ni Ishmael Bernal at “Hubad na Gubat” ng baguhang si Lito Tiongson. Sa taong ito, tatlo pa lamang ang talagang namumukod tangi para sa amin. Ang “Ito Ba Ang Ating Mga Anak” ni Bernal, “In This Corner” ni Brocka at ngayon nga’y ang “Relasyon” ni Bernal na naman. Napakahusay ni Vilma Santos sa papel ng pangunahing tauhan, isang dalagang umibig sa isang may asawa. It’s one hell of a role and a heaven of a performance. Kasama si Vilma sa lahat ng eksena sa pelikula at talagang ito na ang pinakamabigat na papel na napaatang sa mga balikat ng isang local actress mula ng gampanan ni Gina Alajar and lead role sa “Salome”. This time, sigurado nang mano-nominate si Vilma sa Urian (ito lamang ang award na hindi niya napapagwagihan) at malamang na ang maging pinakamahigpit niyang kalaban dito ay si Nora Aunor na very demanding din ang role sa “Himala” (na si Bernal din ang direktor). Ito’y kung matatapos ang ECP project na ito sa taong ito na sa palagay nami’y hindi kahit gusto ng ECP na isali ito sa filmfest sa Disyembre. Dinalirot ng “Relasyon” ang lahat ng mga anggulong maaaring suutan ng isang babaing nagiging kerida. Maraming madamdaming tagpo sa pelikula, lalo na ang death scene ni Christopher de Leon na tuhog ang pagkakakuha. Bagay na bagay kay Jimi Melendez ang papel niya bilang torpeng talisuyo ni Vilma. Hit na hit siya sa audience.

Hanggang ngayon ay patuloy na dumarag sa dito sa amin ang mga sulat na pumupuri sa acting ni Vilma Santos sa “Relasyon”. Sabi ni Nelda Santiago ng Arellano St., Marikina : “Napakagaling ni Vilma at kahit hindi pa ako nagiging kerida, para bang na identify ako sa kanya.” Sabi naman ni Hector Cruz ng 14 Malaya St., Q.C. : “Maraming nasasabi ang mga mata ni Vilma lalo sa mga eksenang wala siyang dialogue. Pati pilikmata niya ay umaarte. Dapat lang na magka award siya rito. Magaling din sina Jimi Melendez at Beth Mondragon.” Ayon naman kay H. Santillan III ng UP Village : Hindi kami fan ni Vilma pero kung ganito ng ganito ang performances niya, dapat siguro’y maging fan na nga niya kami. Tour de force ang acting niya at dapat ilagay sa textbook on acting. Hindi mapapantayan ang rapport nila ni Christopher de Leon.” May iba pang mga sulat pero hindi na namin masisipi sa kakulangan ng espasyo. – Mario E. Bautista, People’s Journal, July 1982

“…Sa kabuuan, mahusay ang pagsasalarawan ni Vilma Santos ng kanyang papel bilang Marilou ngunit hindi ito maihahanay sa ibang pelikula kung saan kinakitaan ang aktres ng kaibahan sa kanyang pagganap tulad ng ating nasaksihan sa Dalawang Pugad, Isang Ibon (1977) at Broken Marriage (1983). Samantalang ibayong talino naman ang ipinamalas ni Christopher de Leon bilang Emil. Naipahiwating lang sana ng maayos ang motibo ni Emil sa pakikisama nito kay Marilou. Hindi maitutulad ang aspetong teknikal ng Relasyon sa ibang obra ni Bernal. Ang disenyong pamproduksiyon ni Benjie de Guzman ay hindi kapani-paniwala. Ipinakitang mababa ang estado ng kabuhayan ni Marilou ngunit madalian siyang nakakuha ng isang libong piso sa bangko. Ang mga tulad nito ay karaniwang walang natatagong ganoong kalaking halaga. Halos hindi marining ang musika ni Winston Raval habang ang sinematograpiya ni Sergio Lobo ay kadalasang nababalot ng dilim. Makikita din ang pagkakamali ng editing ni Augusto Salvador. Sa isang tagpo ay ipinakitang walong buwan nang nagsasama sina Marilou at Emil at nang sumunod na mga eksena, tinanong nito si Emil kung ilang taon na silang magkasama. Ngunit sa kabila ng mga pagkukulang na ito, naging matagumpay pa rin si direktor Ishmael Bernal sa kanyang paglalahad ng isang pelikulang sumubok sa ating mga kaalaman at paniniwala.” – Jojo Devera, Sari-saring Sineng Pinoy (READ MORE)

“…For us, sinuman ang manalo kina Vilma Santos o Lorna Tolentino ay okey lang. Both Gina and Nora have won the Urian best actress awards twice. Gina for Brutal and Salome, Nora for Tatlong Taong Walang Diyos and Bona. Napakagaling ni Gina in portraying the role of the trying hard Kathy in Moral. Hindi biru-biro ang ganoong character na gagawin mong sympathetic dahil mas malamang na lumabas itong ridiculous lang kaysa nakakakuha ng simpatiya. But Gina succeeded in making her Kathy both ridiculous and sympathetic. As Elsa, Nora’s case is that of star and role merging into one, fitting into each other perfectly dahil alam nating ang karisma ni Guy sa kanyang fans ay siya ring karisma ni Elsa sa kanyang naging followers. Pero palagay namin, kung hindi magta-tie sina Lorna at Vilma, mananalo ng solo si Vilma Santos. Vi has never won the Urian. She should have gotten it in 1977 for Burlesk Queen but the trophy went to Daria Ramirez in Sinong Kasiping. Maraming acting highlights ang paper ni Vi bilang Marilou sa Relasyon. Sa confrontation scenes nila ni Boyet, superb siya roon sa tagpong sinusumbatan niya ito dahil ginagawa na lamang siyang tau-tauhan. Ang acting niya sa death scene ni Boyet na hindi malaman ang gagawin sa katarantahan is also awesome to behold…” – Mario E. Bautista, Movie Flash Magazine, 1983 (READ MORE)

“…On Relasyon. “I won my first grand slam with this movie. I shot this two months after I gave birth to Lucky. I was besieged with enormous financial problems. I owed the BIR, the banks. Thank you to Manay Ichu and Atty. Esperidion Laxa who guided me through this difficult phase in my life. My loans were re-structured. I produced five films which lost a lot of money. One was Pagputi ng Uwak, Pag-itim ng Tagak which we did in three years. Life was miserable. Hinarap ko lahat ang problema ko. Everything that I earned went straight to the banks to pay off my debts. And I paid all of them. Thank God. So when I was doing Relasyon, I was drawing a lot of emotions from the troubles, the pain I was experiencing. Yes, I will not also forget that tuhog scene I did with Boyet and his death scene. Ishmael Bernal our director was great. And Luis is really lucky…” – Boy Abunda, The Philippine Star, July 31, 2009 (READ MORE)

“…In the documentary, Santos admitted that working with Bernal brought out the best in her as an actress. “She made me do this scene in ‘Relasyon’ that was really tough as it was unpredictable. I think Bernal was the first director to risk putting the character of The Mistress as The Heroine. In the past, the roles of mistresses were mere punching bags of The Wives in many confrontation scenes in Filipino movies,” she added…” – Pablo A. Tariman, VERA Files (READ MORE)

“…On a final note, it’s rather unfair that when it comes to actors, Brocka always gets the authority to be called the actor’s director. Not to discredit Brocka of course but Bernal always exceeds Brocka in terms of directing comedies. And humor is only as hard as drama can get; and oftentimes even harder. Ilagan, Andolong, Ranillo, and Locsin may not be the best to portray their roles but their characters don’t need the best—they need believability more, and their youth exudes that, more than their acting chops. They grip on their dialogues so much that watching them is such a delight. There’s this anecdote told by Vilma Santos when she won her grandslam for Relasyon that she walked into Bernal’s shoot a little unmotivated and still high after her big win. She couldn’t get her acting right. And then Bernal said to her, “O, bakit parang lutang ka diyan? Porke’t naka-grand slam ka, feeling mo, magaling ka na?” That’s one-big-“OH”. And to think that Ate Vi was already a big star that time, and getting bigger and bigger thanks to her roles, it does not only give an impression of “katarayan” on Bernal’s part, but more of brilliance. Salawahan is one of the many proofs…” – Richard Bolisay, Lilok Pelikula (READ MORE)

Musical Scorer – “…The final set briefly harkened back to Raval’s work in the Philippines. When he wasn’t performing at clubs and on the concert stage in the 1970’s and 80’s, Raval composed film scores, most notably for the great filmmaker Ishmael Bernal. He gave his audience on Sunday a taste of that when he played the theme from “Relasyon,” the 1982 film by Bernal that starred Vilma Santos and Christopher de Leon and for which Santos won one of her many best actress awards. Adding an amusing touch to the numbers on Sunday were Raval’s stories of how they came to be and how he came up with the titles. But one song that gave Raval a hard time finding a name for was the first number in the final set—and that’s how he ended up calling it “What’s Your Name,” he said, to the guests’ amusement. “Just Another Standard” and “Rolling Hills, Layered Lives” (“I don’t know what that means,” Raval said cheekily of the song) rounded out the program…” – Lorenzo Paran III, Pinoy in America, Nov 24 2012 (READ MORE)

Querida – “…Patrocinio and Bernal’s own mother, Elena, could very well have been Ishmael’s inspiration for several classics of Philippine movies. In Relasyon, Vilma Santos played the querida who lived up to her name as the beloved, a lady of intellect and fine sensibility; the virtually separated Emil truly loved and preferred her to his legal wife. In Dalawang Pugad, Isang Ibon (Two Nest, One Bird), Bernal explored the male’s polygamous nature, and pitted him against gritty female characters. In these films, Bernal recast the querida different from the stereotype of a family wrecker toward a clear-headed case-by-case realist delineation of the common-law wife. In Relasyon, Bernal can arguably be shown as a champion of the querida as a Filipino director, in depicting Marilou as a principled martyr in a society that wrongfully extols man’s false claim to moral ascendancy. As would be evident in the film, Ishmael saw the injustice done to women in male-dominated society, as he also saw and questioned the morality and rationality of institutionalized but falsely monogamist families…” – Bayani Santos Jr., Manuel L. Quezon University, Bernal as Auteur: Primary Biographical Notes, 2012 (READ MORE)

Hypocritical Religious Piety – “…In Relasyon [The Affair], for example, Marilou, the querida (“common-law wife”) was the conceptual opposite of the stereotype in Philippin movies. She was a home-builder rather than a wrecker, a victim and not a victimizer. Such characterization may be subversive to the Catholicized society outside Bernal’s home, but most family members had always shared those views anyway, and what was queer to them was that “others”failed to see the issues as the family had seen them. Again, in many if his films, Bernal had comically depicted hypocritical religious piety…In Relasyon, Vilma Santos played the querida who lived up to her name as the beloved, a lady of intellect and fine sensibility; the virtually separated Emil truly loved and preferred her to his legal wife. In Dalawang Pugad, Isang Ibon [Two Nests, One Bird], Bernal explored the male’s polygamous nature, and pitted him against gritty female characters. In these films, Bernal recast the querida different from the stereotype of a family wrecker toward a clear-headed case-by-case realist delineation of the common-law wife. In Relasyon, Bernal can arguably be shown as a champion of the querida as a Filipino director, in depicting Marilou as a principled martyr in a society that wrongfully extols man’s false claim to moral ascendancy. As would be evident in the film, Ishmael saw the injustice done to women in male-dominated society, as he also saw and questioned the morality and rationality of institutionalized but falsely monogamist families…” – Bayani Santos, Jr., Kritika Kultura (READ MORE)

“…After years of this unfair competition, Vilma decided to stop playing the also-ran, and opted to essay the roles that Nora preferred not to do, -the other woman, rape victim, burlesque dancer, etc. Vilma’s sexy movies were more suggestive than anything else, but they gave her a new screen persona that made her a distinct movie entity from Nora. Fact is, Nora could also have played sensual characters, but she felt awkward doing so, and Vilma benefited from her reticence. In time, Vilma was also winning acting awards and starring in big hits, so the competition between her and Nora peaked…” – Nestor U. Torre, Philippine Daily Inquirer, 2002 (READ MORE)

“…In my Tuesday column, I listed the names of some of the past Best Actor winners in the Gawad Urian. Below are the Manunuri’s Best Actress winners in the last 25 years:…Nora Aunor is clearly a Manunuri favorite. Most industry members (including Vilma Santos) are aware a lot of Manunuri members are “Noranians.” The Manunuri members, of course, do not necessarily operate on fan mentality. In the acting categories, they choose the ones who really deliver the outstanding performances of the year. In this sense, we can also call Gina Alajar a Manunuri favorite…Vilma Santos, unlike Nora, Gina, Jaclyn and even Chanda Romero (during the Manunuri’s early years), was never known to be a Manunuri favorite. Ironically, she is the one with the most number of Urian acting trophies, seven in all (as of 2013, she has 8). In the ’70s, Vilma a perennial Urian nominee; but also a perennial loser. In 1982, however, she won her first Urian (for Relasyon) and there was no stopping her after that. On record, she is the only actress who has won three Urian acting trophies in a row. After Relasyon she won successively for Broken Marriage and Sister Stella L. Later, she won four more for the following films: Pahiram ng Isang Umaga (1989), Ipagpatawad Mo (1991), Dahil Mahal Kita, The Dolzura Cortez Story (1993) and Bata, Bata, Paano Ka Ginawa? (1998). Like rival, Nora Aunor, Vilma Santos was also declared Best Actress of the decade in the ’80s and ’90s…” – Butch Francisco, May 09, 2002 (READ MORE)

“…Wenn Deramas (Director; Ang Tanging Ina, Praybeyt Benjamin): “Si Vilma Santos ang buong pelikula, maaaring istorya or a day in the life lamang ito ng isang kabit, pero sa sobrang husay ng ibinigay ni Vilma, lumaki ang buong pelikula…” – SCL, “Greatest Pinoy Films Poll,” 07 May 2013, Pinoy films through Pinoy lenses, (READ MORE)

“… Reportedly Ms. Santos, buoyed by the many acting awards earned by the previous film, was so eager to do well in the new production that Bernal got irritated, locked her in a bathroom, and delivered to her an ultimatum: she was not coming out till she got over her ‘hysteria.’ One sees what made the latter so successful, the same time watching this one sees why Bernal didn’t want to simply duplicate that success. Relasyon was a lean and elegantly told melodrama that took a sidelong glance at the institution of Filipino marriage; in Broken Marriage Bernal wanted to examine the institution directly, without the oblique glances. He didn’t want to film some doomed struggle to keep love alive but something less dramatic, far more difficult to capture: the aftermath of a protracted war, where the ultimate casualty is married love. He in effect didn’t want Ms. Santos at her perkiest and most energetic–he wanted her exhausted, looking for a way out, and to her credit Ms. Santos delivers exactly this with her performance…” – Noel Vera, Critique After Dark, 08 April 2012 (READ MORE)

“…Relasyon remains in the Philippines, on the ground of facts. But the film does not end with social criticism. Behind the well-meaning film problem hiding an everyday epic of real existing love, so how and if it is to have in the wrong world. Sometimes this gets epic train of the film with its stated educational content in conflict. Marilou suggests that the advice of the well-informed uncle in the wind, of course, is unreasonable. But it is just their stubborn irrationality adverse circumstances over which so occupies us for it. Therein also lies the quiet, growing with each minute of film Would this really banal figure. At some point, it is sufficient Vilma Santos watch when make-ups – and the heart wants to rip one…” – Nicholas Perneczky, Critic.de, 10 Sep 2014 (READ THE TRANSLATION)

“…In Filipino melodramas, the heroines often lean on against a hostile environment. Some no less combative women have created a permanent place in the film industry of the country…Lino Brocka and Ishmael Bernal devoted themselves repeatedly with a strong social and political consciousness of the popular form of melodrama. More than Brocka himself Bernal frequently focused on strong female characters that need to manage their lives under unfavorable circumstances. In his films female stars in the spotlight, without the problems of everyday life would go by the board. With Vilma Santos in 1982 he turned Relasyon, wherein the main character wants to escape from a stifling marriage and not only emotionally, but also legally reaches its limits (a year later with Santos Bernal turned the thematically similar mounted Broken Marriage). Was produced Relasyon of Lily Monteverde , who plays an influential role in the Philippine film industry today. Already at the beginning of the 20th century there were in the studios and production companies in the country powerful women who ruled with a firm hand and were addressed by their subordinates even as mothers. “Mother Lily” made his mark as a hard nosed business woman, often more economic than artistic interests followed, understandably, not just friends. The young director Raya Martin let her in his short film Long Live Philippine Cinema! (2009) even to death to save the Philippine cinema…” – Michael Kienzl, Critic.de, 10 Sep 2014 (READ THE TRANSLATION)

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