FILM REVIEW: GING

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The Plot: A young Vilma Santos starred as Ging. A smart mouth street kid who have to beg for money to support her crippled mother. She was adopted by a deceitful couple who heard her sing in a restaurant. The couple made Ging into a singing sensation but abuse her, limiting her food intake and sleep to prevent her to grow. Ging eventually left them and surprisingly discovered her father. She reconciled with him and her crippled mother.

The Reviews: Ang sarap balikan ng mga pelikula ng the Premier Acress of the Land. Mga pelikulang may mga temang napapanahon kahit sabihin pang luma na ang mga ito. May tatak Vilma Santos. GING (1964) – all of 11 years, here is the newly-crowned FAMAS best child actress sa isa sa mga title roles niya bilang anak ng laos na artista (Olivia Cenizal) na nalumpo after she gave birth to Ging (Vilma). Ang ama ni Ging ay isang bit player na Mama’s boy, si Jose Padilla, Jr.(SLN) whose mother is the screen’s perennial conravida, Etang Discher (SLN), mother of the late Panchito. Padilla abandoned Ging and her mother on her mother’s wishes so he won’t be dropped from her “pamana” (will). Mother and daughter lived in a slum area. Their squalid lives are made bearable with the presence of a cantankerous neighbor Aruray and her son who was sired by a black G.I. named George. Aruray’s son is about Ging’s age. They practically were street urchins who beat the other kids in soliciting alms, thanks to Ging’s histrionics: she would fake syncope (play dead) and “kawawa” by relating her sad plight as an abandoned poor daughter with a paraplegic of a mother – through a song that would drive her audience at a restaurant to tears and pity – and would give her free food and money. The ploy works all the time. Little did Ging realize that an unscupulous couple, racketeers Ramon D’Salva and Carol Varga were observing her in a restaurant and saw in her a goldmine: they would adopt her and make them rich as her talent manager. Talk of child exploitation. Reluctant at first, Ging agrees to go with the evil couple provided she would go to shool and that they would send her alcoholic mother (bagay na bagay ito sa isang artista) to the hospital for treatment. Of course, the evil and scheming couple reneged on their promises. They exploited Ging by forcing her to work overtime and would starve her so she wouldn’t grow up and lose her audience. Luckily, she has a guardian angel in Georgie Quizon, Dolphy’s erthswhile brother who, along with Aruray provided comic relief, and who would protect Vilma from her exploiters. Young Vilma’s raw, innate talent surfaces most especially in her scenes where she vacllates or mulls in leaving her mother. Her final goodbye scene with her mother is heartbreaking, enough a motivation for a Vilma fan Nora Aunor in Iriga city to follow in her footsteps. “One day, I wanna be like Vilma, I will sing and make people cry. Love that “gripo” princess to death. Idol ko siya.” Shot in black and white and adapted from the comics to the screen by Mars Ravelo, the movie was directed by Cirio Santiago and Teodorico Santos. The movie is a must have for any true blue Vilmanian. Listang-lista at ang husay ni Vilma rito. Naroong kumanta siya (the voice over seemed like her singing voice), sumayaw at nagdrama. Luma si Madonna doon sa isang parang La Isla Bonita number niya. One memorable scene was when she was singing her signature song to the audience of her longing to see her mother and her father – the camera captures her pain and agony and the deep wound she suffers from her abusers – a poignant scene, complete with tears and and a well-internalized acting. Bravo! Karapat-dapat na U.P. Gawad Plaridel Awardee – maliit pa lang ang dyaske, ang husay talaga. Sa katunayan, some scenes from Ging were included in the audio-visual presentation at both the FAMAS Hall of Fame awards and the recent U.P. Gawad Plaridel coronation of the Summa Cum Laude of All Philippine Actors. Ang galing-galing mo talaga, Rosa Vilma Tuazon Santos-Recto! – Mario Garces, V magazine 2006

All Vilmanians and even those who just love watching old Tagalog movies must have been glued to their TV screens last Thursday afternoon when Channel 9’s “Premiere Pilipino Klasiks” aired “Ging”, Vilma Santos’ follow-up movie after she was introduced in Sampaguita Pictures’ “Trudis Liit.” Produced by Premiere Productions when Vilma was only 10 (circa 1963), “Ging” casts the now-Star for All Seasons (and Batangas Governor, too!) as a street child who is in charge of taking care of her invalid mother, played by Olivia Cenizal. In flashback fashion, we find out that Ms. Cenizal was once a big movie star who fell in love and married a young rich man (portrayed in the film by Jose Padilla, Jr.) Padilla’s aristocratic mother (Etang Discher), unfortunately, breaks up the union and the two lovers go their separate ways. Vilma, as Ging, was born shortly after. While begging for food scraps from customers at the restaurant of the Chinese Ponga (I doubt if today’s generation have any idea who he is or how he looks like), she is spotted by Ramon D’Salva and his wife, Carol Varga. The couple immediately express their wish to adopt her. Vilma was hesitant at first at the idea – until she was promised by D’Salva that she would be sent to school, and her mother, to the hospital for medical treatment. Once she is in the D’Salva home, the couple show their true colors. They exploit her by making her perform in vaudeville presentations. Although she is a hit and a top money maker, she is still badly treated by Varga. For one, she is not given proper nutrition to stunt her growth (child stars are supposed to be cute and small). Little Vilma rebels when she finds out that D’Salva does not fulfill his promise of sending her mother to the hospital for treatment. She runs away and in the process bumps into people related to her biological father. Padilla and Cenizal are reunited and the little heroine lives happily ever after with her parents. “Ging” was directed by Cirio Santiago and Teodorico Santos. Although it was made in the old-fashioned way of making films (the flashback scenes in particular), the material used here is timeless – especially since there are more street children in our midst now more than ever. As far as the showbiz scene is concerned, there are still a lot of heartless impresarios today exploiting young talents in the business. But what really made “Ging” a delight to watch was the performance of the very young Vilma Santos. Even at the early age, it was clear that she was already brimming with talent. Vilma, apparently, was born into this world to perform, entertain and make people happy. She was utterly convincing in the dramatic scenes and thoroughly graceful in her musical numbers. Listang-lista – as we’d say in the vernacular. Even then, she was already living up to her showbiz title of “Star for All Seasons” because her performance in “Ging” is not only brilliant, but timeless as well. – Butch Francisco, People’s Journal March 04 1999

RELATED READING:
Ging (film) From Wikipedia
Vilma Santos – The Child Star
Vilma Santos in Mars Ravelo’s “Ging” (1963): Komiks Serial and Movie Adaptation
The Quixotic Quizons of R.P. Movies

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Filmography: Because You’re Mine (1970)

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Basic Information: Directed: Leody M. Diaz; Story: Quntin DeGuia; Screenplay: Henry Cuno; Cast: Vilma Santos, Edgar Mortiz, Anita Linda, Sonny Cortez, Ben David, Metring David, Bobby Roldan, Scarlet, Levi Celerio, Cloyd Robinson, Ernie Vega, Wilhelmina Landicho, Etang Discher, Inday Jalandoni; Original Music: Danny Subido; Film poster: Video48

Plot Description: No Available Data

Film Achievement: No Available Data

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…” – AlfonsoValencia (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)

Filmography: Young Love (1970)

“I hate you…dirty…you’re dirty! I hate youuuu!…huwag n’yo nang mabangit-bangit ang pangalan nyan! Kinasusuklaman ko siya!..ngayon ko lang nakita ang kapangitan ng buhay ang akala ko masaya’t maganda na ang daigdig…” – Tere

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Basic Information: Directed: Tony Cayado; Story: German Moreno; Screenplay: Medy Tarnate; Cast: Vilma Santos, Nora Aunor, Tirso Cruz III, Edgar Mortiz, Ike Lozada, German Moreno, Raul Aragon, Bella Flores, Etang Discher, Tony Cayado, Evelyn Bonifacio, Tina Lapuz, Arlene Bautista, Angge; Executive producer: Jose Vera Perez; Original Music: Medy Tarnate; Cinematography: Felipe Santiago; Sound: Flaviano Villareal; Theme Songs: “Young Love” performed by Vilma Santos, Nora Aunor, Tirso Cruz III, Edgar Mortiz; Film poster: Video48

Plot Description: Both Nora Aunor and Tirso Cruz III joined a singing contest and won. With a support from friends, Vilma Santos and Edgar Mortiz they became lovers. – RV

Film Achievement: First film of Vilma Santos and Nora Aunor together.

Film Review: Taong 1970. Gumawa si Vilma Santos ng dalawamput isang pelikula na puro musicals. Isa lamang ang nagawa niyang drama (Sapagkat Sila’y Aming Mga Anak). Nakakapagtaka dahil hindi naman siya singer. Marahil ito ay dahil sa love team nila ni Edgar Mortiz at ito ang “trend” ng panahong ito. Pito-pito kung gumawa sila ng pelikula ng panahong iyon kung baga dalawang pelikula ang pinapalabas nila sa loob ng isang buwan. Isa na rito ang pelikula ng Sampaguita Pictures, ang “Young Love” na tinampukan ni Nora Aunor, Tirso Cruz III, Vilma Santos at Edgar Mortiz.

Mapupuna na ang pelikulang ito ay bida si Nora at Tirso at supporting lamang si Vilma at Edgar. Mula sa istorya ni German Moreno at screenplay ni Medy Tarnate ang “Young Love” ay puno ng nakakalokang sitwasyon at napakababaw ng mga eksena at diyalogo. Ang director nito’y si Tony Cayado. At ang mga sayaw ay sa ilalim ng choreography ni Lito Calzado. Hindi natin alam kung bakit tinawag na “Young Love” ang pelikula samantalang hindi naman ito tungkol sa pag-iibigan ng mga kabataan rito kundi tungkol sa singing contest na sinalihan nina Ditas Aunor (Nora Aunor) at Joey Cruz (Tirso Cruz III). Naging tabla ang resulta ng singing contest at ginawa silang mga mainstay singers ng television show. Matapos ng contest ay makikitang naghahabulan na si Ditas at Joey sa may mga puno ng niyog at makikitang nagliligawan rin sina Tere (Vilma Santos) at Buboy (Edgar Mortiz) sabay kanta ang apat ng “Young Love.”

Sa tutoo lang, ito lang ang eksena kung saan maririnig na kumakanta rin si Vilma at nakipagsabayan siya kay Nora. Sa tuwing papasok sa eksena si Bella Flores ay tili ito ng tili at laging sinisigawan si Ditas which was very typical ng mga contrabida nuong panahong ito and very irritating. Narito rin si Etang Discher na isang ulyanin na lola ni Tirso at Vilma. Pilit nitong pinapapunta si Tirso sa Australia pero laging niloloko nito ang matanda at sinasabing natapos na pala ang isang taon at nakabalik na raw ito mula Australia. Tapos nito’y makikita si Ike Lozada na kumakanta sa harap ng mga batang lansangan.

Samantala si Bella Flores ay nakipagayos kay Tom Junes (Raul Aragon) upang sabotahin mismo nito ang show ng kanyang sariling pamangkin. Makikita ang nakakalokang sex scene ng dalawa. At ang sumunod na eksena ay ang drama scene ni Ate Vi. Dahil marahil sa walang eksena si Ate Vi na kumakanta ay binigyan siya ng sariling eksena at katapat ito ng maraming eksena ni Nora na kumakanta. Ito ay nang mahuli ni Ate Vi niya si Tom Junes at Bella Flores na nagse-sex. Takbo ito habang umiiyak. Makikita na dumating ito sa sariling bahay at sa kuwarto nito’y pinagsisira niya ang pictures ni Tom Junes kasama ng album nito. Devoted fan pala siya ni Tom Junes. Cut! Tapos na ang eksena ni Ate Vi. Pasok ang mga musical numbers, kanta ng ilang beses si Nora, Tirso, Edgar and Ike Lozada. Meron ding dance numbers, pero wala si Ate Vi sa mga dance numbers na ito. And then it’s the end. Napapakamot ako sa ulo.

Nakakaloka talaga. Makikitang hindi pinag-isipan ang istorya nito. Ginawa nilang i-showcase ang pagiging singer ni Nora Aunor. Kadalasan ang mga kanta niya ay mga version ng mga English popular cover songs at hindi original Filipino songs. Tulad ng “I Believe” at marami pang iba. Kung tutuusin ito ang trend nuon, ang mga kantang galing sa amerika. So much of the fact that lahat ng mga drum beaters ni Nora ay sinisigaw ang kanyang pagiging isang ulirang Filipina dahil sa kanyang pisikal na itsura. Pero mukha ka ngang dalagang Filipina pero pagbuka naman ng bunganga mo eh lumalabas mga kantang banyaga anong klaseng dalagang Filipina yan? Sa sobrang inpluensiya ng mga banyagang kanta ng kalagitnaan ng dekada 70 ay nagkaroon ng rebelyon sa ere ng mga radyo.

Nauso ang Original Pilipino Music o OPM bilang sagot sa musikang dayuhan. Sumulpot ang mga musikerong Juan DeLaCruz, Hotdog, Cinderella, VST & Co., Sampaguita, Freddy Aguilar, Coritha, Mike Hanopol, at marami pang iba na ang mga kanta ay tagalog at pawang komposisyon ng mga Pilipino. Ang mga kanta ni Nora ay puro mga English kontradiksyon ng mga sinisigaw ng fans niya na isang imahen ng Filipino si Nora. Kung ang itsura man niya ay pilipinang-pilipina ang mga kinakanta naman niya ay – puro kanta ng dayuhan. Ito rin ang dahilan kung bakit wala siyang masasabing signature song dahil puro version niya lamang ang mga kantang ni-record ng panahong iyon. Samatala si Vilma Santos na hindi singer ay nagkaroon ng kanyang sariling signature songs bagamat English ang mga lyrics ng mga ito, original Filipino composition naman ang mga ito tulad ng “Bobby Bobby Bobby” at “Sixteen.” Kasabay nito’y ni-record din niya ang mga tagalog songs na “Isipin Mong bastat mahal kita,” “Bato sa buhangin,” at “Palong-palo.” Nang kalagitanaan ng dekada 70 ay kapunapuna na kaunti na lamang ang mga pelikulang kantahan at hindi na kumikita ang mga ito kung kaya mapupuna na nag-umpisa nang gumawa ng matitinong pelikula kapwa sina Nora Aunor at Vilma Santos.

Ang “Young Love” ay isang halimbawa ng pelikulang gawa ng unang bahagi ng dekada 70. Mabilisang gawa. Mababaw ng istorya at hitik ng mga musical numbers. Mayroon mga nakakatawang eksena tulad ng pagkanta sa mga burulan ng patay basta magkaroon lang ng eksena ng kantahan. Tutoo ito, may mga eksena na nagkakantahan sa ilalim ng punong kahoy. Mga sayawan, habulan, at ligawan sa mga beach at kahuyan. Nag-click ito sa mga tao nang unang bahagi ng dekada sitentat ngunit sinawaan rin ang mga tao at nang dumating na ang huling bahagi ng dekada ay nagbago ito. Dito dumating ang panahon na nagbago na ang imahen ni Vilma Santos at nag-umpisa na itong ungusan ang walang kawawaang pagkanta ni Nora sa mga basurang pelikula niya.

Ang “Young Love” ay puno ng walang kawawaang musical numbers ni Nora Aunor. Puno rin ito ng mga eksenang nakakaloka na kahit na ang batang paslit ay magkakamot ng ulo at sasabihin ang “huh?” Kung hindi mo hahahanapin ang matinong istorya at ang hangad mo lang ay makita kung gaano kagaling kumanta si Nora Aunor kahit pa sa burulan ng patay tiyak na mage-enjoy ka sa pelikulang ito dahil maraming eksena rito si Nora na kumakanta ng walang kawawaang kantang dayuhan. – RV, V Magazine 2007

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

“…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)

“…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)

“…Walang makapaniwala na magiging gayon kalakas takilya sina Nora at Tirso. Nagimbal ang mga taga-pelikula. Bakit daw gayon kalaki ang kinikita ng unang dalawang pelikula nina Nora at Tirso? Tsamba lamang daw kaya iyon o biglang nagbago ng panlasa ng mga manonood? Hindi tsamba. Ang mga sumunod pang pelikula nina Nora at Tirso ay mas malaki ang kinita. Daang-libo ang kinita ng “Teenage Excapades” at “Halina, Neneng Ko.” Itinambal ng Towers si Nora sa iba pang kabataang artista, malaki rin ang kinita. Katunayan na malaki ang hukbo ng mga tagahanga ni Nora. Sinubok naman ng Barangay Productions na itambal si Tirso kay Gemma Suzara, hindi gaanong kinagat ng mga fans. Nag-produce ng pelikula ang mag-anak na Cruz, pinagsama sina Ricky Belmonte at Tirso sa “Ricky na, Tirso Pa” isinama naman sa magpinsan si Pilar Pilapil. Tinapatan ng Tower ng isang pelikula ni Nora ang pelikula ng mga Cruz. Resulta: mas maraming nanood sa pelikula ni Nora. Ano ang ibig sabihin nito? Gusto ng mga fans na maging magkatambal sina Nora at Tirso. Sinagot ng VP Pictures ang kahilingang ito sa pamamagitan ng “Young Love.” Bukod kina Tirso at Nora ay isinaman pa ang mga young ones na sina Vilma Santos at Edgar Mortiz. Patok sa takilya!…” – Romy Galang, Pilipino Magazine, 18 February 1970 (READ MORE)

RELATED READING:

Filmography: Anak, ang Iyong Ina (1963)

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Basic Information: Directed: Mar S. Torres; Story: Fausto J. Galauran; Screenplay: Medy Tarnate; Cast: Gloria Romero, Mario Montenegro, Rita Gomez, Tony Marzan, Eddie Garcia, Vilma Santos, Etang Discher, Maria Victoria, Ely Roque, Aring Bautista, Totoy Torrente, Nenita Navarro, Naty Mallares, Rosa Mia, Tony Cayado, Jose De Villa, Charlie Davao; Original Music: Dick Zamora

Plot Description: “…Vilma has “two” mothers in Gloria Romero and the late Ms. Rita Gomez. Vilma’s name was itsy bitsy tiny in the theater marquees. She started her career right, to be acting with the brilliant and professional actors of the era…” – Mario Garces (READ MORE)

Film Achievement: 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)

Film Reviews: “Nakihalo lang ako doon sa mga nag-a-audition sa Trudis Liit [1963],” pagbabalik-tanaw ng aktres kung paano siya napasok sa showbiz at naging bida nga kaagad sa nabanggit niyang proyektong iyon. Hindi ako dapat talaga doon [sa audition na iyon]. Nakipila lang ako. Pagpila ko, tinatawag ako ng mommy ko na, ‘Hindi ka diyan! Sabi ko, ‘Andito na, e!’ Makulit na ako no’ng time na ‘yon! So, anyway, tinawag ako ni Doc Perez [of Sampaguita Pictures] at that time. Pinaarte ako. Nag-adlib-adlib pa ako. Nakuha naman ako. So, when I started, dalawa kaagad ang pelikula ko—Trudis Liit at Anak, Ang Iyong Ina [1963]. Ang naaalala ko lang tungkol sa maaga kong pagpasok sa pag-aartista, parang laro lang sa akin iyon. Parang naglalaro lang ako noon kaya hindi trabaho sa akin iyon, e. So, very-very memorable sa akin iyon. At saka no’ng Trudis Liit, every lunch, lagi akong may apple. Lagi akong may chicken. Every lunch talaga ‘yon. Parang… Siguro bata, so ibibigay nila ‘yong gano’ng ano sa ‘yo. Parang may prize ka, gano’n. So, memorable sa akin iyon.” – Vilma Santos (READ MORE)

“Rosita Quinto Stecza (1925–2006), known by her screen name Rosa Mia, was an award-winning actress and one of the few female directors in the Philippines. She was known as the “Queen of Tearjerker Movies” for her work mostly on the drama genre typified in motherly roles…” – Wikipedia (READ MORE)

“…Hindi ako dapat talaga doon [sa audition na iyon]. Nakipila lang ako. Pagpila ko, tinatawag ako ng mommy ko na, ‘Hindi ka diyan!’ Sabi ko, ‘Andito na, e!’ Makulit na ako no’ng time na ‘yon!” natatawang kuwento pa niya sa PEP. Patuloy ni Ate Vi, “So, anyway, tinawag ako ni Doc Perez [of Sampaguita Pictures] at that time. Pinaarte ako. Nag-adlib-adlib pa ako. Nakuha naman ako. So, when I started, dalawa kaagad ang pelikula ko—Trudis Liit at Anak, Ang Iyong Ina [1963]. Ang naaalala ko lang tungkol sa maaga kong pagpasok sa pag-aartista, parang laro lang sa akin iyon. Parang naglalaro lang ako noon kaya hindi trabaho sa akin iyon, e. So, very-very memorable sa akin iyon. At saka no’ng Trudis Liit, every lunch, lagi akong may apple. Lagi akong may chicken…” – Ruben Marasigan (READ MORE)

“…Young and cute Vilma Santos is one of the few child stars who have hit the screen with continued success. Although not as well-publicized as the adult stars, she is gaining popularity with lot of fans who recognize her warm personality and talent. Her successful debut in Sampaguita Pictures’ Trusdis Liit gave her more movie offers. Vilma, who just turned 13 last Nov. 3, has been in the movies for three years and already has 16 pictures to her credit. A talented youngster, she often steals the spotlight from her senior colleagues. In Ging, Naligaw Na Anghel, Anak Ang Iyong Ina, and many other films, she was a standout in tear-jearking scenes. As a result, she is always in demand for such roles. Despite her success, Vilma remains unaffected as a child. At the St. mary’s Academy where she is a six-grader, she has more than her share of friends not because she is a celebrity but because of her natural chumminess. In fact, she is so fond of her friends that their house on Lunas St in La Loma, Quezon City is often filled with them. Her parents, Mr. and Mrs. Amado Santos, do not discourage her gregariousness and instead look upon it as part of her developing personality…Vilma’s movie commitments don’t prevent her from being a good student. She could have been easily way above average if only her shooting schedules sometimes do not prevent her from attending her classes. “Doing two tasks at the same time gave me a hard time at the beginning but I’ve adjusted to it now,” said this youngster who still goes for lollipops, ice cream, toys, and play. Vilma, who spends her leisure hours listening to radio dramas, dancing and playing with her three other sisters, will be seen in her coming films, Sigaw Ng Batingaw of Argo Productions…” – Julio F. Silverio, The Weekly Nation, 31 December 1965, reposted at Pelikula Atbp blog (READ MORE)

Related Reading:
Vilma Santos – The Child Star

Filmography: Ging (1964)

“Pagmasdan n’yo ako…ako po’y ulilang lubos…inaapi at hinahamak…kung hindi n’yo po kahahabagan ay nasaan ang katarungan?!” – Ging

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Basic Information: Directed: Cirio H. Santiago, Teodorico C. Santos; Story: Mars Ravelo; Screenplay: Teodorico C. Santos; Cast: Vilma Santos, Jose Padilla Jr., Olivia Cenizal, Carol Varga, Ramon D’Salva, Aruray, Etang Discher, Georgie Quizon, Ponga, Jose Garcia, Paquito Salcedo, Eva Montes, Marvin Molina, Pol Todd; Executive producer: Adela Santiago; Cinematography: Lito Padrino; Film Editing: Demetrio De Santos; Production Design: Bert Amazar; Theme Songs: “Ulila” composed by Levi Celerio, performed by Vilma Santos

Plot Description: A young Vilma Santos starred as Ging. A smart mouth street kid who have to beg for money to support her crippled mother. She was adopted by a deceitful couple who heard her sing in a restaurant. The couple made Ging into a singing sensation but abuse her, limiting her food intake and sleep to prevent her to grow. Ging eventually left them and surprisingly discovered her father. She reconciled with him and her crippled mother. – RV

Ging is a poignant story of a poor gifted girl, trying to make both ends meet by singing and dancing in crowded streets and cafeterias. – Komiklopedia (READ MORE).

Film Achievement: No Available Data

Film Reviews: “…Pagbalikang tanaw naman natin ngayon ang mga batang karakter sa komiks. Sila ang nagbigay aliw, kinalugdan at minahal ng mga komiks readers noon, particularly ng ating mga ina (kasama na dito ang yumao kong nanay) na siyang tumangkilik, nagbasa at sumubaybay sa kanilang mga kasaysayan. Unahin natin si GING, isang batang iniyakan ang kasaysayan at unang ipinakilala ng creator nito na si Mars Ravelo ka-tandem ang dibuhistang si Elpidio Torres sa mga pahina ng Liwayway Magazine noong 1963. Ito ay isinalin sa pelikula sa ilalim ng pamamahala nina Direk Cirio H. Santiago at Teodorico C. Santos. Si Vilma Santos ang gumanap sa title role na Ging…” – Arman Francisco, Komixpage, 28 June 2015 (READ MORE)

All Vilmanians and even those who just love watching old Tagalog movies must have been glued to their TV screens last Thursday afternoon when Channel 9’s “Premiere Pilipino Klasiks” aired “Ging”, Vilma Santos’ follow-up movie after she was introduced in Sampaguita Pictures’ “Trudis Liit.” Produced by Premiere Productions when Vilma was only 10 (circa 1963), “Ging” casts the now-Star for All Seasons (and Batangas Governor, too!) as a street child who is in charge of taking care of her invalid mother, played by Olivia Cenizal. In flashback fashion, we find out that Ms. Cenizal was once a big movie star who fell in love and married a young rich man (portrayed in the film by Jose Padilla, Jr.)

Padilla’s aristocratic mother (Etang Discher), unfortunately, breaks up the union and the two lovers go their separate ways. Vilma, as Ging, was born shortly after. While begging for food scraps from customers at the restaurant of the Chinese Ponga (I doubt if today’s generation have any idea who he is or how he looks like), she is spotted by Ramon D’Salva and his wife, Carol Varga. The couple immediately express their wish to adopt her. Vilma was hesitant at first at the idea – until she was promised by D’Salva that she would be sent to school, and her mother, to the hospital for medical treatment.

Once she is in the D’Salva home, the couple show their true colors. They exploit her by making her perform in vaudeville presentations. Although she is a hit and a top money maker, she is still badly treated by Varga. For one, she is not given proper nutrition to stunt her growth (child stars are supposed to be cute and small). Little Vilma rebels when she finds out that D’Salva does not fulfill his promise of sending her mother to the hospital for treatment. She runs away and in the process bumps into people related to her biological father. Padilla and Cenizal are reunited and the little heroine lives happily ever after with her parents.

“Ging” was directed by Cirio Santiago and Teodorico Santos. Although it was made in the old-fashioned way of making films (the flashback scenes in particular), the material used here is timeless – especially since there are more street children in our midst now more than ever. As far as the showbiz scene is concerned, there are still a lot of heartless impresarios today exploiting young talents in the business. But what really made “Ging” a delight to watch was the performance of the very young Vilma Santos. Even at the early age, it was clear that she was already brimming with talent. Vilma, apparently, was born into this world to perform, entertain and make people happy. She was utterly convincing in the dramatic scenes and thoroughly graceful in her musical numbers. Listang-lista – as we’d say in the vernacular. Even then, she was already living up to her showbiz title of “Star for All Seasons” because her performance in “Ging” is not only brilliant, but timeless as well. – Butch Francisco, People’s Journal 04 March 1999 (READ MORE)

Ang sarap balikan ng mga pelikula ng the Premier Acress of the Land. Mga pelikulang may mga temang napapanahon kahit sabihin pang luma na ang mga ito. May tatak Vilma Santos. GING (1964) – all of 11 years, here is the newly-crowned FAMAS best child actress sa isa sa mga title roles niya bilang anak ng laos na artista (Olivia Cenizal) na nalumpo after she gave birth to Ging (Vilma). Ang ama ni Ging ay isang bit player na Mama’s boy, si Jose Padilla, Jr.(SLN) whose mother is the screen’s perennial conravida, Etang Discher (SLN), mother of the late Panchito.

Padilla abandoned Ging and her mother on her mother’s wishes so he won’t be dropped from her “pamana” (will). Mother and daughter lived in a slum area. Their squalid lives are made bearable with the presence of a cantankerous neighbor Aruray and her son who was sired by a black G.I. named George. Aruray’s son is about Ging’s age. They practically were street urchins who beat the other kids in soliciting alms, thanks to Ging’s histrionics: she would fake syncope (play dead) and “kawawa” by relating her sad plight as an abandoned poor daughter with a paraplegic of a mother – through a song that would drive her audience at a restaurant to tears and pity – and would give her free food and money.

The ploy works all the time. Little did Ging realize that an unscupulous couple, racketeers Ramon D’Salva and Carol Varga were observing her in a restaurant and saw in her a goldmine: they would adopt her and make them rich as her talent manager. Talk of child exploitation. Reluctant at first, Ging agrees to go with the evil couple provided she would go to shool and that they would send her alcoholic mother (bagay na bagay ito sa isang artista) to the hospital for treatment. Of course, the evil and scheming couple reneged on their promises. They exploited Ging by forcing her to work overtime and would starve her so she wouldn’t grow up and lose her audience. Luckily, she has a guardian angel in Georgie Quizon, Dolphy’s erthswhile brother who, along with Aruray provided comic relief, and who would protect Vilma from her exploiters.

Young Vilma’s raw, innate talent surfaces most especially in her scenes where she vacllates or mulls in leaving her mother. Her final goodbye scene with her mother is heartbreaking, enough a motivation for a Vilma fan Nora Aunor in Iriga city to follow in her footsteps. “One day, I wanna be like Vilma, I will sing and make people cry. Love that “gripo” princess to death. Idol ko siya.” Shot in black and white and adapted from the comics to the screen by Mars Ravelo, the movie was directed by Cirio Santiago and Teodorico Santos.

The movie is a must have for any true blue Vilmanian. Listang-lista at ang husay ni Vilma rito. Naroong kumanta siya (the voice over seemed like her singing voice), sumayaw at nagdrama. Luma si Madonna doon sa isang parang La Isla Bonita number niya. One memorable scene was when she was singing her signature song to the audience of her longing to see her mother and her father – the camera captures her pain and agony and the deep wound she suffers from her abusers – a poignant scene, complete with tears and and a well-internalized acting. Bravo! Karapat-dapat na U.P. Gawad Plaridel Awardee – maliit pa lang ang dyaske, ang husay talaga. Sa katunayan, some scenes from Ging were included in the audio-visual presentation at both the FAMAS Hall of Fame awards and the recent U.P. Gawad Plaridel coronation of the Summa Cum Laude of All Philippine Actors. Ang galing-galing mo talaga, Rosa Vilma Tuazon Santos-Recto! – Mario Garces, V magazine issue no. 6 2006 (READ MORE)

Georgie Quizon – “…Like Dolphy, Georgie started out in comedy roles. In fact, he was his brother’s follower noon pang nasa Sampaguita Studios si Dolph at isa siyang mainstay ditto. Nang minsang isinama ni Dolph si Georgie sa kanyang shooting ay namataan si Georgie ng isang direktor a binigyan ito ng bit role. He was found out to have his brother’s talent and soon, Georgie found himself in one picture after another, mostly in Susan Roces-starrers where he played her sidekick or friendly neighbor. Ito ang simula ng binyag ni Georgie sa pelikula. Naging sikat din siyang comedian. Kaya lang ang problema niya ay hindi siya makakatakas sa image at pangalan ng kanyang kapatid na lalong sikat. Kahit ano ang gawin niya ay siyempre, associated and identified siya kay Dolphy. “Ito ang malaki kong problema,” nabanggit ni Georgie sa amin. “But I also love my brother! Kung wala naman si Ompong ay sino kami, aber! Siguro, ganito ang buhay kung mayroon kang tanyag na kapatid na parehong propesyon. Kung sino ang mas sikat, iyon ang mas kilala. At ang hindi ay nananatili sa background. Tulad ko,” aniya. “Ako ang anino ni Dolphy. Hindi ako kilala sa sarili ko. Ako raw ay kapatid ni Dolphy. And never was I called my name. Kung minsan nga ay ako raw si Dolphy. Ganoon. “Kung minsan, I feel flattered. Pero kadalasan, tinatanggap ko na lamang nang basta ganoon. Kibit balikat baga. Ano pa nga ba ang magagawa ko? Kapatid ko iyon at sikat pa! “Kaya lang, I really want to be on my own. I want to be known as Georgie at hindi yung kapatid ni Dolphy. I am my won individual. Iba ako, iba siya. Nagkataon lamang na nagko-comedy rin ako. Kaya hindi talaga ako makakatakas sa kanyang anino,” pagtatapat ni Georgie….

…As a whole, wala naman siyang reklamo. Okey naman ang takbo ng kanyang showbiz career. Hindi siya nawawalan ng assignment. Tuwing Linggo, mayroon siyang TV show, nagge-guest din siya sa mga tanyag na shows at kung minsan, kumakanta siya sa mga roadshows, sa mga bases. “Para sa akin, tipong okey na ang lahat,” banggit pa ni Georgie. Everything’s fine. I am busy everyday. Malusog pa ang ermat, masasaya kaming lahat. Wala na yata akong mahihiling pa,” Georgie confessed. The other surviving brother of Dolphy and Georgie is named JIMMY, ang bunso sa lahat na hindi kailanman sumali sa showbiz. Nasa States siya ngayon at isang medical intern sa isang tanyag na ospital doon. Sampu sanang lahat sina Dolph, kaya lang tatlo na ang namatay. Sina Tessie, ang uang Jimmy na siyang pang-walo at si Melencio, Jr. na binawian ng buhay noong early 1970’s. Ang iba – sina Zony, Dolphy, Josie, Laura, Auring at Georgie – ay pawang naging showbiz folks at dalawa na lamang sa kanila ang aktibo sa pelikula. Sina Dolphy at Georgie nalamang, bagamat ang iba, sa pamamagitan ng kanilang mga anak, ay kasama pa rin sa iba’t ibang aspeto ng paggawa ng pelikula, particular na sa RVQ Productions syempre…” – Ross F. Celino, Jingle Extra Hot Movie Entertainment Magazine No. 20, June 22, 1981 (READ MORE)

“…Young and cute Vilma Santos is one of the few child stars who have hit the screen with continued success. Although not as well-publicized as the adult stars, she is gaining popularity with lot of fans who recognize her warm personality and talent. Her successful debut in Sampaguita Pictures’ Trusdis Liit gave her more movie offers. Vilma, who just turned 13 last Nov. 3, has been in the movies for three years and already has 16 pictures to her credit. A talented youngster, she often steals the spotlight from her senior colleagues. In Ging, Naligaw Na Anghel, Anak Ang Iyong Ina, and many other films, she was a standout in tear-jearking scenes. As a result, she is always in demand for such roles. Despite her success, Vilma remains unaffected as a child. At the St. mary’s Academy where she is a six-grader, she has more than her share of friends not because she is a celebrity but because of her natural chumminess. In fact, she is so fond of her friends that their house on Lunas St in La Loma, Quezon City is often filled with them. Her parents, Mr. and Mrs. Amado Santos, do not discourage her gregariousness and instead look upon it as part of her developing personality…Vilma’s movie commitments don’t prevent her from being a good student. She could have been easily way above average if only her shooting schedules sometimes do not prevent her from attending her classes. “Doing two tasks at the same time gave me a hard time at the beginning but I’ve adjusted to it now,” said this youngster who still goes for lollipops, ice cream, toys, and play. Vilma, who spends her leisure hours listening to radio dramas, dancing and playing with her three other sisters, will be seen in her coming films, Sigaw Ng Batingaw of Argo Productions…” – Julio F. Silverio, The Weekly Nation, 31 December 1965, reposted at Pelikula Atbp blog (READ MORE)

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