Vilma Santos-Recto is a popular multi-awarded actress and politician in the Republic of the Philippines. *** She is known as "Queen of Philippine Movies," "Queenstar," "Grand Slam Queen," "Box Office Queen," and "Star for All Seasons." *** This website is mostly about her iconic film career.
Basic Information: Directed: Luis Enriquez; Story: Beybs Pizarro Gulfin; Screenplay: Luis Enriquez, Beybs Pizarro Gulfin; Cast: Vilma Santos, Ronald Corveau, Eddie Rodriguez, Rosemarie Gil, Jose Vergara, Roderick Paulate, Ester Chavez, Angie Ferro, Angge, Virginia Montez, Aurora Salve; Executive producer: Vilma Santos; Original Music: E Veron; Cinematography: Loreto Isleta; Film Editing: Abellardo Hulleza
Plot Description: No Available Data
Film Achievement: 1979 FAMAS Nomination Best Actress – Vilma Santos
Film Review: Luis Enriquez aka Eddie Rodriguez first directed a young Vilma Santos in 1968 Kasalanan Kaya, another love triangle genre starring the dramatic trio of Marlene Dauden, Eddie Rodriguez and Lolita Rodriguez. Vilma received an early acting recognitions from this film by receiving a FAMAS Nomination for Best Supporting Actress. When Enriquez directed Vilma again, it was a calculated risk that allowed a still young Vilma into a bikini-clad lead role opposite his director himself, Eddie Rodriguez. The film, Nakakahiya, a may-december affair between an older man and a young woman was an entry to 1975 Bacolod City Film Festival. Aside from making the the film a smash hit, Vilma received the festival’s Best Actress. Enriquez will direct Vilma in five more films, the last one was ExWife in 1981 where surprisingly Luis used in film credits his screen name, Eddie Rodriguez. Theri total number of colloborations were seven (Ex-Wife 1981, Halik sa Kamay Halik sa Paa 1979, Hindi Nakakahiya 1976, Ikaw Lamang 1971, Kasalanan Kaya? 1968, Nakakahiya? 1975, Simula ng Walang Katapusan) – RV (READ MORE)
Basic Information: Directed: Al Quinn; Story, screenplay: Oscar Miranda; Cast: Romeo Vasquez, Vilma Santos, Tito Sotto, Vic Sotto, Joey de Leon, Amy Austria, V.S.T. & Company, Mike Monserrat, Sandy Garcia, Geleen Eugenio, Bing Davao, Walter Navarro, Nena Perez Rubio, Lirio Vital, Coritha, Ritchie D’Horsie, Val Sotto, Ernie Zarate; Executive producer: Emilia Blas; Original Music: Vicor Music Corporation; Cinematography: Joe Batac; Film Editing: Nonoy Santillan; Production Design: Orlando Tolentino; Art Direction: Francisco Faustino; Sound: Luis Reyes, Ramon Reyes; Theme Songs: “I-swing mo ako” performed by Sharon Cuneta
Plot Description: Love is like dancing. No matter how many times you have been out of tuned, you will always go back to hitting the right one. Learning it may not be easy at first but if you find the right partner for you, then you can sway together… forever. Let’s dance along with Marilen (Vilma Santos) and Ben (Romeo Vasquez) as they discover more about love and friendship. – TV Star Cinema (READ MORE)
Film Achievement: No Available Data
Film Review: “Sometime in the mid 70s, matinee idol Romeo Vasquez returned to the movie scene after a long absence, his movie career in limbo after his failed marriage with popular actress Amalia Fuentes. His teamup with Vilma Santos somehow rekindled and revived his career. Their first movie together, Nag-aapoy na Damdamin in 1976 turned out to be a big hit. Despite their age gap, reel and real life sweetheart, Romeo, 34 and Vilma, 23, soon became the hottest love team, doing one hit movies after another…” – Video 48 (READ MORE)
“…Romeo Vasquez is an oddity in Vilma’s life. Hindi akalain ng lahat na ang isang notorious playboy and balikbayan actor would capture the heart of the then elusive Ate Vi. Nagkaroon sila ng affair which lasted for more than a year. Kilala si Bobby sa pagiging bohemyo kaya naman walang kakilala si Ate Vi na bumoto sa aktor. Ate Vi was love struck at talagang na head-over heels in love. Nagsimula ang kanilang affair sa set ng kanilang pelikulang “Nag-aapoy na Damdamin”. True to this title, nagliyab silang dalawa at tunay ngang nag-apoy ang kanilang damdamin. May plano pa nga sila ni Bobby na magpakasal sa Europe. Talagang Ate Vi was ready to give up her life as an actress and would settle with the actor abroad. And with herb relationship with Bobby, nag-surface ang bagong Vilma Santos. Ate Vi realized that she cann’t sacrifice everything for love. Nagising siya sa katotohanan at nagkamali kung kaya nagdesisyon siyang kumalas sa bohemyong aktor…” – Willie Fernandez (READ MORE)
“…But it was with handsome actor Romeo Vasquez that Vilma Santos had her most controversial relationship. Romeo was the former husband of Philippine movie queen Amalia Fuentes. He and Vilma first paired in the movie Nag-aapoy na Damdamin (1976). It was also during this year that they became a couple. They made several movies together, all of which did well at the box-office. Vi and Bobby (Romeo’s nickname) became the most-talked about reel and real love team at the time. The relationship was always on the pages of showbiz magazines and tabloid entertainment section pages because of the intrigues and the personalities who got involved with them…” – Rommel R. Llanes (READ MORE)
Basic Information: Directed: Gil M. Portes; Story, screenplay: Jose Javier Reyes; Cast: Vilma Santos, Nonoy Zuniga, Jenny Ramirez, Ting Jocson, Allan Bautista, Ian Veneracion; Executive producer: Wilson Theng; Original Music: Willy Cruz; Cinematography: Ely Cruz; Film Editing: Edgardo Vinarao; Theme Songs: “Never Ever Say Goodbye” performed by Nonoy Zuniga
Plot Description: No Available Data
Film Achievement: 1982 Aliw Awards for Record of the Year – Never Ever Say Goodbye; FAP – Best movie theme song nomination.
Film Review: “…After these two awards, Nonoy Zuñiga, Pops Fernandez and Ivy Violan performed a medley of the five nominated theme songs. Sinasamba Kita by the late George Canseco was voted the best original song, winning over Willy Cruz’ Never Ever Say Goodbye, Marita A. Manuel’s Puppy Love, Rey Ramos’ Paalam (from Get My Son, Dead or Alive) and Pablo Vergara’s Katumbas ay Buhay (from Vendetta). The late Ernani Cuenco won the best musical score award for Pedring Taruc. The other nominees were Ryan Cayabyab (Kamakalawa), Willy Cruz (Never Ever Say Goodbye), Lorrie Ilustre (Batch ’81) and Marita A. Manuel (Puppy Love)…” – Jose N. Carreon (READ MORE)
Heart Out Trance – “…(He lost a leg during the 1980 explosion at a hotel where he and his band were performing regularly; and how he tucked up a degree in Medicine from UST even while doing shows (plus a movie, Never Say Goodbye, inspired by his hit song) and recordings)…Many know me as a balladeer but not the fact that I can also sing folk songs and pop-rock and play the guitar. I actually started as a folk singer, then got into a showband, and then went solo with romantic songs. So, I want to share and bare more of myself…(here are the five songs: Ako Ay Ikaw Rin; Doon Lang; Kumusta Ka; Never, Ever Say Goodbye; and Love Without Time, that mean so much to Nonoy)…about “Never, Ever Say Goodbye,” Willy told me that he had an unfinished song based on his experience with a girlfriend whom he loved so much when he was abroad but they had to part ways because of his pressing commitments in Manila. He asked me if I could relate to the song because I was still young then. All I could say was, ‘Yeah, a little.’ So, during the recording, I put myself in a trance and sang my heart out. By the way, Willy said that he dreamed of the prelude and melody. As soon as he woke up, he wrote the lyrics and taped the melody before he forgot about it…” – Nonoy Zuñiga, reported by Ricky Lo, The Philippine Star, 12 March 2019
“May mga anak ako, Nagtratrabaho ako, Nag-aaral ako tapos lagi pa kaming nag-aaway na mag-asawa. So tense, Minsan gusto ko ng tumalon sa bintana.” – Ellen
“Bakit nababawasan din naman ang pagkatao ko kapag sinisigawan mo ako!” – Ellen
“Ang marriage trinatrabaho yan…twenty four hours…” – Ellen
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Basic Information: Directed: Ishmael Bernal; Story: Bing Caballero, Jose Carreon; Screenplay: Ishmael Bernal, Bing Caballero, Jose Carreon; Cast:Vilma Santos, Christopher De Leon, Orestes Ojeda, Lito Pimentel, Tessie Tomas, Richard Arellano, Cesar Montano, Len Santos, Ray Ventura, Harlene Bautista; Executive producer: Lily Monteverde; Original Music: Max V. Jocson; Cinematography: Manolo Abaya; Film Editing: Jess Navarro; Production Design: Len Santos; Sound: Rudy Baldovino; Production Co: Regal Films; Release Date: 2 September 1983 (Philippines) – IMDB
Plot Description: Trapped in a world of hectic schedules, pressure and little time for each other, Ellen (Vilma Santos) and Rene (Christopher de Leon) decided to have a temporary separation. One of the things that is against traditional Filipino culture is a marriage break-up. And that is what they went through as their maariage reaches one of its lowes points. Saddled by their two children, Ellen tried her best to live a normal life as possible, eventually finding a prospective lover (Orestes Ojeda). But something is missing from her life that not even a new flame could fill. A self-discovery both for Ellen and Rene, one great film that will surely make you realize the value of marriage. – Regal Films (READ MORE)
After ten years and two children, Rene and Ellen find their marriage on the brink of breaking up. They seem to have fallen out of love and life has become a series of verbal hussies and conflicts. They decide that the only way out is a temporary separation. Rene, a police reporter, and Ellen, who is a television production assistant, begin to live apart from each other. Rene moves into his friend’s apartment while Ellen has to cope with running a household by herself. But they soon begin to feel the effects of their separation. A series of events that follow drastically change their lives. Rene is mauled for his expose of a gambling casino owned by a high ranking government official. He is forced to stay temporarily in the house of Ellen’s mother. As he recuperates from his injuries, both he and Ellen attempt to rebuild their shattered relationship. – Manunuri
Rene (Christopher de Leon) is a police reporter for a daily newspaper married to Ellen (Vilma Santos) who works as TV production assistant. Both are full of enthusiasm, career-conscious individuals who have no time for each other or for their two children, until they are forced to try to live separately. Broken Marriage won awards from the 1983 Urian for best picture, (Ishmael Bernal), best actss (Vilma Santos), best screenplay (Jose N. Carreon), best editing (Jess Navarro), as well as several nominations from the Film Academy Awards and FAMAS. Music by Max Jocson and Cinematography by Manolo Abaya. Also stars Orestes Ojeda and Spanky Manikan. From Regal Films. – Trigon Video
Film Achievement: 1983 Gawad Urian: Best Picture – Regal Films; Best Actress – Vilma Santos; Best Director – Ishmael Bernal; Best Editing – Jess Navarro; Best Screenplay – Jose Carreon, Bing Caballero, Bernal; Best Sound – Rudy Baldovino; Best Actor Nomination – Christopher De Leon; Best Cinematography Nomination – Manolo Abaya; Best Music Nomination – Max V. Jocson; Best Production Nomination – Len Santos; Best Supporting Actor Nomination – Len Santos; Best Supporting Actor Nomination – Ray Ventura; 1983 FAMAS: Best Actor Nomination – Christopher De Leon; Best Actress Nomination – Vilma Santos; 1983 Best Child Actress Nomination – Harlene Bautista; Official Selection: 1984Moscow Film Festival; Prague Film Festival; Vienna Film Festival
Film Reviews: “…Comparisons dawn inexorably: how does Broken Marriage fare as a follow-up to the bravura of Relasyon? This is tough inquiry. If intentions were to be the starting point, then the new movie is a better achievement. Relasyon, judging from its title, was supposed to be about a man and other woman relationship; but the feminist tendencies of our cinema had pinned the movie to a fateful drift: the travails of the modern mistress. Broken Marriage never swerves from its goal; from start to finish it is a portrait of two persons and the bond which they discover smothering and smoldering. But the ordinary moviegoer does not assess by artist’s intentions – he does not even care about the artist (I mean here the one behind the work. On one hand, the film in front of him is the present; and on the other hand, it is the past. Broken Marriage is made to appear to him as a sequel to Relasyon. The process of integrating the past and the present is a challenge for him. For him are opened two avenues: to start with past and proceed with present; or start with present and proceed with past. If he chose the former, the condemnation for Broken Marriage would clang like a wild cymbal. If he chose the latter, the outcome is a laudatory comment). Nonetheless, one has to prove that the new movie can stand on its own feet. What Relasyon sadly lacked (albeit not too sadly) was humor. Broken Marriage has tons of it – the caustic swaps, the funny characterizations, the clever plottings – so that the audience’s conditioned response for a supposedly serious movie shifts irrevocably to playful irreverence. Vintage Ishmael Bernal. It is a masterly stroke – the proverbial Bernal sleight-of-hand at work, this time with more gusto and style. If the Inquisition were still around, he would be branded and burned seven times as a heretic for turning a marriage gone sour into an off-beat frolic suddenly turned sweet – at least, to the viewer’s mirth-hungry belly.
But none may claim that Bernal’s treatment loses its mark of delineating the disadvantages of separation. The humor chisels the message so that it comes to us shining and double-edged, while doing its duty of alleviating an otherwise gloomy impression which accompanies every disillusioning subject matter. Not only does it come through humorously but also simply. Nowhere is the strain which anyone expects from grave subjects present here. It is as if the dreary topic had been borne on the Lord’s shoulders so that the yoke – and audiences love to be martyrs of maudlin tears – becomes, this rare time, light and easy…De Leon adds a boyish smile as if the lesson were amusing. We watch De Leon, elated and entertained: he is never so old as to appear too distant nor is he too young as to seem undocile. Broken Marriage is a gift to this actor. He is not propelled here to be more manly; since his character is made to contribute to a lot of oversights, De Leon’s doesn’t have to put a mask of strength: he just has to be himself and act with ease. Vilma Santos is not about to be a letdown, not this time when the most important female roles are coming her way. A new intelligence she infuses in the character Ellen. Like De Leon, she turns Ellen into a woman-child, but the stress is less on her part as she has done similar roles before. Her beautiful face is flush receptive: the quiet moments of just observing the people around her are moments of perfect acting. Her body moves with an agility that is both funny and dramatic. Her two monologues – the first with her friends in the cafe when she informs them that she is bored, and the second with Rene when she tells him that they are not children anymore – are her best scenes: the camera lingers upon her countenance and she enunciates in return with ironic ease. She should watch out for next year’s awards race – there is simply no stopping her at the moment…” – Joselito Zulueta, Sine Manila – 1983 (READ MORE)
“…Ang sensitibong paglikha ni Vilma Santos kay Ellen ay isang marubdob at personal na layon kung ihahambing sa kanyang pagsasakarakter ng papel ni Marilou bilang kerida sa Relasyon. Hinamon ni Ellen ang kumbensiyonal na depinisyon ng pagiging asawa at pagkaina sa paghahanap ng mga alternatibo sa gitna ng makainang pagpapalaki sa mga anak. Ginawan niya si Ellen ng sariling silid kung saan nakahanap ito ng solitaryong kanlungan nang hindi pinuputol ang pakikipag-ugnayan sa asawa. Iniugnay ni Ellen ang ang kanyang pribadong hapdi sa spectrum ng kanyang relasyon. Samantala, nakatutok ang tunggalian sa Broken Marriage hindi lamang kay Vilma Santos kundi kay Christopher de Leon. Nasa asawang lalaki ang bulto ng suliranin kaya sa kanya umiikot ang kuwento, ang relasyon ni Rene kay Ellen at ang relasyon ni Rene sa kanyang mga anak. Ang maalam na pagpasok ni de Leon sa katauhan ni Rene ang lumiligalig sa mga kontradiksiyong talamak sa sistemang patriarkal. Kaakibat ng Broken Marriage ang manipestasyon ni Bernal sa pagbibigay ng representasyon sa reyalidad at partikular na pagsasaayos ng iba’t-ibang elementong kaagapay sa masining na pagbuo ng pelikula.” – Jojo Devera, Saring Sineng Pinoy (READ MORE)
“…Sa 1983, ang mga mapagpipilian lamang ay Broken Marriage…On a lower rank would be…Minsan Pa Nating Hagkan ang Nakaraan…Ang Broken Marriage ni Ishmael Bernal ay isang masusing pagsusuri sa lumabnaw na pagtitinginan ng isang young married couple; ang problema ng mag-asawa sa kani-kanilang trabaho, ang mga suliranin ng isang working mother, ang iba’t ibang uri ng relationship between spouses and friends, at ang unti-unti’y muling pagkakalapit ng naghiwalay na mag-asawa. Maraming nagrereklamo sa happy ending ng pelikula na para bang masama ang loob nila’t lumigayang muli ang mag-asawa. Pero sa amin, talagang napaghandaan ang masayang eksena sa beach ng buong pamilya dahil sa simula pa lamang ay inuungot na ng mga anak ang pagpunta roon. So, sa wakas, nakapunta rin sila sa beach and it’s a fitting end indeed……Now that we have discussed this year’s better films and the directors who made them, tunghayan natin ang listahan ng best screen performances…Susunod sa aming listahan ay sina Christopher de Leon, ang batambatang amang may problema sa kanyang pamilya sa Broken Marriage…Then there’s Vilma Santos as the working mother who does a tough balancing act in her dedication to her career and to her family in Broken Marriage… ” – Movie Flash Magazine, January 5, 1984 (READ MORE)
“…Though in the last cited awards, Karnal did not make it as best films, it nevertheless gave Broken Marriage a tough fight for the honor, in fact winning more nominations than Berna’s films. It evetually won prizes for performances, cinematography, music and editing…A product of film schools, Marilou earned her M.A. in Film and Television from Loyola Marrymount College in Los Angeles and received a diploma in film from the London Film School. In May, she will be flying to Moscow to attend the Philippine Film Week, where Karnal, Broken Marriage and Soltero will be exhibited. Then it will be Prague and Vienna for both Karnal and Broken Marriage. Her earlier work, Brutal has also been invited to Tokyo’s Pia Film Festival, which is sponsored by critics and journalist to showcase the works of young directors from 10 countries. International may have come her way, but at the moment, Marilou is earnestly preoccupied with starting her latest project, Baby Tsina, which will star two-time Urian best actress Vilma Santos, and written by Marilou’s signature scenarist Ricky Lee. In a few days, the camera are set to start grinding for the director’s new film…” – Justino Dormiendo, Movie Flash Magazine, April 26, 1984 (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…” – Richard Bolisay (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)
“…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)
“Reportedly Ms. Santos, buoyed by the many acting awards earned by Relasyon, 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 look at the institution of Filipino marriage; in Broken Marriage Bernal wanted to focus on the institution sans 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.” – Noel Vera, Critic After Dark, 13 September 2014 (READ MORE)
Basic Information: Directed, story, screenplay: Mike Relon Makiling; Cast: Vilma Santos, Tito Sotto, Vic Sotto, Joey de Leon, Rowell Santiago, Jobelle Salvador, Francis Magalona; Executive producer: Vic del Rosario Jr.; Original Music: Tito Sotto; Cinematography: Benjamin L. Lobo; Film Editing: Ike Jarlego Jr.; Production Design: Arthur Santamaria
Plot Description: Rose (Vilma Santos) and her three cousins (Tito, Vic, & Joey) are Hospital Attendants who find themselves in various comic situations, together with their Supervisor (Paquito Diaz) and resident Physician Dr. Roland (Rowell Santiago), until they get entangled in a terrible fix. Bitoy (Ricky Rivero) survives a gun shot after witnessing a murder that involves a very influential person. Bogart (Jimmy Santos) is commissioned to kill Bitoy and poses as a patient in the hospital to finish the job. – Pelikula.net (READ MORE)
In a rare comic appearance, Vilma Santos plays the role of Rose, a hospital attendant hopelessly in love with Roland (Rowell Santiago), a resident doctor who gets the support of her wacky cousins Lucky, KC and Ian (Tito, Vic & Joey) in this comedy from writer-director Mike Relon Makiling. With Paquito Diaz, Jobelle Salvador and Francis Magalona lending support. Doctor, Doctor, We Are Sick was produced by Viva Films. – Jojo DeVera
Film Achievement: No Available Data
Film Review: “…Expect the unexpected when dramatic actress Vilma Santos tried her hand at comedy and joined the wacky trio of Tito Vic & Joey in this hilarious hospital romp. The foursome played bumbling orderlies whose work method was enough to send patients out of the hospital or to undeserved calamity although they were in truth caring and kind-hearted and were only trying to do good…” – Mav Shack (READ MORE)
Basic Information: Directed: Leroy Salvador; Story: Nerissa Cabral; Screenplay: Orlando Nadres; Cast: Vilma Santos, Dindo Fernando, Lorna Tolentino, Sandy Andolong, Rowell Santiago, Jimi Melendez, Coney Reyes; Executive producer: Vic Del Rosario Jr.; Original Music: George Canseco; Cinematography: Rody Lacap; Film Editing: Ike Jarlego Jr.; Production Design: Manny Morpe; Theme Songs: “Muling Buksan Ang Puso” performed by Basil Valdez
Plot Description: Cristy’s persistence and Jim’s longing for a child leads to an illicit relationship. But too much love suffocates and covetousness can breed hate. – Pelikula.net (READ MORE)
Jim (Dindo Fernando) is a doctor and Cristy (Vilma Santos) is his nurse. Good looking and successful Jim finds himself an ardent admirer in Cristy. But Cristy is not an ordinary lady – she’s daring and defiant. She’ll do whatever it takes to win him even if he’s very much married. Cristy’s persistence and Jim’s longing for a child leads to an illicit relationship. But too much love suffocates and covetousness can breed hate. – Mavshack (READ MORE)
Film Achievement: 1985 FAMAS Nomination Best Actor – Dindo Fernando; 1985 FAMAS Nomination Best Actress – Vilma Santos
Film Review: “…She has four rated A movies (Haplos, Broken Marriage, Adultery and SSL) to her name but SSL earned the least at the box-office. But the movie was invited and screened at the prestigious Venice Film Festival. It was also invited at the Cannes Film Festival, but the film didn’t arrive in time for its screening because of some problems with the censors. And so, Vilma and her producers are back to square one churning out comics rehash and light melodramas to regain lost grounds. Her first movie for this year, Muling Buksan ang Puso was again a hit and it proved once more that it’s the kind of movie the public wants to patronize. How sad…” – Meg Mendoza, Prime Magazine, Nov 14, 1985 (READ MORE)
“Hindi naman ako ipokrita…ke tomboy ka, bakla ka, ok lang sa akin yon! Pareho lang yon! Kung saan ka maligaya duon sila…huwag na nating pakialamanan…alam mo kung nuong una sinabi na niya sa akin kung ano siya hindi na kami nagkaganito eh…akala ko tutoong tao siya!” – Isabella
“Putik nga ito! Pero kahit ganito ako, nagsisimba ako kahit papaano!…ang sabi ng nasa itaas, ang sala sa lamig, sala sa init, iniluluwa ng langit, isinusuka ng diyos!” – Isabella
“…ano ba naman ‘to katawan lang ‘to, ‘konting tubig, ‘konting sabon, wala na…tapusin na natin ang kaso, pagkatapos sabihin mo kung kailan, saan…darating ako, ang katawan ko!” – Isabella
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Basic Information: Directed: Danny Zialcita; Portia Ilagan; Screenplay: Danny Zialcita, Portia Ilagan; Cast: Vilma Santos, Nora Aunor, Dindo Fernando, Tommy Abuel, Tony Carreon, Baby Delgado, Rosemarie Gil, Suzanne Gonzales, Odette Khan, Liza Lorena, Alvin Enriquez, Adul de Leon, Rustica Carpio, Anita Linda; Original Music: Butch Monserrat; Cinematography: Felizardo Bailen; Film Editing: Ike Jarlego Sr.; Sound: Rudy Baldovino; Theme Songs: “Hiwaga ng Pag-ibig” performed by Nora Aunor
Plot Description: An interesting and witty play of events and characters directed by avant garde filmmaker Danny Zialcita. The story of a woman confused of her sexuality (played by Nora Aunor) who worked in a man’s world as a lawyer. A chance meeting with a bar girl (played by Vilma Santos) who would change the course of her life. The film portrays a woman who runs and holds her life, but when matters of the heart are concerned, she just lets fate takes it toll. She believes to be in love with the bar girl, or she thinks she is! At the end, a sudden twists explodes making her more vulnerable that she has ever imagined. A parody on the comic love and life of people caught up in a the middle of strange questions of gender issues. A seriously funny picture of the drama of life! – Kabayan Central (READ MORE)
Lesbian lawyer Nora, tried to assist the accused dancer, Vilma with her legal battles and unexpectedly, falls in love with her. The poorly written plot compensate with crisped dialogues and fast paced editing from one of the most finest commercial director of the 80s, Danny Zialcita.
Confused lawyer Sylvia Salazar (Nora Aunor) is infatuated by the oozing charm of ago-ago dancer Isabel (Vilma Santos) whom she has volunteered to defend in a criminal case. Sylvia’s persistent and dedicated suitor (Tommy Abuel), another lawyer of intelligence and a strong conviction, however, does not give up on her and resolves to pursue her or wait for that time when she will be more receptive to a man’s affections. Also stars Dindo Fernando, Liza Lorena, Baby Delgado, Leila Hermosa, Suzanne Gonzales and Odette Khan. Written by Portia Ilagan and directed by Danny L. Zialcita for Film Ventures, Inc. – Trigon Video
Film Achievement: The fourth Vilma Santos-Nora Aunor films (the other films are: Young Love, Pinagbuklod ng Pag-ibig, Ikaw Ay Akin.
Film Reviews: “…The remastered version of Danny Zialcita’s T-Bird AT Ako is clearly something that we can be proud of. At an age of total enlightenment, we no longer need to know who’s better between Aunor and Santos. What matters now is that we have a film we can return to, so we can once again, embrace the magic of cinema and understand why it continually touches our lives. Apart from a salute to a director, who has once graced our taste and tickled our sensitivities as Filipinos, it is also a celebration of two great actresses who will ceaselessly make us smile every time we wonder what magic they have that makes us submit to their bidding…”- Orly S. Agawin, Jellicle Blog, 26 February 2015 (READ MORE)
“…The restoration campaign focuses on directors primarily. In the case of the 33-year old ‘T-Bird at Ako,’ it’s vintage Danny Zialcita with his snappy dialogue and witty repartee. It’s also the last time that Nora and Vilma co-starred in a movie and with such a daring theme for its time. “T-Bird at Ako” tells the story of a sexy dancer (Santos) accused of homicide. She is defended by a female lawyer (Aunor) who tries to keep their relationship professional as the latter struggles with confusion as to her sexual preference. T-Bird at Ako is among the 75 films restored by ABS-CBN Film Archives, in collaboration with Central Digital Labs, since it started its restoration project in 2011. Some of these restored films were already screened internationally via film fests, screened locally via red carpet premieres, aired on free-to-air and cable television, viewed via pay-per-view and video-on-demand, distributed on DVD, and downloadable even on iTunes…” – LionhearTV, 26 February 2015 (READ MORE)
“…The 1982 blockbuster T-Bird At Ako was not the first movie to star rival screen icons Nora and Vilma, but it played up the rivalry of the two, even coming up with a circular “billing” so you couldn’t tell whose name appeared first. It also has a titillating premise: Nora Aunor plays Sylvia, a successful lawyer who finds herself sexually attracted to Vilma Santos’s Isabel, a nightclub dancer/hostess accused of murder. The movie is absolutely delightful, and its two stars never looked better, but if you’re looking for a serious discussion of LGBT issues, look elsewhere. As writer Portia Ilagan said in her introduction, she and the director had a spat over the “redeeming” ending, which in the tradition of old Tagalog movies suggests that homosexuality is a temporary phase that can be cured…In T-Bird at Ako, every character is a character, and even the most minor characters get to unleash verbal zingers. Many of these zingers seem like throwaway remarks, so you need to pay close attention. “Saan tayo?” says the taxi driver. “Sa impyerno,” says Vilma Santos, and the movie doesn’t make room for the audience’s laughter but barrels right into the next scene. It occurred to me that Danny Zialcita’s movies, which were marketed as melodramas, are really screwball comedies, the genre I love most in the world. The plots are preposterous, the story is only loosely related to real life, and everyone is clever. It doesn’t try to be like the actual world, it wonders why the world isn’t more fun like a movie…”
“…Nora Aunor has the more difficult role. Her Sylvia is a cerebral woman who has never paid much attention to her feelings and suddenly finds herself swamped with them. Could she be a lesbian? The movie’s timidity and its fear of offending the traditionalist audience doesn’t help her: she is reduced to being petulant and jealous when Vilma’s Isabel stays out late at night. But Nora uses her famous power of understatement to convey the confusion, discomfort, and amazement of emotional awakening. It’s also refreshing to see her play an established, affluent character whom no one would think of oppressing. Make her api at your own risk. Vilma Santos is in her element playing the quintessential Vilma role: the woman of feeling who has no qualms about expressing them. She also has a nightclub dance sequence that, far from portraying her as a downmarket floozy, makes her look like she should be headlining a TV variety show. Oh right, she’s done that. And her line readings are hilarious. Under cross-examination by Tommy Abuel, who asks if she can understand his questions in English, she says, “Opo, hindi naman malalim ang English niyo.” Offhandedly, without turning it into a moment…” – Jessica Zafra, Interaksyon, 27 February 2015 (READ MORE)
“…Ang husay talaga ng director na si Danny Zialcita. And the actors in the movie were equally good. Sa court scene, hindi nagpatalo sina Johnny Wilson at Tommy Abuel as the prosecutors. Ang gagaling nilang magbitaw ng mga dialouges. At hindi rin nagpatalo ang Superstar as the defense lawyer. Superb ang exchange words sa court room. We wondered kung sino ang scriptwriter ng pelikula. But Manay Ethel Ramos said na si Danny Zialcita is an expert on that area. Halos hindi maalis ang tutok ng lahat kay Ate Vi with her sexy dance number and she was in a red skin tight outfit with the lower part exposing very shapely thighs and legs. Sabi nga ng anak naming si Julienne who was with us during the viewing of the film, “Ang ganda ni Vilma lalo na ‘yung ilong niya. Girl na girl talaga siya. Ang ganda rin ni Nora pero pang-masa talaga ang dating niya. Very convincing siya as t-bird. Paglabas ko, Mommy, ng film center, tumatak sa akin na t-bird talaga siya.” Nandun sina Aiza Seguerra at Liza Dino to support the film since the film is about same sex relationship. Nandun din si Direk Perci Intalan who is, as everywone knows, married to writer Jun Lana. Kay Portia Ilagan (the right hand of Sen. Bong Revilla) pala ang kuwento ng T-Bird at Ako. Kuwento diumano ito ng buhay niya. Dahil yung same sex relationship ay hindi pa masyadong accepted nung time na ginawa ang movie, sa ending, hindi nagkatuluyan sina Vilma at Nora. May mga dialouges pa si Ate Vi na “Nandidiri ako sa ‘yo.” nung mag-attempt si Ate Guy na haplusin siya. So, sa ending si Nora ay napunta kay Tommy Abuel at si Vilma naman kay Dindo Fernando. Sey kuno ni Portia sa isa namaing kasamahan sa panulat na nag-interview sa kanya, ang ayaw niya sa ending ay pinag-bestida raw si Ate Guy. She accepted the ending na napunta si Ate Guy kay Tommy Abuel pero ang di niya nagustuhan ay pinagsuot ito ng bestida. In real life kasi, never sigurong nagsuot ng dress si Kabsat Portia…” – Len Ramos Llanes, Bulgar, 27 February 2015 (READ MORE)
“…Na-miss ng film critics at ng showbiz industry ang style ng yumaong Danny Zialcita sa pagdi-direk. Ilan sa kanyang mga obra ay ang Nagalit ang Buwan sa Haba ng Gabi at marami pang iba tulad ng T-Bird at Ako na ipinalabas sa UP Film Center las February 25. Ang bida ng classic film na ito ni Danny ay ang dalawang superstars ng local film na sina Vilma Santos at Nora Aunor. Ang said film ay ilan lang sa mga restored film into its original na gawa ng ABS-CBN Film Restoration. Ang mga nauna nang restored films na ipinalabas sa said venue ay ang tatlong pelikula ni Batangas Governor Vilma Santos-Recto like Bata Bata Paano Ka Ginawa at Anak. Anyway, dumating si Nora sa UP Film Center nang mas maaga sa takdang oras ng palabas na 6pm. Unfortunately, walang Vilma na dumating although nagpasabi ito sa kanyang mga Vilmanians na hindi siya makakarating due to important committment sa Batangas. Bagama’t wala si Ate Vi, kumpleto pa rin ang Vilmanians sa pangunguna ni Jojo Lim na siyang nag-asikaso sa mga press people na kanyang inimbitahan. Pagkatapos ng welcome speech ni Leo Katigbak, ang head ng Kapamilya Film Restoration, sumunod na nagpasalamat si Ate Guy sa mga dumalo sa event, maka-Nora man o Maka-Vilma. Nasa 4th row nakaupo si Ate Guy habang ongoing na ang viewing. Binulungan kami ng aming katabing isang radio host-columnist na “Tumatakas na si Nora.” True, napansin ng lahat na nu’ng ipinapakita ng ilaw, bakante na ang kinauupuan ng Superstar. Tuloy, ‘di na naman nakalusot sa intriga ang bulilit aktress at biro ng aming katabi, “Nag-walkout yat? e, kasi nga, kahit wala si Vilma, mas malakas ang palakpakan sa kanya,”sey ng aming katabi. Bago pa ang screening ng T-Bird at Ako sa UP Film Center, nagpaunlak ng pahayag si Nora at naitanong ng katotong Morly Alinio kung papayag ba ito sakaling magkaroon ng T-Bird At Ako part 2 kahit na pareho na silang may edad? Sagot ni Ate Guy, “Why not? Depende siguro ‘yun sa istorya,” sey sa amin. “Wala namang problema sa amin ng mare ko,”na tinutukoy ay ang Star for all Seasons…” – Ador Saluta, Bulgar, 27 February 2015 (READ MORE)
“…Ang kuwento ng T-Bird At Ako ay tungkol sa isang dancer (Vilma) na naakusahan ng homicide. Ipagtatanggol siya ng isang abogada (Nora) na susubukang panatilihing propesyunal ang kanilang ugnayan habang nilalabanan ang pagkalito sa kanyang sexual preference. Si Portia Ilagan ang sumulat ng script ng T-Bird At Ako at ayon sa kanya, magkakaroon daw ito ng remake. Ang gusto niyang magbida sa bagong version ng pelikula ay sina Angel Locsin (dancer) at Bea Alonzo (lawyer). Gusto rin niyang maging part ng pelikula sina Vilma at Nora, Aiza Seguerra at asawa nitong si Liza Dino…” – Leo Bukas, Journal, 28 February 2015 (READ MORE)
“…Humahantong ang resolusyon ng pelikula sa antas nang mapilitang magkasundo ang mga magkakatunggali. Sa pagtatapos nito ay bumalik si Aunor sa tunay na esensya ng kanyang pagkababae. Nagmula ito sa matagumpay na babaeng nagpasimula sa pagtagumpay ng mga tradisyonal na pagpapahalagang pang-kababaihan. Tulad ng inaasahan, napapalooban ang T-Bird At Ako ng mga kapani-paniwalang pagganap at pagtatapat. Higit na epektibo si Nora Aunor bilang isang lesbiyana sa pagpapahayag ng komplikasyon sa tauhang kanyang ginagampanan. Lubha namang nakakapagod ang pagganap ni Vilma Santos sa pelikula. Hindi makaramdam ng simpatiya ang manonood dito dahilan sa karton ang kanyang karakter. Samantala magiting ang suportang ipinamalas ni Tommy Abuel bilang matiyagang manliligaw ni Aunor, gayundin sina Dindo Fernando at Suzanne Gonzales. Sa maikling paggnap ay lubhang katangi-tangi sina Anita Linda at Odette Khan. Masasabing masinop ang mga elemento ng pelikula sa T-Bird At Ako, maliksi ang galaw ng mga biswal at masigla ang paggamit ng tunog upang mabisang mailarawan ang mundong ginagalawan ng mga tauhan nito.” – Jojo Devera, Sari-saring Sineng Pinoy (READ MORE)
“…Danny Zialcita’s T-Bird at Ako is entertaining cannot be doubted. The plot situations are funny. The lines are witty. The pacing is fast. The lesbian love of Nora Aunor for Vilma Santos, moreover, is extremely clever, since the two superstars in real life would not be caught dead in such a relationship. Zialcita has made a career of doing impossible things. He made he-man Dindo Fernando a homosexual in the Mahinhin series. He now makes Aunor a lesbian. When he tries to make Santos a low-class beerhouse dancer, however, he fails. That makes his record two out of three impossible things, not bad for normally sedate local cinema. This film shows Zialcita at his best – irreverent, tongue-in-cheek, unconcerned with larger themes, focused on obsessive sexual relationships. Let’s take the dialogue first, which cleverly juxtaposes the fiction of the film with the reality of the careers of the two superstars. Thus references are made to Santos’ being a “burlesque queen.” One character is even named “Rubia,” after Rubia Servios (1978), Santos’ competition film against Aunor’s Atsay (1978). More than these allusions, however, the film features sparkling exchanges between Santos and Aunor. Most impressive of all the lines perhaps are those in the court room sequence, since the opposing arguments are easy to follow, yet logical in structure. The direction is tight and masterful. Although one always gets reminded in a Zialcita film of sequences from foreign films, there is a minimum of unmotivated blocking in this film. Each sequence contributes to the whole film (if there is copying, in other words, and I do think there is in this film, the copying is not done simply to be cute or clever, but in accordance with the logical requirements of the plot). The performances, as expected of a Zialcita film, are excellent. Aunor is more effective as the confused lesbian, primarily because Santos is not able to get the rough and ready quality of low-class hospitality girls. Tommy Abuel is terrific in his role as the patient suitor. Fernando is given too little space to develop his character, but what he has, he makes good use of. Captivating is Suzanne Gonzales, though she has to learn to use her face a bit more to express varying emotions. In their brief roles, Anita Linda and Odette Khan are delightful.” – Isagani Cruz, September 22, 1982, Movie Parade Magazine
No More Superstar Image – “…Isa iyong ikslusibong pakikipanayam sa aktress sa set ng “T-Bird,” isang pelikulang tumatalakay sa mariing iksistensiya ng isang tomboy, at sa pagkakataong ito, muli na naman siyang makakasama ang kaytagal na niyang kakontemporaryong aktress, si Vilma Santos. Sa intriga’t kontrobersiya ng naturang pelikula, (sapagkat kamuntik nang hindi matuloy ang proyekto) nagpapasalamat si Nora at nagkaroon din iyon ng katuparan. Nagtapat siya: “Malaki rin ang naitulong nang pagkikita namin ni Vi sa Manila International Film Festival. Kasi, magkatabi kami. Kinabukasan nun, Saturday, meron nang shooting…Tapos, ang laki rin ng tulong nu’n kasi nagkakuwentuhan na rin kami, ang sarap! Ewan ko, ang sarap talaga ng pakiramdam kung halimbawang magkalaban kayo sa career…magkalaban, pagkatapos ang tagal-tagal n’yo, ‘yung ganu’n. ‘Yong bang hindi mo akalain…Kahit nga mga problema nag-kakuwentuhan din kami, eh…So, ‘nu’nung shooting namin, medyo hindi rin ako masyadong nahirapan sa pag-a-adjust…” Ang totoo, ayon kay Nora, medyo ayaw din niyang tanggapin noong una ang papel na iyon sa “T-Bird.” Unang-una naipangako niya sa sariling gagawa lamang siya ng tatlong pelikula para sa 1982, at hindi nakalinya ang obrang iyon ni Danny Zialcita. Isan linggo niyang pinag-isipan ang alok na iyon ay gumuhit nang malalim ang isang intrigang kanya rin napaglabanan, pagkatapos. “Kasi, unang-una, iniisip ko rin naman, siyempre maraming tao na mag-iisip na naman, magsasalita na naman ‘O baka naman tinatanggap ni Nora ‘yan kasi kakapit sa pangalan ni Vilma dahil alam na down na down na siya!…So, ‘yon, nag-worry ako pero pagkatapos kong pagaralan, naisip ko, bakit ko naman pakikialaman ‘yung ibang tao? Sa ngayon naman, nag-matured na kami. Wala na ‘yung mga batang isipan d’yang Superstar image. Unang-una nga, magsasama kami ngayon as actresses. Hindi na mga dating pa-bandying-bandying ang mga pelikula ngayon…saka isa pa, bakit ko ba iintindihin ang mga sasabihin ng tao? Kung maraming mga detractors ang magsasalit at mag-iisip nang ganun, hindi maiiwasan ‘yon. Maski anong paliwanang ang gawin mo, andu’n pa rin ‘yung kaumakalaban sa iyo…” Isang seryosong pelikula ang “T-Bird” at isang seryosong direktor naman si Danny Zialcita. Ang kay Nora ay ang maranasan ang pagpapel ng isang tomboy hindi sa paraang kumedya kundi sa isang paraang dramatika. Gusto rin niyang maranasan kung paano maiderihe ni Danny sa unang pagkakataon…” – Arthur Quinto, photos by Fely Igmat, Artista Magazine, 04 March 1982, Re-posted by James DR, Pelikula Atbp (READ MORE)
Basic Information: Directed: Romy Suzara; Story: Tom Adrales; Screenplay: Haydee Castillo; Cast: Vilma Santos, Dindo Fernando, Eddie Rodriguez, Celia Rodriguez, Anita Linda; Production Co.: Cinex Films, Inc.; Producer: Pio C. Lee; Executive Producer: Conrado C. Puzon; Release Date: 30 October 1981
Plot Description:Hiwalay is the story of an unhappy wife who finds temporary fulfillment with a lover. The illness and subsequent recovery of her daughter cause her to seek reconciliation with her husband.
Film Achievement: 1981 FAMAS Best Screenplay – Heidi Castillo; Hiwalay was ranked 4th on Longest Tagalog-Language Drama Feature Films at 138 minutes (1. Sponsor (2011) 160 mins; 2. Red Diaries (2001) 156 mins; 3. Andrea, paano ba ang maging isang ina? (1990) 155 mins).
One of ten films with Vilma Santos (Nakakahiya, Hindi Nakakahiya, Simula ng Walang Katapusan, Halik sa Paa Halik sa Kamay, Hiwalay, Mga Mata ni Angelita, Kay Tagal ng Umaga, Hindi Nahahati ang Langit, Kasalanan Kaya?, Sino ang may Karapatan?). And one of seven films with Vilma Santos (Langis at Tubig, Gaano Kadalas ang Minsan, Baby Tsina, Karma, Langis At Tubig, Hiwalay, T-Bird At Ako). – RV (READ MORE)
Film Review: “…Dagdag pa ni Vilma, “Pero isa rin sa pinakapaborito ko is Dindo Fernando. Si Dindo, na yumao noong 1987, ay nakapareha ni Vilma sa mga pelikulang gaya ng Langis at Tubig (1980), Hiwalay (1981), T-Bird At Ako (1982), Gaano Kadalas Ang Minsan (1982), Baby Tsina (1984), at Muling Buksan Ang Puso (1985)…” – Rico Jr (READ MORE)
“…One of the greatest dramatic actors of Philippine cinema, he starred in such classics directed by Gregorio Fernandez as Kundiman ng Lahi, Luksang Tagumpay and Malvarosa with Charito Solis, Rebecca del Rio and Vic Silayan for LVN Pictures, Inc…His real name was Luis Enriquez from Zamboanga City (FAP). Eddie Rodriguez who was once played father to Vilma Santos in Vilma’s child star years later became her leading man in smash hits Nakakahiya and the sequel Hindi Nakakahiya. Total Number of films with Vilma Santos: 10 (Nakakahiya, Hindi Nakakahiya, Simula ng Walang Katapusan, Halik sa Paa Halik sa Kamay, Hiwalay, Mga Mata ni Angelita, Kay Tagal ng Umaga, Hindi Nahahati ang Langit, Kasalanan Kaya?, Sino ang may Karapatan?).” – RV (READ MORE)
“…Dindo Fernando was born Jose Tacorda Chua Surban on Nov 19, 1940. He became one of the most popular dramatic actor in the Philippines. He was famous as the father of famous TV soup character, Flor De Luna played by Janice De Belen in the 80s. He started at Sampaguita Pictures opposite Nida Blanca in 60s and later branched out into commercial drama actor in the 70s and 80s. His famous movie with Vilma was Gaano Kadalas Ang Minsan and Langis At Tubig. Total Number of films with Vilma Santos – 7 (Langis at Tubig, Gaano Kadalas ang Minsan, Baby Tsina, Karma, Langis At Tubig, Hiwalay, T-Bird At Ako)…” – RV (READ MORE)
“If he goes, you go, if he dies…dalawa na kayong nawala sa buhay ko.” – Lily
“You’re supposed to be the father of the sick boy, not the willing husband of the boy’s mother! That was the arrangement Louie!” – Elsa
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Basic Information: Directed: Danny Zialcita; Story: Tom Adrales; Screenplay: Tom Adrales, Danny Zialcita; Cast: Vilma Santos, Hilda Koronel, Dindo Fernando, Chanda Romero, Tommy Abuel, Mark Joseph Enriquez, Suzanne Gonsales; Executive producer: Vic del Rosario Jr.; Original Music: George Canseco; Cinematography: Sergio Lobo; Film Editing: Ike Jarlego Jr.; Sound: Vic Macamay; Theme Songs: “Gaano Kadalas Ang Minsan” performed by Pilita Corales, Basil Valdez; Released date: 25 November 1982
Plot Description: They are two women in love with one man. One is the wife, the other is the mistress. And between them, the man whose love and time they share. But even the most discreet of affairs can be laid open, and the most submissive of wives can lose her patience. Vilma Santos, Hilda Koronel and Dindo Fernando lend their thespic talents to this moving tale of love, betrayal and retribution.. – IMDB
Lily (Vilma Santos) and Elsa (Hilda Koronel) have been friends for a long time but they both share loads of life’s difficulties. Elsa is married to Louie (Dindo Fernando) but unfortunately couldn’t bear a child. Elsa on the other hand, had a son out of wedlock and worse, is afflicted with congenital heart disease. Lily and Louie eventually fell in love until they had a child. Elsa’s hidden intention is to adopt their child. Vilma Santos, Hilda Koronel and Dindo Fernando was able to portray their characters in a moving tale of love, betrayal and retribution. – Wikipilipinas
Film Achievement: 1982 FAP Best Sound – Vic Macamay; 1982 FAMAS Best Editing – Ike Jarlego, Jr.; 1982 FAMAS Best Musical Score – George Canseco; 1982 FAMAS Best Screenplay – Tom Adrales and Danny Zialcita; 1982 FAMAS Best Story – Tom Adrales; 1982 FAMAS Best Sound – Vic Macamay; 1982 FAMAS Best Theme Song – George Canceso; 1982 FAMAS nomination Best Actor – Dindo Fernando; 1982 FAMAS nomination Best Child Actor – Mark Joseph Enriquez; 1982 FAMAS nomination Best Director – Danny Zialcita; 1982 FAMAS nomination Best Picture; 1982 FAMAS nomination Best Supporting Actor – Tommy Abuel; Broke box office record of 1982, Earned P7.3 million during its first day of showing in Metro Manila
Zialcita’s first movie with Vilma was the 1980 festival entry, a drama about bigamy, Langis at Tubig. The following year, Zialcita and Santos joined forces again in another festival entry, Karma. The film earned Vilma her second Metro Manila Film Festival Best Actress. The following year, Ziacita’s Gaano Kadalas Ang Minsan broke box office record, Earned P7.3 million during its first day of showing in Metro Manila and assured Vilma Santos the box office queen of 1982. The total number of Vilma Santos and Danny Zialcita colloborations were four (Gaano Kadalas ang Minsan? 1982, Karma 1981, Langis at Tubig 1980, T-Bird at Ako). – RV (READ MORE)
“…Gaano kadalas ang Minsan? Grossed 7.3 Million in its few days run in Metro Manila in 1982 outgrossing “Sinasamba Kita” for Philippine movies all-time box office tally. With inflation and currency rate in consideration that will be around 95 million. But thats not the only exciting thing about these film. It was the only film that Vilma Santos and Hilda Koronel did while atleast when Hilda was still at her peak. Ofcourse, Ate Vi’s career remained as hot as ever while Koronel now accepts supporting roles. It was obvious that year that Hilda was also more glamourous than Vilma but looking at the two right now, Vilma maintained that slim, youthful look while Hilda struggled and visibly gained so much weight she can be mistaken as Ate Vi’s aunt or mother! After Gaano Kadalas, Hilda did a few more leading roles under Viva Films even co-starred with Nora Aunor but didn’t get the same results as Gaano. But like what William Leary says, “mahirap matalbugan si Vilma, Vilma is Vilma in any season and whatever movie!…” – MPL (READ MORE)
Film Review: Sa “Gaano Kadalas ang Minsan?,” minsan pang pinatunayan ni Danny Zialcita ang kanyang pambihirang abilidad sa pagbibigay ng bagong treatment sa lumang tema ng pag-ibig, na kadalasa’y umiikot sa pormula ng triangulo. (Hindi nga ba’t maging sa kanyang mga naunang obra, tulad ng “Hindi sa Iyo ang Mundo, Baby Porcuna” at “Ikaw at ang Gabi”, ay naitatak ni Zialcita ang kanyang makabagong sensibilidad sa pagtalakay sa mga kuwento ng pag-ibig? Mula sa istorya ni Tom Adrales (nagsilbing katulong ni Zialcita sa iskrip at sa direksyon), ang “Gaano kadalas” ay tungkol sa magkaibigang Lily (Vilma Santos) at Elsa (Hilda Koronel), na bagama’t kapwa nakaririwasa sa buhay ay magkaiba naman ang swerte. Matapos magpatingin si Hida sa doktor, nalaman niyang wala na siyang pag-asang magka-anak pa. Si Vilma nama’y may kaisa-isang anak nga sa pagkadalaga pero wala naman itong ama at, mas grabe pa, may taning na ang buhay ng bata (may congenital heart disease ito). Minsan, nagkahingahan ng problema ang magkaibigan, at sa kanilang pag-uusap, inalok ni Hilda si Vilma na gawing ama ng kanyang anak ang asawa nitong si Louie (Dindo Fernando). Bagamat ipinalabas niyang mahal din niya ang bata at gusto niya itong mapaligaya kahit pansamantala lang, ang kanyang tunay na pakay ay mapaglapit ang kaibigan at ang asawa nang sa gayo’y magkaroon siya ng maaampong anak na mula sa relasyon ng dalawang taong kapwa niya mahal.
Nagtagumpay ang tatlo sa kanilang pagpapanggap, at gaya ng inaasahan, nagkaibigan nga ang dalawa. Pagkatapos mamatay ang anak, nagbuntis si Vilma. Dahil delikadong manganak siyang muli (diumano’y may sakit siya sa puso), nagtangkang ipalaglag ni Vilma ang nasa kanyang sinapupunan. Napigilan siya ng kaibigang si Chanda Romero at ni Dindo mismo. Pero, sa wakas, nang siya’y magsilang, nawalan si Elsa ng asawa, kaibigan at anak.
Mahusay ang pagkakdevelop sa kuwento ng “Gaano kadalas” at epektibo ang direksyon ni Zialcita. Nagawa nitong masangkot ang manonood sa problema ng mga tauhan. Absorbing ang naging tunggalian ng mga puso’t damdamin. Naipakitang may sapat na motibasyon ang kanyang mga tauhan para pumasok sa ganoong arrangement. Gayunpaman, may ilang katanungang hindi nasagot sa pelikula. Una, paano nakasisiguro si Hilda na ipagkakaloob sa kanya ni Vilma ang anak nito kay Louie sakali ma’t hindi namatay ang bata? Ikalawa, bakit masyadong naging hayagan ang relasyon nina Vilma’t Dindo lalo pa kung isasaalang-alang ang kanilang tayo sa sosyedad? At ikatlo, kung totoong mapera si Vilma, bakit nahirapan siyang kumontak ng abortionist at dahil nga dito’y isinugal pa ang buhay? Kung tutuusin, lalo pang naging prominente ang mga kakulangang ito dahil lubusang nagrely ang pelikula sa samut-saring medical convolutions ng plot: kesyo hindi pwede manganak si Hilda, kesyo may anak nga si Vilma pero blue baby naman at kesyo hindi rin siya pwedeng manganak ulit dahil sa sakit niya sa puso (at ang mga ito ay nakapagtatakang hindi pa nalalaman ni Dindo).
Ang madalas magpaangat sa pelikula ay ang acting ng cast. Dahil mas malaman ang kanyang papel at tila na perfect na ni Vilma Santos ang agony ng other woman, mas nangingibabaw ang kanyang performance kay Hilda Koronel. Kahit na mas marami ang nagsasabing si Hilda ang angat dito. Pasulpot-sulpot ang papel ni Hilda at may kahinaan ang motibasyon (isipin mong siya pa ang nagtulak sa sariling asawa sa ibang babae!). Medyo nakaka-distract ang kanilang mga kasuotan (mga gawa ni Christian Espiritu), gaya rin ng ayos ng mga bahay at kasangkapang tila nakikipagkumpetensiya sa tauhan. Epektibo rin ang pagganap ni Dindo Fernando bilang Louie na nahati ang puso para sa dalawang babae. Magaling din ang supporting cast, lalo na si Suzanne Gonzales, ang yayang sosyal, at ang batang si Alvin Joseph Enriquez. Kahit maikli ang kanilang papel, mahusay rin ang rehistro nina Tommy Abuel, ang doktor na nanliligaw kay Vilma, at si Chanda Romero, bilang matalik na kaibigan ni Vilma. – Justino Dormiendo, Manunuri Ng Pelikulang Pilipino
Ang pelikulang umiikot sa tatsulok ng pag-ibig ay isa na sa perennial favourites ng masang Pilipino. Maging ang kapanuhunan pa nina Rogelio dela Rosa at Carmen Rosales ay palasak na ito sa mga pelikulang tulad ng “Maalaala Mo Kaya”, “Tangi Kong Pag-ibig” at “Lydia”. Ang kadalasang katriangulo nila noon ay si Patria Plata o kaya’y si Paraluman. Nag boom ang love triangle movies noong 60’s matapos nag hit sa takilya at manalo ng katakut-takot na Famas awards ang “Sapagkat Kami’y Tao Lamang” na siyang naglunsad kina Eddie Rodriguez, Lolita Rodriguez at Marlene Dauden sa di-mabilang na mga pelikulang pawang ganito ang tema. Halimbawa’y ang “Kasalanan Kaya”, “Babae, Ikaw ang Dahilan” at “Ikaw”. Ngayo’y muli na namang na-resurrect ang triangulo ng pag-ibig sa “Gaano Kadals ang Minsan?” sa katauhan nina Vilma Santos, Hilda Koronel at Dindo Fernando. At sa tingin namin, sa mga nag-portray na ng ganitong klase ng roles lately, sila na ang pinakamalapit sa orihinal at tipong talagang magmamana ng trono nina Lolita, Marlene at Eddie. Ang istorya nga ng “Gaano kadalas” ay halos hawig din sa isang lumang pelikula nina Lolita, ang “Kapag Puso’y Sinugatan” na pinamahalaan ni Fely Crisostomo at nagwagi ng Famas best picture, best director at best actress awards (for Marlene) noong 1967. Mayroon din ditong batang may congenital heart defect na nasa sentro ng istorya. Hindi na rin bago sa direktor ng “Gaano Kadalas” na si Danny Zialcita ang love triangle. Ganito rin ang tema ng kanyang “Langis at Tubig” na nagpanalo kay Dindo ng dalawang best actor awards noong 1980. Pero dito sa “Gaano Kadalas” ay lalong tumingkad ang mahusay niyang pagha-handle, hindi lamang ng paksa kundi maging sa kanyang mga artista.
Magkaibigang matalik sina Lily (Vilma) at Elsa (Hilda). Nalaman ni Elsa na may sakit sa puso ang anak sa pagkakasala ni Lily at may taning na ang buhay nito. Gustong makita ng bata ang kanyang di-nagisnang ama at upang matupad ang huling hiling na ito ay ipinahiram ni Elsa ang asawa niyang si Louie (Dindo) kay Lily. Siyempre pa, ayaw ni Lily noong una pero alang-alang sa anak ay pumayag na rin siya (Noong una’y inakala naming magiging napaka weak ng bahaging ito ng istorya). Sino ba naman ang babaing buong pusong magpapahiram ng kanyang asawa sa ibang babae kahit na sabihin pa ngang best friend niya ito? Pero nalagyan nina Danny Zialcita at co-scriptwiter na si Tom Adrales ng justification ang pasiya ni Elsa. Talagang gusto niyang ibuyo si Louie kay Lily dahil natuklasan niyang siya’y baog at gusto niyang magka-anak ang kanyang asawa sa kanyang kaibigan. Without this ulterior motive on Lily’s part, magiging hindi kapani- paniwala ang buong pelikula. Tulad ng inaasahan ni Elsa, nagkaunawaan sina Louie at Lily habang nagsasama sa iisang bubong ang dalawa. Maganda ang pagkaka -develop ng pagkakalapit ng kanilang mga damdamin. Credible ang pagkakaroon nila ng affair dahil, to begin with, mukhang cold na asawa itong si Elsa (natitiis niyang magkalayo sila ni Louie nang matagal na panahon) at ito namang Lily ay may ekspiryensiya nang nabuntis ng lalaki kahit hindi sila kasal. Nang mamatay ang bata, nagbalik si Louie kay Elsa pero naging masalimuot ang lahat dahil nagdadalangtao na si Lily. Naging malungkot ang wakas para sa bawat tauhan, lalo na kay Elsa na siyang may pakana ng mga pangyayari. Sa tingin nga nami’y parang napakalupit ng ending para sa kanya.
Mahuhusay ang tatlong main stars. may kanya-kanya silang best scenes. Sina Dindo at Vilma sa unang komprontasyon nila matapos magbuntis ang huli nang mukhang hindi excited si Dindo sa pagdadalangtao nito. Si Hilda ay sa panunumbat niya kay Dindo matapos magbalik ito sa kanila, doon sa eksenang sinasabi niyang “That was the arrangement, Louie”. Pero sa lahat ng mga artista ay si Chanda Romero ang nagustuhan namin sa lahat. Kahit maikli’t halos supporting lamang ang role nito bilang kasosyo at confidante ni Vilma ay talagang markadongmarkado ang kanyang pagkakaganap. Napakaepektibo niyang magdeliver ng mga linya, lalo ng mga babala niya kay Vilma na tulad ng: “Huwag mo ng ituloy. Baka masaktan ka sa bandang huli. Babae ka, lalaki si Louie, siguradong gulo ‘yan.” Parang siya ang nag foreshadow sa mga sumunod na pangyayari sa buhay ni Lily. Nang magbuntis ito, siya rin ang nagbigay ng payo: “Pumatol ka rin. Pwede bang ikaw lang magdusa e kasama siya sa sarap?” Kaya’t siya ang nagsabi kay Louie na gustong magpa-abort ni Lily. Ang iba pang-guest supporting players ay magagaling din: si Ronaldo Valdez ay kwelang kwela sa dinner scene nilang apat nina Chanda, Vilma at Dindo; si Tommy Abuel ay napakagaling bilang doktor na may asawang nanliligaw kay Vilma; at si Gloria Romero bilang ina ni Hilda. Ang credit na ito sa pagkuha ng mga mahuhusay at kilalang artista kahit na halos guest role lang ang lalabasan ay dapat na mapunta sa direktor na si Danny Zialcita, na hindi nagtitipid sa pagkuha ng kung sinu-sinong ekstra na siyang kadalasang nangyayari sa ibang pelikulang lokal.
The lions’ share of credit should really go to Zialcita dahil nagawa niyang bigyan ng bagong bihis ang isang behikulong gamit na gamit na. As usual, naroon ang mga pakwelang dialogue na tatak niya. Halimbawa’y nang makita ni Hilda na nanonood si Vilma sa pagpapaalam niya kay Dindo: “Don’t look, Louie, but I think your wife is watching.” O nang sabihin ni Vilma kay Dindo: “Kung nagkataong ibang asawa mo, I’ll gladly be your willing mistress.” maganda rin ang sets, mga bahay at restaurant na ginamit sa pelikula. Mabilis ang pacing at mahusay ang editing, may eksenang out-of-focus si Felizardo Bailen pero as a whole ay mahusay ang trabaho niya. Nakatulong nang malaki sa ikagaganda ng pelikula ang madamdaming musical score at theme song na ginawa ni George Canseco. Sa lahat ng ginawang pelikula ng Viva Films, dito kami talaga nagenjoy. Ngayong nasa Viva na rin si Zialcita, dapat sigurong magpakitang gilas naman si Eddie Garcia na siyang dating solong direktor ng Viva. – Mario Bautista
“Gaano kadalas ang Minsan” Grossed 7.3 Million in its few days run in Metro Manila in 1982 outgrossing “Sinasamba Kita” for Philippine movies’ all-time box office tally. With inflation and currency rate in consideration that will be around 95 million. But thats not the only exciting thing about these film. It was the only film that Vilma Santos and Hilda Koronel did while atleast when Hilda was still at her peak. Ofcourse, Ate Vis career remained as hot as ever while Koronel now accepts supporting roles. It was obvious that year that Hilda was also more glamourous than Vilma but looking at the two right now, Vilma maintained that slim, youthful look while Hilda struggled and visibly gained so much weight she can be mistaken as Ate Vi’s aunt or mother! After Gaano Kadalas, Hilda did a few more leading roles under Viva Films even co-starred with Nora Aunor but didnt get the same results as Gaano. But like what William Leary says, mahirap matalbugan si Vilma, Vilma is Vilma in any season and whatever movie!” – RV (READ MORE)
“…From 1979 to 1986, Zialcita was on a roll, doing one film after another, pulling off nine hits in a row beginning with Gaano Kadalas in 1981 up to his sex comedies that include May Lamok Sa Loob ng Kulambo. He could demand anything from a producer and his wish would be granted. When Viva Films asked him to do Gaano Kadalas, he told Vic and Mina del Rosario that he will only do it if they get George Canseco to write the theme song (most of his popular films had songs by Canseco), and that Hilda Koronel would be one of the leads. Viva granted him both—even if it had to pay more for Hilda than for Vilma. “May utang ako kay Hilda eh, I took her out of Langis at Tubig…” – Jerome Gomez (READ MORE)
Basic Information: Directed: Emmanuel H. Borlaza; Cast: Romeo Vasquez, Vilma Santos, Christopher De Leon, Ripp Rivera, Maila Gumila, Moonie Stevens, Cora Guinto; Original Music: Idan Cortez; Cinematography: Ben Lobo; Film Editing: Edgardo Boy Vinarao
Plot Description: Dingdong (Vilma Santos) finds herself in a romantic fix. On one had is Morris (Christopher de Leon), a handsome young guy, hard-working, responsible, and deeply in love with her. On the other hand is Carlos (Romeo Vasquez) who has abandoned is wife and child for a life in the United States, and is now a man who is financially secure. Will it be Morris or Carlos? This movie was shot against some of the most romantic sites in Northern California, U.S.A. Also stars Rosemarie Gil. Directed by Emmanuel H. Borlaza for Tagalo Ilang-Ilang Productions. – Trigon Video
Film Achievement: No Available Data
Film Review: “…You know, it’s amazing because we’ve never been linked to each other and yet the public loves seeing our movies together. Siguro it’s because we have this unbelievable chemistry. We know each other so well that tinginan lang on screen, we already know what to do to make a take very good…” – Mario E. Bautista (READ MORE)
“Sometime in the mid 70s, matinee idol Romeo Vasquez returned to the movie scene after a long absence, his movie career in limbo after his failed marriage with popular actress Amalia Fuentes. His teamup with Vilma Santos somehow rekindled and revived his career. Their first movie together, Nag-aapoy na Damdamin in 1976 turned out to be a big hit. Despite their age gap, reel and real life sweetheart, Romeo, 34 and Vilma, 23, soon became the hottest love team, doing one hit movies after another…” – Video 48 (READ MORE)
“…Romeo Vasquez is an oddity in Vilma’s life. Hindi akalain ng lahat na ang isang notorious playboy and balikbayan actor would capture the heart of the then elusive Ate Vi. Nagkaroon sila ng affair which lasted for more than a year. Kilala si Bobby sa pagiging bohemyo kaya naman walang kakilala si Ate Vi na bumoto sa aktor. Ate Vi was love struck at talagang na head-over heels in love. Nagsimula ang kanilang affair sa set ng kanilang pelikulang “Nag-aapoy na Damdamin”. True to this title, nagliyab silang dalawa at tunay ngang nag-apoy ang kanilang damdamin. May plano pa nga sila ni Bobby na magpakasal sa Europe. Talagang Ate Vi was ready to give up her life as an actress and would settle with the actor abroad. And with herb relationship with Bobby, nag-surface ang bagong Vilma Santos.Ate Vi realized that she cann’t sacrifice everything for love. Nagising siya sa katotohanan at nagkamali kung kaya nagdesisyon siyang kumalas sa bohemyong aktor…” – Willie Fernandez (READ MORE)
“…But it was with handsome actor Romeo Vasquez that Vilma Santos had her most controversial relationship. Romeo was the former husband of Philippine movie queen Amalia Fuentes. He and Vilma first paired in the movie Nag-aapoy na Damdamin (1976). It was also during this year that they became a couple. They made several movies together, all of which did well at the box-office. Vi and Bobby (Romeo’s nickname) became the most-talked about reel and real love team at the time. The relationship was always on the pages of showbiz magazines and tabloid entertainment section pages because of the intrigues and the personalities who got involved with them…” – Rommel R. Llanes (READ MORE)
Star For All Seasons 
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