Vilma Santos is a popular multi-awarded actress and politician in the Philippines. She's known as the "Queen of Philippine Movies," "Queenstar" and "Star for All Seasons." She is currently the Congresswoman of District of Lipa, Batangas (Philippines). This site is mostly about her film career.
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 trianggulo. (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 (na nagsilbing katulong ni Zialcita sa iskrip at sa direksiyon), ang Gaano Kadalas ay tungkol sa magkaibigang Lily (Vilma Santos) at Elsa (Hilda Koronel), na bagama’t kapwa nakaririwasa sa buhay ay magkaiba naman ng suwerte. Matapos magpatingin si Hilda sa doktor, nalaman niyang wala na siyang pag-asang magkaanak 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 desease ito). Minsan, nagkahingahan ng problema ang magkaibigan, at sa kanilang pag-uusapa, inalok ni Hilda si Vilma na gawing ama ng kanyang anak ang asawa nitong si Louie (Dindo Fernando). Bagama’t 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 magakaroon siya ng maaampong anak mula sa relasyon ng dalawang taong kapwa niya mahal.
Nagtagumpay ang tatlo sa kanilang pagpapanggap, at gay ng inaasahan, nagka-ibigan 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. Perso sa wakas, nang siyang magsilang, nawalan si Elsa ng asawa, kaibigan at anak. Mahusay ang pagkakadevelop sa kuwento ng Gaano Kadalas at epektibo ang direksiyon 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. Gayunman, may ilang katanungang hindi nasagot sa pelikula. Una, paano nakakasiguro 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? 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 nag-rely ang pelikula sa samu’t saring medical convolutions ng plot: kesyo may anak nga si Vilma pero blue baby naman at kesyo hindi rin siya puwedeng 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 cast. Dahil mas malaman ang kanyang papel at tila naperfect na ni Vilma Santos and agony ng other woman mas nangibabaw ang kanyang performance kay Hilda Koronel. Kahit na mas marami ang nagsasabing si Hilda ang mas 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 nakati ang puso para sa dalawang babae. Magagaling din ang supporting cast, lalo na si Suzzanne 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 kabibigan ni Vilma. – Justino Dormiendo, Manunuri Ng Pelikulang Pilipino, Jingle Extra Hot Magazine 1982, reposted by Pelikula Atbp (READ MORE)
1:00 PM Summer: 7 Stars in Special Sunday Session – Summertime. And Sunday too. So it started like a summer day. Casual yet exciting. Carefree and promising. With a lot of expectations for the moment ahead. So it was with having seven young stars around, TSS Stars ’70: Vilma Santos, Tirso Cruz III, Nora Aunor, Eddie Peregrina, Edgar Mortiz, Ed Finlan, and Hilda Koronel (in the order of their arrivals). There they were, prompt in their youth, bubbly in their youth, unassuming in their confident in their success amid an ancient backdrop, the UST Pharmacy Gardens. When age and youth meet in such a dramatic setting, there is bound to be communication, reaction, combustion. Effects! And what is a more fitting place to spend an early summer afternoon than staid, old UST with young, alive radiant stars for company and that peculiarly romantic, nostalgic summer air. And when the yound stars started posing, smiling, obliging and when the cameras went on clicking, popping shuttering and when scribes began talking, laughing directing, the summer day with its flair, laziness and air became an impromptu ball for all concerned. One fun-filled episode of a lifetime. A slice of real life to be kept in one’s heart for the memory. Now, you may wonder why we have seven successful young star this issue when TSS launched only six last January?
Blame the whole mess on Ed Finlan. Blame it on his personality, his promise, his name that just can’t be ignored. Blame it all on the zooming career of Edward Walter Valdes Finlan. So the special seven. On this photo-session hangs a story. A story of hope coupled with a little confusion from that time Kuya Bert planned to put out another issue as a follow-up. Timely enough. After all TSS started the whole pakulo. The session itself was postponed three times – just to be assured of the attendance of all – including Nora Aunor who missed it that first round. Every time it was moved to another date, we lost face some wasy, especially to Pip’s Mommy Elma with whom we played ulianin by reminding her each time we met. That first time, it was called off. Edgar and Vilma were in Baguio City for shooting. The next date, everybody can’t make it with TV programs and last time shooting to do. So it was finalized on Sunday, March 15 at 1:00 piyem. It would have been Fort Santiago as rendezvous but Sunday is Sunday in the forth with the usual Sunday crowd being there. Why not a school campus since graduation and demos were in the air? And the stars came beyond modest expectation, ahead of schedule. Vilma Santos came with her Mommy Mila and Papa Amado. Tirso Cruz III came with uncle Joey and a group of friends while Nora entered the scene with a few fans.
A Mustang (aba, bago!) ushered in Eddie Peregrina with his man Friday. Edgar Mortiz with Dad Celso adn Mom Lucy with fans Angge, Mario Cay, Luz Orellano and Araceli Paraiso. Ed Finlan arrived with his usual confident self. And Hilda came with Mila Parawan to complete the magnificence. At little confusion resulted. It began with a comedy of errors. With Vilma, Pip, Nora and Eddie, there was only scribe Ched Gozales to entertain them and out they were in the Pharmacy Gardens before one one o’clock only to be told later taht the assembly point was the UST Arch along España. Under the heat of the summer sun, the group went to the Arch only to be told that the locale would actually be the Gardens. Since after all, a big number of movie fans and onlookers had already started to form at the UST entrance. The merry excited entourage made its way to the Gardens once again. Ed Finlan with his shocking humor and equally color-shocking attire of yellow shirt with loud-striped pants under the golden sun was summer in motion. Vilma on the other hand had a ball ribbing Eddie Peregrina for being “mayabang kasi Edong ka na ngayon.” Edgar Mortiz was extra solicitous and ultra-PR conscious that time. Hilda did her thing – more of a girl, rather than woman with self-conscious laughter and sweet and pretty flair. Pip was surprisingly in his calm self and ruffled impeccable long sleeve shirt.
Eddie Peregrina was in paisley with that typical Peregrina grin. Nora, quiet and lady-like with a few smile here an a wave of hand there, was in a blue-orchid print. Hilda was the only one in pantsuit, a purple hablon, and she stood out really. Ditto with Haydee’s make-up and hair color on Ed. Oh what they had to forego just to make it to the appointment on time. Edgar and Vilma came from ABS where they had My Love For You at noon. But before that, Edgar came from Sta. Teresita Church where he acted as baptism sponsor. Hilda and Ed came from the Haydee set and they were expected back there in two. Pip was in a rush too, from ABS and then to the bingo social of his fans at their compound and the photo session as far as he was concerned. Eddie Peregrina had an appointment at 2:30 and it was Nora it seems who took her own sweet time. The Gardens yielded an old well, a gazebo-like concrete structure for photographic effects and possibilities. At half-past one, the poses were planned, the shots called for and everyone appearing swell putting their best faces forward, looking deserving of the TSS choice. An old well, very symbolic really, for the first shot and when that first one popped, the sessions began. And for a good forty minutes, the cameras aimed to catch for eternity the faces, the stances, the poses with the smile and bravura of that early Sunday afternoon. After all, that was what the session called for! And after all, what are photos for but for catching, freezing, preserving what is today for tomorrow?
The atmosphere was kept livelieer, dramatic with some curiosity-seekign fans and a number of scribes and last-minute guests. There was Jusyo C. Justo popping out of nowhere with his OBBB, OBWB, CTS and BAB, Doddie Alvarez, Donnie Ramirez, Mercy Lejarde, Marina Reyes and Ched made their presence felt with summery get-up. Late arrivals were Rene Tiosejo for a look-see and Oskar Salazar with a brand new-opera glasses (but Romy Mallari and Roldan de Villa weren’t around). Zeny Peralta of Roper’s was there for someone’s moral support. Two mothers managed to snae some attention – Lucy Mortiz in pink pantsuit and the latest Christian Dior hairdo and Mommy Milagros Tuazon Santos in blue pantsuit, with their respective male halves of course. At twenty past two, Ernie Alfonso had used u his one and half rolls of color film while Bert Verlidas had two black rolls. There was Fred Garces of Roper’s jiving in. The session, the main part of it, was now over. After all the camera clicks, the 1-2-3 shots, the photographers’ directions and the frozen poses were done and the thank-you’s and see-you were said, still one is left with the thought that so far, so good. TSS Stars ’70 are still unspoiled byt success and we hope as one that they all stay that way. And there is something more left in the memory, something better felt than described. For how can such feeling, or any feeling at all for that matter, be caught and pinned down as words in print? I am attempting to that now but I know that it would be the pictures of that special session which will speak a thousand words, a thousand feelings, a thousand hopes. Pictures, eloquent and feeling-filled, with a history of their own! – Billy R. Balbastro, TSS Komiks, 1970 (READ MORE)
La Koronel: Lovely as ever – “A still incredibly lovely Hilda Koronel was one of the guests of Edu Manzano in his TV show last Monday and were we surprised at her slimness? The “Haydee” girl is all of 118 pounds now and she looks slinky and sexy in her all-black mini outfit. There was a time when she was all bulges and even if she still has that beautiful Koronel face, she does not look all right on the screen. We remember that Koronel would not touch any food except steak before. How she loves steak! But all that has now changed. Determinedly, she is now into fruit juices, no rice, no fatty foods and eats only salmon. What didn’t change, one observer commented while viewing her in the show, is her being very blunt and outspoken especially when she said, “If they don;t like me, then, I won’t have anything to do with them” or something to that effect. Koronel is all set to do a film for Viva and we’re sure her fans are all agog about it. Will she be a threat to the throne now occupied by Vilma Santos as “The Actress” to be reckoned with? If we’d make a guess, Lino Brocka’s the right director for the first comeback film of this actress. There’s a certain chemistry between them in the same way there’s an “artistic symbiosis” between Santos and Ishmael Bernal,..” – Nena Z. Villanueva, Manila Standard, Mar 2, 1989 (READ MORE)
Insiang at Cannes – “…Insiang has opened the door for Filipino filmmakers to the international market. The next move is ours and it better be good. “I stayed for only five days,” Hilda sighs, “because I missed home. Our plan was to make a side trip to Paris and see some more of Europe but I decided to come home ahead of Lino.” They left on a Monday, May 15, and Hilda was back the next Monday, May 22. Lino stayed behind to see as many films as he could to negotiate for the entry of Insiang to other film festivals and for its showing on a commercial basis in Europe. In July this year, Insiang will be entered at the Thormina Film Festival in Sicily; in August, at the Montreal Film Festival in Canada; and, before the year is over, at the Carthage Film Festival in Tunisia, along with Maynila (also by Brocka), Ishmael Bernal’s Nunal Sa Tubig), Mike de :Leon’s Itim and Eddie Romero’s Ganito Kami Noon. Insiang has also been sold for showing in France (and other French-speaking territories), Belgium, Germany, Austria, Brazil and all over Scandinavia. “That, I believe, is our biggest achievement in Cannes,” says Hilda, “making other countries aware of our films. Now, people there have become curious about Filipino films. Whenever we were interviewed on TV they always asked what other films are we producing in the Philippines.” The Cannes Film Festival is divided into four; the Main Competition, Perspectives (avant-garde movies made in France), Critics’ Week (films made outside France and judged by an all-French jury), and the Director’s Forthnight (for first-time participants and new, independent and innovative directors). Insiang was entered in the Director’s fortnight, a non-competitive division, with films from 18 other countries. It was also in this division, considered a stepping stone to the Main Competition, where Oshima took his bow in 1976 with controversial film In The Realm of the Senses. This year, Oshima came back with bigger bang, joined the Main Competition with The Empire of Passion and bagged the Best Director award. “Cannes is not so big,” Hilda recalls. ‘there’s only one long boulevard along the beach and it looked like a marketplace. Everybody was there: actors, actresses, directors, producers, film distributors, critics, film buffs. You could see beautiful people everwhere you looked. May naka-damit, may nakahubad, may naka-jockey, may naka-topless, lahat ng klase nandoon. Everybody was trying to attract the attention of everybody’s else’s…” – Ricardo F. Lo, Expressweek, June 15 1978 (READ MORE)
Making it Big Early – “…At 14, however, Hilda Koronel, is the prettiest face in local movies, a very good dramatic actress and a passable recording star…Lino Brocka, director of the much-awaited “Santiago,” says: “There are many pretty faces in movieland. But there are only a few fine actresses. Hilda is not only a pretty face. She’s superb actress. And she takes direction easily.” To date, Hilda has made seven movies: “Santiago,” “Happy Hippie Holiday,” Wanted – Perfect Mother,” “Tubog Sa Ginto,” “Haydee,” “Leslie,” and “Now!” Hilda has a regular radio program (Fiesta Extravaganza), two TV shows (D’Wow Generation, Thursday over Channel 4; and Hilda over Channel 9, on Tuesdays from 7 to 8 p/m/). Recently she was named honorary member of Rustan’s VIP Council, a rare honor for an actress. “We have great plans for this kid,” says Mrs. Blas of Lea Productions. “We have already completed negotiations for the shooting of a big-budget movie in Japan which will star Hilda and Leonard Whiting.” The movie will be co-produced by MGM. Titled “Cherry Blossom” (Hilda will play the title role), the movie, which will be directed by Lino Brocka, will be shot during the cherry blossom season in February next year. “From there, who knows?” said Mrs. Blas. “We have ambitious plans of making a movie in Russia starring Hilda Koronel. We are negotiating for either Dustin Hoffmann or Eliot Gould to appear in the movie.” Fourteen-year-old Hilda Koronel has the whole world for a shooting location. Who can ask for anything more?” – Jose A. Quirino, Philippine Free Press, April 3 1971 (READ MORE)
Private Person – “…That’s how she wants her life to be: quiet and uncomplicated, which is a herculean task really because she belongs (in a way, yes) to a profession laden with intrigues and sensationalism and everything but quietude. “I wish people would stop being curious about my private life,” Hilda would plead every once too often. Although she hides behind a veil of mystery, she is constantly being hounded by gossipmoners and the deeper she retreats into her shell, the more nosy the public becomes. “I mind my own business,” she would declare, “and I wish people would mind theirs, too.” But she being a public figure (a tag Hilda attaches so much aversion to), how can people leave her alone? And so they continue to prey into her personal life. Is it true that she has been actually married to Jay Ilagan and she now wants that marriage declared null and void because she wants to marry her new boyfriend from Ateneo? Or, have they really gotten nitched in Hongkong last month? No, you don’t ask Hilda such questions or you run the risk of being summarily dismissed: “Just because I’m in the movies doesn’t mean that I am duty-bound to tell the public everything about me. I, too, am entitled to a degree of privacy…I used to be bothered by gossip,” according to Hilda, “but now, no more…I’m just being myself…why should I pretend to like people whom I don’t like? I have to like a person before I go out of my way to talk to him or greet him. I’m just being natural. I’m just being myself…Like Lolita, Hilda doesn’t enjoy swinging in the Showbiz social whirl, she shuns parties (“Sometimes I do attend some, but only to show my face”), she reuses to talk about her private life, she seldom smiles, she carries with her an aura of enigma, and she has a few friends from amount the movie stars (“I have only ten close friends but all of them are true, real friends,” Hilda admitted. Jay, inspire of their split, happens to be one of them).” – Ricky F. Lo, Expressweek, February 2 1978 (READ MORE)
Healthy Living – “…According to Hilda, some people still expect her to deliver the same level of intensity that she displayed in the 1976 Lino Brocka masterpiece, “Insiang.” “The funny thing is people expect me to be as good as I was back when I was 18,” she pointed out. “They’ll say, ‘She’ll do well. She’s Miss Insiang after all.’ Wait a minute, I’m old now! But I know I’ll always try my best.” Luckily, Hilda said, it didn’t take long for her to get her groove back while shooting “The Mistress.”…At 55, Hilda has remained youthful and regal. How does she take care of her good looks? “It’s just healthy living, I guess,” she said. “Our diet’s very good. We eat organic things and lots of fruits and vegetables. I exercise and walk a lot, and I also play badminton.” Hilda said she never even considered going under the knife, or getting Botox injections. “No, I don’t need those. I’m not unhappy with my looks!” she said, laughing. She doesn’t mind being called “lola” by her three grandchildren either. …” – Allan Policarpio, Philippine Daily Inquirer, August 26, 2012 (READ MORE)
Vilma Santos and Hilda Koronel
Hilda and Vilma’s only full length featured film, “Gaano kadalas ang minsan?” in 1982 was a record-breaking hit film, where Hilda plays Elsa, an impotent wife who desperately wanted to have a child. She concocted a plan to make her friend impregnated by her own husband, Lily played by Vilma Santos.
The two agreed to be part of “Dugo at pag-ibig sa kapirasong lupa” in 1975 where they, together with Nora Aunor and other big stars like FPJ and Joseph Estrada, did not shared the same screen time but in separate segments.
Currently, Hilda and Vilma’s husband shared the same name, Ralph. Hilda’s husband is Filipino-American businessman Ralph Moore, Jr. while Vilma’s Filipino politician, Senator Ralph Recto.
Hilda and Vilma both have children from separate marriages. Koronel has 5 children, Leona (with the late-actor Jay Ilagan); Ivy (adopted); Isabel (with the late Bambi del Castillo); Gabby (with Spanky Monserrat); and Diego (with Dr. Victor Reyes). While Vilma’s children are Luis Manzano (with Edu Manzano) and Ryan Christian Recto (with Ralph Recto).
While both successfully handled by National Artists, Brocka and Bernal, Hilda was more identified with Brocka and Vilma with Bernal. Hilda was praised for Brocka’s “Maynila sa mga Kuko ng Liwanag” while Vilma was most acclaimed for Bernal’s “Relasyon.”
Both Vilma and Hilda were once linked to the late Jay Ilagan. Hilda had a child with Jay and it was public knowledge that Jay courted Vilma when they’re both in their teens. Both did several films with him, most notably, “Kasal” and “Happy Hippie Holiday” for Hilda; and “Sister Stella L.” and “Remembrance” for Vilma.
Both Vilma and Hilda were recognized by FAMAS at early age. Hilda won a best supporting actress at the early age of 13 for 1970’s “Santiago” while Vilma won a best child actress at the early age of 9 for 1963’s “Trudis Liit.”
In 2003, Hilda plays Aling in Mark Meily’s dramedy, “Crying Ladies” with Sharon Cuneta. Although not a Vilma Santos film, Hilda Koronel’s role has a connection to Vilma. She plays, as the New York Times film review explained, “…a shopkeeper who clings to the fading memory of her movie career, whose high point was a bit part in a picture called ‘Darna and the Giants…” “Darna and the Giants” was of course a Vilma Santos film.
According to Ricky F. Lo on his August 3rd Philstar colum, being second choice for a role is as, “It happens all the time…second choices turning out to be, after all, the better choices.” He pointed out, Hilda Koronel as the second choice for Lea Productions’ “Haydee.” It was turned down by beauty-contest finalist Marilou Destreza, who later co-starred with FPJ but faded after that. Then Vilma Santos was the second choice for Celso Ad Castillo’s “Burlesk Queen.” It was initially offered to Lorna Tolentino.
In 1979 Vilma Santos did Pinay American Style where her role’s named was PX, an illegal alien in the U.S., three years after, Hilda Koronel played Lydia in the Lino Brocka film titled, PX.
Both Vilma and Hilda did a controversial films about labour unrest, Behn Cervantes’ 1975 film “Sakada” and Mike de Leon’s 1984 film “Sister Stella L.”
Lino Brocka’s “Insiang” starring Hilda Koronel was the Philippine’s entry to the prestigious Cannes Film Festival in 1978. After seven years, Mike de Leon was supposed to repeat Brocka’s success with two of his films exhibited in the previous year’s Director’s Forthnight section of the festival, but unfortunately, it didn’t happened. Instead, de Leon’s film, “Sister Stella L.” was entered as the Philippines’s entry to the oldest festival and equally prestigious, the Venice Film Festival in 1985.
Both Vilma and Hilda co-starred with John Lyod Cruz in record-breaking films, Vilma in 2009 ‘s “In My Life” and Hilda in this year’s “The Mistress.”
Last year, it’s a major comeback for the big three, Nora Aunor made headlines in her comeback movie, “Thy Womb,” Vilma Santos put a dent on the box office records with her horror film, “The Healing” and Hilda Koronel’s successful comeback was in the box office hit, “The Mistress.”
Burgos Filmbio – “…Speaking of Echo, he might just play Jason Burgos in the Filmbio of Edith T. Burgos, wife of the late crusading journalist Joe Burgos. To date, Jonas, himself an activist remains missing, in all probability dead. Director Joel Lamangan is negotiating with US-based Hilda Koronel to portray Edith in the filmbio, written by Ricky Lee and produced by Harlene Bautista. Who’ll play Joe Burgos? No final casting yet. Hilda and Echo co-starred in that engrossing drama-thriller “Nasaan Ka Man,” which also featured Gloria Diaz, Diether Ocampo, and Claudine Barretto, directed by Cholo Laurel. Whatever happened to Cholo? The filmbio chronicles the mother’s heartbreaking search for a missing son…” – Tempo, Feb 20 2013 (READ MORE)
Hilda Koronel, (born Susan Reid on 17 January 1957, Angeles City, Pampanga), is a FAMAS and Gaward Urian Award winning Filipina actress. Born to a Filipina mother and an American father who was a serviceman in Clark Air Base, she has starred in around 45 films, many of which are critically acclaimed, since 1970. Her career got off to an unprecedented start becoming the youngest winner of the FAMAS Best Supporting Actress award in 1970 right at the beginning of her career which she won at the age of just 13 for her role in the 1970 film Santiago. In 1975 and 1976 she starred in the Lino Brocka classics Maynila: Sa mga Kuko ng Liwanag, which won six FAMAS awards in 1976, and Insiang, which won both a FAMAS and a Gawad Urian Award in 1977. To date she has won three awards and received 11 nominations. – Wikipedia (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)
Ang madalas magpaangat sa pelikula ay ang acting cast. Dahil mas malaman ang kanyang papel at tila naperfect na ni Vilma Santos and agony ng other woman mas nangibabaw ang kanyang performance kay Hilda Koronel. Kahit na mas marami ang nagsasabing si Hilda ang mas 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 nakati ang puso para sa dalawang babae. Magagaling din ang supporting cast, lalo na si Suzzanne 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 kabibigan ni Vilma. – Justino Dormiendo, Manunuri Ng Pelikulang Pilipino, Jingle Extra Hot Magazine 1982, reposted by Pelikula Atbp (READ MORE)
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