Top 100 Vilma Santos Films (part nine)

Spanning five decades with 197 films credits and almost two hundred awards, Vilma Santos’ filmography is a kaleidoscope picture of changes in times. Different genres, from teen musicals, folksy fantasies, campy horrors, animated actions to mature adult dramas, her films demonstrated her inner acting talents honed by directors, maneuvered by film producers/benefactors (who some are no longer with us) and supported by her ever loyal fanatics. The results were a long list of film titles that covered several social relevance that capture each decades. A long list of record-breaking box office returns that gave her the title, “the longest reigning box office queen of all time.” A long list of films that sustained her career to different transformation, ensuring her longevity no other Filipino movie queen ever enjoyed. We have painstakingly choose the best of the best. Basing our selection with three criteria. First, the financial success of the film. Cliche it maybe, financial success sustained her bankability and longevity. Second is the critical recognitions the film received. Third, is the other factors that contribute to the overall success of the film, namely, relevance, entertainment value, and the question of, is this film a career milestone or is this film contributed to her popularity. Here are Vilma Santos’ top 100 films.

Total score consists of (A) 10 points for box office records, (B) 10 points for critics recognitions, (C) 10 relevance/longevity, (D) “other factors” that contribute to overall success, gives us total score of 30 points.

RANK, MOVIE TITLE, YR, DIRECTOR’S NAME, SCORE = (A) + (B) + (C) + (D)

20.  Tag-ulan sa Tag-araw 1975
SCORE: 8(A) + 10(B) + 7(C) + 0.4(D) = 25.4(T)
Directed by Celso Ad. Castillo, co-starring:  Christopher De Leon, Eddie Garcia, Joseph Sytangco, Lorli Villanueva, Odette Khan, Alma Moreno, Eva Darren, Edna Diaz, Nympha Bonifacio, Joonee Gamboa, Rez Cortez, Soxy Topacio.  The first film of Christopher Deleon and Vilma Santos, as of 2008, total 23 films. – MORE INFO

19.  Sinasamba Kita 1982
SCORE: 7(A) + 10(B) + 8(C) + 0.5(D) = 25.5(T)
Directed by Eddie Garcia, co-starring:  Christopher Deleon, Philip Salvador, Lorna Tolentino, Irene Celebre, Loleta Abesamis, Norma Blancaflor, Moody Diaz, Luz Fernandez, Kristina Paner, Yvonne, Ramil Rodriguez, Danny De Cordova, Larry Leviste, Fanny Serrano.  Written by Gilda Olvidado.  1982 Top Box Office Record Breaker.  The original film became a TV movie in 2007 by GMA Network, directed by Joel Lamangan, starring Sheryl Cruz as Divina and Valerie Concepcion as Nora. – MORE INFO

18.  Paano Ba ang Mangarap? 1983
SCORE: 7(A) + 10(B) + 8(C) + 0.6(D) = 25.6(T)
Directed by Eddie Garcia, co-starring:  Christopher Deleon, Jay Ilagan, Amy Austria, Perla Bautista, Armida Siguion Reyna, Vic Silayan.  Written by Nerissa Cabral.  Broke box office record of 1983 – MORE INFO

17.  Gaano Kadalas ang Minsan? 1982
SCORE: 8(A) + 10(B) + 7(C) + 0.7(D) = 25.7(T)
Directed by Danny Zialcita, co-starring:  Dindo Fernando, Hilda Koronel, Chanda Romero, Suzanne Gonsales, Tommy Abuel, Mark Joseph Enriquez.  Broke box office record of 1982, Earned P7.3 million during its first day of showing in Metro Manila – MORE INFO

16.  Trudis Liit 1963
SCORE: 7(A) + 10(B) + 8(C) + 0.8(D) = 25.8(T)
Directed by Jose De Villa, co-starring: Luis Gonzales, Lolita Rodriguez, Connie Angeles, Bella Flores, Charlie Davao, Ramon D’Salva.  Written by Mars Ravelo.  This film is immortalized in small screen in 2010 by GMA 7 .  A remake was filmed in the 1990s.  Vilma Sanots won a FAMAS Best Child Actress.  – MORE INFO (no available video)

15.  Pagputi ng Uwak, Pag-itim ng Tagak 1978
SCORE: 10(A) + 5(B) + 10(C) + 0.9(D) = 25.9(T)
Directed by Celso Ad. Castillo, co-starring:  Bembol Roco, Angie Ferro, Olivia O’Hara, Mona Lisa, Robert Talabis, Joonee Gamboa, Mario Escudero.  As the film producer, Vilma received the highest recognition for best film of the year FAMAS and Gawad URIAN.  She also received a nomination for best actress from FAMAS. – MORE INFO

14.  Adultery: Aida Macaraeg 1984
SCORE: 10(A) + 8(B) + 8(C) + 0.6(D) = 26.6(T)
Directed by Lino Brocka, co-starring:  Phillip Salvador, Anita Linda, Deborah Sun, Alvin Enriquez, Mario Montenegro.  Vilma received best actress nomination from PMPC Star Awards. – READ MORE

13.  Tagos ng Dugo  1987
SCORE: 8(A) + 10(B) + 8(C) + 0.7(D) = 26.7(T)
Directed by Maryo J. De los Reyes, co-starring:  Caridad Sanchez, Lucita Soriano, Alicia Alonzo, Mia Gutierrez, Raquel VillavicencioMichael De Mesa, Miguel Rodriguez, Francis Arnaiz, Richard Gomez, Mark Joseph, Lito Pimentel, Joey Hipolito, Joey Marquez, Tony Santos Sr.  Vilma Santos won the 1987 FAMAS and CMMA Best Actress awards.  She also received nomination from FAP. – MORE INFO

12.  Anak 2000
SCORE: 8(A) + 10(B) + 8(C) + 0.8(D) = 26.8(T)
Directed by Rory B. Quintos, co-starring: Claudine Barretto, Amy Austria, Cherry Pie Picache, Sheila Mae Alvero, Tess Dumpit, Jodi Sta. Maria Joel Torre, Baron Geisler, Leandro Muñoz, Gino Paul Guzman, Cris Michelena.  Philippines’ official entry to 73rd best foreign language OSCAR.  Philippines’ official entries to 2001 international film festivals including Fukuoka, San Francisco.  Vilma received the 2000 PMPC STAR award for best actress as well as the 2000 PASADO and nomination from FAP.  She was also crowned the 2000 GMMSF Box Office Queen.  – MORE INFO

11.  Imortal 1989
SCORE: 8(A) + 10(B) + 8(C) + 0.9(D) = 26.9(T)
Directed by Eddie Garcia, co-starring:  Christopher De Leon, Tommy Abuel, Ricky Davao, Gelli De Belen, Cherie Gil, Jacklyn Jose, Liza Lorena Richard Reynoso, Roi Vinzon.  Written by Orlando Nadres.  Vilma won the 1989 Metro Manila Film Festival Best Actress. –  MORE INFO

RECAP:
20. Tag-ulan sa Tag-araw 1975
19. Sinasamba Kita 1982
18. Paano Ba ang Mangarap? 1983
17. Gaano Kadalas ang Minsan? 1982
16. Trudis Liit 1963
15. Pagputi ng Uwak, Pag-itim ng Tagak 1978
14. Adultery: Aida Macaraeg 1984
13. Tagos ng Dugo 1987
12. Anak 2000
11. Imortal 1989

…continue with countdown, CLICK HERE!

Top 100 Vilma Santos Films (part four)

Spanning five decades with 197 films credits and almost two hundred awards, Vilma Santos’ filmography is a kaleidoscope picture of changes in times. Different genres, from teen musicals, folksy fantasies, campy horrors, animated actions to mature adult dramas, her films demonstrated her inner acting talents honed by directors, maneuvered by film producers/benefactors (who some are no longer with us) and supported by her ever loyal fanatics. The results were a long list of film titles that covered several social relevance that capture each decades. A long list of record-breaking box office returns that gave her the title, “the longest reigning box office queen of all time.” A long list of films that sustained her career to different transformation, ensuring her longevity no other Filipino movie queen ever enjoyed. We have painstakingly choose the best of the best. Basing our selection with three criteria. First, the financial success of the film. Cliche it maybe, financial success sustained her bankability and longevity. Second is the critical recognitions the film received. Third, is the other factors that contribute to the overall success of the film, namely, relevance, entertainment value, and the question of, is this film a career milestone or is this film contributed to her popularity. Here are Vilma Santos’ top 100 films.

Total score consists of (A) 10 points for box office records, (B) 10 points for critics recognitions, (C) 10 relevance/longevity, (D) “other factors” that contribute to overall success, gives us total score of 30 points.

RANK, MOVIE TITLE, YR, DIRECTOR’S NAME, SCORE = (A) + (B) + (C) + (D)

70.  Yesterday, Today and Tomorrow 1986
SCORE: 6(A) + 8(B) + 6(C) + 0.4(D) = 20.4(T)
Directed by Emmanuel H. Borlaza, co-starring: Snooky Serna, Maricel Soriano, Liza Lorena, Chanda Romero, Deborah SunGabby Concepcion, Richard Gomez, Eddie Garcia, Jimi Melendez – MORE INFO

69.  Kay Tagal ng Umaga 1965
SCORE: 6(A) + 8(B) + 6(C) + 0.5(D) = 20.5(T)
Directed by Lauro Pacheco, starring: Lolita Rodriguez, Eddie Rodriguez, Marlene Dauden with Vilma Valera. Film adaptation of Aning Bagabaldo’s radio drama broadcasted on DZRH. – MORE INFO (no available video)

68.  Anak, ang Iyong Ina 1963
SCORE: 7(A) + 8(B) + 5(C) + 0.6(D) = 20.6(T)
Directed by Mar S. Torres, co-staring: Gloria Romero, Rita Gomez, Mario Montenegro, Eddie Garcia – MORE INFO (no available video)

67.  Ging 1964
SCORE: 6(A) + 8(B) + 6(C) + 0.7(D) = 20.7(T)
Directed by Cirio H. Santiago, co-starring: Carol Varga, Olivia Cenizal, Jose Padilla jr, Ramon D’Salva. Written by Mars Ravelo. – MORE INFO

66.  Karugtong ang Kahapon 1975
SCORE: 5(A) + 8(B) + 7(C) + 0.8(D) = 20.8(T)
Directed by Fely H. Crisostomo, co-starring: Gloria Romero, Celia Rodriguez, Patria Plata, Edgar Mortiz, Eddie Garcia, Jay Ilagan, Romy Mallari, Joseph Sytangco. Entry to the 1975 MMFF. Film was written by Nerissa Cabral. – MORE INFO (no available video)

65.  Nag-iisang Bituin 1994
SCORE: 7(A) + 7(B) + 6(C) + 0.9(D) = 20.9(T)
Directed by Jose Javier Reyes, co-starring: Christopher De Leon, Aga Muhlach with Cherrie Pie Picache, Amy Perez, Jao Mapa, Orestes Ojeda. Vilma received a best actress nomination from PMPC’s 1994 Star. – MORE INFO (no available video)

64.  Takbo, Vilma, Dali 1972
SCORE: 5(A) + 10(B) + 6(C) + 0.04(D) = 21.04(T)
Directed by Joey Gosiengfiao, co-starring: Rita Gomez, Paquito Diaz, Max Alvarado, Romeo Rivera, Ernie Garcia – MORE INFO (no available video)

63.  Vilma Viente Nueve 1975
SCORE: 5(A) + 10(B) + 6(C) + 0.05(D) = 21.05(T)
Directed by Pablo Santiago, co-starring: Anita Linda, Jun Aristorenas, Max Alvarado, Lito Legaspi, German Moreno, Martin Marfil – MORE INFO (no available video)

62.  Ibong Lukaret 1975
SCORE: 6(A) + 10(B) + 5(C) + 0.06(D) = 21.06(T)
Directed by Tito C. Sanchez, co-starring: Alona Alegre, Marissa Delgado, Daria Ramirez, Lucita Soriano, George Estregan, Nick Romano, Rudy Fernandez, Arnold Mendoza – MORE INFO (no available video)

61.  Bertang Kerengkeng 1976
SCORE: 6(A) + 10(B) + 5(C) + 0.07(D) = 21.07(T)
Directed by Tito C. Sanchez, co-starring: Edna Diaz, Lito Anzures, Rudy Fernandez, Greg Lozano – MORE INFO (no available video)

RECAP:
70. Yesterday, Today and Tomorrow 1986
69. Kay Tagal ng Umaga 1965
68. Anak, ang Iyong Ina 1963
67. Ging 1964
66. Karugtong ang Kahapon 1975
65. Nag-iisang Bituin 1994
64. Takbo, Vilma, Dali 1972
63. Vilma Viente Nueve 1975
62. Ibong Lukaret 1975
61. Bertang Kerengkeng 1976

…continue with countdown, CLICK HERE!

Filmography: Ikaw ay Akin (1978)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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