FILM REVIEW: IKAW AY AKIN

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The Plot: “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 (READ MORE)

“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 (READ MORE)

“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 (READ MORE)

The 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)

“…Bernal, testing the tensions of triangular love (for geometry books, one of his characters wittily says) for some time now, plunges deeper into character analysis and metaphorizing. In Lumayo, Lumapit ang Umaga, the triangle was unevenly explored: the first love was sketchily drawn. Dalawang Pugad, Isang become a choice for a more stable relationship. Walang Katapusang Tag-araw was a strange reverse of characters for two women and an unusual development of love into hatred and hatred into love, where therefore the triangle was essentially illusions. Ikaw ay Akin finally sets an interlocked triangle on its bases and looks at it (from all 3 angles) squarely in the face. Except for some scenes with overdrawn energy, the viewing is intelligent entertainment. However, after an interesting beginning and development one feels the resolution is too simplified…and too calculated. Charing (Nora) is the confident, authoritative, ultra-responsible mother-figure who fits very nicely with Rex’s (Boyet) tentative character: orphan-psyched, retreating… an incomplete figure. Sandra (Vilma) outs a very colorful character: agressive, creative, lively – but underneath it all, essentially a clinging vine. They are such convincing characters, and all their needing and suffering come accross very easily from the celluloids. With just a few scenes they are rounded out. Charing and her orchids – a reflection of her care for Rex and her discerment between experiment and commitment; Rex and his parachute – a give-away of his secret longing to get away from all the givens of his life (the inherited business, cons of orphan’s loneliness even his 5-year relationship with Charing!) Sandra and her designs – creating is at once product of her character and a need (initiating a realtionship with Rex is expression of need more than any romantic feeling). When Rex, balancing the triangle, verbalizes all these into a very basic “She needs me; I need her needing me plus your caring for me,” clearly sided heavily on Sandra’s side, it is unbelievable that it should all boil down to plain need, that decisions on love could be made this easily. Questions: While one is at verbalizations, why not mention the giving side of love, appraise or even applaud it a little instead of leaving it implicit in Charing’s character – which could be, come to think of it, the key out of tanglejails of possession? Ofcourse Bernal might have been considering less subtlety in a bid for a more popular style. Granting that, one may still appreciate the five selections of environmental details that areally delineate characters and character development – a fine effort to bring setting characters and action into a unified direction – but are triangles the curret favorite in the moviemarket? If this means it is a main concern in many lives today, then…what a hell!…” – Petronila Cleto, Pelikula, Atbp (READ MORE)

“…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 (READ MORE)

“…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…Vilma-Nora Scenes: a) 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!…” – Dream Forest, V Magazine Issue No. 7 Literary Issue 2006 (READ MORE)

“…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)

“…While the previous year was less productive in terms of quantity, Vilma Santos came back with a big bang the following year with twelve films. Most of these films were adult dramas. Three notable films were the critically acclaimed “Pagputi ng Uwak, Pag-itim ng Tagak” directed by Celso Ad Castillo and produced by Vilma herself. The local film festival entry, “Rubia Servios” directed by the late Lino Brocka. And lastly, “Ikaw ay Akin” directed by Bernal. “Ikaw ay Akin” reunited Vilma with rival, Nora Aunor. The film also featured Christopher De Leon, who won the local critics’ best actor and best actress nominations for Aunor and Santos as well as best director nomination for Bernal. Aside from Ikaw, Bernal also did two other films, both starring Alma Moreno, “Lagi na lamang ba akong babae?” and “Isang gabi sa iyo Isang gabi sa akin” with Elizabeth Oropeza…” – RV (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)

The Bernal-Santos Collaborations

Considered the number one director of Vilma Santos, National Artist, Ishmael Bernal contributed significantly to her success. Their collaborations as actor and director spanned three decades. Eight films in total, almost a dozen best actress for Santos and a several best director for Bernal not including nominations both locally and internationally. He was quoted saying: “In Ikaw ay Akin, Vilma was already conscious of her own particular style of acting…which can be described as minimal, less is more. The fewer and simpler gestures, the greater effect…(Working in Pahiram Ng Isang Umage, Bernal said)…she had become an artist, no longer a movie star and just following the director’s instructions..” Their films are still relevant, timeless and to this day, being celebrated by many.

The early seventies brought a new phase in Vilma Santos’ career. Now 18 and after a successful stints as a child actress, she faced the musical trend dominated by singing teen sensations like Perla Adea, Esperanza Fabon, Eddie Perigrina, Edgar Mortiz, Tirso Cruz III and rival, Nora Aunor. She was successful enough that she made nine films (including the film adaptation of the television musical variety show, The Sensations) in 1971, the year Ishmael Bernal started his film career as director. Fresh from film school and at a young age of 33 (he received a Film Directing diploma in Film Institute of India in 1970) directed two full length feature films, “Daluyong!” and “Pagdating sa Dulo.” Daluyong starred Rossana Ortiz, Alona Alegre and Ronaldo Valdez while Pagdating featured the late Miss Rita Gomez and Vic Vargas. Pagdating earned Bernal his first award for best screenplay and a nomination for best director from FAMAS, the local equivalent of OSCAR during that time. Both films, Pagdating sa Dulo and Daluyong were critically acclaimed and commercial success.

The following year, Santos made fourteen films, mostly forgettable musicals. It was also a year where her benefactor started to positioned her as more of a film actress than a singing film star. The results was successful experiments that showcased her comedic ability (Ang Kundoktora), screaming action stunts (Takbo Vilma Dali) and dramatic capability (Dama De Noche). Her followers was delighted when she earned her first acting recognition the next year receiving the FAMAS best actress via Dama De Noche. Most of her films in 1972 were directed by Emmanuel Borlaza however, she was able to do one film with Ishmael Bernal, “Inspiration” with the late Jay Ilagan, one of her regular film partner. According to Bernal, the film wasn’t as successful as what he expected, as the film flopped. Aside from Inspiration, Bernal did two other films, El Vibora (starring Vic Vargas and Boots Anson Roa) and Till Death Do Us Part (starring the young Hilda Koronel and Victor Laurel).

1973 turned out to be a banner year for Vilma Santos as she emerged on top with box office hits one film after another. Nine films altogether that featured her in different genres (comedy – “Tsismosang Tindera;” fantasy – “Maria Cinderella,” “Dyesebel at ang Mahiwagang Kabibe” and ”Ophelia at Paris;” action/fantasy – “Wonder Vi,” “Lipad, Darna, Lipad,” and “Darna and the Giants;” horror – “Anak ng Aswang” and teenybopper – “Carinosa” and “Now and Forever”). While Vilma was productive Bernal, like the past two years did only two films, one was the comedy fantasy starring television host and comedian Ariel Ureta in a spin off of Superman, “Zoom, Zoom, Superman!” and his film wih Vi, “Now and Forever” with Edgar Mortiz.

Vilma’s box office dominance continued the next year with twelve films mostly comedy, horror and action/fantasies. It also gave her the chance to work with veteran actors such as Charito Solis in “Mga Tigre ng Sierra Cruz,” Joseph Estrada in “The King and I,” Fernando Poe Jr. in “Batya’t Palu-palo” and international action star, Meng Fei in “Twin Fists of Justice.” Bernal and Santos will not do any films for a few years as he started directing Vilma’s rival, Nora Aunor in her television drama series Ang makulay na daigdig ni Nora. Aside from his TV work, he did “Pito ang asawa ko” and the film reuniting him with Ariel Ureta, “Si Popeye, atbp” after the success of Zoom Zoom Superman.

1975 was another productive year for Vilma Santos as she did nine films mostly title roles like Vilma Viente Nueve, Darna Vs the Planet Women, and Ibong Lukaret. It was the “prep” stage for the years to come as she was given more mature roles like the local festival entry, “Karugtong ang Kahapon” and Celso Ad Castillo’s “Tag-ulan sa Tag-araw.”  Tagulan was the first film of Vilma and Christopher De Leon. While Vilma was testing the water for more serious mature projects, Ishmael Bernal decided to return to his original forte, drama, after years of doing light comedies and television work. He came up with “Mister Mo, Lover boy Ko” and “Lumapit, Lumayo Ang Umaga.” Both films featured sexy star, Elizabeth Oropeza.

By mid decades, Vilma Santos’ career was gradully moving into dramas catering the adult audience and films with social-adult issues. She did the sequel “Hindi Nakakahiya” and “Nagaapoy na Damdamin” about the affair of a young woman with an older man and “Mga Rosas Sa Putikan” about the lives of prostitutes.  Aside from these films, she also did four light comedies and two notable ones: “Mga Reynang Walang Trono” a comedy with movie queen Amalia Fuentez and “Bato Sa Buhangin,” the box office hit that reunited her with the late Fernando Poe Jr. Bernal on the other hand, cemented his reputation as one of the most serious director with critically appreciated hit films, “Ligaw Na Bulaklak” staring the young sexy star, Alma Moreno and the drama film that featured two dramatic stars, Daria Ramirez and Elizabeth Oropeza in “Nunal Sa Tubig.”  He also directed a light comedy, “Tisoy,” Christopher De Leon in title role.

A turning point in Vilma Santos career came in 1977.  She was no longer the teen idol that Bernal directed in 1972.  She’s now 24 and ready for more serious film projects.  Her film load has dramatically decrease from nine/ten films a year to mere five.  But the films she did were noticeably heavy in terms of relevance and roles.  Aside from the light action, “Susan Kelly Edad 20” her other films were all heavy dramas. One reunited her with Christopher De Leon in “Masarap, Masakit ang Umibig” directed by Elwood Perez.  Another one was the box office hit and critically acclaimed, “Burlesk Queen” directed by Celso Ad Castillo.  The other two films paired her with off screen sweetheart, Romeo Vasquez in “Pulot-gata, Pwede Kaya?” and “Dalawang Pugad, Isang Ibon.” The last film, was directed by Bernal. “Dalawang Pugad” earned Bernal the 1977 best director from Gawad Urian, the Filipino critics’ award giving body. Aside from Dalawang Pugad Bernal also directed “Walang Katapusang Tag-araw” that featured veteran drama queen, Charito Solis.

While the previous year was less productive in terms of quantity, Vilma Santos came back with a big bang the following year with twelve films.  Most of these films were adult dramas.  Three notable films were the critically acclaimed “Pagputi ng Uwak, Pag-itim ng Tagak” directed by Celso Ad Castillo and produced by Vilma herself.  The local film festival entry, “Rubia Servios” directed by the late Lino Brocka. And lastly, “Ikaw ay Akin” directed by Bernal. “Ikaw ay Akin” reunited Vilma with rival, Nora Aunor. The film also featured Christopher De Leon, who won the local critics’ best actor and best actress nominations for Aunor and Santos as well as best director nomination for Bernal.  Aside from Ikaw, Bernal also did two other films, both starring Alma Moreno, “Lagi na lamang ba akong babae?” and “Isang gabi sa iyo Isang gabi sa akin” with Elizabeth Oropeza.

The end of the decade gave Vilma eight more films. Mostly light dramas/comedies.  Some showcased her dancing talents like “Swing it Baby,” “Rock, Baby, Rock” and “Buhay Artista Ngayon.” In terms of notable projects, only four stands out. “Pinay, American Style” filmed in the USA and “Magkaribal” both directed by Elwood Perez. “Halik sa Kamay, Halik sa Paa” directed by the late Eddie Rodriguez. And the smash hit and local festival entry “Modelong Tanso.” Modelong Tanso paired Vilma with drama queen, Charito Solis. Bernal did not direct any Santos film this year instead he did the Nora Aunor film, “Bakit may pag-ibig pa?,” “Menor de edad” and “Salawahan” both films starring Rio Locsin, “Aliw” starring Amy Austria and Lorna Tolentino and “Boy Kodyak” starring Bembol Rocco.

Vilma Santos did seven films in 1980. Mostly light dramas. Two notable films were “Miss X,” the film was shot in Amsterdam and “Langis At Tubig” the local festival entry directed by Danny Zialcita. She also did “Darna at Ding” her fourth and last film as the comic hero, Darna, Filipino version of Wonder Woman/Superman. Despite the lack of serious projects, Vilma did a film with Bernal, the comedy/musical, “Good Morning Sunshine.” In addition to Good Morning, Bernal did the critically acclaimed ensemble film starring Lorna Tolentino, Alma Moreno and Rio Locsin’s “City After Dark,” “Girlfriend” starring Cherie Gil and “Sugat sa Ugat” starring Hilda Koronel and Christopher De Leon.

Bermal and Santos didn’t do any film together the following year. Now 28 and married, Santos has reduced her film projects. She did four films, all showcased her acting talents. “Ex-Wife” directed by Eddie Rodriguez paired her with local critics’ favorite, Beth Bautista. “Pakawalan Mo Ako” a drama directed by Elwood Perez earned her one of her five FAMAS best actress. “Hiwalay” teamed with Eddie Rodriguez this time, as her leading man. Romy Suzara directed the film. Then the local festival entry, “Karma,” the Danny Zialcita film that earned her the festival best actress. While Vilma reduced her film output to four, as usual, Bernal did only two films. Both were not as critically received. “Bihagin: Bilibid Boys” starred the late Alfie Anido “Pabling” the comedy starring teen idol, William Martinez.

Like 1972 of the previous decade, 1982 turned out to be a repeat in terms of success for Vilma Santos. If critics took noticed in 1972, her performance in Dama De Noche, a decade after, the critics went gagah over her performance in ”Relasyon,” directed by Bernal. The film earned Vilma all the local best actress trophies from all award-giving bodies. Aside from this success, she will also be crowned as the box office queen of 1982 (the next year for her body of work this year) because of the financial success of her six films notably, “Sinasamba Kita” a film directed by Eddie Garcia and “Gaano Kadalas ang Minsan?’ directed by Danny Zialcita. Bernal on the other hand not only was credited for Vilma success for “Relasyon” he also received accolades for “Himala” a film by Nora Aunor, Vilma’s rival. Both “Himala” and “Relasyon” were considered two of Bernal’s signature films. In addition to this, he did two Marecel Soriano films, the comedy “Galawgaw” and the drama, “Hindi Kita Malimot” and finally another Cherrie Gil film, “Ito Ba Ang Ating Mga Anak.”

The following year, as Vilma Santos received honors/awards from her works from previous year, she continued her winning streak with four adult dramas: “Ayaw Kong Maging Kerida,” “Paano Ba ang Mangarap?,” “Minsan pa Natin Hagkan Ang Nakaraan,” and “Broken Marriage.” The last one was directed by Ishmael Bernal. The only film he did in 1983. Broken Marriage gave Vilma her second consecutive local critics’ best actress. It also earned Bernal her second best director from the critics and third overall.

The next year Bernal and Santos went separate ways with Vilma doing three films with three equally talented directors: Lino Brocka for “Adultery: Aida Macaraeg,” MiKe De Leon for “Sister Stella L.,” and Marilou Diaz Abaya for “Alyas Baby Tsina.” Meanwhile, Bernal did two films, an episode of the original horror trilogy, “Shake, Rattle & Roll” and the critically acclaimed comedy, “Working Girls.”

The next four years came with both Santos and Bernal in steady film works. In 1985 Santos did the hit “Muling Buksan ang Puso” and the disappointment, “Doctor, Doctor, We Are Sick” while Bernal did the Marecel Soriano melodrama “Hinugot sa langit” and the film starring the unknown Stella Suarez with veteran Rita Gomez “Gamitin mo ako.” Then in 1986 Vilma Santos did three commercial hit films: “Yesterday, Today & Tomorrow,” “Palimos Ng Pag-ibig,” and “Asawa ko, Huwag Mong Agawin.” Bernal did his only film, “The Graduates” starring Regal babies – Snooky Serna, Gabby Concepcion, Maricel Soriano, William Martinez, and Dina Bonnevie.

Another three films for Vilma Santos in 1987, all commercial success. “Tagos ng Dugo” directed by Maryo De Los Reyes was a smash hit and critically well received. Vilma received her fourth FAMAS best actress for this film. “Ibigay Mo Sa Akin Ang Bukas” the last film directed by Emmanuel H. Borlaza before his retirement was a mild hit that paired Vilma with new drama actors, Richard Gomez and Gabby Concepcion. “Saan Nagtatago Ang Pag-ibig?” directed by Eddie Garcia was a big hit. Bernal on the other hand did two films the drama”Pinulot ka lang sa lupa” starring Lorna Tolentino and Marecel Soriano and the sequel comedy “Working Girls 2” The next year, both Bernal and Santos did one film each, both a box office hits, Elwood Perez’ drama, “Ibulong Mo Sa Diyos” was a big hit and at the same time earned Vilma her fifth FAMAS best actress that elevated her to their hall of fame recipient category. Bernal’s only film was “Nagbabagang luha,” another Lorna Tolentino starrer.

The last time Bernal and Santos collaborated was in 1989. Santos, still active with her musical variety television show, did three films, all were commercial success. “Imortal” directed by Eddie Garcia was a local festival entry that earned Santos another local festival best actress. “Rizal Alih, Zamboanga Massacre” was directed by Carlo J Caparas. And “Pahiram Ng Isang Umaga” directed by Bernal. The film earned Santos the local critics best actress and Bernal the best director. Vilma her very first Star best actress, considered the Golden Globe local equivalent at that time. Pahiram also received nominations for best actress for Vilma and best director for Ishmael both from FAP, now the local equivalent of OSCAR.

In 1991, Lino Brocka, Ishmael Bernal closest rival and friend died of car accident. It was a sad event both locally and internationally as Brocka was not only popular locally but in the international festival circuit. It wasn’t clear if his decision was related to the lost of his rival Brocka but Bernal retired his directing chair for the next two years. He went into acting and was the lead role in stage plays like “Kamatayan Sa Isang Anyo Ng Rosas” (Death in the Form of a Rose) in 1991 and “Bacchae” in 1992.  Vilma on the other hand, did “Hahamakin Lahat” in 1990 with Brocka, a year before his untimely death.  She also did “Kapag Langit ang Humatol” directed by Laurice Guillen.  She then reunited with Guillen in “Ipagpatawad Mo” the next year.  By 1992, Bernal and Santos did one film each, unfortunately not together, “Sinungaling Mong Puso” reunited Vilma with her Tagos Ng Dugo director, Maryo De Los Reyes while Bernal directed “Mahal kita walang iba” starring Kris Aquino.

Bernal went back to his semi-retirement the next year (except for a short film as himself in “Truth and Dare”) while Vilma did two films, both commercial hits and critically acclaimed. Chito Rono’s “Ikaw Lang” and the local festival entry, “Dahil Mahal Kita The Dolzura Cortez Story” directed by Laurice Guillen. Dolzura Cortez will earned Santos numerous best actress awards. By 1994, Santos did three films: “Relaks ka Lang, Sagot Kita” with Bong Revilla; “Nag-iisang Bituin” with Aga Muhlach and Christopher De Leon; “Lipa: Arandia Massacre” a film that reunites her with director Carlo J. Caparas. Meanwhile, Bernal did “Wating” his last film. “Wating” starred Richard Gomez.  The next year, Both artists, Santos and Bernal, went on hiatus.

In 1996 Vilma Santos did “Ikaw Ang Mahal Ko” with the late FPJ. The film did not do well, both critically and commercially. This year also was a bad year for the local entertainment industry as Ishmael Bernal died on June 2nd. It was reported that he was scheduled to direct a film about the life story of Lola Rosa Henson, the comfort woman during the Japanese invasion of the Philippines. The project was also reportedly offered to Vilma Santos. From 1997 to 2009, Vilma Santos completed 6 full featured films, two were considered record breaking films and almost all gave her acting recognitions including two international best actress recognitions.

HIGHLIGHTS: Bernal gave Vilma Santos her first grandslam best actress awards and consecutive Gawad Urian best actress (1982 and 1983). Their first film together was Inspiration (1972) and last was Pahiram Ng Isang Umaga (1989).

Writing Credits: 11 – Galawgaw (1982); Relasyon (1982); City After Dark (1980); Girlfriend (1980); Pleasure (1979); Ikaw ay akin (1978); Walang katapusang tag-araw (1977); Dalawang pugad, isang ibon (1977); Lumapit, lumayo ang umaga (1975); Pito ang asawa ko (1974); Reaching the Top (1971)

Directing Credits: 46 and Total Number of Films with Vilma Santos: 8 (Broken Marriage, Dalawang Pugad Isang Ibon, Good Morning Sunshine, Ikaw ay Akin, Inspiration, Now and Forever, Pahiram ng Isang Umaga, Relasyon)

RELATED READINGS:
Wikipedia: Bernal
Ishmael Bernal (1938-1996)
The Films of Ishmael Bernal Circa1971-79, Part One The Films of Ishmael Bernal Circa1980-96, Part Two
Tribute to Ishmael Bernal
The new ‘Working Girls’ front and center
Remember The Face: BERNAL FILM DIRECTOR
Vilma Santos’ Top 10 Film Directors

Vilma Santos’ Top 10 Film Directors 6/6

Introductions: 204 films, 70 directors, 5 decades, Vilma Santos, one of the original Philippine movie queens, rose up to become the versatile actress that has been given the fitting title of “Star for All Seasons” because of her capacity to adapt to the changing mores and values of the Filipino woman, giving a face to their plight and struggles, albeit in success both critically and box-office wise in some of Philippine cinema’s classics such as Trudis Liit (1963), Lipad, Darna, Lipad (1973), Burlesk Queen (1977), Relasyon (1982), Sister Stella L. (1984), Alyas Baby Tsina (1984), Pahiram ng Isang Umaga (1989), Dahil Mahal Kita: The Dolzura Cortez Story (1993), Anak (2000) and Dekada ’70 (2002). This are top ten directors who contributed to her success.

Here is a recap of our count-down…
10. PABLO SANTIAGLO / MARYO DELOSREYES
9. LUIS ENRIQUEZ / ELWOOD PEREZ
8. DANNY ZIALCITA
7. EDDIE GARCIA
6. EMMANUEL H BORLZA
5. LINO BROCKA
4. LAURICE GUILLEN
3. CHITO RONO
2. CELSO AD CASTILLO

…and our number one director is…

1. Ishmael Bernal – A filmmaker of the first order and one of the very few who can be truly called a maestro. Critics have hailed him as “the genius of Philippine cinema.” He is recognized as a director of films that serve as social commentaries and bold reflections on the existing realities of the struggle of the Filipino. His art extends beyond the confines of aesthetics. By polishing its visuals, or innovating in the medium, he manages to send his message across: to fight the censors, free the artists, give justice to the oppressed, and enlighten as well as entertain the audience. Among his notable films are “Pahiram ng Isang Umaga” (1989), “Broken Marriage” (1983), “Himala” (1981), “City After Dark” (1980), and “Nunal sa Tubig” (1976). He was recognized as the Director of the Decade of the 1970s by the Catholic Mass Media Awards; four-time Best Director by the Urian Awards (1989, 1985, 1983, and 1977); and given the ASEAN Cultural Award in Communication Arts in 1993 (NCCA.gov.ph). Bernal was born in Manila on September 30, 1938, the son of Elena Bernal and Pacifico Ledesma. He studied at Burgos Elementary School and Mapa High School before entering the University of the Philippines, and graduated in 1962 with a degree of Bachelor of Arts degree in English. For a time he worked with Lamberto Avellana’s documentary outfit. He went on to earn his Licentiate in French Literature and Philosophy at the University of Aix-en-Prevence in France, and then in 1970 his Diplomate in Film Directing at the Film Insititue of India in Poona, under the Colombo plan scholarhip. Bernal was a board member of the Concerned Artists of the Philippines and the Directors Guild of the Philippines, Inc., an organization that studies the role of film as an instrument of entertainment, education and development. He actively crusaded for the rights and welfare of artists for as long as he lived. He died in Quezon City on June 2, 1996 (Wikipilipinas).

HIGHLIGHTS: Bernal gave Vilma Santos her first grandslam best actress awards and two consecutive Gawad Urian best actress (1982 and 1983). Their first film together was Inspiration (1972) and last was Pahiram Ng Isang Umaga (1989).

Total Number of Films in our list of VSR’s Top 50 films = 5 (#5 Ikaw ay Akin 1978, #7 Relasyon 1982, #8 Pahiram Ng Isang Umaga 1989, #9 Broken Marriage 1983, #30 Dalawang Pugad Isang Ibon 1977)

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

RELATED READINGS:Wikipedia: Ishmael Bernal
Ishmael Bernal (1938-1996)
The Films of Ishmael Bernal Circa 1971-79, Part One
The Films of Ishmael Bernal Circa 1980-94, Part Two
Tribute to Ishmael Bernal
The new ‘Working Girls’ front and center




Vilma Santos’ Top 10 Film Directors 2/6

Introductions: 204 films, 70 directors, 5 decades, Vilma Santos, one of the original Philippine movie queens, rose up to become the versatile actress that has been given the fitting title of “Star for All Seasons” because of her capacity to adapt to the changing mores and values of the Filipino woman, giving a face to their plight and struggles, albeit in success both critically and box-office wise in some of Philippine cinema’s classics such as Trudis Liit (1963), Lipad, Darna, Lipad (1973), Burlesk Queen (1977), Relasyon (1982), Sister Stella L. (1984), Alyas Baby Tsina (1984), Pahiram ng Isang Umaga (1989), Dahil Mahal Kita: The Dolzura Cortez Story (1993), Anak (2000) and Dekada ’70 (2002). This are top ten directors who contributed to her success….

TIE 9. Elwood Perez is a virtuoso of the camera and is the man behind numerous classic Filipino movies. His intuitive approach to filmmaking and scriptwriting is something worth emulating not because they are campy and sexy but they discuss social ills and promote solutions while tickling the most delicate part of our consciousness—our emotion. Born during the near end of World War II on Feb. 4, 1945 in Mabalacat, Pampanga, Elwood Perez started watching movies at the age of three. He practically grew up breathing, feeling, and thinking about movies. “I want [a] vicarious experience. That’s the only thing I want in my life. I hate the effort to go, let’s say for example to Venice. That’s why I watch films every day. Until now,” the 64-year-old director says. He wrote, directed and acted the lead role in his first Filipino play, Ander di Saya. And he was only nine years old then. From then on, Perez knew what he wanted to do for the rest of his life. At age 25, Perez marked his debut as a film director with Blue Boy in 1970. The film was a flop at the box office but it was revered by critics. Maturing as a scriptwriter and film director, in 1973, commercially successful Lipad, Darna Lipad! was released. Award-winning actress Celia Rodriguez essayed the role of Medusa-like villainess, Valentina, nubile Vilma Santos played the Filipino supergirl (a role that launched her in a series of Darna flicks). To Filipino film industry insiders, Perez is known as the most sought-after movie director of his generation. He consistently churned out hit movie after another. His unsurpassed track record of money-makers and trend-setters include Zoom, Zoom, Superman!; Bawal: Asawa Mo, Asawa Ko; Isang Gabi, Tatlong Babae; Divorce: Pilipino Style; Masarap, Masakit ang Umibig; Summer Love; Till We Meet Again; and Ibulong Mo sa Diyos. Today, films he directed in the ’70s and ’80s like Pakawalan Mo Ako (a Vilma Santos-Christopher de Leon starrer) and Ang Totoong Buhay ni Pacita M, as then enfant terrible of Philippine Cinema, enjoy regular reruns on primetime television and in select movie houses as examples of the award-winning film or the commercially-rewarding art film: true classics of film as entertainment for everyman, the 20th century’s quintessential art form. His life’s mise en scene “During the height of my career, I didn’t like publicity. Do you know any director who sold a movie on a count on the fact that he directed the film? I was very quiet then, because nobody would watch a film because of the director. Stars pa rin ang pinapanood ng tao,” Perez conveys – Nickie Wang

HIGHLIGHTS: Elwood Perez and Vilma Santos collaborated in seven films. The first one was the trilogy that he co-directed with two other directors, Borlaza and Gosiengfiao (these three are the most underrated and under appreciated directors in the Philippines), the remake of Mars Ravelo comic super hero, Darna in Lipad Darna Lipad. The film was a record-breaking hit film. They followed “Lipad…” with more mature project as Vilma started to transform her sweet image to serious mature/versatile actress. The film was “Masarap Masakit Ang Umibig” in 1977 that also featured Christopher de Leon and Mat Ranillo III. The Perez-Santos team produced seven blockbuster hits that gave Vilma two FAMAS best actress awards. The last one was in 1988 for “Ibulong Mo Sa Diyos” that elevated her to FAMAS highest honour, the FAMAS Hall of Fame award (She won for Dama de Noche 1972, Relasyon 1982, Pakawalan Mo Ako 1981, Tagos Ng Dugo 1987 and Ibulong Mo Sa Diyos 1988).

Total Number of Films in our list of VSR’s Top 50 films = 4 (#10 Lipad Darna Lipad 1973, #43 Pinay American Style 1979, #42 Ibulong Mo Sa Diyos 1988, #25 Pakawalan Mo Ako 1981)

Total Number of Films = 7 (Ibulong Mo Sa Diyos 1988, Lipad Darna Lipad 1973, Magkaribal 1979, Masarap Masakit ang Umibig 1977, Nakawin Natin ang Bawat Sandali 1978, Pakawalan Mo Ako 1981, Pinay American Style 1979)

RELATED READINGS:

TIE 9. Luis Enriquez Born Luis Clemente Enriquez on August 23, 1932 in Zamboanga City, Philippines. Famous for his dramatic films with Marlene Dauden and Lolita Rodriguez in the 60s. He wrote, produced and directed films using his birth name Luis Enriquez. On September 12, 2001, Eddie Rodriguez died at the young age of age 69. FAP: 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. He won a best actor FAMAS trophy for his performance in Sapagkat Kami’y Tao Lamang where he co-starred with Lolita Rodriguez and Marlene Dauden (who won as best supporting actress) under the direction of Armando de Guzman for Hollywood Far East Productions. He tried his hands in secret agent films like Paolo Staccato and Perro Gancho. He formed Virgo Productions with wife Liza Moreno, an actress-writer who wrote stories which Eddie acted in and directed. These films included Babae, Ikaw ang Dahilan, Kasalanan Mo, Ang Pagsintang Labis, Kapag Pusoy Sinugatan, Iginuhit sa Buhangin, Alaala mo, Daigdig ko, Bakit Ako Pa?, and Ikaw. Dubbed as the country’s drama king, he also directed Kung Kailangan Mo Ako (with Sharon Cuneta and Rudy Fernandez), Maging Sino Ka Man and Di Na Natuto (with Sharon Cuneta and Robin Padilla) Minsan Pa and Kahit Konting Pagtingin (with Fernando Poe Jr. and Sharon Cuneta). His real name was Luis Enriquez from Zamboanga City.

HIGHLIGHTS: Luis Enriquez aka Eddie Rodriguez first directed a young Vilma Santos in 1968’s “Kasalanan Kaya,” another love triangle genre starring the dramatic trio of Marlene Dauden, Eddie Rodriguez and Lolita Rodriguez. Vilma received an early acting recognition from this film, a FAMAS Nomination for Best Supporting Actress. When Enriquez directed Vilma again, it was a calculated risk. The film allowed a still young Vilma into a bikini-clad lead role opposite her director, Eddie Rodriguez as her leading man. The film was “Nakakahiya,” a May-December love story and 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 directed Vilma in five more films, the last one was in 1981’s “Ex-Wife.” In this film credits, Rodriguez surprisingly used his actor’s screen name – ‘Eddie Rodriguez and dropped his most known director’s name, “Luis Enriquez.”

Total Number of Films in our list of VSR’s Top 50 films = 3 (#30 Ex-Wife 1981, #38 Nakakahiya? 1975, #39 Hindi Nakakahiya 1976)

Total Number of Films = 7 (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)

RELATED READINGS:

8. Danny Zialcita is a fun-loving gifted and colorful filmmaker who left his mark as one of the best in the stimulating era of the ’60s and ’70s. Then without any warning he left the industry. Stories of drug addiction, withdrawal from the world, and worse, loss of sanity dogged his absence until even his colleagues lost touch with him and didn’t know what to believe. Zialcita is a master of improvisation on the set, he also had the knack for casting the right actors, choosing the right material, and pleasing his producers. One of his favorite actors was Dindo Fernando whom he termed “the complete actor” and cast him in such movies as Langis at Tubig, Karma, Gaano Kadalas Ang Minsan, Mahinhin at Mahinhin, its sequel Malakas, si Maganda at si Mahinhin and Ikaw at ang Gabi which gave Dindo his first Urian Best Actor trophy. Other favorites were Vilma Santos cast in Karma, T-Bird at Ako, Langis at Tubig; Pinky de Leon; Laurice Guillen; Ronaldo Valdes; and Beth Bautista who won Best Actress award in Hindi sa Iyo ang Mundo Baby Porcuna. – Bibsy M. Carballo, The Philippine Star (READ MORE)

HIGHLIGHTS: 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 antoher 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.

Total Number of Films in our list of VSR’s Top 50 films = 3 (#17 Gaano Kadalas ang Minsan? 1982, #26 Karma 1981, #44 Langis at Tubig 1980)

Total Number of Films = 4 (Gaano Kadalas ang Minsan? 1982, Karma 1981, Langis at Tubig 1980, T-Bird at Ako)

RELATED READINGS:

next…

Vilma Santos’ Top 10 Film Directors 1/6

Introductions:  204 films, 70 directors, 5 decades, Vilma Santos, one of the original Philippine movie queens, rose up to become the versatile actress that has been given the fitting title of “Star for All Seasons” because of her capacity to adapt to the changing mores and values of the Filipino woman, giving a face to their plight and struggles, albeit in success both critically and box-office wise in some of Philippine cinema’s classics such as Trudis Liit (1963), Lipad, Darna, Lipad (1973), Burlesk Queen (1977), Relasyon (1982), Sister Stella L. (1984), Alyas Baby Tsina (1984), Pahiram ng Isang Umaga (1989), Dahil Mahal Kita: The Dolzura Cortez Story (1993), Anak (2000) and Dekada ’70 (2002).  This are top ten directors who contributed to her success.

SPECIAL MENTION: First, here are the directors who made a considerable impact but not lucky enough to be included in our list…

JOEY GOSIENGFIAO (#51 Hatinggabi Na Vilma 1972, #65 Takbo, Vilma, Dali 1972, #10 Lipad, Darna, Lipad 1973, #75 Promo Girl 1978); MIKE DE LEON (#34 Sister Stella L. 1984); GIL M. PORTES (#36 Miss X 1980); RORY B. QUINTOS (#12 Anak 2000); JOSE DE VILLA (#16 Trudis Liit 1963); OLIVIA M. LAMASAN (#21 In My Life 2009); JOEL LAMANGAN (#24 Mano Po 3: My Love 2004); WENN V. DERAMAS (#31 D’ Lucky Ones 2006); ANTONIO JOSE PEREZ (#42 Haplos 1982); LEROY SALVADOR (#46 Muling Buksan ang Puso 1985); NILO SAEZ (#48 Kampanerang Kuba 1974); MARILOU DIAZ-ABAYA (#52 Alyas Baby Tsina 1984, #54 Minsan pa Natin Hagkan Ang Nakaraan 1983)

Here is our top ten starting with number 10…

TIE 10. Pablo Santiago was the father of actors Randy, Rowell and Raymart. He was known for his big-budgeted action movies, many of them starring Fernando Poe Jr. He made his directorial debut at 19 with Larry Santiago Productions’ Lo Waist Gang, which catapulted Poe to stardom. For nearly fifty years, Santiago made award-winning films such as Batingaw, Nueva Vizcaya, Perlas ng Silangan, Ibong Adarna and Digmaan ng mga Angkan, a 1974 Metro Manila Film Festival blockbuster starring Ronnie Poe and Joseph Estrada. His last movie starred FPJ opposite Anjanette Abayari in Ang Syota Kong Balikbayan, in 1996. He died in 1998 at the age of 67 from lingering kidney ailment(Sol Jose Vanzi).

HIGHLIGHTS:Santiago first directed Vilma Santos in a Joseph Estrada movie, Batang Iwahig in 1966. Eight years afterward, He will direct Vilma again, this time as the leading lady of the Joseph Estrada’s rival, the late Fernando Poe Jr in light comedy and a smash hit, Batya’t Palo-palo. He will direct three more projects with Vilma, the follow up of the FPJ-Vilma teams in 1976’s Bato Sa Buhangin, the forgetable, Big Ike’s Happening in 1976 and the action film Vilma Vente Nueve in 1975 starring Vilma and action star, Jun Aristorenas.

Total Number of Films in our list of VSR’s Top 50 films = 2 (#37 Bato sa Buhangin 1976, #40 Batya’t Palu-Palo 1974)

Total Number of Films = 5 (Batang Iwahig 1966, Bato sa Buhangin 1976, Batya’t Palu-Palo 1974, Big Ike’s Happening 1976, Vilma Viente Nueve 1975)

RELATED READINGS:
Randy Santiago: After you, Dad!
IMDB: Pablo Santiago
Randy Santiago, now a full-fledged director
Batyat-Palu-palo at cinema Sept 27, 1974

TIE 10. Maryo J. De los Reyes is a film and television director from the Philippines. He began his career in the 1970s(Wikipedia). Reyes’ most significant works are the critically acclaimed Magnifico (2004), Tagos Ng Dugo (1987) and the commercial hits, Bagets (1983), Annie Batungbakal (1979).

HIGHLIGHTS: In 1987, Maryo De Los Reyes directed Vilma Santos that critics considered one of the most shocking film that year, “Tagos Ng Dugo.”  The film was hailed as feminist as seldom a Filipino woman was seen on screen as a murderous serial killer.  It earned Vilma Santos her fourth FAMAS Best Actress.  Ironically, the conservative Catholic church’s award giving body, Catholic Mass Media Awards, agreed with the FAMAS.  They gave Vi their Best Actress award while the critics’ group, Gawad Urian refused to hand-out their yearly award citing there were no deserving films that year.  Reyes last directed Vilma in another memorable off-beat role, the 1992 drama, “Sinungaling Mong Puso.”

Total Number of Films and Films in our list of VSR’s Top 50 films = 2 (#13 Tagos ng Dugo 1987, #28 Sinungaling Mong Puso 1992)

RELATED READINGS:
IMDB: Maryo J. De los Reyes
Maryo J. delos Reyes unveils his 4th Sine Novela Presents
Maryo J – Magnifico – Delos Reyes

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Vilma Santos’ Top 10 Film Directors 3/6

Introductions: 204 films, 70 directors, 5 decades, Vilma Santos, one of the original Philippine movie queens, rose up to become the versatile actress that has been given the fitting title of “Star for All Seasons” because of her capacity to adapt to the changing mores and values of the Filipino woman, giving a face to their plight and struggles, albeit in success both critically and box-office wise in some of Philippine cinema’s classics such as Trudis Liit (1963), Lipad, Darna, Lipad (1973), Burlesk Queen (1977), Relasyon (1982), Sister Stella L. (1984), Alyas Baby Tsina (1984), Pahiram ng Isang Umaga (1989), Dahil Mahal Kita: The Dolzura Cortez Story (1993), Anak (2000) and Dekada ’70 (2002). This are top ten directors who contributed to her success.

Here is the continuation of our list…

7. Eddie Garcia (born Eduardo Verchez García on May 2, 1929 in Sorsogon, Philippines) popularly known as “Manoy” is one of the top Filipino film actors and also a Movie Director. He is the most awarded and nominated person in the long history of the Filipino Academy of Movie Arts and Sciences (FAMAS) Awards. He garnered a total of 34 nominations (13 for Best Supporting Actor, 10 for Best Actor and 11 for Best Director). Out of these, he got 6 Best Supporting Actor wins, 5 Best Actor wins and 5 Best Director wins, 3 Hall of Fame Awards, 1 Lifetime Achievement Award and the Fernando Poe, Jr. Memorial Award. He was awarded his first FAMAS Award in 1957 and his last FAMAS, a Hall of Fame for Best Actor, in 2003 (Wikipedia).

HIGHLIGHTS: Eddie Garcia first directed Vilma in the Marcos film, “Pinagbuklod Ng Langit.”  She reprised the role of Imee Marcos and again co-starred with movie queen, Gloria Romero and dramatic actor, Luis Gonzales after “Iginuhit ng Tadhana.”  Garcia directed Vilma again in 1982′s record breaker, “Sinasamba Kita.”  Overall, the two collaborated in five more films after “Sinasamba,” giving us two of the most memorable Filipino movie lines – confronting the mistress Dina Bonevie, Vi said: “Para Kang Karinderyang bukas sa lahat ng gustong kumain (translated literally into “You are like food restaurant! Open to all who wanted to eat!”) from the movie “Palimos Ng Pag-ibig” and then confronting the rich snotty old Alicia Vergel, Vi said: “Si Val, si Val, si Val na walang malay! (literally translated to “Its Val! its Val!, Its always Val, The one who is innocent!”).

Total Number of Films in our list of VSR’s Top 50 films = 5 (#11 Imortal 1989, #18 Paano Ba ang Mangarap? 1983 #19 Sinasamba Kita, #22 Saan Nagtatago Ang Pag-ibig? 1987, #45 Palimos Ng Pag-ibig 1986)

Total Number of Films = 6 (Imortal 1989, Paano Ba ang Mangarap? 1983, Palimos Ng Pag-ibig 1986, Pinagbuklod ng Langit 1969, Saan Nagtatago Ang Pag-ibig? 1987, Sinasamba Kita 1982)

RELATED READINGS:
Eddie Garcia: Actor, director, icon, Philippine cinema’s one-man totem pole
An Urian Lifetime Achievement Award for Eddie Garcia
Veteran actor Eddie Garcia misses work as director
Eddie Garcia shares his secret of long and healthy life
Brocka’s “Tubog Sa Ginto” 1971 (VIDEO)
Eddie Garcia stars in indie film ‘Fuschia’
Video 48: Eddie Garcia, FAMAS Three Time Hall of Fame Awardee

6. Emmanuel H. Borlaza aka Maning Borlaza is a 1957 Palanca Awardee for “May Pangako ang Bukas” and theaterical drama trained by National Artist Severino Montano. Appointed by Pres. Noy Aquino as Movie and Television Review and Classifications Board (MTRCB) Vice Chairman this year, Borlaza directed 24 films with Vilma Santos and was credited with her transformation to a reluctant singing competitor of Nora Aunor to bankable superstar with such hits like Dyesebel, Lipad Darna Lipad, Darna and the Giants.

HIGHLIGHTS: Borlaza gave Vilma Santos her very first best actress, winning the 1972 FAMAS for via Dama De Noche. He is also credited in narrowing the popularity gap between her and the musical era’s darling of the 70s, Nora Aunor.

Total Number of Films in our list of VSR’s Top 50 films = 4 (#10 Lipad Darna Lipad 1973, #32 Dyesebel at ang Mahiwagang Kabibe 1973, #48 Darna and the Giants 1973, #49 Dama De Noche 1972)

Total Number of Films = 24 (I Love You, Honey 1970, Renee Rose 1970, Angelica 1971, Aloha, My Love 1972, Dama De Noche 1972, Don’t Ever say Goodbye 1972, Leron, Leron, Sinta 1972, Remembrance 1972, Darna and the Giants 1973, Dyesebel at ang Mahiwagang Kabibe 1973, Lipad, Darna, Lipad 1973, Maria Cinderella 1973, Tsismosang Tindera 1973, Makahiya at Talahib 1976, Mga Rosas sa Putikan 1976, Bakit Kailangan Kita? 1978, Kampus 1978, Coed 1979, Gusto Ko Siya, Mahal Kita 1980, Romansa; 1980 Yakapin Mo Ako, Lalaking Matapang 1980 Asawa ko, Huwag Mong Agawin 1986, Yesterday, Today and Tomorrow 1986, Ibigay Mo Sa Akin Ang Bukas 1987)

RELATED READINGS:
an Emmanuel H. Borlaza films and other directors
Borlaza: Its Payback Time!
1st shooting day ng Darna and the Giants
Visiting Forces body has new set of officials

next…

Vilma Santos’ Top 10 Film Directors 5/6

Introductions: 204 films, 70 directors, 5 decades, Vilma Santos, one of the original Philippine movie queens, rose up to become the versatile actress that has been given the fitting title of “Star for All Seasons” because of her capacity to adapt to the changing mores and values of the Filipino woman, giving a face to their plight and struggles, albeit in success both critically and box-office wise in some of Philippine cinema’s classics such as Trudis Liit (1963), Lipad, Darna, Lipad (1973), Burlesk Queen (1977), Relasyon (1982), Sister Stella L. (1984), Alyas Baby Tsina (1984), Pahiram ng Isang Umaga (1989), Dahil Mahal Kita: The Dolzura Cortez Story (1993), Anak (2000) and Dekada ’70 (2002). This are top ten directors who contributed to her success.

Here is the continuation of our list…

3. Chito S. Roño also known as Sixto Kayko, is a Filipino multi-awarded TV and film director. He is the director of the blockbuster films Feng Shui and Sukob. In 2010, he is one of the directors of the top-rating supernatural–fantasy horror TV series Imortal on ABS-CBN (Wikipedia). In 1984, Roño directed his first feature film, titled “Private Show” starring Jaclyn Jose. It was released locally in 1985 and won Jose the Star award for Best Actress. Chito used the pseudonym Sixto Kayco in the credits.

HIGHLIGHTS: Roño gave Vilma Santos her first international recognition winning the best actress in 1999 Brussels International Festival of Independent Films. At the same time, he was recognized as the festival’s Best Director both for Bata Bata Paano Ka Ginawa. The film also gave Vilma Santos her third grand slam winning all the best actress awards from several local award giving bodies. In 2003, Vilma received another international recognition, this time from Cinemanila International Film Festival winning the Best Actress for Dekada 70. The film was screen in the international film festival circuit and was the official entry of the Philippines in the 76th Academy Awards (OSCAR) for the best foreign language film category.

Total Number of Films and Films in our list of VSR’s Top 50 films = 3 (#2 Bata, Bata…Paano Ka Ginawa? 1998, #3 Dekada’70 2002, #36 Ikaw Lang 1993)

RELATED READINGS: IMDB: Chito S. Roño
Wikepedia: Chito S. Roño’s Filmography
Dekada 70, Chito Rono’s filmization of a tumultuous era
An Original Movie Musical by Chito S. Rono
video 48: Sixto Kayco’s “Private Show” (1985)

2. Celso Ad. Castillo began directing films mid-60’s at an early age, but he has since then gained reputation for many other aspects of the craft particularly scriptwriting and acting. In the Filipino movie industry, he holds the unique repuation of being controversial, trendsetter,enfant terrible and messiah of Philippine cinema, and his track record justifies it: he introduced artistry and commercialism in sex films (nympha) when the two were considered incompatible, and introduced sex in artistic projects ( Ang Pinakamagandang Hayop sa Balat ng Lupa/The Most Beautiful Animal on Earth)when moralistic repression was in vogue. An unfortunate and unfair consequence of the controversy is the recognition due him as one of the finest film commentators on the Philippine social scene, with a visual fluency unmatched by any other contemporary filipino film director. – CELSOAD.tripod.com

HIGHLIGHTS: Castillo gave Vilma Santos her first mature role in Burlesk Queen resulting with her first local film festival best actress award. He also directed Pagputi Ng Uwak Pagitim Ng Tagak where Vilma Santos starred and produced. The film received several best picture awards and was considered one of Castillo’s best works.

Total Number of Films and Films in our list of VSR’s Top 50 films = 3 (#1 Burlesk Queen 1977, #15 Pagputi ng Uwak Pag-itim ng Tagak 1978, #20 Tag-ulan sa Tag-araw 1975)

RELATED READINGS: Lumbera’s Review of Pagputi
Video 48: Vilma Santos As “Burlesk Queen” (1977)
The Maverick Director Celso Ad Castillo
Celso Ad. Castillo’s Biography
QandA With Direk Celso Ad Castillo Part One Two Three Four Five (VIDEO)

…next our number one director!