FILM REVIEW: BROKEN MARRIAGE

Posted on April 24, 2012 by @ffv Standard

The Plot: After ten years and two children, Rene and Ellen find their marriage on the brink of breaking up. They seem to have fallen out of love and life has become a series of verbal hussies and conflicts. They decide that the only way out is a temporary separation. Rene, a police reporter, and Ellen, who is a television production assistant, begin to live apart from each other. Rene moves into his friend’s apartment while Ellen has to cope with running a household by herself. But they soon begin to feel the effects of their separation. A series of events that follow drastically change their lives. Rene is mauled for his expose of a gambling casino owned by a high ranking government official. He is forced to stay temporarily in the house of Ellen’s mother. As he recuperates from his injuries, both he and Ellen attempt to rebuild their shattered relationship. – Manunuri (READ MORE)

Demanding careers and two children have left Ellen (Vilma Santos) and Rene (Christopher De Leon) with a rocky marriage. A trial separation follows, and soon enough, the consideration of divorce — a serious taboo in Filipino culture in 1983. Orestes Ojeda co-stars as a new flame who lights up Ellen’s life. Prolific director Ishmael Bernal directs a heart-tugging script that he co-wrote with Bing Caballero and Jose Carreon. – Netflix (READ MORE)

The Reviews: Broken Marriage comes as a second wave to the noisy ripple created by Vilma Santos’s award-winning performance in Relasyon. The Regal people have banged their bongos so much harder this time that viewers will expect that Ms. Santos’ cards for this year’s awards derby will be more than secure. The hint is that Broken Marriage is a Vilma Santos movie. Lest the moviegoer expect too much from this year’s quadruple winning best actress, he should be forewarned that the movie is about, well, a broken marriage.

After more than 10 years of marriage, two young persons find each other repugnant. Ellen is a television floor director who hops from one set to the other shooting sitcoms and soaps. Her husband, Rene, complements her rapid lifestyle in investigative reporting. The movie commences with Ellen coming home in the morning from overtime with a crew party on the side. Rene greets her with an ugly nag. The house turns topsy-turvy as they proceed to hurl invectives against each other.

The exchange is extremely exhilarating; and just as the viewer breathes a sigh of relief, another quarrel starts and ensues as if it were the final assault.

Eventually, they decide to separate at the cost of their boy’s understanding nod and their little girl’s distaste. Rene moves to a house populated with such absurd characters as an artist who carves sexy sculptures, a friendly bit-part actor, and a gay art director who cuddles the upstart. Ellen, meanwhile, has to see to it that the children are not left out in their school activities – even standing as an athletic parent during one of her boy’s scouting engagements. She also has to check the advances of her bodyache-complaining producer, to whom she later gives in anyway.

Gradually, the two people realize the great loss that comes with division. Ellen, with the two children, is forced to move to her mother’s place after her house is burglarized, thus realizing the difficulty of an unmanned house. Rene substitutes a whore in the absence of his wife’s caresses. It is when Rene gets beaten up by a city mayor’s goons for nearly publishing a detrimental article and is constrained to recuperate in his mother-in-law’s house that the couple starts patching up the seams of the rent relationship. The ending is of course happy: reconciliation, what else?

Comparisons dawn inexorably: how does Broken Marriage fare as a follow-up to the bravura of Relasyon? This is tough inquiry. If intentions were to be the starting point, then the new movie is a better achievement. Relasyon, judging from its title, was supposed to be about a man and other woman relationship; but the feminist tendencies of our cinema had pinned the movie to a fateful drift: the travails of the modern mistress. Broken Marriage never swerves from its goal; from start to finish it is a portrait of two persons and the bond which they discover smothering and smoldering.

But the ordinary moviegoer does not assess by artist’s intentions – he does not even care about the artist (I mean here the one behind the work. On one hand, the film in front of him is the present; and on the other hand, it is the past. Broken Marriage is made to appear to him as a sequel to Relasyon. The process of integrating the past and the present is a challenge for him. For him are opened two avenues: to start with past and proceed with present; or start with present and proceed with past. If he chose the former, the condemnation for Broken Marriage would clang like a wild cymbal. If he chose the latter, the outcome is a laudatory comment).

Nonetheless, one has to prove that the new movie can stand on its own feet. What Relasyon sadly lacked (albeit not too sadly) was humor. Broken Marriage has tons of it – the caustic swaps, the funny characterizations, the clever plottings – so that the audience’s conditioned response for a supposedly serious movie shifts irrevocably to playful irreverence. Vintage Ishmael Bernal.

It is a masterly stroke – the proverbial Bernal sleight-of-hand at work, this time with more gusto and style. If the Inquisition were still around, he would be branded and burned seven times as a heretic for turning a marriage gone sour into an off-beat frolic suddenly turned sweet – at least, to the viewer’s mirth-hungry belly.

But none may claim that Bernal’s treatment loses its mark of delineating the disadvantages of separation. The humor chisels the message so that it comes to us shining and double-edged, while doing its duty of alleviating an otherwise gloomy impression which accompanies every disillusioning subject matter.

Not only does it come through humorously but also simply. Nowhere is the strain which anyone expects from grave subjects present here. It is as if the dreary topic had been borne on the Lord’s shoulders so that the yoke – and audiences love to be martyrs of maudlin tears – becomes, this rare time, light and easy. The scene where Rene visits his family and finds Ellen and the children agitated by the swift burglary of the house, and the producer wrily comments “Mahirap talaga ang walang lalaki sa bahay”(It’s difficult to have no man in the house) is casual but very biting so that the urgency of the hero returning to his gamily throbs mercilessly like a set clock.

In the same way, Bernal shows Ellen’s retrospective mood minus the conventional flashback: her younger sister is engaged to be married, and Ellen watches the two lovebirds running like children, with a bright but painful smile, even with jealousy, knowing that after the ceremonies, the two will lose the innocence which tradition stifles. This is a repetition of the technique Bernal used in Relasyon – the mistress attending the wedding of her cousin – with just the same effect, namely, sympathy.

The screenplay plunges right into the boiling point, the issues hurled to the foreground like machine-gun fire, the familiar scenes of hatred and division treated like aimless confetti so that the audience neither breathes nor is excused. It jolts us at the outset and after the terrible whipping, when the squabbles lessen and finally ebb into peace, we realize that these two handsome people must have had only one tragic flaw: they did not keep mum for a while.

Manolo Abaya’s cinematography dances with the jetstyle rhythm of the two protagonists. From the clever blocking of the morningjumble scenes to the hurried bustle of the television studio, Abaya’s camera sweeps avidly and flawlessly. In his hands, the incessant quarrels of Rene and Ellen seem like a vengeful lovemaking. The long shots, conventions of a Bernal, are more developed here. Above all, Abaya’s camera has humor and pathos.

The production design never digresses from its limited scope but manages to make poetry out of cluttered rooms and artificial television set-ups. The claustrophobia one feels at the outset of the movie with the couple’s disorderly room easily renders the hopelessness of the two people’s situation. The music filters the emotions of the characters with a detached but effective air. Jesus Navarro’s splendid editing is a breathless canvass of cosmopolitan animation.

The supporting actors are remarkable. Spanky Manikan as a loony reporter getting loonier everyday must not be denied mention; so with the actors who play the sculptor and the gay art director. Lito Pimentel as the gay’s idol is a relaxed performer with a talent for effortlessness.

Christopher de Leon endows the character of Rene with the right sense of machismo and basic weakness. When Rene is compelled to act maturely, De Leon unflinchingly turns him even more childish with useless tantrums; and when Rene finally learns his lesson, De Leon adds a boyish smile as if the lesson were amusing. We watch De Leon, elated and entertained: he is never so old as to appear too distant nor is he too young as to seem undocile. Broken Marriage is a gift to this actor. He is not propelled here to be more manly; since his character is made to contribute to a lot of oversights, De Leon’s doesn’t have to put a mask of strength: he just has to be himself and act with ease.

Vilma Santos is not about to be a letdown, not this time when the most important female roles are coming her way. A new intelligence she infuses in the character Ellen. Like De Leon, she turns Ellen into a woman-child, but the stress is less on her part as she has done similar roles before. Her beautiful face is flush receptive: the quiet moments of just observing the people around her are moments of perfect acting. Her body moves with an agility that is both funny and dramatic. Her two monologues – the first with her friends in the cafe when she informs them that she is bored, and the second with Rene when she tells him that they are not children anymore – are her best scenes: the camera lingers upon her countenance and she enunciates in return with ironic ease. She should watch out for next year’s awards race – there is simply no stopping her at the moment. – Joselito Zulueta, Sine Manila – 1983 (READ MORE)

Mahigit sampung taong nagsasama bilang mag-asawa sina Ellen (Vilma Santos), floor director sa isang programang pantelebisyon at Rene (Christopher de Leon), isang investigative reporter. Sa simula pa lamang ng Broken Marriage (Regal Films, 1983) mapapansing pag-uwi pa lamang ni Ellen mula sa trabaho, pakikipagtalo agad ang isinasalubong ni Rene dito. Ipinakita ng pelikula ang tumitinding alitan sa pagitan ng mag-asawa hanggang sa mapagdesisyunan nilang pansamantalang maghiwalay. Pilit na ipinaintindi ng mga ito ang di pagkakaunawaan sa kanilang dalawang anak. Nanirahan si Rene sa isang bahay na pinamumugaran ng isang grupo ng mga absurd characters na matatagpuan sa pelikula. May iskultor, isang bit player at ang kinakasama nitong baklang art director. Di naglaon, napilitang makisama ni Ellen at ng mga anak sa poder ng kanyang ina sa dahilang pinagnakawan ang kanilang bahay dala ng kawalan ng lalaking magtataguyod dito. Nang mapag-alamang ilalathala ni Rene ang isang artikulong maglalantad sa katiwalian ng isang opisyal ng lokal na pamahalaan ay agad itongipinagulpi upang mapigilan ang pag-publisa ng artikulo. Pansamantalang tumigil si Rene kasama ng asawa’t anak sa bahay ng kanyang biyenan upang magpagaling at dito naayos ng dalawa ang kanilang pagsasama. Ang pagtatapos? Muling nabuo ang kanilang pamilya.

Paano malalampasan ng Broken Marriage ang Relasyon? Kung pagbabasehan ang intensiyon ng direktor, higit itong nakaaangat sa Relasyon. Mula simula hanggang sa pagtatapos nito, hindi lumihis ang Broken Marriage sa mensaheng nais nitong ipahatid. Mahusay ang pagsasalarawan ni Ishmael Bernal sa domestikong suliranin ng mag-asawa bagama’t sumasang-ayon sa patriyarkal na gahum habang pinagbibigyan nito ang di inaasahang pagkamulat ng lalaking protagonista ay nagpakita ding ganap sa semiotikong detalye ng kompleksidad ng resolusyon sa pansariling loob. Ang sensitibong paglikha ni Vilma Santos kay Ellen ay isang marubdob at personal na layon kung ihahambing sa kanyang pagsasakarakter ng papel ni Marilou bilang kerida sa Relasyon. Hinamon ni Ellen ang kumbensiyonal na depinisyon ng pagiging asawa at pagkaina sa paghahanap ng mga alternatibo sa gitna ng makainang pagpapalaki sa mga anak. Ginawan niya si Ellen ng sariling silid kung saan nakahanap ito ng solitaryong kanlungan nang hindi pinuputol ang pakikipag-ugnayan sa asawa. Iniugnay ni Ellen ang ang kanyang pribadong hapdi sa spectrum ng kanyang relasyon. Samantala, nakatutok ang tunggalian sa Broken Marriage hindi lamang kay Vilma Santos kundi kay Christopher de Leon. Nasa asawang lalaki ang bulto ng suliranin kaya sa kanya umiikot ang kuwento, ang relasyon ni Rene kay Ellen at ang relasyon ni Rene sa kanyang mga anak. Ang maalam na pagpasok ni de Leon sa katauhan ni Rene ang lumiligalig sa mga kontradiksiyong talamak sa sistemang patriarkal. Kaakibat ng Broken Marriage ang manipestasyon ni Bernal sa pagbibigay ng representasyon sa reyalidad at partikular na pagsasaayos ng iba’t-ibang elementong kaagapay sa masining na pagbuo ng pelikula. – Jojo DeVera, Sari-saring Sineng Pinoy (READ MORE)

Ishmael Bernal: “…O, bakit parang lutang ka diyan? Porke’t naka-grand slam ka, feeling mo, magaling ka na?…” Bernal scolded Vi when she reported to the set of Broken Marriage, still high after her grand slam wins for Relasyon and a little unmotivated. – Richard Bolisay, Lilok Pelikula, 15 May 2010 (READ MORE)

“… Reportedly Ms. Santos, buoyed by the many acting awards earned by the previous film, was so eager to do well in the new production that Bernal got irritated, locked her in a bathroom, and delivered to her an ultimatum: she was not coming out till she got over her ‘hysteria.’ One sees what made the latter so successful, the same time watching this one sees why Bernal didn’t want to simply duplicate that success. Relasyon was a lean and elegantly told melodrama that took a sidelong glance at the institution of Filipino marriage; in Broken Marriage Bernal wanted to examine the institution directly, without the oblique glances. He didn’t want to film some doomed struggle to keep love alive but something less dramatic, far more difficult to capture: the aftermath of a protracted war, where the ultimate casualty is married love. He in effect didn’t want Ms. Santos at her perkiest and most energetic–he wanted her exhausted, looking for a way out, and to her credit Ms. Santos delivers exactly this with her performance…” – Noel Vera, Critique After Dark, 08 April 2012 (READ MORE)

“…In Filipino melodramas, the heroines often lean on against a hostile environment. Some no less combative women have created a permanent place in the film industry of the country…Lino Brocka and Ishmael Bernal devoted themselves repeatedly with a strong social and political consciousness of the popular form of melodrama. More than Brocka himself Bernal frequently focused on strong female characters that need to manage their lives under unfavorable circumstances. In his films female stars in the spotlight, without the problems of everyday life would go by the board. With Vilma Santos in 1982 he turned Relasyon, wherein the main character wants to escape from a stifling marriage and not only emotionally, but also legally reaches its limits (a year later with Santos Bernal turned the thematically similar mounted Broken Marriage). Was produced Relasyon of Lily Monteverde , who plays an influential role in the Philippine film industry today. Already at the beginning of the 20th century there were in the studios and production companies in the country powerful women who ruled with a firm hand and were addressed by their subordinates even as mothers. “Mother Lily” made his mark as a hard nosed business woman, often more economic than artistic interests followed, understandably, not just friends. The young director Raya Martin let her in his short film Long Live Philippine Cinema! (2009) even to death to save the Philippine cinema…” – Michael Kienzl, Critic.de, 10 Sep 2014 (READ THE TRANSLATION)

“Reportedly Ms. Santos, buoyed by the many acting awards earned by Relasyon, was so eager to do well in the new production that Bernal got irritated, locked her in a bathroom, and delivered to her an ultimatum: she was not coming out till she got over her ‘hysteria.’ One sees what made the latter so successful, the same time watching this one sees why Bernal didn’t want to simply duplicate that success. Relasyon was a lean and elegantly told melodrama that took a sidelong look at the institution of Filipino marriage; in Broken Marriage Bernal wanted to focus on the institution sans oblique glances. He didn’t want to film some doomed struggle to keep love alive but something less dramatic, far more difficult to capture: the aftermath of a protracted war, where the ultimate casualty is married love. He in effect didn’t want Ms. Santos at her perkiest and most energetic–he wanted her exhausted, looking for a way out, and to her credit Ms. Santos delivers.” – Noel Vera, Critic After Dark, 13 September 2014 (READ MORE)

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FILM REVIEW: INSPIRATION

Posted on April 8, 2012 by @ffv Standard

The Plot: Single parents Tony Benetez (Carlos Salazar) and Sylvia Motolla (Merle Tuazon) fell in love and married without their spoiled and protective teen ager kids, Gina (Vilma Santos) and Danny (Jay Ilagnan). They decided to live in one roof with Sylvia getting pregnant and the two kids developing a special relationship. – RV (READ MORE)

The Reviews: Ishmael Bernal’s first film with Vilma Santos was 1972’s “Inspiration,” an unusual teeny-bopper team-up film of Vilma and the late Jay Ilagan. The film established its main characters as both very much protective of their parents. Although its not explained why both Tony Benetez (Carlos Salazar) and Sylvia Mottola (Merle Tuazon) are still single, they ended up dating and eventually marrying each other. Gina Benetez (Vilma Santos) and Danny Motolla’s (Jay’ Ilagan) parents first met in a polo tournament attended by both families. They were introduced by the socialite grandmother of Danny, Lola Jane (Lilian Laing). Later that same day both single parent met again in a night club. It was clear then that both are attracted to each other but are afraid that their kids will not approved it. They then continued to secretly date until one day both kids discovered when all four of them accidentally met in a restaurant. The complication ended when Lola Jane intervened. With the help of Gina’s household maid, Choleng, the two planned an intervention. The meeting ended up with both kids leaving the Lola Jane’s house while the parents eloped.

Without the kids aproval, the newly married couple returned and forced their kids to live in one roof. Sylvia then got pregnant while Gina and Danny developed a secret affair. Another complication and here come Lola Jane to the rescue, in the hospital after Slyvia delivered her baby, it was understood that Lola Jane has informed Sylvia and Tony about their kids special relationship. The next scene was Gina and Danny having a motorcycle ride that ended up in a park. Under the tree the two had an innocent chat about their relationship. The End.

In a musical era of 1970s, “Inspiration” was quite an experimental film, with no musical numbers but with better screenplay and well-written characters. Nestor and Bernal works well in establishing the character of Jay and Vilma. Their dialouges are not “corny” and very realistic. There is no over the top dramatic scenes inserted between musical numbers here. The parent played wonderfully by Merle Tuazon and Carlos Salazar were convincing. Although both Vilma and Jay played their roles effectively, Lilian Laing steals the film as Lola Jane. She was bubly and funny, a sex-starved, karate black belter, polo game afficionado, who loves life, considering she is playing the old grandma who is also the solution to all the complication in the lives of our four main characters.

Bernal was on his element here, a good story teller, pre-“Dalawang Pugad Isang Ibon, Pahiram Ng Isang Umaga and Relasyon.” Although he is directing a light comedy, written by Nestor Torre Jr., he managed to established all the characters without relying on corny dialouges and musical numbers common in this musical era.

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Relasyon (Photos)

Posted on April 26, 2011 by @ffv Standard

Source: Focus On Filipino Directors: Ishmael Bernal – A Sampling 1951-1982

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The Bernal-Santos Collaborations

Posted on December 12, 2010 by @ffv Standard

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)

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Vilma Santos’ Top 10 Film Directors 6/6

Posted on November 22, 2010 by @ffv Standard

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)

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Vilma Santos’ Top 10 Film Directors 2/6

Posted on November 22, 2010 by @ffv Standard

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)

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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)

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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:

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Vilma Santos’ Top 10 Film Directors 1/6

Posted on November 22, 2010 by @ffv Standard

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)

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)

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Vilma Santos’ Top 10 Film Directors 3/6

Posted on November 22, 2010 by @ffv Standard

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)

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)

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Vilma Santos’ Top 10 Film Directors 5/6

Posted on November 22, 2010 by @ffv Standard

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)

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)

…next our number one director!

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Vilma Santos’ Top 10 Film Directors 4/6

Posted on November 22, 2010 by @ffv Standard

Here is the continuation of our list…

5. Catalino Ortiz Brocka (April 3, 1939–May 21, 1991), director for film and broadcast arts, espoused the term “freedom of expression” in the Philippine Constitution. Brocka took his social activist spirit to the screen leaving behind 66 films which breathed life and hope for the marginalized sectors of society — slumdwellers, prostitute, construction workers, etc. He also directed for theater with equal zeal and served in organizations that offer alternative visions, like the Philippine Educational Theater Association (PETA) and the Concerned Artists of the Philippines (CAP). At the same time, he garnered awards and recognition from institutions like the CCP, FAMAS, TOYM, and Cannes Film Festival. Brocka has left behind his masterpieces, bequeathing to our country a heritage of cinematic harvest; a bounty of stunning images, memorable conversations that speak volumes on love,betrayal and redemption, pestilence and plenty all pointing towards the recovery and rediscovery of our nation. To name a few, Brocka’s films include the following: “Santiago” (1970), “Wanted: Perfect Mother” (1970), “Tubog sa Ginto” (1971), “Stardoom” (1971), “Tinimbang Ka Ngunit Kulang” (1974), “Maynila: Sa Kuko ng Liwanag” (1975), “Insiang” (1976), “Jaguar” (1979), “Bona” (1980), “Macho Dancer” (1989), “Orapronobis” (1989), “Makiusap Ka sa Diyos” (1991) (NCCA.gov.ph). On May 21, 1991 Brocka met an untimely death in a car accident in Quezon City, Metro Manila. In 1997 he was given the posthumous distinction of National Artist for Film.(Wikipedia)

HIGHLIGHTS: Brocka gave Vilma one of the most controversial film after “Burlesk Queen,” her milestone role as a rape victim in 1978′s “Rubia Servios.” The film failed to secure Vilma the local festival’s best performer award after so much speculations despite this, the film was a big hit. Brocka will direct Vi two more times, “Adultery” in 1984 and “Hahamakin Kita” in 1990, a year before his untimely death in May 21, 1991.

Total Number of Films and Films in our list of VSR’s Top 50 films = 3 (#6 Rubia Servios 1978, #14 Adultery: Aida Macaraeg 1984, #27 Hahamakin Lahat 1990)

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4. Laurice Guillen is an award-winning Filipino director and actress. She was born on January 29, 1947 in Butuan City. She is married Johnny Delgado, a notable and prominent actor. Daughters, Anna and Ina Feleo are both into stage acting as well. Laurice won international notice for her direction of the 1981 film, Salome(Wikipilipinas).

HIGHLIGHTS: Guillen gave Vilma her fifth and sixth Gawad Urian Best Actress awards for 1991’s Ipagpatawad Mo and 1993’s Dolzura Cortez. The later also gave Vilma her second grand slam, winning all the best actress awards from local award giving bodies.

Total Number of Films and Films in our list of VSR’s Top 50 films = 3 (#4 Dahil Mahal Kita The Dolzura Cortez Story 1993, #24 Ipagpatawad Mo 1991, #34 Kapag Langit Ang Humatol 1990)

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Star For All Seasons

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.

Tag Archives: Ishmael Bernal

FILM REVIEW: BROKEN MARRIAGE

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FILM REVIEW: INSPIRATION

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Relasyon (Photos)

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The Bernal-Santos Collaborations

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Vilma Santos’ Top 10 Film Directors 6/6

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Vilma Santos’ Top 10 Film Directors 2/6

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Vilma Santos’ Top 10 Film Directors 1/6

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Vilma Santos’ Top 10 Film Directors 3/6

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Vilma Santos’ Top 10 Film Directors 5/6

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Vilma Santos’ Top 10 Film Directors 4/6

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