Vilma, Vilma, Ang Sarap Mong I-direk

ARTICLES - Directors

Sa langit-langitan ng pagganap sa pelikula ay walang aktres ang makakatapat kay Vilma Santos sa husay at versatility nito. Maging si Nora Aunor na mahigpit niyang karibal sa larangang ito ay nagsimulang nagpakita ng gilas at halos pinaluhod ang QueenStar noong ginawa niya ang Minsa’y Isang Gamu-gamo, Tatlong Taong Walang Diyos, Bona at Ina Ka ng Anak Mo. Sa katunayan, unang narecognize si Nora sa Urian at sa international film community sa Cairo Film Festival kung saan hinangaan siya sa Flor Contemplacion Story at nakopo niya ang best actress award, mula YCC hanggang sa Cairo nga. Ito lang ang tanging grand slam niya. Hindi nagpatalbog ang former Scream/Gripo Queen kay forever Ice/Eye/Diin Queen by reinventing herself magmula noong mapangahas niyang pagganap sa Burlesk Queen at nang talunin siya ni Nora sa 1978 MMFF kung saan nilampaso siya ng Atsay at umuwi siyang luhaan like Rubia Servios. As fate would have it, at dahil na rin sa kanyang competitive spirit at nerve of steel, she re-grouped and vowed never to be second banana sa kapuwa bulilit niyang karibal. “Anything she can do, I can do better, I can do anything better than her.” Yes, I can, oh yes I can!” ang bulalas ng most awarded actress and mayor ng bansa sa sarili. And she did it. By George, she got it! And she could dance all night, along with her millions of fans. Nag-aral siya, nagmasid, nagtanong, nagtiyaga, ibinuhos ang kaalaman niya sa sining, at inalagaan ito ng husto. At mula noong naka-grand slam siya sa Relasyon in 1982 ay para bang nabuksan ang langit at ang mga paghihirap at tiyaga niya ay tinumbasan ng walang katapusang ulan ng mga tropeo, honors and citations bilang pinakamahusay na aktres ng kanyang henerasyon, at possible sa buong kasaysayan ng pelikulang Pilipino. Na-validate pa nga ito ng pagkawagi niya as exemplary media practitioner for film via the prestigious U.P. Gawad Plaridel Award recently. Nominations pa nga lang ay eliminated na kaagad ang supposedly strong contender na si Nora Aunor.

Napasama ang Reyna sa last three finalists at mantakin mong sina Mike De Leon at Eddie Romero ba naman ang kahelera mo at talunin mo ay daig pa ang manalo ka sa lotto. Talagang hindi basta-basta aktres ang the longest reigning movie and box-office queen of Philippine Cinema: Isa na talaga siyang icon or national treasure ng bansa. Kasunod na kaya ang National Artist Awsrd? Abangan! Nakagawa na siya ng mahigit 200 na pelikula, kasama na ang mga special guesting niya, at nagtamo nga ng pinakamaraming acting awards, mula sa Trudis Liit hanggang sa Mano Po 3 – My Love. Kamanghamangha talaga! Atin ngayong suriin kung sinu-sinong director ang pumiga sa Meryl Streep of the Philippines at sa the Filipino Cinematic Diva (ayon sa U.S. Variety magazine) at tuloy ay nagkamit ng mga di matatawarang karangalan sa kahusayan sa pagganap. Sa mga batikang director natin, tanging sina Lino Brocka (SLN) at Marilou-Diaz Abaya ang di pinalad na panalunin si La Vilma sa mga klasikong Rubia Servios, Adultery and Hahamakin Lahat for Brocka, at Alyas Baby Tsina naman kay Abaya. At ang mga ilan sa matitinik nating direk na di nakatrabaho ng Reyna ay sina Lupita Kashihawara at Mario O’Hara na pawing identified kay Nora Aunor. Malay natin, baling araw ay may mga pelikula na silang gagawin. Narito ang talaan ng mga director na nagpanalo sa Greatest Actress of Philippine Cinema…

  • Jose de Villa – in 1963 for Trudis Liit. Vilma’s first acting trophy (FAMAS best child actress).
  • Luis Enriquez (aka Eddie Rodriguez, SLN) – 1968 best supporting actress for Kasalanan Kaya? mula sa San Beda College Awards; 1975 best actress for Nakakahiya?, Bacolod City Film Festival. The most successful May December acting team in Philippine Cinema, ever.
  • Emmanuel Borlaza – 1972 FAMAS best actress (her first as an adult actress and her one of five from the FAMAS), for Dama De Noche.
    Celso Ad. Castillo – 1977 best actress, MMFF, for Burlesk Queen. Her change of image changed everything. The best career move she ever did. There was no looking back.
  • Danny Zialcita – 1981 MMFF and Cebu City Film Festival for Karma.
    Elwood Perez – 1981 FAMAS best actress (Pakawalan Mo Ako) and 1988 FAMAS best actress (Ibulong Mo Sa Diyos).
  • Ishmael Bernal (SLN) – hold your breath! 1982 Grand slam for Relasyon (her first of four grand slams, a record!); 1983 Urian best actress, Broken Marriage; 1989 Urian best actress, Pahiram ng Isang Umaga. Sayang at pumanaw na si ‘Ishma” – ang dami pa sana nilang pelikulang pagsasamahan. The most successful actress/director collaboration in Pinoy Cinema. Pinasabog na ang takilya, inulan pa ng awards.
  • Maryo J. De Los Reyes – 1987 FAMAS best actress, Tagos ng Dugo; 1992 New Fame Mag Readers’ Choice Award for best actress, Sinungalinng Mong Puso. Sana matuloy iyong Vilma-Christopher project sa Violet Films’ Huwag Hatulan ang Puso. Sana. It’s time for a Maryo J. and a Vilma reunion – perfect for each other – they’ll make a splash at the local and foreign markets. Abangan!
  • Mike de Leon – 1984 Urian best actress, Sister Stella L. In the recent U.P. Gawad Plaridel award for exemplary film practitioner, La Santos bested De Leon. Whew! Will Mike lure Vilma or vice-versa to make a movie together? Heaven, must be missing an angel: Mr. Mike De Leon, that is. It’s time for a reunion. Isa pa nga, oh! Hold your breath. I can see it coming. Mover over, Madam Auring!
  • Laurice Guillen – ah, the woman’s director – who better understands women but the outstanding actress cum director herself, Laurice? Her presence at Vilma’s coronation at the U. P. last July 4 is proof that Ms. Guillen is a true-blue Vilmanian. She gave the Queen two best actress awards: 1993 Grand slam (her second) for Dolzura Cortez; and in 1991 at the Urian for Ipagpatawad Mo, halting Nora’s almost second grand slam win for Pacita M. Laurice’s presence at the U.P. Cine Adarna is, probably, an open invitation for Ms. Versatile Vilma to say – OK – to Guillen’s script about a woman who spent most of her life taking care of family business, only to be abandoned or dumped like a hot potato by the ones she loved to death – with nowhere to go – no career/office skills – nothing. Do I hear a fifth grand slam? Aw, c’mon, Vilma, grab the script before it lands in another’s lap. Si Guillen yata iyan! Atat na ata na, umoo ka na, oh!
  • Chito Rono – is he Bernal II? His approach, his dark comedy, his overall style is vintage Bernal, yet very original, with Chito’s stamp of excellence all over it. Two grand slams for Vilma, for a total of four grand slams, plus 2 international acting trophies from the Brussels and CineManila, (1998’s Bata-bata and 2002’s Dekada ’70), is not bad. Is there a reunion in the offing? Direk Rono: “Vi, gawin na natin iyong script, bago ni Lualhati, bagay sa iyo iyon?” Vilma: “Naku, Chito, litung-lito na ako sa dami ng offers. Di ko alam ang uunahin. Ang hirap i-pass by. Nakapanghihinayang. Kung puede ko lang i-clone ang sarili ko, gagawin ko lahat ng offers sa akin. Kaso mo, so many good movies, so little time.” Chito: “Ako hintay sa iyo. Ayaw ko sagot mo Pagputi ng Uwak, Pag-itim ng tagak. Basta ako hintay sa iyo.”
  • Rory Quintos – Anak shattered box-office records in 2000 and was the highest-grossing Pinoy film ever until Ang Tanging Ina (Solid Vilmanian Ai-Ai) zoomed to the top of the box-office. The 2000 best actress awards from the PMPC Star and PASADO are puede pasar, but millions of ‘luhaang’ viewers swear she should have brought home the bacon. All they were saying, please give Glo a chance! Sige na nga, senior citizen kasi eh. Doon nga sa Urian when Ms. Gloria Romero gave her speech: “I-share this award with Vilma who was so good in Anak.” BOW! Respect begets respect. Biglang sing si Aretha Franklin ng R-E-S-P-E-C-T.
  • Joel Lamangan – the newest Vilma convert after he made Vilma grab best actress awards in the 2004 MMFF (Mano Po III), at the PMPC Star (her sixth), Tanglaw (her second) and Gawad Suri. He was so impressed by the QueenStar that he offered her a script she couldn’t resist, about the slums, a role to die for. Vi: “Joel, ang hirap naman, awa ako time. Gulong-gulo nga ang isip ko kung ano ang tatanuan ko eh. Puede bang next year na lang iyan?” – Mario O. Garces (READ MORE)

FILM REVIEW: MANO PO 3 MY LOVE

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The Plot: Anti-crime crusader Lilia Chiong Yang (Vilma Santos) seems to have everything a woman could want and need: a husband (Jay Manalo) who pampers her; children (Patrick Garcia, Karylle, Angel Locsin) whom any parent would be proud of; and the respect & admiration of the most powerful people in the land. But just as Lilia prepares for her 25th wedding anniversary celebration, a chance encounter in Thailand with her first love Michael (Christopher De Leon) throws Lilia’s life into chaos. So begins the resumption of a relationship that threatens to unravel the delicate threads connecting Lilia to the other people in her life. “Mano Po 3” is a heartfelt tearjerker which was declared Best Picture at the 2004 Metro Manila Film Festival Philippines. Vilma Santos and Christopher de Leon also won well-deserved awards for Best Actress and Best Actor, respectively, in this moving film about the choices we must make for the sake of those we love. – Regal Films (READ MORE)

The Reviews: They say if you strike the third time, you’re out. Thank goodness, it’s not a strike the third time, instead, it’s a homerun hit for the third sequel of this franchise. “Mano Po 3: My Love” was as grand as the first two but with simple well-written story line. The film managed to iron out the past and present events through flashbacks and thanks to the editor (Tara Heinberger), the continuity of each scene were smooth. Mano Po 3: My Love is a life story of Chinese-Filipino anti-crime crusade, Lilia Chiong Yang. A Chinese couple who left Fujian, China in 1959, brought her here. Her mother beg this couple to bring her with them because she’s going to be put into the orphanage just because she is a girl and having so many baby girl, the Chinese government will not support them financially. Living now in the Philippines and now a young adult (Angelica Panganiban), Lilia met and fell in love with Michael (Cogie Domingo), her classmate and fellow activist. Together with Paul (Patrick Garcia), their classmate, they engaged into activism during the martial law. One night, during the curfew hours, they got into trouble and were hunted down by the military. Michael sacrificed himself and was caught. Lilia was pregnant with Michael’s child but he already left the country and so, Lilia fell to the hands of Paul.

Now, a mature Lilia (Vilma Santos), her quiet life was rattled when Michael (Christopher DeLeon) came back. They accidentally met in Thailand; Michael decided to win her back. Both were surprised to learn that Paul (Jay Manalo) deceived them by not giving all of Michael’s letters to Lilia when he left the country. With Lilia being a popular media personality, people have started talking, gossiping about Lilia’s secret affair with another man particularly in the Chinese community. It also added stress to her family and eventually they turned their back to their own mother. Finally, it all comes down to Lilia making decision on which man to choose. She finally decided to stay with her husband despite her undying love for Michael. Then the tragic end. Lilia’s anti-crime activism created her enemies. One of them tragically killed Paul. Again, her family blamed her. The end part of the film was a typical Regal tradition – that of reconciliations. Lilia’s family accepted her again and all wounds got heal. And what happened to Lilia and Michael? They remained friends as Lilia realized they are not really meant for each other.

People are saying that her scene in the car where Paul (Jay Manalo) was shot was reminiscent of her death scene in “Relasyon.” Yes, there was a touch of it but the scene in MP3 was more intense because it’s shorter and the pacing was faster. Christopher as Michael deserves his best actor award during the film festival. Finally, Lamangan managed to control Christopher’s dialogue mannerism. Christopher has the tendency to starts his line with “well….” Probably because the MP3′s script was tighter and requires him to follow strictly each lines because each lines most of the time have other meanings. For example, when the three of them finally met, Christopher said: “Isa sa mga natutunan ko nuon sa kilusan is Honesty.” Which he is actually saying to Paul that he is dishonest and deceitful; particularly for not giving to Lilia, all of his letters when he left the country during the martial law years. As Paul, Jay Manalo, despite his young look managed to convinced us with his restraint performance. I wonder if Philip Salvador would give as strong performance as Jay Manalo in this role. Jay showed us that he’s indeed one of our great actors today. Sheryl Cruz didn’t do much as Bernadette. Her performance was one dimensional, a trap for villain roles. And all can be blamed to the three writers – Roy Iglesias, Lily Monteverde and Joel Lamangan. Maybe because they concentrated their efforts to established the three main characters and so they neglected the others. Eddie Garcia and Boots Anson Roa played the usual supporting roles but Boots gave us the most memorable lines in all of the movies showed in 2004: “hindi ka puedeng magmahal sa dalawa lalake…” of course, with her Chinese accent.

Vilma also will not be far behind with her lines: “hindi ka ba sasama sa kanila Judith? Alam mo ba kung para saan ang kanilang ginawa?… sanay na akong tinatalikuran at iniiwanan yang ang storya ng buhay ko…” Vilma’s performance here was an example of how she matured and became an A1 actress. From the start to the end, she transformed herself to be the character. She became Lilia Chiong Yang. Here are the highlights: Her scene in Tagaytay Highland: Her breakfast scene with her family, where all except for one, left her; The scene where she and Paul finally met Michael in a restaurant was full of irony and sarcasm; The scene where Bernadette and three other relatives one of them was Boots Anson Roa confronted Lilia. Like a true fighter and speaking in Mandarin, she told them, she’ll be back in five minutes and if they’re all still in her office they will see the worst of her; The scene where Lilia and Paul were in a middle of an argument and suddenly they calmed themselves down because their dressmakers arrived (to measure their sizes for the clothes their going to wear on their wedding anniversary) was poignant and funny at the same time; Then Paul’s death scene that followed the hospital scene. All in all, a controlled, restraint, riveting performance. How can someone not noticed? If I will evaluate “Mano Po 3: My Love”, I will give the film an A for its excellent production and magnificent performances…” – RV (READ MORE)

“The performances of Christopher De Leon and Vilma Santos are great. It’s a great movie, the director made a good job. The flow of events and the pace of the story are nicely plotted. You won’t feel unease when Michael Lim (Christopher) come back to Lilia Chiong (Vilma) and interfered with her “happy” married life. Compare to the passed 2 Mano Po movies, Mano Po 3 doesn’t have enough Chinese tales, it can stand alone as a pure love story movie without involvement of Chinese culture. In my personal opinion, if Christopher De Leon character was a pure Filipino, and if the reason why he was separated from Vilma was due to rejection from Vilma’s Chinese parents, and Vilma was arranged-marriage “kai-siaw” to Paul (Jay Manalo), then this would be a better Chinese foundation as the background for Christopher and Vilma to met after 25 years. It might not be a happy ending, but it was a rational ending given the circumstances of the events. This movie will definitely make you cry in the end.” – IMDB (READ MORE)

“…Vilma Santos did a great job and really deserved her best actress honour at the MMFF. Certainly her efforts overshadowed those of here co-stars, Christopher De Leon and Jay Manalo. It’s a shame really that her duties in Lipa are keeping her from other movies. Eddie Garcia, I thought could have done a better job in delivering his lines. I realize that he is playing a character that was not that fluent in Filipino but some of his words were just garbled and found it hard to understand. My only gripe maybe in the casting of Jay Manalo as the husband of Lilia. In the story Manalo is portrayed as the same age as De Leon and Santos which frankly I find hard to believe since Manalo looks many years younger. In terms of production, I thought Regal Films did a good job in setting an overall atmosphere by bringing in good costumes and props. It was also nice to see them speaking in Chinese so as to make the situations more authentic and believable.” – IMDB (READ MORE)

“…actors Vilma Santos and Christopher de Leon portray roles that they have exceptionally portrayed before in their lustrous 40 years in Philippine show business. To even think of casting these superb actors in roles that are at least 15 years their junior, that defies their age, is indeed insulting to the intelligence of the Filipino viewers. But hey! Nobody’s complaining! Right? In fact, they both won the Best Actors awards in the said film fest! Sad, sad, sad…” – IMDB (READ MORE)

“…This is about Lilia Chiong-Yang (Vilma Santos) a Chinese-Filipino woman. She was torn from her first and only love, and ended up marrying the person she didn’t want (Jay Manalo). One faithful day, she met up with her old love Michael (Christopher De Leon) and things began to get rocky then. He wanted her to choose between her family and the only man she truly loved. The good thing about this movie is she made a decision in the end. For me, this third and last installment was the best among the rest. The movie made me laugh, cry, angry, sad and everything else. That’s really rare the Philippines’ movie industry now. Vilma Santos did a wondrous job in portraying her role. After her 2-year absence in the movie industry, she still had the touch. The only thing i didn’t like about the movie was Jay Manalo. He really was too young to be Vilma’s husband in the movie. They were supposed to be the same age though, but remarkably he did a very good job playing his role as well. How can we not forget Boyet? He was marvelous! Without him, this movie wouldn’t be the best one yet. People say this is such an ordinary love story, but in my eyes, this is the best Filipino movie ever made in my time…” – IMDB (READ MORE)

“…Mano Po III is definitely a showcase for Philippine cinema. It is basically a love story, but without any melodrama. Kudos for Joel Lamangan who brings out much emotion without ranting and violent tears that other filmmakers find so necessary to tell a story. Christopher de Leon and Vilma Santos are both subdued but effective in their portrayal of restrained lovers. One particular scene with Christopher, Vilma and Jay is a highlight of the film. It is a scene where the three are having a seemingly innocent conversation about business but with underlying dialogues about love and betrayal. The screenplay written by Roy Iglesias is exceptional, witty and effective. The credible acting would not be possible without such a script. In all, Mano Po is a must-see this filmfest. It was sold out the first time I tried to see it, but it was worth the wait.” – ABS-CBN (READ MORE)

“For the purported final entry in an envisioned trilogy. Regal matriarch Lily Monteverde has pulled out all the stops. The story is centered squarely on Mayor Vi and Boyet, whose cozy chemistry still crackles with a romantic thrill even after 24 movies together.” – Andrew Paredes, Manila Standard (READ MORE)

““As a love story, it is romantic as romantic can be – passionate even. And you really have to give it to the durable love team of Vilma Santos and Christopher de Leon to be able to pull off a material like Mano Po 3 and give the kilig effect of expected by most viewers and fans of love stories. It is handsomely-mounted, glossy and very entertaining. Its production values are far more superior compared to other local movies.” – Butch Francisco, Philippine Star (READ MORE)

“Kahanga-hanga ang ipankitang pagpapahalaga ng pelikula sa pamilya at pagaasawa.” – CINEMA (Catholic Initiative For Enlightened Movie Appreciation) (READ MORE)

A week before Christmas, the Star for All Seasons, Vilma Santos, shared with us her thoughts on son Luis and her first film in three years, “Mano Po 3.” She is thankful for the support of her family. When “Mano Po 3” was offered to her, Vilma sought the advice of husband Ralph and son Luis. They need the script, and exchanged views on scenes that they found objectionable. In everything she does, communication lines with son are open.

Fullfiling task: For, Vilma, raising her sons Luis and Ryan is a most fulfilling tasks. “My parents taught me to be God-fearing, respectful, responsible and law-abiding. Luis has never given me headaches. I am very liberal, but once you betray my trust, mag-ingat ka! Scorpio trait ito. Luis knows that, at binusog ko siya sa pangaral. I always tell him that he is old enough to differentiate right from wrong, so he should never do something that he’d regret later on,” she says.

No secrets: Although Luis has his own condo, he stays with Vi most of the time. There are no secrets between mother and son – – according to Vi, Luis tells her everything! On a few occassions, he’d introduce a girl to Vilma, and she’d know instantly if she was special to him or not. Vilma observes that Luis is more focused now. He dreams of owning his own restaurant-bar. And she’s surprised at how thrifty Luis has become – a trait that the actress also possesses. The Lipa City Mayor ends the year with her filmfest entry, “Mano Po 3.” In this last compilation of Tsinoy tales, Vilma is cast as a crusader, a mother of three children and supportive wife to Paul Yang, her devoted husband of 23 years. Then, her first love, Michael Lim (now a widower) resurfaces, and she finds herself in love again.

Three reasons Vilma cited three reasons why she accepted “Mano Po 3:” It gave her the opportunity to work with Christopher de Leon again; she couldn’t say no to Mother Lily, who has produced some of Vilma’s unforgettable movies (“Sister Stella L.,” “Broken Marriage,” and “Relasyon”), and the film’s interesting story centers on a fmily collapses due to infidelity. – Remy Umerez, Philippine Daily Inquirer, Dec 25 2004 (READ MORE)

Short and sweet. – Make that short and sedate. The awards ceremony for the 30th Metro Manila film Festival, now called MMFF Philippines, on Wednesday night was over in three hours, where it used to take twice as long. It was also less colorful than last year’s edition and the one before that, which more spontaneous action – a flea market and an auction of movie memorabilia – happening right outside the venue, the Aliw Theatre at the Cultural Center of the Philippines complex. Even the “Stars of teh Night,” Vilma Santos and Christopher de Leon, wore back and grey. A series of technical problems early on in the show was the closest that the evening got to be “eventful.” There were no walkouts, no brickbats, no exposed breasts. In short, the proceedings were orderly and the sexy starlets behaved. Juliana Palermo – she who flaunted her assets without breast-beating at a previous showbiz events – was in a cover all debutante-pink gown that was almost puritan acceptance speech – for her MAQ Films’ “Mano Po 3” as Best Picture – was met with no more than polite applause. “I’ve not been making money from producing,” Monteverde said, “but I continue to make movies because I love the industry.” Four of the eight festival entries were reportedly made by her companies.

FPJ in the house Perhaps the fact that the program had been dedicated to the memory of Fernando Poe Jr. contributed to the somber atmosphere. Elizabeth Poe received the posthumous “Idolo ng Masa” award for “Da King” of Philippine Movies, who died earlier this month. “I call on the people to not abadon his dream,” Elizabeth said, “to continue to fight.” Apparently touched, the audience took a few seconds before applauding. Director Joel Lamangan’s fiery acceptance of the Best Picture award alongside Monteverde – in which he ranted against taxes and government’s “neglect” of the industry – failed to rouse as much enthusiasm in his listeners. Producer and festival committee member Espiridion Laxa received a lifetime achievement award. He dedicated it to Vilma Santos and FPJ…”and to Erap (former President Joseph Estrada).” “Da King” starred in the first seven films that Laxa made under Tagalog Ilang-Ilang Productions. Santos, who was also named Best Actress for “Mano Po 3,” led the standing ovation for Laxa. The Vilmanians in the hall must have thought their idol was getting another award, as they led the screaming in return.

No teleprompter Cesar Montano, winner of the Best Director trophy for his CM Films’ “Panaghoy sa Suba,” won the women’s hearts, too. He was the perfect gentleman and escort to his wife Sunshine Cruz, who needed help with her petticoat as they went up and down the stage to receive awards for absent cast and crew members. The banter among the three emcees – Judy Ann Santos, Jomari Yllana and Marvin Agustin – was light and breezy, although they had to do without teleprompers. This means they read from cue cards, which kept them from maintaining precious eye contact with the audience. Young screen love teams Angel Locsin and Richard Guttierez, stars fo the TV hit series “Mulawin,” and Mark Bautista and Sarah Geronimo, stars of “Lastikman,” turned heads, as did reel-and real-life partners Mark Herras and Jennylyn Mercado, who were inseparable.

7 awards each “Mano Po 3” and “Panaghoy sa Suba” each won seven awards. Veteran stage and movie actor Cris Vertido bagged the Best Screenplay trophy for “Panaghoy.” He was happy, and it showed. “I’ve been acting for 40 years and never won anything,” he said. “I write my first screenplay and I get this.” Santos and de Leon won acting awards for their roles in “Mano Po 3.” MAQ Films got the Best Float trophy. De Leon would admit later that he considered Montano, as his stiffest rival for the award. “I thought it would be him (the winner),” De Leon said.

“A” rating Rebecca Lusterio, also of “Panaghoy,” was cited as Best Supporting Actress. The Cinema Evaluation Board, in giving the movie an “A” rating, earlier singled out the teenage performer as “silent and powerful, full of conviction and charm.” Other winners were Dennis Trillo, Best Supporting Actor for “Aishite Imasu 1941”; Ella Guevarra, Best Child Performer for “Sigaw”; Manny Dayrit, Best Editing, “Sigaw,” Best Sound Recording, “Sigaw”; Best Musical Score, “Panaghoy”; and Best Visual; Effects, Roadrunner Network Inc., for “Lastikman.” – Marinel R. Cruz Philippine Daily Inquirer, Dec 31, 2004 (READ MORE)

Joel Lamangan’s Mano Po, My Love dominated the Metro Manila Film Festival awards Wedenesday evening when it won all the top awards – Best Picture, Best Actor (Christopher de Leon), Best Actress (Vilma Santos) and Best Director (Lamangan). In the Philippine movie industry, the term Best Picture actually means the least bad movie of the crop. By that measure, Mano Po 3 perhaps does deserve the award. At least Mano Po 3 is slickly and tastefully produced. It boasts of a prestigious cast and tries to address a few pressing issues that affect the Chinese community in the Philippines. All the looks good on paper and the movie does look good most of the time but the resulting movie, like its two predecessors, falls short on expectations. The Mano Po series was designed to present the travails of today’s Chinese. Most of the problems they face today are rooted from old traditions that originate from the great land they had come from. In the third movie, Vilma Santos plays Lilia Chiong Yang, a successful real-estate developer who does some important civic work on her free time. She helps the police capture kidnap gangs although it’s never explained how she assists them. She’s only shown accepting awards of grattitude for her courageous fight against crime.

Lilia’s perfect life is shattered when she bumps into the real love of her life, Michael Lim (Christopher de Leon). They went to school together but being an activist, he was compelled to flee the country to avoid being persecuted by the Marcos regime. Not long after Lilia marries Michael’s best friend, Paul yang (Jay Manalo). Of course, a flame is reignited when they meet again and plans for the 25th wedding anniversary of Lilia and Paul are shattered. Such soapy contretemps are old hat and it has nothing relevant to say about the Chinese. Consequently, the Chinese connection feels tacked on – the audience is sporadically reminded of Lilia’s heritage through elaborate scenes (the birth of Lilia in a small village in China) and some colorful costumes and Chinese dragon parades. Frankly, you’ll learn more about Chinese tradition from Mark Meily’s classic film Crying Ladies (2003). Likewise, the film’s social commentary is contrived and rings false, what with the stilted, elementary dialogue the actors have to deliver. Without the Chinese trappings, Mano Po 3: My Love is a typical Vilma Santos movie designed to highlight all the wonderful elements that make her a star for all seasons.

Again, she sobs, laughs and acts pensive in that distinctive fashion Santos is famous for in one sudsy scene after another. Yet even as an emblematic Vilma Santos movie, Mano Po 3 is below par. The Star was better in other films that had better material. In this movie, screenwriter Roy Iglesias and director Joel Lamangan shamelessly force the star to imitate Meryl Streep in a scene stolen from Clint Eastwood’s Bridges of Madison County (1995). And like the two first installments, Mano Po 3 features some strange casting. Jay Manalo is supposed to be a contemporary of de Leon and Santos but when you see them together, Manalo looks more like their son than a classmate. Lamangan’s storytelling is fluid and deliberate but being deliberate can be deadly when almost every scene is all talk. Talk is fine if the words are inspiring but when the lines are pallid and of the telenovela variety, we’s just rather stick to the Korean soap they show on TV. While actors deliver modulated performances, this writer feels that Christopher de Leon’s role is too small to warrant a best actor nomination and award. I think he should have listed in the supporting category but I’m opening a can of worms here. Let’s just be thankful that this is the last Mano Po movie to be ever made. (Star rating: one star 1/2 out of four) – Dennis Ladaw, The Manila Times, Feb 28, 2005 (READ MORE)

Pinagtibay ng Panahon 1/2


Ang tambalang Vilma-Boyet ay pinagtibay ng panahon. Hindi basta-basta na maigugupo ng kahit sino o ng kahit anong tambalan. Tulad din ng alak na habang tumatagal ay lalong sumasarap. There have been many loveteams in Philippine cinema but the tandem of Vilma Santos and Christopher de Leon has chalked up the longest list of movies that have been given awards and made good records at the boxoffice. Until now, their tandem has been unsurpassed. Their loveteam is the most enduring tandem in local cinema. Siguro may iba pang loveteam na nakagawa ng mas maraming pelikula kaysa sa kanila like during the height of the Vi and Bot and Nora-Tirso but theirs did not span decades, nakakaahon lang sila within the short period of time at the height of their popularity. Hindi man naging magkapalad sina Vi at Boyet bilang lovers sa tunay na buhay ay nagklik naman sila sa masa bilang lovers sa pelikula. Matatandaan na sumibol din ang tambalang Nora-Boyet noon sa pelikula at kapag-daka’y nauwi sa totohanan. Sa kabila ng katotohanang ito ay hindi gaanong tinanggap ng publiko ang kanilang pareha sa puting tabing.

They were first paired in 1975 in Celso Ad Castillo’s Tag-ulan sa Tag-araw, as first cousins who fall in love with each other. With the success at the tills of the movie, sinundan pa ito ng sunud-sunod na pelikula that crossed over the 80’s, the 90’s and up until this new millennium. Ilan sa mga pelikulang ginawa nila sa bakuran ng Sampaguita Pictures na mahirap malimutan ay ang Masarap, Masakit ang Umibig, taong 1977 kung saan ka-triangle ang sumisikat na aktor noong si Mat Ranillo. Sinundan ito ng Nakawin Natin ang Bawat Sandali ng VP Pictures, taong 1978 na pinamahalaan ng batikang director na si Elwood Perez, Disco Fever; (a rare Vi-Boyet musical); at Ikaw Ay Akin (with Nora Aunor megged by the late Ishmael Bernal). Nang kalagitnaan ng taong 1980, ipinadala si Ate Vi sa States ng Tagalog Ilang-Ilang boss na si Atty.Laxa para gumawa ng reunion movie with Romeo Vasques and Boyet, ang “Gusto Kita, Mahal Ko Siya”. Habang buntis noon kay Luis ay ginawa ni Ate Vi ang “Pakawalan Mo Ako”, taong 1981 sa direksyon ni Elwood Perez at nanalo siya ng second FAMAS Best Actress award sa role bilang babaeng idiniin ng kanyang biyenan sa pagpatay sa asawang si Anthony Castelo. Pinaka-memorable naman para kay Ate Vi ang pelikulang Relasyon na idinerek ng mahusay na Ishmael Bernal sa ilalim ng Regal Films, taong 1982.Sa pelikulang ito nagtamo ng kanyang unang grandslam si Ate Vi bilang Best Actress sa lahat ng award giving bodies. Later, kinuha ang serbisyo ng aktres ng Viva Films na katatatag lamang noon at ginawa nila ni Boyet ang isang commercial hit movie na “Sinasamba Kita”. Komersyal na komersyal ang dating ng pelikula ito na hindi lamang umani ng tagumpay sa takilya, kungdi pati na rin sa mga kritiko. Taong 1983 nang gawin nila ni Boyet ang record-breaker na “Paano Ba ang Mangarap” kung saan papel ng isang api-apihang manugang ni Armida Siguion Reyna ang kanyang ginampanan. Sinundan naman agad ng “Broken Marriage” under Regal Films at sa direksyon pa rin ni Ishmael Bernal, ang director to whom Ate Vi is very much indebted dahil sa mga natamong best actress awards sa mga pelikulang idinirehe nito. Isa pa rin ito sa mga mahalagang pelikulang nagawa ni Ate Vi na nagbigay sa kanya ng karangalan bilang mahusay na aktres sa URIAN and of course kay Boyet bilang mahusay na aktor. Sa Viva Films sila nakagawa ng maraming pelikulang pinagtambalan dahil na rin sa isinasaad ng kani-kanilang mga kontrata. Kaya naman sa pagtatapos ng taong 1983, ginawa nila ni Boyet ang “Minsan Pa Natin Hagkan Ang Nakaraan”, the only movie na namatay silang magkasama kung saan asawa siya ni Eddie Garcia sa pamamahala ni direk Marilou Diaz Abaya.

Taong 1989 nang gawin naman nila ni Boyet ang Imortal na kung saan natamo ni Ate Vi ang Metro Manila Film Festival Best Actress at si Boyet naman ang tinanghal na Best Actor. Muling naulit ang kanilang pagtatambal ng taong 1991 sa pelikulang “Ipagpatawad Mo” ng Viva Films,sa direksyon ni Laurice Guillen at sa pagkakaga-nap niya bilang supportive mother of an autistic child ay napagwagian niya ang ikalimang URIAN Best Actress award. Taong 1993, nang gawin naman nila ang award winning movie na “Dahil Mahal Kita, Dolzura Cortez” sa ilalim ng OctoArts films at sa pamamahala ni direk Laurice Guillen na nagbigay kay Ate Vi ng ikalawang Grand Slam Best Actress award. Sinundan ito ng “Nag-iisang Bituin” under Regal Films na ka-triangle naman ang mahusay na aktor na si Aga Muhlach under the helm of Jose Javier Reyes. Muling naulit ang kanilang pagtatambal noong 1997 nang gawin nila ang “Hanggang Ngayon Ika’y Minamahal” ng Neo Films na pinamahalaan naman ni direk Ike Jarlego Jr. Limang taon ang nakalipas at muling nagpugay ang kanilang tambalan sa pelikulang “Dekada ’70″ ng Star Cinema sa direksyon ng award winning director na si Chito Rono. Sa pelikulang ito nanalo si Ate Vi ng kanyang ika-apat na Grand Slam Best Actress.

Mano Po 3, My Love is Vilma’s 22nd film with Boyet kung saan nagwagi ang numero unong aktres ng MMFF, Gawad Tanglaw, Gawad Suri at Star Awards ng Best Actress awards. In most of these films, either Best Actress si Ate Vi(Relasyon, Broken Marriage, Pakawalan Mo Ako, Imortal, Ipagpatawad Mo, Dulzura Cortez, Dekada ’70 at Mano Po 3) at si Boyet naman sa Best Actor ( Broken Marriage, Haplos, Imortal, Ipagpatawad Mo, Dolzura Cortez at Dekada). Sa dami ng pelikulang ginawa nilang dalawa na pawang big hits at nagbigay sa kanila ng acting recognitions, hindi tuloy maiwasang itanong ng karamihan kung ano ang sikreto ng kanilang matagumpay na tambalan. “We’ve never been linked to each other and yet the public loves seeing our movies together. Siguro it’s because we have this unbelievable chemistry. We know each other so well that tinginan lang on screen, we already know what to do to make a take very good.” Ate vi relates. “Siguro yung respeto sa isa’t-isa at pagiging professional ni Boyet. Kapag trabaho, seryoso siya talaga. Ang galing niyang magdala. Alam niya kung paano niya ako sasaluhin kapag nahalata niyang nawawala na ako.” sabi pa ng actress-politician. In an interview, Boyet was asked why does he think his partnership with Vilma continues to thrive even after 30 years? “I just love working with Vi because she is such a giving co-actor. Hindi siya nangaagaw ng eksena. If the scene is yours, susuportahan ka niya nang husto for you to shine. You can’t help but get carried away kapag siya ang kaeksena mo dahil napakahusay niya..O di ba, very well said. Ang trabaho kina Ate Vi at Boyet ay hindi kailanman nahaluan ng malisya. They have over the years worked strictly on the professional level. Off camera ay best friends sila. Sa katunayan nga, si Boyet ang unang aktor na pinagtapatan ni Ate Vi na magpapakasal kay Senator Ralph at ng kanyang pagbubuntis kay Ryan. Platonic daw ang tawag sa uri ng relasyong namagitan kina Ate Vi at Boyet in the sense na alam nila kung hanggang saan ang limitasyon ng closeness nila. Platonic dahil hindi na kailangan an0g anumang physical contact upang ipahayag ang kanilang nararamdaman para sa isa’t isa.

Subok na Matibay, Subok na Matatag ang tambalang VILMA-BOYET. No other loveteam can compile such successes,award wise and box-office wise. Their tandem spells capital B-I-G-H-I-T at the box-office. Mula nang gawin nila ang first movie nila noong late 70’s hanggang ngayon ay hindi pa rin pinagsasawaan at patuloy na tinatangkilik ng publiko at kanilang mga tagasubaybay na mapanood sila sa silver screen.Loveteam for all seasons, ika nga.O may hihirit pa ba? – Willie Ferrnandez, V Magazine, Dec 2006

The List
01. Tag-ulan sa Tag-araw (1976) – Directed by Celso Ad Castillo
02. Masarap, Masakit ang Umibig (1977) – Directed by Elwood Perez
03. Ikaw ay Akin (1978) – Directed by Ishmael Bernal
04. Disco Fever (1978) – Directed by Al Quinn
05. Nakawin Natin ang Bawa’t Sandali (1978) – Directed by Elwood Perez
06. Magkaribal (1979) – Directed by Elwood Perez
07. Pinay American Style (1980) – Directed by Elwood Perez
08. Gusto Kita, Mahal ko Siya (1980) – Directed by Emmanuel H. Borlaza
09. Pakawalan Mo Ako (1981) – Directed by Elwood Perez
10. Karma (1981) (Christopher De Leon in cameo role) – Directed by Danny Zialcita
11. Relasyon (1982) – Directed by Ishmael Bernal
12. Sinasamba Kita (1982) – Directed by Eddie Garcia
13. Haplos (1982) – Directed by Antonio Jose Perez
14. Paano ba ang Mangarap? (1983) – Directed by Eddie Garcia
15. Broken Marriage (1983) – Directed by Ishmael Bernal
16. Minsan Pa Nating Hagkan ang Nakaraan (1983) – Directed by Marilou Diaz Abaya
17. Imortal (1989) – Directed by Eddie Garcia
18. Ipagpatawad Mo (1991) – Directed by Laurice Guillen
19. Dahil Mahal Kita: The Dolzura Cortez Story (1993) – Directed by Laurice Guillen
20. Nagiisang Bituin (1994) – Directed by Jose Javier Reyes
21. Hanggang Ngayon Ika’y Minamahal (1997) – Directed by Ike Jarlego Jr.
22. Dekada ’70 (2002) – Directed by Chito S. Rono
23. Mano Po 3: My Love (2004) – Directed by Joel Lamangan

GO TO PART TWO

Pinagtibay ng Panahon 2/2


Ang tambalang Vilma-Boyet ay pinagtibay ng panahon. Hindi basta-basta na maigugupo ng kahit sino o ng kahit anong tambalan. Tulad din ng alak na habang tumatagal ay lalong sumasarap. There have been many loveteams in Philippine cinema but the tandem of Vilma Santos and Christopher de Leon has chalked up the longest list of movies that have been given awards and made good records at the boxoffice. Until now, their tandem has been unsurpassed. Their loveteam is the most enduring tandem in local cinema. Siguro may iba pang loveteam na nakagawa ng mas maraming pelikula kaysa sa kanila like during the height of the Vi and Bot and Nora-Tirso but theirs did not span decades, nakakaahon lang sila within the short period of time at the height of their popularity. Hindi man naging magkapalad sina Vi at Boyet bilang lovers sa tunay na buhay ay nagklik naman sila sa masa bilang lovers sa pelikula. Matatandaan na sumibol din ang tambalang Nora-Boyet noon sa pelikula at kapag-daka’y nauwi sa totohanan. Sa kabila ng katotohanang ito ay hindi gaanong tinanggap ng publiko ang kanilang pareha sa puting tabing. – Willie FerrnandezREAD MORE

The List
01. Tag-ulan sa Tag-araw (1976) – Directed by Celso Ad Castillo
02. Masarap, Masakit ang Umibig (1977) – Directed by Elwood Perez
03. Ikaw ay Akin (1978) – Directed by Ishmael Bernal
04. Disco Fever (1978) – Directed by Al Quinn
05. Nakawin Natin ang Bawa’t Sandali (1978) – Directed by Elwood Perez
06. Magkaribal (1979) – Directed by Elwood Perez
07. Pinay American Style (1980) – Directed by Elwood Perez
08. Gusto Kita, Mahal ko Siya (1980) – Directed by Emmanuel H. Borlaza
09. Pakawalan Mo Ako (1981) – Directed by Elwood Perez
10. Karma (1981) (Christopher De Leon in cameo role) – Directed by Danny Zialcita
11. Relasyon (1982) – Directed by Ishmael Bernal
12. Sinasamba Kita (1982) – Directed by Eddie Garcia
13. Haplos (1982) – Directed by Antonio Jose Perez
14. Paano ba ang Mangarap? (1983) – Directed by Eddie Garcia
15. Broken Marriage (1983) – Directed by Ishmael Bernal
16. Minsan Pa Nating Hagkan ang Nakaraan (1983) – Directed by Marilou Diaz Abaya
17. Imortal (1989) – Directed by Eddie Garcia
18. Ipagpatawad Mo (1991) – Directed by Laurice Guillen
19. Dahil Mahal Kita: The Dolzura Cortez Story (1993) – Directed by Laurice Guillen
20. Nagiisang Bituin (1994) – Directed by Jose Javier Reyes
21. Hanggang Ngayon Ika’y Minamahal (1997) – Directed by Ike Jarlego Jr.
22. Dekada ’70 (2002) – Directed by Chito S. Rono
23. Mano Po 3: My Love (2004) – Directed by Joel Lamangan


TAGULAN SA TAGARAW


MASARAP MASAKIT ANG UMIBIG


IKAW AY AKIN


MAGKARIBAL


PINAY AMERICAN STYLE


PAKAWALAN MO AKO


RELASYON


SINASAMBA KITA


HAPLOS


PAANO BA ANG MANGARAP


BROKEN MARRIAGE


MINSAN PA NATING HAGKAN ANG NAKARAAN


IPAGPATAWAD MO


DEKADA 70


MANO PO 3: MY LOVE

GO TO PART ONE

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:

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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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