Remembering Danny Zialcita

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Danny’s Film Style – “…Sabi ni Danny, marami siyang naririnig na takot ang mga artista sa kanya dahil sa kakaiba raw niyang working habits. “Iba akong magpatakbo ng set. For those stars I haven’t handled yet, working with me will be like breaking old habits. It doesn’t necessarily mean na ours is the better habit. Iba lang.” Karaniwan, maraming hindi nakagamay sa style ni Danny na walang script. Kay Danny, the script should be just a guide for the sequence ng scenes. Sasabihin lang ni Danny ang situwasyon sa artista, bahala na ang artista sa interpretation at sa dialogue “I allow them to contribute to the interpretation of the story base on their everyday experience. Paglabas natural ang arte nila. Mahirap kung sunod lang nang sunod sa sinasabi ng isang papel,” paliwanag ni Danny. “Ang importante lang,” dagdag ni Danny, “ay alam ng direktor kung saan pupunta ang istorya.” Isa pang style ni Danny na hindi nakukuha ng maraming artista ay ang mabilis na pacing ng kanyang mga pelikula. “Pag sa akin, no long pauses in between dialogue. Brief and concise ang takbo ng ma linya.” Naniniwala si Danny na ang editing ang isa sa mga dahilan ng ikinagaganda ng kanyang mga pelikula. “I’m more of an editor than a director; more of a scriptwriter than a director,” sabi niya. Ang editing ay isang aspeto ng paggawa ng pelikula na talagang pinagaralan ni Danny. Ipinagmamalaki ni Danny na hindi siya aksayado sa film. “I already edit my film while still on the shooting. Nandoon ang concentration ko as director. I hardly expose film.” As a director, naniniwala si Danny na dapat, may malaki siyang papel sa pagpili ng final title ng pelikula. Binibigyan din niya ng importansiya ang music sa pelikual. “I love music, I give room for it in my films…” – Vivienne Rafael, Movie Flash Magazine, December 23, 1982 (READ MORE)

Man starts and God finishes – “…Perhaps, it was because we were his most recent contact from media if one could call five years recent. At that time, he agreed to an interview, asked that we see him at his home and spoke of a project for Gabby Concepcion, which we filed for The Philippine Star. At that time, we wrote: “Gabby’s father Rolly was on the phone talking with Danny and he hands us the phone. Apparently, Rolly has a story for Gabby he wants Danny to direct. Zialcita’s mind was not only as sharp as it was in the past; his excitement at reappearing once again on the scene was infectious. He told us of how God had been guiding his every move in the past. Man starts and God finishes, he stated. He felt this during the peak of his career when he was churning out movie after movie… Nine hits in a row? That couldn’t have been possible without Divine intervention,” he interjects. Upon his death Sunday, we were told his body was cremated and no wake was scheduled. It seemed to us that Danny had directed his final movie. And we remember “Man starts and God finishes…” – Bibsy M. Carballo, The Philippine Star, March 15, 2013 (READ MORE)

Beautiful Women and Cool Wife – “…Zialcita is a son of a banker whose wife took care of the kids and the home. If he had a knack for narrative, it must have come from his paternal grandmother who wrote short stories for Liwayway Magazine. Danny studied at the Ateneo de Manila up to high school before he was sent by his dad to the Sophia University in Japan to take up business management—and to cut the budding romance between his son and the actress Charito Solis. While he was indeed enrolled in a business course in the beginning, he was soon moonlighting in the film editing classes, and ended up just focusing on the latter. He wasn’t able to finish his studies and at 19, got married to Leonor Vergara, a favorite leading lady and then girlfriend of Fernando Poe Jr. Despite Danny’s reputation for being a playboy, the two have been married for 47 years now, and have three grown children. “Ask the girls,” says Mark Gil, with a knowing laugh when I ask him to comment on the director’s ladies’ man image. And Zialcita always had the most beautiful women on the set: Lyka Ugarte, Dang Cecilio, Pinky de Leon, Rio Locsin, Hilda Koronel, and Gloria, of course. “My favorite is still upstairs,” he tells me when asked who among the actresses was his favorite. “I believe in duty, responsibility and continuity…I have a way of hiding what is important.” And then he adds, “Mapagbigay ako.” “He loved women,” says Gloria. “He is very cariñoso, very touchy, laging nakasampay sa’yo. Even with the men.” But Danny never made a move on her. “How can he? We were always shooting in his house; his wife was upstairs.” The Zialcita movie atmosphere, they say, is always relaxed. Mostly because he is the producer of most of his films he can take his time, and he was usually shooting at home, in the old Zialcita mansion on Lee Street in Mandaluyong. “Basta may painting at may salamin, it was shot in Danny’s house,” Mark Gil says. “Kaya ‘yung mga walls namin puro butas,” says daughter Beth. He would just change the paintings and the look of the house for every film. They would also shoot in the house across owned by a relative. “Even while he was doing his bomba movies, he would do it here,” adds Beth. “I would come home from school and see people in the house na walang damit.” While he did collect many paintings, ivories and sculptures not only for his films but also as a personal hobby, Danny also collected still photographs of scantily clad women whose blown-up incarnations Beth would see posted in his private den. His wife Leonor, says Beth, never seemed to mind. “She is a very cool wife…” – Jerome Gomez for Metro Him, ABS-CBN News, 03/12/2013 (READ MORE)

Danny’s Vi and Guy – “…Batangas Gov. Vilma Santos told the Inquirer: “I learned a lot from him. He popularized crispy, witty dialogue that sounded very natural. He was intelligent and clannish. He liked working with the same set of actors. I felt privileged to be among his regulars.” Santos starred in Zialcita’s biggest 1980s hits: “Langis at Tubig,” “Karma,” “Gaano Kadalas ang Minsan” and “T-Bird at Ako.” The last one also top-billed Nora Aunor. Told about the news, Aunor said that, apart from “T-Bird at Ako,” she guested in a Zialcita movie that launched singer Kuh Ledesma in 1982, “Tinimbang ang Langit.” “We also have an unfinished movie ‘Sa Dulo ng Panahon’ (produced by Regal Films in 1988),” said Aunor. “Mahusay siyang direktor. Mabilis mag-isip at magaganda ang mga dialogue namin lagi. He was a great director, quick-witted. He always gave us beautiful lines to deliver…” – Bayani San Diego Jr., Philippine Daily Inquirer, March 14, 2013 (READ MORE)

Dear Sharon – “…None at all. My first single, Tawag ng Pagibig (by Rey Valera), didnít click. It was my second, Mr. Deejay (also by Valera), released six months later, which did. When I was 14, I rode on the float of the movie Langis at Tubig during the parade at the Cebu Film Festival. I sang the theme song of that movie (directed by Danny Zialcita). Ate Vi (Vilma Santos), one of the stars, was pregnant with Lucky so I kind of pinchhit for her. Direk Danny was very impressed by the public reaction. After the parade, he talked to my Mom about the movie Dear Heart. Hindi daw niya itutuloy if he couldnít get me to star in it…Direk Danny wanted my character in the movie to be close to my real self para daw hindi ako mahirapan. So in the movie, I had bodyguards and my father was strict and crazy over me; I even had a yaya who called me Miss Universe. Very real life, di ba? I had crushes and puppy loves even before I met Gabby. Before I joined showbiz, ang crush ko noon ay si Dondon Nakar. But before Dondon, there was Bruce Lee, and now Jet Li. I did have a crush on Albert (Martinez) but not on Gabby. I thought Gabby was mayabang; so among the Regal Babies, mas gusto ko sina Alfie Anido at Jimi Melendez (both dead). In fact, when they asked me who I wanted as my leading man in Dear Heart, I said, “Anybody but Gabby Concepcion.í I found out na mabait naman pala siya when we started shooting…” – Ricky Lo, The Philippine Star, August 11, 2002 (READ MORE)

Comatose – “…Atenean, Danny Zialcita, passed away Monday, March 11 after more than a year of being comatose. He was 73. Director, producer and writer, Zialcita was legendary. He was revered for his glossy movies that often showed middle-class characters delivering witty quips and kilometric dialogues that he often wrote and re-wrote on the set itself. “Lady Killer” was made in 1965 and he went on to make 52 movies, most of which he himself wrote. Among his most famous are “Bakit Manipis ang Ulap,” “Nang Masugatan ang Gabi (1984), “Nagalit ang Buwan sa Haba ng Gabi” (1983), “Gaano Kadalas ang Minsan?” (1982), “Langis at Tubig” “Hindi sa Iyo ang Mundo, Baby Porcuna,” “Ikaw at ang Gabi” (1979). He was credited for plucking the teen recording artist Sharon Cuneta and making her into a star via the teen romance “Dear Heart” (1981), which paired her with Gabby Concepcion. Zialcita and Cuneta would later reunite in 1983 for “To Love Again.” He was also the director of “T-Bird at Ako,” which has the two most awarded Filipina actresses Nora Aunor and Vilma Santos. He was married to former actress of Premiere Productions Leonor Vergara with whom he had a daughter…” – Malaya, March 17 2013 (READ MORE)

Danny Zialcita and Vilma Santos

  • Langis at Tubig (1980) – Zialcita’s first collaboration with Vi. She played the other wife of Dindo Fernando who was had a shotgun wedding to a provincial naivette, played by Amy Austria who he impregnated.
  • Karma (1981) – After the hit, Langis at Tubig, zialcita did Karma with Vi. The film was one of the top grosser in the December festival. It also earned Vi another best actress. Manny A. Valera, writer for Jingle Extra Hot Magazine wrote in December 28, 1981, Vi was so proud of this Zialcita’s directed film she explained: “…Masaya ako ngayon. Sa darating na Filmfest kasi, maganda ang panlaban kong pelikula. Kung nagustuhan ng mga manonood ang Langit at Tubig last year, mas magugustuhan nila ang Karma. Hindi kiyeme-kiyeme ang sinasabi ko. Nakita ko na kasi ang mga rushes, “I consider Danny as one of the best among our movie directors. Pulido siyang magtrabaho. Pari iyong mga bold scenes namin, talagang artistically done. All praises ako sa kanya. Nakasama ko na rin siya before and because of that, may inter-action kaming dalawa. Vibes na vibes kami. Sure ako, hindi ako mapapahiya sa filmfest entry ko. “Karma will be my Christmas gift to all my fans who, until now, have not stopped loving me. Ang pagtingin ko sa kanila ay extra special kaya naman, extra-special ang regalo ko…”
  • T-Bird at Ako (1982) – Aside from several guest appearances in all star cast films like Dugo at Pag-ibig sa Kapirason Lupa, Happy Days Are Here Again and other forgetable films, this is the fourth films that Vi and Guy did together. Zialcita masterfully directed the two and despite the unequal weight in terms of roles, Vi gamely faced Nora in several memorable confrontation scenes that include witty/crisp dialouges, slapping and a kissing scene (well, almost lips to lips, a kiss in a cheek). Art immitating life? We all know that Guy had a rumour gay wedding in the U.S. that she herself briefly discussed in an article years back. And she also candidly admitted several times, she’s also a Vilmanian. Zialcita was way ahead of his time, creating one of few Filipino films about a career minded and succesful lawyer who happens to be a lesbian. Seldom we see such characters in Filipino local films and he has done this several times in films like Mahinhin vs Mahinhn. Despite the dissappointing ending where lesbian Nora agreed to be with her patient suitor, played by Tommy Abuel, instead of Vi, the film has answeared what both Vi and Guy’s fans has been expecting since Bernal’s Ikaw Ay Akin, the typical battle confrontations. It may come probably too late as the film was not as successfull commercially.
  • Gaano Kadalas ang Minsan? (1982) – Zialcita and Vi’s last film together. Hilda was originally cast in Langis at Tubig in 1980 but he took out Hilda and cast Amy Austria instead. He then make-up for this decision by giving Hilda one of the lead in this drama that reminds local film buff of the Lolita-Eddie-Marlene troika in 60s. In an interview by Jerome Gomez, for Metro in 2008, “…From 1979 to 1986, Zialcita was on a roll, doing one film after another, pulling off nine hits in a row beginning with Gaano Kadalas in 1981 up to his sex comedies that include May Lamok Sa Loob ng Kulambo. He could demand anything from a producer and his wish would be granted. When Viva Films asked him to do Gaano Kadalas, he told Vic and Mina del Rosario that he will only do it if they get George Canseco to write the theme song (most of his popular films had songs by Canseco), and that Hilda Koronel would be one of the leads. Viva granted him both, even if it had to pay more for Hilda than for Vilma. “May utang ako kay Hilda eh, I took her out of Langis at Tubig…” Gaano Kadalas broke box office records set by another Vilma starrer, Sinasamba Kita released few months eartlier, it grossed 7.3 Million in its few days run in Metro Manila in 1982, equivalent to 17.4 millions to today’s money.

Danny Zialcita (November 24, 1939 – March 10, 2013) 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 (READ MORE)

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FILM REVIEW: KARMA

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Plot Description: Sarah (Vilma Santos) is forced to defer her wedding when she scheduled to flight was delayed. At a hotel where she is staying, Sarah encounters Eric (Ronaldo Valdez), a regular guest who forces himself on her. The incident leaves a stigma not just on Sarah but more so on her fiancé, Alfredo (Tommy Abuel) whose dream of marrying a “virgin” is dashed. Strangely, Sarah and Eric’s paths cross again at a time when their respective marriages are in disarray. Their meeting strikes both as “déjà vu.” Could it be that they have met each other in the past? Their suspicious are confirmed after Eric consults a psychic. As it turns out, Sarah and Eric are the reincarnation of Guada and Enrico, two lovers who had an illicit affair sixty years ago. When Guada’s husband, Limbo (Ruel Vernal), learned of her affair, he went on a murderous rampage. Now Sarah and Eric seem destined to follow the same path. But in whose spouse does the spirit of Limbo rest? Is it the disabled Alfredo? Or Eric’s estranged wife Cristy (Chanda Romero)? – Viva Films

Film Review: The technical preview of “Karma” the other night was delayed for about an hour but I did not mind waiting because I was quite certain that I’d be seeing a fine film. To while away the time, “Firecracker,” co-starring American actors with local talents like Chanda Romero, Vic Diaz, and Rey Malonzo was shown. Chanda and Vic delivered their lines themselves but surprisingly Rey didn’t. Before one whole reel could roll, the prints of “Karma” arrived. “Don’t stop it yet, a bed scene is coming,” Mario Bautista protested. Happily, “Karma” turned out to be as good as I expected. It’s performers are first-rate – Vilma Santos, Ronaldo Valdez, Tommy Abuel, Chanda Romero – so their award-winning acting didn’t surprise me at all. The script was outstanding but even that was expected, coming from director Danny Zialcita. What impressed me was that minor parts were played by name actors. The housekeeper who appeared in one short sequence could have been played by any elderly woman but those who made the movie wanted nothing less than Etang Discher. The psychiatrist could have been played by any decent-looking man but they didn’t settle for anybody less than Vic Silayan. The male lover at the start of the story had to be acted out by Dante Rivero, that at the end by Christopher de Leon. The movie boasted of several bold scenes. Those involving Vilma weren’t much as we know for a fact that Vilma could show only so much. One scene showing Chanda was a different story. It showed her with absolutely nothing on, yet it didn’t offend anybody as it was executed in style, shot with great care. There was just one thing, which looked unnatural to me – the way in which one of the main characters killed himself. “That’s all right,” Danny assured me. “Before we shot it, we double-checked its possibility.” Reincarnation and transference are undoubtedly mind-boggling subjects but, to his utmost credit, Danny managed to present them simply, bringing them down for everybody to understand. “Bala lang yan. Katawan lang ito. Babalik at babalik kami sa mundong ito,” Dante vowed. Come back they did as they promised building the foundation of the story. – Bob Castillo, People’s Journal Dec. 12, 1981 (READ MORE)

Sa pagbabago ng estado ni Vilma Santos, tila nagbabago na rin ang kanyang approach sa kanyang career. Dahil hindi na career ang unang priority niya sa buhay, lalong nagiging professional ang kanyang tingin sa trabaho. Dahil hindi na twenty-four hours a day ang kanyang buhay artista, alam na niyang I-apportion ang bawat minuto na walang aksaya. Sa set ng Relasyon ni Ishmael Bernal, hangang-hanga ang director sa bagong pang-unawa ni Vilma sa trabaho. Dumarating sa oras, kabisado ang linya (memorizing lines for Vilma, of course, was never a problem even the days she was shooting five pictures simultaneously), full attention sa sinasabi ng direktor, walang problema. Kung pagbabasehan sa naging resulta ng Karma, lalong maganda ngayon si Vilma, mas mariin ang kanyang pagganap, mas mature ang kanyang approach at understanding sa kaniyang papel. Swerteng-swerte ang pagkapanalo niya ng best actress sa nakaraang Film fest. Sayang at wala siya upang tanggapin mismo ang tropeo. Pero lalong naging makabuluhan para sa kanya ang sinabi ng kapwa niya artista sa Karma nang sabihin ni Chanda Romero na “napakaganda naman ng karma ni Vilma. Mayroon na siyang Edu, mayroon siyang Lucky, ngayon ay mayroon pa siya nito (ang ibig sabihin ay ang best actress trophy),” sabay tilian ng mga fans sa loob ng Cultural Center, walang makapigil, walang makasaway. Pero, gaya ng dati, hindi naging madali kay Vilma ang pananalo. Nagpatas ang botohan ng dalawang beses – triple tie sila ni Gina Alajar at Charo Santos, hanggang ma-break ang deadlock at nakaungos ng isang boto si Vilma sa dalawa pa niyang kalaban. Tinawagan si Vilma ni Cirio Santiago, pinasundo sa isang limousine, pero nagdahilan ang Vilma. Ayaw niya sigurong umasa dahil minsan, sa isang awards night din, sinigurong siya ang mananalo pero hindi ganun ang nangyari. (I understand that Vilma really won but the verdict was changed afterwards through the representations and machinations of some influential press sectors.) Kunsabagay, wala rin si Charito Solis noong awards dahil sabi sa akin ni Chato, talagang hindi niya inaasahang manalo ang maliit na papel na iyon sa Kisapmata. Noon pa mang preview pa lamang, maugong na ang balitang baka si Charito ang manalo bilang supporting actress pero hindi niya yun pinansin dahil tiyak na tiyak siya na si Vic Silayan ang mananalo. Sinabi pa niya sa interview niya kay Armida Siguion-Reyna sa Let’s Talk Movies na napakagaling ni Vic. Sa set pa lamang daw, natitiyak na niya halos na si Vic ay mananalo sa Kisapmata. Sa naturan ding programa, sinabi ni Armida sa pagre-review niya ng Karma na talagang magaling ang pagkakaganap ni Vilma sa Karma na parang nakuha nitong punuan ang ilang mahalagang kakulangan ng pelikula. – Oscar Miranda (READ MORE)

“26 years after we first seen “Karma,” the film remained Vilmanians’ favorites and one of Dany Zialcita’s best film. Glossy with crisp dialouge, the film was a big hit at the 1981 Metro Manila Film Festival and earned Vilma the festival’s best actress. Here was what movie reporter Mario Bautista said about her acting: “Ibang-iba” rin ang Vilma Santos sa “Karma.” Subdued na subdued ang performance ni Vi rito unlike in other films na all out ang emoting niya. Dito’y restrained siay at napaka-effective. Halimbawa sa eksena after the rape sa kanya ni Ronaldo Valdez. Nang sabihin niyang siya’y patungo sa kasal niya’y halos hindi na marinig ang kanyang tinig pero talaga namang damang-dama mo ang kirot sa kanyang dibdib. O kaya’y sa mga tagpong sinusumbatan siya ni Tommy Abuel na nanatili siyang kalmado at soft-spoken. We never thought Vilma can be that versatile!” – RV (READ MORE)

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. The total number of Vilma Santos and Danny Zialcita colloborations were four (Gaano Kadalas ang Minsan? 1982, Karma 1981, Langis at Tubig 1980, T-Bird at Ako). – RV (READ MORE)

“One of the most misunderstood occult concepts. The nearest equivalent in European thought is contained in the idea of fate, though the oriental term indicates the fate is not a haphazard sequence of events of experiences, but is dependent on actions of previous lives or spiritual conditions. The idea is that a spirit undertakes to live in an earthy body for a given period of time, usually in order to learn something which cannot be learned in a disembodied state, and has to accept rewards and punishments for good and bad deeds committed in previous incarnations. In order that understanding may grow, any evil committed against another person will have to be experienced by the perpetrator. The working out of Karma is not done consciously by ordinary people. The real reasons for the majority of people’s actions and relationships may be understood only when nature of their Karma is grasped – which is tantamount to saying that it is virtually impossible to understand or judge another person when seen in the context of one material lifetime only. Vilma Santos fits the role to a T. For the past years that she has suffered a string of major misfortunes and setbacks in real and reel life, she has hone herself as promise, a common objective: to give the viewing public what it wants – entertainment with a capital E. For Danny Zialcita, aside from having a good screenplay, good direction and brilliant actors and actresses, the movie should have artistic values. Karma promises to be a very good vehicle not only for Zialcita but also for Vilma Santos and the rest of the cast. Will this movie be a good KARMA for director Danny Zialcita, Vilma Santos and the rest of the cast? Watch the movie! It’ll be a different kind of feeling you’ll get after viewing it.” – Bond De Leon (READ MORE)

“…First, Karma is a quality picture. According to Mr. Ernie Rojas ng Sining Silangan, it was produiced not only to make it good in the box-office kungdi maging sa mga awards. Kungsabagay, may laman ang sinabi ni Mr. Rojas simply because Langis at Tubig, which was also producede by Sining Silangan last year, placed second in the tops earners and bagged the Best Actor Award for Dindo Fernando. Second, matagal na ring naipalabas ang latest film ni Vi na Hiwalay. Samakatuwid, maganda ang spacing ng mga pelikula niya, ‘Ika nga, hindi over-exposed ang beauty ni Vi. Dahil dito, nandiyan pa rin ang pananabik ng manonood kaya’t siguradong dudumugin ang Karma. …” – Manny A. Valera (READ MORE)

“…In my limited understanding it takes lifetimes to work off one’s karma. Movies, however, only run for two hours so filmmakers have to take liberties. In Danny Zialcita’s 1981 film Karma the protagonists have the added advantage of knowing exactly who they were in their past lives, thanks to a psychiatrist (Vic Silayan) who practices regression hypnosis. Eric (Ronaldo Valdez, who is smoking, and not just in the library where he researches his former incarnation) and Sarah (Vilma Santos) have already met under awful circumstances, but it turns out they’ve known each other much longer than that. In the past they were Enrico and Guada, illicit lovers murdered by Guada’s husband, Limbo. Limbo vows to follow them to the next life, but which form does he take? Is he now Enrico’s mentally unbalanced, pathologically jealous wife Cristy (Chanda Romero), or Sarah’s cruel, sadistic husband Alfredo (Tommy Abuel). It’s not a whodunnit, it’s a who-will-do-it? Vilma Santos turns in another fine portrayal of emotional turmoil. Nora Aunor had the advantage of expressing volumes with her eyes; Vilma expresses with her face, hands, and entire body. Nora was inward, Vilma outward. Ronaldo Valdez gives an understated performance, coolly delivering lines like, “In love there’s no measure of time”. Tommy Abuel overacts ridiculously, even for a guy so suspicious that he has his wife examined by a gynecologist to see if she’s had sex. Chanda Romero is fabulous. Her Cristy is a psychotic who never raises her voice; you can tell she has tranquilizers for breakfast, lunch, and dinner. The first time Cristy and Sarah meet is at the antique store Sarah manages at the old Virra Mall. Cristy breezes in, picks out a bunch of stuff, and announces that she doesn’t carry cash or credit cards, just send the bill to her husband. She points to another piece she buys, and Sarah says, helpfully, “That’s P9,500.” “Ok lang,” Cristy says, “Nagtanong ba ako? (Did I ask?)” One thing about Danny Zialcita movies: his rich people looked and sounded like rich people. He made movies for sophisticated grown-ups. If they don’t make movies like Zialcita’s anymore, it’s because people are no longer that articulate. Nobody casually tosses off bon mots anymore, everything has to be overstated for the dim. So we Zialcita fans are reduced to reciting favorite lines from his movies: “Puede bang makausap ang asawa ko na asawa mo na asawa ng buong bayan?” (May I speak to my husband who’s your husband who’s everybody’s husband?)…” – Jessica Rules The Universe (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

Top 100 Vilma Santos Films

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

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

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

RANK FILM (YEAR) SCORE
01. Burlesk Queen (1977) 30.90
02. Bata, Bata…Paano Ka Ginawa? (1998) 28.90
03. Dekada’70 (2002) 28.80
04. The Dolzura Cortez Story (1993) 28.70
05. Ikaw ay Akin (1978) 28.60
06. Rubia Servios (1978) 28.50
07. Relasyon (1982) 27.90
08. Pahiram Ng Isang Umaga (1989) 27.80
09. Broken Marriage (1983) 27.70
10. Lipad, Darna, Lipad (1973) 27.60
…LINK

11. Imortal (1989) 26.90
12. Anak (2000) 26.80
13. Tagos ng Dugo (1987) 26.70
14. Adultery (1984) 26.60
15. Pagputi ng Uwak Pag-itim ng Tagak (1978) 25.90
16. Trudis Liit (1963) 25.80
17. Gaano Kadalas ang Minsan? (1982) 25.70
18. Paano Ba ang Mangarap? (1983) 25.60
19. Sinasamba Kita (1982) 25.50
20. Tag-ulan sa Tag-araw (1975) 25.40
…LINK

21. In My Life (2009) 24.90
22. Saan Nagtatago Ang Pag-ibig? (1987) 24.80
23. Ipagpatawad Mo (1991) 24.70
24. Mano Po 3 My Love (2004) 24.60
25. Pakawalan Mo Ako (1981) 24.50
26. Karma (1981) 24.40
27. Hahamakin Lahat (1990) 24.30
28. Sinungaling Mong Puso (1992) 24.20
29. Dalawang Pugad, Isang Ibon (1977) 24.10
30. Ex-Wife (1981) 24.09
…LINK

31. D’ Lucky Ones (2006) 24.08
32. Dyesebel atang Mahiwagang Kabibe (1973) 24.07
33. Sister Stella L. (1984) 23.90
34. Kapag Langit Ang Humatol (1990) 23.80
35. Miss X (1980) 23.70
36. Ikaw Lang (1993) 23.60
37. Bato sa Buhangin (1976) 23.50
38. Nakakahiya? (1975) 23.40
39. Hindi Nakakahiya (1976) 23.30
40. Batya’t Palu-Palo (1974) 23.20
…LINK

41. Haplos (1982) 22.90
42. Ibulong Mo Sa Diyos (1988) 22.80
43. Pinay, American Style (1979) 22.70
44. Langis at Tubig (1980) 22.60
45. Palimos Ng Pag-ibig (1986) 22.50
46. Muling Buksan ang Puso (1985) 22.40
47. Kampanerang Kuba (1974) 22.30
48. Darna and the Giants (1973) 22.20
49. Dama De Noche (1972) 21.95
50. Hatinggabi Na, Vilma (1972) 21.90
…LINK

51. T-Bird at Ako (1982) 21.80
52. Alyas Baby Tsina (1984) 21.70
53. Halik sa Kamay, Halik sa Paa (1979) 21.60
54. Minsan pang Nakaraan (1983) 21.50
55. Masarap, Masakit ang Umibig (1977) 21.40
56. Hindi Nahahati ang Langit (1966) 21.30
57. Susan Kelly, Edad 20 (1977) 21.20
58. Hiwalay (1981) 21.10
59. Rock, Baby, Rock (1979) 21.09
60. Mga Mata Ni Angelita (1978) 21.08
…LINK

61. Bertang Kerengkeng (1976) 21.07
62. Ibong Lukaret (1975) 21.06
63. Vilma Viente Nueve (1975) 21.05
64. Takbo, Vilma, Dali (1972) 21.04
65. Nag-iisang Bituin (1994) 20.90
66. Karugtong ang Kahapon (1975) 20.80
67. Ging (1964) 20.70
68. Anak, ang Iyong Ina (1963) 20.60
69. Kay Tagal ng Umaga (1965) 20.50
70. Yesterday, Today and Tomorrow (1986) 20.40
…LINK

71. Magkaribal (1979) 20.30
72. Anak ng Aswang (1973) 20.20
73. Simula ng Walang Katapusan (1978) 20.10
74. Promo Girl (1978) 20.09
75. Biktima (1974) 20.08
76. Good Morning, Sunshine (1980) 20.07
77. Kasalanan Kaya? (1968) 19.90
78. Mga Rosas sa Putikan (1976) 19.80
79. Nakawin Natin ang Bawat Sandali (1978) 19.70
80. Modelong Tanso (1979) 19.60
…LINK

81. Darna at Ding (1980) 19.50
82. Mga Reynang Walang Trono (1976) 19.40
83. Nag-aapoy na Damdamin (1976) 19.30
84. Pulot-gata, Pwede Kaya? (1977) 19.20
85. Kamay na Gumagapang (1974) 19.10
86. Young Love (1970) 19.09
87. Ito ang Pilipino (1967) 18.90
88. Ikaw Lamang (1971) 18.80
89. Kampus (1978) 18.70
90. Coed (1979) 18.60
LINK

91. The Sensations (1971) 18.50
92. Never Ever Say Goodbye (1982) 17.90
93. Asawa ko, Huwag Mong Agawin (1986) 17.80
94. Ayaw Kong Maging Kerida (1983) 17.70
95. Ibigay Mo Sa Akin Ang Bukas (1987) 17.60
96. Gusto Ko Siya, Mahal Kita (1980) 17.50
97. Amorseko (1978) 17.40
98. Pag-ibig ko sa iyo lang Ibibigay (1978) 17.30
99. Tatlong Mukha ni Rosa Vilma (1972) 17.20
100. Pinagbuklod ng Pag-ibig (1978) 17.10
…LINK

Criteria: Box Office Records, Critics Recognitions, Other Factors(Relevance, Longevity, Entertainment Impact)

Top 100 Vilma Santos Films (part ten)

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

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

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

10.  Lipad, Darna, Lipad 1973
SCORE: 7(A) + 10(B) + 10(C) + 0.6(D) = 27.6(T)
Directed by Emmanuel H. Borlaza, Elwood Perez and Joey Gosiengfiao, co-starring: Gloria Romero, Celia Rodriguez, Liza Lorena, Marissa Delgado, Angie Ferro, Mary Walter,  Adul de Leon, Chanda Romero, Eddie Garcia, Ernie Garcia, Dick Israel, Ruel Vernal, Angelito, Cloyd Robinson. Based on the novel of Mars Ravelo.  Top Record-Breaking Box-office Film of 1973.   The first of four Darna films starring Vilma Santos. – MORE INFO (no available video)

9.  Broken Marriage 1983
SCORE: 10(A) + 7(B) + 10(C) + 0.7(D) = 27.7(T)
Directed by Ishmael Bernal, co-starring: Christopher De Leon,  Tessie Tomas, Harlene Bautista,  Orestes Ojeda, Lito Pimentel, Richard Arellano, Cesar Montano, Len Santos, Ray Ventura. Vilma received her second Gawad Urian Best Actress and a FAMAS nomination for best actress. – MORE INFO

8.  Pahiram Ng Isang Umaga 1989
SCORE: 10(A) + 7(B) + 10(C) + 0.8(D) = 27.8(T)
Directed by Ishmael Bernal, co-starring:  Gabby Concepcion, Eric Quizon, Billy Crawford, Zsa Zsa Padilla, Olivia Cenizal, Tita Muñoz, Dexter Doria, Vicky Suba, Gina Perez, Alma Lerma, Becky Misa, Gil de Leon, Subas Herrero, Cris Vertido, Toby Alejar.  Written by Jose Javier Reyes.  Vilma Santos received her first best actress from the PMPC Star Awards as well as the Gawad Urian.  She also received nomination from FAP. – MORE INFO

7.  Relasyon 1982
SCORE: 10(A) + 7(B) + 10(C) + 0.9(D) = 27.9(T)
Directed by Ishmael Bernal, co-starring: Christopher De Leon, Jimi Melendez, Lucy Quinto, Beth Mondragon, Olive Madridejos,  Ernie Zarate, Manny Castañeda, Bing Fabregas, Augusto Victa.  The very first “Grand Slam” for Best Actress in Philippine.  Vilma won all the Philippines’ best actress awards of 1982.   She received recognitions from Gawad URIAN, FAP, CMMA, FAMAS. – MORE INFO

6.  Rubia Servios 1978
SCORE: 10(A) + 10(B) + 8(C) + 0.5(D) = 28.5(T)
Directed by Lino Brocka, co-starring: Phillip Salvador, Mat Ranillo III.  Vilma received a nominationf for best performer in the 1978 Metro Manila Film Festival.  The film was the top revenue grosser.  – MORE INFO

5.  Ikaw ay Akin 1978
SCORE: 10(A) + 8(B) + 10(C) + 0.6(D) = 28.6(T)
Directed by Ishmael Bernal,  co-starring: Christopher De Leon, Nora Aunor, Ellen Esguerra, Odette Khan, Charmie Benavidez, Sandy Andolong, Nick Romano, Zandro Zamora, Ernie Zarate, Cris Vertido, Anton Juan.  Vilma received a Gawad URIAN Nomination for Best Actress. – MORE INFO

4.  Dahil Mahal Kita, The Dolzura Cortez Story 1993
SCORE: 10(A) + 8(B) + 10(C) + 0.7(D) = 28.7(T)
Directed by Laurice Guillen, co-starring:  Christopher De Leon, Charito Solis, Jackie Aquino, Maila Gumila, Mia Gutierrez, Eula Valdez,   Noni Buencamino, Gil Portes.  Vilma Santos won the Film Academy of the Philippines’ Best Actress.  She also won Gawad Urian, PMPC STAR, Metro Manila Film Festival and FAMAS Circle of Excellence. – MORE INFO

(no available video)

3.  Dekada’70 2002
SCORE: 10(A) + 8(B) + 10(C) + 0.8(D) = 28.8(T)
Directed by Chito S. Roño, co-starring: Christopher De Leon, Piolo Pascual, Marvin Agustin, Carlos Agassi, Danilo Barrios, Kris Aquino, Ana Capri, Dimples Romana, Marianne de la Riva, Tirso Cruz III, Orestes Ojeda, John Wayne Sace.  Written by Lualhati Bautista.  Vilma Santos won the 2003 Cinemanila International Film Festival Best Actress.  She also won the best actress from FAP, Gawad URIAN, PMPC Star and YCC Best Performer.  The film was the Philippines’ official entry at the 76th Academy Awards best foreign language film.  –  MORE INFO

2.  Bata, Bata…Paano Ka Ginawa? 1998
SCORE: 10(A) + 8(B)+ 10(C) + 0.9(D) = 28.9(T) Directed by Chito S. Roño, co-starring: Albert Martinez, Carlo Aquino, Raymond Bagatsing, Ariel Rivera, Serena Dalrymple, Angel Aquino, Cherry Pie Picache, Rosemarie Gil, Dexter Doria.  Written by Lualhati Bautista.  Vilma won the 1999 Brussels International Festival of Independent Films Best Actress.  She also won the best actress from FAP, Gawad Urian, PMPC Star and the Young Critics Circle Best Performer. – MORE INFO

1.  Burlesk Queen 1977
SCORE: 10(A) + 10(B) + 10(C) + 0.9(D) = 30.9(T)
Directed by Celso Ad. Castillo, co-starring:  Rolly Quizon, Leopoldo Salcedo, Rosemarie Gil, Dexter Doria, Yolanda Luna, Rio Locsin, Roldan Aquino, Chito Ponce Enrile, Joonee Gamboa.  Vilma Santos won the 1977 Metro Manila Film Festival Best Actress.  She also received best actress nominations from FAMAS and Gawad Urian.   The film was the Festival’s top box office grosser.  –  MORE INFO

RECAP:
10. Lipad, Darna, Lipad 1973
9. Broken Marriage 1983
8. Pahiram Ng Isang Umaga 1989
7. Relasyon 1982
6. Rubia Servios 1978
5. Ikaw ay Akin 1978
4. Dahil Mahal Kita, The Dolzura Cortez Story 1993
3. Dekada’70 2002
2. Bata, Bata…Paano Ka Ginawa? 1998
1. Burlesk Queen 1977

…for the complete list, CLICK HERE

Top 100 Vilma Santos Films (part three)

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

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

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

80.  Modelong Tanso 1979
SCORE: 3(A) + 10(B) + 6(C) + 0.6(D) = 19.6(T)
Directed by Cirio H. Santiago, co-starring: Charito Solis, Winnie Santos. Entry to 1979 Metro Manila Film Festival – MORE INFO

79.  Nakawin Natin ang Bawat Sandali 1978
SCORE: 6(A) + 7(B) + 6(C) + 0.7(D) = 19.7(T)
Directed by Elwood Perez, co-starring: Baby Delgado, Anita LindaChristopher De Leon, Roel Vergel de Dios, Freddie Yance, Romeo Rivera – MORE INFO (no available video)

78.  Mga Rosas sa Putikan 1976
SCORE: 6(A) + 7(B) + 6(C) + 0.8(D) = 19.8(T)
Directed by Emmanuel H. Borlaza, co-starring: Celia Rodriguez, Babara Luna, Trixia Gomez, Merle Fernandez, Monica Morena, Romeo Enriquez, Arnold Gamboa, Sandy Garcia, Ike Lozada. Vilma sings the film theme song! – MORE INFO

77.  Kasalanan Kaya? 1968
SCORE: 6(A) + 8(B) + 5(C) + 0.9(D) = 19.9(T)
Directed by Luis Enriquez, co-starring: Lolita Rodriguez, Marlene Dauden and Eddie Rodriguez with Roderick Paulate. Vilma received acting nomination for best supporting actress in 1968 FAMAS. – MORE INFO (no available video)

76.  Good Morning, Sunshine 1980
SCORE: 6(A) + 7(B) + 7(C) + 0.07(D) = 20.07(T)
Directed by Ishmael Bernal, co-starring: Sheryl Cruz, Debraliz, Anita Linda, Liza LorenaJunior, Lloyd Samartino – MORE INFO

75.  Biktima 1974
SCORE: 5(A) + 10(B) + 5(C) + 0.08(D) = 20.08(T)
Directed by Nilo Saez, co-starring: Helen Gamboa, Celia Rodriguez, Perla Bautista, Cristina Reyes, Divina Valencia Leopoldo Salcedo, Bert Leroy Jr., Tony Santos Jr., Yoyoy Villame, Tommy Abuel, Edgar Mortiz, Ike Lozada, German Moreno – MORE INFO

74.  Promo Girl 1978
SCORE: 6(A) + 8(B) + 6(C) + 0.09(D) = 20.09(T)
Directed by Joey Gosiengfiao, co-starring: Ricky Belmonte, Roel vergel De Dios, Eddie Gutierrez, Bembol Rocco – MORE INFO (no available video)

73.  Simula ng Walang Katapusan 1978
SCORE: 6(A) + 8(B) + 6(C) + 0.1(D) = 20.1(T)
Directed by Luis Enriquez, co-starring: Eddie Rodriguez, Carmen Soriano, Patria Plata, Ingrid Salas, Rio Locsin, Lito Anzures, Renato Robles, Nello Nayo, Ruben Rustia – MORE INFO (no available video)

72.  Anak ng Aswang 1973
SCORE: 4(A) + 10(B) + 6(C) + 0.2(D) = 20.2(T)
Directed by Romy Susara cp-starring: Gloria Romero, Daisy Romualdez, Rosanna Marquez, Lucita Soriano, Lita RodriguezEdgar Mortiz, Nick Romano, Leopoldo Salcedo, German Moreno, Pons De Guzman – MORE INFO (no available video)

71.  Magkaribal 1979
SCORE: 6(A) + 8(B) + 6(C) + 0.3(D) = 20.3(T)
Directed by Elwood Perez, co-starring: Alma Moreno, Christopher De Leon – MORE INFO

RECAP:
80. Modelong Tanso 1979
79. Nakawin Natin ang Bawat Sandali 1978
78. Mga Rosas sa Putikan 1976
77. Kasalanan Kaya? 1968
76. Good Morning, Sunshine 1980
75. Biktima 1974
74. Promo Girl 1978
73. Simula ng Walang Katapusan 1978
72. Anak ng Aswang 1973
72. Magkaribal 1979

…continue with countdown, CLICK HERE!