Ronnie Poe and Lito Lapid 1980 Joint Birthday Celebration

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Never have we attended a party na gano’n karami ang taong dumalo. Terrible talaga! Would you believe ang maluwang na compound ng FPJ Studio sa Del Monte ay naging maliliit at masikip sa tingin dahil sa dami ng taong naroon nung gabing yon? Wow, hindi ko ma-imagine talaga! Ang take note: noong gabing ‘yon. Maiyak-iyak akong talaga sa sakit. Halos lahat ng artista, producer at mga press people, malalaki at maliliit mang pangalan, ay naroong lahat. Punong abala sa pagtanggap ng mga panauhin on the part of Ronnie Poe si Susan Roces, ang kanyang maganda at very charming wife whereas kay Lito L. naman ay si Jesse Chua na halatang siyang ninerbiyos at excited noong gabing ‘yon. Palakad-lakad at table hopping sina Ronnie at Lito sa kanilang mga guests upang ang lahat ay kanilang ma-entertain. Nagkaroon ng commotion at pagkagulo nang dumating si Guy. As usual kasama na naman niya ang kanyang mga PRO’s.

Hinandugan ng awit ni Guy ang mga may kaarawan at nagkaroon pa sila ng dance exhibition ni Lito. Halata namang nahihiya si Guy dahil hindi bigay ang kanyang pagsasayaw. Umawit din si Ronnie Poe ng isang Tagalog song na lagi niyang kinakanta. Sa may kalagitnaan ng kanta, Susan joined him at the stage. Tuwang-tuwa ang lahat, kinikilig na totoo ang mga fans sa paligid. Nagbigay rin ng ilang pangungusap si Mayor Joseph Estrada na binati ang may kaarawan. Umawit pa rin si Lirio Vital pero bago siya umawit ay umakyat sa stage si Director Carlo Caparas, inakbayan siya at nag-whisper sa kanya. Sila ba ngayon? Tanungan ng lahat. Eksaktong alas-dos ng hatinggabi ay sinidihan ang mga fireworks. Wow, ang ganda-ganda talaga! Parang ‘yung mga fireworks sa Luneta kung Bagong taon…O baka mas maganda pa. Beyond description talaga sa galing. Sa kalagitnaan nang mga pagkikislapan ng mga ilaw, ng mga sagitsitan at sali-salimuot na liwanag, biglang appear ang larawan na magkahiwalay nina Ronnie Poe at Lito Lapid. Bilib na bilib talaga ang lahat ng naroon. Superb ang idea para sa promotion ng pelikulang Kalibre 45. Saludo kami. – Emy S. Vivar, Fely D. Igmat (Photos), Modern Romances, September 8, 1980 (READ MORE)

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Filmography: Kampus (1978)

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Basic Information: Directed: Emmanuel H. Borlaza; Story, screenplay: Tom Adrales, Allan Jayme Rabaya; Cast: Vilma Santos, Bembol Roco, Mat Ranillo III, Allan Valenzuela, Freddie Yance, Liza Lorena, Anita Linda, Lorli Villanueva, Ann Villegas, Angie magbanua, Rosemarie De Vera, Lito Lapid, Leo Pilapil; Original Music: Tito Sotto; Cinematography: Totoy Jacinto; Production Design: George Vail Kabristante

Plot Description: In the film “Kampus?” (1978), Suzette (Vilma Santos) thinks she’s liberated woman who doesn’t believe in marriage matrimony while his boyfriend, Norman keeps on proposing the sacredness of marriage vow. These are two conflicting beliefs of two students undoubtedly in love with each other. Their relationship was put to a test when Suzette met Manny (Matt) who happens to be in accordance with what she thinks she believes in. A campus experiment for Suzette and she was the first to be affected by it. Will she swallow that so called principle and be merry with the one she truly loves? – Kabayan Central (READ MORE)

A cinematic view of campus life dealing with sexual permissiveness among teeners, dormitory life, fraternity affiliations and initiations, teenage crushes, among others. Vilma Santos is a coed torn between the man she really loves (Bemvol Roco) and the man she surrenders her virginity to (Mat Ranillo III), Liza Lorena is the teacher tormented by a student who has a terrible crush on her (Allan Valenzuela). An Emmanuel Borlaza film. – Century Video Inc.

Film Achievement: No Available Data

Film Review: “…But the biggest fear of Borlaza was when Agrix Films’ Kampus? was booked one week after the opening of VS Films’ Pagputi ng Uwak, Pagitim ng Tagak. The Celso Ad. Castillo film was an artistic triumph, and Borlza felt following it up with another Vilma-Bembol starrer would put them at a great disadvantage. The Vilma-Bembol fans might still be raving over Pagputi… instead of discussing Kamput? As it turned out, people let Pagputi…pass and waited for Kampus? judging from the comparative gate receiots of the two movies…Sabi ni Mama Santos, ako daw ang “pumatay” sa kanilang Pagputi…eto ang parusa ko, bigyan ko daw sila ng isang Kampus? so I’m making for them Coed. You see, when I was working on Kampus? at UP Los Banos, I realized their problems and lifestyle can be a source of even 10 movie materials. At kapag ang student force pala ang nag-patronize sa Tagalog movie, ang laki ng audience!” Borlaza revealed…I’m very meticulous about is: the audience were to identify itself with my main character, will it be happy with the poetic justice I execute? Will they find it correct and realistic? In Kampus? for instance, students who were pleased with the movie told me they liked the ending very much. They agreed with it. Vilma was bedded first by Mat Ranillo III, but ended up with Bembol who was the right choice after all. They say in real life, the man you walk down the aisle with is not necessarily the first man you had sex with. Also they say the dialouges were very in – like the way actual students would speak them. Siguro, once they sit in the theater, they are not bothered by such questions as ‘Why” or “how come?” Is the star value the main thing in selling movies? “In the case of Kampus?, yes, because Vilma Santos was my main star and she’s the current box office queen …” – Manny B. Fernandez, Expressweek, November 9, 1978 (READ MORE)

“…Fate would have it that in the space of three days I watched Vilma Santos as June (in Kampus, 1978), the firm believer of ‘free love’ caught between the attentions of two men, and Angel Locsin as the fierce Ces, setting the terms of an affair with a man she decidedly resists. Four decades apart, these representations of strong, independent women caught within obstacles premised on love remain appealing to viewers. The conflicts faced by June and Ces are hinged on unconventional ideas about the conduct of heterosexual relationships. These women characters unequivocally distance themselves from the bind of traditional relationships and the expectations that burden it; June with sophisticated musing and Ces with stoic distance…While Vilma Santos’s June ponders her preference for ‘free love’ intelligently, weighs her dilemmas with pensive introspection, faces her hurdles with sarcasm and humour; Angel Locsin’s Ces is denied this chance, wallows instead in denial which became infuriatingly tiresome. This is not to blame Locsin’s abilities as an actor (adept at she is in portraying conflicted characters, torn in situations not of their making) but on the film’s failure to fully flesh out its characters. The film failed to grasp a deeper vein of feeling…” – Tessa Maria Guazon (READ MORE)

Free Love – “…Fate would have it that in the space of three days I watched Vilma Santos as June (in Kampus, 1978), the firm believer of ‘free love’ caught between the attentions of two men, and Angel Locsin as the fierce Ces, setting the terms of an affair with a man she decidedly resists. Four decades apart, these representations of strong, independent women caught within obstacles premised on love remain appealing to viewers. The conflicts faced by June and Ces are hinged on unconventional ideas about the conduct of heterosexual relationships. These women characters unequivocally distance themselves from the bind of traditional relationships and the expectations that burden it; June with sophisticated musing and Ces with stoic distance…While Vilma Santos’s June ponders her preference for ‘free love’ intelligently, weighs her dilemmas with pensive introspection, faces her hurdles with sarcasm and humour; Angel Locsin’s Ces is denied this chance, wallows instead in denial which became infuriatingly tiresome. This is not to blame Locsin’s abilities as an actor (adept at she is in portraying conflicted characters, torn in situations not of their making) but on the film’s failure to fully flesh out its characters. The film failed to grasp a deeper vein of feeling. Thus, when we find Ces and Macky in strained conversations grappling with their predicaments as individuals and lovers, why do they seem unconvincing, their loneliness and dilemmas so affected?” – Deborah Jermyn, 2011, posted by YCC (READ MORE)

Filmography: Yakapin Mo Ako, Lalaking Matapang (1980)

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Basic Information: Directed: Emmanuel H. Borlaza; Cast: Vilma Santos, Lito Lapid, Chichay, Louella Albornoz, Renato Robles, Angie Ferro, Lucita Soriano, Rez Cortez, German Moreno; theme song performed by Lirio Vital

Plot Description: An Acress (Vilma Santos) hired a stunt man (Lito Lapid) as driver and fell in love.

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

Film Review: “…His films lack the arthouse style and social relevance that critics loves most in a Brocka or Bernal films but who cares about the critics when the paying public loves them. And the producers demand his service, from Doc Perez of Sampaguita Pictures, Atty. Esperidion Laxa of Tagalog Ilang Ilang Productions and later on, Vic Del Rosario of Viva Films and Lily Monteverde of Regal Films. Clearly, his films exists with one purpose, to entertain the masses not to depress or remind them with the country’s sad fate of economy or the below poverty line lives of many. The success of the Vilma-Borlaza films gave Vilma Santos versatility and preparation to a more serious acting career. It also narrowed the popularity gap between her and the musical era’s darling of the 70s, Nora Aunor. These are perhaps, the most significant contributions of Emmanuel Borlaza to Vilma’s career. Vilma who was considered only second to Nora couldn’t matched her singing talent and so, Borlaza countered this lack of singing with films that showcased Vilma’s acting versatility…” – RV (READ MORE)