Vilma Santos is a popular multi-awarded actress and politician in the Philippines. She's known as the "Queen of Philippine Movies," "Queenstar" and "Star for All Seasons." She is currently the Congresswoman of District of Lipa, Batangas (Philippines). This site is mostly about her film career.
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 Minsay 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, cmon, Vilma, grab the script before it lands in anothers 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 Chitos 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, (1998s 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)
The Plot – A young Pina was traumatized when her family was murdered while she had her first menstruation. She grown up into a serial killer transforming herself to different personalities as she seduced one man at a time grossly killing them while in the act of sexual pleasure. Eventually Pina was caught by the authorities. Considered by some critics as a feminist movie, Tagos ng Dugo has the feeling of claustrophobic but stylized European slasher movie that showcased the wide acting range of Philippines’ cinematic diva, Vilma Santos. The film lacks the usual long dialogue of her previous films but in this film, she was given a chance to show her body movements and “eye” acting that climaxed with tour de force ending, a mad lion being caught by armed hunters. – RV (READ MORE)
The Reviews: First of all, serial murder is almost alien to Philippine crime journalism, a fact that’s due certainly to our police force’s lack of records on such cases. Now, this police-records gap may of course in turn reflect a lack of local police coordination towards (or, worse, capability for) determining crime patterns as possibly serial. Unless those determinations have to do with the usual cop-out that goes like this: “it’s another NPA hit” blah blah blah, or “it’s another murder similar to the one that happened last week, and this is reflective of pornography’s…My above statements are meant to illustrate a national wont to demean our own police organization’s capability (or, worse, intelligence) that may neither be fair nor productive, but it would be a habit that certainly is not undeserved given the record — official and memorial — of the police’s prioritizing its own people’s interests and “rackets.” Given this background, therefore, Tagos Ng Dugo can be said to be a demonstration of serial crimes’ possible placement in local shores, and that would certainly be a valid view. Except, of course, that in effect Tagos is also — and probably should be read primarily as — a demonstration of possibilities other than the merely forensic. I say “should be,” since the police is portrayed fairly in the film, albeit not exactly generously. So what could be all the fuss about Tagos’ value? “Production values” is the often-heard reason, needing elucidation.
A breakthrough for Philippine psychological movies? Probably. Let me explore a few other angles on this seeming cross between Francois Truffaut’s The Bride Wore Black and Luis Buñuel’s Belle du Jour – I don’t know if screenwriter Jake Tordesillas or De los Reyes himself should be congratulated for the cohesion of multi-resultants in this work. Part of this multi-readings would be the movie as a feminist take on womankind’s monthly pains as a form of excuse for female monthly insanities, insanities our machos regard as regular terrorism on the whole of mankind (men or society as a whole). It is with that reading that the ending apologies, by Vilma Santos in the lead role, might be understood as a plea for understanding of how all of woman’s monthly Eve-behavior should not be seen as a Biblical sin but as an equal (to, say, men’s beastly) naturalness….Another feminist reading, more radical perhaps, would treat the film as a view of how Philippine society (the men in it, primarily) approaches provincial innocence, educational weakness, and “females’ weaker sanity” as stimuli for abuse….There is, however, the possibly more general reading of the film as an apologia for insanity qua itself, how it should be treated as a disease instead of as a monster to be eliminated.
And finally, there’s the possibility that the film is actually a depiction of how crazy the world outside the insane mind really is, albeit this view would probably be the least successful direction for the film….As a bonus, maybe we can also bring the movie to more latent, more philosophical territory, say, how it depicts the sanity of innocence. But, given the validity and possible weight of all those approaches, what finally makes this movie a jewel in Philippine cinema history is how it brings forth — every time you watch it — its case achievements in directorial and film editing dramaturgy (including the recurring stage-like choreography, Hitchcockish camera positionings, and acting pacing within). For the serious student of third-world filmmaking, here is a requisite Philippine movie from where to cull precious fragments. In these fragments, he/she is sure to find sparkles that are in themselves gems. – Vicente-Ignacio S. de Veyra III (READ MORE)
“…Sa anggulong ito halos umikot ang kabuuan ng pelikula. Masasabing naging matapang ang mga bumuo ng pelikulang Tagos Ng Dugo dahil sa tahasan nitong tinalakay ang sekswalidad ng mga pangunahing tauhan. Mapapansing pinagtuunan ng pansin ang kabuuan ng karakter ni Pina na buong husay ginampanan ni Vilma Santos. Ang aktres ay halos nasa lahat ng eksena sa pelikula. Maituturing na hysterical ang pag-arte ni Bb. Santos ngunit sa pelikulang ito ay malaki ang naitulong nito upang maipahatid niya ang nararapat na emosyon sa epektibong paraan. Malaki ang naitulong ni Direktor Maryo J. de los Reyes sa pagsasalarawan ng kuwento ni Pina. Nailahad niya ng maayos ang mga problemang sikolohikal hindi lamang ni Pina kundi ng buong lipunan. Makikitang binigyang diin ang posibleng solusyon sa mga suliraning ipinamalas sa pelikula. Maaring may ilang pagkukulang ang pelikula sa naging takbo ng istorya ngunit naisalba ito ng mahusay na pagdidirehe ni de los Reyes. Sa anggulong ito naging malaking bahagi sa tagumpay ng Tagos Ng Dugo ang direktor dahil sa tuwiran niyang naipahayag ang patotoo sa mga isyung tinalakay sa buong pelikula. Dito rin natamo ni Vilma ang kanyang ikaapat na FAMAS Best Actress Award bago siya tuluyang naluklok sa Hall Of Fame nang sumunod na taon…” – Jojo De Vera, Sari-saring Sineng Pinoy (READ MORE)
“…Pina is Vilma and Vilma is Pina. This is their story. This is their movie. This is acting at its best. Thank God, Mayor Vilma Santos has come to the rescue of the Pina’s in this world. Unlike the super heroine and fictitious Darna who kicks butt as she battles with the forces of darkness and defend the people, here is Vilma, the philanthropist and the Mother Theresa of her generation, in the flesh, reaching out to the poorest of the poor of her Lipa constituents. Through her loving heart and helping hands, she has actually helped thousands of society’s outcasts, the poor and the needy. This is the Vilma Santos today: successful, revered, in demand, a winner in all fronts. A National Treasure! Who would have thought that the second fiddle to another actress will become the greatest film practitioner of all time and a capable Mayor? A great actress and an excellent Mayor. Nobody does it better…” – Mar Garces, V Magazine 2006 (READ MORE)
“…A series of unfortunate events seemed to hound Nora’s career up to this point. October 1, 1989 was to be the last airing date of the 22-year-old musical-variety show Superstar on RPN 9. A month later, it was revived on IBC 13 with a new title, The Legend … Superstar, but this was short-lived lasting only up to early 1990. Naging mas masuwerte si Vilma Santos sa hinu-host na Vilma! on GMA 7, which started in 1981 as VIP (Vilma in Person) ng lumang BBC 2 (naibalik sa Lopez owners ang ABS-CBN after the EDSA Revolution). Nagbida si Vilma sa isa sa mga pinakaimportanteng pelikula ng Dekada ‘80: Regal Films’ Pahiram Ng Isang Umaga (by Ishmael Bernal), na sinimulan in 1988 at ipinalabas in early 1989. In December 1989, Vilma headlined a period romance-drama (Viva Films’ Imortal, megged by Eddie Garcia) at nanalo sila ng kaparehang si Christopher de Leon ng acting plums sa MMFF. Sa awardings for that year, si Vilma ang nanalong Best Actress sa Star Awards (for Pahiram), her first form the Philippine Movie Press Club. ‘Kumpletung-kumpleto na ang career ko!” nasabi ni Vilma as she accepted her trophy. Later, it was Nora’s turn to get a Best Actress trophy for the first time from the Film Academy of the Philippines, for Elwood Perez’s three-year-in-the-making Bilangin Ang Bituin Sa Langit. ‘Kumpletung-kumpleto na ang career ko!” sabi rin niya in her acceptance speech. Na-elevate si Vilma sa FAMAS Hall of Fame, for having bagged five Best Actress statuettes: Dama de Noche, Pakawalan Mo Ako, Relasyon, Tagos ng Dugo, and Elwood Perez’s Ibulong Mo Sa Diyos. Nora won her fourth Best Actress plum sa FAMAS, also for Bilangin. Walang itulak-kabigin sa dalawa, kaya marapat lang na mag-tie sila for Best Actress, as in the 1990 Gawad Urian, na ‘pantay na parangal ”ang ipinagkaloob ng Manunuri kina Nora (for Bilangin Ang Bituin Sa Langit) at Vilma (for Pahiram Ng Isang Umaga)…” – William Reyes (READ MORE)
The Director – 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) (Wikepedia). In 1987 Maryo De Los Reyes directed Vilma Santos that critics considered one of the shocking film that year, Tagos Ng Dugo. The film was hailed as a feminist film and earned Vilma Santos her fourth FAMAS Best Actress. Ironically, the conservative church award giving body will agree and also gave their 1987 CMMA Best Actress to Vilma Santos. Reyes will again direct Vilma in 1992. (Tagos ng Dugo 1987 and Sinungaling Mong Puso 1992)
The Most Colorful Film Character of the Year – “…The decision of the film critics to inhibit themselves from conferring their annual Urian Awards is unprecedented in the group’s 12-year history…But the case of film year 1987 is truly abysmal. It is, in fact, beyond salvation. True, there were number of worthwhile efforts, in such specific categories as editing, cinematography or sound but again, this is taking film as if it were a highly segmented form, instead of a holistic and integrated medium of communication. The area of screenplay was, to my mind, the most borely abused; I cannot recall any single film where this can be considered outstanding. Blame it on the producers who were more concerned with much momentary fancies as inane fantasies, sexploitation flicks and anachronistic melodramas. Blame it, too, on the governement which doesn’t seem to care and which doesn’t realize the power of the cinema in the value reformation of a natin long shackled in a despotic rule…Then there was the dismal and embarraing Brocka opus, Magin Akin Ka Lamang, which is a far cry from what the director used to do with komiks genre, having elevated it to a level of respectability in Tahan Na Empoy, Tahan and Ang Tatay Kong Nanay, which is good enough melodrama. Even more sordid is his Pasan Ko ang Daigidg, which takes an egregiously compromising view of poverty with its Cinderella-like storyline. Even Ishmael Bernal was not spared of the spirit of idiocy which pervaded the past year and which threatens to hound us this year. Bernal, who often can be relied upon to transcend the limitations of the most trivial of storyline, simply failed to overcome the komiks convolutions of Pinulot Ka Lang sa Lupa. Also, quite unlucky was Peque Gallaga who was in bad shape in Kid, Huwag Kang Susuko, though he managed to score a few precious points in the action film genre. And what do we make out of Maryo de los Reyes’ Tagos ng Dugo, with its grossly improbable tale of multiple schizophrenia and made all the worse by the director’s penchant for pseudo-character changes? Personally, i would rate Vilma Santos here as having been last year’s most colorul character instead of a consumate performer….” – Justino Dormiendo, Manila Standard, Feb 23, 1988 (READ MORE)
“…She has lost some pounds (due to the gruelling shooting of her recent film, Tagos ng Dugo, but she is still the same radiant beauty…Santos is likewise bugged by the observation (presumably by some Nora Aunor supporters) that her performance in Tagos ng Dugo, wherein she portrayed a psychopath, was “Norang-Nora.” She could not divine how the comment was made in the first place. Was it becauise, in the film, she was handled by Maryo de los Reyes who is known to be a close friend and one of the favorite directors of Nora Aunor? Or, was it because her role in Tagos called for a lot of the so called Nora-style acting -expressive eye movements, prolonged byt quiet crying binges? Is she, in the eyes of some Aunor loyalist, as good as actress now as their idol? “Wala akong ginagaya,” defended the actress. “That was Pina, the role, I was acting out. I did not think of Guy or anybody else when I was doing the film. “But you know, that (comment) is good,” she said as an after thought. “Kinukumpara pa rin kami hanggang ngayon. That means kami pa rin – the rivalry is still strong.” On the other hand, one is hard put to imagine Aunor attempting Santos’ “patented” acting style (the ease and confidence in delivering kilometric line, among others). If and when she does in any of her future films, I told the actress, we would also say “Vilmang-Vilma” siya! She burst out laughing…” – Mario V. DumaualManila Standard, Feb 19, 1987 (READ MORE)
“…I had actually intended to evaluate the industry’s artistic accomplishments from January to June this year, but the consideration of causes simply overwhelmed the original subject. Anyway, in providing a listing of the more acceptable items, it would serve our purposes well to keep in mind that these titles were originally greeted with expressions of disappointment and frustration, with only passing acknowledgement of their respective merits – to which I now most carefully give mention…Tagos ng Dugo (Maryo J. de los Reyes, dir.): kinkiness rounded out with psychological backgrounding and propelled forward with a sense of conviction and sympathy for the plight of the subject…” – Joel David, National Midweek, 26 August 26, 1987 (READ MORE)
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)
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)
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)
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)
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)
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.”
7. Eddie Garcia (born Eduardo Verchez García on May 2, 1929 in Sorsogon, Philippines) popularly known as “Manoy” is one of the top Filipino film actors and also a Movie Director. He is the most awarded and nominated person in the long history of the Filipino Academy of Movie Arts and Sciences (FAMAS) Awards. He garnered a total of 34 nominations (13 for Best Supporting Actor, 10 for Best Actor and 11 for Best Director). Out of these, he got 6 Best Supporting Actor wins, 5 Best Actor wins and 5 Best Director wins, 3 Hall of Fame Awards, 1 Lifetime Achievement Award and the Fernando Poe, Jr. Memorial Award. He was awarded his first FAMAS Award in 1957 and his last FAMAS, a Hall of Fame for Best Actor, in 2003 (Wikipedia).
HIGHLIGHTS: Eddie Garcia first directed Vilma in the Marcos film, “Pinagbuklod Ng Langit.” She reprised the role of Imee Marcos and again co-starred with movie queen, Gloria Romero and dramatic actor, Luis Gonzales after “Iginuhit ng Tadhana.” Garcia directed Vilma again in 1982′s record breaker, “Sinasamba Kita.” Overall, the two collaborated in five more films after “Sinasamba,” giving us two of the most memorable Filipino movie lines – confronting the mistress Dina Bonevie, Vi said: “Para Kang Karinderyang bukas sa lahat ng gustong kumain (translated literally into “You are like food restaurant! Open to all who wanted to eat!”) from the movie “Palimos Ng Pag-ibig” and then confronting the rich snotty old Alicia Vergel, Vi said: “Si Val, si Val, si Val na walang malay! (literally translated to “Its Val! its Val!, Its always Val, The one who is innocent!”).
Total Number of Films in our list of VSR’s Top 50 films = 5 (#11 Imortal 1989, #18 Paano Ba ang Mangarap? 1983 #19 Sinasamba Kita, #22 Saan Nagtatago Ang Pag-ibig? 1987, #45 Palimos Ng Pag-ibig 1986)
6. Emmanuel H. Borlaza aka Maning Borlaza is a 1957 Palanca Awardee for “May Pangako ang Bukas” and theaterical drama trained by National Artist Severino Montano. Appointed by Pres. Noy Aquino as Movie and Television Review and Classifications Board (MTRCB) Vice Chairman this year, Borlaza directed 24 films with Vilma Santos and was credited with her transformation to a reluctant singing competitor of Nora Aunor to bankable superstar with such hits like Dyesebel, Lipad Darna Lipad, Darna and the Giants.
HIGHLIGHTS: Borlaza gave Vilma Santos her very first best actress, winning the 1972 FAMAS for via Dama De Noche. He is also credited in narrowing the popularity gap between her and the musical era’s darling of the 70s, Nora Aunor.
Total Number of Films in our list of VSR’s Top 50 films = 4 (#10 Lipad Darna Lipad 1973, #32 Dyesebel at ang Mahiwagang Kabibe 1973, #48 Darna and the Giants 1973, #49 Dama De Noche 1972)
3. Chito S. Roño also known as Sixto Kayko, is a Filipino multi-awarded TV and film director. He is the director of the blockbuster films Feng Shui and Sukob. In 2010, he is one of the directors of the top-rating supernatural–fantasy horror TV series Imortal on ABS-CBN (Wikipedia). In 1984, Roño directed his first feature film, titled “Private Show” starring Jaclyn Jose. It was released locally in 1985 and won Jose the Star award for Best Actress. Chito used the pseudonym Sixto Kayco in the credits.
HIGHLIGHTS: Roño gave Vilma Santos her first international recognition winning the best actress in 1999 Brussels International Festival of Independent Films. At the same time, he was recognized as the festival’s Best Director both for Bata Bata Paano Ka Ginawa. The film also gave Vilma Santos her third grand slam winning all the best actress awards from several local award giving bodies. In 2003, Vilma received another international recognition, this time from Cinemanila International Film Festival winning the Best Actress for Dekada 70. The film was screen in the international film festival circuit and was the official entry of the Philippines in the 76th Academy Awards (OSCAR) for the best foreign language film category.
2. Celso Ad. Castillo began directing films mid-60’s at an early age, but he has since then gained reputation for many other aspects of the craft particularly scriptwriting and acting. In the Filipino movie industry, he holds the unique repuation of being controversial, trendsetter,enfant terrible and messiah of Philippine cinema, and his track record justifies it: he introduced artistry and commercialism in sex films (nympha) when the two were considered incompatible, and introduced sex in artistic projects ( Ang Pinakamagandang Hayop sa Balat ng Lupa/The Most Beautiful Animal on Earth)when moralistic repression was in vogue. An unfortunate and unfair consequence of the controversy is the recognition due him as one of the finest film commentators on the Philippine social scene, with a visual fluency unmatched by any other contemporary filipino film director. – CELSOAD.tripod.com
HIGHLIGHTS: Castillo gave Vilma Santos her first mature role in Burlesk Queen resulting with her first local film festival best actress award. He also directed Pagputi Ng Uwak Pagitim Ng Tagak where Vilma Santos starred and produced. The film received several best picture awards and was considered one of Castillo’s best works.
5. Catalino Ortiz Brocka (April 3, 1939–May 21, 1991), director for film and broadcast arts, espoused the term “freedom of expression” in the Philippine Constitution. Brocka took his social activist spirit to the screen leaving behind 66 films which breathed life and hope for the marginalized sectors of society — slumdwellers, prostitute, construction workers, etc. He also directed for theater with equal zeal and served in organizations that offer alternative visions, like the Philippine Educational Theater Association (PETA) and the Concerned Artists of the Philippines (CAP). At the same time, he garnered awards and recognition from institutions like the CCP, FAMAS, TOYM, and Cannes Film Festival. Brocka has left behind his masterpieces, bequeathing to our country a heritage of cinematic harvest; a bounty of stunning images, memorable conversations that speak volumes on love,betrayal and redemption, pestilence and plenty all pointing towards the recovery and rediscovery of our nation. To name a few, Brocka’s films include the following: “Santiago” (1970), “Wanted: Perfect Mother” (1970), “Tubog sa Ginto” (1971), “Stardoom” (1971), “Tinimbang Ka Ngunit Kulang” (1974), “Maynila: Sa Kuko ng Liwanag” (1975), “Insiang” (1976), “Jaguar” (1979), “Bona” (1980), “Macho Dancer” (1989), “Orapronobis” (1989), “Makiusap Ka sa Diyos” (1991) (NCCA.gov.ph). On May 21, 1991 Brocka met an untimely death in a car accident in Quezon City, Metro Manila. In 1997 he was given the posthumous distinction of National Artist for Film.(Wikipedia)
HIGHLIGHTS: Brocka gave Vilma one of the most controversial film after “Burlesk Queen,” her milestone role as a rape victim in 1978′s “Rubia Servios.” The film failed to secure Vilma the local festival’s best performer award after so much speculations despite this, the film was a big hit. Brocka will direct Vi two more times, “Adultery” in 1984 and “Hahamakin Kita” in 1990, a year before his untimely death in May 21, 1991.
4. Laurice Guillen is an award-winning Filipino director and actress. She was born on January 29, 1947 in Butuan City. She is married Johnny Delgado, a notable and prominent actor. Daughters, Anna and Ina Feleo are both into stage acting as well. Laurice won international notice for her direction of the 1981 film, Salome(Wikipilipinas).
HIGHLIGHTS: Guillen gave Vilma her fifth and sixth Gawad Urian Best Actress awards for 1991’s Ipagpatawad Mo and 1993’s Dolzura Cortez. The later also gave Vilma her second grand slam, winning all the best actress awards from local award giving bodies.
“haaahhhh…haaahhhh….di ko sinasadya!…di ko sinasadya!” – Pina
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Basic Information: Directed: Maryo J. De los Reyes; Story: Via Hoffman; Screenplay: Jake Tordesillas; Cast: Vilma Santos, Michael De Mesa, Miguel Rodriguez, Francis Arnaiz, Richard Gomez, Mark Joseph, Lito Pimentel, Joey Hipolito, Joey Marquez, Tony Santos Sr., Caridad Sanchez, Lucita Soriano, Dante Castro, Bing Davao, Alicia Alonzo, Mia Gutierrez, Raquel Villavicencio; Executive producer: Via Hoffman; Original Music: Jaime Fabregas; Cinematography: Ely Cruz; Film Editing: Jess Navarro; Production Design: Cesar Hernando, Lea Locsin; Sound: Joe Climaco, Jun Martinez
Plot Description: A young Pina was traumatized when her family was murdered while she had her first menstruation. She grown up into a serial killer transforming herself to different personalities as she seduced one man at a time grossly killing them while in the act of sexual pleasure. Eventually Pina was caught by the authorities. Considered by some critics as a feminist movie, Tagos ng Dugo has the feeling of claustrophobic but stylized European slasher movie that showcased the wide acting range of Philippines’ cinematic diva, Vilma Santos. The film lacks the usual long dialogue of her previous films but in this film, she was given a chance to show her body movements and “eye” acting that climaxed with tour de force ending, a mad lion being caught by armed hunters. – RV
Film Achievement: 1987 FAMAS Best Actress – Vilma Santos; 1987 CMMA Best Actress – Vilma Santos; 1987 FAP Best Musical Score – Jaime Fabregas; 1987 FAP Best Actress nomination – Vilma Santos
Film Review: “…In Filipino movies, drama is synonymous with exaggeration. In many films, scenes of cruelty, violence and torrid sex are depicted with little restraint so that they border on distasteful. In Tagos ng Dugo (1987), a young girl is raped after her parents are mudered. While she’s being abused, blood from her murdered mother’s body drips through the ceiling and falls on her forehead. In Kapag Napagod and Puso (1988), a harassed movie director (Christopher de Leon) takes out his frustration on his young wife (Snooky Serna) by smashing her face, pounding her head on the wall and punching her pregnant body black and blue. Once it was sufficient to depict adult activities by implication. To speak of sex on screen, it was enough to show a couple closing a door as they entered a room. A passionate embrace or a kiss is always followed by a quick fade to black. But nowadays, with sexual liberation and the heightened sense of realism demanded by viewers, Filipino movies have become more graphic in their treatment of sexual matters. There is now a greater curiousity for the phenomenon of the woman’s body. It is a must to depict menstruation (Tagos ng Dugo), labor pains (Kapag Napagod ang Puso) and a miscarriage (Burlesque Queen, 1977) by showing blood stains on the garment near the area of the vagina and blood trickling down a woman’s leg. The first signs of pregnancy are always dramtized by showing a woman throwing up in asink (Pasan Ko ang Daigdig, 1987). Abortion scenes have a very clinical look: a woman must be shown lying down with her legs in stirrups as a doctor or quack performs the bloody operation. Since abortion is illegal in the Philippines, it is common to depict abortion scenes ending in tragedy. In Celso Ad. Castillo’s Nympha (1971), a woman is left to die naked, wallowing in her own blood on the floor after doctors fail to stop her bleeding following an abortion. Childbirth scenes are just as graphic. In Nunal sa Tubig (1977), a baby’s head is shown emerging from a vagina…” – Emmanuel Anastacio Reyes, Notes on Philippine Cinema (Collected Writings on Cinema)…” – Emmanuel Anastacio Reyes, Notes on Philippine Cinema Collected Writings on Cinema (READ MORE)
First of all, serial murder is almost alien to Philippine crime journalism, a fact that’s due certainly to our police force’s lack of records on such cases. Now, this police record gap may of course in turn reflect a lack of local police coordination towards (or, worse, capability for) determining crime patterns as possibly serial. Unless those determinations have to do with the usual cop-out that goes like this: “it’s another NPA hit” blah blah blah, or “its another murder similar to the one that happened last week, and this is reflective of pornograhy’s…”. My above statements are meant to illustrate a national wont to demean our own police organization’s capability (or, worse, intelligence) that may neither be fair nor productive, but it would be a habit that certainly is not undeserved given the record — official and memorial — of the police prioritizing its own people’s interests and “rackets”.
Given this background, therefore, Tagos ng Dugo can be said to be a demonstration of serial crimes’ possible placement in local shores, and that would certainly be a valid view. Except, of course, that in effect Tagos is also — and probably should be read primarily as — a demonstration of possiblities other than the merely forensic. I say “should be”, since the police is portrayed fairly in the film, albeit not exactly generously. So what could be all the fuss about Tagos’ value? “Production values” is the often-heard reason, needing elucidation. A breakthrough for Philippine psychological movies? Probably. Let me explore a few other angles on this seeming cross between Francois Truffaut’s “The Bride Wore Black” and Luis Benuel’s “Belle Du Joir” — I don’t know if screenwriter Jake Tordesillas or Delos Reyes himself should be congratulated for the cohesion of multi-resultants in this work. Part of this multi-readings would be the movie as a feminist take on womankind’s monthly pains as a form of excuse for female monthly insanities, insanities our macho’s regard as regular terrorism on the whole of mankind (men or society as a whole).
It is with that reading that the ending apologies, by Vilma Santos in the lead role, might be understood as a plea for understanding of how all of woman’s monthly Eve-behavior should not be seen as a Biblical sin but as an equal (to, say, man’s beastly) naturalness… Another feminist reading, more radical perhaps, would treat the film as a view of how Philippine society (the men in it, primarily) approaches provincial innocence, educational weakness, and “female’s weaker sanity” as stimuli for abuse… There is, however, the possibly more general reading of the film as an apologia for insanity qua itself, how it should be treated as a disease instead of as a monster to be eliminated… And finally, there’s the possiblity that the film is actually a depiction of how crazy the world outside the insane mind really is, albeit this view would probably be the least successful direction for the film… As a bonus, maybe we can also bring the movie to more latent, more philosophical territory, say, how it depicts the sanity of innocence.
But, given the validity and possible weight of all those approaches, what finally makes this movie a jewel in Philippine cinema history is how it brings forth — every time you watch it — its case achievements in directorial and film editing dramaturgy ( including the recurring stage-like choreography, Hitchcockish camera positionings, and acting pacing within). For the serious student of third world filmmaking, here is a requisite Philippine movie from where to cull precious fragments. In these fragments, he/she is sure to find sparkles that are in themselves gems. – Eric Nadurata
The story revolves around Pina, a woman haunted by her past traumatic experiences. She always feels afraid at the sight of blood. Whenever she is physically or emotionally injured, she experiences the so-called “post-traumatic syndrome,” which persuades her to kill every man who has hurt her. She disguises herself as a prostitute with different personalities, and becomes a mysterious murderer.
The Review – The future National Artist for Film and recent U.P. Gawad Plaridel and Gawad Suri awardee Vilma Santos has done a gamut of roles. She is the only Filipina actress on record who has the most impressive resume of great performances (and is credible in any role, including Darna, the Pinoy female version of Superman), and has amassed 50 plus acting trophies. The Variety magazine and the world film community has dubbed her the Filipino Cinematic Diva and the Meryl Streep of the Philippines. If her luck continues, she may end up in Guinness’ Almanac as an actor with the most number of acting awards. One of my favorite Vilma characters is that of Pina, a serial killer, in Tagos ng Dugo. Directed by Mario J. Delos Reyes, it won four best actress awards for Vilma: her second CMMA, fourth FAMAS, and two from magazine polls. When it comes to edgy, neurotic, complex roles, leave it to Versatile Vilma, the Meryl Streep-like cerebral and intuitive actress who was born to play them. Vilma’s foray into the “luka-luka” genre began in Dama De Noche where she plays twin sisters, one of which is, you bet, neurotic.
Bernal’s classic Ikaw Ay Akin is best remembered for the manic-depressive, chain-smoking, Valium-popping, liberated, free-spirit Sandra (Vilma). Says critic Mario Bautista in his review: As the uptight Sandra, Vilma Santos has the script’s choicest, wittiest lines. She makes the most of them and gives a fairly accurate portrait of an emotionally insecure young woman. She likewise handles her final breakdown exceedingly well. There is a common thread in classic films like Broken Marriage, Relasyon, Tagos ng Dugo, Bata, Bata, Dolzura Cortez and Hahamakin Lahat. Outstandingfilms, thanks to Vilma’s perfect portrayal of women on the verge of a nervous breakdown. It is no wonder that the late National Artist Lino Brocka quoted: “Vilma can do any role now. She registers like water, she has overtaken Nora Aunor.” The U.P. MassCom jurors concurred with Brocka and gave Vilma that seal of approval by giving her the National Artist award precursor, the prestigious U.P. Gawad Plaridel for excellence in film acting. And oh yes, let us not forget the Gawad Suri Award. In layman’s terms, she is the best in the business, period!
Back to Tagos ng Dugo. At best, it is Vilma’s most emotionally and physically, albeit, draining role. Maryo J. made Vilma succeed to say more with less as we will find out. In the opening scene, Pina’s medical history is revealed: schizophrenia, painful menstruation, manic-depressive. Then we see the pubescent Pina screaming and writhing in pain on her first menstruation, calls out to her mother: “Inay!” The luminous Alicia Alonzo plays her mother and tells her “dalaga ka na!” Menarche and puberty did not sit well with Pina. While menstruating, she discovers of her father’s affair with a circus girl who her father accidentally kills in the “knife roulette” show, as the victim’s blood spills on her face. The girl’s family gets even, kills her whole family one night, while she gets raped. Tagos ng Dugo. Here’s the message: hell hath no fury than a woman violated while having painful menstruation. She has bridges to burn and many losses in her life. She has become a lost and tormented soul. A victim. A monster is born. Oscar best actress Charleze Theron may have taken an inspiration from Vilma’s Pina. Flash forward: Orphan and just released from a mental institution, the grownup Pina is seen staying with her aunt Caridad Sanchez and her husband, a police officer, Tony Santos, Sr. This is where Pina’s “calvary” as victim (again) begins. So many men, so many abusers, or so we thought. Enter Michael De Mesa, Santos, Sr.’s nephew who has lust at first sight on Pina. “Malagu, ’ne?” (She’s beautiful), De Mesa gushes on the coy and evasive Pina. In Kapampangan, Tony tells De Mesa that she was just released from the mental hospital. Michael attempts to enter Pina’s room one night but is unsuccessful.
Next to Dekada ’70 perhaps, this is one movie where Vilma succeeded in quiet scenes, by just using her eyes. Whether she writhes quietly in pain during her period or is scared of the inevitable such as Michael’s evil intent, this is the vintage Vilma now. Less is more. The triumph of restraint and hard work. Versatile, Inc. She meets the nice and good-looking cop (Francis Arnaiz) in the police station where she works as a sloppy, unfocused canteen helper who gets easily rattled by men around her, earning the ire of her boss Lucita Soriano. “Ano ba Pina, ang tanga-tanga mo. Ang dami mo nang nabasag na baso, hah?” Arnaiz is different: caring, sensitive, a gentleman. She is Pina’s crush and hero. She steals her crush’s photo ID and in her secret hideaway, kisses the photo, followed by a nervous, hysterical laugher, reminiscent of her confrontation scene with Gloria Romero in Kapag Langit ang Humatol? Enter a notorious rapist who is now in jail who held Vilma by the neck and mashes her breasts. Vilma becomes hysterical and cries unconsolably even after Arnaiz and the cops come to her rescue. This scene is again Vintage Vilma. When the rapist is released from prison, he chooses Vilma as his first victim and in the rape attempt, Arnaiz shoots him dead. Again, blood droops on Pina’s face. Tagos ng Dugo. Next thing we know, De Mesa almost succeeds in raping her but falls off the window when Vilma fights back. She uses Michael’s knife to scare him off. Now wiser, stronger, sophisticated and smarter, Pina finds solace and a sanctuary in an abandoned house across from where she lives. She learns how to apply mascara and wig. A serial killer is born.
This is where she plans her revenge. So many men, so little time. It’s payback time. In the wise use of flashbacks, we learn that Pina is violated again and again by the very people who should be helping her cope with her unstable mental status, one of which is the evil warden Lito Pimentel. She falls in love with her therapist who politely turns her down. It is a series of painful abuse and rejection for the sad, sad life of Pina. We also learn that she has a brother/sailor who sends her monthly stipend which she never benefits from and in his last visit, Pina begs him to stay with him. In multiple flashbacks, we see a helpless victim, Pina crying out for love and acceptance. Nobody seems to listen. A dysfunctional family. Abused physically and emotionally. Neglected. Rejected. Unwanted. Tormented. Untreated chemical imbalance. A perfect scenario for the birth of a schizophrenic, manic-depressive serial killer. Disguised as a prostitute, she kills her tormentors one by one with a knife she steals from De Mesa, with the exception of a druggie, the excellent Richard Gomez in cameo role. Here is a performance that is Vilma Santos’ gift to the world, right there in the dark theatre and on the silver screen.
Are killers made or born? Is society or family to blame for sociopaths? Are menarche and the drive to kill symbiotic? In a touching scene where she literally shreds Arnaiz’s stolen photo with her teeth (Arnaiz reconciles with and will marry her fiancée) out of jealousy, and rejection, Pina plans to make it out with Arnaiz in a hotel where the cops hang out to have a good time and where Arnaiz will screw a prosti as the boys’ “gift” to him. Vilma is that prosti. When Aranaiz discovers it is the demented Pina, he takes pity on her and prepares to put on his clothes. What, rejected again? Pina pleads Arnaiz to love her, hug her, kiss her. She will take no for an answer. Like a raving lunatic, she strikes Arnaiz with the knife. Meanwhile, little did Pina know that Caridad and Santos, Jr. discovers her dark secret and desperately calls the boys to watch out for Pina, the deranged murderer who might be stalking on Arnaiz. Sanches and Santos, Jr. either fumbles with the phone number or gets a busy signal. Wala pa kasing cell phone noon, eh! Next thing we know, the cops run to save Arnaiz from Pina. The hunter is now the hunted. What they discover in the room is a wounded but still alive Arnaiz who cries: “Huwag!” as his colleagues aim their guns at the crazed woman with thick mascara and wig. In a memorable and touching scene, the camera pans on a screaming, out of control, bloodied, lost her sanity Pina, angry one moment, repentant (“di ko sinasadya!”) the next, and then mumbles incoherently. Prison bars are etched across her whole body, and the movie ends.
Pina is Vilma and Vilma is Pina. This is their story. This is their movie. This is acting at its best. Thank God, Mayor Vilma Santos has come to the rescue of the Pina’s in this world. Unlike the super heroine and fictitious Darna who kicks butt as she battles with the forces of darkness and defend the people, here is Vilma, the philanthropist and the Mother Theresa of her generation, in the flesh, reaching out to the poorest of the poor of her Lipa constituents. Through her loving heart and helping hands, she has actually helped thousands of society’s outcasts, the poor and the needy. This is the Vilma Santos today: successful, revered, in demand, a winner in all fronts. A National Treasure! Who would have thought that the second fiddle to another actress will become the greatest film practitioner of all time and a capable Mayor? A great actress and an excellent Mayor. Nobody does it better. – “Tagos Ng Dugo: The original Naglalayag Revisited” by Mar Garces, published in V Magazine 2006
First of all, serial murder is almost alien to Philippine crime journalism, a fact that’s due certainly to our police force’s lack of records on such cases. Now, this police-records gap may of course in turn reflect a lack of local police coordination towards (or, worse, capability for) determining crime patterns as possibly serial. Unless those determinations have to do with the usual cop-out that goes like this: “it’s another NPA hit” blah blah blah, or “it’s another murder similar to the one that happened last week, and this is reflective of pornography’s . . .”. My above statements are meant to illustrate a national wont to demean our own police organization’s capability (or, worse, intelligence) that may neither be fair nor productive, but it would be a habit that certainly is not undeserved given the record — official and memorial — of the police’s prioritizing its own people’s interests and “rackets.” Given this background, therefore, Tagos Ng Dugo can be said to be a demonstration of serial crimes’ possible placement in local shores, and that would certainly be a valid view. Except, of course, that in effect Tagos is also — and probably should be read primarily as — a demonstration of possibilities other than the merely forensic. I say “should be,” since the police is portrayed fairly in the film, albeit not exactly generously. So what could be all the fuss about Tagos’ value? “Production values” is the often-heard reason, needing elucidation.
A breakthrough for Philippine psychological movies? Probably. Let me explore a few other angles on this seeming cross between Francois Truffaut’s The Bride Wore Black and Luis Buñuel’s Belle du Jour — I don’t know if screenwriter Jake Tordesillas or De los Reyes himself should be congratulated for the cohesion of multi-resultants in this work. Part of this multi-readings would be the movie as a feminist take on womankind’s monthly pains as a form of excuse for female monthly insanities, insanities our machos regard as regular terrorism on the whole of mankind (men or society as a whole). It is with that reading that the ending apologies, by Vilma Santos in the lead role, might be understood as a plea for understanding of how all of woman’s monthly Eve-behavior should not be seen as a Biblical sin but as an equal (to, say, men’s beastly) naturalness. . . . Another feminist reading, more radical perhaps, would treat the film as a view of how Philippine society (the men in it, primarily) approaches provincial innocence, educational weakness, and “females’ weaker sanity” as stimuli for abuse. . . . There is, however, the possibly more general reading of the film as an apologia for insanity qua itself, how it should be treated as a disease instead of as a monster to be eliminated.
And finally, there’s the possibility that the film is actually a depiction of how crazy the world outside the insane mind really is, albeit this view would probably be the least successful direction for the film. . . . As a bonus, maybe we can also bring the movie to more latent, more philosophical territory, say, how it depicts the sanity of innocence. But, given the validity and possible weight of all those approaches, what finally makes this movie a jewel in Philippine cinema history is how it brings forth — every time you watch it — its case achievements in directorial and film editing dramaturgy (including the recurring stage-like choreography, Hitchcockish camera positionings, and acting pacing within). For the serious student of third-world filmmaking, here is a requisite Philippine movie from where to cull precious fragments. In these fragments, he/she is sure to find sparkles that are in themselves gems. – “Tagos Ng Dugo (1987): Maryo J. de los Reyes’ Jewel” by Vicente-Ignacio S. de Veyra III Geocities web-site (VISV III, July 2002 – April 2004)
“…Sa anggulong ito halos umikot ang kabuuan ng pelikula. Masasabing naging matapang ang mga bumuo ng pelikulang Tagos Ng Dugo dahil sa tahasan nitong tinalakay ang sekswalidad ng mga pangunahing tauhan. Mapapansing pinagtuunan ng pansin ang kabuuan ng karakter ni Pina na buong husay ginampanan ni Vilma Santos. Ang aktres ay halos nasa lahat ng eksena sa pelikula. Maituturing na hysterical ang pag-arte ni Bb. Santos ngunit sa pelikulang ito ay malaki ang naitulong nito upang maipahatid niya ang nararapat na emosyon sa epektibong paraan. Malaki ang naitulong ni Direktor Maryo J. de los Reyes sa pagsasalarawan ng kuwento ni Pina. Nailahad niya ng maayos ang mga problemang sikolohikal hindi lamang ni Pina kundi ng buong lipunan. Makikitang binigyang diin ang posibleng solusyon sa mga suliraning ipinamalas sa pelikula. Maaring may ilang pagkukulang ang pelikula sa naging takbo ng istorya ngunit naisalba ito ng mahusay na pagdidirehe ni de los Reyes. Sa anggulong ito naging malaking bahagi sa tagumpay ng Tagos Ng Dugo ang direktor dahil sa tuwiran niyang naipahayag ang patotoo sa mga isyung tinalakay sa buong pelikula. Dito rin natamo ni Vilma ang kanyang ikaapat na FAMAS Best Actress Award bago siya tuluyang naluklok sa Hall Of Fame nang sumunod na taon.” – Jojo Devera, saringsinengpinoy.blogspot.com READ MORE
“…And what do we make out of Maryo de los Reyes’ Tagos ng Dugo, with its grossly improbable tale of multiple schizophrenia and made all the worse by the director’s penchant for pseudo-character changes? Personally, i would rate Vilma Santos here as having been last year’s most colorul character instead of a consumate performer….” – Justino Dormiendo, Manila Standard, Feb 23, 1988 (READ MORE)
“…She has lost some pounds (due to the gruelling shooting of her recent film, Tagos ng Dugo, but she is still the same radiant beauty…Santos is likewise bugged by the observation (presumably by some Nora Aunor supporters) that her performance in Tagos ng Dugo, wherein she portrayed a psychopath, was “Norang-Nora.” She could not divine how the comment was made in the first place. Was it becauise, in the film, she was handled by Maryo de los Reyes who is known to be a close friend and one of the favorite directors of Nora Aunor? Or, was it because her role in Tagos called for a lot of the so called Nora-style acting -expressive eye movements, prolonged byt quiet crying binges? Is she, in the eyes of some Aunor loyalist, as good as actress now as their idol? “Wala akong ginagaya,” defended the actress. “That was Pina, the role, I was acting out. I did not think of Guy or anybody else when I was doing the film. “But you know, that (comment) is good,” she said as an after thought. “Kinukumpara pa rin kami hanggang ngayon. That means kami pa rin – the rivalry is still strong.” On the other hand, one is hard put to imagine Aunor attempting Santos’ “patented” acting style (the ease and confidence in delivering kilometric line, among others). If and when she does in any of her future films, I told the actress, we would also say “Vilmang-Vilma” siya! She burst out laughing…” – Mario V. Dumaual Manila Standard, Feb 19, 1987 (READ MORE)
“…At first, policemen manning the station likened Pina’s arrival in their canteen as a breath of fresh air in the dirty world they work in. Although she is not entirely all right up there she is pretty and quiet. An industrious helper she only absents herself once a month because of extreme dysmennorhea. Then men started getting killed within the vicinity of the police station. A vacationing overseas worker a prisoner on bail a handsome playboy a drug crazed youth… Is it only a coincidence that the murders seem to happen exactly on the days Pina is experiencing her very painful monthly period?…” – Mav Shack (READ MORE)
“…I had actually intended to evaluate the industry’s artistic accomplishments from January to June this year, but the consideration of causes simply overwhelmed the original subject. Anyway, in providing a listing of the more acceptable items, it would serve our purposes well to keep in mind that these titles were originally greeted with expressions of disappointment and frustration, with only passing acknowledgement of their respective merits – to which I now most carefully give mention…Tagos ng Dugo (Maryo J. de los Reyes, dir.): kinkiness rounded out with psychological backgrounding and propelled forward with a sense of conviction and sympathy for the plight of the subject…” – Joel David, National Midweek, 26 August 26, 1987 (READ MORE)
Star For All Seasons 
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