1977 MMFF

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The 3rd Metro Manila Film Festival was held in the year 1977. Previously known as Metropolitan Film Festival, it was changed to Metro Manila Film Festival. Burlesk Queen grabbed most of the awards. – Wikipedia (READ MORE)

Controversial Awards Night – “…In 1977, it was apparent that the actress in Vilma Santos fully emerged when she won the MMFF Best Actress award for the controversial Celso Ad Castillo period drama Burlesk Queen. Unfortunately, her winning was marred by nasty talks (na kesyo binawi ang mga napanalunan ng pelikula, including Vi’s trophy or medallion.) It seems nakaapekto ‘yun sa awarding na pambuong taon: at the FAMAS, Vilma lost to Susan Roces (for Maligno, also by Castillo); and, at the Gawad Urian, to Daria Ramirez (for Eddie Romero’s Sino ’ng Kapiling, Sino’ng Kasiping?). As for Nora Aunor, matapos ang grand entrance niya sa big league bilang major award-winning actress (with a double victory, unmatched at the time), isang actionromance- drama ang kanyang nagging panlaban: Augusto Buenaventura’s Bakya Mo Neneng, which paired her off with Tirso Cruz III and Joseph Estrada. The film won as Best Picture sa FAMAS. Nora’s and Vilma’s starrers were big moneymakers at the 1977 MMFF…” – William Reyes (READ MORE)

“…Look ninyo kung paanong nag-away at nag-gantihan ang dalawang maka-Nora at maka-Vilma! In 1977, pinakyaw ng Burlesk Queen ni Vilma Santos ang halos lahat ng awards. May tumutol, nag-ingay at nag-away-away (Hello, Lolit! Ang Scam!) kaya nag-utos si Madam Imelda na bawiin ang mga award! Wala namang kumuha uli nu’ng mga tropeo. Parang Vangie Pascual na tumangging bumalik sa Miss World contest to claim her crown bilang pamalit sa nanalong “Miss World” na may anak na pala! Snob?…And so, pinakyaw nga ng Burlesk Queen (1977) ang mga award. Gumanti ng sumunod na taon ang Noranians! Para lang matalbugan at mas mataasan ang napakyaw na awards ni Vilma Santos at ng Burlesk Queen, only a single acting award was given the following year; Best Performer award for Nora Aunor in Atsay! Walang Best Actor, Best Actress, Best Supporting Actor, Best Supporting Actress. Wala. Sabi nang isang award lang ang ibinigay na para bang encompassing ang performance ni Ate Guy more than Ate Vi. Galing?!…” – Alfie Lorenzo, Abante Tonite (READ MORE)

“…Naalaala namin ang “gulo” rin noong 1977 na open ang awayan ni Lino Brocka na director ng Inay at ni Rolando Tinio na isang juror. Muntik pa silang magsuntukan after the awards. Ang dahilan: Nanalo ang Burlesk Queen ni Celso Ad Castillo ng lahat ng awards except three (art direction at cinematography na punta sa Mga Bilanggong Birhen nina Tita Midz at best technical film ni Mike de Leon, Kung Mangarap Ka’t Magising). May favoritism daw. Hate daw ng ilang jurors si Brocka. Dahil sa ingay ng print media, winidraw ng MMDA (si Mrs. Imelda Marcos ang big boss) ang mga tropeo. Ewan kung naisauli nina Celso, Vilma Santos, Rollie Quizon, Joonee Gamboa, Rosemarie Gil at producer Romy Ching ang mga tropeo nila na ‘binale-wala’ ng MMFF 1977 committee. Mabilis ang desisyon. Walang umangal…” – Billy Balbastro, Abante Tonite (READ MORE)

“…On its third year in 1977, the awards – won mostly by Burlesque Queen, were recalled by the organizer, then called the Metro Manila Commission, over some minor furor. I wouldn’t want to elaborate on this scandal anymore because most of the personages involved in the issue have long passed on to the other world. It’s not even clear to this day, in fact, if that recall was official because no trophies were returned and the festival’s annual souvenir program (at least the last time I saw one) still carries Burlesque Queen in its honor roll…” – The Philippine Star (READ MORE)

Award Winners:

Time Magazine – “…The Philippines: Let Them See Films. When politics became pretty much a one-man show in the Philippines, the people lost a prime source of entetainment. Part of the gap has been filled by a burhome-grown film industry, which displayed nine of its new productions at the Manila Film Festival last month. Some 2 million moviegoers saw the films. Some of the movies were historical dramas pointing up the search for a Filipino identity during the long years of Spanish rule. But the most acclaimed were contemporary stories with a heavy populist touch. The festival’s smash hit was Burlesk Queen, starring Filipino Superstar Vilma Santos. It tells the syrupy tale of a poor girl who turns to burlesque dancing to support a crippled father. She falls in love with the son of a politician, elopes with him, and then tragically loses him back to his possessive mother. The treacle is supplemented with some gritty argument about the rights and wrongs of burlesque, with a lefthanded dig at censors. Huffs the burlesque impresario at one point: “Who are they to dictate what the people should see?…” – Time Magazine, Feb. 13, 1978 Vol. 111 No. 7 (READ MORE)

Vi on Burlesk Queen – “…Yes, I will never forget that seven-minute dance in the movie. I postponed the shoot of the scene five times. I was so afraid. I performed the dance in front of a real burlesk show audience. I remember the controversy about the Metro Manila Film Festival Awards and the squabble between Rolando Tinio and Lino Brocka. They wanted us to return the trophies. I didn’t return mine. I deserved it. I worked hard for that trophy…” – Boy Abunda, The Philippine Star, July 31, 2009 (READ MORE)

Foreign Festival – “…One of the first Filipino filmmakers to invade foreign film festivals abroad with such output as Burlesk Queen and Alamat ni Julian Makabayan (Berlin Film Festival and World Film Festival in Montreal) and Nympha (Venice Film Festival), among others, Celso The Kid returned to his hometown Siniloan, Laguna where he led a quiet life while working on his autobiography…His 1977 film, Burlesk Queen, won 10 out of the 11 awards of the 1977 Metro Manila Film Festival but the results were contested by Lino Brocka and defended by juror Rolando Tinio (now National Artists for Film and Theater), respectively. He reflected: “I wanted to vindicate myself as a filmmaker in this movie. The media referred to me as a reluctant artist and a filmmaker who has yet to arrive. Not only did the film run away with awards. It was also the top grosser. It broke the myth that quality films don’s make money in the box-office and commercial films don’t win awards…” – Pablo A. Tariman, The Philippine Star, 28 November 2012 (READ MORE)

Film Entries:

    • Bakya Mo Neneng – Direction: Augusto Buenaventura; Story & Screenplay: Augusto Buenaventura, Diego Cagahastian; Cast: Joseph Estrada, Nora Aunor, Tirso Cruz III, Gloria Sevilla, Angelo Castro Jr., Ramon D’Salva, Angelo Ventura, Romy Medalla, Ernie Zarate, Olivia Sanchez, Ernie Ortega, Boyet Arce, Francisco Cruz, Paquito Salcedo; Original Music: Ernani Cuenco; Cinematography: Fred Conde; Film Editing: Edgardo Vinarao; Production Design: Vicente Bonus; Sound: Gregorio Ella; Production Co: JE Productions
    • Kung Mangarap Ka’t Magising – Direction: Mike De Leon; Story & Screenplay: Mike De Leon, Rey Santayana; Cast: Christopher De Leon, Hilda Koronel, Laurice Guillen, Moody Diaz, Danny Javier, Boboy Garovillo, Bibeth Orteza, Briccio Santos, Oya de Leon, Archie Corteza, Erwin Kilip, Jayjay de los Santos, Bert Miranda, Don Escudero, Sally Santiago, Marietta Sta. Juana, Belen Perez, Wilma Gacayan, Tess Dumo, Carol Gamiao, Joseph Olfindo, Wilma Cunanan, Alfie Alonso, Jojo Nacion, Dorai Montemayor, Annie Lazaro, Rikki Jimenez, Guiller Magalindal, Francis Escaler, Aida Rabara, Carmen Gayman; Executive Producer: Manuel De Leon, Narcisa de Leon; Original Music: Jun Latonio; Cinematography: Mike De Leon, Francis Escaler; Film Editing: Ike Jarlego Jr.; Production Design: Mel Chionglo; Music: Nonong Buencamino; Production Co: LVN Pictures
    • Inay – Direction: Lino Brocka; Story & Screenplay: Jose Dalisay Jr.; Cast: Alicia Vergel, Dindo Fernando, Chanda Romero, Orestes Ojeda, Laurice Guillen, Ace Vergel, Dexter Doria, Fred Montilla; Original Music: Ernani Cuenco; Cinematography: Joe Batac; Film Editing: Augusto Salvador; Production Design: Fiel Zabat; Production Co: Lotus Films
    • Banta ng Kahapon – Direction: Eddie Romero; Story & Screenplay: Eddie Romero; Cast: Vic Vargas, Bembol Roco, Roland Dantes, Chanda Romero, Lito Legaspi, Roderick Paulate, Ruben Rustia, Karim Kiram, Romeo Rivera, Henry Salcedo, Olivia O’Hara, Celita DeCastro; Executive Producer: Antonio Co, Dennis Juban, Jun C. Tavera, Beth Verzosa; Original Music: Vic Santiago, Berg Villapando, Marilyn Villapando; Cinematography: Justo Paulino; Film Editing: Ben Barcelon; Production Design: Gay Dolorfino; Sound: Angel Avellana; Production Co: Hemisphere Pictures
    • Babae… Ngayon at Kailanman – Direction: Joey Gosiengfiao; Story & Screenplay: Amado Daguio, Alberto Florentino, Nick Joaquin, Jose F. Lacaba, Wilfrido Nolledo; Cast: Charito Solis, Gloria Diaz, Chanda Romero, Vivian Velez, Dindo Fernando, Ronaldo Valdez, Tommy Abuel; Original Music: Lutgardo Labad; Cinematography: Jose Austria; Film Editing: Ike Jarlego Jr.; Production Design: Betty Gosiengfiao; Production Co: Melros Productions
    • Walang Katapusang Tag-araw – Direction: Ishmael Bernal; Story & Screenplay: Ishmael Bernal, Oscar Miranda; Cast: Charito Solis, Eddie Garcia, Mat Ranillo III, Liza Lorena, Ruel Vernal, Ingrid Salas, Veronica Palileo, Rustica Carpio, Catherine Santos, Ernie Zarate; Original Music: Willy Cruz; Cinematography: Jun Rasca; Film Editing: Nonoy Santillan; Production Design: Mel Chionglo; Production Co: Lea Productions
    • Sa Piling ng mga Sugapa – Direction: Gil Portes; Story and Screenplay: Clodualdo Del Mundo Jr.; Cast: Mat Ranillo III, Bembol Roco, Chanda Romero, Julie Ann Fortich, Paul Lacanilao, Mely Tagasa, Bongchi Miraflor, Mart Martel, Cris Vertido, Peng Olaguera, Ral Arando, Fred Param, Telly Babasa, Tommy Yap; Original Music: Ramon Santos; Cinematography: Arnold Alvaro; Film Editing: Ben Barcelon; Production Design: Dez Bautista; Production Co: Silangan Films International
    • Mga Bilanggong Birhen (Captive Virgins) – Direction: Mario O’Hara, Romy Suzara; Story and Screenplay: Mario O’Hara; Cast: Alma Moreno; Trixia Gomez; Rez Cortez; Armida Siguion-Reyna; Mario Montenegro; Barbara Luna; Ruffy Mendoza; Leroy Salvador; Monang Carvajal; Rodel Naval; Panggoy Francisco; Ronnie Lazaro; Producer: Armida Siguion-Reyna; Original Music: Ryan Cayabyab; Cinematography: Romeo Vitug; Film Editing: Ike Jarlego Jr.; Production Design: Laida Lim-Perez; Production Co: Pera Films
    • Burlesk Queen – Direction: Celso Ad Castillo; Story: Mauro Gia Samonte, Celso Ad Castillo; Screenplay: Mauro Gia Samonte; Cast: Vilma Santos, Rolly Quizon, Rosemarie Gil, Leopoldo Salcedo, Roldan Aquino, Chito Ponce Enrile, Dexter Doria, Yolanda Luna, Joonee Gamboa; Original Music: George Canseco; Cinematography: Benjamin L. Lobo; Film Editing: Abelardo Hulleza, Joe Mendoza; Production Design: Jose Tamayo Cruz; Sound: Gregorio Ella; Production Co: Ian Films

The Metro Manila Film Festival-Philippines (MMFF-P) is the annual film festival held in Manila. The festival, which runs from the 25th of December to the first week of January, focuses on locally-produced films. The MMFF was established in the year 1975, during which Diligin Mo ng Hamog ang Uhaw na Lupa (Water the Thirsty Earth with Dew) by Augusto Buenaventura won the best film award. During the course of the festival, no foreign movies are shown across the Philippines (except for 3D theaters and IMAX theaters). Moreover, only films approved by the jurors of the MMFF will be shown. One of the festival highlights is the parade of floats during the opening of the festival. The floats, each one representing a movie entry for the festival, parade down Roxas Boulevard, while the stars for films ride on them. On the awards night, the Best Float award is also announced, together with the major acting awards. – Wikipedia (READ MORE)

ARTICLES - MMFF 1977 7Related Reading:

MMFF AND MFF Recognition

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Aside from Gawad Urian, Star Awards, Film Academy Awards and FAMAS, the annual local festival, called MMFF or Metro Manila Film Festival has become a part of Vilma Santos’ film career. From the 70s to the new millennium, Vilma Santos was able to entered memorable films that earned her awards, record-breaking ticket revenues, career breakthrough performances and even some memorable heartache. Spanning four decades, the MMFF earned Vilma 7 acting nominations with four wins.

Here are the highlights: The Martial Law established the amalgamation of the surrounding cities in Manila. Prior to 1975, three local film festivals showcase Filipino films, Quezon City and Manila each has their own festivities and another one in Southern part of the country, Bacolod City. The local festivals started the acting competition between rival, Vilma Santos and Nora Aunor. In 1970 Manila Film Festival, Nora’s Nora in Wonderland and Young Heart compete with Vilma’s sole entry, Love Letters. Two years afterwards, the acting race will heat up in Quezon City Film Festival when the two collided with Nora’s And God Smiled at Me and Vilma’s Dama De Noche. After the Martial Law, cities were amalgamated with Manila. And the Quezon City Film Festival and the Manila Film Festival ends creating the December festival in 1975. Occasionally, Manila will have their own festival every summer in connection to city’s “Araw Ng Manila” celebration. Tthe last time Vilma entered a film at MFF was in 1993 via Dahil Mahal Kita: The Dolzura Cortez Story where she won the best actress. Meanwhile, Nora Aunor’s last venture to MFF was in 2004’s Naglalayag where like Vilma, she won the best actress too.

The Metropolitan Manila Film Festival, now simply called, MMFF, (the “politan” was dropped eventually) or Metro Manila Film Festival exhibits only local films in all its theatres from Christmas Eve to the first week of the following New Year. The festival has its street parade at the eve of Christmas Day and each films contesting for best float. The festival has its awards night at the third or fourth nights.

Not surprisingly, both Nora and Vilma have competed in the first MMFF. Nora’s entry was her self-produced film directed by Luciano B. Carlos, Batu-Bato sa Langit and Vilma’s entry was the melodrama, Karugtong ang Kahapon. The big winner was the pre-presidential, Joseph Estrada. Directed by Augosto Bunaventura, Estrada’s Diligin Mo ng Hamog ang Uhaw na Lupa won the major awards: Best Picture, Best Director, and Best Actor. Best Actress went to Charito Solis for Araw-Araw, Gabi-Gabi.

The second year, the festival was noticeably the precursor to the awards race. It was a showcase of who’s who in the local film industry. Lino Brocka, Eddie Romero, Lupita Concio were among the big name directors competing. Romero’s Ganito Kami Noon, Paano Kayo Ngayon dominated the awards night winning the best director and Christopher de Leon the best actor. Hilda Koronel was proclaimed the best actress for her impressive performance in Insiang. Concio’s Minsa’y Isang Gamo-gamo, Brocka’s Insiang and Romero’s Ganito will be the top films competing for the first Gawad Urian.

The third MMFF, brought controversy to Vilma Santos. Now starting to accept offbeat roles and learning to adopt versatility to her arsenal, she bravely entered the festival with Celso Ad Castillo’s Burlesk Queen. The gamble paid off as the film became the top grosser and won eight awards out of ten. Burlesk won best picture and best in direction, lead actor, actress, screenplay, supporting actress/actor and cinematography.

Burlesk defeated Lino Brocka’s Inay, Mario O’Hara and Romy Suzara’s Mga Bilanggong Birhen, Mike de Leon’s Kung Mangarap Ka’t Magising, Eddie Romero’s Banta ng Kahapon, Ishmael Bernal’s Walang Katapusang Tag-araw, Joey Gosiengfiao’s Babae, Ngayon at Kailanman, Gil Portes’ Sa Piling ng mga Sugapa. A very impressive list, no wonder some critics loudly complained about the awards results. And according to Armida Sigueon Reyna, in her newspaper column, Brocka walked out the awards night in protest and even cursed the juror on the way out ot the auditorium. It was also reported that the organizer asked the winners to return their medals (they hand out medals that year) but no such things happened, Vilma still has her medal in her fully loaded cabinet of hardwares.

The success of Burlesk Queen commercially and critically brought down some senses to some Nora Aunor followers. Clearly, Vilma Santos’ willingness to accept mature and offbeat roles became a threat to Nora Aunor’s standing as the number one actress. Vilma Santos’ entry was Lino Brocka’s true to life film about rape victim, Rubia Servios. Critics and media have predicted Vilma was dead lock for the best actress. Come awards night, the juries’ award Nora’s film about a maid abused by her employer, Atsay won the major awards including best picture and best director for Eddie Garcia. The top acting award was changed to best performer that Nora Aunor won. A vindication from last year’s result? Wait, there wasn’t even an Aunor film last year. For some consolation, Rubia won two technical awards, one for editing and screenplay for Mario O’Harra. The film also became the top grosser of the festival even with the lost to Aunor. According to Isagani Cruz on his TV Times article in 1979: “…Nora does an excellent acting job; but so does Vilma Santos, and Rubia is a much more demanding and difficult role….Overall, Atsay may be much more impressive than Rubia Servios. In terms of challenging our moral and legal convictions, however, Rubia Servios is much more significant.”

1979 brought the tandem of Charito Solis & Vilma Santos versus Lolita Rodrigues and Nora Aunor. The clear winner was the latter team. Although Solis and Santos film did much better at the box office. Ina Ka Ng Anak Mo, a much better film, directed by Lino Brocka won the major awards, best picture, director and acting awards for Raul Aragon and Nora Aunor. For film aficionado, the scene where Solis slapped Santos in Modelong Tanso was memorable. Many reprised that scene, Vilma did it in Anak (with Claudine) and recently Sharon Cuneta with Heart Evangelist in the recent Mano Po.

By 1980, Nora Aunor kept on pushing for festival supremacy and like last year, she entered two films. This time, with Lino Brocka’s Bona and Laurice Guillen’s Kung Ako’y Iiwan Mo. Vilma’s lone entry was Danny Zialcita’s Langis at Tubig. Nora came up short, as both of her film missed the major awards. The big winner was Christopher De Leon and Bembol Roco’s film Taga Sa Panahon. Taga won the top awards while Marilou Diaz Abaya’s film Brutal won directing and best actress for Amy Austria. Langis At Tubig won best actor Dindo Fernando.

After winning in 1977 and a big loss in 1978, Vilma’s enthusiasm in winning at the MMFF subsided significantly. Her film entries were now focused on entertainment value aimed at getting commercial success instead of awards. 1980 and 1981 was a big example. Danny Zialcita’s Langis At Tubig did very well at the box office in ’80 and her entry the following year was a glossy production, Karma. Karma was a big hit and earned nominations but one film dominated all the 1981’s MMFF, Kisap Mata, directed by Mike De Leon won eight out of ten awards except for best actress, that award went to Vilma Santos. Vilma didn’t attend the ceremony, her co-star, Chanda Romero, accepted the award.

Nora’s absence in 1981 add motivation to her camp, she entered the festival with the epic film, directed by Ishmael Bernal, Himala, now considered by many as one of the best Filipino film of all time. Himala won seven major awards including best picture, director, screenplay and actress. Vilma’s entry Haplos was a distant third, with a win for lead actor, Christopher De Leon. The following year, Himala harvested nominations from four award-giving bodies particularly the best actress nominations for Nora but failed to win any, all the trophies went to Vilma, earning her first grand slam best actress. The next six years, no film by Vilma Santos in the festival. The big winners during these years are: 1983 – Karnal, 1984 – Bulaklak ng City Jail, 1985 – Paradise Inn, 1986 – Halimaw sa Banga, 1987 – Olongapo, 1988 – Patrolman.

The 1989 MMFF brought back the team of Vilma Santos and Christopher De Leon. Viva film’s Immortal directed by Eddie Garcia won major awards including best picture, director and the acting for Christopher and Vilma. Not to be undone, Nora Aunor entered the race the following year via Elwood Perez’ Andrea Paano ba ang Maging Isang Ina. The film won best picture, director and actress for Nora. Best actor went to Dolphy for Espadang Patpat. Then 1991 was a repeat for Nora as her film, again directed by Perez, Ang Totoong Buhay ni Pacita M. won major awards.

The next twelve years seems to be non-existent for Vilma followers as there were no entries from Vilma Santos in these years. There were no films that stands out compare to the high caliber films entered during the peak of the Vilma-Nora rivalry. There are six films that were praised by the critics though, Chito Rono‘s films Nasaan ang Puso (1997) and Bagong Buwan (2001), Marilou Diaz-Abaya’s Jose Rizal (1998) and Muro-ami (1999) and Laurice Guillen’s Tanging Yaman (2000). In the acting category, only Elizabeth Oropesa win in 1999 for Bulaklak ng Maynila and Gloria Romero’s win in 2000 for Tanging Yaman stands out.

By 2002, it was déjà vu all over again, Vilma Santos convinced by many as a sure bet for the best actress lost again for her festival entry, Dekada 70. The award was given to Ara Mina for her supposed to be supporting role in the very first Mano Po. Dekada will dominate the awards race the following year, Vilma will win several best actress awards. Vilma’s co-star, Piolo Pascual will win all the best supporting actor making him a grand slam winner. The next year, Crying Ladies, starring Sharon Cuneta, Hilda Koronel and Angel Aquino won the best picture, best actor for Eric Quizon, best supporting actress for Hilda while Maricel Soriano snatched the best actress for Filipinas. The next year, Vilma came back again with Regal’s third installment to the Mano Po series. Titled, Mano Po 3: My Love and directed by Joel Lamangan, the film won best picture and the lead acting for Vilma and Christopher De Leon. Cesar Montano’s self-produced and directed film, Panaghoy sa Suba won best actor.

No Vilma Santos or Nora Aunor films the next five years. Vilma visibly concentrated with her political career and Nora retired in the United States. The film festival continued its annual fan fare with some memorable films. Zsazsa Padilla and Cherry Pie Picache continued the Mano Po series with a comedy, Ako Legal Wife, Mano Po 4 won the female acting awards in 2005. Judy Ann Santos comedy film, directed Joey Reyes, Kasal, Kasali, Kasalo top the 2006 festival. Maricel Soriano received another best actress the following year for Bahay Kubo, The Pinoy Mano Po. Anne Curtis arrived in the big league as she wins best actress for Baler in 2008 and then this year, Bong Revilla won best actor for Ang Panday and Sharon Cuneta best actor for Mano Po 6: A Mother’s Love, both first time winner.

Vilma Santos’ Manila Film Festival and Metro Manila Film Festival Entries and Recognitions
(2 nominations, 5 wins)

For some, Vilma Santos MMFF recognitions in terms of awards wasn’t as significant compare to lets say, her number of URIAN or FAMAS awards but all the shortcomings were forgotten when you think about the successful revenue of her film entries recorded. From Burlesk Queen, Rubia Servios, Karma, Langis at Tubig to her last one, Mano Po 3, all of her films did very well. At the end of the day, producers would still prefer a little profit than trophies that will just eat dusts in the attic. – RV