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.
“Okay you’re fertile and I’m barren…pero sa mga pangyayari…para kang karinderyang bukas sa lahat ng gustong kumain!” – Fina
The Plot: On the outside, it looks like a marriage made in heaven. But inside the thick walls of what they call home, theirs is a relationship waiting to crumble. They have been wanting a child for so long, but the wife does not have the capacity to bear a child. And when her husband cannot take it any longer, he decides to end his misery once and for all. – IMDB
The story is about an infertile couple who never had a child of their own. The husband, frustrated by his wife’s infertility, hired somebody who was willing to carry his child. The hired woman got pregnant but she fell in love with the child’s father. The husband falsely adopted the child, hiding the fact from his wife that the child was his own. All the attention the husband gave to the child drove his wife to jealousy. To complicate things, the husband eventually had a secret affair with the child’s mother, and this affair produced another baby. The mistress left the newborn baby at the footsteps of the husband’s house. The wife then took care of the baby, and the children grew without their adoptive mother knowing that the two kids were fruits of her husband’s secret love affair. – Wikipilipinas
The Reviews: “…Eddie Garcia first directed Vilma in the Marcos film, Pinagbuklod Ng Langit. She reprised the role of eldest of the Marcos children, Imee and again co-starred with movie queen, Gloria Romero and dramatic actor, Luis Gonzales. Garcia directed Vilma again in 1982′s box Office Record Breaker, Sinasamba Kita. Three more hit films follows that gave us memorable movie lines like “Para Kang Karinderyang bukas sa lahat ng gustong kumain” in Palimos Ng Pag-ibig and “Si Val, si Val, si Val na walang malay!…” – (READ MORE)
“…Hit novels serialized in Aliwan Komiks were also adapted into movies:“Blusang Itim” by Elena M. Patron and Joey Celerio;“Pardina” by Jim Fernandez and Sonny Trinidad;“The Family Tree” by Pablo S. Gomez and Louie Celerio;“Palimos ng Pag-ibig” by Nerissa G. Cabral and Ernie H. Santiago;“Anak ni Zuma” by Jim Fernandez and Ben Maniclang;“Kamay ni Hilda” by Pablo S. Gomez and Louie Celerio…” – Wikipilipinas (READ MORE)
“…Palimos ng Pag-ibig (Filipino: “Begging for Love”) was a movie in 1985 and turned into a TV series in 2007 for the first installment of Sineserye Presents. This was from the original story by Nerissa Cabral. This movie was home of the famous tagline: “Para kang karenderiang bukas sa lahat ng gustong kumain!” (You’re like a restaurant that’s open to anyone who wants to eat!), In context of prostitution reference…” – Wikipedia (READ MORE)
“…Ang surrogacy or womb for hire, eh isang katotohanan na napagtanto nating lahat. Tinalakay ito in all its melodrama splendor sa Palimos ng Pag-Ibig, ang pelikula nina Vilma Santos, Edu Manzano at Dina Bonnevie. Sa movie, si Fina Alcaraz (Ate Vi) ay may infertile uterus. Desirous ang kanyang husband na si Rodel (Doods) to have a biological child so he hired Ditas (Miss D) na isang baby maker for a fee. Walang pros and cons ang surrogacy issue sa movie lalo na’t galing ang material sa komiks. Ang pinakamemorable sa movie eh ang linya ni Vilma na, “Para kang karinderyang bukas sa lahat ng gustong kumain.” Sosyalera si Ate Vi sa movie pero she can say lines like these…” – Alwin Ignacio, Abante Tonite, 22 March 2015 (READ MORE)
Basic Information: Directed: Fely Crisostomo; Story: Nerissa Cabral; Screenplay: Mike Relon Makiling; Cast: Vilma Santos, Edgar Mortiz, Gloria Romero, Celia Rodriguez, Eddie Garcia, Jay Ilagan, Romy Mallari, Joseph Sytangco, Patria Plata, Ronald Ruiz; Original Music: Danny Subido; Cinematography: Ricardo Herrera; Film Editing: Gervacio Santos
Plot Description: “…When the happy, well-adjusted daughter of a middle-class couple discovers her father’s infidelity to her mother, her hysterical and overblown response to the discovery leads one to wonder how well-adjusted she could have been..” – Clarke Fountain, Rovi, Blockbuster (READ MORE)
Film Review: “…May pagsisikap ang Karugtong Ang Kahapon na lumikha ng naiibang larawan ng babae. Sekretarya lamang ni Rafael si Norma ngunit tila wala siyang pakialam sa tradisyunal na huwarang pambabae na dapat lamang makipag-seks sa ilalim ng institusyon ng kasal. Nagdedesisyon siya ayon sa pinaniniwalaan niyang tama. Kahit may pananagutan na si Rafael, malaya niyang sinunod ang nais ng kanyang isip at katawan. Pero kailangan pa rin niyang itago ang katotohanan sa harap ni Raquel nang bigla siyang komprontahin nito ukol sa pakikipagrelasyon ng kanyang ama kay Beatrice. Sa kabila ng liberal na asta at asal na ipinakita sa pelikula, nakakapagtaka na pinairal pa rin ang anakronista at makalumang pagtuturing sa babae bilang martir. Mapapansin ito sa papel na ginampanan ni Gloria Romero. Ipinakita ni Beatrice ang hindi pasibong pagtanggap nito sa suliraning kinasasangkutan ng asawa, na tumututol naman siya kahit paano, hindi rin naman ipinakita na gumagawa siya ng hakbang na tumutungo, kahit bahagya, sa isang progresibong pagkamulat sa kanyang kalagayan. Ayon sa pagkakaganap, isinabalikat ni Vilma Santos sa papel ni Raquel ang buong bigat ng pasaning nakapaloob sa pelikula sa pamamagitan ng isang uri ng pagganap na kumikilos, nag-iisip at malalim na umuunawa sa karanasan. Sinubok ng Karugtong Ang Kahapon na hatakin ang manonood sa landas tungo sa matalinong pagsasalarawan at pag-unawa sa kababaihan. Sa maraming pagkakataon, pinilit nitong kumawala sa etiketang kinakabit sa babae pero naroon pa rin ang etiketang nakabatay sa patriyarkal na ayos ng mga bagay…” – Jojo Devera, Sari-saring Sineng Pinoy (READ MORE)
“…Starring Vilma, daughter of a “happy” couple Eddie Garcia and Gloria Romero. Throw in the other woman of Eddie, Celia Rodriguez and as expected, another morality play was born. Shown at the first MMFF…” – Mario O. Garces (READ MORE)
“…Nora Aunor’s entry, NV Productions’ Batu-Bato sa Langit (directed by Luciano B. Carlos), was a hit and won as 3rd Best Picture. Vilma Santos, on the other hand, gave a notable performance in Roma Films’ Karugtong ang Kahapon. That time, Nora and Vilma were in their peak, their career and the movies they made were being followed closely, compared, watched, praised, scrutinized both by fans and critics. Their storied and fierce rivalry dominated our movie industry for years. In fact, one could argue that even to this day, a Filipino movie fan is either a Noranian or a Vilmanian…” – Wikipedia (READ MORE)
“Dahil Father’s Day ngayon, nais nating bigyan ng magandang tribute ang nakilala nang ama ng maraming artista ng iba’t ibang henerasyon na si Eddie Garcia. Hindi lang mahusay na bida at kontrabida si Eddie kundi mahusay rin siya bilang isang film director. Taong 1961 nang idirek ni Eddie ang kanyang unang pelikula titled “Karugtong Ng Kahapon” kunsaan bida sina Mario Montenegro, Rita Gomez, Ric Rodrigo at Marlene Dauden. Higit na 36 movies pa ang dinirek ni Eddie na iba-iba ang tema…” – Ruel Mendoza, Abante, 15 June 2019 (READ MORE)
Basic Information: Directed: Leroy Salvador; Story: Nerissa Cabral; Screenplay: Orlando Nadres; Cast: Vilma Santos, Dindo Fernando, Lorna Tolentino, Sandy Andolong, Rowell Santiago, Jimi Melendez, Coney Reyes; Executive producer: Vic Del Rosario Jr.; Original Music: George Canseco; Cinematography: Rody Lacap; Film Editing: Ike Jarlego Jr.; Production Design: Manny Morpe; Theme Songs: “Muling Buksan Ang Puso” performed by Basil Valdez
Plot Description: Cristy’s persistence and Jim’s longing for a child leads to an illicit relationship. But too much love suffocates and covetousness can breed hate. – Pelikula.net (READ MORE)
Jim (Dindo Fernando) is a doctor and Cristy (Vilma Santos) is his nurse. Good looking and successful Jim finds himself an ardent admirer in Cristy. But Cristy is not an ordinary lady – she’s daring and defiant. She’ll do whatever it takes to win him even if he’s very much married. Cristy’s persistence and Jim’s longing for a child leads to an illicit relationship. But too much love suffocates and covetousness can breed hate. – Mavshack (READ MORE)
Film Achievement: 1985 FAMAS Nomination Best Actor – Dindo Fernando; 1985 FAMAS Nomination Best Actress – Vilma Santos
Film Review: “…She has four rated A movies (Haplos, Broken Marriage, Adultery and SSL) to her name but SSL earned the least at the box-office. But the movie was invited and screened at the prestigious Venice Film Festival. It was also invited at the Cannes Film Festival, but the film didn’t arrive in time for its screening because of some problems with the censors. And so, Vilma and her producers are back to square one churning out comics rehash and light melodramas to regain lost grounds. Her first movie for this year, Muling Buksan ang Puso was again a hit and it proved once more that it’s the kind of movie the public wants to patronize. How sad…” – Meg Mendoza, Prime Magazine, Nov 14, 1985 (READ MORE)
“Dinaya n’yo ako! Saan n’yo dinala ang anak ko?…Hindi mo alam…Sinungaling!…Kasabwat ka ng ina mo! Alam ko matagal n’yo nang plano ito!…Dinaya n’yo ako! Mga Traydor Kayo! Traydor kayong lahat!…Wala akong pakialam! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin ang anak ko! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin…” – Lisa
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Basic Information: Directed: Eddie Garcia; Story: Nerissa Cabral; Screenplay: Orlando Nadres; Cast: Vilma Santos, Christopher Deleon, Amy Austria, Jay Ilagan, Peral Bautista, Armida Siguion Reyna, Vic Silayan; Executive producer: Vic Del Rosario; Cinematography: Romy Vitug; Theme Songs: “Paano Ba Ang Mangarap?” performed by Basil Valdez
Plot Description: Despite their different social backgrounds, Lisa (Vilma Santos) and Benny (Jay Ilagan) have found their match in each other. Unfortunately, Benny dies before they could marry, and Lisa is left with no choice but to seek the help of Benny’s parents. But their arrogance is as lofty as their fortune, and to them, Lisa is nothing but an opportunist. Their only concern is their late son’s unborn child that Lisa is carrying in her womb. The only person who treats Liza with kindness is Eric (Christopher de Leon), Benny’s brother, who has secretly fallen in love with her… – Kabayan web-site
Pregnant Lissa’s (Vilma Santos) misery starts when her wealthy boyfriend Benny (Jay Ilagan) dies in a motorcycle accident. Impoverished, Lissa seeks security for her child with Benny’s malevolent mother Doña Francia (Armida Siguion-Reyna). Her one request is to stay at their house until she gives birth, then leave the infant to their care. Doña Francia abuses Lissa who works for her like a maid, leading to the death of Lissa’s mother. Benny’s brother Eric (Christopher De Leon) falls in love with Lissa and marries her to the indignation of Doña Francia who denies Lissa of her son. Lissa marries Eric not for love but to be with her son and eventually gets pregnant but has a miscarriage. Disheartened, Eric turns to her ex-girlfriend Maya (Amy Austria) with whom Eric goes on a world tour. Meanwhile, Doña Francia surreptitiously brings Lissa’s son to the U.S. – TFC Now (READ MORE)
Film Achievement: 1983 FAP Best Cinematography – Romeo Vitug; 1983 FAMAS Best Cinematography – Romeo Vitug; 1983 FAMAS Best Screenplay – Nerissa Cabral, Orlando Nadres; 1983 FAMAS Best Story – Nerissa Cabral; 1983 FAMAS Best Theme Song – George Canseco; 1983 FAMAS nomination Best Director – Eddie Garcia; 1983 FAMAS nomination Best Picture; 1983 FAMAS nomination Best Supporting Actress – Armida Siguion-Reyna
Film Reviews: Paano Ba Ang Mangarap? rates high for its slickness and production gloss, something that its producers, Viva Films, shouldn’t hope would last them more than two seasons. Eddie Garcia is a good director. He stages his scenes well, with a minimum of fuss and a modicum of winning faith in narrative primacy. Viva’s movies are well-structured, well-paced, and at their best show how the cosmopolitan Filipino behaves under romantic stress. But if you get past that level and dig into substance, you encounter that self-same compost pit wherein all the biodegradable scraps of melodrama you can find southeast of your favorite mother’s kitchen have been thrown.
Such is the case, to a most lamentable extreme, with Paano Ba ang Mangarap? It’s well-acted, well-done, tastefully correct in elementary mode. But it is strictly local comics fare, this well-wrought turn of circumstantial twist and escalating conflicts which all spell high drama. Viva makes films that are at best our answer to Hollywoodian slick, the stuff of which The Other Side of Midnight and Imitation of Life are prime generational examples. The Barbra Cartlands and Harold Robbinses turned celluloid; Mills and Boon on the big screen. Here you have two fine actors, Christopher de Leon and Vilma Santos, waxing once again with their special chemistry. Boyet is so good he can, by merely varying his inflection, go through a simple line like “Tama na..” three times and prove positively sensitive and believable each time. Subtlety of feeling is shared equally well by Vilma Santos. They are both aware of the value of underplaying their emotional scenes, so much so that in any confrontation with other thespians who play their role to the hilt, these two, Boyet and Vilma, come out on top through the simple process of undercutting. Vic Silayan and Perla Bautista are equally good in Paano Ba ang Mangarap?, but it is Moody Diaz who wins us over by applying a different tack in her “mayordoma” role, something that is usually played for laughs and other such effects by less gifted, or less imaginative, performers. Armida Siguion-Reyna is hampered by her termagant mother-in-law role, the catch-all character of cruelty spawned by all the soap opera dramas of Philippine comics and radio serials. And she plays this thoroughly unbelievable character, typecast as she already is, much to the hilt. That fantasy scene where she makes out like a satanic figure, though well-shot by Romy Vitug, is quite embarrassing for a picture like this, except of course we know that it is based on a comics serial where such fictive excesses may appear.
Here is where this otherwise finely-crafted film suffers. Viva knew it had to be faithful to the comics serial, so in effect opted for the surefire commercial draw at the expense of a truly artistic, credible film. I’m not saying that a character like Mrs. Monteverde does not, or cannot, exist. Perhaps one in a million. Filipino mothers can be as overbearing, prejudiced, unfeeling, and downright cruel. But to have a situation where an improbable character like her meets up with other improbable characters like the one Vilma and Christopher play, is stacking up the cards too much on the side of atrocious melodrama. Vilma is the martyr type who would subject herself to indignities just so her coming child can have a name and possibly better upbringing. Boyet is the unloved son who would ditch his sophisticated girlfriend (Amy Austria, who is still uncomfortable in such role, so she doesn’t fare too well here) for this martyr-type who’s been impregnated by his brother. Now, any of these characters may exist, if by a long chance. But to have them all together living under the same roof is stretching the bounds of possibility much too much. Furthermore, it could have been a better ending had the Viva bosses decided to stop at that scene where Vilma finds herself left alone on Christmas in the rich surroundings she has always dreamt of. Now only the household help can give her token solace by way of a collective gift. It is a poignant scene, stylistically done to proper effect with the usual Viva-film theme wafting through in support of silent montage. It could have been a good open ending, with overtones of irony laying themselves squarely on Vilma’s character. But no, of course one can’t disappoint the followers of the original comics serial. So the story goes on through further typical maneuverings until we’re given at least a semblance of a happy ending. A missed chance, I say. – “A missed chance” by Alfred A. Yuson, Philippines Daily Inquirer – 17 July 1983
A true blooded Vilmanian will not forget the time when a teaser (a very brief movie trailer – around 20 seconds) was shown to the theatres in the summer of 1983. It was Viva films’ “Paano Ba Ang Mangarap?” Another box office hit from Vilma Santos and Christopher DeLeon. The teaser (almost worth the whole movie ticket) was the scene where Lisa, played by Vilma discovered that her son (to Eric’s brother, Jay Ilagan) was gone courtesy of her evil rich mother-in-law (Armida Sigueon Reyna). Here’s the lines and the explosive acting of the Queen. The scene: After running around looking for the baby in all the rooms in second floor of of this huge mansion, Lisa confronted Eric who were stunned to find Lisa’s hysterics.
Lisa: Dinaya n’yo ako! Saan n’yo dinala ang anak ko?!!! Eric: Hindi ko alam! Lisa: Hindi mo alam…Sinungaling! Eric: Lisa, makinig ka muna… Lisa: Kasabwat ka ng ina mo! Alam ko matagal n’yo nang plano ito!Eric: Ano bang pinagsasabi mo? Lisa: Dinaya n’yo ako! Mga Traydor Kayo! Traydor kayong lahat! Eric: Lisa, huminahon ka baka mapaano ang bata! Lisa: Wala akong pakialam! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin ang anak ko! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin…. AHHHH (mahuhulog sa hagdanan)
Just this scene alone, Vilma should be rewarded that year’s best actress award! Bravo! RV
“…The movie showed Garcia’s strengths as a director—able to motivate his actors, frame sequences and scenes, and efficiently tell a story. Those qualities would be very evident in the 1980’s when Eddie Garcia directed the biggest blockbusters of Viva Films…But his best movies were domestic dramas that gripped audiences for their complex take on relationships and their tendencies toward tortured, twisted operations. Hallmarks of this genre were “Sinasamba Kita” in 1982 (Vilma Santos cruelly treating her half-sister), “Paano Ba ang Mangarap?” in 1983 (cruel mom-in-law seizing her grandkid from his mom, played by Santos), and “Magdusa Ka” in 1986 (an illegitimate daughter claims her birthright but finds life in her rich dad’s mansion a cruel torture). His last most significant movie as a director was obviously “Abakada Ina” (2001). In telling the story of an illiterate mother struggling for her children’s attention against her mother-in-law who’s a schoolteacher, Garcia seemed to go back to the standard traits of his best domestic dramas, with their take on the meanness and cruelty that seem to underlie filial relationships…” – Lito B. Zulueta (READ MORE)
“…Despite their different social backgrounds Lisa (Vilma Santos) and Benny (Jay Ilagan) have found their match in each other. Unfortunately Benny dies before they could marry and Liza is left with no choice but to seek the help of Benny’s parents. But hteir arrogance is as lofty as their fortune and to them Liza is nothing but an opportunist. Their only concern is their late son’s unborn child that Liza is carrying in her womb. The only person who treats Liza with kindness is Eric (Christopher de Leon) Benny’s brother who has secretly fallen in love with her…” – Mav Shack (READ MORE)
“Dahil Father’s Day ngayon, nais nating bigyan ng magandang tribute ang nakilala nang ama ng maraming artista ng iba’t ibang henerasyon na si Eddie Garcia. Hindi lang mahusay na bida at kontrabida si Eddie kundi mahusay rin siya bilang isang film director. Taong 1961 nang idirek ni Eddie ang kanyang unang pelikula titled “Karugtong Ng Kahapon” kunsaan bida sina Mario Montenegro, Rita Gomez, Ric Rodrigo at Marlene Dauden. Higit na 36 movies pa ang dinirek ni Eddie na iba-iba ang tema…Paano Ba Ang Mangarap? (1983), Tungkol ito kay Lisa (Vilma Santos) na nabuntis ni Benny (Jay llagan) pero noong mamatay ito sa isang aksidente, ang kapatid nitong si Eric (Christopher de Leon) ang nagpakasal kay Lisa para mabigyan ng pangalan ang bata. Ginawa niya ito kahit na may girlfriend siya na si Maya (Amy Austria). Hindi pabor sa simula pa lang ang ina nila Benny at Eric na si Senyora Francia (Armida Siguion-Reyna) at gumawa ito ng paraan para mailayo kay Lisa ang anak nitong si Jun-Jun. Nanalo ito ng limang FAMAS Awards: Best Picture, Best Story, Best Screenplay, Best Cinematography at Best Theme Song…” – Ruel Mendoza, Abante, 15 June 2019 (READ MORE)
“…Okay, so you’re fertile and I’m barren…pero sa mga pangyayari…para kang karinderyang bukas sa lahat ng gustong kumain!” – Fina
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Basic Information: Directed: Eddie Garcia; Story: Nerissa Cabral; Screenplay: Racquel Villavicencio; Cast: Vilma Santos, Dina Bonnevie, Edu Manzano, Cherie Gil, Laurice Guillen, Pepito Rodriguez; Executive producer: Vic del Rosario Jr.; Original Music: George Canseco; Cinematography: Joe Batac Jr.; Film Editing: Ike Jerlego Jr.; Production Design: Peter Perlas; Theme Songs: “Hiram” Composed by George Canseco Performed by Zsa Zsa Padilla
Plot Description: A man whose wife is unable to bear him a child seeks out a professional babymaker and is then forced to choose between his wife or a family with children.
On the outside, it looks like a marriage made in heaven. But inside the thick walls of what they call home, theirs is a relationship waiting to crumble. They have been wanting a child for so long, but the wife does not have the capacity to bear a child. And when her husband cannot take it any longer, he decides to end his misery once and for all. – IMDB
The story is about an infertile couple who never had a child of their own. The husband, frustrated by his wife’s infertility, hired somebody who was willing to carry his child. The hired woman got pregnant but she fell in love with the child’s father. The husband falsely adopted the child, hiding the fact from his wife that the child was his own. All the attention the husband gave to the child drove his wife to jealousy. To complicate things, the husband eventually had a secret affair with the child’s mother, and this affair produced another baby. The mistress left the newborn baby at the footsteps of the husband’s house. The wife then took care of the baby, and the children grew without their adoptive mother knowing that the two kids were fruits of her husband’s secret love affair. – Wikipilipinas
Childless couple Fina (Vilma Santos) and Rodel (Edu Manzano) seek medical help which reveals that Fina has an immature uterus, a condition she has known before their marriage but has kept from Rodel. Rodel’s friends suggest that he adopt his own child with Ditas (Dina Bonnevie), a baby maker they introduce to Rodel. The arrangement is very professional but Fina overhears through a telephone extension that Ditas has given birth. Fina is indignant in thinking that Rodel has been cheating on her. She rejects the child and sends Rodel and his infant son away. Rodel turns to Ditas and stays with her for some time until Fina relents and welcomes Rodel and his son. Then Fina finds an infant girl in her garden because Ditas has decided to leave both Rodel’s children for Fina to raise – TFC Now (READ MORE)
Film Achievement: 1987 FAMAS: Best Musical Score – George Canseco; Best Nomination Best Actor – Edu Manzano; Best Actress Nomination – Vilma Santos; Best Supporting Actress Nomination – Dina Bonnevie
Film Reviews: “…The year was 1986. Palimos Ng Pag-ibig directed by Eddie Garcia was a smashed hit. Vilma co-starred with her soon to be ex husband Edu Manzano and Dina Bonnevie. Despite the mixed reviews from the critics, the film gave us, arguably, one of the most memorable lines in Philippine movie history. The scene was, Vilma, playing Fina was about to leave the house when Ditas, (Edu’s mistress and baby maker) knocked on the door, with her was her husband’s child. She forced herself in. Confronting Ditas, Fina: “Ilang gabi kang binili ni Rodel?” Ditas (Dina): “Isang Gabi lang, malakas ang kanyang punla at nangangailangan lang ng matabang lupa!” Fina: “Okey! So you’re fertile and I’m barren…pero sa mga pangyayari, para kang karinderyang bukas sa lahat ng gustong kumain! Paano mong mapapatunayang ang asawa ko nga ang ama ng batang iyan at wala siyang kasosyong iba?…” – RV (READ MORE)
“…I shot Palimos ng Pagibig (a Viva drama, with Edu Manzano and Dina Bonnevie) at Luis’ house,” added Vilma. “I remember him as sobrang kalog, palabiro. Ang tawag namin kay Tito Luis palengke kasi nga Mercado ang real surname niya. I was nine years old then and he always reminded me to just enjoy everything. We were always shooting dramatic scenes at parati akong iyak nang iyak, but after every take, tawa na kami nang tawa because Tito Luis would start cracking jokes…” – RicoJr (READ MORE)
“…On the outside it looks like a marriage made in heaven. But inside the thick walls of what they call home theirs is a relationship waiting to crumble. They have been waiting a child for so long but the wife (Vilma Santos) does not have the capacity to bear a child. And when her husband (Edu Manzano) cannot take it any it any longer he decides to end his misery once and for all…” – Mav Shack (READ MORE)
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