Tag Archives: Nora Aunor

A Very Long Rivalry – 1982

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Pre-1982 – “…For Vilma Santos, The previous year, “Pakawalan Mo Ako” was a huge summer hit that earned her a surprised best actress in FAMAS. That year also, she released “Ex-Wife” and “Hiwalay,” both about marital problems. Art imitating life, as there were reports that Vilma and now, ex-husband, Edu Manzano were having some problems. But Vilma as trooper as she is, any personal troubles were not publicly noticeable as she goes on with her work, business as usual. Also, Vilma gave birth to her eldest son Luis “Lucky” Manzano. By December of 1981, her film festival entry, Karma earned her another surprise best actress trophy. In an unrelated news, the entertainment industry were shocked to found that matinee idol, Alfie Anido died on Dec 31st. Like the death of Julie Vega and Rico Yan, it is still unknown the reason behind Anido’s death. By the end of ’81, Vilma is determined to make the coming year another productive and successful year. She released a total of six films, out of six, two were certified record breakers, “Sinasamba Kita (I Idolized You)” released in August and “Gaano Kadalas ang Minsan? (How Many Times is Onced),” released in November, both produced by Viva Films. The other four films (Relasyon, T-Bird at Ako, Never Ever Say Goodbye, Haplos) were mild hits. All of her hard work paid off because as early as January of the 1983 she was already poised to reap major awards. Meanwhile for Nora Aunor, 1982 were a mixed bag of mild hits and failed opportunities. “Mga Uod at Rosas,” her collaboration with Lorna Tolentino and director Romy Zusara produced a mixed reviews from the critics. Her excellent performance did not help as the film were just mild hit with the audience. Her follow up films, “Annie Sabungera” and “Palenke Queen” both comedies also didn’t do well at the box office making the expectation from her next film higher, as she teamed-up with the hottest star of 1982, her closest rival, Vilma Santos in Danny Zialcita’s fast paced film, “T-bird at Ako.” T-bird’s high expectation wasn’t realized as the film earned just a modest income. By December, all eyes were focused again on Nora and her most ambitious project to date, Ishmael Bernal’s “Himala,” produced by Imee Marcos’ Experimental Cinema of the Philippines. The film was an entry to the Metro Manila film festival. Nora Aunor was again proclaimed the “queen of local festival” as she won her third Metro Manila Film Festival best actress. Nora’s momentum was rising and she was conditioned to make some serious dent in the following year’s award giving seasons. Critics were all going “gagah” with Aunor’s gigantic performance as Elsa. They said, Himala was very effective in communicating its film’s message, it has moving moments and raw power….” – RV (READ MORE)

Grand Slam – “…1982, Nauso ang so-called Grand Slam Best Actress in 1983, nang manalo si Vilma Santos for Ishmael Bernal’s Relasyon. That 1982 film was a small, low-budget drama of a husband and his mistress. Nag-hit ang tandem nina Vi at Christopher de Leon, starting in 1978, with Sampaguita Pictures’ Masarap … Masakit ang Umibig and Nakawin Natin ang Bawat Sandali (both by Elwood Perez), after their first pair-up in Celso Ad Castillo’s 1975 romance-drama Tag-Ulan sa Tag-Araw. For Relasyon, Vilma won as Best Actress sa CMMA, Gawad Urian, FAMAS and the debuting Film Academy of the Philippines (FAP) Awards. Maging sa “minor” parangal, like the TV show Let’s Talk Movies ng RPN 9 (hosted by Armida Siguion Reyna, Behn Cervantes and Mario Bautista), si Vilma rin ang Best Actress for the Regal Films drama. With Nora Aunor as Vilma’s main competitor, it was an interesting, but utterly disappointing, acting duel. Sa FAMAS, Nora got nominated for Romy Suzara’s Mga Uod at Rosas – and lost. Sa ibang award-giving bodies, isang malaking pelikula at pagganap ni Nora – sa Himala, as the visionary Elsa – ang natalo kay Vilma. The Ishmael Bernal opus was produced by the Marcos government-established Experimental Cinema of the Philippines (ECP).

Some were of the opinion na may bahagi ng pulitika sa pagkatalo ni Nora; marami raw sa movie industry ang anti-administration, kabilang ang sympathizers ng Free the Artists Movement na anti-censors. May malaking rally noon na hindi dinaluhan ni Nora, samantalang nakiisa sa protesta si Vilma. Gayon man, may parangal na natamo si Nora para sa Himala: the 1982 MMFF Best Actress, where it won 9 out of 13 awards, including Best Direction and Best Picture. Naging opening Film ang Himala sa 1983 Manila International Film Festival – organized by then First Lady Imelda Romualdez-Marcos – at inilahok sa Berlin International Film Festival in February 1983. Ayon kay Bernal, Nora lost in Berlin to a Russian actress by a mere vote. Sa 7th Gawad Urian in 1983, nominated in almost all major and minor categories ang Himala but never won a single award. Ilang taon ang lumipas, sa tuwing titingnan ko ang Honor Roll ng Manunuri sa ipinamamahaging souvenir program, sadyang “walang Himala” na nagtamo ng parangal. But in 2002, sa 25th year ng Gawad Urian, kabilang ang Himala sa Pinakamahuhusay (Best Films of the past three decades) na naparangalan, with Nora Aunor personally receiving the overdue award para sa isang totoong klasikong pelikulang Pilipino. At bigla ngang naghimala ang Himala!…” – William Reyes (READ MORE)

Nora Aunor’s Films (7): (Annie Sabungera; Himala; Mga Uod at Rosas; No Other Love; Palengke Queen; T-Bird at Ako; Tinimbang ang Langit) – Nora Aunor had a mix output of forgettable comedies and awards-worthy films. She did seven films, two of which were notable, Ishmael Bernal’s epic festival entry, “Himala” and Romy Zusara’s “Mga Uod at Rosad.” She also took some time to do the lesbian film, “T-bird at Ako” with her rival, Vilma.

Vilma Santos’ Films (6): (Gaano Kadalas ang Minsan?; Haplos; Never Ever Say Goodbye; Relasyon; Sinasamba Kita; T-Bird at Ako) – Compare to Nora, Vilma had a solid year, commercially and artistically, she had two major hits, “Sinasamba Kita” and “Gaano Kadalas Ang Minsan,” the other four were mild hits.

Nora Aunor’s 1982 acting recognition (7) – Best Actress from Metro Manila Film Festival and Parade Magazine Awards and nominations from URIAN; CMMA; Film Academy of the Philippines; Lets Talk Movies, all for “Himala” and a nomination from FAMAS for “Mga Uod at Rosas.”

Vilma Santos’ 1982 acting recognition (5) – Best Actress from FAMAS; URIAN; CMMA; Film Academy of the Philippines; Lets Talk Movies, all for “Relasyon.”

Sensitive, Polished and Highly Passive – “…The small, dissipated and forgotten dusty town without rainfall awakens to exploitation and commercialism when an innocent girl called Elsa (Nora Aunor) claims to have seen an apparition of the Blessed Virgin. She later acquires healing powers. Along the lines of Lourdes, the whole village becomes a bustling commercial venue for mass-produced statue saints and bottled holy or tonic water. In later excursions into subplots, a close friend of Elsa who becomes a woman of easy virtue returns to Cupang, a virginal sister who is totally devoted to the religious mission, some enterprising matrons, then a kaleidoscopic look at hundreds of sick people with diseased bodies. A pivotal character is a cynical and young film director (Spanky Manikan) with a conscience. The latter becomes obsessed in capturing Elsa’s healing sessions on celluloid which leads to his candidly catching on film (by accident) a dark secret of Elsa, a secret which prompted the suicide of her sister. Here is an eloquent, powerful film that is full of grandeur and simple segments. It shows an atmospheric environment where illiterate but adulating, praying crowds desperate for a cure can be a hostile mob when the miracle they crave for doesn’t materialize. Nora Aunor as Elsa gives a sensitive, polished and highly passive and consistently low-key performance. She is letter-perfect for the role. Meanwhile, Gigi Duenas (a stage actress) as a girl on the wrong side of the tracks who operates a cabaret-whorehouse is singularly brilliant and provides a striking contrast to the spiritual life of Elsa…” – Variety, January 26, 1983 (READ MORE)

Peeled-off Apprehensions – “…Thee film has unblushingly spoken for the Filipino urban society and its increasing acceptance of adultery as a social habit. It could have been a repetitious tale of a man with two women. But the writers have interestingly conducted the story through the precarious steps of a young, single, beautiful and supposedly decent girl. Marilou (Vilma Santos) has fallen helplessly in love with Emil (Christopher de Leon), a married man. When Emil’s wife decides to leave for Mindanao because she couldn’t stand him anymore, Marilou then decides for them to live together. Overjoyed with the prospect, she presses on to keep their relationship thrilling, warmer and stronger. But her efforts over the months only depresses her as she sees Emil gradually locking himself into a door she couldn’t enter. The mutual delights she had previously imbibed had soured into irritating silence and alienation. Her mounting disillusion flares up into throwing a couple of dishes. She opts for a separation only to yearn for him again. They go back to each other. She becomes pregnant. Suddenly, Emil suffers an attack and dies in her arms. Marilou whirls in grief for a time but bounces back to being “single”, attractive but perhaps no longer “decent”. The writers have fed significance into the conversations by filling them with popular ideas on marriage and relationships, engaging the viewers to respond with their own beliefs. There is irony though in the confessions of Emil and Marilou, in happier times, that each had been a better person upon being loved by the other. But their life together contradicted that statement. Her selfishness is revealed. “Ikaw lang ang iniintindi mo” he says and it uncovered his insensitivity. “Ako rin, may ego”, She replies. Vilma Santos confidently showed she felt the character she was portraying. Her depiction of feelings and emotions easily involve the viewers to share in her conflicts and joys. In this film, she has peeled-off apprehensions in her acting. Christopher de Leon has also been supportive in emphasizing the characterization of Marilou. He suitably complements Vilma’s acting. The director, Ishmael Bernal, displays his flair for taking scenes of Vilma putting on make-up. Unwittingly, he has suggested that whatever make-up is put on over adultery, it is still adultery…” – Lawrence delos Trinos, Star Monthly Magazine, July 1982 (READ MORE)

Post-1982 – “…While Vilmanians celebrated their idol’s historical win, Noranians redeemed their broken ego by lining up to the 1983 Manila International Film Festival on June 24th, “Himala” was chosen as the opening gala film together with Hollywood film, “Gandhi” as the closing. After the awards season of 1983, Vilma Santos released three more films after the disappointment, “Ayaw Kong Maging Kerida.” On June 9th, Viva Films released “Paano Ba ang Mangarap?” that turned out to be another box office hit. Few months afterwards Regal films released Bernal’s “Broken Marriage,” the follow-up film after the successful grand slam film, “Relasyon.” And finally, four days after Vi’s birthday, Viva Films released Marilou Diaz-Abaya’s drama, “Minsan pa Natin Hagkan Ang Nakaraan,” another box office hit. This film plus the two films mentioned above confirmed her bankable status. Not to be outshine again, “Himala” continued its relentless fight for recognition, winning the bronze prize at the 1983 Chicago International Film Festival on November of 1983 (Nov 4-18 1983)….” – RV (READ MORE)

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A Very Long Rivalry – 1981

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Pre-1981 – As Brocka’s Bona toured the international festival, it looks like Nora was again in command with the acting contest and Vilma was content in making sure that her films were commercial success. By this time, Vilma’s tax problem has become a number one priority. No longer a teen pop star, both Nora and Vilma’s projects declined. It seems like yesterday, when in early 1970s both were releasing one or two films each month. Now, both have limited film projects and have to be selective to succeed at the box office.

Sign of Good Karma – “…In 1981, nanalong MMFF Best Actress si Vilma for Zialcita’s Karma, besting Nora’s multi-character portrayal in Maryo J. delos Reyes’ musical-drama Rock ‘N Roll. Vi, however, failed to win any other nomination for that starrer, while Nora went on to win a trophy (Catholic Mass Media Awards) and Best Actress nomination (Gawad Urian) for Mario O’Hara’s Bakit Bughaw ang Langit?…” – William Reyes (READ MORE)

Nora Aunor’s Films (7): (Bakit Bughaw ang Langit?; Dalaga si Misis, Binata si Mister; Gaano Kita Kamahal; Ibalik ang Swerte; Kami’y Ifugao; Rock N’ Roll; Totoo Ba Ang Tsimis?) – Nora Aunor did seven films this year, three more than her rival Vilma. Although she won on total output, the quality of these films were questionable. The only film critics were raving were Mario O’Harra’s Bakit Bughaw.

Vilma Santos’ Films (4): (Pakawalan Mo Ako; Hiwalay; Karma; Ex-Wife) – Vilma Santos did only four films in 19881, two were mild hits, Hiwalay and Ex-wife, both melodramas. The other two were big hits, “Pakawalan Mo Ako,” was directed by Elwood Perez and the summer’s biggest hit while “Karma” directed by Danny Zialcita was a big hit at the local festival. Both films earned her an acting trophies.

Nora Aunor’s 1981 acting recognition (3) – Best Actress from Catholic Mass Media Awards and two nominations from FAMAS and Urian, all for “Bakit Bughaw ang Langit? .”

Vilma Santos’ 1981 acting recognition (3) – Best Actress from Metro Manil Film Festival and Cebu City Film Festival for “Karma”and Best Actress from FAMAS for “Pakawalan Mo Ako.”

Not Blue – “…O’Hara dwells on Aunor’s face, to suggest that she is not just amused, but actually intrigued. O’Hara, however, does not take the easy way out: he does not allow the relationship of Aunor and Roldan to become actually physical. If there is a sexual love between the two, it is too deep inside them to be articulated. True enough, there are some glaring mistakes. The most obvious occurs when Roldan utters that key line “Bakit bughaw ang langit?” The camera pans out to the sky as expected, but instead of the sky being clear and blue (which is what “bughaw” means), the sky is cloudy and white. The symbol is totally destroyed by such a simple cinematographic mistake. In fact, almost all of the mistakes in the film can be attributed to the cinematographer, who seems not to know how to light a set. Night scenes appear brighter than day scenes, light filtering into houses has no clear sources, camera movements are jerky, shadows are not expressive. O’Hara should learn from this film: he should not use the same cinematographer again. Aunor’s performance here proves that her winning of the Urian Award for Bona is justified. She remains one of the best of our young actresses, especially in the hands of a director who understands film acting. In a film whose screenplay has undistinguished (in fact, even inane) dialogue, Aunor is able to express her emotions primarily through her silent moments. The mark of a true film actress is her behavior when she does not speak. Aunor is destined to become an all-time Best Actress. It is appropriate that Anita Linda – herself an all-time Best Actress- plays her mother in this film. The acting cannot be faulted, not even the acting of newcomer Roldan…” – Isagani R. Cruz, TV TIMES, March 15 -21, 1981 (READ MORE)

Good Karma – “…Happily, “Karma” turned out to be as good as I expected. It’s performers are first-rate – Vilma Santos, Ronaldo Valdez, Tommy Abuel, Chanda Romero, so their award-winning acting didn’t surprise me at all. The script was outstanding but even that was expected, coming from director Danny Zialcita. What impressed me was that minor parts were played by name actors. The housekeeper who appeared in one short sequence could have been played by any elderly woman but those who made the movie wanted nothing less than Etang Discher. The psychiatrist could have been played by any decent-looking man but they didn’t settle for anybody less than Vic Silayan. The male lover at the start of the story had to be acted out by Dante Rivero, that at the end by Christopher de Leon. The movie boasted of several bold scenes. Those involving Vilma weren’t much as we know for a fact that Vilma could show only so much. One scene showing Chanda was a different story. It showed her with absolutely nothing on, yet it didn’t offend anybody as it was executed in style, shot with great care. There was just one thing, which looked unnatural to me, the way in which one of the main characters killed himself. “That’s all right,” Danny assured me. “Before we shot it, we double-checked its possibility.” Reincarnation and transference are undoubtedly mind-boggling subjects but, to his utmost credit, Danny managed to present them simply, bringing them down for everybody to understand. “Bala lang yan. Katawan lang ito. Babalik at babalik kami sa mundong ito,” Dante vowed. Come back they did as they promised building the foundation of the story…” – Bob Castillo, People’s Journal Dec. 12, 1981 (READ MORE)

Post-1981 – “…For Vilma Santos, the previous year, Pakawalan Mo Ako was a huge summer hit that earned Vilma a surprised best actress in FAMAS. That year also released Ex-Wife and Hiwalay, about marital problems. Art imitating life, as there were reports that Vilma and now, ex-husband, Edu Manzano were having some marital problems. But Vilma as trooper as she is, any personal troubles were not publicly noticeable as she goes on with her work, business as usual. Also, Vilma gave birth to her eldest son Luis “Lucky” Manzano. By December of 1981, her film festival entry, Karma earned her another surprise best actress trophy after the FAMAS gave her the nod for Pakawalan Mo Ako. In unrelated news, the entertainment industry were shocked to found that matinee idol, Alfie Anido died on Dec 31st. Like the death of Julie Vega and Rico Yan, it is still unknown the reason behind Anido’s death. She’s determined to make 1982 another successful year. She released a total of six films, out of six; two were certified record breakers, “Sinasamba Kita (I Idolized You)” released in August and “Gaano Kadalas ang Minsan? (How Many Times is Once),” released in November, both produced by Viva Films. The other four films (Relasyon, T-Bird at Ako, Never Ever Say Goodbye, and Haplos) were mild hits. All of her hard work paid off because as early as January of the 1983 she was already poised to reap major awards. Meanwhile for Nora Aunor, 1982 were a mixed bag of mild hits and failed opportunities. “Mga Uod at Rosas,” her collaboration with Lorna Tolentino and director Romy Zusara produced mixed reviews from the critics. Her excellent performance did not help as the film were just mild hit with the audience. Her follow up films, “Annie Sabungera” and “Palenke Queen” both comedies also didn’t do well at the box office making the expectation from her next film higher, as she teamed-up with the hottest star of 1982, her closest rival, Vilma Santos in Danny Zialcita’s fast paced film, “T-bird at Ako.” T-bird’s high expectation wasn’t realized as the film earned just a modest income. By December, all eyes were focused again on Nora and her most ambitious project to date, Ishmael Bernal’s “Himala,” produced by the Imee Marcos’ Experimental Cinema of the Philippines. The film was an entry to the Metro Manila film festival. Nora Aunor was again proclaimed the “queen of local festival” as she won her third Metro Manila Film Festival best actress. Nora’s momentum was rising and she was conditioned to make some serious dent in the following year’s award giving seasons. Critics were all going “gagah” with Aunor’s gigantic performance as Elsa. They said, Himala was very effective in communicating its film’s message, it has moving moments and raw power….” – RV (READ MORE)

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A Very Long Rivalry – 1972

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Pre-1972 – From late 1960s to 1971, comes the arrival of the musical era and the arrival of the golden of voice of Nora Aunor. Aside from stocking success in music, Nora ventured into films, with string of films that featured other singers like Eddie Peregrina, Edgar Mortiz, Manny de Leon, Victor Laurel and Victor Wood. Films that begin with singing and mostly ends with big production number, all with singing and dancing – ala-Bollywood. Venturing to film making, Nora found her rival, “dramatic-child-star” now a strugling “teen-film-star” in a “musical-era,” Vilma Santos. Although the competition was slightly in favor of Nora, she found herself in numerous occassion, having a strong resistant from Vilma. On 1971, there were atleast one Nora or Vilma film showing in local movie houses. Nora Aunor did seven films (Always in My Heart; Ang Waray at ang Talyada; Guy & Pip; Lollipops and Roses; My Blue Hawaii; My Prayer; The Singing Filipina) and Vilma Santos did nine (Angelica; Eternally; Ikaw Lamang; Love at First Sight; Our Love Affair; Teen-Age Senorita; The Sensations; Wonderful World of Music; Young Lovers), most of these films were musicals. The next year, comes the confirmation of their rivalry.

And God Smiled At Me vs Dama de Noche – “…At the Quezon City Film Festival, then held every October, Nora’s entry was Sampaguita Pictures’ And God Smiled At Me (directed by Tony Cayado and Danny Holmsen); while Vilma’s banner vehicle was Tagalog Ilang-Ilang Productions’ Dama de Noche (directed by Emmanuel H. Borlaza). And the winner was Nora! May die-hard Vilmanian kaming kaklase sa elementary, ang sabi: ‘Luto ‘yun, dahil malapit si Nora kay QC Mayor Norberto Amoranto!” Such loose talks were never confirmed to be true. Or as Tempo’s veteran movie columnist Ronald K. Constantino avers, ‘Nora never figured in any awards scam!…Sa annual Filipino Academy of Movie Arts and Sciences (FAMAS) Awards Night, it was the Vilmanians’ turn to rejoice. Vi was ad-judged Best Actress for Dama de Noche, ka-tie ni Boots Anson-Roa (for JE Productions’ Augusto Buenaventura megger Tatay Na Si Erap). Nora wasn’t nominated for her award-winning starrer at the QC filmfest, but for The Gift of Love kung saan siya gumanap ng dual role: bilang isang cancer-stricken patient at ang kakambal na eventually ay napunta kay Tirso Cruz III. Dama de Noche, which paired Vi with Edgar Mortiz, also had her doing two parts: a baliw and a sane sister…” – William Reyes (READ MORE)

Nora Aunor’s 1972 Films (8): (And God Smiled At Me; Dito Sa Aking Puso; Gift of Love; Kung May Gusot, May Lusot; My Little Brown Girl; Nora, Mahal Kita; Way Out In The Country; Winter Holiday) – Most of her films capitalized on her golden voices and untapped dramatic talents.

Vilma Santos’ 1972 Films (14): (Aloha, My Love; Ang Kundoktora; Dalagang Nayon; Dama De Noche; Don’t Ever say Goodbye; Dulce Corazon; Hatinggabi Na, Vilma; Inspiration; Leron, Leron, Sinta; Little Darling; Remembrance; Sweet, Sweet, Love; Takbo, Vilma, Dali; Tatlong Mukha ni Rosa Vilma) – Most of her films were not focused on singing but more on her versatility.

Nora Aunor’s 1972 acting recognition (2) – Best Actress from Quezon City Film Festival and a nomination from FAMAS both for “And God Smiled At Me.”

Vilma Santos’ 1972 acting recognition (2) – Best Actress from FAMAS (tie with Boots Anson Roa) and a nomination from Quezon City Film Festival both for “Dama de Noche.”

Dual Roles – “…Vilma as Armida is drab and dry, almost a movie prop. It is in the portrayal of Rosanna that Vilma would tear one’s heart away. The many close-ups so effectively used throughout the movie show the unglamorous Vilma: her frowns, her lip-twitching, her uninhibited and stifled sobs. But Vilma is less successful with the shifty look that is the distinctive trait of the deranged. She compensates for this in the ‘betrayal’ scene when Rosanna suspects that Leo, Armida and the psychiatrist (Fred Montilla) all conspired to imprison her in the hospital. Another outstanding feat is the subdued scene where Rosanna learns that Leo has gone to the Lerma villa to meet Armida. The vivacious Rosanna is just as winsomely pathetic. Watching her is just like seeing a bosom friend trying to pretend she’s happy when both of you know she’s not only in this case, Rosanna is truly happy. Her non-knowledge of her plight is what is particularly heart-curling…” – Times Jornal, October 24, 1972 (READ MORE)

Golden Voice – “…They’ll wait for the perfect timing, he says and then he’ll tell his wife Olga (Lucita Soriano) everything. The perfect timing never comes. One morning, Celina just can’t help calling him ‘Itay,’ telling him she loves him very much and that he must come home at once, please. The tender moments take too long, and everybody in the theater knows Damian is ‘tsk, tsk, tsk, mamamatay.’ Everybody is right. At the hospital, the secret lets loose as Celina jerks in agony. ‘Itay, Itay,’ she sobs, in the presence of Damian’s wife and two adopted daughters. Here, Nora’s bid for a best actress award really begins. The three witches (oh, how the fans hated them) now maltreat Celina all the more, slapping her, pulling her hair, kicking her right in the tummy. All through these, Celina’s only consolation is her love for Carding (Tirso Cruz III), the laundry-woman’s (Nenita Jana) son. He is blind. He is desperate. He loves Celina very much but ‘wala akong karapatang umibig.’ And so he contemplates suicide, sneaking out one night, begging between yells of ‘Gusto ko nang mamamatay,’ for a vehicle to run over him. An irked driver shouts at him: ‘Ano ka ba, bulag?’ A woman fan shouted too: ‘wag kayong tumawa, serious yan.’ And then, what do you know, another death: not the blind leading man (that would’ve been a blunder) but his mother, who had followed him. After so much unbearable beating and tearful moments between the lovers, Celina delivers her ultimate prayer — she can’t take it anymore. AND GOD SMILES AT HER. God grants her a golden voice (for a while one thought that was only the beginning of the movie, after no less than two-and-a-half hours) and she sings all her heart at the foot of the altar. And this is not the end of it…” – Times Jornal, October 24, 1972 (READ MORE)

Post-1972 – Nora Aunor did eleven films (Binibini ng Palengke; Carmela; Dalawang Mukha ng Tagumpay; Erap is my Guy; Hindi Kita Malimot; Impossible Dream; Kondesang Basahan; Maalaala Mo Kaya; Paru-parong Itim; Super Gee; Tapat na Pag-ibig), most of these films were a smash hits. Some highlights: “Erap is my Guy,” her film with Joseph Estrada; “Paru-parong Itim,” confirmed her dramatic talents; and “Super Gee,” signalled her entry into the comics-superhero genre. Meanwhile, the same year, Vilma Santos did ten films (Anak ng Aswang; Carinosa; Darna and the Giants; Dyesebel at ang Mahiwagang Kabibe; Lipad, Darna, Lipad; Maria Cinderella; Now and Forever; Ophelia at Paris; Tsismosang Tindera; Wonder Vi), most of these films were also a box office hits. Some highlights: “Anak ng Aswang,” horror film with senior movie queen Gloria Romero; “Dyesebel at ang Mahiwagang Kabibe” (mermaid); “Lipad, Darna, Lipad” and “Darna and the Giants” (Filipino version of Wonder Woman/Superman); “Wonder Vi” (Filipino version of female Tarzan) – confirmed she was the queen of the comics-heroine genre as these films broke box office records. The following year, 1974, Nora Aunor did six films (Aking Maria Clara; As Long As There’s Music; Carnival Song; Fe, Esperanza, Caridad; Happy Days are Here Again; Somewhere Over The Rainbow) While Vilma did twelve films (Batya’t Palu-Palo, film with FPJ; Biktima; Happy Days are Here Again; Kamay na Gumagapang; Kampanerang Kuba; King Khayam and I, film with Joseph Estrada; Mga Tigre ng Sierra Cruz, film with Amalia Fuentez; Phantom Lady; Tok, Tok, Palatok; Twin Fists for Justice; Vilma and the Beep, Beep, Minica; Vivian Volta). Vilma dominated 1974 in terms of total output and notable projects with other big stars like FPJ, Joseph Estrada and Amalia Fuentez. By mid decade, Nora Aunor ended up with eight films (Banaue; Batu-bato sa Langit; Dugo at Pag-ibig sa Kapirasong Lupa; Happy Days are Here Again!; Hello, Goodnight, Goodbye; Hotdog Unang Kagat; Lollipops and Roses at Burong Talangka; Memories of Our Love) while Vilma’s total output was nine films (Basta’t Isipin mong Mahal Kita; Darna vs. the Planetwoman; Dugo at Pag-Ibig sa Kapirasong Lupa; Ibong Lukaret; Karugtong ang Kahapon; Nakakahiya?; Tag-ulan sa Tag-araw; Teribol Dobol; Vilma Viente Nueve). The highlights for both stars were: Nora’s signalling her seriousness in aquiring the services of A-1 directors to honed her dramatic talents for future projects that Gerry de leon’s “Banaue” initiated. Meanwhile, Vilma continued to balance art and commercialism with hit films like “Nakakahiya,” “Karugtong ng Kahapon,” and “Tag-ulan sa Tag-araw.”

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A Very Long Rivalry – 1980

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Pre-1980 – The December festival favoured Lolita and Nora. In the festival’s awards Night both were recognized for their effective acting in Ina Ka ng Anak Mo. Meanwhile, their rival, Charito Solis and Vilma Santos, took consolation of the fact that their film, despite losing in the acting contest, remained one of the top revenue earner. It’s the end of the decade and both Nora and Vilma are looking forward to a brighter career. Both wanted to remain as bankable and popular. For Nora, the end of the 70s cemented her reputation as an actress. For Vilma, the end of the decade seem to be a disappointment, atleast in awards derby, as she seems to be ignored by the award giving organizations several times. She has promised herself not to expect to win any award but concentrate on box office results.

Snubbed by the Critics – “…In 1980, tatlong pelikula ni Nora Aunor ang maituturing na panlaban: two by Brocka (Nakaw na Pag-ibig and Bona) and the other by Laurice Guillen, Lea Productions’ Kung Ako’y Iiwan Mo. She won the Gawad Urian for Bona. Ang panlaban ni Vilma was Zialcita’s Langis at Tubig. Hindi taon ni Vilma ang 1980, which saw the emergence of other young and talented actresses like Gina Alajar (Brutal), naka-tie ni Nora sa Urian, and Amy Austria, na tumalo kay Aunor sa Metro Manila Film Festival. In the 1980 MMFF. Amy won with a lone entry, Brutal while Nora got nominated for Bona and Kung Ako’y Iiwan Mo. (A case of split votes.) Sa 1980 Gawad Urian, nominated sina Nora, Gina (eventual winners) at Amy, samantalang si Vilma was “snubbed by the critics…” – William Reyes (READ MORE)

Nora Aunor’s Films (9): (Anak ng Atsay; Bona; Bongga Ka ‘Day; Candy; Darling, Buntis Ka Na Naman; Kastilyong Buhangin; Kung Ako’y Iiwan Mo; Nakaw na Pag-ibig; Reyna ng Pitong Gatang) – After the successful project with Brocka in last year’s local festival, they reunited in two projects, “Nakaw na Pag-ibig,” with Philip Salvador and Hilda Koronel and another festival entry, “Bona.” Nora entered two films in 1980 MMFF, Brocka’s “Bona” and Laurice Guillen’s “Kung Ako’y Iiwan Mo.” With two entries, Nora find herself a stiff competition not from her close rival Vilma but from another Brocka protege, Amy Austria in Marilou Diaz Abaya’s “Brutal.” For Nora, the first year of the new decade was a mix of hit and miss, “Bongga Ka Day” was a successful follow-up to “Annie Batungbakal” but overshadowed by the box office disappointments of “Anak ng Atsay,” “Darling, Buntis Ka Na Naman,” and “Reyna ng Pitong Gatang.”

Vilma Santos’ Films (8): (Ang Galing-galing Mo, Mrs. Jones; Darna at Ding; Good Morning, Sunshine; Gusto Ko Siya, Mahal Kita; Langis at Tubig; Miss X; Romansa; Yakapin Mo Ako, Lalaking Matapang) – For Vilma Santos, 1980 was an affirmation of her sexy image, with most of her projects has “adult” theme, “Mrs Jones” and “Miss X” were big hits despite its lack of weak production value. She even wore a sexier Darna outpit, in her fourth Darna franchise, Darna at Ding. Like Nora, she had her share of disappointments, her film with husband, Edu Manzano, “Romansa” was a big flop. Come December, Vilma concentrated on not thinking about winning the best actress award, instead, agreed to do a commercial film with Danny Zialcita, the result was the hit, “Langis at Tubig.” The film earned her some nominations and a best actor trophies to her leading man, Dindo Fernando.

Nora Aunor’s 1980 acting recognition (3) – Best Actress from URIAN and a nominations from the Metro Manila Film Festival and FAMAS, all for “Bona.”

Vilma Santos’ 1980 acting recognition (2) – Best Actress nominations from Metro Manila Film Festival and FAMAS both for “Langis at Tubig.”

Sociological Phenomenon – “…Brocka is one of the most physical of directors. His films are full of scenes of people touching — nervously, tentatively touching one another, and his rapport with actors is tremendous. Nora Aunor is a special case, she’s the Filipino’s favorite movie star, and more. Herself a slum child at 14, she won a singing contest and soon became a film personality, appearing in trivial, successful hit after hit; she now has her own weekly TV show. Aunor is a sociological phenomenon: the first dark-skinned superstar, idolized by the underclasses. Her fan’s devotion is unlimited. A score of them have come to live and work in her house as self-appointed servants. For many, she has the status of a saint. Her role in Bona in Brocka’s movie, which she produced out of her own pocket in order to appear in a serious film, is not unlike that of one of her own fan-servant-slaves. Aunor’s co-star is no less than Phillip Salvador’s glistening body (who was Stanley Kowalski in Brocka’s Tagalog production of Streetcar) which Brocka makes us to see with Bona’s eyes in a dozen bed and bathtub scenes. The camera observes Salvador’s body with something of the meticulous awe with which Von Sternberg and his lenses ogled La Grande Marlene…” – Elliot Stein, Village Voice, September 25, 1984 New York (READ MORE)

Handing Magparaya – “…Muli, binigyan ng magagandang linya si Vilma Santos mula sa umpisa kung saan kinompronta niya ang manloloko niyang ka-live in at sinabing: “namputsa naman nahuli ka na ayaw mo pang aminin” at sa bandang huli nang intindihin niya ang asawa at handing magparaya, sinabi niya “…handa akong magparaya, kung gusto niya isang lingo sa kanya, isang lingo sa akin…” Pero halatang ang pelikulang ito ay pelikula ni Dindo Fernando. Deserving si Dindo sa kanyang pagkapanalo sa Famas bilang pinakamahusay na actor bagamat nang taong ito’y mahusay rin si Christopher Deleon sa Aguila at Taga ng Panahon at Jay Ilagan sa Brutal. Tahimik lang ang pag-arte niya’t makikita ang kanyang intensity sa kanyang eksena kung saan nagtapat na siya sa asawang si Cory tungkol sa kanyang kaso. Mahusay rin siya nang hinarap niya si Pilar at sabihin niyang, “mahal ko kayong dalawa.” Maganda ang location ng pelikula. Makikita ang mga ordinaryong tanawin ng Albay sa Bicol at ang mga ordinaryong manggagawa rito mula sa mga nagtatanim ng palay hanggang sa mga nagtitinda ng mga paninda sa palengke ng bayan. Sa kabila ng ordinaryong istorya ng Langis At Tubig, ang mahusay na direksyon at mahusay na pagkakaganap ng mga artista rito’y nangibabaw ang tunay na karapatan nitong panoorin muli ng mga mahihilig sa pelikulang Pilipino. Sayang nga lang at hindi na gumagawa ng pelikula ang ang gumawa ng obrang ito…” – RV (READ MORE)

Post-1980 – As Brocka’s Bona toured the international festival, it looks like Nora was again in command with the acting contest and Vilma was content in making sure that her films were commercial success. By this time, Vilma’s tax problem has become a number one priority. No longer a teen pop star, both Nora and Vilma’s projects declined. It seems like yesterday, when in early 1970s both were releasing one or two films each month. Now, both have limited film projects and have to be selective to succeed at the box office.

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Huwag Hamakin: Hostess (1978)

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Basic Info: Direction: Joey Gosiengfiao ; Story, Screenplay: Toto Belano, Tito Sanchez; Cast: Nora Aunor, Alma Moreno, Orestes Ojeda, Bella Flores, Vilma Santos; Original Music: Demet Velasquez; Cinematography: Rey de Leon; Film Editing: Segundo Ramos; Release Date: August 25 1978; Production Co: JPM Productions

Plot Description: This is a film directed by Joey Gosiengfiao and features Nora Aunor and Alma Moreno with Orestes Ojeda and Vilma Santos in a controversial guest appearance.

Film Achievement: No Available Data

Film Review: “…Mas dramatiko ring isinakonkreto ito ng mahusay na pagganap ni Nora Aunor bilang katulong na namasukan bilang hostess upang matustusan ang pag-aaral ng lalaking iniibig, pinapanood natin siya habang dumaraan sa proseso ng lumbay, pagkabigo at pagtanggap. Matingkad ang kanyang pagkakaganap dahil hinahatak niya tayong damhin ang kanyang mga dilemma habang nakikibaka siyang matanggap ang pagtataksil ng kasintahan. Katangi-tangi rin ang pagganap ni Alma Moreno at totoong nabawasan ang kanyang hysterical gestures sa pelikulang ito ngunit wala rin naman siyang ipinakitang bagong kakayahan para pangatawanan ang papel ng isang babaeng pilit ibinabangon ang sarili upang di-tuluyang masadlak sa kinagisnang uri ng pamumuhay…” – Jojo De Vera (READ MORE)

“…Si Orestes ay isa sa mga seksing aktor noong kalagitnaan ng dekada 70s kung saan ang dekadang ito ang pinakatugatog ng kanyang katanyagan. Kinahumalinag siya sa pelikula niyang Ang Boyfriend kong Baduy noong 1976 kung saan ipinareha sa kaniya ang limang naggagandahan babae na sina Amalia Fuentes, Barbara Perez, Celia Rodriguez at iba pa. Sa pelikulang Huwag Hamakin: Hostess dalawa sa mga sikat na artista ang itinambal sa kanya na sina Nora Aunor at Alma Moreno na gumanap bilang mga hostess sa kanyang buhay…” – Wikipilipinas (READ MORE)

“…Ate Vi made around 198 films from 1963 to 2002. This includes cameo appearances in Dugo at Pagibig sa Kapirasong Lupa, Mga Mata ni Angelita, Huwag Hamakin Hostess (with Nora Aunor and Alma Moreno with Vilma getting Orestes Ojeda in the end), Candy, No Other Love, Charot, Rizal Alih, Engkanto, and ‘Bukas Sisikat Din Ang Araw’, a Gabby-Snooky starrer, produced by friend Gabby Concepcion…” – The 28th (READ MORE)

“…Do you always succeed in packaging a movie? “Often, yes, But, alas, I have failures too.” For instance? “Well, some reasons for failure are due to wrong chemistry of the cast, to the vehicle (story) and/or unsuitability of both elements. Let’s take the movie, Huwag Hamakin: Hostess, which with solid actresses, a move that proved to be contrary to the image of La Aunor. It would have been all right, if Alma Moreno, Nora’s co-star, was paired with another bold actress. But that, we learned only later and too late! I was aware of Guy’s image. But I wasn’t aware that her image wouldn’t go well with the combination. Not even the controversy of including Vilma Santos in the cast helped. It only antagonized both camps of Nora-Vilma fans…” – Manny B. Fernandez, Expressweek, March 1, 1979 (READ MORE)

“…In the 15 movies he had appeared in since 1972, Orestes feels that he has not done roles that would demand from him the maturity of outlook as an actor…”I like to be known as an actor and not just a bold star. But cinema is a tremendous image-making machine. I realize that I cannot totally turn my back on my bold image,” Orestes lamented…he is back again in his bold role in “Huwag Hamakin: Hostess.” But Orestes is happy about this role. He is paired with Nora Aunor and Alma Moreno. The picture is a tragic-comedy. “I play a bastard-gigolo who lives off two women portrayed by Nora and Vilma. The role offers me romantic and comedy situations. It also calls for some understanding of a misdirected and amoral character and I certainly find it a challenge,” stresses Orestes when we talked in a downtown hotel which was the setting of one of his love trysts with co-star Alma. ” I am centainly very lucky to have Joey Gosiengfial as a director. He has guided me in my interpretation of my roles. And of course, it’s a rare opportunity to be pitted against two real actresses like Nora and Alma and a veteran performer like Bella Flores (who plays Orestes’ sugar mommy in the flick)”, he adds…Observers in the local movie world believe that Orestes can be a good actor. The guy has looks and intelligence…” – Beth U. Castillo, Expressweek Magazine, 29 June 1978 (READ MORE)

Filmography: Takot ako, eh! (1987)

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Basic Information: Director: Mario O’Hara; Writing credits: Mario O’Hara, Tito Rey; Cast: Ian De Leon, Lotlot De Leon, Matet De Leon, Caridad Sanchez, Jaime Fabregas, Richard Merck, Ronel Victor, Marilyn Villamayor, Kiko De Leon, Vida Verde, Irma Alegre, Vilma Santos, German Moreno, Romnick Sarmenta, Zorayda Sanchez, Dan Alvaro, Mario Escudero, Tony Angeles, Nora Aunor, Nanette Inventor, Maritess Ardieta, Arthur Cassanova, Lady Guy, Lucy Quinto, Josie Galvez, The Ramon Obusan Dancers, Remy Tabones; Producer: Nora C. Villamayor; Original Music: Demet Velasquez; Cinematography: Johnny Araojo; Art Direction: Julius Dubal; Sound: Antonio Acurin

Plot Description: No Available Data

Film Accomplishments: 1988 FAMAS Best Child Actor Nomination – Ian De Leon

Film Reviews: “…The only evidence that Takot Ako, Eh! could not have been made by just anyone with the right money and resources lies in one extremely exclusive instance. This would take a whole lot of paring down and possibly a radical revision of the exposition, but if our point of reference is Halimaw, then you’d now have the best installment available for that omnibus product. I’m referring to the subplot involving Caridad Sanchez as a way-out househelp, not quite in her right mind yet not quite obtrusive enough to arouse anyone’s suspicions. Before the time machine brings back the Nora Aunor character it first spews out Dracula (a wonderfully with-it Richard Merck), who like all the previous males on the scene doesn’t really fall for the maid’s advances, but, unlike the rest, doesn’t have the advantage of remaining intact during daytime and going without blood. When Sanchez starts turning on the charm for her captive lover, all hell, for him at least, breaks loose, and one wishes for the most part that the final Countdown hadn’t been sooner. And to return to where we started: wasn’t this the kind of role – the maid, I mean in particular – that Nora Aunor became famous for? A character performer like Caridad Sanchez can think of nothing about shifting from serious to comic interpretations within more or less similar characterizations (check out two temporally disparate Lino Brocka films, Santiago and Ano ang Kulay ng Mukha ng Diyos?, plus her critically underrated salvo in Marilou Diaz-Abaya’s Alyas Baby Tsina, for a sober accounting of the lady’s prowess); on the other hand, a Nora Aunor can only work on a highly involved plane of acting, in fact as in film. Forced to a distance (considering her bygone stature as the superstar of Cebuano cinema), Sanchez takes full advantage by playing to the hilt, damn the consequences, and involves everyone else in her having fun even at her own expense; Nora Aunor offers a weak substitute of herself, four of them in fact, and politely takes her place in the background. Somewhere there’s a metaphor for the human capacity for excessive celebrity, and the sadness of losing a precious sort of genius when the condition begins to take its toll…” – Joel David, National Midweek, 25 November 1987 (READ MORE)


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A Very Long Rivalry – 1976

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Pre-1976 – Although Vilma Santos showed great promise the previous year, all with her dramatic projects like “Nakakahiya?” with Eddie Rodriguez; “Karugtong ng Kahapon” with Eddie Garcia and Gloria Romero and “Tag-ulan sa Tag-araw with Christopher de Leon, it was Nora Aunor who owns 1976, at least in terms of notable films.

Landmark Performance – “…Nagkakalaban pa rin sina Nora at Vilma sa FAMAS, pero kapwa sila talunan. Especially Vilma, who didn’t win another FAMAS Best Actress trophy until 1982 (with Elwood Perez’s 1981 meager Pakawalan Mo Ako). In 1976, Nora Aunor’s “landmark performance ” in Mario O’Hara’s Tatlong Taong Walang Diyos won nods from the FAMAS voters as well as from the Gawad Urian critic-jurors bilang Best Actress. Hindi si Vilma ang naging mahigpit na kalaban ni Nora, kundi si Hilda Koronel (for Lino Brocka’s Insiang). Sa MMFF in December 1976, si Hilda ang Best Actress, but Nora’s performance in Lupita Kashiwahara’s Minsa’y Isang Gamugamo was equally acclaimed by the critics. (Minsa’y…won as FAMAS Best Picture in 1977.) It was the first year of the Gawad Urian (organized by film critics collectively known as the Manunuri ng Pelikulang Pilipino), at si Nora ang nag-buena-mano as Best Actress. Henceforth, hindi na lamang ang FAMAS ang kinilalang tagapagbigay-parangal sa industriya ng pelikulang lokal. Sa mga sumunod na taon, dumami ang award-giving body sa movie industry. Bukod dito, ang mga filmfest sa iba’t ibang siyudad outside Metro Manila; like in Davao City, where Nora Aunor once won as Best Actress for Tito Sanchez’s Ibilanggo si Neneng Magtanggol…” – William Reyes (READ MORE)

Nora Aunor’s 1976 Films (9): (Ang Bulag, ang Pipi at ang Bingi; Big Ike’s Happening; Kaming Matatapang ang Apog; Magandang Gabi sa Inyong Lahat; Minsa’y Isang Gamu-gamo; Relaks Lang Mama, Sagot Kita; Sapagka’t Kami’y Mga Misis Lamang; Tatlong Taong Walang Diyos; Wanted: Deb or Alayb Agad-agad) – After “Banaue” of previous year, Nora Aunor produced another memorable film, “Tatlong Taong Walang Diyos,” directed by Mario O’Harra where she won all the best actress, from the only two award giving bodies during this time. Aside from this remarkable feat, she also did an equally notable film under Premiere Productions, “Minsa’y Isang Gamo-gamo.”

Vilma Santos’ Films (10): (Bato sa Buhangin; Bertang Kerengkeng; Big Ike’s Happening; Hindi Nakakahiya; Let’s Do the Salsa; Makahiya at Talahib; Mapagbigay ang Mister Ko; Mga Reynang Walang Trono; Mga Rosas sa Putikan; Nag-aapoy na Damdamin) – In terms of notable projects, there was no award deserving films that Vilma did this year but she remained bankable with commercial success of “Bato sa Buhangin,” film with FPJ, Hindi Nakakahiya,” film with Eddie Rodriguez; “Makahiya at Talahib,” film with Rudy Fernandez and “Nag-aapoy na Damdamin,” film with Romeo Vasquez.

Nora Aunor’s 1976 acting recognition (2) – Best Actress from FAMAS; URIAN for “Tatlong Taong Walang Diyos.”

Vilma Santos’ 1976 acting recognition (0) – none

Means Business – “…People who used to smile and wink when they talk of Nora Aunor as an actress should see this film, because the lady is determined to show everybody that she means business both as an actress and as a producer. In this film she is successful as both…In the end, Mario O’Hara symbolizes man’s fate as helpless creature buffeted by the winds of adversity but still turning to God by a blind man who lights a candle as a procession enters the church to mark the return of normalcy. The tragic fate of Rosario, Crispin and Masugi goes against the grain if traditional “cine Pilipino” which insists on a happy ending. And for this we must thank conscientious craftsmen like Mario O’Hara and Nora Aunor for their concerted effort. “Tatlong Taong Walang Diyos” is without doubt one of the best films of 1976…” – Pio de Castro III, The Times Journal 1976 (READ MORE)

Good Sign – “…Then she did Mga Rosas Sa Putikan for her own VS Films where she played a country girl forced into prostitution in the big city. The movie did fairly well at the tills. Good sign…” – Ricardo F. Lo, Expressweek, Jan 19 1978 (READ MORE)

Post-1976 – After Nora’s triumph in both FAMAS and Gawad Urian, Vilma seems to be reawakened the following year by the success of “Burlesk Queen.”  The film earned her nominations from Famas and Gawad Urian but failed to secure her the trophies. Despite this, 1977 seems to favor Vilma more than Nora in terms of quality output.  Aside from Burlesk Queen, she did “Dalawang Pugad Isang Ibon” directed by Bernal, “Masarap Masakit Ang Umibig” directed by Elwood Perez, “Pulot-gata, Pwede Kaya?” with Romeo Vasquez and “Susan Kelly, Edad 20” with Dante Rivero, these films were smash hits. Meanwhile, Nora did twelve films, her only award worthy film was “Ibilanggo si Neneng Magtanggol” where she won the best actress in Davao Film Festival and a nomination from the Metro Manila Film Festival for “Bakya Mo Neneng.”  Like Vilma in her past year, Nora had a similar run, “high on output and commercial success but low on quality, worthy of acting awards” (“Little Christmas Tree” wirh FPJ and “Bakya Mo Neneng” with Joseph Estrada were both mediocre films).  With Vi and Guy’s careers on fire in term of box office success, the next year would be a test on who will sustain popularity, as more worthy project will come their way.

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A Very Long Rivalry – 1984

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Pre-1984 – After winning all the best actress trophies in 1983 for the previous year, 1982 and the award giving season ends, 1983 seems to be another business as usual for Vilma Santos. She released three more films after the dissapointment of “Ayaw Kong Maging Kerida” in earlier part of 1983, then on June 9th, Viva Films released “Paano Ba ang Mangarap?” that turned out to be another box office hit. Few months afterwards Regal films released Bernal’s “Broken Marriage,” the follow-up film after the successful grand slam film, “Relasyon.” The film was a critical and commercial success. Then finally, four days after Vi’s birthday, Viva Films released Marilou Diaz-Abaya’s drama, “Minsan pa Natin Hagkan Ang Nakaraan,” another box office hit. This film plus the two films mentioned earlier solidified her bankable status. Not to be outshine, Nora’s “Himala” continued its relentless fight for recognition, winning the bronze prize at the 1983 Chicago International Film Festival on November of 1983. Despite this, 1983 seems to be not her year, aside from losing in all the award derbies, she only released two films, “Bad Bananas sa Puting Tabing” and the forgettable, “Minsan May Isang Ina.”

Golden Year – “…In 1984, Nora and Vilma each had three “pang-award” movies. Nora starred in ‘Merika by Gil Portes, Condemned and Bulaklak ng City Jail by Mario O’Hara. The latter was entry in the MMFF, winning Best Picture and Direction at nanalo ring Best Actress si Guy. Si Vilma was in Brocka’s Adultery: Aida Macaraeg, Mike de Leon’s Sister Stella L. and Marilou Diaz-Abaya’s Alyas Baby Tsina. Noong 1985 unang nagbigay ng Star Awards ang Philippine Movie Press Club (PMPC). Para sa taong 1984 ang mga parangal na ipapamahagi, at sina Nora at Vilma lang ang nominated for Best Actress: Guy for all her three starrers, Vilma for Aida Macaraeg and Sister Stella L. Mainitan umano ang nagging deliberation para sa kategoryang Best Actress, which earlier that year was bagged by Vilma (for Sister Stella L. sa Gawad Urian; her third straight win!) and by Nora (for Bulaklak ng City Jail sa CMMA). Sa 1st Star Awards for Movies, it was Nora Aunor who won for ‘Merika. The late movie scribe Frank Mallo, a self-confessed Noranian, fought hard for Aunor to clinch the Best Actress plum, especially for ‘Merika. He even wrote a letter (published in Constantino’s Highspeed column) disputing the Manunuri’s earlier choice of Vilma Santos as Urian Best Actress. Sa taong ito rin ng Gawad Urian nagtamo ng double nomination si Nora – for ‘Merika and Bulaklak ng City Jail. Sa pagtatapos ng award-giving season, si Nora uli ang Best Actress sa FAMAS (her third win) for Bulaklak ng City Jail. Dito niya unang naka-tie si Sharon Cuneta (for Borlaza’s Dapat Ka Bang Mahalin?). Pero hanggang ngayon, nakahihinayang na walang napanalunang award si Nora for Condemned, kung saan she was cited by Tempo entertainment editor Nestor Cuartero for that single scene in which she acted out a “cry of sorrow like no other” upon the death of actor Dan Alvaro who played her brother in that film which was rated “A” by the Film Ratings Board…” – William Reyes (READ MORE)

Nora Aunor’s Films (3): (‘Merika; Bulaklak sa City Jail; Condemned) – Nora did three solid award-worthy films, two from Mario O’Harra and one from Gil Portes.

Vilma Santos’ Films (4): (Adultery; Alyas Baby Tsina; Charot; Sister Stella L.) – Vilma did four films, a guest role to her television co-host film, Roderick Paulate’s “Charot” and three award-worthy films from A-1 directors, Lino Brocka for “Aida Macaraeg: Adultery,” Marilou Diaz-Abaya’s “Alyas Baby Tsina,” and Mike de Leon’s “Sister Stella L.”

Nora Aunor’s 1984 acting recognition (5) – Best Actress from Star Awards for “‘Merika;” Best Actress from Metro Manila Film Festival and CMMA for “Bulaklak ng City Jail;” and two nominations from URIAN for “‘Merika” and “Bulaklak sa City Jail.”

Vilma Santos’ 1984 acting recognition (6) – Best Actress from URIAN and nominations from FAMAS; FAP; CMMA; Star Awards all for “Sister Stella L.;”and another nomination from Star Awards for “Alyas Baby Tsina.”

Human courage and Determination – “…We see a fairly representative sector of Filipinos living in America through the eyes of Milagros Cruz (Nora Aunor), a nurse working in a New York City hospital. It is her fifth year on the job and life for her has become a predictable routine of quick meals, subway rides, Caucasian patients and late night TV. To augment her income, she holds a second job at a nursing home. Although her two jobs keep her well-off, Mila harbors a secret wish to come home to the Philippines. And while her wish is not an impossible one, the decision involved is a difficult one to make. For Mila, her decision to come home or to stay is largely shaped by a circle of Filipino friends and acquaintances, all of whom have changed in outlook and attitude towards their native land and their adopted country. For the most part, knowledge of events back home has become speculative while knowledge of the new land has become increasingly material and resentful. An aging Filipino whom Mila befriends at the nursing home becomes her surrogate father. The old man is angry at the manner in which his generation was received by the Americans in the years before the war. Mila’s younger friends, on the other hand, are luckier in terms of present-day opportunities. While some have remained honest, others have become callous, even rotten, in adopting the American way of life. All have moments of pride in terms of achievement but no one cares to admit the degradation one goes through to earn that better life, Mila’s final decision comes with much pain but it’s one deed that’s a tribute to human courage and determination. What is clearly admirable about “‘Merika,” is its affecting portrait of loneliness, so thoughtfully realized by Nora Aunor’s touching performance, Gil Portes’s direction and Doy del Mundo and Gil Quito’s homely screenplay. The film does not emphasize a single, urgent cause for Mila’s wanting to go home precisely because such loneliness cannot be quantified. For the migrant Filipino, this kind of loneliness exists in mind and heart but it can never be completely expressed. It’s a feeling so deep seated, it couldn’t be relieved entirely, even by a long-distance call. The film utilizes many images to describe this sad feeling, from chilly scenes of winter to bare trees, disabled senior citizens, to the never-ending pictures on television. It all adds up to a very, very cold account of a life of sacrifice in a country of great expectations. …” – Emmanuel A. Reyes, Tempo, 1984 (READ MORE)

Major-league Filmmaking – “…So far the only pitfall he has stumbled into in “Bulaklak sa City Jail” appears to be the pursuit of a more grandiose design (the city as confirmation of the city-jail metaphor) at the expense of already established premises. For the excursion of Angela into big-city intrigues forces the film into a linear storytelling mode as the characterization of city-jail types is abandoned for plot twists; here the absurdities acceptable for enrichment of character begin to be called to account, and are transformed, in the context of conventionalized approaches, into glaring lapses of logic. Foremost among these is the total absence of support for any of the inmates. While this real-life improbability becomes necessary for the organization of the dramatic lines of force among the inmates, the artifice gets exposed once the Angela character is made to abandon the city-jail schema and the audience consequently realizes that the last jail victim she fought for before deciding to escape had connections powerful enough to influence court decisions—a consideration that makes their failure in releasing the victim-to-be-too obvious to be ascribed to sheer negligence….Although “Bulaklak sa City Jail” would ordinarily have been doomed by such compromises, the project does not appear to be as easily dismissible, saved as it is by a surface perfection never before seen in any Mario O’Hara, specifically in the combination of his willingness to handle big themes (which has always been his strong point) with the confidence of a veteran film craftsman. Particularly noteworthy is his ability to recreate dramatic texture through the interrelation of character progressions (in the city-jail portion) and the use of ironic juxtapositions. Although these are virtues that should be first credited to the screenwriter, it may do observers well to keep in mind that O’Hara has written some of his own films’ scripts and has done even better ones for other directors. A continuing consciousness on his part of dramatic essentials will help distinguish him from the Johnnys-come-lately of so-called serious filmmaking, who in their less sober moments strive for flash without regard for illuminative sources. With “Bulaklak sa City Jail,” Mario O’Hara has begun his bid for major-league filmmaking….” – Joel David, Tinig ng Plaridel, 1985 (READ MORE)

Tragic Heroine – “…The film is not only Filipino film but a fine one in practically every respect, starting with the gripping screenplay which comes to life under the adroit direction of Mario O’ Hara. It is a flawed jewel but a finely polished one nonetheless. It is a refreshing departure from the predictable and the prosaic elements that one encounters in many, if not most, Filipino films. For the most part, it veers away from the cloying melodramatic acting coaxed from our Filipino actors. As the tragic heroine, Nora Aunor turns in a sensitive and restrained portrayal of touching vulnerability — her deep love for her psychotic killer-brother played convincingly by Dan Alvaro, her helplessness in the face of adversity or her quiet rage as she daringly confronts the arch villainess played with surprising flair by Gloria Romero. The closeness between the brother and sister plays up an unusual sister-brother relationship which is central to the plot but which is a theme rarely fully developed in Filipino films. One wonders if there is more to the relationship than actually meets the eye. Though Dan Alvaro has appeared in numerous action films and died in most of them, he makes his mark in “Condemned” with his striking screen presence. A majority of the previewers considered both Nora and Dan as perfectly cast, with the supporting cast providing creditable performances…” – Film Ratings Board, 1984 (READ MORE)

Societal and Religious Norms – “…Aida (Vilma Santos giving a very mature performance) is the sole breadwinner for her family, consisting of a bedridden father, a nagging mother, a good-for-nothing brother, his unemployed wife and baby. Unable to bear the hardships of living with her family, she takes the offer of her boyfriend Carding (Phillip Salvador) to simply live together, resisting his invitation to marry him despite the possible scandal that might arise out of their living arrangement. Carding gets caught peddling prohibited drugs and gets imprisoned, leaving Aida all alone to fend for herself. Years later, Carding gets released from prison and finds Aida, now a mistress of a wealthy executive (Mario Montenegro) and mother to a child that is not his. Aida is then sued for adultery by Carding, which if she is proven guilty would separate her from her son. There’s one sequence in the film which clearly shows Brocka’s mastery. Aida visits Carding in prison, telling him of her pregnancy. Carding again offers to marry her, fearing that their child would be a bastard child. Supposedly out of pity, Aida agrees. The marriage is solemnized then and there. The prison chaplain officiates the ceremony where Aida is draped in an ordinary dress while Carding wears the orange colored uniform. Around are the witnesses of their marriage, felons all donning the same orange outfit Carding is wearing. Of course, these are mere background details, emphasizing the sullenness of the event that is ordinarily jovial and lively. Brocka concentrates on Aida. He closes up on her face, worried about the uncertainty of her future: she is after all pregnant and now married to a convict with absolutely no source of income. It is Aida’s point of no return and Brocka understands it as such, thus he presents it with understated elegance; no dialogue, just Lutgardo Labad’s swelling music and Brocka’s emphatic close-up of Vilma Santos’ apprehensive face. The film attempts to criticize marriage, which is depicted not in its traditional sense (as the key to life’s bliss) but as a harrowing cage where women are left with no choices. It seems to advocate infidelity, especially when the requirements of life overtakes the facile concerns of societal and religious norms. Interestingly, Brocka does not antagonize any of his characters. Aida is a hardworking woman who we first see as the selfless sufferer who is charged with her family’s survival, a mere victim of fate and circumstance. Also, one cannot doubt Carding’s affection for Aida. His decisions in life may have been off, leading to his incarceration and Aida’s continuing suffering, but it cannot be denied that his love for his wife is indubitable. The blame does not go to any person but to the social institution of marriage, its sometimes shallow roots and the unbendable veneration the law and society gives to it to the detriment of the unique needs of individuals…” – Oggs Cruz (READ MORE)

Front-page Baby Tsina – “…Ang istoryang ito ay matagal nang ikinukuwento sa akin ni William. Wala pa akong asawa, pangarap na ni William na magawa ang pelikula. He had the story at hand. Siya talaga ang nag-negotiate para makuha ang istorya. Noong una nga raw, ayaw pumayag ni Baby Tsina at ng kanyang asawa dahil gusto na nilang kalimutan yun. Eh, si William alam ko yan kung magpilit, tsaka personal kasi niyang kilala si Baby Tsina, nakuha rin ang istorya,” salaysay ni Vilma…”Noong una kong mabasa ang script, ayoko sanang maniwala na nangyari talaga yun. Masyadong cinematic, eh. Para bang sa pelikula at sa komiks lang nangyayari. Until the day nga that I met the real Baby Tsina. Nang siya na ang makuwento sa akin ng naging buhay niya, lalo na after the crime at sa loob Correctional, saka ko lang nalaman na ang nakalagay sa script ay kulang pa pala. Mas matindi ang istorya niya, pero hindi na maaring isamang lahat sa pelikula. Baka namang masyadong humaba eh. Malakas ang istorya. I think the story alone will sell the movie. Lalo na kung iisiping isa itong celebrated case at nasundan ng mga tao noon sa mga diyaryo. Front page stories pa raw lagi iyang si Baby Tsina noon eh…” – Ariel Francisco, Jingle Extra Hot Magazine, October 12, 1984 (READ MORE)

The Power to cause Insomnia – “…De Leon handles his intimate and delicate material powerfully, persuasively and penetratingly. He not only executes the technical aspects marvelously but also knows how to work with his actors, both individually and in the here all-important ensembles. The crowd scenes are a delight, with some sequences presented with the veristic quality of a documentary, and each scene is played for maximum impact, immaculately crafted and made with care and conscience, with dedication and devotion. If we now sound so much like an avid de Leon fan, it is because Stella L. is the kind of work that makes a reviewer long for new adjectives of praise. One knows very well that de Leon works for reasons other than money. This makes the strength, sensitivity and symetry of his direction deserve the highest praise and the sweet of music of thunderous applause for it is just better than perfect. Local cinema gives us very few occasions to rejoice and this is one of them. In the large and uniformly excellent supporting cast, Laurice Guillen stands out as Sister Stella B. She is one film director and actress who is really ablaze with talent. As the instrument to Stella L.’s involvement in a much more worthy cause, she imbuesher role with just the right mixture of intensity and charm. Equally memorable are Tony Santos as the beleaguered labor leader, Anita Linda as his courageous wife, and Liza Lorena as the sympathetic magazine editor who is willing to compromise. Gina Alajar is very effective in a very short role as the unwed mother. In the male lead role, Jay Ilagan proves once more that he is indeed one of our most competent young actors available. And now, Vilma Santos. Playing the title role, Vilma tries a part that is totally different from her past roles and proves that she has indeed become a highly skilled professional. Her role is somewhat reminiscent of Audrey Hepburn’s in Fred Zinnermann’s “The Nun’s Story”, where a young nun discovers in a hospital at the Congo that she is first a nurse and only second a religious. But Stella’s awakening is much more vital and revolutionary than that of Sister Luke in the Hepburn movie. Vilma’s transformation from an innocent bystander to that of an active participant who is audacious enough to be in the thick of battle is truly quite awesome to behold. We could almost see and feel the internal changes in her. In a sense, the role is somewhat tailor made for her because her beauty is appropriate to the part of Stella L., but she also succeeds in transcending her established personality, delivering her lines and gestures with vigorous conviction and playing it to perfection that one can safely predict that she will again be running in the best actress derby come next year. And so, to Vi, Mike and Mother Lily, our heartfelt gratitude for giving us a film that has the power to cause insomnia…” – Mario E. Bautista (READ MORE)

Post-1984 – As both Vilma and Nora reaped recognitions from a year full of award-worthy films that some considered, “Golden Year” for both, the next year would be a test of who can sustain their popularity. Vilma seems to be on a decline as she only release two films, the flop, “Doctor, Doctor, We Are Sick” and the smash hit, “Muling Buksan ang Puso.” Meanwhile, Nora Aunor’s career were on upswing. She released five films, mostly dramas, “Beloved” with Hilda Koronel; “I Can’t Stop Loving You” and “Till We Meet Again” with Tirso Cruz III; “Mga Kwento ni Lola Basyang” in a special guest role; “Tinik Sa Dibdib” with Phillip Salvador and Dina Bonnevie. Then in 1986, both Vilma and Nora did four films each. Critics seems to noticed the decline of both actress as their films seem to be the same melodramas, despite this, both earned nominations. Nora’s acting in “I Love You Mama, I Love You Papa” got her a FAMAS nomination while Vilma’s hit film “Palimos ng Pag-ibig” earned her nominations from Star Awards and FAMAS. Then in 1987, a slight change of pace, Vilma is now concentrating more on television. She moved her show, VIP to GMA 7 and eventually changed its named to simply, “Vilma!” While maintaining her high rating on small screen, she managed to complete four films, she guested on Nora’s produced film “Takot ako, eh!” and featured in three dramas, “Ibigay Mo Sa Akin Ang Bukas,” “Saan Nagtatago Ang Pag-ibig?” and “Tagos ng Dugo.” The last two earned her some trophies, including her fourth FAMAS. Meanwhile, Nora released only three films, she also guested in “Takot Ako Eh,” and featured in “My Bugoy Goes to Congress” and the melodrama, “Tatlong Ina, Isang Anak.” Finally, a year before their final showdown in this decade, 1988, both Vilma and Nora’s focus were on their television shows and only managed to do three films, Nora did the forgettable,”Balut Penoy” and “Sana Mahalin Mo Ako” while Vilma’s only film was “Ibulong Mo Sa Diyos,” a surprised winner in FAMAS and that allowed her to be elevated to their Hall of Fame pedestal. The last year of the decade seems to be the same for both Vilma and Nora, they only produced four films, one for Nora “Bilangin Ang Bituin sa Langit” and three for Vilma, “Imortal,” a festival entry; “Pahiram Ng Isang Umaga,” her last film with Ishmael Bernal and a special guest role in “Rizal Alih, Zamboanga Massacre.” 1989 ends brighter for Vilma, her TV show maintained its high ratings and her filmfest entry, “Imortal” earned several acting trophies including a best actress for her. Come, 1990 Nora and Vilma found themselves fighting it again mano a mano in the acting derby, Nora for “Bilangin” and Vilma for “Pahiram.”

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A Very Long Rivalry – 1979

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Pre-1979 – 1978 was a very productive for both Nora Aunor and Vilma Santos. Nora did eleven films (Atsay; Bakekang; Das A Las of Nonsense; Huwag Hamakin: Hostess; Ikaw ay Akin; Isinilang Ko ay Hindi Ko Tunay na Anak; Jack N Jill of the Third Kind; Mahal Mo Mahal Ko; Mga Mata ni Angelita; Pinagbuklod ng Pag-ibig; Sa Lungga ng mga Daga) and Vilma, thirteen (Mga mata ni Angelita; Amorseko: Kumakabit, Kumakapit; Bakit Kailangan Kita?; Kampus; Disco Fever; Ikaw ay Akin; Nakawin Natin ang Bawat Sandali; Pag-ibig ko sa iyo lang Ibibigay; Pagputi ng Uwak, Pag-itim ng Tagak; Pinagbuklod ng Pag-ibig; Promo Girl; Rubia Servios; Simula ng Walang Katapusan). They also did four films, Bernal’s “Ikaw ay Akin,” the forgettable “Pinagbuklod ng Pagibig” and two cameo roles, both did “Mga Mata ni Anghelita,” where they did separate episodes and lastly, Vilma appeared in the Alma Moreno-Nora Aunor flop, “Huwag Hamakin Hostess.”  From the looks of it, Vilma dominated the year with one hit after another despite the commercial disappointment of critics’ favorite “Pagputi ng Uwak, Pagitim ng Tagak.”  Meanwhile Nora’s momentum seem to surged with the film adaptation of comic hit, “Bakekang.”  She also had a hit with her second film with Dolphy, “Jack and Jill of the Third Kind.”  Come, December, the question remained, after the success of last year’s “Atsay,” where she won the lone acting award, would Nora repeat her success at the local festival?  When the news of Brocka doing a Lolita-Nora film, Vilma’s camp answered back with a Charito-Vilma project.  Critics noted that the festival is gearing up to be the battle of “dramatic superstars.”  Also, the critics noted the director of each project, Brocka is still at his prime as the country’s top director, would Cirio Santiago, a director of previous decades, match up with Brocka?  Would it be different if Bernal handled the Solis-Santos project?

Nora-Lolita vs Charito-Vilma – “…In 1979, 1980 and 1981, kapwa maningning ang mga pangalan nina Nora Aunor at Vilma Santos bilang box-office stars at awardwinning actresses. Pero hindi kahigpitan ang labanan nila sa iba’t ibang parangal. May panahong nananalo si Nora na ibang aktres ang mahigpit na kalaban; ganu’n din si Vilma. Nang ma-handle si Nora ni Brocka (in 1979’s Ina Ka ng Anak Mo, produced by Premiere Productions and written by Jose Dalisay Jr.), she was pitted with the formidable Lolita Rodriguez and it was to Nora’s credit na pumantay siya sa parangal – bilang MMFF Best Actress. Sa 1979 FAMAS, Nora bested Lolita, who, with her performance in Brocka’s Tinimbang Ka Ngunit Kulang, beat Aunor in 1974. Ang “katapat” ng Nora-Lolita duo ay ang acting tandem nina Vilma Santos at Charito Solis in Bancom Audiovision’s Modelong Tanso, directed by Cirio Santiago. Sa 1979 Gawad Urian, it was neither Nora nor Lolita as Best Actress; the award instead went to Charito Solis for Brocka’s Ina, Kapatid, Anak…” – William Reyes (READ MORE)

Nora Aunor’s Films (8): (Ang Tsimay at ang Tambay; Annie Batungbakal; Bakit May Pag-ibig Pa; Disco King; Dobol Dribol; Ina Ka ng Anak Mo; Kasal-Kasalan Bahay-Bahayan; Si Mahal, Nakialam Na Naman) – Nora ventured into the dance-craze genre, with “Annie Batungbakal” that even the Santos camp, knowing that Nora can’t dance, were surprised that the film was big hit. She also did few comedies, “Ang Tsimay at ang Tambay,” “Dobol Dribol;” “Kasal-Kasalan Bahay-Bahayan; and “Si Mahal, Nakialam Na Naman,” all were quite a disappointments. Her only serios project was the Brocka film.

Vilma Santos’ Films (8): (Buhay Artista, Ngayon; Coed; Halik sa Kamay, Halik sa Paa; Magkaribal; Modelong Tanso; Pinay, American Style; Rock, Baby, Rock; Swing it, Baby) – For Vilma, after the disappointment of last year’s festival, atleast in the award contest, she concentrated in making sure her film become commercial success, giving what her fans wanted. It showed with all her projects, most were box office hits.  The top three were, “Pinay, American Style;” “Rock, Baby, Rock;” and “Swing it, Baby.”  The only exception to this were the critic’s favourite, “Pagputi ng Uwak, Pagitim ng Tagak” her reunion film with “Burlesk Queen” director, Celso Ad Castillo.  Aside from doing the Charito Solis project, she also did a film with Dolphy, her first after co-starring with him when she was just a child actress.

Nora Aunor’s 1979 acting recognition (3) – Best Actress from Metro Manila Film Festival and FAMAS; and a nomination from URIAN, all for “Ina Ka ng Anak Mo.”

Vilma Santos’ 1979 acting recognition (1) – Best Actress nomination from FAMAS for “Halik sa Kamay, Halik sa Paa.”

Full Confrontations – “…Filipino movies are nothing if they do not have confrontations, and Ina Ka ng Anak Mo has one confrontation after another. The best one occurs when Aunor sees Rodriguez and the baby for the first time. Aunor silently moves from shock to hurt to rage to hysterics.The scene is spoiled only at the end, when she bursts out that she will see the pair in court; in the heat of such passion, no Filipina will think of impersonal legal proceedings. More characteristic would have been a search for a weapon or for an exit door. Brocka specializes in acting vehicles. Aunor clearly deserves the Best Actress Award. In fact, she deserves it more than Rodriguez, if only because she is younger and has less experience. Before Ina Ka Ng Anak Mo, only Charito Solis could stand up to Rodriguez; now Aunor is on par with both veteran actresses. Even Aragon, not one of our best actors, gives an adequate performance opposite the two women; his success must be largely due to Brocka’s direction…” – Isagani R. Cruz, TV Times, January 20 -26, 1980 (READ MORE)

Good Model – “…Another “good” movie is “Modelong Tanso” directed by Cirio Santiago. It is based on a novel by Nerissa Cabral. This movie has one hell of a different plot: that of an obsessed woman who would get wealth and power against odds. The woman (ably portrayed by Charito Solis), forsakes husband, morals, children, for the sake of the over-riding ambition. The driving force is rooted in an impoverished childhood. She had to beg for food. She would get out of her squalid surroundings by any means. Only trouble was, she was still at it, long after she had left the barung-barong. Ang bigat ng paper ni Solis dito. At believeable siya. The conflict in this film comes off naturally. No issue is forced each incident is the result of a logical buildup in the plot. Vilma Santos, who marries a filthy rich fag in this movie, sees that she is starting to take up to her mother’s ways and stops, in this time, Solis, however, remains “unreconstructed” up to the very last. As the movie ends, she has assumed command of an even bigger business empires. Nagustuhan ko ang pelikulang ito dahil may sinasabi. It should have won some awards. The fact that it didn’t again speak of the “consistency” of the judges…” – Ros H. Matienzo, JEH Jan 21 1980 (READ MORE)

Post-1979 – The December festival favoured Lolita and Nora, both were recognized in the festival awards Night.  Their rival Charito and Vilma take the consolation of the fact that their film remained one of the top revenue earner.  It’s the end of the decade and both Nora and Vilma are looking forward to a brighter career.  Both wanted to remain as bankable and popular.  For Nora, the end of the 70s cemented her reputation as an actress.  For Vilma, the end of the decade seem to be a disappointment, at least in awards derby, as she seems to be snub by the award giving organizations several times.  She has promised herself not to expect to win any award.

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A Very Long Rivalry – 2004

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Pre-2004 – After 1989, Vilma and Nora continue to fight for acting supremacy. In 1989, Vilma was elevated to the FAMAS Hall of Fame making her ineligible to compete with Nora. With this, Nora won her fifth trophies which also made her elegible for the Hall of Fame. Also this year, there’s “First” in both Vi and Guy. Vilma’s Star Award best actress was her first from the PMPC while Nora’s Luna Award best actress was her first academy award. At the URIAN, they tied as their best actress. When the award seasons ends, Nora and Vilma completed and releases three films, Nora Aunor released the much loved, “Andrea, Paano ba ang Maging Isang Ina” while Vilma tapped A-1 list directors, Lino Brocka for “Hahamakin Lahat” and Laurice Guillen for “Kapag Langit Ang Humatol.” It was a repeat in 1991, Vilma and Nora remained prominent in the acting contest, with Nora taking a landslide advantage for “Andrea…,” winning nine nods while Vilma recieved only four nominations. Then the next year, it was almost an even outcome for both, Nora’s “Ang Totoong Buhay ni Pacita M.” earned her seven recognitions, six wins and a nomination from URIAN. The Urian award went to Vilma for “Ipagpatawad Mo.” She also received several nominations. The following year, Nora did not complete any film while Vilma releases “Sinungaling Mong Puso,” an acting triumph for Aga Muhlach. She also appeared in cameo role in fantasy festival film “Engkanto.” In 1993, both Nora and Vilma releases two films each. Nora did the forgettable “Inay” and the tired “Ligaw-ligawan, Kasal-kasalan, Bahay-bahayan.” Vilma was more successful with the socially relevant AIDS film, “Dahil Mahal Kita, The Dolzura Cortez Story” and her first Chito Rono film and the smash hit, “Ikaw Lang.”

The next year, Vilma Santos earned more trophies (seven best actress awards and two nominations) while Nora received a lifettime achievement at FAP and her sole acting trophy for “Inay” from the Young Critics Circle. Then in 1994 Vilma followed the massacre trend with “Lipa: Arandia Massacre,” a big hit and the forgettables, “Nag-iisang Bituin” and “Relaks ka Lang, Sagot Kita.” Theres no Nora movie in 1994. Her big screen absence were a blessing because the following year, she released two hit films, “Muling Umawit ang Puso” and “The Flor Contemplacion Story.” Theres No Vilma movie in 1995. As Nora Aunor reaped the rewards of the previous year, she won eight trophies plus international recognition, she released the critically acclaimed “Bakit May Kahapon Pa?” while Vilma teamed up for the last time with FPJ as her comeback movie after her absence in the forgettable and flop movie, “Ikaw Ang Mahal Ko.” The next year, Nora Aunor releases two film. She teamed up with Judy Ann Santos in the dissapointing film, “Babae” and much more dissapointing, “Mama Dito sa Aking Puso.” If 1997 was a big dissapointment for Nora, Vilma also has a film slump, her only film, “Hanggang Ngayon Ika’y Minamahal” with perennial love-team, Christopher de Leon was a big dissappointment too. There is no Nora movie the following year, while Vilma finally came-up with a more serious project, Lualhati Bautista’s “Bata, Bata…Paano Ka Ginawa?” and gamely appeared in a cameo role in “Ang erpat kong Astig.”

The following year, Vilma reaped more acting trophies plus international recognition for “Bata, bata…” and at the same time, becoming more like a seasoned politician as she entered politics during the last few years of this decade. For Nora, 1999 started her becoming the darling of indie films, she released “Sidhi” co-starring with Albert Martinez. While there is no Vilma movie in 1999, the coming of new millenium turned out to be a lucky year for her. She did “Anak” with Claudine Barretto, a record-breaking film of year. It was clear by this time that Nora Aunor’s film career is on decline, there is no film for her in the next three years. If Nora’s film career is on decline, it seems like Vilma’s film career is experiencing the same but her camp explained, due to her tight schedule as politician, her tight schedule doesn’t allowed her to do film projects. On occassion she find time to do special one, in 2002, she entered the local festival via Chito Rono’s in “Dekada 70,” in another Lualhati Bautista novel. Her rare film excursion were fruitful as she earned nine acting trophies and another international recognition in 2003. Despite this, theres no more new film for her and also for Nora. The following year, their fans rejoice as both came up with a respectable projects, an indie film for Nora and a commercial mainstream film for Vilma. Perhaps a final showdown is brewing?

Resurgence Rivalry – “…Vilma Santos’ triumph as Best Actress – for Mano Po 3 (My Love) at the Metro Manila Film Festival in December 2004 parallels her greatest rival Nora Aunor’s similar feat at the Manila Film Festival last June, where Nora won for Naglalayag. So it goes without saying Nora and Vilma will once again be major contenders for the top acting honors in this year’s awards season. Nora, for the Maryo J. delos Reyes opus in which she portrayed a lady judge who fell in love with a man half her age; while Vilma, for Joel Lamangan’s romance-drama about a Chinese anti-crime crusader torn between her family and a past love. Nora versus Vilma. Their acting duel is never ending. All these years, their fight for the Best Actress plum in practically all the local award-giving bodies has been much anticipated since…Kung susumahin, mahirap nang dagliang mabilang ang mga award nina Nora at Vilma, through the years, para sa mga pelikulang tinampukan nila. Ito rin ang puntong hindi ang pag-quantify sa mga natamong parangal ang mahalaga, kundi ang pagpapatunay na walang mintis sa kanya-kanyang laban, sa kahusayan, ang dalawang pinakamahigpit na magkaribal sa larangan ng pagganap pampelikula…” – William Reyes (READ MORE)

Nora Aunor’s 2004 acting recognition (9) – Naglalayag – Best Actress from Brussels Independent Film Festival (Belgium); BALATCA (Batangas-Laguna Association of Teachers of Culture and Arts); Gawad Tanglaw Awards; Manila Film Festival; PASADO (Pampelikulang Samahan ng mga Dalubguro); S Magazine People’s Choice; YHC (Young Heart’s Club); 1st Cape Tip Festival; and a nomination from URIAN

Vilma Santos’ 2004 acting recognition (6) – Mano Po 3: My Love – Best Actress from MMFF; Gawad Suri Awards; Star Awards; Gawad Tanglaw Awards and nominations from FAP; URIAN

Pain and Courage – “…Nora Aunor delivers a remarkably competent and mature performance, exhibiting not only skill and talent but fine dramatic sensibility as well. Aunor envinces an acting style that is sure, keen and affecting. Her fortitude and daring to star in this type of film, manifests rare artistic insight into the problematics of social change. In the much talked about funeral scene, Aunor saturates the screen with the pain and courage of a woman on the brink of the darkest despair. Yul Servo’s smoldering passion and repressed aspirations lift the film to its heights, his performance in fact maps out the film’s journey from the thickets of conflict to a most soulful destination. Servo avoids the well trodden path of facile tearjerker techniques and cogently reiterates the tenderness, helplessness, violation and rage that consume his character. The writing merits of Naglalayag offers solid characterization that sustains momentum and surges into a tour de force conclusion. The screenplay’s achievement rests on its skillful appropriation of the conventions of a commercial feature in its earnest effort to come up with a truly artistic, purposive and serious motion picture. The film moreover exposes the complex processes by which people are lured into, weakened and trapped in a web of crime and poverty, from which death becomes the only possible escape…” – Jojo Devera (READ MORE)

Strange Casting – “…Without the Chinese trappings, Mano Po 3: My Love is a typical Vilma Santos movie designed to highlight all the wonderful elements that make her a star for all seasons. Again, she sobs, laughs and acts pensive in that distinctive fashion Santos is famous for in one sudsy scene after another. Yet even as an emblematic Vilma Santos movie, Mano Po 3 is below par. The Star was better in other films that had better material. In this movie, screenwriter Roy Iglesias and director Joel Lamangan shamelessly force the star to imitate Meryl Streep in a scene stolen from Clint Eastwood’s Bridges of Madison County (1995). And like the two first installments, Mano Po 3 features some strange casting. Jay Manalo is supposed to be a contemporary of de Leon and Santos but when you see them together, Manalo looks more like their son than a classmate. Lamangan’s storytelling is fluid and deliberate but being deliberate can be deadly when almost every scene is all talk. Talk is fine if the words are inspiring but when the lines are pallid and of the telenovela variety, we’s just rather stick to the Korean soap they show on TV. While actors deliver modulated performances, this writer feels that Christopher de Leon’s role is too small to warrant a best actor nomination and award. I think he should have listed in the supporting category but I’m opening a can of worms here. Let’s just be thankful that this is the last Mano Po movie to be ever made…” – Dennis Ladaw, The Manila Times, Feb 28, 2005 (READ MORE)

No Fear – “…In seeing both films, Vilma gave a far more superior performance than Nora Aunor’s “Naglalayag.” Again, how can anyone not noticed? I mean, it could probably be blamed to their directors. Lamangan able to come up with a far more superior script and direction than De Los Reyes. Vilma’s role composed of so many highlights that are so hard to pick which one is the best compare to one from Nora’s film. Funny both Vilma and Nora’s film has some similarities. Both have a scene were they both accepted an award and they have to do speeches in front of adoring audiences. Another similarities, the two characters have to dealt with the gossiping and the bad publicity that their personal lives creates affecting their respective communities. Although in Naglalayag, Nora’s character wasn’t fully established as how’s her overall standing/status in the community. Now the difference, Vilma’s crisped delivery of lines came as natural, even when she talks in Tagalog, English or Cantonese/ Mandarin but Nora’s delivery of lines were as awkward as a kid trying to learn how to speak English for the first time. Her tendency to make “SSSS” sound in every English word she has on her lines were very distracting to audience and at times laughable. Her clothes are dated too, for a rich judge, one may wonder if she’s just a thrifty judge or just don’t know how to dress up, the opposite can be said with Vilma, her pink/orangey gown on the death scene was elegant. Admittedly, both Vilma and Nora have no fear of showing their age. There was a scene in both movies where they didn’t wear any make up and their faces showed their real ages. Overall, Nora’s performance lacks control and finesse while Vilma’s performance excels in restraints and effectiveness. Nora’s not credible as Dorinda, the judge while Vilma became Lilia Chiong Yang, the anti-crime crusade activist and businesswoman …” – RV (READ MORE)

Post-2004 – After a successful 2004 where she seem to reclaim the top spot by winning another international award, Nora Aunor released two indie film in 2006, Ingrata and Care Home both 2006. Unfortunately both films failed commercially. Meanwhile Vilma did “In My Life” in 2009 where she won six best actress (STAR, GMMSF, MTRCB, GTA, GSA, Gawad Genio) and two nominations (URIAN; EGSA).

2012 – “…The following year, 2005, both Nora and Vilma competed in every acting award contests. In the mix were Claudine Barretto for “Milan” and Judy Ann Santos for “Sabel.” Nora won a commanding lead with six wins and one international recognition over Vilma’s only four, plus Judy Ann and Claudine’s entry to the contest took some trophies out of the two veterans. There is no films for both veterans the following year. More so for Vilma who will not do another full length film until 2009, she appeared in a guest role as herself in 2006’s “D’Lucky Ones.”  For Nora, she came up with two respectable indie films in 2006, “Care Home” and “Ingrata” both were ignored by many critics and failed commercially.  She will not do another film until 2012, some considered her big comeback, a special role in period movie, “El Presidente” and the much praised, Brilliante Mendoza’s “Thy Womb.” Like Nora, Vilma is also absent on big screen for so long until her big mainstream film with son, Luis Manzano and John Lyod Cruz, Star Cinema’s “In My Life.” The film received a mix reviews but was a commercial success. Vilma again will not do another film until 2012, the horror film, “The Healing.”  Both “The Healing” and “Thy Womb” made history.  Nora won two international awards in Australia and Italy and a Manila Film Festival trophy, her historical eight best actress.  While Vilma’s movie did not earned her any acting trophy, the film was a commercial success ranking among top ten films that earned more than 100 Million Pesos in its exhibition and reviving the horror trend.

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