Filmography: Teribol Dobol (1975)

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Basic Information: Directed: Luciano B. Carlos; Story, screenplay: Bert R. Mendoza; Cast: Chiquito, Vilma Santos, Walter Navarro, Caridad Sanchez, Lorlie Villanueva, Roderick Paulate, Tony Carrion, Robert Miller, Jesse O’Neil, James O’Neil, Raquel Montesa, Nympha Bonifacio, Joe Garcia, SOS Daredevils; Executive producer: Emilia Blass; Original Emie Munji; Cinematography: Ricardo Periodica

Plot Description: Teribol Dobol is a classic comedy movie. Maritess (Vilma Santos) asked for help from Frankie (Chiquito) a private investigator to investigate her father, who’s foolishly in love with a young lady. This lady & her family only wanted the wealth and fortune of her father. They will plan to poison Don Cosme (father of Maritess) and accuse Maritess for the caused of his death. Will they succeed to bring Maritess to jail? – Kabayan Central (READ MORE)

Film Achievement: No Available Data

Film Review: “If one is not enough, two can’t be too much!…..” Teribol Dobol (June 27, 1975) ng Lea Productions na pinangunahan nina Vi, Chiquito, Walter Navarro, Caridad Sanchez, Lorli Villanueva, Roderick Paulate, Tony Carrion, Robert Miller, Racquel Montesa at Nympha Bonifacio sa panulat at iskrip ni Bert R. Mendoza at sa direksiyon ni Luciano B. Carlos. – Alfonso Valencia (READ MORE)

“Lights…camera…action…yan ang sigaw ng mga film director kapag nagsushooting ng pelikula. Masasabing ang film director ang tumatayong “captain of the ship” dahil sila ang responsable sa camera angles, lens effects, lighting at set design. Sila din ang nagsisilbing story teller. Malaki din ang role ng film director sa post-production ng pelikula. Ngayong buwan ng Agosto… ating ALAM NYO BA? Part 74 ay bigyang daan naman natin ang mga naging director ng Star for All Seasons na si Ms. Vilma Santos sa kanyang mga naging pelikula. Sa mahigit sa apat na dekadang pamamalagi sa larangan ng pelikula…..humigit kumulang sa dalawang daang pelikula din ang nagawa ni Vi sa mahigit na pitumpong direktor na nagdirek sa kanya…Nakagawa din si Vi ng pelikula na si Luciano B. Carlos ang direktor at ito ay sa mga pelikulang Pag-ibig Masdan Ang Ginawa Mo (1969), Teribol Dobol (1975) at Let’s Do The Salsa (1976)…” – Alfonso Valencia (READ MORE)

Filmography: Tag-ulan sa Tag-araw (1975)

“Kuya Rod…ayokong magsisi ka…nasasaktan ako…basta’t mahal kita, mahal na mahal kita, basta’t mahal mo ako, hindi tayo dapat magsisi, hindi tayo dapat mahiya!” – Nanette

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Basic Information: Directed, story: Celso Ad. Castillo; Screenplay: Mauro Gia Samonte; Cast: Vilma Santos, Christopher De Leon, Eddie Garcia, Lorli Villanueva, Joseph Sytangco, Joonee Gamboa, Odette Khan, Pedro Faustino, Alma Moreno, Rez Cortez, Soxy Topacio, Eva Darren, Edna Diaz, Nympha Bonifacio; Executive producer: Lourdes S. Sevilla; Original Music: Ernani Cuenco; Cinematography: Ricardo M. David; Film Editing: Augusto Salvador; Production Design: Baby Alvarez; Sound: Manuel Daves; Released date: 24 October 1975

Plot Description: First cousins, Rod (Christopher Deleon) and Nanette (Vilma Santos) fell in love. The result was an unwanted pregnancy and a scandal that their family have to endured and ended into a trip to the abortion clinic. RV

A young co-ed (Vilma Santos) falls in love with her first-degree cousin (Christopher De Leon), who stays with her family while studying in Manila. Their forbidden affair, which they keep secret from their family, is revealed when she becomes pregnant. For the scandalized family, abortion is the only solution left, which the two lovers resist. – ABS-CBN (READ MORE)

Film Achievement: The very first film of Christopher Deleon and Vilma Santos, considered as one of the most successful love team Philippine cinema ever produced. As of 2008, Deleon and Santos has twenty-three films under their belt.

Film Review: The film “Tag-ulan sa Tag-araw” directed by Celso Ad Castillo started with Nanette (Vilma Santos) meeting Rod (Christopher Deleon) while vacationing in their rest house along the beach. It was clear to both that it was love at first sight but this instant chemistry ended when they discovered they are first cousins. Faith continued to play an important role to their initial attraction as Rod joined Nanette along with her parent to Manila where Rod was permitted by his parent to continue his study. Rod and Nanette at first decided to resist their feeling for each other by dating other people but their love for each other are more intense than what their mind dictates. The two started to have a secret affair culminating to a hot sex when they came back to the rest house when another summer arrives.

As expected Nanette gets pregnant and the problem to expose, their taboo affair is ticking. Worst, Nanette’s morning sickness was noticeable to her suspicious mother played wonderfully by Lorli Villanueva. When finally Nanette’s family found out her condition, she was beaten by her angry father but she remained tight lipped to tell who impregnated her. As Rod tried to remained his calm, Nanette’s family locked her to her room until she’s ready to talk. Rod climbed to the balcony to speak to her and that’s when Nanette’s family discovered who is the father. As Rod came down to the balcony, he was cursed by both parents and was beaten by them as Nanette beg for mercy. Rod was hospitalized as his parent came from the province and beg for forgiveness to the angry Julio (Eddie Garcia), Nanette’s father. Julio was fuming and throws the couple out the house. He also mentioned that they are planning to abort Nanette’s baby.

When Rod found out from his parents the planned abortion, he left the hospital and went back to his uncle’s house. Very timely, Rod arrives as Nanette together with her family was headed to the abortion clinic. With the help of two security guards, Rod was controlled as his uncle’s car passed him and Nanette cried for intervention. Rod followed the car and was almost successful as the car stopped for the traffic lights. But his attempt failed as the car continued its destination. The end.

The Catholic Church prohibits marriage between first cousins and it is considered a sin. Tag-ulan sa Tag-araw successfully tackles this topic with convincing scenarios and believable characters. Celso Ad Castillo’s style remained true to many films in the 60s with canned music and repetitive voice over by its two main characters. One scene you will hear Christopher narrates his feelings and the next scene it was Vilma’s turn to speak. Most of this narration or voice over while they are playing in the rain on the streets or on beach.

This is the first film by Vilma Santos and Christopher Deleon and it was clear that the two have that chemistry on screen. The film ensemble was quite impressive starting with Eddie Garcia and Lorli Villanueva as Nanette’s parents. As Julio, Eddie Garcia was animated at times but his character balances out the mother role of Lorli Villanueva. Joseph Sytanco’s role as Nanette brother was minimal and he doesn’t have enough lines but his quiet scenes were effective. Johnee Gamboa and Odette Khan’s performance as Rod’s parents were excellent. The agony on Odette’s voice as Johnee, her husband begs for forgiveness on behalf of their son was very believable.

The two main characters, Christopher Deleon and Vilma Santos obviously carried the film with surprising maturity. Considering this was their first team-up and both were very young. In 1975, both were still in transitions, from teenybopper stars of the musical era to serious actors. Christopher Deleon’s performance was quite impressive as the apologetic Rod, except for some scenes where you can see his nostril moves, he gave a very affecting performance. Vilma Santos equally balance the equation with a touching show of emotions that we seldom see in her early films that are mostly musicals, fantasy or comedies.

Three scenes stand out. First was in the bus where she confronted her “Kuya Rod” to not to give-up on their relationship. Second when her parents caught them in the balcony. She begs them to stop beating up her “Kuya Rod.” And then finally, the driving to the abortion clinic scene, she cried her heart out begging them to stop and cried for help to her “Kuya Rod,” who was running behind and trying very hard to stop the car. Celso Ad Castillo successfully gave us a very moving film. Even with the very annoying number of voice-over scenes, scenes that you will hear the two main characters talks but you will see them not opening their mouth, the film has so many good qualities that you will forgive these flaws. We probably attributed these flaws to the style of many films in the 60s and 70s.

Ricardo David’s cinematography was excellent particularly the many scenes on the streets. You can see many spontaneous shots of people that were gawking at Christopher Deleon running like a maniac. David’s very intricate camera work inside the car, dinner table and at the living room while Nanette’s mother was playing piano adds to the intense mood of the film, this is despite some shot where you can see the shadow of the camera particularly when Christopher left the house because he can’t stand to see Nanette being slap repeatedly by her angry father.

The film was fast paced, thanks to Augusto Salvador’s editing. There are many scenes where the background music matches the mood like the choir/choral-like music at the very end of the film but Ernani Cuenco used so many canned music that sometimes it was very distracting. Like the voice over style used by Castillo, the musical score used in this film was typical of the 60s and 70s. Even the excellent Lino Brocka film, “Tinimbang Ka Ngunit Kulang” used this kind of style. Overall, Tag-ulan sa Tag-araw was a superb film that highlighted the potential on screen chemistry and talents of the screen team of Christopher Deleon and Vilma Santos. For their fans, I would recommend to have a copy of this classic film. Special thanks to Liam Tayag for downloading this film via Youtube. RV

Celso Ad Castillo: I see the movie in my mind even before I start shooting. I’m meticulous. I control everything on the set, even during post-production — from editing and music to sound. My audience knows my style. It’s like painting: You discover your style, then you do it. I caught “Tag-ulan sa Tag-araw” with Vilma Santos and Boyet de Leon on Cinema One the other day, and I clearly saw my own style, in terms of sensitivity, shots and drama. – Ronald Mangubat, Inquirer, 06/09/2007

Tag-ulan sa Tag-araw is the first screen team-up of Vilma Santos and Christopher de Leon. That fact alone gives the film a unique importance. This partnership paved the way for a string of memorable films together. They played notable roles, shared celebrated scenes, delivered unforgettable dialogues, and reaped acclaim for their performances. Theirs is the ripest love team in Philippine cinema, transcending cheap romance in exchange of maturity, often appearing as a couple in the hardest of circumstances. In Tag-ulan sa Tag-araw, they play cousins who fall in love with each other, and knowing it is socially unacceptable, they try to fall out of it. It seems awkward for a first team-up, considering its taboo subject, but seeing young Vilma and Boyet weep as they fight for their impossible love story, it only shows that they only get better the harder their roles are.

It is already clear in the beginning that their romance is doomed. Rod and Nanette meet in a beach house owned by her parents, who bring Rod along to stay in their place in Manila to study. It is love at first sight—Rod sees her playing along with her friends in the beach and as she runs to get her dog, they exchange names, glances, and affection. Right that very moment, they are in love. They walk around the place, holding hands, sharing their surprise on how comfortable they already are with each other. There is nothing really malicious about it. We all know that their affection is sincere. They have longed for it—and it came. – Richard Bolisay, Lilok Pelikula (Read More)

Noel insisted that I watch Tag-Ulan Sa Tag-Araw, a Vilma Santos-Christopher de Leon movie from the 70s. Hadn’t realized it was written and directed by Celso Ad. Castillo, the demented genius of Philippine cinema. I used to see the movie on TV ages ago, and I’ve never forgotten the final scene in which Vilma’s parents are taking her away, Christopher is chasing the car on foot, and at every stoplight he hurls himself at the car, smashing the windows and bouncing off the hood. It was intense and oddly, not laughable. Nenet (Santos) and Rod (De Leon) are cousins who fall in love at first sight before they learn that they are first cousins. Rod has come to Manila to attend university; he lives in the house of Nenet’s parents. The parents are played by Eddie Garcia and Lorli Villanueva, and their hamminess fits the movie perfectly. They’re not the villains: there is no villain, the culprit is passion. Rod does the decent thing: he avoids Nenet and tries to move out of the house. But this is first love of the hysterical kind, the passion that drives the young insane, and the actors are so committed to their roles that you believe every cheesy line they utter. Their love overrides all rational thought. In one scene Nenet confronts Rod on the bus—she always calls him “Kuya Rod”, reminding everyone of the incest—and in front of all the passengers, declares that she doesn’t care if they’re cousins, she loves him. Instead of eliciting giggles, the scene is genuinely disturbing. These young lovers are beyond silliness: they are in a delirium. Celso Ad. Castillo is a master at creating and drawing out emotional tension—as Noel pointed out, it’s almost like watching a horror movie. The lovers can’t abide parental counsel; what they need is an exorcist because they are possessed. There’s even a balcony scene, a demented reference to Romeo and Juliet. The copy is gray and brown with age, unrestored, lacks opening and closing credits, and don’t even mention subtitles or special features. We’re just glad it still exists. Tag-Ulan Sa Tag-Araw is available at video stores; Raymond found his copy on sale for 100 pesos. – Jessica Zafra (READ MORE)

“…Ad Castillo’s Tag-Ulan sa Tag-Araw (Monsoon Rain in Summer, 1975) is about a young man (Christopher de Leon) who dorms with his uncle and aunt and falls in love with his cousin (played by a waiflike Vilma Santos). Ad Castillo tackles the sensational subject of incest by framing the two lovers’ relationship as a kind of innocent affair, taking place in a countryside Eden. It’s the kind of hackneyed concept that really shouldn’t work; the result ought to be less like D.H. Lawrence and more like Emmanuelle. But Ad Castillo happens to have one of the most prodigiously talented eye in all of Philippine cinema, and the heedlessly lyrical manner in which he shot Tag-Ulan transforms softcore porn into something like art. Every rainfall, every shaft of light, every leafy shadow caught by his largely handheld camera makes you catch your breath; there is lovemaking without nudity, yet Ad Castillo shoots with such throbbing intensity you are nevertheless aroused…” – – Noel Vera, Critique After Dark, 06 December 2012 (READ MORE)

Forest of the Heart – “…The best way to learn how to write is to keep on reading and writing. That was the advice I got from the late Vicente Rivera Jr., Literary Editor of the Weekly Graphic Magazine in 1965. Evidently concerned that I might be getting discouraged by the avalanche of rejections of my contributions to his section, Vic would write me such notes and attach them to the manuscripts that he sent back. Finally out of school, having permanently aborted my engineering studies, I was then working as a stay-in janitor-messenger in a travel agency in Binondo. That stay-in status gave me whole nights of pounding the typewriter for churning out short story manuscripts so endlessly it must seem that a friend of the agency owner who was doing PR for a brewery company would taunt me with ridicule: “The only good thing you are doing is you are helping the paper industry.” I would gape at the remark, quite baffled. And he would blurt out in harsh laughter, saying, “Imagine the tons of bond paper that you consume with what you are doing.” “Just you wait, Jimmy Boy. Just you wait.” At this point, I am constrained to flash forward. The time was 1970. That guy Jimmy had been waiting at the editorial offices of the Makabayan Publishing Corporation, publisher of the Weekly Nation, one of three leading magazines during the period. He did take time to wait, three, four hours maybe, so as to get an appointment for Luis Nepomuceno, producer of the Nepomuceno Productions of which he was the PRO, with the entertainment editor of the Weekly Nation — named Mauro Gia Samonte. Vic Rivera’s advice had borne fruit. I had kept reading and writing until, at long last, in 1965 I had my first-ever short story published in the Weekly Graphic, “Forest of the Heart.” That story would, a decade later, form the core of the screenplay of “Tag-Ulan Sa Tag-Araw,” the Vilma Santos-Christopher de Leon blockbuster film that I would write for direction by Celso Ad. Castillo. And the performance of the movie would tee me off in a career, both in screenwriting and in film direction, successful enough for Tatay to say he had not waited in vain. He got the pleasure of being included together with Nanay in one of the movies I directed. But didn’t I say, “If I were a fish”? I did, indeed. And as a fish, I was gasping for breath when Henry Sy suddenly dealt the Philippine film industry a death blow by banning adult movies in SM theaters, which comprise 80 percent of movie exhibition outlets; and adult movies were what the Philippine cinema was mainly about…” – Mauro Gia Samonte, Manila Times, 11 October 2016 (READ MORE)

Filmography: Dulce Corazon (1972)

Basic Information: Director: Leody M. Diaz; Story, screenplay: Pio Oreta; Cast: Edgar Mortiz, Scarlet, Nympha Bonifacio, Cloyd Robinson, Pons de Guzman; Original Music: Danny Subido; Cinematography: Ben Lobo

Plot Description: No Available Data

Film Achievement: No Available Data

Film Review: “…By late 1969, movie producers had been tapping a Vilma Santos-Edgar Mortiz love team. Edgar was a Tawag ng Tanghalan winner. They started to be together in the movies, My Darling Eddie (1969) and The Jukebox King (1969)…In 1970, the love team of Vilma Santos and Edgar “Bobot” Mortiz was officially launched in the movie Young Love, together with the another popular love team during that time, Nora Aunor and Tirso Cruz III. The Vi and Bot love team went on to do 14 more movies in 1970—The Young Idols, Songs and Lovers, Sweethearts, Sixteen, Love Letters, Love is for the Two of Us, Mga Batang Bangketa, My Pledge of Love, Renee Rose, Baby Vi, Because You Are Mine, Edgar Loves Vilma, From the Bottom of My Heart, and I Love You Honey. All did well at the box-office…” – Rommel R. Llanes (READ MORE)

“…Noong Dekada ’70, ang mga young stars ay kailangang marunong kumanta dahil yun ang uso kaya naman nagtayo ng sariling recording company ang nasirang manager ni Vi na si William Leary dahil ayaw niyang pahuhuli sa uso ang kanyang alaga. Ilan sa mga naging recording artists ng WILEARS RECORDS bukod kay Vi ay sina Edgar Mortiz, Ed Finlan, Sahlee Quizon, Hilda Koronel at Esperanza Fabon. According to Vi, kapag nagrerecord siya ng kanta ay nakatalikod siya sa dingding ng recording company at si Bobot ang umaalalay sa kanya. Ang SIXTEEN, na sinulat ni Danny Subido ang unang recording na ginawa ni Vi at ito ay flipsided by It’s So Wonderful To Be In Love. Ang SIXTEEN ay agad naging gold record at dahil dito ay gumawa ng pelikula ang Tagalog Ilang Ilang Productions, ang home studio ni Vi at ito ay ginawa nilang pamagat katambal si Edgar Mortiz. Hindi nyo naitatanong, muntik nang manalo si Vi bilang most promising singer sa AWIT AWARDS noong early ’70s…” – Alfons. Valencia (READ MORE)

“…The loveteam of Edgar Mortiz and Vilma Santos endured a stiff competition from teeny bopper love team of Nora Aunor and Tirso Cruz III and came up with equal success with string of hit films during the musical era of the 70s. Together they did forgettable but commercial hits and also some hints of the years to come to Vilma Santos’ long career. The most notable one: Dama De Noche. Total Number of films with Vilma Santos – 25 (Young Love, Teenage Jamboree, Songs and Lovers, Renee Rose, My Pledge of Love, Mga Batang Bangketa, Love Is for the Two of Us, I Love You Honey, From the Bottom of My Heart, Baby Vi, Love Letters, The Wonderful World of Music, The Sensations, The Young Idols, Sweethearts, Sixteen, Leron-Leron Sinta, Edgar Love Vilma, Don’t Ever Say Goodbye, Dama de Noche, Anak ng Aswang, Because You Are Mine, Kampanerang Kuba, Kasalanan Kaya, Karugtong ang Kahapon…” – RV (READ MORE)

“…Si Edgar Mortiz ang unang nakapareha ni Vilma Santos as a teen star. Nakilala sila as the “Subok na Matibay, Subok na Matatag” loveteam called Vi and Bot at naging magka-steady sila sa tunay na buhay. Marami silang ginawang pelikula as teen stars in the early 70s…” – Showbiz Portal (READ MORE)