FILM REVIEW: KARMA

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Plot Description: Sarah (Vilma Santos) is forced to defer her wedding when she scheduled to flight was delayed. At a hotel where she is staying, Sarah encounters Eric (Ronaldo Valdez), a regular guest who forces himself on her. The incident leaves a stigma not just on Sarah but more so on her fiancé, Alfredo (Tommy Abuel) whose dream of marrying a “virgin” is dashed. Strangely, Sarah and Eric’s paths cross again at a time when their respective marriages are in disarray. Their meeting strikes both as “déjà vu.” Could it be that they have met each other in the past? Their suspicious are confirmed after Eric consults a psychic. As it turns out, Sarah and Eric are the reincarnation of Guada and Enrico, two lovers who had an illicit affair sixty years ago. When Guada’s husband, Limbo (Ruel Vernal), learned of her affair, he went on a murderous rampage. Now Sarah and Eric seem destined to follow the same path. But in whose spouse does the spirit of Limbo rest? Is it the disabled Alfredo? Or Eric’s estranged wife Cristy (Chanda Romero)? – Viva Films

Film Review: The technical preview of “Karma” the other night was delayed for about an hour but I did not mind waiting because I was quite certain that I’d be seeing a fine film. To while away the time, “Firecracker,” co-starring American actors with local talents like Chanda Romero, Vic Diaz, and Rey Malonzo was shown. Chanda and Vic delivered their lines themselves but surprisingly Rey didn’t. Before one whole reel could roll, the prints of “Karma” arrived. “Don’t stop it yet, a bed scene is coming,” Mario Bautista protested. 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)

Sa pagbabago ng estado ni Vilma Santos, tila nagbabago na rin ang kanyang approach sa kanyang career. Dahil hindi na career ang unang priority niya sa buhay, lalong nagiging professional ang kanyang tingin sa trabaho. Dahil hindi na twenty-four hours a day ang kanyang buhay artista, alam na niyang I-apportion ang bawat minuto na walang aksaya. Sa set ng Relasyon ni Ishmael Bernal, hangang-hanga ang director sa bagong pang-unawa ni Vilma sa trabaho. Dumarating sa oras, kabisado ang linya (memorizing lines for Vilma, of course, was never a problem even the days she was shooting five pictures simultaneously), full attention sa sinasabi ng direktor, walang problema. Kung pagbabasehan sa naging resulta ng Karma, lalong maganda ngayon si Vilma, mas mariin ang kanyang pagganap, mas mature ang kanyang approach at understanding sa kaniyang papel. Swerteng-swerte ang pagkapanalo niya ng best actress sa nakaraang Film fest. Sayang at wala siya upang tanggapin mismo ang tropeo. Pero lalong naging makabuluhan para sa kanya ang sinabi ng kapwa niya artista sa Karma nang sabihin ni Chanda Romero na “napakaganda naman ng karma ni Vilma. Mayroon na siyang Edu, mayroon siyang Lucky, ngayon ay mayroon pa siya nito (ang ibig sabihin ay ang best actress trophy),” sabay tilian ng mga fans sa loob ng Cultural Center, walang makapigil, walang makasaway. Pero, gaya ng dati, hindi naging madali kay Vilma ang pananalo. Nagpatas ang botohan ng dalawang beses – triple tie sila ni Gina Alajar at Charo Santos, hanggang ma-break ang deadlock at nakaungos ng isang boto si Vilma sa dalawa pa niyang kalaban. Tinawagan si Vilma ni Cirio Santiago, pinasundo sa isang limousine, pero nagdahilan ang Vilma. Ayaw niya sigurong umasa dahil minsan, sa isang awards night din, sinigurong siya ang mananalo pero hindi ganun ang nangyari. (I understand that Vilma really won but the verdict was changed afterwards through the representations and machinations of some influential press sectors.) Kunsabagay, wala rin si Charito Solis noong awards dahil sabi sa akin ni Chato, talagang hindi niya inaasahang manalo ang maliit na papel na iyon sa Kisapmata. Noon pa mang preview pa lamang, maugong na ang balitang baka si Charito ang manalo bilang supporting actress pero hindi niya yun pinansin dahil tiyak na tiyak siya na si Vic Silayan ang mananalo. Sinabi pa niya sa interview niya kay Armida Siguion-Reyna sa Let’s Talk Movies na napakagaling ni Vic. Sa set pa lamang daw, natitiyak na niya halos na si Vic ay mananalo sa Kisapmata. Sa naturan ding programa, sinabi ni Armida sa pagre-review niya ng Karma na talagang magaling ang pagkakaganap ni Vilma sa Karma na parang nakuha nitong punuan ang ilang mahalagang kakulangan ng pelikula. – Oscar Miranda (READ MORE)

“26 years after we first seen “Karma,” the film remained Vilmanians’ favorites and one of Dany Zialcita’s best film. Glossy with crisp dialouge, the film was a big hit at the 1981 Metro Manila Film Festival and earned Vilma the festival’s best actress. Here was what movie reporter Mario Bautista said about her acting: “Ibang-iba” rin ang Vilma Santos sa “Karma.” Subdued na subdued ang performance ni Vi rito unlike in other films na all out ang emoting niya. Dito’y restrained siay at napaka-effective. Halimbawa sa eksena after the rape sa kanya ni Ronaldo Valdez. Nang sabihin niyang siya’y patungo sa kasal niya’y halos hindi na marinig ang kanyang tinig pero talaga namang damang-dama mo ang kirot sa kanyang dibdib. O kaya’y sa mga tagpong sinusumbatan siya ni Tommy Abuel na nanatili siyang kalmado at soft-spoken. We never thought Vilma can be that versatile!” – RV (READ MORE)

Zialcita’s first movie with Vilma was the 1980 festival entry, a drama about bigamy, Langis at Tubig. The following year, Zialcita and Santos joined forces again in antoher festival entry, Karma. The film earned Vilma her second Metro Manila Film Festival Best Actress. The following year, Ziacita’s Gaano Kadalas Ang Minsan broke box office record, Earned P7.3 million during its first day of showing in Metro Manila and assured Vilma Santos the box office queen of 1982. The total number of Vilma Santos and Danny Zialcita colloborations were four (Gaano Kadalas ang Minsan? 1982, Karma 1981, Langis at Tubig 1980, T-Bird at Ako). – RV (READ MORE)

“One of the most misunderstood occult concepts. The nearest equivalent in European thought is contained in the idea of fate, though the oriental term indicates the fate is not a haphazard sequence of events of experiences, but is dependent on actions of previous lives or spiritual conditions. The idea is that a spirit undertakes to live in an earthy body for a given period of time, usually in order to learn something which cannot be learned in a disembodied state, and has to accept rewards and punishments for good and bad deeds committed in previous incarnations. In order that understanding may grow, any evil committed against another person will have to be experienced by the perpetrator. The working out of Karma is not done consciously by ordinary people. The real reasons for the majority of people’s actions and relationships may be understood only when nature of their Karma is grasped – which is tantamount to saying that it is virtually impossible to understand or judge another person when seen in the context of one material lifetime only. Vilma Santos fits the role to a T. For the past years that she has suffered a string of major misfortunes and setbacks in real and reel life, she has hone herself as promise, a common objective: to give the viewing public what it wants – entertainment with a capital E. For Danny Zialcita, aside from having a good screenplay, good direction and brilliant actors and actresses, the movie should have artistic values. Karma promises to be a very good vehicle not only for Zialcita but also for Vilma Santos and the rest of the cast. Will this movie be a good KARMA for director Danny Zialcita, Vilma Santos and the rest of the cast? Watch the movie! It’ll be a different kind of feeling you’ll get after viewing it.” – Bond De Leon (READ MORE)

“…First, Karma is a quality picture. According to Mr. Ernie Rojas ng Sining Silangan, it was produiced not only to make it good in the box-office kungdi maging sa mga awards. Kungsabagay, may laman ang sinabi ni Mr. Rojas simply because Langis at Tubig, which was also producede by Sining Silangan last year, placed second in the tops earners and bagged the Best Actor Award for Dindo Fernando. Second, matagal na ring naipalabas ang latest film ni Vi na Hiwalay. Samakatuwid, maganda ang spacing ng mga pelikula niya, ‘Ika nga, hindi over-exposed ang beauty ni Vi. Dahil dito, nandiyan pa rin ang pananabik ng manonood kaya’t siguradong dudumugin ang Karma. …” – Manny A. Valera (READ MORE)

“…In my limited understanding it takes lifetimes to work off one’s karma. Movies, however, only run for two hours so filmmakers have to take liberties. In Danny Zialcita’s 1981 film Karma the protagonists have the added advantage of knowing exactly who they were in their past lives, thanks to a psychiatrist (Vic Silayan) who practices regression hypnosis. Eric (Ronaldo Valdez, who is smoking, and not just in the library where he researches his former incarnation) and Sarah (Vilma Santos) have already met under awful circumstances, but it turns out they’ve known each other much longer than that. In the past they were Enrico and Guada, illicit lovers murdered by Guada’s husband, Limbo. Limbo vows to follow them to the next life, but which form does he take? Is he now Enrico’s mentally unbalanced, pathologically jealous wife Cristy (Chanda Romero), or Sarah’s cruel, sadistic husband Alfredo (Tommy Abuel). It’s not a whodunnit, it’s a who-will-do-it? Vilma Santos turns in another fine portrayal of emotional turmoil. Nora Aunor had the advantage of expressing volumes with her eyes; Vilma expresses with her face, hands, and entire body. Nora was inward, Vilma outward. Ronaldo Valdez gives an understated performance, coolly delivering lines like, “In love there’s no measure of time”. Tommy Abuel overacts ridiculously, even for a guy so suspicious that he has his wife examined by a gynecologist to see if she’s had sex. Chanda Romero is fabulous. Her Cristy is a psychotic who never raises her voice; you can tell she has tranquilizers for breakfast, lunch, and dinner. The first time Cristy and Sarah meet is at the antique store Sarah manages at the old Virra Mall. Cristy breezes in, picks out a bunch of stuff, and announces that she doesn’t carry cash or credit cards, just send the bill to her husband. She points to another piece she buys, and Sarah says, helpfully, “That’s P9,500.” “Ok lang,” Cristy says, “Nagtanong ba ako? (Did I ask?)” One thing about Danny Zialcita movies: his rich people looked and sounded like rich people. He made movies for sophisticated grown-ups. If they don’t make movies like Zialcita’s anymore, it’s because people are no longer that articulate. Nobody casually tosses off bon mots anymore, everything has to be overstated for the dim. So we Zialcita fans are reduced to reciting favorite lines from his movies: “Puede bang makausap ang asawa ko na asawa mo na asawa ng buong bayan?” (May I speak to my husband who’s your husband who’s everybody’s husband?)…” – Jessica Rules The Universe (READ MORE)

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Film Review: Tag-ulan sa Tag-araw


The Plot:
 “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 Review: 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. – RV (READ MORE).

“…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

“…The problem of love in Tag-ulan sa Tag-araw stems not from the lovers per se but from their ill fate as cousins. The factors are both socially dictated and morally stringent, situations that they cannot change no matter what they do. Even if they go on living together, they will still be hounded by the truth. Wherever they go, that truth cannot be proven false. Fate did two unpardonable things to them: bring them together and break them up. It is inevitable to question if it was their fault—or if their love was a fault at all, or if it was the society’s fault, for imposing the way things should be. The film makes a point of raising doubts on our moral attitudes and obligations, without telling us what is right or wrong but simply showing what happens when the doors of people’s minds are closed forever—when refusal to understand ruins happy couples’s lives. All desperation peaks in the end. The heartbreaking ten-minute chase stands as a powerful statement on what love can do in the harshest of circumstances. It is a perfectly executed sequence, that aside from showing the extent of possibilities that they are willing to get themselves into just to be together, it also delivers the horror of the couple’s misery, of the inability of their love to win –of losing each other forever.

First we see Nanette being dragged down the stairs by her father and brother as she begs for her child not be aborted. Rod, coming from the hospital, arrives and screams for mercy. Not to be moved by their plea, the father drives the car out of the house. Rod runs after it, limping, and chases the car in the middle of the road until he catches up. He hits the car, kicks it, and breaks the window. A lot of bystanders look after them. When he is able to jump into the rear of the car, he struggles to hold onto it, as the father willfully swerves the car to drop him behind. He kisses the window. Nanette struggles against her mother and brother holding her. She tries to touch his face in the window. And he falls—he falls hard on the ground. Getting up, he runs again. Levi Celerio’s “‘Yan Ba’y Kasalanan” plays in the background. Everything feels so real and timeless, it can only be real and timeless….” – Richard Bolisay, Lilok Pelikula (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)

RELATED READING:

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: Pinagbuklod ng Pag-ibig (1978)

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Basic Information: Directed: Leonardo L Garcia; Story, screenplay: Joeben Miraflor; Cast: Romeo Vasquez, Vilma Santos, Nora Aunor, Tirso Cruz III, Jessica, Rudolfo Boy Garcia, Zandro Zamora, Odette Khan, Chito Guerrero, Rustica Carpio, Babette Villaruel, Estrella Kuenzler, Romnick Sarmenta, Mary Jane; Executive producer: Experidion Laxa; Original Music: Tito Arevalo; Cinematography: Zossimo Corpuz; Film Editing: Edgardo Vinarao

Plot Description: Mina (Vilma Santos) is a commercial model struggling to provide financial assistance to her ill mother when she meets the arrogant painter Dino (Romeo Vasquez). He offers her to be a model for his work of art which she accepted. This has drawn them closer to each other until Mina learns of Dino’s past relationship that eventually becomes a hindrance to their budding romance. Meanwhile, Mina’s best friend Laura (Nora Aunor) has always been in love with Angelo (Tirso Cruz III). However, due to their parent’s rivalry and Angelo’s mother coercing him to become a priest, they separated. During this time, Laura is raped by her long-time suitor which resulted to unwanted pregnancy. Years after, Angelo who fails to endure being away from his true love, Laura, returns to ask for her hand in marriage. Everything seems well for the couple until the real father of Laura’s first child comes back. Angelo is overwhelmed with jealousy that he starts to ruin the picture-perfect family they had before. Find out how the two friends will resolve their trouble relationships in this classic film you’ll never forget.

Film Achievement: 1978 FAMAS Nomination Best Child Actor – Romnick Sarmenta

Film Review: “Sometime in the mid 70s, matinee idol Romeo Vasquez returned to the movie scene after a long absence, his movie career in limbo after his failed marriage with popular actress Amalia Fuentes. His teamup with Vilma Santos somehow rekindled and revived his career. Their first movie together, Nag-aapoy na Damdamin in 1976 turned out to be a big hit. Despite their age gap, reel and real life sweetheart, Romeo, 34 and Vilma, 23, soon became the hottest love team, doing one hit movies after another…” – Video 48 (READ MORE)

“…Romeo Vasquez is an oddity in Vilma’s life. Hindi akalain ng lahat na ang isang notorious playboy and balikbayan actor would capture the heart of the then elusive Ate Vi. Nagkaroon sila ng affair which lasted for more than a year. Kilala si Bobby sa pagiging bohemyo kaya naman walang kakilala si Ate Vi na bumoto sa aktor. Ate Vi was love struck at talagang na head-over heels in love. Nagsimula ang kanilang affair sa set ng kanilang pelikulang “Nag-aapoy na Damdamin”. True to this title, nagliyab silang dalawa at tunay ngang nag-apoy ang kanilang damdamin. May plano pa nga sila ni Bobby na magpakasal sa Europe. Talagang Ate Vi was ready to give up her life as an actress and would settle with the actor abroad. And with herb relationship with Bobby, nag-surface ang bagong Vilma Santos.Ate Vi realized that she cann’t sacrifice everything for love. Nagising siya sa katotohanan at nagkamali kung kaya nagdesisyon siyang kumalas sa bohemyong aktor…” – Willie Fernandez (READ MORE)

“…But it was with handsome actor Romeo Vasquez that Vilma Santos had her most controversial relationship. Romeo was the former husband of Philippine movie queen Amalia Fuentes. He and Vilma first paired in the movie Nag-aapoy na Damdamin (1976). It was also during this year that they became a couple. They made several movies together, all of which did well at the box-office. Vi and Bobby (Romeo’s nickname) became the most-talked about reel and real love team at the time. The relationship was always on the pages of showbiz magazines and tabloid entertainment section pages because of the intrigues and the personalities who got involved with them…” – Rommel R. Llanes (READ MORE)

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Filmography: Amorseko Kumakabit Kumakapit (1978)

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Basic Information: Directed: Maria Saret; Story, screenplay: Ruben Arthur Nicdao; Cast: Vilma Santos, George Estregan, Ernie Garcia, Rez Cortez, Beth Bautista, Cloyd Robinson, Dick Israel, Laila Dee, Brenda Del Rio, Angie Ferro, Mary Walter, Odette Khan, Jarro Joaquin, Anita Linda; Original Music: Totoy Nuke; Cinematography: Vic Anao; Film Editing: Edgardo Vinarao

Plot Description: No Available Data

Film Revies: No Available Data

Film Achievement: “…Estregan won critical acclaim for many of his performances. In 1972, he was named FAMAS Best Actor for Sukdulan, and would win two other FAMAS Awards for Best Supporting actor for Kid Kaliwete (1978) and Lumakad Kang Hubad sa Mundong Ibabaw (1980). He was nominated for the FAMAS Award three other times, as Best Actor for Lumapit, Lumayo ang Umaga (1975) and Lalake Ako (1982), and for Best Supporting Actor in Magkayakap sa Magdamag (1986). He also received a nomination from the Gawad Urian as Best Actor for Hostage: Hanapin si Batuigas (1977)…” – Wikipedia (READ MORE)

Filmography: Ikaw ay Akin (1978)

“Rex…anong gagawin mo? Ako anong gagawin ko? Ako ba ang nagpapagulo sa otherwise your perfect world?…sure? Rex ang problem ako hindi lang ako eh…si Teresita rin…nasasaktan ko na siya…anong gagawin ko iwasan kita eh de ako naman ang nasaktan? Shit! Bakit? Ewan…nahihiya nako kay Teresita at saka sa’yo eh!…Rex huwag mong sabihin yan, naiintindihan mo ba ako? I need your presence more than anything else. Sabi nila liberated woman raw ako, front lang, kalog raw, front din…alam mo namang kulang-kulang ako eh sinabi ko na sayo nun pa…ninenerbiyos ako kapag hindi kita kasama eh, baka dapuan ako ng kung ano diyan, bery-bery, typoid fever! Pakiramdam ko safe lang ako kapag nariyan ka eh…pag wala ka,huh, nagwawala ako parang manok takbo ng takbo wala namang ulo!…Rex, anong gagawin mo?” – Sandra

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Basic Information: Directed, screenplay: Ishmael Bernal; Story: Jose Carreon; Cast: Vilma Santos, Nora Aunor, Christopher De Leon, Nick Romano , Ellen Esguerra, Zandro Zamora, Odette Khan, Charmie Benavidez, Ernie Zarate, Cris Vertido, Anton Juan, Sandy Andolong; Executive producer: Experidion Laxa; Original Music: The Vanishing Tribe; Cinematography: Sergio Lobo; Film Editing: Augusto Salvador; Production Design: Mel Chionglo; Sound: Teddy Ramos, Rolly Ruta

Plot Description: Botanist, Tere’s (Nora Aunor) long stable relationship with business executive Rex (Christopher Deleon) was shaken when Sandra (Vilma Santos) came into their lives. A pill popping liberal career minded, Sandra made Rex’s monotonous life colourful and exciting. He later realized that both women complete his existence. – RV

An unusual story of three people caught in the unexplainable intricacies of love and need. The five year old relationship of Rex and Tere is put to a test as Sandra, the kooky, talented and aggressive designer rocks the picture perfect and peaceful relationship. The solid and unruffled engagement cracks as Rex is immediately smitten by Sandra’s dynamic persona. The film features the superstar team-up of award winning artists Nora Aunor and Vilma Santos and the drama king, Christopher de Leon. – Database of Philippine Movies

Ang ‘Ikaw ang Akin’ ay tungkol sa isang paboritong paKsa sa ating puting-tabing: ang trianggulo ng pag-ibig. Si Rex (Christopher de Leon) ay batambatang tagapamahala ng isang pagawaan ng dyipni. Limang taon na silang magkatipan ni Tere (Nora Aunor), isang dalubhasa sa paghahalaman. Mapayapa at maayos ang kanilang pagsasama hanggang makilala ni Rex si Sandra (Vilma Santos), isang designer. Nagsimulang magkaroon ng sigalot ang pagsasama nina Rex at Tere. Hindi makapagpasiya si Rex kung sino ang pipilijn sa dalawa na kapwa naging matimbang sa kanya. Sa huli, nataios ni Rex na ang pag-ibig at pag-aangkin sa isang nilalang ay isang masalimuot na damdaming hindi nararapat sarilinin ng isang tao lamang. – Manunuri

Tagalog movie’s traditional love triangle is told in a sophisticated, unconventional way. Stars three of the country’s younger superstars – Christopher de Leon torn between a quiet, conservative type played by Nora Aunor, and a contemporary “free spirit”, Vilma Santos. Excellent performances by the three principal players with fine support by Ernie Zarate, Ellen Esguerra, and Rene Requiestas. Earned the critics Urian nominations for best actress (Aunor and Santos), supporting actor (Zarate), screenplay (Jose N. Carreon), cinematorgraphy, editing, sound, direction and best picture. Urian awardees for best actor (De Leon), production design (Mel Chionglo) and musical score (Vanishing Tribe). Directed by Ishmael Bernal for Tagalog Ilang-Ilang. – Trigon Video

Film Achievement: 1978 Gawad URIAN Best Actor – Christopher De Leon; 1978 Gawad URIAN Best Music – “The Vanishing Tribe”; 1978 Gawad URIAN Best Production Design – Mel Chionglo; 1978 Gawad URIAN Nomination Best Actress – Vilma Santos; 1978 Gawad URIAN Nomination Best Actress – Nora Aunor; 1978 Gawad URIAN Nomination Best Cinematography – Sergio Lobo; 1978 Gawad URIAN Nomination Best Director – Ishmael Bernal; 1978 Gawad URIAN Nomination Best Editing – Augusto Salvador; 1978 Gawad URIAN Nomination Best Picture; 1978 Gawad URIAN Nomination Best Screenplay – Jose Carreon; 1978 Gawad URIAN Nomination Best Supporting Actor – Ernie Zarate

Film Reviews: “…After 37 years, Ikaw Ay Akin becomes a materialist indictment of the patriarchal deceit cisgender passion must contend with, opening up the queerness that emerges from feminine confidence as zone of alternative feelings. And, of course, Nora still punctures the assault with an imperturbable will to punctuate the sentence, despite the adages of her time failing to utter competitive affection, convincing Vilma that the encounter isn’t just about female rivalry, but also masculine decadence…” – J. Pilapil Jacobo, Young Critics Circle Film Desk, 21 November 2015 (READ MORE)

“Ikaw ay Akin” is the latest addition to Ishmael Bernal’s continuing attempt to portray how people and relationships are at once simple and complex. It is also the most engaging local movie shown this year, once again proving that the marriage of commerce and art can be remarkably fruitful. Those who expect the film to be one of those triangles of the “Sapagkat Kami’y Tao Lamang” variety will be disappointed. Made with taste and finesse uncommon in Pilipino movies. “Ikaw” surveys the interactions of three people caught in the unexplainable intricacies of need and love.

Rex, the young executive of a jeepney-producing firm, has been going steady with Tere, a demure orchid expert, for five years. Theirs is the kind of self-satisfied relationship that results from along, unruffled engagement. That is until he meets Sandra. An artist-designer, Sandra is kooky, talkative, aggressive career girl who is also neurotic, chain-smoking, tranquilizer-gulping, phobia-laden product of a broken family. Rex is immediately attracted to Sandra’s seemingly boundless energy. Compared to her, Tere is a calm, reserved, efficient, level-headed woman who looks totally in control of herself.

The “menage-a-trois” is then sensitively laid out for viewers to look into the hurts and joys, hesitations and decisions, delights and agonies of each character. At film’s end nothing is really resolved. Most loyal viewers will be revolted by this ambiguity. To get their money’s worth, they feel they must be sure “kung kanino talaga napunta si Christopher, kay Nora ba o Vilma?” But Bernal is not so much concerned with fulfilling audience expectations than with putting across his message: that no one can totally, absolutely, fully own another human being. The best thing is to understand the needs of a person and love him according to his limitations. This is evident in the lines of Rex, whose character we completely grasp only as the film nears its conclusion. Rex tells Tere: “Kailangan ako ni Sandra hindi lamang sa pisikal kundi sa emosyonal din. Tulad ng pangangailangan ko sa iyo. Sa kanya, parang nagkaroon ako ng gamit. Kailangan ko kayong dalawa para mabuo ako.” To Sandra, he says later: “Si Tere, tinaggap nang hindi niya ako maaangkin nang buong-buo. Kung sasabihin mong nakuha mo nang buong-buo ang isang bagay, kulang pa rin.”

Unlike other superstar team-ups that fail to exploit the golden opportunity of pulling in sure audiences to watch a serious work, Bernal’s greatest achievement lies not so much in putting his three big stars together but in making use of them to lure their fans and followers intos eeing a mature, sensible film. And his cast serves Bernal very well. In the hands of a capable director, Christopher de Leon proves that his forgettable appearance in such odious films as “Topo-Topo Barega” and “Disco Fever” are mere lapses in judgment that do not entirely discredit his craft. He also shows enough gallantry by not getting into the way of his leading ladies, whose roles are undoubtedly more demanding than his. As the uptight Sandra, Vilma Santos has the script’s choicest, wittiest lines. She makes the most of them and succeeds in giving a fairly accurate portrait of an emotionally insecure young woman. And when she tells Rex: “sabi nila liberated ako, front lang. Kalog daw, front din. Alam mo namang kulang-kulang ako. Pag wala ka, magkakalat ako. Para akong manok, takbo ng takbo wala namang ulo.” She likewise handles her final breakdown exceedingly well. Nora has less lines but she nevertheless manages to conveys her emotions very effectively. In that family reunion-party which is so engrossed in gossip and banter, she remains so detached, speaking nary a word — a triumph for both Bernal and her. The hurt in her eyes continues to build up until that disrupted dinner scene where she rushes to her room and, unable to contain herself, finally cries. The most stable of the three, you could really believe her when she tells Rex: “Galit ako sa ‘king sarili, dahil sinasaktan mo na ako nang todo-todo pero lalo ka namang napapamahal sa akin.”

The film is greatly enhanced by Jose Carreon’s vibrant script, Mel Chionglo’s superb production design, the Vanishing Tribe’s fine musical score, and Augusto Salvador’s brisk editing (few scenes last longer than a couple of minutes). But the lion’s share of credit goes to Bernal. I particularly like his splendid use of meaningful pauses and oppressive silences, as in Sandra and Tere’s accidental first meeting at Rex’s house, Sandra’s soundless dinner with her father that leads to her breakdown, and the long, quiet ending scene where Sandra and Tere never say a word and yet succeed in finally communicating with each other. Our viewers are discomfited by this exhausting process, what with the underdeveloped tastes of our mass audience perpetuated by irresponsible irectors. But one fervently hopes for Bernal, who apparently believes he owes the audience his best even if they are more likely to love his third best more, that they would get the film’s message and, perhaps, even accept and like it. – Mario E. Bautista, Philippine Daily Express, 1978

“…Mas challenging ang role ni Ate Vi rito kumpara kay nora…mas magaganda ang mga dialogues ni Ate Vi na nakakatuwa at magaling ang pagkakadeliver niya ng mga linya. Sexy siya ha at magaganda ang mga damit na ginamit niya rito. Maigsi ang buhok na medyo curly. Bagay na bagay sa kanya. Komento ko lang ay medyo matinis pa ang boses ni Ate Vi rito…Ok din naman si Nora dito kaso nga gaya nga sabi ko, mas malaman ang role na napunta sa kanyang kumareng Vilma. Asiwa rin ako sa wig niya…teka naka wig nga ba siya rito na mahabang makapal? Di ko lang type ang pag-iyak ni nora…ewan ko ha pero wag naman sanang magagalit ang mga Noranians, medyo napapangitan talaga akong umiyak si Nora kahit noong bata pa ako. Pangit na pangit ako sa pag-iyak niya. Parang pinipilit niyang mag emote. Di rin ako sanay na nakikipaghalikan si Nora sa mga movies, sabagay bibihira naman talaga makipaghalikan si Nora sa mga screen partner niya at usually naman si Boyet ang kahalikan niya pero noong pinapanood ko ang halikan scene nila Nora at Boyet, parang naaasi-wa ako. Ewan ko ba…parang nakakadiring tignan ewan…upps, komento ko lang iyan ha…sa sine parang sa tingin ko ay di sabay ito kinunan sa tingin ko lang ay di sila magkaeksena rito bagamat pareho silang nasa sinehan. b) bahay scene – ang ikli ng pagsasama nilang dalawa rito na parang pinasabik ang mga manonood kung may iringan ba or acting sa acting ang magaganap, pero walang naganap na ganun! c) No Dialogue Scene – Grabe!! Ang galing ng eksenang ito. First time kong makanood ng ganitong ending…walang salitaan, sagutan, walang murahan, walang away, wala as in wala except labanan ng facial expression, eye acting ika nga. Kainis lang ang director na ito kasi pinaglaruan lamang ang imahinasyon ng mga manonood at ng mga Vilmanians-Noranians!!! huh… Mas gusto ko pa rin na marami sana silang eksena na magkasama…sayang!…” – Dream Forest, V magazine Nos. 7 2006

“…Makikita sa Ikaw Ay Akin ang dalawang magkaibang estilo ng pagganap na ipinamalas nina Nora at Vilma at kapwa akmang-akma ito sa buong katauhan ng mga karakter na kanilang ginampanan. Sino ang mas mahusay sa kanilang dalawa? Kani-kaniyang opinyon, depende sa mga nakapanood ng pelikula. Maraming nagsabing mas pinaboran daw ni Bernal si Vilma sa dahilang mas maramin itong mabibigat na eksena kaysa kay Nora, ngunit paano makakalimutan ang huling tagpo sa Ikaw Ay Akin kung saan mahabang katahimikan ang naging daan upang higit na magkaintindihan sina Tere at Sandra tungkol sa kanilang pag-ibig kay Rex. Kung totoong mas pinaboran ng direktor si Vilma ay nakabawi naman ito ng husto kay Nora pagdating sa nabanggit na eksena. Kakaiba din ang husay na ipinamalas ni Christopher de Leon, maaring alam niyang ang Ikaw Ay Akin ay pelikula ng dalawang malalaking aktres kung kaya tama lamang ang bigat ng pagganap na ipinamalas ng aktor sa papel ni Rex. Napagwagihan ni Christopher ang Pinakamahusay Na Pangunahing aktor mula sa Manunuri Ng Pelikulang Pilipino nang sumunod na taon samantalang kapwa nakatanggap ng nominasyon bilang Pinakamahusay Na Pangunahing Aktres sina Nora at Vilma sa Ikaw Ay Akin ngunit kapawa sila natalo ni Beth Bautista para sa kanyang mahusay na pagganap sa Hindi Sa Iyo Ang Mundo, Baby Porcuna. Hindi matatawaran ang tagumpay ng mga manlilikhang bumuo sa Ikaw Ay Akin na nagtaas ng kalidad ng dramatikong pelikulang Pilipino, nagturong umintindi ng husto sa damadamin ng mga taong tunay na nagmamahalan.” – Jojo Devera, Sari-saring Sineng Pinoy (READ MORE)

“…“Ikaw Ay Akin,” 1978, Ishmael Bernal. A refreshing change of role for the superstar, cast here as a smart and sophisticated horticulturist at odds with best friend and real-life rival Vilma Santos. Notable for its experimental and long closing shot of the two friends’ reunion, with only their eyes talking…” – Mario A. Hernando, Philippine Daily Inquirer, 01 October 2011 (READ MORE)

Silent Confrontation – “…The movie brings together fierce cinema rivals Aunor and Vilma Santos as well as Aunor’s then-husband, Christopher de Leon. Skydiving enthusiast Rex (De Leon) and horticulturist Tere (Aunor) are in a stable relationship until the arrival of Sandra (Santos), a liberal-minded artist. Rex embarks on an affair with her, then becomes overcome with guilt when Tere discovers the relationship. Ikaw ay Akin is best known for the “silent” confrontation scene between Aunor and Santos, where neither speak a single line and communicate by just staring at each other…” – Coconuts Manila, 27 July 2018 (READ MORE)

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Filmography: Buhay Artista Ngayon (1979)

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Basic Information: Directed: Frank Gray Jr.; Story: Roy Vera Cruz; Screenplay: Tony Cruz; Cast: Dolphy, Vilma Santos, Freddie Quizon, Panchito, Babalu, Eddie San Jose, Cachupoy, Bayani Casimiro, Metring David, Georgie Quizon, Amay Bisaya, Danny Catindig, Pons De Guzman, Tatlong Itlog, Ellen Esguerra, Moody Diaz, Odette Khan, Cloyd Robinson, German Moreno, Ike Lozada, Florante, Joe Quirino; Executive producer: Rodolfo V. Quizon; Original Music: Dominic Salustiano; Cinematography: Amado De Guzman; Film Editing: Efren Jarlego; Sound: Gabby Castellano; Theme Songs: “Buhay Artista” performed by Dolphy, Music by Dominic Salustiano Lyrics by Florante

Plot Description: No Available Data

Film Achievement: Dolphy and Vilma Santos did four films together. The first one was in her first year in show biz and in a Dolphy-Chichay film. After six years, the two reunited in one of early films of Nida Blanca and Dolphy. The film was sort of about family planning and birth control. Vi was in minor role and one of the child actors featured in the film. They followed this up with minor roles in the Cirio Santiago’s all-star-cast film. By later part of 1970s, both Dolphy and Vilma became a regular staples in award shows receiving several trophies as box office king and queen. Finally, after almost a decade from their last outings and no longer his film daughter, Dolphy and Vilma did their last film (to this day), this time, Vilma played the leading lady, in a film, ironically, about show business. Also, that year, Doply became the only male actor who portrayed Darna, the female comic-super-heroine in Darna Kuno. Not to be undone, Vilma will reprise the role the following year in her fourth and final film as Darna in Darna at Ding. At present time, both superstars made headlines as contenders for Philippines’ National Artists honors. Vilma respectfully and publicly asked for Dolphy to confer the title ahead of her. – RV (READ MORE)

Film Review: “…Dolphy and Vilma Santos were honored Dec. 28 by the National Council for Children’s Television (NCCT) and the Department of Education (DepEd). The King of Comedy and the Star for All Seasons received the Lifetime Achievement Award during the 1st Lingkod TV Awards held at the Rajah Sulayman Theater in First Santiago in Intramuros, Manila…” – Crispina Martinez-Belen, Manila Bulletin, December 29, 2010 (READ MORE)

“…Talagang poor second lang noon si Vilma kay Nora Aunor, subali’t nang gawin niya ang trilogy film ng Sine Pilipino na Lipad Darna Lipad ay talagang lumipad ng husto ang kanyang box office appeal. Sinundan pa ito ng mga pelikulang Takbo Vilma Dali at Hatinggabi Na Vilma. Anupa’t itinambal din si Vilma sa mga matured leading man na katulad nina Eddie Rodriguez sa mga pelikulang Nakakahiya, Hindi Nakakahiya Part 2 kung saan nagkamit siya ng Best Actress Award sa 1st Bacolod City Film Festival at Simula Ng Walang Katapusan, Dante Rivero sa Susan Kelly Edad 20, Chiquito sa Teribol Dobol, Dolphy sa Buhay Artista Ngayon, Joseph Estrada sa King Khayan & I, Fernando Poe Jr. sa Batya’t Palu Palo at Bato Sa Buhangin, Jun Aristorenas sa Mapagbigay Ang Mister Ko, Dindo Fernando sa Langis at Tubig at Muling Buksan Ang Puso at Romeo Vasquez sa Nag-aapoy Na Damdamin, Dalawang Pugad Isang Ibon, Pulot Gata Pwede Kaya at Pag-ibig Ko Sa ‘Yo Lang Ibibigay…” – Alfonso Valencia (READ MORE)