Special Film: Pagputi ng uwak Pag-itim ng tagak

Pagputi ng uwak…Pag-itim ng tagak (1978) It is the 1950’s at the height of the Huk (local Communist armed forces) movement, in a part of the country beset with agrarian unrest. During the town fiesta of Santa Ines, Julie Monserrat is introduced to Dido Ventura and Maestro Juan Roque, an old musician. Julie, an orphan who comes from the local aristocracy, is on vacation from school in Manila, and is staying with her two spinster aunts Beatriz and Miguela. Dido Ventura, a young man from a poor family, lives with his mother who nurses an old grievance against the Monserrats; she believes they grabbed the Ventura’s property. Maestro Juan Roque, a well-known composer and violinist, has just returned to Santa Ines to finish a zarzuela he has been planning to write for a long time. Dido falls in love with Julie at their first meeting. One night, he sneaks into the spinsters’ house and spends a passionate night with Julie. The brief liaison leads to their elopement. When the two lovers return to ask for the aunts’ blessing, Julie is made to choose between a life of poverty and uncertainty with Dido, or a life of comfort and respectability with her aunts. Julie chooses to stay with her aunts. Dido is shaken by the turn of events. He meets Cristy, his girlfriend, who insults him for the embarrassing situation he has gotten himself into. Dido turns roughly against the girl and beats her up. Cristy’s brother finds out about this and challenges him to a fist fight. Dido kills Cristy’s brother. Cristy’s father, who is the town mayor, decides to dispose of Dido immediately. But when his secret police nab Dido one night, the jeep taking them to Dido’s execution is ambushed by a band of Huk rebels led by Kumander Salome, Dido’s uncle. Saved, Dido decides to join his rebel uncle in the mountains. Meanwhile, Maestro Roque, on a visit to the spinsters’ old house to talk about Julie’s violin lessons, finds out that Julie is actually his own daughter by one of the Monserrat sisters now deceased. Julie herself is pregnant with Dido’s child. The old musician’s visit to her house and the ensuing revelatin make he decide to keep the baby. Maestro Roque arranges for Julie and Dido to meet again. On the night of Good Friday, Dido leaves the rebel camp to see his newborn child. Kumander Salome decides to go along with the young man. Government spies learn of this and an ambush is set. The child of Julie and Dido is the only survivor and witness of the masscre that ends the film. – Rosauro de la Cruz (READ MORE)

“…Furor is really an understatement. “Burlesk” swept the awards in that year’s MMFF, resulting in a controversy that led to the wholesale return of trophies. In spite of the scandal, “Burlesk” is still regarded by critics as the “quintessential” Filipino film. “Hinamon ni Brocka si Tinio ng suntukan (Lino Brocka dared Rolando Tinio to a fight), ” Celso remembers. “Tinio, who was the head of the jury, heralded “Burlesk as the most beautiful Filipino film” past, present and future.” Vi’s turnaround: Adding fuel to the fire, “Burlesk” had stunned moviegoers because it unveiled a new Vilma Santos “from ingénue to wanton woman. Vilma says of “Burlesk?” – “It marked a transition in my career. Working with Celso Kid is a privilege. He’s a genius.” With good humor, Vilma recalls a “quarrel” on the set of “Pagputi ng Uwak, Pag-itim ng Tagak,” which she produced in 1978. “It took so long to finish. I lost money on that. But we’re still friends.” Burlesk and Pagputi brought a lot of honor to me…” – Bayani San Diego Jr. (READ MORE)

Source: gobitz69

FAIR USE NOTICE (NOT FOR COMMERCIAL USE): This site contains copyrighted materials the use of which has not always been specifically authorized by the copyright owner. We are making such material available in our efforts to preserve the film legacies of actress, Vilma Santos, and to make her career information available to future generations. We believe this is NOT an infringement of any such copyrighted materials as in accordance to the the fair dealing clauses of both the Canadian and U.S. Copyright legislation, both of which allows users to engage in certain activities relating to research, private study, criticism, review, or news reporting. We are making an exerted effort to mention the source of the material, along with the name of the author, performer, maker, or broadcaster for the dealing to be fair, again in accordance with the allowable clauses. – Wikipedia (READ MORE)

Remembering Celso Ad Castillo

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Castillo gave Vilma Santos her first mature role in Burlesk Queen resulting with her first local film festival best actress award. He also directed Pagputi Ng Uwak Pagitim Ng Tagak where Vilma Santos starred and produced. The film received several best picture awards and was considered one of Castillo’s best works. Total Number of collaboration with Vilma Santos: 3 (Burlesk Queen 1977, Pagputi ng Uwak Pag-itim ng Tagak 1978, Tag-ulan sa Tag-araw 1975)

The “Bomba” Movies – “…In the early seventies, these magazines showed a certain boldness in publishing sex-oriented stories, with accompanying explicit illustrations. The big companies reluctantly ignored these stories, and it was the independent film producers who dared bring them to the screen. The bomba movie was born, shaking the whole industry to its very foundations. New directors were tried out. And a new breed of actors and actresses, who were willing to do anything in front of the camera, threatened to put the more established crowd-drawing out of business. Sex became the staple of the film industry. It was during this time that a new film director surfaced – Celso Ad. Castillo, then in his twenties. His vehicle, Nympha, was the simple story of a girl from a very religios family who ran away and got involved with four men. This story has been done over and over again in a number of forgettable movies and is a staple of the comic magazines. In its attempt to ride the bomba bandwagon, it featured enough sex scenes to satisfy the male audiences who expected every new movie to be still more daring. But Castillo had more to offer than steamy sex. He told his story in such a way that details previously considered taboo were exploited. In one of the first scenes, Nympha, the cooped-up virgin, is shown praying with her spinster aunt, when her attention is caught by the illicit coupling between two young lovers just outside their window. The scene of the novena is intercut with the groaning and moaning couple. At the end of the novena (coinciding with the consumation of the sexual act), the image of Christ is shown staring down at her, reprimanding her for her sin. The movie ends with an abortion scene shown in all its gory details, a literal bloodbath which causes the death of the girl. In a strictly Catholic society like the Philippines, a film like Nympha was bound to create a sensation. It was, for the younger generation of Filipinos who missed the so-called Golden Age of Philippine movies in the 50s, their first auteur film. Castillo showed a flair for visual narrative, emphasis and texture never before seen on screen…” – Rosauro de la Cruz, Focus On Filipino Films, A Sampling 1951-1982 (READ MORE)

“The Messiah” – “…Castillo said he had his hair completely shaved to insure the completion of “Pagputi.” The film had been so plagued by problems – production delays, unavailability of stars, bad weather, that they were all set up to give up. He had to stay put in Laguna and finish all the remaining scenes, fearing he might not have the energy and enthusiasm to return to the location sites should he leave for Manila. An effective way of nailing him down in one place was parting with his hair. “It was also a symbolic act of himility, of shedding my vanity,” Castillo added. Which was unusual for one who proclaimed himself “The Missiah and The Uncrowned.” “But they were not meant to be taken seriously. Of course I was kidding when I called myself “The Messiah.” Castillo said. The money and the effort, not to mention frayed nerves and emotions, tears and high blood pressure, poured into “Pagputi” is paying off. The film is making money and reaping accolades from critics and moviegoers alike. The latter are almost unanimous in saying that “Pagputi” is one of the most meaningful film in years and most probably the best of 1978…In fairness to director Castillo, it must be said he could make films, good films, without waiting for over two years (as the case in “Pagputi”) and depleting the producers’ pocketbooks. He finished “Pinakamagandang Hayop sa Balat ng Lupa” in one month, “Burlesk Queen,” the top grosser in last year’s Metro Manila Filmfest, was made in two months. He admitted however that he does not follow scripts rigidly, (even if its his own scripts), but rather improves and relies on his instincts right on the set. He refuses to resort to shortcuts and daya. It may not be the most economical and ideal way of filmmaking, but judging from the results (artistic and money wise) of his movies, it had served director Castillo well…” – Ronald K. Constantino, Expressweek Magazine, 03 August 1978 (READ MORE)

The Vindication – “…As soon as his schedule will permit, he’ll go to Hong Kong and seek a job with Run Run Shaw. He believes this wil pave new roads for him, hopefully a Hollywood assignment. At the moment there’s nothing more he’d like to do than get out and run away from everybody, friends and foes alike, donning the thickest, darkest glasses, bumming around as is his won’t. The film has given him tremendous self-confidence. “I can take it easy now,” he stresses. “After doing Burlesk I won’t have to prove myself to anyone anymore. He talked about the film again, very obviously so close to his heart. “With it I wanted to show some kind of heroism,” he explained. “In the movie Vilma is pregnant and she knows very well that by dancing the striptease she runs the risk of losing not only her baby but her own life. Yet, she goes on, dying in the end. I want to tell the audience – The show is over but the show must go on. Before doing it anything, one should ask himself, ‘Is it worth it?” Vilma loses her life – is it really worth it?” What he fears most now is the sweet smell of success. “I couldn’t imagine myself moving around in a plane or speedboat. When I do this, I will have finally prostituted my art.” Still and all, he coundn’t be happier with the way Burlesk Queen has turned out. “Ngayon, malalaman na kung sinong tunay o hindi,” he gloated…” – Robert Q. Castillo, MOD Magazine, Jan 6 1978 (READ MORE)

Dalang-dala si Leopoldo – “…The last film of Vilma and Leopoldo. He played the crippled father who is against his dauther working as a burlesque dancer. Writer, Ricardo Lee interviewed director Celso Ad Castillo about the directing Salcedo and Santos: “…Tuloy-tuloy ‘yun…(the hospital scense with Vilma and Leopoldo Salcedo) nag-experiment ako noong una, kumuha ako ng second take, pero di ko na rin tinapos. Perfect na iyong una. Alam mo bang nang gawin namin ang eksenang iyon tatlo kaming umiiyak sa set? Ako, si Vilma, at si Leopoldo? Dalang-dala si Leopoldo sa pagsasalita ni Vilma, lumuha siya kahit patay siya dapat doon. Buti na lang di siya nakuha ng kamera…(Kung Nahirapan ka ba kay Vilma?) …Oo, hindi sa acting dahil mahusay talaga siya kundi sa scheduling. Alam mo kasi it takes time before I can really get into the mood of a picture, mga two weeks, tapos kapag nandiyan na, that’s the stage when I’m ready to give my life to the project. Tapos biglang walang shooting ng two weeks dahil busy siya sa ibang pelikula…” – Ricardo Lee, Manila Magazine, Dec 1- 31, 1977 (READ MORE)

“Aktres” Na Talaga – “…“I was shocked,” said Vilma who played the title role in the movie that marked the turning point in her career. “He was too young to go…Celso Kid was the first director who told me na aktres na talaga ako after we shot Burlesk Queen,” added Vilma who won Best Actress at the 1977 Metro Filmfest, but the same award, including those for Best Director and Best Film, were taken back after a controversial Awards Night. “That was the turning point of my career,” said Vilma. After Burlesk Queen, Vilma worked again with Celso in Pagputi ng Uwak, Pag-itim ng Tagak which took three years to finish, causing a big rift between them. “I didn’t only star in the movie, I was also its producer,” recalled Vilma. “I remember Celso Kid as a genius, an intense director. We have forgotten our differences and we resumed our communication. I knew that he was sick. Only a few days ago, I was coordinating with him for his book. He was asking for pictures for the book’s cover. I will pray for the repose of his soul and for his family. I just hope that he was able to finish the book.” Celso also directed Vilma in Tag-ulan sa Tag-araw,” the movie that launched Vilma’s long-running team-up with Christopher de Leon (they have starred in more than two dozen movies since then)…” – Ricky Lo, The Philippine Star, 27 Nov 2, 2012 (READ MORE)

The wisdom and intellect of the Filipino moviegoers – “…”…So the premise goes like this: If it’s good (the film) then why does it fail (at the box-office)? A film makes money because it is effectively communicated visually with its basic intent and purpose within the framework of desired entertainment value, simply saying that if you’re smart, they why aren’t you rich? Also I believe that it is the ultimate idiocy to regard a film as artistic or commercial during the stage of its conception. So that no one may classify a film before or during or after its principal photography. A film only becomes commercial when it has achieved the desired box-office results and only destiny and its timelessness can make a film an art. I dare again say that “classics are not product of presents times but are babies of tomorrow.” And yes, Viriginia, we have indeed in our midst a new breed of moviegoers. In fact it has outgrown our movie industry which up to now still clings to the traditional star and producership systems of the 50’s. The industry still sells the recycled films smorgasbord of Dona Sisang and Dr. Perez to a public has been educated tremendously (sic) by the technology of the 20th century communication arts. Damn those people who insists that the wisdom and intellect of the Filipino moviegoers did not progress even as man had already set foot on the moon and the revolution of modern man had already happened in Asia! For after a thorough theoretical evaluation we can not dismiss the wisdom of acceptance that what precipitated the great awakening of the Filipinos to aesthetic appreciation of modern cinema are: the invasion of television sets in our living rooms which is tantamount to day-to-day exercise of our visual appreciations, the prerogative to chose our line of vision through betamax and the great exports of Filipinos in any capacity to that their return to our homeland bring with them a more civilized attitude towards the intellect of both personal and cinematic arts of existence…” – JC Nigado, Manila Standard, 12 Feb 1987 (READ MORE)

Celso Ad Castillo – “…Born in Siniloan, Laguna 12 Sept 1943. Movie director, scriptwriter, actor. He is the son of Atty. Dominador Ad Castillo, lawyer/writer, and Marta Adolfo. He studied at Manuel L. Quezon University and obtained his Bachelor of Arts degree in English Literature in 1964. Castillo started as a writer for a komiks magazine. With the help of his father, he published his own magazine where he wrote all the stories from cover to cover, using different names as authors. A movie producer commissioned him to write a script on the character of ” James Bandong.” named after Britain’s superspy. The film made money and it was followed by a sequel, “Dr. Yes,” 1965, a spoof on the British film, Dr. No. He wrote and directed his first movie, “Misyong Mapanganib” (Dangerous Mission), in 1966. The most memorable of his earlier films is “Asedillo,” 1971, based on a Filipino rebel of the 1920s who was hunted down as a bandit by the American colonial government. With this film, Fernando Poe, Jr. acquired the image that was to set him off as a legendary gunslinger, a defender of the poor and oppressed. Castillo also made Ang Alamat (The Legend), 1972, with Poe as a reluctant hero who battle a whole private army all by himself to defend his townfolks. Succeeding Castillo films aspired towards thematic originality: small-town perversion in Ang Madugong Daigdig ni Salvacion (The Bloody World of Salvacion), 1975; incest in Tag-ulan sa Tag-araw (Rainy Days in Summer), 1975; political and period gangsterism in Daluyong at Habagat (Tall Waves, Wild Wind), 1976. Even his sex films had a to message to tell. One finds spiritual undertones in the story of an oversexed girl in “Nympha” (Nymph), 1971; a struggle of conscience in a stripteaser who laughed on the outside but cried on the inside in “Burlesk Queen” (Burlesque Queen), 1977; tribal conflict in “Aliw-iw,” 1979; a conflict of family values in “Snake Sisters,” 1983; and the politics of domination in “Isla” (Island), 1983…Castillo won the Filpino Academy of Movie Arts and Sciences (FAMAS) awards for best director and best story for “Pagputi ng Uwak, Pag-itim ng Tagak” (When the Crow Turns White, When the Heron Turns Black), 1978, and also won the Urian awards for best director and best screenplay for the same picture. He shared the story credits with Ruben Nicdao, and the screenplay credits with Lando jacob, Ishko Lopez and Ruben Nicdao. He won the FAMAS best director trophy again in 1985 for “Paradise Inn,” a Lolita Rodriguez-Vivian Velez starrer. He also has a FAMAS best supporting actor award, for “Sampung Ahas ni Eba” (Ten Snakes of Eve), in 1984…” – Excerpts from Encyclopaedia of Philippine Arts by L. Pareja, Celso Ad Castillo Presents web-site (READ MORE)

Related Reading:

1978 FAMAS

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An All-Bold FAMAS: Untold Tales Behind The Scenes! This year’s FAMAS affair is the most orderly. Ang dahilan? Isa na ang kawalan ng admission tickets. Sold out! Nagtataka ang ibang movie companies, participating or not, kung bakit hindi nangyari ang customary practice na pagpapadala ng bilang ng mga tickets sa kanila. Isa lang ang VS Films sa nagtataka kung bakit limang piraso ng tickets lang ang naipadala sa kanila gayong higit na nakararami ang bilang ng nominasyon ng entry nilang “Pag-puti ng Uwak, Pag-itim ng Tagak.” Ticket ang naging pangunahing problema sa pagtatanghal. Ang mga portera ng Metropolitan Theatre, pati ng mga security guards followed instruction to the letter. Basta walang tiket, huwag papasukin. Kaya kahit na artista ka, kung wala kang tiket, bawal pumasok! Sina Al Tantay at Tet Antiquiera ay mga presentors. Pagpasok sa gate ay hinanapan sila ng ticket. Napakamot na lang ng ulo kapuwa ang dalawa nang mabatid na wala nga pala silang mga dalang tickets dahil sinabihan lang sila bilang mga presentors. Naayos din naman. Bagaman may numro ang mga tickets with corresponding seats ay hindi rin nasunod ang seating arrangements. Umupo ka kung saan mo gusto. Going to the comfort room was even worst. Papayagan kang lumabas ng portera. Pagpasok mo uli, hahanapan ka ng kaputol ng ticket mo. Ang awardee na si Director Armando Garces na bago pa lamang gumagaling sa matagal na naging karamdaman at iika-ika pang lumakad ay naisipan munang tumayo at magtungo sa CR. Pagbalik, one rude usher asked for his ticket. He was even pushed back raw nang walang maipakitang kaputol na ticket.

Paistaran sa costumes! – Anuman ang maging impression sa FAMAS, its being infamous, biased and all the bad things one could think of, still namumukod-tangi pa rin ito at siyang tanging grandiose affair na sadyang pinaghahandaan ng movie industry as one affair that shouldn’t be missed. Costumes purposely ordered for the occassion cost thousands of pesos more than whan an ordinary starlet would earn in one movie. One bold star reportedly ordered a gown worth P10,000.00 hoping her husband would win sa “Best Actor,” but he lost! Sa lahat ng okasyon, expect the unexpected from Ellen Esguerra. Dumating siyang daig pa si Queen Juliana o si Princess Grace o si Jacqueline Kennedy sa pagkabonggadera. She arrived in a carriage na parang galing sa pamamasyal sa Central Park ng New York in white gown complete with boa feather, bra-less and panty-less. Saan galing ang karwahe? “Kasalanan ko ba kung ipahiram sa akin ni Maria Montelibano?,” tanong pa niya. Her hair was done in braids, Negro-style with feathers inset, by Budjiwara. Doing it took all of four hours! Vilma Santos drew the biggest commotion. Tilian, reminiscent of the early 70’s heralded her dramatic entrance with singer-actor Junior. She was wearing an all-brown gown fresh from a fashion center of Paris with a cape and dangling ostrich feathers in the arms. Timing na timing ang pagdating ni Vi. Nagsisimula pa lang ang television coverage ng proceedings. Sinundin ni Vi ang firest interviewee na si Pilar Pilapil. Pag-entra, ang bida ulit ay ang mga portera, “Ticket n’yo ho?”

Nilapitan kami ni Rudy Fernandez. Anong feeling niya sincerely afternoon pa lang ay rumored na siyang mananalo? “Wala, okey lang, medyo kabado.” Paghawak sa kamay niya, daig pa nito ang ibinabad sa yelo sa lamig at pinapawisan gayung air-conditioned ang buong thetre. Maging and nominee at finalist for “Best Actor na si Boyet de Leon ay binabati na in advance. “No, alam kong hindi ko gabi ngayon.” As usual, Boyet came in his casual self. Nagpunta siya sa backstage. When he found out na hindi siya presentor balik siya sa may likuran ng teatro, umupo sa isang sulok at nakipaghuntahan na lang kina Rez Cortez at Lloyd Samartino. Halos magkasabay na pumasok si Nora Aunor at ilang alalay, Llyod Samartino and Jacqui Lou Blaco. “Kami,” sagot naman ni Lloyd. You mean triangle ang gabing ito? Oo lang ang sagot, ni Lloyd. Tumuloy na sa may harapan si Aunor para maupo. Mayamaya, heto na si Carmen Soriano at tinawag ang anak. Pinaupo nila si Jacqui Lou sa tabi nila ni Eddie Rodriguez. Tense ang Inday Badiday. Nakipagpustahan siya ng sinundang gabi na mananalo si Vilma. Ang five hundred niya ay mananalo ng isang libo. Dumaan ang pangulo ng FAMAS, Mario Cabling. “Balita ko ay may sariling set ka ng winners na ini-annouced sa radio program mo,” tanong ng Cabling kay Inday. “May tumawag kasi sa akin, sina Rudy Fernandez at Chanda Romero raw as Best Actor and Actress with Amy Austria for Supporting,” sagot naman ni Inday. “Tignan natin kung tama ang hula mo,” medyo may pagka-sarcastic na wika ni Mang Mario.

Ang first portion ng programa ay isang comedy of errors. Ang mga tinatawag ng presentors ay hindi umaakyat o lumalabas sa entablado. Bagkus, sa halip na ang tinawag, ibang tao ang lumalabas. Lumabas si Ruby Anna na walang plaque at ni hindi alam ang gagawin. Si Tina Monasterio ay mistulang isang fashion model sa gitna ng stage na wala rign ginawa. Tinawag si Tina Monasterio nina Amalia Fuentes at Carlos Salazar. Ang lumabas ay iba, si Josephine Garcia. Lumabas si Tito Nards bilang escort ng isang artista pero wala silang nai-prisintang plaque. Balik sila sa loob. Tawag uli kay Tito Nards. Ang lumabas ay si Rudy Gernaskey. Tawanan ang tao. Kasama ni Rio Locsin sa backstage ang tunay niyang ama, si Mr. Sta, Ana. Ninerbiyos si Rio dahil naduon daw ang nanay niya at balak siyang iuwi sa bahay nila. Lumayas pala at kumuha ng sariling bahay niyang titirhan si Rio. When it was time for her to mount the stage, biglang may nagbiro, “Andiyan na ang nanay mo, Ogie!” Takbo kaagad si Rio kung saan at ibinalot ang sarili sa kurtina ng entablado para makapagtago! Maugong pa rin ang balita na si Chanda Romero ang siyang “Best Actress” awardee. Wala si Chanda, nasa ospital daw at nagkasalit bigla. Insecure sa suot niyang fishnet-mini si Tet Antiquiera. Patalikod kasi ay litaw ang puwit niya dahil wala siyang panty! na-at-home lang siya nang dumating din sina Aurora Salve na bukas ang tagiliran ng gown, pati si Deborah Sun na laylay nga hanggang likod ang gown pero kita naman ang parang panty niya sa harapan na kulay silver.

Kurtina lang ang pagitan nina Deborah Sun at Al Tantay, reported to be feuding. Nawala bigla sa entablado si Al dahil to his right was Deborah and to his left was Rio Locsin naman, his rumored sweetheart at the moment. And in front of hims is partner Tet Antiquiera. Bumalik lang sa stage si Al nang wala na sina Deborah at Tet. Ngayon ay kausap naman niya si Rio, sa harapan ng nanay ni Mat Ranillo na si Gloria Sevilla. Sa umpukan nina Tony Santos, Sr., Amado Cortez at Leroy Salvador, isang tao raw ang kulang si Eddie Rodriguez. Tinawag. Kumpleto na raw ang casting. All three raw have one thing in common. Amalia Fuentes, finally realizing na tila they have been calling the wrong persons on stage decided: “Ako na lang ang magsasabi ng pangalan kung sinuman ang lalabas” dahil nga sa maling mga cue sheets. Di okey naman. Kaso, lumabas uli ang isang FAMAS member na ineskotan ang isang baguhan. “Sino naman ito?” tanong uli ni Amalia. Sa labas, pinapawisang maige si Johnny Litton sa pagmo-monitor sa mga celebrities na dumarating. Tagaktak ang pawis sa noo niya habang buong kapakumbabaang panay naman ang pahid ng napkin ni Frankie Clemente sa noo at mukha ni Litton. Namamayani ang taginting ng halakhak ni Elvira Manahan sa buong teatro sa bawat pagkakamali. “I’m used to it already, siya hindi pa kasi,” depensa ni Nestor Torre Jr na co-host ng “Two for the Road.”

Nora Aunor made the mvoe para lapitan si Inday Badiday. Kaso mo ay alert naman pala itong si Badiday. Nagkunwa itong may kinakausap nang palapit si Aunor. Saka lumakad palayo si Inday nang malapit na sa kanya si Aunor. Snob! Break na kami, si Azenith Briones na ngayon ang asawa ko,” ani Elizabeth Oropeza nang may magtanong sa kanya kung nasaan si Ingrid Salas. Kinakantiyawan ni Amalia Fuentes si Aurora Salve. “Bah, ang isusuot ba naman e ‘yong long sleeves niyang gown na closed neck pa mandin! Wala kang karapatang magsuot ng ganoon. Bakit, si Susan Roces ka ba? Si Susan lang ang puwedeng magsuot ng ganoon1″ Tawanan. Sumama ka sa akin, mag-Joanne Drew tayo,” yaya ni Nena kay Divina Valencia na medyo tumaba nang husto. “Mahal naman doon, four thousand!” tanggi ng nanay ni Dranreb. “Bembol Roco and Rita Gomez!” tawag ng monitor girl sa dalawa, na siyang mag-e-emcee sa next portion ng affair. Both mounted the stairs na siyang magluluwa sa kanila sa entablado. “Siguruhin mo lang na ang mga tatawagin kong pangalana ay siyang lalabas sa stage,” warning ni Ms. Gomez. Tumagal nang konti bago pa lumabas sina Bembol at Ms. Gomez. “Sabihin mo naman na dalian na, humuhulas na ang make-up ko,” ani Ms. Gomez sa monitor-girl. “Okey na ho,” sagot pa nito. Maya-maya ay nag-dim ang mga ilaw. “Hoy, bakit namatay ang mga ilaw?” naiinip na tanong ni Ms. Gomez. Commercial pa muna! “Punyeta,” inis na sagot ni Mother Rita. “Wala bang may lipstick at compact? Ihiram mo naman ako,” pakiusap ni Manay Ichu. Nakahagilap kami kay Ellen Esguerra. Very ironic naman. Ini-announce ni Ms. Gomez ang susunod na parangal ay para sa “Dr. Jose R. Perez Memorial Award” at ang magpi-present ng award ay si Marichu Vera-Perez-Maceda! Di Ba starwars sila since “Eva Fonda?”

Hinila ni Liza Lorena si Dante Rivero sa isang tabi. Ang bulong nito: “Dante, ipinagpalit mo na raw ako sa iba?” “Wala ‘yun, ‘Perfect Mother,” sagot naman ni Dante. Umakyat sa stage si Alma Moreno at siyang magpi-present together with Dondon Nakar and Raul Aragon ng award for “Best Actor.” Ah, tiyak na si Rudy Fernandez na, hula ng marami. Ugong naman ang bulungan na si Mat Ranillo III na. Ayaw maniwala ni Gloria Sevilla. Imposible raw. Kahit si Mat daw ang winner, “If I know si Rudy pa rin ang babasahing pangalan,” biro ni Nene Riego. At nang si Mat nga ang tinawag, napa-kurus bigla si Gloria at umiyak sa halip na maglulundag sa tuwa! Five minutes bago i-announce ang winner for “Best Actor,” alam na pala ni Alma na matatalo ang mister niya kaya gusto nang umuwi. Pero pinigil lang ng PRO niyang si Nene Riego para nga naman makaakyat din sa stage at mai-display ang sinasabing P10,000.00 gown. Gusto ko, si Aurora Salve ang partner ko,” pagpipilit ni Dondon Nakar sa monitor girl. “Wala nang changes, last few awards na,” say naman sa kanya. All throughout the proceedings, lanta at mukhang matamlay si Nora Aunor. Wala ni kapiranggot na award kasing natamo ang kanyang “Atsay.” When Celso Ad Castillo won the “Best Director” award, pumuwesto siya sa tabi ng pitno. Mahaba ang kanyang ceremonial walk patungo sa stage. Pero panay jogging ang ginawa. “I’m glad I didn’t win,” say ni Eddie Garcia kay Celso Kid. “Marami ka na raw award kaya sa akin na ibinigay,” sey naman ni Celso kay Eddie.

Hindi na tinapos ni Aunor ang buong programa. Umalis kaagad siya. Pero bago ‘yon, nauna nang umiskapo si Boyet de Leon. Amy Austria took everything in good stride. She’s great sport at kalmanteng-kalmante hanggang sa huli. High nang gabing iyon si Anthony Alonzo. Kabado nga raw siya pero hindi tense. Naka-diyes litros kasi. Hindi na namain siya namataan after the announcement of the winner for Supporting Actor. Nagpakuha ng larawan magkasama sina Imelda Papin, Eva Eugenio at Claire ang pictorial nilang tatlo ay for the benefit ng magasign ito laman. Lorna Tolentino was stunning in her sequined-fitting pants, kumpleto sa naghahabaang feathers sa ulo niya. Hindi pa rin nagbabati sa mga nasa paligid, Tinaasan namin siya ng kilay. Dinilaan lang kami! “Tito Leroy, pagsabihan mo naman siya,” daing na pakiusap ni Rio Locsin kay Leroy Salvador. Kung si Rey dela Cruz o si Charito Garcia ang isinusumbong ni Rio, hindi namin nabatid. Si Pete ang naiwan ngayon sa Barnyard (restaurant nila),” ani Boots Anson-Roa who came with her dad, Oscar Moreno, now staying here and is managing the resto. “Are you sure na hindi nangungu-Pete sa kaha si Pete?” question ng isang punny ones. “Wala ‘yung nangungu – Pete Lang,” was Boots witty remark too. “Wala bang softdrinks man lang dito o anumang makakain?” ask ng isang presentor na hindi pa yat naghahapunan. “Wala, poor kasi ang FAMAS,” paliwanag ng isang miyembro-opisyal. Si Beth Bautista ay naka-gown na ang slit o biyak ay abot hanggang balakang. Nang makita ang mga matang nakapako sa kanya, sabay ang mga kilay na nagtaasang nagtatanong na nawika nitong: “Bakit, wala ba akong karapatang magsuot nang ganito?” to the amusement of Cheng Muhlach walking behind her.

Ninety percent of the women were dressed in black formal evening gowns. The rest were either in white or brown…and minis, too! “Why do you tolerate Llyod in courting Nora, Lorna and other girls? Tipo bang pa-martir ka nga ba?” was asked of Jacqui Lou Blanco. “That’s what you think,” sagot ng tisay na anak ni Pilita who also wore a smashing gown that evening. Pitong awards ang nakopo ng “Pagputi ng Uwak…” ni Vilma. Nag-blow-out ang VS Films sa coffee shop ng Manila Hotel. Nagtungo rin doon ang grupo nina Alma Moreno pero nang makitang maraming tao sa lobby ng hotel ay bigla nilang inilikong paalis ang kotse nila. sa 1571 na lang daw sila. Sa Manila Hotel, nasa isang hapag sina Amalia Fuentes and company. Sa isang mesa naman, iyong grupo ni Marissa Delgado at Imelda Ilanan. Sa isang mesa ay ang grupo ni Dorothy Laforteza, Tony Bernal at Rudy Genaskey. At doon sa isa pa ring mesa, grupo naman nina Elvira Manahan at Nestor Torre, all out for an early breakfast. The rest of the tables were occupied by VS Films and well wishers. Nandoon sina Manay Ichu, Celso Castillo, Romy Vitug, Junior and others to help celebrate VS Films’ Triumph. Naguwian ang barkada bandang alas-kuwatro na. Hindi rin gaanong nagpaumaga sina Eddie Rodriguez, Carmen Soriano, Lloyed Samartino at Jacqui Lour dahil may curfew raw itong huli sa kanila. Umalis sila bandang alas-dos nang umaga. Nilapitan ni Vilma ang grupo. Binati niya isa-isa. Tanging si Eddie R. ang hinalikan sa pisngi ni Vi. Kinamayan lang sina Mameng, Jackie at Lloyd.

Ineskortan nanan ni Joey Gosiengfiao ang magka-date na Greg Liwag at Deborah Sun sa isang mesa. Umalis din sila kaagad without joining the VS camp. Kinilig at halos himatayin sa upuan niya si Gil Villasana nang magpaalam sa kanya si Eddie Garcia with a flying kiss! Ang pinakamalaki raw boner noon ay ang pagkakabasa sa sulat ni Angie Ferro sent in advance saying: “In case na manalo” siya. The valedictory address should have been done away with. Naghinala tuloy ang marami na sadyang may leakage na ang mga winners bago pa man mabuksan ang envelope! Hindi umakyat ng entablado si Vilma Santos to pose with the winners of the four major categories. She was an attraction sa ibaba with congratulations being raised on her left and right kaya hindi na ito nakaakyat to pose beside Susan Roces. Dalawang ulit daw nanalo nang magkasunod na FAMAS si Susan. Sadya nga raw kayang when it rains, it pours? Pareho raw temang horror ang mga roles na napanalunan ni Swanie. Next year daw ay nakakasiguro nang gagawa uli ng horror movie si Suisan upang ipanlaban sa next FAMAS derby. Maging si Mat Ranillo III ay winner last year. For “Best Supporting Actor,” he won in “Masarap, Masakit ang Umibig” and this year, he won for “Isang Ama, Dalawang Ina” for Best Actor award. Pelikulang hawig sa tunay na buhay: “Isang Ina, Dalawang Ama!” Ngayon lamang nakakuha ng award buhat sa FAMAS si Celso Ad.

At ngayon lamang nagtally ang mga awards ng URIAN at FAMAS. This year ay nanalo rin si Celso at ang “Pagputi ng Uwak…” ng Best Director at Best Picture award sa Urian. Baka raw may bawian na naman sa award ni Celso Kid, tulad nang manalo siya for “Burlesk Queen.” Ang speech niya noon ay handog at alay di sa Pangulo at Unang Ginang. Pero binawi ang award! Si George Estregan ay nanalo muna bilang “Best Actor” in 1972 for “Sukdulan” bago siya nagwagi uli this time ng “Best Supporting Actor” award. Pagganito ang trend, ibig sabihin kaya nito ay pababa na ang rating ni George, from leading to supporting role na lang ba, ha Jesse? Ayon sa balita, isang boto lang daw ang inilamang ni Susan Roces kay Vilma Santos. Pero lagi yatang “isa ang lamang” ang katuwiran para sa mga natalo. Ngayon kami naniniwala na hindi nagkamali si Ronnie Poe nang payagan niya uling mag-comeback sa pelikula si Susan. She kept on trying till she won the FAMAS. Ngayon naman ay pinagsunud-sunod na ang panalo. Talbog ang Amalia Fuentes! “Nang matanong si Amalia kung muli pa itong gagawa ng pelikula…”Stop na muna ako, bankrupt na kasi ako,” sey niya in all candor. Kasi raw ay naniniwala raw ang BIR sa mga nababasa nila tungkol sa pasobrang kita ng mga PRO. Bunga tuloy nito ay hinahabol ng BIR ang malalaking taxes na due sa huge earnings ng mga artista.

“Bah, ako man ay nalulugi rin. Lahat ng pelukula ko, in fact, ay pawang lugi,” sey na rin ni Leroy Salvador. Paging BIR then! Kawawa naman pala itong si Leroy, buong pagaakala pa naman namin e blockbuster ang mga movies niya! “Alam n’yo ba na may isang actress-singer dito na hanggang ngayon ay hindi pa binabayaran ang utang niya sa madyungan after twenty years?” tanong ng isang veteran actress-awardee. “Nakakatakot palang manalo!” Buti na lang at hindi ako candidate. Ayoko nang mawalan uli ng pelikula,” say ni Daria Ramirez na ngayon ay muling nagka-comeback sa pelikula. Tanong ni Carmen Soriano: “Tell me honestly, do you think na may lakaran ngayon sa FAMAS?” Kung anong dami ng mga policemen at mga cadets present bago simulan ang palatuntunan, wala isa mang secutiry sa gate noong matapos ang show. Dinumog tuloy nang husto ang mga artista paglabas. The colros of the ngith were red, black and white to the fullest. Although medyo nakalamang ang itim sa mga damit nina Nora Aunor, Boots Anson Roa, Gloria Sevilla, Leila Hermosa, Aurora Salve, Tet Antiquiera, (siya ang pinaka-star nang gabing yaon dahil sa kanyang suot na black body net with nothing underneath to cover her delicate parts), Julie Ann Fortich (na ang costume ay lift-up mula sa isang Barbara Cartland novel), Rio Locsin, Veronica Jones and others whose name in black escaped us for the moment. Kung sinumang paboritong artista na hindi nabangit sa black list ay siugradong dumating na ang kulay ng damit ay pula o di kaya’y ibang kulay. Amalia Fuentes was ravishing in a beige from Rome. – Alfie Lorenzo and Joey de Castro, Jingle Extra Hot Magazine, December 10, 1979 (READ MORE)

Sweetest Partners of teh Night: Llyod Samartino and Jackie Lou Blanco na magkahawak kamay nang pumasok sa bulwagan. (Who sez na nagkakalabuan ang dalawang ito?) Marahil ay gutom na si Lloyd noon, we caught him religiously muching a sandwich na tangan ni Jacki Lur. Pinaka-self-confident ng gabi: Celso Ad Castillo who declared na “I’m expecting seven to eight awards, kaya’t steady lamang ako rito.” (Baby…”Pagputi ng Uwak, Pagitim ng Tagak” got the lion’s share totalling seven awards.) Gesture of the Night: George Estregan bussing Baby Delgado heavily bago umakyat at tanggapin ang kanyang tropeo. Runner-upL Alma Moreno who kept pressing Rudy Fernandez’ hands upang maibsan ang pagka-tense ng asawa. (Rudy Fernandez was resting heavily on the hope of winning that night. He lost.) Comment of the nightL “Nasaan ang mga cue cards namin?” mararay na wika ni Mother Rita Gomez pagpasok sa podium. Runner-up: Gloria Sevilla checking on daughter Bebeth: :Sabi ko naman sa’yo huwag kang iiyak…” Mommy Gloria was howling backstage upon learning na Archie won. Costume of the Night: Tet Antiquiera who stoel the show on stage and backstage dahil sa kanyang revealing otufit, reminding us of Marilyn Monroe at Jean harlow. Very sexy! Runner-up: Aurora Salve’s gown na may malaking slit sa side pababa at alam mong walang suot na underwear dahil paano? Sans-Vicks-Vaporub-Eye-Mo of the Night: Julie Vega who romped onstage blinded with tears dahil sa pagkapanalo niya. Biggest disappointment of the Night: Vilma Santos hellbent in winning the Best Actress, ’cause prior to that, nanalo na ang “Pagputi ng Uwak…” ng Best Picture at Best Director. Susan Roces queenly grabbed the coveted award for “Gumising Ka, Maruja.” Runner-up: The whole of Metropolitan Theater when Rudy Fernandez’ fine and exquisite performance in “Anak sa Una, Kasal sa Ina” failed to bring him the bacon. “We were expecting Rudy Boy to win…” comment Auggie Cordero. “Bakit naman ganoon? Sayang!” wika ni Claire. “Nang pumasok si Alma Moreno para mag-abot ng trophy for Best Actor, sigurado kong panalo na si Rudy,” wika ni Philip Salvador, nang magkita-kita kami sa Manila Peninsula. Great Escape of the Night: Rio Locsin making a dash with Al Tantay upon learning na hinahanap siya ng kanyang mama. Runner-up: Singer Eva Eugenio na biglang nawala nang malamang sa Seq. 5 ng script siya dapat kumanta, mahuhuli sina Claire at Imelda Papin. So, from Seq 28, lipat si Claire sa Seq. 5, Pagkatapos ng kanta ni Claire, lumitaw ang eva Eugenio: “Bakit hindi ninyo ako tinawag, ako pala ang kakanta…” dialogue niya. – Joey de Castro, Jingle Extra Hot Magazine, December 10, 1979 (READ MORE)

FAMAS: Gabi ng Mga Cliche: – Ano ang kahulugan sa iyo ng FAMAS, tanong ko kay Elizabeth Oropesa sa lobby ng Metropolitan Theatre, November 21. “My only acting award came from the Famas.” “Prestige to a certain extent,” sagot ni Bembol Roco. “Next to the stars, the technical men in the industry expect much from it,” chirped Marichu Maceda. “Disappointed sila nang early this year ay kumalat ang tsismis na hindi magbibigay ng parangal ang Famas for reasons other than professional.” Nakakalungkot, di ba? Papatayin nang gayon na lamang ang 28 taong institusyon na tanging witness ng rise and fall and rise of Philippine movies. Ang mas malungkot nito’y hindi naman sa mga dahilang propesyonal papatayin ang Famas. Mga personal daw na dahilan. Nag-resign si Lilia Andolong nang hindi man lang tumawag ng isang eleksyon. Ang nangyari’y naglakas-loob na lang ang natirang mga miyembro upang itaguyod ang Famas. Tradisyon, tradisyon. Kaalakbay na ng karangalang Famas ang intriga, controversy. Halos taun-taon, pagkatapos parangalan ang mga aktor at aktress, may mga kilay na hindi mapigil ang pagtaas, nagtatanong. Bakit? Bakit halimbawa nanalo si Mat Ranillo III ng best actor award gayong hindi naman siya ang lead sa “Isang Ama Dalawang Ina?” Ganoon ba ang standard na gustong ipahatid ng mga hurado – ang acting na kasing-putla ng sukang Baliuag? Does Mat Ranillo deserve that trophy? I doubt very much. Hindi sa gusto kong i-put-down si Ranillo. He’s fine young gentleman but a lousy actor. He has yet to internalize, to let go. Mababaw and kanyang facial expression. Walang substance. And to use a movie cliche, walang depth. Walang relevance, say ng swardspeak. Kung sa palagay ng Famas judges, talagang kapuri-puri ang acting ni Ranillo sa nasabing pelikula, makatotohanan siguro kung ang aktor ay na-nominate sa best supporting actor category.

Susan Roces makes for a more credible winner. And we’re not even saying this because we’re fans of hers. Kay Amalia Fuentes ako, kung itatanong mo. Ibig sabihin, mas kapani-paniwala ang pagkakapanalo ni Susan kaysa kay Mat. Sabihin nang mahigpit ang labanan sa best actress category, may laban naman kahit paano ang reyna. Susan’s role sa “Maruja” is one of her best, of not her best portrayal so far. Flaw, flaws. Ang pinakamasaya, magulong bahagi ng gabi ng Famas ay ang portion na pinamahalaan nina Amalia Fuentes at Carlos Padilla, Jr. Ito ay ang bahaging pinarangalan ng Famas ang kanyang sarili. Lahat na yata ng miyembro ng Famas ay pinarangalan, at sino pa’ng nagaabot sa kanila ng parangal kundi ang mga direktor mismo ng Famas. Ang saya! Mas masaya ang production flaws sa portion na ito, an unforgettable moment in Philippine television, if you ask me. Hayan si Amalia Fuentes, kuntodo paganda, mala-sutlang gown ang suot at glamorous talaga, star na star, subalit ano’ng nangyari sa hosting nila ni Padilla? A comedy of errors, as she herself pointed out. Ganito. So tinawag ni Amalia ang pangalan ni Ingrid Salas upang magpresent ng parangal. Ang lumabas sa backstage ay si Azenith Briones. Nagkatinginan sina Amalia at Carlos pero tuloy-tuloy lang ang show. Next, tinawag ang pangalan ni Janet Bordon, ang lumabas naman ay si Tina Monasterio. Nang tinawag naman ang pangalan ni Tina, si Josephine Garcia naman ang nag-abot ng tropeo. Ganito rin ang sitwasyon nina Deborah Sun at Baby Delgado. Later on, hindi na rin napigil nina Amalia ang kanilang sarili. Sila man ay hindi na nagseryoso sa kanilang trabaho. “Ano ba itong nangyayari sa atin?” tanong ng aktress. Nagmumukha kasi silang kuwan sa entablado. And the poor production staff did not come to their rescue. To save themselves from further shame and embarassment, sina Amalia man ay nagenjoy na sa mababaw na kaligayahan. Inaliw ang mga sarili sa kanilang mistakes.

Fashion and passion. Bakit ba sa tuwing dadalo ang ilang artista sa mga ganitong okasyon ay pilit silang nakikipagkumpetensiya kay Lady Famas sa pabonggang damit o kawalan nito? Aba’y maloloko ka sa suut-suot na headdress nitong si Ellen Esguerra. Saan ba siya pupunta’t nagkagasta pa siya nang malaki sa kanyang gown na sumisigaw, nang-aagaw ng eksena? Mainam sana kung nominee man lang ang actress. Did she lend glamour to the occassion? Mmmm. Kopya raw si Celia Rodriguez, kung bonggahan lang ang pinag-uusapan. Talaga? (This is one thing I hate about movie writing. I hate bitching around). I admire Rita Gomez. Prangka niyang sinabi sa kanyang co-host na si Bembol na “totoo, wala akong offers ngayon. Iyan ang katotohanan.” Ano pa, at sino? Iyak nang iyak si Julie Vega nang ideklara siyang best child actress. Cool na cool naman si Niño Muhlach nang manalo ito. Parang hindi bata, hindi yata excited. Kapansin-pansin na ang dalawang child stars na ito ay pawang lead roles ang ginampanan sa kanilang mga winning entries. Al Tantay and Tet Antiquiera, Llyod Samartino at Jacqui Lou Blanco. Nag-kiss sina Jacqui Lou at Oropesa. Malisya, malisya sa iyong mga mata. Si Ruby Anna sa isang mapang-akit na kasuotan, itim na blouse na pagkanipis-nipis, mababakas mo ang kanyang kinabukasan. Hu-huhhh. Iyon ba si Manding Garces, ang direktor ng maraming action pictures noong araw? Mukhang masasakitin si Garces. He walked with a limp as he received his award of recognition from the ever recognizing body. Sabi ni Mario Cabling, pangulo ng Famas, kailangan nating iligtas ang akademya. Kailangan ang koordinasyon. For once, mukhang nakinig sa Famas ang mga artista. Sa dami ng dumalo nang gabing yaon, hindi mapigil ni Johnny Litton ang malunod sa mga cliche. Ang buong gabi ay isang cliche. – N Miguel II, Jingle Extra Hot Magazine, December 10, 1979 (READ MORE)

Celso Ad Castillo’s Vilma Santos Films

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“…Mr. Castillo, who directed more than 60 movies including “Asedillo” in 1971 and “Burlesk Queen” in 1977, died in his home in Siniloan, Laguna. In 2007, Mr. Castillo was diagnosed with stage 1 lung cancer. Born in Siniloan in Sept. 12, 1943, Mr. Castillo is the son of lawyer Dominador Ad Castillo and Marta Adolfo. He graduated in 1964 from the Manuel L. Quezon University with a degree in English Literature. Mr. Castillo started as a writer for a komiks magazine, until he was commissioned to write a script for a spoof of the British superspy James Bond in 1965. He directed his first movie, Misyong Mapanganib in 1966. But it was the film Asedillo in 1971 that made Mr. Castillo popular. Based on the story of a Filipino rebel of the 1920s who was hunted down as a bandit by the American colonial government, the movie gave its lead actor, Fernando Poe, Jr. his second Best Actor trophy from the Film Academy of Movie Arts and Sciences (FAMAS)…Before he died, he has just launched his tell-all book Celso Ad Castillo: An Autobiography and His Craft…” – Jeffrey O. Valisno (READ MORE)

Castillo gave Vilma Santos her first mature role in Burlesk Queen resulting with her first local film festival best actress award. He also directed Pagputi Ng Uwak Pagitim Ng Tagak where Vilma Santos starred and produced. The film received several best picture awards and was considered one of Castillo’s best works. – RV (READ MORE)

Tag-ulan sa tag-araw (1975) – “…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…” – RV (READ MORE)

Burlesk Queen (1977) – “…Burlesk Queen is much more than a gripping commercial melodrama. It is also a scathing commentary on the sarcastic sexual politics that has become the atmosphere of Philippine society: of hardworking women and the good-for-nothing men they serve (in other words, a patriarchal society gone awry). It is also a fervent reminder of the redemptive and equalizing power of art, which is the reason why it will always be a threat to those who hold power. Multi-faceted, committedly acted, and very well-directed, Burlesk Queen, I opine, is an unsung masterpiece.” – Francis Cruz (READ MORE)

Pagputi ng uwak, Pag-itim ng tagak (1978) – “…Celso Ad. Castillo’s Pagputi ng Uwak, Pag-itim ng Tagak (When the Crow Turns White, When the Heron Turns Black) injects political overtones into its story, about a poor young man (Bembol Roco) who, when abandoned by his upper-class lover (Vilma Santos), joins the Hukbalahap rebels. Ad. Castillo in this film demonstrates an amazing visual language–not flashy, but quietly, lyrically brilliant. He also demonstrates a more masterful grasp of music and song than possibly any other Filipino director–the film is a model on how to use kundimans, ballads, pop songs to differentiate social classes, to satirize and comment on the narrative action.” – Noel Vera (READ MORE)

Celso Ad. Castillo began directing films mid-60′s at an early age, but he has since then gained reputation for many other aspects of the craft particularly scriptwriting and acting. In the Filipino movie industry, he holds the unique repuation of being controversial, trendsetter,enfant terrible and messiah of Philippine cinema, and his track record justifies it: he introduced artistry and commercialism in sex films (nympha) when the two were considered incompatible, and introduced sex in artistic projects ( Ang Pinakamagandang Hayop sa Balat ng Lupa/The Most Beautiful Animal on Earth)when moralistic repression was in vogue. An unfortunate and unfair consequence of the controversy is the recognition due him as one of the finest film commentators on the Philippine social scene, with a visual fluency unmatched by any other contemporary filipino film director. – Celso Ad Castillo Web-site (READ MORE)

Related Reading


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Other films credits:

  • Producer: 5 films, 1 tele-movie
  • Directing: 1
  • Writing: 2


About Producing Films: – “…Vilma herself gives the credit to her willingness to learn. The process was sometimes painful but, says Vilma, she knew it was all part of her education. I am now 28 years in this business and everything I have learned has made me a stronger woman. Even the troubles, the intrigues – they have made me a stronger woman. I’m always learning. For example, there was a part of my career that was for me a very expensive education.” She had set up a production company of her own that, it turned out, was mostly producing debts.‘ That was about 15 years ago. I tried producing and I made about five movies for VS Films, my own outfit. It was managed by my mother, not by me personally, and Mama is so good people take advantage of her. Before I knew it I was drowning in debt. I was pregnant at the time, 1980, when I learned I had a debt of six million pesos! And I didn’t even know if, after giving birth, audiences would still accept me. How was I to survive? I prayed; I told God I was willing to work, sarado ang mata, just to pay off all those debts. And with his blessings I was given a second chance. After giving birth to my son, my career got a second chance and became even more successful: not only did I continue to be box-office but I was winning awards right and left…” – Quijano De Manila (Nick Joaquin), Philippine Graphic Magazine 05 November 1990 (READ MORE)

Mga Rosas sa Putikan (1976)

Basic Information – Directed, story, screenplay: Emanuel H. Borlaza; Cast: Vilma Santos, Celia Rodriguez, Babara Luna, Trixia Gomez, Merle Fernandez, Romeo Enriquez, Arnold Gamboa, Sandy Garcia, Monica Morena, Ike Lozada; Executive producer: Vilma Santos; Original Music: George Canseco; Cinematography: Oscar Queruero; Release Date: September 10 1976; Production Co: VS Films

About the film: – A film about the flight of prostitutes. Vilma co-starred with sex starlets Barbara Luna and Trixia Gomez, veteran actress Celia Rodriguez and Rudy Fernandez’ sister, Merle Fernandez. Vilma recorded the theme song composed by George Canseco.

Apoy sa Ilalim Apoy sa Ibabaw (1977)

Basic Information – Direction, Story, Screenplay: Ben Feleo; Cast: Romeo Vasquez, Chanda Romero, Lorna Tolentino, Barbara Luna; Original Music: Demet Velasquez; Cinematography: Max de la Peña; Release Date: December 9 1977; Production Co: VS Films

About the film: – No information available except that the Vilma Santos’ birthday celebration was added as bonus feature of the film.

Pagputi Ng Uwak Pagitim ng Tagak (1978)

Basic Information – Directed, story: Celso Ad. Castillo; Screenplay: Celso Ad. Castillo, Iskho Lopez, Lando Jacob, Ruben Arthur Nicdao; Cast: Vilma Santos, Bembol Roco, Robert Talabis, Joonee Gamboa, Angie Ferro, Olivia O’Hara, Mona Lisa, Mario Escudero, Fred Panopio, Adul de Leon, Lito Anzures, Miniong Alvarez, Andres Centenera, Carpi Asturias, Filing Cudia, Yolanda Luna, Mervyn Samson, Dolores Pobre, Jennifer Cortez, Diomedes Maturan; Executive producer: Vilma Santos; Original Music: George Canseco; Cinematography: Romeo Vitug; Film Editing: Celso Ad. Castillo; Production Design: Peter Perlas; Sound: Gaudencio Barredo

About the film: – Lovers Julie (Vilma Santos) and Dido (Bembol Rocco) struggles to remained in a relationship despite the family conflict brought together by their rivaling relatives and the social unrest that surrounds them.

Pagputi Ng Uwak Pagitim ng Tagak won the 1978 FAMAS Best Picture and the 1978 Gawad Urian Best Picture. Also, Vilma Santos was nominated for FAMAS best actress.

“…Working with Celso Kid is a privilege. He’s a genius.” With good humor, Vilma recalls a “quarrel” on the set of “Pagputi ng Uwak, Pag-itim ng Tagak,” which she produced in 1978. “It took so long to finish. I lost money on that. But we’re still friends.” Burlesk and Pagputi brought a lot of honor to me…” – Bayani San Diego Jr. (READ MORE)

Coed (1979)

Basic Information – Directed: Emmanuel H. Borlaza; Story, screenplay: Allan Jayme Rabaya; Cast: Vilma Santos, Jay Ilagan, Celia Rodriguez, Allan Valenzuela, Romeo Enriquez, Romeo Rivera, Jun Soler, Angge, Jojo Santiago, Cora Tanada, Larry Leviste, Marilyn Villarruz, Rosemarie Sarita; Original Music: George Canseco; Cinematography: Mike Accion; Film Editing: Abelardo Hulleza

About the film: – No information available

Halik sa Paa Halik sa Kamay (1979)

Basic Information – Directed: Luis Enriquez; Story: Beybs Pizarro Gulfin; Screenplay: Luis Enriquez, Beybs Pizarro Gulfin; Cast: Vilma Santos, Ronald Corveau, Eddie Rodriguez, Rosemarie Gil, Jose Vergara, Roderick Paulate, Ester Chavez, Angie Ferro, Angge, Virginia Montez, Aurora Salve; Executive producer: Vilma Santos; Original Music: E Veron; Cinematography: Loreto Isleta; Film Editing: Abellardo Hulleza

About the film: Halik sa Paa Halik sa Kamay earned Vilma Santos a best actress nomination from 1979 FAMAS Awards.

Lamat sa Kristal (1988)

Basic Information – Cast: Vilma Santos, Jacklyn Jose. Produced by Vilma Santos and GMA – 7 (Citation is needed)

About the tele-movie: “…Jacklyn is cast with Vilma Santos and Christopher De Leon in Viva’s “Immortal.” This is Vilma and Christopher’s first film together after several years of making movies separately. Although Jacklyn is cast in a supporting role, she is excited in doing the dramatic opus since it is a Vilma starrer. Jacklyn is vocal to admit that she is an avid fan of Vilma. This is the second time she co-stars with her favorite idol. The first one was on a TV dramatic special “Lamat sa Kristal,” which was produced by Vilma herself. Besides, Jacklyn is also happy to note that she will be directed by one of her favorite directors, Eddie Garcia…” – Eddie O. Liboon (READ MORE)

“…Vilma Santos went through with the taping of her first drama special, Lamat sa Kristal, during the rage of killer typhoon Unsang. While it wrought havoc in the entire nation and claimed numerous lives and destroyed properties, the whole production made good use of the terribly bad weather to set the mood for the top actress’ tele-movie. Indeed, there’s nothing like Mother Nature providing the real atmosphere, as teh stars and crew braced the strong winds and heavy rains. To the said stars and crew the showbiz rule “the show must go on” still holds true, no matter what the weather is…” – Meg mendoza (READ MORE)


Lazarito (1990s)

Basic Information Direction: Vilma Santos; Cast: Dawn Zulueta, Ariel Rivera, Ali Sotto, Bernardo Bernardo, Tom Taus, AJ Galvez and Armando Goyena; Production Co.: Vilma Santos Productions, Inc.

About directing – “…Ang mentor ni Vi sa pagiging direktor ay si Joel Torre. Nakapagdirek si Vi ng isang telemovie na may pamagat na Lazarito kung saan tampok dito sina Dawn Zulueta, Ariel Rivera at Tom Taus, Jr…Kabilang naman sa ginawang telemovie ni Vi ay ang Lamat Sa Kristal, Katuparan, Once There Was A Love, Correctional, Bugso at Maalaala Mo Kaya: Regalo episode…” – Alfonso Valencia (READ MORE)

“…Ang dream ko naman talaga—nung hindi ko alam na papasok ako sa pulitika—ay makapagdirek ng movie. Yun yung next step ko, parang maging Laurice Guillen, Marilou Diaz-Abaya. Nagpapaturo na nga ako ng anggulo! Yun ang dream ko talaga. But she was quick to point out that she already directed a telemovie for GMA-7 in the past. Titled Lazarito, it starred Dawn Zulueta and Ariel Rivera. “Nakapag-direct na ako para sa TV, pero ang dami ko pang mali. Nung mag-e-edit na ako, wala na akong material. Nung nag-shoot kasi ako, eksakto lang. Lesson learned: dapat pala ang dami mo talagang dapat [i-shoot]…” – Jocelyn Dimaculangan (READ MORE)


Mardy (1970) (Citation is needed)

Basic Information: – Directed, story, screenplay: Consuelo P. Osorio; Cast: Eddie Peregrina, Vilma Santos, Esperanza Fabon, Bebong Osorio, Perla Adea, Joe Alvarez, Dolly Favorito, Nick Aladdin, Ben David, Betty Mendez, Tommy Angeles, Danilo Jurado, Danny Boy; Original Music: Demet Velasquez

Biktima (1974) (Citation is needed)

Basic Information: – Directed: Nilo Saez; Story: Laura Santos; Screenplay: Jose F Sabal; Cast: Helen Gamboa, Celia Rodriguez, Perla Bautista, Cristina Reyes, Divina Valencia, Leopoldo Salcedo, Bert Leroy Jr., Joe Sison, Tony Santos Jr., Yoyoy Villame, Tommy Abuel, Vilma Santos, Edgar Mortiz, Ike Lozada, German Moreno, Max Alvarado, Renato Robles, Patria Plata, Elizabeth vaughn, Maribel, Danny Rojo, Joaquin Fajardo, Steve Alcarado, Lope Policarpio, Romy Luartes, Lex Amores, Boy Clinton; Executive producer: Espiridion Laxa; Cinematography: Ricardo Dano

About writing: – “…Ang entry ng Tagalog Ilang-Ilang Productions sa 9th Manila Film Festival na Biktima (June 23, 1974) ay pinagsamahan nina Vi, Edgar Mortiz, Helen Gamboa, Celia Rodriguez…si Vilma Santos ang sumulat ng istorya, si Jose Flores Sibal sa iskrip at si Nilo Saez ang nagdirek ng nasabing pelikula…” – Alfonso Valencia (READ MORE)

“…In a strange turn of events, Dolores (Vilma Santos) moves in to live with her grandfather, who has sole custody of her ever since her mother was imprisoned for the m rder of Dolores’ father. Mystery unfolds as Dolores stays with her grandfather when members of the household are murdered one by one. Will Dolores escape the chaos unraveling around her or will she be the next victim? …” – Kabayan Central (READ MORE)

Top 100 Vilma Santos Films

Spanning five decades with 197 films credits and almost two hundred awards, Vilma Santos’ filmography is a kaleidoscope picture of changes in times. Different genres, from teen musicals, folksy fantasies, campy horrors, animated actions to mature adult dramas, her films demonstrated her inner acting talents honed by directors, maneuvered by film producers/benefactors (who some are no longer with us) and supported by her ever loyal fanatics. The results were a long list of film titles that covered several social relevance that capture each decades. A long list of record-breaking box office returns that gave her the title, “the longest reigning box office queen of all time.” A long list of films that sustained her career to different transformation, ensuring her longevity no other Filipino movie queen ever enjoyed. We have painstakingly choose the best of the best. Basing our selection with three criteria. First, the financial success of the film. Cliche it maybe, financial success sustained her bankability and longevity. Second is the critical recognitions the film received. Third, is the other factors that contribute to the overall success of the film, namely, relevance, entertainment value, and the question of, is this film a career milestone or is this film contributed to her popularity. Here are Vilma Santos’ top 100 films.

Total score consists of (A) 10 points for box office records, (B) 10 points for critics recognitions, (C) 10 relevance/longevity, (D) “other factors” that contribute to overall success, gives us total score of 30 points.


01. Burlesk Queen (1977) 30.90
02. Bata, Bata…Paano Ka Ginawa? (1998) 28.90
03. Dekada’70 (2002) 28.80
04. The Dolzura Cortez Story (1993) 28.70
05. Ikaw ay Akin (1978) 28.60
06. Rubia Servios (1978) 28.50
07. Relasyon (1982) 27.90
08. Pahiram Ng Isang Umaga (1989) 27.80
09. Broken Marriage (1983) 27.70
10. Lipad, Darna, Lipad (1973) 27.60

11. Imortal (1989) 26.90
12. Anak (2000) 26.80
13. Tagos ng Dugo (1987) 26.70
14. Adultery (1984) 26.60
15. Pagputi ng Uwak Pag-itim ng Tagak (1978) 25.90
16. Trudis Liit (1963) 25.80
17. Gaano Kadalas ang Minsan? (1982) 25.70
18. Paano Ba ang Mangarap? (1983) 25.60
19. Sinasamba Kita (1982) 25.50
20. Tag-ulan sa Tag-araw (1975) 25.40

21. In My Life (2009) 24.90
22. Saan Nagtatago Ang Pag-ibig? (1987) 24.80
23. Ipagpatawad Mo (1991) 24.70
24. Mano Po 3 My Love (2004) 24.60
25. Pakawalan Mo Ako (1981) 24.50
26. Karma (1981) 24.40
27. Hahamakin Lahat (1990) 24.30
28. Sinungaling Mong Puso (1992) 24.20
29. Dalawang Pugad, Isang Ibon (1977) 24.10
30. Ex-Wife (1981) 24.09

31. D’ Lucky Ones (2006) 24.08
32. Dyesebel atang Mahiwagang Kabibe (1973) 24.07
33. Sister Stella L. (1984) 23.90
34. Kapag Langit Ang Humatol (1990) 23.80
35. Miss X (1980) 23.70
36. Ikaw Lang (1993) 23.60
37. Bato sa Buhangin (1976) 23.50
38. Nakakahiya? (1975) 23.40
39. Hindi Nakakahiya (1976) 23.30
40. Batya’t Palu-Palo (1974) 23.20

41. Haplos (1982) 22.90
42. Ibulong Mo Sa Diyos (1988) 22.80
43. Pinay, American Style (1979) 22.70
44. Langis at Tubig (1980) 22.60
45. Palimos Ng Pag-ibig (1986) 22.50
46. Muling Buksan ang Puso (1985) 22.40
47. Kampanerang Kuba (1974) 22.30
48. Darna and the Giants (1973) 22.20
49. Dama De Noche (1972) 21.95
50. Hatinggabi Na, Vilma (1972) 21.90

51. T-Bird at Ako (1982) 21.80
52. Alyas Baby Tsina (1984) 21.70
53. Halik sa Kamay, Halik sa Paa (1979) 21.60
54. Minsan pang Nakaraan (1983) 21.50
55. Masarap, Masakit ang Umibig (1977) 21.40
56. Hindi Nahahati ang Langit (1966) 21.30
57. Susan Kelly, Edad 20 (1977) 21.20
58. Hiwalay (1981) 21.10
59. Rock, Baby, Rock (1979) 21.09
60. Mga Mata Ni Angelita (1978) 21.08

61. Bertang Kerengkeng (1976) 21.07
62. Ibong Lukaret (1975) 21.06
63. Vilma Viente Nueve (1975) 21.05
64. Takbo, Vilma, Dali (1972) 21.04
65. Nag-iisang Bituin (1994) 20.90
66. Karugtong ang Kahapon (1975) 20.80
67. Ging (1964) 20.70
68. Anak, ang Iyong Ina (1963) 20.60
69. Kay Tagal ng Umaga (1965) 20.50
70. Yesterday, Today and Tomorrow (1986) 20.40

71. Magkaribal (1979) 20.30
72. Anak ng Aswang (1973) 20.20
73. Simula ng Walang Katapusan (1978) 20.10
74. Promo Girl (1978) 20.09
75. Biktima (1974) 20.08
76. Good Morning, Sunshine (1980) 20.07
77. Kasalanan Kaya? (1968) 19.90
78. Mga Rosas sa Putikan (1976) 19.80
79. Nakawin Natin ang Bawat Sandali (1978) 19.70
80. Modelong Tanso (1979) 19.60

81. Darna at Ding (1980) 19.50
82. Mga Reynang Walang Trono (1976) 19.40
83. Nag-aapoy na Damdamin (1976) 19.30
84. Pulot-gata, Pwede Kaya? (1977) 19.20
85. Kamay na Gumagapang (1974) 19.10
86. Young Love (1970) 19.09
87. Ito ang Pilipino (1967) 18.90
88. Ikaw Lamang (1971) 18.80
89. Kampus (1978) 18.70
90. Coed (1979) 18.60

91. The Sensations (1971) 18.50
92. Never Ever Say Goodbye (1982) 17.90
93. Asawa ko, Huwag Mong Agawin (1986) 17.80
94. Ayaw Kong Maging Kerida (1983) 17.70
95. Ibigay Mo Sa Akin Ang Bukas (1987) 17.60
96. Gusto Ko Siya, Mahal Kita (1980) 17.50
97. Amorseko (1978) 17.40
98. Pag-ibig ko sa iyo lang Ibibigay (1978) 17.30
99. Tatlong Mukha ni Rosa Vilma (1972) 17.20
100. Pinagbuklod ng Pag-ibig (1978) 17.10

Criteria: Box Office Records, Critics Recognitions, Other Factors(Relevance, Longevity, Entertainment Impact)

Top 100 Vilma Santos Films (part ten)

Spanning five decades with 197 films credits and almost two hundred awards, Vilma Santos’ filmography is a kaleidoscope picture of changes in times. Different genres, from teen musicals, folksy fantasies, campy horrors, animated actions to mature adult dramas, her films demonstrated her inner acting talents honed by directors, maneuvered by film producers/benefactors (who some are no longer with us) and supported by her ever loyal fanatics. The results were a long list of film titles that covered several social relevance that capture each decades. A long list of record-breaking box office returns that gave her the title, “the longest reigning box office queen of all time.” A long list of films that sustained her career to different transformation, ensuring her longevity no other Filipino movie queen ever enjoyed. We have painstakingly choose the best of the best. Basing our selection with three criteria. First, the financial success of the film. Cliche it maybe, financial success sustained her bankability and longevity. Second is the critical recognitions the film received. Third, is the other factors that contribute to the overall success of the film, namely, relevance, entertainment value, and the question of, is this film a career milestone or is this film contributed to her popularity. Here are Vilma Santos’ top 100 films.

Total score consists of (A) 10 points for box office records, (B) 10 points for critics recognitions, (C) 10 relevance/longevity, (D) “other factors” that contribute to overall success, gives us total score of 30 points.


10.  Lipad, Darna, Lipad 1973
SCORE: 7(A) + 10(B) + 10(C) + 0.6(D) = 27.6(T)
Directed by Emmanuel H. Borlaza, Elwood Perez and Joey Gosiengfiao, co-starring: Gloria Romero, Celia Rodriguez, Liza Lorena, Marissa Delgado, Angie Ferro, Mary Walter,  Adul de Leon, Chanda Romero, Eddie Garcia, Ernie Garcia, Dick Israel, Ruel Vernal, Angelito, Cloyd Robinson. Based on the novel of Mars Ravelo.  Top Record-Breaking Box-office Film of 1973.   The first of four Darna films starring Vilma Santos. – MORE INFO (no available video)

9.  Broken Marriage 1983
SCORE: 10(A) + 7(B) + 10(C) + 0.7(D) = 27.7(T)
Directed by Ishmael Bernal, co-starring: Christopher De Leon,  Tessie Tomas, Harlene Bautista,  Orestes Ojeda, Lito Pimentel, Richard Arellano, Cesar Montano, Len Santos, Ray Ventura. Vilma received her second Gawad Urian Best Actress and a FAMAS nomination for best actress. – MORE INFO

8.  Pahiram Ng Isang Umaga 1989
SCORE: 10(A) + 7(B) + 10(C) + 0.8(D) = 27.8(T)
Directed by Ishmael Bernal, co-starring:  Gabby Concepcion, Eric Quizon, Billy Crawford, Zsa Zsa Padilla, Olivia Cenizal, Tita Muñoz, Dexter Doria, Vicky Suba, Gina Perez, Alma Lerma, Becky Misa, Gil de Leon, Subas Herrero, Cris Vertido, Toby Alejar.  Written by Jose Javier Reyes.  Vilma Santos received her first best actress from the PMPC Star Awards as well as the Gawad Urian.  She also received nomination from FAP. – MORE INFO

7.  Relasyon 1982
SCORE: 10(A) + 7(B) + 10(C) + 0.9(D) = 27.9(T)
Directed by Ishmael Bernal, co-starring: Christopher De Leon, Jimi Melendez, Lucy Quinto, Beth Mondragon, Olive Madridejos,  Ernie Zarate, Manny Castañeda, Bing Fabregas, Augusto Victa.  The very first “Grand Slam” for Best Actress in Philippine.  Vilma won all the Philippines’ best actress awards of 1982.   She received recognitions from Gawad URIAN, FAP, CMMA, FAMAS. – MORE INFO

6.  Rubia Servios 1978
SCORE: 10(A) + 10(B) + 8(C) + 0.5(D) = 28.5(T)
Directed by Lino Brocka, co-starring: Phillip Salvador, Mat Ranillo III.  Vilma received a nominationf for best performer in the 1978 Metro Manila Film Festival.  The film was the top revenue grosser.  – MORE INFO

5.  Ikaw ay Akin 1978
SCORE: 10(A) + 8(B) + 10(C) + 0.6(D) = 28.6(T)
Directed by Ishmael Bernal,  co-starring: Christopher De Leon, Nora Aunor, Ellen Esguerra, Odette Khan, Charmie Benavidez, Sandy Andolong, Nick Romano, Zandro Zamora, Ernie Zarate, Cris Vertido, Anton Juan.  Vilma received a Gawad URIAN Nomination for Best Actress. – MORE INFO

4.  Dahil Mahal Kita, The Dolzura Cortez Story 1993
SCORE: 10(A) + 8(B) + 10(C) + 0.7(D) = 28.7(T)
Directed by Laurice Guillen, co-starring:  Christopher De Leon, Charito Solis, Jackie Aquino, Maila Gumila, Mia Gutierrez, Eula Valdez,   Noni Buencamino, Gil Portes.  Vilma Santos won the Film Academy of the Philippines’ Best Actress.  She also won Gawad Urian, PMPC STAR, Metro Manila Film Festival and FAMAS Circle of Excellence. – MORE INFO

(no available video)

3.  Dekada’70 2002
SCORE: 10(A) + 8(B) + 10(C) + 0.8(D) = 28.8(T)
Directed by Chito S. Roño, co-starring: Christopher De Leon, Piolo Pascual, Marvin Agustin, Carlos Agassi, Danilo Barrios, Kris Aquino, Ana Capri, Dimples Romana, Marianne de la Riva, Tirso Cruz III, Orestes Ojeda, John Wayne Sace.  Written by Lualhati Bautista.  Vilma Santos won the 2003 Cinemanila International Film Festival Best Actress.  She also won the best actress from FAP, Gawad URIAN, PMPC Star and YCC Best Performer.  The film was the Philippines’ official entry at the 76th Academy Awards best foreign language film.  –  MORE INFO

2.  Bata, Bata…Paano Ka Ginawa? 1998
SCORE: 10(A) + 8(B)+ 10(C) + 0.9(D) = 28.9(T) Directed by Chito S. Roño, co-starring: Albert Martinez, Carlo Aquino, Raymond Bagatsing, Ariel Rivera, Serena Dalrymple, Angel Aquino, Cherry Pie Picache, Rosemarie Gil, Dexter Doria.  Written by Lualhati Bautista.  Vilma won the 1999 Brussels International Festival of Independent Films Best Actress.  She also won the best actress from FAP, Gawad Urian, PMPC Star and the Young Critics Circle Best Performer. – MORE INFO

1.  Burlesk Queen 1977
SCORE: 10(A) + 10(B) + 10(C) + 0.9(D) = 30.9(T)
Directed by Celso Ad. Castillo, co-starring:  Rolly Quizon, Leopoldo Salcedo, Rosemarie Gil, Dexter Doria, Yolanda Luna, Rio Locsin, Roldan Aquino, Chito Ponce Enrile, Joonee Gamboa.  Vilma Santos won the 1977 Metro Manila Film Festival Best Actress.  She also received best actress nominations from FAMAS and Gawad Urian.   The film was the Festival’s top box office grosser.  –  MORE INFO

10. Lipad, Darna, Lipad 1973
9. Broken Marriage 1983
8. Pahiram Ng Isang Umaga 1989
7. Relasyon 1982
6. Rubia Servios 1978
5. Ikaw ay Akin 1978
4. Dahil Mahal Kita, The Dolzura Cortez Story 1993
3. Dekada’70 2002
2. Bata, Bata…Paano Ka Ginawa? 1998
1. Burlesk Queen 1977

…for the complete list, CLICK HERE