Filmography: Mga Rosas sa Putikan (1976)

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Basic Information: Story, Screenplay and Direction: Emmanuel H. Borlaza; Cast: Vilma Santos, Celia Rodriguez, Barbara Luna, Trixia Gomez and Merle Fernandez, Arnold Gamboa, Romeo Enriquez, Sandy Garcia, Monica Morena, Ike Lozada; Cinematography Oscar Querijero; Musical Director George Canseco; Executive Producer: Vilma Santos; Production Company: V.S. Films; Release Date: September 10, 1976 – Video48

Plot Description: No Available Data

Film Achievement: Borlaza gave Vilma Santos her very first best actress, winning the 1972 FAMAS for via Dama De Noche. He is also credited in narrowing the popularity gap between her and the musical era’s darling of the 70s, Nora Aunor.

Film Review: “…His films lack the arthouse style and social relevance that critics loves most in a Brocka or Bernal films but who cares about the critics when the paying public loves them. And the producers demand his service, from Doc Perez of Sampaguita Pictures, Atty. Esperidion Laxa of Tagalog Ilang Ilang Productions and later on, Vic Del Rosario of Viva Films and Lily Monteverde of Regal Films. Clearly, his films exists with one purpose, to entertain the masses not to depress or remind them with the country’s sad fate of economy or the below poverty line lives of many. The success of the Vilma-Borlaza films gave Vilma Santos versatility and preparation to a more serious acting career. It also narrowed the popularity gap between her and the musical era’s darling of the 70s, Nora Aunor. These are perhaps, the most significant contributions of Emmanuel Borlaza to Vilma’s career. Vilma who was considered only second to Nora couldn’t matched her singing talent and so, Borlaza countered this lack of singing with films that showcased Vilma’s acting versatility…” – RV (READ MORE)

“…Sa pagsasaliksik ko ay di ko sinasadyang makita ang mga pamagat ng pelikulang may kaugnayan sa putik. Labing-isa ang nakita ko, at marahil mas marami pa rito. Sa pamagat pa lamang ay kapansin-pansing napakalalim ng kahulugan ng salitang ‘putik’. Halina’t tunghayan ang ilan sa mga ito…Marahil, lahat ng pelikulang ito ay pumatok sa takilya, lalo na’t pawang mga bigating artista ang siyang bida sa mga ito. Kung susuriin natin ang mga pamagat pa lamang, kapansin-pansin ang iba’t ibang kahulugan ng putik. Tayo ay nagmula sa putik dahil nilalang tayo mula sa putik, kung papansinin ang pelikulang “Putik Ka Man… Sa Alabok Magbabalik”, habang sa “Magkumpareng Putik”, marahil ito’y tungkol sa paglalabanan ng dalawang magkumpareng kinulapulan ng putik ang bawat isa. Ibig sabihin, dinungisan ang pangalan at binalewala ang pinagsamahan bilang magkaibigan. Ang mga pelikulang “Mga Rosas sa Putikan“, “Ginto sa Putikan”, at “Dinampot Ka Lang sa Putik” ay marahil tumutukoy sa mga babaeng mahihirap na natagpuan ng mayaman at naging asawa…” – Mga Pagninilay ni Goriong Putik (READ MORE)

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

Filmography: Susan Kelly, Edad 20 (1977)

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Basic Information: Directed: Maria Saret; Story, screenplay: Jun Posadas, Cecille Larrizabal; Cast: Vilma Santos, Dante Rivero, Anthony Alonzo, Romeo Enriquez, Chito Ponce Enrile, Cloyd Robinson, Sandy Garcia, Laila Dee, Ramon Zamora; Cinematography: Vic Anao

Plot Description: No Available Data

Film Achievement: No Available Data

Film Review: “…Alonzo was one of the busiest actors during that time and made a long list of true-to-life movies based on factual events and police records. Stardom came late for Alonzo. He was already 30 when he was given an important role in Hindi sa Iyo ang Mundo Baby Porcuna in 1978 for which he was nominated for the URIAN Best Supporting Actor. He was nominated in the FAMAS the following year for Dakpin si Junior Bombay (1979). In 1972, he won the FAMAS Best Actor for his role in Bambang. He also won the Best Actor awards in the 3 Metro Manila Film Festival (MMFF) he participated in— for Bago Kumalat Ang Kamandag (1983), The Moises Padilla Story: The Missing Chapter (1985) and Anak Badjao (1987)…” – Wikipedia (READ MORE)

Filmography: Disco Fever (1978)

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Basic Information: Directed: Al Quinn; Story, screenplay: Maryo De Los Reyes; Cast: Vilma Santos, Christopher De Leon, Victor Laurel, Rio Locsin, Romeo Enriquez, Sandy Garcia, Freddie Aguilar, Sampaguita, Anak Bayan Band; Executive producer: Emilia Blass; Cinematography: Al Quinn, Joe Batac; Film Editing: Nonoy Santillan

Plot Description: Love Triangle (Christopher De Leon-Vilma Santos-Cocoy Laurel) and lots of dancing!

Film Achievement: One of 23 Film collaborations of Christopher and Vilma Santos.

Film Review: “…I was Vilma’s choreographer for her movies (Disco Fever, Good Morning Sunshine, etc.) and at the same time I was also choreographing for Nora on her show Superstar. When Vilma had her own TV show, she got me as choreographer but I stayed with her for only one month. The network bosses told me that I shouldn’t be handling two superstars at the same time. Nora was on Channel 9 and Vilma was on Channel 13. Because of loyalty, I chose to stay with Nora kasi mas nauna naman ako sa kanya. I was with her for four years na at that time. But first, I talked to Vilma who is a ninang of my son Miggy. I left Vilma with a heavy heart…(Asked if she was a Noranian, Geleen thought for a while and smiled), “Noon ‘yon!”…“It’s hard to tell. Nora is good in memorizing dance steps and Vilma is good in the execution.” Other stars Geleen choreographed for included Alma Moreno (for her TV show Loveli-NESS), Maricel Soriano (for Maricel Live! on Channel 13 and Maria, Maria on Channel 4)), Kuh Ledesma and Manilyn Reynes (Manilyn Live!). It was Maribeth Bichara who replaced Geleen as Vilma’s choreographer. Perhaps as an offshoot of their star-mistresses’ rivalry, Geleen (for Nora) and Maribeth (for Vilma) were also pitted against each other and the two dancers tried to ride on the wave of the faked rivalry between them when actually, claimed Geleen, “Maribeth and I were good friends…” – Geleen Eugenio (READ MORE)

“…I’d rather be known as Victor Laurel. But really, this Travolta is a sensation. I met him in Studio 54 and how the crowd loves him. He’s a wonderful actor, singer, and dancer.” Cocoy, too is a seasoned dancer even before the Travolta fever. He has a catlike grace that gives the impression of strenght and his dancing ability has helped tremendously in his career. “The Travolta dance is typical of hero worship even in San Francisco, Los Angeles and other big cities. Mondays, everyone who has caught the fever, even 30 year olds shop and prepare for the disco on Fridays and Saturday and stay up till the wee hours of the morning…We were about to ask another question about Vi, his leading lady in Lea’s Disco Fever but Ate Josie came in to remind Cocoy that the Sampaguita people were waiting with sketches of his costume for Dyesebel, the movie he was going to make for the Gilmore Studio. But didn’t. As a parting shot, Cocoy revealed that he’d soon put a disco. The Third Kind or something in Makati…” – Nena Z. Villanueva, Expressweek, November 16, 1978 (READ MORE)

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Filmography: Coed (1979)

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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

Plot Description: No Available Data

Film Achievement: Borlaza gave Vilma Santos her very first best actress, winning the 1972 FAMAS for via Dama De Noche. He is also credited in narrowing the popularity gap between her and the musical era’s darling of the 70s, Nora Aunor.

Film Review: “…Sabi ni Mama Santos, ako daw ang “pumatay” sa kanilang Pagputi…eto ang parusa ko, bigyan ko daw sila ng isang Kampus? so I’m making for them Coed. You see, when I was working on Kampus? at UP Los Banos, I realized their problems and lifestyle can be a source of even 10 movie materials. At kapag ang student force pala ang nag-patronize sa Tagalog movie, ang laki ng audience!” Borlaza revealed…I’m very meticulous about is: the audience were to identify itself with my main character, will it be happy with the poetic justice I execute? Will they find it correct and realistic? In Kampus? for instance, students who were pleased with the movie told me they liked the ending very much. They agreed with it. Vilma was bedded first by Mat Ranillo III, but ended up with Bembol who was the right choice after all. They say in real life, the man you walk down the aisle with is not necessarily the first man you had sex with. Also they say the dialouges were very in – like the way actual students would speak them. Siguro, once they sit in the theater, they are not bothered by such questions as ‘Why” or “how come?” Is the star value the main thing in selling movies? “In the case of Kampus?, yes, because Vilma Santos was my main star and she’s the current box office queen…” – Manny B. Fernandez, Expressweek, November 9, 1978 (READ MORE)

“…Borlaza’s films lack the arthouse style and social relevance that critics loves most in a Brocka or Bernal films but who cares about the critics when the paying public loves them. And the producers demand his service, from Doc Perez of Sampaguita Pictures, Atty. Esperidion Laxa of Tagalog Ilang Ilang Productions and later on, Vic Del Rosario of Viva Films and Lily Monteverde of Regal Films. Clearly, his films exists with one purpose, to entertain the masses not to depress or remind them with the country’s sad fate of economy or the below poverty line lives of many. The success of the Vilma-Borlaza films gave Vilma Santos versatility and preparation to a more serious acting career. It also narrowed the popularity gap between her and the musical era’s darling of the 70s, Nora Aunor. These are perhaps, the most significant contributions of Emmanuel Borlaza to Vilma’s career. Vilma who was considered only second to Nora couldn’t matched her singing talent and so, Borlaza countered this lack of singing with films that showcased Vilma’s acting versatility…” – RV (READ MORE)

Jay Ilagan (March 6, 1953 – February 3, 1992) is a Filipino actor. He hosted Stop, Look and Listen and starred in My Son, My Son and Going Bananas. He was married and separated with another popular movie personality Hilda Koronel and a common-law husband of Amy Austria at the time of his death. He died in a motorcycle accident in 1992. He was 39. – Wikipedia (READ MORE)