Filmography: Hatinggabi Na, Vilma (1972)

Posted on November 29, 2009 by @ffv Standard

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Basic Information: Directed: Joey Gosiengfiao; Screenplay: Joey Gosiengfiao; Cast: Vilma Santos, Barbara Perez, Romeo Rivera, Ruel Vernal, Dick Israel, Zeneda Amador, Ernie Garcia, Cloyd Robinson, Subas Herrero, Angie Ferro, Lito Trinidad

Plot Description: No Available Data

Film Achievement: Joey Gosiengfiao films with Vilma Santos: Hatinggabi Na Vilma 1972; Takbo, Vilma, Dali 1972; Lipad, Darna, Lipad 1973; Promo Girl 1978 – RV (READ MORE)

Film Review: “…Joey Gosiengfiao’s films are anything but righteous, much less respectable. That was their glory and greatness, and the reason he could never win an award–Christ, I think, with his abhorrence of respectability, would like the man’s style. Take, for example, the scene between Eddie Gutierrez and Ricky Belmonte in Bomba Star (roughly translated, Porn Star, 1980). Belmonte and Gutierrez are working out in a gym; Gutierrez starts casting looks at Belmonte; Belmonte coyly returns his looks. The two start teasing each other, tickling each other, suddenly find themselves on the floor wrestling with each other…enter Gutierrez’s lover, played by Marissa Delgado–she doesn’t do anything, just strikes a glamour pose, a sardonic expression on her face and the world’s longest cigarette holder between her fingers. I wish I could explain why the moment is so irreducibly funny, but I can’t; if I could, I suspect it wouldn’t be funny at all…” – Noel Vera (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)

“…Noon namang kainitan ng Vilma-Nora rivalry…Marso 23, 1973, ay ipinalabas ang higanteng trilogy movie ng Sine Pilipino na “Lipad, Darna, Lipad.” Ang pelikulang ito na tinatampukan din nina Angelito bilang si Ding, Gloria Romero bilang Babaing Impakta, Liza Lorena bilang Babaing Lawin at Celia Rodriguez bilang Valentina, ang Babaing Ahas ang sumira ng takilya nang mga panahong yun kaya’t nabigyan din siya dito na Box Office Queen title. Hindi lang sa takilya ito tumiba ng husto dahil nang ipalabas ito sa telebisyon makaraan lamang ang ilang buwan ay naging numero uno din ito sa telebisyon lalo na sa mga bata. Di nga ba’t tinalo nito ang pelikula ni FPJ na may pamagat na “Esteban” na kasabay nitong ipinalabas? At makaraan naman ang isang linggo, nang ipalabas naman ang pelikula nina Joseph Estrada at Nora Aunor na may pamagat na “Erap Is My Guy” ay tinalong muli ng “Lipad Darna Lipad” ang nasabing pelikula nina Erap at Guy. Tumagal din sa mga sinehan ito ng mahigit na isang buwan. Talagang naaliw ang mga manonood lalo na noong lumilipad si Darna sa himpapawid habang ang background music ay Up Up and Away. Ang “Lipad, Darna, Lipad” ay idinerek nina Emmanuel Borlaza, Elwood Perez at Joey Gosiengfiao. Ang dalawang pelikulang produced pa din ng Sine Pilipino at sabi nga ni Rita Gomez, ito ang iyong huling sigaw…”Takbo, Vilma, Dali” ay ipinalabas noong Septyembre 29, 1972 at ang kahindik-hindik na pagtutuos ni Vi at Barbara Perez sa “Hatinggabi na, Vilma” ay ipinalabas noong Nobyembre 8, 1972 ay halos ganun din ang dinanas sa takilya katulad ng “Lipad Darna Lipad”…” – Alfonso Valencia (READ MORE)

“…The following year, Santos made fourteen films, mostly forgettable musicals. It was also a year where her benefactor started to positioned her as more of a film actress than a singing film star. The results was successful experiments that showcased her comedic ability (Ang Kundoktora), screaming action stunts (Takbo Vilma Dali) and dramatic capability (Dama De Noche). Her followers was delighted when she earned her first acting recognition the next year receiving the FAMAS best actress via Dama De Noche. Most of her films in 1972 were directed by Emmanuel Borlaza however, she was able to do one film with Ishmael Bernal, “Inspiration” with the late Jay Ilagan, one of her regular film partner. According to Bernal, the film wasn’t as successful as what he expected, as the film flopped. Aside from Inspiration, Bernal did two other films, El Vibora (starring Vic Vargas and Boots Anson Roa) and Till Death Do Us Part (starring the young Hilda Koronel and Victor Laurel)…” – RV (READ MORE)

“…Joey re-emerged in the movie scene in 1972, bristling with fresh ideas. This time he made a big gamble by helping his brother Victor and some friends put up Sine Pilipino, the company that would revolutionize trends in local movie-making. SP specializes in campy, stylish movies with imperative, three-word titles: Takbo, Vilma, Dali; Hatinggabi na, Vilma; Zoom, Zoom Superman!l; Si Popeye Atbp.; and Sunugin Ang Samar. Except for the last mentioned which was an action saga, the four SP flicks were spoofs characterized by madness. They revived the all-star casting system, lumping together in one movie several big stars. The flicks made money. Joey Gosiengfiao had his “sweet revenge.” “It was not easy for us in the beginning,” Joey relates. “Just before the showing of our first film, Takbo, Vilma Dali!, Martial Law was declared. There were no newspapers then so we had to post bills all over the city, hanggang Pasay nagdidikit kami nina Douglas. We also distributed hand bills. Sa awa ng Diyos, kumita ang pelikula.” Of the films he has done, Joey considers Sunugin Ang Samar as the most difficult, not only because of its scope but also because action is not his forte. It took him three months to make the movie because the script (by Wilfrido Nolledo) called for different settings and they had to move from one place to another. Joey didn’t exactly follow Nolledo’s script but he saw to it that “the spirit was retained.” Of late, Joey has organized his own company called Juan de la Cruz Productions together with Elwood and Douglas. Their inital production, Asawa Mo, Asawa KO, was a moneymaker. SP specializes in home-movie types while JC makes more of the woman’s movie, “that’s because we are not good for action pictures.” Joey is now connected with SP only as a director…” – Expressweek, December 12 1974 (READ MORE)

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Filmography: Takbo, Vilma, Dali (1972)

Posted on November 29, 2009 by @ffv Standard

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Basic Information: Direction, screenplay: Joey Gosiengfiao; Cast: Vilma Santos, Rita Gomez, Paquito Diaz, Max Alvarado, Romeo Rivera, Ernie Garcia; Executive producer: Douglas Quijano

Plot Description: No Available Data

Film Achievement: Joey Gosiengfiao films with Vilma Santos: Hatinggabi Na Vilma 1972; Takbo, Vilma, Dali 1972; Lipad, Darna, Lipad 1973; Promo Girl 1978 – RV (READ MORE)

Film Review: A very effective suspense-thriller. There are images here that haunt you even long after the screening – like the sight of the old Mother Superior (Mary Walter) being tortured and pushed around before she is finally killed. – Butch Francisco (READ MORE)

“…Joey Gosiengfiao’s films are anything but righteous, much less respectable. That was their glory and greatness, and the reason he could never win an award–Christ, I think, with his abhorrence of respectability, would like the man’s style. Take, for example, the scene between Eddie Gutierrez and Ricky Belmonte in Bomba Star (roughly translated, Porn Star, 1980). Belmonte and Gutierrez are working out in a gym; Gutierrez starts casting looks at Belmonte; Belmonte coyly returns his looks. The two start teasing each other, tickling each other, suddenly find themselves on the floor wrestling with each other…enter Gutierrez’s lover, played by Marissa Delgado–she doesn’t do anything, just strikes a glamour pose, a sardonic expression on her face and the world’s longest cigarette holder between her fingers. I wish I could explain why the moment is so irreducibly funny, but I can’t; if I could, I suspect it wouldn’t be funny at all…” – Noel Vera (READ MORE)

“…Joey re-emerged in the movie scene in 1972, bristling with fresh ideas. This time he made a big gamble by helping his brother Victor and some friends put up Sine Pilipino, the company that would revolutionize trends in local movie-making. SP specializes in campy, stylish movies with imperative, three-word titles: Takbo, Vilma, Dali; Hatinggabi na, Vilma; Zoom, Zoom Superman!l; Si Popeye Atbp.; and Sunugin Ang Samar. Except for the last mentioned which was an action saga, the four SP flicks were spoofs characterized by madness. They revived the all-star casting system, lumping together in one movie several big stars. The flicks made money. Joey Gosiengfiao had his “sweet revenge.” “It was not wasy for us in the beginning,” Joey relates. “Just before the showing of our first film, Takbo, Vilma Dali!, Martial Law was declared. There were no newspapers then so we had to post bills all over the city, hanggang Pasay nagdidikit kami nina Douglas. We also distributed hand bills. Sa awa ng Diyos, kumita ang pelikula.” Of the films he has done, Joey considers Sunugin Ang Samar as the most difficult, not only because of its scope but also because action is not his forte. It took him three months to make the movie because the script (by Wilfrido Nolledo) called for different settings and they had to move from one place to another. Joey didn’t exactly follow Nolledo’s script but he saw to it that “the spirit was retained.” Of late, Joey has organized his own company called Juan de la Cruz Productions together with Elwood and Douglas. Their inital production, Asawa Mo, Asawa KO, was a moneymaker. SP specializes in home-movie types while JC makes more of the woman’s movie, “that’s because we are not good for action pictures.” Joey is now connected with SP only as a director…” – Expressweek, December 12 1974 (READ MORE)

“…For the last seven years the name Joey Gosiengfiao has streaked like a dazzling comet across the movie firmament after Bomba Star, Babae!, Piknik and Takbo Vilma Dali! became blockbusters one after the other. Significantly, not all the four Gosiengfiao flicks were sexplosives, a category which today, seems to be the main requisite for box office acceptance. Takbo Vilma Dali! was s suspense thriller that easily catered to all ages and to the average Filipino family…” – Manny B. Fernandez, Expressweek, March 1, 1979 (READ MORE)

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Filmography: Makahiya at Talahib (1976)

Posted on November 22, 2009 by @ffv Standard

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Basic Information: Directed, screenplay: Emmanuel H. Borlaza; Story: Anthony Taylor; Cast: Vilma Santos, Rudy Fernandez, Trixia Gomez, Gloria Romero, Anthony Rodriguez, Romeo Rivera, Rocco Montalban; Executive producer: Cherry Ong; Original Music: Tito Sotto; Cinematography: Oscar Querijero; Film Editing: Jose Tarnate; Art Direction: Gerry Guanlao; Sound: Gaudencio Barredo; Theme song: “Aking Bituin” Sung by Allan Castro; Composed by Tito Sotto; Released thru Vicor Music Corporation

Plot Description: Arturo (Rudy Fernandez) is a convict on the run after being framed for rape. Aurora (Vilma Santos), a sculptress at odds with her overbearing mother (Gloria Romero), falls for him and is convinced of his innocence. When Arturo takes revenge on those who framed him, Aurora helps him plot his escape. This, while her sister Beatriz (Trixia Gomez) has a brief affair with Arturo. – Music & Laughter TV (READ MORE)

Film Achievement: One of the top box office hit of the 1976 Metro Manila Film Festival (The first film of Vilma and Rudy and the first screen kiss of Ate Vi).

Film Review: “…Her metamorphosis began in late 1976 when she agreed to be kissed by Rudy Fernandez in Makahiya at Talahib. It was a “feeler” of sort and when the public clanked its tongue in obvious approval, Vilma shelved her lollipops-and-roses image and proved that she, too, could be a woman – a wise move indeed because at that time her career was on a down swing and her movies were not making money. 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. And came her romance with Romeo Vasquez, boosting both their stocks at the box office (their two starrers, Nag-aapoy na Damdamin and Pulot-Gata where Vilma did her own wet style, were big moneymakers). The tandem, although it did help Vilma, actually helped Vasquez more in re-establishing himself at the box office (without Vilma, his movies with other leading ladies hardly create any ripple). In Susan Kelly, Edad 20, Vilma played a notorious-woman role that required her to wear skimpy bikini briefs in some scenes, following it up with two giant sizzlers (Dalawang Pugad, Isang Ibon and Masarap, Masakit ang Umibig) that catapulted her as the newest Bold Queen. Then came Burlesk Queen…” – Ricardo F. Lo, Expressweek Magazine January 19, 1978 (READ MORE)

“…Why Borlaza? Because Emmanuel H. Borlaza is a formula director, a tried and tested moneymaker for local film companies and an example of a commercial success who also hungers for artistic fulfillment. It was Maning Borlaza who directed the box-office hit revival of Darna and Dyesebel, those heroines of less demanding times, and followed of less demanding times, and followed them with more Vilma Santos-Edgar Mortiz starrers…Whether the lure was really Borlaza and not Vilma (as Darna) or Alma (as Eva), one would still not find out in Makahiya at Talahib, the Goodwill production that Maning is directing as a filmfest bet. Vilma is starring, you see, opposite Rudy Fernandez who portrays the man on the run. Maning, however, he has been quoted to have said that “My next 20 years are modestly provided for, I don’t think I will live more than that. Henceforth, I will split my movie work to what I want to do and what the public likes. He wants, it seems, to recover his old self, the Borlaza who filmed Pyscho-Maniac, a suspense thriller which cast Divina Valencia, Dindo Fernando and Ray Marcos and won him the Academy’s best screenplay award in ’68, who packed so much good action in Mindanao, the movie that bagged four statuettes in the Manila Filmfest of the same year, and who directed Vilma Santos’s way to the FAMAS best actress award for the performance in Dama de Noche. And yet, he is not that keen to do films that might suffer the fate of O’Hara’s Mortal or Bernal’s Nunal sa Tubig. “Their box-office results are not encouraging,” says Maning. He admits he still goes a little commercial. That is why there is a love scene between Vilma and Rudy in Makahiya that Maning expects people might be talking about, more than the torrid shots of Rudy and Trixia Gomez. The 41-year old director also wrote the story and screenplay of Makahiya…Nowadays, he even makes two pictures at a time. “I just finished Makahiya and Teatro Manila. It’s cheaper that way. You don’t waste any calendar day. No stars available for Makahiya, we would work on Teatro…” – Chelo R. Banal, Philippine Panorama Magazine, 26 December 1976 (READ MORE)

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Filmography: Nakawin Natin ang Bawat Sandali (1978)

Posted on November 21, 2009 by @ffv Standard

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Basic Information: Direction: Elwood Perez; Cast: Cast: Vilma Santos, Christopher De Leon, Baby Delgado, Roel Vergel de Dios, Freddie Yance, Anita Linda, Romeo Rivera, Tony Carreon, Lily Miraflor, Ven Medina, Jose Villafranca, Nina Lorenzo, Yolanda Luna, Mario Escudero, Jimmy Reyes, Vic Santos, Aring Bautista, Nat Mallares, Josefina Morato, Juanita Rodrigues, Rita Flores, The Thunder Boys; Sound: Lino Torres; Editing: Oscar Dugtong; Cinematography: Gener Bueneseda; Executive Producer: Marichu Perez Maceda; Stroy and Screenplay: Orlando Nadres; Music: Lutgardo Labad; Produced by Sampaguita Pictures Inc.; Theme Songs: Dahil Sa Pag-ibig (Music by Lutgardo Abad, Lyrics by George Canseco, Sung by Aloha, Released by Blackgold Records), Nakawin Natin Ang Bawat Sandali (Music by Lutgardo Abad, Lyrics by Orlando Nadres, Sung by Anthony Castelo, Released by Vicor Music)

Plot Description: “A young couple’s affair is marred by their feuding families and small-town intrigues. They meet years after as successful career people only to be drawn into another scandalous liaison.” Bamboo Gods and Bionic Boys (READ MORE)

Film Achievement: One of seven Perez-Santos collaborations.

Film Review: “…It has a uniformly good performance by the cast which includes Baby Delgado, Roel Vergel de Dios, Anita Linda, Jose Villafranca and the two leads Christopher de Leon and especially Vilma Santos who has done a surprisingly intelligent and affecting character portrayal. Not since Eddie Romero’s Sinong Kapiling, Sinong Kasiping? (1977) have we seen characters who think, behave and react to problems and situations like mature, sensitive and intelligent people. The characters do give way to occasional hysterical outbursts, but they somehow wake up to their senses before they completely forget themselves. And they are people in believable situations with real problems and genuine emotions. When they talk, they are seldom silly and when they are silly, they are aware of it. But even when they are silly or trite, they are never unsympathetic…” – Jojo Devera, Sari-saring Sineng Pinoy (READ MORE)

“…Elwood Perez and Vilma Santos colloborated in seven films (Ibulong Mo Sa Diyos 1988, Lipad Darna Lipad 1973, Magkaribal 1979, Masarap Masakit ang Umibig 1977, Nakawin Natin ang Bawat Sandali 1978, Pakawalan Mo Ako 1981, Pinay American Style 1979). The first one was the trilogy that he co-directed with two other director, Borlaza and Gosiengfiao (these three are the most underrated and under appreciated directors in the Philippines), the remake of Mars Ravelo comic super hero, Darna in Lipad Darna Lipad. The film was a record-breaking hit Box-office Film. They follow this up with a more mature projects as Vilma started to switched her image from sweet to a mature versatile actress, pairing her with Christopher DeLeon in five films starting with Masarap Masakit Ang Umibig in 1977. The Perez-Santos-DeLeon team produced seven blockbuster hits that gave Vilma two FAMAS best actress awards that secured her elevation to FAMAS highest honour, the FAMAS Hall of Fame award. She won in 1979 for Pakawalan Mo Ako and 1988 for Ibulong Mo Sa Diyos…” – RV (READ MORE)

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Filmography: Coed (1979)

Posted on November 18, 2009 by @ffv Standard

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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)

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Filmography: Ibigay Mo Sa Akin Ang Bukas (1987)

Posted on November 16, 2009 by @ffv Standard

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Basic Information: Directed: Emmanuel H. Borlaza; Story: Mercy Lejarde; Screenplay: Raquel Villavicencio; Cast: Vilma Santos, Gabby Concepcion, Richard Gomez, Gina Pareño, Liza Lorena, Delia Razon, Orestes Ojeda, Gretchen Barretto, Amy Austria, Al Tantay, Romeo Rivera, Joko Diaz, Alfred Barretto, Julio Diaz; Executive producer: Espiridion Laxa; Original Music: Mon del Rosario; Cinematography: Sergio Lobo; Film Editing: Nonoy Santillan; Production Design: Rei Nicolas

Plot Description: “…The neglected wife of a homosexual finds sexual fulfillment with a former boyfriend and student…” – TFC Now (READ MORE)

Film Achievement: 1988 FAMAS Nomination Best Child Actor – Joko Diaz

Film Reviews: “…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)

“…Ang tatay ni KC Concepcion na si Gabby Concepcion ay isa rin sa mga kaibigan ni Vi. Ilan ding pelikula ang ginawa ni Vi at Gabby katulad ng Pahiram Ng Isan Umaga, Sinungaling Mong Puso, Hahamakin Lahat, Ibigay Mo Sa Akin Ang Bukas at Asawa Ko Huwag Mong Agawin. Sa pelikulang Bukas Sisikat Din Ang Araw, kung saan si Gabby ang prodyuser ay naging special guest si Vi na sa totoo lang ay halos kasinlaki ang billing niya (Vi) sa mga major characters nito. Isa sa mga anak ni Gabby, anak niya kay Grace Ibuna ay inaanak ni Vi katuwang sina Lorna Tolentino, Alma Moreno, Snooky Serna at Maricel Soriano. Noong last episode ng Vilma show sa GMA 7 ay isa si Gabby sa mga special guests ni Vi at nag-compose pa ng tula si Gabby para kay Vi. Noon namang nagkaroon ng problema si Gabby dahil sa kontrobersiya sa Manila Film Festival noong 1994 ay isa si Vi sa mga naging sabihan niya ng kanyang mga problema. Si Gabby ay naging best supporting actor ng Star Awards for Movies noong 1992 para sa pelikulang Sinungaling Mong Puso, best actor ng Urian noong 1992 para sa Narito Ang Puso Ko at best supporting actor ng Urian para sa pelikulang Makiusap Ka Sa Diyos noong 1991…” – Alfonso Valencia (READ MORE)

“…It seems that Vilma Santos has finally learned her lessons about money matters. The actress is reportedly eyeing a house in Greenmeadows which she plan to buy with her earnings from her latest starrer Ibigay Mo Sa Akin Ang Bukas. “Siguro kung marunong lang kaming mag-ingat ng salapi ng kumare ko (Nora Aunor), pareho na kaming may subdivision sa ngayon,” Santos reportedly said. Now, she insists on knowing where every peso goes. Perhaps, Santos has taken her cue from Amalia Fuentes, said to be the richest actress in the business. The actress, however, will keep her house in Magallanes ‘for luck’…” – JC Nigado, Manila Standard, Mar 6 1987 (READ MORE)

“…At present, Santos is completing Ibigay Mo sa Aking ang Bukas for producer Esperidion Laxa. The movie, slated for opening first week of March, was originally scheduled to be shown this week (simulaneously with Sharon Cuneta’s Kung Aagawin Mo Ang Lahat Sa Akin, but Laxa apparently decided otherwise, “Medyo hilaw pa sa promotion,” said the actress. In the movie, Santos is once again playing the role she’s best known for, that of a liberated woman. “D’yan naman talaga ako nagustuhan ng tao, you know, women who fight for their personal happiness.” She is again paired with Gabby Concepcion, who incidentally, is rumored to be her boyfriend. There is definitely nothing between her and Gabby, she clarified. “Ah, si Mayor?” she gleefully replied to the question, “we’re just comfortable with each other. Minsan na akong napikon sa tsismis na iyan. We’re friends and I hope people would just leave it at that.” “Is she really that liberated in real life?” Parrying the question, Santos rationalized, “Well, I deserve to be happy, too!…” – Mario V. Dumaual Manila Standard, Feb 19, 1987 (READ MORE)

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Filmography: Asawa ko Huwag Mong Agawin (1986)

Posted on November 16, 2009 by @ffv Standard

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Basic Information: Direction: Emmanuel H. Borlaza; Story: Pablo S. Gomez (based on the novel “Paano Ba Sasabihing Paalam Na”); Screenplay: Jose Javier Reyes, Jake Cocadiz; Cast: Vilma Santos, Amalia Fuentes, Eddie Gutierrez, Gabby Concepcion, Gretchen Barretto, Sheryl Cruz, Elvis Gutierrez, Romeo Rivera, Ramil Rodriguez, Deborah Sun, Debraliz, Noel Colet, Jaime Fabregas, Cris Castillo, Vicky Suba, Ena Alli, Kess Burias, Marie Barbacui, Malen Dela Trinidad, Wilson Ferrer, Reymond Rodriguez, Martin Santos, Archie Delos Santos, Alfred Barretto, Ferdie Fernando; Producer: Lily Y. Monteverde, Malou N. Santos, Charo Santos-Concio; Original Music: Willy Cruz; Cinematography: Rey Lobo; Film Editing: George Jarlego; Art Direction: Nonoy Fuentes; Release Date:1987 (Philippines); Production Company: Regal Films; Theme Song: Sung by Marissa Martin, Composer: Willy Cruz – IMDB (READ MORE)

Plot Description: Ayaw kong maging querida is a story about three people caught in a whirlwind romance bound in the norms of society class. Will love conquer all or will wealth and power dictate their destinies? – Kabayan Central (READ MORE)

A middle-aged martyr wife loses her husband to an equally beautiful but much younger woman. – ABS-CBN (READ MORE)

Film Achievement: No Available Data

Film Review: “…To recall, the senior and junior movie queens appeared in these movies: Bulaklak at Paru-paro (1970), Mga Reynang Walang Trono(1976) and Asawa Ko, Huwag Mong Agawin (1986). Amalia directed Vilma’s episode in Mga Reyna and agreed to second billing to Vilma in Asawa Ko. No doubt about it, Amalia Muhlach Sumilang Fuentes, is a Vilmanian. To seal their sisterhood and camaraderie, Vilma is Ninang to Liezl Martinez and to the latter’s son Alfonso. Why, Liezl even sang a song ’’Wind Beneath My Wings’ to her surprised mother that night which drove the strong-willed and still beautiful Amalia to tears. A Kodak moment, indeed. Priceless! While interviewing the three Muhlach generations, Fuentes, Liezl and young daughter Aliyanna, Amalia revealed to Vilma that she is protective of her ’unica hija’ Liezl. ”Ay naku, I think I also have become like my Mom, I’m also very protective of my children,” Liezl remarks…” – Mario O. Garces (READ MORE)

“…You can never go wrong if you choose a Vilma Santos film and if you want a story that gives a different twist to the “other woman” issue, then Asawa Ko Huwag Mong Agawin might give you the satisfaction you are aiming for. It shows two women in their usual roles and stereotypes: the other woman who knows all about pleasures and the wife who knows all about pain…” – Bon Ching (READ MORE)

“…Sa mga Pinoy movie, paboritong tema na ang mga love triangle. Gustong-gusto natin sa mga drama ang mga nagbabangayan na dalawang babae para sa atensyon ng iisang lalaki. Sino ang inagawan at sino ang nang-agaw?…Kaya heto ang ilang pelikula na puwedeng i-connect sa nangyayaring issue ngayon kina Bea, Gerald at Julia…Mula sa direksyon ni Emmanuel Borlaza, kuwento ito ni Cathy (Vilma Santos) na nagkaroon ng hindi magandang pakikipaghiwalay sa kanyang boyfriend na si Mike (Gabby Concepcion). Nakilala niya ang isang may asawang lalaki, Bert Paredes (Eddie Gutierrez) na hindi masaya sa piling ng kanyang misis na si Dr. Alice Paredes (Amalia Fuentes). Pinapakita rito ang epekto ng isang unhappy marriage at pati ang kanilang mga anak (Sheryl Cruz and Gretchen Barretto) ay naaapektuhan sa pagkakaroon ng illicit affair ng kanilang ama.
Heto ang memorable line ni Vilma: “No woman can seduce a happy husband, pag hindi mo pa rin maintindihan ‘yan bakit hindi mo sampalin ang sarili mo para matauhan ka!..” – Ruel Mendoza, Abante, 27 July 2019 (READ MORE)