Top 100 Vilma Santos Films (part two)

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.

RANK, MOVIE TITLE, YR, DIRECTOR’S NAME, SCORE = (A) + (B) + (C) + (D)

90.  Coed  1979
SCORE: 6(A) + 7(B) + 5(C) + 0.6(D) = 18.6(T)
Directed by Emmanuel H. Borlaza, co-starring: Celia Rodriguez, Angge Jay Ilagan, Allan Valenzuela, Romeo Enriquez, Romeo Rivera, Jun Soler – MORE INFO  (no available video)

89.  Kampus  1978
SCORE: 6(A) + 7(B) + 5(C) + 0.7(D) = 18.7(T)
Directed by Emmanuel H. Borlaza, co-starring: Liza Lorena, Anita Linda, Lorli Villanueva, Ann Villegas, Angie magbanua, Rosemarie De VeraBembol Roco, Mat Ranillo III, Allan Valenzuela, Freddie Yance, Lito Lapid. – MORE INFO

88.  Ikaw Lamang  1971
SCORE: 6(A) + 7(B) + 5(C) + 0.8(D) = 18.8(T)
Directed by Luis Enriquez, co-starring: Connie Angeles, Paolo Romero, Robert Talabis, Raul Aragon, Eddie Garcia, Vic Silayan. – MORE INFO (no available video)

87.  Ito ang Pilipino  1967
SCORE: 6(A) + 7(B) + 5(C) + 0.9(D) = 18.9(T)
Directed by Cesar Gallardo, co-starring: Barbara Perez, Gloria Sevilla, Anita LindaJoseph Estrada, Mario Montenegro, Eddie Garcia, Vic Silayan, Eddie Infante, Romy Diaz, Jose Padilla Jr., Lou Salvador Jr, Jay Ilagan – MORE INFO  (no available video)

86.  Young Love  1970
SCORE: 2(A) + 10(B) + 7(C) + 0.09(D) = 19.09(T)
Directed by Tony Cayado, starring: Nora Aunor, Tirso Cruz III, Edgar Mortiz with Bella Flores, Etang Discher, Angge, Ike Lozada, German Moreno, Raul Aragon – MORE INFO

85.  Kamay na Gumagapang  1974
SCORE: 4(A) + 10(B) + 5(C) + 0.1(D) = 19.1(T)
Directed by Tony Cayado, co-starring: Rosemarie Gil, Alicia Alonzo, Matimtiman Cruz, Tita De Villa, Winnie SantosRomeo Miranda, Dick Israel, Jose De Villa, Venchito Galvez – MORE INFO  (no available video)

84.  Pulot-gata, Pwede Kaya?  1977
SCORE: 5(A) + 8(B) + 6(C) + 0.2(D) = 19.2(T)
Directed by Leonardo L. Garcia, co-starring: Romeo Vasquez, Suzanne Gonzalez, Paraluman, Tita De Villa, Rodolfo Boy Garcia, Tange, Ruel Vernal – MORE INFO (no available video)

83.  Nag-aapoy na Damdamin  1976
SCORE: 5(A) + 8(B) + 6(C) + 0.3(D) = 19.3(T)
Directed by Leonardo L. Garcia, co-starring: Romeo Vasquez, Aurora Salve, Tita De Villa, Walter Navarro, Romy Diaz, Ely Roque, Tintoy, Pepot – MORE INFO (no available video)

82.  Mga Reynang Walang Trono  1976
SCORE: 5(A) + 8(B) + 6(C) + 0.4(D) = 19.4(T)
Directed by Crisostomo, Muhlach, co-starring Amalia Fuentez with Eddie Gutierrez, Robert Arevalo, Eddie Garcia, Rudy Fernandez, Rez Cortez, Greg Lozano. Amalia co-directed. – MORE INFO  (no available video)

81.  Darna at Ding  1980
SCORE: 6(A) + 7(B) + 6(C) + 0.5(D) = 19.5(T)
Directed by Erastheo Navoa, Cloyd Robinson, co-starring: Celia Rodriguez, Marissa Delgado, Veronica Jones, Angie Ferro, Moody Diaz, Lily Miraflor, Donna VillaNiño Muhlach, Max Alvarado, Panchito, Bayani Casimiro, Rez Cortez, Teroy de Guzman, Paquito Diaz, Ike Lozada, German Moreno, Palito, Don Pepot, Jimmy Santos, Al Tantay, Tsing Tong Tsai. Fourth Darna Film of Vilma Santos. – MORE INFO (no available video)

RECAP:
90. Coed 1979
89. Kampus 1978
88. Ikaw Lamang 1971
87. Ito ang Pilipino 1967
86. Young Love 1970
85. Kamay na Gumagapang 1974
84. Pulot-gata, Pwede Kaya? 1977
83. Nag-aapoy na Damdamin 1976
82. Mga Reynang Walang Trono 1976
81. Darna at Ding 1980

…continue with countdown, CLICK HERE!

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Top 100 Vilma Santos Films (part seven)

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.

RANK, MOVIE TITLE, YR, DIRECTOR’S NAME, SCORE = (A) + (B) + (C) + (D)

40. Batya’t Palu-Palo 1974
SCORE: 6(A) + 10(B) + 7(C) + 0.2(D) = 23.2(T)
Directed by Pablo Santiago, co-starring: Fernando Poe Jr.,Mila del Sol, Janine Frias, Lorna Tolentino, Liza Anzures, Angge, Fred Montilla, Dencio Padilla, Phillip Salvador, Liza Anzures, Paquito Diaz, Max Alvarado, Lito Anzures. FPJ and Vilma Santos first film together. A big box-office hit during its theater run in 1974. Vilma sings the film theme song! – MORE INFO

39. Hindi Nakakahiya 1976
SCORE: 7(A) + 10(B) + 6(C) + 0.3(D) = 23.3(T)
Directed by Luis Enriquez, co-starring: Eddie Rodriguez, Ernie Garcia, Gloria Romero, Marissa Delgado, Patricia Mijares, Renato Robles, Nello Nayo. Part two of the box office hit, Nakakahiya. – MORE INFO (no available video)

38. Nakakahiya? 1975
SCORE: 7(A) + 10(B) + 6(C) + 0.4(D) = 23.4(T)
Directed by Luis Enriquez, co-starring: Eddie Rodriguez, Gloria Romero, Barbara Perez. Vilma received the 1975 Bacolod City Film Festival Best Actress. – MORE INFO (no available video)

37. Bato sa Buhangin 1976
SCORE: 6(A) + 10(B) + 7(C) + 0.5(D) = 23.5(T)
Directed by Pablo Santiago, co-starring: Fernando Poe Jr., Dencio Padilla, Jun Soler, Jumbo Salvador, Phillip Salvador, Rowell Santiago, Millie Mercado, Connie Angeles, Yvonne Salcedo, Tina Monasterio. MORE INFO

36. Ikaw Lang 1993
SCORE: 6(A) + 10(B) + 7(C) + 0.6(D) = 23.6(T)
Directed by Chito S. Roño, co-starring: Ronnie Ricketts, Cesar Montano, with Janine Barredo, Vangie Labalan, Josie Tagle, Evelyn Vargas, Dencio Padilla, Roldan Aquino, Cris Daluz, Mon Fernandez. Written by Bibeth Orteza. Box office hit of 1993. – MORE INFO

35. Miss X 1980
SCORE: 7(A) + 10(B) + 6(C) + 0.7(D) = 23.7(T)
Directed by Gil M. Portes, co-starring: Mark Gil. Filmed in the red district of Armsterdam. – MORE INFO (no available video)

34. Kapag Langit Ang Humatol 1990
SCORE: 7(A) + 8(B) + 8(C) + 0.8(D) = 23.8(T)
Directed by Laurice Guillen, co-starring: Richard Gomez, Gloria Romero, Charo Santos-Concio, Kristine Garcia, Carmina Villaroel, Eula Valdez, Metring David, Lillian Laing, Vangie Labalan, Jeffrey Santos, William Lorenzo, Tony Carreon, Terence Baylon. Written by Salvador Royales. Vilma received a best actress nomination from the Manunuri. – MORE INFO

33. Sister Stella L. 1984
SCORE: 10(A) + 3(B) + 10(C) + 0.9(D) = 23.9(T)
Directed by Mike De Leon, co-starring: Gina Alajar, Laurice Guillen, Anita Linda, Liza Lorena, Adul de Leon, Jay Ilagan, Tony Santos Sr., Ruben Rustia, Eddie Infante, Rody Vera, Pen Medina. Vilma Santos recived her third consecutive Gawad Urian best actress. She also received nominationf from FAMAS and FAP. The film was the official Philippines’ entry to the 1985 Venice International Film Festival. – MORE INFO

32. Dyesebel at ang Mahiwagang Kabibe 1973
SCORE: 6(A) + 10(B) + 8(C) + 0.07(D) = 24.07(T)
Directed by Emmanuel H. Borlaza, starring: Divina Valencia, Mina Aragon, Rossana Marquez, Chanda Romero, Elizabeth Vaughn, Patria Plata, Romeo Miranda, Joseph Sytangco, Lito Calzado, Ricky Valencia, Ike Lozada, German Moreno, Greg Lozano. 2nd Top Grosser of the 8th Manila Film Festival – READ MORE

31. D’ Lucky Ones 2006
SCORE: 7(A) + 10(B) + 7(C) +0.08(D) = 24.08(T)
Directed by Wenn V. Deramas, starring: Sandara Park, Pokwang, Eugene Domingo, Nikki Valdez, Candy Pangilinan, Joseph Bitangcol. Box office hit of 2006. A Vilma Santos tribute film – MORE INFO (no available video)

RECAP:
40. Batya’t Palu-Palo 1974
39. Hindi Nakakahiya 1976
38. Nakakahiya? 1975
37. Bato sa Buhangin 1976
36. Ikaw Lang 1993
35. Miss X 1980
34. Kapag Langit Ang Humatol 1990
33. Sister Stella L. 1984
32. Dyesebel at ang Mahiwagang Kabibe 1973
31. D’ Lucky Ones 2006

…continue with countdown, CLICK HERE!

Top 100 Vilma Santos Films (part six)

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.

RANK, MOVIE TITLE, YR, DIRECTOR’S NAME, SCORE = (A) + (B) + (C) + (D)

50. Hatinggabi Na, Vilma 1972
SCORE: 6(A) + 10(B) + 5(C) + 0.9(D) = 21.9(T)
Directed by Joey Gosiengfiao, co-starring: Barbara Perez, Zeneda Amador, Angie FerroRomeo Rivera, Ruel Vernal, Dick Israel, Ernie Garcia, Cloyd Robinson, Subas Herrero, Lito Trinidad – MORE INFO (no available video)

49. Dama De Noche 1972
SCORE: 7(A) + 7(B) + 7(C) + 0.95(D) = 21.95(T)
Directed by Emmanuel H. Borlaza, co-starring: Edgar Mortiz, Lillian Laing, Matimtiman Cruz, Fred Montilla, Cloyd Robinson. Recieved first FAMAS Best Actress and best actress nomination at the 1972 Quezon City Film Festival. – MORE INFO

48. Darna and the Giants 1973
SCORE: 6(A) + 8(B) + 8(C) + 0.2(D) = 22.2(T)
Directed by Emmanuel H. Borlaza, co-starring: Helen Gamboa, Loreta Marquez, Rosanna Marquez, Desiree Destreza, Florence Aguilar Romeo Miranda, Ike Lozada, Pepito Rodriguez, Cesar Ramirez, Zandro Zamora, Max Alvarado. Top Box Office Film of 1973 Metro Manila Film Festival – MORE INFO

47. Kampanerang Kuba 1974
SCORE: 6(A) + 10(B) + 6(C) + 0.3(D) = 22.3(T)
Directed by Nilo Saez, co-starring: Edgar Mortiz, Patria Plata, Metring David, Greg Lozano, Joaquin Fajardo. – MORE INFO

46. Muling Buksan ang Puso 1985
SCORE: 7(A) + 8(B) + 7(C) + 0.4(D) = 22.4(T)
Directed by Leroy Salvador, co-starring: Dindo Fernando, Lorna Tolentino, Sandy Andolong, Coney Reyes, Rowell Santiago, Jimi Melendez. Written by Nerissa Cabral. Vilma received a best actress nomination from 1985 FAMAS – MORE INFO

45. Palimos Ng Pag-ibig 1986
SCORE: 7(A) + 8 (B)+7 (C)+0.5 (D)=22.5(T)
Directed by Eddie Garcia, co-starring: Dina Bonnevie, Cherie Gil, Laurice GuillenEdu Manzano, Pepito Rodriguez. Written by Nerissa Cabral. – MORE INFO

44. Langis at Tubig 1980
SCORE: 7(A) + 8(B) + 7(C) + 0.6(D) = 22.6(T)
Directed by Danny Zialcita, co-starring: Amy Austria, Lucita Soriano, Suzanne Gonzales, Adul De Leon, Martha SevillaDindo Fernando, Ronaldo Valdez, George Estregan, Ruben Rustia, Johnny Vicar, Augusto Victa, Vic Diaz, Vic Silayan, Mario Escudero. Vilma received a best actress nomination from 1980 FAMAS – MORE INFO

43.Pinay, American Style 1979
SCORE: 7(A) + 8(B) + 7(C) + 0.7(D) = 22.7(T)
Directed by Elwood Perez, co-starring: Christopher De Leon, Bembol Roco, Cocoy Laurel with Rosa Mia, Alexandra Dulaney, Nova Villa, Bella Flores, Angge. One of eight box office hit films Vilma Santos did in 1979 – MORE INFO

42.Ibulong Mo Sa Diyos 1988
SCORE: 7(A) + 8(B) + 7(C) + 0.8(D) = 22.8(T)
Directed by Elwood Perez, co-starring: Eric Quizon, Gary Valenciano, Miguel Rodriguez, Eddie Garcia, Nida Blanca, Barbara Perez, Nadia Montenegro, Armida Siguion-Reyna, Perla Bautista, Rachel Ann Wolfe, Deborah Sun, Vangie Labalan, Nena Perez Rubio, Ruben Rustia. Written by Orlando Nadres. Vilma recieved her fifth FAMAS best actress that earned her the FAMAS Hall of Fame award. She also received a film academy nomination. – MORE INFO

41.Haplos 1982
SCORE: 7(A) + 8(B) + 7(C) + 0.9(D) = 22.9(T)
Directed by Antonio Jose Perez, co-starring: Christopher De Leon, Rio Locsin, Delia Razon, Eddie Infante, Rez Cortez, Juan Rodrigo, Jaime Fabregas. Written by Ricardo Lee. The film won the 1982 Metro Manila Film Festival 3rd Best Picture award. – READ MORE

RECAP:
50. Hatinggabi Na, Vilma 1972
49. Dama De Noche 1972
48. Darna and the Giants 1973
47. Kampanerang Kuba 1974
46. Muling Buksan ang Puso 1985
45. Palimos Ng Pag-ibig 1986
44. Langis at Tubig 1980
43. Pinay, American Style 1979
42. Ibulong Mo Sa Diyos 1988
41. Haplos 1982

…continue with countdown, CLICK HERE!

Top 100 Vilma Santos Films (part five)

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.

RANK, MOVIE TITLE, YR, DIRECTOR’S NAME, SCORE = (A) + (B) + (C) + (D)

60.  Mga Mata Ni Angelita 1978
SCORE: 6(A) + 10(B) + 5(C) + 0.08(D) = 21.08(T)
Directed by Lauro Pacheco, starring: Julie Vega, Gloria Sevilla, Boots Anson-Roa, Alma Moreno, Rosanna Ortiz, Nora Aunor, Trixia Gomez, Marissa Delgado, Etang DischerMat Ranillo III, Roldan Rodrigo, Christopher De Leon, German Moreno, Rez Cortez, Eddie Rodriguez, Dolphy, Fernando Poe Jr. Vilma’s segments made this film in our list of memorable non-lead role. – MORE INFO

59.  Rock, Baby, Rock 1979
SCORE: 6(A) + 10(B) + 5(C) + 0.09(D) = 21.09(T)
Directed by Oscar Miranda, starring: Leah Navarro, Lorli Villanueva, Geleen EugenioJunior, Rolly Quizon, Tito Sotto, Vic Sotto, Joey de Leon, Val Sotto, VST & Company – MORE INFO

58.  Hiwalay 1981
SCORE: 7(A) + 8(B) + 6(C) + 0.1(D) = 21.1(T)
Directed by Romy Susara, starring: Dindo Fernando, Eddie Rodriguez – MORE INFO (no available video)

57.  Susan Kelly, Edad 20 1977
SCORE: 6(A) + 10(B) + 5(C) + 0.2(D) = 21.2(T)
Directed by Maria Saret, starring: Laila Dee, Dante Rivero, Anthony Alonzo, Romeo Enriquez, Chito Ponce Enrile, Cloyd Robinson, Sandy Garcia, Laila Dee, Ramon Zamora – MORE INFO (no available video)

56.  Hindi Nahahati ang Langit 1966
SCORE: 7(A) + 8(B) + 6(C) + 0.3(D) = 21.3(T)
Directed by Lauro Pacheco, starring: Lolita Rodriguez, Marlene Dauden, Eddie Rodriguez – MORE INFO (no available video)

55.  Masarap, Masakit ang Umibig 1977
SCORE: 7(A) + 8(B) + 6(C) + 0.4(D) = 21.4(T)
Directed by Elwood Perez, co-starring: Christopher De Leon, Mat Ranillo III with Anita Linda, Ma-An Hontiveros, Lillian Laing, Laila Dee, Amado Cortez, Sandy Garcia, Cloyd Robinson. Official Philippines’ entry to the 1981 ASEAN Film Festival and Sydney Film Festival. Official entry to 1978 Asia-Pacific Film Festival in Taipei. – MORE INFO

54.  Minsan pa Natin Hagkan Ang Nakaraan 1983
SCORE: 7(A) + 7(B) + 7(C) + 0.5(D) = 21.5(T)
Directed by Marilou Diaz-Abaya, co-starring: Christopher De Leon, Eddie Garcia. – MORE INFO

53.  Halik sa Kamay, Halik sa Paa 1979
SCORE: 7(A) + 7(B) + 7(C) + 0.6(D) = 21.6(T)
Directed by Luis Enriquez, co-starring: Rosemarie Gil, Ester Chavez, Angie Ferro, Angge, Virginia Montez, Aurora SalveRonald Corveau, Eddie Rodriguez, Jose Vergara, Roderick Paulate. Vilma recieved a best actress nominationf from 1979 FAMAS. – MORE INFO

52.  Alyas Baby Tsina 1984
SCORE: 7(A) + 7(B) + 7(C) + 0.7(D) = 21.7(T)
Directed by Marilou Diaz-Abaya, co-starring: Phillip Salvador, Dindo Fernando withZeny Zabala, Cecille Castillo, Chanda Romero, Raquel Villavicencio, Caridad Sanchez, Maria Isabel Lopez, Dexter Doria, Mary Walter, Vangie Labalan, Harlene Bautista, Rez Cortez, Rolando Tinio, Len Santos, Johnny Delgado – MORE INFO (no available video)

51.  T-Bird at Ako 1982
SCORE: 7(A) + 7(B) + 7(C) + 0.8(D) = 21.8(T)
Directed by Danny Zialcita, co-starring: Nora Aunor, Baby Delgado, Rosemarie Gil, Suzanne Gonzales, Odette Khan, Anita Linda, Liza Lorena, Adul de Leon, Rustica Carpio, Anita LindaDindo Fernando, Tommy Abuel, Tony Carreon, Alvin Enriquez. Written by Portia Ilagan. – MORE INFO

RECAP:
60. Mga Mata Ni Angelita 1978
59. Rock, Baby, Rock 1979
58. Hiwalay 1981
57. Susan Kelly, Edad 20 1977
56. Hindi Nahahati ang Langit 1966
55. Masarap, Masakit ang Umibig 1977
54. Minsan pa Natin Hagkan Ang Nakaraan 1983
53. Halik sa Kamay, Halik sa Paa 1979
52. Alyas Baby Tsina 1984
51. T-Bird at Ako 1982

…continue with countdown, CLICK HERE!

Top 100 Vilma Santos Films (part nine)

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.

RANK, MOVIE TITLE, YR, DIRECTOR’S NAME, SCORE = (A) + (B) + (C) + (D)

20.  Tag-ulan sa Tag-araw 1975
SCORE: 8(A) + 10(B) + 7(C) + 0.4(D) = 25.4(T)
Directed by Celso Ad. Castillo, co-starring:  Christopher De Leon, Eddie Garcia, Joseph Sytangco, Lorli Villanueva, Odette Khan, Alma Moreno, Eva Darren, Edna Diaz, Nympha Bonifacio, Joonee Gamboa, Rez Cortez, Soxy Topacio.  The first film of Christopher Deleon and Vilma Santos, as of 2008, total 23 films. – MORE INFO

19.  Sinasamba Kita 1982
SCORE: 7(A) + 10(B) + 8(C) + 0.5(D) = 25.5(T)
Directed by Eddie Garcia, co-starring:  Christopher Deleon, Philip Salvador, Lorna Tolentino, Irene Celebre, Loleta Abesamis, Norma Blancaflor, Moody Diaz, Luz Fernandez, Kristina Paner, Yvonne, Ramil Rodriguez, Danny De Cordova, Larry Leviste, Fanny Serrano.  Written by Gilda Olvidado.  1982 Top Box Office Record Breaker.  The original film became a TV movie in 2007 by GMA Network, directed by Joel Lamangan, starring Sheryl Cruz as Divina and Valerie Concepcion as Nora. – MORE INFO

18.  Paano Ba ang Mangarap? 1983
SCORE: 7(A) + 10(B) + 8(C) + 0.6(D) = 25.6(T)
Directed by Eddie Garcia, co-starring:  Christopher Deleon, Jay Ilagan, Amy Austria, Perla Bautista, Armida Siguion Reyna, Vic Silayan.  Written by Nerissa Cabral.  Broke box office record of 1983 – MORE INFO

17.  Gaano Kadalas ang Minsan? 1982
SCORE: 8(A) + 10(B) + 7(C) + 0.7(D) = 25.7(T)
Directed by Danny Zialcita, co-starring:  Dindo Fernando, Hilda Koronel, Chanda Romero, Suzanne Gonsales, Tommy Abuel, Mark Joseph Enriquez.  Broke box office record of 1982, Earned P7.3 million during its first day of showing in Metro Manila – MORE INFO

16.  Trudis Liit 1963
SCORE: 7(A) + 10(B) + 8(C) + 0.8(D) = 25.8(T)
Directed by Jose De Villa, co-starring: Luis Gonzales, Lolita Rodriguez, Connie Angeles, Bella Flores, Charlie Davao, Ramon D’Salva.  Written by Mars Ravelo.  This film is immortalized in small screen in 2010 by GMA 7 .  A remake was filmed in the 1990s.  Vilma Sanots won a FAMAS Best Child Actress.  – MORE INFO (no available video)

15.  Pagputi ng Uwak, Pag-itim ng Tagak 1978
SCORE: 10(A) + 5(B) + 10(C) + 0.9(D) = 25.9(T)
Directed by Celso Ad. Castillo, co-starring:  Bembol Roco, Angie Ferro, Olivia O’Hara, Mona Lisa, Robert Talabis, Joonee Gamboa, Mario Escudero.  As the film producer, Vilma received the highest recognition for best film of the year FAMAS and Gawad URIAN.  She also received a nomination for best actress from FAMAS. – MORE INFO

14.  Adultery: Aida Macaraeg 1984
SCORE: 10(A) + 8(B) + 8(C) + 0.6(D) = 26.6(T)
Directed by Lino Brocka, co-starring:  Phillip Salvador, Anita Linda, Deborah Sun, Alvin Enriquez, Mario Montenegro.  Vilma received best actress nomination from PMPC Star Awards. – READ MORE

13.  Tagos ng Dugo  1987
SCORE: 8(A) + 10(B) + 8(C) + 0.7(D) = 26.7(T)
Directed by Maryo J. De los Reyes, co-starring:  Caridad Sanchez, Lucita Soriano, Alicia Alonzo, Mia Gutierrez, Raquel VillavicencioMichael De Mesa, Miguel Rodriguez, Francis Arnaiz, Richard Gomez, Mark Joseph, Lito Pimentel, Joey Hipolito, Joey Marquez, Tony Santos Sr.  Vilma Santos won the 1987 FAMAS and CMMA Best Actress awards.  She also received nomination from FAP. – MORE INFO

12.  Anak 2000
SCORE: 8(A) + 10(B) + 8(C) + 0.8(D) = 26.8(T)
Directed by Rory B. Quintos, co-starring: Claudine Barretto, Amy Austria, Cherry Pie Picache, Sheila Mae Alvero, Tess Dumpit, Jodi Sta. Maria Joel Torre, Baron Geisler, Leandro Muñoz, Gino Paul Guzman, Cris Michelena.  Philippines’ official entry to 73rd best foreign language OSCAR.  Philippines’ official entries to 2001 international film festivals including Fukuoka, San Francisco.  Vilma received the 2000 PMPC STAR award for best actress as well as the 2000 PASADO and nomination from FAP.  She was also crowned the 2000 GMMSF Box Office Queen.  – MORE INFO

11.  Imortal 1989
SCORE: 8(A) + 10(B) + 8(C) + 0.9(D) = 26.9(T)
Directed by Eddie Garcia, co-starring:  Christopher De Leon, Tommy Abuel, Ricky Davao, Gelli De Belen, Cherie Gil, Jacklyn Jose, Liza Lorena Richard Reynoso, Roi Vinzon.  Written by Orlando Nadres.  Vilma won the 1989 Metro Manila Film Festival Best Actress. –  MORE INFO

RECAP:
20. Tag-ulan sa Tag-araw 1975
19. Sinasamba Kita 1982
18. Paano Ba ang Mangarap? 1983
17. Gaano Kadalas ang Minsan? 1982
16. Trudis Liit 1963
15. Pagputi ng Uwak, Pag-itim ng Tagak 1978
14. Adultery: Aida Macaraeg 1984
13. Tagos ng Dugo 1987
12. Anak 2000
11. Imortal 1989

…continue with countdown, CLICK HERE!

Top 100 Vilma Santos Films (part four)

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.

RANK, MOVIE TITLE, YR, DIRECTOR’S NAME, SCORE = (A) + (B) + (C) + (D)

70.  Yesterday, Today and Tomorrow 1986
SCORE: 6(A) + 8(B) + 6(C) + 0.4(D) = 20.4(T)
Directed by Emmanuel H. Borlaza, co-starring: Snooky Serna, Maricel Soriano, Liza Lorena, Chanda Romero, Deborah SunGabby Concepcion, Richard Gomez, Eddie Garcia, Jimi Melendez – MORE INFO

69.  Kay Tagal ng Umaga 1965
SCORE: 6(A) + 8(B) + 6(C) + 0.5(D) = 20.5(T)
Directed by Lauro Pacheco, starring: Lolita Rodriguez, Eddie Rodriguez, Marlene Dauden with Vilma Valera. Film adaptation of Aning Bagabaldo’s radio drama broadcasted on DZRH. – MORE INFO (no available video)

68.  Anak, ang Iyong Ina 1963
SCORE: 7(A) + 8(B) + 5(C) + 0.6(D) = 20.6(T)
Directed by Mar S. Torres, co-staring: Gloria Romero, Rita Gomez, Mario Montenegro, Eddie Garcia – MORE INFO (no available video)

67.  Ging 1964
SCORE: 6(A) + 8(B) + 6(C) + 0.7(D) = 20.7(T)
Directed by Cirio H. Santiago, co-starring: Carol Varga, Olivia Cenizal, Jose Padilla jr, Ramon D’Salva. Written by Mars Ravelo. – MORE INFO

66.  Karugtong ang Kahapon 1975
SCORE: 5(A) + 8(B) + 7(C) + 0.8(D) = 20.8(T)
Directed by Fely H. Crisostomo, co-starring: Gloria Romero, Celia Rodriguez, Patria Plata, Edgar Mortiz, Eddie Garcia, Jay Ilagan, Romy Mallari, Joseph Sytangco. Entry to the 1975 MMFF. Film was written by Nerissa Cabral. – MORE INFO (no available video)

65.  Nag-iisang Bituin 1994
SCORE: 7(A) + 7(B) + 6(C) + 0.9(D) = 20.9(T)
Directed by Jose Javier Reyes, co-starring: Christopher De Leon, Aga Muhlach with Cherrie Pie Picache, Amy Perez, Jao Mapa, Orestes Ojeda. Vilma received a best actress nomination from PMPC’s 1994 Star. – MORE INFO (no available video)

64.  Takbo, Vilma, Dali 1972
SCORE: 5(A) + 10(B) + 6(C) + 0.04(D) = 21.04(T)
Directed by Joey Gosiengfiao, co-starring: Rita Gomez, Paquito Diaz, Max Alvarado, Romeo Rivera, Ernie Garcia – MORE INFO (no available video)

63.  Vilma Viente Nueve 1975
SCORE: 5(A) + 10(B) + 6(C) + 0.05(D) = 21.05(T)
Directed by Pablo Santiago, co-starring: Anita Linda, Jun Aristorenas, Max Alvarado, Lito Legaspi, German Moreno, Martin Marfil – MORE INFO (no available video)

62.  Ibong Lukaret 1975
SCORE: 6(A) + 10(B) + 5(C) + 0.06(D) = 21.06(T)
Directed by Tito C. Sanchez, co-starring: Alona Alegre, Marissa Delgado, Daria Ramirez, Lucita Soriano, George Estregan, Nick Romano, Rudy Fernandez, Arnold Mendoza – MORE INFO (no available video)

61.  Bertang Kerengkeng 1976
SCORE: 6(A) + 10(B) + 5(C) + 0.07(D) = 21.07(T)
Directed by Tito C. Sanchez, co-starring: Edna Diaz, Lito Anzures, Rudy Fernandez, Greg Lozano – MORE INFO (no available video)

RECAP:
70. Yesterday, Today and Tomorrow 1986
69. Kay Tagal ng Umaga 1965
68. Anak, ang Iyong Ina 1963
67. Ging 1964
66. Karugtong ang Kahapon 1975
65. Nag-iisang Bituin 1994
64. Takbo, Vilma, Dali 1972
63. Vilma Viente Nueve 1975
62. Ibong Lukaret 1975
61. Bertang Kerengkeng 1976

…continue with countdown, CLICK HERE!

Filmography: Rubia Servios (1978)

“Hayup! Hayup! Hayuuuup!” – Rubia Servios

“Nahihibang ako sa pagnanasa sa iyo, ilang libong beses na kitang hinuhubaran sa aking isipan, pinagsasamantalahan sa aking pangarap!…Ito’y isang pagsubok sa ating pagmamahalan, kahit ano pa ang nangyari sa iyo, mahal kita, kailangan kita!…” – Willie Trizon

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Basic Information: Direction: Lino Brocka; Screenplay: Mario O’Hara; Cast: Vilma Santos, Mat Ranillo III, Phillip Salvador, Estrella Kuenzler, Esther Chaves, Carpi Asturias, Jess Ramos, Leah de Guzman, Mark Verzosa; Cinematography: Conrado Baltazar; Editing: Jose H. Tarnate; Music: Freddie Aguilar; Production Company: Sampaguita Pictures, Inc.; Release Date: December 25, 1978; “Rubia Servios (Case No. 63572)” (1978); Office Entry to The 4th (1978) Metro Manila Film Festival Entry; Based on an “Unforgettable Legal Story” by Aida Sevilla Mendoza; Theme Song: “Pag-subok” composed and sang by Freddie Aguilar

Plot Description: Medical intern Rubia Servios (Vilma Santos) is engaged to Dr. Norman Ignacio (Mat Ranillo III), but persistent suitor Willy Trison (Phillip Salvador) refuses to give up. On the day of the death of Norman’s father, she is abducted by Willy and brought to an island. She is repeatedly raped and offered marriage by Willy. She turns him down and warns him that she will bring matters to the police. However, he is confident that she will not press a case against him as she will not want the stigma of a rape victim. Rubia is released and she brings him to court. Willy is sentenced to six to ten years in prison. Rubia discovers she is pregnant and the steadfast Dr. Norman Ignacio proposes marriage. She gives birth to Willy’s daughter, Vivian, and they leave for Canada. Rubia wants a child by Norman and they have a son. Years later, they return to Manila. There are mysterious calls on the telephone. It is Willy and he wants his daughter. Rubia and Norman hide Vivian and plan to leave for the American continent. However, Willy is able to kidnap the child with the help of an ice cream vendor. She is brought to the island and she begins to look to him as her real father. But she also wants her mother. Willy calls Rubia and tells her to join them in the island. Rubia refuses. There is a confrontation between Norman and Willy. Norman is beaten up. Still Rubia is adamant. She becomes terrified when Willy sets up a headless child in a remote area, the discovery of which is sensationalized in the tabloids. Finally Rubia agrees to join him. She takes the motorized banca with Willy as the pilot. In the middle of the sea, she takes a paddle and hits Willy. Willy falls into the water. Rubia takes her gun and shoots him. The banca reaches the island. Rubia is happy to see Vivian alive. As an epilogue, Rubia and Norman leave for the States where they are presently residing. – Lino Brocka: The Artist and His Times, reposted Simon Santos, Video48, 29 December 2018 (READ MORE)

Sa umpisa ng pelikula, makikitang nag-aaral pa lamang si Rubia (Vilma Santos), Norman Ignacio (Mat Ranillo III) at Willie Trizon (Philip Salvador). Masugid na manliligaw ni Rubia si Willie kahit na alam na nito na may nobyo na siya’t pakakasal na sila sa pagkatapos ng taon. Nang malaman ni Willie na pakakasal na si Rubia ay naging desperado ito’t plinano na kidnapin si Rubia. Isang araw habang naghihintay ito ng taxi sa kalye ay hinablot siya nga pat na lalaki na tauhan ni Willie. Dinalo siya ni Willie sa isang cottage sa Cavite. Nagtangka si Rubia na tumakas at tumakbo sa labas. Duon siya ginahasa ni Willie sa tabing dagat. Matapos gahasain ay nagtangkang magpakalunod si Rubia ngunit pinigil siya ni Willie at binalik sa cottage. Pinag-isipan ni Rubia kung paano niya mapipilit si Willie na pawalan siya. Tinanong niya si Willie kung anong gusto nitong mangyari. Sinabi nitong gusto niyang pakasalan siya. Pumayag si Rubia na magpakasal ngunit kailangan nitong ipaalam sa kanyang mga magulang ang nangyari sa kanya. Natagpuan naman ng pamilya ni Rubia siya sa ospital at duon nito nagpasya na maghabla. Matapos ang hearing sa korte sa kabila ng pagmamakaawa ng pamilya ni Willie ay nasentensiyahan siya ng anim na taon sa bilanguan at magbayad ng 70,000 pesos. Samantala nanatiling nakakulong sa kuwarto si Rubia matapos ang kaso. Pinilit ni Norman na kausapin ang katipan at dito nalaman niya na ang dahilan ng pagkukulong sa kuwarto ni Rubia’y buntis ito. Pinasya ni Norman na bigyan ng pangalan ang pinabuntis ni Rubia at nagpakasal ang dalawa.

Nanatiling tahimik ang buhay ng dalawa’t nagkaroon pa sila ng isa pang anak. Nang 3 years old na ang batang naging anak niya kay Willie’y nag-umpisang mangulo na naman ito. Si Willie’y nakalabas ng kulungan pagkatapos ng tatlong taon lamang. Nung una’y pinagkaila ni Rubia sa asawa ang mga tawag ni Willie. Ngunit napuna na rin ito ni Norman nang mapuna niyang madalas ang asawa na umuuwi ng maaga sa bahay at nag-umpisang uminom ng valium at naging magugulatin ito. Pinagtapat na rin ni Rubia sa asawa ang panggugulo ni Willie at pumayag ito na payagan si Rubia na makipagkita kay Willie. Nang malaman ni Rubia kung saan sila magkikita’y si Norman ang pumunta sa usapan. Ang resulta’y nabugbog ito ng mga tauhan ni Willie. Dahil rito’y naging maliwanag na hindi sila titigilan ni Willie lalo pa’t minsa’y takutin si Rubia nang wala si Norman sa bahay at pumunta si Willie’t pinatay ang aso nila. Wala naman magawa ang mga polis dahil wala silang hard evidence na si Willie nga’y nanggugulo sa buhay nila. Pinasya ni Norman at Rubia na umalis na nang bansa at bumalik sa Canada kung saan sila ilang taon ring nag-aral bago naging doctor. Pinasya rin nila na ibigay sa kanyang mga magulang ang dalawang bata para sa kanilang safety.

Sa kasamaang palad, kinidnap ni Willie ang anak nila ni Rubia na si Vivian. Nagpunta sila sa mga pulis ngunit wala pa ring magawa ang mga ito dahil wala silang ebidensiya. Kinontak ni Willie si Vivian at gusto nitong makipagkita siya rito. Pumayag si Norman ngunit sumonod rin ito sa usapan. Kasama ng kanyang mga alagad iniwanan ni Willie ang magasawa at binantaan na sa susunod magsisisi sila sa kanilang ginawa dahil nga ang usapan ay si Rubia lamang ang gusto niyang makita. Tinakot pa ni Willie si Rubia’t kumuha ito ng bankay na bata at isinuot ang damit ng anak ni Rubia. Nalathala ito sa mga diyaryo at pinuntahan ni Rubia ang bankay laking pasasalamat nito’t hindi ang anak ang bangkay. Dahil rito’y nagpasya na si Rubia na kitain si Willie na hindi alam ni Norman. Kinita nga ni Rubia si Willie ngunit nasundan rin pala si Rubia ni Norman. Sa tulong ng mga alagad ni Willie ay itinali ng mga ito sa puno si Norman at muling ginahasa nito si Rubia sa harap ni Norman. Nagsisigaw ito ngunit walang siyang nagawa. Kahit ayaw ni Rubia ay napapayag rin siya dahil papatayin ni Willie ang kanyang asawa. Pagkatapos nito’y binugbog ng mga tauhan ni Willie si Norman at sinama si Rubia papunta sa kanilang anak. Sa dagat papunta sa isla kung saan naruon si Vivian ay kinausap ni Willie ang dino-dios niyang si Rubia. Pinangako nito na matututunan rin niyang mahalin siya. Hindi napansin ni Willie na nakahawak si Rubia sa sagwan ng bangka at ilang ulit nitong pinalo sa ulo ang nabiglang si Willie habang sinasabi ang salitang “hayup!” Hinanap nito ang baril at pinagbabaril rin niya ang nahulog sa dagat na si Willie. Narating ni Rubia ang isla at duon nito nakita ang kanyang anak na buhay na buhay at tinatawag ang kanyang pangalan. The End. – RV

Film Achievement: 1978 FAMAS: Best Picture Nomination; 1978 Gawad Urian: Best Cinematography Nomination – Conrado Baltazar; Best Editing Nomination – Jose Tarnate; 1978 Metro Manila Film Festival: Best Performer Nomination – Vilma Santos; Best Editing – Jose Tarnate; Best Screenplay – Mario O’Hara; Box Office Revenue – Top Grosser

Film Reviews: Mula sa screenplay ni Mario O”hara, ang Rubia Servios ay may mabilis na paglalahad ng buhay ni Rubia at ang mga kahayupang dumating sa kanya sa palad ng isang anak ng makapangyarihan pamilya. Halatang binusisi ni Lino Brockha ang pelikula’t binigyang pansin ang mga eksenang may pagkabayolente. Dalawang beses na ginahasa ni Philip si Vilma at sa bawat eksena’y makikita ang kahalayan at pagnanasa sa mga mata ni Philip at makikita ang sakit na dulot nito sa katauhan ni Vilma. Maraming eksena kung saan inalagaan ni Lino ang pagarte ni Vilma. Hindi lamang sa rape scenes kungdi sa mga tahimik na eksena. Una na nang umagang gumising siya pagkatapos ng unang rape scene. Makikita sa mukha ni Vilma ang pagkalito at ilang sandali pa’y ang pagtanggap ng nangyari sa kanya ng gabing una siyang ginaahasa sa tabing dagat. Pangalawa, nang pumayag si Philip na pakawalan si Rubia at mapunta ito sa ospital. Pagkabukas nang kanyang mata at makita si Norman, makikita sa mga mata niya ang hirap na dinanas. Sa court scene kung saan sinasabi niya na “gusto ko siyang patayin” ng paulit-ulit. Sa bandang huli kung saan nalaman niya na hindi ang anak niya ang putol putol na batang bangkay makikita sa mata niya’t mukha ang biglang pagkatuwa’t hindi ito ang kanyang anak. At sa bandang huli pa rin kung saan ginahasa siya muli sa harap ng kanyang asawa. Makikita ang pagsuko niya’t pagkatalo. Makikita sa kanyang mukha ang pagod at hirap hanggang sa boat scene kung saan pinalad siyang makuha ang sagwan at nagkaroon ng pagkakataong paluin si Willie ng pa-ulit-ulit at hindi pa ito nasiyahan at binaril pa niya ang nangahasa sa kanya. Sa eksenang ito makikita ang kaibahan ng kakayahan sa pagarte ni Vilma. Sa eksenang ito kung saan sinasabi niya ang salitang “hayup!” sabay palo sa nabiglang si Willie. Buong katawan niya ang umaarte. Ito ay hango sa tunay na buhay. Hindi katulad ng arte ni Nora Aunor sa Ina Ka Ng Anak Mo kung saan nahuli niyang nagsiping ang kanyang asawa sa kanyang ina. Nakapokos ang kamera sa mukha niya at nag-emote ng parehong salita: “Hayup!” ang paulit-ulit niyang salita. Aba kung sa tunay na buhay iyan eh nagkasabunutan na at nagwala na ang mag-ina!

Para sa akin naging matagumpay si Vilma sa kanyang pagganap bilang si Rubia Servios. Isang tour de force. Nuong una ko itong napanood sa Avenida ay namangha ako sa kanyang galing. Ngayon pagkatapos ng dalawanput siyam na taon pinanood ko muli ito’y hindi nababawasan ang aking pagkamangha sa galing niya. Paano mo ba isasalarawan ang babae na nagahasa? Paano mo ba isasalarawan ang babaeng nakidnapan ng anak at muling nagahasa sa harap pa mismo ng asawa mo? Isang mahirap na papel. At naisalarawan ito ni Vilma nang makatotohanan. Walang mga pagpopokos ng kamera para mag-emote. Makatotohanang pagganap. Special mention sina Mat Ranillo III at Philip Salvador. Dapat ay napahalagahan sila sa pamamagitan ng nomination subalit naging maramot ang organisasyon ng pestibal at isang acting awards lamang ang binigay nila. Panalo sana si Philip Salvador ng best actor award rito dahil damang dama mo ang kanyang karakter. Makikita rin kung gaano kaganda ng kanyang katawan. Meron eksena siya na nakaswimming trunks lang at talagang alaga pa niya ang kanyang katawan nuon. Si Mat naman ay sana nanominate bilang best supporting actor. Mahusay rin siya lalo na sa eksena kung saan nakatali siya sa puno at wala siyang nagawa ng pagsamantalahan muli si Rubia sa harapan niya ni Philip.

Technically, nang panoorin ko itong pelikulang ito ay maganda ang resulta ngunit nang panoorin ko muli ng ilang beses ngayon ay makikita ang ilang flaws. Una na ang cinematography ni Conrado Baltazar. Maraming eksena ay hindi nasa tamang angulo. Merong eksena na nagsasalita si Ate Vi pero ang nakikita lamang ay ang kanyang nuo. Ang musical score ni Freddie Aguilar ay parang hindi bagay sa tema ng pelikula. Pati ang theme song na “Pagsubok” parang pang-politika at very “folksy” ang dating. Merong isang butas ang screenplay ni Mario O Harra. Nang umalis si Philip para iwanan si Vivian, ang anak niyang kinidnap, nang umalis ito’y sumakay ito ng kotse, pagkatapos nang dalhin niya si Rubia sa banding huli’y sumakay naman sila ng boat. Medyo nakaligtaan nila ang isang detalye na ito. Mabilis ang pacing na pelikula at maraming mga eksena talaga si Vilma na makikita mo ang pagaalaga ni Lino. Sayang nga lamang at hindi ito nakita ng mga hurado ng pestibal at maging ang mga manunuri ng taong iyon. – RV

Undoubtedly, the two best entries in the 1978 Metro Manila Film Festival are Atsay and Rubia Servios. Atsay is remarkable in several ways. It has a strong social message, aimed at primarily those who forget that house cleaners are also human beings. In the character of Mrs. Anton (Angie Ferro), screenwriter Edgar M. Reyes is able to embody the thousand faults which middle-class housewives are heir to. Atsay can also pride itself on being truly Filipino. Its mood is set by its Pilipino credits (in sharp contrast to the English credits of the other entries). The film deliberately exploits local color, dwelling not only on rural but also on picturesque urban scenes. The story, needless to say, can happen only in the Philippines, where domestics and beerhouses are national institutions. But the most striking thing about Atsay is its cinematography (Romeo Vitug). The slow dissolves, the multiple exposures (such as the brilliant train sequence), the surprising angles, the flawless composition—this border on genius. The cinematography is so extraordinary, in fact, that it covers a multitude of sins. The most grievous sin of all is the ending. In the end, Nelia (Nora Aunor), after having been humiliated, beaten, raped, dehumanized by the vultures of the city, decides to stay in the city anyway in the hope that an impoverished construction worker (Ronald Corveau) will make her live happily ever after. Such ending, while assuring the viewer that human nature is not totally evil, is unmotivated and, in fact, goes against the very theme of the story. For Atsay is the story of how the city dehumanizes, of how human beings become swine (this point is made through blatant symbolism in a shot of Nelia inside a cage-like jeep), of how Manila is a prison (note Vitug’s several shots of cage-like structures). “Atsay” is a story of how individuals are no match against the cruelty of the city. The construction worker, for example, becomes the victim of a construction accident. A young pretty virgin from the province is raped while she’s drugged. A kind-hearted old man is shot down while protesting against exploitation. The ending of Atsay contradicts the film’s affirmations. It would have been much more in keeping with the theme (not to mention the current concerns of the national human settlements program), if Nelia were shown rejecting the city and, in hope, returning to her province for a new life.

Rubia Servios, on the other hand, does not dilute the message. Willy (Phillip Salvador), the son of a powerful and wealthy figure, is portrayed as totally evil, devoid of any redeeming quality. To screenwriter Mario O’Hara and director Lino Brocka, the province is the same as the city. Rubia Servios (Vilma Santos) is raped both in the city and in the country. Rubia kills Willy in the country. Violence unites all places. It is the “unity” of conception, scripting, design, and direction, in fact, that Rubia Servios is superior to Atsay. Lino Brocka does not waste shots in his attempt to create a Filipino classical tragedy. He subordinates everything to the building up of one emotion in the viewer, that of hatred of Willy. So despicable does Willy become at the end that, when he is murdered by Rubia, no viewer can say that Rubia is at fault. And yet, morally speaking, no one is allowed to take the law into his own hands. The law, in fact, put Willy in prison for the first rape. There is no reason to think that the law will not put Willy to death for the second rape. By conditioning the reader to condone Rubia’s revenge, Brocka succeeds in questioning one of our deeply rooted moral beliefs. The unity that characterizes Rubia Servios contrasts sharply with the tendency of Eddie Garcia in Atsay to exploit Vitug’s versatility even at the expense of tightness. There are shots in Atsay, for example, which could easily be cut without hurting the film’s integrity. Even the train sequence, one of the best sequences in Atsay, is far too long. Rubia Servios is Lino Brocka’s film; Atsay is Romeo Vitug’s. Nora does an excellent acting job; but so does Vilma Santos, and Rubia is a much more demanding and difficult role. Edgardo M. Reyes is an established literary figure, but Mario O’Hara is much better screenwriter. Overall, Atsay may be much more impressive than Rubia Servios. In terms of challenging our moral and legal convictions, however, Rubia Servios is much more significant. – Isagani Cruz, TV Times, 1979

Kung uri ang paguusapan, de-kalidad ang Rubia Servios. Kaya lamang, may sabit. Maraming butas ang iskrip ni mario O’Hara. Ang istorya ng Rubia Servios ay batay sa mga legal story ni Aida Sevilla Mendoza, at ito’y pumapaksa sa babaeng ginahasa ng kanyang masugid na manliligaw. Si Rubia (Vilma Santos) ay isang medical student na may kasintahang kaeskuweala, si Norman (Mat Ranillo III). Balak nilang magpakasal pagkatapos ng kanilang pag-aaral. Karibal ni Norman si Willie (Philip Salvador) na ayaw tumanggap ng kabiguan sa pag-ibig. Anak siya ng mayaman at maipluwensiyang pamilya sa Kabite. Kaya nang tapatin siya ng dalaga na wala siyang maaasahan, kinidnap niya si Rubia sa isang bahay-bakasyunan at ginahasa ito. Nang magkaroon ng pagkakataon ang babae, tumakas ito at isinuplong si Willie. Idinemanda ang lalaki at nahatulang mabilanggo ng anim na taon. Paglabas ng lalaki sa bilangguan, ginulo na naman niya ang buhay ng babae na ngayo’y asawa na ni Norman at may dalawang anak (ang una’y anak niya kay Willie). Dahil sa pananakot ng hui, nakipagtagpo si Rubia, at muli na namang ginahasa sa sementeryo sa harapan pa naman ng asawa. Kinidnap ni Willie ang anak niya para gawing pain sa pagtatagpo nila ni Rubia at para sumama na tio sa kanya. Ngunit nagkakaroon na naman ng pagkakaton ang babae na lumaban at sa bangka, hinampas niya si Willie ng sagwan, at pagkatapos ay binaril ang lalaki hanggang sa ito’y tuluyan nang malunod.

Simplistiko ang materyal at lalong simplistiko ang pamamaraan ni O’Hara sa karakterisasyon. Nagmumukha tanga ang mga tauhan (si Rubia at si Norman) samantalang medical students at naturingang doktor pa naman sial. Tinatakot na sila’y hindi pa sila humingi ng proteksiyon sa pulis. Ginahasa na si Rubia ay nakipagtagpo pa sa sementeryong madilim nang nag-iisa at nagpaganda pa mandin siya nang husto. At ang asawa niya’y wala ring utak. Biro mong sinundan ang asawa sa sementeryo nang nag-iisa! Dapat nga palang magkaganito sila kung napakakitid ng kanilang utak. Sa direksiyon ni Brocka, lumitaw ang galing ni Vilma Santos, at nakontrol ang labis na pagpapagalaw ng kanyang labi. Mahusay din ang eksena ng gahasa. Si Philip Salvador naman ay tulad sa isang masunuring estudyante na sinusunod lahat ang direksiyon ng guro. Kitang-kita mo sa kanyang pagganap ang bawat tagubiling pinaghihirapan niyang masunod: kilos ng mata, buntong-hininga, galaw ng daliri, kislot ng kilay. Limitado ang kanyang kakayahan at makikia ito sa kanyang mukha (na limitado rin). Walang-wala rtio si Mat Ranillo III, na parang pinabayaan para lalong lumitaw ang papel at pag-arte ni Salvador. Samantala, ang kamera ni Conrado Salvador ay hindi gaanong nakalikha ng tension at suspense, bukod sa napakaliwanang ng disenyo ng produksiyon ang pagbabago ng mga tauhan sa loob ng pitong taon batay sa estilo ng damit at buhok. – Justino M. Dormiendo, Sagisag, February 1979 (READ MORE)

“…Mula sa isang real life legal story ang Rubia Servios, namumuhunan ito sa ideya na ang masasaksihan ng mga manonood sa iskrin ay hindi likhang-isip lamang kundi talagang nangyari sa tunay na buhay. Hinimok ni Lino Brocka sa kanyang pelikula na pagmasdan ang babae sa konteksto ng ating lipunan. Bakit ganito ang nangyayari sa kababaihan? Dahil tinatanggap nating maging ganoon ang kanilang kundisyon sa lipunan. Kung pagkakasala ang pabayaang maghari ang mayayamang may kapangyarihan, nararapat lamang na ituwid ang pagkakasalang ito. Sa mga nakakaalam ng mga pelikula ni Brocka, pamilyar ang paggamit sa estratehiya ng melodrama. Sa ganitong paraan, ang focus ay ang paghihirap na pinagdaraanan ng pangunahing tauhang babae at ito ang nakababagbag sa damdamin ng manonood. Ngunit sa pagpuntirya ng emosyon, hindi matamaan ang paglinaw sa tunay na isyu. Si Vilma Santos bilang Rubia Servios ay hindi lamang mahusay na gumanap sa buhay ni Rubia kundi naging isa ring makapangyarihang talinghaga na nakapagpalusog sa teksto ng pelikula. Sa kabuuan, inaangkin ng pelikulang Rubia Servios ang kapangyarihan nitong lumikha ng katotohanan mula sa masalimuot na materyal ng reyalidad. Sa ganitong proseso, nailalantad ang isang piraso ng reyalidad upang mapanood, masuri at mabigyang-kahulugan. Sa kabilang banda, hindi rin makakatakas ang pelikula sa mga diskursong kumakanlong sa mismong puinupuna at tinutuligsa nito…” – Jojo Devera, Sari-saring Sineng Pinoy (READ MORE)

The Screenplay – “…Mario Herrero O’Hara (born April 20, 1946 – died 26 June 2012) was an award-winning Filipino film director, film producer and screenwriter known for his sense of realism often with dark but realistic social messages…In 1978, he wrote the screenplay for Lino Brocka’s Rubia Servos. This led to the first award in his film career (Best Screenplay at the Metro Manila Film Festival)…” – Wikipedia (READ MORE)

“…There are certain themes that keep the public captive and enthralled through relentless manufacture of a thematic repertoire which ensures the preponderance of sex in stories and daily narratives. These themes need not be perceived as always proferring false consciousness, but as reiterating the social problems implicated by cinematic and industrial mediation of sexual expression. The theme of rite of passage, from innocence and youth to carnal knowledge, fastens the narrative to the body of the virgin whose initiation into the desires of the world transforms her into a “whore.” The stigma of this rite of passage is exploited from every possible angle, from ablutions in the river to rape scenes and on to the erstwhile virgin suddenly craving flesh herself…Rape likewise presents an occasion for baring the body. Brutal (1980), Rubia Servios (1978), Angela Markado (1980), and even the massacre films hatched in the bizarre mind of Carlo J. Caparas discuss rape almost clinically and therefore subject the body of the woman to another round of autopsy, this time through the prying eyes of a public reared in a daily history of sex…” – Patrick D. Flores, Bodies of Work: Sexual Circulations in Philippine Cinema (READ MORE)

New Screen Persona – “…After years of this unfair competition, Vilma decided to stop playing the also-ran, and opted to essay the roles that Nora preferred not to do, -the other woman, rape victim, burlesque dancer, etc. Vilma’s sexy movies were more suggestive than anything else, but they gave her a new screen persona that made her a distinct movie entity from Nora. Fact is, Nora could also have played sensual characters, but she felt awkward doing so, and Vilma benefited from her reticence. In time, Vilma was also winning acting awards and starring in big hits, so the competition between her and Nora peaked…” – Nestor U. Torre, Philippine Daily Inquirer, 2002 (READ MORE)

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