Vilma Santos is a popular multi-awarded actress and politician in the Philippines. She's known as the "Queen of Philippine Movies," "Queenstar" and "Star for All Seasons." She is currently the Congresswoman of District of Lipa, Batangas (Philippines). This site is mostly about her film career.
Basic Information: Directed: Leonardo L Garcia; Story, screenplay: Joeben Miraflor; Cast: Romeo Vasquez, Vilma Santos, Nora Aunor, Tirso Cruz III, Jessica, Rudolfo Boy Garcia, Zandro Zamora, Odette Khan, Chito Guerrero, Rustica Carpio, Babette Villaruel, Estrella Kuenzler, Romnick Sarmenta, Mary Jane; Executive producer: Experidion Laxa; Original Music: Tito Arevalo; Cinematography: Zossimo Corpuz; Film Editing: Edgardo Vinarao
Plot Description: Mina (Vilma Santos) is a commercial model struggling to provide financial assistance to her ill mother when she meets the arrogant painter Dino (Romeo Vasquez). He offers her to be a model for his work of art which she accepted. This has drawn them closer to each other until Mina learns of Dino’s past relationship that eventually becomes a hindrance to their budding romance. Meanwhile, Mina’s best friend Laura (Nora Aunor) has always been in love with Angelo (Tirso Cruz III). However, due to their parent’s rivalry and Angelo’s mother coercing him to become a priest, they separated. During this time, Laura is raped by her long-time suitor which resulted to unwanted pregnancy. Years after, Angelo who fails to endure being away from his true love, Laura, returns to ask for her hand in marriage. Everything seems well for the couple until the real father of Laura’s first child comes back. Angelo is overwhelmed with jealousy that he starts to ruin the picture-perfect family they had before. Find out how the two friends will resolve their trouble relationships in this classic film you’ll never forget.
Film Achievement: 1978 FAMAS Nomination Best Child Actor – Romnick Sarmenta
Film Review: “Sometime in the mid 70s, matinee idol Romeo Vasquez returned to the movie scene after a long absence, his movie career in limbo after his failed marriage with popular actress Amalia Fuentes. His teamup with Vilma Santos somehow rekindled and revived his career. Their first movie together, Nag-aapoy na Damdamin in 1976 turned out to be a big hit. Despite their age gap, reel and real life sweetheart, Romeo, 34 and Vilma, 23, soon became the hottest love team, doing one hit movies after another…” – Video 48 (READ MORE)
“…Romeo Vasquez is an oddity in Vilma’s life. Hindi akalain ng lahat na ang isang notorious playboy and balikbayan actor would capture the heart of the then elusive Ate Vi. Nagkaroon sila ng affair which lasted for more than a year. Kilala si Bobby sa pagiging bohemyo kaya naman walang kakilala si Ate Vi na bumoto sa aktor. Ate Vi was love struck at talagang na head-over heels in love. Nagsimula ang kanilang affair sa set ng kanilang pelikulang “Nag-aapoy na Damdamin”. True to this title, nagliyab silang dalawa at tunay ngang nag-apoy ang kanilang damdamin. May plano pa nga sila ni Bobby na magpakasal sa Europe. Talagang Ate Vi was ready to give up her life as an actress and would settle with the actor abroad. And with herb relationship with Bobby, nag-surface ang bagong Vilma Santos.Ate Vi realized that she cann’t sacrifice everything for love. Nagising siya sa katotohanan at nagkamali kung kaya nagdesisyon siyang kumalas sa bohemyong aktor…” – Willie Fernandez (READ MORE)
“…But it was with handsome actor Romeo Vasquez that Vilma Santos had her most controversial relationship. Romeo was the former husband of Philippine movie queen Amalia Fuentes. He and Vilma first paired in the movie Nag-aapoy na Damdamin (1976). It was also during this year that they became a couple. They made several movies together, all of which did well at the box-office. Vi and Bobby (Romeo’s nickname) became the most-talked about reel and real love team at the time. The relationship was always on the pages of showbiz magazines and tabloid entertainment section pages because of the intrigues and the personalities who got involved with them…” – Rommel R. Llanes (READ MORE)
“Hindi naman ako ipokrita…ke tomboy ka, bakla ka, ok lang sa akin yon! Pareho lang yon! Kung saan ka maligaya duon sila…huwag na nating pakialamanan…alam mo kung nuong una sinabi na niya sa akin kung ano siya hindi na kami nagkaganito eh…akala ko tutoong tao siya!” – Isabella
“Putik nga ito! Pero kahit ganito ako, nagsisimba ako kahit papaano!…ang sabi ng nasa itaas, ang sala sa lamig, sala sa init, iniluluwa ng langit, isinusuka ng diyos!” – Isabella
“…ano ba naman ‘to katawan lang ‘to, ‘konting tubig, ‘konting sabon, wala na…tapusin na natin ang kaso, pagkatapos sabihin mo kung kailan, saan…darating ako, ang katawan ko!” – Isabella
Basic Information: Directed: Danny Zialcita; Portia Ilagan; Screenplay: Danny Zialcita, Portia Ilagan; Cast: Vilma Santos, Nora Aunor, Dindo Fernando, Tommy Abuel, Tony Carreon, Baby Delgado, Rosemarie Gil, Suzanne Gonzales, Odette Khan, Liza Lorena, Alvin Enriquez, Adul de Leon, Rustica Carpio, Anita Linda; Original Music: Butch Monserrat; Cinematography: Felizardo Bailen; Film Editing: Ike Jarlego Sr.; Sound: Rudy Baldovino; Theme Songs: “Hiwaga ng Pag-ibig” performed by Nora Aunor
Plot Description: An interesting and witty play of events and characters directed by avant garde filmmaker Danny Zialcita. The story of a woman confused of her sexuality (played by Nora Aunor) who worked in a man’s world as a lawyer. A chance meeting with a bar girl (played by Vilma Santos) who would change the course of her life. The film portrays a woman who runs and holds her life, but when matters of the heart are concerned, she just lets fate takes it toll. She believes to be in love with the bar girl, or she thinks she is! At the end, a sudden twists explodes making her more vulnerable that she has ever imagined. A parody on the comic love and life of people caught up in a the middle of strange questions of gender issues. A seriously funny picture of the drama of life! – Kabayan Central (READ MORE)
Lesbian lawyer Nora, tried to assist the accused dancer, Vilma with her legal battles and unexpectedly, falls in love with her. The poorly written plot compensate with crisped dialogues and fast paced editing from one of the most finest commercial director of the 80s, Danny Zialcita.
Confused lawyer Sylvia Salazar (Nora Aunor) is infatuated by the oozing charm of ago-ago dancer Isabel (Vilma Santos) whom she has volunteered to defend in a criminal case. Sylvia’s persistent and dedicated suitor (Tommy Abuel), another lawyer of intelligence and a strong conviction, however, does not give up on her and resolves to pursue her or wait for that time when she will be more receptive to a man’s affections. Also stars Dindo Fernando, Liza Lorena, Baby Delgado, Leila Hermosa, Suzanne Gonzales and Odette Khan. Written by Portia Ilagan and directed by Danny L. Zialcita for Film Ventures, Inc. – Trigon Video
Film Achievement: The fourth Vilma Santos-Nora Aunor films (the other films are: Young Love, Pinagbuklod ng Pag-ibig, Ikaw Ay Akin.
Film Reviews: “…The remastered version of Danny Zialcita’s T-Bird AT Ako is clearly something that we can be proud of. At an age of total enlightenment, we no longer need to know who’s better between Aunor and Santos. What matters now is that we have a film we can return to, so we can once again, embrace the magic of cinema and understand why it continually touches our lives. Apart from a salute to a director, who has once graced our taste and tickled our sensitivities as Filipinos, it is also a celebration of two great actresses who will ceaselessly make us smile every time we wonder what magic they have that makes us submit to their bidding…”- Orly S. Agawin, Jellicle Blog, 26 February 2015 (READ MORE)
“…The restoration campaign focuses on directors primarily. In the case of the 33-year old ‘T-Bird at Ako,’ it’s vintage Danny Zialcita with his snappy dialogue and witty repartee. It’s also the last time that Nora and Vilma co-starred in a movie and with such a daring theme for its time. “T-Bird at Ako” tells the story of a sexy dancer (Santos) accused of homicide. She is defended by a female lawyer (Aunor) who tries to keep their relationship professional as the latter struggles with confusion as to her sexual preference. T-Bird at Ako is among the 75 films restored by ABS-CBN Film Archives, in collaboration with Central Digital Labs, since it started its restoration project in 2011. Some of these restored films were already screened internationally via film fests, screened locally via red carpet premieres, aired on free-to-air and cable television, viewed via pay-per-view and video-on-demand, distributed on DVD, and downloadable even on iTunes…” – LionhearTV, 26 February 2015 (READ MORE)
“…The 1982 blockbuster T-Bird At Ako was not the first movie to star rival screen icons Nora and Vilma, but it played up the rivalry of the two, even coming up with a circular “billing” so you couldn’t tell whose name appeared first. It also has a titillating premise: Nora Aunor plays Sylvia, a successful lawyer who finds herself sexually attracted to Vilma Santos’s Isabel, a nightclub dancer/hostess accused of murder. The movie is absolutely delightful, and its two stars never looked better, but if you’re looking for a serious discussion of LGBT issues, look elsewhere. As writer Portia Ilagan said in her introduction, she and the director had a spat over the “redeeming” ending, which in the tradition of old Tagalog movies suggests that homosexuality is a temporary phase that can be cured…In T-Bird at Ako, every character is a character, and even the most minor characters get to unleash verbal zingers. Many of these zingers seem like throwaway remarks, so you need to pay close attention. “Saan tayo?” says the taxi driver. “Sa impyerno,” says Vilma Santos, and the movie doesn’t make room for the audience’s laughter but barrels right into the next scene. It occurred to me that Danny Zialcita’s movies, which were marketed as melodramas, are really screwball comedies, the genre I love most in the world. The plots are preposterous, the story is only loosely related to real life, and everyone is clever. It doesn’t try to be like the actual world, it wonders why the world isn’t more fun like a movie…”
“…Nora Aunor has the more difficult role. Her Sylvia is a cerebral woman who has never paid much attention to her feelings and suddenly finds herself swamped with them. Could she be a lesbian? The movie’s timidity and its fear of offending the traditionalist audience doesn’t help her: she is reduced to being petulant and jealous when Vilma’s Isabel stays out late at night. But Nora uses her famous power of understatement to convey the confusion, discomfort, and amazement of emotional awakening. It’s also refreshing to see her play an established, affluent character whom no one would think of oppressing. Make her api at your own risk. Vilma Santos is in her element playing the quintessential Vilma role: the woman of feeling who has no qualms about expressing them. She also has a nightclub dance sequence that, far from portraying her as a downmarket floozy, makes her look like she should be headlining a TV variety show. Oh right, she’s done that. And her line readings are hilarious. Under cross-examination by Tommy Abuel, who asks if she can understand his questions in English, she says, “Opo, hindi naman malalim ang English niyo.” Offhandedly, without turning it into a moment…” – Jessica Zafra, Interaksyon, 27 February 2015 (READ MORE)
“…Ang husay talaga ng director na si Danny Zialcita. And the actors in the movie were equally good. Sa court scene, hindi nagpatalo sina Johnny Wilson at Tommy Abuel as the prosecutors. Ang gagaling nilang magbitaw ng mga dialouges. At hindi rin nagpatalo ang Superstar as the defense lawyer. Superb ang exchange words sa court room. We wondered kung sino ang scriptwriter ng pelikula. But Manay Ethel Ramos said na si Danny Zialcita is an expert on that area. Halos hindi maalis ang tutok ng lahat kay Ate Vi with her sexy dance number and she was in a red skin tight outfit with the lower part exposing very shapely thighs and legs. Sabi nga ng anak naming si Julienne who was with us during the viewing of the film, “Ang ganda ni Vilma lalo na ‘yung ilong niya. Girl na girl talaga siya. Ang ganda rin ni Nora pero pang-masa talaga ang dating niya. Very convincing siya as t-bird. Paglabas ko, Mommy, ng film center, tumatak sa akin na t-bird talaga siya.” Nandun sina Aiza Seguerra at Liza Dino to support the film since the film is about same sex relationship. Nandun din si Direk Perci Intalan who is, as everywone knows, married to writer Jun Lana. Kay Portia Ilagan (the right hand of Sen. Bong Revilla) pala ang kuwento ng T-Bird at Ako. Kuwento diumano ito ng buhay niya. Dahil yung same sex relationship ay hindi pa masyadong accepted nung time na ginawa ang movie, sa ending, hindi nagkatuluyan sina Vilma at Nora. May mga dialouges pa si Ate Vi na “Nandidiri ako sa ‘yo.” nung mag-attempt si Ate Guy na haplusin siya. So, sa ending si Nora ay napunta kay Tommy Abuel at si Vilma naman kay Dindo Fernando. Sey kuno ni Portia sa isa namaing kasamahan sa panulat na nag-interview sa kanya, ang ayaw niya sa ending ay pinag-bestida raw si Ate Guy. She accepted the ending na napunta si Ate Guy kay Tommy Abuel pero ang di niya nagustuhan ay pinagsuot ito ng bestida. In real life kasi, never sigurong nagsuot ng dress si Kabsat Portia…” – Len Ramos Llanes, Bulgar, 27 February 2015 (READ MORE)
“…Na-miss ng film critics at ng showbiz industry ang style ng yumaong Danny Zialcita sa pagdi-direk. Ilan sa kanyang mga obra ay ang Nagalit ang Buwan sa Haba ng Gabi at marami pang iba tulad ng T-Bird at Ako na ipinalabas sa UP Film Center las February 25. Ang bida ng classic film na ito ni Danny ay ang dalawang superstars ng local film na sina Vilma Santos at Nora Aunor. Ang said film ay ilan lang sa mga restored film into its original na gawa ng ABS-CBN Film Restoration. Ang mga nauna nang restored films na ipinalabas sa said venue ay ang tatlong pelikula ni Batangas Governor Vilma Santos-Recto like Bata Bata Paano Ka Ginawa at Anak. Anyway, dumating si Nora sa UP Film Center nang mas maaga sa takdang oras ng palabas na 6pm. Unfortunately, walang Vilma na dumating although nagpasabi ito sa kanyang mga Vilmanians na hindi siya makakarating due to important committment sa Batangas. Bagama’t wala si Ate Vi, kumpleto pa rin ang Vilmanians sa pangunguna ni Jojo Lim na siyang nag-asikaso sa mga press people na kanyang inimbitahan. Pagkatapos ng welcome speech ni Leo Katigbak, ang head ng Kapamilya Film Restoration, sumunod na nagpasalamat si Ate Guy sa mga dumalo sa event, maka-Nora man o Maka-Vilma. Nasa 4th row nakaupo si Ate Guy habang ongoing na ang viewing. Binulungan kami ng aming katabing isang radio host-columnist na “Tumatakas na si Nora.” True, napansin ng lahat na nu’ng ipinapakita ng ilaw, bakante na ang kinauupuan ng Superstar. Tuloy, ‘di na naman nakalusot sa intriga ang bulilit aktress at biro ng aming katabi, “Nag-walkout yat? e, kasi nga, kahit wala si Vilma, mas malakas ang palakpakan sa kanya,”sey ng aming katabi. Bago pa ang screening ng T-Bird at Ako sa UP Film Center, nagpaunlak ng pahayag si Nora at naitanong ng katotong Morly Alinio kung papayag ba ito sakaling magkaroon ng T-Bird At Ako part 2 kahit na pareho na silang may edad? Sagot ni Ate Guy, “Why not? Depende siguro ‘yun sa istorya,” sey sa amin. “Wala namang problema sa amin ng mare ko,”na tinutukoy ay ang Star for all Seasons…” – Ador Saluta, Bulgar, 27 February 2015 (READ MORE)
“…Ang kuwento ng T-Bird At Ako ay tungkol sa isang dancer (Vilma) na naakusahan ng homicide. Ipagtatanggol siya ng isang abogada (Nora) na susubukang panatilihing propesyunal ang kanilang ugnayan habang nilalabanan ang pagkalito sa kanyang sexual preference. Si Portia Ilagan ang sumulat ng script ng T-Bird At Ako at ayon sa kanya, magkakaroon daw ito ng remake. Ang gusto niyang magbida sa bagong version ng pelikula ay sina Angel Locsin (dancer) at Bea Alonzo (lawyer). Gusto rin niyang maging part ng pelikula sina Vilma at Nora, Aiza Seguerra at asawa nitong si Liza Dino…” – Leo Bukas, Journal, 28 February 2015 (READ MORE)
“…Humahantong ang resolusyon ng pelikula sa antas nang mapilitang magkasundo ang mga magkakatunggali. Sa pagtatapos nito ay bumalik si Aunor sa tunay na esensya ng kanyang pagkababae. Nagmula ito sa matagumpay na babaeng nagpasimula sa pagtagumpay ng mga tradisyonal na pagpapahalagang pang-kababaihan. Tulad ng inaasahan, napapalooban ang T-Bird At Ako ng mga kapani-paniwalang pagganap at pagtatapat. Higit na epektibo si Nora Aunor bilang isang lesbiyana sa pagpapahayag ng komplikasyon sa tauhang kanyang ginagampanan. Lubha namang nakakapagod ang pagganap ni Vilma Santos sa pelikula. Hindi makaramdam ng simpatiya ang manonood dito dahilan sa karton ang kanyang karakter. Samantala magiting ang suportang ipinamalas ni Tommy Abuel bilang matiyagang manliligaw ni Aunor, gayundin sina Dindo Fernando at Suzanne Gonzales. Sa maikling paggnap ay lubhang katangi-tangi sina Anita Linda at Odette Khan. Masasabing masinop ang mga elemento ng pelikula sa T-Bird At Ako, maliksi ang galaw ng mga biswal at masigla ang paggamit ng tunog upang mabisang mailarawan ang mundong ginagalawan ng mga tauhan nito.” – Jojo Devera, Sari-saring Sineng Pinoy (READ MORE)
“…Danny Zialcita’s T-Bird at Ako is entertaining cannot be doubted. The plot situations are funny. The lines are witty. The pacing is fast. The lesbian love of Nora Aunor for Vilma Santos, moreover, is extremely clever, since the two superstars in real life would not be caught dead in such a relationship. Zialcita has made a career of doing impossible things. He made he-man Dindo Fernando a homosexual in the Mahinhin series. He now makes Aunor a lesbian. When he tries to make Santos a low-class beerhouse dancer, however, he fails. That makes his record two out of three impossible things, not bad for normally sedate local cinema. This film shows Zialcita at his best – irreverent, tongue-in-cheek, unconcerned with larger themes, focused on obsessive sexual relationships. Let’s take the dialogue first, which cleverly juxtaposes the fiction of the film with the reality of the careers of the two superstars. Thus references are made to Santos’ being a “burlesque queen.” One character is even named “Rubia,” after Rubia Servios (1978), Santos’ competition film against Aunor’s Atsay (1978). More than these allusions, however, the film features sparkling exchanges between Santos and Aunor. Most impressive of all the lines perhaps are those in the court room sequence, since the opposing arguments are easy to follow, yet logical in structure. The direction is tight and masterful. Although one always gets reminded in a Zialcita film of sequences from foreign films, there is a minimum of unmotivated blocking in this film. Each sequence contributes to the whole film (if there is copying, in other words, and I do think there is in this film, the copying is not done simply to be cute or clever, but in accordance with the logical requirements of the plot). The performances, as expected of a Zialcita film, are excellent. Aunor is more effective as the confused lesbian, primarily because Santos is not able to get the rough and ready quality of low-class hospitality girls. Tommy Abuel is terrific in his role as the patient suitor. Fernando is given too little space to develop his character, but what he has, he makes good use of. Captivating is Suzanne Gonzales, though she has to learn to use her face a bit more to express varying emotions. In their brief roles, Anita Linda and Odette Khan are delightful.” – Isagani Cruz, September 22, 1982, Movie Parade Magazine
No More Superstar Image – “…Isa iyong ikslusibong pakikipanayam sa aktress sa set ng “T-Bird,” isang pelikulang tumatalakay sa mariing iksistensiya ng isang tomboy, at sa pagkakataong ito, muli na naman siyang makakasama ang kaytagal na niyang kakontemporaryong aktress, si Vilma Santos. Sa intriga’t kontrobersiya ng naturang pelikula, (sapagkat kamuntik nang hindi matuloy ang proyekto) nagpapasalamat si Nora at nagkaroon din iyon ng katuparan. Nagtapat siya: “Malaki rin ang naitulong nang pagkikita namin ni Vi sa Manila International Film Festival. Kasi, magkatabi kami. Kinabukasan nun, Saturday, meron nang shooting…Tapos, ang laki rin ng tulong nu’n kasi nagkakuwentuhan na rin kami, ang sarap! Ewan ko, ang sarap talaga ng pakiramdam kung halimbawang magkalaban kayo sa career…magkalaban, pagkatapos ang tagal-tagal n’yo, ‘yung ganu’n. ‘Yong bang hindi mo akalain…Kahit nga mga problema nag-kakuwentuhan din kami, eh…So, ‘nu’nung shooting namin, medyo hindi rin ako masyadong nahirapan sa pag-a-adjust…” Ang totoo, ayon kay Nora, medyo ayaw din niyang tanggapin noong una ang papel na iyon sa “T-Bird.” Unang-una naipangako niya sa sariling gagawa lamang siya ng tatlong pelikula para sa 1982, at hindi nakalinya ang obrang iyon ni Danny Zialcita. Isan linggo niyang pinag-isipan ang alok na iyon ay gumuhit nang malalim ang isang intrigang kanya rin napaglabanan, pagkatapos. “Kasi, unang-una, iniisip ko rin naman, siyempre maraming tao na mag-iisip na naman, magsasalita na naman ‘O baka naman tinatanggap ni Nora ‘yan kasi kakapit sa pangalan ni Vilma dahil alam na down na down na siya!…So, ‘yon, nag-worry ako pero pagkatapos kong pagaralan, naisip ko, bakit ko naman pakikialaman ‘yung ibang tao? Sa ngayon naman, nag-matured na kami. Wala na ‘yung mga batang isipan d’yang Superstar image. Unang-una nga, magsasama kami ngayon as actresses. Hindi na mga dating pa-bandying-bandying ang mga pelikula ngayon…saka isa pa, bakit ko ba iintindihin ang mga sasabihin ng tao? Kung maraming mga detractors ang magsasalit at mag-iisip nang ganun, hindi maiiwasan ‘yon. Maski anong paliwanang ang gawin mo, andu’n pa rin ‘yung kaumakalaban sa iyo…” Isang seryosong pelikula ang “T-Bird” at isang seryosong direktor naman si Danny Zialcita. Ang kay Nora ay ang maranasan ang pagpapel ng isang tomboy hindi sa paraang kumedya kundi sa isang paraang dramatika. Gusto rin niyang maranasan kung paano maiderihe ni Danny sa unang pagkakataon…” – Arthur Quinto, photos by Fely Igmat, Artista Magazine, 04 March 1982, Re-posted by James DR, Pelikula Atbp (READ MORE)
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