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Sister Stella L at Iba Pang Awit ng Panahon
Sister Stella L at Iba Pang Awit ng Panahon
- Aling Pag-ibig Pa? – Pat Castillo; Music Ding Achacoso; Lyrics Jose F. Lacaba; Guitar Lyncir Lagunzad
- Manggagawa – Rody Vera; Music Ding Achacoso; Lyrics Jose Almojuela
- Sangandaan – Pat Castillo; Music Ding Achacoso; Lyrics Jose F. Lacaba; Guitar Lyncir Lagunzad
- Aling Pag-Ibig Pa? (Instrumental)
- Manggagawa (Instrumental)
- Bayan Ko – Wea Various Artists (Celeste Legaspi, Apo Hiking Society, Janet Basco, Marco Sison, Leo Valdez, Ivy Violan, Dulce, Noel Trinidad, Subas Herrero)
- Prisoner’s Lament – Apo Hiking Society
- Bayan Kong Pilipinas – Celeste Legaspi
- Psalm 12 (Help Us) – Celeste Legaspi
- Buntong Hininga – Paul Toledo
Philippine Copyrights by Wea Records 1984
Ang buhay mo noon:
Kalooban mo’y panatag,
Kalangitan ay maliwanag,
Ang daan ay tuwid at patag
Sa buhay mo noon.
Ngunit bawat pusong naglalakbay,
Dumarating sa sangandaan:
Ngayong narito ka,
Aling landas ang susundin ng puso?
Saan ka liligaya, saan mabibigo?
Saan ka tutungo?
Kay daling sumunod
Sa hangin at agos:
Aasa ka na ang dalangin,
Gagabay sa ‘yong damdamin.
Ngunit saan ka dadalhin
Ng hangin at agos?
Alam mong bawat pusong nagmamahal,
Dumarating sa sangandaan:
Ngayong narito ka,
Aling landas ang susundin ng puso?
Saan ka liligaya, saan mabibigo?
Saan ka tutungo?
Aling pag-ibig pa?
Aling pag-ibig pa
Ang hihigit kaya
Sa pag-ibig ko sa iyo,
Sa hirap at ginhawa,
Sa ligaya’t dalita,
Ako’y kasa-kasama mo.
Kung ang gintong palay
Katabi mo ako sa bukid,
Kung tigang ang lupa
At di ka makaluha,
Ako ang magdidilig.
Kung ang bulaklak
Igagawa kita ng kuwintas,
Ang bagyo’t baha,
Ako’y may kubong ligtas.
May pag-ibig pa bang
Higit na dakila
Sa pag-ibig ko sa iyo,
Wala na nga, wala.
Wala na nga, wala.
Wala na nga, wala.
Ang bayan kong Pilipinas
Lupain ng ginto’t bulaklak
Pag-ibig na sa kanyang palad
Nag-alay ng ganda’t dilag
At sa kanyang yumi at ganda
Dayuhan ay nahalina
Bayan ko, binihag ka
Nasadlak sa dusa
Ibon mang may layang lumipad
Kulungin mo at umiiyak
Bayan pa kayang sakdal-dilag
Ang ‘di magnasang makaalpas
Pilipinas kong minumutya
Pugad ng luha at dalita
Makita kang sakdal laya
Bayan Kong Pilipinas
Ang bayan kong minamahal
ang bayan kong Pilipinas
Sa dugong pinuhunanan
Makamtan lang ang kalayaan
O bayan kong minumutya
Ako’y handang magpakasakit
Ang buhay ko’y nakalaan
sa iyo mahal kong bayan
Perlas ng Silanganan
May likas kang kayamanan
Dahil dito’y inagaw ka ng mga dayuhan
Kaya dapat kang bantayan
Ingatan ka mahal kong bayan
Pat Castillo – “…We met Pat recently at Jackie Magno’s show at the new Merk’s Place on Arnaiz opposite the Rennaissance Hotel. Starting with small talk, we asked Pat of her current activities and found she was busy with facilitating, mentoring and coaching. All three involve guiding the individual discover his fears, doubts and talents, while helping him improve on the positive and hurdle the negative. A lifestyle coach described her job akin to that of a sports coach saying, “I get to challenge my clients like no one else. I am their mentor, cheer leader and sounding board.” And obviously, the job is for one who loves people, has massive patience, and thrives on challenges. Pat has had movie stars, young girls preparing for a beauty pageant, political clients gearing up for an election. And for this job, Pat uses the name Patricia Castillo. Coaching and mentoring grew as a career in the US when organizational changes brought upon by mergers and acquisitions found the need for companies to prepare their key personnel for new challenges. Soon, its effects filtered down to the rank and file, and to individuals who found the exercise enhancing and inspiring. Pat relates one day getting interested in a book Coaching published by a behavioral institute in Australia, so off she went to Australia for lessons. Soon she was accepting clients who found out about her new career. “I realized I really liked performing in front of people, and that coaching was just another medium…” – Bibsy M. Carballo, The Philippine Star, May 01, 2011 (READ MORE)
Janet Basco – “…born as Janet Mabasco, is a Filipino singer. She is known for her hits “You Made Me Live Again”, “Minsan Pa” and “My Girl, My Woman, My Friend” in a duet with Jose Mari Chan. In the music video version of this song, she is seen sitting on the sofa eating popcorn and has a date with him…” – Wikipedia (READ MORE)
Marco Sison – “…But even Imogene can’t dismiss the appeal of Marco who was responsible for some of the chart-topping songs of the ’80s and ’90s, among them Make Believe, Always, My Love Will See You Through and Si Aida, Si Lorna O Si Fe,” says Edmund. “While many of his contemporaries have gone gray, Marco seemed to have found the fountain of youth and managed to preserve not only his suave looks, physique and vitality, but also his impeccable Student Canteen voice that could put many younger singers to shame. Hear him sing the Latin beat Sway and see how a middle-aged man can bring sexy back.” Edmund was impressed by Marco’s jaw-dropping performance with his medley of Basil Valdez’s greatest hits. “Belting Gaano Kadalas Ang Minsan, Hanggang Sa Dulo ng Walang Hanggan, Tuwing Umuulan, Nais Ko and Sana Ay Ikaw Na Nga, capped with Ngayon at Kailanman, he sent chills down the spine of his audience, who reciprocated him with defeaning applause and cheers.” “He never overdoes his singing because he knows his voice is superb just the way it is,” Edmund quotes Zoila Mendoza of Manhattan’s DNZ Travel and Tours as saying. “No screamfest, just pure talent…and sincerity…” – Ricardo F. Lo, The Philippine Star, October 24, 2007 (READ MORE)
Leo Valdez – “…Though Valdez is now established in the international and local musical theater scene, he used to see himself more as a singer than an actor. “Initially I thought it was quite daunting,” says Valdez on first trying his hand at performing in Manila. The boy from Negros shares, “Manila seemed so big… It was like New York – ‘If you can make it here, you can make it anywhere’.” And, indeed, Valdez did make it in the big city. Valdez became a household name when he interpreted “Magsimula Ka” in the Metropop festival song writing contest. “It became, and still is, my ‘national anthem’,” Valdez says. Winning the contest led to invitations to perform and travel abroad. It also paved the way for Valdez to perform at the Metropolitan Theater, upon the invitation of the late Conching Sunico, where he headlined five musical extravaganzas. In one of these, he sang Sa Ugoy ng Duyan. “You could hear a pin drop,” he describes the performance, and how the hushed audience held on to every note…” – Ida Anita Q.del Mundo, The Philippine Star, Nov 04, 2012 (READ MORE)
Ivy Violan – “…Filipino singer most popular in the 1980s. She started singing at the young age of 2 1/2 years with her brothers in the group called Ivy and Velboys. As she grew up, she joined bands such as Sangkatutak Band and the Royal Flush Music Society. She later formed her own band called 8th of September band. In 1981, with the help of Rico J. Puno and musical director Homer Flores, she went solo…” – Wikipilipinas (READ MORE)
Dulce – “…Maria Teresa Abellare Llamedo Cruzata, better known as “Dulce”, is a Filipino singer and theater actress most famous for the hit song ‘Ako Ang Nasawi, Ako ang Nagwagi’…Dulce was born to a poor family in Villa Bulsita, Bulacao, Pardo, Cebu City. She started singing at the age of two. Her highest educational attainment was only elementary. She immediately went to Manila when opportunity came to pursue a singing career. She went on to win on many singing competitions including the popular “Tawag ng Tanghalan”, upon which she started her career, and the Second Metropop Festival on which she sang one of the late George Canseco’s compositions. Gracing recording studios, she became a singing sensation…” – Wikipilipinas (READ MORE)
Noel Trinidad – “…Comedy icon Noel Trinidad created the multi-award winning television show Champoy, which remains to this day a classic. He has done it all, movies, television and stage. He returned to performing on stage in Xanadu after a 10-year absence. Noel plays the role of Danny Maguire, a former musician who trades in his passion for arts for big business. It was the role Gene Kelly played in the feature film version of the stage musical. Noel joins Rachel Alejandro and Felix Rivera in the magical madcap roller skating musical comedy. Directed by Bobby Garcia, Xanadu will have repeat performances on Nov. 19 to Dec. 5 at…” – Boy Abunda, The Philippine Star, Sep 27, 2010 (READ MORE)
Subas Herrero – “…Ricardo Wright Herrero (born April 3, 1943), better known as Subas Herrero, is a Filipino actor, comedian and singer and he has an American and Mexican descent. He is the father of Cutuy Herrero, current vocalist of local Filipino band Chapter 2. As an actor, Subas Herrero has performed in movies such as “Bakekang”, released in 1978, “Karapatan ko ang pumatay… Kapitan Guti”(1990), and “Gao ya xian”(1995). He played his role as a main villain to Fernando Poe, Jr., Ramon Revilla, Joseph Estrada, Rudy Fernandez and lots of action stars in the past and present Filipino action films and as co-starrer in a comedy films with Dolphy, Chiquito, Redford White and Tito, Vic and Joey. In 1986, Herrero and Noel Trinidad went live on Philippine TV calling the public to join the crowds at EDSA calling for the ouster of President Ferdinand Marcos. After the People Power Revolution, Herrero recorded “Handog ng Pilipino sa Mundo” along with 14 Filipino artists, celebrating the peaceful revolt. After suffering a stroke in 2000, Herrero retired from the TV industry. Despite being sick, he took part in the EDSA Revolution of 2001 (EDSA II) to call for the ouster of then Philippine President Joseph Estrada….” – Wikipedia (READ MORE)
Rody Vera – “…a playwright, singer, and actor for the theater. He has written more than 20 plays, a few of which have won in national literary contests in the Philippines. He has also written plays for Filipino-American theater groups in Chicago, New York, and other cities. Rody has travelled extensively in North America, Europe, and Asia, teaching and performing drama. He has participated in several collaborative productions with theater groups based in Japan (Black Tent Theater, Rinkogun, Setagaya Public Theater), Singapore (The Necessary Stage), and New York (International Wow Company). Rody is currently heading a group of young playwrights called the Writers’ Bloc, the major organizer of the annual Virgin Laboratory Theater Festival in Manila…” – Kyoto Views Sea (READ MORE)
APO – “…The Apolinario Mabini Hiking Society, later popularly known as APO Hiking Society or, simply, Apo, was a Filipino musical group, often called as the “Beatles of the Philippines.” The group had its fledgling beginnings in 1969 at the Ateneo de Manila high school, with thirteen members: Lito de Joya, Sonny Santiago, Gus Cosio, Renato Garcia, Chito Kintanar, Kenny Barton, Bruce Brown, Butch Dans, Kinjo Sawada, Ric Segreto, Goff Macaraeg, Doden Besa, Jim Paredes, and Boboy Garovillo. The group’s name was created from the acronym AMHS representing their school with a witty twist having an irreverent reference to the paralytic Philippine revolutionary intellectual and hero, Apolinario Mabini, and later shortened to “Apo”, an Ilocano term for a wise man or a Tagalog term of grandchildren, and later re-branded to “APO” (all caps). (Contrary to popular belief, the “Apo” name was not a reference to the Philippine volcano, Mount Apo.) As the students advanced into college, Danny Javier joined the group. After graduation, the majority of its members left to pursue individual careers, with only three members remaining, made up of Jim Paredes, Boboy Garovillo and Danny Javier…In October 1987, during their annual US tour, the APO became the first Filipino pop artists with Marco Sison to perform at the Main Hall of New York’s prestigious Carnegie Hall. They also performed at the equally prestigious Massey Hall in Toronto, Canada’s music capital. Both concerts, as well as the other shows held during that particular concert tour, were sold out. The APO were also the first Filipino artists to perform in a public concert in the Kingdom of Saudi Arabia. In 1987, they were one of the first Filipino artists to be recorded on compact disc. And in 1994, they were awarded the first Dangal ng Musikang Pilipino by Awit Awards – the Filipino equivalent of the Grammy. They have also been conferred the Tanglaw Ng Lahi Award, the highest accolade given by Jesuits in the field of culture and arts…” – Wikipedia (READ MORE)
Celeste Legaspi – “…born March 18, 1950, is a Filipino singer and actress. Her singles and albums reached gold or platinum status during the 1970s and 1980s. She is the daughter of National Artist for Visual Arts Cesar Legaspi. She spearheaded the Organisasyon ng Pilipinong Mang-aawit (OPM), a group which aimed to promote and propagate Original Pilipino music. She is married to Nonoy Gallardo, one of the premier OPM composers. Legaspi is a successful recording artist, having produced albums and singles that reached gold and platinum status during the ’70s and ’80s. Her album Ako si Celeste under Blackgold Records was awarded gold, and produced hit singles “Saranggola ni Pepe”, “Tuliro”, and “Gaano Ko Ikaw Kamahal?”. The Celeste album spawned the famous “Mamang Sorbetero”. Her albums Bagong Plaka, Lumang Kanta Vols. 1 and 2 albums under Wea Records both reached the double platinum mark. She won several awards including Outstanding Performance award from the Song Festival in Tokyo, Japan, where she sang “Puso Mong Nagmamahal” (1976), Tinig Awards for live entertainment (1977, 1979, and 1990), and the Aliw Award for Entertainer of the Year (1978)…” – Wikipedia (READ MORE)
Paul Toledo – “…Circa 1980s singer-songwriter Paul Toledo died 10 p.m. Thursday from a heart attack inside a taxi in a southern Manila suburb. His remains lie at the Funeraria Filipinas in Pamplona, Las Piñas City, along the Alabang-Zapote Road, fronting the Pamplona Uno barangay hall. The website of the Performers Right Society of the Philippines (PRSP) lists songs like “pasosyal-sosyal” and “Lumba, Lumba” as among Toledo’s compositions, which he also sang. These pieces are vaguely remembered now as novelty songs which became popular in the 1980s…” – ABS-CBN News (READ MORE)
Filmography: Ophelia and Paris (1973)
Basic Information: Directed, screenplay: Celia Diaz Laurel; Story: Mars Ravelo; Cast: Victor Laurel, Vilma Santos, Marissa Delgado, German Moreno, Rodolfo Boy Garcia, Mary Walter, Subas Herrero, Jose Villafranca, Joonee Gamboa, Andres Centenera, SOS Daredevils, Celia Diaz Laurel, Ronald Remy; Executive producer: Victor Laurel; Original Music: Ryan Cayabyab
Plot Description: No Available Data
Film Achievement: The first movie of Vilma Santos and Cocoy Laurel, the other films are: Disco Fever and Pinay American Style.
Film Review: “…As an actor, he has an enviable filmography. Among his films are “Pinay, American Style” (1979), “Disco Fever” (1978), “Waikiki: Sa Lupa Ng Ating Mga Pangarap” (1980), “Bawal: Asawa Mo, Asawa Ko” (1974), “Ophelia at Paris” with Vilma Santos, “Oh, Margie, Oh” with Margie Moran, “Impossible Dream,” “Till Death Do Us Part” and his last movie, Huwad Na Mananayaw…” – Gypsy Baldovino (READ MORE)
“…Mars Ravelo’s Ophelia at Paris: Prinsipe Paris Walang Kaparis (December 10, 1973) ay handog ng VL Productions na tinampukan nina Vi, Victor Laurel, Marissa Delgado, German Moreno, Rodolfo Boy Garcia, Mary Walter, Subas Herrero, Joonee Gamboa, Celia Diaz Laurel at Ronald Remy sa direksiyon ni Celia Diaz Laurel…” – Alfonso Valencia (READ MORE)
Filmography: Hatinggabi Na, Vilma (1972)
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)
- IMDB: Sine Pilipino
- IMDB: Hatinggabi na Vilma (1972)
- IMDB: Joey Gosiengfiao
- IMDB: Ernie Garcia
- IMDB: Barbara Perez
- Hatinggabi na Vilma (1972)
- Women power in film
- Elwood Perez & Joey Gosiengfiao Films Part 1 1972-75
- Joey Gosiengfiao, 1941-2007
Filmography: Pakawalan Mo Ako (1981)
“Kukunin ko ang bayad ng halik! May sukli ka pa!” – Anna
“Puta! Sige ituloy n’yo! Sabihin n’yo! Hindi lang naman kayo ang ang unang nagparatang sa akin ng ganyan. Puta! Puta! Puta! Putang-ina n’yong lahat! Putang-ina n’yong lahat! Sige! Sabihin n’yo! Isigaw n’yo! Kung sa inyo lang ay malinis ang aking konsensiya!” – Anna
Basic Information: Directed: Elwood Perez; Story: Pete Lacaba; Screenplay: Jose F. Lacaba, Iskho Lopez, Mauro Gia Samonte; Cast: Vilma Santos, Christopher De Leon, Anthony Castelo, Deborah Sun, Subas Herrero, Mila Ocampo, Ed Villapol; Executive producer: Marichu Maceda; Original Music: Lutgardo Labad; Cinematography: Johnny Araojo; Film Editing: Jose Tarnate; Production Design: Angel Tantoco; Sound: Gaudencio Barredo; Theme Songs: “Dati” performed by Anthony Castello; Production Co: MVP Pictures; Release Date: 29 May 1981 (Philippines) – IMDB
Plot Description: When Ana’s (Vilma Santos) father died they experience hardship. She decided to stop her schooling and work (selling beauty soaps on the street). Despite being poor, she decided not to ask help from her rich boyfriend Freddie Villaseñor (Christopher DeLeon). When the hardship reached its peak, she decided to join her friend, Bernadette Santos (Deborah Sun) as escort girls. There she met Bernard, a son of a rich clan, who courted her when Anna’s relationship with Freddy failed. As it turned out Anna was pregnant and despite the disapproval of Bernard’s rich father (Subas Herrero), they continued their relationship. The continuing harassment of Bernard’s father and his entourage resulted in Bernard being shot as one of the goons tried to rape Anna and was caught by Bernard. Anna was framed and Bernard rich father hired Freddy to prosecute Anna. The film climax with the prosecutor Freddy discovered the bullet that killed Bernard. This was when he decided to visit Ana’s family and met her son. The film ends with Ana being acquitted and Freddy discovered that Ana’s son was his son. – RV
Namatay ang tatay ni Ana (Vilma Santos) at dahil rito’y naghirap sila. Napilitan siyang magtinda ng sabon at tumigil sa pag-aaral. Sa kabila nito hindi siya humingi ng tulong sa katipan na si Freddie Villasenor (Christopher DeLeon). Dahil sa hirap ay napilitang pumasok si Ana sa isang escort service sa tulong ng kanyang kaibigang si Bernadette Santos (Deborah Sun). Nakilala ni Ana si Bernard San Diego (Antony Castelo) sa kanyang trabaho bilang escort girl. Sa gabing iyon nakita siya ng kapatid na babae ni Freddy. Nang yayain ni Freddy si Ana para magpakasal pumayag na ito at pumunta siya sa bahay ni Freddy para makilala ang pamilya ni Freddy. Hindi nila alam ay inimbitahan ng kapatid ni Freddy si Bernard San Diego. At sa hapag ng kainan ay binisto nito ang tunay na trabaho ni Ana. Umalis nang umiiyak si Ana at nagkagalit sila ni Freddy. Pinuntahan ni Bernard si Ana para humingi ng paunmanhin ngunit naabutan sila ni Freddy at nag-away sila ni Bernard. Inakala ni Freddy na talagang may relasyon si Bernard at Ana kung kaya iniwanan niya ito. Nagbalik si Ana sa kanyang trabaho. Nagkaroon ng secret admirer ito. Yung pala ito ay si Bernard. Nalaman rin ni Ana na buntis siya at ang ama ng dinadala niya ay si Freddy. Inalok ni Bernard si Ana ng kasal at pumayag naman ito sa kabila ng pagtutol ng kanyang mayamang ama. Lumaki ang bata at apat na taon na ito nang magdesisyon ang ama ni Bernard na tigilan na ang pagsasama ng dalawa. Inalok si Ana ng malaking halaga ngunit tumutol ito. Nang umalis ang ama ni Bernard ay pinaiwan nito ang isa sa kanyang mga tauhan para gahasain si Ana. Dumating si Bernard at nagaway sila ng tauhan ng kanyang ama. Sa kaguluhan ay nabaril ng tauhan ng kanyang ama si Bernard mismo. Sinet-up ng ama ni Bernard si Ana. Pinakulong at kinuhang abogado si Freddy. Sa hukuman ay nakuhang magduda ni Freddy sa dating katipan. Nagpunta ito sa bahay ng ina ni Ana upang kausapin ang batang anak ni Ana. Natuklasan ni Freddy ang tutuong nangyari at ang testigo ay ang anak ni Ana. Sa closing ng kaso ay inihayag ni Freddy na walang kasalanan si Ana at ang pumatay kay Bernard ay ang tauhan ng sarili nitong ama. Napawalang sala si Ana at nalaman ni Freddy na ang bata’y ang sarili niyang anak. – RV
Film Achievement: 1981 FAMAS Best Actress – Vilma Santos; 1981 FAMAS Best Musical Score – Lutgardo Labad; 1981 FAMAS Best Theme Song – Louie Ocampo; 1981 FAMAS Nomination Best Actor – Christopher De Leon; 1981 FAMAS Nomination Best Director – Elwood Perez; 1981 FAMAS Nomination Best Picture; 1981 FAMAS Nomination Best Supporting Actor – Anthony Castelo; 1981 FAMAS Nomination Best Supporting Actress – Deborah Sun
Film Review: Dalawangpu’t Anim na taon na ang nakakalipas nang una nating napanood ang pelikulang Pakawalan Mo Ako. Tumabo ito sa takilya at nagbunga ng pagkapanalo ni Ate Vi ng Best Actress mula sa Famas para sa taong ito. Prinudyus ng Sampaguita Pictures, ang “Pakawalan Mo Ako” ay isa sa mga pruweba na nasa ikataas na puwesto si Vilma Santos nang bagong dekada otsenta. Mula umpisa hanggang sa huli’y umiikot ang istorya sa karakter ni Vilma bilang si Ana, isang escort girl. Markado ang papel ni Vilma at makikita ito sa mga eksena sa kulungan at hukuman. Ang Pakawalan Mo Ako ay mula sa panulat ni Pete Lacaba at iskrinplay nina Pete Lacaba, Mao Gia Samonte at Isko Lopez. Kung ikukumpara sa mga ibang pelikula ni Elwood Perez mas pulido at makatotohanan ang mga eksena’t dialouge ng pelikula. Tulad ng konprontahin nga ma ni Bernard si Ana sinabi nito na: “Puta, Puta! Puta! Hindi lang naman kayo ang unang nagparatang sa akin ng ganyan! Puta! Puta! Putang Ina n’yong lahat…” At nang unang dalhin ni Bernard si Ana sa bahay nito at pagtangkaang gahasain, pumiglas si Ana at sabay kuha sa pera at sabay sabing: “kukunin ko ang bayad sa halik may sukli ka pa!” At siyempre ang eksena sa hukom kung saan paulit ulit niyang sinasabi ang salitang: “Sinungaling!…” Ang musika ni Lutgardo Labad ay minsan nakakaabala sa tunay na eksena ngunit angkop na angkop ang theme song ng pelikula, ang “Dati” na kinanta mismo ni Antony Castelo. Merong mahahabang linya si Christopher DeLeon sa bandang huli at nakuha naman niyang bigyan ng buhay ang papel niya bilang abogado ng taga-usig kahit na parang pilit ang pagpapalit niya ng panig para sa tagapagtanggol sa bandang huli, sa kanyang closing remarks. Alam niya marahil na talagang pelikula ito ni Ate Vi. Mahusay rin ang pagganap ni Antony Castelo bilang isang matigas na ulong anak ng isang mayaman. Sa papel na ina ni Ana, nakaka-distract ang hindi tunay na boses ni Mila Ocampo. Bilang ama ni Bernard San Diego, very one-dimensional ang papel ni Subas Herrero. Ang pinakanakakatuwang papel ay ang papel na kaibigan ni Ana na ginampanan ni Deborah Sun. Meron siyan eksena sa hukuman kung saan tumistigo siya at natural na natural ang pagkababaeng bakla niya. Mabilis ang pacing ng pelikula at walang mahusay ang pagkakaedit nito. Hindi ako nagtaka kung bakit nanalo si Ate Vi para sa pelikulang ito mula sa Famas. Ito rin ang bale hudyat ng pagsibol ng bagong Vilma Santos pagpasok ng dekada otsenta dahil sa sumunod na taon ay nagkasunod sunod na ang parangal sa pagarte ni Ate Vi mula sa iba’t ibang award giving bodies. – RV
“…Elwood Perez and Vilma Santos collaborated in seven films. 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 several blockbuster hits and also gave Vilma two FAMAS best actress awards. Both wins contributed to her elevation to the FAMAS’ highest honour, the “Hall of Fame” award she received in 1989. The wins were for Pakawalan Mo Ako (1979) and Ibulong Mo Sa Diyos (1988)…” – RV (READ MORE)
“…The second memorable film experience for me was during early 80s where I saw the free sneak preview of “Pakawalan Mo Ako” at Gotesco Theatre near University of the East. I was one of the lucky ones who managed to get in. My college mates weren’t. They got stocked in the pandemonium outside. I was worried sick as I took the long escalator and saw them being crashed by the crowd. The security guards have to closed the gate of the lobby. Fans became so restless and broke the glass windows (where they displayed posters and still photos) . Inside, It was crowded, hot and wild. We were seeing a more mature Vilma Santos. The moviegoers reacts to every scenes from the very beginning up to the very end (the courtroom scene where Vilma cried and swear, “Liars! Liars! You’re all Lying!”)…” – RV (READ MORE)
“…Natatangi ang pelikulang Pakawalan Mo Ako (MVP Pictures, 1981) dahil sa matagumpay nitong pagtatangkang ilahad ang proseso tungkol sa pag-ibig at pagbabahagi ng sarili nang buo ang pagkatao. Nilinaw ng pelikula ang mga personal at pang-ekonomiyang salik na naghatid sa pangunahing tauhan tungo sa pagpuputa at inilalantad ang bunga nito gaya ng madamdaming pagsasadula ni Vilma Santos. Nang muli silang magkita ng kasintahan, ibang babae na ang kanyang nakatagpo, mas may tiwala sa sarili at mulat na sa kalakaran ng mundo. Nakakaantig ang transpormasyon ng kanyang karakter mula biktima ng nasawing pag-ibig at di-makalingang propesyon tungo sa pagbabago at paninindigan ng kanyang pagiging babae. Mapangumbinsi rin ang pagganap ni Christopher de Leon dahil sa kanyang sensitibong pagpasok sa katauhan ng isang abogadong makiling sa sistema ng batas. Sa unang tingin, tila makababae ang punto de bista ng Pakawalan Mo Ako dahil sa paglalahad ng babae bilang biktima pa rin ng ispontanyong reaksiyon ni Bernard, ang lalaking nagnanasa sa kanyang katawan. Subalit madulas ang daloy ng iskrip nina Pete Lacaba, Mao Gia Samonte at Iskho Lopez, konsistent ang disenyong biswal at sinematograpiya. Malinis ang editing at akmang-akma ang musika. Ngunit habang hinihimay ang naratibo, unti-unting natuklasan ang melodramatikong proposisyong ipinapakain ng pelikula. Isang proposisyong taliwas sa pagnanasang patuloy na makibaka, magmahal at mabuhay…” – Jojo Devera, Sari-saring Sineng Pinoy (READ MORE)
Deborah Sun – “…Bonggang-bongga ang papel ni Deborah Sun sa “Pakawalan Mo Ako.” Even her co-stars here, Vilma Santos, Christopher de Leon, and Anthony Castelo joked na madalas silang maagawan ng eksena ni Deborah. Tila nga lalong tumataas ang career ni Gigi (her monicker in real life). Bukod sa “Pakawalan,” lumabas din siya sa “Rosang Tatak” at sa highly successful na first directorial job ni Bembol Roco, ang “Asal Hayop…” – Artista Magazine, 1981 (READ MORE)
“…One of the pioneers of the indie scene in the 1970s, Perez eventually became one of most bankable directors of that same golden era which spawned the biggest hits of acting superstars Nora Aunor (“Mahal Mo, Mahal Ko,” “Till We Meet Again”) and Vilma Santos (“Pakawalan Mo Ako,” “Ibulong Mo sa Diyos”). “Masarap, Masakit ang Umibig” was screened in the Asia-Pacific Film Fest in Taiwan in 1978 and the Asean Film Fest in Australia in 1981…” – Bayani San Diego Jr., Philippine Daily Inquirer, 11/01/2009
Filmography: Pahiram Ng Isang Umaga (1989)
“Irene…Di ko kaya ang walong buwan! Kung mamatay rin lang ako…mamatay na ako ngayon o bukas o sa linggo pero hindi ko kaya ang walong buwan!” – Juliet Espiritu
“…Irene, ayoko ng mahabang burol kung maari kinabukasan rin ipalibing mo na ako.” – Juliet Espiritu
“Ayoko ko pang mamatay…paano si Chad?…hahanapin ako ng anak ko, hindi siya sanay ng wala ako…Ariel…gusto ko pang mabuhay, kahit ilang araw lang, kahit konting oras lang, kahit isang umaga lang…” – Juliet Espiritu
“Ariel maliwanag na ba?…anong kulay ng langit?…at ang dagat?…ang mga mangingisda nandiyan na ba?…Ariel…ang ganda ng mundo!…ang sarap mabuhay!” – Juliet Espiritu
Basic Information: Directed: Ishmael Bernal; Story, screenplay: Jose Javier Reyes; Cast: Vilma Santos, Gabby Concepcion, Eric Quizon, Zsa Zsa Padilla, Billy Crawford, Olivia Cenizal, Tita Muñoz, Gil de Leon, Dexter Doria, Vicky Suba, Subas Herrero, Cris Vertido, Toby Alejar, Tony Angeles, Symon Soler, Gina Perez, Alma Lerma, Roy Alvarez, Becky Misa; Executive producer: Lily Monteverde; Original Music: Willy Cruz; Cinematography: Manolo Abaya, Eduardo Jacinto, Nonong Rasca; Film Editing: Augusto Salvador; Production Design: Elmer Manapul; Sound: Joe Climaco; Theme Songs: “Pahiram Ng Isang Umaga” performed by Zsa Zsa Padilla
Plot Description: Pahiram Ng Isang Umaga (English title: “To Live Another Day,” “On Borrowed Time” or “Lend Me One Morning”) revolves around Juliet (Vilma Santos), who finds herself struggling against an ever-escalating series of problems. A determined single parent, she manages to raise a child while remaining successful in her career as an advertising executive. Everything in her life seems to go well until she is diagnosed with a terminal disease. For her son’s sake, and without revealing her condition, she is forced to resolve her most important life relations: rekindling first her connections with her parents, and then with the very man who fathered her son. In the twilight of her life, she meets and falls in love with a beleaguered artist, Ariel (Eric Quizon), who is constantly depressed and perpetually contemplating suicide. She slowly loses her health but unknowingly reawakens Ariel desire to live, and they both engage in a meaningful affair – one that makes each day they live through together more meaningful than the last. – DVD cover description
After getting bumped up to vice president at her advertising firm, Juliet (Vilma Santos) is floating on cloud nine, but fate soon delivers a brutal shock that knocks her off her perch: a diagnosis of terminal brain cancer. With just eight months to live, Juliet embarks on a mental and physical journey to erase her regrets. Along the way, she meets a painter (Eric Quizon) who changes her outlook in this poignant drama. – Netflix
To Live Another Day (Pahiram ng Isang Umaga) revolves around Juliet, who finds herself struggling against an ever-escalating series of problems. A determined single parent, she manages to raise a child while remaining successful in her career as an advertising executive. Everything in her life seems to go well until she is diagnosed with a terminal disease. For her son’s sake, and without revealing her condition, she is forced to resolve her most important life relations: rekindling first her connections with her parents, and then with the very man who fathered her son. In the twilight of her life, she meets and falls in love with a beleaguered artist, Ariel, who is constantly depressed and perpetually contemplating suicide. She slowly loses her health but unknowingly reawakens Ariel’s desire to live, and they both engage in a meaningful affair – one that makes each day they live through together more meaningful than the last. – Cine Filipino/Unico Home Entertainment
Film Achievements: 1989 URIAN: Best Actress – Vilma Santos; Best Cinematography – Manolo Abaya, Eduardo Jacinto, Nonong Rasca; Best Director – Ishmael Bernal; Best Picture – Lily Monteverde, Regal Films; Best Screenplay – Jose Javier Reyes; Best Supporting Actor – Eric Quizon; 1989 STAR: Best Picture – Lily Monteverde, Regal Films; Best Actress – Vilma Santos; Best Cinematography – Manolo Abaya, Eduardo Jacinto, Nonong Rasca; Best Director – Ishmael Bernal; Best Musical Score – Willy Cruz; Best Supporting Actor – Eric Quizon; 1989 FAMAS: Best Musical Score – Willy Cruz; Best Theme Song – Willy Cruz; 1989 FAP: Best Sound – Joe Climaco
Other Film Achievements 1989 FAP: Best Actress nomination – Vilma Santos; 1989 URIAN: Best Actor nomination – Gabby Concepcion; Best Editing nomination – Augusto Salvador; Best Music nomination – Willy Cruz; Best Production Design nomination – Elmer Manapul; Best Sound nomination – Joe Climaco; Best Supporting Actress nomination – Vicky Suba; 1989 FAMAS: Best Child Actor nomination – Billy Crawford; Best Director nomination – Ishmael Bernal; Best Picture nomination – Lily Monteverde, Regal Films; Best Supporting Actor nomination – Eric Quizon
Film Reviews: A Look at Death and the Affirmation of Life – Weepies are a common movie fare in the Philippines, along with extremely violent action thrillers and trite youth comedies. It is, therefore, a cause for cheer when a filmmaker tries to elevate the very common genre of the melodrama into a rich and intellectually rewarding film experience, such as director Ishmael Bernal has done with his Pahiram ng Isang Umaga.
Director Ishmael Bernal has seen in the material an opportunity to put substance to what has often been denigrated as the unthinking man’s entertainment, and to a considerable degree, his attempt has been a success. Pahiram is both effective as a tearjerker and meaningful as a depiction of people in crisis. Using a traditional element of the genre, the theme of death, Bernal and writer Jose Javier Reyes probe into the life of a woman who has been told that the end is near. Juliet (Vilma Santos, one of the two reigning Philippine female superstars for the past two decades now) is told that she has eight or maybe seven months to live. As a progressive advertising creative director who has been promoted (rather late) as vice president of her company, she has the means to attend to the less mundane demands of life, examine what may have been an unexamined life, and make the most of the limited time left.
In all these, Bernal explores the emotional and psychological condition of the person who lives on borrowed time. naturally visible here are the many symbols not only of death but also of life to serve as some kind of counterpoint or irony. Sometimes, they blend with each other, and at other times, they contradict. From the peasants’ ritualistic rice planting to the backyard harvesting of sun-dried patola cultivated as life-giving seedlings, the evidence of life renewing itself could hardly be ignored. Then there are the more obvious symbols of fire, daybreak and persistent rains (the latter of which are used to reinforce the gloomier mood at the second half of the movie, and also suggest the rains’ refreshing and replenishing results). But the most eloquent symbol here of life is the process of artistic creation, personified – again paradoxically – by the expressionist painter Ariel who befriends and then is smitten by Juliet.
There are ironies here. The painter creates life through his art, but at the same time, psychologically tormented, he wants to end his own life. Such a restless, free soul, grappling with the complexities of life, he has a whole life ahead of him, his artistic world limited only by his imagination, and yet he wants to quit. In contrast, Juliet who is dying, wants to live. Here is a woman who saves a man’s life (the artist’s) but cannot save her own. The idea of art as life or art vs. life is examined at length. Asked by the boy why he has to put on canvas the seascape, the artist makes the clarification that he is not copying the scenery. Ostensibly, he is recreating it on a different plane, art being something else, with a life of its own. This is suggested by the portrait the artist is making of Juliet. The model may soon die, as she will, but the portrait will live on. Life may indeed be short, an idea which used to be stated directly in previous Bernal movies, but art endures. It is the one thing in this world which is eternal. The briefness of life is suggested with the graphic sight of wet sand dripping down from the hand.
Bernal and Reyes go farther by including a scene in which the artist explains the origins of art. By the fireside at the beach, and watching the flame cast a glow on them, he notes that prehistoric men “discovered” art when they made outlines of shadows on the caves. Those artworks, though crude and primitive, still exist. Implicitly, Juliet’s death, no matter how saddening, is not going to be the end. Philosophical musings like these are not standard soap opera fare, and may alienate a lot of ordinary moviegoers (even the more cerebral ones who cannot accept the conventions of the soap opera genre). Woven unobtrusively into the plot, however, they add texture and enrich the drama. Juliet in a way will continue to live – in that portrait, in her young son who will survive her and hopefully continue her legacy whatever it may be, and in her good deeds. In the last scene, the imagery and symbolisms of life and death abound. Juliet dies at the break of dawn, the start of a new day (and life), but not without first making her last sentimental paean to life. Supported by the artist, her eyesight having failed completely and with the waves caressing their feet, the weak and dying cancer victim remarks how beautiful life is. True enough, this dying scene set on a beach, with the woman in white, dainty night gown, is one of the most exquisite, breathtaking moments in Philippine movies.
But before giving us this grand, highly emotional death scene, the director has gradually introduced various motifs of death, from the artist’s pet black bird which at one point he cruelly squeezes in his hand, to the funeral rituals for Juliet’s father. This is a striking part of the movie, Juliet watching intently as morticians work on her father’s remains, as everyone weeps when the coffin is lowered to its final resting place, and during the ritualistic “pasiyam,” the nine-day novena for the dead. It’s as though Juliet can see herself in her father’s lifeless body while mourners mill around it. The attempts to raise the level of the melodrama and present insights on life and death provide the movie its greatest strength – and wide appeal. How strangely ironic that a movie dealing with death could have so much life. – Mario A. Hernando, Malaya – 5 March 1989
“…Epektibo ang Pahiram Ng Isang Umaga bilang isang tuwirang dramatikong pelikula naglalahad ng suliranin ng mga taong pumapasailaim sa isang krisis. Sa paggamit ng tradisyonal na pamamaraaan ukol sa tema ng kamatayan, si Bernal at ang manunulat nitong si Jose Javier Reyes ay sumilip sa buhay ng isang babaeng nalalapit na sa kanyang huling hantungan. Napag-alaman ni Juliet (Vilma Santos) mula sa kanyang doktor na mayroon siyang pito hanggang walong buwang palugit sa kanyang buhay at ninais nitong isaayos ang mga suliraning bumabalot sa kanyang buong pagkatao sa loob ng maikling panahong ilalagi niya sa mundo. Lahat ng emosyonal at sikolohikal na kundisyon ng isang taong nabubuhay na lamang sa hiram na panahon ay tahasang ipinakita ni Bernal sa mga manonood. Mababanaag dito amg iba’t-ibang simbulo ng pumapaimbulog sa konsepto ng kamatayan. Kadalasa’y naangkop ito sa mga situwasyong dinaranas ng karakter ni Juliet at taliwas din kung minsan. Mula sa pagtatanim ng mga magbubukid hanggang sa pag-ani nito bilang simbulo ng pagkabuhay ay mahirap maitanggi. May mga tagpong ipnapakita ang paglubog ng araw, at ang walang patumanggang pag-ulan ay pagpapahiwatig ng pagbuhos ng bagong hinaharap. Ngunit isang mariing simbulong ginamit sa pelikula ay ang proseso ng paglikha ng sining sa katauhan ng pintor na si Ariel (Eric Quizon) na kinaibigan ni Juliet. Maraming maihahalintulad dito. Sinasalamin ng pintor ang buhay sa pamamgitan ng paglikha ng mga larawang kadalasan ay naglalahad ng gulo at pagkalitong umabot sa pagnanasa nitong kitlin ang sariling buhay, dahilan sa hindi niya makayanan ang pakikipagsapalaran sa buhay. Napapalibutan ng imahinasyon ang kanyang mundo ngunit nais pa rin niya itong talikuran. ito naman ang pagkakaiba ni Ariel kay Juliet na gagawin ang lahat upang madugtungan ang nauudlot na buhay…” – Jojo Devera, Sari-saring Sineng Pinoy (READ MORE)
Mas Mahusay si Vilma Kaysa kay Nora – Vi goes to the kitchen to prepare breakfast at habang nagbabati siya ng itlog, doon pa lang ipinakitang una siyang nag-breakdown. And this is shown nang nakatalikod siya sa camera. No overly ornate kind of emoting na akting na akting ang dating. Pero damang-dama mo pa rin…she becomes the part (lalo na sa eksena nila ni Gabby Concepcion sa simbahan na binalikan nila kung paano sila nagkasira), and if you notice that she is good, well, salamat po…Sa second viewing ng movie namin lalong napansin ang subtle nuances ng performance ni Vi, up to her death scene which confirms our supposition that the movie is not really so much about death than a celebration of life..’yan ang opinion namin…” – Mario Bautista, People Journal 1989
“…Topping Vilma Santos’ showbiz career for 1988 was her winning the “best tv host” title and her tv program Vilma as the best musical variety show from the Star Awards of the Philippine Movie Press Club. Vilma is a constant top rater. Nobody can question the result of the survey for its popularity, because everybody could see the glitter of the show with all the grand seting, artistic costumes, and selected celebrities as guests plus Santos’ vibrance, enthusiasm and untiring efforts in entertaining her audience. The actress is meticulous even in the selection of the color scheme of her costumes. For 1989, Santos promises a much better show for Vilma with more expensive props, more interesting musical numbers and some attractive numbers and novelties to render it a delightful viewing. The actress is now resuming shooting of Pahiram ng Isang Umaga which did not make it at the recently concluded Metro Manila Film Festival due to certain delays, like Ibulong Mo sa Diyos her current movie Pahiram… is supposed to be Regal Films’s first main attraction for 1989. Some of the scenes were filmed in the virgin forest of Botolan, Zambales. The serenity of the rustic place enabled the actress to re-evaluate her life before the New Year sets in. Santos has Gabby Concepcion and Eric Quizon for leading men in the movie. Quizon has admitted that so far this is his most challenging role in his entire movie career. The drama flick is expected to be another blockbuster and will reap acting honors for the actress. She is back with Ishmael Bernal in this movie, the same director who made possible her bagging all the best actress awards in 1982 for the movie Relasyon…” – Eddie O. Libo-on, Manila Standard, Jan 9, 1989 (READ MORE)
“…Koronel is all set to do a film for Viva and we’re sure her fans are all agog about it. Will she be a threat to the throne now occupied by Vilma Santos as “The Actress” to be reckoned with? If we’d make a guess, Lino Brocka’s the right director for the first comeback film of this actress. There’s a certain chemistry between them in the same way there’s an “artistic symbiosis” between Santos and Ishmael Bernal. And speaking of the last duo, we finally got to see “Pahiram ng Isang Umaga” and it’s true what they were all raving about. It’s Vilma’s best to date and we’re willing to bet that she’ll garner another grand slam next year for this movie. Ditto with Bernal. It’s not only an artistic movie; It’s very commercial. Only we should have brought a towel instead of a hankie…” – Nena Z. Villanueva, Manila Standard, Mar 2, 1989 (READ MORE)
“…Eric’s role in “Pahiram Ng Isang Umaga” is the manic-depressive love of Vilma Santos. He was contrapuntal to Vilma’s existence who wanted to prolong her life while he wanted to end his. But the Method Acting-oriented scribes at teh Philippine Movie Pres Club saw in Eric the mere physicality in his attack of the role. No anxiety in the eyes; all overt body movements to the point of the Nora Aunor anxiety-laden eyes. Eric rationalizes; “That was exactly how I was supposed to attack my role according to Direk Ishmael Bernal – overacting at physical level lang talaga. Wala nang pa-anxiety-anxiety pa. All the other major characters in “Pahiram…” were already making lupasay na with heavy emotions. From Vilma to Zsa Zsa Padilla to Vicky Suba to Gabby Concepcion – silang lahat emotionally loaded na. If I do the same, boring di ba? Ayaw ni Direk Bernal na pa-heavy emotion approach for my role. But you know my homework for that role was to watch several English sad movies on tapes and was told to cry with the characers if I wanted to or feel like crying. I felt so stupid talaga, but that exercise paid off I tell you.” If you have watched “Pahiram…,” the scene where Eric has to strangle a Myna bird was such a memorable highlight. Eric recalls; “I had to do an improvisation for that scene. Sabi ni Direk Bernal, don’t plan anything with the bird. Basta you just confront the bird at bahala ka na sa sarili mo. So what I did was to make mura and kind of strangle pero acting lang out of my supposed madness. You know what happened? The day after, nagpakamatay ‘yung bird. Nagtampo siguro ‘yun. Kasi raw ang Myna bird ay very sensitive, di ba? Sayang ‘yung bird, ano?…” – George Vail Kabristante, Manila Standard, Feb 20, 1990 (READ MORE)
- Wikipedia: Ishmael Bernal
- Ishmael Bernal (1938-1996)
- The Films of Ishmael Bernal Circa 1971-79, Part 1
- The Films of Ishmael Bernal Circa 1980-94, Part2
- Tribute to Ishmael Bernal
- Ishmael Bernal (1938-1996)
- Remember The Face: Bernal Film Director
- The Bernal-Santos Collaborations
- Pahiram ng Isang Umaga
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