Remembering Celso Ad Castillo

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Castillo gave Vilma Santos her first mature role in Burlesk Queen resulting with her first local film festival best actress award. He also directed Pagputi Ng Uwak Pagitim Ng Tagak where Vilma Santos starred and produced. The film received several best picture awards and was considered one of Castillo’s best works. Total Number of collaboration with Vilma Santos: 3 (Burlesk Queen 1977, Pagputi ng Uwak Pag-itim ng Tagak 1978, Tag-ulan sa Tag-araw 1975)

The “Bomba” Movies – “…In the early seventies, these magazines showed a certain boldness in publishing sex-oriented stories, with accompanying explicit illustrations. The big companies reluctantly ignored these stories, and it was the independent film producers who dared bring them to the screen. The bomba movie was born, shaking the whole industry to its very foundations. New directors were tried out. And a new breed of actors and actresses, who were willing to do anything in front of the camera, threatened to put the more established crowd-drawing out of business. Sex became the staple of the film industry. It was during this time that a new film director surfaced – Celso Ad. Castillo, then in his twenties. His vehicle, Nympha, was the simple story of a girl from a very religios family who ran away and got involved with four men. This story has been done over and over again in a number of forgettable movies and is a staple of the comic magazines. In its attempt to ride the bomba bandwagon, it featured enough sex scenes to satisfy the male audiences who expected every new movie to be still more daring. But Castillo had more to offer than steamy sex. He told his story in such a way that details previously considered taboo were exploited. In one of the first scenes, Nympha, the cooped-up virgin, is shown praying with her spinster aunt, when her attention is caught by the illicit coupling between two young lovers just outside their window. The scene of the novena is intercut with the groaning and moaning couple. At the end of the novena (coinciding with the consumation of the sexual act), the image of Christ is shown staring down at her, reprimanding her for her sin. The movie ends with an abortion scene shown in all its gory details, a literal bloodbath which causes the death of the girl. In a strictly Catholic society like the Philippines, a film like Nympha was bound to create a sensation. It was, for the younger generation of Filipinos who missed the so-called Golden Age of Philippine movies in the 50s, their first auteur film. Castillo showed a flair for visual narrative, emphasis and texture never before seen on screen…” – Rosauro de la Cruz, Focus On Filipino Films, A Sampling 1951-1982 (READ MORE)

“The Messiah” – “…Castillo said he had his hair completely shaved to insure the completion of “Pagputi.” The film had been so plagued by problems – production delays, unavailability of stars, bad weather, that they were all set up to give up. He had to stay put in Laguna and finish all the remaining scenes, fearing he might not have the energy and enthusiasm to return to the location sites should he leave for Manila. An effective way of nailing him down in one place was parting with his hair. “It was also a symbolic act of himility, of shedding my vanity,” Castillo added. Which was unusual for one who proclaimed himself “The Missiah and The Uncrowned.” “But they were not meant to be taken seriously. Of course I was kidding when I called myself “The Messiah.” Castillo said. The money and the effort, not to mention frayed nerves and emotions, tears and high blood pressure, poured into “Pagputi” is paying off. The film is making money and reaping accolades from critics and moviegoers alike. The latter are almost unanimous in saying that “Pagputi” is one of the most meaningful film in years and most probably the best of 1978…In fairness to director Castillo, it must be said he could make films, good films, without waiting for over two years (as the case in “Pagputi”) and depleting the producers’ pocketbooks. He finished “Pinakamagandang Hayop sa Balat ng Lupa” in one month, “Burlesk Queen,” the top grosser in last year’s Metro Manila Filmfest, was made in two months. He admitted however that he does not follow scripts rigidly, (even if its his own scripts), but rather improves and relies on his instincts right on the set. He refuses to resort to shortcuts and daya. It may not be the most economical and ideal way of filmmaking, but judging from the results (artistic and money wise) of his movies, it had served director Castillo well…” – Ronald K. Constantino, Expressweek Magazine, 03 August 1978 (READ MORE)

The Vindication – “…As soon as his schedule will permit, he’ll go to Hong Kong and seek a job with Run Run Shaw. He believes this wil pave new roads for him, hopefully a Hollywood assignment. At the moment there’s nothing more he’d like to do than get out and run away from everybody, friends and foes alike, donning the thickest, darkest glasses, bumming around as is his won’t. The film has given him tremendous self-confidence. “I can take it easy now,” he stresses. “After doing Burlesk I won’t have to prove myself to anyone anymore. He talked about the film again, very obviously so close to his heart. “With it I wanted to show some kind of heroism,” he explained. “In the movie Vilma is pregnant and she knows very well that by dancing the striptease she runs the risk of losing not only her baby but her own life. Yet, she goes on, dying in the end. I want to tell the audience – The show is over but the show must go on. Before doing it anything, one should ask himself, ‘Is it worth it?” Vilma loses her life – is it really worth it?” What he fears most now is the sweet smell of success. “I couldn’t imagine myself moving around in a plane or speedboat. When I do this, I will have finally prostituted my art.” Still and all, he coundn’t be happier with the way Burlesk Queen has turned out. “Ngayon, malalaman na kung sinong tunay o hindi,” he gloated…” – Robert Q. Castillo, MOD Magazine, Jan 6 1978 (READ MORE)

Dalang-dala si Leopoldo – “…The last film of Vilma and Leopoldo. He played the crippled father who is against his dauther working as a burlesque dancer. Writer, Ricardo Lee interviewed director Celso Ad Castillo about the directing Salcedo and Santos: “…Tuloy-tuloy ‘yun…(the hospital scense with Vilma and Leopoldo Salcedo) nag-experiment ako noong una, kumuha ako ng second take, pero di ko na rin tinapos. Perfect na iyong una. Alam mo bang nang gawin namin ang eksenang iyon tatlo kaming umiiyak sa set? Ako, si Vilma, at si Leopoldo? Dalang-dala si Leopoldo sa pagsasalita ni Vilma, lumuha siya kahit patay siya dapat doon. Buti na lang di siya nakuha ng kamera…(Kung Nahirapan ka ba kay Vilma?) …Oo, hindi sa acting dahil mahusay talaga siya kundi sa scheduling. Alam mo kasi it takes time before I can really get into the mood of a picture, mga two weeks, tapos kapag nandiyan na, that’s the stage when I’m ready to give my life to the project. Tapos biglang walang shooting ng two weeks dahil busy siya sa ibang pelikula…” – Ricardo Lee, Manila Magazine, Dec 1- 31, 1977 (READ MORE)

“Aktres” Na Talaga – “…“I was shocked,” said Vilma who played the title role in the movie that marked the turning point in her career. “He was too young to go…Celso Kid was the first director who told me na aktres na talaga ako after we shot Burlesk Queen,” added Vilma who won Best Actress at the 1977 Metro Filmfest, but the same award, including those for Best Director and Best Film, were taken back after a controversial Awards Night. “That was the turning point of my career,” said Vilma. After Burlesk Queen, Vilma worked again with Celso in Pagputi ng Uwak, Pag-itim ng Tagak which took three years to finish, causing a big rift between them. “I didn’t only star in the movie, I was also its producer,” recalled Vilma. “I remember Celso Kid as a genius, an intense director. We have forgotten our differences and we resumed our communication. I knew that he was sick. Only a few days ago, I was coordinating with him for his book. He was asking for pictures for the book’s cover. I will pray for the repose of his soul and for his family. I just hope that he was able to finish the book.” Celso also directed Vilma in Tag-ulan sa Tag-araw,” the movie that launched Vilma’s long-running team-up with Christopher de Leon (they have starred in more than two dozen movies since then)…” – Ricky Lo, The Philippine Star, 27 Nov 2, 2012 (READ MORE)

The wisdom and intellect of the Filipino moviegoers – “…”…So the premise goes like this: If it’s good (the film) then why does it fail (at the box-office)? A film makes money because it is effectively communicated visually with its basic intent and purpose within the framework of desired entertainment value, simply saying that if you’re smart, they why aren’t you rich? Also I believe that it is the ultimate idiocy to regard a film as artistic or commercial during the stage of its conception. So that no one may classify a film before or during or after its principal photography. A film only becomes commercial when it has achieved the desired box-office results and only destiny and its timelessness can make a film an art. I dare again say that “classics are not product of presents times but are babies of tomorrow.” And yes, Viriginia, we have indeed in our midst a new breed of moviegoers. In fact it has outgrown our movie industry which up to now still clings to the traditional star and producership systems of the 50’s. The industry still sells the recycled films smorgasbord of Dona Sisang and Dr. Perez to a public has been educated tremendously (sic) by the technology of the 20th century communication arts. Damn those people who insists that the wisdom and intellect of the Filipino moviegoers did not progress even as man had already set foot on the moon and the revolution of modern man had already happened in Asia! For after a thorough theoretical evaluation we can not dismiss the wisdom of acceptance that what precipitated the great awakening of the Filipinos to aesthetic appreciation of modern cinema are: the invasion of television sets in our living rooms which is tantamount to day-to-day exercise of our visual appreciations, the prerogative to chose our line of vision through betamax and the great exports of Filipinos in any capacity to that their return to our homeland bring with them a more civilized attitude towards the intellect of both personal and cinematic arts of existence…” – JC Nigado, Manila Standard, 12 Feb 1987 (READ MORE)

Celso Ad Castillo – “…Born in Siniloan, Laguna 12 Sept 1943. Movie director, scriptwriter, actor. He is the son of Atty. Dominador Ad Castillo, lawyer/writer, and Marta Adolfo. He studied at Manuel L. Quezon University and obtained his Bachelor of Arts degree in English Literature in 1964. Castillo started as a writer for a komiks magazine. With the help of his father, he published his own magazine where he wrote all the stories from cover to cover, using different names as authors. A movie producer commissioned him to write a script on the character of ” James Bandong.” named after Britain’s superspy. The film made money and it was followed by a sequel, “Dr. Yes,” 1965, a spoof on the British film, Dr. No. He wrote and directed his first movie, “Misyong Mapanganib” (Dangerous Mission), in 1966. The most memorable of his earlier films is “Asedillo,” 1971, based on a Filipino rebel of the 1920s who was hunted down as a bandit by the American colonial government. With this film, Fernando Poe, Jr. acquired the image that was to set him off as a legendary gunslinger, a defender of the poor and oppressed. Castillo also made Ang Alamat (The Legend), 1972, with Poe as a reluctant hero who battle a whole private army all by himself to defend his townfolks. Succeeding Castillo films aspired towards thematic originality: small-town perversion in Ang Madugong Daigdig ni Salvacion (The Bloody World of Salvacion), 1975; incest in Tag-ulan sa Tag-araw (Rainy Days in Summer), 1975; political and period gangsterism in Daluyong at Habagat (Tall Waves, Wild Wind), 1976. Even his sex films had a to message to tell. One finds spiritual undertones in the story of an oversexed girl in “Nympha” (Nymph), 1971; a struggle of conscience in a stripteaser who laughed on the outside but cried on the inside in “Burlesk Queen” (Burlesque Queen), 1977; tribal conflict in “Aliw-iw,” 1979; a conflict of family values in “Snake Sisters,” 1983; and the politics of domination in “Isla” (Island), 1983…Castillo won the Filpino Academy of Movie Arts and Sciences (FAMAS) awards for best director and best story for “Pagputi ng Uwak, Pag-itim ng Tagak” (When the Crow Turns White, When the Heron Turns Black), 1978, and also won the Urian awards for best director and best screenplay for the same picture. He shared the story credits with Ruben Nicdao, and the screenplay credits with Lando jacob, Ishko Lopez and Ruben Nicdao. He won the FAMAS best director trophy again in 1985 for “Paradise Inn,” a Lolita Rodriguez-Vivian Velez starrer. He also has a FAMAS best supporting actor award, for “Sampung Ahas ni Eba” (Ten Snakes of Eve), in 1984…” – Excerpts from Encyclopaedia of Philippine Arts by L. Pareja, Celso Ad Castillo Presents web-site (READ MORE)

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Celso Ad Castillo’s Vilma Santos Films

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“…Mr. Castillo, who directed more than 60 movies including “Asedillo” in 1971 and “Burlesk Queen” in 1977, died in his home in Siniloan, Laguna. In 2007, Mr. Castillo was diagnosed with stage 1 lung cancer. Born in Siniloan in Sept. 12, 1943, Mr. Castillo is the son of lawyer Dominador Ad Castillo and Marta Adolfo. He graduated in 1964 from the Manuel L. Quezon University with a degree in English Literature. Mr. Castillo started as a writer for a komiks magazine, until he was commissioned to write a script for a spoof of the British superspy James Bond in 1965. He directed his first movie, Misyong Mapanganib in 1966. But it was the film Asedillo in 1971 that made Mr. Castillo popular. Based on the story of a Filipino rebel of the 1920s who was hunted down as a bandit by the American colonial government, the movie gave its lead actor, Fernando Poe, Jr. his second Best Actor trophy from the Film Academy of Movie Arts and Sciences (FAMAS)…Before he died, he has just launched his tell-all book Celso Ad Castillo: An Autobiography and His Craft…” – Jeffrey O. Valisno (READ MORE)

Castillo gave Vilma Santos her first mature role in Burlesk Queen resulting with her first local film festival best actress award. He also directed Pagputi Ng Uwak Pagitim Ng Tagak where Vilma Santos starred and produced. The film received several best picture awards and was considered one of Castillo’s best works. – RV (READ MORE)

Tag-ulan sa tag-araw (1975) – “…The two main characters, Christopher Deleon and Vilma Santos obviously carried the film with surprising maturity. Considering this was their first team-up and both were very young. In 1975, both were still in transitions, from teenybopper stars of the musical era to serious actors. Christopher Deleon’s performance was quite impressive as the apologetic Rod, except for some scenes where you can see his nostril moves, he gave a very affecting performance. Vilma Santos equally balance the equation with a touching show of emotions that we seldom see in her early films that are mostly musicals, fantasy or comedies. Three scenes stand out. First was in the bus where she confronted her “Kuya Rod” to not to give-up on their relationship. Second when her parents caught them in the balcony. She begs them to stop beating up her “Kuya Rod.” And then finally, the driving to the abortion clinic scene, she cried her heart out begging them to stop and cried for help to her “Kuya Rod,” who was running behind and trying very hard to stop the car. Celso Ad Castillo successfully gave us a very moving film. Even with the very annoying number of voice-over scenes, scenes that you will hear the two main characters talks but you will see them not opening their mouth, the film has so many good qualities that you will forgive these flaws. We probably attributed these flaws to the style of many films in the 60s and 70s…” – RV (READ MORE)

Burlesk Queen (1977) – “…Burlesk Queen is much more than a gripping commercial melodrama. It is also a scathing commentary on the sarcastic sexual politics that has become the atmosphere of Philippine society: of hardworking women and the good-for-nothing men they serve (in other words, a patriarchal society gone awry). It is also a fervent reminder of the redemptive and equalizing power of art, which is the reason why it will always be a threat to those who hold power. Multi-faceted, committedly acted, and very well-directed, Burlesk Queen, I opine, is an unsung masterpiece.” – Francis Cruz (READ MORE)

Pagputi ng uwak, Pag-itim ng tagak (1978) – “…Celso Ad. Castillo’s Pagputi ng Uwak, Pag-itim ng Tagak (When the Crow Turns White, When the Heron Turns Black) injects political overtones into its story, about a poor young man (Bembol Roco) who, when abandoned by his upper-class lover (Vilma Santos), joins the Hukbalahap rebels. Ad. Castillo in this film demonstrates an amazing visual language–not flashy, but quietly, lyrically brilliant. He also demonstrates a more masterful grasp of music and song than possibly any other Filipino director–the film is a model on how to use kundimans, ballads, pop songs to differentiate social classes, to satirize and comment on the narrative action.” – Noel Vera (READ MORE)

Celso Ad. Castillo began directing films mid-60′s at an early age, but he has since then gained reputation for many other aspects of the craft particularly scriptwriting and acting. In the Filipino movie industry, he holds the unique repuation of being controversial, trendsetter,enfant terrible and messiah of Philippine cinema, and his track record justifies it: he introduced artistry and commercialism in sex films (nympha) when the two were considered incompatible, and introduced sex in artistic projects ( Ang Pinakamagandang Hayop sa Balat ng Lupa/The Most Beautiful Animal on Earth)when moralistic repression was in vogue. An unfortunate and unfair consequence of the controversy is the recognition due him as one of the finest film commentators on the Philippine social scene, with a visual fluency unmatched by any other contemporary filipino film director. – Celso Ad Castillo Web-site (READ MORE)

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Top 100 Vilma Santos Films

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)

RANK FILM (YEAR) SCORE
01. Burlesk Queen (1977) 30.90
02. Bata, Bata…Paano Ka Ginawa? (1998) 28.90
03. Dekada’70 (2002) 28.80
04. The Dolzura Cortez Story (1993) 28.70
05. Ikaw ay Akin (1978) 28.60
06. Rubia Servios (1978) 28.50
07. Relasyon (1982) 27.90
08. Pahiram Ng Isang Umaga (1989) 27.80
09. Broken Marriage (1983) 27.70
10. Lipad, Darna, Lipad (1973) 27.60
…LINK

11. Imortal (1989) 26.90
12. Anak (2000) 26.80
13. Tagos ng Dugo (1987) 26.70
14. Adultery (1984) 26.60
15. Pagputi ng Uwak Pag-itim ng Tagak (1978) 25.90
16. Trudis Liit (1963) 25.80
17. Gaano Kadalas ang Minsan? (1982) 25.70
18. Paano Ba ang Mangarap? (1983) 25.60
19. Sinasamba Kita (1982) 25.50
20. Tag-ulan sa Tag-araw (1975) 25.40
…LINK

21. In My Life (2009) 24.90
22. Saan Nagtatago Ang Pag-ibig? (1987) 24.80
23. Ipagpatawad Mo (1991) 24.70
24. Mano Po 3 My Love (2004) 24.60
25. Pakawalan Mo Ako (1981) 24.50
26. Karma (1981) 24.40
27. Hahamakin Lahat (1990) 24.30
28. Sinungaling Mong Puso (1992) 24.20
29. Dalawang Pugad, Isang Ibon (1977) 24.10
30. Ex-Wife (1981) 24.09
…LINK

31. D’ Lucky Ones (2006) 24.08
32. Dyesebel atang Mahiwagang Kabibe (1973) 24.07
33. Sister Stella L. (1984) 23.90
34. Kapag Langit Ang Humatol (1990) 23.80
35. Miss X (1980) 23.70
36. Ikaw Lang (1993) 23.60
37. Bato sa Buhangin (1976) 23.50
38. Nakakahiya? (1975) 23.40
39. Hindi Nakakahiya (1976) 23.30
40. Batya’t Palu-Palo (1974) 23.20
…LINK

41. Haplos (1982) 22.90
42. Ibulong Mo Sa Diyos (1988) 22.80
43. Pinay, American Style (1979) 22.70
44. Langis at Tubig (1980) 22.60
45. Palimos Ng Pag-ibig (1986) 22.50
46. Muling Buksan ang Puso (1985) 22.40
47. Kampanerang Kuba (1974) 22.30
48. Darna and the Giants (1973) 22.20
49. Dama De Noche (1972) 21.95
50. Hatinggabi Na, Vilma (1972) 21.90
…LINK

51. T-Bird at Ako (1982) 21.80
52. Alyas Baby Tsina (1984) 21.70
53. Halik sa Kamay, Halik sa Paa (1979) 21.60
54. Minsan pang Nakaraan (1983) 21.50
55. Masarap, Masakit ang Umibig (1977) 21.40
56. Hindi Nahahati ang Langit (1966) 21.30
57. Susan Kelly, Edad 20 (1977) 21.20
58. Hiwalay (1981) 21.10
59. Rock, Baby, Rock (1979) 21.09
60. Mga Mata Ni Angelita (1978) 21.08
…LINK

61. Bertang Kerengkeng (1976) 21.07
62. Ibong Lukaret (1975) 21.06
63. Vilma Viente Nueve (1975) 21.05
64. Takbo, Vilma, Dali (1972) 21.04
65. Nag-iisang Bituin (1994) 20.90
66. Karugtong ang Kahapon (1975) 20.80
67. Ging (1964) 20.70
68. Anak, ang Iyong Ina (1963) 20.60
69. Kay Tagal ng Umaga (1965) 20.50
70. Yesterday, Today and Tomorrow (1986) 20.40
…LINK

71. Magkaribal (1979) 20.30
72. Anak ng Aswang (1973) 20.20
73. Simula ng Walang Katapusan (1978) 20.10
74. Promo Girl (1978) 20.09
75. Biktima (1974) 20.08
76. Good Morning, Sunshine (1980) 20.07
77. Kasalanan Kaya? (1968) 19.90
78. Mga Rosas sa Putikan (1976) 19.80
79. Nakawin Natin ang Bawat Sandali (1978) 19.70
80. Modelong Tanso (1979) 19.60
…LINK

81. Darna at Ding (1980) 19.50
82. Mga Reynang Walang Trono (1976) 19.40
83. Nag-aapoy na Damdamin (1976) 19.30
84. Pulot-gata, Pwede Kaya? (1977) 19.20
85. Kamay na Gumagapang (1974) 19.10
86. Young Love (1970) 19.09
87. Ito ang Pilipino (1967) 18.90
88. Ikaw Lamang (1971) 18.80
89. Kampus (1978) 18.70
90. Coed (1979) 18.60
LINK

91. The Sensations (1971) 18.50
92. Never Ever Say Goodbye (1982) 17.90
93. Asawa ko, Huwag Mong Agawin (1986) 17.80
94. Ayaw Kong Maging Kerida (1983) 17.70
95. Ibigay Mo Sa Akin Ang Bukas (1987) 17.60
96. Gusto Ko Siya, Mahal Kita (1980) 17.50
97. Amorseko (1978) 17.40
98. Pag-ibig ko sa iyo lang Ibibigay (1978) 17.30
99. Tatlong Mukha ni Rosa Vilma (1972) 17.20
100. Pinagbuklod ng Pag-ibig (1978) 17.10
…LINK

Criteria: Box Office Records, Critics Recognitions, Other Factors(Relevance, Longevity, Entertainment Impact)

Top 100 Vilma Santos Films (part ten)

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)

10.  Lipad, Darna, Lipad 1973
SCORE: 7(A) + 10(B) + 10(C) + 0.6(D) = 27.6(T)
Directed by Emmanuel H. Borlaza, Elwood Perez and Joey Gosiengfiao, co-starring: Gloria Romero, Celia Rodriguez, Liza Lorena, Marissa Delgado, Angie Ferro, Mary Walter,  Adul de Leon, Chanda Romero, Eddie Garcia, Ernie Garcia, Dick Israel, Ruel Vernal, Angelito, Cloyd Robinson. Based on the novel of Mars Ravelo.  Top Record-Breaking Box-office Film of 1973.   The first of four Darna films starring Vilma Santos. – MORE INFO (no available video)

9.  Broken Marriage 1983
SCORE: 10(A) + 7(B) + 10(C) + 0.7(D) = 27.7(T)
Directed by Ishmael Bernal, co-starring: Christopher De Leon,  Tessie Tomas, Harlene Bautista,  Orestes Ojeda, Lito Pimentel, Richard Arellano, Cesar Montano, Len Santos, Ray Ventura. Vilma received her second Gawad Urian Best Actress and a FAMAS nomination for best actress. – MORE INFO

8.  Pahiram Ng Isang Umaga 1989
SCORE: 10(A) + 7(B) + 10(C) + 0.8(D) = 27.8(T)
Directed by Ishmael Bernal, co-starring:  Gabby Concepcion, Eric Quizon, Billy Crawford, Zsa Zsa Padilla, Olivia Cenizal, Tita Muñoz, Dexter Doria, Vicky Suba, Gina Perez, Alma Lerma, Becky Misa, Gil de Leon, Subas Herrero, Cris Vertido, Toby Alejar.  Written by Jose Javier Reyes.  Vilma Santos received her first best actress from the PMPC Star Awards as well as the Gawad Urian.  She also received nomination from FAP. – MORE INFO

7.  Relasyon 1982
SCORE: 10(A) + 7(B) + 10(C) + 0.9(D) = 27.9(T)
Directed by Ishmael Bernal, co-starring: Christopher De Leon, Jimi Melendez, Lucy Quinto, Beth Mondragon, Olive Madridejos,  Ernie Zarate, Manny Castañeda, Bing Fabregas, Augusto Victa.  The very first “Grand Slam” for Best Actress in Philippine.  Vilma won all the Philippines’ best actress awards of 1982.   She received recognitions from Gawad URIAN, FAP, CMMA, FAMAS. – MORE INFO

6.  Rubia Servios 1978
SCORE: 10(A) + 10(B) + 8(C) + 0.5(D) = 28.5(T)
Directed by Lino Brocka, co-starring: Phillip Salvador, Mat Ranillo III.  Vilma received a nominationf for best performer in the 1978 Metro Manila Film Festival.  The film was the top revenue grosser.  – MORE INFO

5.  Ikaw ay Akin 1978
SCORE: 10(A) + 8(B) + 10(C) + 0.6(D) = 28.6(T)
Directed by Ishmael Bernal,  co-starring: Christopher De Leon, Nora Aunor, Ellen Esguerra, Odette Khan, Charmie Benavidez, Sandy Andolong, Nick Romano, Zandro Zamora, Ernie Zarate, Cris Vertido, Anton Juan.  Vilma received a Gawad URIAN Nomination for Best Actress. – MORE INFO

4.  Dahil Mahal Kita, The Dolzura Cortez Story 1993
SCORE: 10(A) + 8(B) + 10(C) + 0.7(D) = 28.7(T)
Directed by Laurice Guillen, co-starring:  Christopher De Leon, Charito Solis, Jackie Aquino, Maila Gumila, Mia Gutierrez, Eula Valdez,   Noni Buencamino, Gil Portes.  Vilma Santos won the Film Academy of the Philippines’ Best Actress.  She also won Gawad Urian, PMPC STAR, Metro Manila Film Festival and FAMAS Circle of Excellence. – MORE INFO

(no available video)

3.  Dekada’70 2002
SCORE: 10(A) + 8(B) + 10(C) + 0.8(D) = 28.8(T)
Directed by Chito S. Roño, co-starring: Christopher De Leon, Piolo Pascual, Marvin Agustin, Carlos Agassi, Danilo Barrios, Kris Aquino, Ana Capri, Dimples Romana, Marianne de la Riva, Tirso Cruz III, Orestes Ojeda, John Wayne Sace.  Written by Lualhati Bautista.  Vilma Santos won the 2003 Cinemanila International Film Festival Best Actress.  She also won the best actress from FAP, Gawad URIAN, PMPC Star and YCC Best Performer.  The film was the Philippines’ official entry at the 76th Academy Awards best foreign language film.  –  MORE INFO

2.  Bata, Bata…Paano Ka Ginawa? 1998
SCORE: 10(A) + 8(B)+ 10(C) + 0.9(D) = 28.9(T) Directed by Chito S. Roño, co-starring: Albert Martinez, Carlo Aquino, Raymond Bagatsing, Ariel Rivera, Serena Dalrymple, Angel Aquino, Cherry Pie Picache, Rosemarie Gil, Dexter Doria.  Written by Lualhati Bautista.  Vilma won the 1999 Brussels International Festival of Independent Films Best Actress.  She also won the best actress from FAP, Gawad Urian, PMPC Star and the Young Critics Circle Best Performer. – MORE INFO

1.  Burlesk Queen 1977
SCORE: 10(A) + 10(B) + 10(C) + 0.9(D) = 30.9(T)
Directed by Celso Ad. Castillo, co-starring:  Rolly Quizon, Leopoldo Salcedo, Rosemarie Gil, Dexter Doria, Yolanda Luna, Rio Locsin, Roldan Aquino, Chito Ponce Enrile, Joonee Gamboa.  Vilma Santos won the 1977 Metro Manila Film Festival Best Actress.  She also received best actress nominations from FAMAS and Gawad Urian.   The film was the Festival’s top box office grosser.  –  MORE INFO

RECAP:
10. Lipad, Darna, Lipad 1973
9. Broken Marriage 1983
8. Pahiram Ng Isang Umaga 1989
7. Relasyon 1982
6. Rubia Servios 1978
5. Ikaw ay Akin 1978
4. Dahil Mahal Kita, The Dolzura Cortez Story 1993
3. Dekada’70 2002
2. Bata, Bata…Paano Ka Ginawa? 1998
1. Burlesk Queen 1977

…for the complete list, CLICK HERE

Top 100 Vilma Santos Films (part three)

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)

80.  Modelong Tanso 1979
SCORE: 3(A) + 10(B) + 6(C) + 0.6(D) = 19.6(T)
Directed by Cirio H. Santiago, co-starring: Charito Solis, Winnie Santos. Entry to 1979 Metro Manila Film Festival – MORE INFO

79.  Nakawin Natin ang Bawat Sandali 1978
SCORE: 6(A) + 7(B) + 6(C) + 0.7(D) = 19.7(T)
Directed by Elwood Perez, co-starring: Baby Delgado, Anita LindaChristopher De Leon, Roel Vergel de Dios, Freddie Yance, Romeo Rivera – MORE INFO (no available video)

78.  Mga Rosas sa Putikan 1976
SCORE: 6(A) + 7(B) + 6(C) + 0.8(D) = 19.8(T)
Directed by Emmanuel H. Borlaza, co-starring: Celia Rodriguez, Babara Luna, Trixia Gomez, Merle Fernandez, Monica Morena, Romeo Enriquez, Arnold Gamboa, Sandy Garcia, Ike Lozada. Vilma sings the film theme song! – MORE INFO

77.  Kasalanan Kaya? 1968
SCORE: 6(A) + 8(B) + 5(C) + 0.9(D) = 19.9(T)
Directed by Luis Enriquez, co-starring: Lolita Rodriguez, Marlene Dauden and Eddie Rodriguez with Roderick Paulate. Vilma received acting nomination for best supporting actress in 1968 FAMAS. – MORE INFO (no available video)

76.  Good Morning, Sunshine 1980
SCORE: 6(A) + 7(B) + 7(C) + 0.07(D) = 20.07(T)
Directed by Ishmael Bernal, co-starring: Sheryl Cruz, Debraliz, Anita Linda, Liza LorenaJunior, Lloyd Samartino – MORE INFO

75.  Biktima 1974
SCORE: 5(A) + 10(B) + 5(C) + 0.08(D) = 20.08(T)
Directed by Nilo Saez, co-starring: Helen Gamboa, Celia Rodriguez, Perla Bautista, Cristina Reyes, Divina Valencia Leopoldo Salcedo, Bert Leroy Jr., Tony Santos Jr., Yoyoy Villame, Tommy Abuel, Edgar Mortiz, Ike Lozada, German Moreno – MORE INFO

74.  Promo Girl 1978
SCORE: 6(A) + 8(B) + 6(C) + 0.09(D) = 20.09(T)
Directed by Joey Gosiengfiao, co-starring: Ricky Belmonte, Roel vergel De Dios, Eddie Gutierrez, Bembol Rocco – MORE INFO (no available video)

73.  Simula ng Walang Katapusan 1978
SCORE: 6(A) + 8(B) + 6(C) + 0.1(D) = 20.1(T)
Directed by Luis Enriquez, co-starring: Eddie Rodriguez, Carmen Soriano, Patria Plata, Ingrid Salas, Rio Locsin, Lito Anzures, Renato Robles, Nello Nayo, Ruben Rustia – MORE INFO (no available video)

72.  Anak ng Aswang 1973
SCORE: 4(A) + 10(B) + 6(C) + 0.2(D) = 20.2(T)
Directed by Romy Susara cp-starring: Gloria Romero, Daisy Romualdez, Rosanna Marquez, Lucita Soriano, Lita RodriguezEdgar Mortiz, Nick Romano, Leopoldo Salcedo, German Moreno, Pons De Guzman – MORE INFO (no available video)

71.  Magkaribal 1979
SCORE: 6(A) + 8(B) + 6(C) + 0.3(D) = 20.3(T)
Directed by Elwood Perez, co-starring: Alma Moreno, Christopher De Leon – MORE INFO

RECAP:
80. Modelong Tanso 1979
79. Nakawin Natin ang Bawat Sandali 1978
78. Mga Rosas sa Putikan 1976
77. Kasalanan Kaya? 1968
76. Good Morning, Sunshine 1980
75. Biktima 1974
74. Promo Girl 1978
73. Simula ng Walang Katapusan 1978
72. Anak ng Aswang 1973
72. Magkaribal 1979

…continue with countdown, CLICK HERE!

Top 100 Vilma Santos Films (part eight)

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)

30.  Ex-Wife 1981
SCORE: 8(A) + 8(B) + 8(C) + 0.09(D) = 24.09(T)
Directed by Luis Enriquez, starring: Beth Bautista, Liz Alindogan, Wendy villarica, Rosemarie Gil, Lucita Soriano, Raul Aragon, Michael de Mesa, Eddie Garcia, Fred Montilla. – MORE INFO

29.  Dalawang Pugad, Isang Ibon 1977
SCORE: 7(A) + 7(B) + 10(C) + 0.1(D) = 24.1(T)
Directed by Ishmael Bernal. co-starring: Romeo Vasquez, Mat Ranillo III, Anita Linda, Mary Walter, Fred Montilla – MORE INFO (no available video)

28.  Sinungaling Mong Puso 1992
SCORE: 8(A) + 8(B) + 8(C) + 0.2(D) = 24.2(T)
Directed by Maryo J. De Los Reyes, co-starring: Gabby Concepcion, Aga Muhlach, Alice Dixon, Aiko Melendez, Melinda Mendez, Mila Ocampo, Luz Valdez, Ricardo Cepeda, Charlie Davao, Philip Gamboa, Orestes Ojeda. Written by Jose Javier D. Reyes. Vilma received a best actress nomination from the Manunuri. – MORE INFO

27.  Hahamakin Lahat 1990
SCORE: 8(A) + 8(B) + 8(C) + 0.3(D) = 24.3(T)
Directed by Lino Brocka, co-starring: Gabby Concepcion, Eric Quizon, Dennis Roldan, Snooky Serna, Perla Bautista, Maritoni Fernandez, Gina Perez, Ruben Rustia. Written by Ricardo Lee. Vilma received an academy award (Luna) nomination for best actress – MORE INFO

26.  Karma 1981
SCORE: 7(A) + 10(B) + 7(C) + 0.4(D) = 24.4(T)
Directed by Danny Zialcita. co-starring: Ronaldo Valdez, Tommy Abuel, Christopher Deleon, Dante Rivero, Chanda Romero, Marianne Delariva, Aurora Salve, Suzanne Gonzales, Martha Sevilla, Odette Khan, Virginia Montes, Bella Flores, Etang Ditcher, Vic Silayan, Fred Montilla, Renato Robles, Ruel Vernal, Augusto Victa, Butch Aquino. Vilma Santos won the 1981 Metro Manila Film Festival Best Actress. – MORE INFO

25.  Pakawalan Mo Ako 1981
SCORE: 7(A) + 10(B) + 7(C) + 0.5(D) = 24.5(T)
Directed by Elwood Perez, co-starring: Christopher De Leon, Anthony Castelo, Deborah Sun, Mila Ocampo, Subas Herrero, Ed Villapol. Vilma Santos won the 1981 FAMAS Best Actress – MORE INFO

24.  Mano Po 3 My Love 2004
SCORE: 8(A) + 8(B) + 8(C) + 0.6(D) = 24.6(T)
Directed by Joel Lamangan, co-starring: Christopher De Leon, Jay Manalo, Boots Anson-Roa, Amy Austria, Sheryl Cruz, Jean Garcia, Karylle, Angel Locsin, Angelica Panganiban, Cherry Pie Picache, Carlo Aquino, Eddie Garcia, Patrick Garcia, Allan Paule, John Prats, Dennis Trillo, Gardo Versoza. Vilma Santos won the best actress from the Metro Manila Film Festival, the PMPC STAR and the Gawad Suri. She also received a Luna nomination. The film was the Philippines’ Official Entry to the 2005 8th Shanghai International Film Festival. – MORE INFO

23.  Ipagpatawad Mo 1991
SCORE: 8(A) + 8(B) + 8(C) + 0.7(D) = 24.7(T)
Directed by Laurice Guillen, co-starring: Christopher De Leon, Charito Solis, Bing Loyzaga, Amy Perez, Delia Razon, Ruby Rodriguez, Vivian Foz, Lorli Villanueva, Joonee Gamboa, Johnny Wilson, Terence Baylon. Written by Olivia M. Lamasan. Vilma received the 1991 Gawad Urian Best Actress and a nomination from FAP – MORE INFO

22.  Saan Nagtatago Ang Pag-ibig? 1987
SCORE: 8(A) + 8(B) + 8(C) + 0.8(D) = 24.8(T)
Directed by Eddie Garcia, co-starring: Ricky Davao, Tonton Gutierrez, Cherrie Gil, Gloria Romero, Alicia Vergel. Alicia Alonzo, Perla Bautista, Suzanne Gonzales, Rose Rosado, Vangie Labalan, Jonee Gamboa, Rey Hipolito, Eddie Arenas. Written by Gilda Olvidado. – MORE INFO

21.  In My Life 2009
SCORE: 7(A) + 10(B) + 7(C) + 0.9(D) = 24.9(T)
Directed by Olivia M. Lamasan, co-starring: John Lloyd Cruz, Luis Manzano, Tirso Cruz III. Vilma Santos received the best actress from Gawad Tanglaw and PMPC Star. She also received nominations from the Golden Screen and Gawad URIAN. The film Earned P20M on its first day of showing in Metro Manila. – MORE INFO

RECAP:
30. Ex-Wife 1981
29. Dalawang Pugad, Isang Ibon 1977
28. Sinungaling Mong Puso 1992
27. Hahamakin Lahat 1990
26. Karma 1981
25. Pakawalan Mo Ako 1981
24. Mano Po 3 My Love 2004
23. Ipagpatawad Mo 1991
22. Saan Nagtatago Ang Pag-ibig? 1987
21. In My Life 2009

…continue with countdown, CLICK HERE!

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!