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Pinigil na Tadhana – “…Sinabi ni Ernesto Maceda, abugado ng 777 Productions, na ang pagpigil sa “Press Preview” o hayagang pagtatanghal ng “Iginuhit ng Tadhana” ay ilegal at labag sa saligang batas. Ayon kay Maceda, ang pelikula sinuri na ng BCMP, at dahil doon ay itinatanghal na iyon sa walong lalawigan…Sa isang dako, sinabi ni Gng. Olympia Lozano, kalihim-tagapagpaganap ng BCMP na pinigil ang pagtatanghal ng “Iginuhit ng Tadhana” dahil sa pagtanggi ng 777 Productions na iharap sa lupon ang pelikula upang surrin…Nagharap kagabi ng pagbibitiw sa Pangulong Macapagal si Jose L. Guevara bilang tagapangulo ng Board of Censors for Moving Pictures. Ginawa ni Guevara ang ganitong aksiyon kasunod ng pagpigil ng pelikulang “Iginuhit ng Tadhana” na naglalarawan sa buhay ni Sen. Ferdinand Marcos, kandidato sa pagka-pangulo ng NP. Ipinaliwanag ni Maceda na marami nang nakapanood ng “Iginuhit ng Tadhana”at nagkakaisa ng palagay ang lahat na walang batayan upang pigilin ang pagtatanghal nito. Upang masubhan kahit kaunti ang pagkayamot ng mga inayayahan sa “gala premiere” kagabi sa Rizal Theatre, ipinasiya ang pagtatanghal ng pelikulang Ingles, ang “The Thin Red Line…” – Leonardo P. Reyes, Taliba, 3 & 16 September 1965 (READ MORE)

Tadhana sa Korte Suprema – “…Malamang makarating ngayon sa Korte Suprema ang hidwaan ng prodyuser ng Iginuhit ng Tadhana at ng lupon ng sensor na pumigil sa pagtatanghal sa publiko ng nasabing pelikula. Nakatakdang dumulog ngayon sa mataas ns hukuman ang mga abugado ng prodyuser ng pelikula matapos na pigilin ng hukuman sa paghahabol kahapon ang pagpapatupad sa utos ng mababang hukuman na nagpapahintulot sa pagtatanghal ng pelikula…Sa naunang hatol ni Hukom Edilberto Soriano ng hukumang unang dulugan ng Maynila ay ipinahintulot niya ang pagtatanghal sa masuliraning pelikula bagay na salungat sa pasiya ng lupon ng sensor na pumipigil sa nasabing pagtatanghal. Ang hatol ni Soriano ay idinulog ng mga abugado ng pamahalaan sa hukumang sa paghahabol sa kanilang matwid na walang huridiksiyon sa usapin ang mababang hukuman…Sinabi ni Abugado Claudio Teehankee, isa sa mga abugado ng prodyuser ng pelikula sa buhay ng Pangulong Ferdinand E. Marcos ng Senado na idudulog nila sa Korte Suprema ang desisyon inilagda kahapon ng Hukuman sa Paghahabol. Ipinaliwanag niyang ang dalawang sumusunod na matwid ang knailang ihaharap sa mataas na hukuman sa paghahabol: 2 Katwiran na Inilahad – 1. Na walang bisa ang kontrata na maaaring bawiin ang permiso sa isang pelikula upang maitanghal anumang oras. 2. Na hindi nagmalabis si Hukom Soriano sa pagpapasiya sa usapin…” – C. de Guzman, Taliba, 3 & 16 September 1965 (READ MORE)

Young Ones – “…Walang makapaniwala na magiging gayon kalakas takilya sina Nora at Tirso. Nagimbal ang mga taga-pelikula. Bakit daw gayon kalaki ang kinikita ng unang dalawang pelikula nina Nora at Tirso? Tsamba lamang daw kaya iyon o biglang nagbago ng panlasa ng mga manonood? Hindi tsamba. Ang mga sumunod pang pelikula nina Nora at Tirso ay mas malaki ang kinita. Daang-libo ang kinita ng “Teenage Excapades” at “Halina, Neneng Ko.” Itinambal ng Towers si Nora sa iba pang kabataang artista, malaki rin ang kinita. Katunayan na malaki ang hukbo ng mga tagahanga ni Nora. Sinubok naman ng Barangay Productions na itambal si Tirso kay Gemma Suzara, hindi gaanong kinagat ng mga fans. Nag-produce ng pelikula ang mag-anak na Cruz, pinagsama sina Ricky Belmonte at Tirso sa “Ricky na, Tirso Pa” isinama naman sa magpinsan si Pilar Pilapil. Tinapatan ng Tower ng isang pelikula ni Nora ang pelikula ng mga Cruz. Resulta: mas maraming nanood sa pelikula ni Nora. Ano ang ibig sabihin nito? Gusto ng mga fans na maging magkatambal sina Nora at Tirso. Sinagot ng VP Pictures ang kahilingang ito sa pamamagitan ng “Young Love.” Bukod kina Tirso at Nora ay isinaman pa ang mga young ones na sina Vilma Santos at Edgar Mortiz. Patok sa takilya!…” – Romy Galang, Pilipino Magazine, 18 February 1970 (READ MORE)

Stoned Remembrance – “…It was a wild, wild parade but the fans and the superstars enjoyed every minute of it. For the Pilipino movie fan, it was more than just an outing. He saw his favorite movie celebrity at the closest range possible. For the movie star, the wild response was more than a gauge of his popularity. A crowd close to 500,000 people bucked the hot afternoon sun to watch their movie personalities in a parade ushering in the seventh Manila Film Festival. The crowd paralyzed traffic in the downtown areas up to the late last night…The parade started at 3 p.m. and ended past 8 p.m. at the foot of the Quezon bridge…The biggest response was given to Nora Aunor and Tirso Cruz III. Wearing pink ang black kimonos, the two superstars threw sampaguita flowers along the way as their fans, yelling friendship, waved their pointed thumbs wildly…The other float with the wildest applause was that carrying Vilma Santos and Edgar Mortiz, who will appear in “Remembrance,” a Tagalog Ilang-Ilang Presentation. However, the float was stoned twice and it left the parade before it reached the Jones Bridge…” – Romeo J. Arceo, Philippines Sunday Express, 18 June 1972 (READ MORE)

Vice presidential choices – “…Nationwide, Poe emerged as the preferred choice for vice president, obtaining an approval rating of 24%, followed by Escudero with 20%. Roxas was a distant 3rd with 8%, followed by Senator Antonio Trillanes IV with 7%, and Cayetano with 6%. The 6th spot was a tie among 4 who included Marcos Jr, Kris Aquino, Lacson, and Batangas Governor and actress Vilma Santos Recto, who each got 5%. Senator Jinggoy Estrada, the second senator embroiled in the pork barrel scam, obtained a 4% rating. In the lower bracket were 4 other legislators – Senators Benigno “Bam” Aquino and Revilla who each got 3%, Joseph Victor “JV” Ejercito who got 2%, and Camarines Sur Representative Leni Robredo who obtained 1%. In the National Capital Region, perceived to be home to the most critical and politically aware voters, Poe (25%) and Escudero (24%) were favorite vice presidential bets. Poe rated better than Escudero in the balance of Luzon, getting a 27% approval rating compared to Escudero’s 21%. The difference between the two top contenders was also more pronounced in Mindanao, with Poe getting 21% compared to Escudero’s 16%. Visayas respondents were almost evenly split, with 22% going for Poe and 20% going for Escudero…” – Chay F. Hofileña, Rappler, 29 Apr 2014 (READ MORE)

A Different “Grand Slam” (Ate Vi Scores A Victory But in a Different Arena) – When President Benigno Aquino III conferred the Presidential Lingkod Bayan Award on actress politician Vilma Santos-Recto, the Batangas Governor likened it in winning a “Grand Slam”- a showbiz citations given out by major award-giving bodies for a single movie. The last time she achieved that feat was in 2002, when she did Chito S. Roño helmed “Dekada ’70.” The two-term governor indicated that the Lingkod Bayan Award is just as special, maybe even more so than the Best Actress trophies she has collected over the years. “It recognized my hard work in public service. I think I am the only governor in the line-up. This is a different world from showbiz. This is not just a best actress-award. I’ve received other award awards fro government service in the past, but this is my first national recognition. Plus it was handed out by President Auino at Malacañang.” The Presidential Lingkod Bayan Award is handed out yesterday by the Civil Service Commission and is the highest honor a public servant can receive in the Philippines. Governor Vi was one of many awardees this year, for her effort to end the persistent overcrowding in Taal Lake and reduce fish kills. After the awarding ceremony, which was held at the Rizal Hall in Malacañang on September 19, she said she was eager to show her award to her constituents, calling the achievements “team effort.” I couldn’t have achieved all this on my own. I’m excited to show the plaque and medal to the people in the capitol. They worked side by side with me in pursuing my different programs in the province. Our secret in Batangas is teamwork.” Among this year’s other awardees was the late Department of Interior Jesse Robredo, who died in a plane crash on August 18 2012. His daughter, Aida was on hand to receive his award. Governor Vi also had her lovedones there – her husband, Senator Ralph Recto, and sons, Luis Manzano and Ryan Christian Recto. After the ceremony, Governor Vi head back home to Batangas, there to resume work again. For her, it’s just another work day, much like the one she has when doing a movie, but delivering a different kind of satisfaction. – Roldan Mauricio, Star Studio Magazine, November 2012

Focus on Burlesk Queen – Celso Ad Castillo’s “Burlesk Queen”surpasses past attempts to integrate cinematic qualities in a firlm and Castillo’s own previous experiments, which critics found bombastic and purely commercial, like no other film by Castillo or other directors. “Burlesk Queen”with synchronized techniques and the significance of its messagfe successfully gives substance to the trendy subject of sex-for-sale. Castillo’s creativity is seen in the use of radio drama and music, meaningful gestures, and visual metaphors to dramatic situations. Lucid exposition and delineation of the conflict are carried out through particular techniques like ensemble acting to reveal the individual characters’ needs, emphasis on visual details rather than talky dialogues to drive home a point, and active camera movements (cuts) to suggests the passage of time in the burlesque dance’s career. The tragic ending is prepared for a logical presentation of what happens eventually to all characters. – Ananymous

Vilma Santos to team-up with Christopher de Leon? – “…They’ve been perennial love-team partners in countless movies, and now Ms. Vilma Santos and Christopher de Leon are speculated to be teaming up once more, and this is for their political ambitions. Mayor Vi was reported to be running for a congressional seat, but if she’s partnering with Boyet, it must only be as governor and vice governor of Batangas. So what will happen to acting Governor Ricky Recto, brother of Senator Ralph Recto who’s Mayor Vi’s husband? Will Mayor Vi run against her brother in-law?…” – Manila Bulletin, 11 Feb 2007

Mowelfund pays tribute to Filipino Movie Greats – “…The Movie Workers Welfare Foundation (Mowelfund) presents a grand production to pay tribute to Filipino movie greats and at the same time increase awareness about and raise funds for Mowelfund. Slated on Feb 23, the Mowelfund Tribute to Filipino Mopvie Greats, will honor stars from today and yesteryears who have made tremendous contribution to the Filipino movie industry. Comedians Nanette Inventor and Leo Martinez will be the hosts for the night. Confirmed presentors and participants include Vilma Santos, Sen. Bong Revilla, Christopher de Leon, Rudy Fernandez, Sunshine Cruz, Cesar Montano, Jericho Rosales, Heart Evangelista, Philip Salvador, Toni Gonzaga, and many more. To be honored with grand production numbers by today’s top stars are: Don Jose Nepomuceno, producer of the first Filipino silent film; National Artist Atang de la Rama, the queen of zarzuela and kundiman; legendary screen loveteam Rogelio de la Rosa and Carmen Rosales; Rosa del Rosario, the very first Darna of Philippine Cinema. Movie starwarts will also pay homage to the immortal memory of the King of Philippine Movies and National Artist for Film Fernando Poe Jr., the King of Philippine comedy Dolphy; and former President Joseph Estrada, founder of Mowelfund. Mowefund aims to ensure that marginalized movie workers can still enjoy social security despite tough times in the business. Affirming the invaluable contributions of various art forms in the crucial beginnings of local cinema in teh country – from literature to music to theater and even fasion design, the Mowelfund fundraising tribute to movie greats highlights the crossing over of these defining cultural elements in the history of Philippine movies. An exhibit of the Ani Awardees will be held at the Aliw Theater Lobby from Feb 17-23…” – Manila Bulletin, 11 Feb 2007

Ani Awards – “…The Awards celebrates a bountiful harvest in the unifying spirit that wold hold the industry together. It is a glittering testimonial to a lifetime dedication, hardwork, and perseverance in the pursuit of excellence by the Filipino public of a revered Filipino film artist,” shares Mowefund executive-director Boots Anson-Roa. Mowefund aims to ensure that marginalized movie workers can still enjoy social security despite tough times in the business…” – Crispina Martinez-Belen, Manila Bulletin, 20 February 2007

From Fashion to Films and Back – “…Audrey Hepburn’s little black dress in “Breakfast in Tiffany’s (1961) did not just stay on the silver screen. It went on to become a classic shift dress that is still being worn today in varying styles all over the world. It si the other way around for “The Devil Wears Prada” where Miranda Priestly played by Meryl Streep took the best creations of international designers to the screen. Needless to say, television and movies dictate fashion, through in a subtle way. “Even from the early days of fashion, what people see on the movie have really played a big influence on what people want to wear in real life. Even with us designers, when clients come to us, they always ask us the popular artists that we have dressed up,” says designer Edgar San Diego, FDAP chairman. To show the synergy between film and fashion, the Fashion Designers Association of the Philippines will stage a fashion revue in music and dance showing the glamour era of Philippine movies at the first ever Ani Awards, Mowelfund (Movie Workers Welfare Foundation) Tribute to Filipino Movie Greats…desiners will present their creations inspired by the likes of the personalities and roles portrayed by Rosa Rosal, Rogelio de la Rosa, Carmen Rosales, Ric Rodrigo, Susan Roces, Amalia Fuentes, Vilma Santos, Nora Aunor, and Sharon Cuneta…The era of stellar actresses like Vilma Santos and Nora Aunor showcased a more down-to-earth fashion…” – Manila Bulletin, 20 February 2007

Mini LP Fad – “…The mini-LP fad is fast catching fire for love duets. For Alpha, there is a mini by Nora Aunor and Manny de Leon; for Wilear’s minis are by Vilma Santos and Edgar Mortiz, Ed Finlan and Hilda Koronel; and for Vicor, mini is by Perla Adea and Tirso Cruz III. The mini has four selections and plays at 33 1/2. The retail price is now 6 peso (US $1)…” – Oscar Salasar, Billboard, 04 July 1970

Film Premiere Draws 28 Philippines Record Artists – “…Twenty eight of the Philippines’ young recording artists singing in English presented one song at the gala premiere night of the locally produced film “Haydee” at the Rizal Theater in suburban Makati. The impressive convergence was a first in the Philippine entertainment history. But because it was for charity, local producers and artists gave all-out cooperation. Proceeds of the “Haydee” premiere were earmarked for the 1970 Awit Awards, the Philippine’s versions of the U.S. Grammys. Five record companies were represented in the two-hour on-stage attractions – Alpha Recording System, D’Swan Recording System, Vicor Recording, Villar Records, and Willears Records. The Alpha artist were Eva Vivar, Baby Alcaraz, Geraldine and Jay Ilagan. The D’Swan artists were Ernie Garcia, Jonathan Potenciano, Linda Alcid, and Eddie Peregrina. Singer-pianist Baby de Jesus guested under the label. The Vicor artists were Eric Dimson, Boy Mondragon, Freddie Esguerra, Sonny Cortez, Millie Mercado, Victor Wood, Perla Adea and Tirso Cruz III. Villar was represented by Roggie Nieto. The Willear’s artists were Alice Cerrudo, Raul Aragon, Raquel Montessa, Elizabeth Ledesma, Romy Mallari, Esperanza Fabon, Vilma Santos, Edgar Mortiz and Ed Finlan. The back-up group was the Blinkers…” – Oscar Salasar, Billboard, 06 June 1970

Nobo Bono Jr. – “…There is a scramble among record companies to sign “Tawag Ng Tanghalan” national champion Nobo Bono Jr. The singer is contracted with the Talent Center of ABS-CBN which acts as his agent and personal manager. Bono is appearing weekly with Willear’s artists Edgar Mortiz and Vilma Santos in the new live TV series titled “The Young Ones” on Channel 2…” – Oscar Salasar, Billboard, 08 Aug 1970

Hawaiian LP – “…Willear’s issued a Hawaiian LP titled “Aloha My Love” by Vilma Santos and Edgar Mortiz. It is a soundtrack of the film of the same title which is scheduled for exhibition here…” – Oscar Salasar, Billboard, 11 March 1972

Wilear’s Top Company in Phlippine Awards – “…The third annual presentation of the Awit Awards was held at the Manila Hotel with Senator Doy Laurel of the Philippine Congress as guest of honor and principal speaker. The sponsoring group was the Philippine Academy of Recording Arts and Sciences (PARAS). The event criticized in the local circle because of its unpopular results and deglamourized presentation, gave posthumous awards of merit to Frankie Martin, a juror last year, and Santiago Suarez, one of Filipino musical starwarts. The founder of the Awit Awards, Billboard correspondence Oskar Salazar, was also honored. Wilear’s Records scored heavily in the awards this year. The foreign division was permanently scrapped. Two major companies, Villar Records and Dyna Products, Incl did not submit nominations this year. The 1970 winners are…Record Company of the Year – Wilear’s Records; Song of the Year – “Forever Loving You” by Bert Dominic (Billboard); Best Single – “Sixteen” by Vilma Santos (Wilear’s)…” – Oscar Salasar, Billboard, 14 August 1971

The Wonderful World of Music – “…The Wonderful World of Music,” produced by Tagalog Ilang-Ilang, was judged best musical in the Manila Film Festival. The picture stars Vilma Santos and Edgar Mortiz, both artists of Wilear’s…” – Oscar Salasar, Billboard, 24 July 1971

Internation Talent Directory – “…Vilma Santos (Vocalist, Wilear’s Records: The Sensations (LP); Sixteen (single & LP); Sweethearts (LP); Sweet Sweet Vilma (LP). PA: Cebu City, Ilo-ilo City, Olongapo City. TV: Edgar Loves Vilma, Oh My Love, The Sensations; Films: Angelica, Love Letters, My Pledge of Love, Our Love Affair, The Sensations, The Wonderful World of Music. Awards: Loveteam of the Year, Queen of Philippine Movies. PM: William C. Leary…” – Oscar Salasar, Billboard, 04 July 1970

Second Album – “…Wilear’s Records will come with the second LP of Vilma Santos to be titled “Sweet Sweet Vilma…” – Oscar Salasar, Billboard, 26 September 1970

Remembrance – “…Film artist Walter Navarro (Vicor) will have his first LP, “King of Balladeers,” this month. He is a contract star of Lea Productions and principal mainstay of the El Bodegon Club. Navarro is doing a film musical with Vilma Santos (Wilear’s) with Mirick Productions…Remembrance, another film musical, was chosen “best musical” in the Manila Film Festival. The film stars Vilma Santos (Wilear’s) and Edgar Mortiz (Wilear’s). The film also won in the categories of best film editing, best sound, and best script…” – Oscar Salasar, Billboard, 29 July 1972

Tie sa FAMAS – “…Dalawa ang Best Actress sa gabing iyon. Nangangahulugang kapwa mabigat ang labanan at walang itulak kabigin kina Boots Anson Roa at Vilma Santos kaya minabuti ng inampalang na bigyan kapwa ng Best Actress na sina Boots at Vilma…” – Aruy Tapusan Komiks Magasin, 19 Hunyo 1973

Ate Vi Trivia – “…Vilma Santos (born Maria Rosa Vilma Tuazon Santos, November 3, 1953), tinaguriang “Star for All Seasons,” siya ang kauna-unahang babaeng gobernador ng Batangas. Siya rin ang kauna-unahang babaeng mayor ng Lipa City. The only actress na nanalo ng three consecutive years as best actres sa Urian Awards (the country’s film critics awards body) para sa kanyang mga pelikulang Relasyon (1982), Broken Marriage (1983), at Sister Stella L (1984). Hindi siya nanalo ng kahit isang best actres award sa mga pelikulang dinirek ng the late, great Lino Brocka. Unang aktress sa Philippine movies na naka-grand slam nung 1983 as best actress for her performance in Relasyon (1982) from the Catholic Mass Media, Urian, Film Academy and FAMAS awards-giving bodies. Si Ate Vi ang pinakamaraming Gawad Urian awards sa industriya ng showbiz, tallying 8 wins, 5 additional nominations (all for Best Actress) and 2 special awards for being the best actress of the ’80s and the ’90s!…” – Hi Magazine, December 2007

Would it be Good Karma? – One of the most misunderstood occult concepts. The nearest equivalent in European thought is contained in the idea of fate, though the oriental term indicates that fate is not a haphazard sequence of events of experiences, but is dependent on actions of previous lives or spiritual conditions. The idea is that a spirit undertakes to live in an earthy body for a given period of time, usually in order to learn something which cannot be learned in a disembodied state, and has to accept rewards and punishments for good and bad deeds committed in previous incarnations. In order that understanding may grow, any evil committed against another person will have to experienced by the perpetrator. The working out of Karma is not done consiously by ordinary people. The real reasons for the majority of peopleès actions and relationships may be understood only when the nature of their Karma is grasped -which is virtually impossible to understand or judge another person when seen in the context of one material lifetime only. Vilma Santos fits the role to a T. For the past years that she has suffered a string of misfortunes and setbacks in real and reel life, she has honed herself as promise, a common objective: to give the viewing pubic what it wants – entertainment with a capital E. For Danny Zialcita, aside from having a good screenplay, good direction and brilliant actors and actresses, the movie should have artistic values. Karma promises to be a very good vehicle not only for Zialcita but also for Vilma Santos and the rest of the cast. Will this movie be a good Karma for director Danny Zialcita, Vilma Santos and the rest of the cast? It’ll be a different kind of feeling you’ll get after viewing it. – Bong de Leon, Jingle Extra Hot Magazine, 02 November 1981, Reposted at: Pelikula Atbp (READ MORE)

Sparring Partner – Marahil ay napapansin ninyong lagi nang kasama sa Superstar Show ni Nora Aunor kung linggo and dalawang ito, sina Arnold at Eddie, (Ang hiuli ay kapatid na bunso ni Nora at mahal na mahal niya). Mainstay na sila sa TV show na ito, at nakakatuwa naman sila. Kailan lamang nagkakilala sina Eddie at Arnold ngunit kung makikita ninyo sila, aakalain ninyong matagal na silang magkaibigan. Kapag walang klase, lagi silang magkasama. Kung hindi si Arnold ang nasa bahay nina Eddie, si Eddie ang nasa bahay nina Arnold. Tuwang-tuwa naman ang magulang ni Arnold, at higit si Nora, pagkat nakikita niyang maligaya ang kanyang kapatid sa pakikipaglaro sa bagong kaibigan. At alam naman ninyo, ang mahal ng kapatid niyang ito ay mahal din niya. Kami naman ay natutuwa sa pagsasamahan ng dalawang batang ito kung kaya isang araw na naroon kami sa Greenhills residence ni Nora ay naakit kaming kunan ng pictorial ang magkaibigang ito na sa tingin namin ay tunay na sparring partner. – Ric S. Aquino, December 25, 1972, Unknown Entertainment Magazine posted by Arnold Gamboa on his Facebook page.

A Personal Survey – The Top 10 RP Movie Queens – “…Here is the attempt of one cineaste who has seen too many Tagalog films. See if you will agree with the list…1. Vilma Santos (1953-) Longevity is her weapon. To her credit is a mighty record of box-office successes and a stellar collection of film and public service awards. The 80s made her not only the number one film actress of the land. She became the highest-paid actress and constantly in-demand as a product endorser. Hosting-wise, she was phenomenon on TV’s Vilma! Vilma Santos-Recto is a picture of the ultimate movie queen. She is the prime example of an artist who has gone through several re-inventions. Ate Vi’s most important traits are her versatility, he willingness to learn, and her courage to always try something new. Her sincere appreciation of followers and fans also contributed to her status as the Star for All Seasons. Score Card: Longevity: 1960s-2000s, 5 decades; Artistic Achievements: Excellent; Box-office Records: Excellent…” – Rendt Viray, INsider The Entertainment Weekly, 12 December 2007

#OscarSalasar, #Remembrance, #SweetSweetVilma, #Sixteen, #Wilear, #Billboard, #EvaVivar, #BabyAlcaraz, #Geraldine, #JayIlagan, #DSwan, #ErnieGarcia, #JonathanPotenciano, #LindaAlcid, #EddiePeregrina, #BabydeJesus, #Vicor, #EricDimson, #BoyMondragon, #FreddieEsguerra, #SonnyCortez, #MillieMercado, #VictorWood, #PerlaAdea, #TirsoCruzIII, #Villar, #RoggieNieto, #AliceCerrudo, #RaulAragon, #RaquelMontessa, #ElizabethLedesma, #RomyMallari, #EsperanzaFabon, #VilmaSantos, #EdgarMortiz, #EdFinlan, #FAMAS, #fviray2017

Pip and Bobot Left Alone in The Cold

ARTICLES - Pip and Bobot Left Alone in The Cold

Si Vilma, tumambal na kay Jay Ilagan. Si Nora naman, matunog na matunog ang balitang tatambal kay Walter Navarro sa isang pelikula para sa Lea. Added to this, Nora had announced her break-up with Pop “for good.” That means bye-bye na muna, Edgar Mortiz and Tirso Cruz, III. For sure, nagngingitngit na ngayon ang mga fans ng tambalang Vilma-Edgar at Guy-Pip. Aba’y namemeligro nga namang matabunan ang mga pogi nilang idolo sa pagpasok sa eksena ng mga “other guy” sa buhay nina Vilma at Nora. E, ang popogi rin naman ng mga iyon. Nakakakaba talaga di ba? At ba’t din nga naman sila kakabahan, e hayan sila kakabahan, e hayan na nga. Panayan na ang gawa ni Vi ng pelikulang hindi na si Bobot and partner but Jay. Sabi nga ng mga nakakakita, sweet na sweet ang dalawa. Panay ang biruan, laging sila ang magkausap. Paano nga naman kung mahulog nang husto ke Jay ang loob ni Vilma? Kung sabagay, may paunang sabi na si Jay na hinding-hindi niya liligawan si Vi, hindi raw katalo. At lalong hindi raw niya maaaring sirain ang pagtitiwala sa kanya ng pareng Edgar niya. Okey din naman. But that’s not the point. Ke manligaw o hindi si Jay kay Vilma, nariyan na ang katotohanang out muna sa eksena si Bobot, that is kung ang pag-uusapan ay ang kanilang movie team-up. Going back to Nora and Tirso, halos katulad rin ng kina Vi at Bot ang nangyayari sa dalawang ito.

Okey na kay Guy na tumambal siya sa ibang leading man, like Walter halimbawa. Hindi gaya ng dati na kung di rin lang si Pip ang katambal niya’y kalimutan na lang. But after what have happened between him and Nora, ‘yung nakaraang tampuhan nila na naging dahilan tuloy ng pagpapahayag ni Guy na “isasaisang tabi ko muna ang pag-ibig”- we doubt kung hindi makakaapekto kay Pip ang pagpareha ni Guy sa iba. Besides, marami na rin ang nagpapahayag ng boredom concerning the Guy & Pip tandem. They want something really hot about Guy. Kunsabay, napatunayan nang malakas pa rin sa takilya ang mga pelikula nina Nora at Tirso in and out of the Sampaguit umbrella. And that goes for Vilma and Edgar, too. Up to now, they are still considered by their loyal fans as the love team na “subok na matibay, subok na matatag.” Tahimik lang daw ang dalawang ito, walang awayan, nothing controversial whatsoever about them. And they seem to love it. Katwiran nila, mas magiging maligaya ang dalawang ito pag mag-asawa na dahil very compatible daw sa pag-uugali at lahat. So, kuntento na rin sila sa palagiang pagtatambal nina Vi at Bot sa pelikula. Oo’t minsan ay tumambal na si Paolo Romero kay Vi, pero hindi sila nangamba na mawawala siya kay Bobot.

Besides, that particular picture na pinagtambalan nila ay sa ilalim ng Virgo Productions, not under Vilma’s home studio, ang Tagalog-Ilang-Ilang. Pero ngayong ang pagtatambal nga nina Vilma at Jay sa ilalim ng TIIP, ibang usapan na ‘yan. Mangangahulugan daw ba na pinalitan na ng TIIP si Bot para maging ka-love team ni Vi? And how true is it na hindi raw muna nila itatambal si Vi kay Bobot hangga’t hindi nakapagreduce nang husto itong huli? Kasi nga, marami na ang nakakapuna na hindi na bagay si Bobot kay Vi dahil sa kanyang katabaan. Para na raw junior version ni Ike Lozada. Anyway, kahit nga medyo isinama ng loob ng mga fans ang hakbang na ito ng TIIP, they are still hoping na hindi naman magiging napakalupit ng said production para paglayuin na nang tuluyan, o sa ibang sabi’y putulin na, ang tambalang Vilma-Edgar. At iyon din ang ipinananalangin ng mga fans nina Nora at Tirso. Nananalig silang kahit pa sino ang makatambal ni Guy, still sila pa rin ni Pip in reel at real life. Because kapag nga naman ang kabaligtaran ang naganap, Pip and Bobot will be left…all alone in the cold. – Horacio Morelos II, unknown source, circa 1970s

Isang Produksiyon ni Manny de Leon

Nakasalamuha namin si Manny de Leon habang simple siyang nagdiriwang nd kanyang aarawan kamakailan. Hindi pa rin nagbabago. Siya pa rin ang kanyang usual self na lovable galawgaw, mapagbiro, witty. At kung nagkaroon man siya ng pagbabago, ayon sa among obsrbasyon at natukasan, nakagagalak na ibalitang ang tungkol dito ay may malaking conscious at serious si Manny tungo sa ikasusulong ng kanyang career. Sa ibang salit, nagkaroon siya ng higit na matured outlook sa kanyang buhay. Halimbawa’y ang pahayag niya na kung mabibigyan rin siyang makapagsulat sa mga babasahin o masubukan kaya ang kanyang babasahin sa larangan ng pagsusulat sa iba’t ibang medium. Bukod dito, ang napakagandang plano pa rin ang naipagtapt niya. Gumagawa siya ng kaukulang negosasyon upang makapag-produce ng sariling pelikula na magkakasama-sama sinla nina Tirso Cruz III, Edgar Mortiz, at Eddie Peregrina. “Nilalakad ko ngang magkasama-sama kami nina Pop, Bot at Edong sa isna pelikula” pahayag ni Manny. “Wala naman silang tutol nang makausap ko sila tungkol dito. O course, hindi pa final ang iba pang plano, pero palagay ko’y malaki ang posibilidad na magkaroon ng ng katuparan. Kung sakali’y magiging maganda and resulta ng pelikulang ito. Matutuwa nga ang mga fans pagkat lalo silang makatitiyak na nagkakaisa-isa kami nina Bobot, Eddie at Pip. Na wala sa amin iyang jealousy o ang kung ano mang patalbugan.

Sa palagay ko’y hindi magiging problema sa amin ang billing. As far as I am concerned, magpapaubaya ako. Anu’t anuman, mapag-uusapan nang maganda ang tungkol dito. I have already a story in mind. Tentatively, may pamagat itong “Mga Batang Pinoy” (a Pilipino). Lalabas kami bilang mga magkakapatid. Maaring kapatid ko si Pip at sina Edgar at Eddie nmana ang siya namang magkapatid, or the other way around. “May magandang mensahe ang kasaysayan…of course, masasangkapan ito ng drama, musical, action at comdy. Titingnan ko kung magagawa ito sa pamamagitan ng Zodiac Films. Kundi man, sisikapin ko pa rin mai-push thru ito. At kung tuloy na tuloy na nga ito, hihingi kami ng suggestions mula sa mga fanst at iba pang mga kanauukulan kung sino-sino naman ang binabalak nilang itambal sa amin bilang leading ladies. I hope I’m not being too ambitous. Pero, kung maari ga rin sana’y ako ang makapag-direct nito. I’ve got to think big for the future, di ba? At sana’y huwag kaming pababayaan ng fans namin nina Pip, Bobot, at Eddie. At sa pagtuntong ko ngayon sa aking ika-21 taon, sana’y maging greatest gift sa akin na ma-tuloy at magtagumpay ang pelikulang ito.” – Teen Weekly Magazine, 09 September 1973


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There was a time when a fan’s devotion to his or her idol wasn’t measured by how much they’ve spent on all the advertised merchandise made available to the public. Not every fan was able to afford the style of clothes sported by the stars, let alone be able to purchase the latest glossy magazine with their idol’s perfect smile on the cover. It was a time when making a scrapbook was enough to call one a devotee. Chosen photos collected from all sorts of publications were recycled, and carefully pasted on a simple spiral ring notebook. This would be one of many treasured volumes of personalized scrapbooks that would be shared, traded, and admired by other adoring fans. Here’s a look at an original late 60’s scrapbook made by a Vilma Santos fan. Many thanks to our good friend Edward De Los Santos for sharing scans of this amazing Vilma Santos scrapbook. For the best source of classic records, vintage magazines, and other amazing vintage collectibles, visit his Ebay stores: (Ebay Philippines), and oldbestseller (Ebay USA). – Nostalgia Manila web-site (READ MORE)

Vilma Santos-Edgar Mortiz Love Team Circa 1970
Edgar Loves Vilma
IMDB: Edgar Mortiz
Vilma Santos From Wikipedia
Edgar Mortiz From Wikipedia
Vilma Santos-Edgar Mortiz Love Team Circa 1970
The Sweet Voice of Vilma Santos
Vilma Santos’ Sixteen Interview
Discography: Sixteen (1970)
If Vilma comes, can Edgar be far behind?
Love Letters thief
Vi and Bot Photo Album
Ang Makulay na Buhay-Pag-ibig ni Rosa Vilma Santos
Vi And Bot – Sweet Sixteen
Remembering Vilma’s 18th Birthday
Top 10 Leading Men
Love Letters (1970)
Vilma and Edgar Duet (Video)
Sixteen – Vilma Santos (Video)
CLIPS – Sixteen (Video)


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For Film Review: Dekada ’70 2/2 CLICK HERE

“Buong buhay ko yan na lang lagi ang sinasabi nila sa akin…wala kang magagawa eto ang gusto ng asawa mo…wala kang magagawa eto ang kapalaran mo…wala kang magagaw dahil dapat…putris naman, dapat hindi ganuo…tapos sasabihin ng daddy n’yo hindi lang ang anak ko ang pinatay hindi lang ang anak ko ang dinukot…lalo akong nanggigigil, lalo akong nagagalit dahil kung nanay ka talaga, hindi ka lang dapat nanganganak kundi naiapaglaban mo rin ang anak mo dapat kaya mong pumatay para sa anak mo…gusto ko lang malaman bakit nila pinatay ang anak ko…hindi masamang tao ang anak ko, kahit sa oras na ito humarap ako sa diyos kahit sa dimonyo hindi masamang tao ang anak ko…hindi masamang tao ang anak ko!” – Amanda Bartolome

“You could stop being proud of me! Nagsawa na ako sa ganuon, gusto ko naman ngayon ako mismo just for a change, maging proud sa sarili ko!” – Amanda Bartolome

The Plot

Dekada 70 is a story of a family caught in the midst of a tumultuous time in Philippine history – the martial law years. Amanda (Vilma Santos) and Julian (Christopher Deleon) is a picture of a middle class couple with conservative ideologies, who must deal with raising their children, five boys – Jules (Piolo Pascual), Isagani (Carlos Agassi), Emmanuel (Marvin Agustin), Jason (Danilo Barrios) and Bingo (John Sace) in an era marked by passion, fear, unrest and social chaos. As siblings struggle to accept the differences of their ideologies, as a father faces the painful dissent of his children, a mother’s love will prove to be the most resonant in the unfolding of this family’s tale, will awaken to the needs of her own self, as she embarks on a journey of discovery to realize who she is as a wife, amother, a woman and a Filipino. – Star Cinema

Dekada ’70 (English: 70s Decade) is a 2002 Filipino drama film released based on a book called Dekada ’70 written by Filipino author, Lualhati Bautista. The film tells the story of the life of a middle-class Filipino family who, over the space of a decade, become aware of the political policies that have ultimately led to repression and a state of Martial law in the Philippines. Filipina actress Vilma Santos stars as Amanda, who realizes the implications of living within a dictatorship after sorting out the contradictory reactions of her husband and five sons. Her husband (Julian), played by Filipino actor, Christopher de Leon, supports his eldest son’s (Jules), played by Filipino actor, Piolo Pascual; efforts to rail against the government while refusing to follow Amanda’s wish to find a job. Her second son (Gani), played by Filipino actor, Carlos Agassi, is in the United States Navy. Her third son (Eman), played by Filipino actor, Marvin Augustin, writes illegal political exposes. The fourth son (Jason), played by Filipino actor, Danilo Barrios fell victim to a corrupt police department, and her youngest son named (Bingo), played by Filipino actor, John W. Sace, is still a boy. – Wikepedia (READ MORE).

The Reviews

“…At the center of the film and the family is Amanda (Filipino cinematic diva Vilma Santos) who vicariously experiences living under a dictatorship through her husband and five sons’ different reactions before coming into her own as a person. Her husband, Julian (Christopher De Leon), seems a walking contradiction: He offers rationalizations for the government while supporting his eldest son’s revolutionary activities, but has a fit when his wife wants to get a job. As for the sons, firstborn son (Piolo Pascual) joins the guerillas in the mountains. The second son (Carlos Agassi), forced into a shotgun wedding, defiantly works for the American Navy. The third son (Marvin Augustin) writes journalistic exposes he can’t publish, while the fourth son (Danilo Barrios) is a mystery to his family until his brutal, motiveless murder (probably by police) reveals a lost girlfriend. The fifth son (John W. Sace) is still a boy. Santos’ Amanda effortlessly and movingly chronicles the changed consciousness of the family and the country, with understatement her most reliable tool. Pic begins and ends with images of Santos at the forefront of a political demonstration, and nothing, from first image to last, for 128 minutes, is allowed to spontaneously or slyly deviate from the logic of her consciousness-raising.” – Ronnie Scheib, Variety Magazine (READ MORE)

“Last seen in ANAK (SFIAAFF ‘01), Vilma Santos delivers an understated, profoundly moving performance as the matriarch whose awakening redefines the traditional mother and wife role she donned for years. This is the story of an incredible character that survived an unforgettable decade.” – Michael Magnaye, The 22nd San Fransisco Asian-American Film Festival, 2004 (READ MORE)

“…Rono and Bautista, who writes her own adaptation, have obviously worked very closely in fleshing out the novel on screen. The result is an effective and even subtle tableau of scenes to present the Bartolome family’s struggles from the late ‘60s to ‘70s that not only set the domestic drama, but also prefigure the wider social and historical saga unfolding before the nation. No scene is wasted, no useless pandering to the viewer’s sense of spectacle or penchant for soap opera is even attempted. The competent production design, the agile editing, the stark photography (which impresses even the Paris-based Filipino-Spanish painter Sanso who calls it comparative to the best in Europe) ensures a panoply of images that is immediate, recognizable, and keen. Like Regal Films, Star Cinema has been compelled to throw in its stable of stars so that the Bartolome siblings look distractingly too much like a boy band. But because they play well-thought-out characters, their damage is put to a minimum. In some cases, like Piolo Pascual as Jules, the young communist rebel, the effect is heart-wrenching. Pascual plays, along with Vilma Santos as Amanda, one of the centers of gravity of the movie; the other center consists of Santos and Christopher de Leon. As arguably the first unabashedly feminist Filipino novel, “Dekada” shows a woman’s awakening to her nature and gender through the men of her life-her husband and her first born. Their age, generation and preoccupation divide both men, and Amanda serves as their bridge and transition. In the process, Amanda herself is transformed. She becomes herself. The most moving scenes of the movie are of Jules and Amanda meeting on the sly and forced to carry on mother-and-son endearments hurriedly because of the threat of arrest. But the most poignant scene is Julian and Amanda confronted with the terrible loneliness of their advanced years, left by their children, he turning away from her to hide his tears, and she asking him to face her and not to be ashamed. It helps that the scene is played by Santos and De Leon, truly one of Filipino cinema’s most effective screen couples. As Amanda, Vilma Santos shows again why Brocka, before he died, had likened her to water. “She can register anything,” he said. In “Dekada”, its the same Santos of vigor and transparency. The only difference is the depth, the resonance, and the greater confidence. Can she ever go wrong?” – Lito B. Zulueta, Philippine Daily Inquirer, 30 December 2002 (READ MORE)

“…Ang Dekada ’70 ay isang mahusay na adaptasyon sa pelikula ng nobela nitong may parehong titulo. Napanatili ang kaluluwa ng nobela sa pelikula sa kabila ng limitasyon ng pelikula bilang isang audio-visual na medium. Marahil, nakatulong ng malaki ang pagkakaroon ng iisang manunulat lamang. Naging maayos ang takbo ng pelikula na tulad sa nobela nitong nahati sa mga taon ng dekada ’70. Mahusay ang pagkakaganap ng mga pangunahing tauhan (maliban kay Carlos Agassi) na nakapagbigay hininga sa mga tauhang noo’y nababasa lamang. Naibalik ng pelikula ang larawan ng dekada ’70 sa mga eksena nitong nagpapakita ng mga demonstrasyon, protesta at rallies na tunay na nangyari noong panahon na iyon. Ang musika at tunog ay madalas na akma at nagpapaigting sa emosyong nais ipahatid ng pelikula. Naging mahina lamang ang disenyong pamproduksiyon ng pelikula na hindi naging masusi sa make-up, at kasuotan ng mga tauhan sa pawang hindi parating umaangkop sa panahon…” – Catholic Initiative for Enlightened Movie Association (READ MORE)

“…Dekada 70 journeys with the central character Amanda Bartolome (Vilma Santos), the reticent wife of an alpha-male husband, and the worrying mother of a boisterous all-male brood. Thoroughly relegated to domesticity in a world slathered in testosterone, Amanda begins to undergo a transformation when her family becomes imbricated in the sociopolitical realities brought about by the Marcos dictatorship. The declaration of Martial Law, the lifting of the writ of habeas corpus, the curfews and police searches, all these could have easily floated past Amanda’s head had her sons not found themselves caught in the crossfire between the government and the pro-democracy movements. As one son after another faces the oppressive forces of the dictatorship, Amanda gradually realizes that the personal is political. While chanting slogans for sociopolitical change, she finds her own voice and comes to terms with the fullness of her own person…There are touches of seventies style Filipino humor that foreign audiences might miss; they effectively establish that this is a real, average Filipino family trying to navigate through the eye of the political storm. The acting is generally impressive, most especially that of lead actress Santos, who gives a luminous, sensitive performance. Santos essays the transformation of Amanda so effectively that we do see clearly at the end of the film that there has been a fundamental change in her character. If there is something to be faulted about the film, it is Roňo’s failure to keep melodramatic moments in check. The funeral sequence of one of Amanda’s sons, for instance, becomes an over-extended session of copious tears. The rich story material of Dekada 70 could do away with such “in your face” paroxysms, which only work to dull the film’s cutting edge political trajectory. Nonetheless, it cannot be denied that Roňo had created a noteworthy, epic-scale Filipino film, and on a Third World budget at that. It also cannot be denied that Roňo had not forgotten the sentence of history on his home country…” – Antonio D. Sison, Insititute for Pastoral Initiatives University of Dayton (READ MORE)

“…about Vilma’s performance in “Dekada ‘70”: Some jurors, viewers and reviewers have expressed dissappointment over it because they regard it as too passive, low-key, unemotional, too much taken up with observation, and reflection instead of action. Thus, it doesn’t deserve the best actress award. We disagree. We think that, precisely because Vilma’s portrayal was so restrained for the most part, it was more difficult to achieve. It’s far easier to rant and rave, to “feel” bigtime, to run the gamut of emotions from A to Z- but, if Vilma did that, she would have gone against her character’s nature, as written…during the first half of the film, Vilma’s character occasionally felt unhappy, taken for granted or unappreciated as a person, but she held her emotions in check to keep the peace in the family. It was only later, when the national trauma of martial law rule affected her sons in various tragic ways, that she found the voice and rediscovered the heart to assert herself as a person and to give her emotions full play. We submit that Vilma’s portrayal is excellent precisely because she vivified he character as the wife and mother was in the ‘70s. Her thematic and emotional high points towards the end of the film rivetting, but it was her quieter, more controlled moments that showcased Vilma’s true gift as an actress. During those moments, Vilma didn’t just observe what was going on, she was constantly conflicted only, she had been programmed not to speak out because it wasn’t her “place”. Thus, when she finally changes and expresses herself in the end, the contrast makes her transformation all the more stunning. In the movie’s first half, Vilma is such a good actress that, although she may not be the active element in her family (her husband is), she is quietly involved in each and every scene, and every new development is seen from her point of view. Even better, despite her relative lack of dialogue at this point, we can “read” her thoughts on her face as clearly as though she were speaking. And we see her slowly changing before our very eyes, gradually overcoming her reticence, discovering her true worth, and finally finding and expressing her true self. This is very difficult to do, as any true thespian will affirm. Which is why, unlike some people who dismiss Vilma’s portrayal as passive and weak, we think it ranks among her best, right up there with her performances in and fully deserving of the filmfest’s coveted best actress trophy.” – Nestor Torre, Philippine Daily Inquirer (READ MORE)

“…The reason “Sister Stella L” will probably end up better appreciated is that the movie was shown during the martial law era. The movie was relevant to the times and Vilma was portraying an activist nun, a role not usually associated with the Star for all Seasons… As the mother, Vilma does justice to her character, holding back her strong emotions until the end, when she finally confronts Christopher de Leon and wants to break up with him. Despite the many tragic events that befall her character, Vilma chooses to underplay her role except at key points towards the end of the movie. Boyet is his usual competent self as the chauvinistic husband of Vilma who is forced to change when his wife breaks out of her shell. Piolo Pascual also deserves mention for his realistic portrayal of the activist turned NPA rebel…” – Edmund L. Sicam, Philippine Daily Inquirer (READ MORE)

“…Unlike Vilma Santos’ Sister Stella L. character, who becomes politicized practically overnight, her Amanda role in “Dekada ‘70” takes longer to mature politically (almost the whole decade). And she goes through a very painful process because she experiences the abuses of the marcos regime by seeing her own children suffer. With Vilma hurting inside and suffering almost in silence, we have here in “Dekada ‘70” some very moving dramatic scenes that are mostly devoid of hysterics but are still very effective nonetheless. Actually, we see yet another facet of Vilma Santos’ acting talent in this film. In the story, she goes through guilt (with the fate of one of her sons), pain, anguish and anxiety (particularly with the eldest, Piolo)-plus discontent as a plain housewife who wants to do something more with her life other than to keep house for her husband and kids. The great actress that she is, Vilma is able to manifest clearly the different layers of her character in a very quiet manner, which-you have to admit-is quite difficult to achieve. But Vilma-after all these decades -can do no wrong anymore in the field of acting. Although it’s not the greatest performance of her career (it’s still Sister Stella L), her portrayal of Amanda in “Dekada ‘70” is no doubt one of her finest. More importantly, her role (and her approach to it) is different from the hundreds of other roles she has done in the past…” – Butch Francisco, The Philippine Star (READ MORE)

“…Santos’ performance is so vivid and insightful that we can see her changing in front of our very eyes… We were enthralled…we were moved. And we valued the film’s important contribution to the very urgent task of reminding everyone of the trauma in our collective lives that was the martial law period of the ’70s,” noted Nestor Torre of Inquirer News Service. Chito Rono’s Dekada ‘70 made its world premier at the Asian American International Film Festival in June of 2003. The film has also won numerous domestic awards. The Young Critics Circle voted Dekada ‘70 Best Film of the Year (2002), Best Screenplay, Best Sound and Best Performance in a tie between actress Vilma Santos (Amanda) and Piolo Pascual (Amanda’s eldest son). The Best Film of the Year award is reserved for the director, such that no separate prize for direction is needed. The Best Performance award is the most coveted as it is conferred on the performer whether male or female, adult or child, individual or ensemble in leading or supporting role. Vilma Santos also received an award for Best Actress from Star Awards for Movies, Film Academy of The Philippines, and Gawad Urian Awards. Piolo Pascual also received an award for Best Supporting Actor from the Young Critics Film Circle, Metro Manila Film Festival, Star Awards for Movies, Film Academy of the Philippines, FAMAS Awards, and Gawad Urian Awards. The Gawad Urian Awards also presented Dekada ’70 with the award for Best Screenplay…” – Sara Stokoe, Asia Pacific Arts (READ MORE)

“…In Chito S. Roño’s superb “Dekada ’70,” a family in the Marcos-era Philippines has a domineering father and five sons, but it is the mother (Vilma Santos) who provides the mental stamina. She fights for her family in ways the father can’t even dream of. “To give birth to these children isn’t enough,” she says. “You have to defend them, protect them.” That’s the ’70s. In 30 years, that kind of woman will deal with difficult questions of divorce and motherhood, one in which women want freedom, yet must be willing to share blame when something goes wrong. The young woman who leaves her husband and thinks about aborting her pregnancy in South Korean filmmaker Gina Kim’s “Invisible Light” is an experimental example. Moon’s great performance in “A Good Lawyer’s Wife” almost makes you believe wrong is right, and, taken with her much-lauded portrayal of a girl with cerebral palsy in “Oasis,” reveals her as one of the world’s best actresses. Hollywood, take note. – No stereotypes of Asians here…” – G. Allen Johnson, Festival Celebrates Real Women, San Francisco Chronicle March 4, 2004 (READ MORE)

“…The young actors that were cast in Dekada ’70 were all guilty of doing too much “acting”. I don’t think actors should be acting-out, or (in this case) over-acting, unless they were filming a farce, or a comedic parody. Inexcusable mediocre performances plagued every scene. Instead of ensuring the characters were having a real conversation (real interaction), it seemed as though they were merely spitting out lines which they had memorized word-for-word, the delivery, inflections, and pauses unnatural. People don’t talk to each other like this in real life now, do they? Of course not. It is sometimes possible for a younger actor to deliver a satisfactory performance though the guiding hand of an experienced veteran. This of course is quite rare, as it calls for a unique, uncalculated, natural chemistry that can never be faked. Award winning greats like Vilma Santos and Christopher De Leon should never be subjected to work with a group of inexperienced pretty faces who are incapable of displaying a sense of depth and sophistication. Proof that casting makes for a vital element that determines the success of a film…” – Edwin Manalo (READ MORE)

“…The characters of brothers Jules (Piolo Pascual) and Eman (Marvin Augustin) share similar anti-Marcos perspectives in the movie. A movie that attempts to add a more familiar and human touch to a real event isn’t without its melodrama. The overt use of music to drive emotion home and unnecessarily lengthy shots distract a bit from what otherwise could have been short and sweet takes of awesome performances. The pace of the film seems to slow down mid-way through the film. Yet these faults are minute enough that they probably didn’t even deserve a mention…This movie makes for a satisfying introduction to this decade in Philippine history. I shouldn’t forget to mention how faithful the movie remains to the styles of dress, the models of cars, and the music of the time to strongly present the age and era the movie takes place. Most importantly Dekada ’70 presents to us the emotional aspect, an aspect you cannot obtain through school textbooks, snapshots, and soundbites of Martial Law under Marcos. This is communicated successfully through its collection of talents seen through the eye of a veteran director…” – Pinoy Movie Reviews (READ MORE)

“…Dekada ’70 tells of how under hate, greed and corruption, one normal person transcends beyond right and wrong: instead learns that it is freedom that entails survival. Set in the 70′s, urban Metro Manila, Amanda Bartolome is a middle-class mother of five young men. Amanda acts as a supposed symbolism of detachment. First of all, she was a mother, a housewife; such were not considered integral parts of society during those times. She was not the breadwinner; she did not experience the foremost effects of the decline of the Philippines economy back then. She was a member of the middle class; her family did not take money, like the rich, nor did her family suffer the worst of the financial crises, like the poor. The lives of Amanda’s children each went in different directions in the story, and each varied. Her eldest son was Jules. Jules grew up normally, similar to every other ideal family. His upbringing was that of what ideally conformed to normal standards and circumstances. Being the eldest, however, Jules lived, and more importantly, matured through the shock caused by the declaration of President Marcos’ martial law. Thus, Jules lived his adolescence exposed to rebellious reading material, and inevitably molded his mind into that of guerilla. Jules grew up to become a member of the communist New People’s Army, and his evolution came full circle…” – Dekada 70, A Book Review (READ MORE)

“…For ten consecutive years from 1995 to 2004, the Philippines submitted films for consideration for the Best Foreign Language Film category of the Oscar Awards. But up to this point of film history, we remain in the list of countries who has never won nor nominated for this award…The next year 2003, the country’s entry was Dekada ’70, directed by Chito S. Rono based on the novel Dekada ’70 of Lualhati Bautista. It tells the story of a middle-class Filipino couple (Christopher de Leon and Vilma Santos) and their five sons during a tumultuous decade of the martial law regime. The sons were played by Piolo Pascual, Carlos Agassi, Marvin Agustin, Daniel Barrios and John Wayne Sace…” – FAP (READ MORE)

Fernando Poe Jr.’s “Lawin” (hawk) failed to soar high at the box office after Ramon “Bong” Revilla Jr.’s “Agimat” (amulet) proved to be more powerful. Working wonders at the tills, “Agimat ni lolo,” Revilla’s action-fantasy-adventure movie was the top grossing film on the first day of the festival last Wednesday, edging out Poe’s “Alamat ng Lawin,” from top slot. Caloocan Mayor Rey Malonzo, chair of the MMFF executive committee, refused to divulge the box-office figures because “that was the request of the other producers.” An MMFF insider, however, disclosed that “Agimat” earned P14 million gross on the day it opened. Imus Productions bankrolled “Agimat.” As early as yesterday noon, Revilla said he was told that “Agimat” was already leading in the box office race. A number of theaters opened as early as 9 a.m.yesterday, making it easy to determine the results after only the first screening. Revilla outshone even comedy king Dolphy’s “Home Along da Riles,” which ranked only third. Regal Entertainment’s “Mano Po,” which boasts a powerhouse cast and Joel Lamangan at the helm, came in fourth. Star Cinema’s period opus, “Dekada ’70,” directed by Chito Rono and top billed by drama royalty Vilma Santos and Christopher de Leon, was fifth. The epic tale of Filipino hero “Lapu-Lapu,” with Pampanga Governor Lito Lapid in the lead, took the sixth place, and Reflection Films’ “Hula Mo, Huli Ko,” starring Rudy Fernandez and Rufa Mae Quinto, came in seventh in the box-office race. But the box-office tallies might still change after tonight’s “Gabi ng Parangal,” when the MMFF hands out the awards to this festival’s best films. Two more entries – OctoArts Films’ “Lastikman” starring Vic Sotto and Regal Film”s “Spirit Warriors 2: Short-cut” -will be shown starting Jan 1. The filmfest will run until Jan 10. – Leah Salterio Philippine Daily Inquirer, Dec 27 2002 (READ MORE)

This year’s Metro Manila Film Festival (MMFF) sports a new name, but its trademark controversial image and reputation remain the same. The 28th MMFF has included a “P” in its official name. The “P” which stands for Philippines, means the entries in the festival can now be seen nationwide. The cast of “Dekada ’70” staged a walkout. A special effects awardee returned his trophy. A film that failed to make it to the filmfest’s top seven won thrid best picture. These and other inconsistencies were the “highlights” of this year’s “Gabi ng Parangal” awards ceremony last Friday. Piolo was “Dekada ’70’s” biggest winner as best supporting actor for his compelling portrayal of a tortured rebel leader in Chito Rono’s period drama. John Wayne Sace, who plays Pascual’s brother Bingo, bagged the best supporting child actor award. “Dekada ’70” also bagged the second best child actor award. “Dekada ’70” also bagged the second best picture award. Regal Films’ “Mano Po” romped off with the most number of awards, including the best actress plum that went to Ara Mina, who best-ed the veteran “Dekada ’70” star Vilma Santos. Eddie Garcia was adjudged best festival actor, while Joel Lamangan was named this year’s best director. Kris Aquino won best supporting actress also for “Mano Po.” Regal Films matriarch Lily Monteverde thanked the filmfest committee in Aquino’s behalf. Mother Lily has two more reasons to say “Chi chien” after “Mano Po” won best picture and best original story for writer Roy Iglesias. Iglesias also won the best screenplay citations for “Mano Po.” Resty Garchitorena and Tara Limberger took home the best cinematography and best film editor awards, again for “Mano Po.” The cross-cultural drama, which even partly filmed in Beijing, China, bagged a toral of 12 awards that night. Bong de Guzman snatched the best musical score trophy from such veteran composers as Louie Ocampo, Nonong Buencamino, Jimmy Fabregas and Elmer Sayson.

Best festival production design trophy was awarded to Tatus Aldana for his spectacular work on “Mano Po.” The biggest surprise came when Chito Rono’s “Spirit Warriors 2: Shortcut.” won third best picture. The award came as a surprise even to its director Chito Rono, who upon hearing the news, commented that “the award only proved how good the movie is.” “Spirit Warrior 2” snatched the festival’s two most important technical awards – best make-up for Warren Munar and best visual effects for Dodge Ledesma and Road Runner Productions. Unlike “Alamat” and “Lastikman” which didn’t get any award, Reflectin Films’ “Hula Mo, Huli Ko” and RVQ Productions’ “Home Alone da Riles” each won an award. RVQ Productions’ “Nasaan Ka” was heralded as this year’s best theme song, while Caloy de Leon won the best sound recording plum for his work on “Hula Mo.” De Leon, however, returned the award later that night. “I want the jurors to explain to me how can a film dubbed in mono like “Hula Mo” win over other films dubbed in Dolby digital,” he said. Imus Productions’ spectacular “Agimat” float took home P75,000 after bagging the best festival float award. Noticeably absent during the awards night were “Alamat ng Lawin” lead star Fernando Poe Jr., his leading lady Ina Raymundo, and the entire cast of “Lastikman,” led by comedian-producer Vic Sotto. Poe’s long-time aide, Amay Bisaya, said the action king chose not to attend the ceremony to “avoid intrigues and politicking.” – Marinel R. Cruz Philippine Daily Ingquirer, Dec 29 2002 (READ MORE)


Filmography: Young Love (1970)

“I hate you…dirty…you’re dirty! I hate youuuu!…huwag n’yo nang mabangit-bangit ang pangalan nyan! Kinasusuklaman ko siya!..ngayon ko lang nakita ang kapangitan ng buhay ang akala ko masaya’t maganda na ang daigdig…” – Tere

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Basic Information: Directed: Tony Cayado; Story: German Moreno; Screenplay: Medy Tarnate; Cast: Vilma Santos, Nora Aunor, Tirso Cruz III, Edgar Mortiz, Ike Lozada, German Moreno, Raul Aragon, Bella Flores, Etang Discher, Tony Cayado, Evelyn Bonifacio, Tina Lapuz, Arlene Bautista, Angge; Executive producer: Jose Vera Perez; Original Music: Medy Tarnate; Cinematography: Felipe Santiago; Sound: Flaviano Villareal; Theme Songs: “Young Love” performed by Vilma Santos, Nora Aunor, Tirso Cruz III, Edgar Mortiz; Film poster: Video48

Plot Description: Both Nora Aunor and Tirso Cruz III joined a singing contest and won. With a support from friends, Vilma Santos and Edgar Mortiz they became lovers. – RV

Film Achievement: First film of Vilma Santos and Nora Aunor together.

Film Review: Taong 1970. Gumawa si Vilma Santos ng dalawamput isang pelikula na puro musicals. Isa lamang ang nagawa niyang drama (Sapagkat Sila’y Aming Mga Anak). Nakakapagtaka dahil hindi naman siya singer. Marahil ito ay dahil sa love team nila ni Edgar Mortiz at ito ang “trend” ng panahong ito. Pito-pito kung gumawa sila ng pelikula ng panahong iyon kung baga dalawang pelikula ang pinapalabas nila sa loob ng isang buwan. Isa na rito ang pelikula ng Sampaguita Pictures, ang “Young Love” na tinampukan ni Nora Aunor, Tirso Cruz III, Vilma Santos at Edgar Mortiz.

Mapupuna na ang pelikulang ito ay bida si Nora at Tirso at supporting lamang si Vilma at Edgar. Mula sa istorya ni German Moreno at screenplay ni Medy Tarnate ang “Young Love” ay puno ng nakakalokang sitwasyon at napakababaw ng mga eksena at diyalogo. Ang director nito’y si Tony Cayado. At ang mga sayaw ay sa ilalim ng choreography ni Lito Calzado. Hindi natin alam kung bakit tinawag na “Young Love” ang pelikula samantalang hindi naman ito tungkol sa pag-iibigan ng mga kabataan rito kundi tungkol sa singing contest na sinalihan nina Ditas Aunor (Nora Aunor) at Joey Cruz (Tirso Cruz III). Naging tabla ang resulta ng singing contest at ginawa silang mga mainstay singers ng television show. Matapos ng contest ay makikitang naghahabulan na si Ditas at Joey sa may mga puno ng niyog at makikitang nagliligawan rin sina Tere (Vilma Santos) at Buboy (Edgar Mortiz) sabay kanta ang apat ng “Young Love.”

Sa tutoo lang, ito lang ang eksena kung saan maririnig na kumakanta rin si Vilma at nakipagsabayan siya kay Nora. Sa tuwing papasok sa eksena si Bella Flores ay tili ito ng tili at laging sinisigawan si Ditas which was very typical ng mga contrabida nuong panahong ito and very irritating. Narito rin si Etang Discher na isang ulyanin na lola ni Tirso at Vilma. Pilit nitong pinapapunta si Tirso sa Australia pero laging niloloko nito ang matanda at sinasabing natapos na pala ang isang taon at nakabalik na raw ito mula Australia. Tapos nito’y makikita si Ike Lozada na kumakanta sa harap ng mga batang lansangan.

Samantala si Bella Flores ay nakipagayos kay Tom Junes (Raul Aragon) upang sabotahin mismo nito ang show ng kanyang sariling pamangkin. Makikita ang nakakalokang sex scene ng dalawa. At ang sumunod na eksena ay ang drama scene ni Ate Vi. Dahil marahil sa walang eksena si Ate Vi na kumakanta ay binigyan siya ng sariling eksena at katapat ito ng maraming eksena ni Nora na kumakanta. Ito ay nang mahuli ni Ate Vi niya si Tom Junes at Bella Flores na nagse-sex. Takbo ito habang umiiyak. Makikita na dumating ito sa sariling bahay at sa kuwarto nito’y pinagsisira niya ang pictures ni Tom Junes kasama ng album nito. Devoted fan pala siya ni Tom Junes. Cut! Tapos na ang eksena ni Ate Vi. Pasok ang mga musical numbers, kanta ng ilang beses si Nora, Tirso, Edgar and Ike Lozada. Meron ding dance numbers, pero wala si Ate Vi sa mga dance numbers na ito. And then it’s the end. Napapakamot ako sa ulo.

Nakakaloka talaga. Makikitang hindi pinag-isipan ang istorya nito. Ginawa nilang i-showcase ang pagiging singer ni Nora Aunor. Kadalasan ang mga kanta niya ay mga version ng mga English popular cover songs at hindi original Filipino songs. Tulad ng “I Believe” at marami pang iba. Kung tutuusin ito ang trend nuon, ang mga kantang galing sa amerika. So much of the fact that lahat ng mga drum beaters ni Nora ay sinisigaw ang kanyang pagiging isang ulirang Filipina dahil sa kanyang pisikal na itsura. Pero mukha ka ngang dalagang Filipina pero pagbuka naman ng bunganga mo eh lumalabas mga kantang banyaga anong klaseng dalagang Filipina yan? Sa sobrang inpluensiya ng mga banyagang kanta ng kalagitnaan ng dekada 70 ay nagkaroon ng rebelyon sa ere ng mga radyo.

Nauso ang Original Pilipino Music o OPM bilang sagot sa musikang dayuhan. Sumulpot ang mga musikerong Juan DeLaCruz, Hotdog, Cinderella, VST & Co., Sampaguita, Freddy Aguilar, Coritha, Mike Hanopol, at marami pang iba na ang mga kanta ay tagalog at pawang komposisyon ng mga Pilipino. Ang mga kanta ni Nora ay puro mga English kontradiksyon ng mga sinisigaw ng fans niya na isang imahen ng Filipino si Nora. Kung ang itsura man niya ay pilipinang-pilipina ang mga kinakanta naman niya ay – puro kanta ng dayuhan. Ito rin ang dahilan kung bakit wala siyang masasabing signature song dahil puro version niya lamang ang mga kantang ni-record ng panahong iyon. Samatala si Vilma Santos na hindi singer ay nagkaroon ng kanyang sariling signature songs bagamat English ang mga lyrics ng mga ito, original Filipino composition naman ang mga ito tulad ng “Bobby Bobby Bobby” at “Sixteen.” Kasabay nito’y ni-record din niya ang mga tagalog songs na “Isipin Mong bastat mahal kita,” “Bato sa buhangin,” at “Palong-palo.” Nang kalagitanaan ng dekada 70 ay kapunapuna na kaunti na lamang ang mga pelikulang kantahan at hindi na kumikita ang mga ito kung kaya mapupuna na nag-umpisa nang gumawa ng matitinong pelikula kapwa sina Nora Aunor at Vilma Santos.

Ang “Young Love” ay isang halimbawa ng pelikulang gawa ng unang bahagi ng dekada 70. Mabilisang gawa. Mababaw ng istorya at hitik ng mga musical numbers. Mayroon mga nakakatawang eksena tulad ng pagkanta sa mga burulan ng patay basta magkaroon lang ng eksena ng kantahan. Tutoo ito, may mga eksena na nagkakantahan sa ilalim ng punong kahoy. Mga sayawan, habulan, at ligawan sa mga beach at kahuyan. Nag-click ito sa mga tao nang unang bahagi ng dekada sitentat ngunit sinawaan rin ang mga tao at nang dumating na ang huling bahagi ng dekada ay nagbago ito. Dito dumating ang panahon na nagbago na ang imahen ni Vilma Santos at nag-umpisa na itong ungusan ang walang kawawaang pagkanta ni Nora sa mga basurang pelikula niya.

Ang “Young Love” ay puno ng walang kawawaang musical numbers ni Nora Aunor. Puno rin ito ng mga eksenang nakakaloka na kahit na ang batang paslit ay magkakamot ng ulo at sasabihin ang “huh?” Kung hindi mo hahahanapin ang matinong istorya at ang hangad mo lang ay makita kung gaano kagaling kumanta si Nora Aunor kahit pa sa burulan ng patay tiyak na mage-enjoy ka sa pelikulang ito dahil maraming eksena rito si Nora na kumakanta ng walang kawawaang kantang dayuhan. – RV, V Magazine 2007

“…Ipinanganak nga marahil si Ma. Rosa Vilma Tuazon Santos sa show business dahil sa pagitan ng taping ng “Larawan..” ay nagkasunod-sunod na ang kanyang mga pelikula…“My Darling Eddie” ng JBC (Disyembre 16 – 23, 1969, “Mardy” ng JBC (Disyembre 31 – Enero 6, 1969)…hanggang “Young Love” ng VP Enero 1 – 21, 1970) ng lumikha ng rekord sa takilya….Makalipas ang mga tatlong buwan, nakatanggap ng maikling sulat si Mama Santos muka lay G. Agra. Naghahanap ang Sampaguita Picutures ng batang babae na gaganap ng mahalagang papel sa “Anak, Ang Iyong Ina!” at isinali ng amain ang pangalan ni Vi. Hindi puwedeng lumiban si Papa Santos sa pinpasukang government office, at ayaw naman nilang mapahiya ang kamag-anak, kaya napilitan si Mama Santos na humingi ng day=off sa opisina (Aguinaldo’s). Pagdating sa studio, wala si G. Agra at nasa location shooting, ngunit totoong naroroon ang pangalan ni Vi, kaya’t pinapasok sila sa tanggapan. Napadaan sa harapan ni Mama Santos si Bella Flores na dala ang script ng “Trudis Liit.” Nagulumihanan si Mama Santos. Binasa niyang muli ang liham ni G. Agra. Mali yata ang napuntahan nila! Akma niyang tatawagin si Vi na noon ay nkikipaglaro sa iba pang mga bata upang yayain na itong umuwi, nang pumasok sina Mommy Vera, Dr. at Mrs. Perez, at Eddie Garcia. At doon nagsimula ang movie career ni Vi na magpahanggang ngayon ay batbat pa rin ng iba’t ibang panunuri, opinyon at konklusiyon…” – Ched P. Gonzales (READ MORE)

“…The loveteam of Edgar Mortiz and Vilma Santos endured a stiff competition from teeny bopper love team of Nora Aunor and Tirso Cruz III and came up with equal success with string of hit films during the musical era of the 70s. Together they did forgettable but commercial hits and also some hints of the years to come to Vilma Santos’ long career. The most notable one: Dama De Noche. Total Number of films with Vilma Santos – 25 (Young Love, Teenage Jamboree, Songs and Lovers, Renee Rose, My Pledge of Love, Mga Batang Bangketa, Love Is for the Two of Us, I Love You Honey, From the Bottom of My Heart, Baby Vi, Love Letters, The Wonderful World of Music, The Sensations, The Young Idols, Sweethearts, Sixteen, Leron-Leron Sinta, Edgar Love Vilma, Don’t Ever Say Goodbye, Dama de Noche, Anak ng Aswang, Because You Are Mine, Kampanerang Kuba, Kasalanan Kaya, Karugtong ang Kahapon…” – RV (READ MORE)

“…By late 1969, movie producers had been tapping a Vilma Santos-Edgar Mortiz love team. Edgar was a Tawag ng Tanghalan winner. They started to be together in the movies, My Darling Eddie (1969) and The Jukebox King (1969)…In 1970, the love team of Vilma Santos and Edgar “Bobot” Mortiz was officially launched in the movie Young Love, together with the another popular love team during that time, Nora Aunor and Tirso Cruz III. The Vi and Bot love team went on to do 14 more movies in 1970—The Young Idols, Songs and Lovers, Sweethearts, Sixteen, Love Letters, Love is for the Two of Us, Mga Batang Bangketa, My Pledge of Love, Renee Rose, Baby Vi, Because You Are Mine, Edgar Loves Vilma, From the Bottom of My Heart, and I Love You Honey. All did well at the box-office…” – Rommel R. Llanes (READ MORE)

“…Walang makapaniwala na magiging gayon kalakas takilya sina Nora at Tirso. Nagimbal ang mga taga-pelikula. Bakit daw gayon kalaki ang kinikita ng unang dalawang pelikula nina Nora at Tirso? Tsamba lamang daw kaya iyon o biglang nagbago ng panlasa ng mga manonood? Hindi tsamba. Ang mga sumunod pang pelikula nina Nora at Tirso ay mas malaki ang kinita. Daang-libo ang kinita ng “Teenage Excapades” at “Halina, Neneng Ko.” Itinambal ng Towers si Nora sa iba pang kabataang artista, malaki rin ang kinita. Katunayan na malaki ang hukbo ng mga tagahanga ni Nora. Sinubok naman ng Barangay Productions na itambal si Tirso kay Gemma Suzara, hindi gaanong kinagat ng mga fans. Nag-produce ng pelikula ang mag-anak na Cruz, pinagsama sina Ricky Belmonte at Tirso sa “Ricky na, Tirso Pa” isinama naman sa magpinsan si Pilar Pilapil. Tinapatan ng Tower ng isang pelikula ni Nora ang pelikula ng mga Cruz. Resulta: mas maraming nanood sa pelikula ni Nora. Ano ang ibig sabihin nito? Gusto ng mga fans na maging magkatambal sina Nora at Tirso. Sinagot ng VP Pictures ang kahilingang ito sa pamamagitan ng “Young Love.” Bukod kina Tirso at Nora ay isinaman pa ang mga young ones na sina Vilma Santos at Edgar Mortiz. Patok sa takilya!…” – Romy Galang, Pilipino Magazine, 18 February 1970 (READ MORE)


Filmography: Ding Dong (1970)

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Basic Information: Director: Mar S. Torres; Writer: Pablo S. Gomez; Cast: Tirso Cruz III, Vilma Santos, Norma Blancaflor, Dely Atay-atayan, Ven Medina; Release Date:17 July 1970; Film poster credit: Video 48

Plot Description: No Available Data

Film Achievement: Ding Dong was serialize weekly by United Komiks in 1970. It was written by comics novelist Pablo S. Gomez and illustrated by Alfredo P. Alcala. The comic novel was adapted into movie the same year. – Komiklopedia (READ MORE)

Film Review: Tirso Cruz III (born Tirso Silvano Cruz III, April 1, 1952, in Manila) is a Filipino actor and singer. He is one of the famous actors in Philippine show business. Nicknamed “Pip,” his love team with Nora Aunor is regarded as the most famous love team in Philippine Cinema. Tirso was first managed by the late Douglas Quijano. He is recently known for his villainous and supportive characters on TV and movies. He is married to Lynn Ynchausti-Cruz and has two sons (TJ and Bodie) and one daughter (Djanin). Tirso was Roman Catholic, and is now an Evangelical Born-Again Christian. – Wikipedia (READ MORE)

“…Jojo Lim, Vilma Santos Solid International, Incorporated (VSSI, Inc) president, told PEP, “Kahit love team na sina Vilma at Bobot Mortiz, ipina-partner pa rin si Vi sa iba’t ibang sikat na male heartthrobs noon.” Jojo mentioned singing sensation Eddie Peregrina (paired with Vi in Mardy and I Do Love You, both shown in 1970), showbiz royalty Jay Ilagan (Inspiration, Remembrance, Ang Konduktora all shown in ‘72, and Sister Stella L in ’84), young actor Paolo Romero (Ikaw Lamang in 1971), and even her rival’s partners, Tirso Cruz III (Dingdong, Give Me Your Love, and Nobody’s Child all in ’73) and Manny de Leon (Teenage Señorita in 1971). During her team-up with Edgar Mortiz, mestizo young star Jimmy Morato was reported courting Vilma…” – Rommel R. Llanes (READ MORE)

Filmography: Give Me Your Love (1970)

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Basic Information: Direction: Jose De Villa; Story & Screenplay: Tony Cayado, Chito B. Tapawan; Music: Danny Holmsen; Cast: Tirso Cruz III, Vilma Santos, Aurora Salve, German Moreno; Released Date: 14 August 1970 (IMDB)

Plot Description: No Available Data

Film Achievement: No Available Data

Film Review: “…Pip didn’t return to the movies until he was in his teens and was partnered with Nora Aunor. As a love team they were more popularly known as Guy & Pip and they made several box-office hits. But like most other male stars in love teams, his career dimmed when the partner was launched as a solo act and became an even bigger name — alone. This happened to Edgar Mortiz, who was Vilma Santos’ first screen partner. There was a long lull in Edgar’s career until he joined the group Goin’ Bananas. Today, he is very active in show business as a television director. The fate of Nora’s other screen partner, Manny de Leon, was tragic. Nobody knows what happened to him after their love team was dissolved…” – Butch Francisco (READ MORE)

“…Kahit love team na sina Vilma at Bobot Mortiz, ipina-partner pa rin si Vi sa iba’t ibang sikat na male heartthrobs noon.” Jojo mentioned singing sensation Eddie Peregrina (paired with Vi in Mardy and I Do Love You, both shown in 1970), showbiz royalty Jay Ilagan (Inspiration, Remembrance, Ang Konduktora all shown in ‘72, and Sister Stella L in ’84), young actor Paolo Romero (Ikaw Lamang in 1971), and even her rival’s partners, Tirso Cruz III (Dingdong, Give Me Your Love, and Nobody’s Child all in ’73) and Manny de Leon (Teenage Señorita in 1971)…” – Rommel R. Llanes (READ MORE)

RELATED READING: IMDB: Give Me Your Love (1970) IMDB: Tirso Cruz III IMDB: Jose De Villa IMDB: Aurora Salve Give Me Your Love – Tirso Cruz III (Video)

Filmography: Nobody’s Child (1970)

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Basic Information: Direction: Jose De Villa; Story & Screenplay: Medy Tarnate; Music: Danny Holmsen; Cast: Tirso Cruz III, Vilma Santos, Juvy Cachola, Edgar Salcedo, Jigger Roces, Dely Atay-atayan; Executive Producer: Jose O. Vera; Production Co: Sampaguita Pictures; Released Date: 28 November 1970 (IMDB)

Plot Description: No Available Data

Film Achievement: No Available Data

Film Reviews; “…Pip didn’t return to the movies until he was in his teens and was partnered with Nora Aunor. As a love team they were more popularly known as Guy & Pip and they made several box-office hits. But like most other male stars in love teams, his career dimmed when the partner was launched as a solo act and became an even bigger name — alone. This happened to Edgar Mortiz, who was Vilma Santos’ first screen partner. There was a long lull in Edgar’s career until he joined the group Goin’ Bananas. Today, he is very active in show business as a television director. The fate of Nora’s other screen partner, Manny de Leon, was tragic. Nobody knows what happened to him after their love team was dissolved…” – Butch Francisco (READ MORE)

“…”Are there really illegitimate children?…or illegitimate parents?” Nobody’s Child (November 28, 1970) na prinudyos ng Sampaguita Pictures ay tinampukan nina Vi, Tirso Cruz III, Juvy Cachola, Edgar Salcedo, German Moreno, Dely Atayatayan, Jigger Roces at Romy Lapus sa direksiyon ni Jose de Villa…” – Alfonso Valencia (READ MORE)


Filmography: Big Ike’s Happening (1976)

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Basic Information: Directed: Pablo Santiago and Bobby Santiago; Writing credits: Tommy C. David, Santiago and Lozada; Cast: Tirso Cruz III, Walter Navarro, Ike Lozada, Aurora Salve, Gina Alajar, Jojit Paredes, Dondon Nakar, Arnold Gamboa, Maribel Aunor, Winnie Santos, German Moreno, Allan Valenzuala, Inday Badiday, Doyet Ilagan, Ben David, Edward Campos, Lilian Laing, Aruray; Special Guest Stars: Vilma Santos, Nora Aunor, Perla Bautista, Charlie Davao, Esperanza Fabon, Bella Flores, Lito Legaspi, Christopher De Leon, Van De Leon, Pinky Montilla, Alma Moreno, Dencio Padilla, Eddie Perigrina, Andy Poe, jerry Pons, Ric Rodrigo, Gloria Romero, Daria Ramirez, Darius Razon, Marianne Dela Riva, Eddie San Jose, Ricky Santiago, Lorna Tolentino, Eddie Villamayor, and Vic Vargas; Executive Producer: Larry Santiago; Original Music: D’Amarillo; Cinematography: Joe Batac Jr.

Plot Description: No Available Data

Film Achievement:   Ranked 32nd on Top-US-Grossing Tagalog-Language Feature Films Released In 1976

Film Review: Enrique “Big Ike” Lozada (August 13, 1940-March 8, 1995) was a Filipino comedian, actor and TV host. He was born on August 13, 1940 in Iloilo City. He started acting at the age of 11 on the movie Mga Bituin ng Kinabukasan with the younger Susan Roces. He died on March 10, 1995 in Manila, of heart attack. He was 54. His had lain at Manila Memorial Park in Parañaque City. – Wikipedia (READ MORE)