Relasyon (Videos)


Basic Information: Directed: Ishmael Bernal; Story: Ricardo Lee; Screenplay: Ricardo Lee, Raquel Villavicencion, Ishmael Bernal; Cast: Vilma Santos, Christopher De Leon, Jimi Melendez, Ernie Zarate, Lucy Quinto, Manny Castañeda, Beth Mondragon, Bing Fabregas, Olive Madridejos, Augusto Victa, Dante Castro, Tony Angeles, Thaemar Achacoso; Executive producer: Lily Monteverde; Original Music: Winston Raval; Cinematography: Sergio Lobo; Film Editing: Augusto Salvador; Production Design: Benjie De Guzman; Art Direction: Dennis Cid; Sound: Vic Macamay; Theme Songs: “Relasyon” performed by Eva Eugenio

Plot Description: He sees nothing wrong in having a wife and a mistress. She would do anything to make him happy, including putting up with his idiosyncrasies, babysitting his child, and finding loopholes in the law so she could be with him. The characters are so familiar and so realistic that you might see yourself. Vilma Santos and Christopher de Leon star in this very touching story about two people who truly love each other but are trapped by the circumstances. Relasyon is another fine motion picture from director Ishmael Bernal. – Regal Films

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Filmography: Relasyon (1982)

“Ang hirap dito sa relasyon natin, puro ikaw ang nasusunod, kung saan tayo pupunta, kung anong oras tayo aalis, kung anong kakainin natin, kung anong isusuot ko sa lahat ng oras, ako naman sunod ng sunod parang torpeng tango ng tango yes master yes master!” – Maria Lourdes Castaneda

“Ano ba ako rito istatwa? Eh dinadaan daanan mo na lang ako ah, hindi mo na ako kinakausap hindi mo na ako binabati hindi mo na ako hinahalikan ah…namputsang buhay ‘to. Ako ba may nagawa akong kasalanan hah? Dahil ang alam ko sa relationship, give and take. Pero etong atin, iba eh! Ako give ng give ikaw take ng take! Ilang taon na ba tayong nagsasama? Oo, binigyan mo nga ako ng singsing nuong umpisa natin, pero pagkatapos nuon ano? Wala na! Ni-siopao hindi mo ako binigyan eh dumating ka sa bahay na ito ni butong pakwan hindi mo ako napasalubungan sa akin eh kaya kung tiisin lahat pero sobra na eh…hindi naman malaki hinihingi ko sayo eh konti lang… alam ko kerida lang ako…pero pahingi naman ng konting pagmamahal…kung ayaw mo ng pagmamahal, atleast konsiderasyon man lang. Kung di mo kayang mahalin bilang isang tunay na asawa, de mahalin mo ako bilang isang kaibigan, Kung ayaw mo pa rin nun bigyan mo na lang ako ng respeto bilang isang tao hindi yung dadaan daanan mo lang sa harapan na para kang walang nakikita!” – Maria Lourdes Castaneda

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Basic Information: Directed: Ishmael Bernal; Story: Ricardo Lee; Screenplay: Ricardo Lee, Raquel Villavicencion, Ishmael Bernal; Cast: Vilma Santos, Christopher De Leon, Jimi Melendez, Ernie Zarate, Lucy Quinto, Manny Castañeda, Beth Mondragon, Bing Fabregas, Olive Madridejos, Augusto Victa, Dante Castro, Tony Angeles, Thaemar Achacoso; Executive producer: Lily Monteverde; Original Music: Winston Raval; Cinematography: Sergio Lobo; Film Editing: Augusto Salvador; Production Design: Benjie De Guzman; Art Direction: Dennis Cid; Sound: Vic Macamay; Theme Songs: “Relasyon” performed by Eva Eugenio

Plot Description: A young woman falls in love with a married man, and they eventually try to live together — may be tame for Western audiences, but director Ishmael Bernal made this film for the Philippines, where divorce is forbidden at this time. Marilou (Vilma Sanders works as a guide in a Planetarium and has an on-going affair with Emil (Christopher de Leon) that neither her family nor friends can condone — Emil is married and has two sons. But when his wife leaves him, Emil and Marilou move in together, and that is when the problems start. She tries to make everything work out perfectly, and Emil, in turn, shows an arrogance that was quite hidden before. Given society’s disapproval of their arrangement in the bargain, their future together hardly seems bright. Ishmael Bernal was one of the most prolific directors in Philippine film history, he died in 1996 after making more than 50 films. – Eleanor Mannikka, All Movie Guide web-site

Emil, a young executive, and his mistress Marilou, a planetarium guide, decide to be live-in partners. In the process, they discover each other’s failing, which result in the strain in their relationship, bringing about their temporary separation. When they finally decide to resume their relationship, under a set-up wherein the man devides his time between his family and mistress, he dies frpm an attack of cerebral aneurysm. The woman decides to start a new life abroad, finding strength in the Jove of her departed lover. – Manunuri web-site

He sees nothing wrong in having a wife and a mistress. She would do anything to make him happy, including putting up with his idiosyncrasies, babysitting his child, and finding loopholes in the law so she could be with him. The characters are so familiar and so realistic that you might see yourself. Vilma Santos and Christopher de Leon star in this very touching story about two people who truly love each other but are trapped by the circumstances. Relasyon is another fine motion picture from director Ishmael Bernal. – Regal Films web-site

“…The story of an adulterous affair, and its implications for the families involved…” – British Film Institute (READ MORE)

Film Achievement: 1982 FAMAS Best Actress – Vilma Santos; 1982 Gawad URIAN Best Actress – Vilma Santos; 1982 Film Academy of the Philipiines Best Actress – Vilma Santos; 1982 Catholic Mass Media Awards Best Actress – Vilma Santos; 1982 The very first “Grand Slam” for Best Actress in Philippine Entertainment history; 1982 RPN Channer 9’s Let’s Talk Movies Awards Best Actress for body of Works – Vilma Santos for Relasyon, Sinasamba Kita, T-Bird At Ako, Never Ever Say Goodbye, Gaano Kadalas Ang Minsan? and Haplos; 1982 FAMAS Nomination Best Actor – Christopher De Leon; 1982 Gawad Urian Nomination Best Direction – Ishmael Bernal; 1982 Gawad Urian Nomination Best Picture; 1982 Gawad Urian Nomination Best Screenplay – Ricardo Lee, Raquel Villavicencio, Ishmael Bernal

Official Selection – 1983 Manila International Film Festival: Restrospective Festival “Focus on the Philippines”; 25 Filipino films shown at Lincoln Center – “In celebration of the 100th year of Philippine Independence, the Film Society of Lincoln Center, in partnership with the Philippine Centennial Commission, the Cultural Center of the Philippines, IFFCOM, the Philippine Information Agency, the Consulate General of the Philippines in New York and the Philippine Centennial Coordinating Council – Northeast USA, presented a series of Filipino films at the Walter Reade Theater of the Lincoln Center. Slated July 31 through August 20, and with a line-up of about 25 films, the series was the most extensive Filipino film retrospective ever to take place in the United States. All prints are subtitled in English. By including old classics as well as contemporary films, the three-week festival brought the country’s centennial commemoration into sharper historical focus. It also featured some of the best works by acclaimed director Lino Brocka, and concluded with the award-winning short films and videos of young, upcoming Filipino and Filipino-American filmmakers. The members of the film selection committee were Richard Peña (Program Director of the Film Society of Lincoln Center), Domingo Hornilla, Jr., Vincent “Ting” Nebrida, and Agustin “Hammy” Sotto. Some of the titles shown in the festival were: In the Classics Category…two films by Mike De Leon: Sister Stella L. starring Vilma Santos and Batch ’81 starring Mark Gil; and three works by Ishmael Bernal namely Nunal sa Tubig (A Speck in the Water) starring Daria Ramirez, Aliw starring Suzette Ranillo and Relasyon starring Vilma Santos…Among Brocka’s films being spotlighted were Maynila sa Mga Kuko ng Liwanag, Insiang, Tinimbang Ka Nguni’t Kulang (You Were Weighed But Was Found Wanting) and Ina, Kapatid, Anak (Mother, Sister, Daughter)…” – Seapavaa Bulletin (READ MORE)

Film Reviews: “…The notion of the martir resurfaces in Relasyon (1982), a stellar example of a mistress movie with genuine depth. It portrays Marilou (Vilma Santos) as not just a mistress, but also a servant for the chauvinistic Emil (Christopher De Leon). There is a poignant scene in the aforementioned: in spite of catering to her lover’s every need, she is still left alone in the house on Christmas Eve, because he really isn’t hers to begin with. Santos’ brilliant, appropriately emotive acting in the movie gave the star her big break. Filipino Department faculty member Jayson Jacobo, PhD expounds on Santos’ role in Philippine media. “[Her] middle period presents us a social sphere of material conditions which articulate the context of amorous situations that persuade a woman to enter and exit a relasyon.” Jacobo finds that more recent mistress films are devoid of the dramatic sophistication that these older films presented. He points out their key faults, saying, “These films of late are too concerned with the calisthenics of sexual encounter, the scandalous confrontation, the fashionable hysteria, the publicity of neurosis and the contrivance of normative resolution…” – Rissa A. Coronel, Katipunan The Guidon Magazine, 30 January 2013 (READ MORE)

Finally in Ishmael Bernal’s Relasyon, we have a film made explicitly for adults. There is no explicit sex sequence (adults don’t really go for that sort of thing, only adolescent boys do). But the psychological problems faced by the film are comprehensible only to adults, those who know what it means to live with someone one loves (or, at least, used to love). This film is, thus, not entertaining in the usual prurient sense, but in a deeper, psychological, intellectual sense.

There are basically two themes that this film tackles: sex roles and divorce. – Vilma Santos represents womanhood in the film: Christopher de Leon represents manhood. The Filipina woman is commonly thought of as a martir or long-suffering masochist. Santos portrays a mistress who is an out-and-out martir. She serves De Leon hand and foot, ministering to his every need, including fetching beer for him, washing his clothes, serving as his shoulder to cry on, even baby-sitting his child. In return, all she gets from De Leon is chauvinistic love, void of tenderness, full of immature aggressiveness.

De Leon represents chauvinist maleness. He portrays a character who is totally insensitive to his woman’s needs. He wants the house done exactly to his own taste. He expects his woman to be there when he needs her, but does not even think that he should be there when she wants him. He finds nothing wrong with having a wife and a mistress at the same time. On the other hand, he sees everything wrong with Santos entertaining suitor Jimi Melendez in the house. He’s even jealous of Manny Castaneda, Santos’ gay acquaintance. In short, he is selfishness personified.

The trouble with sex roles in our society, the film argues, is that they are widely accepted without question. Men are suposed to have mistresses, and women are supposed to be faithful. Men are supposed to make the decisions (about where to live, what job to get, when to dine out), and women are supposed merely to follow. The Philippines may justifiably boast that, in politics, women are almost as powerful as men, but it is undeniable that in every other field including the home, it is the men who are the masters and the women who are the slaves.

The other theme tackled by the film is that of divorce. Again and again, the characters discuss the lack of divorce in the Philippines. If De Leon could only annul his marriage, if he could only divorce his wife, if he could only get to Las Vegas and marry Santos there… Such possibilities remain mere possibilities, because Philippine law, unfortunately, still does not allow for divorce. In the film, it is made clear that the marriage of De Leon and his wife is totally beyond repair. With De Leon, being the male chauvinist pig that he is, and with his wife, being the non-entity that she is, there is no hope for the loveless couple. On the other hand, Santos and De Leon clearly love each other, clearly deserve chance to be man and wife, clearly should be helped (not damned) by society. It is an implicit case for divorce, made even more convincing by the fact that the characters are so familiar, so realistic.

Technically, the film does not rank high in Ishmael Bernal’s canon of films. The production design, presumably middle class, raises questions (especially about the fact that Santos can withdraw a thousand pesos from a bank at a moment’s notice:lower middle class persons do not have that kind of instant money.) The music is undistinguished, and the cinematography sometimes places the actors in shadows. There is one technical achievement worth watching for: De Leon’s death scene, covering more than one minute, is taken with one continuous shot (no cuts). Otherwise, the editing is spotty, especially with one sequence completely out of its proper place (before Santos says in one sequence that they have been together only for eight months, a sequence is shown in which she asks De Leon how many years they have been together, even allowing for hyperbole, that is too much of an exaggeration). Santos’ acting is adequate and extraordinary. De Leon gives another of his solid performances, though he could have worked harder to show how inconsiderate his character is. The supporting cast do not stand out; since two of them are supposed to be mistresses themselves, and the third loses much of her credibility when she starts lecturing on man’s selfishness. – Isagani Cruz, Parade magazine, July 21, 1982

Thee film has unblushingly spoken for the Filipino urban society and its increasing acceptance of adultery as a social habit. It could have been a repetitious tale of a man with two women. But the writers have interestingly conducted the story through the precarious steps of a young, single, beautiful and supposedly decent girl. Marilou (Vilma Santos) has fallen helplessly in love with Emil (Christopher de Leon), a married man. When Emil’s wife decides to leave for Mindanao because she couldn’t stand him anymore, Marilou then decides for them to live together. Overjoyed with the prospect, she presses on to keep their relationship thrilling, warmer and stronger. But her efforts over the months only depresses her as she sees Emil gradually locking himself into a door she couldn’t enter. The mutual delights she had previously imbibed had soured into irritating silence and alienation. Her mounting disillusion flares up into throwing a couple of dishes. She opts for a separation only to yearn for him again. They go back to each other. She becomes pregnant. Suddenly, Emil suffers an attack and dies in her arms. Marilou whirls in grief for a time but bounces back to being “single”, attractive but perhaps no longer “decent”.

The writers have fed significance into the conversations by filling them with popular ideas on marriage and relationships, engaging the viewers to respond with their own beliefs. There is irony though in the confessions of Emil and Marilou – in happier times – that each had been a better person upon being loved by the other. But their life together contradicted that statement. Her selfishness is revealed. “Ikaw lang ang iniintindi mo” he says and it uncovered his insensitivity. “Ako rin, may ego”, She replies. Vilma Santos confidently showed she felt the character she was portraying. Her depiction of feelings and emotions easily involve the viewers to share in her conflicts and joys. In this film, she has peeled-off apprehensions in her acting. Christopher de Leon has also been supportive in emphasizing the characterization of Marilou. He suitably complements Vilma’s acting. The director, Ishmael Bernal, displays his flair for taking scenes of Vilma putting on make-up. Unwittingly, he has suggested that whatever make-up is put on over adultery, it is still adultery. – Lawrence delos Trinos, Star Monthly Magazine, July 1982

Isang mayamang karanasan ang panonood ng pelikula ni Ishmael Bernal. Kahit ikaw ay isang masugid na estudyante ng sining ng pelikula o isang karaniwang tagahanga lamang. Sinasabing ang pelikula ay salamin ng tunay na buhay. Ang mga pelikula ni Bernal ay malilinaw na salamin. Buhay na buhay ang mga tauhan, ang istorya ay pamilyar sa atin at ang leksiyong itinuturo ay simple lang pero hindi direktang isinisermon sa manonood. Ang mga pelikula ni Bernal ay realistikong drama ng buhay. Tulad nitong “Relasyon” na ang mga bida ay sina Vilma Santos, Christopher de Leon at Jimi Melendez. Ito’y mula sa istorya at dulang pampelikula nina Ricky Lee, Ishamel Bernal at Raquel Villavicencio. Pang araw-araw ang drama ng “Relasyon”. Marahil mas komersiyal na titulo nito ang Kerida o kaya’y No. 2. Pero sa aming palagay ay mas makabuluhan ang pamagat na Relasyon dahil higit na malalim ang sinasakop nitong kahulugan. Simple lang ang istorya nito. Dalaga si Marilou (Vilma Santos). Liberated ang orientasyon. Nagtratrabaho sa Planetarium. May-asawa si Emil (Christopher de Leon). May isang anak na lalaki. Nagtratrabaho hanggang hapon, nagtuturo sa gabi. (Hindi tiniyak sa pelikula kung ano ang trabaho ni Christopher at kung ano ang kanyang itinuturo sa gabi.)

Hindi maayos ang takbo ng buhay nilang mag-asawa. Kaya nga bumaling si Emil kay Marilou na pinili ang may-asawa kaysa sa biyudong si Jun-jun (Jimi Melendez) na wala namang matatag na hanapbuhay. Sa simula’y patagpu-tagpo lang sa mga hotel sina Marilou at Emil pero higit na naging kumplikado ang kanilang buhay nang ipasiya nilang kumuha ng isang permanenteng bahay. Dito nagsimula ang kanilang tunay na relasyon. Sa umpisa’y para silang mga bagong kasal pero nang tumagal na, dahil kailangang magtrabaho nag husto si Emil upang masuportahan ang dalawang pamilya, ay naging parang mag-asawa na sila. Nang maging parang “misis” na siya ay doon nagkaproblema si Marilou. Sa paningin ni Emil ay naging mapaghanap ang babae at tinatangkang baguhin siya. Hindi nakatagal si Marilou sa isang relasyong “taken for granted” na siya. Naghiwalay ang dalawa. Bumalik ang asawa ni Emil. Pero dahil tunay na minamahal ni Marilou si Emil ay ipinasya na niyang maging kerida kaysa ganap na mawala ito sa kanyang buhay. Pero hindi lumigayang habang buhay si Marilou. Namatay si Emil at ang kanyang bangkay ay inangkin ng tunay niyang misis. Ipinasiya ni Marilou na humanap ng bagong buhay sa Amerika.

Makatotohanan ang akting sa pelikulang ito. Hindi sila caricature. Sila’y mga karakter na marahil ay mga kapitbahay natin. Muli na namang ipinamalas ni Bernal ang kanyang kakayahan sa pagpapagalaw ng mga artista. Hindi lang akting ang mapapanood mo. Ang nakikita mo ay ang tunay na takbo ng buhay. Nananatili si Christopher bilang isa sa iilan nating mahuhusay na kabataang actor. Makakalimutan mo na siya si Cris at ikaw ay ganap na mabibihag ng karakter na kanyang binubuhay sa aninong gumagalaw. Marahil, higit pa nating mauunawaan sana ang karakter na ginagampanan ni Chris kung nalaman natin kung ano ang kanyang propesyon at nagkaroon pa tayo ng ilang background ng kanyang buhay. Hindi tulad ni Vi na medyo kumpleto ang background. Kaisa-isa siyang anak. Edukada at masasabing liberated o mayroong malayang kaisipan. Sa pamamagitan ng konserbatibong ama ni Vi ay masusuri natin ang kanyang pamilya at kung paano niya haharapin ang mga situwasyon sa buhay. Sinasabi ng mga drumbeater ni Vi na ang kanyang role sa pelikulang ito ay pang-award, pang-FAMAS, pang-URIAN o pang-Film Academy Award kung matutuloy ito. Hindi kami tumututol sa kanilang palagay laluna’t napanood namin ang pelikulang ito. Masuwerte si Vi at sa ganitong maselang role ay dinirek siya ng isang katulad ni Bernal. Tulad nang binigyang diin namin sa unang bahagi, ang mga pelikula ni Bernal, ang “Pagdating sa Dulo”, “Nunal sa Tubig”, “Mister mo, Lover Boy ko” at “City after Dark” ay mga malinaw at makatotohang salamin ng buhay. Kaya sa “Relasyon” ay natural lamang na makakita tayo ng mga sitwasyong tila aktuwal na kinuha sa tunay na buhay at inilipat nang buong-buo sa puting tabing : Ang eksena sa kainan ng mga lovers na sina Vi at Cris; ang pagtratrabaho sa bahay ni Vi; ang usapan ni Vi at ng kanyang mga barkada; ang pagkabagot ni Vi samantalang gusto ng matulog ni Chris at iba pang eksena na karaniwan na sa tunay na mag-asawa.

Napakadramatiko ang pagkompronta ni Vi kay Chris sa direksyon ng kanilang relasyon. Higit sa lahat, sa pamamagitan ng huling eksena, ang pagsasara ni Vi sa pinto ng kanilang bahay, ang pugad ng kanilang “relasyon”, inihayag ni Bernal na ang ganitong relasyon ay may hindi maiiwasang magwakas tulad ng sa tunay na buhay. Maaaring kamatayan o isang panibagong relasyon. Kung ang isang lalaki ay may-asawa, at mayroon na siyang relasyon o nagbabalak pa lang magkaroon ng relasyon sa ibang babae, dapat niya itong panoorin ng dalawang beses. Una, kasama ang kanyang misis at ikalawa, kasama angkanyang no. 2 o magiging ka-relasyon. Sa mga babaing katulad ni Vi sa pelikulang ito, mabuting panoorin ninyo nang nag-iisa ang pelikulang ito upang higit na maunawaan ninyo ang inyong relasyon o magiging relasyon. – Mando Plaridel, Star Monthly Magazine July 10, 1982

Dalawang magagandang pelikula ang sabay na itinatanghal ngayon. Ito’y ang “Relasyon” ni Ishmael Bernal at “Hubad na Gubat” ng baguhang si Lito Tiongson. Sa taong ito, tatlo pa lamang ang talagang namumukod tangi para sa amin. Ang “Ito Ba Ang Ating Mga Anak” ni Bernal, “In This Corner” ni Brocka at ngayon nga’y ang “Relasyon” ni Bernal na naman. Napakahusay ni Vilma Santos sa papel ng pangunahing tauhan, isang dalagang umibig sa isang may asawa. It’s one hell of a role and a heaven of a performance. Kasama si Vilma sa lahat ng eksena sa pelikula at talagang ito na ang pinakamabigat na papel na napaatang sa mga balikat ng isang local actress mula ng gampanan ni Gina Alajar and lead role sa “Salome”. This time, sigurado nang mano-nominate si Vilma sa Urian (ito lamang ang award na hindi niya napapagwagihan) at malamang na ang maging pinakamahigpit niyang kalaban dito ay si Nora Aunor na very demanding din ang role sa “Himala” (na si Bernal din ang direktor). Ito’y kung matatapos ang ECP project na ito sa taong ito na sa palagay nami’y hindi kahit gusto ng ECP na isali ito sa filmfest sa Disyembre. Dinalirot ng “Relasyon” ang lahat ng mga anggulong maaaring suutan ng isang babaing nagiging kerida. Maraming madamdaming tagpo sa pelikula, lalo na ang death scene ni Christopher de Leon na tuhog ang pagkakakuha. Bagay na bagay kay Jimi Melendez ang papel niya bilang torpeng talisuyo ni Vilma. Hit na hit siya sa audience.

Hanggang ngayon ay patuloy na dumarag sa dito sa amin ang mga sulat na pumupuri sa acting ni Vilma Santos sa “Relasyon”. Sabi ni Nelda Santiago ng Arellano St., Marikina : “Napakagaling ni Vilma at kahit hindi pa ako nagiging kerida, para bang na identify ako sa kanya.” Sabi naman ni Hector Cruz ng 14 Malaya St., Q.C. : “Maraming nasasabi ang mga mata ni Vilma lalo sa mga eksenang wala siyang dialogue. Pati pilikmata niya ay umaarte. Dapat lang na magka award siya rito. Magaling din sina Jimi Melendez at Beth Mondragon.” Ayon naman kay H. Santillan III ng UP Village : Hindi kami fan ni Vilma pero kung ganito ng ganito ang performances niya, dapat siguro’y maging fan na nga niya kami. Tour de force ang acting niya at dapat ilagay sa textbook on acting. Hindi mapapantayan ang rapport nila ni Christopher de Leon.” May iba pang mga sulat pero hindi na namin masisipi sa kakulangan ng espasyo. – Mario E. Bautista, People’s Journal, July 1982

“…Sa kabuuan, mahusay ang pagsasalarawan ni Vilma Santos ng kanyang papel bilang Marilou ngunit hindi ito maihahanay sa ibang pelikula kung saan kinakitaan ang aktres ng kaibahan sa kanyang pagganap tulad ng ating nasaksihan sa Dalawang Pugad, Isang Ibon (1977) at Broken Marriage (1983). Samantalang ibayong talino naman ang ipinamalas ni Christopher de Leon bilang Emil. Naipahiwating lang sana ng maayos ang motibo ni Emil sa pakikisama nito kay Marilou. Hindi maitutulad ang aspetong teknikal ng Relasyon sa ibang obra ni Bernal. Ang disenyong pamproduksiyon ni Benjie de Guzman ay hindi kapani-paniwala. Ipinakitang mababa ang estado ng kabuhayan ni Marilou ngunit madalian siyang nakakuha ng isang libong piso sa bangko. Ang mga tulad nito ay karaniwang walang natatagong ganoong kalaking halaga. Halos hindi marining ang musika ni Winston Raval habang ang sinematograpiya ni Sergio Lobo ay kadalasang nababalot ng dilim. Makikita din ang pagkakamali ng editing ni Augusto Salvador. Sa isang tagpo ay ipinakitang walong buwan nang nagsasama sina Marilou at Emil at nang sumunod na mga eksena, tinanong nito si Emil kung ilang taon na silang magkasama. Ngunit sa kabila ng mga pagkukulang na ito, naging matagumpay pa rin si direktor Ishmael Bernal sa kanyang paglalahad ng isang pelikulang sumubok sa ating mga kaalaman at paniniwala.” – Jojo Devera, Sari-saring Sineng Pinoy (READ MORE)

“…For us, sinuman ang manalo kina Vilma Santos o Lorna Tolentino ay okey lang. Both Gina and Nora have won the Urian best actress awards twice. Gina for Brutal and Salome, Nora for Tatlong Taong Walang Diyos and Bona. Napakagaling ni Gina in portraying the role of the trying hard Kathy in Moral. Hindi biru-biro ang ganoong character na gagawin mong sympathetic dahil mas malamang na lumabas itong ridiculous lang kaysa nakakakuha ng simpatiya. But Gina succeeded in making her Kathy both ridiculous and sympathetic. As Elsa, Nora’s case is that of star and role merging into one, fitting into each other perfectly dahil alam nating ang karisma ni Guy sa kanyang fans ay siya ring karisma ni Elsa sa kanyang naging followers. Pero palagay namin, kung hindi magta-tie sina Lorna at Vilma, mananalo ng solo si Vilma Santos. Vi has never won the Urian. She should have gotten it in 1977 for Burlesk Queen but the trophy went to Daria Ramirez in Sinong Kasiping. Maraming acting highlights ang paper ni Vi bilang Marilou sa Relasyon. Sa confrontation scenes nila ni Boyet, superb siya roon sa tagpong sinusumbatan niya ito dahil ginagawa na lamang siyang tau-tauhan. Ang acting niya sa death scene ni Boyet na hindi malaman ang gagawin sa katarantahan is also awesome to behold…” – Mario E. Bautista, Movie Flash Magazine, 1983 (READ MORE)

“…On Relasyon. “I won my first grand slam with this movie. I shot this two months after I gave birth to Lucky. I was besieged with enormous financial problems. I owed the BIR, the banks. Thank you to Manay Ichu and Atty. Esperidion Laxa who guided me through this difficult phase in my life. My loans were re-structured. I produced five films which lost a lot of money. One was Pagputi ng Uwak, Pag-itim ng Tagak which we did in three years. Life was miserable. Hinarap ko lahat ang problema ko. Everything that I earned went straight to the banks to pay off my debts. And I paid all of them. Thank God. So when I was doing Relasyon, I was drawing a lot of emotions from the troubles, the pain I was experiencing. Yes, I will not also forget that tuhog scene I did with Boyet and his death scene. Ishmael Bernal our director was great. And Luis is really lucky…” – Boy Abunda, The Philippine Star, July 31, 2009 (READ MORE)

“…In the documentary, Santos admitted that working with Bernal brought out the best in her as an actress. “She made me do this scene in ‘Relasyon’ that was really tough as it was unpredictable. I think Bernal was the first director to risk putting the character of The Mistress as The Heroine. In the past, the roles of mistresses were mere punching bags of The Wives in many confrontation scenes in Filipino movies,” she added…” – Pablo A. Tariman, VERA Files (READ MORE)

“…On a final note, it’s rather unfair that when it comes to actors, Brocka always gets the authority to be called the actor’s director. Not to discredit Brocka of course but Bernal always exceeds Brocka in terms of directing comedies. And humor is only as hard as drama can get; and oftentimes even harder. Ilagan, Andolong, Ranillo, and Locsin may not be the best to portray their roles but their characters don’t need the best—they need believability more, and their youth exudes that, more than their acting chops. They grip on their dialogues so much that watching them is such a delight. There’s this anecdote told by Vilma Santos when she won her grandslam for Relasyon that she walked into Bernal’s shoot a little unmotivated and still high after her big win. She couldn’t get her acting right. And then Bernal said to her, “O, bakit parang lutang ka diyan? Porke’t naka-grand slam ka, feeling mo, magaling ka na?” That’s one-big-“OH”. And to think that Ate Vi was already a big star that time, and getting bigger and bigger thanks to her roles, it does not only give an impression of “katarayan” on Bernal’s part, but more of brilliance. Salawahan is one of the many proofs…” – Richard Bolisay, Lilok Pelikula (READ MORE)

Musical Scorer – “…The final set briefly harkened back to Raval’s work in the Philippines. When he wasn’t performing at clubs and on the concert stage in the 1970’s and 80’s, Raval composed film scores, most notably for the great filmmaker Ishmael Bernal. He gave his audience on Sunday a taste of that when he played the theme from “Relasyon,” the 1982 film by Bernal that starred Vilma Santos and Christopher de Leon and for which Santos won one of her many best actress awards. Adding an amusing touch to the numbers on Sunday were Raval’s stories of how they came to be and how he came up with the titles. But one song that gave Raval a hard time finding a name for was the first number in the final set—and that’s how he ended up calling it “What’s Your Name,” he said, to the guests’ amusement. “Just Another Standard” and “Rolling Hills, Layered Lives” (“I don’t know what that means,” Raval said cheekily of the song) rounded out the program…” – Lorenzo Paran III, Pinoy in America, Nov 24 2012 (READ MORE)

Querida – “…Patrocinio and Bernal’s own mother, Elena, could very well have been Ishmael’s inspiration for several classics of Philippine movies. In Relasyon, Vilma Santos played the querida who lived up to her name as the beloved, a lady of intellect and fine sensibility; the virtually separated Emil truly loved and preferred her to his legal wife. In Dalawang Pugad, Isang Ibon (Two Nest, One Bird), Bernal explored the male’s polygamous nature, and pitted him against gritty female characters. In these films, Bernal recast the querida different from the stereotype of a family wrecker toward a clear-headed case-by-case realist delineation of the common-law wife. In Relasyon, Bernal can arguably be shown as a champion of the querida as a Filipino director, in depicting Marilou as a principled martyr in a society that wrongfully extols man’s false claim to moral ascendancy. As would be evident in the film, Ishmael saw the injustice done to women in male-dominated society, as he also saw and questioned the morality and rationality of institutionalized but falsely monogamist families…” – Bayani Santos Jr., Manuel L. Quezon University, Bernal as Auteur: Primary Biographical Notes, 2012 (READ MORE)

Hypocritical Religious Piety – “…In Relasyon [The Affair], for example, Marilou, the querida (“common-law wife”) was the conceptual opposite of the stereotype in Philippin movies. She was a home-builder rather than a wrecker, a victim and not a victimizer. Such characterization may be subversive to the Catholicized society outside Bernal’s home, but most family members had always shared those views anyway, and what was queer to them was that “others”failed to see the issues as the family had seen them. Again, in many if his films, Bernal had comically depicted hypocritical religious piety…In Relasyon, Vilma Santos played the querida who lived up to her name as the beloved, a lady of intellect and fine sensibility; the virtually separated Emil truly loved and preferred her to his legal wife. In Dalawang Pugad, Isang Ibon [Two Nests, One Bird], Bernal explored the male’s polygamous nature, and pitted him against gritty female characters. In these films, Bernal recast the querida different from the stereotype of a family wrecker toward a clear-headed case-by-case realist delineation of the common-law wife. In Relasyon, Bernal can arguably be shown as a champion of the querida as a Filipino director, in depicting Marilou as a principled martyr in a society that wrongfully extols man’s false claim to moral ascendancy. As would be evident in the film, Ishmael saw the injustice done to women in male-dominated society, as he also saw and questioned the morality and rationality of institutionalized but falsely monogamist families…” – Bayani Santos, Jr., Kritika Kultura (READ MORE)

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

“…In my Tuesday column, I listed the names of some of the past Best Actor winners in the Gawad Urian. Below are the Manunuri’s Best Actress winners in the last 25 years:…Nora Aunor is clearly a Manunuri favorite. Most industry members (including Vilma Santos) are aware a lot of Manunuri members are “Noranians.” The Manunuri members, of course, do not necessarily operate on fan mentality. In the acting categories, they choose the ones who really deliver the outstanding performances of the year. In this sense, we can also call Gina Alajar a Manunuri favorite…Vilma Santos, unlike Nora, Gina, Jaclyn and even Chanda Romero (during the Manunuri’s early years), was never known to be a Manunuri favorite. Ironically, she is the one with the most number of Urian acting trophies, seven in all (as of 2013, she has 8). In the ’70s, Vilma a perennial Urian nominee; but also a perennial loser. In 1982, however, she won her first Urian (for Relasyon) and there was no stopping her after that. On record, she is the only actress who has won three Urian acting trophies in a row. After Relasyon she won successively for Broken Marriage and Sister Stella L. Later, she won four more for the following films: Pahiram ng Isang Umaga (1989), Ipagpatawad Mo (1991), Dahil Mahal Kita, The Dolzura Cortez Story (1993) and Bata, Bata, Paano Ka Ginawa? (1998). Like rival, Nora Aunor, Vilma Santos was also declared Best Actress of the decade in the ’80s and ’90s…” – Butch Francisco, May 09, 2002 (READ MORE)

“…Wenn Deramas (Director; Ang Tanging Ina, Praybeyt Benjamin): “Si Vilma Santos ang buong pelikula, maaaring istorya or a day in the life lamang ito ng isang kabit, pero sa sobrang husay ng ibinigay ni Vilma, lumaki ang buong pelikula…” – SCL, “Greatest Pinoy Films Poll,” 07 May 2013, Pinoy films through Pinoy lenses, (READ MORE)

“… Reportedly Ms. Santos, buoyed by the many acting awards earned by the previous film, was so eager to do well in the new production that Bernal got irritated, locked her in a bathroom, and delivered to her an ultimatum: she was not coming out till she got over her ‘hysteria.’ One sees what made the latter so successful, the same time watching this one sees why Bernal didn’t want to simply duplicate that success. Relasyon was a lean and elegantly told melodrama that took a sidelong glance at the institution of Filipino marriage; in Broken Marriage Bernal wanted to examine the institution directly, without the oblique glances. He didn’t want to film some doomed struggle to keep love alive but something less dramatic, far more difficult to capture: the aftermath of a protracted war, where the ultimate casualty is married love. He in effect didn’t want Ms. Santos at her perkiest and most energetic–he wanted her exhausted, looking for a way out, and to her credit Ms. Santos delivers exactly this with her performance…” – Noel Vera, Critique After Dark, 08 April 2012 (READ MORE)

“…Relasyon remains in the Philippines, on the ground of facts. But the film does not end with social criticism. Behind the well-meaning film problem hiding an everyday epic of real existing love, so how and if it is to have in the wrong world. Sometimes this gets epic train of the film with its stated educational content in conflict. Marilou suggests that the advice of the well-informed uncle in the wind, of course, is unreasonable. But it is just their stubborn irrationality adverse circumstances over which so occupies us for it. Therein also lies the quiet, growing with each minute of film Would this really banal figure. At some point, it is sufficient Vilma Santos watch when make-ups – and the heart wants to rip one…” – Nicholas Perneczky, Critic.de, 10 Sep 2014 (READ THE TRANSLATION)

“…In Filipino melodramas, the heroines often lean on against a hostile environment. Some no less combative women have created a permanent place in the film industry of the country…Lino Brocka and Ishmael Bernal devoted themselves repeatedly with a strong social and political consciousness of the popular form of melodrama. More than Brocka himself Bernal frequently focused on strong female characters that need to manage their lives under unfavorable circumstances. In his films female stars in the spotlight, without the problems of everyday life would go by the board. With Vilma Santos in 1982 he turned Relasyon, wherein the main character wants to escape from a stifling marriage and not only emotionally, but also legally reaches its limits (a year later with Santos Bernal turned the thematically similar mounted Broken Marriage). Was produced Relasyon of Lily Monteverde , who plays an influential role in the Philippine film industry today. Already at the beginning of the 20th century there were in the studios and production companies in the country powerful women who ruled with a firm hand and were addressed by their subordinates even as mothers. “Mother Lily” made his mark as a hard nosed business woman, often more economic than artistic interests followed, understandably, not just friends. The young director Raya Martin let her in his short film Long Live Philippine Cinema! (2009) even to death to save the Philippine cinema…” – Michael Kienzl, Critic.de, 10 Sep 2014 (READ THE TRANSLATION)

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Filmography: Pahiram Ng Isang Umaga (1989)

“Irene…Di ko kaya ang walong buwan! Kung mamatay rin lang ako…mamatay na ako ngayon o bukas o sa linggo pero hindi ko kaya ang walong buwan!” – Juliet Espiritu

“…Irene, ayoko ng mahabang burol kung maari kinabukasan rin ipalibing mo na ako.” – Juliet Espiritu

“Ayoko ko pang mamatay…paano si Chad?…hahanapin ako ng anak ko, hindi siya sanay ng wala ako…Ariel…gusto ko pang mabuhay, kahit ilang araw lang, kahit konting oras lang, kahit isang umaga lang…” – Juliet Espiritu

“Ariel maliwanag na ba?…anong kulay ng langit?…at ang dagat?…ang mga mangingisda nandiyan na ba?…Ariel…ang ganda ng mundo!…ang sarap mabuhay!” – Juliet Espiritu

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Basic Information: Directed: Ishmael Bernal; Story, screenplay: Jose Javier Reyes; Cast: Vilma Santos, Gabby Concepcion, Eric Quizon, Zsa Zsa Padilla, Billy Crawford, Olivia Cenizal, Tita Muñoz, Gil de Leon, Dexter Doria, Vicky Suba, Subas Herrero, Cris Vertido, Toby Alejar, Tony Angeles, Symon Soler, Gina Perez, Alma Lerma, Roy Alvarez, Becky Misa; Executive producer: Lily Monteverde; Original Music: Willy Cruz; Cinematography: Manolo Abaya, Eduardo Jacinto, Nonong Rasca; Film Editing: Augusto Salvador; Production Design: Elmer Manapul; Sound: Joe Climaco; Theme Songs: “Pahiram Ng Isang Umaga” performed by Zsa Zsa Padilla

Plot Description: Pahiram Ng Isang Umaga (English title: “To Live Another Day,” “On Borrowed Time” or “Lend Me One Morning”) revolves around Juliet (Vilma Santos), who finds herself struggling against an ever-escalating series of problems. A determined single parent, she manages to raise a child while remaining successful in her career as an advertising executive. Everything in her life seems to go well until she is diagnosed with a terminal disease. For her son’s sake, and without revealing her condition, she is forced to resolve her most important life relations: rekindling first her connections with her parents, and then with the very man who fathered her son. In the twilight of her life, she meets and falls in love with a beleaguered artist, Ariel (Eric Quizon), who is constantly depressed and perpetually contemplating suicide. She slowly loses her health but unknowingly reawakens Ariel desire to live, and they both engage in a meaningful affair – one that makes each day they live through together more meaningful than the last. – DVD cover description

After getting bumped up to vice president at her advertising firm, Juliet (Vilma Santos) is floating on cloud nine, but fate soon delivers a brutal shock that knocks her off her perch: a diagnosis of terminal brain cancer. With just eight months to live, Juliet embarks on a mental and physical journey to erase her regrets. Along the way, she meets a painter (Eric Quizon) who changes her outlook in this poignant drama. – Netflix

To Live Another Day (Pahiram ng Isang Umaga) revolves around Juliet, who finds herself struggling against an ever-escalating series of problems. A determined single parent, she manages to raise a child while remaining successful in her career as an advertising executive. Everything in her life seems to go well until she is diagnosed with a terminal disease. For her son’s sake, and without revealing her condition, she is forced to resolve her most important life relations: rekindling first her connections with her parents, and then with the very man who fathered her son. In the twilight of her life, she meets and falls in love with a beleaguered artist, Ariel, who is constantly depressed and perpetually contemplating suicide. She slowly loses her health but unknowingly reawakens Ariel’s desire to live, and they both engage in a meaningful affair – one that makes each day they live through together more meaningful than the last. – Cine Filipino/Unico Home Entertainment

Film Achievements: 1989 URIAN: Best Actress – Vilma Santos; Best Cinematography – Manolo Abaya, Eduardo Jacinto, Nonong Rasca; Best Director – Ishmael Bernal; Best Picture – Lily Monteverde, Regal Films; Best Screenplay – Jose Javier Reyes; Best Supporting Actor – Eric Quizon; 1989 STAR: Best Picture – Lily Monteverde, Regal Films; Best Actress – Vilma Santos; Best Cinematography – Manolo Abaya, Eduardo Jacinto, Nonong Rasca; Best Director – Ishmael Bernal; Best Musical Score – Willy Cruz; Best Supporting Actor – Eric Quizon; 1989 FAMAS: Best Musical Score – Willy Cruz; Best Theme Song – Willy Cruz; 1989 FAP: Best Sound – Joe Climaco

Other Film Achievements 1989 FAP: Best Actress nomination – Vilma Santos; 1989 URIAN: Best Actor nomination – Gabby Concepcion; Best Editing nomination – Augusto Salvador; Best Music nomination – Willy Cruz; Best Production Design nomination – Elmer Manapul; Best Sound nomination – Joe Climaco; Best Supporting Actress nomination – Vicky Suba; 1989 FAMAS: Best Child Actor nomination – Billy Crawford; Best Director nomination – Ishmael Bernal; Best Picture nomination – Lily Monteverde, Regal Films; Best Supporting Actor nomination – Eric Quizon

Film Reviews: A Look at Death and the Affirmation of LifeWeepies are a common movie fare in the Philippines, along with extremely violent action thrillers and trite youth comedies. It is, therefore, a cause for cheer when a filmmaker tries to elevate the very common genre of the melodrama into a rich and intellectually rewarding film experience, such as director Ishmael Bernal has done with his Pahiram ng Isang Umaga.

Director Ishmael Bernal has seen in the material an opportunity to put substance to what has often been denigrated as the unthinking man’s entertainment, and to a considerable degree, his attempt has been a success. Pahiram is both effective as a tearjerker and meaningful as a depiction of people in crisis. Using a traditional element of the genre, the theme of death, Bernal and writer Jose Javier Reyes probe into the life of a woman who has been told that the end is near. Juliet (Vilma Santos, one of the two reigning Philippine female superstars for the past two decades now) is told that she has eight or maybe seven months to live. As a progressive advertising creative director who has been promoted (rather late) as vice president of her company, she has the means to attend to the less mundane demands of life, examine what may have been an unexamined life, and make the most of the limited time left.

In all these, Bernal explores the emotional and psychological condition of the person who lives on borrowed time. naturally visible here are the many symbols not only of death but also of life to serve as some kind of counterpoint or irony. Sometimes, they blend with each other, and at other times, they contradict. From the peasants’ ritualistic rice planting to the backyard harvesting of sun-dried patola cultivated as life-giving seedlings, the evidence of life renewing itself could hardly be ignored. Then there are the more obvious symbols of fire, daybreak and persistent rains (the latter of which are used to reinforce the gloomier mood at the second half of the movie, and also suggest the rains’ refreshing and replenishing results). But the most eloquent symbol here of life is the process of artistic creation, personified – again paradoxically – by the expressionist painter Ariel who befriends and then is smitten by Juliet.

There are ironies here. The painter creates life through his art, but at the same time, psychologically tormented, he wants to end his own life. Such a restless, free soul, grappling with the complexities of life, he has a whole life ahead of him, his artistic world limited only by his imagination, and yet he wants to quit. In contrast, Juliet who is dying, wants to live. Here is a woman who saves a man’s life (the artist’s) but cannot save her own. The idea of art as life or art vs. life is examined at length. Asked by the boy why he has to put on canvas the seascape, the artist makes the clarification that he is not copying the scenery. Ostensibly, he is recreating it on a different plane, art being something else, with a life of its own. This is suggested by the portrait the artist is making of Juliet. The model may soon die, as she will, but the portrait will live on. Life may indeed be short, an idea which used to be stated directly in previous Bernal movies, but art endures. It is the one thing in this world which is eternal. The briefness of life is suggested with the graphic sight of wet sand dripping down from the hand.

Bernal and Reyes go farther by including a scene in which the artist explains the origins of art. By the fireside at the beach, and watching the flame cast a glow on them, he notes that prehistoric men “discovered” art when they made outlines of shadows on the caves. Those artworks, though crude and primitive, still exist. Implicitly, Juliet’s death, no matter how saddening, is not going to be the end. Philosophical musings like these are not standard soap opera fare, and may alienate a lot of ordinary moviegoers (even the more cerebral ones who cannot accept the conventions of the soap opera genre). Woven unobtrusively into the plot, however, they add texture and enrich the drama. Juliet in a way will continue to live – in that portrait, in her young son who will survive her and hopefully continue her legacy whatever it may be, and in her good deeds. In the last scene, the imagery and symbolisms of life and death abound. Juliet dies at the break of dawn, the start of a new day (and life), but not without first making her last sentimental paean to life. Supported by the artist, her eyesight having failed completely and with the waves caressing their feet, the weak and dying cancer victim remarks how beautiful life is. True enough, this dying scene set on a beach, with the woman in white, dainty night gown, is one of the most exquisite, breathtaking moments in Philippine movies.

But before giving us this grand, highly emotional death scene, the director has gradually introduced various motifs of death, from the artist’s pet black bird which at one point he cruelly squeezes in his hand, to the funeral rituals for Juliet’s father. This is a striking part of the movie, Juliet watching intently as morticians work on her father’s remains, as everyone weeps when the coffin is lowered to its final resting place, and during the ritualistic “pasiyam,” the nine-day novena for the dead. It’s as though Juliet can see herself in her father’s lifeless body while mourners mill around it. The attempts to raise the level of the melodrama and present insights on life and death provide the movie its greatest strength – and wide appeal. How strangely ironic that a movie dealing with death could have so much life. – Mario A. Hernando, Malaya – 5 March 1989

“…Epektibo ang Pahiram Ng Isang Umaga bilang isang tuwirang dramatikong pelikula naglalahad ng suliranin ng mga taong pumapasailaim sa isang krisis. Sa paggamit ng tradisyonal na pamamaraaan ukol sa tema ng kamatayan, si Bernal at ang manunulat nitong si Jose Javier Reyes ay sumilip sa buhay ng isang babaeng nalalapit na sa kanyang huling hantungan. Napag-alaman ni Juliet (Vilma Santos) mula sa kanyang doktor na mayroon siyang pito hanggang walong buwang palugit sa kanyang buhay at ninais nitong isaayos ang mga suliraning bumabalot sa kanyang buong pagkatao sa loob ng maikling panahong ilalagi niya sa mundo. Lahat ng emosyonal at sikolohikal na kundisyon ng isang taong nabubuhay na lamang sa hiram na panahon ay tahasang ipinakita ni Bernal sa mga manonood. Mababanaag dito amg iba’t-ibang simbulo ng pumapaimbulog sa konsepto ng kamatayan. Kadalasa’y naangkop ito sa mga situwasyong dinaranas ng karakter ni Juliet at taliwas din kung minsan. Mula sa pagtatanim ng mga magbubukid hanggang sa pag-ani nito bilang simbulo ng pagkabuhay ay mahirap maitanggi. May mga tagpong ipnapakita ang paglubog ng araw, at ang walang patumanggang pag-ulan ay pagpapahiwatig ng pagbuhos ng bagong hinaharap. Ngunit isang mariing simbulong ginamit sa pelikula ay ang proseso ng paglikha ng sining sa katauhan ng pintor na si Ariel (Eric Quizon) na kinaibigan ni Juliet. Maraming maihahalintulad dito. Sinasalamin ng pintor ang buhay sa pamamgitan ng paglikha ng mga larawang kadalasan ay naglalahad ng gulo at pagkalitong umabot sa pagnanasa nitong kitlin ang sariling buhay, dahilan sa hindi niya makayanan ang pakikipagsapalaran sa buhay. Napapalibutan ng imahinasyon ang kanyang mundo ngunit nais pa rin niya itong talikuran. ito naman ang pagkakaiba ni Ariel kay Juliet na gagawin ang lahat upang madugtungan ang nauudlot na buhay…” – Jojo Devera, Sari-saring Sineng Pinoy (READ MORE)

Mas Mahusay si Vilma Kaysa kay Nora – Vi goes to the kitchen to prepare breakfast at habang nagbabati siya ng itlog, doon pa lang ipinakitang una siyang nag-breakdown. And this is shown nang nakatalikod siya sa camera. No overly ornate kind of emoting na akting na akting ang dating. Pero damang-dama mo pa rin…she becomes the part (lalo na sa eksena nila ni Gabby Concepcion sa simbahan na binalikan nila kung paano sila nagkasira), and if you notice that she is good, well, salamat po…Sa second viewing ng movie namin lalong napansin ang subtle nuances ng performance ni Vi, up to her death scene which confirms our supposition that the movie is not really so much about death than a celebration of life..’yan ang opinion namin…” – Mario Bautista, People Journal 1989

“…Topping Vilma Santos’ showbiz career for 1988 was her winning the “best tv host” title and her tv program Vilma as the best musical variety show from the Star Awards of the Philippine Movie Press Club. Vilma is a constant top rater. Nobody can question the result of the survey for its popularity, because everybody could see the glitter of the show with all the grand seting, artistic costumes, and selected celebrities as guests plus Santos’ vibrance, enthusiasm and untiring efforts in entertaining her audience. The actress is meticulous even in the selection of the color scheme of her costumes. For 1989, Santos promises a much better show for Vilma with more expensive props, more interesting musical numbers and some attractive numbers and novelties to render it a delightful viewing. The actress is now resuming shooting of Pahiram ng Isang Umaga which did not make it at the recently concluded Metro Manila Film Festival due to certain delays, like Ibulong Mo sa Diyos her current movie Pahiram… is supposed to be Regal Films’s first main attraction for 1989. Some of the scenes were filmed in the virgin forest of Botolan, Zambales. The serenity of the rustic place enabled the actress to re-evaluate her life before the New Year sets in. Santos has Gabby Concepcion and Eric Quizon for leading men in the movie. Quizon has admitted that so far this is his most challenging role in his entire movie career. The drama flick is expected to be another blockbuster and will reap acting honors for the actress. She is back with Ishmael Bernal in this movie, the same director who made possible her bagging all the best actress awards in 1982 for the movie Relasyon…” – Eddie O. Libo-on, Manila Standard, Jan 9, 1989 (READ MORE)

“…Koronel is all set to do a film for Viva and we’re sure her fans are all agog about it. Will she be a threat to the throne now occupied by Vilma Santos as “The Actress” to be reckoned with? If we’d make a guess, Lino Brocka’s the right director for the first comeback film of this actress. There’s a certain chemistry between them in the same way there’s an “artistic symbiosis” between Santos and Ishmael Bernal. And speaking of the last duo, we finally got to see “Pahiram ng Isang Umaga” and it’s true what they were all raving about. It’s Vilma’s best to date and we’re willing to bet that she’ll garner another grand slam next year for this movie. Ditto with Bernal. It’s not only an artistic movie; It’s very commercial. Only we should have brought a towel instead of a hankie…” – Nena Z. Villanueva, Manila Standard, Mar 2, 1989 (READ MORE)

“…Eric’s role in “Pahiram Ng Isang Umaga” is the manic-depressive love of Vilma Santos. He was contrapuntal to Vilma’s existence who wanted to prolong her life while he wanted to end his. But the Method Acting-oriented scribes at teh Philippine Movie Pres Club saw in Eric the mere physicality in his attack of the role. No anxiety in the eyes; all overt body movements to the point of the Nora Aunor anxiety-laden eyes. Eric rationalizes; “That was exactly how I was supposed to attack my role according to Direk Ishmael Bernal – overacting at physical level lang talaga. Wala nang pa-anxiety-anxiety pa. All the other major characters in “Pahiram…” were already making lupasay na with heavy emotions. From Vilma to Zsa Zsa Padilla to Vicky Suba to Gabby Concepcion – silang lahat emotionally loaded na. If I do the same, boring di ba? Ayaw ni Direk Bernal na pa-heavy emotion approach for my role. But you know my homework for that role was to watch several English sad movies on tapes and was told to cry with the characers if I wanted to or feel like crying. I felt so stupid talaga, but that exercise paid off I tell you.” If you have watched “Pahiram…,” the scene where Eric has to strangle a Myna bird was such a memorable highlight. Eric recalls; “I had to do an improvisation for that scene. Sabi ni Direk Bernal, don’t plan anything with the bird. Basta you just confront the bird at bahala ka na sa sarili mo. So what I did was to make mura and kind of strangle pero acting lang out of my supposed madness. You know what happened? The day after, nagpakamatay ‘yung bird. Nagtampo siguro ‘yun. Kasi raw ang Myna bird ay very sensitive, di ba? Sayang ‘yung bird, ano?…” – George Vail Kabristante, Manila Standard, Feb 20, 1990 (READ MORE)

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