Those who have seen “Sister Stella L.” in its various previews and premieres nights are one the same in their opinion: it is indeed Vilma Santos’ best screen portrayal in the history of her long moive career! Si Vilma mismo ay inamin sa amin ito: “It is a once-in-a-lifetime movie role na talagang puedeng ipagmalaki ng kahit na sinong artista. Ang tagal bago tuluyang naisapelikula at natapos ang “Sister Stella L.” pero talagang mula nang ialok sa akin ‘yan, hindi na naalis sa isip ko. Kung kani-kaninong producer na nga inalok ‘yan. Like sa Viva noon na akala ko’y matutuloy na, pero hindi pa rin pala. Kaya’t kahit anong pelikula ang ginagawa ko noon, at the back of my mind, talagang nakareserba pa rin ang “Sister Stella L.” Itinatabi ko talaga ko ‘yan. Parang dream role na lagi kong binabalik-balikan. At finally, nang gawin na namin sa Regal, nabuhos na talaga ang buong atensiyon ko, ang lahat ng panahon ko. Ang now, after hearing all the favorable comments about the movie, and siyempre about me and my performance too, talagang tumataba ang puso ko at maha-high ako.
First and foremost, talagang it’s a great honor na makatrabaho ang isang direktor like Mike de Leon. Dati ko na siyang nirerespeto, pero after working with him and making “Stella L.”, lalo pang tumaas ang pagtingin ko sa kanya, First rate talaga!” Vilma recognizes the fact that without Mike’s help, she will not be able to give the right characterization that her role required. “Kaya paulit-ulit ko isyang tinatanong kung tama ang mga kilos ko bilang isang madre,” aniya. “and maniniwala ka ba, I met the real Sister Stella L.!” Nakakataw niya pahayag. Nagulat kami. You mean, sabi namin sa kaya, this is really a true story? Na ang kuwento ng madreng naging aktibista sa pelikula ay talagang ibinatay sa totoong tao? Akala namin kasi ay fiction lamang ito. “From what I heard,” sabi ni Vilma, “may kaibigan talagang madre si Mike na siyang naka-inspre sa kanya para gawin ang pelikulang ito. One day, dumating si Mike sa set na kasama niya. She is very pretty. Sa ganda, parang hindi madre.” Akala mo raw ay isa itong socialite. Ayaw sanang ipasabi ni Vi ang tunay na pangalan nito, pero we personally feel na wala namang masama dahil dapat pa nga siyang purihin sa kanyang prinsipyo. Kaya ire-reveal namin sa inyo ang tunay niyang identity. Her name is Sister Consuelo Ledesma, anak ng pinagpipitaganang si Pura Kalaw Ledesma at pamangkin ng ating current censors chief na si Maria Kalaw Katigbag or MKK. Now, isn’t that a very interesting sidelight of the movie? Ayon kay Vilma, tuwang-tuwa siya dahil naaprubahan ang pelikula nang walang anumang putol. “That means the censors now are broadminded enought to realize na wala namang talagang masama sa pelikula,” aniya. “Noon pa man, sinasabi ko nang ang ipinakikita lang ng movie, ‘yung totoong nangyayari, ‘yung mga prinsipyo lang ng taop ngayon. Like ‘yung mga strikes, manonood ka nga ng newscast sa TV, di ba makakapanood ka rin ng mga ganyan? Kaya I’m really very happy na it was passed without any cuts.
Kung pinutulan kasi, parang makukulangan na ‘Yung pelikula.” How does it feel when people keep on saying na siguradong mananalo na naman siya ng best actress award ss susunod na taon? “Naku, ha,” natatawa niyan wika, “ang layu-layo pa noon. Siyempre pa I’m flattered, pero ayaw ko munang isipin ‘yon. Ang tagal pa bago matapos ng 1984 at maraming-marami pang puedeng ibang mangyari. Malay natin kung marami pang ibang magagandang pelikula ang magawa featuring the equally good performaces ng ibang mga artista? Basta natutuwa ako’t ngayon pa lang, may panlaban na ko. ‘Yong lang.” With her fine performances in “Adultery” and “Sister Stella L.”, marami ngang movie insiders ang nagpapalagay that Vilma can easily rest on her laurels for this year. Sabi pa nila: “Maski huwag na siyang gumawa ng ibang pelikula at next year na uli siya magkaroon ng bagong release, okay lang.
For this year, talagang she has already proven herself.” We Believe similarly, too, but Vilma is apparently not content with just two good movies this year kaya she is on her way to making a third one. She is currently doing “Alyas Baby Tsina” for Viva Films. This time, reunited siya with Famas best director Marilou Diaz Abaya. “It’s a period movie, set in 1969-70 when unrest was at its peak,” ani ni Vi. “We’ve started shooting pero ilang ulit ding na-delay dahil ulang nang ulan, e. Tapos, nagkasakit pa ako for three days.” She will be completely deglamorized in the movie. Ang papel niya ay isang babaing naging puta at nabilanggo sa correctional kung kaya’t nilagyan doon ito ng tattoo. In several scenes, wala siyang make-up at ipinakikitang naglilinis ng kubeta. Clearly, this is another challenging acting vehicles for Vilma. Kaya nga may katwiran talagang magreklamo yung mga ibang artistang babae natin. How come she is getting the best roles in the best projects? What did she do to deserve such a wonderful, enviable fate? Vilma dismisses all these with a simple shrug of her frail-looking shoulders. ” I guess I’m just lucky,” aniya. “Talagang Somebody up there loves me. Wala naman kasi akong atraso sa kanya eh.” The bloom in Vilma these days is unminstakable. Talagang lalo siyang gumanda. And whatever joys and good fortune she is enjoying these days, we are sure she deserves all that bounty. – Mario Bautista MovieLIFE Magazine 1984
It was a sweet sweep for Sister Stella L., the movie which garnered ten of the twelve trophies at stake during Friday night’s 9th Urian Awards rites. The Regal Films production was hailed the Best Fil; Sister Stella L., herself Vilma Santos, Best Actress; Jay Ilagan, Best Actor; Mike De Leon, Best Director; Laurice Guillen, Best Supporting Actress; and Tony Santos, Sr., Best Supporting Actor; Still Stella L’s Jose Lacaba, Jose Almojuella, and Mike De Leon were cited for the Best Screenplay category; Jess Navarro, for Best Editing; Ding Achacoso, for Best Music; and Ramon Reyes, for Best Sound. This is more than enough to compensate for its poor performance at the box office. ECP’s Misteryo sa Tuwa went home with two remaining awards for Best Production Design by Don Escudero and Rodel Cruz; and for Best Cinematography by Rod Ilacad. For his outstanding contribution to the film industry, the Manunuri ng Pelikulang Pilipino bestowed a special award to William Smith for bringing into the country the first colored film laboratory. Some people could use a lesson in courtesy. At his age, Smith, understandably, could harlly walk, speak well or display clarity of thought, therefore, the need for him to read his remark of thanks from a piece of paper. While national artist Lamberto Avellana and veteran actress Mary Walter paid due respect for Smith, a young man seated beside us took note of this and declared, “Pare, ‘yung speech niya binabasa pa niya, o!” Although the presentation ran smoothly and briefly (yes, of long waits and intermission), notable was the marked seriousness about the atmosphere that night. Champoy’s twosome’s (emcee Cherie Gil and Noel Trinidad) efforts to perk up the audience were futile. The Urian show, furthermore, lacked star luster. Several guest stars failed to attend the ceremony as shown by the many vacant seats. Some presentors even had to go upstage twice. Have we suddenly grown weary of awards rites? Even the major awardees were not present to claim their trophies, thus, only Vilma posed for photographers at the end of the show. (Photos: Luis Garcia Jr.)
If we do not act, who will act? If not now, when?
The Plot: Sister Stella L. is the award-winning masterpiece by Mike De Leon. It’s about a nun, Sister Stella Legaspi, who becomes involved in labor strikes after learning about the government’s neglect of the poor and the working class. Her sworn duty to fight for the poor and the oppressed turns personal when her journalist friend Nick Fajardo is tortured and the union leader Dencio is kidnapped and killed. What follows is her eye-opening and the tear-jerking battle against cruelty and injustice. The film broke censorship barriers back in 1984, during the final years of the US-backed Marcos dictatorship, for its realistic portrayal of labor struggles, and extrajudicial killings, hauntingly mirroring the reality of Philippine society today under Gloria Macapagal-Arroyo. – Filipinas for the Rights and Empowerment
The Reviews: Hindi kami nakakilos sa aming inuupuan matapos panoorin ang “Sister Stella L”. Para kaming sinampal, tinamaan ng kidlat right between the eyes. Masyado kaming naapektuhan. Gusto naming sumigaw. Talagang gagalitin ka ng pelikula. Kay raming eksena ang talagang titiim ang bagang mo. Manggigigil ka, magngingitngit ka. At pahahangain ka. Gusto mong sigawan ng bravo, yakapin at suubin ng papuri ang mga gumawa nito. Si Mike de Leon na siyang direktor. Si Lily Monteverde na naglakas-loob na i-produce ito. Ang scripwriters, ang mga artista, at lahat na ng kaugnay sa pelikula. Alam mong itinataya nila ang kanilang kaligtasan sa paggawa ng ganitong uri ng pelikula. At bilang manunulat, naroon ang hangarin mo upang tulungan ang pelikulang ito na mapanood ng lalong nakararaming mga pilipino. ..nang walang putol!
Ang “Sister Stella L” ay kasaysayan ng isang madre, ng isang Pilipino, at ang pagkakamulat ng kanyang mga mata sa mga kaapihang sosyal na nagaganap sa kanyang paligid. Sa pagsisimula ng istorya as siyam na taon nang naglilingkod sa kumbento ng Caritas si Sister Stella Legaspi (Vilma Santos). Guidance counselor siya sa mga taong may problema na tulad ni Gigi (Gina Alajar), isang unwed mother. Minsa’y dinalaw siya ni Nick Fajardo (Jay Ilagan), isang peryodistang dati niyang katipan. May sinusulat itong artikulo tungkol sa mga aktibistang pari at madre. Agad inamin ni Stella na siya’y “walang masyadong alam sa socio-political involvement ng mga madre at pari.” Siya ang ginawang ehemplo ni Nick sa artikulo nito ng mga madreng kulang sa kamulatan. Nag-react dito si Stella at sinabi sa kanya: “ Hindi ba involvement din ang trabaho ko rito sa Caritas?” Madalas ma-depress si Gigi at kay Stella ito sumasandal. Nang minsang sabihin sa kanya ni Stella na kaya niyang dalhin ang kanyang mga problema ay sinumbatan siya nito: “Madaling magsalita. Hindi naman ikaw ang nahihirapan. Paano mo alam, hindi ka naman dumaan sa hirap? Nagbuntis ka na ba? Laging masakit ang suso mo. Nahihirapan kang tumae.” At nang patuloy pa ring malamig si Stella ay sinabi nito: “Bakit hindi ka gumaya sa ‘kin? Nagagalit, nagmumura, nagpapabuntis?”
May kaibigang madre si Stella, si Sister Stella Bautista (Laurice Guillen). Involved ito sa social action work at kasalukuyang tumutulong sa Barrio Agoho, isang factory town, na kung saan ang mga manggagawa sa Republic Cooking Oil ay nagbabantang mag-aklas. Naakit si Stella L. na tingnan ang uri ng trabaho roon ni Stella B. Sa araw ng kanyang pagdalaw sa Agoho ay tiyempo namang pagsisimula ng welga roon. Tuwang-tuwa si Stella B. Sumasama raw siya sa picket line dahil “pag may mga madre at pari sa picket line, nahihiyang pumasok ang mga eskirol.” Sa paglapit niya sa picket ay naabutan si Stella L. ng placard at siya man ay napabilang na rin sa welga. Puno pa siya ng mga katanungan: “Ano ba ‘tong napasukan ko? Anong gagawin ko?” Sabi naman ni Stella B.: “Basta gawin mo lang ang gagawin ko.” Sa paglipas ng oras ay nakausap niya ang mga manggagawang nagwewelga, nakitulong siya sa pagsandok ng kanin, sa paghugas ng plato. Nakilala niya ang lider ng mga welgista na si Dencio (Tony Santos) at ang asawa nitong si Auring (Anita Linda). Nang makita ni Nick ang mga larawang kuha sa welga at kabilang doon si Stella, nasabi nito sa kanyang editor (Liza Lorena): “Kilala ko si Stella. Madali siyang maimpluwensiyahan. Baka kung ano na ang napulot noon sa tokayo niyang radikal.” Nagsimula namang kuwestiyunin ni Stella ang trabaho niya sa Caritas. Binalaan siya ng kanyang superyorang si Juaning (Adul de Leon): “Hindi social action ang linya natin. At tandaan mo ang sabi ng Papa: huwag tayong humalo sa politika.” Sa kanyang mga alinlangan kung tama ang pasiya niyang maglingkod sa Agoho, ito ang payo ni Stella B.: “Paano mo malalaman kung hindi mo susubukan? Hindi ang mga tao ang dapat makinig sa ‘yo, ikaw ang dapat makinig sa kanila.” Dahil sa kanyang karanasan sa Agoho, nasabi ni Stella kay Gigi: “Ang kahirapang nababasa’t naririnig ko lamang ay naging buhay na sa akin. Ako pala’y nangangapa ring tulad mo.” Namulat ang mata niya sa “pang-aabuso sa mga naaapi” at na-touch siya ng “pag-aasikaso ng mga ito.” Aniya: “Sila na ang nangangailangan ay kami pa ang kanilang iniintindi.”
Duda pa rin si Nick sa involvement niya sa welga. Pasulpot-sulpot lang daw siya roon, patulong-tulong. “Kapag nagsawa ka,” anito, “uuwi ka rin sa komportableng kumbento.” Si Stella B. ay kinailangan namang magpunta sa Davao upang tumulong sa isa pa nilang kasamahan doon, lalong nangamba si Stella L. na iiwanan siya nito sa Agoho. “Baka hindi ko kaya,” aniya. Sabi naman ni Stella B. “Puro ka baka, e, kailan mo pa malalaman?” Pinatawag uli si Stella ni Juaning. Sabi nito: “Hindi payag ang kongregasyon sa trabaho mo sa Barrio Agoho.” Sa pagbabalik niya sa Caritas, nagpatiwakal naman si Gigi. Lalong naguluhan si Stella. “Parang bumaliktad ang mundo ko,” aniya. “Marami akong tinatanong. Bakit nga ba ako nag madre?” Sabi naman ni Stella B.: “Madreng lansangan ka pa rin hanggang mamatay ka.” Natuloy ang pag-alis nito, na ang akala’y pinoproblema niya na baka may pagtingin pa rin siya kay Nick. Bilin pa nito: “Kung mahal mo siya, sundin mong feeling mo. Marami namang paraan ngpaglilingkod sa Diyos.” Si Nick ay nagkaroon din ng problema sa trabaho niya. Isang artikulo niya tungkol sa karanasan ni Stella B. sa Isabela na pinamagatan niyang “A Nun’s Story: Military Atrocities” ang hindi pinalathala ng kanilang publisher. “I-rewrite mo,” sabi ng editor niya. “Bawasan mo’ng tapang.” “Ano?” balik niya. “Gawin kong love story?” “Sabi ko, i-rewrite mo, hindi babuyin,” anang editor. Pero sa bandang huli ay nag-give up na rin ito. Tanggapin na raw lamang ang kanilang mga limitasyon. “Hindi lahat ng legal ay makatarungan.” Nagbitiw si Nick sa trabaho niya sa Tribune at lumipat ng pagsusulat sa Malaya.
Nagbalik si Stella L. sa Agoho at naging mas aktibo na siya sa picket line. Nang minsang lalabas ang trak ng mga produkto mula sa pabrika ay siya pa ang nag wika: “Mga kasama, magkapit-bisig tayo.” Samantala’y nagsimula ang pangha-harass kay Dencio at sa pamilya nito. Una’y ginulpi ang anak niyang si Roger, pagkatapos ay binaril ang bahay nila. Ang huli’y kinidnap si Dencio. Nang papaalis na sina Stella at Nick upang humingi ng tulong, sila man ay kinidnap din. Nakita nila ang pagpapahirap kay Dencio. Sila man ay sinaktan din at si Stella ay binastos pa ng mga sanggano. Pinakawalan din sila. Di naglaon, ibinalik si Dencio. Patay na. Sa harap ng mga manggagawa, ipinahayag ng asawa nitong si Auring na tuloy ang welga. Nagsalita rin si Stella at sinabi niya: “Ilang beses akong pinaalalahanan na ako’y isang madre lamang. Pero una sa lahat, ako’y isang tao, ako’y isang Kristiyano.” At isinigaw niya: “Katarungan para kay Ka Dencio. Mabuhay ang uring manggagawa.” Sa last scene ng pelikula’y nagsasalita ng diretso si Stella L. sa mga manonood: “Marami pa akong hindi alam at dapat malaman tungkol sa kasalukuyang kalagayan ng ating sistema ng lipunan. Kailangan pa ‘kong patuloy na mag-aral at matuto. Pero ang mahalaga’y narito na ako ngayon, hindi na nanonood lamang. Nakikiisa sa pagdurusa ng mga di makaimik, tumutulong sa abot ng aking makakaya. Kung hindi tayo ang kikilos, sino ang kikilos? Kung hindi ngayon, kailan pa?”
More than anything else, ipinakita ni Mike de Leon bilang isang socially committed at responsible na director ang iba pang posibilidad ng pelikula bilang art at bilang medium of communication. ‘Yung mga laging pumipintas sa pelikulang lokal at nagsasabing walang kuwenta’t saysay ang mga ito, panoorin ninyo and “Sister Stella L” for it is Filipino moviemaking at its best: aware, concerned, and with a universally relevant message. It also shows that an artistic film can be entertaining and as a matter of fact, is necessarily intellectually entertaining (but an entertaining film is not necessarily an artistic one).
The movie succeeds in delivering its message because all the elements that went into its completion are excellently executed. It is that rare kind of movie which has no false moves. The screenplay is brilliantly developed and constructed by Pete Lacaba, Jose Almojuela (who is also the assistant director), and Mike de Leon himself. The cinematography of Rody Lacap deserves nothing but superlatives and the musical score by Ding Achacoso is served in a silver platter (napakagaganda ng mga awiting “Sangandaan” at “Aling Pag-ibig Pa” na nilikha niya para sa pelikula). The editing by Jess Navarro and the production design by Cesar Hernando also deserve the highest commendation. We cannot help but gush dahil lahat ng aspeto ng produksiyong ito ay maganda.
The movie is sure to elicit all sorts of reactions from various quarters. The bigoted and the narrow-minded will no doubt readily brand it as the work of communists and subversives. The involved will merely find it interesting. But the enlightened will declare it as a socially committed work of art. No doubt that some concerned quarters will be offended. Some of the speeches are so frank and fearless. Dencio says in a May 1st rally: “Ang mga manggagawa ang lumilikha ng yaman ng bansa. Panahon na para ipakita ang lakas ng ating pagkakaisa, na makamtan ng bayan ang tunay na kalayaan. Ang manggagawa ang nagpapaandar ng makina, nagpapalago ng puhunan.” Pero ano ang nangyayari? Tayo ang namamatay sa gutom, ang naghihikahos. Hindi magbabago ang ating lipunan kung uupo lang tayo sa isang sulok at maghihimutok. kundi tayo ngayon kikilos, kailan pa?” Nang mamatay siya, sabi naman ng asawa niyang si Auring: “Noon, ang paniwala ko talaga, gano’n ang buhay, may nasa itaas, may nasa ibaba. May nag-uutos at may nagsisilbi. Pero kung tatahimik ka na lang lagi, ang konting meron ka, aagawin pa sa ‘yo. Patay na nga si Dencio pero tuloy ang welga.” Sabi naman ng anak niyang si Roger: “Kung kikilos tayo, dapat ngayon na. Ngayon pa lang, pinapatay na kami. Kaya mas mabuti pang mamatay ng lumalaban kaysa habang buhay kang nagtitiis.”
To make a film like this comes under the heading “they said it couldn’t be done.” Mike de Leon does it, splendidly. In these days when local film faces such problems as exorbitant production cost, commercialism, lack of an intelligent and responsive audience, and censorship, it is heartening to note that movies like this are still being made. Matthew Arnold said that art and society shape each other so artists should deal with serious subjects of moral and social value. This is exactly what Stella L. accomplished, for it allows the viewer to meditate on life and help him gain some insights. Surely no film is an island entire of itself because each movie is made by several men, but the distinguishable personality of an exceptional director is almost always imprinted on his film. We have never really liked the works of Mike de Leon that much and his movies (like “Itim”, “Kung Mangarap Ka’t Magising”, and “Kisapmata”) seemed nothing more to us as exercises in self-indulgence. Starting with “Kakaba-kaba Ka Ba?” though, he demonstrated a newfound cause in making movies, which is further reinforced by “Batch ‘81”. Now, Stella L., offers the pleasure of watching a director as he is hitting full stride, his craft and competence marching in step with history. His deft hand is quickly evident in the cinematography. There is no imposed prettiness in the photography, no straining for arty effects, but the texture is rich and palpable to validate reality, with the effective use of color-acting on the viewer to reinforce the temper and tenor of the story.
De Leon handles his intimate and delicate material powerfully, persuasively and penetratingly. He not only executes the technical aspects marvelously but also knows how to work with his actors, both individually and in the here all-important ensembles. The crowd scenes are a delight, with some sequences presented with the veristic quality of a documentary, and each scene is played for maximum impact, immaculately crafted and made with care and conscience, with dedication and devotion. If we now sound so much like an avid de Leon fan, it is because Stella L. is the kind of work that makes a reviewer long for new adjectives of praise. One knows very well that de Leon works for reasons other than money. This makes the strength, sensitivity and symetry of his direction deserve the highest praise and the sweet of music of thunderous applause for it is just better than perfect. Local cinema gives us very few occasions to rejoice and this is one of them.
In the large and uniformly excellent supporting cast, Laurice Guillen stands out as Sister Stella B. She is one film director and actress who is really ablaze with talent. As the instrument to Stella L.’s involvement in a much more worthy cause, she imbuesher role with just the right mixture of intensity and charm. Equally memorable are Tony Santos as the beleaguered labor leader, Anita Linda as his courageous wife, and Liza Lorena as the sympathetic magazine editor who is willing to compromise. Gina Alajar is very effective in a very short role as the unwed mother. In the male lead role, Jay Ilagan proves once more that he is indeed one of our most competent young actors available.
And now, Vilma Santos. Playing the title role, Vilma tries a part that is totally different from her past roles and proves that she has indeed become a highly skilled professional. Her role is somewhat reminiscent of Audrey Hepburn’s in Fred Zinnermann’s “The Nun’s Story”, where a young nun discovers in a hospital at the Congo that she is first a nurse and only second a religious. But Stella’s awakening is much more vital and revolutionary than that of Sister Luke in the Hepburn movie. Vilma’s transformation from an innocent bystander to that of an active participant who is audacious enough to be in the thick of battle is truly quite awesome to behold. We could almost see and feel the internal changes in her. In a sense, the role is somewhat tailor made for her because her beauty is appropriate to the part of Stella L., but she also succeeds in transcending her established personality, delivering her lines and gestures with vigorous conviction and playing it to perfection that one can safely predict that she will again be running in the best actress derby come next year. And so, to Vi, Mike and Mother Lily, our heartfelt gratitude for giving us a film that has the power to cause insomnia. – Mario E. Bautista (READ MORE)
Must the ability to entertain the audience be the constant guiding criteria in the film and in the performing arts? While certainly, one does not minimize the importance of the entertainment function of the arts, the film Sister Stella L shows that it is not much the ability to entertain that is crucial as the ability to stir and maintain interest. For, as in this film, one cannot really say that the audience is entertained, regaled with spectacular sights, provided a pleasant diversion or titillated by teasing or amusing scenes, but the audience is invited, through the skills of the performers and director, to engage in immediate issues which concern us today. This film thus poses a challenge to our usual notions and expectations of Philippine cinema, as it is not a romantic or domestic drama, a comedy or an action film. The fact that such a film as this appears at this point implies a belief in the development and maturity of the local audience who can, at least from the responses of previewers so far, be receptive to harder stuff.
Sister Stella L deals with the contemporary social issues through the experience of various characters, among them Sister Stella L (Vilma Santos) and Nick, her former boyfriend now a journalist (Jay Ilagan), Sister Stella B (Laurice Guillen), the union leader Ka Dencio (Tony Santos) and his wife (Anita Linda). Again, the film differs from most productions nowadays in its immersion in contemporary social reality. The characters, too, possess a strong active aspect of people engaged in a meaningful cause, the people’s struggle for social justice. The nun that Sister Stella B portrays typifies in her strength and honesty the person who has gone beyond purely personal and selfish concerns to embrace the larger role of service to the people. No doubt, it is a refreshing and exhilarating experience to see characters who realize themselves fully as human beings by transcending petty selfish interest and giving of themselves to people in need of support and protection. Because of this, the spirit of the film is highly optimistic and reassuring because it makes us strongly aware of the forces in our midst working for change and of the fact that history is moving forward with these forces assuming the active role.
The central issue of the film has to do with the involvement of religious like Sister Stella L and her senior, Sister Stella B, in socio-political affairs. We know, for instance, that one point of view will have priests and religious secluded behind convent walls where their activity is restricted to praying. They are to have nothing to do with life around them as social and political concerns are thought to corrupt their purity and bring in wordly moral dangers and temptations. Or that priests and religious should remain apolitical, not taking sides in socio-political issues, but as men of God, considering all men as brothers who will, in the end, become docile and receptive to preachings of love and unity. The other point of view believes that it is not as simplistic as all that. In fact, it believes that the adoption of a neutral attitude can only serve to dull one’s moral sensibilities and because one shirks from making moral choices, one also renouces one’s responsibility as a human being. In truth, it is of utmost importance, perhaps particularly so for religious, to have a fine and acute sense of moral discernment as applied to social relations, in which the idea of truth and justice operate. The religious who makes grand sermons on love and unity may not himself understand the meaning of truth and justice, because love and unity do not exist in the abstract but are social ideals possible of attainment – only and only when exploitative relationships are destroyed. Otherwise, one contents oneself with hypocrisies. What for instance, would be the love of the rich factory owner intent on profits for the worker, and vise versa. Workers’ wages are only to keep workers alive and in a measure of health for him to have enough strength to operate the machines of work in the fields. Is it enough for factory owner and worker to meet in church and perhaps occupy the same pew – or will religious feel sufficiently edified at the sight? But priests and nuns are citizens of this country as much as any of us and are thus part of the body politic in which they have the right to take active part. Likewise, they are as human as anyone else, and as human beings, they have the drive toward concreteness and totality realized only in social interaction. The Church, too, cannot afford to take a position of alienation and withdrawal, because by doing so it will only continually lose its influence in a time of urgent and pressing realities; otherwise, it will only end up as an outmoded medieval institution. The Church is continually called upon to make moral decisions, and it is through these that the people will know whether it truly supports their cause or whether it only acts as a liaison for exploitative interests.
In the film, for instance, there is a conflict between Sister Stella L and her superior who wants her to stay in the convent to act as guidance counsellor and not to engage in labor activities in Barrio Agoho where a strike in an oil factory is taking place. For a while, she obeys her superior to be spiritual adviser to an unwed mother, portrayed by Gina Alajar, who, however, throws her back the question of what does she know at all, as a nun, of human suffering. The task of counselling this individual soul lost in her private hell is fruitless and Gina eventually commits suicide, which serves to show the nun the narrow limitation of such a task. Sister Stella L henceforth knows that she must make the choice of the larger and more challenging field of the workers in struggle. It is also important to note that Sister Stella B tells her fellow nun that although her immediate superior may not approve of her social participation, it is possible that higher superiors will – thus showing that such is still possible within the fold of the congregation. Also, at one time, there arises the question of whether Sister Stella L will stick it out as a religious or continue her activities outside the convent. Upon consultation with her friend, Sister Stella B, she decides to carry on the struggle as a nun, and by so doing, show the importance of such a function for her fellow religious, as well as its validity as a position within the religious orders.
The central event in the film is the strike of workers in an oil factory in Barrio Agoho where nuns show their support for the workers by participating in the picket, thereby lending valuable protection. The factory owner (Ruben Rustia) sends goons to harass the picket line, and makes use of the military, which readily lends itself to protect the minority interests of wealthy property owners against the majority interests of the workers. When the strike continues despite inclement weather and hunger, the factory owner resorts to kidnapping the union leader, Sister Stella L, and her journalist friend. All are maltreated and tortured, but the old union leader is finally “salvaged” and thrown into a dump. In the confrontation between the factory owner and Sister Stella L, the former shows himself to be hostile to the workers and to the participation of the nuns: “Kung pati ang mga madre ay nagpapagamit sa mga Komunista, mabuti pang magbago na lang ako ng relihiyon.” To which the nun answers: “Mabuti na ngang magbago kayo ng relihiyon upang hindi parehong Diyos ang sambahin natin.” The murder of the union leader, Ka Dencio, only lends more fuel to the workers’ resolve to continue the strike, which is now led by his wife, with the militant participation of Sister Stella L. The latter’s exhortation to the workers – and by extension to the audience – to engage in the struggle ends the film.
A secondary theme is the issue of press freedom, which is explored, in the first-hand experience of Nick, the young journalist. He writes a series on the politicization of the religious and their active participation in mass actions. In the beginning, his motivations are somewhat confused – and this his editor points out clearly to him – because he may be using this as an excuse to follow and communicate with Sister Stella L, who used to be his girlfriend. The journalist, however, understands the futility of the religious confining themselves within convent walls and poses the challenge for involvement. Sister Stella L takes up the challenge – in fact, the journalist’s articles contribute to her politicization. When she gets more and more involved, he becomes protective and anxious for her safety. His articles on the subject barely squeeze through censorship and he experiences increasing difficulty in getting published. Sister Stella L and he are kidnapped by goons and they are physically assaulted even as they witness the torture of the union leader. Instead of intimidating them, the experience completes their politicization and in the end Sister Stella, militant and committed, finds her true social role.
Because this movie deals with issues, it has more than the usual amount of dialogue compared with other films. This, however, does not work against it. Since what is talked about is drawn from the very stuff of social reality and thus concerns a large number, it is able to sustain interest. Too much dialogue would be a defect if it dwelt on banalities or inanities or if it narrated incidents rather than portrayed them. In this case, dialogue is necessary for the exploration of issues, as well as for the portrayal of how the characters reckon with ideas and develop in their social consciousness. The audience is not bored provided the things talked about in the film have a bearing on their lives. Filipinos, after all, are a talky lot (think of the large amounts of time spent in coffee shops over coffee or beer). Moreover, these are talky times, because the larger public is rapidly developing critical awareness, and there is now a greater need for interaction and exchange in the interest of survival. There are references in the film which may, at first, seem extraneous, such as Sister Stella B’s mission to Davao where she joins a fact-finding group. However, such references serve to extend the “area of responsibility,” if we may borrow the expression, from Manila to the far-flung provinces. Thus, the unity of the film is not only in the events that engage the characters in Manila but also in a larger over-all spirit of solidarity in which vibrations of sympathy throughout the islands give strength and comfort to those of a common cause. For a heart-warming film, the entire cast deserves congratulations, particularly Vilma Santos who reveals another aspect of her multi-faceted talent. From her usual soft and sweet romantic roles, she can be transformed into a strong and militant woman without losing any of her charm and beauty. Jay Ilagan, Tony Santos, Anita Linda and Liza Lorena are also in their best form. Mike de Leon as director, Jose F. Lacaba as scriptwriter are likewise to be congratulated for making a truly human film and for contributing to the cause of workers for justice and of the religious for the recognition of their social role. Not to be overlooked is the producer Lily Monteverde of Regal Films who has this time shifted from puerile erotic dramas to make a courageous film for which she will always be well remembered. – Alice G. Guillermo, Who Magazine May 30, 1984 (READ MORE)
THERE WOULD HAVE BEEN two important Filipino films in this year’s prestigious Cannes Film Festival: Sister Stella L., directed by Mike de Leon and Kapit sa Patalim, directed by Lino Brocka. Both smuggled out to France and both vitally political in thrust, the two films were reportedly disowned by the Philippine embassy in France. Supposedly under instructions from the Philippine goverment, the embassy sent the following disclaimer to the festival directorate: “There are no Filipino films in the Cannes Film Festival.” The two films nevertheless made it to the festival site, though only one was screened as scheduled. Brocka’s film was in the category “In Competition,” and was tested against the works of such eminent directors as Werner Herzog, Wim Wenders, and Satyajit Ray. Early on, Kapit sa Patalim (which acquired a second title, Bayan Ko, in deference to another film project which had been approved before Brocka’s project) was rumored to be a strong contender for the Best Film award. Critic Bertrand Tavernier was quoted as saying, “It’s a toss-up between Wim Wenders’ Paris Texas and Brockas’s Bayan Ko.” De Leon’s film was to have had special screenings, on the unanimous request of the Cannes’ board of critics. Sister Stella L., however, suffered from the rush of subtitling work that descended upon Cannes’ select group of translators and De Leon opted not to show the film without subtitles. He nevertheless had the distinct honor of holding a retrospective under the sponsorship of the French Cinematheque right after the festival. The film eventually competed at the Venice Film Festival. Under its original title Sangandaan (Crossroads), Sister Stella L. was invited to the Venice Film Festival in 1984, the second Filipino film (after Genghis Khan in 1951) to be honored with such recognition. – – Agustin L. Sotto and Pet Cleto, Philippine Panorama Dec 02 1984 (READ MORE)
“…Sister Stella L is undeniably, an angry film. It reeks of the pungency of a dictatorial regime and immersed in the canker of political and social repression. It is Jose F. “Pete” Lacaba’s film more than it is Mike de Leon’s. It is ideologically furious and liberalistic that you might surmise the film as left-leaning rather than simply a hard nudge at the Marcos government. Interesting to note of Lacaba’s background in the underground movement after the imposition of Martial Law in 1972, which, as most of the intellectually enlightened ended being rounded up by the military, thus his exclamation is compellingly evident in Sister Stella L…in the film’s first minutes, we witness a kind of relevancy we could not deny exists nowadays: the separation of the Church and the state, particularly on affairs that have a lasting effect on the people. “Hindi ang mga tao ang dapat makinig sa yo, ikaw ang dapat makinig sa kanila” (“The people should not be the ones listening to you, instead, you should be the one listening to them”), Sister Stella Bautista quietly ripostes, summarizing the supposedly inherent role of the laity in its profession of faith and service. A reversal of such an adage practically prevails in the Church’s current social rearings, despite the invisible boundary. But is activism a justification for the intrusion? Probably dependent on the circumstances. The motivation is noble and not of selfish traditionalism, that the film likewise bestows the necessity of religious congregations to act as a force to mobilize. Maybe the film is too radical in its approach, and frankly, Mike de Leon would possibly agree to that. Like most people would notice, Sister Stella L. is undoubtedly, not a Mike de Leon film. He has a hand in its production, but it is certainly not his. It has all the footprints of Pete Lacaba firmly planted in, from its conception to structure, similarly like what he did with Lino Brocka’s hard-line Bayan Ko…Kapit sa Patalim (1985) and Orapronobis (1989).” – Etchie (READ MORE)
“…In Mike de Leon’s “Sister Stella L,” Vilma Santos plays Catholic nun Sister Stella Legaspi. Searching for meaning behind the words in the Bible that teach people to serve the poorest of the poor, she is led to the picket line of striking workers. Gradually, she begins to see her role as a Christian to be amongst the poor and the oppressed in society. Eventually, the management (and military?) try to break the strike through terror and torture, something that is happening to this day. Different strategies of the strike are debated as well as the “sides” between the workers and capitalists. Although there is a simplistic framing of the “evil capitalist,” the issues raised by the union leaders ring very true today, especially in this economic crisis. No Filipino movie could be complete without a love story, or at least the background of one which thankfully doesn’t dominate this movie. Vilma Santos shines as the unsure but strong-willed nun in the beginning to a militant defender of the people by the end. It is a similar role she plays 18 years later in “Dekada ’70.” The movie ends in an almost-cheesy PSA but the message is clear and bold coming out after the Ninoy Aquino assassination. “If we do not act, who will act? If not now, when?…” – Identity & Consciousness (READ MORE)
“…Nearly a day after watching Philippine President Gloria Macapagal-Arroyo’s deliverance of the State of the Nation Address (SONA) in Manila, Filipinos in New York, unconvinced by Arroyo’s speech, gathered for a in-door forum to discuss “the REAL State of the Nation Address” (SONA) at the BAYANIHAN Filipino Community Center followed by an outdoor march along Roosevelt Avenue in Woodside, Queens. Amongst the special guest speakers at the forum was none other than the real-life inspiration for the 1984 Filipino film “Sister Stella L” featuring actress Vilma Santos, Mother Mary John Mananzan…Aside from serving as the Chairperson for the Association of Major Religious Superiors of the Philippines (AMRSP), Mananzan has the distinguished title of Chairperson Emeritus of GABRIELA Philippines, the largest federation of women’s organizations in the country working for fundamental economic and social reforms. While in New York, Mananzan was happy to be joined by fellow members of Filipinas for Rights and Empowerment (FiRE), one of only a handful of Filipino women’s organizations in the US that are also members of GABRIELA-USA….” – Anakbayan New York-New Jersey (READ MORE)
“…When “Sister Stella L.” starring Vilma Santos was shown in 1984 by Regal Films, it was up against Viva’s new Sharon Cuneta komiks mo-vie, “Bukas Luluhod ang mga Tala,” which clobbered it at the box office. Although it didn’t succeed at the box office, “Sister Stella L,” the story of a sheltered nun who becomes an activist, withstood the test of time. It won many awards and has been constantly praised through the years for being an excellent example of socially relevant filmmaking. Last Friday, the UP Film Institute (the haven of pornographic gay films) did something right and paid tribute to â€œSister Stella Lâ€ on its 25th anniversary. Ate Vi, now Gov. Vi of Batangas, was candid enough during the open forum that at the time she did the movie when she was about 28 years old, the political issues that were delineated in the film (made at the time that the protest rallies against the Marcos regime was raging after the murder of Ninoy Aquino) were not really that clear to her. “Hindi ko pa talaga ganap na naiintindihan ang mga sitwasyon noon,” she says. “Basta ginawa ko lang ang pinaaarte sa akin ng director naming si Mike de Leon. But now, I’m more aware of the conditions shown there. Talaga ngang relevant pa rin up to now ang “Sister Stella L.” dahil ang mga sitwasyon na pinakikita roon, lalo na ang labis ng kahirapan ng mga manggagagawa, nangyayari pa rin hanggang ngayon sa ating paligid. It was only when I ran for mayor in Lipa City that I came to understand what “Sister Stella L.” was all about. Kaya proud akong kahit hindi maganda ang naging resulta nito sa takilya, heto’t patuloy pa rin siyang pinupuri at pinararangalan ng future generations. Hindi gaya ng ibang movies na nakalimutan na. I’m really proud na sa career at buhay ko, nagkaroon ako ng chance na gampanan si “Sister Stella L.”. Hanggang ngayon, gaya ng tauhan doong si Ka Dencio, marami pa rin tayong kababayan na naghahanap ng katarungan. Sabi nga sa movie, “kung hindi tayo ang kikilos, sino ang kikilos? Kundi ngayon, kailan pa?” In the panel discussion that preceded the showing of the film, the resource persons aside from Gov. Vi were Mother Lily Monteverde (the film’s producer), Pete Lacaba (the film’s scriptwriter), Laurice Guillen (who won best supporting actress for her role as the other Sister Stella in the film), production designer Cesar Hernando, and critics Mario Hernando and Roland Tolentino, with Prof. Ed Piano as moderator who cited Gov. Vi’s numerous accomplishments…” – Mario Bautista, People’s Journal March 25 2009 (READ MORE)
Paano malalaman kung magiging malakas sa takily ang isang pelikula? Isa sa mga sukatan ang premiere ngiht. Hangga’t maari’y ayaw ng ibang produser na magpa-premiere night. Usually kasi, may nag-iisponsor nito, at sa kanila, sa charity – kung tutoo mang sa charity – napupunta ang bayad sa takilya. At siyempre pa, dahil premiere night ekstra ang halaga ng tiket, P25 sa orkestra, P50-100 sa balcony at loge. Bukod sa malaking kawalan din yon sa produser sa regular run ng pelikula, puewede pang mapintas-pintasan ito, at pag kumalat iyon, bagsak ang pelikula! Sa isang dako, kung gustong makatulong ng produser sa charity, at kung sampalataya siya sa kanyang pelukula, mainam magpa-premiere night para higit na maipaalam sa lahat na maganda ito. Iyon ang nasa isip ni Mother Lily nang ipa-premiere night ang “Sister Stella L.” sa Rizal theater sa Makati. Umbrella organization ng mga madre ang nag-isponsor ng premiere night, dalawang screening iyon. Umuulan nang gabing iyon, pero dagsa pa rin ang mga tao. Siksikan. Gayunpama’y disiplinado. Marami rin kasi sa mga ito ang mga madre. Kung karaniwan nang umaasa pa rin sa walk-in ang ibang nagpapa-premiere night, iba naman ang nangyari sa “Sister Stella L.”
Bago pa ang first screening, dakong alas sinko-medya, sold out na ang tiket. Nakikiusap na talaga ang mga hindi nakabili ng tiket na bibili sila, pero ubos na. Dumating doon ang ina ng tunay na Sister Stella L. “No, my daughter is not an activist, she only wanted to help the needy,” sabi nito. Sa kasalukuya’y nasa abroad daw ito, nagtungo roon pagkaraang lumabas mula sa pagkaka-detain ng 11 months sa isang militar camp. Mula sa siyuting ng “Alyas Baby Tsina,” dumating si Vilma Santos. Kagulo sa kanya ang mga tao sa lobby. Magkasabay na pumasok sina Gina Alajar at Michael De Mes, at naisip namin, mali nga ‘ata ‘yung balitang nagkahiwalay sila. Very, very successful ang premiere night na iyon. Katunayan, gusto pa itong masundan ng isang labor sector, tumanggi na lang si Mother Lily. “They will give me raw three hundred thousand, but I said no. Paano naman ang regular run ko?” – Bibsy Estrella, Photos: Peping Mendiola
Unprecedented Stella L PremiereKung ang batayan ay ang premiere night ng Sister Stella L na ginanap sa Rizal theater noong June 22, sigurado nang dudumugin nang masa ang pelikulang ito ni Mike De Leon kapag regula showing na ito sa commercial theaters. Talaga namang very, very successful ang nasabing premiere night at ayon nga sa mga nakakaalam, never in the history of local cinema na ang isang pelikula’y dalawa ang screenings sa premiere showing at parehong SRO. Obviously, maraming A-B crowd nung gabing ‘yon, tulad ng grupo ni Chona Kasten na namataan namin, pero marami ring mga manggagawa at mga miyembro ng iba’t ibang sektaryang pang relihiyon. Ang nag-isponsor ng premiere night na ‘yon ay ang The Organization for the Promotion of Church People’s Right/Response (PCPR). Ang Sister Stella L na pelikula ng Regal Films ay ipapaplabas umpisa sa July 14. – (Photos: Tess Evangelista). Movie Flash July 12 1984
Kampanerang Kuba started with Andang (Vilma Santos), a hunch back bell-ringer running away from the people in the market. She was accuse of stealing. When she got back from the church (where she lives and work), she was confronted and physically assaulted by Tateng (Celia Rodriguez) for no justifiable reason. Thankfully, Father Damian, the old sick priest intervened. He has long been her protector. Andang felt sad when she found out that Father Damian is leaving. On his absence, a young priest, Father Agaton (Edgar Mortiz) will take over. Aside from ringing the bell, Andang clean and feed the piglets (owned by Ellen and Tateng, they are the church’s caretakers). She normally eats with her bare hands while talking to her patron saint, Saint Martin. She talks and treats the idol along side the church’s bell towers like they are humans. Meanwhile, Tateng, the daughter of the head caretaker, Ellen (Patria Plata), is a sex maniac who loves to abuse Andang. She also seduce men in exchange of material things like jewelry.
One time Andang caught Tateng having sex with Crispin (Dindo Fernando) inside the church, when Tateng found out that she was around, she physically abuse her. Then the following day, while feeding the piglets, Tateng verbally abuse her. Andang retaliate and the two had mud-wrestling inside pig pen. Tateng’s mother Ellen was about to join the fight when Father Agaton arrived and intervened. The next day, a group of women arrived and accused Tateng of accepting gifts from their husband that they own. When Tateng overheard the loud complaints, she quickly went to Andang and pretended she wanted to make amends and gave her a necklace. When the group of women finally faced Tateng, she lied and told them to look for the jewelry at Andang.
The women then went to Andang and accused her of stealing. Afraid of her safety, Andang went to the church’s roof telling them that if they will not stop, she will jump. Tateng convinced Andang not to jump and that she is her friend. The trusting Andang came back and was welcome by the women with physical assaults. They tied her down with a long rope and dragged her on the ground until Crispin, who riding the horse (where Andang was tied down) reached the town’s mountain hill where he threw Andang’s lifeless body. When Andang miraculously regained consciousness, she was seen talking to her patron saint, Saint Martin. He blessed her and was able to bring her back to the church. There, she was blessed by the Virgin Mary. A holy miracle happened, flower petals falls down from the sky and holy lights beams Andang. She slowly changed from the ugly hunch back girl into a beautiful woman. As turned out she became Sandra Belmonte. A woman long gone and who were once the topic of town gossips. Sandra’s two sister found her into the church the next day. Surprised and very thankful, they brought her back to their big home. Andang now assumed the identity of Sandra. Sandra as it turned out has suitor, Roel (Ernie Garcia) who she didn’t like. She also discovered that she missed her life as Andang and now sure that she is in love with Father Agaton.
Can’t control her feelings anymore, she went to the church for the Catholic ritual of confession. And with Father Agaton, she confess her love for him. Tateng overheard this, and coerced the priest to have sex with her in exchange for her silence but failed. In retaliation, she spread this information to the town’s people. Headed by Tateng’s admirer, Max Alvarado, the priest was confronted by the angry people. The priest denied the affair. The town’s people decided to tied the priest into a post and burn him. This is because the priest doesn’t want leave the church. When Sandra who was with Roel, discovered what was happening, she luckily escape madness and went inside the church to pray to Saint Martin. Her pray were answered by the sudden ringing of the church’s bells followed by a loud thunder. It started to rain killing the fire and saving the poor priest. It was a miracle. Tateng’s sinful mind cleared and she ask Father Agaton’s forgiveness, who gladly obliged. Father Agaton then search for Sandra when her suitor Roel appeared. They both went to the church tower and saw Andang instead. The end.
Kampanerang Kuba’s convoluted long story maybe attributed to the original comics material written by Pablo Gomez. A good director should iron out all the unbelievable plots specially all the one-dimensional characters. For example, Celia Rodriguez character, Tateng. She is so masochistic that viewer might wonder why she is so mean. Also, with her tower-nesque beauty, why she decided to remained in a town where everything seems to be so trivial and everyone seems loves to gossip, even the men. Nilo Saez (with Jose Flores Sibal wrote the script) failed miserably in this regard. Shot in Nagcarlan Laguna, Kampanerang Kuba showcased the old Filipino beliefs in patron saints, religious rituals and miracles. It also demonstrates that people can be so cruel, can passed judgement, and can asked for forgiveness that quick when confronted with truth. All will be forgiving without taking into account all the harm that they have done. In the real world, these people will be punished. Celia Rodriguez seems to be wooden in so many scenes but equally infuriating when she started to do her verbal and physical abuse of Andang. With limited dialogue, a young Dindo Fernando portrayed Tateng’s lover convincingly. All the other supporting roles including Perla Bautista, Ernie Garcia and others gave forgettable performances. About the two main lead, Edgar Mortiz and Vilma Santos, both did what they can to portrayed their respective roles. Edgar Mortiz seems to be trying very hard to be effective as the priest but acting is clearly not his forte. Would this be different if Jay Ilagan did this role? Vilma Santos succeed more with her solo scenes, talking to the patron saints and the bell tower, eating with her bare hands and trying to beautify her ugly face. She appeared to be gearing up for more versatile roles that requires her not to sing but to act. – RV
Basic Information: Directed, screenplay: Tony Santos; Story: Rose Reynaldo, Tony Santos; Cast: Vilma Santos, Edgar Mortiz, Ike Lozada, Perla Adea, Rommy Mallari, Tony Santos Jr., Baby De Jesus, Janine Frias, Len Gutierrez, Angge, Dencio Padilla, Vic Pacia, Ben David, Eddie San Jose, Rosa Aguirre, Nita Carmona, Tony Dantes, Romy Luartes, Miguel Lopez, Jerry Reyes, The Peoples Worry Combo; Executive producer: Experidiun Laxa; Original Music: Freddie Delgado; Cinematography: Ben Lobo
Plot Description: No Available Data
Film Achievement: No Available Data
Film Review: “…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)
“…Noong Dekada ’70, ang mga young stars ay kailangang marunong kumanta dahil yun ang uso kaya naman nagtayo ng sariling recording company ang nasirang manager ni Vi na si William Leary dahil ayaw niyang pahuhuli sa uso ang kanyang alaga. Ilan sa mga naging recording artists ng WILEARS RECORDS bukod kay Vi ay sina Edgar Mortiz, Ed Finlan, Sahlee Quizon, Hilda Koronel at Esperanza Fabon. According to Vi, kapag nagrerecord siya ng kanta ay nakatalikod siya sa dingding ng recording company at si Bobot ang umaalalay sa kanya. Ang SIXTEEN, na sinulat ni Danny Subido ang unang recording na ginawa ni Vi at ito ay flipsided by It’s So Wonderful To Be In Love. Ang SIXTEEN ay agad naging gold record at dahil dito ay gumawa ng pelikula ang Tagalog Ilang Ilang Productions, ang home studio ni Vi at ito ay ginawa nilang pamagat katambal si Edgar Mortiz. Hindi nyo naitatanong, muntik nang manalo si Vi bilang most promising singer sa AWIT AWARDS noong early ’70s…” – Alfons. Valencia (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)
“…Si Edgar Mortiz ang unang nakapareha ni Vilma Santos as a teen star. Nakilala sila as the “Subok na Matibay, Subok na Matatag” loveteam called Vi and Bot at naging magka-steady sila sa tunay na buhay. Marami silang ginawang pelikula as teen stars in the early 70s…” – Showbiz Portal (READ MORE)