Tag Archives: Trixia Gomez

Filmography: Mga Rosas sa Putikan (1976)

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Basic Information: Story, Screenplay and Direction: Emmanuel H. Borlaza; Cast: Vilma Santos, Celia Rodriguez, Barbara Luna, Trixia Gomez and Merle Fernandez, Arnold Gamboa, Romeo Enriquez, Sandy Garcia, Monica Morena, Ike Lozada; Cinematography Oscar Querijero; Musical Director George Canseco; Executive Producer: Vilma Santos; Production Company: V.S. Films; Release Date: September 10, 1976 – Video48

Plot Description: No Available Data

Film Achievement: Borlaza gave Vilma Santos her very first best actress, winning the 1972 FAMAS for via Dama De Noche. He is also credited in narrowing the popularity gap between her and the musical era’s darling of the 70s, Nora Aunor.

Film Review: “…His films lack the arthouse style and social relevance that critics loves most in a Brocka or Bernal films but who cares about the critics when the paying public loves them. And the producers demand his service, from Doc Perez of Sampaguita Pictures, Atty. Esperidion Laxa of Tagalog Ilang Ilang Productions and later on, Vic Del Rosario of Viva Films and Lily Monteverde of Regal Films. Clearly, his films exists with one purpose, to entertain the masses not to depress or remind them with the country’s sad fate of economy or the below poverty line lives of many. The success of the Vilma-Borlaza films gave Vilma Santos versatility and preparation to a more serious acting career. It also narrowed the popularity gap between her and the musical era’s darling of the 70s, Nora Aunor. These are perhaps, the most significant contributions of Emmanuel Borlaza to Vilma’s career. Vilma who was considered only second to Nora couldn’t matched her singing talent and so, Borlaza countered this lack of singing with films that showcased Vilma’s acting versatility…” – RV (READ MORE)

“…Sa pagsasaliksik ko ay di ko sinasadyang makita ang mga pamagat ng pelikulang may kaugnayan sa putik. Labing-isa ang nakita ko, at marahil mas marami pa rito. Sa pamagat pa lamang ay kapansin-pansing napakalalim ng kahulugan ng salitang ‘putik’. Halina’t tunghayan ang ilan sa mga ito…Marahil, lahat ng pelikulang ito ay pumatok sa takilya, lalo na’t pawang mga bigating artista ang siyang bida sa mga ito. Kung susuriin natin ang mga pamagat pa lamang, kapansin-pansin ang iba’t ibang kahulugan ng putik. Tayo ay nagmula sa putik dahil nilalang tayo mula sa putik, kung papansinin ang pelikulang “Putik Ka Man… Sa Alabok Magbabalik”, habang sa “Magkumpareng Putik”, marahil ito’y tungkol sa paglalabanan ng dalawang magkumpareng kinulapulan ng putik ang bawat isa. Ibig sabihin, dinungisan ang pangalan at binalewala ang pinagsamahan bilang magkaibigan. Ang mga pelikulang “Mga Rosas sa Putikan“, “Ginto sa Putikan”, at “Dinampot Ka Lang sa Putik” ay marahil tumutukoy sa mga babaeng mahihirap na natagpuan ng mayaman at naging asawa…” – Mga Pagninilay ni Goriong Putik (READ MORE)

“…Then she did Mga Rosas Sa Putikan for her own VS Films where she played a country girl forced into prostitution in the big city. The movie did fairly well at the tills. Good sign…” – Ricardo F. Lo, Expressweek, Jan 19 1978 (READ MORE)

Filmography: Makahiya at Talahib (1976)

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Basic Information: Directed, screenplay: Emmanuel H. Borlaza; Story: Anthony Taylor; Cast: Vilma Santos, Rudy Fernandez, Trixia Gomez, Gloria Romero, Anthony Rodriguez, Romeo Rivera, Rocco Montalban; Executive producer: Cherry Ong; Original Music: Tito Sotto; Cinematography: Oscar Querijero; Film Editing: Jose Tarnate; Art Direction: Gerry Guanlao; Sound: Gaudencio Barredo; Theme song: “Aking Bituin” Sung by Allan Castro; Composed by Tito Sotto; Released thru Vicor Music Corporation

Plot Description: Arturo (Rudy Fernandez) is a convict on the run after being framed for rape. Aurora (Vilma Santos), a sculptress at odds with her overbearing mother (Gloria Romero), falls for him and is convinced of his innocence. When Arturo takes revenge on those who framed him, Aurora helps him plot his escape. This, while her sister Beatriz (Trixia Gomez) has a brief affair with Arturo. – Music & Laughter TV (READ MORE)

Film Achievement:  One of the top box office hit of the 1976 Metro Manila Film Festival (The first film of Vilma and Rudy and the first screen kiss of Ate Vi).

Film Review: “…Her metamorphosis began in late 1976 when she agreed to be kissed by Rudy Fernandez in Makahiya at Talahib. It was a “feeler” of sort and when the public clanked its tongue in obvious approval, Vilma shelved her lollipops-and-roses image and proved that she, too, could be a woman – a wise move indeed because at that time her career was on a down swing and her movies were not making money. Then she did Mga Rosas sa Putikan for her own VS Films where she played a country girl forced into prostitution in the big city. The movie did fairly well at the tills. Good sign. And came her romance with Romeo Vasquez, boosting both their stocks at the box office (their two starrers, Nag-aapoy na Damdamin and Pulot-Gata where Vilma did her own wet style, were big moneymakers). The tandem, although it did help Vilma, actually helped Vasquez more in re-establishing himself at the box office (without Vilma, his movies with other leading ladies hardly create any ripple). In Susan Kelly, Edad 20, Vilma played a notorious-woman role that required her to wear skimpy bikini briefs in some scenes, following it up with two giant sizzlers (Dalawang Pugad, Isang Ibon and Masarap, Masakit ang Umibig) that catapulted her as the newest Bold Queen. Then came Burlesk Queen…” – Ricardo F. Lo, Expressweek Magazine January 19, 1978 (READ MORE)

“…Why Borlaza? Because Emmanuel H. Borlaza is a formula director, a tried and tested moneymaker for local film companies and an example of a commercial success who also hungers for artistic fulfillment. It was Maning Borlaza who directed the box-office hit revival of Darna and Dyesebel, those heroines of less demanding times, and followed of less demanding times, and followed them with more Vilma Santos-Edgar Mortiz starrers…Whether the lure was really Borlaza and not Vilma (as Darna) or Alma (as Eva), one would still not find out in Makahiya at Talahib, the Goodwill production that Maning is directing as a filmfest bet. Vilma is starring, you see, opposite Rudy Fernandez who portrays the man on the run. Maning, however, he has been quoted to have said that “My next 20 years are modestly provided for, I don’t think I will live more than that. Henceforth, I will split my movie work to what I want to do and what the public likes. He wants, it seems, to recover his old self, the Borlaza who filmed Pyscho-Maniac, a suspense thriller which cast Divina Valencia, Dindo Fernando and Ray Marcos and won him the Academy’s best screenplay award in ’68, who packed so much good action in Mindanao, the movie that bagged four statuettes in the Manila Filmfest of the same year, and who directed Vilma Santos’s way to the FAMAS best actress award for the performance in Dama de Noche. And yet, he is not that keen to do films that might suffer the fate of O’Hara’s Mortal or Bernal’s Nunal sa Tubig. “Their box-office results are not encouraging,” says Maning. He admits he still goes a little commercial. That is why there is a love scene between Vilma and Rudy in Makahiya that Maning expects people might be talking about, more than the torrid shots of Rudy and Trixia Gomez. The 41-year old director also wrote the story and screenplay of Makahiya…Nowadays, he even makes two pictures at a time. “I just finished Makahiya and Teatro Manila. It’s cheaper that way. You don’t waste any calendar day. No stars available for Makahiya, we would work on Teatro…” – Chelo R. Banal, Philippine Panorama Magazine, 26 December 1976 (READ MORE)

Filmography: Let’s Do the Salsa (1976)

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Basic Information: Direction: Luciano B. Carlos; Cast: Vilma Santos, Walter Navarro and Rolly Quizon/ with Ronnie Henares, Chichay, Caridad Sanchez, Roderick Paulate, Arnold Gamboa, Winnier Santos, Maribel Aunor and Ike Lozada/ Also Starring Joe Garcia, J. Antonio Carrion, Estrella Kuenzler/ Featuring Trixia Gomez, Fanny & Mari Boquer (courtesy of Cabaret Royale), Raul Aragon, Lorli Villanueva, Eddie Mercado, German Moreno; Story and Screenplay: Bert R. Mendoza; Cinematography: Arnold Alvaro; Music: Doming valdez; Production Company: Lea Productions; Release Date: March 5, 1976 – Video48

Plot Description: No Available Data

Film Achievement: Ranked 64th on Top-US-Grossing Tagalog-Language Feature Films Released In 1976

Film Review: “…Ate Vi thus became the chief opponent of Nora Aunor as the movie queen of the 1970s. Her edge is that she also became the queen of hit disco movies filled with singing and dancing, like “Swing It, Baby,” “Disco Fever,” “Rock Baby Rock,” “Let’s Do the Salsa,” and the movie she did with Latin idol Junior, “Good Morning Sunshine…” – Mario Bautista (READ MORE)

“…I credit Ronnie Henares for discovering me,” said Geleen. “He saw me in a fashion show in Hyatt in 1978. John Gaddi, my first dancing partner, and I were modeling na pa-sayaw-sayaw. I guess natuwa sa akin si Ronnie so he got me into Penthouse 7 hosted by Archie Lacson…I was Vilma’s choreographer for her movies (Disco Fever, Good Morning Sunshine, etc.) and at the same time I was also choreographing for Nora on her show Superstar. When Vilma had her own TV show, she got me as choreographer but I stayed with her for only one month. The network bosses told me that I shouldn’t be handling two superstars at the same time. Nora was on Channel 9 and Vilma was on Channel 13. Because of loyalty, I chose to stay with Nora kasi mas nauna naman ako sa kanya. I was with her for four years na at that time. But first, I talked to Vilma who is a ninang of my son Miggy. I left Vilma with a heavy heart…” – Ricardo F. Lo (READ MORE)

“…Very few probably are aware that Ronnie was once a matinee idol in the music profession. He was the other half of the famous singing duo called The Two of Us. His partner was Jojit Paredes, the cousin of Jim Paredes, who was also a kilabot ng mga colegiala as part of the Apolinario Mabini Hiking Society, now better known as the APO. Ronnie and Jojit were schoolmates in La Salle grade school, while Jim and his then large group were from rival Ateneo…After The Two of Us, Jojit eventually disappeared from the scene (he is now in L.A. married to an American and works as an assistant administrator in a hospital), while Ronnie’s popularity lingered, especially when he and Vilma Santos began dating. Ronnie also joined Penthouse 7 as executive producer/dancer and also part of the group was Ida Ramos, who many years later would become his wife. (Ida Henares now heads GMA Artist Center.) In between, he also hosted his own variety shows on TV, primarily in the Broadcast City stations…” – Butch Francisco (READ MORE)

“…This being Vilma Santos’ 50th year in show business (she started as a child star in 1963 with the dramatic tearjerker, “Trudis Liit”), her loyal fans are perfervidly recalling the highlights of her “golden” acting career…By 1976, Vilma was “going musical” again with “Let’s Do the Salsa,” unveiling the dancing ability that the would land her a long-running hit show on television years later. But, she also made sure to come up with dramas like “Makahiya at Talahib,” and romances like ‘Bato sa Buhangin’…What’s up next for everybody’s Ate Vi? Higher political office, quite logically and obviously. But, we hope against hope that, every couple of years or so, she will continue to gift us with another memorable screen portrayal, to further enhance her already exceptional filmography. She’s simply too good a thespian to surrender completely to politics…” – Nestor U. Torre, Philippine Daily Inquirer, 03 August 2012 (READ MORE)