Magkaribal is 36 (Videos)

FILMS - Magkaribal 6

Released Date: August 17, 1979

Plot Description: A story of a woman whose closest friend became her worst rival. They were once very close to each other-almost like sisters. She even confides all her troubles and heartaches to this friend. Later, she sensed some changes in her friend’s attitude towards her which became obvious when this friend of hers tried to outshine her in everything. She tried not to mind this but worse came to worst when she discovered that the other woman in her love one’s life is the very same friend thus a never-ending conflict arised. It stars: Vilma Santos, Christopher de Leon, Alma Moreno. – Trigon Video

Special Film: Manila By Night retitled City After Dark

City After Dark, originally titled Manila by Night, is a 1980 drama film directed by Ishmael Bernal. Released at the height of the Marcos regime, the film uncovers the other face of Manila by depicting the ugly aspects of life in the city – unemployment, prostitution, drug addiction, and lack of decent housing. Considered as one of Bernal’s masterpieces, it is an epic multi-narrative of people who have shady pasts and are trying to exist in an unforgiving world. The film’s events take place in the course of one night, involving various protagonists and the city itself. William Martinez plays a folk singer from a rich family who becomes addicted to heroin through the influence of lesbian pusher and pimp, Cherie Gil. Martinez’s mother in the movie, played by Charito Solis, is herself a reformed prostitute who, like Lady Macbeth, is obsessed with cleaning her hands to remove the dirt of her past. She does her best to be respectable after marrying an ex-cop played by Johnny Wilson. Meanwhile, Cherie Gil’s character is in love with a blind masseuse, played by Rio Locsin, with two illegitimate children. Locsin lives with Jojo Santiago, whose character fantasizes of earning American dollars while working in Saudi Arabia. Another character, portrayed by Alma Moreno, is a nurse who, in reality, is a call girl. Her live-in taxi-driver lover, played by Orestes Ojeda, is fooling around with a waitress played by Lorna Tolentino, who is the presumed girlfriend of a gay couterier played by Bernardo Bernardo. As dawn breaks over the city, the bizarre lives of the characters of Manila’s nightlife seem like an alter-ego of the respectable, busy daytime world. – Wikipilipinas (READ MORE)

Ishmael Bernal (1938–1996) (30 September 1938 – 2 June 1996) was an acclaimed Filipino film, stage and television director. He was also an actor and screenwriter. Noted for his melodramas particularly with feminist and moral issues, his 1982 film Himala (Miracle) is often cited as one of the greatest Filipino films of all time. He is a National Artist of the Philippines. – Wikipedia (READ MORE)

Source: Pelikulapinoy101

Special Film: Pagputi ng uwak Pag-itim ng tagak

Pagputi ng uwak…Pag-itim ng tagak (1978) It is the 1950’s at the height of the Huk (local Communist armed forces) movement, in a part of the country beset with agrarian unrest. During the town fiesta of Santa Ines, Julie Monserrat is introduced to Dido Ventura and Maestro Juan Roque, an old musician. Julie, an orphan who comes from the local aristocracy, is on vacation from school in Manila, and is staying with her two spinster aunts Beatriz and Miguela. Dido Ventura, a young man from a poor family, lives with his mother who nurses an old grievance against the Monserrats; she believes they grabbed the Ventura’s property. Maestro Juan Roque, a well-known composer and violinist, has just returned to Santa Ines to finish a zarzuela he has been planning to write for a long time. Dido falls in love with Julie at their first meeting. One night, he sneaks into the spinsters’ house and spends a passionate night with Julie. The brief liaison leads to their elopement. When the two lovers return to ask for the aunts’ blessing, Julie is made to choose between a life of poverty and uncertainty with Dido, or a life of comfort and respectability with her aunts. Julie chooses to stay with her aunts. Dido is shaken by the turn of events. He meets Cristy, his girlfriend, who insults him for the embarrassing situation he has gotten himself into. Dido turns roughly against the girl and beats her up. Cristy’s brother finds out about this and challenges him to a fist fight. Dido kills Cristy’s brother. Cristy’s father, who is the town mayor, decides to dispose of Dido immediately. But when his secret police nab Dido one night, the jeep taking them to Dido’s execution is ambushed by a band of Huk rebels led by Kumander Salome, Dido’s uncle. Saved, Dido decides to join his rebel uncle in the mountains. Meanwhile, Maestro Roque, on a visit to the spinsters’ old house to talk about Julie’s violin lessons, finds out that Julie is actually his own daughter by one of the Monserrat sisters now deceased. Julie herself is pregnant with Dido’s child. The old musician’s visit to her house and the ensuing revelatin make he decide to keep the baby. Maestro Roque arranges for Julie and Dido to meet again. On the night of Good Friday, Dido leaves the rebel camp to see his newborn child. Kumander Salome decides to go along with the young man. Government spies learn of this and an ambush is set. The child of Julie and Dido is the only survivor and witness of the masscre that ends the film. – Rosauro de la Cruz (READ MORE)

“…Furor is really an understatement. “Burlesk” swept the awards in that year’s MMFF, resulting in a controversy that led to the wholesale return of trophies. In spite of the scandal, “Burlesk” is still regarded by critics as the “quintessential” Filipino film. “Hinamon ni Brocka si Tinio ng suntukan (Lino Brocka dared Rolando Tinio to a fight), ” Celso remembers. “Tinio, who was the head of the jury, heralded “Burlesk as the most beautiful Filipino film” past, present and future.” Vi’s turnaround: Adding fuel to the fire, “Burlesk” had stunned moviegoers because it unveiled a new Vilma Santos “from ingénue to wanton woman. Vilma says of “Burlesk?” – “It marked a transition in my career. Working with Celso Kid is a privilege. He’s a genius.” With good humor, Vilma recalls a “quarrel” on the set of “Pagputi ng Uwak, Pag-itim ng Tagak,” which she produced in 1978. “It took so long to finish. I lost money on that. But we’re still friends.” Burlesk and Pagputi brought a lot of honor to me…” – Bayani San Diego Jr. (READ MORE)

Source: gobitz69

FAIR USE NOTICE (NOT FOR COMMERCIAL USE): This site contains copyrighted materials the use of which has not always been specifically authorized by the copyright owner. We are making such material available in our efforts to preserve the film legacies of actress, Vilma Santos, and to make her career information available to future generations. We believe this is NOT an infringement of any such copyrighted materials as in accordance to the the fair dealing clauses of both the Canadian and U.S. Copyright legislation, both of which allows users to engage in certain activities relating to research, private study, criticism, review, or news reporting. We are making an exerted effort to mention the source of the material, along with the name of the author, performer, maker, or broadcaster for the dealing to be fair, again in accordance with the allowable clauses. – Wikipedia (READ MORE)

Special Film: Burlesk Queen

Burlesk Queen is a 1977 drama film directed by Celso Ad Castillo about a poor girl who finds herself working in the world of burlesque performers in order to alleviate her family’s poverty. The lead role is masterfully played by Vilma Santos, who sheds her good girl image for the first time in this role. To support her paralytic father, Chato (Vilma Santos) works as a utility girl at Inday Theater for a burlesque star Virgie Nite (Rosemary Gil). Chato desperately wants to earn money to help her ailing and paralyzed father. When Virgie gets drunk on the night of her scheduled show, Chato pitches in for her, and she becomes an instant sensation. Enthused by the initial acceptance of the audience, she defies her father’s admonitions and presents herself to the manager, thus, becoming the new burlesque queen. The aberrant lifestyle of a burlesque performer leads Chato to a misguided existence. She becomes pregnant and is abandoned by the father of her baby. Desperate for cash, she agrees to appear in a lavish stage show. In front of a screaming male audience, Chato bumps and grinds in a tour de force performance, unaware of the danger to her pregnancy. – Wikipilipinas (READ MORE)

“…It was 1977 with an exceptional film, Burlesk Queen, that Castillo got his frist critical recognition. Entered in that year’s Metro Manil Film Festival, it was adjudged the Best Picture, won forhim a Best Director Award as well as nine other artistic awards. It told a young girl in Manila in the 50’s who wanted to become a burlesque dancer. It showed a subdued Castillo. He seemed in this film, to have held back his passion for visual impact to give way to his new mastery of film grammar. His characters cried and whimpered, they did not scream and curse. They delievered dissertations on art, not imprecations of wrath, which had set the pitch of his previous films. The critics fought bitterly over Burlesk Queen. In that festival, he was contending with film makers who enjoyed a high reputation among the country’s most avid film critics. Upon winning the award, Castillo instantly became the favorite beating boy of the critics who did not appreciate Burlesk Queen. To prove to them his worth, Castillo did Pagputi ng Uwak, a 50’s epic set in his favorite Southern Tagalog locale. It was the most lavish of all his productions and had all the elements of a “great” Filipino film. He exploited the many religious and social rituals typical of the region. The film featured the two most critically acclaimed performers of the time, Bembol Roco, Jr. and Vilma Santos, with the cinematography of Romy Vitug complementing Castillo’s visual sense. And it touched on civil unrest to underline the film director’s social awareness. Pagputi ng Uwak was a visual fest, an artistic and socially responsive film aimed at the critics. It was also Castillo’s first commercial failure after a string of more than 20 minor and major box-office hits…In just a decade, Castillo, with all his audacity and dramatic excesses, has claimed his place as one of the most versatile and genuinely interesting filmmakers in the Philippines today…” – Rosauro de la Cruz (READ MORE)

Source: gobitz69

FAIR USE NOTICE (NOT FOR COMMERCIAL USE): This site contains copyrighted materials the use of which has not always been specifically authorized by the copyright owner. We are making such material available in our efforts to preserve the film legacies of actress, Vilma Santos, and to make her career information available to future generations. We believe this is NOT an infringement of any such copyrighted materials as in accordance to the the fair dealing clauses of both the Canadian and U.S. Copyright legislation, both of which allows users to engage in certain activities relating to research, private study, criticism, review, or news reporting. We are making an exerted effort to mention the source of the material, along with the name of the author, performer, maker, or broadcaster for the dealing to be fair, again in accordance with the allowable clauses. – Wikipedia (READ MORE)

30th Year Anniversary of Broken Marriage 2/2 (Videos)

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Release Date: 2 September 1983 (Philippines)

Credits: Directed: Ishmael Bernal; Story: Bing Caballero, Jose Carreon; Screenplay: Ishmael Bernal, Bing Caballero, Jose Carreon; Cast:Vilma Santos, Christopher De Leon, Orestes Ojeda, Lito Pimentel, Tessie Tomas, Richard Arellano, Cesar Montano, Len Santos, Ray Ventura, Harlene Bautista; Executive producer: Lily Monteverde; Original Music: Max V. Jocson; Cinematography: Manolo Abaya; Film Editing: Jess Navarro; Production Design: Len Santos; Sound: Rudy Baldovino; Production Co: Regal Films – IMDB

Plot Description: – Trapped in a world of hectic schedules, pressure and little time for each other, Ellen (Vilma Santos) and Rene (Christopher de Leon) decided to have a temporary separation. One of the things that is against traditional Filipino culture is a marriage break-up. And that is what they went through as their maariage reaches one of its lowes points. Saddled by their two children, Ellen tried her best to live a normal life as possible, eventually finding a prospective lover (Orestes Ojeda). But something is missing from her life that not even a new flame could fill. A self-discovery both for Ellen and Rene, one great film that will surely make you realize the value of marriage. – Regal Films

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Special Film: Inspiration

“…In a musical era of 1970s, “Inspiration” was quite an experimental film, with no musical numbers, better screenplay, well-written characters. Nestor and Bernal works well in establishing the character of Jay and Vilma. Their dialouges are not “corny” and very realistic. There is no over the top dramatic scenes inserted between musical numbers here. The parent played wonderfully by Merle Tuazon and Carlos Salazar were convincing. Although both Vilma and Jay played their roles effectively, Lilian Laing steals the film as Lola Jane. She was bubly and funny, a sex-starved, karate black belter, polo game afficianado, who loves life and considering she playing the old grandma who is also the solution to all the complication in life. Bernal was on his element here, a good story teller, pre-”Dalawang Pugad Isang Ibon, Pahiram Ng Isang Umaga and Relasyon.” Although he is directing a light comedy, written by Nestor Torre Jr., he managed to established all the characters without relying on corny dialouges common in this era…” – RV (READ MORE)

Ishmael Bernal (1938–1996) (30 September 1938 – 2 June 1996) was an acclaimed Filipino film, stage and television director. He was also an actor and screenwriter. Noted for his melodramas particularly with feminist and moral issues, his 1982 film Himala (Miracle) is often cited as one of the greatest Filipino films of all time. He is a National Artist of the Philippines. – Wikipedia (READ MORE)

Source: gobitz69

FAIR USE NOTICE (NOT FOR COMMERCIAL USE): This site contains copyrighted materials the use of which has not always been specifically authorized by the copyright owner. We are making such material available in our efforts to preserve the film legacies of actress, Vilma Santos, and to make her career information available to future generations. We believe this is NOT an infringement of any such copyrighted materials as in accordance to the the fair dealing clauses of both the Canadian and U.S. Copyright legislation, both of which allows users to engage in certain activities relating to research, private study, criticism, review, or news reporting. We are making an exerted effort to mention the source of the material, along with the name of the author, performer, maker, or broadcaster for the dealing to be fair, again in accordance with the allowable clauses. – Wikipedia (READ MORE)

Special Film: Sister Stella L.

Sister Stella L. (1984) 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 (READ MORE)

Miguel Pamintuan de Leon, also known as Mike de Leon (born May 24, 1947) is a Filipino film director, cinematographer, scriptwriter and film producer. – Wikipedia (READ MORE)

Source: Pelikulapinoy103

FAIR USE NOTICE (NOT FOR COMMERCIAL USE): This site contains copyrighted materials the use of which has not always been specifically authorized by the copyright owner. We are making such material available in our efforts to preserve the film legacies of actress, Vilma Santos, and to make her career information available to future generations. We believe this is NOT an infringement of any such copyrighted materials as in accordance to the the fair dealing clauses of both the Canadian and U.S. Copyright legislation, both of which allows users to engage in certain activities relating to research, private study, criticism, review, or news reporting. We are making an exerted effort to mention the source of the material, along with the name of the author, performer, maker, or broadcaster for the dealing to be fair, again in accordance with the allowable clauses. – Wikipedia (READ MORE)

A Very Long Rivalry – 1982

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Pre-1982 – “…For Vilma Santos, The previous year, “Pakawalan Mo Ako” was a huge summer hit that earned her a surprised best actress in FAMAS. That year also, she released “Ex-Wife” and “Hiwalay,” both about marital problems. Art imitating life, as there were reports that Vilma and now, ex-husband, Edu Manzano were having some problems. But Vilma as trooper as she is, any personal troubles were not publicly noticeable as she goes on with her work, business as usual. Also, Vilma gave birth to her eldest son Luis “Lucky” Manzano. By December of 1981, her film festival entry, Karma earned her another surprise best actress trophy. In an unrelated news, the entertainment industry were shocked to found that matinee idol, Alfie Anido died on Dec 31st. Like the death of Julie Vega and Rico Yan, it is still unknown the reason behind Anido’s death. By the end of ’81, Vilma is determined to make the coming year another productive and successful year. She released a total of six films, out of six, two were certified record breakers, “Sinasamba Kita (I Idolized You)” released in August and “Gaano Kadalas ang Minsan? (How Many Times is Onced),” released in November, both produced by Viva Films. The other four films (Relasyon, T-Bird at Ako, Never Ever Say Goodbye, Haplos) were mild hits. All of her hard work paid off because as early as January of the 1983 she was already poised to reap major awards. Meanwhile for Nora Aunor, 1982 were a mixed bag of mild hits and failed opportunities. “Mga Uod at Rosas,” her collaboration with Lorna Tolentino and director Romy Zusara produced a mixed reviews from the critics. Her excellent performance did not help as the film were just mild hit with the audience. Her follow up films, “Annie Sabungera” and “Palenke Queen” both comedies also didn’t do well at the box office making the expectation from her next film higher, as she teamed-up with the hottest star of 1982, her closest rival, Vilma Santos in Danny Zialcita’s fast paced film, “T-bird at Ako.” T-bird’s high expectation wasn’t realized as the film earned just a modest income. By December, all eyes were focused again on Nora and her most ambitious project to date, Ishmael Bernal’s “Himala,” produced by Imee Marcos’ Experimental Cinema of the Philippines. The film was an entry to the Metro Manila film festival. Nora Aunor was again proclaimed the “queen of local festival” as she won her third Metro Manila Film Festival best actress. Nora’s momentum was rising and she was conditioned to make some serious dent in the following year’s award giving seasons. Critics were all going “gagah” with Aunor’s gigantic performance as Elsa. They said, Himala was very effective in communicating its film’s message, it has moving moments and raw power….” – RV (READ MORE)

Grand Slam – “…1982, Nauso ang so-called Grand Slam Best Actress in 1983, nang manalo si Vilma Santos for Ishmael Bernal’s Relasyon. That 1982 film was a small, low-budget drama of a husband and his mistress. Nag-hit ang tandem nina Vi at Christopher de Leon, starting in 1978, with Sampaguita Pictures’ Masarap … Masakit ang Umibig and Nakawin Natin ang Bawat Sandali (both by Elwood Perez), after their first pair-up in Celso Ad Castillo’s 1975 romance-drama Tag-Ulan sa Tag-Araw. For Relasyon, Vilma won as Best Actress sa CMMA, Gawad Urian, FAMAS and the debuting Film Academy of the Philippines (FAP) Awards. Maging sa “minor” parangal, like the TV show Let’s Talk Movies ng RPN 9 (hosted by Armida Siguion Reyna, Behn Cervantes and Mario Bautista), si Vilma rin ang Best Actress for the Regal Films drama. With Nora Aunor as Vilma’s main competitor, it was an interesting, but utterly disappointing, acting duel. Sa FAMAS, Nora got nominated for Romy Suzara’s Mga Uod at Rosas – and lost. Sa ibang award-giving bodies, isang malaking pelikula at pagganap ni Nora – sa Himala, as the visionary Elsa – ang natalo kay Vilma. The Ishmael Bernal opus was produced by the Marcos government-established Experimental Cinema of the Philippines (ECP).

Some were of the opinion na may bahagi ng pulitika sa pagkatalo ni Nora; marami raw sa movie industry ang anti-administration, kabilang ang sympathizers ng Free the Artists Movement na anti-censors. May malaking rally noon na hindi dinaluhan ni Nora, samantalang nakiisa sa protesta si Vilma. Gayon man, may parangal na natamo si Nora para sa Himala: the 1982 MMFF Best Actress, where it won 9 out of 13 awards, including Best Direction and Best Picture. Naging opening Film ang Himala sa 1983 Manila International Film Festival – organized by then First Lady Imelda Romualdez-Marcos – at inilahok sa Berlin International Film Festival in February 1983. Ayon kay Bernal, Nora lost in Berlin to a Russian actress by a mere vote. Sa 7th Gawad Urian in 1983, nominated in almost all major and minor categories ang Himala but never won a single award. Ilang taon ang lumipas, sa tuwing titingnan ko ang Honor Roll ng Manunuri sa ipinamamahaging souvenir program, sadyang “walang Himala” na nagtamo ng parangal. But in 2002, sa 25th year ng Gawad Urian, kabilang ang Himala sa Pinakamahuhusay (Best Films of the past three decades) na naparangalan, with Nora Aunor personally receiving the overdue award para sa isang totoong klasikong pelikulang Pilipino. At bigla ngang naghimala ang Himala!…” – William Reyes (READ MORE)

Nora Aunor’s Films (7): (Annie Sabungera; Himala; Mga Uod at Rosas; No Other Love; Palengke Queen; T-Bird at Ako; Tinimbang ang Langit) – Nora Aunor had a mix output of forgettable comedies and awards-worthy films. She did seven films, two of which were notable, Ishmael Bernal’s epic festival entry, “Himala” and Romy Zusara’s “Mga Uod at Rosad.” She also took some time to do the lesbian film, “T-bird at Ako” with her rival, Vilma.

Vilma Santos’ Films (6): (Gaano Kadalas ang Minsan?; Haplos; Never Ever Say Goodbye; Relasyon; Sinasamba Kita; T-Bird at Ako) – Compare to Nora, Vilma had a solid year, commercially and artistically, she had two major hits, “Sinasamba Kita” and “Gaano Kadalas Ang Minsan,” the other four were mild hits.

Nora Aunor’s 1982 acting recognition (7) – Best Actress from Metro Manila Film Festival and Parade Magazine Awards and nominations from URIAN; CMMA; Film Academy of the Philippines; Lets Talk Movies, all for “Himala” and a nomination from FAMAS for “Mga Uod at Rosas.”

Vilma Santos’ 1982 acting recognition (5) – Best Actress from FAMAS; URIAN; CMMA; Film Academy of the Philippines; Lets Talk Movies, all for “Relasyon.”

Sensitive, Polished and Highly Passive – “…The small, dissipated and forgotten dusty town without rainfall awakens to exploitation and commercialism when an innocent girl called Elsa (Nora Aunor) claims to have seen an apparition of the Blessed Virgin. She later acquires healing powers. Along the lines of Lourdes, the whole village becomes a bustling commercial venue for mass-produced statue saints and bottled holy or tonic water. In later excursions into subplots, a close friend of Elsa who becomes a woman of easy virtue returns to Cupang, a virginal sister who is totally devoted to the religious mission, some enterprising matrons, then a kaleidoscopic look at hundreds of sick people with diseased bodies. A pivotal character is a cynical and young film director (Spanky Manikan) with a conscience. The latter becomes obsessed in capturing Elsa’s healing sessions on celluloid which leads to his candidly catching on film (by accident) a dark secret of Elsa, a secret which prompted the suicide of her sister. Here is an eloquent, powerful film that is full of grandeur and simple segments. It shows an atmospheric environment where illiterate but adulating, praying crowds desperate for a cure can be a hostile mob when the miracle they crave for doesn’t materialize. Nora Aunor as Elsa gives a sensitive, polished and highly passive and consistently low-key performance. She is letter-perfect for the role. Meanwhile, Gigi Duenas (a stage actress) as a girl on the wrong side of the tracks who operates a cabaret-whorehouse is singularly brilliant and provides a striking contrast to the spiritual life of Elsa…” – Variety, January 26, 1983 (READ MORE)

Peeled-off Apprehensions – “…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 (READ MORE)

Post-1982 – “…While Vilmanians celebrated their idol’s historical win, Noranians redeemed their broken ego by lining up to the 1983 Manila International Film Festival on June 24th, “Himala” was chosen as the opening gala film together with Hollywood film, “Gandhi” as the closing. After the awards season of 1983, Vilma Santos released three more films after the disappointment, “Ayaw Kong Maging Kerida.” On June 9th, Viva Films released “Paano Ba ang Mangarap?” that turned out to be another box office hit. Few months afterwards Regal films released Bernal’s “Broken Marriage,” the follow-up film after the successful grand slam film, “Relasyon.” And finally, four days after Vi’s birthday, Viva Films released Marilou Diaz-Abaya’s drama, “Minsan pa Natin Hagkan Ang Nakaraan,” another box office hit. This film plus the two films mentioned above confirmed her bankable status. Not to be outshine again, “Himala” continued its relentless fight for recognition, winning the bronze prize at the 1983 Chicago International Film Festival on November of 1983 (Nov 4-18 1983)….” – RV (READ MORE)

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A Very Long Rivalry – 1981

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Pre-1981 – As Brocka’s Bona toured the international festival, it looks like Nora was again in command with the acting contest and Vilma was content in making sure that her films were commercial success. By this time, Vilma’s tax problem has become a number one priority. No longer a teen pop star, both Nora and Vilma’s projects declined. It seems like yesterday, when in early 1970s both were releasing one or two films each month. Now, both have limited film projects and have to be selective to succeed at the box office.

Sign of Good Karma – “…In 1981, nanalong MMFF Best Actress si Vilma for Zialcita’s Karma, besting Nora’s multi-character portrayal in Maryo J. delos Reyes’ musical-drama Rock ‘N Roll. Vi, however, failed to win any other nomination for that starrer, while Nora went on to win a trophy (Catholic Mass Media Awards) and Best Actress nomination (Gawad Urian) for Mario O’Hara’s Bakit Bughaw ang Langit?…” – William Reyes (READ MORE)

Nora Aunor’s Films (7): (Bakit Bughaw ang Langit?; Dalaga si Misis, Binata si Mister; Gaano Kita Kamahal; Ibalik ang Swerte; Kami’y Ifugao; Rock N’ Roll; Totoo Ba Ang Tsimis?) – Nora Aunor did seven films this year, three more than her rival Vilma. Although she won on total output, the quality of these films were questionable. The only film critics were raving were Mario O’Harra’s Bakit Bughaw.

Vilma Santos’ Films (4): (Pakawalan Mo Ako; Hiwalay; Karma; Ex-Wife) – Vilma Santos did only four films in 19881, two were mild hits, Hiwalay and Ex-wife, both melodramas. The other two were big hits, “Pakawalan Mo Ako,” was directed by Elwood Perez and the summer’s biggest hit while “Karma” directed by Danny Zialcita was a big hit at the local festival. Both films earned her an acting trophies.

Nora Aunor’s 1981 acting recognition (3) – Best Actress from Catholic Mass Media Awards and two nominations from FAMAS and Urian, all for “Bakit Bughaw ang Langit? .”

Vilma Santos’ 1981 acting recognition (3) – Best Actress from Metro Manil Film Festival and Cebu City Film Festival for “Karma”and Best Actress from FAMAS for “Pakawalan Mo Ako.”

Not Blue – “…O’Hara dwells on Aunor’s face, to suggest that she is not just amused, but actually intrigued. O’Hara, however, does not take the easy way out: he does not allow the relationship of Aunor and Roldan to become actually physical. If there is a sexual love between the two, it is too deep inside them to be articulated. True enough, there are some glaring mistakes. The most obvious occurs when Roldan utters that key line “Bakit bughaw ang langit?” The camera pans out to the sky as expected, but instead of the sky being clear and blue (which is what “bughaw” means), the sky is cloudy and white. The symbol is totally destroyed by such a simple cinematographic mistake. In fact, almost all of the mistakes in the film can be attributed to the cinematographer, who seems not to know how to light a set. Night scenes appear brighter than day scenes, light filtering into houses has no clear sources, camera movements are jerky, shadows are not expressive. O’Hara should learn from this film: he should not use the same cinematographer again. Aunor’s performance here proves that her winning of the Urian Award for Bona is justified. She remains one of the best of our young actresses, especially in the hands of a director who understands film acting. In a film whose screenplay has undistinguished (in fact, even inane) dialogue, Aunor is able to express her emotions primarily through her silent moments. The mark of a true film actress is her behavior when she does not speak. Aunor is destined to become an all-time Best Actress. It is appropriate that Anita Linda – herself an all-time Best Actress- plays her mother in this film. The acting cannot be faulted, not even the acting of newcomer Roldan…” – Isagani R. Cruz, TV TIMES, March 15 -21, 1981 (READ MORE)

Good Karma – “…Happily, “Karma” turned out to be as good as I expected. It’s performers are first-rate – Vilma Santos, Ronaldo Valdez, Tommy Abuel, Chanda Romero, so their award-winning acting didn’t surprise me at all. The script was outstanding but even that was expected, coming from director Danny Zialcita. What impressed me was that minor parts were played by name actors. The housekeeper who appeared in one short sequence could have been played by any elderly woman but those who made the movie wanted nothing less than Etang Discher. The psychiatrist could have been played by any decent-looking man but they didn’t settle for anybody less than Vic Silayan. The male lover at the start of the story had to be acted out by Dante Rivero, that at the end by Christopher de Leon. The movie boasted of several bold scenes. Those involving Vilma weren’t much as we know for a fact that Vilma could show only so much. One scene showing Chanda was a different story. It showed her with absolutely nothing on, yet it didn’t offend anybody as it was executed in style, shot with great care. There was just one thing, which looked unnatural to me, the way in which one of the main characters killed himself. “That’s all right,” Danny assured me. “Before we shot it, we double-checked its possibility.” Reincarnation and transference are undoubtedly mind-boggling subjects but, to his utmost credit, Danny managed to present them simply, bringing them down for everybody to understand. “Bala lang yan. Katawan lang ito. Babalik at babalik kami sa mundong ito,” Dante vowed. Come back they did as they promised building the foundation of the story…” – Bob Castillo, People’s Journal Dec. 12, 1981 (READ MORE)

Post-1981 – “…For Vilma Santos, the previous year, Pakawalan Mo Ako was a huge summer hit that earned Vilma a surprised best actress in FAMAS. That year also released Ex-Wife and Hiwalay, about marital problems. Art imitating life, as there were reports that Vilma and now, ex-husband, Edu Manzano were having some marital problems. But Vilma as trooper as she is, any personal troubles were not publicly noticeable as she goes on with her work, business as usual. Also, Vilma gave birth to her eldest son Luis “Lucky” Manzano. By December of 1981, her film festival entry, Karma earned her another surprise best actress trophy after the FAMAS gave her the nod for Pakawalan Mo Ako. In unrelated news, the entertainment industry were shocked to found that matinee idol, Alfie Anido died on Dec 31st. Like the death of Julie Vega and Rico Yan, it is still unknown the reason behind Anido’s death. She’s determined to make 1982 another successful year. She released a total of six films, out of six; two were certified record breakers, “Sinasamba Kita (I Idolized You)” released in August and “Gaano Kadalas ang Minsan? (How Many Times is Once),” released in November, both produced by Viva Films. The other four films (Relasyon, T-Bird at Ako, Never Ever Say Goodbye, and Haplos) were mild hits. All of her hard work paid off because as early as January of the 1983 she was already poised to reap major awards. Meanwhile for Nora Aunor, 1982 were a mixed bag of mild hits and failed opportunities. “Mga Uod at Rosas,” her collaboration with Lorna Tolentino and director Romy Zusara produced mixed reviews from the critics. Her excellent performance did not help as the film were just mild hit with the audience. Her follow up films, “Annie Sabungera” and “Palenke Queen” both comedies also didn’t do well at the box office making the expectation from her next film higher, as she teamed-up with the hottest star of 1982, her closest rival, Vilma Santos in Danny Zialcita’s fast paced film, “T-bird at Ako.” T-bird’s high expectation wasn’t realized as the film earned just a modest income. By December, all eyes were focused again on Nora and her most ambitious project to date, Ishmael Bernal’s “Himala,” produced by the Imee Marcos’ Experimental Cinema of the Philippines. The film was an entry to the Metro Manila film festival. Nora Aunor was again proclaimed the “queen of local festival” as she won her third Metro Manila Film Festival best actress. Nora’s momentum was rising and she was conditioned to make some serious dent in the following year’s award giving seasons. Critics were all going “gagah” with Aunor’s gigantic performance as Elsa. They said, Himala was very effective in communicating its film’s message, it has moving moments and raw power….” – RV (READ MORE)

Related Reading:

Vilma Santos as Child Actress

Vilma Santos’ Films as Child Actress:

  • Anak, ang Iyong Ina (1963)
  • Aninong Bakal (1963)
  • Duelo sa Sapang Bato (1963)
  • King & Queen for a Day (1963)
  • Trudis Liit (1963)
  • Ging (1964)
  • Larawan ng Pag-ibig (1964)
  • Naligaw na Anghel (1964)
  • Sa Bawat Pintig ng Puso (1964)
  • Iginuhit ng Tadhana (1965)
  • Kay Tagal ng Umaga (1965)
  • Maria Cecilia (1965)
  • Morena Martir (1965)
  • Sa Baril Magtutuos (1965)
  • Batang Iwahig (1966)
  • Hampaslupang Maton (1966)
  • Hindi Nahahati ang Langit (1966)
  • Ito ang Dahilan (1966)
  • Ito ang Pilipino (1967)
  • Longest Hundred Miles (1967)
  • De Colores (1968)
  • Eagle Commandos (1968)
  • Kasalanan Kaya? (1968)
  • Sino ang may Karapatan? (1968)