Vi And Bot – Sweet Sixteen

Posted on August 15, 2010 by @ffv Standard

Sina Vilma Santos at Edgar Mortiz ang isa sa mga itunuturing na pinaka-durable loveteam ng lokal na aliwan. Alam naman ng lahat na si Edgar ang first love ni Ate Vi. Ang mga tagahangang nakasaksi sa kanilang pagmamahalan ay di-akalaing magwawakas agad iyon. Ate Vi was 14 years old then nang mapasama sa popular radio show ni Ka Tinno Lapuz,ang Eskwelahang Munti. Dito niya nakilala ang di inaasahang magiging ka-loveteam na si Edgar. Nakilala ang kanilang loveteam as “Vi and Bot” .Sumabay ang kanilang team-up sa “Guy and Pip” nina Tirso at Nora. Una silang napanood sa lokal na aliwan bilang suporta ng yumaong singer na si Eddie Peregrina sa pelikulang “My Darling Eddie” in 1969. Klik agad ang kanilang tambalan and from then on ay nagkasunodsunod na ang kanilang mga ginawang pelikula, gayundin ang mga TV shows, tulad ng “The Sensations” at “Edgar Loves Vilma.” Kinanta ng dalawa ang Devoted To you and the fans were hooked. Nagsimulang nagtatag ang kanilang mga tagahanga ng Vi-Bot Fans Club all over the country, as against sa karibal nitong Guy and Pip tandem. Parang kabuteng nagsulputan ang kanilang mga fans from Aparri to Jolo.

Tinagurian noon ang kanilang tambalan na Subok na Matibay, Subok na Matatag na siyang blurb noon ng isang kilalang bangko na naging commercial nila. Sinundan agad ng pelikulang The Jukebox King as second lead na nagtampok din kay Eddie Peregrina. Taong 1970, ginawa nila ang “Young Love” under VP Pictures na kung saan kasama ang karibal nilang tandem, ang Guy and Pip. Nagkasunod-sunod ang pagpapareha nila sa mga pelikulang Song and Lovers, Bulaklak at Paru-Paro, My Pledge of Love, Love Is For the Two Of Us, From The Bottom Of My Heart, Young Idols, Sixteen, Because You are Mine, Love Letters, Sweetheart, Mga Batang Bangketa, I Love You Honey, Edgar Loves Vilma, Sapagkat Sila’y aming Mga Anak, Vilma My Darling, Baby Vi at Renee Rose. Sa loob ng taong 1970, nakagawa ang kanilang tambalan ng labing walong pelikula. That was also the same time na na-inlove na si Bobot kay Vi. By the way, ang aktres mismo ang nagbinyag kay Edgar ng Bobot. Nang mabuo na nga ang kanilang tambalan, unti-unti nang nagpalipad-hangin si Bobot kay Vi. Ayon nga sa pagbabalik-tanaw, si Ate Vi noon ay labing-anim na taong gulang nang maging magkatipan sila ni Bot. Ang kanikanilang tagahanga ay naniwalang meron na talagang affair ang mga idols nila. In February, 1970 nagtapat si Bobot kay Vi ng “I love You.” Nadebelop ang feelings nila sa isa’t isa dahil sa kanilang loveteam. Pero aprubado naman ng kani-kanilang parents ang relasyon. Botong-boto kasi at giliw na giliw si Mama Santos kay Bobot noon. Naging neighbors pa nga sila ni Bobot sa Arfel Homes sa Project 6, Quezon City. Nasundan pa ang kanilang pagtatambal noong sumunod na taon, 1971.

Ginawa nila ang Love At First Sight, The Sensations, Angelica, The Wonderful World Of Music, Young Lovers, Our Love Affair at Eternally. Mapapansin na karamihan sa mga pelikula na kanilang ginawa ay puro hango sa titulo sa mga kantang pinatanyag noon. Usually, ang karamihan sa mga eksena ay tadtad ng mga musical numbers. Dahil sa kainitan ng tagumpay sa takilya at popularidad ang kanilang tambalan, ginawa ng Tagalog Ilang-Ilang Productions, ang Aloha My Love, taong 1972 na kinunan pa sa Hawaii, Don’t Ever Say Goodbye na kinunan pa sa Pasadena Palm Spring, San Francisco USA, Dulce Corazon, Remembrance na ka-love triangle ang yumaong si Jay Ilagan, Dama de Noche, an award winning movie ni Vi na nagpanalo sa kanya ng FAMAS Best Actress where she played a dual role, 3 Mukha ni Rosa Vilma at Leron-Leron Sinta. Their trip in Hawaii where they did Aloha My Love was very memorable. Marami kasi ang umaasa nilang mga fans na magaganap ang Hawaiian wedding nila pero hanggang sa pelikula lang ito nangyari. Taong 1973, muli silang nagtambal sa pelikulang Now and Forever at Anak ng Asuwang.

Nasundan pa ng dalawang pelikula noong 1974, ang Biktima at Kampanerang Kuba. Akala nila ay panghabambuhay na ang kanilang relasyon. But tulad ng kasabihan, nothing lasts forever, nabuwag din ang kanilang tambalan. Mahigit na 50 pelikula ang kanilang pinagtambalan. On and off, pinapanatili ng Tagalog Ilang-Ilang ang kanilang loveteam na talagang tinatangkilik ng kanilang matatapat na tagahanga. Ang last movie na pinagtambalan nila ay ang “Karugtong ng Kahapon,” taong 1975 para sa TIIP. Nagkaroon ng lamat ang kanilang loveteam nang mapatambal si Ate Vi sa iba’t ibang leading men. Nag-split sila formally noong April 28, 1974. Sa kanilang break-up ay hindi nawalan ng pag-asa si Bobot who kept looking forward for a reconciliation. Only years after, when Bobot got married nang hindi na talaga sila puwede pang magkabalikan ni Ate Vi,ang kanyang first love. Ate Vi went on with her career as a solo star at tinangkilik ng publiko na maipareha sa ibang aktor. Sa paghihiwalay ng landas nina Vi at Bobot sa pelikula ay napanatili nila ang kanilang magandang bonding hanggang ngayon. – Willie Fernandez, V Magazine, Dec. 2006

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Vi-Boyet Tandem: Pinagtibay ng Panahon

Posted on August 15, 2010 by @ffv Standard

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Ang tambalang Vilma-Boyet ay pinagtibay ng panahon. Hindi basta-basta na maigugupo ng kahit sino o ng kahit anong tambalan. Tulad din ng alak na habang tumatagal ay lalong sumasarap. There have been many loveteams in Philippine cinema but the tandem of Vilma Santos and Christopher de Leon has chalked up the longest list of movies that have been given awards and made good records at the boxoffice. Until now, their tandem has been unsurpassed. Their loveteam is the most enduring tandem in local cinema. Siguro may iba pang loveteam na nakagawa ng mas maraming pelikula kaysa sa kanila like during the height of the Vi and Bot and Nora-Tirso but theirs did not span decades, nakakaahon lang sila within the short period of time at the height of their popularity. Hindi man naging magkapalad sina Vi at Boyet bilang lovers sa tunay na buhay ay nagklik naman sila sa masa bilang lovers sa pelikula. Matatandaan na sumibol din ang tambalang Nora-Boyet noon sa pelikula at kapag-daka’y nauwi sa totohanan. Sa kabila ng katotohanang ito ay hindi gaanong tinanggap ng publiko ang kanilang pareha sa puting tabing.

They were first paired in 1975 in Celso Ad Castillo’s Tag-ulan sa Tag-araw, as first cousins who fall in love with each other. With the success at the tills of the movie, sinundan pa ito ng sunud-sunod na pelikula that crossed over the 80’s, the 90’s and up until this new millennium. Ilan sa mga pelikulang ginawa nila sa bakuran ng Sampaguita Pictures na mahirap malimutan ay ang Masarap, Masakit ang Umibig, taong 1977 kung saan ka-triangle ang sumisikat na aktor noong si Mat Ranillo. Sinundan ito ng Nakawin Natin ang Bawat Sandali ng VP Pictures, taong 1978 na pinamahalaan ng batikang director na si Elwood Perez, Disco Fever; (a rare Vi-Boyet musical); at Ikaw Ay Akin (with Nora Aunor megged by the late Ishmael Bernal). Nang kalagitnaan ng taong 1980, ipinadala si Ate Vi sa States ng Tagalog Ilang-Ilang boss na si Atty.Laxa para gumawa ng reunion movie with Romeo Vasques and Boyet, ang “Gusto Kita, Mahal Ko Siya”. Habang buntis noon kay Luis ay ginawa ni Ate Vi ang “Pakawalan Mo Ako”, taong 1981 sa direksyon ni Elwood Perez at nanalo siya ng second FAMAS Best Actress award sa role bilang babaeng idiniin ng kanyang biyenan sa pagpatay sa asawang si Anthony Castelo. Pinaka-memorable naman para kay Ate Vi ang pelikulang Relasyon na idinerek ng mahusay na Ishmael Bernal sa ilalim ng Regal Films, taong 1982.Sa pelikulang ito nagtamo ng kanyang unang grandslam si Ate Vi bilang Best Actress sa lahat ng award giving bodies. Later, kinuha ang serbisyo ng aktres ng Viva Films na katatatag lamang noon at ginawa nila ni Boyet ang isang commercial hit movie na “Sinasamba Kita”. Komersyal na komersyal ang dating ng pelikula ito na hindi lamang umani ng tagumpay sa takilya, kungdi pati na rin sa mga kritiko. Taong 1983 nang gawin nila ni Boyet ang record-breaker na “Paano Ba ang Mangarap” kung saan papel ng isang api-apihang manugang ni Armida Siguion Reyna ang kanyang ginampanan. Sinundan naman agad ng “Broken Marriage” under Regal Films at sa direksyon pa rin ni Ishmael Bernal, ang director to whom Ate Vi is very much indebted dahil sa mga natamong best actress awards sa mga pelikulang idinirehe nito. Isa pa rin ito sa mga mahalagang pelikulang nagawa ni Ate Vi na nagbigay sa kanya ng karangalan bilang mahusay na aktres sa URIAN and of course kay Boyet bilang mahusay na aktor. Sa Viva Films sila nakagawa ng maraming pelikulang pinagtambalan dahil na rin sa isinasaad ng kani-kanilang mga kontrata. Kaya naman sa pagtatapos ng taong 1983, ginawa nila ni Boyet ang “Minsan Pa Natin Hagkan Ang Nakaraan”, the only movie na namatay silang magkasama kung saan asawa siya ni Eddie Garcia sa pamamahala ni direk Marilou Diaz Abaya.

Taong 1989 nang gawin naman nila ni Boyet ang Imortal na kung saan natamo ni Ate Vi ang Metro Manila Film Festival Best Actress at si Boyet naman ang tinanghal na Best Actor. Muling naulit ang kanilang pagtatambal ng taong 1991 sa pelikulang “Ipagpatawad Mo” ng Viva Films,sa direksyon ni Laurice Guillen at sa pagkakaga-nap niya bilang supportive mother of an autistic child ay napagwagian niya ang ikalimang URIAN Best Actress award. Taong 1993, nang gawin naman nila ang award winning movie na “Dahil Mahal Kita, Dolzura Cortez” sa ilalim ng OctoArts films at sa pamamahala ni direk Laurice Guillen na nagbigay kay Ate Vi ng ikalawang Grand Slam Best Actress award. Sinundan ito ng “Nag-iisang Bituin” under Regal Films na ka-triangle naman ang mahusay na aktor na si Aga Muhlach under the helm of Jose Javier Reyes. Muling naulit ang kanilang pagtatambal noong 1997 nang gawin nila ang “Hanggang Ngayon Ika’y Minamahal” ng Neo Films na pinamahalaan naman ni direk Ike Jarlego Jr. Limang taon ang nakalipas at muling nagpugay ang kanilang tambalan sa pelikulang “Dekada ’70” ng Star Cinema sa direksyon ng award winning director na si Chito Rono. Sa pelikulang ito nanalo si Ate Vi ng kanyang ika-apat na Grand Slam Best Actress.

Mano Po 3, My Love is Vilma’s 22nd film with Boyet kung saan nagwagi ang numero unong aktres ng MMFF, Gawad Tanglaw, Gawad Suri at Star Awards ng Best Actress awards. In most of these films, either Best Actress si Ate Vi(Relasyon, Broken Marriage, Pakawalan Mo Ako, Imortal, Ipagpatawad Mo, Dulzura Cortez, Dekada ’70 at Mano Po 3) at si Boyet naman sa Best Actor ( Broken Marriage, Haplos, Imortal, Ipagpatawad Mo, Dolzura Cortez at Dekada). Sa dami ng pelikulang ginawa nilang dalawa na pawang big hits at nagbigay sa kanila ng acting recognitions, hindi tuloy maiwasang itanong ng karamihan kung ano ang sikreto ng kanilang matagumpay na tambalan. “We’ve never been linked to each other and yet the public loves seeing our movies together. Siguro it’s because we have this unbelievable chemistry. We know each other so well that tinginan lang on screen, we already know what to do to make a take very good.” Ate vi relates. “Siguro yung respeto sa isa’t-isa at pagiging professional ni Boyet. Kapag trabaho, seryoso siya talaga. Ang galing niyang magdala. Alam niya kung paano niya ako sasaluhin kapag nahalata niyang nawawala na ako.” sabi pa ng actress-politician. In an interview, Boyet was asked why does he think his partnership with Vilma continues to thrive even after 30 years? “I just love working with Vi because she is such a giving co-actor. Hindi siya nangaagaw ng eksena. If the scene is yours, susuportahan ka niya nang husto for you to shine. You can’t help but get carried away kapag siya ang kaeksena mo dahil napakahusay niya..O di ba, very well said. Ang trabaho kina Ate Vi at Boyet ay hindi kailanman nahaluan ng malisya. They have over the years worked strictly on the professional level. Off camera ay best friends sila. Sa katunayan nga, si Boyet ang unang aktor na pinagtapatan ni Ate Vi na magpapakasal kay Senator Ralph at ng kanyang pagbubuntis kay Ryan. Platonic daw ang tawag sa uri ng relasyong namagitan kina Ate Vi at Boyet in the sense na alam nila kung hanggang saan ang limitasyon ng closeness nila. Platonic dahil hindi na kailangan an0g anumang physical contact upang ipahayag ang kanilang nararamdaman para sa isa’t isa.

SUBOK NA MATIBAY…SUBOK NA MATATAG ang tambalang VILMA-BOYET. No other loveteam can compile such successes,award wise and box-office wise. Their tandem spells capital B-I-G-H-I-T at the box-office. Mula nang gawin nila ang first movie nila noong late 70’s hanggang ngayon ay hindi pa rin pinagsasawaan at patuloy na tinatangkilik ng publiko at kanilang mga tagasubaybay na mapanood sila sa silver screen.Loveteam for all seasons, ika nga.O may hihirit pa ba? – Willie Ferrnandez, V Magazine, Dec 2006 NO. 9

The List
1. Tag-ulan sa Tag-araw (1976) – Directed by Celso Ad Castillo
2. Masarap, Masakit ang Umibig (1977) – Directed by Elwood Perez
3. Ikaw ay Akin (1978) – Directed by Ishmael Bernal
4. Disco Fever (1978) – Directed by Al Quinn
5. Nakawin Natin ang Bawa’t Sandali (1978) – Directed by Elwood Perez
6. Magkaribal (1979) – Directed by Elwood Perez
7. Pinay American Style (1980) – Directed by Elwood Perez
8. Gusto Kita, Mahal ko Siya (1980) – Directed by Emmanuel H. Borlaza
9. Pakawalan Mo Ako (1981) – Directed by Elwood Perez
10. Relasyon (1982) – Directed by Ishmael Bernal
11. Sinasamba Kita (1982) – Directed by Eddie Garcia
12. Haplos (1982) – Directed by Antonio Jose Perez
13. Paano ba ang Mangarap? (1983) – Directed by Eddie Garcia
14. Broken Marriage (1983) – Directed by Ishmael Bernal
15. Minsan Pa Nating Hagkan ang Nakaraan (1983) – Directed by Marilou Diaz Abaya
16. Imortal (1989) – Directed by Eddie Garcia
17. Ipagpatawad Mo (1991) – Directed by Laurice Guillen
18. Dahil Mahal Kita: The Dolzura Cortez Story (1993) – Directed by Laurice Guillen
19. Nagiisang Bituin (1994) – Directed by Jose Javier Reyes
20. Hanggang Ngayon Ika’y Minamahal (1997) – Directed by Ike Jarlego Jr.
21. Dekada ’70 (2002) – Directed by Chito S. Rono
22. Mano Po 3: My Love (2004) – Directed by Joel Lamangan

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The Seasons In Vilma’s Life

Posted on August 10, 2010 by @ffv Standard

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The camp of Gov. Vilma Santos credits movie journalist JC Nigado for giving the actress-turned-politician the tag Star for All Seasons. For the longest time — since the early ’70s, rival Nora Aunor was called Superstar. In 1986, Sharon Cuneta was built up as the Megastar and yet Vilma remained untitled.

In 1988, when Vilma marked her 25th year in show business in a PICC extravaganza put up by GMA 7 with the help of Chit Guerrero for her weekly variety show, Vilma!, Nigado wrote a series of articles where he called her Star for All Seasons. Other titles were coined for other stars after that, but only a few managed to maintain those titles and Vilma is undeniably one of them.

Tonight, after Charo Santos’ Maalaala Mo Kaya, ABS-CBN will start airing a five-part special called Vilma: A Woman for All Seasons, which will trace the various facets of her life and career as an actress (the only one with four grand-slam wins), as a TV host and dancer (her Vilma! show on GMA 7 that ran for nine years was the best-produced — without question), as a wife and mother (the first time she is showing her new home in Alabang — a must-see on Aug. 15) and as a public servant (her image as Lipa mayor first and now Batangas governor is untainted). For the final episode on Aug. 29, son Luis Manzano will show viewers some of the behind-the-scenes in the making of their movie All My Life, which will be shown by Star Cinema in September.

I had a reunion with Vilma recently and we both agreed that the title Woman/Star for All Seasons is so apt for her because she had been through all the seasons of life round and round. Together, we sat down to trace the various seasons of her life.

Happiest seasons – “When I gave birth to my son Luis/Lucky — lucky talaga siya.”

“When I evolved as an actress and, modesty aside, started getting those grand-slam awards.” “When I was given a second chance at marriage. Imagine, si Ralph (her husband, NEDA chief Recto), binata and he inherited an instant family.”

“When I gave birth to my other son, Ryan and he grew up to be a healthy boy,” she still sighs with relief now. “That was a difficult pregnancy that made me stay in bed for months.” The truth is, practically the whole nation prayed for her successful delivery and we are all happy that Ryan has turned into a bright and intelligent teenager.

Saddest seasons – “When I discovered in the late ‘70s that financially I was negative P16-M.” This was due to failed investments and mismanagement, particularly of her movie production outfit, VS Films. “The interest of the bank loans I made, I didn’t realize I had already accumulated — from P2-M, it swelled to P7-M. When I woke up one day, wala na akong ari-arian. All my assets were frozen because I also had problems with the BIR.” To her credit, she slaved it out to be able to recover and pay her bank debts. She did films left and right, but she never enjoyed her talent fees from those blockbusters because all these went straight to the bank and to the BIR. For her upkeep (she had to eat, too, of course and maintain a staff), she accepted the offer to do the BBC-2 variety show V.I.P. (Vilma in Person) that aired live Sundays. Looking back, that contributed to the failure of her first marriage (to Edu Manzano) because she had to sacrifice her Sundays, which was supposed to be family day.

“Also sad was the passing away of my father in 1986.” Even local showbiz mourned the death of Amado Santos because he was a good man and was missed by all.

Frustrating seasons – “When my first marriage failed. But God is good. He gave me another chance — and may bonus pa na another son.”

“When my career went down in the late ‘70s and for that I only blame myself because those were the years I was being unprofessional. For example, there was this Christmas presentation I was supposed to do and I fled to Baguio. I did not show up on the set.” Now, I really salute her because it takes a big person to admit that mistake when she could have passed on the blame on other people and even the system. But that’s Vilma Santos.

Rebellious seasons – “When I put my personal life and happiness over my career. Height ng katigasan ng ulo ko ‘yun. I was doing five to six movies a year and maybe na-burn out din ako. I was looking for independence. I wanted my freedom.” She says that her rebellious years happened when she was between 24 to 27 years old. Actually, if you ask me, she started rebelling late. She must have really been up to here to rebel at that point of her life.

Scariest seasons – “If you want me to panic and get scared, tell me that one of my family members is ill. If one of my children is sick, I don’t work — I don’t even sleep. I stay beside my child all the time.” I witnessed that myself when Luis got sick (was it dengue?) before he reached his teens. Nothing and nobody could make Vilma get out of the hospital room (maybe not even an earthquake) because she wanted to stay with her first-born all throughout the ordeal. No tapings, no shoots. If only for that, she should have been awarded best mother of the year. “Even with Ryan now, kaunting lagnat lang, I take his temperature every hour — until he gets annoyed with me na. Ha! Ha! Ha!”

Most romantic seasons – “All seasons,” she says, letting out a hearty laughter.

People have extolled Vilma Santos as a great performer and politician. But has anyone cited her for being witty, too? – Butch Francisco, The Star, Aug 1, 2009

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Filmography: Mga Mata ni Angelita (1978)

Posted on August 3, 2010 by @ffv Standard

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Basic Information: Directed: Lauro Pacheco; Story: Ricardo Y. Feliciano; Screenplay: Jose Flores Sibal; Cast: Julie Vega, Gloria Sevilla, Amado Cortez, Mat Ranillo III, Roldan Rodrigo, Boots Anson-Roa, Alma Moreno, Christopher De Leon, Tony Carreon, German Moreno, Rez Cortez, Eddie Rodriguez, Paquito Diaz, Rosanna Ortiz, Naty Bernardo, Vilma Santos, Nora Aunor, Joseph Estrada, Ricky Santiago, Bert ‘Tawa’ Marcelo, Rey Malonzo, Trixia Gomez, Marissa Delgado, Etang Discher, Paquito Salcedo, Ramon Revilla, Didith Reyes, Ike Lozada, Aruray, Patria Plata, Helen Gamboa, Dolphy, Fernando Poe Jr.; Original Music by Carlos Rodriguez

Plot Description: A star-studded film featuring a blind orphan named Angelita (Julie Vega) who was found unconcious by the groups of nuns after Belen (Gloria Sevilla) attempted to kill her by letting her walk straight ahead on the edge of the cliff. In the monastery, she started her deep devotion to Virgin Mary in the convent which was last seen missing her pair of eyes. Angelita started to search for her parents and along her way, touched various lives both poor and rich until she found her mother, Janet (Helen Gamboa). – Kabayan Central (READ MORE)

The story revolves around that of a blind girl named Anghelita who was given the eyes of the Virgin Mary. But having her sight back, she will see what the world really is, filled with pain and sins. So, in search for her long lost mother, she will be instrumental in changing the lives of people along her way. – Wikepedia

Film Achievement: 1978 FAMAS: Best Child Actress – Julie Vega

Film Review: Mga Mata ni Angelita was written by Ricardo Feliciano and became a number one hit radio drama from 1974 to 1978. It was made into a film by Larry Santiago Productions and catapulted the late Julie Vega into fame. The film was a phenomenal hit when it premiered in 1978, mainly because of its big name stars such as Ramon Revilla, Helen Gamboa, Dolphy, Vilma Santos, Nora Aunor, the late Fernando Poe Jr., Christopher De Leon, Alma Moreno, Rez Cortez, Paquito Diaz, and Eddie Rodriguez, to name a few. – Wikepedia

“…Julie Vega was only 10 years old when she was launched to full stardom in the 1978 movie, “Mga mata ni Angelita.” She appeared in previous movie outings as Darling Postigo. The young Vega was ably supported by an all super star cast headed by the King of Philippine Movies, Fernando Poe, Jr. (in the role of Conrado, the ex-convict) and Comedy King Dolphy (as Tacio, the taho vendor). Also appearing in cameo roles were Joseph Estrada (as himself as Mayor); Nora Aunor (a metro-aide sweeper); Vilma Santos ( as a worried wife); Ramon Revilla (as barrio captain); Alma Moreno (as a jealous sweetheart); Christopher de Leon (as the lover) and many more…” – Simon Santos (READ MORE)

“…This study looks at the existence of Filipino films that are focused on the discourse of religiosity, featuring a female protagonist who imbibes the image and assumes the role of a female deity. The films included are Mga Mata ni Angelita (The Eyes of Angelita, 1978, Lauro Pacheco), Himala (Miracle, 1982, Ishmael Bernal), Ang Huling Birhen sa Lupa (The Last Virgin, 2002, Joel Lamangan) and Santa Santita (Magdalena, 2004, Laurice Guillen). In the four narratives, the female protagonists eventually incur supernatural powers after a perceived apparition of the Virgin Mary or the image of the Virgin Mary, and incurring stigmata or the wounds of Christ…While some were filmed for the purpose of screening during the Lenten season, there are those which were meant to be mainstream films. These went on to become both critical and commercial successes, carrying controversial topics which challenge the Filipino audience’s notion of religiosity and spirituality. Mga Mata ni Angelita, from which Julie Vega rose to fame, features a star-studded cast, including Vilma Santos, Nora Aunor, Dolphy, German Moreno, Boots Anson-Roa, Helen Gamboa and Fernando Poe, Jr. who shared very little screen time with the well-loved child star of the 80s…” – Erika Jean Cabanawan, Review of Women’s Studies, 2010 (READ MORE)

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A real Roman holiday

Posted on July 24, 2010 by @ffv Standard

When Sen. Ralph Recto went to Rome for the first time a few years ago, he threw a coin in the fountain (Fontana D Trevi) believing that, according to tradition, if you do so your wish will be granted. You know, the song: Three coins in the fountain, which one will the fountain bless? Thrown by three hopeful lovers, each one seeking happiness… Ralph threw only one coin and his wish to be back in the Holy City was granted. Last March 24, Ralph was back in Rome, not alone but with his wife, Lipa City Mayor Vilma Santos, and their son Ryan Christian, along with Vilma’s sister Emelyn, Vilma’s brother Sonny Boy, Ryan’s yaya Fely and Vilma’s Girl Friday/accountant Aida Fandialan. They were there purposely as guest in the ordination of Cardinal Gaudencio Rosales, formerly Archbishop of Lipa and now Archbishop of Manila. It was one event the Rectos will remember for a long, long time.

The formal invitation to the ordination read: Prefettura Della Casa Pontificia CONSISTORO ORDINARIO PUBBLICO tenulo dal Santo Padre BENEDETTO XVI per la creazione di 15 nuovi Cardinali VENERDI 24 Marzo 2006 piaza San Pietro – ore 10,30. The footnote in the card read: L’ingresso sara consentito Dalle ore 8,30. Cardinal Rosales was No. 5 on the list of 15 new cardinals who were given the red hat. The day before the ordination, the entourage went around as if they were wearing a halo all because they saw Pope Benedict XVI in person. Because they were with the foreign dignitaries, Vilma, Ralph and Ryan got close to The Pope, together with First Daughter Luli Arroyo, Cristina Ponce Enrile, Bea Zobel and the family of Cardinal Rosales. Because Ralph knew his way around, he acted as the entourage’s tour guide, even as the photographer (along with Sonny Boy). When they visited the Fontana D Trevi, Ryan threw plenty of coins because, he said, he wanted to be back in Rome as many times as possible. The rest of the group did the same.

On March 29, Ryan turned 10. To mark his birthday, Papa Ralph gifted his boy with 11 toys, the extra toy as “bonus” for the celebrator’s having gotten good grades at La Salle where he made it to the Top 5. Bright boy! Ryan also got a few medals last year during the oratorical contest. By this time, the entourage should be in Los Angeles to be with other members of the Santos family (including Winnie Santos). On weekend, the birthday celebration continued for Ryan who was brought to Disneyland for yet another visit. From April 13 to 17, they will go on a Royal Caribbean tour, with Mexico as kick-off point. They will be back in time for the birthday on April 21 of Vilma’s son Luis who must be hitting his head on the wall for begging off from the trip. It was, indeed, a real Roman holiday. Asked by Funfare during a brief phone chat if she wanted to go back to Rome, Vilma said, “Yes, of course. By all means!” Thank God, she threw not just one but a handful of coins to the Fontana D Trevi. – Written By Ricardo F. Lo, The Philippine Star, FUNFARE 04/03/2006

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Queen Vi

Posted on July 24, 2010 by @ffv Standard

Scene: struggling with her emotion, she kneels beside the bed where her father lies dead. The crippled old man couldn ’t accept the fact that his daughter was dancing for a living. Earlier, they had a quarrel and when she left the house, the old man had killed himself. “Bakit naman hindi n’yo ako hinintay?” she’s now whispering to him in remorse, “hindi naman talaga ako galit sa ‘yo, a. Di ba kayo rin kung minsan nakapagsasalita kayo ng masakit sa akin pero naintindihan kita dahil alam ko galit ka at hindi mo sinasadya. Dapat naman sana naintindihan mo rin ako,” she continues, breaking into sobs, “dadalawa na nga lang tayo sa buhay iniwanan mo pa ako. Hindi naman tama ‘yon!” And with the camera fixed on her in a semi-closeup shot, she weeps through her kilometric dialogues with startling spontaneity, the scene lasting all of ten minutes.

The scene is one of Vilma Santos’ high moments in Burlesk Queen, Celso Ad. Castillo’s magnum opus which earned for Vilma the Best Actress award in the Metro Manila Film Festival concluded last week. It’s a difficult scene and an actress of lesser skill could have buckled along the way and wasted rolls of precious film, but not Vilma who acquitted herself beautifully well in just one take. “Halos wala kaming rehearsal,” Vilma recalls, “kasi si Direk ayaw ng masyadong rehearsal dahil nagiging mechanical daw ang labas. Gusto niya after one rehearsal, take na kaagad because he believes that the first take is always the best.” Then she adds as an afterthought: “Nakakapagod ang eksenang ‘yon. Emotionally, that is.” Had she done the role of a burlesque dancer three years ago, Vilma would have stirred a big hornet’s nest among her loyal diehards… she would have been burned in effigies in indignant rallies all over the country… but no such untoward reaction happened, thank heavens. “My fans have grown up with me,” Vilma says, “they have matured. Besides, I’m already 24 and I’m not getting any younger. Ayoko naman nang palagi na lang akong naka-ribbon sa buhok at nalo-lollipop. Hindi na ako ang dating sweet-sweet. Come to think of it, mas mahirap mag-maintain ng sweet image dahil kaunting mali mo lang nama-magnify na kaagad, pinalalaki kaagad.”

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 clacked 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 downswing 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 (thier 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.

Scene: she comes home one night to find the mother of her week-old husband packing his clothes. He has eloped with her but he’s a Mama’s boy, a backbone-less guy when face-to-face with his mother, and he has now agreed to go home with Mama. She couldn’t persuade him to stay. As mother and son descend the long flight of stairs, the burlesk queen is left all alone in her room, in tears, with nothing and no one to clutch on to. At first she pleads with him but realizing the futility of it all, she proceeds to mock him and humiliate him, “Sige, she yells at him, “magsama na kayong dalawa, magsiping pa kayong dalawa, wala na akong pakialam. Ikaw, Jessie, wala ka namang paninindigan. Sige, magsama na kayo ng mama mo. Sige, gawin mong babae si Jessie, gawin mo siyang bakla!” Vilma’s change of image is part of her newly-found “liberation.” Liberation from what? “From many things,” Vilma answers. “From fear of being criticized, from fear of what people would say about me, from certain restrictions and inhibitions, from everything that was slowly choking me.” That exactly was how she felt early last year: all choked up.

So she slipped into a private hole after a quarrel with her Mama, refusing to be seen in public and thus setting off speculations that she was in hiding because she was on the family way. “No such thing,” says Vilma who had posed in a pair of bikinis to disprove the rumor. “Na-rumor pa na nagpa- abort daw ako at kung anu-ano pa, na nagwawala na raw ako. Pero ako naman hindi ko na iniintindi ang mga tsismis, bale wala na sa akin. Basta ako, I tell the truth and if people don’t believe me, okay lang. Dati-rati, nagri-react kaagad ako, pero ngayon, sanay na ako.” She was so confused and depressed at that time, “so filled up to my neck with problems and the pressure of too much work,” that Vilma was all set to kiss the movies goodbye. “Nakahanda na akong mamuhay ng tahimik noon, as an ordinary person.”

And how was he able to overcome that blue period? “Well, when they let me alone, nang payagan akong magsarili, that’s when everything seemed to loosen up. That’s the time I really felt free. Now, I have all the privacy I want, sa bahay ko, that is.” Although she now lives by herself in a single-girl’s pad, Vilma still runs home to Mama and Papa when she has to make important decisions. When Burlesk Queen was offered to her, Vilma bided her time until she talked with her parents. “Okay,” her Mama agreed, “as long as the sexy scenes would be treated well.” Says Vilma: “I am liberated in the sense that I have moved out of the family residence. Why did I do it? Because I feel I am old enough to take care of myself, gusto ko namang masubukan ang independence. I feel that I am old enough to know what I want. “Ngayon,” she adds, “anu’t-ano pa man ang mangyari, buhay ko na ito. Kung madapa man ako, sisikapin ko nang bumangon ng sarili ko.” Her kind of liberation includes freedom to choose her dates and to go out unchaperoned. To criticisms about her going out with a married man, Vilma snorts: “Ako naman, I don’t care whether a man is a sinner or a saint. Basta niri-respeto niya ako at ang pamilya ko, niri-respeto ko rin siya.”

Scene: She emerges on stage in a lace gown and, gradually, as the music gets hotter and hotter and the audience’s applause louder and louder, she unwraps herself and starts the greatest performance of her life. She has lost her father and her lover Jessie and she has nothing more to live for. The baby in her womb has to go, there shouldn’t be any memory of Jessie. And she dances on and on and on until she collapses in a bloody heap. The dance lasts for 17 minutes. It is her dance of death. Vilma almost backed out of the tree-fourths finished movie when she learned about the finale sequence. No, she wouldn’t do it, she couldn’t do it. She ignored call slips and went into hiding. Poor Celso, he was drowning in his own tears of desperation and banging his head against the wall.

Burlesk Queen was his “last card”, he wanted to retrieve his dwindling popularity, he wanted to save face and if he didn’t get what he wanted now, he would be finished. Finally one day, he received a basketful of fruits – “Peace offering,” Celso calls it, “from Vilma.” “It took us almost seven nights, shooting straight, to finish that sequence. I learned the dance from an expert real-life burlesque dancer. During shootings, palaging close-door. My God, I couldn’t have done it with so many people around.” She had to take several shots of brandy before the shooting. “Otherwise, I could have died from nervousness. ”According to Romy Ching, producer of Burlesk Queen, he didn’t really have the Metro Filmfest in mind because he had a November 25 playdate. But when he saw the rushes, he changed plans. “Hindi ka magsisisi na tinanggap mo ito,” he told Vilma, “it will be worth it.” Says Vilma: “I didn’t expect to win, although marami ang nagsasabi sa akin na malaki ang pag-asa ko. Ako naman, I don’t believe anything unless talagang nangyayari. Kasi noon, I expected to win, sa film festival din sa Quezon City, but somebody else did. I was very disappointed. Noong awards night nga, I wasn’t convinced I would win hanggang hindi ko pa hawak ‘yong trophy.”

After the award, Vilma has understandably upped her asking price. She’s now worth only P300,000, may kaunting tawad pa if the role is good and the director is good. That business-and pleasure trip to Europe with Vasquez shall have to wait while Vilma is fulfilling her previous commitments. The morning after the awards night, tempting offers swamped Vilma, P300,000 and all, but she is not about to grab them all. She wants first to resume the shooting of her own outfit’s much delayed project, Pagputi ng Uwak, Pag-itim ng Tagak, where she co-stars with Bembol Roco and has for director, yes, Celso Ad. Castillo. “We want to make it as good as, if not better than, Burlesk Queen,” Vilma and Celso promise. It better be. – Ricardo F. Lo, Queen Vi (or Or, how Vilma Santtoss came out of the doldrums and reasserted herself at the Box Ofice) Expressweek Magazine January 19, 1978

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The Classic Vilma Santos Movies

Posted on July 24, 2010 by @ffv Standard

1. RELASYON (1982) – “Vilma Santos represents womanhood in the film…Santos portrays a mistress who is an out-and-out martir. She serves De Leon hand and foot, ministering to his every need, including fetching beer for him, washing his clothes, serving as his shoulder to cry on, even baby-sitting his child. In return, all she gets from De Leon is chauvinistic love, void of tenderness, full of immature aggressiveness… Vilma Santos’ acting is adequate and extraordinary…” – Isagani Cruz, Parade 01 July 1982.

“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.” – Lawrence delos Trinos, Star Monthly 10 July 1982

”VILMA SANTOS holds the first ace on acting this year with her terrific performance in Relasyon – the range is wide, the insight deep, hardly a false note in the entire performance – she was always in control, even when she seemed totally lost in her role…basta magaling si Vilma, tapos!“ – Ador Cs Tariman

FACTS: Vilma Santos’s first best actress grand slam win.
FICTION: Vilma Santos’ wins can be attributed to her connection to Imelda Marcos. (That’s absurd.)

2. BURLESK QUEEN (1977) – “…naiiba ang Burlesk Queen, kahit ikumpara sa mga naunang trabaho ni Celso at sa iba pang direktor na nagtangkang tumalakay sa paksang ito. Matagal-tagal na rin namang nauso ang kaputahan sa pelikula, pero walang nakapagbigay ng katarungan sa lahi ni Eba bilang Pilipina at bilang puta… para kay Celso…ang tao ay hindi basta maghuhubad at magtatalik. Maraming pangyayari sa buhay ang dapat munang linawin at unawain, at iyon ang basehan ng kasaysayan.” – Jun Cruz Reyes, MPP, Manila magazine Dec 1977

“(about the hospital scense with Vilma and Leopoldo Salcedo) Tuloy-tuloy ‘yun. nag-experiment ako noong una, kumuha ako ng second take, pero di ko na rin tinapos. Perfect na iyong una. Alam mo bang nang gawin namin ang eksenang iyon tatlo kaming umiiyak sa set? Ako, si Vilma, at si Leopoldo? Dalang-dala si Leopoldo sa pagsasalita ni Vilma, lumuha siya kahit patay siya dapat doon. Buti na lang di siya nakuha ng kamera…(Kung Nahirapan ka ba kay Vilma?) …Oo, hindi sa acting dahil mahusay talaga siya kundi sa scheduling. Alam mo kasi it takes time before I can really get into the mood of a picture, mga two weeks, tapos kapag nandiyan na, that’s the stage when I’m ready to give my life to the project. Tapos biglang walang shooting ng two weeks dahil busy siya sa ibang pelikula…” – Ricardo Lee, Manila magazine Dec. 1977

FACTS: The film won 10 out of 13 Awards at the 1977 Metro Manila film festival including Best Actress for Vilma Santos.
FICTION: All of the awards that’s been given to the film has been given back due to the investigation that the verdict were rigged. (Up to this date, Vilma still has her medal and award.)

3. RUBIA SERVIOS (1978) – “The second rape scene in “Rubia Servios” which stars Vilma Santos, is reminiscent of the rape scene in “Santiago”, shown in 1970. Instead of Caridad Sanchez as the wife who is assaulted in full view of husband Mario O’Hara, it has Vilma Santos and Mat Ranillo III. This coincidence is not surprising since Brocka also directed Santiago, and O’Hara, who has since graduated from supporting roles, is the scriptwriter for “Rubia Servios”. Vilma does not expose much skin and Philip Salvador (as the attacker) has his pants on, but the scene could well be one of the most realistic rape scenes on screen in a long, long time. The anguish in Vilma’s face and the lust in philip’s eyes blended so well the effect was dramatic rather than sensual. The real climax of the film, however, is the killing of Philip by Vilma with a paddle aboard a motorboat at sea. Lino Brocka, who directs Vilma for the first time, succeeded in muffling her sobs even in the most hysterical moments. To our mind, “Rubia Servios” is geared towards mature audiences. It is engrossing despite the lack of fancy camera shots and an almost chronological presentation.” – Ricky Lo

FACTS: Vilma Santos lost The Best Performer Award in this 1978 Metro Manila Film Festival to rival Nora Aunor. Admittedly, this was the most painful lost she experienced in her whole career. With its “For Adults Only rating” in consideration, the film still managed to end up as one of the Festival’s top grosser.
FICTION: Vilma committed suicide after her lost, luckily Manay Ichu, her Rubia Servios producer came and rescued her. (Both Manay Ichu and Vilma managed to get drunk but Vilma did not commit suicide.)

4. DOLZURA CORTEZ (1993) – Dahil Mahal Kita (Because I Love You): The Dolzura Cortez Story 1994, This Philippine drama chronicles the colorful life of Dolzura Cortez, the first publicly recognized AIDS patient in the Philippines. The film begins with a brief examination of Cortez’s pre-AIDS life. Initially she lived in a small village with her cruel husband and three kids. The spunky woman leaves them and moves to the big city where she engages in several affairs. Her second marriage to a rich foreigner does not last long. To support her children, Dolly begins an all woman “contract worker” agency. This also serves to facilitate her love of night-life. Tragedy comes to Dolzura after she collapses on a dance floor one night and learns that she has full-blown AIDS. At a Manila hospital she meets ex-lover Paulo, an AIDS researcher who encourages to tell her story publicly. The courageous woman does and she becomes instrumental in spreading AIDS awareness to the islands. – Sandra Brennan, The New York Times

“Still bearing activist weight is Vilma’s effort in Laurice Guillen’s Dahil Mahal Kita: The Dolzura Cortez Story in which she fleshes out a body and a mind for a person with AIDS. This initiative constitutes an advocacy not only for people afflicted with the dreaded pandemic, but also for women who have to overcome strata of ostracism in the process of survival and resist their being reduced to an aberration, in this case, a pathology.” – Patrick Flores, Manila Standard Today Jan 11, 2003

FACTS: Vilma Santos’ earned her 2nd Best Actress grand slam wins.
FICTION: Dolzura Cortez wanted Nora Aunor to play herself in this film. Aunor declined. (No. No. No. That’s the most ridiculous thing I have ever heard – Simon Cowell from AI)

5. PAHIRAM NG ISANG UMAGA (1989) – “…a striking part of the movie (was when), Juliet watching intently as morticians work on her father’s remains, as everyone weeps when the coffin is lowered to its final resting place, and during the ritualistic pasiyam, the nine-day novena for the dead. It’s as though Juliet can see herself in her father’s lifeless body while mourners mill around it. The attempts to raise the level of the melodrama and present insights on life and death provide the movie its greatest strength – and wide appeal. How strangely ironic that a movie dealing with death could have so much life.” – Mario Hernando, Malaya 05 March 1989

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

FACTS: Vilma Santos won her first PMPC Star Awards Best Actress.
FICTION: Mario Bautista fought hard to make sure Nora Aunor won the Star Awards. (It was actually the opposite!)

6. LIPAD, DARNA, LIPAD (1973) – “the quintessential actionfantasy Pinoy flick that appeals to all ages, from generation to generation. This movie is a major milestone for Vilma because it proved that she could really carry a solo movie and bring in the dough (up to now of course!). Vilma’s Darna franchise is the most memorable and successful of all Pinoy fantasy-action genre. Imitated but never equalled, Vilma’s Darna lives on. Unforgettable. Memorable. It grows on you. No Pinoy kid ever grows up without being a part of the Darna magic. Vilma, practically flew at the top of the box office in Sine Pilipino’s trend setting trilogy “Lipad, Darna, Lipad!” Many fans consider Lipad, Darna, Lipad, as one of the most entertaining Darna movies ever. After all, who could forget that climactic aerial battle scene between Darna and the Impakta (Gloria Romero)? That shot of Romero impaled in a giant crucifix ensconced on top of a church tops any gory scene in The Omen. The enormous success of Lipad, Darna, Lipad led to three more Darna movies with Vilma Santos. As a result, the star for all seasons became the star for all Darnas—Santos played her four times, more than any other actress in the superheroine’s history. “Lipad, Darna, Lipad!” were divided into three separate segments, directed by three different directors. In Darna’s case, the three directors were Maning Borlaza, Joey Goesiengfao, and Elwood Perez—three names that promised an adventure that could do Andy Warhol proud.” – Eric Cueto

FACTS: Lipad Darna Lipad broke all box office records and made Vilma as the most successful Darna to date.
FICTION: Vilma was immediately wanted to wear the two-piece sexy Darna cutomes. (Vilma wore skin coloured suit on top of the Darna custom but after some people who works for TIIP and her entourage convinced her that it looks tacky, she agreed to wear the custom without it.)

7. ANAK (2000) – “Living complex emotions with subtlety and humor, pic resists melodrama until the dam abruptly burst after 90 minutes; ill judged pileup of crying scenes, plot crises and more crying ensues…That’s too bad, since early reels observe parent-child relationships with considerable delicacy… veteran local star Santos is in fine form, while barretto lends impressive shading to what might have been a stock sexy “bad girl” role…” -Dennis Harvey, Variety Magazine 19 March 2001

“The slick production is turned into art by its star Vilma Santos. Her magnetic star quality makes her look so wrong for the part and yet she makes it all her own. She’s a natural comedianne and a great tragedienne-her look of resignation is heartbreaking. Vilma discards the glittering clothes and make-up for Anak, but she still looks youthful. It wouldn’t come as a surprise if the sensitive young actor playing her son would go on to play her leading man a few years from now.” – Dennis Ladaw

FACTS: Official Philippine Entry to the 73rd Academy Awards Best Foreign Film. Anak grosses 14 Million Pesos, a record breaking for a Filipino film!
FICTION: Vilma can’t portray a poverty stricken maid or “atsay” role, that role only suited Nora! (Tell that to the marines!)

8. SISTER STELLA L. (1984) – “…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 30 May 1984

“…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, Pet Cleto, Philippine Panorama 02 December 1984

FACTS: Vilma Santos admittedly confessed SSL was a flop at the box office.
FICTION: Vilma was overshadowed by the supporting cast of this film. (The Urian critics disagreed! They gave Vilma, her third consecutive best actress! Hah! Beat that!)

9. DEKADA 70 (2002) – “Santos’ Amanda effortlessly and movingly chronicles the changed consciousness of the family and the country, with understatement her most reliable tool. Pic begins and ends with images of Santos at the forefront of a political demonstration, and nothing, from first image to last, for 128 minutes, is allowed to spontaneously or slyly deviate from the logic of her consciousness-raising.” – Ronnie Scheib, Variety Magazine “Last seen in ANAK (SFIAAFF ‘01), Vilma Santos delivers an understated, profoundly moving performance as the matriarch whose awakening redefines the traditional mother and wife role she donned for years. This is the story of an incredible character that survived an unforgettable decade.” – Michael Magnaye, The 22nd San Fransisco Asian-American Film Festival 2004

“As Amanda, Vilma Santos shows again why Brocka, before he died, had likened her to water. “She can register anything,” he said. In “Dekada”, its the same Santos of vigor and transparency. The only difference is the depth, the resonance, and the greater confidence. Can she ever go wrong?” – Lito B. Zulueta, Philippine Daily Inquirer 30 December 2002

FACTS: Vilma Santos’ 4th Grand Slam wins for Best Actresses. The film was exhibited in last year’s “Cinema of the world” section at Cannes. Philippines’ Official Entry at the 76th Academy Awards Best Foreign Language Film. Vilma’s 4th Grandslam Best Actress wins.
FICTION: Dekasa 70 was written by Lualhati Bautista for Nora Aunor.

10. BATA BATA PAANO KA GINAWA? (1998) – “Sa tingin ko, sa Bata, Bata… pinakamagaling si Vilma Santos. Sa dami ng kanyang award, may ibubuga pa pala siya. Iba ang akting niya rito…Halatang feel na feel ni Vilma Santos ang kanyang papel dahil, gaya ng karakter ni Lea Bustamante, dalawa ang anak ni Vilma sa magkaibang lalake.” – Marra Pl. Lanot, Diario Uno 16 Sept. 1998

”And Vilma Santosis more than up to the challenge. Gone are the hysterically flapping hands, the melodramatic emoting, all the trademark acting tics. In their place is a heartfelt performance that distills Lea’s essence to an exquisite point-no movements are wasted, no gestures are overwrought. …Vilma rolls them on her tongue like the finest wine; when Lea is on the verge of breaking down, Vilma remains true to the spirit of her character… If the Lipa City mayor decides never to do another movie again, she can retire assured that her last performance-in a career already studded with formidable portrayals-may conceivably have been her best.” – Andrew E. Pardes, Manila Times 13 Sept 1998

FACT: Opening gross was 5.2 million pesos. Another record breaking for Vilma. The film earned her a third grandslam best actress wins and her very first international recognition, winning the Brussel International film festival’s best actress award.
FICTION: The film was offered to Nora Aunor

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What’s Love Got To Do With It – Isang Gabi Tatlong Reyna

Posted on July 23, 2010 by @ffv Standard

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One rainy Friday night in August, 1990, all roads led to the Metropolitan Theater where the top-rating and the most awarded musical-variety TV show VILMA! would air one of its most-watched episodes, ever.

Vilma Santos, who would turn 37 that year, was on cloud nine. She was the toast of the town, in both movies and television. Her Lino Brocka directed movie, “Hahamakin Lahat” was a commercial and critical success. Come hell or high water (there was a tropical storm), fans queued at the SRO theaters and saw her out and out Cruella Deville role as Gabby Concepcion’s paramour. Some like her bad.

Vilma, the versatile actress scored again. Earlier, she won her first of six Star PMPC and her fourth Urian best actress awards for her ’best’ performance in years in Pahiram ng Isang Umaga, which was directed by Ishmael Bernal. She also just finished Kapag Langit ang Humatol with Laurice Guillen at the helm. At the PMPC Star Awards for TV, Vilma’s show harvested the biggest awards. And on that particular rainy night at the jam packed Metropolitan Theater, Vilma Santos was paying tribute to a Movie Queen she loved dearly and who reciprocated that love. Amalia Fuentes was the special guest, who just turned 50. Vilma! was giving her a tribute, with special appearances of former Sampaguita Productions ’stars.’

Everybody knew that despite the infamous Romeo Vasquez/Vilma Santos le-affair Amalia and Vilma remained the best of friends. With a sincere, charismatic and humble La Vilma, who could resist her charm? Yes, the original Taray Queen, forceful and outspoken former queen of Philippine movies, she with a strong personality but with the most beautiful face in Philippine cinema, acquiesced to her friend’s request to grace the most watched TV show. Love begets love. Respect begets respect. The retired and reclusive Amalia Fuentes could not say no to the current darling of Philippine movies.

To recall, the senior and junior movie queens appeared in these movies: Bulaklak at Paru-paro (1970), Mga Reynang Walang Trono(1976) and Asawa Ko, Huwag Mong Agawin (1986). Amalia directed Vilma’s episode in Mga Reyna and agreed to second billing to Vilma in Asawa Ko. No doubt about it, Amalia Muhlach Sumilang Fuentes, is a Vilmanian. To seal their sisterhood and camaraderie, Vilma is Ninang to Liezl Martinez and to the latter’s son Alfonso. Why, Liezl even sang a song ’’Wind Beneath My Wings’ to her surprised mother that night which drove the strong-willed and still beautiful Amalia to tears. A Kodak moment, indeed. Priceless! While interviewing the three Muhlach generations, Fuentes, Liezl and young daughter Aliyanna, Amalia revealed to Vilma that she is protective of her ’unica hija’ Liezl. “Ay naku, I think I also have become like my Mom, I’m also very protective of my children,” Liezl remarks.

Ex-Sampaguita stars Luis Gonzales and German Moreno served as Vilma’s co-hosts who provided comic relief as they recalled their Sampaguita days with Amalia Fuentes. Debonair Eddie Gutierrez also came to greet Amalia a Happy Birthday. Then Daisy Romualdez, Amalia’s contemporary and best friend danced the mambo/cha-cha with dancing queen Vilma, along with Kuya Germs and Luis Gonzalez. “I messed up that dance number,” Daisy gamely confesses, “wala kasing practice.” On her friend Nena (Amalia), Daisy admires her colleague for being frank and outspoken like her. “Nagkasundo kami kaagad dahil pareho kaming prangka ni Nena, hindi kami plastik,” she bemuses.

The highlight of the evening was when Vilma introduced another special guest, the other Queen of Philippine movies, Amalia’s rival, Ms. Susan Roces. Radiant and regal in her Susan Roces hairdo and dark, glossy gown, Ms. Roces was polite and generous with her comments on her kumare-rival. Vilma, obviously starstruck, throws a question to Susan: “What can you say about Ate Nena as being mataray and you Ate Susan as soft-spoken?” Susan: “I’d like to make a correction Vi, Amalia is not mataray, she is just outspoken, pero nasa lugar, so there’s a difference there.” Applause from the audience. “Alam mo ba Vi na my mother dotes on Amalia dahil pareho silang prangka? Sabi ng Mommy ko, iyang si Susan hindi pumaris kay Amalia, prangka at di iyakin.”

Amalia on Susan: “I want to be like Susan dahil she is so sweet and soft-spoken. Doon nga sa weekly sessions namin, sabi ni Doctor Perez, why don’t you be like Susan, matiyaga sa fans, ikaw, sumakit lang ang ulo mo, ayaw mo nang harapin ang fans.” Guffaws and chuckles. The conversation turns serious. Vilma: “How did you handle the competition? Did the intrigues get in your way, affected you?” Susan, smiling sweetly, with a politically correct comment: “Hindi naman. We were in the same movie company and we were treated fairly. We’re like one big family. In your case with Nora, and Gloria Romero and Nida Blanca, it’s different. Magka-iba kayo ng movie companies.” Vilma: “Ay ang sarap, sana, one of these days magksama rin kami ni Nora Aunor like this one, Ate Susan and Ate Nena, together.”

Amalia Fuentes, Susan Roces and Vilma Santos. Isang Gabi, Tatlong Reyna. – Susan, a movie queen, honoring a rival-friend movie queen Amalia on her 50th. birthday. Amalia confessed on the show and thanked Susan for throwing a surprise birthday party for her days before the Vilma show. What’s love got to do with it? In the case of Susan and Amalia, it’s love. In the case of Vilma and Amalia, it’s also love. Diva to diva. Competitors can be friends. May it also happen to Vilma Santos and Nora Aunor. Rivals on the silver screen, friends for life. A fter all, love conquers all. It is more permanent than fleeting fame and fortune. What’s Love Got To Do With It? Isang Gabi Tatlong Reyna – Mario O. Garces, V Magazine

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Gov. Vi for vice president?

Posted on July 23, 2010 by @ffv Standard

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There’s an offer, yes, for her to be the runningmate of Vice Pres. Noli de Castro in 2010 and she’s flattered but Vilma Santos said she’d rather focus on her job as governor of Batangas than give it a thought at the moment. She said this and more during the launch of her partnership with Pfizer as celebrity endorser of the pain reliever Ponstan. The well-attended event was held at the Isla Ballroom of Edsa Shangri-La Hotel in Ortigas the other day.

Governor Vi, looking dainty and fresh in a red suit, was her usual candid and articulate self when she answered questions from columnist Cito Beltran who hosted the launch. As to how she handles responsibility, she said “hindi madali but I always give my best, binibigay ko buong-buo serbisyo na kapalit ng pagtitiwala ng mga tao sa akin…” If she said it’s not easy for her to do this, it’s because she’s also a wife (to former Sen. Ralph Recto who’s her mentor and senior adviser she said) and mother to Luis who’s now making a name for himself as actor, TV host and as celebrity product endorser too, and Ryan who she described as very intelligent, “laging nasa honor list.”

“But it’s really inspiring to be given trust and confidence,” she stressed. Though diminutive in size, Vi has always been feisty and strong, as she proved her mettle in everything she does, first as a no- nonsense actress who amassed accolades and awards and later as a politician. At the start of her political career, many expressed misgivings and doubts. But the challenges only made Vi stronger, and more determined, to prove her detractors wrong. She stressed: “Lalo akong tumitibay sa mga challenges, kaya kong salungatin ang mga paghamak,” and Cito likened her to the famed Batangas knife, “tumatalim kapag hinahasa.”

She never thought she’d be a politician “but I finished three terms as mayor of Lipa, and I should say, with flying colors,” she proudly stated. It was a gargantuan task becoming mother to more than 200,000 Lipeños. “On my first year, I did housekeeping for Lipa, and I succeeded naman. Maraming problema at hindi sabay-sabay nagagawan ng solusyon ang mga ito but nagawan ko naman ng paraan ang lahat.”

Now, as governor of her province, Vi is mother to more than two million Batangueños. Her biggest concerns as governor are embodied in the acronym HEARTS – Health, Education/Environment, Agriculture, Roads or infrastructure, Tourism and Security. The biggest bulk of the province’s budget “sa HEARTS napupunta,” the lady governor said. Kung may enough time, comfortable na ang province, kung okay nang projects ko, pag-racket naman sa pelikula, duon ako kikita naman.

Her job is physically, emotionally and mentally draining, she admited but she isn’t complaining. She finds it amusing that sometimes in the middle of an important meeting, she would be called out of it because a group or even a busload of visitors wanted to see her in person even if only for a minute. “Entertaining people, tapos picture-taking pa na walang katapusan, talagang nakakapagod, nakakastress but it’s all part of the job ika nga. At pag nakaramdam na ako ng sakit, sakit ng ulo, sakit ng katawan at ano pang sakit, that’s when I take Ponstan. My mother taught me to take pain reliever when needed, at usually she recommended Ponstan, at hindi lang pala sakit ng ipin ang nagagamot nito. Para sa akin, if you don’t feel well, huwag ka na humarap sa constituents mo, kasi your condition will reflect in your person.”

She related that when Pfizer approached her for a possible endorsement of a product, they didn’t tell her what product it would be. But when Vi learned that it would be for Ponstan, she accepted without second thoughts, having used the product almost all her life and having proven for herself its effectivity as a pain reliever. “Hindi na kami nahirapan nag-negotiate,” Vi said. “We are very excited and honored to have Governor Vi as our celebrity endorser. We could not have chosen anyone else to effectively communicate the brand’s message to the public,” said Laiza Filart, product manager of Ponstan SF. She added that the choice to have Gov. Vi as the latest face behind Ponstan is the striking parallelism between the highly-effective brand and the hardworking public official. “They are really fit to be unstoppable partners. – Written by Crispina Martinez-Belen, Manila Bulletin 2/22/08