Vilma Santos-Recto is a popular multi-awarded actress and politician in the Republic of the Philippines. *** She is known as "Queen of Philippine Movies," "Queenstar," "Grand Slam Queen," "Box Office Queen," and "Star for All Seasons." *** This website is mostly about her iconic film career.
2000 Box Office Queen – “…The Guillermo Mendoza Memorial Scholarship Foundation, Inc. is staging the 31st annual Box Office King and Queen of Philippine Movies coronation night on April 4 at the UP Theater. Telecast date is on April 21 on RPN-9. This private foundation is headed by civic leader Corazon M. Samaniego, daughter of the late Guillermo Mendoza who was once a noted politician and philanthropist in Bulacan. Middle of this week, the members of the board of judges of this award-giving body (with Necy Marco Llarena as chairperson) sat down to deliberate on the winners of this yearly popularity contest. Lipa City Mayor Vilma Santos was voted Box Office Queen because of the strong showing at the tills of her film Anak last summer. Produced by Star Cinema and directed by Rory Quintos, Anak was one of the top-grossing films of the year 2000. Robin Padilla, on the other hand, was voted Box Office King of Philippine Movies. Padilla’s two movies last year were big winners at the box office: Kailangan Ko’y Ikaw with Viva Films and Tunay na Tunay — Gets Mo, Gets Ko, released under Star Cinema…Veteran performers Dolphy and Gloria Romero are also being honored as All-Time Favorite Actor and Actress. Dolphy may have lost in the Best Actor race in last December’s Metro Manila Film Festival, but he still made quite a splash in Gil Portes’ Markova: Comfort Gay. And Gloria? After so many decades, she’s once more the toast of the town – thanks to Tanging Yaman…Maribeth Bicharra should also be very happy with the list of winners in this year’s Guillermo Mendoza Memorial Scholarship Foundation awards rites. Her VIP was voted almost unanimously as the Most Popular Dance Group. In the television category, Rudy Fernandez’s Kasangga on Channel 7 was picked as the Most Popular TV Program…” – Butch Francisco, The Star, Feb. 25, 2001, Reposted by: Sol Jose Vanzi (READ MORE)
1970 – Most Popular Loveteam ang Vilma-Edgar (Liwayway Publications)
1971 – Miss Philippine Movies
1972 – Reyna ng Pelikulang Pilipino
1973 – Queen of Philippine Movies (BAMCI Promotions)
1974 – Queen of Movie Stars (Life Publishing)
1974 – Miss RP Movies (BAMCI Promotions)
1975 – Miss RP Movies
1975 – Queen of Southern Luzon Movies
1974 – Box-Office Queen of Philippine Movies (Manila Overseas Press Club)
1977 – Box Office Queen of Philippine Movies (GMMSF)
1978 – Philippine Movie Box Office Queen (PD Promotions)
1978 – Box-Office Champion (Grand Total Productions)
1978 – Box-Office Champion (Big Ike’s Happening)
1979 – Box-Office Champion (Gand Total Productions)
1979 – Box-Office Champion (Big Ike’s Happening)
1979 – Box-Office Queen of Philippine Movies (Mecca Productions)
1980 – Box-Office Queen of Philippine Movies (PD Productions)
1980 – Miss Philippine Movies (PD Productions)
1981 – Miss Philippine Movies-USA
1981 – Box-Office Queen of Philippine Movies (Geebees Productions)
1982 – Box-Office Queen of Philippine Movies (GMMSF)
1982 – Cinehan Award’s Box-Office Queen (Metro Manila Theaters Association)
1982 – Top Female Star-Takilya Award (KASIPIL)
1983 – RP Movies Queen of Queens (Prime International Promotions)
1983 – Her Highness Queen of Philippine Movies (Catholic Women’s League)
1984 – Box-Office Queen of Philippine Movies (GMMSF)
1988 – Queen of Philippine Movies (Star Publishing)
1996 – Longest Reigning Box-Office Queen (City of Manila)
2001 – Box-Office Queen of Philippine Movies (GMMSF)
Naging perya ang mga sinehan ng Kamaynilaan sa nakaraang 1978 Metropolitan Manila Film Festival. Bumalik sa dating sistema ng palabunutan ang tambiyolo ng kapalaran, sa halip na magkaroon ng pamimili sa mga produktong may uri at karapat-dapat ipalabas tulad ng nangyari noong nakaraang pista. Dinagdagan ang singil ng singkuwenta sentimos (para daw sa Mowelfund ni Joseph Estrada na muling nahirang na pangulo ng PMPPA, ang samahan ng mga malalaking prodyuser) at nagkaroon ng bolahan, at may mga nakalaang premyo tulad ng kotse at mga appliances para sa masusuwerteng ticket holders. Sige na, matuloy lang ang perya.
Dahil sa mula’t mula pa’y hindi agad masiguro kung tuloy o hindi ang pestibal (dahil rin sa ayaw makipagtulungan ng mga may-ari ng sinehan), ang karamihan sa mga pelikulang lahok ay yaong mga yari na, o di kaya’y nilagare para humabol sa pestibal, at galing sa mga prodyuser na nagkasuwerteng makabunot ng sinehan. Nang magmatigas ang mga may-ari ng teatro sa pamumuno ni Johnny Litton, sumugod ang mga taga-PMMPA sa Malacanang para kausapin si Gng. Imelda Marcos. Nang mabigyan sila ng opisyal na pahintulot, walang nagawa ang mga theatre owners kundi sundin ang direktiba.
Tuloy ang pista, ang parada, ang bolahan nitong kapaskuhan. Tulad ng nakaraang taon, siyam din ang kalahok (bagama’t noon ay idinaan sa mahigit na pamimili ng mga hurado). Kung nagkaroon ng screening, dalawa lamang siguro ang makakapasa. Ang pito ay dapat sanang pinalabas sa Mahal na Araw bilang penitensiya sa mga manonood (ngunit tinapat din sa Pasko, kung kailan pa naman naghahanap ang mga manonood ng mapaglilibangan hindi ng kalbaryo). Sa katunayan, may isang pangkat na nagpetisyon sa pangulo tungkol sa karahasan ng mga pelikula, sa tema at paksa, ngunit madali silang sinagot ni Meyor Estrada. Kulang daw talaga sa panahon at preparasyon, at aprobado daw ng sensor ang mga ito, giit niya. At saka mas mabuti na raw ang local garbage kaysa sa imported garbage. Maitatanong tuloy: Kung basura ang mga pelikula, bakit hindi ipahakot sa Metro Manila Aide sa halip na ipakita sa mga tao? Kung basura’y bakit binabayaran ng kuwatro pesos?
Tunay ngang mababa ang uri ng mga pelikula. Magsimula tayo sa ibaba. Nangunguna na sa grupong ito ang Salonga, na ibinatay raw sa tunay na buhay ni Nicasio “Asiong” Salonga, kilalang lider ng isang gang sa Maynila nang mga huling taon ng 1940. Sa direksiyon ni Romy Suzara, naging malabo ang kuwento. Hindi mo maintindihan kung bakit naging hoodlum si Salonga, kung bakit gusto ng mga taong magbigay ng tong sa kanya, kung bakit siya naging pinuno ng kanyang gang, at kung bakit siya naging public enemy no 1. Walang direksiyon ang iskrip ni Humilde Roxas, maliban sa pagpapakita ng kaunting aksiyon, kaunting romansa, kaunting drama, at kaunting pakuwela. Ni wala kang makitang insight sa mga tauhan at sa kapaligirang nagluwal ng ganitong klaseng karahasan. Bilang action picture, amateurish ang pagkakadirehe ng mga bakbakan (malayong-malayo sa Boy Pana ni Suzara). At bilang artista, si Rudy Fernandez ay may all-purpose look sa kanyang baby face na una na nating nasialayan sa Baby Ama. Sa pangkalahatan, ang pelikula ay dapat tinaguriang “Asiong Aksaya.”
Isa pang aksaya ng pera at panahon ang Jai Alai King. Kuwento naman ito ni Drigo Garrote (Christopher de Leon) na isang amateur pelotari na may ambisyon maging propesyonal. Sa tulong ng kanyang sidekick na bata (Dranreb) ay malapit nang matupad ang kanyang pangarap. Ngunit may malaking problema: maraming naiingit sa kanya ang mga kapwa-pelotari, na pinamumunuan ni Juan Delgado (Johnny Delgado). Naroong ipabugbog siya. Naroong patamaan siya ng bola. Naroong agawin ang kanyang babae. Sa madaling salita, madali pormuang ginamit: may pag-ibig (tatlong babae ang may gusto kay De Leon), may drama (nagtampo ang batang sidekick), may aksiyon (maraming alalay si Delgado na wala namang ginawa sa pelikula), at maraming pakwela si Boyet at Dranreb na dito’y walang-iniwan sa matandang dalaga. Biro mong siya ang manedyer, kahero, tagapayo, at numero unong tagahanga ni Garrote.
Nagka-routine ng direksiyon ni Manuel Cinco (kung matatawag itong direksiyon). Napakaraming butas ng istorya (ni hindi ipinaliwanag kung bakit nakatira ang Jai-Alai player sa guhong bahay). Malabo rin ang mga kuha ng kamera kaya sasakit ang mga mata mo. At maraming kuha sa jai-alai na hindi magkasabay na ipinapakita ang mga manlalaro at ang mga tao. Nakapanghihinayang na wala rito ang mga bagay-bagay na inaasahan mong makita: ang intriga, ang pagbebenta ng laro, ang manipulasyon ng mga kapitalista, ang adiksiyon ng masa sa sugal na ito, ang tunay na daigdig ng jai-alai.
Wala ring sinabi at sinasabi ang The Jess Lapid Story, isang pagtatangkang buhayin ang pangalan ng kilalang stuntman na sumikat sa pelikula noong mga taong sisenta, nang mauso ang aksiyon. Sa halip, binibigyan tayo ng mga de-kahong sitwasyong nagpapakita ng 1) kanyang buhay 2) pag-ibig 3) pakikipagsapalaran sa daigdig ng pelikula. Ipinakita ang kanyang kahirapan sa probinsiya, ang pagpapalit-palit niya ng trabaho, ang pagsisimula niya bilang boksingero, utility man, stuntman, at hanggang maging action king siya sa kama at telon. Ngunit sino talaga si Jess Lapid, at bakit siya kinainggitan ng ilang tao at pa-traydor pang binaril? Itanong mo na lang sa mga sumulat ng iskrip, sina Diego Cagahastan at Tony Mortel, at kay Cesar Gallardo, direktor ng pelikula, na patuloy ang pagbulusok sa kawalang-sinabi. Lahat ng mga pelikulang hawakan ni Gallardo ngayon ay paurong nang paurong mula sa kalidad ng Kadenang Putik noong 1950.
Magaling bilang stuntman si Lito Lapid (pamangkin ni Jess sa tunay na buhay). Ngunit bilang aktor, marami siyang dapat matutunan. Una na rito, ang kanyang pananalog. Halatang Pampanggo ang dila niya, at napaka-conscious niya sa kamera. Malimit siyang naka-pose bago magpakita ng stunts, na kalimita’y lundag at lipad. (‘The Flying Lapid’, puna ng isang kaibigan ko). Nasayang lang si Beth Bautista rito bilang martir na asawa ni Jess, samantalang sina Tina Monasterio at Trixia Gomez, mga naging kabit ni Jess sa pelikula, ay talagang wala nang pag-asa. Ipinapayo kong magpalit na lang sila ng trabaho at huwag na tayong idamay sa kanilang walang talino o galing.
May maganda sanang materyal ang pelikula ng isang stuntman, Ang Huling Lalaki ng Baluarte. Mayaman sa alegorya at simbolismo ang kuwento nito tungkol sa isang lugar na nililigalig ng isang ganit na pinuno at kinikidnap ang kalalakihan para sapilitang pagtrabahuhin sa minahan ng ginto. Isang lalaki na lang ang natitira sa lugar, na siyang tanging pag-asa ng mga kababaihan, hinanap ni Isaac (Malonzo) at ng ilang babaeng kanyang tinuruang makipalaban, ang nawawalang mga lalaki ng Baluarte. Sa wakas, siyempre, natagpuan din nila ang minahan, napatay lahat ang masasamang-loob, at naipakita rin ni Malonzo ang kanyang husay sa martial arts. Beterano siya kung ihahambing kay Lapid, at puwede rin sa drama.
Ngunit sayang. Sa kamay ng isang direktor na may malawak na imahinasyon, naiangat sana ang materyal nito para maging makabuluhan sa karanasan ng mga Pilipino, at sa mga tungaliang nagaganap sa ating paligid. Kung di nga nauwi sa bakbakan, barilan at bidahan. Sa kamay ni Artemio Marquez, ang kuwentong pangkomiks ni Carlo Caparas ay naging behikulo para ipakita ang huling gimik ni Malonzo sa karate, sa judo at sa baril.
Kung nauwi sa aksiyong nakasasawa ang Baluarte, naging malapot na drama naman ang Katawang Alabok ni Emmanuel Borlaza, na sa pamamaraan at pananaw ay dapat tanghaling Huling Direkto sa Pilipinas. Hindi na uubra ang kanyang mga obra. Mga diskurso sa Eva Fonda. Mga bodabil sa Dodong Diamond. Mga pa-bold-bold sa Mga Bulaklak ng Teatro Manila. Bawat tauhan ni Borlaza ay kinakailangang mag-drama. At dramang pag-Gala. Magandang halimbawa ang Katawang Alabok.
Sa kanyang sinasayawang teatro natipuhan si Lorna Tolentino ng mayamang matanda (Vic Silayan), na may baliw na asawa (Lucita Soriano) at may anak na direktor (Robert Arevalo). Gustong pag-artistahin ni Arevalo ang dalagita kaya naiinggit ang iba niyang artista sina Orestes Ojeda at Janet Bordon at ang doktora ng pamiya na si Daisy Romualdez. Kaya lumayas si Lorna at nakilala niya ang isang bulag (Manny Luna), na anak ng masungit na trabahadora (Anita Linda) na… Magulo ano? Hindi. Masalimuoot. Tipikal na produkto ng panulat ni Pablo Gomez na lalo pang nagkalikaw-likaw sa iskrip ni Allan Jayme Rabaya.
Sa dami ng artista, hindi mo malaman kung uuwi ang Katawang Alabok sa alabok na pinagmulan. Isa lamang ang namumukod dito: si Robert Arevalo. Sa tabi niya, nagmistulang katawan lamang ang mga tulad ni Orestes Ojeda (hindi marunong magsalita), Daisy Romualdez (hindi marunong mag-ayos), Lucita Soriano (hindi marunong magloka-lokahan), Manny Luna (hindi marunong magbulag-bulagan), Lorna Tolentino (hindi marunong mag-bold), at Vic Silayan (hindi marunong pumili ng pelikula). Hindi ko alam kung bakit ang katulad ni Borlaza ay patuloy na kinakandili ng makabagong istudyo na tulad ng Agrix. Siguro, kung sa Gala, maari pang umangat ang katawan ni Borlaza sa Alabok.
Pang-stage show rin ang Jack and jill of the Third Kind, lalo na ang mga pakulo nina Dolphy at Nora Aunor. Pangatlong daan na siguro itong papel ni Dolphy na talyadang kinahumalingan ng isang mayamang hindi marunong kumilatis kung talyada o tandang ang kaharap. May pagkakatulad sina Panchito at Rolly Quizon: kailangan nila ng larga bista para malaman kung babae o lalaki ang tsuper nitong si Nora, at kung si Dolphy ay tunay na babae o manlalabas sa perya sa San Andres. Maging ang mga pagpapatawa ni Dolphy ay gasgas na gasgas na: matutumba sa swimming pool, nakabestida ng satin at kakanta sa hardin, maglalagay ng itlog ng manok sa dibdib na mapipisa at tutulo sa binti, hahawahan ng pagka-talyada ang matong nagtuturo sa kanyang lalaki, ad nauseum. Nalipasan na nga ng panahon ang pagkatalyada ni Dolphy, tulad din ng Jack and Jill ni Mars Ravelo, na hinalukay pa sa antigong baul ni Orlando Nadres.
Kung uri ang paguusapan, de-kalidad ang Rubia Servios. Kaya lamang, may sabit. Maraming butas ang iskrip ni mario O’Hara.
1978
Ang istorya ng Rubia Servios ay batay sa mga legal story ni Aida Sevilla Mendoza, at ito’y pumapaksa sa babaeng ginahasa ng kanyang masugid na manliligaw. Si Rubia (Vilma Santos) ay isang medical student na may kasintahang kaeskuweala, si Norman (Mat Ranillo III). Balak nilang magpakasal pagkatapos ng kanilang pag-aaral. Karibal ni Norman si Willie (Philip Salvador) na ayaw tumanggap ng kabiguan sa pag-ibig. Anak siya ng mayaman at maipluwensiyang pamilya sa Kabite. Kaya nang tapatin siya ng dalaga na wala siyang maaasahan, kinidnap niya si Rubia sa isang bahay-bakasyunan at ginahasa ito. Nang magkaroon ng pagkakataon ang babae, tumakas ito at isinuplong si Willie. Idinemanda ang lalaki at nahatulang mabilanggo ng anim na taon. Paglabas ng lalaki sa bilangguan, ginulo na naman niya ang buhay ng babae na ngayo’y asawa na ni Norman at may dalawang anak (ang una’y anak niya kay Willie). Dahil sa pananakot ng hui, nakipagtagpo si Rubia, at muli na namang ginahasa sa sementeryo sa harapan pa naman ng asawa. Kinidnap ni Willie ang anak niya para gawing pain sa pagtatagpo nila ni Rubia at para sumama na tio sa kanya. Ngunit nagkakaroon na naman ng pagkakaton ang babae na lumaban at sa bangka, hinampas niya si Willie ng sagwan, at pagkatapos ay binaril ang lalaki hanggang sa ito’y tuluyan nang malunod.
Simplistiko ang materyal at lalong simplistiko ang pamamaraan ni O’Hara sa karakterisasyon. Nagmumukha tanga ang mga tauhan (si Rubia at si Norman) samantalang medical students at naturingang doktor pa naman sial. Tinatakot na sila’y hindi pa sila humingi ng proteksiyon sa pulis. Ginahasa na si Rubia ay nakipagtagpo pa sa sementeryong madilim nang nag-iisa at nagpaganda pa mandin siya nang husto. At ang asawa niya’y wala ring utak. Biro mong sinundan ang asawa sa sementeryo nang nag-iisa! Dapat nga palang magkaganito sila kung napakakitid ng kanilang utak.
Sa direksiyon ni Brocka, lumitaw ang galing ni Vilma Santos, at nakontrol ang labis na pagpapagalaw ng kanyang labi. Mahusay din ang eksena ng gahasa. Si Philip Salvador naman ay tulad sa isang masunuring estudyante na sinusunod lahat ang direksiyon ng guro. Kitang-kita mo sa kanyang pagganap ang bawat tagubiling pinaghihirapan niyang masunod: kilos ng mata, buntong-hininga, galaw ng daliri, kislot ng kilay. Limitado ang kanyang kakayahan at makikia ito sa kanyang mukha (na limitado rin). Walang-wala rtio si Mat Ranillo III, na parang pinabayaan para lalong lumitaw ang papel at pag-arte ni Salvador. Samantala, ang kamera ni Conrado Salvador ay hindi gaanong nakalikha ng tension at suspense, bukod sa napakaliwanang ng disenyo ng produksiyon ang pagbabago ng mga tauhan sa loob ng pitong taon batay sa estilo ng damit at buhok.
Namumukod ang Atsay sa sampung pelikula sa pestibal. Kung ako ang tatanungin, isa ito sa tatlong pinakamahusay na pelikula ng taon (kasama na ang Ikaw ay Akin ni Ishmael Bernal). Bagama’t melo-dramatiko at epi-episodyo ang iskrip ni Edgardo Reyes, sinematiko naman ang pamamaraan ni Romy Vitug, malinis at makinis ang direksiyon ni Eddie Garcia. Ang unang mapupuna mo sa Atsay ay ang husay ng craftmanship (resulta ng matagal at maingat na paghahanda, mabusising direksiyon, matinong materyal). Bagay na bagay si Nora Aunor, at tunay na kapani-paniwala siya sa papel niya rito (hindi sa minamaliit ko siya).
Nagsimula ang pelikula nang ilibing ang tatay ni Nelia (Nora). Para mabuhay, natuto silang magtrabaho ng kanyang ina at mga kapatid. Isang araw, dumating si Bella Flores na nanghahakot ng babae para dalhin sa Maynila. Para sa pabrika raw, iyon pala’y gagawin atsay o mananayaw sa beerhouse. Natagpuan na lang ni Nelia ang sarili bilang atsay sa bahay ni Anggie Ferro na masungit na’y sadistiko pa. Nag-layas ang babae. Sa bawat lipat niya ay sinusundan siya ng isang matandang pipi na lumayas din sa bahay ni Bella. Inirekomenda ni Nelia ng kaibigang atsay, sa bahay ni Armida Siguion-Reyna, na may malamig na relasyon sa asawang si Renato Robles. Naakit ang lalaki sa katulong. At nang malaman ng asawa na buntis ang kanyang katulong, binugbog ang babae hanggang makunan. Tinulungan siya ng pipi ngunit binaril ni Armida ang inaakalang magnanakaw. Na-ospital si Nelia at sa kanyang paggaling ay nagpasiyang umuwi. Naglakad siya patungo sa istasyon at dito siya hinimatay. May nagmagadang-loob sa kanya (Mona Lisa) na may ampong anak na lalaki (Ronald Corveau). Sa simula, galit ang binata ngunit nang alagaan siya ni Nelia pagkatapos niyang maaksidente, ay nagkalapit ang kanilang damdamin. Kailangan nang umuwi ni Nelia, pinigilang siya ng lalaki. Pasakay na si Nelia ng tren, nang makita siya nang binata at… Kung ihahambing ang Atsay sa ibang pelikula ng pestibal, malayung-malayo ang uri nito. Isa itong magandang halimbawa ng produksiyong pinaghirapan at pinag-ingatan para ipalabas sa pestibal. Limang buwan itong inihanda. Tanging Atsay ang nagbigay-dangal sa sampung araw ng bolahan ng kung tawagin ay Metropolitan Manila Film Festival, at isa sa kakarampot na pelikulang nagbigay ng buhay at kulay sa buong taon ng 1978. – Justino M. Dormiendo, Sagisag, February 1979 (READ MORE)
Aside from Gawad Urian, Star Awards, Film Academy Awards and FAMAS, the annual local festival, called MMFF or Metro Manila Film Festival has become a part of Vilma Santos’ film career. From the 70s to the new millennium, Vilma Santos was able to entered memorable films that earned her awards, record-breaking ticket revenues, career breakthrough performances and even some memorable heartache. Spanning four decades, the MMFF earned Vilma 7 acting nominations with four wins.
Here are the highlights: The Martial Law established the amalgamation of the surrounding cities in Manila. Prior to 1975, three local film festivals showcase Filipino films, Quezon City and Manila each has their own festivities and another one in Southern part of the country, Bacolod City. The local festivals started the acting competition between rival, Vilma Santos and Nora Aunor. In 1970 Manila Film Festival, Nora’s Nora in Wonderland and Young Heart compete with Vilma’s sole entry, Love Letters. Two years afterwards, the acting race will heat up in Quezon City Film Festival when the two collided with Nora’s And God Smiled at Me and Vilma’s Dama De Noche. After the Martial Law, cities were amalgamated with Manila. And the Quezon City Film Festival and the Manila Film Festival ends creating the December festival in 1975. Occasionally, Manila will have their own festival every summer in connection to city’s “Araw Ng Manila” celebration. Tthe last time Vilma entered a film at MFF was in 1993 via Dahil Mahal Kita: The Dolzura Cortez Story where she won the best actress. Meanwhile, Nora Aunor’s last venture to MFF was in 2004’s Naglalayag where like Vilma, she won the best actress too.
The Metropolitan Manila Film Festival, now simply called, MMFF, (the “politan” was dropped eventually) or Metro Manila Film Festival exhibits only local films in all its theatres from Christmas Eve to the first week of the following New Year. The festival has its street parade at the eve of Christmas Day and each films contesting for best float. The festival has its awards night at the third or fourth nights.
Not surprisingly, both Nora and Vilma have competed in the first MMFF. Nora’s entry was her self-produced film directed by Luciano B. Carlos, Batu-Bato sa Langit and Vilma’s entry was the melodrama, Karugtong ang Kahapon. The big winner was the pre-presidential, Joseph Estrada. Directed by Augosto Bunaventura, Estrada’s Diligin Mo ng Hamog ang Uhaw na Lupa won the major awards: Best Picture, Best Director, and Best Actor. Best Actress went to Charito Solis for Araw-Araw, Gabi-Gabi.
The second year, the festival was noticeably the precursor to the awards race. It was a showcase of who’s who in the local film industry. Lino Brocka, Eddie Romero, Lupita Concio were among the big name directors competing. Romero’s Ganito Kami Noon, Paano Kayo Ngayon dominated the awards night winning the best director and Christopher de Leon the best actor. Hilda Koronel was proclaimed the best actress for her impressive performance in Insiang. Concio’s Minsa’y Isang Gamo-gamo, Brocka’s Insiang and Romero’s Ganito will be the top films competing for the first Gawad Urian.
The third MMFF, brought controversy to Vilma Santos. Now starting to accept offbeat roles and learning to adopt versatility to her arsenal, she bravely entered the festival with Celso Ad Castillo’s Burlesk Queen. The gamble paid off as the film became the top grosser and won eight awards out of ten. Burlesk won best picture and best in direction, lead actor, actress, screenplay, supporting actress/actor and cinematography.
Burlesk defeated Lino Brocka’s Inay, Mario O’Hara and Romy Suzara’s Mga Bilanggong Birhen, Mike de Leon’s Kung Mangarap Ka’t Magising, Eddie Romero’s Banta ng Kahapon, Ishmael Bernal’s Walang Katapusang Tag-araw, Joey Gosiengfiao’s Babae, Ngayon at Kailanman, Gil Portes’ Sa Piling ng mga Sugapa. A very impressive list, no wonder some critics loudly complained about the awards results. And according to Armida Sigueon Reyna, in her newspaper column, Brocka walked out the awards night in protest and even cursed the juror on the way out ot the auditorium. It was also reported that the organizer asked the winners to return their medals (they hand out medals that year) but no such things happened, Vilma still has her medal in her fully loaded cabinet of hardwares.
The success of Burlesk Queen commercially and critically brought down some senses to some Nora Aunor followers. Clearly, Vilma Santos’ willingness to accept mature and offbeat roles became a threat to Nora Aunor’s standing as the number one actress. Vilma Santos’ entry was Lino Brocka’s true to life film about rape victim, Rubia Servios. Critics and media have predicted Vilma was dead lock for the best actress. Come awards night, the juries’ award Nora’s film about a maid abused by her employer, Atsay won the major awards including best picture and best director for Eddie Garcia. The top acting award was changed to best performer that Nora Aunor won. A vindication from last year’s result? Wait, there wasn’t even an Aunor film last year. For some consolation, Rubia won two technical awards, one for editing and screenplay for Mario O’Harra. The film also became the top grosser of the festival even with the lost to Aunor. According to Isagani Cruz on his TV Times article in 1979: “…Nora does an excellent acting job; but so does Vilma Santos, and Rubia is a much more demanding and difficult role….Overall, Atsay may be much more impressive than Rubia Servios. In terms of challenging our moral and legal convictions, however, Rubia Servios is much more significant.”
1979 brought the tandem of Charito Solis & Vilma Santos versus Lolita Rodrigues and Nora Aunor. The clear winner was the latter team. Although Solis and Santos film did much better at the box office. Ina Ka Ng Anak Mo, a much better film, directed by Lino Brocka won the major awards, best picture, director and acting awards for Raul Aragon and Nora Aunor. For film aficionado, the scene where Solis slapped Santos in Modelong Tanso was memorable. Many reprised that scene, Vilma did it in Anak (with Claudine) and recently Sharon Cuneta with Heart Evangelist in the recent Mano Po.
By 1980, Nora Aunor kept on pushing for festival supremacy and like last year, she entered two films. This time, with Lino Brocka’s Bona and Laurice Guillen’s Kung Ako’y Iiwan Mo. Vilma’s lone entry was Danny Zialcita’s Langis at Tubig. Nora came up short, as both of her film missed the major awards. The big winner was Christopher De Leon and Bembol Roco’s film Taga Sa Panahon. Taga won the top awards while Marilou Diaz Abaya’s film Brutal won directing and best actress for Amy Austria. Langis At Tubig won best actor Dindo Fernando.
After winning in 1977 and a big loss in 1978, Vilma’s enthusiasm in winning at the MMFF subsided significantly. Her film entries were now focused on entertainment value aimed at getting commercial success instead of awards. 1980 and 1981 was a big example. Danny Zialcita’s Langis At Tubig did very well at the box office in ’80 and her entry the following year was a glossy production, Karma. Karma was a big hit and earned nominations but one film dominated all the 1981’s MMFF, Kisap Mata, directed by Mike De Leon won eight out of ten awards except for best actress, that award went to Vilma Santos. Vilma didn’t attend the ceremony, her co-star, Chanda Romero, accepted the award.
Nora’s absence in 1981 add motivation to her camp, she entered the festival with the epic film, directed by Ishmael Bernal, Himala, now considered by many as one of the best Filipino film of all time. Himala won seven major awards including best picture, director, screenplay and actress. Vilma’s entry Haplos was a distant third, with a win for lead actor, Christopher De Leon. The following year, Himala harvested nominations from four award-giving bodies particularly the best actress nominations for Nora but failed to win any, all the trophies went to Vilma, earning her first grand slam best actress. The next six years, no film by Vilma Santos in the festival. The big winners during these years are: 1983 – Karnal, 1984 – Bulaklak ng City Jail, 1985 – Paradise Inn, 1986 – Halimaw sa Banga, 1987 – Olongapo, 1988 – Patrolman.
The 1989 MMFF brought back the team of Vilma Santos and Christopher De Leon. Viva film’s Immortal directed by Eddie Garcia won major awards including best picture, director and the acting for Christopher and Vilma. Not to be undone, Nora Aunor entered the race the following year via Elwood Perez’ Andrea Paano ba ang Maging Isang Ina. The film won best picture, director and actress for Nora. Best actor went to Dolphy for Espadang Patpat. Then 1991 was a repeat for Nora as her film, again directed by Perez, Ang Totoong Buhay ni Pacita M. won major awards.
The next twelve years seems to be non-existent for Vilma followers as there were no entries from Vilma Santos in these years. There were no films that stands out compare to the high caliber films entered during the peak of the Vilma-Nora rivalry. There are six films that were praised by the critics though, Chito Rono‘s films Nasaan ang Puso (1997) and Bagong Buwan (2001), Marilou Diaz-Abaya’s Jose Rizal (1998) and Muro-ami (1999) and Laurice Guillen’s Tanging Yaman (2000). In the acting category, only Elizabeth Oropesa win in 1999 for Bulaklak ng Maynila and Gloria Romero’s win in 2000 for Tanging Yaman stands out.
By 2002, it was déjà vu all over again, Vilma Santos convinced by many as a sure bet for the best actress lost again for her festival entry, Dekada 70. The award was given to Ara Mina for her supposed to be supporting role in the very first Mano Po. Dekada will dominate the awards race the following year, Vilma will win several best actress awards. Vilma’s co-star, Piolo Pascual will win all the best supporting actor making him a grand slam winner. The next year, Crying Ladies, starring Sharon Cuneta, Hilda Koronel and Angel Aquino won the best picture, best actor for Eric Quizon, best supporting actress for Hilda while Maricel Soriano snatched the best actress for Filipinas. The next year, Vilma came back again with Regal’s third installment to the Mano Po series. Titled, Mano Po 3: My Love and directed by Joel Lamangan, the film won best picture and the lead acting for Vilma and Christopher De Leon. Cesar Montano’s self-produced and directed film, Panaghoy sa Suba won best actor.
No Vilma Santos or Nora Aunor films the next five years. Vilma visibly concentrated with her political career and Nora retired in the United States. The film festival continued its annual fan fare with some memorable films. Zsazsa Padilla and Cherry Pie Picache continued the Mano Po series with a comedy, Ako Legal Wife, Mano Po 4 won the female acting awards in 2005. Judy Ann Santos comedy film, directed Joey Reyes, Kasal, Kasali, Kasalo top the 2006 festival. Maricel Soriano received another best actress the following year for Bahay Kubo, The Pinoy Mano Po. Anne Curtis arrived in the big league as she wins best actress for Baler in 2008 and then this year, Bong Revilla won best actor for Ang Panday and Sharon Cuneta best actor for Mano Po 6: A Mother’s Love, both first time winner.
Vilma Santos’ Manila Film Festival and Metro Manila Film Festival Entries and Recognitions
(2 nominations, 5 wins)
For some, Vilma Santos MMFF recognitions in terms of awards wasn’t as significant compare to lets say, her number of URIAN or FAMAS awards but all the shortcomings were forgotten when you think about the successful revenue of her film entries recorded. From Burlesk Queen, Rubia Servios, Karma, Langis at Tubig to her last one, Mano Po 3, all of her films did very well. At the end of the day, producers would still prefer a little profit than trophies that will just eat dusts in the attic. – RV
On May 1, 1976, ten Filipino critics agreed to discuss the annual award-giving situation in the local industry. All in agreement that there must be an alternative to FAMAS, the only award giving body in the Philippines. The ten critics, mostly academics, were Pio de Castro, Behn Cervantes, Pete Daroy, Mario Hernando, Bien Lumbera, Doy del Mundo, Manny Pichel, Nick Tiongson, Gino Dormiendo, and Nestor Torre. Most of them were part of FAMAS roster of judges. Most, questioned the recent years winners. According to the website, Wikepedia: “The 1972 Best Actress tie that materialized between major star Boots Anson-Roa and then-rising star Vilma Santos” was a good example of the disillusionments experience by the academics. “…the tie was unheard of at that time, which resulted in accusations of lessening prestige on the part of FAMAS.” Ironically, Gawad will have numerous ‘tie” winners in their future set of winners, including a string of ‘tie” involving their early favorite, Nora Aunor. Headed by Nestor Torre, the nine critics agreed to review films and release quarterly citations of best films with the final nominations and winners announce at the end of the year.
Over the years, the Manunuri Ng Pelikulang Pilipino (Filipino Film Critics) considered the equivalent of the United States’ New York Film Critics Circle, established themselves as the most credible award giving bodies in the Philippines. They are known for having a long discussion for each of their award categories resulting sometimes in heated debate and unfortunately the unavoidable “tie” between nominees. Since 1976, the group has eluded controversies that rival groups endured. The oldest award, FAMAS has experienced two renegade or break away groups resulting in costly legal battles and low television ratings. Another group, the Philippine Movie Press Club is considered second to Gawad Urian, Star Awards had experience a similar fate, they also had a break away group, creating their own awards, the Golden Screen Awards. With the advent of new awards, now ten, and still counting. Gawad Urian remained strong and the most sought after. Currently, the Manunuri are consists of: Rolando B. Tolentino, Grace Javier Alfonso, Butch Francisco, Mario A. Hernando, Bienvenido Lumbera, Miguel Q. Rapatan, Benilda S. Santos, Dr. Nicanor G. Tiongson, Tito Genova Valiente and Lito B. Zulueta
Vilma Santos has become a big part of Gawad Urian. Although she wasn’t considered their early favourite, they developed a long fondness to the actress, many considered as the Meryl Streep of the Philippines cinema. Fourteen best actress nominations spanning three decades and eight wins: 1982’s Relasyon, 1983’s Broken Marriage, 1984’s – Sister Stella L; 1989’s – Pahiram Ng Isang Umaga; 1991’s Ipagpatawad Mo; 1993’s Dahil Mahal Kita: The Dolzura Cortez Story; 1998’s – Bata Bata Paano Ka Ginawa; and 2002’s Dekada 70. Most of these films were cited when Vilma received the University of the Philippines’ highest honours, the Gawad Plaridel in 2005. Vilma also won two Gawad Urian special awards as the Actress of the Decade, for her body of work and Gawad Urian wins for the 1980s and 1990s. She also recieved a Gawad Urian best picture award in 1978, as film producer for the film, Pagputi Ng Uwak Pagitim Ng Tagak.
Vilma Santos did ten films in 1976, mostly for commercial release. The only serious contenders for award derby were the dramedy directed by Eddie Rodriguez, Hindi Nakakahiya, and Emmanuel Borlaza’s drama, Mga Rosas sa Putikan. Clearly, Vilma Santos wasn’t ready for the big league drama competition. Ganito Kami Noon…Paano Kayo Ngayon dominated the very first URIAN awards with nominations for several major categories and winning best picture, best director (Eddie Romero) and best screenplay (Eddie Romero and Roy Iglesias). Romero defeated a worthy bunch of directors, Bernal for Nunal Sa Tubig, Brocka for Insiang, Mike De Leon for Itim and lupita Concio for Minsa’y Isang Gamogamo. The acting awards went to Vic Silayan for Ligaw na Bulaklak and Nora Aunor for Tatlong Taong Walang Diyos. Vic Silayan’s stiff competition was from the very young Christopher De Leon in Ganito Kami while Nora’s four other competitors were Charo Santos (Itim), Daria Ramirez (Nunal sa Tubig), Hilda Koronel (Insiang), Lolita Rodriguez (Lunes, Martes …), and Mona Lisa (Insiang). Supporting actor went to Ruel Vernal for Insiang while Maya Valdez (Lunes, Martes …) and Yvonne (Ligaw na Bulaklak) were tie for supporting actress.
The next year, Vilma Santos were more equipped with three films: Castillo’s festival entry, Burlesk Queen; Bernal’s Dalawang Pugad Isang Ibon and Elwood Perez’ Masarap Masakit ang Umibig. The Manunuri took noticed and cited the three films in several categories, including best actress. Hubad Na Bayani was acclaimed as the best picture of 1977. Compensated for the noticeable absence on their very first award ceremony, Vilma Santos’ films Burlesk Queen and Dalawang pugad…Isang Ibon gave Hubad na Bayani a stiff competitions. Ishmael Bernal, the director of Dalawang Pugad snatched the best director award from remarkable nominees, Lino Brocka for Tahan na Empoy Tahan, Celso Ad. Castillo for Burlesk Queen, Mike De Leon for Kung Mangarap Ka’t Magising, Eddie Romero for Banta ng Kahapon, and Hubad Na Bayani’s director, Robert Ylagan. The acting went toBembol Roco for Sa Piling ng Mga Sugapa (he was using the screen name, Rafael Roco Jr. back then) and Daria Ramirez for Sino’ng Kapiling, Sino’ng Kasiping. Aunor wasn’t even nominated, Vilma was nominated for her breakthrough film, Burlesk Queen and Hilda Koronel for the slick and glossy film, Kung Mangarap Ka’t Magising. For the supporting categories, Vilma’s co-stars, Mat Ranillo III (Dalawang pugad… Isang Ibon) and Rolly Quizon (Burlesk Queen) were nominated for best supporting actor that went to Lito Legaspi for Sino’ng Kapiling, Sino’ng Kasiping. The best supporting actress went to Armida Siguion-Reyna for Tahan na Empoy, Tahan. Rosemarie Gil was nominated for Burlesk Queen.
Then in 1978, the Manunuri cited only three films for their top awards. Hindi Sa Iyo Ang Mundo Baby Porcuna, Ikaw ay akin and Pagputi ng Uwak Pagitim ng Tagak duke it out with Vilma Santos self produced Film winning. Pagputi won four awards including best director for Celso Ad Castillo; best screenplay for Castillo, Ishko Lopez, Lando Perez Jacob and Ruben Arthur Nicdao; best supporting actor for Joone Gamboa; and best sound for Gaudencio Barredo. Castillo’s main competitor for the best director award were Ishmael Bernal for Ikaw ay akin, a Vilma Santos-Nora Aunor starrer, Lino Brocka for Mananayaw, Eddie Garcia for the controversial local festival entry, Atsay and Danny Zialcita for Baby Porcuna. For acting categories, Christopher De Leon received her very first URIAN for Ikaw ay akin, defeating Dolphy in Ang Tatay Kong Nanay and Bembol Roco for Boy Pana. Vilma Santos wasn’t nominated for Pagputi or for her Brocka film, Rubia Servious instead she was cited together with he co-star Nora Aunor in Bernal’s Ikaw Ay Akin. Both lost to Beth Bautista for Hindi Sa Iyo Ang Mundo, Baby Porcuna. The supporting actor nod went to Joone Gamboa for Pagputi and Chanda Romero for Boy Pana.
Like the previous year, URIAN nominated only three films for their best picture award, Berbal’s Aliw, Zialcita’s Ikaw at ang Gabi and Brocka’s Jaguar fight it out with Jaguar claiming victory. The three directors also fought for the best director together with Maryo J. De Los Reyes who were nominated for High School Circa ’65. Jaguar also won the writing category for Jose Lacaba and Ricardo Lee. From last year’s big win as film producer and nomination for Ikaw Ay Akin, Vilma wasn’t even nominated for any of her films in 1979, particularly, Halik sa Kamay Halik sa Paa or Pinay, American Style. The female lead role award went to Charito Solis for Ina, Kapatid, Anak. Her stiff competition were Lolita Rodriguez and Nora Aunor both for Ina Ka ng Anak Mo. While Jaguar dominated the supporting acting categories, won by Menggie Cobarrubias and Amy Austria, the film’s lead, Philip Salvador failed to grab the best actor. The award went to Dindo Fernando for Ikaw…at ang Gabi.
1980 produced five high quality films. Eddie Romero’s Aguila; Brocka’s Bona; Abaya’s Brutal; Bernal’s City After Dark, Kakabakaba ka ba got the best picture nominations with Bernal’s film taking the top prize. All of these directors were nominated for best director together with Laurice Guillen for Kasal with Mike De Leon edging them out. Kakabakaba kaba will also win the best supporting actor for Johnny Delgado. In addition to the top prize, City After Dark received the best screenplay for Ishmael Bernal and the best actor for Bernardo Bernardo, a surprise winner against Dindo Fernando (Langis at Tubig) and Phillip Salvador (Bona). For the best supporting actress, Daria Ramirez won her second URIAN for Aguila. Like the previous year, Vilma was not nominated for any of her efforts, Langis at Tubig or Miss X. The best actress were a tie. Gina Alajar (Brutal) and Nora Aunor (Bona) were declared the co winners.
For their 6th year, the 1981 Gawad Urian cited four films for their best picture category: Romy Suzara’s Pepeng Shotgun, Mel Chionglo’s Playgirl, Mike de Leon’s Kisap Mata and Laurice Guillen’s Salome. Salome was the winner. The four directors were also nominated for best director together with Ishmael Bernal for Pabling. Guillen was also the winner for Salome. In addition to picture and director awards, Salome also won the best screenplay for Ricardo Lee and the best actress award for Gina Alajar. Alajar’s strong competitors were Charito Solis for Playgirl and Nora Aunor for the forgettable Bakit Bughaw ang Langit. Vilma Santos were again got the cold shoulder from the Manunuri as she wasn’t even cited for any of her films: Pakawalan Mo Ako (where she won a FAMAS), Hiwalay, Karma (where she won the best actress from Metro Manila Film Festival) or Ex-Wife. For male acting categories, Vic Silayan received his second best actor defeating the late Johny Delgado, nominated for Salome. Charito Solis received her second URIAN, this time for the supporting role.
1982 harvested a string of high quality films: Batch ’81, Himala, Moral, Oro Plata Mata and Relasyon, all vying for the best pictures Urian. Oro Plata Mata edged out the other four. It also won the best director honour for Peque Gallaga. Gallaga defeated Marilou Diaz-Abaya (Moral), Ishmael Bernal (Himala and Relasyon), Lino Brocka (Cain at Abel) and Mike de Leon (Batch ’81). The writing category went to Clodualdo del Mundo, Raquel Villavecencio at Mike de Leon for Batch ’81.
Noticeably ignored many times by the Manunuri, Vilma Santos was nominated for her sympathetic mistress role in Relasyon. She is up against Nora Aunor’s epical role for Himala, Gina Alajar and Lorna Tolentino’s feminist film Moral. The Manunuri surprised everyone by declaring Vilma Santos as their 7th best actress winner. The other award giving bodies (FAMAS, Film Academy of the Philippines, CMMA) also declared Vilma Santos as their best actress and the term “grand slam” were born in local entertainment industry. As for the other acting categories, Philip Salvador won the lead actor and Baby Delgado, supporting actress both for Cain At Abel, and Mark Gil won the supporting actor for Palipat-lipat, Papalit-palit. The Manunuri gave the Natatanging Gawad Urian to veteran actress, Anita Linda, who is still very active today. She starred in this year’s Venice Film Festival entry, Lola.
The following year, the Manunuri nominated only two films for their best picture, a quick turn around from a very promising 1982. Regal Films’ Broken Marriage joined Cine Suerte’s Karnal in a two way run for each categories. Broken Marriage won the top award for Mother Lily Monteverde of Regal and best director for Ishmael Bernal. Bernal defeated four worthy competitor: Maryo J. De Los Reyes for Saan Darating ang Umaga, Lino Brocka for Hot Property; Marilou Diaz-Abaya for Karnal and Laurice Guillen for Init sa Magdamag. In addition to best picture and director, Broken Marriage also win best screenplay for Jose Carreon, Bing Caballero and Bernal; Best Editing for Jesus Navarro; Best Sound for Rudy Baldovino as well Vilma Santos’ second best actress award. Proving that her win for Relasyon from last year wasn’t just a fluke, Vilma handedly won the trophy without much competition, literally. She won only up against one competitor, Cecille Castillo for Karnal. The best actor went to Phillip Salvador for Karnal, which just like the best actress category was up against one competitor, Vilma’s co-star, Christopher De Leon. The supporting categories were much more competitive, veteran ActorVic Silayan won her third URIAN for Karnal (he already won for best actor for Ligaw Na Bulaklak and supporting for Kisap Mata). He defeated Joel Torre (Karnal), Len Santos (Broken Marriage), Rey Ventura (Broken Marriage). Notice the four actors were from the two films, Broken and Karnal. Just like Vic Silayan, Charito Solis received her third URIAN, also for Karnal besting out co-star, Grace Amilbangsa and a surprise nominee, Liza Lorena for the melodrama, Don’t Cry For Me Papa.
Vilma Santos dominated the URIAN for the past two years, with the initial grand slam feat in 1982 for Relasyon and the dominance of Broken Marriage the following year. Her string of hits, like Gaano Gadalas Ang Minsan, Sinasamba Kita, and Paano Ba Ang Mangarap established her as the most bankable stars of the 80s. In the mixed of these glossy, commercial projects were quality films like Relasyon and Broken Marriage. Both films fared well at the box office and award. Would three in row be possible? Vilma’s 1984 film projects consists of: Lino Brocka’s Adultery, Marilou Diaz Abaya’s Alyas Baby Tsina and Mke De Leon’s Sister Stella L. The first two, managed to do well at the box office, but the last wasn’t lucky enough. It did poorly against Sharon Cuneta’s film, Bukas Luluhod Ang Mga Tala. Vilma’s dominance in the last two years revamped the interest for her rival, Nora Aunor to come up with more serious projects. And this year proved to be a good match, mano a mano. Nora came up also with three films: Gil Portes’ ‘Merika; Mario O’Hara’s Bulaklak sa City Jail and Condemned.
Come URIAN, Vilma and Nora received the attention their fans has been craving for since the mid 70s. The arrival of Sharon Cuneta as a threat to Vilma Santos’ supremacy at the box office and the impossibility that the Manunuri will give Vilma a third consecutive best actress put high hope to many Nora Aunor fans. They are all in high spirits as two Nora Aunor films were nominated for the best picture Bulaklak sa City Jail and ‘Merika against only one for Vilma, the box office flop, Sister Stella L. Another Regal Film, Sinner or Saint, completed the four nominated best picture films. Sadly, the Manunuri can’t ignore the quality of Mike De Leon’s film. Sister Stella L won best picture, director, screenplay (Jose F. Lacaba, Jose Almojuela and Mike de Leon), actor (Jay Ilagan), supporting actor (Tony Santos, Sr.), supporting actress (Laurice Guillen), editing (Jesus Navarro), music (Ding Achacoso), sound (Ramon Reyes) and the best actress to Vilma Santos! Vilma won three consecutive best actress, a feat at that time. She defeated Claudia Zobel for Sinner or Saint, Gina Pareño for Working Girls, Sarsi Emmanuelle for Boatman and two nominations for rival, Nora Aunor, ‘Merika and Bulaklak sa City Jail.
Meanwhile, De Leon defeated a bunch of good directors, Marilou Diaz-Abaya for Vilma’s Baby Tsina, Tikoy Aguiluz for Boatman, Pio de Castro III for Soltero, Mel Chionglo for Sinner or Saint and the two Aunor films, Mario O’Hara for Bulaklak sa City Jail and Gil Portes for ‘Merika. In the lead actor, Jay Ilagan who is also nominated in his other film, Soltero defeated, Tommy Abuel for Bukas May Pangarap, Ronnie Lazaro for Boatman and Phillip Salvador for Baby Tsina. In the supporting actor, Tony Santos Sr, Ka Dencio in SSL, defeated unknown actors Alfredo Salanga for Boatman and Cesar Aliparo for ‘Merika and two actor for Baby Tsina, Len Santos and the late Dindo Fernando. And in the supporting actress, Laurice Guillen defeated co-stars in SSL, Gina Alajar and Liza Lorena and for Bulaklak sa City Jail, Celia Rodriguez Perla Bautista.
Vilma Santos did two films in 1985, the comedy Doctor Doctor We Are Sick and the melodrama, Muling Buksan ang Puso both were deservingly ignored by the Manunuri. The critics refocused their attention to the comeback works of their favorite directors Bernal, Brocka, Castillo and Gallaga. The five best picture bets were Bernal’s Hinugot sa Langit, Brocka’s Kapit sa Patalim and Miguelito Ang Batang Rebelde, Peque Gallaga’s Virgin Forest and Celso Ad. Castillo’s Paradise Inn. Brocka’s Bayan Ko won the top award but the best director went to his rival, Ishmael Bernal for Hinugot sa Langit. Kapit also won writing for Jose Lacaba, and lead actor for Phillip Salvador. The lead actress went to a tie between, Gina Alajar for Kapit sa Patalim and the late, Nida Blanca for Miguelito, Ang Batang Rebelde. And the supporting acting categories went to Lito Anzures for Paradise Inn and Liza Lorena for Miguelito.
The start of mid 80s wasn’t as promising for the film critics, as happened in late 70s only three films were cited for the top award, Bagong Hari, Takaw Tukso and Unfaithful Wife. Takaw Tukso won. Takaw’s director, William Pascual won the best director and its lead role, Jacklyn Jose won the best actress, co-sharing the honour with Pilar Pilapil for Napakasakit Kuya Eddie. In another tie, Anita Linda for Takaw Tukso and Nida Blanca for Magdusa Ka were declared co-winners in supporting actress as well. The best actor went to Unfaithful Wife’s Michael de Mesa and supporting actor went to Napakasakit Kuya Eddie’s Aga Muhlach. As for Vilma, she did three box office hits in 1986, Asawa ko Huwag Mong Agawin, Palimos Ng Pag-ibig and Yesterday Today & Tomorrow. All three were commercial success but was ignored by the Manunuri. The following year, 1987, the Manunuri decided not to hand out any awards.
For the 1988 awards, the Manunuri rewarded four films with best picture nominations: Anak ng Cabron, Itanong Mo Sa Buwan, Kapag Napagod ang Puso, and Misis mo Misis Ko. Itanong Mo Sa Buwan, a Chito Rono film won the top honours as well as best director for himself. The acting categories went to Ace Vergel (Anak ng Cabron) and Jaclyn Jose (Itanong Mo Sa Buwan) for leading roles. The supporting went to Lito Pimentel (Kapag Napagod ang Puso) and Perla Bautista (Anak ng Cabron). Vilma did one film this year, Elwood Perez’ Ibulong Mo Sa Diyos that the Manunuri ignored.
By the end of 80s, Vilma Santos has curved her mark in the URIAN history. Three remarkable wins (1982, 83, 84), Could 1989 be added to the three year feat? The shortage of quality films were noticeable in the later part of the 80s. 1989 was an exemption. The Manunuri generously nominated five films: Willie Milan’s Ang Pumatay ng Dahil Sayo, Elwood Perez’ Bilangin ang Bituin Sa Langit, Augusto Salvador’s Joe Pring, Brocka’s Macho Dancer, Bernal’s Pahiram Ng Isang Umaga. Ishmael Bernal’s film about life and death, Pahiram ng Isang Umaga won him the best director award, best picture for Regal, best screenplay for Jose Javier Reyes, and best cinematography for Manolo Abaya, Eduardo Jacinto at Nonong Rasca. For the acting categories: Christopher De Leon for another Vilma Santos starrer Imortal and Gabby Concepcion for Pahiram were nominated for lead actor but both failed to win as Daniel Fernando claimed his very first URIAN for Macho Dancer. As Vilma’s best friend who took care of her finances in Pahiram Ng Isang Umaga, Vicky Suba was cited in the supporting actress but it wasn’t enough to dethrone Jaclyn Jose. Jose won the best supporting actress award, also for Macho Dancer. In the supporting actor, Eric Quizon, claimed his first URIAN as the volatile painter in Pahiram. Then the best actress, went to: IT’S A TIE! Again! Beating Helen Gamboa for Kailan Mahuhugasan Ang Kasalanan and a very strong performance from post child actress, Janice de Belen for Rosenda, Nora Aunor (Bilangin ang Bituin Sa Langit) and Vilma Santos (Pahiram Ng Isang Umaga) were declared co winners!
The new decade brought two worthy films from Vilma Santos: Laurice Guillen’s Kapag Langit Ang Humatol and Lino Brocka’s Hahamakin Lahat. The Manunuri took noticed and rewarded the films with nominations. Brocka did the Vilma starrer, Hahamakin Lahat for Regal and Gumapang Ka Sa Lusak for Viva Films, a Dina Bonevie drama. Gumapang proved to be the better of the two as it won the best picture and best director nominations. But Hahamakin earned best actor nomination for Gabby Concepcion. Meanwhile Guillen’s Kapag Langit earned the best picture nomination together with Andrea Paano Ba Ang Maging Isang Ina, My Other Woman and Gumapang. Surprisingly, Guillen won the best director defeating Lino Brocka, Maryo J. De Los Reyes (My Other Woman) and Chito Roño (Kasalanan Bang Sambahin Ka). Kapag Langit also earned nominations for writing, Emmanuel Borlaza and Salvador Royales; actress, Vilma Santos; supporting actress, Carmina Villaroel and Kristine Garcia; production design, Edgar Martin Littaua. It won two technical awards in addition to Guillen’s best director: cinematography for Romeo Vitug and editing for Efren Jarlego. The leading actor went to Christopher De Leon for My Other Woman and leading actress, to Nora Aunor for Andrea Paano Ba Ang Maging Isang Ina. The supporting awards went to Michael de Mesa (Ikasa Mo, Ipuputok Ko) and Gina Alajar (Biktima). Despite losing the best actress award, Vilma did not went home empty handed, she received the highest award as one of three top actress of the past decade (1980s). the other actress were Nora Aunor and Gina Alajar. Philip Salvador received the male category.
Vilma Santos did only one film in 1991. In comparison to two the previous year. Guillen’s follow-up film from last year’s Kapag Langit ang Humatol was Ipagpatawad Mo, a family drama about an autistic child. Laurice’s second film with Vilma as director proves to be a memorable one for Viva Films, known for their slick, glossy films. Guillen secured the best picture award for Viva defeating Lino Brocka’s Sa Kabila ng Lahat and a strong film from Carlos Siguion-Reyna’s Hihintayin Kita sa Langit. Last year’s best director Guillen missed this time. The best director went to Siguion-Reyna. Over all, Ipagpatawad mo earned nominations for best director for Laurice Guillen; best actor for Christopher De Leon; best supporting actor for Terence Baylon; best production design for Edgar Martin Littaua; best cinematography for Eduardo Jacinto; and best editing for Efren Jarlego. And won best picture for Viva films, best screenplay for Olive M. Lamasan and best actress for Vilma Santos. She defeated four of the most in-demand actress of the early 1990s: Dawn Zulueta for Hihintayin Kita sa Langit; Dina Bonnevie for Sa Kabila ng Lahat; Lorna Tolentino for Kislap sa Dilim and Nora Aunor for Ang Totong Buhay ni Pacita M. The other acting trophies went to: Richard Gomez, best actor for Hihintayin Kita sa Langit; Gabby Concepcion best supporting for Makiusap Ka sa Diyos; and Nanette Medved, best supporting actress for Sa Kabila ng Lahat.
Like the previous year, Vilma did one film, Maryo De Los Reyes’s Sinungaling Mong Puso. Although not nominated for best picture, Sinungaling won nominations for acting and other categories in 1992’s Gawad Urian. The Manunuri gave two films: Ikaw ang Lahat sa Akin of Regal Films and a co production of Regal and Reyna Films, Ikaw Pa Lang ang Minahal their best picture nominations. Ikaw Pa lang won the best picture together with best director for Carlos Siguion-Reyna. Sinungaling Mong Puso was nominated for best director, Maryo J. De Los Reyes; best supporting actor, Gabby Concepcion and best actress for Vilma. Three of the acting awards went to Narito Ang Puso Ko: lead actors to Gaby Concepcion and Lorna Tolentino; and supporting to Amy Austria while the supporting actor went to Tirso Cruz III for Kahit Buhay Ko. The Natatanging Gawad Urian was given to Mary Walter, the veteran actress who co-starred with Vilma in memorable films like Baby Tsina (1984), Dalawang pugad, isang ibon (1977), Lipad, Darna, lipad! (1973) and Edgar Loves Vilma (1972).
The following year, Vilma did two films, Guillen’s Dahil Mahal Kita The Dolzura Cortez Story and Chito Rono’s Ikaw Lang. Both did well at the box office and earned nominations from the Manunuri. Dahil Mahal Kita was cited for best picture and best director but lost to Jose Javier Reyes film, Makati Ave. Office Girls produced by Regal films. For acting categories: Saan Ka Man Naroroon won best actor for Richard Gomezand best supporting actress for Sharmaine Arnaiz. The best supporting actor went to Ronaldo Valdez for May Minamahal. Finally, the best actress went to Vilma Santos for Dolzura.
Vilma Santos did three films in 1994, all were commercial success: Nag-iisang Bituin, Relaks ka Lang Sagot Kita and Lipa: Arandia Massacre. The last two won awards at FAMAS including best picture for Lipa. However, the Manunuri deservingly ignored these films. Their top films were Regal films’ The Fatima Buen Story and The Secrets of Sarah Jane Salazar and Maq’s Wating. Fatima Buen, Kris Aquino’s first attempt to big league acting was the big winner with its director, Mario O’Hara defeating notable directors, Ishmael Bernal for Wating, Maryo J. De Los Reyes for Sarah Jane, Laurice Guillen for Bakit Ngayon Ka Lang. For the acting categories: Richard Gomez won best Actor for Wating, John Regala won supporting actor for The Fatima Buen Story and Chin-Chin Gutierrez won supporting actress for Maalaala Mo Kaya. For the best actress, the Manunuri decided to give their best actress to Gelli de Belen for The Secrets of Sarah Jane Salazar instead of Carmina Villaroel for Wating or Kris Aquino for Fatima. The only notable citation that was related to Vilma Santos was the best screenplay nomination Jose Javier Reyes earned for Nag-iisang Bituin. Lastly, the Natatanging Gawad Urian went to Leopoldo Salcedo, the character actor who co-starred with Vilma Santos in her breakthrough film Burlesk Queen in 1977. Also, Happy Days Are Here Again (1975), Darna and the Giants (1974), Biktima (1974), Anak ng aswang (1973), De colores (1968).
No Vilma Santos film in 1995. The big winner in URIAN was Star Cinema’s Sana Maulit Muli. The film won best picture defeating The Flor Contemplacion Story, a Nora Aunor starrer. Despite the failure of Flor to win the top award, the film won best director for Joel Lamangan and best actress to Nora. Nora shared the award with co-winner, Helen Gamboa for Bagong Bayani. Best Actor went to Aga Muhlach for Sana Maulit Muli. Supportings went to Ricky Davao for Ipaglaban Mo, The Movie and Jaclyn Jose for Flor. The next year, Vilma Santos did Ikaw Ang Mahal Ko, with the late Fernando Poe Jr. The forgettable film did poorly at the box office and was automatically ignored by the Manunuri. Six citations were given to six films this year, noticeably plentiful for the top honour in URIAN’s standard. Bakit May Kahapon Pa?, Istokwa, Madrasta, Mulanay, Radio Romance, and Segurista were all nominated with the last declared the winner. The film’s director, Tikoy Aguiluz also won the best director. For the best actress, Nora Aunor, again share the honour with another actress. She won for Bakit May Kahapon Pa, with Sharon Cuneta for Madrasta. Sharon will record a grand slam this year, winning the best actress in the other award giving bodies. The following year, 1997, Vilma Santos’ only film was with Christopher De Leon. This was their 20th film. Hanggang Ngayon Ika’y Minamahal, directed by Ike Jarlego Jr was a commercial success but was ignored by the Manunuri. Just like last year, six films were cited for the top honour, Batang PX, Damong Ligaw, Ligaya ang Itawag Mo sa Akin, Milagros, Minsan Lamang Magmamahal and Nang Iniwan Mo Ako. Marilou Diaz-Abaya’s Milagros won best picture and best director for herself. Best actress went to Zsa Zsa Padilla for Batang PX.
Vilma Santos did another breakthrough performance in 1998. Her performance earned her several Best actress trophies locally. Star Cinema won top honours from the URIAN in their 22nd ceremony for Chito Roño’s Bata, Bata, Paano Ka Ginawa defeating Marilou Diaz Abaya’s two important films, Jose Rizal and Sa Pusod ng Dagat both produced by rival company GMA films. The other competitions were both from Good Harvest films, Jeffrey Jeturian’s Sana Pag-ibig Na and Lav Diaz’s Serafin Geronimo, Kriminal ng Baryo Concepcion. All the above directors were nominated for best director that Abaya won for Jose Rizal. Bata Bata nominations for best editing for Jaime Davila; best music for Jesse Lasaten; best sound for Michael Albert Idioma and best supporting for Raymond Bagatsing. Despite losing in supporting category, Jaime Fabregas was declared the winner for Jose Rizal, Bagatsing won in the male lead role for Kriminal ng Baryo Concepcion. In addition to nominations and best picture win, Bata Bata won three more: best screenplay for Lualhati Bautista, best supporting actress for child star, Serena Dalrymple and best actress for Vilma Santos. The Natatanging Gawad Urian was given to comedian, Dolphy. Vilma and Dolphy did one film together, 1979’s Buhay Artista Ngayon. There is no Vilma Santos film in 1999. Despite this, Bata Bata Paano Ka Ginawa, now re-titled Lea’s Story continued its winning streak. Touring the festival circuit, the film earned Vilma, her first international best actress at a festival in Brussels. The film was also exhibited in different cities in Canada and the USA. The Manunuri awarded their top honours of 1999, Bayaning 3rd World including best director to Mike De Leon. Best Actress went to Elizabeth Oropesa for Bulaklak ng Maynila defeatingNora Aunor for her comeback film, Sidhi.
For the first year of the new millennium, Vilma Santos did one film. Rory Quintos’ Anak. The film was a commercial succes and earned two citations from the Manunuri: best actress nomination for Vilma and best supporting actor nomination for Baron Geisler. The Manunuri gave the best picture to Regal’s Tuhog while Tanging Yaman received the other top honours for best director for Laurice Guillen and best actress for Gloria Romero. Another veteran, Eddie Garcia won best Actor for Deathrow. The Natatanging Gawad Urian was given to the late Nida Blanca. Vilma and Nida worked together in Elwood Perez’ Ibulong mo sa Diyos. The Manunuri also handed out their Actress of the Decade award. Vilma Santos shared the actress category with rival, Nora Aunor and Richard Gomez received the actor.
No Vilma Santos film the following year, 2001. The Manunuri, rewarded Lav Diaz the best director and JmCN Productions the best picture for Batang West Side respectively. Then on 2002, Vilma Santos did another memorable performance in another Lualhati Bautista novel, Dekada 70. Dekada earned nominations in several categories at the 26th Gawad Urian. It shared top honours with Mga Munting Tinig, both proclaimed as 2002’s best picture. Best Director went to Munting Tinig’s Gil Portes while the writing went to Lualhati Bautista for Dekada. Other nominations for dekada went to Manny Morfe for production design and Albert Michael Idioma for sound. Christopher De Leon earned nomination for best actor for Dekada but lost to Jay Manalo, the winner for Prosti. The other awards won by Dekada were for acting. Best Actress went to Vilma Santos and best supporting actor to Piolo Pascual. The supporting actress went to Elizabeth Oropesa for Laman. The Manunuri gave their Natatanging Gawad Urian to film legend, Fernando Poe Jr. FPJ and Vilma did three films together, Batya’t Palu-palo, Bato Sa Buhangin and Ikaw Ang Mahal Ko.
As expected, there’s no Vilma film in 2003. The Manunuri bestowed their accolades to Star Cinema’s Magnifico. Its director Maryo J. De Los Reyes, previously ignored by the Manunuri finally got the best director award. Three acting awards went to Magnifico: best actor to child star, Jiro Manio; best supporting actor to Albert Martinez and best supporting actress to Gloria Romero. The best actress went to Cherrie Pie Picache for Bridal Shower. For the Natatanging Gawad Urian, Ricardo Lee joined the prestigious lists that includes Manuel Conde, Lamberto Avellana and Gerardo De Leon. Some of the Vilma Santos films that Ricardo Lee wrote were: Anak (2000), Dahil mahal kita: The Dolzura Cortez Story (1993), Hahamakin lahat (1990), Baby Tsina (1984), Haplos (1982), Relasyon (1982), and Miss X (1980).
The next year, 2004, Regal films asked Vilma to do the third installment to the Mano Po franchise. A Metro Manila Film Festival entry, MP3: My Love was a big hit and won awards. Despite a strong competition from Ebolusyong ng Isang Pamilyang Pilipino, Milan and Sabel, Cesar Montano’s self-produced film, Panaghoy sa Suba dominated the 28th Gawad Urian. The film won three major awards for Cesar Montano: best picture, director, and actor. Sabel won two acting awards: Wendell Ramos won best supporting and lead star, Judy Ann Santos defeated contemporary, Claudine Barreto for Milan and the two veterans, Nora Aunor for Naglalayag and Vilma Santos for Mano Po 3: My Love. The Manunuri gave the Natatanging Gawad Urian to veteran actress, Gloria Romero. Vilma Santos and Gloria worked together in films like: Saan nagtatago ang pag-ibig? (1987), Makahiya at Talahib (1976), Karugtong ang kahapon (1975), Lipad, Darna, lipad! (1973), Anak ng aswang (1973), Pinagbuklod ng langit (1969), Iginuhit ng Tadhana (1965).
The next two years, she did guest appearance as herself in 2006’s D’Lucky Ones and some TV guest appearances. Meanwhile the Manunuri rewarded Ang Pagdadalaga ni Maximo Oliveros as their top film for 2005 and its film director, Mes de Guzman the best director. Robin Padilla won best actor for La Visa Loca and Jaclyn Jose won best actress for Sarung Banggi. The next year, 2006, Kubrador won best picture and Jeff Jeturian the best director. For the top acting awards, Gina Pareno won best actress again for Jeturian’s Kubrador. And another Padilla won the best actor, this time Robin’s brother, Rustom won the best actor for his role as gay super hero, ZsaZsa Zaturnah. Eddie Garcia received the Natatanging Gawad Urian. Eddie Garcia’s most notable works with Vilma as an co-stars were: Mano Po III: My love (2004), Ibulong mo sa Diyos (1988), Yesterday, Today & Tomorrow (1986), Minsan pa nating hagkan ang nakaraan (1984) and Karugtong ng kahapon (1971). He also worked with Vilma as director in memorable films like: Imortal (1989), Palimos ng pag-ibig (1985); Sinasamba kita(1982); and Pinagbuklod ng langit (1969).
For the 31st Gawad Urian, Tirador was acclaimed as 2007 best film, and the film’s director, Brilliante Mendoza, pre-Cannes fame, won best director. Mendoza’s other film Foster Child gave Cherry Pie Picache the best actress. The Natatanging Gawad Urian went to Marichu Vera Perez Maceda, she produced several Vilma Santos starrer, most notably, Nakawin natin ang bawat sandali (1978), Pakawalan Mo Ako (1981) and Rubia Servios (1978).
It was a sweet sweep for Sister Stella L., the movie which garnered ten of the twelve trophies at stake during Friday night’s 9th Urian Awards rites. The Regal Films production was hailed the best film; Sister Stella L herself, Vilma Santos, Best Actress; Jay Ilagan, Best Actor; Mike De Leon, Best Director; Laurice Guillen, Best Supporting Actress; Tony Santos Sr., Best Supporting Actor; Sister Stella L’s Jose Lacaba, Jose Almoujuella, and Mike de Leon were cited for the Best Screenpla category; Jess Navarro, for Best Editing; Ding Achacoso, for Best Music; and Ramon Reyes, for Best Sound. This is more than enough to compensate for its poor performance at the box office.
ECP’s Misteryo sa Tuwa went home with two remaining awards for Best Production Design for Don Escudero and Rodel Cruz; and for Best Cinematography by Rod Lacap. For his outstanding contribution to the film industry, the Manunuri ng Pelikulang Pilipino bestowed a special award to William Smith. Smith is particularly renowned for bringing into the country the first colored film laboratory.
Some people could use a lesson in courtesy. At his age, Smith, understandably, could hardly walk, speak well or display clarity of thought, theresore, the need for him to read his remark of thanks from a piece of paper. While national artist Lamberto Avellana and veteran actress Mary Walter paid due respect for Smith, a young man seated beside us took note of this and declared, “Pare, ‘yung speech niya binbabasa pa niy, o!”
Although the presentation ran smoothly and briefly (yes, the audience were relieved of long waits and intermissions), notable was the marked seriousness about the atmosphere that night. Champoy’s twosome’s (emcee Cherie Gil and Noel Trinidad) efforts to perk up the audience were futile.
The Urian show, furthermore, lacked star luster. Several guest stars failed to attend the ceremony as shown by the many vacant seats. Some presentors even had to go upstage twice. Have we sudenly grown weary of awards rites?
Bumandila na anaman ang JE Productions sa nakaraang FAMAS awards night nang makopo nila ang tatlong pinakamalalaking tropeo ng karangalan kabilang na ang Best Picture para sa Kumander Alibasbas, Best Actor para kay Joseph Estrada at sa Best Director para kay Augusto “Totoy” Buenaventura sa sermeonyang ginanap sa Metropolitan Theatre.
Ito ang ikalimang karangalan natamo ni Erap sa iisang kategorya na nag-akyat sa kanya sa tinatawag na Hall of Fame, at siya rin ang kauna-unahang aktor na hall of famer sa best actor category. Natamo ni Erap ang unang best actor award noong 1962, Patria Adorada at ngayong 1981, Kumander Alibasbas.
Ito namang Kumander Alibasbas ang ikatlong best director award na natamo ni Totoy Buenaventura. Una ay ang Kill the Pushers noong 1971 at Bakya Mo Neneng noong 1978. Sa best screenplay award ay hall of famer na si Buenaventura. Sobra pa nga sa quota ang natamong karangalan ni Buenaventura sa dapat na maging hall of famer. Anim na best screenplay awards na ang kanyang natatamo sa FAMAS: Kalibre .45 noong 1956, Psycho Sex Killer, 1968, Patria Adorada, 1969, Tatay na si Erap, 1970, Kill the Pushers, 1971, Bakya Mo Neneng, 1978.
Ang Kumander Alibasbas din ang isa sa mga box-office hit nang nakaraang taon. Kasaysayan ng isang rebel leader sa gitna ng tinatawag na labor unrest sa Central Luzon before Martial Law, ang Kumander Alibasbas ay naging kontroberyal sapagkat tumalakay rin ito sa ilang political problems ng bansa. Tinatayang may maselang tema, subalit mahusay na nailarawan nang walang “nasagasaan.” Umiiral ang cinematic effects ng pelikula na siyang nakatawag ng pansin sa mga humusga.
Ang aktress na si Vilma Santos naman ang nagkamit ng Best Actress award dahilan sa makatotohanan niyang pagganap sa pelikula ng MVP na Pakawalan Mo Ako na tumatalakay sa tatsulok na pag-ibig na kung saan ay nakapareha niya sina Christopher de Leon at Anthony Castelo sa direksiyon ni Elwood Perez.
Nakamit ni Chanda Romero ang Best Supporting Actress award sa pelikulang Karma na siya rin pinagwagihan sa best supporting actor award ni Tommy Abuel.
Tatlong award rin ang natamo ng FPJ para sa pelikulang Ang Pagbabalik ng Panday: Best Art Direction, Rolando Sacristia; Best Sound para kay Cesar Lucas at Best Cinematography para kay Vir Reyes.
Tuwang tuwa ang mga fans ng bulilit na si Sheryl Cruz na hinirang bilang Best Child Actress para sa Basang Sisiw at ang Best Child Actor ay natamo ng isang baguhang si Mark Versoza para sa pelikulang I Confess. Si Sheryl ay anak ng magasawang artistang sina Ricky Belmonte at Rosemarie Sonora. Sabi nga ni Inday Badiday, naunahan pa ni Sheryl na magka-award sina Ricky at Rosemarie.
Dalawang award naman ang natamo ng pelikulang Init o Lamig; Best Editing for Edgardo Vinarao at Best Story for Baby Nebrida.
Bukod kay Vilma Santos, ang Pakawalan Mo Ako ay nagkamit din ng dalawa pang award: Best Theme Song for Louie Ocampo at Jimmy Santiago at Best Music for Lutgardo Labad.
Nakamit ni Mother Lily Monteverde ang special award na Cirio Santiago Memorial Award; kay German Moreno ang Jose R. Perez Memorial Award; at Marichu Vera Perez ang Gregorio Valdez Memorial Award.
Stage emcees sina Bert “Tawa” Marcelo at Coney Reyes-Mumar at achor woman naman si Helen Vela.
Naging performer sina Rico J. Puno, Sharon Cuneta, Ivy Violan, Something Special, Lirio Vital, at Obusan Dance Troupe.
Matabang mataba marahil ang puso ng presidente ng FAMAS na si Ros H. Olgado, sampu ng mga opisyales at kasapi ng akademiya dahil sa talumpati ng guest of honor na si Ms. Imee Marcos, ang direktor general ng Experimental Cinema of the Philippines. Lalo na nang ipahayag niya ang pagnanasang makapagpatuloy pa ang FAMAS sa pagkakaloob ng prestihiyosong awards ng tulad nang ipinamahagi nang gabing iyon.
Sinabi pa ni Imee na kung nagkakaroon man ng krisis sa FAMAs, iyon ay bahagi ng pagunlad. Aniya, parang puno ng kawayan ang FAMAS na maaaring humahapay kapag may malakas na unos subalit makaraan ang unos na ‘yon ay muling titindig na tila aabutin pati ang langit.
Ayon sa mga observer, ang nakaraang awards night ay lalong nagpatunay na ang FAMAS ay matibay pa rin at may prestihiyo at ito pa lamang ang kaisa-isang award giving body na nirerespeto at pinagsisikapang makamit ng mga taga-industriya.
Sa lahat ng mga awardee, congratulations and mabuhay kayong lahat! – Mar D’Guzman CruzREAD MORE
Spanning five decades, FAMAS has become a big part of VSR’s long career. Twelve Best Actress nominations (1972 – 1988) with five wins (1972, 81, 82, 87, 88) that earned her the Hall of Fame Award in 1989. The Hall of Fame award prohibits her to compete in consecutive years, which made FAMAS create a special award, called Circle of Excellence Award, aimed at recognizing the work of any artist inducted to the hall of fame which Vilma received in ’92 and ’93. Vilma also receive nominations in supporting roles in 1965 and 68, first at a very young age of 13 for her title role film Maria Cecilia and again as a sixteen year old for Kasalanan Kaya. She received her first win as a child actress in 1963 and continued to harvest FAMAS accolades as a leading actress from 1972 to 1988 and as a film producer in 1978. The recognitions climaxed in 1998 with a lifetime achievement award. FAMAS renewed their admiration this year by giving her again an equally important citation, the Exemplary Achievement Award as part of their 2008 winners. FAMAS unofficial web-site, featured a brief description of this recognition:
“The stellar achievement in politics, motion picture and television industries of Star for All Seasons and acknowledged Longest-Reigning Box-Office Queen Vilma Santos has necessitated the creation of yet another FAMAS special award: the Exemplary Achievement Award, an award given only to previous Lifetime Achievement Award recipients who have shown continued blossoming and achievement in the movie industry, as well as in other fields. The actress, who is also the incumbent governor of Batangas province, was not able to make it to the Gabi ng Parangal due to short notice, but she was able to send a video message acknowledging her award. It can be remembered that the FAMAS created a special award for Vilma Santos’ portrayal in Sinungaling Mong Puso in 1992. By technicality as a Hall of Famer, she cannot receive a regular FAMAS Award, so she was awarded an accolade higher than the Hall of Fame: the Circle of Excellence. This year, that instance is again repeated, a testament to the Star for All Seasons’ durability and penchant for excellence and achievement. Santos is also the recipient of yet another special award this awards season, the Ulirang Artista (Lifetime Achievement Award) of the Star Awards for Movies.” Here are the highlights of her history with FAMAS
The First – As Trudis Liit, the 9 years old Vilma Santos, earned her very first FAMAS. The 12th FAMAS Awards considered back then as Philippines’ equivalent of OSCAR and held at the Fiesta Pavilion of Manila Hotel on March 21, 1964 proclaimed Vilma as their best child actress. Vilma is now a bubbly 11 years old. She joined a prestigious co winners, (her future leading man in so many box office hits) Eddie Rodriguez, best actor winner for Sapagkat Kami’y Tao Lamang and Charito Solis, winner for Best Actress for Angustia.
Transitions – Transitioning from child actress to young adult, Vilma Santos ventured into dramas in later part of the 60s. As musicals genre peaked into the later part of this decade, her occasional dramas earned recognition from FAMAS. She portrayed Imee Marcos in the best picture, best actor, actress nominated film, Iginuhit ng Tadhana, Marcos propaganda film. But it was in Maria Cecillia that earned her first best supporting actress nominations, at a tender age of 13. The 1965 FAMAS didn’t produce her a statue but the nomination wasn’t just a fluke, FAMAS gave her another supporting role nomination in their 17th event. Now, a sweet sixteen, she proved that she can compete with the musical genre teen stars and flexing her talent as a future dramatic artist, she earned citation for her role in 1968’s “Kasalanan Kaya?,” a dramatic film starring the unbeatable Rodriguezes, Lolita and Eddie. Kasalanan was nominated for Best picture together with De Colores another Vilma Santos film, but the award went to Charito Solis starrer Igorota. Vilma Santos’ nomination didn’t earn her the trophy yet (Lourdes Medel won for Salamisim). And it’s not only Vilma. Kasalanan failed to win the best actor and best actress for Lolita and Eddie. The only consolation for the film was it won for technical awards, Best story for Liza Moreno, Best black and white photography (cinematography) for Ricardo Remias and Best Musical Score for Tony Maiquez.
Leading Roles – The year was 1972, FAMAS was still considered the only credible award giving body in the Philippines. The musical still rampant but slowly but surely the young rivalry of Nora Aunor and Vilma Santos is forming another path. The race for who is the better actress started with both teen stars venturing to dramatic film roles. With Nora’s And God Smiled At Me and Vilma’s Dama De Noche, the fight went from box office queens, miss Philippines movies into a more serious title of best actress. The hype started with both entering their films to 1972 Quezon City Film Festival. Nora won the best actress despite a heated protest from Vilma’s camp. Indeed, Nora’s machine of supporters were on top of things. She will venture into several film projects under her own film outfit NV productions and she is well positioned to emerge on top come the yearly acting race. Come, 1973, the 21st FAMAS was indeed a fight between the young stars. Nora wasn’t nominated for And God Smile At Me, instead she was nominated for A Gift of Love, the best actress went into a tie. Considered a veteran, Boots Anson Roa, winner for her comedic performance opposite the very young and still leading actor of this time, Joseph Estrada in Tatay Na Si Erap. Roa shared the honor with Vilma Santos for her portrayal of opposite character twin sister in Dama De Noche. The very first best actress award for Vilma, it was a sweet revenge from the very first battle at the QFF and there will be more to come, not only from FAMAS but the other award giving bodies that will follow. A small note, Nick Romano won best supporting actor for another Vilma Santos film, Tatlong Mukha ni Rosa Vilma.
Turn of Events – It took Vilma Santos five long years to get attention from FAMAS again. The reason mainly because she has concentrated to do more commercial films. Lipad Darna Lipad, Darna and The Giants, Dyesebel, Wonder Vi, Batya’t Palu Palo, Tagulan sa Tag araw were record hits, earning her box office queen titles. By 1977, a renegade group of critics, some were previously members of FAMAS formed their own award, the Manunuri ng Pelikulang Pilipino was born, they called their award, GAWAD URIAN. FAMAS found a very resilient rivalry with the newly formed group. In the coming years, the new group will earn the reputation for being the most credible award giving bodies in the country. Sadly, and despite its long history, FAMAS is now considered only third or fourth in terms of importance or relevance. By having two award giving bodies, Vilma Santos doesn’t have the upper hand in terms of competition for the best actress. Nora Aunor has become the front runner, in fact the newly formed URIAN, graciously crowned her as their first best actress in 1977 for Tatlong Taong Walang Diyos. For their 26th FAMAS, Susan Roces (Maligno) reigned over Nora Aunor nominated surprisingly for Bakya Mo Neneng and Vilma Santos for her controversial film, Burlesk Queen. Probably, to compete with the newly form URIAN, FAMAS changed their top award, instead of one best picture, they handed out three, one for drama, comedy and musical. Despite this, Burlesk Queen, Vilma’s bet only earned nominations, including one each for Rosemarie Gil and Roldan Aquino for their supporting roles. On a lighter note, Mat Ranillo III, received his first FAMAS for best supporting actor in a Vilma Santos drama, Masarap, Masakit ang Umibig.
New Harvest – Despite the drought, Vilma Santos position herself into a more serious contender. Accepting more challenging, upbeat roles and producing films like Mga Rosas sa Putikan and Pagputi ng Uwak, Pagitim ng Tagak. Nora Aunor has dominated the accolade of critics but Vilma Santos reigned supreme at the box office. Come 1979, both FAMAS and URIAN recognized Vilma’s effort. Her film directed by the flamboyant Celso Ad Castillo, her director on such hits, Burlesk Queen and Tagulan sa Tagaraw, made a first rate film, Pagputi Ng Uwak was an art film, deserving of all its awards. Vilma got the 1978 Best Picture award as producer together with a string of technical honours for best screenplay for Castillo, Lando Jacob and Ishko Lopez, best director for Castillo, cinematography for Romeo Vitug, musical score for George Canseco, and a deserving best supporting actress to veteran Angie Ferro. Despite the failure of the film to earn the major acting awards for Vilma Santos and Bembol Rocco, the film dominated both award giving bodies and its now considered classic and one of the best Filipino films of all time by many critics. If you ask, Susan Roces was the spoiler of the race between Nora and Vilma. Nora was nominated for Atsay while Vilma for Pagputi. At URIAN, Beth Bautista, did the spoiler. She won for Hindi sa Iyo ang Mundo, Baby Porcuna. The following year at the 1979 FAMAS, Vilma was nominated for her self produced film directed by Eddie Rodriguez, Halik sa Paa, Halik sa Kamay, the trophy went to Nora Aunor for Ina Ka ng Anak Mo.
The Race is ON – By late 70s, Nora Aunor started to position herself as the real contender for the award races. By this time, Lolita Rodriguez, Charito Solis and Susan Roces are making few films, slowly making both Aunor and Santos the prominent names in the award. But the lack of recognition for Santos made her disillusion sometimes. It was reported that she seems reluctant and lukewarm to attend award ceremonies after the consecutive defeats particularly in local film festivals. The lack of recognition from the two award giving bodies this time didn’t help either. By 1981, Vilma’s commercial films were good enough to get some recognitions, her film Langis At Tubig earned a best picture, best director, and best actress nomination from FAMAS. Dindo Fernando won the best actor and best theme song for George Canseco. Both won for Langis at Tubig. Canseco aldo won another award, this time for best musical score for another Vilma movie, Miss X. The next year, Vilma Santos, noticeably absent from the awards night at the local festival where she won a best actress award. At the 30th FAMAS ceremonies held at the MET. Pakawalan Mo Ako, a smashed hit directed by Elwood Perez, earned a best picture, best actor (Christopher De Leon), best supporting actor (Anthony Castelo), best director (Perez), nods as well as Vilma’s 2nd win after so many (her fifth after Dama De Noche) nominations.
The Slam and afterwards – By 1983, there were four major award giving bodies in the country. CMMA or Catholic Mass Media Awards, headed by Cardinal Jaime Sin, the newly formed Film Academy of the Philippines (now the Luna Awards, the equivalent of OSCAR), the Gawad URIAN and FAMAS. Four award giving bodies; all has given their coveted best actress to Vilma Santos, earning her the very first of four grand slam best actress. This was for her controversial role as mistress in Bernal’s Relasyon. At 30 years of age, Vilma Santos has declared the sole winner of this year’s four award derbies despite the solid fight from Nora Aunor’s Elsa in another Bernal film, Himala. FAMAS not only gave the best actress to Vilma, they also recognized two other Vilma Santos starrers, both glossy and commercially made by Viva Films. Gaano Kadalas Ang Minsan and Sinasamba Kita got best picture nods. For best actor, Christopher de Leon was nominated for Relasyon and Dindo Fernando for Gaano Kadalas Ang Minsan. For the best actress, Nora was not nominated for Himala, she got the nod for Mga Uod at Rosas. In other acting category, Tommy Abuel and Cherie Gil were nominated for Gaan as well as Rio Locsin for Haplos. The three got the supporting nominations. Meanwhile Mark Joseph Enriquez, the ailing son of Vilma in Gaano was recognized with a best child actor nomination. Danny Zialcita was nominated for best director, again for Gaano but Eddie Garcia got the trophy for Sinasamba Kita. Gaano dominated the technical awards, Best story for Tom Adrales, best screenplay for Adrales and Zialcita, best editing for Ike Jarlego, Jr, best musical score, theme song for George Canseco and best sound for Vic Macamay.
The next year, the 32nd FAMAS awards was held at the Metropolitan Theatre, Broken Marriage by Regal Films got nominations for best actor Christopher de Leon and best actress for Vilma Santos as well as best picture and best director for Ishmael Bernal. Eddie Garcia was co winner for best actor (for Vilma Santos’ Minsan Pa Nating Hagkan Ang Nakaraan) with Fernando Poe, Jr. for Umpisahan Mo, Tatapusin Ko. Both Vilma and Nora failed to win the best actress, Charito Solis won for Don’t Cry for Me, Papa. A mixed of Vilma Santos starrer earned nods for different artists: best supporting actress nomination for Armida Siguion in Paano Ba Ang Mangarap, best child actress for Harlene Bautista in Broken Marriage, best director nomination for Eddie Garcia in Paano Ba Ang Mangarap. Technical awards went to Nerissa Cabral for best story, Andrea Benedicto and Orlando Nadres for best screenplay, best Cinematography went to Romeo Vitug, and best theme song went to George Canseco, all for Paano Ba Ang Mangarap.
The following year, Vilma Santos was not even nominated at FAMAS for her monumental role as the activist nun in Sister Stela L. The Manunuri gave Vilma her third consecutive best actress, a feat at that time. At the 33rd FAMAS, held at Araneta Coliseum, Sister Stella L was nominated for best picture against Nora’s Bulaklak ng City Jail. Both lost to FPJ’s Ang Padrino. Noranians did not mind the lost as their bet won the best actress tied with Sharon Cuneta for Dapat Ka Bang Mahalin. The consolation for the fans of Vilma was the number of recognitions earned by artists connected to her films. Philip Salvador got a best actor nomination for Alyas Baby Tsina. Best Actor nomination for Muling Buksan ang Puso and Best supporting actor nomination for Alyas Baby Tsina both for Dindo Fernando. Best supporting actress nomination for Laurice Guillen, Sister Stella L. and Caridad Sanchez, Alyas Baby Tsina. Best director nomination for Mike de Leon, and editing Jess Navarro both for Sister Stella L. The sole winner for Sister Stella L was for best supporting actor, won by Tony Santos, Sr. On a lighter note, Charito Solis was inducted to the HALL OF FAME as she won her fifth best actress the previous year.
At the 34th FAMAS (1985), Vilma Santos’ film Muling Buksan Ang Puso earned her ninth best actress nominations. Her co-star Dindo Fernando got the best actor nod. The following year, Vilma got another nomination, for the box office hit, Palimos ng Pag-Ibig. Her co-stars Edu Manzano and Dina Bonnevie were nominated for best actor and supporting actress respectively. They all failed to take home the awards, only George Canseco was lucky enough, he won for best musical score.
New Dawn – The 36th FAMAS Awards (1987), held at Manila Hotel on May 6, 1988 earned Vilma her fourth best actress after ten nominations. She is now 35 and still making movies between Viva and Regal alternately. Her occasional outing outside the two major movie companies at that time rewarded her a breakthrough performance. Feminist said it was a gender-bending role. Little female character has graced the local screen more importantly those role of female serial killer. The Manunuri, was noticeably absent this year declaring no films deserve their citations. Vilma did three films. Two earned honours from this year’s FAMAS. Viva’s Saan Nagtatago Ang Pag-Ibig won top honors in addition to best actress trophy for Vilma in VH Films’ Tagos ng Dugo. Vilma’s stiff competition wasn’t from her perennial rival Nora but from equally deserving Lorna Tolentino in Brocka’s Maging Akin Ka Lamang. Saan Nagtatago won best director award for Eddie Garcia, best story for Gilda Oblidado, best cinematography for Romy Vitug, best sound for Rolly Ruta and nominations for Gloria Romero and Tonton Gutierez for acting.
The following year, Vilma hit the jackpot. After 11 nominations with four wins, her twelfth nomniation produced her an unexpected win. It elevated her to the hall of fame status. All artist who wins five automatically put them to the hall of fame list. It is a big honour but prohibit any one on the list to compete in the future for the same category. Regal films’ Ibulong Mo Sa Diyos, directed by Elwood Perez was a surprised winner. Not only it earned Vilma her fifth award as best actress, it also gave the late Miguel Rodriguez a best supporting actor award and the best director for Perez. Technical awards were also given to Ricardo Jacinto, cinematography, Rey Maliuanag, production design, Gary Valenciano, theme song, and George Jarlego, editing. The late Nida Blanca was also nominated for best supporting actress.
Hall of Fame – From 1972 to 1988 Vilma Santos were nominated twelve times. Most critics considered this as a huge accomplishments, she won for 1988 (Ibulong Mo Sa Diyos), 1987 (Tagos ng Dugo), 1982 (Relasyon), 1981 (Pakawalan Mo Ako), 1972 (Dama de Noche), but some were worried that this is premature as they expected more breakthrough performances from her young career. Now, 37, Vilma is still honing her craft. The 38th FAMAS Awards held again at the Fiesta Pavilion of Manila Hotel on May 19, 1990 was not only memorable for Vilma Santos but also for her rival, Nora Aunor. Vilma relegated to hall of famer, disqualify her to compete with Nora. Not surprisingly, Nora won her fifth best actress, which also automatically qualifies her as next year’s hall of famer. Meanwhile, at the Gawad URIAN, the two actress were proclaimed the co-winners, Vilma for Bernal’s Pahiram Ng Isang Umaga and Nora for Elwood Perez melodrama, Bilangin Ang Bituin Sa Langit. Pahiram won two technical awards, best musical score and best theme song for Willy Cruz. It also earned nominations for director for Bernal, supporting actor nomination for Eric Quizon, best picture for regal films and best child actor for a young Billy Joe Crawford (pre-euro-RnB phenom and exorcist remake). In addition, another Vilma Santos movie, Immortal earned best director award for Eddie Garcia and best story for Orlando Nadres.
The next two years, prevented FAMAS to honour Vilma even a guaranteed nominations as the URIAN did for Brocka’s Kapag Langit Ang Humatol and Guillen’s Ipagpatawad Mo. The only consolation was both films earned nominations for her fellow actors. In 1991, Jeffrey Santos, Snooky Serna and Terence Baylon earned acting nominations for Kapag Langit Ang Humatol. The following year, the 40th FAMAS Awards awarded Christopher de Leon as their best actor for Ipagpatawad Mo and nominations for Terence Baylon, best child actor and Laurice Guillen, best director.
Circle of Excellence – Relegated to hall of famer status, both Nora and Vilma were not allowed to compete for the acting awards in the coming years, a problem for FAMAS. Both actress were still active in making movies that deserve acting accolades. Two years after Vilma was acclaimed to the hall of fame status, she came up with performances that deserve praises, Kapag Langit Ang Humatol in 1990 and Ipagpatawad Mo in 1991. FAMAS can’t resist giving citation to Vilma anymore so they created a special award with a status higher than the Hall of Fame, hence the Circle of Excellence was born in 1993.
The 41st FAMAS Awards honoring films made in 1992 was held again at the Fiesta Pavillion of the Manila Hotel on May 8, 1993. Vilma, now 40 years old earned her first of two Circle of Excellence awards. She was cited for Regal films’ Sinungaling Mong Puso. Sinungaling earned acting honours for Aga Muhlach, lead actor, Gabby Concepcion, supporting actor and best story for Jose Javier Reyes. It also earned nominations for its director, Maryo J. de los Reyes, best picture for Regal, supporting actress for Aiko Melendez. The next year, FAMAS deservingly gave Vilma her second Circle of Excellence award citing her performance in her social relevant film about HIV/AIDS, Dahil Mahal Kita: The Dolzura Cortez Story. Dahil Mahal Kita was nominated for best picture and best director for Laurice Guillen.
Struggle – FAMAS struggled to maintain their hold as the top award giving body, questionable winners, allegedly award can be bought has milling around for years and unorganized awards ceremonies were mostly the reasons for its recent downfall. The organization remained standing despite recent legal battle between them and another renegade group. TV viewership is down because of the advent of so many award giving bodies, to this day now count around 10 (URIAN, FAMAS, STAR, FAP – LUNA, GOLDEN SCREEN, CMMA, YOUNG CRITICS, PASADO, TANGLAW and still counting).
The 43rd FAMAS surprised the local industry by giving their honours to a Vilma Santos smash hit, the massacre-crime story directed by pre-national artist director, Carlo Caparas’ Lipa Massacre. This film wasn’t even mention in the URIAN. Joel Torre won nomination for lead actor while Caparas won the director. Two more Vilma movies earned awards. Ramon “Bong” Revilla, Jr. won best actor for Relaks Ka Lang, Sagot Kita and Jose Javier Reyes won best screenplay for Nag-iisang Bituin. The following year, no mention of Vilma as she only did one film, the forgettable Ikaw Ang Mahal Ko with the late FPJ. Nora Aunor on the other hand, received a circle of excellence honour for Flor Contemplacion. The next year, Nida Blanca earned a deserving lifetime achievement award for her body of work in big and small screen.
The 1998 FAMAS, their 47th, honoured the accomplishment of Vilma Santos. They bestowed her the highest honour, the lifetime achievement award for her contribution to the film industry. It was a memorable night as her film, Bata, Bata, Paano Ka Ginawa? dominated the race for the top honours. Bata was nominated for best picture, director (Chito Rono), and acting awards. Although the film failed to win best picture, both child actors Carlo Aquino and Serena Dalrymple, two of the films main characters left the night with trophies. Ditto for Lualhati Bautista, the writer of the film. The next year, FAMAS gave FPJ their lifetime achievement awards.
By 2001, the 49th FAMAS Awards cited Anak, the Vilma Santos record-breaking film. Produced by Star Cinema, Anak earned nomination for best picture, best director for Rory Quintos, best cinematography for Joe Batac, and best musical score for Jessie Lasaten. Then in 2003, the 51st FAMAS created a controversy by bestowing their leading actress honour to an unknown Aleck Bovick for Tampisaw defeating the more deserving Claudine Barretto for Kailangan Kita and Sharon Cuneta for Magkapatid. If they didn’t give the best supporting actor to Piolo Pascual, winner for Vilma Santos starrer, Dekada 70, their list of winners would be more questionable. Dekada 70 earned nominations for best picture and best child performer to John Wayne Sace.
FAMAS – Hall of Fame Award – The Filipino Academy of Movie Arts and Sciences bestows the Hall of Fame Award to individuals who have displayed mastery over their craft and artistry over their chosen fields in the Philippine motion picture industry. The Hall of Fame Award is a gold-plated FAMAS statuette with two semi-circles of laurel leaves anchored to each of her shoulders and her base. To win a Hall of Fame Award, one must have won five FAMAS Awards for a certain competitive category.
FAMAS – The Circle of Excellence – The Filipino Academy of Movie Arts and Sciences bestows the Circle of Excellence Award to Hall of Fame inductees who have used their skills and craftsmanship to the best of their abilities for the development and creation of a Filipino motion picture. The Circle of Excellence Award is the highest award the FAMAS can bestow on an individual. The first Circle of Excellence Award was given out in the 41st FAMAS Awards (1992) in 1993 to honor Best Actress Hall of Fame inductee Vilma Santos for her performance in Sinungaling Mong Puso. At that time, the Circle of Excellence Award was a glass plaque. The current statuette was given the next year, also to Ms. Santos, at the 42nd FAMAS Awards (1993).
FAMAS – The Lifetime Achievement Award – The Filipino Academy of Movie Arts and Sciences bestows the Lifetime Achievement Award to motion picture performers and artisans who have made indelible and lifelong contributions to the development of the Filipino motion picture industry. – RV Dec/2009
Let Us Count the Ways: Notable citations as an actor…
Nora Aunor
The Filipino actor with the most number of International awards (Cairo ’95, East Asia ’97, Brussels ’04), and nominations (Berlin ’83, Singapore ’97, Cairo ’99, Singapore ’99).
The first Filipino actor to win an International acting award in a Major Film Festival (Cairo ’95 for the movie “The Flor Contemplacion Story”). The first and only Filipino actor to receive an acting nomination from a Top-Tier International Film Festival (Berlin ’83 for the movie “Himala”).
The first Filipino actress to sit as juror in an International Film Festival (Hawaii ’96).
The only Filipino and Asian actress (apart from China’s Gong Li) to be featured by HBO, an American cable network, in a documentary film about the lives and achievements of the world’s greatest actresses (1997).
The Flor Contemplacion Story became the first Filipino movie to win the grand prize in a Major International Film Festival (Cairo ’95).
The Flor Contemplacion Story grossed US$ 3.3 million in its domestic and international exhibitions, making it one of the highestgrossing films in Philippine history.
The Filipino actor with the most “Best Performer” awards (5). The first Filipino actor ever to win the “Best Performer” award (1978).
The only actress included in the prestigious “Centennial Honor for the Arts” given by the Cultural Center of the Philippines (1999).
The first actress to be honored with the “Ten Outstanding Women in the Nation’s Service” (TOWNS) award (1983).
The youngest recipient of the “Lifetime Achievement Award” given by the Film Academy of the Philippines (1993).
The only actor that won three successive best actress awards on Film Academy of the Philippines for years 1989,1990,1991.
The only actor that has won seven MMFF best actress awards, thus dubbed as Film Fest Queen.
The first actress to be crowned as the ” Box Office Queen of Phil. Cinema.”
Himala was the first and only Filipino film ever to qualify in the Competition Section of the Berlin International Film Festival (1983).
Bona was cited as one of “The Best 100 Films in the World” by the Museum of Tolerance in Los Angeles, USA (1997).
Chosen by Gawad Urian as Best Actress of the decade for 80’s and 90’s.
Considered by people masses and critics and contemporaries as Philippine cinema’s greatest thespian and major icon of century.
Named the Philippine’s Best Actress of All Time by S Magazine in 2006.
Vilma Santos
One of the two highest paid actresses in the Philippines The Longest-reigning Box-office Queen and Dramatic Actress.
The only Filipino actor who is both successful in movies and politics.
The most awarded Filipino actor and politician ever, with 70 plus acting awards and countless public service awards.
The only Filipino actor who is awarded the Honoris Causa, PhD degree in Humanities for her contributions to film and public service.
The only Filipino actor who has two best foreign language picture entries for Oscar consideration (Anak and Dekada ’70).
The only Actor with the highest grossing film as of 2000 for the movie Anak, only to be eclipsed by Ang Tanging Ina.
The only Filipino actor who has won a best child actress trophy, a best supporting trophy and the most best actress awards.
The only Filipino actor with the most Lifetime Achievement for Film given by the FAMAS, FAP, and twice from the CineManila International film festival.
The first Filipino film practitioner awardee by the prestigious U.P. Gawad Plaridel in 2005, beating Mike De Leon and Eddie Romero in the final deliberation, and eliminating her chief rival in the first deliberation.
The sole actress to be awarded by the First U.P. Diwata Awards by the U.P. Film Insitute for an exemplary acting career.
The youngest recipient of the FAMAS Hall of Fame for winning best actress five times. The only actress with the most Circle of Excellence awards from the FAMAS.
The only Filipino actor who is a Grand slam winner four times, a record, and the first Grand slam winner for a single performance, a record.
The only Filipino Actor recipient of Body of Work Award from the defunct Let’s Talk Movies for her 1982 film output, including her grand slam movie Relasyon.
The only actor who has two Golden Grand slams, for winning locally and internationally for Bata-bata (Brussels), a total of 7 awards and Dekada ’70 (CineManila), with a record 9 awards.
The movie Bata-bata also won the Special Jury award and a best actress finalist nomination for Vilma at the 44th Asia-Pacific Film Festival in 1999.
The movie Dekada ’70 also won the NETPAC special jury award at the 2003 CineManila Film Festival.
The only Filipino actor who has a record nine acting awards for a single performance, 8 locally, including a grand slam, and one internationally, for Dekada ’70.
The only Filipino actor who has a record 9 Urian trophies, the most Urian best actress trophies (8) and producer for 1978 best picture Pagputi ng Uwak.
The only Filipino actor who has a record six PMPC Star best actress awards. The only actor who has won at the Urian three years in a row.
The only actor with the most best picture awards at the Urian, seven in all, including Pagputi ng Uwak which she produced; the film also won best picture at the FAMAS.
The first Filipino actor to be featured in the Time Magazine, for Burlesk Queen in 1977. She is the only actress who has worked with the following award-winning Filipino directors. Aside from Lino Brocka and Ishmael Bernal, Vilma was directed by Celso Ad Castillo (Burlesk Queen, Pagputi ng Uwak, Pagitim ng Tagak), Gil M. Portes (Miss X, Never Ever Say Goodbye), Danny Zialcita (Langis at Tubig, Karma, Gaano Kadalas ang Minsan, T-bird at Ako), Mike de Leon (Sister Stella L), Marilou Diaz Abaya (Alyas Baby Tsina, Minsan Pa Nating Hagkan ang Nakaraan), Laurice Guillen (Kapag Langit ang Humatol, Ipagpatawad Mo, Dolzura Cortez Story), Maryo J. de los Reyes (Tagos ng Dugo, Sinungaling Mong Puso), Chito Roño (Ikaw Lamang, Bata, Bata Paano Ka Ginawa?, Dekada 70), Jose Javier Reyes (Nagiisang Bituin), Rory Quintos (Anak), by Joel Lamangan in Mano Po 3 and Olivia Lamasan (In My Life, Regalo). The only actress who played Darna four times – Lipad, Darna, Lipad and the Giants, Darna vs. the Planet woman, Darna at Ding.
The only Filipino actress who won the first Pinoy Animation Awards for Darna.
The only actor who was called Filipino Cinematic Diva by Variety Magazine. Sole winner of the first U.P. Diwata Award for Film.
The only actress cited by the U.P. Film Institute as the Premier Actress of the Philippines.
Child star Vilma co-starred in the 1967 Hollywood-produced war-action-drama movie made for television ’The Longest Hundred Miles’. It also starred Americans Doug McClure, Katharine Ross, Ricardo Montalban, and Filipino veteran actors Vic Silayan, Ronald Remy and Berting Labra.
Chosen by Gawad Urian as Best Actress of the decade for 80’s and 90’s. The first best actress winner as chosen by her peers (FAP) for the movie Relasyon in 1983.
2004 – PMPC Star Dekada Award (Body of Works). 2005 Lifetime Centennial Feminist Award.
2005 Gawad Suri Award for Exemplary Film Practitioner and Public Servant.
Declared the Actress-Politician of the Year – PEN.
Declared the All-Time Favorite Actress – Guillermo Memorial Foundation.
In Ricky Lo’s documented article on 8/19/99, (Vilma Santos, Armida Siguion-Reyna, Jurors in Chicago Intl. Film Festival), the Chicago Filmfest bigwigs have described Vilma as “the Meryl Streep of the Philippines” in the invitation. Respected journalist and Manunuri member Butch Francisco confirms the moniker in his 11/3/05 article My Favorite Vilma Santos Films: “With Dekada ’70, I dare say that, yes, she has finally become the equivalent of Meryl Streep of Philippine cinema.” (see Meryl Streep AFI citation for Meryl Streep). Vilma Santos’ movies competed at the Venice Film Festival in 1985 (Sister Stella L), Brussels (Bata-bata) in 1999, Asia-Pacific Film Festival, 1999 and Dekada ’70, 2003 at the CineManila Film Festival. Dekada 70 was exhibited in Cannes and Brussels International Film Festival (not the independent film festival where both Nora and Vilma won).
Meryl Streep and Vilma Santos – a comparison – To be called the Meryl Streep of the Philippines is an honor and a responsibility for Vilma Santos, as Ms. Sreep is the U.S’ most decorated and versatile actress, just like Ate Vi. For perspective, here are Ms. Streep’s citation as honoree of the AFI Life Achievement Award and Ms. Santos’ citation as the U.P. Gawad Plaridel and U.P Diwata awardee for film. These citations alone prove that Meryl Streep is the America’s Greatest Actress and Vilma Santos is the Philippines Best Actress of All Time.
The Achievements of Ms. Meryl Streep – The trustees of the American Film Institute have selected Meryl Streep to receive AFI’s 32nd Life Achievement Award. Meryl Streep is like no other. She’s authentic yet ethereal. Self-possessed yet vulnerable. Intellectual yet instinctive. And she deftly combines these disparate qualities onscreen in a way that has made her a cinematic icon. Meryl Streep has presence, resonating with both audiences and critics for the past 26 years. Beginning with THE DEER HUNTER in 1978-just her second film-Streep has been nominated for 13 Academy Awards, more than any other actor in history. She was named Best Supporting Actress for KRAMER VS. KRAMER in 1980 and Best Actress for SOPHIE’S CHOICE in 1983. No matter the character, Streep’s work is suffused with dignity and decency. She makes us believe. Which is no small thing, considering most actors find it difficult to separate their public persona from their onscreen portrayals. But Meryl Streep is not like most other actors. Her sense of self and understanding of those she is portraying result in realistic characters, regardless of their nationalities, ethnicities or physicalities. The breadth of her talent seems limitless. No matter what the challenge, Streep commits fully, serving as the anchor in each of her films. She sings (SILKWOOD, IRONWEED, POSTCARDS FROM THE EDGE), dances (DEATH BECOMES HER), even plays violin (MUSIC OF THE HEART). And these extraordinary abilities are matched by her astounding facility for dialects. From Polish (SOPHIE’S CHOICE) to Australian (A CRY IN THE DARK) to Danish (OUT OF AFRICA), Streep’s flawless vocal transformations imbue each role with a wealth of knowledge and experience, an innate understanding of life’s foibles, blessings and mysteries. While making it all look effortless. Yet she calls this gift the “auto mechanics” of her craft, preferring to focus on the complete person rather than on any one characteristic. Streep’s most challenging role-as wife and mother-informs her career choices, both geographically and emotionally.
Early in her career, she insisted she’d never give up theater, her first love. But being home for dinner and schoolwork with her four children is a top priority. So the stage must wait. That maternal instinct is apparent onscreen as well. While the mothers she plays may not always be perfect, she brings a humanity to even the most troubled relationships. We’re both repelled by and understanding of her decision to leave her little boy in KRAMER VS. KRAMER. We see the fierce love lying just beneath the surface as she battles with her rebellious teenage son in MARVIN’S ROOM. And, we respect her decision to live with a philandering husbandand accept the scorn of her daughter-in order to keep her family together in ONE TRUE THING. An outspoken advocate for women, Streep is active in Equality Now, working for women’s human rights around the world. She also fights for equal pay, in her own profession as well as in public education-an arena she knows well, since her children have gone on location with her to Africa, England, Australia, Texas, California, New York and Connecticut. And she continues to take on new artistic challenges. In 2002, she starred in both THE HOURS and ADAPTATION, earning an Oscar nomination for the latter. Earlier this year, she played four different characters in HBO’s ANGELS IN AMERICA, including her first male role, an aged rabbi. American cinema has been graced by the presence of Meryl Streep. With a poise and eloquence all her own, Streep has continued to astonish audiences with her range of characters. Because of her unparalleled talent and integrity, the American Film Institute is honored to present Meryl Streep with AFI’s 32nd Life Achievement Award.
U.P. Gawad Plaridel Citation to Ms. Rosa Vilma Santos: For crafting and creating her varied cinematic roles with consummate artistry, making us empathize with whatever character she is portraying by delineating for us the character’s history, problems and aspirations, in dynamic interaction with the film’s ensemble of other characters; For bravely using her popularity as an actor to choose roles which bring to the public attention an astounding range of female experiences as well as an array of problems confronting women of different classes and sectors in contemporary Filipino society, even if these experiences or problems would not only enhance but could detract from her mass appeal; For bringing to life on screen characters whose stories have the effect of raising or transforming the consciousness of women, leading them a few steps closer to a deeper understanding of their situation vis-a-vis the patriarchy and to the ability to control their own lives and make choices of their own; For courageously playing maverick characters which dared to speak the truth in a period of intense political repression and reprisal, thereby showing a concern not for her own self but for a Filipino society fighting for basic human rights under a dictatorial regime; For building a brilliant career which saw her grow from popular icon to professional actor through self-discipline and tireless honing of her craft, thereby challenging writers, directors and producers to come up with films that would be worthy of her artistic resources and repaying their efforts with some of the most unforgettable performances in Filipino cinema; For showing that the movie star can place the stamp of her own individuality and talent on the films she chooses to make, thereby proving that the star can be regarded as an auteur in her own right; For excellence, integrity and social responsibility which have distinguished her major performances, and for being a model of professionalism to other actors and technicians engaged in the creation of a Filipino national cinema; The U.P. Gawad Plaridel 2005 is given to Rosa Vilma Santos on the 4th of July 2005 by the U.P. College of Mass Communication at the Cine Adarna, U.P. Film Institute, University of the Philippines, Diliman, Quezon City. Emerlinda R Roman, Ph.D.; President, University of the Philippines; Sergio S Cao, Ph. D, Chancellor, U.P. Diliman; Nicanor G. Tiongson, Ph.D. Dean, U.P. College of Mass Communication
Gawad Plaridel – Vilma outgrew her hysterical acting through the years – This article will prove that Vilma is a better actress than Nora in terms of range and versatility which the late Charito Solis explained in her choice of Vilma as the better actress than Nora. Whereas before Vilma was identified with hysterical acting and Nora the subdued one, the tables have turned to Vilma’s favor, as she grew as an actress. This is also, I believe what actress Elizabeth Oropesa meant when she said that Vilma is a better actress than Nora because she felt that Nora seemed to get stuck somewhere, she did not grow with her acting style. Here’s a reprint of my article. Nestor Torre, Mario Bautista, Ricky Lo. Butch Francisco, What do these four journalists have in common? They are all household names in Philippine media. Educated, respected, credible and outstanding in what they do best: chroniclers/ historians of the Philippine entertainment industry. Except for Lo, Torre, Bautista and Francisco are once upon a time Manunuri members who sat through long hours of movie viewing, criticism, debating, and selection/votation of the creme de la crème in movies. The youngest in the above dream team of tabloid writers, and possibly still active as a Manunuri member, Butch Francisco, like Nestor Torre and Mario Bautista calls a spade a spade especially in their critique of a movies’ strengths and weaknesses.
All three are generous with their praise of both Vilma Santos and Nora Aunor, still the actresses to beat in the annual awards derbies and still the topic of heated debates amongst the rabid of cineastes who are as partisan as the Republicans and the Democrats of America’s political landscape. However, statistics show that the momentum of positive media mileage and attention is on Vilma Santos as the chasm between the two rivals is as far as the East is from the West, as Vilma triumphs in her dual careers as actress and politician. When Nora Aunor was chosen as a CCP Centennial Awardee in 1999 during former President Erap’s aborted term, especially after her back to back wins as international best actress for Flor Contemplacion and Bakit May Kahapon Pa, and her acclaimed performances on the legitimate stage, it seemed that the National Artist award was within Nora’s reach. At the prestigious academe-based U.P. Gawad Plaridel Award for Film, the precursor or litmus test of the National Artist Award, Vilma Santos was crowned the winner, and in less than a year was the lone actress winner for another U.P. System award for excellence in Film Acting, the Diwata Award. Talk of major twin bill triumphs for the two-time international best actress, at the height of her successful third term as a well-respected and admired Lipa city mayor.
Flash forward to 2006 and still the Philippines’ “alleged” Highest Honor for an Artist eluded La Aunor, who was overlooked, along with fellow nominee Vilma Santos and others, in favor of the eventual winner, the late Fernando Poe, Jr. In between the periods of reversals of fortune for the revered actresses, there is Mr. Butch Francisco who, like Yin and Yang, does a balancing act of extolling the virtues of her equally favorite actresses, zeroing in on their best performances, at least in his mind. Butch’s appraisal of his favorite “best performances” by the Philippines’ elite group of fine actresses really narrows down, to, oh well who else, Vilma (where he listed 12 best performances) and Nora (where he chose the superstar’s 11 best)? One degree of separation. One movie more than Nora. One extra vote for Vilma to break the tie. Was this intentional or subconsciously unintentional? Interestingly, if Butch is asked to pick the winner of the National Artist for Film, or the better actress of the two, all things considered, such as being focused, committed, insightful and versatile, will he be the deciding or dissenting vote, in favor of Vilma? As a bonus, I attached Mr. Francisco’s “My Favorite Vilma Santos Films” as his tribute to her personal friend’s 52nd. birthday last year. Note the consistency of his pattern of choice of his Best Vilma Santos Performances List vis-a-vis My Favorite Vilma Santos Films List, which are really a set of twins. He includes Takbo, Vilma, Dali and Tag-ulan sa Tag-Araw in his Fave Films section, but not Ipagpatawad Mo, which is however mentioned among his Fave Best 12 Performances by Vilma Santos Section. Favorite Vilma Santos movies versus favorite Vilma Santos best performances. He really was able to draw the line as can be gleaned in the succeeding paragraphs.
What makes Butch’s paean to his favorite actresses Vilma and Nora through the years is interesting and engaging to read is his flair, objective and balanced treatment approach. Of course, we can read between the lines and make conclusions as to who Butch will really choose as the Best of the Two. In print, he acknowledges the following:
1. Vilma Santos deserves all of her FOUR Grand Slams and EIGHT Urian trophies. Vilma Santos richly deserves her first grand slam win in Relasyon. Translation: Vilma deserves the Urian for Relasyon to Nora’s Himala, Sister Stella L. over ’Merika and Bulaklak and Ipagpatwad Mo over Pacita M. Note however that Nora has beaten Vilma once at the Urian for Andrea, over Vilma’s Kapag Langit ang Humatol.
2. Vilma Santos is also effective with her quiet/subdued/ understated performances such as seen in Pahiram ng Isang Umaga, Ipagpatawad Mo and Dekada ’70, erasing the myth that Vilma is another Charito Solis.
3. Vilma Santos is the equivalent of U.S.’ Meryl Streep.
4. Nora Aunor has tackled difficult roles without straining, especially with the use of her best weapon, her soulful eyes.
5. Both Vilma and Nora are committed artists, who have delivered powerful, sterling and well-deserved winning performances.
6. It took a while before Vilma was recognized as a serious actress but with her talent and dedication to her craft, she delivered some of the most sterling performances ever recorded in Philippine cinema.
7. I concur with the U,P. Gawad Plaridel committee (with a strong Manunuri vote) in choosing Vilma Santos as its first awardee for film acting.
In print, he acknowledges that Nora Aunor: In Fe, Esperanza, Caridad – The Superstar was fortunate to have been directed by the master himself (Gerry de Leon) in an episode of this trilogy (Caridad). That early in her career, Aunor already gives an impressive performance, except that the public and the critics didn’t take her that seriously yet as an actress. Minsa’y Isang Gamu-gamo – Her “My brother is not a pig” dialogue (now a staple in many gay impersonators’ acts) may have been overly cinematic, but Aunor gives a consistently good performance in this daring film that exposes the abuses committed against Filipinos by the American bases in the country in those days. Tatlong Taong Walang Diyos – This is what I call a truly sterling performance. A very difficult role – as a war victim who suffers in the hands of fellow Filipinos at the end of the Japanese interlude – Aunor gives justice to this very memorable screen character. She won an Urian and a FAMAs for this film – and was she truly deserving of those acting trophies. Bona – As the loyal fan of a bit player (Phillip Salvador), Aunor’s performance here haunts the viewers even years after the exhibition of this film. She tied for Best Actress with Gina Alajar in the Gawad Urian the year (1980) Bona was released. Himala – She could have won a grand-slam for playing the visionary Elsa in this Bernal masterpiece (she was voted Best Actress in the Metro Filmfest), but Vilma Santos edged her out as Best Actress of the Year for Relasyon. Bulaklak sa City Jail – Although she is surrounded by other great talents in this film (Celia Rodriguez, Perla Bautista, Mitch Valdes, Maritess Gutierrez and the late Zeneida Amador), Aunor doesn’t allow herself to get eclipsed even for a minute. Bilangin ang Bituin sa Langit – One of the most difficult roles given to a local actress – she ages from teener to that of an old lady and even plays another character in the same movie – Aunor is consistently focused on her characterization in this film and is rewarded with a whole slew of acting trophies for it. Andrea, Paano Ba ang Maging Isang Ina? – It was a tough competition among actresses that year (1990), but the Superstar showed them who was best by winning in the Metro Filmfest and in the Gawad Urian. The Flor Contemplacion Story – No matter how gay impersonators trivialize her “I did not kill anybody!” line, you cannot deny that Aunor is superb in this film that dramatizes the real-life story of a domestic helper accused of a crime and hanged in Singapore. Bakit May Kahapon Pa? – A truly powerful performance that helps conveys the strong socio-political statement of the film. Sidhi — She doesn’t speak a word here, but you feel her presence all over the film. It’s a difficult role, but Aunor is excellent as always and utilizes her greatest acting weapon: her pair of soulful eyes.
In print, he acknowledges that Vilma Santos: In Trudis Liit – She is so convincing here as an abused child that when I see it now I tend to forget that this kid grew up to be one of the country’s greatest actresses, respected politician and personal friend. Ging – I think she delivers an even better performance in this film where she plays an exploited child performer. Burlesk Queen – This will always be the turning point of her career. Pakawalan Mo Ako – Her material here may be frowned on by the really serious film reviewers, but there’s no denying that she rises above the material and gives an inspired performance. Relasyon – She richly deserves her first grand-slam win for this film. Sister Stella L. – You see here how her character develops from a nun who is content with convent life to that of a concerned street parliamentarian. Adultery – An underrated performance that should have won for her another acting trophy. Sadly, it was released in the same year as Sister Stella L. and was totally eclipsed. Pahiram ng Isang Umaga – The fact that she agreed to do this film where she dies already deserves a lot of commendation. But Vilma being Vilma she gives another worthy performance that brought her the fourth of her eight Urian trophies. Ipagpatawad Mo – Another understated performance that only she can deliver. Dahil Mahal Kita (The Dolzura Cortez Story) – Another daring role (that of an AIDS victim) that gave her another well-deserved grand-slam win (her second). Bata, Bata, Paano Ka Ginawa? – A landmark performance in the history of Philippine Cinema. She earns her third grand-slam for this. Dekada ’70 – She remains quiet in most of the film, but her silence is so overpowering that you feel her presence all over. She is rightfully rewarded with a fourth round of grand-slam win.
What their peers say about Vilma (and Nora):
“Naging idolo ko ho siya. Siya ang pinangarap ko noong bata pa ako.” – Nora Aunor
“You really are great. I know you deserve more.” – Fernando Poe, Jr.
“She’s an actress of consummate artistry.” – Eddie Garcia
“As an actress, she registers like water. How a director would feel about her at the moment is that he can do anything with her now. She has become so supple that his tendency would be to challenge her still further, make her come up still higher, open up more doors. She can give you so much more now.” – Lino Brocka
“I’m willing to be paid installment sa talent fee ko, makasama ko lang ang isang Vilma Santos.” – Sharon Cuneta
“Vilma is an actress who can compare with the top caliber actresses of Hollywood. She is an epitome of a real queen of Philippine cinema. I really look up to her.” – Lea Salonga
“Vilma is a better actress than Nora. Vilma has a wider range as an actress while Nora is limited and typecast in certain roles. Si Vilma, puede kahit anong role, kahit bold. You can’t imagine Nora doing a bold role, can you?. BUT Nora has more depth than Vilma, and it’s because of her expressive eyes. Nora is very effective in scenes where she doesn’t say anything, just act with her eyes, at ‘yan ang kulang ni Vilma. Vilma has to say something to be effective.” – Charito Solis
“There must be something more to this Vilma Santos who everyone acclaims as the great actress… She will achieve all these dreams because she is a woman for all seasons. I love you, Vi.” – Ms. Marichu Vera-Perez
“In Ikaw ay Akin Vilma was already conscious of her own particular style of acting, which can be described as minimal: less is more. The fewer and simpler the gestures, the greater the effect. The stripped style won her a grand slam when she did Relasyon with Bernie, which he rates as her most memorable film. It got her all the awards on the market. In Relasyon Vilma made the character of a mistress very human and sympathetic, not just a contravida. Her next film, Broken Marriage, set another trend for her; the role of a modern urban working girl, as sophisticated as her Makati office and her personal problems. Her fans are growing up and Vilma’s image is becoming more and more complicated. But it was in the last film we did together, 1988’s Pahiram ng Isang Umaga, that I noticed the big change in Vilma. She had become an artist. She was no longer just a movie star following the director’s instructions. She was very hyper, very high, eager to experiment: a cooperative and mature actress. She had studied the script in advance and she had sensible suggestions about it. I felt I was no longer working with a movie star but that she and I were two artists collaborating on an objective statement about life and death and human relationships.” – Ishmael Bernal
“Hindi pa ako artista, sa Tundo pa lamang kami, paborito ko na si Vilma. Beauty na, ang galing pang umarte.” – Amy Austria
“A damn good actress!” – Gil M. Portes
“Mai-direct ko lang si Vilma Santos ay pwede na akong mag retire.” – Jerry Lopez Sineneng
“Vilma is a better actress than Nora. Nora did not grow. Na-stuck lang siya.” – Elizabeth Oropesa – Mario O. Garces, Vilma & Nora, Rivalry No More, Special Issue Magazine, 2006
Film Awards and Citations – Nora Aunor: Best Actress unless otherwise noted
Film Festival – International Best Actress
1. Cairo International Film Festival – 1995 – The Flor Contemplacion Story
2. East Asia Film and Television Award – 1997 – Bakit May Kahapon Pa?
3. Brussels Festival of Independent Films – 2004 – Naglalayag
Film Festival – Philippines Best Actress
1. 1978 Metro Manila Film Festival – Atsay (Best Performer)
2. 1979 Metro Manila Film Festival – Ina Ka Ng Anak Mo
3. 1982 Metro Manila Film Festival – Himala
4. 1984 Metro Manila Film Festival – Bulaklak sa City Jail
5. 1990 Metro Manila Film Festival – Andrea, Paano ang Maging Isang Ina
6. 1991 Metro Manila Film Festival – Ang Totoong Buhay ni Pacita M.
7. 1992 Metro Manila Film Festival – Gawad ng Natatanging Pagkilala
8. 1995 Metro Manila Film Festival – Muling Umawit ang Puso
9. 2004 Manila Film Festival – Naglalayag
10. 1972 Quezon City Film Festival – And God Smiled at Me
11. 1975 Bacolod Film Festival (?) – Banaue (Grand Buglas Award)
12. 1976 Davao City Film Festival – Ibilanggo Si Neneng Magtanggol
Philippines – Gawad Urian Best Actress
1. 1976 – Tatlong Taong Walang Diyos
2. 1980 – Bona
3. 1989 – Bilangin ang Bituin sa Langit
4. 1991 – Best Actress of the Decade (1980s)
5. 1990 – Andrea, Paano ang Maging Isang Ina
6. 1995 – The Flor Contemplacion Story
7. 1996 – Bakit May Kahapon Pa
8. 2001 – Best Actress of the Decade (1990s)
Philippines – FAMAS Best Actress
1. 1976 – Tatlong Taong Walang Diyos
2. 1979 – Ina Ka ng Anak Mo
3. 1984 – Bulaklak sa City Jail
4. 1989 – Bilangin ang Bituin sa Langit
5. 1990 – Andrea, Paano ang Maging Isang Ina
6. 1991 – Hall of Fame Award
7. 1996 – Circle of Excellence Award
Philippines – Star Awards Best Actress
1. 1984 – ’Merika
2. 1990 – Andrea, Paano ang Maging Isang Ina
3. 1991 – Ang Totoong Buhay ni Pacita M.
4. 1994 – Star of the Decade (1980s)
5. 1995 – The Flor Contemplacion Story
6. 2004 – Best Actress of the Decade (1990s)
Philippines – Film Academy of the Philippines Best Actress
1. 1989 – Bilangin ang Bituin sa Langit
2. 1990 – Andrea, Paano ang Maging Isang Ina
3. 1991 – Ang Totoong Buhay ni Pacita M.
4. 1993 – Lifetime Achievement Award
5. 1995 – The Flor Contemplacion Story
Philippines – Catholic Mass Media Awards Best Actress
1. 1981 – Bakit Bughaw ang Langit
2. 1984 – Bulaklak sa City Jail
Philippines – Young Critics Circle Best Actress
1. 1990 – Andrea, Paano Ba Maging Isang Ina (Best Performer)
2. 1991 – Ang Totoong Buhay ni Pacita M. (Best Performer)
3. 1993 – Inay (Best Performer)
4. 1995 – The Flor Contemplacion Story (Best Performer)
Philippines – Pasado Best Actress
1. 2004 – Naglalayag
Philippines – Gawad Tanglaw Best Actress
1. 2004 – Naglalayag
Philippines – Kritika Best Actress
1. 1991 – Ang Totoong Buhay Ni Pacita M.
Philippines – Balatca Best Actress
1. 2004 – Naglalayag
Philippines – Ateneo Galian Best Actress
1. 1991 – Ang Totoong Buhay Ni Pacita M.
Philippines – People’s Choice, PPC Publications Best Actress
1. 1995 – The Flor Contemplacion Story
2. 1997 – Babae
Film Awards and Citations – Vilma Santos Best Actress unless otherwise noted
Film Festival – International Best Actress
1. 1999 – Brussels International Film Festival – Bata, Bata…Paano ka Ginawa?
2. 1999 – Asia Pacific Film Festival (Bangkok, Thailand) Special Jury Award for Women’s Awareness – “Bata, Bata…Paano ka Ginawa?”
3. 2002 – CineManila International Film Festival – Dekada ‘70
4. 2002 – Cinemanila Lifetime Achievement Award Centennial Feminist
Film Festival Best Actress – Philippines
1. 1977 Metro Manila Film Festival – Burlesk Queen
2. 1981 Metro Manila Film Festival – Karma
3. 1989 Metro Manila Film Festival – Imortal
4. 2004 Metro Manila Film Festival – Mano Po 3: My Love
5. 1981 Cebu City Film Festival – for Karma
6. 1975 Bacolod City Film Festival – Nakakahiya?
7. 1993 Manila Film Festival – Dolzura Cortez Story
Philippines – Gawad URIAN Best Actress
1. 1982 – Relasyon
2. 1983 – Broken Marriage
3. 1984 – Sister Stella L.
4. 1989 – Pahiram ng Isang Umaga
5. 1990 – Gawad URIAN AKTRESS ng DEKADA (Body of Works in the 80s)
6. 1991 – Ipagpatawad Mo
7. 1993 – Dolzura Cortez Story
8. 1998 – Bata, Bata…Paano ka Ginawa?
9. 2000 – Gawad URIAN AKTRESS ng DEKADA (Body of Works in the 90s)
10. 2002 – Dekada ‘70
Philippines – FAMAS Best Actress
1. 1963 – Trudis Liit (Child Actress)
2. 1972 – Dama de Noche
3. 1981 – Pakawalan Mo Ako
4. 1982 – Relasyon
5. 1987 – Tagos ng Dugo
6. 1988 – Ibulong Mo sa Diyos
7. 1989 – FAMAS Hall of Fame
8. 1992 – Circle of Excellence Award – Sinungaling Mong Puso
9. 1993 – Circle of Excellence – Dolzura Cortez Story
10. 1998 – FAMAS Lifetime Achievement Award
Philippines – Star Awards Best Actress
1. 1989 – Pahiram ng Isang Umaga
2. 1993 – Dolzura Cortez Story
3. 1998 – Bata, Bata…Paano ka Ginawa?
4. 1999 – Star Special Citation for winning at the Brussels Int’l Film Festival
5. 2000 – Anak
6. 2002 – Dekada ‘70
7. 2004 – Mano Po 3: My Love
8. 2004 – PMPC Star Dekada Award (Body of Works)
Philippines – Film Academy of the Philippines Best Actress
1. 1982 – Relasyon
2. 1993 – Dolzura Cortez Story
3. 1997 – FAP Lifetime Achievement Award
4. 1998 – Bata, Bata…Paano ka Ginawa?
5. 2002 – Dekada ‘70
Philippines – Movie Magazine Awards Best Actress
1. 1987 – Tagos ng Dugo
2. 1989 – Pahiram ng Isang Umaga
3. 1991 – Ipagpatawad Mo
4. 1993 – Dolzura Cortez Story
Philippines – Catholic Mass Media Awards Best Actress
1. 1982 – Relasyon
2. 1987 – Tagos ng Dugo
Philippines – San Beda College Awards Best Actress
1. 1968 – Kasalanan Kaya? (Supporting Role)
Philippines – Let’s Talk Movies Awards Best Actress
1. 1982 – Relasyon (Body of works)
Philippines – Cinemascoop Awards Best Actress
1. 1987 – Tagos ng Dugo
Philippines – Critic’s Choice Best Actress
2002 – Best Performer – Dekada ‘70
Philippines – People’s Choice Best Actress
2002 – Best Performer for Dekada ‘70
Philippines – Gawad Suri Best Actress
1. 2004 – Mano Po 3: My Love
2. 2005 – Exemplary Film Practitioner and Public Servant
Philippines – Diwata
1. 2006 UP Lifetime Achievement Award
Philippines – Gawad Plaridel
1. 2005 for Outstanding Media Practitioner for Film
Conclusion: – Is there really anything that Vilma Santos cannot do, except sing (yet she has gold records and a hot-selling CD of her greatest hits), and to act on stage (too busy to say commit to oh so many tempting offers)? Fifty-three year old Vilma Santos’ outstanding record of achievements and awards in her dual career as actress and politician can easily land her in Guinness’ Book of Records. No other Philippine celebrity, male or female, dead or alive, can ever match this petite actress cum mayor’s formidable stature as the Philippines’ most awarded actress and politician. A high school graduate, a non-singer and only five feet tall, and an inexperienced mayor in her first of three successful terms, she practically is a David among the Goliaths such as Nora Aunor, FPJ (SLN), President GMA, Regine Velasquez, Sharon Cuneta, among others. As an actress, she played second fiddle to the CCP Centennial honoree and three-time International Best Actress Nora Aunor, an Urian favorite who would easily beat her in acting jousts via her signature soulful eye acting.
On TV, her then struggling VIP show would avoid competing with Nora’s Superstar to avoid being murdered in the ratings war, the barometer for popularity and advertisers’ nods. It is a different story though in the box-office arena where Vilma was crowned the champion many times over. In the late 70’s, just when people thought she was down and out with her so-so acting and TV careers and losing to her rival in awards nights (remember the 1978 MMFF best performer award?), her messy love life, and her in the red movie company VS Films, Vilma Santos, by some divine intervention, regrouped, took a breather and a crash course in counseling 101 with the industry experts. After soul-searching, making peace with God, listening to the advice of trusted friends, talent inventory, doing research/self- study, experimenting with movie roles and choosing her projects wisely (i.e. astute career management according to Nestor Torre), the New Vilma Santos was born. The rest is now history. Thanks to her Talent, Tenacity and Professionalism, and her many rivals’ complacency and misjudgments in life, Vilma Santos ’streaked’ past them, not easily though but through sheer True Grit. She earned her wings.
When the dust settles, Vilma Santos: Is probably the Philippines’ Best Film Actress. She is also the most awarded actress ever, 70 trophies in all and counting, the latest feat being her Best Single Performance Award from PMPC Star TV awards for her committed, focused, insightful and versatile performance (again, Nestor Torre’s remarks, not mine) in MMK’s Regalo. Her astounding range, equally at home in drama and comedy, earned her the most prestigious awards in the business: U.P. Gawad Plaridel, U.P. Diwata Award, a record 8 Urian best actress trophies, 6 from Star awards, two International Best Actress trophies, National Artist Award nominee, and the People’s Choice Awards (a record 14 movie fan-based magazine best actress awards), proofs that Vilma is both the critics and the paying moviegoers’ choice. Is one of the two highest paid actresses and top commercial product endorsers in the Philippines, along with best friend and soon costar in a Star Cinema project, MegaStar Sharon Cuneta, who, along with millions of Pinoys, including the Youth, look up to Ate Vi as a Positive and Inspiring Role Model. Is the Movie, TV and Stage Producers’ Choice based on published articles from various tabloids/journals.
She has to turn down juicy offers due to her commitments as Lipa city Mayor. Is the most awarded TV personality in the Musical-variety show genre, having won awards for Vilma!, from PMPC Star, CMMA, Dove Awards, among others. (Source: vilmasantos websites) Is the Philippines’ most successful and awarded Mayor ever, with such honors as Honoris Causa, PhD in Humanities, Outstanding Mayor, Unlad Pilipinas Award, Mga Munting Ngiti Award, among others,and even put Lipa city in the world map for winning Internationally for Mga Munting Ngiti project.(source: vilmasantos websites) Is the Longest Reigning Movie and Box-office Queen based on published/website data. Is a winner in the domestic front for helping her children Luis and Ryan excel in what they do, a real bonanza of priceless rewards for balancing parenthood and career, an almost impossible task which Vilma, Mother, accomplished, with aplomb, a Herculean task indeed, serving as Inspiration to all working mothers around the world. A consummate actress, an impassioned and hardworking mayor, a devoted wife and a dutiful mother, and a loyal and sincere friend to her fan base, Vilma Santos is indeed the Woman for All Seasons and Reasons. It’s all up to her. It is really between her and her Creator. We, her fans can only wish her the best, and respect and support her decision all the way, whatever that might be, whether it is politics or showbiz. As Mario Bautista sums up her many accomplishments: Incomparable. After all, either way, Vilma Santos is a Winner. The best is yet to come! – Mario O. Garces, Vilma & Nora, Rivalry No More, Special Issue Magazine, 2006
(Or, why Vilma Santos is the better actress than contemporary and competitor Nora Aunor)
Introduction/Goals: This position paper is dedicated to Ms. Vilma Santos and her Vilmanians. I am an avid Vilmanian myself who followed the actress’ career ever since I could remember her in Ging, Dama De Noche, Larawan ng Pag-ibig and up to the present where she is running for Governor of Batangas. As for me, there is no other Actor and Politician like Vilma Santos. She is an Icon, a National Treasure, a Role Model and an Inspiration to all Filipinos for generations. Predicted to win the Batangas gubernatorial on May 14, 2007, talks are rife that she may run for President in 2010, with critic Nestor Torre concurring: Not only will Vilma win in the gubernatorial elections, but — if she does well in the post — she could be a nominee for president in 2010! From the movies to Lipa to Batangas to Malacañang Palace — what a stunning upward trajectory for Vilma! Call her V for endless Victory!
Of course this paper may be biased but I have tried to be as fair and balanced as I could if only to prove, through published historical data, that Vilma is the better actress than Nora, and, may be the Philippines’ best actress of all time. Notice the open ended declaration. Let me explain. As a cineaste and observer, I have no qualifications like Nicanor Tiongson, Nestor Torre, Behn Cervantes, Butch Francisco or Ricky Lo et al to make such a sweeping statement. My job as a Registered Nurse and an accountant on the side, watching, reading and writing about movies, especially about my fave Vilma is a hobby. I also went to various film retrospectives in Metro-Manila of American, French, German, Swedish (Bergman’s my fave director of all time), Japanese and Chinese movies as a serious movie enthusiast would. Prior to my migration to the U.S. in 1984, I have worked part-time with the late Palanca-winning writer Boy Noriega, Jr. (Soltero, Bayan- Bayanan) of the defunct Experimental Cinema of the Philippines as a movie analyst. Boy and I were schoolmates and neighbors. He had good words for Nora, Vilma and Hilda, his favorites. He knew I was a Vilmanian since way back. I did some research for Boy on such topics as Alternative Cinema, Philippine style and helped serve as usher and manned the box-office to sell tickets. In the 1983 Manila International Film Festival, I had a chance to rub elbows with the high and the mighty and watched unforgettable movies like In the Realm of the Senses and the premiere showing of E.T. and Soltero (Jay Ilagan) at the Manila Film Center. Mr. Ed Cabagnot was also a fellow ECP part-time employee. My full time job in Manila was marketing research/brand management in a big firm that marketed cough/cold medicines and skin lotions. I had a chance to promote our products in such TV shows like Eat Bulaga, VIP and Big Ike’s Happening.
I last saw Vilma win her second Urian for Broken Marriage at the Rizal Theater and when she promoted the movie at Eat Bulaga, where coincidentally, Sharon Cuneta was also present to promote Bukas, Luluhod ang Mga Tala. The two had a special bond off camera even then, as in Mutual Admiration and Respect Society. The other reason for the may be is that Nora has appeared live on stage such as DH and Minsa’y Isang Gamu-gamo with documented glowing reviews while Vilma has yet to appear in at least one, as offered by the CCP and the U.P. groups. Unfortunately, much as Vilma wanted to succumb to the lure and challenge of the stage, she had to say no for the moment for obvious reasons. Among the respected film actresses, she seemed to be the only one who had yet to appear on the legitimate stage to complete her acting career resume and to put a closure and defend her enviable titular position as the Premier Actress of the Land (U. P. Film Institute). Non-appearance at the stage does not decrease Vilma’s stature as the finest actress of her generation. It is interesting to note that Vilma’s foray to the stage was when she appeared as Veronica in a CCP Theater Lenten Play in the 70’s directed by Ruben Tizon, Sr. (Batang West Side best supporting actor at an International film festival).
My film appreciation flourished at the State University where I was a business major and began at the elementary when I tagged along with my 11 siblings, from Kuya, Diko, Ate, Ditse, Sanse, Dete and my Father and Mother, to the movies. It was a disparate film noir/genre, depending on who treated me the happiest place on earth, the movie house. From The Ten Commandments to Hitchcock’s Psycho, Ingmar Bergman‘s The Seventh Seal and Wild Strawberries, Julie Andrews’ The Sound of Music, Ian Fleming’s James Bond, to FPJ’s Daniel Barrion, to the tearjerker melodramas of Lolita Rodriguez, the Amalia Fuentes-Susan Roces fisticuff in Tulisan, and of course, the impressive, young Vilma Santos in Larawan ng Pag-ibig. Let it be known though that I have the highest respect for Ms. Aunor as a singer and actress. I’ve also seen some of her finest films including Himala, Ina Ka ng Anak Mo, Bilangin ang Bituin, Bulaklak sa City Jail, Merika, Andrea and Flor Contemplacion. I’ve accompanied my Noranian sister to the superstar’s concerts in Atlantic city in New Jersey, and I was impressed with her golden voice, and those magnetic eyes that sparkle and speak volumes when they look at you. Data source for this paper are the fans’ websites, the Wikipedia websites, the FAMAS, FAP (Luna), Urian websites, various Internet movie database, the U.P. Film Institute website, various movie journals and periodicals, where appropriate. This paper will attempt to debunk the theory that Vilma Santos’ approach to film acting as hysterical, which is a myth, as opposed to Nora Aunor’s natural and gut feel approach. The overall goal is to present, compare and analyze and make conclusions, based on judicious, fair and balanced review of data at hand as to who should be crowned the Philippines’ greatest actress.
Validation of Acting Excellence: – In the Philippines, in the pre-Urian and U.P. Gawad Plaridel era, the FAMAS and the National Artist Award (NAA) were the major validators of the actor/artist’s outstanding film achievements. The FAMAS was patterned after the U.S.’ Oscar annual awardgiving event while the NAA is patterned after the National Endowment of the Arts (NEA). Annually, it gives the National Medal of Arts award. It is an award and title bestowed on selected honorees by the NEA. Ceremoniously given by the President of the United States, it is the highest honor given to an individual artist by the national government on behalf of the people. The award is not restricted to a particular art. It looks like it is similar to the National Artist Award of the Philippines. It could also be akin to the U.P. Gawad Plaridel Award, a National Award, which is the sole award in the University of the Philippines System given to outstanding media practitioners. The Gawad bestows honor on Filipino media practitioners who have excelled in any of the media (print, film, radio, television, and new media) and performed with the highest level of professional integrity in the interest of public service.
The recognition, which comes with a Napoleon Abueva trophy, is given to one practitioner in one medium for each year. The awardee is expected to deliver the Plaridel Lecture which addresses important media issues. In the U.S. there’s also the American Film Institute Life Achievement Award. The highest honor given for a career in film, the AFI Life Achievement Award was established by the AFI Board of Trustees on February 26, 1973. It is presented to a single honoree each year based on the following criteria as mandated through a resolution passed by the AFI Board of Trustees: “The recipient should be one whose talent has in a fundamental way advanced the film art; whose accomplishment has been acknowledged by scholars, critics, professional peers and the general public; and whose work has stood the test of time.” I am adopting/applying the criteria set forth by the U.P. Gawad Plaridel and the AFI Life Achievement Award as my guide in my proposed thesis as they are not only specific about Film Acting/Career but has the least if not nil shade of any politicking that seemed evident in such government-backed projects such as the MMFF, the CCP Centennial Award and the National Artist Award.
The Birth of the Manunuri and other groups – In 1973, the FAMAS was rocked by a terrible scandal. It awarded the first tie in the history of Philippine cinema. The tie was in the Best Actress category, with both Boots Anson-Roa and Vilma Santos sharing the honors. Because a tie was unheard of, the public dissented the vote. Therefore, for the next years, the FAMAS invited film critics to be members of its nominating and awarding committee. These critics left the FAMAS in 1976 to form MPP and subsequently, the Gawad URIAN (Wikipedia). Interestingly, history repeated itself in 1983 when both Eddie Garcia and Fernando Poe, Jr. (SLN) tied for best actor and a three peat occurred in 1984 when both Nora Aunor and Sharon Cuneta tied for best actress. In 1981, the FAMAS’ moniker, “the Philippines’ counterpart of the Oscars,” was finally rescinded by the government when it established the Film Academy of the Philippines (FAP) under Executive Order No. 640-A. The FAP (now called the LUNA Awards) was patterned after the AMPAS of the United States. In addition, other award-giving bodies have sprung up over the years: among the most notable are the Star Awards for Movies of the Philippine Movie Press Club in 1985, the Catholic Mass Media Awards of the Catholic Church, the Gawad Pasado, Gawad Tanglaw, the U.P.Young Critics’ Circle and recently, the Golden Screen Awards of the Entertainment Press (Wikipedia). During the 1980s, the term grand slam became popular. The Philippine grand slam is an unofficial moniker given to an actor or actress who had won the following awards: FAMAS Awards, Gawad Urian, Luna Award in one year. Before 1985, the grand slam awards also included the CMMA, but in the establishment of the Star Awards in 1985, it informally replaced the CMMA in the awards roll for grand slam. The moniker was first earned by Philippine movie queen Vilma Santos when she won the FAMAS, Gawad Urian, CMMA and Luna Awards for her performance in the Ishmael Bernal film Relasyon (Wikipedia). The proliferation of award-giving bodies in the Philippines, however, grew in the 1990s. Various university scholars and other groups have formed their own awards. In addition, breakaway groups from the existing award-giving bodies have made their own awards, too. Because of the sheer number of award-giving bodies in the Philippines, various film insiders have concluded that, indeed, the Philippines is an award-crazed country (Wikipedia).
Acting Standards: – When FAMAS was the sole award-giving body, a win here is like winning an Olympic gold medal: you are declared/baptized a bona fide actor/actress in the real sense of the word, thus the moniker “pang-FAMAS na acting” was born. Looking at the winners list, it seemed that Marlene Dauden, Charito Solis, Eddie Garcia, FPJ and Erap dominated the honor roll of winners. Charito Solis was the first actress Hall of Fame winner for winning best actress five times over, followed by Vilma Santos and Nora Aunor respectively. Had Marlene Dauden stayed behind and continued to make movies, she probably would have been a FAMAS Hall of Famer. Ditto with another great acting legend, Lolita Rodriguez who has two FAMAS best actress trophies under her belt. The “pang-FAMAS” performances that clicked with the jurors as per this writer’s observation were those exemplified by Ms. Solis and Ms. Dauden: hysterical, over the top, excessive use of body language, complete with flared nostrils, piercing eyes, kilometric dialogues and an ample amount of tears to melt the mascara. Ditto with actors Eddie Garcia and company.
Even in the slum scenes, the actors were made to look poor with a dash of charcoal chalk painted in their limbs and torso. The leading actresses looked more Ridiculous – they had make-up on, long fingernails and a Susan Roces hairdo where you could build an egg’s nest. The set background, the story line, dialogues, characterization/internalization/motivation were all incongruent with each other. It was pathetic, albeit hysterical. It was Lolita Rodriguez and occasionally Barbara Perez and Ms. Rita Gomez (SLN), to my recollection, which impressed me the most with their tempered, down to earth performances. Then Lino Brocka (SLN) came, along with the classics Tubog Sa Ginto, Tinimbang Ka Nguni’t Kulang, Tatlo, Dalawa, Isa and Insiang. Not far behind was Ishmael Bernal (Pagdating sa Dulo, Lumapit, Lumayo ang Umaga, Nunal Sa Tubig, Dalawang Pugad, Isang Ibon) and of course Eddie Romero (Ganito Kami Noon), Lupita Kashiwahara (Minsa’y Isang Gamu-gamo), Mario O’Hara (Talong Taong Walang Diyos) and Celso Ad. Castillo (Pagputi ng Uwak) Artists challenged artists and the 70’s renaissance moviemaking gave birth to the Filipino Golden Age of movies since the 50’s. Under the tutelage of Lino Brocka and Mario O’Hara, Nora Aunor (Bona, Tatlong Taong), Hilda Koronel (Insiang) and Lolita Rodriguez (Tinimbang Ka, Tatlo, Dalawa, Isa), were the Critics’ Choices. Nora and Hilda’s movies made waves at the Cannes Film festival where before the pre-Brocka era, Philippine movies were unheard of. Meanwhile, the box-office receipts were in favor of Vilma Santos (Lipad, Darna, Lipad et al) while the critics were raving over Nora and Hilda. How the tables were turned through the years is discussed in another section.
Vilma-Nora-Vilma-Nora-Vilma-Nora – There were/are movie queen rivalries such as those of Glora Romero/Nida Blanca, Susan Roces/Amalia Fuentes, Rosemarie Sonora/Gina Pareno and today’s Judy Ann Santos and Claudine Barretto. BUT none can compare to the legendary and never-ending (?) battle royale of La Santos and La Aunor, Ate Vi and Ate Guy to their fans. It is a very long rivalry that has divided the Philippines and cuts across all sectors, genders, sexual orientation, even the intelligentsia and the literati, the high and the mighty, including Presidents and public officials, and up to the grassroots level, even the fans’ grandchildren and great grandchildren.
Who Is The Better Film Actress? – Before Relasyon (1982) and even after Burlesk Queen (1977), the movie that liberated Vilma from Nora’s shadow and that made the critics began to look at her as a serious actress, Nora Aunor was the Critics’ Darling. She was ‘the standard where her contemporary actresses will be measured.’ She earned this birth right via her quiet performances, where she made use of her soulful eyes that speak volume. She was the Queen of Restraint, in the league of Lolita Rodriguez, her senior counterpart. They were the quiet counterparts of the verbose and volcanic Vilma Santos and Charito Solis. Ms. Aunor could hold you at the palm of her hands with her tour de force performances that wowed local and foreign jurors in such films as Tatlong Taong Walang Diyos, Bona, Himala and Ina Ka Ng Anak Mo (her best performance ever). She was ahead of her time. The critics won over, she would be at the top of the best actress surveys of all time, with Vilma Santos, Lolita Rodriguez, Hilda Koronel, Charito Solis and Gina Alajar trailing her.(DGPI, journal/tabloid data). The Bicolana superstar would send fellow superstar Vilma and others home as she collected trophies from the critics’ groups the Urian and PMPC Star, as fish does water. Her films Himala and Bona were getting rave reviews internationally and she almost won her first international trophy for Himala at the Berlin Film Festival by a mere vote (fans’ website). She was at the top of her game. She could do no wrong. Lupita Kashiwahara (Inquirer): “Nora Aunor will sit down in a chair and you can have 10 different emotions coming out of her. She’s that good. I still honestly believe that she’s one of our national treasures,” she gushes. Vilma Santos, her chief rival both at the box-office and acting supremacy contest, was an also ran, playing second fiddle to the talented singer/actress.
“It does not matter how slowly you go so long as you do not stop.” – Confucius
Nestor Torre elucidates: “In those days, it looked like Nora could do no wrong. Even if she made quickie films, they would win awards over Vilma’s better-executed starrers. After years of this unfair competition, Vilma decided to stop playing the also-ran, and opted to essay the roles that Nora preferred not to do—the other woman, rape victim, burlesque dancer, etc (Inquirer).
Butch Francisco further clarifies: “It took long for Vilma Santos to be recognized as a serious actress. Although she won a major acting award – 1972 FAMAS Best Actress for Dama de Noche (she tied with Boots Anson-Roa) – ahead of Nora Aunor, it was the latter who first became the toast of the critics, the members of the Manunuri ng Pelikulang Pilipino in particular. Unlike Nora Aunor who only has to use her eyes to convey emotions, Vilma’s early performances were often hampered by her soft features and rather thin voice.” (Philippine Star)
The turning point was the 1978 MMFF where Vilma (Rubia Servios) was predicted to win for her more “technically difficult role” says Manunuri Isagani Cruz in his review (Urian anthology, book 1), lost to Nora (Atsay) for the best performer award. Vilma took her biggest defeat to heart. After that fateful night, rumors had it that she was suicidal, inconsolable, depressed and vowed not attend awards ceremonies anymore. The next thing we know, she was up against Nora again in the 1979 MMFF where it was a lopsided affair. Nora, in her best performance in years as a barren wife and daughter to Lolita Rodriguez in Ina Ka ng Anak Mo tied with the other queen of restraint for best actress. Vilma’s tardiness on the set of Modelong Tanso with costar Charito Solis (this was their ill-fated entry to the 1979 MMFF to square off with the Lolita/Nora tandem) irked her Tita Chato big time that on one occasion, as the paparazzi allegedly reported, La Solis brought her best actress trophies on the set and told Vilma: “kaya mong tapatan yang mga trophies na iyan?” True or not, the gesture from a more professional, experienced actress Chato probably was to stir up the 1979 Box-office Queen to straighten her act if she wants to remain on top and beat the competition. The two divas however became close friends and would work together in Vilma’s award-winning films Ipagpatawad Mo and Dolzura Cortez. Ms. Solis’ highest regards for Vilma was revealed when she told the media point blank that “Vilma is a better actress than Nora.” (Ricky Lo, Philippine Star). Meanwhile, Nora continued her winning streak via Bona. Directed by Lino Brocka, the movie was a big hit at the Cannes film festival and earned Nora her second Urian trophy. Vilma remained the box-office queen but the critics’ stamp of approval eluded her. Vilma pondered these things in her heart. She regrouped. She had a career/talent inventory and soul-searching.
“Study the past if you would define the future.” – Confucius
Mr. Torre (Inquirer) continues: Vilma’s “sexy” movies were more suggestive than anything else, but they gave her a new screen persona that made her a distinct movie entity from Nora. Fact is, Nora could also have played sensual characters, but she felt awkward doing so, and Vilma benefited from her reticence. In time, Vilma was also winning acting awards and starring in big hits, so the competition between her and Nora peaked. Then, in the 80s, Nora’s personal problems affected her career, while the more professional Vilma became producers’ actress of choice. Nobody doubted Nora’s talent, but Vilma had talent “and” professionalism, so she soon streaked in front of her archrival. No longer did she compete in areas where she was “dehado,” like singing. Instead, she stressed her dancing ability, sensuality and versatility, and truly came into her own. Mr. Francisco (Philippine Star) concurs: -But through hard work and determination- plus her collaborative efforts with top directors like Ishmael Bernal, Celso Ad Castillo, Lino Brocka and later, Mike de Leon, Laurice Guillen, Marilou Diaz-Abaya and Chito Roño, she became one of the greatest actresses of Philippine cinema.
Vilma may have reached the level of superstardom on a stack of materials with the so-called “commercial appeal,” but along the way, she also chose scripts that tackled social issues and oftentimes was experimental with her roles. The other woman part she portrays in Relasyon may be sympathetic, but in our society the mistress is still the much-hated third party in the break up of most marriages. Vilma, however, risked playing that and in the process was rewarded with the first of her four sets of grand-slam win in the various local award-giving bodies. In Sister Stella L., she plays an activist nun in a picture that doesn’t allow her to have romantic scenes that are rudimentary in most movies. Sister Stella L. may have bombed at the boxoffice, but it is listed among the finest in the history of local films and gave Vilma the third of her eight Urian trophies. But she was most commendable when she decided to accept the films Pahiram ng Isang Umaga and Dahil Mahal Kita (The Dolzura Cortez Story) because fans don’t want their screen idols to die in the movies. During the past six years (when she was already the mayor of Lipa City), she already had the full luxury of accepting only the film projects she fancies.
Actually, she only made four films during this period: Bata, Bata, Paano Ka Ginawa?, Anak, Dekada ‘70 and Mano Po 3: My Love. Except in Mano Po 3, where she is always fashionably dressed, she allows herself to be de-glamorized in her more recent films, at an age when most movie queens would rather be photographed through gauze or any gadget today’s modern technology could provide to erase those tell-tale wrinkles and lines. Fortunately, she always seems to be making the right choices. And the tables have turned. Nick Joaquin reveals Vilma’s secret weapon (Vilma, The Glad Girl): “What’s Vilma’s secret to remain on top?” Ishmael Bernal, who claims to have directed Vilma’s best pictures, believes she has endured because she has physical, emotion and mental endurance. She could work for 24 hours straight without getting tired, without flagging in her acting. There were times when we had to shoot for three or four successive days, getting very little sleep, but there Vilma would be: fresh, enthusiastic, rarin’ to go. Physical endurance is very important to a star. Another thing I noticed was her strong sense of competition. At that time, though of course, she didn’t say so, it was Nora she wanted to beat. Vilma was out to be the bigger star, the better actress. And so she geared her career for a zoom to the top.”
Lino Brocka who directed her in three of her most applauded vehicles: Rubia Servios, Adultery and Hahamakin Lahat tells Nick Joaquin (Vilma, The Glad Girl): “When you work with Vilma,” says Brocka, “you get this feeling of having just emerged from a bath and of being drenched all over with Johnson’s baby cologne. You feel so fresh, so youthful.” He adds that when they first worked together she seemed scared of him. Now he gushes: “Ang sarap niyang katrabaho.” The chief reason, of course, is: “She has matured and grown up as an actress. At this point of her career, she is very good, she is really big. Before, she had a hard time making herself cry, but now how fast she can do it. And she has become sensitive to direction: in that respect she has overtaken Nora.” Brocka says that the sensitivity he noticed at once in Nora Aunor was what he missed when he started directing Vilma. “So I assumed that, as an actress, she was really just second to Nora. But Vilma takes good care of herself not only physically – there’s always this aura about her – but intellectually too: so she grows and develops tremendously. The second time I worked with her, in Adultery, I realized she had become as good as Nora, or better. And by the time of Hahamakin Lahat there was the complete sensibility already – a difference in the way she expressed pain and hurt. Talent was welling out like spring water, and flowing from her most naturally, no longer courtesy of Vicks or whatever.” Flash forward to the present: From all angles such as box-office clout, talent fee, producers’ choice, net worth, longevity, public perception and respect, and successful dual careers, it seems that Vilma has the upperhand.
It is in the Battle for Acting Supremacy that the two are several notches superior vis-a-vis their senior and junior movie queen counterparts. Their very long rivalry as acting divas is characterized by almost hairline, marginal and/or split votes by film scholars and critics and the general public such as the Gore/Bush 2000 Presidential Election results. While occasional, inconclusive surveys would put Nora on the top over second placer Vilma (DGPI, tabloids), National Awards groups such as the National Artist Award and the U.P. Film Institute’s Gawad Plaridel have considered her nomination, with the latter (Gawad Plaridel) crowning her their winner as Outstanding Film Practitioner in 2005.(U.P. Film Institute, various websites) Vilma versus Nora in the major leagues – Head to head stats The thesis is not complete without discussing the two great actresses’ head on collisions in acting jousts where tension almost always ran high during awards nights and with their respective fans standing by their idol win or lose. Sidebar: In women’s tennis history, the most watched and publicized was that of Steffi Graf and Monica Seles.
Overall, (10-5 head to head) Graf ruled over Seles but early on, Seles put Graf over the edge in their classic matches where Seles would dominate/ overpower Graf to rule women’s tennis, until a deranged Graf fan stabbed Seles at the back during a tennis game break. The incident sidelined Seles and derailed her way to replacing Graf as the queen of tennis. Graf took advantage of her absence. In her comeback, Seles could only break Graf in the small leagues but in the grand slams, Graf showed her who’s the boss and went on to win 22 grand slams and has the record of being the longest reigning women’s tennis champion ever, 377 weeks. However, the only major tennis star that Graf did not overpower in single matches was the real queen of women’s tennis (more than 100 tennis championship titles), Martina Navratilova, where, toe to toe, they are deadlocked at 9-9 in their 18 matches face to face. As we review Nora and Vilma’s ‘boxing’ matches for film acting supremacy, will the pattern show a Graf/Seles or a Graf/Navratilova picture? Let’s bring it on(source: fans’ websites).
1972 – Nora (And God Smiled at Me) beats Vilma (Dama De Noche) at the Quezon City Film Festival. Score: Nora, 1; Vilma, 0.
1973 – Vilma (Dama de Noche) tied with Boots Anson-Roa (Tatay na si Erap) to beat Nora (A Gift of Love) at the FAMAS. Score: Vilma, 1; Nora, 0.
1975 – Vilma (Nakakahiya?) clobbered Nora at the Bacolod Film Festival (Banaue) for best actress. It is still a puzzle why Nora’s Best Actress list (NA website) includes the Gawad Buglas award/best picture (Banaue) as a ‘best actress win’)? Score: Vilma, 1; Nora, 0. (See by the numbers secion)
1978 – Nora (Atsay) was the Best Performer, beating Vilma (Rubia Servios) and company. Vilma and Nora (both nominated for Ikaw Ay Akin) lost to Beth Bautista at the Urian. Vilma (Pagputi ng Uwak) and Nora (Atsay) both lost to Susan Roces (Gumising Ka, Maruja!) at the FAMAS. Score: Nora, 1; Vilma, 0.
1979 – Nora and Lolita Rodriguez (Ina Ka ng Anak Mo) clobbered the Vilma/Charito Solis tandem at the MMFF for best actress. Score: Nora, 1; Vilma, 0.
1982 – Vilma single handedly won her first of four Grand slams for Relasyon over Nora (Himala) at the Urian, FAP and the CMMA, and over Nora again (Mga Uod at Rosas) at the FAMAS. Score: Vilma, 4; Nora, 0.
1984 – At the first PMPC Star Awards, Nora (‘Merika , Condemned, Bulaklak sa City Jail) edged Vilma (Sister Stella L. and Aida Macaraeg) for actress of the year. They were the only nominees for best actress. Nora won the most votes for ‘Merika over Vilma’s Stella L. A case of split votes? At the Urian however, Vilma (Sister Stella L.) beats Nora (‘Merika, Bulaklak sa City Jail). Another case of split votes? At the FAMAS, Nora (Bulaklak sa City Jail) and Sharon Cuneta (Dapat Ka Bang Mahalin?) tied to beat Vilma (Sister Stella L.). Score: Nora, 2; Vilma, 1.
1989 – Vilma (Pahiram ng Isang Umaga) bested Nora (Bilangin Ang Mga Bituin Sa Langit) at the PMPC Star Awards, her first of 6 best actress trophies. At the Urian, the rivals tied for best actress for the same movies. Score: Vilma, 2; Nora, 1.
1990 – Nora (Andrea) won over Vilma (Hahamakin Lahat) at the Star Awards and the FAP; over Vilma (Kapag Langit ang Humatol) at the Urian. Score: Nora, 3; Vilma, 0.
1991 – Nora almost had a grand slam for Pacita M. when she won at the FAMAS (Vilma is already a Hall of Famer), and over Vilma (Ipagpatawad Mo) at the FAP and the Star Awards. At the Urian, Vilma (Ipagpatawad Mo) halted Nora’s trip (Pacita M.) to the Grand slams. Score: Nora, 2; Vilma, 1.
1999 – Nora Aunor was the only actress cited in the CCP Centennial Honors for the Arts. No documentation or any proof would show if Vilma Santos was also considered for the award. The CCP, the MMFF and the National Commission for the Arts (which selects the NAA nominees, with the eventual winner to be selected by the President) are all government-run awards bodies. Nora joined actors FPJ and Dolphy for the honors, in what many consider an Erap Circle of Friends who heavily campaigned for his bid for President. Published reports also showed that Erap gave Nora a house as a token of gesture for helping him win the presidency in 1998. He would later be deposed via the Edsa People’s Power and replaced by then Vice President Gloria M. Arroyo for plundering the country’s wealth and is currently under house arrest and awaiting trial. Score: not applicable.
2004 – Nora (Naglalayag) bested Vilma (Mano Po 3) at the PASADO awards, tied with Vilma at the Gawad Tanglaw awards and lost to Vilma at the Star Awards. At the Urian where they were both nominated for Naglalayag and Mano Po 3 respectively, neither one won. Judy Ann Santos (Sabel) went home with the trophy. Nora, 1; Vilma, 1.
2005 – Nora was eliminated during the initial deliberation for the coveted U.P. Gawad Plaridel Award wherein Vilma eventually won over National Artist nominee Mike De Leon and National Artist Awardee Eddie Romero. Score: Vilma, 1; Nora, 0. (See U.P. Gawad Plaridel’s citation for 2005 winner Vilma santos).
2006 – Nora and Vilma were both nominated for the National Artist Award but were eliminated in the first round. FPJ was the eventual winner, who was chosen by sitting President Gloria M. Arroyo over finalists Mike De Leon and Manuel Conde.
Total head-to-head winner: – Vilma, 10, over Nora, 7. Very close indeed. Of course, Nora’s fans will protest as I did not include minor award groups, especially the U.P. YCC where Nora is the favorite in whatever movie she appears in, such as Inay. Interestingly, Nora bested Vilma once while Vilma got more votes than Nora three times at the Urian. At the FAP, Nora shut out Vilma three times to Vilma’s one; at local film festivals, Nora beats Vilma three times to Vilma’s one; they are even at the FAMAS, 1:1; at the Star Awards Nora’s ahead with, 3, Vilma, 1, although at the Star Awards, although overall, Vilma has six to to Nora’s four actress of the year awards; PASADO, Nora, 1, Vilma, 0, although Vilma won there three times (see By the Numbers section). – Mario O. Garces, Vilma & Nora, Rivalry No More, Special Issue Magazine, 2006
Star For All Seasons 
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