Tag Archives: Vilma Santos

The Sweet Voice of Vilma Santos (Repost)

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When Vilma Santos released her first album in 1969 under Willears Record, no one expected that her vinyl record would sell 500,000 units making it the company’s surprise record-breaking album of that year. The signature song, “Sixteen” became the most played single of that year proving that Vilma Santos can be as phenomenal as her closest rival and the more established singer, Nora Aunor. The young Vilma won a Golden Record Award for her debut album that comprised of 16 English songs including four original songs composed and arranged by Dannie Subido.

Prior to her debut album, Vilma Santos’ first stint in singing was in her earlier film, 1964’s Ging. She played a child singing sensation opposite drama staple, Olivia Cenizal. Her career continued with string of dramatic roles and when the musical trends started in late 60s her career aspiration become limited mainly because everyone expected young stars to sing well. She admitted her limited range as singer and concentrated with her promising acting talents and dancing. When Vi found commercial success with Edgar Mortiz as her love team, she occasionally sings with him. Their fans did not mind Vilma’s soft thin voice. Actually, Vilma’s sweet tone blends well with Edgar’s balladeer pipes.

The success of Vi & Bot love team was evident with numerous films and it was only a matter of time that the idea of having Vilma have her own album came in 1969. There was a market and demand for Vilma’s very own long-playing vinyl. William Leary, Vilma’s manager asked musical director Dannie Subido to gather songs that will suit Vilma’s limited range. It was reported that Subido find the project challenging. They have to find songs that are light but will still give Vilma’s fans enjoyment. They decided to make it fun and sort of child like. They also wanted to make sure that the songs reflect Vilma’s current state of mind, that of a growing teenager. Sort of like early Britney, “no longer a child not yet a woman.” Her promotional interview clearly confirmed some of the issues teenagers are experiencing during this time. Body image, sex education, adulthood, friendship, and dating are some of the topics the album tackled which are topics that are still relevant today. “…as a singer…gosh…I feel a funny thing inside every time na naiisip kong, I was not a born singer. But every time I hear my records play, I couldn’t help but kid myself that I was made after all.” She commented when asked to evaluate herself as singer. What she really meant by that line, “I made it” is that by making her record a success no one cannot say that she cannot be sell records. This success proves that she can be a successful singer like her closest rival, Nora.

Vilma’s first album was pure fun and still very relevant today. Consist of twelve songs six on each side. The vinyl record on side A starts with its carrying single, Sixteen. Composed by Dannie Subido, Sixteen talks about “making out” in the park. This might alarm some of the religious zealots in the 70s but Ate Vi’s wholesome sweet voice makes the song wholesome and child like. The hidden sex – “making out” – kissing and hugging in public place – message of the song would probably the reason why “Sixteen” became the favorites of teenagers. The song catapulted Vilma’s signature song. A feat that even her closest rival, Nora Aunor can’t replicated (Nora Aunor despite successful singing career lacked a signature song). Remember this is the hippie era and the start of the feminist movement. A clear reason why “Sixteen” was a major hit with the free love carefree young generation of this era. The next songs, Dry your Eyes and Bring Back Your Love both arranged by Dannie Subido are love songs that boils down to frustration of a girl in love. Followed by a turned around in terms of mood with Vi’s version of a Bacharach composition, Raindrops Keep Falling On My Head, a funny but out of place song. One of the two final songs on side A, came as a surprise. “When The Clock Strikes One” was an original composition of Robert Medina and like “Sixteen” was about “making out” – kissing and hugging but this time its more fun because of its unusual up-tempo mood that’s actually more like a hip-hop song.

Side B of Sixteen was pure fun too. Three songs that stands out were the original compositions of Dannie Subido, “Sometimes,” “It is Wonderful to be In Love” and “Then Along Came You Edgar.” The lyrics of these songs are simple and obviously catered to the massive followers of the Edgar – Vilma love team. Before Britney Spears came up with her hit song, “Sometimes,” Vilma has her own song titled “Sometimes.” Both Britney and Vilma’s songs are about teenage love confusion. It’s a Wonderful To Be in Love is self-explanatory, yes Ate Vi is in love and she expressed it nicely in this song. The up-tempo and simple lyrics of this song makes it more like a children rhyme song except that it’s about almost “adult-kind” of love. The puppy love theme of the album continued with an uplifting song, well at least for the Vi and Bot fans with “Then Along Came You, Edgar.” This song confirmed Vi’s puppy love to the dark and handsome but not so tall cutie-pie, Edgar Mortiz. Once again, Dannie Subido’s arrangement and lyrics are simple but playful, a perfect fit to Ate Vi’s sweet range.

The success of Sixteen can be attributed to the playfulness and simplicity of the song selections. It suited the sweetness and purity of Vilma’s almost child like voice. The album earned Vilma her first golden record award and a remarkable signature song, “Sixteen.” The album established her as a successful recording artist. If I will compare her to today’s list of contemporary artists, I will compare Vilma to the likes of Jennifer Lopez, Britney Spears, and Madonna. Jennifer, Britney, and Madonna has thin but sweet voices just like Vilma. Like Vilma, these pop superstars have to work hard to achieve almost perfect products that their fans loved. Like Vilma, the three pop stars are great dancers which they all used to the max in their choreographed production numbers. The reluctant singer came out on top. Vilma Santos’ debut album made history. Sixteen made Vilma Santos a remarkable singer.

After Sixteen – The success of Sixteen brings out another facet of Vilma Santos’ talent. Everyone knows that she is a good actress and a wonderful dancer but nobody expects that she will be able to succeed as a singer. At the early stage of her young career, the rivalry between her and a more established singer, Nora Aunor was lapse sided because Aunor was the number one singer in town. The success of Sixteen brings about an even playing field between the two young stars. Vilma’s record-breaking sales positioned her career into high gear. She continued to act in several musical films and at the same time recorded fun-filled songs. To her critics, Vilma’s recording success were attributed to pure luck. And so, to prove them wrong, Vilma’s manager smartly plotted follow-up recordings. Not only did Vilma record her follow-up album, she recorded a string of mini-LPs. Mini-LPs are shorter version of the big vinyl record with two songs on each side. She ventured into Tagalog songs, recording six songs that include instants hits like Isipin Mong Basta’t Mahal Kita, a theme song to a film she did opposite Filipino chess grand master, Eugene Torre; Palong-Palo, where she received a golden record award in 1974 and an up-tempo opm, Tok-Tok Palatok, another theme song from one of her comedy film with the same title opposite Jojit Paredes. Vi and Bot also released two mini-LPs, “Something Stupid,” a song that they regularly sings at their TV show, D’Sensations and “Christmas Tiding,” a collection of famous holiday songs like Silver Bells and Vilma’s now famous version of Santa Claus is Coming to Town and Mommy Kissing Santa Claus that’s been circulating in the internet in recent years. In addition, Vilma recorded Baby Vi, another mini-LP. She also shared equal billing with Edgar Mortiz, Esperanza Fabon, Ed Finlan, Hilda Koronel, and Sahlee Quizon in a Christmas compilation album titled, Christmas Carols.

Willears Records continued Vilma’s recording projects with two albums, Sweethearts and Aloha My Love both featured her with off and on screen love partner, Edgar Mortiz. The company who introduced the resurgent singer, Vilma in Sixteen followed up her solo success with Sweet, Vilma, Sweet, a much more ambitious offering with Vilma doing popular cover songs. Songs that are mostly identified with more established singers, like Nora Aunor. It is worth noting that during the peak of the musical genre in the early 70s, the musical films relied heavily on foreign influence. Maybe this was the reason why Vilma’s rival Nora Aunor doesn’t have a signature song. Recorded songs are mostly versions of the foreign recordings. Tom Jones, Frank Sinatra, Connie Francis, Neil Sedaka are the usual suspects. Instead of original simple composition, Willears selected songs like Mama, Sad Movies, and Our Day Will Come and let Vilma create her own version. The result was a disappointment not because Vilma didn’t work hard for the project but because it lacks the originality of her first album. Vilma’s thin voice also didn’t help.

But despite this visible contrast to her first album, Sweet Vilma Sweet was a successful follow-up. She continued her singing stints with an album most Vilmanians seems to forget, All I See Is You carried the folk song, Ati Cu Pung Sing-sing and Wonderful world of Music. The later song became a title of a musical film that paired Vilma with Edgar and co-starred with Snooky, Tony Ferrer, and Boots Anson Roa. The demand for Vi & Bot’s recordings increased and Willears produced Sweetheart, perhaps a confirmation album of the real score between the two young teen stars. Out of 25 films Vilma and Edgar made in 1970, both Sweethearts and Sixteen stands out as two of their certified hits both as films and recorded albums.

By 1972, Vicor Music Corporation took over Vilma’s singing career and smartly went back to the original fun-loving carefree theme that suited Vilma’s voice and made her a successful recording artist. With the guidance of Orly Ilacad, Vilma recorded original compositions that were light hearted, up-tempo and simple. Sing Vilma Sing arrived at the radio airwaves with the carrying single, “Bobby Bobby Bobby.” Despite the declaration of Martial law in 1972, the album became another instant hit. Also, Vilma and Edgar recorded their third album together, a follow-up with the hit, The Sensations. Aloha My Love came afterwards which also became a film and appropriately shoot entirely in Hawaii. Aloha was artistically packaged and contained Hawaiian and popular cover English songs like All Alone Am I and Eternally.

Unfortunately, all good things must end. By 1973, Vilma made her move. After almost one hundred films with Edgar Mortiz, she decided, it was time to venture out of the love team and test the water as solo star. This move also signaled the end of her singing career. At the same time, the musical genre started to subside as more turmoil politically spreads around the country. The bomba films exploded in mainstream local cinemas in mid 70s. Movie theatre owners illegally inserts porn clips in the middle of film. It was so popular back then that even the first Manila International Film Festival organized by former first lady, Imelda Romualdez Marcos allowed the bomba or sexy films to be shown during the midnight time slots of the festival. The bomba period created a long line up of respectable sexy actress like Elizabeth Oropeza, Daria Ramirez, and Chanda Romero. Even former beauty queen, Gloria Diaz ventured into the sexy film. The emergence of sexy or “bold” films as what they referred to by local film buff challenged the now solo superstar, Vilma Santos. Tagalog Ilang Ilang production transformed her into an action super hero as the new Darna, Philippines’ version of Wonder Woman. Lipad Darna Lipad (Fly Darna Fly) defeated entertainment giants Fernando Poe Jr and Joseph Estrada, both have films being shown at the same time and the usual bomba films. A very long line-up snake down the streets of Claro M. Recto Avenue’s Cinerama theatre. It was recorded that Tagalog Ilang Ilang Production distributed Darna dolls and Coka-Cola bottles to the massive patrons during the film showing. Lipad Darna Lipad became the most successful Darna film ever. It broke box office records and solidified Vilma’s clout as the new box office queen of Philippine movies. Vilma’s stature as the most bankable artist of that time validated her decision to leave her love team with Edgar Mortiz and the singing stints to her closest rival, Nora Aunor. She became more adventurous and accepted roles that showcase her versatility. And this move cemented her position as the actress to watch, the actress on top of her game.

Remarkable History – As a singer, Vilma’s thin voice didn’t stop her to become a successful singer. Her hard work paid off and earned her a piece of history. The reluctant singer recorded strings of solo albums that created her signature songs, “Sixteen” and “Bobby, Bobby, Bobby.” Signature songs that enlisted her together with famous singers like Imelda Papin (Bakit), Eva Eugenio (Tukso), Claire DeLaFuente (Sayang), Sharon Cuneta (Mr. DJ), Didith Reyes (Nananabik), Aiza Siguerra (Pagdating Ng Panahon), Freddie Aguilar (Anak), Florante (Handog), and Gary Valenciano (Di Na Natuto). Her sweet and child like voice reflected the innocence of her original up-tempo songs that tackles teenage issues like dating, sexual education, body images, and adulthood. Teenage issues that are still remarkably relevant today. – RV Album album text and photos: Nar Santander, Eric Nadurata; Additional photos: Rene Maximo READ MORE

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Queen Vi (Repost)

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

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

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

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

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

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

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

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

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

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Gawad URIAN and Vilma Santos

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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 experienced by the academics. according to them, the two winners was unheard of at that time, which resulted in accusations of lessening “credibility and prestige.” 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 film citations with the final nominations and winners announce at the end of the year.

Over the years, the Manunuri Ng Pelikulang Pilipino, MPP, (translates – Filipino Film Critics and considered the equivalent of the USA’s 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 resulting with the unavoidable “ties” winners. 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, their Star Awards had 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 starting in 1982’s Relasyon. She also recieved a Gawad Urian best picture award in 1978, as film producer for the film, Pagputi Ng Uwak Pagitim Ng Tagak.

In 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 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, a Romy Suzara directed film, Karma where she won the best actress from Metro Manila Film Festival or Ex-Wife, an Eddie Rodriguez directed film co-starring her with Beth Bautista.

But a turned of events the following year. MPP considered 1982 a good harvest with 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 were nominated for their feminist film Moral completed the nominees. 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 and CMMA) also declared Vilma Santos as their best actress and the term “grand slam” were born atleast 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 and who worked with Vilma several times.

Proving that her win wasn’t just a fluke, Santos won the next two years for Broken Marriage and Sister Stella L both from Regal Films. Four years afterwards her three wins, she again got the best actress with co-winner, Nora Aunor in 1989’s Pahiram Ng Isang Umaga. She followed this with wins in 1991 (Ipagpatawad Mo), 1993 (Dahil Mahal Kita: The Dolzura Cortez Story), 1998 (Bata Bata Paano Ka Ginawa), and 2002 (Dekada 70). She also received the the Actress of the Decade 1990s award in 2000. – RV (READ MORE)

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ANG ATE NI ATE VI (Repost)

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While in New York & everybody were so busy talking to Ate Vi, I had a chance to chat with Ate Emelyn, ang Ate ni Ate Vi.

How’s Vilma Santos as a sister?
Mabait siya. Wala na akong hahanapin pa kay Vi bilang kapatid. Sabi nga sa commercial niya noong araw “perfect.”

How do you (Santoses) celebrate holidays?
We have a family reunion during Christmas.

Can you please tell us more about your experience with Ate Vi as a kid?
Very thoughtful ‘yan. She always visited me in my class and shared her sandwich or allowance or any little things to show that she cared. Sometimes it’s the other way around, pupunta siya sa classroom ko “Ma’am pwede pong makausap ang sister ko” yun pala hihingi lang ng baon.

Kelan mo nasabing proud na proud ka as a sister of Vilma?
Maraming beses na. Isa na doon yung Gawad Plaridel. Pero syempre mas proud ako sa pagiging mabuting tao niya, yung pagmamahal niya sa pamilya, yung pag-aalaga niya sa mga taga-Lipa.

What is your favorite Vilma movie?
Pahiram ng isang umaga. Siguro dahil mother din ako, kaya alam ko ang feeling ng isang ina na ayaw iwanan ang anak.

Nag-react ka ba nung tanggapin niya ang Burlesk Queen at nag-change siya ng image?
Alam mo napakatagal na discussion yan sa pamilya. Pero to make a long story short naayos din. Sabi ko nga career move naman yon eh at saka 23 na si Vi noon. Maganda ang project, matino ang story.

Let’s be frank, gusto mo pa bang tumakbo si Ate Vi sa politics?
Kung ano man ang plano ni Vi doon ako. I will support her all the way. Pareho namang maganda ang magiging resulta kung tatakbo siya o hindi. Kung itutuloy niya ang politics maraming matutuwa lalo na yung mahihirap. Minsan nga paglabas ni Vi sa city hall, may nag-aabang na matatanda, yung iba humihingi ng tulong, ‘yung iba naman nagpapasalamat. Nakakataba ng puso na makitang maraming napaligaya si Vi.

Paano kung hindi na siya tumakbo sa politika?
Marami pa ring matutuwa. Ang mga Vilmanians, ang mga producers. Alam mo may offer kay Vi ang Unitel, Violet at pati si Margie Moran ay balak ding mag-produce na si Vi ang bida. Pero sobrang busy niya, uunahin muna niya ang sa Star Cinema.

How’s Luis (Lucky) as pamangkin?
Mabait na bata. Hindi niya kami binigyan ng problema kaylan man. Everytime I see him, I realized that time flies so fast. Parang kelan lang ay kalong-kalong ko siya, ngayon ay malaki pa sa akin.

And finally, your message for Ate Vi?
Alam kong alam mo na pero uulitin ko pa rin na mahal na mahal kita. At kagaya ng nasabi ko sa iyo kanina Franco, kung ipapanganak ulit ako at papapiliin kung sino ang gusto kong maging kapatid….paulit-ulit kong sasabihin na si Vilma ang gusto ko. – Franco Gabriel, V Magazine, 2005 Global Vilmanians

Woman For All Seasons (Repost)

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Star for All Seasons Vilma Santos proved that every woman could conquer whatever field she wants to pursue as long as she gives her heart and soul to it.

She’s so petite and yet so tall in all her accomplishments in life: as a loving and dedicated wife, a devoted mother to her two sons, a multi-awarded actress, a dedicated public servant and most especially a woman worth emulating. Indeed, Vilma Santos-Recto is also a woman for all seasons. She was able to cross the border of many boundaries in life, in her chosen profession as an actress and now as a public servant. “Gusto ko ang mga challenges sa buhay. Pag sinabi nila na hindi ko kaya, pinatutunayan kong mali sila (I love challenges in life. Whenever they underestimate my ability, I’ll prove to them that I can), ‘Vilma says when asked by Cito Beltran during the launching of Ponstan SF where she was launched as its official model endorser.

BEGINNINGS – Maria Rosa Vilma Tuazon Santos started as a child actress at the age of nine in Tudis Liit in 1963, the same movie that gave her first FAMAS best child actress award. The daughter of Milagros and the late Amado Santos, Vilma was seen by her mother as a real trooper. Mrs. Milagros recalls, “When she was still a little girl, I saw her ability to make it big someday.” Her mother, who was also present during the launching, was acknowledged by Vilma to have introduced her to Ponstan when she was just 21 years old. From Trudis Liit, Vilma transformed to be a lovely teen icon in the late ’60s until the ’70s with blockbuster movies like Lipad, Darna, Lipad, Dyesebel at ang Mahiwagang Kabibi, Kampanerang Kuba, among others.

WOMAN’S ROLES – With almost 200 films under her belt, Vilma is regarded as the longest reigning Box-Office Queen of Philippine Cinema. And among these films are critically acclaimed for tackling roles on various women’s issues. Burlesk Queen was one of the turning points in Vilma’s life and career. From being a sweet teen icon, she proved to be a mature actress in this movie. It was followed by other award-winning movies like Rubia Servious, Relasyon, Sister Stella L, Dolzura Cortez, Dekada ’70, Bata, Bata, Paano Ka Ginawa?, and Anak. A versatile and intense actress, Vilma honed her craft through the various top caliber directors, writers and actors she worked with.

MUSICAL SHOWS – Though Vilma admitted that only her fans would love to hear her singing prowess, Vilma’s musical variety TV shows emerged on top for many years – The Sensations, VIP and the long-running multi-awarded Vilma. Again, Vilma proved that she can make wonders whatever it takes. “It’s really blood, sweat and tears. But when you love your work, it will love you back,” she says recalling her struggles to stay on top of the entertainment industry.

THE BIG LEAP – Marrying Ralph Recto was one of the happiest changes in Vilma’s life and it turned to be the road to another career in her life. “I never thought that I will be a public servant, not in my wildest imagination,” Vilma admitted while talking to a lot of eager reporters and writers she obviously missed for a long time. “But this is the life I have now and I believe it was given to me because He (referring to GOD) wants me to make a difference in other people’s lives,” Vilma enthuses. The first woman mayor of Lipa and now the first woman governor of Batangas, Vilma considers herself lucky for having earned the trust of Batangueños. “Their faith in me is priceless,” says Vilma in another interview.

WOMAN STRATEGY – A real woman in all her endeavors, Vilma considers herself the mother of all her constituents in Batangas. She looks upon them as children who need her care and attention. “At first, I did the housekeeping of the province. We had the poverty diagnostic approach to know the concerns of all the constituents of Batangas, then when we got the budget we allocated to my HEARTS priorities,’ Vilma shares when asked about her priority projects for Batangas. HEARTS means health, education, agriculture, road (infrastructure), tourism and security. “I believe in teamwork and family approach. I consider them my family, that’s why last Valentine, I gave chocolates to all the departments of the governor’s office to let them know that we can make HEARTS work if we are team,'” Vilma recalls.

ACTING AGAIN – For this year, Vilma has two wishes: to start implementing her projects and to make movie. “There are three movies I committed to finish – one with John Lloyd, one with my son Luis and one with Sharon Cuneta but because I became the governor of Batangas, I have to ask for extension because I have to see to it that I implement my projects in Batangas first,” Vilma explains begging her fans to wait for her. But she quickly adds, “Whatever I have now is because I am a showbiz personality. I owe it to my first profession but my role is real life. Isang pagkakamali ko lang at pumalpak, masisira ako at ang mga constituent ko. Ayaw kong sumugal (One mistake and it will ruin not only my name but also the lives of my constituents, and I don’t gamble).

FIRST PRIORITY – But above all these priorities, Vilma admits that being a wife to Ralph and mother to her two sons Luis and Ryan are still her number one priority. Still a woman devoted to her husband, Vilma always acknowledge Ralph’s help and inspiration in her career as a public servant. “Public service is Ralph’s life and I learned to embrace it through him. Though we have differences in ideas, sometimes we clash, at hindi naman ako magpapatalo (I will not give in without a fight), I listen to Ralph. After all, whatever I achieve as a public servant, I owe it to my husband who has been my mentor up to now,” Vilma enthuses. With Luis, Vilma is a doting mother who just listens to his son’s escapades and love life. “I don’t want to meddle with my son’s life. I just advice him to enjoy life and to do what is right so that he will not commit mistakes that he might eventually regret.” She also finds time to help Ryan in his studies. “I help him in doing his projects especially when there are art works and proud ako na honor student ang anak ko,” Vilma says.

TIME FOR MYSELF – With all her roles in life, Vilma sees to it that she finds time for herself. “Ah, yan ang hindi mawawala. Every weekend, I do the treadmill, tae boxing, and yes, even swimming,” she proudly says. I also eat anything but always in moderation. Medyo conscious na ako kasi 38 na ako eh,” she jokingly says. Vilma will turn 55 this year and is not scared to age gracefully. “I think when you’re happy, you’re comfortable, you find time for yourself, you exercise, you eat good food in moderation and you love what you’re doing, then it’s the secret.” As a parting word Vilma says, “When I was able to make a difference in other people’s lives, then it adds to my positive outlook in life and it inspire me to do more.”

UNSTOPPABLE PARTNERSHIP – For more than four decades, Ponstan has been relieving body aches, pains, making it a household name when it comes to reliable fast relief. Just about the same time when Ponstan was strongly gaining the trust of consumers, the public witnessed the emergence of a talented and eye-catching young performer who will later become the country’s multi-awarded actress and eventually the first woman governor of the province of Batangas. “We are very excited and honored to have Gov. Vilma Santos-Recto as our celebrity endorser. We could not have chosen anyone else to effectively communicate the brand’s message to the public,” says Laiza Filart, Ponstan SF product manager. Filart further states that the choice to have Gov. Vi as the latest face behind Ponstan is the striking parallelism between the brand and the hardworking public official. “They are really fit to be unstoppable partners,” she adds. Gov. Vi has been known to pull all the stops whenever she sets her eye on her goals. As a show business personality, she aimed only for the best, which made her the most awarded actress in the country. As a politician, she willingly took the challenge posed by her constituents and run for the gubernatorial seat in the province of Batangas in 2007, earning her the title Ina ng Batangas. And as a family woman, she is never short in filling their home with love, respect and happiness. As Gov. Vi juggles her schedule as a politician, an actress, a wife and a mom, she sometimes finds herself in pain – whether in the form of a headache or backache. Whenever such pains strike, Gov. Vi relies on Ponstan to help her get through the day. “My work is physically, mentally and emotionally demanding. So when I get a headache, I immediately take Ponstan to relieve the pain.” states Gov. Vi. – Lea Manto-Beltran, HEALTH NEWS magazine, Mar 2008 Global Vilmanians

Vilma Santos’ Urban Legends and Trivias (Repost)

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Vilma’s Top 9 – Noong 70’s ay merong grupo ng mga tagahanga si Vi na tinawag nilang Top 9. Ayon kay Zeny Gelacio(aka Pitimini na Sec. ni Ike Lozada), lahat silang 9 ay mga babae. Kasama niya sina Manila, Mrs.Untalan na Canada base na, Chayong, Rita, Mrs.Panganiban, Linda na nasa U.S. na, Flor, and Nadia. Ayon kay Zeny na member din ngayon ng VSSI, Inc., madalas ay kasama ang Top 9 ni Vi sa mga showbiz happenings nito at sila ang nagaasikaso kay Vi. Naalala nya na kasama sila noon sa pagiikot nila Vi & Bot sa mga key cities ng Pilipinas sa pagpapaunlak sa iba’t ibang chapters ng Vi & Bot Fans clubs. Lagi na ay dinudumog sila saan man mapunta, dahil na rin sa kasikatan ng T.V. musical program na The Sensations.

Ang The Sensations ay produce ng ABS CBN at dinerek ni Tony Santos Sr. Consistent No. 1 Top rater ang show at kasama ni Vi & Bot sina Perla Adea, Romy Mallari, Rhodora Silva, Darius Razon, Baby de Jesus, Tony Santos Jr., Janine Frias, atbpa. Dahil sa kasikatan nila Vi & Bot ginawang movie ang The Sensations noong April, 1971, big boxoffice hit ito kaya sinundan agad ni direk tony ng ” Young Lovers ” noong August, 1971, big hit din ito. Ginawan din ng L.P. Album nila Vi & Bot ang The Sensations at muling tinangkilik ng masang pilipino. Pagkagaling nila Vi & Bot sa Amerika para sa shooting ng “Don’t Ever Say Goodbye”, ay sinayaw ni Vi sa The Sensations ang The Shaft na usong sayaw noon sa U.S., agad nagustuhan ng mga tao ang dancing skills ni Vi at nauso lagi ang mga sayaw ni Vi at mula noon ay kinilala ang charisma, grace, at natural dancing prowess ni Vi na later on ay pinakita niya at tampok lagi at inaabangan ng mga tao sa kanyang top rated musical variety shows na ang pinakahuli ay ang “Vilma !”.

Sa kasikatan ng loveteam nila Vi & Bot ay tinagurian silang “Subok na Matibay Subok na Matatag” at dahil dito ay ginawang slogan noon ng Banco Pilipino ang Bancong Subok na Matibay Subok na Matatag ! Mga 20 plus hit movies ang nagawa nila Vi & Bot bilang loveteam. Ayon pa kay Zeny ng Top 9 sa bahay noon nila Vi and Bobot sa Arfel Homes sa project 6 quezon city, kung saan magkapitbahay sina Vi & Bot, ay parang Fiesta araw araw sa Arfel, buses, jeepneys, na puno ng fans ang walang sawang nagaabang upang makita at makausap sila Vi & Bot. Sumusunod sila sa syuting at kahit saan sila pumunta. Kahit hindi singer si Vi ay naenganyo siya nila Bobot at William Leary ng Wilears record na gumawa ng Sweet Sixteen Album, ito ay naging Gold Record, at Ang Kantang Sweet Sixteen ang naging signature song ni Vi, ito ay nirevive ni Jolina Magdangal. Nakagawa si Vi ng 11 na albums, 3 dito ang Mini L.P.’s, 3 dito solo ni Vi at ang iba ay kasama si Edgar ‘bobot’ Mortiz at ibang artists, ang mga ito ay Sixteen, Sweet Sweet Vilma, Aloha My Love, All I see is You, Sweethearts, The Sensations, Christmas Tidings, Baby Vi, Mabuhay, Christmas Carols, and Sing Vilma Sing.

Vilma Always a Trendsetter! – Sa Kasaysayan ng Pelikulang Pilipino Tanging si Vilma Santos lang ang siyang Trendsetter. Lagi na siyang nagseset ng trend ng pelikulang kumikita at ginagaya tuloy ng iba. Kaya naman sa dami ng mga Pelikulang kumita ni Vilma at taon taon ay siya ang boxoffice queen ay ginawaran na siya ng Guillermo Mendoza Foundation ng Hall of Fame as The Perrenial Box Office Queen ! Consider the following…

Fantasy Movies – Simula sa Lipad Darna Lipad ni Vilma na pinalabas noong March 23, 1973, ay nauso na ang mga fantasy movies. Nagtala ang Lipad Darna Lipad bilang biggest Boxoffice hit ng 1973. Ilang buwan pinalabas ito sa mga sinehan na kahit ang movie ni FPJ ay napataob. Ito ay produced ng Sine pilipino ng grupo nila Douglas Quijano at ang 3 episodes ay dinirek nila Emmanuel Borlaza, Elwood Perez, and Joey Gosiengfiao. Pangunahing kontrabida ni Vi sina Gloria Romero, Liza Lorena, and Celia Rodriguez. Kinonsulta ni Vi ang RVM Sisters of St. Mary’s Academy Manila kung saan siya nagtapos ng elementary and high school, kung tatangapin nya ang Lipad Darna Lipad dahil that time medyo daring na ang costume na two piece ni Darna. Pumayag ang RVM Sisters provided na magbody stockings si Vi. Sa presscon ng movie ay nagDarna costume si Vi with body stockings, hindi nagustuhan ng press and producers at kinausap at pinaliwanagan si Vi nila Douglas Quijano na tanggalin na ang body stockings. Sa kalaunan ay napapayag din si Vi ganundin ang mama at papa nito. At present ay wala na ang original negatives kahit copy ng Lipad Darna Lipad, sabi ni douglas ay nabili ito ng isang Indonesian producer at matagumpay na pinalabas doon. Naka 4 na Darna movies si Vi : Lipad Darna Lipad, Darna and the Giants, Darna Vs. the Planetwomen, and Darna and Ding. Vilma holds the distinction as the only Actress in Philippine Cinema na gumanap bilang Darna and Dyesebel. Ginawa din ni Vi ang Kampanerang Kuba na niremake sa T.V. ni Anne Curtis at ang Vivian Volta na niremake ni Ai Ai De Las Alas sa movie and sa T.V.

Horror / Suspense Movies – Sinimulan ni Vi ang Horror / suspense Movie na Anak ng Aswang na nauso at naging trend noon., Nasundan ito ng Takbo Vilma Dali !, Kamay na Gumagapang, Hatinggabi na Vilma, atbpa.

Musical Movies – Naunang ginawa ni Vi ang Let’s Do the Salsa na pinalabas noong March 5, 1976, sinundan ito ng mga boxoffice hits na Disco Fever with boyet de leon na nagopen sa mga sinehan na may bagyong signal no.3 subali’t pinilahan pa rin talaga, Swing it Baby, Good Morning Sunshine, and Rock Baby Rock with Junior na nagbreak ng boxoffice record.

Movies based on Komiks Nobelas – Binigay ng Viva Films ni Mina Aragon kay Vi ang mga Komiks Nobelas at ginawang pelikula, nauna ang Sinasamba Kita na sinulat ni gilda olvidado, co stars ni Vi sina boyet, philip salvador, and lorna tolentino. Si Sharon Cuneta ang isa sa kumanta ng theme song nito. Blocbuster Hit ito, kaya nasundan pa ng Paano ba ang Mangarap na mula sa Pilipino Komiks at sinulat ni Nerissa Cabral at Saan Nagtatago ang Pagibig ni Gilda Olvidado na parehong dinirek ni Eddie Garcia. Mula sa Aliwan Komiks ang Palimos ng Pag ibig nila ni Edu Manzano, Muling Buksan ang Puso na dinirek ni Leroy Salvador kapareha ni Vi si Dindo Fernando.Asawa ko wag mong Agawin mula sa Kislap magazine na sinulat ni Pablo gomez.

Pawang mga blockbuster Hits ang mga movies ni Vilma, at noong 1982 ginawaran silang dalawa ni FPJ of the first and only CINEHAN Awards bilang All Time Boxoffice King ang Queen of Philippine Movies. Mula ito sa mga Theater owners, Bookers, and Checkers. Ginanap ito sa Manila Hotel at parehong dumalo sina Vi and FPJ, isang engrandeng show ang inihandog para sa Hari at Reyna ng Takilya. Dahil laging wagi sa takilya ang mga movies ni Vi na mula sa Komiks, ay pinagawa ni Mina Aragon ng Viva Films si Sharon Cuneta nito gaya ng Dapat ka bang Mahalin, Sanay wala ng wakas, atbpa. na siyang nagtaas kay Sharon para maging boxoffice star.

Si Sharon ay self avowed Vilmanian at consistent naman siya sa pagpapatunay nito hanggang ngayon. Sabi nga ng mama Milagros ni Vi, dalaginding pa lang si Sharon noon at kapitbahay nila sa Dasmarinas village ay laging kumakatok sa gate nila at panay tanong kay Vi, minsan naman ay naguusap sila Vi and Sharon habang nasa swimmming pool sila. Ang iba pang mga umiidolo, humahanga, at rumerespeto kay Vilma ay sina Kris Aquino, Claudine Baretto, Dawn Zulueta, Ai Ai de las Alas, Maricel Soriano, Eddie Garcia, Boots Anson Roa, Rosa Rosal, Toni Rose Gayda, Gabby Concepcion, Albert and Liezel Martinez, Amalia Fuentes, Gina Alajar, Jacklyn Jose, Piolo Pascual, Marvin Agustin, John LLoyd Cruz, Tirso and Lyn Cruz, Ruffa Mae Quinto, Anna Capri, Armida Sigeon Reyna, Coney Reyes, Tina Revilla, Imelda Papin, elizabeth Oropesa, Philip Salvador, Maja Salvador, Sandy Andolong, Directors Rory Quintos, Jerry Sineneng, Emmanuel Borlaza, Danny Zialcita, Jeffrey Jeturian, atbpa.

Ang first movie ni Vilma taong 1963 na Trudis Liit sa edad na 9 years old kung saan nagwagi siya ng unang Famas Best Child Actress nya ay serialized mula sa Liwayway magazine at ganon din ang second film nya na Ging taong 1964 with carol varga, ito ay mula sa panulat ni Mars Ravelo na siya ring lumikha ng Darna at Dyesebel. Ang kaunaunahang Teleserye o Telenobela sa Television ng ABS CBN Channel 3 ay pinagbidahan ni Vilma, ito ay ang Larawan ng Pagibig. Dinirek ni Jose Miranda Cruz at mga artista din dito sina Eva Darren, Willie Sotelo, at Rosita Noble. Si Vilma ay 11 years old pa lang dito. Pagkatapos ng taping ng Larawan ng Pagibig, lagare naman si Vi sa kanyang Radio Drama program sa DZRH ang Naligaw na Anghel, kasama nya sina Maggie de la Riva at si Anita Linda na gumanap na ina ni Vilma. Ang T.V. show at Radio drama program ni Vi ay tumagal sa ere ng 3 years. – Jojo V. Lim, President of Vilma Santos Solid International Inc. Global Vilmanians

Inspirasiyon/Inspiration

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Inspirasiyon (1953) – Produced by Sampaguita Pictures; Released on October 27 to November 5, 1953 at Life Theater; Story: Mars Ravelo; Screenplay and Direction: Armando Garces; Cast: Carmen Rosales, Norma Vales, Vam de Leon, Katy de la Cruz, Rosa Mia, Pedro Faustino, Jose de Villa, Rebecca del Rio, Panchito Alba, Aring Bautista, Horacio Morelos, Pablo Raymundo and Introducing Ricardo ‘Ric’ Rodrigo. – Simon Santos, Video 48 (READ MORE)

Januaria Keller (1918–1991) was a noted pre-WWII Filipina actress better known as Carmen Rosales and Mameng and is noted for her skill in acting and sweet voice. A native of Pangasinan born to American father and Ilocana mother, Rosales’ film debut was in the 1938 movie Ang Kiri which she made a double to Atang dela Rama. When her friend brought her to Quisumbing the man rejected Rosales because the young woman did not have an aura of an actress. But she became the most famous Filipina actress of the 1940s and 1950s and rivaled Rosa del Rosario at the box-office. She is famous for her sweet voice and recorded numerous songs. Rosales made her first debut in Ang Kiri aka The Flirt under Diwata Pictures. She starred in her first leading role opposite Jose Padilla Jr in Arimunding-Munding 1939. She became the most bankable star in Sampaguita Pictures and the highest paid actress of the 1940s and 1950s. Her unforgettable roles as a martyr lover of Rogelio dela Rosa in Maalaala Mo Kaya 1954 and a club-singer in Ang Tangi Kong Pag-ibig. She got her first Famas Award in 1954 via Inspirasyon opposite Van de Leon and a strict auntie in 1960 movie Estela Mondragon. She garnered fame in a hacendera role in Pablo Gomez’s version of MN. Her last appearance was in Inday Badiday’s Eye to Eye. Arguably, she was the undisputed and lone reigning Queen of Philippine Movies in the 40s. Her films, topbilled by her, were once vehicles that ushered the emerging popularity of Gloria Romero, Amalia Fuentes and Susan Roces, who all later became movie queens themselves decades after. Her royalty has been immortalized by naming a barrio in Rosales, Pangasinan after her, now currently divided into two barangays, Carmen East and Carmen West. – Wikipedia (READ MORE)

“…Her career spanned five generations of stars and superstars, in this wise: pre-war years – Rosa del Rosario, Rogelio de la Rosa, Leopoldo Salcedo, Jose Padilla, Jr., Fernando Poe, Sr., Angel Esmeralda, Ely Ramos, Corazon Noble, Mona Lisa, Rosario Moreno, Arsenia Francisco, Elsa Oria, Rudy Concepcion, Norma Blancaflor and Paraluman; second generation – Anita Linda, Lilia Dizon, Celia Flor, Lillian Leonardo, Alicia Vergel, Erlinda Cortes, Linda Estrella, Rebecca Gonzales; third generation – Gloria Romero, Nida Blanca, Delia Razon, Nestor de Villa, Tessie Quintana, Charito Solis, Edna Luna, Ric Rodrigo, Rita Gomez, Eddie Rodriguez, Ramon Revilla; fourth generation – Amalia Fuentes, Susan Roces, Marlene Dauden, Barbara Perez, Lita Gutierrez, Mina Aragon, Daisy Romualdez, Romeo Vasquez, Eddie Gutierrez, Jose Mari, Liberty Ilagan, Bernard Bonnin; fifth generation – Josephine Estrada, Rosemarie, Gina Pareño, Blanca Gomez, Loretta Marquez, and others. Carmen’s last movie was Gintong Recuerdo produced in early 1965. She co-starred with the then “Stars ‘66” of SPI. She was still billed above the title, ahead of her co-stars. But Mameng’s most memorable movies, today considered as classics of Philippine movies, in point of prestige and box-office records are Arimunding-munding, Señorita, Probinsiyana, Ang Guerrilyera, Takip-Silim, Debutante, Maalaala Mo Kaya, MN, Kamay Ng Diyos (directed by Eddie Romero), Hindi Kita Malimot, Sandra and Inspirasiyon. The last-mentioned movie won her a FAMAS Best Actress trophy in 1953. Like most artists any where in the world, La Rosales also had a “temper” on the set. “I hate co-stars who arrive late on the set. I arrive early or on time fully made-up,” she said. “I also hate scene-stealers. Kapag frame mo, kahit extra ka lang sa pelikula, e ibibigay ko. Pero kapag frame ko na, you better give what is due me!” But she is a natural scene-stealer. She can steal a scene with just a wink or movement of her eyes – this according to the late Doc Perez…” – Manny B. Fernandez, Pelikula, Atbp. (READ MORE)

“…She quit toward the mid-’60s because she wasn’t getting any younger and had to throw in the towel (she had been on top since the pre-war). However, she kept the public interested in her by being a recluse, a la Greta Garbo and everyone kept speculating about her (did she age gracefully or was she in dire straits?). She refused interviews for both print and television and that all the more added to her mystique. For about a quarter of a century, she kept everyone guessing how she looked by hiding (no photographs, please!) from public view. Oh, she would be seen in Uni-Mart from time to time, but it was only people of her generation who recognized her, or maybe they didn’t anymore. The last image moviegoers had of her was when she was still a glamorous movie queen, and she kept it that way. She agreed to a VTR shoot for the FAMAS in 1983, but on the condition that it was just going to be a silhouette shot. But before she passed away in December 1991, she allowed herself to be interviewed by German Moreno and Inday Badiday in 1987 and the curious finally saw how age had caught up with her (she looked like a glamorous grandmother). But the mystery that she allowed to envelop her lustrous Carmen Rosales: First bona fide local movie queenname worked to her favor for more than 25 years and to this day, she is still regarded as the first bona fide movie queen of the local big screen…” – Butch Francisco, The Star, 09 Oct 2010 (READ MORE)

Related to Vi and Chato – “…Si Mameng ay Carmen Keller sa tunay na buhay, bunso sa apat na magkakapatid. “Ang mother ko ay Constantino ang apelyido kaya’t kamag-anak ko sina Charito Solis at Vilma Santos. Constantino ang lola ni Vilma at gan’on din ang lola ni Charito. Kamag-anak ko rin ang direktor na si Felicing Constantino.” Sa ngayon ay masaya na raw siya sa takbo ng kanyang buhay. “Kinatutuwaan ko ngayon ang mag-alaga ng mga manok,” aniya. May mga limang manok nga kaming nakita sa paligid. Parang pets ang pagtingin niya sa mga ito. Ang isang puting tandang ay mabulas ang tindig at pinangalanan niya ng Peter. “Mabagsik ‘yan,” kuwento niya. “’Yan ang watchdog ko rito.” Nang dumating nga kami ay agad itong sumugod at akmang manunuka kundi pinigilan ng katulong. Busy rin si Mameng sa pagtatatag ng bible reading at charismatic movement sa pook nila. “Satisfied ako sa buhay ko at masaya ako sa paggawa ng mga gawaing bahay,” dagdag pa niya. Hindi na ba siya muling magka-comeback sa pelikula? “Last year, may offer sa ‘kin si Atty. Laxa ng Tagalog Ilang-Ilang. Pero tinaasan ko talaga ang presyo ko. Sabi naman niya sa ‘kin, “I cannot blame you, Mameng. You really deserve that much.” Pero ngayon, naisip kong ayoko na talagang bumalik pa sa pelikula. I retired while I was still on top at mataas pa ang rate ko. Gusto kong maging maganda ang alaala kong maiiwan sa publiko. Wala na naman akong dapat pang patunayan kahit kanino…” – Mario E. Bautista, Jingle Extra Hot Magazine (READ MORE)

Inspiration (1972) – Directed: Ishmael Bernal; Story, screenplay: Nestor Torre Jr.; Cast: Vilma Santos, Jay Ilagan, Carlos Salazar, Merle Tuazon, Geena Zabian, Lilian Laing, Richard La Torre, Mercy Sta Maria; Original Music: Danny Subido; Cinematography: Avelino Peralta (READ MORE)

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

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The Star For All Seasons (A Song)

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Music by Louie Ocampo
Lyrics by Edith Gallardo
Sang by Pops Fernandez

No One Can Never Measure
How Much Your Heart Can Cope
The thousand Stories
Of Your Goodness Are Still Untold
You Are A Mother, A Leader,
A Real And True Friend
We Love You
Because You Love Us
Your Concern Has No End

You Are The Greatest Star
The Phenomenal Woman
So Brave To Face Any Challenge
The Woman Who Can
You Are A Lovely Star
The Star For All Reasons
You Are The Greatest Star
The Star For All Seasons

You Put A Dash Of Love
In Everything You Do
You Are The Wishing Star
You Made Our Dreams Come through
You Are A Shinning Star
The Star For All Reasons
You Are The Greatest Star
The Star For All Seasons

Just A Click Of Your Heels
Is Enough To Make Us Smile
How Lovely Woman
You Inspire Us
By The Grace Of Your Star
Your Star
(repeat ll & lll)
Source: Global Vilmanians

ARTICLES - A Star For All Season - Pops Fernandez