FAIR USE NOTICE This site contains copyrighted materials the use of which has not always been specifically authorized by the copyright owner. We are making such material available in our efforts to preserve the film legacy of actress, Ms. Vilma Santos-Recto and information available to future generations. We believe this is NOT an infringement of any such copyrighted materials as in accordance to the fair dealing clauses of both the Canadian and U.S. Copyright legislation, both of which allows users to engage in certain activities relating to non commercial/not for profit research, private study, criticism, review, or news reporting. We are making an exerted effort to mention the source of the material, along with the name of the author, performer, maker, or broadcaster for the dealing to be fair, again in accordance with the allowable clauses. – Wikipedia (READ MORE)
Tag Archives: Vilma Santos
Video Links (2010)
FAIR USE NOTICE This site contains copyrighted materials the use of which has not always been specifically authorized by the copyright owner. We are making such material available in our efforts to preserve the film legacy of actress, Ms. Vilma Santos-Recto and information available to future generations. We believe this is NOT an infringement of any such copyrighted materials as in accordance to the fair dealing clauses of both the Canadian and U.S. Copyright legislation, both of which allows users to engage in certain activities relating to non commercial/not for profit research, private study, criticism, review, or news reporting. We are making an exerted effort to mention the source of the material, along with the name of the author, performer, maker, or broadcaster for the dealing to be fair, again in accordance with the allowable clauses. – Wikipedia (READ MORE)
The Classic Vilma Santos Movies
1. RELASYON (1982) – “Vilma Santos represents womanhood in the film…Santos portrays a mistress who is an out-and-out martir. She serves De Leon hand and foot, ministering to his every need, including fetching beer for him, washing his clothes, serving as his shoulder to cry on, even baby-sitting his child. In return, all she gets from De Leon is chauvinistic love, void of tenderness, full of immature aggressiveness… Vilma Santos’ acting is adequate and extraordinary…” – Isagani Cruz, Parade 01 July 1982.
“Vilma Santos confidently showed she felt the character she was portraying. Her depiction of feelings and emotions easily involve the viewers to share in her conflicts and joys. In this film, she has peeled-off apprehensions in her acting. Christopher de Leon has also been supportive in emphasizing the characterization of Marilou. He suitably complements Vilma’s acting.” – Lawrence delos Trinos, Star Monthly 10 July 1982
”Vilma Santos holds the first ace on acting this year with her terrific performance in Relasyon – the range is wide, the insight deep, hardly a false note in the entire performance – she was always in control, even when she seemed totally lost in her role…basta magaling si Vilma, tapos!“ – Ador Cs Tariman
FACTS: Vilma Santos’s first best actress grand slam win.
FICTION: Vilma Santos’ wins can be attributed to her connection to Imelda Marcos. (That’s absurd.)
2. BURLESK QUEEN (1977) – “…naiiba ang Burlesk Queen, kahit ikumpara sa mga naunang trabaho ni Celso at sa iba pang direktor na nagtangkang tumalakay sa paksang ito. Matagal-tagal na rin namang nauso ang kaputahan sa pelikula, pero walang nakapagbigay ng katarungan sa lahi ni Eba bilang Pilipina at bilang puta… para kay Celso…ang tao ay hindi basta maghuhubad at magtatalik. Maraming pangyayari sa buhay ang dapat munang linawin at unawain, at iyon ang basehan ng kasaysayan.” – Jun Cruz Reyes, MPP, Manila magazine Dec 1977
“(about the hospital scense with Vilma and Leopoldo Salcedo) Tuloy-tuloy ‘yun. nag-experiment ako noong una, kumuha ako ng second take, pero di ko na rin tinapos. Perfect na iyong una. Alam mo bang nang gawin namin ang eksenang iyon tatlo kaming umiiyak sa set? Ako, si Vilma, at si Leopoldo? Dalang-dala si Leopoldo sa pagsasalita ni Vilma, lumuha siya kahit patay siya dapat doon. Buti na lang di siya nakuha ng kamera…(Kung Nahirapan ka ba kay Vilma?) …Oo, hindi sa acting dahil mahusay talaga siya kundi sa scheduling. Alam mo kasi it takes time before I can really get into the mood of a picture, mga two weeks, tapos kapag nandiyan na, that’s the stage when I’m ready to give my life to the project. Tapos biglang walang shooting ng two weeks dahil busy siya sa ibang pelikula…” – Ricardo Lee, Manila magazine Dec. 1977
FACTS: The film won 10 out of 13 Awards at the 1977 Metro Manila film festival including Best Actress for Vilma Santos.
FICTION: All of the awards that’s been given to the film has been given back due to the investigation that the verdict were rigged. (Up to this date, Vilma still has her medal and award.)
3. RUBIA SERVIOS (1978) – “The second rape scene in “Rubia Servios” which stars Vilma Santos, is reminiscent of the rape scene in “Santiago”, shown in 1970. Instead of Caridad Sanchez as the wife who is assaulted in full view of husband Mario O’Hara, it has Vilma Santos and Mat Ranillo III. This coincidence is not surprising since Brocka also directed Santiago, and O’Hara, who has since graduated from supporting roles, is the scriptwriter for “Rubia Servios”. Vilma does not expose much skin and Philip Salvador (as the attacker) has his pants on, but the scene could well be one of the most realistic rape scenes on screen in a long, long time. The anguish in Vilma’s face and the lust in philip’s eyes blended so well the effect was dramatic rather than sensual. The real climax of the film, however, is the killing of Philip by Vilma with a paddle aboard a motorboat at sea. Lino Brocka, who directs Vilma for the first time, succeeded in muffling her sobs even in the most hysterical moments. To our mind, “Rubia Servios” is geared towards mature audiences. It is engrossing despite the lack of fancy camera shots and an almost chronological presentation.” – Ricky Lo
FACTS: Vilma Santos lost The Best Performer Award in this 1978 Metro Manila Film Festival to rival Nora Aunor. Admittedly, this was the most painful lost she experienced in her whole career. With its “For Adults Only rating” in consideration, the film still managed to end up as one of the Festival’s top grosser.
FICTION: Vilma committed suicide after her lost, luckily Manay Ichu, her Rubia Servios producer came and rescued her. (Both Manay Ichu and Vilma managed to get drunk but Vilma did not commit suicide.)
4. DOLZURA CORTEZ (1993) – Dahil Mahal Kita (Because I Love You): The Dolzura Cortez Story 1994, This Philippine drama chronicles the colorful life of Dolzura Cortez, the first publicly recognized AIDS patient in the Philippines. The film begins with a brief examination of Cortez’s pre-AIDS life. Initially she lived in a small village with her cruel husband and three kids. The spunky woman leaves them and moves to the big city where she engages in several affairs. Her second marriage to a rich foreigner does not last long. To support her children, Dolly begins an all woman “contract worker” agency. This also serves to facilitate her love of night-life. Tragedy comes to Dolzura after she collapses on a dance floor one night and learns that she has full-blown AIDS. At a Manila hospital she meets ex-lover Paulo, an AIDS researcher who encourages to tell her story publicly. The courageous woman does and she becomes instrumental in spreading AIDS awareness to the islands. – Sandra Brennan, The New York Times
“Still bearing activist weight is Vilma’s effort in Laurice Guillen’s Dahil Mahal Kita: The Dolzura Cortez Story in which she fleshes out a body and a mind for a person with AIDS. This initiative constitutes an advocacy not only for people afflicted with the dreaded pandemic, but also for women who have to overcome strata of ostracism in the process of survival and resist their being reduced to an aberration, in this case, a pathology.” – Patrick Flores, Manila Standard Today Jan 11, 2003
FACTS: Vilma Santos’ earned her 2nd Best Actress grand slam wins.
FICTION: Dolzura Cortez wanted Nora Aunor to play herself in this film. Aunor declined. (No. No. No. That’s the most ridiculous thing I have ever heard – Simon Cowell from AI)
5. PAHIRAM NG ISANG UMAGA (1989) – “…a striking part of the movie (was when), Juliet watching intently as morticians work on her father’s remains, as everyone weeps when the coffin is lowered to its final resting place, and during the ritualistic pasiyam, the nine-day novena for the dead. It’s as though Juliet can see herself in her father’s lifeless body while mourners mill around it. The attempts to raise the level of the melodrama and present insights on life and death provide the movie its greatest strength – and wide appeal. How strangely ironic that a movie dealing with death could have so much life.” – Mario Hernando, Malaya 05 March 1989
“…Vi goes to the kitchen to prepare breakfast at habang nagbabati siya ng itlog, doon pa lang ipinakitang una siyang nag-breakdown. And this is shown nang nakatalikod siya sa camera. No overly ornate kind of emoting na akting na akting ang dating. Pero damang-dama mo pa rin…she becomes the part (lalo na sa eksena nila ni Gabby Concepcion sa simbahan na binalikan nila kung paano sila nagkasira), and if you notice that she is good, well, salamat po…Sa second viewing ng movie namin lalong napansin ang subtle nuances ng performance ni Vi, up to her death scene which confirms our supposition that the movie is not really so much about death than a celebration of life..’yan ang opinion namin…” – Mario Bautista
FACTS: Vilma Santos won her first PMPC Star Awards Best Actress.
FICTION: Mario Bautista fought hard to make sure Nora Aunor won the Star Awards. (It was actually the opposite!)
6. LIPAD, DARNA, LIPAD (1973) – “the quintessential actionfantasy Pinoy flick that appeals to all ages, from generation to generation. This movie is a major milestone for Vilma because it proved that she could really carry a solo movie and bring in the dough (up to now of course!). Vilma’s Darna franchise is the most memorable and successful of all Pinoy fantasy-action genre. Imitated but never equalled, Vilma’s Darna lives on. Unforgettable. Memorable. It grows on you. No Pinoy kid ever grows up without being a part of the Darna magic. Vilma, practically flew at the top of the box office in Sine Pilipino’s trend setting trilogy “Lipad, Darna, Lipad!” Many fans consider Lipad, Darna, Lipad, as one of the most entertaining Darna movies ever. After all, who could forget that climactic aerial battle scene between Darna and the Impakta (Gloria Romero)? That shot of Romero impaled in a giant crucifix ensconced on top of a church tops any gory scene in The Omen. The enormous success of Lipad, Darna, Lipad led to three more Darna movies with Vilma Santos. As a result, the star for all seasons became the star for all Darnas—Santos played her four times, more than any other actress in the superheroine’s history. “Lipad, Darna, Lipad!” were divided into three separate segments, directed by three different directors. In Darna’s case, the three directors were Maning Borlaza, Joey Goesiengfao, and Elwood Perez—three names that promised an adventure that could do Andy Warhol proud.” – Eric Cueto
FACTS: Lipad Darna Lipad broke all box office records and made Vilma as the most successful Darna to date.
FICTION: Vilma was immediately wanted to wear the two-piece sexy Darna cutomes. (Vilma wore skin coloured suit on top of the Darna custom but after some people who works for TIIP and her entourage convinced her that it looks tacky, she agreed to wear the custom without it.)
7. ANAK (2000) – “Living complex emotions with subtlety and humor, pic resists melodrama until the dam abruptly burst after 90 minutes; ill judged pileup of crying scenes, plot crises and more crying ensues…That’s too bad, since early reels observe parent-child relationships with considerable delicacy… veteran local star Santos is in fine form, while barretto lends impressive shading to what might have been a stock sexy “bad girl” role…” -Dennis Harvey, Variety Magazine 19 March 2001
“The slick production is turned into art by its star Vilma Santos. Her magnetic star quality makes her look so wrong for the part and yet she makes it all her own. She’s a natural comedianne and a great tragedienne-her look of resignation is heartbreaking. Vilma discards the glittering clothes and make-up for Anak, but she still looks youthful. It wouldn’t come as a surprise if the sensitive young actor playing her son would go on to play her leading man a few years from now.” – Dennis Ladaw
FACTS: Official Philippine Entry to the 73rd Academy Awards Best Foreign Film. Anak grosses 14 Million Pesos, a record breaking for a Filipino film!
FICTION: Vilma can’t portray a poverty stricken maid or “atsay” role, that role only suited Nora! (Tell that to the marines!)
8. SISTER STELLA L. (1984) – “…For a heart-warming film, the entire cast deserves congratulations, particularly Vilma Santos who reveals another aspect of her multi-faceted talent. From her usual soft and sweet romantic roles, she can be transformed into a strong and militant woman without losing any of her charm and beauty. Jay Ilagan, Tony Santos, Anita Linda and Liza Lorena are also in their best form. Mike de Leon as director, Jose F. Lacaba as scriptwriter are likewise to be congratulated for making a truly human film and for contributing to the cause of workers for justice and of the religious for the recognition of their social role. Not to be overlooked is the producer Lily Monteverde of Regal Films who has this time shifted from puerile erotic dramas to make a courageous film for which she will always be well remembered.” – Alice G. Guillermo, Who Magazine 30 May 1984
“…De Leon’s film was to have had special screenings, on the unanimous request of the Cannes’ board of critics. Sister Stella L., however, suffered from the rush of subtitling work that descended upon Cannes’ select group of translators and De Leon opted not to show the film without subtitles. He nevertheless had the distinct honor of holding a retrospective under the sponsorship of the French Cinematheque right after the festival. The film eventually competed at the Venice Film Festival. Under its original title Sangandaan (Crossroads), Sister Stella L. was invited to the Venice Film Festival in 1984, the second Filipino film (after Genghis Khan in 1951) to be honored with such recognition.” – Agustin L. Sotto, Pet Cleto, Philippine Panorama 02 December 1984
FACTS: Vilma Santos admittedly confessed SSL was a flop at the box office.
FICTION: Vilma was overshadowed by the supporting cast of this film. (The Urian critics disagreed! They gave Vilma, her third consecutive best actress! Hah! Beat that!)
9. DEKADA 70 (2002) – “Santos’ Amanda effortlessly and movingly chronicles the changed consciousness of the family and the country, with understatement her most reliable tool. Pic begins and ends with images of Santos at the forefront of a political demonstration, and nothing, from first image to last, for 128 minutes, is allowed to spontaneously or slyly deviate from the logic of her consciousness-raising.” – Ronnie Scheib, Variety Magazine “Last seen in ANAK (SFIAAFF ‘01), Vilma Santos delivers an understated, profoundly moving performance as the matriarch whose awakening redefines the traditional mother and wife role she donned for years. This is the story of an incredible character that survived an unforgettable decade.” – Michael Magnaye, The 22nd San Fransisco Asian-American Film Festival 2004
“As Amanda, Vilma Santos shows again why Brocka, before he died, had likened her to water. “She can register anything,” he said. In “Dekada”, its the same Santos of vigor and transparency. The only difference is the depth, the resonance, and the greater confidence. Can she ever go wrong?” – Lito B. Zulueta, Philippine Daily Inquirer 30 December 2002
FACTS: Vilma Santos’ 4th Grand Slam wins for Best Actresses. The film was exhibited in last year’s “Cinema of the world” section at Cannes. Philippines’ Official Entry at the 76th Academy Awards Best Foreign Language Film. Vilma’s 4th Grandslam Best Actress wins.
FICTION: Dekasa 70 was written by Lualhati Bautista for Nora Aunor.
10. BATA BATA PAANO KA GINAWA? (1998) – “Sa tingin ko, sa Bata, Bata… pinakamagaling si Vilma Santos. Sa dami ng kanyang award, may ibubuga pa pala siya. Iba ang akting niya rito…Halatang feel na feel ni Vilma Santos ang kanyang papel dahil, gaya ng karakter ni Lea Bustamante, dalawa ang anak ni Vilma sa magkaibang lalake.” – Marra Pl. Lanot, Diario Uno 16 Sept. 1998
”And Vilma Santosis more than up to the challenge. Gone are the hysterically flapping hands, the melodramatic emoting, all the trademark acting tics. In their place is a heartfelt performance that distills Lea’s essence to an exquisite point-no movements are wasted, no gestures are overwrought. …Vilma rolls them on her tongue like the finest wine; when Lea is on the verge of breaking down, Vilma remains true to the spirit of her character… If the Lipa City mayor decides never to do another movie again, she can retire assured that her last performance-in a career already studded with formidable portrayals-may conceivably have been her best.” – Andrew E. Pardes, Manila Times 13 Sept 1998
FACT: Opening gross was 5.2 million pesos. Another record breaking for Vilma. The film earned her a third grandslam best actress wins and her very first international recognition, winning the Brussel International film festival’s best actress award.
FICTION: The film was offered to Nora Aunor
58 Lessons in Life: Let It Vi!
If I were to write the biography of Batangas Gov. Vilma Santos, I would open it when she was around 14, a period when a girl is deemed too old for dolls but too young for guys.
I was barely out of college then and Vilma was in her bobby socks stage. I fetched her and her mom, Milagros Santos (now into her mid-80s), from Torres Auto Supply on España St., Sampaloc, Manila, and we took a taxi to Manila Times office on Florentino St. in Sta. Cruz, Manila. Vilma was going to be featured on the cover of Variety, one of the then No. 1 broadsheet’s Sunday magazines, and I was tasked to do the cover story.
She was in that awkward stage, too old for tearjerker kiddie roles such as those in Trudis Liit and Ging that propelled her to child stardom and too young for adolescent roles that she would be doing shortly, such as those saccharine flicks that she did with Edgar Mortiz in the Vi-Bobot era that pitted them against the Guy & Pip tandem of Nora Aunor and Tirso Cruz III.
She’s called a Star For All Seasons for a good reason: She has successfully navigated the dangerous waters from being a matinee idol to a serious actress, paving the way for those in her league to go “daring” via her award-winning portrayal as the title role in Celso Ad. Castillo’s landmark movie Burlesk Queen. From then on, Vilma (who will forever be simply Vi to her family, fans and friends) successfully ventured into other fields, including doing an album that has become some kind of a “classic” that is a perfect soundtrack for a workout (try it!). She reaped awards along the way.
The bio will discuss how she manages to play to the hilt her real-life triple roles — in this order — family woman (wife to Sen. Ralph Recto and mother to Lucky/Luis and Ryan Christian), public servant (beautifully wrapping up three terms as Lipa City Mayor before becoming the province’s governor) and actress par excellence (she’s shooting The Healing for Star Cinema, directed by Chito Roño).
Of course, several chapters will be devoted to Vi’s colorful love life, punctuated by episodes of her running away from home with a leading man and holing herself up for days at a five-star hotel. If made into a movie, Vi’s love life will require several (a dozen?) leading men but there should be a “disclaimer” to the effect that it’s a “fictionized true story” lawsuits that may be filed by some of the men most of whom are now happily married.”
And how will the bio end?
It will be a cliff-hanger because the life of Vi is like an extended teleserye with subplots cropping up at every twist and turn. But it will hopefully have a happily-ever-after ending like a fairy tale that Vi’s life is likened to.
Anyway, before that tell-all biography, let’s ask Vi what lessons she has learned as she celebrated her 58th birthday last Nov. 3, taking time out for her annual family vacation, this time on an Asian jaunt kicked off by a weekend in Phuket, Thailand.
Vi herself made the list in her own handwriting, using her left hand, she being kaliwete.
01. Pray for guidance.
02. Respect the opinion of others.
03. Sing and dance.
04. Forgive and forget.
05. Drive.
06. Exercise.
07. Apply my own make-up.
08. Dress up properly.
09. Drink (socially) occasionally.
10. Be patient.
11. Work with dedication.
12. Respect colleagues in the movie industry and politics.
13. Talk with sense.
14. Make friends.
15. Appreciate good deeds.
16. Trust people who are trustworthy.
17. Share my blessings.
18. Wake up early.
19. Speak with responsibility in public.
20. Deal properly with my constituents.
21. Understand the problems of other people.
22. Be a liberated mother to my sons.
23. Be a good (not necessarily a model) wife.
24. Give priority to my family.
25. Budget household expenses.
26. Spend less than what I earn.
27. Manage my own finances.
28. Pay my taxes on time.
29. Appreciate the love and support of all my fans (the Vilmanians).
30. Extend a helping hand to people in need.
31. Be more humble.
32. Appreciate CNN (World News).
33. Be considerate of the feelings of other people.
34. Treasure true and real friends.
35. Respect my subordinates and treat them fairly.
36. Try to live up to advances in technology.
37. Accept my mistakes.
38. Run a local government.
39. Hone my craft.
40. Honor my commitments.
41. Love my career as an actress.
42. Respect my position as a public servant.
43. Be tough in facing challenges.
44. Not to disappoint people who give me their trust.
45. Choose my battles.
46. Love my enemies.
47. Eat healthy food.
48. Not to underestimate children.
49. Spend money wisely.
50. Always keep an open eye.
51. Not to hesitate to ask questions when I don’t understand the issues.
52. Read more books.
53. That health is wealth.
54. Be a nature lover.
55. Waste segregation.
56. Pay attention to constructive criticism.
57. Express gratitude to whoever, whatever and however minor the things are said about or done to and for me.
58. Say a never-ending “Thank you, Lord!” for all the blessings. (E-mail reactions at entphilstar@yahoo.com. You may also send your questions to askrickylo@gmail.com. For more updates, photos and videos visit http://www.philstar.com/funfare.) – Ricky Lo, The Philippine Star (READ MORE)
Vilma S. Meet the Real Sister Stella L.
Those who have seen “Sister Stella L.” in its various previews and premieres nights are one the same in their opinion: it is indeed Vilma Santos’ best screen portrayal in the history of her long moive career! Si Vilma mismo ay inamin sa amin ito: “It is a once-in-a-lifetime movie role na talagang puedeng ipagmalaki ng kahit na sinong artista. Ang tagal bago tuluyang naisapelikula at natapos ang “Sister Stella L.” pero talagang mula nang ialok sa akin ‘yan, hindi na naalis sa isip ko. Kung kani-kaninong producer na nga inalok ‘yan. Like sa Viva noon na akala ko’y matutuloy na, pero hindi pa rin pala. Kaya’t kahit anong pelikula ang ginagawa ko noon, at the back of my mind, talagang nakareserba pa rin ang “Sister Stella L.” Itinatabi ko talaga ko ‘yan. Parang dream role na lagi kong binabalik-balikan. At finally, nang gawin na namin sa Regal, nabuhos na talaga ang buong atensiyon ko, ang lahat ng panahon ko. Ang now, after hearing all the favorable comments about the movie, and siyempre about me and my performance too, talagang tumataba ang puso ko at maha-high ako.
First and foremost, talagang it’s a great honor na makatrabaho ang isang direktor like Mike de Leon. Dati ko na siyang nirerespeto, pero after working with him and making “Stella L.”, lalo pang tumaas ang pagtingin ko sa kanya, First rate talaga!” Vilma recognizes the fact that without Mike’s help, she will not be able to give the right characterization that her role required. “Kaya paulit-ulit ko isyang tinatanong kung tama ang mga kilos ko bilang isang madre,” aniya. “and maniniwala ka ba, I met the real Sister Stella L.!” Nakakataw niya pahayag. Nagulat kami. You mean, sabi namin sa kaya, this is really a true story? Na ang kuwento ng madreng naging aktibista sa pelikula ay talagang ibinatay sa totoong tao? Akala namin kasi ay fiction lamang ito. “From what I heard,” sabi ni Vilma, “may kaibigan talagang madre si Mike na siyang naka-inspre sa kanya para gawin ang pelikulang ito. One day, dumating si Mike sa set na kasama niya. She is very pretty. Sa ganda, parang hindi madre.” Akala mo raw ay isa itong socialite. Ayaw sanang ipasabi ni Vi ang tunay na pangalan nito, pero we personally feel na wala namang masama dahil dapat pa nga siyang purihin sa kanyang prinsipyo. Kaya ire-reveal namin sa inyo ang tunay niyang identity. Her name is Sister Consuelo Ledesma, anak ng pinagpipitaganang si Pura Kalaw Ledesma at pamangkin ng ating current censors chief na si Maria Kalaw Katigbag or MKK. Now, isn’t that a very interesting sidelight of the movie? Ayon kay Vilma, tuwang-tuwa siya dahil naaprubahan ang pelikula nang walang anumang putol. “That means the censors now are broadminded enought to realize na wala namang talagang masama sa pelikula,” aniya. “Noon pa man, sinasabi ko nang ang ipinakikita lang ng movie, ‘yung totoong nangyayari, ‘yung mga prinsipyo lang ng taop ngayon. Like ‘yung mga strikes, manonood ka nga ng newscast sa TV, di ba makakapanood ka rin ng mga ganyan? Kaya I’m really very happy na it was passed without any cuts.
Kung pinutulan kasi, parang makukulangan na ‘Yung pelikula.” How does it feel when people keep on saying na siguradong mananalo na naman siya ng best actress award ss susunod na taon? “Naku, ha,” natatawa niyan wika, “ang layu-layo pa noon. Siyempre pa I’m flattered, pero ayaw ko munang isipin ‘yon. Ang tagal pa bago matapos ng 1984 at maraming-marami pang puedeng ibang mangyari. Malay natin kung marami pang ibang magagandang pelikula ang magawa featuring the equally good performaces ng ibang mga artista? Basta natutuwa ako’t ngayon pa lang, may panlaban na ko. ‘Yong lang.” With her fine performances in “Adultery” and “Sister Stella L.”, marami ngang movie insiders ang nagpapalagay that Vilma can easily rest on her laurels for this year. Sabi pa nila: “Maski huwag na siyang gumawa ng ibang pelikula at next year na uli siya magkaroon ng bagong release, okay lang.
For this year, talagang she has already proven herself.” We Believe similarly, too, but Vilma is apparently not content with just two good movies this year kaya she is on her way to making a third one. She is currently doing “Alyas Baby Tsina” for Viva Films. This time, reunited siya with Famas best director Marilou Diaz Abaya. “It’s a period movie, set in 1969-70 when unrest was at its peak,” ani ni Vi. “We’ve started shooting pero ilang ulit ding na-delay dahil ulang nang ulan, e. Tapos, nagkasakit pa ako for three days.” She will be completely deglamorized in the movie. Ang papel niya ay isang babaing naging puta at nabilanggo sa correctional kung kaya’t nilagyan doon ito ng tattoo. In several scenes, wala siyang make-up at ipinakikitang naglilinis ng kubeta. Clearly, this is another challenging acting vehicles for Vilma. Kaya nga may katwiran talagang magreklamo yung mga ibang artistang babae natin. How come she is getting the best roles in the best projects? What did she do to deserve such a wonderful, enviable fate? Vilma dismisses all these with a simple shrug of her frail-looking shoulders. ” I guess I’m just lucky,” aniya. “Talagang Somebody up there loves me. Wala naman kasi akong atraso sa kanya eh.” The bloom in Vilma these days is unminstakable. Talagang lalo siyang gumanda. And whatever joys and good fortune she is enjoying these days, we are sure she deserves all that bounty. – Mario Bautista MovieLIFE Magazine 1984
Vilma at OK Fine! Whatevers (2003)
Basic Information: Director: Danni Caparas; Writing credits: Sherwin Buenvenida, Rolf Mahilom, Divino Reyes, Rhandy Reyes, Woodrow Serafin; Cast: Aga Muhlach, Bayani Agbayani, Edu Manzano, Rica Peralejo, Gloria Romero, Dagul, John Estrada, Erich Gonzales, Darling Lavina, Juliana Palermo, Mariel Rodriguez, Tado, Jeffrey Tam, Nikki Valdez, Onyok Velasco, Arron Villaflor; Producer: Phoebe Anievas, Mark Anthony Gile, Cynthia Jordan; Film Editing: Roy Francia; Release Date:2003 (Philippines); Production Co: ABS-CBN – IMDB (READ MORE)
Reviews: “…With a guest list that includes Sharon Cuneta, Regine Velasquez, Roderick Paulate, and several top-secret guest appearances, OK Fine! Whatevers definitely become a must-see show for ABS-CBNs Tuesday primetime lineup. New cast additions Edu Manzano and Tado have also livened up the OK Fine! mix, as long-lost fraternal twins Michael (Aga Muhlach) and Miguel (Bayani Agbayani) have finally formed a family along with their Lola Barbie (Gloria Romero). Now, Michael is the middleman for the get-richquick schemes of his eccentric new neighbor Junior (Edu Manzano). Junior, elder brother of girl-next-door Icay (Rica Peralejo), can be seen operating a car wash, manned by sexy girls, by day while pursuing his interests in jewelry and archaeology on his off hours. Despite his business sense, Kuya Junior always needs Michaels hand whenever he gets into trouble. Meanwhile, ace mechanic Miguel does miracles with the neighborhood cars. Along for the ride are such characters as Lola Barbies maid Camilla (Nikki Valdez) and all-around sidekicks Dong (Onyok Velasco) and Tado…” – Manila Bulletin (READ MORE)
“…While the initial concept was to stir both curiosity and bewilderment among viewers on how on earth funnyman Bayani Agbayani could be the twin brother of drop-dead gorgeous Aga Muhlach, the show has evolved into some sort of weekly witty exchange of comic punchlines and outrageous situations. This, after the creative team behind the show finally found the right chemistry – meaning, the right people for the right roles. With the inclusion of Edu Manzano, undeniably another drop-dead gorgeous actor (although a bit senior in terms of age and experience, but nevertheless gifted with an endearing and highly intellectual kind of outrageous flair), the Aga-Bayani tandem has expanded into a funny triumvirate. Over dinner with Edu, Aga, Bayani and the show’s executive producer Cynthia Jordan last week, spirits ran high as each shared anecdotes and stories about the show, specifically the special anniversary episodes they have taped. Some of the brightest stars will make rare appearances on the show for the next four weeks. Vilma Santos, Sharon Cuneta, Roderick Paulate, Regine Velasquez will take turns in doling out laughs with Edu, Aga and Bayani, plus the other mainstays who include Gloria Romero, Rica Peralejo, Nikki Valdez, Onyok Velasco and Tado Jimenez…” – The Philippine Star (READ MORE)
Related Reading:
Dagul
Edu Earns 3 Nods in STAR Awards for TV
Aga, 20 years in showbiz
Edu and Alicia Share Mutual Attraction
Ok Fine ‘To Ang Gusto Nyo
Vilma Santos’ Discography (Repost)
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 can’t say that she cannot be sell records. This success proves that she can be a successful singer like her closest rival, Nora.
Listening to “Sixteen” – 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 care free 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 choreograph production numbers. The reluctant singer came out on top. Vilma Santos’s 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 grear. 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 thats 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. – Credits: Album texts and Photos: Nar Santander, Eric Nadurata, additional photos: Rene Maximo Global Vilmanians
Sweet sweep for Stella
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 Fil; Sister Stella L., herself Vilma Santos, Best Actress; Jay Ilagan, Best Actor; Mike De Leon, Best Director; Laurice Guillen, Best Supporting Actress; and Tony Santos, Sr., Best Supporting Actor; Still Stella L’s Jose Lacaba, Jose Almojuella, and Mike De Leon were cited for the Best Screenplay 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 by Don Escudero and Rodel Cruz; and for Best Cinematography by Rod Ilacad. For his outstanding contribution to the film industry, the Manunuri ng Pelikulang Pilipino bestowed a special award to William Smith for bringing into the country the first colored film laboratory. Some people could use a lesson in courtesy. At his age, Smith, understandably, could harlly walk, speak well or display clarity of thought, therefore, 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 binabasa pa niya, o!” Although the presentation ran smoothly and briefly (yes, of long waits and intermission), 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 suddenly grown weary of awards rites? Even the major awardees were not present to claim their trophies, thus, only Vilma posed for photographers at the end of the show. (Photos: Luis Garcia Jr.)
Sixteen
Original song sang by Vilma Santos
Kissing on the park
Hanging on the forth
Holding hand in hand
Down the avenue
Strolling down the lane
A castle in the air
A Kissin’ or lovin’
A kissing’ or lovin’
A kissing all night long
They said I’m only Sweet Sixteen
I’ve never been Kiss
I’ve never been loved
And all I want is Candy
Ice Cream teddy bear Lollipop
Riding on the sun
A lot of things we do
Whispering to my ears
I love you so
Strolling down the lane
A castle in the air
A Kissin’ or lovin’
A kissing’ or lovin’
A kissing all night long
Kissing on the park
Hanging on the forth
Holding hand in hand
Down the avenue
Strolling down the lane
A castle in the air
A Kissin’ or lovin’
A kissing’ or lovin’
A kissing all night long
(fade)
Global Vilmanians
RELATED READING:
Film Scenes – Confrontations (Videos)
VILMA SANTOS vs ALMA MORENO
VILMA SANTOS vs NIDA BLANCA
VILMA SANTOS vs MARECEL SORIANO
VILMA SANTOS vs LORNA TOLENTINO
VILMA SANTOS vs DINA BONEVIE
VILMA SANTOS vs ALICIA VERGEL
VILMA SANTOS vs CLAUDINE BARETTO
VILMA SANTOS vs GLORIA ROMERO
VILMA SANTOS vs AMALIA FUENTEZ
VILMA SANTOS vs CHARITO SOLIS
VILMA SANTOS vs NORA AUNOR
Star For All Seasons 
You must be logged in to post a comment.