Tag Archives: Vilma Tuazon

FILM REVIEW: BATA, BATA…PAANO KA GINAWA?

Posted on by Standard

This slideshow requires JavaScript.

The Plot: “A women’s rights activist and mother of two, Lea has been abandoned by the fathers of her children. Her daughter and son are at crucial transitional ages and she struggles to provide for them while maintaining her hectic job at a woman’s crisis center. Soon though, the job and her budding romance with co-worker Johnny threaten Lea’s role as mother when her children’s fathers return to accuse her of neglect.” – The NY Times (READ MORE)

“Lea is a mother of two children from different fathers. She works in a woman’s shelter and helps victims of domestic violence. Her sons are hurt riding their bikes. At the hospital, her principles are threatened when both fathers question her ability as a parent. This film is based on the best-selling Philippine novel of the same name and takes a look at the problems of single mother’s trying to balance work with family.” – Fukuoka (READ MORE)

The Reviews: “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, Sept. 1998 (READ MORE)

“…Ang international fame, bilang Best Actress, ay nakamit ni Vilma in 1999, when her Star Cinema headliner Bata … Bata … Paano Ka Ginawa? – directed by Chito Rono – was entered as competition entry sa Brussels Film Festival. Released in 1998, Bata won for Vilma the Best Actress honors at the Star Awards, FAP and Gawad Urian, as well as the Best Performance award from the YCC-Film Desk. Dahil nahalal na alkalde ng Lipa City sa Batangas si Vilma Santos-Recto (she married then Batangas Congressman, now Senator Rafael ‘Ralph” Recto in December 1992), naging mas madalang ang paggawa niya ng pelikula. Pero hindi pa rin magmimintis si Vilma na manalo ng acting trophy, kapag din lang may panlabang pelikula, as in 2000 when she did Star Cineman’s Anak by Rory Quintos. Nanalo siyang Best Actress sa Star Awards…” – William Reyes (READ MORE)

“…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, Sept 1998 (READ MORE)

“A fiercely independent and unflinchingly candid woman connected with a women’s crisis and survival center has to raise her two kids with different fathers. Her first husband has left her when their career options failed to converge. She is now stuck in an extramarital arrangement with another man who cannot bring himself to respect and commit to their quite unorthodox relationship. – Databases of Philippine Movies (READ MORE)

“A women’s rights activist and mother of two, Lea has been abandoned by the fathers of her children. Her daughter and son are at crucial transitional ages and she struggles to provide for them while maintaining her hectic job at a woman’s crisis center. Soon though, the job and her budding romance with co-worker Johnny threaten Lea’s role as mother when her children’s fathers return to accuse her of neglect.” – Baseline Studio Systems (READ MORE)

“The movie “Bata Bata Paano Ka Ginawa?” is a movie which deals not only with the pains a mother and a wife goes through but also with the people around her as well. The movie which was originally based on the novel of the same title written by Lualhati Bautista, is such a wonderful story. Though it was written during the 1980’s, the material still hasn’t lost it’s appeal and connection to the people, considering that were almost entering the new millenium. What fascinates about the movie is that it did not only revolve around Lea but with the other characters as well. I really felt that all of the actors and actreses in the movie connected with one another. Each of the actors and actresses in the movie had a different story to tell. The movie would not have been as wonderful as it is, had it not been for the stellar performances given by the actors and actresses in the movie. There would be no question in terms of Vilma Santos’ acting prowess. Indeed she has proven be one of the fine actreses this country could ever had. I believe that nobody could ever give justice to the role of Lea had it been portryed by another actress other than Vilma Santos. Most noticeable were the performances given by the two kids. Serena Dalrymple and Carlo Aquino’s performance were just unbelievable. Considering that the two kids’ age and considering that there just neophytes in the acting scene.” – Skyinet (READ MORE)

“In one of the most remarkable performances in Filipino film history, Vilma Santos plays Lea, a woman who defiantly rejects social convention to experience life on her own terms. A woman’s rights activist and mother of two, Lea has been abandoned by the fathers of her children. Her daughter and son are at crucial, transitional ages and she struggles to provide for them while maintaining her hectic job at a women’s crisis center. Soon, however, the job and her budding romance with co-worker Johnny threaten Lea’s role as mother. When the children’s fathers turn up to accuse her of neglect, she must ask herself whether her independence is worth the possibility of losing her children? What role–motherhood or lover–will best satisfy the deepest needs of her soul?” – The 35th Chicago International Film Festival (READ MORE)

“…Lea’s Story, based on Lualhati Bautista’s award-winning novel “Bata, bata paano ka ginawa,” tells the story of Lea, a strong and independent woman who defiantly rejects social conventions to live life on her own terms. Lea, a woman’s rights activist and single mother of two, struggles desperately to provide for her children by working at a woman’s crisis center. Soon her job and romance with a co-worker are threatened when her estranged husband comes back into Lea’s life, accusing her of neglect and abuse. Last year, Lea’s Story swept the Filipino Academy Awards by winning Best Picture, Best Actress, Best Screenplay and Best Director. It stars the Philippines’ top actress and actor, Vilma Santos and Raymond Bagatsing respectively…” – Asian American Film News (READ MORE)

“…As much as people think that this is Vilma Santos’ movie, I beg to disagree. Me thinks it was the children’s show. Serena Dalrymple and Carlo Aquino gave two of the best child acting performances ever. Serena as Maya was a chatty young kid, whose bluntness, frankness, and honesty come across as cute and comical however one can still question as to how she was brought up. Carlo Aquino’s Ojie is a more mature kid, he understood what was going on and was rebelling to the fucked-up-ness of their situation. What pisses me off is that today, there hardly is a movie that Carlo Aquino is in, except maybe for last year’s “Carnivore, “where he was superb in again. Aquino is one of the few great young actors of his time that still is a great actor up to know. He is just not that present anymore. And I kinda wish that he makes more movies, because I know that he is a superb actor…” – Douglas Racso (READ MORE)

“…A free-spirited woman and madre de familia runs her life and raises her children unconventionally. It is one of the best films that espouses feminism without being didactic and self-righteous. Humorous, poignant and insightful, it features a yet-another dazzling performance by Vilma Santos…” – Mario A. Hernando (READ MORE)

“…To best understand how Filipino women have changed in the course of time, let us quote Lea’s final words: “OO, natuklasan ko ang mga bagay na hindi ko siguro natuklasan kung pinahawakan ko lang sa iba ang pagkatao ko. Hindi ako nagpakulong, sinikap kong lumaya. At mula sa paglaya ko sa makitid na papel ng isang babae, natiyak ko na ang kalayaan nga pala, sa higit na pangmalawakang kahulugan nito, ay hindi nahihingi kundi ipinakikipaglaban. Hindi lahat ng hinuhuli’y kriminal, at hindi lahat ng diyos ay may dangal! Hindi ako natatako. Babae ako at malakas ako. Ako ang tagapagsilang ng tao, pambuhay ng sanggol ang dibdib ko. Hindi porke ina na ‘ko’y tumigil na ‘ko sa paglaki. Hindi porke babae ako’y maiiwan ako sa labanan. Para sa kaligtasan ng lipunan at kinabukasan ng mga anak ko sa digmaan ng mga uri’t prinsipyo, sa mapayapa man o madugong pagbabago, magtiwala kayo…sasama ako!” We need more Josies adn Leas in our society tody, The time is ripe for Filipino women to rise above the society’s traditional views and coventions. Although ultimate freedom and due recognition of gender equlity remain a struggle and a serious concern, Filipino women are slowly gaining a strong foothold. In a book dedication written by Bautista to this writer, she wroteL “Ang mga kamay na nag-uugoy ng duyan ay kaya ring magtumba ng alon sa dagat.” And we belive that a freer woman is better mother. And every Filipino family needs her. Every family must have her. We remember what Vilma said in our interview with her during the last shooting day of her film “Bata, Bata…” “I would like to be remembered as a mother who would give her life to her children anytime…” She’s an accomplished actress, and many will remember her for that. But Vilma would rather be a mother in her films, in her life…” – Veron Dionisio, Philippine Daily Inquirer, Jul 29, 2000 (READ MORE)

FILM REVIEW: SINUNGALING MONG PUSO

Posted on by Standard


The Plot: An endearing romantic drama that tells of a very curious affair between an older woman (Vilma Santos) and a young unhappily married boy (Aga Muhlach). In between them are Vilma’s husband, Gabby Concepcion and Aiko Melendez as Aga’s wife. All told, the movie proves once again that love does not only happen in the most unexpected times and places. It also makes people do the strangest things. – Regal Films

The Review: Nagsimula ang movie with Clara (Vilma) had a visitor in a jail, ito ay ang ex-wife ng asawa niya. Kasabay nito’y nag-flashback na ang pelikula. Bakit nakulong si Clara? Unang nagkakilala sa isang disco sina Jason at Clara. Inalok ng batang-batang si Jason si Clara ng sayaw ngunit inignore lang nito ang istudyante. Makikita agad na parehong hindi masaya sa buhay may asawa si Clara (Vilma Santos) at Jason (Aga Muhlach). Si Clara ay asawa ng isang malupit at babaerong negosyate, si Roman (Gaby Concepcion). Samantalay si Jason naman ay laging nina-nag ng kasing edad niyang asawa na si Aiko Melendez at pati ang kani-kanilang mga magulang ay nadadaway at madalas na nase-sermunan si Jason dahil rito. Kasabay na pinakita ang problema sa pagaasawa’y ipinakita rin ang mga taong nasasangkot sa pag-iibigan ni Clara at Jason. Ang asawa ni Clara na si Roman ay ubod ng lupit, minsan ay may nahuli ang mga tauhan nito na nagnanakaw sa kanilang bahay ay binaril nito ang magnanakaw. Bukod sa kalupitan ay marami ring naanakan siya at ang laging solusyon nito ay perahan ang mga babae para manahimik ang mga ito.

Nang bumalik sa Pilipinas ang kanyang ex wife na si Leda (Alice Dixon), muling gustong makipagrelasyon ito. Dahil sa mga pambabae ni Roman ay gusto rin sanang makaganti ito sa asawa at maraming mga lalaki na gustong makipagrelasyon sa kanya ngunit napipigilan pa rin nito ang sarili ngunit nang makilala niya minsan ang batang-batang si Jason (Aga) ay hindi na nito napigilan ang sarili. Muling pinagtagpo si Clara at Jason nang masiraan itong una sa kalye at nagkataon na naruon si Jason at tinulungan siya na humantong sa isang dinner date. Nagkaroon sila ng relasyon at nagkikita sa isang apartment na pagaari ng kaibigan ni Clara. Sa kabila ng agwat ng kanilang edad at estado’y natutong mahalin ng dalawa ang kanilang isa’t isa hanggang sa matuklasan ng asawa ni Jason ang relasyon at mag-iskandalo pa ito sa harap ng mga tao’t sa apartment na tagpuan ng dalawa. Bukod sa iskandalo ay nagsumbong pa ito sa asawa ni Clara. Ang naging resulta ng pagsusumbong na ito’y ang pagkakabugbog ni Jason sa malupit na kamay ni Roman. Sinadista nito ang kaawa-awang si Jason. Nang malaman ni Clara ay hindi niya napigilan ang nangyari sa katipan at nang mapuntahan niya’y natuklasan niya ang sinapit ni Jason. Binaril niya ang asawa at pinatay. Dito siya nakulong.

Maayos na nailahad ni Maryo Delosreyes ang istorya nang pag-iibigan ni Clara at Jason. Ito marahil ang dahilan kung bakit tinangihan ni Vilma ang pelikulang Naglalayag na halos kapareho ng istorya, ang pag-ibigan ng isang batang lalaki sa nakakatandang babae. Merong mga eksena rito na hindi kapanipaniwala katulad ng bakit nabuhay pa si Aga Muhlach sa bandang huli dahil nakakapagtaka na sa kabila na sobrang torture na natanggap niya mula sa sadistang si Roman ay nabuhay pa ito. Hindi rin na-isplika ng pelikula kung bakit gustong balikan ni Roman ang ex-wife niyang si Leda (Alice Dixon). Mahusay ang cast ng pelikula, magagalit ka talaga sa kalupitan ni Gabby Concepcion at makikita mo rin na believable siya bilang isang babaerong negosyante. Bilang ex-wife ni Roman, parang tuod si Alice Dixon wala siyang kabuhay buhay na magdeliver ng mga lines. Samantala, litaw na litaw naman ang role ni Aiko Melendez bilang Ana, ang asawa ni Jason. Halos lahat ng eksena niya ay mahusay niyang nagampanan maliban sa bandang huli yung reconciliation scene niya kay Vilma kung saan hindi bagay ang lines niya ba…”pareho natin siyang minahal… blah blah blah…”

Magaling sina Aga Muhlach at Vilma Santos bilang nagtatagong magkasintahan. Lutang na lutang ang pag-arte ng dalawa at nakakatuwa sila sa kanilang mga eksena na nagtatagpo ng palihim tulad ng mag-kita sila sa department store. Dumating si Vilma at hinahanap niya si Aga, hindi nya makita ito hanggang sa mamataan niya ang binata na nakaupo sa may display area. Kinindatan ni Jason si Clara at napatawa na lang ang babae. Mararamdaman mo ang excitement ng mga pagkikitang ito. Nang mahuli ni Ana ang asawa at mag-iskandalo ito, nang umalis na ang asawa at balikan ni Jason si Clara sa loob ng apartment, makikita sa mukha ni Vilma ang pagtatapos ng kanilang affair. Ang sabi niya: “ Hinintay lang kita, guston kong maghiwalay tayo ng maayos…” Bukod sa maraming eksena na lutang na lutang ang pag-arte ni Vilma marahil ang pinaka-memorable ay ang eksena kung saan binaril ni Vilma si Gabby at sabihin niya ang line na: “mamatay kang kasama ng mga baboy mo…” ito ang pagpapatunay na talagang napakahusay niyang artista. – RV

“…In 1992, wala ni isang pelikulang tinampukan si Nora, samantalang si Vilma starred in only one: Maryo J. delos Reyes’ Sinungaling Mong Puso, na hindi niya pinagtamuhan ng anumang major Best Actress award. In 1993, gumawa si Vilma ng pelikula na ang kuwento’y base sa unang Pilipinang nag-reveal ng pagkakaroon niya ng AIDS (Acquired Immune Deficiency Syndrome), si Dolzura Cortez. Directed by Laurice Guillen for Octoarts Films, Dahil Mahal Kita (The Dolzura Cortez Story) won Vilma the Best Actress honors at the 1993 Manila Film Festival, Star, Gawad Urian and FAP…” – William Reyes (READ MORE)

“…Dahil sa tagumpay sa box-office ng pelikulang “Just A Stranger” nina Anne Curtis at Marco Gumabao, muling nauuso ang mga May-December affair film. Sa Urban Dictionary, ang meaning ng “May-December affair” is a relationship between two people where one partner is in the “winter” of their life (old) and the other partner in the relationship is in the “spring” of their life (young). May/December relationships can either be superficial or serious – so the term doesn’t itself say anything about the status of the relationship…Kung tutuusin ay noon pa uso ang May-December affair films at ang iba rito ay naging award-winning pa…Heto nga ang mga pelikulang nagpakilala sa landian, lambingan, harutan ng mga babae/lalaki na may edad sa mga mas batang-batang nilalang…Sinungaling Mong Puso (1992) – Kuwento ito ni Clara (Vilma Santos) na hindi na masaya sa pagsasama nila ng malupit at babaero niyang mister na si Roman (Gabby Concepcion). Nagkataon na nakilala niya ang young father na si Jason (Aga Muhlach) na hindi rin masaya sa nagging wife niyang si Anna (Aiko Melendez). Nabuo ang isang sikretong relasyon na nauwi sa isang madugong trahedya. Mula sa direksyon ni Maryo J. Delos Reyes, nanalo rito si Aga bilang FAMAS Best Actor…” – Anonymous, Abante, 07 Sep 2019

FILM REVIEW: LIPAD DARNA LIPAD

Posted on by Standard


The Plot: After a long period of absence, Vilma Santos resurrected Filipino version of Wonder Woman, Darna, in a fantastic trilogy. Despite the lack of height familiar with previous Darnas, Vilma Santos’ bubbly youthful portrayal as Darna and the alter ego character Narda radiated the screen against Philippine cinema’s senior screen queens, Gloria Romero as the “Babaing Impakta (Vampire Woman),” Celia Rodriguez as “Babaing Ahas (Snake Woman),” and Liza Lorena as “Babaing Lawin (Hawk Woman).” The film was release on March 23, 1973 to a massive crowd in Metro Manila. Tagalog Ilang Ilang Production who produced the film reportedly distributed Darna dolls and Coca-cola drinks to the moviegoers. The film was a trilogy that focuses on the fights scenes between the Darna and her nemesis with great effect and with the help of Darna’s equally perky young brother, Ding portrayed by child star, Angelito. The special effect that’s way ahead of its time in were in full bloom in this film and the make-up goriness particularly Gloria Romero’s was a proof that Filipinos are creative and talented way ahead of Hollywood or even Bollywood. – RV (READ MORE)

The Reviews: In the Silver Age era of Darna, the movie “Lipad, Darna, Lipad!” (“Fly, Darna, Fly!” 1973), played by the lovely Vilma Santos, made a new version of the story. In this time, Narda was a teenager in her late teens. She discovered the magic stone after the event of a falling star landed near her home one night. She discovered that the magic pebble gave her superpowers that made her Darna. She and her brother were the only ones who knew the secret and their grandmother was not aware of it in this version. Narda herself becomes Darna and were not two different characters. She was also not from Planet Marte but was just a champion warrior of the forces of light. Every time Darna turns back to her mortal self, the magic stone reappears in her mouth and she takes it out and hides it until she needs it again. Every time the need arises, she has to swallow the pebble again and say Darna to transform. – Supersexyheroines.com (READ MORE)

In 1951, 2 Darna movies were made starring Rosa Del Rosario, followed by another two starring Liza Moreno in the early 60’s, one by Eva Montes and one by Gina Pareno in 1969. But it was not until 1973’s “Lipad, Darna, Lipad” starring Vilma Santos when “Darna mania” would be rekindled and made this version the highest grossing Darna movie of them all. A feat that has not been equalled to this day. In these 1970s films, Darna’s origin was slightly tweaked with a new twist yet remained faithful to Mars Ravelo’s vision. No longer a little girl, Narda was now in her late teens. Also, she herself becomes Darna, unlike the original where she just “channels” her. Only Ding knows her secret in this version unlike the original where both Ding and their Grandmother knew the secret. Also, the stone comes out of Narda’s mouth every time she changes back from being Darna; she has to swallow it every time she wants to transform (This became standard for following versions). Darna is not specified as coming from Marte, just as a “warrior of Light”. This version of Darna became most people’s idea of the character for about 3 decades. A famous catch phrase by Narda popularized by the movies and NOT the comics version is “Ding, Ang Bato !” (“Ding, the Stone!) – Nostalgia Manila (READ MORE)

The quintessential action-fantasy 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 genres. 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. The enormous success of Lipad, Darna, and 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 super heroine’s history. Lipad, Darna, Lipad! were thus 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.

First episode: “Ang Impakta” (Vampire Woman) – Starring Gloria Romero as Miss Luna, Narda’s school teacher who has a dark secret. She is actually a flying blood sucking creature at night. In this thrilling episode she knows the secret identity of Narda. The most memorable part was when Ms. Luna asked Narda to help her with some paper works. Little that she know, while she was busy checking the papers Ms. Luna excused herself, she then went to the next room and transformed into a scary vampire. Ding found out that Ms. Luna is the vampire and Narda forgot to bring the magical stone , he rushed to her sister who then was being strugled by the monster. As soon as he got there, he threw the stone to her much terrified sister and she immediately changed to Darna. Followed was the famous aerial fight scene. Nanette Medved and Bing Loyzaga tried to copy the infamous fight scene in 1990 Viva films Darna. Episode one was directed by Maning Borlaza.

Second episode: “Valentina” (Snake Woman) – Vilma also had to battle with Celia Rodriguez, who played a campy Valentina, a supermodel by day and a snake priestess by night. One scene has the actress naked in bed being caressed by a dozen snakes. Indeed, with the likes of Gosiengfao, Perez, and Borlaza at the helm, Darna is sure to get stuck in grotesque situations reminiscent of the Rocky Horror Movie. Their take on Darna is sometimes too risqué and violent for little children; but as a camp fest, the movie works. In this episode Valentina, tried to steal Narda’s magical stone. Also, there was a scene where Valentina dressed up as Darna. I love the exciting part where Darna and Valentina battled on top of a high rise building. Darna, was almost a no match to her mortal enemy. Dangerously armed with lazer beams coming out from Valentina’s eyes, Darna was helpless and knocked down several times. Until, she stumbled upon into a piece of broken mirror and used it as a shield againts Valentina’s deadly lazer beams. Darna quickly made her looked in the mirror. Her lazer beams bounced back and she turned into a stone. From the roof, Valentina fell hard on the ground and broked into shattered pieces. Anjanette Abayarri and Cherrie Gil almost did the same scene in ” Darna, Ang Pagbabalik ! ” Second Episode was directed by Elwood Perez. Vilma Santos with co stars Ernie Garcia and Celia Rodriguez as Dr. Valentina Vrandakapoor, Phd in reptilian zoology from the University of new Delhi. Not to be overlooked is Darna’s arch-rival Valentina. Celia Rodriguez breathed new life to the term antagonist with her classy portrayal of the serpent-haired villainess. Rodriguez set a new standard by which evil women are to be judged.

Third episode: “Babaing Lawin” (Hawk Woman) – Starring Liza Lorena as Babaing Lawin. I barely remember this one, there was this scene where Narda and Ding got caught and almost drowned in a quick sand. In Hawk Woman’s cave there’s this stream, that can make her wings disappear by walking across to it. There was also this character named Agila, a bird man played by Rod Dasco, he’s like the Hawk Woman’s mate. There was some fight scenes in the cave between Hawk Woman and and Darna. At the end of the story Darna and Hawk Woman, mend their ways. – Eric Cueto, Mars Ravelo Darna (READ MORE)

“…In the 1960’s, Gloria Romero portrayed Imelda Marcos in “Iginuhit ng Tadhana” and “Pinagbuklod ng Langit.” In the 1970’s she starred in two memorable movies: Behn Cervantes’s vanished movie, “Sakada” (1976), and earlier, 1973’s “Lipad, Darna, Lipad,” the biggest movie of its time in which she played a “manananggal” to Vilma Santos’s super heroine. Up to now, she considers the last as one of her most unforgettable…” – MPP (READ MORE)

“…Vilma, now 20, still looking virginal and sweet kicked 70’s phenomenal superstar Nora’s butt at the boxoffice and earned her box-office wings via this monumental hit. The Emancipation of Baby Vi. Mariah Carey could not agree more. There was no turning back since then. The Fantasy Queen was born. Fortythree year old Tita Gloria gamely and bravely accepted the role of Ms. Luna, teacher by day and Manananggal by night. Movie Queen Gloria was deglamorized and became the evil incarnate as a vampire. Amalia Fuentes was the original movie queen who bravely accepted a daring role such as a vampire that won her a FAMAS statuette in Gerry De Leon’s Ibulong Mo Sa Hangin, and changed her goody-two-shoe image forever. Was she the original queen of reinvention that gave Vilma an idea to do the same via the landmark movie Burlesk Queen? Hmmm… For the first time, La Santos was billed above La Romero. Times have changed. The tables were turned. Vilma Santos is the New Box-Office Champ and Tita Glo and Co. could only “bow” to the Reel/Real Queen: Ms. Rita Gomez, Helen Gamboa, Boots Anson-Roa, Barbara Perez and others did not have second thoughts to do a movie with the resurgent Vilma. Who wouldn’t want to be famous again and have fun working with the most hardworking and versatile actress? In my book, the aerial Good versus Evil fight of Vilma and Gloria as Darna and Impakta was one of the most thrilling and unforgettable scenes of my movie-going life. How I wish the movie resurfaces from Indonesia or from Timbuktu and my Vilma collection will be complete. That will be heaven! Where, oh, where is that classic movie? The Manananggal episode of Lipad, Darna, Lipad was so good that the two have to followed up their success via Anak Ng Aswang…” – Mario Garces (READ MORE)

“1972 – Lipad, Darna, Lipad…di ko na nakuhang mag-supper and hurriedly went to Coronet 2 bagama’t the film had already started eh uber sa dami ang mga fans sa loob at labas ng sinehan. nakapwesto ako sa dilantera ng sinehan para malapitan kong matanaw sa pagdaan si Ate Vi dahil premier night ng pelikulang Lipad Darna. Nagsalubong ang kilay ko in exasperation nang lapitan ako ng mayordoma ni Johnny Wilson na kalapit-bahay namin sa Paco. May mga kasama sya at tinanong kung Vilmanian din daw ako. Sabi ko’y napadaan lang ako at paalis na nga. tiempong gumagawi ako sa may likuran nang biglang nagkagulo ang mga tao sa pagdating ni Vilma. Ang ganda nya! naka-costume pero naka-kapa para di gaanong malantad ang katawan nya. tuwang-tuwa pa naman ako nang muntik na akong masagasaan. Nasa gitna na pala ako ng E. Rodriguez at namura pa ako ng driver. Potah! Gumawi tuloy ako sa kabilang kalye at kahit malayo ako’y masaya pa rin ako. Sa pakiramdam ko’y ako ang kinakawayan nya. mangilan-ngilan kami sa kabilang kalye na kakaway-kaway rin sa kanya. i went home happy but bone-weary and hungry. kaya lang, nasinturon ako ng tatay ko. Di tuloy ako nakakakain. This sucks! But i will tell nothing of the story of Lipad, Darna, Lipad. Alam kong napanood na yon ng sambayanan. I just have to say kudos to Ate Vilma, she’s so awesome as Darna. There were Gloria, Celia and Liza…all of the evil creatures you need to see in order to make them truly appear as the antagonists of Darna. The story itself is too rich and wonderful, just enough of humor, just enough of banter. The box-office result made history. Almost everyone joined the jubilant partying that is Vilma. She worked hard for it…and effectively captured our national psyche…on her way on top. Some actresses also dared Darna roles, unfortunately, they lacked originality and creativity that we might just view them as a form of flattery. Iba pa rin ang Vilma! Inevitably, it was time for Vilma to take the helm, talagang panahon na nya at wala ng makakaawat pa sa kanyang pagsikat… She was set to eclipse her contemporaries, including the brown girl from Iriga City.” – Bobby Lopez (READ MORE)

“…Maturing as a scriptwriter and film director, in 1973, commercially successful Lipad, Darna Lipad! was released. Award-winning actress Celia Rodriguez essayed the role of Medusa-like villainess, Valentina, nubile Vilma Santos played the Filipino supergirl (a role that launched her in a series of Darna flicks). To Filipino film industry insiders, Perez is known as the most sought-after movie director of his generation…” – Nickie Wang (READ MORE)

“…Elwood Perez and Vilma Santos colloborated in seven films (Ibulong Mo Sa Diyos 1988, Lipad Darna Lipad 1973, Magkaribal 1979, Masarap Masakit ang Umibig 1977, Nakawin Natin ang Bawat Sandali 1978, Pakawalan Mo Ako 1981, Pinay American Style 1979). The first one was the trilogy that he co-directed with two other director, Borlaza and Gosiengfiao (these three are the most underrated and under appreciated directors in the Philippines), the remake of Mars Ravelo comic super hero, Darna in Lipad Darna Lipad. The film was a record-breaking hit Box-office Film. They follow this up with a more mature projects as Vilma started to switched her image from sweet to a mature versatile actress, pairing her with Christopher DeLeon in five films starting with Masarap Masakit Ang Umibig in 1977. The Perez-Santos-DeLeon team produced seven blockbuster hits that gave Vilma two FAMAS best actress awards that secured her elevation to FAMAS highest honour, the FAMAS Hall of Fame award. She won in 1979 for Pakawalan Mo Ako and 1988 for Ibulong Mo Sa Diyos…” – RV (READ MORE)

Sa paggawa ng pelikula, kung maringgan man ng pagdaing si Vilma Santos ay bihirang-bihira. Nangyayari lang ito kung ipagpalagay nating siya’y may dinaramdam, hapong-hapo at talagang hindi na makakaya ng katawang humarap sa kamera kahit ibigin niya. Gayon man, kung nagkataong napakahalaga ng eksena at kinakailangang gawin niya, khait anong sama ng pakiramdam niya’y humaharap siay sa kamera. At sa pagtungo niya sa set o location, lagi siyang nasa oras. Kung maatraso ma’y saglit lang. Ganyan ka-professinal si Vilma Santos. Ngunit sa Lipad, Darna, Lipad ay dumaraing siya. Hindi sa hindi niya enjoy gawin ito. Ang totoo’y sa pelikulang ito lang siya na-involved. Ibig na niyang matapos na ito’t makita ang pinagpaguran niya. Talaga palang mahirap gumawa ng costumes picture. Lalo pa’t kung tulad nito! Una ang naging suliranin namin ay ang Darna costumes ko. Kasi kinakailangan maging maliksi ang kilos ko bilang Darna, kaya kailangang alisin na ang padding. Kaso nga lilitaw naman ang malaking bahagi ng aking katawan. Mabuti na lang at sumang-ayon ang aking fans. “Pangalawa, nag-aalala ako sa mga eksenang bakbakan namin nina Gloria Romero, Celia Rodriguez at Liza Lorena. Kasi baka masaktan ko sila nang di sinasadya. Ang pangatlo ay ang likas ng pagkatakot ko…sa mga ahas. Kasi may bahagi roong tungkol sa Babaing Ahas, si Valentina. Dito, laging kailangan ang ahas sa mga eksena. Mga sari-saring ahas. Maliliit at malalaki. At makamandag! Ang pinakamahirap sa lahat ay ang pag-su-shooting. Kailangan naming tapusin ito anuman ang mangyari. Kaya nasasagap ko ang lamig ng gabi at init ng araw. At ang suot ko nga’y labas ang malaking bahagi ng katawan! At alam n’yo namang kailang lang ay naospital ako dahil sa respiratory defects!” Ito ang daing ni Vilma Santos sa pinakamahirap niyang pelikula, ang Lipad, Darna, Lipad. Ngunit mahihinuha naman ninyo na ang pagdaing niya’y parang paglalambing lang. Dinaraan pa nga niyang lahat sa biro. Pagka’t ang tutoo, mahal na mahal niya ang pelikulang ito. Dahil ito nga ang pinakamahirap. At sa isang artista, kung alin ang pinakamahirap ay siya namang pinakamasarap! – Cleo Cruz, Love Story Magazine, 1973

RELATED READING:

Tribute to Atty. Espiridion D. Laxa

Posted on by Standard

This slideshow requires JavaScript.

Revenue and Prestige “…Former movie producer, lawyer Espiridion Laxa explains that, during the festival, since no foreign movies are shown, Philippine movies invariably rake it in. Laxa is the MMFF executive committee’s chair on legal affairs and rules and regulations. Production costs are huge, especially for ambitious films shot on locations abroad, or those employing expensive digital effects. “For example,” Laxa recounts, “for the air raid scene in Regal Films’ ‘Yama$hita,’ they had to digitally create the airplanes. The scene lasted six minutes on screen, but the effect alone cost P14 million.” But the investment paid off, he said, since “Yama$hita” was named Best Picture of the 2001 MMFF. The trophy came with a hefty cash prize. Besides, just being included in the festival lineup already earns much-needed subsidy for the producer. “The festival committee gives the subsidy so that better-quality films will be made,” said Laxa. “President Gloria Arroyo gave P50 million in 2002. Out of that, P4 million went to the producers of each of the film entries. Last year, the film producers received P1 million each from what was left of the 2002 subsidy.” This year, producers received a subsidy, too, but Laxa did not disclose the amount. Finally, producers are after the prestige. Being included in the MMFF’s lineup puts the movies, and the producers, way ahead of the pack. In short, Laxa says, “It’s image-building. Producers want the honor of being included in the filmfest. The perception is that (if your movie is in the MMFF) you’re good…” – Philippine Daily Inquirer, Dec 15, 2004 (READ MORE)

Laxa on FPJ’s death on films: “…When an owner of several theaters in Mindanao learned that Fernando Poe Jr. was making a movie for Atty. Espiridion Laxa, the owner immediately called the respected producer to ask what will happen to FPJ at the end of the movie, will he live or die? When Atty. Laxa answered that FPJ will live when the movie ends, the theater owner heaved a big sigh of relief. He was doubly glad to learn that the King of local movies is playing a Muslim cop in said movie, “Muslim Magnum 357.” Why is it important for the theater owner to know if FPJ is going to live or die in his latest movie? Well, you see, several years back when an FPJ film in which he died at the end was shown in one of the theaters of the said owner, the patrons, which were mostly Muslims, almost created a riot, threw things at the moviehouses’ screen, destroyed the seats and stopped other moviegoers from entering the theater…In fact, it’s not only his Muslim fans who don’t want to see FPJ dead in his movies, but almost all his followers all over the country. But why? Here’s how Atty. Laxa explained this sort of FPJ cult: “In real and reel life, FPJ epitomizes the champion of the small people, the common tao, especially the underdog, who are victims of injustice and abuses. It is as if they see in him, on-and-off screen, their own dreams and aspirations. To the youth, he is a living idol. For almost three decades, FPJ has become a folk hero and heroes don’t die.” – Tony S. Mortel (READ MORE)

Pillar of Local Movies – “…If Jose Nepomuceno was acknowledged the Father of Philippine Movies, Atty. Espiridion Laxa became the Pillar of Local Movies since the mid-50s. At the time LVN Pictures, Sampaguita Pictures and Premiere Productions were about to cease from producing films, Atty. Laxa founded Tagalog Ilang Ilang outfit. He re-established Fernando Poe Jr., Joseph Estrada, Jun Aristorenas, Jess Lapid Sr., Tony Ferrer in starrers Mga Tigreng Tagabukid, Suicide Commandos, Kardong Kidlat, Dugong Tigre and Leon at Tigre. Atty. Laxa launched his brother Tony Ferrer as the local James Bond via the blockbusters Sabotage and Crisis which were critically acclaimed also. The reteaming of top love team then Amalia Fuentes and Romeo Vasquez came to the fore through Atty. Laxa’s project Ako’y Iyung-Iyo which was the top moneymaker then. His firm launched sexy stars to stardom, the foremost were Divina Valencia and Stella Suarez, highlighted by their team up in Labanang Babae, a box office hit. That ushered in the popular song about the duo. In the tune of Hard Day’s Night, with the lyrics Divina Valencia, Stella Suarez nagbu-burlesk. That even kids loved to belt that time, much to the chagrin of elders. However, Atty. Laxa became more respected as adviser, legal counsel . trouble shooter of problems existing within showbiz people. It ignited when Amalia was sued by Sampaguita Pictures’ Jose Perez for breach of contract. With his therapeutic words Atty. Laxa was able to iron the kinks between them out of court. From then on, practically everyone would love to seek his assistance and advice whether personal or about local movies. Not surprisingly, he was chosen the president of the Philippine Motion Pictures Association for decades. Later, then president of the country Joseph Estrada appointed Atty. Laxa the chairman of the Movie Workers Welfare Foundation (Mowelfund), showbiz’s counterpart for SSS. The more he turned out to be a pillar of the movie industry. One of those who had categorically benefited from Atty. Laxa’s fold was Vilma Santos. She rose from a sweetie type of star into a highly respected and controversial figure off-screen. Her private life had been guided with care by no less than Atty. Laxa. The reason why Vilma considered him a second father to her. Exactly the same treatment showered to him by most of the stars and movie people, led by FPJ, Erap, Amalia and others. When given a chance to work as his firm’s publicist starting with the FPJ starrer Mabuting Kaibigan, Masamang Kaaway in the ‘90s, this writer was boggled with his big-heartedness and extreme compassion for his workers. Sadly, I was already in Canada during his demise and in his wake some years back. Nonetheless, the legacy Atty. Laxa left behind in showbiz will be instilled not only in my mind but to everyone connected in showbiz or those who had capacious time spent with him…” – Paul F. dela Cruz (READ MORE).

Produced atleast 100 films – “…Laxa’s Tagalog Ilang-Ilang Productions Inc. and EDL Productions produced some 100 films that were headlined by the action stars of Philippine cinema like Fernando Poe Jr., ex-President Joseph Estrada. Jess Lapid Sr. and Jun Aristorenas. He encouraged his lead stars to put up their own film companies. His films also included drama films that starred Nora Aunor and Vilma Santos. He was responsible for casting together the superstars of Philippine cinema during the 60s to the 90s. Some of the TIIP films included FPJ starrers like Hari sa Barilan and Fandong Asintado, Sabotage with Tony Ferrer as Agent X-44, Markang Rehas with Joseph Estrada, the Nora Aunor-Vilma Santos film Ikaw ay Akin and several Darna films with Vilma Santos. At the time of his death, he was also the chairman of the Movie Workers’ Welfare Foundation (MOWELFUND) and the Motion Picture Anti-Film Piracy Council, Inc. He was also a director of the board of the Film Development Council of the Philippines. Atty. Laxa hailed from Macabebe, Pampanga and took his law studies at the Far Eastern University and Philippine Law School. He passed the bar examinations in 1955. He was co-founder with the late Mayor Antonio Villegas of the Manila Film Festival in 1966 where he served as co-chairman for the periods 1966-69, 1972-74 and 1992-99. He was the chairman of the Rules and Regulations of Legal Affairs Committee of the Metro Manila Film Festival since 1998. Laxa was given the Lifetime Achievement Award of the FAP in 1993, the same year he was awarded the Patnubay ng Sining at Kalinangan for Film by the City of Manila. In 2004, he was given a special recognition award by the Metro Manila Film Festival. For the years 1987 to 1990, Atty. Laxa was the president of the ASEAN Movie Producers’ Association…” (Film Academy of the Philippines, Sep 16, 2009)

Si Falcon at si Darna “…First to speak was Tony Ferrer, the younger brother of Atty. Laxa who used to play the role of Agent X-44 Tony Falcon, our local James Bond. He thanked the people who supported them in their time of bereavement. Tony reminisced the days when his elder brother reprimanded him. “Pumuti ang buhok ko hindi dahil sa trabaho. Ikaw ang nagpaputi ng buhok ko, Tony, kaya itigil mo na ang mga kalokohan mo.” Tony couldn’t control his tears when he said, “Hindi lang ako nawalan ng kapatid. Nawalan din ako ng ama.” Atty. Laxa had taken care of his siblings in the absence of their parents…Marichu Maceda talked at length on the accomplishments of Atty. Laxa in the movie industry. “Pag may taong kakausapin, hinahatak ko siya (Atty. Laxa). Siya kasi ang pambato ko sa casting.” Manay Ichu and Atty. Laxa were the prime movers in the establishment of the Film Academy of the Philippines. Manay Ichu also mentioned the time when Vilma Santos was having a problem with the BIR (Bureau of Internal Revenue). “Inabot ng one and a half years ang pag-audit kay Vilma. Si Attorney ang taga-busisi, taga-double check ng mga figures.” MMDA Chairman Bayani Fernando also took the podium. Before handing an envelope as his donation of sympathy to the family of the late FAP chairman, BF took a one last look at the coffin. Atty. Laxa was a member of the Metro Manila Film Festival’s executive committee of which BF heads. BF made a reference to the issue of the MMFF execom giving him a birthday gift (monetary) every year. And since the funds came from the MMFF coffers, it is now the subject of a senate committee inquiry chaired by Sen. Jinggoy Estrada. The corruption issue is being aimed at Atty. Laxa because, it seemed that, he instigated the gift-giving.  Ric Camaligan, the SVP of SM Entertainment, rectified that notion. “Hindi po si Atty. Laxa ang pasimuno ng regalo. Kami po ang talagang may idea noon,” Camaligan stressed in taking the blame away from Atty. Laxa…First to be seen that night was Vilma Santos who went straight to the coffin. She had many films with TIIP (Tagalog Ilang-Ilang Productions), the production outfit of Atty. Laxa. Incidentally Vilma’s latest movie, In My Life, was said to have earned 20 million on the first day of showing…” – Alex J. Socorro, FAP, Sep 23, 2009 (READ MORE)

Espiridion Laxa (December 18, 1929 – September 15, 2009) was a Filipino lawyer, film producer, Metro Manila Film Festival executive committee member. He was also Chairman of the Film Academy of the Philippines. He also founded the now defunct Tagalog Ilang-Ilang Productions,[1] which produced Ibigay mo sa akin ang bukas (1986) Boy Tornado (1987) Alyas Pogi (Birador ng Nueva Ecija) (1990) and Mabuting Kaibigan, Masamang Kaaway (1991). A lawyer by profession, Laxa served as senior partner at Laxa, Mapile & Associates. He was best known as a film producer and official of various movie organizations, such as the Film Academy of the Philippines, Philippine Motion Picture Producer Association and the Motion Picture Anti-Film Piracy Council Inc (Wikepedia).

Accomplishments

  • Member (Integrated Bar of the Philippines)
  • Senior Partner (Laxa, Mapile & Associates Law Office)
  • President (Soliman Lawyers)
  • Legal Adviser (Kapisanan ng mga Sinehan sa Pilipinas)
  • Legal Cousel (Several Corporations)
  • President (Tagalog Ilang-Ilang Production Inc. / EDL Prod)
  • Chairman (Film Academy of the Philippines)
  • Chairman (Philippine Motion Picture Producer Association)
  • Chairman (Motion Picture Anti-Film Piracy Council Inc)
  • Director (Premiere Entertainment Productions Inc)
  • Lifetime Achievement Award (Film Academy of the Philippines)
  • Dr. Ciriaco Santiago Memorial Award (FAMAS)
  • Manila’s 1993 Awardee (Patnubay ng Sining at Kalinangan)
  • Awardee for Flavio Macaso Memorial Award (FAMAS)
  • Outstanding Manilan
  • Manila’s Diwa ng Lahi Awardee
  • FAMAS President’s Awardee

Source: FAP

RELATED READING:

longest-reigning Philippine movie queen

Posted on by Standard


In the finicky and unstable world of Philippine show business, Vilma Santos (Rosa Vilma Tuazon Santos-Recto born on November 3, 1953 in Manila) has remained on top as the longest-reigning Philippine movie queen. Known everywhere as the “Star For All Seasons,” her career longevity and phenomenal staying power from the 1960s up to the present is the envy of many because she has been able to maintain her stature as a top actress for the past four decades by combining artistic acclaim and commercial success having been a Best Actress and Box-Office Queen Hall of Fame awardee. Her immense talent and incredible range as an actress, charisma and excellent public relations, hard work, dedication and commitment to her craft have made her one of the most respected, admired and beloved actresses in Philippine movies.

Of major and significant importance in setting Vilma apart from her contemporaries and peers in the movie industry are her inherent traits of internal discipline and selflessness, her physical, emotional and mental endurance (as described by the late National Artist Ishmael Bernal) and her excellent choice of talented and wellknown film collaborators (directors, writers, producers) through the years which enabled her to make noteworthy and highly-successful film projects and thereby achieve one of the most successful careers in local show business. Vilma has worked with the biggest film producers in the country namely Star Cinema, Viva Films and Regal Entertainment and her continuing association with the best people in the business has brought out the best in her as a person, actress and public servant.

The late starbuilder, Dr. Jose Perez, saw Vilma when she was 9 yrs old and realized early on her potential as an actress when she auditioned and eventually won the title role in Mars Ravelo’s “Trudis Liit” (1963) produced by Vera Perez Pictures where Vilma won her first acting award as Best Child Actress from the FAMAS. In her teenage years, Vilma was signed into a contract by Atty. Espiridion Laxa, her friend and mentor, who produced most of her movies as a top teen idol with favorite screen partner, Edgar Mortiz, under Tagalog Ilang-Ilang Productions. The most memorable films were “Inspiration,” Vilma’s first actress-director collaboration with the late National Artist (Film) Ishmael Bernal and “Dama de Noche,” directed by Emmanuel H. Borlaza where Vilma won her first Best Actress award from the FAMAS in 1972 at the age of 19. In an unprecedented career move, Vilma went solo in 1973 and eclipsed all her contemporaries when she agreed to play “Darna,” another Mars Ravelo heroine and the local version of Wonder Woman, in the hugely successful landmark film “Lipad, Darna, Lipad” which broke all existing box-office records. Produced by Sine Pilipino, the movie’s monumental success elevated Vilma to the enviable position of Philippine Movie Queen. Proving further her utmost versatility, Vilma successfully graduated to adult roles when she played a tragic stripteaser in “Burlesk Queen” (1977), a dramatic period movie set in the 1950s. The film, conceived and directed by Celso Ad Castillo, was highly acclaimed and won 10 awards in the Metro Manila Film Festival including the Best Actress Award for Vilma and Best Director for Castillo.

In the years that followed, Vilma carefully chose her film projects and came up with some of the most memorable characters onscreen – an avenging rape victim in “Rubia Servios” (1978) directed by National Artist (Film) Lino Brocka; a sympathetic mistress in “Relasyon” (1982) directed by National Artist Ishmael Bernal where she won her first acting award grandslam; a politicized nun in “Sister Stella L.” (1984) directed by Mike de Leon; and a homicidal nymphomaniac in “Tagos ng Dugo” (1987) directed by Maryo de los Reyes. By demonstrating her range, depth and intensity as an actress in many of her films, Vilma delivered some of the most compelling performances and most unforgettable acting moments ever witnessed on the local screen and firmly established herself as one (of a few) of local cinema’s greatest actresses.

The late National Artist Lino Brocka likened Vilma’s acting abilities to water because according to him “she can register anything.” She has been called “the Meryl Streep of the Philippines” and US Variety Magazine described her as the Ultimate Philippine Cinematic Diva. Her stature as a great actress was further confirmed when > independent-minded career woman in “Bata, Bata Paano Ka Ginawa” (1998) directed by Chito Rono and based on the Palanca award-winning novel by Lualhati Bautista; a suffering overseas worker in “Anak” (2000) directed by Rory Quintos; a mother who evolves during Martial Law in “Dekada ‘70” (2002) also directed by Rono and written by Bautista; and a Filipino-Chinese anti-crime crusader in “Mano Po III: My Love” (2004) directed by Joel Lamangan.

On July 4, 2005, Vilma was given the prestigious Gawad Plaridel (Film) by the University of the Philippines for her outstanding achievements in film and her social responsibility in bringing onscreen, especially during the past few years, the changing role of the Filipina in today’s society who is critical and vigilant, liberative and transformative, free and independent. Named after Marcelo H. del Pilar who believed in a progressive society and a socially-responsible media, Vilma received her award in glittering ceremonies at the Cine Adarna of the University of the Philippines and delivered a well-received and highly-inspiring lecture on her unparalleled career as an actress and how she was able to use her stature and popularity as a movie queen in choosing carefully her roles that showed the modern Filipina in today’s society.

In his article “The Actor as Role Model,” noted writer and film critic Gino Dormiendo said that “what makes her reign more phenomenal is that today, with over 200 movies to her name, Vilma Santos, star and actor, continues to shine luminously, an enduring and truly endearing figure in the movies, recognized for her outstanding record as an actor and a sterling symbol of professionalism to her colleagues in the industry.” Vilma’s excellent film output especially during the last few years is a shining testament to her maturity as a film artist which the late National Artist Ishmael Bernal confirmed after working with Vilma in some of their best films together.
Bernal witnessed first-hand her evolution from actress to artist from the first time they worked together in “Inspiration” (1971) until their final collaboration in “Pahiram ng isang Umaga” (1989).

Vilma’s recent multi-faceted roles showing Filipinas to be independent-minded fighters capable of finding their rightful place in society highlighted the importance of woman empowerment. Dormiendo further wrote that “in her continuing evolution, she has chosen to play her most coveted performance as a role model for Filipino women and, in today’s global village, a shining symbol of courage and integrity for all women everywhere.” Indeed, Vilma is a shining example of the brilliant multi-tasker by being able to successfully do a balancing act and perform with diligence, dignity and grace her various roles in society – as a wife and mother; an actress, film artist and movie queen; and a highly-regarded and much-admired public servant. In this regard, Vilma is truly the definitive modern Filipino woman of our times and for all seasons. – Paolo Salas, Celebrity Chronicle, Nov 2006

Pinagtibay ng Panahon 1/2

Posted on by Standard


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

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

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

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

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

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

GO TO PART TWO

Pinagtibay ng Panahon 2/2

Posted on by Standard


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

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


TAGULAN SA TAGARAW


MASARAP MASAKIT ANG UMIBIG


IKAW AY AKIN


MAGKARIBAL


PINAY AMERICAN STYLE


PAKAWALAN MO AKO


RELASYON


SINASAMBA KITA


HAPLOS


PAANO BA ANG MANGARAP


BROKEN MARRIAGE


MINSAN PA NATING HAGKAN ANG NAKARAAN


IPAGPATAWAD MO


DEKADA 70


MANO PO 3: MY LOVE

GO TO PART ONE

FILM REVIEW: IPAGPATAWAD MO

Posted on by Standard


The Plot: A married couple who try to make their marriage work despite the fact that both of them are career-oriented and that there are tensions created by the prescence of their first-born child, Mike Jr., who turns out to be autistic. – RV (READ MORE)

The Reviews: “…At first, their marriage is close to being one made in heaven. Mike Esquivel (Christopher) is a successful lawyer, while Celina (Vilma) is a popular talkshow hostess. Celina gives up her career to devote fall time as mother to Junjun, the autistic child, played well by both Bennett Ignacio (when Junjun is three years old) and Terence Baylon (when the boy is seven years old). The husband, however, is totally unsympathetic and even considers the child a disgrace. With the wife spending practically all her waking hours to attend to her “special” child, the marriage expectedly begins to crumble. They only give themselves a second chance when Celina finds out that she is again pregnant. The second child – to father Mike’s relief – turns out to be a normal, healthy boy. But with Mike still unable to accept the first child, the marriage is on the rocks once more. The situation worsens when Mike -driven by the abnormal conditions at home and his own self-centeredness – starts an extramarital affair with a balikbayan named Monique (Bing Loyzaga). Finally, a near tragic incident gives Mike another chance to prove himself a worthy husband to Celina and even worthier father to his kids, especially the autistic one. The movie is poignant, nevermushy. It isnotthe run-of-the-mill tearjerker that relies on maudlin theatrics and melodramatic devices to touch the hearts of moviegoers. Surprisingly, despite the frustrating problem facing the movie couple, moviegoers did not seem to be depressed by the movie…” – Butch Francisco (READ MORE)

“What?s the critics said: Payak, makabuluhan ngunit kakaibang pelikula ang ?Ipagpatawad Mo? ng Viva Films. Sapat ngang ipakipaglaban ng Vilma Santos at Christopher de Leon tandem ang paghahanap ng ibang klaseng script na lalo pang mapatingkad sa status nila bilang mga aktor sa makatuturang kahulugan nito. Mapalad sila sa panulat ni Olivia lamasan ng isang story na tumatalakay sa reaksiyon ng isang pamilya sa pagkakaroon ng abnormal na anak. Hinugot ni Ms. Lamasan ang autism syndrome na first time na inilantad sa Pilipino screen, bagamat tinangka na rin itong ipaliwanag sa ?Rain Man? ni Dustin Hoffman sa Hollywood. Sa story, sina Vilma at Christopher ay intelihente (TV broadcaster at lawyer respectively) at matagumpay na indibidwal. Maykaya sila sa buhay ngunit nagkaanak ng autistic. (Ang autism, ayon sa mga modren psychologists na sina Bernard Rimiand at lauretta bender, ay isang uri ng infantile psychosis na kung saan ang sinasapian ay nagwi-withdraw sa reyalidad ng buhay. Nananatili sila sa sariling daigdig na nilikha ng isip at pantasya.) dahil sa autistic child (Edward Carlos Garcia) unti-unting nawasak ang pamilya nina Vilma. Vilma vowed to protect and care for the child because she felt this is the only way a mother can assure herself that everything can be given to the son. (Pinatunayan nga ng pelikula na mas apt ang title na Paano Ba Ang Maging Ina rito kaysa roon sa ginawa ni Nora Aunor). On the other hand, nire-reject ni Chris at ng kanyang family (Delia Razon, et al) ang bata dahil nakababawas ito sa dignidad ng family stature nila. The conflict progresses to give us the different views on how to accept the frailties of people within our family. Para bang kung paano tatanggapin ng magulang na may anak siyang may butas sa puso or worst bakla. The father and mother image were deliberately explored at sa tuwing mag-aaaway sina Vi at Boyet, parang nakikita natin ang ating mga magulang na nagtatalo. the scenes were too real for comfort.

Nadale ng Viva ang kiliti ng masa. Hindi mo nga kailangang bigyan ng heavy stuff ang tao para masabing matino ang pelikula. Tama na nga sa mga politicized films or pa-social relevance. Bugbog na bugbog na ang ganitong tema sa mga diyaryo at sensayunalismo ng TV Patrol ng Channe 2. Mas kinagugusto ng balana ang mga pelikulang nakasentro sa mga karaniwang problema ng tao, lalo na?t may kinalalaman sa ordinaryong relasyong pantao. Napapanahon ang story ng ?Ipagpatawad?. Simple. Natural na pinakilos ng mga tauhan ng dula na halos parang hindi mo namamalayang pelikula lang pala ito. Aakalain mo ngang nakikinood ka lang sa isang scenario sa buhay ng kapitbahay mo. Ganito katindi ang tama ng pelikula sa manonood. This is indeed a very special movie for Boyet and Vi. Santos is again in the running for Best Actress. She was able to sink her teeth to the role of a disturbed mother torn in the love and responsibilities for her husband and the abnormal child. Except for some restless gesticulation of the hands, damang-dama mong buong katawan niya ay nilukuban ng kaakuhan ng role. All her scenes can be considered highlights, because she was consistently good in them. Her duro scene with Boyet was satisfactorily blocked and orchestrated. So far here, Vilma has an edge over Ruffa Gutierrez, Mona Liza, Janice de Belen and Lorna Tolentino in the acting derby next year. De leon was able to regain his acting brilliance in this movie. hindi puwersado. Cool, less facial contortion which became evident in some recent films he made. I like him better here than in ?Salingin? and ?Makiusap sa Diyos?. Nakababagbag-damdamin ?yung paghingi niya ng tawad sa anak. The monologue, which started sa pasakalye to reconcile ended in pained catharsis, that even a man with a heart of stone whould melt in depression. As a team, gamay na gamay na nina Vi at Boyet ang isa?t isa. Actually. sa tender moments nila, you don?t see them as the stars. You are made to believe they were really husbadn and wife.They were too relaxed. Their movements were free and natural. This is really what we call team acting. Walang sapawan.

The movie added more luster with the convincing portrayal of the kids. (Edward Garcia, Bennet Ignacio at Terence Baylon) who played Vi?s children. Special mention dito si Garcia na gumanap na 3-year old Junjun. Ang nuances niya ng ritualistic hand movements and echolalic sppech (symptom ng autism) ay talagang believable. He is not even conscious of the camera. Not to be outdone ay ang great support nina Charito Solis, as the choleric mother of Vi: Joonee gamboa, as the phlegmatic father; Ruby Rodriguez, as the yaya na talagang agaw-eksena, lalo na sa carnival scene; Bing Loyzaga, na mas improved and better version ni Gretchen Barretto sa movie; at Vivian Foz, as the wronged confused sister of Vi. Exceptional din ang cinematography and lighting works ng movie. As usual, expected sa Viva melodrama ang glossy, fabulous setting na nag-capitalized sa affluent house interior. kaya lang, parang di tugma ang theme song ni Janno Gibbs sa story. But more than this, laudable ang script ni Ms. Lamasan. Veritable na may research work ang writer. Dahil na-inform niya nag madla tungkol sa autism na dominant sa mga batang lalaki ngayon. Naipabatid niya na autism is detectable at the first two years, when the child is suffering from hearing and speech impairment In-insinuate din niya na the birth delivery (as specified in the opening scene) can cause oxygen deprivation that may affect the brain development of the child, thus creating immaturity in vasomotor coordination such as hearing, speech and hand movement. nilinaw rin niya na ang emotional refrigeration (yaong rejection nina Chris, Delia at Vivian) can cause the intensification of the disease. However, na-establish din niya ang love and care ng parents (ni Vilma) at sibling (ng kapatid na normal) will be more than enough to push the child to develop little by little. This time Laurice Guillen has hit the pot. The movie turned out to be artistically made and yet the commercial value of it did not suffer. Bumalik na ang aesthetic eye ni Direktora Guillen. Thank God, a film like this comes once in a while to give us enter-educational (learning with pleasure) millieu.” – Ces Ysobel Orsal (READ MORE)

“…The 1990s saw Charito Solis graduate to mother and grandmother roles, which she had done with frequency in the 1980s. In another nod to her age, she finally allowed herself to be billed above Vilma Santos, then acknowledged as the Longest-Reigning Box Office Queen of Philippine Movies, albeit above-the-title in films such as Ipagpatawad Mo (1992) and Dahil Mahal Kita: The Dolzura Cortez Story (1993)…” – Gypsy Baldovino and Yolly Tiangco (READ MORE)

“So much has been said and written about Enter-Educate (Entertainment for Education) but does anyone really know what it all means? As their ad says people in the entertainment industry who ascribe to Enter Education use their appeal to inculcate positive values. Quickly applying this in the movies, It’s the difference between Ipagpatawad MO (Viva Films) and Disgrasyada (Regal Films) both showing at your favorite theaters. Ipagpatawad Mo is a movie about how a family copes with autisitc children. Value: The Family. I haven’t seen Disgrasyada, but given Regal’s track record for gadawful movies, this movie will probably have Ruffa Gutierrez rompling around (wet, most likely) in Mother Lily’s famous kamison. Value: Magic Kamison. I am not saying that Viva makes better movies than Regal. Viva is the same company which brought you Humanap ka ng Panget and Andrew Ford Medina. But it is making an effort to entertain and educate. Which is more than I could say for other movie companies. Ipagpatawad Mo (Direction: Laurice Guillen) is like a training film for parents of autistic children, with lots of drama and fine acting from two name stars. Before anything else, this is the first time I’ve seen a cellular phone (not cordless) in a Filipino movie. (Puh-leeze, I can’t stand people who use cellular phones in their cars, in restaurants, in movie houses, even in church. I hereby propose cellular phone-free zones). This is observation has nothing to do with the rest of this review. In the movie, Vilma Santos plays a successful TV journalist (Must everyone play Loren Legarda in the movies?) while Christopher is a successful lawyer. Everything is perfect until their son Junjun turns three (Are the two children who played Junjun, age 3 and age 8, autistic in real life, or are they actors?) They find out from Lorli Villanueva, who plays a psychiatrist, not a laudrywoman that their son is autistic. Christopher wants to put Junjun in an institution (ala-Rainman).

Instead Vilma takes Junjun to her parent’s house. She gives up her job, stops playing attentive wife to Christopher, and dutifully takes Junjun to a special school. Christopher complaints that Vilma doesn’t pay enough attention to him anymore. Vilma complains that Christopher has forsaken his duties as a father. They breakup, almost. But they reconcile because Vilma is pregnant. She has given birth to Paolo, a normal child. Understandably, Christopher is proud of Paolo and ashamed of Junjun. He doesn’t want his friends to know he has a “defective” son. One day, Junjun humiliates his father in a party. Christopher scolds him, but Junjun doesn’t understand. Instead, he starts to draw his father with a tail and horns. Christopher has an affair with Bing Loyzaga, who tries very hard to do a Nanette Medved, but ends up looking like Gloria Estefan in that Pepsi commercial. Vilma discovers the affair and moves out of the house. Christopher doesn’t want to lose his family so he breaks up with Bing. He begs Vilma to come back and promises to make an effort to accept Junjun. They take a vacation and finally Christopher comes to terms with his feeling for his autistic son. In a touching scene, Christopher and Junjun sit together, but apart in the living room. He tells his son how excited he was when he was born. How he had such great hopes for him. How dissapointed he was when he found out he was autistic. And that he really doesn’t know what to do with him. But he loves him very much. Christopher cries, Vilma, who has eavesdropped, cries too. Junjun who has been toying with a ball, stands up and leaves the room. I guess this sums up the whole situation of what it’s like to be a parent of an autistic child.

Christopher redeems himself from his bad performance in the movie Huwag Mong Salingin ang Sugat ko, shown last week. He is in top form here, and portrays a gamut of emotions, as a father who could not accept that his son is autistic; as comfused husband who turns to another woman for comfort; as a desperate man who implores his wife to give him another chance; and as a transformed father who finally accepts his son is autistic. Vilma is exceptional, as usual. The two stars look good together. (I cannot imagine Christopher and Nora Aunor together). Although, they looke visibly – dare I say it? – old. Not even the soft-focus lens could disguise the bags under their eyes and the lines on their cheeks. Good thing Ipagpatawad Mo is a movie which deals with a more sophisticated subject, other than a man who meets a woman and they fall in love, or a married man falls-in-love with another woman and vice versa. In the future, I would like to see less cellular phones and more mature movies like this, please.” – Elvira Mata, Manila Standard, Oct 23 1991 (READ MORE)

“Countless subjects have been written about this star for all seasons – a fascinating character to her fans. Her calm composure even in the midst of brickbats thrown her way by some members of the press, her acting talents attested by the 16 best actress trophies and her screen image are reasons enough why she has gained a strong foothold in the hearts of the moviegoers. “Being popular in one’s profession or let’s say being successful, is not a shield against the wounds of life. On the contrary, principles come more often and go deeper if one is successful and popular,” she told us when we chanced to talk toher on the set of her latest movie, Ipagpatawad Mo with Christopher de Leon. Moviegoers have always accepted the team-up of Vi and Boyet, acting and box office wise. This is their 16th partnership. Their first was in Tagulan sa Tagaraw.

So what else is new? “There was a time na parang sawa na kami sa subject ng movie namin. Relasyon, Pakawalan Mo Ako, Imortal, Nakawin Natin ang Bawat Sandali, Masarap Masakit ang Umibig, etc. are just some of them. So when we read the script, we said na sana bago naman ang story, not just a love triangle, or legal separation and such subjects. This is the first time in out picture togethertaht involved our child who is autistic. Not many people or only a few of our parents know what an autistic child is. Akala nila mentally retarded na ang mga yon. Which is definitely not true. Autistic children can be taught, can be improved but it takes a lot of patience and determination to make them so. In this movie, Boyet could not believe that he has such a child and he rejects him. But I could not, and that is the bane of our everyday quarrel. I fiercely defend out son here saying to all and sundry that he is not mentally retarded. How did you tackle the subject of autism? “Boyet and I read books about it, saw a movie with its theme, visited a special school for such children in Forbes Park, and spoke to parents of these children.

Ninety percent of these autistic children are very good-looking and are good in numbers but they have a world of their own. If you teach them something, yon kung ang alam nila, no other world exists. Autism is like virus and it is not hereditary. Hindi malalaman na autistic ang isang bata until they are about three or four years old. But doctors know, when a baby is born that he or she is autistic, only they don’t dare tell the parents about it. This movie should be an eye opener for such doctors and parents.” How is it that you and Boyet are so compatible with each other as a love team? To our knowledge, no other team-up has endured such long partnership. “Maybe it’s because we’re comfortable with each other. And one thing more, the moviegoers accepted our team because there’s no personal involvement between us. It’s not necessary that there’s love angle between us. Ang sa amin platonic lang. Not only that, we’re the best of friends. Do you know that Boyet was the first leading man to whom I confided that I’m going to marry Edu? He was also the first to whom I broke the news that I’m pregnant with Lucky. That’s how firm our friendship is.”

In all the years that you’ve been together in the movies, did Boyet ever court you? I heard before that wen you we’re filming a movie with Eddie Rodriguez, he sent you three red roses. “Naku ha! That’s just his way of affirming our friendship. Walang malisya youn.” If in real life, you’re really husband and wife, do you think your marriage will also endure up to the present? ” I just can’t tell, ha. But Boyet and I are both Scorpions. We have the same strong personalities. Siguro magka-clash kami. But in our scenes in the movies, It’s wonderful if Boyet is my partner, because kung intense at high ang feelings ko, kaya ni Boyet na saugtin kung ano ang sinasabi ko with the same intense feeling.” And with the others? “No comment.” In Ipagpatawad Mo, Vi portrays a mother’s love for her child. “I know the feeling because I am a mother. I’ll fight tooth and nail for the care and well-fare of my son, Lucky.” Vi is going full ahead of her movie schedules next year. After this movie, she’ll be shooting Sinungaling na Puso (temporary title), for Regal’s tehn one with Armida’s Reyna Films (The Heiress), and another one schedule for Vision Films.” – Nena Z. Villanueva, Manila Standard, Oct 28 1991 (READ MORE)

Vilmanians (Photos)

Posted on by Standard

This slideshow requires JavaScript.

VSSI Inc. News: “Maraming donasyon ang ini-expect naming manggagaling sa abroad gaya ng Sweden, New York, meron kami, sa Dubai na miyembro ng VSSI,” sabi ni Governor Vilma Santos-Recto na hinahangaan ang good deeds ng kanyang loyal followers (for Sendong Victims). Eh, matapos niyang pasayahin ang Christmas party ng kanyang loyal followers, ano naman ang plano ng pamilya niya. “Dito lang kami. Hindi kami aalis,” sambit niya sa aming ambush interview. Naniniwala kasi si Governor Vilma na kahit may lungkot na nadarama ang mga kababayan natin sa Cagayan de Oro, Iligan City at iba pang lugar sa Mindanao, dapat ding magsaya ang mga tao dahil nga kapanganakan ni Hesus.” – Jun Nardo, Dec 2011 (READ MORE)

“…True enough, they were most enthusiastic but kind of controlled with their adulation when Ate Vi came with her Girl Friday Aida Fandialan in tow. Anyway, when the famed actress had the chance to talk with her adoring fans, she was most nostalgic as she went down memory lane of her memorable encounters with them. According to her, she had this fan who would come almost on a daily basis at her governor’s office in Batangas and never complained even if Ate Vi could not attend to her or keep her entertained. The actress-politician also cited this aging fan who’d carry blown-up photos of the Star for All Season with all the dedication in the world during her VIP days, content to see her idol perform. She also expressed being truly touched by the filial devotion of this fan who was with her almost from the very beginning of her illustrious showbiz career and was just staying with her family in a modest rented apartment in La Loma. The mere fact that he got along famously with her late dad was something that Ate Vi would always remember with fondness. “And I’m glad that he’s still with me today!” she says apparently overwhelmed by a myriad of emotions. Ate Vi also remembered a fan who was already in her early 80s and yet she never failed to come whenever she asked her to. At this point, Ate Vi also singled out a fan who has remained unattached and never gotten married, but has religiously brought her kakanins from Biñan, Laguna. Indeed, the Star for All Seasons is obviously equipped with an elephantine memory who never forgets any good deed done or kindness she’s been most generously showered with…” – Peter Ledesma (READ MORE)

Becoming Gloria Romero “Vilma Santos’ loyal fans were so happy about her latest acting award at the Urian awards (for her performance in “Dekada ’70”) that they turned out in full force at her “reunion” celebration at Bakahan at Manukan on P Guevarra st. in San Juan. Movie scribes with a soft spot in their hearts for Vi also showed up, making the evening a riotous success. In the midst fo all the fun and frolic, Vilma was able to sit with us for a spell, and breathlessly brought us up to date on what’s been happening to her these past months, as well as gave us a peek into her future prospects. First off, she’s appreciative of the trophies that she’s gotten for her intense but controlled performance in “Dekada ’70,” for which she swept the competition…In the past, she used to think of retiring from the big and small screens, to concentrate on public service and urban management. Now, however, she’s sure that she’ll continue to act “until I become a gransmother – Gloria Romero.” This is a welcome development on the local film scene, which is notorious for its fetish for youth, and its bias against age and experience. With Gloria and now Vilma showing the way, our moviegoers can be educated to value veteran talents over callow starlets, so performances on the big screen can mature and deepenn through time. The future? Vilma wants to make one film a yar, and is looking for challenging plots and characters. In politics, Vilma debunks rumors that she’s going to run for senator next year. In fact, she refuses to think of politics at all, preferring instead to concentrate on her work as mayor of Lipa City. But, if voters there want her to run for another term, Our sense is that they won’t have a hard time persuading her…” – Nestor U. Torre, Philippine Daily Inquirer, May 31, 2003 (READ MORE)

FILM REVIEW: MASARAP MASAKIT ANG UMIBIG

Posted on by Standard

Plot Description: A wealthy couple’s sacrificing adopted son, Alonso (Christopher de Leon) and wayward biological son, Alvaro (Mat Ranillo III) vie for the love of the same woman, Estella (Vilma Santos).

Film Reviews: “…Walang ipinagkaiba ang pelikula sa ibang mga sineng tinalakay ang mga suliranin ng pag-ibig at pamilya. Makikitang pinagtuunan ng pansin ni direktor Elwood Perez ang disenyo ng pelikula ngunit hindi naging epektibo ang paggamit nito upang maiusad ang kuwento. Kahit sa pagganap ng mga pangunahing tauhan, animo sila’y nasa entablado. Nanlilisik ang mga mata, walang katapusang pagsisigawan, pagtutulakan at pagbubugbugan. Sa pelikulang ito, unang ipinamalas ang senswalidad ni Vilma Santos. Maraming eksenang sekswal ang aktres at maaari talaga siyang makipagsabayan sa mga tulad nina Alma Moreno at Trixia Gomez. Karamihan ng mga sitwasyong ibinigay sa kanyang karakter ay hindi kapani-paniwala. Nariyang gawin siyang modelo, sa ilang piling tagpo ipinakita din ang pagiging estudyante ni Estella ngunit hindi naman tinahak ang mga ito sa kabuuan ng pelikula. Hindi rin maikakaila ang husay ni Christopher de Leon bilang aktor ngunit sa pelikulang ito ay nasayang lamang ang kanyang pagganap. Hindi nabigyan ng tamang direksyon ang aktor kung kaya’t lumabas na sabog ang kanyang karakterisasyon. Si Mat Ranillo III naman ay tila hindi na natutong umarte. Kadalasa’y pinaghuhubad siya ng direktor sa mga eksena upang mabigyang pansin. Masyadong mahaba ang pelikula dahil na rin siguro sa panghihinayang ni direk Elwood na masayang ang magagandang eksenang kanyang nakunan ngunit hindi naman nakaapekto ang mga ito sa takbo ng istorya. Kadalasa’y nakababad lamang ang kamera at nakatanghod sa susunod na gagawin ng mga artista. Hindi ito nakatulong upang mapabilis ang takbo ng pelikula, nakakainip panoorin ang ganitong mga eksena. Ang Masarap, Masakit Ang Umibig ay basurang nababalot sa kinang ng makintab na sinematograpiya, disenyo at musika na nagbabalatkayong masining na pelikula.” Jojo Devera, Sari-saring Sineng Pinoy (READ MORE)

“…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…” – Ricardo F. Lo, Expressweek Magazine January 19, 1978 (READ MORE)

“…Elwood Perez and Vilma Santos colloborated in seven films (Ibulong Mo Sa Diyos 1988, Lipad Darna Lipad 1973, Magkaribal 1979, Masarap Masakit ang Umibig 1977, Nakawin Natin ang Bawat Sandali 1978, Pakawalan Mo Ako 1981, Pinay American Style 1979). The first one was the trilogy that he co-directed with two other director, Borlaza and Gosiengfiao (these three are the most underrated and under appreciated directors in the Philippines), the remake of Mars Ravelo comic super hero, Darna in Lipad Darna Lipad. The film was a record-breaking hit Box-office Film. They follow this up with a more mature projects as Vilma started to switched her image from sweet to a mature versatile actress, pairing her with Christopher DeLeon in five films starting with Masarap Masakit Ang Umibig in 1977. The Perez-Santos-DeLeon team produced seven blockbuster hits that gave Vilma two FAMAS best actress awards that secured her elevation to FAMAS highest honour, the FAMAS Hall of Fame award. She won in 1979 for Pakawalan Mo Ako and 1988 for Ibulong Mo Sa Diyos…” – RV (READ MORE)