Vilma Santos Filmography

2010-02-10T19:05:00.020-05:00

The List

1963 Anak, ang Iyong Ina

1963 Aninong Bakal

1963 Duelo sa Sapang Bato

1963 King & Queen for a Day

1963 Trudis Liit

1964 Ging

1964 Larawan ng Pag-ibig

1964 Naligaw na Anghel

1964 Sa Bawat Pintig ng Puso

1965 Iginuhit ng Tadhana

1965 Kay Tagal ng Umaga

1965 Maria Cecilia

1965 Morena Martir

1965 Sa Baril Magtutuos

1966 Batang Iwahig

1966 Hampaslupang Maton

1966 Hindi Nahahati ang Langit

1966 Ito ang Dahilan

1967 Ito ang Pilipino

1967 Longest Hundred Miles

1968 De Colores

1968 Eagle Commandos

1968 Kasalanan Kaya?

1968 Sino ang may Karapatan?

1969 My Darling, Eddie

1969 Pag-Ibig, Masdan ang Ginawa Mo

1969 Pinagbuklod ng Langit

1969 The Jukebox King

1970 Baby Vi

1970 Because You’re Mine

1970 Bulaklak at Paru-paro

1970 Ding Dong

1970 Edgar Loves Vilma

1970 From the Bottom of my Heart

1970 Give Me Your Love

1970 I Do Love You

1970 I Love You, Honey

1970 Love is for the Two of Us

1970 Love Letters

1970 Mardy

1970 May Hangganan ang Pag-Ibig

1970 Mga Batang Bangketa

1970 Mother Song

1970 My Pledge of Love

1970 Nobody’s Child

1970 Renee Rose

1970 Sapagkat Sila’y Aming mga Anak

1970 Sixteen

1970 Songs and Lovers

1970 Sweethearts

1970 The Young Idols

1970 Vilma, My Darling

1970 Young Love

1971 Angelica

1971 Eternally

1971 Ikaw Lamang

1971 Love at First Sight

1971 Our Love Affair

1971 Teen-Age Senorita

1971 The Sensations

1971 Wonderful World of Music

1971 Young Lovers

1972 Aloha, My Love

1972 Ang Kundoktora

1972 Dalagang Nayon

1972 Dama De Noche

1972 Don’t Ever say Goodbye

1972 Dulce Corazon

1972 Hatinggabi Na, Vilma

1972 Inspiration

1972 Leron, Leron, Sinta

1972 Little Darling

1972 Remembrance

1972 Sweet, Sweet, Love

1972 Takbo, Vilma, Dali

1972 Tatlong Mukha ni Rosa Vilma

1973 Anak ng Aswang

1973 Carinosa

1973 Darna and the Giants

1973 Dyesebel at ang Mahiwagang Kabibe

1973 Lipad, Darna, Lipad

1973 Maria Cinderella

1973 Now and Forever

1973 Ophelia at Paris

1973 Tsismosang Tindera

1973 Wonder Vi

1974 Batya’t Palu-Palo

1974 Biktima

1974 Happy Days are Here Again

1974 Kamay na Gumagapang

1974 Kampanerang Kuba

1974 King Khayam and I

1974 Mga Tigre ng Sierra Cruz

1974 Phantom Lady

1974 Tok, Tok, Palatok

1974 Twin Fists for Justice

1974 Vilma and the Beep, Beep, Minica

1974 Vivian Volta

1975 Basta’t Isipin mong Mahal Kita

1975 Darna vs. the Planetwoman

1975 Dugo at Pag-Ibig sa Kapirasong Lupa

1975 Ibong Lukaret

1975 Karugtong ang Kahapon

1975 Nakakahiya?

1975 Tag-ulan sa Tag-araw

1975 Teribol Dobol

1975 Vilma Viente Nueve

1976 Bato sa Buhangin

1976 Bertang Kerengkeng

1976 Big Ike’s Happening

1976 Hindi Nakakahiya

1976 Let’s Do the Salsa

1976 Makahiya at Talahib

1976 Mapagbigay ang Mister Ko

1976 Mga Reynang Walang Trono

1976 Mga Rosas sa Putikan

1976 Nag-aapoy na Damdamin

1977 Burlesk Queen

1977 Dalawang Pugad, Isang Ibon

1977 Masarap, Masakit ang Umibig

1977 Pulot-gata, Pwede Kaya?

1977 Susan Kelly, Edad 20

1978 Mga Mata Ni Angelita

1978 Amorseko: Kumakabit, Kumakapit

1978 Bakit Kailangan Kita?

1978 Kampus

1978 Disco Fever

1978 Ikaw ay Akin

1978 Nakawin Natin ang Bawat Sandali

1978 Pag-ibig ko sa iyo lang Ibibigay

1978 Pagputi ng Uwak, Pag-itim ng Tagak

1978 Pinagbuklod ng Pag-ibig

1978 Promo Girl

1978 Rubia Servios

1978 Simula ng Walang Katapusan

1979 Buhay Artista, Ngayon

1979 Coed

1979 Halik sa Kamay, Halik sa Paa

1979 Magkaribal

1979 Modelong Tanso

1979 Pinay, American Style

1979 Rock, Baby, Rock

1979 Swing it, Baby

1980 Ang Galing-galing Mo, Mrs. Jones

1980 Darna at Ding

1980 Good Morning, Sunshine

1980 Gusto Ko Siya, Mahal Kita

1980 Langis at Tubig

1980 Miss X

1980 Romansa

1980 Yakapin Mo Ako, Lalaking Matapang

1981 Pakawalan Mo Ako

1981 Hiwalay

1981 Karma

1981 Ex-Wife

1982 Gaano Kadalas ang Minsan?

1982 Haplos

1982 Never Ever Say Goodbye

1982 Relasyon

1982 Sinasamba Kita

1982 T-Bird at Ako

1983 Ayaw Kong Maging Kerida

1983 Broken Marriage

1983 Minsan pa Natin Hagkan Ang Nakaraan

1983 Paano Ba ang Mangarap?

1984 Adultery

1984 Alyas Baby Tsina

1984 Sister Stella L.

1985 Doctor, Doctor, We Are Sick

1985 Muling Buksan ang Puso

1986 Asawa ko, Huwag Mong Agawin

1986 Palimos Ng Pag-ibig

1986 Yesterday, Today & Tomorrow

1987 Ibigay Mo Sa Akin Ang Bukas

1987 Saan Nagtatago Ang Pag-ibig?

1987 Tagos ng Dugo

1988 Ibulong Mo Sa Diyos

1989 Imortal

1989 Pahiram Ng Isang Umaga

1989 Rizal Alih, Zamboanga Massacre

1990 Hahamakin Lahat

1990 Kapag Langit Ang Humatol

1991 Ipagpatawad Mo

1992 Sinungaling Mong Puso

1993 Dahil Mahal Kita, The Dolzura Cortez Story

1993 Ikaw Lang

1994 Lipa: Arandia Massacre

1994 Nag-iisang Bituin

1994 Relaks ka Lang, Sagot Kita

1996 Ikaw Ang Mahal Ko

1997 Hanggang Ngayon Ika’y Minamahal

1998 Bata, Bata…Paano Ka Ginawa?

2000 Anak

2002 Dekada’70

2004 Mano Po 3

2006 D’ Lucky Ones

2009 In My Life

2008-03-19T21:07:00.008-04:00

Tag-ulan Sa Tag-araw (1975)

“Kuya Rod…ayokong magsisi ka…nasasaktan ako…basta’t mahal kita, mahal na mahal kita, basta’t mahal mo ako, hindi tayo dapat magsisi, hindi tayo dapat mahiya!” - Nanette

Basic Information:

Direction: Celso Ad Castillo

Adapted screenplay: Mauro Gia Samonte

Original screenplay: Celso Ad Castillo

Cast: Vilma Santos, Christopher Deleon, Eddie Garcia, Lorli Villanueva, Joseph Sytangco, Joonee Gamboa, Alma Moreno, Rez Cortez, Odette Khan, Pedro Faustino

Original Music: Ernani Cuenco

Cinematography: Ricardo David

Editing: Augusto Salvador

Producer: Archipelego Films

Other Info: Celso Ad Castillo directed a similar titled film, “Tag-ulan, Tag-araw” starring Dina Bonevie and Mark Gil in 1992.

Plot Description:

First cousins, Rod (Christopher Deleon) and Nanette (Vilma Santos) fell in love. The result was an unwanted pregnancy and a scandal that their family have to endured and ended into a trip to the abortion clinic. – Rendt Viray

Film Achievement

The very first film of Christopher Deleon and Vilma Santos, considered as one of the most successful love team Philippine cinema ever produced. As of 2008, Deleon and Santos has twenty-three films under their belt.

Film Reviews:

Celso Ad Castillo: I see the movie in my mind even before I start shooting. I’m meticulous. I control everything on the set, even during post-production -- from editing and music to sound. My audience knows my style. It’s like painting: You discover your style, then you do it. I caught “Tag-ulan sa Tag-araw” with Vilma Santos and Boyet de Leon on Cinema One the other day, and I clearly saw my own style, in terms of sensitivity, shots and drama. – “DIRECTOR’S CUT: Celso Ad Castillo goes digital” by Ronald Mangubat, Inquirer, 06/09/2007

The film “Tag-ulan sa Tag-araw” directed by Celso Ad Castillo started with Nanette (Vilma Santos) meeting Rod (Christopher Deleon) while vacationing in their rest house along the beach. It was clear to both that it was love at first sight but this instant chemistry ended when they discovered they are first cousins. Faith continued to play an important role to their initial attraction as Rod joined Nanette along with her parent to Manila where Rod was permitted by his parent to continue his study. Rod and Nanette at first decided to resist their feeling for each other by dating other people but their love for each other are more intense than what their mind dictates. The two started to have a secret affair culminating to a hot sex when they came back to the rest house when another summer arrives. As expected Nanette gets pregnant and the problem to expose, their taboo affair is ticking. Worst, Nanette’s morning sickness was noticeable to her suspicious mother played wonderfully by Lorli Villanueva. When finally Nanette’s family found out her condition, she was beaten by her angry father but she remained tight lipped to tell who impregnated her. As Rod tried to remained his calm, Nanette’s family locked her to her room until she’s ready to talk. Rod climbed to the balcony to speak to her and that’s when Nanette’s family discovered who is the father. As Rod came down to the balcony, he was cursed by both parents and was beaten by them as Nanette beg for mercy. Rod was hospitalized as his parent came from the province and beg for forgiveness to the angry Julio (Eddie Garcia), Nanette’s father. Julio was fuming and throws the couple out the house. He also mentioned that they are planning to abort Nanette’s baby. When Rod found out from his parents the planned abortion, he left the hospital and went back to his uncle's house. Very timely, Rod arrives as Nanette together with her family was headed to the abortion clinic. With the help of two security guards, Rod was controlled as his uncle’s car passed him and Nanette cried for intervention. Rod followed the car and was almost successful as the car stopped for the traffic lights. But his attempt failed as the car continued its destination. The end.

The Catholic Church prohibits marriage between first cousins and it is considered a sin. Tag-ulan sa Tag-araw successfully tackles this topic with convincing scenarios and believable characters. Celso Ad Castillo’s style remained true to many films in the 60s with canned music and repetitive voice over by its two main characters. One scene you will hear Christopher narrates his feelings and the next scene it was Vilma’s turn to speak. Most of this narration or voice over while they are playing in the rain on the streets or on beach. This is the first film by Vilma Santos and Christopher Deleon and it was clear that the two have that chemistry on screen. The film ensemble was quite impressive starting with Eddie Garcia and Lorli Villanueva as Nanette’s parents. As Julio, Eddie Garcia was animated at times but his character balances out the mother role of Lorli Villanueva. Joseph Sytanco’s role as Nanette brother was minimal and he doesn’t have enough lines but his quiet scenes were effective. Johnee Gamboa and Odette Khan’s performance as Rod’s parents were excellent. The agony on Odette’s voice as Johnee, her husband begs for forgiveness on behalf of their son was very believable. The two main characters, Christopher Deleon and Vilma Santos obviously carried the film with surprising maturity. Considering this was their first team-up and both were very young. In 1975, both were still in transitions, from teenybopper stars of the musical era to serious actors. Christopher Deleon’s performance was quite impressive as the apologetic Rod, except for some scenes where you can see his nostril moves, he gave a very affecting performance. Vilma Santos equally balance the equation with a touching show of emotions that we seldom see in her early films that are mostly musicals, fantasy or comedies. Three scenes stand out. First was in the bus where she confronted her “Kuya Rod” to not to give-up on their relationship. Second when her parents caught them in the balcony. She begs them to stop beating up her “Kuya Rod.” And then finally, the driving to the abortion clinic scene, she cried her heart out begging them to stop and cried for help to her “Kuya Rod,” who was running behind and trying very hard to stop the car. Celso Ad Castillo successfully gave us a very moving film. Even with the very annoying number of voice-over scenes, scenes that you will hear the two main characters talks but you will see them not opening their mouth, the film has so many good qualities that you will forgive these flaws. We probably attributed these flaws to the style of many films in the 60s and 70s. Ricardo David’s cinematography was excellent particularly the many scenes on the streets. You can see many spontaneous shots of people that were gawking at Christopher Deleon running like a maniac. David’s very intricate camera work inside the car, dinner table and at the living room while Nanette’s mother was playing piano adds to the intense mood of the film, this is despite some shot where you can see the shadow of the camera particularly when Christopher left the house because he can’t stand to see Nanette being slap repeatedly by her angry father. The film was fast paced, thanks to Augusto Salvador's editing. There are many scenes where the background music matches the mood like the choir/choral-like music at the very end of the film but Ernani Cuenco used so many canned music that sometimes it was very distracting. Like the voice over style used by Castillo, the musical score used in this film was typical of the 60s and 70s. Even the excellent Lino Brocka film, "Tinimbang Ka Ngunit Kulang" used this kind of style. Overall, Tag-ulan sa Tag-araw was a superb film that highlighted the potential on screen chemistry and talents of the screen team of Christopher Deleon and Vilma Santos. For their fans, I would recommend to have a copy of this classic film. Special thanks to Liam Tayag for downloading this film via Youtube. – Rendt Viray

2008-03-13T16:59:00.007-04:00

Tagos Ng Dugo (1987)

"haaaaahhhh…haaaaaahhhh....di ko sinasadya!...di ko sinasadya!" - Pina

Basic Information

Direction: Maryo J. De los Reyes

Adapted screenplay: Jake Tordesillas

Original screenplay: Via Hoffman

Cast: Vilma Santos, Michael De Mesa, Miguel Rodriguez, Francis Arnaiz, Richard Gomez, Mark Joseph, Lito Pimentel, Joey Hipolito, Joey Marquez, Tony Santos Sr., Caridad Sanchez, Lucita Soriano, Dante Castro, Bing Davao, Alicia Alonzo, Mia Gutierrez, Anna Feliciano, Strawberry, Ross Rival, Janet Beltran, Kristel Romero, Rene Hinojales, Ruben Balan, Rey Doria, Perry Fajardo, Emma Mendoza, Emil De Guzman, Archie Adamos, Vic Belaro, Rene Balan, Nemie Gutierrez, Joe Lapid, Rabes Marquez, Pong Mercado, Arbie Antonio, Alex Toledo, Gil Zaldaga, Remy Reyes, Nina Lorenzo, Alfred Barreto, Rey Ferrer, Manny Torres, Monette Arroyo, Chinggay Feliciano, Lea Locsin, Maloy Marquez, Linda Lanuza, Cheche Morales, Sally Blanco, Gloria Mercado, Nancy Romero, Arthur Cassanova, Nonoy Gaites, Deo Macalma, Alex Baluyut, Johnny Francisco, Enrico Villa, Helen Pondevida, Aida Carmona, Eileen Tinio, Madeleine Nicolas, Raquel Villavicencio

Original Music: Jaime Fabregas

Cinematography: Ely Cruz

Editing: Jess Navarro

Production Design Cesar Hernando, Lea Locsin

Sound: Joe Climaco, Jun Martinez

Producer: Via Hoffman

Plot Description

A young Pina was traumatized when her family was murdered while she had her first menstruation. She grown up into a serial killer transforming herself to different personalities as she seduced one man at a time grossly killing them while in the act of sexual pleasure. Eventually Pina was caught by the authorities. Considered by some critics as a feminist movie, Tagos ng Dugo has the feeling of claustrophobic but stylized European slasher movie that showcased the wide acting range of Philippines’ cinematic diva, Vilma Santos. The film lacks the usual long dialogue of her previous films but in this film, she was given a chance to show her body movements and “eye” acting that climaxed with tour de force ending, a mad lion being caught by armed hunters. – Rendt Viray

Film Achievements

FAMAS Best Actress - Vilma Santos

CMMA Best Actress - Vilma Santos

FAP Best Musical Score - Jaime Fabregas

Other Film Achievements

FAP Best Actress nomination - Vilma Santos

Film Reviews

First of all, serial murder is almost alien to Philippine crime journalism, a fact that’s due certainly to our police force’s lack of records on such cases. Now, this police record gap may of course in turn reflect a lack of local police coordination towards (or, worse, capability for) determining crime patterns as possibly serial. Unless those determinations have to do with the usual cop-out that goes like this: “it’s another NPA hit” blah blah blah, or “its another murder similar to the one that happened last week, and this is reflective of pornograhy’s...”. My above statements are meant to illustrate a national wont to demean our own police organization’s capability (or, worse, intelligence) that may neither be fair nor productive, but it would be a habit that certainly is not undeserved given the record -- official and memorial -- of the police prioritizing its own people’s interests and “rackets”.

Given this background, therefore, Tagos ng Dugo can be said to be a demonstration of serial crimes’ possible placement in local shores, and that would certainly be a valid view. Except, of course, that in effect Tagos is also -- and probably should be read primarily as -- a demonstration of possiblities other than the merely forensic. I say “should be”, since the police is portrayed fairly in the film, albeit not exactly generously. So what could be all the fuss about Tagos’ value? “Production values” is the often-heard reason, needing elucidation. A breakthrough for Philippine psychological movies? Probably.

Let me explore a few other angles on this seeming cross between Francois Truffaut’s “The Bride Wore Black” and Luis Benuel’s “Belle Du Joir” -- I don’t know if screenwriter Jake Tordesillas or Delos Reyes himself should be congratulated for the cohesion of multi-resultants in this work. Part of this multi-readings would be the movie as a feminist take on womankind’s monthly pains as a form of excuse for female monthly insanities, insanities our macho’s regard as regular terrorism on the whole of mankind (men or society as a whole). It is with that reading that the ending apologies, by Vilma Santos in the lead role, might be understood as a plea for understanding of how all of woman’s monthly Eve-behavior should not be seen as a Biblical sin but as an equal (to, say, man’s beastly) naturalness... Another feminist reading, more radical perhaps, would treat the film as a view of how Philippine society (the men in it, primarily) approaches provincial innocence, educational weakness, and “female’s weaker sanity” as stimuli for abuse... There is, however, the possibly more general reading of the film as an apologia for insanity qua itself, how it should be treated as a disease instead of as a monster to be eliminated... And finally, there’s the possiblity that the film is actually a depiction of how crazy the world outside the insane mind really is, albeit this view would probably be the least successful direction for the film... As a bonus, maybe we can also bring the movie to more latent, more philosophical territory, say, how it depicts the sanity of innocence.

But, given the validity and possible weight of all those approaches, what finally makes this movie a jewel in Philippine cinema history is how it brings forth -- every time you watch it -- its case achievements in directorial and film editing dramaturgy ( including the recurring stage-like choreography, Hitchcockish camera positionings, and acting pacing within). For the serious student of third world filmmaking, here is a requisite Philippine movie from where to cull precious fragments. In these fragments, he/she is sure to find sparkles that are in themselves gems. - Eric Nadurata's Vilma Santos’ web-site

Bihirang talakayin sa pelikulang Pilipino ang mga problemang sikolohikal. Matapang itong sinuong noong 1987 nina Direktor Maryo J. de los Reyes at ng manunulat na si Jake Tordesillas sa Tagos ng Dugo (V.H. Films). Itinatampok si Vilma Santos bilang Pina isang babaeng may madilim na nakaraan. Nang magkaroon ng buwanang bisita si Pina sa unang pagkakataon pinaliguan ito ng kanyang ina (Alicia Alonzo) taliwas sa pamahiin nating mga Pilipino na bawal maligo ang isang babae kung ito ay may regla. Dahilan ito upang magkaroon siya ng dismenorrhea. Bahagi ng kanyang nakaraan ang malagim na pagpatay sa kanyang pamilya ng kapatid (Archie Adamos) ng kalaguyo ng kanyang ama (Ross Rival). Nagdalaga si Pina sa loob ng mental hospital at nang nasa tamang edad na ito at sapat na pag-iisip, nakitira na ito sa kanyang tiyahin (Caridad Sanchez) at ang asawa nitong hepe ng pulis (Tony Santos, Sr.). May mga eksenang halaw sa banyagang pelikula. Ang eksenang nakabihis tsina si Pina nang nakipagtagpo siya sa isang telephone lineman (Joey Marquez) ay galing sa karakter na China Blue ni Kathleen Turner sa Crimes Of Passion ni Direktor Ken Russell. Maraming bahagi ng kuwento ang kuha sa nobelang The Seven Deadly Sins, ngunit kung iisipin, ano'ng pelikula nga ba hindi kumuha ng inspirayson sa mga obrang gawa ng ibang kinikilalang direktor?

Nagtatrabaho si Pina sa isang karinderya sa tapat ng presinto at dito niya unang nakita si Andy (Francis Arnaiz) isang pulis na kasama sa trabaho ng kanyang tiyuhin. Dito unang nabuo ang natatagong obsesyon ni Pina kay Andy. Sa pagtakbo ng istorya maraming naka-enkuwentrong iba't-ibang lalaki si Pina. Sa tuwing dumarating ang kanyang buwanang bisita ay tumatakas siya sa bahay at nagpupunta sa isang lumang mansyong malapit sa kanyang tinitirhan. Nag-aayos, nagbibihis, sumasama sa unang lalaking nakapansin sa kanya at habang nakikipagtalik, bumabalik ang mga alaala ng karahasang naranasan sa kamay ng mapang-aping mga lalaking nagsamantala sa kanya at ito at kanyang pinapatay.

Sa anggulong ito halos umikot ang kabuuan ng pelikula. Masasabing naging matapang ang mga bumuo ng pelikulang Tagos Ng Dugo dahil sa tahasan nitong tinalakay ang sekswalidad ng mga pangunahing tauhan. Mapapansing pinagtuunan ng pansin ang kabuuan ng karakter ni Pina na buong husay ginampanan ni Vilma Santos. Ang aktres ay halos nasa lahat ng eksena sa pelikula. Maituturing na "hysterical" ang uri ng pag-arte ni Vilma ngunit sa pelikulang ito ay malaki ang naitulong nito upang maipahatid niya ang sapat na emosyon sa epektibong paraan.

Malaki ang naitulong ni Direktor Maryo J. de los Reyes sa pagsasalarawan ng kuwento ni Pina. Nailahad niya ng maayos ang mga problemang sikolohikal hindi lamang ni Pina kundi ng buong lipunan. Makikitang binigyang diin ang posibleng solusyon sa mga suliraning ipinamalas sa pelikula. Maaring may ilang pagkukulang ang pelikula sa naging takbo ng istorya ngunit naisalba ito ng mahusay na pagdidirehe ni de los Reyes. Sa anggulong ito naging malaking bahagi sa tagumpay ng Tagos Ng Dugo ang direktor dahil sa tuwiran niyang naipahayag ang patotoo sa mga isyung tinalakay sa buong pelikula. Dito rin natamo ni Vilma ang kanyang ikaapat na FAMAS Best Actress Award bago siya tuluyang naluklok sa Hall Of Fame nang sumunod na taon. - “Hindi Mapigil Ang Tagos Ng Dugo” by Jojo De Vera, Sari-Saring Sinengpinoy Blogspot web-site

The story revolves around Pina, a woman haunted by her past traumatic experiences. She always feels afraid at the sight of blood. Whenever she is physically or emotionally injured, she experiences the so-called "post-traumatic syndrome," which persuades her to kill every man who has hurt her. She disguises herself as a prostitute with different personalities, and becomes a mysterious murderer.

The Review - The future National Artist for Film and recent U.P. Gawad Plaridel and Gawad Suri awardee Vilma Santos has done a gamut of roles. She is the only Filipina actress on record who has the most impressive resume of great performances (and is credible in any role, including Darna, the Pinoy female version of Superman), and has amassed 50 plus acting trophies. The Variety magazine and the world film community has dubbed her the Filipino Cinematic Diva and the Meryl Streep of the Philippines. If her luck continues, she may end up in Guinness’ Almanac as an actor with the most number of acting awards. One of my favorite Vilma characters is that of Pina, a serial killer, in Tagos ng Dugo. Directed by Mario J. Delos Reyes, it won four best actress awards for Vilma: her second CMMA, fourth FAMAS, and two from magazine polls. When it comes to edgy, neurotic, complex roles, leave it to Versatile Vilma, the Meryl Streep-like cerebral and intuitive actress who was born to play them. Vilma’s foray into the "luka-luka" genre began in Dama De Noche where she plays twin sisters, one of which is, you bet, neurotic. Bernal’s classic Ikaw Ay Akin is best remembered for the manic-depressive, chain-smoking, Valium-popping, liberated, free-spirit Sandra (Vilma). Says critic Mario Bautista in his review: As the uptight Sandra, Vilma Santos has the script’s choicest, wittiest lines. She makes the most of them and gives a fairly accurate portrait of an emotionally insecure young woman. She likewise handles her final breakdown exceedingly well. There is a common thread in classic films like Broken Marriage, Relasyon, Tagos ng Dugo, Bata, Bata, Dolzura Cortez and Hahamakin Lahat. Outstandingfilms, thanks to Vilma’s perfect portrayal of women on the verge of a nervous breakdown. It is no wonder that the late National Artist Lino Brocka quoted: "Vilma can do any role now. She registers like water, she has overtaken Nora Aunor." The U.P. MassCom jurors concurred with Brocka and gave Vilma that seal of approval by giving her the National Artist award precursor, the prestigious U.P. Gawad Plaridel for excellence in film acting. And oh yes, let us not forget the Gawad Suri Award. In layman’s terms, she is the best in the business, period!

Back to Tagos ng Dugo. At best, it is Vilma’s most emotionally and physically, albeit, draining role. Maryo J. made Vilma succeed to say more with less as we will find out. In the opening scene, Pina’s medical history is revealed: schizophrenia, painful menstruation, manic-depressive. Then we see the pubescent Pina screaming and writhing in pain on her first menstruation, calls out to her mother: "Inay!" The luminous Alicia Alonzo plays her mother and tells her “dalaga ka na!” Menarche and puberty did not sit well with Pina. While menstruating, she discovers of her father’s affair with a circus girl who her father accidentally kills in the "knife roulette" show, as the victim’s blood spills on her face. The girl’s family gets even, kills her whole family one night, while she gets raped. Tagos ng Dugo. Here’s the message: hell hath no fury than a woman violated while having painful menstruation. She has bridges to burn and many losses in her life. She has become a lost and tormented soul. A victim. A monster is born. Oscar best actress Charleze Theron may have taken an inspiration from Vilma’s Pina. Flash forward: Orphan and just released from a mental institution, the grownup Pina is seen staying with her aunt Caridad Sanchez and her husband, a police officer, Tony Santos, Sr. This is where Pina’s "calvary" as victim (again) begins. So many men, so many abusers, or so we thought. Enter Michael De Mesa, Santos, Sr.’s nephew who has lust at first sight on Pina. "Malagu, ’ne?" (She’s beautiful), De Mesa gushes on the coy and evasive Pina. In Kapampangan, Tony tells De Mesa that she was just released from the mental hospital. Michael attempts to enter Pina’s room one night but is unsuccessful.

Next to Dekada ’70 perhaps, this is one movie where Vilma succeeded in quiet scenes, by just using her eyes. Whether she writhes quietly in pain during her period or is scared of the inevitable such as Michael’s evil intent, this is the vintage Vilma now. Less is more. The triumph of restraint and hard work. Versatile, Inc. She meets the nice and good-looking cop (Francis Arnaiz) in the police station where she works as a sloppy, unfocused canteen helper who gets easily rattled by men around her, earning the ire of her boss Lucita Soriano. "Ano ba Pina, ang tanga-tanga mo. Ang dami mo nang nabasag na baso, hah?" Arnaiz is different: caring, sensitive, a gentleman. She is Pina’s crush and hero. She steals her crush’s photo ID and in her secret hideaway, kisses the photo, followed by a nervous, hysterical laugher, reminiscent of her confrontation scene with Gloria Romero in Kapag Langit ang Humatol? Enter a notorious rapist who is now in jail who held Vilma by the neck and mashes her breasts. Vilma becomes hysterical and cries unconsolably even after Arnaiz and the cops come to her rescue. This scene is again Vintage Vilma. When the rapist is released from prison, he chooses Vilma as his first victim and in the rape attempt, Arnaiz shoots him dead. Again, blood droops on Pina’s face. Tagos ng Dugo. Next thing we know, De Mesa almost succeeds in raping her but falls off the window when Vilma fights back. She uses Michael’s knife to scare him off. Now wiser, stronger, sophisticated and smarter, Pina finds solace and a sanctuary in an abandoned house across from where she lives. She learns how to apply mascara and wig. A serial killer is born. This is where she plans her revenge. So many men, so little time. It’s payback time. In the wise use of flashbacks, we learn that Pina is violated again and again by the very people who should be helping her cope with her unstable mental status, one of which is the evil warden Lito Pimentel. She falls in love with her therapist who politely turns her down. It is a series of painful abuse and rejection for the sad, sad life of Pina. We also learn that she has a brother/sailor who sends her monthly stipend which she never benefits from and in his last visit, Pina begs him to stay with him. In multiple flashbacks, we see a helpless victim, Pina crying out for love and acceptance. Nobody seems to listen. A dysfunctional family. Abused physically and emotionally. Neglected. Rejected. Unwanted. Tormented. Untreated chemical imbalance. A perfect scenario for the birth of a schizophrenic, manic-depressive serial killer. Disguised as a prostitute, she kills her tormentors one by one with a knife she steals from De Mesa, with the exception of a druggie, the excellent Richard Gomez in cameo role. Here is a performance that is Vilma Santos’ gift to the world, right there in the dark theatre and on the silver screen. Are killers made or born? Is society or family to blame for sociopaths? Are menarche and the drive to kill symbiotic? In a touching scene where she literally shreds Arnaiz’s stolen photo with her teeth (Arnaiz reconciles with and will marry her fiancée) out of jealousy, and rejection, Pina plans to make it out with Arnaiz in a hotel where the cops hang out to have a good time and where Arnaiz will screw a prosti as the boys’ "gift" to him. Vilma is that prosti. When Aranaiz discovers it is the demented Pina, he takes pity on her and prepares to put on his clothes. What, rejected again? Pina pleads Arnaiz to love her, hug her, kiss her. She will take no for an answer. Like a raving lunatic, she strikes Arnaiz with the knife. Meanwhile, little did Pina know that Caridad and Santos, Jr. discovers her dark secret and desperately calls the boys to watch out for Pina, the deranged murderer who might be stalking on Arnaiz. Sanches and Santos, Jr. either fumbles with the phone number or gets a busy signal. Wala pa kasing cell phone noon, eh! Next thing we know, the cops run to save Arnaiz from Pina. The hunter is now the hunted. What they discover in the room is a wounded but still alive Arnaiz who cries: "Huwag!" as his colleagues aim their guns at the crazed woman with thick mascara and wig. In a memorable and touching scene, the camera pans on a screaming, out of control, bloodied, lost her sanity Pina, angry one moment, repentant ("di ko sinasadya!") the next, and then mumbles incoherently. Prison bars are etched across her whole body, and the movie ends. Pina is Vilma and Vilma is Pina. This is their story. This is their movie. This is acting at its best. Thank God, Mayor Vilma Santos has come to the rescue of the Pina’s in this world. Unlike the super heroine and fictitious Darna who kicks butt as she battles with the forces of darkness and defend the people, here is Vilma, the philanthropist and the Mother Theresa of her generation, in the flesh, reaching out to the poorest of the poor of her Lipa constituents. Through her loving heart and helping hands, she has actually helped thousands of society’s outcasts, the poor and the needy. This is the Vilma Santos today: successful, revered, in demand, a winner in all fronts. A National Treasure! Who would have thought that the second fiddle to another actress will become the greatest film practitioner of all time and a capable Mayor? A great actress and an excellent Mayor. Nobody does it better. - “Tagos Ng Dugo: The original Naglalayag Revisited” by Mar Garces, published in V Magazine 2006

First of all, serial murder is almost alien to Philippine crime journalism, a fact that's due certainly to our police force's lack of records on such cases. Now, this police-records gap may of course in turn reflect a lack of local police coordination towards (or, worse, capability for) determining crime patterns as possibly serial. Unless those determinations have to do with the usual cop-out that goes like this: "it's another NPA hit" blah blah blah, or "it's another murder similar to the one that happened last week, and this is reflective of pornography's . . .". My above statements are meant to illustrate a national wont to demean our own police organization's capability (or, worse, intelligence) that may neither be fair nor productive, but it would be a habit that certainly is not undeserved given the record -- official and memorial -- of the police's prioritizing its own people's interests and "rackets." Given this background, therefore, Tagos Ng Dugo can be said to be a demonstration of serial crimes' possible placement in local shores, and that would certainly be a valid view. Except, of course, that in effect Tagos is also -- and probably should be read primarily as -- a demonstration of possibilities other than the merely forensic. I say "should be," since the police is portrayed fairly in the film, albeit not exactly generously. So what could be all the fuss about Tagos' value? "Production values" is the often-heard reason, needing elucidation. A breakthrough for Philippine psychological movies? Probably. Let me explore a few other angles on this seeming cross between Francois Truffaut's The Bride Wore Black and Luis Buñuel's Belle du Jour -- I don't know if screenwriter Jake Tordesillas or De los Reyes himself should be congratulated for the cohesion of multi-resultants in this work. Part of this multi-readings would be the movie as a feminist take on womankind's monthly pains as a form of excuse for female monthly insanities, insanities our machos regard as regular terrorism on the whole of mankind (men or society as a whole). It is with that reading that the ending apologies, by Vilma Santos in the lead role, might be understood as a plea for understanding of how all of woman's monthly Eve-behavior should not be seen as a Biblical sin but as an equal (to, say, men's beastly) naturalness. . . . Another feminist reading, more radical perhaps, would treat the film as a view of how Philippine society (the men in it, primarily) approaches provincial innocence, educational weakness, and "females' weaker sanity" as stimuli for abuse. . . . There is, however, the possibly more general reading of the film as an apologia for insanity qua itself, how it should be treated as a disease instead of as a monster to be eliminated. . . . And finally, there's the possibility that the film is actually a depiction of how crazy the world outside the insane mind really is, albeit this view would probably be the least successful direction for the film. . . . As a bonus, maybe we can also bring the movie to more latent, more philosophical territory, say, how it depicts the sanity of innocence. But, given the validity and possible weight of all those approaches, what finally makes this movie a jewel in Philippine cinema history is how it brings forth -- every time you watch it -- its case achievements in directorial and film editing dramaturgy (including the recurring stage-like choreography, Hitchcockish camera positionings, and acting pacing within). For the serious student of third-world filmmaking, here is a requisite Philippine movie from where to cull precious fragments. In these fragments, he/she is sure to find sparkles that are in themselves gems. – “Tagos Ng Dugo (1987): Maryo J. de los Reyes' Jewel” by Vicente-Ignacio S. de Veyra III Geocities web-site (VISV III, July 2002 - April 2004)

2008-03-12T22:29:00.009-04:00

Pinay American Style (1979)

“I’m PX, short for Paula Xavier, I’m a Filipina…kyontiii…I can understand Tagalog but I’m having a hard time speaking it…actually, I’m not hungry…but on the second thought, why not?” - PX

“one-fourth Japanese, one-fourth Chinese, one-fourth Indonisian, one-fourth Filipino but I was born in Hongkong…you see my mom was a tourist in Hongkong when she met my Japanese father, my Chinese father, my Indonisian father and my Filipino father!” - PX

Basic Information

Direction: Elwood Perez

Adapted screenplay: Toto Belano

Original screenplay: Toto Belano

Cast: Vilma Santos, Christopher De Leon, Bembol Roco, Cocoy Laurel, Rosa Mia

Original Music: Demetrio Velasquez

Cinematography: Felipe Sacdalan

Theme Song: "Pinay" sung by Florante

Producer: Lily Monteverde, Regal Films

Plot Description

PX, short for Paula Xavier (Vilma Santos) was an illegal alien in New York City. She’s broke and waiting for fiancé, Cocoy laurel to fulfill his promise of marriage despite the fact that Cocoy has already married an American to secure a green card. Hiding from the authorities, PX met two men who are willing to take care of her but conflicts arise as the two wanted to maintain a serious relationship with her. Played wonderfully by Christopher Deleon and Bembol Roco, the film resolved the love quadrangle between ex-fiancé, Cocoy Laurel and the two brothers when the jealous Cocoy reported Vilma to the immigration authorities. PX was deported back to the

Philippines

. But the films didn’t end in a sour note, PX found herself reunited with Christopher Deleon when the later followed her in the

Philippines

. – Rendt Viray

Film Achievements

One of eight box office hit films Vilma Santos did in 1979

Film Reviews

PINAY, AMERICAN STYLE (1979) - shot in New York City and directed by Elwood Perez, this film seems to be a precursor to Miss X (1980) ’Merika (1984) starring Nora Aunor and Milan (2004), even Anak (2000) and Dubai (2005). Talaga bang masarap ang buhay sa ibang bansa? Bakit nagpapakamatay sa green card ang mga Pinoy? PX, mahal na mahal kita, PX, I love you walang iba. Paula Xavier or PX (Vilma Santos) is a TNT like boyfriend Victor Laurel (what an effective undersated performance) who leaves her as his live-in to be engaged to an American to get a green card who promises Vilma to divorce the White girl and to marry PX so they could live happily forever after. Not. Vilma is pissed that Laurel dropped her for good and he left her with unpaid rent and a broken heart. Enter Boyet De Leon, as Vilma’s next boyfriend who has two jobs who has been around long enough to know what he wants in life - women and the American Dream. Enter Bembol Roco, in a great performance as Boyet’s Kuya who is a bagito green card holder in

America

. He was in the opening scene of the movie where he owns his business and lives comfortably even have someone to make him coffee. Rosa Mia are Roco and De Leon’s battered mother who suffers from the physically abusive second husband (a geriatric Irishman), and verbalized regrets for leaving the

Philippines

. She has the best lines in the movie and summarized the movie’s theme: "Kung uuwi ako sa Pilipinas ay kung patay na ako. Ayokong umuwi ng buhay at malaman nila na ang hirap ng buhay dito - kayod ka talaga to survive, at di pinupulot ang dolyar, ubas at mansanas sa daan. Ang dami kong dinaanang hirap para lang magka green card." Vilma Santos as PX is most effective in her scenes as a dumped/bitter girlfriend of Laurel, as a conflicted girlfriend of De Leon, and as a grateful soul who thank Roco for saving her from paying her overdue rent to her white landlord. Her PX is a toned down Sandra of Ikaw Ay Akin. She says to Roco: "Dati, sa konting pagkain, I offer myself to be laid. Napakabait mo." Roco answers back: "Hindi ganoon kababa ang tingin ko sa sarili ko." You see, Roco falls for the beautiful PX too and was upset to learn that PX is already making it with his brother, which drove him to drink and was depressed for a while. Panoorin na lang ninyo ang movie. The movie’s hopeful view of

America

begins with Perry Como singing White Christmas as Roco, in a dream scene, cavorts in the snow in slow motion. In his dying scene in the arms of his brother De Leon, Roco whispers "ni hindi ko man lang nakita ang snow", and the above Winter Wonderland scene was replayed, while Boyet’s cry for help fell on deaf American ears. Vilma was deported after Laurel clandestinely reported her to the INS which arrested her at her birthday party. Her farewell scene with De

Leon

, handcuffed and all in a train station was one of the best scenes in the movie. The movie has a happy ending, with De Leon finding Santos, a flower picker amidst a field of white daisies with Benguet/Baguio as a backdrop. In a typical Elwood Perez slow mo fashion, amidst the daisy flower plantation, the box office love team of all time hugged and lived happily ever after. As credits rolled, Florante’s song Pinay played on. Pinay, American Style. Ang ganda! Vilma Santos yata iyan! - “Tatak Vilma Santos” ni Mar Garces, V magazine, Issue No. 6 Jan-Feb 2006

Vilma was obviously under utilized as PX in these Elwood Perez experiment. Despite this predicament, Vilma was able to give us a splash of her abilities. While Nora was in full bloom as Mila in these quiet Portes film. She gave us a convincing portrayal of lonely woman who realized that she was being used by a man she truly loves. The contrast of style was the main point why I matched these two roles. As PX, Vilma was talkative, hiding her insecurity and vulnerability with her fragile disguise pretending to be a rich New Yorker with almost caricature gestures.

Regal films' Pinay American Style was as commercial as one can imagine. Regal films producer, Lily Monteverde hired three leading men to support the most bankable actress of 1979, Christopher DeLeon, Bembol Rocco and Victor Cocoy Laurel. It was a period in Vilma's career where she is doing one commercial films after the other. Two dance/musical hits Swing it Baby and Rock Baby Rock and a string of sexy films like Rubia Servious the previous year, Coed and Magkaribal mostly targeting the mature adult audience established her status as the number one box office superstar of 1978-79. Vilma in 1979 was a picture of self-assured bankable star. She did two movies with Elwood Perez, Magkaribal and Pinay American Style both were box office hits. She also produced an Eddie Rodrigues starrer Halik sa Paa Halik sa Kamay, and teamed-up with comedy king, Dolphy in Buhay Artista. As the year 1979 ends, she battled the drama queen Charito Solis in the local festival entry, Modelong Tanso. The end of the decade marked her stronghold as the box office queen. Clearly, Vilma Santos' versatility as an actress was the secret weapon of her box office success. And this weapon was in full display in Pinay American Style.

Pinay American Style was the story of PX, an illegal alien or TNT - “tago ng tago.” Her boyfriend played by Victor Laurel abandoned her for a rich American girl mainly to secure a green card. PX met an Americanized Filipino, Christopher DeLeon but found him not serious of having her as a steady girlfriend. It just so happened that PX also met Christopher's brother, Bembol Rocco, a new immigrant. PX and Bembol fell for each other. And a love triangle surfaced the screen. Adding to the drama was Victor Laurel's enraged, jealous appearances. Laurel eventually tipped the police ending PX stays in New York. As Bembol Rocco realized that America doesn't fit his lifestyle, he reconciled with his brother and advised him to follow PX in the

Philippines

. Christopher and Vilma reconciled in a farm field in the

Philippines

. The end.

The film was so forgettable that the critics didn't even bother to write any reviews. The lack of enthusiasm on the part of the critics was compensated with the box office success of the film. Vilma fits the role as the illegal alien, PX. Her attempt to speak fluent English and pretend that she's rich when she met the boyish looking Christopher was funny and poignant. She was given enough scenes to shine. One was when she was harassed by her landlady, she promised her the rent money the next day and when she’s gone, she opened her refrigerator and found a staled piece of bread. She took bottled water and ate the staled bread, went to the bedroom and found her mom's letter. Lying down in bed, she started to break down. A quiet scene without dialogue. A contrast from the earlier scenes where she was talkative as she tried to impress Christopher and telling him she's rich and from a well-known family. It was obvious in 1979, Elwood Perez wasn't the kind of director you will expect to produce a serious output. He wasn't a Bernal or Brocka. He's a commercial director. It was a better effort though, compared to a much more convoluted Magkaribal or their past successful projects like Nakawin natin ang bawat sandali and masakit masarap ang umibig. In Pinay, Toto Belano's script wasn't efficient in ironing out the “love quadrangle” plot twists and establishing the characters of four actors. So the blame can't be put to solely to Perez’ shoulder. There was a scene were Vilma Santos and Christopher were watching a concert which was obviously not part of the script. – Rendt Viray

2008-03-08T20:29:00.006-05:00

Saan Nagtatago Ang Pag-ibig? (1987)

“…Si Val! Si Val! Si Val! Si Val na walang malay?! Si Val na ang tanging kasalanan ay naging anak ng mommy mo sa ibang lalaki! At nitong nasira na ang kanyang pagiisip…ay alam n’yo bang si Val pa rin ang pinanagot nila sa isang responsibilidad na dapat sana’y ikaw Rick ang nanagot!...ayan ang magaling n’yong apo, itanong n’yo sa kanya kung sinong ama ng batang binigyan ng pangalan ni Val!” - Stella

Basic Information

Direction: Eddie Garcia

Adapted screenplay: Armando Lao

Original screenplay: Gilda Olvidado, serialized in Pogi Komiks

Cast: Vilma Santos, Ricky Davao, Tonton Gutierrez, Cherrie Gil, Gloria Romero, Alicia Vergel. Alicia Alonzo, Perla Bautista, Jonee Gamboa, Rey Hipolito, Suzanne Gonzales, Eddie Arenas, Rose Rosado, Vangie Labalan

Original Music: George Canseco

Cinematography: Romy Vitug

Editing: Ike Jarlego Jr, George Jarlego

Production Design: Manny Morpe

Sound: Rolly Ruta

Theme Song: "Saan Nagtatago Ang Pag-ibig?" sung by Basil Valdez

Producer: Vic Del Rosario, Viva Films

Plot Description

Stella got pregnant by boyfriend Rick. Unfortunately, Rick is not willing to gamble on his inheritance. He is tied up with a promise to his super snotty, super rich old grandmother that he have to finish law school before he can get any money. In order to avoid scandal Stella agreed to be married to Rick’s retarded brother, Val. Together with his adopted family Stella learned to love the retarded Val and at the same time discovered that Val is a product of infidelity that cause the suicide of Rick and Val’s father. Unfortunately Stella’s new found love ended when Val accidentally fell from a window when he had a fight with his irrational brother one night. – Rendt Viray

Film Achievements

FAMAS Best Director - Eddie Garcia

FAMAS Best Picture - Viva Films

FAMAS Best Cinematography - Romy Vitug

FAMAS Best Sound - Rolly Ruta

FAMAS Best Story - Gilda Olvidado

FAP Best Cinematography - Romeo Vitug

FAP Best Director - Eddie Garcia

FAP Best Picture - Viva Films

FAP Best Supporting Actress - Gloria Romero

STAR Best Picture - Viva Films

Other Film Achievements

FAMAS Best Supporting Actress nomination - Gloria Romero

FAMAS Best Actor nomination – Tonton Gutierrez

Film Reviews

Nang malaman ni Stella na buntis siya ay pinilit niyang managot ang kasintahan nitong si Rick, isang law student na tagapagmana na ariarian ng kanyang matapobreng lola. Dahil sa panakot na mag-i-iskandalo’y ipinakasal nila si Stella sa kapatid ni Rick na retarded upang hindi mawala ang mana nito at kasabay ay maiwasan ang kahihiyan ni Stella na mabuntis ng walang asawa at ama ang kanyang dinadalang bata. Kasabay ng pagbubuntis ni Stella ay natutunan nitong mahalin ang retarded na si Val. Kasabay rin nito’y natuklasan ni Stella na si Val ay anak sa labas ng kanilang ina at ito’y hindi sinilang na kulang-kulang. Dahil sa kalupitan ng matapobreng lola ng mga bata’y nahulog ito sa hagdanan ng pagbintangan si Val ng matandang nagnanakaw ng pera. Nahulog ang batang si Val habang pinapalo ito ng kanyang ina. Isang gabi’y nagwala si Val nang Makita nitong nakikipagtalo si Stella kay Rick. Sinunggaban ni Val si Rick at nagaway sila. Ang naging resulta ng pag-aaway na ito’y aksidenteng nahulog sa balkonahe ang kaawa-awang si Val. Namatay ito at sa araw ng libing ay dumating ang matapobreng matanda para ibigay ang abuloy nito kay Stella. Isinauli ni Stella ang tseke sa matanda at ipinahayag na si Val ang ginawa nilang ama ng kanyang anak pero ang tutoo’y dahil sa takot na mawalan ng mana’y ito ang pinaako ng responsibilidad ni Rick. Galit na umalis ang matanda at tuluyang naglaho ang mana ni Rick. Nagdesisyon na iwan ni Stella ang bahay kasama ng kanyang anak.

Mula sa direksiyon ni Eddie Garcia, ang Saan Nagtatago Ang Pag-ibig ay hango sa komiks. Bagama’t mahahalatang puro isang dimensiyon lamang ang halos lahat na karakter ng pelikula’y mahusay naman naihayag ni Direktor Eddie ang komiks na komiks na istorya nito. Bakit kailangang maging binata si Rick habang nagaaral ito ng abogasya? Bakit napakahalaga nito sa matapobreng si Alicia Vergel? Bakit may nakatakip ang isa sa mata ng matanda na parang bandido? Sa ubod ng yaman ng matanda hindi ba puedeng maglagay ng pekeng mata kesa sa bendand itim? Bagamat nakakatawa ang obserbasyon na ito’y dahil sa bisyuwal na kaanyuan ng matapobreng matanda kung kaya naman epektibong makikita ang pagiging kontrabida nito. Tulad ng “Paano Ba Ang Mangarap,” merong ‘dream sequence” ang pelikula kung saan kunwari’y hinuhusgahan si Val na isang baliw. Kung puputulin ang eksenang ito’y hindi magiging sagabal sa paglalahad ng buong istorya ni Gilda Olvidado. Mula sa lumang bahay hanggang sa eksena sa libingan ay mahusay ang sinematograpiya ni Romy Vitug at disenyong pangproduksiyon ni Manny Morpe. Mahusay ang mga katulong na artista mula kay Cherrie Gil, Alicia Alonzo at Alicia Vergel. Mahusay rin si Ricky Davao bilang Rick at Gloria Romero bilang ina ni Rick at Val. Ngunit ang pelikulang ito’y tungkol kay Val at bilang si Val ay nabigyan ng mahusay na pagganap ni Tonton Gutierrez ang papel na sinto sinto mula sa pagsasalita na utal utal haggang sa pisikal na mukha at pa-ika-ikang paglalakad. Tulad ng inaasahan, mahusay si Vilma bilang si Stella. At tulad ng maraming pelikulang ginawa niya sa ilalim ng Viva at sa direksiyon ni Eddie Garcia ay merong linya o dayalogo siya na hindi malilimutan, ito ay nang bigkasin niya ang linyang, “…si Val, si val na wala naman malay…” na magpahanggang ngayon ay natanim sa mga Pilipino na mahihilig sa pelikulang tagalog. – Rendt Viray

Relasyon - Vilma Santos (Dvd)

2008-03-08T16:26:00.007-05:00

Langis At Tubig (1980)

“Labanan natin siya…pupunta ako sa kanya, makikiusap, kung kailangang lumuhod, gagawin ko…isang linggo sa kanya, isang linggo sa akin…kung ayaw niya, anim na araw sa kanya, isang araw sa akin, kung ayaw pa rin niya lahat na ng araw ay sa kanya na…Bobby you gave me hope, you make me a wife, you showed me love when theres only hatred, ginawa mo ako kung ano ako ngayon, babae, ano pang hihilingin ko?” - Cory

Basic Information

Direction: Danny Zialcita

Adapted screenplay: Baby Nebrida, Danny Zialcita

Original screenplay: Danny Zialcita

Cast: Vilma Santos, Dindo Fernando, Ronaldo Valdez, Amy Austria, George Estregan, Ruben Rustia, Johnny Vicar, Lucita Soriano, Augusto Victa, Vic Diaz, Vic Silayan, Mario Escudero, Suzanne Gonzales, Adul De Leon, Martha Sevilla

Original Music: George Canseco

Cinematography: Felizardo Bailen

Editing: Ike Jarlego Sr.

Theme Song: "Langis At Tubig" sung by Sharon Cuneta

Producer: Ernesto C. Rojas, Sining Silangan Films

Other Info: Entry to the 1980 Metro Manila Film Festival

Plot Description:

Bobby (Dindo Fernando) is a man secretly in love with his neighbour and friend Cory (Vilma Santos) but who is living-in with her partner Charlie (Ronaldo Valdez). However, Cory decides to leave Charlie upon discovering his deepest secret that he is a married man. This gives Bobby the chance to show his true feelings for Cory and marries her even adopting the child Charlie has left in her womb. Bobby lives the life of a perfect husband with Cory and accepts a job assignment in Albay shuttling to and from Manila to support his new family. In the province, he meets Pilar (Amy Austria) a lovely town girl. His friendship with Pilar blossoms and they find themselves falling for each other, with Bobby concealing his real marital status. Soon the two learn that she is pregnant and the family forces them into marriage. Consequently, the women discover that Bobby is living a lie and is married to two women. He is forced to make a crucial decision, which of his marriages must be honour? Or will he faced the prospect of getting charged with bigamy? – Philippine Movies web-site

Film Achievements

FAMAS Best Actor - Dindo Fernando

FAMAS Best Actress nomination - Vilma Santos

URIAN Best Actor nomination - Dindo Fernando

Film Reviews

Nang magkaroon ng chance si Bobby (Dindo Fernando) ay sinamantala niya ang sitwasyon ng matagal na niyang nililigawang si Cory (Vilma Santos). Hiniwalayan ng kapitbahay niya ang ka-live in nitong si Charlie (Ronaldo Valdez) dahil sa panloloko nito. Natuklasan ni Cory na may asawa na ito at kinakuwartahan lang pala siya. Buntis si Cory at para maiwasan ang kahihiyan ay pumayag itong pakasal sa manliligaw na si Bobby. Nagpakasal nga ang dalawa at sa kabila ng mga tsismisan ay natutunan rin ni Cory na mahalin si Bobby. Sa kabila ng kanilang matiwasay na pagsasama ay hindi pa rin magkaanak si Cory kay Bobby hanggang sa madestino si Bobby sa Bicol kung saan nabuntis niya si Pilar (Amy Austria). Napilitang pakasalan ni Bobby si Pilar dahil sa pananakot ng pamilya nito. Nang malaman ng masugid na manliligaw ni Pilar (George Estregan) na may asawa na pala ang pinakasalan ng kanyang nililigawan ay sinabi niya agad rito’t lumuwas si Pilar upang alamin kung tutoo nga ang balitang ito. Rito niya nalamang dalawa nga silang pinakasalan ni Bobby at nagsampa ito ng demandang “bigamy.” Nang malaman ni Cory ang nangyari, una’y nasaktan ito ngunit inintindi niya ang asawa at handa itong magparaya para lang hindi ito makulong. Nagkasundo si Cory at Pilar at iuurong na ni Pilar ang demanda ngunit nagdesisyon si Bobby at hinarap ang pagkakasala nito. Sa harap ng husgado ay sinabi niyang siya ay “guilty” at nakulong siya.

Sa direksiyon ni Danny Zialcita, ang Langis At Tubig ay isang pelikulang mabilis at nakakaaliw sa kabila ng pangkaraniwang istorya nito. Tinalakay ng pelikula ang tungkol sa bigami at inilahad ang mensahe na kahit na ano pa ang sitwasyong kinakaharap ng mga tauhan ng pelikula’y hindi maikakaila talaga na may kasalanan ang karakter na ginampanan ni Dindo Fernando. Sa bandang huli’y hayagan sinabi ng husgado na sa mata ng batas walang nangingibawbaw na kahit na sino, ang maysala ay dapat parushan. Isang lagda na ng director Zialcita ang nakakaaliw ng mga diyalogo at ang Langis ay hindi na naiiiba sa mga nagawa na niyang pelikula tulad ng "Gaano Kadalas Ang Minsan" at "T-Bird At Ako." Ang huling pelikulang ginawa ni Zialcita ay nuong 1986 pa, sana ay magbalik pelikula na siya. Napakahusay ng cinematography ni Felizardo Bailen at ang mabilis ng editing ni Ike Jarlego Sr. Bagama’t maganda ang themesong na ginawa ni George Canseco ay nakaka-distract naman sa ilang eksena na bigla na lang pumapasok ang kanta ni Sharon na dapat sanay tahimik na lang. Kung ang pag-uusapan naman ay ang pagganap, mahusay si Amy Austria bilang Pilar. Makikitang pinaghandaan niya ang kanyang pagganap. Muli, binigyan ng magagandang linya si Vilma Santos mula sa umpisa kung saan kinompronta niya ang manloloko niyang ka-live in at sinabing: “namputsa naman nahuli ka na ayaw mo pang aminin” at sa bandang huli nang intindihin niya ang asawa at handing magparaya, sinabi niya “…handa akong magparaya, kung gusto niya isang lingo sa kanya, isang lingo sa akin…” Pero halatang ang pelikulang ito ay pelikula ni Dindo Fernando. Deserving si Dindo sa kanyang pagkapanalo sa Famas bilang pinakamahusay na actor bagamat nang taong ito’y mahusay rin si Christopher Deleon sa Aguila at Taga ng Panahon at Jay Ilagan sa Brutal. Tahimik lang ang pag-arte niya’t makikita ang kanyang intensity sa kanyang eksena kung saan nagtapat na siya sa asawang si Cory tungkol sa kanyang kaso. Mahusay rin siya nang hinarap niya si Pilar at sabihin niyang, “mahal ko kayong dalawa.” Maganda ang location ng pelikula. Makikita ang mga ordinaryong tanawin ng Albay sa Bicol at ang mga ordinaryong manggagawa rito mula sa mga nagtatanim ng palay hanggang sa mga nagtitinda ng mga paninda sa palengke ng bayan. Sa kabila ng ordinaryong istorya ng Langis At Tubig, ang mahusay na direksyon at mahusay na pagkakaganap ng mga artista rito’y nangibabaw ang tunay na karapatan nitong panoorin muli ng mga mahihilig sa pelikulang Pilipino. Sayang nga lang at hindi na gumagawa ng pelikula ang ang gumawa ng obrang ito. – Rendt Viray

Relasyon - Vilma Santos (Dvd)

2008-03-08T00:13:00.007-05:00

Dahil Mahal Kita: The Dolzura Cortez Story (1993)

“Hindi ako naniniwala…Putang…anong karapatan mong sabihin sa akin yan?! Diyos ka ba?! Ikaw ba na nagbigay ng buhay sa akin?! Sino ka ba?...Akala mo alam n’yo nang lahat ayoko nito! Akala mo alam n’yong lahat hah..Ayoko nito…ayoko nito..ayoko pang mamatay!...anong mangyayari sa mga anak ko…mga putang ina n’yo…ayoko nito!” – Dolzura Cortez

Basic Information
Direction: Laurice Guillen
Adapted screenplay: Ricardo Lee
Original screenplay: Dolzura Cortez

Cast: Vilma Santos, Christopher De Leon, Charito Solis, Jackie Aquino, Christine Bersola, Noni Buencamino, Maila Gumila, Mia Gutierrez, Gigette Reyes, Gilleth Sandico, Eula Valdez, Mikee Villanueva, Nonie Buecamino, Jaime Blanch, John Caddi, Tess Dumpit, Chris Michelena, Sharme Centenera, Ernie Zarate, Pocholo Montes, Gil Portes

Original Music: Nonong Buencamino

Cinematography: Eduardo Jacinto

Editing: Efren Jarlego

Sound: Monching Reyes

Production Design Edgar Martin Littaua

Theme Song: “Dahil Mahal Kita” sung by Ogie Alcasid

Producer: Orly Ilacad, Octo Arts Film Co.

Plot Description

Ma. Dolzura Cortez (d. 1992) is the first Filipino AIDS victim who came out in the open to tell about her life and how she acquired the AIDS virus. Her life story was made into the 1993 Filipino film Dahil Mahal Kita (English "Because I Love You: The Dolzura Cortez Story"), directed by Laurice Guillen and starring Vilma Santos as Cortez.. – Wikepedia web-site

Based on Ma. Ceres P. Doyo's award-winning series in the Philippine Daily Inquirer, this film chronicles the life of Dolzura Cortez, the first Filipina to bravely come out in public and admit she was afflicted with AIDS; thus finally giving a face to an AIDS patient. – Philippine Movies Data base, Geocities web site

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, All Movie Guide, The New York Times web site

Film Achievements

FAP Best Actress - Vilma Santos

URIAN Best Actress - Vilma Santos

URIAN Best Music - Nonong Buencamino

STAR Best Actress - Vilma Santos

Manila Film Festival Best Actres - Vilma Santos

Movie Magazine Best Actress - Vilma Santos

Intrigue Magazine Reader’s Choice Best Actress - Vilma Santos

New Fame Magazine Reader’s Choice Best Actress - Vilma Santos

FAMAS Circle of Excellence - Vilma Santos

Other Film Achievements
URIAN Best Director nomination - Laurice Guillen
URIAN Best Picture nomination – Octo Arts
Dahil Mahal Kita: the Dolzura Cortez Story was exhibited at the San Francisco Asian-American International Film Festival on March, 1994
Dahil Mahal Kita: the Dolzura Cortez Story was exhibited at the Amsterdam Film Festival on January 01-15, 1994.

Film Reviews

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. It was the first movie on AIDS in the Philippines that provided 'a name and a face' among the 50 recorded lives that were lost to AIDS in 1992. This movie was utilized as a focus of discussion by some health care personnel to express their thoughts, opinions and recommendations regarding the use of cinema as a powerful tool for AIDS information dissemination. - You and Aids web-site

The "Dolzura Cortez Story" was the Philippines' first movie on AIDS that provided 'a name and a face' among the 50 recorded lives that were lost to AIDS in 1992. This movie was utilized as a focus of discussion by some health care personnel to express their thoughts, opinions and recommendations regarding the use of cinema as a powerful tool for AIDS information dissemination.

PIP: Responding to a newspaper advertisement looking for a person with AIDS, Ms. Dolzura Cortez agreed to have her life story serialized in print and later developed into a movie. The "Dolzura Cortez Story" was subsequently produced as the

Philippines

' first movie on AIDS which documented the real experiences of a person living with AIDS in the country. The author reports findings from a study conducted to determine the social impact of the movie as perceived by some health care personnel. Specifically, it aimed to identify the messages that health care providers derived from watching the movie and to make recommendations on how this and subsequent films could serve as an effective tool for AIDS education. 134 health care personnel representing 13 regional hospitals from all over the country watched the film, then answered a questionnaire. The sample was of mean age 35.6 years, 84.3% female, and with mean experience of 10.1 years. 20.1% were doctors, 21.6% nurses, 32.4% social workers, and 25.4% other health personnel. 22.9% had direct experience caring for persons with AIDS and 32.8% knew someone with AIDS. Although these participants perceived some simple and subtle messages from the movie, they also noted its shortcomings. The movie lacked realism; overemphasized the dangers of having multiple sex partners at the expense of warning about other risk factors for HIV transmission; the counsellor pressured the patient and failed to provide enough information on infection control; the psychosocial, economic, and spiritual concerns of people with AIDS were not addressed; and there were some misinterpretations and twisted truths about AIDS facts and the story itself. The respondents suggested that health care providers and people directly involved in AIDS education and counseling be involved in the production of such movies. Moreover, documentary pictures and testimonial footage of the woman would have added realism, while additional basic information about AIDS could have been mentioned in either the movie or a trailer. - NCBI web site

'Dolzura Cortez Story' is an artistic and brilliant film from Manila's finest director. The movie's leading actress, Ms. Santos, played her part so powerfully, and is very convincing as Dolzura, the first Filipino HIV/AIDS patient to come- out to the public. The movie is a thought- provoking film, ready to challenge the Filipino idea of what is right and what is wrong. – “A thought- provoking, honest film from Philippine's finest director” by Jonard, IBDB web site, March 11, 2000

Women Mayors: Helen Zille, Vilma Santos, Dora Bakoyannis, List of First Female Mayors, Martine Aubry, Georgina Beyer, Valentina Matviyenko In My Life

2008-03-07T22:26:00.008-05:00

Ikaw Ay Akin (1978)

“Rex,,,anong gagawin mo? Ako anong gagawin ko? Ako ba ang nagpapagulo sa otherwise your perfect world?...sure? Rex ang problem ako hindi lang ako eh…si Teresita rin...nasasaktan ko na siya…anong gagawin ko iwasan kita eh de ako naman ang nasaktan? Shit! Bakit? Ewan…nahihiya nako kay Teresita at saka sa’yo eh!...Rex huwag mong sabihin yan, naiintindihan mo ba ako? I need your presence more than anything else. Sabi nila liberated woman raw ako, front lang, kalog raw, front din…alam mo namang kulang-kulang ako eh sinabi ko na sayo nun pa…ninenerbiyos ako kapag hindi kita kasama eh, baka dapuan ako ng kung ano diyan, bery-bery, typoid fever! Pakiramdam ko safe lang ako kapag nariyan ka eh…pag wala ka,huh, nagwawala ako parang manok takbo ng takbo wala namang ulo!...Rex, anong gagawin mo?” – Sandra

Basic Information

Direction: Ishmael Bernal

Adapted screenplay: Ishmael Bernal

Original screenplay: Jose Carreon

Cast: Vilma Santos, Nora Aunor, Christopher De Leon, Nick Romano , Ellen Esguerra, Zandro Zamora, Odette Khan, Charmie Benavidez, Ernie Zarate, Cris Vertido, Anton Juan, Sandy Andolong

Original Music The Vanishing Tribe

Cinematography: Sergio Lobo

Editing: Augusto Salvador

Production Design: Mel Chionglo

Sound: Teddy Ramos, Rolly Ruta

Producer: Experidion Laxa, Tagalog Ilang-Ilang Productions

Plot Description

Botanist, Tere’s (Nora Aunor) long stable relationship with business executive Rex (Christopher Deleon) was shaken when Sandra (Vilma Santos) came into their lives. A pill popping liberal career minded, Sandra made Rex’s monotonous life colourful and exciting. He later realized that both women complete his existence. – Rendt Viray

An unusual story of three people caught in the unexplainable intricacies of love and need. The five year old relationship of Rex and Tere is put to a test as Sandra, the kooky, talented and aggressive designer rocks the picture perfect and peaceful relationship. The solid and unruffled engagement cracks as Rex is immediately smitten by Sandra's dynamic persona. The film features the superstar team-up of award winning artists Nora Aunor and Vilma Santos and the drama king, Christopher de Leon. – Database of Philippine Movies, Geocities web site

Film Achievements

URIAN Best Actor - Christopher De Leon

URIAN Best Music - "The Vanishing Tribe"

URIAN Best Production Design - Mel Chionglo

Other Film Achievements

URIAN Best Actress nomination - Vilma Santos

URIAN Best Actress nomination - Nora Aunor

URIAN Best Cinematography nomination - Sergio Lobo

URIAN Best Director nomination - Ishmael Bernal

URIAN Best Editing nomination - Augusto Salvador

URIAN Best Picture nomination – TIIP

URIAN Best Screenplay nomination - Jose Carreon

URIAN Best Supporting Actor nomination - Ernie Zarate

Film Reviews

“Ikaw ay Akin” is the latest addition to Ishmael Bernal’s continuing attempt to portray how people and relationships are at once simple and complex. It is also the most engaging local movie shown this year, once again proving that the marriage of commerce and art can be remarkably fruitful. Those who expect the film to be one of those triangles of the “Sapagkat Kami’y Tao Lamang” variety will be disappointed. Made with taste and finesse uncommon in Pilipino movies. “Ikaw” surveys the interactions of three people caught in the unexplainable intricacies of need and love.

Rex, the young executive of a jeepney-producing firm, has been going steady with Tere, a demure orchid expert, for five years. Theirs is the kind of self-satisfied relationship that results from along, unruffled engagement. That is until he meets Sandra. An artist-designer, Sandra is kooky, talkative, aggressive career girl who is also neurotic, chain-smoking, tranquilizer-gulping, phobia-laden product of a broken family. Rex is immediately attracted to Sandra’s seemingly boundless energy. Compared to her, Tere is a calm, reserved, efficient, level-headed woman who looks totally in control of herself. The “menage-a-trois” is then sensitively laid out for viewers to look into the hurts and joys, hesitations and decisions, delights and agonies of each character. At film’s end nothing is really resolved. Most loyal viewers will be revolted by this ambiguity. To get their money’s worth, they feel they must be sure “kung kanino talaga napunta si Christopher, kay Nora ba o Vilma?” But Bernal is not so much concerned with fulfilling audience expectations than with putting across his message: that no one can totally, absolutely, fully own another human being. The best thing is to understand the needs of a person and love him according to his limitations. This is evident in the lines of Rex, whose character we completely grasp only as the film nears its conclusion. Rex tells Tere: “Kailangan ako ni Sandra hindi lamang sa pisikal kundi sa emosyonal din. Tulad ng pangangailangan ko sa iyo. Sa kanya, parang nagkaroon ako ng gamit. Kailangan ko kayong dalawa para mabuo ako.” To Sandra, he says later: “Si Tere, tinaggap nang hindi niya ako maaangkin nang buong-buo. Kung sasabihin mong nakuha mo nang buong-buo ang isang bagay, kulang pa rin.”

Unlike other superstar team-ups that fail to exploit the golden opportunity of pulling in sure audiences to watch a serious work, Bernal’s greatest achievement lies not so much in putting his three big stars together but in making use of them to lure their fans and followers intos eeing a mature, sensible film. And his cast serves Bernal very well. In the hands of a capable director, Christopher de Leon proves that his forgettable appearance in such odious films as “Topo-Topo Barega” and “Disco Fever” are mere lapses in judgment that do not entirely discredit his craft. He also shows enough gallantry by not getting into the way of his leading ladies, whose roles are undoubtedly more demanding than his. As the uptight Sandra, Vilma Santos has the script’s choicest, wittiest lines. She makes the most of them and succeeds in giving a fairly accurate portrait of an emotionally insecure young woman. And when she tells Rex: “sabi nila liberated ako, front lang. Kalog daw, front din. Alam mo namang kulang-kulang ako. Pag wala ka, magkakalat ako. Para akong manok, takbo ng takbo wala namang ulo.” She likewise handles her final breakdown exceedingly well. Nora has less lines but she nevertheless manages to conveys her emotions very effectively. In that family reunion-party which is so engrossed in gossip and banter, she remains so detached, speaking nary a word --- a triumph for both Bernal and her. The hurt in her eyes continues to build up until that disrupted dinner scene where she rushes to her room and, unable to contain herself, finally cries. The most stable of the three, you could really believe her when she tells Rex: “Galit ako sa ‘king sarili, dahil sinasaktan mo na ako nang todo-todo pero lalo ka namang napapamahal sa akin.”

The film is greatly enhanced by Jose Carreon’s vibrant script, Mel Chionglo’s superb production design, the Vanishing Tribe’s fine musical score, and Augusto Salvador’s brisk editing (few scenes last longer than a couple of minutes). But the lion’s share of credit goes to Bernal. I particularly like his splendid use of meaningful pauses and oppressive silences, as in Sandra and Tere’s accidental first meeting at Rex’s house, Sandra’s soundless dinner with her father that leads to her breakdown, and the long, quiet ending scene where Sandra and Tere never say a word and yet succeed in finally communicating with each other. Our viewers are discomfited by this exhausting process, what with the underdeveloped tastes of our mass audience perpetuated by irresponsible irectors. But one fervently hopes for Bernal, who apparently believes he owes the audience his best even if they are more likely to love his third best more, that they would get the film’s message and, perhaps, even accept and like it. - The Marriage of Commerce and Art by Mario E. Bautista, Philippine Daily Express, 1978

Mga kasangga, nagpunta ako sa SM Manila para magbayad ng mga bills ko ng madaan ako sa mga music store nag check lang ako na baka meron akong mabiling mga Filipino movies at baka makakita ako ng Ikaw Ay Akin. Paalis na ako ng wala akong magustuhang mga pinoy movies pero sa kakahanap ko ay biglang bumulaga sa akin ang movie nina Vilma-Nora-Boyet--ang Ikaw ay Akin! Sa wakas napanood ko na rin ang pelikulang pinagsamahan nila Vilma-Nora, heto ang aking mga maikling obserbasyon:

1. Vilma Santos - Mas challenging ang role ni Ate Vi rito kumpara kay nora...mas magaganda ang mga dialogues ni Ate Vi na nakakatuwa at magaling ang pagkakadeliver niya ng mga linya. Sexy siya ha at magaganda ang mga damit na ginamit niya rito. Maigsi ang buhok na medyo curly. Bagay na bagay sa kanya. Komento ko lang ay medyo matinis pa ang boses ni Ate Vi rito. Ang hatol: 3 stars para kay Ate Vi!

2. Nora Aunor: Ok din naman si Nora dito kaso nga gaya nga sabi ko, mas malaman ang role na napunta sa kanyang kumareng Vilma. Asiwa rin ako sa wig niya...teka naka wig nga ba siya rito na mahabang makapal? Di ko lang type ang pag-iyak ni nora...ewan ko ha pero wag naman sanang magagalit ang mga Noranians, medyo napapangitan talaga akong umiyak si Nora kahit noong bata pa ako. Pangit na pangit ako sa pag-iyak niya. Parang pinipilit niyang mag emote. Di rin ako sanay na nakikipaghalikan si Nora sa mga movies, sabagay bibihira naman talaga makipaghalikan si Nora sa mga screen partner niya at usually naman si Boyet ang kahalikan niya pero noong pinapanood ko ang halikan scene nila Nora at Boyet, parang naaasi-wa ako. Ewan ko ba…parang nakakadiring tignan ewan…upps, komento ko lang iyan ha. Ang hatol - 2 stars para kay Ate Guy!

3. Boyet DeLeon - Siya ang may pinakamaraming exposure sa movie na ito dahil palitan lang naman siya ng kaeksena. Ang hatol - 2 stars para kay boyet.

4. Vilma-Nora Scenes: a) sa sine parang sa tingin ko ay di sabay ito kinunan sa tingin ko lang ay di sila magkaeksena rito bagamat pareho silang nasa sinehan. b) bahay scene - ang ikli ng pagsasama nilang dalawa rito na parang pinasabik ang mga manonood kung may iringan ba or acting sa acting ang magaganap, pero walang naganap na ganun! c) No Dialogue Scene - Grabe!! Ang galing ng eksenang ito. First time kong makanood ng ganitong ending…walang salitaan, sagutan, walang murahan, walang away, wala as in wala except labanan ng facial expression, eye acting ika nga. Kainis lang ang director na ito kasi pinaglaruan lamang ang imahinasyon ng mga manonood at ng mga Vilmanians-Noranians!!! huh… Mas gusto ko pa rin na marami sana silang eksena na magkasama...sayang!!!!

5) Sounds/Music: Well since ginawa ng 1978 ba??? Eh di ko type ang mga music/sounds na ginamit ditto. Ang hatol - 1 star

6) Story/Picture: Simpleng - simple lang ang story, medyo bitin ako, parang may hinahanap pa ako sa movie na ito. Ang hatol - 2 stars. - “Ikaw Ay Akin, Ang hatol!” by Dream Forest, published in V magazine Issue No. 7 Literary Issue 2006

2008-03-07T18:39:00.007-05:00

Paano Ba Ang Mangarap? (1983)

“Dinaya n’yo ako! Saan n’yo dinala ang anak ko?.. Hindi mo alam...Sinungaling!... Kasabwat ka ng ina mo! Alam ko matagal n’yo nang plano ito!... Dinaya n’yo ako! Mga Traydor Kayo! Traydor kayong lahat!... Wala akong pakialam! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin ang anak ko! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin…” – Lisa

Basic Information

Direction: Eddie Garcia

Adapted screenplay: Orlando Nadres

Original screenplay: Nerissa Cabral

Cast: Vilma Santos, Christopher Deleon, Amy Austria, Jay Ilagan, Peral Bautista, Armida Siguion Reyna, Vic Silayan

Cinematography: Romy Vitug

Theme Song: "Paano Ba Ang Mangarap?” sung by Basil Valdez

Producer: Vic Del Rosario, Viva Films

Plot Description

Despite their different social backgrounds, Lisa (Vilma Santos) and Benny (Jay Ilagan) have found their match in each other. Unfortunately, Benny dies before they could marry, and Lisa is left with no choice but to seek the help of Benny's parents. But their arrogance is as lofty as their fortune, and to them, Lisa is nothing but an opportunist. Their only concern is their late son's unborn child that Lisa is carrying in her womb. The only person who treats Liza with kindness is Eric (Christopher de Leon), Benny's brother, who has secretly fallen in love with her... – Kabayan web-site

Film Achievements

FAMAS Best Director nomination - Eddie Garcia

FAP Best Cinematography - Romeo Vitug

Film Reviews

PAANO BA ANG MANGARAP? rates high for its slickness and production gloss, something that its producers, Viva Films, shouldn’t hope would last them more than two seasons. Eddie Garcia is a good director. He stages his scenes well, with a minimum of fuss and a modicum of winning faith in narrative primacy. Viva’s movies are well-structured, well-paced, and at their best show how the cosmopolitan Filipino behaves under romantic stress. But if you get past that level and dig into substance, you encounter that self-same compost pit wherein all the biodegradable scraps of melodrama you can find southeast of your favorite mother’s kitchen have been thrown.

Such is the case, to a most lamentable extreme, with Paano Ba ang Mangarap? It’s well-acted, well-done, tastefully correct in elementary mode. But it is strictly local comics fare, this well-wrought turn of circumstantial twist and escalating conflicts which all spell high drama. Viva makes films that are at best our answer to Hollywoodian slick, the stuff of which The Other Side of Midnight and Imitation of Life are prime generational examples. The Barbra Cartlands and Harold Robbinses turned celluloid; Mills and Boon on the big screen. Here you have two fine actors, Christopher de Leon and Vilma Santos, waxing once again with their special chemistry. Boyet is so good he can, by merely varying his inflection, go through a simple line like “Tama na..” three times and prove positively sensitive and believable each time. Subtlety of feeling is shared equally well by Vilma Santos. They are both aware of the value of underplaying their emotional scenes, so much so that in any confrontation with other thespians who play their role to the hilt, these two, Boyet and Vilma, come out on top through the simple process of undercutting. Vic Silayan and Perla Bautista are equally good in Paano Ba ang Mangarap?, but it is Moody Diaz who wins us over by applying a different tack in her “mayordoma” role, something that is usually played for laughs and other such effects by less gifted, or less imaginative, performers. Armida Siguion-Reyna is hampered by her termagant mother-in-law role, the catch-all character of cruelty spawned by all the soap opera dramas of Philippine comics and radio serials. And she plays this thoroughly unbelievable character, typecast as she already is, much to the hilt. That fantasy scene where she makes out like a satanic figure, though well-shot by Romy Vitug, is quite embarrassing for a picture like this, except of course we know that it is based on a comics serial where such fictive excesses may appear.

Here is where this otherwise finely-crafted film suffers. Viva knew it had to be faithful to the comics serial, so in effect opted for the surefire commercial draw at the expense of a truly artistic, credible film. I’m not saying that a character like Mrs. Monteverde does not, or cannot, exist. Perhaps one in a million. Filipino mothers can be as overbearing, prejudiced, unfeeling, and downright cruel. But to have a situation where an improbable character like her meets up with other improbable characters like the one Vilma and Christopher play, is stacking up the cards too much on the side of atrocious melodrama. Vilma is the martyr type who would subject herself to indignities just so her coming child can have a name and possibly better upbringing. Boyet is the unloved son who would ditch his sophisticated girlfriend (Amy Austria, who is still uncomfortable in such role, so she doesn’t fare too well here) for this martyr-type who’s been impregnated by his brother. Now, any of these characters may exist, if by a long chance. But to have them all together living under the same roof is stretching the bounds of possibility much too much. Furthermore, it could have been a better ending had the Viva bosses decided to stop at that scene where Vilma finds herself left alone on Christmas in the rich surroundings she has always dreamt of. Now only the household help can give her token solace by way of a collective gift. It is a poignant scene, stylistically done to proper effect with the usual Viva-film theme wafting through in support of silent montage. It could have been a good open ending, with overtones of irony laying themselves squarely on Vilma’s character. But no, of course one can’t disappoint the followers of the original comics serial. So the story goes on through further typical maneuverings until we’re given at least a semblance of a happy ending. A missed chance, I say. - "A missed chance" by Alfred A. Yuson, Philippines Daily Inquirer - 17 July 1983

A true blooded Vilmanian will not forget the time when a teaser (a very brief movie trailer – around 20 seconds) was shown to the theatres in the summer of 1983. It was Viva films’ “Paano Ba Ang Mangarap?” Another box office hit from Vilma Santos and Christopher DeLeon. The teaser (almost worth the whole movie ticket) was the scene where Lisa, played by Vilma discovered that her son (to Eric’s brother, Jay Ilagan) was gone courtesy of her evil rich mother-in-law (Armida Sigueon Reyna). Here’s the lines and the explosive acting of the Queen. The scene: After running around looking for the baby in all the rooms in second floor of of this huge mansion, Lisa confronted Eric who were stunned to find Lisa’s hysterics.

Lisa: Dinaya n’yo ako! Saan n’yo dinala ang anak ko?!!!

Eric: Hindi ko alam!

Lisa: Hindi mo alam...Sinungaling!

Eric: Lisa, makinig ka muna…

Lisa: Kasabwat ka ng ina mo! Alam ko matagal n’yo nang plano ito!

Eric: Ano bang pinagsasabi mo?

Lisa: Dinaya n’yo ako! Mga Traydor Kayo! Traydor kayong lahat!

Eric: Lisa, huminahon ka baka mapaano ang bata!

Lisa: Wala akong pakialam! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin ang anak ko! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin…. AHHHH (mahuhulog sa hagdanan) Just this scene alone, Vilma should be rewarded that year’s best actress award! Bravo! – Rendt Viray

2008-03-07T17:43:00.005-05:00

Pag-puti Ng Uwak, Pag-itim Ng Tagak (1978)

"...sabi mo pa nga nuon mahal na mahal mo ako...sabi mo pa na hindi magbabago ang pagtingin mo sa akin...dahil papaano mo papatayin ang hangin? Paano mo papatayin ang ulan? Paano mo papatayin ang araw? Sabi mo pa nga hindi mo na ako iiwan kahit na anong mangyari...kaya naisip ko nuon magpaligaw na ako sa'yo...kahit hindi pa pumuputi ang uwak, o umi-itim ang tagak..." - Julie

Basic Information

Direction: Celso Ad. Castillo

Assistant Director: Rubén Domingo

Adapted screenplay: Celso Ad. Castillo, Iskho Lopez, Lando Jacob, Ruben Nicdao

Original screenplay: Celso Ad. Castillo, Ruben Arthur Nicdao

Cast: Vilma Santos, Bembol Roco, Robert Talabis, Joonee Gamboa, Angie Ferro, Olivia O'Hara, Mona Lisa, Mario Escudero, Fred Panopio, Adul de Leon, Lito Anzures, Miniong Alvarez, Andres Centenera, Carpi

Asturias

, Filing Cudia, Yolanda Luna, Mervyn Samson, Dolores Pobre, Jennifer Cortez, Diomedes Maturan

Original Music: George Canseco

Cinematography: Romeo Vitug

Editing: Celso Ad. Castillo

Production Design Peter Perlas

Sound: Gaudencio Barredo

Producer: Vilma Santos, VS Films

Plot Description

Lovers Julie (Vilma Santos) and Dido (Bembol Rocco) struggles to remain in a relationship despite the family conflict brought together by their rivalling relatives and the social unrest that surrounds them. – Rendt Viray

Film Achievements

FAMAS Best Picture - Vilma Santos

FAMAS Best Art Direction - Peter Perlas

FAMAS Best Cinematography - Romeo Vitug

FAMAS Best Director - Celso Ad. Castillo

FAMAS Best Music - George Canseco

FAMAS Best Story - Celso Ad. Castillo, Ruben Arthur Nicdao

FAMAS Best Supporting Actress - Angie Ferro

URIAN Best Director - Celso Ad. Castillo

URIAN Best Picture - Vilma Santos

URIAN Best Screenplay - Celso Ad. Castillo, Lando Jacob, Iskho Lopez, Ruben Arthur Nicdao

URIAN Best Sound - Gaudencio Barredo

URIAN Best Supporting Actor - Joonee Gamboa

Other Film Achievements
FAMAS Best Actress nomination - Vilma Santos
FAMAS Best Screenplay nominations - Celso Ad. Castillo, Lando Jacob, Iskho Lopez, Ruben Arthur Nicdao
FAMAS Best Supporting Actor nomination - Joonee Gamboa
URIAN Best Cinematography nomination - Romeo Vitug
URIAN Best Music nomination - George Canseco
URIAN Best Supporting Actress nomination - Adul de Leon

Film Reviews

Celso Ad. Castillo's Pagputi ng Uwak, Pag-itim ng Tagak (When the Crow Turns White, When the Heron Turns Black) injects political overtones into its story, about a poor young man (Bembol Roco) who, when abandoned by his upper-class lover (Vilma Santos), joins the Hukbalahap rebels. Ad. Castillo in this film demonstrates an amazing visual language--not flashy, but quietly, lyrically brilliant. He also demonstrates a more masterful grasp of music and song than possibly any other Filipino director--the film is a model on how to use kundimans, ballads, pop songs to differentiate social classes, to satirize and comment on the narrative action. – Noel Vera, An End-of-the-Millennium List: Thirteen Important Filipino Films, Full Alert Review, web-site

Celso Ad Castillo's epic masterpiece of romantic love, family relationships, class struggle and political rebellion, Vilma Santos star as Julie Monserrat, a music-loving provincial lass raised by her two prudish, wealthy spinsters aunt (Adul De Leon and Angie Ferro) Julie falls in love w/ Dido Ventura (Bembol Rocco) the poor son of embittered woman (Mona Lisa) who holds grudge against the Monserrats for wrong doing several years earlier. Other memorable characters populate this beautifully photographed drama, among them Maestro Roque (Jhoonee Gamboa) a composer-violinist and huk Kumander Salome (Lito Anzures), Dido's freedom-fighting uncle. rich in texture and full color, charm love and joy, tenderness, violence and despair and hope. The movie won critics awards and stars Yolanda Luna, Marvin Samson, Mario Escudero, Olivia O' Hara and Robert Talabis. Cinematograhy by Romy Vitug. Produced by VS film. - IMDB web-site

RELATED READING: BIENVENIDO LUMBERA'S REVIEW OF PAGPUTI

2008-03-07T17:10:00.005-05:00

Pakawalan Mo Ako (1981)

“Puta! Sige ituloy n’yo! Sabihin n’yo! Hindi lang naman kayo ang ang unang nagparatang sa akin ng ganyan. Puta! Puta! Puta! Putang-ina n’yong lahat! Putang-ina n’yong lahat! Sige! Sabihin n’yo! Isigaw n’yo! Kung sa inyo lang ay malinis ang aking konsensiya!” - Anna

“Kukunin ko ang bayad ng halik! May sukli ka pa!” - Anna

Basic Information

Direction: Elwood Perez

Adapted screenplay: Pete Lacaba, Mao Gia Samonte, Iskho Lopez

Original screenplay: Pete Lacaba

Cast: Vilma Santos, Christopher De Leon, Anthony Castelo, Deborah Sun, Subas Herrero, Mila Ocampo

Original Music: Lutgardo Labad

Production Design: Ulay Tantoco

Cinematography: Johnny Araojo

Editing: Jose H. Tarnate

Sound: Gaudencio Barredo

Theme Song: "Dati" sung by Anthony Castello

Producer: Marichu Maceda, Sampaguita Pictures

Plot Description

Namatay ang tatay ni Ana (Vilma Santos) at dahil rito’y naghirap sila. Napilitan siyang magtinda ng sabon at tumigil sa pag-aaral. Sa kabila nito hindi siya humingi ng tulong sa katipan na si Freddie Villasenor (Christopher DeLeon). Dahil sa hirap ay napilitang pumasok si Ana sa isang escort service sa tulong ng kanyang kaibigang si Bernadette Santos (Deborah Sun). Nakilala ni Ana si Bernard San Diego (Antony Castelo) sa kanyang trabaho bilang escort girl. Sa gabing iyon nakita siya ng kapatid na babae ni Freddy. Nang yayain ni Freddy si Ana para magpakasal pumayag na ito at pumunta siya sa bahay ni Freddy para makilala ang pamilya ni Freddy. Hindi nila alam ay inimbitahan ng kapatid ni Freddy si Bernard San Diego. At sa hapag ng kainan ay binisto nito ang tunay na trabaho ni Ana. Umalis nang umiiyak si Ana at nagkagalit sila ni Freddy. Pinuntahan ni Bernard si Ana para humingi ng paunmanhin ngunit naabutan sila ni Freddy at nag-away sila ni Bernard. Inakala ni Freddy na talagang may relasyon si Bernard at Ana kung kaya iniwanan niya ito. Nagbalik si Ana sa kanyang trabaho. Nagkaroon ng secret admirer ito. Yung pala ito ay si Bernard. Nalaman rin ni Ana na buntis siya at ang ama ng dinadala niya ay si Freddy. Inalok ni Bernard si Ana ng kasal at pumayag naman ito sa kabila ng pagtutol ng kanyang mayamang ama. Lumaki ang bata at apat na taon na ito nang magdesisyon ang ama ni Bernard na tigilan na ang pagsasama ng dalawa. Inalok si Ana ng malaking halaga ngunit tumutol ito. Nang umalis ang ama ni Bernard ay pinaiwan nito ang isa sa kanyang mga tauhan para gahasain si Ana. Dumating si Bernard at nagaway sila ng tauhan ng kanyang ama. Sa kaguluhan ay nabaril ng tauhan ng kanyang ama si Bernard mismo. Sinet-up ng ama ni Bernard si Ana. Pinakulong at kinuhang abogado si Freddy. Sa hukuman ay nakuhang magduda ni Freddy sa dating katipan. Nagpunta ito sa bahay ng ina ni Ana upang kausapin ang batang anak ni Ana. Natuklasan ni Freddy ang tutuong nangyari at ang testigo ay ang anak ni Ana. Sa closing ng kaso ay inihayag ni Freddy na walang kasalanan si Ana at ang pumatay kay Bernard ay ang tauhan ng sarili nitong ama. Napawalang sala si Ana at nalaman ni Freddy na ang bata’y ang sarili niyang anak. – Rendt Viray

Film Achievements

FAMAS Best Actress - Vilma Santos

FAMAS Best Actor nomination - Christopher De Leon

Film Reviews

Dalawangpu’t Anim na taon na ang nakakalipas nang una nating napanood ang pelikulang Pakawalan Mo Ako. Tumabo ito sa takilya at nagbunga ng pagkapanalo ni Ate Vi ng Best Actress mula sa Famas para sa taong ito. Prinudyus ng Sampaguita Pictures, ang “Pakawalan Mo Ako” ay isa sa mga pruweba na nasa ikataas na puwesto si Vilma Santos nang bagong dekada otsenta. Mula umpisa hanggang sa huli’y umiikot ang istorya sa karakter ni Vilma bilang si Ana, isang escort girl. Markado ang papel ni Vilma at makikita ito sa mga eksena sa kulungan at hukuman. Ang Pakawalan Mo Ako ay mula sa panulat ni Pete Lacaba at iskrinplay nina Pete Lacaba, Mao Gia Samonte at Isko Lopez. Kung ikukumpara sa mga ibang pelikula ni Elwood Perez mas pulido at makatotohanan ang mga eksena’t dialouge ng pelikula. Tulad ng konprontahin nga ma ni Bernard si Ana sinabi nito na: “Puta, Puta! Puta! Hindi lang naman kayo ang unang nagparatang sa akin ng ganyan! Puta! Puta! Putang Ina n’yong lahat…” At nang unang dalhin ni Bernard si Ana sa bahay nito at pagtangkaang gahasain, pumiglas si Ana at sabay kuha sa pera at sabay sabing: “kukunin ko ang bayad sa halik may sukli ka pa!” At siyempre ang eksena sa hukom kung saan paulit ulit niyang sinasabi ang salitang: “Sinungaling!...” Ang musika ni Lutgardo Labad ay minsan nakakaabala sa tunay na eksena ngunit angkop na angkop ang theme song ng pelikula, ang “Dati” na kinanta mismo ni Antony Castelo. Merong mahahabang linya si Christopher DeLeon sa bandang huli at nakuha naman niyang bigyan ng buhay ang papel niya bilang abogado ng taga-usig kahit na parang pilit ang pagpapalit niya ng panig para sa tagapagtanggol sa bandang huli, sa kanyang closing remarks. Alam niya marahil na talagang pelikula ito ni Ate Vi. Mahusay rin ang pagganap ni Antony Castelo bilang isang matigas na ulong anak ng isang mayaman. Sa papel na ina ni Ana, nakaka-distract ang hindi tunay na boses ni Mila Ocampo. Bilang ama ni Bernard San Diego, very one-dimensional ang papel ni Subas Herrero. Ang pinakanakakatuwang papel ay ang papel na kaibigan ni Ana na ginampanan ni Deborah Sun. Meron siyan eksena sa hukuman kung saan tumistigo siya at natural na natural ang pagkababaeng bakla niya. Mabilis ang pacing ng pelikula at walang mahusay ang pagkakaedit nito. Hindi ako nagtaka kung bakit nanalo si Ate Vi para sa pelikulang ito mula sa Famas. Ito rin ang bale hudyat ng pagsibol ng bagong Vilma Santos pagpasok ng dekada otsenta dahil sa sumunod na taon ay nagkasunod sunod na ang parangal sa pagarte ni Ate Vi mula sa iba’t ibang award giving bodies. – Rendt Viray

Labis ang pagdadalamhati ng mag-inang Ester at Anna (Mila Ocampo at Vilma Santos) sa di inaasahang pagpanaw ng asawa at ama ng kanyang anak. Dahil dito, iniatang sa kanya ang pag-aaruga sa maysakit nitong ina. Namasukan bilang promo girl si Anna ngunit hindi sapat ang kanyang kinikita upang matustusan ang kanilang pang araw-araw na pangangailangan. Hindi rin nito mapagdesisyunan ang alok na pagpapakasal ng kasintahang si Freddie (Christopher de Leon). Di naglaon, ipinasok ito ng kaibigang si Bambi (Deborah Sun) sa Promo Vision Escort Services na pag-aari ni Pepito (Ed Villapol). Sa isang okasyon, nakilala nito si Bernard San Diego (Anthony Castelo), at madaling nahulog ang kanilang loob sa isa't-isa. Ngunit kaiba si Anna sa mga kasamang escort girls dahilan sa hindi nito inilalako ang kanyang katawan sa mga parokyano sa anumang halaga. Nang muling alukin ni Freddie ng kasal si Anna, pumayag ito at ipinakilala niya ang nobya sa kanyang mga magulang. Ngunit hindi inaasahan ni Anna na sa pagkakataong ito malalaman ni Freddie ang tungkol sa kanyang pagpuputa. Hindi ito nabigyan ng pagkakataong maipaliwanag ang katotohanan hanggang sa tuluyan siyang iwan ni Freddie. Naging masugid na manliligaw ni Anna si Bernard at halos bilhin na nito ang kanyang buhay. Nagpakasal ang dalawa hanggang sa itakwil ito ng amang si Don Nilo (Subas Herrero), habang ibinuhos naman ni Freddie ang kanyang panahon sa propesyon bilang abogado. Iigting ang takbo ng kuwento nang mabaril at mapatay si Bernard. Makukulong si Anna at gigipitin ito ni Don Nilo, kukunin niya ang serbisyo ni Freddie sa kaso ng pagpatay sa kanyang anak. Sa huli ay mananaig pa rin ang damdamin ni Freddie kay Anna at mapapawalang sala ito sa krimeng kanyang kinsangkutan.

Natatangi ang pelikulang Pakawalan Mo Ako (MVP Pictures, 1981) dahil sa matagumpay nitong pagtatangkang ilahad ang proseso tungkol sa pag-ibig at pagbabahagi ng sarili nang buo ang pagkatao. Nilinaw ng pelikula ang mga personal at pang-ekonomiyang salik na naghatid sa pangunahing tauhan tungo sa pagpuputa at inilalantad ang bunga nito gaya ng madadaming pagsasadula ni Vilma Santos. Nang muli silang magkita ng kasintahan, ibang babae na ang kanyang nakatagpo, mas may tiwala sa sarili at mulat na sa kalakaran ng mundo. Nakakaantig ang transpormasyon ng kanyang karakter mula biktima ng nasawing pag-ibig at di-makalingang propesyon tungo sa pagbabago at paninindigan ng kanyang pagiging babae. Mapangumbinsi rin ang pagganap ni Christopher de Leon dahil sa kanyang sensitibong pagpasok sa katauhan ng isang abogadong makiling sa sistema ng batas. Sa unang tingin, tila makababae ang punto de bista ng Pakawalan Mo Ako dahil sa paglalahad ng babae bilang biktima pa rin ng ispontanyong reaksiyon ni Bernard, ang lalaking nagnanasa sa kanyang katawan. Subalit madulas ang daloy ng iskrip nina Pete Lacaba, Mao Gia Samonte at Iskho Lopez, konsistent ang disenyong biswal at sinematograpiya. Malinis ang editing at akmang-akma ang musika. Ngunit habang hinihimay ang naratibo, unti-unting natuklasan ang melodramatikong proposisyong ipinapakain ng pelikula. Isang proposisyong taliwas sa pagnanasang patuloy na makibaka, magmahal at mabuhay. – Jojo De Vera, Sari-saring Sineng Pinoy blog site

2008-03-07T15:51:00.005-05:00

Pahiram Ng Isang Umaga (1989)

“Irene…Di ko kaya ang walong buwan! Kung mamatay rin lang ako…mamatay na ako ngayon o bukas o sa linggo pero hindi ko kaya ang walong buwan!” – Juliet Espiritu

“…Irene, ayoko ng mahabang burol kung maari kinabukasan rin ipalibing mo na ako.” – Juliet Espiritu

“Ayoko ko pang mamatay…paano si Chad?…hahanapin ako ng anak ko, hindi siya sanay ng wala ako…Ariel…gusto ko pang mabuhay, kahit ilang araw lang, kahit konting oras lang, kahit isang umaga lang…” – Juliet Espiritu

“Ariel maliwanag na ba?...anong kulay ng langit?...at ang dagat?...ang mga mangingisda nandiyan na ba?...Ariel…ang ganda ng mundo!...ang sarap mabuhay!” – Juliet Espiritu

Basic Information

Direction: Ishmael Bernal

Adapted screenplay: Jose Javier Reyes

Original screenplay: Jose Javier Reyes

Cast: Vilma Santos, Gabby Concepcion, Eric Quizon, Zsa Zsa Padilla, Billy Crawford, Olivia Cenizal, Tita Muñoz, Gil de Leon, Dexter Doria, Vicky Suba, Subas Herrero, Cris Vertido, Toby Alejar, Tony Angeles, Symon Soler, Gina Perez, Alma Lerma, Roy Alvarez, Becky Misa

Original Music: Willy Cruz

Cinematography: Manolo Abaya, Eduardo Jacinto, Nonong Rasca

Editing: Augusto Salvador

Production Design: Elmer Manapul

Sound: Joe Climaco

Theme Song: "Pahiram Ng Isang Umaga" sung by Zsa Zsa Padilla

Producer: Lily Monteverde, Regal Films

Other Info: some web-sites indicates its film title as, “To Live Another Day,” “On Borrowed Time” or “Lend Me One Morning”

Plot Description

Pahiram Ng Isang Umaga revolves around Juliet (Vilma Santos), who finds herself struggling against an ever-escalating series of problems. A determined single parent, she manages to raise a child while remaining successful in her career as an advertising executive. Everything in her life seems to go well until she is diagnosed with a terminal disease. For her son’s sake, and without revealing her condition, she is forced to resolve her most important life relations: rekindling first her connections with her parents, and then with the very man who fathered her son. In the twilight of her life, she meets and falls in love with a beleaguered artist, Ariel (Eric Quizon), who is constantly depressed and perpetually contemplating suicide. She slowly loses her health but unknowingly reawakens Ariel desire to live, and they both engage in a meaningful affair – one that makes each day they live through together more meaningful than the last. – Regal Films DVD plot information

Film Achievements

FAMAS Best Musical Score - Willy Cruz

FAMAS Best Theme Song - Willy Cruz

FAP Best Sound - Joe Climaco

URIAN Best Actress - Vilma Santos

URIAN Best Cinematography - Manolo Abaya, Eduardo Jacinto, Nonong Rasca

URIAN Best Director - Ishmael Bernal

URIAN Best Picture - Lily Monteverde, Regal Films

URIAN Best Screenplay - Jose Javier Reyes

URIAN Best Supporting Actor - Eric Quizon

STAR Best Picture - Lily Monteverde, Regal Films

STAR Best Actress - Vilma Santos

STAR Best Cinematography - Manolo Abaya, Eduardo Jacinto, Nonong Rasca

STAR Best Director - Ishmael Bernal

STAR Best Musical Score - Willy Cruz

STAR Best Supporting Actor - Eric Quizon

Other Film Achievements

FAP Best Actress nomination - Vilma Santos

URIAN Best Actor nomination - Gabby Concepcion

URIAN Best Editing nomination - Augusto Salvador

URIAN Best Music nomination - Willy Cruz

URIAN Best Production Design nomination - Elmer Manapul

URIAN Best Sound nomination - Joe Climaco

URIAN Best Supporting Actress nomination - Vicky Suba

FAMAS Best Child Actor nomination - Billy Crawford

FAMAS Best Director nomination - Ishmael Bernal

FAMAS Best Picture nomination - Lily Monteverde, Regal Films

FAMAS Best Supporting Actor nomination - Eric Quizon

Film Reviews

WEEPIES ARE A COMMON MOVIE FARE in the Philippines, along with extremely violent action thrillers and trite youth comedies. It is, therefore, a cause for cheer when a filmmaker tries to elevate the very common genre of the melodrama into a rich and intellectually rewarding film experience, such as director Ishmael Bernal has done with his Pahiram ng Isang Umaga.

Director Ishmael Bernal has seen in the material an opportunity to put substance to what has often been denigrated as the unthinking man’s entertainment, and to a considerable degree, his attempt has been a success. Pahiram is both effective as a tearjerker and meaningful as a depiction of people in crisis. Using a traditional element of the genre, the theme of death, Bernal and writer Jose Javier Reyes probe into the life of a woman who has been told that the end is near. Juliet (Vilma Santos, one of the two reigning Philippine female superstars for the past two decades now) is told that she has eight or maybe seven months to live. As a progressive advertising creative director who has been promoted (rather late) as vice president of her company, she has the means to attend to the less mundane demands of life, examine what may have been an unexamined life, and make the most of the limited time left. In all these, Bernal explores the emotional and psychological condition of the person who lives on borrowed time. naturally visible here are the many symbols not only of death but also of life to serve as some kind of counterpoint or irony. Sometimes, they blend with each other, and at other times, they contradict. From the peasants’ ritualistic rice planting to the backyard harvesting of sun-dried patola cultivated as life-giving seedlings, the evidence of life renewing itself could hardly be ignored. Then there are the more obvious symbols of fire, daybreak and persistent rains (the latter of which are used to reinforce the gloomier mood at the second half of the movie, and also suggest the rains’ refreshing and replenishing results). But the most eloquent symbol here of life is the process of artistic creation, personified - again paradoxically - by the expressionist painter Ariel who befriends and then is smitten by Juliet. There are ironies here. The painter creates life through his art, but at the same time, psychologically tormented, he wants to end his own life. Such a restless, free soul, grappling with the complexities of life, he has a whole life ahead of him, his artistic world limited only by his imagination, and yet he wants to quit. In contrast, Juliet who is dying, wants to live. Here is a woman who saves a man’s life (the artist’s) but cannot save her own. The idea of art as life or art vs. life is examined at length. Asked by the boy why he has to put on canvas the seascape, the artist makes the clarification that he is not copying the scenery. Ostensibly, he is recreating it on a different plane, art being something else, with a life of its own. This is suggested by the portrait the artist is making of Juliet. The model may soon die, as she will, but the portrait will live on. Life may indeed be short, an idea which used to be stated directly in previous Bernal movies, but art endures. It is the one thing in this world which is eternal. The briefness of life is suggested with the graphic sight of wet sand dripping down from the hand.

Bernal and Reyes go farther by including a scene in which the artist explains the origins of art. By the fireside at the beach, and watching the flame cast a glow on them, he notes that prehistoric men “discovered” art when they made outlines of shadows on the caves. Those artworks, though crude and primitive, still exist. Implicitly, Juliet’s death, no matter how saddening, is not going to be the end. Philosophical musings like these are not standard soap opera fare, and may alienate a lot of ordinary moviegoers (even the more cerebral ones who cannot accept the conventions of the soap opera genre). Woven unobtrusively into the plot, however, they add texture and enrich the drama. Juliet in a way will continue to live - in that portrait, in her young son who will survive her and hopefully continue her legacy whatever it may be, and in her good deeds. In the last scene, the imagery and symbolisms of life and death abound. Juliet dies at the break of dawn, the start of a new day (and life), but not without first making her last sentimental paean to life. Supported by the artist, her eyesight having failed completely and with the waves caressing their feet, the weak and dying cancer victim remarks how beautiful life is. True enough, this dying scene set on a beach, with the woman in white, dainty night gown, is one of the most exquisite, breathtaking moments in Philippine movies. But before giving us this grand, highly emotional death scene, the director has gradually introduced various motifs of death, from the artist’s pet black bird which at one point he cruelly squeezes in his hand, to the funeral rituals for Juliet’s father. This is a striking part of the movie, 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. - “A Look at Death and the Affirmation of Life” by Mario A. Hernando, Malaya - 5 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…” – “Mas Mahusay si Vilma Kaysa kay Nora” by Mario Bautista, People Journal 1989

The only thing I can say about this film is that of its performances - from Vilma Santos (as the woman who spends her last days on earth looking for love) and Eric Quizon (as the ill painter who falls in love with Santos). This film is best fitted for a made-for-TV slot, considering its premise (which may attract mothers). Passable. – “Just passable” by Oscar 99, IMDB web site, September 13, 1999, Manila,Philippines

2008-03-07T12:25:00.004-05:00

Sinasamba Kita (1982)

“For godsake, Nora! Magkaroon ka nga ng sarili mong identity!” – Divina Ferrer

“Imposible namang lumaki ang tingin ko sa taong tinutulungan ko lang!..kungsabagay magkaiba tayo ng ina…bakit kaya pinatulan ni papa ang iyong inay?...hindi ko siya iniinsulto sinasabi ko lang sayo ang totoo…magkaiba tayong dalawa…hindi mo ako matutularan at hindi kita tutularan. Nora, ang hindi mo maabot huwag mong pagplitan abutin, wala ka pang pakpak kaya huwag ka pang lumipad ng ubod ng taas!” – Divina Ferrer

Basic Information:

Direction: Eddie Garcia

Adapted screenplay: Orlando Nadres

Original screenplay: Gilda Olvidado

Cast: Vilma Santos, Christopher Deleon, Lorna Tolentino, Philip Salvador, Ramil Rodriguez, Irene Celebre, Loleta Abesamis, Norma Blancaflor, Danny De Cordova, Moody Diaz, Luz Fernandez, Larry Leviste, Kristina Paner, Fanny Serrano, Yvonne

Original Music: George Canseco

Cinematography: Romeo Vitug

Editing: Ike Jarlego

Sound: Demet Valsquez

Theme Song: "Sinasamba Kita" sung by Sharon Cuneta

Producer: Vic Del Rosario Jr, Viva Films

Additional Info: Original story serialized in Tagalog Klasiks comics published Atlas Publication; the original film became a TV movie in 2007 by GMA Network, directed by Joel Lamangan, starring Sheryl Cruz as Divina and Valerie Concepcion as Nora.

Plot Description:

They are half-sisters, connected by blood. But to Divina (Vilma Santos), Nora (Lorna Tolentino) is just her late father’s illegitimate daughter. Yet, despite the harsh treatments she gets, Nora remains awestruck and continues to adulate her strong-willed older sister. But even the meekest of people can only bear so much. Nora leaves the confort of home to hid her own place under the sun, and in due time, she and Divina are to meet again to settle the score once and for all…- Viva Films’ VCD release plot description

They are half-sisters, connected by blood. But to Divina, Nora is just her late father's illegitimate daughter. Yet, despite the harsh treatment she gets, Nora remains awestruck and continues to adulate her strong-willed older sister. But even the meekest of people can only bear so much. Nora leaves the comfort of home to find her own place under the sun, and in due time, she and Divina are to meet again to settle the score once and for all. But will the scars of yesterday prevail or will they forget the wounds especially now that they direly need each other. – Wikepedia web-site

Film Achievements

FAMAS Best Director - Eddie Garcia
FAP Best Cinematography - Romeo Vitug
FAP Best Original Song - George Canseco

Other Film Achievements

1982 Top Box Office Record Breaker

Film Reviews:

Napanood namin ang “Sinasamba Kita” at hindi nga pala kayang iarte ni Lampel Luis ang role na napunta kay Lorna Tolentino. Parang komiks talaga ang istorya ng pelikulang hanggo nga sa nobelang komiks. Melodramatiko at kung minsan ay mahirap paniwalaan ang mga sitwasyon. Pero mapupuri na rin ang iskrip ni Orlando Nadres dahil nagawa niyang credible ang mga tauhan sa istorya. At talagang mahuhusay ang acting ng mga artista. Napakagaling ni Vilma Santos sa papel ng mataray na business executive. Para talagang alam niya ang bawat kilos at hakbang na ginagawa niya. Very sympathetic namang tunay si Lorna sa kanyang role bilang inaaping kapatid. At for once, hindi nasapawan si Christopher de Leon ng kanyang co-star. Kontroladong-kontrolado ang acting niya rito. Si Phillip Salvador nga ang nagmukhang dehado, iba pati ang hitsura niya sa pelikula. Mukha siyang tumandang hindi mawari. Maganda rin ang theme song ng pelikula. At dito kami naniwalang totoo ang kasabihang it’s the singer not the song. - Mario E Bautista, Puna at Puri, 1982

Other comments about Sinasamba Kita:

Arthur Quinto: Muli na namang ipinakita ni Vilma Santos ang kanyang husay sa pagganap sa pelikulang “Sinasamba Kita”. Consistent ang characterization ni Vilma sa naturang pelikula, at nagmukhang supporting na lahat ang kasama niyang may malalaki din namang pangalan.

Billy Balbastro: Sobra pala ang lakas ng “Sinasamba Kita.” Tuwang tuwa sina Vic at Mina del Rosario. They started with 38 theatres, by the weekend, 41 theatres na ang nagpapalabas ng pelikula. After 6 days, kumita na ito ng P5,207,416.00. After a week’s time, almost P6 million na ito.

What happened to Kristina Paner?

Kristina Paner (born August 1, 1971 in Manila, Philippines) is a Filipina actress and singer. She is also an adoptive sister of Danita Paner, who is also a singer. At a very young age, her parents noticed her interest in music. Her adoptive parents were prominent celebrities as well. Her father Manny Paner was a well known basketball player while her mother Daisy Romualdez was an actress way back in the 1960s. It was her parents who convinced her to try singing at the age of 9 and the song "Sana" was popularized by her. She tried acting too at age of 10 when she starred in the movie "Sinasamba Kita" as the young Lorna Tolentino whom she played the character role of Nora. By that time her mother, having seen her acting potential, presented Kristina, then only 12, to Regal Films owner and producer Mother Lily. She was soon offered a contract. She became a regular in television shows like "Musmos Pa Si Boss", "Ora Engkantada", and "Wanbol High". She also became a cast of the very popular youth-oriented variety show That's Entertainment. In 2003, she married a Spaniard and together they now live in Spain with their daughter. – Wikepedia web-site

Sinasamba Kita

(song lyrics)

Sinasamba kita

Higit sa'yong akalang iniibig lang kita

Paggalang ko sa'yo'y higit sabuhay kong taglay

Wala na yatang papantay

Ang buhay ma'y ibibigay ko pa

Sinasamba kita

Chorus:

Kung anumang dahila'y hindi mahalaga

Basta't sinasamba kita

'di lang pagmamahal ang siyang nadarama

Pa'no maipipinta, kulang ang kulay nila

Para mailarawan ka, sinta

Sinasamba kita

Kasalanan man sa diyos ang sambahin kita

Marahil ay mauunawaan niya ang katulad ko

Na labis nagmahal sa 'yo,

Masisisi niya ba ako sinta ?

Sinasamba kita

Kung anumang dahila'y hindi mahalaga

Basta't sinasamba kita

Di lang pagmamahal ang siyang nadarama

Basta'y sinasamba kita

2008-03-07T00:26:00.006-05:00

Sinungaling Mong Puso (1992)

“hayup! Hayup!...Baboy! Mamatay kang kasama ng mga baboy mo!” - Clara

“...nababaliw ka na noh…puro kabaliwan yang nasa isip mo…hindi Jason, meron iba tayong dapat nating sundin…meron iba! Gamitin natin ang sinasabi ng isip natin, ang ipinararamdam ng kaluluwa natin, yun! Dahil madalas yun ang nagsasabi ng tama, yun ang nagsasabi ng nararapat nating gawin hindi ang puso…hindi ang puso Jason, hindi ang sinungaling mong puso…huwag kang padadala, ililgaw ka niyan…ililigaw ka dahil marunong manglinlang ang puso dahil alam ko ang tama huwag kang magpapadala…huwag kang magpapadala, hindi mababago ang katotohanang mali ang ginagawa natin, mali…” - Clara

Basic Information

Direction: Maryo J. De Los Reyes

Adapted screenplay: Jose Javier D. Reyes, Jake Tordesillas

Original screenplay: Jose Javier D. Reyes, Jake Tordesillas

Cast: Vilma Santos, Gabby Concepcion, Alice Dixon, Aga Muhlach, Aiko Melendez, Ricardo Cepeda, Dennis Baltazar, Charlie Davao, Philip Gamboa, Melinda Mendez, Mila Ocampo, Luz Valdez, Orestes Ojeda, Michelle Bautista, Lora Luna, Aris Bautista, Daniel Roa, Dax Rivera, Allan Laceda, Aida Carmona, Estrella Antonio, Alex Toledo, Nonoy Gates, Tato Malay, Lemuel Sales, Francis Ignacio, Chynthia Carriedo, Marvin Bellosillo, Veronica Medel, Jeff Long

Original Music: Lutgardo Labad

Cinematography: Charlie Peralta, Jun Pereira, Caloy Jacinto

Editing: George Jarlego

Production Design Ronaldo “DO” Cadapan

Sound: Joe Climaco, Rodel Capule

Theme Song: "Sinungaling Mong Puso" sung by Basil Valdez, composed by Willy Cruz

Producer: Lily Monteverde

Plot Description

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 DVD description

Film Achievements

FAMAS Best Actor - Aga Muhlach

FAMAS Best Supporting Actor - Gabby Concepcion

Other Film Achievements

URIAN Best Actress nomination - Vilma Santos

URIAN Best Director - Maryo J. De los Reyes

URIAN Best Supporting Actor - Gabby Concepcion

Film Reviews

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. – Rendt Viray

Sinungaling Mong Puso

Women Mayors: Helen Zille, Vilma Santos, Dora Bakoyannis, List of First Female Mayors, Martine Aubry, Georgina Beyer, Valentina Matviyenko

2008-03-05T22:07:00.007-05:00

Karma (1981)

“Ganuon naman pala eh, de alam mo na may asawa na ako…bitiwan mo ako…alright wise guy, gypsy pala ako nun hah…sinabi mo rin mahilig ako sa music, dancing, siguro may favourite song ako, huwag nang yung napakalayong kahapon, baka hindi mo mabasa eh, yun na lang natapos na kahapon, twenty, twenty five years ago…ano kayang favourite song ko?” - Sarah

Basic Information

Direction: Danny Zialcita

Adapted screenplay: Danny Zialcita

Original screenplay: Sylvia Barreto

Cast: Vilma Santos, Ronaldo Valdez, Tommy Abuel, Chanda Romero, Christopher Deleon (guest appearance), Marianne Delariva, Dante Rivero, Aurora Salve, Suzanne Gonzales, Martha Sevilla, Odette Khan, Virginia Montes, Bella Flores, Etang Ditcher, Vic Silayan, Fred Montilla, Renato Robles, Ruel Vernal, Augusto Victa, Butch Aquino

Original Music: Gilbert Gregorio

Cinematography: Felizardo Baillen

Editing: Enrique Jarlego Sr.

Theme Song: "Minsan Sa Isang Panahon" sung by Kuh Ledesma

Producer: Ernesto C. Rojas, Sineng Silangan Films, Re-released by Viva Films 2005

Plot Description

Sarah (Vilma Santos) is forced to defer her wedding when she scheduled to flight was delayed. At a hotel where she is staying, Sarah encounters Eric (Ronaldo Valdez), a regular guest who forces himself on her. The incident leaves a stigma not just on Sarah but more so on her fiancé, Alfredo (Tommy Abuel) whose dream of marrying a “virgin” is dashed. Strangely, Sarah and Eric’s paths cross again at a time when their respective marriages are in disarray. Their meeting strikes both as “déjà vu.” Could it be that they have met each other in the past? Their suspicious are confirmed after Eric consults a psychic. As it turns out, Sarah and Eric are the reincarnation of Guada and Enrico, two lovers who had an illicit affair sixty years ago. When Guada’s husband, Limbo (Ruel Vernal), learned of her affair, he went on a murderous rampage. Now Sarah and Eric seem destined to follow the same path. But in whose spouse does the spirit of Limbo rest? Is it the disabled Alfredo? Or Eric’s estranged wife Cristy (Chanda Romero)? - Viva Films Teaser DVD package

Film Achievements

FAMAS Best Supporting Actor - Tommy Abuel

FAMAS Best Supporting Actress - Chanda Romero

Metro Manila Film Festival Best Actress - Vilma Santos

Film Reviews

THE TECHNICAL preview of “Karma” the other night was delayed for about an hour but I did not mind waiting because I was quite certain that I’d be seeing a fine film. To while away the time, “Firecracker,” co-starring American actors with local talents like Chanda Romero, Vic Diaz, and Rey Malonzo was shown. Chanda and Vic delivered their lines themselves but surprisingly Rey didn’t. Before one whole reel could roll, the prints of “Karma” arrived. “Don’t stop it yet, a bed scene is coming,” Mario Bautista protested. Happily, “Karma” turned out to be as good as I expected. It’s performers are first-rate - Vilma Santos, Ronaldo Valdez, Tommy Abuel, Chanda Romero - so their award-winning acting didn’t surprise me at all. The script was outstanding but even that was expected, coming from director Danny Zialcita. What impressed me was that minor parts were played by name actors. The housekeeper who appeared in one short sequence could have been played by any elderly woman but those who made the movie wanted nothing less than Etang Discher. The psychiatrist could have been played by any decent-looking man but they didn’t settle for anybody less than Vic Silayan. The male lover at the start of the story had to be acted out by Dante Rivero, that at the end by Christopher de Leon. The movie boasted of several bold scenes. Those involving Vilma weren’t much as we know for a fact that Vilma could show only so much. One scene showing Chanda was a different story. It showed her with absolutely nothing on, yet it didn’t offend anybody as it was executed in style, shot with great care. There was just one thing, which looked unnatural to me - the way in which one of the main characters killed himself. “That’s all right,” Danny assured me. “Before we shot it, we double-checked its possibility.” Reincarnation and transference are undoubtedly mind-boggling subjects but, to his utmost credit, Danny managed to present them simply, bringing them down for everybody to understand. “Bala lang yan. Katawan lang ito. Babalik at babalik kami sa mundong ito,” Dante vowed. Come back they did as they promised building the foundation of the story. - “Fine Film” by Bob Castillo, People’s Journal - Dec. 12, 1981

Sa pagbabago ng estado ni Vilma Santos, tila nagbabago na rin ang kanyang approach sa kanyang career. Dahil hindi na career ang unang priority niya sa buhay, lalong nagiging professional ang kanyang tingin sa trabaho. Dahil hindi na twenty-four hours a day ang kanyang buhay artista, alam na niyang I-apportion ang bawat minuto na walang aksaya. Sa set ng Relasyon ni Ishmael Bernal, hangang-hanga ang director sa bagong pang-unawa ni Vilma sa trabaho. Dumarating sa oras, kabisado ang linya (memorizing lines for Vilma, of course, was never a problem even the days she was shooting five pictures simultaneously), full attention sa sinasabi ng direktor, walang problema. Kung pagbabasehan sa naging resulta ng Karma, lalong maganda ngayon si Vilma, mas mariin ang kanyang pagganap, mas mature ang kanyang approach at understanding sa kaniyang papel. Swerteng-swerte ang pagkapanalo niya ng best actress sa nakaraang Film fest. Sayang at wala siya upang tanggapin mismo ang tropeo. Pero lalong naging makabuluhan para sa kanya ang sinabi ng kapwa niya artista sa Karma nang sabihin ni Chanda Romero na “napakaganda naman ng karma ni Vilma. Mayroon na siyang Edu, mayroon siyang Lucky, ngayon ay mayroon pa siya nito (ang ibig sabihin ay ang best actress trophy),” sabay tilian ng mga fans sa loob ng Cultural Center, walang makapigil, walang makasaway. Pero, gaya ng dati, hindi naging madali kay Vilma ang pananalo. Nagpatas ang botohan ng dalawang beses - triple tie sila ni Gina Alajar at Charo Santos, hanggang ma-break ang deadlock at nakaungos ng isang boto si Vilma sa dalawa pa niyang kalaban. Tinawagan si Vilma ni Cirio Santiago, pinasundo sa isang limousine, pero nagdahilan ang Vilma. Ayaw niya sigurong umasa dahil minsan, sa isang awards night din, sinigurong siya ang mananalo pero hindi ganun ang nangyari. (I understand that Vilma really won but the verdict was changed afterwards through the representations and machinations of some influential press sectors.) Kunsabagay, wala rin si Charito Solis noong awards dahil sabi sa akin ni Chato, talagang hindi niya inaasahang manalo ang maliit na papel na iyon sa Kisapmata. Noon pa mang preview pa lamang, maugong na ang balitang baka si Charito ang manalo bilang supporting actress pero hindi niya yun pinansin dahil tiyak na tiyak siya na si Vic Silayan ang mananalo. Sinabi pa niya sa interview niya kay Armida Siguion-Reyna sa Let’s Talk Movies na napakagaling ni Vic. Sa set pa lamang daw, natitiyak na niya halos na si Vic ay mananalo sa Kisapmata. Sa naturan ding programa, sinabi ni Armida sa pagre-review niya ng Karma na talagang magaling ang pagkakaganap ni Vilma sa Karma na parang nakuha nitong punuan ang ilang mahalagang kakulangan ng pelikula. - Oscar Miranda

Karma : in love there's no measure of time

2008-02-23T22:47:00.014-05:00

Mano Po 3 My Love (2004)

"Aalis ka rin ba, Judith? Naiintindihan mo ba kung para saan yung ginawa nila?...sanay akong tinatalikuran at iniiwanan. Alam mo bang yan ang istorya ng buhay ko." - Lilia Chiong Yang

“Pinuntahan n’yo ba ako rito para awayin?...silang dalawa,,,mahal ko silang dalawa, bago ko pa man naging boyfriend si Michael, naging asawa si Paul, magkakasama na kami, kaya mahal ko silang dalawa, mahirap bang intindihin ‘yon?…walang batas na nagsasabing bawal magmahal ng dalawa….” - Lilia Chiong Yang

Basic Information

Direction: Joel Lamangan

Adapted screenplay: Roy C. Iglesias

Original screenplay: Lily Monteverde, Roselle Monteverde-Teo, Roy Iglesias, Joel Lamangan

Cast: Vilma Santos, Christopher De Leon, Jay Manalo, Boots Anson-Roa, Carlo Aquino, Amy Austria, Sheryl Cruz, Eddie Garcia, Jean Garcia, Patrick Garcia, Karylle, Angel Locsin, Angelica Panganiban, Allan Paule, Cherry Pie Picache, John Prats, Dennis Trillo, Gardo Versoza

Original Music: Jesse Lucas

Cinematography: Rolly Manuel

Editing: Tara Heinberger

Production Design: Rodell Cruz

Sound: Albert Michael Idioma

Theme Song: "Pagbigyan Ang Puso Ko" composed by Ito Rapadas, sung by Karylle and Jerome John Hughes and produced by Bella Tan's Universal Records, music video was directed by Jeffrey Tan

Producer: Lily Monteverde, MAC Productions

Plot Description

Anti-crime crusader Lilia Chiong Yang (MISS VILMA SANTOS) seems to have everything a woman could want and need: a husband (JAY MANALO) who pampers her; children (PATRICK GARCIA, KARYLLE, ANGEL LOCSIN) whom any parent would be proud of; and the respect & admiration of the most powerful people in the land. But just as Lilia prepares for her 25th wedding anniversary celebration, a chance encounter in

Thailand

with her first love Michael (CHRISTOPHER DE LEON) throws Lilia's life into chaos. So begins the resumption of a relationship that threatens to unravel the delicate threads connecting Lilia to the other people in her life. “Mano Po 3” is a heartfelt tearjerker which was declared Best Picture at the 2004 Metro Manila Film Festival Philippines. Vilma Santos and Christopher de Leon also won well-deserved awards for Best Actress and Best Actor, respectively, in this moving film about the choices we must make for the sake of those we love. Also starring: Karylle, Angel Locsin, Patrick Garcia, Angelica Panganiban, Carlo Aquino, John Prats & Dennis Trillo - Regal Films web-site

Film Achievements

Metro Manila Film Festival Best Picture - Mac Productions

Metro Manila Film Festival Best Actress - Vilma Santos

Metro Manila Film Festival Best Actor - Christopher de Leon

Metro Manila Film Festival Best Story - Lily Monteverde, Roselle Monteverde-Teo, Roy Iglesias, Joel Lamangan

Metro Manila Film Festival Best Production Design - Rodell Cruz

Metro Manila Film Festival Best Original Theme Song - Ito Rapadas

Metro Manila Film Festival Best Festival Parade Float - Mac Productions

STAR Best Actress - Vilma Santos

STAR Best Supporting Actor - Jay Manalo

STAR Best Theme Song - Ito Rapadas

FAMAS Best Musical Score - Jesse Lucas

Philippine Official Entry - 2005 8th Shanghai International Film Festival

Gawad Suri Best Picture - MAQ Productions

Gawad Suri Best Actress - Vilma Santos

Gawad Suri Best Director - Joel Lamangan

Other Film Achievements

Metro Manila Film Festival, Male Star of the Night - Christopher de Leon

Metro Manila Film Festival, Female Star of the Night - Vilma Santos

FAP Best Actor nomination - Christopher De Leon

FAP Best Actress nomination - Vilma Santos

FAP Best Screenplay nomination - Roy C. Iglesias

FAP Best Supporting Actor nomination - Eddie Garcia

URIAN Best Actress nomination - Vilma Santos

Film Reviews

They say if you strike the third time, you're out. Thank goodness, it’s not a strike the third time, instead, it's a homerun hit for the third sequel of this franchise. "Mano Po 3: My Love" was as grand as the first two but with simple well-written story line. The film managed to iron out the past and present events through flashbacks and thanks to the editor (Tara Heinberger), the continuity of each scene were smooth. Mano Po 3: My Love is a life story of Chinese-Filipino anti-crime crusade, Lilia Chiong Yang. A Chinese couple who left Fujian, China in 1959, brought her here. Her mother beg this couple to bring her with them because she’s going to be put into the orphanage just because she is a girl and having so many baby girl, the Chinese government will not support them financially. Living now in the Philippines and now a young adult (Angelica Panganiban), Lilia met and fell in love with Michael (Cogie Domingo), her classmate and fellow activist. Together with Paul (Patrick Garcia), their classmate, they engaged into activism during the martial law. One night, during the curfew hours, they got into trouble and were hunted down by the military. Michael sacrificed himself and was caught. Lilia was pregnant with Michael's child but he already left the country and so, Lilia fell to the hands of Paul.

Now, a mature Lilia (Vilma Santos), her quiet life was rattled when Michael (Christopher DeLeon) came back. They accidentally met in

Thailand

; Michael decided to win her back. Both were surprised to learn that Paul (Jay Manalo) deceived them by not giving all of Michael’s letters to Lilia when he left the country. With Lilia being a popular media personality, people have started talking, gossiping about Lilia's secret affair with another man particularly in the Chinese community. It also added stress to her family and eventually they turned their back to their own mother. Finally, it all comes down to Lilia making decision on which man to choose. She finally decided to stay with her husband despite her undying love for Michael. Then the tragic end. Lilia's anti-crime activism created her enemies. One of them tragically killed Paul. Again, her family blamed her. The end part of the film was a typical Regal tradition - that of reconciliations. Lilia's family accepted her again and all wounds got heal. And what happened to Lilia and Michael? They remained friends as Lilia realized they are not really meant for each other.

Relasyon Revisited - People are saying that her scene in the car where Paul (Jay Manalo) was shot was reminiscent of her death scene in “Relasyon.” Yes, there was a touch of it but the scene in MP3 was more intense because it’s shorter and the pacing was faster. Christopher as Michael deserves his best actor award during the film festival. Finally, Lamangan managed to control Christopher's dialogue mannerism. Christopher has the tendency to starts his line with "well....” Probably because the MP3's script was tighter and requires him to follow strictly each lines because each lines most of the time have other meanings. For example, when the three of them finally met, Christopher said: "Isa sa mga natutunan ko nuon sa kilusan is Honesty." Which he is actually saying to Paul that he is dishonest and deceitful; particularly for not giving to Lilia, all of his letters when he left the country during the martial law years. As Paul, Jay Manalo, despite his young look managed to convinced us with his restraint performance. I wonder if Philip Salvador would give as strong performance as Jay Manalo in this role. Jay showed us that he's indeed one of our great actors today. Sheryl Cruz didn't do much as Bernadette. Her performance was one dimensional, a trap for villain roles. And all can be blamed to the three writers - Roy Iglesias, Lily Monteverde and Joel Lamangan. Maybe because they concentrated their efforts to established the three main characters and so they neglected the others. Eddie Garcia and Boots Anson Roa played the usual supporting roles but Boots gave us the most memorable lines in all of the movies showed in 2004: "hindi ka puedeng magmahal sa dalawa lalake..." of course, with her Chinese accent.

Vilma also will not be far behind with her lines: "hindi ka ba sasama sa kanila Judith? Alam mo ba kung para saan ang kanilang ginawa?... sanay na akong tinatalikuran at iniiwanan yang ang storya ng buhay ko..." Vilma's performance here was an example of how she matured and became an A1 actress. From the start to the end, she transformed herself to be the character. She became Lilia Chiong Yang.

Here are the highlights:

Her scene in Tagaytay Highland.

Her breakfast scene with her family, where all except for one, left her.

The scene where she and Paul finally met Michael in a restaurant was full of irony and sarcasm.

The scene where Bernadette and three other relatives one of them was Boots Anson Roa confronted Lilia. Like a true fighter and speaking in Mandarin, she told them, she'll be back in five minutes and if they’re all still in her office they will see the worst of her.

The scene where Lilia and Paul were in a middle of an argument and suddenly they calmed themselves down because their dressmakers arrived (to measure their sizes for the clothes their going to wear on their wedding anniversary) was poignant and funny at the same time.

Then Paul's death scene that followed the hospital scene.

All in all, a controlled, restraint, riveting performance. How can someone not noticed? If I will evaluate “Mano Po 3: My Love”, I will give the film an A for its excellent production and magnificent performances.

Vilma versus Nora - In seeing both films, Vilma gave a far more superior performance than Nora Aunor’s “Naglalayag.” Again, how can anyone not noticed? I mean, it could probably be blamed to their directors. Lamangan able to come up with a far more superior script and direction than De Los Reyes. Vilma's role composed of so many highlights that are so hard to pick which one is the best compare to one from Nora's film. Funny both Vilma and Nora's film has some similarities. Both have a scene were they both accepted an award and they have to do speeches in front of adoring audiences. Another similarities, the two characters have to dealt with the gossiping and the bad publicity that their personal lives creates affecting their respective communities. Although in Naglalayag, Nora's character wasn't fully established as how’s her overall standing/status in the community. Now the difference, Vilma's crisped delivery of lines came as natural, even when she talks in Tagalog, English or Cantonese/ Mandarin but Nora's delivery of lines were as awkward as a kid trying to learn how to speak English for the first time. Her tendency to make "SSSS" sound in every English word she has on her lines were very distracting to audience and at times laughable. Her clothes are dated too, for a rich judge, one may wonder if she's just a thrifty judge or just don't know how to dress up, the opposite can be said with Vilma, her pink/orangey gown on the death scene was elegant. Admittedly, both Vilma and Nora have no fear of showing their age. There was a scene in both movies where they didn't wear any make up and their faces showed their real ages. Overall, Nora's performance lacks control and finesse while Vilma's performance excels in restraints and effectiveness. Nora's not credible as Dorinda, the judge while Vilma became Lilia Chiong Yang, the anti-crime crusade activist and businesswoman. – Rendt Viray, posted in Vilma Santos Yahoo E-group, 2005

The performances of Christopher De Leon and Vilma Santos are great. It's a great movie, the director made a good job. The flow of events and the pace of the story are nicely plotted. You won't feel unease when Michael Lim (Christopher) come back to Lilia Chiong (Vilma) and interfered with her "happy" married life. Compare to the passed 2 Mano Po movies, Mano Po 3 doesn't have enough Chinese tales, it can stand alone as a pure love story movie without involvement of Chinese culture. In my personal opinion, if Christopher De Leon character was a pure Filipino, and if the reason why he was separated from Vilma was due to rejection from Vilma's Chinese parents, and Vilma was arranged-marriage "kai-siaw" to Paul (Jay Manalo), then this would be a better Chinese foundation as the background for Christopher and Vilma to met after 25 years. It might not be a happy ending, but it was a rational ending given the circumstances of the events. This movie will definitely make you cry in the end. - lkp299 from Hong Kong, IMDB web-site

Some people were pointing out that there was nothing new shown in this movie that was not already shown in previous films. However since this is the first Mano Po movie I have watched I actually found the screenplay satisfactory. Nothing great but nonetheless it was ample. One thing that I found refreshing was the fact that this film was less of a mellow dramatic soap opera type of drama, which is prevalent in Philippine movies. Yes there are no shouting and slapping matches in this one. There were some sub-plots, which seemed unnecessary such as the story of the children of Lilia. In terms of performances, I thought that the lead actors did a splendid job in acting out their roles. Vilma Santos did a great job and really deserved her best actress honour at the MMFF. Certainly her efforts overshadowed those of here co-stars, Christopher De Leon and Jay Manalo. It's a shame really that her duties in Lipa are keeping her from other movies. Eddie Garcia, I thought could have done a better job in delivering his lines. I realize that he is playing a character that was not that fluent in Filipino but some of his words were just garbled and found it hard to understand. My only gripe maybe in the casting of Jay Manalo as the husband of Lilia. In the story Manalo is portrayed as the same age as De Leon and Santos which frankly I find hard to believe since Manalo looks many years younger. In terms of production, I thought Regal Films did a good job in setting an overall atmosphere by bringing in good costumes and props. It was also nice to see them speaking in Chinese so as to make the situations more authentic and believable. - Scorching from Muntinlupa, Philippines, IMDB web-site

It is indeed a sad day in Philippine cinema when this movie, mano po 3 (which is an installment in a series of stories, totally unconnected with each other, about filipino-Chinese in the

Philippines

), won in the Metro Manila Film Festival. It is as if the film festival has turned into an award giving that celebrates mediocrity. What ever happened to the high standards that the film fest clung to in the past? Indeed, it is sad to see GERIATRIC actors Vilma Santos and Christopher de Leon portray roles that they have exceptionally portrayed before in their lustrous 40 years in Philippine show business. To even think of casting these superb actors in roles that are at least 15 years their junior, that defies their age, is indeed insulting to the intelligence of the Filipino viewers. But hey! Nobody's complaining! Right? In fact, they both won the Best Actors awards in the said film fest! Sad, sad, sad... (Trivia: It seems that Vilma Santos cannot appear in any movie without clinging to a white hankie, see for yourself!) Question: Is there a dearth of good Filipino actors? Why can't the director, Joel Lamangan, cast actors that befit the role... I used to admire Mr. Lamangan but after seeing this movie, I don't know anymore...And the movie is just a futile exercise in method acting, and is just full of empty rhetorics. I'm sure the Chinese community in the

Philippines

were scandalized by this shallow portrayal of their values, of their identity and of their personalities! I mourn for Philippine cinema! I'm sure Lino Brocka must be turning in his grave now for the sad state of the movies in the

Philippines

. - Matthew Ashley from Sturgeon Bay, Wisconsin, IMDB web-site

"Mano Po 3: My Love" is far better off than the previous Mano Po movies. If the other to MP movies talked about family and home, this 3rd franchise talks about the most universal language of all: Love. This is about Lilia Chiong-Yang (Vilma Santos) a Chinese-Filipino woman. She was torn from her first and only love, and ended up marrying the person she didn't want (Jay Manalo). One faithful day, she met up with her old love Michael (Christopher De Leon) and things began to get rocky then. He wanted her to choose between her family and the only man she truly loved. The good thing about this movie is she made a decision in the end. For me, this third and last installment was the best among the rest. The movie made me laugh, cry, angry, sad and everything else. That's really rare the

Philippines

' movie industry now. Vilma Santos did a wondrous job in portraying her role. After her 2-year absence in the movie industry, she still had the touch. The only thing i didn't like about the movie was Jay Manalo. He really was too young to be Vilma's husband in the movie. They were supposed to be the same age though, but remarkably he did a very good job playing his role as well. How can we not forget Boyet? He was marvelous! Without him, this movie wouldn't be the best one yet. People say this is such an ordinary love story, but in my eyes, this is the best Filipino movie ever made in my time. Teenagers like me and adults could easily understand the plot. I'm not surprised why when I tried to watch the movie, it was sold out. It's THAT good. - Demonic Angel 08 from Philippines, IMDB web-site

The measure of a good movie is if it can transport you to another world or another time and make you forget na hindi pala totoo ang nakikita mo on screen. Dahil sa magagaling at pinagkaka-gastusan na pelikula abroad, we have higher standards each year, even for our own Metro Manila Film Festival. Mano Po III, My Love is one of the entries of Regal Entertainment. Regal's matriarch Lily Monteverde says the film outfit really spent for this movie kasi last na ito sa Mano Po series.

It is a love story that spans generations. Lilia Chiong (Vilma Santos) is born in China to a poor family. Ipinanganak siya sa isang family na marami ng anak na babae, something that was considered a curse in

China

at that time. Her mother gave her away to spare her life, and she ended up with a couple who brought her and raised her in the Philippines. The young Lilia (played by Angelica Panganiban) has a childhood sweetheart Michael Lim (the young one is played by Carlo Aquino). The two are inseperable and vow eternal love against the wishes of their loved ones. Their best friend Paul Yang (John Prats) helps them through troubled times. During Martial Law, the three friends are in danger of being caught by the military and Michael sacrifices himself for his friends. Michael leaves the country and is never heard from again. Since Lilia is carrying his child, Paul marries her and cares for their eldest (Patrick Garcia) as his own.

In present-day Philippines, Lilia is a prominent anti-crime advocate. Her life in endangered when she pinpoints police officers involved in crime. Meanwhile, on a business trip in Thailand, Lilia meets up with Michael after many years. In their reminiscing they discover that Michael had been writing Lilia for a long time but Paul (older version played by Jay Manalo), out of love for Lilia, hid his letters from her. Since Paul's wife had since died, Lilia is now struggling about whether she should leave her faithful (yet deceptive) husband of 25 years. In the meantime, she is losing her family with the rumors going around about her and Michael. The best part about this film is the decision Lilia makes in the end so I will not spoil that for you.

Cinematography - The film is shot in the Philippines, China and

Thailand

and all its sets are remarkably authentic. The bluish hue in the shots in old-time

China

give it a sad feeling of poverty and hardship. The bright colors and amazing scenery of Thailand give the sense of excitement and anticipation. Parts of the film were also taken in tagaytay Highlands, a perfect site for Michael to profess his love for Lilia. Also notable are the shots of traditional Chinese theater performances and festivities like the dragon dance. Karylle, who plays Lilia's daughter, does a song and dance number with traditional Chinese dress.

Authentically Chinese - I noted that there were some Filipino-Chinese members of the audience who were delighted at some phrases used in their language. I was amazed at how convincingly the cast spoke although I'm no expert. What is truly portrayed is the Chinese love for family and respect for tradition. The role of Eddie Garcia, who plays Lilia's devoted adoptive father, is one of the most touching in the film. Though not her biological father, the Chiong patriarch is loving, faithful and understanding of his daughter to the very end.

Undying love - Mano Po III is definitely a showcase for Philippine cinema. It is basically a love story, but without any melodrama. Kudos for Joel Lamangan who brings out much emotion without ranting and violent tears that other filmmakers find so necessary to tell a story. Christopher de Leon and Vilma Santos are both subdued but effective in their portrayal of restrained lovers. One particular scene with Christopher, Vilma and Jay is a highlight of the film. It is a scene where the three are having a seemingly innocent conversation about business but with underlying dialogues about love and betrayal. The screenplay written by Roy Iglesias is exceptional, witty and effective. The credible acting would not be possible without such a script. In all, Mano Po is a must-see this filmfest. It was sold out the first time I tried to see it, but it was worth the wait. – ABS-CBN web-site
What the other critics said about MP3: My Love…

“For the purported final entry in an envisioned trilogy. Regal matriarch Lily Monteverde has pulled out all the stops. The story is centered squarely on Mayor Vi and Boyet, whose cozy chemistry still crackles with a romantic thrill even after 24 movies together.” - Andrew Paredes, MANILA STANDARD

“As a love story, it is romantic as romantic can be - passionate even. And you really have to give it to the durable love team of Vilma Santos and Christopher de Leon to be able to pull off a material like Mano Po 3 and give the kilig effect of expected by most viewers and fans of love stories. It is handsomely-mounted, glossy and very entertaining. Its production values are far more superior compared to other local movies.” - Butch Francisco , PHILIPPINE STAR

“Kahanga-hanga ang ipankitang pagpapahalaga ng pelikula sa pamilya at pagaasawa.” - CINEMA (Catholic Initiative For Enlightened Movie Appreciation)

Film Articles

MAQ Productions� "Mano Po 3: My Love," starring the legendary screen pairing of Mayor Vilma Santos and Christopher de Leon, began principal photography last week. The energy of the cast and crew was electric, everyone knows that there is something unique and special about the project. Directed by Joel Lamangan from a screenplay by Roy Iglesias, "MP3" will be the last in executive producer Lily Yu Monteverde’s anthology of dramatic, culturally-enriching films about the experiences of Chinese-Filipinos of Chinoys in the

Philippines

. "Mano Po 3" also stars the most popular artists of film and television, including Boots Anson-Roa, Sheryl Cruz, Jay Manalo, Carlo Aquino, John Prats, Angelica Panganiban, Angel Locsin, Dennis Trillo, Karylle, Patrick Garcia, and Eddie Garcia.

The main cast members recently returned from an exhausting but creatively rewarding pictorial in Beijing, China to shoot publicity stills and scenes to be used in the movie. The photogenic actors were filmed in distinctly Chinese environs such as Wangfujiang Street, the Summer Palace, Ming's Tomb and the Great Wall of China. MAQ is proud to share these exclusive photographs with this publication. The beautiful photos were taken by award-winning lensman Raymond Isaac under the creative supervision of Jun Poblador. Ace photographers Richard Chen and Jay Alonzo shot second unit stills. The general public will also have a chance to see the best photographs from the film in the special "Mano Po 3" exhibit which will coincide with the film’s release this Christmas.

Currently, the inspired cast and crew are working non-stop to bring Mother Lily’s unique vision to the screen in time for the Metro Manila Film Festival, and she’s sparing no expense to bring her most personal project to the screen. In between shooting, the stars are learning how to speak Fookien and Mandarin Chinese from linguist Jubilee Ong. In terms of the sets, an authentic Chinese village is being erected at a cost of over three million pesos. Conceived and executed by award-winning production designer Rodell Cruz, the expensive set will be seen in the film’s opening scenes. "I’m going all out with “Mano Po 3," declares Mother Lily. "The moviegoers deserve the best movie we can give them, and if that means spending more money, so be it." The script for "Mano Po 3: My Love" was ranked first among all scripts submitted to the Metro Manila Film Festival Philippines (MMFFP) Committee. - “Mano Po 3”: A vision of becoming a reality, Manila Bulletin

Last but definitely not the least. The Mano Po series by Regal Films closes at the 2004 Metro Manila Film Festival with Mano Po 3: My Love, following Mano Po 1: My Family and Mano Po 2: My Home, again with Joel Lamangan at the helm (Mano Po 2 was megged by Erik Matti). And to celebrate the culmination of Local Movies’ only successful trilogy, sustained with a big cast and astronomical budget, Regal Matriarch moved heaven and earth to enlist Vilma Santos, The Star For All Seasons, as lead actress opposite Mano Po "veteran" Christopher "Boyet" de Leon, marking the loveteam’s 23rd movie together since 1975. Funfare/Conversation’s Toronto-based "international correspondent" Ferdinand Lapuz has listed down (chronologically) Vilma and Boyet’s starrers:

1975 – Tagulan sa Tagaraw (the first movie of Alma Moreno)

1977 – Masarap, Masakit ang Umibig (with Mat Ranillo III)

1978 – Ikaw ay Akin (with Nora Aunor); Nakawin Natin ang Bawat Sandali

1979 – Pinay American Style (with Bembol Roco and Cocoy Laurel); Disco Fever (first film of Rio Locsin); Magkaribal (with Alma Moreno)

1980 – Gusto Kita, Mahal Ko Siya (with Romeo Vasquez, shot in the US)

1981 – Pakawalan Mo Ako (with Anthony Castelo, with Vilma winning her second FAMAS Best Actress trophy); Karma (with Vilma winning as Best Actress at that year’s Metro Filmfest)

1982 – Sinasamba Kita (with Lorna Tolentino and Phillip Salvador); Relasyon (with Vilma scoring a Best Actress grand slam); Haplos (with Rio Locsin)

1983 – Paano Ba ang Mangarap?; Minsan Pa Nating Hagkan ang Nakaraan (with Eddie Garcia); Broken Marriage (with Vilma winning her second consecutive Urian trophy)

1989 – Imortal (with both Vilma and Boyet winning as Best Actress and Best Actor at that year’s Metro Filmfest)

1991 – Ipagpatawad Mo (with Vilma winning her fifth Urian trophy, after Relasyon, Broken Marriage, Sister Stella L. and Pahiram ng Isang Umaga)

1993 – Dahil Mahal Kita, The Dolzura Cortez Story (with Vilma winning as Best Actress at the Manila Filmfest and second Best Actress grand slam minus the FAMAS which elevated her to its Hall of Fame in 1988)

1994 – Nagiisang Bituin (with Aga Muhlach)

1997 – Hanggang Ngayon Ika’y Minamahal

2002 – Dekada ’70 (with Vilma winning her fourth grand slam; she scored her third with Bata, Bata, Paano Ka Ginawa? in 1998).

There. Twenty-three all in all (including Mano Po 3). Count ‘em.

From Oct. 4 to 8, Vilma and Boyet, together with the other stars of Mano Po 3 led by Mother Lily, were in Beijing for a photo shoot (both for the press releases and the movie’s MTV) with Raymund Isaac. The STAR’s contributing celebrity photographer Richard Chen was a member of 50-strong entourage.

Two days after they came back, Vilma sat down for a free-wheeling Conversation.

Why Mano Po 3 of all the offers?

"Something new kasi, e. I want something that will make me look good naman for a change, ‘yung maayos naman ako. In my previous movies (Bata, Bata, Paano Ka Ginawa?; Anak; and Dekada ’70), I played a housewife forever wearing a duster. The public might get used to seeing me in duster, so I want a movie whose plot suits me and a role which requires me to wear nice clothes."

You started shooting the other day. Have the "issues" been ironed out?

"There was really no issue except in the casting. But Mother (Lily) has the last say on that. Well, it’s already Sheryl (Cruz) in the final cast, so that’s it."

What about your talent fee? Have you settled that (minor) issue?

"No problem. Mother knows how much I am worth."

How long are you shooting for the movie?

"Supposedly 25 days. I can shoot three days a week, mostly on weekends."

So you didn’t shoot any scene in Beijing?

"Mostly pictorials and some shots for the MTV."

During your four days there, did you have a chance to see the sights?

"Not much, not many. In a way, yes, I was able to visit the scenic spots because we did our pictorials there, like the Summer Palace, Tiananmen Square and the Great Wall which are the places tourists go to."

I heard that you walked in The Great Wall. You had such stamina, huh?

"Oh, yes, I did walk. I was in rubber shoes. But during the pictorial, I changed to high heels because I was wearing cheongsam(s). Since we moved from one spot to another, I would sometimes walk on high heels."

Fit na fit ka, huh!

"Because I exercise regularly... at least twice a week, no matter how tired I am. I do the treadmill and Taebo as soon as I go home from work."

And your diet?

"I eat anything but in moderation. I seldom eat rice."

Which of the scenic spots in Beijing impressed you the most?

"Of course, The Great Wall. One of the wonders of the world, isn’t it? Correct me if I’m wrong but I learned from the tourist guide that it took many, many years – I’m just not sure how many years – to build The Great Wall. And they used clay to start building it!"

Is it true that you’re planning to build a Great Wall around Lipa City?

"Ha, ha, ha, ha, ha, ha, ha!"

It’s good that you were able to go on tour.

"A bit. We were tired but we were happy. We were a good company; walang killjoy. Mother saw to it that we were comfortable. She booked us in a nice hotel; the food was, wow, talagang masarap! She really pampered us."

It was your first time in Beijing. Don’t you have any plan of going back as a tourist, maybe with your family?

"I’ll go back – definitely! It will purely be a holiday, no work at all. The goods are very nice – the tablecloths, pillowcases, etc. But I hardly bought anything because we were busy with work. Besides, where would we put those things? We brought several suitcases, all right, but they were packed with our costumes, most of them bulky. Next time, I’ll go there to relax and enjoy."

Did you study Chinese for your role?

"I did. Every member of the cast was taught how to speak Fookien by a tutor. Two days before we flew to Beijing, hayun, I could already speak some Chinese, such as ni hao ma? (Are you okay?), shi-shi (Thank you) and chay hui (Goodbye)."

Did you and the other members of the cast have time to bond?

"Oh, yes, we did. Actually, our Beijing trip was the start of our bonding. During the presscon last month, not all of us knew one another very well, especially the bagets (new faces) in the cast. Nag-bonding talaga kami doon. Everybody was professional. We enjoyed each other’s company."

How many times have you worked with Boots?

"Tita Boots... let me see. A few times but the last time was years ago. I think I was very young then."

Eddie Garcia?

"Oh, several times already! He even directed me in some pictures. Our last project together was Imortal."

Jay Manalo?

"My first time with him and my first time, too with direk Joel and Sheryl (Cruz)."

Let’s make it clear. Sheryl is playing not your daughter but your sister-in-law (Bernadette).

"That’s right. In the story, Bernadette is the one member of the clan who’s always with me. Later on, we clash. Sheryl and I have confrontation scenes. Sheryl’s character is close to me but when she learns that I’m seeing the character of Boyet, she fights with me. Bernadette, the sister of Jay’s character, is a stickler for Chinese customs and tradition and when she realizes that I’m breaking some, she really fights with me."

Bernadette is the same role originally intended for Judy Ann Santos, right?

"Or so I heard."

Either Sheryl or Judy Ann would have been okay with you?

"Okay lang kahit sino sa kanila. I’d rather not comment anymore about it."

Among the bagets cast, you’ve worked with only Carlo Aquino (in Bata, Bata, Paano ka Ginawa? which won a few awards for him) and Angelica Panganiban (in Lipa Masssacre). Of course, the other bagets must be "intimidated" to be working with the Vilma Santos.

"I hope they are not."

How do you reassure them?

"It’s also my first time to work with Karylle, Dennis (Trillo), Angel (Locsin), Patrick (Garcia) and John (Prats). When we met, they greeted me, all right, but I noticed that they were somewhat shy. So I embraced them and asked, ‘Kumusta na?’ Dennis is the most quiet of them all, so I told him, ‘Why are you so quiet?’ I touched his face and asked him to join in the fun. By and by, they were relaxed na and comfortable with me."

You really have a way with the young ones, like Piolo Pascual, Marvin Agustin, Carlos Agassi and Danilo Barrios who worked with you in Dekada ’70.

"Until now, they get in touch; they call. I call them anak and they call me Mommy. They call me regularly. We talk about their work and their problems. With them, I’m just Vilma Santos, their friend, and not Vilma Santos the actress or the Mayor. Ordinaryo lang ako sa kanila."

Of course, you and Boyet have worked on 22 movies already (with Mano Po 3 as the 23rd).

"I think Boyet and I are the longest-running loveteam in Philippine movie history."

Amazing, ‘no, considering that there’s no love angle between you in real life.

"Ibang klase ang chemistry namin."

Has Boyet ever tried to court you (when you were still both single)?

"A, basta. Platonic kami. Whether kami o hindi, what’s important is that the public loves us and believes in us."

In Mano Po 3, you don’t play husband and wife...

"...No, we don’t. Jay plays my husband but Boyet is my first love. We did have a relationship when we were young (played by Carlo and Angelica), pero di kami nagkatuluyan because of the Chinese custom which paired me off with Jay. Then, Boyet and I meet again when we already have respective families."

As lolo and lola?

(Knocking on wood) "Not yet. Not now!"

Of the 22 movies you’ve done with Boyet, which three would you consider most memorable?

"Relasyon, definitely (The movie, directed by Ishmael Bernal, won a Best Actress grand slam for Vilma. – RFL). Tagulan sa Tagaraw because it was our first (in 1975, directed by Celso Ad. Castillo). Ang dami! All of them are memorable – Broken Marriage, Ipagpatawad Mo, Dolzura Cortez Story, Dekada ’70, all of them!"

If you and Boyet were a real-life couple, who would you be?

"Who do you think? Which couple ba is interesting and colorful?"

You and Ralph.

(Laughs and laughs) "Not yet. Marami pang sequels at subplots ang buhay namin. Many things can still happen."

Twenty years from now, what’s the ideal film for you and Boyet?

"Something like On Golden Pond (starring Henry Fonda and Katharine Hepburn). Ang ganda! When we are old and grey and we’re still a loveteam, Boyet and I should do a movie like that."

You’re turning, well, 51 on Nov. 3. What are your thoughts on growing, ehem, wiser?

"Ano, e...First, I’m not scared of growing old, especially if you learn many things as you mature. I still don’t feel that I’m 50-plus; feeling ko I’m only 38."

How do you preserve your looks?

"Attitude. I’m a very positive person. I don’t store up negative feelings. It’s unhealthy, di ba? I take good care of myself by exercising regularly and eating the right food."

Aside from Eskinol, what do you apply on your face?

"As much as possible, I don’t apply anything on my face. I have a sensitive face kasi; maa-allergy lang ako. What’s important is not to sleep with make-up on. I put hot compress before I sleep para bumukas ang pores ko and cold compress before I put on make-up para sumara ang pores ko. Besides that, I don’t apply anything else."

Haven’t you ever thought of any "enhancing" surgery?

"Like lipo? Thank God, I don’t need it yet. I’m not against it. Maybe someday, why not? But not now."

So every part of you is natural.

"I don’t need that kind of thing yet, not even Botox. Maybe someday...but not yet, not now. All of us grow old and nobody can stop it. What’s important is to grow old gracefully...and still be pleasant to be with and pleasing to look at."

What’s the best thing about being a Golden Girl?

"That you’ve learned a lot, you’ve learned your lessons and you have a purpose in life. That’s the most important thing. Now that I’ve matured, I begin to realize that, in your later years when you look back, what really matters is what good things you’ve done and what kind of legacy you’re leaving behind and not how much money you’re leaving behind."

How would you sum up your present state of being?
"Heaven!" - "RICKY LO CONVERSATIONS: MANO PO, ATE VI!” by Ricky Lo, Philippine Star, October 24, 2004

"Mother (Lily) and I haven’t even discussed money matters yet!" That, according to Lipa City Mayor Vilma Santos, is the truth (and nothing but?) about her and the Regal Matriarch. You see, a minor issue cropped up about Vilma’s talent fee for Mano Po 3, intended by Regal Films for the Metro Manila Filmfest in December. Was Vilma really asking for P7 million (later reduced to P4 million)? That was the ticklish P7-million question. "As I was saying," Vilma said during a phone chat with Funfare (she was in Lipa City busy with the preparations for the celebration of the city’s 57th foundation this week), "ang usapan namin ni Mother ay hindi pa umaabot sa talent fee ko. So far, we’ve been discussing only the script." But Vilma admitted that she "got hurt" when the matter about her talent fee leaked to the press. "What I know is that I gave a copy of my Star Cinema contract to Regal so more or less they’d know," said Vilma. "Everything was supposed to be confidential. I don’t know kung paano nakarating sa press." Vilma added that she was touched when Mother Lily called her up to say she felt sorry for the incident. "How nice of her," said Vilma. All’s well that ends well.

"The project goes on," assured Vilma who will play the matriarch (similar to those played by Boots Anson-Roa and Susan Roces in Mano Po parts 1 and 2 respectively) of a Chinese clan, with Judy Ann Santos as one of her children. "May konting inaayos na lang sa script. I have to do the movie because it’s my commitment to Mother. Si Mother pa!" Cameras are expected to, hopefully, start grinding for Mano Po 3 first week of September and principal photography will, hopefully, be finished in time for the Metro Filmfest. "We’re again going to shoot some scenes in Shanghai," said Mother Lily, "just like we did for Mano Po 1 and 2. Ate Vi will be in those scenes." Last seen in Star Cinema’s Dekada ’70 (shown at the 2001 Metro Filmfest), Vilma has been begging off from doing movies because of her pressing obligations as Lipa City mayor. But Mano Po 3 is too good a project to let pass. "Besides," said Vilma, "commitment ko kay Mother, e!" – “VILMA AND THE P7-MILLION QUESTION” by Ricardo F. Lo, Philippine Star, August 10, 2004