Maria Rosa Vilma Tuazon Santos-Recto (born Maria Rosa Vilma Tuazon Santos November 3, 1953 in Bamban, Tarlac), commonly known as Vilma Santos-Recto or Ate Vi is a Filipino actress and box office queen for almost four decades. One of the original Philippine movie queens, she rose up to become the versatile actress that has been given the fitting title of “Star for All Seasons” because of her capacity to adapt to the changing mores and values of the Filipino woman, giving a face to their plight and struggles, albeit in success both critically and box-office wise in some of Philippine cinema’s classics such as Trudis Liit (1963), Lipad, Darna, Lipad (1973), Burlesk Queen (1977), Relasyon (1982), Sister Stella L. (1984), Alyas Baby Tsina (1984), Pahiram ng Isang Umaga (1989), Dahil Mahal Kita: The Dolzura Cortez Story (1993), Anak (2000) and Dekada ’70 (2002). She is currently the governor of Batangas, Philippines (2012)(Wikipedia).

For More Informations, Visit: Vilma Santos-Recto's Official Web-site

Monday, September 23, 2013

HAHAMAKIN LAHAT (1990)

"Gerald, tulungan mo ako, mahal ko siya...hindi ako mabubuhay kung mawawala siya..." - Lucinda


Basic Information: Directed: Lino Brocka; Story, screenplay: Ricardo Lee; Cast: Vilma Santos, Snooky Serna, Gabby Concepcion, Eric Quizon, Dennis Roldan, Perla Bautista, Ruben Rustia, Maritoni Fernandez, Gina Perez, Pocholo Montes, Archie Adamos; Executive producer: Lily Y. Monteverde; Original Music: Jaime Fabregas; Cinematography: Pedro Manding Jr.; Film Editing: George Jarlego; Production Design: Benjie De Guzman; Sound: Joe Climaco, Ramon Reyes; Film poster: Video48

Plot Description: Lucinda (Vilma Santos), a hard-nosed scheming power hungry woman is married to a young politico, Gerard (Eric Quizon). Theyère the ideal and perfect partners in life and in crime. Their lives take a new shape with the re-entry of Renato (Gabby Concepcion), Lucindaès first love and now married to cousin Teresa (Snooky Serna). What follows is another colorful drama - swapping partners to satisfy their burning passion. But the moment of truth arrives - Lucinda and Gerard outwits each other to assure power and reach the top to the extend of plotting their lover's murder. - Regal Films (DVD box description)

“Hahamakin Lahat” tells the story of two completely different couples whose nostalgia for their past weaves for them in the present a web of deceit and conspiracy. A poor and struggling couple, Renato’s and Teresa’s marriage and love are challenged by a series of unfortunate events – from miscarriages, eviction from their apartment, and the failure of their business. Lucinda and Gerald, on the other, gave up everything, including their love and respect for one other, just to wield the power and riches they now share. Lucinda (Vilma Santos) decides to help her cousin Teresa (Snooky Serna) and her ex-boyfriend Renato (Gabby Concepcion) get up on their feet. However, her intentions are not noble. Until now, she has not learned to love anyone but Renato whom she left in order to pursue her personal ambitions. Gerald (Eric Quizon), on the other hand, falls for the sweet and naive Teresa. Separately, Gerald and Lucinda abuse Renato’s and Teresa’s vulnerabilities and find means of conducting extramarital affairs with them. While Gerald’s affair with Teresa is momentary, Lucinda becomes obsessed with Renato and plots a scheming and vicious plan to get him back. Unfortunately, Renato’s love for Teresa is steadfast. Realizing this, Lucinda searches for the kindness in her and does everything she can to bring Renato’s life back. For a woman who would do anything just to get her way, will she succeed this time? - Cine Filipino

Film Achievement: 1990 Star Awards for Movies Best Supporting Actress – Snooky Serna; 1990 FAMAS Nomination Best Supporting Actress – Snooky Serna; 1990 FAP Nomination Best Actress – Vilma Santos; 1990 Gawad Urian Nomination Best Best Actor – Gabby Concepcion

Film Reviews: "...Can the specificities of a film genre dictate the nature of roles available to actors according to their sexual differentiation? In the instance of a specific local genre, melodrama, it appears that not only the nature of the roles but the advantage of the performer is predetermined in a manner opposed to the original foreign norm. Two of the better releases in 1990 by the country’s top competitors for studio supremacy prove this point indirectly, by applying for us one outstanding performance each – both by female actors essaying distinctively female roles...Regal Films’ Hahamakin Lahat has the reliable Vilma Santos in a successful (in popular terms) modification of her other-woman persona, placing her work here on the order of Tagos ng Dugo and Pahiram ng Isang Umaga. Both films can be roughly classified as melodramas of the Filipino variety, specifically by their emphasis on moral issues, complicated plots, and strong female roles – characteristics that serve the thesis that local melodramas are, for want of a better term, prejudiced in favor of women, complaints from feminists notwithstanding...while that of Vilma Santos resolves not to fall emotionally for her flavor of the moment; in the end, when Mr. Seemingly Right happens along, all their notions of self-sufficiency get discarded like so much excess baggage, as off they go after the walking incarnation of the True Meaning of Life...

Compared with the director-writer teamup’s previous effort, Gumapang Ka sa Lusak, Hahamakin manages to go deeper into the psyche of the female oppressor (a secondary character in the earlier film, which concentrated on the victim instead). On the other hand, several crucial establishing details in the latter work had to be relegated to lines of exchanges, and a demonstration of how social cancer spreads through the body politic is never pulled off, precisely because the filmmakers had to confine themselves to the major characters. Nevertheless both recent films, plus Gumapang Ka, represent our state-of-the-craft when it comes to melodrama moviemaking, and I can think of no higher compliment than posing a challenge for the future: since every conceivable female lead role has been explored, with varying degrees of success, in local melodrama, and since action films have long allowed for strong women characters even in lead capacity, how about refashioning the former genre to suit nonfemale leads? The clash between gender and genre might yet result in certain long-overdue insights into love and anarchy as only a truly confused culture can make it...' - Joel David, National Midweek, 17 October 1990 (READ MORE)

Brocka did Hahamakin Lahat for Regal Films. This would be his third team-up with Vilma Santos. The role called for Vilma to be dark, daring, and innovative—something that totally deviated from characters usually portrayed by the sweet-faced actress . It showed a heroine entering into a marriage of convenience with a ruthless, scheming mayor—a character Brocka created to expose the hypocrisy and corruption of society. - Mario Hernando

"...Often pitted against then-rival Maricel Soriano, she made numerous blockbuster movies with her in the '80s like Underage, Schoolgirls, Story of Three Loves and Anak ni Waray vs. Anak ni Biday, among others. She also had her share of TV shows including the weekly musical variety 'Always Snooky' and weekly drama feature on 'Regal Drama Presents: Snooky' in ABS-CBN Channel 2. As a mature actress, she tackled roles which earned acting nominations from various award giving bodies. She was also in Kapag Napagod Ang Puso with Christopher de Leon and Inagaw Mo Ang Lahat Sa Akin (Harvest Home - official Philippine entry to the 1995 Oscars) but unfortunately was snubbed during awards night. Her other major films include Aabot Hanggang Sukdulan, Yesterday, Today and Tomorrow, Hahamakin ang Lahat with Vilma Santos, the fantasy films Blusang Itim, Rosa Mistica, and Madonna: Ang Babaing Ahas. It was with Koronang Itim, that she finally won Best Lead Actress trophy. She has starred in over (80) films from 1970 to 2004..." - Wikipedia (READ MORE)

"...In his book, Don Jose & The Early Philippine Cinema, Joe Quirino credits jose Nepomuceno pioneer in producing movies that not only entertained but also informed. Wrote Quirino: "His screen adaptation of Noli Me Tangere, Jose Rizal's novel exposing the social cancer that festered during the Spanish occupation of the Philippines, captured the sardonic and satirical contents of the imflammatory noel." Satire was a popular device through which producer aired their views on social issues. In 1929, a satirical movie called Patria Amore caught the ire of the local Spanish community who went to court to stop its exhibition. A counterpart incident took place in 1965 when the Liberal Party tried to stop the showing of Iginuhit ng Tadhana, the propagandistic movie of the life of Ferdinand Marcos. The same motion picture propelled Marcos to the presidency. Movies of social significance often face this dillemma on their way to the big screen. Because of their strong public statement, they invite uproar from concerned sectors, an experience that became almost a daily ordeal for the late director, Lino Brocka. In recent years and until his death in 1991, Brocka had been the prime mover of Tagalog movies of social significance. Some of his works that easily fall under this category are, in no particular orderL Orapronobis (about vigilantes and rebels in the countryside), Bayan Ko (on labor unrest), Gumapang Ka sa Lusak and Hahamakin Lahat (on political corruption), Maynila: Sa Mga Kuko ng Liwanag (on moral degradation and exploitation)..." - Nestor Cuartero, Panorama, dated June 13, 1993 (READ MORE)

Snooky Also Shines - "...Do you know who has improved a lot in her acting especially in her last movie? It's Snooky. In "Hahamakin Lahat," she was almost at par with the star for all seasons, Vilma S. kung acting ang paguusapan, says an ardent admirer. Nag-underacting siya but there were moments na akala mo siya ang bida sa pelikula. I remember a hysterical Snooky in highlights scenes of her movies. I think it's only Lino Brocka who directed her in her first movie, "Wanted, Perfect Mother," when she was only four or five years old, who can control her acting as he did in "Hahamakin." Snooky has gained more character and a certain maturity in her acting. I'm sure she'll garner several nominations for this movie come awards time next year..." - Nena z. Villanueva, Manila Standard, 05 Sep 1990 p16 (READ MORE)

  

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