STAR FOR ALL SEASONS: Karma (1981)

Showing posts with label Karma (1981). Show all posts

Sunday, November 24, 2013

Remembering Danny Zialcita

Danny's Film Style - "...Sabi ni Danny, marami siyang naririnig na takot ang mga artista sa kanya dahil sa kakaiba raw niyang working habits. "Iba akong magpatakbo ng set. For those stars I haven't handled yet, working with me will be like breaking old habits. It doesn't necessarily mean na ours is the better habit. Iba lang." Karaniwan, maraming hindi nakagamay sa style ni Danny na walang script. Kay Danny, the script should be just a guide for the sequence ng scenes. Sasabihin lang ni Danny ang situwasyon sa artista, bahala na ang artista sa interpretation at sa dialogue "I allow them to contribute to the interpretation of the story base on their everyday experience. Paglabas natural ang arte nila. Mahirap kung sunod lang nang sunod sa sinasabi ng isang papel," paliwanag ni Danny. "Ang importante lang," dagdag ni Danny, "ay alam ng direktor kung saan pupunta ang istorya." Isa pang style ni Danny na hindi nakukuha ng maraming artista ay ang mabilis na pacing ng kanyang mga pelikula. "Pag sa akin, no long pauses in between dialogue. Brief and concise ang takbo ng ma linya." Naniniwala si Danny na ang editing ang isa sa mga dahilan ng ikinagaganda ng kanyang mga pelikula. "I'm more of an editor than a director; more of a scriptwriter than a director," sabi niya. Ang editing ay isang aspeto ng paggawa ng pelikula na talagang pinagaralan ni Danny. Ipinagmamalaki ni Danny na hindi siya aksayado sa film. "I already edit my film while still on the shooting. Nandoon ang concentration ko as director. I hardly expose film." As a director, naniniwala si Danny na dapat, may malaki siyang papel sa pagpili ng final title ng pelikula. Binibigyan din niya ng importansiya ang music sa pelikual. "I love music, I give room for it in my films..." - Vivienne Rafael, Movie Flash Magazine, December 23, 1982 (READ MORE)

Man starts and God finishes - "...Perhaps, it was because we were his most recent contact from media if one could call five years recent. At that time, he agreed to an interview, asked that we see him at his home and spoke of a project for Gabby Concepcion, which we filed for The Philippine Star. At that time, we wrote: “Gabby’s father Rolly was on the phone talking with Danny and he hands us the phone. Apparently, Rolly has a story for Gabby he wants Danny to direct. Zialcita’s mind was not only as sharp as it was in the past; his excitement at reappearing once again on the scene was infectious. He told us of how God had been guiding his every move in the past. Man starts and God finishes, he stated. He felt this during the peak of his career when he was churning out movie after movie… Nine hits in a row? That couldn’t have been possible without Divine intervention,” he interjects. Upon his death Sunday, we were told his body was cremated and no wake was scheduled. It seemed to us that Danny had directed his final movie. And we remember “Man starts and God finishes..." - Bibsy M. Carballo, The Philippine Star, March 15, 2013 (READ MORE)

Beautiful Women and Cool Wife - "...Zialcita is a son of a banker whose wife took care of the kids and the home. If he had a knack for narrative, it must have come from his paternal grandmother who wrote short stories for Liwayway Magazine. Danny studied at the Ateneo de Manila up to high school before he was sent by his dad to the Sophia University in Japan to take up business management—and to cut the budding romance between his son and the actress Charito Solis. While he was indeed enrolled in a business course in the beginning, he was soon moonlighting in the film editing classes, and ended up just focusing on the latter. He wasn’t able to finish his studies and at 19, got married to Leonor Vergara, a favorite leading lady and then girlfriend of Fernando Poe Jr. Despite Danny’s reputation for being a playboy, the two have been married for 47 years now, and have three grown children. “Ask the girls,” says Mark Gil, with a knowing laugh when I ask him to comment on the director’s ladies’ man image. And Zialcita always had the most beautiful women on the set: Lyka Ugarte, Dang Cecilio, Pinky de Leon, Rio Locsin, Hilda Koronel, and Gloria, of course. “My favorite is still upstairs,” he tells me when asked who among the actresses was his favorite. “I believe in duty, responsibility and continuity…I have a way of hiding what is important.” And then he adds, “Mapagbigay ako.” “He loved women,” says Gloria. “He is very cariñoso, very touchy, laging nakasampay sa’yo. Even with the men.” But Danny never made a move on her. “How can he? We were always shooting in his house; his wife was upstairs.” The Zialcita movie atmosphere, they say, is always relaxed. Mostly because he is the producer of most of his films he can take his time, and he was usually shooting at home, in the old Zialcita mansion on Lee Street in Mandaluyong. “Basta may painting at may salamin, it was shot in Danny’s house,” Mark Gil says. “Kaya ‘yung mga walls namin puro butas,” says daughter Beth. He would just change the paintings and the look of the house for every film. They would also shoot in the house across owned by a relative. “Even while he was doing his bomba movies, he would do it here,” adds Beth. “I would come home from school and see people in the house na walang damit.” While he did collect many paintings, ivories and sculptures not only for his films but also as a personal hobby, Danny also collected still photographs of scantily clad women whose blown-up incarnations Beth would see posted in his private den. His wife Leonor, says Beth, never seemed to mind. “She is a very cool wife..." - Jerome Gomez for Metro Him, ABS-CBN News, 03/12/2013 (READ MORE)

Danny's Vi and Guy - "...Batangas Gov. Vilma Santos told the Inquirer: “I learned a lot from him. He popularized crispy, witty dialogue that sounded very natural. He was intelligent and clannish. He liked working with the same set of actors. I felt privileged to be among his regulars.” Santos starred in Zialcita’s biggest 1980s hits: “Langis at Tubig,” “Karma,” “Gaano Kadalas ang Minsan” and “T-Bird at Ako.” The last one also top-billed Nora Aunor. Told about the news, Aunor said that, apart from “T-Bird at Ako,” she guested in a Zialcita movie that launched singer Kuh Ledesma in 1982, “Tinimbang ang Langit.” “We also have an unfinished movie ‘Sa Dulo ng Panahon’ (produced by Regal Films in 1988),” said Aunor. “Mahusay siyang direktor. Mabilis mag-isip at magaganda ang mga dialogue namin lagi. He was a great director, quick-witted. He always gave us beautiful lines to deliver..." - Bayani San Diego Jr., Philippine Daily Inquirer, March 14, 2013 (READ MORE)

Dear Sharon - "...None at all. My first single, Tawag ng Pagibig (by Rey Valera), didnít click. It was my second, Mr. Deejay (also by Valera), released six months later, which did. When I was 14, I rode on the float of the movie Langis at Tubig during the parade at the Cebu Film Festival. I sang the theme song of that movie (directed by Danny Zialcita). Ate Vi (Vilma Santos), one of the stars, was pregnant with Lucky so I kind of pinchhit for her. Direk Danny was very impressed by the public reaction. After the parade, he talked to my Mom about the movie Dear Heart. Hindi daw niya itutuloy if he couldnít get me to star in it...Direk Danny wanted my character in the movie to be close to my real self para daw hindi ako mahirapan. So in the movie, I had bodyguards and my father was strict and crazy over me; I even had a yaya who called me Miss Universe. Very real life, di ba? I had crushes and puppy loves even before I met Gabby. Before I joined showbiz, ang crush ko noon ay si Dondon Nakar. But before Dondon, there was Bruce Lee, and now Jet Li. I did have a crush on Albert (Martinez) but not on Gabby. I thought Gabby was mayabang; so among the Regal Babies, mas gusto ko sina Alfie Anido at Jimi Melendez (both dead). In fact, when they asked me who I wanted as my leading man in Dear Heart, I said, "Anybody but Gabby Concepcion.í I found out na mabait naman pala siya when we started shooting..." - Ricky Lo, The Philippine Star, August 11, 2002 (READ MORE)

Comatose - "...Atenean, Danny Zialcita, passed away Monday, March 11 after more than a year of being comatose. He was 73. Director, producer and writer, Zialcita was legendary. He was revered for his glossy movies that often showed middle-class characters delivering witty quips and kilometric dialogues that he often wrote and re-wrote on the set itself. “Lady Killer” was made in 1965 and he went on to make 52 movies, most of which he himself wrote. Among his most famous are “Bakit Manipis ang Ulap,” “Nang Masugatan ang Gabi (1984), “Nagalit ang Buwan sa Haba ng Gabi” (1983), “Gaano Kadalas ang Minsan?” (1982), “Langis at Tubig” “Hindi sa Iyo ang Mundo, Baby Porcuna,” “Ikaw at ang Gabi” (1979). He was credited for plucking the teen recording artist Sharon Cuneta and making her into a star via the teen romance “Dear Heart” (1981), which paired her with Gabby Concepcion. Zialcita and Cuneta would later reunite in 1983 for “To Love Again.” He was also the director of “T-Bird at Ako,” which has the two most awarded Filipina actresses Nora Aunor and Vilma Santos. He was married to former actress of Premiere Productions Leonor Vergara with whom he had a daughter..." - Malaya, March 17 2013 (READ MORE)

Danny Zialcita and Vilma Santos

Langis at Tubig (1980) - Zialcita's first collaboration with Vi. She played the other wife of Dindo Fernando who was had a shotgun wedding to a provincial naivette, played by Amy Austria who he impregnated.
Karma (1981) - After the hit, Langis at Tubig, zialcita did Karma with Vi. The film was one of the top grosser in the December festival. It also earned Vi another best actress. Manny A. Valera, writer for Jingle Extra Hot Magazine wrote in December 28, 1981, Vi was so proud of this Zialcita's directed film she explained: “…Masaya ako ngayon. Sa darating na Filmfest kasi, maganda ang panlaban kong pelikula. Kung nagustuhan ng mga manonood ang Langit at Tubig last year, mas magugustuhan nila ang Karma. Hindi kiyeme-kiyeme ang sinasabi ko. Nakita ko na kasi ang mga rushes, “I consider Danny as one of the best among our movie directors. Pulido siyang magtrabaho. Pari iyong mga bold scenes namin, talagang artistically done. All praises ako sa kanya. Nakasama ko na rin siya before and because of that, may inter-action kaming dalawa. Vibes na vibes kami. Sure ako, hindi ako mapapahiya sa filmfest entry ko. “Karma will be my Christmas gift to all my fans who, until now, have not stopped loving me. Ang pagtingin ko sa kanila ay extra special kaya naman, extra-special ang regalo ko…”
T-Bird at Ako (1982) - Aside from several guest appearances in all star cast films like Dugo at Pag-ibig sa Kapirason Lupa, Happy Days Are Here Again and other forgetable films, this is the fourth films that Vi and Guy did together. Zialcita masterfully directed the two and despite the unequal weight in terms of roles, Vi gamely faced Nora in several memorable confrontation scenes that include witty/crisp dialouges, slapping and a kissing scene (well, almost lips to lips, a kiss in a cheek). Art immitating life? We all know that Guy had a rumour gay wedding in the U.S. that she herself briefly discussed in an article years back. And she also candidly admitted several times, she's also a Vilmanian. Zialcita was way ahead of his time, creating one of few Filipino films about a career minded and succesful lawyer who happens to be a lesbian. Seldom we see such characters in Filipino local films and he has done this several times in films like Mahinhin vs Mahinhn. Despite the dissappointing ending where lesbian Nora agreed to be with her patient suitor, played by Tommy Abuel, instead of Vi, the film has answeared what both Vi and Guy's fans has been expecting since Bernal's Ikaw Ay Akin, the typical battle confrontations. It may come probably too late as the film was not as successfull commercially.
Gaano Kadalas ang Minsan? (1982) - Zialcita and Vi's last film together. Hilda was originally cast in Langis at Tubig in 1980 but he took out Hilda and cast Amy Austria instead. He then make-up for this decision by giving Hilda one of the lead in this drama that reminds local film buff of the Lolita-Eddie-Marlene troika in 60s. In an interview by Jerome Gomez, for Metro in 2008, "...From 1979 to 1986, Zialcita was on a roll, doing one film after another, pulling off nine hits in a row beginning with Gaano Kadalas in 1981 up to his sex comedies that include May Lamok Sa Loob ng Kulambo. He could demand anything from a producer and his wish would be granted. When Viva Films asked him to do Gaano Kadalas, he told Vic and Mina del Rosario that he will only do it if they get George Canseco to write the theme song (most of his popular films had songs by Canseco), and that Hilda Koronel would be one of the leads. Viva granted him both, even if it had to pay more for Hilda than for Vilma. “May utang ako kay Hilda eh, I took her out of Langis at Tubig..." Gaano Kadalas broke box office records set by another Vilma starrer, Sinasamba Kita released few months eartlier, it grossed 7.3 Million in its few days run in Metro Manila in 1982, equivalent to 17.4 millions to today's money.

Danny Zialcita (November 24, 1939 - March 10, 2013) is a fun-loving gifted and colorful filmmaker who left his mark as one of the best in the stimulating era of the ’60s and ’70s. Then without any warning he left the industry. Stories of drug addiction, withdrawal from the world, and worse, loss of sanity dogged his absence until even his colleagues lost touch with him and didn’t know what to believe. Zialcita is a master of improvisation on the set, he also had the knack for casting the right actors, choosing the right material, and pleasing his producers. One of his favorite actors was Dindo Fernando whom he termed “the complete actor” and cast him in such movies as Langis at Tubig, Karma, Gaano Kadalas Ang Minsan, Mahinhin at Mahinhin, its sequel Malakas, si Maganda at si Mahinhin and Ikaw at ang Gabi which gave Dindo his first Urian Best Actor trophy. Other favorites were Vilma Santos cast in Karma, T-Bird at Ako, Langis at Tubig; Pinky de Leon; Laurice Guillen; Ronaldo Valdes; and Beth Bautista who won Best Actress award in Hindi sa Iyo ang Mundo Baby Porcuna. - Bibsy M. Carballo (READ MORE)

Related Reading:

Tuesday, October 29, 2013

Karma Articles (Repost)

Source: JEH Nov 2,1981 - James DR's Pelikula Atbp

Sunday, June 9, 2013

At 28, A Changing Maturing Vi

I didn’t snub the Metro Manila Filmfest by not attending the awards night. And it’s not true I didn’t expect to win. I did my best in Karma and modesty aside, I knew I had a good chance of winning. But then I had little time left to prepare for the occasion. Duds and I were busy attending to construction workers at the time,” said a more vivacious and vibrant Vilma Santos, adjudged best actress of the 1981 Metro Manila Film Festival for her scintillating performance in Karma, about reincarnation and love eternal. Vi and hubby Edu are busy looking after the building of their two-storey house on a 683 sqm.lot in United Paranque, Metro Manila. “I’m proud and happy that this is Dud’s gift to me and Lucky,” said Vilma, beaming with joy. “This house is too big for a small family like ours,” she added, referring to the Magallanes house where they’re staying. “We hope to transfer to our new home before the end of the month.” Which also means that Vi is selling her five-bedroom home, complete with swimming pool. The house and lot are being sold for P 1.6 million. “What will I do with a big house like this? We only occupy one room. Maintaining and cleaning the other rooms will just eat up our time. We have other things to pay attention to,” rationalized Vi.

Does the sale have something to do with her BIR problems as some detractors would have it? “Some people are always watching to see what’s your next move. So what if I sell it? I’m not selling somebody else’s property. I know what’s good for me and I know what’s not! My detractors might also want to know that I don’t have any BIR problems any more. I’m thankful to the BIR for helping me,” said Vi, a little tense. At age 28, Vilma Santos’ life is now, “very different” from when she was single. She still has time for friends and reporters, “but I can no longer spend all my time with them now. If people can only see my timetable, they’ll know that I shoot six times a week. I only have Sundays for my family. That one day I don’t want to take away from them,” she said. “But I see to it that I meet my friends at least twice a month. I hope they’ll understand.” As a married woman, Vilma does not keep a circle of friends. “Frankly, I’ve never had a barkada. Ang barkada ko talaga ay ang pamilya ko. Anyway, my female colleagues from the movies are all my friends.” Vilma denied reports that Edu has been limiting her public appearances. “I want it known that Doods is a very understanding husband. He has nothing against my movie career. He just wants me to give priority to my family and I think he is right. The freedom that he gives me is enough for me not to abuse it,” she said, to straighten out rumors that Edu had asked her to quit acting and that they plan to settle in Canada or in the States. “We’re planning to leave for the US but for a short pleasure trip only.”

Another remarkable change in Vi is that she can no longer shoot several movies simultaneously. The most is two pictures at a time. Her own ceiling is five movies a year. Before, she used to make an average of one picture a month. She has become choosy about accepting film offers. “At this stage of my career, I can only portray roles that suit my status in real life. Can you imagine a wife and mother playing the role of a carefree, innocent, sweet teenager? I believe that an actress should grow up in her roles. One can’t be a nina bonita forever,” she philosophized. So far, Vi has accepted only two major film assignments: Relasyon, where she plays mistress to Christopher de Leon; and a still untitled movie to be directed by Eddie Garcia under Viva Films. She has other offers from Sining Silangan, Cinex Films and Mirick Productions, but she is studying them carefully. Vi is managing her own movie career now. Before, she would ask somebody to transact the business with film producers in her behalf. “I was to spoiled and very dependent. But now, I talk business directly with them.” Vi has also limited her alalay to a few. The new set-up challenges Vilma.

This makes life for her more colorful and exciting, and she doesn’t have to have a battery of PROs. “Why should I hire so many of them if I’m trying to do some saving now? Of course, I still need them but I hope they give me a break.” Vilma’s latest MMFF best actress trophy is her fifth major award. She won the FAMAS best actress plum in 1972 for a superb characterization in Dama de Noche. She also won the MMFF best actress statuette for Burlesk Queen in 1977. As a child actress, she romped away (FAMAS) for Trudis Liit, aside from the best actress award she won in 1975 Bacolod City Film Festival for Nakakahiya? Vi sends her heartfelt thanks to Chanda Romero, her co-star in Karma, for her inspiring remarks on awards night:“Lucky girl this Vilma. may Edu na. May Lucky na, may trophy pa!” Vi said she was so touched by Chanda’s unselfish remarks, she tried to reach Chanda by phone, to thank her but she couldn’t. Vi also extends warmest thanks to her Tito Ed (Rodriguez) for commenting that she, Vilma, is “your favorite and mine.” “For their superlative compliments, I look forward to 1982.” Right now, Vi’s main concern is her son Lucky (born Luis Philippe Manzano eight months ago). Vi and Edu do not approve of their son being public property. There’s nothing wrong with being a movie star, they say. After all, acting can be ‘inherited’ by their son. But the couple will not go out of their way to force their son into the showbiz world. “I want him to lead a normal life and not to be deprived of the privacy he’s entitled to,” Vi reasoned. One thing sure, she will see to it that Lucky finishes his studies. “ We will not rule his future life. He will decide for himself. If he has artistic leanings, we cannot stop him. But, repeat, we will not force him to pursue anything he doesn’t like!” Vi has many things to thank for. First, she has survived keen and cut throat competition for the past many years. Despite new and fresh talents on the scene, she has managed to keep a steady following. All her recent movies have been blockbusters. She’s glad her fans when she was 16 are still her fans today. “Oh yes, just like me, they have matured and grown up. They are the type who do not invade one’s privacy. They know their limitations. But they’re always concerned whenever they hear unpleasant news about me and my family.” Vi is happy that people flock to her movies not because of the ‘boldness’ of the story but because of the character she plays. Posing with her festival trophy, she said with supreme confidence,“ I’ll continue acting so long as my fans like me. From hereon, I promise to make movies that are relevant and will be appreciated by the public.” - Manny B. Fernandez, People Magazine, Jan. 15, 1982

Saturday, December 29, 2012

Kisapmata Wins Nine Awards

Kisapmata, a movie about a deranged retired policeman, got nine of the 13 awards, including best picture, in the 1981 Metro Manila film festival awards ceremonies held at the Cultural Center of the Philippines last night. The movie, earlier banned from being shown until the hearing on a suit involving it starts on Jan. 4, also won for Mike de Leon the best director award, De Leon, together with Clodualdo del Mundo and Raquel Villavicencio, also won the best screenplay award. Vic Silayan, the lead actor in Kisapmata, won the best actor award, Jay Ilagan and Charito Solis were adjudged best supporting actor and actress, respectively. Kisapmata, produced by Bancom Audiovision, also got the best production design, best sound, and best editing awards.

This year’s best actress is Vilma Santos, who appeared in Sining Silangan’s Karma. Other awards went to Pagbabalik ng Panday, for best cinematography and best child performer (Bentot Jr.); Kamlon, best musical scoring; Kapitan Kidlat, also for best child performer (Dranreb). Press photographers walked out shortly after the evening show started. A man who was directing people on the stage shooed the photographers away, saying they were not allowed near the stage. – The Times journal, December 28, 1981, Video 48

Thursday, May 31, 2012

FILM REVIEW: KARMA

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

Film Review: 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. - Bob Castillo, People’s Journal Dec. 12, 1981 (READ MORE)

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 (READ MORE)

"26 years after we first seen "Karma," the film remained Vilmanians' favorites and one of Dany Zialcita's best film. Glossy with crisp dialouge, the film was a big hit at the 1981 Metro Manila Film Festival and earned Vilma the festival's best actress. Here was what movie reporter Mario Bautista said about her acting: "Ibang-iba" rin ang Vilma Santos sa "Karma." Subdued na subdued ang performance ni Vi rito unlike in other films na all out ang emoting niya. Dito'y restrained siay at napaka-effective. Halimbawa sa eksena after the rape sa kanya ni Ronaldo Valdez. Nang sabihin niyang siya'y patungo sa kasal niya'y halos hindi na marinig ang kanyang tinig pero talaga namang damang-dama mo ang kirot sa kanyang dibdib. O kaya'y sa mga tagpong sinusumbatan siya ni Tommy Abuel na nanatili siyang kalmado at soft-spoken. We never thought Vilma can be that versatile!" - RV (READ MORE)

Zialcita’s first movie with Vilma was the 1980 festival entry, a drama about bigamy, Langis at Tubig. The following year, Zialcita and Santos joined forces again in antoher festival entry, Karma. The film earned Vilma her second Metro Manila Film Festival Best Actress. The following year, Ziacita’s Gaano Kadalas Ang Minsan broke box office record, Earned P7.3 million during its first day of showing in Metro Manila and assured Vilma Santos the box office queen of 1982. The total number of Vilma Santos and Danny Zialcita colloborations were four (Gaano Kadalas ang Minsan? 1982, Karma 1981, Langis at Tubig 1980, T-Bird at Ako). - RV (READ MORE)

"One of the most misunderstood occult concepts. The nearest equivalent in European thought is contained in the idea of fate, though the oriental term indicates the fate is not a haphazard sequence of events of experiences, but is dependent on actions of previous lives or spiritual conditions. The idea is that a spirit undertakes to live in an earthy body for a given period of time, usually in order to learn something which cannot be learned in a disembodied state, and has to accept rewards and punishments for good and bad deeds committed in previous incarnations. In order that understanding may grow, any evil committed against another person will have to be experienced by the perpetrator. The working out of Karma is not done consciously by ordinary people. The real reasons for the majority of people's actions and relationships may be understood only when nature of their Karma is grasped - which is tantamount to saying that it is virtually impossible to understand or judge another person when seen in the context of one material lifetime only. Vilma Santos fits the role to a T. For the past years that she has suffered a string of major misfortunes and setbacks in real and reel life, she has hone herself as promise, a common objective: to give the viewing public what it wants - entertainment with a capital E. For Danny Zialcita, aside from having a good screenplay, good direction and brilliant actors and actresses, the movie should have artistic values. Karma promises to be a very good vehicle not only for Zialcita but also for Vilma Santos and the rest of the cast. Will this movie be a good KARMA for director Danny Zialcita, Vilma Santos and the rest of the cast? Watch the movie! It'll be a different kind of feeling you'll get after viewing it." - Bond De Leon (READ MORE)

"...First, Karma is a quality picture. According to Mr. Ernie Rojas ng Sining Silangan, it was produiced not only to make it good in the box-office kungdi maging sa mga awards. Kungsabagay, may laman ang sinabi ni Mr. Rojas simply because Langis at Tubig, which was also producede by Sining Silangan last year, placed second in the tops earners and bagged the Best Actor Award for Dindo Fernando. Second, matagal na ring naipalabas ang latest film ni Vi na Hiwalay. Samakatuwid, maganda ang spacing ng mga pelikula niya, 'Ika nga, hindi over-exposed ang beauty ni Vi. Dahil dito, nandiyan pa rin ang pananabik ng manonood kaya't siguradong dudumugin ang Karma. ..." - Manny A. Valera (READ MORE)

"...In my limited understanding it takes lifetimes to work off one’s karma. Movies, however, only run for two hours so filmmakers have to take liberties. In Danny Zialcita’s 1981 film Karma the protagonists have the added advantage of knowing exactly who they were in their past lives, thanks to a psychiatrist (Vic Silayan) who practices regression hypnosis. Eric (Ronaldo Valdez, who is smoking, and not just in the library where he researches his former incarnation) and Sarah (Vilma Santos) have already met under awful circumstances, but it turns out they’ve known each other much longer than that. In the past they were Enrico and Guada, illicit lovers murdered by Guada’s husband, Limbo. Limbo vows to follow them to the next life, but which form does he take? Is he now Enrico’s mentally unbalanced, pathologically jealous wife Cristy (Chanda Romero), or Sarah’s cruel, sadistic husband Alfredo (Tommy Abuel). It’s not a whodunnit, it’s a who-will-do-it? Vilma Santos turns in another fine portrayal of emotional turmoil. Nora Aunor had the advantage of expressing volumes with her eyes; Vilma expresses with her face, hands, and entire body. Nora was inward, Vilma outward. Ronaldo Valdez gives an understated performance, coolly delivering lines like, “In love there’s no measure of time”. Tommy Abuel overacts ridiculously, even for a guy so suspicious that he has his wife examined by a gynecologist to see if she’s had sex. Chanda Romero is fabulous. Her Cristy is a psychotic who never raises her voice; you can tell she has tranquilizers for breakfast, lunch, and dinner. The first time Cristy and Sarah meet is at the antique store Sarah manages at the old Virra Mall. Cristy breezes in, picks out a bunch of stuff, and announces that she doesn’t carry cash or credit cards, just send the bill to her husband. She points to another piece she buys, and Sarah says, helpfully, “That’s P9,500.” “Ok lang,” Cristy says, “Nagtanong ba ako? (Did I ask?)” One thing about Danny Zialcita movies: his rich people looked and sounded like rich people. He made movies for sophisticated grown-ups. If they don’t make movies like Zialcita’s anymore, it’s because people are no longer that articulate. Nobody casually tosses off bon mots anymore, everything has to be overstated for the dim. So we Zialcita fans are reduced to reciting favorite lines from his movies: “Puede bang makausap ang asawa ko na asawa mo na asawa ng buong bayan?” (May I speak to my husband who’s your husband who’s everybody’s husband?)..." - Jessica Rules The Universe (READ MORE)

Friday, December 23, 2011

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

Sarah (Vilma Santos) is forced to defer her wedding when her scheduled flight is delayed. At a hotel where she is staying, she encounters Eric (Ronaldo Valez), a regular guest, who forces himself on her. The incident leaves a stigma not just on Sarah but more so on her fiance, Alfredo (Tommy Abuel)whose dream of marrying a virgin is dashed. - Telebisyon.net (READ MORE)

Film Achievements: FAMAS: Best Supporting Actor - Tommy Abuel, Best Supporting Actress - Chanda Romero; Metro Manila Film Festival Best Actress - Vilma Santos; 1981 Cebu City Film Festival Best Actress - Vilma Santos

Film Reviews: "...Maituturing na head of his time ang mahusay at napaka-innovative na direktor na si Danny Zialcita. Lahat nang nanood ng 1981 movie na tinatampukan nina Vilma Santos, Ronaldo Valdez at Chanda Romero, na ipinalabas ang restored version courtesy of the ABS-CBN Film Restoration last Friday sa Trinoma, ay sumang-ayon na very now pa ang tema ng pelikula. At very now pa rin ang approach niya sa pagsasa-pelikula nito. Bukod sa pagdidirek ng Karma, si direk Danny din ang sumulat ng story at script nito. Fresh from his performance bilang ama sa apat na ‘di magkasundong magkakapatid, hangga’t nalaman ng mga ito na malapit na siyang bawian ng buhay, sa blockbuster Star Cinema movie na Seven Sundays, Ronaldo already proved he was an actor to reckon with, yes, that early, sa pelikulang Karma. At kung looks ang pag-uusapan, sorry Janno Gibbs dahil mas guwapong ‘di hamak ang iyong ama. At the time na ginawa ni Ronaldo ang Karma, kaedad din niya si Janno. Of Ate Vi, dapat mapanood ng kanyang mga anak na sina Luis Manzano at Ryan Christian-Recto ang Karma. Pagkaganda-ganda ni Ate Vi sa said movie. Kasama rin sa pelikula si Tommy Abuel na isang lawyer sa tunay na buhay. Magaling siya sa kanyang role bilang mister ni Ate Vi, na hindi nito napatawad dahil sa hindi nito ipinagtapat bago sila ikinasal na hindi na siya virgin. Si Tommy ay napapanood pa rin paminsan-minsan sa mga teleserye at may nagsabing regular member ito ng Cinema Evaluation Board (CEB). As to Ronaldo, he was at the screening of Karma. At gumawa talaga siya ng oras para bumati sa lahat ng audience bago sinimulan ang screening. Of direk Danny, he died in 2013..." - Baby E, Pang-Masa, 29 October 2017 (READ MORE)

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. - Bob Castillo, “Fine Film,” People’s Journal, Dec. 12, 1981

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. - Sinulat ni Oscar Miranda

"...Nang minsang makapanayam namin si Vi sa set ng Karma, sabi niya, "Masaya ako ngayon. Sa darating na Filmfest kasi, maganda ang panlaban kong pelikula. Kung nagustuhan ng mga manonood ang Langit at Tubig last year, mas magugustuhan nila ang Karma. Hindi kiyeme-kiyeme ang sinasabi ko. Nakita ko na kasi ang mga rushes, "I consider Danny as one of the best among our movie directors. Pulido siyang magtrabaho. Pari iyong mga bold scenes namin, talagang artistically done. All praises ako sa kanya. Nakasama ko na rin siya before and because of that, may inter-action kaming dalawa. Vibes na vibes kami. Sure ako, hindi ako mapapahiya sa filmfest entry ko. "Karma will be my Christmas gift to all my fans who, until now, have not stopped loving me. Ang pagtingin ko sa kanila ay extra special kaya naman, extra-special ang regalo ko..." - Manny A. Valera, Jingle Extra Hot Magazine, December 28, 1981 (READ MORE)

"One of the most misundertood occult concepts. The nearest equivalent in European thought is contained in the idea of fate, though the oriental term indicates that fate is not a haphazard sequence of events of experiences, but is dependent on actions of previous lives or spiritual conditions. The idea is that a spirit undertakes to live in an earthy body for a given period of time, usually in order to learn in a disembodied state, and has to accept rewards and punishments for good and bad deeds committed in previous incarnations. In order that understanding may grow, any evil committed against another persons will have to be experienced by the perpetrator. The working out of Karma is not done consciously by ordinary people. The real reasons and relatinships may be understood only when the nature of their Karma is grasped -which is tantamount to saying that it is virtually impossible to understand or judge another person when seen in the context of one material lifetime only. Vilma Santos fits the role to a T. For the past years that she has suffered a string of misfortunes and setbacks in real and reel life, she has honed herself as promise, a common objective: to gove the viewing public what it wants - entertainment with a capital E. For Danny Zialcita, aside from having a good screenplay, good direction and brilliant actors and actresses, the movie should have artistic values..." - Bong de Leon, Jingle Extra Hot Magazine, November 2, 1981 (READ MORE)

"...Sarah (Vilma Santos) is forced to defer her wedding when her scheduled flight is 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 fiance Alfredo (Tommy Abuel) whose dream of marrying a virgin is dashed. Strangely Sarah and Eric's paths crossed again at a time when their respective marriages are in disarray. Their meeting strikes both as deja vu. Could it be that they have met each other in the past? Their suspicions are confirmed after Eric consults a psychic. As it turns out Sarah and Eric are the reincarnation of Guada and Enrico twol lovers who had an illicit affair 60 years ago. When Guada's husband Limbo (Ruel Vernal) learned of her arffair 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 Enrico's estranged wife Cristy?..." - Mav Shack (READ MORE)