Si Sister Stella L at ang Musika ng Panahon

Special Film: Sister Stella L. (1984)

Sister Stella L. (1984) is the award-winning masterpiece by Mike De Leon. It’s about a nun, Sister Stella Legaspi, who becomes involved in labor strikes after learning about the government’s neglect of the poor and the working class. Her sworn duty to fight for the poor and the oppressed turns personal when her journalist friend Nick Fajardo is tortured and the union leader Dencio is kidnapped and killed. What follows is her eye-opening and the tear-jerking battle against cruelty and injustice. The film broke censorship barriers back in 1984, during the final years of the US-backed Marcos dictatorship, for its realistic portrayal of labor struggles, and extrajudicial killings, hauntingly mirroring the reality of Philippine society today under Gloria Macapagal-Arroyo. - Filipinas for the Rights and Empowerment (READ MORE)

Miguel Pamintuan de Leon, also known as Mike de Leon (born May 24, 1947) is a Filipino film director, cinematographer, scriptwriter and film producer. - Wikipedia (READ MORE)

Source: Pelikulapinoy103

FAIR USE NOTICE (NOT FOR COMMERCIAL USE): This site contains copyrighted materials the use of which has not always been specifically authorized by the copyright owner. We are making such material available in our efforts to preserve the film legacies of actress, Vilma Santos, and to make her career information available to future generations. We believe this is NOT an infringement of any such copyrighted materials as in accordance to the the fair dealing clauses of both the Canadian and U.S. Copyright legislation, both of which allows users to engage in certain activities relating to research, private study, criticism, review, or news reporting. We are making an exerted effort to mention the source of the material, along with the name of the author, performer, maker, or broadcaster for the dealing to be fair, again in accordance with the allowable clauses. - Wikipedia (READ MORE)

Vilma S. Meet the Real Sister Stella L.

Those who have seen "Sister Stella L." in its various previews and premieres nights are one the same in their opinion: it is indeed Vilma Santos' best screen portrayal in the history of her long moive career! Si Vilma mismo ay inamin sa amin ito: "It is a once-in-a-lifetime movie role na talagang puedeng ipagmalaki ng kahit na sinong artista. Ang tagal bago tuluyang naisapelikula at natapos ang "Sister Stella L." pero talagang mula nang ialok sa akin 'yan, hindi na naalis sa isip ko. Kung kani-kaninong producer na nga inalok 'yan. Like sa Viva noon na akala ko'y matutuloy na, pero hindi pa rin pala. Kaya't kahit anong pelikula ang ginagawa ko noon, at the back of my mind, talagang nakareserba pa rin ang "Sister Stella L." Itinatabi ko talaga ko 'yan. Parang dream role na lagi kong binabalik-balikan. At finally, nang gawin na namin sa Regal, nabuhos na talaga ang buong atensiyon ko, ang lahat ng panahon ko. Ang now, after hearing all the favorable comments about the movie, and siyempre about me and my performance too, talagang tumataba ang puso ko at maha-high ako.

First and foremost, talagang it's a great honor na makatrabaho ang isang direktor like Mike de Leon. Dati ko na siyang nirerespeto, pero after working with him and making "Stella L.", lalo pang tumaas ang pagtingin ko sa kanya, First rate talaga!" Vilma recognizes the fact that without Mike's help, she will not be able to give the right characterization that her role required. "Kaya paulit-ulit ko isyang tinatanong kung tama ang mga kilos ko bilang isang madre," aniya. "and maniniwala ka ba, I met the real Sister Stella L.!" Nakakataw niya pahayag. Nagulat kami. You mean, sabi namin sa kaya, this is really a true story? Na ang kuwento ng madreng naging aktibista sa pelikula ay talagang ibinatay sa totoong tao? Akala namin kasi ay fiction lamang ito. "From what I heard," sabi ni Vilma, "may kaibigan talagang madre si Mike na siyang naka-inspre sa kanya para gawin ang pelikulang ito. One day, dumating si Mike sa set na kasama niya. She is very pretty. Sa ganda, parang hindi madre." Akala mo raw ay isa itong socialite. Ayaw sanang ipasabi ni Vi ang tunay na pangalan nito, pero we personally feel na wala namang masama dahil dapat pa nga siyang purihin sa kanyang prinsipyo. Kaya ire-reveal namin sa inyo ang tunay niyang identity. Her name is Sister Consuelo Ledesma, anak ng pinagpipitaganang si Pura Kalaw Ledesma at pamangkin ng ating current censors chief na si Maria Kalaw Katigbag or MKK. Now, isn't that a very interesting sidelight of the movie? Ayon kay Vilma, tuwang-tuwa siya dahil naaprubahan ang pelikula nang walang anumang putol. "That means the censors now are broadminded enought to realize na wala namang talagang masama sa pelikula," aniya. "Noon pa man, sinasabi ko nang ang ipinakikita lang ng movie, 'yung totoong nangyayari, 'yung mga prinsipyo lang ng taop ngayon. Like 'yung mga strikes, manonood ka nga ng newscast sa TV, di ba makakapanood ka rin ng mga ganyan? Kaya I'm really very happy na it was passed without any cuts.

Kung pinutulan kasi, parang makukulangan na 'Yung pelikula." How does it feel when people keep on saying na siguradong mananalo na naman siya ng best actress award ss susunod na taon? "Naku, ha," natatawa niyan wika, "ang layu-layo pa noon. Siyempre pa I'm flattered, pero ayaw ko munang isipin 'yon. Ang tagal pa bago matapos ng 1984 at maraming-marami pang puedeng ibang mangyari. Malay natin kung marami pang ibang magagandang pelikula ang magawa featuring the equally good performaces ng ibang mga artista? Basta natutuwa ako't ngayon pa lang, may panlaban na ko. 'Yong lang." With her fine performances in "Adultery" and "Sister Stella L.", marami ngang movie insiders ang nagpapalagay that Vilma can easily rest on her laurels for this year. Sabi pa nila: "Maski huwag na siyang gumawa ng ibang pelikula at next year na uli siya magkaroon ng bagong release, okay lang.

For this year, talagang she has already proven herself." We Believe similarly, too, but Vilma is apparently not content with just two good movies this year kaya she is on her way to making a third one. She is currently doing "Alyas Baby Tsina" for Viva Films. This time, reunited siya with Famas best director Marilou Diaz Abaya. "It's a period movie, set in 1969-70 when unrest was at its peak," ani ni Vi. "We've started shooting pero ilang ulit ding na-delay dahil ulang nang ulan, e. Tapos, nagkasakit pa ako for three days." She will be completely deglamorized in the movie. Ang papel niya ay isang babaing naging puta at nabilanggo sa correctional kung kaya't nilagyan doon ito ng tattoo. In several scenes, wala siyang make-up at ipinakikitang naglilinis ng kubeta. Clearly, this is another challenging acting vehicles for Vilma. Kaya nga may katwiran talagang magreklamo yung mga ibang artistang babae natin. How come she is getting the best roles in the best projects? What did she do to deserve such a wonderful, enviable fate? Vilma dismisses all these with a simple shrug of her frail-looking shoulders. " I guess I'm just lucky," aniya. "Talagang Somebody up there loves me. Wala naman kasi akong atraso sa kanya eh." The bloom in Vilma these days is unminstakable. Talagang lalo siyang gumanda. And whatever joys and good fortune she is enjoying these days, we are sure she deserves all that bounty. - Mario Bautista MovieLIFE Magazine 1984

SISTER STELLA L (1984) (Repost)

"Ako ay kristyano, higit sa lahat ako ay tao. Kung nandito lamang si kristo sa ibabaw ng lupa alam kong kasama ko siya sa pakikipaglaban.” - Sister Stella Legaspi

Basic Information: Direction: Mike De Leon; Adapted screenplay: Jose Almojuela, Mike De Leon, Jose F. Lacaba; Original screenplay: Ricardo Lee;  Cast: Vilma Santos, Jay Ilagan, Gina Alajar, Laurice Guillen, Tony Santos Sr., Anita Linda, Liza Lorena, Ruben Rustia, Eddie Infante, Adul de Leon, Rody Vera, Pen Medina; Original Music: Ding Achacoso; Cinematography: Rody Lacap; Editing: Jess Navarro; Production Design: Cesar Hernando; Sound: Ramon Reyes; Soundtracks: Pat Castillo, "Sangandaan", "Aling Pag-ibig Pa?"

Plot Description: Sister Stella L is the award-winning masterpiece by Mike de Leon. Its about a nun, Sister Stella Legaspi (played by Vilma Santos), who becomes involved in labor strikes after learning about the governments neglect of the poor and the working class. Her sworn duty to fight for the poor and the oppressed turns personal when her journalist friend Nick Fajardo (played by Jay Ilagan) is tortured and the union leader Dencio (played by Tony Santos) is kidnapped and killed. What follows is her eye-opening and tear-jerking battle against cruelty and injustice. This film is one of the most memorable roles for Vilma Santos. She is excellent in her portrayal of the resilient nun. - Regal Films (READ MORE)

A nun who acts as a counselor in a home for unwed mother undergoes political awakening when her friend and namesake belonging to the same congregation as hers inspires her to get involved in the struggle for justice and freedom of striking workers in a cooking oil company. - Database of Philippine Movies

Sister Stella L. is the award-winning masterpiece by Mike De Leon. It's about a nun, Sister Stella Legaspi, who becomes involved in labor strikes after learning about the government's neglect of the poor and the working class. Her sworn duty to fight for the poor and the oppressed turns personal when her journalist friend Nick Fajardo is tortured and the union leader Dencio is kidnapped and killed. What follows is her eye-opening and the tear-jerking battle against cruelty and injustice. The film broke censorship barriers back in 1984, during the final years of the US-backed Marcos dictatorship, for its realistic portrayal of labor struggles, and extrajudicial killings, hauntingly mirroring the reality of Philippine society today under Gloria Macapagal-Arroyo. - Filipinas for the Rights and Empowerment

"...The peaceful life of a young nun is transformed when she becomes involved in helping the cause of a group of factory workers in a nearby town. She asks to be transferred to the town where she dedicates herself to working against unjust labour practices in the factory..." - British Film Institute (READ MORE)

Film Achievements: Philippines’ entry to 1985 Venice International Film Festival; FAMAS Best Supporting Actor - Tony Santos Sr.; Star Awards Movie of the Year - Regal Films; Film Academy of the Philippines: Best Picture - Regal Films, Best Director - Mike De Leon; Gawad Urian: Best Picture - Regal Films, Best Actress - Vilma Santos, Best Actor - Jay Ilagan, Best Direction - Mike De Leon, Best Editing - Jess Navarro, Best Music - Ding Achacoso, Best Screenplay - Jose F. Lacaba, Jose Almojuela, Mike De Leon, Best Sound - Ramon Reyes, Best Supporting Actor - Tony Santos Sr., Best Supporting Actress - Laurice Guillen

Other Film Achievements FAMAS Best Actress nomination - Vilma Santos; Film Academy of the Philippines Best Actress nomination - Vilma Santos; Gawad Urian: Best Cinematography nomination - Rody Lacap, Best Production Design nomination - Cesar Hernando, Best Supporting Actress nomination - Gina Alajar, Best Supporting Actress nomination - Liza Lorena; Sister Stella L. was one of 25 Filipino films shown in New York from July 31 to August 1999, organized by the Film Society of Lincoln Center.

Film Reviews: "...Kung ang Pelikulang Karnal (1983) ay nagpapakita ng anti-feminist, kabaliktaran naman ito ng Pelikulang Sister Stella L. Sa pelikulang ito, matatapang ang mga kababaihan gaya nina Soledad, Aling Auring, Sister Stella B. At Sister Stella L. Sa pagsusuring ito, gusto kong bigyang atensyon ang katauhan ni Sister Stella L. Bagkus, bingyang pansin din sa pelikula ang pagwewelga ng mga manggagawa. Sa puntong ito, ayoko na ng maraming diskusyon sa mga manggawa. Wala namang pinagbago. Mula noon hanggang ngayon, pareho pa rin naman ang sistema. Natural na lang siguro ang pagwewelga lalo pa’t may gusto ka talagang ipaglaban at makamit ang ipinaglalaban mong iyon...Sa aking pagsusuri, nakita ko ang katapangan ni Sister Stella L sa pelikula na syang naging instrumento ng mga welgista upang mas lumaban pa. Nakita ko rin dito ang pabago-bagong desisyon ni Sister Stella L. Siguro ganon nga talaga ang mga babae, pabago-bago ng iniisip. Gayunpaman, napaisip ako. Dapat ba kung ano lang ang katayuan mo sa buhay hanggang dun ka na lang? Parang si Sister Stella L. Kung isang madre ka, dapat ba nasa simbahan ka lang? Hindi ba pwedeng tumulong sa iba pang nangangailangan?. Subalit, dito naman nagkaroon ng mali si Sister Stella L., ang pumasok sa isang sitwasyon na hindi nya pa lubos na alam. Wala namang mali sa pagtulong at lalong walang mali sa pakikipaglaban sa kung anong alam nating tama, siguro dapat suriin at unawain muna nating mabuti ang sitwasyon sapagkat sabi nga ni Ka Dencio, “Kung hindi tayo kikilos, sino ang kikilos? Kung hindi ngayon, kelan pa?..." - Elay Co, elayco20.wordpress.com, 15 September 2014 (READ)

Hindi kami nakakilos sa aming inuupuan matapos panoorin ang “Sister Stella L”. Para kaming sinampal, tinamaan ng kidlat right between the eyes. Masyado kaming naapektuhan. Gusto naming sumigaw. Talagang gagalitin ka ng pelikula. Kay raming eksena ang talagang titiim ang bagang mo. Manggigigil ka, magngingitngit ka. At pahahangain ka. Gusto mong sigawan ng bravo, yakapin at suubin ng papuri ang mga gumawa nito. Si Mike de Leon na siyang direktor. Si Lily Monteverde na naglakas loob na I-produce ito. Ang scripwriters, ang mga artista, at lahat na ng kaugnay sa pelikula. Alam mong itinataya nila ang kanilang kaligtasan sa paggawa ng ganitong uri ng pelikula. At bilang manunulat, naroon ang hangarin mo upang tulungan ang pelikulang ito na mapanood ng lalong nakararaming mga pilipino nang walang putol! Ang “Sister Stella L” ay kasaysayan ng isang madre, ng isang Pilipino, at ang pagkakamulat ng kanyang mga mata sa mga kaapihang sosyal na nagaganap sa kanyang paligid. Sa pagsisimula ng istorya as siyam na taon nang naglilingkod sa kumbento ng Caritas si Sister Stella Legaspi (Vilma Santos).

Incroci - "...With the assassination of #NinoyAquino the following year, De Leon conceived of a more critical movie about the Philippines under the dictatorship. He got José “Pete” Lacaba to write the script with José Almohuela about the growing activism of religious sisters on the union front. And since Regal Films boss Lily Monteverde was looking for another project to cash in on the box-office magic of Vilma Santos, the proper financing and casting were obtained. The result was the classic “Sister Stella L,” released in 1984. Among many superlatives of the historic movie was its original sound track that included two key songs written by Lacaba and musical director Ding Achacoso, “Aling Pag-ibig Pa?” and “Sangandaan,” which means “crossroads.” When the movie was accepted to the main competition of Venice in 1985, its title was changed to "Incroci," Italian for "crossroads..." - Lito B. Zulueta, Philippine Daily Inquirer, 18 September 2017 (READ MORE)

On Martial Law - "...What I remember the most are the human rights abuses. In my line of work, I needed a curfew pass because shootings would often wrap up late at night. Martial law was no joke! When I did Mike de Leon’s “Sister Stella L.” in 1984, I didn’t know much about our society. But when I became a public servant, nakita ko na ang realidad ng buhay! Panoorin po ninyo ang movie at malalaman ninyo na ang problema noon sa lipunan ay siya pa ring problema at sitwasyon natin sa ngayon..." - Hon. Rep. Vilma Santos-Recto, Reported by Bayani San Diego Jr., Philippine Daily Inquirer, 20 September 2017 (READ MORE)

Relevant Films for Millenials - "...For the millennial generation who want to learn more about the relevant films during the martial law period, I would highly recommend the book Re-viewing Filipino Cinema by Bienvenido Lumbera, National Artist for Literature. I have not seen all the films during and about martial law. But, I remember those that I would highly recommend...Sister Stella L. was produced in 1984 when martial law was being publicly challenged on the streets of Metro Manila and all over the Philippines. I remember that when I watched it, I was surprised that Vilma Santos had accepted the role. She was then considered as the most glamorous star of Philippine cinema, and her role in Sister Stella L. was so different from her usual movie roles. Sister Stella Legaspi is a pacifist religious who is challenged by an older colleague and a concerned journalist to respond to the injustice being perpetrated on a group of factory workers. She leaves the convent to help the workers and to preach the teachings of Christ. She joins the workers in their picket line when they go on strike; and, she begins to identify with them. Then the workers’ leader is abducted, tortured and killed by para-military agents. Sister Stell L. and the journalist rally the workers and resolve to carry on the fight...There is no question that in today’s digital world, people – students, laborers, rich, poor – prefer film to reading books. Film has become the most powerful means of recreation; but, they can also be a means for education. Film may be the best medium to teach millennials and future generations about the true and unrevised version of Philippine history..." - Elfren S. Cruz, The Philippine Star, 24 September 2017 (READ MORE)

Guidance counselor siya sa mga taong may problema na tulad ni Gigi (Gina Alajar), isang unwed mother. Minsa’y dinalaw siya ni Nick Fajardo (Jay Ilagan), isang peryodistang dati niyang katipan. May sinusulat itong artikulo tungkol sa mga aktibistang pari at madre. Agad inamin ni Stella na siya’y “walang masyadong alam sa socio-political involvement ng mga madre at pari.” Siya ang ginawang ehemplo ni Nick sa artikulo nito ng mga madreng kulang sa kamulatan. Nag-react dito si Stella at sinabi sa kanya: “ Hindi ba involvement din ang trabaho ko rito sa Caritas?” Madalas ma-depress si Gigi at kay Stella ito sumasandal. Nang minsang sabihin sa kanya ni Stella na kaya niyang dalhin ang kanyang mga problema ay sinumbatan siya nito: “Madaling magsalita. Hindi naman ikaw ang nahihirapan. Paano mo alam, hindi ka naman dumaan sa hirap? Nagbuntis ka na ba? Laging masakit ang suso mo. Nahihirapan kang tumae.” At nang patuloy pa ring malamig si Stella ay sinabi nito: “Bakit hindi ka gumaya sa ‘kin? Nagagalit, nagmumura, nagpapabuntis?”

May kaibigang madre si Stella, si Sister Stella Bautista (Laurice Guillen). Involved ito sa social action work at kasalukuyang tumutulong sa Barrio Agoho, isang factory town, na kung saan ang mga manggagawa sa Republic Cooking Oil ay nagbabantang mag-aklas. Naakit si Stella L. na tingnan ang uri ng trabaho roon ni Stella B. Sa araw ng kanyang pagdalaw sa Agoho ay tiyempo namang pagsisimula ng welga roon. Tuwang-tuwa si Stella B. Sumasama raw siya sa picket line dahil “pag may mga madre at pari sa picket line, nahihiyang pumasok ang mga eskirol.” Sa paglapit niya sa picket ay naabutan si Stella L. ng placard at siya man ay napabilang na rin sa welga. Puno pa siya ng mga katanungan: “Ano ba ‘tong napasukan ko? Anong gagawin ko?” Sabi naman ni Stella B.: “Basta gawin mo lang ang gagawin ko.” Sa paglipas ng oras ay nakausap niya ang mga manggagawang nagwewelga, nakitulong siya sa pagsandok ng kanin, sa paghugas ng plato. Nakilala niya ang lider ng mga welgista na si Dencio (Tony Santos) at ang asawa nitong si Auring (Anita Linda).

Nang makita ni Nick ang mga larawang kuha sa welga at kabilang doon si Stella, nasabi nito sa kanyang editor (Liza Lorena): “Kilala ko si Stella. Madali siyang maimpluwensiyahan. Baka kung ano na ang napulot noon sa tokayo niyang radikal.” Nagsimula namang kuwestiyunin ni Stella ang trabaho niya sa Caritas. Binalaan siya ng kanyang superyorang si Juaning (Adul de Leon): “Hindi social action ang linya natin. At tandaan mo ang sabi ng Papa: huwag tayong humalo sa politika.” Sa kanyang mga alinlangan kung tama ang pasiya niyang maglingkod sa Agoho, ito ang payo ni Stella B.: “Paano mo malalaman kung hindi mo susubukan? Hindi ang mga tao ang dapat makinig sa ‘yo, ikaw ang dapat makinig sa kanila.” Dahil sa kanyang karanasan sa Agoho, nasabi ni Stella kay Gigi: “Ang kahirapang nababasa’t naririnig ko lamang ay naging buhay na sa akin. Ako pala’y nangangapa ring tulad mo.” Namulat ang mata niya sa “pang-aabuso sa mga naaapi” at na-touch siya ng “pag-aasikaso ng mga ito.” Aniya: “Sila na ang nangangailangan ay kami pa ang kanilang iniintindi.”

Duda pa rin si Nick sa involvement niya sa welga. Pasulpot-sulpot lang daw siya roon, patulong-tulong. “Kapag nagsawa ka,” anito, “uuwi ka rin sa komportableng kumbento.” Si Stella B. ay kinailangan namang magpunta sa Davao upang tumulong sa isa pa nilang kasamahan doon, lalong nangamba si Stella L. na iiwanan siya nito sa Agoho. “Baka hindi ko kaya,” aniya. Sabi naman ni Stella B. “Puro ka baka, e, kailan mo pa malalaman?” Pinatawag uli si Stella ni Juaning. Sabi nito: “Hindi payag ang kongregasyon sa trabaho mo sa Barrio Agoho.” Sa pagbabalik niya sa Caritas, nagpatiwakal naman si Gigi. Lalong naguluhan si Stella. “Parang bumaliktad ang mundo ko,” aniya. “Marami akong tinatanong. Bakit nga ba ako nag madre?” Sabi naman ni Stella B.: “Madreng lansangan ka pa rin hanggang mamatay ka.” Natuloy ang pag-alis nito, na ang akala’y pinoproblema niya na baka may pagtingin pa rin siya kay Nick. Bilin pa nito: “Kung mahal mo siya, sundin mong feeling mo. Marami namang paraan ngpaglilingkod sa Diyos.” Si Nick ay nagkaroon din ng problema sa trabaho niya. Isang artikulo niya tungkol sa karanasan ni Stella B. sa Isabela na pinamagatan niyang “A Nun’s Story: Military Atrocities” ang hindi pinalathala ng kanilang publisher. “I-rewrite mo,” sabi ng editor niya. “Bawasan mo’ng tapang.” “Ano?” balik niya. “Gawin kong love story?” “Sabi ko, i-rewrite mo, hindi babuyin,” anang editor. Pero sa bandang huli ay nag-give up na rin ito. Tanggapin na raw lamang ang kanilang mga limitasyon. “Hindi lahat ng legal ay makatarungan.” Nagbitiw si Nick sa trabaho niya sa Tribune at lumipat ng pagsusulat sa Malaya.

Nagbalik si Stella L. sa Agoho at naging mas aktibo na siya sa picket line. Nang minsang lalabas ang trak ng mga produkto mula sa pabrika ay siya pa ang nag wika: “Mga kasama, magkapit-bisig tayo.” Samantala’y nagsimula ang pangha-harass kay Dencio at sa pamilya nito. Una’y ginulpi ang anak niyang si Roger, pagkatapos ay binaril ang bahay nila. Ang huli’y kinidnap si Dencio. Nang papaalis na sina Stella at Nick upang humingi ng tulong, sila man ay kinidnap din. Nakita nila ang pagpapahirap kay Dencio. Sila man ay sinaktan din at si Stella ay binastos pa ng mga sanggano. Pinakawalan din sila. Di naglaon, ibinalik si Dencio. Patay na. Sa harap ng mga manggagawa, ipinahayag ng asawa nitong si Auring na tuloy ang welga. Nagsalita rin si Stella at sinabi niya: “Ilang beses akong pinaalalahanan na ako’y isang madre lamang. Pero una sa lahat, ako’y isang tao, ako’y isang Kristiyano.” At isinigaw niya: “Katarungan para kay Ka Dencio. Mabuhay ang uring manggagawa.” Sa last scene ng pelikula’y nagsasalita ng diretso si Stella L. sa mga manonood: “Marami pa akong hindi alam at dapat malaman tungkol sa kasalukuyang kalagayan ng ating sistema ng lipunan. Kailangan pa ‘kong patuloy na mag-aral at matuto. Pero ang mahalaga’y narito na ako ngayon, hindi na nanonood lamang. Nakikiisa sa pagdurusa ng mga di makaimik, tumutulong sa abot ng aking makakaya. Kung hindi tayo ang kikilos, sino ang kikilos? Kung hindi ngayon, kailan pa?”

More than anything else, ipinakita ni Mike de Leon bilang isang socially committed at responsible na director ang iba pang posibilidad ng pelikula bilang art at bilang medium of communication. ‘Yung mga laging pumipintas sa pelikulang lokal at nagsasabing walang kuwenta’t saysay ang mga ito, panoorin ninyo and “Sister Stella L” for it is Filipino moviemaking at its best: aware, concerned, and with a universally relevant message. It also shows that an artistic film can be entertaining and as a matter of fact, is necessarily intellectually entertaining (but an entertaining film is not necessarily an artistic one). The movie succeeds in delivering its message because all the elements that went into its completion are excellently executed. It is that rare kind of movie which has no false moves. The screenplay is brilliantly developed and constructed by Pete Lacaba, Jose Almojuela (who is also the assistant director), and Mike de Leon himself. The cinematography of Rody Lacap deserves nothing but superlatives and the musical score by Ding Achacoso is served in a silver platter (napakagaganda ng mga awiting “Sangandaan” at “Aling Pag-ibig Pa” na nilikha niya para sa pelikula). The editing by Jess Navarro and the production design by Cesar Hernando also deserve the highest commendation. We cannot help but gush dahil lahat ng aspeto ng produksiyong ito ay maganda.

The movie is sure to elicit all sorts of reactions from various quarters. The bigoted and the narrow-minded will no doubt readily brand it as the work of communists and subversives. The involved will merely find it interesting. But the enlightened will declare it as a socially committed work of art. No doubt that some concerned quarters will be offended. Some of the speeches are so frank and fearless. Dencio says in a May 1st rally: “Ang mga manggagawa ang lumilikha ng yaman ng bansa. Panahon na para ipakita ang lakas ng ating pagkakaisa, na makamtan ng bayan ang tunay na kalayaan. Ang manggagawa ang nagpapaandar ng makina, nagpapalago ng puhunan.” Pero ano ang nangyayari? Tayo ang namamatay sa gutom, ang naghihikahos. Hindi magbabago ang ating lipunan kung uupo lang tayo sa isang sulok at maghihimutok. kundi tayo ngayon kikilos, kailan pa?” Nang mamatay siya, sabi naman ng asawa niyang si Auring: “Noon, ang paniwala ko talaga, gano’n ang buhay, may nasa itaas, may nasa ibaba. May nag-uutos at may nagsisilbi. Pero kung tatahimik ka na lang lagi, ang konting meron ka, aagawin pa sa ‘yo. Patay na nga si Dencio pero tuloy ang welga.” Sabi naman ng anak niyang si Roger: “Kung kikilos tayo, dapat ngayon na. Ngayon pa lang, pinapatay na kami. Kaya mas mabuti pang mamatay ng lumalaban kaysa habang buhay kang nagtitiis.”

To make a film like this comes under the heading “they said it couldn’t be done.” Mike de Leon does it, splendidly. In these days when local film faces such problems as exorbitant production cost, commercialism, lack of an intelligent and responsive audience, and censorship, it is heartening to note that movies like this are still being made. Matthew Arnold said that art and society shape each other so artists should deal with serious subjects of moral and social value. This is exactly what Stella L. accomplished, for it allows the viewer to meditate on life and help him gain some insights. Surely no film is an island entire of itself because each movie is made by several men, but the distinguishable personality of an exceptional director is almost always imprinted on his film. We have never really liked the works of Mike de Leon that much and his movies (like “Itim”, “Kung Mangarap Ka’t Magising”, and “Kisapmata”) seemed nothing more to us as exercises in self-indulgence. Starting with “Kakaba-kaba Ka Ba?” though, he demonstrated a newfound cause in making movies, which is further reinforced by “Batch ‘81”. Now, Stella L., offers the pleasure of watching a director as he is hitting full stride, his craft and competence marching in step with history. His deft hand is quickly evident in the cinematography. There is no imposed prettiness in the photography, no straining for arty effects, but the texture is rich and palpable to validate reality, with the effective use of color-acting on the viewer to reinforce the temper and tenor of the story.

De Leon handles his intimate and delicate material powerfully, persuasively and penetratingly. He not only executes the technical aspects marvelously but also knows how to work with his actors, both individually and in the here all-important ensembles. The crowd scenes are a delight, with some sequences presented with the veristic quality of a documentary, and each scene is played for maximum impact, immaculately crafted and made with care and conscience, with dedication and devotion. If we now sound so much like an avid de Leon fan, it is because Stella L. is the kind of work that makes a reviewer long for new adjectives of praise. One knows very well that de Leon works for reasons other than money. This makes the strength, sensitivity and symetry of his direction deserve the highest praise and the sweet of music of thunderous applause for it is just better than perfect. Local cinema gives us very few occasions to rejoice and this is one of them. In the large and uniformly excellent supporting cast, Laurice Guillen stands out as Sister Stella B. She is one film director and actress who is really ablaze with talent. As the instrument to Stella L.’s involvement in a much more worthy cause, she imbuesher role with just the right mixture of intensity and charm. Equally memorable are Tony Santos as the beleaguered labor leader, Anita Linda as his courageous wife, and Liza Lorena as the sympathetic magazine editor who is willing to compromise. Gina Alajar is very effective in a very short role as the unwed mother. In the male lead role, Jay Ilagan proves once more that he is indeed one of our most competent young actors available.

And now, Vilma Santos. Playing the title role, Vilma tries a part that is totally different from her past roles and proves that she has indeed become a highly skilled professional. Her role is somewhat reminiscent of Audrey Hepburn’s in Fred Zinnermann’s “The Nun’s Story”, where a young nun discovers in a hospital at the Congo that she is first a nurse and only second a religious. But Stella’s awakening is much more vital and revolutionary than that of Sister Luke in the Hepburn movie. Vilma’s transformation from an innocent bystander to that of an active participant who is audacious enough to be in the thick of battle is truly quite awesome to behold. We could almost see and feel the internal changes in her. In a sense, the role is somewhat tailor made for her because her beauty is appropriate to the part of Stella L., but she also succeeds in transcending her established personality, delivering her lines and gestures with vigorous conviction and playing it to perfection that one can safely predict that she will again be running in the best actress derby come next year. And so, to Vi, Mike and Mother Lily, our heartfelt gratitude for giving us a film that has the power to cause insomnia. - Mario E. Bautista

Must the ability to entertain the audience be the constant guiding criteria in the film and in the performing arts? While certainly, one does not minimize the importance of the entertainment function of the arts, the film Sister Stella L shows that it is not much the ability to entertain that is crucial as the ability to stir and maintain interest. For, as in this film, one cannot really say that the audience is entertained, regaled with spectacular sights, provided a pleasant diversion or titillated by teasing or amusing scenes, but the audience is invited, through the skills of the performers and director, to engage in immediate issues which concern us today. This film thus poses a challenge to our usual notions and expectations of Philippine cinema, as it is not a romantic or domestic drama, a comedy or an action film. The fact that such a film as this appears at this point implies a belief in the development and maturity of the local audience who can, at least from the responses of previewers so far, be receptive to harder stuff.

Sister Stella L deals with the contemporary social issues through the experience of various characters, among them Sister Stella L (Vilma Santos) and Nick, her former boyfriend now a journalist (Jay Ilagan), Sister Stella B (Laurice Guillen), the union leader Ka Dencio (Tony Santos) and his wife (Anita Linda). Again, the film differs from most productions nowadays in its immersion in contemporary social reality. The characters, too, possess a strong active aspect of people engaged in a meaningful cause, the people’s struggle for social justice. The nun that Sister Stella B portrays typifies in her strength and honesty the person who has gone beyond purely personal and selfish concerns to embrace the larger role of service to the people. No doubt, it is a refreshing and exhilarating experience to see characters who realize themselves fully as human beings by transcending petty selfish interest and giving of themselves to people in need of support and protection. Because of this, the spirit of the film is highly optimistic and reassuring because it makes us strongly aware of the forces in our midst working for change and of the fact that history is moving forward with these forces assuming the active role.

The central issue of the film has to do with the involvement of religious like Sister Stella L and her senior, Sister Stella B, in socio-political affairs. We know, for instance, that one point of view will have priests and religious secluded behind convent walls where their activity is restricted to praying. They are to have nothing to do with life around them as social and political concerns are thought to corrupt their purity and bring in wordly moral dangers and temptations. Or that priests and religious should remain apolitical, not taking sides in socio-political issues, but as men of God, considering all men as brothers who will, in the end, become docile and receptive to preachings of love and unity. The other point of view believes that it is not as simplistic as all that. In fact, it believes that the adoption of a neutral attitude can only serve to dull one’s moral sensibilities and because one shirks from making moral choices, one also renouces one’s responsibility as a human being. In truth, it is of utmost importance, perhaps particularly so for religious, to have a fine and acute sense of moral discernment as applied to social relations, in which the idea of truth and justice operate. The religious who makes grand sermons on love and unity may not himself understand the meaning of truth and justice, because love and unity do not exist in the abstract but are social ideals possible of attainment - only and only when exploitative relationships are destroyed. Otherwise, one contents oneself with hypocrisies.

What for instance, would be the love of the rich factory owner intent on profits for the worker, and vise versa. Workers’ wages are only to keep workers alive and in a measure of health for him to have enough strength to operate the machines of work in the fields. Is it enough for factory owner and worker to meet in church and perhaps occupy the same pew - or will religious feel sufficiently edified at the sight? But priests and nuns are citizens of this country as much as any of us and are thus part of the body politic in which they have the right to take active part. Likewise, they are as human as anyone else, and as human beings, they have the drive toward concreteness and totality realized only in social interaction. The Church, too, cannot afford to take a position of alienation and withdrawal, because by doing so it will only continually lose its influence in a time of urgent and pressing realities; otherwise, it will only end up as an outmoded medieval institution. The Church is continually called upon to make moral decisions, and it is through these that the people will know whether it truly supports their cause or whether it only acts as a liaison for exploitative interests.

In the film, for instance, there is a conflict between Sister Stella L and her superior who wants her to stay in the convent to act as guidance counsellor and not to engage in labor activities in Barrio Agoho where a strike in an oil factory is taking place. For a while, she obeys her superior to be spiritual adviser to an unwed mother, portrayed by Gina Alajar, who, however, throws her back the question of what does she know at all, as a nun, of human suffering. The task of counselling this individual soul lost in her private hell is fruitless and Gina eventually commits suicide, which serves to show the nun the narrow limitation of such a task. Sister Stella L henceforth knows that she must make the choice of the larger and more challenging field of the workers in struggle. It is also important to note that Sister Stella B tells her fellow nun that although her immediate superior may not approve of her social participation, it is possible that higher superiors will - thus showing that such is still possible within the fold of the congregation. Also, at one time, there arises the question of whether Sister Stella L will stick it out as a religious or continue her activities outside the convent. Upon consultation with her friend, Sister Stella B, she decides to carry on the struggle as a nun, and by so doing, show the importance of such a function for her fellow religious, as well as its validity as a position within the religious orders.

The central event in the film is the strike of workers in an oil factory in Barrio Agoho where nuns show their support for the workers by participating in the picket, thereby lending valuable protection. The factory owner (Ruben Rustia) sends goons to harass the picket line, and makes use of the military, which readily lends itself to protect the minority interests of wealthy property owners against the majority interests of the workers. When the strike continues despite inclement weather and hunger, the factory owner resorts to kidnapping the union leader, Sister Stella L, and her journalist friend. All are maltreated and tortured, but the old union leader is finally “salvaged” and thrown into a dump. In the confrontation between the factory owner and Sister Stella L, the former shows himself to be hostile to the workers and to the participation of the nuns: “Kung pati ang mga madre ay nagpapagamit sa mga Komunista, mabuti pang magbago na lang ako ng relihiyon.” To which the nun answers: “Mabuti na ngang magbago kayo ng relihiyon upang hindi parehong Diyos ang sambahin natin.” The murder of the union leader, Ka Dencio, only lends more fuel to the workers’ resolve to continue the strike, which is now led by his wife, with the militant participation of Sister Stella L. The latter’s exhortation to the workers - and by extension to the audience - to engage in the struggle ends the film.

A secondary theme is the issue of press freedom, which is explored, in the first-hand experience of Nick, the young journalist. He writes a series on the politicization of the religious and their active participation in mass actions. In the beginning, his motivations are somewhat confused - and this his editor points out clearly to him - because he may be using this as an excuse to follow and communicate with Sister Stella L, who used to be his girlfriend. The journalist, however, understands the futility of the religious confining themselves within convent walls and poses the challenge for involvement. Sister Stella L takes up the challenge - in fact, the journalist’s articles contribute to her politicization. When she gets more and more involved, he becomes protective and anxious for her safety. His articles on the subject barely squeeze through censorship and he experiences increasing difficulty in getting published. Sister Stella L and he are kidnapped by goons and they are physically assaulted even as they witness the torture of the union leader. Instead of intimidating them, the experience completes their politicization and in the end Sister Stella, militant and committed, finds her true social role.

Because this movie deals with issues, it has more than the usual amount of dialogue compared with other films. This, however, does not work against it. Since what is talked about is drawn from the very stuff of social reality and thus concerns a large number, it is able to sustain interest. Too much dialogue would be a defect if it dwelt on banalities or inanities or if it narrated incidents rather than portrayed them. In this case, dialogue is necessary for the exploration of issues, as well as for the portrayal of how the characters reckon with ideas and develop in their social consciousness. The audience is not bored provided the things talked about in the film have a bearing on their lives. Filipinos, after all, are a talky lot (think of the large amounts of time spent in coffee shops over coffee or beer). Moreover, these are talky times, because the larger public is rapidly developing critical awareness, and there is now a greater need for interaction and exchange in the interest of survival. There are references in the film which may, at first, seem extraneous, such as Sister Stella B’s mission to Davao where she joins a fact-finding group.

However, such references serve to extend the “area of responsibility,” if we may borrow the expression, from Manila to the far-flung provinces. Thus, the unity of the film is not only in the events that engage the characters in Manila but also in a larger over-all spirit of solidarity in which vibrations of sympathy throughout the islands give strength and comfort to those of a common cause. For a heart-warming film, the entire cast deserves congratulations, particularly Vilma Santos who reveals another aspect of her multi-faceted talent. From her usual soft and sweet romantic roles, she can be transformed into a strong and militant woman without losing any of her charm and beauty. Jay Ilagan, Tony Santos, Anita Linda and Liza Lorena are also in their best form. Mike de Leon as director, Jose F. Lacaba as scriptwriter are likewise to be congratulated for making a truly human film and for contributing to the cause of workers for justice and of the religious for the recognition of their social role. Not to be overlooked is the producer Lily Monteverde of Regal Films who has this time shifted from puerile erotic dramas to make a courageous film for which she will always be well remembered. - Alice G. Guillermo, Who Magazine, 30 May 1984

There would have been two important Filipino films in this year’s prestigious Cannes Film Festival: Sister Stella L., directed by Mike de Leon and Kapit sa Patalim, directed by Lino Brocka. Both smuggled out to France and both vitally political in thrust, the two films were reportedly disowned by the Philippine embassy in France. Supposedly under instructions from the Philippine goverment, the embassy sent the following disclaimer to the festival directorate: “There are no Filipino films in the Cannes Film Festival.” The two films nevertheless made it to the festival site, though only one was screened as scheduled. Brocka’s film was in the category “In Competition,” and was tested against the works of such eminent directors as Werner Herzog, Wim Wenders, and Satyajit Ray. Early on, Kapit sa Patalim (which acquired a second title, Bayan Ko, in deference to another film project which had been approved before Brocka’s project) was rumored to be a strong contender for the Best Film award. Critic Bertrand Tavernier was quoted as saying, “It’s a toss-up between Wim Wenders’ Paris Texas and Brockas’s Bayan Ko.” De Leon’s film was to have had special screenings, on the unanimous request of the Cannes’ board of critics. Sister Stella L., however, suffered from the rush of subtitling work that descended upon Cannes’ select group of translators and De Leon opted not to show the film without subtitles. He nevertheless had the distinct honor of holding a retrospective under the sponsorship of the French Cinematheque right after the festival. The film eventually competed at the Venice Film Festival. Under its original title Sangandaan (Crossroads), Sister Stella L. was invited to the Venice Film Festival in 1984, the second Filipino film (after Genghis Khan in 1951) to be honored with such recognition. - Agustin L. Sotto and Pet Cleto, Philippine Panorama - 02 December 1984

"...Enigmatic director Mike de Leon has always been known as a risk taker. He pushed for 'Itim' as title of his debut film. The film might have ended a flop at the Metro Manila Film Festival but it is still a stunning first film. He also questioned martial law rule in Batch ’81. It was no surprise then that he would pursue a more political film after the assassination of Ninoy Aquino. But, the stars must be aligned too. The murder of Ninoy led to mass protests and a more relaxed censorship atmosphere. Mother Lily bravely took the option of producing Sister Stella L. Meanwhile, Vilma Santos was tired of portraying liberated women. She fought for the role of an activist nun. She begged Mother Lily to give her the role. The original script by Pete Lacaba was voluminous. He excused himself with the pruning of the script because he was then working on Bayan Ko: Kapit sa Patalim. De Leon and Jose Almojuela did the job of shortening the script. Ellen Ongkeko added some dialogues. Lacaba noted during the 2008 Active Vista Film Festival that de Leon found the Vilma film dated. The reclusive director preferred the showing of the magnificent documentary film Signos in lieu of Sister Stella L. While the former may have more bite, the Vilma starrer is still a highly relevant film and a true classic..." - 1505 Film Avenue (READ MORE)

"...But 25 years later, Vilma's film is still the talk of the town and is rightly recognized as one of the best Filipino films of the 20th century. Roland Tolentino enumerated the three major reasons why the film is a gem of Philippine cinema. He noted the excellent acting by Vilma and the rest of the cast. Laurice Guillen remarked that she had to let go of her stage mannerisms in order to properly portray a nun. It remains a milestone in her acting career. A somewhat embarrassed Vilma admitted that she was clueless on the film’s message during the course of the shooting. Tolentino also highlighted the social realism of the film. Labor problems, persecution of media, and harassment of nuns were effectively portrayed in the film. A forum listener, Sister Rosario Battung, confirmed that her colleagues were stalked by military men during the Marcos regime. They were being harassed by the police and soldiers. A Kilusang Mayo Uno member said the film was always one of the films viewed at picket lines. Pete Lacaba butted in to say that hopefully the DVD copy was an original one. He also noted that media persecution got worse during the administration of President Gloria Macapagal Arroyo. Radio commentators and print journalists were being killed..." - Film Angel (READ MORE)

"...In the 70s, a period characterized by the emergence of a new breed of filmmakers, we witnessed the renascence of a new Philippine cinema. Through their ouevre, there were conscious attempts to examine signigficant Filipino experience. These films, imbued with the sensibility, of their creators, form part of our film legacy. These films, chosen by the critics as the best films of the decade, are Ishmael Bernal's Nunal sa Tubig and Pagdating sa Dulo, Lino Brocka's Maynila...Sa Mga Kuko ng Liwanag, Insiang and Jaguar, Mike de Leon's Itim, and Eddie Romero's Ganito Kami Noon, Paano Kayo Ngayon? As we journey toward the end of a new decade, the list of the best Filipino films will become longer and will have to include those made by these directors and a number of new ones, too. To this list, I would include Bernal's Manila by Night, Mike de Leon's Sister Stella L., Pegue Gallaga's Oro, Plata, Mata, and Laurice Guillen's Salome. These are the films I would proudly and justifiably call Filipino - films that are as much a source of genuine pleasure as a cause of great expectations in the future of Philippine cinema." - Justino Dormiendo, Manila Standard, Apr 7, 1987 (READ MORE)

Justice to Ka Dencio, Kuala - "...Filipino activists gave justice to slain labor leader Ka Dencio (played by the late Tony Santos Sr.), one of the main characters in the movie Sister Stella L produced by Regal Films and directed by Mike de Leon. It was the fourth best film among our activist respondents, citing Lily Monteverde's film 13 times. The film about an activist nun played by Vilma Santos was shown in 1984, two years before the first Edsa uprising. It was inspired by the people's fight against the US-backed Marcos dictatorship with the labor front as its political backdrop in denouncing the fascist rule. Amy Dural of the Promotion of Church for People's Response (PCPR) says Sister Stella L should be cited for its clear depiction of the struggle of workers against the exploiting capitalist class and the Church peoples' involvement in this fight for class emancipation. "I gave this film a two-thumbs up for its courageous stand on the issue of labor, state fascism and its rallying call for Church people to absorb the workers' fight for a just and humane society in flesh and in spirit," says Dural. Brocka's Tinimbang Ka Ngunit Kulang tied with Sister Stella L in the fourth spot. "If Ka Dencio was given justice, the same was done to Kuala played superbly by seasoned actress Lolita Rodriguez who was abandoned by a rich playboy acted by Eddie Garcia," says a former UP student and now staff of the peasant group Kilusang Magbubukid ng Pilipinas (KMP)..." - Gerry Albert-Corpuz, Bulatlat (READ MORE)

The Ten Best Filipino Films of the Decade - "...The films which appear in this list were selected because the filmmakers who created them have chosen to break popular conventions, when the industry decrees otherwise. They have courageously attempted to treat Philippine cinema not only as an art form but also as a vehicle for hard-core social criticism. They have done this despite the threat of censorship. They are listed below according to year...Sister Stella L.(1984) - Winner of 10 Urian awards, this Mike de Leon film is the most celebrated work to emerge at a time when Filipinos where furious (yellow). This landmark film about labor unrest effectively captures the anger that gripped the country after the murder of Ninoy Aquino. Vilma Santos gives a memorable performance in the title role..." - Emmanuel Reyes, Manila Times, 1990 (READ MORE)

Media Repression - "...The Filipino film has shown an entire society working together and moving in concert to attain dreams the people hold in common. It has also shown itself capable of great intimacy, allowing us to witness an individual's joy and pain and involving us in the workings of a particular character's heart and mind. Sister Stella L., 1984, by Mike de Leon, made during the period when the Philippines was under the Marcos dictatorship, tells the story of a nun who witnesses actual cases of human rights violations committed against workers striking for better wages, and finds herself shedding personal problems and fears to commit herself to the struggle of the oppressed against those who wield power unjustly in our society...The martial law years under President Ferdinand Marcos were a period of media repression that saw radio, television, komiks and film kept under constant survillance with the collaboration of media owners and practitioners as well. Nevertheless, some filmmakers were not daunted by the state's veiled terrorism. Realities the martial law government wanted to gloss over or conceal appeared in various guises in a number of feature films, such as Hubad na Bayani (The Barechested Hero, 1977, about a peasant revolt), Sakada (Sugar Workers, 1976, about unrest among sugar workers), Batch '81 (1982, an allegory about fascism), Manila by Night/City after Dark (1980, about the seamy side of Imelda Marcos' "City of Man"), Minsa'y Isang Gamugamo (Sometimes a Winged Ant, 1976, an exposure of ill effects of U.S. bases), Broken Marriage (1983, touching on media repression), Bayan Ko: Kapit sa Patalim (1984, touching on the repression of worker's rights) and Sister Stella L. (1984, on media repression and violence against striking workers..." - Bienvenido L. Lumbera, Pelikula - An Essay on Philippine Film (READ MORE)

Film Criticism - "...Early days of Manunuri, ang palagi kong binabasa ay ang reviews ni Jun Cruz Reyes. Jun Cruz' movie reviews were shaped up by the existing social injustices. Unlike most of the Manunuris na kadalasan, ang kanilang reviews reeked of the formalist tradition of the academe. You can't read Jun Cruz these days, but I make it a point to read a Mario Bautista review in this mag. I noticed Mario has gone beyond the formalist approach. In Soltero, Mario deplores the fact na ang boredom ng middle-class ay iba sa boredom ng masa - 'yung Pinoy whose basic problem is how to make both ends meet. Which is true. Mario did the same in his review of Sister Stella L, which I would call the movie of the decade, if not the height of Philippine cinema. I'm always partial to movie reviewers and artists as well whose hearts and eyes are with the masses. Kasi nga, given two equally well-crafted movies, to judge say Soltero or Sister Stella L., ang reviewer na walang social consciousness would have second thoughts of giving the highest award to Sister Stella L. Film criticism, as we know do change with the temperaments of a particualar time and milieu. Pati ang kosepto ng magandang pelikula must change. Kung nasa Third World country ka, kailangang may pagbabago ang batayan mo ng isang magandang pelikula dahil sa limitations. Kung nasa First World country ka naman, s'yempre iba rin ang pamantayan. Puwedeng gamiting pamantayan ang elitist view of art na pa-universal-universal-kuno. Naniniwala ako an art must serve to humanize the conditions of the sorry lot, and not just the conditions of the few elitist groups. After all, art and its greater number of poeole ought to shape each other. Ano'ng pakialam ng mga nagugutom na Pinoy sa boredom ni Jay Ilagan sa pelikulang Soltero? Mas nakaka-identify pa siguro sila sa exploitation theme ng Sister Stella L. kaysa Soltero, di ba? All other factors being equal, sa dalawang movies na ito, I guess those who cannot go beyond the chains of formalist approach to reviewing will take Soltero anytime, pero for those whose orientation is one of social concern, Sister Stella L. would be their kind of movie, Ang tanong, kailan naman kaya mapapanood ng masa ang Sister Stella L.? These days of sheer elitism, we need reviewers like Mario Bautista. Napuna n'yo ba, na wala nang ginawa ang vanguards of Philippine Cinema kundi, hala, magbigayan ng awards taun-taon. Wala silang paki sa mga masang Pinoy na naglulupasay sa kahirapan. As if they make movies para lang magkaroon sila ng elitistang seremonya year in and year out. Pag magkakagulo na ang Pilipinas katulad ng nangyari sa Nicaragua, siguro, 'yon na. Magigising na tayo sa kahibangan ng mga pa-award-award blues natin. Meantime, let's enjoy the circus of showbiz. Magpakahilo at magpakabaliw tayo like what Nero did amidst the burning Rome. The signs of bad times are coming. When that time comes, we must know which side of the fence to take para hindi tayo magmukhang daga na bumabahag ang buntot. 'Yong lang at 'yon na..." - BCMatignas, Movie Flash Magazine, 14 June 1984 (READ MORE)

Stella in Venice - "...We were quite hesitant at first to ask her...kung tutuong and Sister Stella ay hindi kumita na tulad ng inaasahan. "I was told by Mother Lily na kumita naman daw pero siyempre I still feel disappointed because of high expectations nga ng lahat ng tao...Pero nuong una pa, marami sa aking nagsasabi na baka hindi raw kikita dahil seryosong masyado 'yung pelikula...Sa ngayon ngaý ipinadala ang pelikula sa Venice Film Festival na ginaganap ngayon. Nagpunta roon si Mike de Leon bilang kinatawanan ng pelikula at ng bansa at gusto ni Mother Lily na sumama na rin si Vi sa delegasyon roon. "Pero imposible nga akong umalis dahil sa commitment ko sa Baby Tsina, lalo na malapit nang matapos ang shooting namin." At ang pelikula niyang Relasyon ay nakatakdang ilahok sa isang pestibal na gaganapin sa Jakarta next week...Again, Vi is not sure whether she can attend even if she really wanted to..." - Mario E. Bautista, Movie Flash, 1984

"...Biglang lumawak ang daigdig ng isang madre nang mamulat ang kanyang mata sa tunay na daloy ng buhay sa mga manggagawang nagwewelga. Mapuwersa ang istoryang ito ukol sa pag-aalsa ng maliliit laban sa kapitalista at kung paano masangkot sa kanila ang isang madreng datiý kuntento na sa kanyang dating gawaing itinalaga lamang ng kanilang kongregasyon. Tunay na nakaaantig damdamin ang Sister Stella L at ang teknikal na bahagi nito ay totoong mataas na uri, pati na ang pagbibigay buhay na mga artista sa kani-kanilang mga papel...Sa pelikulang Sister Stell L napanagumpayan ni Mike de Leon na ipakita ang mga tunggaliang namamahay sa damdamin at isipan ng isang alagad ng Diyos sa katauhan ng isang madreng napagitna sa isang marahas na kapaligiran. Makatotohanan ang tunggali ng ipinakita ng pelikula, tunggaliang higit na mas malawak, ang tunggalian ng manggagawa at ng kapitalista...Kasabay ng kanyang pag-alsa bilang reyna ng takilya (si Vilma Santos), ay ang nakakakumbinse niyang pagganap sa no mang tauhang binibigyan niya ng buhay sa sinema. Sa hanay ng mga pelikulang ginawa niya sa nakaraang taon, namumukod ang kinang niyang iyon sa "Sister Stella L," kung saan siya gumanap bilang isang simpleng madre na unti-unting nagising sa dahas ng isang mapang-uring lipunan, at sa "Adultery," kung saan siya naging biktima ng isang materyalistikong kapaligiran..." - Star Awards 1984

  

 

Related Reading:

• The Continuing Struggle of Sister Stella L.
• Mike de Leon’s ‘Sister Stella L.’ 25 Anniversary special screening
• Mike De Leon: Director of the Moment (Movie Flash, July 19, 1984)
• Behind the scene photos of Philippine cinema’s greatest films

Sister Stella L at Iba Pang Awit ng Panahon

"...The peaceful life of a young nun is transformed when she becomes involved in helping the cause of a group of factory workers in a nearby town. She asks to be transferred to the town where she dedicates herself to working against unjust labour practices in the factory..." - British Film Institute (READ MORE)

Sister Stella L at Iba Pang Awit ng Panahon

SIDE ONE:

• Aling Pag-ibig Pa? - Pat Castillo; Music Ding Achacoso; Lyrics Jose F. Lacaba; Guitar Lyncir Lagunzad
• Manggagawa - Rody Vera; Music Ding Achacoso; Lyrics Jose Almojuela
• Sangandaan - Pat Castillo; Music Ding Achacoso; Lyrics Jose F. Lacaba; Guitar Lyncir Lagunzad
• Aling Pag-Ibig Pa? (Instrumental)
• Manggagawa (Instrumental)

SIDE TWO:

• Bayan Ko - Wea Various Artists (Celeste Legaspi, Apo Hiking Society, Janet Basco, Marco Sison, Leo Valdez, Ivy Violan, Dulce, Noel Trinidad, Subas Herrero)
• Prisoner’s Lament - Apo Hiking Society
• Bayan Kong Pilipinas - Celeste Legaspi
• Psalm 12 (Help Us) - Celeste Legaspi
• Buntong Hininga - Paul Toledo

Philippine Copyrights by Wea Records 1984

The Lyrics

Sangandaan
Walang komplikasyon
Ang buhay mo noon
Kalooban mo’y panatag,
Kalangitan ay maliwanag,
Ang daan ay tuwid at patag
Sa buhay mo noon.
Ngunit bawat pusong naglalakbay,
Dumarating sa sangandaan:
Ngayong narito ka,
Kailangang magpasiya.
Aling landas ang susundin ng puso?
Saan ka liligaya, saan mabibigo?
Saan ka tutungo?

Kay daling sumunod
Sa hangin at agos:
Aasa ka na ang dalangin,
Gagabay sa ‘yong damdamin.
Ngunit saan ka dadalhin
Ng hangin at agos?
Alam mong bawat pusong nagmamahal,
Dumarating sa sangandaan:
Ngayong narito ka,
Kailangang magpasiya.
Aling landas ang susundin ng puso?
Saan ka liligaya, saan mabibigo?
Saan ka tutungo?

Aling pag-ibig pa?
Aling pag-ibig pa
Ang hihigit kaya
Sa pag-ibig ko sa iyo,
Bayan ko?
Sa hirap at ginhawa,
Sa ligaya’t dalita,
Ako’y kasa-kasama mo.

Kung ang gintong palay
Ay kumakaway,
Katabi mo ako sa bukid,
Bayan ko.
Kung tigang ang lupa
At di ka makaluha,
Ako ang magdidilig.

Kung ang bulaklak
Ay humahalimuyak,
Igagawa kita ng kuwintas,
Bayan ko.
Kung namiminsala
Ang bagyo’t baha,
Ako’y may kubong ligtas.

May pag-ibig pa bang
Higit na dakila
Sa pag-ibig ko sa iyo,
Bayan ko?
Wala na nga, wala.
Wala na nga, wala.
Wala na nga, wala.

Bayan Ko
Ang bayan kong Pilipinas
Lupain ng ginto't bulaklak
Pag-ibig na sa kanyang palad
Nag-alay ng ganda't dilag

At sa kanyang yumi at ganda
Dayuhan ay nahalina
Bayan ko, binihag ka
Nasadlak sa dusa

CHORUS
Ibon mang may layang lumipad
Kulungin mo at umiiyak
Bayan pa kayang sakdal-dilag
Ang 'di magnasang makaalpas

Pilipinas kong minumutya
Pugad ng luha at dalita
Aking adhika
Makita kang sakdal laya

Bayan Kong Pilipinas
Ang bayan kong minamahal
ang bayan kong Pilipinas
Sa dugong pinuhunanan
Makamtan lang ang kalayaan
O bayan kong minumutya
Ako’y handang magpakasakit
Ang buhay ko’y nakalaan
sa iyo mahal kong bayan
Perlas ng Silanganan
May likas kang kayamanan
Dahil dito’y inagaw ka ng mga dayuhan
Kaya dapat kang bantayan
Ingatan ka mahal kong bayan

The Singers

Pat Castillo - "...We met Pat recently at Jackie Magno’s show at the new Merk’s Place on Arnaiz opposite the Rennaissance Hotel. Starting with small talk, we asked Pat of her current activities and found she was busy with facilitating, mentoring and coaching. All three involve guiding the individual discover his fears, doubts and talents, while helping him improve on the positive and hurdle the negative. A lifestyle coach described her job akin to that of a sports coach saying, “I get to challenge my clients like no one else. I am their mentor, cheer leader and sounding board.” And obviously, the job is for one who loves people, has massive patience, and thrives on challenges. Pat has had movie stars, young girls preparing for a beauty pageant, political clients gearing up for an election. And for this job, Pat uses the name Patricia Castillo. Coaching and mentoring grew as a career in the US when organizational changes brought upon by mergers and acquisitions found the need for companies to prepare their key personnel for new challenges. Soon, its effects filtered down to the rank and file, and to individuals who found the exercise enhancing and inspiring. Pat relates one day getting interested in a book Coaching published by a behavioral institute in Australia, so off she went to Australia for lessons. Soon she was accepting clients who found out about her new career. “I realized I really liked performing in front of people, and that coaching was just another medium..." - Bibsy M. Carballo, The Philippine Star, May 01, 2011 (READ MORE)

Janet Basco - "...born as Janet Mabasco, is a Filipino singer. She is known for her hits "You Made Me Live Again", "Minsan Pa" and "My Girl, My Woman, My Friend" in a duet with Jose Mari Chan. In the music video version of this song, she is seen sitting on the sofa eating popcorn and has a date with him..." - Wikipedia (READ MORE)

Marco Sison - "...But even Imogene can’t dismiss the appeal of Marco who was responsible for some of the chart-topping songs of the ’80s and ’90s, among them Make Believe, Always, My Love Will See You Through and Si Aida, Si Lorna O Si Fe,” says Edmund. “While many of his contemporaries have gone gray, Marco seemed to have found the fountain of youth and managed to preserve not only his suave looks, physique and vitality, but also his impeccable Student Canteen voice that could put many younger singers to shame. Hear him sing the Latin beat Sway and see how a middle-aged man can bring sexy back.” Edmund was impressed by Marco’s jaw-dropping performance with his medley of Basil Valdez’s greatest hits. “Belting Gaano Kadalas Ang Minsan, Hanggang Sa Dulo ng Walang Hanggan, Tuwing Umuulan, Nais Ko and Sana Ay Ikaw Na Nga, capped with Ngayon at Kailanman, he sent chills down the spine of his audience, who reciprocated him with defeaning applause and cheers.” “He never overdoes his singing because he knows his voice is superb just the way it is,” Edmund quotes Zoila Mendoza of Manhattan’s DNZ Travel and Tours as saying. “No screamfest, just pure talent...and sincerity..." - Ricardo F. Lo, The Philippine Star, October 24, 2007 (READ MORE)

Leo Valdez - "...Though Valdez is now established in the international and local musical theater scene, he used to see himself more as a singer than an actor. “Initially I thought it was quite daunting,” says Valdez on first trying his hand at performing in Manila. The boy from Negros shares, “Manila seemed so big… It was like New York – ‘If you can make it here, you can make it anywhere’.” And, indeed, Valdez did make it in the big city. Valdez became a household name when he interpreted “Magsimula Ka” in the Metropop festival song writing contest. “It became, and still is, my ‘national anthem’,” Valdez says. Winning the contest led to invitations to perform and travel abroad. It also paved the way for Valdez to perform at the Metropolitan Theater, upon the invitation of the late Conching Sunico, where he headlined five musical extravaganzas. In one of these, he sang Sa Ugoy ng Duyan. “You could hear a pin drop,” he describes the performance, and how the hushed audience held on to every note..." - Ida Anita Q.del Mundo, The Philippine Star, Nov 04, 2012 (READ MORE)

Ivy Violan - "...Filipino singer most popular in the 1980s. She started singing at the young age of 2 1/2 years with her brothers in the group called Ivy and Velboys. As she grew up, she joined bands such as Sangkatutak Band and the Royal Flush Music Society. She later formed her own band called 8th of September band. In 1981, with the help of Rico J. Puno and musical director Homer Flores, she went solo..." - Wikipilipinas (READ MORE)

Dulce - "...Maria Teresa Abellare Llamedo Cruzata, better known as "Dulce", is a Filipino singer and theater actress most famous for the hit song 'Ako Ang Nasawi, Ako ang Nagwagi'...Dulce was born to a poor family in Villa Bulsita, Bulacao, Pardo, Cebu City. She started singing at the age of two. Her highest educational attainment was only elementary. She immediately went to Manila when opportunity came to pursue a singing career. She went on to win on many singing competitions including the popular "Tawag ng Tanghalan", upon which she started her career, and the Second Metropop Festival on which she sang one of the late George Canseco's compositions. Gracing recording studios, she became a singing sensation..." - Wikipilipinas (READ MORE)

Noel Trinidad - "...Comedy icon Noel Trinidad created the multi-award winning television show Champoy, which remains to this day a classic. He has done it all, movies, television and stage. He returned to performing on stage in Xanadu after a 10-year absence. Noel plays the role of Danny Maguire, a former musician who trades in his passion for arts for big business. It was the role Gene Kelly played in the feature film version of the stage musical. Noel joins Rachel Alejandro and Felix Rivera in the magical madcap roller skating musical comedy. Directed by Bobby Garcia, Xanadu will have repeat performances on Nov. 19 to Dec. 5 at..." - Boy Abunda, The Philippine Star, Sep 27, 2010 (READ MORE)

Subas Herrero - "...Ricardo Wright Herrero (born April 3, 1943), better known as Subas Herrero, is a Filipino actor, comedian and singer and he has an American and Mexican descent. He is the father of Cutuy Herrero, current vocalist of local Filipino band Chapter 2. As an actor, Subas Herrero has performed in movies such as "Bakekang", released in 1978, "Karapatan ko ang pumatay... Kapitan Guti"(1990), and "Gao ya xian"(1995). He played his role as a main villain to Fernando Poe, Jr., Ramon Revilla, Joseph Estrada, Rudy Fernandez and lots of action stars in the past and present Filipino action films and as co-starrer in a comedy films with Dolphy, Chiquito, Redford White and Tito, Vic and Joey. In 1986, Herrero and Noel Trinidad went live on Philippine TV calling the public to join the crowds at EDSA calling for the ouster of President Ferdinand Marcos. After the People Power Revolution, Herrero recorded "Handog ng Pilipino sa Mundo" along with 14 Filipino artists, celebrating the peaceful revolt. After suffering a stroke in 2000, Herrero retired from the TV industry. Despite being sick, he took part in the EDSA Revolution of 2001 (EDSA II) to call for the ouster of then Philippine President Joseph Estrada...." - Wikipedia (READ MORE)

Rody Vera - "...a playwright, singer, and actor for the theater. He has written more than 20 plays, a few of which have won in national literary contests in the Philippines. He has also written plays for Filipino-American theater groups in Chicago, New York, and other cities. Rody has travelled extensively in North America, Europe, and Asia, teaching and performing drama. He has participated in several collaborative productions with theater groups based in Japan (Black Tent Theater, Rinkogun, Setagaya Public Theater), Singapore (The Necessary Stage), and New York (International Wow Company). Rody is currently heading a group of young playwrights called the Writers’ Bloc, the major organizer of the annual Virgin Laboratory Theater Festival in Manila..." - Kyoto Views Sea (READ MORE)

APO - "...The Apolinario Mabini Hiking Society, later popularly known as APO Hiking Society or, simply, Apo, was a Filipino musical group, often called as the "Beatles of the Philippines." The group had its fledgling beginnings in 1969 at the Ateneo de Manila high school, with thirteen members: Lito de Joya, Sonny Santiago, Gus Cosio, Renato Garcia, Chito Kintanar, Kenny Barton, Bruce Brown, Butch Dans, Kinjo Sawada, Ric Segreto, Goff Macaraeg, Doden Besa, Jim Paredes, and Boboy Garovillo. The group's name was created from the acronym AMHS representing their school with a witty twist having an irreverent reference to the paralytic Philippine revolutionary intellectual and hero, Apolinario Mabini, and later shortened to "Apo", an Ilocano term for a wise man or a Tagalog term of grandchildren, and later re-branded to "APO" (all caps). (Contrary to popular belief, the "Apo" name was not a reference to the Philippine volcano, Mount Apo.) As the students advanced into college, Danny Javier joined the group. After graduation, the majority of its members left to pursue individual careers, with only three members remaining, made up of Jim Paredes, Boboy Garovillo and Danny Javier...In October 1987, during their annual US tour, the APO became the first Filipino pop artists with Marco Sison to perform at the Main Hall of New York's prestigious Carnegie Hall. They also performed at the equally prestigious Massey Hall in Toronto, Canada's music capital. Both concerts, as well as the other shows held during that particular concert tour, were sold out. The APO were also the first Filipino artists to perform in a public concert in the Kingdom of Saudi Arabia. In 1987, they were one of the first Filipino artists to be recorded on compact disc. And in 1994, they were awarded the first Dangal ng Musikang Pilipino by Awit Awards - the Filipino equivalent of the Grammy. They have also been conferred the Tanglaw Ng Lahi Award, the highest accolade given by Jesuits in the field of culture and arts..." - Wikipedia (READ MORE)

Celeste Legaspi - "...born March 18, 1950, is a Filipino singer and actress. Her singles and albums reached gold or platinum status during the 1970s and 1980s. She is the daughter of National Artist for Visual Arts Cesar Legaspi. She spearheaded the Organisasyon ng Pilipinong Mang-aawit (OPM), a group which aimed to promote and propagate Original Pilipino music. She is married to Nonoy Gallardo, one of the premier OPM composers. Legaspi is a successful recording artist, having produced albums and singles that reached gold and platinum status during the '70s and '80s. Her album Ako si Celeste under Blackgold Records was awarded gold, and produced hit singles “Saranggola ni Pepe”, “Tuliro”, and “Gaano Ko Ikaw Kamahal?”. The Celeste album spawned the famous “Mamang Sorbetero”. Her albums Bagong Plaka, Lumang Kanta Vols. 1 and 2 albums under Wea Records both reached the double platinum mark. She won several awards including Outstanding Performance award from the Song Festival in Tokyo, Japan, where she sang "Puso Mong Nagmamahal" (1976), Tinig Awards for live entertainment (1977, 1979, and 1990), and the Aliw Award for Entertainer of the Year (1978)..." - Wikipedia (READ MORE)

Paul Toledo - "...Circa 1980s singer-songwriter Paul Toledo died 10 p.m. Thursday from a heart attack inside a taxi in a southern Manila suburb. His remains lie at the Funeraria Filipinas in Pamplona, Las Piñas City, along the Alabang-Zapote Road, fronting the Pamplona Uno barangay hall. The website of the Performers Right Society of the Philippines (PRSP) lists songs like “pasosyal-sosyal” and “Lumba, Lumba” as among Toledo’s compositions, which he also sang. These pieces are vaguely remembered now as novelty songs which became popular in the 1980s..." - ABS-CBN News (READ MORE)