Monday, December 5, 2011


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

Basic Information: Direction: Ishmael Bernal; Adapted screenplay: Ishmael Bernal; Original screenplay: Jose Carreon;  Cast: Vilma Santos, Nora Aunor, Christopher De Leon, Nick Romano , Ellen Esguerra, Zandro Zamora, Odette Khan, Charmie Benavidez, Ernie Zarate, Cris Vertido, Anton Juan, Sandy Andolong; Original Music: The Vanishing Tribe; Cinematography: Sergio Lobo; Editing: Augusto Salvador; Production Design: Mel Chionglo; Sound: Teddy Ramos, Rolly Ruta; Producer: Experidion Laxa, Tagalog Ilang-Ilang Productions

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

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

Tagalog movie's traditional love triangle is told in a sophisticated, unconventional way. Stars three of the country's younger superstars - Christopher de Leon torn between a quiet, conservative type played by Nora Aunor, and a contemporary "free spirit", Vilma Santos. Excellent performances by the three principal players with fine support by Ernie Zarate, Ellen Esguerra, and Rene Requiestas. Earned the critics Urian nominations for best actress (Aunor and Santos), supporting actor (Zarate), screenplay (Jose N. Carreon), cinematorgraphy, editing, sound, direction and best picture. Urian awardees for best actor (De Leon), production design (Mel Chionglo) and musical score (Vanishing Tribe). Directed by Ishmael Bernal for Tagalog Ilang-Ilang. - Trigon Video

Film Achievements: Gawad Urian: Best Actor - Christopher De Leon, Best Music - "The Vanishing Tribe," Best Production Design - Mel Chionglo, Best Actress nomination - Vilma Santos, Nora Aunor, Best Cinematography nomination - Sergio Lobo, Best Director nomination - Ishmael Bernal, Best Editing nomination - Augusto Salvador, Best Picture nomination – TIIP, Best Screenplay nomination - Jose Carreon, Best Supporting Actor nomination - Ernie Zarate

Film Reviews: "...After 37 years, Ikaw Ay Akin becomes a materialist indictment of the patriarchal deceit cisgender passion must contend with, opening up the queerness that emerges from feminine confidence as zone of alternative feelings. And, of course, Nora still punctures the assault with an imperturbable will to punctuate the sentence, despite the adages of her time failing to utter competitive affection, convincing Vilma that the encounter isn’t just about female rivalry, but also masculine decadence..." - J. Pilapil Jacobo, Young Critics Circle Film Desk, 21 November 2015 (READ MORE)

Silent Confrontation - "...The movie brings together fierce cinema rivals Aunor and Vilma Santos as well as Aunor’s then-husband, Christopher de Leon. Skydiving enthusiast Rex (De Leon) and horticulturist Tere (Aunor) are in a stable relationship until the arrival of Sandra (Santos), a liberal-minded artist. Rex embarks on an affair with her, then becomes overcome with guilt when Tere discovers the relationship. Ikaw ay Akin is best known for the “silent” confrontation scene between Aunor and Santos, where neither speak a single line and communicate by just staring at each other..." - Coconuts Manila, 27 July 2018 (READ MORE)

“Ikaw ay Akin” is the latest addition to Ishmael Bernal’s continuing attempt to portray how people and relationships are at once simple and complex. It is also the most engaging local movie shown this year, once again proving that the marriage of commerce and art can be remarkably fruitful. Those who expect the film to be one of those triangles of the “Sapagkat Kami’y Tao Lamang” variety will be disappointed. Made with taste and finesse uncommon in Pilipino movies. “Ikaw” surveys the interactions of three people caught in the unexplainable intricacies of need and love. Rex, the young executive of a jeepney-producing firm, has been going steady with Tere, a demure orchid expert, for five years. Theirs is the kind of self-satisfied relationship that results from along, unruffled engagement. That is until he meets Sandra. An artist-designer, Sandra is kooky, talkative, aggressive career girl who is also neurotic, chain-smoking, tranquilizer-gulping, phobia-laden product of a broken family. Rex is immediately attracted to Sandra’s seemingly boundless energy. Compared to her, Tere is a calm, reserved, efficient, level-headed woman who looks totally in control of herself.

The “menage-a-trois” is then sensitively laid out for viewers to look into the hurts and joys, hesitations and decisions, delights and agonies of each character. At film’s end nothing is really resolved. Most loyal viewers will be revolted by this ambiguity. To get their money’s worth, they feel they must be sure “kung kanino talaga napunta si Christopher, kay Nora ba o Vilma?” But Bernal is not so much concerned with fulfilling audience expectations than with putting across his message: that no one can totally, absolutely, fully own another human being. The best thing is to understand the needs of a person and love him according to his limitations. This is evident in the lines of Rex, whose character we completely grasp only as the film nears its conclusion. Rex tells Tere: “Kailangan ako ni Sandra hindi lamang sa pisikal kundi sa emosyonal din. Tulad ng pangangailangan ko sa iyo. Sa kanya, parang nagkaroon ako ng gamit. Kailangan ko kayong dalawa para mabuo ako.” To Sandra, he says later: “Si Tere, tinaggap nang hindi niya ako maaangkin nang buong-buo. Kung sasabihin mong nakuha mo nang buong-buo ang isang bagay, kulang pa rin.”

Unlike other superstar team-ups that fail to exploit the golden opportunity of pulling in sure audiences to watch a serious work, Bernal’s greatest achievement lies not so much in putting his three big stars together but in making use of them to lure their fans and followers intos eeing a mature, sensible film. And his cast serves Bernal very well. In the hands of a capable director, Christopher de Leon proves that his forgettable appearance in such odious films as “Topo-Topo Barega” and “Disco Fever” are mere lapses in judgment that do not entirely discredit his craft. He also shows enough gallantry by not getting into the way of his leading ladies, whose roles are undoubtedly more demanding than his.

As the uptight Sandra, Vilma Santos has the script’s choicest, wittiest lines. She makes the most of them and succeeds in giving a fairly accurate portrait of an emotionally insecure young woman. And when she tells Rex: “sabi nila liberated ako, front lang. Kalog daw, front din. Alam mo namang kulang-kulang ako. Pag wala ka, magkakalat ako. Para akong manok, takbo ng takbo wala namang ulo.” She likewise handles her final breakdown exceedingly well. Nora has less lines but she nevertheless manages to conveys her emotions very effectively. In that family reunion-party which is so engrossed in gossip and banter, she remains so detached, speaking nary a word --- a triumph for both Bernal and her. The hurt in her eyes continues to build up until that disrupted dinner scene where she rushes to her room and, unable to contain herself, finally cries. The most stable of the three, you could really believe her when she tells Rex: “Galit ako sa ‘king sarili, dahil sinasaktan mo na ako nang todo-todo pero lalo ka namang napapamahal sa akin.”

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

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

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

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

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

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

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

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

"...“Ikaw Ay Akin,” 1978, Ishmael Bernal. A refreshing change of role for the superstar, cast here as a smart and sophisticated horticulturist at odds with best friend and real-life rival Vilma Santos. Notable for its experimental and long closing shot of the two friends’ reunion, with only their eyes talking..." - Mario A. Hernando, Philippine Daily Inquirer, 01 October 2011 (READ MORE)


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