Burlesk Queen, Reyna ng Pelikulang Pilipino

41st Year Anniversary since its first screening in 1977

Celso Ad. Castillo's Burlesk Queen surpasses past attempts to integrate cinematic qualities in a film and Castillo's own previous experiments, which critics found bombastic and purely commercial. Like no other film by Castillo or other directors, Burlesk Queen, with its synchronized techniques and the significance of its message successfully gives substance to the trendy subject of sex-for-sale. The movie tells of a teen-age burlesque dancer in the '50s, who suffers deprivation, personal crises, alienation, and in the end, an abortion as she dances her grand finale for survival. With such a simple plot, the movie laudably brings together the talents of director Castillo, screenwriter Mauro Gia Samonte, musical director George Canseco, actors Vilma Santos, Rollie Quizon and Roldan Aquino, cinematographer Ben Lobo, and editor Abelardo Hulleza.

Castillo's creativity is seen in the use of radio darma and music, meaningful gestures, and visual metaphors or allusions to give added psychological and emotional dimensions to dramatic situations. Lucid exposition and delineation of the conflict are carried out through particular techniques like ensemble acting to reveal the individual characters' needs, emphasis on visual details rather than talky dialogues to drive home a point, and active camera movements (cuts) to suggest the passage of time in the burlesque dancer's career. The tragic ending is prepared for by a logical presentation of what happens eventually to all the characters. Artistic form and meaningful content merge to convey the film's statement on society's view of low-class entertainment. Moralist censure burlesque dancing, but as the stage impressario in Burlesk Queen asks, what form of entertainment then should be given to ordinary people who cannot afford to watch shows which are exclusively for the rich who dictate the community's morals? The irony lies in the fact that while audiences are entertained, the performers' lives are none of their concern. For these cheap entertainers who dare to live outside society's moreal laws, there is only condemnation. - Jun Cruz Reyes, The URIAN Anthology 1970-79, reported by Simon Santos, Video48 Blogspot, 27 August 2018 (READ MORE)

Maraming reklamo ang tagasubaybay ng pelikulang Pilipino. 'Yun nga namang mga paksa noong "nineteen forgotten" at panahon ng kopong-kopong tulad ng pag-iibigan ni mahirap at ni mayaman ay siya pa ring kinagigiliwang tema hanggang ngayon. Sabi nga, ang mga ganitong pelikula ay maikukumpara sa mga dulang panradyo. Puwedeng ipikit ang mga mata sa loob ng sinehan at pakinggan na lamang ang usapang kinargahan ng waring walang katapusang "ngunit papa" at hagulhulan. Kung nakakaasar ang pelikulang mala-radyo ay ganoon din ang pelikulang mistulang pang-TV naman. Ito ang klase ng pelikula na ang mga tauhan ay pirming nasa sala at nagwawalis habang nag-uusap dahil wala nang ibang set na mapuntahan. Sa ganitong pelikula ay waring tinatamad ring kumilos ang isa o dalawang kamera. Sa dalawang salita, ito ang klase ng pelikula na tinipid at pinag-ubra. At siyempre ang resulta ay basta-basta. Mayroon ding pelikula na para namang komersiyal na dadaanin ka sa ganda ng sinematograpiya na sa biglang akala'y parang maganda, pero tulad ng paninda'y walan naman palang lasa. Sa madaling salita nawawala ang tinatawag na pelikulang de-kalidad at ang sangkap nitong "refreshing touch." Sa pag-eeksperimento ng mga direktor, may ilang nakahulagpos sa pelikulang mala-radyo at mala-pang-TV. Gayumpaman, marami sa nag-eksperimento ang hindi makakapa ng tamang pormula, ang pagtutulungan ng maraming tauhan sa paggawa ng pelikula, tulad ng kombinasyon ng magandang istorya, mahusay na direktor, makinis na sinematograpiya, matinong editing, mahusay na set, angkop na tugtugin at mahusay na pag-arte. Kapag napag-isa ang mga sangkap na ito, nakakapanood na nga tayo ng isang mahusay o namumukod-tanging pelikula.

Si Celso Ad. Castillo ay marami nang naunang ekspiremento. Pero pumaltos sa pamantayan ng mga manunuri. Maraming nagsuspetsa na may ibubuga siya, pero hindi lang talaga maibuga nang nasa tiyempo. Malimit ang kanyang pelikula ay maingay at maraming sobra. Halimbawa, maraming karahasan na wala namang katuturan ang kanyang Madugong Daigdig ni Salvacion, seksing walang kadahilanan (pinagandang garapal) ang kanyang Pinakamagandang Hayop Sa Balat Ng Lupa, numero unong manggagaya ang kanyang Maligno, at sabog-sabog ang kanyang pinakamagandang nagawa, ang Daluyong at Habagat. Kung may magkamali mang pumuri kay Celso, iyon nama'y halos pakunsuelo-de-bobo lamang, at hindi ito sapat para itaas ang kanyang pedestal sa ranggo nina Bernal, Brocka at Romero. Wari ngang napako sa komorsiyalismo ang direktor na inaabangang maglalabas ng natatagong talino. Lalong nagduda sa kanyang kakayahan ang mga kritiko nang kumalat ang balita na gagawa siya ng serye sa TV na ala-Cleopatra Jones na papamagatan naman niyang O'Hara. Pero ang direktor na ipinapalagay na laos ay biglang pumalag nang walang kaabog-abog. Bigla'y nabalitang may inihanda raw itong pang-festival na ikinataas na naman ng kilay ng kanyang mga kritiko. "Aber tingnan," ang pasalubong sa balita. At sa preview ng kanyang Burlesk Queen, biglang napa-mea culpa ang ayaw maniwalang may ibubuga nga si Celso. Tiyak na naiiba ang Burlesk Queen, kahit ikumpara sa mga naunang trabaho ni Celso at sa iba pang direktor na nagtangkang tumalakay sa paksang ito. Matagal-tagal na rin namang nauso ang kaputahan sa pelikula, pero walang nakapgbigay ng katarungan sa lahi ni Eva bialng Pilipina at bilang puta. Sa Burlesk Queen, para kay Celso ay hindi nangangahulugan ng pagpapakita lamang ng utong, puwit, o singit, kung hindi isang kapani-paniwalang dahilan na nangyari sa isang makatotohanang kapaligiran.

Sa kanya, ang tao ay hindi bast maghuhubad at magtatalik. Maraming pangyayari sa buhay ang dapat munang linawin at unawain, at iyon ang basehan ng kasaysayan. Simple lamang ang plot. Isang tinedyer si Vilma Santos na alalay ng isang orihinal na burlesk queen, si Rosemarie Gil. May tatay na lumpo si Vilma, si Leopoldo Salcedo. Si Rosemarie naman ay may kabit na hustler, si Roldan Aquino. Nang iwanan ni Roldan si Rose, nagwala ang huli. Naging lasengga siya at tumangging magsayaw sa tanghalan. Mabibitin ang palatuntunan, kaya't si Vilma na talaga namang may ambisyong magsayaw ang pumalit. Hit naman sa manonood si Vilma. Sa bahay, pilit kinukumbinsi ni Vilma si Pol na payagan na siyang maging full-time danser. Ayaw ni Pol, mas mahalaga sa kanya ang prinsipyo at delikadesa. Sapagkat wala namang ibang pagkakakitaan, si Vilma rin ang nasunod sa bandang huli. Nag-suicide si Pol nang hindi na niya masikmura ang pasiya ng anak. Si Rollie Quizon naman ang binatilyong masama ang tama kay Vilma. Nagtanan sila at nagsama. Pero hindi sanay sa hirap si Rollie. Sa pagpili sa pag-ibig o ginhawa sa buhay, ang huli ang pinahalagahan niya. Nagkaton namang buntis na si Vilma. Sa pag-iisa sa buhay, nagbalik siya sa pagsasayaw. Nagsayaw siya nang nagsayaw hanggang duguin siya sa tanghalan at malaglag ang kanyang dinadala. Bagama't simple ang plot ay hindi naman masasabing simple ang pamamaraang ginawa rito ni Celso. Sa kauna-unahang pagkakataon ay nangyari sa isang pelikula ang pagsasama-sama ng magandang istorya, mahusay na direksiyon, magaling na pag-arte ng mga tauhan, masinop na musika, magaling na editing at angkop na sinematograpiya.

Sa Burlesk Queen ay nagsama-sama ang talino ni Celso (direktor), Mauro Gia Samonte (story and screenplay), George Canseco (musical director), Ben Lobo (cinematographer), at Abelardo Hulleza (editor). Kung may ipipintas sa pelikula, iyon ay ang hindi malinaw na pagbuhay sa panahon na nangyari ang kuwento. Kung minsa'y maiisip na nangyari ito sa panahon ng kasikatan ni Elvis noong 1950s. Pero kapag pinansin na maraming ekstrang may mahabang buhok, may wall paper at sintetikong sako ang bahay nina Vilma ay maari namang sabihing baka naman pa-Elvis craze lamang ang mga tao roon. Pero may pulitiko, at Yabut, at may dagdag pang Connie Francis bukod sa motorsiklong Lambretta at mga kotseng Buick. Kunsabagay, maliliit na detalye lamang ito na agad makakalimutan kapag ang inasikaso ay pagbubuklat sa magagandang punto ng istorya. Tingnan natin ang ilang magagandang eksena sa pelikula. Sa ikalawang eksena ay nagtatanong si Vilma kay Rosemarie kung puwede rin siyang maging danser. Walang malinaw sa sagot ni Rose, pero ang timing ng background music na "It's Now or Never" ay makahulugan. It's Now or Never nga, payo ni Elvis. At kung kailan siya maaaring mag-umpisa. Tomorrow, sabi ng kanta. Ang ganitong sagot ay nasa mukha ni Rose, pero hindi na kailangang sabihin.

Ang ganitong pamamaraan ay tinatawag na creativity ng direktor, na nagdagdag ng ibang pamamaraan sa paghahayag ng damdamin ng tauhan. Sa paglakad ng istorya, dapag ding pansinin kung paano ang karakterisasyon ay binubuhay dito. Halimbawa, sa isang eksena na nangyari sa isang patahian ay nag-abot sina Dexter Doria, ang bagong kabit ni Roldan Aquino, at si Rose. Naroroon din si Vilma at sa hindi kalayuan ay si Rollie. Maliwanag na may kaniya-kaniyang pangangailangan ang mga tauhan at magkakasama sila sa iisang eksena. Walang nakawan ng eksena na naganap dito. Nag-insultuhan sina Dexter at Rose, natameme si Roldan at waring walang pakialam sina Rollie at Vilma na panay-na-panay ang kindatan. Lalo namang walang pakialam ang dalawang pulubi na tumutugtog ng biyolin (na siya ring background music) sa mga nagyayari. Limos ang mahalaga sa kanila. Sa eksenang ito'y may gamit ang lahat ng tauhan, wala sa kanilang nagsilbing dekorasyon, walang nag-o.a. at pare-pareho nilang ginawang makatotohanan ang komprontasyon. Magandang halimbawa ito ng orchestrated acting. Kung allusions naman ang pag-uusapang, marami ritong mga sariwang metapora na mababanggit. Isa rito ang mahusay na pagpapakita ng birhen pa si Vilma sa sex act nila ni Rollie. Habang sa likod ng tanghalan ay may nagaganap sa magkasintahan, sa tanghalan ay nang-aaliw naman ang mga akrobat na sinundan na isang madyikero na tumutusok ng sariling noo, nagbabaon ng pako sa ilong at lumululon ng espada. Masakit tingnan iyon. At ganoon din ang nararanasan ni Vilma sa likod ng tanghalan sa piling ni Rollie. Hindi rin madaldal ang pelikula. Kung itatanong kung paano tinanggap ni Pol ang pasiya ng anak, nagtulos na lamang siya ng isang makahulugang kandila sa altar na para na ring sinabing "bahala na ang Diyos sa iyo."

Kung paano naman ipinakitang naging mananayaw na nga si Vilma, sapat nang ipakita ang isang trak na nagbababa ng isang wheel chair na ipapalit sa lumang tumba-tumba ng ama. Maging ang paglakad ng panahon ay nararamdaman din ng manonood kahit hindi ikuwento o ipakita ang kinagawiang pamamaraan at ulat ng "nalalaglag na dahon ng kalendaryo o dahon ng puno kaya." Sunod-sunod na cuts na nagpapakita sa uri ng palabas sa tanghalang kinabibilangan ni Vilma ang ginawa ni Celso. Saka ito sinundan ng kuha naman sa bahay nina Vilma at Rollie. Nag-iinit ng tubig si Vilma habang nakikinig ng dula sa radyo tungkol sa buhay ng isang asawang tamad at ireponsable. Ganoon nga ang nangyayari sa buhay ng dalawa, at may kasunod ring "abangan sa susunod kabanata." Sa paghihiwalay ng dalawa, sapat na ring iparinig ang awiting "You're All I Want for Christmas" para buhayin ang irony na nagaganap sa relasyon ng dalawa. Kung makinis ang eksposisyon at pagbuhay sa tunggalian ng istorya, malinaw rin ang paghahanda sa wakas ng pelikula. Si Rose na laos na ay naging mumurahing puta. Si Dexter kahit hindi ipakita ay maliwanag na sumama na sa ibang lalaki. Si Roldan ay may bago nang kabit at napatay sa spiral staicase ng tanghalan na siya rin niyang dinadaanan sa paghahatid sa dalawang naunang kabit. Si Rollie, ang mama's boy, ay natural bawiin ng ina. Si Vilma ay nagsayaw nang nagsayaw. Sa simula'y mahinhin at nakangiti at kaakit-akit hanggang sa pagbilis ng pulso ng tambol at pompiyang balakang, upang sa pagbuhay sa damdamin ng manonood ay siya namang maging dahilan ng pagkalaglag ng sanggol na kanyang dinadala. Sa labas, matapos ang pagtatanghal, may tatlong bagabundong naiwan na nakatanghod sa larawang pang come on ng burlesk queen, habang ang kadilima'y bumabalot sa kapaligiran. Kung matino ang kaanyuan ng pelikula, ay ganoon din ang masasabi sa nilalaman. Makatotohanan at masinop ang pagtalakay sa buhay ng isang abang mananayaw. Tinatalakay rin dito kung paano siya tinatanggap ng lipunan at inuusig ng mga tagapangalaga raw ng moralidad. Maging ang empresaryo ng tanghalan na ginampanan ni Joonee Gamboa ay may konsiyensiya rin at nagtatanong sa atin kung anong panoorin ang dapat ibigay sa isang ordinaryong Pilipino na hindi kayang pumunta sa mga mamahaling kainan upang manood halimbawa ng Merry Widow at Boys in the Band. Ang stage show ang munting kasiyahan ng isang Pilipinong hindi "kaya ang bayad sa mga eksklusibong palabas ng mayayaman." Samantala'y abala tayo sa paglilibang at sa kanila'y walang pakialam ngunit may handang pintas at pula sa mangahas lumabas sa batas ng moralidad sa lipunan. - Jun Cruz Reyes, The URIAN Anthology 1970-79, reported by Simon Santos, Video48 Blogspot, 27 August 2018 (READ MORE)

Mga Kalapati sa Amsterdam

"Okey din naman pala itong utol kong si Ethel Ramos. You see, she went with Vilma Santos to Amsterdam and like a good sister...she sent me these exclusive pictorials of Vilma Santos and that of up-and-coming actor Mark Gil. Mark, as you have probably heard went ahead of Vi to Amsterdam. So, Mark was able to see the rounds of Amsterdam even before Vi came. So impressed was Mark that he almost memorized the favorite spots he went to and volunteered to become Vi's guide. Sa Damsquare unang ipinasyal ni Mark si Vi. Sa lugar na ito raw malimit na nagpapasyal ang mga tagaroon. Karaniwan na, doon sila nag-papalipas ng maghapon, nakaupo sa mga upuang sadyang ginawa para sa mga turista at kundi nagpapahangin ay nagpapainit kaya. Sa Damsquare ay makikita ang pagkarami-raming kalapati. Kung gusto mong pagkalumpunan ka ng mga kalapati na pagkaaamo, pakainin mo lang sila at pagkakaguluhan ka ng mga ito. Maraming nagtitinda ng mga pagkain ng kapati sa Damsquare. Iyon ang tagpong malimit nating makita sa mga pelikulang English. May eksenang ganito si Vi na mapapanuod natin sa "Miss X" na ginawa nila in its entirety in Amsterdam. "Nakakatuwa si Vi habang pinanonood mo siyang nakikipaglaro sa mga kalapati..."

Hindi Nakaporma - "She was bubbling with joy," puna ni Mark, who obviously was smittened yata with Vi's charm. Kaya lang, ang balita namin, tipo raw na hindi nakaporma si Mark kay Vi dahil sa isang Dutchman na laging nakadikit sa aktres. Kamukha raw ni Ramil Rodriguez ang "suitor"na ito ni Vi at talaga raw matinding-matindi ang tama sa ating dalaga. Makikita ninyo sa movie ang Dutchman na ito dahil kasama rin siya sa cast ng "Miss X." At mukhang seryoso raw ang Dutchman na ito dahil may nagbulong sa amin, malamang na pumunta siya rito sa ating bansa para totohanin na ang kanyang panliligaw. Kapag nangyari ito, masaya siguro. By the way, back to Damsquare, naroon din daw pala ang palace ni Doña Juliana, ang reyna ng Amsterdam, pero hindi siya doon nakatira. Minsan isang buwan lang kung buksan ang palasyo at itoý kung may cabinet conference. Si Doña Juliana ay anak ng first queen ng Amsterdam na si Doña Wilhelmina. Sa Soastdijk (pronounced as Susdak) siya nakatira. Isang lugar din ito sa Netherlands. Ipinasyal din ni Mark si Vi sa Red Light District. Dito kinunan ang malaking bahagi ng "Miss X." Dito nga makikita ang much talked about na mga babaing naka-display sa eskaparate at for hire for a 15-minute pleasure..." - Article by Chit A. Ramos, Photos: Bing Cruz, first published at Jingle Extra Hot Magazine, 26 November 1979, Posted by James DR, Pelikula (READ MORE)

Bagong Porma sa Lumang Pormula

Sa Gaano Kadalas Ang Minsan?, Minsan pang pinatunayan ni Danny Zialcita ang kanyang pambihirang abilidad sa pagbibigay ng bagong treatment sa lumang tema ng pag-ibig, na kadalasa'y umiikot sa pormula ng trianggulo. (Hindi nga ba't maging sa kanyang mga naunang obra tulad ng Hindi sa Iyo Ang Mundo, Baby Porcuna at Ikaw at ang Gabi, ay naitatak ni Zialcita ang kanyang makabagong sensibilidad sa pagtalakay sa mga kuwento ng pag-ibig?) Mula sa istorya ni Tom Adrales (na nagsilbing katulong ni Zialcita sa iskrip at sa direksiyon), ang Gaano Kadalas ay tungkol sa magkaibigang Lily (Vilma Santos) at Elsa (Hilda Koronel), na bagama't kapwa nakaririwasa sa buhay ay magkaiba naman ng suwerte. Matapos magpatingin si Hilda sa doktor, nalaman niyang wala na siyang pag-asang magkaanak pa. Si Vilma nama'y may kaisa-isang anak nga sa pagkadalaga pero wala naman itong ama at mas grabe pa, may taning na ang buhay ng bata (may congenital heart desease ito). Minsan, nagkahingahan ng problema ang magkaibigan, at sa kanilang pag-uusapa, inalok ni Hilda si Vilma na gawing ama ng kanyang anak ang asawa nitong si Louie (Dindo Fernando). Bagama't ipinalabas niyang mahal din niya ang bata at gusto niya itong mapaligaya kahit pansamantala lang, ang kanyang tunay na pakay ay mapaglapit ang kaibigan at ang asawa nang sa gayo'y magakaroon siya ng maaampong anak mula sa relasyon ng dalawang taong kapwa niya mahal.

Nagtagumpay ang tatlo sa kanilang pagpapanggap, at gay ng inaasahan, nagka-ibigan nga ang dalawa. Pagkatapos mamatay ang anak, nagbuntis si Vilma. Dahil delikadong manganak siyang muli (diumano'y may sakit siya sa puso), nagtangkang ipalaglag ni Vilma ang nasa kanyang sinapupunan. Napigilan siya ng kaibigang si Chanda Romero at ni Dindo mismo. Perso sa wakas, nang siyang magsilang, nawalan si Elsa ng asawa, kaibigan at anak. Mahusay ang pagkakadevelop sa kuwento ng Gaano Kadalas at epektibo ang direksiyon ni Zialcita. Nagawa nitong masangkot ang manonood sa problema ng mga tauhan. Absorbing ang naging tunggalian ng mga puso't damdamin. Naipakitang may sapat na motibasyon ang kanyang mga tauhan para pumasok sa ganoong arrangement. Gayunman, may ilang katanungang hindi nasagot sa pelikula. Una, paano nakakasiguro si Hilda na ipagkakaloob sa kanya ni Vilma ang anak nito kay Louie sakali ma't hindi namatay ang bata? Ikalawa, bakit masyadong naging hayagan ang relasyon nina Vilma't Dindo lalo pa kung isasaalang-alang ang kanilang tayo sa sosyedad? Ikatlo, kung totoong mapera si Vilma, bakit nahirapan siyang kumontak ng abortionist at dahil nga dito'y isinugal pa ang buhay? Kung tutuusin, lalo pang naging prominente ang mga kakulangang ito dahil lubusang nag-rely ang pelikula sa samu't saring medical convolutions ng plot: kesyo may anak nga si Vilma pero blue baby naman at kesyo hindi rin siya puwedeng manganak ulit dahil sa sakit niya sa puso (at ang mga ito ay nakapagtatakang hindi pa nalalaman ni Dindo).

Ang madalas magpaangat sa pelikula ay ang acting cast. Dahil mas malaman ang kanyang papel at tila naperfect na ni Vilma Santos and agony ng other woman mas nangibabaw ang kanyang performance kay Hilda Koronel. Kahit na mas marami ang nagsasabing si Hilda ang mas angat dito. Pasulpot-sulpot ang papel ni Hilda at may kahinaan ang motibasyon (isipin mong siya pa ang nagtulak sa sariling asawa sa ibang babae!). Medyo nakaka-distract ang kanilang mga kasuotan (mga gawa ni Christian Espiritu), gaya rin ng ayos ng mga bahay at kasangkapang tila nakikipagkumpetensiya sa tauhan. Epektibo rin ang pagganap ni Dindo Fernando bilang Louie na nakati ang puso para sa dalawang babae. Magagaling din ang supporting cast, lalo na si Suzzanne Gonzales, ang yayang sosyal at ang batang si Alvin Joseph Enriquez. Kahit maikli ang kanilang papel, mahusay rin ang rehistro nina Tommy Abuel, ang doktor na nanliligaw kay Vilma, at si Chanda Romero, bilang matalik na kabibigan ni Vilma. - Justino Dormiendo, Manunuri Ng Pelikulang Pilipino, Jingle Extra Hot Magazine 1982, reposted by Pelikula Atbp (READ MORE)

News Clippings Collection

Angel Bows Out of Darna Movie - "Due to a medical problem, Angel Locsin will no longer reprise her iconic superheroine title role in the upcoming Star Cinema movie Darna. In a statement, Kane Errol Choa, head of ABS-CBN Corporate Communications, said that Angel had to bow out of the project after she suffered a disc bulge in her spine while training for the movie. The 29-year old actress, who first played the Mars Ravelo comics character on television in 2005, will also need to undergo rehabilitation and treatment. Fortunately, her medical condition is treatable, and recovery may take six to eight months a report on TV Patrol revealed. In a TV interview on Oct 26, Angel publicly broke the news that she has to give up her Darna role as she was diagnosed with an injury to her interverbral disc, where the disc bulges out between the vertebrae and presses on a nerve causing severe pain and numbness. "Kapag amy trabaho, binibigay ko talaga 'yong best ko. Ganun ko kamahal 'yong craft. "yong role inaalagaan ko...so kapag may nirequire na mga stunts, ginagawa ko talaga lahat...iniiwasan ko gumamit ng double. Kasi gusto ko ipakita sa mga tao, ako ang binabayaran mo dito. Ako ang gagawa ng mga mahihirap na bagay," Angel explained. "Kaya habang tumatagal sa dami ng mga stunts na ginawa ko, sa dami ng harness and all...nagkaroon ako ng problema sa spine." she said. "Kami po ng ABS-CBN, nagkapagusap kami na mas nakakabuti para sa lahat, na hindi ko napo gagawin ang Darna. Nagpapasalamat ako sa ABS kasi iniisip nila ang future ko." Angel also shared that the pain she feels is unbearable. "May time na ilang days, hindi ako nakalakad. May isang araw gumising na lang ako, hindi na ako makatayo...ni gapang, ni hatak sa sarili ko hindi ko magawa." She said she was rushed to hospital at that time. "Kinabahan na ako kasi iba siay sa mga dating nararamdama ko." At present, Angel is undergoing therapy and also considering having a medical operation abroad. Angel assured her fans that she'll be okay, she's not leaving showbusiness and she would do those actionn scenes again in the future. "Don't worry, magpapagaling lang ako. Magpapalakas ako." she said." - Planet Philippines London Edition, November 2015 (READ MORE)

Emotional Xian Surprises Co-stars, Press - "Xian Lim got emotional when Batangas Gov. Vilma Santos-Recto, Angel Locsin and director Bb. Joyce Bernal gave positive feedback on his work in Star Cinema's latest offering titled, Everything About Her. It can be remembered that during the film's principal photography, the Kapamilya star got flaks from bashers, questioning his inclusion in the project considering that its with two award-winning actresses and he hasn't proven anything yet in the acting department. "I'm really grateful to be part of this wonderful project," says Xian. "My heartfelt thanks to Star Cinema for the trust. The same goes to Direk Joyce. Tita Vi and Angel. Their encouraging words I will foreverl treasure. They've given me the chance to show everything I've got. It's a huge honor to work with them." The appealing lad considers the experience as part of a learning process. "Yes...If I really want to stay long in the industry. Tita Vi told me that I still have a lot to learn and discover to further hone my craft and I took her advice by heart. That's why I'm appreciative of all those who expressed their concern on me at the height of the controversy. I'm grateful that they boosted my morale then despite all the criticisms from my detractors." Speaking of the bad press he got. Xian is clueless why he received such. "It came to my attention when we were already mid-way in shooting the movie. In case many don't know, I read write-ups about me so I know what to maintain or improve on. In truth, before I started filming, I already had a feeling that issues like this would crop up. In a way, I was really anticipating this angle to be played up. So what I did was to turn the negative into positive. Of course I got hurt with the tirades on my acting, but I didn't let it ruin my disposition and whole being. Instead, I gave my best in the movie, I gave my best in the movie. I used it as a motivating tool and I guess, it worked!" Hearing the positive remarks from his illustrious co-stars and directors is more than enough for the popular actor. "It really feels good that Tita Vi, Angel and Direk Joyce came to defense. Their nice words are an attestation that I did well. To reiterate, I'm very honored to be part of this huge project. Definitely, it marks another milestone in my career,"ends Xian." - Joseph Peter Gonzales, The Standard, 25 January 2016 (READ MORE)

Political Climate in 1984 - "Like the fascist dictator, Adolf Hitler, Ferdinand Marcos labelled his political opponents "communists." The most prominent victim of his communist with-hunt was Ninoy Aquino. To be branded as a communist under the dictatorship meant one could be subject to a warrantless arrest or forced disappearance. With a president delusional with the thought that he was beyond criticism, most Filipinos opted to be politically indifferent during the Marcos regime. This was the position mirrored by Sister Stella Legaspi at the beginning of Sister Stella L." - Emmanuel Anastacio Reyes, Notes on Philippine Cinema (Collected Writings on Cinema) (READ MORE)

Political Climate in 1984 - "After declaring Martial Law in 1972, Marcos outlawed strikes and rallies to give the country a semblance of economic stability before the eyes of foreign investors. To enforce his edict, Marcos used the military and the police to harass, abduct, torture or murder those who openly challenged his rule. Remnants of this practice continue to haunt the country today." - Emmanuel Anastacio Reyes, Notes on Philippine Cinema (Collected Writings on Cinema) (READ MORE)

Real Life Drama - "...Luis also took the time to quash rumors that he and Angel had been seeing one another while in realtionship with other people. It was in October last year that both Angel and Luis broke up with their exes, Phil Younghusband and Jennylyn Mercado, respectively. "How is that even possible? For three years na walang text, walang kahit ano. In fact, Angle was even scared to see me for the first time kasi iniisip niya, there's so much negativity between us. That's why we also didn't want to see each other. Naiisip namin, kapag nagkita kami, it would bridge negativity. We were in that stage. So, how could I be the reason of their breakup, and how could she be the reason of my breakup?" he testified. He also emphatically denied that Angel was the reason for his breakup with Jennylyn. "Hell no," he exclaimed. For her part, Jennylyn has stated that she is moving on and would rather busy herself with work. On the other hand, Angel's ex-boyfriend Phil denied he was the one who got Denise Oca (daughter of character actress Melissa Mendez) pregnant, or that domestic issues or money matters were the cause of their breakup, while still professing his continuing love for Angel. Since then, Luis and Angel have gotten back together as a couple, and in the process, have become dramatically more open, more loving, and more tender. Having matured much since they broke up nearly five years ago, they are now much more a part of each other's lives. On Instagram, they often post pictures of themselves kissing and hugging as well as photos of Luis giving Angel a bouquet of scarlet roses for Valentine's Day on the set of The Legal Wife and Angel even guesting on Minute to Win It, the local franchise of the television game show that Luis used to host. Most heartwarming of all are the photographs of Luis at Angel's family reunion and of Angel together with Luis' mother, Star for All Seasons and Batangas Governor Vilma Santos, his stepfather Senator Ralph Recto and his stepbrother Ryan Christian Recto. In and interview with StarStudio, Luis confirmed that Angel get his mother's vote. "Oo naman, that's why I could watch them on their own, I was stepping back, I was talking to Ryan (his younger brother Ryan Christian) while they were having a girls' moment." He also has the approval of Angel's family. "I was always in touch with the Ate. Even nu'ng birthday ni Tito (Angel's father Angelo Colmenares) I would send a bithday greeting...I guess we simply continued where we left ouff after the first relationship. That's why we still have that bond, we still have that relationship," he explains..." - Rome Jorge, Francis Simeon, Photo Credit: Allan Sancon, TFC All Access, May-June 2014 (READ MORE)

Angel Locsin is with Vilma Santos in new movie - "Angel Locsin open 2016 by having the privilege of working for the first time with Star For All Seasons Vilma Santos and director Joyce Bernal. Angel described the veteran actress as kind, gracious, very professional, and open to everyone. The award-winning actress and Batangas Governor is also the mother of Angel's boyfriend Luis Manzano. In the movie entitled "Everything About Her," Vilma plays Vivian, a cancer-afflicted but strict CEO of a big company, Angel plays Jaica, a nurse tasked to take care of Vilma's character. Actor Xian Lim is Vivian's son, Albert, who felt neglected all his life. "Everything About Her" is scheduled to be released on January 27." - The Filipino Journal, January 20 - February 5, 2016

Mga Tigre ng Isang Mansyon - "...The expansive dining room features an old-fashioned banggera, where table ware and glasses are left to air-dry. This area of the house figured prominently in the 1972 shooting of the Vilma Santos-Dante Rivero-Charito Solis war-themed movie, “Mga Tigre ng Sierra Cruz”. A utility wing is conjoined with the dining area. A small veranda and the white-tiled bathroom are found here, complete with claw foot porcelain tubs and modern plumbing. Space flows from one room to another leading you to the kitchen and semi-enclosed azotea with stairs that you down almost down the Sapang Balen bank. In its prime, the Morales mansion was furnished with the latest furniture from the House of Puyat: 6-footer book shelves to hold Don Rafael’s legal tomes, tryptich tocador, plateras and a hat and cane stand. In the ante-sala, the portraits of the family forebears, Apung Palu and Apung Quintin, cast their steady gaze on arriving visitors. A life-size wedding picture of Don Rafael and Dña Belen was the focal point of the living room. A large mirror with elaborate etched designs also was hung there. The well-tended gardens were lush with rosals, palms, San Francisco, agave and other succulents. Kamias, mango and acacia trees provided fruits and shady canopies all year-round. As late as the 1970s, reunion parties, soirees and basketball games were held in the courtyard and the wide cemented grounds..." - Alex R. Castro, Views From The Pampang, 10 December 2008 (READ MORE)

Vilma, Tsuper Hero winners at Indie Fest - "Vilma Santos (left), as Loida Malabanan in Ekstra (The Bit Player), won the award of Merit Special Mention for Lead Actress, and Tsuper Hero (Filipino Jeepney Driver/Hero), as short film by Ernest John Talusan (right) an Award of Merit in the 7th IndieFest Film Awards in La Jolla, California, USA. Other international actresses who won the Award of Merit Special Mention for Lead Actress were Kris Torhaug and Natalie Neilson for Chasing Rainbows (USA), Corinna Coroneo for La Scultura (Italy) and Jenny Lampa for The Break-in (Sweden). The 11-minute Tsuper Hero "tells the difficulties of a Filipino jeepney driver Radfol Pilones) earning enough money to send his daughter to college even if he ends up risking his own life." It will be screened in the 8th Tottering Biped Film Festival in Burlington, Canada, March 6 to 7. A global film competition for cinematic gems and unique voices and promoting filmmakers to a global audience, the film awards was established in 2009 to give talented directors, producers, actors, creative teams and new media creators the positive exposure they deserve." - The Philippine Star, 02 March 2015

There Will Be Blood - "In Philippine Cinema, sex is often depicted as a source of trauma rather than pleasure for a woman. Hence what emerges from her body is blood and we see plenty of it trickling down her legs as when she gets taped, has a miscarriage or an abortion. In Tagos ng Dugo (1987) directed by Maryo de los Reyes, the lead character played by Vilma Santos turns into a killer each time she has her painful menstrual period. The cramps that drive her crazy is a condition that she associates with having been rapes as a young girl." - Emmanuel Anastacio Reyes, Notes on Philippine Cinema (Collected Writings on Cinema) (READ MORE)

Transformed Fan - "...The enviable task of fetching Vilma from an undisclosed hotel to be brought to the house was assigned to my father. To get to the shooting venue without attracting the attention of the motley crowd to get a glimpse of the stars, Vilma was whisked off to our own house which had a connecting passage to my relatives’place...For the next three days, I fell under the spell of Ate Vi—easily transforming me from a Noranian to Vilmanian. More so when, during a lull moment in the shoot, I had the gumption to talk to her (her co-star Dante Rivero refused to be interviewed!), and I even managed to put on tape our short conversation which began with her greeting ”To all the people of Mabalacat, I love you all!!”. Who wouldn’t be charmed by her sweetness? (Though I bet that was a standard line she said to ALL the people in ALL the towns she visited)...On her own, Vi was just as sensational, assuming iconic roles as Darna and Dyesebel (1973) and jumping into the disco bandwagon with hits like ”Rock, Baby Rock”, “Good Mornings, Sunshine” and “Disco Fever”—all done in the 70s...The winsome “Ate Vi” that I met 4 decades ago, continues to shine like a true star that she is—a star for all seasons, for all Kapampangans to be proud of..." - Alex R. Castro, Views From The Pampang, 10 September 2008 (READ MORE)

Lost Cassette Tape - "...We live right next to my granduncle’s 1924 mansion, an old, rambling two-storey house with a period look and a photogenic façade, located in Sta. Ines. It was no wonder then that a film outfit, Lea Productions, decided to rent the uninhabited Morales mansion for two days, to serve as a shooting location for the wartime movie, “Mga Tigre ng Sierra Cruz”, in the summer of 1974. This was no ordinary movie as it starred no less than the star for all seasons, Vilma Santos, still a teener at that time, whose Kapampangan roots were in nearby Bamban, Tarlac. Of course, our whole family was consumed with excitement—and so was the whole Mabalacat town, as word got around that indeed, Ate Vi, was coming to town! Our family was mobilized by the producers to assist in ensuring a smooth, trouble-free shoot on the day of the filming which was to take place late at night. My father was even assigned to fetch Vilma Santos from her lodge in Dau and taken to the shooting venue through our house. But the moment the shooting lights went on, scores of town people appeared from nowhere to gawk at the cinematic goings-on. Still, being relatives and the unofficial caretaker of the house, we—and a platoon of relatives who came all the way from Manila to stargaze, had the front seats to the shooting. Director Augusto “Totoy” Buenaventura was in command the whole time, calling take after take...The best part of the shoot was meeting the stars of the movie in person. I became an instant Ate Vi fan when she obliged the townpeople gathered outside the gate with a personal appearance, waving her hands to the crowd below from the balcony. The whole town just went mad. Later, with my portable cassette recorder, I even managed to interview Ate Vi, asking how she could possibly retain her composure despite her stardom. I asked a lot of showbiz questions that would put Ricky Lo to shame. I kept playing our recorded conversations for months after that, until I lost the cassette tape...I don’t think “Mga Tigre ng Sierra Cruz” made a killing in the box office, either. Many shootings have been held at the grand Morales mansion since then—the most recent one was undertaken by U.P. film students in March 2009. But old folks who pass by the street still point to the old mansion and refer to it as “the house where they shot the movie ‘Mga Tigre ng Sierra Cruz’ starring Vilma Santos and Dante Rivero”. The magic of that cinematic moment of over 30 years ago still is remembered, enriching the history of the house. Now that’s entertainment!" - Alex R. Castro, Views From The Pampang, 02 November 2009 (READ MORE)

Who Wins The Acting Contest - "...The movie comes to a head when the two women discover each other’s identities. Rex realizes that the thrill he gets when he’s skydiving, a feeling that he belongs to everyone and to no one, is what he has been seeking by indulging in both affairs at the same time. Ultimately, the movie asks: Is love a form of wealth that should be equitably distributed? When Rex finally confesses to both of his female lovers that he cannot live without either one of them, he tells them: “Sino ba’ng makapagsasabing: ‘Ito ay akin.’ ‘Siya ay akin.’ ‘Ikaw ay akin.’” (Who can truly say: ‘This is mine.’ ‘She is mine.’ ‘You are mine.’) Echoes of this same question resonate in one protracted scene right after Tere and Rex have made love. As they shift in bed, when a lover’s arm is on top of the beloved’s body, who is owning whom? The other question begging to be answered is “Who wins the acting contest?” Nora or Vilma? Nora plays Tere as an immovable object, quiet in her practicality. Vilma plays Sandra as an irresistible force, flamboyant in her vulnerability. But the real winner here is the director Bernal who deftly channels his two actresses’ unique gifts into the kinds of characters that each of them can perfectly inhabit. Mr. Bernal layers his scenes with his film’s main theme. When Rex shoots darts, he only plays with three -- a red one and two in black. When Rex visits Sandra in the hospital, he lends her three books. It is a deceptively simple movie that is rich with many meanings. If only subtext were a form of wealth that can be equitably distributed across all of Philippine cinema..." - Noel Orosa, Business World Online, 23 February 2016 (READ MORE)

High-wire Balancing Act - "You’ll have a hard time finding an actress busier than Vilma Santos these days, but the seeming ease with which she juggles her chores as a movie queen, a hands-on wife and mother and a dynamic public servant demonstrates how she embodies the prized appellation attached to her name: Vilma is the Star for All Seasons—and Reasons! She works very hard, but she makes the high-wire balancing act look like a walk in the park. Ate Vi, who’s on her last term as the first female governor of Batangas, was in the middle of meetings when we texted and asked her for an interview for this piece last month, but it took her only a few minutes to reply—no annoying handlers, no cordon sanitaire. She doesn’t make you feel like her schedule is more important than yours. One time, she called us at 9 a.m. so we could meet our deadline for an article that we were writing for NUT (Nestor Torre, editor of Saturday Special). Another time, we got a call from her a few minutes after deplaning from her US trip! Would other big stars be as accessible—and approachable? The actress’ answers are as honest as they’re straightforward, but she isn’t beyond asking you for your opinion about the issues being discussed—from Pia Wurtzbach’s triumph as the country’s first Miss Universe in 42 years (“Regardless of the mixup, the crown belongs to her now”) to the phenomenal tandem of Alden Richards and Maine “Yaya Dub” Mendoza (“What they have is a gift—but they need to sustain their popularity with projects that’d prove that they’re more than just overnight sensations”). Her impeccable people skills and her openness for discussion and discourse are among the reasons why the 62-year-old acting icon is good at what she does: She doesn’t just talk—she also listens..." - Rito P. Asilo, Philippine Daily Inquirer, 08 January 2016 (READ MORE)

Tita Fe - "...But perhaps the strongest applause, the hardest laughs, and loudest cheers of the night came from the solid Vilmanians. Felicidad Pua, or Tita Fe, made sure that her grandchildren’s school clothes were neatly ironed before leaving her home in Padre Faura, Manila. She looked neat too, wearing a Vilma 50th Showbiz Anniversary Shirt, while holding a magazine where Ate Vi is cover. After all, it was a big night for her, her fellow Vilmanians and their icon. Tita Fe is a member of the Vilma Santos Solid International Inc. (VSSI), an organization of Vilmanians devoted to support the actress-politician’s every endeavor. She claims they have a thousand-strong membership roster, with members coming from all over the world. The group is also actively campaigning to have Vilma Santos declared as National Artist. Judging by her faded VSSI photo card, it wasn’t hard to believe when she said she has been a Vilmanian for well over three decades. (I wonder if Twilight fanatics can remain faithful to their fandom for just as long.) After learning that this blogger is from UP, she said she was there too, when Vilma Santos received the Gawad Plaridel recognition by the College of Mass Communication back in 2005. Tita Fe said she arrived with other VSSI folks in serviced vehicles with members coming from as far as the provinces Ilocos and Pampanga. Most of them were wearing the annniversary shirt (photographed above) in either black or yellow. I asked how she liked the film after seeing it, and she smiles before replying “Kailangan pa bang itanong ‘yan.” And I smiled back. There I was right after a film starring Ate Vi, asking a Vilmanian whether she liked the film she just saw. Just before we ended, she reminded me to cast my ballot and vote for the film as Audience Choice. I said I will. And I did. I may have turned into a Vilmanian without knowing it." - Aaron, A Little Too Aaronic, 28 July 2013 (READ MORE)

Thinning Hair and Mrs. Coco Roco - "...Despite his thinning hair, Rafael Roco, Jr. instantly became the most sought-after leading man. He was paired with the leading actresses of the day in some of the best movies directed by the greatest Filipino film directors during this golden age of Philippine cinema. He shared stellar billing with Nora Aunor in Mario Ohara’s Tatlong Taong Walang Diyos; with Vilma Santos in Celso Ad Castillo’s Pagputi ng Uwak, Pag-itim ng Tagak; with Hilda Koronel in Behn Cervantes’ Sakada and Lino Brocka’s Hayop sa Hayop; with Chanda Romero in Eddie Romero’s Banta ng Kahapon and Gil Portes’ Sa Piling ng Mga Sugapa, with the latter giving him another best actor trophy from Gawad Urian, and many other memorable films. During the filming of Pagputi ng Uwak, Pag-itim ng Tagak, Rafael Roco, Jr. started wearing a wig due to his thinning hair...Rafael Roco, Jr. married a fashion model, Coco Artadi, who therefore became known from then on as Mrs. Coco Roco. Later, Rafael Roco, Jr. decided to finally get rid of his hairpiece. And he shaved his head permanently. He also replaced his screen name with his real nickname. Thus, Rafael Roco, Jr. became known as Bembol Roco. Although his decision to shave his head limited him to character roles, Bembol Roco remained as one of the country’s most brilliant actors, together with the original Julio Madiaga..." - Nick, Untold Pinoy Stories, 17 July 2007 (READ MORE)

Sirkian Framing in Films - "...Mario O’hara, a previous writer and actor of Brocka, also uses the sirkian framing like de Leon and Brocka. When he used to direct my scripts for Alindog, the window in the set, or a doorway, or even a lattice division between the kitchen and dining room – were all utilized beautifully to frame the characters. Even now, the Sirkian influence could still be seen in many Tagalog movies. The framing makes sense, it adds drama, makes the scene visually beautiful. But, I only wish that the younger filmmakers eradicate the lugubriousness of Sirk’s orchestration of melodrama to solicit emotional response from the audience. But, sad to say, the Philippine movie industry seemed to have got stuck and has been suffering from a fixation known as the “heavy drama obsession.” SINUNGALING MONG PUSO is just one example of Sirk's influence. But what made this film even more horrific is that all the actors in this film, except Vilma Santos, were a hopeless case of "acting running amuck". It was definitely patterned from Douglas Sirk’s smash hit films that many starred Rock Hudson: Magnificent Obsession (1954); All That Heaven Allows (1955); There's Always Tomorrow (1956); Written on the Wind (1956); A Time to Love and A Time to Die (1958); Imitation of Life (1959); to name a few. Next time you watch a Tagalog movie, listen to a radio soap opera, watch a telenovela, read komiks – look for some Sirkian elements in them. Chances are they’re there, blatantly popping its lachrymose head, most especially if you made the mistake of blinking your tearful eyes." - The Cool Canadian, 09 May 2008 (READ MORE)

Synonymous with Exaggeration - "...In Filipino movies, drama is synonymous with exaggeration. In many films, scenes of cruelty, violence and torrid sex are depicted with little restraint so that they border on distasteful. In Tagos ng Dugo (1987), a young girl is raped after her parents are mudered. While she's being abused, blood from her murdered mother's body drips through the ceiling and falls on her forehead. In Kapag Napagod and Puso (1988), a harassed movie director (Christopher de Leon) takes out his frustration on his young wife (Snooky Serna) by smashing her face, pounding her head on the wall and punching her pregnant body black and blue. Once it was sufficient to depict adult activities by implication. To speak of sex on screen, it was enough to show a couple closing a door as they entered a room. A passionate embrace or a kiss is always followed by a quick fade to black. But nowadays, with sexual liberation and the heightened sense of realism demanded by viewers, Filipino movies have become more graphic in their treatment of sexual matters. There is now a greater curiousity for the phenomenon of the woman's body. It is a must to depict menstruation (Tagos ng Dugo), labor pains (Kapag Napagod ang Puso) and a miscarriage (Burlesque Queen, 1977) by showing blood stains on the garment near the area of the vagina and blood trickling down a woman's leg. The first signs of pregnancy are always dramtized by showing a woman throwing up in asink (Pasan Ko ang Daigdig, 1987). Abortion scenes have a very clinical look: a woman must be shown lying down with her legs in stirrups as a doctor or quack performs the bloody operation. Since abortion is illegal in the Philippines, it is common to depict abortion scenes ending in tragedy. In Celso Ad. Castillo's Nympha (1971), a woman is left to die naked, wallowing in her own blood on the floor after doctors fail to stop her bleeding following an abortion. Childbirth scenes are just as graphic. In Nunal sa Tubig (1977), a baby's head is shown emerging from a vagina..." - Emmanuel Anastacio Reyes, Notes on Philippine Cinema (Collected Writings on Cinema)..." - Emmanuel Anastacio Reyes, Notes on Philippine Cinema Collected Writings on Cinema (READ MORE)

MET Display - "Vilma In Person, first appeared on August 8, 1986. The pilot episode was shown from the Metropolitan Theater as a temporary studio where Vilma Santos and the VIP Dancers performed. Broadcast live from the Met every Friday until the 1990s, the popular musical variety show then moved to GMA Broadway Studios. While several top Filipino celebrities made their debut at the Met, its condition deteriorated in the '90s due to several factors." - Reported through Facebook, 2016

Fight Scene - "...In 1974, our house became a setting of GPS Productions’ “Vivian Volta.” Vilma Santos shot one scene, a fight scene...Edgar Mortiz , who was also in the movie, accompanied Vi to the set. I read in some gossip column that Vilma and Edgar that time had already problem with their relationship. Basketball star Dave Brodett, who was rumored to be courting Vilma, paid the young actress a visit at the set. Several scenes were also shot the following day, with veteran actor Eddie Garcia, playing a mad scientist and comebacking actress Leonor Vergara, who played his wife..." - Posted by Simon Santos, Video 48, 21 September 2017 (READ MORE)

Hindi Nakaporma - "She was bubbling with joy," puna ni Mark, who obviously was smittened yata with Vi's charm. Kaya lang, ang balita namin, tipo raw na hindi nakaporma si Mark kay Vi dahil sa isang Dutchman na laging nakadikit sa aktres. Kamukha raw ni Ramil Rodriguez ang "suitor"na ito ni Vi at talaga raw matinding-matindi ang tama sa ating dalaga. Makikita ninyo sa movie ang Dutchman na ito dahil kasama rin siya sa cast ng "Miss X." At mukhang seryoso raw ang Dutchman na ito dahil may nagbulong sa amin, malamang na pumunta siya rito sa ating bansa para totohanin na ang kanyang panliligaw. Kapag nangyari ito, masaya siguro. By the way, back to Damsquare, naroon din daw pala ang palace ni Doña Juliana, ang reyna ng Amsterdam, pero hindi siya doon nakatira. Minsan isang buwan lang kung buksan ang palasyo at itoý kung may cabinet conference. Si Doña Juliana ay anak ng first queen ng Amsterdam na si Doña Wilhelmina. Sa Soastdijk (pronounced as Susdak) siya nakatira. Isang lugar din ito sa Netherlands. Ipinasyal din ni Mark si Vi sa Red Light District. Dito kinunan ang malaking bahagi ng "Miss X." Dito nga makikita ang much talked about na mga babaing naka-display sa eskaparate at for hire for a 15-minute pleasure..." - Article by Chit A. Ramos, Photos: Bing Cruz, first published at Jingle Extra Hot Magazine, 26 November 1979, Posted by James DR, Pelikula (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)

#AngelLocsin, #XianLim, #MgaTigreNgSieraCruz, #LuisManzano, #SisterStellaL, #Darna, #EkstraTheBitPlayer, #EAH, #EmmanuelAnastacioReyes, #NotesonPhilippineCinema, #TagosNgDugo, #MET

Film Review of Broken Marriage

Broken Marriage; directed by Ishmael Bernal; written by Jose Carreon and Bing Caballero; starring Vilma Santos and Christopher De Leon; produced by Regal Films (* * * * *). Broken Marriage is Ishmael Bernal's best film since his ill-fated Manila by Night/City After Dark (1980). In fact, Broken Marriage is-in the sense the term is used by painters-a detail from the huge canvas of City After Dark. The theme of this latest masterpiece from the Master is simple: the emotional violence in a marriage mirrors the physical, political, and social violence of the city, City After Dark gave a bird's eye view of the city. Broken Marriage looks at the city through the eyes of a woman. The violence in the marriage of Christopher de Leon and Vilma Santos is obvious enough. He is a conscientious, compassionate, successful police reporter who is just about to be promoted. They are, in other words, alike. Like poles repel, goes the age-old adage from physical science, and these two career-conscious individuals have no time for each other. He spends his leisure hours reading or catching up on videotaped films. She spends her time on the telephone, making her home an extension of the studio. Bernal cleverly places an issue of Time magazine always within reach of de Leon. The director is saying that time is what is just beyond the reach of these two persons who are in love, not with each other, but with themselves. In fact, their very similarity (they are both sloppy in dressing, in fixing their things, in working habits) points to what must have made them fall in love in the first place; they both see themselves in each other.

To say that the two persons are "incompatible"is to miss a lot. They are, in fact, extremely compatible, because they look, think, and act the same. They both want the marriage to revolve around themselves. They both want fame and fortune. They both want to be loved by the children but not to spend time loving them. They are both stubborn, yet forgiving. They are both faithful to each other, almost to a fault, yet they cannot stand each other. Is Bernal saying that marriages can never work if the two partners are equal in every respect? Is he saying that only a male chauvinist marriage can work, where the man works all day and the woman stays home? Or is he subtly suggesting that marriage itself as an institution is an anchronism in a rapidly-changing world? There will be various interpretations of this film, depending on one's own preception of one's own marriage. But disagree or not, viewers cannot fail to see what Bernal's underying thesis is-that the violence in urban, middle-class marriages is caused by violence outside the house. The home is the center that has failed to hold together. The city is the world that has become "broken."

Bernal cleverly shows that he is interested not only in a marriage, but in the city, when he lets his background seep into the interstices of the plot. In the first sequence, for instance de Leon is watching Bonnie and Clyde on videotape, an obvious hint that Broken Marriage will also be about love in a violent setting. In Bonnie and Clyde, if you recall, the two lovers-having rediscovered each other are mercilessly mowed down by law enforcement officers. Similarly, the marriage in Broken Marriage is "mowed down"by the lawlessness of society. Again ang again, Bernal includes violent news from the otuside of the home. Rod Navarro's voice is heard talking about the Middle East war. A bank shoot-out is headlined by de Leon's paper. During the climactic break-up scene, The Greatest American Hero is showing; in that series, the hero needs extraterrestrial help to combat crime in the modern world. The registration scene in the university shows the lack of discipline that pervades Manila. If the city is not disciplined how can a small family be? Sprinkled throughtout the screenplay are derogatory remarks against institutions noted for their lack of discipline-Meralco (taping is hurried because of an imprending brown-out), MWSS (Santos refuses to pay a bill for water since there has been no water in her neighborhood for months), the Ministry of Publick Highways (streets are described and shown to be full of diggings), the police (who are asked by de Leon to "salvage" or murder a Chinese prostitution king pin), movie actresses (one star fails to appear for a song number), movie producers (Orestes Ojeda's only object is to sleep with Santos), and, most appalling of all, politicians (personafied by a fictional mayor who points a revolver at de Leon). In short, this is City After Dark all over again, but with more subtle, probably more lasting, effect.

The ending has been criticized by a couple of reviewers. It is true that the beach sequence smacks of commercialism. All's well that ends well, and all that. But City After Dark, we may recall, also ends on such a happy note. We may disagree with Bernal's perception that there is always hope left fro man, woman, and the city, but we cannot disallow him his views. In other words, most of us cannot agree that the broken marriage can be mended, but Bernal thinks so, and his films have all ended on such an up-note. I personally would rather see a darker, more realistic ending, but Bernal would not be Bernal without his happy endings. It's not a completely happy endings, anyway. Two sequences before the beach scene. Bernal films the wedding scene in a haze, as though he were saying that whatever follows the wedding is mere romance. It is like Bonnie and Clyde. The gansters dream of a happy life together, spinning romantic castles in the air. But as soon as it is time to go out into the real world, violence is right there at the doorstep. The ending is filmed as a romantic interlude, but the reality is waiting around the dark corners of the city, like the mayor's goons who cannot stand the thought that someone is finally about to tell the truth. - Isagani Cruz, Parade Magazine 1983, reposted by Pelikula Atbp (READ MORE)

Hindi Pa Ako Kasal - Vilma

Ate Mers, please lang, o...pakilinaw mo naman sa kanila na hindi totoo ýung balita na kasal na raw ako. Kami ni Bobot. Ito ang parang batang sumbong at ungot ni Vilma nang makita kami sa set nila ni Jay ng "Tsimosang Tindera" sa may LVN. Iyan nga rin ang itatanong ko sana sa 'yo e. Balitang balitang-balita, a. Na secretly married na raw kayo ni Bobot. Sa Cavite pa raw. Diyos ko, Ate Mers. Hindi totoo ýan. Iyan din nga ang itinatanong sa akin ni Mommy Cora (Mommy ni Jay) kanina. Kung kasal na raw ako. Naku, sabi ko hindi! Ow, baka naman totoo na nga. Ayaw mo pang aminin wala namang masama roon. Pati ba naman ako paglilihiman mo pa. "Well, kunsabagay, hindi na nga pala ako kasali ngayon sa mga taong pinatatapatan mo. Panghuhuli kong wika. Medyo drama effect ang sound. Take one baga. Ito talaga si Ate Mers, oo! Palibhasa'y wala na aksing panahon ngayon kay Vilma 'tapos ako pa ngayon ang babaligtarin mo kaya nga ikaw ang sinasabihan ko nitong tsismis na kumakalat sa aking ngayon dahil hindi na kita itinuturing na iba. Para ipagtanggol mo ako. Pero iyon naman e, kung mahal mo pa si Vilma Santos. Kung hindi na, okay lang. Ganting drama naman nito.

Ooops, teka...teka. Drama na naman tayo niyan eh! Tuwing magkikita tayo, eksena na natin 'yan. O sige. Serious na tayo muna. O, anong problema natin, Kid? Iyon na nga. Kalat na kalat na kasal na raw ako ngayon. Oo nga eh. At balita pa na husband and wife na raw kayo ni Bobot diyan sa bagong bahay n'yo sa may Fairview. Diyos ko naman, hindi totoo 'yon. I swear. Maski mamatay man kaming lahat ngayon. Bakit hindi ko aamninin kung kasal na akong talaga e, wala namang masama roon? Ang kaso nga lang, hindi naman totoo e. Kung kasal na ako, ibubulgar ko, ba't hindi. Hindi ko ikakahiya at itatago na nagpakasal ako sa lalaking mahal ko. Dahil para sa akin, to marry the man I love would be the greatest event in my whole life, so bakit ko ide-deny 'yon? Okay...okay. Relaz, Kid. So hindi pa kayo kasal? Hindi pa talaga. Totoo 'yan? Totoong-totoo. Honest. Ang hirap naman sa'yo, parang hindi mo ako kilala eh. Kabisado mo naman ako, di ba? Pero may plano na kayong pakasal sa taong ito? A, wala pa. Desidido pa ako ngayong magpakasawa sa pagiging dalaga. Isa pa, deeply involved ako ngayon sa aking movie career. E, ano 'yung nabalitaan ko na ikakasal ka na raw sa Feb 4? Sinong nagsabi sa 'yo niyan?

Wala. Basta 'yan ang balita ko, e. Aw, come on. Alam ko may nagsabi sa 'yo niyan. Sabi na naman sa 'yong wala, e. Balita ko lang 'yon. Ow, mayroon alam ko. Dahil isang tao lang ang pinagsabihan ko niyan. O, kita mo na. Di totoo nga 'yung Feb 4. Hindi. Lokohan lang namin 'yon. Nino? asked ko kunwari. Hus, kunwari pa raw 'to e, alam ko namang alam mo kung sino. Dahil siya lang ang pinagsabihan ko niyan. Sino nga ba 'yon? Sabihin mo. Si Jay sino pa. Talaga 'yang Ilagan na 'yan, makikita niya. O, ikaw ang nagsabi niyan, ha. Wala akong binabanggit na pangalan ni Jay. Hindi, ang totoo Ate Mers, lokohan lang naming dalawa 'yon. Usapan pa nga namin double wedding kami, e. Sa Feb 4 nga. Hindi na. Ayaw ko. Nagbago na ng date si Jay. Sinabi niya sa amin sa February 14 siya pakakasal. Sa St. Andrew Church pa nga e. Hus, maniwal ka doon. Puro goodtime 'yon. Stir lang 'yon tulad nang wedding supposed to be ko sa Feb 4. Talaga 'yang si Jay na yan, oo. So talagang hindi totoo 'yung balita na kasal ka na? O, eto ka na naman. Sabi nang hindi...hindi and a thousang hindi. Hindi pa kasali 'yon sa mga plano ko sa ngayon.

So, no wedding plans for you yet this '73, ha? -paniniyak ko. Mahaba pa ang taong 1973. Ngayon pa lang tayo nag-uumpisa. Anything, can always happen kaya ayoko munang mag-comment. It depends. Malay natin. So, may possibility? U-hurmnnn. Ikaw talaga, Ate Mers, ha. Hinuhuli mo ako talaga ano. Kabisado na kita e. -At tumawa siya. Tawang Vilma Santos pa rin na kilala ko. 'Yung Vilma na hindi artista. O, ngayon kid, anong gusto mong i-headline na natin dito. Basta sabihin mo na lang sa kanila, pag ikinasal ako, ibubulgar ko. Hindi ko itatago. Lahat makakaalam. Promise 'yan. Please lang Ate Mers, ha. Ikaw na ang bahala. OO, ba. Basta ikaw. Hayaan mo. Bukas na bukas din, ihe-headline natin....Vilma Santos Ikakasal na sa Katapusan! Okaw ba 'yon? Ano? pabigla nitong tanong. Sa katapusan...sa katapusan ng mundo! And what d'ya expect? Kurot. Tawanan. Habulan. Iyan lang naman ang ending ng usapan namin nang hapong iyon. But one thing is maliwanag na ngayon, ha? Hindi pa kasal si Vilma. Take my word okay? - Mercy S. Lejarde, Bulaklak Magazine, 05 February 1973, reposted by Pelikula Atbp (READ MORE)

Off-Guard Moments With Vi

So sweet, so cute, malambing but somewhere mayroon din siyang kapilyahan. When we say pilya, we mean she's smart, hindi agad pahhuhuli laging may panagot, hindi mata-trap. At ang husay sa biruan. Ala-razor-sharp with ba. Parang ganoon. Kaya nga siguro lalong lovable si Vi. Tulad noong isang hapon nang puro biruan na lang ang nangyari sa amin sa LVN nang hinihintay naming mag-take ang latest starrer niya. Dumating siyang naka-Tshirt na may design na pang-basketball. "Tumaba ako eh, five pounds. Kaya nagpe-preno ngayon ako sa pagkain," una niyang bati. May baon siyang kutsinta, hamburger sandwich, puto. Ipinamigay niya sa mga kasamang alalay, kaunti lang ang kinain niya. "Ang hirap mag-slow down sa food." Napag-usapan ang basketball. "Wow iyung cover ng isang magasin. Idolo ko, si Atoy Co. Sapak talaga. Alam mo, kung naging lalaki lang ako, nag-try out siguro ako as a basketball star." May nag-abot sa kanya ng lotion. "Uy, pabango iyan ni Edgar, ah! Ganyan ang kanyang ginagamit," may isang kaibigang nag-coment. Sabay-tango ni Vi. Approved agad siya, with a hint of smile sa kanyang lips. Lalo siyang parang makopa.

"Bakit nýo alam. The same nga, alam mo naman kami ni Bot. The same taste, kasi..." she stopped, tinukso siya ng nakapaligid. But before the audience could add jesting remarks, si Vi na ang nagtapos, "Kasi...love-team kami!" Haaay, reaction ng iba. "Belat, akala nila kung ano na," she childishly remarked sabay upo sa silya, nakasalampak. Hardly the ladylike you see sa tv. Niyaya siya ng make-up artist. Kailangang maglagay na siya ng foundation. Naroon sila sa isang table. "May pimple ka ngayon," pansin ng make-up artist. "Oo nga, bakit ganoon?" she wondered too. "In love always kasi," may nanukso na naman. "Oo na nga!" natawang sagot ni Vi. Biglang entra ni Jay Ilagan, leading man niya sa sinu-shoot na pelikula. "Tita Vi, hindi mo kasama si Tito Bot?" Ngumiti lang si Vi, Sus, ito pala ang bagong pet names nina Vi & Bot. Mayroong tita at tito. Naging pamangkin pa nila si Jay! Ang labo! "Tita Vi, nakita ko si Tito Bot kahapon. Tsk. Bakit naman siya ganoon? Tsk... Pero hindi ko sasabihin sa iyo, what yo don't know won't hurt," at ibinitin ni Jay and Vi held her laughter.

"Oo, sige, pagkaisahan nýo ako. Saan mo naman nakita? Siguro ang kasunod, may kasama siyang ka-date!" "Bakit mo naman nalaman? Nakaakbay, ganito," at ini-arte ni Jay. The teasing session ended sa tawanan, hinampas ni Vi si Jay. "Naku, ayaw ko ng uling sumakay sa bapor o sa bangka. Talagang nagkaphobia na ako. Hinding-hindi na," biglang change ng topic ni Vi. Flashback sa muntik nilang pagkalunod nina Edgar. "Sabi nila, signus ko raw ang tubig, dahil hayan, may puro ako sa may noo. Totoo kaya iyon? But anyway, mabuti na iyong nag-iingat." "Tita Vi, bakit may sumpong ka yata kagabi," tanong ng isang crew. "Hindi naman, kaya lang nakapuna ako. Niloloko ako eh. Imagine, sa tuwi kong itatanong kung ilang eksena na lang, ang parating sagot, tatlo na lang. Sus, hindi na nabawasan. Kaya nagkunwari naman akong naiinis. May lakad pa naman kami kagabi," she said with a smile - with whom - tiyak si Bobot. "Siyempre nga," she confirmed our guess. "Next shooting naman, Malapit nang matapos ang aking costume. Imagine, magiging Darna rin pala ako, e, noon, paborito ko iyon sa komiks," she further said. Nagsimula na ang shooting. But in between takes, naroroon pa rin si Vilma, may panahon sa biruan, may time for rehearsal ng kanyang lines. Ang kalimitan, take one lang ay very good na. - Baby K. Jimenez, Bulaklak Magazine, 05 February 1973, reposted by Pelikula Atbp (READ MORE)

Vi at Doods: Mayroon Pa Bang Ikalawang Kabanata

Isang grupo ng mga fans ang na-attract na manood habang nagsu-shooting sina Vilma Santos at Edu Manzano ng Palimos Ng Pag-ibig sa beach resort sa Puerto Azul. During the shooting break, their son Lucky joined the couple at napailing-iling ang ilang mga tagahanga nilang nanonood sa kanila. "Bakit pa kaya sila naghiwalay?" tanung-tanungan na mga ito sa isa't isa. "Sayang at bagay na bagay pa naman sila. Tingnan n'yo, kapag kasama nilang ganyan si Lucky, they look like a picture of a very happy family!" At idinugtong pa ng isa: "Sana, magkabalikan na nga rin sila hindil lang sa pelikula kundi pati na sa tunay na buhay." Wishful thinking, hindi ba? But then, wala namang masama sa ganyang wishes. Hangad lang nila ang kaligayahan ng mga iniidolo nilang bituin. As for Vi and Doods, kung titingnan nga sila, magkakamali't magkakamali kang tiyang dahil they're really so sweet and attentive to one another. Parang walang puwang na nakapagitan sa knaila at sila pa rin ang adoring husband and wife na devoted to each other hangggang ngayon. "Bakit masama bang maging friendly and thoughtful kami sa isa't isa?"depensa agad ni Vi nang biruin siya ng isang writer about her extra closeness to Doods "Talaga namang comfortable na kami ni Doods sa isa't isa, a."

Very obvious na ang unang nag-e-enjoy nang husto sa constant togetherness nina Vi at Doods ay walang iba kundi ang tanging anak nilang si Lucky. It must bring the boy so much happiness seeing his patents na laging magkasama. Nakakalaro niya ang mga ito nang magkasama, just like any other kid with a normal family life na sa mga outings sa beach ay kasama kapaywa ang kanyang ama at ina. ang Palimos ng Pagibig bale ang second movie nina Vi at Doods bilang magkatambal. More than five years ago ay ginawa nila sa Amerika ang Romansa. Since then, maraming-marami na ngang nangyari sa buhay nila. Dumating si Lucky to make them his proud and happy parents, at ngayon split na sila. Tinatanong namin si Vi kung ano ang pagkakaiba ng pagtatambal nila ngayon ni Doods sa Palimos kaysa sa unang pelikulag tinampukan nila noon. "Marami!" agad na sagot ni Vi. "Unang-una, sa tingin ko, mas demanding itong pelikulang ginawa namin sa ngayon kaysa noon. At acting-wise, talagna malaking malaki ang ibinuti ni Doods. Ako mismo, nagugulat sa husay niya ngayon. Akala ko noon, press release lang iyon para sa mga ibang pelikulang ginawa na niya. Pero ngayong nakasama ko na siya uli mismo, aba napatunayan ko sa sarili ko ang sinasabi nilang talagan ang galing-galing na nga niya ngayon at an actor, hats off ako."

Sang ayon agad si Doods sa sinabi ni Vi na mas demanding ang pelikulang Palimos ng Pagibig kaysa sa Romansa. "Noon kasi, parang bakasyon lang kami noon sa States, tapos, ayun nga kasabay ang paggawa namin ng pelikula," pagkukuwento niya. "Kapag naisipan naming doon mag-shooting sa gano'ng scenic spot, di pupunta kami roon at doon masu-shooting for that day. Para bang laro-laro lang noon. We played the role of Filipinos na nagkakilala sa Amerika, noong una'y nagka-asaran, and later on, nagkagustuhan. Noong una, napagkamalan pa nga siya akong Iranian doon sa movie. Ibang-iba ang Palimos ng Pagibig dahil tungkol talaga ito sa mabigat na problemang hinarap ng isang mag-sawas. The situation are entirely different and much more challenging. But with Eddie Garcia directing us, palagay ko naman we did justice to out respective roles." Ayon kay Vi, hindi lamang daw sa acting nag-improve si Doods kundi pati na rin sa iba pang aspect ng personality nito. "For instance," sabi niya "IN the way he deals na lang with the press, Dati-rati, napagkakamalan siyang aloof sa press, na suplado raw niya kaya lagi siyang tinitira. Ngayon, he is more relaxed with writers and reporters. Naging kabiruan ng nga niya ang marami sa kanila. Nagugulat nga ako dahil akala ko, hindi pa niya kakilala ang isang reporter tapos nag-uusap na silang para bang they're like old friends, nag-improve talaga ang PR niya."

Nang sabihin sa kanila na sila ang magiging magkatambal sa Palimos ng Pagibig, ano ang naging inital reaction nila? Agad ba nilang tinanguan at tinaggap ang project na muling mgagpareha sa kanila? "Ako, ang una kong consideration, si Doods," sagot ni Vi. "Sabi ko, kung okay sa kanya, I don't see any reason kung bakit hindi magiging okay sa akin. Siya talaga ang inaalala ko dahil baka mapagbintangan pa niya akong kina-capitalize ko ang aming personal lives just to make a movie interesting." Nang malaman daw niyang okay na rin kay Doods nasiyahan siya personally. As for Doods, agad din siyang tumango sa project. "Honestly, sa isip ko, noon ko pa pinaghahandaan ang muling pagtatambal namin ni Vi, e." sabi niya. "I know how good an actress she is and I felt na siguro, kung ngayon nga kami uli pagtatambalin, siguro, kung ngayon na kami uli pagatatambalin, siguro naman makakaya ko na. Unlike before na talagang baguhan pa lang ako sa pagharap sa kamera. This time, siguro, hindi na ako maipapahiya lang makisabay man ako ng pag-arte sa kanya. Ang I hope the viewers would with this agree when they get to see the movie. As expected, marami ang naghihintay kung anon ang magiging reaction nila sa isa't isa while they are doing their love scenes in the movie. What did they feel habang magkalapat ang kanilang mga dibdib? Nagbumalik ba ang kanilang masasaya at matatamis na lumipas at nasabi nila sa sarili na dapat na silang magkaroon ng ikalawang kabanata sa kanilang buhay at pag-ibig bilang magasawa?

"Naku, ang bigat naman niya," natatawang sabi ni Vi. "Honestly, sa 'kin, okay lang ang mga love scenes namin sa pelikula. Sabi ko nga, sa lahat ng mga naging leading man ko na, kay Doods talaga ako pinaka-comfortable, e. Afterall, ang dami na talaga naming pinagsamahan, before and away from the cameras. Kaya't maski sa mga bed scenes namin, I really felt at home with him." "Ganun din ang feeling ko with Vi," sang-ayon ni Doods. "I've made love on camera with other actresses pero siyempre, iba talaga kapag si Vi ang kaeksena ko. Wala akong anumang feeling ng pagkailang or worry na baka ma-offend 'yung ka-ekesena ko o sabihing nate-take advantage ako. Talagang bigay na bigay kami sa bawa't hinihingi ng eksena at ng direktor namin." E di malamang o tutoo na nga ang balitang may ikalawang kabanata na sa kaning pagtitinginan, lalo na sa kanilng pagiging husband ang wife? "Naku ha," sabi ni Vi. "Basta, tingnan na lang natin." "I agree," sabi naman ni Doods. "Everything remains to be seen." Sino nga kaya ang namalimos sa kanila ng pag-ibig para magkabalikan sila? - Mario E. Bautista, Movie Flash Magazine, 16 May 1986, reposted by Pelikula Atbp (READ MORE)

Vi-Bot & TIIP Group sa AFP Camp in Zamboanga

Kamakailan, nag-personal appearance sina Vilma Santos, Edgar Mortiz, Tony Ferrer, and were ably assisted by Rhodora Silva, Chanda Romero, Janet Clemente, and believe it or not Direk Maning Borlaza, sa isang AFP Camp sa Zamboanga. Isa ang naturang pook sa kanilang itinerary nang sila'y mag-Mindanao bound bilang pagpapaunlak sa paanyaya ni Defense Sec. Juan Ponce Enrile na sila'y mag-personal appearnace nga sa mga army camps doon. Ano pa nga't big hit ang show ng group. Isa-isa, the young stars rendered out pop songs.

Si Vi at Bot ay nagduweto rin sa buong kagalakan ng mga kawal and their families. Nag-drama din sila ng kaunti sa pamamahala ni Direk Borlaza. At kaya nasabi naming "believe it or not...Direk Maning Borlaza" sa unang paragraph ay pagkat kinumpitensiya nito sina Dolphy, Cachupoy, etc., sa larangan ng comedy. Naging superkalog din siya sa isang comedy skit at ihitan ng tawa ang audience with his antics. Sa musical portioin, nagtanghal din ng dance number and troupe at dito humanga ang lahat kay Tony.

Hindi lang pala daw champion karatista ito kundi, tops din sa sayaw. Siyang-siya ang army audience sa show ng grupo kaya't sa bawat number, applause na katakut-takot. Mangha sila sa ganda ng pagtatanghal. Kasi noon lang daw sila nadalaw ng mga artista na bukod sa kuwela performers na, sikat na sikat pa. Sa panig naman ng grupo? The feeling was mutual, pagkat very hospitable ang reception ng mga taga-roon sa kanila. Nagenjoy pa sila sa maririkit na tanawing nagpasikat sa Zamboanga. - Cleo Cruz, Bulaklak Magazine No. 66, 05 February 1973, reposted by Pelikula Atbp (READ MORE)

In The Eyes of Bunso

He's always going to be known as Ryan Christian, althought he doesn't mind if you call him just Ryan (He has also heard people call him by his dad's name, Ralph, or by his brother's name, Luis). Unless you've caught his very few TV appearances of late, you might still picture Ryan Christian Recto as a fair-skinned, brown-haired, doe-eyed little boy. He is still all that, except that now he is twice as tall as that little boy and is a 19-year-old college student, taking up management at the Ateneo de Manila University. At the time of the Yes! interview, Ryan is thinking of shifting to another business course, management economics. "I still haven't made up my mind what to specialize in," he says. "I'm just exploring everything now." Yes, even including show business and politics.

Ryan dabbled in acting when he was younger. He had regular guesting stints on the long-running kiddie gag show Goin' Bulilit (He was in the same batch as Kathryn Bernardo, Nash Aguas, and Jane Oineza). "I'm cool with it," he says. "I think others want it more than me. It interests me, but not to the point where I'd go to the same lengths as others. More like, if it's there, it's there." Just a normal teenage boy, except that he is not - at least not to us, the public. He is, after all, the son of the Star for All Seasons. He grew up in a world where his mom was already the Ate Vi. To this day, when he comes home from school, there are times when he would look for his mom and jokingly shout: "Ate Vi!" "I didn't see her before she wasn't well-known to everyone," he says.

"I didn't need to get used to it, you know what I mean? Kasi, for me, that was normal." It was normal that one day he stumbled upon videos of the Darna series that starred his mother. "The feeling you get, you know," he says animatedly. "You see Wonder Woman, but I can say my mom did it better! Hahaha! Kasi ako, I'm a big komiks fan and the fact that she played a superhero, that's...ang galing!" Ryan lists the Darna series, particularly Darna and the Giants, as his favorite in his mother's filmography. Not many can say that their moms had "playing Darna"in their resume, but Ryan says that, for the most part, his mother is a "regular Filipino mom." Whenever Ryan had friends over, Ate Vi would welcome them and insist on feeding everyone. "Kahit busog ka, bibigyan ka pa rin." At home, Ryan says his mom would typically be in a shirt, "short shorts,"and one of those workout headbands. Not in a duster? "She's too young for that!" Ryan replies, chuckling.

"I'm kidding. Not just her thing." He says Ate Vi, on her days off from work, can usually be found sitting on the couch in the TV are. "She does everything in that couch!" he says. She works out, eats, watches TV, and even falls asleeep there. "She sleeps with the TV on," Ryan reveals. "If you turn off the TV, she'll wake up." Overall, he says, his mom is "a mix of strict and cool." He even prefers talking to her when it comes to the subject of girls. Both of his parents "give good advice," he says. "Pero I like mom's advice better. Hahaha! If you want to know something about a woman, why would you ask a man? Might as well ask a woman! So girls -Mom. Dad -all of the serious stuff." Ryan is currently in a relationship and has brought his girlfriend home to meet his parents.

"Napaka-welcoming ni Mom, fortunately. Every time we have a family thing, 'O, invite your girl,' like that." Ate Vi has also encouraged Ryan in music. He had tried diffrent kinds of instruments, but he found that the drum "clicks with me." he adds: "And like my mom said, pinakamalakas na appeal daw in a band is the drums. Hahaha! Siyempre, my mom, dancer siya, e. So my mom, sa beat siya. You can't make people dance with the guitar, di ba? There has to be a beat." He reiterates: "Kaya drummers siguro 'yong may pinakamalakas na appeal. Hahaha!" Like other boys his age, Ryan is also allowed to have fun and have a few drinks with friends, but not without getting serious reminders from both his parents. They always remind him not to drink and drive, and not to go all out when it comes to alcohol.

"Magtira ka bago umuwi," he says, repeating his dad's words. "Let's say you're in a friend's house and you get drunk. Don't puke in their house. That's very, very disrespectful to them. Don't pass out in their house or something. Don't do that." Ryan takes his parents' trust in him seriously. He knows that these freedoms were given to him out of trust. "It's mostly a matter of me just being responsible. If they see that I am responsible, that I can manage myself when I go out of whatever, that's fine. But if they didn't see that, then no." He makes it a point to give his parents updates on his whereabouts. "Not naman every five minutes, no. It's more like letting them know where I am, how long I'll stay." But, of course, the cool-parenting part ends somewhere.

Ate Vi draws the line when it come to serious matters like schooling. One time, when he was in high school, Ryan got into huge trouble because he was always late for school, which was "literally 20 steps away from our house." "Inaabuso ko 'yong the fact na my house is near," he recalls. "Napupuyat ako palagi. At night, I just think about the next day. Sometimes I watch movies. And because of that, nasanay na." His tardiness got so frequent that the school sanctioned him and made him do community service. "I had to clean up a beach." As a result, Ryan got an earful from his parents. Ate Vi tell us later, when it's her turn to be interviewed by Yes!, about how she scolded her bunso. She told him: "Kahihiyan na 'yan anak. Mahiya ka dahil 'yong ginagawa mo, boomerang sa amin.

Parang wala kaming kuwentang mga magulang, you know. Five minutes away sa school, late pa? May memo pa?" Ryan has since learned his lesson. Now that he travels from Ayala Alabang in the south to the Ateneo campus in the north, he leaves the house an hour and a half before his scheduled calss. He is now very punctual, his mom tell us. These days, he even prepares his school stuff, including the clothes he will wear to school, the night before. Ate Vi reports: "Nagugulat ako! 'Anak, are you sure?' Nakikita ko na preparing na. 'This is what I am going to wear tomorrow.' Nilalabas niya na 'yong rubber shoes, ayun." By the looks of it, Ryan is growing up to be a stand-up man, someone who's reliable and trustworthy, someone you can depend on to "stand up and be counted." Ate Vi and Senator Ralph must be doing something right. - Candice Lim-Venturanza, Yes! Magazine October 2015