Monday, September 24, 2018

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 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 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

Sunday, September 2, 2018

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)


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