Remembering Charito Solis

Bdy of Work - "...Sa 1983, ang mga mapagpipilian lamang ay...Karnal...Now that we have discussed this year's better films and the directors who made them, tunghayan natin ang listahan ng best screen performances...Kung ang paraan sa paghatol sa Best Actress ay for the actress with most commendable body of work, tiyak nang ang mananalo, hands down, ay si Charito Solis. Charito Solis is very good as the bitter lola in Boyfriend Kong Kano, laudable as the stern mother who nearly ruined her children in Minsan May Isang Ina, terrific as the impoverished mom who slowly loses her sanity in Don't Cry For Me, Papa and simply pathetic as the derange ex-prostitute in the released Pusakal. Idagdag pa nga rito ang matindi rin niyang pagkakaganap sa Karnal, talagang top contender si Chato for best actress this year..." - Movie Flash Magazine, January 5, 1984 (READ MORE)

Acting Trophies - "...Charito Solis' "antics" were the toast of the tabloids when she was younger, from the admirable to the ridiculous. Her volatile outbursts on sets when professionalism was not observed was a common story written in the movie magazines. Ever a stickler for promptness and professionalism, she was said not to allow any one to make a noise during her performances because it detracts from her concentration. She would even go to the lengths of bringing her acting trophies on movie sets so that she can show the younger stars that they were dealing with a competent and award-winning actress that they have to respect in terms of promptness and performance. Both Vilma Santos and Nora Aunor, future FAMAS Hall of Famers, were said to have experienced this. She was also said to "meddle" with directors in terms of movie directing, an accusation that she had denied and explained: she was not meddling with the direction of the film but with the direction of her acting. She was an active artist; she would suggest ways on how to better her performance, but the director's approval was needed to seal it, which she obeyed. She was just disappointed that because she was Charito Solis that her directors usually do not bring out the best in her, believing and excusing themselves that what she was giving was already the best. Other tabloid rumors were that she slept in a temperature-controlled room to preserve her beauty and that she brought her own arinola (potty) on film sets as she refused to use public toilets. She is also known to drum up interest with her name through her personal makings, such as the beggar garb in the 1968 FAMAS Awards. Her career was top one in her life, a probable reason why she never married. After her death, it was revealed that the only boyfriends she ever had were the King of Philippine Movies Fernando Poe, Jr. when they were both starting out and film director Danny Zialcita..." - Gypsy Baldovino and Yolly Tiangco (READ MORE)

Lolita Rodriguez - "...Lolita and Charito maintained mutual respect and fondness, unusual to find in top actresses. Actually, the "clashes" exist largely in the minds of the public. Lolita says she has always been in the best of terms with LVN stars, among them Charito. Echoing the same sentiment, Charito say she works well with professionals "and who can be more professional than Lolita?" In the "clashes" in Larawanm one couldn't say who really "won." Lolita, having the stronger role (Candida) and being more familiar with the medium, dominated Larawan. But Charito turned her awkwardness with the stage into a virtue. She gave Paula an endearing quality..." - Ronald K. Constantino, Expressweek Magazine, April 19, 1979 (READ MORE)

Ishmael Bermal - "...So far, lahat naman siguro ng magagaling na directors noong araw, I've worked with na. Sa bagay, iba rin ang style nila noon, iba kaysa sa ngayon. At iba'ng galing nila, iba rin naman ang galing ng mga director ngayon.:" She paused and thinks awhile. "But I take special note of Bernie (Ishmael Bernal, who directed her late last year in "Walang Katapusang Tag-araw). Ibang klase siyang director, e. 'yung bang pipigain ka niya nang husto. When he doesn't like what you're doing, he tells you. Kasi, kadalasan ang mga director ngayon, ano, just because I'm Charito Solis, it seems they don't even bother to correct me. 'Yung bang kundi pa ko magtatanong, hindi pa nila sasabihin. Si Bernie he can even tell me, "O, wala ka yata sa mood ngayon, a." Things like that. And he really insists on what he wants you to do "hanggang sa makuha mo. Okey lang yon. Meron din naman akong ka-vives na director, kasundo ko sa shooting, I like him pero I cannot really, honestly respect him as a director, ganyan. Sa LVN din noon, iba. Mahigpit sila diyan. Hindi puwede 'yung pa-wise guy wise guy ka. You have to obey everything they tell you..." - Mario E. Bautista, Philippines Daily Express, October 5, 1978 (READ MORE)

Better Actress - "...Oops! Keep your cool, dear Noranians, and listen to Charito Solis’ explanation before you accuse her of being, uh, “maka-Vilma.” “Vilma has a wider range as an actress while Nora is limited and typecast in certain roles,” Charito said in a tone devoid of intrigue, answering our question in a straightforward, matter-of-fact manner. “Si Vilma, puede kahit anong role, kahit bold. You can’t imagine Nora doing a bold role, can you?” But, and that’s the big but, “Nora has more depth than Vilma,” Charito added, “and it’s because of her expressive eyes. Nora is very effective in scenes where she doesn’t say anything, just act with her eyes, at ‘yan ang kulang ni Vilma. Vilma has to say something to be effective.” Charito has worked with Vilma twice (in “Mga Tigre ng SierraCruz” and “Modelong Tanso”) and with Nora once (“Minsan May Isang Ina”). Speaking in general now, said Charito, “Vilma is the better actress.” We asked Charito that ticklish question during the lunch presscon for her latest movie, the star-studded Mother’s Day offering of Regal Films titled “Dear Mama”, which also stars Gloria Romero, Laurice Guillen, Snooky, Janice de Belen, Julie Vega, Manilyn Reynes, Jaypee de Guzman, Rey “PJ” Abellana and Alicia Alonzo in the title role. Our own personal opinion somehow jibes with that of Charito whose “throne”, I suppose, will be inherited by Vilma (while Nora will inherit the “throne” of the other drama queen, Lolita Rodriguez)..." - Ricardo F. Lo, The Phil. Star, 03 April 1984 (READ MORE)

Charito Solis (6 October 1935 – 9 January 1998) was a FAMAS and Gawad Urian award-winning Filipino film actress. Acknowledged as one of the leading dramatic actresses of post-war Philippine cinema, she was tagged either as the "Anna Magnani of the Philippines" or as "the Meryl Streep of the Philippines. - Wikipedia (READ MORE)

Charito Solis and Vilma Santos Trivia

• Contrary to popular belief, Charito Solis and Vilma Santos' first project together wasn't the festival entry, Modelong Tanso (this was their second film), It was a Cultural Center of the Phillipines' passion play titled, "Ang Hari."
• Charito Solis was one of the instigator of the Ralph Recto and Vilma Santos romance, she insisted on Vilma to give Ralph a chance after he asked her for a dance inside Kingkong Disco owned by director, Marilou Diaz Abaya. The group was unwinding after the rigid night of television work.
• According to film critic, Mario Bautista, on his interview with the screen legend, Carmen Rosales, both Santos and Solis are distant relative to her.
• Charito Solis and Vilma Santos joined forces for the second time in the hit film, Modelong Tanso where Charito slapped Vilma several times. This scene was used to promote the film.
• While Vilma Santos tried to be sexy in several films, it was Charito Solis who exposed herself literally. Her film, Igorota required her to show her breast, a very controversial scandal during that perod.
• During her heyday and to make a point about professionalism, Charito Solis will bring her FAMAS trophies to the set, saying: "...tapatan mo ang mga trophies na yan (match these trophies)," probably insinuating, before you act like a diva, match these trophies! And Vilma Santos took noticed, she surpassed La Solis, in quantities and qualities.
• Charito Solis and Vilma Santos both started their career through the help of their respective uncle, both connected in film productions.
• Charito Solis played mother to Vilma Santos five times.
• In 1963, Charito Solis won her third FAMAS best actress for Angustia and Vilma Santos her very first as best child actress for Trudis Liit.
• Charito Solis and Vilma Santos both FAMAS Hall of Fame awardees
• Charito Solis won the FAMAS best actress for: Kundiman ng Lahi, 1959; Emily, 1960; Angustia, 1963; Igorota, 1968; Don't Cry for Me Papa, 1983 (also, she received 14 Best Actress nominations and 2 Best Supporting Actress nominations
• Vilma Santos won the FAMAS best actress for: Dama de Noche, 1972; Pakawalan Mo Ako, 1981; Relasyon, 1982; Tagos Ng Dugo, 1987; Ibulong Mo Sa Diyos, 1988 (also, she received 12 Best Actress nominations, 2 Best Supporting Actress Nominations and won one Best Child Actress award).
• Because of their talent, versatility and several acting awards, both Charito Solis and Vilma Santos are tagged at one point in their career, as the Meryl Streep of the Philippines.
• Charito Solis' Dahil sa Isang Bulaklak, was the Philippines' entry to the Oscar's best foreign film of 1969 while Vilma Santos' Dekada 70 and Anak were the Philippines entries in 2003 and 2000.
• Also in 1969, Charito Solis won the Asian Film Festival's best actress honor for Dahil sa Isang Bulaklak (Because of One Flower) while Vilma Santos surpassed this by winning the best actress trophies in 1999 Brussels Festival of International Independent Films, for Bata, Bata...Paano Ka Ginawa? (Leah's Story) and 2003 CinaManila International Films Festival, for Dekada '70 (The Seventies).
• Both Charito Solis and Vilma Santos did drama anthologies on small screen. Solis did "The Charito Solis show" while Santos did "Ang Talambuhay ni Rosa Vilma" both for ABS-CBN. Solis stiff competition was Marlen Dauden's "Salamisim" while Santos' was Nora Aunor's "Makulay na Daigdig ni Nora," these shows were from rival station, RPN channel 9.
• Charito Solis and Vilma Santos transformed themselves into mature actress venturing into the sexy films, Solis via Araw-Araw, Gabi-Gabi and Santos via Burlesk Queen, both films were entries to the Metro Manila Film Festival. They both won the best actress awards.
• Charito Solis and Vilma Santos portrayed the role of a burlesk dancer, Charito in Huwad na Mananayaw and Vilma in Burlesk Queen.
• While Charito Solis did two films with Japanese actor Kojiro Hongo in 1960 (The Life of Gautama Budha) and 1961 (The Princess and I), Vilma Santos did Twin Fist of Justice in 1975, with Chinese actor, Meng Fei.

Charito Solis and Vilma Santos Films

Hanggang Ngayon Ika'y Minamahal (1997) - "...You know, it’s amazing because we’ve never been linked to each other and yet the public loves seeing our movies together. Siguro it’s because we have this unbelievable chemistry. We know each other so well that tinginan lang on screen, we already know what to do to make a take very good..." - Mario E. Bautista (READ MORE)

Dahil Mahal Kita: The Dolzura Cortez Story (1993) - "...The 1990s saw Charito Solis graduate to mother and grandmother roles, which she had done with frequency in the 1980s. In another nod to her age, she finally allowed herself to be billed above Vilma Santos, then acknowledged as the Longest-Reigning Box Office Queen of Philippine Movies, albeit above-the-title in films such as Ipagpatawad Mo (1992) and Dahil Mahal Kita: The Dolzura Cortez Story (1993)..." - Gypsy Baldovino and Yolly Tiangco (READ MORE)

Ipagpatawad Mo (1991) - "...Ninety percent of these autistic children are very good-looking and are good in numbers but they have a world of their own. If you teach them something, yon kung ang alam nila, no other world exists. Autism is like virus and it is not hereditary. Hindi malalaman na autistic ang isang bata until they are about three or four years old. But doctors know, when a baby is born that he or she is autistic, only they don’t dare tell the parents about it. This movie should be an eye opener for such doctors and parents..." - Nena Z. Villanueva, Manila Standard, Oct 28 1991 (READ MORE)

Modelong Tanso (1979) - "...The multi-awarded actress even related her personal experience about feeling inadequate when she did the 1979 movie Modelong Tanso with the late Charito Solis who played her mom in the story. “Ako ang naintimidate noon. Naranasan ko yun noong araw kay Ms. Charito Solis na ngayon parang yun naman ang nangyayari sa akin [with the young stars.] So tinuro ko sa kanila na kahit may ka-eksena kayo na senior stars, kapag sinabi ng direktor ni’yo na kailangan niyong sampalin/sigawan sila, wala kayong choice. Gawin ni’yo yun, kahit sabihin niyong senior or respected star man yun, hindi kayo pwedeng magpa-intimidate. Kasi lahat sila kinakabahan lalo na nung pinapasampal ako kay Megan..." - Rachelle Siazon (READ MORE)

Happy Days Are Here Again (1974) - "...In 1974, the Big 3 studios of the 50s, LVN Pictures, Sampaguita Pictures and Premiere Productions reproduced a full-length movie showcasing a compilation of the musical comedies produced by the three studios. It was a painstaking job for the researchers since most of the best musicals produced by the three studios were either lost or destroyed. At the start of the project, director Lamberto V. Avellana was supposed to direct the film but eventually replaced by Cirio Santiago after so many changes in the project including the script. He ended up as consultant of the movie. The film was HAPPY DAYS ARE HERE AGAIN, with brief narrations by movie stars like Gloria Romero, Nida Blanca, Susan Roces, Leopoldo Salcedo, Jaime de la Rosa, Eddie Gutierrez, Tirso Cruz III, Pugo, German Moreno and Ike Lozada..." - Pelikula Atbp (READ MORE)

Mga Tigre ng Sierra Cruz (1974) - "...Charito Solis, who initially had a tempestuous and hostile relationship with Vilma while making the ill-fated but box-office MMFF champ Modelong Tanso, had a change of heart when the reborn versatile/professional/charismatic actress Vilma impressed her through the years, at idineklara niya sa buong mundo, without batting an eyelash. na di hamak na mas magaling na aktres si Vilma kaysa kay Nora Aunor. Walang kumontra kay Chato dahil totoo ang sinabi niya, si La Solis yata iyan, at pati nga si Amalia Fuentes, another certified Vilmanian, at “kaaway” na mortal ni La Solis, ay sumang-ayon sa kanya. Si Susan Roces, ano naman kaya ang opinion niya sa obserbasyon ni Chato? Ah, Nida Blanca. Ang dami nilang pinagsamahan ni Vilma, mula TV hanggang sa movies. Dati ay una sa billing si Nida, subali’t dahil nga sa gulong ng buhay ay kailangang maging praktikal at handa ka sa katotohanang magiging second lead ka lang in the future..." - Mario O. Garces (READ MORE)

Related Reading:

• Charito Solis' Controversial Scenes in "Igorota" (1968)
• Charito Solis: First-Rate Dramatic Actress
• Charito Solis, the Empress of Drama
• "Larawan" A Triumph!
• Playgirl (1981)
• How stars reinvent themselves
• A look at the past MMFF controversies
• The 15 Best Actresses of All Time
• Remembering The Great Charito Solis (Video)
• Kundiman ng Lahi 1959 (Videos)
• Malvarosa 1958 (Videos)

DAHIL MAHAL KITA: THE DOLZURA CORTEZ STORY (1993)

“Hindi ako naniniwala…Putang…anong karapatan mong sabihin sa akin yan?! Diyos ka ba?! Ikaw ba na nagbigay ng buhay sa akin?! Sino ka ba?…Akala mo alam n’yo nang lahat ayoko nito! Akala mo alam n’yong lahat hah..Ayoko nito…ayoko nito..ayoko pang mamatay!…anong mangyayari sa mga anak ko…mga putang ina n’yo…ayoko nito!” - Dolzura Cortez

Basic Information: Directed: Laurice Guillen; Story: Dolzura Cortez; Screenplay: Ricardo Lee; Cast: Vilma Santos, Christopher De Leon, Charito Solis, Jackie Aquino, Christine Bersola, Noni Buencamino, Maila Gumila, Mia Gutierrez, Gigette Reyes, Gilleth Sandico, Eula Valdez, Mikee Villanueva, Nonie Buecamino, Jaime Blanch, John Caddi, Tess Dumpit, Chris Michelena, Sharme Centenera, Ernie Zarate, Pocholo Montes, Gil Portes; Original Music: Nonong Buencamino; Cinematography: Eduardo Jacinto; Film Editing: Efren Jarlego; Production Design: Edgar Martin Littaua; Sound: Monching Reyes; Theme Songs: “Dahil Mahal Kita” sung by Ogie Alcasid; Executive producer: Orly Ilacad

Plot Description: Based on Ma. Ceres P. Doyo’s award-winning series in the Philippine Daily Inquirer, this film chronicles the life of Dolzura Cortez, the first Filipina to bravely come out in public and admit she was afflicted with AIDS; thus finally giving a face to an AIDS patient. – Philippine Movies Data base

This Philippine drama chronicles the colorful life of Dolzura Cortez, the first publicly recognized AIDS patient in the Philippines. The film begins with a brief examination of Cortez’s pre-AIDS life. Initially she lived in a small village with her cruel husband and three kids. The spunky woman leaves them and moves to the big city where she engages in several affairs. Her second marriage to a rich foreigner does not last long. To support her children, Dolly begins an all woman “contract worker” agency. This also serves to facilitate her love of night-life. Tragedy comes to Dolzura after she collapses on a dance floor one night and learns that she has full-blown AIDS. At a Manila hospital she meets ex-lover Paulo, an AIDS researcher who encourages to tell her story publicly. The courageous woman does and she becomes instrumental in spreading AIDS awareness to the islands. - Sandra Brennan, All Movie Guide, The New York Times

Ma. Dolzura Cortez (d. 1992) is the first Filipino AIDS victim who came out in the open to tell about her life and how she acquired the AIDS virus. Her life story was made into the 1993 Filipino film Dahil Mahal Kita (English “Because I Love You: The Dolzura Cortez Story”), directed by Laurice Guillen and starring Vilma Santos as Cortez. – Wikepedia

"...Life story of the Philippine's first publicly acknowledged AIDS patient, a woman who leaves her husband in her home village for the big city. Here she indulges in love-affairs that end her second marriage with a wealthy foreigner..." - British Film Institute (READ MORE)

Cortez was the first Filipino with full-blown Acquired Immune Deficiency Syndrome (AIDS) to come out and tell her story. Past interviews with Filipinos afflicted with AIDS had been on condition that no names were mentioned and no photographs were taken. Cortez not only allowed the publication of her name but also her photograph. She also gave the Inquirer a photograph of herself before she got AIDS. Her before-and-after-AIDS pictures were revealing?they showed the readers how ravaging the disease could be. Cortez?s story serialized from Aug. 31 to Sept, 3, 1992, gave AIDS a ?name and face.? It got tremendous response from readers and helped raise awareness of the disease. Doyo also won a number of awards and a full-length movie was produced on Cortez's life. - Lawrence de Guzman (READ MORE)

Film Achievement: Special screening – the 1994 San Francisco Asian-American International Film Festival; Special screening – the 1994 Amsterdam Film Festival; FAP Luna: Best Actress – Vilma Santos, Best Musical Score – Nonong Buencamino, Best Story Adaptation – Ricardo Lee; Manila Film Festival Best Actres – Vilma Santos; Gawad Urian: Best Actress – Vilma Santos. Best Music – Nonong Buencamino, Best Director nomination – Laurice Guillen, Best Picture nomination – Octo Arts; STAR Best Actress – Vilma Santos; Movie Magazine Best Actress – Vilma Santos; Intrigue Magazine Reader’s Choice Best Actress – Vilma Santos; New Fame Magazine Reader’s Choice Best Actress – Vilma Santos; FAMAS: Circle of Excellence -Vilma Santos, Best Director Nomination – Laurice Guillen, Best Picture Nomination – OctoArts Films; YCC Award Best Performance Nominations – Ensemble in Leading or Supporting Role – Vilma Santos; "Love and respect were the two things that AIDS patients would like people to give them” was the message of Vilma on her acceptance speech at Star Awards where she won best actress for Dolzura Cortez."

Film Reviews: This Philippine drama chronicles the colorful life of Dolzura Cortez, the first publicly recognized AIDS patient in the Philippines. The film begins with a brief examination of Cortez’s pre-AIDS life. Initially she lived in a small village with her cruel husband and three kids. The spunky woman leaves them and moves to the big city where she engages in several affairs. Her second marriage to a rich foreigner does not last long. To support her children, Dolly begins an all woman “contract worker” agency. This also serves to facilitate her love of night-life. Tragedy comes to Dolzura after she collapses on a dance floor one night and learns that she has full-blown AIDS. At a Manila hospital she meets ex-lover Paulo, an AIDS researcher who encourages to tell her story publicly. The courageous woman does and she becomes instrumental in spreading AIDS awareness to the islands. It was the first movie on AIDS in the Philippines that provided ‘a name and a face’ among the 50 recorded lives that were lost to AIDS in 1992. This movie was utilized as a focus of discussion by some health care personnel to express their thoughts, opinions and recommendations regarding the use of cinema as a powerful tool for AIDS information dissemination. - You and Aids

The “Dolzura Cortez Story” was the Philippines’ first movie on AIDS that provided ‘a name and a face’ among the 50 recorded lives that were lost to AIDS in 1992. This movie was utilized as a focus of discussion by some health care personnel to express their thoughts, opinions and recommendations regarding the use of cinema as a powerful tool for AIDS information dissemination. Responding to a newspaper advertisement looking for a person with AIDS, Ms. Dolzura Cortez agreed to have her life story serialized in print and later developed into a movie. The “Dolzura Cortez Story” was subsequently produced as the Philippines’ first movie on AIDS which documented the real experiences of a person living with AIDS in the country. The author reports findings from a study conducted to determine the social impact of the movie as perceived by some health care personnel. Specifically, it aimed to identify the messages that health care providers derived from watching the movie and to make recommendations on how this and subsequent films could serve as an effective tool for AIDS education. 134 health care personnel representing 13 regional hospitals from all over the country watched the film, then answered a questionnaire.

The sample was of mean age 35.6 years, 84.3% female, and with mean experience of 10.1 years. 20.1% were doctors, 21.6% nurses, 32.4% social workers, and 25.4% other health personnel. 22.9% had direct experience caring for persons with AIDS and 32.8% knew someone with AIDS. Although these participants perceived some simple and subtle messages from the movie, they also noted its shortcomings. The movie lacked realism; overemphasized the dangers of having multiple sex partners at the expense of warning about other risk factors for HIV transmission; the counsellor pressured the patient and failed to provide enough information on infection control; the psychosocial, economic, and spiritual concerns of people with AIDS were not addressed; and there were some misinterpretations and twisted truths about AIDS facts and the story itself. The respondents suggested that health care providers and people directly involved in AIDS education and counseling be involved in the production of such movies. Moreover, documentary pictures and testimonial footage of the woman would have added realism, while additional basic information about AIDS could have been mentioned in either the movie or a trailer. - NCBI

‘Dolzura Cortez Story’ is an artistic and brilliant film from Manila’s finest director. The movie’s leading actress, Ms. Santos, played her part so powerfully, and is very convincing as Dolzura, the first Filipino HIV/AIDS patient to come- out to the public. The movie is a thought- provoking film, ready to challenge the Filipino idea of what is right and what is wrong. – Jonard, IMDB, March 11, 2000

This dramatized life story of the Philippines' first publicly acknowledged AIDS patient takes a classic women's-pic inspirational approach, giving star Vilma Santos ample opportunity to demonstrate spunk and teary histrionics. Obviously intended to educate home auds, pic is lively enough to interest specialized fests abroad. Initial 40 minutes are a whirlwind tour of Dolzura Cortez's pre-diagnosis adult life. Dolly abandons her small village and nasty husband, leaving with her three kids for the big city where she indulges in love affairs that end her second marriage to a wealthy foreigner. Irrepressible, Dolly starts a femme "contract worker" agency, living the nightclub high life to support her brood. A sudden collapse on a discotheque floor presages diagnosis of full-blown AIDS. Moved to a Manila hospital ward, Dolly encounters old lover Paulo, now an AIDS researcher. He eventually convinces her to reveal herself via newspaper interviews, lending a "human face" to the hitherto anonymous specter of local AIDS paranoia. Before her 1992 death, Cortez apparently did much to educate Filipinos and alleviate their baseless fears of casual contagion.

Pic engenders sympathy in the right ways, taking pains to counter charges that AIDS is "God's punishment." The identity of Dolly's "infector" is also pointedly left unknown, in line with anti-stigmatizing message. Portrayal of illness (especially Kaposi's sarcoma lesions) is graphic. Yet while film scoffs at virus-hysterical reactions by the public and the media, it oddly fails to spell out transmission-risking behaviors and safer-sex techniques, beyond passing mention of condoms. Leading Philippine actress Santos cuts a Susan Hayward-worthy swath early on as the hearty, partying gal who loves being "chased by men," and later in various stalwart/angry/agonized postures. "Nothing can put me down, not even this disease!" she cries. While death throes are melodramatically prolonged, this showy perf gives film its driving force. Director Laurice Guillen's supporting cast and tech values are above average; smart pace flags occasionally in the second half. As usual with Philippine features, dialogue mixes Tagalog with English phrases. - Dennis Harvey, Variety (READ MORE)

Defining Moments - "...Other scoops are spectacular in terms of their instant impact or how they led to defining moments in Philippine history. An example of a high-impact scoop was the Dolzura Cortez story by Ceres Doyo in 1992. On the other hand, a February 2001 story on the last days of the Estrada administration, as reported by then Executive Secretary Edgardo Angara, was an example of a scoop that changed the course of our history. Cortez was the first Filipino with full-blown Acquired Immune Deficiency Syndrome (AIDS) to come out and tell her story. Past interviews with Filipinos afflicted with AIDS had been on condition that no names were mentioned and no photographs were taken. Cortez not only allowed the publication of her name but also her photograph. She also gave the Inquirer a photograph of herself before she got AIDS. Her before-and-after-AIDS pictures were revealing?they showed the readers how ravaging the disease could be. Cortez's story serialized from Aug. 31 to Sept, 3, 1992, gave AIDS a "name and face." It got tremendous response from readers and helped raise awareness of the disease. Doyo also won a number of awards and a full-length movie was produced on Cortez's life...." - Lawrence de Guzman, Minerva Generalao, Philippine Daily Inquirer, 29 Nov 2010 (READ MORE)

"...Previously, HIV/AIDS “victims” were seen either as homosexual men, or women who worked in the sex industry. The former stereotype was even turned into a mainstream 1993 Hollywood movie Philadelphia that won a best actor Academy Award for Tom Hanks. The latter, on the other hand, was the subject of a 1993 Filipino film The Dolzura Cortez Story starring Vilma Santos. As a disease, AIDS was highly misunderstood two decades ago. Religious fanatics considered it “a punishment from God” for the sexual excesses of its victims. While a complete falsehood, there was some truth to the other mistaken belief about AIDS—that it would lead to certain death for whoever had the disease, which had no known cure. Fast forward to 2013 and Filipinos still generally remain in the dark about HIV/AIDS..." - Beting Laygo Dolor, Manila Times, 14 August 2013 (READ MORE)

 

Related Reading:

• IMDB: The Dolzura Cortez Story (1993)
• Provincial Health Office Holds HIV-AIDS Advocacy
• Dahil Mahal Kita (Because I Love You: The Dolzura Cortez Story)
• Laurice Guillen From Wikipedia
• Vilma Santos’ Top 10 Film Directors (part four)
• Tops in race to get the story first
• Kim Chiu on Vilma Santos: ‘Nakaka-touch na ako ang napili niya para sa movie’

HANGGANG NGAYON IKA'Y MINAMAHAL (1997)

Basic Information: Directed: Ike Jarlego Jr.; Cast: Christopher De Leon, Charito Solis, Pilar Pilapil, Timmy Cruz, Ruby Moreno, Antoinette Taus, Melissa Mumay Santiago, Bing Loyzaga, Matthew Mendoza; Theme Songs: “Hanggang Ngayo’y Mahal” performed by Jaya

Plot Description: The wife feels that the two have grown apart and before they will start to hate each other, she decides on a trial separation from her husband. - Pelikula.net (READ MORE)

"...Restaurant owner Margot (Vilma Santos) often reproaches her dentist husband Leo (Christopher De Leon) for his irresponsible and disorganized ways, reaching a point where Margot finds no reason for them to stay together. Margot wants out of their marriage and their temporary separation becomes difficult for their two kids Patricia (Antoinette Taus) and Pauline (Melisse "Mumay" Santiago) but a delight to Mrs. Perez (Charito Solis), Margot's meddling mother in-law who never liked her. Their estrangement eventually ends in annulment, a trying process for Margot who has to derogate Leo's character in court to win her case. But after all, Leo still loves Margot despite her hurtful testimonies..." - TFC Now (READ MORE)

Film Achievement: FAMAS Best Child Actress Nomination - Antoinette Taus; Star Awards for Movies Actress of the Year Nomination - Vilma Santos

Film Reviews: "...You know, it’s amazing because we’ve never been linked to each other and yet the public loves seeing our movies together. Siguro it’s because we have this unbelievable chemistry. We know each other so well that tinginan lang on screen, we already know what to do to make a take very good..." - Mario E. Bautista (READ MORE)

They are, bar none, the most durable, most bankable, probably best-loved and most enduring team-up in the local movie industry, a tandem that shouldn't be called "love team" because they're not a love team in the strict sense of the word since the public knows there was never been any romantic love between them in real life but pure friendship only. So far, they have done 28 films together, starting with the intense Celso Ad. Castillo drama Tag-ulan sa Tag-araw in 1976 (their last teamup was Regal Films Nag-iisang Bituin in 1994 with Aga Muhlach) and they have remained the best of friends, confidante to each other even if they are married to other partners. Vilma Santos and Christopher de Leon are together again, lovers coming back in each other's arms, in Neo Films' Hanggang Ngayon Ika'y Minamahal (also the title of the theme song sung by Jaya), directed by Ike Jarlego Jr,. Co-starring with the two are Pia Pilapil, Antoinette Taus, Melissa "Mumay" Santiago, etc. "It's always a pleasure to work with Boyet," says Vilma who is, as everybody knows, Mrs. Ralph Recto in real life. "I always look forward to working with him."

"Vilma and I are so close to each other that we are comfortable in everything we do, kahit na love scenes," says Christopher who's married to Sandy Andolong (with whom he has six children). "We are such a perfect team." The pair has done all sorts of drama involving domestic problems, about AIDS (Dolzura Cortez Story), autism (Ipagpatawad Mo), illicit romance (Relasyon and Broken Marriage) and all sorts of marital issues. In Hanggang Ngayon Ika'y Minamahal, the conflict revolved around annulment and how it messes up the lives of a couple and the people around them. In Hanggang ngayon Ika'y Minamahal, Vilma and Christopher play a happy couple with two children. Time comes when boredom and other factors set in, leading to the couple's trial separation preparatory to filing a petition for annulment of marriage. But before things hit the worst, a string of incidents follows, opening the couple's eyes to the reality that they can't go on with life without each other after all, not only because of themselves but because of their two children. Pia Pilapil plays the other woman dated by Christopher at the time when he and Vilma are on trial separation, while Antoinette and Mumay play Vilma/Christopher's daughters. This recent Vilma/Christopher teamup is in answer to request from the public's who can't seem to have enough of the enlightening and entertaining real-life dramas the couple is noted for. - Manila Standard, Jul 21, 1997 (READ MORE)

Related Reading:

• IMDB: Still Loving You Until Now (1997)

MODELONG TANSO (1979)

Basic Information: Directed: Cirio H. Santiago; Story: Nerissa G. Cabral; Screenplay: Jose Mari Avellana; Executive Producer: Cirio H. Santiago; Cast: Vilma Santos, Charito Solis, Winnie Santos; Original Music: Nonong Buencamino; Cinematography: Manuel Bulotano

Plot Description: Directed by Cirio H Santiago. Serialized from comics story of Nerissa Cabral. Film with Charito Solis.

Film Achievement: Entry to 1979 Metro Manila Film Festival

One of six films Solis and Santos collaborated (Happy Days are Here Again, Mga Tigre ng Sierra Cruz, Modelong Tanso, Ipagpatawad Mo, Dahil Mahal Kita The Dolzura Cortez Story, Hanggang Ngayon Ika’y Minamahal) - RV (READ MORE)

Film Reviews: "...what the non-winning dramatic films (Modelong Tanso, Alabok na Ginto, and Julian Makabayan) have in common are disappointments. Cirio H. Santiago’s Modelong Tanso is another of those Electra-complex explorations which lately have become so strangely fashionable in local cinema: in fact one of the festival winners, Ina Ka, falls in the same category. Modelong Tanso is about the conflict between a materialistic mother and an idealistic daughter, each of whom gets what she wants and pays the proper price for it. Santiago also pays a price: stereotypical acting, carelessly executed multiple roles, and embarrassing approximations of social sophistication. As in the other entries, Modelong Tanso attempts at significance through developmentalisms (i.e., favorable references to the barangay and the Bagong Lipunan Sites and Services program); as in the other entries, the attempts deservedly fail. Antonio C. Martinez’s Alabok na Ginto may have been the festival’s dark horse, a love triangle consistent in many ways, mostly technical. Thematically, it falls short of realizing the ambitious statements it makes about fairness (or the lack of it) in love and war. As its title suggests, the movie glitters, but it certainly isn’t gold. As least it is better than the uneven alloy Modelong Tanso turned out to be..." - Joel David, WHO, 19 January 1980 (READ MORE)

"...The multi-awarded actress even related her personal experience about feeling inadequate when she did the 1979 movie Modelong Tanso with the late Charito Solis who played her mom in the story. “Ako ang naintimidate noon. Naranasan ko yun noong araw kay Ms. Charito Solis na ngayon parang yun naman ang nangyayari sa akin [with the young stars.] So tinuro ko sa kanila na kahit may ka-eksena kayo na senior stars, kapag sinabi ng direktor ni’yo na kailangan niyong sampalin/sigawan sila, wala kayong choice. Gawin ni’yo yun, kahit sabihin niyong senior or respected star man yun, hindi kayo pwedeng magpa-intimidate. Kasi lahat sila kinakabahan lalo na nung pinapasampal ako kay Megan..." - Rachelle Siazon (READ MORE)

"...Sa 1979 FAMAS, Nora bested Lolita, who, with her performance in Brocka’s Tinimbang Ka Ngunit Kulang, beat Aunor in 1974. Ang “katapat” ng Nora-Lolita duo ay ang acting tandem nina Vilma Santos at Charito Solis in Bancom Audiovision’s Modelong Tanso, directed by Cirio Santiago. Sa 1979 Gawad Urian, it was neither Nora nor Lolita as Best Actress; the award instead went to Charito Solis for Brocka’s Ina, Kapatid, Anak..." - William Reyes (READ MORE)

"...the film that defined her 1970s career was not an adult film, but a dramatic film, her specialty. Pitted with the "other dramatic empress" Lolita Rodriguez, she contrasted her usual acting style with Rodriguez' restrained, quiet style in Ina, Kapatid, Anak (1979). At that time already acknowledged as Philippine Cinema's Hall of Famer for Best Actress, Charito Solis showed her acting prowess in a way that did not swallow Rodriguez nor did not allow to be shadowed by Rodriguez' subtle style. Come FAMAS time, she had another Best Actress nod but lost to Nora Aunor for Ina Ka ng Anak Mo, but the "other" awards, the Gawad Urian, granted her its Gawad para sa Pinakamahusay na Pangunahing Aktres (Best Actress). Interesting enough, her penchant for top-billing persisted: the usual tool for billing two actresses demanding top billing was employed (see left). She also appeared with Vilma Santos in Modelong Tanso, a pale competitor to Rodriguez' and Nora Aunor's Ina Ka ng Anak Mo. Because Vilma Santos was another actress known for her penchant with billing, the same tool was used...The 1990s saw Charito Solis graduate to mother and grandmother roles, which she had done with frequency in the 1980s. In another nod to her age, she finally allowed herself to be billed above Vilma Santos, then acknowledged as the Longest-Reigning Box Office Queen of Philippine Movies, albeit above-the-title in films such as Ipagpatawad Mo (1992) and Dahil Mahal Kita: The Dolzura Cortez Story (1993)...Charito Solis' "antics" were the toast of the tabloids when she was younger, from the admirable to the ridiculous. Her volatile outbursts on sets when professionalism was not observed was a common story written in the movie magazines. Ever a stickler for promptness and professionalism, she was said not to allow any one to make a noise during her performances because it detracts from her concentration. She would even go to the lengths of bringing her acting trophies on movie sets so that she can show the younger stars that they were dealing with a competent and award-winning actress that they have to respect in terms of promptness and performance. Both Vilma Santos and Nora Aunor, future FAMAS Hall of Famers, were said to have experienced this..." - FAMAS (READ MORE)

"...Charito Solis, who initially had a tempestuous and hostile relationship with Vilma while making the ill-fated but box-office MMFF champ Modelong Tanso, had a change of heart when the reborn versatile/professional/charismatic actress Vilma impressed her through the years, at idineklara niya sa buong mundo, without batting an eyelash. na di hamak na mas magaling na aktres si Vilma kaysa kay Nora Aunor. Walang kumontra kay Chato dahil totoo ang sinabi niya, si La Solis yata iyan, at pati nga si Amalia Fuentes, another certified Vilmanian, at "kaaway" na mortal ni La Solis, ay sumang-ayon sa kanya. Si Susan Roces, ano naman kaya ang opinion niya sa obserbasyon ni Chato? Ah, Nida Blanca. Ang dami nilang pinagsamahan ni Vilma, mula TV hanggang sa movies. Dati ay una sa billing si Nida, subali't dahil nga sa gulong ng buhay ay kailangang maging praktikal at handa ka sa katotohanang magiging second lead ka lang in the future. Walang problema sina Nida at Vilma ? ke mag-Ate o mag-Ina sila sa mga proyekto, may chemistry sila and mutual respect. Patok ang kanilang pagsasama. Remember their mother and daughter roles in Ibulong Mo Sa Diyos? Sayang at wala na ang original versatile movie and dancing queen Nida ? mapa-aksiyon (Babaing Isputnik), musical (Huwag Kang Sumingit with Gloria Romero), comedy (Waray-waray) at drama (Miguelito at Magdusa Ka!). Kung tutuusin ay tunay na maigsi ang ating hiram na buhay. Kung buhay nga lang ang mga nabanggit sa itaas ay mas lalu sanang makulay ang daigdig ng sining. Subali?t ang lahat ay may katapusan. Ating suriin ang mga sumusunod na talata...." - Mario O. Garces (READ MORE)

"...Vilma in 1979 was a picture of self-assured bankable star. She did two movies with Elwood Perez, Magkaribal and Pinay American Style both were box office hits. She also produced an Eddie Rodrigues starrer Halik sa Paa Halik sa Kamay, and teamed-up with comedy king, Dolphy in Buhay Artista. As the year 1979 ends, she battled the drama queen Charito Solis in the local festival entry, Modelong Tanso. The end of the decade marked her stronghold as the box office queen. Clearly, Vilma Santos’ versatility as an actress was the secret weapon of her box office success. And this weapon was in full display in Pinay American Style..." - RV (READ MORE)

"Ooops! Keep your cool, dear Noranians, and listen to Charito Solis' explanation before you accuse her of being, uh, ?maka-Vilma. "Vilma has a wider range as an actress while Nora is limited and typecast in certain roles," Charito said in a tone devoid of intrigue, answering our question in a straightforward, matter-of-fact manner. "Si Vilma, puede kahit anong role, kahit bold. You can't imagine Nora doing a bold role, can you?" But, and that's the big but, "Nora has more depth than Vilma," Charito added, "and it's because of her expressive eyes. Nora is very effective in scenes where she doesn't say anything, just act with her eyes, at "yan ang kulang ni Vilma. Vilma has to say something to be effective." Charito has worked with Vilma twice (in "Mga Tigre ng SierraCruz" and "Modelong Tanso") and with Nora once ("Minsan May Isang Ina"). Speaking in general now, said Charito, "Vilma is the better actress." We asked Charito that ticklish question during the lunch presscon for her latest movie, the star-studded Mother's Day offering of Regal Films titled "Dear Mama," which also stars Gloria Romero, Laurice Guillen, Snooky, Janice de Belen, Julie Vega, Manilyn Reynes, Jaypee de Guzman, Rey ?PJ? Abellana and Alicia Alonzo in the title role. Our own personal opinion somehow jibes with that of Charito whose "throne," I suppose, will be inherited by Vilma (while Nora will inherit the "throne" of the other drama queen, Lolita Rodriguez)." - Ricardo F. Lo, The Phil. Star April 031984 (READ MORE)

"...Another "good" movie is "Modelong Tanso" directed by Cirio Santiago. It is based on a novel by Nerissa Cabral. This movie has one hell of a different plot: that of an obsessed woman who would get wealth and power against odds. The woman (ably portrayed by Charito Solis), forsakes husband, morals, children, for the sake of the over-riding ambition. The driving force is rooted in an impoverished childhood. She had to beg for food. She would get out of her squalid surroundings by any means. Only trouble was, she was still at it, long after she had left the barung-barong. Ang bigat ng paper ni Solis dito. At believeable siya. The conflict in this film comes off naturally. No issue is forced each incident is the result of a logical buildup in the plot. Vilma Santos, who marries a filthy rich fag in this movie, sees that she is starting to take up to her mother's ways and stops, in this time, Solis, however, remains "unreconstructed" up to the very last. As teh movie ends, she has assumed command of an even bigger business empires. Nagustuhan ko ang pelikulang ito dahil may sinasabi. It should have won some awards. The fact that it didn't again speak of the "consistency" of the judges..." - Ros H. Matienzo, JEH Jan 21 1980 (READ MORE)

 

Related Reading:

• Charito Solis From Wikipedia
• Vilma Santos talks about her slapping scene with Megan Young
• Filipino Movie Queens with Vilma Santos in Films
• Charito Solis Hall of Fame for Best Actress
• 1979 Metro Manila Film Festival: "Kasal-kasalan, Bahay-Bahayan" Best Picture

MGA TIGRE NG SIERRA CRUZ (1974)

Basic Information: Directed: Augusto Buenaventura; Screenplay, story: Augusto Buenaventura, Ruben Rustia; Cast: Charito Solis, Vilma Santos, Dante Rivero, Eddie Garcia, Paquito Diaz, Ruben Rustia, Raul Aragon, Estrella Kuenzler, Ernie Zarate, Mandy Bustamante, Ruel Vernal, Robert Talby, Bert Laforteza, Angero Goshi, George Henson, Sam Jorge, Pons De Guzman, Mary Martin, Lito Cruz, The PMP Boys, The SOS Daredevils; Original Music: Restie Umali; Cinematography: Fortunato Bernardo; Executive producer: Emilia Blass

Plot Description: No Available Data

Film Achievement: One of six films and the first Solis and Santos collaborated (Happy Days are Here Again, Mga Tigre ng Sierra Cruz, Modelong Tanso, Ipagpatawad Mo, Dahil Mahal Kita The Dolzura Cortez Story, Hanggang Ngayon Ika’y Minamahal) - RV (READ MORE)

Film Review: "Ooops! Keep your cool, dear Noranians, and listen to Charito Solis' explanation before you accuse her of being, uh, ?maka-Vilma. "Vilma has a wider range as an actress while Nora is limited and typecast in certain roles," Charito said in a tone devoid of intrigue, answering our question in a straightforward, matter-of-fact manner. "Si Vilma, puede kahit anong role, kahit bold. You can't imagine Nora doing a bold role, can you?" But, and that's the big but, "Nora has more depth than Vilma," Charito added, "and it's because of her expressive eyes. Nora is very effective in scenes where she doesn't say anything, just act with her eyes, at "yan ang kulang ni Vilma. Vilma has to say something to be effective." Charito has worked with Vilma twice (in "Mga Tigre ng SierraCruz" and "Modelong Tanso") and with Nora once ("Minsan May Isang Ina"). Speaking in general now, said Charito, "Vilma is the better actress." We asked Charito that ticklish question during the lunch presscon for her latest movie, the star-studded Mother?s Day offering of Regal Films titled "Dear Mama," which also stars Gloria Romero, Laurice Guillen, Snooky, Janice de Belen, Julie Vega, Manilyn Reynes, Jaypee de Guzman, Rey ?PJ? Abellana and Alicia Alonzo in the title role. Our own personal opinion somehow jibes with that of Charito whose "throne," I suppose, will be inherited by Vilma (while Nora will inherit the "throne" of the other drama queen, Lolita Rodriguez)." - Ricardo F. Lo, The Phil. Star April 031984 (READ MORE)

"...To the right are the living quarters, including the high ceiling bedrooms topped with transoms or carved room vents for air circulation. The expansive dining room features an old-fashioned banguerra, where tableware and glasses are left to 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..." - Heritage Conservation Society (HCS) (READ MORE)

"...Charito Solis, who initially had a tempestuous and hostile relationship with Vilma while making the ill-fated but box-office MMFF champ Modelong Tanso, had a change of heart when the reborn versatile/professional/charismatic actress Vilma impressed her through the years, at idineklara niya sa buong mundo, without batting an eyelash. na di hamak na mas magaling na aktres si Vilma kaysa kay Nora Aunor. Walang kumontra kay Chato dahil totoo ang sinabi niya, si La Solis yata iyan, at pati nga si Amalia Fuentes, another certified Vilmanian, at "kaaway" na mortal ni La Solis, ay sumang-ayon sa kanya. Si Susan Roces, ano naman kaya ang opinion niya sa obserbasyon ni Chato? Ah, Nida Blanca. Ang dami nilang pinagsamahan ni Vilma, mula TV hanggang sa movies. Dati ay una sa billing si Nida, subali't dahil nga sa gulong ng buhay ay kailangang maging praktikal at handa ka sa katotohanang magiging second lead ka lang in the future. Walang problema sina Nida at Vilma - ke mag-Ate o mag-Ina sila sa mga proyekto, may chemistry sila and mutual respect. Patok ang kanilang pagsasama. Remember their mother and daughter roles in Ibulong Mo Sa Diyos? Sayang at wala na ang original versatile movie and dancing queen Nida - mapa-aksiyon (Babaing Isputnik), musical (Huwag Kang Sumingit with Gloria Romero), comedy (Waray-waray) at drama (Miguelito at Magdusa Ka!). Kung tutuusin ay tunay na maigsi ang ating hiram na buhay. Kung buhay nga lang ang mga nabanggit sa itaas ay mas lalu sanang makulay ang daigdig ng sining. Subali?t ang lahat ay may katapusan. Ating suriin ang mga sumusunod na talata...." - Mario O. Garces (READ MORE)

"...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. Co-starring with Vilma in the movie was another Kapampangan, Dante Rivero (aka, Luisito Mayer Jr., from Floridablanca). Unlike Ate Vi who was always game, Dante was not too accommodating, brushing my request for interview with a terse “Can I talk later?”. But he took a shine to my cousin Beng, who later asked her for a date. I was also luckless with supporting actor Ruel Vernal, who intimidated me with his height. Charito Solis, a co-starrer, was unfortunately not part of any scenes that were for shooting here...When it was all over, the house and its garden were a mess, with most of the flowering plants in the garden dead and trampled. Worse, when the movie was finally shown in local theaters after months of anticipation, the house was just seen on screen for a minute or so, I could barely recognize it. Even the part of the Filipina househelp played by a local Mabalacat girl was edited out, her 15 minutes of fame down the drain. 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..." - Alex R. Castro (READ MORE)

"...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..." - Alex R. Castro, Views from Pangpang, Dec 10 2008 (READ MORE)

"...She had come to Mabalacat to film the war movie, “Mga Tigre ng Sierra Cruz”and several key scenes were to be filmed in my granduncle’s old house in Sta. Ines, conveniently right next to ours. That meant instant access to the production, as we were the designated caretakers of the Morales mansion. 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)..." - Alex R. Castro, Views from Pangpang, Sep 10 2012 (READ MORE)

Related Reading:

• Charito Solis From Wikipedia
• Filipino Movie Queens with Vilma Santos in Films
• Movie Queens with Vilma Santos in Films (Video)

DAHIL MAHAL KITA: THE DOLZURA CORTEZ STORY (1993)

“Hindi ako naniniwala…Putang…anong karapatan mong sabihin sa akin yan?! Diyos ka ba?! Ikaw ba na nagbigay ng buhay sa akin?! Sino ka ba?...Akala mo alam n’yo nang lahat ayoko nito! Akala mo alam n’yong lahat hah..Ayoko nito…ayoko nito..ayoko pang mamatay!...anong mangyayari sa mga anak ko…mga putang ina n’yo…ayoko nito!” – Dolzura Cortez

Basic Information: Direction: Laurice Guillen; Adapted screenplay: Ricardo Lee; Original screenplay: Dolzura Cortez; Cast: Vilma Santos, Christopher De Leon, Charito Solis, Jackie Aquino, Christine Bersola, Noni Buencamino, Maila Gumila, Mia Gutierrez, Gigette Reyes, Gilleth Sandico, Eula Valdez, Mikee Villanueva, Nonie Buecamino, Jaime Blanch, John Caddi, Tess Dumpit, Chris Michelena, Sharme Centenera, Ernie Zarate, Pocholo Montes, Gil Portes; Original Music: Nonong Buencamino; Cinematography: Eduardo Jacinto; Editing: Efren Jarlego; Sound: Monching Reyes; Production Design: Edgar Martin Littaua; Theme Song: “Dahil Mahal Kita” sung by Ogie Alcasid; Producer: Orly Ilacad, Octo Arts Film Co.

Plot Description: Ma. Dolzura Cortez (d. 1992) is the first Filipino AIDS victim who came out in the open to tell about her life and how she acquired the AIDS virus. Her life story was made into the 1993 Filipino film Dahil Mahal Kita (English "Because I Love You: The Dolzura Cortez Story"), directed by Laurice Guillen and starring Vilma Santos as Cortez.. – Wikepedia

Based on Ma. Ceres P. Doyo's award-winning series in the Philippine Daily Inquirer, this film chronicles the life of Dolzura Cortez, the first Filipina to bravely come out in public and admit she was afflicted with AIDS; thus finally giving a face to an AIDS patient. – Philippine Movies Data base, Geocities

This Philippine drama chronicles the colorful life of Dolzura Cortez, the first publicly recognized AIDS patient in the Philippines. The film begins with a brief examination of Cortez's pre-AIDS life. Initially she lived in a small village with her cruel husband and three kids. The spunky woman leaves them and moves to the big city where she engages in several affairs. Her second marriage to a rich foreigner does not last long. To support her children, Dolly begins an all woman "contract worker" agency. This also serves to facilitate her love of night-life. Tragedy comes to Dolzura after she collapses on a dance floor one night and learns that she has full-blown AIDS. At a Manila hospital she meets ex-lover Paulo, an AIDS researcher who encourages to tell her story publicly. The courageous woman does and she becomes instrumental in spreading AIDS awareness to the islands. - Sandra Brennan, All Movie Guide, The New York Times

"...Life story of the Philippine's first publicly acknowledged AIDS patient, a woman who leaves her husband in her home village for the big city. Here she indulges in love-affairs that end her second marriage with a wealthy foreigner..." - British Film Institute (READ MORE)

Film Achievements: FAP Best Actress - Vilma Santos; Gawad Urian: Best Actress - Vilma Santos, Best Music - Nonong Buencamino; STAR Best Actress - Vilma Santos; Manila Film Festival Best Actres - Vilma Santos; Movie Magazine Best Actress - Vilma Santos; Intrigue Magazine Reader’s Choice Best Actress - Vilma Santos; New Fame Magazine Reader’s Choice Best Actress - Vilma Santos; FAMAS Circle of Excellence - Vilma Santos

Other Film Achievements: Gawad Urian: Best Director nomination - Laurice Guillen, URIAN Best Picture nomination – Octo Arts; Exhibited at the San Francisco Asian-American International Film Festival on March, 1994; Dahil Mahal Kita: the Dolzura Cortez Story was exhibited at the Amsterdam Film Festival on January 01-15, 1994

Film Reviews: "...If eroticism and sadomasochistic reverberations were ignited in Midnight Passion, Guillen’s The Dolzura Cortez Story (Dahil Mahal Kita, 1993) broke new ground in another direction. It was not only one of the first films to tackle AIDS as a reality by giving it a real human face, but also a rare revelation for its protagonist’s confession that the absence of sexual intimacy as a diseased outsider created a profound ache. This connection of alienation to desire startlingly brings out the humane aspects of the AIDS tragedy. Like her other films, Dolzura Cortez was a strong woman who never allowed herself to be viewed as a victim..." - Vinita Ramani, Big O Magazine (READ MORE)

This Philippine drama chronicles the colorful life of Dolzura Cortez, the first publicly recognized AIDS patient in the Philippines. The film begins with a brief examination of Cortez's pre-AIDS life. Initially she lived in a small village with her cruel husband and three kids. The spunky woman leaves them and moves to the big city where she engages in several affairs. Her second marriage to a rich foreigner does not last long. To support her children, Dolly begins an all woman "contract worker" agency. This also serves to facilitate her love of night-life. Tragedy comes to Dolzura after she collapses on a dance floor one night and learns that she has full-blown AIDS. At a Manila hospital she meets ex-lover Paulo, an AIDS researcher who encourages to tell her story publicly. The courageous woman does and she becomes instrumental in spreading AIDS awareness to the islands. It was the first movie on AIDS in the Philippines that provided 'a name and a face' among the 50 recorded lives that were lost to AIDS in 1992. This movie was utilized as a focus of discussion by some health care personnel to express their thoughts, opinions and recommendations regarding the use of cinema as a powerful tool for AIDS information dissemination. - You and Aids web-site

The "Dolzura Cortez Story" was the Philippines' first movie on AIDS that provided 'a name and a face' among the 50 recorded lives that were lost to AIDS in 1992. This movie was utilized as a focus of discussion by some health care personnel to express their thoughts, opinions and recommendations regarding the use of cinema as a powerful tool for AIDS information dissemination.

PIP: Responding to a newspaper advertisement looking for a person with AIDS, Ms. Dolzura Cortez agreed to have her life story serialized in print and later developed into a movie. The "Dolzura Cortez Story" was subsequently produced as the Philippines' first movie on AIDS which documented the real experiences of a person living with AIDS in the country. The author reports findings from a study conducted to determine the social impact of the movie as perceived by some health care personnel. Specifically, it aimed to identify the messages that health care providers derived from watching the movie and to make recommendations on how this and subsequent films could serve as an effective tool for AIDS education. 134 health care personnel representing 13 regional hospitals from all over the country watched the film, then answered a questionnaire. The sample was of mean age 35.6 years, 84.3% female, and with mean experience of 10.1 years. 20.1% were doctors, 21.6% nurses, 32.4% social workers, and 25.4% other health personnel. 22.9% had direct experience caring for persons with AIDS and 32.8% knew someone with AIDS. Although these participants perceived some simple and subtle messages from the movie, they also noted its shortcomings. The movie lacked realism; overemphasized the dangers of having multiple sex partners at the expense of warning about other risk factors for HIV transmission; the counsellor pressured the patient and failed to provide enough information on infection control; the psychosocial, economic, and spiritual concerns of people with AIDS were not addressed; and there were some misinterpretations and twisted truths about AIDS facts and the story itself. The respondents suggested that health care providers and people directly involved in AIDS education and counseling be involved in the production of such movies. Moreover, documentary pictures and testimonial footage of the woman would have added realism, while additional basic information about AIDS could have been mentioned in either the movie or a trailer. - NCBI

'Dolzura Cortez Story' is an artistic and brilliant film from Manila's finest director. The movie's leading actress, Ms. Santos, played her part so powerfully, and is very convincing as Dolzura, the first Filipino HIV/AIDS patient to come- out to the public. The movie is a thought- provoking film, ready to challenge the Filipino idea of what is right and what is wrong. Written by Jonard, “A thought- provoking, honest film from Philippine's finest director,” IBDB, March 11, 2000

"...The 1990s saw Charito Solis graduate to mother and grandmother roles, which she had done with frequency in the 1980s. In another nod to her age, she finally allowed herself to be billed above Vilma Santos, then acknowledged as the Longest-Reigning Box Office Queen of Philippine Movies, albeit above-the-title in films such as Ipagpatawad Mo (1992) and Dahil Mahal Kita: The Dolzura Cortez Story (1993)..." - Gypsy Baldovino and Yolly Tiangco (READ MORE)

Defining Moments - "...Other scoops are spectacular in terms of their instant impact or how they led to defining moments in Philippine history. An example of a high-impact scoop was the Dolzura Cortez story by Ceres Doyo in 1992. On the other hand, a February 2001 story on the last days of the Estrada administration, as reported by then Executive Secretary Edgardo Angara, was an example of a scoop that changed the course of our history. Cortez was the first Filipino with full-blown Acquired Immune Deficiency Syndrome (AIDS) to come out and tell her story. Past interviews with Filipinos afflicted with AIDS had been on condition that no names were mentioned and no photographs were taken. Cortez not only allowed the publication of her name but also her photograph. She also gave the Inquirer a photograph of herself before she got AIDS. Her before-and-after-AIDS pictures were revealing?they showed the readers how ravaging the disease could be. Cortez's story serialized from Aug. 31 to Sept, 3, 1992, gave AIDS a "name and face." It got tremendous response from readers and helped raise awareness of the disease. Doyo also won a number of awards and a full-length movie was produced on Cortez's life...." - Lawrence de Guzman, Minerva Generalao, Philippine Daily Inquirer, 29 Nov 2010 (READ MORE)

"...Previously, HIV/AIDS “victims” were seen either as homosexual men, or women who worked in the sex industry. The former stereotype was even turned into a mainstream 1993 Hollywood movie Philadelphia that won a best actor Academy Award for Tom Hanks. The latter, on the other hand, was the subject of a 1993 Filipino film The Dolzura Cortez Story starring Vilma Santos. As a disease, AIDS was highly misunderstood two decades ago. Religious fanatics considered it “a punishment from God” for the sexual excesses of its victims. While a complete falsehood, there was some truth to the other mistaken belief about AIDS—that it would lead to certain death for whoever had the disease, which had no known cure. Fast forward to 2013 and Filipinos still generally remain in the dark about HIV/AIDS..." - Beting Laygo Dolor, Manila Times, 14 August 2013 (READ MORE)

Related Reading:

• IMDB: The Dolzura Cortez Story (1993)
• Provincial Health Office Holds HIV-AIDS Advocacy
• Dahil Mahal Kita (Because I Love You: The Dolzura Cortez Story)
• Laurice Guillen From Wikipedia
• Vilma Santos’ Top 10 Film Directors (part four)
• Tops in race to get the story first
• Kim Chiu on Vilma Santos: ‘Nakaka-touch na ako ang napili niya para sa movie’