Basic Information: Directed: Jose Javier Reyes; Story: Jose Javier Reyes; Screenplay: Jose Javier Reyes; Cast: Vilma Santos, Christopher De Leon, Aga Muhlach, Cherrie Pie Picache, Amy Perez, Jao Mapa, Orestes Ojeda, Cita Astls, Maine Villanueva, Noni Buencamino, Susan Africa, Gina Leviste, Ogie Diaz; Executive producer: Lily Y. Monteverde; Original Music: Nonong Buencamino; Cinematography: Ely Cruz; Film Editing: George Jarlego; Production Design: Benjie De Guzman; Art Direction: Arnold, De Jesus, Sonny Maculada; Theme Song: “Nag-iisang Bituin” Music, Lyrics and Performed by Rannie Raymundo
Plot Description: Nag-iisang Bituin is a drama movie released in 1994 by Regal Films and directed by Jose Javier Reyes. It stars the Star for all Seasons, Vilma Santos and award-winning actors, Christopher de Leon and Aga Muhlach. Miggy (Aga Muhlach)is not an ordinary boy. He grows up as a learning, mentally challenged person. He becomes the center of his brother’s (Christopher de Leon) life. A psychiatrist (Vilma Santos) gives her time and attention to help Miggy. Together they face the odds and joys of bringing up Miggy in his different world. - Wikipilipinas
Film Achievement: FAMAS: Best Screenplay – Jose Javier Reyes, Best Director Nomination– Jose Javier Reyes, Best Best Picture Nomination; Gawad Urian: Best Screenplay Nomination – Jose Javier Reyes; Star Awards Best Actress Nomination – Vilma Santos
“Buong buhay ko yan na lang lagi ang sinasabi nila sa akin…wala kang magagawa eto ang gusto ng asawa mo…wala kang magagawa eto ang kapalaran mo…wala kang magagawa dahil dapat…putris naman, dapat hindi ganuon…tapos sasabihin ng daddy n’yo hindi lang ang anak ko ang pinatay hindi lang ang anak ko ang dinukot…lalo akong nanggigigil, lalo akong nagagalit dahil kung nanay ka talaga, hindi ka lang dapat nanganganak kundi naipaglaban mo rin ang anak mo dapat kaya mong pumatay para sa anak mo…gusto ko lang malaman bakit nila pinatay ang anak ko…hindi masamang tao ang anak ko, kahit sa oras na ito humarap ako sa diyos kahit sa dimonyo hindi masamang tao ang anak ko…hindi masamang tao ang anak ko!” - Amanda Bartolome
“You could stop being proud of me! Nagsawa na ako sa ganuon, gusto ko naman ngayon ako mismo just for a change, maging proud sa sarili ko!” - Amanda Bartolome
Basic Information: Direction: Chito S. Roño; Adapted screenplay: Lualhati Bautista; Original screenplay: Lualhati Bautista; Cast: Vilma Santos, Christopher De Leon, Piolo Pascual, Marvin Agustin, Kris Aquino, Ana Capri, Dimples Romana, Jhong Hilario, Carlos Agassi, Danilo Barrios, Carlo Muñoz, Tirso Cruz III, Orestes Ojeda, John Wayne Sace, Marianne de la Riva, Manjo del Mundo, Cacai Bautista; Original Music: Nonong Buencamino; Cinematography: Neil Daza; Editing: Jess Navarro; Production Design: Manny Morfe; Sound: Albert Michael Idioma, Alex Tomboc; Theme Song: " Hanggang" sung by Wency Cornejo; Producer: Charo Santos-Concio; Released date: 25 December 2002
Plot Description: Dekada 70 is a story of a family caught in the midst of a tumultuous time in Philippine history – the martial law years. Amanda (Vilma Santos) and Julian (Christopher Deleon) is a picture of a middle class couple with conservative ideologies, who must deal with raising their children, five boys – Jules (Piolo Pascual), Isagani (Carlos Agassi), Emmanuel (Marvin Agustin), Jason (Danilo Barrios) and Bingo (John Sace) in an era marked by passion, fear, unrest and social chaos. As siblings struggle to accept the differences of their ideologies, as a father faces the painful dissent of his children, a mother’s love will prove to be the most resonant in the unfolding of this family’s tale, will awaken to the needs of her own self, as she embarks on a journey of discovery to realize who she is as a wife, amother, a woman and a Filipino. - Star Cinema
Dekada '70 (English: 70s Decade) is a 2002 Filipino drama film released based on a book called Dekada '70 written by Filipino author, Lualhati Bautista. The film tells the story of the life of a middle-class Filipino family who, over the space of a decade, become aware of the political policies that have ultimately led to repression and a state of Martial law in the Philippines. Filipina actress Vilma Santos stars as Amanda, who realizes the implications of living within a dictatorship after sorting out the contradictory reactions of her husband and five sons. Her husband (Julian), played by Filipino actor, Christopher de Leon, supports his eldest son's (Jules), played by Filipino actor, Piolo Pascual; efforts to rail against the government while refusing to follow Amanda's wish to find a job. Her second son (Gani), played by Filipino actor, Carlos Agassi, is in the United States Navy. Her third son (Eman), played by Filipino actor, Marvin Augustin, writes illegal political exposes. The fourth son (Jason), played by Filipino actor, Danilo Barrios fell victim to a corrupt police department, and her youngest son named (Bingo), played by Filipino actor, John W. Sace, is still a boy (Wikepedia).
"...Amanda and Julian are a middle-class couple who live in Manila in the 1970's. Their oldest son is influenced by communism at his university. The second son gets a girl pregnant and marries her. But at the same time he joins the US army. The third son wants to be a journalist. The fourth son is fooling around with a girl. The film portrays the Philippines in the 1980's, when President Marcos declared martial law, through the viewpoint of a middle-class family..." - Fukuoka (READ MORE)
"...Drama. Portrait of a middle-class Filipino family as they change over a period of repression..." - British Film Institute (READ MORE)
Film Achievement: FAP: Best Actress - Vilma Santos, Best Supporting Actor - Piolo Pascual; Gawad Urian Best Actress - Vilma Santos, Best Picture - Star Cinema, Best Screenplay - Lualhati Bautista, Best Supporting Actor - Piolo Pascual; 2002 Gawad Tanglaw Best Actress - Vilma Santos; 2002 One's RAVE Awards Best Performance - Vilma Santos; STAR Best Actress - Vilma Santos; 2003 Cinemanila International Film Festival Best Actress - Vilma Santos; YCC Best Performer(s) - Vilma Santos, Piolo Pascual; 2003 Cinemanila International Film Festival Netpac Special Mention Award - Chito S. Roño FAMAS Best Supporting Actor - Piolo Pascual; YCC Best Film - Star Cinema
The 76th Academy Awards (OSCAR) Best Foreign Language Film Philippines; The 2003 Toronto International Film Festival; The 2003 Hawai International Film Festival; The 15tth Ankara International Film Festival; Official Selection: Tous les Cinema du Monde (Cinemas of teh World) 2005 Cannes Film Festival, The 5th Makati CineManila International Film Festival, The Montreal International Film Festival, The 22nd San Francisco International Asian American Film Festival, The 6th San Diego Asian Film Festival; Special Screenings: 11th FilmAsia (2015) Czech Republic
FAP: Best Actor nomination - Christopher De Leon, Best Director nomination - Chito S. Roño, Best Picture nomination - Star Cinema, Best Production Design nomination - Manny Morfe, Best Screenplay nomination - Lualhati Bautista, Best Story nomination - Lualhati Bautista; Gawad Urian: Best Actor nomination - Christopher De Leon, Best Director nomination - Chito S. Roño, Best Production Design nomination - Manny Morfe, Best Sound nomination - Albert Michael Idioma, Alex Tomboc
“...At the center of the film and the family is Amanda (Filipino cinematic diva Vilma Santos) who vicariously experiences living under a dictatorship through her husband and five sons' different reactions before coming into her own as a person. Her husband, Julian (Christopher De Leon), seems a walking contradiction: He offers rationalizations for the government while supporting his eldest son's revolutionary activities, but has a fit when his wife wants to get a job. As for the sons, firstborn son (Piolo Pascual) joins the guerillas in the mountains. The second son (Carlos Agassi), forced into a shotgun wedding, defiantly works for the American Navy. The third son (Marvin Augustin) writes journalistic exposes he can't publish, while the fourth son (Danilo Barrios) is a mystery to his family until his brutal, motiveless murder (probably by police) reveals a lost girlfriend. The fifth son (John W. Sace) is still a boy. Santos’ Amanda effortlessly and movingly chronicles the changed consciousness of the family and the country, with understatement her most reliable tool. Pic begins and ends with images of Santos at the forefront of a political demonstration, and nothing, from first image to last, for 128 minutes, is allowed to spontaneously or slyly deviate from the logic of her consciousness-raising.” - Ronnie Scheib, Variety Magazine (READ MORE)
Film Festival Box Office Result - "......The combined efforts of Star for All Seasons Vilma Santos and drama king Christopher de Leon failed to life "Dekada '70" from its initial No. 5 standing on the box office list. The Chito Rono period drama, did not move from the fifth place since the start of the festival, despite heavy promo blitx provided by producer Star Cinema and its sister company ABS-CBN. "Dekada '70" earned only a total of P37,945,673.25..." - Marinel R. Cruz, Philippine Daily Inquirer, Jan 15, 2003 (READ MORE)
Film Review: "Films on and about Martial Law have one thing in common: They all include scenes of political violence, often brutal. Asian cultural studies scholar Laurence Marvin Castillo says these allow the viewers to “experience the drama and the brutality of the era by making them identify with those who experience the horrors of the dictatorship onscreen, arousing the individual or collective sense of horror, pity, disgust and rage.” Sitting through actor Piolo Pascual being electrocuted and sleeping naked on an ice box in the commercially successful and acclaimed film "Dekada ’70", written by the prolific Lualhati Bautista, can make the viewers squirm. The audience were made to feel the desperation of mother Amanda Bartolome (Vilma Santos) and father Julian (Christopher De Leon) in looking for their missing sons. The ordeal leads to Amanda's political awakening. "This is also why scenes of political torture, brutality and other forms of political violence are a staple in films about the Martial Law, if only to arouse indignation over the visible inhumanity perpetrated by the dictatorial forces," Castillo says. Castillo is a PhD candidate at the Asia Institute of the University of Melbourne and a literary and cultural studies professor at the University of the Philippines Los Baños." - Kristine Joy Patag, Philstar, 26 September 2020 (READ MORE)
"...On it's 11th year of presenting Asian cinema to Czech audiences, 2015 FilmAsia, the Czech Republic’s premier Asian film festival, is putting Filipino cinema in focus for the first time. Initiated by Czech Embassy in Manila, in cooperation with the Film Development Council of the Philippines (FDCP), this year’s FilmAsia premieres six Filipino feature films, old and new. Among the films brought to Prague are the recently rediscovered and restored classic Genghis Khan (1950) directed by Manuel Conde which opened the festival on Dec. 4, and the acclaimed political family drama Dekada ’70 (2002) based on the novel by Lualhati Bautista, a film which mirrors the similar experience of the Czechs, who were also fighting for their democracy in the 1970s and 1980s while under communist rule. “As only a single Philippine film, The King of Sulu and the Emperor of China by Eddie Romero, ever entered the Czech film distribution [system] as long as a quarter a century ago, and not more than a dozen, often independent, films have been screened at Czech film festivals in recent years, this very first Philippine selection will be a unique glimpse into otherwise unknown cinematography in my country,” said Czech Ambassador to the Philippines Jaroslav Olša, Jr. The core of the Philippine focus are three independent Filipino films namely Lihis (2013), Sonata (2013), and Badil (2013), all co-produced by the FDCP. And to give the Czech audiences a glimpse of Philippine superhero films, the iconic Philippine superheroine will get the opportunity to fly over Prague with the Czech premier of Darna, starring Vilma Santos. “As the only Asian film festival in the Czech Republic, FilmAsia offers Czechs a glimpse of the best of what Asian cinema can offer,” said Karla Stojáková, the festival´s director and producer who has a long history of cooperation with Asian filmmakers. “Therefore I was happy to share the idea of Ambassador Jaroslav Olša, Jr. to present Filipino cinematography for the very first time in our country. Our festival is entering second decade this year and so it is symbolic and oportunity for our film enthusiasts to discover another Asian cinematography.” In previous years, FilmAsia has featured award-winning works by notable directors in the Asian region, among them Park Chan-wook, Kim Ki-duk, Hou Hsia-hsien, Johnnie To, Wong Kar-wai, Tsai Ming-liang, and Takashi Miike..." - Interaksyon, 07 December 2015 (READ MORE)
No. 26 of 50 Best Films of the 21st Century - "...Today, close to ten national film festivals showcase feature-length and short films every year, and around fifty festivals, not to mention the increasing number of filmmaking workshops, exclusively show short films in many campuses, local cinemas, and alternative venues around the country. While local film enthusiasts are being spoiled by the availability of choices offered by the increasing number of filmfests, distribution of independent films is still a nightmare. Unlike mainstream pictures that can be readily accessed as DVDs or pay-per-view content even many years after their dates of release, audiences wanting to catch indie films need to watch them during their release in select venues (which are mostly located in Metro Manila), otherwise, chances of seeing them being viewed again are not very high, especially if their themes are not geared for mainstream consumption. It’s a good thing that efforts are being made both by government and the private sector (FDCP’s regional cinematheques and its partnership with SM for CineLokal, the UP Film Institute, TBA’s Cinema ’76, Cinema One channel) to feature indie films released in earlier years at affordable rates. The various filmfests have different arrangements with filmmakers regarding ownership and distribution rights, and some are more proactive in marketing their entries than others. A few filmmakers (like Lav Diaz, Khavn dela Cruz, and other younger indie filmmakers producing their own films) directly make their films available for a modest fee to interested viewers. Also, online streaming platforms such Culture Unplugged, iflix, iTunes, Netflix, Vimeo, Hooq, and Viddsee (for short films) will surely play a bigger role in the near future. At present, only 11 of the top 50 films below can be viewed in iflix. Forming a canon of modern classics is an obviously herculean task, so we’ve invited 33 critics, academics, archivists, and reviewers who have closely followed Philippine cinema’s output since the turn of the century to name their 10 favorite local films since 2001 (technically the first year of the 21st century). The voters relayed to us that it was a very challenging but fun undertaking. A total of 163 films received votes: of the top 50, 3 are documentaries, 14 are made by filmmakers who are based or primarily working outside Metro Manila (proof that regional cinema has made a lasting impact on the modern national cinematic landscape), and a whopping 46 are produced independently. Here are the top 50 films of the 21st century so far...No. 26 - Dekada ‘70, Chito Roño, 2002...“Hangga’t patuloy na inililibing sa puntod ng kasaysayan ang panahong (Batas Militar), patuloy na magmumulto ang mga Pilipinong itinimbuwang ng karahasan sa gitna ng pambansang pakikibaka laban sa diktadura. Ito ang halaga ng pelikulang Dekada ’70 na hindi kayang igpawan ng mga kaalinsabay nito-pagbalik-tanaw sa panahong nagluwal sa mga bayaning walang pangalan tungo sa paglaya ng bayan. Habang nagsasawalang kibo ang maraming Pilipino sa tunay na kabuluhan ng panahong ito, patuloy na gagamitin ng iba’t ibang pwersa ang kilusang naipundar ng luha at dugo ng mga Pilipinong nagmahal sa sariling bayan. Isang testimonya ang pelikula sa kamalayang hindi magagapi at patuloy na magsasatinig sa katotohanan.” – Ariel Valerio, Young Critics Circle..." - Pinoy Rebyu, Filipino Film Aggregator (READ)
"...2002, Vilma failed to win as Best Actress sa 2002 MMFF para sa major film na Dekada ‘70, megged by Chito Rono and produced by Star Cinema. Hindi naman nabigo ang Vilmanians sa mga sumunod na awarding, in early 2003, dahil kay Vilma napunta ang Best Actress trophies na kaloob ng Star Awards, FAP at Gawad Urian. Pati ng minor award-giving body na binubuo ng mga academician, ang PASADO (Pampelikulang Samahan ng mga Dalubguro). At ang kanyang ikalawang Best Performance award mula sa YCC-Film Desk in its annual Circle Citations. Panlaban ng bansa ang The Seventies (Dekada ‘70) sa 4th Makati CineManila International Film Festival (organized by Direk Tikoy Aguiluz). The film won a special jury prize at Best Actress award for Vilma (her second claim to international fame)..." - William Reyes (READ MORE)
“Last seen in ANAK (SFIAAFF ‘01), Vilma Santos delivers an understated, profoundly moving performance as the matriarch whose awakening redefines the traditional mother and wife role she donned for years. This is the story of an incredible character that survived an unforgettable decade.” - Michael Magnaye, The 22nd San Fransisco Asian-American Film Festival, 2004 The Classic Vilma Santos Movies
“As Amanda, Vilma Santos shows again why Brocka, before he died, had likened her to water. “She can register anything,” he said. In “Dekada”, its the same Santos of vigor and transparency. The only difference is the depth, the resonance, and the greater confidence. Can she ever go wrong?” - Lito B. Zulueta, Philippine Daily Inquirer. Dec 30, 2002 (READ MORE)
"...Ang Dekada '70 ay isang mahusay na adaptasyon sa pelikula ng nobela nitong may parehong titulo. Napanatili ang kaluluwa ng nobela sa pelikula sa kabila ng limitasyon ng pelikula bilang isang audio-visual na medium. Marahil, nakatulong ng malaki ang pagkakaroon ng iisang manunulat lamang. Naging maayos ang takbo ng pelikula na tulad sa nobela nitong nahati sa mga taon ng dekada '70. Mahusay ang pagkakaganap ng mga pangunahing tauhan (maliban kay Carlos Agassi) na nakapagbigay hininga sa mga tauhang noo'y nababasa lamang. Naibalik ng pelikula ang larawan ng dekada '70 sa mga eksena nitong nagpapakita ng mga demonstrasyon, protesta at rallies na tunay na nangyari noong panahon na iyon. Ang musika at tunog ay madalas na akma at nagpapaigting sa emosyong nais ipahatid ng pelikula. Naging mahina lamang ang disenyong pamproduksiyon ng pelikula na hindi naging masusi sa make-up, at kasuotan ng mga tauhan sa pawang hindi parating umaangkop sa panahon...'' - Catholic Initiative for Enlightened Movie Association (READ MORE)
"...Dekada 70 journeys with the central character Amanda Bartolome (Vilma Santos), the reticent wife of an alpha-male husband, and the worrying mother of a boisterous all-male brood. Thoroughly relegated to domesticity in a world slathered in testosterone, Amanda begins to undergo a transformation when her family becomes imbricated in the sociopolitical realities brought about by the Marcos dictatorship. The declaration of Martial Law, the lifting of the writ of habeas corpus, the curfews and police searches, all these could have easily floated past Amanda's head had her sons not found themselves caught in the crossfire between the government and the pro-democracy movements. As one son after another faces the oppressive forces of the dictatorship, Amanda gradually realizes that the personal is political. While chanting slogans for sociopolitical change, she finds her own voice and comes to terms with the fullness of her own person...There are touches of seventies style Filipino humor that foreign audiences might miss; they effectively establish that this is a real, average Filipino family trying to navigate through the eye of the political storm. The acting is generally impressive, most especially that of lead actress Santos, who gives a luminous, sensitive performance. Santos essays the transformation of Amanda so effectively that we do see clearly at the end of the film that there has been a fundamental change in her character. If there is something to be faulted about the film, it is Roňo's failure to keep melodramatic moments in check. The funeral sequence of one of Amanda's sons, for instance, becomes an over-extended session of copious tears. The rich story material of Dekada 70 could do away with such "in your face" paroxysms, which only work to dull the film's cutting edge political trajectory. Nonetheless, it cannot be denied that Roňo had created a noteworthy, epic-scale Filipino film, and on a Third World budget at that. It also cannot be denied that Roňo had not forgotten the sentence of history on his home country..." - Antonio D. Sison, Insititute for Pastoral Initiatives University of Dayton (READ MORE)
“…about Vilma’s performance in “Dekada ‘70”: Some jurors, viewers and reviewers have expressed dissappointment over it because they regard it as too passive, low-key, unemotional, too much taken up with observation, and reflection instead of action. Thus, it doesn’t deserve the best actress award. We disagree. We think that, precisely because Vilma’s portrayal was so restrained for the most part, it was more difficult to achieve. It’s far easier to rant and rave, to “feel” bigtime, to run the gamut of emotions from A to Z- but, if Vilma did that, she would have gone against her character’s nature, as written...during the first half of the film, Vilma’s character occasionally felt unhappy, taken for granted or unappreciated as a person, but she held her emotions in check to keep the peace in the family. It was only later, when the national trauma of martial law rule affected her sons in various tragic ways, that she found the voice and rediscovered the heart to assert herself as a person and to give her emotions full play. We submit that Vilma’s portrayal is excellent precisely because she vivified he character as the wife and mother was in the ‘70s. Her thematic and emotional high points towards the end of the film rivetting, but it was her quieter, more controlled moments that showcased Vilma’s true gift as an actress. During those moments, Vilma didn’t just observe what was going on, she was constantly conflicted only, she had been programmed not to speak out because it wasn’t her “place”. Thus, when she finally changes and expresses herself in the end, the contrast makes her transformation all the more stunning. In the movie’s first half, Vilma is such a good actress that, although she may not be the active element in her family (her husband is), she is quietly involved in each and every scene, and every new development is seen from her point of view. Even better, despite her relative lack of dialogue at this point, we can “read” her thoughts on her face as clearly as though she were speaking. And we see her slowly changing before our very eyes, gradually overcoming her reticence, discovering her true worth, and finally finding and expressing her true self. This is very difficult to do, as any true thespian will affirm. Which is why, unlike some people who dismiss Vilma’s portrayal as passive and weak, we think it ranks among her best, right up there with her performances in and fully deserving of the filmfest’s coveted best actress trophy.” - Nestor Torre, Philippine Daily Inquirer (READ MORE)
“…The reason “Sister Stella L” will probably end up better appreciated is that the movie was shown during the martial law era. The movie was relevant to the times and Vilma was portraying an activist nun, a role not usually associated with the Star for all Seasons… As the mother, Vilma does justice to her character, holding back her strong emotions until the end, when she finally confronts Christopher de Leon and wants to break up with him. Despite the many tragic events that befall her character, Vilma chooses to underplay her role except at key points towards the end of the movie. Boyet is his usual competent self as the chauvinistic husband of Vilma who is forced to change when his wife breaks out of her shell. Piolo Pascual also deserves mention for his realistic portrayal of the activist turned NPA rebel…” - Edmund L. Sicam, Philippine Daily Inquirer (READ MORE)
“…Unlike Vilma Santos’ Sister Stella L. character, who becomes politicized practically overnight, her Amanda role in “Dekada ‘70” takes longer to mature politically (almost the whole decade). And she goes through a very painful process because she experiences the abuses of the marcos regime by seeing her own children suffer. With Vilma hurting inside and suffering almost in silence, we have here in “Dekada ‘70” some very moving dramatic scenes that are mostly devoid of hysterics but are still very effective nonetheless. Actually, we see yet another facet of Vilma Santos’ acting talent in this film. In the story, she goes through guilt (with the fate of one of her sons), pain, anguish and anxiety (particularly with the eldest, Piolo)-plus discontent as a plain housewife who wants to do something more with her life other than to keep house for her husband and kids. The great actress that she is, Vilma is able to manifest clearly the different layers of her character in a very quiet manner, which-you have to admit-is quite difficult to achieve. But Vilma-after all these decades -can do no wrong anymore in the field of acting. Although it’s not the greatest performance of her career (it’s still Sister Stella L), her portrayal of Amanda in “Dekada ‘70” is no doubt one of her finest. More importantly, her role (and her approach to it) is different from the hundreds of other roles she has done in the past…” - Butch Francisco, The Philippine Star (READ MORE)
“...Santos’ performance is so vivid and insightful that we can see her changing in front of our very eyes… We were enthralled…we were moved. And we valued the film’s important contribution to the very urgent task of reminding everyone of the trauma in our collective lives that was the martial law period of the '70s,” noted Nestor Torre of Inquirer News Service. Chito Rono’s Dekada ‘70 made its world premier at the Asian American International Film Festival in June of 2003. The film has also won numerous domestic awards. The Young Critics Circle voted Dekada ‘70 Best Film of the Year (2002), Best Screenplay, Best Sound and Best Performance in a tie between actress Vilma Santos (Amanda) and Piolo Pascual (Amanda’s eldest son). The Best Film of the Year award is reserved for the director, such that no separate prize for direction is needed. The Best Performance award is the most coveted as it is conferred on the performer whether male or female, adult or child, individual or ensemble in leading or supporting role. Vilma Santos also received an award for Best Actress from Star Awards for Movies, Film Academy of The Philippines, and Gawad Urian Awards. Piolo Pascual also received an award for Best Supporting Actor from the Young Critics Film Circle, Metro Manila Film Festival, Star Awards for Movies, Film Academy of the Philippines, FAMAS Awards, and Gawad Urian Awards. The Gawad Urian Awards also presented Dekada ’70 with the award for Best Screenplay..." - Sara Stokoe, Asia Pacific Arts (READ MORE)
"...In Chito S. Roño’s superb “Dekada ’70,” a family in the Marcos-era Philippines has a domineering father and five sons, but it is the mother (Vilma Santos) who provides the mental stamina. She fights for her family in ways the father can’t even dream of. “To give birth to these children isn’t enough,” she says. “You have to defend them, protect them.” That’s the ’70s. In 30 years, that kind of woman will deal with difficult questions of divorce and motherhood, one in which women want freedom, yet must be willing to share blame when something goes wrong. The young woman who leaves her husband and thinks about aborting her pregnancy in South Korean filmmaker Gina Kim’s “Invisible Light” is an experimental example. Moon’s great performance in “A Good Lawyer’s Wife” almost makes you believe wrong is right, and, taken with her much-lauded portrayal of a girl with cerebral palsy in “Oasis,” reveals her as one of the world’s best actresses. Hollywood, take note. – No stereotypes of Asians here..." - G. Allen Johnson, Festival Celebrates Real Women, San Francisco Chronicle March 4, 2004 (READ MORE)
"...The young actors that were cast in Dekada '70 were all guilty of doing too much "acting". I don't think actors should be acting-out, or (in this case) over-acting, unless they were filming a farce, or a comedic parody. Inexcusable mediocre performances plagued every scene. Instead of ensuring the characters were having a real conversation (real interaction), it seemed as though they were merely spitting out lines which they had memorized word-for-word, the delivery, inflections, and pauses unnatural. People don't talk to each other like this in real life now, do they? Of course not. It is sometimes possible for a younger actor to deliver a satisfactory performance though the guiding hand of an experienced veteran. This of course is quite rare, as it calls for a unique, uncalculated, natural chemistry that can never be faked. Award winning greats like Vilma Santos and Christopher De Leon should never be subjected to work with a group of inexperienced pretty faces who are incapable of displaying a sense of depth and sophistication. Proof that casting makes for a vital element that determines the success of a film..." - Edwin ManaloREAD MORE
"...The characters of brothers Jules (Piolo Pascual) and Eman (Marvin Augustin) share similar anti-Marcos perspectives in the movie. A movie that attempts to add a more familiar and human touch to a real event isn’t without its melodrama. The overt use of music to drive emotion home and unnecessarily lengthy shots distract a bit from what otherwise could have been short and sweet takes of awesome performances. The pace of the film seems to slow down mid-way through the film. Yet these faults are minute enough that they probably didn’t even deserve a mention...This movie makes for a satisfying introduction to this decade in Philippine history. I shouldn’t forget to mention how faithful the movie remains to the styles of dress, the models of cars, and the music of the time to strongly present the age and era the movie takes place. Most importantly Dekada ’70 presents to us the emotional aspect, an aspect you cannot obtain through school textbooks, snapshots, and soundbites of Martial Law under Marcos. This is communicated successfully through its collection of talents seen through the eye of a veteran director..." - Pinoy Movie Reviews (READ MORE)
Fernando Poe Jr.'s "Lawin" (hawk) failed to soar high at the box office after Ramon "Bong" Revilla Jr.'s "Agimat" (amulet) proved to be more powerful. Working wonders at the tills, "Agimat ni lolo," Revilla's action-fantasy-adventure movie was the top grossing film on the first day of the festival last Wednesday, edging out Poe's "Alamat ng Lawin," from top slot. Caloocan Mayor Rey Malonzo, chair of the MMFF executive committee, refused to divulge the box-office figures because "that was the request of the other producers." An MMFF insider, however, disclosed that "Agimat" earned P14 million gross on the day it opened. Imus Productions bankrolled "Agimat." As early as yesterday noon, Revilla said he was told that "Agimat" was already leading in the box office race. A number of theaters opened as early as 9 a.m.yesterday, making it easy to determine the results after only the first screening. Revilla outshone even comedy king Dolphy's "Home Along da Riles," which ranked only third. Regal Entertainment's "Mano Po," which boasts a powerhouse cast and Joel Lamangan at the helm, came in fourth. Star Cinema's period opus, "Dekada '70," directed by Chito Rono and top billed by drama royalty Vilma Santos and Christopher de Leon, was fifth. The epic tale of Filipino hero "Lapu-Lapu," with Pampanga Governor Lito Lapid in the lead, took the sixth place, and Reflection Films' "Hula Mo, Huli Ko," starring Rudy Fernandez and Rufa Mae Quinto, came in seventh in the box-office race. But the box-office tallies might still change after tonight's "Gabi ng Parangal," when the MMFF hands out the awards to this festival's best films. Two more entries - OctoArts Films' "Lastikman" starring Vic Sotto and Regal Film''s "Spirit Warriors 2: Short-cut" -will be shown starting Jan 1. The filmfest will run until Jan 10. - Leah SalterioPhilippine Daily Inquirer, Dec 27 2002 (READ MORE)
This year's Metro Manila Film Festival (MMFF) sports a new name, but its trademark controversial image and reputation remain the same. The 28th MMFF has included a "P" in its official name. The "P" which stands for Philippines, means the entries in the festival can now be seen nationwide. The cast of "Dekada '70" staged a walkout. A special effects awardee returned his trophy. A film that failed to make it to the filmfest's top seven won thrid best picture. These and other inconsistencies were the "highlights" of this year's "Gabi ng Parangal" awards ceremony last Friday. Piolo was "Dekada '70's" biggest winner as best supporting actor for his compelling portrayal of a tortured rebel leader in Chito Rono's period drama. John Wayne Sace, who plays Pascual's brother Bingo, bagged the best supporting child actor award. "Dekada '70" also bagged the second best child actor award. "Dekada '70" also bagged the second best picture award. Regal Films' "Mano Po" romped off with the most number of awards, including the best actress plum that went to Ara Mina, who best-ed the veteran "Dekada '70" star Vilma Santos. Eddie Garcia was adjudged best festival actor, while Joel Lamangan was named this year's best director. Kris Aquino won best supporting actress also for "Mano Po." Regal Films matriarch Lily Monteverde thanked the filmfest committee in Aquino's behalf. Mother Lily has two more reasons to say "Chi chien" after "Mano Po" won best picture and best original story for writer Roy Iglesias. Iglesias also won the best screenplay citations for "Mano Po." Resty Garchitorena and Tara Limberger took home the best cinematography and best film editor awards, again for "Mano Po." The cross-cultural drama, which even partly filmed in Beijing, China, bagged a toral of 12 awards that night. Bong de Guzman snatched the best musical score trophy from such veteran composers as Louie Ocampo, Nonong Buencamino, Jimmy Fabregas and Elmer Sayson.
Best festival production design trophy was awarded to Tatus Aldana for his spectacular work on "Mano Po." The biggest surprise came when Chito Rono's "Spirit Warriors 2: Shortcut." won third best picture. The award came as a surprise even to its director Chito Rono, who upon hearing the news, commented that "the award only proved how good the movie is." "Spirit Warrior 2" snatched the festival's two most important technical awards - best make-up for Warren Munar and best visual effects for Dodge Ledesma and Road Runner Productions. Unlike "Alamat" and "Lastikman" which didn't get any award, Reflectin Films' "Hula Mo, Huli Ko" and RVQ Productions' "Home Alone da Riles" each won an award. RVQ Productions' "Nasaan Ka" was heralded as this year's best theme song, while Caloy de Leon won the best sound recording plum for his work on "Hula Mo." De Leon, however, returned the award later that night. "I want the jurors to explain to me how can a film dubbed in mono like "Hula Mo" win over other films dubbed in Dolby digital," he said. Imus Productions' spectacular "Agimat" float took home P75,000 after bagging the best festival float award. Noticeably absent during the awards night were "Alamat ng Lawin" lead star Fernando Poe Jr., his leading lady Ina Raymundo, and the entire cast of "Lastikman," led by comedian-producer Vic Sotto. Poe's long-time aide, Amay Bisaya, said the action king chose not to attend the ceremony to "avoid intrigues and politicking." - Marinel R. CruzPhilippine Daily Ingquirer, Dec 29 2002 (READ MORE)
"...In this sense, the ultimate triumph of Dekada '70 lies not so much in recounting the horrors of Martial Law but in taking into account how one can embrace social change and follow the path towards struggle. This is dramatized in the metaphorical odyssey taken by the film's central figure, a wife and mother named Amanda Bartolome. At first, she would think that pleasing her husband and raising her five boys are all that matters in life. When monstrosities entailed by the turbulent times would prove otherwise, she would come to realize that to be a dutiful wife and loving mother means nothing amidst the social landscape without the wheels of justice, suffused with the spilt blood of oppression and severely debilitated by rampant poverty. The abiding wife and caring mother would then stop just tending to her home to reach out to the larger society that she would find in need too of her cradling. The symbolic trek Amanda would set out to embark on could nevertheless be hers alone. It must also be the inspiring odyssey involving countless others that audiences may do well to emulate for the valor and resolve they exemplify in taking up a cause. Dekada '70 pays homage to them as well. The film is also recognized for Best Screenplay, Best Achievement in Sound which includes music and Best Performance by the mother-and-son team of Vilma Santos and Piolo Pascual..." - Nonoy L. Lauzon, NCCA, 23 June 2003 (READ MORE)
Philippine's Entry to the Oscar - "...Santos’ performance is so vivid and insightful that we can see her changing in front of our very eyes...We were enthralled...we were moved. And we valued the film’s important contribution to the very urgent task of reminding everyone of the trauma in our collective lives that was the martial law period of the '70s,” noted Nestor Torre of Inquirer News Service. Chito Rono’s Dekada ‘70 made its world premier at the Asian American International Film Festival in June of 2003. The film has also won numerous domestic awards...Judging by the number of awards, one could easily classify Dekada ‘70 a success, but unfortunately box office figures are considered classified in the Philippines so it impossible to tell exactly how well the movie did domestically. However, Nonoy Lauzon of the University of Philippines Film Institute and president of the Young Critics Circle, which named Dekada ‘70 Best Film of the Year (2002), stated “Sources who request anonymity place the domestic take of Dekada ‘70 at P53, 962,413 (in Philippine peso) or roughly 1.079 million in US dollars. For a Filipino film to be counted as a blockbuster, it must break the P100M mark.” So obviously, this was by no means a mega-hit, yet it was selected to represent the Philippines as the film submitted to the 2004 Oscars for possible nomination. A film is selected to be submitted for an Academy Award nomination by The Film Academy of the Philippines, which creates a committee for this purpose. “The committee reviews and picks the best film from among those shown within the period stipulated by AMPAS rules. A film sent to the Oscars has finished its commercial run in the country such that the distinction could not at all be said to make an impact on the film's profitability,” according to Lauzon. While being submitted for possible nomination is surely gratifying to the makers of the film, only when it is actually nominated will Filipino films and their makers gain more credibility in the U.S. and in their own country, where Hollywood imports drown out the domestic films..." - Sara Stokoe, Additional research by Shirley Hsu, Asia Media UCLA (READ MORE)
Educational Value - "...As expected, the beginning has a brief prologue with the country’s political climate before jetting off to deal with the Seventies in a year-by-year basis, mostly revolving around a rotation of drama between a married couple’s five growing boys, and their growing involvement in the country’s politics. (Down with imperialism, down with feudalism, up with communism, etc.) The momentum moves along smoothly from 1970 ‘til 1975, with the title-marked year at each transition helping to feel a sense of accomplishment in Cliffs Notes-ian breakdown. But, as much of the familial drama heats up (this son joins a militant group, that son writes communist propaganda, another son gets a girl pregnant, et al), circa ‘76-‘79, the pacing is botched and things are slowed down a great deal without a separation of time. During that period, though not to much surprise, the perspective is tendentious to the repressed mother, whom all of her children find to be the voice of reason and understanding, as much as their father tries to play it cool. It remains soap-operatic without any stretch of the imagination (well into the epilogue in 1983), though despite many of its faults, there is a certain educational value consistent throughout and applied systematically via the various functions each of the children entail. Lualhati Bautista adapts her own best-selling novel, and feminist agenda aside, the story and the movie would crack without the mother character, and the solidifying presence of Vilma Santos, whose only unfortunate requirement is to give voice to all of the repressed Filipinas at once. Directed by Chito S. Roño; with Christopher De Leon, Piolo Pascual, Marvin Agustin, Carlos Agassi, Danilo Barrios, and John Wayne Sace..." - Greg Muskewitz, efilmcritic (READ MORE)
Brutal Effects - "...The mother in Dekada '70 is played by the attractive Vilma Santos (Amanda). She ably portrays the loving mother and the trials and tribulations of a woman. Her husband, played by Christopher De Leon, is a very truthful rendition of a middle-class man from an Asian country in the 70s. The sons, two out of five are played by Piolo Pascual and Marvin Agustin, heed different callings. One becomes a radical leftist. Another one joins the U.S. Navy. Yet another becomes a writer. Everything is represented. Obviously the choices are going to lead to conflict and strife. It is how Amanda navigates the life she has chosen and how she deals with the men in her life that gives us a compelling story. There were times when the script didn't feel entirely "tight," but perfection is not what this film is aiming for--it is the message...This was a dark time for the Philippines. The film lets us feel that reality...Dekada '70 was a contribution from the Philippines which realistically portrayed the Marcos dictatorship. What might have been perceived as a "benevolent" authoritarian government by some, was a nightmare to many of its people. Because of the fact that they followed the American line, I think we were led to believe that things were not so bad. In fact, the brutal effects of a government that turned to martial law are clearly shown in this movie--as it affects a family. A family of boys, one would assume that the audience would get a male-dominated version of reality. But, the story really revolves around the mother..." - Mukul Khurana, San Diego Asian Filmfestival.blogspot.ca, September 30, 2005 (READ MORE)
State Fascism - "...The film was successful in presenting state fascism so vividly. Violent dispersal of protest actions. Curfew imposition. Forced disappearances. Salvaging. But the horror that was martial rule was best reflected in the torture scenes, which were based on actual testimonies of the victims’ relatives. After Marcos was ousted by the 1986 people uprising, almost 6,000 persons were killed, 737 missing, 35,000 tortured and 70,000 arrested. Ruins of the Marcos bust flashed to my mind. It could only tell so much of the ire earned by the Marcoses. What struck me most was that I realized I was not only looking at the past but also at the present state of human rights in the country. A dear friend was shot while pleading for her life. Another colleague abducted and harassed. Another one raped. Perpetrators were men in uniform. The victims were plain civilians..." - Ronalyn Olea, Bulatlat (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...Dekada 70 was produced in 2002 but is about the story of a Filipino family during martial law. The essential story is about Amanda (Vilma Santos) and Julian (Christopher de Leon) who are raising their five sons during the repressive dictatorship of Ferdinand Marcos. The parents are apolitical but their sons turn to various forms of activism as a result of life under martial law. Eventually, the family becomes the victim of extremist violence and Amanda soon becomes a dissident. The film director was Chito S. Rono...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)
Basic Information: Directed: Elwood Perez; Story, screenplay: Toto Belano; Cast: Vilma Santos, Christopher De Leon, Alma Moreno; Executive producer: Lily Y. Monteverde; Original Music: Ernani Cuenco; Cinematography: Johnny Araojo; Film Editing: Rogelio Salvador; Released Date: August 17, 1979
Plot Description: Two women, formerly the best of friends, become the worst of enemies when they fall for the same man. - ABS-CBN (READ MORE)
A story of a woman whose closest friend became her worst rival. They were once very close to each other, almost like sisters. She even confides all her troubles and heartaches to this friend. Later, she sensed some changes in her friend's attitude towards her which became obvious when this friend of hers tried to outshine her in everything. Philippines Filipino Tagalog movie. - Amazon (READ MORE)
A story of a woman whose closest friend became her worst rival. They were once very close to each other-almost like sisters. She even confides all her troubles and heartaches to this friend. Later, she sensed some changes in her friend's attitude towards her which became obvious when this friend of hers tried to outshine her in everything. She tried not to mind this but worse came to worst when she discovered that the other woman in her love one's life is the very same friend thus a never-ending conflict arised. It stars: Vilma Santos, Christopher de Leon, Alma Moreno. - Trigon Video
Film Achievement: One of Regal Film's biggest hit in the 1980s.
Film Reviews: Elwood Perez's Magkaribal tackles a complex range of human relations but problematizes it quite rigorously. Ensuing from the competing affections of best friends Lily (Vilma Santos) and Cristy (Alma Moreno) over Erick Guererro (Christopher de Leon), a man who exploits their varying degrees of vulnerability and aspiration to upward mobility, the film seeks to understand what it is that women want and why they want it under circumstances both within and beyond the control of their limited reckoning. How the women in this film choose to make their lives difficult and at times miserable by staking their right to love a man in spite of the circumscriptions of traditional heterosexist norms, engenders a creative tension that enables women to appropriate the power to break the culture of silence and expresses sexuality in specific terms within specific situations. One woman has to inevitably give up the fight, but only after she has achieved a realization that strikes at the core of practical realities. It assumes strong feminist position and transforms female annoyance and obnoxiousness into virtues and codes for contemporary survival. Magkaribal tears asunder from within the patriarchal principle that informs the gender discourse of popular filmography. As the two women who previously clawed at each other over a man decide to leave the bone of contention behind, one senses feminine triumph.
Christopher de Leon embodies the physicality and psyche of a sexy beast whose complexity is at par with that of a De Niro or Pacino. De Leon, here in his prime epitomizes the dramatic range and animal magnetism akin to Marlon Brando's Stanley Kowalski. Alma Moreno's portrayal of a woman who desires a new life in the face of a very uncertain future is competent. The acting method employed here is able to twist the logic of cliché and reconstitutes the drama of yearning with passion and grace. Vilma Santos shows that the strength of women need not come from the repudiation of "feminine" traits and roles. Neither should they come from brute, shrewish adamance as exemplified by the stereotype, nor from machismo as embodied by her husband. Santos demonstrates that the concept of the beautiful, dainty, feminine and strong are not necessarily mutually exclusive. Rather, these form a character that is finally textured, complex and potentially oppositionist. Magkaribal is commendable for staging clever and well-thought out situations partaking of actual tension and punctuated by defamiliarizing comical scenarios and melodramatic circumventions. A certain style of filmmaking based on genre or other considerations is taken as any distinct mode of creating form in film and is made possible only against a background of options that makes a particular choice significant, meaningful and therefore recognizable stylistically. Film artists work within these possibilities in the process of making art, but are never limited to custom and habit. As an erudite art historian puts it, “The style forbids certain moves and recommends others as effective, but the degree of latitude left to the individual within this system varies at least as much as it does in games.” We can glean in Magkaribal traces of both rule and risk in the realm of style. Perez, with a degree of compassion for the material approximates this level of filmic grace and craftsmanship with effective and efficient execution which perfectly coheres with directorial design and genre expectations. - Jojo De Vera, Sari-saromg Sineng Pinoy (READ MORE)
Speaking of Elwood, the veteran, multi-awarded director says he has just stumbled upon a pristine, unexpurgated copy of “Magkaribal,” which he hopes to screen sometime soon. “Magkaribal” features explosive performances by Vilma Santos, Alma Moreno and Christopher de Leon. Incidentally, all three aforementioned landmark films tackling marital infidelity were topbilled by timeless star Vilma Santos. The Batangas governor was joined by Christopher de Leon in “Relasyon” and “Magkaribal” and by Phillip Salvador in “Adultery.” - Nestor Cuartero (READ MORE)
"...Elwood Perez and Vilma Santos colloborated in seven films (Ibulong Mo Sa Diyos 1988, Lipad Darna Lipad 1973, Magkaribal 1979, Masarap Masakit ang Umibig 1977, Nakawin Natin ang Bawat Sandali 1978, Pakawalan Mo Ako 1981, Pinay American Style 1979). The first one was the trilogy that he co-directed with two other director, Borlaza and Gosiengfiao (these three are the most underrated and under appreciated directors in the Philippines), the remake of Mars Ravelo comic super hero, Darna in Lipad Darna Lipad. The film was a record-breaking hit Box-office Film. They follow this up with a more mature projects as Vilma started to switched her image from sweet to a mature versatile actress, pairing her with Christopher DeLeon in five films starting with Masarap Masakit Ang Umibig in 1977. The Perez-Santos-DeLeon team produced seven blockbuster hits that gave Vilma two FAMAS best actress awards that secured her elevation to FAMAS highest honour, the FAMAS Hall of Fame award. She won in 1979 for Pakawalan Mo Ako and 1988 for Ibulong Mo Sa Diyos..." - RV (READ MORE)
"...Back in the late ’70s, “Magkaribal” was the title of a dream project, casting together for the first time the two reigning box office queens at the time, Vilma Santos and Alma Moreno. Cast as opposing women, they fought for the love of one man, played by Christopher de Leon. TV’s “Magkaribal” is not based on the landmark Regal film directed by Elwood Perez and produced by Lily Monteverde. The title was not part of a film package bought by ABS-CBN from Regal Films a few years ago, explains business unit head Deo Endrinal. At best, “Magkaribal,” the teleserye, can be considered an allusion, if not a homage, to the film version, a big box office hit in its time. By the way, the original “Magkaribal” is available on video, capturing the quite young Vilma, Boyet and Alma in their sexiest best..." - Nestor Cuartero, Manila Bulletin, 20 June 2010 (READ MORE)
Ang tambalang Vilma-Boyet ay pinagtibay ng panahon. Hindi basta-basta na maigugupo ng kahit sino o ng kahit anong tambalan. Tulad din ng alak na habang tumatagal ay lalong sumasarap. There have been many loveteams in Philippine cinema but the tandem of Vilma Santos and Christopher de Leon has chalked up the longest list of movies that have been given awards and made good records at the boxoffice. Until now, their tandem has been unsurpassed. Their loveteam is the most enduring tandem in local cinema. Siguro may iba pang loveteam na nakagawa ng mas maraming pelikula kaysa sa kanila like during the height of the Vi and Bot and Nora-Tirso but theirs did not span decades, nakakaahon lang sila within the short period of time at the height of their popularity. Hindi man naging magkapalad sina Vi at Boyet bilang lovers sa tunay na buhay ay nagklik naman sila sa masa bilang lovers sa pelikula. Matatandaan na sumibol din ang tambalang Nora-Boyet noon sa pelikula at kapag-daka’y nauwi sa totohanan. Sa kabila ng katotohanang ito ay hindi gaanong tinanggap ng publiko ang kanilang pareha sa puting tabing.
They were first paired in 1975 in Celso Ad Castillo’s Tag-ulan sa Tag-araw, as first cousins who fall in love with each other. With the success at the tills of the movie, sinundan pa ito ng sunud-sunod na pelikula that crossed over the 80’s, the 90’s and up until this new millennium. Ilan sa mga pelikulang ginawa nila sa bakuran ng Sampaguita Pictures na mahirap malimutan ay ang Masarap, Masakit ang Umibig, taong 1977 kung saan ka-triangle ang sumisikat na aktor noong si Mat Ranillo. Sinundan ito ng Nakawin Natin ang Bawat Sandali ng VP Pictures, taong 1978 na pinamahalaan ng batikang director na si Elwood Perez, Disco Fever; (a rare Vi-Boyet musical); at Ikaw Ay Akin (with Nora Aunor megged by the late Ishmael Bernal). Nang kalagitnaan ng taong 1980, ipinadala si Ate Vi sa States ng Tagalog Ilang-Ilang boss na si Atty.Laxa para gumawa ng reunion movie with Romeo Vasques and Boyet, ang “Gusto Kita, Mahal Ko Siya”. Habang buntis noon kay Luis ay ginawa ni Ate Vi ang “Pakawalan Mo Ako”, taong 1981 sa direksyon ni Elwood Perez at nanalo siya ng second FAMAS Best Actress award sa role bilang babaeng idiniin ng kanyang biyenan sa pagpatay sa asawang si Anthony Castelo. Pinaka-memorable naman para kay Ate Vi ang pelikulang Relasyon na idinerek ng mahusay na Ishmael Bernal sa ilalim ng Regal Films, taong 1982.Sa pelikulang ito nagtamo ng kanyang unang grandslam si Ate Vi bilang Best Actress sa lahat ng award giving bodies. Later, kinuha ang serbisyo ng aktres ng Viva Films na katatatag lamang noon at ginawa nila ni Boyet ang isang commercial hit movie na “Sinasamba Kita”. Komersyal na komersyal ang dating ng pelikula ito na hindi lamang umani ng tagumpay sa takilya, kungdi pati na rin sa mga kritiko. Taong 1983 nang gawin nila ni Boyet ang record-breaker na “Paano Ba ang Mangarap” kung saan papel ng isang api-apihang manugang ni Armida Siguion Reyna ang kanyang ginampanan. Sinundan naman agad ng “Broken Marriage” under Regal Films at sa direksyon pa rin ni Ishmael Bernal, ang director to whom Ate Vi is very much indebted dahil sa mga natamong best actress awards sa mga pelikulang idinirehe nito. Isa pa rin ito sa mga mahalagang pelikulang nagawa ni Ate Vi na nagbigay sa kanya ng karangalan bilang mahusay na aktres sa URIAN and of course kay Boyet bilang mahusay na aktor. Sa Viva Films sila nakagawa ng maraming pelikulang pinagtambalan dahil na rin sa isinasaad ng kani-kanilang mga kontrata. Kaya naman sa pagtatapos ng taong 1983, ginawa nila ni Boyet ang “Minsan Pa Natin Hagkan Ang Nakaraan”, the only movie na namatay silang magkasama kung saan asawa siya ni Eddie Garcia sa pamamahala ni direk Marilou Diaz Abaya.
Taong 1989 nang gawin naman nila ni Boyet ang Imortal na kung saan natamo ni Ate Vi ang Metro Manila Film Festival Best Actress at si Boyet naman ang tinanghal na Best Actor. Muling naulit ang kanilang pagtatambal ng taong 1991 sa pelikulang “Ipagpatawad Mo” ng Viva Films,sa direksyon ni Laurice Guillen at sa pagkakaga-nap niya bilang supportive mother of an autistic child ay napagwagian niya ang ikalimang URIAN Best Actress award. Taong 1993, nang gawin naman nila ang award winning movie na “Dahil Mahal Kita, Dolzura Cortez” sa ilalim ng OctoArts films at sa pamamahala ni direk Laurice Guillen na nagbigay kay Ate Vi ng ikalawang Grand Slam Best Actress award. Sinundan ito ng “Nag-iisang Bituin” under Regal Films na ka-triangle naman ang mahusay na aktor na si Aga Muhlach under the helm of Jose Javier Reyes. Muling naulit ang kanilang pagtatambal noong 1997 nang gawin nila ang “Hanggang Ngayon Ika’y Minamahal” ng Neo Films na pinamahalaan naman ni direk Ike Jarlego Jr. Limang taon ang nakalipas at muling nagpugay ang kanilang tambalan sa pelikulang “Dekada ’70″ ng Star Cinema sa direksyon ng award winning director na si Chito Rono. Sa pelikulang ito nanalo si Ate Vi ng kanyang ika-apat na Grand Slam Best Actress.
Mano Po 3, My Love is Vilma’s 22nd film with Boyet kung saan nagwagi ang numero unong aktres ng MMFF, Gawad Tanglaw, Gawad Suri at Star Awards ng Best Actress awards. In most of these films, either Best Actress si Ate Vi(Relasyon, Broken Marriage, Pakawalan Mo Ako, Imortal, Ipagpatawad Mo, Dulzura Cortez, Dekada ’70 at Mano Po 3) at si Boyet naman sa Best Actor ( Broken Marriage, Haplos, Imortal, Ipagpatawad Mo, Dolzura Cortez at Dekada). Sa dami ng pelikulang ginawa nilang dalawa na pawang big hits at nagbigay sa kanila ng acting recognitions, hindi tuloy maiwasang itanong ng karamihan kung ano ang sikreto ng kanilang matagumpay na tambalan. “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.” Ate vi relates. “Siguro yung respeto sa isa’t-isa at pagiging professional ni Boyet. Kapag trabaho, seryoso siya talaga. Ang galing niyang magdala. Alam niya kung paano niya ako sasaluhin kapag nahalata niyang nawawala na ako.” sabi pa ng actress-politician. In an interview, Boyet was asked why does he think his partnership with Vilma continues to thrive even after 30 years? “I just love working with Vi because she is such a giving co-actor. Hindi siya nangaagaw ng eksena. If the scene is yours, susuportahan ka niya nang husto for you to shine. You can’t help but get carried away kapag siya ang kaeksena mo dahil napakahusay niya..O di ba, very well said. Ang trabaho kina Ate Vi at Boyet ay hindi kailanman nahaluan ng malisya. They have over the years worked strictly on the professional level. Off camera ay best friends sila. Sa katunayan nga, si Boyet ang unang aktor na pinagtapatan ni Ate Vi na magpapakasal kay Senator Ralph at ng kanyang pagbubuntis kay Ryan. Platonic daw ang tawag sa uri ng relasyong namagitan kina Ate Vi at Boyet in the sense na alam nila kung hanggang saan ang limitasyon ng closeness nila. Platonic dahil hindi na kailangan an0g anumang physical contact upang ipahayag ang kanilang nararamdaman para sa isa’t isa.
Subok na Matibay, Subok na Matatag ang tambalang VILMA-BOYET. No other loveteam can compile such successes,award wise and box-office wise. Their tandem spells capital B-I-G-H-I-T at the box-office. Mula nang gawin nila ang first movie nila noong late 70’s hanggang ngayon ay hindi pa rin pinagsasawaan at patuloy na tinatangkilik ng publiko at kanilang mga tagasubaybay na mapanood sila sa silver screen.Loveteam for all seasons, ika nga.O may hihirit pa ba? Sinulat ni Willie Ferrnandez, V Magazine, Dec 2006 NO. 9
“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)
