The New Vilma Santos is an Actress

Dumating ang mahigit na pagsubok. At nagpasalamat ako sa diyos at sa aking mga dalangin at pagsisikap ay ipinagkaloob sa akin ang magandang kapalarang ito." Pormal na pormal si Vilma habang nagsasalita siya. Sa paksang ito'y nabanggit niya ang ilang mga bagay na nakasusugat ng damdamin niya. Ang pagtatanong ng ilan at pag-uukol sa kanya ng mga salitang nakakasakit ng loob ay nabanggit sa amin ni Vi. Bakit daw siya ang naging Best Actress? Ito ang tanong ng ilang naghahangad na sirain ang loob niya at gumawa ng isang bagay na hindi maganda. Ang totoo ay marami ang nanalig at nagtitiwala sa pagkakamit noon ng FAMAS award ni Vilma. She do her best and she deserve it, kahit ano pa nga ang sabihin at isipin ngayon ng ilang tao lamang. You're an actress. Ito ang narinig naming sinasabi ng mga bumisita kay Vilma sa kanyang tahanan. Naluha sa malaking kagalakan si Vilma. "Hindi ako magbabago sa inyong lahat. Hindi." maikling wika niya. Natapos ang paksang iyan. Then the week ng huli naming makada-upang palad si Vilma ay maganda naman ang aming naging paksa dito. Maraming dapat napuna sa kasalukuyang tungkol kay Vilma Santos. Noon at ngayon ay masasabing malaking-malaki ang ipinagbago ni Vilma sa anyo at sa kilos.

Dalagang-dalaga na siya and she looks like a woman of twenty bagama't walang-wala pa siya sa line of two. Natawa nga siya ng sabihin namin na pakiramdam daw niya ay matured na siya ngayon. At her age hindi nga ba naktutuwang isipin na isa siyang awardee ng FAMAS? And she's the only first young star na nagkamit ng ganitong uri ng karangalan. Best Actess. Sa acting siya nakakuha ng malaking bagay sa kanyang movie career. Nagpormal si Vilma. Alam naming handang handa na siya ngayon na maging isang babaing sirena na ginagawa niyang pelikulang "Dyesebel at Ang Mahiwagang Kabibe." "Marami na namang pagsubok ang darating sa akin. At tiyak alam ko na ito." Sabi ni Vilma. "Alam n'yo ba? Lalo akong acting na acting ngayon." Nakatawa siya. "Dito sa Dyesebel alam kong hindi lamang pagiging sirena ang mahalaga. All I need here is acting din, hindi ba?" Gagawin kong lahat ang aking makakaya. Pero pagkatapos ng pelikulang ito'y gustong gusto kong makaganap ng isang uri ng role na mas higit kaysa mga napagdaanan ko na. And more acting s'yempre." The way she talks, the movies and act sa harap ng camero o pakikipag-usap sa kanyang mga kaharap, halatang may isang bagong Vilma Santos.

Lady look na lady look na talaga ngayon si Vilma. Para bang ang nakaharap mo ngayon ay isang dalagang nasa hustong gulang at kagalanggalang. Pagpipitagan mo siya talaga. Iingatan mo ang pagsasalita sa harap niya bagama't sa katotohanan ay ibig na ibig niyang makakaharap ang mga taong palagay na palagay sa kanya ang kalooban. Sa ngayon nga sa pagkakaroon ng bagong anyo ni Vilma sa lahat ng bagay ay kanyang sarili'y unang mabubuksan sa isip at paningin ng kanyang kaharap na ito. Ito ang bagong Vilma Santos. Matured look na siyang talaga ngayon. 'Yong bang handang handa na sa lahat ng mahahalagang bagay sa kanyang paligid. "Salamat sa paguukol ninyo sa akin ng panahon. At kahit nga sa maikling sandali lamang ay nakakapalitan ko kayong lahat ng mga kuru-kuro. Bagong Vilma Santos ng nga ba ako ngayon? Salamat. Pero alam ko na walang nababago sa aking pakikisama at pakikutungo sa lahat. Kung may nabago man sa akin. Kung tinawag man ninyo ako ngayon na the new Vilma Santos, ang toto niyan ay nasa puso ko pa rin ang dating ugali." sabi ni Vilma. Naniniwala kami. Nagbago man si Vilma Santos sa anyo at mga kilos ay hindi pa rin nawawala sa kanya ang pagiging magiliw at mabait sa lahat.

Siya pa rin ang dating Vilma Santos na kagigiliwan mo. Mabait makitungo, mahusay makisama at marunong tumugon sa kanyang mga tungkulin. Being an actress, very professional na talaga si Vilma. Well, tinawag namin siyang actess sapagka't may panghahawakan ang sino mang sabihin aktres na talaga si Vilma. FAMAS award yan. Pero nagpormal siya. Ayaw na ayaw niyang mabubuksan ang paksang ito na halata ang pagpuri sa kanya. Ayaw niyang isipin ng sino man na nagkaroon na siya noong tinatawag na aire o paglaki ng ulo. Basta siya pa rin si Vilma. Huwag isipin ang award. Natawa kami. "Ayokong isipin nilang porke FAMAS awardee na ako ngayon eh, merong nabago sa aking kilos at isipan? Walang-wala iyan sa akin. Kaya nga ayaw kong mapag-usapan eh. Baka isiping ipinagmamalaki ko it. Hindi natawa ko. Nagpapasalamat. Pero ang pakikisama at pakikitungo sa lahat iyang ang hinding-hindi magbabago kahit ilang award pa ang makamit ko." Aniya. Iyan si Vilma Santos. Ang bagong Vilma sa tunay na kahulugan ng salitang ito. Maganda kapita-pitagan. At aktres na talaga. Sa pelikulang Dyesebel, masusubok si Vilma at ang mga bago niyang katangian sa sining ng pag-arte. Ngunit tulad nga ng mga nauna niyang pahayag dito, more acting and more good films ang kailangan pa niya. At ito ay buong kakayahang gagawin at magagaw pa ni Vilma sa hinaharap. - Ric S. Aquino, Movie Queen Magazine, No. 60, 18 Jun 1973

Ric S. Aquino is a Filipino movie reporter, writer, columnist, who originally a freelance writer but became part of pro-Vilma Santos circle of movie writers in the early part of her illustrious film career. He regularly reported the latest news about Vilma and her several suitors including her much publicized relationships with Edgar Mortiz. Aquino's articles, usually written in Tagalog were mostly published by Movie Queen, a magazine identified with Vilma Santos. - RV

About Dama de Noche

The Flower - "...Dama de Noche (Cestrum nocturnum), literally translates "lady of the night" is famous for its unusual biorhythm which made it the subject of legend. Its flowers bloom at night and exude a very sweet scent. Although widely cultivated in the Philippines, the plant was introduced from tropical America...." - Wikipilipinas

The Legend - "A thousand years ago, there was a rich maharlika, or nobleman, who spent his early bachelor days recklessly, wining and dining in the company of nobility. He drank the finest wines, ate the most delectable food and enjoyed the company of the loveliest, perfumed and bejewelled women of the noble class. After years of this kind of life, the maharlika finally felt it was time to settle down and marry the woman of his choice. "But who is the woman to choose?" he asked himself as he sat in the rich splendour of his home, "All the women I know are beautiful and charming, but I am tired of the glitter of their jewels and the richness of their clothes!" He wanted a woman different from all the women he saw day and night, and found this in a simple village lass. She was charming in her own unaffected ways, and her name was Dama. They married and lived contentedly. She loved him and took care of him. She pampered him with the most delicious dishes, and kept his home and his clothes in order. But soon, the newness wore off for the maharlika. He started to long for the company of his friends. He took a good look at his wife and thought, she is not beautiful and she does not have the air of nobility abouther, she does not talk with wisdom. And so the maharlika returned to his own world of glitter and splendor. He spent his evenings sitting around with his friends in their noble homes , drank and talked till the first rays of the sun peeped from the iron grills of their ornate windows. Poor Dama felt that she was losing her husband. She wept in the silence of their bedroom. "I cannot give my husband anything but the delights of my kitchen and the warmth of my bed. He is tired of me." She looked to the heavens. "Oh, friendly spirits! Help me. Give me a magic charm. Just one little magic charm to make my husband come home again, that he will never want to leave my side, forever!"

It was midnight when the maharlika came home. He opened the door of their bedroom and called for Dama to tell her to prepare his nightclothes. "Dama! Dama, where are you?" he called. He shouted all around the bedroom. He sarched the whole house. Still the nobleman could not find his simple wife. Finally the nobleman returned to their bedroom, tired and cross. But, as he opened the door, he stopped. A are scent, sweet and fragrant, drifted to him. It was a scent he had never smelled before. He entered the room and crossed to the window where the scent seemed to be floating from. A strange bush was growing outside the window. Some of its thin branches had aleady reached the iron grills and were twisting around. And all over the bush were thousands of tiny starlike, white flowers, from which burst forth a heavenly, enchanting scent! He stood there, completely enraptured by the glorious smell. "Dama..." he whispered softly, onderingly, could this be Dama? The rich maharlika sat by the window, and waited for the return of his loving simple wife. But she did not come back. She never returned to him again. Only the fragrance of the flowers stayed with him, casting a spell over his whole being. In the moonlight, Dama of the night, or Dama de Noche would be in full bloom, capturing the rich maharlika, making him never want to leave her side, forever.

The Comics - Alamat ng Dama de Noche Written by Manuel Franco; Illustrated by Rudy V. Arubang; Published by National Book Store, Inc. Circa 1974 - komiklopedia

The 1972 Film - Directed by Emmanuel H. Borlaza, written by Borlaza and Nestor Torre, featuring Vilma Santos, Edgar Mortiz, Fred Montilla, Lillian Laing, Matimtiman Cruz, Ruben Tizon, Jovie Barse, Priscilla Ramirez, Danilo Jurado, Cloyd Robinson.

"...Dama de Noche is showing in three theaters— Remar, Delta and Sampaguita. It is, Vilma was quoted as saying, her dream role fulfilled. The very professional Vilma has come out with the resolution than henceforth she will demand to see the script and also see that the script is demanding- or she’ll say nix. Well, Dama de Noche is exactly just that: demanding. In it she delineates the twin-sister roles of sweet Armida and deranged Rosanna. Vilma sobs and screams, giggles, and crazy-dances, claws and clowns, sobs again and screams some more. But she does more than all these things. She acts. In the Filipino movieworld where crying is synonymous with acting, that certainly is being ahead of one’s kind. Vilma as Armida is drab and dry, almost a movie prop. It is in the portrayal of Rosanna that Vilma would tear one’s heart away. The many close-ups so effectively used throughout the movie show the unglamorous Vilma: her frowns, her lip-twitching, her uninhibited and stifled sobs. But Vilma is less successful with the shifty look that is the distinctive trait of the deranged. She compensates for this in the ‘betrayal’ scene when Rosanna suspects that Leo, Armida and the psychiatrist (Fred Montilla) all conspired to imprison her in the hospital. Another outstanding feat is the subdued scene where Rosanna learns that Leo has gone to the Lerma villa to meet Armida. The vivacious Rosanna is just as winsomely pathetic. Watching her is just like seeing a bosom friend trying to pretend she’s happy when both of you know she’s not only in this case, Rosanna is truly happy. Her non-knowledge of her plight is what is particularly heart-curling. Dama de Noche is Tagalog Ilang-Ilang Production’s entry in the QC filmfest which started on Oct.15. It is a very simple story, almost run-of-the-mill, but Nestor Torre, Jr. who wrote the screenplay saved it with his meaningful and amusing lines. However, the movie is occasionally dragging with the Filipino moviemania for spoonfed sequences..." - Times Jornal, October 24, 1972 (READ MORE)

The 1998 Film - A woman (Ynez Veneracion) who was maltreated during her younger years (Aiza Marquez played the young role) gets revenge on the people who abused her. This 1998 film was directed by Lore Reyes and featured Ynez Veneracion, Mark Gil and Lara Fabregas. Released on July 22, 1998 by Neo Films and Viva Films, both lead star Mark Gil and Ynez Veneracion will co-starred with Vilma Santos (the first Dama de Noche lead star) in 2012 via horror film, The Healing.

1972 FAMAS (Photos)

Leading Roles - The year was 1972, FAMAS was still considered the only credible award giving body in the Philippines. The musical still rampant but slowly but surely the young rivalry of Nora Aunor and Vilma Santos is forming another path. The race for who is the better actress started with both teen stars venturing to dramatic film roles. With Nora’s And God Smiled At Me and Vilma’s Dama De Noche, the fight went from box office queens, miss Philippines movies into a more serious title of best actress. The hype started with both entering their films to 1972 Quezon City Film Festival. Nora won the best actress despite a heated protest from Vilma’s camp. Indeed, Nora’s machine of supporters were on top of things. She will venture into several film projects under her own film outfit NV productions and she is well positioned to emerge on top come the yearly acting race. Come, 1973, the 21st FAMAS was indeed a fight between the young stars. Nora wasn’t nominated for And God Smile At Me, instead she was nominated for A Gift of Love, the best actress went into a tie. Considered a veteran, Boots Anson Roa, winner for her comedic performance opposite the very young and still leading actor of this time, Joseph Estrada in Tatay Na Si Erap. Roa shared the honor with Vilma Santos for her portrayal of opposite character twin sister in Dama De Noche. The very first best actress award for Vilma, it was a sweet revenge from the very first battle at the QFF and there will be more to come, not only from FAMAS but the other award giving bodies that will follow. A small note, Nick Romano won best supporting actor for another Vilma Santos film, Tatlong Mukha ni Rosa Vilma (READ MORE).

This is it folks! Nora Aunor vs. Vilma Santos, And God Smiled at Me vs. Dama de Noche. Which one will the FAMAS bless? The awards of the Filipino Academy of Movie Arts and Sciences are still far away though. But not the Quezon City filmfest awards which will be known tonight at the Nation Cinerama theater. One persistent prediction in showbiz is that Vilma will make it, hands down. However, Nora watchers are just as insistent that her ‘inspired’ performance in And God Smiled at Me is simply ‘super’ and worth no less than a best actress award. Dama de Noche is showing in three theaters– Remar, Delta and Sampaguita. It is, Vilma was quoted as saying, her dream role fulfilled. The very professional Vilma has come out with the resolution than henceforth she will demand to see the script and also see that the script is demanding— or she’ll say nix. Well, Dama de Noche is exactly just that: demanding. In it she delineates the twin-sister roles of sweet Armida and deranged Rosanna. Vilma sobs and screams, giggles, and crazy-dances, claws and clowns, sobs again and screams some more. But she does more than all these things. She acts. In the Filipino movieworld where crying is synonymous with acting, that certainly is being ahead of one’s kind. Vilma as Armida is drab and dry, almost a movie prop. It is in the portrayal of Rosanna that Vilma would tear one’s heart away. The many close-ups so effectively used throughout the movie show the unglamorous Vilma: her frowns, her lip-twitching, her uninhibited and stifled sobs.

But Vilma is less successful with the shifty look that is the distinctive trait of the deranged. She compensates for this in the ‘betrayal’ scene when Rosanna suspects that Leo, Armida and the psychiatrist (Fred Montilla) all conspired to imprison her in the hospital. Another outstanding feat is the subdued scene where Rosanna learns that Leo has gone to the Lerma villa to meet Armida.  The vivacious Rosanna is just as winsomely pathetic. Watching her is just like seeing a bosom friend trying to pretend she’s happy when both of you know she’s not only in this case, Rosanna is truly happy. Her non-knowledge of her plight is what is particularly heart-curling. Dama de Noche is Tagalog Ilang-Ilang Production’s entry in the QC filmfest which started on Oct.15. It is a very simple story, almost run-of-the-mill, but Nestor Torre, Jr. who wrote the screenplay saved it with his meaningful and amusing lines. However, the movie is occasionally dragging with the Filipino moviemania for spoonfed sequences. Will the memorable Rosanna win for Vilma the most coveted award tonight? Or will Nora the Superstar make it? The die is cast and tonight is the NIGHT. New Frontier Cinema in Cubao was never before so loaded that the fire exits had to be opened to let in air. It was so badly jampacked, one swore it couldn’t be worse. But it was, a ‘stand-mate’ (there were no seats) quipped, ‘Noong first day, mas grabe.’ And so through a snail-pacing 20-yard pila and after exactly one hour, one got inside the theater, at last!

On the screen: La Aunor doing her thing– praying. A few steps away from the chapel, in their home in Davao, her mother (Naty Santiago) lies dying. Damian (Luis Gonzales) sits by the sickbed, comforting his wife, assuring her she is the only woman he has ever truly loved. The good woman dies and Celina (Nora) is bitter. She had prayed so hard, had run so fast from the chapel home, only to find the elder women reciting the litany of the dead. Here, the first sobs from a woman stand-mate as Celina pounds clenched fists on the door. After the burial, father tells daughter the well-kept secret of her being illegitimate. Celina shows bitterness again, but the good daughter that she is, she soon gets over from the shock and decides to live with it. Damian brings Celina to Manila as his ‘inaanak.’ They’ll wait for the perfect timing, he says and then he’ll tell his wife Olga (Lucita Soriano) everything. The perfect timing never comes. One morning, Celina just can’t help calling him ‘Itay,’ telling him she loves him very much and that he must come home at once, please. The tender moments take too long, and everybody in the theater knows Damian is ‘tsk, tsk, tsk, mamamatay.’ Everybody is right. At the hospital, the secret lets loose as Celina jerks in agony. ‘Itay, Itay,’ she sobs, in the presence of Damian’s wife and two adopted daughters. Here, Nora’s bid for a best actress award really begins.

The three witches (oh, how the fans hated them) now maltreat Celina all the more, slapping her, pulling her hair, kicking her right in the tummy. All through these, Celina’s only consolation is her love for Carding (Tirso Cruz III), the laundry-woman’s (Nenita Jana) son. He is blind. He is desperate. He loves Celina very much but ‘wala akong karapatang umibig.’ And so he contemplates suicide, sneaking out one night, begging between yells of ‘Gusto ko nang mamamatay,’ for a vehicle to run over him. An irked driver shouts at him: ‘Ano ka ba, bulag?’ A woman fan shouted too: ‘wag kayong tumawa, serious yan.’ And then, what do you know, another death: not the blind leading man (that would’ve been a blunder) but his mother, who had followed him. After so much unbearable beating and tearful moments between the lovers, Celina delivers her ultimate prayer — she can’t take it anymore. AND GOD SMILES AT HER. God grants her a golden voice (for a while one thought that was only the beginning of the movie, after no less than two-and-a-half hours) and she sings all her heart at the foot of the altar. And this is not the end of it. Nora Aunor won the Quezon City Film Festival Best Actress award and her movie, “And God Smiled at Me” also took home seven more including the Best Picture and Best Actor awards. In reaction to the article above and the filmfest award results, a reader sent an open letter to the QC Filmfest Judges. Read the text in full and be the judge yourself. However, in 1973, Vilma Santos received the FAMAS Best Actress award (in a tie with Boots Anson-Roa in “Tatay na si Erap”) in the movie “Dama de Noche,” thus avenging her loss to perennial rival, Nora Aunor in the Quezon City Film Festival. READ MORE

"...I didn’t expect to win, although marami ang nagsasabi sa akin na malaki ang pag-asa ko. Ako naman, I don’t believe anything unless talagang nangyayari. Kasi noon, I expected to win, sa film festival din sa Quezon City, but somebody else did.  I was very disappointed. Noong awards night nga, I wasn’t convinced I would win hanggang hindi ko pa hawak ‘yong trophy..." - Ricardo F. Lo, Expressweek Magazine January 19, 1978 (READ MORE)

RELATED READING:

• 1972 FAMAS AWARDS THE 21st FAMAS AWARD WINNERS
• Ang Gabi ng Parangal (THE AWARDS NIGHT)
• The 21st FAMAS Award Winners
• FAMAS Recognitions
• List of Neminees and Winners for 1972 FAMAS
• The First FAMAS Grand Reunion of Awardees
• The 1972 7th Manila Film Festival
• And God Smiled at Me vs. Dama de Noche
• IMDB: Dama de noche (1972)
• IMDB: Emmanuel H. Borlaza
• IMDB: Edgar Mortiz
• Vilma-Nora Then, Nora-Vilma Now
• Filmography: Dama De Noche (1972)
• Official Web-site: Nora Aunor ICON
• IMDB: Nora Aunor
• IMDB: Vilma Santos
• Wikipedia: Vilma Santos
• Wikipedia: Nora Aunor
• Nora Aunor Film Actress
• Vilma Santos Film Actress

1973 FAMAS Awards Night

21st FAMAS AWARDS (1972)

DATE: April 29, 1973

PLACE: Coral Ballroom, Manila Hilton Hotel, United Nations Avenue Ermita, City of Manila

Best Picture (nominees)

• Ang Alamat [FPJ Productions]
• Babae, Ikaw ang Dahilan [Virgo Production]
• Kill the Pushers [JE Productions] [WINNER]
• Mahalin Mo Sana Ako [Virgo Production]
• Tatay na si Erap [JE Productions]
• Villa Miranda [Lea Productions]

Best Actor (nominees)

• Jun Aristorenas for Elias, Basilio at Sisa
• Joseph Estrada for Kill the Pushers
• George Estregan for Sukdulan [WINNER]
• Fernando Poe, Jr. for Ang Alamat
• Ramon Revilla for Nardong Putik
• Dante Rivero for Villa Miranda
• Eddie Rodriguez for Babae, Ikaw ang Dahilan

Best Actress (nominees)

• Nora Aunor for A Gift of Love
• Marlene Dauden for Babae, Ikaw ang Dahilan
• Amalia Fuentes for Babae, Ikaw ang Dahilan
• Pilar Pilapil for Isinilang Ko ang Anak ng Ibang Babae
• Boots Anson - Roa for Tatay Na Si Erap [tie-WINNER]
• Susan Roces for Bilangguang Puso
• Vilma Santos for Dama De Noche [tie-WINNER]

Best Supporting Actor (nominees)

• Romy Diaz for Ang Alamat
• Eddie Garcia for 'Til Death Do Us Part
• Eddie Mercado for Dito sa Aking Puso
• Jose Padilla, Jr. for Ang Alamat
• Nick Romano for Tatlong Mukha ni Rosa Vilma [WINNER]
• Ruben Rustia for Kill the Pushers
• Lou Salvador, Jr. for Villa Miranda

Best Supporting Actress (nominees)

• Alicia Alonzo for Villa Miranda
• Zenaida Amador for Kill the Pushers
• Chichay for Bilangguang Puso
• Marissa Delgado for 'Til Death Do Us Part [WINNER]
• Cristina Reyes for Sukdulan
• Ely Roque for Tatay na si Erap
• Mary Walter for Babae, Ikaw ang Dahilan

Best Child Actor (nominees)

• Robin Aristorenas for Elias, Basilio at Sisa [WINNER]
• Marlon Bautista for Nardong Putik
• Frankie Navaja, Jr. for Ang Alamat
• Randy for Isinilang Ko ang Anak ng Ibang Babae

Best Child Actress (nominees)

• Jingle for Babae, Ikaw ang Dahilan
• Beth Manlongat for Tatlong Mukha ni Rosa Vilma
• Maricris for Babae, Ikaw ang Dahilan
• Snooky Serna for Mahalin Mo Sana Ako [WINNER] [as Snooky]

Best Director (nominees)

• Lino Brocka for Villa Miranda
• Augusto Buenaventura for Kill the Pushers [WINNER]
• Celso Ad. Castillo for Ang Alamat
• Tony Cayado for Nardong Putik
• Manuel Cinco for Isinilang Ko ang Anak ng Ibang Babae
• Armando Garces for Sukdulan
• Eddie Rodriguez for Babae, Ikaw ang Dahilan [as Luis Enriquez]

Best Story - Liza Moreno for Babae, Ikaw Ang Dahilan [WINNER] [as Louise de Mesa]

Best Screenplay - Augusto Buenaventura for Kill the Pushers; Eddie Rodriguez for Mahalin Mo Sana Ako [tie-WINNER] [as Luis Enriquez]

Best Cinematography B/W - Ricardo Remias for Babae, Ikaw Ang Dahilan [WINNER]

Best Cinematography Color - Nonong Rasca for Nardong Putik [WINNER]

Best Editing - Marcelino Navarro for Nardong Putik [WINNER]

Best Musical Score - Restie Umali for Ang Alamat [WINNER]

Best Sound - Angel Avellana for Kill the Pushers

Dr. Cirio Santiago Memorial Award - To Jose Perez

Source: FAMAS Unofficial web-site

1973 FAMAS - "...Halos mangilid ang luha sa kanyang mga mata nang tanggapin niya ang kanyang FAMAS Awards. Sa wakas ay nagtamo rin ng karangalan at pagkilala ang kanyang pagsisikap at kakayahan. Baguhan pa lamang si Nick Romano sa pelikula at iyon ay ang una niyang nomination at nakamit din niya ang kanranagalan best bilang supporting actor nang gabing iyon. Kung naruwa man si Joseph Estrada sa inaning karangalan ng kapatid niya nang gabing iyon ay ganoon din si Tony Ferrer sa kapatid niyang si Nick Romano. Most applauded si Marrissa Delgado nang gabing iyon dahilan sa noong nakaraang taon ay siya ang nagkamit ng FAMAS award for best supporting actress at ngayon ay siya na naman na nagpapatunay lamang na talaganag karapatdapat siya sa karangalang natamo niya last year. Hindi mailarawan ang kagalakan niya ng gabing iyon. Umiiyak siya't naliligayahan nang siya mismo ang tumanggap ng tangan niyang trophy na ang buong akala niya'y ibibigay niya sa bagong awardee. Dalawa ang best Actress ng gabing iyon. Nangangahulugang kapuwa mabigat ang labanan at walang itulak kabigin kina Boots Anson Roa at Vilma Santos kaya minabuti ng inampalan na bigyan kapwa ng best actress award sina Boots at Vilma..." - Aruy Tapusan Komiks Magasin, No. 32, 19 Hunyo 1973

A Very Long Rivalry - 1972

Pre-1972 - From late 1960s to 1971, comes the arrival of the musical era and the arrival of the golden of voice of Nora Aunor. Aside from stocking success in music, Nora ventured into films, with string of films that featured other singers like Eddie Peregrina, Edgar Mortiz, Manny de Leon, Victor Laurel and Victor Wood. Films that begin with singing and mostly ends with big production number, all with singing and dancing - ala-Bollywood. Venturing to film making, Nora found her rival, "dramatic-child-star" now a strugling "teen-film-star" in a "musical-era," Vilma Santos. Although the competition was slightly in favor of Nora, she found herself in numerous occassion, having a strong resistant from Vilma. On 1971, there were atleast one Nora or Vilma film showing in local movie houses. Nora Aunor did seven films (Always in My Heart; Ang Waray at ang Talyada; Guy & Pip; Lollipops and Roses; My Blue Hawaii; My Prayer; The Singing Filipina) and Vilma Santos did nine (Angelica; Eternally; Ikaw Lamang; Love at First Sight; Our Love Affair; Teen-Age Senorita; The Sensations; Wonderful World of Music; Young Lovers), most of these films were musicals. The next year, comes the confirmation of their rivalry.

And God Smiled At Me vs Dama de Noche - "...At the Quezon City Film Festival, then held every October, Nora’s entry was Sampaguita Pictures’ And God Smiled At Me (directed by Tony Cayado and Danny Holmsen); while Vilma’s banner vehicle was Tagalog Ilang-Ilang Productions’ Dama de Noche (directed by Emmanuel H. Borlaza). And the winner was Nora! May die-hard Vilmanian kaming kaklase sa elementary, ang sabi: ‘Luto ‘yun, dahil malapit si Nora kay QC Mayor Norberto Amoranto!” Such loose talks were never confirmed to be true. Or as Tempo’s veteran movie columnist Ronald K. Constantino avers, ‘Nora never figured in any awards scam!...Sa annual Filipino Academy of Movie Arts and Sciences (FAMAS) Awards Night, it was the Vilmanians’ turn to rejoice. Vi was ad-judged Best Actress for Dama de Noche, ka-tie ni Boots Anson-Roa (for JE Productions’ Augusto Buenaventura megger Tatay Na Si Erap). Nora wasn’t nominated for her award-winning starrer at the QC filmfest, but for The Gift of Love kung saan siya gumanap ng dual role: bilang isang cancer-stricken patient at ang kakambal na eventually ay napunta kay Tirso Cruz III. Dama de Noche, which paired Vi with Edgar Mortiz, also had her doing two parts: a baliw and a sane sister..." - William Reyes (READ MORE)

Nora Aunor's 1972 Films (8): (And God Smiled At Me; Dito Sa Aking Puso; Gift of Love; Kung May Gusot, May Lusot; My Little Brown Girl; Nora, Mahal Kita; Way Out In The Country; Winter Holiday) - Most of her films capitalized on her golden voices and untapped dramatic talents.

Vilma Santos' 1972 Films (14): (Aloha, My Love; Ang Kundoktora; Dalagang Nayon; Dama De Noche; Don't Ever say Goodbye; Dulce Corazon; Hatinggabi Na, Vilma; Inspiration; Leron, Leron, Sinta; Little Darling; Remembrance; Sweet, Sweet, Love; Takbo, Vilma, Dali; Tatlong Mukha ni Rosa Vilma) - Most of her films were not focused on singing but more on her versatility.

Nora Aunor's 1972 acting recognition (2) - Best Actress from Quezon City Film Festival and a nomination from FAMAS both for "And God Smiled At Me."

Vilma Santos' 1972 acting recognition (2) - Best Actress from FAMAS (tie with Boots Anson Roa) and a nomination from Quezon City Film Festival both for "Dama de Noche."

Dual Roles - "...Vilma as Armida is drab and dry, almost a movie prop. It is in the portrayal of Rosanna that Vilma would tear one’s heart away. The many close-ups so effectively used throughout the movie show the unglamorous Vilma: her frowns, her lip-twitching, her uninhibited and stifled sobs. But Vilma is less successful with the shifty look that is the distinctive trait of the deranged. She compensates for this in the ‘betrayal’ scene when Rosanna suspects that Leo, Armida and the psychiatrist (Fred Montilla) all conspired to imprison her in the hospital. Another outstanding feat is the subdued scene where Rosanna learns that Leo has gone to the Lerma villa to meet Armida. The vivacious Rosanna is just as winsomely pathetic. Watching her is just like seeing a bosom friend trying to pretend she’s happy when both of you know she’s not only in this case, Rosanna is truly happy. Her non-knowledge of her plight is what is particularly heart-curling..." - Times Jornal, October 24, 1972 (READ MORE)

Golden Voice - "...They’ll wait for the perfect timing, he says and then he’ll tell his wife Olga (Lucita Soriano) everything. The perfect timing never comes. One morning, Celina just can’t help calling him ‘Itay,’ telling him she loves him very much and that he must come home at once, please. The tender moments take too long, and everybody in the theater knows Damian is ‘tsk, tsk, tsk, mamamatay.’ Everybody is right. At the hospital, the secret lets loose as Celina jerks in agony. ‘Itay, Itay,’ she sobs, in the presence of Damian’s wife and two adopted daughters. Here, Nora’s bid for a best actress award really begins. The three witches (oh, how the fans hated them) now maltreat Celina all the more, slapping her, pulling her hair, kicking her right in the tummy. All through these, Celina’s only consolation is her love for Carding (Tirso Cruz III), the laundry-woman’s (Nenita Jana) son. He is blind. He is desperate. He loves Celina very much but ‘wala akong karapatang umibig.’ And so he contemplates suicide, sneaking out one night, begging between yells of ‘Gusto ko nang mamamatay,’ for a vehicle to run over him. An irked driver shouts at him: ‘Ano ka ba, bulag?’ A woman fan shouted too: ‘wag kayong tumawa, serious yan.’ And then, what do you know, another death: not the blind leading man (that would’ve been a blunder) but his mother, who had followed him. After so much unbearable beating and tearful moments between the lovers, Celina delivers her ultimate prayer --- she can’t take it anymore. AND GOD SMILES AT HER. God grants her a golden voice (for a while one thought that was only the beginning of the movie, after no less than two-and-a-half hours) and she sings all her heart at the foot of the altar. And this is not the end of it..." - Times Jornal, October 24, 1972 (READ MORE)

Post-1972 - Nora Aunor did eleven films (Binibini ng Palengke; Carmela; Dalawang Mukha ng Tagumpay; Erap is my Guy; Hindi Kita Malimot; Impossible Dream; Kondesang Basahan; Maalaala Mo Kaya; Paru-parong Itim; Super Gee; Tapat na Pag-ibig), most of these films were a smash hits. Some highlights: "Erap is my Guy," her film with Joseph Estrada; "Paru-parong Itim," confirmed her dramatic talents; and "Super Gee," signalled her entry into the comics-superhero genre. Meanwhile, the same year, Vilma Santos did ten films (Anak ng Aswang; Carinosa; Darna and the Giants; Dyesebel at ang Mahiwagang Kabibe; Lipad, Darna, Lipad; Maria Cinderella; Now and Forever; Ophelia at Paris; Tsismosang Tindera; Wonder Vi), most of these films were also a box office hits. Some highlights: "Anak ng Aswang," horror film with senior movie queen Gloria Romero; "Dyesebel at ang Mahiwagang Kabibe" (mermaid); "Lipad, Darna, Lipad" and "Darna and the Giants" (Filipino version of Wonder Woman/Superman); "Wonder Vi" (Filipino version of female Tarzan) - confirmed she was the queen of the comics-heroine genre as these films broke box office records. The following year, 1974, Nora Aunor did six films (Aking Maria Clara; As Long As There's Music; Carnival Song; Fe, Esperanza, Caridad; Happy Days are Here Again; Somewhere Over The Rainbow) While Vilma did twelve films (Batya't Palu-Palo, film with FPJ; Biktima; Happy Days are Here Again; Kamay na Gumagapang; Kampanerang Kuba; King Khayam and I, film with Joseph Estrada; Mga Tigre ng Sierra Cruz, film with Amalia Fuentez; Phantom Lady; Tok, Tok, Palatok; Twin Fists for Justice; Vilma and the Beep, Beep, Minica; Vivian Volta). Vilma dominated 1974 in terms of total output and notable projects with other big stars like FPJ, Joseph Estrada and Amalia Fuentez. By mid decade, Nora Aunor ended up with eight films (Banaue; Batu-bato sa Langit; Dugo at Pag-ibig sa Kapirasong Lupa; Happy Days are Here Again!; Hello, Goodnight, Goodbye; Hotdog Unang Kagat; Lollipops and Roses at Burong Talangka; Memories of Our Love) while Vilma's total output was nine films (Basta't Isipin mong Mahal Kita; Darna vs. the Planetwoman; Dugo at Pag-Ibig sa Kapirasong Lupa; Ibong Lukaret; Karugtong ang Kahapon; Nakakahiya?; Tag-ulan sa Tag-araw; Teribol Dobol; Vilma Viente Nueve). The highlights for both stars were: Nora's signalling her seriousness in aquiring the services of A-1 directors to honed her dramatic talents for future projects that Gerry de leon's "Banaue" initiated. Meanwhile, Vilma continued to balance art and commercialism with hit films like "Nakakahiya," "Karugtong ng Kahapon," and "Tag-ulan sa Tag-araw."

Related Reading:

• Very Long Rivalry
• 1972 Best Actress Nora Aunor: An Appreciation
• IMDB: And God Smiled At Me (1972)
• IMDB: Dama de Noche (1972) 
• Why we hold both Nora and Vilma in high regard
• CLIPS - Dama de Noche (Video)
• And God Smiled At Me by Nora Aunor (Video)

DAMA DE NOCHE (1972)

"Aba kelan? Imposible hindi naman ako...hahahahaha..." - Rossana

Basic Information: Directed, story: Emmanuel H. Borlaza; Screenplay: Nestor Torre; Cast: Vilma Santos, Edgar Mortiz, Fred Montilla, Lillian Laing, Matimtiman Cruz, Ruben Tizon, Jovie Barse, Priscilla Ramirez, Danilo Jurado, Cloyd Robinson; Film Poster: Video 48

Plot Description: A dual role – demented lead. She plays the role of twin sisters, one of whom is a lunatic.

Film Achievement: 1972 FAMAS Best Actress – Vilma Santos; 1972 Quezon City Film Festival Nomination Best Actress – Vilma Santos

Film Reviews: A very young Vilma Santos plays twins - a goody-two shoes and a manic meanie. They fall for the same guy—if I’m not mistaken, a slim Edgar Mortiz. The good twin sings pretty songs, looks morose most of the time, and is often helpless; the bad twin is active, take-charge, and flashes her eyes at the camera a lot. In the end she burns the house down; unfortunately she traps herself in it. Good Vi and Bot escape, and watch the house go down in flames while holding on to each other beside a dama de noche shrub (or at least I assume it’s one). And yes, there is a theme song that goes, “Daaaama de noche… daaaaaaaaamaaaaa de nocheeeeee….” (P.S. Vilma Santos won best Actress in the 1972 Famas Awards for her role/s in the movie.) - Joel McVie, the McVie

Dama de Noche is showing in three theaters - Remar, Delta and Sampaguita. It is, Vilma was quoted as saying, her dream role fulfilled. The very professional Vilma has come out with the resolution than henceforth she will demand to see the script and also see that the script is demanding— or she’ll say nix. Well, Dama de Noche is exactly just that: demanding. In it she delineates the twin-sister roles of sweet Armida and deranged Rosanna. Vilma sobs and screams, giggles, and crazy-dances, claws and clowns, sobs again and screams some more. But she does more than all these things. She acts. In the Filipino movieworld where crying is synonymous with acting, that certainly is being ahead of one’s kind. Vilma as Armida is drab and dry, almost a movie prop. It is in the portrayal of Rosanna that Vilma would tear one’s heart away. The many close-ups so effectively used throughout the movie show the unglamorous Vilma: her frowns, her lip-twitching, her uninhibited and stifled sobs. But Vilma is less successful with the shifty look that is the distinctive trait of the deranged. She compensates for this in the ‘betrayal’ scene when Rosanna suspects that Leo, Armida and the psychiatrist (Fred Montilla) all conspired to imprison her in the hospital. Another outstanding feat is the subdued scene where Rosanna learns that Leo has gone to the Lerma villa to meet Armida. The vivacious Rosanna is just as winsomely pathetic. Watching her is just like seeing a bosom friend trying to pretend she’s happy when both of you know she’s not only in this case, Rosanna is truly happy. Her non-knowledge of her plight is what is particularly heart-curling. Dama de Noche is Tagalog Ilang-Ilang Production’s entry in the QC filmfest which started on Oct.15. It is a very simple story, almost run-of-the-mill, but Nestor Torre, Jr. who wrote the screenplay saved it with his meaningful and amusing lines. However, the movie is occasionally dragging with the Filipino moviemania for spoonfed sequences. - Times Journal, October 24, 1972

"...I didn’t expect to win, although marami ang nagsasabi sa akin na malaki ang pag-asa ko. Ako naman, I don’t believe anything unless talagang nangyayari. Kasi noon, I expected to win, sa film festival din sa Quezon City, but somebody else did. I was very disappointed. Noong awards night nga, I wasn’t convinced I would win hanggang hindi ko pa hawak ‘yong trophy..." - Ricardo F. Lo, Expressweek Magazine January 19, 1978 (READ MORE)

"...We wrote quite a number of scripts for Vilma, including the screenplay for "Dama de Noche," which turned out to be the first film that gave her an acting award. "This was a big deal for Vi because she was very frustrated at the time due to the fact that she was always losing to Nora in acting derbies in the '70s. Thus, when she won her Famas trophy, she felt vindicated. It was when "Dama de Noche" was being shot that we had an instructive experience with Vilma. She played a mentally disturbed girl in the story, and there was one scene in which she was supposed to dance her way through a forest. Somebody had interpreted this to mean that the dance would be choreographed number, so a ballet-like dance costume had been made for Vilma! When we got to the movie set that day, Vilma showed us her dance costume, and we were shocked. We explained that the "dance" was supposed to be spontaneous, thus unchoreographed and uncostumed! After our explanation, Vilma returned the costume to the production people, and simply "danced" the scene at her mentally challenged character would, spontaneously. This experience told us that, despite her young age then, Vilma was determined to do her job well, and once she understood how a scene should be done she would insist on doing it the right way, no matter if she ruffled the feelings of some people in the production..." - Nestor U. Torre, Philippine Daily Inquirer, June 6, 2003 (READ MORE)

"...And God Smiled at Me vs. Dama De Noche, 1972 - a German Moreno- directed escapist fare vs. a dual-role directed flick by Emmanuel Borlaza at the QC FF. Nora's first best actress award, Vilma's first of many defeats vs. La Aunor in the acting field. Nora's role was simple, she was playing herself. Vilma's dual role had degree of difficulty. She had a breakdown scene, with the camera showing a close up of Vilma crying and laughing all at once - the "luka-luka role." Many fans and critics disagreed with the verdict. Come 1973 FAMAS awards, Vilma had her vengeance. She won over Nora, but she shared the award with Boots Anson-Roa. It's not a complete victory..." - anonymous (READ MORE)

"...Sa Amerika at iba pang bansa, palasak ang mga organized schools of acting na doon ay p'wedeng mag-enrol ang isang nag-aambisyong mag-artista at nang ma-refine niya o lalong mapagbuti ng anumang likas niyang kakayahan sa pag-arte. Isa sa mga pinakatanyag nilang acting techniques ay iyong tinatawag na Method Acting. Ang taguriang The Method ay pinaiklu mula orihinal na Stanislovsky Method, sinulan noong 1909 bg Rusong aktor-direktor na si Konstantin Stanislavsky. Si Stanislavsky ay mula sa Moscow Art Theatre at ang kanyang pamosong pamamaraan sa pag-arte ay pinakilala naman sa Estados Unidos ng kanyang mga disipulo. Ang Method Acting ay isang well-rounded system of training na binibigyang-pansin hindi lamang ang pag-arte kundi pati na ang wastong pagtindig, paglakad, at paggamit ng boses. Ang pinakabantog na paaralan ng Method Acting ay ang Actor's Studio ni Lee Strasberg sa Nuweba York...Ang pinakatanyag niyang estudyante ay sina Marlon Brando, Julie Harris, Patricia Neal at ang yumaong James Dean...Sa pelikulang Pilipinoay maaaring hatiin ang mga uri ng pag-arte sa dalawang pangkat. Ang una'y kinabibilangan nina Lolita Rodriguez at Nora Aunor. Ang pangalawa'y binubuo nina Charito Solis at Vilma Santos. Ang istilo ng acting nina Lolita ay banayad, mahinahon, pigil. Ang nadarama'y mababasa sa mga mata at sa bahagyang kiling ng ulo o sa kilos ng katawan. Kung ihahambing dito ang klase ng arte nina Charito, ay iyon namang matatawag na obvious, halos natatawag ng pansin. Kung nagagalit ay talagang hysterical na, nangininig ang mga labi, nandidilat ang mga mataat nagtutumili sa pagsasalita (ang buong katawa'y nangangatal). Natatandaan marahil ninyo si Charito doon sa eksena sa "Araw-Araw, Gabi-Gabi" (nanalo siya rito ng best actress sa Manila Filmfest) na muli silang nagkasama-sama ng kanyang mga napahiwalay na kapatid. Napaluhod pa siya at napahagulgol sa matinding tuwa. (Pero tila nagbago na si Ms. Solis sa ganitong estilo mula nang mahawakan siya ni Brocka "Larawan"). ...Natatandaan din siguro ninyo si Vilma Santos sa "Dama De Noche" (nanalo siya rito ng best actress sa Famas), doon sa eksenang dinala siya sa pagamutan ng mga baliw at nang matuklasan niya ito'y nagsisigaw siya, nanlalaki pati mga butas ng ilong at halos lumuwa ang mata sa galit. Sa malas naman ay ito ang higit na naiibigang istilo sa pagarte ng ating publiko. Kung bigay-tudo at eksaherado ay mas maganda para sa kanila. Di ba't maging sa buntalan ay mas nagugustuhan nila yung matatagal na eksena ng bakbakang walang patlang ang palitan ng mga suntok at sipa?..." - Mario E. Bautista, Jingle Extra Hot Magazine, 11 February 1980 (READ MORE)

"...Matunog ang bulungan na maaaring maglaban daw sina Vi at Guy sa Best Dramatic Actress category sa Q.C. Filmfest. Si Guy sa kanyang "And God Smiled At Me" at si Vi sa "Dama de Noche." Sabagay, tops si Vi basta't drama. Pero isa na ako sa nagsasabing si Guy ay hindi patatalbog sa kanya sa linyang ito. Nakita ko na itong gumagawa ng drama scene (And God) at tutoo pa namang susmaryosep! Ang galing! But then, talagang heavy ang role ni Vi sa drama. Dual pa which makes it doubly mahirap. Magkapatid na ang isaý luka-luka..." - Cleo Cruz, Superstar Magazine, 16 October 1972

Related Reading:

• "And God Smiled at Me" VS "Dama De Noche" - Will it be Vi or Guy?
• IMDB: Dama de noche (1972)
• Boots Anson Roa's husband now in better condition
• Edgar Mortiz From Wikipedia
• 1972 FAMAS Awards
• Clips - Dama de noche (Video)