“I refuse to dignify your question. Unang-una hindi ka nagtatanong, Nagbibintang ka.” “Ipinaaalam ko lang sa'yo na anak ka lang, ako ang asawa, karugtong ng buhay kasiping sa kama, kapag hindi kayo tumigil at umabot sa puntong kailangang mamili ang iyong daddy, masasaktan ka kapag ako ang pinili." - Corina
Basic Information: Directed: Emmanuel H. Borlaza; Story: Jose Javier Reyes; Screenplay: Jose Javier Reyes; Cast: Vilma Santos, Snooky Serna, Maricel Soriano, Gabby Concepcion, Richard Gomez, Eddie Garcia, Liza Lorena, Chanda Romero, Deborah Sun, Jimi Melendez; Executive producer: Lily Y. Monteverde; Original Music: Willy Cruz; Cinematography: Conrado Baltazar; Film Editing: George Jarlego; Production Design: Dez Bautista, Rei Nicolas; Art Direction: Arlene Abuid, Judy Lou de Pio; Sound: Rudy Baldovino
Plot Description: After a string of unsuccesful relationships, Corina married Teddy, an old widow whose daughter, Ana and sister Julita never approved of his new wife.
After a string of unsuccessful relationships with different men, Corina (Vilma Santos) finally settles down with Teodolfo/Teddy, (Eddie Garcia), an old widowed man whose daughter, Ana (Maricel Soriano) and sister Julita (Rosemarie Gil), never approved of his new wife. In her best attempt of being a good wife and stepmother to her new family, Corina gets smitten by Neil (Gabby Concepcion), a married man with a kid whom she had an affair with. Things get haywire as Corina starts to feel guilty about cheating on Teddy who has been good to her. Ana also discovers her adulterous acts and tries to kick her out of the family. Just when Neil is ready to leave his wife Vicky (Snooky Serna) and their kid for Corina, everything turns around when Teddy’s death revealed a secret that changed their lives forever. - Regal (READ MORE)
An assertive young stepmother, a rebellious stepdaughter, and a working wife whose career provides tension between the wife and her husband are the portraits of the strong-willed woman of the 1980s. - ABS-CBN (READ MORE)
Film Achievement: After “My Neighbor’s Wife,” Carla Abellana, Jake Cuenca and Dennis Trillo are set to work again in the Regal Films and Studio 5 co-production “Yesterday, Today and Tomorrow.” The film which also stars Jericho Rosales and Ritz Azul, is supposed to be a remake of the classic movie by Emmanuel Borlaza which starred Vilma Santos, Snooky Serna and Maricel Soriano. Lovi Poe might join the cast of the film which is also an entry to the 2011 Metro Manila Film Festival. - Samut Sari
Film Reviews: "...Often pitted against then-rival Maricel Soriano, she made numerous blockbuster movies with her in the '80s like Underage, Schoolgirls, Story of Three Loves and Anak ni Waray vs. Anak ni Biday, among others. She also had her share of TV shows including the weekly musical variety 'Always Snooky' and weekly drama feature on 'Regal Drama Presents: Snooky' in ABS-CBN Channel 2. As a mature actress, she tackled roles which earned acting nominations from various award giving bodies. She was also in Kapag Napagod Ang Puso with Christopher de Leon and Inagaw Mo Ang Lahat Sa Akin (Harvest Home - official Philippine entry to the 1995 Oscars) but unfortunately was snubbed during awards night. Her other major films include Aabot Hanggang Sukdulan, Yesterday, Today and Tomorrow, Hahamakin ang Lahat with Vilma Santos, the fantasy films Blusang Itim, Rosa Mistica, and Madonna: Ang Babaing Ahas. It was with Koronang Itim, that she finally won Best Lead Actress trophy. She has starred in over (80) films from 1970 to 2004..." - Wikipedia (READ MORE)
"...Statistically, there are really more husbands who betray their wives than the other way around. And since films basically mirror life, there are more movies about philandering husbands than adulterous wives. In the eternal love triangle of Eddie Rodriguez, Lolita Rodriguez and Marlene Dauden, it is always the man who is at fault. And then, there are those film bios of our super cops who are always portrayed as having mistresses – like Joe Pring (played by Phillip Salvador), who had a legal wife in the film (portrayed by Aurora Sevilla) and yet maintained a mistress (Maila Gumila) on the side. Films about wives fooling around are actually fewer. However, these movies seem to be more exciting because they often have drama and suspense. This is likely because the adulterous character has to dangerously tread on the ego of the husband. In local cinema, I remember a few films about women characters playing with fire. Amalia Fuentes playing a married actress in love with co-star Eddie Rodriguez in Pag-ibig Mo, Buhay Ko; Hilda Koronel (married to an older man, Mario Montenegro), who falls for the charms of Orestes Ojeda in Marupok, Mapusok, Maharot; Vilma Santos agreeing to become the mistress of Mario Montenegro in order to have a better life – in spite of being married to Phillip Salvador in Adultery; Vilma Santos again, bored with her old husband (Eddie Garcia) and carries on an affair with Gabby Concepcion in Yesterday, Today and Tomorrow and Anna Marie Gutierrez in the aptly titled Unfaithful Wife..." - Butch Francisco (READ MORE)
Komiks Genre - "...Encouraged by the huge successes of Viva Films' komiks melodramas, a lot of local film producers are reviewing their producers are reviewing their production thrusts for the year to see if they can fit in the illustrated komiks materials, if any titles are left unsold and unoptioned. It would seem that Viva, Seiko, Amazaldy and Cine Suerte have cornered practically all the popular serials running in various komiks magazines, such is the faith of our local producers in the works of our komiks masters, the likes of Carlo Caparas, Jim Fernandez, Nerissa Cabral, Elena Patron, et al. The komiks, made no mistake about it, has been mined by local moviemakers before. A generation of Sampaguita stars should be grateful for the komiks for practically all of them got their awards essaying a komiks characters, Inspirasyon for Carmen Rosales, Basahang Ginto for Alicia Vergel, Gilda for Lolita Rodriguez, Bondying for Fred Montilla, the list can go on and on...the glory days of komiks were raised to a new plateau by Viva Films whose devotion and belief in the komiks serial proved to be Sharon Cuneta's (also Vilma Santos') box office blessing. With the Viva's success formula, most film company are following suit. Regal's Yesterday, Today and Tomorrow, for example, is a huge success. It is also a tried-and-tested komiks formaula film. Parang Viva Films, observed one moviegoers, with all that gloss, quatable dialogue, and seeming superficialities of the komiks aristocracy..." - Oscar Miranda, Timesweek, 9 February 1986, reposted by Pelikula Atbp blogsite (READ MORE)
“Hindi ko siya kinamkam! Nilayasan ka. hindi magloloko ang asawa mo kung naging maligaya siya sa pamamamahay mo, remember this, no woman can seduce a happy husband, paghindi mo pa rin maintindihan yan bakit hindi mo sampalin ang sarili mo para matauhan ka!” - Cathy Santillan
Basic Information: Direction: Emmanuel H. Borlaza; Story: Pablo S. Gomez (based on the novel "Paano Ba Sasabihing Paalam Na"); Screenplay: Jose Javier Reyes, Jake Cocadiz; Cast: Vilma Santos, Amalia Fuentes, Eddie Gutierrez, Gabby Concepcion, Gretchen Barretto, Sheryl Cruz, Elvis Gutierrez, Romeo Rivera, Ramil Rodriguez, Deborah Sun, Debraliz, Noel Colet, Jaime Fabregas, Cris Castillo, Vicky Suba, Ena Alli, Kess Burias, Marie Barbacui, Malen Dela Trinidad, Wilson Ferrer, Reymond Rodriguez, Martin Santos, Archie Delos Santos, Alfred Barretto, Ferdie Fernando; Producer: Lily Y. Monteverde, Malou N. Santos, Charo Santos-Concio; Original Music: Willy Cruz; Cinematography: Rey Lobo; Film Editing: George Jarlego; Art Direction: Nonoy Fuentes; Release Date:1987 (Philippines); Production Company: Regal Films; Theme Song: Sung by Marissa Martin, Composer: Willy Cruz - IMDB (READ MORE)
Plot Description: Ayaw kong maging querida is a story about three people caught in a whirlwind romance bound in the norms of society class. Will love conquer all or will wealth and power dictate their destinies? - Kabayan Central (READ MORE)
A middle-aged martyr wife loses her husband to an equally beautiful but much younger woman. - ABS-CBN (READ MORE)
Cathy Santillan (Vilma Santos) had an affair with Mike Ledesma (Gabby Concepcion), a married man to a doctor, Dr. Alice Paredes (Amalia Fuentez). A love triangle that ends into forgiveness and the doctor delivering the mistress and his husband's baby.
Film Achievement: No Available Data
Film Reviews: "...To recall, the senior and junior movie queens appeared in these movies: Bulaklak at Paru-paro (1970), Mga Reynang Walang Trono(1976) and Asawa Ko, Huwag Mong Agawin (1986). Amalia directed Vilma’s episode in Mga Reyna and agreed to second billing to Vilma in Asawa Ko. No doubt about it, Amalia Muhlach Sumilang Fuentes, is a Vilmanian. To seal their sisterhood and camaraderie, Vilma is Ninang to Liezl Martinez and to the latter’s son Alfonso. Why, Liezl even sang a song ’’Wind Beneath My Wings’ to her surprised mother that night which drove the strong-willed and still beautiful Amalia to tears. A Kodak moment, indeed. Priceless! While interviewing the three Muhlach generations, Fuentes, Liezl and young daughter Aliyanna, Amalia revealed to Vilma that she is protective of her ’unica hija’ Liezl. ”Ay naku, I think I also have become like my Mom, I’m also very protective of my children,” Liezl remarks..." - Mario O. Garces (READ MORE)
"...You can never go wrong if you choose a Vilma Santos film and if you want a story that gives a different twist to the "other woman" issue, then Asawa Ko Huwag Mong Agawin might give you the satisfaction you are aiming for. It shows two women in their usual roles and stereotypes: the other woman who knows all about pleasures and the wife who knows all about pain..." - Bon Ching (READ MORE)
"...Ang tatay ni KC Concepcion na si Gabby Concepcion ay isa rin sa mga kaibigan ni Vi. Ilan ding pelikula ang ginawa ni Vi at Gabby katulad ng Pahiram Ng Isan Umaga, Sinungaling Mong Puso, Hahamakin Lahat, Ibigay Mo Sa Akin Ang Bukas at Asawa Ko Huwag Mong Agawin. Sa pelikulang Bukas Sisikat Din Ang Araw, kung saan si Gabby ang prodyuser ay naging special guest si Vi na sa totoo lang ay halos kasinlaki ang billing niya (Vi) sa mga major characters nito. Isa sa mga anak ni Gabby, anak niya kay Grace Ibuna ay inaanak ni Vi katuwang sina Lorna Tolentino, Alma Moreno, Snooky Serna at Maricel Soriano. Noong last episode ng Vilma show sa GMA 7 ay isa si Gabby sa mga special guests ni Vi at nag-compose pa ng tula si Gabby para kay Vi. Noon namang nagkaroon ng problema si Gabby dahil sa kontrobersiya sa Manila Film Festival noong 1994 ay isa si Vi sa mga naging sabihan niya ng kanyang mga problema. Si Gabby ay naging best supporting actor ng Star Awards for Movies noong 1992 para sa pelikulang Sinungaling Mong Puso, best actor ng Urian noong 1992 para sa Narito Ang Puso Ko at best supporting actor ng Urian para sa pelikulang Makiusap Ka Sa Diyos noong 1991..." - Alfonso Valencia (READ MORE)
"...Sa mga Pinoy movie, paboritong tema na ang mga love triangle. Gustong-gusto natin sa mga drama ang mga nagbabangayan na dalawang babae para sa atensyon ng iisang lalaki. Sino ang inagawan at sino ang nang-agaw?...Kaya heto ang ilang pelikula na puwedeng i-connect sa nangyayaring issue ngayon kina Bea, Gerald at Julia…Mula sa direksyon ni Emmanuel Borlaza, kuwento ito ni Cathy (Vilma Santos) na nagkaroon ng hindi magandang pakikipaghiwalay sa kanyang boyfriend na si Mike (Gabby Concepcion). Nakilala niya ang isang may asawang lalaki, Bert Paredes (Eddie Gutierrez) na hindi masaya sa piling ng kanyang misis na si Dr. Alice Paredes (Amalia Fuentes). Pinapakita rito ang epekto ng isang unhappy marriage at pati ang kanilang mga anak (Sheryl Cruz and Gretchen Barretto) ay naaapektuhan sa pagkakaroon ng illicit affair ng kanilang ama.
Heto ang memorable line ni Vilma: “No woman can seduce a happy husband, pag hindi mo pa rin maintindihan ‘yan bakit hindi mo sampalin ang sarili mo para matauhan ka!.." - Ruel Mendoza, Abante, 27 July 2019 (READ MORE)
Basic Information: Directed: Emmanuel H. Borlaza; Story: Mercy Lejarde; Screenplay: Raquel Villavicencio; Cast: Vilma Santos, Gabby Concepcion, Richard Gomez, Gina Pareño, Liza Lorena, Delia Razon, Orestes Ojeda, Gretchen Barretto, Amy Austria, Al Tantay, Romeo Rivera, Joko Diaz, Alfred Barretto, Julio Diaz; Executive producer: Espiridion Laxa; Original Music: Mon del Rosario; Cinematography: Sergio Lobo; Film Editing: Nonoy Santillan; Production Design: Rei Nicolas
Plot Description: "...The neglected wife of a homosexual finds sexual fulfillment with a former boyfriend and student..." - TFC Now (READ MORE)
Film Achievement: 1988 FAMAS Nomination Best Child Actor – Joko Diaz
Film Reviews: ”…His films lack the arthouse style and social relevance that critics loves most in a Brocka or Bernal films but who cares about the critics when the paying public loves them. And the producers demand his service, from Doc Perez of Sampaguita Pictures, Atty. Esperidion Laxa of Tagalog Ilang Ilang Productions and later on, Vic Del Rosario of Viva Films and Lily Monteverde of Regal Films. Clearly, his films exists with one purpose, to entertain the masses not to depress or remind them with the country’s sad fate of economy or the below poverty line lives of many. The success of the Vilma-Borlaza films gave Vilma Santos versatility and preparation to a more serious acting career. It also narrowed the popularity gap between her and the musical era’s darling of the 70s, Nora Aunor. These are perhaps, the most significant contributions of Emmanuel Borlaza to Vilma’s career. Vilma who was considered only second to Nora couldn’t matched her singing talent and so, Borlaza countered this lack of singing with films that showcased Vilma’s acting versatility…- RV (READ MORE)
"...It seems that Vilma Santos has finally learned her lessons about money matters. The actress is reportedly eyeing a house in Greenmeadows which she plan to buy with her earnings from her latest starrer Ibigay Mo Sa Akin Ang Bukas. "Siguro kung marunong lang kaming mag-ingat ng salapi ng kumare ko (Nora Aunor), pareho na kaming may subdivision sa ngayon," Santos reportedly said. Now, she insists on knowing where every peso goes. Perhaps, Santos has taken her cue from Amalia Fuentes, said to be the richest actress in the business. The actress, however, will keep her house in Magallanes 'for luck'..." - JC Nigado, Manila Standard, Mar 6 1987 (READ MORE)
"...Ang tatay ni KC Concepcion na si Gabby Concepcion ay isa rin sa mga kaibigan ni Vi. Ilan ding pelikula ang ginawa ni Vi at Gabby katulad ng Pahiram Ng Isan Umaga, Sinungaling Mong Puso, Hahamakin Lahat, Ibigay Mo Sa Akin Ang Bukas at Asawa Ko Huwag Mong Agawin. Sa pelikulang Bukas Sisikat Din Ang Araw, kung saan si Gabby ang prodyuser ay naging special guest si Vi na sa totoo lang ay halos kasinlaki ang billing niya (Vi) sa mga major characters nito. Isa sa mga anak ni Gabby, anak niya kay Grace Ibuna ay inaanak ni Vi katuwang sina Lorna Tolentino, Alma Moreno, Snooky Serna at Maricel Soriano. Noong last episode ng Vilma show sa GMA 7 ay isa si Gabby sa mga special guests ni Vi at nag-compose pa ng tula si Gabby para kay Vi. Noon namang nagkaroon ng problema si Gabby dahil sa kontrobersiya sa Manila Film Festival noong 1994 ay isa si Vi sa mga naging sabihan niya ng kanyang mga problema. Si Gabby ay naging best supporting actor ng Star Awards for Movies noong 1992 para sa pelikulang Sinungaling Mong Puso, best actor ng Urian noong 1992 para sa Narito Ang Puso Ko at best supporting actor ng Urian para sa pelikulang Makiusap Ka Sa Diyos noong 1991..." - Alfonso Valencia (READ MORE)
"...At present, Santos is completing Ibigay Mo sa Aking ang Bukas for producer Esperidion Laxa. The movie, slated for opening first week of March, was originally scheduled to be shown this week (simulaneously with Sharon Cuneta's Kung Aagawin Mo Ang Lahat Sa Akin, but Laxa apparently decided otherwise, "Medyo hilaw pa sa promotion," said the actress. In the movie, Santos is once again playing the role she's best known for, that of a liberated woman. "D'yan naman talaga ako nagustuhan ng tao, you know, women who fight for their personal happiness." She is again paired with Gabby Concepcion, who incidentally, is rumored to be her boyfriend. There is definitely nothing between her and Gabby, she clarified. "Ah, si Mayor?" she gleefully replied to the question, "we're just comfortable with each other. Minsan na akong napikon sa tsismis na iyan. We're friends and I hope people would just leave it at that." "Is she really that liberated in real life?" Parrying the question, Santos rationalized, "Well, I deserve to be happy, too!..." - Mario V. Dumaual Manila Standard, Feb 19, 1987 (READ MORE)
204 films, 70 directors, 5 decades, Vilma Santos, one of the original Philippine movie queens, rose up to become the versatile actress that has been given the fitting title of “Star for All Seasons” because of her capacity to adapt to the changing mores and values of the Filipino woman, giving a face to their plight and struggles, albeit in success both critically and box-office wise in some of Philippine cinema’s classics such as Trudis Liit (1963), Lipad, Darna, Lipad (1973), Burlesk Queen (1977), Relasyon (1982), Sister Stella L. (1984), Alyas Baby Tsina (1984), Pahiram ng Isang Umaga (1989), Dahil Mahal Kita: The Dolzura Cortez Story (1993), Anak (2000) and Dekada ’70 (2002). This are top ten directors who contributed to her success. - RV (READ MORE)
His films lack the art house style and social relevance that critics loves most in a Brocka or Bernal films but who cares about the critics when the paying public loves them. And the producers demand his service, from Doc Perez of Sampaguita Pictures, Atty. Esperidion Laxa of Tagalog Ilang Ilang Productions and later on, Vic Del Rosario of Viva Films and Lily Monteverde of Regal Films. Clearly, his films exists with one purpose, to entertain the masses not to depress or remind them with the country’s sad fate of economy or the below poverty line lives of many. The success of the Vilma-Borlaza films gave Vilma Santos versatility and preparation to a more serious acting career. It also narrowed the popularity gap between her and the musical era’s darling of the 70s, Nora Aunor. These are perhaps, the most significant contributions of Emmanuel Borlaza to Vilma’s career. Vilma who was considered only second to Nora couldn’t matched her singing talent and so, Borlaza countered this lack of singing with films that showcased Vilma’s acting versatility.
From the folklore mermaid in Dyesebel at ang Mahiwagang Kabibe to fighting giants in Darna and the Giants to a fast-talker-gossip-mongering vendor in Tsismosang Tindera and to good-hearted prostitutes in Mga Rosas sa Putikan, Borlaza let Vilma Santos experience a wide range of roles, from comedic fantasy to dramatic adult roles. These experiments prepared her to a later more serious and versatile acting career. Their success made other directors interested in giving her roles oftenly considered for her closest rivals. Projects lined up and awaits her availability. Borlaza and Santos’ collaboration produced a string of box office hits from early 70s’ Dama De Noche to their last outing in late 80s’ Ibigay Mo Sa Akin Ang Bukas. Their success established their career as one of the most bankable and in-demand director/actor team, making her the longest reighning box office queen of all time and him a money maker director.
When time for Vilma to move on with other collaborators, Borlaza handled other stars with much success! He directed Alma Moreno in smash hit, Eva Fonda 16; Sharon Cuneta in her memorable rag to riches films, Bituin Walang Ningning and Bukas Luluhod Ang Mga Tala; Snooky Serna in her fantasy hit, Blusang Itim and Marecel Soriano as the spoiled brat in Yesterday Today and Tomorrow. These films gave us some of the most memorable movie lines that most Filipinos would still remember like Cherie Gil’s campy dialouge: “You’re Nothing but second rate Trying hard, Copy Cat!” or Sharon’s promise of revenge: “pinapangako ko inay…bukas luluhod ang mga tala! (I’ll promise you mother, tommorow the stars will kneel down, something to that effect, litterally.)” - RV (READ MORE)
Teen Films “…By late 1969, movie producers had been tapping a Vilma Santos-Edgar Mortiz love team. Edgar was a Tawag ng Tanghalan winner. They started to be together in the movies, My Darling Eddie (1969) and The Jukebox King (1969)…In 1970, the love team of Vilma Santos and Edgar “Bobot” Mortiz was officially launched in the movie Young Love, together with the another popular love team during that time, Nora Aunor and Tirso Cruz III. The Vi and Bot love team went on to do 14 more movies in 1970—The Young Idols, Songs and Lovers, Sweethearts, Sixteen, Love Letters, Love is for the Two of Us, Mga Batang Bangketa, My Pledge of Love, Renee Rose, Baby Vi, Because You Are Mine, Edgar Loves Vilma, From the Bottom of My Heart, and I Love You Honey. All did well at the box-office…” - Rommel R. Llanes (READ MORE)
"...Noong Dekada ’70, ang mga young stars ay kailangang marunong kumanta dahil yun ang uso kaya naman nagtayo ng sariling recording company ang nasirang manager ni Vi na si William Leary dahil ayaw niyang pahuhuli sa uso ang kanyang alaga. Ilan sa mga naging recording artists ng WILEARS RECORDS bukod kay Vi ay sina Edgar Mortiz, Ed Finlan, Sahlee Quizon, Hilda Koronel at Esperanza Fabon. According to Vi, kapag nagrerecord siya ng kanta ay nakatalikod siya sa dingding ng recording company at si Bobot ang umaalalay sa kanya. Ang SIXTEEN, na sinulat ni Danny Subido ang unang recording na ginawa ni Vi at ito ay flipsided by It’s So Wonderful To Be In Love. Ang SIXTEEN ay agad naging gold record at dahil dito ay gumawa ng pelikula ang Tagalog Ilang Ilang Productions, ang home studio ni Vi at ito ay ginawa nilang pamagat katambal si Edgar Mortiz. Hindi nyo naitatanong, muntik nang manalo si Vi bilang most promising singer sa AWIT AWARDS noong early ’70s..." - Alfonso Valencia (READ MORE)
"...Si Edgar Mortiz ang unang nakapareha ni Vilma Santos as a teen star. Nakilala sila as the “Subok na Matibay, Subok na Matatag” loveteam called Vi and Bot at naging magka-steady sila sa tunay na buhay. Marami silang ginawang pelikula as teen stars in the early 70s..." - Showbiz Portal (READ MORE)
"...Sa tuwing sumasapit ang Christmas at valentine’s Day ay nagtatapatan ang mga pelikula nila. Nang ginawa nina Guy at Pip sa Hawai ang pelikulang Blue Hawai, hindi nagpatalo ang Vilma at Edgar. Nagtungo rin sila sa Hawai at ginawa nila ang pelikulang Aloha, My Love bilang pantapat sa pelikula nina Nora at Tirso. Ganyan talaga kainit ang labanan noon ng dalawang parehang ito. Pagkatapos ipalabasa ang mga pelikulang Blue Hawai at Aloha My Love na parehong kumita sa takilya, nagtungo rin ang dalawang pangkat sa USa para gawin naman nila ang pang-Valentine’s Day offering nila. Don’t Ever Say Goodbye ang kina Vilma at Edgar, samantalang ang kina Guy at Pip naman ay ang Gift of Love. Hindi lang iyan. Tuwing sasapit naman ang Metro Manila Film Festival ay nagkakaroon din sila ng kanya-kanyang entry under their respective production companies – ang Tagalog Ilang Ilang for Vi and Bot at Sampaguita Pictures kina Guy at Pip. Halos sila na lang ang siyang pinapanood at iniidolo ng fans..." - Ely S. Sablan (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 (READ MORE)
"...Pagkagaling nila Vi & Bot sa Amerika para sa shooting ng “Don’t Ever Say Goodbye”, ay sinayaw ni Vi sa The Sensations ang The Shaft na usong sayaw noon sa U.S., agad nagustuhan ng mga tao ang dancing skills ni Vi at nauso lagi ang mga sayaw ni Vi at mula noon ay kinilala ang charisma, grace, at natural dancing prowess ni Vi na later on ay pinakita niya at tampok lagi at inaabangan ng mga tao sa kanyang top rated musical variety shows na ang pinakahuli ay ang Vilma!..." - Jojo V. Lim (READ MORE)
"...Remembrance,” another film musical, was chosen “best musical” in the Manila Film Festival. The film stars Vilma Santos (Wilear’) and Edgar Mortiz (Wilear’s). The film also won in the categories of best film editing, best sound and best script..." - Oskar Salazar (READ MORE)
Fantasy Films "...Sine Pilipino got then hot young star Vilma Santos to essay the role of Darna. But the problem was, Vilma was hesitant to wear the two-piece costume. So, during their photo shoot for the publicity photos of the new Darna movie, she wore the Darna costume on top of her body stocking. Vilma was finally convinced by producers Douglas Quijano and William Leary to lose the body stocking and wear just the costume on the day of the press conference. The press people were surprised on seeing how sexy Vilma was in her Darna costume, which was back to the original red bikini and gold stars. Lipad, Darna, Lipad! (1973) is the first and only trilogy of the super heroine. It was a box-office hit on its first day of showing and considered a turning point in Vilma’s career. It was also the first Darna movie where Darna and Narda was played by the same actress. Unfortunately, there is no existing copy left of this classic film. Vilma starred in three more Darna films: Darna and the Giants (1974) and Darna vs. the Planetwomen (1975), which were both under Tagalog Ilang-Ilang Productions, and Darna and Ding (1980) under Niño Muhlach’s D’Wonder Films. Darna and the Giants was the continuation of Vilma’s first Darna movie and Darna again wore the gold bikini costume, while Darna vs. the Planetwomen was a rebooted version of the Darna origin, with Vilma’s Narda this time portrayed as a crippled teenager who was given a magical stone by a mysterious source. The costume is back to red this time with the stars on Darna’s bra also colored red and the headpiece, all gold. Darna and Ding was the last time Vilma played Darna. Her costume this time was sexier and more revealing. In this movie, she was joined by Ding who now has his own superpowers..." - Rico J Rod (READ MORE)
"The quintessential action-fantasy Pinoy flick that appeals to all ages, from generation to generation. This movie is a major milestone for Vilma because it proved that she could really carry a solo movie and bring in the dough (up to now of course!). Vilma’s Darna franchise is the most memorable and successful of all Pinoy fantasy-action genres. Imitated but never equalled, Vilma’s Darna lives on. Unforgettable. Memorable. It grows on you. No Pinoy kid ever grows up without being a part of the Darna magic. The enormous success of Lipad, Darna, and Lipad led to three more Darna movies with Vilma Santos. As a result, the star for all seasons became the star for all Darnas—Santos played her four times, more than any other actress in the super heroine’s history..." - Eric Cueto (READ MORE)
Maturing Dramas"...In 1980, Ate Vi married budding actor Edu Manzano in Las Vegas, USA, while shooting the film, “Romansa.” She was pregnant with Lucky (now called Luis) when she did “Pakawalan Mo Ako” in 1981, for which she won her second FAMAS best actress award. In 1984, her marriage to Edu ended in separation, and she did movies that mirrored her real-life affairs, “Hiwalay” and “Ex-Wife,” both big hits..." - Mario Bautista (READ MORE)
"...To recall, the senior and junior movie queens appeared in these movies: Bulaklak at Paru-paro (1970), Mga Reynang Walang Trono(1976) and Asawa Ko, Huwag Mong Agawin (1986). Amalia directed Vilma’s episode in Mga Reyna and agreed to second billing to Vilma in Asawa Ko. No doubt about it, Amalia Muhlach Sumilang Fuentes, is a Vilmanian. To seal their sisterhood and camaraderie, Vilma is Ninang to Liezl Martinez and to the latter’s son Alfonso. Why, Liezl even sang a song ’’Wind Beneath My Wings’ to her surprised mother that night which drove the strong-willed and still beautiful Amalia to tears. A Kodak moment, indeed. Priceless! While interviewing the three Muhlach generations, Fuentes, Liezl and young daughter Aliyanna, Amalia revealed to Vilma that she is protective of her ’unica hija’ Liezl. ”Ay naku, I think I also have become like my Mom, I’m also very protective of my children,” Liezl remarks..." - Mario O. Garces (READ MORE)
Commercial Films - "...Why Borlaza? Because Emmanuel H. Borlaza is a formula director, a tried and tested moneymaker for local film companies and an example of a commercial success who also hungers for artistic fulfillment. It was Maning Borlaza who directed the box-office hit revival of Darna and Dyesebel, those heroines of less demanding times, and followed of less demanding times, and followed them with more Vilma Santos-Edgar Mortiz starrers and such crowd-drawers as Kapatid Ko Ang Aking Ina; Artista And Aking Asawa; and I Love Mama, I Love Papa. Very recently, despite his many obvious fumblings, his Mrs. Eva Fonda, 16 raked in the moolah, as entertainemtn columnist would put it. Whether the lure was really Borlaza and not Vilma (as Darna) or Alma (as Eva), one would still not find out in Makahiya at Talahib, the Goodwill production that Maning is directing as a filmfest bet. Vilma is starring, you see, opposit Rudy Fernandez who portrays the man on the run. Maning, however, has been quoted to have said that "My next 20 years are modestly provided for, I don't think I will live more than that. Henceforth, I will split my movie work to what I want to do and what the public likes. He wants, it seems, to recover his old self, the Borlaza who filmed Pyscho-Maniac, a suspense thriller which cast Divina Valencia, Dindo Fernando and Ray Marcos and won him the Academy's best screenplay award in '68, who packed so much good action in Mindanao, the movie that bagged four statuettes in the Manila Filmfest of the same year, and who directed Vilma Santos's way to the FAMAS best actress award for the performance in Dama de Noche. And yet, he is not that keen to do films that might suffer the fate of O'Hara's Mortal or Bernal's Nunal sa Tubig. "Their box-office results are not encouraging," says Maning. He admits he still goes a little commercial.
That is why there is a love scene between Vilma and Rudy in Makahiya that Maning expects people might be talking about, more than the torrid shots of Rudy and Trixia Gomez. The 41-year old director also wrote the story and screenplay of Makahiya. Writing was something that didn't interest Maning while he was enrolled in Dr. Severino Montano's Arena theater at the same time that he was majoring in English at the Manuel Luis Quezon University. "Dr. Montano was the rave of the drama world at that time," recalls Maning. "That's where I bumped into Lino Brocka, Behn Cervantes, Joonee Gamboa...they were coming in when I was leaving the group. I got much too engrossed in acting becaused I got good roles I didn't write anything." From acting in theater, however, Borlza switched to writing in the movies. To his credit are some 300 stories and screenplays from which Sampaguita stalwarts Carlos Vander Tolosa and Octavio Silos directed. But after 12 long years of scriptwriting, Maning struck up a partnership with '60s bombshell Divina Valencia and formed the Queen Vi production on which he now says he lost a lot of money. Their first movie, Psycho-Maniac, was also Maning's first directorial attempt. Another person would have thought things over and concentrated on scriptwriting instead after a victory like that but Borlaza was decided: he was going to make movies, not just write them. Nowadays, he even makes two pictures at a time. "I just finished Makahiya and Teatro Manila. It's cheaper that way. You don't waste any calendar day. No stars available for Makahiya, we would work on Teatro." Work means gearing up in a sleeveless top and a pair of short shorts that expose his long smooth legs. Maning, in case you didn't hear his very casual cofession on Inday Badiday's Nothing But the Truth, is "gay." "That was the first time I opened up to the public," he explains. I thought if I didn't open up, what's the use of coming to a show like that?" Homosexuals are actually spilling all over the movie world, just as they do in other creative fields. One of these days, Emmanuel H. Borlaza might just complete consciousness-raising classic and we'll say it can happen to anyone regardless of sex..." - Chelo R. Banal, Philippine Panorama Magazine, 26 December 1976 (READ MORE)
YEAR
FILM TITLES (click title for link to available film info)
Emmanuel H. Borlaza aka Maning Borlaza is a 1957 Palanca Awardee for “May Pangako ang Bukas” and theatrical drama trained by National Artist Severino Montano. Appointed by Pres. Noy Aquino as Movie and Television Review and Classifications Board (MTRCB) Vice Chairman this year, Borlaza directed 24 films with Vilma Santos and was credited with her transformation to a reluctant singing competitor of Nora Aunor to bankable superstar with such hits like Dyesebel, Lipad Darna Lipad, Darna and the Giants. - IMDB (READ MORE)
Basic Information: Directed: Emmanuel H. Borlaza; Story: Pierre Salas; Screenplay: Emmanuel H. Borlaza; Cast: Vilma Santos, Edgar Mortiz, Josephine Estrada, Dave Curtis, Ike Lozada; Original Music: Danny Subido; Cinematography: Benjamin L. Lobo
Plot Description: No Available Data
Film Achievement:Aloha My Love is also a music album of Edgar Mortiz and Vilma Santos,
"...Borlaza gave Vilma Santos her very first best actress, winning the 1972 FAMAS for via Dama De Noche. He is also credited in narrowing the popularity gap between her and the musical era’s darling of the 70s, Nora Aunor. Total Number of Films in our list of VSR’s Top 50 films = 4 (#10 Lipad Darna Lipad 1973, #32 Dyesebel at ang Mahiwagang Kabibe 1973, #48 Darna and the Giants 1973, #49 Dama De Noche 1972)..." - RV (READ MORE)
Film Reviews: "...By late 1969, movie producers had been tapping a Vilma Santos-Edgar Mortiz love team. Edgar was a Tawag ng Tanghalan winner. They started to be together in the movies, My Darling Eddie (1969) and The Jukebox King (1969)...In 1970, the love team of Vilma Santos and Edgar "Bobot" Mortiz was officially launched in the movie Young Love, together with the another popular love team during that time, Nora Aunor and Tirso Cruz III. The Vi and Bot love team went on to do 14 more movies in 1970—The Young Idols, Songs and Lovers, Sweethearts, Sixteen, Love Letters, Love is for the Two of Us, Mga Batang Bangketa, My Pledge of Love, Renee Rose, Baby Vi, Because You Are Mine, Edgar Loves Vilma, From the Bottom of My Heart, and I Love You Honey. All did well at the box-office..." - Rommel R. Llanes (READ MORE)
"...Noong Dekada ’70, ang mga young stars ay kailangang marunong kumanta dahil yun ang uso kaya naman nagtayo ng sariling recording company ang nasirang manager ni Vi na si William Leary dahil ayaw niyang pahuhuli sa uso ang kanyang alaga. Ilan sa mga naging recording artists ng WILEARS RECORDS bukod kay Vi ay sina Edgar Mortiz, Ed Finlan, Sahlee Quizon, Hilda Koronel at Esperanza Fabon. According to Vi, kapag nagrerecord siya ng kanta ay nakatalikod siya sa dingding ng recording company at si Bobot ang umaalalay sa kanya. Ang SIXTEEN, na sinulat ni Danny Subido ang unang recording na ginawa ni Vi at ito ay flipsided by It’s So Wonderful To Be In Love. Ang SIXTEEN ay agad naging gold record at dahil dito ay gumawa ng pelikula ang Tagalog Ilang Ilang Productions, ang home studio ni Vi at ito ay ginawa nilang pamagat katambal si Edgar Mortiz. Hindi nyo naitatanong, muntik nang manalo si Vi bilang most promising singer sa AWIT AWARDS noong early ’70s..." - Alfonso Valencia (READ MORE)
"...The loveteam of Edgar Mortiz and Vilma Santos endured a stiff competition from teeny bopper love team of Nora Aunor and Tirso Cruz III and came up with equal success with string of hit films during the musical era of the 70s. Together they did forgettable but commercial hits and also some hints of the years to come to Vilma Santos’ long career. The most notable one: Dama De Noche. Total Number of films with Vilma Santos – 25 (Young Love, Teenage Jamboree, Songs and Lovers, Renee Rose, My Pledge of Love, Mga Batang Bangketa, Love Is for the Two of Us, I Love You Honey, From the Bottom of My Heart, Baby Vi, Love Letters, The Wonderful World of Music, The Sensations, The Young Idols, Sweethearts, Sixteen, Leron-Leron Sinta, Edgar Love Vilma, Don’t Ever Say Goodbye, Dama de Noche, Anak ng Aswang, Because You Are Mine, Kampanerang Kuba, Kasalanan Kaya, Karugtong ang Kahapon..." - RV (READ MORE)
"...Si Edgar Mortiz ang unang nakapareha ni Vilma Santos as a teen star. Nakilala sila as the "Subok na Matibay, Subok na Matatag" loveteam called Vi and Bot at naging magka-steady sila sa tunay na buhay. Marami silang ginawang pelikula as teen stars in the early 70s..." - Showbiz Portal (READ MORE)
"...His films lack the arthouse style and social relevance that critics loves most in a Brocka or Bernal films but who cares about the critics when the paying public loves them. And the producers demand his service, from Doc Perez of Sampaguita Pictures, Atty. Esperidion Laxa of Tagalog Ilang Ilang Productions and later on, Vic Del Rosario of Viva Films and Lily Monteverde of Regal Films. Clearly, his films exists with one purpose, to entertain the masses not to depress or remind them with the country’s sad fate of economy or the below poverty line lives of many. The success of the Vilma-Borlaza films gave Vilma Santos versatility and preparation to a more serious acting career. It also narrowed the popularity gap between her and the musical era’s darling of the 70s, Nora Aunor. These are perhaps, the most significant contributions of Emmanuel Borlaza to Vilma’s career. Vilma who was considered only second to Nora couldn’t matched her singing talent and so, Borlaza countered this lack of singing with films that showcased Vilma’s acting versatility..." - RV (READ MORE)
"...Sa tuwing sumasapit ang Christmas at valentine’s Day ay nagtatapatan ang mga pelikula nila. Nang ginawa nina Guy at Pip sa Hawai ang pelikulang Blue Hawai, hindi nagpatalo ang Vilma at Edgar. Nagtungo rin sila sa Hawai at ginawa nila ang pelikulang Aloha, My Love bilang pantapat sa pelikula nina Nora at Tirso. Ganyan talaga kainit ang labanan noon ng dalawang parehang ito. Pagkatapos ipalabasa ang mga pelikulang Blue Hawai at Aloha My Love na parehong kumita sa takilya, nagtungo rin ang dalawang pangkat sa USa para gawin naman nila ang pang-Valentine’s Day offering nila. Don’t Ever Say Goodbye ang kina Vilma at Edgar, samantalang ang kina Guy at Pip naman ay ang Gift of Love. Hindi lang iyan. Tuwing sasapit naman ang Metro Manila Film Festival ay nagkakaroon din sila ng kanya-kanyang entry under their respective production companies – ang Tagalog Ilang Ilang for Vi and Bot at Sampaguita Pictures kina Guy at Pip. Halos sila na lang ang siyang pinapanood at iniidolo ng fans..." - Ely S. Sablan (READ MORE)
"...Ang pangatlong long playing album nina Vi at Bot ay ang All I See Is You na ini-release noong August 30, 1971 (kaarawan ni Edgar Mortiz) na binubuo ng medley of songs na atin Cu Pung Singsing at Leron Leron Sinta, Baby Cakes, Little Brown Gal, Grown Up Like Me, Nine Little Teardrops, Jealous Heart, The Wonderful World of Music, El Condor Pasa, Hawaiian Wedding Song, I Understand, My Special Angel at Just Say You'll Be Mine. Ang awiting Butsiki ni Yoyoy Villame ay hinango sa awiting Baby Cakes. Ang THE Wonderful World of Music ay ginawang titulo ng pelikula nina Vi at Bot na inilahok sa 1971 Manila Film Festival kung saan ito ang nakakuha ng Best Musical Film. Kasama nina Vi at Bot sa pelikulang ito ang noo'y batang bata pang si Snooky (Serna). Ang pang-apat na long playing album nina Vi at Bot ay pinamagatang Aloha My Love na ini-release noong February 1972 at naglalaman ng mga awiting Hawaiian Medley, Beyond The Reef, All Alone Am I, Why Don't You Believe Me, Eternally, My World Is My World, Aloha Oe, Seven Lonely Days, Mandolins In The Moonlight, Daddy, Seventeen at Two People In Love. Ang Aloha My Love ay titulo din ng pelikulang ginawa nina Vi at Bot sa Hawaii. Ang Eternally ay isinapelikula din ng Tagalog Ilang Ilang Productions na tinampukan pa rin nina Vi at Bot. Napakasuwerte ni Vi dahil nagkaroon ulit siya ng pangatlong solo long playing album na may pamagat na Sing Vilma Sing. Ito ay binubuo ng mga awiting Da Doo Run Run, Abadaba Honeymoon, Tweedle Dee, Bo Weebel, A Kookie Little Paradise, Bobby Bobby Bobby, A Rick-Tick Song, It's Been A Long Long Time, Breaking Up Is Hard To Do, You Made Me Love You, The Birds & The Bees at He's So Near (Yet So Far Away). Ang A Rick-Tick Song ang ginawang theme song ng radio program ni Ric Radam sa DZRH noong early '70s... " - Alfonso Valencia (READ MORE)
"...A love story shot in the land God created for lovers...the land where people never say I love you, instead they say....." Aloha My Love (March 3, 1972) ng Tagalog Ilang-Ilang Productions na pinangunahan nina Vi, Edgar Mortiz, Josephine Estrada at Dave Curtis na sinulat in Pierre Salas at sa iskrip at direksiyon ni Emmanuel H. Borlaza..." - Alfonso Valencia (READ MORE)
Basic Information: Story: Pierre Salas; Screenplay: Allan Jayme Rabaya; Direction: Emmanuel H. Borlaza; Cast: Romeo Vasquez, Vilma Santos, Ma-an Hontiveros, Laurice Guillen, Romeo Enriquez, Mary Walter; Cinematography: Oscar Querijero; Music: George Canseco; Production Company: Lea Productions; Release Date: February 3, 1978; Theme Songs: “Kailangan Kita” performed by Leah Navarro
Plot Description: No Available Data
Film Achievement: No Available Data
Film Reviews: "Sometime in the mid 70s, matinee idol Romeo Vasquez returned to the movie scene after a long absence, his movie career in limbo after his failed marriage with popular actress Amalia Fuentes. His teamup with Vilma Santos somehow rekindled and revived his career. Their first movie together, Nag-aapoy na Damdamin in 1976 turned out to be a big hit. Despite their age gap, reel and real life sweetheart, Romeo, 34 and Vilma, 23, soon became the hottest love team, doing one hit movies after another..." - Video 48 (READ MORE)
"...Romeo Vasquez is an oddity in Vilma's life. Hindi akalain ng lahat na ang isang notorious playboy and balikbayan actor would capture the heart of the then elusive Ate Vi. Nagkaroon sila ng affair which lasted for more than a year. Kilala si Bobby sa pagiging bohemyo kaya naman walang kakilala si Ate Vi na bumoto sa aktor. Ate Vi was love struck at talagang na head-over heels in love. Nagsimula ang kanilang affair sa set ng kanilang pelikulang "Nag-aapoy na Damdamin". True to this title, nagliyab silang dalawa at tunay ngang nag-apoy ang kanilang damdamin. May plano pa nga sila ni Bobby na magpakasal sa Europe. Talagang Ate Vi was ready to give up her life as an actress and would settle with the actor abroad. And with herb relationship with Bobby, nag-surface ang bagong Vilma Santos.Ate Vi realized that she cann't sacrifice everything for love. Nagising siya sa katotohanan at nagkamali kung kaya nagdesisyon siyang kumalas sa bohemyong aktor..." - Willie Fernandez (READ MORE)
"...But it was with handsome actor Romeo Vasquez that Vilma Santos had her most controversial relationship. Romeo was the former husband of Philippine movie queen Amalia Fuentes. He and Vilma first paired in the movie Nag-aapoy na Damdamin (1976). It was also during this year that they became a couple. They made several movies together, all of which did well at the box-office. Vi and Bobby (Romeo's nickname) became the most-talked about reel and real love team at the time. The relationship was always on the pages of showbiz magazines and tabloid entertainment section pages because of the intrigues and the personalities who got involved with them..." - Rommel R. Llanes (READ MORE)
Basic Information: Directed: Emmanuel H. Borlaza; Story: Pierre Salas; Screenplay: Manolo Hombrebueno; Cast: Edgar Mortiz, Vilma Santos, Romy Mallari, Baby DeJesus, Scarlet, Yazmin Romero, Ernie Vega, Imelda Alonzo, Lily Valdez; Original Music: Danny Subido
Plot Description: No Available Data
Film Achievement: "...Borlaza gave Vilma Santos her very first best actress, winning the 1972 FAMAS for via Dama De Noche. He is also credited in narrowing the popularity gap between her and the musical era’s darling of the 70s, Nora Aunor. Total Number of Films in our list of VSR’s Top 50 films = 4 (#10 Lipad Darna Lipad 1973, #32 Dyesebel at ang Mahiwagang Kabibe 1973, #48 Darna and the Giants 1973, #49 Dama De Noche 1972)..." - RV (READ MORE)
Film Reviews: "...By late 1969, movie producers had been tapping a Vilma Santos-Edgar Mortiz love team. Edgar was a Tawag ng Tanghalan winner. They started to be together in the movies, My Darling Eddie (1969) and The Jukebox King (1969)...In 1970, the love team of Vilma Santos and Edgar "Bobot" Mortiz was officially launched in the movie Young Love, together with the another popular love team during that time, Nora Aunor and Tirso Cruz III. The Vi and Bot love team went on to do 14 more movies in 1970—The Young Idols, Songs and Lovers, Sweethearts, Sixteen, Love Letters, Love is for the Two of Us, Mga Batang Bangketa, My Pledge of Love, Renee Rose, Baby Vi, Because You Are Mine, Edgar Loves Vilma, From the Bottom of My Heart, and I Love You Honey. All did well at the box-office..." - Rommel R. Llanes (READ MORE)
"...Noong Dekada ’70, ang mga young stars ay kailangang marunong kumanta dahil yun ang uso kaya naman nagtayo ng sariling recording company ang nasirang manager ni Vi na si William Leary dahil ayaw niyang pahuhuli sa uso ang kanyang alaga. Ilan sa mga naging recording artists ng WILEARS RECORDS bukod kay Vi ay sina Edgar Mortiz, Ed Finlan, Sahlee Quizon, Hilda Koronel at Esperanza Fabon. According to Vi, kapag nagrerecord siya ng kanta ay nakatalikod siya sa dingding ng recording company at si Bobot ang umaalalay sa kanya. Ang SIXTEEN, na sinulat ni Danny Subido ang unang recording na ginawa ni Vi at ito ay flipsided by It’s So Wonderful To Be In Love. Ang SIXTEEN ay agad naging gold record at dahil dito ay gumawa ng pelikula ang Tagalog Ilang Ilang Productions, ang home studio ni Vi at ito ay ginawa nilang pamagat katambal si Edgar Mortiz. Hindi nyo naitatanong, muntik nang manalo si Vi bilang most promising singer sa AWIT AWARDS noong early ’70s..." - Alfons. Valencia (READ MORE)
"...The loveteam of Edgar Mortiz and Vilma Santos endured a stiff competition from teeny bopper love team of Nora Aunor and Tirso Cruz III and came up with equal success with string of hit films during the musical era of the 70s. Together they did forgettable but commercial hits and also some hints of the years to come to Vilma Santos’ long career. The most notable one: Dama De Noche. Total Number of films with Vilma Santos – 25 (Young Love, Teenage Jamboree, Songs and Lovers, Renee Rose, My Pledge of Love, Mga Batang Bangketa, Love Is for the Two of Us, I Love You Honey, From the Bottom of My Heart, Baby Vi, Love Letters, The Wonderful World of Music, The Sensations, The Young Idols, Sweethearts, Sixteen, Leron-Leron Sinta, Edgar Love Vilma, Don’t Ever Say Goodbye, Dama de Noche, Anak ng Aswang, Because You Are Mine, Kampanerang Kuba, Kasalanan Kaya, Karugtong ang Kahapon..." - RV (READ MORE)
"...Si Edgar Mortiz ang unang nakapareha ni Vilma Santos as a teen star. Nakilala sila as the "Subok na Matibay, Subok na Matatag" loveteam called Vi and Bot at naging magka-steady sila sa tunay na buhay. Marami silang ginawang pelikula as teen stars in the early 70s..." - Showbiz Portal (READ MORE)
"...His films lack the arthouse style and social relevance that critics loves most in a Brocka or Bernal films but who cares about the critics when the paying public loves them. And the producers demand his service, from Doc Perez of Sampaguita Pictures, Atty. Esperidion Laxa of Tagalog Ilang Ilang Productions and later on, Vic Del Rosario of Viva Films and Lily Monteverde of Regal Films. Clearly, his films exists with one purpose, to entertain the masses not to depress or remind them with the country’s sad fate of economy or the below poverty line lives of many. The success of the Vilma-Borlaza films gave Vilma Santos versatility and preparation to a more serious acting career. It also narrowed the popularity gap between her and the musical era’s darling of the 70s, Nora Aunor. These are perhaps, the most significant contributions of Emmanuel Borlaza to Vilma’s career. Vilma who was considered only second to Nora couldn’t matched her singing talent and so, Borlaza countered this lack of singing with films that showcased Vilma’s acting versatility..." - RV (READ MORE)
Basic Information: Direction: Emmanuel H. Borlaza; Story, screenplay: Tom Adrales, Allan Jayme Rabaya; Cast: Vilma Santos, Bembol Roco, Mat Ranillo III, Allan Valenzuela, Freddie Yance, Liza Lorena, Anita Linda, Lorli Villanueva, Ann Villegas, Angie magbanua, Rosemarie De Vera, Lito Lapid, Leo Pilapil; Original Music: Tito Sotto; Cinematography: Totoy Jacinto; Production Design: George Vail Kabristante
Plot Description: Suzette (Vilma Santos) thinks she's liberated woman who doesn't believe in marriage matrimony while his boyfriend, Norman keeps on proposing the sacredness of marriage vow. These are two conflicting beliefs of two students undoubtedly in love with each other. Their relationship was put to a test when Suzette met Manny (Matt) who happens to be in accordance with what she thinks she believes in. A campus experiment for Suzette and she was the first to be affected by it. Will she swallow that so called principle and be merry with the one she truly loves? - Kabayan Central (READ MORE)
A cinematic view of campus life dealing with sexual permissiveness among teeners, dormitory life, fraternity affiliations and initiations, teenage crushes, among others. Vilma Santos is a coed torn between the man she really loves (Bemvol Roco) and the man she surrenders her virginity to (Mat Ranillo III), Liza Lorena is the teacher tormented by a student who has a terrible crush on her (Allan Valenzuela). An Emmanuel Borlaza film. - Century Video Inc.
Film Achievement: No Available Data
Film Review: "...Fate would have it that in the space of three days I watched Vilma Santos as June (in Kampus, 1978), the firm believer of ‘free love’ caught between the attentions of two men, and Angel Locsin as the fierce Ces, setting the terms of an affair with a man she decidedly resists. Four decades apart, these representations of strong, independent women caught within obstacles premised on love remain appealing to viewers. The conflicts faced by June and Ces are hinged on unconventional ideas about the conduct of heterosexual relationships. These women characters unequivocally distance themselves from the bind of traditional relationships and the expectations that burden it; June with sophisticated musing and Ces with stoic distance...While Vilma Santos’s June ponders her preference for ‘free love’ intelligently, weighs her dilemmas with pensive introspection, faces her hurdles with sarcasm and humour; Angel Locsin’s Ces is denied this chance, wallows instead in denial which became infuriatingly tiresome. This is not to blame Locsin’s abilities as an actor (adept at she is in portraying conflicted characters, torn in situations not of their making) but on the film’s failure to fully flesh out its characters. The film failed to grasp a deeper vein of feeling..." - Tessa Maria Guazon (READ MORE)
"...But the biggest fear of Borlaza was when Agrix Films' Kampus? was booked one week after the opening of VS Films' Pagputi ng Uwak, Pagitim ng Tagak. The Celso Ad. Castillo film was an artistic triumph, and Borlza felt following it up with another Vilma-Bembol starrer would put them at a great disadvantage. The Vilma-Bembol fans might still be raving over Pagputi... instead of discussing Kamput? As it turned out, people let Pagputi...pass and waited for Kampus? judging from the comparative gate receiots of the two movies...Sabi ni Mama Santos, ako daw ang "pumatay" sa kanilang Pagputi...eto ang parusa ko, bigyan ko daw sila ng isang Kampus? so I'm making for them Coed. You see, when I was working on Kampus? at UP Los Banos, I realized their problems and lifestyle can be a source of even 10 movie materials. At kapag ang student force pala ang nag-patronize sa Tagalog movie, ang laki ng audience!" Borlaza revealed...I'm very meticulous about is: the audience were to identify itself with my main character, will it be happy with the poetic justice I execute? Will they find it correct and realistic? In Kampus? for instance, students who were pleased with the movie told me they liked the ending very much. They agreed with it. Vilma was bedded first by Mat Ranillo III, but ended up with Bembol who was the right choice after all. They say in real life, the man you walk down the aisle with is not necessarily the first man you had sex with. Also they say the dialouges were very in - like the way actual students would speak them. Siguro, once they sit in the theater, they are not bothered by such questions as 'Why" or "how come?" Is the star value the main thing in selling movies? "In the case of Kampus?, yes, because Vilma Santos was my main star and she's the current box office queen ..." - Manny B. Fernandez, Expressweek, November 9, 1978 (READ MORE)
Free Love - "...Fate would have it that in the space of three days I watched Vilma Santos as June (in Kampus, 1978), the firm believer of ‘free love’ caught between the attentions of two men, and Angel Locsin as the fierce Ces, setting the terms of an affair with a man she decidedly resists. Four decades apart, these representations of strong, independent women caught within obstacles premised on love remain appealing to viewers. The conflicts faced by June and Ces are hinged on unconventional ideas about the conduct of heterosexual relationships. These women characters unequivocally distance themselves from the bind of traditional relationships and the expectations that burden it; June with sophisticated musing and Ces with stoic distance...While Vilma Santos’s June ponders her preference for ‘free love’ intelligently, weighs her dilemmas with pensive introspection, faces her hurdles with sarcasm and humour; Angel Locsin’s Ces is denied this chance, wallows instead in denial which became infuriatingly tiresome. This is not to blame Locsin’s abilities as an actor (adept at she is in portraying conflicted characters, torn in situations not of their making) but on the film’s failure to fully flesh out its characters. The film failed to grasp a deeper vein of feeling. Thus, when we find Ces and Macky in strained conversations grappling with their predicaments as individuals and lovers, why do they seem unconvincing, their loneliness and dilemmas so affected?" - Deborah Jermyn, 2011, posted by YCC (READ MORE)
Basic Information: Directed, screenplay: Emmanuel H. Borlaza; Story: Anthony Taylor; Cast: Vilma Santos, Rudy Fernandez, Trixia Gomez, Gloria Romero, Anthony Rodriguez, Romeo Rivera, Rocco Montalban; Executive producer: Cherry Ong; Original Music: Tito Sotto; Cinematography: Oscar Querijero; Film Editing: Jose Tarnate; Art Direction: Gerry Guanlao; Sound: Gaudencio Barredo; Theme song: "Aking Bituin" Sung by Allan Castro; Composed by Tito Sotto; Released thru Vicor Music Corporation; Film Poster: Video 48
Plot Description: Wrongfully convicted Arturo (Rudy Fernandez) escaped from prison and went back to his hometown for revenge but was further framed by the same gang who initially concocted a crime that sent him to jail. Aurora (Vilma Santos), Arturo's girlfriend tried to convince him to surrender but it was too late, he was killed.
Film Achievement: One of the top box office hit of the 1976 Metro Manila Film Festival (The first film of Vilma and Rudy in leading roles and their adult first screen kiss of Vilma Santos).
Film Reviews: "...Her metamorphosis began in late 1976 when she agreed to be kissed by Rudy Fernandez in Makahiya at Talahib. It was a “feeler” of sort and when the public clacked its tongue in obvious approval, Vilma shelved her lollipops-and-roses image and proved that she, too, could be a woman – a wise move indeed because at that time her career was on a downswing and her movies were not making money. Then she did Mga Rosas sa Putikan for her own VS Films where she played a country girl forced into prostitution in the big city. The movie did fairly well at the tills. Good sign. And came her romance with Romeo Vasquez, boosting both their stocks at the box office (thier two starrers, Nag-aapoy na Damdamin and Pulot-Gata where Vilma did her own wet style, were big moneymakers). The tandem, although it did help Vilma, actually helped Vasquez more in re-establishing himself at the box office (without Vilma, his movies with other leading ladies hardly create any ripple). In Susan Kelly, Edad 20, Vilma played a notorious-woman role that required her to wear skimpy bikini briefs in some scenes, following it up with two giant sizzlers (Dalawang Pugad, Isang Ibon and Masarap, Masakit ang Umibig) that catapulted her as the newest Bold Queen. Then came Burlesk Queen..." - Ricardo F. Lo, Expressweek Magazine January 19, 1978 (READ MORE)
"...Why Borlaza? Because Emmanuel H. Borlaza is a formula director, a tried and tested moneymaker for local film companies and an example of a commercial success who also hungers for artistic fullfillment. It was Maning Borlaza who directed the box-office hit revival of Darna and Dyesebel, those heroines of less demanding times, and followed of less demanding times, and followed them with more Vilma Santos-Edgar Mortiz starrers...Whether the lure was really Borlaza and not Vilma (as Darna) or Alma (as Eva), one would still not find out in Makahiya at Talahib, the Goodwill production that Maning is directing as a filmfest bet. Vilma is starring, you see, opposit Rudy Fernandez who portrays the man on the run. Maning, however, has been quoted to have said that "My next 20 years are modestly provided for, I don't think I will live more than that. Henceforth, I will split my movie work to what I want to do and what the public likes. He wants, it seems, to recover his old self, the Borlaza who filmed Pyscho-Maniac, a suspense thriller which cast Divina Valencia, Dindo Fernando and Ray Marcos and won him the Academy's best screenplay award in '68, who packed so much good action in Mindanao, the movie that bagged four statuettes in the Manila Filmfest of the same year, and who directed Vilma Santos's way to the FAMAS best actress award for the performance in Dama de Noche. And yet, he is not that keen to do films that might suffer the fate of O'Hara's Mortal or Bernal's Nunal sa Tubig. "Their box-office results are not encouraging," says Maning. He admits he still goes a little commercial. That is why there is a love scene between Vilma and Rudy in Makahiya that Maning expects people might be talking about, more than the torrid shots of Rudy and Trixia Gomez. The 41-year old director also wrote the story and screenply of Makahiya...Nowadays, he even makes two pictures at a time. "I just finished Makahiya and Teatro Manila. It's cheaper that way. You don't waste any calendar day. No stars available for Makahiya, we would work on Teatro..." - Chelo R. Banal, Philippine Panorama Magazine, 26 December 1976 (READ MORE)
