1978 MMFF - A tear fell when Nora Aunor was declared Best Actress for her role as a maide (a tailor-made role, as her detractors describe with glee) in Ian Films' Atsay and it was a tear of joy. Atsay has been called Nora's "last card" and that if it wouldn't make it at the Metro Manila Filmfest, Nora would be down and out and she might as well say goodbye to the movies. But Nora Aunor has a certain magic that is hard to discern until now. Just when everybody is casting stones at her and predicting doom fo her career and turning against her because her movies hadn't been making as well as expected, the Little Brown Girl from Iriga would bounce right back to the top, not without vengeance, and reclaim her throne. In last week's Metro Manila Filmfest Awards at the Cultural Center, Nora fought a "decisive" battle for supremacy against her nearest rival, Vilma Santos, who was said to be the other contender for the Best Performer trophy for her role as Rubia Servios (although others claim that it was really Phillip Salvador who was Nora's biggest competition for the plum statuette, Phillip's performance in Rubia Servios being his best and his most credible so far). Vilma's last year's Best Actress for her role in the controversy-ridden film Burlesk Queen (also produced by this year's producer of Best Film Atsay, Ian Films), took her defeat not without a wan smile of disappointment. In this spread, you can see the two faces of showbiz: that of the Victor and that of the Vanquished. The awards night was a veritable of superstars. 1978 was Vilma's year. Will 1979 be Nora's? - Expressweek, January 18, 1979, Photograph by Eddie Alfonso (READ MORE)
Atsay - "...This episodic nature of the film robs it of much of its power. Too slack in pacing and too mannered at times, the film runs a long two-and-a-half hours and can easily stand some re-editing. Such scenes showing what happened to Nora’s friends in Lilian Laing’s cabaret may be pruned without actually damaging the central story. This would also add greater impact to Nora’s reunion with Amy Austria, also a “provinciana” who is transformed into a brazen ago-go dancer with half-a-dozen sugar daddies...Edgardo Reyes’ script succeeds though in showing the various experiences typically encountered by household helps: unruly children who torture helpless servants, wives who treat their pets more humanely than their overworked slaves, husbands who take advantage of their loneliness and are known as atsay-killers. People who have been unkind and inconsiderate to their servants at one time or another may feel uneasy, if not totally guilty, as they watch the film. Garcia assembled a uniformly first-rate cast from Armida and Angie to the nameless housemaid who befriends Nora. Even Ronald Corveau is less irksome here than in his weekly TV show. Nora Aunor’s performance bears the distinct marks of style and self, welding character and personality. As Nelia, the atsay, she delivers a muted performance that successfully treads the thin, delicate line separating genuine sentiment and mawkishness..." - Mario E. Bautista, The Philippines Daily Express, 1978 (READ MORE)
Rubia Servios - "...Undoubtedly, the two best entries in the 1978 Metro Manila Film Festival are Atsay and Rubia Servios...Rubia Servios, on the other hand, does not dilute the message. Willy (Phillip Salvador), the son of a powerful and wealthy figure, is portrayed as totally evil, devoid of any redeeming quality. To screenwriter Mario O’Hara and director Lino Brocka, the province is the same as the city. Rubia Servios (Vilma Santos) is raped both in the city and in the country. Rubia kills Willy in the country. Violence unites all places. It is the “unity” of conception, scripting, design, and direction, in fact, that Rubia Servios is superior to Atsay. Lino Brocka does not waste shots in his attempt to create a Filipino classical tragedy. He subordinates everything to the building up of one emotion in the viewer, that of hatred of Willy. So despicable does Willy become at the end that, when he is murdered by Rubia, no viewer can say that Rubia is at fault. And yet, morally speaking, no one is allowed to take the law into his own hands. The law, in fact, put Willy in prison for the first rape. There is no reason to think that the law will not put Willy to death for the second rape. By conditioning the reader to condone Rubia’s revenge, Brocka succeeds in questioning one of our deeply rooted moral beliefs. The unity that characterizes Rubia Servios contrasts sharply with the tendency of Eddie Garcia in Atsay to exploit Vitug’s versatility even at the expense of tightness. There are shots in Atsay, for example, which could easily be cut without hurting the film’s integrity. Even the train sequence, one of the best sequences in Atsay, is far too long. Rubia Servios is Lino Brocka’s film; Atsay is Romeo Vitug’s. Nora does an excellent acting job; but so does Vilma Santos, and Rubia is a much more demanding and difficult role..." - Isagani Cruz, TV Times, 1979 (READ MORE)
The Queen of Film Festival - Nora Aunor has become a regular staple at the film fest circuit, locally or abroad. Since her first local entry "Bato Bato Sa Langit" in 1975, (not including all her international recognition) she amassed eight acting local trophies, the most recent was for last year's "Thy Womb," directed by Cannes Film Fest best director, Brilliante Mendoza. Some hightlights would be, 1982's Himala, now restored into its glory and was exhibited in Venice Film Festival; 1978's "Atsay" where she clobbered her closest rival Vi in a Lino Brocka opus "Rubia Servios"; 1979's battle of dramatic stars not only Nora competed against her co-star, veteran drama queen, Lolita Rodriguez in Lino Brocka's "Ina Ka Ng Anak Mo" but also Aunor successfully defeat the tandem of Vi and Charito Solis ("Modelong Tanso"); and 1980's "Bona," another Lino Brocka drama that also featured Phillip Salvador, was screened at the 1981 Cannes International Filmfest. Aunor is now the winningest local actress in Metro Manila Film Fest history, since her first win in 1978, a feat that would be hard to break. The only blemish to this historical feat was the inconsistent box office results of most of her festival films. Meanwhile, Aunor's rival Vilma Santos' record in terms of festival entries was quite remarkable as well. She received several acting awards from the international circuit where her films competed and screened. But perhaps her success can be more aptly measured by its commercial results (revenue) instead of awards. Some of the highlights: 1977's Celso Ad Castillo's "Burlesk Queen" mixed of art and commercial swept all the acting awards and top the revenue gross; 1981's commercial success of Danny Zialcita's "Karma," a film about reincanation that also earned Vi her second best actress; and 2002's Martial Law film, "Dekada '70" where Vi lost to supposed to be in a supporting role, Ara Mina for the very first of the franchise "Mano Po" series. - RV
"Gerald, tulungan mo ako, mahal ko siya...hindi ako mabubuhay kung mawawala siya..." - Lucinda
Basic Information: Directed: Lino Brocka; Story, screenplay: Ricardo Lee; Cast: Vilma Santos, Snooky Serna, Gabby Concepcion, Eric Quizon, Dennis Roldan, Perla Bautista, Ruben Rustia, Maritoni Fernandez, Gina Perez, Pocholo Montes, Archie Adamos; Executive producer: Lily Y. Monteverde; Original Music: Jaime Fabregas; Cinematography: Pedro Manding Jr.; Film Editing: George Jarlego; Production Design: Benjie De Guzman; Sound: Joe Climaco, Ramon Reyes; Film poster: Video48
Plot Description: Lucinda (Vilma Santos), a hard-nosed scheming power hungry woman is married to a young politico, Gerard (Eric Quizon). Theyère the ideal and perfect partners in life and in crime. Their lives take a new shape with the re-entry of Renato (Gabby Concepcion), Lucindaès first love and now married to cousin Teresa (Snooky Serna). What follows is another colorful drama - swapping partners to satisfy their burning passion. But the moment of truth arrives - Lucinda and Gerard outwits each other to assure power and reach the top to the extend of plotting their lover's murder. - Regal Films (DVD box description)
Vilma Santos plays a devious and power-mad wife of an equally contemptuous mayor (Eric Quizon). While riding high on the crest of power, Vilma tries to ruin the lives of a married couple, Snooky Serna and Gabby Concepcion. Snooky is Vilma’s distant cousin while Gabby is her former flame. While making it appear that she’s sincere in helping bail Gabby out of his financial troubles, she also tries to lure her ex-boyfriend back into her arms. At first, she is successful at snaring back Gabby--- but only for one brief sexual encounter. The more serious complications set in only when Vilma’s resident lover, Dennis Roldan, attempts to blackmail her about their love affair. Trying to get herself out of that fix, she sets a ploy that would permanently eliminate Dennis. As partof her plan, she sends Dennis to molest Snooky hoping that the poor woman would defend herself by shooting Dennis with the gun Vilma gave her earlier. However, this does not work out exactly as planned since it is Gabby who gets to kill Dennis. Instead of making Gabby turn himself in, Vilma encourages him to hide from the police in the hope that he agree to run off with her to some faraway place. But eventually Vilma realizes that he cares not for her but for Snooky. To show her repentance, she arranges for his peaceful surrender to the police. An unfortunate twist takes place when Gabby is shot dead by an assassin hired by Eric. He wants to punish his wife for her indiscretions. Vilma gets even with him by having him convicted. - Lino Brocka: The Artist and His Times, Posted by: Video48 (READ MORE)
“Hahamakin Lahat” tells the story of two completely different couples whose nostalgia for their past weaves for them in the present a web of deceit and conspiracy. A poor and struggling couple, Renato’s and Teresa’s marriage and love are challenged by a series of unfortunate events – from miscarriages, eviction from their apartment, and the failure of their business. Lucinda and Gerald, on the other, gave up everything, including their love and respect for one other, just to wield the power and riches they now share. Lucinda (Vilma Santos) decides to help her cousin Teresa (Snooky Serna) and her ex-boyfriend Renato (Gabby Concepcion) get up on their feet. However, her intentions are not noble. Until now, she has not learned to love anyone but Renato whom she left in order to pursue her personal ambitions. Gerald (Eric Quizon), on the other hand, falls for the sweet and naive Teresa. Separately, Gerald and Lucinda abuse Renato’s and Teresa’s vulnerabilities and find means of conducting extramarital affairs with them. While Gerald’s affair with Teresa is momentary, Lucinda becomes obsessed with Renato and plots a scheming and vicious plan to get him back. Unfortunately, Renato’s love for Teresa is steadfast. Realizing this, Lucinda searches for the kindness in her and does everything she can to bring Renato’s life back. For a woman who would do anything just to get her way, will she succeed this time? - Cine Filipino
Film Achievement: 1990 Star Awards for Movies Best Supporting Actress – Snooky Serna; 1990 FAMAS Nomination Best Supporting Actress – Snooky Serna; 1990 FAP Nomination Best Actress – Vilma Santos; 1990 Gawad Urian Nomination Best Best Actor – Gabby Concepcion
Film Reviews: "...Can the specificities of a film genre dictate the nature of roles available to actors according to their sexual differentiation? In the instance of a specific local genre, melodrama, it appears that not only the nature of the roles but the advantage of the performer is predetermined in a manner opposed to the original foreign norm. Two of the better releases in 1990 by the country’s top competitors for studio supremacy prove this point indirectly, by applying for us one outstanding performance each – both by female actors essaying distinctively female roles...Regal Films’ Hahamakin Lahat has the reliable Vilma Santos in a successful (in popular terms) modification of her other-woman persona, placing her work here on the order of Tagos ng Dugo and Pahiram ng Isang Umaga. Both films can be roughly classified as melodramas of the Filipino variety, specifically by their emphasis on moral issues, complicated plots, and strong female roles – characteristics that serve the thesis that local melodramas are, for want of a better term, prejudiced in favor of women, complaints from feminists notwithstanding...while that of Vilma Santos resolves not to fall emotionally for her flavor of the moment; in the end, when Mr. Seemingly Right happens along, all their notions of self-sufficiency get discarded like so much excess baggage, as off they go after the walking incarnation of the True Meaning of Life...
Compared with the director-writer teamup’s previous effort, Gumapang Ka sa Lusak, Hahamakin manages to go deeper into the psyche of the female oppressor (a secondary character in the earlier film, which concentrated on the victim instead). On the other hand, several crucial establishing details in the latter work had to be relegated to lines of exchanges, and a demonstration of how social cancer spreads through the body politic is never pulled off, precisely because the filmmakers had to confine themselves to the major characters. Nevertheless both recent films, plus Gumapang Ka, represent our state-of-the-craft when it comes to melodrama moviemaking, and I can think of no higher compliment than posing a challenge for the future: since every conceivable female lead role has been explored, with varying degrees of success, in local melodrama, and since action films have long allowed for strong women characters even in lead capacity, how about refashioning the former genre to suit nonfemale leads? The clash between gender and genre might yet result in certain long-overdue insights into love and anarchy as only a truly confused culture can make it...' - Joel David, National Midweek, 17 October 1990 (READ MORE)
Brocka did Hahamakin Lahat for Regal Films. This would be his third team-up with Vilma Santos. The role called for Vilma to be dark, daring, and innovative—something that totally deviated from characters usually portrayed by the sweet-faced actress . It showed a heroine entering into a marriage of convenience with a ruthless, scheming mayor—a character Brocka created to expose the hypocrisy and corruption of society. - Mario Hernando
"...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)
"...In his book, Don Jose & The Early Philippine Cinema, Joe Quirino credits jose Nepomuceno pioneer in producing movies that not only entertained but also informed. Wrote Quirino: "His screen adaptation of Noli Me Tangere, Jose Rizal's novel exposing the social cancer that festered during the Spanish occupation of the Philippines, captured the sardonic and satirical contents of the imflammatory noel." Satire was a popular device through which producer aired their views on social issues. In 1929, a satirical movie called Patria Amore caught the ire of the local Spanish community who went to court to stop its exhibition. A counterpart incident took place in 1965 when the Liberal Party tried to stop the showing of Iginuhit ng Tadhana, the propagandistic movie of the life of Ferdinand Marcos. The same motion picture propelled Marcos to the presidency. Movies of social significance often face this dillemma on their way to the big screen. Because of their strong public statement, they invite uproar from concerned sectors, an experience that became almost a daily ordeal for the late director, Lino Brocka. In recent years and until his death in 1991, Brocka had been the prime mover of Tagalog movies of social significance. Some of his works that easily fall under this category are, in no particular orderL Orapronobis (about vigilantes and rebels in the countryside), Bayan Ko (on labor unrest), Gumapang Ka sa Lusak and Hahamakin Lahat (on political corruption), Maynila: Sa Mga Kuko ng Liwanag (on moral degradation and exploitation)..." - Nestor Cuartero, Panorama, dated June 13, 1993 (READ MORE)
Snooky Also Shines - "...Do you know who has improved a lot in her acting especially in her last movie? It's Snooky. In "Hahamakin Lahat," she was almost at par with the star for all seasons, Vilma S. kung acting ang paguusapan, says an ardent admirer. Nag-underacting siya but there were moments na akala mo siya ang bida sa pelikula. I remember a hysterical Snooky in highlights scenes of her movies. I think it's only Lino Brocka who directed her in her first movie, "Wanted, Perfect Mother," when she was only four or five years old, who can control her acting as he did in "Hahamakin." Snooky has gained more character and a certain maturity in her acting. I'm sure she'll garner several nominations for this movie come awards time next year..." - Nena z. Villanueva, Manila Standard, 05 Sep 1990 p16 (READ MORE)
"Nahihibang ako sa pagnanasa sa iyo, ilang libong beses na kitang hinuhubaran sa aking isipan, pinagsasamantalahan sa aking pangarap!...Ito'y isang pagsubok sa ating pagmamahalan, kahit ano pa ang nangyari sa iyo, mahal kita, kailangan kita!..." - Willie Trizon
Basic Information: Direction: Lino Brocka; Screenplay: Mario O'Hara; Cast: Vilma Santos, Mat Ranillo III, Phillip Salvador, Estrella Kuenzler, Esther Chaves, Carpi Asturias, Jess Ramos, Leah de Guzman, Mark Verzosa; Cinematography: Conrado Baltazar; Editing: Jose H. Tarnate; Music: Freddie Aguilar; Production Company: Sampaguita Pictures, Inc.; Release Date: December 25, 1978; "Rubia Servios (Case No. 63572)" (1978); Office Entry to The 4th (1978) Metro Manila Film Festival Entry; Based on an "Unforgettable Legal Story" by Aida Sevilla Mendoza; Theme Song: "Pag-subok" composed and sang by Freddie Aguilar
Plot Description: Sa umpisa ng pelikula, makikitang nag-aaral pa lamang si Rubia (Vilma Santos), Norman Ignacio (Mat Ranillo III) at Willie Trizon (Philip Salvador). Masugid na manliligaw ni Rubia si Willie kahit na alam na nito na may nobyo na siya’t pakakasal na sila sa pagkatapos ng taon. Nang malaman ni Willie na pakakasal na si Rubia ay naging desperado ito’t plinano na kidnapin si Rubia. Isang araw habang naghihintay ito ng taxi sa kalye ay hinablot siya nga pat na lalaki na tauhan ni Willie. Dinalo siya ni Willie sa isang cottage sa Cavite. Nagtangka si Rubia na tumakas at tumakbo sa labas. Duon siya ginahasa ni Willie sa tabing dagat. Matapos gahasain ay nagtangkang magpakalunod si Rubia ngunit pinigil siya ni Willie at binalik sa cottage. Pinag-isipan ni Rubia kung paano niya mapipilit si Willie na pawalan siya. Tinanong niya si Willie kung anong gusto nitong mangyari. Sinabi nitong gusto niyang pakasalan siya. Pumayag si Rubia na magpakasal ngunit kailangan nitong ipaalam sa kanyang mga magulang ang nangyari sa kanya. Natagpuan naman ng pamilya ni Rubia siya sa ospital at duon nito nagpasya na maghabla. Matapos ang hearing sa korte sa kabila ng pagmamakaawa ng pamilya ni Willie ay nasentensiyahan siya ng anim na taon sa bilanguan at magbayad ng 70,000 pesos. Samantala nanatiling nakakulong sa kuwarto si Rubia matapos ang kaso. Pinilit ni Norman na kausapin ang katipan at dito nalaman niya na ang dahilan ng pagkukulong sa kuwarto ni Rubia’y buntis ito. Pinasya ni Norman na bigyan ng pangalan ang pinabuntis ni Rubia at nagpakasal ang dalawa.
Nanatiling tahimik ang buhay ng dalawa’t nagkaroon pa sila ng isa pang anak. Nang 3 years old na ang batang naging anak niya kay Willie’y nag-umpisang mangulo na naman ito. Si Willie’y nakalabas ng kulungan pagkatapos ng tatlong taon lamang. Nung una’y pinagkaila ni Rubia sa asawa ang mga tawag ni Willie. Ngunit napuna na rin ito ni Norman nang mapuna niyang madalas ang asawa na umuuwi ng maaga sa bahay at nag-umpisang uminom ng valium at naging magugulatin ito. Pinagtapat na rin ni Rubia sa asawa ang panggugulo ni Willie at pumayag ito na payagan si Rubia na makipagkita kay Willie. Nang malaman ni Rubia kung saan sila magkikita’y si Norman ang pumunta sa usapan. Ang resulta’y nabugbog ito ng mga tauhan ni Willie. Dahil rito’y naging maliwanag na hindi sila titigilan ni Willie lalo pa’t minsa’y takutin si Rubia nang wala si Norman sa bahay at pumunta si Willie’t pinatay ang aso nila. Wala naman magawa ang mga polis dahil wala silang hard evidence na si Willie nga’y nanggugulo sa buhay nila. Pinasya ni Norman at Rubia na umalis na nang bansa at bumalik sa Canada kung saan sila ilang taon ring nag-aral bago naging doctor. Pinasya rin nila na ibigay sa kanyang mga magulang ang dalawang bata para sa kanilang safety.
Sa kasamaang palad, kinidnap ni Willie ang anak nila ni Rubia na si Vivian. Nagpunta sila sa mga pulis ngunit wala pa ring magawa ang mga ito dahil wala silang ebidensiya. Kinontak ni Willie si Vivian at gusto nitong makipagkita siya rito. Pumayag si Norman ngunit sumonod rin ito sa usapan. Kasama ng kanyang mga alagad iniwanan ni Willie ang magasawa at binantaan na sa susunod magsisisi sila sa kanilang ginawa dahil nga ang usapan ay si Rubia lamang ang gusto niyang makita. Tinakot pa ni Willie si Rubia’t kumuha ito ng bankay na bata at isinuot ang damit ng anak ni Rubia. Nalathala ito sa mga diyaryo at pinuntahan ni Rubia ang bankay laking pasasalamat nito’t hindi ang anak ang bangkay. Dahil rito’y nagpasya na si Rubia na kitain si Willie na hindi alam ni Norman. Kinita nga ni Rubia si Willie ngunit nasundan rin pala si Rubia ni Norman. Sa tulong ng mga alagad ni Willie ay itinali ng mga ito sa puno si Norman at muling ginahasa nito si Rubia sa harap ni Norman. Nagsisigaw ito ngunit walang siyang nagawa. Kahit ayaw ni Rubia ay napapayag rin siya dahil papatayin ni Willie ang kanyang asawa. Pagkatapos nito’y binugbog ng mga tauhan ni Willie si Norman at sinama si Rubia papunta sa kanilang anak. Sa dagat papunta sa isla kung saan naruon si Vivian ay kinausap ni Willie ang dino-dios niyang si Rubia. Pinangako nito na matututunan rin niyang mahalin siya. Hindi napansin ni Willie na nakahawak si Rubia sa sagwan ng bangka at ilang ulit nitong pinalo sa ulo ang nabiglang si Willie habang sinasabi ang salitang “hayup!” Hinanap nito ang baril at pinagbabaril rin niya ang nahulog sa dagat na si Willie. Narating ni Rubia ang isla at duon nito nakita ang kanyang anak na buhay na buhay at tinatawag ang kanyang pangalan. The End. - RV
Medical intern Rubia Servios (Vilma Santos) is engaged to Dr. Norman Ignacio (Mat Ranillo III), but persistent suitor Willy Trison (Phillip Salvador) refuses to give up. On the day of the death of Norman’s father, she is abducted by Willy and brought to an island. She is repeatedly raped and offered marriage by Willy. She turns him down and warns him that she will bring matters to the police. However, he is confident that she will not press a case against him as she will not want the stigma of a rape victim. Rubia is released and she brings him to court. Willy is sentenced to six to ten years in prison. Rubia discovers she is pregnant and the steadfast Dr. Norman Ignacio proposes marriage. She gives birth to Willy’s daughter, Vivian, and they leave for Canada. Rubia wants a child by Norman and they have a son. Years later, they return to Manila. There are mysterious calls on the telephone. It is Willy and he wants his daughter. Rubia and Norman hide Vivian and plan to leave for the American continent. However, Willy is able to kidnap the child with the help of an ice cream vendor. She is brought to the island and she begins to look to him as her real father. But she also wants her mother. Willy calls Rubia and tells her to join them in the island. Rubia refuses. There is a confrontation between Norman and Willy. Norman is beaten up. Still Rubia is adamant. She becomes terrified when Willy sets up a headless child in a remote area, the discovery of which is sensationalized in the tabloids. Finally Rubia agrees to join him. She takes the motorized banca with Willy as the pilot. In the middle of the sea, she takes a paddle and hits Willy. Willy falls into the water. Rubia takes her gun and shoots him. The banca reaches the island. Rubia is happy to see Vivian alive. As an epilogue, Rubia and Norman leave for the States where they are presently residing. - Lino Brocka: The Artist and His Times, reposted Simon Santos, Video48, 29 December 2018 (READ MORE)
Film Achievement: FAMAS: Best Picture Nomination; Gawad Urian: Best Cinematography Nomination – Conrado Baltazar, Best Editing Nomination – Jose Tarnate; Metro Manila Film Festival Best Performer Nomination – Vilma Santos, Best Editing – Jose Tarnate, Best Screenplay – Mario O’Hara; Brocka gave Vilma one of the most controversial film after Burlesk Queen, her milestone role as a rape victim in 1978′s Rubia Servios. The film failed to secure Vilma the local festival’s best performer award but broke record in terms of revenue.
Film Reviews: Mula sa screenplay ni Mario O”hara, ang Rubia Servios ay may mabilis na paglalahad ng buhay ni Rubia at ang mga kahayupang dumating sa kanya sa palad ng isang anak ng makapangyarihan pamilya. Halatang binusisi ni Lino Brockha ang pelikula’t binigyang pansin ang mga eksenang may pagkabayolente. Dalawang beses na ginahasa ni Philip si Vilma at sa bawat eksena’y makikita ang kahalayan at pagnanasa sa mga mata ni Philip at makikita ang sakit na dulot nito sa katauhan ni Vilma. Maraming eksena kung saan inalagaan ni Lino ang pagarte ni Vilma. Hindi lamang sa rape scenes kungdi sa mga tahimik na eksena. Una na nang umagang gumising siya pagkatapos ng unang rape scene. Makikita sa mukha ni Vilma ang pagkalito at ilang sandali pa’y ang pagtanggap ng nangyari sa kanya ng gabing una siyang ginaahasa sa tabing dagat. Pangalawa, nang pumayag si Philip na pakawalan si Rubia at mapunta ito sa ospital. Pagkabukas nang kanyang mata at makita si Norman, makikita sa mga mata niya ang hirap na dinanas. Sa court scene kung saan sinasabi niya na “gusto ko siyang patayin” ng paulit-ulit. Sa bandang huli kung saan nalaman niya na hindi ang anak niya ang putol putol na batang bangkay makikita sa mata niya’t mukha ang biglang pagkatuwa’t hindi ito ang kanyang anak. At sa bandang huli pa rin kung saan ginahasa siya muli sa harap ng kanyang asawa. Makikita ang pagsuko niya’t pagkatalo. Makikita sa kanyang mukha ang pagod at hirap hanggang sa boat scene kung saan pinalad siyang makuha ang sagwan at nagkaroon ng pagkakataong paluin si Willie ng pa-ulit-ulit at hindi pa ito nasiyahan at binaril pa niya ang nangahasa sa kanya. Sa eksenang ito makikita ang kaibahan ng kakayahan sa pagarte ni Vilma. Sa eksenang ito kung saan sinasabi niya ang salitang “hayup!” sabay palo sa nabiglang si Willie. Buong katawan niya ang umaarte. Ito ay hango sa tunay na buhay.
Hindi katulad ng arte ni Nora Aunor sa Ina Ka Ng Anak Mo kung saan nahuli niyang nagsiping ang kanyang asawa sa kanyang ina. Nakapokos ang kamera sa mukha niya at nag-emote ng parehong salita: “Hayup!” ang paulit-ulit niyang salita. Aba kung sa tunay na buhay iyan eh nagkasabunutan na at nagwala na ang mag-ina! Para sa akin naging matagumpay si Vilma sa kanyang pagganap bilang si Rubia Servios. Isang tour de force. Nuong una ko itong napanood sa Avenida ay namangha ako sa kanyang galing. Ngayon pagkatapos ng dalawanput siyam na taon pinanood ko muli ito’y hindi nababawasan ang aking pagkamangha sa galing niya. Paano mo ba isasalarawan ang babae na nagahasa? Paano mo ba isasalarawan ang babaeng nakidnapan ng anak at muling nagahasa sa harap pa mismo ng asawa mo? Isang mahirap na papel. At naisalarawan ito ni Vilma nang makatotohanan. Walang mga pagpopokos ng kamera para mag-emote. Makatotohanang pagganap. Special mention sina Mat Ranillo III at Philip Salvador. Dapat ay napahalagahan sila sa pamamagitan ng nomination subalit naging maramot ang organisasyon ng pestibal at isang acting awards lamang ang binigay nila. Panalo sana si Philip Salvador ng best actor award rito dahil damang dama mo ang kanyang karakter. Makikita rin kung gaano kaganda ng kanyang katawan. Meron eksena siya na nakaswimming trunks lang at talagang alaga pa niya ang kanyang katawan nuon. Si Mat naman ay sana nanominate bilang best supporting actor. Mahusay rin siya lalo na sa eksena kung saan nakatali siya sa puno at wala siyang nagawa ng pagsamantalahan muli si Rubia sa harapan niya ni Philip. Technically, nang panoorin ko itong pelikulang ito ay maganda ang resulta ngunit nang panoorin ko muli ng ilang beses ngayon ay makikita ang ilang flaws. Una na ang cinematography ni Conrado Baltazar. Maraming eksena ay hindi nasa tamang angulo. Merong eksena na nagsasalita si Ate Vi pero ang nakikita lamang ay ang kanyang nuo. Ang musical score ni Freddie Aguilar ay parang hindi bagay sa tema ng pelikula. Pati ang theme song na “Pagsubok” parang pang-politika at very “folksy” ang dating. Merong isang butas ang screenplay ni Mario O Harra. Nang umalis si Philip para iwanan si Vivian, ang anak niyang kinidnap, nang umalis ito’y sumakay ito ng kotse, pagkatapos nang dalhin niya si Rubia sa banding huli’y sumakay naman sila ng boat. Medyo nakaligtaan nila ang isang detalye na ito. Mabilis ang pacing na pelikula at maraming mga eksena talaga si Vilma na makikita mo ang pagaalaga ni Lino. Sayang nga lamang at hindi ito nakita ng mga hurado ng pestibal at maging ang mga manunuri ng taong iyon. – RV
Undoubtedly, the two best entries in the 1978 Metro Manila Film Festival are Atsay and Rubia Servios. Atsay is remarkable in several ways. It has a strong social message, aimed at primarily those who forget that house cleaners are also human beings. In the character of Mrs. Anton (Angie Ferro), screenwriter Edgar M. Reyes is able to embody the thousand faults which middle-class housewives are heir to. Atsay can also pride itself on being truly Filipino. Its mood is set by its Pilipino credits (in sharp contrast to the English credits of the other entries). The film deliberately exploits local color, dwelling not only on rural but also on picturesque urban scenes. The story, needless to say, can happen only in the Philippines, where domestics and beerhouses are national institutions. But the most striking thing about Atsay is its cinematography (Romeo Vitug). The slow dissolves, the multiple exposures (such as the brilliant train sequence), the surprising angles, the flawless composition—this border on genius. The cinematography is so extraordinary, in fact, that it covers a multitude of sins. The most grievous sin of all is the ending. In the end, Nelia (Nora Aunor), after having been humiliated, beaten, raped, dehumanized by the vultures of the city, decides to stay in the city anyway in the hope that an impoverished construction worker (Ronald Corveau) will make her live happily ever after.
Such ending, while assuring the viewer that human nature is not totally evil, is unmotivated and, in fact, goes against the very theme of the story. For Atsay is the story of how the city dehumanizes, of how human beings become swine (this point is made through blatant symbolism in a shot of Nelia inside a cage-like jeep), of how Manila is a prison (note Vitug’s several shots of cage-like structures). “Atsay” is a story of how individuals are no match against the cruelty of the city. The construction worker, for example, becomes the victim of a construction accident. A young pretty virgin from the province is raped while she’s drugged. A kind-hearted old man is shot down while protesting against exploitation. The ending of Atsay contradicts the film’s affirmations. It would have been much more in keeping with the theme (not to mention the current concerns of the national human settlements program), if Nelia were shown rejecting the city and, in hope, returning to her province for a new life. Rubia Servios, on the other hand, does not dilute the message. Willy (Phillip Salvador), the son of a powerful and wealthy figure, is portrayed as totally evil, devoid of any redeeming quality. To screenwriter Mario O’Hara and director Lino Brocka, the province is the same as the city. Rubia Servios (Vilma Santos) is raped both in the city and in the country. Rubia kills Willy in the country. Violence unites all places. It is the “unity” of conception, scripting, design, and direction, in fact, that Rubia Servios is superior to Atsay. Lino Brocka does not waste shots in his attempt to create a Filipino classical tragedy. He subordinates everything to the building up of one emotion in the viewer, that of hatred of Willy. So despicable does Willy become at the end that, when he is murdered by Rubia, no viewer can say that Rubia is at fault. And yet, morally speaking, no one is allowed to take the law into his own hands. The law, in fact, put Willy in prison for the first rape. There is no reason to think that the law will not put Willy to death for the second rape. By conditioning the reader to condone Rubia’s revenge, Brocka succeeds in questioning one of our deeply rooted moral beliefs. The unity that characterizes Rubia Servios contrasts sharply with the tendency of Eddie Garcia in Atsay to exploit Vitug’s versatility even at the expense of tightness. There are shots in Atsay, for example, which could easily be cut without hurting the film’s integrity. Even the train sequence, one of the best sequences in Atsay, is far too long. Rubia Servios is Lino Brocka’s film; Atsay is Romeo Vitug’s. Nora does an excellent acting job; but so does Vilma Santos, and Rubia is a much more demanding and difficult role. Edgardo M. Reyes is an established literary figure, but Mario O’Hara is much better screenwriter. Overall, Atsay may be much more impressive than Rubia Servios. In terms of challenging our moral and legal convictions, however, Rubia Servios is much more significant. - Isagani Cruz, TV Times, 1979
Kung uri ang paguusapan, de-kalidad ang Rubia Servios. Kaya lamang, may sabit. Maraming butas ang iskrip ni mario O’Hara. Ang istorya ng Rubia Servios ay batay sa mga legal story ni Aida Sevilla Mendoza, at ito’y pumapaksa sa babaeng ginahasa ng kanyang masugid na manliligaw. Si Rubia (Vilma Santos) ay isang medical student na may kasintahang kaeskuweala, si Norman (Mat Ranillo III). Balak nilang magpakasal pagkatapos ng kanilang pag-aaral. Karibal ni Norman si Willie (Philip Salvador) na ayaw tumanggap ng kabiguan sa pag-ibig. Anak siya ng mayaman at maipluwensiyang pamilya sa Kabite. Kaya nang tapatin siya ng dalaga na wala siyang maaasahan, kinidnap niya si Rubia sa isang bahay-bakasyunan at ginahasa ito. Nang magkaroon ng pagkakataon ang babae, tumakas ito at isinuplong si Willie. Idinemanda ang lalaki at nahatulang mabilanggo ng anim na taon. Paglabas ng lalaki sa bilangguan, ginulo na naman niya ang buhay ng babae na ngayo’y asawa na ni Norman at may dalawang anak (ang una’y anak niya kay Willie). Dahil sa pananakot ng hui, nakipagtagpo si Rubia, at muli na namang ginahasa sa sementeryo sa harapan pa naman ng asawa. Kinidnap ni Willie ang anak niya para gawing pain sa pagtatagpo nila ni Rubia at para sumama na tio sa kanya. Ngunit nagkakaroon na naman ng pagkakaton ang babae na lumaban at sa bangka, hinampas niya si Willie ng sagwan, at pagkatapos ay binaril ang lalaki hanggang sa ito’y tuluyan nang malunod.
Simplistiko ang materyal at lalong simplistiko ang pamamaraan ni O’Hara sa karakterisasyon. Nagmumukha tanga ang mga tauhan (si Rubia at si Norman) samantalang medical students at naturingang doktor pa naman sial. Tinatakot na sila’y hindi pa sila humingi ng proteksiyon sa pulis. Ginahasa na si Rubia ay nakipagtagpo pa sa sementeryong madilim nang nag-iisa at nagpaganda pa mandin siya nang husto. At ang asawa niya’y wala ring utak. Biro mong sinundan ang asawa sa sementeryo nang nag-iisa! Dapat nga palang magkaganito sila kung napakakitid ng kanilang utak. Sa direksiyon ni Brocka, lumitaw ang galing ni Vilma Santos, at nakontrol ang labis na pagpapagalaw ng kanyang labi. Mahusay din ang eksena ng gahasa. Si Philip Salvador naman ay tulad sa isang masunuring estudyante na sinusunod lahat ang direksiyon ng guro. Kitang-kita mo sa kanyang pagganap ang bawat tagubiling pinaghihirapan niyang masunod: kilos ng mata, buntong-hininga, galaw ng daliri, kislot ng kilay. Limitado ang kanyang kakayahan at makikia ito sa kanyang mukha (na limitado rin). Walang-wala rtio si Mat Ranillo III, na parang pinabayaan para lalong lumitaw ang papel at pag-arte ni Salvador. Samantala, ang kamera ni Conrado Salvador ay hindi gaanong nakalikha ng tension at suspense, bukod sa napakaliwanang ng disenyo ng produksiyon ang pagbabago ng mga tauhan sa loob ng pitong taon batay sa estilo ng damit at buhok. – Justino M. Dormiendo (READ MORE)
Isa ang Rubia Servios (Sampaguita Pictures, Inc., 1978) sa mga pelikulang humihingi ng pag-unawa sapagkat kahit ang tunay na buhay o katawang pinaghugutan ng iskrip nito ay isang tuwirang pagtalakay sa representasyon ng babae sa puting tabing. Ang pagsasalarawan ng seksuwalidad ng babae at ang pagtutok sa sinapit ng kanyang katawan ay nasasangkot din sa paghabi ng naratibong nagsisiwalat sa marawal na kalagayan ng bayan. Ano pa nga't imahe ng babae, si Rubia (Vilma Santos) ang unang bubungad sa pagsisimula ng pelikula. Naroon din si Norman (Mat Ranillo III), ang katipang kasamang nag-aaral ng medicina. Masugid na manliligaw ni Rubia ang anak-mayamang si Willy (Phillip Salvador). Dala ng labis na kapusukan, dinukot ni Willy si Rubia, dinala sa isang beach resort sa Cavite at dinaan sa puwersa. Inalok niya ng kasal ang dalaga, sa halip ay pinagbantaan siyang idedemanda ito sa salang panggagahasa. Sa tulong ni Norman, nagsampa ng kaso si Rubia laban kay Willy hanggang sa mahatulan ito ng pagkabilianggo. Subalit hindi maalis sa isip ni Rubia ang mga nangyari lalo pa't dinadala niya ang bunga ng karahasan ni Willy. Sa kabila ng kanyang pinagdaanan, pinakasalan pa rin ito ni Norman. Lumipas ang anim na taon, nagbalik si Willy upang bulabugin ang tahimik na buhay-pamilya ni Rubia. Melodramatiko ang dulo ng pelikula noong sakay ng bangka sina Rubia at Willy. Nanumbalik ang mga reyalistikong tagpo ng panggagahasa at pambubugbog. Naihayag ang kuwadro ng tauhang babae, si Rubia, ang paghihiganti at pagpatay sa lalaking nagwasak ng kanyang pagkatao at pagkababae.
Mula sa isang real life legal story ang Rubia Servios, namumuhunan ito sa ideya na ang masasaksihan ng mga manonood sa iskrin ay hindi likhang-isip lamang kundi talagang nangyari sa tunay na buhay. Hinimok ni Lino Brocka sa kanyang pelikula na pagmasdan ang babae sa konteksto ng ating lipunan. Bakit ganito ang nangyayari sa kababaihan? Dahil tinatanggap nating maging ganoon ang kanilang kundisyon sa lipunan. Kung pagkakasala ang pabayaang maghari ang mayayamang may kapangyarihan, nararapat lamang na ituwid ang pagkakasalang ito. Sa mga nakakaalam ng mga pelikula ni Brocka, pamilyar ang paggamit sa estratehiya ng melodrama. Sa ganitong paraan, ang focus ay ang paghihirap na pinagdaraanan ng pangunahing tauhang babae at ito ang nakababagbag sa damdamin ng manonood. Ngunit sa pagpuntirya ng emosyon, hindi matamaan ang paglinaw sa tunay na isyu. Si Vilma Santos bilang Rubia Servios ay hindi lamang mahusay na gumanap sa buhay ni Rubia kundi naging isa ring makapangyarihang talinghaga na nakapagpalusog sa teksto ng pelikula. Sa kabuuan, inaangkin ng pelikulang Rubia Servios ang kapangyarihan nitong lumikha ng katotohanan mula sa masalimuot na materyal ng reyalidad. Sa ganitong proseso, nailalantad ang isang piraso ng reyalidad upang mapanood, masuri at mabigyang-kahulugan. Sa kabilang banda, hindi rin makakatakas ang pelikula sa mga diskursong kumakanlong sa mismong puinupuna at tinutuligsa nito. - Jojo De Vera (READ MORE)
The Screenplay - "...Mario Herrero O'Hara (born April 20, 1946 – died 26 June 2012) was an award-winning Filipino film director, film producer and screenwriter known for his sense of realism often with dark but realistic social messages...In 1978, he wrote the screenplay for Lino Brocka's Rubia Servos. This led to the first award in his film career (Best Screenplay at the Metro Manila Film Festival)..." - Wikipedia (READ MORE)
"...There are certain themes that keep the public captive and enthralled through relentless manufacture of a thematic repertoire which ensures the preponderance of sex in stories and daily narratives. These themes need not be perceived as always proferring false consciousness, but as reiterating the social problems implicated by cinematic and industrial mediation of sexual expression. The theme of rite of passage, from innocence and youth to carnal knowledge, fastens the narrative to the body of the virgin whose initiation into the desires of the world transforms her into a “whore.” The stigma of this rite of passage is exploited from every possible angle, from ablutions in the river to rape scenes and on to the erstwhile virgin suddenly craving flesh herself...Rape likewise presents an occasion for baring the body. Brutal (1980), Rubia Servios (1978), Angela Markado (1980), and even the massacre films hatched in the bizarre mind of Carlo J. Caparas discuss rape almost clinically and therefore subject the body of the woman to another round of autopsy, this time through the prying eyes of a public reared in a daily history of sex..." - Patrick D. Flores, Bodies of Work: Sexual Circulations in Philippine Cinema (READ MORE)
New Screen Persona - "...After years of this unfair competition, Vilma decided to stop playing the also-ran, and opted to essay the roles that Nora preferred not to do, -the other woman, rape victim, burlesque dancer, etc. Vilma's sexy movies were more suggestive than anything else, but they gave her a new screen persona that made her a distinct movie entity from Nora. Fact is, Nora could also have played sensual characters, but she felt awkward doing so, and Vilma benefited from her reticence. In time, Vilma was also winning acting awards and starring in big hits, so the competition between her and Nora peaked..." - Nestor U. Torre, Philippine Daily Inquirer, 2002 (READ MORE)
“Huwag mo nang itanong. Baka mas masakit kung malaman natin ang sagot.” - Aida Macaraeg
Basic Information: Producer: Regal Films; Release Date June 1, 1984; Based on a legal story by Aida Sevilla Mendoza; Screenplay: Jose Javier Reyes; Cinematography: Conrado Baltazar: Editor: Rogelio Salvador; Music: Lutgardo Labad; Production Design: Joey Luna; Direction: Lino Brocka; Cast: Vilma Santos, Phillip Salvador/ Also Starring Deborah Sun, Alvin Enriquez and Mario Montenegro
Plot Description: Dreaming to be released from her miserable life of poverty, Aida, a waitress, abandons her bedridden father, her moralistic mother, her jobless brother and her good-for-nothing sister to live-in with her boyfriend Carding, whom she believes could give her salvation. But her plan only gives her more misfortunes. Carding gets jailed for drug peddling. Aida opts for an abortion. She later lives with a wealthy man to feul her ambition. Carding is released from prison and finds out about his wife's illicit affair. - ctfabian (READ MORE)
Aida Macareg (Vilma Santos) works as a waitress in a restaurant and is the lone breadwinner of her family. She goes berserk every time she comes home to an uncooperative sister, a jobless brother with a kid and a pregnant wife, a moralistic mother and a bedridden father. Aida longs for release from her situation. Her boyfriend, Carding (Phillip Salvador), still has to finish college. He acts as courier for Bombay (Rene Hawkins), a drug dealer, who is also into other illegal activities. He is made to promise to avoid Bombay, but the need for money keeps him going to him for odd jobs. One day, Aida turns her back on her family and asks Carding for a live-in arrangement. They move into an apartment they could hardly afford. He now depends on Bombay as their means of livelihood. He is able to buy appliances for her — and Aida is spared from working. However, Carding is caught red-handed and is implicated in the shooting of a policeman. Aida goes back to work as a waitress. She visits Carding regularly in prison. She discovers she is pregnant. They decide to get married. Carding is sentenced to fourteen years in prison. Aida realizes she cannot bear the child in her reduced circumstances. She opts for an abortion. Her sister, Miriam (Deborah Sun), tells Carding she had a miscarriage. In the restaurant, Aida meets Tito Pangilinan (Mario Montenegro) who is smitten with love for her. He is frank. He has a wife and three grown-up kids. Aida does not tell him the truth. Carding is transferred to Davao. He writes several letters to Aida but they are not answered. One day, he is told that his sentence has been commuted. After seven years, he is finally free and starts to look for Aida. He hears stories from his aunt but does not believe her. He is able to track down Miriam who, caught by surprise, gives him her address. It is a shocked Aida who meets Carding. She says she is keeping house for Miriam’s lover and child but this only makes him doubt her. The pieces do not fit and Carding discovers that the boy, Alvin, is Aida’s son. The relationship with Tito Pangilinan is revealed and Carding thinks the son is his. Upon the instigation of his aunt, Carding sues for adultery. Tito is disgusted with Aida’s lies and removes their son from her care. He wants him spared from the trauma of the forthcoming trial. The trial finally descends on the protagonists. The marriage is dissected; the past recalled. The question of his paternity props up, but Aida states to Carding’s chagrin, that he is not his child. His baby was aborted due to her hardships. The lawyer tells Aida that the trial will be resolved in Carding’s favor. She is advised to beg him to drop his suit so that she might be reunited with her son. She visits him in his aunt’s house but he is cool to her request. During the day of the verdict, Carding announces that he is withdrawing the lawsuit. Days later, Carding brings Alvin to his waiting mom. It seems he told Tito he would drop the case if he returns Alvin to her. Carding has now accepted the sad facts of the situation. He is leaving for Cebu where he will be in charge of some agricultural lands. Aida thanks him profusely. - Lino Brocka: The Artist and His Times, Posted by Video48 (READ MORE)
Aida Macaraeg's only dream is to be released from her miserable life of poverty. She is sick and tired of working day and night as a waitress to be able to feed her jobless brother and his family, her good-for-nothing sister, moralistic mother and bedridden father. One day, Aida decides to turn her back on them and settles for a live-in arrangement with her boyfriend Carding, who gives her a short-lived salvation. But her first attempt to escape a misfortune only brings her face to face with one after another. Carding gets jailed for drug peddling. Aida finds out she is pregnant and opts for an abortion. Forced by need and fueled by ambition, she lives with a wealthy man and has a son by him. Carding is released from prison and finds out about his wife's illicit affair. They finally see each other again, in court. - Database of Philippine Movies
Film Achievements: Star Awards Best Actress nomination - Vilma Santos
Film Reviews: Adultery (Aida Macaraeg Case No. 7892) is not one of filmmaker Lino Brocka's best works. It definitely cannot be lined alongside masterpieces like Tinimbang Ka Ngunit Kulang (You Were Weighed But Found Wanting, 1974), Maynila: Sa Mga Kuko ng Liwanag (Manila in the Claws of Neon, 1975), and Insiang (1976). At best, Adultery is a well-made melodrama that puts a social issue, that of marital infidelity as escape from poverty, at the center of its affairs. Jose Javier Reyes' well-crafted screenplay (the story is credited to Aida Sevilla Mendoza) is supposedly sourced from a real life account, but one wonders if convenient happy endings (which the film unfortunately struggles with) exist in these kind of cases, especially ones as emotionally charged as in the film. In the Philippines, adultery cases stretch for years and any emotion resembling marital love and concern is replaced with scorching hate, the primary ingredient that fuels litigation. Aida (Vilma Santos giving a very mature performance) is the sole breadwinner for her family, consisting of a bedridden father, a nagging mother, a good-for-nothing brother, his unemployed wife and baby. Unable to bear the hardships of living with her family, she takes the offer of her boyfriend Carding (Phillip Salvador) to simply live together, resisting his invitation to marry him despite the possible scandal that might arise out of their living arrangement. Carding gets caught peddling prohibited drugs and gets imprisoned, leaving Aida all alone to fend for herself. Years later, Carding gets released from prison and finds Aida, now a mistress of a wealthy executive (Mario Montenegro) and mother to a child that is not his. Aida is then sued for adultery by Carding, which if she is proven guilty would separate her from her son.
There's one sequence in the film which clearly shows Brocka's mastery. Aida visits Carding in prison, telling him of her pregnancy. Carding again offers to marry her, fearing that their child would be a bastard child. Supposedly out of pity, Aida agrees. The marriage is solemnized then and there. The prison chaplain officiates the ceremony where Aida is draped in an ordinary dress while Carding wears the orange colored uniform. Around are the witnesses of their marriage, felons all donning the same orange outfit Carding is wearing. Of course, these are mere background details, emphasizing the sullenness of the event that is ordinarily jovial and lively. Brocka concentrates on Aida. He closes up on her face, worried about the uncertainty of her future: she is after all pregnant and now married to a convict with absolutely no source of income. It is Aida's point of no return and Brocka understands it as such, thus he presents it with understated elegance; no dialogue, just Lutgardo Labad's swelling music and Brocka's emphatic close-up of Vilma Santos' apprehensive face.
The film attempts to criticize marriage, which is depicted not in its traditional sense (as the key to life's bliss) but as a harrowing cage where women are left with no choices. It seems to advocate infidelity, especially when the requirements of life overtakes the facile concerns of societal and religious norms. Interestingly, Brocka does not antagonize any of his characters. Aida is a hardworking woman who we first see as the selfless sufferer who is charged with her family's survival, a mere victim of fate and circumstance. Also, one cannot doubt Carding's affection for Aida. His decisions in life may have been off, leading to his incarceration and Aida's continuing suffering, but it cannot be denied that his love for his wife is indubitable. The blame does not go to any person but to the social institution of marriage, its sometimes shallow roots and the unbendable veneration the law and society gives to it to the detriment of the unique needs of individuals.
I am impressed as to how Brocka directed the courtroom sequence, without the usual pomp and unnecessary drama. The courtroom sequence gives the impression as to how the justice is bookish and blind to personal plights. One lawyer asks Aida a question, and she shies away saying that the question is too personal. Of course, the judge demands that she answer the question, which she does so unwillingly. In the eyes of the law, emotions, circumstance, fate, and needs are denied materiality. This should have been the instance wherein we'll fall for Aida's plight: that despite her being guilty for adultery, she does not deserve to be punished because she was forced to infidelity not by innate evil but by circumstances in her life. However, instead of dishing out an ending that would operate as the culmination of such criticism, Brocka and Reyes decided to succumb to sentimentality. Husband forgives wife. Wife gets her son back. Everybody's satisfied. Unfortunately, reality, which the film tried so hard to emulate, isn't anything like that. - Oggs Cruz, oggsmoggs.blogspot.com
Dalawang pelikula ni Vilma Santos ang napanood namin sa special previews: Adultery at Sister Stella L. Pinatunayan ng mga pelikulang ito na Vi is still the leading actress of the season and performances in both movies make her again the actress to beat in next year’s award derbies. No doubt, Vilma, right now, is at her peak. Adultery is a well made melodrama deftly written by Jose Javier Reyes and masterfully directed by Lino Brocka. Ang pangunahing tauhan, si Aida Macaraeg, ay isang dalagang breadwinner ng kanyang pamilya. May sakit ang kanilang ama at siya ang bumibili ng mga gamot nito. Nag-asawa nang maaga ang kapatid niyang lalaki at siya ang nagpapakain pati sa asawa t anak nito. Siya rin ang nagpapaaral sa bunso nilang kapatid na babae. Receptionist sa isang restaurant, may boyfriend si Aida na wala namang regular na trabaho. Ito ay si Carding (Phillip Salvador) na kumikita lamang kapag sumasama sa mga illegal na gawain ng sangganong si Bumbay. Nang malaman ni Aida na nagdadalantao na naman ang asawa ng kapatid niya, niyaya niya si Carding na magsama na sila. May kapatid si Aida na isinumpa ng kanilang ina dahil nakisama ito sa isang lalaking may-asawa. Si Aida lamang ang nakauunawa kay Miriam (Deborah Sun) at wala siyang kamalay-malay susundan pala niya ang mga yapak nito. Akala niya’y malulutas ng pagsama niya kay Carding ang mga problema niya ngunit lalala lamang pala ito.
Nahuli si Carding sa pagsama sa pangkat ni Bumbay at nabilanggo. Naiwang nagdadalantao si Aida. Nang malaman ito ni Carding ay pinilit siyang pakasal na sila para hindi maging bastardo ang isisilang niya. Ikinasal sila ng pari sa piitan. Nagbalik si Aida sa kanyang trabaho ngunit natuklasan ng may-ari na buntis siya. Naiisip ni Aida na lalo lamang siyang maghihirap at nadadamay pa pati ang kanyang magiging anak kung itutuloy niya ang kanyang pagbubuntis kaya t ipinasya niyang ilaglag ito sa tulong ni Miriam. Nang magaling na siya y napasok siyang tagapamahala sa isang kantina at dito niya nakilala si Tito Pangilinan (Mario Montenegro). Nagsama sila at nagkaroon ng isang anak. Si Carding naman ay nalipat sa Davao Penal Colony at nagtaka na lamang siya nang huminto na sa pagsulat si Aida. Lumaya si Carding pagkaraan ngpitong taon at hinanap agad si Aida. Nakita niya ito at si Aida ay nagsimulang maglubid ng buhangin. Ang batang kasama niya’y anak daw ni Miriam at mahigpit ang bagong kinakasama nito kaya’t hindi sila maaaring laging magkita. Ngunit natuklasan ni Carding ang katotohanan at sa galit nito’y sinaktan si Aida. Inihabla siya ni Carding at ang kaso y humantong sa husgado. Mabibilanggo kaya si Aida sa salang adultery? That, you’d have to find out for yourself. Mawawala ang suspence kapag ibinunyag namin agad sa inyo ang ending.
Based on a true legal story, nagawa nina Reyes at Brocka na very convincing ang pagkakalahad ng kuwento. Maingat ang development at talagang magsi-sympathize ka sa mga tauhan. Ang kaso ni Aida ay isa ring moral dilemma. Dapat ba siyang sisihin sa kanyang ginawa? Sa kanyang paglalaglag sa sanggol and finding the easy way out through having an affair with a rich old man? Maraming katulad ni Aida sa ating lipunan sa ngayon. Nagipit sila, humanap ng lubid na makakapitan upang huwag tuluyang mahulog sa bangin, kasalanan ba ang kanilang praktikal na solusyon sa kanilang mga problema? Morally, masasabi agad na mali nga sila. Pero madaling humusga kung hindi ikaw mismo ang nakaharap sa mga problemang iyon. Tao lamang si Aida. At ang kahinaan niya ang siyang dahilan kung bakit naging very human ang istorya ng Adultery. Kung bakit naging tutoong-tutoo angmga sitwasyon at ang lahat ng characters dito. Alam mong melodramatiko ang kuwento pero alam mo ring nagaganap ang gayon sa tunay na buhay, na talagang maraming Aida Macaraeg sa ating paligid. Namumukod-tangi ang mga aspetong teknikal ng pelikula: ang sinematograpiya ni Conrado Baltazar, ang musika ni Lutgardo Labad, ang editing ni Rogelio Salvador, ang disenyong pamproduksiyon ni Joey Luna at pati pagkakalapat ng tunog.
Mahusay rin ang acting ng lahat ng tauhan: si Deborah Sun bilang Miriam, si Anita Linda bilang ina, si Tita de Villa bilang tiyahin ni Carding. Maikli lamang ang papel ni Mario Montenegro bilang Tito pero epektibo ang pagkakaganap niya, lalo sa tagpong sinumbatan niya si Aida: “Pitong taon na kitang tinutulungan at pitong taon mo na rin akong niloloko.” Napakahusay ni Vilma sa mga eksenang nagngingitngit siya sa mga kapatid niya sa pagkawala ng uniporme o muling pagbubuntis ng mga ito. You can really feel the sense of rage, and futility that she is experiencing. Pero maging sa iba pang quiet scenes ay mahusay rin siya, o kaya y maging doon sa eksenang muntik na siyang mabuko ni Mario, at nang magkomprontasyon na sila ni Phillip.
Pero, sa tingin namin, mas lumutang si Phillip sa pelikulang ito at tiyak na in the running na naman siya for best actor next year. Kung minsan ay mata lamang ang kanyang pinaaarte at wala siyang dialogue (like nang mabasa niyang nakunan si Aida o nang makita niya itong sinasalubong si Mario sa gate). Very touching din ang final scene na tinanong siya ni Vi: “Ano ng nangyari sa ‘tin?” At sumagot siya ng: “Huwag mo nang itanong. Baka mas masakit kung malaman natin ang sagot.” Maraming iba pang magagandang touches ang pelikula, tulad ng pagdalaw ng mga babaing taga-block rosary kina Aida at ang sagutan sa court scenes. The movie also offers another view of prison life. Sa mga pelikulang lokal na tungkol sa piitan, karaniwan nang nalalagyan ng tattoo ang bida, ginagahasa ng kapwa bilanggo at ginugulpi ng husto. Dito, maayos ang naging kalagayan ni Carding habang nasa bilangguan at wala siyang naenkwentrong mga problema na gaya ng usual na napapanood natin sa prison movies. Maganda talaga ang Aida Macaraeg. - Mario Bautista, Movie Flash, May 31, 1983
Namamasukan bilang waitress si Aida Macaraeg (Vilma Santos) sa isang chinese restaurant. Nag-iisang nitong itinataguyod ang kanyang pamilya. Matagal nang nais takasan ni Aida ang lahat ng kanyang responsibilidad at ang pakikisama nito kay Carding (Phillip Salvador) ang siyang naging daan upang tuluyang talikuran nito ang sariling pamilya. Nanirahan ang dalawa sa isang maliit na apartment at bahagya nilang mapgkasya ang kanilang kinikita. Nang madakip ng mga may-kapangyarihan si Carding dahil sa naparatangang may kinalaman sa pagpaslang sa isang pulis. Nasintensiyahan si Carding ng labing apat na taong pagkabilanggo dahil sa kinasangkutang krimen. Nang mapag-alaman ni Aida ang kanyang pagdadalantao napgadesisyunan nitong sumailalim sa isang aborsiyon dahilan sa hindi niya kayang pangatawanan ang magpalaki ng anak na nag-iisa. Sa restaurant ay nakilala ni Aida si Tito Pangilinan (Mario Montenegro), isang higit na nakatatandang lalaking may sariling pamilya. Makailang ulit na sumulat si Carding kay Aida ngunit hindi nito sinagot ang mga ito. Makaraan ang pitong taon ay lumaya si Carding at hinanap nito ang asawa. Ikinagulat ni Aida ang muli nilang pagkikita. Nakita ni Carding ang anak nitong si Alvin (Alvin Enriquez) at napag-alaman din niya ang pakikipag-relasyon ni Aida kay Tito.
Napagdesisyunang idemanda ni Carding ng adultery si Aida, dahilan sa kasong kinasasangkutanay napilitang ilayo ni Tito ang kanilang anak. Sa hukuman ay ipinagtapat ni Aida na ipinalaglag nito ang kanilang anak ni Carding dahil sa labis na kahirapan. Bago ihain ang desisyon ng korte ay iniatras ni Carding ang demanda laban kay Aida. Natanggap na nito ang situwasyon kaya't maninirahan na ito sa Cebu. sa huli ay pinasalamatan ito ni Aida. Masinop ang mga elemento ng pelikula sa Adultery (Regal Films, 1984). Madulas ang daloy ng dulang pampelikula ni Jose Javier Reyes, konsistent ang disenyong biswal at sinematograpiya, malinis ang editing, akmang-akma ang tunog at musika. Ang maalam at matatag na pagganap ni Vilma Santos ay nagsasaad ng pagkaunawa at metodo sa layuning dramatiko ng kanyang pelikula. Ang pagganap ni Phillip Salvador bilang Carding ay nagpahayag ng mithiin sa lahat ng di magkatugmang aspeto nito at nagbigay ng naiibang sigla sa tradisyon ng pagganap sa pelikula. Sa halip na unidimensiyonal ang pagsasalarawan sa karanasan ng isang babae ay binigyan ito ng maramihang posibilidad sa pamamagitan ng sinematikong pagsasadula ni Lino Brocka, ang istereotipong ito ay isinalaysay sa paglalakbay ng kababaihan tungo sa sariling pagkilala at katuparan. - Jojo De Vera, Sari-saring Sineng Pinoy, December 18, 2006
"...Vilma Santos' restrained acting in Adultery: Aida Macaraeg 7892 was due to Brocka's expert direction. We wish he did the same thing to Tolentino and Bonneive in this film. But then, Maging Aking Ka Lamang is a big box-office success. Brocka probably feels that it's high time he gives the masses what they want. And on this score, Brocka succeeds enormously..." - Luciano E. Soriano, Manila Standard, May 19 1987 (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)
"...When Aida (Vilma Santos), in Adultery (Aida Macaraeg Case No. 7892) (1984), offends the pride of her husband, he invokes the law to punish her. This mother, however, does not just accept the status quo. She actively fights for her rights — up to the extent possible for a woman judged by men — within the four walls of the courtroom which is ruled by patriarchal ideology. The mother finally reunites with her son in the end, notably, not because her husband pities her, but because her husband understands her as a person who fights for her rights..." - Jose C. Gutierrez III (READ MORE)
Working title - "Obsession (Separasyon Legal)" - "...By the time they got to be thirty, unti-unti nang nawala ang kanilang charisma sa publiko, at hindi na kagaya ng dati. Pero hindi ito nangyari kay Vilma. It is a fact na kung kailan pa siya nagkakaedad ay saka pa siya lalong tumatatag, lumalakas. And by almost all indications, it seems like magtatagal pa ito. Take a look at her harvest this year: "Ayak Kong Maging Querida," "Paano Ba Ang Mangarap?," "Broken Marriage," "Obsession (Separasyon Legal)," "Minsan Pa Nating Hagkan Ang Nakaraan" and "Sor Stella L." Although it appears na tila dalawang pelikula ang maaaring hindi na maipalabas sa taong ito (Obsession and Sor Stella L), hindi na rin maikakaila from the list above that Vilma Santos is still the biggest star of the season and the busiest among her contemporaries. At mayroon pa siyang mga nakatakdang gagawin sa pagpasok ng bagong taon. At the time when most stars are already collecting memoirs and reminiscing fond memories of past glories, Vilma is still soaring into newer heights as she goes from one competent film director to another and manages to become the highest paid actress in the country today. From Ishmael Bernal (Broken Marriage) to Lino Brocka (Obsession) to Marilou Diaz-Abaya (Misan Pa Nating Hagkan Ang Nakaraan) to Mike de Leon (Sor Stella L), the reigning movie queen is getting most of the choicest assignment these days and with the accompanying royal treatment..." - Julio Cinko N., Movie Flash Magazine, December 8 1983 (READ MORE)
"...Malalaking komplikasyon ang kinasuotan sa buhay ng isang babaeng nabilanggo ang asawa at naging kerida ng isang mayaman at may edad na lalaki. Ang tinamasang seguridad ni Aida Macaraeg, ang pangunahing tauhan sa istorya sa piling ng kanyang pangalawang "asawa" ay biglang naglaho ng lumabas sa piitan ang kanyang tunay na asawa. Humantong sa hukuman ang kaso, hanggang sa di-inaasahang masayang pagtatapos ng istorya, na lubhang taliwas sa mga naunang obra ni Brocka...Sa aspektong teknikal, superor ang pelikulang ito, ebidensiya ng mabusising pagkahawak ni Brocka ng renda niya bilang direktor. Ang akting ng mga pangunahing tauhan ay kapansinan din ng tatak Brocka. Tulad ng nangingislap na mata ni Phlip habang nagbibitiw ng mga mabibigat na linya, ng sinukat sa tiyempong pagpatak ng luha sa kaliwang gilid ng kaliwang mata ni Vilma Santos, ng masusing pagkaka-orkestrang komprontasyon ng dalawa mula sa salas hanggang kuwarto at maraming maliliit na tagpong dramatiko ang lapat...Kasabay ng kanyang pag-alsa bilang reyna ng takilya (si Vilma Santos), ay ang nakakakumbinse niyang pagganap sa no mang tauhang binibigyan niya ng buhay sa sinema. Sa hanay ng mga pelikulang ginawa niya sa nakaraang taon, namumukod ang kinang niyang iyon...sa "Adultery," kung saan siya naging biktima ng isang materyalistikong kapaligiran..." - Star Awards 1984
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)
Brocka gave Vilma one of the most controversial film after "Burlesk Queen," her milestone role as a rape victim in 1978′s "Rubia Servios." The film failed to secure Vilma the local festival’s best performer award after so much speculations despite this, the film was a big hit. Brocka will direct Vi two more times, "Adultery" in 1984 and "Hahamakin Kita" in 1990, a year before his untimely death in May 21, 1991. - RV (READ MORE)
Rubia Servios (1978) - "...Rubia Servios, on the other hand, does not dilute the message. Willy (Phillip Salvador), the son of a powerful and wealthy figure, is portrayed as totally evil, devoid of any redeeming quality. To screenwriter Mario O’Hara and director Lino Brocka, the province is the same as the city. Rubia Servios (Vilma Santos) is raped both in the city and in the country. Rubia kills Willy in the country. Violence unites all places. It is the “unity” of conception, scripting, design, and direction, in fact, that Rubia Servios is superior to Atsay. Lino Brocka does not waste shots in his attempt to create a Filipino classical tragedy. He subordinates everything to the building up of one emotion in the viewer, that of hatred of Willy. So despicable does Willy become at the end that, when he is murdered by Rubia, no viewer can say that Rubia is at fault. And yet, morally speaking, no one is allowed to take the law into his own hands. The law, in fact, put Willy in prison for the first rape. There is no reason to think that the law will not put Willy to death for the second rape. By conditioning the reader to condone Rubia’s revenge, Brocka succeeds in questioning one of our deeply rooted moral beliefs. The unity that characterizes Rubia Servios contrasts sharply with the tendency of Eddie Garcia in Atsay to exploit Vitug’s versatility even at the expense of tightness. There are shots in Atsay, for example, which could easily be cut without hurting the film’s integrity. Even the train sequence, one of the best sequences in Atsay, is far too long. Rubia Servios is Lino Brocka’s film; Atsay is Romeo Vitug’s. Nora does an excellent acting job; but so does Vilma Santos, and Rubia is a much more demanding and difficult role..." - Isagani Cruz (READ MORE)
Adultery (Aida Macaraeg Case No. 7892) (1984) - "...Napakahusay ni Vilma sa mga eksenang nagngingitngit siya sa mga kapatid niya sa pagkawala ng uniporme o muling pagbubuntis ng mga ito. You can really feel the sense of rage, and futility that she is experiencing. Pero maging sa iba pang quiet scenes ay mahusay rin siya, o kaya y maging doon sa eksenang muntik na siyang mabuko ni Mario, at nang magkomprontasyon na sila ni Phillip. Pero, sa tingin namin, mas lumutang si Phillip sa pelikulang ito at tiyak na in the running na naman siya for best actor next year. Kung minsan ay mata lamang ang kanyang pinaaarte at wala siyang dialogue (like nang mabasa niyang nakunan si Aida o nang makita niya itong sinasalubong si Mario sa gate). Very touching din ang final scene na tinanong siya ni Vi: “Ano ng nangyari sa ‘tin?” At sumagot siya ng: “Huwag mo nang itanong. Baka mas masakit kung malaman natin ang sagot.” Maraming iba pang magagandang touches ang pelikula, tulad ng pagdalaw ng mga babaing taga-block rosary kina Aida at ang sagutan sa court scenes..." - Mario E. Bautista (READ MORE)
Hahamakin lahat (1990) - "...Brocka did Hahamakin Lahat (1990) for Regal Films. This was his third movie with Vilma Santos. The role called for Vilma to be dark, daring and innovative, a complete deviation from characters usually portrayed by the sweet-faced Star for All Seasons. It showed a heroine entering into a marriage of convenience with a ruthless, scheming mayor, a character Brocka created to expose the hypocrisy and corruption of society..." - Paul Mata and F. Caagusan (READ MORE)
Lino Brocka Catalino Ortiz Brocka (April 3, 1939–May 21, 1991), director for film and broadcast arts, espoused the term “freedom of expression” in the Philippine Constitution. Brocka took his social activist spirit to the screen leaving behind 66 films which breathed life and hope for the marginalized sectors of society — slumdwellers, prostitute, construction workers, etc. He also directed for theater with equal zeal and served in organizations that offer alternative visions, like the Philippine Educational Theater Association (PETA) and the Concerned Artists of the Philippines (CAP). At the same time, he garnered awards and recognition from institutions like the CCP, FAMAS, TOYM, and Cannes Film Festival. Brocka has left behind his masterpieces, bequeathing to our country a heritage of cinematic harvest; a bounty of stunning images, memorable conversations that speak volumes on love,betrayal and redemption, pestilence and plenty all pointing towards the recovery and rediscovery of our nation. To name a few, Brocka’s films include the following: “Santiago” (1970), “Wanted: Perfect Mother” (1970), “Tubog sa Ginto” (1971), “Stardoom” (1971), “Tinimbang Ka Ngunit Kulang” (1974), “Maynila: Sa Kuko ng Liwanag” (1975), “Insiang” (1976), “Jaguar” (1979), “Bona” (1980), “Macho Dancer” (1989), “Orapronobis” (1989), “Makiusap Ka sa Diyos” (1991) (NCCA.gov.ph). On May 21, 1991 Brocka met an untimely death in a car accident in Quezon City, Metro Manila. In 1997 he was given the posthumous distinction of National Artist for Film - Wikipedia (READ MORE)
America's Euphoria I was a little irritated with my students. Why did they seem distracted and not excited about What I saying? I was, after all, talking about Lino Brocka's eminent role in the advance of Philippine cinema and nationalism in the arts. I was leading into his participation in people's struggles before Edsa I. I was also going to point out his contribution to the Philippine Constitutiion, when as a member of the 1987 Constitution Convention he included "freedom of expression" as a right of every Filipino citizen. This has forever insured artistic freedom in this country. Why then did lino seem alien to them? Simple arithmetic made me realize that Lino passed away 12 years ago. If my student were 19 or 20 years old now, they were not even teenagers when Lino epitomized to the general public what a concerned artist should be. On the other hand, I met Lino when he was still Catalino. This was many years before he became better known as Lino Brocka, the Filipino director who impressed international critics in film festivals by the British Film Institute as one of the world's best directors. It was 1956 when we enrolled at UP as freshman. Life was seemingly easy for teenagers in those days. We empahized with America's euphoria after the end of the Pacific War. Technicolor film spectacles, Balara, La Mesa Dam, Bucolic Baguio, barn dances, Matorco symbolized the easy and inexpensive good times of that period. We closely identified with Hollywood role models like Parley Granger and Ann Blyth, whose movie roles focused on their search for "the meaning of life." The more daring ones aped reckless Elvis Presley and oh-so-naughty Marilyn Monroe. The intellectuals read Camus and other existential philisophers. Why, some even advocated socialist concepts and were rumored to be aheists! They discussed usch topics with great fervor at the UP Liberal Arts Basement. The place was thick with cigarette smoke and the combination of constant laughter, fiery arguments, green jokes and simple gossip.
Wilfredo Ma. Guerrero - Those were happy times despite our self-inflicted angst. Nevertheless, Redemptorist priest threatened fire and brimstone during annual retreats. A number of us green freshman had the gall to join older university students who answered the "Audition" call of the UP Dramatic Club, the very prestigious association of thespians at the University of the Philippines, then under the tutelage of the renowned playwright Wilfredo Ma. Guerrero, Freddie to UP-DC and distuinguished alumni. That roster included Celia Diaz Laurel, Joe Viterbo, Mitos Sison, Doy Laurel, Angelita Collas, Joy Gamboa Virata, Marce and Kit Viduya, Jose "Jun" Roy, Tito Gupit and Cherry Santos. Phil Cabanos was designing his sets engineering student Sonny Osmena handled his lights. Could we join that illustrious list of thespians? What an honor to work with such an accomplished director-playwright, we thought. No wonder freshman like Jose Ma. Sison, Pinky Rigor Parolan, Carolina "Bobby" Malay Ocampo, George Moran Sison, Heidi de Peralta, Donnie Montelibano and myself auditioned for the Guerrero production of Thorton Wilder's "A Happy Journey From Trenton to Camden." After strenous public auditions, a select few were cast in the play. Also, included was one Catalino Brocka from San Jose, Nueva Ecija. Ishmael Bernal, a year or two ahead of us, was among those who would work backstage later on. Since most of the new members were graduates of "exclusive" schools life Ateneo, La Salle, Assumption, Maryknoll, Holly Ghost, and UP High or UP Prep, we spoke (American) English well. We were therefore excused from doing the tongue-twisting "She sells see shells by the seashore" and "Peter Piper" exercises. Alas, Catalino had to go through them. The Eliot play would be twin-billed with Sartre's "No Exit," an existentialist play that had reaped critical praise during its summer run.
Theater "sessions" - The cast of "No Exit" was headed by Jun Roy, Rita Kalaw Ledesma, Phil Cabanos and Kit Viduya. Marita Adolfo Viduya, or Kit ot all her friends at UP, was a spellbinding Estelle. I think "No Exit" was the dramatic turning point in our salad years because, soon after, Lino, Joonee Gamboa, Adul de Leon, and I became a gang of serious theater and movie buffs. We sat attentive and critical, at any and all theater productions in Manila. We even observed theater "sessions" wher more mature actors like Tita Munoz, Nick Agudo and Butch Josue went through Actor's Studio techniques under a visiting American stage actor. Bert Avellana's "My Name is Legion" was another awesome productions, along with Daisy Avellana as the sleepwalking lady in "Macbeth In Black." When we could afford it, we would see the plays of the Manila Theater Guild at the exclusive Army-Navy Club, where expats enjoyed what were then the most polished stage productions in the city. Since we were inveterate moviegoers, we would also regularly see films together and, over ma Mon Luk's pansit' siopao, compare insights on productin, acting, directing and scripting. Simone Signoret's quiet but sething intensity in "Room At The Top" was akin to Kit's performance in "No Exit," we thought. She remains one of my favorite stage actress to this day. Lino was her great fan and friend, too. In fact, Lino often slept over in their little bungalow near the LVN compound in San Juan. - Behn Cervantes, Philippine Daily Inquirer, May 31, 2003 (READ MORE)
Von Brocka - Lino quit the UP Dramatic Club production of the Wilder play because during our first rehearsal, he screamed a line that got the whole cast and crew in stitches. He yelled, "Awe, Mudder, Mudder luk ut dat gel weering a batting chute!" (Translated in properfly pronounced English that would be: Oh Mother, Mother, look at that girl wearing a bathing suit.) I didn't know till much later that he was terribly humiliated by our spontaneous and mindless laughter. He opted to quit the play and kept away from our (to his mind) snobbish company. Instead, he worked backstage. He swept the stage, cleaned the dressing room area and threw away our pee collected in small bottles bockstage after the performances. he also drew and dropped the curtain, and promted the cast when needed. Sometime later, he confided to me that his family name originally Von Brocka but they dropped the royal indicator out of embarrassment. Instead, Catalino erstwhile Von Brocka became Lino to the UP Dramatic Club members. Only Adul insited on calling him Catalino. At some point, Joonee and I "adopted" Lino as our friend and protege. We helped him with his English pronunciation and, when he wasn't getting cast in UP productions, we transferred to the Arena Theater at Philippine Normal College under Dr. Severino Montano on Taft ave. Joonee and his brother Arthur were alread Arena actors and Montano proteges. We appeared in Montano and Tony Bayot plays. Naty Crame Rogers was another PNC stalwart. In 1957, I resigned from the UP Dramatic Club in protest over its constant use of alumni, while resident UP Dramatic Club members like Lino were not given the chance to act. He was finally cast in "Second Shepherd's Play," a medieval morality play with the gorgeous Dee Marquez portraying Mary. She became the first musical star of Philippine television, hosting "The Pacosta Hour" that was later renamed "The Dee Marquez Show." For years, Lino would describe a woman of great beauty, femininity and grace as "ala-Dee Marquez."
The Glass Booth - When there was no mony for tuition, Lino would drop out of school. Adul, who had dropped out earlier, helped him land jobs. The first was as a jockey for Muzak, then run by psychiatrist Dr. Paul Hodel. Adul had the day shift while LIno took care of the graveyard hours. They play soothing music for Manil Hotel patrons in a glass-enclosed studio located on the ground floor of the historic hotel. Often, I would keep Lino company during thelonely early morning hours. I would arrive after the last full show at Ideal or Avenue theaters on Rizal ave. From inside the glass booth, Lino and I would gawk at Manila's 400 going to the Fiesta Pavillion for the Kahirup's grand balls, or those very elitist fashion shows of yore. Pedigreed beauties like Deana Jean Lopez, Norma Serafica, Bambi Lammoglia, Baby Jereza along with society matrons Chona Kasten, Elvira Manahan, Chito Madrigal and young debutantes Conchita Sevilla and Josie Padilla walked the ramps and executed their dramatic turns fro charity. During those long, lonely hours, we talked of everything under the sun. A few years later, Adul worked for PR Bill Kane. He represented Hollywood productions that then shot films in cheap, sun-rich and English-speaking Philippines, a country that also offered well-trained technical crews. Adul got Lino involved in those productions. The first was "Walls of Hell" or "Intramuros" for the domestic run. It starred Jock Mahoney, a former Tarzan, and the young Fernando Poe Jr, Eddie Romero, who directed the movie, told me later that Lino worked in other co-productions. Lino would often ask me to visit him on the set. He was busy, indeed. I failed to see how much of a turning point that would be in his life. Little did anyone on those sets realize that the 90-pound, 5'3 fellow would become a titan of Philippie cinema! - Behn Cervantes, Philippine Daily Inquirer, June 06, 2003 (READ MORE)
Missionary Work - Lino was converted to the Mormon religion sometime in 1962. How did it happen? One rainy evening, I arrived in our Pasay home to find a couple of Mormon missionaries vainly trying to talk my Protestant parents into accepting the merits of their Utah-based religiion. I made an appointment to see them at some other time. I phone Lino to accompany me to the scheduled religious session. After their lengthy spiels, Lino and I agreed it was a rather amusing experience. But Lino continued to see them for proselytizing sessions - until one day he found himself waist - deep in a big pool! He was baptized by beaming missionaries as one of their first Filipino converts to theChurch of Latter Day Saints! In 1965, he was sent to Honolulu for missionary work. Lino had a mind of his own, so it was not surprising that he soon encountered problems with the superiors of his strict church. As a result of his willfulness, he was "exiled" to far-off Molokai. Albeit that stint, he was sent to San Francisco, where he did more missionary work. While there he befriended a yound actor appearing in the stage play "The Subject Was Roses." He later became better known as Martin Sheen. Lino came home for a sabbatical and I made him join Peta. It was during that time that we had a falling out. I cast him in "Apollo of Bellac" for a Grey November Wednesday show. Ishmael Bernal wisely used that slow mid-week day for a "happening" to draw the crowd to his cafe. Lino came late for the performance so we had a mini-spat that developed further when I questioned his appointment as the director of a Nestor Torre play for a major Peta production. We didn't speak to each other for 14 years! In years in between, I had joined the parliament of the street. He had become an acclaimed film director with "Wanted: Perfect Mother." As they say the rest is history. It was only in May 1983, when we worked together in the Free The Artists, Free The Media Movement, that we started to speak to each other again.
Bulaklak ng City Jail - After the assassination of Aquino in Aug. 21, 1983 we became active in Jaja (Justice for Aquino, Justice for All) and many other organizations. Lino and I were detained in a well-publicized arrest during a transport strike in January 1985. We spent ample time together in the Quezon City Jail and Camp Bonifacio, where we reminisced about our salad years, recalled old friends and reminded ourselves of our spats. All that was now water under the bridge. We had become not only friends but comrades, although some silly fellow referred to us as the "Bulaklak ng City Jail," a take-off from a movie that starred Nora Aunor. We now centered our efforts on the Concerned Artists of the Philippines and its aims. The essense of theCAP statement was clear: We recognized the fact that we were Filipinos first and foremost. We happened to be artist but we had to concern ourselves with our nation's needs since these affected our lives as artist. We could and did not separate one from the other. We shared a vision of the work and challenges that confronted dedicated and concerned artsts in a troubled country. We had to confront many national problems. We hope to eliminate some of them through out artistic endeavours. All future work would have to be seen from the point of view of the underprivileged Filipino. The task confronting us was formidable. Lino died 12 years ago. There is still so much to be done! New generations should admire what he stood for, emulate his dedication to truth and integrity; and understand his positin in the struggle for true national liberation. he was not just a great filmmaker but a great Filipino artists, as well. - Behn Cervantes, Philippine Daily Inquirer, June 14, 2003 (READ MORE)
Unforgettable Scenes "...There were three unforgettable scenes in the film: Hilda Koronel's painful monologue when she and Bembol Roco were in a motel room; Tommy Abuel's extinguishing a cigarette butt in his palm when he trying to escape from her Chinese employer, and the dramatic final scene when people chased Roco when they saw him kill Koronel's Chinese boss. And then I remember reading the name of the movie director in the credits - Lino Brocka. I became an instant fan...I remember them all: Gina Alajar's questioning look in the final scene of "Bayan Ko: Kapit sa Patalim," a subdued Lolita Rodriguez and a hysterical Charito Solis in the confrontation scene in "Ina, Kapatid, Anak," Philip Salvador's lament and hubris when he carried his dead son in "Orapronobis," Vilma Santos' rape scene in "Rubia Serbios," etc. In "Nakaw na Pag-ibig," (Brocka's 29th film, loosely based on Theodore Dreiser's "An American Tragedy,") in the scene where Philip Salvador was about to push his lover (Nora Aunor) off a cliff, the audience clapped and whistled in admiration when Aunor's face was shown close up on screen, full of terror, confusion and anger. To this day, I consider that scene as one of Aunor's best dramatic acting moments. Only a Brocka could make her act like that..." - Ronald G. Mangubat, Philippine Daily Inquirer - May 24, 2003 (READ MORE)
Excessive Sex in Cinema "...Doing a Brocka requires much more than just outsiders and victims, shot in Lino's signatures squatter locations, with characters mouthing seethingly witty diatribes against the rich and hypocritical, showing up politicians and social climbers for the vainglorious fakes they really are. today's ersatz Brocka may be able to approximate these key elements, but when they put them together, the finished creation beats with a cold, utilitarian heart. You simply can't fudge passin, genuine involvement and the readiness to do anything and even give up everything in order to come up with a film that will force viewers to face the worst and the best about themselves. Those, and not the "signature" squatter locales, are what truly distinguish Brocka's works from other filmmakers', and they can't be imitated. Another point: with Brocka, life and film were one - which is why his movies throbbed with his view of life, nobody else's. That, again, can't be approxinated with conviction, especially not by many of today's filmmakers, who have become far too comfortable with compromise. Take this currently "hot" issue of excessive sex in cinema. Brocka made some sexy movies, but none of them ended up as bomba movies even in the '70s, when super-sexy films were "allowed." He knew when to stop after he had made his erotic point, and when enough was enough - unlike some directors today, whose "enough" is far too much! So, if there are new filmmakers out ther who want to become "another Lino Brocka," our best advise is: don't even try, because you're sure to fail - and look trying - hard in theprocess, because Lino is a tough act to follow. Brocka became Brocka because he was Brocka, with all of his unique attributes, goals and drives, so it's futile for the picayune non-Brockas out there to try to approximate his depth and stature..." - Nestor U Torre, Philippine Daily Inquirer, May 11, 2001 (READ MORE)
Santiago - "...Right after "Wanted...," Lino was contracted to direct other movies one after the other, in the hope that they would also turn out to be winners. The biggest of these productions, by far, was "Santiago," because it starred no less than the Filipino industry's "King of Action Films," Fernando Poe Jr. Never mind that Lino wasn't an action director, he was given the "honor" of directing King FPJ. He took on that gargantuan task even if it wasn't really within his ken of interest because, if it clicked it would make him an even more bankable director. With that kind of box office clout, producer would then premit him to direct the much more daring, committed and "dangerous" films he really wanted to make. Well, the inevitable happened: Lino and FPJ clashed. It really couldn't be avoided because they came from two different cinematic worlds, and never the twain di meet, except with a lot of anger and trauma. Lino was quite unnerved by the experience. He tried to keep his cool as best he could and went on to finish the movie, but the stress told on him in a manner that he couldn't control: it left a psychological emblem, a white spot on his cheek, for the young director to rememeber his mis-encounter with FPJ by. Years late, Lino would point to that white spot on his cheek and call it his FPJ beauty spot. Truth to tell, however, the experience was far from beautiful. Still, "Santiago" emerged as a must see film, and FPJ did better in it than in most of his other starrers, so both he and Lino were able to prove their thespic points. For his part, however, Lino was criticized for the overly stagy way with which he mounted some scenes in the film, with the townspeople acting like a Greek chorus, in full theatrical froth. But we will always remember "Santiago" for the great way with which it showcased the very young and beautiful Hilda Koronel, in her "introducing" screen appearance: After a fire, a house has been gutted to its foundations, and everything is covered with ash, soot and a few embers. Then, in the midst of all the bleakness, a hand reaches out from beneath the ashes/ There;s a survivor! As the figure crawls out, it turns out to be the lovely Hilda, her beautiful face "blooming" like a brave lily in that landscape of death and destruction. What a great first shot for a new actress! And only LIno Brocka could have thought it up for the luminous young talent who would later become his artistic "daughter" in cinema." - Nestor U. Torre, Philippine Daily Inquirer, Jul 21, 2001 (READ MORE)
Lino Brocka and Vilma Santos
Brocka gave Vilma one of the most controversial film after Burlesk Queen, her milestone role as a rape victim in 1978′s Rubia Servios. The film failed to secure Vilma the local festival’s best performer award but broke record in terms of revenue.
Rubia Servios (1978) - "...Sa direksiyon ni Brocka, lumitaw ang galing ni Vilma Santos, at nakontrol ang labis na pagpapagalaw ng kanyang labi. Mahusay din ang eksena ng gahasa. Si Philip Salvador naman ay tulad sa isang masunuring estudyante na sinusunod lahat ang direksiyon ng guro. Kitang-kita mo sa kanyang pagganap ang bawat tagubiling pinaghihirapan niyang masunod: kilos ng mata, buntong-hininga, galaw ng daliri, kislot ng kilay. Limitado ang kanyang kakayahan at makikia ito sa kanyang mukha (na limitado rin)..." - Justino M. Dormiendo, Sagisag, February 1979 (READ MORE)
Adultery: Aida Macaraeg (1984) - "...The movie also offers another view of prison life. Sa mga pelikulang lokal na tungkol sa piitan, karaniwan nang nalalagyan ng tattoo ang bida, ginagahasa ng kapwa bilanggo at ginugulpi ng husto. Dito, maayos ang naging kalagayan ni Carding habang nasa bilangguan at wala siyang naenkwentrong mga problema na gaya ng usual na napapanood natin sa prison movies. Maganda talaga ang Aida Macaraeg..." - Mario E. Bautista, Movie Flash May 31, 1983 (READ MORE)
Hahamakin Lahat (1990) - "...Brocka did Hahamakin Lahat for Regal Films. This would be his third team-up with Vilma Santos. The role called for Vilma to be dark, daring, and innovative—something that totally deviated from characters usually portrayed by the sweet-faced actress . It showed a heroine entering into a marriage of convenience with a ruthless, scheming mayor—a character Brocka created to expose the hypocrisy and corruption of society..." - Mario Hernando (READ MORE)
Talent was welling out like spring water - "...So I assumed that, as an actress, she was really just second to Nora. But Vilma takes good care of herself not only physically – there’s always this aura about her – but intellectually too: so she grows and develops tremendously. The second time I worked with her, in Adultery, I realized she had become as good as Nora, or better. And by the time of Hahamakin Lahat there was the complete sensibility already – a difference in the way she expressed pain and hurt. Talent was welling out like spring water, and flowing from her most naturally, no longer courtesy of Vicks or whatever...Possibly her coming of age as a woman. She had become more sure of herself. And this self-confidence grew as her private life became calmer, as she found herself with fewer problems, both financially and emotionally. How a director would feel about her at the moment is that he can do anything with her now. She has become so supple that his tendency would be to challenge her still further, make her come up still higher, open up more doors. She can give you so much more now.” Brocka snorts at the complaint Vilma is currently making: that so utterly has she done all the roles she can do there’s no new role left for her to do. ‘She can do the same role over and over again as long as, with the right direction, she does it always a bit more profoundly than the last time and makes it a bit more complex than the last time. She should have no problem at all with roles. In fact, I would advise her now to play roles that are not glamorous. Yes, she’s too associated with glamour to do that. But maybe in another year or two she can afford to take off her make up and act her age. Then she’ll really be on par with Nora, whose chief concern is seldom her looks. With Nora, it’s not her face that’s on sale. The problem with Vilma is that she feels she has to live up to her image as The Glamour Girl. I’m waiting for the day when glamour will have no truck -walang pakialam! – with the acting..." - Quijano De Manila (Nick Joaquin), Philippine Graphic Magazine 05 November 1990 (READ MORE)
Catalino Ortiz Brocka (April 3, 1939–May 21, 1991), director for film and broadcast arts, espoused the term “freedom of expression” in the Philippine Constitution. Brocka took his social activist spirit to the screen leaving behind 66 films which breathed life and hope for the marginalized sectors of society — slumdwellers, prostitute, construction workers, etc. He also directed for theater with equal zeal and served in organizations that offer alternative visions, like the Philippine Educational Theater Association (PETA) and the Concerned Artists of the Philippines (CAP). At the same time, he garnered awards and recognition from institutions like the CCP, FAMAS, TOYM, and Cannes Film Festival. Brocka has left behind his masterpieces, bequeathing to our country a heritage of cinematic harvest; a bounty of stunning images, memorable conversations that speak volumes on love,betrayal and redemption, pestilence and plenty all pointing towards the recovery and rediscovery of our nation. To name a few, Brocka’s films include the following: “Santiago” (1970), “Wanted: Perfect Mother” (1970), “Tubog sa Ginto” (1971), “Stardoom” (1971), “Tinimbang Ka Ngunit Kulang” (1974), “Maynila: Sa Kuko ng Liwanag” (1975), “Insiang” (1976), “Jaguar” (1979), “Bona” (1980), “Macho Dancer” (1989), “Orapronobis” (1989), “Makiusap Ka sa Diyos” (1991) (NCCA.gov.ph). On May 21, 1991 Brocka met an untimely death in a car accident in Quezon City, Metro Manila. In 1997 he was given the posthumous distinction of National Artist for Film.- Wikipedia (READ MORE)
