PALIMOS NG PAGIBIG (1986)

“Okey! So you're fertile and I'm barren...pero sa mga pangyayari, para kang karinderyang bukas sa lahat ng gustong kumain! Paano mong mapapatunayang ang asawa ko nga ang ama ng batang iyan at wala siyang kasosyong iba?”  “Mahal Kita at yan ay di ko kayang maihati sa iba. Pero kung ganitong niloloko mo lang ako kaya kitang palitan kahit sampung Lalaki!” - Fina

Basic Information: Directed: Eddie Garcia; Story: Nerissa Cabral; Screenplay: Racquel Villavicencio; Cast: Vilma Santos, Dina Bonnevie, Edu Manzano, Cherie Gil, Laurice Guillen, Pepito Rodriguez; Executive producer: Vic del Rosario Jr.; Original Music: George Canseco; Cinematography: Joe Batac Jr.; Film Editing: Ike Jerlego Jr.; Production Design: Peter Perlas; Theme Song: “Hiram” Composed by George Canseco Performed by Zsa Zsa Padilla

Plot Description: A man whose wife is unable to bear him a child seeks out a professional babymaker and is then forced to choose between his wife or a family with children.

Palimos ng Pag-ibig (Filipino: "Begging for Love") was a movie in 1985 and turned into a TV series in 2007 for the first installment of Sineserye Presents. This was from the original story by Nerissa Cabral. This movie was home of the famous tagline: "Para kang karenderiang bukas sa lahat ng gustong kumain!" (You're like a restaurant that's open to anyone who wants to eat!), In context of prostitution reference. On the outside, Fina and Rodel's marriage is a match made in heaven; but behind the thick walls of what they call home, their relationship is on the verge of crumbling. For all their affluence, the couple's lives remains empty. Devoid of a child to call their own, any attempts they make to conceive may prove fatal to Fina (Vilma Santos) due to her medical condition. In an act of desperation, Rodel (Edu Manzano) takes matters into his own hands and seeks the services of a surrogate, Ditas. The plan goes awry when Rodel becomes genuinely attracted to the younger and more alluring Ditas (Dina Bonnevie); while Ditas, whose lived a destitute life, finds the notion of prosperity equally irresistible. The well-intentioned plan to resuscitate life back into a dying marriage may become its undoing. - Wikipedia (READ MORE)

Childless couple Fina (Vilma Santos) and Rodel (Edu Manzano) seek medical help which reveals that Fina has an immature uterus, a condition she has known before their marriage but has kept from Rodel. Rodel's friends suggest that he adopt his own child with Ditas (Dina Bonnevie), a baby maker they introduce to Rodel. The arrangement is very professional but Fina overhears through a telephone extension that Ditas has given birth. Fina is indignant in thinking that Rodel has been cheating on her. She rejects the child and sends Rodel and his infant son away. Rodel turns to Ditas and stays with her for some time until Fina relents and welcomes Rodel and his son. Then Fina finds an infant girl in her garden because Ditas has decided to leave both Rodel's children for Fina to raise - TFC Now (READ MORE)

Palimos ng Pag-ibig is a komiks serial (Filipino comics serial) written by Nerissa Cabral. It was serialized in Aliwan Komiks from 1986-1987. Palimos ng Pag-ibig is a komiks serial (Filipino comics serial) written by Nerissa Cabral. It was serialized in Aliwan Komiks from 1986-1987. The story is about an infertile couple who never had a child of their own. The husband, frustrated by his wife's infertility, hired somebody who was willing to carry his child. The hired woman got pregnant but she fell in love with the child's father. The husband falsely adopted the child, hiding the fact from his wife that the child was his own. All the attention the husband gave to the child drove his wife to jealousy. To complicate things, the husband eventually had a secret affair with the child's mother, and this affair produced another baby. The mistress left the newborn baby at the footsteps of the husband's house. The wife then took care of the baby, and the children grew without their adoptive mother knowing that the two kids were fruits of her husband's secret love affair. The author eventually sold the story rights to Viva Films Productions which produced a movie of the same title in 1985 that starred Vilma Santos, Edu Manzano and Dina Bonnevie. - Wikipilipinas (READ MORE)

Film Achievement: FAMAS: Best Musical Score – George Canseco, Best Actor Nomination – Edu Manzano, Best Best Actress Nomination – Vilma Santos, FAMAS Best Supporting Actress Nomination – Dina Bonnevie; The film/novel became an ABS-CBN television series in 2007.

Film Reviews: "...The year was 1986. Palimos Ng Pag-ibig directed by Eddie Garcia was a smashed hit. Vilma co-starred with her soon to be ex husband Edu Manzano and Dina Bonnevie. Despite the mixed reviews from the critics, the film gave us, arguably, one of the most memorable lines in Philippine movie history. The scene was, Vilma, playing Fina was about to leave the house when Ditas, (Edu’s mistress and baby maker) knocked on the door, with her was her husband’s child. She forced herself in. Confronting Ditas, Fina: "Ilang gabi kang binili ni Rodel?" Ditas (Dina): "Isang Gabi lang, malakas ang kanyang punla at nangangailangan lang ng matabang lupa!" Fina: "Okey! So you're fertile and I'm barren...pero sa mga pangyayari, para kang karinderyang bukas sa lahat ng gustong kumain! Paano mong mapapatunayang ang asawa ko nga ang ama ng batang iyan at wala siyang kasosyong iba?..." - RV (READ MORE)

"...On the outside it looks like a marriage made in heaven. But inside the thick walls of what they call home theirs is a relationship waiting to crumble. They have been waiting a child for so long but the wife (Vilma Santos) does not have the capacity to bear a child. And when her husband (Edu Manzano) cannot take it any it any longer he decides to end his misery once and for all..." - Mav Shack (READ MORE)

"...Ang surrogacy or womb for hire, eh isang katotohanan na na­pagtanto nating lahat. Tinalakay ito in all its melodrama splendor sa Palimos ng Pag-Ibig, ang pelikula nina Vilma Santos, Edu Manzano at Dina Bonnevie. Sa movie, si Fina Alcaraz (Ate Vi) ay may infertile uterus. Desi­rous ang kanyang husband na si Rodel (Doods) to have a biological child so he hired Ditas (Miss D) na isang baby maker for a fee. Walang pros and cons ang surrogacy issue sa movie lalo na’t galing ang material sa komiks. Ang pinaka­memorable sa movie eh ang linya ni Vilma na, “Para kang ka­rinderyang bukas sa lahat ng gustong kumain.” Sosyalera si Ate Vi sa movie pero she can say lines like these..." - Alwin Ignacio, Abante Tonite, 22 March 2015 (READ MORE)

Related Reading:

• IMDB: Palimos ng pag-ibig (1986)
• Edu Manzano From Wikipedia
• Vilma Santos’ Top 10 Film Directors (part three)

MODELONG TANSO (1979)

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

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

Film Achievement: Entry to 1979 Metro Manila Film Festival

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

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

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

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

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

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

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

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

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

 

Related Reading:

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

PAANO BA ANG MANGARAP (1983)

“Dinaya n’yo ako! Saan n’yo dinala ang anak ko?.. Hindi mo alam...Sinungaling!... Kasabwat ka ng ina mo! Alam ko matagal n’yo nang plano ito!... Dinaya n’yo ako! Mga Traydor Kayo! Traydor kayong lahat!... Wala akong pakialam! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin ang anak ko! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin…” – Lisa

Basic Information: Direction: Eddie Garcia; Adapted screenplay: Orlando Nadres; Original screenplay: Nerissa Cabral; Cast: Vilma Santos, Christopher Deleon, Amy Austria, Jay Ilagan, Peral Bautista, Armida Siguion Reyna, Vic Silayan; Cinematography: Romy Vitug; Theme Song: "Paano Ba Ang Mangarap?” sung by Basil Valdez; Producer: Vic Del Rosario, Viva Films

Plot Description: Despite their different social backgrounds, Lisa (Vilma Santos) and Benny (Jay Ilagan) have found their match in each other. Unfortunately, Benny dies before they could marry, and Lisa is left with no choice but to seek the help of Benny's parents. But their arrogance is as lofty as their fortune, and to them, Lisa is nothing but an opportunist. Their only concern is their late son's unborn child that Lisa is carrying in her womb. The only person who treats Liza with kindness is Eric (Christopher de Leon), Benny's brother, who has secretly fallen in love with her... – Kabayan

Pregnant Lissa's (Vilma Santos) misery starts when her wealthy boyfriend Benny (Jay Ilagan) dies in a motorcycle accident. Impoverished, Lissa seeks security for her child with Benny's malevolent mother Doña Francia (Armida Siguion-Reyna). Her one request is to stay at their house until she gives birth, then leave the infant to their care. Doña Francia abuses Lissa who works for her like a maid, leading to the death of Lissa's mother. Benny's brother Eric (Christopher De Leon) falls in love with Lissa and marries her to the indignation of Doña Francia who denies Lissa of her son. Lissa marries Eric not for love but to be with her son and eventually gets pregnant but has a miscarriage. Disheartened, Eric turns to her ex-girlfriend Maya (Amy Austria) with whom Eric goes on a world tour. Meanwhile, Doña Francia surreptitiously brings Lissa's son to the U.S. - TFC Now (READ MORE)

Film Achievements: FAMAS: Best Director nomination - Eddie Garcia; FAP Best Cinematography - Romeo Vitug

Film Reviews: Paano Ba Ang Mangarap? rates high for its slickness and production gloss, something that its producers, Viva Films, shouldn’t hope would last them more than two seasons. Eddie Garcia is a good director. He stages his scenes well, with a minimum of fuss and a modicum of winning faith in narrative primacy. Viva’s movies are well-structured, well-paced, and at their best show how the cosmopolitan Filipino behaves under romantic stress. But if you get past that level and dig into substance, you encounter that self-same compost pit wherein all the biodegradable scraps of melodrama you can find southeast of your favorite mother’s kitchen have been thrown. Such is the case, to a most lamentable extreme, with Paano Ba ang Mangarap? It’s well-acted, well-done, tastefully correct in elementary mode. But it is strictly local comics fare, this well-wrought turn of circumstantial twist and escalating conflicts which all spell high drama. Viva makes films that are at best our answer to Hollywoodian slick, the stuff of which The Other Side of Midnight and Imitation of Life are prime generational examples. The Barbra Cartlands and Harold Robbinses turned celluloid; Mills and Boon on the big screen.

Here you have two fine actors, Christopher de Leon and Vilma Santos, waxing once again with their special chemistry. Boyet is so good he can, by merely varying his inflection, go through a simple line like “Tama na..” three times and prove positively sensitive and believable each time. Subtlety of feeling is shared equally well by Vilma Santos. They are both aware of the value of underplaying their emotional scenes, so much so that in any confrontation with other thespians who play their role to the hilt, these two, Boyet and Vilma, come out on top through the simple process of undercutting. Vic Silayan and Perla Bautista are equally good in Paano Ba ang Mangarap?, but it is Moody Diaz who wins us over by applying a different tack in her “mayordoma” role, something that is usually played for laughs and other such effects by less gifted, or less imaginative, performers. Armida Siguion-Reyna is hampered by her termagant mother-in-law role, the catch-all character of cruelty spawned by all the soap opera dramas of Philippine comics and radio serials. And she plays this thoroughly unbelievable character, typecast as she already is, much to the hilt. That fantasy scene where she makes out like a satanic figure, though well-shot by Romy Vitug, is quite embarrassing for a picture like this, except of course we know that it is based on a comics serial where such fictive excesses may appear.

Here is where this otherwise finely-crafted film suffers. Viva knew it had to be faithful to the comics serial, so in effect opted for the surefire commercial draw at the expense of a truly artistic, credible film. I’m not saying that a character like Mrs. Monteverde does not, or cannot, exist. Perhaps one in a million. Filipino mothers can be as overbearing, prejudiced, unfeeling, and downright cruel. But to have a situation where an improbable character like her meets up with other improbable characters like the one Vilma and Christopher play, is stacking up the cards too much on the side of atrocious melodrama. Vilma is the martyr type who would subject herself to indignities just so her coming child can have a name and possibly better upbringing. Boyet is the unloved son who would ditch his sophisticated girlfriend (Amy Austria, who is still uncomfortable in such role, so she doesn’t fare too well here) for this martyr-type who’s been impregnated by his brother. Now, any of these characters may exist, if by a long chance. But to have them all together living under the same roof is stretching the bounds of possibility much too much. Furthermore, it could have been a better ending had the Viva bosses decided to stop at that scene where Vilma finds herself left alone on Christmas in the rich surroundings she has always dreamt of. Now only the household help can give her token solace by way of a collective gift. It is a poignant scene, stylistically done to proper effect with the usual Viva-film theme wafting through in support of silent montage. It could have been a good open ending, with overtones of irony laying themselves squarely on Vilma’s character. But no, of course one can’t disappoint the followers of the original comics serial. So the story goes on through further typical maneuverings until we’re given at least a semblance of a happy ending. A missed chance, I say. Written by Alfred A. Yuson, "A missed chance," Philippines Daily Inquirer, 17 July 1983

A true blooded Vilmanian will not forget the time when a teaser (a very brief movie trailer – around 20 seconds) was shown to the theatres in the summer of 1983. It was Viva films’ “Paano Ba Ang Mangarap?” Another box office hit from Vilma Santos and Christopher DeLeon. The teaser (almost worth the whole movie ticket) was the scene where Lisa, played by Vilma discovered that her son (to Eric’s brother, Jay Ilagan) was gone courtesy of her evil rich mother-in-law (Armida Sigueon Reyna). Here’s the lines and the explosive acting of the Queen. The scene: After running around looking for the baby in all the rooms in second floor of of this huge mansion, Lisa confronted Eric who were stunned to find Lisa’s hysterics.
   Lisa: "Dinaya n’yo ako! Saan n’yo dinala ang anak ko?!"
   Eric: "Hindi ko alam!"
   Lisa: "Hindi mo alam...Sinungaling!"
   Eric: "Lisa, makinig ka muna!"
   Lisa: "Kasabwat ka ng ina mo! Alam ko matagal n’yo nang plano ito!"
   Eric: "Ano bang pinagsasabi mo?"
   Lisa: "Dinaya n’yo ako! Mga Traydor Kayo! Traydor kayong lahat!"
   Eric: "Lisa, huminahon ka baka mapaano ang bata!"
   Lisa: "Wala akong pakialam! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin ang anak ko! Ibalik mo sa akin si Jun Jun! Ibalik mo sa akin…. AHHHH (mahuhulog sa hagdanan)"
Just this scene alone, Vilma should be rewarded that year’s best actress award! Bravo! – RV

"...The movie showed Garcia's strengths as a director—able to motivate his actors, frame sequences and scenes, and efficiently tell a story.  Those qualities would be very evident in the 1980's when Eddie Garcia directed the biggest blockbusters of Viva Films...But his best movies were domestic dramas that gripped audiences for their complex take on relationships and their tendencies toward tortured, twisted operations. Hallmarks of this genre were "Sinasamba Kita" in 1982 (Vilma Santos cruelly treating her half-sister), "Paano Ba ang Mangarap?" in 1983 (cruel mom-in-law seizing her grandkid from his mom, played by Santos), and "Magdusa Ka" in 1986 (an illegitimate daughter claims her birthright but finds life in her rich dad's mansion a cruel torture).  His last most significant movie as a director was obviously "Abakada Ina" (2001). In telling the story of an illiterate mother struggling for her children's attention against her mother-in-law who's a schoolteacher, Garcia seemed to go back to the standard traits of his best domestic dramas, with their take on the meanness and cruelty that seem to underlie filial relationships..." - Lito B. Zulueta (READ MORE)

"...Despite their different social backgrounds Lisa (Vilma Santos) and Benny (Jay Ilagan) have found their match in each other. Unfortunately Benny dies before they could marry and Liza is left with no choice but to seek the help of Benny's parents. But hteir arrogance is as lofty as their fortune and to them Liza is nothing but an opportunist. Their only concern is their late son's unborn child that Liza is carrying in her womb. The only person who treats Liza with kindness is Eric (Christopher de Leon) Benny's brother who has secretly fallen in love with her..." - Mav Shack (READ MORE)

"Dahil Father’s Day ngayon, nais nating bigyan ng magandang tribute ang nakilala nang ama ng maraming­ artista ng iba’t ibang henerasyon na si Eddie Garcia. Hindi lang mahusay na bida at kontrabida si Eddie kundi mahusay rin siya bilang isang film director. Taong 1961 nang idirek ni Eddie ang kanyang unang pelikula titled “Karugtong Ng Kahapon” kunsaan bida sina Mario Montenegro, Rita Gomez, Ric Rodrigo at Marlene Dauden. Higit na 36 movies pa ang dinirek ni Eddie na iba-iba ang tema...Paano Ba Ang Mangarap? (1983), Tungkol ito kay Lisa (Vilma Santos) na nabuntis ni Benny (Jay llagan) pero noong mamatay ito sa isang aksidente, ang kapatid nitong si Eric (Christopher de Leon) ang nagpakasal kay Lisa para mabigyan ng pangalan ang bata. Ginawa niya ito kahit na may girlfriend siya na si Maya (Amy Austria). Hindi pabor sa simula pa lang ang ina nila Benny at Eric na si Senyora Francia (Armida Siguion-Reyna) at gumawa ito ng paraan para mailayo kay Lisa ang anak nitong si Jun-Jun. Nanalo ito ng limang FAMAS Awards: Best Picture, Best Story, Best Screenplay, Best Cinematography at Best Theme Song..." - Ruel Mendoza, Abante, 15 June 2019 (READ MORE)