Jaguar is a 1979 drama film by Lino Brocka. The title comes from the Filipino word guardia or "guard," Anglicized into the word "jaguar." Colloquially, the word means "bodyguard," the occupation of the film's main character, played by Philip Salvador, who dreams of becoming an important person one day. The movie is based on the 1961 essay written by Nick Joaquin on the notorious 1960 Brown Derby shooting (as printed in Reportage on Crime) of Napoleon Nodecal. The film has also gained the distinction of entering into the Competition Category in the 1980 Cannes International Film Festival, where it was nominated for the prestigious Golden Palm Award. Poldo (Philip Salvador), a poor man, fantasizes about having good pay, social acceptance by the rich, fancy clothes and a good lifestyle, like most other Filipinos. He becomes a security guard in a posh apartment house to help his family. Trouble ensues after he saves his boss's son, Sonny (Mengie Colarribias), from a corrupt nightclub owner's attack. The grateful Sonny offers Poldo a job as his bodyguard. Unbeknownst to Poldo, his new employer publishes porno magazines and is just as corrupt as his attacker. Poldo, however, is lulled because now he gets a taste of his boss' carefree and extravagant lifestyle and believes that his boss accepts him as a friend. In one of the nightclubs they frequent, Poldo meets Cristy (Amy Austria), a dancer whom Poldo is attracted to. Sonny, too, is smitten by Cristy and aggressively pursues her, despite a warning from San Pedro, the movie director with whom Cristy has had an affair. Sonny and San Pedro fight over Cristy, while Poldo and Cristy act upon their sexual attraction with each other. Soon after, Sonny and San Pedro fight. Poldo comes to his boss' rescue and guns down San Pedro. Sonny, however, is unwilling to risk his reputation defending a functionary from the slums, and Poldo comes to the bitter realization that he is alone, abandoned, and betrayed. - Wikipedia (READ MORE)
Phillip "Ipe" Salvador (born Phillip Mikael Reyes Salvador; August 22, 1953) is a three-time FAMAS award-winning Filipino actor. - Wikipedia (READ MORE)
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"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)
The Actor - "...Ever since Lino Brocka stumbled upon Christopher de Leon in a gas station and heard the bells ringing in his head, his reputation as director began to be exceeded only by his reputation as star-builder, "actors, not stars," Brocka want to say but the patina of showbiz glamor has always rubbed off on his discoveries whether they like it or not....The bells have chimed once again. And now Phillip Salvador. With or without his first solo pucture, "Jaguar," Phillip is already a star. He does not like the imposition it makes on his lifestyle - on his choice of friends, of clothes, even of habits, of favorite wateing places. Yet he, more than any of Lino's other protegees knows the value of the status he has now achieved. Afterall, unlike Boyet and Bembol who were unknows catapulted to overnight stardom, Phillip was around for seven long years, aching for a break, knowing in his bones that he had what it takes, pitying himself at times, but never giving up. He was not one of showman Lou Salvador Sr's hundred or so children for nothing..." - Bibsy M. Carballo, TV Times, August 1979 (READ MORE)
In his Blood - "...Remember him as Celia Rodribuez's oversexed, ex-basketball star husband in the four episode comedy Spagkat Kami'y Mga Misis Lamang, his biggest role before his bigger break? Not likely, rmember him in Lirio Vital's barrio sweetheart in Anino ng Araw, or as Vilma Santos' gangmate in Batya't Palu-palo, or as Jun Aristorenas' side-kick in Tatak ng Agila, or as the young rebel in Adios Mi Amor, the Susan Roces-Eddie Gutierrez re-team up where he had his screen debut in 1971? I bet you don't. Inconsequential roles all, yes, that hardly left any imprint in the public memory. But he is a Salvador, you remind him, and he could have gotten a better deal. The name may help open doors, agrees this youngest boy (he's 24) in brood of, would you believe, 102 offspring (count them) but once the doors are opened, you will hvae to stand on your own and if you have talent, it will get you there, don't worry. Not that Philip didn't have talent he just didn't get the right vehicle. Because the acting fever is in his blood, Philip acted true to his nature. He quit school when he was in second year of commerce at the Jose Rizal College and joined FPJ Productions, determined to land the role while, on the side, he played with Ronnie Poe's all-star basketball team. For seven years, he drifted along, never losing hope, never losing enthusiasm...Last year, while doing the Gom-Bur-Za episode of Lahing Pilipino, Lino needed an actor to play the leader of the squad that captured the three martyr priest. Film editor Augusto Salvador suggested Phillip. "Lino made me walk," Phillip recalls. What kind of walk, he asked. "Just walk," Lino told him, "a casual walk." And so Phillip walked, steadfast like a soldier, his body as firm and graceful as a leopard's and Lino said to himself, "Eureka!" What Phillip didn't know was, at that time, Lino was scouting around for an actor who could play Stanley Kowalski in Flores. It was only on the last shooting day of Lahi did he break the good news to Phillip..." - Ricardo F. Lo (READ MORE)
Phillip "Ipe" Salvador (born Phillip Mikael Reyes Salvador on August 22, 1953) is a three-time FAMAS award-winning Filipino actor. - Wikipedia (READ MORE)
Philip Salvador and Vilma Santos
Adultery: Aida Macaraeg Case No. 7892 (1984) - "...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)
Baby Tsina (1984) - "...You know, I did a movie before, Baby Tsina, but I wasn’t really Chinese there. In Mano Po 3, I play Lilia Chong-Yang, a socially conscious anti-crime crusader and I get to know more about Chinese culture. We were even taught how to speak Fookien Chinese by a private tutor. Sa dubbing, the coach was there to make sure we’re perfect with our pronunciation of all our Chinese lines..." - Mario E. Bautista (READ MORE)
Sinasamba Kita (1982) - "...Sobra pala ang lakas ng “Sinasamba Kita.” Tuwang tuwa sina Vic at Mina del Rosario. They started with 38 theatres, by the weekend, 41 theatres na ang nagpapalabas ng pelikula. After 6 days, kumita na ito ng P5,207,416.00. After a week’s time, almost P6 million na ito..." - Billy Balbastro (READ MORE)
Rubia Servios (1978) - "...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, Sagisag, February 1979 (READ MORE)
Bato Sa Buhangin (1976) - "...I really felt very sad as he’s one of the kindest men I ever met. We’ve done three films together. The first one was when I was only 19-years-old, Batya’t Palo-Palo, a big hit. He was the one who taught me how to swim while we were shooting that movie. Before that, I did Dyesebel where I played a mermaid but I didn’t even know how to swim. This was followed by Bato sa Buhangin. Our last film together was Ikaw ang Mahal Ko, which I did after I gave birth to Ryan Christian. Kuya Ronnie is a gentleman in the strictest sense of the word. Talagang maasikaso siya sa lahat ng kasama niya sa shooting and he feeds everyone with great food all the time. He’s fun to work with kasi palabiro siya at masaya talaga kasama. The whole industry will miss him..." - Mario E. Bautista (READ MORE)
Batya't Palu-Palo (1974) - "...Two newly-proclaimed box office champions of Philippine movies star in FPJ Productions’ upcoming 13th anniversary presentations, “Batya’t Palu Palo,” a situation comedy about a rich heiress who disguises as a lowly washerwoman in order to find out for herself the true meaning of love. Dilineating the lead roles are Fernando Poe Jr. and Vilma Santos who star for the first time together. Now being filmed among the lush greens of Hacienda Luisita in Tarlac, “Batya’t Palu Palo” hopes to make people forget the humdrum activities of this world. A wholesome family entertainment, the flick will have Ronnie step down from his throne as the country’s number one action star to the down-to-earth role of Berting, a haceinda hand who nevertheless, catches the attention of the young rich and quiete spolied Estella. Directed by ace meg man Pablo Santiago, “Batya’t Palu Palo” is scripted by Fred Navarro, base on a story by Ronwaldo Reyes..." - FPJ-Da King Blogspot (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
Christopher De Leon (October 31, 1956 in Manila ) is a Filipino film actor who has 11 award wins and 23 award nominations, he has also become involved in politics. In the 1980s he appeared on the gag show Going Bananas and has appeared in over 120 films since the early 1970s. On July 1, 2010, he was sworn into office as the board member of the 2nd district of Batangas (Wikipedia). One of Philippine movies enduring love team, Vilma Santos and Christopher De Leon successfully transformed their film career from commercial success into critically acclaimed tandem. Both gave memorable performance in their 22 films mostly directed by acclaimed directors. The most notable commercial success are Elwood Perez’ Pakawalan Mo Ako and critically praised Relasyon.
Total Number of films with Vilma Santos: 23 (Tag-ulan sa Tag-araw, Masarap Masakit ang Umibig, Ikaw ay Akin, Disco Fever, Nakawin Natin ang Bawa’t Sandali, Magkaribal, Pinay American Style, Gusto Kita Mahal ko Siya, Pakawalan Mo Ako, Relasyon, Sinasamba Kita, Haplos, Paano ba ang Mangarap?, Broken Marriage, Minsan Pa Nating Hagkan ang Nakaraan, Imortal, Ipagpatawad Mo, Dahil Mahal Kita: The Dolzura Cortez Story, Nagiisang Bituin, Hanggang Ngayon Ika’y Minamahal, Dekada ’70, Mano Po 3: My Love, Karma)
Edgar “Bobot” Mortiz is a Filipino movie/TV actor and actor. Born Edgardo Mortiz on August 30, 1954. He was the champion for 13 weeks on the network’s talent search, “Tawag ng Tanghalan,” hosted by Pugo and Patsy (both deceased). He was the Original and unbeatable partner of Vilma Santos (Wikipedia). The loveteam of Edgar Mortiz and Vilma Santos endured a stiff competition from teeny bopper love team of Nora Aunor and Tirso Cruz III and came up with equal success with string of hit films during the musical era of the 70s. Together they did forgettable but commercial hits and also some hints of the years to come to Vilma Santos’ long career. The most notable one: Dama De Noche.
Total Number of films with Vilma Santos: 25 (Young Love, Teenage Jamboree, Songs and Lovers, Renee Rose, My Pledge of Love, Mga Batang Bangketa, Love Is for the Two of Us, I Love You Honey, From the Bottom of My Heart, Baby Vi, Love Letters, The Wonderful World of Music, The Sensations, The Young Idols, Sweethearts, Sixteen, Leron-Leron Sinta, Edgar Love Vilma, Don’t Ever Say Goodbye, Dama de Noche, Anak ng Aswang, Because You Are Mine, Kampanerang Kuba, Kasalanan Kaya, Karugtong ang Kahapon
Romeo Vasquez is a best actor awardee in the Asian Film Festival for his portrayal in Ako ang Maysala, He also starred in Lydia, Siete Amores, Wedding Bells, Isinakdal Ko Ang Aking Ama, Ginang Hukom, and Ako’y Iyong-Iyo which was all produced by Sampaguita Pictures Inc. His other movies included Ibulong Mo Sa Hangin, Hani-Hanimun, Sa Muling Pagkikita, Sa Digmaan at Pag-ibig, Ikaw ang Gabi at Ang Awit, Sa Pagsikat Ng Araw, Hanggang sa Kurtinang Bakal, Mariveles, Walang Wakas sa Matatapang, Pwede Ako… Puwede Ka Pa Ba?, Sa Aming Muling Pagkikita and Reputasyon. He co-starred witn Susan Roces in Bandana, Prinsesang Gusgusin and Maruja. His daughter with Amalia Fuentes, Liezel Sumilang, became the wife of Albert Martinez. His real name is Ricardo Sumilang from Lucban, Quezon (FAP).
Total Number of films with Vilma Santos: 11 (Nagaapoy na Damdamin, Pulot-Gata Puwede Kaya?, Dalawang Pugad Isang Ibon, Pinagbuklod ng Pag-ibig, Bakit Kailangan Kita, Pag-ibig Ko Sa Iyo Lang Ibibigay, Swing it Baby, Gusto Kita Mahal Ko Siya, Ayaw Kong Maging Querida, Dugo At Pag-ibig Sa Kapirasong Lupa, Happy Days Are Here Again)
Total Number of films with Vilma Santos: 11 (Inspiration, Ang Konduktora, Tsismosang Tindera, Ang Hiwaga ni Mariang Cinderella, Paano Ba Ang Mangarap, Sister Stella L, Coed, Leron Leron Sinta, Ito Ang Pilipino, Remembrance, Karugtong Ng Kahapon)
Dindo Fernando, born Jose Tacorda Chua Surban on Nov 19, 1940, Dindo Fernando became one of the most popular dramatic actor in the Philippines. He was famous as the father of famous TV soup character, Flor De Luna played by Janice De Belen in the 80s. He started at Sampaguita Pictures opposite Nida Blanca in 60s and later branched out into commercial drama actor in the 70s and 80s. His famous movie with Vilma was Gaano Kadalas Ang Minsan and Langis At Tubig.
Total Number of films with Vilma Santos: 7 (Langis at Tubig, Gaano Kadalas ang Minsan, Baby Tsina, Karma, Langis At Tubig, Hiwalay, T-Bird At Ako)
Eddie Rodriguez, is one of the greatest dramatic actors of Philippine cinema, he starred in such classics directed by Gregorio Fernandez as Kundiman ng Lahi, Luksang Tagumpay and Malvarosa with Charito Solis, Rebecca del Rio and Vic Silayan for LVN Pictures, Inc…His real name was Luis Enriquez from Zamboanga City (FAP). Eddie Rodriguez who was once played father to Vilma Santos in Vilma’s child star years later became her leading man in smash hits Nakakahiya and the sequel Hindi Nakakahiya.
Total Number of films with Vilma Santos: 10 (Nakakahiya, Hindi Nakakahiya, Simula ng Walang Katapusan, Halik sa Paa Halik sa Kamay, Hiwalay, Mga Mata ni Angelita, Kay Tagal ng Umaga, Hindi Nahahati ang Langit, Kasalanan Kaya?, Sino ang may Karapatan?)
Mat Ranillo III, is Matias Archibald S Ranillo III in real life, son to veteran actress Gloria Sevilla and Mat Ranillo Jr. and brother to actress, Suzette Ranillo. He is now more popular as the dad of starlet, Krista Ranillo. Mat did four films with Vilma, the most memorable was Rubia Servios, directed by the late Lino Brocka.
Total Number of films with Vilma Santos: 6 (Dalawang Pugad Isang Ibon, Kampus, Masarap Masakit ang Umibig, Rubia Servios, Relaks Ka Lang Sagot Kita, Mga Mata ni Angelita)
Bembol Roco, is Rafael Roco, Jr. in real life is born November 20, 1953, an award-winning Filipino actor whose work ranges from films to television. He is famous for his critically acclaimed role as Julio Madiaga in Maynila: Sa mga Kuko ng Liwanag. Though he acts in his country’s films, he also had a small role in the 1982 Australian-U.S. film The Year of Living Dangerously(wikipedia). Bembol Rocco did three films with Vilma Santos, two of which were box office hit and one was critically acclaimed, Pagputi ng Uwak Pag-itim ng Tagak.
Total Number of films with Vilma Santos: 4 (Pagputi ng Uwak, Pag-itm ng Tagak, Coed, Kampus, Pinay American Style)
Phillip ”Ipe” Salvador (born Phillip Mikael Reyes on Salvador August 21, 1953) is a three-time FAMAS award-winning Filipino actor. (Wikipedia)Vilma and Philip did three films, all directed by critically acclaimed directors, Marilou Diaz Abaya and the late, Lino Brocka. All these films were critically acclaimed and box office hits. He is also included in another VSR hit film, Sinasamba Kita.
Total Number of films with Vilma Santos: 5 (Adultery, Baby Tsina, Rubia Servios, Batya’t Palu-palo, Bato Sa Buhangin)
Fernando Poe Jr. is Ronald Allan Kelley Poe in real life, born August 20, 1939 – December 14, 2004), better known as Fernándo Poe, Jr. and colloquially known as FPJ and Da King, was a Filipino actor and cultural icon. (wikiedia)Two of the three films FPJ and VSR did was a record breaking box office hits. FPJ received the Philippine National Artist Award in 2006.
Total Number of films with Vilma Santos: 5 (Batya’t Palu-Palo, Bato sa Buhangin, Ikaw ang Mahal Ko, Dugo At Pag-ibig sa Kapirasong Lupa, Mga Mata ni Angelita)
