Remembering Celso Ad Castillo

Castillo gave Vilma Santos her first mature role in Burlesk Queen resulting with her first local film festival best actress award. He also directed Pagputi Ng Uwak Pagitim Ng Tagak where Vilma Santos starred and produced. The film received several best picture awards and was considered one of Castillo’s best works. Total Number of collaboration with Vilma Santos: 3 (Burlesk Queen 1977, Pagputi ng Uwak Pag-itim ng Tagak 1978, Tag-ulan sa Tag-araw 1975)

The "Bomba" Movies - "...In the early seventies, these magazines showed a certain boldness in publishing sex-oriented stories, with accompanying explicit illustrations. The big companies reluctantly ignored these stories, and it was the independent film producers who dared bring them to the screen. The bomba movie was born, shaking the whole industry to its very foundations. New directors were tried out. And a new breed of actors and actresses, who were willing to do anything in front of the camera, threatened to put the more established crowd-drawing out of business. Sex became the staple of the film industry. It was during this time that a new film director surfaced - Celso Ad. Castillo, then in his twenties. His vehicle, Nympha, was the simple story of a girl from a very religios family who ran away and got involved with four men. This story has been done over and over again in a number of forgettable movies and is a staple of the comic magazines. In its attempt to ride the bomba bandwagon, it featured enough sex scenes to satisfy the male audiences who expected every new movie to be still more daring. But Castillo had more to offer than steamy sex. He told his story in such a way that details previously considered taboo were exploited. In one of the first scenes, Nympha, the cooped-up virgin, is shown praying with her spinster aunt, when her attention is caught by the illicit coupling between two young lovers just outside their window. The scene of the novena is intercut with the groaning and moaning couple. At the end of the novena (coinciding with the consumation of the sexual act), the image of Christ is shown staring down at her, reprimanding her for her sin. The movie ends with an abortion scene shown in all its gory details, a literal bloodbath which causes the death of the girl. In a strictly Catholic society like the Philippines, a film like Nympha was bound to create a sensation. It was, for the younger generation of Filipinos who missed the so-called Golden Age of Philippine movies in the 50s, their first auteur film. Castillo showed a flair for visual narrative, emphasis and texture never before seen on screen..." - Rosauro de la Cruz, Focus On Filipino Films, A Sampling 1951-1982 (READ MORE)

"The Messiah" - "...Castillo said he had his hair completely shaved to insure the completion of "Pagputi." The film had been so plagued by problems - production delays, unavailability of stars, bad weather, that they were all set up to give up. He had to stay put in Laguna and finish all the remaining scenes, fearing he might not have the energy and enthusiasm to return to the location sites should he leave for Manila. An effective way of nailing him down in one place was parting with his hair. "It was also a symbolic act of himility, of shedding my vanity," Castillo added. Which was unusual for one who proclaimed himself "The Missiah and The Uncrowned." "But they were not meant to be taken seriously. Of course I was kidding when I called myself "The Messiah." Castillo said. The money and the effort, not to mention frayed nerves and emotions, tears and high blood pressure, poured into "Pagputi" is paying off. The film is making money and reaping accolades from critics and moviegoers alike. The latter are almost unanimous in saying that "Pagputi" is one of the most meaningful film in years and most probably the best of 1978...In fairness to director Castillo, it must be said he could make films, good films, without waiting for over two years (as the case in "Pagputi") and depleting the producers' pocketbooks. He finished "Pinakamagandang Hayop sa Balat ng Lupa" in one month, "Burlesk Queen," the top grosser in last year's Metro Manila Filmfest, was made in two months. He admitted however that he does not follow scripts rigidly, (even if its his own scripts), but rather improves and relies on his instincts right on the set. He refuses to resort to shortcuts and daya. It may not be the most economical and ideal way of filmmaking, but judging from the results (artistic and money wise) of his movies, it had served director Castillo well..." - Ronald K. Constantino, Expressweek Magazine, 03 August 1978 (READ MORE)

The Vindication - "...As soon as his schedule will permit, he’ll go to Hong Kong and seek a job with Run Run Shaw. He believes this wil pave new roads for him, hopefully a Hollywood assignment. At the moment there’s nothing more he’d like to do than get out and run away from everybody, friends and foes alike, donning the thickest, darkest glasses, bumming around as is his won’t. The film has given him tremendous self-confidence. “I can take it easy now,” he stresses. “After doing Burlesk I won’t have to prove myself to anyone anymore. He talked about the film again, very obviously so close to his heart. “With it I wanted to show some kind of heroism,” he explained. “In the movie Vilma is pregnant and she knows very well that by dancing the striptease she runs the risk of losing not only her baby but her own life. Yet, she goes on, dying in the end. I want to tell the audience – The show is over but the show must go on. Before doing it anything, one should ask himself, ‘Is it worth it?” Vilma loses her life – is it really worth it?” What he fears most now is the sweet smell of success. “I couldn’t imagine myself moving around in a plane or speedboat. When I do this, I will have finally prostituted my art.” Still and all, he coundn’t be happier with the way Burlesk Queen has turned out. “Ngayon, malalaman na kung sinong tunay o hindi,” he gloated..." - Robert Q. Castillo, MOD Magazine, Jan 6 1978 (READ MORE)

Dalang-dala si Leopoldo - "...The last film of Vilma and Leopoldo. He played the crippled father who is against his dauther working as a burlesque dancer. Writer, Ricardo Lee interviewed director Celso Ad Castillo about the directing Salcedo and Santos: “…Tuloy-tuloy ‘yun…(the hospital scense with Vilma and Leopoldo Salcedo) nag-experiment ako noong una, kumuha ako ng second take, pero di ko na rin tinapos. Perfect na iyong una. Alam mo bang nang gawin namin ang eksenang iyon tatlo kaming umiiyak sa set? Ako, si Vilma, at si Leopoldo? Dalang-dala si Leopoldo sa pagsasalita ni Vilma, lumuha siya kahit patay siya dapat doon. Buti na lang di siya nakuha ng kamera…(Kung Nahirapan ka ba kay Vilma?) …Oo, hindi sa acting dahil mahusay talaga siya kundi sa scheduling. Alam mo kasi it takes time before I can really get into the mood of a picture, mga two weeks, tapos kapag nandiyan na, that’s the stage when I’m ready to give my life to the project. Tapos biglang walang shooting ng two weeks dahil busy siya sa ibang pelikula…" - Ricardo Lee, Manila Magazine, Dec 1- 31, 1977 (READ MORE)

"Aktres" Na Talaga - "...I was shocked,” said Vilma who played the title role in the movie that marked the turning point in her career. “He was too young to go...Celso Kid was the first director who told me na aktres na talaga ako after we shot Burlesk Queen,” added Vilma who won Best Actress at the 1977 Metro Filmfest, but the same award, including those for Best Director and Best Film, were taken back after a controversial Awards Night. “That was the turning point of my career,” said Vilma. After Burlesk Queen, Vilma worked again with Celso in Pagputi ng Uwak, Pag-itim ng Tagak which took three years to finish, causing a big rift between them. “I didn’t only star in the movie, I was also its producer,” recalled Vilma. “I remember Celso Kid as a genius, an intense director. We have forgotten our differences and we resumed our communication. I knew that he was sick. Only a few days ago, I was coordinating with him for his book. He was asking for pictures for the book’s cover. I will pray for the repose of his soul and for his family. I just hope that he was able to finish the book.” Celso also directed Vilma in Tag-ulan sa Tag-araw,” the movie that launched Vilma’s long-running team-up with Christopher de Leon (they have starred in more than two dozen movies since then)..." - Ricky Lo, The Philippine Star, 27 Nov 2, 2012 (READ MORE)

The wisdom and intellect of the Filipino moviegoers - "...So the premise goes like this: If it's good (the film) then why does it fail (at the box-office)? A film makes money because it is effectively communicated visually with its basic intent and purpose within the framework of desired entertainment value, simply saying that if you're smart, they why aren't you rich? Also I believe that it is the ultimate idiocy to regard a film as artistic or commercial during the stage of its conception. So that no one may classify a film before or during or after its principal photography. A film only becomes commercial when it has achieved the desired box-office results and only destiny and its timelessness can make a film an art. I dare again say that "classics are not product of presents times but are babies of tomorrow." And yes, Viriginia, we have indeed in our midst a new breed of moviegoers. In fact it has outgrown our movie industry which up to now still clings to the traditional star and producership systems of the 50's. The industry still sells the recycled films smorgasbord of Dona Sisang and Dr. Perez to a public has been educated tremendously (sic) by the technology of the 20th century communication arts. Damn those people who insists that the wisdom and intellect of the Filipino moviegoers did not progress even as man had already set foot on the moon and the revolution of modern man had already happened in Asia! For after a thorough theoretical evaluation we can not dismiss the wisdom of acceptance that what precipitated the great awakening of the Filipinos to aesthetic appreciation of modern cinema are: the invasion of television sets in our living rooms which is tantamount to day-to-day exercise of our visual appreciations, the prerogative to chose our line of vision through betamax and the great exports of Filipinos in any capacity to that their return to our homeland bring with them a more civilized attitude towards the intellect of both personal and cinematic arts of existence..." - JC Nigado, Manila Standard, 12 Feb 1987 (READ MORE)

Celso Ad Castillo - "...Born in Siniloan, Laguna 12 Sept 1943. Movie director, scriptwriter, actor. He is the son of Atty. Dominador Ad Castillo, lawyer/writer, and Marta Adolfo. He studied at Manuel L. Quezon University and obtained his Bachelor of Arts degree in English Literature in 1964. Castillo started as a writer for a komiks magazine. With the help of his father, he published his own magazine where he wrote all the stories from cover to cover, using different names as authors. A movie producer commissioned him to write a script on the character of " James Bandong." named after Britain's superspy. The film made money and it was followed by a sequel, "Dr. Yes," 1965, a spoof on the British film, Dr. No. He wrote and directed his first movie, "Misyong Mapanganib" (Dangerous Mission), in 1966. The most memorable of his earlier films is "Asedillo," 1971, based on a Filipino rebel of the 1920s who was hunted down as a bandit by the American colonial government. With this film, Fernando Poe, Jr. acquired the image that was to set him off as a legendary gunslinger, a defender of the poor and oppressed. Castillo also made Ang Alamat (The Legend), 1972, with Poe as a reluctant hero who battle a whole private army all by himself to defend his townfolks. Succeeding Castillo films aspired towards thematic originality: small-town perversion in Ang Madugong Daigdig ni Salvacion (The Bloody World of Salvacion), 1975; incest in Tag-ulan sa Tag-araw (Rainy Days in Summer), 1975; political and period gangsterism in Daluyong at Habagat (Tall Waves, Wild Wind), 1976. Even his sex films had a to message to tell. One finds spiritual undertones in the story of an oversexed girl in "Nympha" (Nymph), 1971; a struggle of conscience in a stripteaser who laughed on the outside but cried on the inside in "Burlesk Queen" (Burlesque Queen), 1977; tribal conflict in "Aliw-iw," 1979; a conflict of family values in "Snake Sisters," 1983; and the politics of domination in "Isla" (Island), 1983...Castillo won the Filpino Academy of Movie Arts and Sciences (FAMAS) awards for best director and best story for "Pagputi ng Uwak, Pag-itim ng Tagak" (When the Crow Turns White, When the Heron Turns Black), 1978, and also won the Urian awards for best director and best screenplay for the same picture. He shared the story credits with Ruben Nicdao, and the screenplay credits with Lando jacob, Ishko Lopez and Ruben Nicdao. He won the FAMAS best director trophy again in 1985 for "Paradise Inn," a Lolita Rodriguez-Vivian Velez starrer. He also has a FAMAS best supporting actor award, for "Sampung Ahas ni Eba" (Ten Snakes of Eve), in 1984..." - Excerpts from Encyclopaedia of Philippine Arts by L. Pareja, Celso Ad Castillo Presents web-site (READ MORE)

Related Reading:

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• Direk Celso Ad Castillo, 69
• Celso Ad Castillo, Ang Lalaking Pinagtaksilan...
• Focus on Filipino Directors: Celso Ad Castillo
• The Vindication of Celso Ad Castillo
• Filmmaker Castillo dies after finishing autobiography
• Celso Ad Castillo's eldest child writes an open letter about his late father
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TAG-ULAN SA TAG-ARAW (1975)

“Kuya Rod…ayokong magsisi ka…nasasaktan ako…basta’t mahal kita, mahal na mahal kita, basta’t mahal mo ako, hindi tayo dapat magsisi, hindi tayo dapat mahiya!” - Nanette

Basic Information Directed, story: Celso Ad. Castillo; Screenplay: Mauro Gia Samonte; Cast: Vilma Santos, Christopher De Leon, Eddie Garcia, Lorli Villanueva, Joseph Sytangco, Joonee Gamboa, Odette Khan, Pedro Faustino, Alma Moreno, Rez Cortez, Soxy Topacio, Eva Darren, Edna Diaz, Nympha Bonifacio; Executive producer: Lourdes S. Sevilla; Original Music: Ernani Cuenco; Cinematography: Ricardo M. David; Film Editing: Augusto Salvador; Production Design: Baby Alvarez; Sound: Manuel Daves; Released date: 24 October 1975

Plot Description: First cousins, Rod (Christopher Deleon) and Nanette (Vilma Santos) fell in love. The result was an unwanted pregnancy and a scandal that their family have to endured and ended into a trip to the abortion clinic.

Film Achievement: The very first film of Christopher Deleon and Vilma Santos, considered as one of the most successful love team Philippine cinema ever produced. As of 2008, Deleon and Santos has twenty-three films under their belt.

Film Reviews: The film “Tag-ulan sa Tag-araw” directed by Celso Ad Castillo started with Nanette (Vilma Santos) meeting Rod (Christopher Deleon) while vacationing in their rest house along the beach. It was clear to both that it was love at first sight but this instant chemistry ended when they discovered they are first cousins. Faith continued to play an important role to their initial attraction as Rod joined Nanette along with her parent to Manila where Rod was permitted by his parent to continue his study. Rod and Nanette at first decided to resist their feeling for each other by dating other people but their love for each other are more intense than what their mind dictates. The two started to have a secret affair culminating to a hot sex when they came back to the rest house when another summer arrives. As expected Nanette gets pregnant and the problem to expose, their taboo affair is ticking. Worst, Nanette’s morning sickness was noticeable to her suspicious mother played wonderfully by Lorli Villanueva. When finally Nanette’s family found out her condition, she was beaten by her angry father but she remained tight lipped to tell who impregnated her. As Rod tried to remained his calm, Nanette’s family locked her to her room until she’s ready to talk. Rod climbed to the balcony to speak to her and that’s when Nanette’s family discovered who is the father. As Rod came down to the balcony, he was cursed by both parents and was beaten by them as Nanette beg for mercy. Rod was hospitalized as his parent came from the province and beg for forgiveness to the angry Julio (Eddie Garcia), Nanette’s father. Julio was fuming and throws the couple out the house. He also mentioned that they are planning to abort Nanette’s baby.

Forest of the Heart - “...The best way to learn how to write is to keep on reading and writing. That was the advice I got from the late Vicente Rivera Jr., Literary Editor of the Weekly Graphic Magazine in 1965. Evidently concerned that I might be getting discouraged by the avalanche of rejections of my contributions to his section, Vic would write me such notes and attach them to the manuscripts that he sent back. Finally out of school, having permanently aborted my engineering studies, I was then working as a stay-in janitor-messenger in a travel agency in Binondo. That stay-in status gave me whole nights of pounding the typewriter for churning out short story manuscripts so endlessly it must seem that a friend of the agency owner who was doing PR for a brewery company would taunt me with ridicule: “The only good thing you are doing is you are helping the paper industry.” I would gape at the remark, quite baffled. And he would blurt out in harsh laughter, saying, “Imagine the tons of bond paper that you consume with what you are doing.” “Just you wait, Jimmy Boy. Just you wait.” At this point, I am constrained to flash forward. The time was 1970. That guy Jimmy had been waiting at the editorial offices of the Makabayan Publishing Corporation, publisher of the Weekly Nation, one of three leading magazines during the period. He did take time to wait, three, four hours maybe, so as to get an appointment for Luis Nepomuceno, producer of the Nepomuceno Productions of which he was the PRO, with the entertainment editor of the Weekly Nation — named Mauro Gia Samonte. Vic Rivera’s advice had borne fruit. I had kept reading and writing until, at long last, in 1965 I had my first-ever short story published in the Weekly Graphic, “Forest of the Heart.” That story would, a decade later, form the core of the screenplay of “Tag-Ulan Sa Tag-Araw,” the Vilma Santos-Christopher de Leon blockbuster film that I would write for direction by Celso Ad. Castillo. And the performance of the movie would tee me off in a career, both in screenwriting and in film direction, successful enough for Tatay to say he had not waited in vain. He got the pleasure of being included together with Nanay in one of the movies I directed. But didn’t I say, “If I were a fish”? I did, indeed. And as a fish, I was gasping for breath when Henry Sy suddenly dealt the Philippine film industry a death blow by banning adult movies in SM theaters, which comprise 80 percent of movie exhibition outlets; and adult movies were what the Philippine cinema was mainly about..." - Mauro Gia Samonte, Manila Times, 11 October 2016 (READ MORE)

When Rod found out from his parents the planned abortion, he left the hospital and went back to his uncle’s house. Very timely, Rod arrives as Nanette together with her family was headed to the abortion clinic. With the help of two security guards, Rod was controlled as his uncle’s car passed him and Nanette cried for intervention. Rod followed the car and was almost successful as the car stopped for the traffic lights. But his attempt failed as the car continued its destination. The end. The Catholic Church prohibits marriage between first cousins and it is considered a sin. Tag-ulan sa Tag-araw successfully tackles this topic with convincing scenarios and believable characters. Celso Ad Castillo’s style remained true to many films in the 60s with canned music and repetitive voice over by its two main characters. One scene you will hear Christopher narrates his feelings and the next scene it was Vilma’s turn to speak. Most of this narration or voice over while they are playing in the rain on the streets or on beach.

This is the first film by Vilma Santos and Christopher Deleon and it was clear that the two have that chemistry on screen. The film ensemble was quite impressive starting with Eddie Garcia and Lorli Villanueva as Nanette’s parents. As Julio, Eddie Garcia was animated at times but his character balances out the mother role of Lorli Villanueva. Joseph Sytanco’s role as Nanette brother was minimal and he doesn’t have enough lines but his quiet scenes were effective. Johnee Gamboa and Odette Khan’s performance as Rod’s parents were excellent. The agony on Odette’s voice as Johnee, her husband begs for forgiveness on behalf of their son was very believable. The two main characters, Christopher Deleon and Vilma Santos obviously carried the film with surprising maturity. Considering this was their first team-up and both were very young. In 1975, both were still in transitions, from teenybopper stars of the musical era to serious actors. Christopher Deleon’s performance was quite impressive as the apologetic Rod, except for some scenes where you can see his nostril moves, he gave a very affecting performance. Vilma Santos equally balance the equation with a touching show of emotions that we seldom see in her early films that are mostly musicals, fantasy or comedies.

Three scenes stand out. First was in the bus where she confronted her “Kuya Rod” to not to give-up on their relationship. Second when her parents caught them in the balcony. She begs them to stop beating up her “Kuya Rod.” And then finally, the driving to the abortion clinic scene, she cried her heart out begging them to stop and cried for help to her “Kuya Rod,” who was running behind and trying very hard to stop the car. Celso Ad Castillo successfully gave us a very moving film. Even with the very annoying number of voice-over scenes, scenes that you will hear the two main characters talks but you will see them not opening their mouth, the film has so many good qualities that you will forgive these flaws. We probably attributed these flaws to the style of many films in the 60s and 70s. Ricardo David’s cinematography was excellent particularly the many scenes on the streets. You can see many spontaneous shots of people that were gawking at Christopher Deleon running like a maniac. David’s very intricate camera work inside the car, dinner table and at the living room while Nanette’s mother was playing piano adds to the intense mood of the film, this is despite some shot where you can see the shadow of the camera particularly when Christopher left the house because he can’t stand to see Nanette being slap repeatedly by her angry father. The film was fast paced, thanks to Augusto Salvador’s editing. There are many scenes where the background music matches the mood like the choir/choral-like music at the very end of the film but Ernani Cuenco used so many canned music that sometimes it was very distracting. Like the voice over style used by Castillo, the musical score used in this film was typical of the 60s and 70s. Even the excellent Lino Brocka film, “Tinimbang Ka Ngunit Kulang” used this kind of style. Overall, Tag-ulan sa Tag-araw was a superb film that highlighted the potential on screen chemistry and talents of the screen team of Christopher Deleon and Vilma Santos. For their fans, I would recommend to have a copy of this classic film. Special thanks to Liam Tayag for downloading this film via Youtube. - RV

Celso Ad Castillo: I see the movie in my mind even before I start shooting. I’m meticulous. I control everything on the set, even during post-production — from editing and music to sound. My audience knows my style. It’s like painting: You discover your style, then you do it. I caught “Tag-ulan sa Tag-araw” with Vilma Santos and Boyet de Leon on Cinema One the other day, and I clearly saw my own style, in terms of sensitivity, shots and drama. Written by Ronald Mangubat, “DIRECTOR’S CUT: Celso Ad Castillo goes digital,” Inquirer, 06/09/2007

Tag-ulan sa Tag-araw is the first screen team-up of Vilma Santos and Christopher de Leon. That fact alone gives the film a unique importance. This partnership paved the way for a string of memorable films together. They played notable roles, shared celebrated scenes, delivered unforgettable dialogues, and reaped acclaim for their performances. Theirs is the ripest love team in Philippine cinema, transcending cheap romance in exchange of maturity, often appearing as a couple in the hardest of circumstances. In Tag-ulan sa Tag-araw, they play cousins who fall in love with each other, and knowing it is socially unacceptable, they try to fall out of it. It seems awkward for a first team-up, considering its taboo subject, but seeing young Vilma and Boyet weep as they fight for their impossible love story, it only shows that they only get better the harder their roles are. It is already clear in the beginning that their romance is doomed. Rod and Nanette meet in a beach house owned by her parents, who bring Rod along to stay in their place in Manila to study. It is love at first sight—Rod sees her playing along with her friends in the beach and as she runs to get her dog, they exchange names, glances, and affection. Right that very moment, they are in love. They walk around the place, holding hands, sharing their surprise on how comfortable they already are with each other. There is nothing really malicious about it. We all know that their affection is sincere. They have longed for it—and it came. - Lilok Pelikula (READ MORE)

Noel insisted that I watch Tag-Ulan Sa Tag-Araw, a Vilma Santos-Christopher de Leon movie from the 70s. Hadn’t realized it was written and directed by Celso Ad. Castillo, the demented genius of Philippine cinema. I used to see the movie on TV ages ago, and I’ve never forgotten the final scene in which Vilma’s parents are taking her away, Christopher is chasing the car on foot, and at every stoplight he hurls himself at the car, smashing the windows and bouncing off the hood. It was intense and oddly, not laughable. Nenet (Santos) and Rod (De Leon) are cousins who fall in love at first sight before they learn that they are first cousins. Rod has come to Manila to attend university; he lives in the house of Nenet’s parents. The parents are played by Eddie Garcia and Lorli Villanueva, and their hamminess fits the movie perfectly. They’re not the villains: there is no villain, the culprit is passion. Rod does the decent thing: he avoids Nenet and tries to move out of the house. But this is first love of the hysterical kind, the passion that drives the young insane, and the actors are so committed to their roles that you believe every cheesy line they utter. Their love overrides all rational thought. In one scene Nenet confronts Rod on the bus—she always calls him “Kuya Rod”, reminding everyone of the incest—and in front of all the passengers, declares that she doesn’t care if they’re cousins, she loves him. Instead of eliciting giggles, the scene is genuinely disturbing. These young lovers are beyond silliness: they are in a delirium. Celso Ad. Castillo is a master at creating and drawing out emotional tension—as Noel pointed out, it’s almost like watching a horror movie. The lovers can’t abide parental counsel; what they need is an exorcist because they are possessed. There’s even a balcony scene, a demented reference to Romeo and Juliet. The copy is gray and brown with age, unrestored, lacks opening and closing credits, and don’t even mention subtitles or special features. We’re just glad it still exists. Tag-Ulan Sa Tag-Araw is available at video stores; Raymond found his copy on sale for 100 pesos. - Jessica Zafra (READ MORE)

"...Ad Castillo's Tag-Ulan sa Tag-Araw (Monsoon Rain in Summer, 1975) is about a young man (Christopher de Leon) who dorms with his uncle and aunt and falls in love with his cousin (played by a waiflike Vilma Santos). Ad Castillo tackles the sensational subject of incest by framing the two lovers' relationship as a kind of innocent affair, taking place in a countryside Eden. It's the kind of hackneyed concept that really shouldn't work; the result ought to be less like D.H. Lawrence and more like Emmanuelle. But Ad Castillo happens to have one of the most prodigiously talented eye in all of Philippine cinema, and the heedlessly lyrical manner in which he shot Tag-Ulan transforms softcore porn into something like art. Every rainfall, every shaft of light, every leafy shadow caught by his largely handheld camera makes you catch your breath; there is lovemaking without nudity, yet Ad Castillo shoots with such throbbing intensity you are nevertheless aroused..." - Noel Vera, Critique After Dark, 06 December 2012 (READ MORE)

Related Reading:

• The Films of Christopher De Leon and Vilma Santos (Videos)
• Vilma Santos’ Top 10 Film Directors (part five)
• Vi-Boyet Tandem: Pinagtibay ng Panahon
• Top 100 Vilma Santos Films (part nine)
• Tag-ulan sa Tag-araw (Celso Ad. Castillo, 1975)

TAGULAN SA TAGARAW (1975)

“Kuya Rod…ayokong magsisi ka…nasasaktan ako…basta’t mahal kita, mahal na mahal kita, basta’t mahal mo ako, hindi tayo dapat magsisi, hindi tayo dapat mahiya!” - Nanette

Basic Information: Direction: Celso Ad Castillo; Adapted screenplay: Mauro Gia Samonte; Original screenplay: Celso Ad Castillo; Cast: Vilma Santos, Christopher Deleon, Eddie Garcia, Lorli Villanueva, Joseph Sytangco, Joonee Gamboa, Alma Moreno, Rez Cortez, Odette Khan, Pedro Faustino; Original Music: Ernani Cuenco; Cinematography: Ricardo David; Editing: Augusto Salvador; Producer: Archipelego Films; Other Info: Celso Ad Castillo directed a similar titled film, “Tag-ulan, Tag-araw” starring Dina Bonevie and Mark Gil in 1992; Released date: 24 October 1975

Plot Description: A young co-ed (Vilma Santos) falls in love with her first-degree cousin (Christopher De Leon), who stays with her family while studying in Manila. Their forbidden affair, which they keep secret from their family, is revealed when she becomes pregnant. For the scandalized family, abortion is the only solution left, which the two lovers resist. - ABS-CBN (READ MORE)

Film Achievement: The very first film of Christopher Deleon and Vilma Santos, considered as one of the most successful love team Philippine cinema ever produced. As of 2008, Deleon and Santos has twenty-three films under their belt.

Film Reviews: The film “Tag-ulan sa Tag-araw” directed by Celso Ad Castillo started with Nanette (Vilma Santos) meeting Rod (Christopher Deleon) while vacationing in their rest house along the beach. It was clear to both that it was love at first sight but this instant chemistry ended when they discovered they are first cousins. Faith continued to play an important role to their initial attraction as Rod joined Nanette along with her parent to Manila where Rod was permitted by his parent to continue his study. Rod and Nanette at first decided to resist their feeling for each other by dating other people but their love for each other are more intense than what their mind dictates. The two started to have a secret affair culminating to a hot sex when they came back to the rest house when another summer arrives. As expected Nanette gets pregnant and the problem to expose, their taboo affair is ticking. Worst, Nanette’s morning sickness was noticeable to her suspicious mother played wonderfully by Lorli Villanueva.

When finally Nanette’s family found out her condition, she was beaten by her angry father but she remained tight lipped to tell who impregnated her. As Rod tried to remained his calm, Nanette’s family locked her to her room until she’s ready to talk. Rod climbed to the balcony to speak to her and that’s when Nanette’s family discovered who is the father. As Rod came down to the balcony, he was cursed by both parents and was beaten by them as Nanette beg for mercy. Rod was hospitalized as his parent came from the province and beg for forgiveness to the angry Julio (Eddie Garcia), Nanette’s father. Julio was fuming and throws the couple out the house. He also mentioned that they are planning to abort Nanette’s baby. When Rod found out from his parents the planned abortion, he left the hospital and went back to his uncle's house. Very timely, Rod arrives as Nanette together with her family was headed to the abortion clinic. With the help of two security guards, Rod was controlled as his uncle’s car passed him and Nanette cried for intervention. Rod followed the car and was almost successful as the car stopped for the traffic lights. But his attempt failed as the car continued its destination. The end.

The Catholic Church prohibits marriage between first cousins and it is considered a sin. Tag-ulan sa Tag-araw successfully tackles this topic with convincing scenarios and believable characters. Celso Ad Castillo’s style remained true to many films in the 60s with canned music and repetitive voice over by its two main characters. One scene you will hear Christopher narrates his feelings and the next scene it was Vilma’s turn to speak. Most of this narration or voice over while they are playing in the rain on the streets or on beach. This is the first film by Vilma Santos and Christopher Deleon and it was clear that the two have that chemistry on screen. The film ensemble was quite impressive starting with Eddie Garcia and Lorli Villanueva as Nanette’s parents. As Julio, Eddie Garcia was animated at times but his character balances out the mother role of Lorli Villanueva. Joseph Sytanco’s role as Nanette brother was minimal and he doesn’t have enough lines but his quiet scenes were effective. Johnee Gamboa and Odette Khan’s performance as Rod’s parents were excellent. The agony on Odette’s voice as Johnee, her husband begs for forgiveness on behalf of their son was very believable. The two main characters, Christopher Deleon and Vilma Santos obviously carried the film with surprising maturity. Considering this was their first team-up and both were very young. In 1975, both were still in transitions, from teenybopper stars of the musical era to serious actors.

Christopher Deleon’s performance was quite impressive as the apologetic Rod, except for some scenes where you can see his nostril moves, he gave a very affecting performance. Vilma Santos equally balance the equation with a touching show of emotions that we seldom see in her early films that are mostly musicals, fantasy or comedies. Three scenes stand out. First was in the bus where she confronted her “Kuya Rod” to not to give-up on their relationship. Second when her parents caught them in the balcony. She begs them to stop beating up her “Kuya Rod.” And then finally, the driving to the abortion clinic scene, she cried her heart out begging them to stop and cried for help to her “Kuya Rod,” who was running behind and trying very hard to stop the car. Celso Ad Castillo successfully gave us a very moving film. Even with the very annoying number of voice-over scenes, scenes that you will hear the two main characters talks but you will see them not opening their mouth, the film has so many good qualities that you will forgive these flaws. We probably attributed these flaws to the style of many films in the 60s and 70s. Ricardo David’s cinematography was excellent particularly the many scenes on the streets. You can see many spontaneous shots of people that were gawking at Christopher Deleon running like a maniac. David’s very intricate camera work inside the car, dinner table and at the living room while Nanette’s mother was playing piano adds to the intense mood of the film, this is despite some shot where you can see the shadow of the camera particularly when Christopher left the house because he can’t stand to see Nanette being slap repeatedly by her angry father. The film was fast paced, thanks to Augusto Salvador's editing. There are many scenes where the background music matches the mood like the choir/choral-like music at the very end of the film but Ernani Cuenco used so many canned music that sometimes it was very distracting. Like the voice over style used by Castillo, the musical score used in this film was typical of the 60s and 70s. Even the excellent Lino Brocka film, "Tinimbang Ka Ngunit Kulang" used this kind of style. Overall, Tag-ulan sa Tag-araw was a superb film that highlighted the potential on screen chemistry and talents of the screen team of Christopher Deleon and Vilma Santos. For their fans, I would recommend to have a copy of this classic film. Special thanks to Liam Tayag for downloading this film via Youtube. – RV

Celso Ad Castillo: I see the movie in my mind even before I start shooting. I’m meticulous. I control everything on the set, even during post-production — from editing and music to sound. My audience knows my style. It’s like painting: You discover your style, then you do it. I caught “Tag-ulan sa Tag-araw” with Vilma Santos and Boyet de Leon on Cinema One the other day, and I clearly saw my own style, in terms of sensitivity, shots and drama. - Ronald Mangubat,“DIRECTOR’S CUT: Celso Ad Castillo goes digital,” Inquirer, 06/09/2007

Tag-ulan sa Tag-araw is the first screen team-up of Vilma Santos and Christopher de Leon. That fact alone gives the film a unique importance. This partnership paved the way for a string of memorable films together. They played notable roles, shared celebrated scenes, delivered unforgettable dialogues, and reaped acclaim for their performances. Theirs is the ripest love team in Philippine cinema, transcending cheap romance in exchange of maturity, often appearing as a couple in the hardest of circumstances. In Tag-ulan sa Tag-araw, they play cousins who fall in love with each other, and knowing it is socially unacceptable, they try to fall out of it. It seems awkward for a first team-up, considering its taboo subject, but seeing young Vilma and Boyet weep as they fight for their impossible love story, it only shows that they only get better the harder their roles are. It is already clear in the beginning that their romance is doomed. Rod and Nanette meet in a beach house owned by her parents, who bring Rod along to stay in their place in Manila to study. It is love at first sight—Rod sees her playing along with her friends in the beach and as she runs to get her dog, they exchange names, glances, and affection. Right that very moment, they are in love. They walk around the place, holding hands, sharing their surprise on how comfortable they already are with each other. There is nothing really malicious about it. We all know that their affection is sincere. They have longed for it—and it came. - Lilok Pelikula (READ MORE)

Noel insisted that I watch Tag-Ulan Sa Tag-Araw, a Vilma Santos-Christopher de Leon movie from the 70s. Hadn’t realized it was written and directed by Celso Ad. Castillo, the demented genius of Philippine cinema. I used to see the movie on TV ages ago, and I’ve never forgotten the final scene in which Vilma’s parents are taking her away, Christopher is chasing the car on foot, and at every stoplight he hurls himself at the car, smashing the windows and bouncing off the hood. It was intense and oddly, not laughable. Nenet (Santos) and Rod (De Leon) are cousins who fall in love at first sight before they learn that they are first cousins. Rod has come to Manila to attend university; he lives in the house of Nenet’s parents. The parents are played by Eddie Garcia and Lorli Villanueva, and their hamminess fits the movie perfectly. They’re not the villains: there is no villain, the culprit is passion. Rod does the decent thing: he avoids Nenet and tries to move out of the house. But this is first love of the hysterical kind, the passion that drives the young insane, and the actors are so committed to their roles that you believe every cheesy line they utter. Their love overrides all rational thought. In one scene Nenet confronts Rod on the bus—she always calls him “Kuya Rod”, reminding everyone of the incest—and in front of all the passengers, declares that she doesn’t care if they’re cousins, she loves him. Instead of eliciting giggles, the scene is genuinely disturbing. These young lovers are beyond silliness: they are in a delirium. Celso Ad. Castillo is a master at creating and drawing out emotional tension—as Noel pointed out, it’s almost like watching a horror movie. The lovers can’t abide parental counsel; what they need is an exorcist because they are possessed. There’s even a balcony scene, a demented reference to Romeo and Juliet. The copy is gray and brown with age, unrestored, lacks opening and closing credits, and don’t even mention subtitles or special features. We’re just glad it still exists. Tag-Ulan Sa Tag-Araw is available at video stores; Raymond found his copy on sale for 100 pesos. - Jessica Zafra (READ MORE)

"...Ad Castillo's Tag-Ulan sa Tag-Araw (Monsoon Rain in Summer, 1975) is about a young man (Christopher de Leon) who dorms with his uncle and aunt and falls in love with his cousin (played by a waiflike Vilma Santos). Ad Castillo tackles the sensational subject of incest by framing the two lovers' relationship as a kind of innocent affair, taking place in a countryside Eden. It's the kind of hackneyed concept that really shouldn't work; the result ought to be less like D.H. Lawrence and more like Emmanuelle. But Ad Castillo happens to have one of the most prodigiously talented eye in all of Philippine cinema, and the heedlessly lyrical manner in which he shot Tag-Ulan transforms softcore porn into something like art. Every rainfall, every shaft of light, every leafy shadow caught by his largely handheld camera makes you catch your breath; there is lovemaking without nudity, yet Ad Castillo shoots with such throbbing intensity you are nevertheless aroused..." - Noel Vera, Critique After Dark, 06 December 2012 (READ MORE)

Forest of the Heart - “...The best way to learn how to write is to keep on reading and writing. That was the advice I got from the late Vicente Rivera Jr., Literary Editor of the Weekly Graphic Magazine in 1965. Evidently concerned that I might be getting discouraged by the avalanche of rejections of my contributions to his section, Vic would write me such notes and attach them to the manuscripts that he sent back. Finally out of school, having permanently aborted my engineering studies, I was then working as a stay-in janitor-messenger in a travel agency in Binondo. That stay-in status gave me whole nights of pounding the typewriter for churning out short story manuscripts so endlessly it must seem that a friend of the agency owner who was doing PR for a brewery company would taunt me with ridicule: “The only good thing you are doing is you are helping the paper industry.” I would gape at the remark, quite baffled. And he would blurt out in harsh laughter, saying, “Imagine the tons of bond paper that you consume with what you are doing.” “Just you wait, Jimmy Boy. Just you wait.” At this point, I am constrained to flash forward. The time was 1970. That guy Jimmy had been waiting at the editorial offices of the Makabayan Publishing Corporation, publisher of the Weekly Nation, one of three leading magazines during the period. He did take time to wait, three, four hours maybe, so as to get an appointment for Luis Nepomuceno, producer of the Nepomuceno Productions of which he was the PRO, with the entertainment editor of the Weekly Nation — named Mauro Gia Samonte. Vic Rivera’s advice had borne fruit. I had kept reading and writing until, at long last, in 1965 I had my first-ever short story published in the Weekly Graphic, “Forest of the Heart.” That story would, a decade later, form the core of the screenplay of “Tag-Ulan Sa Tag-Araw,” the Vilma Santos-Christopher de Leon blockbuster film that I would write for direction by Celso Ad. Castillo. And the performance of the movie would tee me off in a career, both in screenwriting and in film direction, successful enough for Tatay to say he had not waited in vain. He got the pleasure of being included together with Nanay in one of the movies I directed. But didn’t I say, “If I were a fish”? I did, indeed. And as a fish, I was gasping for breath when Henry Sy suddenly dealt the Philippine film industry a death blow by banning adult movies in SM theaters, which comprise 80 percent of movie exhibition outlets; and adult movies were what the Philippine cinema was mainly about..." - Mauro Gia Samonte, Manila Times, 11 October 2016 (READ MORE)