1:00 PM Summer: 7 Stars in Special Sunday Session - Summertime. And Sunday too. So it started like a summer day. Casual yet exciting. Carefree and promising. With a lot of expectations for the moment ahead. So it was with having seven young stars around, TSS Stars '70: Vilma Santos, Tirso Cruz III, Nora Aunor, Eddie Peregrina, Edgar Mortiz, Ed Finlan, and Hilda Koronel (in the order of their arrivals). There they were, prompt in their youth, bubbly in their youth, unassuming in their confident in their success amid an ancient backdrop, the UST Pharmacy Gardens. When age and youth meet in such a dramatic setting, there is bound to be communication, reaction, combustion. Effects! And what is a more fitting place to spend an early summer afternoon than staid, old UST with young, alive radiant stars for company and that peculiarly romantic, nostalgic summer air. And when the yound stars started posing, smiling, obliging and when the cameras went on clicking, popping shuttering and when scribes began talking, laughing directing, the summer day with its flair, laziness and air became an impromptu ball for all concerned. One fun-filled episode of a lifetime. A slice of real life to be kept in one's heart for the memory. Now, you may wonder why we have seven successful young star this issue when TSS launched only six last January?
Blame the whole mess on Ed Finlan. Blame it on his personality, his promise, his name that just can't be ignored. Blame it all on the zooming career of Edward Walter Valdes Finlan. So the special seven. On this photo-session hangs a story. A story of hope coupled with a little confusion from that time Kuya Bert planned to put out another issue as a follow-up. Timely enough. After all TSS started the whole pakulo. The session itself was postponed three times - just to be assured of the attendance of all - including Nora Aunor who missed it that first round. Every time it was moved to another date, we lost face some wasy, especially to Pip's Mommy Elma with whom we played ulianin by reminding her each time we met. That first time, it was called off. Edgar and Vilma were in Baguio City for shooting. The next date, everybody can't make it with TV programs and last time shooting to do. So it was finalized on Sunday, March 15 at 1:00 piyem. It would have been Fort Santiago as rendezvous but Sunday is Sunday in the forth with the usual Sunday crowd being there. Why not a school campus since graduation and demos were in the air? And the stars came beyond modest expectation, ahead of schedule. Vilma Santos came with her Mommy Mila and Papa Amado. Tirso Cruz III came with uncle Joey and a group of friends while Nora entered the scene with a few fans.
A Mustang (aba, bago!) ushered in Eddie Peregrina with his man Friday. Edgar Mortiz with Dad Celso adn Mom Lucy with fans Angge, Mario Cay, Luz Orellano and Araceli Paraiso. Ed Finlan arrived with his usual confident self. And Hilda came with Mila Parawan to complete the magnificence. At little confusion resulted. It began with a comedy of errors. With Vilma, Pip, Nora and Eddie, there was only scribe Ched Gozales to entertain them and out they were in the Pharmacy Gardens before one one o'clock only to be told later taht the assembly point was the UST Arch along España. Under the heat of the summer sun, the group went to the Arch only to be told that the locale would actually be the Gardens. Since after all, a big number of movie fans and onlookers had already started to form at the UST entrance. The merry excited entourage made its way to the Gardens once again. Ed Finlan with his shocking humor and equally color-shocking attire of yellow shirt with loud-striped pants under the golden sun was summer in motion. Vilma on the other hand had a ball ribbing Eddie Peregrina for being "mayabang kasi Edong ka na ngayon." Edgar Mortiz was extra solicitous and ultra-PR conscious that time. Hilda did her thing - more of a girl, rather than woman with self-conscious laughter and sweet and pretty flair. Pip was surprisingly in his calm self and ruffled impeccable long sleeve shirt.
Eddie Peregrina was in paisley with that typical Peregrina grin. Nora, quiet and lady-like with a few smile here an a wave of hand there, was in a blue-orchid print. Hilda was the only one in pantsuit, a purple hablon, and she stood out really. Ditto with Haydee's make-up and hair color on Ed. Oh what they had to forego just to make it to the appointment on time. Edgar and Vilma came from ABS where they had My Love For You at noon. But before that, Edgar came from Sta. Teresita Church where he acted as baptism sponsor. Hilda and Ed came from the Haydee set and they were expected back there in two. Pip was in a rush too, from ABS and then to the bingo social of his fans at their compound and the photo session as far as he was concerned. Eddie Peregrina had an appointment at 2:30 and it was Nora it seems who took her own sweet time. The Gardens yielded an old well, a gazebo-like concrete structure for photographic effects and possibilities. At half-past one, the poses were planned, the shots called for and everyone appearing swell putting their best faces forward, looking deserving of the TSS choice. An old well, very symbolic really, for the first shot and when that first one popped, the sessions began. And for a good forty minutes, the cameras aimed to catch for eternity the faces, the stances, the poses with the smile and bravura of that early Sunday afternoon. After all, that was what the session called for! And after all, what are photos for but for catching, freezing, preserving what is today for tomorrow?
The atmosphere was kept livelieer, dramatic with some curiosity-seekign fans and a number of scribes and last-minute guests. There was Jusyo C. Justo popping out of nowhere with his OBBB, OBWB, CTS and BAB, Doddie Alvarez, Donnie Ramirez, Mercy Lejarde, Marina Reyes and Ched made their presence felt with summery get-up. Late arrivals were Rene Tiosejo for a look-see and Oskar Salazar with a brand new-opera glasses (but Romy Mallari and Roldan de Villa weren't around). Zeny Peralta of Roper's was there for someone's moral support. Two mothers managed to snae some attention - Lucy Mortiz in pink pantsuit and the latest Christian Dior hairdo and Mommy Milagros Tuazon Santos in blue pantsuit, with their respective male halves of course. At twenty past two, Ernie Alfonso had used u his one and half rolls of color film while Bert Verlidas had two black rolls. There was Fred Garces of Roper's jiving in. The session, the main part of it, was now over. After all the camera clicks, the 1-2-3 shots, the photographers' directions and the frozen poses were done and the thank-you's and see-you were said, still one is left with the thought that so far, so good. TSS Stars '70 are still unspoiled byt success and we hope as one that they all stay that way. And there is something more left in the memory, something better felt than described. For how can such feeling, or any feeling at all for that matter, be caught and pinned down as words in print? I am attempting to that now but I know that it would be the pictures of that special session which will speak a thousand words, a thousand feelings, a thousand hopes. Pictures, eloquent and feeling-filled, with a history of their own! - Billy R. Balbastro, TSS Komiks, 1970 (READ MORE)
Si Vilma, tumambal na kay Jay Ilagan. Si Nora naman, matunog na matunog ang balitang tatambal kay Walter Navarro sa isang pelikula para sa Lea. Added to this, Nora had announced her break-up with Pop "for good." That means bye-bye na muna, Edgar Mortiz and Tirso Cruz, III. For sure, nagngingitngit na ngayon ang mga fans ng tambalang Vilma-Edgar at Guy-Pip. Aba'y namemeligro nga namang matabunan ang mga pogi nilang idolo sa pagpasok sa eksena ng mga "other guy" sa buhay nina Vilma at Nora. E, ang popogi rin naman ng mga iyon. Nakakakaba talaga di ba? At ba't din nga naman sila kakabahan, e hayan sila kakabahan, e hayan na nga. Panayan na ang gawa ni Vi ng pelikulang hindi na si Bobot and partner but Jay. Sabi nga ng mga nakakakita, sweet na sweet ang dalawa. Panay ang biruan, laging sila ang magkausap. Paano nga naman kung mahulog nang husto ke Jay ang loob ni Vilma? Kung sabagay, may paunang sabi na si Jay na hinding-hindi niya liligawan si Vi, hindi raw katalo. At lalong hindi raw niya maaaring sirain ang pagtitiwala sa kanya ng pareng Edgar niya. Okey din naman. But that's not the point. Ke manligaw o hindi si Jay kay Vilma, nariyan na ang katotohanang out muna sa eksena si Bobot, that is kung ang pag-uusapan ay ang kanilang movie team-up. Going back to Nora and Tirso, halos katulad rin ng kina Vi at Bot ang nangyayari sa dalawang ito.
Okey na kay Guy na tumambal siya sa ibang leading man, like Walter halimbawa. Hindi gaya ng dati na kung di rin lang si Pip ang katambal niya'y kalimutan na lang. But after what have happened between him and Nora, 'yung nakaraang tampuhan nila na naging dahilan tuloy ng pagpapahayag ni Guy na "isasaisang tabi ko muna ang pag-ibig"- we doubt kung hindi makakaapekto kay Pip ang pagpareha ni Guy sa iba. Besides, marami na rin ang nagpapahayag ng boredom concerning the Guy & Pip tandem. They want something really hot about Guy. Kunsabay, napatunayan nang malakas pa rin sa takilya ang mga pelikula nina Nora at Tirso in and out of the Sampaguit umbrella. And that goes for Vilma and Edgar, too. Up to now, they are still considered by their loyal fans as the love team na "subok na matibay, subok na matatag." Tahimik lang daw ang dalawang ito, walang awayan, nothing controversial whatsoever about them. And they seem to love it. Katwiran nila, mas magiging maligaya ang dalawang ito pag mag-asawa na dahil very compatible daw sa pag-uugali at lahat. So, kuntento na rin sila sa palagiang pagtatambal nina Vi at Bot sa pelikula. Oo't minsan ay tumambal na si Paolo Romero kay Vi, pero hindi sila nangamba na mawawala siya kay Bobot.
Besides, that particular picture na pinagtambalan nila ay sa ilalim ng Virgo Productions, not under Vilma's home studio, ang Tagalog-Ilang-Ilang. Pero ngayong ang pagtatambal nga nina Vilma at Jay sa ilalim ng TIIP, ibang usapan na 'yan. Mangangahulugan daw ba na pinalitan na ng TIIP si Bot para maging ka-love team ni Vi? And how true is it na hindi raw muna nila itatambal si Vi kay Bobot hangga't hindi nakapagreduce nang husto itong huli? Kasi nga, marami na ang nakakapuna na hindi na bagay si Bobot kay Vi dahil sa kanyang katabaan. Para na raw junior version ni Ike Lozada. Anyway, kahit nga medyo isinama ng loob ng mga fans ang hakbang na ito ng TIIP, they are still hoping na hindi naman magiging napakalupit ng said production para paglayuin na nang tuluyan, o sa ibang sabi'y putulin na, ang tambalang Vilma-Edgar. At iyon din ang ipinananalangin ng mga fans nina Nora at Tirso. Nananalig silang kahit pa sino ang makatambal ni Guy, still sila pa rin ni Pip in reel at real life. Because kapag nga naman ang kabaligtaran ang naganap, Pip and Bobot will be left...all alone in the cold. - Horacio Morelos, II
“I hate you…dirty…you’re dirty! I hate youuuu!…huwag n’yo nang mabangit-bangit ang pangalan nyan! Kinasusuklaman ko siya!..ngayon ko lang nakita ang kapangitan ng buhay ang akala ko masaya’t maganda na ang daigdig..” - Tere
Basic Information: Directed: Tony Cayado; Story: German Moreno; Screenplay: Medy Tarnate; Cast: Vilma Santos, Nora Aunor, Tirso Cruz III, Edgar Mortiz, Ike Lozada, German Moreno, Raul Aragon, Bella Flores, Etang Discher, Tony Cayado, Evelyn Bonifacio, Tina Lapuz, Arlene Bautista, Angge; Original Music: Medy Tarnate; Cinematography: Felipe Santiago; Sound: Flaviano Villareal; Theme Songs: “Young Love” performed by Vilma Santos, Nora Aunor, Tirso Cruz III, Edgar Mortiz; Executive Producer: Jose Vera Perez
Plot Description: Both Nora Aunor and Tirso Cruz III joined a singing contest and won. With a support from friends, Vilma Santos and Edgar Mortiz they became lovers. - RV
Film Achievement: First film of Vilma Santos and Nora Aunor together (the other films are: Ikaw Ay Akin, Dugo at Pag-ibig sa Kapirasong Lupa, De Colores, Mga Mata ni Anghelita, Pinagbuglod ng Pag-ibig, Ikaw ay Akin, T-bird at Ako).
Film Reviews: Taong 1970. Gumawa si Vilma Santos ng dalawamput isang pelikula na puro musicals. Isa lamang ang nagawa niyang drama (Sapagkat Sila’y Aming Mga Anak). Nakakapagtaka dahil hindi naman siya singer. Marahil ito ay dahil sa love team nila ni Edgar Mortiz at ito ang “trend” ng panahong ito. Pito-pito kung gumawa sila ng pelikula ng panahong iyon kung baga dalawang pelikula ang pinapalabas nila sa loob ng isang buwan. Isa na rito ang pelikula ng Sampaguita Pictures, ang “Young Love” na tinampukan ni Nora Aunor, Tirso Cruz III, Vilma Santos at Edgar Mortiz.
Mapupuna na ang pelikulang ito ay bida si Nora at Tirso at supporting lamang si Vilma at Edgar. Mula sa istorya ni German Moreno at screenplay ni Medy Tarnate ang “Young Love” ay puno ng nakakalokang sitwasyon at napakababaw ng mga eksena at diyalogo. Ang director nito’y si Tony Cayado. At ang mga sayaw ay sa ilalim ng choreography ni Lito Calzado. Hindi natin alam kung bakit tinawag na “Young Love” ang pelikula samantalang hindi naman ito tungkol sa pag-iibigan ng mga kabataan rito kundi tungkol sa singing contest na sinalihan nina Ditas Aunor (Nora Aunor) at Joey Cruz (Tirso Cruz III). Naging tabla ang resulta ng singing contest at ginawa silang mga mainstay singers ng television show. Matapos ng contest ay makikitang naghahabulan na si Ditas at Joey sa may mga puno ng niyog at makikitang nagliligawan rin sina Tere (Vilma Santos) at Buboy (Edgar Mortiz) sabay kanta ang apat ng “Young Love.”
Sa tutoo lang, ito lang ang eksena kung saan maririnig na kumakanta rin si Vilma at nakipagsabayan siya kay Nora. Sa tuwing papasok sa eksena si Bella Flores ay tili ito ng tili at laging sinisigawan si Ditas which was very typical ng mga contrabida nuong panahong ito and very irritating. Narito rin si Etang Discher na isang ulyanin na lola ni Tirso at Vilma. Pilit nitong pinapapunta si Tirso sa Australia pero laging niloloko nito ang matanda at sinasabing natapos na pala ang isang taon at nakabalik na raw ito mula Australia. Tapos nito’y makikita si Ike Lozada na kumakanta sa harap ng mga batang lansangan.
Samantala si Bella Flores ay nakipagayos kay Tom Junes (Raul Aragon) upang sabotahin mismo nito ang show ng kanyang sariling pamangkin. Makikita ang nakakalokang sex scene ng dalawa. At ang sumunod na eksena ay ang drama scene ni Ate Vi. Dahil marahil sa walang eksena si Ate Vi na kumakanta ay binigyan siya ng sariling eksena at katapat ito ng maraming eksena ni Nora na kumakanta. Ito ay nang mahuli ni Ate Vi niya si Tom Junes at Bella Flores na nagse-sex. Takbo ito habang umiiyak. Makikita na dumating ito sa sariling bahay at sa kuwarto nito’y pinagsisira niya ang pictures ni Tom Junes kasama ng album nito. Devoted fan pala siya ni Tom Junes. Cut! Tapos na ang eksena ni Ate Vi. Pasok ang mga musical numbers, kanta ng ilang beses si Nora, Tirso, Edgar and Ike Lozada. Meron ding dance numbers, pero wala si Ate Vi sa mga dance numbers na ito. And then it’s the end. Napapakamot ako sa ulo.
Nakakaloka talaga. Makikitang hindi pinag-isipan ang istorya nito. Ginawa nilang i-showcase ang pagiging singer ni Nora Aunor. Kadalasan ang mga kanta niya ay mga version ng mga English popular cover songs at hindi original Filipino songs. Tulad ng “I Believe” at marami pang iba. Kung tutuusin ito ang trend nuon, ang mga kantang galing sa amerika. So much of the fact that lahat ng mga drum beaters ni Nora ay sinisigaw ang kanyang pagiging isang ulirang Filipina dahil sa kanyang pisikal na itsura. Pero mukha ka ngang dalagang Filipina pero pagbuka naman ng bunganga mo eh lumalabas mga kantang banyaga anong klaseng dalagang Filipina yan? Sa sobrang inpluensiya ng mga banyagang kanta ng kalagitnaan ng dekada 70 ay nagkaroon ng rebelyon sa ere ng mga radyo.
Nauso ang Original Pilipino Music o OPM bilang sagot sa musikang dayuhan. Sumulpot ang mga musikerong Juan DeLaCruz, Hotdog, Cinderella, VST & Co., Sampaguita, Freddy Aguilar, Coritha, Mike Hanopol, at marami pang iba na ang mga kanta ay tagalog at pawang komposisyon ng mga Pilipino. Ang mga kanta ni Nora ay puro mga English kontradiksyon ng mga sinisigaw ng fans niya na isang imahen ng Filipino si Nora. Kung ang itsura man niya ay pilipinang-pilipina ang mga kinakanta naman niya ay – puro kanta ng dayuhan. Ito rin ang dahilan kung bakit wala siyang masasabing signature song dahil puro version niya lamang ang mga kantang ni-record ng panahong iyon. Samatala si Vilma Santos na hindi singer ay nagkaroon ng kanyang sariling signature songs bagamat English ang mga lyrics ng mga ito, original Filipino composition naman ang mga ito tulad ng “Bobby Bobby Bobby” at “Sixteen.” Kasabay nito’y ni-record din niya ang mga tagalog songs na “Isipin Mong bastat mahal kita,” “Bato sa buhangin,” at “Palong-palo.” Nang kalagitanaan ng dekada 70 ay kapunapuna na kaunti na lamang ang mga pelikulang kantahan at hindi na kumikita ang mga ito kung kaya mapupuna na nag-umpisa nang gumawa ng matitinong pelikula kapwa sina Nora Aunor at Vilma Santos.
Ang “Young Love” ay isang halimbawa ng pelikulang gawa ng unang bahagi ng dekada 70. Mabilisang gawa. Mababaw ng istorya at hitik ng mga musical numbers. Mayroon mga nakakatawang eksena tulad ng pagkanta sa mga burulan ng patay basta magkaroon lang ng eksena ng kantahan. Tutoo ito, may mga eksena na nagkakantahan sa ilalim ng punong kahoy. Mga sayawan, habulan, at ligawan sa mga beach at kahuyan. Nag-click ito sa mga tao nang unang bahagi ng dekada sitentat ngunit sinawaan rin ang mga tao at nang dumating na ang huling bahagi ng dekada ay nagbago ito. Dito dumating ang panahon na nagbago na ang imahen ni Vilma Santos at nag-umpisa na itong ungusan ang walang kawawaang pagkanta ni Nora sa mga basurang pelikula niya.
Ang “Young Love” ay puno ng walang kawawaang musical numbers ni Nora Aunor. Puno rin ito ng mga eksenang nakakaloka na kahit na ang batang paslit ay magkakamot ng ulo at sasabihin ang “huh?” Kung hindi mo hahahanapin ang matinong istorya at ang hangad mo lang ay makita kung gaano kagaling kumanta si Nora Aunor kahit pa sa burulan ng patay tiyak na mage-enjoy ka sa pelikulang ito dahil maraming eksena rito si Nora na kumakanta ng walang kawawaang kantang dayuhan. - RV, V Magazine 2007
Young Ones - "...Walang makapaniwala na magiging gayon kalakas takilya sina Nora at Tirso. Nagimbal ang mga taga-pelikula. Bakit daw gayon kalaki ang kinikita ng unang dalawang pelikula nina Nora at Tirso? Tsamba lamang daw kaya iyon o biglang nagbago ng panlasa ng mga manonood? Hindi tsamba. Ang mga sumunod pang pelikula nina Nora at Tirso ay mas malaki ang kinita. Daang-libo ang kinita ng "Teenage Excapades" at "Halina, Neneng Ko." Itinambal ng Towers si Nora sa iba pang kabataang artista, malaki rin ang kinita. Katunayan na malaki ang hukbo ng mga tagahanga ni Nora. Sinubok naman ng Barangay Productions na itambal si Tirso kay Gemma Suzara, hindi gaanong kinagat ng mga fans. Nag-produce ng pelikula ang mag-anak na Cruz, pinagsama sina Ricky Belmonte at Tirso sa "Ricky na, Tirso Pa" isinama naman sa magpinsan si Pilar Pilapil. Tinapatan ng Tower ng isang pelikula ni Nora ang pelikula ng mga Cruz. Resulta: mas maraming nanood sa pelikula ni Nora. Ano ang ibig sabihin nito? Gusto ng mga fans na maging magkatambal sina Nora at Tirso. Sinagot ng VP Pictures ang kahilingang ito sa pamamagitan ng "Young Love." Bukod kina Tirso at Nora ay isinaman pa ang mga young ones na sina Vilma Santos at Edgar Mortiz. Patok sa takilya!..." - Romy Galang, Pilipino Magazine, 18 February 1970 (READ MORE)
“I hate you…dirty…you’re dirty! I hate youuuu!…huwag n’yo nang mabangit-bangit ang pangalan nyan! Kinasusuklaman ko siya!..ngayon ko lang nakita ang kapangitan ng buhay ang akala ko masaya’t maganda na ang daigdig..” - Tere
Basic Information: Direction: Tony Cayado; Adapted screenplay: Medy Tarnate; Original screenplay: German Moreno; Cast: Vilma Santos, Nora Aunor, Tirso Cruz III, Edgar Mortiz, Ike Lozada, German Moreno, Raul Aragon, Bella Flores, Etang Discher, Tony Cayado, Evelyn Bonifacio, Tina Lapuz, Arlene Bautista, Angge; Original Music: Medy Tarnate; Cinematography: Felipe Santiago; Sound: Flaviano Villareal; Theme Song: "Young Love" sung by Vilma Santos, Nora Aunor, Tirso Cruz III, Edgar Mortiz; Producer: Jose Vera Perez
Plot Description: Both Nora Aunor and Tirso Cruz III joined a singing contest and won. With a support from friends, Vilma Santos and Edgar Mortiz they became lovers.
Film Reviews: Taong 1970. Gumawa si Vilma Santos ng dalawamput isang pelikula na puro musicals. Isa lamang ang nagawa niyang drama (Sapagkat Sila’y Aming Mga Anak). Nakakapagtaka dahil hindi naman siya singer. Marahil ito ay dahil sa love team nila ni Edgar Mortiz at ito ang “trend” ng panahong ito. Pito-pito kung gumawa sila ng pelikula ng panahong iyon kung baga dalawang pelikula ang pinapalabas nila sa loob ng isang buwan. Isa na rito ang pelikula ng Sampaguita Pictures, ang “Young Love” na tinampukan ni Nora Aunor, Tirso Cruz III, Vilma Santos at Edgar Mortiz. Mapupuna na ang pelikulang ito ay bida si Nora at Tirso at supporting lamang si Vilma at Edgar. Mula sa istorya ni German Moreno at screenplay ni Medy Tarnate ang “Young Love” ay puno ng nakakalokang sitwasyon at napakababaw ng mga eksena at diyalogo. Ang director nito’y si Tony Cayado. At ang mga sayaw ay sa ilalim ng choreography ni Lito Calzado. Hindi natin alam kung bakit tinawag na “Young Love” ang pelikula samantalang hindi naman ito tungkol sa pag-iibigan ng mga kabataan rito kundi tungkol sa singing contest na sinalihan nina Ditas Aunor (Nora Aunor) at Joey Cruz (Tirso Cruz III). Naging tabla ang resulta ng singing contest at ginawa silang mga mainstay singers ng television show. Matapos ng contest ay makikitang naghahabulan na si Ditas at Joey sa may mga puno ng niyog at makikitang nagliligawan rin sina Tere (Vilma Santos) at Buboy (Edgar Mortiz) sabay kanta ang apat ng “Young Love.” Sa tutoo lang ito lang ang eksena kung saan maririnig na kumakanta rin si Vilma at nakipagsabayan siya kay Nora. Sa tuwing papasok sa eksena si Bella Flores ay tili ito ng tili at laging sinisigawan si Ditas which was very typical ng mga contrabida nuong panahong ito and very irritating. Narito rin si Etang Discher na isang ulyanin na lola ni Tirso at Vilma. Pilit nitong pinapapunta si Tirso sa Australia pero laging niloloko nito ang matanda at sinasabing natapos na pala ang isang taon at nakabalik na raw ito mula Australia. Tapos nito’y makikita si Ike Lozada na kumakanta sa harap ng mga batang lansangan. Samantala si Bella Flores ay nakipagayos kay Tom Junes (Raul Aragon) upang sabotahin mismo nito ang show ng kanyang sariling pamangkin. Makikita ang nakakalokang sex scene ng dalawa. At ang sumunod na eksena ay ang drama scene ni Ate Vi. Dahil marahil sa walang eksena si Ate Vi na kumakanta ay binigyan siya ng sariling eksena at katapat ito ng maraming eksena ni Nora na kumakanta. Ito ay nang mahuli ni Ate Vi niya si Tom Junes at Bella Flores na nagse-sex. Takbo ito habang umiiyak. Makikita na dumating ito sa sariling bahay at sa kuwarto nito’y pinagsisira niya ang pictures ni Tom Junes kasama ng album nito. Devoted fan pala siya ni Tom Junes. Cut! Tapos na ang eksena ni Ate Vi. Pasok ang mga musical numbers, kanta ng ilang beses si Nora, Tirso, Edgar and Ike Lozada. Meron ding dance numbers, pero wala si Ate Vi sa mga dance numbers na ito. And then it’s the end. Napapakamot ako sa ulo.
Nakakaloka talaga. Makikitang hindi pinag-isipan ang istorya nito. Ginawa nilang i-showcase ang pagiging singer ni Nora Aunor. Kadalasan ang mga kanta niya ay mga version ng mga English popular cover songs at hindi original Filipino songs. Tulad ng “I Believe” at marami pang iba. Kung tutuusin ito ang trend nuon, ang mga kantang galing sa amerika. So much of the fact that lahat ng mga drum beaters ni Nora ay sinisigaw ang kanyang pagiging isang ulirang Filipina dahil sa kanyang pisikal na itsura. Pero mukha ka ngang dalagang Filipina pero pagbuka naman ng bunganga mo eh lumalabas mga kantang banyaga anong klaseng dalagang Filipina yan? Sa sobrang inpluensiya ng mga banyagang kanta ng kalagitnaan ng dekada 70 ay nagkaroon ng rebelyon sa ere ng mga radyo. Nauso ang Original Pilipino Music o OPM bilang sagot sa musikang dayuhan. Sumulpot ang mga musikerong Juan DeLaCruz, Hotdog, Cinderella, VST & Co., Sampaguita, Freddy Aguilar, Coritha, Mike Hanopol, at marami pang iba na ang mga kanta ay tagalog at pawang komposisyon ng mga Pilipino. Ang mga kanta ni Nora ay puro mga English kontradiksyon ng mga sinisigaw ng fans niya na isang imahen ng Filipino si Nora. Kung ang itsura man niya ay pilipinang-pilipina ang mga kinakanta naman niya ay – puro kanta ng dayuhan. Ito rin ang dahilan kung bakit wala siyang masasabing signature song dahil puro version niya lamang ang mga kantang ni-record ng panahong iyon. Samatala si Vilma Santos na hindi singer ay nagkaroon ng kanyang sariling signature songs bagamat English ang mga lyrics ng mga ito, original Filipino composition naman ang mga ito tulad ng “Bobby Bobby Bobby” at “Sixteen.” Kasabay nito’y ni-record din niya ang mga tagalog songs na “Isipin Mong bastat mahal kita,” “Bato sa buhangin,” at “Palong-palo.” Nang kalagitanaan ng dekada 70 ay kapunapuna na kaunti na lamang ang mga pelikulang kantahan at hindi na kumikita ang mga ito kung kaya mapupuna na nag-umpisa nang gumawa ng matitinong pelikula kapwa sina Nora Aunor at Vilma Santos.
Ang “Young Love” ay isang halimbawa ng pelikulang gawa ng unang bahagi ng dekada 70. Mabilisang gawa. Mababaw ng istorya at hitik ng mga musical numbers. Mayroon mga nakakatawang eksena tulad ng pagkanta sa mga burulan ng patay basta magkaroon lang ng eksena ng kantahan. Tutoo ito, may mga eksena na nagkakantahan sa ilalim ng punong kahoy. Mga sayawan, habulan, at ligawan sa mga beach at kahuyan. Nag-click ito sa mga tao nang unang bahagi ng dekada sitentat ngunit sinawaan rin ang mga tao at nang dumating na ang huling bahagi ng dekada ay nagbago ito. Dito dumating ang panahon na nagbago na ang imahen ni Vilma Santos at nag-umpisa na itong ungusan ang walang kawawaang pagkanta ni Nora sa mga basurang pelikula niya. Ang “Young Love” ay puno ng walang kawawaang musical numbers ni Nora Aunor. Puno rin ito ng mga eksenang nakakaloka na kahit na ang batang paslit ay magkakamot ng ulo at sasabihin ang “huh?” Kung hindi mo hahahanapin ang matinong istorya at ang hangad mo lang ay makita kung gaano kagaling kumanta si Nora Aunor kahit pa sa burulan ng patay tiyak na mage-enjoy ka sa pelikulang ito dahil maraming eksena rito si Nora na kumakanta ng walang kawawaang kantang dayuhan. - RV, V magazine, 2007
"...The loveteam of Edgar Mortiz and Vilma Santos endured a stiff competition from teeny bopper love team of Nora Aunor and Tirso Cruz III and came up with equal success with string of hit films during the musical era of the 70s. Together they did forgettable but commercial hits and also some hints of the years to come to Vilma Santos’ long career. The most notable one: Dama De Noche. Total Number of films with Vilma Santos – 25 (Young Love, Teenage Jamboree, Songs and Lovers, Renee Rose, My Pledge of Love, Mga Batang Bangketa, Love Is for the Two of Us, I Love You Honey, From the Bottom of My Heart, Baby Vi, Love Letters, The Wonderful World of Music, The Sensations, The Young Idols, Sweethearts, Sixteen, Leron-Leron Sinta, Edgar Love Vilma, Don’t Ever Say Goodbye, Dama de Noche, Anak ng Aswang, Because You Are Mine, Kampanerang Kuba, Kasalanan Kaya, Karugtong ang Kahapon..." - RV (READ MORE)
"...By late 1969, movie producers had been tapping a Vilma Santos-Edgar Mortiz love team. Edgar was a Tawag ng Tanghalan winner. They started to be together in the movies, My Darling Eddie (1969) and The Jukebox King (1969)...In 1970, the love team of Vilma Santos and Edgar "Bobot" Mortiz was officially launched in the movie Young Love, together with the another popular love team during that time, Nora Aunor and Tirso Cruz III. The Vi and Bot love team went on to do 14 more movies in 1970—The Young Idols, Songs and Lovers, Sweethearts, Sixteen, Love Letters, Love is for the Two of Us, Mga Batang Bangketa, My Pledge of Love, Renee Rose, Baby Vi, Because You Are Mine, Edgar Loves Vilma, From the Bottom of My Heart, and I Love You Honey. All did well at the box-office..." - Rommel R. Llanes (READ MORE)
"...Walang makapaniwala na magiging gayon kalakas takilya sina Nora at Tirso. Nagimbal ang mga taga-pelikula. Bakit daw gayon kalaki ang kinikita ng unang dalawang pelikula nina Nora at Tirso? Tsamba lamang daw kaya iyon o biglang nagbago ng panlasa ng mga manonood? Hindi tsamba. Ang mga sumunod pang pelikula nina Nora at Tirso ay mas malaki ang kinita. Daang-libo ang kinita ng "Teenage Excapades" at "Halina, Neneng Ko." Itinambal ng Towers si Nora sa iba pang kabataang artista, malaki rin ang kinita. Katunayan na malaki ang hukbo ng mga tagahanga ni Nora. Sinubok naman ng Barangay Productions na itambal si Tirso kay Gemma Suzara, hindi gaanong kinagat ng mga fans. Nag-produce ng pelikula ang mag-anak na Cruz, pinagsama sina Ricky Belmonte at Tirso sa "Ricky na, Tirso Pa" isinama naman sa magpinsan si Pilar Pilapil. Tinapatan ng Tower ng isang pelikula ni Nora ang pelikula ng mga Cruz. Resulta: mas maraming nanood sa pelikula ni Nora. Ano ang ibig sabihin nito? Gusto ng mga fans na maging magkatambal sina Nora at Tirso. Sinagot ng VP Pictures ang kahilingang ito sa pamamagitan ng "Young Love." Bukod kina Tirso at Nora ay isinaman pa ang mga young ones na sina Vilma Santos at Edgar Mortiz. Patok sa takilya!..." - Romy Galang, Pilipino Magazine, 18 February 1970 (READ MORE)
Basic Information: Directed: Leonardo L Garcia; Story, screenplay: Joeben Miraflor; Cast: Romeo Vasquez, Vilma Santos, Nora Aunor, Tirso Cruz III, Jessica, Rudolfo Boy Garcia, Zandro Zamora, Odette Khan, Chito Guerrero, Rustica Carpio, Babette Villaruel, Estrella Kuenzler, Romnick Sarmenta, Mary Jane; Original Music: Tito Arevalo; Cinematography: Zossimo Corpuz; Film Editing: Edgardo Vinarao; Executive producer: Experidion Laxa; Film poster: Video48
Plot Description: Mina (Vilma Santos) is a commercial model struggling to provide financial assistance to her ill mother when she meets the arrogant painter Dino (Romeo Vasquez). He offers her to be a model for his work of art which she accepted. This has drawn them closer to each other until Mina learns of Dino's past relationship that eventually becomes a hindrance to their budding romance. Meanwhile, Mina's best friend Laura (Nora Aunor) has always been in love with Angelo (Tirso Cruz III). However, due to their parent's rivalry and Angelo's mother coercing him to become a priest, they separated. During this time, Laura is raped by her long-time suitor which resulted to unwanted pregnancy. Years after, Angelo who fails to endure being away from his true love, Laura, returns to ask for her hand in marriage. Everything seems well for the couple until the real father of Laura's first child comes back. Angelo is overwhelmed with jealousy that he starts to ruin the picture-perfect family they had before. Find out how the two friends will resolve their trouble relationships in this classic film you'll never forget.
Film Achievement: 1978 FAMAS Nomination Best Child Actor – Romnick Sarmenta
Film Reviews: "Sometime in the mid 70s, matinee idol Romeo Vasquez returned to the movie scene after a long absence, his movie career in limbo after his failed marriage with popular actress Amalia Fuentes. His teamup with Vilma Santos somehow rekindled and revived his career. Their first movie together, Nag-aapoy na Damdamin in 1976 turned out to be a big hit. Despite their age gap, reel and real life sweetheart, Romeo, 34 and Vilma, 23, soon became the hottest love team, doing one hit movies after another..." - Video 48 (READ MORE)
"...Romeo Vasquez is an oddity in Vilma's life. Hindi akalain ng lahat na ang isang notorious playboy and balikbayan actor would capture the heart of the then elusive Ate Vi. Nagkaroon sila ng affair which lasted for more than a year. Kilala si Bobby sa pagiging bohemyo kaya naman walang kakilala si Ate Vi na bumoto sa aktor. Ate Vi was love struck at talagang na head-over heels in love. Nagsimula ang kanilang affair sa set ng kanilang pelikulang "Nag-aapoy na Damdamin". True to this title, nagliyab silang dalawa at tunay ngang nag-apoy ang kanilang damdamin. May plano pa nga sila ni Bobby na magpakasal sa Europe. Talagang Ate Vi was ready to give up her life as an actress and would settle with the actor abroad. And with herb relationship with Bobby, nag-surface ang bagong Vilma Santos.Ate Vi realized that she cann't sacrifice everything for love. Nagising siya sa katotohanan at nagkamali kung kaya nagdesisyon siyang kumalas sa bohemyong aktor..." - Willie Fernandez (READ MORE)
"...But it was with handsome actor Romeo Vasquez that Vilma Santos had her most controversial relationship. Romeo was the former husband of Philippine movie queen Amalia Fuentes. He and Vilma first paired in the movie Nag-aapoy na Damdamin (1976). It was also during this year that they became a couple. They made several movies together, all of which did well at the box-office. Vi and Bobby (Romeo's nickname) became the most-talked about reel and real love team at the time. The relationship was always on the pages of showbiz magazines and tabloid entertainment section pages because of the intrigues and the personalities who got involved with them..." - Rommel R. Llanes (READ MORE)
"Huwag kang magmagaling! Dahil wala kang alam!" - Shirley
Basic Information: Directed: Olivia M. Lamasan; Story: Raymond Lee, Olivia M. Lamasan; Screenplay: Raymond Lee, Senedy Que, Olivia M. Lamasan; Cast: Vilma Santos, John Lloyd Cruz, Luis Manzano, Tirso Cruz III; Executive producer: Malou N. Santos; Original Music: Nonong Buencamino; Cinematography: Charlie Peralta; Film Editing: Marya Ignacio; Production Design: Elfren Vibar; Theme Song: “Something New In My Life” Performed by Sarah Geronimo; Official Web-site: www.inmylife.starcinema.com.ph
Plot Description: Santos plays Shirley, a public school librarian who wants to be in control of everything. Her unwarranted intervention in the lives of her children and their families leads to their emotional detachment from each other. Feeling she has lost her command over her children, she flies to New York to reunite with his estranged son, Mark (Manzano) only to find out that her son is gay and she has to live with him and his lover, illegal immigrant Noel (Cruz). As Shirley struggles to deal with the situation and with living in the Big Apple, she discovers that being gay is not the only huge secret that Mark is keeping. Discovering what this is will change Shirley’s life forever. – mannythemovieguy.com
Film Achievement:Star Awards: Movie of the Year – Star Cinema; Best Actress – Vilma Santos; Best Actor – John Llyod Cruz; Best Supporting Actor – Luis Manzano; Best Screenplay – Lee, Que, Lamasan; Best Cinematography Nomination – Charlie Peralta; Best Editing Nomination – Marya Ignacio; Best Musical Score Nomination – Nonong Buencamino; Best Production Design Nomination – Efren Vivar; Best Sound Nomination – Albert Michael Idioma; Gawad Tanglaw: Best Film – Star Cinema; Best Actress – Ms. Vilma Santos; Best Actor – John Lloyd Cruz; Best Supporting Actor – Luis Manzano; Best Director – Olivia Lamasan; Golden Screen: Best Actress Nomination – Vilma Santos; Best Actor Nomination – John Llyod Cruz; Best Supporting Actor Nomination – Luis Manzano; Best Motion Picture Drama Nomination – Star Cinema; Best Director Nomination – Olivia Lamasan; Best Screenplay Nominations – Lee, Lamasan, Que; Best Cinematography Nomination – Charlie Peralta; Best Editing Nomination – Marya Ignacio; Best Production Design Nomination – Elfren Vivar; Best Sound Nomination – Albert Michael Idioma; Best Musical Score Nomination – Nonong Buencamino; Gawad Urian: Best Actress Nomination – Vilma Santos; Best Actor Nomination – John Llyod Cruz; FAMAS: Best Picture Nomination – Star Cinema; Best Actor Nomination – - John Lloyd Cruz; Best Supporting Actor Nomination – Luis Manzano; Best Director Nomination – Olivia M. Lamasan; Best Cinematography Nomination – Charlie Peralta; Best Sound Nomination – Albert Michael Idioma; Best Screenplay and Story Nominations – Raymond Lee/Olivia Lamasan; Best Musical Score Nomination – Nonong Buencamino; Best Art Direction Nomination – Elfren Vivar
‘In My Life’ Earns a Record P20M On First Day - Star Cinema’s “In My Life,” the ABS-CBN movie outfit’s grandest film offering for 2009, earned a record P20 million in ticket sales on its first day of screening on Wednesday. This was according to the data released by Star Cinema’s Booking and Distribution Department, “SNN: Showbiz News Ngayon” reported. Under the direction of well-acclaimed director Olivia Lamasan, “In My Live” is posing to surpass the total earnings of Batangas Gov. Vilma Santos’ 2002 Star Cinema film, “Dekada ’70.” “Dekada ’70″ was Santos last film project before she agreed to do “In My Life.” “In My Life” lead stars Luis Manzano, John Lloyd Cruz and Santos were grateful to all moviegoers who supported their film. “Maraming salamat po sa inyo. It’s a happy movie. Medyo may kurot sa puso. Buhay niyo po ito, iyong nanay niyo at kung paano magmahal nang unconditional,” Santos said. Cruz added: “Sa totoo lang hindi ako makapaniwala na natapos ko itong movie at naka-trabaho ko si Ate Vi, si inang (Lamasan). I will be forever grateful sa naabot kong ito.” Manzano also thanked all those who commended him for his genuine portrayal of a gay man. “Hindi po biro ang pinanggalingan naming lahat. So the fact na masabi iyon na I gave justice to Mark’s role, napakalaking bagay na po noon para sa akin. Thank you very much,” Manzano said. – ABS-CBN News, Sep 17 2009
In My life screened in selected cities in United States and Canada in October of 2009 with huge success. The film was ranked 13th on the All-time highest-grossing local films, earning 2.89M US$ (135.74M PH).
Film Reviews: In My Life, which stars Vilma Santos as a librarian, opens on September 16 and, predictably enough, articles about the film are beginning to appear. In “Direk Olive’s ‘In My Life’ is bold and fresh,” by Walden Sadiri (Manila Bulletin, 2009), its director Olive Lamasan is quoted as saying that she helped Santos “rehearse how a librarian walks and looks ‘losyang.’” If this were an article for a scholarly journal, I suppose some questions that could be asked are: Is there such a thing as a “librarian walk”? Are all librarians losyang (Tagalog slang for unglamorous)? But it probably isn’t fair to ask such questions of an article that only seeks to promote the release of a soon-to-be shown film. I think it’s important to remember that Lamasan is talking about a specific character in a particular film. And that it would be a mistake to focus only on this one phrase in the 20-paragraph article or judge the entire movie based on how the librarian is portrayed. I don’t think there was any intention to characterize ALL librarians as losyang. But we also cannot deny that this stereotypical librarian exists. I look at the photo above and remember that more than a few librarians I’ve met dress exactly that way. Should the director perhaps have made sure that all kinds of librarians were represented in her film? It’s not her responsibility to do so and that’s not really how movies are made. Librarians can probably condemn the movie and/or call for a boycott, but what will that accomplish? I think it’s much better to take this opportunity to say that, yes, there is an existing stereotype, but there are so many different kinds of librarians AND promote what these librarians are doing that do not fit the stereotype. The reason the image of the losyang librarian persists is that people do not see any other kind of librarian in media.
This is the reason I always identify myself as a librarian AND started putting my photo on my blog. If we do not present alternative images of librarians, there is no way the stereotype will be replaced. I’ve said it before and I’ll say it again: We can’t just leave it to others to tell the people who we are; that’s why the stereotypes about librarians continue to flourish. We have to be the ones to go out there and tell people who we are. It’s not enough to complain about inaccurate images of librarians; we must be able to present alternative, positive images in movies, books and, yes, blogs =) An article entitled “It’s hip to be a librarian” appeared in the same newspaper last month. A few weeks before that, the influence of Reynaldo G. Alejandro as a librarian on a young boy was specifically mentioned by the grown journalist who benefited from his guidance. It is my hope that more journalists will consider doing more stories about non-stereotypical librarians on TV and in print. And that librarians will be more conscious about promoting their profession as well. - The Filipino LibrarianREAD MORE
The best thing about it is that it got made. Star Cinema, the most mainstream of movie studios in the country, lagged behind the so-called gay bandwagon, perhaps by strict design: It’s not supposed to be their territory. Homosexuality, believed to be a niche concern, presumably falls outside the realm of Star Cinema’s broad, PG-13 market. Yet by some dint of miracle, it casts Vilma Santos, one of the biggest stars ever, and a present provincial governor no less, in the main role of a mother to a gay son, played by Luis Manzano, Santos’ real life son. And then, oh boy, in the role of Manzano’s lover, the country’s current most bankable romantic leading man, John Lloyd Cruz. It’s directed by Olivia Lamasan, whose female-centered melodramas have come to emblematize the Star Cinema brand. With such trusted names, is there still reason for the public to shy away from the gay topic? The uncanny hat-trick of In My Life is that the bandwagon it jumps is not the gay one, but still the female-centered family melodrama that Star Cinema helped galvanize, and also the OFW movie — a drama mapping the plight of Overseas Filipino Workers and their families — perhaps one of only two originally Filipino genres to emerge from our lifetime. (The other one is the macho dancer movie.) This one is largely set in New York City, and it’s centrally the woman’s story, with the gay elements tempered and almost subliminal. That is the film’s winning strategy, but also its debilitating blind spot. What suffers is specificity. What do we know of the two guys’ relationship? Most of it is left to the imagination, or, more accurately, to That Which We Know But Never Show Or Talk About. Is their relationship even sexual? The film’s one kiss, which arrives late in the movie, is a swift, barely-brushed lip-to-limp. It’s also meant to express apology and forgiveness — you know, the wholesome, Catholic facet of love. It’s hard for me to muster enough love for a movie that’s intentionally castrated and guilty.
But it’s not just the sex that’s missing. I vaguely get to understand the lives of these two gay men in New York City. For example, what is Mark’s job and why is he so damn busy? There’s also a gay bar, but we barely see what goes on there, or what the interior even looks like. And the ultimate missing information: Is Noel gay, bi, confused, pretending, or maybe just another straight guy who happens to love a gay guy? It’s up to the viewer to decide; Your Mom might have a different opinion than you. Cruz’s family-friendly persona is spared of the damage. Not to give away spoilers, but he does end up quite a chaste man by film’s end. All’s well in the happy sin-free world, where only one of two things can happen to a gay man: He either dies violently or just stops being gay. Of course, John Lloyd Cruz as Noel is the archetypal leading man of Star Cinema: a man who loves unconditionally, who suffers for his love, who also happens to be devoted to his parents. He’s predictably given moments to bare his heart out. But Manzano as Mark is the more interesting creation. He’d rather go to the gym than spend time with his Mom, and he makes that strange proposal to her (I won’t give away the surprise), tapping into a son who’s both practical and caring, tough and sweet. Plus, with all that missing sex in the movie, Manzano manages to hint at someone who’s comfortable with it, next to Cruz’s somewhat frozen take on man-to-man touching.
But what little gay moments that are permitted to slip through are strong. In one scene, Shirley (Santos) complains that her son never even “came out” to her. In defense, Mark points out the double standard: If his straight siblings were never obligated to declare their straightness, why should he announce his gayness? Lamasan’s co-writers, Raymond Lee and Senedy Que, are minds behind two of the most progressive queer films of our time. (Lee produced Ang Pagdadalaga Ni Maximo Oliveros; Que wrote and directed Dose.) Like those films, In My Life belies a fierce intelligence, wisdom that comes from a place of experience, at least whenever it’s allowed. The film’s most special move is that it roots Mark’s anxiety — He’s never good enough for Mom — to that moment in adolescence when he felt his homosexuality was a disappointment. But the makers don’t know when to ease up on the melodramatic conventions, which stall the movie here and there. Shirley’s journey is marked with obvious, rigid plotpoints. She spends the first part whining about America with a capital A, then finds mini-success as a career woman, complete with feel-good montage. There’s an old-fashioned, weary mannerism to Lamasan’s approach, not helped by her visual team. New York is a flat, gray city in the eyes of cinematographer Charlie Peralta, and lifeless and generic according to production designer Elfren Vibar. Somewhere in this movie is a shining work of art, but it’s shrouded in mediocrity. GRADE: B – The Bakla Review (READ MORE)
It is easy to blame it on distance. They say distance kills families. Distance breeds rebellious children who account their parentless childhood for lack of love towards them. It breeds children who don’t finish school and do drugs instead. It breeds children who would rather party all night than call their parents and ask them how they’re doing. It breeds children who complain they can’t find time to call their parents because it’s so late, why don’t they just call me instead? And when the parents call, Oh, shit, tell them I’m busy. Studying. These children who have always thought that the lack of attention given to them, like Claudine Barretto’s character in Anak, is more important than the attention given to them. They don’t need material things, they don’t need tuition for school, they don’t need extra allowance, they don’t need a secure home and steady future: what they need is the only thing not given to them. Their parents rearing them, being with them, seeing them everyday. Like that scene, the best moments in the film are those which meld specific personal experience to the anyone-can-relate universal — which is really the aim of the genre of melodrama. Santos may be a mother to a gay son, but she’s really just any parent who wants to say sorry for her mistakes. Dimples Romana, in a great supporting performance, is any daughter (or son) who felt like a failure. That response to parental distance is not exactly wrong, but the movies made out of it make it appear that distance is the only reason why families break up, and why children lose their lines of communication with their parents. No one wants to go away, no one wants to work abroad and leave their children behind, no one wants to see them brought up by somebody else. But a family has to eat, kids have to go to school, young ladies need nice clothes for the prom, boys need boy things, the house must be repaired, your cousin Boyet has cancer, your Lolo Tasyo died and we have to pay for the coffin and the funeral parlor, and so on and so forth. Necessities pile up, so parents try their luck abroad and stay there for years. Children are left to stay with their lolos and lolas, or titos and titas. Parents send money once or twice a month, send boxes of imported goods, chocolates, clothes, love letters. Years go by. They go back. They see the worth of their sacrifice. Their children have all grown up. They don’t even recognize them, even if they send pictures once a year on their birthdays. But some things are lost, some things are left unsaid between them, or rather, some things are preferred not to be said. The distance mattered. From geographical to emotional, the distance continues to separate them.
But as I said, it is easy to hold the distance responsible. The homebreaker. The murderer of good relationships. We are so acquainted with these overseas worker stories that we tend to limit our understanding and segregate them into labeled “lucky” and “unlucky” boxes. In My Life closes the deal for me upon setting this matter straight. In this case, the son works abroad and the mother follows him, initially for a vacation. After mulling things over, or as it seems, she plans to stay for good. She thinks she has nowhere to go. Her daughter is migrating to Australia. Her former husband and her children prod her to agree to sell the house more than its worth. Staying in New York wouldn’t be a bad idea, especially that she is an American citizen by birth. The baggage of family problems she carries dents the narrative. Apparently, working in another country is an issue here. But it is not what keeps her family apart. For one, her daughter and her family want to stay in Australia holding on the promise of better life. Her son works in New York after an opportunity given to him by his employer. Or—he chooses to stay because he wants the hell out of his boring life in the Philippines. Or—sounding more judgmental, maybe he just wants to have fun, collect strangers, knit love stories out of them and make himself happy. Or—we just don’t know how many reasons we can come up with. But I wish to raise my tone here. Distance is not the problem. It is the mother’s failure to bring up her children well. As you see, the same producers who gave us Milan, Dubai, and Caregiver also made For The First Time and Love Me Again. Once love and work are set in another place, they become special. And In My Life is special in the virtue of the mother’s character as a failed one. She spent time with her children trying to raise them like any good mother does. She hardly listened to what they wanted because she thought she knew what’s best for them. She was there, as they all grew up. Along the way, her children made choices, and she was unaware that she was neglecting things that were important to them. Her son’s sexuality, her daughter’s dream of becoming a doctor, her husband’s unknown reason for splitting up. In defense of her character, she did her best. But she failed, and it took its toll on her. Gravely.
She had to realize it—so there goes the fish-out-of-the-water setup in New York. She meets her son’s partner who willingly guides her in the city. The partner is heavily used as a device to reveal her nature. Personally, it is the mother’s relationship with him—as opposed to the mother-son or mother-daughter or mother-herself relationship—that is integral to the film’s premise. The most beautiful part of the film is not when her son confesses to her about his childhood, but when she and her son’s partner exchange snide remarks after the wake, and they argue and throw rocks of guilt at each other. From then on the doubt we raised on her character becomes truth. She has no one to blame for her suffering but herself. The woman who plays the mother tries hard to be young, which might be the pattern of her recent films. It is not a bad path after all, for one has to graduate from doing the same things for a long time. She has comedic timing, and she has dramatic prowess. When she complains, “Ginagawa niya akong turista! Ikaw ang pinunta ko rito, hindi ‘yung tour!” we laugh because she is witty. When she throws a tantrum after getting lost in the subway, we hate her. Apart from knowing that it was her fault, we can’t stand the charming partner being blamed despite his niceness by an ingrate. It crossed my mind to call her character one of the weakest roles ever written for her, but that’s just because Shirley Templo isn’t too likable. She is repulsive most of the time. Reflecting, the actor has portrayed “unlikable” characters before, even taboo roles for that matter, yet we still like her. But in In My Life, her role tends to go beyond understanding; you just need to be her to understand her. Yet the actor delivers; she deceives us. But the blood of the film flows from the actor who plays the son’s partner.
Amid the histrionics and uneven noise of the film in general, he shows his restraint without fuss. Apparently the writers intend to make his character subdued. He exists in the periphery without losing his grip. When he cries at his partner’s back as he hugs him on the bridge, he is the equivalent of sacrifice. Never show the pain, never show the loneliness. That’s us, on the screen. The brief exposure of his family’s life is enough for us to connect with him. Contrary to the emphasis given to the mother’s family, we would like to know him more, know if the lump in his mother’s breast is just a false alarm, know if he’s just fine after crying overnight. We learn about his troubles in staying in the States, how he juggles work and hobby, how he struggles to earn for his marriage. God forbid, we don’t want him to fall into the arms of Pamela. His issues are more interesting, yet what makes him special is that like most people around us, we only get to know him up to a certain extent. He comes and goes. We miss him. We want to see if he’s fine. His distance unsettles us, in a good way. It doesn’t take a genius to realize that these locations that the producers choose are just a way to make more money. They could show it abroad and Filipinos there would flock to the theaters, filled with expectations of connecting with the film one way or another, see their lives projected on screen, see themselves in the characters. It’s some sort of self-discovery. They want to be intimate with themselves, see how it works, see their situations from afar, observe how other people react. Their identification with the characters is what they paid the tickets for. If they don’t shed a tear, that’s disappointment. But more often they just find ways to connect. They look at the nuances with affection, checking if the characters reacted the same way they did in similar situations. Audiences seek connection, and if they don’t find it, they create it. Even if the film is more of an examination of their faults as parents and children than the circumstances that brought them where they are. – Richard Bolisay, Asian Films, Noypi, QueerREAD MORE
"...Vilma Santos seldom appears in movies anymore, so when she does it is an event. In My Life is a good choice because she is allowed to act her age. Her character Shirley Templo (great name) is cute but frequently unsympathetic and even irritating, the way fussy old people who are set in their ways, who are resistant to anything new and never admit their own mistakes, are irritating. A human being! Wow. But she is still Ate Vi so there will be dancing. The bagel guy, though: too ancient. The extras: Please..." - Jessica Zafra (READ MORE)
"...Her last film project In My Life told of a mother (Vilma Santos) coming to terms with her son’s (Luis Manzano) gay lifestyle, understanding the emotions of his lover (John Lloyd Cruz) and accepting her own defects as a person and mother. One reviewer stated that the story of In My Life was just too much to digest with a lot of unnecessary subplots. Another said that the acting was fine but it didn’t need to be shot in New York. Still another complained that it was the mother’s story with the gay relationship glossed over. It was obvious they weren’t ready for the film..." - Bibsy M. Carballo, The Philippine Star, August 31, 2012 (READ MORE)
"...Vilma Santos chose this as her comeback film in lieu of Raya Martin's Independencia. The latter film is among the best films released so far this year, while In My Life will soon be forgotten after the media hype whimpers down. The blurbs boldly scream... Passionate scene of John Lloyd Cruz and Luis Manzano! Acting showdown between Cruz and Vilma!! 16th Anniversary Presentation of Star Cinema! The prolific production company should have selected a better story for the triumvirate of Vilma, Cruz, and Manzano...The much-hyped passionate scene is a dud. If you blink, then you will probably miss it. The beautiful shot before the kissing scene is the one that should have been talked about. We see Noel hugging Mark while a tear drop rolls down his cheek. Now, that is a passionate person who is very much in love! There are directing and script flaws that bother me. The travelogue scenes diminish the impact of the fish-out-of-the-water concept. The initial scenes give the impression that Shirley is very much adapted to the city. Also, Shirley is not a bumbling moron. She is an educated person and a librarian at that. The wacky scenes are completely out of line. The film seems to be about how a mother comes to grips with her homophobia. Well, it turns out, that she is not only distant to her son but also to her two daughters. She is not homophobic. She is plainly a bad mother. How she ended up being a bad mother was not tackled at all. The film was so caught up with other topics such as marriage for convenience, and gay couples that it forgot the major topic..." - Film Angel (READ MORE)
kabahan ka - "...Veteran actresses Anita Linda and Rustica Carpio, who play two elderly women at opposing ends of a murder case in the Brillante Mendoza drama “Lola,” shared the Best Actress award at the 33rd Urian Awards given by the Manunuri ng Pelikulang Pilipino on Thursday night. “Lola” tells the story of grandmothers who find themselves at opposite ends of a murder case involving their grandsons. “Some people told me, ‘You’re nominated for Best Actress pero kalaban mo si (but you’re running against) Vilma (Santos for ‘In My Life’) kaya dapat kabahan ka na (so you should be nervous). Everybody knows how good an actress she is.’ To be nominated alongside Vilma and the other ladies, panalo na agad ako (already makes me a winner),” Linda told the Inquirer shortly after the awards show held at the UP Cine Adarna at University of the Philippines compound in Diliman, Quezon City..." - Marinel Cruz, Philippine Daily Inquirer, 05/01/2010 (READ MORE)
challenged - "...Vilma said she chose In My Life as her comeback movie because she feels "challenged" to do it. "Kung wala yung excitement, hindi challenging yun sa iyo. Pero once na na feel mo na you're excited, the whole thing from the script actors shooting hanggang ipalabas na yan yung excitement mo nandun. That's very, very challenging for an artist," she said. However, it took a while for her to accept the project, because it meant spending time away from her duties as the governor of Batangas. When Star Cinema offered the movie to her two years ago, she said she had to say no to it because she had just won the government seat. "E, kung gagawin po namin yun at that time wala pa kong isang taon nagsisilbi as governor. Kaya nakiusap po ako baka puwedeng maka-isang taon lang po akong governor bago natin magawa uli," Vilma explained. After some years of serving as the provinces' mother, Vilma finally said yes to play another one-of-a-kind mom role. She said she can never leave the biz. "Kahit po siguro ngayong nasa pulitika na ko hindi po talaga maaalis talaga yung dugo kong artista. Talagang hinahanap ko po. Kapag nanonood ako ng TV hinanahanap ko talaga," the veteran actress explained. In My Life, for her, is a very different experience. "First time ako nagkaton ng ganitong itsura sa pelikula. And second, parang may pagka-comedy ba, yung character niya pero hindi naman siya nagpapatawa," she said. When the children of Shirley (Vilma's character) grow up and begin to have lives of their own, she thinks that nobody loves her anymore. "Yung character ko dito lihis na lihis sa totoo kong character sa buhay. Yung feeling ko dito hindi siya mahal. Cold. Parang may laging iniisip na negatibo. Which is kabaligtaran ng totoong character ko sa buhay," Vilma explained..." - Mark Angelo Ching, 02 Sep 2009 (READ MORE)
"...This begs the question: should we expect this kind of progressive view on homosexuality from the mainstream in general and In My Life in particular? Perhaps not. In an industry dominated by conservative values—rooted in the ideal economic feasibility of a G-rated film—In My Life’s gay publicity is simply a ruse, the film’s bid to package itself as daring and sensitive, as is fitting for the Star of All Seasons. Vilma Santos’s comeback cannot be centered on anything but her. The film must project Vilma as a daring actress (and liberal-minded politician) willing to tackle controversial roles, while maintaining her palatable sensitivity as the ordinary matriarch of Anak and Dekada ’70 fame. In My Life, then, is ultimately a film about mothers. Though packaged as a queer film, it is actually a family movie, the much-publicized homosexual angle between Cruz and Manzano just one of the many issues mothers like Shirley have to deal with in these times..." - Edgar Allan Paule, Viewer Discretion, 14 Oct 2009 (READ MORE)
"...Perhaps one of the most rare and unforgettable showcases of a librarian in the history of Philippine movies was Vilma Santos, known as Philippine’s Star for All Seasons. Vilma had a stint in the movie In My Life released in 2009. The film was about the struggles of a mother, Shierly Templo, feeling alone and left out of her brood, with her daughter expressing the desire to migrate to Australia and her gay son already working in New York...The movie was really not that descriptive of the librarian role as the main character only showed up in library and school scenes in just few frames. No scene firmly suggests her activities inside the library except her acts of hissing students. She can be identified as a stereotypical librarian complete with her glasses and her choice of classic cardigans and coats; a staple to stereotypical librarian fashion. She was also punningly recognizable in the way the character shushes her workmates in the restaurant where she worked later in New York..." - InterLibnet, 08 May 2015 (READ MORE)
Basic Information: Direction: Jose De Villa; Story & Screenplay: Medy Tarnate; Music: Danny Holmsen; Cast: Tirso Cruz III, Vilma Santos, Juvy Cachola, Edgar Salcedo, Jigger Roces, Dely Atay-atayan; Executive Producer: Jose O. Vera; Production Co: Sampaguita Pictures; Released Date: 28 November 1970 (IMDB)
Plot Description: No Available Data
Film Achievement: No Available Data
Film Reviews: "...Pip didn’t return to the movies until he was in his teens and was partnered with Nora Aunor. As a love team they were more popularly known as Guy & Pip and they made several box-office hits. But like most other male stars in love teams, his career dimmed when the partner was launched as a solo act and became an even bigger name — alone. This happened to Edgar Mortiz, who was Vilma Santos’ first screen partner. There was a long lull in Edgar’s career until he joined the group Goin’ Bananas. Today, he is very active in show business as a television director. The fate of Nora’s other screen partner, Manny de Leon, was tragic. Nobody knows what happened to him after their love team was dissolved..." - Butch Francisco (READ MORE)
"..."Are there really illegitimate children?...or illegitimate parents?" Nobody's Child (November 28, 1970) na prinudyos ng Sampaguita Pictures ay tinampukan nina Vi, Tirso Cruz III, Juvy Cachola, Edgar Salcedo, German Moreno, Dely Atayatayan, Jigger Roces at Romy Lapus sa direksiyon ni Jose de Villa..." - Alfonso Valencia (READ MORE)
Basic Information Direction: Jose De Villa; Story & Screenplay: Tony Cayado, Chito B. Tapawan; Music: Danny Holmsen; Cast: Tirso Cruz III, Vilma Santos, Aurora Salve, German Moreno; Released Date: 14 August 1970 (IMDB)
Plot Description: No Available Data
Film Achievement: No Available Data
Film Reviews: "...Pip didn’t return to the movies until he was in his teens and was partnered with Nora Aunor. As a love team they were more popularly known as Guy & Pip and they made several box-office hits. But like most other male stars in love teams, his career dimmed when the partner was launched as a solo act and became an even bigger name — alone. This happened to Edgar Mortiz, who was Vilma Santos’ first screen partner. There was a long lull in Edgar’s career until he joined the group Goin’ Bananas. Today, he is very active in show business as a television director. The fate of Nora’s other screen partner, Manny de Leon, was tragic. Nobody knows what happened to him after their love team was dissolved..." - Butch Francisco (READ MORE)
"...Kahit love team na sina Vilma at Bobot Mortiz, ipina-partner pa rin si Vi sa iba't ibang sikat na male heartthrobs noon." Jojo mentioned singing sensation Eddie Peregrina (paired with Vi in Mardy and I Do Love You, both shown in 1970), showbiz royalty Jay Ilagan (Inspiration, Remembrance, Ang Konduktora all shown in ‘72, and Sister Stella L in '84), young actor Paolo Romero (Ikaw Lamang in 1971), and even her rival's partners, Tirso Cruz III (Dingdong, Give Me Your Love, and Nobody's Child all in '73) and Manny de Leon (Teenage Señorita in 1971)..." - Rommel R. Llanes (READ MORE)
Basic Info: Director: Mar S. Torres; Writer: Pablo S. Gomez; Cast: Tirso Cruz III, Vilma Santos, Norma Blancaflor, Dely Atay-atayan, Ven Medina; Release Date: 17 July 1970; Film poster: Video48
Plot Description:Ding Dong, adapted into movie from comics written by Pablo S. Gomez; Illustrated by Alfredo P. Alcala for United Komiks, 1970. - Komiklopedia (READ MORE)
Film Achievement: Ding Dong was serialize weekly by United Komiks in 1970. It was written by comics novelist Pablo S. Gomez and illustrated Alfredo P. Alcala. The comic novel was adapted into movie the same year.
Film Reviews: "...Jojo Lim, Vilma Santos Solid International, Incorporated (VSSI, Inc) president, told PEP, "Kahit love team na sina Vilma at Bobot Mortiz, ipina-partner pa rin si Vi sa iba't ibang sikat na male heartthrobs noon." Jojo mentioned singing sensation Eddie Peregrina (paired with Vi in Mardy and I Do Love You, both shown in 1970), showbiz royalty Jay Ilagan (Inspiration, Remembrance, Ang Konduktora all shown in ‘72, and Sister Stella L in '84), young actor Paolo Romero (Ikaw Lamang in 1971), and even her rival's partners, Tirso Cruz III (Dingdong, Give Me Your Love, and Nobody's Child all in '73) and Manny de Leon (Teenage Señorita in 1971). During her team-up with Edgar Mortiz, mestizo young star Jimmy Morato was reported courting Vilma..." - Rommel R. Llanes (READ MORE)
