Karma

Released: December 25, 1981

The Plot: Sarah (Vilma Santos) is forced to defer her wedding when she scheduled to flight was delayed. At a hotel where she is staying, Sarah encounters Eric (Ronaldo Valdez), a regular guest who forces himself on her. The incident leaves a stigma not just on Sarah but more so on her fiancé, Alfredo (Tommy Abuel) whose dream of marrying a “virgin” is dashed. Strangely, Sarah and Eric’s paths cross again at a time when their respective marriages are in disarray. Their meeting strikes both as “déjà vu.” Could it be that they have met each other in the past? Their suspicious are confirmed after Eric consults a psychic. As it turns out, Sarah and Eric are the reincarnation of Guada and Enrico, two lovers who had an illicit affair sixty years ago. When Guada’s husband, Limbo (Ruel Vernal), learned of her affair, he went on a murderous rampage. Now Sarah and Eric seem destined to follow the same path. But in whose spouse does the spirit of Limbo rest? Is it the disabled Alfredo? Or Eric’s estranged wife Cristy (Chanda Romero)? - Viva Films

Film Reviews: The technical preview of “Karma” the other night was delayed for about an hour but I did not mind waiting because I was quite certain that I’d be seeing a fine film. To while away the time, “Firecracker,” co-starring American actors with local talents like Chanda Romero, Vic Diaz, and Rey Malonzo was shown. Chanda and Vic delivered their lines themselves but surprisingly Rey didn’t. Before one whole reel could roll, the prints of “Karma” arrived. “Don’t stop it yet, a bed scene is coming,” Mario Bautista protested. Happily, “Karma” turned out to be as good as I expected. It’s performers are first-rate - Vilma Santos, Ronaldo Valdez, Tommy Abuel, Chanda Romero - so their award-winning acting didn’t surprise me at all. The script was outstanding but even that was expected, coming from director Danny Zialcita. What impressed me was that minor parts were played by name actors. The housekeeper who appeared in one short sequence could have been played by any elderly woman but those who made the movie wanted nothing less than Etang Discher. The psychiatrist could have been played by any decent-looking man but they didn’t settle for anybody less than Vic Silayan. The male lover at the start of the story had to be acted out by Dante Rivero, that at the end by Christopher de Leon. The movie boasted of several bold scenes. Those involving Vilma weren’t much as we know for a fact that Vilma could show only so much. One scene showing Chanda was a different story. It showed her with absolutely nothing on, yet it didn’t offend anybody as it was executed in style, shot with great care. There was just one thing, which looked unnatural to me - the way in which one of the main characters killed himself. “That’s all right,” Danny assured me. “Before we shot it, we double-checked its possibility.” Reincarnation and transference are undoubtedly mind-boggling subjects but, to his utmost credit, Danny managed to present them simply, bringing them down for everybody to understand. “Bala lang yan. Katawan lang ito. Babalik at babalik kami sa mundong ito,” Dante vowed. Come back they did as they promised building the foundation of the story. - Bob Castillo, People’s Journal Dec. 12, 1981 (READ MORE)

Sa pagbabago ng estado ni Vilma Santos, tila nagbabago na rin ang kanyang approach sa kanyang career. Dahil hindi na career ang unang priority niya sa buhay, lalong nagiging professional ang kanyang tingin sa trabaho. Dahil hindi na twenty-four hours a day ang kanyang buhay artista, alam na niyang I-apportion ang bawat minuto na walang aksaya. Sa set ng Relasyon ni Ishmael Bernal, hangang-hanga ang director sa bagong pang-unawa ni Vilma sa trabaho. Dumarating sa oras, kabisado ang linya (memorizing lines for Vilma, of course, was never a problem even the days she was shooting five pictures simultaneously), full attention sa sinasabi ng direktor, walang problema. Kung pagbabasehan sa naging resulta ng Karma, lalong maganda ngayon si Vilma, mas mariin ang kanyang pagganap, mas mature ang kanyang approach at understanding sa kaniyang papel. Swerteng-swerte ang pagkapanalo niya ng best actress sa nakaraang Film fest. Sayang at wala siya upang tanggapin mismo ang tropeo. Pero lalong naging makabuluhan para sa kanya ang sinabi ng kapwa niya artista sa Karma nang sabihin ni Chanda Romero na “napakaganda naman ng karma ni Vilma. Mayroon na siyang Edu, mayroon siyang Lucky, ngayon ay mayroon pa siya nito (ang ibig sabihin ay ang best actress trophy),” sabay tilian ng mga fans sa loob ng Cultural Center, walang makapigil, walang makasaway. Pero, gaya ng dati, hindi naging madali kay Vilma ang pananalo. Nagpatas ang botohan ng dalawang beses - triple tie sila ni Gina Alajar at Charo Santos, hanggang ma-break ang deadlock at nakaungos ng isang boto si Vilma sa dalawa pa niyang kalaban. Tinawagan si Vilma ni Cirio Santiago, pinasundo sa isang limousine, pero nagdahilan ang Vilma. Ayaw niya sigurong umasa dahil minsan, sa isang awards night din, sinigurong siya ang mananalo pero hindi ganun ang nangyari. (I understand that Vilma really won but the verdict was changed afterwards through the representations and machinations of some influential press sectors.) Kunsabagay, wala rin si Charito Solis noong awards dahil sabi sa akin ni Chato, talagang hindi niya inaasahang manalo ang maliit na papel na iyon sa Kisapmata. Noon pa mang preview pa lamang, maugong na ang balitang baka si Charito ang manalo bilang supporting actress pero hindi niya yun pinansin dahil tiyak na tiyak siya na si Vic Silayan ang mananalo. Sinabi pa niya sa interview niya kay Armida Siguion-Reyna sa Let’s Talk Movies na napakagaling ni Vic. Sa set pa lamang daw, natitiyak na niya halos na si Vic ay mananalo sa Kisapmata. Sa naturan ding programa, sinabi ni Armida sa pagre-review niya ng Karma na talagang magaling ang pagkakaganap ni Vilma sa Karma na parang nakuha nitong punuan ang ilang mahalagang kakulangan ng pelikula. - Oscar Miranda (READ MORE)

"26 years after we first seen "Karma," the film remained Vilmanians' favorites and one of Dany Zialcita's best film. Glossy with crisp dialouge, the film was a big hit at the 1981 Metro Manila Film Festival and earned Vilma the festival's best actress. Here was what movie reporter Mario Bautista said about her acting: "Ibang-iba" rin ang Vilma Santos sa "Karma." Subdued na subdued ang performance ni Vi rito unlike in other films na all out ang emoting niya. Dito'y restrained siay at napaka-effective. Halimbawa sa eksena after the rape sa kanya ni Ronaldo Valdez. Nang sabihin niyang siya'y patungo sa kasal niya'y halos hindi na marinig ang kanyang tinig pero talaga namang damang-dama mo ang kirot sa kanyang dibdib. O kaya'y sa mga tagpong sinusumbatan siya ni Tommy Abuel na nanatili siyang kalmado at soft-spoken. We never thought Vilma can be that versatile!" - RV (READ MORE)

"One of the most misunderstood occult concepts. The nearest equivalent in European thought is contained in the idea of fate, though the oriental term indicates the fate is not a haphazard sequence of events of experiences, but is dependent on actions of previous lives or spiritual conditions. The idea is that a spirit undertakes to live in an earthy body for a given period of time, usually in order to learn something which cannot be learned in a disembodied state, and has to accept rewards and punishments for good and bad deeds committed in previous incarnations. In order that understanding may grow, any evil committed against another person will have to be experienced by the perpetrator. The working out of Karma is not done consciously by ordinary people. The real reasons for the majority of people's actions and relationships may be understood only when nature of their Karma is grasped - which is tantamount to saying that it is virtually impossible to understand or judge another person when seen in the context of one material lifetime only. Vilma Santos fits the role to a T. For the past years that she has suffered a string of major misfortunes and setbacks in real and reel life, she has hone herself as promise, a common objective: to give the viewing public what it wants - entertainment with a capital E. For Danny Zialcita, aside from having a good screenplay, good direction and brilliant actors and actresses, the movie should have artistic values. Karma promises to be a very good vehicle not only for Zialcita but also for Vilma Santos and the rest of the cast. Will this movie be a good KARMA for director Danny Zialcita, Vilma Santos and the rest of the cast? Watch the movie! It'll be a different kind of feeling you'll get after viewing it." - Bond De Leon (READ MORE)

"...First, Karma is a quality picture. According to Mr. Ernie Rojas ng Sining Silangan, it was produiced not only to make it good in the box-office kungdi maging sa mga awards. Kungsabagay, may laman ang sinabi ni Mr. Rojas simply because Langis at Tubig, which was also producede by Sining Silangan last year, placed second in the tops earners and bagged the Best Actor Award for Dindo Fernando. Second, matagal na ring naipalabas ang latest film ni Vi na Hiwalay. Samakatuwid, maganda ang spacing ng mga pelikula niya, 'Ika nga, hindi over-exposed ang beauty ni Vi. Dahil dito, nandiyan pa rin ang pananabik ng manonood kaya't siguradong dudumugin ang Karma. ..." - Manny A. Valera (READ MORE)

"...In my limited understanding it takes lifetimes to work off one’s karma. Movies, however, only run for two hours so filmmakers have to take liberties. In Danny Zialcita’s 1981 film Karma the protagonists have the added advantage of knowing exactly who they were in their past lives, thanks to a psychiatrist (Vic Silayan) who practices regression hypnosis. Eric (Ronaldo Valdez, who is smoking, and not just in the library where he researches his former incarnation) and Sarah (Vilma Santos) have already met under awful circumstances, but it turns out they’ve known each other much longer than that. In the past they were Enrico and Guada, illicit lovers murdered by Guada’s husband, Limbo. Limbo vows to follow them to the next life, but which form does he take? Is he now Enrico’s mentally unbalanced, pathologically jealous wife Cristy (Chanda Romero), or Sarah’s cruel, sadistic husband Alfredo (Tommy Abuel). It’s not a whodunnit, it’s a who-will-do-it? Vilma Santos turns in another fine portrayal of emotional turmoil. Nora Aunor had the advantage of expressing volumes with her eyes; Vilma expresses with her face, hands, and entire body. Nora was inward, Vilma outward. Ronaldo Valdez gives an understated performance, coolly delivering lines like, “In love there’s no measure of time”. Tommy Abuel overacts ridiculously, even for a guy so suspicious that he has his wife examined by a gynecologist to see if she’s had sex. Chanda Romero is fabulous. Her Cristy is a psychotic who never raises her voice; you can tell she has tranquilizers for breakfast, lunch, and dinner. The first time Cristy and Sarah meet is at the antique store Sarah manages at the old Virra Mall. Cristy breezes in, picks out a bunch of stuff, and announces that she doesn’t carry cash or credit cards, just send the bill to her husband. She points to another piece she buys, and Sarah says, helpfully, “That’s P9,500.” “Ok lang,” Cristy says, “Nagtanong ba ako? (Did I ask?)” One thing about Danny Zialcita movies: his rich people looked and sounded like rich people. He made movies for sophisticated grown-ups. If they don’t make movies like Zialcita’s anymore, it’s because people are no longer that articulate. Nobody casually tosses off bon mots anymore, everything has to be overstated for the dim. So we Zialcita fans are reduced to reciting favorite lines from his movies: “Puede bang makausap ang asawa ko na asawa mo na asawa ng buong bayan?” (May I speak to my husband who’s your husband who’s everybody’s husband?)..." - Jessica Rules The Universe (READ MORE)

Makahiya at Talahib

Released: December 25, 1976

The Plot: Arturo (Rudy Fernandez) is a convict on the run after being framed for rape. Aurora (Vilma Santos), a sculptress at odds with her overbearing mother (Gloria Romero), falls for him and is convinced of his innocence. When Arturo takes revenge on those who framed him, Aurora helps him plot his escape. This, while her sister Beatriz (Trixia Gomez) has a brief affair with Arturo. - Music & Laughter TV (READ MORE)

The Reviews: - "...Produced by Goodwill Productions, Makahiya at Talahib (1976) featured Rudy Fernandez as Arturo Clemente, an escapee who was framed up for rape and murder of a child. He was sodomized in jail and psychologically tortured and successfully escaped. The film started with Arturo attempted to kill two men, he took their clothes and truck while allowing them to run for their lives naked. He was abled to go back to his hometown, hiding in the forest. The following scenes were the introduction of Arturo's lover, Aurora played by Vilma Santos, whose voice was noticeably dubbed by someone. She's a wood carver, sculpting native craft with the woods planted from a nearby forest. While working, she heard a radio broadcast and together with her co-workers and a by-stander, Steve (Romeo Rivera) the news about Arturo's escape. The news mentioned the killing of a prison guard and that he is arm and dangerous. Meanwhile, her sister Beatrice played by Trixia Gomez was seen making out with a man, in a farm, an obvious ploy to get the attention of male movie goers, as even with this scenes deleted, it will not affect the movie's main story.

The news of Arturo's come back made the guilty party scared, Ingo (max alvarado) and Steve together with their gang discussed their next move, warning everyone of Arturo's revenge. Also worried is Aurora's mother, played by Gloria Romero, preaching her two daughters about the dangers looming specially Aurora, who she knows was Arturo's ex. Baldo, (Rocco Montalban) was the first goons to die. Arturo met him. They fought and Baldo, was seen collapsing. Arturo left assuming he killed the goon. The next day, Beatrice warned her sister that she still likes Arturo. Also, at work and like her sister, she was bothered by Steve, asking her if she already met Arturo. Thinking that she might be hiding in their secret hide away back then, Aurora asked her boss to allow her to go to the forest to find a better wood for her next project. She left work and carrying a wood chopper, she head to the forest. There she find Arturo. She confront him and find out that he's not sure if he killed Baldo as he left him on the ground after they fight. She was hoping for her early parole not for her to be an escapee. Vanishing her hope of them getting back together and living a quiet life. While waiting for her to be free, she he decided not go out to avoid seeing the places they routinely hang out. But she was forced by her mother to work.

The two talked about a man named Mang Inggo, a sick man, who disappeared and live in the forest, both became close to the man. He disappeared in the forest when the towns folk started to treat him like a pariah. And this is where she figured where Arturo might be hiding. He mentioned that he was raped inside and was psychologically torture by prisoners daily talk of revenge. Thinking tha Arturo might be hiding in the parish church, Steve and a group of police raided the house of the parish priest but failed find Arturo. That night, Aurora's mother informed her two daughters that the bullet found in baldo's body was the same type of bullet from the jail guard's gun, concluding it was the bullet Arturo uses to kill Baldo. The same night Steve visited Ingo, (Max Alvarado), making sure they're alone, Steve killed him. It was clear that Steve is trying to frame Arturo for the second time. For the second time, Aurora met Arturo and now assured her he did not kill Ingo. The decided to elope. Without Aurora's knowledge, Beatrice followed her. When Aurora's gone, she seduced Arturo. They had sex but told her Aurora will remained her love. That night, Beatrice was caught by her mother meeting secretly her other lover, she blame Aurora for not warning her. She warned her sister that she will pay for this.

Arturo went to isko's house. The two fought but Isko was shot by Steve, who was watching all along. He confronted Arturo and they too fought when a group of police came. Arturo managed to escape. A series of events followed. Aurora asked the parish priest for advice. She told him that Arturo was innocent and where Arturo is. Her mother discovered that her sister Beatrice is pregnant and forced her to the community clinic, assuming she wanted her to have an abortion. The two were arguing on the street while the town's gossiper gawking at them. They were interrupted by Steve's meeting with the town's people, urging them to have a community raid of Arturo's whereabouts. Hearing this, Beatrice left her angry mother and joined Steve's and his followers. Informing them she know's Arturo's hide away. Then the priest who Aurora just talked to, decided to find Arturo himself. There he was able to convinced Arturo to turn himself in. Aurora convinced that it is time for her to join Arturo went home to get some clothes, when her angry mom arrived interrupting her plans. Thank godness, their pregnant pig started to labor. Her mother quickly attended to her pigs and she quickly leave the house. Surrounded by the police and the town's people, Arturo fought. The group ring leader, Steve was shot, strugling for life, he confessed to two town's people that he was the murderer.

It was too late, the police shot Arturo several times. Aurora witnessed this, she screamed but too late. Arturo was dead. The end. Written and directed by Emmanuel H. Borlaza, Makahiya't Talahib spoon fed its story. No element of surprise, as we already know from the very beginning Arturo is innocent and who was responsible. It was obvious that the film tried to sell sex. The ending, showing the sex scene of Rudy and Vilma (and used as the promo) was a proof of this. The casting of Trixia Gomez and the inclusion of her sex scenes was another. Borlaza tried to entice the male movie goers of the December film fest, as the film compete with other festival entry. It was clear, that the ploy was not enough as the film failed both commercially and artistically. Although this is a prelude to Vilma's career transformation (a prep to her Burlesk Queen) as she agreed for the first time to do her first kissing (sex) scene. This event has eclipse by someone dubbing her voice making her performance forgettable. Rudy Fernandez tried very hard to portrayed Arturo but lack the intensity. Like Aurora's unfinish wood scultures, the supporting cast needs more work. Gloria Romero's acting was ordinary. Trixia Gomez's was bland. Romeo Rivera, Rocco Montalban and Max Alvarado were all stereotypically uneventful. It was reported that Borlaza was so in-demand by producers, he was shooting two films at the same time. Which was the case of Makahiya. Borlaza non-apologitcally admitted his film was more commercial than other directors. But given the clear storyline of Makahiya, the film would probably work if it was adapted by a more creative, non-commercial writer. - RV

"...Her metamorphosis began in late 1976 when she agreed to be kissed by Rudy Fernandez in Makahiya at Talahib. It was a “feeler” of sort and when the public clacked its tongue in obvious approval, Vilma shelved her lollipops-and-roses image and proved that she, too, could be a woman – a wise move indeed because at that time her career was on a downswing and her movies were not making money. Then she did Mga Rosas sa Putikan for her own VS Films where she played a country girl forced into prostitution in the big city. The movie did fairly well at the tills. Good sign. And came her romance with Romeo Vasquez, boosting both their stocks at the box office (thier two starrers, Nag-aapoy na Damdamin and Pulot-Gata where Vilma did her own wet style, were big moneymakers). The tandem, although it did help Vilma, actually helped Vasquez more in re-establishing himself at the box office (without Vilma, his movies with other leading ladies hardly create any ripple). In Susan Kelly, Edad 20, Vilma played a notorious-woman role that required her to wear skimpy bikini briefs in some scenes, following it up with two giant sizzlers (Dalawang Pugad, Isang Ibon and Masarap, Masakit ang Umibig) that catapulted her as the newest Bold Queen. Then came Burlesk Queen..." - Ricardo F. Lo, Expressweek Magazine January 19, 1978 (READ MORE)

"...Why Borlaza? Because Emmanuel H. Borlaza is a formula director, a tried and tested moneymaker for local film companies and an example of a commercial success who also hungers for artistic fullfillment. It was Maning Borlaza who directed the box-office hit revival of Darna and Dyesebel, those heroines of less demanding times, and followed of less demanding times, and followed them with more Vilma Santos-Edgar Mortiz starrers...Whether the lure was really Borlaza and not Vilma (as Darna) or Alma (as Eva), one would still not find out in Makahiya at Talahib, the Goodwill production that Maning is directing as a filmfest bet. Vilma is starring, you see, opposit Rudy Fernandez who portrays the man on the run. Maning, however, has been quoted to have said that "My next 20 years are modestly provided for, I don't think I will live more than that. Henceforth, I will split my movie work to what I want to do and what the public likes. He wants, it seems, to recover his old self, the Borlaza who filmed Pyscho-Maniac, a suspense thriller which cast Divina Valencia, Dindo Fernando and Ray Marcos and won him the Academy's best screenplay award in '68, who packed so much good action in Mindanao, the movie that bagged four statuettes in the Manila Filmfest of the same year, and who directed Vilma Santos's way to the FAMAS best actress award for the performance in Dama de Noche. And yet, he is not that keen to do films that might suffer the fate of O'Hara's Mortal or Bernal's Nunal sa Tubig. "Their box-office results are not encouraging," says Maning. He admits he still goes a little commercial. That is why there is a love scene between Vilma and Rudy in Makahiya that Maning expects people might be talking about, more than the torrid shots of Rudy and Trixia Gomez. The 41-year old director also wrote the story and screenply of Makahiya...Nowadays, he even makes two pictures at a time. "I just finished Makahiya and Teatro Manila. It's cheaper that way. You don't waste any calendar day. No stars available for Makahiya, we would work on Teatro..." - Chelo R. Banal, Philippine Panorama Magazine, 26 December 1976 (READ MORE)

King Khayam and I

Released: November 29, 1974

The Plot: King Kayam’s search for another wife brought him the escapee, Princess Gracia. She doesn’t want to be wed to a man, she doesn’t love so she left her kingdom and ended up in King Kayam’s kingdom. They met and fell in love. - RV (READ MORE)

The Review: King Kayam is the playboy king of the Vulcan kingdom played convincingly by the younger action star, Joseph Estrada. King Kayam has several wives (Marissa Delgado, Lucita Soriano, Rossana Marquez) with several kids, the eldest played by teen star, Dondon Nakar. But with all these wives you might think the king will be satisfied sexually, wrong! He wanted more and asked his disciple (Rod Navarro) to find him more wives. Meanwhile on the kingdom of Salamanca, a young princess named Princess Gracia is being groom to be a wife. Her king father (Ruben Rustia) and queen mother (Anita Linda) are looking for suitable husband. When the princess discovered her three suitors, she decided to eloped. Wearing an ordinary disguise clothes and with the help of her sidekick (Lorli Villanueva), they left the kingdom and reached Vulcan. Bad luck came into them as they were caught by a bad bandits who are selling slaves into the public by auctioning them into the public market like cattle. When the disguised princess turn to be auction, she caught the attention of the king’s disciple and bought her together with her sidekick. He brought them to the palace and excitedly present the princess to the king but the princess ugly herself with makeup and the king was turned off. The disciple then madly sent them to kitchen to work. But because of her upbringing she can’t handle the hard work and decided to change her escape tactic by cooperating. The disciple then presented her again to the king and with her real beauty caught the king’s attention. The king and the disguised princess developed a romance. The princess explained to the surprise king that she is actually a real princess and the king agreed to return her to her kingdom in exchange, she will teach him what she knows about running a kingdom. The two went into a disguise and the king saw first hand how the ordinary people in his kingdom lives. With the romance blooming, the wives headed by Marissa Delgado, who is having an affair with the disciple, planned a revolt. The two entrapped the king. They jailed the king. Fortunately, Princess Gracia convinced the other wives to fight back and they freed the King. With the freed King Kayam, he allowed Princess Gracia to return to her kingdom. KIng Kayam asked her parent if he can marry her and they agreed. The end.

The film started promising with funny scenes of Joseph Estrada facing his people seeking his advice or help. One was when a man presented his new product, a flying magic carpet but when the carpet didn’t fly, the king suggested, avoid a heavy/fat rider. Then a much younger veteran actress Mary Walter appeared, brought her magic lamp. She complain that the seller fooled her to buy a defected product. She demonstrated and caressed the lamp. The genie came out but instead of the expected giant gennie, a midget/dwarf genie came out. Then from this moment the film went downhill. A singing bird, a transsexual Ike Lozada (being auctioned), Rod Navarro’s over the top villain antics, all failed to sustained our attention. The weak storyline did not help. Patterned with the Hollywood film, King Kayam & I’s only saving grace was the acting of its lead stars. Joseph Estrada’s presence was commanding and convincing as the playboy king and Vilma’s charming innocence despite the sexy dance number at the end complimented Joseph’s macho image. The two did three films, although they didn’t shared a single scene in Dugo at Pagibig sa Kapirasong Lupa, King Kayam was their only film together as mature actors. Their first outing was Batang Iwahig, when Vi was just a child star and Joseph was in his early years as a bankable action star. Produced by the late, Experidion Laxa of Tagalog Ilang-Ilang Production, the film was just a mild hit, probably the main reason why there was no follow-up project for the two. Two reasons why the film failed was probably the cheap set decorations and the weak story/screenplay of Nestor U Torre, Jr. The song lyrics of Levi Celerio can’t salvaged the mostly canned music of Resti Umali either. This was despite the splendid musical number in the kitchen (when Vilma protested to the cooks that she was a princess and should be treated like one). Die-hard Vilmanians would probably considered Vilma’s dance number at the very end as the highlight of the film. - RV (READ MORE)

Edgar Loves Vilma

Relesed: September 27, 1970

The Plot: - Daughter of a nightclub singer, Vilma met Edgar whose father, like Vilma's mother is also a single parents. Both parents fell in love at the same time as Vilma and Edgar became lovers. Some twists of events happened, like the sudden breaking up of their parents due to Edgar's grandmother's disapproval of her son's relationship to a night club singer, which is a societal taboo for the upper class during those days, and the kidnapping of Vilma. But all we're ironed out and settled just in time for the final musical production number, showing the whole gang dancing and singing to Vilma's hit song, "Do Re Mi Fa Sol La Love You!"

The Reviews: - "Edgar Loves Vilma" (1970) started with suitor Oscar (Jess Lapid jr.) calling Vilma about a party they're attending, he's trying to make sure Vilma will be his dance partner. The following scene, Edgar is also talking over the phone, and his girlfriend was also trying to assure herself that Edgar will be her dance partner. A premonitions? The two attended the party, both did their usual singing number and both ended up in the dance floor living their partners. As Vi and Bot became lovers so is their parents, both single and lonely. Vilma's mother who is a nightclub singer (Perla Bautista) falls for Edgar's father. Edgar's grandmother who lives with them discovered his son new affair and visited Vilma's mother. She insulted her, being a "nightclub singer" and asked her to live his engaged son. Vilma's mother followed her request and at the same time, she had an argument with Vilma, resulting with daughter leaving the house. Missing for two days, Edgar help to find Vilma while his father ironed out his relationship with Vilma's mother, who is now sick. Edgar found Vilma, and their parents reconcile. We thought this is the end but Vilma's suitor Oscar kidnapped her. Thankfully, Edgar rescued her after the usual fight scenes. The film ended in the typical musical production number. Vilma singing her recorded hit song, "Do Re Mi Fa Sol La Love You." Rico Bello Omagap's story and screenplay was poor and so is Leonardo L. Garcia's direction. There are so many unnecessary scenes particularly Edgar Moriz several singing in his house garden while being watch by his two young siblings. Another one was Ben David's character despite the attempt to add some comedy. At times Perla Bautista was convincing but some scenes can be edited shorter. After watching Edgar Loves Vilma, not surprisingly you will not feel the love. - RV

Masarap Masakit Ang Umibig

Released: October 21, 1977

Plot Description: A wealthy couple's sacrificing adopted son, Alonso (Christopher de Leon) and wayward biological son, Alvaro (Mat Ranillo III) vie for the love of the same woman, Estella (Vilma Santos).

Film Reviews: "...Walang ipinagkaiba ang pelikula sa ibang mga sineng tinalakay ang mga suliranin ng pag-ibig at pamilya. Makikitang pinagtuunan ng pansin ni direktor Elwood Perez ang disenyo ng pelikula ngunit hindi naging epektibo ang paggamit nito upang maiusad ang kuwento. Kahit sa pagganap ng mga pangunahing tauhan, animo sila'y nasa entablado. Nanlilisik ang mga mata, walang katapusang pagsisigawan, pagtutulakan at pagbubugbugan. Sa pelikulang ito, unang ipinamalas ang senswalidad ni Vilma Santos. Maraming eksenang sekswal ang aktres at maaari talaga siyang makipagsabayan sa mga tulad nina Alma Moreno at Trixia Gomez. Karamihan ng mga sitwasyong ibinigay sa kanyang karakter ay hindi kapani-paniwala. Nariyang gawin siyang modelo, sa ilang piling tagpo ipinakita din ang pagiging estudyante ni Estella ngunit hindi naman tinahak ang mga ito sa kabuuan ng pelikula. Hindi rin maikakaila ang husay ni Christopher de Leon bilang aktor ngunit sa pelikulang ito ay nasayang lamang ang kanyang pagganap. Hindi nabigyan ng tamang direksyon ang aktor kung kaya't lumabas na sabog ang kanyang karakterisasyon. Si Mat Ranillo III naman ay tila hindi na natutong umarte. Kadalasa'y pinaghuhubad siya ng direktor sa mga eksena upang mabigyang pansin. Masyadong mahaba ang pelikula dahil na rin siguro sa panghihinayang ni direk Elwood na masayang ang magagandang eksenang kanyang nakunan ngunit hindi naman nakaapekto ang mga ito sa takbo ng istorya. Kadalasa'y nakababad lamang ang kamera at nakatanghod sa susunod na gagawin ng mga artista. Hindi ito nakatulong upang mapabilis ang takbo ng pelikula, nakakainip panoorin ang ganitong mga eksena. Ang Masarap, Masakit Ang Umibig ay basurang nababalot sa kinang ng makintab na sinematograpiya, disenyo at musika na nagbabalatkayong masining na pelikula." Jojo Devera, Sari-saring Sineng Pinoy (READ MORE)

"...Her metamorphosis began in late 1976 when she agreed to be kissed by Rudy Fernandez in Makahiya at Talahib. It was a “feeler” of sort and when the public clacked its tongue in obvious approval, Vilma shelved her lollipops-and-roses image and proved that she, too, could be a woman – a wise move indeed because at that time her career was on a downswing and her movies were not making money. Then she did Mga Rosas sa Putikan for her own VS Films where she played a country girl forced into prostitution in the big city. The movie did fairly well at the tills. Good sign. And came her romance with Romeo Vasquez, boosting both their stocks at the box office (thier two starrers, Nag-aapoy na Damdamin and Pulot-Gata where Vilma did her own wet style, were big moneymakers). The tandem, although it did help Vilma, actually helped Vasquez more in re-establishing himself at the box office (without Vilma, his movies with other leading ladies hardly create any ripple). In Susan Kelly, Edad 20, Vilma played a notorious-woman role that required her to wear skimpy bikini briefs in some scenes, following it up with two giant sizzlers (Dalawang Pugad, Isang Ibon and Masarap, Masakit ang Umibig) that catapulted her as the newest Bold Queen. Then came Burlesk Queen..." - Ricardo F. Lo, Expressweek Magazine January 19, 1978 (READ MORE)

"...Elwood Perez and Vilma Santos colloborated in seven films (Ibulong Mo Sa Diyos 1988, Lipad Darna Lipad 1973, Magkaribal 1979, Masarap Masakit ang Umibig 1977, Nakawin Natin ang Bawat Sandali 1978, Pakawalan Mo Ako 1981, Pinay American Style 1979). The first one was the trilogy that he co-directed with two other director, Borlaza and Gosiengfiao (these three are the most underrated and under appreciated directors in the Philippines), the remake of Mars Ravelo comic super hero, Darna in Lipad Darna Lipad. The film was a record-breaking hit Box-office Film. They follow this up with a more mature projects as Vilma started to switched her image from sweet to a mature versatile actress, pairing her with Christopher DeLeon in five films starting with Masarap Masakit Ang Umibig in 1977. The Perez-Santos-DeLeon team produced seven blockbuster hits that gave Vilma two FAMAS best actress awards that secured her elevation to FAMAS highest honour, the FAMAS Hall of Fame award. She won in 1979 for Pakawalan Mo Ako and 1988 for Ibulong Mo Sa Diyos..." - RV (READ MORE)

Broken Marriage

Released: September 2, 1983

The Plot: Demanding careers and two children have left Ellen (Vilma Santos) and Rene (Christopher De Leon) with a rocky marriage. A trial separation follows, and soon enough, the consideration of divorce -- a serious taboo in Filipino culture in 1983. Orestes Ojeda co-stars as a new flame who lights up Ellen's life. Prolific director Ishmael Bernal directs a heart-tugging script that he co-wrote with Bing Caballero and Jose Carreon. - Netflix

The Reviews:  Broken Marriage comes as a second wave to the noisy ripple created by Vilma Santos’s award-winning performance in Relasyon. The Regal people have banged their bongos so much harder this time that viewers will expect that Ms. Santos’ cards for this year’s awards derby will be more than secure. The hint is that Broken Marriage is a Vilma Santos movie. Lest the moviegoer expect too much from this year’s quadruple winning best actress, he should be forewarned that the movie is about, well, a broken marriage. After more than 10 years of marriage, two young persons find each other repugnant. Ellen is a television floor director who hops from one set to the other shooting sitcoms and soaps. Her husband, Rene, complements her rapid lifestyle in investigative reporting. The movie commences with Ellen coming home in the morning from overtime with a crew party on the side. Rene greets her with an ugly nag. The house turns topsy-turvy as they proceed to hurl invectives against each other.

The exchange is extremely exhilarating; and just as the viewer breathes a sigh of relief, another quarrel starts and ensues as if it were the final assault.  Eventually, they decide to separate at the cost of their boy’s understanding nod and their little girl’s distaste. Rene moves to a house populated with such absurd characters as an artist who carves sexy sculptures, a friendly bit-part actor, and a gay art director who cuddles the upstart. Ellen, meanwhile, has to see to it that the children are not left out in their school activities - even standing as an athletic parent during one of her boy’s scouting engagements. She also has to check the advances of her bodyache-complaining producer, to whom she later gives in anyway. Gradually, the two people realize the great loss that comes with division. Ellen, with the two children, is forced to move to her mother’s place after her house is burglarized, thus realizing the difficulty of an unmanned house. Rene substitutes a whore in the absence of his wife’s caresses. It is when Rene gets beaten up by a city mayor’s goons for nearly publishing a detrimental article and is constrained to recuperate in his mother-in-law’s house that the couple starts patching up the seams of the rent relationship. The ending is of course happy: reconciliation, what else?

Comparisons dawn inexorably: how does Broken Marriage fare as a follow-up to the bravura of Relasyon? This is tough inquiry. If intentions were to be the starting point, then the new movie is a better achievement. Relasyon, judging from its title, was supposed to be about a man and other woman relationship; but the feminist tendencies of our cinema had pinned the movie to a fateful drift: the travails of the modern mistress. Broken Marriage never swerves from its goal; from start to finish it is a portrait of two persons and the bond which they discover smothering and smoldering. But the ordinary moviegoer does not assess by artist’s intentions - he does not even care about the artist (I mean here the one behind the work. On one hand, the film in front of him is the present; and on the other hand, it is the past. Broken Marriage is made to appear to him as a sequel to Relasyon. The process of integrating the past and the present is a challenge for him. For him are opened two avenues: to start with past and proceed with present; or start with present and proceed with past. If he chose the former, the condemnation for Broken Marriage would clang like a wild cymbal. If he chose the latter, the outcome is a laudatory comment).

Nonetheless, one has to prove that the new movie can stand on its own feet. What Relasyon sadly lacked (albeit not too sadly) was humor. Broken Marriage has tons of it - the caustic swaps, the funny characterizations, the clever plottings - so that the audience’s conditioned response for a supposedly serious movie shifts irrevocably to playful irreverence. Vintage Ishmael Bernal. It is a masterly stroke - the proverbial Bernal sleight-of-hand at work, this time with more gusto and style. If the Inquisition were still around, he would be branded and burned seven times as a heretic for turning a marriage gone sour into an off-beat frolic suddenly turned sweet - at least, to the viewer’s mirth-hungry belly. But none may claim that Bernal’s treatment loses its mark of delineating the disadvantages of separation. The humor chisels the message so that it comes to us shining and double-edged, while doing its duty of alleviating an otherwise gloomy impression which accompanies every disillusioning subject matter.

Not only does it come through humorously but also simply. Nowhere is the strain which anyone expects from grave subjects present here. It is as if the dreary topic had been borne on the Lord’s shoulders so that the yoke - and audiences love to be martyrs of maudlin tears - becomes, this rare time, light and easy. The scene where Rene visits his family and finds Ellen and the children agitated by the swift burglary of the house, and the producer wrily comments “Mahirap talaga ang walang lalaki sa bahay”(It’s difficult to have no man in the house) is casual but very biting so that the urgency of the hero returning to his gamily throbs mercilessly like a set clock. In the same way, Bernal shows Ellen’s retrospective mood minus the conventional flashback: her younger sister is engaged to be married, and Ellen watches the two lovebirds running like children, with a bright but painful smile, even with jealousy, knowing that after the ceremonies, the two will lose the innocence which tradition stifles. This is a repetition of the technique Bernal used in Relasyon - the mistress attending the wedding of her cousin - with just the same effect, namely, sympathy. The screenplay plunges right into the boiling point, the issues hurled to the foreground like machine-gun fire, the familiar scenes of hatred and division treated like aimless confetti so that the audience neither breathes nor is excused. It jolts us at the outset and after the terrible whipping, when the squabbles lessen and finally ebb into peace, we realize that these two handsome people must have had only one tragic flaw: they did not keep mum for a while.

Manolo Abaya’s cinematography dances with the jetstyle rhythm of the two protagonists. From the clever blocking of the morningjumble scenes to the hurried bustle of the television studio, Abaya’s camera sweeps avidly and flawlessly. In his hands, the incessant quarrels of Rene and Ellen seem like a vengeful lovemaking. The long shots, conventions of a Bernal, are more developed here. Above all, Abaya’s camera has humor and pathos. The production design never digresses from its limited scope but manages to make poetry out of cluttered rooms and artificial television set-ups. The claustrophobia one feels at the outset of the movie with the couple’s disorderly room easily renders the hopelessness of the two people’s situation. The music filters the emotions of the characters with a detached but effective air. Jesus Navarro’s splendid editing is a breathless canvass of cosmopolitan animation. The supporting actors are remarkable. Spanky Manikan as a loony reporter getting loonier everyday must not be denied mention; so with the actors who play the sculptor and the gay art director. Lito Pimentel as the gay’s idol is a relaxed performer with a talent for effortlessness.

Christopher de Leon endows the character of Rene with the right sense of machismo and basic weakness. When Rene is compelled to act maturely, De Leon unflinchingly turns him even more childish with useless tantrums; and when Rene finally learns his lesson, De Leon adds a boyish smile as if the lesson were amusing. We watch De Leon, elated and entertained: he is never so old as to appear too distant nor is he too young as to seem undocile. Broken Marriage is a gift to this actor. He is not propelled here to be more manly; since his character is made to contribute to a lot of oversights, De Leon’s doesn’t have to put a mask of strength: he just has to be himself and act with ease. Vilma Santos is not about to be a letdown, not this time when the most important female roles are coming her way. A new intelligence she infuses in the character Ellen. Like De Leon, she turns Ellen into a woman-child, but the stress is less on her part as she has done similar roles before. Her beautiful face is flush receptive: the quiet moments of just observing the people around her are moments of perfect acting. Her body moves with an agility that is both funny and dramatic. Her two monologues - the first with her friends in the cafe when she informs them that she is bored, and the second with Rene when she tells him that they are not children anymore - are her best scenes: the camera lingers upon her countenance and she enunciates in return with ironic ease. She should watch out for next year’s awards race - there is simply no stopping her at the moment. - Joselito Zulueta, Sine Manila - 1983 (READ MORE)

Mahigit sampung taong nagsasama bilang mag-asawa sina Ellen (Vilma Santos), floor director sa isang programang pantelebisyon at Rene (Christopher de Leon), isang investigative reporter. Sa simula pa lamang ng Broken Marriage (Regal Films, 1983) mapapansing pag-uwi pa lamang ni Ellen mula sa trabaho, pakikipagtalo agad ang isinasalubong ni Rene dito. Ipinakita ng pelikula ang tumitinding alitan sa pagitan ng mag-asawa hanggang sa mapagdesisyunan nilang pansamantalang maghiwalay. Pilit na ipinaintindi ng mga ito ang di pagkakaunawaan sa kanilang dalawang anak. Nanirahan si Rene sa isang bahay na pinamumugaran ng isang grupo ng mga absurd characters na matatagpuan sa pelikula. May iskultor, isang bit player at ang kinakasama nitong baklang art director. Di naglaon, napilitang makisama ni Ellen at ng mga anak sa poder ng kanyang ina sa dahilang pinagnakawan ang kanilang bahay dala ng kawalan ng lalaking magtataguyod dito. Nang mapag-alamang ilalathala ni Rene ang isang artikulong maglalantad sa katiwalian ng isang opisyal ng lokal na pamahalaan ay agad itongipinagulpi upang mapigilan ang pag-publisa ng artikulo. Pansamantalang tumigil si Rene kasama ng asawa't anak sa bahay ng kanyang biyenan upang magpagaling at dito naayos ng dalawa ang kanilang pagsasama. Ang pagtatapos? Muling nabuo ang kanilang pamilya.

Paano malalampasan ng Broken Marriage ang Relasyon? Kung pagbabasehan ang intensiyon ng direktor, higit itong nakaaangat sa Relasyon. Mula simula hanggang sa pagtatapos nito, hindi lumihis ang Broken Marriage sa mensaheng nais nitong ipahatid. Mahusay ang pagsasalarawan ni Ishmael Bernal sa domestikong suliranin ng mag-asawa bagama't sumasang-ayon sa patriyarkal na gahum habang pinagbibigyan nito ang di inaasahang pagkamulat ng lalaking protagonista ay nagpakita ding ganap sa semiotikong detalye ng kompleksidad ng resolusyon sa pansariling loob. Ang sensitibong paglikha ni Vilma Santos kay Ellen ay isang marubdob at personal na layon kung ihahambing sa kanyang pagsasakarakter ng papel ni Marilou bilang kerida sa Relasyon. Hinamon ni Ellen ang kumbensiyonal na depinisyon ng pagiging asawa at pagkaina sa paghahanap ng mga alternatibo sa gitna ng makainang pagpapalaki sa mga anak. Ginawan niya si Ellen ng sariling silid kung saan nakahanap ito ng solitaryong kanlungan nang hindi pinuputol ang pakikipag-ugnayan sa asawa. Iniugnay ni Ellen ang ang kanyang pribadong hapdi sa spectrum ng kanyang relasyon. Samantala, nakatutok ang tunggalian sa Broken Marriage hindi lamang kay Vilma Santos kundi kay Christopher de Leon. Nasa asawang lalaki ang bulto ng suliranin kaya sa kanya umiikot ang kuwento, ang relasyon ni Rene kay Ellen at ang relasyon ni Rene sa kanyang mga anak. Ang maalam na pagpasok ni de Leon sa katauhan ni Rene ang lumiligalig sa mga kontradiksiyong talamak sa sistemang patriarkal. Kaakibat ng Broken Marriage ang manipestasyon ni Bernal sa pagbibigay ng representasyon sa reyalidad at partikular na pagsasaayos ng iba't-ibang elementong kaagapay sa masining na pagbuo ng pelikula. - Jojo DeVera, Sari-saring Sineng Pinoy (READ MORE)

"...Sa 1983, ang mga mapagpipilian lamang ay Broken Marriage...On a lower randk would be...Minsan Pa Nating Hagkan ang Nakaraan...Ang Broken Marriage ni Ishmael Bernal ay isang masusing pagsusuri sa lumabnaw na pagtitinginan ng isang young married couple; ang problema ng mag-asawa sa kani-kanilang trabaho, ang mga suliranin ng isang working mother, ang iba't ibang uri ng relationship between spouses and friends, at ang unti-unti'y muling pagkakalapit ng naghiwalay na mag-asawa. Maraming nagrereklamo sa happy ending ng pelikula na para bang masama ang loob nila't lumigayang muli ang mag-asawa. Pero sa amin, talagang napaghandaan ang masayang eksena sa beach ng buong pamilya dahil sa simula pa lamang ay inuungot na ng mga anak ang pagpunta roon. So, sa wakas, nakapunta rin sila sa beach and it's a fitting end indeed......Now that we have discussed this year's better films and the directors who made them, tunghayan natin ang listahan ng best screen performances...Susunod sa aming listahan ay sina Christopher de Leon, ang batambatang amang may problema sa kanyang pamilya sa Broken Marriage...Then there's Vilma Santos as the working mother who does a tough balancing act in her dedication to her career and to her family in Broken Marriage... " - Movie Flash Magazine, January 5, 1984 (READ MORE)

"...Though in the last cited awards, Karnal did not make it as best films, it nevertheless gave Broken Marriage a tough fight for the honor, in fact winning more nominations than Berna's films. It evetually won prizes for performances, cinematography, music and editing...A product of film schools, Marilou earned her M.A. in Film and Television from Loyola Marrymount College in Los Angeles and received a diploma in film from the London Film School. In May, she will be flying to Moscow to attend the Philippine Film Week, where Karnal, Broken Marriage and Soltero will be exhibited. Then it will be Prague and Vienna for both Karnal and Broken Marriage. Her earlier work, Brutal has also been invited to Tokyo's Pia Film Festival, which is sponsored by critics and journalist to showcase the works of young directors from 10 countries. International may have come her way, but at the moment, Marilou is earnestly preoccupied with starting her latest project, Baby Tsina, which will star two-time Urian best actress Vilma Santos, and written by Marilou's signature scenarist Ricky Lee. In a few days, the camera are set to start grinding for the director's new film..." - Justino Dormiendo, Movie Flash Magazine, April 26, 1984 (READ MORE)

"...On a final note, it’s rather unfair that when it comes to actors, Brocka always gets the authority to be called the actor’s director. Not to discredit Brocka of course but Bernal always exceeds Brocka in terms of directing comedies. And humor is only as hard as drama can get; and oftentimes even harder. Ilagan, Andolong, Ranillo, and Locsin may not be the best to portray their roles but their characters don’t need the best—they need believability more, and their youth exudes that, more than their acting chops. They grip on their dialogues so much that watching them is such a delight. There’s this anecdote told by Vilma Santos when she won her grandslam for Relasyon that she walked into Bernal’s shoot a little unmotivated and still high after her big win. She couldn’t get her acting right. And then Bernal said to her, “O, bakit parang lutang ka diyan? Porke’t naka-grand slam ka, feeling mo, magaling ka na?” That’s one-big-“OH”. And to think that Ate Vi was already a big star that time, and getting bigger and bigger thanks to her roles, it does not only give an impression of “katarayan” on Bernal’s part, but more of brilliance..." - Richard Bolisay (READ MORE)

Dama De Noche

Released: October 3, 1972

The Plot: Vilma Santos played a dual role, of twin sisters, Rosana the demented, lunatic tried to torment the sane, Armida.

The Review: "...This being Vilma Santos’ 50th year in show business (she started as a child star in 1963 with the dramatic tearjerker, “Trudis Liit”), her loyal fans are perfervidly recalling the highlights of her “golden” acting career...The year 1972 turned out to be a most productive season for Vilma, who started to do different and better movies that required her to go beyond teen-fave cuteness. In “Inspiration,” she was partnered with Jay Ilagan, and they came up with memorably endearing portrayals. In “Takbo, Vilma, Dali,” she was dynamic instead of soporifically sweet. In “Ang Konduktora,” she revealed her penchant for comedy. And, in “Dama de Noche,” where she played a psychologically troubled young woman, she won her first big acting award. This was a major milestone and triumph for the young actress, because heretofore most of the acting honors in film competitions went to Nora...What’s up next for everybody’s Ate Vi? Higher political office, quite logically and obviously. But, we hope against hope that, every couple of years or so, she will continue to gift us with another memorable screen portrayal, to further enhance her already exceptional filmography. She’s simply too good a thespian to surrender completely to politics..." - Nestor U. Torre, Philippine Daily Inquirer, 03 August 2012 (READ MORE)

"...Dama de Noche is showing in three theaters– Remar, Delta and Sampaguita. It is, Vilma was quoted as saying, her dream role fulfilled. The very professional Vilma has come out with the resolution than henceforth she will demand to see the script and also see that the script is demanding— or she’ll say nix. Well, Dama de Noche is exactly just that: demanding. In it she delineates the twin-sister roles of sweet Armida and deranged Rosanna. Vilma sobs and screams, giggles, and crazy-dances, claws and clowns, sobs again and screams some more. But she does more than all these things. She acts. In the Filipino movieworld where crying is synonymous with acting, that certainly is being ahead of one’s kind. Vilma as Armida is drab and dry, almost a movie prop. It is in the portrayal of Rosanna that Vilma would tear one’s heart away. The many close-ups so effectively used throughout the movie show the unglamorous Vilma: her frowns, her lip-twitching, her uninhibited and stifled sobs. But Vilma is less successful with the shifty look that is the distinctive trait of the deranged. She compensates for this in the ‘betrayal’ scene when Rosanna suspects that Leo, Armida and the psychiatrist (Fred Montilla) all conspired to imprison her in the hospital.

Another outstanding feat is the subdued scene where Rosanna learns that Leo has gone to the Lerma villa to meet Armida. The vivacious Rosanna is just as winsomely pathetic. Watching her is just like seeing a bosom friend trying to pretend she’s happy when both of you know she’s not only in this case, Rosanna is truly happy. Her non-knowledge of her plight is what is particularly heart-curling. Dama de Noche is Tagalog Ilang-Ilang Production’s entry in the QC filmfest which started on Oct.15. It is a very simple story, almost run-of-the-mill, but Nestor Torre, Jr. who wrote the screenplay saved it with his meaningful and amusing lines. However, the movie is occasionally dragging with the Filipino moviemania for spoonfed sequences. Will the memorable Rosanna win for Vilma the most coveted award tonight? Or will Nora the Superstar make it? The die is cast and tonight is the NIGHT. New Frontier Cinema in Cubao was never before so loaded that the fire exits had to be opened to let in air. It was so badly jampacked, one swore it couldn’t be worse. But it was, a ‘stand-mate’ (there were no seats) quipped, ‘Noong first day, mas grabe.’ And so through a snail-pacing 20-yard pila and after exactly one hour, one got inside the theater, at last!..." - The Times Journal (READ MORE)

"...A very young Vilma Santos plays twins—a goody-two shoes and a manic meanie. They fall for the same guy—if I’m not mistaken, a slim Edgar Mortiz. The good twin sings pretty songs, looks morose most of the time, and is often helpless; the bad twin is active, take-charge, and flashes her eyes at the camera a lot. In the end she burns the house down; unfortunately she traps herself in it. Good Vi and Bot escape, and watch the house go down in flames while holding on to each other beside a dama de noche shrub (or at least I assume it’s one). And yes, there is a theme song that goes, “Daaaama de noche… daaaaaaaaamaaaaa de nocheeeeee..." - Joel McVie (READ MORE)

"...We wrote quite a number of scripts for Vilma, including the screenplay for "Dama de Noche," which turned out to be the first film that gave her an acting award. "This was a big deal for Vi because she was very frustrated at the time due to the fact that she was always losing to Nora in acting derbies in the '70s. Thus, when she won her Famas trophy, she felt vindicated. It was when "Dama de Noche" was being shot that we had an instructive experience with Vilma. She played a mentally disturbed girl in the story, and there was one scene in which she was supposed to dance her way through a forest. Somebody had interpreted this to mean that the dance would be choreographed number, so a ballet-like dance costume had been made for Vilma! When we got to the movie set that day, Vilma showed us her dance costume, and we were shocked. We explained that the "dance" was supposed to be spontaneous, thus unchoreographed and uncostumed! After our explanation, Vilma returned the costume to the production people, and simply "danced" the scene at her mentally challenged character would, spontaneously. This experience told us that, despite her young age then, Vilma was determined to do her job well, and once she understood how a scene should be done she would insist on doing it the right way, no matter if she ruffled the feelings of some people in the production..." - Nestor U. Torre, Philippine Daily Inquirer, June 6, 2003 (READ MORE)

"...Sa Amerika at iba pang bansa, palasak ang mga organized schools of acting na doon ay p'wedeng mag-enrol ang isang nag-aambisyong mag-artista at nang ma-refine niya o lalong mapagbuti ng anumang likas niyang kakayahan sa pag-arte. Isa sa mga pinakatanyag nilang acting techniques ay iyong tinatawag na Method Acting. Ang taguriang The Method ay pinaiklu mula orihinal na Stanislovsky Method, sinulan noong 1909 bg Rusong aktor-direktor na si Konstantin Stanislavsky. Si Stanislavsky ay mula sa Moscow Art Theatre at ang kanyang pamosong pamamaraan sa pag-arte ay pinakilala naman sa Estados Unidos ng kanyang mga disipulo. Ang Method Acting ay isang well-rounded system of training na binibigyang-pansin hindi lamang ang pag-arte kundi pati na ang wastong pagtindig, paglakad, at paggamit ng boses. Ang pinakabantog na paaralan ng Method Acting ay ang Actor's Studio ni Lee Strasberg sa Nuweba York...Ang pinakatanyag niyang estudyante ay sina Marlon Brando, Julie Harris, Patricia Neal at ang yumaong James Dean...Sa pelikulang Pilipinoay maaaring hatiin ang mga uri ng pag-arte sa dalawang pangkat. Ang una'y kinabibilangan nina Lolita Rodriguez at Nora Aunor. Ang pangalawa'y binubuo nina Charito Solis at Vilma Santos. Ang istilo ng acting nina Lolita ay banayad, mahinahon, pigil. Ang nadarama'y mababasa sa mga mata at sa bahagyang kiling ng ulo o sa kilos ng katawan. Kung ihahambing dito ang klase ng arte nina Charito, ay iyon namang matatawag na obvious, halos natatawag ng pansin. Kung nagagalit ay talagang hysterical na, nangininig ang mga labi, nandidilat ang mga mataat nagtutumili sa pagsasalita (ang buong katawa'y nangangatal). Natatandaan marahil ninyo si Charito doon sa eksena sa "Araw-Araw, Gabi-Gabi" (nanalo siya rito ng best actress sa Manila Filmfest) na muli silang nagkasama-sama ng kanyang mga napahiwalay na kapatid. Napaluhod pa siya at napahagulgol sa matinding tuwa. (Pero tila nagbago na si Ms. Solis sa ganitong estilo mula nang mahawakan siya ni Brocka "Larawan"). ...Natatandaan din siguro ninyo si Vilma Santos sa "Dama De Noche" (nanalo siya rito ng best actress sa Famas), doon sa eksenang dinala siya sa pagamutan ng mga baliw at nang matuklasan niya ito'y nagsisigaw siya, nanlalaki pati mga butas ng ilong at halos lumuwa ang mata sa galit. Sa malas naman ay ito ang higit na naiibigang istilo sa pagarte ng ating publiko. Kung bigay-tudo at eksaherado ay mas maganda para sa kanila. Di ba't maging sa buntalan ay mas nagugustuhan nila yung matatagal na eksena ng bakbakang walang patlang ang palitan ng mga suntok at sipa?..." - Mario E. Bautista, Jingle Extra Hot Magazine, 11 February 1980 (READ MORE)

Saan Nagtatago Ang Pagibig

Released: September 2, 1987

The Plot: Stella got pregnant by boyfriend Rick. Unfortunately, Rick is not willing to gamble on his inheritance. He is tied up with a promise to his super snotty, super rich old grandmother that he have to finish law school before he can get any money. In order to avoid scandal Stella agreed to be married to Rick’s retarded brother, Val. Together with his adopted family Stella learned to love the retarded Val and at the same time discovered that Val is a product of infidelity that cause the suicide of Rick and Val’s father. Unfortunately Stella’s new found love ended when Val accidentally fell from a window when he had a fight with his irrational brother one night. - RV

Rick (Ricky Davao), an irresponsible, lecherous law student, always makes his brain-damaged half-brother Val (Tonton Gutierrez) his fall guy for fear of losing the inheritance from his wealthy authoritarian grandmother Doña Pacing (Alicia Vergel). This time he makes Val marry his pregnant girlfriend Stella (Vilma Santos) to save her face and to mollify her parents. Bankrupt with their house facing forfeiture, their mother Carmen (Gloria Romero) is completely fearful and subservient to her intimidating mother in-law Doña Pacing who hates and blames her for the suicide of her son due to Carmen’s past indiscretion. Though trapped in her dire circumstances, Stella stays faithful to her marriage and tries to be a good wife by diligently teaching the childlike Val who finds comfort and love for Stella. - TFC Now (READ MORE)

The Reviews: - Nang malaman ni Stella na buntis siya ay pinilit niyang managot ang kasintahan nitong si Rick, isang law student na tagapagmana na ariarian ng kanyang matapobreng lola. Dahil sa panakot na mag-i-iskandalo’y ipinakasal nila si Stella sa kapatid ni Rick na retarded upang hindi mawala ang mana nito at kasabay ay maiwasan ang kahihiyan ni Stella na mabuntis ng walang asawa at ama ang kanyang dinadalang bata. Kasabay ng pagbubuntis ni Stella ay natutunan nitong mahalin ang retarded na si Val. Kasabay rin nito’y natuklasan ni Stella na si Val ay anak sa labas ng kanilang ina at ito’y hindi sinilang na kulang-kulang. Dahil sa kalupitan ng matapobreng lola ng mga bata’y nahulog ito sa hagdanan ng pagbintangan si Val ng matandang nagnanakaw ng pera. Nahulog ang batang si Val habang pinapalo ito ng kanyang ina. Isang gabi’y nagwala si Val nang Makita nitong nakikipagtalo si Stella kay Rick. Sinunggaban ni Val si Rick at nagaway sila. Ang naging resulta ng pag-aaway na ito’y aksidenteng nahulog sa balkonahe ang kaawa-awang si Val. Namatay ito at sa araw ng libing ay dumating ang matapobreng matanda para ibigay ang abuloy nito kay Stella. Isinauli ni Stella ang tseke sa matanda at ipinahayag na si Val ang ginawa nilang ama ng anak ni Rick dahil sa takot silang lahat na mawalan ng mana. Galit na umalis ang matanda at tuluyang naglaho ang mana ni Rick. Nagdesisyon na iwan ni Stella ang bahay kasama ng kanyang anak.

Mula sa direksiyon ni Eddie Garcia, ang Saan Nagtatago Ang Pag-ibig ay hango sa komiks. Bagama’t mahahalatang puro isang dimensiyon lamang ang halos lahat na karakter ng pelikula’y mahusay naman naihayag ni Direktor Eddie ang komiks na komiks na istorya nito. Bakit kailangang maging binata si Rick habang nagaaral ito ng abogasya? Bakit napakahalaga nito sa matapobreng si Alicia Vergel? Bakit may nakatakip ang isa sa mata ng matanda na parang bandido? Sa ubod ng yaman ng matanda hindi ba puedeng maglagay ng pekeng mata kesa sa bendand itim? Bagamat nakakatawa ang obserbasyon na ito’y dahil sa bisyuwal na kaanyuan ng matapobreng matanda kung kaya naman epektibong makikita ang pagiging kontrabida nito. Tulad ng “Paano Ba Ang Mangarap,” merong ‘dream sequence” ang pelikula kung saan kunwari’y hinuhusgahan si Val na isang baliw. Kung puputulin ang eksenang ito’y hindi magiging sagabal sa paglalahad ng buong istorya ni Gilda Olvidado. Mula sa lumang bahay hanggang sa eksena sa libingan ay mahusay ang sinematograpiya ni Romy Vitug at disenyong pangproduksiyon ni Manny Morpe. Mahusay ang mga katulong na artista mula kay Cherrie Gil, Alicia Alonzo at Alicia Vergel. Mahusay rin si Ricky Davao bilang Rick at Gloria Romero bilang ina ni Rick at Val. Ngunit ang pelikulang ito’y tungkol kay Val at bilang si Val ay nabigyan ng mahusay na pagganap ni Tonton Gutierrez ang papel na sinto sinto mula sa pagsasalita na utal utal haggang sa pisikal na mukha at pa-ika-ikang paglalakad. Tulad ng inaasahan, mahusay si Vilma bilang si Stella. At tulad ng maraming pelikulang ginawa niya sa ilalim ng Viva at sa direksiyon ni Eddie Garcia ay merong linya o dayalogo siya na hindi malilimutan, ito ay nang bigkasin niya ang linyang, “…si Val, si val na wala naman malay…” na magpahanggang ngayon ay natanim sa mga Pilipino na mahihilig sa pelikulang tagalog. - RV (READ MORE)

On the outset, this latest output churned by the factory of high gloss komiks melodramas suffers from serious credibility problem. Can a retardate enter into a marriage if the other party consents to it? This sham marriage is void ab initio because of the groom’s incapacity but the film proceeds as if it is legally binding. A causal glance can make the officiator doubt the capacity of the groom but the wedding must take place as has been scripted. The groom later affixes his thumb print on the marriage contract to signify his consent. We are made to believe that it is as simple as that. This is a far worse predicament than waht Vilma Santos suffered in Ibigay Mo sa Akin ang Bukas where she married a homosexual but whose sexual aberration she was not aware of before the wedding. It would take several years before Vilma, who surprisingly played a doctor, finally saw the truth. It was an insult to the viewer’s mind. This time, Vilma (Estella) is presumed into marrying Tonton Gutierrez (Val) because her beau Ricky Davao (Ric) has made her pregnant but cannot give her his name, at least, for the moment. If he marries her at this stage, Ric forfeits the vast inheritance which his rich grandma (Alicia Vergel) has promised to bequeth to him. Tic has made a deal with the old woman that he will finish law and pass the bar before getting hitched. Estella will then seek nullification of her marriage to Val. The red-blooded male, of course, cannot control his libido and succeeds in handling his girlfriend during her fertile grind.

Ric loves Estella directly but not enough to forego his inherittance. It is imperative for Ric to stuck to the deal because his family is in dim straits. His mother’s (Gloria Romero) antique shop isn’t going well and their house has been mortgaged witht the bank. Concerned auntie (Alicia Alonzo) suggests looking for a harmless male to give Estella’s baby a legitimate name while Ric finishes his studies. The task fall on Val Ric’s half-brother, who fell down the stais years ago which caused his retardation. Estella soon learns to accept her new status as wife, maid and teacher to Val which creates a rift between her and Ric. A fight occurs between the brothers which sends Val crushing down the grand veranda….For sure, the film has been well-acted. Vilma, once again awes us with her astringent putdowns in her familiar facial expressions and pertinent body language. That long monologue in front of the dying Tonton is an eloquent testimony to her acting talent. Tonton is worthy of notice as the retardate but we have to be assured that he is capable of doing the things he does in the film. Can he really remember the past with such clarity despite his brain damage? Nevertheless, he has captured the mannerisms and speech of the character he portrays. Alicia Vergel comes on too strong as the aristocratic Nyora Pacing who wears an eyepatch and walks with a cane. Ricky Davao vies for attection in his anti-hero role. Cherie Gil as Ricky’s flighty sister is less fierry but more believable. Gloria Romero delivers a sensitive portrayal of the weak mother with a dark past while Alicia Alonzo plays her sister who is privy to the family’s secrets. Eddie Garcia should be commended for toning down his confrontation scenes. His familiarity with this film genre shows in the way he manipulates the characters and builds up the scene. Still, one cannot help but questions the logic behind that sham marriage. - Luciano E. Soriano (READ MORE)

"...When Eddie first entered show business, “I said to myself, I’m going to give myself 15 years to be able to direct my first movie. Fortunately, it took me 12 years–or three years earlier than I had planned.” He considers Saan Nagtatago ang Pag-Ibig as his most memorable directorial assignment..." - Sol Jose Vanzi (READ MORE)

"...Ah, how I love the Vilma-Gloria confrontations. “Si Val, si Val, ang kawawang si Val!…” The movie was again a monster hit from Viva Films. FAMAS Best Picture and a supporting actress award for Ms. Romero..." - Mario O. Garces (READ MORE)

"...He explained that a lot of craft likewise went into these glossy dramas. He cited two scenes in the Vilma Santos tearjerker “Saan Nagtatago ang Pag-Ibig,” released in 1987: “Cinematographer Romy Vitug and I waited until late afternoon, when the columns at the back of the Manila Film Center formed long shadows. For another scene, we waited until dusk so the funeral procession would be reflected on a pond in the cemetery..." - Bayani San Diego Jr. (READ MORE)

"...The Bicol Festival Foundation, in cooperation with Philtanco, is sponsoring the movie premiere of the film Saan Nagtatago ang Pag-ibig?, tonight at 7:30, at the Rizal Theatre in Makati. The movie, directed by Eddie Garcia, stars by Eddie Garcia, stars Vilma Santos, Gloria Romero, Ricky Davao, Cherie Gil, Alicia Vergel and Tonton Gutierrez. The Bicol Festival Foundation is headed by Justice Francis F. Gachitorena of the Sandiganbayan. Film director Garcia who is a Bicolano himself has offered this latest Vilma Santos starrer to the Bicolanos, many of whom have been devastated by typhoon Herming a few weeks ago. He said, ‘This is my little contribution in the Bicolano’s who will be celebrating the Penafrancia Festival next month.” The Bicolanos in Manila will hold teh Grand Bicolandia Festival from September 7-13 at the Manila Garden Hotel in Makati and many activities have been schedule to drum up support for the plight of the Bicolanos in the provinces. Tickets are available a the theater gate at Visual Horizons with telephone no. 815-0024 or Philtranco at telephone no. 833-7180..." - Manila Standard, Sep 01 1987 (READ MORE)

“…When Gloria Romero won the best supporting actress award in Saan Nagtatago ang Pag-ibig?, she almost ran onstage and was beside herself for atleast three minutes. The ’50s queen of Philippine cinema could just ohh and aah that the audience gladly saved her with a standing ovation. Thirty four years ago, in 1954, she won her first acting award; and now she was lovelier, this second time around. But with an almost sad certainty, she acclaimed, “…To all the press people. I love you! Baka hindi na ako makabalik.” The moment was on overpouring of emotion and elegant hysteria only a true silver screen queen could summon. At least Romero thanked her make-up artist, Monching Morato as if to acknowledge her eternal celluloid persona that had flickered across the screeen and inflamed popular imagination for almost half a century. That was real romance in the movies. And even for a fleeting moment, Romero gave us a vision of what stuff real romance was made of. She made us comprehend that sense of almost indefinable sadness and fragility of life and beauty, a heightened awareness that even the subtlest of things suggested the unalterable rule of fate. Tonton Gutierrez was visibly euphoric when he accepted his best actor award for his performance in Saan Nagtatago ang Pag-ibig? Dutifully, he thanked the movie’s cast and crew, his director, his family; and of course, he never forget to thank God who gave him the talent to uplift, in his own way, the human condition…” - Henry C. Tejero, Manila Standard, Apr 24, 1988 (READ MORE)

In My Life

Released: September 16, 2009

The Plot: “...In My Life offers you a different Vilma Santos, a different John Lloyd Cruz and a different Luis Manzano,” said the film’s director, Olivia Lamasan, the woman behind the blockbusters Milan, Sana Maulit Muli, Got 2 Believe and Madrasta. “You have to see the genuine chemistry among these three actors who are together for the first time in a movie. This is also a unique film because it presents a mother in her 50s, thinking that she’s been through all and seen it all, when in actuality, a new chapter in her life is just beginning.” 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..." - Manny the Movie Guy (READ MORE)

The Reviews: "...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..." - Richard Bolisay, Lilok Pelikula (READ MORE)

"...For its exceptional casting alone, In My Life is amazing. Vilma aside, my heart goes out to John Lloyd, that rare dramatic actor who can make you cry just by seeing his eyes well up with tears. He portrays a lover quietly suffering Shirley's tantrums with restraint and grace, but at the same time, he makes it heartfelt and sincere. I was surprised by John Lloyd and Luis' screen dynamic as a gay couple. They call each other as Babe, display very romantic photos in their apartment and as the movie ends, they share a tender kiss on Brooklyn Bridge. Onscreen, their love is sweet, hushed and terribly romantic; even more effective and memorable than most hetero screen pairings. As for JLC and Luis being typecast in gay roles or catching social stigma, I have serious doubts about that, for onscreen, they are still as masculine and virile. As for Vilma, she portrayed a multi-dimensional mother who learns to get off her high horse and deal with displaced motherly pride. Later in the movie, Shirley realizes that that even if she's done everything for her children, she failed to know them as persons. Unlike other mother roles she has done in the past, the Star for All Seasons depicts a flawed mother who eventually finds peace with herself and her past mistakes. Not to be missed is Shirley and Noel's confrontation wherein the traditional sampalan was reinvented and Noel throws in the lines: "Anak mo lang siya, hindi mo siya pag-aari. Kung ano ang naging siya, dahil 'yon sa mga taong pumaligid sa kanya, at isa ka lang doon..." - Czeriza Valencia (READ MORE)

"...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...." - Filipino Librarian (READ MORE)

"...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. 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. 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..." - Franc, The Bakla Review (READ MORE)

"...So in the movie, Vilma is “Shirley Templo” (methinks the joke in the character name will be wasted on many of the audience), a separated lady being convinced to sell an old house officially bequeathed to her by her late father-in-law. Knowing this, she buys herself a plane ticket (on a librarian’s salary) to see her gay son in New York, and forces herself upon his life. The writers do their hardest to show that Luis, who plays Vilma’s son, Mark is the busiest man on their side of the planet. But for the most part, Mark (a.k.a. “Lucky”) just succeeds in looking constipated most of the time. Speaking of constipated, Vilma Santos seems to have over-acted in this movie... there’s grit and nails all over the scene whenever she’s there. Even if grit and nails aren’t necessary for the supposed scene. The forced comedy of some parts were obviously...forced..." - Jasper Greek Lao Golangco (READ MORE)

"...We really wanted "In My Life" to be one of the few films that we will always look back on and cherish as a film that brings a glimmer in our eyes. Unfortunately, that dream won't happen. So what made "In My Life" bad? First, it was definitely not the acting. We all have praises for the three main protagonists. Vilma was just at her best here and John Lloyd showed how much drama he can show out. Luis needs more improvement but he actually performed well being a homosexual so still, props to him. Second, it also wasn't the lack of drama thereof. There were oodles upon oodles of scenes where tears will fall and we also liked the occasional break from all the heaviness with light comedic scenes scattered all over the film. Unfortunately, even with all the topnotch acting and drama, the simple truth is that "In My Life" left out one big aspect in a film and that is the story/plot. The story of "In My Life" was just too much for us too digest as there are a lot of unnecessary subplots happening all over the place (especially by the end of the film). As a viewer, we just wanted it to end but the film just gave more, more and more. We think the writers just forced it to have lots of dramatic avenues just for the sake that people will cry. As the saying goes, too much of anything is bad and this holds true here as they do not mesh well. Cry you will but you will might also wonder why. Even though it had unusual twists, it will make you think if it was really necessary to have them happen that way as an effective means to move the story forward. For us, they were not..." - Jed and Vit (READ MORE)

"...A mainstream Filipino film “In My Life” that stars the Philippines’ multi-awarded veteran actress Vilma Santos will premiere on September 27 at the Fox Theater in Redwood City at 2pm. The film also stars Santos’ real life son Luis Manzano and Manila’s matinee idol John Lloyd Cruz. The gay-themed movie was filmed both in Manila and in New York City. The setting, which has the backdrop of the Big Apple and the outskirts of Manila revolves around a doting mother and her gay son, who is not out to her yet. She visits the gay son and finds out he lives with a “Best Friend.” The mother cloys and clings with the son until finally the son gives in with a blow of his ailment. A powerful scene between the mother and her son’s partner will surely wrench the viewers’ hearts when they see the movie..." - Marconi Calindas (READ MORE)

"...Vilma Santos has become the poster girl for these cinematic suffering mothers, having played the progressive mother of children from different fathers in Chito Roño’s Bata Bata Paano Ka Ginawa? (Lea’s Story, 1998), the maltreated maid from Hong Kong who returns to Manila to ungrateful children in Anak, and the indefatigable mother in Roño’s 2003 adaptation of Lualhati Bautista’s famous novel Dekada ’70, where a middle class family wades through the turbulent decade and evolves from convenient apathy to activism and awareness. In Olivia Lamasan’s In My Life, she plays Shirley Templo, an effective yet stubborn mother to openly gay Mark (Luis Manzano, Santos’ son in real life). Shirley Templo is the culmination of all the mothers that Santos has played: assured because she can pinpoint every little comfort and pleasure that she dutifully has given up for her children and because of that, feels entitled to her children’s undivided loyalty and attention. Thus, when Shirley decides to move to New York City with Mark after learning that her daughter (Dimples Romana, who does wonders in the little role she has; that scene where she laments of her dissolved dream of becoming a doctor is precious) has decided to migrate elsewhere, Noel (John Lloyd Cruz), Mark’s overly loyal boyfriend who is staying illegally in the United States, suddenly becomes the third wheel in Shirley’s belated attempt to reconnect with her son. There is no denying that Santos is a terrific actress. Recently however, she has limited herself to roles that are quite unvaried, to the point of Santos becoming a predictable if not mechanical performer. Her Shirley Templo, while an always entertaining presence because of her amusing quirks (Santos has exquisite comedic timing) and the skill and experience that Santos gives her during the many emotional highlights in the film, feels more like a derivative of everything the actress has done in the last decade. Fortunately, Cruz, who has graduated from playing charming yet soulless boys next door in the many romantic comedies he starred in, gives formidable support to Santos. The methodical manner Cruz gives life to Noel (the extra split seconds that he has his mouth open after every word that is shouted with subtle inflection; the slight gestures that hint of the femininity underneath the masculine exterior) is complemented by the sensitivity and charisma that the actor naturally exudes. Manzano, although largely inconsistent, does quite well, even alongside more talented and more experienced actors like Santos and Cruz..." - Oggs Cruz (READ MORE)

"...Hindi ko rin talaga alam ito sa pagkakaalam ko kasi magsi-celebrate lang ako ng simple lang. Monday kasi is a working day nagkataon lang na exact date ito ng mismong birthday ko ang dami pala nilang preparation na ginawa. So I’m very, very thankful mga Mayors na andito, department heads at halos lahat ng mga empelyado ay narito at nakiisa sa akin,” masayang panimula iyon ni Ate Vi habang pawisan dahil noong mga sandaling kausapin namin siya ay abala ito sa paglilibot sa mga mesa na kung saan naroon ang kanyang mga kaibigan at kasama sa pulitika. “Now that I’m turning 38 I’m so happy,” biro pa ni Ate Vi. Ayon kay Ate Vi walang pagsidlan ang kanyang kaligayahan dahil hindi daw niya talaga alam na bibigyan siya nang bonggang party ng mga taong nagmamahal sa kanya. At dahil dito ay ipinangako niya na kung paano siyang minamahal ng mga taga Batangas ay higit pa run ang pagmamahal at pagsiserbisyong ibibigay niya sa kanyang mga kababayan. “Nakakahiya naman siguro kung alam mong mahal ka ng mga tao at sinusuportahan tapos wala kang gagawin sa kanila, ‘ay hindi naman siguro puwede ang ganun., Bilang Gobernadora ng bayang ito nais kong ipakita sa kanila at ipadama na rin na ako ay karapat-dapat sa pagtitiwalang ibinigay nila sa akin kung kayat marami pa rin akong magagandang plano sa Batangas, At hindi ko ito basta magagawang mag-isa kung hindi nila ako tutulungan.” Maraming wish si Ate Vi pero hindi para sa pansarili kundi para sa bayan at isa dito ay ang kasaganahan at katahimikan hindi lang ng buong lalawigan ng Batangas kundi nang buong bansa..." - Morly Alinio (READ MORE)

"...Luis Manzano has a memorable scene with his mom, Vilma. The picnic scene shows Mark with Shirley. They have a one-on-one talk about how Shirley began to distance herself from Mark because of his sexuality. Manzano was so gay-ingly good in this scene. He did not portray Mark as the swishy type but is still convincing as a homosexual. Manzano will figure in another memorable and well-directed scene. Nope, it is not the passionate scene but the one involving him and his preoccupation with his cellphone. 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)