Imortal

Released: December 25, 1989

The Plot: The first time they laid eyes on each other, they knew from that very moment that they were destined to be together. But their love was not meant to be consummated instantly-they had to wait. But their waiting spanned not just year but lifetimes. The time comes that they meet again. But now, they must break the walls that have for so long kept them apart. They must fight for their love because now is their last chance. - Viva Films

The Reviews: We saw the movie “Imortal'' starring Vilma Santos and Christopher de Leon, and directed by Eddie Garcia, which won most of the awards in the last Metro-Manila Festival. It was awful. People who make such movies, and those who hand out awards to them, thoroughly deserve each other. In its asinine plot, “Imortal” tells of the immortal love between two siblings with a common father -- a doctor Christopher de Leon and Vilma Santos who becomes a nun, wife of an impotent husband, adulteress and a whore. They never make it because movie censor Manoling Morato would have gotten mad, but in the next generation, the daughter of the whore with foreigner (without AIDS, we hope) -- also played by a younger Vilma Santos -- marries the son of the doctor, played by a young Christopher de Leon, in a psychedelic wedding in the year 2016 AD. In the year 2016, youngsters Vilma (with brown skin and blue eyes) and Boyet are singing Happy Birthday to the father Old Christopher, a senile old man in a wheel chair. “Happy Birthday, Papa,” says Vilma as she kisses him on the cheek; he does not respond so she panics: “Papa... Papa... PAPA!” He does not answer because he is dead. According to the movie script, the father Christopher was born in 1954, which makes him in 2016 only 62 years of age -- much younger than Director Eddie Garcia or even Dolphy, hardly an age to be senile and dying.

There are other laughable scenes. Vilma says, “My husband is (music rises ominously), my husband is (music again) IMPOTENT (music rises to a climax)!” You’d think the husband just contracted the AIDS virus or got castrated by Sparrow units! Shucks, I know several husbands who just can't do it anymore, and I hear no heavy music when their wives complain. As a matter of fact, wives prefer their husbands to be impotent, rather than be sexually active with other women. Another terrible scene. The car ridden by Christopher and wife Cherie Gil falls off a cliff. Cherie who is pregnant is mortally wounded and dies. And Christopher looks at his dead wife, and holds aloft a new born baby complete with umbilical cord. This is absurd without a caesarian operation by a doctor. The worst scene is when Christopher digs up the corpse of Vilma at the cemetery, amidst thunder, lightning, wind and rain, and embraces her passionately, while she exhibits no rigor mortis, and apparently no smell of formalin. You don’t find this kind of idiocy in a television commercial. Most of my grandchildren, including Angeli who is only four months of age, enjoy commercials more than dramas. Some TV commercials can tell the story vividly, memorably, with impact in 30 seconds, better than two hours of unmitigated nincompoopery in filmed dramas.

A simple love story is telescoped into a heartwarming half a minute of the Lizl Lebron commercial for San Miguel, boy meets girl against the parents’ wishes, in the tennis court, Fort Santiago in the rain, in the balcony -- and ends as he gives her a engagement ring. Actresses with a roomful of acting awards can never match the birth of love and passion in the virginal innocence of this young girl. The same love story is retold in the Ligaw ad of Jollibee chronicling the Filipino traditional courtship -- the chaperoned visit, permission to take the girl out for a snack, “Sigurado ka bang sa Jollibee?” the first tentative holding of hands, and the sudden appearance of papa -- a slice of true life experience every young person can identify with, more than the bizarre events of “Imortal.” Movies are a director’s medium, the stage is an actor’s medium, a TV commercial is the medium of the advertiser who pays for the ad. The advertiser conducts enough studies to justify the expenditure in a logical way: product and consumer research to determine the most compelling reason to buy the product; careful attention to story boards, makeup, hair style, with no waste, irrelevances or digressions, long before shooting even starts. A commercial of 30 seconds takes from P800,000 to P2 million to produce or as much as P67,000 per second. A movie of two hours or 9,600 seconds may take P5 million to produce, or P520 per second. A commercial costs as 128 times as much as a movie. Del Monte’s Spaghetti Sauce’s Godfather ad, mechado sauce’s Candida ad, and ketchup’s Family Dinner ad; the San Miguel series with Fernando Poe Jr., Tawa Marcelo and Freddie Aguilar; Jollibee’s Lola ad; and the Sarsi ad, are technical and artistic masterpieces. The Hope cigarette ads are colonial, sexist and insulting to the intelligence, as are those of Vos Brandy, White Castle Whisky and Old Captain Rum. But even the worst TV ad is better than “Imortal.” - Hilarion M. Henares Jr., Jan 14, 1990, Philippine Daily Inquirer READ MORE

Watching Imortal on ABS-CBN was purely out curiosity. At first I thought it was a remake of the old Vilma Santos-Christopher De Leon movie entitled Imortal. Gosh. Then only to find out the teleserye is about feuding wolves and vampires. You don’t have to be Twilight fan to realize how Twilight-y the plot is not even halfway into the first episode. And like any other Pinoy plot, the story line is just so darn predictable! The first episode isn’t over yet but you already know how it’s going to end. Why is it always like that? Can’t the writers think of new twists and be creative for once? (I’m already in my late 30s and they’ve been at it since I was in grade school.) Or is it that unpredictable twists don’t sell to the masses? Most probably! Either way, don’t blame me for being ‘unpatriotic’ because I get more satisfaction watching reruns of good old foreign films. - READ MORE

"...Aside from Gawad Urian, Star Awards, Film Academy Awards and FAMAS, the annual local festival, called MMFF or Metro Manila Film Festival has become a part of Vilma Santos’ film career. From the 70s to the new millennium, Vilma Santos was able to entered memorable films that earned her awards, record-breaking ticket revenues, career breakthrough performances and even some memorable heartache. Spanning four decades, the MMFF earned Vilma 7 acting nominations with four wins. Here are the highlights...The 1989 MMFF brought back the team of Vilma Santos and Christopher De Leon. Viva film’s Immortal directed by Eddie Garcia won major awards including best picture, director and the acting for Christopher and Vilma...For some, Vilma Santos MMFF recognitions in terms of awards wasn’t as significant compare to lets say, her number of URIAN or FAMAS awards but all the shortcomings were forgotten when you think about the successful revenue of her film entries recorded. From Burlesk Queen, Rubia Servios, Karma, Langis at Tubig to her last one, Mano Po 3, all of her films did very well. At the end of the day, producers would still prefer a little profit than trophies that will just eat dusts in the attic..." - RV (READ MORE)

“…Jacklyn is cast with Vilma Santos and Christopher De Leon in Viva’s “Immortal.” This is Vilma and Christopher’s first film together after several years of making movies separately. Although Jacklyn is cast in a supporting role, she is excited in doing the dramatic opus since it is a Vilma starrer. Jacklyn is vocal to admit that she is an avid fan of Vilma. This is the second time she co-stars with her favorite idol. The first one was on a TV dramatic special “Lamat sa Kristal,” which was produced by Vilma herself. Besides, Jacklyn is also happy to note that she will be directed by one of her favorite directors, Eddie Garcia…” - Eddie O. Liboon (READ MORE)

Tagos Ng Dugo

Released: January 25, 1987

The Plot - A young Pina was traumatized when her family was murdered while she had her first menstruation. She grown up into a serial killer transforming herself to different personalities as she seduced one man at a time grossly killing them while in the act of sexual pleasure. Eventually Pina was caught by the authorities. Considered by some critics as a feminist movie, Tagos ng Dugo has the feeling of claustrophobic but stylized European slasher movie that showcased the wide acting range of Philippines’ cinematic diva, Vilma Santos. The film lacks the usual long dialogue of her previous films but in this film, she was given a chance to show her body movements and “eye” acting that climaxed with tour de force ending, a mad lion being caught by armed hunters. - RV READ MORE

The Reviews: First of all, serial murder is almost alien to Philippine crime journalism, a fact that’s due certainly to our police force’s lack of records on such cases. Now, this police-records gap may of course in turn reflect a lack of local police coordination towards (or, worse, capability for) determining crime patterns as possibly serial. Unless those determinations have to do with the usual cop-out that goes like this: “it’s another NPA hit” blah blah blah, or “it’s another murder similar to the one that happened last week, and this is reflective of pornography’s...” My above statements are meant to illustrate a national wont to demean our own police organization’s capability (or, worse, intelligence) that may neither be fair nor productive, but it would be a habit that certainly is not undeserved given the record, official and memorial, of the police’s prioritizing its own people’s interests and “rackets.” Given this background, therefore, Tagos Ng Dugo can be said to be a demonstration of serial crimes’ possible placement in local shores, and that would certainly be a valid view. Except, of course, that in effect Tagos is also and probably should be read primarily as, a demonstration of possibilities other than the merely forensic. I say “should be,” since the police is portrayed fairly in the film, albeit not exactly generously. So what could be all the fuss about Tagos’ value? “Production values” is the often-heard reason, needing elucidation.

A breakthrough for Philippine psychological movies? Probably. Let me explore a few other angles on this seeming cross between Francois Truffaut’s The Bride Wore Black and Luis Buñuel’s Belle du Jour, I don’t know if screenwriter Jake Tordesillas or De los Reyes himself should be congratulated for the cohesion of multi-resultants in this work. Part of this multi-readings would be the movie as a feminist take on womankind’s monthly pains as a form of excuse for female monthly insanities, insanities our machos regard as regular terrorism on the whole of mankind (men or society as a whole). It is with that reading that the ending apologies, by Vilma Santos in the lead role, might be understood as a plea for understanding of how all of woman’s monthly Eve-behavior should not be seen as a Biblical sin but as an equal (to, say, men’s beastly) naturalness...Another feminist reading, more radical perhaps, would treat the film as a view of how Philippine society (the men in it, primarily) approaches provincial innocence, educational weakness, and “females’ weaker sanity” as stimuli for abuse...There is, however, the possibly more general reading of the film as an apologia for insanity qua itself, how it should be treated as a disease instead of as a monster to be eliminated.

And finally, there’s the possibility that the film is actually a depiction of how crazy the world outside the insane mind really is, albeit this view would probably be the least successful direction for the film...As a bonus, maybe we can also bring the movie to more latent, more philosophical territory, say, how it depicts the sanity of innocence. But, given the validity and possible weight of all those approaches, what finally makes this movie a jewel in Philippine cinema history is how it brings forth, every time you watch it, its case achievements in directorial and film editing dramaturgy (including the recurring stage-like choreography, Hitchcockish camera positionings, and acting pacing within). For the serious student of third-world filmmaking, here is a requisite Philippine movie from where to cull precious fragments. In these fragments, he/she is sure to find sparkles that are in themselves gems. - Vicente-Ignacio S. de Veyra III (READ MORE)

"...Sa anggulong ito halos umikot ang kabuuan ng pelikula. Masasabing naging matapang ang mga bumuo ng pelikulang Tagos Ng Dugo dahil sa tahasan nitong tinalakay ang sekswalidad ng mga pangunahing tauhan. Mapapansing pinagtuunan ng pansin ang kabuuan ng karakter ni Pina na buong husay ginampanan ni Vilma Santos. Ang aktres ay halos nasa lahat ng eksena sa pelikula. Maituturing na hysterical ang pag-arte ni Bb. Santos ngunit sa pelikulang ito ay malaki ang naitulong nito upang maipahatid niya ang nararapat na emosyon sa epektibong paraan. Malaki ang naitulong ni Direktor Maryo J. de los Reyes sa pagsasalarawan ng kuwento ni Pina. Nailahad niya ng maayos ang mga problemang sikolohikal hindi lamang ni Pina kundi ng buong lipunan. Makikitang binigyang diin ang posibleng solusyon sa mga suliraning ipinamalas sa pelikula. Maaring may ilang pagkukulang ang pelikula sa naging takbo ng istorya ngunit naisalba ito ng mahusay na pagdidirehe ni de los Reyes. Sa anggulong ito naging malaking bahagi sa tagumpay ng Tagos Ng Dugo ang direktor dahil sa tuwiran niyang naipahayag ang patotoo sa mga isyung tinalakay sa buong pelikula. Dito rin natamo ni Vilma ang kanyang ikaapat na FAMAS Best Actress Award bago siya tuluyang naluklok sa Hall Of Fame nang sumunod na taon..." - Jojo De Vera, Sari-saring Sineng Pinoy (READ MORE)

"...Back to Tagos ng Dugo. At best, it is Vilma’s most emotionally and physically, albeit, draining role. Maryo J. made Vilma succeed to say more with less as we will find out. In the opening scene, Pina’s medical history is revealed: schizophrenia, painful menstruation, manic-depressive. Then we see the pubescent Pina screaming and writhing in pain on her first menstruation, calls out to her mother: “Inay!” The luminous Alicia Alonzo plays her mother and tells her “dalaga ka na!” Menarche and puberty did not sit well with Pina. While menstruating, she discovers of her father’s affair with a circus girl who her father accidentally kills in the “knife roulette” show, as the victim’s blood spills on her face. The girl’s family gets even, kills her whole family one night, while she gets raped. Tagos ng Dugo. Here’s the message: hell hath no fury than a woman violated while having painful menstruation. She has bridges to burn and many losses in her life. She has become a lost and tormented soul. A victim. A monster is born. Oscar best actress Charleze Theron may have taken an inspiration from Vilma’s Pina. Flash forward: Orphan and just released from a mental institution, the grownup Pina is seen staying with her aunt Caridad Sanchez and her husband, a police officer, Tony Santos, Sr. This is where Pina’s “calvary” as victim (again) begins. So many men, so many abusers, or so we thought. Enter Michael De Mesa, Santos, Sr.’s nephew who has lust at first sight on Pina. “Malagu, ’ne?” (She’s beautiful), De Mesa gushes on the coy and evasive Pina. In Kapampangan, Tony tells De Mesa that she was just released from the mental hospital. Michael attempts to enter Pina’s room one night but is unsuccessful..." - Mar Garces, V Magazine 2006 (READ MORE)

The Director - Maryo J. De los Reyes is a film and television director from the Philippines. He began his career in the 1970s(Wikipedia). Reyes’ most significant works are the critically acclaimed Magnifico (2004), Tagos Ng Dugo (1987) and the commercial hits, Bagets (1983), Annie Batungbakal (1979) (Wikepedia). In 1987 Maryo De Los Reyes directed Vilma Santos that critics considered one of the shocking film that year, Tagos Ng Dugo. The film was hailed as a feminist film and earned Vilma Santos her fourth FAMAS Best Actress. Ironically, the conservative church award giving body will agree and also gave their 1987 CMMA Best Actress to Vilma Santos. Reyes will again direct Vilma in 1992. Total Number of directed Vilma Santos films: 2 (Tagos ng Dugo 1987 and Sinungaling Mong Puso 1992)

"...A series of unfortunate events seemed to hound Nora’s career up to this point. October 1, 1989 was to be the last airing date of the 22-year-old musical-variety show Superstar on RPN 9. A month later, it was revived on IBC 13 with a new title, The Legend … Superstar, but this was short-lived lasting only up to early 1990. Naging mas masuwerte si Vilma Santos sa hinu-host na Vilma! on GMA 7, which started in 1981 as VIP (Vilma in Person) ng lumang BBC 2 (naibalik sa Lopez owners ang ABS-CBN after the EDSA Revolution). Nagbida si Vilma sa isa sa mga pinakaimportanteng pelikula ng Dekada ‘80: Regal Films’ Pahiram Ng Isang Umaga (by Ishmael Bernal), na sinimulan in 1988 at ipinalabas in early 1989. In December 1989, Vilma headlined a period romance-drama (Viva Films’ Imortal, megged by Eddie Garcia) at nanalo sila ng kaparehang si Christopher de Leon ng acting plums sa MMFF. Sa awardings for that year, si Vilma ang nanalong Best Actress sa Star Awards (for Pahiram), her first form the Philippine Movie Press Club. ‘Kumpletung-kumpleto na ang career ko!” nasabi ni Vilma as she accepted her trophy. Later, it was Nora’s turn to get a Best Actress trophy for the first time from the Film Academy of the Philippines, for Elwood Perez’s three-year-in-the-making Bilangin Ang Bituin Sa Langit. ‘Kumpletung-kumpleto na ang career ko!” sabi rin niya in her acceptance speech. Na-elevate si Vilma sa FAMAS Hall of Fame, for having bagged five Best Actress statuettes: Dama de Noche, Pakawalan Mo Ako, Relasyon, Tagos ng Dugo, and Elwood Perez’s Ibulong Mo Sa Diyos. Nora won her fourth Best Actress plum sa FAMAS, also for Bilangin. Walang itulak-kabigin sa dalawa, kaya marapat lang na mag-tie sila for Best Actress, as in the 1990 Gawad Urian, na ‘pantay na parangal ”ang ipinagkaloob ng Manunuri kina Nora (for Bilangin Ang Bituin Sa Langit) at Vilma (for Pahiram Ng Isang Umaga)..." - William Reyes (READ MORE)

The Most Colorful Film Character of the Year - "...The decision of the film critics to inhibit themselves from conferring their annual Urian Awards is unprecedented in the group's 12-year history...But the case of film year 1987 is truly abysmal. It is, in fact, beyond salvation. True, there were number of worthwhile efforts, in such specific categories as editing, cinematography or sound but again, this is taking film as if it were a highly segmented form, instead of a holistic and integrated medium of communication. The area of screenplay was, to my mind, the most borely abused; I cannot recall any single film where this can be considered outstanding. Blame it on the producers who were more concerned with much momentary fancies as inane fantasies, sexploitation flicks and anachronistic melodramas. Blame it, too, on the governement which doesn't seem to care and which doesn't realize the power of the cinema in the value reformation of a natin long shackled in a despotic rule...Then there was the dismal and embarraing Brocka opus, Magin Akin Ka Lamang, which is a far cry from what the director used to do with komiks genre, having elevated it to a level of respectability in Tahan Na Empoy, Tahan and Ang Tatay Kong Nanay, which is good enough melodrama. Even more sordid is his Pasan Ko ang Daigidg, which takes an egregiously compromising view of poverty with its Cinderella-like storyline. Even Ishmael Bernal was not spared of the spirit of idiocy which pervaded the past year and which threatens to hound us this year. Bernal, who often can be relied upon to transcend the limitations of the most trivial of storyline, simply failed to overcome the komiks convolutions of Pinulot Ka Lang sa Lupa. Also, quite unlucky was Peque Gallaga who was in bad shape in Kid, Huwag Kang Susuko, though he managed to score a few precious points in the action film genre. And what do we make out of Maryo de los Reyes' Tagos ng Dugo, with its grossly improbable tale of multiple schizophrenia and made all the worse by the director's penchant for pseudo-character changes? Personally, i would rate Vilma Santos here as having been last year's most colorul character instead of a consumate performer...." - Justino Dormiendo, Manila Standard, Feb 23, 1988 (READ MORE)

"...She has lost some pounds (due to the gruelling shooting of her recent film, Tagos ng Dugo, but she is still the same radiant beauty...Santos is likewise bugged by the observation (presumably by some Nora Aunor supporters) that her performance in Tagos ng Dugo, wherein she portrayed a psychopath, was "Norang-Nora." She could not divine how the comment was made in the first place. Was it becauise, in the film, she was handled by Maryo de los Reyes who is known to be a close friend and one of the favorite directors of Nora Aunor? Or, was it because her role in Tagos called for a lot of the so called Nora-style acting -expressive eye movements, prolonged byt quiet crying binges? Is she, in the eyes of some Aunor loyalist, as good as actress now as their idol? "Wala akong ginagaya," defended the actress. "That was Pina, the role, I was acting out. I did not think of Guy or anybody else when I was doing the film. "But you know, that (comment) is good," she said as an after thought. "Kinukumpara pa rin kami hanggang ngayon. That means kami pa rin - the rivalry is still strong." On the other hand, one is hard put to imagine Aunor attempting Santos' "patented" acting style (the ease and confidence in delivering kilometric line, among others). If and when she does in any of her future films, I told the actress, we would also say "Vilmang-Vilma" siya! She burst out laughing..." - Mario V. Dumaual Manila Standard, Feb 19, 1987 (READ MORE)

Ging

Released: January 20, 1964

The Plot: A young Vilma Santos starred as Ging. A smart mouth street kid who have to beg for money to support her crippled mother. She was adopted by a deceitful couple who heard her sing in a restaurant. The couple made Ging into a singing sensation but abuse her, limiting her food intake and sleep to prevent her to grow. Ging eventually left them and surprisingly discovered her father. She reconciled with him and her crippled mother. - RV (READ MORE)

The Reviews: Ang sarap balikan ng mga pelikula ng the Premier Acress of the Land. Mga pelikulang may mga temang napapanahon kahit sabihin pang luma na ang mga ito. May tatak Vilma Santos. GING (1964) - all of 11 years, here is the newly crowned FAMAS best child actress sa isa sa mga title roles niya bilang anak ng laos na artista (Olivia Cenizal) na nalumpo after she gave birth to Ging (Vilma). Ang ama ni Ging ay isang bit player na Mama’s boy, si Jose Padilla, Jr.(SLN) whose mother is the screen’s perennial conravida, Etang Discher (SLN), mother of the late Panchito. Padilla abandoned Ging and her mother on her mother’s wishes so he won’t be dropped from her "pamana" (will). Mother and daughter lived in a slum area. Their squalid lives are made bearable with the presence of a cantankerous neighbor Aruray and her son who was sired by a black G.I. named George. Aruray’s son is about Ging’s age. They practically were street urchins who beat the other kids in soliciting alms, thanks to Ging’s histrionics: she would fake syncope (play dead) and "kawawa" by relating her sad plight as an abandoned poor daughter with a paraplegic of a mother - through a song that would drive her audience at a restaurant to tears and pity - and would give her free food and money. The ploy works all the time. Little did Ging realize that an unscupulous couple, racketeers Ramon D’Salva and Carol Varga were observing her in a restaurant and saw in her a goldmine: they would adopt her and make them rich as her talent manager. Talk of child exploitation.

Reluctant at first, Ging agrees to go with the evil couple provided she would go to shool and that they would send her alcoholic mother (bagay na bagay ito sa isang artista) to the hospital for treatment. Of course, the evil and scheming couple reneged on their promises. They exploited Ging by forcing her to work overtime and would starve her so she wouldn’t grow up and lose her audience. Luckily, she has a guardian angel in Georgie Quizon, Dolphy’s erthswhile brother who, along with Aruray provided comic relief, and who would protect Vilma from her exploiters. Young Vilma’s raw, innate talent surfaces most especially in her scenes where she vacllates or mulls in leaving her mother. Her final goodbye scene with her mother is heartbreaking, enough a motivation for a Vilma fan Nora Aunor in Iriga city to follow in her footsteps. "One day, I wanna be like Vilma, I will sing and make people cry. Love that "gripo" princess to death. Idol ko siya." Shot in black and white and adapted from the comics to the screen by Mars Ravelo, the movie was directed by Cirio Santiago and Teodorico Santos. The movie is a must have for any true blue Vilmanian. Listang-lista at ang husay ni Vilma rito. Naroong kumanta siya (the voice over seemed like her singing voice), sumayaw at nagdrama. Luma si Madonna doon sa isang parang La Isla Bonita number niya. One memorable scene was when she was singing her signature song to the audience of her longing to see her mother and her father – the camera captures her pain and agony and the deep wound she suffers from her abusers - a poignant scene, complete with tears and and a well-internalized acting. Bravo! Karapat - dapat na U.P. Gawad Plaridel Awardee - maliit pa lang ang dyaske, ang husay talaga. Sa katunayan, some scenes from Ging were included in the audio-visual presentation at both the FAMAS Hall of Fame awards and the recent U.P. Gawad Plaridel coronation of the Summa Cum Laude of All Philippine Actors. Ang galing-galing mo talaga, Rosa Vilma Tuazon Santos-Recto! - Mario Garces, V Magazine No. 6 2006 (READ MORE)

"...Ging was directed by Cirio Santiago and Teodorico Santos. Although it was made in the old fashioned way of making films (the flashback scenes in particular), the material used here is timeless – especially since there are more street children in our midst now more than ever. As far as the showbiz scene is concerned, there are still a lot of heartless impresarios today exploiting young talents in the business. But what really made “Ging” a delight to watch was the performance of the very young Vilma Santos. Even at the early age, it was clear that she was already brimming with talent. Vilma, apparently, was born into this world to perform, entertain and make people happy. She was utterly convincing in the dramatic scenes and thoroughly graceful in her musical numbers. Listang-lista – as we’d say in the vernacular. Even then, she was already living up to her showbiz title of “Star for All Seasons” because her performance in “Ging” is not only brilliant, but timeless as well...." - Butch Francisco, People’s Journal 04 March 1999 (READ MORE)

Georgie Quizon - "...Like Dolphy, Georgie started out in comedy roles. In fact, he was his brother’s follower noon pang nasa Sampaguita Studios si Dolph at isa siyang mainstay ditto. Nang minsang isinama ni Dolph si Georgie sa kanyang shooting ay namataan si Georgie ng isang direktor a binigyan ito ng bit role. He was found out to have his brother’s talent and soon, Georgie found himself in one picture after another, mostly in Susan Roces-starrers where he played her sidekick or friendly neighbor. Ito ang simula ng binyag ni Georgie sa pelikula. Naging sikat din siyang comedian. Kaya lang ang problema niya ay hindi siya makakatakas sa image at pangalan ng kanyang kapatid na lalong sikat. Kahit ano ang gawin niya ay siyempre, associated and identified siya kay Dolphy. “Ito ang malaki kong problema,” nabanggit ni Georgie sa amin. “But I also love my brother! Kung wala naman si Ompong ay sino kami, aber! Siguro, ganito ang buhay kung mayroon kang tanyag na kapatid na parehong propesyon. Kung sino ang mas sikat, iyon ang mas kilala. At ang hindi ay nananatili sa background. Tulad ko,” aniya. “Ako ang anino ni Dolphy. Hindi ako kilala sa sarili ko. Ako raw ay kapatid ni Dolphy. And never was I called my name. Kung minsan nga ay ako raw si Dolphy. Ganoon. “Kung minsan, I feel flattered. Pero kadalasan, tinatanggap ko na lamang nang basta ganoon. Kibit balikat baga. Ano pa nga ba ang magagawa ko? Kapatid ko iyon at sikat pa! “Kaya lang, I really want to be on my own. I want to be known as Georgie at hindi yung kapatid ni Dolphy. I am my won individual. Iba ako, iba siya. Nagkataon lamang na nagko-comedy rin ako. Kaya hindi talaga ako makakatakas sa kanyang anino,” pagtatapat ni Georgie....As a whole, wala naman siyang reklamo. Okey naman ang takbo ng kanyang showbiz career. Hindi siya nawawalan ng assignment. Tuwing Linggo, mayroon siyang TV show, nagge-guest din siya sa mga tanyag na shows at kung minsan, kumakanta siya sa mga roadshows, sa mga bases. “Para sa akin, tipong okey na ang lahat,” banggit pa ni Georgie. Everything’s fine. I am busy everyday. Malusog pa ang ermat, masasaya kaming lahat. Wala na yata akong mahihiling pa,” Georgie confessed. The other surviving brother of Dolphy and Georgie is named JIMMY, ang bunso sa lahat na hindi kailanman sumali sa showbiz. Nasa States siya ngayon at isang medical intern sa isang tanyag na ospital doon. Sampu sanang lahat sina Dolph, kaya lang tatlo na ang namatay. Sina Tessie, ang uang Jimmy na siyang pang-walo at si Melencio, Jr. na binawian ng buhay noong early 1970’s. Ang iba – sina Zony, Dolphy, Josie, Laura, Auring at Georgie – ay pawang naging showbiz folks at dalawa na lamang sa kanila ang aktibo sa pelikula. Sina Dolphy at Georgie nalamang, bagamat ang iba, sa pamamagitan ng kanilang mga anak, ay kasama pa rin sa iba’t ibang aspeto ng paggawa ng pelikula, particular na sa RVQ Productions syempre..." - Ross F. CelinoJingle Extra Hot Movie Entertainment Magazine No. 20, June 22, 1981 (READ MORE)

Young Love

Released: January 1, 1970

The Plot: - 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

The Review: - 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(READ MORE)

“…Ipinanganak nga marahil si Ma. Rosa Vilma Tuazon Santos sa show business dahil sa pagitan ng taping ng “Larawan..” ay nagkasunod-sunod na ang kanyang mga pelikula…“My Darling Eddie” ng JBC (Disyembre 16 – 23, 1969, “Mardy” ng JBC (Disyembre 31 – Enero 6, 1969)…hanggang “Young Love” ng VP Enero 1 – 21, 1970) ng lumikha ng rekord sa takilya….Makalipas ang mga tatlong buwan, nakatanggap ng maikling sulat si Mama Santos muka lay G. Agra. Naghahanap ang Sampaguita Picutures ng batang babae na gaganap ng mahalagang papel sa “Anak, Ang Iyong Ina!” at isinali ng amain ang pangalan ni Vi. Hindi puwedeng lumiban si Papa Santos sa pinpasukang government office, at ayaw naman nilang mapahiya ang kamag-anak, kaya napilitan si Mama Santos na humingi ng day=off sa opisina (Aguinaldo’s). Pagdating sa studio, wala si G. Agra at nasa location shooting, ngunit totoong naroroon ang pangalan ni Vi, kaya’t pinapasok sila sa tanggapan. Napadaan sa harapan ni Mama Santos si Bella Flores na dala ang script ng “Trudis Liit.” Nagulumihanan si Mama Santos. Binasa niyang muli ang liham ni G. Agra. Mali yata ang napuntahan nila! Akma niyang tatawagin si Vi na noon ay nkikipaglaro sa iba pang mga bata upang yayain na itong umuwi, nang pumasok sina Mommy Vera, Dr. at Mrs. Perez, at Eddie Garcia. At doon nagsimula ang movie career ni Vi na magpahanggang ngayon ay batbat pa rin ng iba’t ibang panunuri, opinyon at konklusiyon…” - Ched P. Gonzales (READ MORE)

“…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)

Darna And The Giants

Released: December 22, 1973

Plot Description: The second film after the massive success of Lipad Darna Lipa (Fly Darna Fly), Vilma Santos returned as Darna/Narda in Darna and the Giants. Directed by Emmanuel H. Borlaza, Giants was about X3X (Helen Gamboa) who infected ordinary people with serum that made them giants. The giants played havoc to the city and thank goodness Darna eliminated them before demonic X3X conquered the whole world. Now paired with Don Don Nakar as Ding, Vilma radiated the screen for the second time. Kudos to the tricky special effects that made the giants realistic. Ike Lozada stole the film though. His scenes were the funniest in years. Darna used a huge church bell to defeat him. It was unclear why the fat giant, Ike, were allergic to the sound of the church bell. Darna rung the bell to great effects, making the giant Ike felt excruciating pain in his ears. Darna then threw the bell on Ike’s head suffocating him to his immediate death. That alone made everyone’s theatre tickets worth every penny! And lots of pennies as the film became the top grosser of the 1974 Christmas festival. - RV

Film Reviews: "...For the second time around Vilma, proves that her first Darna was no fluke. Darna And The Giants vanquished all of her box office competitors. Very creative special effects by Tommy Marcelino consider it was made early in the 70’s. Sex kitten Divina Valencia as one of the giants as well as Ike Lozada, Max Alvarado, Zandro Zamora and many more. Vilma was the third actress to play the dual role of a teen-age Narda, Darna. Gina Pareno had two alter ego’s in her own version as well as Liza Moreno played Narda and Darna in Sputnik VS. Darna. Vilma also changed Darna’s transformation in all of her Darna films by using a flash of light instead of the thick smoke. She dons a retro version of Darna with shiny gold and red costume and matching platform boots. In this film Vilma was no hold bars. Romy V. Susara and Leody M. Diaz choreograped Darna’s awesome fight scenes. Continuing where "Lipad, Darna, Lipad" left off, Narda (Vilma Santos) and Ding (Dondon Nakar) encountered their greatest challenge yet - The Alien Warrior Queen-"X3X" (Helen Gamboa) and her alien minions. In this latest adventure, X3X terrorizes Narda’s village and captures several of the townsfolk and transforming them into mindless Giants who went on a rampage across the countryside in the hopes of conquering the earth without the use of nuclear weapons. When Narda’s suitor Romy (Romeo Miranda) is captured, the threat of the alien Queen becomes personal. With a Global threat such as this, will Darna’s courage and powers be up to the challenge? Watch and find out!! "Darna and the Giants" Also stars- Katy Dela Cruz as "Lola", and an all-star cast of 70’s icons with cameos from Leopoldo Salcedo, Edgar Mortiz, Eddie Peregrina, Nick Romano, Lotis Key, Tony Ferrer (as Falcon) & more. "Darna and the Giants" produced by Tagalog-Ilang Ilang production and directed by Emmanuel H. Borlaza with Darna Theme composed by Sunny Ilacad (Vicor)..." - Eric Cueto (READ MORE)

"...Dramatically speaking, Darna and the Giants is more consistent (and coherent) than the later Darna at Ding (the only other of the series I’ve seen to date). The early narrative focuses on the home life of Narda, the romantic advances of a local young man and the bothersome antics of Ding. There’s quite a lot of singing here (Narda’s wooer is a musician), including an amusing moment where the cast spontaneously erupts into a Tagalog reworking of Singin’ in the Rain while doing household chores. There are the expected comic interludes, like a guitar-toting suitor realizing he’s been serenading a homosexual man as opposed to an attractive rural woman, but fewer than one might imagine, and once the aliens have landed things take a more serious turn. Darna and the Giants actually shows us the aftermath of a giant attack before introducing the giants themselves, with Darna and Ding visiting an impromtu outdoors hospital for the many victims. It’s not a happy sight, as a husband watches his wife die in agony and a young woman searches futily for her lost mother. When the giants are revealed they turn out to be intolerable bullies who fight amongst themselves before being sent out to frighten the local population into submission. And frighten they do! The giants prove to be a nasty bunch, crushing people beneath their feet and using uprooted power poles to swat at them like bugs. Houses are picked up and shaken about with their occupants still inside, only to be tossed casually aside when the giant’s attention is otherwise diverted. The death on display is quite graphic for all-ages entertainment, and ensures that our sympathies are squarely with Darna when she flies in to give the over-sized miscreants their just deserves...I can’t help but wonder if there isn’t a simple political message to Darna and the Giants.

The film was released just two years after president Ferdinand Marcos instituted martial law in the Philippines. The resulting censorship of opposition opinions in the media (scripts for films had to be screened by the government before production was allowed to begin) would have prevented direct opposition to Marcos’ methods to be espoused, but the simple story of a 006giant army trampling on the rights of the general populace could easily have slipped by as pure fantasy. Even if not directly relatable to that contemporary situation, the conflict undoubtedly played well with a country occupied in the past by everyone from the Spanish to the English to the imperial Japanese. This was the big Christmas season release for Tagalog Ilang-Ilang Productions, and it’s obvious that a good deal of money was put into it. The plentiful special effects moments were devised by effects man Jessie Sto. Domingo and special photographer Tommy Marcelino. The giants are brought to life through simple photographic effects and, more frequently, the use of massive forced-perspective setups requiring hundreds of extras to run about in the background while the giants stand among scaled miniatures in the foreground. It all looks pretty quaint by the industry standards of today, but the shear enthusiasm of those involved is deserving of admiration all the same. I imagine this was quite a succesful domestic release in its time, the star power of the beautiful Vilma Santos being more the enough to guarantee healthy ticket sales. The rest of the cast is full of recognizable industry regulars. Divina Valencia [Pussy Cat, Queen of the Wild Bunch] receives second billing in spite of her few lines, but has definite screen presence as a giant in a Viking helmet. Max Alvarado, who seems to be in just about every Filipino film production since 1950, has a prominent role as a giant as well – a role he would reprise in the fantastic opener for Darna at Ding..." - Kevin Pyrtle, WTF-FILM (READ MORE)

Sa ikalawang pagkakataon ay muling sumabak si Darna sa mga nagnanais lipulin ang daigdig sa pelikulang Darna And The Giants (Tagalog Ilang-Ilang Productions, 1974). Tulad sa mga naunang pagsasalarawan ng pakikibaka ni Darna laban sa mga kampon ng kasamaan, ipinakita sa pelikula ang pagnanasa ng mga taga-ibang planeta na mapasailalim ng kanilang kapangyarihan ang buong mundo. Sa pamamagitan ng isang pormulang likha ng kanilang pinunong si X3X (Helen Gamboa) na kapag itinurok sa isang ordinaryong tao ay nagiging higante ang mga ito at nagkakaroon ng kakaibang lakas habang kinonontrol nito ang kanilang mga isipan upang gawin ang kanyang mga ipinaguutos. Sinasalakay ng limang higante (Divina Valencia, Zandro Zamora, Max Alvarado, Cesar Ramirez at Ike Lozada) ang bawat bayan at walang humpay na pinupuksa nito ang mga mamamayan. Dahilan sa patuloy na pagtanggi ni Narda (Vilma Santos) sa iniaalok na pagmamahal ni Romy (Romeo Miranda) ay nagdesisyon ang huli na mamasukan sa isang lumber factory na pag-aari ng kanyang tiyuhin kung saan nito nakilala si Digna (Florence Aguilar), ang anak na dalaga ng manager. Sa kinasamaang palad ay dinakip ang dalawa ng mga taga-ibang planeta, binihag ang mga ito at ginawang higante. Nais magsagawa ni Narda ng imbestigasyon ukol sa mga higante kung kaya't sinundan niya ito kasama ang kapatid na si Ding (Dondon Nakar), ang mga taumbayan na nilipol ng mga taga-ibang planeta. Sinundan nila ito hanggang sa matunton nila ang itinayong munting kaharian ni X3X. Naging saksi si Narda sa kabuuang plano ni X3X upang tuluyang mapasailalim ng kanyang kamay ang daigdig. Isa-isang nilupig ni Darna ang mga higante hanggang sa tuluyan na nitong makalaban ng harapan si X3X. Muling nagtagumpay si Darna sa pagtatanggol ng mundo laban sa mga mapanupil na nagnanais umangkin dito.

Unang ginampaman ni Vilma Santos ang papel ni Darna sa Lipad, Darna Lipad! (Sine Pilipino, 1973). Isang pelikulang may tatlong kasaysayan kung saan nakaharap nito ang palagiang kalabang sina Valentina, Ang Babaeng Lawin at ang Impakta. Sa pagkakataong ito ay mga higante naman ang kinaharap ni Darna. Masasabing, sa pagganap ng aktres bilang Darna tuluyang bumulusok ang kanyang kasikatan. Tunay na akmang-akma dito ang pisikal na kaanyuan ni Darna. Nabigyan din ito ng panibagong bihis nang umpisahan ng aktres ang paglabas sa papel ni Darna. Sa mga naunang pelikula, kadalasa'y dalagita si Narda, at nag-iibang anyo lamang ito kung nilunok na ang batong nagbibigay kapangyarihan bilang Darna. Dahilan sa si Vilma Santos ang naatasang gumanap bilang Darna ay kinailangang ito rin ang lumabas bilang Narda. Sinimulan ng nobelistang si Mars Ravelo ang pagsusulat ng Darna taong 1947 sa magasing Bulaklak. Unang isinapelikula ito ng Royal Films noong 1951 na nagtampok kay Rosa del Rosario samantalang ginampanan naman ni Cristina Aragon ang papel ni Valentina at si Mila Nimfa naman ang gumanap na Narda. Masasabing tanging si Vilma Santos lamang ang nag-iisang aktres na gumanap bilang Darna sa apat na pagkakataon. Isang uri ng pagganap na tunay na nagluklok kay Darna bilang malaking bahagi ng kulturang Pilipino. Sa bawat pagkakataong ito ay tunay na inangkin ni Vilma Santos ang katauhan ni Darna na patuloy na nagbigay aliw sa mga manonood ng sineng Pinoy. - Jojo De Vera, Sari-Saring Sineng Pinoy (READ MORE)

Sine Pilipino got then hot young star Vilma Santos to essay the role of Darna. But the problem was, Vilma was hesitant to wear the two-piece costume. So, during their photo shoot for the publicity photos of the new Darna movie, she wore the Darna costume on top of her body stocking. Vilma was finally convinced by producers Douglas Quijano and William Leary to lose the body stocking and wear just the costume on the day of the press conference. The press people were surprised on seeing how sexy Vilma was in her Darna costume, which was back to the original red bikini and gold stars. Lipad, Darna, Lipad! (1973) is the first and only trilogy of the superheroine. It was a box-office hit on its first day of showing and considered a turning point in Vilma’s career. It was also the first Darna movie where Darna and Narda was played by the same actress. Unfortunately, there is no existing copy left of this classic film. Vilma starred in three more Darna films: Darna and the Giants (1974) and Darna vs. the Planetwomen (1975), which were both under Tagalog Ilang-Ilang Productions, and Darna and Ding (1980) under Niño Muhlach’s D’Wonder Films. Darna and the Giants was the continuation of Vilma’s first Darna movie and Darna again wore the gold bikini costume, while Darna vs. the Planetwomen was a rebooted version of the Darna origin, with Vilma’s Narda this time portrayed as a crippled teenager who was given a magical stone by a mysterious source. The costume is back to red this time with the stars on Darna’s bra also colored red and the headpiece, all gold. Darna and Ding was the last time Vilma played Darna. Her costume this time was sexier and more revealing. In this movie, she was joined by Ding who now has his own superpowers. - Rico J Rod (READ MORE)

Darna And The Giants (Dec. 22,1973) Tagalog Ilang-Ilang Productions, Official Entry for 1973 Manila Film festival. For the second time around Vilma, proves that her first Darna was no fluke. Darna And The Giants vanquished all of her box office competitors. Very creative special effects by Tommy Marcelino consider it was made early in the 70’s. Sex kitten Divina Valencia as one of the giants as well as Ike Lozada, Max Alvarado, Zandro Zamora and many more. Vilma was the third actress to play the dual role of a teen-age Narda, Darna. Gina Pareno had two alter ego’s in her own version as well as Liza Moreno played Narda and Darna in Sputnik VS. Darna. Vilma also changed Darna’s transformation in all of her Darna films by using a flash of light instead of the thick smoke. She dons a retro version of Darna with shiny gold and red costume and matching platform boots. In this film Vilma was no hold bars. Romy V. Susara and Leody M. Diaz choreograped Darna’s awesome fight scenes. Continuing where "Lipad, Darna, Lipad" left off, Narda (Vilma Santos) and Ding (Dondon Nakar) encountered their greatest challenge yet - The Alien Warrior Queen- "X3X" (Helen Gamboa) and her alien minions. In this latest adventure, X3X terrorizes Narda’s village and captures several of the townsfolk and transforming them into mindless Giants who went on a rampage across the countryside in the hopes of conquering the earth without the use of nuclear weapons. When Narda’s suitor Romy (Romeo Miranda) is captured, the threat of the alien Queen becomes personal. With a Global threat such as this, will Darna’s courage and powers be up to the challenge? Watch and find out!! "Darna and the Giants" Also stars- Katy Dela Cruz as "Lola", and an all-star cast of 70’s icons with cameos from Leopoldo Salcedo, Edgar Mortiz, Eddie Peregrina, Nick Romano, Lotis Key, Tony Ferrer (as Falcon) & more. "Darna and the Giants" produced by Tagalog-Ilang Ilang production and directed by Emmanuel H. Borlaza with Darna Theme composed by Sunny Ilacad (Vicor). - Vol 1, Issue 5 V Magazine