Adultery: Aida Macaraeg

Released: June 1, 1984

The Plot: Dreaming to be released from her miserable life of poverty, Aida, a waitress, abandons her bedridden father, her moralistic mother, her jobless brother and her good-for-nothing sister to live with her boyfriend Carding, who she believes will save her from her miserable life. In his desire to earn quick money, Carding gets involved with illegal drugs and is jailed. Aida is pregnant and while Carding is in jail, she has an abortion. She then marries another man. Carding is released from prison and finds out about his wife’s new life. He decides to sue her for adultery. - UP (READ MORE)

Aida Macaraeg’s only dream is to be released from her miserable life of poverty. She is sick and tired of working day and night as a waitress to be able to feed her jobless brother and his family, her good-for-nothing sister, moralistic mother and bedridden father. One day, Aida decides to turn her back on them and settles for a live-in arrangement with her boyfriend Carding, who gives her a short-lived salvation. But her first attempt to escape a misfortune only brings her face to face with one after another. Carding gets jailed for drug peddling. Aida finds out she is pregnant and opts for an abortion. Forced by need and fueled by ambition, she lives with a wealthy man and has a son by him. Carding is released from prison and finds out about his wife’s illicit affair. They finally see each other again, in court. - Database of Philippine Movies (READ MORE)

The Reviews: Adultery (Aida Macaraeg Case No. 7892) is not one of filmmaker Lino Brocka’s best works. It definitely cannot be lined alongside masterpieces like Tinimbang Ka Ngunit Kulang (You Were Weighed But Found Wanting, 1974), Maynila: Sa Mga Kuko ng Liwanag (Manila in the Claws of Neon, 1975), and Insiang (1976). At best, Adultery is a well-made melodrama that puts a social issue, that of marital infidelity as escape from poverty, at the center of its affairs. Jose Javier Reyes’ well-crafted screenplay (the story is credited to Aida Sevilla Mendoza) is supposedly sourced from a real life account, but one wonders if convenient happy endings (which the film unfortunately struggles with) exist in these kind of cases, especially ones as emotionally charged as in the film. In the Philippines, adultery cases stretch for years and any emotion resembling marital love and concern is replaced with scorching hate, the primary ingredient that fuels litigation. Aida (Vilma Santos giving a very mature performance) is the sole breadwinner for her family, consisting of a bedridden father, a nagging mother, a good-for-nothing brother, his unemployed wife and baby. Unable to bear the hardships of living with her family, she takes the offer of her boyfriend Carding (Phillip Salvador) to simply live together, resisting his invitation to marry him despite the possible scandal that might arise out of their living arrangement. Carding gets caught peddling prohibited drugs and gets imprisoned, leaving Aida all alone to fend for herself. Years later, Carding gets released from prison and finds Aida, now a mistress of a wealthy executive (Mario Montenegro) and mother to a child that is not his. Aida is then sued for adultery by Carding, which if she is proven guilty would separate her from her son.

There’s one sequence in the film which clearly shows Brocka’s mastery. Aida visits Carding in prison, telling him of her pregnancy. Carding again offers to marry her, fearing that their child would be a bastard child. Supposedly out of pity, Aida agrees. The marriage is solemnized then and there. The prison chaplain officiates the ceremony where Aida is draped in an ordinary dress while Carding wears the orange colored uniform. Around are the witnesses of their marriage, felons all donning the same orange outfit Carding is wearing. Of course, these are mere background details, emphasizing the sullenness of the event that is ordinarily jovial and lively. Brocka concentrates on Aida. He closes up on her face, worried about the uncertainty of her future: she is after all pregnant and now married to a convict with absolutely no source of income. It is Aida’s point of no return and Brocka understands it as such, thus he presents it with understated elegance; no dialogue, just Lutgardo Labad’s swelling music and Brocka’s emphatic close-up of Vilma Santos’ apprehensive face.

The film attempts to criticize marriage, which is depicted not in its traditional sense (as the key to life’s bliss) but as a harrowing cage where women are left with no choices. It seems to advocate infidelity, especially when the requirements of life overtakes the facile concerns of societal and religious norms. Interestingly, Brocka does not antagonize any of his characters. Aida is a hardworking woman who we first see as the selfless sufferer who is charged with her family’s survival, a mere victim of fate and circumstance. Also, one cannot doubt Carding’s affection for Aida. His decisions in life may have been off, leading to his incarceration and Aida’s continuing suffering, but it cannot be denied that his love for his wife is indubitable. The blame does not go to any person but to the social institution of marriage, its sometimes shallow roots and the unbendable veneration the law and society gives to it to the detriment of the unique needs of individuals. I am impressed as to how Brocka directed the courtroom sequence, without the usual pomp and unnecessary drama. The courtroom sequence gives the impression as to how the justice is bookish and blind to personal plights. One lawyer asks Aida a question, and she shies away saying that the question is too personal. Of course, the judge demands that she answer the question, which she does so unwillingly. In the eyes of the law, emotions, circumstance, fate, and needs are denied materiality. This should have been the instance wherein we’ll fall for Aida’s plight: that despite her being guilty for adultery, she does not deserve to be punished because she was forced to infidelity not by innate evil but by circumstances in her life. However, instead of dishing out an ending that would operate as the culmination of such criticism, Brocka and Reyes decided to succumb to sentimentality. Husband forgives wife. Wife gets her son back. Everybody’s satisfied. Unfortunately, reality, which the film tried so hard to emulate, isn’t anything like that. - Oggs Cruz (READ MORE)

Dalawang pelikula ni Vilma Santos ang napanood namin sa special previews: Adultery at Sister Stella L. Pinatunayan ng mga pelikulang ito na Vi is still the leading actress of the season and performances in both movies make her again the actress to beat in next year’s award derbies. No doubt, Vilma, right now, is at her peak. Adultery is a well made melodrama deftly written by Jose Javier Reyes and masterfully directed by Lino Brocka. Ang pangunahing tauhan, si Aida Macaraeg, ay isang dalagang breadwinner ng kanyang pamilya. May sakit ang kanilang ama at siya ang bumibili ng mga gamot nito. Nag-asawa nang maaga ang kapatid niyang lalaki at siya ang nagpapakain pati sa asawa t anak nito. Siya rin ang nagpapaaral sa bunso nilang kapatid na babae. Receptionist sa isang restaurant, may boyfriend si Aida na wala namang regular na trabaho. Ito ay si Carding (Phillip Salvador) na kumikita lamang kapag sumasama sa mga illegal na gawain ng sangganong si Bumbay. Nang malaman ni Aida na nagdadalantao na naman ang asawa ng kapatid niya, niyaya niya si Carding na magsama na sila. May kapatid si Aida na isinumpa ng kanilang ina dahil nakisama ito sa isang lalaking may-asawa. Si Aida lamang ang nakauunawa kay Miriam (Deborah Sun) at wala siyang kamalay-malay susundan pala niya ang mga yapak nito. Akala niya’y malulutas ng pagsama niya kay Carding ang mga problema niya ngunit lalala lamang pala ito. Nahuli si Carding sa pagsama sa pangkat ni Bumbay at nabilanggo. Naiwang nagdadalantao si Aida. Nang malaman ito ni Carding ay pinilit siyang pakasal na sila para hindi maging bastardo ang isisilang niya. Ikinasal sila ng pari sa piitan.

Nagbalik si Aida sa kanyang trabaho ngunit natuklasan ng may-ari na buntis siya. Naiisip ni Aida na lalo lamang siyang maghihirap at nadadamay pa pati ang kanyang magiging anak kung itutuloy niya ang kanyang pagbubuntis kaya t ipinasya niyang ilaglag ito sa tulong ni Miriam. Nang magaling na siya y napasok siyang tagapamahala sa isang kantina at dito niya nakilala si Tito Pangilinan (Mario Montenegro). Nagsama sila at nagkaroon ng isang anak. Si Carding naman ay nalipat sa Davao Penal Colony at nagtaka na lamang siya nang huminto na sa pagsulat si Aida. Lumaya si Carding pagkaraan ngpitong taon at hinanap agad si Aida. Nakita niya ito at si Aida ay nagsimulang maglubid ng buhangin. Ang batang kasama niya’y anak daw ni Miriam at mahigpit ang bagong kinakasama nito kaya’t hindi sila maaaring laging magkita. Ngunit natuklasan ni Carding ang katotohanan at sa galit nito’y sinaktan si Aida. Inihabla siya ni Carding at ang kaso y humantong sa husgado. Mabibilanggo kaya si Aida sa salang adultery? That, you’d have to find out for yourself. Mawawala ang suspence kapag ibinunyag namin agad sa inyo ang ending.

Based on a true legal story, nagawa nina Reyes at Brocka na very convincing ang pagkakalahad ng kuwento. Maingat ang development at talagang magsi-sympathize ka sa mga tauhan. Ang kaso ni Aida ay isa ring moral dilemma. Dapat ba siyang sisihin sa kanyang ginawa? Sa kanyang paglalaglag sa sanggol and finding the easy way out through having an affair with a rich old man? Maraming katulad ni Aida sa ating lipunan sa ngayon. Nagipit sila, humanap ng lubid na makakapitan upang huwag tuluyang mahulog sa bangin, kasalanan ba ang kanilang praktikal na solusyon sa kanilang mga problema? Morally, masasabi agad na mali nga sila. Pero madaling humusga kung hindi ikaw mismo ang nakaharap sa mga problemang iyon. Tao lamang si Aida. At ang kahinaan niya ang siyang dahilan kung bakit naging very human ang istorya ng Adultery. Kung bakit naging tutoong-tutoo angmga sitwasyon at ang lahat ng characters dito. Alam mong melodramatiko ang kuwento pero alam mo ring nagaganap ang gayon sa tunay na buhay, na talagang maraming Aida Macaraeg sa ating paligid. Namumukod-tangi ang mga aspetong teknikal ng pelikula: ang sinematograpiya ni Conrado Baltazar, ang musika ni Lutgardo Labad, ang editing ni Rogelio Salvador, ang disenyong pamproduksiyon ni Joey Luna at pati pagkakalapat ng tunog.

Mahusay rin ang acting ng lahat ng tauhan: si Deborah Sun bilang Miriam, si Anita Linda bilang ina, si Tita de Villa bilang tiyahin ni Carding. Maikli lamang ang papel ni Mario Montenegro bilang Tito pero epektibo ang pagkakaganap niya, lalo sa tagpong sinumbatan niya si Aida: “Pitong taon na kitang tinutulungan at pitong taon mo na rin akong niloloko.” Napakahusay ni Vilma sa mga eksenang nagngingitngit siya sa mga kapatid niya sa pagkawala ng uniporme o muling pagbubuntis ng mga ito. You can really feel the sense of rage, and futility that she is experiencing. Pero maging sa iba pang quiet scenes ay mahusay rin siya, o kaya y maging doon sa eksenang muntik na siyang mabuko ni Mario, at nang magkomprontasyon na sila ni Phillip. Pero, sa tingin namin, mas lumutang si Phillip sa pelikulang ito at tiyak na in the running na naman siya for best actor next year. Kung minsan ay mata lamang ang kanyang pinaaarte at wala siyang dialogue (like nang mabasa niyang nakunan si Aida o nang makita niya itong sinasalubong si Mario sa gate). Very touching din ang final scene na tinanong siya ni Vi: “Ano ng nangyari sa ‘tin?” At sumagot siya ng: “Huwag mo nang itanong. Baka mas masakit kung malaman natin ang sagot.” Maraming iba pang magagandang touches ang pelikula, tulad ng pagdalaw ng mga babaing taga-block rosary kina Aida at ang sagutan sa court scenes.

The movie also offers another view of prison life. Sa mga pelikulang lokal na tungkol sa piitan, karaniwan nang nalalagyan ng tattoo ang bida, ginagahasa ng kapwa bilanggo at ginugulpi ng husto. Dito, maayos ang naging kalagayan ni Carding habang nasa bilangguan at wala siyang naenkwentrong mga problema na gaya ng usual na napapanood natin sa prison movies. Maganda talaga ang Aida Macaraeg. - Mario E. Bautista, Movie Flash May 31, 1983 (READ MORE)

"...Masinop ang mga elemento ng pelikula sa Adultery (Regal Films, Inc., 1984). Madulas ang daloy ng dulang pampelikula ni Jose Javier Reyes, konsistent ang disenyong biswal at sinematograpiya, malinis ang editing, akmang-akma ang tunog at musika. Ang maalam at matatag na pagganap ni Vilma Santos ay nagsasaad ng pagkaunawa at metodo sa layuning dramatiko ng kanyang pelikula. Ang pagganap ni Phillip Salvador bilang Carding ay nagpahayag ng mithiin sa lahat ng di magkatugmang aspeto nito at nagbigay ng naiibang sigla sa tradisyon ng pagganap sa pelikula. Sa halip na unidimensiyonal ang pagsasalarawan sa karanasan ng isang babae ay binigyan ito ng maramihang posibilidad sa pamamagitan ng sinematikong pagsasadula ni Lino Brocka, ang istereotipong ito ay isinalaysay sa paglalakbay ng kababaihan tungo sa sariling pagkilala at katuparan." - Jojo Devera, Sari-saringng Sineng Pinoy (READ MORE)

"...When Aida (Vilma Santos), in Adultery (Aida Macaraeg Case No. 7892) (1984), offends the pride of her husband, he invokes the law to punish her. This mother, however, does not just accept the status quo. She actively fights for her rights — up to the extent possible for a woman judged by men — within the four walls of the courtroom which is ruled by patriarchal ideology. The mother finally reunites with her son in the end, notably, not because her husband pities her, but because her husband understands her as a person who fights for her rights..." - Jose C. Gutierrez III (READ MORE)

Inspirations

Released: May 27, 1972

The Plot: Gina (Vilma Santos), a pleasant and witty young lady and Danny (Jay Ilagan), a suave, attractive young lad live parallel lives nurtured by single parents. In series of events, their parents meet and fall in love. Gina and Danny, though despising each other completely, are determined to separate their parents in the desire to win back their parents attention. Despite their efforts, their parents marry leaving Gina and Danny to live under one roof. Will this wreak havoc in the new household or will they learn to grow fond of each other? – Kabayan Central (READ MORE)

The Review: Ishmael Bernal's first film with Vilma Santos was 1972's "Inspiration," an unusual teeny-bopper team-up film of Vilma and the late Jay Ilagan. The film established its main characters as both very much protective of their parents. Although its not explained why both Tony Benetez (Carlos Salazar) and Sylvia Mottola (Merle Tuazon) are still single, they ended up dating and with eventually marrying each other. Gina Benetez (Vilma Santos) and Danny Motolla's (Jay' Ilagan) parent first met in a polo tournament attended by both families. They were introduced by the socialite grandmother of Danny, Lola Jane (Lilian Laing). Later that same day both single parent met again in a club that both attended. It was clear then that both are attracted to each other but are afraid that their kid will not approved it. They then continue secretly dating until both kids discovered it when all of them accidentally met in a restaurant. The complication ended when Lola Jane with the help of Gina's household maid, Choleng concocted a plan to get them together. Without the kid approval, the senior eloped and forced their kid to live in one roof. Then Sylvia got pregnant while Gina and Danny developed a secret affair. Another complication and here come Lola Jane to the rescue, in the hospital after Slyvia deliver her baby, it was understood that Lola Jane has informed Sylvia and Tony about their kids having a special relationship. The next scene was Gina and Danny having a motorcycle ride and ended up in a park, under the tree having an innocent chat about their relationship. The End.

In a musical era of 1970s, "Inspiration" was quite an experimental film, with no musical numbers, better screenplay, well-written characters. Nestor and Bernal works well in establishing the character of Jay and Vilma. Their dialogues are not "corny" and very realistic. There is no over the top dramatic scenes inserted between musical numbers here. The parent played wonderfully by Merle Tuazon and Carlos Salazar were convincing. Although both Vilma and Jay played their roles effectively, Lilian Laing steals the film as Lola Jane. She was bubbly and funny, a sex-starved, karate black belter, polo game aficionado, who loves life and considering she playing the old grandma who is also the solution to all the complication in life. Bernal was on his element here, a good story teller, pre-"Dalawang Pugad Isang Ibon, Pahiram Ng Isang Umaga and Relasyon." Although he is directing a light comedy, written by Nestor Torre Jr., he managed to established all the characters without relying on corny dialogues common in this era. - RV (READ MORE)

Palimos Ng Pag-ibig

Released: May 14, 1986

Plot Description: Palimos ng Pag-ibig (Filipino: "Begging for Love") was a movie in 1985 and turned into a TV series in 2007 for the first installment of Sineserye Presents. This was from the original story by Nerissa Cabral. This movie was home of the famous tagline: "Para kang karenderiang bukas sa lahat ng gustong kumain!" (You're like a restaurant that's open to anyone who wants to eat!), In context of prostitution reference. On the outside, Fina and Rodel's marriage is a match made in heaven; but behind the thick walls of what they call home, their relationship is on the verge of crumbling. For all their affluence, the couple's lives remains empty. Devoid of a child to call their own, any attempts they make to conceive may prove fatal to Fina (Vilma Santos) due to her medical condition. In an act of desperation, Rodel (Edu Manzano) takes matters into his own hands and seeks the services of a surrogate, Ditas. The plan goes awry when Rodel becomes genuinely attracted to the younger and more alluring Ditas (Dina Bonnevie); while Ditas, whose lived a destitute life, finds the notion of prosperity equally irresistible. The well-intentioned plan to resuscitate life back into a dying marriage may become its undoing. - Wikipedia (READ MORE)

On the outside, it looks like a marriage made in heaven. But inside the thick walls of what they call home, theirs is a relationship waiting to crumble. They have been wanting a child for so long, but the wife does not have the capacity to bear a child. And when her husband cannot take it any longer, he decides to end his misery once and for all. - IMDB

The story is about an infertile couple who never had a child of their own. The husband, frustrated by his wife’s infertility, hired somebody who was willing to carry his child. The hired woman got pregnant but she fell in love with the child’s father. The husband falsely adopted the child, hiding the fact from his wife that the child was his own. All the attention the husband gave to the child drove his wife to jealousy. To complicate things, the husband eventually had a secret affair with the child’s mother, and this affair produced another baby. The mistress left the newborn baby at the footsteps of the husband’s house. The wife then took care of the baby, and the children grew without their adoptive mother knowing that the two kids were fruits of her husband’s secret love affair. - Wikipilipinas

Film Review: "...The year was 1986. Palimos Ng Pag-ibig directed by Eddie Garcia was a smashed hit. Vilma co-starred with her soon to be ex husband Edu Manzano and Dina Bonnevie. Despite the mixed reviews from the critics, the film gave us, arguably, one of the most memorable lines in Philippine movie history. The scene was, Vilma, playing Fina was about to leave the house when Ditas, (Edu’s mistress and baby maker) knocked on the door, with her was her husband’s child. She forced herself in. Confronting Ditas, Fina: "Ilang gabi kang binili ni Rodel?" Ditas (Dina): "Isang Gabi lang, malakas ang kanyang punla at nangangailangan lang ng matabang lupa!" Fina: "Okey! So you're fertile and I'm barren...pero sa mga pangyayari, para kang karinderyang bukas sa lahat ng gustong kumain! Paano mong mapapatunayang ang asawa ko nga ang ama ng batang iyan at wala siyang kasosyong iba?..." - RV (READ MORE)

Anak

Released: May 10, 2000

The Plot: This is the story of a mother's agony and her desperate attempt to piece back the broken fragments of her shattered family. Josie (Vilma Santos) return to Manila after working as a Domestic Helper in Hong Kong for ten years. Her beloved husband, Rudy (Joel Torre), who died five years ago, was good-natured, loving and kind but was not a good provider. She was forced out of financial need to go abroad and slave under abusive employers in order to provide a better life for the family. But her happy expectation of a joyful reunion with her beloved children is dashed to peices when she finds that her absence, her family has fallen apart: her first-born, Carla (Claudine Barretto), has run loose and wild for lack of guidance; her son, Michael (Baron Geisler), is in deep trouble in school; and her youngest, Daday (Sheila Junsay), doesn't even know who she is. Josie is a stranger to her own family. She tries to maintain a happy and cheerful exterior while desperately trying to reach out to her children but they continue to repel her tender appeals. Ironically, it is Daday, her youngest who grew up without knowing her, who first opens her own heart and embraces her into the family.

Unknown to Josie, her two elder children harbor a deep and painful resentment toward her. In their minds, their mother does not care for them. She had left for abroad even when they cried and begged her not to, and she did not even bother to come home to be with them for their father's funeral. But Carla and Michael do not know their mother's side of the story. Josie was devastated upon hearing of Rudy's death but she had been unable to go home because her employers cruelly kept her locked inside the house. And she had endured another five years of hard labor knowing that her family would need money then, more than ever. Josie's problem, despite all her desperate efforts, become worse and worse. She loses all of her savings in a failed business venture, Michael is kicked out of school, and worst of all, Carla becomes pregnant by one of her many lovers. Josie is horrible aggrieved when Carla, in a fit of helpless fury, throws at Josie's face all her years of pent-up anger and resentment. She blames Josie for the aimless, ruined life. Josie was never here to give her love, she says, that is why she seeks it in the arms of men. Finally, Josie admits defeat. She has failed bitterly in her role as a mother. What is the right thing for her to do? Should she stay or should she go? Will she have the courage to try to reclaim her family, or will she take the easier way out and return to her familiar life in Hong Kong? - Dennis Harvey, Variety Magazine March 2001 (READ MORE)

In their minds, their mother does not care for them. She had left for abroad even when they cried and begged her not to, and she did not even bother to come home to be with them for their father’s funeral. But Carla and Michael do not know their mother’s side of the story. Josie was devastated upon hearing of Rudy’s death but she had been unable to go home because her employers cruelly kept her locked inside the house. And she had endured another five years of hard labour knowing that her family would need money then, more than ever. Josie’s problem, despite all her desperate efforts, becomes worse and worse. She loses all of her savings in a failed business venture, Michael is kicked out of school, and worst of all, Carla becomes pregnant by one of her many lovers. Josie is horrible aggrieved when Carla, in a fit of helpless fury, throws at Josie’s face all her years of pent-up anger and resentment. She blames Josie for the aimless, ruined life. Josie was never here to give her love, she says, that is why she seeks it in the arms of men. Finally, Josie admits defeat. She has failed bitterly in her role as a mother. What is the right thing for her to do? Should she stay or should she go? Will she have the courage to try to reclaim her family, or will she take the easier way out and return to her familiar life in Hong Kong? - Star Cinema (READ MORE)

The Reviews: "Naku, sigurado kaming maglalaway ang mga Noranian kapag napanood nila itong “Anak” ni Vilma Santos. Paano’y bagay na bagay din kay Nora ang papel na ginampanan ni Ate Vi. pero dito sa “Anak”, walang pakundangan niyang inagaw ng tuluyan kay Ate Guy ang korona, pati na nag trono at setro sa pagganap bilang tsimay...Halos tatlong dekada na naming napapanood si Vilma Santos sa pelikula, at alam namin mahusay siyang aktres. Kaya naming inakala na wala nang mapipiga pa sa kanya. Pero nagulat kami sa ipinakita niyang husay sa pelikulang “Anak” ng Star Cinema. Isa na marahil ito sa pinakamahusay na pagganap na aming nasaksihan mula sa isang Vilma Santos, at sa kahit na sino pang aktres, kasama na sina Nora Aunor at Elizabeth Oropesa...Naghudyat din ang “Anak” sa pagsibol ng isang bagong Vilma na hindi de-kahon ang ginagampanang papel. Nasanay na kasi kaming mapanood siya bilang magandang kabit, sosyal na asawa o isang modernong nanay...walang duda na ang pinakamapuwersang panghatak ng “Anak” ay ang galing ni Vilma. Lutang na lutang ang husay niya, mula simula hanggang wakas ng pelikula. Pero may tatlong eksenang mahirap malimutan. Una, yong tagpo kung saan umiihit siya ng tawa dahil sa kababawan nilang magkakabarkada, hanggang mauwi ang kanyang mga ngiti sa iyak dahil naalala niya ang sariling problema sa mga anak. Pabulosa rin para sa amin ang sumbatan nila ni Claudine sa bandang huli ng pelikula. Ke mereseng magmukhang kobra ang kanyang leeg, sanhi ng nag-iigtingan ugat dahil sa galit, at magkangiwi-ngiwi ang kanyang mukha sa tindi ng pagtatampo, wala siyang pakialam. Nakakaloka rin yung eksena nang pumasok siya sa kuwarto ni Claudine, at makitang may lalaking nakahiga sa kama nito. Ang galing-galing mo talaga, Ate Vi!...” - Gypsy Baldovino, Kabayan (READ MORE)

"...I’ve seen Vi act well in several movies. She has a volume of work which I truly admire. “Anak”, though, takes the cake. Perhaps, because of its universal appeal...I cried, especially in her confrontation scene with Claudine. That scene which shows her enumerating the hard work she had to go through just to be able to give her and her siblings a good life...." - Ethel Ramos, Malaya, 11 May 2000 (READ MORE)

"...The slick production is turned into art by its star Vilma Santos. Her magnetic star quality makes her look so wrong for the part and yet she makes it all her own. She’s a natural comedianne and a great tragedienne-her look of resignation is heartbreaking. Vilma discards the glittering clothes and make-up for Anak, but she still looks youthful. It wouldn’t come as a surprise if the sensitive young actor playing her son would go on to play her leading man a few years from now..." - Dennis Ladaw (READ MORE)

"For ten consecutive years from 1995 to 2004, the Philippines submitted films for consideration for the Best Foreign Language Film category of the Oscar Awards. But up to this point of film history, we remain in the list of countries who has never won nor nominated for this award...In 2000, the country’s entry was Anak (Child), directed by Rory B. Quintos from the script of Raymond Lee and Ricardo Lee. It is the story of a Filipina domestic helper (Vilma Santos) in Hongkong who returns to Manila after 10 years and is greeted with her children’s resentment because their father died during their mother’s absence. She buckles down to pick up and string back together her shattered family..." - FAP (READ MORE)

"A topical dilemma for Filipinas — whether to take lucrative long-term jobs abroad and provide for their families’ future or stay home and play a more active role in their children’s lives — propels “Anak”, femme helmer Rory B. Quintos’ seventh feature. Vivid hook for domestic conflict makes this well-acted drama compelling until hitherto restrained approach succumbs to bathos in the last quarter. Offshore, best prospects outside fest circuit lie in TV sales. Bubbly, indomitable Josie (Vilma Santos) is thrilled to be returning home at last, having spent several years as a live-in nanny for Hong Kong yuppies — and enduring some serious mistreatment in that capacity. Loaded with presents and savings to invest in a business scheme, she gets a big welcome from everyone but her own children. Latter three have grown up without her, suffering especially since their father died in a workplace accident. While little Daday (Shiela May Alvero) and teenage Michael (Baron Geisler) soon get over their initial awkwardness, eldest offspring Carla (Claudine Barretto) remains bitterly resentful toward mom’s perceived abandonment. She goads Josie with serial boyfriends and open hostility before running away, straight into drug-abusive squalor. Limning complex emotions with subtlety and humor, pic resists melodrama until the dam abruptly burst after 90 minutes; ill-judged pileup of crying scenes, plot crises and more crying ensues. Josie’s final decision to leave for H.K. once again makes little sense, beyond its providing an excuse for “Anak’s” fourth hysterical-sobbing-at-the-airport sequence. That’s too bad, since early reels observe parent-child relationships with considerable delicacy. Quintos’ fluid handling of potentially claustrophobic, mawkish material underplays script’s more obvious gambits until they overwhelm pic. Veteran local star Santos is in fine form, while Barretto lends impressive shading to what might have been a stock sexy “bad girl” role. Tech package is polished." - Dennis Harvey, Variety Magazine March 19 2001 (READ MORE)

"The Philippine president praises the Overseas Filipino Workers (OFW) as hero. This is nothing more than delusive. The reality of OFWs is almost slavery exporting. In this film, Josie, the mother, was locked in the house while her master and his family were on long vacation. That was why she could not attend her husband’s funeral! Total remittance from the OFWs, who send most of their earnings from such humiliating work, amounts nearly US$ 10B annually. This film raises a serious issue in Philippine society, however, I think most of Philippine politicians may not even recognize how desperate a country which relies on exporting their people for such slavery jobs. They leave their family because they love family. Mother leaves her children whom she wants to embrace always, and works for them sacrificing everything. Children feel they are abandoned by their mother even they know their daily life is supported by her remittance. Mother’s love ends up with broken relationship. What a tragedy! The life of the family looks not bad in Philippine standard. In fact their house is large enough even in Japanese standard. However, their father, who looks a good man, do not have stable job, if not minimal income which is hard to afford their life. In fact, even working abroad as a maid is a kind of status. I don’t understand why the mother does not cancel going to Hong Kong and choose yet another life, to live with her family with less income, after reconciliation with her daughter. Unless Filipinos decide to quit working overseas for little money, I think this country would not become better. By the way, this is the first film I saw Vilma Santos. Her performance is superb. Few actresses can act both comical and serious sides of the same character" - IMDB (READ MORE)

"There are drawbacks in Anak, small aspects that could be left out or be more emphasized; but forget that petty cash because…Just as I had forgotten the reason for making movies, that not all movies are justified merely as a moneymaking device where profit, spin off products and the inclusion of at least one major Hollywood movie star are dominant ingredients in the narrative formula; just as I had misplaced the argument for film production itself, Anak puts it all right again. Quintos peels away every superfluous non-significant element and leaves us with a nucleus so pure, so strong and so universally true that it touches all of us. Separation from loved ones, sacrifices and the complexity of family relations are key components of the narrative that, propelled by brilliant acting, drives this highly realistic and touching story forward. And realism and emotions are clues to what makes Anak such a gripping tale. In other, more conventional, ‘touching’ films I often feel left of

"I absolutely loved this film! At first, I was a bit skeptic, but man….what great acting!! It seemed so real…not far from reality. Claudine did a great job as the snot nose brat of a daughter and Vilma was awesome as the loving, but misunderstood mother. It’s a great movie…go rent it!" - IMDB (READ MORE)

"Where to begin? Anak (or ‘The Child’ as it is known in the West) is an absolutely amazing movie, a movie so powerful that it deserves to be watched by everyone. The Story is set around Josie and her family, Many years ago – Josie had to leave her family and become a domestic over-seas so she that she could provide money to support her family, when Josies husband dies, Josie returns to her family to take over her job as mother, but when she returns, her family is anything but loving and welcoming. The acting in this movie is magnificent, I had never heard of Vilma Santos until I watched Anak, however after seeing it I had to rent out some of her other movies, the emotion shown by Vilma, and the other actors is amazing and at times, you really can find yourself believing that this family is real. There were times in the movie I laughed, times I cried, but I loved every second of it, and it blows almost every Hollywood movie out of the water. Anak just goes to show that a movie does not need to have sex, drugs & violence, and also not be a Children’s movie to be excellent and a must-see for the entire family." - IMDB (READ MORE)

"...Mas mahusay para sa amin ang pagkakaganap ni Vilma Santos sa “Anak” kaysa sa “Bata, Bata…Paano ka Ginawa?”. Hindi malayong humakot na naman siya ng award rito…But the film still belongs to Vilma, who goes through an entire spectrum of varied emotions as Josie, mula sa katuwaan at excitement niya sa pagbabalik sa Pilipinas (natural na natural ‘yung pagiging aligaga niya habang namamahagi ng pasalubong sa mga anak niya), ang disappointment niya nang matanto niyang hindi na niya kilala ang mga batang binalikan niya, hanggang sa finally ay sumambulat siya sa tagpong pinagsasampal na rin niya si Claudine at pinalalayas. It’s a bravura sequence and the performance is magnificent…" - Mario E. Bautista (READ MORE)

"...Actually, this film does not only tug at your heartstrings. It also tries to escape every nerve ending in your body. But despite its excesses, “Anak” is still a quality movie. It is a very well-made commercial film with a heart. This movie has three things going for it: a relevant subject matter , its thorough research and the wonderful performance of Vilma Santos. In this film, Vilma goes through a wide range of emotions from a spoiler of a mother to one who has had it with her ingrate of a daughter – and from a fun-loving barkada (to fellow domestic helpers Amy Austria and Cherry Pie Picache) who knows how to appreciate the simple joys of life to that of a breadwinner willing to slave it out for the sake of her children. This may not be a classic Vilma Santos performance in the tradition of “Sister Stella L”, “Relasyon”, and “Bata, Bata…Paano ka Ginawa?”, but it is definitely an inspired one. In fact, no other actress could have pulled it off the way she did – marvelously, if I may say..." - Butch Francisco, People’s Journal May 26 2000 (READ MORE)

"...For her part, the veteran actress is given major dramatic challenges in this movie, and she meets them with her intensity and commitment. More, she embraces them, pushing her scenes “beyong acting”, into an emotional reality that is truly moving. If only her young costar had been as insightful, sensitive and giving…So, we thank Star Cinema for the good things in “Anak”, but we regret its deficiencies, which not even a Vilma Santos can fully compensate for. More films on our OCWs are needed to truly do justice to their immense problems, and to their quiet heroism for loved ones and country..." - Nestor U. Torre, Philippine daily Inquirer May 14 2000 (READ MORE)

"..Vilma, as expected, turns in another “winning” performance (far better than her “Bata, Bata…Paano ka Ginawa?” acting) while Claudine is a big revelation as the rebellious daughter, so hateful (especially when she’s answering back at her mother) that when, in the final confrontation scene, Vilma slaps her and throws clothes at her and, okay, okay, “Lumayas ka sa bahay kung ayaw mo akong makita,” the crying audience erupted into an approving applause..." - Ricardo F. Lo, The Philippine Star May 09 2000 (READ MORE)

f with an awkward, almost embarrassed, feeling of having been tricked to tears by elementary storytelling mechanisms. But the feeling of a natural, almost improvised acting in Anak, conveys everyday life as well as the intense moments with an exceptional credibility which makes the overall narrative so strong it should leave its audience feeling that this is one of the primary reasons for storytelling." - IMDB (READ MORE)

"...Ang international fame, bilang Best Actress, ay nakamit ni Vilma in 1999, when her Star Cinema headliner Bata … Bata … Paano Ka Ginawa? – directed by Chito Rono – was entered as competition entry sa Brussels Film Festival. Released in 1998, Bata won for Vilma the Best Actress honors at the Star Awards, FAP and Gawad Urian, as well as the Best Performance award from the YCC-Film Desk. Dahil nahalal na alkalde ng Lipa City sa Batangas si Vilma Santos-Recto (she married then Batangas Congressman, now Senator Rafael ‘Ralph” Recto in December 1992), naging mas madalang ang paggawa niya ng pelikula. Pero hindi pa rin magmimintis si Vilma na manalo ng acting trophy, kapag din lang may panlabang pelikula, as in 2000 when she did Star Cineman’s Anak by Rory Quintos. Nanalo siyang Best Actress sa Star Awards..." - William Reyes (READ MORE)

"...Sa umpisa pa lang ng pelikula, kinurot na ang puso ko. Damang dama mo ang pagkasabik ni Josie na muling makita't makapiling ang mga anak, ang pagtataka't hindi ipinahalatang pagdaramdam ng hindi siya kilala ng mismong bunsong anak. Natural na natural ang dating ng acting ni ate Vi sa eksenang hindi siya magkandaugaga sa pag-asikaso ng mga bisita sa kanyang welcome party pati na rin sa pagmumudmod niya ng mga pasalubong. Mararamdaman mo ang pagmamahal na ipinapakita niya sa mga anak bilang pagpupuno sa kanyang mga pagkukulang noong mga panahon na wala siya sa piling nila, kasama na ang pagtitiis at pagwawalang bahala sa kabastusan ng panganay na si Claudine na sa totoo lang ay napakahusay din. Nakiiyak at nakidalamhati ako kay Josie sa bawat sakit at hapdi ng kalooban na kanyang nadarama. Umabot sa sukdulan ang pagkahabag ko kay Josie at matinding galit naman ang nadama ko kay Claudine sa paglapastangan sa kanyang ina. Halos nadurog ang puso ko ng isa-isahin na ni Josie ang mga paghihirap at pagtitiis na kanyang pinagdaanan. Mahirap nga ba sa mga anak ang intindihin kung bakit kinakailangan lumayo ang isang magulang lalo pa't ang ina sa kanyang mga mahal sa buhay para sa kapakanan ng pamilya? Maaaring oo, at maaaring hindi. Bagamat kailangan ng mga anak ng kalinga at gabay ng kanilang magulang sa kanilang paglaki, but the choice is theirs. They do and they can understand but the problem arises when a child refuses to understand the situation. Marahil dahil sa ako ay isang Overseas Filipino Worker kung kaya, kaya kong makarelate sa pelikula, but it doesn't really matter you?re an OFW or not. Anak is a picture for everyone and it has successfully conveyed the importance of family being the basic unit of our society. In general, Anak is a well acted movie sa pangunguna ni Ms. Vilma Santos. No other actress can give justice to the role of Josie but Vilma herself, and that is setting aside my being a solid Vilmanian, at kahit pa sabihin na para akong sirang plaka..." - Eddie Lozano (READ MORE)

"...DID you know that as early as the ’80s, nagsusulat na ang award-winning scriptwriter na si Ricky Lee tungkol sa plight ng ating mga OFW (overseas Filipino workers)? He started with "Miss X," filmed in Amsterdam in The Netherlands with now Lipa City Mayor Vilma Santos in the title role. For an entire month, namalagi sa Amsterdam si Ricky kasama ang cast and crew ng pelikula. Naging simula ang Miss X ng ilang collaboration sa pagitan nila ng equally award-winning director na si Gil Portes. Ang next movie together nila ni direk Gil was "Carnival In Rio," which was filmed naman in Rio de Janeiro. Alma Moreno, who was at the height of her popularity as a bold star then, played the lead role. Then came "Merika," na isinapelikula naman sa New Jersey and New York with Nora Aunor playing the lead role. "Because of that movie," ani Ricky, "I was able to explore New York, the city of my dream. After my travels to all these places, I wrote (direk) Gil a letter, thanking him for the rare chance he gave na marating ang mga lugar na ito na ’di ko Inakalang mararating ko," pahayag ni Ricky. For Anak, which was filmed in Hong Kong, Ricky had the chance na makatrabaho muli si Vilma sa ibang bansa muli. This time, na-renew, wika nga, ang kanilang bonding. Ricky remembered that because Anak was a blockbuster, binigyan ng Star Cinema ng malaking bonus si Ate Vi. Nagulat daw siya when one day, he received a P40,000 check from the actress. Contribution daw ang pera ni Ate Vi sa isinagawa niyang workshop for aspiring scriptwriters...." - Nel A, The People’s Tonight, Aug 31 2005 (READ MORE)

"...Damangdama namin ang panonood,naluluha-luha na kami sa mga eksenang napapanood.Grabeng lines, nanggagaling sa puso kaya tumatagos sa puso. Pagdating sa pagliltanya ni Ate Vi nang tuhog na tuhog, yung makapanindig-balahibong linyang marami siyang pinalampas na pagkalam ng sikmura para lang maipadala niya ang pambili sa kanyang mga anak.Ibang klase. Masikip sa dibdib, tahimik kang luluha dahil sapul na sapul ka ng kanyang pagganap. Sa tunay na buhay nga nama’y mas masakit at nakakakuha ng simpatiya ang paimpit na pag-iyak, at yun si Josie na ginagampanan ni buong ningning ni Ate Vi. Walang pakialam ang aktres sa magiging hitsura niya sa telon. Sinunod ni Ate Vi ang kagustuhan ng direktor.Ginawa niya ang hinihingi ng papel na maging deglamorize para mas maging makatotohanan ang kanyang pagbibigay buhay. Sa kanyang pag-iyak ay masisilip mo ang nagagait din niyang mga ugat sa leeg at kamay niya. Sa eksenang talagang sinusumbatan na niya si Claudine, she still amazes us on how she delivers the lines with varying degree of intensity na naaayon sa bawat bitiwang salita. Alam namin at ng lahat kung gaano kahusay ang isang Vilma Santos, pero sa pelikulang ito ay ipinakita niya, she’s not just an instinctive actress,she’s soooo brilliant. Maririnig mo ang kaliwa’t kanang singhutan at sipunan ng mga katabi ko sa upuan.Hindi ko sila pinapansin dahil tahimik din akong nagpapahid ng luha para hindi mahalata. Bakit sila lang ba ang marunong umiyak? Remarkable din ang akting na ipinakita ni Claudine...Anak grossed Php 14 Million on its opening day.Umabot ng Php 200 Million na nationwide box-office take,ranking number 2 sa box-office champion of all times..." - Willie Fernandez (READ MORE)

"...If this movie is to be judged by the amount of tears shed by various actors during the performance and the amount of tears which are expected to be shed by the audience, then I think this film can be rated in the five gallons category rather than that of the five stars. Vilma Santos, as expected, effectively portrayed a role of a mother trying to reach out to her children who at first sees her as a stranger. The efforts and the hardships she acted relate the whole theme of the film. Claudine Barretto, on the other hand, though equipped with natural acting prowess, was not that believable and was disgusting at some moments. In particular, I would like to single out the performance of Baron Geisler. He didn’t have a whole lot lines in the movie but the impact of his facial expressions and body language were very powerful. As what said a while ago, this film was an inspired picture from Aguilar’s “Anak.” Every single line of the song pertains to the story of Josie and her children. The happiness and sacrifices of parents when their child is born were both seen as Josie showed the same feeling for her children upon seeing them as well as the sufferings she experienced in Hong Kong in order to give her family enough money for living. The line “Nagdaan pa ang mga araw at ang landas mo’y naligaw, ikaw ay nalulong sa masamng bisyo,” was also illustrated as Carla gets involve in men, sex and drugs and showing her mother her hatred for her. But all stories that end well, Carla repented and asked for forgiveness and vice-versa. This scene was literally the portrayal of the line “At and iyong mata’y biglang lumuha ng ‘di mo napapansin. Nagsisisi at sa isip mo’y nalaman mong ika’y nagkamali..." - Rodel Guerrero READ MORE)

"TV/Film director Rory Quintos is a self-confessed Vilmanian so when she was given a chance to direct the latest Vilma Santos movie, "Anak," Rory was admittedly star struck. "I was intimidated by Vilma," Rory offers. "The fact that I'm her fan made it difficult for me." No wonders on the first two weeks of filming, Rory discloses she could not get herself to give instructions to Vilma. Even if she had worked with the superstar in two previous films - "Ipagpatawad Mo" and "Kapag Langit ang Humatol" as assistant director to Laurice Guillen. Rory was initially uncomfortable with the actress. Thankfully, it was Vilma herself who opened the communication line with the director. Sensing they had no rapport on the set, Vilma sat down with Rory and the result was a more harmonious working relationship. Being a director is a dream fulfilled for Rory, who had always wanted to be a director since her childhood days...She considers "Anak" her most challenging work to date because she has Vilma in the cast. As director, she even did researched on Vilma's role and talked to overseas Filipino workers. The movie is about a mother's struggle to keep her family intact being away for 10 years." Rory explaines. "We wanted to make the movie as realistic as possible so we listened to the experiences of OFWs..."Anak," which is inspired by Freddie Aguilar's haunting ballad, is Star Cinema's Mother's Day offering, opening May 10 in local theaters. Vilma flew to Hong Kong to grace the Asian premiere of the movie yesterday at the Cine Metro Theater in Kowloon. The film will also be shown in Milan, San Francisco, Tokyo and Dubai..." - Leah Salterio Gatdula, Philippine Daily Inquirer, May 8, 2000 (READ MORE)

"...To best understand how Filipino women have changed in the course of time, let us quote Lea's final words: "OO, natuklasan ko ang mga bagay na hindi ko siguro natuklasan kung pinahawakan ko lang sa iba ang pagkatao ko. Hindi ako nagpakulong, sinikap kong lumaya. At mula sa paglaya ko sa makitid na papel ng isang babae, natiyak ko na ang kalayaan nga pala, sa higit na pangmalawakang kahulugan nito, ay hindi nahihingi kundi ipinakikipaglaban. Hindi lahat ng hinuhuli'y kriminal, at hindi lahat ng diyos ay may dangal! Hindi ako natatako. Babae ako at malakas ako. Ako ang tagapagsilang ng tao, pambuhay ng sanggol ang dibdib ko. Hindi porke ina na 'ko'y tumigil na 'ko sa paglaki. Hindi porke babae ako'y maiiwan ako sa labanan. Para sa kaligtasan ng lipunan at kinabukasan ng mga anak ko sa digmaan ng mga uri't prinsipyo, sa mapayapa man o madugong pagbabago, magtiwala kayo...sasama ako!" We need more Josies adn Leas in our society tody, The time is ripe for Filipino women to rise above the society's traditional views and coventions. Although ultimate freedom and due recognition of gender equlity remain a struggle and a serious concern, Filipino women are slowly gaining a strong foothold. In a book dedication written by Bautista to this writer, she wroteL "Ang mga kamay na nag-uugoy ng duyan ay kaya ring magtumba ng alon sa dagat." And we belive that a freer woman is better mother. And every Filipino family needs her. Every family must have her. We remember what Vilma said in our interview with her during the last shooting day of her film "Bata, Bata..." "I would like to be remembered as a mother who would give her life to her children anytime..." She's an accomplished actress, and many will remember her for that. But Vilma would rather be a mother in her films, in her life..." - Veron Dionisio, Philippine Daily Inquirer, Jul 29, 2000 (READ MORE)

"...You don't have to be an overseas Filipino worker, or be related to one, to be moved by "Anak," the latest Star Cinema production which is, fittingly enough, billed as its Mother's Day offering. The movie was conceived and marketed as Star Cinema's tribute to overseas workers. But anyone who is or has even been a parent, will find many echoes of their own experiences in "Anak." It is this emotional resonance with the universal tug of war between parent and child that, I think, allows "Anak" to transcent its focus on the OFW's and appeal to wider, general audience. And yet, there was something very right, very fitting, in the decision to hold "Anak's" world premiere in Hong Kong, among the community of domestic workers whose 'story" is told in the movie. The screening was peppered with moment of laughter and gasps of recognition. And by own reckoning, just 15 minutes into the movie, as the joyous homecoming of returning Hong Kong DH Josie, played by Vilma Santos, is shadowed by her re-entry problems, the tears start flowing. By the time Josie finally confronts her rebellious daughter played by Claudine Barretto, the sniffles and sobs that punctuated the quiet of the Cine Metro Theater had grown into a teary crescendo. It was, indeed, cathartic. And if I, a journalist and working mother who had left her family behind for a mere weekend, was assuaged by pangs of guilt and regret, how could it not resonate in the most powerful way with the proud and hardworking Pinays of Hong Kong?...Perhaps this is something we need to realize here, especially among the bleeding hearts and do gooders crying out for government to "do something" about the phenomenon of migrant labor. The struggle to secure the rights of overseas workers has shifted to the OFW's themselves. Only when they assert themselves as a political force can they win respect and power and thereby determine and direct their own fate and welfare.

Critical to this development are movies like "Anak," that manage to move beyond sterotypes to paint both the good and bad side of migration, demonstrating the rewards and growth attendant to working abroad, even if "only" as a domestic, as well as the loneliness that assails everyone, or the abuse and exploitation that befall some. "Anak" is particularlay effective in that it strides for balance and realism. Scriptwriters Ricky Lee and Raymond Lee (no relations) told of basing and validating the situation in the movie on the real life experiences of Filipina domestics in Hong Kong, though much of the film takes place here. Director Rory Quintos is to be commended for the light and unobtusive tough she gives to what could be melodramatic material. The ensemble acting is also remarkable, with Claudine Barretto giving a fairly impressive turn as the troubled and self-destructive daughter, and Amy Austria and Cherry Pie Picache delightful as the earthy DH friends of the beleaguered Josie. Still, this is one movie that truly belongs to Vilma Santos, who is even more affecting and effective here than in "Bata, Bata...Paano Ka Ginawa?" for which she harvested many awards. As Josie, she is feisty and bubbly, steely and sof-hearted, the combination of grit and goodness that is the bedrock of every Pinay mother's heart. Before the screening, she told the audience that after making the movie, she was more than ever determined to pursue a career in government to better help the OFWs. But watching her as Josie, I thought, it is not as a governement official that an actor like Vilma best helps people. it's precisely as an actor, giving life to women like Josie and "standing up for the character," that Vilma and artists like her help us understand people and take them into our hearts." - Rina Jimenez-David, Philippine Daily Inquirer, May 10, 2000 (READ MORE)

Love-Hate drama between "martyr" mother and "rebel" daughter - Star Cinema should be commended for deciding to make a film about a Filipino overseas contract worker who periodically leaves her family to ears much-needed dollars abroad. "Anak: is a bittersweet account of a mother's dilemma: the money she brings in assures her children's physical well-being, but her absence during their crucial growing years leaves them with a shaky foundation that takes its terrible toll on them, asw well as on her, when she finally decides to come home. Rory B. Quintos' films hits intense emotional highs, especially in scene involving its veteran lead player, Vilma Santos, who feels her role so much that she comes across as a symbol of all mothers torn between their love for their children, and their need to earn money by working abroad to give their children a better life. Her pain is exarcerbated when they show their resentment over her long absences, as though she didn't suffer from the separation as much as or even more than they. And everything comes to a head when eldest child (Claudine Battetto) flaunts her wayward life and vices in her mother's face, to hurt her as much as she feels she has been hurt by her "uncaring" parent.

In addition, the film gains in significance by touching on some less personal issues related to the huge problems of our overseas contract workers and the families they leave behind: terrible working conditions, psyhological trauma, low self-image, the wearing down of traditional values, etc. Unfortunately, the production's decision to focus on the mother-daughter conflict deprives the movie of enough time to dramatize these issues in an insightful way. Thus, the interesting characters played by Amy Austria and Cherry Pie Picache, who are cast as Vilma's worker-friends, are glossed over and mainly used for "color" and as shoulders to cry on. This is a pity, because they too have compelling, instructive stories to tell, which could have lent greater texture and substance to the film's handling of the complex OCW syndrome. Instead, the movie keeps harping on the love-hate drama between "martyr" mother and "rebel" daughter, with Claudine's character sinking deeper into her pit of anger and recrimination. All too soon, the pattern becomes tedious, and we keep hoping that the movie discovers other, more productive dramatic and thematic avenues to explore. To make things worse, Claudine acts her guts out in her "hurt and angry" scenes, but she can't seem to rise to the thespic occassion.

This may be because her character's acts of rebelliosness are presented in too strident a fashion, making it difficult for the young actress to be truly sensitive to her character's core of genuine pain. It's also possible that Claudine has been acting too much of late, what with her daily TV soaps that require her to play triplets, so she has prescious little that's fresh and real to give to her role in this film. Whatever the reason, she falls short of the mark, particularly in her demanding confrontation scenes with Vilma. For her part, the veteran actress is given major dramatic challenges in this movie, and she meets them with her intensity and commitment. More, she embraces them, pushing her scenes "beyond acting," into emotional reality that is truly moving. If only her young costar had been as insightful, sensitive and giving... So, we thank Star Cinema for the good things in "Anak," but we regret its deficiencies, which not even a Vilma Santos can fully compensate for. More films on our OCW's are needed to truly do justice to their immense problems, and to their quiet heroism for love ones and coutry. - Nestor U. Torre, Philippine Daily Inquirer, May 14, 2000 (READ MORE)

Ensemble Acting - Besides Vilma Santos and Claudine Barretto as the clashing mother and daughter in Star Cinema's currently-showing smash-hit drama ''Anak,'' there are other actors in the Mother's Day offering who shine in their own rights with sterling performances. There's Cherry Pie Picache as Vilma's fellow domestic helper in Hong Kong, acting her part with natural ease and spontaneity. And Amy Austria, also a domestic helper, whose character is a contrast to those of Vilma's and Cherry Pie's. Or Baron Geisler who's a revelation as Vilma's teenage son gone astray. Or newcomer Sheila Mae Alvero as Vilma's youngest child rendered a stranger to her own mother by the mother's long absence while working in Hong Kong. Directed by Rory B. Quintos from a screenplay by Ricky Lee and Raymond Lee, "Anak" is the best example of ensemble acting where all the performers seem to move to the same tune, as if in a symphony. Star Circle member Leandro Muñoz also gives a credible performance as the guy who doesn't take advantage of the wayward Claudine, instead convin-cing Vilma of his good intentions toward her daughter. Joel Torre, as the three children's dead father, appearing in poignant flashbacks, comes on as alive as the "live" performers are, making us believe how weak a father he is in the choice sequences he appears in. Also turning in fine performances no matter how brief their roles are the supporting actors and actresses. "Anak" is currently breaking box-office records. No doubt the big crowds that continue to flock to the theaters where it's showing are attracted by its very timely story acted out with impressive beauty and with such impact by the movie's cast which should be gathered again in a "reunion" vehicle, perhaps with Quintos again as director. - Sol Jose Vanzi, Manila Bulletin, May 16, 2000 (READ MORE)

Pakawalan Mo Ako

Released: May 29, 1981

Tatlongpu't dalawang taon na ang nakakalipas nang una nating napanood ang pelikulang Pakawalan Mo Ako. Tumabo ito sa takilya at nagbunga ng pagkapanalo ni Ate Vi ng Best Actress mula sa Famas para sa taong ito. Prinudyus ng Sampaguita Pictures, ang “Pakawalan Mo Ako” ay isa sa mga pruweba na nasa ikataas na puwesto si Vilma Santos nang bagong dekada otsenta. Mula umpisa hanggang sa huli’y umiikot ang istorya sa karakter ni Vilma bilang si Ana, isang escort girl. Markado ang papel ni Vilma at makikita ito sa mga eksena sa kulungan at hukuman. Ang Pakawalan Mo Ako ay mula sa panulat ni Pete Lacaba at iskrinplay nina Pete Lacaba, Mao Gia Samonte at Isko Lopez. Kung ikukumpara sa mga ibang pelikula ni Elwood Perez mas pulido at makatotohanan ang mga eksena’t dialouge ng pelikula. Tulad ng konprontahin nga ma ni Bernard si Ana sinabi nito na: “Puta, Puta! Puta! Hindi lang naman kayo ang unang nagparatang sa akin ng ganyan! Puta! Puta! Putang Ina n’yong lahat…” At nang unang dalhin ni Bernard si Ana sa bahay nito at pagtangkaang gahasain, pumiglas si Ana at sabay kuha sa pera at sabay sabing: “kukunin ko ang bayad sa halik may sukli ka pa!” At siyempre ang eksena sa hukom kung saan paulit ulit niyang sinasabi ang salitang: “Sinungaling!…” Ang musika ni Lutgardo Labad ay minsan nakakaabala sa tunay na eksena ngunit angkop na angkop ang theme song ng pelikula, ang “Dati” na kinanta mismo ni Antony Castelo. Merong mahahabang linya si Christopher DeLeon sa bandang huli at nakuha naman niyang bigyan ng buhay ang papel niya bilang abogado ng taga-usig kahit na parang pilit ang pagpapalit niya ng panig para sa tagapagtanggol sa bandang huli, sa kanyang closing remarks. Alam niya marahil na talagang pelikula ito ni Ate Vi. Mahusay rin ang pagganap ni Antony Castelo bilang isang matigas na ulong anak ng isang mayaman. Sa papel na ina ni Ana, nakaka-distract ang hindi tunay na boses ni Mila Ocampo. Bilang ama ni Bernard San Diego, very one-dimensional ang papel ni Subas Herrero. Ang pinakanakakatuwang papel ay ang papel na kaibigan ni Ana na ginampanan ni Deborah Sun. Meron siyan eksena sa hukuman kung saan tumistigo siya at natural na natural ang pagkababaeng bakla niya. Mabilis ang pacing ng pelikula at walang mahusay ang pagkakaedit nito. Hindi ako nagtaka kung bakit nanalo si Ate Vi para sa pelikulang ito mula sa Famas. Ito rin ang bale hudyat ng pagsibol ng bagong Vilma Santos pagpasok ng dekada otsenta dahil sa sumunod na taon ay nagkasunod sunod na ang parangal sa pagarte ni Ate Vi mula sa iba’t ibang award giving bodies. Maalala mo pa ba ang mga detalye ng pelikula? Eto ang ating munting tribya...

1. Naging promo girl si Ate Vi sa pelikula. Para makatipid sa pera ano ang kinain niya sa eksena sa turo-turo?
A) siopao at tubig B) mamon at tubig C) lugaw at tubig D)hopya at tubig

2. Sa tulong ng kanyang kaibigan, pumasok siya bilang isang…?
A) sekretarya B) mananayaw C) escort girl D) model

3. Ano ang palayaw ng anak ni Ate Vi sa pelikula?
A) Jun Jun B) Junior C) Jonny Boy D) Bon bon

4. Ano ang pangalan ng karakter ni Vilma Santos sa pelukula?
A) Alicia B) Ana C) Alona D) Anita

5. Ano ang pangalan ng karakter ni Christopher sa pelikula?
A) Alfredo Villasenor B) Alfonso Villasenor C) Antonio Villasenor D) Amado Villasenor

6. Ano ang pangalan ng karakter ni Antony Castelo sa pelikula?
A) Bernandino San Diego B) Bernard San Diego C) Benito San Diego D) Bobby San Diego

7. Ano ang pangalan ng karakter ni Deborah Sun sa pelikula?
A) Benilda Santos B) Blesilda Santos C) Bernadette Santos D) Babette Santos

8. Ano ang inilit ng karakter ni Bella Flores sa unang bahagi ng pelikula?
A) Kotse B) titulo ng lupa C) Piano D) Alahas

9. Ano ang nakita ng karakter ni Christopher DeLeon at natuklasan niya na walang kasalanan ang karakter ni Vilma sa pelikula?
A) Bala sa laruan ng bata B) larawan ng krimen sa laruan ng bata C) mga dugo sa laruan ng bata D) lahat ng ito

10. Nang unang pagtangkaan ni Antony Castelo si Vilma sa pelikula ay nagpumiglas ito sabay kuha sa perang inalok ni Antony at ano ang kanyang sinabi bago umalis?
A) limang daan ang kabayaran ng halik may sukli ka pa!
B) Kukunin ko ang kabayaran ng halik may sukli ka pa!
C) Hindi ako nagpapabayad pero kukunin ko ang bayad ng halik at may sukli ka pa!
D) Hindi ako nagpapabayad pero kukunin ko ang bayad ng halik at wala ka nang sukli!

11. Sinong binaril ng karakter ni Vilma sa pelikula?
A) ang tauhan ng ama ni Antony Castelo
B) ang karakter ni Antony Castelo
C) ang ama ng karakter ni Antony Castelo
D) walang nabaril ang karakter ni Vilma

12 Saan nabisto ng kapatid ng kasintahan ni Ate Vi siya na isang escort girl?
A) Sa isang restaurant na ang pangalan ay Le Polle
B) Sa isang disco na ang pangalan ay Le Polle
C) Sa isang club na ang pangalan ay Le Polle
D) Sa isang cinehan na ang pangalan ay Le Polle

13. Pinagbintangan si Vilma ng pagpatay, sino ang pinatay niya raw sa pelikula?
A) ang karakter ni Antony Castelo
B) ang karakter ng tatay ni Antony Castelo
C) ang karakter ni Christopher DeLeon
D) ang karakter ng tatay ni Christopher DeLeon

14. Sino ang sumulat ng istorya ng Pakawalan Mo Ako?
A) Lualhati Bautista B) Emmanuel H. Borlaza C) Pete Lacaba D) Ricardo Lee

15. Ano ang titulo ng theme song ng pelikula?
A) Balatkayo B) Mahiwaga C) Dati D) Nais Kong Ibigin Ka

16. Ano ang trabaho ng karakter ni Christopher DeLeon sa pelikula?
A) doctor B) dentist C) lawyer D) police

17. Nang wala na silang mapakunan ng pera ano ang binenta ng karakter ni Antony Castelo?
A) mga alahas niya B) motorsiklo C) bahay D) kotse

18. Ano ang tawag ng tatay ng karakter ni Antony Castelo kay Vilma?
A) puta B) kunwari mahinhin C) magnanakaw ng anak D) social climber

19. Sino ang namatay sa umpisa ng pelikula?
A) ang tiyahin ni Vilma B) ang lola ni Vilma C) ang nanay ni Vilma D) ang tatay ni Vilma

20. Bakit iniwanan ng karakter ni Christopher De Leon si Vilma sa pelikula?
A) dahil naging criminal si Vilma sa umpisa ng pelikula
B) dahil nahuli niya si Vilma kayakap si Antony Castelo
C) dahil nahuli si Vilma ng kapatid ni Chritopher papasok sa isang hotel
D) dahil nakapatay si Vilma

21. Nang wala nang ibang mahingan ng tulong, pumunta ang karakter ni Vilma kay Debora Sun at duon nadatnan niya na may kasama itong boyfriend, ano ang pangalan ng lalaki ni Deborah?
A) Mando B) Cesar C) Raffi D) Ariel

22. Sino ang tunay na ama ng batang anak ng karakter ni Vilma sa pelikula?
A) ang karakter ni Christopher DeLeon
B) ang karakter ni Antony Castelo
C) hindi alam ng karakter ni Vilma kung sino ang ama
D) ang tatay na mayaman ng karakter ni Antony Castelo

23. Ano ang binibili ng karakter ni Christopher DeLeon ng makita niya ang dating katipan, si Vilma, kasama ang pamilya nito sa department store?
A) Relos B) Camera C) Books D) Tie

24. Sino ang naglapat ng musika ng pelikula?
A) George Canseco B) Ryan Cayabyab C) Willie Cruz D) Lutgardo Labad

25. Ano ang naging sakit ng nanay ng karakter ni Vilma sa pelikula?
A) stroke B) diabetes C) tuberculosis D) leprosy

26. Ano ang pangalan ng ama ng karakter ni Antony Castelo
A) Don Nilo B) Don Benito C) Don Lino D) Don Lupito

The Plot: Namatay ang tatay ni Ana (Vilma Santos) at dahil rito’y naghirap sila. Napilitan siyang magtinda ng sabon at tumigil sa pag-aaral. Sa kabila nito hindi siya humingi ng tulong sa katipan na si Freddie Villasenor (Christopher DeLeon). Dahil sa hirap ay napilitang pumasok si Ana sa isang escort service sa tulong ng kanyang kaibigang si Bernadette Santos (Deborah Sun). Nakilala ni Ana si Bernard San Diego (Antony Castelo) sa kanyang trabaho bilang escort girl. Sa gabing iyon nakita siya ng kapatid na babae ni Freddy. Nang yayain ni Freddy si Ana para magpakasal pumayag na ito at pumunta siya sa bahay ni Freddy para makilala ang pamilya ni Freddy. Hindi nila alam ay inimbitahan ng kapatid ni Freddy si Bernard San Diego. At sa hapag ng kainan ay binisto nito ang tunay na trabaho ni Ana. Umalis nang umiiyak si Ana at nagkagalit sila ni Freddy. Pinuntahan ni Bernard si Ana para humingi ng paunmanhin ngunit naabutan sila ni Freddy at nag-away sila ni Bernard. Inakala ni Freddy na talagang may relasyon si Bernard at Ana kung kaya iniwanan niya ito. Nagbalik si Ana sa kanyang trabaho. Nagkaroon ng secret admirer ito. Yung pala ito ay si Bernard. Nalaman rin ni Ana na buntis siya at ang ama ng dinadala niya ay si Freddy. Inalok ni Bernard si Ana ng kasal at pumayag naman ito sa kabila ng pagtutol ng kanyang mayamang ama. Lumaki ang bata at apat na taon na ito nang magdesisyon ang ama ni Bernard na tigilan na ang pagsasama ng dalawa. Inalok si Ana ng malaking halaga ngunit tumutol ito. Nang umalis ang ama ni Bernard ay pinaiwan nito ang isa sa kanyang mga tauhan para gahasain si Ana. Dumating si Bernard at nagaway sila ng tauhan ng kanyang ama. Sa kaguluhan ay nabaril ng tauhan ng kanyang ama si Bernard mismo. Sinet-up ng ama ni Bernard si Ana. Pinakulong at kinuhang abogado si Freddy. Sa hukuman ay nakuhang magduda ni Freddy sa dating katipan. Nagpunta ito sa bahay ng ina ni Ana upang kausapin ang batang anak ni Ana. Natuklasan ni Freddy ang tutuong nangyari at ang testigo ay ang anak ni Ana. Sa closing ng kaso ay inihayag ni Freddy na walang kasalanan si Ana at ang pumatay kay Bernard ay ang tauhan ng sarili nitong ama. Napawalang sala si Ana at nalaman ni Freddy na ang bata’y ang sarili niyang anak.

The Reviews: "...Elwood Perez and Vilma Santos collaborated in seven films. 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 several blockbuster hits and also gave Vilma two FAMAS best actress awards.  Both wins contributed to her elevation to the FAMAS' highest honour, the "Hall of Fame" award she received in 1989.  The wins were for Pakawalan Mo Ako (1979) and Ibulong Mo Sa Diyos (1988)..." - RV (READ MORE)

"...The second memorable film experience for me was during early 80s where I saw the free sneak preview of "Pakawalan Mo Ako" at Gotesco Theatre near University of the East. I was one of the lucky ones who managed to get in. My college mates weren’t. They got stocked in the pandemonium outside. I was worried sick as I took the long escalator and saw them being crashed by the crowd. The security guards have to closed the gate of the lobby. Fans became so restless and broke the glass windows (where they displayed posters and still photos) . Inside, It was crowded, hot and wild. We were seeing a more mature Vilma Santos.  The moviegoers reacts to every scenes from the very beginning up to the very end (the courtroom scene where Vilma cried and swear, "Liars!  Liars! You're all Lying!")..." - RV (READ MORE)

"...Natatangi ang pelikulang Pakawalan Mo Ako (MVP Pictures, 1981) dahil sa matagumpay nitong pagtatangkang ilahad ang proseso tungkol sa pag-ibig at pagbabahagi ng sarili nang buo ang pagkatao. Nilinaw ng pelikula ang mga personal at pang-ekonomiyang salik na naghatid sa pangunahing tauhan tungo sa pagpuputa at inilalantad ang bunga nito gaya ng madamdaming pagsasadula ni Vilma Santos. Nang muli silang magkita ng kasintahan, ibang babae na ang kanyang nakatagpo, mas may tiwala sa sarili at mulat na sa kalakaran ng mundo. Nakakaantig ang transpormasyon ng kanyang karakter mula biktima ng nasawing pag-ibig at di-makalingang propesyon tungo sa pagbabago at paninindigan ng kanyang pagiging babae. Mapangumbinsi rin ang pagganap ni Christopher de Leon dahil sa kanyang sensitibong pagpasok sa katauhan ng isang abogadong makiling sa sistema ng batas. Sa unang tingin, tila makababae ang punto de bista ng Pakawalan Mo Ako dahil sa paglalahad ng babae bilang biktima pa rin ng ispontanyong reaksiyon ni Bernard, ang lalaking nagnanasa sa kanyang katawan. Subalit madulas ang daloy ng iskrip nina Pete Lacaba, Mao Gia Samonte at Iskho Lopez, konsistent ang disenyong biswal at sinematograpiya. Malinis ang editing at akmang-akma ang musika. Ngunit habang hinihimay ang naratibo, unti-unting natuklasan ang melodramatikong proposisyong ipinapakain ng pelikula. Isang proposisyong taliwas sa pagnanasang patuloy na makibaka, magmahal at mabuhay..." - Jojo Devera, Sari-saring Sineng Pinoy (READ MORE)

Sagot sa Tribya: 1.D 2.C 3.A 4.B 5.A 6.B 7.C 8.C 9.A 10.B 11.A 12.A 13.A 14.C 15.C 16.C 17.D 18.A 19.D 20.B 21.C 22.A 23.B 24.D 25.C 26.A (Global Vilmanians).