Edgar Loves Vilma

Relesed: September 27, 1970

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

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

Dama De Noche

Released: October 3, 1972

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

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

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

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

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

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

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

Love Letters

Released: June 14, 1970

The Plot: Film-Am Edgar falls in love with Vilma. The two had a set back that ended with Edgar returning all Vilma’s love letters that he regreted and wanted it back. He went to Vilma’s house to retrieve it but was caught and accused of stealing. The whole misunderstanding ended up in court but was settled eventually. Edgar left the country but returned for Alona Alegre’s wedding to Victor Wood. He also reunited Vilma.

The Review: Love Letter started with Vilma entering a living room and Baby De Jesus started playing the piano. Suddenly, Vilma started singing and after finishing her song, she left the room, while a very young Alona Alegre sitting beside her appeared to be in her own world, as if she heared, nothing. There were no interaction between the three, no dialouge, making this opening scene quite irritating. The next scene, we found out that Edgar, played by Edgar Mortiz is a Filipino-American. We assumed that he is vacationing and taking some course. Next scene, Victor Wood is singing on the telephone while Alona Alegre is listening on the other line. Then it Edgar turn to sing. This time, in the men's dormitory followed by Baby De Jesus. Her limited dialouge: she wanted to sing "to entertain Vilma." Then Edgar and Vilma are set to meet in a park but because Vilma was so late, Edgar decided to leave. When she arrived and found no Edgar, she started to cry and ofcourse, she sings! Not to be outdone, its Romy Mallari's turn to sing! Then its Edgar turn to sing again. Edgar got so mad with Vilma and decided to return all of Vilma's love letters. In protest, Vilma returned his gift, a ring and bracelet.

Afterwards she sings the theme song, "Love Letter." She followed this up with her day dreaming scenes, remeniscing the time when the two of them are singing in the park. She then fell asleep but was awaken by an intruder! Presto! It was Edgar! Stealing their love letters! He escaped when Vilma's parent caught them talking. The next scenes was a courtscenes. Vilma and Edgar plus Vilma's parent testified in front of a judge. A phone call from the mayor who is connected to Edgar postponed the judge's decision. As turned out, Vilma's parent also owned some love letters which made them understand what their daughter is now going through. At the breakfast table the next day, Vilma all of the sudden proclaimed that she doesn't care about Edgar anymore. Then they discovered that Edgar and his friends decided to have a picket line in their house (ala-"Occupy Wall Street"???). They decided to remained in the picketline over night with more singing. Sleeping outside, the girls headed by Alona Alegre, decided to join the picketline. Vilma's parent confronted them and Victor Wood all of the sudden declared that he wanted to marry Alona Alegre! And to add to the drama, Edgar decided to leave the country. The next scenes was Vilma receiving love letters over time. Then finally the promised wedding of Victor Wood and Alona Alegre, Edgar then seranade Alona and Victor. When Vilma heard and saw Edgar, she run to the church's balcony. They reunited with a duet! The End.

Love Letters is a musical films specially made for the fans of "teeny-bopper" stars - Vi and Bot. The film was probably shot with improvisations, which means, without a written script. This was noticeably clear as the film's main characters and the actual names of the actors were not change at all. The film's main plot was the the stealing of love letters that ended in court, followed by picket line (ala-"Occupy" Wall Street) that was hard to believe. And also the one-after the other testimonies of Edgar, Vilma and both parents that were irritatingly funny. Although we are used to Vilma's tolereable singing, we're more surprise to see a singing Alona Alegre! She looked more like Eugene Domingo (clearly before her sexy films/image). One more thing, Alona's wedding gown was worth a second look, its not like your ordinary wedding gown. The head piece was a beaded hood that covers her hair and neck. With so much singing, Baby De Jesus's voice stands out among the girls but her piano playing acting was over the top. Victor Wood's duet with Edgar Mortiz, "Beautiful Dreamers" is worth downloading. Danny Subido was responsible for inserting all the musical numbers that was quite a tasks particularly without a well written musical screenplay. The film was shot in Baguio City and cinematographer, Avelino Peralta's did a wonderful job showcasing the city on Vilma's day dreaming except for the akward courtscenes. Love Letters was produced by Tagalog Ilang-Ilang Production and directed by Abraham Cruz, a forgettable film that only a die hard Vi and Bot fans (and those who loves film nostalgia) can only appreciate.

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)