Plot Description: A wealthy couple's sacrificing adopted son, Alonso (Christopher de Leon) and wayward biological son, Alvaro (Mat Ranillo III) vie for the love of the same woman, Estella (Vilma Santos).
Film Reviews: "...Walang ipinagkaiba ang pelikula sa ibang mga sineng tinalakay ang mga suliranin ng pag-ibig at pamilya. Makikitang pinagtuunan ng pansin ni direktor Elwood Perez ang disenyo ng pelikula ngunit hindi naging epektibo ang paggamit nito upang maiusad ang kuwento. Kahit sa pagganap ng mga pangunahing tauhan, animo sila'y nasa entablado. Nanlilisik ang mga mata, walang katapusang pagsisigawan, pagtutulakan at pagbubugbugan. Sa pelikulang ito, unang ipinamalas ang senswalidad ni Vilma Santos. Maraming eksenang sekswal ang aktres at maaari talaga siyang makipagsabayan sa mga tulad nina Alma Moreno at Trixia Gomez. Karamihan ng mga sitwasyong ibinigay sa kanyang karakter ay hindi kapani-paniwala. Nariyang gawin siyang modelo, sa ilang piling tagpo ipinakita din ang pagiging estudyante ni Estella ngunit hindi naman tinahak ang mga ito sa kabuuan ng pelikula. Hindi rin maikakaila ang husay ni Christopher de Leon bilang aktor ngunit sa pelikulang ito ay nasayang lamang ang kanyang pagganap. Hindi nabigyan ng tamang direksyon ang aktor kung kaya't lumabas na sabog ang kanyang karakterisasyon. Si Mat Ranillo III naman ay tila hindi na natutong umarte. Kadalasa'y pinaghuhubad siya ng direktor sa mga eksena upang mabigyang pansin. Masyadong mahaba ang pelikula dahil na rin siguro sa panghihinayang ni direk Elwood na masayang ang magagandang eksenang kanyang nakunan ngunit hindi naman nakaapekto ang mga ito sa takbo ng istorya. Kadalasa'y nakababad lamang ang kamera at nakatanghod sa susunod na gagawin ng mga artista. Hindi ito nakatulong upang mapabilis ang takbo ng pelikula, nakakainip panoorin ang ganitong mga eksena. Ang Masarap, Masakit Ang Umibig ay basurang nababalot sa kinang ng makintab na sinematograpiya, disenyo at musika na nagbabalatkayong masining na pelikula." Jojo Devera, Sari-saring Sineng Pinoy (READ MORE)
"...Her metamorphosis began in late 1976 when she agreed to be kissed by Rudy Fernandez in Makahiya at Talahib. It was a “feeler” of sort and when the public clacked its tongue in obvious approval, Vilma shelved her lollipops-and-roses image and proved that she, too, could be a woman – a wise move indeed because at that time her career was on a downswing and her movies were not making money. Then she did Mga Rosas sa Putikan for her own VS Films where she played a country girl forced into prostitution in the big city. The movie did fairly well at the tills. Good sign. And came her romance with Romeo Vasquez, boosting both their stocks at the box office (thier two starrers, Nag-aapoy na Damdamin and Pulot-Gata where Vilma did her own wet style, were big moneymakers). The tandem, although it did help Vilma, actually helped Vasquez more in re-establishing himself at the box office (without Vilma, his movies with other leading ladies hardly create any ripple). In Susan Kelly, Edad 20, Vilma played a notorious-woman role that required her to wear skimpy bikini briefs in some scenes, following it up with two giant sizzlers (Dalawang Pugad, Isang Ibon and Masarap, Masakit ang Umibig) that catapulted her as the newest Bold Queen. Then came Burlesk Queen..." - Ricardo F. Lo, Expressweek Magazine January 19, 1978 (READ MORE)
"...Elwood Perez and Vilma Santos colloborated in seven films (Ibulong Mo Sa Diyos 1988, Lipad Darna Lipad 1973, Magkaribal 1979, Masarap Masakit ang Umibig 1977, Nakawin Natin ang Bawat Sandali 1978, Pakawalan Mo Ako 1981, Pinay American Style 1979). The first one was the trilogy that he co-directed with two other director, Borlaza and Gosiengfiao (these three are the most underrated and under appreciated directors in the Philippines), the remake of Mars Ravelo comic super hero, Darna in Lipad Darna Lipad. The film was a record-breaking hit Box-office Film. They follow this up with a more mature projects as Vilma started to switched her image from sweet to a mature versatile actress, pairing her with Christopher DeLeon in five films starting with Masarap Masakit Ang Umibig in 1977. The Perez-Santos-DeLeon team produced seven blockbuster hits that gave Vilma two FAMAS best actress awards that secured her elevation to FAMAS highest honour, the FAMAS Hall of Fame award. She won in 1979 for Pakawalan Mo Ako and 1988 for Ibulong Mo Sa Diyos..." - RV (READ MORE)
The Plot: PX, short for Paula Xavier (Vilma Santos) was an illegal alien in New York City. She’s broke and waiting for fiancé, Cocoy laurel to fulfill his promise of marriage despite the fact that Cocoy has already married an American to secure a green card. Hiding from the authorities, PX met two men who are willing to take care of her but conflicts arise as the two wanted to maintain a serious relationship with her. Played wonderfully by Christopher Deleon and Bembol Roco, the film resolved the love quadrangle between ex-fiancé, Cocoy Laurel and the two brothers when the jealous Cocoy reported Vilma to the immigration authorities. PX was deported back to the Philippines. But the films didn’t end in a sour note, PX found herself reunited with Christopher Deleon when the later followed her in the Philippines. - RV (READ MORE)
The Reviews: Shot in New York City and directed by Elwood Perez, this film seems to be a precursor to Miss X (1980) ’Merika (1984) starring Nora Aunor and Milan (2004), even Anak (2000) and Dubai (2005). Talaga bang masarap ang buhay sa ibang bansa? Bakit nagpapakamatay sa green card ang mga Pinoy? PX, mahal na mahal kita, PX, I love you walang iba. Paula Xavier or PX (Vilma Santos) is a TNT like boyfriend Victor Laurel (what an effective undersated performance) who leaves her as his live-in to be engaged to an American to get a green card who promises Vilma to divorce the White girl and to marry PX so they could live happily forever after. Not. Vilma is pissed that Laurel dropped her for good and he left her with unpaid rent and a broken heart. Enter Boyet De Leon, as Vilma’s next boyfriend who has two jobs who has been around long enough to know what he wants in life - women and the American Dream. Enter Bembol Roco, in a great performance as Boyet’s Kuya who is a bagito green card holder in America. He was in the opening scene of the movie where he owns his business and lives comfortably even have someone to make him coffee. Rosa Mia are Roco and De Leon’s battered mother who suffers from the physically abusive second husband (a geriatric Irishman), and verbalized regrets for leaving the Philippines. She has the best lines in the movie and summarized the movie’s theme: "Kung uuwi ako sa Pilipinas ay kung patay na ako. Ayokong umuwi ng buhay at malaman nila na ang hirap ng buhay dito - kayod ka talaga to survive, at di pinupulot ang dolyar, ubas at mansanas sa daan. Ang dami kong dinaanang hirap para lang magka green card."
Vilma Santos as PX is most effective in her scenes as a dumped/bitter girlfriend of Laurel, as a conflicted girlfriend of De Leon, and as a grateful soul who thank Roco for saving her from paying her overdue rent to her white landlord. Her PX is a toned down Sandra of Ikaw Ay Akin. She says to Roco: "Dati, sa konting pagkain, I offer myself to be laid. Napakabait mo." Roco answers back: "Hindi ganoon kababa ang tingin ko sa sarili ko." You see, Roco falls for the beautiful PX too and was upset to learn that PX is already making it with his brother, which drove him to drink and was depressed for a while. Panoorin na lang ninyo ang movie. The movie’s hopeful view of America begins with Perry Como singing White Christmas as Roco, in a dream scene, cavorts in the snow in slow motion. In his dying scene in the arms of his brother De Leon, Roco whispers "ni hindi ko man lang nakita ang snow and the above Winter Wonderland scene was replayed, while Boyet’s cry for help fell on deaf American ears. Vilma was deported after Laurel clandestinely reported her to the INS which arrested her at her birthday party. Her farewell scene with De Leon, handcuffed and all in a train station was one of the best scenes in the movie. The movie has a happy ending, with De Leon finding Santos, a flower picker amidst a field of white daisies with Benguet/Baguio as a backdrop. In a typical Elwood Perez slow mo fashion, amidst the daisy flower plantation, the box office love team of all time hugged and lived happily ever after. As credits rolled, Florante’s song Pinay played on. Pinay, American Style. Ang ganda! Vilma Santos yata iyan! - Mario O. GArces, V Magazine Issue No. 6 2006 (READ MORE)
Vilma was obviously under utilized as PX in these Elwood Perez experiment. Despite this predicament, Vilma was able to give us a splash of her abilities. While Nora was in full bloom as Mila in these quiet Portes film. She gave us a convincing portrayal of lonely woman who realized that she was being used by a man she truly loves. The contrast of style was the main point why I matched these two roles. As PX, Vilma was talkative, hiding her insecurity and vulnerability with her fragile disguise pretending to be a rich New Yorker with almost caricature gestures. Regal films' Pinay American Style was as commercial as one can imagine. Regal films producer, Lily Monteverde hired three leading men to support the most bankable actress of 1979, Christopher DeLeon, Bembol Rocco and Victor Cocoy Laurel. It was a period in Vilma's career where she is doing one commercial films after the other. Two dance/musical hits Swing it Baby and Rock Baby Rock and a string of sexy films like Rubia Servious the previous year, Coed and Magkaribal mostly targeting the mature adult audience established her status as the number one box office superstar of 1978-79. Vilma in 1979 was a picture of self-assured bankable star. She did two movies with Elwood Perez, Magkaribal and Pinay American Style both were box office hits. She also produced an Eddie Rodrigues starrer Halik sa Paa Halik sa Kamay, and teamed-up with comedy king, Dolphy in Buhay Artista. As the year 1979 ends, she battled the drama queen Charito Solis in the local festival entry, Modelong Tanso. The end of the decade marked her stronghold as the box office queen. Clearly, Vilma Santos' versatility as an actress was the secret weapon of her box office success. And this weapon was in full display in Pinay American Style.
Pinay American Style was the story of PX, an illegal alien or TNT - “tago ng tago.” Her boyfriend played by Victor Laurel abandoned her for a rich American girl mainly to secure a green card. PX met an Americanized Filipino, Christopher DeLeon but found him not serious of having her as a steady girlfriend. It just so happened that PX also met Christopher's brother, Bembol Rocco, a new immigrant. PX and Bembol fell for each other. And a love triangle surfaced the screen. Adding to the drama was Victor Laurel's enraged, jealous appearances. Laurel eventually tipped the police ending PX stays in New York. As Bembol Rocco realized that America doesn't fit his lifestyle, he reconciled with his brother and advised him to follow PX in the Philippines. Christopher and Vilma reconciled in a farm field in the Philippines. The end. The film was so forgettable that the critics didn't even bother to write any reviews. The lack of enthusiasm on the part of the critics was compensated with the box office success of the film. Vilma fits the role as the illegal alien, PX. Her attempt to speak fluent English and pretend that she's rich when she met the boyish looking Christopher was funny and poignant. She was given enough scenes to shine. One was when she was harassed by her landlady, she promised her the rent money the next day and when she’s gone, she opened her refrigerator and found a staled piece of bread. She took bottled water and ate the staled bread, went to the bedroom and found her mom's letter. Lying down in bed, she started to break down. A quiet scene without dialogue. A contrast from the earlier scenes where she was talkative as she tried to impress Christopher and telling him she's rich and from a well-known family. It was obvious in 1979, Elwood Perez wasn't the kind of director you will expect to produce a serious output. He wasn't a Bernal or Brocka. He's a commercial director. It was a better effort though, compared to a much more convoluted Magkaribal or their past successful projects like Nakawin natin ang bawat sandali and masakit masarap ang umibig. In Pinay, Toto Belano's script wasn't efficient in ironing out the “love quadrangle” plot twists and establishing the characters of four actors. So the blame can't be put to solely to Perez’ shoulder. There was a scene were Vilma Santos and Christopher were watching a concert which was obviously not part of the script. – RV (READ MORE)
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)
Plot Description: After a long period of absence, Vilma Santos resurrected Filipino version of Wonder Woman, Darna, in a fantastic trilogy. Despite the lack of height familiar with previous Darnas, Vilma Santos’ bubbly youthful portrayal as Darna and the alter ego character Narda radiated the screen against Philippine cinema’s senior screen queens, Gloria Romero as the “Babaing Impakta (Vampire Woman),” Celia Rodriguez as “Babaing Ahas (Snake Woman),” and Liza Lorena as “Babaing Lawin (Hawk Woman).” The film was release on March 23, 1973 to a massive crowd in Metro Manila. Tagalog Ilang Ilang Production who produced the film reportedly distributed Darna dolls and Coca-cola drinks to the moviegoers. The film was a trilogy that focuses on the fights scenes between the Darna and her nemesis with great effect and with the help of Darna’s equally perky young brother, Ding portrayed by child star, Angelito. The special effect that’s way ahead of its time in were in full bloom in this film and the make-up goriness particularly Gloria Romero’s was a proof that Filipinos are creative and talented way ahead of Hollywood or even Bollywood.
The Reviews: "...Vilma, now 20, still looking virginal and sweet kicked 70's phenomenal superstar Nora’s butt at the box office and earned her box-office wings via this monumental hit. The Emancipation of Baby Vi. Mariah Carey could not agree more. There was no turning back since then. The Fantasy Queen was born. Forty three year old Tita Gloria gamely and bravely accepted the role of Ms. Luna, teacher by day and Manananggal by night. Movie Queen Gloria was deglamorized and became the evil incarnate as a vampire. Amalia Fuentes was the original movie queen who bravely accepted a daring role such as a vampire that won her a FAMAS statuette in Gerry De Leon's Ibulong Mo Sa Hangin, and changed her goody-two-shoe image forever. Was she the original queen of reinvention that gave Vilma an idea to do the same via the landmark movie Burlesk Queen? Hmmm... For the first time, La Santos was billed above La Romero. Times have changed. The tables were turned. Vilma Santos is the New Box-Office Champ and Tita Glo and Co. could only "bow" to the Reel/Real Queen: Ms. Rita Gomez, Helen Gamboa, Boots Anson-Roa, Barbara Perez and others did not have second thoughts to do a movie with the resurgent Vilma. Who wouldn't want to be famous again and have fun working with the most hardworking and versatile actress? In my book, the aerial Good versus Evil fight of Vilma and Gloria as Darna and Impakta was one of the most thrilling and unforgettable scenes of my movie-going life. How I wish the movie resurfaces from Indonesia or from Timbuktu and my Vilma collection will be complete. That will be heaven! Where, oh, where is that classic movie? The Manananggal episode of Lipad, Darna, Lipad was so good that the two have to followed up their success via Anak Ng Aswang..." - Mario Garces (READ MORE)
"1972 - Lipad, Darna, Lipad...di ko na nakuhang mag-supper and hurriedly went to Coronet 2 bagama’t the film had already started eh uber sa dami ang mga fans sa loob at labas ng sinehan. nakapwesto ako sa dilantera ng sinehan para malapitan kong matanaw sa pagdaan si Ate Vi dahil premier night ng pelikulang Lipad Darna. Nagsalubong ang kilay ko in exasperation nang lapitan ako ng mayordoma ni Johnny Wilson na kalapit-bahay namin sa Paco. May mga kasama sya at tinanong kung Vilmanian din daw ako. Sabi ko’y napadaan lang ako at paalis na nga. tiempong gumagawi ako sa may likuran nang biglang nagkagulo ang mga tao sa pagdating ni Vilma. Ang ganda nya! naka-costume pero naka-kapa para di gaanong malantad ang katawan nya. tuwang-tuwa pa naman ako nang muntik na akong masagasaan. Nasa gitna na pala ako ng E. Rodriguez at namura pa ako ng driver. Potah! Gumawi tuloy ako sa kabilang kalye at kahit malayo ako’y masaya pa rin ako. Sa pakiramdam ko’y ako ang kinakawayan nya. mangilan-ngilan kami sa kabilang kalye na kakaway-kaway rin sa kanya. i went home happy but bone-weary and hungry. kaya lang, nasinturon ako ng tatay ko. Di tuloy ako nakakakain. This sucks! But i will tell nothing of the story of Lipad, Darna, Lipad. Alam kong napanood na yon ng sambayanan. I just have to say kudos to Ate Vilma, she’s so awesome as Darna. There were Gloria, Celia and Liza...all of the evil creatures you need to see in order to make them truly appear as the antagonists of Darna. The story itself is too rich and wonderful, just enough of humor, just enough of banter. The box-office result made history. Almost everyone joined the jubilant partying that is Vilma. She worked hard for it...and effectively captured our national psyche...on her way on top. Some actresses also dared Darna roles, unfortunately, they lacked originality and creativity that we might just view them as a form of flattery. Iba pa rin ang Vilma! Inevitably, it was time for Vilma to take the helm, talagang panahon na nya at wala ng makakaawat pa sa kanyang pagsikat. She was set to eclipse her contemporaries, including the brown girl from Iriga City." - Bobby Lopez (READ MORE)
"...Maturing as a scriptwriter and film director, in 1973, commercially successful Lipad, Darna Lipad! was released. Award-winning actress Celia Rodriguez essayed the role of Medusa-like villainess, Valentina, nubile Vilma Santos played the Filipino supergirl (a role that launched her in a series of Darna flicks). To Filipino film industry insiders, Perez is known as the most sought-after movie director of his generation..." - Nickie Wang (READ MORE)
"...Elwood Perez and Vilma Santos collaborated in seven films (Ibulong Mo Sa Diyos 1988, Lipad Darna Lipad 1973, Magkaribal 1979, Masarap Masakit ang Umibig 1977, Nakawin Natin ang Bawat Sandali 1978, Pakawalan Mo Ako 1981, Pinay American Style 1979). The first one was the trilogy that he co-directed with two other director, Borlaza and Gosiengfiao (these three are the most underrated and under appreciated directors in the Philippines), the remake of Mars Ravelo comic super hero, Darna in Lipad Darna Lipad. The film was a record-breaking hit Box-office Film. They follow this up with a more mature projects as Vilma started to switched her image from sweet to a mature versatile actress, pairing her with Christopher DeLeon in five films starting with Masarap Masakit Ang Umibig in 1977. The Perez-Santos-DeLeon team produced seven blockbuster hits that gave Vilma two FAMAS best actress awards that secured her elevation to FAMAS highest honour, the FAMAS Hall of Fame award. She won in 1979 for Pakawalan Mo Ako and 1988 for Ibulong Mo Sa Diyos..." - RV (READ MORE)
"...This four-time FAMAS-winning actress is best remembered for her role as the slithering Dr. Valentina Vrandakapoor in the 1973 film Lipad, Darna, Lipad. In the iconic movie, she donned the reptile headdress for the Medusa-inspired character and gave Darna (Vilma Santos) hell. Although she's been appearing in less villainous roles, Celia Rodriguez is still active in both movie and television these days. She played a supporting character in Darna's latest TV incarnation, with Marian Rivera as the super heroine..." - Spot.ph (READ MORE)
The Plot: When her boyfriend leaves for Japan on a singing contract, a dancer is so distraught she does not see the car that hits her. The driver pretends to be a helpful passer-by; they fall in love and gets married. Only bringing her to a more complicated life. - Regal films (READ MORE)
The Reviews: This films can very well be this year's best compedium of caricatures and contrivances, and Vilma Santos has greatly suceeded in tarnishing her silver star with an hysterical homage to bothersome bathos. This abysmal melodrama begins and ends with a slight promise of something short of superb senselessness. Unfortunately, it breaks the promise; yet it rabidly recreates a deluge of disasters gladly survived by the superhuman will to ruthlessly exploit the baser sentiments of the moviegoers. True enough, the plot works and hurls Santos' Monica into a miasma of perfectly orchestrated tragedies thus eliciting a fanaticism that enchants the heartland of sighing domestics and swooming dummies. And once more, sense and sensibility are lost in the celluloid cartograph of caricatures. Everything, indeed, is wrong in this film. The story is dreadfully downbeat. The screenplay is incredibley talky and torturously maudlin with dialogues aspiring for grandiosity yet indulfeing in petty praochial prattle. Grossly inspired by the Fifties classic Magnificent Obsession, this film wantonly lingers through a comatose celebration of tears and middle-class hysteria.
The direction listlessly lapses into the familiarity tacky Perez autism, but neither elegant nor eerie. From the opening production number to the last shot of the film revealed that particularly plebeian Perez panache. The Di Na Natuto sequence then becomes an encyclopedia of shots inspired by aspirational advertisements of toothpaste, softdrinks, jeans, and walkmans. Those isolated shots of Gary Valenciano against the San Sebastian stained glass rose window are obviously common man's fantasy. Valenciano (Gilbert) and Santos' (Monica) final confrontation in a scene straight out of a radio soap series. Yet there is an eminently indiscriminate luxe in the film's visuals. And the production design scuttles from nouveau baroque hysteria to decotif humdrum. Even the Fabregas film scroe sweetly swings from pedestrian pop to neoclassic pretense. Evidently, the film style is anxiously eclectic and nervously apopleptic. Miserably, all the actors failed in their grand gesture to play caricatures instead of characters. Despite Valenciano's evident poetic grace, his Gilbert emerges as a scarecrow of what should have been a divine anti-hero. It's a pity that he can't definitely pinpoint Gilbert angst. Thus he limps into a heartful of hollow anger and affected languor.
And the effete pretty boy caricature of Eric Quizon's Emil doesn't offer any salvation either, even if he literally gives his eyes to Monica. Quizon's reading of the Emil role is clearly based on the shallow assumption that nice boy die young, and with brain cancer or other such maladies requiring high tech cure yet. Despite his shallowness of conviction, however, Quizon manages in a few isolated scenes though to imbue his role with ephemeral terror. In another variation of caricature, Miguel Rodriguez's Mario is too dark for comfort. The updated yet needlessly overblown rendition of his character as caricature truthfully affirms a directorial styel that borders between irritation and consternation. Armida Siguion Reyna has justly succeeded in echoing her cinematic lifework of caricatures, this time, as Portia. And Nida Blanca's rendition of maternal massochism ruefully regresses into moronic moroseness. Barbara Perez's Elvie is largely languishing in love's limbo. Eddie Garcia's Emmanuel Vera becomes a fitting monument to guilt and philanthropy corroded by massive ineptitude emanating from the actor's performance, Perla Bautista is sublimely reduced to a prop, a piece of dust, a whiff o wind. Even Vangie Labalan's maid character promises great caricature.
But Nadia Montenegro, at least, has the promise of an almost perfectly wrought character. Too bad, her Connie is cheerfully relegated to hounding Emil and feeding him sweet nothings. Shamefully, only the way Vilma Santos is photographed and her face are the film's glimpses of divine magnificence. She is superficially iridescent here. It's a pity such iridescence doesn't emanate from her character's sould, but from the delightfully overindulgent lights of the cinematographer. Santos does manage, in at least three instances, to emerge from the limbo of her self-consciousness. Still, she largely remains in the dark as to the true significance of divine light in her character's life. On the whole, the film should have been more effective as a radio show. Cinematic carnage such as this really deserves divine indifference. - Henry C. Tejeros, Manila Standard, Feb 29, 1987 (READ MORE)
"...Vilma hit the jackpot. After 11 nominations with four wins, her twelfth nomniation produced her an unexpected win. It elevated her to the hall of fame status. All artist who wins five automatically put them to the hall of fame list. It is a big honour but prohibit any one on the list to compete in the future for the same category. Regal films’ Ibulong Mo Sa Diyos, directed by Elwood Perez was a surprised winner. Not only it earned Vilma her fifth award as best actress, it also gave the late Miguel Rodriguez a best supporting actor award and the best director for Perez. Technical awards were also given to Ricardo Jacinto, cinematography, Rey Maliuanag, production design, Gary Valenciano, theme song, and George Jarlego, editing. The late Nida Blanca was also nominated for best supporting actress..." - RV (READ MORE)
"...Elwood Perez and Vilma Santos colloborated 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 seven blockbuster hits that gave Vilma two FAMAS best actress awards that secured her elevation to FAMAS highest honour, the FAMAS Hall of Fame award. She won in 1979 for Pakawalan Mo Ako and 1988 for Ibulong Mo Sa Diyos..." - RV (READ MORE)
Maria Rosa Vilma Tuazon Santos-Recto (born Maria Rosa Vilma Tuazon Santos November 3, 1953 in Bamban, Tarlac), commonly known as Vilma Santos-Recto or Ate Vi is a Filipino actress and box office queen for almost four decades. One of the original Philippine movie queens, she rose up to become the versatile actress that has been given the fitting title of “Star for All Seasons” because of her capacity to adapt to the changing mores and values of the Filipino woman, giving a face to their plight and struggles, albeit in success both critically and box-office wise in some of Philippine cinema’s classics such as Trudis Liit (1963), Lipad, Darna, Lipad (1973), Burlesk Queen (1977), Relasyon (1982), Sister Stella L. (1984), Alyas Baby Tsina (1984), Pahiram ng Isang Umaga (1989), Dahil Mahal Kita: The Dolzura Cortez Story (1993), Anak (2000) and Dekada ’70 (2002). She is currently the governor of Batangas, Philippines (2012)(Wikipedia).
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