Sister Stella L.

Released: July 11, 1984

The Plot: Sister Stella L. is the award-winning masterpiece by Mike De Leon. It's about a nun, Sister Stella Legaspi, who becomes involved in labor strikes after learning about the government's neglect of the poor and the working class. Her sworn duty to fight for the poor and the oppressed turns personal when her journalist friend Nick Fajardo is tortured and the union leader Dencio is kidnapped and killed. What follows is her eye-opening and the tear-jerking battle against cruelty and injustice. The film broke censorship barriers back in 1984, during the final years of the US-backed Marcos dictatorship, for its realistic portrayal of labor struggles, and extrajudicial killings, hauntingly mirroring the reality of Philippine society today under Gloria Macapagal-Arroyo. - Filipinas for the Rights and Empowerment

The Reviews: Hindi kami nakakilos sa aming inuupuan matapos panoorin ang “Sister Stella L”. Para kaming sinampal, tinamaan ng kidlat right between the eyes. Masyado kaming naapektuhan. Gusto naming sumigaw. Talagang gagalitin ka ng pelikula. Kay raming eksena ang talagang titiim ang bagang mo. Manggigigil ka, magngingitngit ka. At pahahangain ka. Gusto mong sigawan ng bravo, yakapin at suubin ng papuri ang mga gumawa nito. Si Mike de Leon na siyang direktor. Si Lily Monteverde na naglakas-loob na i-produce ito. Ang scripwriters, ang mga artista, at lahat na ng kaugnay sa pelikula. Alam mong itinataya nila ang kanilang kaligtasan sa paggawa ng ganitong uri ng pelikula. At bilang manunulat, naroon ang hangarin mo upang tulungan ang pelikulang ito na mapanood ng lalong nakararaming mga pilipino. ..nang walang putol!

Ang “Sister Stella L” ay kasaysayan ng isang madre, ng isang Pilipino, at ang pagkakamulat ng kanyang mga mata sa mga kaapihang sosyal na nagaganap sa kanyang paligid. Sa pagsisimula ng istorya as siyam na taon nang naglilingkod sa kumbento ng Caritas si Sister Stella Legaspi (Vilma Santos). Guidance counselor siya sa mga taong may problema na tulad ni Gigi (Gina Alajar), isang unwed mother. Minsa’y dinalaw siya ni Nick Fajardo (Jay Ilagan), isang peryodistang dati niyang katipan. May sinusulat itong artikulo tungkol sa mga aktibistang pari at madre. Agad inamin ni Stella na siya’y “walang masyadong alam sa socio-political involvement ng mga madre at pari.” Siya ang ginawang ehemplo ni Nick sa artikulo nito ng mga madreng kulang sa kamulatan. Nag-react dito si Stella at sinabi sa kanya: “ Hindi ba involvement din ang trabaho ko rito sa Caritas?” Madalas ma-depress si Gigi at kay Stella ito sumasandal. Nang minsang sabihin sa kanya ni Stella na kaya niyang dalhin ang kanyang mga problema ay sinumbatan siya nito: “Madaling magsalita. Hindi naman ikaw ang nahihirapan. Paano mo alam, hindi ka naman dumaan sa hirap? Nagbuntis ka na ba? Laging masakit ang suso mo. Nahihirapan kang tumae.” At nang patuloy pa ring malamig si Stella ay sinabi nito: “Bakit hindi ka gumaya sa ‘kin? Nagagalit, nagmumura, nagpapabuntis?”

May kaibigang madre si Stella, si Sister Stella Bautista (Laurice Guillen). Involved ito sa social action work at kasalukuyang tumutulong sa Barrio Agoho, isang factory town, na kung saan ang mga manggagawa sa Republic Cooking Oil ay nagbabantang mag-aklas. Naakit si Stella L. na tingnan ang uri ng trabaho roon ni Stella B. Sa araw ng kanyang pagdalaw sa Agoho ay tiyempo namang pagsisimula ng welga roon. Tuwang-tuwa si Stella B. Sumasama raw siya sa picket line dahil “pag may mga madre at pari sa picket line, nahihiyang pumasok ang mga eskirol.” Sa paglapit niya sa picket ay naabutan si Stella L. ng placard at siya man ay napabilang na rin sa welga. Puno pa siya ng mga katanungan: “Ano ba ‘tong napasukan ko? Anong gagawin ko?” Sabi naman ni Stella B.: “Basta gawin mo lang ang gagawin ko.” Sa paglipas ng oras ay nakausap niya ang mga manggagawang nagwewelga, nakitulong siya sa pagsandok ng kanin, sa paghugas ng plato. Nakilala niya ang lider ng mga welgista na si Dencio (Tony Santos) at ang asawa nitong si Auring (Anita Linda). Nang makita ni Nick ang mga larawang kuha sa welga at kabilang doon si Stella, nasabi nito sa kanyang editor (Liza Lorena): “Kilala ko si Stella. Madali siyang maimpluwensiyahan. Baka kung ano na ang napulot noon sa tokayo niyang radikal.” Nagsimula namang kuwestiyunin ni Stella ang trabaho niya sa Caritas. Binalaan siya ng kanyang superyorang si Juaning (Adul de Leon): “Hindi social action ang linya natin. At tandaan mo ang sabi ng Papa: huwag tayong humalo sa politika.” Sa kanyang mga alinlangan kung tama ang pasiya niyang maglingkod sa Agoho, ito ang payo ni Stella B.: “Paano mo malalaman kung hindi mo susubukan? Hindi ang mga tao ang dapat makinig sa ‘yo, ikaw ang dapat makinig sa kanila.” Dahil sa kanyang karanasan sa Agoho, nasabi ni Stella kay Gigi: “Ang kahirapang nababasa’t naririnig ko lamang ay naging buhay na sa akin. Ako pala’y nangangapa ring tulad mo.” Namulat ang mata niya sa “pang-aabuso sa mga naaapi” at na-touch siya ng “pag-aasikaso ng mga ito.” Aniya: “Sila na ang nangangailangan ay kami pa ang kanilang iniintindi.”

Duda pa rin si Nick sa involvement niya sa welga. Pasulpot-sulpot lang daw siya roon, patulong-tulong. “Kapag nagsawa ka,” anito, “uuwi ka rin sa komportableng kumbento.” Si Stella B. ay kinailangan namang magpunta sa Davao upang tumulong sa isa pa nilang kasamahan doon, lalong nangamba si Stella L. na iiwanan siya nito sa Agoho. “Baka hindi ko kaya,” aniya. Sabi naman ni Stella B. “Puro ka baka, e, kailan mo pa malalaman?” Pinatawag uli si Stella ni Juaning. Sabi nito: “Hindi payag ang kongregasyon sa trabaho mo sa Barrio Agoho.” Sa pagbabalik niya sa Caritas, nagpatiwakal naman si Gigi. Lalong naguluhan si Stella. “Parang bumaliktad ang mundo ko,” aniya. “Marami akong tinatanong. Bakit nga ba ako nag madre?” Sabi naman ni Stella B.: “Madreng lansangan ka pa rin hanggang mamatay ka.” Natuloy ang pag-alis nito, na ang akala’y pinoproblema niya na baka may pagtingin pa rin siya kay Nick. Bilin pa nito: “Kung mahal mo siya, sundin mong feeling mo. Marami namang paraan ngpaglilingkod sa Diyos.” Si Nick ay nagkaroon din ng problema sa trabaho niya. Isang artikulo niya tungkol sa karanasan ni Stella B. sa Isabela na pinamagatan niyang “A Nun’s Story: Military Atrocities” ang hindi pinalathala ng kanilang publisher. “I-rewrite mo,” sabi ng editor niya. “Bawasan mo’ng tapang.” “Ano?” balik niya. “Gawin kong love story?” “Sabi ko, i-rewrite mo, hindi babuyin,” anang editor. Pero sa bandang huli ay nag-give up na rin ito. Tanggapin na raw lamang ang kanilang mga limitasyon. “Hindi lahat ng legal ay makatarungan.” Nagbitiw si Nick sa trabaho niya sa Tribune at lumipat ng pagsusulat sa Malaya.

Nagbalik si Stella L. sa Agoho at naging mas aktibo na siya sa picket line. Nang minsang lalabas ang trak ng mga produkto mula sa pabrika ay siya pa ang nag wika: “Mga kasama, magkapit-bisig tayo.” Samantala’y nagsimula ang pangha-harass kay Dencio at sa pamilya nito. Una’y ginulpi ang anak niyang si Roger, pagkatapos ay binaril ang bahay nila. Ang huli’y kinidnap si Dencio. Nang papaalis na sina Stella at Nick upang humingi ng tulong, sila man ay kinidnap din. Nakita nila ang pagpapahirap kay Dencio. Sila man ay sinaktan din at si Stella ay binastos pa ng mga sanggano. Pinakawalan din sila. Di naglaon, ibinalik si Dencio. Patay na. Sa harap ng mga manggagawa, ipinahayag ng asawa nitong si Auring na tuloy ang welga. Nagsalita rin si Stella at sinabi niya: “Ilang beses akong pinaalalahanan na ako’y isang madre lamang. Pero una sa lahat, ako’y isang tao, ako’y isang Kristiyano.” At isinigaw niya: “Katarungan para kay Ka Dencio. Mabuhay ang uring manggagawa.” Sa last scene ng pelikula’y nagsasalita ng diretso si Stella L. sa mga manonood: “Marami pa akong hindi alam at dapat malaman tungkol sa kasalukuyang kalagayan ng ating sistema ng lipunan. Kailangan pa ‘kong patuloy na mag-aral at matuto. Pero ang mahalaga’y narito na ako ngayon, hindi na nanonood lamang. Nakikiisa sa pagdurusa ng mga di makaimik, tumutulong sa abot ng aking makakaya. Kung hindi tayo ang kikilos, sino ang kikilos? Kung hindi ngayon, kailan pa?”

More than anything else, ipinakita ni Mike de Leon bilang isang socially committed at responsible na director ang iba pang posibilidad ng pelikula bilang art at bilang medium of communication. ‘Yung mga laging pumipintas sa pelikulang lokal at nagsasabing walang kuwenta’t saysay ang mga ito, panoorin ninyo and “Sister Stella L” for it is Filipino moviemaking at its best: aware, concerned, and with a universally relevant message. It also shows that an artistic film can be entertaining and as a matter of fact, is necessarily intellectually entertaining (but an entertaining film is not necessarily an artistic one).

The movie succeeds in delivering its message because all the elements that went into its completion are excellently executed. It is that rare kind of movie which has no false moves. The screenplay is brilliantly developed and constructed by Pete Lacaba, Jose Almojuela (who is also the assistant director), and Mike de Leon himself. The cinematography of Rody Lacap deserves nothing but superlatives and the musical score by Ding Achacoso is served in a silver platter (napakagaganda ng mga awiting “Sangandaan” at “Aling Pag-ibig Pa” na nilikha niya para sa pelikula). The editing by Jess Navarro and the production design by Cesar Hernando also deserve the highest commendation. We cannot help but gush dahil lahat ng aspeto ng produksiyong ito ay maganda.

The movie is sure to elicit all sorts of reactions from various quarters. The bigoted and the narrow-minded will no doubt readily brand it as the work of communists and subversives. The involved will merely find it interesting. But the enlightened will declare it as a socially committed work of art. No doubt that some concerned quarters will be offended. Some of the speeches are so frank and fearless. Dencio says in a May 1st rally: “Ang mga manggagawa ang lumilikha ng yaman ng bansa. Panahon na para ipakita ang lakas ng ating pagkakaisa, na makamtan ng bayan ang tunay na kalayaan. Ang manggagawa ang nagpapaandar ng makina, nagpapalago ng puhunan.” Pero ano ang nangyayari? Tayo ang namamatay sa gutom, ang naghihikahos. Hindi magbabago ang ating lipunan kung uupo lang tayo sa isang sulok at maghihimutok. kundi tayo ngayon kikilos, kailan pa?” Nang mamatay siya, sabi naman ng asawa niyang si Auring: “Noon, ang paniwala ko talaga, gano’n ang buhay, may nasa itaas, may nasa ibaba. May nag-uutos at may nagsisilbi. Pero kung tatahimik ka na lang lagi, ang konting meron ka, aagawin pa sa ‘yo. Patay na nga si Dencio pero tuloy ang welga.” Sabi naman ng anak niyang si Roger: “Kung kikilos tayo, dapat ngayon na. Ngayon pa lang, pinapatay na kami. Kaya mas mabuti pang mamatay ng lumalaban kaysa habang buhay kang nagtitiis.”

To make a film like this comes under the heading “they said it couldn’t be done.” Mike de Leon does it, splendidly. In these days when local film faces such problems as exorbitant production cost, commercialism, lack of an intelligent and responsive audience, and censorship, it is heartening to note that movies like this are still being made. Matthew Arnold said that art and society shape each other so artists should deal with serious subjects of moral and social value. This is exactly what Stella L. accomplished, for it allows the viewer to meditate on life and help him gain some insights. Surely no film is an island entire of itself because each movie is made by several men, but the distinguishable personality of an exceptional director is almost always imprinted on his film. We have never really liked the works of Mike de Leon that much and his movies (like “Itim”, “Kung Mangarap Ka’t Magising”, and “Kisapmata”) seemed nothing more to us as exercises in self-indulgence. Starting with “Kakaba-kaba Ka Ba?” though, he demonstrated a newfound cause in making movies, which is further reinforced by “Batch ‘81”. Now, Stella L., offers the pleasure of watching a director as he is hitting full stride, his craft and competence marching in step with history. His deft hand is quickly evident in the cinematography. There is no imposed prettiness in the photography, no straining for arty effects, but the texture is rich and palpable to validate reality, with the effective use of color-acting on the viewer to reinforce the temper and tenor of the story.

De Leon handles his intimate and delicate material powerfully, persuasively and penetratingly. He not only executes the technical aspects marvelously but also knows how to work with his actors, both individually and in the here all-important ensembles. The crowd scenes are a delight, with some sequences presented with the veristic quality of a documentary, and each scene is played for maximum impact, immaculately crafted and made with care and conscience, with dedication and devotion. If we now sound so much like an avid de Leon fan, it is because Stella L. is the kind of work that makes a reviewer long for new adjectives of praise. One knows very well that de Leon works for reasons other than money. This makes the strength, sensitivity and symetry of his direction deserve the highest praise and the sweet of music of thunderous applause for it is just better than perfect. Local cinema gives us very few occasions to rejoice and this is one of them.

In the large and uniformly excellent supporting cast, Laurice Guillen stands out as Sister Stella B. She is one film director and actress who is really ablaze with talent. As the instrument to Stella L.’s involvement in a much more worthy cause, she imbuesher role with just the right mixture of intensity and charm. Equally memorable are Tony Santos as the beleaguered labor leader, Anita Linda as his courageous wife, and Liza Lorena as the sympathetic magazine editor who is willing to compromise. Gina Alajar is very effective in a very short role as the unwed mother. In the male lead role, Jay Ilagan proves once more that he is indeed one of our most competent young actors available.

And now, Vilma Santos. Playing the title role, Vilma tries a part that is totally different from her past roles and proves that she has indeed become a highly skilled professional. Her role is somewhat reminiscent of Audrey Hepburn’s in Fred Zinnermann’s “The Nun’s Story”, where a young nun discovers in a hospital at the Congo that she is first a nurse and only second a religious. But Stella’s awakening is much more vital and revolutionary than that of Sister Luke in the Hepburn movie. Vilma’s transformation from an innocent bystander to that of an active participant who is audacious enough to be in the thick of battle is truly quite awesome to behold. We could almost see and feel the internal changes in her. In a sense, the role is somewhat tailor made for her because her beauty is appropriate to the part of Stella L., but she also succeeds in transcending her established personality, delivering her lines and gestures with vigorous conviction and playing it to perfection that one can safely predict that she will again be running in the best actress derby come next year. And so, to Vi, Mike and Mother Lily, our heartfelt gratitude for giving us a film that has the power to cause insomnia. - Mario E. Bautista (READ MORE)

Must the ability to entertain the audience be the constant guiding criteria in the film and in the performing arts? While certainly, one does not minimize the importance of the entertainment function of the arts, the film Sister Stella L shows that it is not much the ability to entertain that is crucial as the ability to stir and maintain interest. For, as in this film, one cannot really say that the audience is entertained, regaled with spectacular sights, provided a pleasant diversion or titillated by teasing or amusing scenes, but the audience is invited, through the skills of the performers and director, to engage in immediate issues which concern us today. This film thus poses a challenge to our usual notions and expectations of Philippine cinema, as it is not a romantic or domestic drama, a comedy or an action film. The fact that such a film as this appears at this point implies a belief in the development and maturity of the local audience who can, at least from the responses of previewers so far, be receptive to harder stuff.

Sister Stella L deals with the contemporary social issues through the experience of various characters, among them Sister Stella L (Vilma Santos) and Nick, her former boyfriend now a journalist (Jay Ilagan), Sister Stella B (Laurice Guillen), the union leader Ka Dencio (Tony Santos) and his wife (Anita Linda). Again, the film differs from most productions nowadays in its immersion in contemporary social reality. The characters, too, possess a strong active aspect of people engaged in a meaningful cause, the people’s struggle for social justice. The nun that Sister Stella B portrays typifies in her strength and honesty the person who has gone beyond purely personal and selfish concerns to embrace the larger role of service to the people. No doubt, it is a refreshing and exhilarating experience to see characters who realize themselves fully as human beings by transcending petty selfish interest and giving of themselves to people in need of support and protection. Because of this, the spirit of the film is highly optimistic and reassuring because it makes us strongly aware of the forces in our midst working for change and of the fact that history is moving forward with these forces assuming the active role.

The central issue of the film has to do with the involvement of religious like Sister Stella L and her senior, Sister Stella B, in socio-political affairs. We know, for instance, that one point of view will have priests and religious secluded behind convent walls where their activity is restricted to praying. They are to have nothing to do with life around them as social and political concerns are thought to corrupt their purity and bring in wordly moral dangers and temptations. Or that priests and religious should remain apolitical, not taking sides in socio-political issues, but as men of God, considering all men as brothers who will, in the end, become docile and receptive to preachings of love and unity. The other point of view believes that it is not as simplistic as all that. In fact, it believes that the adoption of a neutral attitude can only serve to dull one’s moral sensibilities and because one shirks from making moral choices, one also renouces one’s responsibility as a human being. In truth, it is of utmost importance, perhaps particularly so for religious, to have a fine and acute sense of moral discernment as applied to social relations, in which the idea of truth and justice operate. The religious who makes grand sermons on love and unity may not himself understand the meaning of truth and justice, because love and unity do not exist in the abstract but are social ideals possible of attainment - only and only when exploitative relationships are destroyed. Otherwise, one contents oneself with hypocrisies. What for instance, would be the love of the rich factory owner intent on profits for the worker, and vise versa. Workers’ wages are only to keep workers alive and in a measure of health for him to have enough strength to operate the machines of work in the fields. Is it enough for factory owner and worker to meet in church and perhaps occupy the same pew - or will religious feel sufficiently edified at the sight? But priests and nuns are citizens of this country as much as any of us and are thus part of the body politic in which they have the right to take active part. Likewise, they are as human as anyone else, and as human beings, they have the drive toward concreteness and totality realized only in social interaction. The Church, too, cannot afford to take a position of alienation and withdrawal, because by doing so it will only continually lose its influence in a time of urgent and pressing realities; otherwise, it will only end up as an outmoded medieval institution. The Church is continually called upon to make moral decisions, and it is through these that the people will know whether it truly supports their cause or whether it only acts as a liaison for exploitative interests.

In the film, for instance, there is a conflict between Sister Stella L and her superior who wants her to stay in the convent to act as guidance counsellor and not to engage in labor activities in Barrio Agoho where a strike in an oil factory is taking place. For a while, she obeys her superior to be spiritual adviser to an unwed mother, portrayed by Gina Alajar, who, however, throws her back the question of what does she know at all, as a nun, of human suffering. The task of counselling this individual soul lost in her private hell is fruitless and Gina eventually commits suicide, which serves to show the nun the narrow limitation of such a task. Sister Stella L henceforth knows that she must make the choice of the larger and more challenging field of the workers in struggle. It is also important to note that Sister Stella B tells her fellow nun that although her immediate superior may not approve of her social participation, it is possible that higher superiors will - thus showing that such is still possible within the fold of the congregation. Also, at one time, there arises the question of whether Sister Stella L will stick it out as a religious or continue her activities outside the convent. Upon consultation with her friend, Sister Stella B, she decides to carry on the struggle as a nun, and by so doing, show the importance of such a function for her fellow religious, as well as its validity as a position within the religious orders.

The central event in the film is the strike of workers in an oil factory in Barrio Agoho where nuns show their support for the workers by participating in the picket, thereby lending valuable protection. The factory owner (Ruben Rustia) sends goons to harass the picket line, and makes use of the military, which readily lends itself to protect the minority interests of wealthy property owners against the majority interests of the workers. When the strike continues despite inclement weather and hunger, the factory owner resorts to kidnapping the union leader, Sister Stella L, and her journalist friend. All are maltreated and tortured, but the old union leader is finally “salvaged” and thrown into a dump. In the confrontation between the factory owner and Sister Stella L, the former shows himself to be hostile to the workers and to the participation of the nuns: “Kung pati ang mga madre ay nagpapagamit sa mga Komunista, mabuti pang magbago na lang ako ng relihiyon.” To which the nun answers: “Mabuti na ngang magbago kayo ng relihiyon upang hindi parehong Diyos ang sambahin natin.” The murder of the union leader, Ka Dencio, only lends more fuel to the workers’ resolve to continue the strike, which is now led by his wife, with the militant participation of Sister Stella L. The latter’s exhortation to the workers - and by extension to the audience - to engage in the struggle ends the film.

A secondary theme is the issue of press freedom, which is explored, in the first-hand experience of Nick, the young journalist. He writes a series on the politicization of the religious and their active participation in mass actions. In the beginning, his motivations are somewhat confused - and this his editor points out clearly to him - because he may be using this as an excuse to follow and communicate with Sister Stella L, who used to be his girlfriend. The journalist, however, understands the futility of the religious confining themselves within convent walls and poses the challenge for involvement. Sister Stella L takes up the challenge - in fact, the journalist’s articles contribute to her politicization. When she gets more and more involved, he becomes protective and anxious for her safety. His articles on the subject barely squeeze through censorship and he experiences increasing difficulty in getting published. Sister Stella L and he are kidnapped by goons and they are physically assaulted even as they witness the torture of the union leader. Instead of intimidating them, the experience completes their politicization and in the end Sister Stella, militant and committed, finds her true social role.

Because this movie deals with issues, it has more than the usual amount of dialogue compared with other films. This, however, does not work against it. Since what is talked about is drawn from the very stuff of social reality and thus concerns a large number, it is able to sustain interest. Too much dialogue would be a defect if it dwelt on banalities or inanities or if it narrated incidents rather than portrayed them. In this case, dialogue is necessary for the exploration of issues, as well as for the portrayal of how the characters reckon with ideas and develop in their social consciousness. The audience is not bored provided the things talked about in the film have a bearing on their lives. Filipinos, after all, are a talky lot (think of the large amounts of time spent in coffee shops over coffee or beer). Moreover, these are talky times, because the larger public is rapidly developing critical awareness, and there is now a greater need for interaction and exchange in the interest of survival. There are references in the film which may, at first, seem extraneous, such as Sister Stella B’s mission to Davao where she joins a fact-finding group. However, such references serve to extend the “area of responsibility,” if we may borrow the expression, from Manila to the far-flung provinces. Thus, the unity of the film is not only in the events that engage the characters in Manila but also in a larger over-all spirit of solidarity in which vibrations of sympathy throughout the islands give strength and comfort to those of a common cause. For a heart-warming film, the entire cast deserves congratulations, particularly Vilma Santos who reveals another aspect of her multi-faceted talent. From her usual soft and sweet romantic roles, she can be transformed into a strong and militant woman without losing any of her charm and beauty. Jay Ilagan, Tony Santos, Anita Linda and Liza Lorena are also in their best form. Mike de Leon as director, Jose F. Lacaba as scriptwriter are likewise to be congratulated for making a truly human film and for contributing to the cause of workers for justice and of the religious for the recognition of their social role. Not to be overlooked is the producer Lily Monteverde of Regal Films who has this time shifted from puerile erotic dramas to make a courageous film for which she will always be well remembered. - Alice G. Guillermo, Who Magazine May 30, 1984 (READ MORE)

There would have been two important Filipino films in this year’s prestigious Cannes Film Festival: Sister Stella L., directed by Mike de Leon and Kapit sa Patalim, directed by Lino Brocka. Both smuggled out to France and both vitally political in thrust, the two films were reportedly disowned by the Philippine embassy in France. Supposedly under instructions from the Philippine goverment, the embassy sent the following disclaimer to the festival directorate: “There are no Filipino films in the Cannes Film Festival.” The two films nevertheless made it to the festival site, though only one was screened as scheduled. Brocka’s film was in the category “In Competition,” and was tested against the works of such eminent directors as Werner Herzog, Wim Wenders, and Satyajit Ray. Early on, Kapit sa Patalim (which acquired a second title, Bayan Ko, in deference to another film project which had been approved before Brocka’s project) was rumored to be a strong contender for the Best Film award. Critic Bertrand Tavernier was quoted as saying, “It’s a toss-up between Wim Wenders’ Paris Texas and Brockas’s Bayan Ko.” De Leon’s film was to have had special screenings, on the unanimous request of the Cannes’ board of critics. Sister Stella L., however, suffered from the rush of subtitling work that descended upon Cannes’ select group of translators and De Leon opted not to show the film without subtitles. He nevertheless had the distinct honor of holding a retrospective under the sponsorship of the French Cinematheque right after the festival. The film eventually competed at the Venice Film Festival. Under its original title Sangandaan (Crossroads), Sister Stella L. was invited to the Venice Film Festival in 1984, the second Filipino film (after Genghis Khan in 1951) to be honored with such recognition. - Agustin L. Sotto and Pet Cleto, Philippine Panorama Dec 02 1984 (READ MORE)

"...Sister Stella L is undeniably, an angry film. It reeks of the pungency of a dictatorial regime and immersed in the canker of political and social repression. It is Jose F. “Pete” Lacaba’s film more than it is Mike de Leon’s. It is ideologically furious and liberalistic that you might surmise the film as left-leaning rather than simply a hard nudge at the Marcos government. Interesting to note of Lacaba’s background in the underground movement after the imposition of Martial Law in 1972, which, as most of the intellectually enlightened ended being rounded up by the military, thus his exclamation is compellingly evident in Sister Stella L...in the film’s first minutes, we witness a kind of relevancy we could not deny exists nowadays: the separation of the Church and the state, particularly on affairs that have a lasting effect on the people. “Hindi ang mga tao ang dapat makinig sa yo, ikaw ang dapat makinig sa kanila” (“The people should not be the ones listening to you, instead, you should be the one listening to them”), Sister Stella Bautista quietly ripostes, summarizing the supposedly inherent role of the laity in its profession of faith and service. A reversal of such an adage practically prevails in the Church’s current social rearings, despite the invisible boundary. But is activism a justification for the intrusion? Probably dependent on the circumstances. The motivation is noble and not of selfish traditionalism, that the film likewise bestows the necessity of religious congregations to act as a force to mobilize. Maybe the film is too radical in its approach, and frankly, Mike de Leon would possibly agree to that. Like most people would notice, Sister Stella L. is undoubtedly, not a Mike de Leon film. He has a hand in its production, but it is certainly not his. It has all the footprints of Pete Lacaba firmly planted in, from its conception to structure, similarly like what he did with Lino Brocka’s hard-line Bayan Ko…Kapit sa Patalim (1985) and Orapronobis (1989)." - Etchie (READ MORE)

"...Enigmatic director Mike de Leon has always been known as a risk taker. He pushed for 'Itim' as title of his debut film. The film might have ended a flop at the Metro Manila Film Festival but it is still a stunning first film. He also questioned martial law rule in Batch ’81. It was no surprise then that he would pursue a more political film after the assassination of Ninoy Aquino. But, the stars must be aligned too. The murder of Ninoy led to mass protests and a more relaxed censorship atmosphere. Mother Lily bravely took the option of producing Sister Stella L. Meanwhile, Vilma Santos was tired of portraying liberated women. She fought for the role of an activist nun. She begged Mother Lily to give her the role. The original script by Pete Lacaba was voluminous. He excused himself with the pruning of the script because he was then working on Bayan Ko: Kapit sa Patalim. De Leon and Jose Almojuela did the job of shortening the script. Ellen Ongkeko added some dialogues. Lacaba noted during the 2008 Active Vista Film Festival that de Leon found the Vilma film dated. The reclusive director preferred the showing of the magnificent documentary film Signos in lieu of Sister Stella L. While the former may have more bite, the Vilma starrer is still a highly relevant film and a true classic..." - 1505 Film Avenue (READ MORE)

"...But 25 years later, Vilma's film is still the talk of the town and is rightly recognized as one of the best Filipino films of the 20th century. Roland Tolentino enumerated the three major reasons why the film is a gem of Philippine cinema. He noted the excellent acting by Vilma and the rest of the cast. Laurice Guillen remarked that she had to let go of her stage mannerisms in order to properly portray a nun. It remains a milestone in her acting career. A somewhat embarrassed Vilma admitted that she was clueless on the film’s message during the course of the shooting. Tolentino also highlighted the social realism of the film. Labor problems, persecution of media, and harassment of nuns were effectively portrayed in the film. A forum listener, Sister Rosario Battung, confirmed that her colleagues were stalked by military men during the Marcos regime. They were being harassed by the police and soldiers. A Kilusang Mayo Uno member said the film was always one of the films viewed at picket lines. Pete Lacaba butted in to say that hopefully the DVD copy was an original one. He also noted that media persecution got worse during the administration of President Gloria Macapagal Arroyo. Radio commentators and print journalists were being killed..." - Film Angel (READ MORE)

"...In Mike de Leon’s “Sister Stella L,” Vilma Santos plays Catholic nun Sister Stella Legaspi. Searching for meaning behind the words in the Bible that teach people to serve the poorest of the poor, she is led to the picket line of striking workers. Gradually, she begins to see her role as a Christian to be amongst the poor and the oppressed in society. Eventually, the management (and military?) try to break the strike through terror and torture, something that is happening to this day. Different strategies of the strike are debated as well as the “sides” between the workers and capitalists. Although there is a simplistic framing of the “evil capitalist,” the issues raised by the union leaders ring very true today, especially in this economic crisis. No Filipino movie could be complete without a love story, or at least the background of one which thankfully doesn’t dominate this movie. Vilma Santos shines as the unsure but strong-willed nun in the beginning to a militant defender of the people by the end. It is a similar role she plays 18 years later in “Dekada ’70.” The movie ends in an almost-cheesy PSA but the message is clear and bold coming out after the Ninoy Aquino assassination. “If we do not act, who will act? If not now, when?..." - Identity & Consciousness (READ MORE)

"...Nearly a day after watching Philippine President Gloria Macapagal-Arroyo's deliverance of the State of the Nation Address (SONA) in Manila, Filipinos in New York, unconvinced by Arroyo's speech, gathered for a in-door forum to discuss "the REAL State of the Nation Address" (SONA) at the BAYANIHAN Filipino Community Center followed by an outdoor march along Roosevelt Avenue in Woodside, Queens. Amongst the special guest speakers at the forum was none other than the real-life inspiration for the 1984 Filipino film "Sister Stella L" featuring actress Vilma Santos, Mother Mary John Mananzan...Aside from serving as the Chairperson for the Association of Major Religious Superiors of the Philippines (AMRSP), Mananzan has the distinguished title of Chairperson Emeritus of GABRIELA Philippines, the largest federation of women's organizations in the country working for fundamental economic and social reforms. While in New York, Mananzan was happy to be joined by fellow members of Filipinas for Rights and Empowerment (FiRE), one of only a handful of Filipino women's organizations in the US that are also members of GABRIELA-USA...." - Anakbayan New York-New Jersey (READ MORE)

"...When "Sister Stella L." starring Vilma Santos was shown in 1984 by Regal Films, it was up against Viva's new Sharon Cuneta komiks mo-vie, "Bukas Luluhod ang mga Tala," which clobbered it at the box office. Although it didn't succeed at the box office, "Sister Stella L," the story of a sheltered nun who becomes an activist, withstood the test of time. It won many awards and has been constantly praised through the years for being an excellent example of socially relevant filmmaking. Last Friday, the UP Film Institute (the haven of pornographic gay films) did something right and paid tribute to “Sister Stella L” on its 25th anniversary. Ate Vi, now Gov. Vi of Batangas, was candid enough during the open forum that at the time she did the movie when she was about 28 years old, the political issues that were delineated in the film (made at the time that the protest rallies against the Marcos regime was raging after the murder of Ninoy Aquino) were not really that clear to her. "Hindi ko pa talaga ganap na naiintindihan ang mga sitwasyon noon," she says. "Basta ginawa ko lang ang pinaaarte sa akin ng director naming si Mike de Leon. But now, I'm more aware of the conditions shown there. Talaga ngang relevant pa rin up to now ang "Sister Stella L." dahil ang mga sitwasyon na pinakikita roon, lalo na ang labis ng kahirapan ng mga manggagagawa, nangyayari pa rin hanggang ngayon sa ating paligid. It was only when I ran for mayor in Lipa City that I came to understand what "Sister Stella L." was all about. Kaya proud akong kahit hindi maganda ang naging resulta nito sa takilya, heto't patuloy pa rin siyang pinupuri at pinararangalan ng future generations. Hindi gaya ng ibang movies na nakalimutan na. I'm really proud na sa career at buhay ko, nagkaroon ako ng chance na gampanan si "Sister Stella L.". Hanggang ngayon, gaya ng tauhan doong si Ka Dencio, marami pa rin tayong kababayan na naghahanap ng katarungan. Sabi nga sa movie, "kung hindi tayo ang kikilos, sino ang kikilos? Kundi ngayon, kailan pa?" In the panel discussion that preceded the showing of the film, the resource persons aside from Gov. Vi were Mother Lily Monteverde (the film's producer), Pete Lacaba (the film's scriptwriter), Laurice Guillen (who won best supporting actress for her role as the other Sister Stella in the film), production designer Cesar Hernando, and critics Mario Hernando and Roland Tolentino, with Prof. Ed Piano as moderator who cited Gov. Vi's numerous accomplishments..." - Mario Bautista, People's Journal March 25 2009 (READ MORE)

"...Ka Dencio will eventually be abducted and slain by armed men after being turned in by a comrade. As participants in the strike, Nick and Stella would share part of Ka Dencio’s burden but will live to tell the tale and struggle. Prior to this, Stella would already be tormented by the death Gigi comported to herself and her unborn child. The tragic deaths and the circumstances surrounding it are among the turning points and crossroads which the film is rife with. In the Venice Film Festival, the film was shown under its original title “Sangandaan (Crossroads).“ Until now, the movie theme song of the same title is sung by activists, mostly from petty-bourgeoisie origins like Stella. The Philippine title is said to be adopted by Regal as a scheme to solicit the interest of the same audience of sex flicks the production house is wont to produce on those days. The box office performance of the film however proved that the scheme went in vain. Vilma Santos guiltlessly remembers it as a commercial flop when it shared playdate with the Sharon Cuneta blockbuster “Bukas Luluhod ang Mga Tala.”. “Pinaluhod tlaga kami” she adds jokingly. Critics would later on absolve the film from its huge commercial defeat. The Manunuri ng Pelikulang Pilipino bestowed it with all major awards except production design. Other awards were given by the Film Academy of the Philippines, Star Awards, and FAMAS. It will also be named one of the most important Filipino films and Mike De Leon one of the most important Filipino filmmakers. The creative team which include scriptwriter Pete Lacaba, Cesar Hernando, Rody Lacap, Ding Achacoso continues to chart illustrious careers in the creative industry to this day..." - Dino Manrique, Pinoy Film, 2009-03-04 (READ MORE)

Incroci - "...With the assassination of #NinoyAquino the following year, De Leon conceived of a more critical movie about the Philippines under the dictatorship. He got José “Pete” Lacaba to write the script with José Almohuela about the growing activism of religious sisters on the union front. And since Regal Films boss Lily Monteverde was looking for another project to cash in on the box-office magic of Vilma Santos, the proper financing and casting were obtained. The result was the classic “Sister Stella L,” released in 1984. Among many superlatives of the historic movie was its original sound track that included two key songs written by Lacaba and musical director Ding Achacoso, “Aling Pag-ibig Pa?” and “Sangandaan,” which means “crossroads.” When the movie was accepted to the main competition of Venice in 1985, its title was changed to "Incroci," Italian for "crossroads..." - Lito B. Zulueta, Philippine Daily Inquirer, 18 September 2017 (READ MORE)

On Martial Law - "...What I remember the most are the human rights abuses. In my line of work, I needed a curfew pass because shootings would often wrap up late at night. Martial law was no joke! When I did Mike de Leon’s “Sister Stella L.” in 1984, I didn’t know much about our society. But when I became a public servant, nakita ko na ang realidad ng buhay! Panoorin po ninyo ang movie at malalaman ninyo na ang problema noon sa lipunan ay siya pa ring problema at sitwasyon natin sa ngayon..." - Hon. Rep. Vilma Santos-Recto, Reported by Bayani San Diego Jr., Philippine Daily Inquirer, 20 September 2017 (READ MORE)

Relevant Films for Millenials - "...For the millennial generation who want to learn more about the relevant films during the martial law period, I would highly recommend the book Re-viewing Filipino Cinema by Bienvenido Lumbera, National Artist for Literature. I have not seen all the films during and about martial law. But, I remember those that I would highly recommend...Sister Stella L. was produced in 1984 when martial law was being publicly challenged on the streets of Metro Manila and all over the Philippines. I remember that when I watched it, I was surprised that Vilma Santos had accepted the role. She was then considered as the most glamorous star of Philippine cinema, and her role in Sister Stella L. was so different from her usual movie roles. Sister Stella Legaspi is a pacifist religious who is challenged by an older colleague and a concerned journalist to respond to the injustice being perpetrated on a group of factory workers. She leaves the convent to help the workers and to preach the teachings of Christ. She joins the workers in their picket line when they go on strike; and, she begins to identify with them. Then the workers’ leader is abducted, tortured and killed by para-military agents. Sister Stell L. and the journalist rally the workers and resolve to carry on the fight...There is no question that in today’s digital world, people – students, laborers, rich, poor – prefer film to reading books. Film has become the most powerful means of recreation; but, they can also be a means for education. Film may be the best medium to teach millennials and future generations about the true and unrevised version of Philippine history..." - Elfren S. Cruz, The Philippine Star, 24 September 2017 (READ MORE)

Dahil Mahal Kita: The Dolzura Cortez Story

Released: June 24, 1993

The Plot: "Dahil Mahal Kita (Because I Love You): The Dolzura Cortez Story 1994, This Philippine drama chronicles the colorful life of Dolzura Cortez, the first publicly recognized AIDS patient in the Philippines. The film begins with a brief examination of Cortez’s pre-AIDS life. Initially she lived in a small village with her cruel husband and three kids. The spunky woman leaves them and moves to the big city where she engages in several affairs. Her second marriage to a rich foreigner does not last long. To support her children, Dolly begins an all woman “contract worker” agency. This also serves to facilitate her love of night-life. Tragedy comes to Dolzura after she collapses on a dance floor one night and learns that she has full-blown AIDS. At a Manila hospital she meets ex-lover Paulo, an AIDS researcher who encourages to tell her story publicly. The courageous woman does and she becomes instrumental in spreading AIDS awareness to the islands." - Sandra Brennan, All Movie Guide, The New York Times (READ MORE)

The Reviews: This Philippine drama chronicles the colorful life of Dolzura Cortez, the first publicly recognized AIDS patient in the Philippines. The film begins with a brief examination of Cortez's pre-AIDS life. Initially she lived in a small village with her cruel husband and three kids. The spunky woman leaves them and moves to the big city where she engages in several affairs. Her second marriage to a rich foreigner does not last long. To support her children, Dolly begins an all woman "contract worker" agency. This also serves to facilitate her love of night-life. Tragedy comes to Dolzura after she collapses on a dance floor one night and learns that she has full-blown AIDS. At a Manila hospital she meets ex-lover Paulo, an AIDS researcher who encourages to tell her story publicly. The courageous woman does and she becomes instrumental in spreading AIDS awareness to the islands. It was the first movie on AIDS in the Philippines that provided 'a name and a face' among the 50 recorded lives that were lost to AIDS in 1992. This movie was utilized as a focus of discussion by some health care personnel to express their thoughts, opinions and recommendations regarding the use of cinema as a powerful tool for AIDS information dissemination. - You and Aids web-site

The "Dolzura Cortez Story" was the Philippines' first movie on AIDS that provided 'a name and a face' among the 50 recorded lives that were lost to AIDS in 1992. This movie was utilized as a focus of discussion by some health care personnel to express their thoughts, opinions and recommendations regarding the use of cinema as a powerful tool for AIDS information dissemination. Responding to a newspaper advertisement looking for a person with AIDS, Ms. Dolzura Cortez agreed to have her life story serialized in print and later developed into a movie. The "Dolzura Cortez Story" was subsequently produced as the Philippines' first movie on AIDS which documented the real experiences of a person living with AIDS in the country. The author reports findings from a study conducted to determine the social impact of the movie as perceived by some health care personnel. Specifically, it aimed to identify the messages that health care providers derived from watching the movie and to make recommendations on how this and subsequent films could serve as an effective tool for AIDS education.

134 health care personnel representing 13 regional hospitals from all over the country watched the film, then answered a questionnaire. The sample was of mean age 35.6 years, 84.3% female, and with mean experience of 10.1 years. 20.1% were doctors, 21.6% nurses, 32.4% social workers, and 25.4% other health personnel. 22.9% had direct experience caring for persons with AIDS and 32.8% knew someone with AIDS. Although these participants perceived some simple and subtle messages from the movie, they also noted its shortcomings. The movie lacked realism; overemphasized the dangers of having multiple sex partners at the expense of warning about other risk factors for HIV transmission; the counsellor pressured the patient and failed to provide enough information on infection control; the psychosocial, economic, and spiritual concerns of people with AIDS were not addressed; and there were some misinterpretations and twisted truths about AIDS facts and the story itself. The respondents suggested that health care providers and people directly involved in AIDS education and counseling be involved in the production of such movies. Moreover, documentary pictures and testimonial footage of the woman would have added realism, while additional basic information about AIDS could have been mentioned in either the movie or a trailer. - NCBI

'Dolzura Cortez Story' is an artistic and brilliant film from Manila's finest director. The movie's leading actress, Ms. Santos, played her part so powerfully, and is very convincing as Dolzura, the first Filipino HIV/AIDS patient to come- out to the public. The movie is a thought- provoking film, ready to challenge the Filipino idea of what is right and what is wrong. - Jonard, “A thought- provoking, honest film from Philippine's finest director,” IBDB, March 11, 2000

"...In 1992, wala ni isang pelikulang tinampukan si Nora, samantalang si Vilma starred in only one: Maryo J. delos Reyes’ Sinungaling Mong Puso, na hindi niya pinagtamuhan ng anumang major Best Actress award. In 1993, gumawa si Vilma ng pelikula na ang kuwento’y base sa unang Pilipinang nag-reveal ng pagkakaroon niya ng AIDS (Acquired Immune Deficiency Syndrome), si Dolzura Cortez. Directed by Laurice Guillen for Octoarts Films, Dahil Mahal Kita (The Dolzura Cortez Story) won Vilma the Best Actress honors at the 1993 Manila Film Festival, Star, Gawad Urian and FAP..." - William Reyes (READ MORE)

“Still bearing activist weight is Vilma’s effort in Laurice Guillen’s Dahil Mahal Kita: The Dolzura Cortez Story in which she fleshes out a body and a mind for a person with AIDS. This initiative constitutes an advocacy not only for people afflicted with the dreaded pandemic, but also for women who have to overcome strata of ostracism in the process of survival and resist their being reduced to an aberration, in this case, a pathology.” - Patrick Flores, Manila Standard Today Jan 11, 2003 (READ MORE)

“…The 1990s saw Charito Solis graduate to mother and grandmother roles, which she had done with frequency in the 1980s. In another nod to her age, she finally allowed herself to be billed above Vilma Santos, then acknowledged as the Longest-Reigning Box Office Queen of Philippine Movies, albeit above-the-title in films such as Ipagpatawad Mo (1992) and Dahil Mahal Kita: The Dolzura Cortez Story (1993)…” – Gypsy Baldovino and Yolly Tiangco (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)

Ipagpatawad Mo

Released: October 23, 1991

The Plot: A married couple who try to make their marriage work despite the fact that both of them are career-oriented and that there are tensions created by the prescence of their first-born child, Mike Jr., who turns out to be autistic. - RV (READ MORE)

The Reviews: "...At first, their marriage is close to being one made in heaven. Mike Esquivel (Christopher) is a successful lawyer, while Celina (Vilma) is a popular talkshow hostess. Celina gives up her career to devote fall time as mother to Junjun, the autistic child, played well by both Bennett Ignacio (when Junjun is three years old) and Terence Baylon (when the boy is seven years old). The husband, however, is totally unsympathetic and even considers the child a disgrace. With the wife spending practically all her waking hours to attend to her “special” child, the marriage expectedly begins to crumble. They only give themselves a second chance when Celina finds out that she is again pregnant. The second child – to father Mike’s relief – turns out to be a normal, healthy boy. But with Mike still unable to accept the first child, the marriage is on the rocks once more. The situation worsens when Mike -driven by the abnormal conditions at home and his own self-centeredness – starts an extramarital affair with a balikbayan named Monique (Bing Loyzaga). Finally, a near tragic incident gives Mike another chance to prove himself a worthy husband to Celina and even worthier father to his kids, especially the autistic one. The movie is poignant, nevermushy. It isnotthe run-of-the-mill tearjerker that relies on maudlin theatrics and melodramatic devices to touch the hearts of moviegoers. Surprisingly, despite the frustrating problem facing the movie couple, moviegoers did not seem to be depressed by the movie..." - Butch Francisco (READ MORE)

"What?s the critics said: Payak, makabuluhan ngunit kakaibang pelikula ang ?Ipagpatawad Mo? ng Viva Films. Sapat ngang ipakipaglaban ng Vilma Santos at Christopher de Leon tandem ang paghahanap ng ibang klaseng script na lalo pang mapatingkad sa status nila bilang mga aktor sa makatuturang kahulugan nito. Mapalad sila sa panulat ni Olivia lamasan ng isang story na tumatalakay sa reaksiyon ng isang pamilya sa pagkakaroon ng abnormal na anak. Hinugot ni Ms. Lamasan ang autism syndrome na first time na inilantad sa Pilipino screen, bagamat tinangka na rin itong ipaliwanag sa ?Rain Man? ni Dustin Hoffman sa Hollywood. Sa story, sina Vilma at Christopher ay intelihente (TV broadcaster at lawyer respectively) at matagumpay na indibidwal. Maykaya sila sa buhay ngunit nagkaanak ng autistic. (Ang autism, ayon sa mga modren psychologists na sina Bernard Rimiand at lauretta bender, ay isang uri ng infantile psychosis na kung saan ang sinasapian ay nagwi-withdraw sa reyalidad ng buhay. Nananatili sila sa sariling daigdig na nilikha ng isip at pantasya.) dahil sa autistic child (Edward Carlos Garcia) unti-unting nawasak ang pamilya nina Vilma. Vilma vowed to protect and care for the child because she felt this is the only way a mother can assure herself that everything can be given to the son. (Pinatunayan nga ng pelikula na mas apt ang title na Paano Ba Ang Maging Ina rito kaysa roon sa ginawa ni Nora Aunor). On the other hand, nire-reject ni Chris at ng kanyang family (Delia Razon, et al) ang bata dahil nakababawas ito sa dignidad ng family stature nila. The conflict progresses to give us the different views on how to accept the frailties of people within our family. Para bang kung paano tatanggapin ng magulang na may anak siyang may butas sa puso or worst bakla. The father and mother image were deliberately explored at sa tuwing mag-aaaway sina Vi at Boyet, parang nakikita natin ang ating mga magulang na nagtatalo. the scenes were too real for comfort.

Nadale ng Viva ang kiliti ng masa. Hindi mo nga kailangang bigyan ng heavy stuff ang tao para masabing matino ang pelikula. Tama na nga sa mga politicized films or pa-social relevance. Bugbog na bugbog na ang ganitong tema sa mga diyaryo at sensayunalismo ng TV Patrol ng Channe 2. Mas kinagugusto ng balana ang mga pelikulang nakasentro sa mga karaniwang problema ng tao, lalo na?t may kinalalaman sa ordinaryong relasyong pantao. Napapanahon ang story ng ?Ipagpatawad?. Simple. Natural na pinakilos ng mga tauhan ng dula na halos parang hindi mo namamalayang pelikula lang pala ito. Aakalain mo ngang nakikinood ka lang sa isang scenario sa buhay ng kapitbahay mo. Ganito katindi ang tama ng pelikula sa manonood. This is indeed a very special movie for Boyet and Vi. Santos is again in the running for Best Actress. She was able to sink her teeth to the role of a disturbed mother torn in the love and responsibilities for her husband and the abnormal child. Except for some restless gesticulation of the hands, damang-dama mong buong katawan niya ay nilukuban ng kaakuhan ng role. All her scenes can be considered highlights, because she was consistently good in them. Her duro scene with Boyet was satisfactorily blocked and orchestrated. So far here, Vilma has an edge over Ruffa Gutierrez, Mona Liza, Janice de Belen and Lorna Tolentino in the acting derby next year. De leon was able to regain his acting brilliance in this movie. hindi puwersado. Cool, less facial contortion which became evident in some recent films he made. I like him better here than in ?Salingin? and ?Makiusap sa Diyos?. Nakababagbag-damdamin ?yung paghingi niya ng tawad sa anak. The monologue, which started sa pasakalye to reconcile ended in pained catharsis, that even a man with a heart of stone whould melt in depression. As a team, gamay na gamay na nina Vi at Boyet ang isa?t isa. Actually. sa tender moments nila, you don?t see them as the stars. You are made to believe they were really husbadn and wife.They were too relaxed. Their movements were free and natural. This is really what we call team acting. Walang sapawan.

The movie added more luster with the convincing portrayal of the kids. (Edward Garcia, Bennet Ignacio at Terence Baylon) who played Vi?s children. Special mention dito si Garcia na gumanap na 3-year old Junjun. Ang nuances niya ng ritualistic hand movements and echolalic sppech (symptom ng autism) ay talagang believable. He is not even conscious of the camera. Not to be outdone ay ang great support nina Charito Solis, as the choleric mother of Vi: Joonee gamboa, as the phlegmatic father; Ruby Rodriguez, as the yaya na talagang agaw-eksena, lalo na sa carnival scene; Bing Loyzaga, na mas improved and better version ni Gretchen Barretto sa movie; at Vivian Foz, as the wronged confused sister of Vi. Exceptional din ang cinematography and lighting works ng movie. As usual, expected sa Viva melodrama ang glossy, fabulous setting na nag-capitalized sa affluent house interior. kaya lang, parang di tugma ang theme song ni Janno Gibbs sa story. But more than this, laudable ang script ni Ms. Lamasan. Veritable na may research work ang writer. Dahil na-inform niya nag madla tungkol sa autism na dominant sa mga batang lalaki ngayon. Naipabatid niya na autism is detectable at the first two years, when the child is suffering from hearing and speech impairment In-insinuate din niya na the birth delivery (as specified in the opening scene) can cause oxygen deprivation that may affect the brain development of the child, thus creating immaturity in vasomotor coordination such as hearing, speech and hand movement. nilinaw rin niya na ang emotional refrigeration (yaong rejection nina Chris, Delia at Vivian) can cause the intensification of the disease. However, na-establish din niya ang love and care ng parents (ni Vilma) at sibling (ng kapatid na normal) will be more than enough to push the child to develop little by little. This time Laurice Guillen has hit the pot. The movie turned out to be artistically made and yet the commercial value of it did not suffer. Bumalik na ang aesthetic eye ni Direktora Guillen. Thank God, a film like this comes once in a while to give us enter-educational (learning with pleasure) millieu." - Ces Ysobel Orsal (READ MORE)

"...The 1990s saw Charito Solis graduate to mother and grandmother roles, which she had done with frequency in the 1980s. In another nod to her age, she finally allowed herself to be billed above Vilma Santos, then acknowledged as the Longest-Reigning Box Office Queen of Philippine Movies, albeit above-the-title in films such as Ipagpatawad Mo (1992) and Dahil Mahal Kita: The Dolzura Cortez Story (1993)..." - Gypsy Baldovino and Yolly Tiangco (READ MORE)

"So much has been said and written about Enter-Educate (Entertainment for Education) but does anyone really know what it all means? As their ad says people in the entertainment industry who ascribe to Enter Education use their appeal to inculcate positive values. Quickly applying this in the movies, It's the difference between Ipagpatawad MO (Viva Films) and Disgrasyada (Regal Films) both showing at your favorite theaters. Ipagpatawad Mo is a movie about how a family copes with autisitc children. Value: The Family. I haven't seen Disgrasyada, but given Regal's track record for gadawful movies, this movie will probably have Ruffa Gutierrez rompling around (wet, most likely) in Mother Lily's famous kamison. Value: Magic Kamison. I am not saying that Viva makes better movies than Regal. Viva is the same company which brought you Humanap ka ng Panget and Andrew Ford Medina. But it is making an effort to entertain and educate. Which is more than I could say for other movie companies. Ipagpatawad Mo (Direction: Laurice Guillen) is like a training film for parents of autistic children, with lots of drama and fine acting from two name stars. Before anything else, this is the first time I've seen a cellular phone (not cordless) in a Filipino movie. (Puh-leeze, I can't stand people who use cellular phones in their cars, in restaurants, in movie houses, even in church. I hereby propose cellular phone-free zones). This is observation has nothing to do with the rest of this review. In the movie, Vilma Santos plays a successful TV journalist (Must everyone play Loren Legarda in the movies?) while Christopher is a successful lawyer. Everything is perfect until their son Junjun turns three (Are the two children who played Junjun, age 3 and age 8, autistic in real life, or are they actors?) They find out from Lorli Villanueva, who plays a psychiatrist, not a laudrywoman that their son is autistic. Christopher wants to put Junjun in an institution (ala-Rainman).

Instead Vilma takes Junjun to her parent's house. She gives up her job, stops playing attentive wife to Christopher, and dutifully takes Junjun to a special school. Christopher complaints that Vilma doesn't pay enough attention to him anymore. Vilma complains that Christopher has forsaken his duties as a father. They breakup, almost. But they reconcile because Vilma is pregnant. She has given birth to Paolo, a normal child. Understandably, Christopher is proud of Paolo and ashamed of Junjun. He doesn't want his friends to know he has a "defective" son. One day, Junjun humiliates his father in a party. Christopher scolds him, but Junjun doesn't understand. Instead, he starts to draw his father with a tail and horns. Christopher has an affair with Bing Loyzaga, who tries very hard to do a Nanette Medved, but ends up looking like Gloria Estefan in that Pepsi commercial. Vilma discovers the affair and moves out of the house. Christopher doesn't want to lose his family so he breaks up with Bing. He begs Vilma to come back and promises to make an effort to accept Junjun. They take a vacation and finally Christopher comes to terms with his feeling for his autistic son.

In a touching scene, Christopher and Junjun sit together, but apart in the living room. He tells his son how excited he was when he was born. How he had such great hopes for him. How dissapointed he was when he found out he was autistic. And that he really doesn't know what to do with him. But he loves him very much. Christopher cries, Vilma, who has eavesdropped, cries too. Junjun who has been toying with a ball, stands up and leaves the room. I guess this sums up the whole situation of what it's like to be a parent of an autistic child. Christopher redeems himself from his bad performance in the movie Huwag Mong Salingin ang Sugat ko, shown last week. He is in top form here, and portrays a gamut of emotions, as a father who could not accept that his son is autistic; as comfused husband who turns to another woman for comfort; as a desperate man who implores his wife to give him another chance; and as a transformed father who finally accepts his son is autistic. Vilma is exceptional, as usual. The two stars look good together. (I cannot imagine Christopher and Nora Aunor together). Although, they looke visibly - dare I say it? - old. Not even the soft-focus lens could disguise the bags under their eyes and the lines on their cheeks. Good thing Ipagpatawad Mo is a movie which deals with a more sophisticated subject, other than a man who meets a woman and they fall in love, or a married man falls-in-love with another woman and vice versa. In the future, I would like to see less cellular phones and more mature movies like this, please." - Elvira Mata, Manila Standard, Oct 23 1991 (READ MORE)

"Countless subjects have been written about this star for all seasons - a fascinating character to her fans. Her calm composure even in the midst of brickbats thrown her way by some members of the press, her acting talents attested by the 16 best actress trophies and her screen image are reasons enough why she has gained a strong foothold in the hearts of the moviegoers. "Being popular in one's profession or let's say being successful, is not a shield against the wounds of life. On the contrary, principles come more often and go deeper if one is successful and popular," she told us when we chanced to talk toher on the set of her latest movie, Ipagpatawad Mo with Christopher de Leon. Moviegoers have always accepted the team-up of Vi and Boyet, acting and box office wise. This is their 16th partnership. Their first was in Tagulan sa Tagaraw. So what else is new? "There was a time na parang sawa na kami sa subject ng movie namin. Relasyon, Pakawalan Mo Ako, Imortal, Nakawin Natin ang Bawat Sandali, Masarap Masakit ang Umibig, etc. are just some of them. So when we read the script, we said na sana bago naman ang story, not just a love triangle, or legal separation and such subjects. This is the first time in out picture togethertaht involved our child who is autistic. Not many people or only a few of our parents know what an autistic child is. Akala nila mentally retarded na ang mga yon. Which is definitely not true. Autistic children can be taught, can be improved but it takes a lot of patience and determination to make them so. In this movie, Boyet could not believe that he has such a child and he rejects him. But I could not, and that is the bane of our everyday quarrel. I fiercely defend out son here saying to all and sundry that he is not mentally retarded. How did you tackle the subject of autism? "Boyet and I read books about it, saw a movie with its theme, visited a special school for such children in Forbes Park, and spoke to parents of these children.

Ninety percent of these autistic children are very good-looking and are good in numbers but they have a world of their own. If you teach them something, yon kung ang alam nila, no other world exists. Autism is like virus and it is not hereditary. Hindi malalaman na autistic ang isang bata until they are about three or four years old. But doctors know, when a baby is born that he or she is autistic, only they don't dare tell the parents about it. This movie should be an eye opener for such doctors and parents." How is it that you and Boyet are so compatible with each other as a love team? To our knowledge, no other team-up has endured such long partnership. "Maybe it's because we're comfortable with each other. And one thing more, the moviegoers accepted our team because there's no personal involvement between us. It's not necessary that there's love angle between us. Ang sa amin platonic lang. Not only that, we're the best of friends. Do you know that Boyet was the first leading man to whom I confided that I'm going to marry Edu? He was also the first to whom I broke the news that I'm pregnant with Lucky. That's how firm our friendship is." In all the years that you've been together in the movies, did Boyet ever court you? I heard before that wen you we're filming a movie with Eddie Rodriguez, he sent you three red roses. "Naku ha! That's just his way of affirming our friendship. Walang malisya youn." If in real life, you're really husband and wife, do you think your marriage will also endure up to the present? " I just can't tell, ha. But Boyet and I are both Scorpions. We have the same strong personalities. Siguro magka-clash kami. But in our scenes in the movies, It's wonderful if Boyet is my partner, because kung intense at high ang feelings ko, kaya ni Boyet na saugtin kung ano ang sinasabi ko with the same intense feeling." And with the others? "No comment." In Ipagpatawad Mo, Vi portrays a mother's love for her child. "I know the feeling because I am a mother. I'll fight tooth and nail for the care and well-fare of my son, Lucky." Vi is going full ahead of her movie schedules next year. After this movie, she'll be shooting Sinungaling na Puso (temporary title), for Regal's tehn one with Armida's Reyna Films (The Heiress), and another one schedule for Vision Films." - Nena Z. Villanueva, Manila Standard, Oct 28 1991 (READ MORE)