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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).

For More Informations, Visit: Vilma Santos-Recto's Official Web-site

Monday, December 3, 2012

T-BIRD AT AKO (1982)

“Hindi naman ako ipokrita...ke tomboy ka, bakla ka, ok lang sa akin yon! Pareho lang yon! Kung saan ka maligaya duon sila...huwag na nating pakialamanan...alam mo kung nuong una sinabi na niya sa akin kung ano siya hindi na kami nagkaganito eh...akala ko tutoong tao siya!" - Isabella

"Putik nga ito! Pero kahit ganito ako, nagsisimba ako kahit papaano!...ang sabi ng nasa itaas, ang sala sa lamig, sala sa init, iniluluwa ng langit, isinusuka ng diyos!” - Isabella

"...ano ba naman 'to katawan lang 'to, 'konting tubig, 'konting sabon, wala na...tapusin na natin ang kaso, pagkatapos sabihin mo kung kailan, saan...darating ako, ang katawan ko!" - Isabella


Basic Information: Direction: Danny Zialcita; Adapted screenplay: Danny Zialcita, Portia Ilagan; Original screenplay: Portia Ilagan; Cast: Vilma Santos, Nora Aunor, Dindo Fernando, Tommy Abuel, Tony Carreon, Baby Delgado, Rosemarie Gil, Suzanne Gonzales, Odette Khan, Anita Linda, Liza Lorena; Original Music: Butch Monserrat; Cinematography: Felizardo Bailen; Editing: Ike Jarlego Sr.

Plot Description: Lesbian lawyer Nora tried to assist dancer Vilma with her legal battles and unexpectedly the lawyer falls in love with the lovely dancer. The poorly written plot compensate with crisped dialogues and fast paced editing from one of the most finest commercial director of the 80s, Danny Zialcita. - RV

An interesting and witty play of events and characters directed by avant garde filmmaker Danny Zialcita. The story of a woman confused of her sexuality (played by Nora Aunor) who worked in a man's world as a lawyer. A chance meeting with a bar girl (played by Vilma Santos) who would change the course of her life. The film portrays a woman who runs and holds her life, but when matters of the heart are concerned, she just lets fate takes it toll. She believes to be in love with the bar girl, or she thinks she is! At the end, a sudden twists explodes making her more vulnerable that she has ever imagined. A parody on the comic love and life of people caught up in a the middle of strange questions of gender issues. A seriously funny picture of the drama of life! - Kabayan Central (READ MORE)

Confused lawyer Sylvia Salazar (Nora Aunor) is infatuated by the oozing charm of ago-ago dancer Isabel (Vilma Santos) whom she has volunteered to defend in a criminal case. Sylvia's persistent and dedicated suitor (Tommy Abuel), another lawyer of intelligence and a strong conviction, however, does not give up on her and resolves to pursue her or wait for that time when she will be more receptive to a man's affections. Also stars Dindo Fernando, Liza Lorena, Baby Delgado, Leila Hermosa, Suzanne Gonzales and Odette Khan. Written by Portia Ilagan and directed by Danny L. Zialcita for Film Ventures, Inc. - Trigon Video

Film Achievement: The fourth Vilma Santos-Nora Aunor films (the other films are: Young Love, Pinagbuklod ng Pag-ibig, and Ikaw Ay Akin).

Film Reviews: Ang T-Bird At Ako (Film Ventures, Inc.,1982) ay kasiya-siyang kuwentong tumalakay sa diskurso ng pag-ibig sa pagitan ng dalawang babae. Ang pagsasalarawan ng domestikong suliranin ng isang lesbiyana at ang di inaasahang pagkamulat ay nagpakita ng ganap na detalye ng kasangkapan upang makawala sa pagkalitong bumabalot sa identidad nito. Matatag at mahusay ang direksiyon ni Danny Zialcita sa pelikula. Hindi rin maikakailang kadalasa'y nanghihiram ang direktor ng mga piling tagpo mula sa mga sineng banyaga ngunit ang bawat eksena sa T-Bird At Ako ay nagbigay daan upang maisulong ang naratibo nito. Isinapelikula ang kompleksidad ng relasyong namumuo sa dalawang pangunahing tauhan sa pamamagitan ng matipid na espasyo o kumpas ng mga eksena at bihasang direktoryal na pagmamaniobrang nagpapatuloy sa tensiyon ng nagbabanggaang mga idelohiya. Humahantong ang resolusyon ng pelikula sa antas nang mapilitang magkasundo ang mga magkakatunggali.

Sa pagtatapos nito ay bumalik si Aunor sa tunay na esensya ng kanyang pagkababae. Nagmula ito sa matagumpay na babaeng nagpasimula sa pagtagumpay ng mga tradisyonal na pagpapahalagang pang-kababaihan. Tulad ng inaasahan, napapalooban ang T-Bird At Ako ng mga kapani-paniwalang pagganap at pagtatapat. Higit na epektibo si Nora Aunor bilang isang lesbiyana sa pagpapahayag ng komplikasyon sa tauhang kanyang ginagampanan. Lubha namang nakakapagod ang pagganap ni Vilma Santos sa pelikula. Hindi makaramdam ng simpatiya ang manonood dito dahilan sa karton ang kanyang karakter. Samantala magiting ang suportang ipinamalas ni Tommy Abuel bilang matiyagang manliligaw ni Aunor, gayundin sina Dindo Fernando at Suzanne Gonzales. Sa maikling paggnap ay lubhang katangi-tangi sina Anita Linda at Odette Khan. Masasabing masinop ang mga elemento ng pelikula sa T-Bird At Ako, maliksi ang galaw ng mga biswal at masigla ang paggamit ng tunog upang mabisang mailarawan ang mundong ginagalawan ng mga tauhan nito. - Jojo DeVera, Sari-saring Sineng Pinoy

That Danny Zialcita's T-Bird at Ako is entertaining cannot be doubted. The plot situations are funny. The lines are witty. The pacing is fast. The lesbian love of Nora Aunor for Vilma Santos, moreover, is extremely clever, since the two superstars in real life would not be caught dead in such a relationship. Zialcita has made a career of doing impossible things. He made he-man Dindo Fernando a homosexual in the Mahinhin series. He now makes Aunor a lesbian. When he tries to make Santos a low-class beerhouse dancer, however, he fails. That makes his record two out of three impossible things, not bad for normally sedate local cinema. This film shows Zialcita at his best - irreverent, tongue-in-cheek, unconcerned with larger themes, focused on obsessive sexual relationships. Let's take the dialogue first, which cleverly juxtaposes the fiction of the film with the reality of the careers of the two superstars. Thus references are made to Santos' being a "burlesque queen." One character is even named "Rubia," after Rubia Servios (1978), Santos' competition film against Aunor's Atsay (1978).

More than these allusions, however, the film features sparkling exchanges between Santos and Aunor. Most impressive of all the lines perhaps are those in the court room sequence, since the opposing arguments are easy to follow, yet logical in structure. The direction is tight and masterful. Although one always gets reminded in a Zialcita film of sequences from foreign films, there is a minimum of unmotivated blocking in this film. Each sequence contributes to the whole film (if there is copying, in other words, and I do think there is in this film, the copying is not done simply to be cute or clever, but in accordance with the logical requirements of the plot). The performances, as expected of a Zialcita film, are excellent. Aunor is more effective as the confused lesbian, primarily because Santos is not able to get the rough and ready quality of low-class hospitality girls. Tommy Abuel is terrific in his role as the patient suitor. Fernando is given too little space to develop his character, but what he has, he makes good use of. Captivating is Suzanne Gonzales, though she has to learn to use her face a bit more to express varying emotions. In their brief roles, Anita Linda and Odette Khan are delightful. - Isagani Cruz, September 22, 1982, Movie Parade Magazine





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