MANILA, Philippines — Vilma Santos couldn’t help but feel goosebumps as she viewed the Vilma Night Exhibit, celebrating her six-decade showbiz career, at the Archivo 1984 Gallery in Makati City.
She expressed her joy about this kind of tribute, a first in her career.
“When I became a public servant, I’m used to presenting exhibits for different people. But for the first time, I’ve experienced (this). Ako ang binigyan ng ganito. First time I experienced na binigyan ng tribute,” Ate Vi, as she’s fondly called in the industry, said.
On display were never-before-seen photos and old posters of her movies and eponymous TV show in the ‘80s from the impressive private collection of Dr. Martin Magsanoc.
“Naiinggit ako kay Doc Martin. When I walked in earlier, I really got goosebumps. It’s because I don’t have copies like that… It made me reminisce about my career,” she said.
Footage from her films was also played, showing iconic scenes of movies that have left a lasting impact on the industry.
These included “Dyesebel” (1973), “Darna and the Giants” (1974), “Tag-Ulan sa Tag-Araw” (1975), “Burlesk Queen” (1977), “Ikaw ay Akin” (1978), “Romansa” (1979), “Langis at Tubig” (1980), “Ang Galing Galing Mo, Mrs. Jones” (1980), “Pakawalan Mo Ako” (1981), “TBird at Ako” (1982), “Gaano Kadalas ang Minsan?” (1982), “Relasyon” (1982), “Broken Marriage” (1983), “Alyas Baby Tsina” (1984), “Sister Stella L.” (1985), “Yesterday, Today, and Tomorrow” (1986), “Palimos ng Pag-ibig” (1986), “Saan Nagtatago ang Pag-ibig?” (1987), and “Pahiram ng Isang Umaga” (1989).
Besides leading the launch, the Philippine cinema’s “Star for All Seasons” also shared insights and inside stories about her extensive body of work.
Expressing a deep appreciation for her past roles, she admitted that when she first did these films, she never imagined they would have enduring significance.
“How do I feel? Looking back on all of those films, I realize I want to watch again (the films) I made back then. I think, as I watched, I really made beautiful films,” she said.
“Even the time when I did ‘Sister Stella L.,’ a film which until now is being praised, ang feeling ko nuon artista lang ako, inaarte ko lang si Sister Stella L. But later on, when I became more mature, when I became a public servant, dun ko na-realize, na ang ganda pala ng message ng movie.
“This was a film about (workers), and if you look at real life, it’s still a problem today. I realized how meaningful and relevant that movie I made was. When you mature, you realize you’ve made films like this. I’m so proud of that. It feels so good.”
Ate Vi got to particularly reminisce about her roles in dance-centric films, which also showcased her versatility and competitive spirit, especially at the height of her “rivalry” with Nora Aunor.
“Because I really love to dance and in order for me to compete with the Nora Aunor, gusto nila akong kumanta, wala naman akong mailalabas sa kantahan, so sinayaw ko,” she quipped.
“I’m more comfortable with dancing than singing,” she said of films such as “Rock Baby Rock” and “Swing It Baby,” both released in 1979.
A young Ate Vi is pictured on a movie set.
“Even in ‘Burlesk Queen,’ the dance number in the ending, I studied (the choreography). And it’s more of hips, it’s an art. Hindi ito ordinaryong sayaw na kembot,” she added. But the exhibit not only highlighted Ate Vi’s cinematic legacy but also underscored the challenges of film preservation.
She recounted her efforts to secure copies of her films, only to find many missing from the archives.
“It’s so unfortunate because when I got pregnant, if I remember right, with my second boy Ryan Christian, I was bedridden, it was a very difficult pregnancy. I was 42 years old. That time, pinapunta ko po sa archive ang isa ko pong tao, pinapakuha ko po lahat ng pelikula ko, kahit babayad ako per movie, basta magkaroon lang ako ng kopya,” she shared.
“But it’s so unfortunate na pagpunta ko ang dami-daming wala. Nawala po sa archive natin. And the bad part was nawala po yung mga memorable films like ‘Lipad, Darna, Lipad,’ the original (film). Marami po akong nadinig nasa Malaysia daw, but wala akong nakita up to this day. And for me, it was the best ‘Darna’ that I made,” lamented Ate Vi, who starred in a total of four “Darna” movies.
Photos by Kate ADAJAR
She also looked back on the making of “Pagputi ng Uwak, Pag-Itim ng Tagak,” a film she herself produced and filmed for over three years, and revealed facing financial and creative hurdles at that time.
“Itong ‘Pagputi ng Uwak,’ ako po ang nag-produce niyan. It was three years in the making, nag-away kami ni Celso Kid (Castillo, director) niyan kasi po wala na akong pera, naubos na aking pera. Tatlong taon kasi namin shinoot yan. Pero hindi po matatawaran yung prestige na binigay niya sa aking VS Films,” she said.
“Again, according to Sir Leo Katigbak (of ABS-CBN Film Restoration Project), wala na pong kopya. So sad. Nalulungkot lang ako kasi ang dami kong movies na kaya kong ipagmalaki but it’s so unfortunate that I don’t have a master copy. This is one movie na up to this day, kaya natin ipagmalaki. And I thank God and I’m so blessed that I got to do all these films. Malaking bagay po ito sa career ko.”
Ate Vi further expressed her desire to contribute to film restoration efforts and preservation of films, not just hers, that the nation can take pride in.
She stated, “If given the chance, I would like to help restore these old movies we are proud of. Not necessarily my films; there are many classic films out there that deserve recognition and restoration.”
Nevertheless, Ate Vi acknowledged the financial constraints and high costs associated with movie restoration. However, she remains optimistic, saying, “If given the opportunity to find funding, I will make sure to take action on it.”
The Vilma Night Exhibit will run for two weeks starting last Aug. 10.
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