Vilma Santos’ cinematic legacy in full display at exhibit
MANILA, Philippines —Vilma Santos felt both pride and nostalgia as she graced the launch of the “Vilma Night” exhibit at the Archivo 1984 Gallery in Makati City, celebrating her illustrious six-decade career in show business.
She said she had goosebumps walking into the exhibit, a first in her career that began with Sampaguita Pictures’ “Trudis Liit” when she was just nine years old.
“First time I’ve experienced something like this. I’ve been in the industry for more than six decades. Actually, I used to be the one (presenting) exhibits, especially when I was a public servant. But for the first time, I am the one being given (this) and for that, I’m very, very grateful,” said Ate Vi, as she is fondly called in the industry.
The priceless memorabilia — from behind-the-scenes photos, movie stills, artwork, OSTs, posters, betamax tapes to clips from her movies and eponymous TV show in the ‘80s — came from the 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 these). It made me reminisce about my career,” gushed the guest of honor.
The launch also featured a video montage of Ate Vi's most iconic moments from movies, which have had 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), "T-Bird 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).
During the event hosted by curators Jerome Gomez and Erwin Romulo, and attended by Vilmanians, the Philippine cinema's “Star for All Seasons” also shared insights and inside stories about her body of work.
Reflecting on her past roles, she admitted that when she first made these films, she didn't think much about whether they would have enduring relevance.
“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.”
Ate Vi also got to reminisce about her roles in dance-centric films, which highlighted 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 such ‘70s films as “Disco Fever,” “Rock Baby, Rock” and “Swing It… Baby.”
“Even in ‘Burlesk Queen,’ the dance number in the ending, I studied (the choreography). And it's more of the hips, it's an art. Hindi ito ordinaryong sayaw na kembot,” she added.
“Vilma Night” not only celebrated Ate Vi's cinematic legacy but also underscored the challenges of film preservation.
She recounted her efforts to secure copies of her old films, only to find many missing from the archives.
"It's so unfortunate because when I got pregnant with my second boy, Ryan Christian, I was bedridden, it was a very difficult pregnancy. I was 42 years old. That time, pinapunta ko sa archive ang isa ko pong tao (staff). Pinapakuha ko po lahat ng pelikula ko, kahit mag-babayad ako per movie, basta magkaroon lang ako ng kopya,” she recalled.
“But it’s so unfortunate na 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. 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.
She also spoke about producing and filming the 1978 romance “Pagputi ng Uwak, Pag-Itim ng Tagak” over the course of three years, while facing financial and creative challenges during the process.
"Itong ‘Pagputi ng Uwak,’ ako po ang nag-produce niyan. It was three years in the making, nag-away kami ni Celso Kid (Ad Castillo, director) niyan kasi po wala na akong pera, naubos na aking pera. 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 ko 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.”
Despite this, she said, “I thank God and I'm so blessed that I got to do all these films. Malaking bagay po ito sa career ko."
The veteran actress stressed that she wished to contribute to the restoration and preservation efforts for old films. "If given the chance, I would like to help restore these old movies that we are proud of. Not necessarily my films; there are many classic films out there that deserve recognition and restoration," she stated.
Nevertheless, Ate Vi acknowledged the financial constraints and high costs involved in movie restoration. However, she remains hopeful, saying, "If given the opportunity to find funding, I will make sure to take action on it."
(The “Vilma Night” exhibit will be open for public viewing on Aug. 16 and 17 from 1 to 7 p.m. Entrance is free.)
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