“Relasyon”: First Grand-Slam Best Actress Victory in Phil. Film History!

Vilma's tour de force performance as a sympathetic mistress in the 1982 film Relasyon (The Affair), helmed by the late National Artist Ishmael Bernal, gave her a sweep of the Best Actress awards from all the major award-giving bodies at that time:  FAMAS, URIAN, Film Academy of the Philippines (FAP), and the Catholic Mass Media Awards (CMMA). Vilma bested her longtime rival, Nora Aunor, whose film entry that year was Himala. Her grand-slam win is recognized as the first ever in local film history.

The death scene towards the film's end, where Emil (Christopher de Leon) dies from an aneurysm attack in front of Marilou (Vilma), is one of Philippine cinema's most unforgettable moments. Shot in one continuous take or what's called "tuhog" in local film lingo, it showcases the breadth and depth of Vilma's acting. Without musical scoring to boost the pathos of the scene, Vilma relied on her masterful grasp of human emotions to come up with an intense portrayal that can only be described as realistic and truthful. Marilou's frantic movements and utterings of Emil's name, the panic that strikes her, her anguish all mirror the immediacy and urgency of the situation. Vilma makes great use of her body, her eyes, her voice, everything, to realistically depict a woman's helplessness in the middle of her beloved's seizures, and then her pain upon his death.

The scene triumphs as a prime example of realistic cinematic acting, not just cinematic acting. The type of acting that not just mesmerizes, but involves the audience and lets them dig deep in their emotions. The brand of acting that people, whether they have undergone a similar experience in their life or not, can relate to and say to themselves, yes, that's how real people react to a real-life emergency situation and to a loss of a significant other.

The box-office success and the awards are a testament to Vilma's triumph.

Another achievement that Relasyon has earned for Vilma is her risk-taking has influenced the younger generations of stars. This is palpable in the renewed interest in mistress roles and movies that tackle adulterous affairs. As it were Vilma's daring role choice became a pattern of success for rising female stars such that many major young stars nowadays have become "other women" on screen. Vilma's Marilou became the template of the now in-demand kerida (mistress) roles. - RRIE


SYNOPSIS:

"Emil, a young executive, and his mistress Marilou, a planetarium guide, decide to be live-in partners. In the process, they discover each other's failing, which result in the strain in their relationship, bringing about their temporary separation. When they finally decide to resume their relationship, under a set-up wherein the man devides his time between his family and mistress, he dies frpm an attack of cerebral aneurysm. The woman decides to start a new life abroad, finding strength in the Jove [sic] of her departed lover."
(http://www.manunuri.com/filmography/relasyon)



REVIEW SINPPETS:

"Santos’ acting is adequate and extraordinary."
(“A Deep, Psychological Film” by Isagani Cruz, Parade magazine, July 21, 1982.)

"Vilma Santos confidently showed she felt the character she was portraying. Her depiction of feelings and emotions easily involve the viewers to share in her conflicts and joys. In this film, she has peeled-off apprehensions in her acting."
(Star View, by Lawrence delos Trinos, Star Monthly Magazine, July 1982.)

"Napakahusay ni Vilma Santos sa papel ng pangunahing tauhan, isang dalagang umibig sa isang may asawa. It’s one hell of a role and a heaven of a performance. Kasama si Vilma sa lahat ng eksena sa pelikula at talagang ito na ang pinakamabigat na papel na napaatang sa mga balikat ng isang local actress mula ng gampanan ni Gina Alajar and lead role sa “Salome.”
(Puna at Puri, By Mario E. Bautista, People’s Journal July 1982.)

"Sinasabi ng mga drumbeater ni Vi na ang kanyang role sa pelikulang ito ay pang-award, pang-FAMAS, pang-URIAN o pang-Film Academy Award kung matutuloy ito. Hindi kami tumututol sa kanilang palagay laluna’t napanood namin ang pelikulang ito. Masuwerte si Vi at sa ganitong maselang role ay dinirek siya ng isang katulad ni Bernal."
(Close-up by Mando Plaridel, Star Monthly Magazine July 10, 1982.)

"Maraming acting highlights ang paper ni Vi bilang Marilou sa Relasyon. Sa confrontation scenes nila ni Boyet, superb siya roon sa tagpong sinusumbatan niya ito dahil ginagawa na lamang siyang tau-tauhan. Ang acting niya sa death scene ni Boyet na hindi malaman ang gagawin sa katarantahan is also awesome to behold…”
(Mario E. Bautista, Movie Flash Magazine, 1983.) 

REVIEWS:

"Finally in Ishmael Bernal’s Relasyon, we have a film made explicitly for adults. There is no explicit sex sequence (adults don’t really go for that sort of thing, only adolescent boys do). But the psychological problems faced by the film are comprehensible only to adults, those who know what it means to live with someone one loves (or, at least, used to love). This film is, thus, not entertaining in the usual prurient sense, but in a deeper, psychological, intellectual sense.

"There are basically two themes that this film tackles: sex roles and divorce. – Vilma Santos represents womanhood in the film: Christopher de Leon represents manhood. The Filipina woman is commonly thought of as a martir or long-suffering masochist. Santos portrays a mistress who is an out-and-out martir. She serves De Leon hand and foot, ministering to his every need, including fetching beer for him, washing his clothes, serving as his shoulder to cry on, even baby-sitting his child. In return, all she gets from De Leon is chauvinistic love, void of tenderness, full of immature aggressiveness.

"De Leon represents chauvinist maleness. He portrays a character who is totally insensitive to his woman’s needs. He wants the house done exactly to his own taste. He expects his woman to be there when he needs her, but does not even think that he should be there when she wants him. He finds nothing wrong with having a wife and a mistress at the same time. On the other hand, he sees everything wrong with Santos entertaining suitor Jimi Melendez in the house. He’s even jealous of Manny Castaneda, Santos’ gay acquaintance. In short, he is selfishness personified.

"The trouble with sex roles in our society, the film argues, is that they are widely accepted without question. Men are suposed to have mistresses, and women are supposed to be faithful. Men are supposed to make the decisions (about where to live, what job to get, when to dine out), and women are supposed merely to follow. The Philippines may justifiably boast that, in politics, women are almost as powerful as men, but it is undeniable that in every other field including the home, it is the men who are the masters and the women who are the slaves.

"The other theme tackled by the film is that of divorce. Again and again, the characters discuss the lack of divorce in the Philippines. If De Leon could only annul his marriage, if he could only divorce his wife, if he could only get to Las Vegas and marry Santos there… Such possibilities remain mere possibilities, because Philippine law, unfortunately, still does not allow for divorce. In the film, it is made clear that the marriage of De Leon and his wife is totally beyond repair. With De Leon, being the male chauvinist pig that he is, and with his wife, being the non-entity that she is, there is no hope for the loveless couple. On the other hand, Santos and De Leon clearly love each other, clearly deserve chance to be man and wife, clearly should be helped (not damned) by society. It is an implicit case for divorce, made even more convincing by the fact that the characters are so familiar, so realistic.

"Technically, the film does not rank high in Ishmael Bernal’s canon of films. The production design, presumably middle class, raises questions (especially about the fact that Santos can withdraw a thousand pesos from a bank at a moment’s notice:lower middle class persons do not have that kind of instant money.) The music is undistinguished, and the cinematography sometimes places the actors in shadows. There is one technical achievement worth watching for: De Leon’s death scene, covering more than one minute, is taken with one continuous shot (no cuts). Otherwise, the editing is spotty, especially with one sequence completely out of its proper place (before Santos says in one sequence that they have been together only for eight months, a sequence is shown in which she asks De Leon how many years they have been together, even allowing for hyperbole, that is too much of an exaggeration). Santos’ acting is adequate and extraordinary. De Leon gives another of his solid performances, though he could have worked harder to show how inconsiderate his character is. The supporting cast do not stand out; since two of them are supposed to be mistresses themselves, and the third loses much of her credibility when she starts lecturing on man’s selfishness."

(A Deep, Psychological Film” by Isagani Cruz, Parade magazine, July 21, 1982, cited in http://starforallseasons.com/2009/11/17/filmography-relasyon-1982/.)

"Thee film has unblushingly spoken for the Filipino urban society and its increasing acceptance of adultery as a social habit. It could have been a repetitious tale of a man with two women. But the writers have interestingly conducted the story through the precarious steps of a young, single, beautiful and supposedly decent girl. Marilou (Vilma Santos) has fallen helplessly in love with Emil (Christopher de Leon), a married man. When Emil’s wife decides to leave for Mindanao because she couldn’t stand him anymore, Marilou then decides for them to live together. Overjoyed with the prospect, she presses on to keep their relationship thrilling, warmer and stronger. But her efforts over the months only depresses her as she sees Emil gradually locking himself into a door she couldn’t enter. The mutual delights she had previously imbibed had soured into irritating silence and alienation. Her mounting disillusion flares up into throwing a couple of dishes. She opts for a separation only to yearn for him again. They go back to each other. She becomes pregnant. Suddenly, Emil suffers an attack and dies in her arms. Marilou whirls in grief for a time but bounces back to being “single”, attractive but perhaps no longer “decent”.

"The writers have fed significance into the conversations by filling them with popular ideas on marriage and relationships, engaging the viewers to respond with their own beliefs. There is irony though in the confessions of Emil and Marilou – in happier times – that each had been a better person upon being loved by the other. But their life together contradicted that statement. Her selfishness is revealed. “Ikaw lang ang iniintindi mo” he says and it uncovered his insensitivity. “Ako rin, may ego”, She replies. Vilma Santos confidently showed she felt the character she was portraying. Her depiction of feelings and emotions easily involve the viewers to share in her conflicts and joys. In this film, she has peeled-off apprehensions in her acting. Christopher de Leon has also been supportive in emphasizing the characterization of Marilou. He suitably complements Vilma’s acting. The director, Ishmael Bernal, displays his flair for taking scenes of Vilma putting on make-up. Unwittingly, he has suggested that whatever make-up is put on over adultery, it is still adultery."

(Star View, by Lawrence delos Trinos, Star Monthly Magazine, July 1982, cited in http://starforallseasons.com/2009/11/17/filmography-relasyon-1982/.)

"Dalawang magagandang pelikula ang sabay na itinatanghal ngayon. Ito’y ang “Relasyon” ni Ishmael Bernal at “Hubad na Gubat” ng baguhang si Lito Tiongson. Sa taong ito, tatlo pa lamang ang talagang namumukod tangi para sa amin. Ang “Ito Ba Ang Ating Mga Anak” ni Bernal, “In This Corner” ni Brocka at ngayon nga’y ang “Relasyon” ni Bernal na naman. Napakahusay ni Vilma Santos sa papel ng pangunahing tauhan, isang dalagang umibig sa isang may asawa. It’s one hell of a role and a heaven of a performance. Kasama si Vilma sa lahat ng eksena sa pelikula at talagang ito na ang pinakamabigat na papel na napaatang sa mga balikat ng isang local actress mula ng gampanan ni Gina Alajar and lead role sa “Salome”. This time, sigurado nang mano-nominate si Vilma sa Urian (ito lamang ang award na hindi niya napapagwagihan) at malamang na ang maging pinakamahigpit niyang kalaban dito ay si Nora Aunor na very demanding din ang role sa “Himala” (na si Bernal din ang direktor). Ito’y kung matatapos ang ECP project na ito sa taong ito na sa palagay nami’y hindi kahit gusto ng ECP na isali ito sa filmfest sa Disyembre. Dinalirot ng “Relasyon” ang lahat ng mga anggulong maaaring suutan ng isang babaing nagiging kerida. Maraming madamdaming tagpo sa pelikula, lalo na ang death scene ni Christopher de Leon na tuhog ang pagkakakuha. Bagay na bagay kay Jimi Melendez ang papel niya bilang torpeng talisuyo ni Vilma. Hit na hit siya sa audience.

"Hanggang ngayon ay patuloy na dumarag sa dito sa amin ang mga sulat na pumupuri sa acting ni Vilma Santos sa “Relasyon”. Sabi ni Nelda Santiago ng Arellano St., Marikina : “Napakagaling ni Vilma at kahit hindi pa ako nagiging kerida, para bang na identify ako sa kanya.” Sabi naman ni Hector Cruz ng 14 Malaya St., Q.C. : “Maraming nasasabi ang mga mata ni Vilma lalo sa mga eksenang wala siyang dialogue. Pati pilikmata niya ay umaarte. Dapat lang na magka award siya rito. Magaling din sina Jimi Melendez at Beth Mondragon.” Ayon naman kay H. Santillan III ng UP Village : Hindi kami fan ni Vilma pero kung ganito ng ganito ang performances niya, dapat siguro’y maging fan na nga niya kami. Tour de force ang acting niya at dapat ilagay sa textbook on acting. Hindi mapapantayan ang rapport nila ni Christopher de Leon.” May iba pang mga sulat pero hindi na namin masisipi sa kakulangan ng espasyo."

(Puna at Puri, By Mario E. Bautista, People’s Journal July 1982, cited in http://starforallseasons.com/2009/11/17/filmography-relasyon-1982/.)

 

"Isang mayamang karanasan ang panonood ng pelikula ni Ishmael Bernal. Kahit ikaw ay isang masugid na estudyante ng sining ng pelikula o isang karaniwang tagahanga lamang. Sinasabing ang pelikula ay salamin ng tunay na buhay. Ang mga pelikula ni Bernal ay malilinaw na salamin. Buhay na buhay ang mga tauhan, ang istorya ay pamilyar sa atin at ang leksiyong itinuturo ay simple lang pero hindi direktang isinisermon sa manonood. Ang mga pelikula ni Bernal ay realistikong drama ng buhay. Tulad nitong “Relasyon” na ang mga bida ay sina Vilma Santos, Christopher de Leon at Jimi Melendez. Ito’y mula sa istorya at dulang pampelikula nina Ricky Lee, Ishamel Bernal at Raquel Villavicencio. Pang araw-araw ang drama ng “Relasyon”. Marahil mas komersiyal na titulo nito ang Kerida o kaya’y No. 2. Pero sa aming palagay ay mas makabuluhan ang pamagat na Relasyon dahil higit na malalim ang sinasakop nitong kahulugan. Simple lang ang istorya nito. Dalaga si Marilou (Vilma Santos). Liberated ang orientasyon. Nagtratrabaho sa Planetarium. May-asawa si Emil (Christopher de Leon). May isang anak na lalaki. Nagtratrabaho hanggang hapon, nagtuturo sa gabi. (Hindi tiniyak sa pelikula kung ano ang trabaho ni Christopher at kung ano ang kanyang itinuturo sa gabi.)

"Hindi maayos ang takbo ng buhay nilang mag-asawa. Kaya nga bumaling si Emil kay Marilou na pinili ang may-asawa kaysa sa biyudong si Jun-jun (Jimi Melendez) na wala namang matatag na hanapbuhay. Sa simula’y patagpu-tagpo lang sa mga hotel sina Marilou at Emil pero higit na naging kumplikado ang kanilang buhay nang ipasiya nilang kumuha ng isang permanenteng bahay. Dito nagsimula ang kanilang tunay na relasyon. Sa umpisa’y para silang mga bagong kasal pero nang tumagal na, dahil kailangang magtrabaho nag husto si Emil upang masuportahan ang dalawang pamilya, ay naging parang mag-asawa na sila. Nang maging parang “misis” na siya ay doon nagkaproblema si Marilou. Sa paningin ni Emil ay naging mapaghanap ang babae at tinatangkang baguhin siya. Hindi nakatagal si Marilou sa isang relasyong “taken for granted” na siya. Naghiwalay ang dalawa. Bumalik ang asawa ni Emil. Pero dahil tunay na minamahal ni Marilou si Emil ay ipinasya na niyang maging kerida kaysa ganap na mawala ito sa kanyang buhay. Pero hindi lumigayang habang buhay si Marilou. Namatay si Emil at ang kanyang bangkay ay inangkin ng tunay niyang misis. Ipinasiya ni Marilou na humanap ng bagong buhay sa Amerika.

"Makatotohanan ang akting sa pelikulang ito. Hindi sila caricature. Sila’y mga karakter na marahil ay mga kapitbahay natin. Muli na namang ipinamalas ni Bernal ang kanyang kakayahan sa pagpapagalaw ng mga artista. Hindi lang akting ang mapapanood mo. Ang nakikita mo ay ang tunay na takbo ng buhay. Nananatili si Christopher bilang isa sa iilan nating mahuhusay na kabataang actor. Makakalimutan mo na siya si Cris at ikaw ay ganap na mabibihag ng karakter na kanyang binubuhay sa aninong gumagalaw. Marahil, higit pa nating mauunawaan sana ang karakter na ginagampanan ni Chris kung nalaman natin kung ano ang kanyang propesyon at nagkaroon pa tayo ng ilang background ng kanyang buhay. Hindi tulad ni Vi na medyo kumpleto ang background. Kaisa-isa siyang anak. Edukada at masasabing liberated o mayroong malayang kaisipan. Sa pamamagitan ng konserbatibong ama ni Vi ay masusuri natin ang kanyang pamilya at kung paano niya haharapin ang mga situwasyon sa buhay. Sinasabi ng mga drumbeater ni Vi na ang kanyang role sa pelikulang ito ay pang-award, pang-FAMAS, pang-URIAN o pang-Film Academy Award kung matutuloy ito. Hindi kami tumututol sa kanilang palagay laluna’t napanood namin ang pelikulang ito. Masuwerte si Vi at sa ganitong maselang role ay dinirek siya ng isang katulad ni Bernal. Tulad nang binigyang diin namin sa unang bahagi, ang mga pelikula ni Bernal, ang “Pagdating sa Dulo”, “Nunal sa Tubig”, “Mister mo, Lover Boy ko” at “City after Dark” ay mga malinaw at makatotohang salamin ng buhay. Kaya sa “Relasyon” ay natural lamang na makakita tayo ng mga sitwasyong tila aktuwal na kinuha sa tunay na buhay at inilipat nang buong-buo sa puting tabing : Ang eksena sa kainan ng mga lovers na sina Vi at Cris; ang pagtratrabaho sa bahay ni Vi; ang usapan ni Vi at ng kanyang mga barkada; ang pagkabagot ni Vi samantalang gusto ng matulog ni Chris at iba pang eksena na karaniwan na sa tunay na mag-asawa.

"Napakadramatiko ang pagkompronta ni Vi kay Chris sa direksyon ng kanilang relasyon. Higit sa lahat, sa pamamagitan ng huling eksena, ang pagsasara ni Vi sa pinto ng kanilang bahay, ang pugad ng kanilang “relasyon”, inihayag ni Bernal na ang ganitong relasyon ay may hindi maiiwasang magwakas tulad ng sa tunay na buhay. Maaaring kamatayan o isang panibagong relasyon. Kung ang isang lalaki ay may-asawa, at mayroon na siyang relasyon o nagbabalak pa lang magkaroon ng relasyon sa ibang babae, dapat niya itong panoorin ng dalawang beses. Una, kasama ang kanyang misis at ikalawa, kasama angkanyang no. 2 o magiging ka-relasyon. Sa mga babaing katulad ni Vi sa pelikulang ito, mabuting panoorin ninyo nang nag-iisa ang pelikulang ito upang higit na maunawaan ninyo ang inyong relasyon o magiging relasyon." 

(Close-up by Mando Plaridel, Star Monthly Magazine July 10, 1982, cited in http://starforallseasons.com/2009/11/17/filmography-relasyon-1982/.)

 “…For us, sinuman ang manalo kina Vilma Santos o Lorna Tolentino ay okey lang. Both Gina and Nora have won the Urian best actress awards twice. Gina for Brutal and Salome, Nora for Tatlong Taong Walang Diyos and Bona. Napakagaling ni Gina in portraying the role of the trying hard Kathy in Moral. Hindi biru-biro ang ganoong character na gagawin mong sympathetic dahil mas malamang na lumabas itong ridiculous lang kaysa nakakakuha ng simpatiya. But Gina succeeded in making her Kathy both ridiculous and sympathetic. As Elsa, Nora’s case is that of star and role merging into one, fitting into each other perfectly dahil alam nating ang karisma ni Guy sa kanyang fans ay siya ring karisma ni Elsa sa kanyang naging followers. Pero palagay namin, kung hindi magta-tie sina Lorna at Vilma, mananalo ng solo si Vilma Santos. Vi has never won the Urian. She should have gotten it in 1977 for Burlesk Queen but the trophy went to Daria Ramirez in Sinong Kasiping. Maraming acting highlights ang paper ni Vi bilang Marilou sa Relasyon. Sa confrontation scenes nila ni Boyet, superb siya roon sa tagpong sinusumbatan niya ito dahil ginagawa na lamang siyang tau-tauhan. Ang acting niya sa death scene ni Boyet na hindi malaman ang gagawin sa katarantahan is also awesome to behold…”

(Mario E. Bautista, Movie Flash Magazine, 1983, cited in http://starforallseasons.com/2009/11/17/filmography-relasyon-1982/.)

VIDEO CLIPS: