Filmography: Dalawang Pugad, Isang Ibon (1977)
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Basic Information: Directed, story, screenplay: Ishmael Bernal; Cast: Vilma Santos, Romeo Vasquez, Mat Ranillo III, Anita Linda, Fred Montilla, Mary Walter; Original Music: Vanishing Tribe; Cinematography: Nonong Rasca; Film Editing: Nonoy Santillan; Production Design: Bobby Bautista; Sound: Luis Reyes
Plot Description: Dalawang Pugad, Isang Ibon is a 1977 drama film directed by Ishmael Bernal. The film analyzes adultery in a mature way and presents reasons why many modern marriages in bourgeois families slowly dissipate into alienation and lead to adultery. The movie’s main plot involves a fashion model (Vilma Santos) who is torn between two men: her young boyfriend, who is a self-centered, airheaded fashion model (Mat Ranillo III), and an older married man (Romeo Vasquez), who is estranged from his domineering wife (Anna Gonzales). – Wikipilipinas
Film Achievement: 1977 Gawad Urian: Best Director – Ishmael Bernal; Best Editing Nomination – Nonoy Santillan; Best Picture Nomination; Best Production Design Nomination – Bobby Bautista; Best Screenplay Nomination – Ishmael Bernal; Best Sound Nomination – Luis Reyes; Best Supporting Actor Nomination – Mat Ranillo III
Film Review: “…Bernal, testing the tensions of triangular love (for geometry books, one of his characters wittily says) for some time now, plunges deeper into character analysis and metaphorizing… In Lumayo, Lumapit ang Umaga, the triangle was unevenly explored: the first love was sketchily drawn. Dalawang Pugad, Isang become a choice for a more stable relationship. Walang Katapusang Tag-araw was a strange reverse of characters for two women and an unusual development of love into hatred and hatred into love, where therefore the triangle was essentially illusions. Ikaw ay Akin finally sets an interlocked triangle on its bases and looks at it (from all 3 angles) squarely in the face…” – Petronila CletoPelikula, Atbp (READ MORE)
“…Her metamorphosis began in late 1976 when she agreed to be kissed by Rudy Fernandez in Makahiya at Talahib. It was a “feeler” of sort and when the public clacked its tongue in obvious approval, Vilma shelved her lollipops-and-roses image and proved that she, too, could be a woman – a wise move indeed because at that time her career was on a downswing and her movies were not making money. Then she did Mga Rosas sa Putikan for her own VS Films where she played a country girl forced into prostitution in the big city. The movie did fairly well at the tills. Good sign. And came her romance with Romeo Vasquez, boosting both their stocks at the box office (thier two starrers, Nag-aapoy na Damdamin and Pulot-Gata where Vilma did her own wet style, were big moneymakers). The tandem, although it did help Vilma, actually helped Vasquez more in re-establishing himself at the box office (without Vilma, his movies with other leading ladies hardly create any ripple). In Susan Kelly, Edad 20, Vilma played a notorious-woman role that required her to wear skimpy bikini briefs in some scenes, following it up with two giant sizzlers (Dalawang Pugad, Isang Ibon and Masarap, Masakit ang Umibig) that catapulted her as the newest Bold Queen. Then came Burlesk Queen…” – Ricardo F. Lo, Expressweek Magazine January 19, 1978 (READ MORE)
“Sometime in the mid 70s, matinee idol Romeo Vasquez returned to the movie scene after a long absence, his movie career in limbo after his failed marriage with popular actress Amalia Fuentes. His teamup with Vilma Santos somehow rekindled and revived his career. Their first movie together, Nag-aapoy na Damdamin in 1976 turned out to be a big hit. Despite their age gap, reel and real life sweetheart, Romeo, 34 and Vilma, 23, soon became the hottest love team, doing one hit movies after another…” – Video 48 (READ MORE)
“…Romeo Vasquez is an oddity in Vilma’s life. Hindi akalain ng lahat na ang isang notorious playboy and balikbayan actor would capture the heart of the then elusive Ate Vi. Nagkaroon sila ng affair which lasted for more than a year. Kilala si Bobby sa pagiging bohemyo kaya naman walang kakilala si Ate Vi na bumoto sa aktor. Ate Vi was love struck at talagang na head-over heels in love. Nagsimula ang kanilang affair sa set ng kanilang pelikulang “Nag-aapoy na Damdamin”. True to this title, nagliyab silang dalawa at tunay ngang nag-apoy ang kanilang damdamin. May plano pa nga sila ni Bobby na magpakasal sa Europe. Talagang Ate Vi was ready to give up her life as an actress and would settle with the actor abroad. And with herb relationship with Bobby, nag-surface ang bagong Vilma Santos.Ate Vi realized that she cann’t sacrifice everything for love. Nagising siya sa katotohanan at nagkamali kung kaya nagdesisyon siyang kumalas sa bohemyong aktor…” – Willie Fernandez (READ MORE)
“…But it was with handsome actor Romeo Vasquez that Vilma Santos had her most controversial relationship. Romeo was the former husband of Philippine movie queen Amalia Fuentes. He and Vilma first paired in the movie Nag-aapoy na Damdamin (1976). It was also during this year that they became a couple. They made several movies together, all of which did well at the box-office. Vi and Bobby (Romeo’s nickname) became the most-talked about reel and real love team at the time. The relationship was always on the pages of showbiz magazines and tabloid entertainment section pages because of the intrigues and the personalities who got involved with them…” – Rommel R. Llanes (READ MORE)
RELATED READING:
Wikipedia: Ishmael Bernal
Ishmael Bernal (1938-1996)
The Films of Ishmael Bernal Circa 1971-79, Part One
The Films of Ishmael Bernal Circa 1980-94, Part Two
Tribute to Ishmael Bernal
The new ‘Working Girls’ front and center
Ishmael Bernal (1938-1996)
The Films of Ishmael Bernal Circa1980-96, Part Two
Remember The Face: Bernal Film Director
The Bernal-Santos Collaborations
Inspiration
Now and Forever (1973)
Dalawang Pugad Isang Ibon
Ikaw ay Akin
Good Morning Sunshine
Relasyon
Broken Marriage
Pahiram ng Isang Umaga
