Tita Muñoz

Tita's last film appearance was in the Sharon Cuneta film Madrasta (1996), an award-winning and financially succesful film about step-families.

In 1992 Tita joined the Nora Aunor film Inay (1993), about incest and strained family values.

In 1991 Tita joined the international cast of _A Fei jing juen (1991)_, playing the mother of Hong Kong actor Leslie Cheung.

Tita played mother to Tirso Cruz III in two films: in "Now" directed by Lino Brocka, where Eddie Garcia was her husband, and in Elwood Perez's Till We Meet Again (1985).

Still another National Artist for Film, Ishmael Bernal, directed Tita in Sugat sa ugat (1983) and Pahiram ng isang umaga (1989), both powerful dramatic films about love and despair.

National Artist for Film Lino Brocka also handled Tita for Stardoom (1971), a poignant film on decadent sexual mores of the era.

" Tita continued to appear in an eclectic array of films, including Mad Doctor of Blood Island (1968) -which was internationally released, and Lilet (1971), both directed by Gerardo de Leon; Destination Vietnam (1968), and The Evil Within (1970), both directed by yet another National Artist for Film, Lamberto V. Avellana.

Tita was on a roll, and she soon appeared opposite Cesar Ramirez in El indio (1953). Because of her Spanish señorita looks, Ms Muñoz played "Blanquita," a beautiful foil to the leading lady, Nena Cardenas.

In 1952, convinced by a magazine editor (Ernie Evora) to give the movies a try, Tita reluctantly joined the cast of "Rosalinda," starring Rodolfo Ruiz and produced by Philippine Artists Management. The movie launched Tita as the Philippines' version of Elizabeth Taylor.

Tita then moved to Sampaguita Studios to co-star with Pancho Magalona in Kasaysayan ni Rudy Concepcion (1952), where Tita portrayed Elsa Oria.

Ms Muñoz also played a Spanish señorita foil to Linda Estrella in Teksas, ang manok na nagsasalita (1952), which also starred Magalona, Myrna Delgado and comedian Tolindoy.

This was followed by Tulisang pugot (1952) opposite Fred Montilla.

These films were a combination of dramatic romance and sometimes suspense (as in Tulisang pugot (1952), which means "Headless Bandit. ") Tita was appearing in movies one after the other but she was eyeing a new medium: Television. Ms Muñoz, according to herself, became the first (Filipina) woman to appear on (Philippine) television; she was also the first production manager, under the aegis of the legendary Koko Trinidad. The "First Lady of Philippine television" also made history with the very first kissing scene, opposite actor Ronald Remy.

P800 a month was a huge sum already in the 1950s. Tita has also become the newest "Camay" girl (Camay was a popular Filipino soap brand). Already a radio star, Tita went back to school to finish her history course. After graduating, Tita accepted a teaching job that paid Ph. P5. 00 an hour, an pathetic sum compared to her radio fees that paid Ph. P50 a minute. Tita eventually became the highest-paid radio talent, earning Ph. P75 a minute.

Tita broke new ground with dramatic television shows, including "Sorry, Wrong Number" {adapted from the 1943 American radio by Lucille Fletcher}; it was aired as a one-woman teleplay on "Caltex Caravan Presents" and was directed by National Artist for film Gerardo de Leon. Tita also appeared on the Philippine television show "Balintataw.

Maria Theresa Sanchez Muñoz was born in 1928, the eldest of six siblings, to Miguel Muñoz and Feliza Sanchez. She was dark-haired, pretty, spoke only English and Spanish but not Tagalog. "Tita" studied at St James Academy and graduated from Lyceum University of Manila, with a degree in AB History. However, before she graduated, she was married for four years to an American. They lived in New York and she gave premature birth to twins, who died. She was scared and the brief marriage was a terrible chapter in her life. Tita went back to Manila, where as a 22-year-old, she looked for work. Her English speaking skills were an asset, and she went to the newly opened dzBB radio station, owned by Bob Stewart. There were a hundred people in the queue but the Spanish mestiza was hired to replace Rose Bush as the new Host of "Homemakers' Club of the Air. " From thereon, with an initial talent fee of Ph. P100 a month, Tita moved into more prominent circles. One was a radio job with the legendary Vero Perfecto. Then Tita transferred to dzPI, another radio station, where she hosted a rival show (of "Homemakers'"), "Women's Club of the Air. " Tita's earnings of Ph.