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Susan Roces

Jesusa Purificación Levy Sonora (July 28, 1941 – May 20, 2022), professionally known as , was a Filipino who starred in over 130 films and earned acclaim as the "Queen of Philippine " for her roles in the mid-1950s through the . Born in , , she began acting at age 11 and became one of the highest-grossing stars of the 1960s, often portraying wholesome characters that defined an era of Philippine cinema. Married to fellow and from 1968 until his death in 2004, Roces was the mother of Senator and actively supported her husband's presidential bid in the 2004 election, later defending her daughter's eligibility amid citizenship challenges. Her career accolades include five Awards, with two for , a Lifetime Achievement Award from the Film Academy of the Philippines in 2013, and the Lifetime Achievement Award from ENPRESS in 2014. Roces maintained a low-profile charitable presence while embodying enduring elegance in Philippine entertainment.

Early Life

Birth and Family Background

Jesusa Purificación Sonora, professionally known as Susan Roces, was born on July 28, 1941, in Bacolod City, , in the during the era. She was the daughter of Dr. Tonggoy Sonora, a Filipino , and Purificación , a French-American woman of Jewish descent whose family had established the prominent Levy Hermanos department store in . Roces grew up in a reflecting diverse ethnic influences, including Filipino and European Jewish heritage, within a relatively affluent milieu supported by her father's medical profession and her mother's mercantile lineage. She had several siblings, namely sisters Teresita, Benita, and , as well as brother Jose Maria. This multicultural and middle-to-upper-class background provided early exposure to urban Philippine society, though the family later relocated to for educational opportunities.

Entry into Show Business

Roces made her film debut at the age of 11 in the 1952 comedy-drama Mga Bituin ng Kinabukasan, directed by Jose Nepomuceno. This early role showcased her nascent talent for acting, which had been evident in her abilities during childhood. By 1956, at age 15, she secured her first starring role in Boksingera, produced by after founder Jose Perez signed her to a contract following an audition. This breakthrough marked her transition from child performer to lead actress in Philippine cinema during its post-war expansion.

Personal Life

Marriage to Fernando Poe Jr.

Susan Roces, born Jesusa Levy Sonora, met , born Ronald Allan Kelley Poe, at a party hosted by actor at the in the mid-1960s. The two, both established film stars by then, began dating shortly after and maintained a relationship for approximately three years prior to their union. Their romance, marked by mutual professional respect in Philippine cinema, culminated in a civil on December 16, 1968, followed nine days later by a religious ceremony on Day, December 25, 1968, at Santuario de San Jose Parish in Greenhills, City. The wedding drew significant media attention as the nuptials of Philippine cinema's reigning "" and "," with Roces walked down the aisle by her father amid a star-studded gathering. Video footage of the event, later restored, captured the elegance of the occasion, highlighting Roces' poise in traditional attire. The couple's marriage endured until Poe's death from a on December 14, 2004, spanning over 36 years without public reports of separation or infidelity, reflecting a stable partnership amid their high-profile careers.

Family and Children

Susan Roces and Fernando Poe Jr. had no biological children together but adopted a daughter, Grace Poe (born Mary Grace Poe-Llamanzares on September 9, 1968), shortly after her birth; Grace was reportedly found as an abandoned infant and placed for adoption through official channels. Roces and Poe raised Grace as their own, providing her with a stable family environment amid their high-profile careers in film; Grace later pursued education at the University of the Philippines Manila and Boston College before entering business and politics, eventually serving as a Philippine senator from 2013 onward. Poe acknowledged other children from prior relationships, including actress (born 1988), whom Roces effectively treated as part of the extended family despite not being her biological or adopted child; however, primary family documentation and public statements emphasize as the sole adopted daughter of the couple. herself has two children, including daughter Nika, continuing the family line into the next generation, though Roces maintained a private approach to familial matters, focusing public attention on her professional life and rather than personal details.

Philanthropy and Private Acts of Charity

Susan Roces conducted her charitable efforts largely in private, maintaining a low public profile despite substantial contributions to causes supporting the film industry and other needs. She and her husband, , provided significant aid to the Movie Workers Welfare Foundation (Mowelfund), an organization assisting film workers, with Roces continuing her support even after Poe's death in December 2004. Accounts from contemporaries describe Roces as a consistent but silent donor to various charities, prioritizing discreet assistance over publicized . Her charitable works were often performed away from the public eye, reflecting a personal commitment to helping others without seeking recognition. Prior to Poe's presidential , Roces had already engaged in as an extension of their household's longstanding generosity toward diverse causes, though specific instances remained understated. This approach aligned with her overall demeanor, emphasizing quiet impact over formal foundations or high-visibility initiatives.

Career

Rise to Stardom in Film (1950s-1960s)

Susan Roces entered the Philippine film industry as a child , making her debut in the 1952 film Mga Bituin ng Kinabukasan directed by Jose Nepomuceno. At age 11, this initial role marked her entry into , though she remained a minor performer in the early years. In 1956, at age 15, Roces signed a contract with Sampaguita Pictures, the dominant studio of the era, transitioning to leading roles with her first starring vehicle Boksingera, where she portrayed a boxer. That year, she also appeared in Miss Tilapia alongside Gloria Romero, beginning a prolific output that included approximately 40 films over the 1950s and 1960s. These early works established her as a versatile actress capable of handling dramatic and comedic roles, often emphasizing wholesome, relatable characters that appealed to family audiences. Roces' ascent to stardom solidified in the , when she emerged as Sampaguita's top female star and a major box-office attraction, earning the moniker "Queen of Philippine Movies." She frequently headlined alongside male leads like Eddie Gutierrez, , and increasingly Fernando Poe Jr., with pairings that drew massive crowds to theaters. Key films from this decade included Amy, Susie & Tessie (1960), a highlighting her youthful charm, and Ana-Roberta (1966), which garnered her inaugural Best Actress nomination. Her consistent success in these productions, characterized by high production values from Sampaguita, cemented her dominance in Philippine cinema during the of local filmmaking.

Peak Career and Box-Office Dominance (1960s-1970s)

![Eddie Gutierrez and Susan Roces c.1966](./assets/Eddie_Gutierrez_and_Susan_Roces_c.1966 In the , Susan Roces ascended to unparalleled prominence in Philippine cinema, captivating audiences with her wholesome portrayals and securing consecutive popularity accolades, including Miss Philippine Movies in 1963 and Queen of Philippine Movies in 1964. Her films during this era routinely topped box-office charts, with multiple releases in 1961 alone demonstrating strong commercial performance and establishing her as the fastest-rising star of the period. This dominance was fueled by her versatile roles in romantic dramas and comedies, often opposite leading men like Eddie Gutierrez, whose on-screen chemistry formed one of the decade's most bankable love teams. Key collaborations with Gutierrez included Eddie Loves Susie (1964), a production filmed across the United States, Mexico, Canada, and Hawaii, which exemplified the era's ambitious international shoots and contributed to Roces' growing reputation for drawing crowds. Other hits like Portrait of My Love (1965) further solidified their pairing's appeal, blending romance with dramatic elements that resonated widely and sustained box-office momentum. Roces' ability to headline consistent earners positioned her as the Box Office Queen of the 1960s, outpacing contemporaries in ticket sales and fan engagement. Transitioning into the 1970s, Roces maintained her commercial supremacy through frequent pairings with Fernando Poe Jr., her husband and the era's action king, in films that blended romance, adventure, and social themes. Notable successes included Perlas ng Silanganan (1969), To Susan with Love (1968), Sorrento (1968)—where both played dual roles—and Karnabal (1973), each leveraging their real-life rapport to achieve strong attendance and revenue. Titles like Divina Gracia (1970) and Ang Daigdig Ko'y Ikaw (1965, reaping ongoing popularity into the next decade) underscored her enduring draw, with Roces starring in over a dozen such vehicles that reinforced her status as the longest-reigning box-office queen in Philippine film history. This period marked her peak, characterized by prolific output—exceeding 130 films overall—and unyielding audience loyalty amid a competitive landscape.

Television Work and Later Roles (1980s-2020s)

In the later stages of her career, Susan Roces shifted focus toward television, appearing in anthology series and teleseryes, often portraying maternal or elderly figures that leveraged her established screen persona. Her television debut in structured roles occurred in the 1990s with guest spots in programs like , where she played Anita Mariano in a 1996 episode. She continued with episodic work, including the role of Lucring in a 1997 installment of . By the 2000s, Roces expanded into sitcoms and adaptations of her own films. In 2006, she starred as Encarnacion Ramirez in the GMA-7 sitcom , a role that highlighted her comedic timing alongside leads and Shirley Pizarro. In 2008, launched Sineserye Presents: The Susan Roces Cinema Collection, a adapting three of her classic horror films—Patayin Mo sa Sindak si Barbara (1974), Maligno (1977), and Gumising Ka... Maruja (1978)—with Roces reprising her original characters, drawing on her expertise in the genre to bridge her film legacy with TV audiences. This series aired as a tribute to her cinematic contributions, serialized for modern viewers. Roces's most prominent television role came in the with ABS-CBN's long-running action-drama FPJ's (2015–2022), where she portrayed Flora "Lola Flora" Borja-de Leon, the moral anchor and grandmother figure to lead character Cardo Dalisay. The character, inspired by her late husband 's probinsyano archetype, became a , emphasizing and ; Roces appeared in over 1,700 episodes until her final scenes in early 2022, shortly before her death on May 20, 2022. She interspersed this with supporting roles, such as Nieves in May Bukas Pa (2009) and cameo appearances in Walang Hanggan (2012) and further and episodes through the . These later roles solidified her status as a television matriarch, with Lola Flora earning her widespread acclaim for embodying Filipino fortitude amid the series' high ratings, averaging 3–4 million viewers per episode in its peak years.

Political Engagement

Involvement in FPJ's Presidential Campaign (2004)

Susan Roces provided visible and personal support for her husband Fernando Poe Jr.'s (FPJ) presidential bid under the Koalisyon ng Nagkakaisang Pilipino (KNP) coalition, which formally launched on November 27, 2003. As a non-political figure renowned for her acting career, Roces leveraged her public image to bolster FPJ's appeal among mass audiences, accompanying him in campaign activities despite her limited prior involvement in politics. Her presence emphasized FPJ's family-oriented persona, contrasting with the incumbent administration's image. On April 3, 2004, Roces joined FPJ in a strategic meeting with leaders, including deputy executive minister Gualberto Lupango and bloc voting head , to court the denomination's influential unified vote ahead of the May 10 election. This engagement highlighted her role in facilitating access to key voter blocs, as the INC's endorsement could sway significant numbers in a closely contested race where FPJ polled strongly among lower-income and rural demographics. Roces also participated in campaign sorties, which she later described as emotionally taxing, contributing to her reluctance for future political involvement. Publicly, Roces defended FPJ's qualifications and character in media appearances, such as a March 20, , interview where she recounted how his reserved demeanor won her affection, framing him as a steadfast leader for the Filipino people. Opposition leaders considered her as a potential substitute if FPJ faced disqualification challenges earlier in , underscoring her perceived electability, though she did not pursue a run. Her efforts focused on personal endorsement rather than policy articulation, aligning with FPJ's platform emphasizing and poverty alleviation without formal campaign roles like .

Opposition Activities Post-FPJ Death

Following the death of her husband on December 14, 2004, Susan Roces positioned herself as a vocal of President Gloria Macapagal-Arroyo's administration, focusing on allegations of in the 2004 presidential election. She attempted to intervene and substitute for Poe in his pending electoral protest against Arroyo before the Presidential Electoral Tribunal, filing a motion on January 2005, but the denied it on March 29, 2005, ruling that substitution was not permissible under electoral law. Roces subsequently withdrew the P100,000 partial cash deposit for the protest in May 2005, effectively ending the legal challenge. Roces actively participated in opposition and public demonstrations against Arroyo, becoming a symbolic rallying point for Poe's supporters who contested the election's integrity. In June 2005, she addressed a crowd at the , demanding Arroyo's resignation amid efforts and the "Hello Garci" scandal revelations of alleged vote-rigging. She accused Arroyo of having "stolen the presidency, not once, but twice," referencing both the 2004 election and Arroyo's prior assumption of office in 2001. Roces joined anti-Arroyo protests, including a July 2005 in where opposition figures intensified calls for accountability over and claims. Her opposition stance extended into subsequent years, with Roces endorsing fraud allegations tied to the 2004 polls. In July 2011, she publicly welcomed testimony from former election officials claiming vote manipulation, stating that those with details should come forward to validate the irregularities. Although her name was floated by FPJ loyalists for a run under the Genuine Opposition coalition in the midterm elections, Roces did not file a certificate of candidacy and instead lent support to other opposition figures, such as accompanying during his filing. Roces maintained a meta-skeptical posture toward official narratives, emphasizing the need for transparency in electoral processes without endorsing unverified claims herself, though her aligned with opposition narratives questioning Arroyo's legitimacy. Her activities waned after the Arroyo era but influenced family political endeavors, framing her post-2004 role as a defender of democratic integrity against perceived institutional biases in vote certification and adjudication.

Support for Family in Politics and Broader Stances

Susan Roces actively campaigned for her daughter Grace Poe's successful senatorial bid in the 2013 Philippine elections, emphasizing Poe's longstanding inclination toward public service that dated back to her childhood aspirations to teach. Despite initial reluctance stemming from the trauma of her late husband 's disputed 2004 presidential campaign, Roces publicly endorsed Poe's political ambitions, stating in 2013 that she would support her daughter's entry into public office under the guidance of figures like former President . Roces extended her backing to Poe's 2016 presidential candidacy, expressing confidence in her daughter's readiness and thanking supporters in advance for their votes. She vigorously defended Poe against attacks questioning her Filipino citizenship and residency qualifications, dismissing critics' claims as "urban legends" and intended to bully and undermine her. Beyond familial support, Roces articulated broader stances rooted in demands for and accountability, notably accusing then-President of stealing the presidency "not once, but twice" during public confrontations in , which echoed her defense of democratic processes following her husband's electoral challenges. Her political expressions consistently prioritized family loyalty intertwined with principled opposition to perceived , framing as a moral duty aligned with national welfare rather than partisan expediency.

Awards and Honors

Film and Entertainment Accolades

Susan Roces garnered significant recognition for her contributions to Philippine cinema, earning five awards from the Filipino Academy of Movie Arts and Sciences (), including two for . Her first FAMAS win came in 1978 for her role in Maligno, portraying a safeguarding her child from supernatural threats. She secured a second honor the following year for Gumising Ka... Maruja. In addition to her competitive wins, Roces received lifetime achievement accolades affirming her status as an enduring figure in film. The Film Academy of the Philippines (FAP) presented her with a Lifetime Achievement Award in 2003 during its annual ceremony. further honored her in 2017 with its Lifetime Achievement Award, recognizing her over six decades in the industry. In 2015, the same body awarded her a special tribute as the Iconic Movie Queen of Philippine Cinema. Roces was also celebrated by other entertainment bodies for her broader impact. The Directors' Guild of the Philippines included her among honorees at the 3rd Gawad Direk in 2015, acknowledging her influence across film production roles. These awards, drawn from voter-based academies rather than audience polls, underscore her peers' appraisal of her technical prowess and box-office legacy in an era dominated by commercial cinema.

Posthumous Recognitions

Following her death on May 20, 2022, the adopted Resolution No. 1002 on May 23, 2022, expressing profound sympathy and sincere condolences to her family while recognizing Roces' enduring contributions to Philippine cinema as the "Queen of Philippine Movies," her roles in over 130 films, and her influence on generations of audiences and artists. Senate President Vicente Sotto III sponsored the resolution, describing her as a "" and "reachable star" known for her kindness and accessibility. The similarly adopted resolutions honoring Roces' legacy in film and her , with lawmakers citing her five Best Actress awards and nominations, Lifetime Achievement Award from the Film Academy of the in 2003, and broader impact on Philippine entertainment. These legislative tributes underscored her status as a whose work spanned six decades, from her debut in the to television appearances into the . In the entertainment industry, Roces received a at the 2022 Entertainment Editors' Choice Awards, acknowledging her lifetime body of work and pioneering role in Philippine cinema. Additionally, representatives proposed her posthumous induction as a for contributions to and broadcast arts, though this nomination was not conferred by the National Commission for Culture and the Arts as of 2025. These recognitions reflect a consensus on her foundational influence, despite the absence of further major awards post-2022.

Death and Legacy

Health Decline and Passing (2022)

In the months leading up to her death, Susan Roces suffered from failing health marked by multiple complications, though she remained stoic and uncomplaining about her condition. Despite entreaties from her family to consult a physician or seek hospitalization, Roces refused, expressing that she was prepared for her time and preferred to focus on her own well-being rather than medical intervention. On May 19, 2022, Roces was urgently admitted to Cardinal Santos Medical Center in City after her health deteriorated sharply. She succumbed the next day, May 20, 2022, at the age of 80, to cardiopulmonary arrest—a cessation of heart and lung function often resulting from underlying cardiac issues. Her daughter, Senator , announced the passing, noting that Roces died peacefully that Friday evening, surrounded by immediate family including Poe, nephews and , and other loved ones. Poe later shared that her mother had emotionally prepared the family for the eventuality, maintaining her characteristic grace amid adversity.

Memorials and Public Tributes

Susan Roces was interred on May 26, 2022, at Manila North Cemetery, beside the tomb of her late husband, Fernando Poe Jr., during a private ceremony attended by family members including daughter Senator Grace Poe, as well as friends and supporters who paid final respects. Workers had prepared her tombstone adjacent to Poe's the previous day. Public tributes followed her passing on May 20, 2022, with celebrities and the entertainment industry mourning her as the "Queen of Philippine Movies." Numerous artists expressed condolences via and statements, highlighting her enduring legacy in film. honored her as an "exemplary icon" and source of inspiration for . Mowelfund and the held tribute events on May 23, 2022, while a second tribute night occurred that evening. Annual commemorations continue on her death anniversary, including a solemn Holy Mass and gift-giving organized by the Poe family on May 20, 2024, at the cemetery. Family, friends, and supporters, led by , gathered for a commemorative mass at on May 20, 2025. A memorial mass was also held on her birth anniversary, July 29, 2025, honoring her life.

Cultural Impact and Enduring Influence

Susan Roces, dubbed the "Queen of Philippine Movies," left an indelible mark on Filipino through her roles in over 130 films spanning seven decades, embodying ideals of grace, virtue, and resilience that resonated with audiences during the industry's in the . Her portrayals of wholesome, sweet characters in romantic comedies and dramas established her as the era's top box-office star, influencing beauty standards and cultural perceptions of rooted in mestiza and moral fortitude. Roces's on-screen partnership with contemporaries like Eddie Gutiérrez in films such as those from the mid-1960s amplified her cultural footprint, popularizing narratives of love, family, and perseverance that mirrored societal values amid post-war recovery and urbanization in the . Her transition to television further extended this influence, with appearances in series that reinforced her image as a pillar of traditional , inspiring generations of viewers to associate stardom with personal integrity rather than sensationalism. Posthumously, Roces's legacy endures through widespread tributes from networks like GMA and , which in 2022 and 2025 highlighted her as a "source of inspiration and strength" whose performances remain etched in Filipino . Efforts to nominate her for National Artist recognition underscore her contributions to Philippine arts and culture, positioning her as an exemplary icon whose work transcended to shape societal norms of and .

Filmography

Notable Films

Susan Roces gained prominence in Philippine cinema during the 1960s, starring in commercially successful films such as Dance O' Rama (1963) and Ang Daigdig Ko'y Ikaw (1965), the latter a romantic comedy opposite Fernando Poe Jr. that highlighted her versatility in lead roles. In the late 1960s, she earned FAMAS Best Actress nominations for performances in Maruja (1967) and To Susan with Love (1968), establishing her as a dramatic actress capable of portraying complex characters. Her role in Divina Gracia (1970), where she played dual roles as a sickly sister and her scheming counterpart, further showcased her range in FPJ Productions films. The 1970s marked a peak with horror and supernatural genres; in Patayin Mo sa Sindak si Barbara (1974), Roces led a cast in a suspenseful thriller, contributing to the era's popular genre films. Roces won her first FAMAS Best Actress award in 1978 for Maligno (1977), directed by Celso Ad. Castillo, portraying a mother defending her infant from malevolent spirits in a tale blending witchcraft and familial protection. The following year, she secured a second consecutive FAMAS Best Actress for Gumising Ka... Maruja (1978), under Lino Brocka's direction, in which she enacted a dual role as an actress unraveling a tragic family curse, praised for its psychological depth. In later decades, Roces appeared in family dramas like Mano Po 2: My Home (2003), reflecting her enduring presence in ensemble casts exploring Filipino-Chinese heritage themes.

Television Roles

Roces's transition to television occurred later in her career, primarily through guest appearances and supporting roles in Philippine anthology and drama series. In 1996, she portrayed Anita Mariano in an episode of the anthology . The following year, she appeared as Lucring in . These early TV credits built on her film legacy, often leveraging her dramatic range in short-form narratives. Her television activity intensified after 2008, coinciding with remakes of her classic films and ensemble dramas. She starred in Sineserye Presents: Patayin sa Sindak si Barbara, a television adaptation of her 1974 horror film, and took on a role in the werewolf-themed series Lobo. Guest spots followed, including Nieves in May Bukas Pa (2009) and Lola Fenny in Wansapanataym (2010). In 2012, she appeared in Walang Hanggan. A pivotal role came in 2013 as the antagonistic Doña Adelina in the primetime soap , marking one of her rare villainous portrayals on screen. She followed with a supporting turn as Ruth Gaspar in (2014). Roces's most prominent and enduring television role was as Flora Borja-de Leon, affectionately known as Lola Flora, in the action-crime drama FPJ's . Debuting in the pilot episode on September 28, 2015, she portrayed the matriarchal figure central to the series' family dynamics, continuing through its record-breaking run of over 1,700 episodes until the finale on August 12, 2022—mere months before her death. This character, inspired by her real-life resilience, solidified her status in modern Philippine television, with her performance praised for embodying moral fortitude amid the show's serialized conflicts.

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