Eduardo Galeano, a famous Uruguayan author, famously remarks, “History never really

says goodbye. History only says ‘see you next time’” Is he right? Does history repeats itself? If
that is the case, mistakes are not learned, and victories have not yet been won.
Jerrold Tarog’s Goyo: Ang Batang Heneral is truly an awe-inspiring film that depicts this
historic and legendary Gregorio Del Pilar. Brilliant and a true masterpiece, Tarog artistically
crafted this somber and yet jam-packed film with scenes full of meaning and reflection.
Applauding on its breath-taking musical-score and cinematography, it showcases Filipino talents,
but at the same time, criticizes a reality on Philippine Ideology and doctrines, juxtaposing real and
actual historical events.
According to Miguel Escobar, there are two major battles that the Goyo fought. Obviously,
the battle at Tirad where he died, and second and most importantly, the battle within him. In the
beginning of the film, Goyo was portrayed as this villainous character, torturing and killing people
who gets in his way, but time to time questions himself. This is exactly how Nick Joaquin saw
him, according the Ambeth Ocampo. Although accounts on what really happened on the five-
month period that occurred in the film are vague and incomplete, we were shown a vivid
imagination on what might have happened; an endless array of parties and courtship, a very
appropriate event in the midst of war. General Del Pilar was narcissistic, arrogant and vain that
does not really know much on the strategy and technicalities of war. He was just appointed because
Aguinaldo wanted him. We see that all throughout the course of the film, Goyo was loyal to the
President. From the care-free and disobedient Heneral Luna, we were given the gullible and
domesticated Goyo who had fears on death and his own mortality, but as the battle became clearer,
the young and insolent boy was shaped into a general ready to face his enemies.
On the obvious battle against the Americans, there are four primary sources available on
the accounts of Genereal Gregorio del Pilar and the Battle at Tirad Pass: two from the enemy, and
two from their own. Richard Henry Little, an American soldier present in the battle, explains that
the valiant General Gregorio being the last man standing was riding a horse when a bullet shot him
in the neck which instantly killed him. John McCutcheon, also a soldier present in the battle,
corroborates with this scenario. It was in his statements where the film adopted the battle scene on
how the Americans were able to penetrate the pass, even though Goyo and his men strategically
had the upper hill. McCutcheon even recognizes the contributions of one Filipino traitor Januario
Galoot who helped them and guided them. On the other hand, Vicente Enriquez, a filipino who
was part of Goyo’s men, and Telesforo Carasco, a Spaniard who was also part of Goyo’s men
corroborates another scene. In Teleforo’s account, it depicts that Goyo was just standing on the
ground when the bullet hit him in the neck, while on Vicente’s account, according to Ambeth
Ocampo, says that he was about to mount the horse. The film used Vicente’s account, because we
saw how the general left the trench to look for a view, and right before he was going to ride the
horse, he was shot. Was he going to escape? The American correspondents states in their accounts
that he seemed to be escaping, and even Vicente’s account would also seem to corroborate on the
matter.
We cannot know what really happened now. What is left of us is the result of what
happened. All throughout the film, it seemed as if it was a series of whispers telling the generation
to “stop, look, and listen; learn” This is what is so amazing in Tarog’s rendition of the film. He
embarked on a journey to self-introspection and self-realization; to challenge the belief and
question principles. A figure so venerated and adorned is still open for criticism. A hero is not a
god. Heroes are remarkable people who tried to contribute in the way they know hos, but not
perfect entities. Zach Yonzon’s review on the film states that one of Tarog’s great achievements
on the film is “Humanizing the lionized Del Pilar”. This is true. When the hard-to-get Remedios’
voice echoed in the mind of Goyo while walking in the lonely paths of Tirad, this gives us the
humanity of this glorified celebrity-general. It dragged the high-soaring eagle to ground
questioning and criticizing it, while at the same time it mirrors the present reality. As the film
criticizes the pettiness of Filipinos before, it asks us on our own pettiness. As Francis Joseph Cruz’s
review on the film puts it clearly, it is a “gateway to make the nation more conscious of its still
prescient ills.”
Personally, I had the same reaction of angriness and disappointment when I read and
learned about the history of our nation, and watching Goyo: Ang Batang Heneral. How immature
and selfish they were. What mattered was their ability to take position rather than the interest of
the nation to liberty and peace, but none of that matter, because what’s done is done. What matters
now is that we take up actions that would make this nation better. If we have learned anything with
Jerrold Tarog’s opus, it is that we cannot do anything with the past, our last chance is now. So,
will history repeat itself? Will we say “hello” again to such pettiness and selfishness? Will we
remain doing the mistakes we did?