“DEAD WATER”

(By Wen Yi-Tuo)

The Dead Water is all about our environment.This poetry was influenced
by western models.During 1925 he joined the Cresent moon society and wrote
essays. It has a A-B-C-B rhyme structure which is difficult to translate into English. This
poem is an example of yi-tuo early political learnings, interpreting it as a bitter satire on
the state of the government. The Dead Water is the poem employs a complicated
rhythm structure of varying syllable length units. This poem was a interesting to explore,
it is the idea of environmentalism. The second stanza the speaker states that the ditch
could be redeemed by emerald grass and peach blossoms, but left to its own devices it
only becomes a feeding area for the “gnats”who could be those who wish to feel upon
the earth. The dead water will croak its song of delight which could be the tendencies of
human towards self-destruction.

In this poem yi-tuo seems to be suggesting that there might be some beauty in
ugliness, and asking if all dead things are truly hopeless. Because of the speaker
attention to the detail the poem provides a useful overview of the topic the dead
water.

HENERAL LUNA MOVIE REVIEW

"Heneral Luna" tells us a more detailed account of the life of one of the revolutionary
heroes we learn about in school, yet know practically nothing about -- Gen. Antonio
Luna. Practically all we know about him is that he had a very bad temper which gained
him a lot of enemies, eventually leading to his assassination. Aside from telling us
specific situations where this legendary temper flared up, we also get to meet him more
intimately as a leader, a soldier, as a son and as a man.

Even from his intense penetrating gaze and formidable mustache in the poster alone,
you already know John Arcilla will be excellent in this film. His comic timing was
impeccable. It was a most vibrant performance of a most vivid man, making him really
loom larger than life. He was over-the-top in his explosiveness, just the way Tarog
wanted him to be. The way he was built up, we were ready for that climactic
assassination scene, however outrageous the savagery.

Mon Confiado was a picture of ironic calm as President Emilio Aguinaldo. The more
movies we watch about the revolution certainly brings up more and more questions
about the controversial Aguinaldo. Nonie Buencamino was so slimy as his treacherous
surname-sake Felipe Buencamino. That nonchalant look on Lorenz Martinez face was
so hateful as he essayed the role of the equally haughty Gen. Tomas Mascardo.

It was also such a casting risk and surprise to put known comedians in such key roles,
like Epy Quizon as Apolinario Mabini, Leo Martinez as Pedro Paterno and Ketchup
Eusebio as the vengeful Capt. Pedro Janolino. I must admit their presence can be
distracting in certain dramatic moments, particularly Eusebio. Or maybe that was their
purpose -- to balance out the severe seriousness of those scenes.

You immediately upfront that the filmmakers were aiming high for this film. The initial
introductory texts were written in English, signifying intentions for this film to make the
rounds of foreign film festivals. (I read that there were even certain reels with English
subtitles shown in some more upscale cinemas.) The presence of disclaimers stating
that this is a work of fiction inspired by fact could somehow raise an uneasy question as
to how much fiction was in there mixed among the facts.

This film will also grab you with its gorgeous cinematography. The images on the big
screen had such vivid colors and innovative camera angles. The period production
design and the costume design were meticulous in detail. During a beautifully-edited
flashback sequence, there was a stylized scene about Rizal's execution that was so
uniquely and hauntingly rendered. There are most gruesome and graphic special effects
showing the violent brutality of warfare which will shock you.

The historical storytelling was very clear, exciting and engaging from beginning to end,
with a fresh graphic novel feel to it. Humor was such an unexpected yet integral element
of the script, from those crisp off- color expletives of Luna to those sarcastic side
comments of Lt. Rusca (Archie Alemania) and many more in between of different
shades. The patriotic sentiments were very poetically-written, but the way they were
delivered here felt sincere. They did not sound preachy or cheesy, like when such lines
were mouthed by Robin Padilla in "Bonifacio" or Jeorge E.R. Ejército in "El Presidente".

Just like a Marvel film, there was an extra scene in the middle of the closing credits,
suggesting a next film featuring Paulo Avelino as Gen. Gregorio del Pilar. There was
also a brief cameo appearance of Benjamin Alves as a young Manuel L. Quezon,
hinting at a possible trilogy. This is a very exciting plan indeed which we all hope will
materialize given the success of "Heneral Luna".

I hear this is also under consideration of being submitted for Oscar consideration, and I
support that campaign. The screening I caught today was a full-house despite being
1:30 in the afternoon on a weekday. It was really gratifying to see a quality Filipino film
have commercial success even if it was not an inane comedy or "kilig" teen flick with
box-office stars in the cast.

Kudos to Artikulo Uno Productions and director-film editor-musical scorer Jerrold Tarog
for coming up with what may just be the best, certainly the most audacious, Filipino film
released this year to date. Like Gen. Luna, this film leads a mad charge on horseback
with a raised fist against Filipinos who say they love their country yet look out for their
personal interests first. Let's hope this strong message hits its targets. 9/10.

Review: 'Heneral Luna' shows human side of hero

Rose Carmelle Lacuata, ABS-CBNnews.com
Posted at Sep 06 2015 05:12 PM | Updated as of Sep 07 2015 01:12 AM

The Philippines has countless films about national hero, Jose Rizal, and in recent years,
movies about Andres Bonifacio have also started catching up in number.

The problem with films, however, is that they tend to leave viewers confused on whether
the scenes showed on film happened in real life. Some directors also tend to focus too
much on artistic license, rather than on historical truth.

Enter Jerold Tarog and his film, "Heneral Luna." If Tarog's name sounds familiar, it's
because he was named Best Director in Cinemalaya Directors Showcase in 2013 for his
film, "Sana Dati." He is also known for two other films, "Confessional" and
"Mangatyanan," which, together with Sana Dati, completes his Camera Trilogy.

The film focuses on General Antonio Luna, the brother of the famous artist Juan Luna.
The younger Luna is known for his bad temper, an aspect of his personality that was
beautifully captured in "Heneral Luna."

Set during the Philippine-American war, "Heneral Luna" showed different aspects of the
country's history that is rarely shown in other local films in this genre. Tarog did not
hesitate to show the flaws in Luna's personality. Luna can be heard spewing curse
words all throughout the film as he tried to win against the Americans.

Interspersed with Luna's tough personality is his determination to take back the
country's independence, to the point of pushing almost everyone against him.

Although it is common knowledge that Luna died in the hands of fellow Filipinos, seeing
it in action and in the big screen will make the viewers feel bad for Luna.
Of course, any film will not be as successful without the acting prowess of its actors.
John Arcilla is perfect for his role as the short-tempered Luna. His acting is
complemented by Mon Confiado's superb portrayal as Emilio Aguinaldo.

Arcila and Confiado are joined by Epy Quizon, Joem Bascon, Archie Alemania, Aaron
Villaflor, Nonie Buencamino, Ronnie Lazaro, Ketchup Eusebio, Paolo Avelino and
Mylene Dizon, among others.

As soon as the film starts, Tarog warns viewers that he used his artistic license to alter
series of events depicted in the film. Despite this, the film stuck as close as possible to
historical facts, as seen in the details in the film.

One of the most unforgettable scenes in the film is Luna's death, which was depicted as
close to the actual event as possible. Watching what happened to Luna may make one
lose his or her faith in humanity, or in his or her fellow Filipinos, at the least.

Aside from his death, the film was also able to depict Luna as normal as possible. He is
a man who curses, a man who loses his temper over small things, a man who loves, a
brother, a son, a musician, and most importantly, a great leader who was not afraid to
use violence to get what he wants.

Arcilla's acting is also a big factor, enough to make one think that the film may not be as
effective had a different actor played the role. But then again, most of the actors were
trained in independent films where they are asked to go out of their comfort zones.

Brutal and tragic, yet eye-opening, "Heneral Luna" may well be one of the few films that
was able to combine both history and art, without sacrificing anything.

The film does not aim to change one's view on heroes, or to replace Rizal and Bonifacio
in the Filipino consciousness. Rather, its simple goal is to share a lesser known hero's
story, and to make Filipinos realize that heroes are human, too.

Epic movie shows how the Revolution assassinated ‘Heneral

Luna’
By: Lito B. Zulueta; Arts and Books subsection editor
Philippine Daily Inquirer / 07:10 PM September 07, 2015

By focusing on arguably the most rugged—and therefore the most dynamic—figure of

the Philippine war against the American invaders, Jerrold Tarog’s “Heneral Luna”
revives the historical action movie and in effect, revitalizes two dormant genres—the
action film and more important, the historical film.

“El Vibora,” which is actually a film adaptation of the Tagalog “komiks” novel
mythologizing the life and exploits of the Filipino general Artemio Ricarte, whom Luna
succeeded as commanding general of the Philippine Army, was a hit in the early 1970’s,
which, extending from the 1960’s, perhaps constituted the golden era of Philippine
action movies.

“Heneral Luna” is hardly an all-out action movie like “El Vibora,” but its battle scenes are
well-choreographed and engagingly photographed. The advances on film technology
have been fully exploited by Tarog, an all-around filmmaker, in the service of the
historical action movie.

His technical facility and viewer-friendly approach (Tarog’s romance movie, “Sana
Dati,” won the Cinemalaya Directors Showcase for best picture and best director in
2013 over more “serious” movies by very senior directors) have enabled him to revive
the fortunes as well of the historical movie.

Financed by a group led by businessman Fernando Ortigas, “Heneral Luna” is superbly

made; the camera works are among the most impressive of late in a Philippine movie.
The production design and art direction are topnotch.

The opening scene has Luna boasting that his master painter brother, Juan who else,
had helped him design the uniform of the nascent Philippine Army; and the movie later
makes references to Juan Luna’s “Le Parisienne,” in telling the life of the Filipino
expatriates and Propaganda Movement in Europe, and of course, in a very stark
fashion toward the end, to “Spoliarium,” in which the assassinated bodies of the general
and his aide, were herded like the vanquished gladiators in the famous mural that now
graces the National Museum. And of course, the all-star cast is first-rate, with John
Arcilla in the career-defining role of “El Heneral.”

It helps that the subject matter is an “action man” in the most literal sense of the term.
Movies on Filipino patriots have been either frozen in time—fossilized and even
desiccated –because of their subject matter’s “contemplative” character (the intellectual
Rizal) or their cliché heroics-cum-hysterics (Bonifacio and his monument-al Cry of
Pugad Lawin). But with Antonio Luna, Filipino audiences get both an intellectual (Luna
was a scientist and poet) and a man of action (he was a marksman and fencer and
studied military tactics in Europe).

Moreover, Luna was a far cry from the tale of Philippine heroics: he won battles against
the vastly superior Americans and was not a loser, unlike Bonifacio and Aguinaldo and
perhaps much of the Philippine pantheon of heroes.

Of course, “Heneral Luna” is an action movie with significant content, even a distressing
and depressing content. Weaving both fact and fiction, the screenplay (by E.A. Rocha
and Henry Francia with Tarrog) plumbs one of Philippine history’s greatest mysteries:
the assassination of Luna. The result is a compelling tale of political intrigue and even
conspiracy.

A tragic hero in the most literal sense of the term because of his brilliance, hubris and
tragic flaw (his arrogance and inflexibility), Antonio Luna appears the hapless victim of
the shallow personality orientation of much of Philippine politics and government.
Perhaps even worse, he’s the victim of the damaged culture of the Filipinos—their lack
of discipline, their incapacity to rise beyond filial, feudal, regional, parochial interests,
their emotionalism and extreme sensitivity that make them harbor deadly grudges for
the pettiest criticism or slightest slight, and the historic unprofessionalism and
opportunism of their military and police officer corps.

Above all, Luna was the victim of the ultra-nationalism that has bedevilled our study of
Philippine history and made us apes and parrots of the Anglo-American yarn of “la
leyenda negra.” Luna was a reformist who did not believe in the Philippine revolution or
at least like Rizal, believed the Filipinos were not yet prepared for independence from
Spain, and like Rizal much later, sided with Spain in the war with North America, and
eventually with the Filipino revolutionaries in the defense against the invasion. It has
been repeated no end that Luna’s is again one tired proof that the revolution devours its
own children. This is not true. The revolution did not devour Luna: El Heneral was
assassinated by the revolution.

'Heneral Luna': Film Review

10:35 AM PDT 10/12/2015 by Clarence Tsui

Jerrold Tarog’s historical drama about a military commander's struggle for

independence is the Philippines' submission for the best foreign language film
Oscar next year.
Paying tribute to a heroic military commander spearheading the Philippine struggle for
nationhood at the end of the 19th century, Heneral Luna is a sturdy, stirring if perhaps
sometimes simplistic historical epic about bravery and treachery in a country at war.
Based on the final years of Antonio Luna, a European-educated scientist-turned-
soldier who was murdered by his rivals when he was just 32, Jerrold Tarog’s big-
budget blockbuster has generated immense buzz in the Philippines. Local audiences
have warmed to John Arcilla’s high-octane turn as Luna and also how his story mirrors
the chaos of contemporary Philippine politics.
A hearts-and-minds piece serving a primer in the Southeast Asian nation’s history and
two hours of relentless swashbuckling drama, Heneral Luna has now been selected as
the country’s submission for the Best Foreign Language Film Oscar next year. While the
film does thrive on some universal truths about the futility of ideals in politics, its appeal
beyond the Philippines and its global diaspora might be limited. Meanwhile, its
mainstream production values — an achievement in itself at home, given its standing as
a production independent from the local major studios — might hinder its fortune on a
festival circuit seeking either genre-benders like that of Erik Matti’s, or grittier fare from
critical darlings like Lav Diaz, Adolfo Alix Jr. or Jun Robles Lana.
Tarog’s mission in reconstructing his country’s national narrative is pretty obvious, given
the way he begins the film with an on-screen text stating how "bigger truths about the
Filipino nation" could only be broached by mixing reality and fiction. His pedagogical
objectives are manifested in the film’s framing device of Joven (Arron Villaflor), a
fictional character whose name is Spanish — the lingua franca in colonial Philippines in
the 19th century — for "young man." Heneral Luna is meant to be this generic
bespectacled journalist’s observations of the life and death of a national hero. He begins
the film listening to Luna recalling his rise to power — the recollections visualized as a
long flashback — while he then gets to witness the general in action, during his final
battles against foreign forces and then adversaries within his own ranks.

Shunning the inconvenient truths of Luna’s early-life brushes with politics — he started
out advocating political reforms rather than outright revolution — the film begins in 1898,
when he has already delved headlong into the armed struggle and is the commander of
the Philippine Republican Army. By then, the U.S. military have already defeated
Spanish colonialists and readying themselves to annex the Asian archipelago, and Luna
is busy steering the independence movement towards a direct confrontation with a
superpower aiming to gain a toehold in Asia.

His boldness contrasts sharply with the meek, reconciliatory voices which dominate the
movement. While Luna is constantly at loggerheads with the former colonial-era
apparatchiks who have reinvented themselves as pro-independence leaders, his
biggest adversary here is actually the movement’s leader Emilio Aguinaldo (Mon
Confiado). While Luna is shown living and working alongside his soldiers and talks his
talk of the need to put country before family and everything else, Aguinaldo operates
behind a neat desk — an indecisive man under the sway of his backers, his cronies and
even his mother.
This is a man who has previous experience killing off his dissenting comrades, as in the
case of the execution of rebelling commander Andres Bonifacio, a brutal murder
glimpsed in a brief flashback, and serving as the harbinger of things to come. With
Luna’s demise very much predestined, Tarog’s film plays out a whirlwind j’accuse in
which a warrior defies his double-dealing detractors, rages against the dying light and
lurches towards a grisly end.
And the film hardly strays off message: Luna’s lover, Isabel (a fictional amalgamation of
the general’s many partners, and played here by Mylene Dizon), turns out to be as
audacious and patriotic. After Luna’s laments in bed about war being "a cross I have to
bear," Isabel — who also happens to be a leader of the local Red Cross chapter —
ends their relationship, proclaiming their respective public duties as more important than
their clandestine affair.
Heneral Luna does have its lighter moments, such as the general’s near-slapstick
attempt to commandeer a train for his soldiers or his gallows humor while trapped in the
trenches. But comic relief is rare in this bulldozing epic about a selfless patriot in a
dangerous age, and the film is filled with scenes and dialogue highlighting Luna’s vision
of his country being free from external domination (namely the US, seen here
butchering and bayoneting locals with impunity) and internal division (as Luna enforces
standard-issue uniforms to rein in clan-building commanders).
While the odd historical anachronism does mar the film — such as Woodrow Wilson’s
“manifest destiny” speech from 1920 being used to augment the argument of U.S.
expansion in the 1890s — the message here is certainly loud and clear. Charging
onwards unflinchingly, Heneral Luna trades in as little subtlety as its titular hero does.