GROUP 3

NARCISO, RANCHIE D.
MAJAN, LARS DANIELLE
AVILA, EMIL B.
GONZALES, MARGAUX G.
ROMASANTA, JANSEN EMMANUEL S.

RIZAL’S LIFE AND WORKS

GEM 14

ACTIVITY 3: FILM REVIEW

INSTRUCTION: Write a review about Eddie Tomer’s Ganito Kami Noon, Paano
Kayo Ngayon?

Guide Questions:

1. Describe the 19th century Philippines as represented in the film. How does the film
expose nationalism and colonialism in the Philippines? Filipino women and identity?

2. How did the film represent the 19th century Philippines?

3. What is the main argument/question that the film tries to answer?

4. What did you realize after watching the movie?

For your reflection: How did the 19th century economic, political, and socio-cultural
changes affect the ideals of Jose Rizal?
 REVIEW

The film, “Ganito Kami Noon, Paano Kayo Ngayon?” by Eddie Romero,
presented the state of the Filipino independence during the Spanish Colonial Period up
to the American Colonial period. Although the film was quite dragging at times, It
was able to tackle important but sensitive topics in a very creative, comedic and
symbolic manner that barely left an opportunity for boredom; these topics include the
maltreatment of the Spaniards on the Filipinos, the conflict between the rich and the
poor, the ignorance or lack of education of the Filipinos in the provinces during those
years, and most importantly, the varying definition of the word “Filipino.”
It was shown that the priest were powerful that time for they have close
connections with the Spanish government as well as they have enough wealth.
Filipinos were living in fear because of the cruelty of the Spaniards that is why, some
of them were living in mountainous area to hide themselves. the film has really
interpreted the situation of the Philippines during the 19th century. Slavery is very
evident as well as abuse of authority was there. Being against with the government is
like a suicidal act that is why, revolutionary groups are very careful with every actions
that they are planning to do. On the other hand, being friend with the priest and the
government is an advantage for they could help you in trouble.
The film depicts the transition from the Spanish government to the Americans.
It consistently contains and depicts the life of the Filipinos under the command of
their colonizers. It has obviously showed the inferiority of the Filipinos in their own
region, which has made the definition of the national identity of the Filipinos
mysterious and vague. The question of who is the Filipino, which Kulas usually
asked, has become an eye-opener for us Filipinos , particularly now that more and
more economic advances are taking place and, as a known third world country, we
seem to be left behind, resulting in Filipinos appreciating the advances of a country
other than their own. The film also includes a war that could represent the current
real-life feuds that are present in our country. These feuds can include interpersonal or
intrapersonal conflict. It also reflects disparities between provincial and city lifestyles,
social standing and affection or love in general. As far as the technicalities are
concerned, the light and musical score is highly compatible with the Spanish
colonization setting, which then provides its viewers with experience in its setting.
The entire film relayed so many moral lessons, but at times it gave us a dragging
feeling.
 The film made me realize that being a Filipino does not only mean the physical
ties we have with the land, or with our culture, or even with our families, it also means
the responsibility that we intrisically accept and implement as the protectors of this
land, and the protectors of our fellow men. Being able to fight a grander cause, fight
and live for the betterment of our country, and to preserve the identity and the dignity
that our ancestors have fought for, and that is to be a Filipinos

REFLECTION

The film, “Ganito Kami Noon, Paano Kayo Ngayon?” by Eddie Romero,
presented the state of the Filipino independence during the Spanish Colonial Period up
to the American Colonial period. Although the film was quite dragging at times, It
was able to tackle important but sensitive topics in a very creative, comedic and
symbolic manner that barely left an opportunity for boredom; these topics include the
maltreatment of the Spaniards on the Filipinos, the conflict between the rich and the
poor, the ignorance or lack of education of the Filipinos in the provinces during those
years, and most importantly, the varying definition of the word “Filipino.”
We didn’t expect that Ganito Kami Noon, Paano Kayo Ngayon?, a film made a
few years before I was born and set in the late 19th century, will jolt and perk me up. I
thought it would be a feat if I didn’t doze off 10 minutes after the opening credits. As
it turned out, I was wrong – and I’m glad I was. Ganito Kami Noon, Paano Kayo
Ngayon? tells the story of Nicolas "Kulas" Ocampo (played by Christopher de Leon),
a naive Tagalog farmer, and the extraordinary circumstances that lead him to discover
himself. The film’s main premise is the question "Who is the Filipino?" The answer
seems to be as unclear then as it is now. The film starts with Kulas leaving his town of
Sta. Clara. He meets a friar who mistakes him for a tulisan. But upon realizing that he
is well-meaning and harmless, the friar asks him to search for his son Miong and bring
the boy to Manila. Kulas obliges and looks for the boy. Along the way he meets a
gamut of characters, among them Diding, his love; Lim, the Chinese merchant who
becomes his friend; Tibor, a lawyer. In the end, Kulas discovers his own identity – but
not after stripping himself of everything: his home, family and even the love of his
life. If the characters are symbolic of the Filipinos in the midst of the Filipino-
Spanish-American war, it can be said that not much has changed. Kulas is the typical
Filipino – passive, resilient, someone who accepts whatever comes his way. Isn’t
bahala na our mantra? But in the right circumstance, the Pinoy consciousness is stirred
and he is forced to take charge and stand up for his and his children’s sake. We have
seen this in history – it took us three centuries of oppression before we stood up
against the Spaniards. During the Martial Law years, we bore the sufferings and abuse
until Ninoy Aquino was killed at the tarmac. But then again it took us three more
years to finally kick the dictator out of Malacanang. Recently, we gave two and a half
years for an actor to prove his worth as president but not long enough to let him bring
our country to the pits. We went to EDSA and stood up for what is right for us as a
nation. We are passive, yes, but only until we realize we are being short-changed as a
people. Another interesting character is Diding. She is the picture of an ambitious
Filipina who would do everything to reach her dreams. She is empowered, an
antithesis to the Maria Clara image prevalent during that period in our history. In one
scene, she tells Kulas, "Kung hindi ka matutong lumamon, ikaw ang lalamunin." She
surely does know how to make "lamon" by seizing every opportunity that comes her
way. It’s ironic how certain characters who regard themselves as not Filipino turn out
to be real Pinoys. The Chinese merchant Lim tells Kulas he is not Filipino. "Intsik
ako," he says. But he helps Kulas, saves him, and eventually gives up his life not only
for his friend but also for the Philippines – and he isn’t even aware of it. Tibor, on the
other hand, regards himself as a "real" Filipino, having been educated as one and – by
interpolation – "worthy" to be one. But don’t we see the same Tibor today? The
ordinary Juan does his rightful duty as a Filipino – pays his taxes on time, follows
traffic rules, upholds the sanctity of his vote. The "educated-and therefore-
enlightened" folk, on the other hand, accumulate wealth via corruption, disregard
traffic rules, and brandish themselves as "saviors." The friar’s son Miong (sounds
contemporary, doesn’t it?) is a speck of light in an utterly gloomy backdrop. He
develops a deep relationship with Kulas whom he feels he is closer to than his
biological father. Miong is the Filipino child as Kulas is the parent. National Artist for
Film and this movie’s director Eddie Romero presented Ganito... in such an
entertaining manner it doesn‘t come across as "heavy" given the historical setting. The
film made me reassess the way I see things and live as a Filipino. The title itself made
me think about the way we live our lives as Pinoys in the new millennium. Apart from
political and economic instability, military adventurism, unemployment, the budget
cut on education, environmental degradation, traffic jams and flash floods,
proliferation of bold films/bold stars, paano na nga ba tayo ngayon?