Republic of the Philippines

POLYTECHNIC UNIVERSITY OF THE PHILIPPINES

Sta. Mesa, Manila

Acode, An-Jhealyn P. Readings in Philippine History

BBTLEDHE 1-1 Prof. Jacinto Valila Jr.

Film Review in Heneral Luna and Macario Sakay

Heneral Luna

The Philippines' nomination for the outstanding foreign language film Oscars next
year is Jerrold Tarog's historical drama about a wartime commander's battle for
independence. Heneral Luna is a dramatic, inspiring, though often naïve historical epic
about heroism and treachery in a war-torn country, paying tribute to a renowned military
captain who led the Philippine battle for nationhood at the close of the nineteenth century.
Jerrold Tarog's big-budget picture, based on the final years of Antonio Luna, a European-
educated scientist-turned-soldier who was assassinated by his enemies when he was just
32, has piqued the curiosity of Filipinos. Local audiences have embraced John Arcilla's
excellent performance as Luna, including the way his narrative echoes current Philippine
politics.

Heneral Luna has been nominated as the country's full entry for the Oscar for Best
Foreign Language Film next year. It's a heart-and-minds work that serves as both a lesson
in the history of the Southeast Asian nation and two hours of nonstop swashbuckling drama.
While the film relies on fundamental principles regarding the folly of political ideals, its
popularity may be restricted beyond the Philippines and its international diaspora.
Meanwhile, its mainline production values — an achievement in and of themselves in the
Philippines, given its condition as a production independent of the major studios — may
hinder its chances at festivals looking for musical style like Erik Matti's or darker tone fare
from critical darlings like Lav Diaz, Adolfo Alix Jr., or Jun Robles Lana.

Tarog's purpose of recreating his country's national history is obvious from the
start, with an on-screen text saying that only by merging reality and fiction can "larger
truths about the Filipino nation" be discovered. Heneral Luna is meant to be this generic
bespectacled journalist's observations of a national hero's life and death, and his
pedagogical goals are portrayed in the film's rhetorical device of Joven (Arron Villaflor), a
fictitious character whose name is Spanish — the lingua franca in colonial Philippines in
the 19th century — for "young fellow," and who opens the film by listening to Luna
reminisce.

The film begins in 1898, when Luna has already entered the armed struggle and
is the commanding officer of the Philippine Republican Army, disregarding the
inconvenient facts of Luna's early-life brushes with politics — he started by advocating
political reforms rather than absolute revolution. The US military had fought Spanish
colonial powers and was prepared to seize the Asian archipelago at the time, while Luna
was focused with leading the independence fight into a direct conflict with a world power
wanting a presence in Asia.

His bravado contrasts sharply with the movement's mild, reconciliatory voices.
While Luna is constantly at conflict with former colonial apparatchiks who have reinvented
themselves as pro-independence politicians, the movement's leader, Emilio Aguinaldo, is
his most formidable rival (Mon Confiado). While Luna viewed living and working among
his men, teaching the value of putting country over family and anything else, Aguinaldo
is shown as an indecisive man influenced by his supporters, friends, and even his mother.

This is a guy with a history of assassinating his political opponents, as proven by

the horrible execution of rebel leader Andres Bonifacio, which was seen in a flashback
and served as a premonition of things to come. Tarog's image is a rage-filled accusation
in which a warrior opposes his double-dealing enemies, rages against the dim light, and
drifts towards a tragic climax, with Luna's doom all but guaranteed.
 Isabel (a fictitious combination of the general's previous companions, played here
by Mylene Dizon), Luna's sweetheart, proves to be just as bold and loyal as the general.
Isabel, who also seems to be the head of the local Red Cross chapter, cuts them off when
Luna laments in bed about war being "a cross I have to carry," claiming that their
respective public tasks are more important than their hidden romance.

The general's near-slapstick try to hijack a railway for his men, or his grim humor
when isolated within the trenches, are both terrific scenes in Heneral Luna. The film is full
of scenes and dialogue that highlight Luna's vision of his country becoming freed
from external domination (namely, the US, seen here butchering and bayonetting locals
with impunity) and internal division, but comedy relief is unusual during this bulldozing
epic a couple of selfless patriots in an exceedingly dangerous age (as Luna enforces
standard-issue uniforms to rein in clan-building commanders).

While the film has a few historical inaccuracies, such as using Woodrow Wilson's
"manifest destiny" speech from 1920 to buttress the case for US expansion in the 1890s,
the message is clear. Heneral Luna has the same lack of delicacy as its namesake hero,
rushing out unafraid.
 Macario Sakay

The film is tough to see since it takes place at a time when the Revolutionary Army
is no longer regarded as insurgents by Americans, but as robbers. By 1905, the early
treasons of 1899 had become self-perpetuating, with Filipinos obeying American
commands and wearing fresh green uniforms in American style, as well as erstwhile loyal
Filipinos who turned infiltrators. Once again, America demonstrates that if it cannot win
by force, it will employ the cheapest, most devious methods to bring down revolutionaries.
The American refute was only partially successful: the Katagalugan (Tagalog) Republic
was brought to an end by an exceedingly foolish dinner trap.

The plot of the film was loaded with thrilling and violent scenes reflecting historical
events. It creatively depicted the Philippines' tensions, devotion, and wrath against the
US. It's a low-res picture with adequate sound and effects. Julio Diaz, who portrayed
Macario Sakay, did an excellent job at portraying a wonderful hero. He had formidable
features that reflected Sakay's courage and bravery as he battled for the Philippines'
freedom. Furthermore, Julio Diaz's co-stars Tetchie Agbayani and Leopoldo Salcedo
made a distinct contribution to the film, which may be analogous to what happened in real
life. Despite the fact that it was filmed in the past, the productions, cinematography, and
formal techniques were all extremely realistic; however, due to the traumatic, violent, and
horrifying scenarios, it may be heartbreaking; however, as I watched this film, I became
more interested in our Philippine history. Overall, the video shed light on the Tagalog
Republic of the Philippines, something many Filipinos are ignorant of. Regardless of the
fact that the video quality is bad, it is amusing, eye-opening, and includes a vital message
that will make us wonder what and who a genuine Filipino is. When I saw Sakay (1993),
I am impressed by how well the film relied on public concerns to contribute to and elicit
strong feelings about what transpired during our country's liberation war. As a result, it is
a masterpiece exemplifying a true leader who lives for the Filipino people.