"An eye-opening biopic of a less understood historical
icon.”
Lunacy and treachery are the secret
ingredients of Heneral Luna, a
cinematic masterpiece from Filipino director Jerrold Tarog and the Philippines’
official entry for the Best Foreign Language Film at the 88th Academy Awards. Set during the Philippine-American war (c. 1898), this biopic film has
a two-pronged mission: to introduce the pathos and strifes of a lesser known
yet equally significant historical figure, and to depict the pains and ill
consequences of self-sabotaging deeply-rooted cultural and political
idiosyncrasies.
General Antonion Luna (John Arcilla), the
younger brother of famed artist Juan Luna, is a gifted military strategist
during the Aguinaldo regime. When the Americans beckon to occupy the
Philippines right after the Spaniards take leave, a heated debate breaks off
among the cabinet members of President Emilio Aguinaldo (Mon Confiado). While Prime Minister Apolinario Mabini (Epy Quizon) and Gen. Luna seek independence for the country, Felipe Buencamino
(Nonie Buencamino) and Pedro Paterno (Leo Martinez)
takes the economist’s point of view and advocate compromise with the
foreigners. Determined and hot-headed, Gen.Luna pushes his way for a
pre-emptive strike but only ends up frustrated and betrayed by his own
countrymen.
In mainstream media filled with romantic
comedies and family dramas, Heneral Luna
is a refreshing, exciting and industry-defining sight. It is a thing to behold
because it is not every day (or every year) that the Philippines produce films
with deep meaning and historical significance. The movie also strays away
from conventional Filipino war hero films. Instead of purely romanticizing the
protag, it unmasks his demons and humanize him, enabling audience to see the
elements that pulls his personhood from all directions, making the idol more
relatable and closer to reality. The present film is fearless in portraying
Luna’s personality, including his flaws and uncontrollable temper. He is quick
to respond, careless with his words and actions, and dauntless with
materializing his plans and principles.
In some ways, Heneral Luna is reminiscent of Downfall,
Germany’s 2004 entry for the Best Foreign Language Film at the Oscars which
made it to the final five. The German film depicts the final ten days of
Adolf Hitler’s reign over Germany in 1945. Similarly, the lead figures verge on
insanity as pressure of impending doom towers over them. For Luna, such madness
displays in his suicide charge against an American troop, threatening
disobedient soldiers and humiliating their captains, demanding thousands of
farmers to help build trenches, sequestering a train, lashing at a vendor selling
live chickens, and getting into an uncalled scuffle with a fellow general. They are all
shocking revelations, but such passion steams from the hero’s unequalled
patriotism and determination to free the country. His nationalism is clear and
the film is quite redundant in portraying it. Yet, in little snippets
distributed here and there, we also catch a glimpse of more positive aspects of the man –
his being a brother, a son, a musician, a comedian, and a lover.
The movie is also bold in presenting some
sad and ugly truths about the Filipino culture. For one, a general leaves his
post to attend a feast. When Luna asks him to return, he bluntly declines and
his refusal piques the commanding general, resulting to a pointless near-bloody
confrontation. This mirrors how Filipinos mindlessly leave his seat to
celebrate a festivity and assume high honor and respectability in the gala.
Humor is prevalent in the feature, a trait that makes the nation smile through
any tragedy. These comic interludes are welcome, preventing the film from being
overserious and drab. Yet, jokes are sometimes untimed, awkward and corny,
making the film less forceful and plausible in delivering its message. Other
satirical representations of the Filipino culture are men pissing everywhere,
soldiers riding a cart while crossing a shallow river, and the nastiest of all
is robbing the dead or murdered in the public eye.
Furthermore, Luna’s death is quite overdone,
coming across as overly-dramatized and sentimental. He was stabbed by his
fellow revolutionaries, gunned, hacked and finally shot in the head, blowing
his brains out, before he finally breathed his last. Not contented, some
soldiers rush to his dead body and further beat it with their axes. It is
vicious and totally perplexing. Where does such hatred and savagery come
from? What motivated such treacherous and despicable act? If this is purely the
writers’ interpretation (the film’s disclaimer states that the feature is a
product of both fact and fiction), then there must have been some exaggeration
in their imagination. But if this is reality, then it is a frightening buried
piece of history. In a heart-breaking moment, captured like Juan Luna’s famous Spolarium, the bodies of the brave
general and his trusted right-hand man are dragged along the bloody pavement.
Ironically, the same people who killed him also took his body to its final
resting place. His death was never given justice as the people behind his
assassination came up with moving and partisan alibis.
Some parts of the narrative are quite
clunky and farcical like the American troops halting their assault because it
is dinner time and a group of women laughing at their men counterparts who run
away from the battle. The movie starts with high energy and though it is
fast-paced, the dynamics is erratic and dramatic tension is unsteady as almost every frame repeats Luna’s burning patriotism.
Three actors stand out the most in this
heavily-casted film. Arcilla is outstanding and impressive playing the titular
role. He does his assignment and his solid delivery shows his committed
understanding of the character. Quizon registers strongly as Mabini and he
exudes believable authority, wisdom and willpower. Buencamino is a formidable
nemesis, playing a businessman whose practical approach to sovereignty is
tinged with selfish desires. Aguinaldo is quite underwritten and pushed aside as
mere observer than a country’s respected leader. Confiado also underplayed the
character with his mostly silent and self-absorbing moods.
Heneral
Luna is sad and tragic, a brutally honest portrayal
of an iconic national hero. It flawlessly merges history and art, possibly
inspiring young Filipino filmmakers to produce quality features with highly-relevant
material and commercial value. Despite logical lapses in its narrative, it
successfully delivers it message. It has lingering effects but more political
and cultural than personal.
Production company:
Artikulo Uno Productions
Cast: John Arcilla,
Mon Confiado,
Epy Quizon, Joem
Bascon, Archie Alemania, Aaron Villaflor, Nonie Buencamino, Leo Martinez, Ronnie
Lazaro, Ketchup Eusebio, Paolo Avelino, Mylene Dizon
Director: Jerrold
Tarog
Screenwriters: E.A.
Rocha, Henry Hunt Francia, Jerrold Tarog
Producers: Daphne Chiu, Ria Limjap, Ericson Navarro, Fernando Ortigas, E.A. Rocha
Director of
photography: Pong Ignacio
Production
designer: Banjamin Padero, Carlo Tabije
Editor: Jerrold
Tarog
Music: Mikko Quizon
Visual effects: Jergens Correa, Jauhn Dablo, Rachelle Suficiencia
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