Tags
film, film criticism, film review, Heneral Luna, history, independent film, Jerrold Tarog, Joem Bascon, John Arcilla, Mon Confiado, Movie review, Mylene Dizon, philippine cinema, philippines
by Heinrich Domingo
We are all story-tellers meddling with history. Our reading of the past is as personal as our preference of what is good and bad. The makers of Heneral Luna boldly write history from their own perspective without question or doubt. Banking on ingenious script, charismatic humor, and chic cinematography, the movie stomps its feet hard and readily marches forward.
The movie starts with a caveat – not every frame you see happened in reality. It allowed creativity in the plot in the hope that life lessons can be delivered. Here, we see a warning for any alterations on the Philippine history. It is a premonition for what to expect in the development of the storyline.
Heneral Luna begins with a contextualization of the flow of events. Introductions are given to characters integral in the narrative. Beside their living busts are their descriptions. The film willingly babysits the ignorant audience who might be unfamiliar with history. It goes on in presenting historical figures that we just read in textbooks. In areas where historical references are lacking, the film intelligently fills the void. It is where bold claims were made on the personalities of Emilio Aguinaldo, Apolinario Mabini, Juan and Antonio Luna, and even Douglas McArthur.
Taking a leaf from the pages of Ambeth Ocampo’s writings, the film then humanizes Antonio Luna. They present him as a strong-willed military genius often accused of lunacy. His actions are often absurd beautifully embodied by John Arcilla. This is supported by equally notable performances from other casts – Mon Confiado, Mylene Dizon, and Joem Bascon to name a few.
Cinematography provided a consistent thematic feel throughout the movie. This is accompanied by a well-thought production design. Details are put into consideration and are often hints on the deeper meaning of the story. One cannot simply miss the recurring allusions to Juan Luna’s paintings. In general, Heneral Luna sends a visual message that is chic. It is different from the crude style of many independent films.
The effectiveness of the script came not as a surprise as the screenplay has previously won an award. The exchange of line was just right. Humor inserted in various scenes can tickle the funny bone of the Filipino audience. Yet, in an attempt to please its apparent audience choice, the film has to advance its humor to slapstick comedy. Moviegoers are rewarded with ‘joyful’ soundtrack in the background coupled with an over-the-top acting that would ensure full blast laughter from the crowd. If this is ineffective in engaging the public, what could be?
These little ‘adjustments’ put Heneral Luna under the scrutiny of academic and scholar viewers. For purists, romanticizing heroism could be as dangerous as not presenting it at all. Being meddlers of history, the filmmakers have already played with a piece that is considered by many as holy. Although, the film has repeatedly given cautions on the historical accuracy of the narrative, it is highly interesting to look at the reception of these historians.
There will be criticisms and disappointments from people in the academe, but the film, from the beginning, is certain of its audience. It is a work that intends to draw on closer to the public the once aloof image of our heroes. The Ilustrados. The wealthy. The few. Common Filipino folks cannot relate to these. As a result, the film’s treatment is inclusive. Through common traits such emotional outbursts, betrayal, and forwarding personal interests, the viewers can go home with a personal piece from their national hero. With this objective, Heneral Luna can claim its success.
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Do you agree with our review? Share us your thoughts through putting comments below. Cinephiles unite!
Cinetactic 
“For purists, romanticizing heroism could be as dangerous as not presenting it at all.”
And isn’t that a shame? At least in recognizing a thing, even misrecognizing it, we have the material with which to build a better understanding over time and consideration. Without that material there at all, there is the risk of loss, and that’s far worse.
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As I opened this link, I was hoping for an academic critique of what were the historical inaccuracies of the film. I am desperate in looking for one, precisely because I want to be enlightened. I would not have an inkling of this interest at all, were it not for the brilliant film that was Heneral Luna. Hopefully, these “purists” and members of the “elite academe” could guide the public as to what history truly was, not with intent to downplay the movie, but with intent to share the wealth of history.
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Perhaps another Heneral Luna film from a different perspective should be in order.
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Historical Films should not romanticize and over-gloss details especially since history is the foundation of a nation; romanticizing it in order to garner huge profit is just an act of gross disrespect to the medium. The true artist will find a way to deliver a story that is entertaining but informative as well. But a big problem lies in history: perspectives vary, the truth is often a synthesis of two opposing views, so my suggestion: they should just stop doing it. It’s not helping anyone.
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You are right, perspectives vary. This is already a truism. Consumers of the medium should always think of historical films, books, or any other historical narrative vis-à-vis the people behind their creation. Heneral Luna (2015) is only one among many perspectives that may or may not be able to define or uncover ‘true’ history. It is the viewers’ responsibility to take every piece of historical media with a grain of salt.
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The rise and fall of antonio luna ni Dr. Vivencio jose ang primary source material ng pelikula.
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The rise and fall of amtonio luna ni Dr. Vivencio jose ang primary source ng movie.
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I would like to know sir what you thought of as little adjustments and historical inaccuracies which made you say that the makers of Heneral Luna meddled with history, if it’s okay.
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We may start at the film’s disclaimer that not everything happened in real life. Isabel, for one, is a figment of the imagination of the film creators.
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Hello! Just some engagement: Who do you think is this audience which the film is “certain” of having? I am guessing they are neither the academics nor the scholars who may have a lot more to say about the film, mostly criticisms or questions, productive or unproductive ones. So: the post is referring maybe to the ‘masses’ as the film’s audience, the “Common Filipino,” as you put it? In a way, I agree with this, first, the subtle claim that the film’s intended audience is less the scholars than the ‘Common Filipino,’ and second, the latent bifurcation of the ‘scholar’ and the ‘common’ and that with regard to the former, the film “can claim its success.” But should we not interrogate this implicit differentiation between the academics and scholars and the “common” people? and from there, then question as well the possibly ensuing formulation that these two different ‘types’ of audience might see the film differently. The ‘scholars’ will tend to criticize the film as part of their intellectualization, more of themselves than the text maybe; pointing out its gaps and achievements etc. On the contrary, the ‘average’ viewers will mostly be mindless in their reception of the film.
I wholeheartedly agree that one of Heneral Luna’s biggest successes is capturing a big audience and enabling them to “go home with a personal piece from their national hero.” But after the viewing of the film should come the exchange of insights about the many issues the film raises and implicates — not just about our country’s history but also about artistic production, the way we react to the film as a reflection of our ‘paternalism’ as one review puts it etc — and this is something scholars and common alike can productively participate. 🙂
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