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Film Review: ‘Heneral Luna’

The Philppines' foreign-language Oscar hopeful is a rousing historical epic set during the Philippine-American War.

By Richard Kuipers

Richard Kuipers

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One of the most expensive and highest-grossing Filipino films of all time, “Heneral Luna” is a rousing, warts-and-all portrait of Gen. Antonio Luna, the brilliant and brusque strategist whose command of troops in the Philippine-American War (1899-1902) was cut short by betrayal from within his own ranks. Anchored by a charismatic central performance by John Arcilla (“Metro Manila”) and peppered with exciting action sequences, the pic has the all-around energy to overcome the odd moment of bumpy storytelling and prosaic dialogue. A worthy official submission in the foreign-language Oscar race and an entertaining history lesson for audiences everywhere, “Luna” reps an impressive achievement in large-scale filmmaking by prolific scripter-helmer-editor-composer Jerrold Tarog (“If Only,” 2007). Launched locally on Sept. 9, the pic grossed a whopping $5.3 million and has notched an impressive $200,000 on limited U.S. screens since Oct. 30.

It’s worth noting the film’s remarkable turnaround at the domestic box office. Initially released in 100 cinemas, “Heneral Luna” performed only modestly in its first week and was quickly withdrawn from more than half its screens. Following a spontaneous fan-led social-media campaign, audiences started turning up in droves, and the film was subsequently reinstalled in many theaters and went on to enjoy a highly successful nine-week engagement. Such a lengthy run is regarded as a minor miracle for a Filipino production, and Tarog has since announced plans to make another two films set during the same eventful era as “Heneral Luna.”

Announcing itself as “a work of fiction based on facts,” the pic is framed around a series of interviews granted by Luna to Jove Hernando (Arron Villaflor), a fictional newspaper journalist. Threaded into the narrative at well-judged moments, these lively conversations provide viewers with valuable insights into the general’s personality and assist greatly in keeping track of the story’s bulging inventory of characters and events. Much of Luna’s dialogue in these sections is squarely aimed at encouraging local audiences to ask questions about the evolution and identity of their nation, and to draw parallels between contemporary political events and those in Luna’s time.

A clear picture is immediately established of the state of affairs in the Philippines in late 1898. After more than 300 years, colonial ruler Spain has relinquished control and sold the islands to the U.S. for $20 million. Exactly where that leaves the newly self-declared First Philippines Republic and how it should respond to the first landing of U.S. troops on Filipino soil is hotly debated inside the shaky government of President Emilio Aguinaldo (Mon Confiado) and wheelchair-bound Prime Minister Apolinario Mabini (Epy Quizon).

It’s clear from the outset that “Heneral Luna” is a very different proposition from the majority of Filipino historical epics, which paint fawning portraits of the nation’s founding fathers. The rasping dialogue by Tarog and co-scripters Henry Francia and E.A. Rocha presents a government wracked by chaos, disunity and the readiness of key players to place personal interest ahead of the national interest by accepting U.S. domination without a fight.

When all this squabbling and bickering comes to the boil, Luna (Arcilla) is potently launched into the fray as a straight-talking, fiercely patriotic commander who cuts through everyone’s rhetoric and insists on pre-emptive strikes in order to save the fledgling nation. As he puts it: “I detest war, but I detest compromise more.” In the process of winning the argument Luna clashes fatefully with pro-compromise power brokers Pedro Paterno (Leo Martinez) and Felipe Buencamino. In a remarkable and highly effective piece of casting Buencamino is played by his direct descendant Nonie Buencamino, a highly regarded legit actor.

With the volatile political landscape well mapped out, “Heneral Luna” thunders into action. Given command of a motley collection of troops that could barely be called an army, Luna whips them into shape with inspirational speeches about nationhood and brilliant tactics that bring about several stunning victories on the battlefield. While paying full due to Luna’s military genius, Tarog does not shy from showing his weaknesses. Most glaring are his fanatical insistence on absolute obedience and moments when he lacks understanding and sympathy for peasants and farmers on whose land the war is being fought.

While following the traditional trajectory of a war movie, “Heneral Luna” is more fundamentally concerned with examining how internal rivalries proved the undoing of Luna and destroyed any chance of the Philippines gaining genuine and lasting independence. Tarog achieves the primary objective with distinction, but isn’t as successful when U.S. forces are center-frame; the momentum drops noticeably, and the dialogue between American characters including Gen. Arthur MacArthur Jr. (Miguel Faustmann) and Gen. Elwell Otis (Rocha) is frequently clunky and unconvincing. But the name of the game here is Gen. Antonio Luna, and for the overwhelming duration of its running time the film delivers on its promises.

Arcilla’s zesty performance brings full-blooded life to Luna’s reputation for inspiring both undying loyalty and enduring enmity. Surrounding him on the loyalty side of the equation are well-written and performed portraits of supporters including Gen. Jose Alejandrino (Alvin Anson), Col. Francisco Roman (Joem Bascon) and Capt. Jose Bernal (Alex Medina). On the opposite side of things, Ketchup Eusebio nails his portrayal of Capt. Pedro Janolino, a smarmy young officer whose refusal to obey Luna plays a critical role in the fortunes of the general and the war itself. Though given relatively little screen time, Mylene Dizon (“Aparisyon”) hits a winning note as Red Cross worker Isabel, a fictional amalgam of several women Luna was known to have been involved with.

A massive undertaking with approximately 100 speaking roles and a crew of 600, “Heneral Luna” impresses on all levels. Production design by Benjamin Padero and Carlo Tabije, art direction by Katrina P. Napigkit and costume design by Padero vividly bring to life an era that few viewers outside the Philippines will have seen on big or small screens.  Cinematographer Pong Ignacio confirms his rising-star status with gorgeous widescreen lensing of lush rural areas, artful compositions in sequences inside the corridors of power and fluid, exciting coverage of the many combat set-pieces. Tarog’s traditional orchestral score is big and brassy when the moment calls for it, and nicely restrained when quiet is required. A high standard of excellence is achieved in pyrotechnics, vfx work and all other technical areas.

Reviewed at Hawaii Film Festival (Spotlight on the Philippines), Nov. 15, 2015. MPAA Rating: R. Running time: 119 MIN.

• Production: (Philippines) A Quantum Films (in Philippines)/Abramorama (in U.S.) release of an Artikulo Uno production. (International sales: Artikulo Uno, Manila.) Produced by E.A. Rocha. Executive producer, Fernando Ortigas. Co-executive producers, Leo Martinez, Ting Nebrida.
• Crew: Directed by Jerrold Tarog. Screenplay, Henry Francia, E.A. Rocha, Tarog. Camera (color, widescreen, HD), Pong Ignacio; editor, Tarog; music, Tarog; production designers, Benjamin Padero, Carlo Tabije; art director, Katrina P. Napigkit; costume designer, Padero; sound (Dolby Digital), Mikko Quizon; sound designer, Hit Prods., visual effects supervisors, Jauhn Dablo, Gaspar Mangarin, Walter Monte, Llewyn Jalimao; visual effects, Blackburst; line producer, Daphne O. Chiu; associate producers, Ria Limjap, Paolo Ortigas; assistant director, Crisanto B. Aquino: casting, Jame Habac, Jr.
• With: John Arcilla, Arron Villaflor, Mon Confiado, Mylene Dizon, Nonie Buencamino, Lorenz Martinez, Joem Bascon, Alvin Anson, Alex Medina, Ketchup Eusebio, Art Acuna, Archie Alemania, Epy Quizon, Leo Martinez, Perla Bautista, Bing Pimentel, Miguel Faustmann. (Tagalog, English, Spanish dialogue)

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Review: ‘Heneral Luna’ Is a Patriotic Biopic That Aspires to Epicness

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John Arcilla as Antonio Luna in “Heneral Luna.”

By Ken Jaworowski

• Oct. 29, 2015

I’m only a little embarrassed at liking “ Heneral Luna ,” an audaciously manipulative movie that’s more involving than it should be. But really, when a film works this hard to rouse you, there’s no shame in just giving in.

A patriotic biopic that veers toward propaganda, “Heneral Luna” is about Antonio Luna, who in the late 1800s led the Philippine Revolutionary Army during the Philippine-American War. Early in the story he’s given command of the military. (“General Luna, it’s up to you now. This war is in your hands.”) Cue the sweeping orchestral music.

Battles are waged, speeches are made and foreign enemies soon become the least of Luna’s problems: Bureaucrats, cowards and other homegrown spoilsports continually try to sabotage his unconventional plans. “General Luna, you may be a military genius, but you do not understand politics,” one of those skeptics whines.

The film, directed by Jerrold Tarog, portrays the general as a Patton-esque figure, bucking authority and doubters, all for love of country. There’s frequent grandstanding and staring off into the distance as the movie aspires to epicness. Even Luna’s adversaries admire him. “He must be the bravest man I’ve ever seen or the looniest lunatic this side of Frisco!” an American proclaims after Luna single-handedly charges the front line. Under fire. With only a revolver. On horseback.

John Arcilla, as the general, remains gallant and charming despite appearing in nearly every scene to deliver exposition amid cheap-looking sets. Still, with so much energy and eagerness to please, it’s easy to be enthused. The makers of “Heneral Luna,” the Philippine entry for foreign language film for the coming Oscars, know their audience wants a hero, and they aren’t here to hold back.

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‘heneral luna’: film review.

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.

By Clarence Tsui

Clarence Tsui

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Paying tribute to a heroic military commander spearheading the Philippine struggle for nationhood at the end of the 19 th 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 .

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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 19 th 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.

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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.

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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.

Production companies: Artikulo Uno Productions

Cast: John Arcilla , Mon Confiado , Arron Villaflor , Mylene Dizon

Director: Jerrold Tarog

Screenwriter: Henry Hunt Francia , E.A. Rocha , Jerrold Tarog

Producers: E.A. Rocha

Executive producer: Fernando Ortigas , with Leo Martinez, Vicente Nebrida

Director of photography: Pong Ignacio

Production designer: Ben Padero

Costume designer: Carlo Tabije

Editor: Jerrold Tarog

Casting Director: Jaime Habac Jr .

Music: Jerrold Tarog

International Sales: Artikulo Uno Productions

In Tagalog and English

No rating, 118 minutes

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Heneral Luna

Amidst pacing problems, Heneral Luna   manages to tell a compelling story – allegorical and timely to present day – supported by a fantastic script, an impassioned score, and inspired cinematography.

At first glance, one might mistake Heneral Luna  as your run-of-the-mill historical biopic that showcases a hero of yore whose bravery and passion unite his people in the face of dastardly foreign invaders. Well, this is only partly correct. There are invaders, Heneral Luna ( John Arcilla )   is indeed fiercely brave and madly passionate, but there is no unity to be found amongst country men – only infighting, personal interests, and politicking.

Directed by Jerrold Tarog and with a script co-written by him,  Henry Hunt Francia , and  E.A. Rocha ; Heneral Luna  takes a different approach in telling the story of how we lost the battle and got occupied by the Americans. Taking cues from Oro, Plata, Mata;  the movie deliberately puts the colonialists in the periphery, making them merely a backdrop whose presence stirred the pot. The real focus here is the tension, the inner turmoil, that brewed in the ranks of our so-called Filipino founding fathers. Heneral Luna  is a tale of how a dissenting voice can get swept away and ultimately perish under a wave of egos and personal interest.

Carrying the weight of the story is the above stellar performance of John Arcilla in the title role of General Antonio Luna. Arcilla plays with the whole spectrum of emotions in his portrayal of the larger-than-life general. He is able to showcase the fierce, boisterous, and volatile man the general has been historically known to be, yet he is also able to flip the coin and show the passionate, sympathetic, and battle-weary softer side of the character. Here’s a man who rides head first screaming into battle just to rile up his troops’ morale, but at the same time he is a one who can share warm moments and some banter with his mother.  He is an antihero – the  Wolverine of the Filipino insurrection.

One prime example of just how dynamic Arcilla’s portrayal can be is during this one scene involving a chicken vendor. Delivering virtually the same line of dialogue on two separate moments, Arcilla is able to convey anger bordering on madness at first and compassion nuanced with frustration soon after. It is truly his performance that propels Heneral Luna  (and, sadly, his alone).

There isn’t much to be said about the rest of the cast of movie, which is a pity given that Heneral Luna assembles quite an ensemble. You’ve got names like Joem Bascon, Alex Medina, Mon Confiado, Nonie Buencamino, Mylene Dizon, and even Ronnie Lazaro; but sadly none of the other performances stand out. Not that there are any weak performances, it’s just that none are able to keep up with the gravitas of John Arcilla’s Luna. Mon Confiado’s Emilio Aguinaldo seems more like a spineless weakling who hides behind his cohorts rather than a respected political foil; while Ketchup Eusebio’s Capt. Janolino, the leader of Luna’s killers, feels too forced as a villain scorned by the titular general. The closest character who can keep up with Luna’s onscreen presence is his equally proud contemporary,  Heneral Mascardo (Lorenz Martinez) – whose refusal to give in to Luna provides a tension-filled back-and-forth sequence in the middle of the film. Unfortunately, because of some jagged pacing, tension such as is this is not consistent throughout the movie.

This erratic pacing is felt most during the first act of Heneral Luna – where things play out very much like an oral history. Used as plot device to serve as the audience’s perspective, Arron Villaflor portrays journalist, Joven Hernando, who is tasked to interview the general. This frame narrative leads to various snippets that feature Luna’s patriotism: from an expertly-shot rowdy meeting with Aguinaldo’s cabinet to earlier battles against the Americans. Oddly, these scenes just feel lacking in connective tissue. Its pacing is too quick to really tie the storytelling together and it doesn’t help either that some set pieces looked too clean and glossed over – lacking the grit and weariness you’d expect from a war movie. Couple this with efforts to add humor at some odd moments throughout the film, and you’ve got a trifecta that hinders the movie from fully immersing you.

Heneral Luna more than makes for these flaws though through its artistic components – such as its beautiful score, well-crafted cinematography, and, most especially, its fantastic rhythmic script.

Technically marvellous is the only way to describe the movie’s sound design – from Luna’s table banging overpowering the raucous in a cabinet meeting, to a guitar mini-concert midway the film, to the overall masterful score. You have to give it to effort put in by Jerrold Tarog, who not only directed the movie but also provided its music.

All sorts of appealing too is Heneral Luna ‘s cinematography. One scene you have to look out for is the flashback sequence to the general’s youth. This particular scene employs one long take, seamlessly moving from different sets that pass of as a childhood home, Europe, and other settings from different timelines. It is a visual spectacle, innovative and masterful in its execution.

Most notable though among the movie’s artistry is its script. Poetic yet conversational, Heneral Luna ‘s script is filled to the brim with flowery lines of dialogue as if lifted from a sonata. It’s not everyday that you get to hear lines as beautifully crafted as  “kailangan mong tumalon sa kawalan,” “digmaan ang iyong asawa, ako lamang ay iyong querida,”  and “ para kayong mga birhen na naniniwala sa pag-ibig ng puta.”   Here is a script so elegant that it can even make curse words sound so cultured, so tasteful.

Overall,  Heneral Luna  is not just a film but a wake up call driving the ever reminder that some things never change. Its message – we Filipinos are our own worse enemies, lacking in resolve and torn by self-interests. It is a story representative of not just our current and still chaotic political landscape but of who we are and what we can do but don’t. Though it may not be perfect in its execution, the film does its duty in leaving us with the question lingering “ Bayan o sarili? “

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8 thoughts on “ heneral luna ”.

• Pingback: 3 Reasons Why ‘Heneral Luna’ Is An Absolute Must-watch Film | penofpalaris
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I agree on what you’re writing about the pacing of the movie, BUT, i think it’s still understandable considering the fact that they want it as accurate as possible, and if they’re basing it from true history, it’s really hard to connect the pieces of the puzzle without compromising the history of the war and what is analyzed by their consultants. the truth is, what’s written on our history books is insufficient in terms of pacing a movie. it’s really hard to connect the pieces of the puzzle. And i think HENERAL LUNA as a movie worked out that weakness excellently without compromising accuracy. but dont get me wrong, this is the best review i’ve seen so far. but hey, lets celebrate the fact that H.L. raised the standards of Filipino Films to a whole new level. Faith in filipino film makers is restored 🙂

Hi Sir/Madam. This movie is R-13. The school of my son let the pupils age 8-12 watched this movie. Is there something wrong?

Sorry for the late reply Clifford. Well there is some minor nudity and profanity within the film that may be sensitive to 8 year olds. Maybe you could ask the school if the cut they showed had those explicit scenes? We believe though everything was done in good taste so as long as they watched it under adult supervision, the experience would be nonetheless inspiring and educational. 🙂

Hi global, j saw your reply just now. Thanks for engaging. Well, in my personal opinion, that’s where the challenge comes in filmmaking. Because even if historical accounts may be fractured — with long gaps in between — when it comes to laying it out for the audience, things must feel cohesive and engaging. You don’t want to pull the audience out of what’s on screen. Heneral Luna had scenes that straight out plucked me out of the unfolding narrative, e.g. from somewhere up north the next scenes he’s already in cavite. Basically, what i’m trying to say is that the passage of time and of location didn’t feel fluid. it was a bit jagged. You just think it’s a matter in which you don’t have to compromise accuracy. Well this is just my two cents. Thank you though for the praise. 🙂 And you’re right, I do believe Heneral Luna raised the bar of mainstream cinema. Here’s looking forward to Goyong!

• Pingback: Heneral Luna Peta – Bash Blogs
• Pingback: 8 Filipino Movies to Celebrate Philippine Independence | 8List.ph

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‘Heneral Luna’ Review: An Uncompromising Look At A Larger-Than-Life Hero

Heneral Luna , directed by Jerrold Tarog and starring John Arcilla, is about General Antonio Luna’s attempts to lead an often-fractured early version of the Philippine Army against a superior American force. Set a few months before his death, the movie explores Luna’s life, his uncompromising nature, and how his unflinching loyalty to his vision of what the Philippine Republic should be led to his downfall.

Because Filipino historical movies often tend to revere heroes and present them as perfect people, it was refreshing to see Heneral Luna explore the main character’s faults and use it to define his story. John Arcilla portrays Antonio Luna as a deeply flawed man, and the movie never shies away it. He is abrasive, offensive, arrogant, and at one point points his gun at a helpless chicken vendor in order to drive home a point. One such example of Luna’s legendary temper was when he tried to force Tomas Mascardo to go back from Arayat to join the forces in Calumpit. The scene was masterfully edited, with quick cuts from Luna and to Mascardo, as they exchange barbs via telegram and messengers.

However, that arrogance is not just hot air. Luna is a deeply uncompromising man, who believes that Filipinos should start to move away from petty regionalism and be united. The movie masterfully shows both sides of Luna and how each side feeds into the other.

Unlike most local historical movies that try to cram in all the details from the hero’s life, Heneral Luna is not weighed down by details. It’s focused and sheds the most unnecessary details for the sake of the story. You see Antonio Luna in the start, fully formed, and it is not until the end of the second act that you find out why this elite European-educated Filipino decided to drop everything and join the Revolution. The way his backstory was presented brilliantly, too – instead of usual flashbacks, we get a beautiful one-shot sequence where we are toured through his life.

This stripped-down approach to handling Luna’s story benefits the movie – instead of being weighed down by details, we get to understand his motivations better and it humanizes him. That tactlessness that earned him enemies at every turn becomes almost endearing – unless you’re at the other end of the insults and death threats, of course.

I don’t think Heneral Luna is perfect, of course – the cinematography, as much as it is better than most of our local films, isn’t as great as it ought to be. There was one breathtaking drone shot with Luna standing on top of a hill, and I wanted the rest of the movie’s cinematography to reach those heights. I hoped the opening battle, as bloody and harrowing as it was, to be more epic – the battle depicted in that scene actually happened in Manila Bay, and the Filipino forces fighting against an American naval fleet would have been fantastic on screen. I’m chalking it up to budgetary reasons. Thank goodness the script was fantastic, which elevated an otherwise servicable production and made the movie a must-see.

Towards the end of his life, Antonio Luna declared that the Filipinos’ biggest enemy is not the Spanish or the Americans, but ourselves. Frustrated by failing to unite the disparate regional factions and the constant insubordination of soldiers and his fellow generals, he had become so angry and impulsive that he has alienated any ally that could have saved his life.

The movie implies that a conspiracy of politicians, including President Emilio Aguinaldo, was behind the assassination. Was Luna right in alienating everyone, or should he have learned to compromise and lived to fight another day?

Those are questions that we will never have an answer for, but we can ponder on them all day thanks to Jerrold Tarog’s unflinching movie. Never before have we seen a hero presented in a light that exposes their flaws, and never before have we seen a larger than life hero become so human because of it.

Random thoughts:

• Can we talk about that fantastic assassination scene? It did not hold back and I could feel every gunshot and every bolo hit.
• I almost laughed at the mid-credits scene. It’s almost ridiculous that they were going for a Marvel -style teaser for a hypothetical sequel, but thinking about it, I do want a Gregorio del Pilar movie done right. So we can finally forget that the Caparas move ever existed.
• John Arcilla is fantastic. I could never praise him enough. He is born to play Antonio Luna, and I want to see him get more lead roles after this.
• What’s your favorite funny scene? Mine was in the train station, where Antonio Luna just gave up trying to speak in English and just arrested the American conductor.
• If he didn’t have a bad habit of threatening to kill you when things don’t go his way, I’d totally have a drink with Antonio Luna.
• Favorite line: “Para kayong mga birhen na naniniwala sa pag-ibig ng isang puta”

What do you think of Heneral Luna ? What did you think of this Heneral Luna review? Let’s talk about this movie in the comments.

All images are from Artikulo Uno Productions

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‘Heneral Luna’ Review: Essential viewing

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This is AI generated summarization, which may have errors. For context, always refer to the full article.

“History was written by those who hanged the heroes.”

The quote from Mel Gibson’s Braveheart (1995) rings truest in the Philippines, where history, or at least the one that was crafted to instill within the people an illusion of a pristine and glorious nation, is as fragrant as a little girl’s fairy tale. Filipinos have been led to believe that the country was birthed from the untainted bravery of our forefathers who dispelled vicious colonizers with both their words and weapons.

However, this history that we are enjoying is one painted with half-truths and veiled lies. Those details of the nation’s past that may or may not have a more lasting impact on our state as a people are either left as footnotes or completely forgotten and neglected. Distilled of dirt and sin, all that is left are perfumed memories that can only fuel a pride that may be as misplaced as it is dangerous. 

History in cinema  

Local cinema has mostly been complicit to this bamboozlement. Most of the films that have been made to tackle the nation’s history have portrayed the prominent men and women who fought for our freedom as saints, almost bereft of faults and mistakes.  (READ:  Heneral Luna: Para sa bayan o sarili? )

Line them all up, from Carlo J. Caparas’ Tirad Pass: The Story of Gen. Gregorio del Pilar (1997) to Marilou Diaz-Abaya’s Rizal (1998) to Mark Meily’s El Presidente (2012), and all you’ll see are narratives that lead only to the goal of sanctifying the historical figures they center on. Even Enzo Williams’ Bonifacio: Ang Unang Pangulo (2014) ended up putting its titular hero on a pedestal even if it had the audacity to dwell on some of the details of the hero’s death at the expense of another historical figure. (READ:  10 movies featuring PH national heroes )

The few films that managed to shape the historical figures as actual humans instead of icons and idols are films with too small a budget to be able to pull off the requirements of a period piece. Mike de Leon’s Bayaning 3 rd World (2000) ingeniously dissected the famous myth of Rizal. Mario O’Hara’s portrayal of Andres Bonifacio in Ang Paglilitis ni Andres Bonifacio (2010) is so laced with humanity that a lot of its viewers considered it close to sacrilegious.

Bridging the divide

The divide between the gutless but glossy epics and the braver but more intimate independent productions is so immense. As a result, movie-going masses are fed with didactic rubbish that are designed primarily to treat viewers like kids who prefer their stories visualized like soap operas than read from a textbook, oblivious of the fact that there exists another vein of historical cinema that dares to ask more questions than provide the same answers over and over again.

Jerrold Tarog’s Heneral Luna provides that essential middle ground. It is a film that is crafted with just enough meticulousness a reasonable budget can afford but does not pander to common but erroneous knowledge and wisdom. Instead, it goes straight to the point of unravelling those details in history that were left out by those who hanged the heroes. Tarog’s film is an immense risk, one that is probably fueled not by quick profit but by a profound desire to unmask demons of idols. 

Tarog cleverly starts his campaign with Antonio Luna, who has always been known as a gifted military strategist, capable of leading an army composed of farmers plucked out of nowhere to victory against both Spanish and American foes. His tragic demise paints a picture of what was wrong and what is still wrong in the country. 

In a way, Luna personifies the fractured hero that defines the country’s fractured history. His life, like history, has been severely whitewashed with great deeds brought to the fore while deficiencies in character are veiled out of sight. 

What Tarog does to Luna is to treat him with enough respect to release him from being just an object of this victor’s history we have been blindly celebrating throughout the years. Tarog makes him human, drawing him with virtues as well as warts, and in so doing, creates an essay of everything that is wrong in our nationhood.

Intent and craft

What is most fascinating about Tarog’s Heneral Luna is that it does not place its intent ahead of its craft. The film is beautiful to gaze at. The score made by Tarog is subtle during moments when the drama does not require distracting melodies, but hauntingly intense at the high points.

The film is plotted precisely, never really focusing on the larger aspects of history but on the smaller stories that perfectly construct a hard-hitting picture of a revolution built on suspicion and dissent. 

John Arcilla is excellent as Antonio Luna. His performance displays an innate understanding of the character. Driven not by boring reverence but by his own interpretation of what exactly is noble madness, Arcilla is exhilarating to behold in his various interpretations of Luna’s many personalities. (READ:  John Arcilla on bringing ‘Heneral Luna’ to life ) 

As ferocious leader of a seemingly hopeless army, he is rabid and stern. As a pal to his trusted lieutenants, he is unpredictably hilarious. As son to a devoted mother, he is heartbreakingly dear, echoing the same sentiments he has for his family as if it were for his motherland.

While Arcilla dominates the picture with his prodigious performance, Mon Confiado comfortably stays at the side, playing Emilio Aguinaldo, portrayed in the film as a cunning puppeteer instead of the victorious liberator of the Philippines, with such engrossing sobriety. Confiado’s Aguinaldo is vicious in his quietude, amply balancing Arcilla’s Luna, who is as boisterous as he is outwardly violent. It is a generous performance, one that gives the film deeper layers as opposed to being just a battle of wits between prominent figures of the past. 

Beyond stereotypes

Ambiguity is not typically regarded as a virtue when it comes to historical films about national heroes. Most of the films that have tackled our history past have a definite agenda of feeding their viewers with a very general emotion of pride for one’s country.

Heneral Luna , while precise in its storytelling and in its depiction of the major players of the revolution, evokes ambiguous emotions about a nation that has been revealed to be built on a rickety foundation of questionable motives and personalities. 

Tarog is as blunt as he is poetic. He does not shirk away from detailing the violence of war. In fact, he often laces the gruesome deaths he stages with humor, perhaps to reflect on the folly of war despite its inevitability. Amidst the indulgence in spilling blood and exploiting gunpowder is a tenderness that is genuinely affecting.

Heneral Luna begs you to look beyond the stereotypes of both the man and the history that has been made around him. It begs you to see everything with clearer eyes, with just enough cynicism, and more importantly, without the influence of those who have the greatest to gain for turning our history into a pageant of brave and unblemished patriots, of those who hanged heroes without owning up to their sins. – Rappler.com

Francis Joseph Cruz litigates for a living and writes about cinema for fun. The first Filipino movie he saw in the theaters was Carlo J. Caparas’ ‘Tirad Pass.’ Since then, he’s been on a mission to find better memories with Philippine cinema. Profile photo by Fatcat Studios.

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Cinema Escapist

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Philippines

Review: heneral luna (philippines, 2015), by anthony kao , 9 may 16 00:36 gmt.

It’s always a guilty treat to watch a film in which America is the bad guy. There aren’t that many, probably because most nations that villainize America usually have other things to worry about besides competing with the Hollywood juggernaut. Though not from some place like North Korea, the 2015 Philippine blockbuster Heneral Luna is one of those films that star Americans as enemies.

While the Philippines are a staunch US ally today, they were also America’s first foray into colonialism. After losing the Spanish-American War, Spain handed their Philippine colony over to the United States in the Treaty of Paris. Taking control of the Philippines, however, was more complex than putting a signature on paper. The Philippines already had an independence movement and, taking advantage of Spain’s weakness and early tacit American support, they managed to establish a Republic over most of the archipelago before the Treaty of Paris took effect. As it became apparent that the Americans were going to be new colonial masters and not liberators, this First Philippine Republic decided to fight back, kicking off a war in which hundreds of thousands of Filipinos died at America’s hands. Then man who led Philippine forces into this conflict was General Antonio Luna , a former scientific researcher who quickly rose to become chief of the Republic’s army.

However, though there are scenes like when US soldiers kill women and children amidst a voiceover of John O’Sullivan’s famous essay on “manifest destiny”, America is, arguably, not the film’s primary antagonist. Instead, it focuses on conflicts of a more internal nature: Filipino v. Filipino, and those within Luna’s mind. This choice elevates the story from a simple patriotic gorefest (though there’s still plenty of patriotism and gore) to something more complex.

Yes, the film lionizes General Luna, but not to the excessive, almost heart-throbby extent of something like Simon Bolivar from The Liberator . The film shows Luna has deeply flawed — prone to anger, overly aggressive, and infected with a fatal stain of hubris. He gives no heartwarming speeches, no exhortations to “we happy few, we band of brothers”. Rather, he rallies troops with threats of arrest and “Article One” of his military code — ” anyone who disobeys the general’s orders will be executed immediately without trial.”

Luna’s most pernicious physical enemies are not Americans but his fellow countrymen. There are the deserters who flee right before his eyes. There’s the politicians who want to negotiate with the Americans. People like this are traitors; he can neither stomach nor compromise with them. At one point he even flies into an unprovoked rage, promising to defend the nation even if it means going against the President, Emilio Aguinaldo . It’s almost as if Luna’s patriotism blinds him to the realities of human nature — greed, self-preservation, fear. We do see some moments of clarity though. In a quieter moment with a journalist, Luna acidly resigns himself to the senselessness of his world — “it’s just Filipinos being Filipinos”.

Pronouncements like these make Heneral Luna a brave film. Like its namesake, it is unafraid to speak its mind. It goes through the pantheon of Filipino revolutionaries — the people today’s boulevards and warships are named after — and puts their imperfections on display. Revolution is not a dinner party, and Heneral Luna makes that all the more clear.

Heneral Luna — Philippines. Dialog in Tagalog and English. Directed by Jerrold Tarog. First released September 2015. Running time 1 hr 58min. Starring John Arcilla, Epy Quizon, Paulo Avelino, and Arron Villaflor.

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Heneral Luna Reviews

“Heneral Luna” has its issues, but as the sum of its individual components, the outcome is definitely positive, particularly due to Arcilla's performance and overall charisma ,and the visual approach that is befitting of a true epic.

Full Review | Original Score: 6 | Apr 16, 2023

What is most fascinating about Tarog's Heneral Luna is that it does not place its intent ahead of its craft. The film is beautiful to gaze at.

Full Review | Jul 17, 2019

Anchored by a charismatic central performance by John Arcilla ("Metro Manila") and peppered with exciting action sequences, the pic has the all-around energy to overcome the odd moment of bumpy storytelling and prosaic dialogue.

Full Review | Nov 30, 2015

From an American perspective, "Heneral Luna" may not be much of a film, but it's a fascinating artifact.

Full Review | Original Score: C | Nov 6, 2015

"Heneral Luna" would never be mistaken for more serious-minded art-house material, but there are certainly less lively ways to be taught a history lesson.

Full Review | Nov 6, 2015

Tarog works around modest resources to create a sense of sweep and dimension. As with Luna himself, the film might go too far at times, but there's much to admire.

Full Review | Original Score: 2.5/4 | Nov 5, 2015

Really, when a film works this hard to rouse you, there's no shame in just giving in.

Full Review | Oct 29, 2015

Heneral Luna is a sturdy, stirring if perhaps sometimes simplistic historical epic about bravery and treachery in a country at war.

Full Review | Oct 27, 2015

A hagiographic, testosterone-driven war film heavy on macho posturing, gunfire and explosions, bodies falling, and a stoic hero at the center of it all.

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Heneral Luna: Inspiring a Historical and Cultural Reawakening

• August 31, 2015

Even before its scheduled theatrical release in cinemas on September 9th, the historical action epic Heneral Luna has earned rave reviews from local and foreign film critics, movie fans, students and Filipino-American communities in the U.S.

Produced by Artikulo Uno Productions and directed by Jerrold Tarog, the movie resonates with Filipino viewers, particularly in terms of evoking patriotism and rekindling a deeper appreciation for Philippine history, politics, and nationhood.

The biopic based on the life and times of the fierce General Luna, features John Arcilla in the title role. He is joined by a powerhouse cast of seasoned actors including Mon Confiado (as Emilio Aguinaldo), Epy Quizon (as Apolinario Mabini), Leo Martinez (as Pedro Paterno), Nonie Buencamino (as Felipe Buencamino), Bing Pimentel (as Doña Laureana Luna y Novicio), Mylene Dizon (as Isabel), Ketchup Eusebio (as Captain Pedro Janolino), Arron Villaflor (as Joven Hernando, a young journalist) and Paulo Avelino (as General Gregorio del Pilar).

Based on a script written seventeen years ago by E.A. Rocha and the late Henry Hunt Francia, Jerrold Tarog found the material and revised it for a contemporary audience. Set against the backdrop of the Philippine-American War, Heneral Luna dares to provoke strong reactions with its brutal depiction of history. The film asks some hard-hitting questsions: was General Luna a hero or a rogue? Why was he feared—not just by the soldiers of the revolutionary army—but also by certain elements in the newly formed and tenuous cabinet of President Emilio Aguinaldo? And was General Antonio Luna’s death the handiwork of an elaborate conspiracy?

Lead star John Arcilla, who played several other roles based on Philippine heroes during his theater days, exclaims “The issue here is bigger than the movie, and even bigger than General Luna himself!”

He continues: “In more ways than one, this is a timely wake-up call for all of us. It makes us question our Filipino psyche, and makes us ask why we, despite the hundred years or so that have transpired, haven’t really changed at all as a nation.”

Director Jerrold Tarog, who is actively involved in the movie’s nationwide school tour in partnership with Dakila, is constantly amazed at the keen interest of students in the film and its themes.

“For a filmmaker, there’s no better sense of fulfillment than to create that kind of impact with his audience, and I’m very happy that Heneral Luna has inspired a ‘cultural reawakening’ of sorts among today’s younger generations,” he says.

As an interesting sidelight, singer/songwriter Ebe Dancel wrote the theme song of Heneral Luna, titled “Hanggang Wala Nang Bukas.” The anthemic rock song is now playing on FM stations.

Himself a staunch advocate of patriotism, Ebe said, “I think there should be a little of General Luna in all of us. Let us not be afraid to stand up for the things we believe in.”

Living up to its commitment in glorifying our nation’s unsung heroes, Artikulo Uno Productions, along with HERO Foundation, mounted in an invite-only screening for the benefit of the HERO scholars. The organization, founded by retired former AFP Chief Renato de Villa, provides educational assistance to children of soldiers killed or incapacitated in the line of duty.

Heneral Luna opens in major theaters on September 9, 2015.

For more details, log-on to: www.henerallunathemovie.com.

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Cultivating the Filipino soul through culture and history

Demystifying the Heneral Luna Phenomenon – A Movie Review

September 23, 2015 by Ninah Villa

I woke up to a most singular occurrence, Tuesday last week. Heneral Luna, an indie historical film which had opened quietly the week before, had begun trending in Twitter at 4 a.m. Like the brash and vitriolic general of the same name, it had refused to fade calmly into obscurity and continued to pop in and out of the trending list in succeeding days.

People have suddenly and inexplicably fallen in love, so much so, that when cinemas dropped from 100 to 48 after the first week of screening, public clamor managed to push the cinema count up to 104.

What is it about Heneral Luna that has so captured the hearts of so many?

Birth of a Renegade

Its popularity is even more surprising considering it doesn’t feature the excesses of Hollywood, the inanity of slapstick comedy, or the endless gush of maudlin mistress woes. What it does show is a Filipino historical and cultural experience told boldly but conscientiously, that is, with more than the usual degree of attention paid to the essentials and the essential peripherals. From the sweeping vistas of verdant land, down to the smallest detail on uniform buttons, everything is laid out with almost reverent care.

And it isn’t an elitist snob. Those harping about narrative flow, nuance, gravity and focus must understand that a perfect film is pointless if it does not reach an audience. Heneral Luna, already at a disadvantage because of its traditionally unpopular genre, has chosen a tone, voice and approach more suited to communicate.

Perhaps the film’s greatest asset in its attempt to engage its audience is what may once have been its biggest risk, its cast. In this respect, there is a refusal to compromise, shunning the effective tactic of foisting ill-fitting roles onto teen idols for salability. The end result for Heneral Luna is a group of seasoned actors well adapted to their roles.

John Arcilla is luminous as Luna and manages to lift us through his mounting wave of just rage. Luna’s boys are the necessary foil to his fire. Anson, Bascon, Alemania, Medina and Acuna emanate an endearing spunk that sit well alongside Arcilla’s fervor.

What of the parallel camp? Mon Confiado makes for a beautifully subdued Aguinaldo while Noni Buencamino’s Buencamino simmers with an inner ardor almost equal to Luna’s. I liked best of all however, Epy Quizon’s Mabini, who is just as I imagined him to be, as if the statesman himself decided to quit the ten peso coin to appear in a film.

Hitting Home

It is too simple to attribute the growing love for the film to its production and cast alone. There are countless other Filipino films that are exemplary in these elements. Why Heneral Luna and why now? The answer is simple, because it is relatable and opportune.

Heneral Luna mirrors in a very clear and sharp tone, the Filipino experience now. It shoves us roughly into the realization that more than a hundred years after Luna’s death, we have not changed. We, by our own divisiveness, indecision and selfishness remain the greatest saboteurs of our own progress. It is inevitable then that as Luna vituperates on screen against the causes of his frustration, we who have grown tired of struggling, feel a simultaneous inner rage boil within us against ourselves and against a cultural system that perpetuates internal strife.

It is fortunate that the filmmakers have chosen Luna as their messenger, a hero so flawed he’s almost like the rest of us. Indeed, the treatment is nearly iconoclastic, but therapeutic. For the first time on film, a hero is taken down from his sanitized moral pedestal and is humanized, so that now, those of us who are on the streets find it easier to learn what he has to teach.

The audience clapped when the credits rolled at the cinema where I watched Heneral Luna . It would be reasonable to say therefore, that whatever its foibles, it had achieved what it had set out to do, more so because the audience weren’t Tagalogs, Ilocanos or Cavitenos. They were a mix of Bisaya and Muslim Filipinos. Even as I imagine the General shouting invectives in the afterlife over our prevailing fractured state, he would have roared approvingly at the ovation, taking it to mean that we have progressed, albeit incrementally, beyond the short-sightedness of regionalism and self-absorption.

Beyond Heneral Luna

One inescapable consequence of the film is a sudden tide of revulsion for Aguinaldo. This is unfortunate considering that the director has been emphatic about there being no villains, only people with different motivations. The more astute observer will also notice that in the scene where the letter that was to seal Luna’s fate was dispatched, the hand that approved it was not clearly shown to be Aguinaldo’s. Historically, there is no direct evidence to implicate Aguinaldo in Luna’s assassination, but could he have prevented it? That is left to the viewers to decide.

If the movie has taught us anything about people, it is that no one is entirely black or white; we all contain varying degrees of good and bad. Published accounts will tell us that Aguinaldo had his shining moments as a general in the revolution against Spain, but he may have stepped on some gray areas later on in his political career. The only fair way to form an opinion about him and his contemporaries including Luna is to read… MORE! And be critical and analytical.

It isn’t enough that you take the word of one or two historians about the events that unraveled more than a hundred years ago. Because it is the nature of humans to be multi-faceted, and because humans are the creators of history, the past can hardly ever be written in stone, and historians will always agree to disagree with the frequency of Pacific typhoons about the truth. We must read and make up our own minds about our heroes and our story.

But why is it even important to arrive at our own conclusions? Because it is only when we’ve come to terms with our collective past can we learn from its lessons.

And because we can’t get enough of the movie…

Heneral Luna Trivia

• Luna was a musician, sportsman, chemist, pharmacist, doctorate degree holder and tactician.
• The movie’s director, Jerrold Tarog is also its co-writer, editor and musical composer.
• It took producers 19 years to bring their concept into a movie.
• The writers agreed there would be no villains, only people with motivations.
• Producer E.A. Rocha’s grandparents knew the Luna brothers.
• The docked ships and other background extensions in the movie were CGI.
• Pong Ignacio, the director of photography, took inspiration from Juan Luna’s paintings in depicting the movie’s color, light and shadow.
• The Katipunan and succeeding military units were semi-feudal.
• According to Carmen Reyes, the movie’s make-up artist, General Masacardo’s sparse mustache was symbolic and done on purpose and in contrast to Luna’s full mustache.
• Mon Confiado had his hair cut in Aguinaldo’s characteristic flat top in Cavite and appeared in auditions wearing a full white suit to show he fit the role.
• Noni Beuncamino is related to the character that he played, Felipe Buencamino.
• The scene where Antonio Luna and Paco Roman’s bodies are dragged are a pointed reference to Juan Luna’s Spoliarium.

Heneral Luna Quotable Quotes

#HugotHeneral

“Meron tayong mas malaking kaaway kaysa mga Amerikano; ang ating sarili.” -Luna to Aguinaldo’s cabinet “Negosyo o kalayaan? Bayan o sarili? Mamili ka.” -Luna to Aguinaldo’s cabinet “Nasubukan mo na bang hulihin ang hangin?” -Mabini to Aguinaldo “Mas madali pang pagkasunduin ang langit at lupa kaysa dalawang Pilipino sa alin mang bagay.” -Luna to Joven “Kailangan nilang tumalon sa kawalan.” -Luna to Joven “Ang taong may damdamin ay hindi alipin.” -Luna monologue “Para kayong mga birheng naniniwala sa pag-ibig ng isang puta.” -Luna to Aguinaldo’s cabinet “Paano ako lalaban? Kakagatin ko sila?” -Luna to Aguinaldo’s cabinet “Ganito ba talaga ang tadhana natin? Kalaban ang kalaban. Kalaban ang kakampi. Nakakapagod.” -Luna to Roman

Recommended Resources

• The Rise and Fall of Antonio Luna, D. Vivencio R. Jose
• A Question of Heroes, Nick Joaquin
• ALL of Ambeth Ocampo’s books
• Heneral Luna: The History Behind the Movie (monograph)
• Xiao Chua’s videos on YouTube

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November 14, 2015 at 10:03 am

I can say nothing else but congratulate you in your writing a very informative and lively article. Hope to meet and talk to you in person in the future. 🙂

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‘Heneral Luna’: Hero for the millennial generation

HENERAL LUNA BEHIND THE SCENES: Directing, Editing and Scoring HENERAL LUNA BEHIND THE SCENESFeaturing the DIRECTING, EDITING AND SCORING of HENERAL LUNAHENERAL LUNA opens in cinemas nationwide on September 9. Learn more about the film at www.henerallunathemovie.com. Posted by HENERAL LUNA on Thursday, August 20, 2015

OCTOBER 27, 2022

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Epic movie shows how the Revolution assassinated ‘Heneral Luna’

• BY Lito B. Zulueta; Arts and Books subsection editor
• September 7, 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.

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MOVIE REVIEW: John Arcilla-starrer Heneral Luna brings out the hero within

Historical biopics are tricky. You must check and countercheck facts since this is no fiction. It is as real as it gets.

When Artikulo Uno came up with Heneral Luna, a biopic on Antonio Luna, the task was far from easy.

Here was a man even his American military adversaries hailed for his brilliant strategies. Here was a man who commanded the respect of thousands of soldiers, and even—if the film is to be believed—made Emilio Aguinaldo, the first president of the Philippines, feel jittery in his lofty post.

HUMAN SIDE . Still, General Antonio Luna (ably played by the award-winning John Arcilla), is human. The film made sure moviegoers aged 13 and above (the Movie and Television Review and Classification Board rated it R-13) saw that.

He fell in love with Isabel (played by Mylene Dizon). He admits getting tired of fighting and plotting ways to outwit the enemy in times of war. He is putty in the hands of his mother (Bing Pimentel).

And oh yes, he flies into a rage all the time when he sees cowardice and laziness.

That’s because Antonio Luna was anything but cowardice and laziness. He flirted with danger and death. He went the extra mile to marshal military troops, even when his own carriage driver thought it was time to call it a day.

In the heat of battle, Luna thought nothing of charging solo at American troops armed with cannons and machine guns. He called esteemed men in government and business moguls as cowards because they chose to collaborate with the enemy—the Americans—instead of fighting them to liberate the Philippines from yet another colonizer.

Luna was unforgiving when it came to traitors and soldiers who twiddle their thumbs while their counterparts elsewhere die for the motherland.

The Sublime Paralytic Apolinario Mabini (played by Epy Quizon) was right when he said that it was impossible to control Luna.

POETIC LINES . “Nasubukan mo na bang hulihin ang hangin?” he asked when someone, in desperation, sought his advice on handling the feisty general.

These poetic lines are something you don’t usually hear in rom-coms that fill moviegoers’ ears many times over.

“Kailangan munang tumalon sa kawalan,” Luna replied yet again to a young man’s question on how Filipinos can finally enjoy freedom.

Filipino is not the only language the well-educated, well-traveled Luna is fluent in. His trips to Europe made the affluent Luna conversant in French (after all, his mom went by the aristocratic name Dona Laureana Luna).

So, it’s strange that one scene showed Luna talking in halting English, and finally ordering one of his men to arrest an American trying to stop him from using the train because he (Luna) admitted running out of words to say to the foreigner.

This is no Indio. This is a man who studied in the best schools, Ateneo, among them. Best of all, this is a man whose confidence was tested in the toughest of places: the battlefield.

He’s expected to speak the King’s Language with utmost confidence.

Or were the filmmakers trying to inject humor in an otherwise heavy film filled with gore, fighting, confrontations, intrigue and betrayal?

The opening scenes did say that the filmmakers took some liberties here and there. Was this one of them?

WRONG VALUES . Another scene showed Filipino civilians crowding a train Luna wanted to use to transport soldiers in the fastest way possible (back in 1898, that was the fastest means of transportation).

In so doing, the soldiers can’t even take a single seat in the train jampacked with their kababayan raring to enjoy the sights.

If this was again a case of creative license, it hit the bull’s eye this time. It showed how—then and now—we Filipinos still prioritize family over everything, even something as sacred as love of country. This, Luna rightly observes, is our undoing, the waterloo that keeps us from forging ahead to a brighter future.

There’s another fly in the ointment: Emilio Aguinaldo, no less. The film depicts him as an emotional weakling. Although the film didn’t show any specific scene pointing to Aguinaldo as the culprit—a series of events singles him out.

Aguinaldo sent Luna a telegram summoning him to go to Cabanatuan, Nueva Ecija, in what the general thought would be a meeting that will anoint him as a new cabinet member.

Before that, his men were telling Aguinaldo how Luna posed a serious threat to his (Aguinaldo’s) presidency. Read: Luna literally and figuratively had to go.

Put two and two together, and you get the picture, without images staring at you on screen. Who needs those images when you also know that Aguinaldo is also a suspect in the killing of another hero, Andres Bonifacio?

While Antonio Luna stands erect—like a lion looking over his lair, Aguinaldo (played by Mon Confiado) lacks that unmistakable glint in the eye, that gung-ho leaders are known for.

TO INSPIRE, NOT TO BRING DOWN . The film is tilted in Antonio Luna’s favor.

After all, the film is for, of, and about Luna. It’s a film that will move you to dare, to love your country. It aims to inspire, not to bring down.

Aguinaldo—if you are to go by the film’s premise—is not someone who will not deliver on this promise.

Where Luna follows the beat of a more noble drummer (the motherland), Aguinaldo seems to listen only to the call of selfish ambition.

Moviegoers, especially young people who are the prime targets of Heneral Luna, are supposed to see the stark contrast, and take the cue from there. Not only that. They’re supposed to do something about it by letting Luna’s fire consume them as well.

If only it were that simple. Seeing a hero die for one’s country on screen is one thing. Luna did it. Ninoy Aquino did it.

But seeing change happen because of it is another. The death scene of Antonio Luna is as brutal as it is highly stylized. When Luna's lifeless body is being dragged across the courtyard, the scene is suddenly arranged to mirror The Spoliarium, the famed painting of Juan Luna (the brother of Antonio). Instead of a bloody gladiator being pulled away from the Roman Colosseum, a bloody Antonio Luna is being pulled away from the cruel battlefield that is Philippine politics. SLEEPING LUNAS. Will the seeds Heneral Luna plant once it opens in commercial theaters bear fruit, especially among the young?

It should. But the question is, will the present political system—chaotic as it is—allow it?

The film is a clarion call to awaken the sleeping Antonio Lunas in each of us. Like Luna, that cry of “Fuego!” may misfire. It may get muffled in the political wrangling and crass ambition all around us.

But as Heneral Luna shows, it’s worth a try. It may be flirting with the unknown, with danger.

But why curse the darkness when you can light a little candle? That’s what heroes are supposed to do.

That’s the challenge Heneral Luna poses. Yes, it could be like fighting windmills. But you’ve got to start somewhere, however small—by reporting a wrong, standing up to corruption, saying no to mediocrity.

It could get you in trouble. But it could also make you feel good about yourself.

Hope does spring eternal, after all. P.S. Stay behind for the post-credit scene: you won't regret it.

Ed's Note: The "PEP Review" section carries the views of individual reviewers, and does not necessarily reflect the views of the PEP editorial staff.

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Heneral Luna

• Set during the Philippine-American war, a short-tempered Philippine Revolutionary Army general faces an enemy more formidable than the American army: his own treacherous countrymen.
• Set during the Philippine-American war, Heneral Luna follows the life of one of Philippine History's most brilliant soldier, General Antonio Luna, as he tries to lead his countrymen against colonial masters new and old, and to rise above their own raging disputes to fulfill the promise of the Philippine Revolution.

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