They may look crazy to the eyes of many back then but still managed to fight against revolution.Īccording to Jerrold Tarog, we don't have anti-heroes like him since our heroes are usually shown as heroes who are goody two shoes. On the other hand, Luna is portrayed as someone who doesn't care if he gets along or not with the others, and Tarog wants the audience to see who Luna really is - just an ordinary person. The film shows the human side of Luna who just like us was an ordinary man, but happened to endure extraordinary circumstances. When they were shooting the Philippine-American war scenes, they had to look at old photos as a guide - for the location, horses, the trenches developed and more - and tried to recreate them so the viewers would have a certain feel for the film. The budget is estimated around P80 million that makes the historical costumes and props look genuine as it should be. They had historical advisers together with their research - went to museums, libraries and actually went to Heneral Luna's house in Manila - to verify the design and texture so they can make the costumes accurate, according to Carlo Tabije, Costume Designer. It was such a long pre-production says Ed Rocha, producer, but it was actually a good thing for them since they had time to think about all the details for the film. After 18 years, Artikulo Uno Productions - produced Bonifacio: Ang Unang Pangulo starring Robin Padilla and Vina Morales, and English Only, Please starring Derek Ramsay and Jennylyn Mercado - finally made it all happen in the hopes of awakening everyone's senses that there is a need of a change.
They have been working on the story since 1996 since they wanted to analyze how our nation was before until now only to find out that it hasn't really changed. But, when Director Jerrold Tarog saw John Arcilla in the 2013 film, Metro Manila, he knew right then that he was perfect for the role.
Buod ng heneral luna movie movie#
Basically, Arcilla shows that Luna isn't just an aggressor that everyone knows him to be but he just wanted peace and freedom for his beloved nation.ĭid you know? John Lloyd Cruz was the first choice for the movie but the offer didn’t get to him. Arcilla portrays Luna as an aggressive military leader and dedicated Filipino that he was but also had a side of being good-natured and witty. John Arcilla who is known for supporting roles is the perfect actor to play as Heneral Luna and is complemented by Mon Confiado's portrayal as Emilio Aguinaldo. Also, the characters speak almost like the modern Filipino without sacrificing the art of the language for the film.Īnd although everyone knows that the General was killed by fellow Filipinos, getting to know him and seeing it happen in the big screen will make you feel sorry for him and will leave you saying, “Why?” So yes, expect to hear a few curse words in the movie.
Buod ng heneral luna movie license#
Tarog says the film used his artistic license to put a modern touch in the life of the hero so that the targeted audience, who are the millennials, would have a better connection to the film. With this, Tarog was not reluctant to show the negative side in Luna's personality. In doing so, we aim to shed light on the struggle for control over the representations and symbolic significance of this founding period and its personages.While history tells us the tragic death of Antonio Luna, it fails to give us the details of the events that led him to his death. We shall do this by: 1) Reassessing the historical literature on the Philippine Revolution and the respective figures portrayed in the films 2) Tracing the genealog(ies) from historiography to portrayal-in-film and 3) Examining how these films attempt to frame our contemporary political and national imagination(s).
It is in this light that we propose to examine the following films: Mark Meilly’s El Presidente, Enzo Williams’s Bonifacio: Ang Unang Pangulo and Jerrold Tarog’s Heneral Luna (the most recent and, so far, most commercially successful). How, then, are each of these films inscribed in existing historical debates and competing forms of historico-political imagination? In this study, we argue that in remembering and re-imagining the Revolution through their chosen “heroes”, these films recruit the audience in demarcated historical debates of not only who among them personifies the Revolution, but more importantly, the legacy of the Revolution itself-with consequences to societal discourse. It is from this context that recent representations in film emerge, becoming occasions for audiences to reflect on contemporary political conditions.
While the legacies of the major figures of the Revolution are subject to competing representations of various historians, a consensus “textbook narrative” has filtered into popular consciousness.
As a period of founding significance to the Philippine nation-state, the Philippine Revolution (and its figures) has captured our collective imagination.
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