Bonifacio Movies Summary
Summary of the Movie “Bonifacio: Ang Unang Presidente”
Opening with the execution by garrote of the GOMBURZA (an acronym denoting the surnames of the Filipino priests Mariano Gomez, José Burgos, and Jacinto Zamora), a grim atmosphere has been laid out through an enriching interplay of delicate lighting, powerful score and a succinct screenplay, giving the three priests distinct personalities in just less than ten minutes. With the introductory scene alone, the film has already set its standards high. The film then brings us to the present-day, in the gymnasium of a Catholic high school with a typical scene of bullying. A graduating student with altruistic values, as played by Daniel Padilla, steps in. It promises an interesting storyline of parallel values but as the saying goes, “promises are meant to broken.” Together with two other students and a curator of a museum dedicated to Bonifacio, they uncover history through documents, to support the accuracy of the claims the film presents. They serve not only as unnecessary narrators but also represent the inspired youth and dedicated historians, as expendable anchors to reality. There is not much progression with these one-shots as they interweave and later interrupt much of the dramatic storytelling, breaking the inertia, and blemishing an already excellent biopic. (It is the intention of the reviewer to point this out early on so that the reader can opt to tune out these jarring moments, hoping to bring a greater appreciation of the film.)
On a certain level, Bonifacio: Ang Unang Pangulo is a symbiotic ménage à trois among Andres Bonifacio, played by a subdued Robin Padilla until the character goes in fits of rage and control is lost; Gregoria ‘Oryang’ de Jesus, suited by Vina Morales, whose story relevance grows in time; and the country, particularly the nation’s persecuted masses. The first part cements their common love for justice and social upheaval. Further tribulations in family affairs in the latter sections gave their love story an alluring kind of sadness as unfortunately; this has been Andres’s only rock in his untimely demise. For this layer alone, it already provides a compelling drama, the beef in the burger patty. This patty becomes heavier and juicier with the other meatier layers and astounding audio-visual elements that gives its distinguishing flavor.
The personal and historical highlights can be arranged to three chronological sets of discovery. Bonifacio’s active involvement in the movement stems from his spirit grown from the seeds left by the death of the Gomburza, and a fellow nationalist, Dr. Jose Rizal, exemplary enlivened by Jericho Rosales from line delivery to deft hand gestures. A beautifully lighted meeting between the imprisoned Rizal, radiating in blue hue, and Bonifacio, in orange, not only intensifies their opposing actions and philosophies but also foreshadows the first act’s end where Bonifacio steps up as the leader of a new movement set on a more violent approach to freedom. The endearing cinematography is also introduced with a uni-directional camera work zooming out from Rizal to a long table filled by intently listening members of La Liga Filipina, an early protoypical movement that failed to set off, signifying his influence and magnitude of his intellect. This is contrasted near the end of the act with a circular directionless round table discussion, stopping with Bonifacio, as he assumes responsibility, gaining power from the trust of his peers. This kind of camera trail to display the influence of a notable hero is again used with Aguinaldo prior to the third act as he draws much of his power from influence by his peers, illustrating a different Aguinaldo that is neither pure good nor demonic evil.
The first act culminates on natural daylight as the Katipunan emerges from the shadows of the caves of Montalban, where they are not just individual sources of light but now a force to reckon with. Interspersed with this scene, a digital vector animation of the myth of Bernardo Carpio is played, as a homage to the Filipino grassroots inspiration of Katipunan and also as a warning for the future Andres to face. The pattern of light encompassing not the characters’ personas, then progressing to break the monotonous dark atmosphere is a consistent flawless style, repeated throughout the next two acts, with the second leading to the iconic Sigaw sa Pugad Lawin (Cry of Pugad Lawin), which wages battles of life and death and not just mere propaganda for the minds.
For the final act, a well-choreographed night ambush, a quasi-climax that is a Pyrrhic victory in retrospect, gives the necessary energy for the painstakingly emotional yet horrifying death that comes to our hero whose only mistake is loving too much and being busy in seeking the light amidst the personal agendas who claim to seek the same. A reverse of the setup on light and dark further emphasizes the dreadful truth, with the reflection of the light from the moon punctuating the ironic somber ending. The third act may have ended in the past but its continuation in the present shows the results of the revolution. A well-illuminated world, as opposed to the foremost gloom in the initial scenes, is a product of the blood-drenched revolution that is not yet over. Soon after, the narration poses a question and some insights that would again boil down to the final scene of rising action that takes place in the heart of the revolution.
With the skillful mingling of chiaroscuro as part of its cinematography, fascinating marriage of screenplay and drama, subtle political machinations and societal factors trapping our forlorn hero, Bonifacio: Ang Unang Pangulo is a layered tragic love story to the country that will always be relevant in the age of revisionism. A good metric of this is how it is able to move individuals, people, a nation with or without the recognition of passion more than a century after offering an incomparable sacrifice.
Summary of the Movie “El Presidente”
The story is told in flashbacks as Emilio Aguinaldo thanks the US government for giving him the opportunity to attend the full restoration of Philippine independence on July 4, 1946. The film begins with his capture by Philippine and US forces under Frederick Funston's command in 1901, then flashes back to 1886, when an old woman gives Aguinaldo and childhood friend Candido Tirona cryptic prophecies. Ten years later, Aguinaldo is inducted into the Katipunan and later assumes leadership of its Cavite chapter while becoming mayor of Cavite El Viejo.
When trouble breaks out in Manila in late August 1896, Aguinaldo tries to assure the Spanish provincial government of non-interference and covertly marshals his forces despite a lack of weapons. Learning that the Spanish mostly put their forces in Manila, Aguinaldo finally mobilizes his troops and take the fight to Spanish troops in Cavite. As the rebels gain ground in Cavite and several provinces, its Magdalo and Magdiwang factions convene to elect a provisional government. Andres Bonifacio oversees the Tejeros Convention, which elects Aguinaldo as president, Mariano Trias as vice-president, and himself as interior minister. He storms out of the convention when Daniel Tirona objects to his election.
Aguinaldo's brother Crispulo informs him of his accession and convinces him to leave his troops just as he was seeking to defend against the Spaniards at Pasong Santol. The rebels are defeated and Crispulo is killed. Meanwhile, an embittered Bonifacio establishes his own revolutionary government and is later arrested. Aguinaldo is concerned about Bonifacio's actions and wanted him exiled, but the War Council advises his execution.
Several months later, Aguinaldo leaves Cavite with most of his forces intact and makes it to Biak-na-Bato in Bulacan, where he signs the Pact of Biak-na-Bato and heads for Hong Kong. There he meets with US officials who approach him with offers of support and recognition of a new Philippine Republic amidst the Spanish-American War. Aguinaldo returns to the Philippines and formally declares independence from Spain. As the Malolos Congress convenes, Felipe Agoncillo tries to represent the new nation at the Treaty of Paris negotiations, but gets stonewalled at every turn even as US forces gradually arrive in the Philippines.
The Philippine-American War breaks out in February 1899 and Antonio Luna is appointed commander of all Filipino troops. He is assassinated three months later and the Filipino troops are gradually routed by the Americans. As a result, Aguinaldo's forces travel all over northern Luzon to escape the Americans. General Gregorio del Pilar volunteers to lead some troops in holding them off at Tirad Pass and buy Aguinaldo time to get away. His loyal courier is later captured by the Americans while getting some medicine for his son. Now aware of Aguinaldo's hideout, Funston plans his capture. Having been made to accept US rule over the Philippines, Aguinaldo lives a quiet life, which is marred by Hilaria's passing in 1921. He meets and marries Felipe Agoncillo's niece Maria in 1930. Over the next few decades, the couple witness Philippine history unfold once more as he is defeated in the 1935 presidential elections, Japanese occupation and the restoration of full independence. In 1962, an elderly Aguinaldo and his wife comfort each other over President Diosdado Macapagal's decree to restore the actual date of the Philippine declaration of independence. In his final hours, the same woman who gave him his prophecy appears to him one more time.
Opening with the execution by garrote of the GOMBURZA (an acronym denoting the surnames of the Filipino priests Mariano Gomez, José Burgos, and Jacinto Zamora), a grim atmosphere has been laid out through an enriching interplay of delicate lighting, powerful score and a succinct screenplay, giving the three priests distinct personalities in just less than ten minutes. With the introductory scene alone, the film has already set its standards high. The film then brings us to the present-day, in the gymnasium of a Catholic high school with a typical scene of bullying. A graduating student with altruistic values, as played by Daniel Padilla, steps in. It promises an interesting storyline of parallel values but as the saying goes, “promises are meant to broken.” Together with two other students and a curator of a museum dedicated to Bonifacio, they uncover history through documents, to support the accuracy of the claims the film presents. They serve not only as unnecessary narrators but also represent the inspired youth and dedicated historians, as expendable anchors to reality. There is not much progression with these one-shots as they interweave and later interrupt much of the dramatic storytelling, breaking the inertia, and blemishing an already excellent biopic. (It is the intention of the reviewer to point this out early on so that the reader can opt to tune out these jarring moments, hoping to bring a greater appreciation of the film.)
On a certain level, Bonifacio: Ang Unang Pangulo is a symbiotic ménage à trois among Andres Bonifacio, played by a subdued Robin Padilla until the character goes in fits of rage and control is lost; Gregoria ‘Oryang’ de Jesus, suited by Vina Morales, whose story relevance grows in time; and the country, particularly the nation’s persecuted masses. The first part cements their common love for justice and social upheaval. Further tribulations in family affairs in the latter sections gave their love story an alluring kind of sadness as unfortunately; this has been Andres’s only rock in his untimely demise. For this layer alone, it already provides a compelling drama, the beef in the burger patty. This patty becomes heavier and juicier with the other meatier layers and astounding audio-visual elements that gives its distinguishing flavor.
The personal and historical highlights can be arranged to three chronological sets of discovery. Bonifacio’s active involvement in the movement stems from his spirit grown from the seeds left by the death of the Gomburza, and a fellow nationalist, Dr. Jose Rizal, exemplary enlivened by Jericho Rosales from line delivery to deft hand gestures. A beautifully lighted meeting between the imprisoned Rizal, radiating in blue hue, and Bonifacio, in orange, not only intensifies their opposing actions and philosophies but also foreshadows the first act’s end where Bonifacio steps up as the leader of a new movement set on a more violent approach to freedom. The endearing cinematography is also introduced with a uni-directional camera work zooming out from Rizal to a long table filled by intently listening members of La Liga Filipina, an early protoypical movement that failed to set off, signifying his influence and magnitude of his intellect. This is contrasted near the end of the act with a circular directionless round table discussion, stopping with Bonifacio, as he assumes responsibility, gaining power from the trust of his peers. This kind of camera trail to display the influence of a notable hero is again used with Aguinaldo prior to the third act as he draws much of his power from influence by his peers, illustrating a different Aguinaldo that is neither pure good nor demonic evil.
The first act culminates on natural daylight as the Katipunan emerges from the shadows of the caves of Montalban, where they are not just individual sources of light but now a force to reckon with. Interspersed with this scene, a digital vector animation of the myth of Bernardo Carpio is played, as a homage to the Filipino grassroots inspiration of Katipunan and also as a warning for the future Andres to face. The pattern of light encompassing not the characters’ personas, then progressing to break the monotonous dark atmosphere is a consistent flawless style, repeated throughout the next two acts, with the second leading to the iconic Sigaw sa Pugad Lawin (Cry of Pugad Lawin), which wages battles of life and death and not just mere propaganda for the minds.
For the final act, a well-choreographed night ambush, a quasi-climax that is a Pyrrhic victory in retrospect, gives the necessary energy for the painstakingly emotional yet horrifying death that comes to our hero whose only mistake is loving too much and being busy in seeking the light amidst the personal agendas who claim to seek the same. A reverse of the setup on light and dark further emphasizes the dreadful truth, with the reflection of the light from the moon punctuating the ironic somber ending. The third act may have ended in the past but its continuation in the present shows the results of the revolution. A well-illuminated world, as opposed to the foremost gloom in the initial scenes, is a product of the blood-drenched revolution that is not yet over. Soon after, the narration poses a question and some insights that would again boil down to the final scene of rising action that takes place in the heart of the revolution.
With the skillful mingling of chiaroscuro as part of its cinematography, fascinating marriage of screenplay and drama, subtle political machinations and societal factors trapping our forlorn hero, Bonifacio: Ang Unang Pangulo is a layered tragic love story to the country that will always be relevant in the age of revisionism. A good metric of this is how it is able to move individuals, people, a nation with or without the recognition of passion more than a century after offering an incomparable sacrifice.
Summary of the Movie “El Presidente”
The story is told in flashbacks as Emilio Aguinaldo thanks the US government for giving him the opportunity to attend the full restoration of Philippine independence on July 4, 1946. The film begins with his capture by Philippine and US forces under Frederick Funston's command in 1901, then flashes back to 1886, when an old woman gives Aguinaldo and childhood friend Candido Tirona cryptic prophecies. Ten years later, Aguinaldo is inducted into the Katipunan and later assumes leadership of its Cavite chapter while becoming mayor of Cavite El Viejo.
When trouble breaks out in Manila in late August 1896, Aguinaldo tries to assure the Spanish provincial government of non-interference and covertly marshals his forces despite a lack of weapons. Learning that the Spanish mostly put their forces in Manila, Aguinaldo finally mobilizes his troops and take the fight to Spanish troops in Cavite. As the rebels gain ground in Cavite and several provinces, its Magdalo and Magdiwang factions convene to elect a provisional government. Andres Bonifacio oversees the Tejeros Convention, which elects Aguinaldo as president, Mariano Trias as vice-president, and himself as interior minister. He storms out of the convention when Daniel Tirona objects to his election.
Aguinaldo's brother Crispulo informs him of his accession and convinces him to leave his troops just as he was seeking to defend against the Spaniards at Pasong Santol. The rebels are defeated and Crispulo is killed. Meanwhile, an embittered Bonifacio establishes his own revolutionary government and is later arrested. Aguinaldo is concerned about Bonifacio's actions and wanted him exiled, but the War Council advises his execution.
Several months later, Aguinaldo leaves Cavite with most of his forces intact and makes it to Biak-na-Bato in Bulacan, where he signs the Pact of Biak-na-Bato and heads for Hong Kong. There he meets with US officials who approach him with offers of support and recognition of a new Philippine Republic amidst the Spanish-American War. Aguinaldo returns to the Philippines and formally declares independence from Spain. As the Malolos Congress convenes, Felipe Agoncillo tries to represent the new nation at the Treaty of Paris negotiations, but gets stonewalled at every turn even as US forces gradually arrive in the Philippines.
The Philippine-American War breaks out in February 1899 and Antonio Luna is appointed commander of all Filipino troops. He is assassinated three months later and the Filipino troops are gradually routed by the Americans. As a result, Aguinaldo's forces travel all over northern Luzon to escape the Americans. General Gregorio del Pilar volunteers to lead some troops in holding them off at Tirad Pass and buy Aguinaldo time to get away. His loyal courier is later captured by the Americans while getting some medicine for his son. Now aware of Aguinaldo's hideout, Funston plans his capture. Having been made to accept US rule over the Philippines, Aguinaldo lives a quiet life, which is marred by Hilaria's passing in 1921. He meets and marries Felipe Agoncillo's niece Maria in 1930. Over the next few decades, the couple witness Philippine history unfold once more as he is defeated in the 1935 presidential elections, Japanese occupation and the restoration of full independence. In 1962, an elderly Aguinaldo and his wife comfort each other over President Diosdado Macapagal's decree to restore the actual date of the Philippine declaration of independence. In his final hours, the same woman who gave him his prophecy appears to him one more time.