Jerrold Tarog’s highly anticipated factual-and-fictional biopic Heneral Luna portrays the brilliant but short-fused, abrasive, and strict commander of the revolutionary army during the Filipino-American war, played by the ever-competent John Arcilla. The film is a tribute to the temperamental, misunderstood General, whose ideals and passionate pursuit of freedom of the Filipino people either falls on deaf ears or is blatantly resisted just because people generally hate his guts.
The story is earnest; intent on enlightening us on the fascinating character of Antonio Luna— but the crude production watered down the compelling story. The unrefined cinematography, the ill-fitting and brand-new costumes, the pinkish blood, the chilli-con-carne open wounds, and some of the weak performances of the extras make Heneral Luna feel staged; a reenactment rather than an authentic experience. The production frustratingly takes away the credibility and the immersive experience that the story deserves.
Then there’s the out-of-place comedic treatment. The unnecessary crack at goofy humor, particularly by Ketchup Eusebio and Archie Alemanya as Capt. Jonolino and Capt Rusca, respectively, further decreases the emotional resonance of the film. Aside from these two caricatures, the inadequate comical treatment in some of the weighty and very important scenes frustratingly feels like an attempt to appeal to a wider audience, like a self-conscious move to please a specific crowd, taking away the significance of the scenes.
A frequently used and tiresome strategy in local historical biopics is found once again through the character Joven (Aaron Villaflor), who interviews Luna—an instrument to further drive the film’s sentiments and commentary, and to aid the narrative, which is another tell-tale sign that the film is not too confident that contemporary audience will be able to think on their own without the help of a researcher in the movie.
Arcilla is still outstanding as ever, perfectly cast as the hero, bringing to life the delicious fiery wrath of Luna. Despite some scenes where Luna acts cartoonish, Arcilla still carries the character with dignity and power. His presence in every scene is strong and profound; in battle, in his rage, in quiet and poignant moments, in humor—except in the final act: the assassination was just absurdly done, but which is no longer the actor’s fault.
Also, notable performances from Nonie Buencamino, Epy Quizon, and Art Acuna, who portray their historical characters with reverence and respect; and as a result, they disappear in their roles, making them highly convincing. The generally competent Mon Confiado, however, seems stiff with an oddly weak presence as Emilio Aguinaldo. The camera generally ignores him even if he’s an important figure.
If you don’t mind the feel of a stage play—with glaring props and costume and effects—then there’s still good reason to see Heneral Luna. Written by Tarog, the late Henry Hunt Francia, and E.A. Rocha, the movie nevertheless offers a very good, engaging story, with a better, richer, and a deliciously more contemporary dialogue compared to previous local historical biopics. The film, despite its semi-coarse production and off-humor, has some artful elements to it.
Overall, it’s still important to see this movie for its clear and fervent commentary on the Filipino culture of divisiveness; our politics and our self-interest before the greater good, and the universal truth that if you have an unlikeable personality, people will bring you down no matter how brilliant you are. The movie's main triumph is its passion, burning bright like the hero’s ideologies.
Opens September 9, 2015 in Philippine theaters
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