John Paul Benedict B.
Aves Kas 1
I – BA English Studies WF, 7:00-8:30
Goyo: A good compromise
Attempting to completely and faultlessly present history through film is a pandora’s
box. Film, when put to the task of retelling history, is a language far more limited and
restricted than the preferred medium of print. In other areas where film is freer and more
expressive, however, there is always the temptation to over-sensationalize historical
events to the point of moving away from fact and closer to fiction.
Only few have succeeded in coming up with a compromise that could reconcile
film’s innate theatricality and history’s objectivity in a way that would satisfy both aims to
educate and entertain. But like all compromises, there is always something to lose for
both sides.
Jerrold Tarog’s Goyo: Ang Batang Heneral, a deconstruction of the men behind
the Philippine-American War, with focus on titular character Gen. Gregorio del Pilar, when
viewed that way, succeeds as a good compromise. This is partly due to Tarog’s directorial
brilliance, masterfully shown through Goyo’s breathtaking cinematography, excellent
script, and the cast’s convincing performances. However, its devotion to objective
storytelling (which I think the late prominent historian Teodoro Agoncillo would approve
of) is the main reason why it works so well.
In Goyo, Tarog successfully played the roles of artist and historian. By painting a
frank and unglorifying picture of one of our most treasured heroes, he triumphed by
avoiding a populist style which made inaccurate historical films like Pearl Harbor earn the
ire of critics and academics.
He supplied, through the faithful study of multiple references and accounts and
consultations with expert historians, the factual backbone that makes the film worthy for
screening in a classroom discussion. What records cannot supply, he provided by
historical imagination, filling necessary gaps, bridging events and portraying scenes that
could well have happened - things only a well-read director can deliver. Its retelling of the
Battle of Tirad Pass, the power struggles in Emilio Auginaldo’s government and the war
with the Americans are based from both history books and historical reconstruction of
events.
While it fails to live up to the massive impact of its predecessor Heneral Luna,
Goyo did a better job at humanizing one of our heroes, which is its greatest achievement.
I found its portrayal of the Boy General, famous for his wartime exploits, to be a
womanizing man troubled by internal struggles, divided between his loyalty to his
president and to his country, to be much more complex, realistic and convincing.
My only criticism of the film is how it missed to start off in a much fairer point for
Del Pilar. The film immediately challenged the idea of him being a hero, somehow naively
assuming that its viewers already know why he was already so popular during that time.
It should have shown why he was a hero in the first place. Baring his flaws and mistakes
or essentially trying to challenge his heroic persona before establishing his heroism is
one fatal flaw. It would have been more objective to show how he helped lead the battles
against Spaniards, something which happened before the events in the film took place.
Even if it is relatively subdued compared to its more memorable and quotable
predecessor, it is a richer and more invasive look into the lives of the leaders of the
revolution. Aside from its on-point character deconstruction of the Boy General, its take
on other leaders of the revolution like Apolinario Mabini (for me, one of the strongest
points of the film) is also laudable.
Once again, director Jerrold Tarog has raised the standard for Filipino films with a
masterfully made historical film every Filipino should watch. It’s our history told in a most
engaging yet responsible way, never sacrificing historical accuracy for a few thrills. While
it does not and should not replace classroom discussion and history books, it is a vivid,
stimulating and convincing reimagination of the people and events (and their nuances
and complexities) behind our struggle for independence.
This ongoing bayani trilogy is one of the most significant projects marking an
exciting shift in Philippine cinema. Tarog’s contribution to the ushering in of a new brand
of quality nationalist films that awaken national consciousness is unquestionable. Goyo
qualifies not only as an effective supplement in understanding our history but also as a
telling tale which we can learn from and set against today’s state of affairs. There is
always something problematic in the patriotic act of glorifying dead heroes and placing
our complete trust in politicians to save the country. They are just flawed and fallible
human beings like us. Our loyalty should always be to the country. Blindly following those
who lead it does not mean the same thing.
