Bonifacio: Ang Unang Pangulo (2014)

For more than 300 years ago, the Philippines was under the rule of the Spaniards, who spread
Christianity and established their forms of social class within the Filipino people. Filipinos who
wished to become like the Spaniards cover-uo behind their high statuses and chose to ignore the
sufferings of its people. The underprivileged were labeled as Indios and separated from those
who could mingle with the true Spaniards.

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 three priests, and a fellow nationalist. A time 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. 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
make plan with. The twist with this scene, a digital vector animation of the myth of Bernardo
Carpio is played, as an honor to the Filipino who has a normal inspiration of Katipunan and also
as a warning for the future Andres to face. The pattern of light to include not the characters’
personas, then progressing to break the monotonous dark atmosphere is a consistent flawless
style.

The inaccuracies
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.
But sadly it was been denied by the passel of aguinaldo.
The difficulty with history is that it is, ultimately, all very subjective. Despite the mountains of
historical documentation, the past is, inevitably, shaped by the necessary but mistakable act of
storytelling.

The facts, though initially culled from truth, are eventually blemished by human subjectivity.
And the result is molded into one account of history, as opposed to the account of history. The
film itself is enframed by a superfluous story set in modern times and learn the supposed truth

Vhaliant Angelo R. Baptista, A24

about the Supremo. But instead of seizing the opportunity to present audiences with something
new, provided, instead, with a story that heard before the sufferings from the very same problems
it is trying to resolve.

Heavy-handed
It is Aguinaldo’s decision to permanently remove Bonifacio from the Philippine revolution that
becomes the penultimate turning point of the film.

But without any real dramatic context to appreciate the rivalry between Aguinaldo and
Bonifacio, the film becomes its own version of propaganda. Audiences are force fed lessons in
history through a checklist of events and a long list of pedagogic speeches, all punchlined with
the resounding mantra that “Bonifacio was not a traitor.”
But regardless of its truth, this revelation is handled with such bludgeoning and suffocating force
that it is more mandate than argument.

And therein lies the real problem of Bonifacio. Like most historical epics, Bonifacio puts
overwhelming importance on dates and events. But the real meat of history is in its people.
Bonifacio is depicted as no less than the patron saint of patriotism: flawless, Bonifacio may
supply us with history. But in truth, what the film needs is a more than a little humanity.

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.

Vhaliant Angelo R. Baptista, A24

Technical look
The popularization of an unfamiliar Filipino hero brings us a great film that is worth watching
today, which begins with a contextualization of the flow of events during the early years of the
insurgency. The patriot and valiant Andres Bonifacio has never before been humanized as when
he was written in Filipino history books. The film babysits the rather ignorant minds of those
audiences who are perhaps unfamiliar with the story of the fiery general.
It had been a while since the Filipino film industry made something noteworthy and generous in
production. Filipino filmmakers have settled down into making cliché and cheesy romantic
movies because of its everlasting trend in the Philippines, but a film like this indeed takes a
massive leap from the norm.
The set design was phenomenal, and the costume design was nothing but fashionably accurate
for that era. Moreover, the dialogue is astonishing, like music to the ears in a combination of
Spanish and deep Tagalog. It was evident in the film how intricate and well-written it was
because of the use of the dated way of speaking. Some utterances, especially those said by
Bonifacio, left the audience something to think about, and some were merely written to entertain:
“Aling pag-ibig pa ang hihigit pa kaya sa pagkadalisay at pagkadakila gaya ng pag-ibig at sa
tinubuang lupa?” — Andres Bonifacio on dealing with hiastroups about striking a with the
Spanish colony.
“Walang mahalagang inihandog ng may pusong mahal sa bayag nagkupkop, dugo, yaman,
dunong, katiisa't pagud, buhay ma'y abuting buhay may magkalagut-lagot. ” — Andres bonifacio
outraged by the members’ of katipunan inspires on fighting towards their foes.

A personal note after watching the film…

To conclude, it is necessary at this point to give credit and being remembered their sacrificed of
all our beloved heroes, their lives for the cause of our independence and freedom. We shall
realize that heroes are only people like us, capable of doing both good and unpleasant. Both the
Spaniards and Americans helped us in the making of our country and sometimes it is hard not to
imagine what we would be like today if they didn’t set foot and expressed adoration for our
fertile and beautiful land, but it is still much favorable to have the motherland to your own much
like the desire of a child to belong to a family. The Filipinos have risen from their ugly past and
will continue to thrive as a great nation like it is today for the following centuries.
Vhaliant Angelo R. Baptista, A24

1. What was the strongest emotion that you felt when watching the film?
For the final act,A quasi-climax happened when gloria went to prison completely emotional and
suddenly andres bonifacio brought by the people of aguinaldo and killed helpless that makes me
felt downhearted massively 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.
2. What did you learn from this movie?
I learned from eagerness to defend his native land and to prevent severe-maltreated way by the
spanish conqueror.
This means that you must equip yourself humility,power,trust ,and be kind of social responsible
to lean on a good governance. Moreover, accusing anybody with no provided comprehensive
evidences must be avoided. Furthermore, Unity and alliance needed when there is an ambition to
defeat one's colony.
3. Who are the film's main protagonists and antagonists? Why do they behave they do?
Andres bonifacio ruled by the protagonist that had been shown by his calmness and no t being
boastful leadership. Andres behave the way he oraganized a seshion to kept silenced sought and
being an excellent leader does not mean you should be acquainted nor famous by the people.
In addition, Emilio Aguinaldo had the position served as the antagonist. Because of aguinaldo,
bonifacio had accused and killed.
4. Does the film have any significant dimensions and leanings?
Firstly, It will served as a self-motivation in handling a good governance and how you deeply
ambitious to serve and protect the country to the best function to the best of ability and that gives
us the knowledge of the backround history to fullfill the omission of past.
5. Which character did you (admire,love,hate,pity) the most?
For as I believed and love the late Eddie garcia for being knowledgeable not to adress prediction
easily but with provided enough basis to deal into. One of the education in the film says about
not to judge easily. So, as he stated "He cannot blame others for what they have knew" but to
constitue added information for accuracy.
6. How are sexual orientation, race,religion,ethnicity, nationality addressed.
It is good that the filmmakers adressed the sexual orientation with unbiases for threatened them
equally. It was a good promotion to every filipino how strong and not easily breakable they are
because of having such valiantness. It signifies the importance of one's life, family, society,
nation, and the world.