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Film Review: ‘Heneral Luna’

The Philppines' foreign-language Oscar hopeful is a rousing historical epic set during the Philippine-American War.

By Richard Kuipers

Richard Kuipers

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One of the most expensive and highest-grossing Filipino films of all time, “Heneral Luna” is a rousing, warts-and-all portrait of Gen. Antonio Luna, the brilliant and brusque strategist whose command of troops in the Philippine-American War (1899-1902) was cut short by betrayal from within his own ranks. Anchored by a charismatic central performance by John Arcilla (“Metro Manila”) and peppered with exciting action sequences, the pic has the all-around energy to overcome the odd moment of bumpy storytelling and prosaic dialogue. A worthy official submission in the foreign-language Oscar race and an entertaining history lesson for audiences everywhere, “Luna” reps an impressive achievement in large-scale filmmaking by prolific scripter-helmer-editor-composer Jerrold Tarog (“If Only,” 2007). Launched locally on Sept. 9, the pic grossed a whopping $5.3 million and has notched an impressive $200,000 on limited U.S. screens since Oct. 30.

It’s worth noting the film’s remarkable turnaround at the domestic box office. Initially released in 100 cinemas, “Heneral Luna” performed only modestly in its first week and was quickly withdrawn from more than half its screens. Following a spontaneous fan-led social-media campaign, audiences started turning up in droves, and the film was subsequently reinstalled in many theaters and went on to enjoy a highly successful nine-week engagement. Such a lengthy run is regarded as a minor miracle for a Filipino production, and Tarog has since announced plans to make another two films set during the same eventful era as “Heneral Luna.”

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Announcing itself as “a work of fiction based on facts,” the pic is framed around a series of interviews granted by Luna to Jove Hernando (Arron Villaflor), a fictional newspaper journalist. Threaded into the narrative at well-judged moments, these lively conversations provide viewers with valuable insights into the general’s personality and assist greatly in keeping track of the story’s bulging inventory of characters and events. Much of Luna’s dialogue in these sections is squarely aimed at encouraging local audiences to ask questions about the evolution and identity of their nation, and to draw parallels between contemporary political events and those in Luna’s time.

A clear picture is immediately established of the state of affairs in the Philippines in late 1898. After more than 300 years, colonial ruler Spain has relinquished control and sold the islands to the U.S. for $20 million. Exactly where that leaves the newly self-declared First Philippines Republic and how it should respond to the first landing of U.S. troops on Filipino soil is hotly debated inside the shaky government of President Emilio Aguinaldo (Mon Confiado) and wheelchair-bound Prime Minister Apolinario Mabini (Epy Quizon).

It’s clear from the outset that “Heneral Luna” is a very different proposition from the majority of Filipino historical epics, which paint fawning portraits of the nation’s founding fathers. The rasping dialogue by Tarog and co-scripters Henry Francia and E.A. Rocha presents a government wracked by chaos, disunity and the readiness of key players to place personal interest ahead of the national interest by accepting U.S. domination without a fight.

When all this squabbling and bickering comes to the boil, Luna (Arcilla) is potently launched into the fray as a straight-talking, fiercely patriotic commander who cuts through everyone’s rhetoric and insists on pre-emptive strikes in order to save the fledgling nation. As he puts it: “I detest war, but I detest compromise more.” In the process of winning the argument Luna clashes fatefully with pro-compromise power brokers Pedro Paterno (Leo Martinez) and Felipe Buencamino. In a remarkable and highly effective piece of casting Buencamino is played by his direct descendant Nonie Buencamino, a highly regarded legit actor.

With the volatile political landscape well mapped out, “Heneral Luna” thunders into action. Given command of a motley collection of troops that could barely be called an army, Luna whips them into shape with inspirational speeches about nationhood and brilliant tactics that bring about several stunning victories on the battlefield. While paying full due to Luna’s military genius, Tarog does not shy from showing his weaknesses. Most glaring are his fanatical insistence on absolute obedience and moments when he lacks understanding and sympathy for peasants and farmers on whose land the war is being fought.

While following the traditional trajectory of a war movie, “Heneral Luna” is more fundamentally concerned with examining how internal rivalries proved the undoing of Luna and destroyed any chance of the Philippines gaining genuine and lasting independence. Tarog achieves the primary objective with distinction, but isn’t as successful when U.S. forces are center-frame; the momentum drops noticeably, and the dialogue between American characters including Gen. Arthur MacArthur Jr. (Miguel Faustmann) and Gen. Elwell Otis (Rocha) is frequently clunky and unconvincing. But the name of the game here is Gen. Antonio Luna, and for the overwhelming duration of its running time the film delivers on its promises.

Arcilla’s zesty performance brings full-blooded life to Luna’s reputation for inspiring both undying loyalty and enduring enmity. Surrounding him on the loyalty side of the equation are well-written and performed portraits of supporters including Gen. Jose Alejandrino (Alvin Anson), Col. Francisco Roman (Joem Bascon) and Capt. Jose Bernal (Alex Medina). On the opposite side of things, Ketchup Eusebio nails his portrayal of Capt. Pedro Janolino, a smarmy young officer whose refusal to obey Luna plays a critical role in the fortunes of the general and the war itself. Though given relatively little screen time, Mylene Dizon (“Aparisyon”) hits a winning note as Red Cross worker Isabel, a fictional amalgam of several women Luna was known to have been involved with.

A massive undertaking with approximately 100 speaking roles and a crew of 600, “Heneral Luna” impresses on all levels. Production design by Benjamin Padero and Carlo Tabije, art direction by Katrina P. Napigkit and costume design by Padero vividly bring to life an era that few viewers outside the Philippines will have seen on big or small screens.  Cinematographer Pong Ignacio confirms his rising-star status with gorgeous widescreen lensing of lush rural areas, artful compositions in sequences inside the corridors of power and fluid, exciting coverage of the many combat set-pieces. Tarog’s traditional orchestral score is big and brassy when the moment calls for it, and nicely restrained when quiet is required. A high standard of excellence is achieved in pyrotechnics, vfx work and all other technical areas.

Reviewed at Hawaii Film Festival (Spotlight on the Philippines), Nov. 15, 2015. MPAA Rating: R. Running time: 119 MIN.

• Production: (Philippines) A Quantum Films (in Philippines)/Abramorama (in U.S.) release of an Artikulo Uno production. (International sales: Artikulo Uno, Manila.) Produced by E.A. Rocha. Executive producer, Fernando Ortigas. Co-executive producers, Leo Martinez, Ting Nebrida.
• Crew: Directed by Jerrold Tarog. Screenplay, Henry Francia, E.A. Rocha, Tarog. Camera (color, widescreen, HD), Pong Ignacio; editor, Tarog; music, Tarog; production designers, Benjamin Padero, Carlo Tabije; art director, Katrina P. Napigkit; costume designer, Padero; sound (Dolby Digital), Mikko Quizon; sound designer, Hit Prods., visual effects supervisors, Jauhn Dablo, Gaspar Mangarin, Walter Monte, Llewyn Jalimao; visual effects, Blackburst; line producer, Daphne O. Chiu; associate producers, Ria Limjap, Paolo Ortigas; assistant director, Crisanto B. Aquino: casting, Jame Habac, Jr.
• With: John Arcilla, Arron Villaflor, Mon Confiado, Mylene Dizon, Nonie Buencamino, Lorenz Martinez, Joem Bascon, Alvin Anson, Alex Medina, Ketchup Eusebio, Art Acuna, Archie Alemania, Epy Quizon, Leo Martinez, Perla Bautista, Bing Pimentel, Miguel Faustmann. (Tagalog, English, Spanish dialogue)

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Review: ‘Heneral Luna’ Is a Patriotic Biopic That Aspires to Epicness

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John Arcilla as Antonio Luna in “Heneral Luna.”

By Ken Jaworowski

• Oct. 29, 2015

I’m only a little embarrassed at liking “ Heneral Luna ,” an audaciously manipulative movie that’s more involving than it should be. But really, when a film works this hard to rouse you, there’s no shame in just giving in.

A patriotic biopic that veers toward propaganda, “Heneral Luna” is about Antonio Luna, who in the late 1800s led the Philippine Revolutionary Army during the Philippine-American War. Early in the story he’s given command of the military. (“General Luna, it’s up to you now. This war is in your hands.”) Cue the sweeping orchestral music.

Battles are waged, speeches are made and foreign enemies soon become the least of Luna’s problems: Bureaucrats, cowards and other homegrown spoilsports continually try to sabotage his unconventional plans. “General Luna, you may be a military genius, but you do not understand politics,” one of those skeptics whines.

The film, directed by Jerrold Tarog, portrays the general as a Patton-esque figure, bucking authority and doubters, all for love of country. There’s frequent grandstanding and staring off into the distance as the movie aspires to epicness. Even Luna’s adversaries admire him. “He must be the bravest man I’ve ever seen or the looniest lunatic this side of Frisco!” an American proclaims after Luna single-handedly charges the front line. Under fire. With only a revolver. On horseback.

John Arcilla, as the general, remains gallant and charming despite appearing in nearly every scene to deliver exposition amid cheap-looking sets. Still, with so much energy and eagerness to please, it’s easy to be enthused. The makers of “Heneral Luna,” the Philippine entry for foreign language film for the coming Oscars, know their audience wants a hero, and they aren’t here to hold back.

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‘Heneral Luna’ Review: Essential viewing

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This is AI generated summarization, which may have errors. For context, always refer to the full article.

“History was written by those who hanged the heroes.”

The quote from Mel Gibson’s Braveheart (1995) rings truest in the Philippines, where history, or at least the one that was crafted to instill within the people an illusion of a pristine and glorious nation, is as fragrant as a little girl’s fairy tale. Filipinos have been led to believe that the country was birthed from the untainted bravery of our forefathers who dispelled vicious colonizers with both their words and weapons.

However, this history that we are enjoying is one painted with half-truths and veiled lies. Those details of the nation’s past that may or may not have a more lasting impact on our state as a people are either left as footnotes or completely forgotten and neglected. Distilled of dirt and sin, all that is left are perfumed memories that can only fuel a pride that may be as misplaced as it is dangerous. 

History in cinema  

Local cinema has mostly been complicit to this bamboozlement. Most of the films that have been made to tackle the nation’s history have portrayed the prominent men and women who fought for our freedom as saints, almost bereft of faults and mistakes.  (READ:  Heneral Luna: Para sa bayan o sarili? )

Line them all up, from Carlo J. Caparas’ Tirad Pass: The Story of Gen. Gregorio del Pilar (1997) to Marilou Diaz-Abaya’s Rizal (1998) to Mark Meily’s El Presidente (2012), and all you’ll see are narratives that lead only to the goal of sanctifying the historical figures they center on. Even Enzo Williams’ Bonifacio: Ang Unang Pangulo (2014) ended up putting its titular hero on a pedestal even if it had the audacity to dwell on some of the details of the hero’s death at the expense of another historical figure. (READ:  10 movies featuring PH national heroes )

The few films that managed to shape the historical figures as actual humans instead of icons and idols are films with too small a budget to be able to pull off the requirements of a period piece. Mike de Leon’s Bayaning 3 rd World (2000) ingeniously dissected the famous myth of Rizal. Mario O’Hara’s portrayal of Andres Bonifacio in Ang Paglilitis ni Andres Bonifacio (2010) is so laced with humanity that a lot of its viewers considered it close to sacrilegious.

Bridging the divide

The divide between the gutless but glossy epics and the braver but more intimate independent productions is so immense. As a result, movie-going masses are fed with didactic rubbish that are designed primarily to treat viewers like kids who prefer their stories visualized like soap operas than read from a textbook, oblivious of the fact that there exists another vein of historical cinema that dares to ask more questions than provide the same answers over and over again.

Jerrold Tarog’s Heneral Luna provides that essential middle ground. It is a film that is crafted with just enough meticulousness a reasonable budget can afford but does not pander to common but erroneous knowledge and wisdom. Instead, it goes straight to the point of unravelling those details in history that were left out by those who hanged the heroes. Tarog’s film is an immense risk, one that is probably fueled not by quick profit but by a profound desire to unmask demons of idols. 

Tarog cleverly starts his campaign with Antonio Luna, who has always been known as a gifted military strategist, capable of leading an army composed of farmers plucked out of nowhere to victory against both Spanish and American foes. His tragic demise paints a picture of what was wrong and what is still wrong in the country. 

In a way, Luna personifies the fractured hero that defines the country’s fractured history. His life, like history, has been severely whitewashed with great deeds brought to the fore while deficiencies in character are veiled out of sight. 

What Tarog does to Luna is to treat him with enough respect to release him from being just an object of this victor’s history we have been blindly celebrating throughout the years. Tarog makes him human, drawing him with virtues as well as warts, and in so doing, creates an essay of everything that is wrong in our nationhood.

Intent and craft

What is most fascinating about Tarog’s Heneral Luna is that it does not place its intent ahead of its craft. The film is beautiful to gaze at. The score made by Tarog is subtle during moments when the drama does not require distracting melodies, but hauntingly intense at the high points.

The film is plotted precisely, never really focusing on the larger aspects of history but on the smaller stories that perfectly construct a hard-hitting picture of a revolution built on suspicion and dissent. 

John Arcilla is excellent as Antonio Luna. His performance displays an innate understanding of the character. Driven not by boring reverence but by his own interpretation of what exactly is noble madness, Arcilla is exhilarating to behold in his various interpretations of Luna’s many personalities. (READ:  John Arcilla on bringing ‘Heneral Luna’ to life ) 

As ferocious leader of a seemingly hopeless army, he is rabid and stern. As a pal to his trusted lieutenants, he is unpredictably hilarious. As son to a devoted mother, he is heartbreakingly dear, echoing the same sentiments he has for his family as if it were for his motherland.

While Arcilla dominates the picture with his prodigious performance, Mon Confiado comfortably stays at the side, playing Emilio Aguinaldo, portrayed in the film as a cunning puppeteer instead of the victorious liberator of the Philippines, with such engrossing sobriety. Confiado’s Aguinaldo is vicious in his quietude, amply balancing Arcilla’s Luna, who is as boisterous as he is outwardly violent. It is a generous performance, one that gives the film deeper layers as opposed to being just a battle of wits between prominent figures of the past. 

Beyond stereotypes

Ambiguity is not typically regarded as a virtue when it comes to historical films about national heroes. Most of the films that have tackled our history past have a definite agenda of feeding their viewers with a very general emotion of pride for one’s country.

Heneral Luna , while precise in its storytelling and in its depiction of the major players of the revolution, evokes ambiguous emotions about a nation that has been revealed to be built on a rickety foundation of questionable motives and personalities. 

Tarog is as blunt as he is poetic. He does not shirk away from detailing the violence of war. In fact, he often laces the gruesome deaths he stages with humor, perhaps to reflect on the folly of war despite its inevitability. Amidst the indulgence in spilling blood and exploiting gunpowder is a tenderness that is genuinely affecting.

Heneral Luna begs you to look beyond the stereotypes of both the man and the history that has been made around him. It begs you to see everything with clearer eyes, with just enough cynicism, and more importantly, without the influence of those who have the greatest to gain for turning our history into a pageant of brave and unblemished patriots, of those who hanged heroes without owning up to their sins. – Rappler.com

Francis Joseph Cruz litigates for a living and writes about cinema for fun. The first Filipino movie he saw in the theaters was Carlo J. Caparas’ ‘Tirad Pass.’ Since then, he’s been on a mission to find better memories with Philippine cinema. Profile photo by Fatcat Studios.

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Heneral Luna - Movie Reaction

Heneral Luna is a heartwarming yet a strong movie that depicts the life of General Antonio Luna during the Philippine – American War. Antonio Luna was a Supreme Chief of the Army of the First Philippine Republic which was under the reign of President Emilio Aguinaldo. He was known for his great leadership skills because of the way he ruled the army even though many people are against him because they are irritated to his strong and fierce personality that he possess. He is the most intelligent in the Philippine military because of his one of a kind strategies that can fool his opponent. He is a kind of a leader that if there is a problem to his ways, he will not ask his subordinates to solve it for them, instead he will be the one who will find ways to solve the it because he is a man who lead with pure actions not a man who lead with so many commands. He is also a wise men because of his words of wisdoms that he often share to his subordinates just to boost their love for our country. It is really true that people have different opinions and perspective in solving certain things and how they strongly justify that their opinions are more effective than the others. In this movie, there are two kinds of people that can be seen, a person who is a risk taker and a person who choose the easy way out. Here, a person who take risks is the one who truly show their devotion for the nation, an example of this is Antonio Luna and his men. They bravely risk their life buy fighting the American soldier until their bullets run out. Despite having a risk taker there will always a person who will choose an easy way out. These people are the one who only thinks for their own life and not considering others. An example of this is the businessman Felipe Buencamino who would rather choose to be an ally of the Americans because they think being with them means that their business will be safe because the Americans will not think ways that could bring down their business since they already earned their trust. It is a shame that these people still exist nowadays because they are being lead with the strong greed for money and power. It is true that the American colonizer is not our biggest enemy but instead it is our co – Filipinos who have a strong ill desire for their own benefits. It is so ironic that most of our heroes didn’t died to the hands of the colonizer instead they actually died to hands of the people that they are protecting. These kind of people will do everything that they can so that no one will be able to block their wrong intentions even if it means to put the life of others to death. These people should not be look up to because they will bring no good to everyone instead they should be treated as a pest because they are a living cancer in society. Sacrificing life is really dangerous especially that the opponents are known to be strong. But, I still don’t get it why some people, in the middle of the fight, are choosing to back down and continually move backward to escape the battlefield. For me this kind this is an act of a coward person because they weren’t able to end the war with the good fight. They wouldn’t even finish what they have started and choose to retreat when they think that things are not going out well. It is saddening because they not only failed the people around them but they also failed themselves as a soldier who devotedly oath to the mother land to retrieve the Her from the colonizers and to turn things to its right places. The movie gives us an idea how Filipino soldiers were killed brutally. Some of them were shot multiple times and others receive the bomb that makes their head blow off. It really showed how these soldier are accepting what life are putting to them. They know what will happen to them if they continue these and yet they choose to continue fighting because they know to themselves that after winning these big fight will result to a big change to the life of their co – Filipinos. We should honor them more especially that we already have an idea how their life ended which is an awful one and I know most of the people wouldn’t want it to be their death scenario. Heneral Luna wasn’t able to receive the same recognition as the other heroes but thanks to this movie because many people will now be able to know that there are really many people who are willing to cry the pain and shed blood just to have the freedom that were deprived to us. I am really thankful that historical movies like this are being produced because it will not only make us to know what really happened in the past but will also make us appreciate the sacrifices that they made just for us to have a better future. These people is the key why we attained the liberty, so us, as a Filipino citizen, should not put to waste the things that they have done to us instead we should continually grow the love to our country because this is our home, our motherland that needs to be protected always and forever.

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I don't think running away in a war is seen as being a coward after all we are all human beings.it takes a lot or courage and motivation to be at the frontlines so I think we should be more compassionate to those who back down because if we were in their shoes we would have done the same.

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