Jose Rizal the movie A. Char Charac acte ters rs Cesar Montano ... Jose Rizal Joel Torre ... Crisostomo Ibarra / Simoun Jaime Fabregas ... Luis Taviel de Andrade Gloria Diaz ... Teodora Alonzo Gardo Versoza ... Andres Bonifacio Monique Wilson ... Maria Clara Chin Chin Gutierrez ... Josephine Bracken Mickey Ferriols ... Leonor Rivera Pen Medina ... Paciano Peque Gallaga ... Archbishop Bernardo Nozaleda, OP Bon Vibar ... Vibar ... Ramon Blanco Subas Herrero ... Alcocer Tony Mabesa ... Camilo de Polavieja Alexis Santaren ... Olive Chiqui Xerxes-Burgos ... Father Villaclara, SJ Archie Adamos ... Olive's Aid Fritz Ynfante ... Anatomy Class Professor Jhong Hilario ... Prisoner Servant Gina Alajar ... Alajar ... Saturnina Rizal Tanya Gomez ... Narcisa Rizal Tess Dumpit ... Maria Rizal Irma Adlawan ... Lucia Rizal (as Irma Adlawan-Marasigan) Angie Castrence ... Josefa Rizal Rowena Basco ... Trinidad Kaye Marie June Congmon ... Soledad Ronnie Lazaro ... Don Francisco Mercado Dominic Guinto ... Young Rizal Ping Medina ... Young Paciano Dennis Marasigan ... Marcelo del Pilar Gregg de Guzman ... Propagandist Mon Confiado ... Propagandist Eddie Aquino ... Propagandist Manolo Barrientos ... Propagandist Rolando T. Inocencio ... Propagandist (as Roli Inocencio) Gilbert Onida ... Propagandist Jim Pebanco ... Propagandist Troy Martino ... Propagandist Kokoy Palma ... Propagandist Richard Merck ... Merck ... Propagandist Jess Evardone ... Propagandist (as Jesusito 'Jess' Evardone) Marco Sison ... Pio Valenzuela Joel Lamangan ... Gobernadocillo Tony Carreon
Noni Buencamino ... Elias Roeder ... Roeder ... Basilio Richard Quan ... Isagani Cristobal Gomez ... Pader Damaso Nanding Josef ... Josef ... Antonio Rivera Ryan Eigenmann ... Fernando Jon Achaval ... Fraile 1 Cloyd Robinson ... Fraile 2 Marco Zabaleta ... Fraile 3 Ogie Juliano ... Padre Rodriguez Minco Fabregas ... Padre Sanchez Shelby Payne ... Fr. March Pocholo Montes ... Maestro Justiniano Jesus Diaz ... Madrid Instructor Karl Meyer ... Meyer ... Belgian Printer LJ Moreno ... Companion of Josephine Bracken Bey Vito ... Don Dorolco Onjunco (as Bhey Vito) Kidlat Tahimik ... Tahimik ... La Liga Filipina Guest Toto Natividad Richard Guinto Dominic Guintu ... Young Rizal Roel Inocencio ... Propagandist B. Setting The setting of the movie jose rizal is in calamba laguna and in bagumbayan. C. Summary
A three-hour epic on the life and struggles of poet and patriot Jose Rizal, the national hero and martyr of the Philippines, this film was commissioned to mark the 1998 centennial of the country's independence from Spanish colonial rule. Rizal was a remarkably educated man; not only was he a writer, but he was also a painter, sculptor, doctor and surgeon, teacher, natural scientist, economist, engineer and theologian. He was an excellent fencer and marksman; he studied at colleges in Europe, America and Asia, traveled to many different nations and could speak twenty-two languages. He was a champion of his country's independence, a Filipino Gandhi who faced the firing squad at the age of thirty-five for inciting rebellion. He was the instigator of the Philippine revolution of 1896-98, the first national uprising against a colonial power in Asia. He also wrote two books, Noli me tangere and El Filibusterismo, which sought to increase his people's political awareness. Director Marilou Director Marilou Diaz-Abaya deliberately avoids a historical lesson. The Rizal of her story Cesar Montano is thinking back on his life and writings from his prison cell in the fortress of Santiago; the characters that appear are a blend of the real people, friends and enemies as well as those he created in his books. The script is solid, with a contribution by Diaz-Abaya's Diaz-Abaya's long time collaborator, Ricky Lee; Lee; the soft tones of the cinematography helps to create an atmosphere of magic appropriate to the story of a legendary hero, and the acting by Cesar Montano is quite remarkable. Accused
of treason, Dr. Jose P. Rizal awaits trial and meets with his colonial governmentappointed counsel, Luis Taviel de Andrade. The two build the case and arguments for the defense as significant events in the central c entral figure's life prior to his incarceration unfold. Upon hearing Rizal's life story, Taviel begins to realize that the accused is not only on ly innocent but exhibits in fact all the qualities of an extraordinary man. When the mock trial unreels, Taviel is all set to act as the prime advocate for his client as Rizal himself is about to give an earth-moving speech to defend his honor and address his countrymen. Meanwhile, the Spanish authorities have worked out the vast political machinery to ensure a guilty verdict. A revolution awaits in the wings. D. Values Values Impli Implicat cation ion The film is structured in a way that is uncharacteristic for a film that targets the Rizal is Philippine masses as its audience. Although narratively straightforward, Jose Rizal is complexed by flashbacks, short allusions to Rizal's novels, fastforwards, and other narrative conceits. The result is ultimately confusing and without any background on the important events in Rizal's life, it would be very easy to get lost. The flashbacks are initiated by Rizal's two confidantes: the first one is a young prison servant (Jhong Hilario), to whom Rizal recounts his growing-up years; the more prominent one is Taviel (Jaime Fabregas), Rizal's defense counsel who slowly befriends the hero while postulating several questions regarding his motives. Rizal is played by Cesar Montano with obvious reverence to the national hero. Lines are delivered with gospel-like fervor. The more silent and contemplative moments will have Montano daze thoughtfully into space, hoping to elicit some sort of solemn grandeur. While Montano succeeds in depicting the hero as should be done in this type of biopic, there is no question that he is upstaged by more seasoned thespians who are more creative in maximizing the meager roles that are written for them. Fabregas transforms his Taviel from mere attorney into a friend with b elievable ease and tenderness. Joel Torre , who plays Chrisostomo Ibarra, the main character in Rizal's novel, is both tragic and fearsome. Pen Medina plays Paciano, Rizal's elder brother, with adequate conviction. Sadly, the film is inconsistent in the acting department: Gardo Verzosa's Andres Bonifacio is an unconvincing romantic wreck, written as a cardboard cutout of blind idolatry, although the brash hero is more independent-thinking in real life; Gloria Diaz's Teodora Alonzo, Rizal's mother, falters with her miscarriage of melodramatic quips and mannerisms.
Rizal in Dapitan
A. Char Charac acte ters rs Albert Martinez - (Jose Rizal) Amanda Page - (Josephine Bracken) Roy Alvarez - (Capt. Ricardo Carnicero) Jimmy Fabregas - (Father Sanchez) Chris Micelena - (Father Antonio Obach) Candy Pangilinan - (Maria Rizal) Tess Dumpit - (Narcisa) Rustica Carpio - (Teodora Alonzo Rizal) Junell Hernando - (Joselito) Paul Holmes - (George Taufer) B. Setting
One hundred and two years after his death, national hero Jose Rizal - novelist, poet, essayist, physician, linguist, sculptor and playboy - still casts a long shadow over the district where he spent the last four years of h is life in exile: Dapitan, the verdant, greenladen Shrine City of Zamboanga del d el Norte. C. Summary
The film shows that Rizal was exiled in Dapitan due to the decision of the government. But despite of sending him out far away he still achieved significant things. He is really amazing that he continued to practice medicine and even cure the sick people especially those who have problems with their eyes. Rizal also engaged himself in farming, agriculture and even building a school for boys, water system and discovering new specimens. Although he made himself busy for so many things, still he keeps the correspondence to the family and friends. Rizal can have a rest in Dapitan and can even give no attention to his past p ast activities but he kept in his heart the things that merely interest him. Although his life in Dapitan was a bit contented, the problem of Rizal’s turning back to the Catholic Church was a great issue to the friars. The authority in the Church gave such conditions that can contribute on making Rizal be part on the Church like before. The Jesuit even sent Fr. Sanchez to convince Rizal in changing the errors defined by Rizal in the novel no vel to the Catholic Church and its attack to the Spanish colony.
Even if Fr. Sanchez was his favorite teacher and even considered him as his father, he really stands in his principle and changes nothing on what he had stated before. In spite of Fr. Sanchez’s failure in convincing Rizal, this professor respect Rizal’s decision. Based on this event, it really shows that Rizal is not attacking the Church itself because there are some other good friars that are not hypocrites and even paid respect to people. There is a scene in the film that really struck me, when the boys in Dapitan joined the school of Rizal. If I try to evaluate the condition of Rizal as ex-communicated, the parents of those boys really gave their trust to Rizal to make their sons be educated and learn different lessons in life. Even the friars in the place warned the parents to get away their sons to the sinful beings so that they may be guided in the right path and not the path of this human evil that obviously referring to Rizal. I just realized that not all Filipinos before were ignorant and servants of Spaniards because just like some parents in Dapitan they were conscious of giving education to their children and entered them on the free school of Rizal with some conditions. This kind of attitude represents courage and willingness to learn many things not just intellectually but ph ysically and mixed with recreation. I give my salute to these boys and especially to the consent and trust of the parents for the sake of their children to go beyond to the field of education and keeping the sense of motivation despite of financial problem. One of the vital events in Rizal’s life in the Dapitan was the presence o f Josephine Bracken in which they lived together without the matrimonial sacrament and considered as a disgrace during their time. I’m still a little bit confused with the character of Joshepine if she’s a spy or if she really loved Rizal. But the important lesson I get from Rizal in this event of his life is the importance of living a good and peaceful life with the partner despite of the lack in matrimonial sacrament and the critic of Rizal’s sister, the friars and other people. For Rizal it is better to live without matrimony but having a peaceful living rather having a matrimonial sacrament but the couple is always fighting and the relationship is really chaotic. In the later part of the film Dr. Valenzuela visited Dapitan and brought a blind man to be cured cu red but the reason for the visit is beyond curing but to solicit Rizal regarding the plan of revolution under the leadership of Bonifacion. Rizal objected the bloody revolution for the reasons of lack of arms and funds and the people are not yet ready for the revolution. There are so many things to prepare for. Rizal is projecting the consequences it they will pursue it. The Spaniards have better arms and battle equipments and the soldiers were well trained unlike the members of Katipunan. I think Rizal is not turning his back to his mission just because of his objection. It is just for him before conducting a bloody revolution, there must be a plan a big preparation especially to each member. Also he objected Dr. Valenzuela to rescue him from Dapitan because he gave his word of honor and promise to the Spanish government and he didn’t want to break it.
D. Valu Values es Impli Implicat catio ion n A complex film within a film that attempts to explore the myth of Philippine national hero Jose Rizal, director Mike director Mike De Leon's Leon's study in manufactured mythology attempts to explore the life of Rizal while simultaneously investigating his influence on modern
Philippine society. It seems that the culture has embraced the idea of a nation icon rather than the physical reality of the man behind the myth, and director De director De Leon begins to study the historical accounts of Rizal's life while attempting to con tact the family and friends that were closest to him. Confounded by the controversial letter of retraction that Rizal signed in his later days, the filmmakers attempt to uncover the motivation of the legend in renouncing all he stood for and opting for and embracing the society that he so vehemently denounced. Soon coming to the end of their search for facts and unable to solve the mystery of the letter, the filmmakers, at odds with their belief of recorded history, find that discovering the ultimate truth to the legend may be an unattainable goal.
3rd World Hero A. Char Charac acte ters rs
Joel Torre ... Jose Rizal Ricky Davao ... Filmmaker 1 Cris Villanueva ... Filmmaker 2 Ed Rocha ... Padre Balaguer Joonee Gamboa ... Paciano Daria Ramirez ... Donya Lolay Rio Locsin ... Trining Cherry Pie Picache ... Narcisa Lara Fabregas ... Josephine Bracken B. Setting
C. Summary
A complex film within a film that attempts to explore the myth of Philippine national hero Jose Rizal, director Mike director Mike De Leon's Leon's study in manufactured mythology attempts to explore the life of Rizal while simultaneously investigating his influence on modern Philippine society. It seems that the culture has embraced the idea of a nation icon rather than the physical reality of the man behind the myth, and director De director De Leon begins to study the historical accounts of Rizal's life while attempting to con tact the family and friends that were closest to him. Confounded by the controversial letter of retraction that Rizal signed in his later days, the filmmakers attempt to uncover the motivation of the legend in renouncing all he stood for and opting for and embracing the society that he so vehemently denounced. Soon coming to the end of their search for facts and unable to solve the mystery of the letter, the filmmakers, at odds with their belief of recorded history, find that discovering the ultimate truth to the legend may be an unattainable goal. We are a nation fascinated with Jose Rizal — not just his heroism but also his being a womanizer, his classic hair style and many more. We devour two of his greatest literary works in secondary schools. We celebrate his birth and execution dates. We have countless movies relating to Rizal and his h is works. We even name our streets (Rizal Avenue, Rizal Province), corporations (RCBC), schools (Rizal High School) and products after him. There’s even a religion devoted to Rizal and his works. Even the most
well-known place in Laguna is Calamba (Rizal’s hometown), not Santa Cruz which is its capital. Despite being subjected to countless scrutinizes by various historians, how well do we know Rizal? Is it really important to know him adequately since he’s our nation’s symbol to our fight against four centuries of foreign co lonialism? Bayaning Third World , directed by Mike de Leon, is a mockumentary on making a film about Rizal. Lots of questions were thrown around and dissected in this feature film that concern Rizal. Have Rizal really written and signed a retraction letter signifying his intention to turn back from his beliefs and re-join the Catholic Church? Did he marry Josephine Bracken? Did he retract so that he can marry Josephine Bracken? (There was no civil wedding back then.) These were “discussed” in the film by interviewing various peo ple connected to Rizal for their points of view. Throughout the film, the filmmakers (Ricky Davao and Cris Villanueva) asked lots of questions, examined evidences, analyzed various information they have gotten from their “interviews” and still didn’t reach a conclusion about the questions they want to clarify right from the start. The more they dug deeper, the more questions left unanswered popped up. It’s one big loop that mocks the futility of digging deep down Rizal’s personal life, his inner feelings and motivations. Cris Villanueva always asks if it’s still relevant to discuss these issues a century after Rizal’s death. Maybe it is still relevant so that we can have a hero who will not be anymore subjected to doubts by many scholars — a “flawless” hero so to speak to maintain Rizal’s legacy to our country. But what is a hero really? Is there a perfect or flawless hero? Will there ever be an unblemished hero? A long time already went by since Rizal’s death. A lot of things have already happened since 1896. Maybe knowing the complete story is not that important anymore. Rizal is an image of Filipino intelligence and an inspiration to the youth of today and tomorrow. Many look up to him. If the truth would tarnish everything that was built and p reserved, maybe it’s not worth pursuing anymore. So what if he retracted his statements and beliefs? We are already influenced by Rizal in many ways… positively I believe. His greatness would not be diminished by a mere renunciation since damage was already inflicted to the colonizers by his works and statements. Nothing will ever change today. On the technical aspect, this film is superior with its use of black and white (perfect for the period of time covered by the film), mock commercials and re-creations and parodies of historic events (e.g. execution of Rizal where he run away from his executors). One interesting bit of information; the actors did not know they are filming a comedy. This was done to preserve the authenticity of their acting since not knowing that they’re filming a comedy, the actors would not n ot force themselves trying to be funny. This strategy
worked excellently for this film as spontaneity and zest were preserved throughout the film.
D. Valu Values es Impli Implicat catio ion n
Explain the mysteries in the hero's life lead them to confront the past and its characters. This Odyssey towards the elusive thruth shows us their face to face encounters with Rizal's mother, brother, Josephine Bracken, Rizal sisters and Padre Balaguet, the Jesuit who writes about Rizal's final ho urs. The final segment of the film dubbed as “Kanya-Kanyang Rizal” conveyed that we know Rizal in lots of different ways. Depending on who we ask, a different “version” of Rizal will always be told. It’s like history in general, where even in the presence of various pieces of evidences there would always be some room for a historian’s opinion to enter his discussion. What would history become without discussions and debates? A mere collection of information regarding and records of the past. It’s an endless cycle, almost futile, but not entirely useless since it encourages us to think within our own minds.
