Manuel L. Quezon was the classic ‘trapo’ – the first Filipino leader to practice traditional or patronage politics where power is used to gain and reward loyalty, and objectives are achieved through secret maneuvers.
That’s what the movie ‘Quezon’ is about. The last of filmmaker Jerrold Tarog’s trilogy on Filipino heroes (2015’s ‘Heneral Luna,’ 2018’s ‘Goyo’) depicts a politician’s rise to power – how he attains and wields it to free the country from American rule after more than 300 years of Spanish colonization.
To manage expectations and avoid misgivings, the audience must be aware that the movie IS NOT a biopic or a documentary that would have touched on Quezon’s achievements as President of the Philippine Commonwealth, many of which are still in effect today – such as the enactment of the minimum-wage law and an eight-hour workday; a mediation court for labor disputes; provision of lawyers to assist the poor for free; and women’s right to vote, among other initiatives in his social justice program.
Instead, ‘Quezon’ (Jericho Rosales) shows what many Filipinos might still not know about the historical figure – a shrewd politician who advances his career through charm and cunning to win four battles against, namely; his political ally/nemesis, Senator Sergio Osmeña (Romnick Sarmenta); US governor general Leonard Wood (Iain Glen); first Philippine Republic president Emilio Aguinaldo (Mon Confiado); and fictional journalist character Joven Hernando (Arron Villaflor, Cris Villanueva).
Joven is the literary device that Tarog – who co-wrote the screenplay with Rody Vera – uses as the movie’s ‘conscience’ or ‘explainer’ for viewers to get a grip on the story’s ‘bigger picture.’
Following his character as a young reporter chronicling the Philippine-American War in ‘Heneral Luna’ and ‘Goyo,’ Joven moves up as a publisher of Alerta, a newspaper that Quezon supposedly gives him as a business favor. Joven’s daughter is Quezon’s imaginary godchild Nadia (Therese Malvar).
In the invented subplot, Quezon hires aspiring filmmaker Nadia to do a series of short films as campaign material for his presidential run. Upon the suggestion of Joven’s uncle Miguel Laureano (Jojit Lorenzo), Nadia makes two versions of the shorts – in case she falls out of Quezon’s favor and needs to tell the truth apart from propaganda.
Thus unfolds a movie within a movie – perhaps inspired by Mike de Leon’s ‘Bayaning 3rd World,’ an effort to make history come alive with a mix of mainstream and contemporary approaches.
Right after the opening vintage scenes of the young lieutenant and Aguinaldo aide surrendering to US forces in 1901 and realizing his goal of independence, Quezon emerges as a suave, nattily-dressed gentleman with a sharp intellect playing the ‘game’ of politics.
At the party celebrating his victory in 1935 as Philippine Commonwealth President, Quezon politely responds to favor-seeking officials: ‘Sa tamang panahon.’
Quezon vs Joven
In his first battle (of wits), Quezon argues with Joven on the nature of truth. Joven accuses Quezon of ordering the closure of Alerta because the latter can’t accept the truth. Quezon denies he had a hand in shutting down the paper, but it seems he’s lying. He quotes the philosopher Plato and the ‘noble lie’ (the myth propagated by rulers for the ‘greater good’ of society).
Joven rebuts Quezon, asking if he does not read Aristotle, Mill, Rousseau, and Kant (who all argued about reason, justice, happiness, and the common good). The truth, Joven declares, is the foundation of a just and fair society. To which Quezon retorts: Truth is not always effective in governance; that in statecraft, what matters is the objective – in his case, independence.
Joven is disappointed. He tells Miguel and Nadia that Quezon is no longer the leader he once looked up to. He asks Nadia to show him the alternative to her short film, ‘yung totoo.’
Quezon vs Osmeña
Thus unfolds Quezon’s second battle – versus Osmeña. Quezon, as the National Assembly’s Senate President, and Osmeña as House Speaker, are allies in the Nacionalista Party with an eye on securing Philippine independence from America. But they are like lovers, Joven comments, fighting and making up and then fighting again.
Quezon uses Osmeña for expediency and then dumps him when trouble arises. ‘Serging, I’m tired,’ Quezon says, referring to the Commonwealth election and asking Osmeña to run as his vice president. ‘After my term ends, you’ll be president.’ Osmeña agrees, and they shake hands.
But later on, they accuse each other of misdeeds. Quezon distrusts Osmeña and cozies up to Manuel Roxas, who becomes House Speaker through Quezon’s tactical maneuverings in Congress. Osmeña shakes his head, and every time Quezon says, ‘I’m tired,’ Osmeña quips, ‘Narinig ko na yan ah.’
Quezon’s style of making up with Osmeña each time he needs his support is to bring chocolates and liquor to the latter’s office. One time, he adds flowers to his gifts. Where did the flowers come from, Osmeña asks. From the wake of Wood, Quezon replies, laughing.
Quezon vs Wood
For his third battle – against Wood – Quezon needs Aguinaldo, whom he had earlier granted a lifetime pension as leader of the Veteranos de la Revolucion, in addition to a government property in Cavite, since Heneral Emilio wants to spend his retirement days as a farmer.
I need a favor, Quezon tells Aguilnaldo, speak up against Wood, just once. Quezon hates Wood for reporting to the White House that the Philippines is not ready for independence and that its leaders are corrupt.
But though Aguinaldo does the opposite, which makes Quezon livid (‘Pu**ng ina!’), Wood accidentally ends up dead, not long after Quezon visits him and they taunt each other while getting drunk.
Quezon vs Aguinaldo
With Wood dead and the Commonwealth elections coming, Quezon engages in his fourth fight – against Aguinaldo, who is challenging him for the presidency. What follows are scenes similar to past national elections – Quezon and Aguinaldo trading barbs, but with Quezon escalating his attack by resurrecting the accusation that Aguinaldo had ordered the killing of Andres Bonifacio and Antonio Luna, complete with mourners in black and a streamer screaming, ‘Traydor!’
Worse, Aguinaldo’s pension is revoked and the farm padlocked.
Solid research material
For all its dramatic flair and startling revelations, ‘Quezon’ is backed by solid research material. It has a teaching and study guide for school discussions prepared by historian Alvin Campomanes.
The guide contains tons of verified local and foreign sources to match, or give context to, the movie’s dialogue.
For instance, to explain Quezon’s philosophical take on truth, the guide quotes then-congressman Claro M. Recto, who later wrote in 1953: ‘Quezon did what was politically useful and convenient, whether or not it was consistent with any preconceived and formal program of action. He was a good fighter, and above all, a master political strategist and tactician whose consuming and overriding objective was victory.’
Regarding the fictional scene where Joven accuses Quezon of ordering the closure of Alerta, here’s what the guide says:
‘Although Quezon was a major stockholder of the [then American-owned] Manila Times from 1919 to 1920, he was unable to exert dominant influence over it. Meanwhile, his backing proved instrumental in the founding of another newspaper in 1920: the Philippines Herald. It was the first English-language newspaper published by Filipinos. It became a platform to amplify ‘pro-Filipino sentiment’ and counter the American-leaning press. To secure the paper supply contract for the Herald, Quezon bought and shut down The Cablenews American. Through his business friends, Quezon gained control of the El Debate-Mabuhay-Herald-Monday Mail newspaper group. These papers, particularly the Herald, published his attacks on political opponents and defended him against criticism.’
Yet even as a cursing authoritarian government official, Quezon maintained a dignified, respectable image. He would probably wince at Rodrigo Duterte, who took expletives to the lowest guttural level, and at Ferdinand E. Marcos Sr., who used a clause in the 1935 Constitution to declare martial law in 1972 and enrich himself and his cronies for 14 years.
Role of a lifetime
Rosales as Quezon plays the role of a lifetime with aplomb. An unsightly production detail is the ill-fitting, ukay-looking costumes in the crowd scenes, probably due to budget constraints. Curiously, everybody’s smoking, which likely aggravated Quezon’s tuberculosis and caused his death.
Tarog has pulled off a provocative look at history that has triggered controversy. Wonder if he will next do Ramon Magsaysay, as what the radio playing ‘Mambo Magsaysay’ hints at in the prologue.
Netflix should pick up ‘Quezon.’ Meantime, Robinsons Galleria has two cinemas screening it for only P209 in celebration of the mall’s 45th anniversary. I watched it twice.