José Rizal is a 1998 award winning Filipino film biopic directed by Marilou Diaz-Abaya. It was GMA Films' entry to the 1998 Metro Manila Film Festival. It is touted as one of the biggest films ever made in the history of Philippine cinema with a record-breaking P80-million budget despite the fact that historical films are often notorious flops during that time. GMA's faith was rewarded. Released on Christmas Day, the movie packed theaters and swept awards ceremonies.
Summary
The movie depicts the life of the Philippine national hero José Rizal, who was played byCesar Montano.
Accused of treason, Dr. José Rizal (Cesar Montano) awaits trial and meets with his government-appointed counsel, Luis Taviel de Andrade (Jaime Fabregas).
The two build the case and arguments for the defense as significant events in the central figure's life prior to his incarceration unfold. Upon hearing his life story, Taviel begins to realize that the accused is not only innocent but exhibits in fact all the qualities of an ordinary 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. Blood is shed when the Katipunan, founded by Andres Bonifacio (Gardo Versoza), attacks the Spaniards.
Cast and Characters:
§ Joel Torre as Crisostomo Ibarra / Simoun
§ Jaime Fabregas as Luis Taviel de Andrade
§ Chin Chin Gutierrez as Josephine Bracken
§ Mickey Ferriols as Leonor Rivera
§ Pen Medina
§ Peque Gallaga as Archbishop Bernardo Nozaleda, OP
§ Bon Vibar as Ramon Blanco
§ Subas Herrero as Alcocer
§ Tony Mabesa as Camilo de Polavieja
§ Alexis Santaren as Olive
§ Chiqui Xerxes-Burgos as Father Villaclara, SJ
§ Archie Adamos as Olive's Aid
§ Fritz Ynfante as Anatomy Class Professor
§ Jhong Hilario as Prisoner Servant
§ Gina Alajar as Saturnina Rizal
§ Tanya Gomez as Narcisa Rizal
§ Tess Dumpit as Maria Rizal
§ Irma Adlawan as Lucia Rizal (as Irma Adlawan-Marasigan)
§ Angie Castrence as Josefa Rizal
§ Rowena Basco as Trinidad
§ Kaye Marie June Congmon as Soledad
§ Ronnie Lazaro as Don Francisco Mercado
§ Dominic Guinto as Young Rizal
§ Ping Medina as Young Paciano
§ Dennis Marasigan as Marcelo H. del Pilar
§ Gregg de Guzman as Propagandist
§ Mon Confiado as Propagandist
§ Eddie Aquino as Propagandist
§ Manolo Barrientos as Propagandist
§ Rolando T. Inocencio as Propagandist (as Roli Inocencio)
§ Gilbert Onida as Propagandist
§ Jim Pebanco as Propagandist
§ Troy Martino as Propagandist
§ Kokoy Palma as Propagandist
§ Richard Merck as Propagandist
§ Jess Evardon as Propagandist (as Jesusito 'Jess' Evardone)
§ Joel Lamangan as Gobernadocillo
§ Tony Carreon
§ Noni Buencamino as Elias
§ Roeder as Basilio
§ Richard Quan as Isagani
§ Cristobal Gomez as Pader Damaso
§ Nanding Josef as Antonio Rivera
§ Ryan Eigenmann as Fernando
§ Jon Achaval as Fraile 1
§ Cloyd Robinson as Fraile 2
§ Marco Zabaleta as Fraile 3
§ Ogie Juliano as Padre Rodriguez
§ Minco Fabregas as Padre Sanchez
§ Shelby Payne as Fr. March
§ Pocholo Montes as Maestro Justiniano
§ Jesus Diaz as Madrid
§ Karl Meyer as Belgian Printer
§ L.J. Moreno as Companion of Josephine Bracken
§ Bey Vito as Don Dorolco Onjunco (as Bhey Vito)
§ Kidlat Tahimik as La Liga Filipina Guest
Historical Significance
A commercial success during its initial public screening in 1998, this film also reaped major awards in the country and even in international film festivals. The people behind the production of this film succeeded in capitalizing on the renewed interest of the public on historical themes since the country was celebrating the centennial anniversary of the declaration of Independence
The contribution of this movie to the ailing film industry was spectacular. It proved for one that actors and actresses do not have to strip off their clothes for the movie to earn money or that serious themes such as history can generate huge profit as well. It immediately showed that the Filipino public will patronize a local movie over foreign films if they are to be provided with a good movie.
The film assured the celebrity status of Cesar Montano as an actor and the sophistication of Marilou Diaz-Abaya as a director. Abaya’s Rizal was actually the first of her three successive films (Muro-Ami and Bagong Buwan) which provided the public with a movie to talk about and applaud. Through her string of successes as a director, and in no small part also due to lack of great filmmakers in the country, Abaya was to occupy a respectable position in the country’s popular culture and film industry that was once occupied by Ishmael Bernal and Lino Brocka.
The choice of making a film out of Rizal’s life was sound and logical from the very start. A producer wishing to balance his aim between earning money and to make a memorable film has only to extend the big Rizal cult into a movie fantasy. No person has come to symbolize the struggle for independence other than Rizal. His life story has pervaded the public consciousness in a manner that any enterprising film producer could not resist noticing. A film about Rizal is an expected box office hit since the market will be assured by the burgeoning educational establishment. That Abaya’s Rizal would be a big success was hardly surprising at all.
Perhaps the greatness of Abaya’s Rizal was the superb balance between frank storytelling and delicate use of cinema illusion. By making the trial of Rizal as the focus of the story, viewers were allowed an easy and smooth transition between Rizal’s early life and the events surrounding during and after the trial. Research was obviously well-done as the movie progressed. Abaya and the scriptwriters relied heavily on the seminal work of Austin Coates for much of the details about Rizal and his endeavors. A student familiar with Rizal’s biography, especially that written by Coates, would be amused to watch the minutest detail about Rizal skillfully and sincerely portrayed on screen. The effect on the chilling re-enactment of Rizal’s last moments before his execution is a haunting climax of a fine movie.
Nevertheless, despite the many outstanding qualities of this film in narration, research and cinematography, the film failed to circumvent the conventional portrayal of Rizal as the perfect human being devoid of any potential weaknesses. After all, doing a movie about Rizal’s life has its risks. How can you even portray a life so complex and enigmatic such as Rizal’s into two hours alone? It risks simplifying Rizal and the ideas he has espoused throughout his life.
Social Relevance of the Film to Our Present Society
The film nevertheless make us Filipinos proud of ourselves and we could proudly say “I am a Filipino.” It makes me feel energize and want to pursue my studies so as to help my country. The film surely awakens the nationalism and patriotism of every Filipinos and makes them realize what our hero has gone through for the sake of our freedom. We could do many things to help our country and we should do it now.
Personal Documentation
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