EDSA on my mind

I am sharing this Sunday space today with my wife, Neni Sta. Romana Cruz, who cannot stop talking about movies she recently saw. Hers is a familiar byline as she is a freelance writer, book author and was former chair of the National Book Development Board.

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Though this year’s EDSA People Power Revolution festivities were subdued and yes, awkward, I was pleased that a new feature was the showing of two films related to it. This was a welcome and happy development as the genre is a storytelling medium that appeals to a larger audience and certainly to today’s youth.

My EDSA week began with Vince Tañada’s “Ako si Ninoy,” which is the film adaptation of a 2009 stage musical. We still remember Vince Tañada from the 2021 successful movie “Katips,” which proved to be an effective introduction for those unfamiliar with student activism.

And how we were all repulsed at the graphic scenes of military brutality against the bold and outspoken “enemies of the state.”

“Ako si Ninoy” carries a single message not to be missed – there is a Ninoy in each of us, without us needing to be brutally murdered in the manner he was. The film begins with clips of Ninoy on the fatal trip home to the military escorts leading him down the plane to his bloody death. And the screams and tears of the female passengers who heard the shots and saw him sprawled on the tarmac. Accounts of Ninoy’s life are interspersed in the narrative – from his marriage to Cory Cojuangco to his phenomenal political career to his detention to his temporary freedom in Boston to his homecoming.

We thus witness the lives of about ten individuals from different walks of life who carry on confronting their daily challenges, bringing out the hero in them. Among them are the teacher Ms. Nuñez, who shows genuine care for her students, despite the administration’s lukewarm support for her. The student Ingrid who was abused by her teacher who actually fails her for noncooperation. The labor leader Andeng who does not flinch from her passion and commitment. The overseas worker who struggles to support a family.

Tañada’s theatrical background comes into play as the characters break out into a song or a dance, lightening the tension created by the human drama, yet highlighting these portraits of everyday life. Those lives and struggles are all too familiar but the individual attempts to rise above all these are admirable. Truly, the Ninoy in all of us lives on.

My personal EDSA commemoration continued on, its spirit revived and fervent in me despite present circumstances… and further reinforced, inflamed by an outstanding well-made historical film whose first screening I had to catch. It documents the almost incredible chain of events leading to the proclamation of Cory Aquino as president, relying only on film clips, banner headlines of the national dailies and specific news clips. Nothing fictionalized in that part of the narrative. Neither was there any editorializing. And how truth emerged larger and bolder that way.

Those provided the context for a moving account of a jeepney driver who was committed to protesting against the inequalities in Philippine society and is subjected to military abuse – shot dead by a uniformed Metrocom and even left accused of being a holdupper. This, after he handed over an envelope with cash to the official after a holdup that took place during the jeepney ride.

As the EDSA revolution was mounting, the unspeakable grief of the jeepney driver’s family likewise mounts. The family has a hard time claiming the remains from the hospital because they did not have the money and, when assisted by a generous doctor, was again deterred by a senseless military order to hold the body. It is one hurdle after another for this family – typical of what those who have less in life have to endure. The son has a hard time finding a job, the daughter tries to borrow money for the funeral expenses, but the “generous” lender wants sexual favors in return. The daughter turns down the loan with the strings attached. The family’s travails are familiar, everyday experiences of every struggling family in the country.

What exceptional acting was rendered by Cherry Pie Picache as the aggrieved widow, the jeepney driver Allen Dizon whose role was brief but impressive, Nanding Josef as the father-in-law whose display of grief was muted but so heartbreaking.

Watching the film made me extremely proud to be Filipino, especially because of Feb. 25, 1986, a true miracle. Not to be forgotten no matter what disparaging remarks are made. While it is admitted that the restructuring of society that we all wanted towards lessening the gap between the rich and the poor remains elusive, we have this event in history to inspire and embolden us. Thank you, Joel Lamangan, Boni Ilagan, Eric Ramos and the team whose love of country resulted in this film – this is a true legacy for generations of Filipinos. The name of the production company of Atty. Howie Calleja and Alvi Songco behind the film is so apt, Bagong Siklab Productions. Siklab of course refers to a spark, a sudden burst of fire.

As this was being written, there were reports of “Oras de Peligro” screen showings in SM Iloilo suddenly being cancelled. Thankfully, the public protested and the screenings were reinstated. And to add insult to the injury, replaced by a film that is far from worthy to even be mentioned in the same breath as Oras. Why would anyone fear the power of truth in Oras? And the more obstacles set in its way, the more curiousity Oras will generate.

A film as artistically made as Oras will live on, well beyond its limited screen run – so am not concerned about current news of lack of audience, accurate or not. The word is out about it being outstanding and will certainly be a permanent part of our history.

The movie’s last three slides carrying these words were the most powerful, the most eloquent:

Ang mga ito ay tunay na pangyayari.

Huwag pagtakpan ang katotohanan.

Igalang ang kasaysayan.

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