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Heneral Luna Here’s a summary of Heneral Luna The Movie made by me.

The first scene was that in a


certain room, General Luna was alone with a boy named Joven, who wanted to write a biography about
the general. He asked him to tell the story of life and the general reminded him jokingly that the
biography might become a novel. Then, it started in the meeting between the higher officials of the
government. Of course, President Emilio Aguinaldo and the Prime Minister of the Philippines, Apolinario
Mabini were present at the assembly. However, it was not a civil conversation among the members.
They were shouting at each other, debating on wether they should be trusting the Americans or not. It
was clear to the others that the foreign country was plotting something against their country. However,
there are some people that still sided with the Americans, saying that they were trustworthy, unlike the
Spaniards. Pedro Paterno was one them. Thus, useless arguements erupted among them again and
again. “Para kayong mga birhen na naniniwala sa pag-ibig ng isang puta.” -one of Generel Luna’s
remarkable line during the discourse. The arrival of a messenger stopped the brawl momentarily,
sending a letter to the President which contained bad news. Yes, the inevitable happened. Some soldiers
scouting in Santa Mesa district, Manila were killed by the Americans and had terrotized other places in
the Philippines too. After the leaders were stationed on the territories they must protect, General Luna
with his trusted comrades,Jose Alejandrino, Francisco “Paco” Roman, Eduardo Rusca, Jose Bernal, and
Manuel Bernal had a battle with the Americans in Intramuros. Their enemies were well-equiped and
trained, so they had to request reinforcements from the Kawit Brigade. But Captain Pedro Janolino was
irritated with the general’s bossy attitude so, he refused to follow his orders. Luna was so annoyed with
his lack of cooperation so, he stomped into the hut the captain was in, who was sleeping beside a naked
woman, and dragged him outside to humilliate him in front of his soldiers. Janolino reported the
general’s wicked deed to the president, but Mabini counseled Aguinaldo to let it pass. The country was
at war, but the pathetic cabinet members were still arguing about deepening the relationship of
Americans and Filipinos. Felipe Buencamino was pressing on trusting them, which earned him an arrest
from General Luna, who was flamed by his lies. President Aguinaldo was aware that the other members
are getting fed up of the Luna’s attitude. Luna also fought with General Mascardo because he was
spewing insults at his co-general, who refused to accept that he had a son in the war who chikened out.
After those internal battle, General Luna went to house of the love of his life to clear his mind from
pressures and stuggles. Isobel was the name of the young woman. “Mas mahalaga ang papel natin sa
digmaan kaysa sa anumang nararamdaman natin,” she stated as a closure to her relationship with the
general. She was right. She pledged that it will be their last rendezvous and by the next time they meet
again, they are stangers to each other. When General Luna was back at his home, he played his guitar.
His moment was interruped by his mother, Doña Laureana Luna y Novicio, who had spoken with him
shortyly. She reminded him that he was bound to die if he continued fighting, but nonetheless, his will
wasn’t shaken. He could have been a doctor, but look at how destiny played with him ‘cause right now,
he’s a mighty general. Then, General Luna was summoned by a telegram written by the President that
asked him to show up in Cabanatuan. When he arrived, he was welcomed by the silence of the place.
Stangely, there’s only a few people around. Felipe Buencamino was the only one present in the office
and he told him that the President left long ago before he arrived. When he heard a gunshot outside, he
went out in order to punish the soldier who did it. In the ambush, the general was fired and stabbed to
death. In the ending, Felipe, Aguinaldo and Joven were explaining their sides of the story. General Luna’s
demise left a lot of questions unanswered. The end. I think everything was difficult for him. He fought
for his country, leaded many soldiers and constructed battle strategies. At first, it was not what he really
dreamed of. He was supposed to be a doctor, saving lives of other people, but he was placed on a
battlefield, risking his life to save everyone. The most difficult part in his period of being a general is that
he had to argue with his co-Filipinos, make them follow his orders, and fight for what he think is right.
Not everyone agreed with his morals, thus earning him the title of “Heneral Artikulo Uno” because of his
strictness. For me, the climax and ending had the most impact for me, because it made me realize how
scary power is. It is the reason why the Americans conquered us, why General Luna’s death is still a
mystery, and why peace cannot bachieved that easily. Because of power and selfishness, it blinded us
greatly from nationalism. Actually, I’m not really a fan of history so, I don’t who General Luna is. I’ve
watched other historical movies before (while daydreaming most of the time), yet Heneral Luna was the
only movie that left a mark on me. It just saddens me that they had to remove it from the cinemas too
soon. We were even planning on rewatching it, but too bad, our schedule didn’t let us. Yes, it is very
worthy. It felt like I’ve learned more from that movie than those days in highschool spent in learning
Philippine history. I had to vent my frustration on other things because the cliffhanger pissed the hell
out of me. My first impression on General Luna was like “This is the kind of leader that the Philippines
need right now”. I really adored him for his strength, his will to protect his country and his persistent on
his beliefs. He was positively insane, especially at the part when he charged at those armed American
soldiers, exposing himself to death. During those times, he almost gave up his life, attempting suicide
using his gun while hiding from their persuers. Yet, he continued to fight and live, even if it had crossed
his mind that it was all hopless. He have hope because it was his country, after all.

Bonifacio

onifacio: Ang Unang Pangulo, a historical drama full of passion, plays differently against other films from
different genres for there must be painstaking research involved to portray a realistic depiction of the
grand narrative to the minute details of set design and character mannerisms. Thankfully, the movie
does its job well consistently and even excels in bringing a terrific experience in the cinema. Opening
with the execution by garrotte of the Gomburza (an acronym denoting the surnames of the Filipino
priests Mariano Gomez, José Burgos, and Jacinto Zamora), a grim atmosphere has been laid out through
an enriching interplay of delicate lighting, powerful score and a succinct screenplay, giving the three
priests distinct personalities in just less than ten minutes. With the introductory scene alone, the film
has already set its standards high. The film then brings us to the present-day, in the gymnasium of a
Catholic high school with a typical scene of bullying. A graduating student with altruistic values, as
played by Daniel Padilla, steps in. It promises an interesting storyline of parallel values but as the saying
goes, “promises are meant to broken.” Together with two other students and a curator of a museum
dedicated to Bonifacio, they uncover history through documents, to support the accuracy of the claims
the film presents. They serve not only as unnecessary narrators but also represent the inspired youth
and dedicated historians, as expendable anchors to reality.

The personal and historical highlights can be arranged to three chronological sets of discovery.
Bonifacio’s active involvement in the movement stems from his spirit grown from the seeds left by the
death of the Gomburza, and a fellow nationalist, Dr. Jose Rizal, exemplary enlivened by Jericho Rosales
from line delivery to deft hand gestures. A beautifully lighted meeting between the imprisoned Rizal,
radiating in blue hue, and Bonifacio, in orange, not only intensifies their opposing actions and
philosophies but also foreshadows the first act’s end where Bonifacio steps up as the leader of a new
movement set on a more violent approach to freedom. The endearing cinematography is also
introduced with a uni-directional camera work zooming out from Rizal to a long table filled by intently
listening members of La Liga Filipina, an early protoypical movement that failed to set off, signifying his
influence and magnitude of his intellect. This is contrasted near the end of the act with a circular
directionless round table discussion, stopping with Bonifacio, as he assumes responsibility, gaining
power from the trust of his peers. This kind of camera trail to display the influence of a notable hero is
again used with Aguinaldo prior to the third act as he draws much of his power from influence by his
peers, illustrating a different Aguinaldo that is neither pure good nor demonic evil. The first act
culminates on natural daylight as the Katipunan emerges from the shadows of the caves of Montalban,
where they are not just individual sources of light but now a force to reckon with. Interspersed with this
scene, a digital vector animation of the myth of Bernardo Carpio is played, as an homage to the Filipino
grassroots inspiration of Katipunan and also as a warning for the future Andres to face. The pattern of
light encompassing not the characters’ personas, then progressing to break the monotonous dark
atmosphere is a consistent flawless style, repeated throughout the next two acts, with the second
leading to the iconic Sigaw sa Pugad Lawin (Cry of Pugad Lawin), which wages battles of life and death
and not just mere propaganda for the minds. For the final act, a well-choreographed night ambush, a
quasi-climax that is a Pyrrhic victory in retrospect,

Jaica

gives the necessary energy for the painstakingly emotional yet horrifying death that comes to our hero
whose only mistake is loving too much and being busy in seeking the light amidst the personal agendas
who claim to seek the same. A reverse of the setup on light and dark further emphasizes the dreadful
truth, with the reflection of the light from the moon punctuating the ironic somber ending. The third act
may have ended in the past but its continuation in the present shows the results of the revolution. A
well-illuminated world, as opposed to the foremost gloom in the initial scenes, is a product of the blood-
drenched revolution that is not yet over. Soon after, the narration poses a question and some insights
that would again boil down to the final scene of rising action that takes place in the heart of the
revolution. With the skillful mingling of chiaroscuro as part of its cinematography, fascinating marriage
of screenplay and drama, subtle political machinations and societal factors trapping our forlorn hero,
Bonifacio: Ang Unang Pangulo is a layered tragic love story to the country that will always be relevant in
the age of revisionism. A good metric of this is how it is able to move individuals, people, a nation with
or without the recognition of passion more than a century after offering an incomparable sacrifice.

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