Here was a boy who gained too much power too soon, without the maturity and moral steadfastness that should come with it. Called a dog by a dying Manuel Bernal (Art Acuña), del Pilar is jolted out of his comfortable seat at Aguinaldo’s inner circle. One of the key conflicts in the film was del Pilar’s struggle to define himself and his motivation. Gregorio del Pilar was 24 when he died at Tirad Pass.
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Instead, through the eyes of Joven Hernandez (the wide-eyed observer further tying Heneral Luna to this film, played by Arron Villaflor), we see the growing man inside the Boy General. Goyo follows the journey of a battlefield hero and prodigious general, but shows none of the merits that brought him there. In fact, I would say it would be his onscreen comrade Vicente Enriquez (played by Carlo Aquino) that displayed the empathic valor and selfless love of country I was looking for. Was he deserving of his mythos? Why the beautiful Remedios Nable Jose (Gwen Zamora), prestigious Felicidad Aguinaldo (Empress Schuck), and a legion of other lovelorn women were so enamored is a mystery. Watching him receive accolades was an exercise in frustration. None of his victories make it to the screen to provide fodder for applause. Watching the film, you’ll be wondering why exactly del Pilar was so favored by Aguinaldo, so loved by the people of Bulacan, and so idolized by everyone he meets beyond his playboy charms and youth. Goyo isn’t a commercial venture that seeks to sell it’s an educational and cultural experience. Del Pilar’s life is a rich source for a youthful underdog story, but we see none of that. A boy with Avelino’s charm struggling to survive battles and being awarded the rank of general would sell well in the streets.
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In showing Goyo during a time of false peace –months after those landmark battles, and after his travels abroad with Aguinaldo- we see only his charming personality, his showmanship and horsemanship, and his boyish fears. There is real meat behind the myth that surrounds the Boy General, and yet Jerrold Tarog made the decision to strip us of that satisfying hero build-up and narrative. His legend grew from the battles of Kakarong de Sili, Paombong and Pasong. I may not remember the details of any battles, but my image of del Pilar is a dashing young general astride a white horse, facing down nameless villainous colonizers.Īs a prodigy in his youth –or perhaps extremely lucky in battle– del Pilar rose through the ranks and gained the admiration of President Aguinaldo.
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Gregorio del Pilar (1875-1899) might as well be our version of a historical pocketbook romance hero. In the few seconds Paulo Avelino appeared as Goyo in Heneral Luna (expressively “debonair”, according to critics), you could almost taste the nation’s anticipation. Like any historical film, Goyo had the unique ability to marry facts and fiction to spin a compelling narrative. In these times where we have our pick of bad, worse, and even worser news, Goyo: Ang Batang Heneral asks us the questions that need answering. On its own, it stands as a sobering reminder of the perils of idolatry, nepotism, and unrefined power. To its merit, Goyo was a subdued, reflective and even melancholy affair with hardly any filibuster.
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But the movie, even with its drone-shot landscapes and fast-moving trench battle scenes, was anything but similar to its predecessor. Touted as a “historical cinematic epic”, it is almost impossible to imagine Goyo: Ang Batang Heneral (2018) to be anything other than an action-packed, intrigue-laden blockbuster following the template of 2015’s hit Heneral Luna. For a thousand more words on the film, read on. I’ll even buy the script, should they publish. In a few short words, “ Goyo: Ang Batang Heneral” was a subdued, painful, and introspective cinematic masterpiece. We’re back to our irregularly scheduled programming.