(2018) Biographical Drama (ABS-CBN) Raymond Batagsing, Rachel Alejandro, Kate Alejandrino, Billy Ray Gallion, David Bianco, Jennifer Blair-Bianco, Tony Ahn, James Paoleli, Jeremy Domingo, Ross Barnaby McLeod. Directed by Matthew E. Rosen
It is to the world’s shame that when the unfolding horrors of the Holocaust were taking place in Nazi Germany in the 1930s, the world – including the United States – largely turned a blind eye. There were, however, some individuals who saw what was coming and took commendable action to save as many as they could.
One such was the President of the Philippines, Manuel Quezon (Batagsing). A young, charismatic leader, he would be forever remembered in his home country as the man who negotiated his country’s freedom from being an American protectorate. His role in the Holocaust is a story that isn’t often told, not even in his native land.
He faced an uphill battle. In attempting to grant visas for 10,000 Jews trapped in the ghettos of Austria and Germany, he ran into all kinds of American red tape and resistance. He would be aided in his quest by Jewish-American businessman Alexander Frieder (Gallion), British diplomat Paul McNutt (Paoleli) and future American president Dwight D. Eisenhower (Bianco). He was also supported by his wife Aurora (Alejandro), despite whispers of an extramarital affair with a torch singer (for which there is little historical corroboration). He also did this while negotiating with the Americans for the independence of his nation – and battling the tuberculosis that would eventually kill him six years later.
This Filipino production has a bit of irony to it, considering the anti-immigration stance that has resurfaced in the United States in the lat few years. The current President of the Philippines also suffers in comparison to Quezon, not just in his hagiographic portrayal here but to the historical figure who did so much for his people. That the kind of political forces that Quezon fought have reared their ugly heads 80 years after the fact is not so much terrifying as it is disappointing.
Quezon’s story deserves to be told in a grand way, but the production is hampered by budgetary constraints. While the locations do a good job of presenting 1938 Manila, the script tends to have characters describing events rather than showing them onscreen. I’m not sure if this was a budgetary thing, but the color is often washed out to being nearly black and white, then reverting to full color without any rhyme or reason. It’s annoying and unnecessary.
With the exception of Batagsing who gives a decent performance as the late Filipino President, the acting is often stiff and uneven. It doesn’t help that the subplot of the affair that Aurora suspects her husband is having is shoehorned in and seems at odds with the rest of the film; the more than two hour length could well have been trimmed somewhat.
On the positive side, Dean Rosen’s Philip Glass-inspired score is quite haunting and serves the film well, but there is a bit too much speechifying and posturing to make this truly entertaining. It’s a real shame too, because this is a story that deserves to be told, especially in these times. I hope someday someone tells it a bit better than this.
REASONS TO SEE: Tells a story not often told in the West. The score is beautiful and seems to be inspired by Philip Glass. The actors resemble their historic counterparts keenly.
REASONS TO AVOID: Uneven performances throughout. The black and white and color imagery seems to be too arbitrarily done. Overly long and overly sudsy.
FAMILY VALUES: There is some profanity and some disturbing images.
TRIVIAL PURSUIT: Quezon City, at one time the capitol of the Philippines, was partially designed by Quezon and bears his name.
CRITICAL MASS: As of 2/11/20: Rotten Tomatoes: 43% positive reviews: Metacritic: 36/100
COMPARISON SHOPPING: Schindler’s List
FINAL RATING: 5/10
NEXT: After Parkland