Far from a straightforward biopic, Jerrold Tarog’s “Quezon” explores politics, morality, and nationhood by deconstructing the concept of the national hero through the life of Manuel L. Quezon, the first president of the Commonwealth of the Philippines.
The historical drama explores how Quezon, who pursued his law studies at the University, navigates American-era Philippine politics in his quest for power.
The film is the conclusion to Tarog’s “Bayaniverse” saga, following the movies “Heneral Luna” and “Goyo: The Boy General.”
The screenplay, co-written by Tarog and Rody Vera, smartly dissects public perceptions of the titular hero.
As the protagonist’s political role evolves, so does the perception of independence.
As it turns out, “trapo” politics began way before the contemporary era, as portrayed by the unwavering savior complex of Quezon.
In “Quezon,” the titular character embodies the populist political figures of today, providing a blueprint for Philippine politics that extends beyond his efforts for independence.
Instead of using the film to put Quezon on a pedestal, the producers saw it as an opportunity to present a different perspective on the hero, one that portrays him as deceitful and conceited.
“Quezon” is not just a rundown of historical accounts; it’s also a reflection on how Philippine politics have progressed (or regressed).
Through his conflicts with other prominent figures, Sergio Osmeña, Leonard Wood, and Emilio Aguinaldo, Quezon is portrayed as a man preoccupied with his own ambition.
The film easily engrosses audiences through sharp dialogue, thanks to the solid performance of Jericho Rosales as a devious Quezon.
The biopic fuses historical facts with some fiction, such as the use of archival propaganda films that highlight Quezon’s efforts to control his image and subsequent legacy.
Ending a well-loved cinematic trilogy with an antiheroic portrayal of an equally well-loved historical icon is a bold move, yet it also makes a loud statement about how the thirst for power can be all-consuming.
“Quezon” is a reminder that no matter how clean your goals and intentions are, it does not justify the means. David Nigel C. Cortes
