THE MOVIE. Barako is a haunting account of a young man’s attempt to
effect change in his town by gathering his friends around a kapihan
called “barakuhan”. In the absence of media, it effectively becomes a
venue for the townsfolk to practice their democratic rights, colliding
expectedly with the elite’s political and economic interests.
The movie starts glaringly with the American occupation of Batangas
(early 1900) with the valiant Gen. Malvar (Archie Adamos) and another
local hero, Mateo Ilustre (Manolito Sulit) plotting its defense. It then
takes us to a seemingly restive yet impoverished Batangueño community
100 years later, taking shifting points of view of the people from the
grassroots, drawing them initially around one central figure, an unnamed
character labeled only as the Publicist (Publisista, played by Arnold
Reyes) and later on, around yet another, Mando (Carlon
Matobato)—referred to in the story (by the Publicist himself) as “ang
tunay na barako”.
BASED ON A TRUE STORY. “Barakuhan,” a public forum over a cup of
coffee organized by the Publicist with other major characters (played by
the likes of Nanding Josef, a veteran actor and CCP’s artistic
director, and surprisingly, poets Mike Coroza and Vim Nadera) is in
actual existence in Ibaan, Batangas from 2002-2005, remembered by the
locals as one that decisively confronted a relatively unknown power
outage that crippled the town for six weeks in 2003—which has also
become part of the movie.
Other characters (most are also unnamed) include the Politician
(Pulitiko, played by Leo Martinez) and his cohorts (Behn Cervantes,
Dennis Marasigan, Tots Aguila, Arthur Casanova and Raul Funilas), plus a
significant portrayal of the aging Publicist by National Artist for
Literature Bienvenido Lumbera .
WHAT THEY SAY. Barako has been described by no less than National
Artist Bienvenido Lumbera as the only movie in current circulation that
“completely” tackled Philippine politics. “Like Behn Cervantes’ Sakada
in the Martial Law years,” he commented, “but more complete.”
Rhod Nuncio, in a review, wrote, “Manolito Sulit, the Filipino poet
cum director and scriptwriter of this film envisions a criss-crossing of
time, genre, form, and narrative to bring out a contemporary reading of
local/national Filipino life.”
Barako even earned the title “new Noli” from the viewers in its
so-called Cinemalaya “world premiere” in July 24, 2007 at the Cultural
Center of the Philippines, taking into account some similarities with
Jose Rizal’s novel.
