Oliveros, Joshua Kyle Niño I.BS - Biology

“Ganito Kami Ngayon”

A type of familial literature that highlights the cultural and societal aspect of the Filipino

experience during the colonization period and positively portrays the unfinished journey of the

Filipinos toward liberty, utilizing the satirical aspect of ignorance and bliss in expressing a

serious political message; that is the essence of the film entitled “Ganito Kami Noon, Paano

Kayo Ngayon”.

Eddie Romero, the director of the said movie, was an award-winning Filipino filmmaker,

screenwriter, film director, producer and National Artist for Cinema and Broadcast Arts. He

devoted his life to the commerce of cinema, and was also known for films that tackled Philippine

history, politics, and culture. His movie “Ganito Kami Noon, Paano Kayo Ngayon” is a film that

utilized a humorous atmosphere to stunningly depict the blatant yet ignored state of the

Philippines during the Spanish and American colonization era. The film courageously

represented the harsh realities of the Filipinos during the different times of colonization by

foreign invaders.

The story circumvented with the idea of identifying the real definition of being a

Filipino/Pilipino, and the main character “Kulas/Nicolas Ocampo” (Chrsitopher de Leon),

became the gateway to answer this cultural query. It all started when Kulas was unwittingly sent

to find a friar’s son at the height of the Philippine Revolution against the Spanish Colonizers.

During this plight, he met several significant characters that influenced his intuition and way of

life as the story progressed. H came across Filipino insurgents, Spanish vicars, Spanish soldiers,

Chinese merchants, theatre folks, particularly Diding (Gloria Diaz) whom he fell in love with

eventually, and Filipino elitists that consider themselves the “True Filipinos”. The story

progressed until Kulas experienced both the “indio” and “señorito” life that subsequently led him

to doubt his actions, his feelings and emotions in order for him to realize what being a true

Filipino really is. He then decided to join the “insurrectos” in the mountains.

The film enlivens the element for the birth of the identity of the Filipinos; “struggle”.

Kulas’ fortunes and misfortunes encompass social issues that were experienced during the

Spanish regime. The said movie highlighted the long-lived hardships of the Filipinos to achieve

independence from the Spaniards. The character of Kulas represented an invisible spectator of

the conflicts between the Spanish and the Filipino revolutionaries. He seemed to portray a

passive side to the changes that were happening within his society. As a matter of fact, after

being imbued with wealth and considerable knowledge about his society, with the help of the

foreign elites, he still did nothing. He knew the perspective of both sides yet he still was

indifferent and apathetic. This was because Kulas walked between the line of the pleasures of

wealth and the reality of nationalism. In the end, he realized that he needed to overcome these

mundane temptations and that love for his own country should have been his primary principle.

These series of events created elements of doubt, hope, and love that furthermore enhanced the

plot as the story progressed.

“Ganito kami Noon, Paano Kayo Ngayon” delved between the complexity of racial and

cultural identity which in turn produced a type of film that easily portrayed social realism. This

factor can be defined by critically analyzing how Kulas dealt with all the misadventures that he

experienced during the whole movie. His fluidity to the ways of the historical Filipino society is

what makes him both amiable and frustrating. He answers and tackles issues and problems with

simplicity and naivety, even if the world is cruel to him. Despite of all of this, hope and curiosity

never left him. This is one the reasons why this film meticulously tackles what the real Filipino is

and should be yesterday, today, and tomorrow.

a.) Sino/Ano ang Pilipino batay sa pelikula?

To the passive viewe’s eye, the film would seem to be ‘just another socio-economic film

about a very terrible history of a 3rd world country’. But the more active viewer would see that

this is not the case. For one, it addresses the struggle of the Filipino people to define and brand

themselves as Filipinos. The films’ complexity and dynamicity paved the way for the

identification of several representations of this identity. Eddie Romero portrayed this apolitical

issue (in terms of the Spanish Rule) by imbuing each character in the film with a unique

“Filipino persona”.

Kulas, a passive-active main character in the film portrayed a naïve and a simple

“Filipino”. He showed a persona of youth and simplicity wherein everything was new and every

change in ideology provided an abrupt shift in his life. The transitions that he had experienced

and the misfortunes that he in the latter resolved were all primarily tackled with bright optimism.

However, after witnessing a lot of consequent tragedies and deaths involving the people that put

him in his seat of wealth and glory (Spaniards and fellow “Filipinos”), he realized that ignorance

would not save his country or his loved ones. This is the part wherein he becomes an active

persona in the film. Maturity and revolutionary becomes a more highlighted idea in his mind.

However, what struck me the most is how Kulas, at the beginning, has no idea of what a

Filipino is, nor he doesn’t know any reason why he is referred as one. This is because in the old

days, the natives are primarily distinguished and identified by the regions where they lived, or

the islands they were from, and since the Philippines is an archipelago, a fragmented national

identity was exercised amongst the citizens. This in turn let each minority define themselves

through a very narrowed perspective and not calling themselves Filipinos as a race, and as a part

of the same nation.

Diding, the lover of Kulas, on the other hand, exhibited a type of an adaptive persona,

wherein she has this “go with the flow” attitude, a trait dissimilar to what Kulas showed in the

film. She was somewhat a static character that somehow accepts change without further

resistance or defiance. Her character portrayed the after - effect of the long colonization of Spain

to the Filipino identity; “alienation”. If her character is critically analyzed, her actions and her

words somehow depict a part of the Filipino identity during the stay of the Spaniards in the

country. Her unwillingness to resist proved how Filipinos then have no sense of nationality or

were malignantly influenced by the colonizers. Her constant battle of loving Kulas and

“unloving” him, expressed how Filipinos before were all in doubt when it comes to pursuing

independence and expressing resistance. It showed how the formation of the revolution was a

long-term process within the Filipino society, may it be due to the colonial mentality or just plain

fear and intimidation from those who were sitting on the seat of power.

This constant apathy led Kulas to break his ties with her, for he realized how lethargic

and indifferent her acts were towards on loving him and loving her own country. Diding showed

a dark side of the Filipino identity, which was lethargy towards nationalism and being slaves of

change and constant influence.

The next character is Bindoy, the child that was returned by Kulas to his Friar Father, was

one of the main personas that blatantly exemplified the identity of the Filipinos; resistance to

change and loving one’s own affiliated origin. Some instances were shown in the movie wherein

the stated traits were shown; a.) During the part wherein Bindoy was sent to school, he did

mischievous actions in order to escape from the grasp of the ones controlling him (teachers).

This showed how some Filipino revolutionaries before were clandestinely living side-by-side

with the enemy with a concealed truth of pursuing independence through means of violence and

intransigence. Another example for a Filipino trait that was exhibited by Bindoy; b.) When Kulas

saw him again after returning Bindoy to his real father, Bindoy hurriedly hugged Kulas and not

his real father. This trait shows how Filipinos were loyal to the thing they are/were familiar with,

and were constantly struggling in resisting change. (Real father = Change | | Kulas = Familiar)

Meanwhile, another character surfaced which was named Don Tibor. He was a rich

Filipino/Hiligaynon lawyer from Ilo-ilo that was affiliated with Friar Gil Corcuera, the real father

of Bindoy. He was requested by the friar to help and guide Kulas with all his problems and

necessities. Tibor displayed a different bearing of the Filipino identity, which is being capable of

handling responsibilities and always ready for service. However, he also showed a more

prominent counter-argument for this trait, this was his stratified perspective on the social caste

system during the Spanish colonization period and also his deceitful tendencies when it comes to

his selfish desires. The film, with the help of Tibor’s character perfectly depicts that the

Spaniards were not the only ones who abused Filipinos, but fellow Filipinos as well. It also

portrayed a part of the Filipino identity before, wherein desire was somewhat a priority partnered

with service and responsibility.

Last, but certainly not the least is Leonor, a maid that settles inside the house of Kulas.

Her character might be very passive and invisible in the film, however this concealment

effectively displays a general trait that majority of the Filipinos during the Spanish colonization

period exhibit, “passivity and spectator-like indifference”. Her character explicitly portrayed how

Filipinos before were too indifferent about the state of their society, and the spectator-like

identity of the public when it comes to abuse and corruption of the government.

Her character is very essential to the film and to the society for it showed a side of the

Filipino identity that inexplicably highlighted the silent gestures of the Filipinos when it comes

to talking about their pursuit of independence. Subsequently, this trait became a bearer of

misfortunes for Leonor, which was secretly attracted to the main character. Kulas left the house

without even knowing that she loved him and Leonor also died inside the house after the

Americans claimed it. This supports how her innocence and silence could’ve led to her dismay.

So what is a Filipino? Who are the Filipinos? The film answers these questions quite

intricately, and we can thank Eddie Romero for that. In terms of what the characters said verbally

Filipinos are defined by a.) Familial origin b.) Character/Beliefs c.) Cause/Virtues

d.)Nationalism. All of these verbal definitions were given directly by each of the characters

unique perspective, however, these are not the only elements that were given by the film, for it

all lies within the different traits of the characters which were mentioned before. Although, what

factor matters the most is what you’re fighting for, whom you’re fighting for, and what you are

ready to sacrifice for your identity and for your nation, that is what it means to be Filipino.

b.) Paano nabuo ang konseptong "Pilipino"?

The concept of being a Filipino emerged due to ignorance and confusion. Before, people

were unsure and doubtful of who they were and what they should call themselves. It may be

because of the mentality that the Spaniards forcefully implemented to the Filipinos paired by its

abusive government. Even today, a lot of people are still ignorant on what it really means to be a

Filipino. The film showed the reality that if you asked Filipinos then, they would all have varied

answers, and most of them, even are contradictory with each other. This uncertainness and doubt

led the Filipinos to shape a common national identity. Then, with the dawn of colonialism,

nationalism was born, which then led to the eventual recognition of a Filipino identity.

This identity was important for us to remember why we were fighting in the first place.

c.) Paano nakatulong ang mga kaganapan noong ikalabinsiyam na siglo sa pagbuo ng

"Pilipino"?

The revolution signaled an era to the pursuit of national identification and expanding

cultural recognition. Even though the revolutions, reformations, and etc. had quite a number of

flaws and errors in both it’s leadership and implementaion, it does not deny the fact that these

plights of resistance and defiance started for the sole cause of being identified as an independent

and existent self-governing nation. This means that we wanted to create a name for ourselves, or

more directly, we wanted to know ourselves. The different events that was experienced during

the 19th century helped establish our united dream of having an identity as a sovereign nation,

and as an independent country, not a colony.

These actions done by the forefathers of the Filipino race established an identity that will

be recognized not only by the colonizers but by all nations.The revolution itself exemplified the

Filipino identity— sacrifice for the betterment, always the betterment, of one’s country and

fellow countrymen.

d.) Nagkaroon ba ng pagbabago sa kahulugan at praktika ng konseptong ito mula sa

ppananakop ng mga Espanyol hanggang sa pagpasok ng mga Amerikano?

The arrival of the Americans not only threatened the budding identity of the Filipinos but

also slowly overpowered it. The Filipinos were too caught up with “victory” from the Spaniards

that it was too late to realize the real cause on why the Americans suddenly sprouted out of

nowhere— to make us willingly surrender to them and to colonize us without us knowing. By

the time we realized the game they were trying to play at, they’ve already won. The “Big Brother

Effect” of the Americans was already in action. They’ve already entered our homes, our minds

and our hearts with their acts of “kindness” and “support”. These actions eventually led to the

deterioration of the Filipino identity that was just recently recognized. The people before were

too caught up about the past that their future was already being slowly influenced by a new

culture, a Westernized one, and just like that, all the efforts of the revolution, and everyone

before them were thrown aside.

e.) Paano maaaring sagutin sa kasalukuyan ang titulo ng pelikula?

To answer the title “Ganito Kami Noon, Paano Kayo Ngayon?” is not only to recapitulate

everything that happened and compare it with the reality today but to also compare the things

that the Filipinos will also plan to happen in the future, for the film doesn’t highlight the

revolution itself but rather, it brings to light how life changed continuously as we were under

Spanish colonization.

Before, the Filipinos became so used to oppression and abuse that this overwhelming and

common experience in the society became a social norm. Travel and transport were regulated.

They couldn’t travel without being held back at profusely distributed checkpoints. Social caste

systems were like templates of finding your own identity. They were treated by wealth and

status, and justice was only for those who could pay for it. However, there were quite a few

people that still lived with goodness and positivity, most people were heavily influenced by the

harsh conditions of the society, eventually becoming abusive, selfish, manipulative and

opportunistic like Diding, and her con of a father.

Nowadays, even though the Filipinos already exercise autonomy and democracy,

imprints of colonization still linger intrinsically within us, may it be by culture or by actions.

This is where Neocolonialism kicks in, the use of economic, political, cultural, or other pressures

to control or influence other countries, especially former dependencies.

Corruption is still evident, but now fellow Filipinos duly appointed and elected by the

masses, rather by foreign invaders, cause it. Social stratification is also still evident in the

Filipino community. People are still treated and identified by wealth and status. Also,

manipulative, selfish and abusive people are still existent in the outskirts of the socio-economic

and political society of the Filipino. People who always want to be above everybody else and

always ready to give in to his or her mundane desires.

However, amidst all of these negativities it’s not entirely bad though, there is an upside to

this generation. Now, more and more intellectuals and functionally literates are living in the

Philippines. Although some of them mostly use their gifts for their own benefit, there are still

some who embody the ideals of our forefathers. They are the ones who are constantly trying to

remind us that we are Filipinos and that we must never forget.

Eddie Romero really showed and displayed the reality of the historical experiences that

the Filipinos experience before. The film “Ganito Kami Noon, Paano Kayo Ngayon”, subtly

utilizes a satirical way of tackling serious political concepts that remind its audience the true

meaning of being a Filipino. The film is one of the rare 1970s movies that tackled socially-

conscious dramas against the backdrop of history and the Filipino’s search for identity without

falling into cliches.

I suppose what’s really heartwarming with the story is in the end, when Kulas was now

able to define and call himself as a Filipino. This emerged out of a painful choice, but one he

decided and stood by until the end.

Lastly, the film made its audience realize that being a Filipino does not only mean the

physical ties we have with the land, or with our culture, or even with our families, it also means

the responsibility that we intrisically accept and implement as the protectors of this land, and the

protectors of our fellow men, being able to fight a grander cause, fight and live for the betterment

of our country, and to preserve the identity and the dignity that our ancestors have fought for,

and that is to be a Filipino.