By Lila Victoria F. Mortel
Matthew E. Rosen’s Quezon’s Game in my eyes did not fail to be a historical film. In the sea of historical inaccuracies and sensationalism, the film was a refreshing welcome to the Filipino narrative of historical and nationalistic movies. It didn’t sacrifice facts in the name of art, or the other way around. Being inspired by true events, it was easily discernible where creative freedom was used.
If one watches the film even with just half of attention, you will still notice the stellar performance of Raymond Bagatsing as Manuel L. Quezon. Bagatsing provided a fleshed out, humane characterization that feels organic, as if he were a today’s politician and not a historical figure. His performance was only made better by his parallels, Rachel Alejandro breathing life into Aurora Quezon’s wifely role. Both actors gave justice to the observable affection between Manuel and Aurora Quezon. The chemistry was not overbearing, much to the credit of the writers.
David Bianco as Dwight Eisenhower is commendable and James Paoleli gave much needed layers to Paul Mcnutt, a faceless hero to Filipinos today. Kate Alejandrino’s performance could’ve been better, but still showed much potential as Manuel L. Quezon’s daughter, baby, who was assassinated with her mother in 1949.
The writing was nothing short of commendable but some critical evaluation may be given. The Nazi character in the film felt like a cartoon super-villain, a cookie-cutter terror that could’ve been handled better, as Nazis in Manila are usually unheard of; it had great potential but fell flat. If not for fleshing out the Nazi antagonist, there should’ve been more focus on the American contempt of Jewish refugees in the Philippines as this was such a beautiful arc in the story. Having three languages in the script was more detrimental than helpful. The music needed work as well. I distinctly remember a scene of Manuel L. Quezon who in distress due to his failure, breaking down, but being very distracted by the music; it almost devalued the climactic scene.
Nonetheless, it is not questionable why this film received 23 awards and commendations. I left the theatre with my friend satisfied. The heartfelt speeches of Manuel L. Quezon and the testimonials at the end made you feel proud of something your country did as you exit the cinemas. It took itself seriously and had great care of the message it carried, but was not preachy and patronizing to its audience. It was also obvious that the film was biased, but it isn’t something negative as the film was not being manipulative. It was not short of beautiful, in many instances, you can pause the film and print it as a photo in vogue Italia during the 30s.
As Quezon’s Game did, the month of August is the month to remember and to remind ourselves the ups and downs of Manuel L. Quezon’s term as President. A skilled statesman, soldier and politician, he was second to the first President, Emilio Aguinaldo, and first to be the President of the Philippine Commonwealth.
His presidential term focused on the landless peasants as an effect of more than 300 years of Spanish rule, but the pride and joy of his time was his small country’s stand against the fascist, anti-Semetic regime, ultimately providing 10,000 Jews visas, 1,200 of them were given Philippine passports. The Philippines would’ve provided more if not for the invasion of Japanese forces.
In conclusion, Quezon’s Game reminded us that in the face of tyranny, our small country took a big step against it; systematically, morally and physically. It satisfies the eyes and nationalistic cravings of an audience that is thirsty for media like this.