Despite all the small and varied weaknesses when it comes to story progression, character development, dialogue, and to some degree, even political messaging, Vince Tanada’s “Katips” is an amazing film that should be watched by as many Filipinos as possible.
Set in the early years of the ousted dictator Ferdinand E. Marcos’s martial law, “Katips” is a musical that makes a strong and unequivocal political statement that the lives of Filipinos and life in the Philippines were far from idyllic during that period. It exposes social realities that the apologists and diehard loyalists of the dead dictator and his family continue to deny, namely the brutality of the police and armed forces as sanctioned by the national government itself.
One of the greatest errors committed immediately after Marcos was overthrown via popular uprising was the fact that the abuses and crimes of the dictatorship were not taught in schools. Apart from the violence—the murder of workers, farmers, students, community women leaders—that characterized the martial law years, the years under Marcos saw the Philippines’ cesspool of corruption and decadence, as well as shameful subservience to the whims of the United States government. These should never have been allowed to be forgotten and the killers, cronies, wives, and families of corrupt politicians that feasted like carrion birds on the country and the working people should never have been forgiven. A policy of no political compromise should never have been brokered with human rights violators and thieves.
These issues “Katips” sought to bring to light in what ways it could through song and dialogue. While the dialogue in some scenes was clunky and awkward (like the cringe-worthy conversations between the theater artist Lara and the student leader Greg, or the confrontational exchange between Lara and activist Alet), there is no denying the power and compelling artistry of the songs and more importantly, how the actors sang them. They sang with conviction and with heart, and it was impossible to miss the depth of raging love on the one hand and sickened outrage behind the songs that denounced the dictatorship on the one hand, and gave tribute to the activists from different basic sectors that risked all they had for a cause greater than themselves on the other.
There were very few moments of levity, but the moments when the main characters shared inside jokes and traded good-natured insults made the characters less two-dimensional, more real, and believable. What will stick and cause the most visceral reactions, however, are the torture scenes. These are very graphic, very violent, and most hateful. The scenes were filmed in such a way that they effectively expose the brutality police forces are capable of when they act with complete impunity. Protected by martial law, they were savage: beating up their victims within an inch of their lives, electrocuting their private parts, committing rape, and shooting them in the head at point-blank range.
What makes one even more nauseated is the realization that these acts of extreme cruelty and impunity are being perpetrated now. Look up the names Randy Echanis, peasant rights advocate; Carlito Badion, urban poor community leader; Zara Alvarez, former political prisoner, and organizer of sugar farm workers.
Much has changed but not necessarily for the better when it comes to the country’s human rights situation, and the improvements that have become possible mainly through the relentless efforts and assertion of human rights organizations.
There are those who say that “Katips” missed out on the opportunity to explain what motivated activists from different walks of life and economic and educational backgrounds to fight the dictatorship. Besides the obvious reasons—evil must always be fought and justice aspired to until it is realized—activists are motivated by great love and deep patriotism. Compassion for those outside our own families and circle of friends and acquaintances is not a given to everyone, but in the dark days of martial law, it is compassion and relentless love for the poor and oppressed that gave meaning to the lives of activists regardless of whether they were students, laborers, farmers, or government employees.
The years under martial witnessed shocking violence, but they were also a time when the intellect and emotions of Filipinos were at their most idealistic, but also grounded. To defeat the dictatorship meant more than just removing a corrupt executive, it meant bringing hope to Filipinos who long lived without hope under the yoke of poverty and abuse of their supposed leaders. It also meant learning the most humane philosophies and most scientific methods to empower those denied their voices and make them see that united, they are a force that can move mountains and, yes, end dictatorships.
Perhaps it is too much to demand of “Katips”, but it would have added an important dimension to its narrative: affirming the courage of Filipinos to embrace dreams of liberation and to die for them if need be.
In the end, “Katips” is a good film worth watching. The cast was led by Vince Tañada, Nicole Laurel Asensio, Mon Confiado (worth a special mention as he was particularly loathsome as Lt. Sales), Jerome Ponce, and Sazchna Laparan turned in award-winning performances. They brought the stories of civilians who fought against martial law to come alive, and the film as a whole memorialized their sacrifices for the country and its people.
Never again, never forget. This is the message of “Katips” in all its artistry and passion.