Independesyang Walang Katulad!

"Ikaw ay magiging hari sa kahariang hindi sayo."

Russovoir has been waiting for original films like El Presidente. We have such a rich culture that every Filipino, rich or poor, in good health or sickly, near and far, native and immigrant alike should know with a proper and timeless medium. We should not advance in methods that are still foreign that which rudimentary in result because it's as good as garbage, plain and frank. But Russovoir is getting out of topic, let's go back. El Presidente gave an adrenaline unique of and through Filipino processes. The last time I felt genuine excitement wherein there is knowledge to be gained, experience to encounter, pure charisma of a Filipino classic was Dekada '70 (2002). Any entry introduced after that year, if not apathy, has slowly lost its appeal because sequel after sequel, they don't realize - and the dreadful titles they give them - is like a domino effect: if the sequel fails for a flimsy storyline, the classic likely loses its nostalgic value.

Russovoir has to be honest, the film was too much, too long. Two hours and a half. Quite ambitious for a straightforward movie title: El Presidente: General Emilio Aguinaldo Story and the First Philippine Republic. There aren't too many characters to introduce, aren't too many issues to be broached; it doesn't have to be so detailed on the first hour and a half, initially impressed by its historical accuracy, then wanes, drags, noticeably wrapping up pretty fast in the last thirty minutes because of scenes unnecessary to the film's main focus.

The film could have been shortened. That is all.

Let us go to the characters, Russovoir is in love with them. Casting was, off the bat, near perfect. E.R. Ejercito as Emilio Aguinaldo was a shoe in, Cesar Montano as Andres Bonifacio was a spot on; every character, main, supporting, or just a walk-on gave the film a face of authenticity. Had Mark Miely, the director, been rash, in light of who are trendy in the industry, we could have watched, excruciatingly, Derek Ramsey as Bonifacio. Why not, right? He fits the bill: good-looking and brawny. But Miely values the integrity of the film that which Ramsey has lost from his roles of carnal value than classic. There were actors also that had been stuck in recent (almost years ago) roles where we look at them as they were before. Reputation is quite everything. Previously soaked in cinematic purpose that mere their names are old water when wring, Bayani Agbayani, Epi Quizon, and Hari ng Sablay (2005) Bearwin Miely just cannot be taken seriously. Flowing, receptive rapport short-circuited; shocked but not charred.

Then there is Baron Fredrick von Geisler (above), creating a character comparably detestable, and suspiciously encroaching to Lavinia in Sarah, Ang Munting Prinsesa (1995),  Selina (Princess Punzalan) in Mula Sa Puso (1997), to name a few. Geisler was no more than the disheveled, timid, fondly romantic teenager in classic films Nagbibinata (1998) and personal favorite Anak (2000). At least that's how Russovoir remembers of him. He reinvented himself for the role of a ruthless Spaniard, unforgettable and notable in personage. Ian Veneracion, Wendell Ramos, Will Devaughn, and especially Felix Roco (below), became distinctly promising from their performances.

"Bahala na ang Diyos sa amin."

We just need improvement in our CGI (computer-generated imagery) department - still not convincing - by which international intervention would not kill anyone, certainly not even hurt Filipino pride. We have resources (actors), a handful creative writers and directors (plot), all we have to do is aged (filming) them in a way that what comes out the public faucet (cinema) is a piquant, familiar to call one's own, respected, preferred, the convener to those whose veins run the persevering Filipino blood, San Miguel beer (film).