July 29, 2022
It is rare for one film to stir up a lot of public attention, both positive and negative. Ever since writer-director Darryl Yap announced that he was going to make this film about the last 72 hours of the Marcos family in Malacanang Palace in February 1986, it caused a whirlwind of opinion from both sides of the political spectrum of our country. Social media immediately exploded with panic, speculations and accusations of historical revisionism. Whatever side of the fence you are on, you will feel curious to go see what the fuss is all about.
The most attention-catching names in the opening credits (set to the tune of Marion Aunor's haunting version of Sampaguita's "Nosi Ba Lasi") was that of Senator Imee Marcos as Creative Producer, whose job was to guide the whole creative process to turn the idea into a reality. Senator Imee was right there when Yap first pitched the idea of this movie. Their collaboration may have started as fun and games, but Senator Imee soon recognized how this movie can be seriously instrumental in telling their side of the story.
The snap election of February 1986 was over and both sides were claiming victory. Manong Johnny Ponce Enrile and Gen. Fidel Ramos had already announced their revolutionary coup. The Marcos family was reeling from an unsuccessful attempt of Imelda's trusted umbrella holder Rick Morales to usurp control of the Palace and assassinate the first family. The morale in the Palace was already running low, as was their food supply in the pantry. The Marcos kids were concerned that their parents were not doing anything to gain control back.
Darryl Yap chose to tell his story in 10 short episodes or chapters, treating his subject matter seriously. There was not much of the irreverent comedy he was known for in his past output. The dramatic scenes can be heavy and occasionally emotionally overwrought, but there were moments of comedy care of the yayas to offset the mood. The actors gave their best efforts, but they don't really look like their famous characters, which take you out of the story. There were unexpected revelations before the closing credits which were quite surprising.
Chapter 1 "Rebelde" was a report of the situation outside by Yaya Biday (Beverly Salviejo). Chapter 2 "Ilocos o Leyte" was about paranoia of Imee (Cristine Reyes) about staff loyalty. Chapter 3 "Tigre" was a heart-to-heart talk between FM and Bongbong (Cesar Montano and Diego Loyzaga) in the library. Chapter 4 "Awit at Ahas" showed a pensive Madame Imelda (Ruffa Gutierrez) going through her gowns and shoes to the tune of "Dahil sa Yo." Chapter 5 "Bunso" was about Irene (Ella Cruz) pleading her father to go with their plans.
Chapter 6 "Oyayi" was about Bongbong assuring his mother that they will get the Palace back. Chapter 7 "Palamunin" was about the concerns of the Malacanang staff, as addressed by Yaya Santa (Karla Estrada) and Manang Lucy (Elizabeth Oropesa). Chapter 8 "Maid in Malacanang" was a talk between Imee and her father. Chapter 9 "Ang Huling SONA" showed FM thanking his staff for their service and loyalty. Chapter 10 "Retaso" was about Imee's final idea to help the staff just as the mob outside was about to storm the Palace.
Senator Imee Marcos's role as Creative Producer was clearly felt all throughout this film. She meant to tell their inside point of view during those fateful last three days and this film did just that. All those teary conversations between the worried children and their embattled parents enabled the Marcoses to state their family's messages to their public. Bongbong promised his mother that the family will be back in the Palace, and now they are. Imee promised her father that his legacy will not be expunged and now here's this film.
The film made sure people would see that the Marcoses were not the sadists they were made out to be. They believed that they were simple provincial folk, not from elite families, hence Filipinos love them. They were the reason why the EDSA Revolution was peaceful. This was all about how the Marcos family would like to remember their last days in the Palace. The ruckus in social media was more rabid than in the film itself.
This was self-serving haigography probably; an appeal for public sympathy possibly; and it did not actually feel confrontational for the most part. That is, until that rumor-based (as Yaya Biday mentioned in Chapter 1) dig at Cory Aquino (Giselle Sanchez) and her mahjong habits with the nuns in Cebu. This one final typically provoking Darryl Yap move in the last two minutes alone is likely to ruffle more feathers than the whole film could.
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