Bayaning 3rd World: Exploring the Enigmatic Identity of Jose Rizal
In the post-colonial era of the Philippines, the film “Bayaning 3rd World” (2000) served as an awakening to the mockery and assumptions surrounding the figure of Jose Rizal. The film delves into who Jose Rizal truly was and why he holds significance for the Filipino people today. Through a unique blend of film noir and historical investigation, the filmmakers challenge preconceived notions and shed light on the complexities of Rizal’s life.
The Filmmakers’ Perspective
The filmmakers of “Bayaning 3rd World” felt a sense of urgency to create a film about Jose Rizal, as they believed that it shouldn’t be left solely to outsiders to tell his story. They playfully criticized the fact that American filmmakers had made films about Rizal before Filipino filmmakers had the chance. This sentiment reflects the frustration of the filmmakers, who saw the progress of their film industry as dependent on foreigners’ arrival.
There was a desire to create a new film that would shed light on the controversial yet intriguing life of Rizal. However, they also grappled with the realization that joking about Rizal may not be appropriate, as he represents the nationalism of all Filipinos. Rizal is revered as the national hero of the Philippines, symbolized by his face on the one peso coin. Thus, the filmmakers were faced with the challenge of capturing the essence of Rizal’s spirit while also respecting his significance.
Uncovering the Real Jose Rizal
The film employs the use of film noir aesthetics, incorporating black-and-white elements and portraying historians as detectives. At times, the film breaks the fourth wall, engaging directly with the audience and conveying the frustration of the filmmakers. This frustration stems from the realization that filming entertainment or controversies is often preferred over depicting the real-life complexities of Rizal.
The filmmakers rationalize that despite reading books about Rizal and witnessing various portrayals of him, they still need to truly know the real Rizal. They argue that existing lectures and narratives only serve the interests of those who benefit from having Rizal as a model advocate for their cause. Thus, the film aims to challenge these unfair portrayals and provide a more nuanced perspective on Rizal’s life.
“Kanyang-Kanya Rizal” — Each Has Their Own Rizal
The film does not directly answer the question, “Who is Jose Rizal?” Instead, the filmmakers suggest that the answer lies in individual interpretations and research. They embark on a journey to understand Rizal by immersing themselves in the reality of the Spanish colonial period. They engage with Rizal’s friends, explore books written about him, and acknowledge that these sources may not capture the full truth of who Rizal was.
The filmmakers even consider the idea of making a film about Josephine Bracken, Rizal’s controversial partner, and contemplate whether she seduced him or cursed his life through their relationship. They approach her story with a sense of skepticism, questioning if she truly loved Rizal or if she merely used him for her gain.
The Quest for Identity
Underneath the mockery and skepticism lies a deeper truth about Filipino identity. Many individuals feel that the stories and representations of Rizal do not fully capture their own identity. This leads to questioning whether the “Rizalogist cult” is delusional or if there is a fear that they might be right. The film urges viewers to confront uncomfortable questions and complexities surrounding the construction of a national hero’s identity.
Beyond Politics and Religion
The film does not delve deeply into the existential questions Rizal faced regarding religion. While it may have been too radical for a predominantly religious country for Rizal to die as an atheist, he ultimately died as a Catholic. This aspect of his life is given a satirical twist, suggesting that Rizal’s nationalistic scope may have been overshadowed by his religious disdain for the Spanish friars.
Two Perspectives, One Philippines
In the end, “Bayaning 3rd World” highlights the two opposing perspectives of Filipinos regarding Jose Rizal. Some firmly believe Rizal to be a national hero, while others see him as a human figure who does not necessarily represent the pride of the Philippines. This divergence of opinions reflects the complexities of Filipinos’ relationship with their national identity and the ongoing discussions surrounding historical figures.
Conclusion
“Bayaning 3rd World” serves as a thought-provoking exploration of the enigmatic figure of Jose Rizal. The film challenges traditional narratives and invites audiences to question their understanding of Rizal’s identity. By employing film noir aesthetics and adopting a critical lens, the filmmakers shed light on the complexities and controversies surrounding Rizal’s life. While the film may not provide definitive answers to the question of who Rizal truly was, it encourages viewers to engage in further research and develop their interpretations.
