'GomBurZa' REVIEW: Boldly written, convincing in form
‘GomBurZa’ REVIEW: Boldly written, convincing in form
Cedrick Juan as José Burgos in GomBurZa. Taken from the official Facebook page.
Local films often depict the Philippines' colonial history as one flavored in absolutes. A tale of good versus evil; of freedom versus slavery; oppressor versus oppressed. The most striking ones dare to uncover parts of history that can be framed, at least, as fresh and complex perspectives on the country's fight for freedom. In this regard, it's nice to briefly mention Sari and Kiri Dalena's Women of Malolos as nice references for how film can bring to life a part of history that is most likely left out of discussion in classrooms across the country. To that end, GomBurZa fits within this narrative for the same reasons: it is a striking introduction into one of the many dominoes that led to the collapse of Spanish rule, a domino which originates from the schism between two church sections.
The film coldly opens with a schism of secular priests and Spanish recollects, prefaced by the story of Hermano Pule, a Filipino clergyman disgraced in his attempts to be included as a Catholic clergyman as the church rejected indios from being legally included. Piolo Pascual's brief appearance as Father Pedro Pelaez takes center stage here, as he deftly explores such a historical reference to highlight the call for church secularization. Quite compelling in performance, Pascual's Pelaez provides the strong opening that paves the way for his mentee, Cedrick Juan's Jose Burgos, to etch the first marks of Philippine independence.
What should be regarded alongside such an introduction, though, is that the film unquestionably argues the roots of Philippine independence are found in the Catholic clergy. Though the film attempts to apply some complexities in the aforementioned schism, it takes careful pains to massage in the idea that much of the cruelty that befell the Filipino people during this time was due to the ruling Spanish government. Never mind the fact that said government operates significantly in part thanks to the influences of the church, or that rebellions in the country have existed before, but considering this is a film co-produced by the Jesuit Communications folks, it’s unsurprising.
Dante Rivero as Mariano Gomez in GomBurZa. Taken from the official Facebook page.
It should be regarded that in spite of its religious biases, GomBurZa is quite engaging in the way it juggles between the various groups that exist around this time, serving roles that reveal a depth of complexity close to Nick Joaquin's writings on the topic come to life. This complexity is the same reason why seemingly ridiculous performances like Enchong Dee's Jacinto Zamora are worth appreciating. By hamming up the deliriousness of his role to 11, Dee doesn't just provide a contemporary mirror to the unjust suffering his character faces, but also serves proof of how this film connects the Filipino soul of the past to the present. That's not to say Dante Rivero and Cedrick Juan's performances as Mariano Gomez and Jose Burgos are notwithstanding. The script and the story permit all three to provide the sufficient groundwork to push the film's national message with grit and soul.
Just remember that at the end of the day, you're watching a JESCOM film. Putting biases aside, the film tends to be overly glossy with its lights, and the scoring leaves a little more to be desired. But such grievances are way too minor in comparison to what the film offers. GomBurza fiercely treats its audience with a portion of history not deeply discussed, through a film accentuated by convincing production design and great performances from its ensemble cast.
GomBurZa is currently on its theatrical run as part of the 2023 Metro Manila Film Festival.
