Unraveling ‘Bayan Ko,’ A Smuggled Film Worth of Freedom and Fiasco

A recollection of the dark past they want to eradicate.

A reflection of the diming present they manipulate.

All wrapped in a smuggled film “Bayan Ko,” is an uncompromised story screened in 1984 at the expense of its fearless director’s liberty.

The movie starred the young and promising Philip Salvador and Gina Alajar as a wedded couple struggling financially and morally in a tumultuous period in Philippine history. It narrates how the double sword of injustice will stab them painfully. With the direction of the multi-awarded and social activist Lino Brocka, expect no mushy scenes present to make you view life in heart eyes. It is a story of disappointment and suffering that will make you loathe the situation, hate the people and curse their choices. All because this is the reality.

Success and sacrifices of screening

Originally, the title of the film is "Kapit sa Patalim" translated as 'Clutching the Knife in Desperation.' It was inspired from an old Filipino saying "Ang taong nagigipit kahit sa patalim kumakapit" that means a person left with no choice will resort in doing something unlawful and dangerous.

Meanwhile, the term "Bayan Ko" which means 'This is my country' was later added after the song with similar title was released. It was a protest song produced following the assassination of Benigno Aquino Jr., who was a former senator and the chief opposition leader during the era of martial law.

This symbolic title of the film somewhat manifested its tragic plot on its showing. Censors scraped all the rally scenes along with the sex scenes from Manila’s live show resulting to ban in his own country. Brocka himself had to do underhanded methods solely to bring the fruit of their passion and labor to the Cannes Film Festival in France where it was first screened.

Eventually, the film gained international acclaim. It was awarded as the most outstanding film at the British Film Institute Awards after being nominated for the esteemed Palme d’Or. However, the greatest achievement for the production was the worldwide attention brought to the situation of marginalized in our country.

When international critics against the tyrant regime increased after the film showing, Brocka knew that it served its purpose even if his freedom became a sacrifice. A lifetime imprisonment was sentenced against him regarding his film works as anti-government activities.

Compelling representation of reality

In Brocka's filmography, I applaud his inherent desire to make a common and underrepresented kind of people the focus of his artistry. ‘Bayan Ko’s’ main protagonist is a sturdy, yet supportive man named Turing (Philip Salvador) who works in printing company. A normal man with nothing special. But not irrelevant. Through his naivety and frustrating choices, the pain points of people suffering from an unjust society were effectively captured. It upsettingly reminds us of our own complaints about the gap in social classes. His struggles as a worker may portray one of our loved ones who are exploited at work. Worst, his poor decision, driven by the vicious system might dim the remaining hope for our society.

For instance, in the scene where their print company held a party for employees, there’s an evident divide. Ordinary looking subordinates like Turing are grilling cheap meats with cheap beers outside, while the elite officials in their glorious suits are feasting on sausages and cheese comfortably inside. It was a subtle portrayal of a concrete distinction between two social classes.

Turing felt that in his bones and the frustration jumped out of his impulsive actions when he was kicked out by his boss.

Another notable challenge faced by Turing and his wife, Luz (Gina Alajar), which we can relate to, is the daunting financial struggle. The film skillfully illustrated this obstacle not as innate but as a result of labor exploitation. The unfortunate couple was deprived of the rightful pay and benefits they are entitled to as long-time employees, particularly Luz, the pregnant one.

Furthermore, these unjust labors led the politically naive Turing to sell his right for temporary financial relief. This is where one of the strengths of this film was highlighted. It presented a poignant story of a community with almost similar pains to the protagonist. The picket protest scene initiated by the print company workers while Turing watching them agonizingly inside the company was such a heart-squeezing moment.

It was a daring decision for Brocka to include the protest shoot when suppression of dissent was prevailing. Unfortunately, some of the rally scenes were ordered to be deleted before the release.

Reality of character regression

On the other hand, nurses who were normally depicted as caring and approachable on common films took 180 degrees turn in the perspective of ‘Bayan ko.’ During the most desperate moments of Turing as a husband and a father-to-be, he encountered nurses and doctors who did not even show an ounce of compassion for his wife and unborn baby’s heartbreaking situation.

Although this is not a character regression in the attitude of the media professionals mentioned in this film, it represents the reality that there exist nurses and doctors who lack empathy and compassion towards patients.

All these conflicts weighed down on Turing’s shoulder. As a man who exhausted all the morals, he had to keep doing everything right, until it dawned on him that clinging to his values would not help his beloved family.

He finally surrendered to the temptation to fight evil with evil. When left with no choice, Turing with his friends, hostaged the family of his boss.

Often, films show a protagonist’s character development after the climax brought by conflicts. But Brocka traversed the dark truth of some people who backslide from their morality and faith hoping that there would be a light in their devastating decisions.

It was an infuriating fact, hard to swallow for a happy ending fan like me.

Above all, the story which was written by Jose F. Lacaba was a product of real-life events weaved coherently and creatively to underscore the deep-rooted corruption and injustice faced by the marginalized sector.

Commendation and critique of the film’s conclusion

The ending scene where Luz was crying in distraught while desperately clutching the lifeless body of his husband was excellently showed with a muddled camera vision and static sound seemingly disconnecting from the line. Alajar’s delivery was exceptional and captured the sympathy of the audience in a sense that will haunt them whenever they encounter an injustice.

I was hoping there was more depth in the character of Luz where she can be truly part of the labor union and protest with them.

Another sentiment is also the poor representation of journalists, particularly the photographers. It was utterly disappointing to see how every reporter presents on the scene where Luz was grieving, was dead on documenting her most painful moment. It is gut-wrenching to see how no one was convicted by sworn humanity, if there is any left of it in their minds. Given that the film was set when ethics were too pricey, still, I hoped for at least ONE who will stop and help.

Suddenly, I was reminded of a similar situation in reality. In 2016, a controversial photo of a lady holding the lifeless and bloody body of his partner who was killed on a drug war. The scene was already hard disturbingly painful but hearing the photographer's testament was much more. The Philippine Daily Inquirer journalist how the lady was crying out for help to the media workers capturing them.

Yet, just like Luz’s situation, no one was human enough to answer.

Perhaps, it was unacceptable as a journalism student.

Overall, “Bayan Ko: Kapit sa Patalim” is an excellent cultural treasure that paved the way for freedom of expression, especially in films with the themes of dissent and injustices. It is a timeless film that will continue to be relevant in the present day long as the marginalized sectors are not provided with their rights. The tragic scenes that depict real-life situations will persist to shed light on the fight of activists, workers, and more. Lastly, the haunting end will continue to dispel the myths that downplay the political, social, and economic suffering of people under the dictatorship of Marcos Sr. Decades may have passed, but films like this are what should occupy more of our cinemas not for money-driven capitalism but for bringing awareness on the current issues that grapples our nation.