Japanese director Abe Yutaka and associate director
Gerardo de Leon collaborated on 1944’s “Dawn of Freedom,” or what I call the
Japanese version of the Battle of Corregidor and the Bataan
death march. It was interesting to see how the two directors sought to
integrate their visions in the film’s narrative. On a personal level, the
directors failed on that account. The film’s nature of being a propaganda
material reveals itself early on and is sustained as a central theme, weaving
together disjointed scenes displaying the horrors and consequences of the war.
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| (Source: Video 48) |
The
film was released during the height of the Japanese occupation. The invaders
took over the film houses and used them for their own propaganda purposes. As
their imported films failed to capture Filipino audiences, they began to
recruit Filipino directors to collaborate on films, Gerardo de Leon being one
of them. Dawn of Freedom starred Filipino and Japanese actors Fernando Poe Sr.,
Leopoldo Salcedo, Rosa Aguirre, Okochi Denjiro, Kawatsu Seizaburo and Nakamura
Tetsu (Soriano, 2010) and showcased the prevalent theme of Japanese heroism. Several
American prisoners of war (POW) were tapped to play the antagonists in the
film.
The
film started off by showing Filipino soldiers departing from their families to
battle with the Americans. In one scene, Tomy, a little boy, asks his brother
to bring back a helmet from the enemy, the Japanese.
As the
movie continues, lines are being drawn between the “evil, selfish” Americans
and the Japanese “saviors.” In one scene, Tomy, so captivated by the American
parade, failed to notice a speeding vehicle. He was struck and became limp. In
that scene Tomy can be seen as a personification of the Philippines.
The movie argues that Filipinos were so enamored by the Americans that
unwittingly, we have sacrificed our well-being in the process. This blind
acceptance of the Americans is further given emphasis in an interrogation scene
where the Japanese question a Filipino soldier. The Filipino soldier pledges
allegiance to the United
States of America, but is shaken as the
Japanese general asks, “Aren’t you a Filipino?”
In
stark contrast to this, as Japanese troops march along the streets, the
children seen cheering for the American parade are seen hiding under fences and
bushes. The Japanese soldiers gradually show the children that they are
friendly and courteous. The children eventually take a liking to the Japanese
in the movie, claiming that they were misunderstood. It is easy to see how
Yutaka aimed for the children’s acceptance of the Japanese to extend over the
film’s audience.
Americans,
on the other hand, are shown as ruthless slave-drivers as the film continues.
In one scene American generals order and ridicule Filipino soldiers
unmercifully. In another scene where the Americans are seen to be strategizing,
it was revealed that they cared very little if a hundred of their Filipino
soldiers perished if it meant that they could get the upper hand.
The
movie’s disjointed scenes actually worked well to achieve the juxtaposition
between the “friendly and misunderstood” Japanese and the “scheming” Americans.
After a scene where a Filipino soldier is seen to be living comfortably in the
Japanese camp, enjoying amenities and friendly banter with friends, the shot
then fades into a scene where Filipinos are shown in the American camp as
underfed, desolate, overworked and ridiculed. As the scene continues, an American
soldier murders a Filipino soldier in cold blood.
The
Japanese continued to be portrayed as brave, heroic figures but also severely
misunderstood. This is achieved through the unlikely friendship of a Japanese
soldier and Tomy. As the Japanese soldier slowly gains the trust of scared,
unbelieving Filipino children, he is directed to Tomy who, now limp, looks
longingly as his friends play outside. The Japanese soldier slowly rebuilds not
only Tomy’s character, but his ability to walk again, even donating his own
blood in the process. When the Japanese soldier leaves for war, Tomy is
devastated. But upon seeing his friend march down the streets, Tomy is able to
stand up again and literally follow in the footsteps of the Japanese soldier.
If
you contextualize the film, it would seem that the film had a very big budget.
The soldiers were well decked with guns and tanks and impressive explosives
were used in the fight scenes. But as the film was released during the height
of the war, it would be easy to see how the Japanese invaders used authentic,
captured materials as movie props.
The
film was very reminiscent of the style which immediately preceded it. The
scenes were typically long and very drawn-out. The acting was exaggerated,
carry-overs from theater and traditional arts such as sarzuela and senakulo. The
film also requires a lot of suspension of belief. One scene in particular,
shows a wounded soldier speaking his thoughts about the foolishness of war out
loud before his final breaths. Though monologues are tools to move the story
forward and are frequently used in theater, this scene felt particularly
forced.
The
soundtrack of the film was laudable. Classic, instrumental music built up
tension, lightness and drama when needed. However, silence, which the film used
liberally, was the most moving aspect. Through it the filmmakers were able to
create suspense and intensify the drama of a scene.
The camerawork was simply but sometimes shaky however
this could be seen as a testament to the tumultuous times. The camera angles
gave an inordinate emphasis on facial expressions. They were also used to
emphasize status and character, as in the low angles used in the Japanese
generals and the high-angle shots used in the Filipino soldiers in the American
camp.
The quality of the film, however, was very poor. A
great percentage of the film was dark; it gave the eyes an exercise in trying
to discern what the scene was about. Though I am sure that age was a factor in
the film’s current state, it just calls attention to our need to have a
systematic preservation and catalogue of our films.
The film featured three languages, Filipino, English
and Japanese, so I surmise that it was equally confusing for the Filipino
audience at the time. The subtitles and transitions were all in Japanese, such
that some parts were incomprehensible and needed a great deal of deduction to
piece into the story. It would have been less difficult for the Japanese
audience to understand, though.
Cinematography also played a role in characterization.
The church emerged as a theme in the scenes, underlining the “respect” that the
Japanese held for the Filipino faith. In scenes where the Japanese troops are
seen to mingle with Filipinos, the church is seen in the background, seemingly
sound and giving blessing over the interaction. Whereas in scenes of American
troops in the city, smoke can be scene billowing behind the church steeple,
signaling devastation.
As the film nears it end, the American soldiers are
portrayed as cowards. The Japanese troops then look on sorrowfully at the
marching Filipino and American soldiers. As the film’s conclusion the Japanese
general addresses his troops in a vigorous manner. As the speech was in
Japanese, the entire scene could not be understood.
Overall, the film was held together by its theme as a
propaganda piece. However, because of the poor quality of the film today and
the recurrent shift in languages, viewers must be warned that a lot of research
and assumptions are required for the film’s narrative to make sense.
It is
up to the viewer how much of the film he/she can accept. Put in the proper
historical context, it is easier for the viewer to negotiate what he/she knows
with what the film actually portrays. A quick review of Philippine history would
help before viewing the film.
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