There
is no denying the sincerity of veteran director Joel Lamangan in making Patikul. Education is after all an issue
that can never be overemphasized. It needs to be talked about because there is
an alarming lack of it especially in the riskier and more remote areas in the
Philippines. Patikul was born out of
that very noble intention of educating the public on the deficiencies of the
policy on education in the Philippines. Unfortunately, the film is as effective
as a lousy kindergarten teacher teaching calculus to a room full of monkeys.
Patikul tells the story of Kan-Ague Elementary
School in Patikul, Sulu. Two of Kan-Ague's best students are chosen to compete
in the region's quiz bee. Determined to grab the top prize, the students
prepare for the quiz bee with the help of the school's supportive principal
(Marvin Agustin) and teachers. However, the students get caught in the middle
of the hostilities between the government and the terrorists.
Since Patikul borrows the name of an actual
place for its title, one would logically expect Lamangan to shoot the film in that
place. Instead, the film was shot in locations in Rizal and Cavite that could
pass for the town of Patikul, or what Lamangan envisions Patikul in Sulu would
be. The danger of the convenience-fueled resourcefulness is that it makes the
film based on a certain interpretation of a place, an interpretation that is
not unlike a ghastly stereotype. Thus, the film is erroneously emboldened by
its pretty but empty visuals of rolling hills, dark forests, bustling town
centers, and busy coffee farms. However, these locations are just stages, the
characters are just performers, and the film is just an explicit exercise of
fakery.
Sincerity
and conviction are too different things. Patikul
is a sincere film that lacks conviction. The confusion shows. The
performances are obviously thinly inspired, grounded more on the need to get
things done sure and fast than any genuine understanding of what their
characters are going through. Agustin's performance is predictably flat. The
performances of Martin delos Santos and Angeli Nicole Sanoy, who gave life to
the determined students who were chosen to compete for the quiz bee, are
lacking in depth. The other supporting cast-members, with the probable
exception of Glaiza de Castro who gives a modestly heartfelt depiction of one
of the schoolteachers, are needless pretty faces and familiar names whose only
contribution to the film is publicity.
The
actors, however, are only acting out what the screenplay tells them to act out.
Sadly, Kristoffer Brugada's screenplay, which surprisingly won a Palanca award,
is a horrendous mess. It is ridiculously talky, indulging in dialogue that
makes more obvious the already obvious. Its desire to be "full of heart" (for a
lack of a better phrase) is too put on, too manufactured.
Lamangan treats the screenplay with reverence it does not deserve. Thus, the result is this confused work whose only merit is that it seems to signal that the type of uninvolved filmmaking that Lamangan has gotten too used to from working as a hired gun for film studios and television stations can no longer work when the film that needs to be made involves the director's sincerest advocacy that he longs to communicate. That said, Patikul is independent only by association, nothing more.
(Cross-published in Lessons from the School of Inattention.)