Ganito Kami Noon, Paano Kayo Ngayon?

[!] Note: Hi A Blockmates! Here are some compiled summaries, analyses, and reviews of the film found
online. Tried to filter para yung more substantial takeaways sana yung nandito. The central theme
though na nasa reviews seems to be revolving around Who is a Filipino? or establishing the Filipino
identity.
Director: Eddie Romero
Release
Date:
December
25,
1976
**It bagged a number of awards at the 1977 Gawad Urian and the 1977 FAMAS including Best Picture
and Best Film honors. It also won the 1976 Festival Prize for Best Film at the 1976 Metro Manila Film
Festival.

Synopsis
The film follows a naive peasant through his leap of faith to become a member of an
imagined community.
It is set at the turn of the 20th century and explores the adventures and calamities of a
simple, provincial young man named Kulas/Nicolas Ocampo (Christopher de Leon) with the
struggle for Philippine independence as a backdrop to his story. Kulas is unwittingly sent to
look for the bastard son of a Spanish friar. Deciding to try his luck in the city, Kulas arrives in
Manila at the time of the Philippine Revolution against Spain. Diding/Matilde Diaz Patron
(Gloria Diaz) attracts Kulas and he falls in love. Kulas befriends a Chinese merchant and
together they cheer the arriving Americans during the Philippine-American War. As Kulas
matures, he yearns to find the meaning of being Filipino by seeking and determining his true
nationality.
Summary
{otherpapers.com/Music-and-Movies/Literature-Movie-Analysis-Ganito-Kami-NoonPaano/12927.html}
After the unfortunate death of Kulas's mother, after the disastrous fire that consumed
completely the makeshift house they called home, Kulas finally decided to leave their barrio
to search for a new beginning - a new life by travelling to see the country. With him is his
horse he fondly called - Kidlat. Along with Kidlat, together they witnessed an event that
completely changed his life. To their surprise, they saw wicked bandits running after a
Spanish friar named Padre Gil. Kulas, touched by the request of the friar to save and bring
him back to his friary, innocently brought him back to town. Seeing the innocence and purity
in Kulas's heart Padre Gil shared his deepest secret to Kulas, a son he borne while being a
priest.
Owing his life to Kulas, the priest had one more request - look for the lost son who was
believed to live in the nearby town and bring him to Manila. The quest was never easy going
through an unfamiliar terrain and meeting hostile people. But then again, fate was good to
Kulas that after he had smoothly took Bindoy, Padre Gils son, from his home, he met a
beautiful woman - Diding who immediately caught his heart and changed his life. Diding was
an actress whose personal desire is to be known and acknowledged by the whole world as a
beautiful and good actress.
For the first couple of days Kulas and Bindoy travelled with the Zarzuela actors, who
included Diding. Diding's father Fortunato who happened to have done a misdemeanor prior
to their travel, led this said group. Being cold in the eyes of the guardia civil the group was
caught then eventually released. They continued to travel without the group, as requested
by Diding, and along the way they met a Chinese merchant Lim, whom they asked to
accompany them to Manila. On their way to Manila, Kulas and Lim got the chance to take a
glimpse of each others stories.
Upon reaching Manila, Lim brought them to his house. Still not knowing anything in Manila,
Kulas asked Lim to help him find the place where he would be bringing in the young boy Bindoy to Padre Gil. Reaching the residence of Padre Gil, Kulas told the guards that Bindoy is

the son of Padre Gil. Immediately Kulas was imprisoned and was brought to the prison cell
along with all the rebels. The following day, Kulas was bailed-out by a man named Don Tibor.
Don Tibor started asking Kulas his relationship with Padre Gil but he did not say a thing.
Eventually Don Tibor admitted that he is the able lawyer of Padre Gil and he was tasked by
Padre Gil to bring him out of the prison.
Before Padre Gil went back to Spain, he left a lifetime fortune to Kulas that made him an
instant successor of a big amount of money and a vast property. Padre Gil requested Kulas to
take care of Bindoy and give him the love and care he had never done and can never give to
Bindoy.
Noble person as he is, Kulas sent Bindoy to school. Apparently Bindoy doesn't want to study
and just wanted to be with Kulas and work. Kulas did not allow this to happen and told
Bindoy that he has to study so that he will not grow up like Kulas who knows practically
nothing.
Kulas was exposed to social gatherings of the rich and famous. In one of those gatherings,
Don Tibor asked Kulas what he thinks of a real Filipino. Without hesitation, Kulas said that a
Filipino is one who is well bread, educated and trustworthy. Don Tibor disagreed and told him
that except for Filipinos like him, everybody is an Indio.
Even with the wealth that Kulas has, he still lacks something that can really make him
happy, something that can give him sense of pride and achievement, somebody whom he
can share his life with, somebody like - Diding. Seeing Kulas, Diding was so impressed with
all the changes and the possessions he has and was happy for him. He took this opportunity
and offered marriage to Diding. Unfortunately, Diding declined his offer and told him that
she has other plans and she still has a lot of things she needs to do. She told him that should
she accept the assistance that he is offering, she would pay it back with the appropriate
interest.
Good hearted as he is, he simply continued spending good moments with her. One day he
noticed that Diding and Don Tibor is acting strangely that led to his dismay and out of anger
he hit Don Tibor because of his conclusion that there was something between them.
One day, Kulas was interrogated and questioned by the Spaniards regarding the rebels, not
believing Kulas, the soldiers sent him to prison cell along with Kidlat, the rebel. One thing led
to another and the two was able to escape the prison, and the two proceeded to the house
of Lim where they both were treated and taken cared of until the Americans came and freed
the Filipinos against the Spaniards. Fighting for what they believed in, Lim was killed.
During the war, Don Tibor helped Kulas. In one of their conversations, Don Tibor admitted to
Kulas that he is married to a woman in Iloilo. This discussion was heard by Diding and led her
to ask Kulas for marriage.
As the war continued, Don Tibor met an accident and left him paralyzed. The wife of Don
Tibor told Kulas that she would bring him back to Ilo-ilo. On the other hand, Diding was not
at all happy with the turn of events and admitted that she has spent her life with Don Tibor
since the start even during the time when she was married to Kulas. This woke Kulas to his
proper senses and left Diding.
He made sure that the son of Padre Gil - Bindoy finished his studies and he went back to his
province. During his trip, they saw kids playing and with the better and honed man that he
is, he told them who the truth of who Filipinos are.
Analysis of Time:
The movie shows the time of Spanish colonization nearing its' end. There was a faithful

portrayal of the situation Filipinos were in - the gwardya sibil, the unexpected exchange of
gunshots, the relentless fear in Filipinos where ever they are to stay and the evident abusive
superiority of the Spanish race over Filipinos. Since it was the end of the Spanish
colonization, it was the time that small feuds came forth, though it wasn't really that evident
in the story because the focus was on the story the main character, Kulas. If one was keen
enough one would see that there were no children in the streets and women were always
inside the house. Though the latter was considered to be normal in their time. This again
serves as a proof that the feuds among the barangays
Review #1 (by Jessica Zafra)
{interaksyon.com/article/117053/jessica-zafra--define-filipino-ganito-kami-noon-paano-kayongayon}
Ganito Kami Noon, Paano Kayo Ngayon (This Is How We Were, How Are You Now) is a film
that constantly asks, "What is a Filipino?", but is so vibrant and droll that it never feels like
the essay section of a dreaded social studies exam. It does not have the grinding sense of
seriousness and self-importance that makes the typical historical film a chore to watch. The
average historical film tries to guilt us into liking it, as if it were our patriotic duty to suffer
through the hero's tribulations and stifle the urge to shout, "Patayin ninyo na 'yan para
makauwi na kami!" (Kill him now so we can go home!)
Writer-director Eddie Romero makes his case with such a light touch, keeps us so amused,
that before we know it, we have pondered the question.
Made in 1976 and now showing at Power Plant Cinema in a digital restoration by the ABSCBN Archives and Central Digital Lab, Ganito Kami Noon reminds us of the time when the
Metro Manila Film Festival actually tried to combine artistic ambition with box-office appeal.
In its skilful fusion of comedy, drama, and operetta, its casual, almost throwaway social
commentary, and its depiction of life as theater (complete with a traveling troupe), it also
reminds us of the influence of Fellini on Filipino cinema in the 70s. Romero, who cut his teeth
on American B-movies, was particularly interested in Philippine history - he made the epic
Aguila, in which history transpires through the eyes of Fernando Poe, Jr., and Kamakalawa,
set in the mythical pre-colonial past.
In 1898, during the brief period between the declaration of Philippine independence and the
Philippine-American War, a nave young man named Kulas arrives in Manila and comes into
possession of a fortune. The capital is in chaos - it is still held by the Spanish, but the
Katipunan is making its presence felt and there is a general feeling that the Spanish are
finished. A sure sign of the end of the colonial era is that the affluent, educated locals have
taken to calling themselves "Filipino", a term that had been reserved for Spanish citizens
born in these islands. (The locals were called "indios".)
From the first shot of a funeral in a churchyard overgrown with weeds, the film pulls us into
the late 19th century. What great faces - the extras all look like regular people, not actors
performing for the camera or getting ready for their selfies. The production design by Peque
Gallaga and Laida Lim is wonderfully evocative - you can smell the burnt wax in the
churches and feel the rough, scratchy fabrics the people wore. (I have had it with costumes
that look like they still have their price tags from SM). To these elements Romero adds music
by Lutgardo Labad - a vocal chorus commenting on the action.
Kulas is played by the young Christopher De Leon before fame and awards got to him. He's
such an appealing protagonist that even if Kulas is a dolt and we sometimes feel like kicking
him in the head, we root for him. Kulas strikes me as an Asian cousin of Pip from Great
Expectations - a callow youth who makes his way in the world with the unexpected help of
benefactors such as Padre Gil (E.A. Rocha), a Spanish friar who manipulates him into taking
his son Bindoy (Dranreb) to Manila, Lim (Tsing Tong Tsai), a Chinese trader who gives

him passage to Manila, and Tibor (Eddie Garcia), the lawyer who teaches him the social
graces and introduces him to society. "Isa siyang pari," (He's a priest) Kulas tells little Bindoy
when they set out to meet the boy's father. "Malaking karangalan iyon." (It's a great honor.)
As in Great Expectations, there's a beautiful, ambitious young woman, Diding (Gloria Diaz at
her most spectacular), who toys with our hero's affections, and a scary, violent convict
Baltao (Johnny Vicar) whom Kulas befriends. Then there's the quintessential Dickensian
character, the shady impresario who gets himself into all sorts of scrapes and somehow
worms out of them. In this case it's Atong, the manager of the traveling theater group,
played by the great Leopoldo Salcedo.
Salcedo is a joy to watch: you know you can't trust anything Atong says, but it's almost
worth it to be fooled by him.
Throughout Kulass adventures, the film muses on issues of identity and race. Am I a
Filipino? Kulas asks his mentor, Tibor. Not yet, Tibor replies, but you could be one someday.
To the elitist Tibor, the label "Filipino" must be earned through education and achievement.
Later Kulas, his heart crushed yet again by the deceitful yet honest Diding (She did say she
valued fame more than love), is in a brothel with Atong. Another client takes umbrage at
overhearing anti-Spanish
statements, identifies himself as Spanish, and draws his gun. There's a new kind of Spaniard,
someone says, one that is blacker than coal.
Kulas, who starts out being neither Spanish nor Filipino, meanders his way through life,
carried along by circumstance, withouth the capacity for self-determination. One day he is
an indio arrested by the Spanish, the next day an indio fighting the Americans, the next day
accused of being a Spanish spy. Who is he? It's a question he must grapple with whether he
cares to or not, much as we continue to struggle with the question of who we are.
Vivid and exuberant, Ganito Kami Noon, Paano Kayo Ngayon summons up the big, teeming
world beyond the screen and urges us to embrace it. Happiness isn't everything, its hero
learns, and most shockingly for a Filipino movie, there is more to life than romantic love.
Such as being part of a nation.
Review #2
{philstar.com/entertainment/2013/11/18/1257870/three-great-movies-cinema-one-originals2013-festival}
Eddie Romeros epic 1976 classic film Ganito Kami Noon, Paano Kayo Ngayon stands the test
of time. It uses the different cinematic elements creatively and effectively. The actors give
life to flesh-and-blood characters. The theme or themes are universal. And most of all, the
movie tosses around ideas that the viewers can think about.
In Ganito Kami Noon, Romero who is both the director and co-scriptwriter (with Roy Iglesias)
goes back to a colorful time in our history the last days of Spanish colonial rule and the
early conquest by the Americans and asks the age-old question of who and what we are
as a nation, what our national identity is.
The central character confronts this question every step of the way and each time, he gets
an elusive answer. We may not be bothered by the issue of national identity now, except
when problems of regionalism and post-colonial values and the issues of running the
government and ordinary folks weaknesses come up. Then as now, the matter is a
puzzlement.
The movie focuses on a pure-hearted country bumpkin Kulas a.k.a. Nicolas Ocampo, played
with disarming simplicity and sincerity by a very young Christopher de Leon, who is naturally
nave but sensible and pragmatic. Throughout the film, Kulas comes upon people and

situations that make him wonder about his being a Filipino. In the course of the movie, his
encounters with several other characters are worthy of a serious novel, much like Voltaires
Candide, and Romero makes his picaresque tale effective, dramatic and often funny.
Kulas meets a wily, sexually active womanizer but benevolent Spanish friar Padre Corcuera
(E.A. Rocha) who becomes his padrino and eventually passes on to him great wealth. A
review of Philippine history: Why are there a few Filipino families blessed with so much
power and wealth, and real-estate properties visible as far as the eye can see? Patronage,
as suggested in the movie, but also maybe crime? Behind every great fortune is a great
crime.
The Spaniard asks Kulas to bring to Manila his illegitimate son called Bindoy (Dranreb), and
in his travels, Kulas meets, loses, then meets again the woman of his dreams Diding (Gloria
Diaz lovely then as now).
Now, Diding isnt your typical blushing maiden of yore certainly not Maria Clara, for she is
showbiz na showbiz, lusting after stardom. This is what makes the dramatis personae
interesting. The characters are real and full of surprises. Diding is referred to by Kulas ward
Bindoy as kiri, or makiri (flirtatious on a simple level and a loose woman on a real level,
in those days anyway). Todays generation would add: Shes user-friendly.
Another character, Kulas ilustrado lawyer Don Tibor (Eddie Garcia) may be likened to
todays politician rich and flexible, and though loyal to Kulas, eyes Diding with desire.
There is a Chinoy family represented by a merchant (Tsing Tong Tsai) who is hardworking,
low-key and reliable. There is a rebel (Johnny Vicar) who is high-strung, intransigent and
emotional human frailties that are a liability during the Revolution.
These characters form a rich tapestry of Philippine life. One may point out anachronisms in
period details but in spite of them, the movie is generally able to capture the mood and
nostalgic atmosphere of an era long gone.
It throbs with life largely due to the music score by Lutgardo Labad whose original and
adapted work is realized from scant instrumental resources. Maybe Wikipedia erroneously
refers to the movie as a Filipino romantic musical drama because the Wiki contributor saw
just bits of the movie in particular its early third which saw the enamored Kulas imagining
himself singing a duet with the unpolished talent thats Diding.
Hemisphere, the company that produced the movie, was not a major studio, thus it could
qualify as an indie film. The relatively low budget is a give-away, as may be gleaned from
the production design. One thing clear is that in spite of its limited production budget and
location requirements, Romeros grand period piece and costume drama on the adventures
and misadventures of Everyman (Every Filipino) is effective now as then.
Review #3
{sinepatrol.blogspot.com/2013/07/ganito-kami-noon-paano-kayo-ngayon.html}
Kulas is a slow-witted young man. People take advantage of his naivety. He lost his house,
wealth, and ladylove. But, one thing they cannot take away from him is his Filipino identity.
Who/what is a Filipino? The films greatness lies in its exploration of the Filipino question.
Kulas gets confounded with the different definitions of Filipino. It originally referred to a
person of pure Spanish descent born in the country. However, the term evolved. A travelling
Chinese merchant born in the country is also called a Filipino. Being born in the country
seems to be the main criteria.
Kind-hearted and gullible Kulas searches out for a boy named Bindoy and reunites the kid
with his grateful father, a friar named Padre Gil Corcuera. The latter endows Kulas with a

house and a huge sum of money. He gets transformed from a lowly indio into a rich
senyorito. He asks a Visayan lawyer named Tibor if he can rightly be called Filipino. Tibor
says that in order to be called a Filipino, one must be a worthy and valuable person.
The young man finds a worthy cause to live for. He is disgusted at so-called Filipinos
collaborating with the enemies, the Spaniards and the Americans. Just like Jose Rizal, who
was heartbroken, he abandons his love for Diding and shifts his love to his country.
Kulas, in the end, realizes that a Filipino is someone who loves or will love the
created Filipino nation. It is not enough to be born in the country in order to
Filipino. One should also love his country through actions. Kulas approaches
orphans and reminds them to call themselves Filipinos. He then hikes off
insurrectos.

then newly
be called a
a group of
to join the

Review #4
{sentimentalfreak.wordpress.com/2012/11/28/ganito-kami-noon-paano-kayo-ngayon/}
The story is about a simple but kind-hearted farmer named Kulas who was orphaned early in
the beginning of the film by the death of his mother, his only known relative. Because of an
errand for a priest, Kulas is swept on the tumultuous history of Philippine revolution as well
as the struggle of the society to define itself after being freed from its colonial master.
The Gist: At first glance, the film seemed to be a simple love story between a simple young
man and his beautiful yet ambitious love interest, but the movie subtly picks up important
lessons along the way. What struck me in particular is how Kulas, at the beginning, has no
idea of what a Filipino is, nor he doesnt know any reason why hes called as one. You see, in
the old days, natives are called by the regions they live, or the islands they are from, and
since the Philippines is an archipelago, a fragmented kind of nation surfaces, with each
minority defining themselves through their narrowed viewpoint and not calling themselves
Filipinos as a whole.
The Filipinos then have no sense of nationality, as a result of a long colonization of Spain.
The film perfectly depicts that the Spaniards are not the only ones who abused the Filipinos,
but fellow Filipinos as well, which makes it a lot sadder. Kulas had seen it all, the violence of
the history, the cruelty and unequal treatment, as if his heartbreaks over Diding isnt enough
already. In the beginning, he was called Tagalog, and he used to call himself that way until
the middle where he slowly grasped the problem with his society.
I guess whats heartwarming with the story is in the end, Kulas was able to define and call
himself as a Filipino. This is born out of a painful choice, but one he decided for himself and
stood by until the end. The viewers will reach the same conclusion as Kulas did at the end of
the film: Being Filipinos doesnt only mean the physical ties we have with the land, or with
tradition, or even with our family.
It means recognizing ourselves as the protector of this land, and protector of our fellow men.
It is being able to fight a grander cause, fight for what is good for our country, and preserve
the dignity and freedom our ancestors have fought for.
Review #5
{scribd.com/document/265051567/Ganito-kami-ngayon}
A type of familial literature that highlights the cultural and societal aspect of the
Filipino experience during the colonization period and positively portrays the unfinished
journey of the Filipinos toward liberty, utilizing the satirical aspect of ignorance and bliss in
expressing a serious political message; that is the essence of the film entitled Ganito Kami
Noon, Paano Kayo Ngayon?.

Eddie Romero, the director of the said movie, was an award-winning Filipino
filmmaker, screenwriter, film director, producer and National Artist for Cinema and Broadcast
Arts. He devoted his life to the commerce of cinema, and was also known for films that
tackled Philippine history, politics, and culture. His movie Ganito Kami Noon, Paano Kayo
Ngayon is a film that utilized a humorous atmosphere to stunningly depict the blatant yet
ignored state of the Philippines during the Spanish and American colonization era. The film
courageously represented the harsh realities of the Filipinos during the different times of
colonization by foreign invaders.
The story circumvented with the idea of identifying the real definition of being a
Filipino/Pilipino, and the main character Kulas/Nicolas Ocampo (Chrsitopher de Leon),
became the gateway to answer this cultural query. It all started when Kulas was unwittingly
sent to find a friars son at the height of the Philippine Revolution against the Spanish
Colonizers. During this plight, he met several significant characters that influenced his
intuition and way of life as the story progressed. H came across Filipino insurgents, Spanish
vicars, Spanish soldiers, Chinese merchants, theatre folks, particularly Diding (Gloria Diaz)
whom he fell in love with eventually, and Filipino elitists that consider themselves the True
Filipinos. The story progressed until Kulas experienced both the indio and seorito life
that subsequently led him to doubt his actions, his feelings and emotions in order for him to
realize what being a true Filipino really is. He then decided to join the insurrectos in the
mountains.
The film enlivens the element for the birth of the identity of the Filipinos; struggle.
Kulas fortunes and misfortunes encompass social issues that were experienced during the
Spanish regime. The said movie highlighted the long-lived hardships of the Filipinos to
achieve independence from the Spaniards. The character of Kulas represented an invisible
spectator of the conflicts between the Spanish and the Filipino revolutionaries. He seemed to
portray a passive side to the changes that were happening within his society. As a matter of
fact, after being imbued with wealth and considerable knowledge about his society, with the
help of the foreign elites, he still did nothing. He knew the perspective of both sides yet he
still was indifferent and apathetic. This was because Kulas walked between the line of the
pleasures of wealth and the reality of nationalism. In the end, he realized that he needed to
overcome these mundane temptations and that love for his own country should have been
his primary principle. These series of events created elements of doubt, hope, and love that
furthermore enhanced the plot as the story progressed.
Ganito kami Noon, Paano Kayo Ngayon delved between the complexity of racial and
cultural identity which in turn produced a type of film that easily portrayed social realism.
This factor can be defined by critically analyzing how Kulas dealt with all the misadventures
that he experienced during the whole movie. His fluidity to the ways of the historical Filipino
society is what makes him both amiable and frustrating. He answers and tackles issues and
problems with simplicity and naivety, even if the world is cruel to him. Despite of all of this,
hope and curiosity never left him. This is one the reasons why this film meticulously tackles
what the real Filipino is and should be yesterday, today, and tomorrow.

a.) Sino/Ano ang Pilipino batay sa pelikula?

To the passive viewes eye, the film would seem to be just another socio-economic
film about a very terrible history of a 3rd world country. But the more active viewer would
see that this is not the case. For one, it addresses the struggle of the Filipino people to
define and brand themselves as Filipinos. The films complexity and dynamicity paved the
way for the identification of several representations of this identity. Eddie Romero portrayed
this apolitical issue (in terms of the Spanish Rule) by imbuing each character in the film with
a unique Filipino persona.

Kulas, a passive-active main character in the film portrayed a nave and a simple
Filipino. He showed a persona of youth and simplicity wherein everything was new and
every change in ideology provided an abrupt shift in his life. The transitions that he had
experienced and the misfortunes that he in the latter resolved were all primarily tackled with
bright optimism. However, after witnessing a lot of consequent tragedies and deaths
involving the people that put him in his seat of wealth and glory (Spaniards and fellow
Filipinos), he realized that ignorance would not save his country or his loved ones. This is
the part wherein he becomes an active persona in the film. Maturity and revolutionary
becomes a more highlighted idea in his mind.
However, what struck me the most is how Kulas, at the beginning, has no idea of
what a Filipino is, nor he doesnt know any reason why he is referred as one. This is because
in the old days, the natives are primarily distinguished and identified by the regions where
they lived, or the islands they were from, and since the Philippines is an archipelago, a
fragmented national identity was exercised amongst the citizens. This in turn let each
minority define themselves through a very narrowed perspective and not calling themselves
Filipinos as a race, and as a part of the same nation.
Diding, the lover of Kulas, on the other hand, exhibited a type of an adaptive
persona, wherein she has this go with the flow attitude, a trait dissimilar to what Kulas
showed in the film. She was somewhat a static character that somehow accepts change
without further resistance or defiance. Her character portrayed the after - effect of the long
colonization of Spain to the Filipino identity; alienation. If her character is critically
analyzed, her actions and her words somehow depict a part of the Filipino identity during the
stay of the Spaniards in the country. Her unwillingness to resist proved how Filipinos then
have no sense of nationality or were malignantly influenced by the colonizers. Her constant
battle of loving Kulas and unloving him, expressed how Filipinos before were all in doubt
when it comes to pursuing independence and expressing resistance. It showed how the
formation of the revolution was a long-term process within the Filipino society, may it be due
to the colonial mentality or just plain fear and intimidation from those who were sitting on
the seat of power.
This constant apathy led Kulas to break his ties with her, for he realized how lethargic
and indifferent her acts were towards on loving him and loving her own country. Diding
showed a dark side of the Filipino identity, which was lethargy towards nationalism and
being slaves of change and constant influence.
The next character is Bindoy, the child that was returned by Kulas to his Friar Father,
was one of the main personas that blatantly exemplified the identity of the Filipinos;
resistance to change and loving ones own affiliated origin. Some instances were shown in
the movie wherein the stated traits were shown; a.) During the part wherein Bindoy was sent
to school, he did mischievous actions in order to escape from the grasp of the ones
controlling him (teachers). This showed how some Filipino revolutionaries before were
clandestinely living side-by-side with the enemy with a concealed truth of pursuing
independence through means of violence and intransigence. Another example for a Filipino
trait that was exhibited by Bindoy; b.) When Kulas saw him again after returning Bindoy to
his real father, Bindoy hurriedly hugged Kulas and not his real father. This trait shows how
Filipinos were loyal to the thing they are/were familiar with, and were constantly struggling
in resisting change. (Real father = Change | | Kulas = Familiar)
Meanwhile, another character surfaced which was named Don Tibor. He was a rich
Filipino/Hiligaynon lawyer from Ilo-ilo that was affiliated with Friar Gil Corcuera, the real
father of Bindoy. He was requested by the friar to help and guide Kulas with all his problems
and necessities. Tibor displayed a different bearing of the Filipino identity, which is being
capable of handling responsibilities and always ready for service. However, he also showed a

more prominent counter-argument for this trait, this was his stratified perspective on the
social caste system during the Spanish colonization period and also his deceitful tendencies
when it comes to his selfish desires. The film, with the help of Tibors character perfectly
depicts that the Spaniards were not the only ones who abused Filipinos, but fellow Filipinos
as well. It also portrayed a part of the Filipino identity before, wherein desire was somewhat
a priority partnered with service and responsibility.
Last, but certainly not the least is Leonor, a maid that settles inside the house of
Kulas. Her character might be very passive and invisible in the film, however this
concealment effectively displays a general trait that majority of the Filipinos during the
Spanish colonization period exhibit, passivity and spectator-like indifference. Her character
explicitly portrayed how Filipinos before were too indifferent about the state of their society,
and the spectator-like identity of the public when it comes to abuse and corruption of the
government.
Her character is very essential to the film and to the society for it showed a side of
the Filipino identity that inexplicably highlighted the silent gestures of the Filipinos when it
comes to talking about their pursuit of independence. Subsequently, this trait became a
bearer of misfortunes for Leonor, which was secretly attracted to the main character. Kulas
left the house without even knowing that she loved him and Leonor also died inside the
house after the Americans claimed it. This supports how her innocence and silence couldve
led to her dismay.
So what is a Filipino? Who are the Filipinos? The film answers these questions quite
intricately, and we can thank Eddie Romero for that. In terms of what the characters said
verbally Filipinos are defined by a.) Familial origin b.) Character/Beliefs c.) Cause/Virtues
d.)Nationalism. All of these verbal definitions were given directly by each of the characters
unique perspective, however, these are not the only elements that were given by the film,
for it all lies within the different traits of the characters which were mentioned before.
Although, what factor matters the most is what youre fighting for, whom youre fighting for,
and what you are ready to sacrifice for your identity and for your nation, that is what it
means to be Filipino.
b.) Paano nabuo ang konseptong "Pilipino"?
The concept of being a Filipino emerged due to ignorance and confusion. Before,
people were unsure and doubtful of who they were and what they should call themselves. It
may be because of the mentality that the Spaniards forcefully implemented to the Filipinos
paired by its abusive government. Even today, a lot of people are still ignorant on what it
really means to be a Filipino. The film showed the reality that if you asked Filipinos then,
they would all have varied answers, and most of them, even are contradictory with each
other. This uncertainness and doubt led the Filipinos to shape a common national identity.
Then, with the dawn of colonialism, nationalism was born, which then led to the eventual
recognition of a Filipino identity.
This identity was important for us to remember why we were fighting in the first
place.
c.) Paano nakatulong ang mga kaganapan noong ikalabinsiyam na siglo sa pagbuo ng
"Pilipino"?
The revolution signaled an era to the pursuit of national identification and expanding
cultural recognition. Even though the revolutions, reformations, and etc. had quite a number
of flaws and errors in both its leadership and implementaion, it does not deny the fact that
these plights of resistance and defiance started for the sole cause of being identified as an
independent and existent self-governing nation. This means that we wanted to create a
name for ourselves, or more directly, we wanted to know ourselves. The different events

that were experienced during the 19 th century helped establish our united dream of having
an identity as a sovereign nation, and as an independent country, not a colony.
These actions done by the forefathers of the Filipino race established an identity that
will be recognized not only by the colonizers but by all nations. The revolution itself
exemplified the Filipino identity sacrifice for the betterment, always the betterment, of
ones country and fellow countrymen.
d.) Nagkaroon ba ng pagbabago sa kahulugan at praktika ng konseptong ito mula sa
pananakop ng mga Espanyol hanggang sa pagpasok ng mga Amerikano?
The arrival of the Americans not only threatened the budding identity of the Filipinos
but also slowly overpowered it. The Filipinos were too caught up with victory from the
Spaniards that it was too late to realize the real cause on why the Americans suddenly
sprouted out of nowhere to make us willingly surrender to them and to colonize us without
us knowing. By the time we realized the game they were trying to play at, theyve already
won. The Big Brother Effect of the Americans was already in action. Theyve already
entered our homes, our minds and our hearts with their acts of kindness and support.
These actions eventually led to the deterioration of the Filipino identity that was just recently
recognized. The people before were too caught up about the past that their future was
already being slowly influenced by a new culture, a Westernized one, and just like that, all
the efforts of the revolution, and everyone before them were thrown aside.
e.) Paano maaaring sagutin sa kasalukuyan ang titulo ng pelikula?
To answer the title Ganito Kami Noon, Paano Kayo Ngayon? is not only to
recapitulate everything that happened and compare it with the reality today but to also
compare the things that the Filipinos will also plan to happen in the future, for the film
doesnt highlight the revolution itself but rather, it brings to light how life changed
continuously as we were under Spanish colonization.
Before, the Filipinos became so used to oppression and abuse that this overwhelming
and common experience in the society became a social norm. Travel and transport were
regulated. They couldnt travel without being held back at profusely distributed checkpoints.
Social caste systems were like templates of finding your own identity. They were treated by
wealth and status, and justice was only for those who could pay for it. However, there were
quite a few people that still lived with goodness and positivity, most people were heavily
influenced by the harsh conditions of the society, eventually becoming abusive, selfish,
manipulative and opportunistic like Diding, and her con of a father.
Nowadays, even though the Filipinos already exercise autonomy and democracy,
imprints of colonization still linger intrinsically within us, may it be by culture or by actions.
This is where Neocolonialism kicks in, the use of economic, political, cultural, or other
pressures to control or influence other countries, especially former dependencies.
Corruption is still evident, but now fellow Filipinos duly appointed and elected by the
masses, rather by foreign invaders, cause it. Social stratification is also still evident in the
Filipino community. People are still treated and identified by wealth and status. Also,
manipulative, selfish and abusive people are still existent in the outskirts of the socioeconomic and political society of the Filipino. People who always want to be above
everybody else and always ready to give in to his or her mundane desires.
However, amidst all of these negativities its not entirely bad though, there is an
upside to this generation. Now, more and more intellectuals and functionally literates are
living in the Philippines. Although some of them mostly use their gifts for their own benefit,
there are still some who embody the ideals of our forefathers. They are the ones who are
constantly trying to remind us that we are Filipinos and that we must never forget.
Eddie Romero really showed and displayed the reality of the historical experiences
that the Filipinos experience before. The film Ganito Kami Noon, Paano Kayo Ngayon,
subtly utilizes a satirical way of tackling serious political concepts that remind its audience
the true meaning of being a Filipino. The film is one of the rare 1970s movies that tackled

socially-conscious dramas against the backdrop of history and the Filipinos search for
identity without falling into cliches.
I suppose whats really heartwarming with the story is in the end, when Kulas was
now able to define and call himself as a Filipino. This emerged out of a painful choice, but
one he decided and stood by until the end.
Lastly, the film made its audience realize that being a Filipino does not only mean the
physical ties we have with the land, or with our culture, or even with our families, it also
means the responsibility that we intrisically accept and implement as the protectors of this
land, and the protectors of our fellow men, being able to fight a grander cause, fight and live
for the betterment of our country, and to preserve the identity and the dignity that our
ancestors have fought for, and that is to be a Filipino.