[This paper primarily aims to serve as a good review to the film Tatlong Taong Walang Diyos because it does not just show a summary of the movie, but a critical analysis that examines why and how the film works and whether the film succeeds in its presentation.]
Tatlong Taong Walang Diyos
A Film Review
A well-known and award winning filmmaker Mario O’Hara, who has a deep sense of realism, proves his prowess in filmmaking through his self-directed film Tatlong Taong Walang Diyos starring Nora Aunor, Christopher de Leon and Bembol Roco. The entire film is beautiful because it is believable, interesting, has both simplicity and complexity of story line, and uses restraint in handling emotional material.
Tatlong Taong Walang Diyos Is Believable
The film is an account of the story of a schoolteacher named Rosario in a small town in Laguna, whose heart is torn between her romantic love for Crispin (Rafael Roco, Jr.) and her realistic love for Masugi (Christopher de Leon), a self-confidently handsome Japanese officer born in Manila of a Filipino mother. It is a touching love story of people during chaotic times of Japanese Occupation. The director, Mario O’hara, creates truths in variety of ways to prove that his film is believable. First, the film shows externally observable truths as it uses the documentary footages of World War II including the bombing of Pearl Harbor which clearly sets the exact milieu for the film. The use of symbols and images of weaponry, dead bodies of soldiers and innocent people, devastation and the war itself present the hardships during the Japanese occupation, years when there was no God, in the country. This is the time when people doubted the existence of God because of man’s cold-heartedness to man and an era that tarnished the Filipinos’ sense of virtuousness. Consequently, Tatlong Taong Walang Diyos is believable because the scenes, despite its unpleasant truths, conform to the Filipinos’ own experiences during the colonization.
Likewise, the film shows the internal truths of human nature as it clearly shows the way things are supposed to be. As an example, the scene wherein the character of Rosario experiences internal conflicts between hatred and love as well as logic and emotions towards the miserable events happens in her life. This can be viewed as an avenue for the character to become insane, in the sense that she might have psychological grief, and to lose hope then become downcast person. But Rosario manifests that her anguish and pain will stay longer if she will continuously bear it. So, she refrains from the thought of killing her unwanted child and refusing to the appeal of Masugi and eventually she falls in love with her rapist. In this point, it evidently shows the beautiful nature of man—the ability to love despite the cruelty of others. However, this scene does not jive to the idea of poetic justice wherein the virtues will be rewarded and the evil will be punished. But if the audience would look up to the deeper sense of the scenario wherein Francis has just helped Rosario given birth; as she lies on bed resting, he sits beside her and tell her what kind of man Masugi is--how his parents were killed inside a prison, how he had to make his way alone across chaotic Manila, to seek safety with Francis. He tells Rosario of how the war has brutalized Masugi, and taught him not to think--simply act and fight, like an animal. The audience would end up to the conclusion that Masugi is also a victim and Rosario and her child would positively change Masugi.
Tatlong Taong Walang Diyos Is Interesting
The film is a beautiful and good because it captures and holds the interest of the viewers. The fact that the entire story revolves around the love triangle of Rosario, Masugi and Crispin is enough bases to captures the audience’s interest. As an addition, the film has a lot of actions scenes not just physical actions such as fights, chases, duels and great battles among Filipino people, Japanese and American soldiers but also there are a lot of internal and emotional conflicts happen with the characters. Although it is said that internal-action/conflict story requires more concentration from the viewer, the outstanding portrayal of the performers such as Nora Aunor, Christopher de Leon and Bembol Roco helps the viewer to easily cope with the scenarios. In the scene wherein Rosario is hurt and far-away; Crispin tries to be reassuring, even when he understands that Rosario is beyond consolation. It's Crispin's understanding that shows the depth of the relationship: how much and to what extent they love each other. They know, instinctively, what the other is feeling, and by the artistic direction of O’ Hara this intimacy captures the interest of the audience.
Likewise, the internal conflict of the character arouses the interest of the audience. When Rosario refuses to forgive Masugi she experiences internal actions or conflict which eventually makes the audience feel her situation and in due course let the audience weight her reasons of bitterness. Rosario refuses Masugi because he is not just a rapist but he is a Japanese —the cause of the entire country’s hardship. And the love of Rosario to Crispin is very touching, and any sign of giving in on her part would mean betraying him. Rosario is pinned down all around--her hatred of the Japanese in general and Masugi in particular on one side, her growing attraction for Masugi on the other. She's sometimes acts bravely and sometimes her disobedience takes her beyond the boundaries of common humanity. With these scenes, the audience’s interest is captured.
Tatlong Taong Walang Diyos has both simple and complex story line and it uses restraint in handling emotional material
The story begins in media res; that is, in the middle of the action. Crispin (Bembol Roco), is at the town school, looking for Rosario (Nora Aunor). He finds her in a little hut in the schoolyard. Crispin wants to say goodbye to Rosario--the Japanese are coming and he is joining the underground resistance. This quiet scene is important; in the few minutes they have together. The audience sees that Crispin and Rosario love each other deeply, and that Rosario is depressed at seeing him go. Consequently, this separation and the presence of the character of Masugi are necessary to give spice to the simple story line of the film. Masugi’s character somewhat added complexity to the story which is enough to sustain the interest of the viewers. Moreover, the film has a great plot which is also complex enough to keep the audience in doubt and at the same way simple enough to find the seeds of outcome in the end.
Ultimately, the film symbolizes man’s fate as helpless creature strike by the
winds of harsh conditions but still turning to God by a blind man who lights a candle as a
procession enters the church to mark the return of normality. The tragic fate of Rosario,
Crispin and Masugi is touching and poignant experience of human beings.
winds of harsh conditions but still turning to God by a blind man who lights a candle as a
procession enters the church to mark the return of normality. The tragic fate of Rosario,
Crispin and Masugi is touching and poignant experience of human beings.
Director Mario O'Hara handles these scenes with great control and the film successfully manipulates the audience’s emotion in honest and appropriate way.
Thus, the entire film is good and beautiful as it positively show the elements of a good story.
