Eskapo

ESKAPO - the daring exploits of media mogul's scion Geny Lopez, Jr and political scion Serge Osmeña III during the Martial Law Years (September 17/21 1972 until it was lifted in January 17, 1981). Alas, even with the estimable writer Pete Lacaba penning the screenplay (with co-writer Roy Iglesias), the film's potential is trapped by its origins: ABS CBN's Star Cinema (owned and run by the Lopezes) produced the film. Hence, despite ESKAPO's depiction of the horrors of Martial Law, the opportunity for pathos and empathy is squandered, especially when the dialogue belabors the obvious and the characterizations are really one-note, despite their being based on real-life personalities. However, Chito Roño, as he is wont to do, fills everything with tension, the pace never lags, and the famous 1977 escape scene is particularly nail-biting and gripping. Richard Gómez (as Osmeña) and Christopher de Leon (as Lopez) give empathic and brisk portrayals, despite being limited by a boxed-in script as it were, while Dina Bonnevie (as Chita Lopez), Mark Anthony Fernandez (young Gabby Lopez) and Eric Fructuoso (Raffy Lopez) shine in supporting roles. Armando Goyena is perfect as Don Eugenio Lopez, billionaire emperor of a powerful conglomerate suddenly oppressed by the Marcos dictatorship. In key roles, Ricky Davao, Bert Vivar and Miguel Faustmann enhance their limited screen time. As tract, ESKAPO works on some levels, but the history lesson would seem one-sided. As entertainment, ESKAPO definitely works, just skim over the lulls and dead spots and be gripped by the climactic titular scene.

From an aktibista's perspective, there's much to be enamored with in Eskapo (1995), a political thriller chronicling Sergio Osmena III and Eugenio "Geny" Lopez Jr.'s daring escape from the Fort Bonifacio detention center in 1977. The good news? It casts a critical light on dictator Ferdinand Marcos' martial law years. Its main message: no one, not even fellow rich businessmen and politicans, were spared from the bastard's ruthlessness. For this alone, the film is worth watching.

The bad news is the story's framing: Osmena (Richard Gomez), Lopez (Christopher de Leon) and the Opposition (of rich businessmen and political rivals) are the heroes, Marcos and his goons are the villains and the rest of us were apparently watching on the sidelines, occasionally marching. The thousands of workers, peasants and ordinary activists who were detained or killed under Marcos don't figure much into Osmena and Lopez's story, except for a lone NPA soldier whose holding cell is next to theirs.

Director Chito S. Rono's handling of the subject matter couldn't have been any more conventional if it were a Costa-Gavras film. Cast as the Rebel and the Reluctant with a lady on the side (Dina Bonnevie, the perpetually fly auntie), the duo's dialogue goes like this: Serge: "Let's get out of here." Geny: "I'm afraid." Geny's wife, Chita, during conjugal visits: "I'm afraid too, but Serge is right." Geny: "OK, let's go."

Eskapo evokes a nationalism that heroizes the (ruling-class) Opposition's role in the movement against Marcos. It ends with a Miami Vice-style freezeframe and an epilogue that says nothing of the continuation of corruption and repression in the government from Cory Aquino onward, even though it was made in 1995. Not surprising considering that the film was funded and released by ABS-CBN, now run by Geny Lopez III. Still, as far as political thrillers go - especially in Philippines, where no films overtly criticizing Marcos were made during his rule - Eskapo is well crafted, albeit more thriller than political.