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Prejudice and Pride in the Philippine Entertainment Media: Constructing the Muslim Image in Selected Films in the Philippines __________________________________________________________________________________________________________________________

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CONTENTS

Introduction 1

Theoretical Background 2 Research Objectives 3 Methodology 3 Summary of Results 4

1. General data and main actors and characters depicted in the films 4 2. Stories/Plots of the Eight Films 5 3. Themes 7 4. Summary of Situations Depicted 8 5. Physical Features of Muslim Characters 9 6. Internal Nature of Muslim Characters 9 7. Physical Features of Non-Muslim Characters 10 8. Internal Nature of Non-Muslim Characters 10 9. Beliefs, Feelings and Emotions, and Mindsets shown by Muslim Characters 11 10. Beliefs, Feelings and Emotions, and Mindsets shown by Muslim Characters 12 11. Positive or Negative Emotional Appeal of Muslim Characters 13 12. Positive or Negative Emotional Appeal of Non-Muslim Characters 13 13. Crime, Delinquency, or Violence Performed by Muslim Characters 14 14. Crime, Delinquency, or Violence Performed by Non-Muslim Characters 14 15. Types of Relationships among Muslim Characters 14 16. Types of Relationships among Non-Muslim Characters 15 17. Relationships between Muslim and Non-Muslim Characters 15 18. Involvement in Weapon-bearing Situation, if any, by Muslim Characters 15 19. Involvement in Weapon-bearing Situation, if any, by Non-Muslim Characters 16 20. Economic Status of Muslim Characters 16 21. Economic Status of Non-Muslim Characters 16 22. Deportment, Language, Manner, Tone of Voice, Types of Dialogues (and Song,

if any) of Muslim Characters 16

23. Deportment, Language, Manner, Tone of Voice, Types of Dialogues (and Song, if any) of Non-Muslim Characters

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24. Industry and Commerce among Muslim Characters 17 25. Industry and Commerce among Non-Muslim Characters 17


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26. Cinematographic Comments 17

a. Costume 17 b. Set Design 18 c. Screenplay 19 d. Dialogue 21

27. Positive bias in favor of the Muslims in the Film 21 28. Negative bias against Muslims in the Film 23 29. Positive bias in favor of Non-Muslims in the Film 24 30. Negative bias against Non-Muslims in the Film 25 31. Presence/Absence of Muslim Pride in the Film 26 32. Presence/Absence of Prejudice towards Muslims in the Film 27 Conclusions 33 TABLES Table 1. General Data on the Eight Films in the Research Study 4 Table 2. Summary of Film Plots 5 Table 3. Summary of Most Common Themes in the Films Reviewed 7 Table 4. Summary of Most Common Situations Depicted 8 APPENDICES Appendix 1. List of Main Actors and Characters They Played in the Films Appendix 2. Complete Synopsis of Eight Films Appendix 3. Theme Expounded in the Films Appendix 4. Summary of Most Common Situations Depicted Appendix 5. Physical Description of Characters in the Movies Appendix 6. Internal Nature of Muslim Characters Appendix 7. Physical Features of Muslim Characters Appendix 8. Internal Nature of Non-Muslim Characters Appendix 9. Beliefs, Feelings and Emotions, and Mindsets of the Muslim Characters Appendix 10. Beliefs, Feelings and Emotions, and Mindsets shown by Non-Muslim Characters

Appendix 11. Positive or Negative Emotional Appeal of Muslim Characters Appendix 12. Positive or Negative Emotional Appeal of Non-Muslim Characters Appendix 13. Crime Delinquency Violence Performed by Muslims Appendix 14. Crime Delinquency or Violence Performed by Non-Muslims Characters


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Appendix 15. Types of Relationships Among Muslim Characters Appendix 16. Types of Relationships Among Non-Muslim Characters Appendix 17. Relationships Between Muslim and Non-Muslim Characters Appendix 18. Involvement in Weapon Bearing Situation by Muslim Characters Appendix 19. Involvement in Weapon Bearing Situation by Non-Muslim Characters Appendix 20. Economic Status of Muslim Characters Appendix 21. Economic Status of Non-Muslim Characters Appendix 22. Deportment, Language, Manner, Tone of Voice, Type of Dialogue of Muslim Characters

Appendix 23. Deportment, Language, Manner, Tone of Voice, Type of Dialogue of Non-Muslim Characters

Appendix 24. Industry and Commerce among Muslim Characters Appendix 25. Industry and Commerce among Non-Muslim Characters

Prejudice and Pride in the Philippine Entertainment Media: Constructing the Muslim Image in Selected Films in the Philippines ________________________________________________________________________________________________________________________________

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Prejudice and Pride in the Philippine Entertainment Media: Constructing the Muslim Image in Selected Films in the Philippines

Paz H. Diaz, Ph.D.

Asian Institute of Journalism and Communication (AIJC)

INTRODUCTION From the 19th century to the present, communication analysts have sustained their interest in the media. Max Weber was one of the first authorities who saw media content as a means of monitoring the ‘cultural temperature’ of society (McNamara, 2003). Harold Lasswell in 1927 introduced content analysis as a systematic method to study mass media, initially through studies of propaganda events. In the 1920s and 1930s, media content researchers analyzed the communication content of movies and throughout the 1950s until today, media content analysis is a primary research method for studying the portrayal of violence, racism, women, and other human attributes to explain the human condition. The cinema, among other channels, is a powerful medium for the social construction of the image of Muslims among Filipinos. Films with Muslim characters and content are abundant sources of images and narratives that preserve the raw materials with which non-Muslims construct their perceptions of Muslims. In this context, the Asian Institute of Journalism and Communication (AIJC) aims to analyze and summarize the reviews of eight Filipino Muslims with Muslim content, plot, and themes, and with Filipino actors depicting Filipino Muslim characters in order to construct an image of Muslims perceived by Filipino audiences. Within the context of intercultural communication, once one cultural group watches cinema featuring “another” cultural group, that group becomes a social object, the meaning of which is constructed symbolically and interactively by the members of that cultural group. Media content analysis is a primary research method suggested for studying the portrayal of events and attributes to explain the human condition. In this study, content analysis of eight Muslim films that span the years from 1936 to 2003 hopes to discover the presence or absence of prejudice and pride constructed in the consciousness of reviewers as they watched the selected films.


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This study used Neuman’s (1997) description of content analysis as a key non-reactive research methodology. As Neuman has said, content analysis is a “technique for gathering and analysing the content of text. The ‘content’ refers to words, meanings, pictures, symbols, ideas, themes, or any message that can be communicated. The ‘text’ is anything written, visual, or spoken that serves as a medium for communication” (Neuman, 1997, 272-273). THEORETICAL BACKGROUND Edward Said (1979) made explicit connections between images of the Muslim world and interpretations made in the West of these images. Stereotypes and negative imagery of Arabs and Muslims dominated literature from the Middle Ages. The imagery handed down to present-day Filipinos are so firmly entrenched that it may be difficult for the average person in the islands to distinguish these stereotypes from reality (Edward Said, Orientalism, New York: Vintage, 1979) The Symbolic Interactionist frame (c.f. Mead, 1934, Blumer, 1969) honors Said’s warnings, as it is now part of the “symbolic consciousness” that makes “a” culture respect the “other” culture being viewed. In a word, the perceptions of a culture on the other culture in question – the stereotypes, expectations and attitudes – are all constructed in interaction with representations of that culture. Media are among the most common intersections where this framing occurs. Films are among the primary sources of Filipinos’ messages that shape their perceptions of Muslims. Newspapers, TV, and the Internet are other sources. Watching movies is a most common activity among majority of Filipinos and is a source of images that hit the heart of most people while watching films with Muslim characters and content. Symbolic interactionism explains that humans assign meaning to each other’s interactions, and that humans and other “objects” that surround us acquire meaning through social interaction (Blumer, 1969). According to Kuhn (1954), the only requirement for something becoming an "object" is that it be named, represented symbolically. Within the context of intercultural communication, this means that once one cultural group "names" another cultural group, that group becomes a social object, the meaning of which is constructed symbolically and interactively. Recognizing that "film has changed the way we perceive the world and therefore, to some extent, how we operate in it" (Monaco, 2000, p. 262), numerous researchers have examined the representations of various cultural and co-cultural groups in film. For example, Shaheen (2000) examines the images of Arab Muslims depicted in over 800 feature films in the United States and demonstrates how the dominant media portrait of the Arab Muslim as "alien, violent strangers, intent upon battling non-believers throughout the world" (Shaheen, 2000, p. 22) has created harmful stereotypes.


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Because the mediation and remediation of portrayals of Muslims are important influences in the symbolic construction of the Filipino's perceptions of Muslims, systematically exploring those representations is a worthwhile endeavor. Specifically this study seeks to answer the following research questions: How are Muslims represented in popular Filipino films? In what ways do representations of Muslims portray prejudice or pride in their culture and their traditions as a people? This study used direct observation by research assistants, followed by content analysis by the main researcher. Seven Filipino films with Muslim characters and content were part of the corpus of texts used to explore the ways in which Muslims are represented before the Filipino audience. Thus, the study analyzes how those images contribute to the depiction of pride and prejudice among Muslims in the Philippines. RESEARCH OBJECTIVES Following are the aims that the paper set out to accomplish:

1. To review selected Filipino-produced films that have Muslim characters and content following a tested Content Analysis Questionnaire;

2. To classify the themes in the selected films; 3. To sketch the fashion by which Muslims are represented in Filipino movies based

on independent reviews; and 4. To study the extent of presence or absence of prejudice and pride of Muslims in

Filipino films portraying Muslim characters and content. METHODOLOGY The research methodology followed these steps:

1. Selection of eight films as corpus of the content analysis 2. Selection of two reviewers for each film who will view the film assigned to him or

her independently. 3. For each film, one reviewer is Muslim and the other is non-Muslim. 4. A uniform questionnaire will guide each reviewer. 5. The analyzer performs the content analysis based on the submitted and filled-out

questionnaires. 6. The analyzer prepares the original draft report for comments, suggestions, and

final approval of the proponent and the requesting agency.


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SUMMARY OF RESULTS Seven films were part of the original list for review in this study:

1. Zamboanga 1936 2. Badjao 1957 3. Perlas ng Silangan 1969 4. Muslim Magnum .357 1986 5. Mistah: Mga Mandirigma 1994 6. The Sarah Balabagan Story 1997 7. Bagong Buwan 2001 8. Operation Balikatan 2003 (Philippines)

The participants during the initial presentation of this study in March 2007 suggested the inclusion of an additional film—Operation Balikatan. This brought to eight the number of films in this study.

1. General data and main actors and characters depicted in the films

Award-winning Filipino actors played the parts for both Muslims and non-Muslims in the films in this study. Americans played the part of the visiting US forces in the film Operation Balikatan.

Table 1. General Data on the Eight Films in the Research Study

Title of Film Main Actors Film Director Film Writer/s Reviewers

Zamboanga 1936

Fernando Poe Sr. Rosa del Rosario Faustino Lichauco

Cirio H. Santiago

Nora O. Gamolo

Badjao 1957

Rosa Rosal Joseph de Cordova Vic Silayan Oscar Keesee Jar.

Lambert V. Avella

Rolf Bayer Florjannelle T. Dagaas

Baibonn Dilangalen Sangid

Perlas ng Silangan 1969

Fernando Poe, Jr. Susan Roces Vic Vargas

Pablo Santiago

Ruben Rustia Fred Navarro

Norberto D. Bana III

Muslim Magnum .357 1986

Fernando Poe, Jr. Ronwaldo Reyes

Alex Sunga-story

Fred Navarro-screenplay

Anna Leah Dilangalen Dipatuan

Vincent Silarde Mistah: Mga Mandirigma 1994

Robin Padilla Rustom Padilla Royette Padilla

Ricardo “Bebong” Osorio

Humilde “Meek” Roxas

Dalomabi L. Bula

Joel D. Adriano Sorhaila Latip-

Yusoph


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Title of Film Main Actors Film Director Film Writer/s Reviewers

The Sarah Balabagan Story 1997

Vina Morales Elizabeth Oropesa Robert Arevalo Rolando Tinio

Joel C. Lamangan

Ricky Lee

Melannie R. Guerra

Nimfa D. Camua

Bagong Buwan 2001

Ceasar Montano Amy Austria Caridad Sanchez Noni Buencamino

Marilou Diaz-Abaya

Marilou Diaz-Abaya

Ricky Lee Jun Lana

Judy Rosario “Chary” A. Diño

Ramayana D. Saidamen

Operation Balikatan – “When the Eagle Strikes” 2003 (Philippines)

Monsour del Rosario Jess Lapid Jr. Carlo Maceda Jose Mari Avellana Rey Malonzo Eddie Garcia

Gwyneth Gibby (Unit Director, LA)

Bobby Santiago (Unit Director, Philippines)

Cirio H. Santiago

Anna Leah Dilangalen Dipatuan

Judy Rosario “Chary” A. Dino

For a complete list of movie actors and characters they played in the eight films, please see Appendix 1.

2. Stories/plots of the eight films

The three earliest films (1936, 1957, and 1969) had love and romance as themes. Conflict was between young men in love with the same woman, and greedy elderly men who give difficult challenges to the young men who want to win the hand of the princess in marriage. The five more recent films deal with the current issues of Muslim rebellion, autonomy, and clashes between the Philippine Military and government forces in Mindanao.

Table 2. Summary of Film Plots

Title of Film Date Produced

Summary of Stories/Plots

Zamboanga 1936 Danao, a pearl diver, and Hadji Razul, chieftain of another tribe are in love with the same girl, Minda Mora, a princess. A tribal war ensues, but in the end, Danao kills Hadji in self-defense and he and Minda sail into the sunset.

Badjao 1957 Hassan, the son of the chieftain of the Badjaos, fell in love with Bala-Amai, the niece of the Taosug ruler named Datu Tahil. Although aware of the superior status of the Taosugs, Hassan went to ask Datu Tahil for Bala-Amai’s hand. Hassan had to face several challenges to win Bala-Amai’s hand. He converted to the Muslim faith but he was rejected by the Taosugs, Hassan, his wife, and child, find peace in living with the Badjaos for the rest of their lives.


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Title of Film Date

Produced Summary of Stories/Plots

Perlas ng Silangan 1969 Spaniards take Amid as prisoner but the latter escapes. Tribes folk find Amid and one of them sees his birthmark – proof that he is the son of a datu. The council of elders allows Amid to stay on the island, to the consternation of Datu Karim whose father was responsible for the death of Amid’s own father. Amid falls for Dayang Mahalina, a princess in the island. Amid and Datu Karim are tested twice, for Dayang Mahalina’s hand in marriage. Amid passes the tests, and wins Dayang Mahalina’s heart.

Muslim Magnum .357

1986 Lt. Jamal Rasul, a Muslim, is assigned to perform an important mission in Manila. He was to serve as an undercover agent who will infiltrate a very organized and dangerous syndicate involved in drugs and arms sales, gambling, and other illegal activities. He develops a platonic friendship with Des, who had no prejudice against Muslims. One day, two young boys risk their lives to save a wounded Jamal. Members of the syndicate discover his mission and kill the two boys. This angers Jamal who decimates the syndicate and kills them all. The film ends with Jamal asking God for forgiveness for his acts of violence.

Mistah: Mga Mandirigma

1994 The movie shows the lives of military men deployed in Mindanao and depicts Muslim freedom fighters struggling for their freedom and fighting to claim their homeland. It deals with the economic, emotional, and psychological effects of war on both Christians and Muslims. Both parties share the same yearnings for peace. The film also conveys the truism that in wars there are no winners; those in conflict are both losers. A voiceover at the end of the film decries the ill effects of all wars, saying that we should end the wars in Mindanao because the people who are losing their lives there are all Filipinos, brothers in the same land.

The Sarah Balabagan Story

1997

Sarah Balabagan is a 15-year old girl who grew up in squalor and misery, and who longed for a solution to her family’s economic problems. She accepts a job a domestic helper in the Middle East. There, the father of her employer subjects her to sexual overtures and attempts to rape her. She defends her honor and later kills him in self-defense. The Sharia’h tries Sarah and sentences her to death. A retrial follows, after which she got away with a lighter sentence, thanks to pressure groups and the Philippine government’s help. Sarah displayed a strong resolve to protect her dignity and her right as a person.

Bagong Buwan 2001 Ahmad, a medical doctor trained in Manila returns to Mindanao as news arrived of the death of his son by a stray bullet during a clash between government troops and rebels. Ahmad and his brother Musa, an MILF rebel-leader, clashed because of their ideals. Ahmad is forced to stay in Mindanao because his family refused to leave the place to go to Manila. Ahmad, treats civilian casualties, regardless of their religion, and through the survivors’ accounts of their war experience, he gains a deeper understanding of the Mindanao conflict. However, Ahmad is caught in the crossfire, is shot, and he dies while trying to protect Francis, who was running after Rashid. The movie advocates understanding and peace in Mindanao.


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Title of Film Date Produced

Summary of Stories/Plots

Operation Balikatan – “When the Eagle Strikes”

2003 (Philippines)

The mission, "Operation Balikatan," aims to save the Americans held hostage by a terrorist group and to stop terrorism in the country. While on the assignment, Rodrigo's family is killed by the people who harbor grudges against him. The news of his family's death disillusions Rodrigo and the only way to move on is to dedicate his entire life to the mission.

For a complete synopsis of the stories/plots of the eight films in review, please turn to Appendix 2.

3. Themes:

Reviewers found human rights as most common theme in all the films in the study. As a reflection of the human condition, most films deal with the problems of human beings in the process of seeking their rights as they live their life on earth.

The next common themes are culture, democracy, political participation, good governance, poverty, women’s issues, family relations, and romantic relationships. The least common theme is the plight of workers.

Table 3. Summary of Most Common Themes in the Films Reviewed

Total Themes Found in the Films 7 Human Rights 6 Culture and the arts (including tourism) 6 Democracy 6 Political Participation 6 Poverty 6 Women 6 Family Relations 6 Romantic Relations 5 Patriotism (love of country) as distinguished from nationalism 5 Sovereignty 5 Socialism and Equality 5 Good Governance 5 Peace 4 Nationalism 4 Struggle for Freedom 4 Social Justice 4 People Empowerment 4 Children’s Rights 4 Sexual Harassment and Rape


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Total Themes Found in the Films

4 Militarization and Police Brutality 3 Struggle for autonomy or independence (distinct from freedom) 3 Exploitation of the Masses 2 Struggle for Democracy 2 Plight of Overseas Workers 2 Plight of Teachers 1 Plight of Workers

For a complete table on common themes in the eight films, please see Appendix 3.

4. Summary of Situations Depicted

Most common situations depicted were the home, religion, and men’s lives. Also depicted were situations concerning women’s and children’s lives. Least common situation depicted was drugs, narcotics, and stimulants. Muslim viewers found that the films they viewed depicted the following situations most often: home, religion, economics, social conventions, recreation, and men’s lives while non-Muslim viewers found three as most often depicted: home, religion, and women’s lives.

Table 4. Summary of Most Common Situations Depicted

Total Situations 8 Home 8 Religion 8 Men’s lives 7 Recreation 7 Women’s lives 7 Children’s lives 6 Economics 6 Social conventions 6 Law enforcement 5 Education 5 Clothing conventions 5 Youth’s lives 4 Civic life 3 Agriculture 1 Narcotics, stimulants

Appendix 4 contains the complete list of responses to the most common situations depicted in the eight films.


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5. Physical features of Muslim Characters

Non-Muslim Filipinos, mestizos even, played the parts of Muslim characters in most of the films. American actors in the film Operation Balikatan played the parts of Americans. Muslims were depicted as menacing, rugged, and threatening, hence the Filipino actors playing the parts of Muslims had stubbles or beards. The Filipino actors hardly looked like Muslims, despite the attempt to dress them up as authentic looking Muslims. Even their speech and intonation did not sound like Muslims talking. Female Muslims and children wore veils and were beautiful, with fair complexion. The observations on the physical features of the Muslims were a mixed bag. Some reviewers found the actors portraying Muslims to be believable; however, more of the reviewers found that the actors either looked like Visayans or Tagalogs, or even mestizo and mestiza, which is not how Muslims really look like. The comment on the character portrayed by Fernando Poe, Jr. was that the character looked like the icon that FPJ was, and not like a real Muslim. All reviewers felt that the accents of the supposed Muslims were not authentic. They suggested that real Muslims would be better off playing the roles of Muslims in these kinds of films. Appendix 5 shows the complete list of physical features of Muslim characters in each of the eight films.

6. Internal nature of Muslim Characters

In the earliest film, Zamboanga, Muslims had the attributes of Christians in a Christian context. This was in 1936, and the movie producers did not have anything else in mind but to tell a love story. In all the other films, there were two types of Muslims cast: one was as protagonists, who had the inner nature of “good” characters, as the winners or “good guys” in the film. They would be kind, patient, compassionate, and understanding. The other type would portray “negative” characters, and they would use violence to achieve their goals, would be brutish and arrogant, and would have foul and mean temperaments. As rebels, Muslims would have the internal characteristics of bravery, skill in fighting, and decision making as leaders of their groups. They would profess obedience to their sworn objective of claiming Mindanao as their lost patrimony.

For a table summarizing the internal nature of Muslim characters in the eight films, please see Appendix 6.


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7. Physical features of non-Muslim characters

The Badjaos are non-Muslims. Unlike the Taosugs, Badjaos moved with ease from boat to boat and were very familiar with the seas, since fishing and diving for pearls and corrals are their source of livelihood. They talked with humility and seemed to accept that the Taosugs were superior to them. In the films Zamboanga and Perlas ng Silangan, those who played the parts of Spaniards looked Spanish, and their Spanish dialogue complemented their physical features. In general, non-Muslim characters had lighter, fairer skin, and their eyes were less intense. Their body type would be less muscular than the Muslims’ bodies. All the actors that played non-Muslim parts were handsome and beautiful, with typical Filipino features.

Appendix 7 contains a complete list of the physical features on the non-Muslim characters in the eight films.

8. Internal nature of non-Muslim characters The non-Muslims like Jason and Francis were depicted as less informed about the war. They also displayed detachment to the burning issues of independence and rebellion and were obviously not aware of the Muslim struggle. They also have only temporary concerns, unlike the Muslims who know what the war is all about. The non-Muslim women are obedient, humble, and self-sacrificing for the good of the family. They are also shown to be lighthearted and easy going.

The “good” non-Muslims in the film are endowed with courage and sensitivity, while the “bad” ones have their share of selfishness, arrogance, cruelty, and lack of conscience. The main character in one film is a womanizer.

The Badjaos, who are non-Muslims, are a humble and peace-loving people. They do not resort to violence unless violence is used on them. They are work hard and value the resources of the seas. Although they are better fishers and divers than the Taosugs, they know that they do not own the waters and are willing to share the resources with the other tribe The Spaniards are driven by their desire to convert others to Christianity.


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The green horns in the military seem to be there more for the thrill of the encounter and the firefights and not for any moral cause. While they act loyal, caring and having a strong bond with one another, the men in uniform are also abusive. Non-Muslims in the military are shown to be very determined to keep their goals, despite the fear and hesitance for being outnumbered. The role of the rallyists in the Sarah Balabagan Story underscores the determination of non-Muslims to support their Muslim compatriot. They illustrate the axiom that whatever you are, when faced with a crisis, Filipinos of all colors and creed will take time out to support you. The non-Muslim characters also show the resiliency of the Filipino, the national perseverance against all odds, and the dogged determination to carry on in spite of challenges and hardships.

However, when describing the non-Muslims the reviewers were unanimous in saying that the non-Muslims impressed them as being generous, patient, gentle, and more intent on planning and improving their lives. One important observation was that most often the non-Muslims did not understand what the Muslims were fighting for; for most non-Muslim fighters (like the military men depicted in Mistah) were there only because they were obeying orders and were doing things they did not understand at all. In fact, the observer of that film said, “While they are depicted as loyal, caring and have strong bond, men in uniform are also shown as abusive and with the main character as a womanizer.” There seemed to be an even drizzling of the good and the evil in the internal nature of both Muslims and non-Muslims.

Appendix 8 contains a table presenting the internal natures observed in the Non-Muslim characters in the eight films.

9. Beliefs, feelings and emotions, and mindsets shown by Muslim characters

Muslims were depicted as insisting on attaining what they set out to do because they carefully plan their every move. In Badjao, the Muslim character was portrayed as physically strong, strong-willed, with high superiority complex and an unbreakable spirit. The feeling portrayed is that a Muslim can get what he wants by showing unwavering strength. In Muslim Magnum .357, the main character was tried and tested, and had to resort to gunfire even if he had not wanted to kill others in the beginning. In the end, he was asking God for forgiveness for what he had done. Muslim women, as characterized by Sarah Balabagan, are strong and determined to keep their self-respect. Other women were shown as not giving in to accepting luxuries if it is in return for their honor. Courage is another force that underscores the dignity of Muslim women in a society that values the man and relegates the woman as mere house maker subservient to the man’s wishes.


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While it is true that they have been discriminated and robbed of their lands, the Muslims also discriminate against the Christian world. They have this tendency to feel that they are not part of the society in general and always feel they have to show their strength through fighting and war. They always insist on their right to self-determination and self-rule (autonomy). In the film about Operation Balikatan, the main Muslim character had a very strong desire to remain loyal and true despite the pain of fighting even fellow Muslims. He understood the struggle of the rebels but remained steadfast with the opposition with his strong faith in God and in the brotherhood of humanity. One special mindset the Muslims have, according to the observers, was to maintain pride over their beliefs, and to preserve the land that was theirs in the first place. The Muslims were intent on getting back the land in Mindanao that the Christians have taken away from them. Love was also seen as the motivation of the characters in the three older films where the main struggle was gaining the love of a woman in almost mythical terms. Please see Appendix 9 for the complete list of beliefs, feelings and emotions, and mindsets of Muslim characters in the eight films.

10. Beliefs, feelings and emotions, and mindsets shown by non-Muslim

characters Non-Muslim characters were portrayed as living in peace and working hard to keep a peaceful community. In fact, some characters helped Muslim brothers and gave up their own lives to save them, with the example of Lt. Jamal Rasul, who was protected by two young boys and their non-Muslim guardian. In the end, the two boys and other members of their community were killed because they had protected a Muslim in their midst. They are dedicated to their work and exhibit much integrity. They are calm and patient. They are easy to talk to; they listen, and understand each other. They draw strength from each other and continuously show their resilience in hard times. Their capacity to laugh at themselves and find the positive side of the dire situation helps them as a people to overcome their problems. Continuous attempts at peacemaking with their Muslim brothers were also depicted in the films. Non-Muslims were seen to have a higher degree of optimism even when faced with seemingly hopeless situations, a case of drawing strength from each other, and of being able to laugh at themselves, proving that they are resilient as a people.


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Please see Appendix 10 for the complete list of beliefs, feelings and emotions, and mindsets of Non-Muslim characters in the eight films.

11. Positive or negative emotional appeal of Muslim characters

The positive emotions evoked by Muslim characters included admiration to a large degree because of their singleness of purpose, whether in claiming their lady love, or in fighting for freedom and autonomy. Among the Muslim women embodied in the films, the reviewers, too, felt a sense of admiration for the women’s steadfastness in times of trials. The Muslim women were strong, self-confident, and caring. Both the men and women were dedicated to their fight for their homeland, which they sincerely believed the Christians had stolen from them. Negative emotions evoked included dislike for the Muslims’ use of force and tendency to kill even without provocation, as long as they felt intruded upon or betrayed by anyone. Muslim men were also depicted as resorting to vengeance whenever they felt wronged. They did not wait for investigations; they would simply go for the kill, whenever they had the chance, as revenge for whatever wrongdoing, real or imagined that anyone would have inflicted on them. Negative emotions were evoked by the actions of a Muslim man who committed treason and was deceitful to his fellow Muslims in order to receive reward money. Please see Appendix 11 for the positive or negative emotional appeal of Muslim characters in the eight films.

12. Positive or negative emotional appeal of non-Muslim characters

Among the non-Muslims, the films evoked positive emotions for the friendliness, courage, assertiveness, and loyalty of the characters. Although trust was also an issue, most non-Muslim characters lived true to their promises as best as they could. Being trustworthy, helpful, and supportive were among the traits that endeared the non-Muslims to the film reviewers. The fellow prisoners of Sarah Balabagan in the Middle East were helpful to her, while some of the women in the Philippines went on to rally in her favor in the Metro Manila area. Indeed, the pressure groups were part of the reason why the plight of Sarah Balabagan was brought to the attention of the Philippine government whose officials acted to help give Sarah a lighter sentence.


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Negative emotional appeal was evoked by non-Muslims who were criminals, who were traitors and deceitful, taking advantage of their position in doing illegal activity. Non-Muslims were leading and misleading many lives through their lack of conscience in their activities. Government inaction as well as the media hype of those who wish to cover up their illegal and criminal activities evoked negative emotions from the reviewers. Appendix 12 contains the list of positive or negative appeal on non-Muslim characters in the eight films.

13. Crime, delinquency, or violence performed by Muslim characters

Crimes, acts of delinquency, and outright violence performed by the Muslims were numerous. Abduction, murder, rape, kidnapping, torture of prisoners and burning homes and villages were among the crimes performed by the Muslim characters. Ritual killing was also among the forms of violence found in the films.

Please see Appendix 13 for a list of crimes, delinquencies, or violence performed by Muslim characters in the eight films.

14. Crime, delinquency, or violence performed by non-Muslim characters

Non-Muslims had a full share of crime and violence, too. Many were in complicity with others, Muslims included, in the abduction and murder of Filipinos and non-Filipinos in the vicinity. A syndicate made up of non-Muslims in Manila was responsible for selling drugs, murder of police authorities, and other crimes. Non-Muslims in the army and in government ordered the deaths of many innocent Muslims during the wars and tensions between the terrorists and government forces. Appendix 14 contains a list of crimes, delinquencies, or violence performed by the non-Muslim characters in the eight films.

15. Types of relationships among Muslim characters

Relationships among Muslim characters included extended families and familial relations, romantic relationships, and friendships among group members, leaders, superiors, and subordinates. Most of the relationships were supportive and fulfilling, lending to the support and internal strength of the characters in the films.

Appendix 15 lists the types of relationships among Muslim characters.


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16. Types of Relationships among non-Muslim Characters

Among non-Muslims, relationships were also very much alive. There was mutual admiration for courage, bravery, one’s word of honor, determination, and goodwill among relationships, both kindred or blood relationships and plain friendships. The members of the military showed concern for one another, covering up each other’s back when in the war zones, and making sure that loved ones are kept abreast on the goings-on in and outside the camps.

Please refer to Appendix 16 for the list of types of relationships present among the non-Muslim characters in the eight films.

17. Relationships between Muslim and non-Muslim Characters

There were also unique relationships between Muslim and non-Muslim characters in the films reviewed. Muslim and non-Muslim characters displayed mutual admiration for courage and bravery for each other. Special platonic friendships were formed. Two non-Muslim young boys protected a Muslim police officer and died in the hands of non-Muslims who were members of a drug and crime syndicate. Muslim and non-Muslim soldiers in the same squads also became tight friends.

Appendix 17 contains the list of types of relationships between Muslim and non-Muslim characters.

18. Involvement in Weapon-bearing Situation, if any, by Muslim characters

Muslim characters were not strangers to weaponry, especially indigenous knives and guns. Among these were the kris, the bolo, the magnum .357, long firearms, and grenades were among the weapons of choice among the Muslims.

Muslims were more often seen with weapons of varying sorts than were the non-Muslims, except for the military men in the films. As for violence carried out by the characters in the movies, more violence was attributed to the Muslims. Violence was undertaken by non-Muslims in the case of the military men and of the drug syndicate members and other non-Muslim criminals.

Please refer to Appendix 18 for the list of weapons carried by Muslim characters in the eight films.


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19. Involvement in Weapon-bearing Situation, if any, by non-Muslim characters

Non-Muslim characters also wielded weapons. The military men were among those who used weapons, especially during the clashes with the Muslims.

Appendix 19 contains the list of weapons carried by non-Muslim characters in the eight films.

20. Economic Status of Muslim characters

Reviewers deduced from costumes and settings in the films to judge the economic status of the Muslim characters. There were more underprivileged than rich characters. In fact, in one of the films, it was obvious that the main character had to go abroad to work as a household helper even if she is underage to help the family overcome its economic troubles.

Please see Appendix 20 for a comparison of the economic status of the Muslim characters in the eight films.

21. Economic Status of non-Muslim characters

Non-Muslims were not any better off than the Muslims in the films were. Most non-Muslims were living within their means, except for the syndicate lords and the members of the syndicate, who were shown as living luxuriously. The Americans had above average lifestyles compared to the Filipino non-Muslims.

Appendix 21 contains a comparison of the economic status of the non-Muslim characters in the eight films.

22. Deportment, Language, Manner, Tone of Voice, Type of Dialogue (and

Song, if any) of Muslim Characters

Muslims were courteous and polite in some scenes but violent and raging in other scenes, especially the fight scenes with the non-Muslim military personnel. Some Muslim characters portrayed aggressiveness in the films. Please read Appendix 22 for the deportment, language, and tone of voice of the Muslim characters in the eight films.

23. Deportment, Language, Manner, Tone of Voice, Type of Dialogue (and Song, if any) of non-Muslim Characters Non-Muslims were depicted as being courteous, soft-spoken, and wise with their words.


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Appendix 23 contains the list of deportment, language, and tone of voice exhibited by the non-Muslim characters in the eight films.

24. Industry and Commerce among Muslim Characters

In the films reviewed, very few Muslims were in business or planning to go into business. The only clear business venture was pearl diving. The business is Danao’s pearl diving enterprise but this was too risky since pearls had to taken from the deep sea, something that is too dangerous for the pearl diver. The business of recruitment of Overseas Filipino Workers was presented as a profitable undertaking for both the honest, but was also undertaken by corrupt business people. In this case, one film showed profit being made through the manipulation of the basic requirements just to send an OFW to work even if it means uncertainty and danger for the young recruits. No other business was described except where one character was able to become a doctor in Manila through his hard work and value for education. Some of the villagers owned Sari-Sari stores. Appendix 24 contains the summary of industry and commerce activities of the Muslim characters in the eight films.

25. Industry and Commerce among non-Muslim Characters

It was not clear why the American boat skipper was in the vicinity in the film Zamboanga. The boat skipper undertook illegal activities and made money from smuggling. Two female characters were said to run a small business: Des had a carinderia (small roadside canteen) while Sarah Balabagan’s aunt owned a small sari-sari (convenience) store. In Appendix 25, please find the list of the industry and commerce activities of non-Muslims in the eight films.

26. Cinematographic Comments:

a. Costume:

Zamboanga: The Muslim costume of many characters, except for Danao and Minda Mora is quite authentic. Minda Mora’s costume is not Muslim, but Western. Badjao: The costumes used were not elaborate except during the wedding scene where the couple wore silk clothes. The Muslim characters wore tops and pants or skirts. The women wore long sleeved body-fit blouses and long pencil-cut skirts. Inside the church and in some occasions, they wore veils. The men wore either a vest or a shirt and below the knee to ankle-high pants.


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Perlas ng Silangan: The costumes are colorful, especially those worn by Muslim characters. The uniforms of the Spanish characters also appear “real” as soldiers during the period could have really worn such uniforms. Muslim Magnum .357: The costumes in the Singkil Dance were colorful as they should be. The clothes worn by Lt. Jamal, the police officers, and the villains were just appropriate for the film. Mistah: The Muslim costumes were very colorful. However, in reality Muslim rebels wear fatigue uniforms. The costumes they wore in the film were skirt-like sarongs, the general stereotype uniform of olden days, including the carrying of the “kris,” a bladed weapon used in the past. Sarah Balabagan Story: The Muslim costumes are the same as those used in Mindanao. All women OFWs in the Arab States wear the same costume regardless of religion. The Muslim attire closely adheres to the original. Non-Muslim attire is the usual clothing seen in the streets. Bagong Buwan: Very Authentic, colorful and truthful… a little bit too ornate, though. In reality its not that way all the time especially if the Muslim women and children are running in the midst of evacuation and crossfire. The Muslim costumes were plain, but of contemporary fashion among Muslims living in remote barangays in Mindanao. The filmmaker did an excellent research on the story and fit the characterization of the actors in the movie. Generally, the women covered most of the parts of their body, exposing only the face, hands, and feet. The scene when the men and women were praying inside a mosque was well played; the women wore their kombongs (veils) and moknas (outfit for prayer) properly, while the men stood proud wearing their (caps) and (checkered cloth). The Muslim rebels wore fatigue uniforms, and were distinguished from the military men with the presence of the checkered cloth. Operation Balikatan: For the soldiers, their costume (uniform) was good enough, just appropriate. Nevertheless, more gear must be added since the soldiers were in a combat field. On the other hand, the rebels were quite dressed awkwardly. They were too obvious to be almost all in black. Ibrahim need not be dressed like that to be identified. In reality, our rebels’ outfit resembles that of our military. The rebels use a certain red ribbon to distinguish them from the enemy. But maybe for cinematic effect, things need to be modified. Generally, the Operation Balikatan cast wore correct and appropriate costumes for their specific roles.

b. Set Design:

Zamboanga: The setting is artificially contrived, but this was 1936.


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Badjao: The set design was appropriate. It distinguished the separation between the two tribes. The Badjaos always appeared on their boats (with roofs made of nipa or cogon) or by the seashore, while the Taosugs lived in houses showing that they were land-based. There were also scenes showing Hassan and Bala-Amai farming and harvesting crops showing that the Taosugs derive their livelihood from the land they tilled in addition to the trading they undertake.

Perlas ng Silangan: Except for the “nipa huts,” which appear too decrepit for a sultan, the feel of the movie is definitely Muslim. Painstaking depiction of dances and even the “juramentado” ritual complements the plot.

Muslim Magnum .357: The film captured every set design to make it appear realistic or natural to the viewers. The scenes were shot on location. Except for the cultural fest scene supposedly in Mindanao, everything looked authentic.

Mistah: It was supposedly a mountainous area in Basilan or Sulu but the camp area looked too clean; the riverbanks looked too well maintained. You could tell that the shooting was in Villa Escudero and not in Mindanao.

Sarah Balabagan Story: The film tried its best to show the actual places and events to make it more real and true to life. Set design is original; nothing contrived.

Bagong Buwan: It looks good and real, authentic enough, especially the “bahay kubos” or nipa huts where the Muslims really live in. It is noticeable, though that the setting used was Marawi instead of the actual Maguindanao area. The set design was picturesque. The lenses successfully captured the lush beauty of the untapped natural resources in Mindanao, with its virgin forests and serene lakes. The occasional scenes in the market, and the shanties surrounding the city, showed the audience that poverty is a reality that is prevalent in most (if not all) of the Muslim provinces and cities in the country.

Operation Balikatan: The set design is not realistic. The beach was too neat and the soldiers resting by the seashore did not evoke any of the tensions and the troubles that the film should be showing to the audience.

c. Screenplay:

Zamboanga: Critics have said the story is authentic in many ways. Minda Mora is a folk tale among the Muslims, and the film does not aim to be anything much more than that. Badjao: The story is good and the clash between the cultures was clearly established. However, if one would view the film as a battle between good and


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evil, one would easily say that the evil side was depicted by the Muslims (Taosug) and the good was depicted by the pagans (Badjaos). Perlas ng Silangan: Characters used words that may have been actually used in 1618, the date when the plot was supposedly unfolding. Muslim Magnum .357: The movie was a typical Filipino film, somehow based on real events in this country. Without the right actors chosen for the film, it would have been monotonous. The pacing of the narrative seems pared down to the minimum to give more time to the fight scenes that abound the film. Mistah: Overall, the movie is engaging and likable and the fight scenes a lot better than most local action movies. However, some scenes are obviously taken from the examples in the film The Last of the Mohicans. Mistah tried to look like The Last of the Mohicans, with none of the sweeping scenery that captivated moviegoers who watched the latter. The scene where the Mohicans were tied to the tree to be shot several times by sharpshooter Daniel-Day Lewis was obviously copied in the film Mistah where the rebels were shooting Royette Padilla, also tied to a tree. The victim tied to the tree was also being burned alive to save him from further pain, just like the scene in The Last of the Mohicans. Finally, Mistah used the award winning original score from The Last of the Mohicans no less than eight times. Sarah Balabagan Story: Overall, the movie is captivating. The moviegoer would have a lot to learn about the Muslim as a person and about the travails of an OFW domestic helper. The screenplay is fast-paced and stays away from the weepy, soap operatic tendency of most Filipino bio films. The writer and director maintained the essence of the film, without the hysterics most Filipino bio films show. Even the color and texture of Muslim life was realistic to the end. Bagong Buwan: I think that the script was very good, a little too wordy at times, and dragging a bit at some point. Sometimes the film got boring. The movie was a first of its kind as it told the story of the “all-out-war” that took place in Mindanao through the eyes of the Muslims. Above all, it told the story of Dr. Ahmad’s beliefs being tested by war. In the process, the audience’s beliefs and/or possible discrimination toward Muslims are challenged as well. Much research and care went into the making of this film, as it adequately captured the culture and tradition as well as the plight of the Muslims. The scene when Datu Ali’s regal ancestral home was burned, together with all its priceless artifacts and heirloom, was a “fact” that was not reported in detail by Media, and was unknown to many people in Luzon and Vizayas. The feelings of those innocent civilians directly affected by the war and unjustly displaced from their homes, were dramatically yet tastefully delivered. The music was just right. The camera was a participant observer as it reflected hostility, distance, or intimate shots when and if necessary.


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Operation Balikatan: It appears like a parody. It lacks realism. Many reviewers have said that it is one of the worst action war films they have ever seen.

d. Dialogue:

Zamboanga: The vernacular was used, but some who knew the various Muslim languages said it was a bad mix. Perlas ng Silangan: Spanish characters spoke in Spanish, but Muslim characters spoke in Pilipino. This is too obviously wrong; the viewer finds it difficult to suspend disbelief here. Muslim Magnum .357: The actors were so natural. The actors were selected so well to convey the intended story. The dialogue, however, sounded unnatural. Mistah: As in most local movies, the flow of dialogue is unnatural – one would wait for the other to end before speaking. The ending narrative is both cheesy and too preachy. Sarah Balabagan Story: The flow of the dialogue is all right, except that there were no subtitles for the Arabic dialogues leaving the audience puzzled as to what is going on especially during the courtroom scenes. The dialogue is crisp and short; fast pacing adds to the appreciation of the dialogue. Bagong Buwan: The dialogue was good but the characters should have put more of the Maguindanaon accent so that it could be more authentic and real. The dialogue was well written. It was “meaty” and sharp. Most of the audience must be lost when words like Insha-Allah, AllahoAkbar, SobhanaAllah, and Alhamdulillah were uttered repeatedly during the movie. It would have helped if subtitles were provided to translate these words. Operation Balikatan: The dubbing especially at the latter part of the movie is not synchronized with the opening of the speakers’ mouths.

27. Positive bias in favor of the Muslims in the film

In Zamboanga, the Muslims showed friendship and trust in one another. The Taosugs were shown to be fierce warriors and were more economically stable than the non-Muslims because they seemed to be more resourceful and strong-willed. The Muslims were united under one ruler.


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In Perlas ng Silangan, the Muslims fight for their right to be sovereign in their territory. They value family, and believe in justice. In Muslim Magnum .357, Fernando Poe Jr. had an outstanding performance in the character of Lt. Jamal Rasul, a Muslim from the heart of Mindanao, so subtle yet so brave. His God-fearing character was one of a true Muslim as one of his dialogues says that Muslims are peace-loving people. Jamal is shown as a fearsome and courageous fighter who served society well because he successfully decimated the crime syndicate that he fought. Like Aladdin in Florante at Laura, Jamal is likewise shown as a compassionate friend. The Sarah Balabagan Story showed that Muslims would strictly adhere to what their religion calls for. Respect for the dignity of a person is one of the foremost rules that must be followed. The entire film is one huge favor for Muslim women. It is a celebration of Muslim womanhood whose right to make a choice must be protected at all cost. Bagong Buwan showed the Muslims’ sense of oneness in the family and the simple life that they live. They are not materialistic and they valued intangible family relationships. The movie clearly showed the innate goodness that Muslims possess, and showed that it is quite the opposite of what Media has presented and continuously presents to the people. The film explained some Muslim concepts, like “Jihad” (holy war) fairly well. This is quite contrary to what many have believed as its definition and connotation that Muslims are “war-freaks” and “huramentados.” The story also depicted that the Muslims were victims of many injustices in the past, being robbed of the land they have occupied for many years even prior to the arrival of the Spaniards, and being killed and punished for not allowing to be subordinates to any foreign rule from the time of the Americans, Japanese, and even under Marcos’ regime. The movie also showed that there was no sincerity when peace agreements were forged, and later on snubbed. Lack of sincerity may have been the reason why there is mistrust on both sides. These issues were not given recognition and importance in the past, but were implied in the movie. Ahmed, in Operation Balikatan, remained trustworthy and loyal to his country despite having to fight with his brother Muslims. Not all Muslim are the same. Some are bad and some are good. And they are also willing to achieve peace and order. Muslims in the movies are depicted as brave, respectful of other people, and possessing innate goodness. They value family and justice. The explanation of what “Jihad” and “Juramentado” really are gives the viewer a positive appreciation of Muslim ideals.


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Stories also depicted the Muslims as being robbed of their own land, which they had occupied even before the arrival of the Spaniards, and as being punished for not bowing to their conquerors.

The stories recognized issues that were not tackled openly in the past. In fact, one movie upheld the women’s issues of privacy, personal strength, and sticking to their values and choices all their lives. The actors made to play Muslim parts were handsome and beautiful.

28. Negative bias against Muslims in the film Muslim women were depicted as not being allowed to talk unless they are talked to. Muslims were presented as proud people who consider themselves superior to others and who resort to violence if they do not get what they want. Muslim men were shown as being too fierce and brutal, the fight scenes being too long and unwarranted in many cases. Being fearsome and being overwhelmed by anger is presented as culturally innate in Muslims. Muslims, in the movies were seen praying before killing others to give way to revenge. There is a general sense of Muslims being rapists and abusive of women. The rebels appeared so antagonistic. They were depicted as vulnerable and deceiving.

Taosug women must not be married to Badjao if the latter will not embrace the faith. The Taosug are a proud people who consider themselves superior. They easily resort to violence to get what they want even if they were obviously unreasonable. They are greedy and materialistic. Perlas ng Silangan showed that Muslims, like Datu Kiram, kill (even after praying) to avenge their wounded pride. Their women, like Dayang Mahalina, are “prizes” that can be won by men. Muslim Magnum .357 showed one of the characters named Carding saying, “Kayong mga Muslim, puro tapang, kulang sa utak, utak manok.” Being fearsome and being overwhelmed by anger is presented as culturally innate in Muslims. A very telling scene is after the death of the two boys, where Jamal is found all by himself literally preparing for battle. He is seen intently laying down deadly weapons (i.e., his magnum 357, kris) and putting a bandana around his head. While doing these actions, sounds of kulintang, gongs and other instruments associated with Muslim Mindanao could be heard, thereby creating the impression that killing is in fact an Islamic ritual and tradition. It was very cinematic that it somewhat immortalizes the image of Muslim as a man of war, master of the art of manslaughter.


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The Muslim characters in Mistah are too scary, fierce, and brutal. There are times they are depicted as lacking in logic especially during the long 20-minute fight scene at the end where they mindlessly charge the camp in their Kris or charge an officer tied to a tree without regard for their own safety. Sarah Balabagan Story depicts that children are obliged to work even at a young age just to help support the family and that telling a lie (when Sarah lied about her age) is justifiable for a cause. The general impression of Arabs as rapists and abusive especially of women is conveyed in the film. In Bagong Buwan, there is strong negative bias against the character of Musa who typifies the warrior Muslim who feels that the world owes him a lot and that the Muslims are so discriminated against, thus, they must fight to regain their lives and freedom back. That feeling of being oppressed and discriminated against gives a negative bias against Muslims in this film. Although the film portrayed all angles of the Mindanao conflict, it showed the Muslims refusing to listen to logical reasoning about the causes of the conflict. Operation Balikatan may bring about the feelings of discriminating once again because in it the Muslims were portrayed with negative or bad roles.

Muslim women were depicted as not being allowed to talk unless they are talked to. Muslims were presented as proud people who consider themselves superior to others and who resort to violence if they do not get what they want. Being fearsome and being overwhelmed by anger is presented as culturally innate in Muslims. Muslims, in the movies were seen praying before killing others to give way to revenge. There is a general sense of Muslims being rapists and abusive of women.

29. Positive bias in favor of non-Muslims

The Badjao were depicted as brave, respectful of other people, and committed to speedy justice. They honor their commitment and keep their words. The Badjao were shown as honest, sincere, hardworking, diligent, brave, and loyal people. They were seen as peace-loving people who would rather use dialogue with the Taosugs than fight them with brawn and swords. They were united and they supported each other. The Military men extended their care for others, whether Christian or non-Christian, Muslim or non-Muslim. The presence of the non-Muslim military personnel in Mindanao was considered necessary to keep peace. Non-Muslim characters were shown to be friendly, helpful, considerate, and trustworthy. They help others, even non-Muslims, when they are in trouble. They do not think of cultural and religious differences when their help is needed.


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Non-Muslims were fulfilling their duties and commitments; they were seen to plan their moves in order to succeed. Characters are friendly, helpful, considerate, and understanding. For example, in Muslim Magnum .357, Des, Mang Gimo, Punggoy, and Kikoy were depicted as helpful and trustworthy individuals. Without their charity and solidarity, Jamal may have perished immediately.

In the Sarah Balabagan Story, “damayan” or extending a helping hand to a countryman in need was palpable. Sarah was given plenty of advice by her “non-Muslim kababayan” despite her being a Muslim. Also, they showed respect for Sarah, as they did not force her to eat pork when she told her new friends that she is a Muslim. Also, some of the jailed women (mostly non-Muslims) stood their ground on what they think is right for them to do. The story showed that Non-Muslims would readily assist Muslims in need. Although non-Muslims generally believe that Muslims are deceitful, the former are ready to go out of their way to help a Muslim, in the process setting aside whatever bias they have against the Muslims. For the non-Muslim Filipino, forgetting differences in social and cultural background in times of crisis is a laudable trait. Bagong Buwan showed the care that Filipinos give to others, whether Christians or non-Christians. The presence of the Military in Muslim areas was seen as necessary to keep the peace because there are still a few good men in uniform who desire unity and living in harmony with the Muslims. Operation Balikatan showed that non-Muslims could work with Muslim soldiers, give trust, and respect to each other, enduring hardships, and taking risks to protect each other; they just follow orders, not really intending to cause harm to one another.

Non-Muslims were depicted as honest, hardworking, brave, and loyal. The Military men extended their care for others, whether Christian or non-Christian, Muslim or non-Muslim. Their presence in Mindanao was considered necessary to keep peace. Non-Muslim characters were shown to be friendly, helpful, considerate, and trustworthy. They help others, even non-Muslims, when they are in trouble. They do not think of cultural and religious differences when their help is needed.

30. Negative bias against non-Muslims Tribes other than Muslims were shown as lowly and inferior people, nomads, submissive and non-competitive. Badjaos are lowly people, Badjaos are nomads, they were rather submissive, non-competitive, and although adept at their skill of diving, they were treated as inferior people.


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Non-Muslims, especially some military personnel, showed no respect for the culture and tradition of the Muslims. Meanwhile, non-Muslims were seen as self-centered, abusive, deceitful, and unjust towards others. People from Luzon lack sufficient and correct knowledge about Muslims. Non-Muslim women are weak, unable to defend themselves, and selling themselves for money. In Muslim Magnum .357 non-Muslims were shown as lacking in knowledge about Muslims (their beliefs, culture, tradition) in this country. The Muslim’s bravery has not been appreciated despite Mindanao being still unconquered. Criminals among the non-Muslims are shown as deceitful and unjust towards their fellowmen. They use and abuse the weak people. They even use the name of the Church for extortion. They go around the slums collecting money from people for the construction of a bisita (church) that never gets finished. People are aware of this hoax but they do not rise against it. They are afraid; they don’t trust the authorities; and never organize themselves for collective action. Non-Muslim soldiers showed the tendency to be abusive and to rely too much on their guns to have their way. The weakness of the non-Muslim women in defending themselves against the cruelty and abuses by their employer in exchange for money was depicted in the Sarah Balabagan Story where non-Muslims were seen to be good only as house cleaners or paid sex workers. In Bagong Buwan, non-Muslims are seen as being self-centered and disrespectful of the cultures of other Filipinos. Soldiers showed disrespect to the residence of Datu Ali, when Lt Ricarte arrogantly stepped on the clean and matted floor of Datu Ali’s regal ancestral home with his muddy boots, showed in contrast to Ahmad’s respect and high regard to the house of Datu Ali, by showing his feet without the shoes and with only his socks on. It also showed that disunity is a result of discord and distrust of some non-Muslims against the Muslims.

Non-Muslims, especially the Military men, are shown to have no respect for the culture and tradition of the Muslims. Non-Muslims are also depicted as self-centered, abusive, deceitful, and unjust towards others. People from Luzon lack sufficient and correct knowledge about Muslims. Non-Muslim women are weak, unable to defend themselves, and selling themselves for money.

31. Presence/absence of Muslim pride in the film

In Zamboanga, pride is shown in the dance and music sequences (although not all shown are authentic). Badjao depicted Moro or Muslim faith centeredness, the film clearly manifests Muslim pride. Perlas ng Silangan shows how children obey their parents even if it’s being betrothed to someone who wins a “race.” It also shows that Muslims are a people who value sovereignty and will fight to keep invaders out of their village.


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Muslim Magnum .357, Lt. Jamal Rasul, took pride in his adherence to his beliefs, faith, and sense of dignity. Before introducing Jamal as a fierce and dangerous fighter, the film first provides the audience a glimpse of the rich cultural tradition of Muslim Mindanao through a scene of dance and musical performances in a rural village. Jamal also takes pride in the fact that his ancestors fought fiercely against foreign conquistadores. Mistah showed that there is Muslim pride in what they are fighting for--their right as a race and as a people to be sovereign in the land of their birth, Mindanao. The Sarah Balabagan Story showed Muslim pride in living a dignified life no matter what the cost. It also showed the piety of the Muslims, as they uphold their customs in everyday life. It also shows that Muslims denounce cruelty to family members, drunkenness, and womanizing. The entire film is all about Muslim pride. It is a celebration of the Muslim woman’s fight against all odds and a victory for a Muslim woman who was raised to think that men are superior and women are inferior. Bagong Buwan showed that the Muslim people are united and they will not leave each other especially during the critical times of their lives. Muslim pride is reflected in the way they help each other and recognize the value of each member of their community. They give much value to their culture and their roots. They are not ashamed of who they are. There definitely is the presence of Muslim pride in the movie. Among Muslims, the term is “Maratabat” or standing up and showing that you were offended by a certain action or inaction. Such was the case of Ahmad, who in the end, gave in to his emotions, took arms, and fired against the enemies. Operation Balikatan manifested Muslim pride in that it is right to fight for what they believe is right.

32. Presence/absence of prejudice towards Muslims in the film

Zamboanga, Badjao, and Perlas ng Silangan have less violence, use realistic dialogues that are deeply penetrating and full of wisdom. There is no prejudice towards Muslims in these films. In Muslim Magnum .357, some of the characters, specially the antagonists maliciously refer to and address Jamal as “Muslim” as if his motivations and actions are solely defined by his being a Muslim. Capt Rios is of the position that Muslims have no right to exist in society. Other villains meanwhile stereotype Jamal as largely a violent individual who is illogical and short of wit. This does not mean, however, that the film in general espouses prejudice towards Muslims. For in all the instances that his identity as a Muslim was insulted, Jamal was always quick to make a counter-argument that dignifies and even valorizes his identity and his patriotism as a Filipino.


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His counter-arguments however are often accompanied by violent actions, which result, to the demise of the person who made the insulting remark. It rather gives someone a warning that any insult on Muslims could mean bloodshed. Nevertheless, the amount of bloodbath in the film and the ill and selfish motivations of the antagonists who employ violence themselves absolve the violence of Jamal’s own crimes. Captain Rios, for instance, in two occasions mercilessly and casually kills or hurts his own men and mates all in the name money and power. But then again the veneration that one could probably accord Jamal could only come with fear. Furthermore, the title itself already creates the idea of violence and being Muslim as a function of one another. For a society that is generally afraid of guns, affixing the word Muslim to the firearm Magnum .357 gives the public the notion that Muslims should be regarded primarily with fear. The last image seen in the film is that of Jamal inside a mosque, his hands covered with blood after the cathartic last fighting scene wherein he killed the syndicate lord Captain Rios. It’s not clear whether Jamal would eventually turn himself over to the authorities to face the consequences of his actions. But it gives the lasting impression that Islam as embodied by the mosque condones the use of violence. It can be a good thing if you look at it in the context that the violence was necessary to curb evil or pursue noble goals, like the case of jihad perhaps. In Mistah, prejudice against Muslims as traitors, violent, reckless, cruel, and brutal criminals was manifested. In fact, they became fanatical to the point they just wanted to execute people because they are Christians The Sarah Balabagan Story showed several incidents that were prejudicial against Muslims, for example, the attacks of armed men in Sarah’s hometown, which appears to have been done for no apparent reason. In reality, much of the violence in Mindanao are caused by non-Muslims but are blamed on the innocent Muslims who do not have the means to defend themselves. In Bagong Buwan, there is prejudice in the description of Muslims as war-freaks by Francis, who was warned by his grandparents to stay away from Muslims. However, Rashid immediately corrected this. The lack of knowledge about Islam (a way of life), the history, and culture of the people of Mindanao leads to this prejudice.

Any other observations thoughts and feelings you wish to share about the film Zamboanga: This film should be shown with a strong warning on what points are not authentic (such as costume of some characters, songs and dances, and some cultural practices, etc.)


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Badjao: The film depicted the long-standing love and hate relationship among the Tausogs and the Badjaos. I am reminded of one Badjao student we [NYC] invited in Jolo last year, for the World Bank project who said that the “Tausogs are oppressive and that when they quarrel among themselves and could not get on to their enemies, more than not, the loser [Tausogs] goes to the Badjao’s community to burn the village to exact vengeance as if the Badjao’s are the protagonist or their enemy. On the other hand, the film also has shown the sense of justice, fairness, chivalry, and keeping word of honor of a Muslim Datu Tahil, candor, and humility for the Badjaos. It also evoked harmonious relationship and peaceful coexistence among the Tausogs and Badjao if communications is open and that no matter how difficult a situation is peace will always be within reach if given a chance. I am immensely touched by the movie ending where Bola Amai joined her husband and live among the sea gypsies for life. Indeed, love conquers all. Although it is an old film and I could hardly recognize the actors (except for Rosa Rosal), it is informative and educational. It was successful in showing the distinctive cultures of the Muslims or the Taosug tribe and the Badjaos. Even with the poor picture and sound quality, I enjoyed watching the film although I was a little uneasy because of how the Muslim characters were portrayed. While I was reading a web article about the tribes, I learned that the tribal war between the Taosugs and the Badjaos go way way back. Being the case, however, it would be unimaginable that such a marriage between a Badjao and a Taosug woman would be permitted. Perhaps the film just wanted to emphasize the message that love conquers all. Perlas ng Silangan: Since this film was made in 1969, it may be understandable that Muslim characters do not speak any of the languages spoken by the people. The absence of subtitles when Spanish characters talk adds to their credibility as such. There is a lack of the “ordinary Muslim” as the main characters are blue-blooded. Muslim Magnum .357: This movie gave recognition to Fernando Poe Jr. awarded as BEST ACTOR by the Film Academy of the Philippines (FAP) and the Filipino Academy of Movie Arts and Science (FAMAS). The movie deserves merit for recognizing a Filipino Muslim brave as ever, friendly, trustworthy, reliable, God-fearing, cordial, and kind contrary to the usual conviction of some non-Muslims. It can be a medium of Inter-culture/Interfaith dialogue, as it would compel viewer to research more about the Muslims, who are considered minority group in this country. The film starts with a series of massacres perpetrated by an armed group disguising itself as the military. Combined with the red font color of the title text and opening credits, the audience is prepared for the bloodbath that is to unfold on the screen. Faithful to this construction, the film has at least 15 bakbakan scenes, effectively valorizing violence. The violent scenes are very graphic. Jamal is seen consistently blowing the heads of his enemies using a magnum 357. Otherwise, we see his bullets penetrate one side of the body and exit on the other side.


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The film was produced in 1986. I’m thinking maybe the country’s gory and bloodstained experience in Martial has prepared its people for so large a volume of bloodbath on screen. The level of violence is in mad and perverse proportions. There was even a scene wherein Jamal lectures on Punggoy and Kikoy all about the magnum 357 and the different fatal and debilitating of its bullets to the human body. Jamal talks to the two kids as if he is imparting wisdom. Although Jamal managed to tell the children that guns should be used with utmost caution and sanity, it still looks odd that a grown up is lecturing children about guns. Perhaps it is worth mentioning what Lumbera observes of the action films produced in the 70s and onwards. Lumbera writes that action films turned more violent and the hero became less heroic as “he abandoned himself to the same sadistic, lethal impulses that his enemies regularly indulge in.” In the case of Jamal, it can be said that the degradation of the hero is even more salient and dramatic because the amount of violent deaths he has authored with his magnum 357 would even dwarf the number of deaths authored by his individual enemies combined. It is also odd that Jamal didn’t get to interact with any other Muslim characters in the film. In fact, there was no other Muslim character in the film. Mistah: It is difficult and unfair to characterize the Muslim actors in the film. There are 3 major Muslim groups/tribes (Meranao/Marano, Maguindanaon, and Tausog) in the Philippines. Although these 3 Muslim groups are bounded by Islam, their religion, each group has its own idiosyncrasies, beliefs, and mindsets that are peculiar to their tribes. Each tribe also has different levels of understanding, internalization, and manifestation of Islam. Thus, filmmakers would be giving justice to the Muslims in general if they portray the Muslims by their tribal identities, meaning they should be addressed either as Meranao/Maranao, Maguindanaon, or Tausug. The word Muslim has a religious connotation. A Muslim is a devout believer of Islam. A believer is one who is able to conscientiously distinguish what is prohibited from what is acceptable and what is true from what is false. Thus, the word Muslim should be used with propriety. A Maranao, Maguindanaon, or Tausug rapist is not at all Muslim. It is not proper to call him Muslim because he defied the teaching of Islam. A Muslim does not give the Salam greetings (assalaimo alaikom) to a non-Muslim. It is only between and among Muslims by blood and faith. The old Muslim actor in the story gave the Salam greetings to the Military (Robin and his men). This is not appropriate. This is a misunderstood gesture, even among the Muslims. The setting of the story is a combination of the ancient and the modern. In the olden days, Muslim men don their tribal clothing in their day-to-day activities. Nowadays, freedom fighters (or whom the Military and media men call rebels) are wearing military clothes in the jungles or during their engagements with the military. I do not find it credible viewing the Muslim freedom fighters wearing printed trousers that belong to the


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ancient period when the Muslim freedom fighters were having engagement with the Spaniards as well as the Americans with their Christianized allies. The diction/intonation of the lead Muslim actors (the old man and the rebel leader) is not believable. It would have been realistic if they were able to capture the language nuances of any one of the Muslim tribal groups, which the director is trying to show in the film. I believe the tribe portrayed is that of the Tausug. There will be justice if filmmakers have credible critics working with the director while filming stories about Muslims. The scene where the Muslim character raped the soldier’s wife is detestable. True freedom fighters will never rape, much more in front of co-fighters. This is un-Islamic as well as culturally and socially not sanctioned by the Muslim tribes. This may happen in the day-to-day situation, but not during revolution, when Muslims are fighting in defense of their religion and homeland. The peace negotiation between the forces in conflict is also not credible. In the present Mindanao wars, a mere sergeant has not capability or authority to have peace negotiation with a rebel leader. The reason why the wars in Mindanao would not end is due to the interference of political leaders and military officials. I would see it realistic if this interference had been implied in the story. Christian soldiers were seen giving candies to Muslim children and sergeant Cariño saved the life of a drowning child to show their kindness and friendship. There was no scene where the Muslim freedom fighters showed their goodness to the non-Muslims. The portrayal became biased. More is shown on the revelation of the Christian character while on the Muslim side; the focus is on the fighting scenes. The ending encounter was an exaggeration. It is not normal to happen that the military and the Muslim freedom fighters in Mindanao engaged in a very close range such as that. Usually, the encounters are more on the hide and seek situation. The ending was another version of the Moro Moro where the Christian always defeats the fierce Muslims The film is actually one of the better action movies made locally in recent times. The action sequences are engaging and Robin was actually funny during lighter moments. It suffers though from a lack of strong coherent storyline and a bias on showing the humane side of the soldiers while neglecting to build on the Muslim characters. The love angle was obligatory but unnecessary. Sarah Balabagan Story: The film has been fair in depicting Sarah’s experience and the plight of the Filipino domestic helpers in the Arab states. The stories of other OFWs jailed in the Middle East are thought provoking and very enlightening. I think the excellent handling of the film by its director Joel Lamangan and by the writer, Ricky Lee, is the redeeming quality of an otherwise run-of-the-mill bio picture. It is evident in the film that the director tried his best to focus on the victory of Muslim


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womanhood, ensuring that it does not fall into the traps of soap opera and other commercial films. Aware of handling the sensitive issue of Muslim abuse, the film focused on the general theme of basic human rights, stressing the importance of the fact that such rights do not cover only non-Muslims but Muslim women as well. Bagong Buwan: First of all, the film is one of the few, if not the only one that really discusses the theme of the Christian-Muslim struggle that has been going on for a long time now in the country. It represents just a segment of what our brother Muslims are going through in their search for a clearer boundary in this country. They are clear about who they are (perhaps clearer even than the Christians) but it is the search of their sanctuaries of peace that is perhaps what is still not defined up to this day. The film was a conscious effort to recognize our Muslim brothers and sisters and to make us experience what the must go through in this war. I just hope that there were actual and realistic scenes that would really represent more everyday situations for the Muslims and less romanticize the war that is taking place. I am a bit uncomfortable with the presence of the Christian characters in their midst, only because I’m not so sure how often this really happens in real life. Nevertheless, for an ordinary viewer, this may one of the ways to get the message of unity and oneness across. More films like this should be made, not just documentaries but featurized films… so that it can popularize and educate the Muslim life, struggle and survival. Kudos to Bagong Buwan for its successful attempt in bringing the Muslims closer to our hearts. I commend the director, writer, producer, actors, and all others involved in the making of this film, especially Marilou-Diaz-Abaya. She attempted to do what many dared not to do, by researching carefully and immersing herself among the Muslims in Mindanao, and to dig deep into the heart and cause of the Muslim conflict. I hope that many people will get to watch this film and be enlightened as well. Not all Muslims are Abu Sayafs, or terrorists. If non-Muslims would give time to understand and get to know a Muslim who truly embraces the Islam religion, they might see that they may have many things in common with them than differences. Operation Balikatan: The film is a revelation to everyone. It shows what is really going on in our surroundings. We are lucky we don’t have to undergo what the hostages and the soldiers went through, they are willing to risk their lives just to be of service. We are lucky we don’t live in Mindanao, our ears free from the noise of bombings and shootings, screaming children, and weeping families. I think that people in power must have the heart to coordinate and cooperate with them; maybe they just want to be heard. Maybe what we see is not exactly what they want. Muslim and non-Muslims can be united, by bridging the gap and without discriminations and conflict. There are two lines that caught me in the film, one was spoken by the Boss of the terrorists “Not everyone shares your beliefs” and I guess what he was trying to say is they just want respect. And the second one was stated by Lt. Gomez “one can make a difference. There can only be one man, and I can make a difference.” These are words to live by, and with a positive outlook, we can make a difference.


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In the course of the movie, Lt. Gomez faced different challenges. The people who had a grudge against him killed his wife and child. His character in the movie evoked patriotism. As for Dima, he was after the reward money from the rebels. What he did is treason. We can see in the movie the loss of peace and order in our country, which the bureaucracy even works to destroy. For example, Gen. Espinoza could not decide on the immediate action he had to take to save the victims and the soldiers. When asked by one of the pilots about what to do, he retorted that he still had to wait for orders from the authorities, when in two minutes the victims could have been run down by the rebels.

The Operation Balikatan clearly depicts that our country is defenseless. This movie or the real Operation Balikatan itself is a manifestation of an unstable government. It is so sad because the Philippine government thinks that the only solution is military action against the rebels. CONCLUSIONS The reviewers saw the Muslim’s faith centeredness as clearly manifesting Muslim pride in the films they reviewed. They said that Muslim pride was present in the films, known as “Maratabat” or standing up against anyone who offended the Muslims. Women like Sarah Balabagan stood up for their rights against all odds. Muslims live pious lives, maintain their dignity, and keep their faith. One special mindset the Muslims have, according to the observers, was to maintain pride over their beliefs, and to preserve the land that was theirs in the first place. The Muslims were intent on getting back the land in Mindanao that the Christians have taken away from them. Love was also seen as the motivation of the characters in the three older films where the main struggle was gaining the love of a woman in almost mythical terms. Muslims in the movies are depicted as brave, respectful of other people, and possessing innate goodness. They value family and justice. Stories also depicted the Muslims as being robbed of their own land, which they had occupied even before the arrival of the Spaniards, and as being punished for not bowing to their conquerors. The explanation of what “Jihad” and “Juramentado” really are gives the viewer a positive appreciation of Muslim ideals. The stories recognized issues that were not tackled openly in the past. In fact, one movie upheld the women’s issues of privacy, personal strength, and sticking to their values and choices all their lives. Muslim viewers found the following themes most often in the films they viewed: patriotism, human rights, peace, poverty, and family relations. Among non-Muslim viewers, the most common theme they found in the films was family relations.


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Muslim viewers found that the films they viewed depicted the following situations most often: home, religion, economics, social conventions, recreation, and men’s lives while non-Muslim viewers found three as most often depicted: home, religion, and women’s lives. Both the Muslim and non-Muslim viewers found the costumes of the older films more exotic, and perhaps truer to those quieter and more romantic times. The more contemporary films produced more negative observations such as the fact that the men freedom fighters were made to wear the native costumes whereas in reality they wear fatigues similar to those worn by the military men, the only difference being the red ribbons at the tip of their long arms. Another viewer said that the clothes of the Muslim civilians were too neat and ornate, whereas this is not the case when the women and children are evacuating and running to avoid being caught in the crossfire. The observations on the physical features of the Muslims were a mixed bag. Some reviewers found the actors portraying Muslims to be believable; however, more of the reviewers found that the actors either looked like Visayans or Tagalogs, or even mestizo and mestiza, which is not how Muslims really look like. The comment on the character portrayed by Fernando Poe, Jr. was that the character looked like the icon that FPJ was, and not like a real Muslim. All reviewers felt that the accents of the supposed Muslims were not authentic. They suggested that real Muslims would be better off playing the roles of Muslims in these kinds of films. The internal nature of the Muslims as observed by the reviewers drew varied descriptions. The Muslim reviewers, especially, were glad to note that the internal nature of the Muslims portrayed mild-mannered, educated, and proud people, which is opposite the common belief of non-Muslims that Muslims are terrorists and war-freaks. They described the Muslims as kind, benevolent, compassionate, patient, brave, and skillful in fighting. However, in some films, Muslims were portrayed as being treacherous, killing for the sake of revenge alone, and being disobedient of Muslim laws in the midst of war. However, when describing the non-Muslims they were unanimous in saying that the non-Muslims impressed them as being generous, patient, gentle, and more intent on planning and improving their lives. One important observation was that most often the non-Muslims did not understand what the Muslims were fighting for; for most non-Muslim fighters (like the military men depicted in Mistah) were there only because they were obeying orders and were doing things they did not understand at all. In fact, the observer of that film said, “While they are depicted as loyal, caring and have strong bond, men in uniform are also shown as abusive and with the main character as a womanizer.” There seemed to be an even drizzling of the good and the evil in the internal nature of both Muslims and non-Muslims.


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One special mindset the Muslims have, according to the observers, was to maintain pride over their beliefs, and to preserve the land that was theirs in the first place. The Muslims were intent on getting back the land in Mindanao that the Christians have taken away from them. Love was also seen as the motivation of the characters in the three older films where the main struggle was gaining the love of a woman in almost mythical terms. Non-Muslims were seen to have a higher degree of optimism even when faced with seemingly hopeless situations, a case of drawing strength from each other, and of being able to laugh at themselves, proving that they are resilient as a people. Muslims were more often seen with weapons of varying sorts than were the non-Muslims, except for the military men in the films. As for violence carried out by the characters in the movies, more violence was attributed to the Muslims. Violence was undertaken by non-Muslims in the case of the military men and of the drug syndicate members and other non-Muslim criminals. There was not much difference economically between Muslims and non-Muslims in the films that were observed. Not much economic activity was depicted on both sides, there having been more fights than other activities in the films. The observers found that the setting or backgrounds of the movies needed more improvement. They saw that most of the scenes did not look like they were shot in Mindanao at all but rather in some clean-looking resort in Southern Luzon. Others found the settings good enough. The screenplay was considered good; in fact, someone said that the older scripts were better than the more recent films. Dialogue could still stand some improvement; most of the time the accents were not the right ones. The actors made to play Muslim parts were handsome and beautiful. Muslim women were depicted as not being allowed to talk unless they are talked to. Muslims were presented as proud people who consider themselves superior to others and who resort to violence if they do not get what they want. Someone felt that the Muslim men were shown as being too fierce and brutal and that the fight scenes were too long and unwarranted in many cases. Being fearsome and being overwhelmed by anger is presented as culturally innate in Muslims. Muslims, in the movies were seen praying before killing others to give way to revenge. There is a general sense of Muslims being rapists and abusive of women. Non-Muslims were depicted as honest, hardworking, brave, and loyal. The Military men extended their care for others, whether Christian or non-Christian, Muslim or non-Muslim. Their presence in Mindanao was considered necessary to keep peace. Non-Muslim characters were shown to be friendly, helpful, considerate, and trustworthy.


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They help others, even non-Muslims, when they are in trouble. They do not think of cultural and religious differences when their help is needed. Other tribes were shown as lowly and inferior people, nomads, submissive and non-competitive. Non-Muslims, especially the Military men, are shown to have no respect for the culture and tradition of the Muslims. Non-Muslims are also depicted as self-centered, abusive, deceitful, and unjust towards others. People from Luzon lack sufficient and correct knowledge about Muslims. Non-Muslim women are weak, unable to defend themselves, and selling themselves for money. The reviewers saw the Muslim’s faith centeredness as clearly manifesting Muslim pride in the films they reviewed. They said that Muslim pride was present in the films, known as “Maratabat” or standing up against anyone who offended the Muslims. Women like Sarah Balabagan stood up for their rights against all odds. Muslims live pious lives, maintain their dignity, and keep their faith. One reviewer commented that films were better in the past because these films had less violence, had no senseless love scenes, and had dialogue that was full of wisdom. In this way, less prejudice would be less depicted in Muslim films. Some reviewers found prejudice depicted against Muslims while others felt there was no prejudice felt against the Muslims in the films they watched. Prejudice towards Muslims was manifested in the way they are described as being war-freaks, violent, and brave. Lack of knowledge about Islam, Muslim history and culture feeds this prejudice. Some film titles in local films connote negative attributions towards Muslims (one example is Muslim Magnum .357). Media must find ways to study these prejudices and be part of the solution for peace between Muslims and non-Muslims instead of exacerbating the situation.


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Appendix 1

List of Main Actors and Characters They Played in the Films

Films Reviewed

Muslim Characters

Played by (actor) Non-Muslim Characters

Played by (actor)

Danao Fernando Poe Sr. Minda Mora Rosa del Rosario

Zamboanga (1936)

Hadji Rasul Faustino Lichauco

Bala-Amai Rosa Rosal Hassan Tony Santos Datu Tahil Joseph de Cordova Ama Pedro Faustino Jikiri Vic Silayan

Badjao (1957)

Ismail Oscar Keesee Jr., Asid Leroy Salvador

Amid Fernando Poe, Jr. Dayang Mahalina Susan Roces

Perlas ng Silangan (1969) Datu Karim Vic Vargas

Des Vivian Foz Capt. Rios Eddie Garcia Frankie Paquito Diaz Punggoy Child actor 1 Kikoy Child actor 2 Mang Gimo Max Alvarado

Muslim Magnum .357 (1986)

Lt. Jamal Rasul Fernando Poe Jr.

Col. Castro Jimmy Fabregas Kumander Malik Jun Hidalgo Sgt. Mario

Cariño Robin Padilla

Kumander Ratari Dindo Arroyo Lt. Flavier Rustom Padilla Lt. dela Cruz Royette Padilla Lt. Duterte Roi Vinzon Daniel Aquino Daniel Fernando

Mistah: Mga Mandirigma (1994)

Alih Bomber Moran

“Buddy” Joko Diaz Sarah Balabagan Vina Morales Amy Rita Avila Sarah’s Mother Elizabeth Oropesa Mommy Inez Gloria Sevilla Karim Robert Arevalo Airport fixer Sarah’s Lolo Rolando Tinio Female

prisoners Mona Jennifer Sevilla Rallyists/

pressure groups

Muraon Jim Pebanco Sarah’s aunt Caridad Sanchez

The Sarah Balabagan Story (1997)

Almas Mohammed al-Baloushi

Media people


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Films Reviewed

Muslim Characters

Played by (actor) Non-Muslim Characters

Played by (actor)

Dr. Ahmad Ibn Ismael

Cesar Montano Lt. Ricarte Jericho Rosales

Fatima Amy Austria Jason Jhong Hilario Bae Farida Caridad Sanchez Francis delos

Santos Jiro Manio

Musa Noni Buencamino Dolor Jodi Sta. Maria Datu Ali Ronnie Lazaro

Bagong Buwan (2001)

Rashid Carlo Aquino Ahmed Monsour del

Rosario Lt. Rodrigo Gomez

Rey Malonzo

Salek Jess Lapid Jr. Gen. Espino Eddie Garcia Dima Carlo Maceda Lt. Andrew Christian BoevingIbrahim Jose Mari Avellana Gen. Thurmond Stacy Keach

Tyler Davie Youngblood

Teresa Patricia Javier Darren Nate Adams Mag Archie Adamos Ramiro Ernie Zarate Sen. Barnes Nigel Hogge Greg Joseph Zucchero Louis James Paolleli Gus Sanit Larrauri Jennifer Mikka Avellana Killer on Motorbike

Robert Rivera

Anna Jenor Zapanta Isagani "POW" Orlando Estrada Lieutenant Herbert

Mel Lewis

CIA Chief Spencer

Jesse Vint

General Thurmond

Stacy Keach

Operation Balikatan – “When the Eagle Strikes” (2003)

Military Intelligence Commander

Brian Katkin


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Appendix 2

Complete Synopsis of Eight Films Zamboanga (1936)

In the shores of Sulu lives a sea-faring tribe who had Datu Tanbuong as ruler. His granddaughter, Minda is about to marry Danao, a handsome young pearl fisher. In their betrothal celebration, Danao presents a handful of impressive pearls to the datu, who gave the hand of Minda to Danao. However, Hadji Razul, a chief of another tribe, also has feelings for Minda, and wants to marry her. He therefore solicits the help of a renegade American captain to abduct Minda. They abduct Minda, and a tribal war ensues. In the end, Danao kills Hadji Razul, and the film ends with Minda and Danao sailing into the sunset.

Badjao (1957) The film centers on the cultural clashes between the Badjaos, a pagan tribe of fisherfolk and pearl divers, and the Taosugs, a Muslim tribe of farmers and traders. It features a love story between a Badjao and a Taosug woman. Hassan, the son of the chieftain of the Badjaos, fell in love with Bala-Amai, the niece of the Taosug ruler named Datu Tahil. Although aware of the superior status of the Taosugs, Hassan went to ask Datu Tahil for Bala-Amai’s hand. To prove his love for Bala-Amai, Datu Tahil forced Hassan to face several challenges, including that of diving for rare pearls (which the Badjaos are good at). Hassan accidentally killed a Taosug warrior in self-defense during one diving session. In the process of courting Bala-Amai, Hassan embraced the Taosug religion and became a Muslim convert, subsequently turning his back on his own people. After getting married, Hassan and Bala-Amai tried to live peacefully as farmers. However, Datu Tahil became greedy and ordered Hassan to dive for more pearls so he can sell those to a pearl merchant. Hassan and Bala-Amai refused and asked the chieftain to let them live in peace since Hassan has made enough sacrifices already. Datu Tahil was angered by the couple’s decision; he ordered his men to burn the couple’s house. That same night, Bala-Amai gave birth to a baby boy. A few days later, Hassan and his wife paid a visit to Datu Tahil. After making a speech about their sacrifices and the hardships they have gone through, Hassan and his family left the Taosugs and went to the land of the Badjaos. There Hassan asked his father if they would accept him and his family again after what he had done. Hassan’s father forgave Hassan and after the ceremony of forgiveness, Hassan, with his Taosug wife and their child, was welcomed back among the Badjao.


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Perlas ng Silangan (1969)

Spaniards take Amid as prisoner but the latter escapes from captivity. Tribesfolk find Amid and one of them sees his birthmark – proof that he is the son of a datu. The council of elders allows Amid to stay on the island, to the consternation of Datu Karim whose father was responsible for the death of Amid’s own father. Eventually, Amid falls for Dayang Mahalina, niece of the dying sultan. Amid and Datu Karim are tested twice, for Dayang Mahalina’s father, the new sultan, to decide to whom his daughter should get married. Amid passes the tests, as well as wins Dayang Mahalina’s heart.

Muslim Magnum .357 (1986)

Col. Castro ordered Lt. Jamal Rasul, a Muslim, to fly to Manila to perform an important mission. This was in recognition of Rasul’s sterling credentials as a law enforcer. He was to serve as an undercover agent who will infiltrate a very organized and dangerous syndicate involved in drugs and arms sales, gambling, and other illegal activities. A high-ranking government official is the brains behind the syndicate. Jamal arrived in Manila armed with a Magnum 357 pistol, said to be the strongest firearm available. Taking pride in his being a Muslim, he also carried with him a kris and a copy of the Quran. This was a very difficult assignment for Jamal. He stayed in a squatters’ area where the activities of the syndicate are rampant so he could closely monitor them. Here, he met Des whom he asked to keep his identity secret for the sake of his mission, something that she agreed to do. They developed a special friendship, as Des didn’t have any prejudice against Muslims. Jamal had many encounters with the syndicate. Two boys under the tutelage of Max Alvarado one day saved Jamal. Because of this, the group identified him, and discovered his mission. The members of the syndicate picked up the two young boys whom they mercilessly killed. Bothered by this tragic event, Jamal lost hold of his senses and began fighting as a one-man army who would virtually decimate the syndicate using his magnum 357. After the tragedies and the collapse of the group, Jamal remained firm and God-fearing. The movie ends with Jamal asking God for forgiveness for his acts of violence.

Mistah: Ang Mandirigma (1994) The movie shows the lives of military men deployed in Mindanao; it also depicts Muslim freedom fighters struggling for their freedom and fighting to claim their homeland. It reveals the reasons and causes of the wars in Mindanao. It also sheds light on the economic, emotional, and psychological effects of war on both Christians and Muslims. The military characters show patriotism and nationalism while the Muslim freedom fighters live out their dream of taking back Mindanao as their homeland. Both parties share the same yearnings for peace. It also conveys the truism that in wars there are no winners, those in conflict are both losers; that we should end the wars in Mindanao because the people who are losing their lives are all Filipinos...are brothers.


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Much of the story revolves around Sgt. Cariño whose best friend, Daniel Aquino, often accompanies him when he goes to visit the barrio lass Linda. The problem is Robin is already married to Brenda. Lt. Duterte was the first supervisor of the soldiers’ camp. Because of an incident in the camp, Lt. Flavier, a young, brave, and smart PMA graduate, later replaced him. It was under Flavier that both rebels and soldiers declared a ceasefire. But in one of their sorties a group of Muslim rebels led by Alih, who had shown disdain for the peace talks, ambushed the soldiers. The rebels retreated when military reinforcements came. But upon returning to the camp Alih told Kumander Malik, who was the recognized overall leader of the Muslim rebels, that the military violated the ceasefire agreement. Seeking vengeance the rebels soon launched a surprise attack on the camp, resulting to a massive loss of lives on both sides. With just five men remaining and with no more ammunition left against a hundred rebels, Cariño and Flavier were preparing for the worst when suddenly the military reinforcements came and pushed back the rebels. The movie ended with Sgt Cariño crying over the loss of his friends and a voiceover that war and death will only stop if there is unity among Christians and Muslims.

The Sarah Balabagan Story (1997)

Who wouldn’t remember Sarah Balabagan? The 15-year old girl who grew up in squalor and misery, who saw her parents constantly fighting due to lack of food and economic opportunities. Determined to find a solution to her family’s misery, Sarah decides to apply as domestic helper despite being underage. The greedy Marauon recruits Sarah after getting the nod of her helpless mother. Sarah’s real misery begins when the father of her Arab employer tries to rape her. She defends her honor and later kills him in self-defense. The Sharia’h tries Sarah and sentences her to death. A retrial follows, after which she got away with a lighter sentence, thanks to pressure groups and the Philippine government’s realization that it cannot lose face in front of the international community again. For Sarah, the entire experience is a journey to self-discovery and a painful realization of her personal worth, self-esteem, courage, and determination to stand on what she believes is right. In the process, Sarah touches the lives of fellow prisoners with her simple and unaffected ways. She interacts with people around her in her silent yet profound manner, never preaching, always understanding, above the noise and confusion of the jail where she was thrown in. The other women in the jail saw her case as an inspiration to keep on fighting for what is morally and spiritually correct, despite all the odds. Throughout her stay (in her employer’s house and in jail), Sarah displayed a strong resolve to protect her dignity and her right as a person.

Bagong Buwan (2001)

The story is set during the “all-out-war policy” of then President Joseph Estrada in 2000. Dr. Ahmad Ismael, a Muslim, studied to be a doctor in Manila. He hurriedly comes home to his grieving wife Fatima and her mother Bae Farida in Cotabato, upon receiving word of the death of his son Ibrahim, shot by a stray bullet after Christian vigilantes raided and burned their village.


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Ahmad and his brother Musa, an MILF rebel-leader, clashed because of their ideals when Musa challenged Ahmad to fight alongside Muslim rebels for Mindanao independence. Ahmad, a peace-loving man, persuaded his mother, his wife, and his nephew by Musa named Rashid to come with him to Manila where it is safe. They all refused to go, thereby forcing Ahmad to stay and assume the role of the leader of their community as they seek refuge in the abode of a respected Muslim elder Datu Ali. One day, a Christian boy named Francis (Jiro Manio) finds himself alone because of the death of his parents, and follows Rashid to Datu Ali’s dwelling. The exchange of words between Rashid and Francis proved how lack of proper information can lead to prejudice between Muslims and Christians. In the village, Ahmad, treats civilian casualties, regardless of their religion, and through the survivors’ accounts of their war experience, he gains a deeper understanding of the Mindanao conflict. Lt. Ricarte, a dutiful and objective soldier, urged Muslim civilians to transfer to refugee base camps where the military could guarantee their protection. But in an encounter between MILF and government troops, Ahmad is caught in the crossfire, is shot, and dies while trying to protect Francis, who was running after Rashid. Overall, the movie advocates understanding and peace, which can be achieved, given time, interaction, an open mind, and a willingness to resolve the centuries-old bigotry and discrimination held by the two factions.

Operation Balikatan (2003)

The movie Operation Balikatan is about merging military United States and Philippine forces in the fight against terrorism. The story highlights a mission, which the two groups undertook to save the U.S. Senators and officials who were kidnapped by bandits somewhere in Mindanao. In the real sense, Operation Balikatan is an RP-US partnership that involves mutual training, combined with planning, combat readiness, and interoperability. It is to strengthen and enhance Philippine military forces with the help of American soldiers. In the story, Rodrigo is an ideal husband and a loving father. But his love of country surpasses his love for his family. So when he is called for a mission, he immediately accepts the assignment, even if his wife is against it. The mission, "Operation Balikatan," aims to save the Americans held hostage by a terrorist group and to stop terrorism in the country. While on the assignment, Rodrigo's family is killed by the people who harbor grudges against him. The news of his family's death disillusions Rodrigo and the only way to move on is to dedicate his entire life to the mission.


7

Appendix 3

Themes Expounded in the Films

Themes Expounded in the Films 1 2 3 4 5 6 7 8 TotalStruggle for autonomy or independence (distinct from freedom)

3

Culture and the arts (including tourism) 6 Patriotism (love of country) as distinguished from nationalism

5

Sovereignty 5 Nationalism 4 Democracy 6 Struggle for Freedom 4 Struggle for Democracy 2 Social Justice 4 People Empowerment 4 Socialism and Equality 5 Political Participation 6 Good Governance 5 Human Rights 7 Children’s Rights 4 Peace 5 Plight of Overseas Workers 2 Poverty 6 Women 6 Sexual Harassment and Rape 4 Exploitation of the Masses 3 Militarization and Police Brutality 4 Plight of Teachers 2 Plight of Workers 1 Family Relations 6 Romantic Relations 6 1 = Zamboanga 2 = Badjao 3 = Perlas ng Silangan 4 = Muslim Magnum .357 5 = Mistah 6 = The Sarah Balabagan Story 7 = Bagong Buwan 8 = Operation Balikatan


8

Appendix 4

Summary of Most Common Situations Depicted

Situations 1 2 3 4 5 6 7 8 Total

Home 8 Education 5 Religion 8 Economics 6 Agriculture 3 Civic life 4 Recreation 7 Social conventions 6 Clothing conventions 5 Narcotics, stimulants 1 Law enforcement 6 Men’s lives 8 Women’s lives 7 Youth’s lives 5 Children’s lives 7 1 = Zamboanga 2 = Badjao 3 = Perlas ng Silangan 4 = Muslim Magnum .357 5 = Mistah 6 = The Sarah Balabagan Story 7 = Bagong Buwan 8 = Operation Balikatan


9

Appendix 5

Physical Description of Characters in the movies

Film Title Name of Character

Characteristics

Danao Tall, mestizo, handsome Minda Mora Tall, slim, mestiza, pretty

Zamboanga

Hadji Rasul Medium height, not so handsome, intense eyes

Datu Tahil Dark haired, medium-built, has a rather dark complexion and a stern face with intense, calculating eyes

Jikiri As abusive, brutal and racist, heavy-set, muscular, has a moustache

Bala-Amai Tall, slim, has long wavy black hair, fair complexion, lovely face, and moves gracefully

Badjao

Ismail Fat, has a fair complexion and mustache Amid Fair-skinned, as his mother is Spanish Dayang Mahalina Long-haired beauty; not a Muslim face

Perlas ng Silangan

Datu Kiram Brown, tall, well-proportioned body Muslim Magnum .357 Jamal Rasul He is clean-shaven, average in height, with

short black hair, fair-skinned and good body physique. He has a serious humble look He looks more like the FPJ hero icon more than anything else

Kumander Malik Long-haired, bearded, strong facial features with dagger-like eyes

Kumander Ratari Long-haired, tall and well-bodied, gentle face

Mistah–Ang Mandirigma

Alih Heavy-built and intimidating Sarah Balabagan Young, regular built, fair skinned, long hair,

beautiful face Employer Old, fat, strong facial features Karim Old, drunkard, derelict Muraon Slightly fat, average height Sarah’s mother Older, regular build, covered with veil all the

time Women and children

Head covered with veil

Sarah Balabagan Story

Men Head covered with cap


10


Characteristics

Dr. Ahmad Ismael Dark, not very tall, good built, intense eyes, handsome, medium height and weigh, tanned-skinned, gentle facial features

Bae Farida Doesn’t resemble a Muslim woman, looks Visayan; medium height and weight, tanned-skinned, with hair covered in veil.

Fatima Dark hair, dark eyes, beautiful, medium height and weight, fair-skinned, with hair covered in veil.

Musa Looks very muslim, dark hair, thick brows, well-built, handsome, medium height and weight, tanned-skinned, strong facial features, intimidating

Datu Ali Not very tall, dark skinned, not heavy, looks Muslim, medium height and weight, brown-skinned

Bagong Buwan

Rashid Doesn’t look Muslim at all, mestizo, smooth hair, looks very Christian; young, handsome, medium height and weight, light-tanned-skinned, strong facial features

Salek Dark, with mustache, wore black the entire film and a Filipino, average height of a Filipino man, bald, large built, fair complexion looks tough

Ahmed A Filipino, fair complexion, strong physique, bald and in camouflage uniform, tall, short black hair, good body physique/ very masculine, fair complexion, with very short mustache

Dima A Filipino, fair complexion, very short hair, in camouflage uniform, and muscular body, average height of a Filipino man, large built, short wavy black hair, fair complexion

Operation Balikatan

Ibrahim Tall, large built – a big man, with beard and mustache


11

Appendix 6

Internal nature of Muslim Characters


Characteristics

Danao Kind, responsible, keeps his word Minda Mora Liberal with her kisses, loved by friends

Zamboanga

Hadji Rasul Plans things well, obsessed with his lady love Bala-Amai In some situations, she exhibited obedience but

later, she showed stubbornness. There was a scene when she went to the Badjao’s territory to warn Hassan of her tribe’s dark plan, which showed her being impulsive. Her sense of loyalty was questionable because of that but then, she wouldn’t go with Hassan and live with the Badjaos. After their wedding, there were scenes that depicted her being a hardworking wife. She was also supportive with her husband’s decision when he refused to dive for more pearls for her uncle.

Datu-Tahil Strict, authoritative, exhibited a good sense of judgment at first but was later overcome by greed; commanded obedience by giving punishments and setting examples. As just and kind ruler, but later on became greedy

Jikiri Has poor sense of reason and judgment, treacherous, resorts to violence, brute, arrogant

Badjao

Ismail Business-minded Amid Compassionate, loving, protective Dayang Mahalina Stoic, obedient, hopeful

Perlas ng Silangan

Datu Kiram Proud, condescending, angry Muslim Magnum .357

Lt. Jamal Rasul Brave , skillful in fighting, soft-spoken yet fierce, deeply religious, kind, benevolent, compassionate, patient, courageous, brave, gentleman, God-fearing

Kumander Malik Just, honorable, strong leadership, courageous, principled

Kumander Ratari Selfish, lacks discipline, cruel, brutal and violent

Mistah

Alih Sneaky and scheming, dishonest, fanatical


12


Characteristics

Sarah Masunuring anak (obedient), inuuna ang kapakanan ng pamilya (considerate of family members), malakas ang loob/buo ang loob (brave/cannot be intimidated), mature for her age, strong willed, kind, obedient, a bit rebellious

Ama Selfish, immature, hopeless, lazy, irresponsible, cruel

Ina Loyal, family-centered, helpless and unthinking of consequences of Sarah’s desire to work as OFW, lacks authority/understanding of why she should protect her daughter from the harsh realities of life, nagger

Apo Family-centered, disciplinarian, religious, considerate, helpful

Ahmed and Mona Loyal as a friend, concerned with Sarah’s plight


Morauon Selfish; does not think of consequences of his action, cruel, womanizer

Dr. Ahmad Ismael Educated, good breeding, refined, intelligent, introspective, peace-loving, kind, reasonable, caring, helpful, just

Bae Farida Caring, loving especially towards family, fearful of war, proud, passive, loving, wise

Fatima Devoted mother and wife, subservient to the Muslim ways, quiet but intense inside, emotional, meek, passive, loving, helpful

Rashid Quiet with deep emotions, introspective, wondering, proud, idealistic, angry, courageous

Musa Warrior-like, intense, angry, determined to fight, proud, idealistic, principled, strong leadership, angry, insecure, stubborn, courageous

Bagong Buwan

Datu Ali Proud, kind, honorable, accommodating Ahmed A Scout, nice, helpful and trustworthy,

compliant, dedicated to work, loyal Dima Young caring guy, helpful and reliable but

deceitful, disloyal, arrogant Salek Serious, inconsiderate, no feelings, no heart for

other people, selfish, hostile, furious, compliant

Operation Balikatan

Ibrahim Hostile, furious, harsh, demanding


13

Appendix 7

Physical features of Muslim Characters (e.g. height, weight, color, length of hair, etc.)


Characteristics

Danao Tall, mestizo, handsome Minda Mora Tall, slim, mestiza, pretty

Zamboanga

Hadji Rasul Medium height, not so handsome, intense eyes Datu Tahil Dark haired, medium-built, has a rather dark

complexion and a stern face with intense, calculating eyes

Jikiri As abusive, brutal and racist, heavy-set, muscular, has a moustache

Bala-Amai Tall, slim, has long wavy black hair, fair complexion, lovely face, and moves gracefully

Badjao

Ismail Fat, has a fair complexion and mustache Perlas ng Silangan Amid Fair-skinned, as his mother is Spanish Dayang Mahalina Long-haired beauty; not a Muslim face Datu Kiram Brown, tall, well-proportioned body Muslim Magnum .357 Jamal Rasul He is clean-shaven, average in height, with

short black hair, fair-skinned and good body physique. He has a serious humble look He looks more like the FPJ hero icon more than anybody else.

Kumander Malik Long-haired, bearded, strong facial features with dagger-like eyes

Kumander Ratari Long-haired, tall and well-bodied, gentle face

Mistah

Alih Heavy-built and intimidating Sarah Balabagan Young, regular built, fair skinned, long hair,

beautiful face Employer Old, fat, strong facial features Karim Old, drunkard, derelict Muraon Slightly fat, average height Sarah’s mother Strong, dominating yet respectful of her elder Women and children

Head covered with veil


Men Head covered with cap


14


Characteristics

Ahmad Dark, not very tall, good built, intense eyes, handsome, medium height and weigh, tanned-skinned, gentle facial features

Bae Farida Doesn’t resemble a Muslim woman, looks Visayan; medium height and weight, tanned-skinned, with hair covered in veil.

Fatima Dark hair, dark eyes, beautiful, medium height and weight, fair-skinned, with hair covered in veil.

Musa Looks very muslim, dark hair, thick brows, well-built, handsome, medium height and weight, tanned-skinned, strong facial features, intimidating

Datu Ali Not very tall, dark skinned, not heavy, looks Muslim, medium height and weight, brown-skinned

Bagong Buwan

Rashid Doesn’t look Muslim at all, mestizo, smooth hair, looks very Christian; young, handsome, medium height and weight, light-tanned-skinned, strong facial features

Salek Dark, with mustache, wore black the entire film and a Filipino, average height of a Filipino man, bald, large built, fair complexion looks tough

Ahmed A Filipino, fair complexion, strong physique, bald and in camouflage uniform, tall, short black hair, good body physique/ very masculine, fair complexion, with very short mustache

Dima A Filipino, fair complexion, very short hair, in camouflage uniform, and muscular body, average height of a Filipino man, large built, short wavy black hair, fair complexion

Balikatan

Ibrahim Tall, large built – a big man, with beard and mustache


15

Appendix 8

Internal nature of non-Muslim characters

Film Title Name of Character Characteristics

Zamboanga American boat skipper Corrupt, participated in Hadji Rasul’s abduction of Minda Mora

Hassan Brave, courageous, a loving husband, possesses pride as a Badjao and values his people but was willing to give up his tribe and embrace the Muslim ways for the sake of love; is one of the best pearl divers in his tribe

Ama Very considerate, fatherly, practices authority with good judgment, would rather live in peace, thus, tries to avoid misunderstandings with Taosugs

Badjao

Asid Loyal to his tribe, admires and respects Hassan

Perlas ng Silangan Captain Blanco Considerate, just, with good intentions Col. Castro Just/fair, considerate, kind, understanding,

decisive Capt. Rios Disloyal, treacherous, deceitful, traitor,

selfish, inconsiderate, evil Frankie Selfish, violent, arrogant, aggressive, evil Romy Diaz Selfish, violent, arrogant, cruel, sarcastic Col. Castro Selfish, arrogant, inconsiderate

Muslim Magnum .357

Des Kind, helpful, compassionate, trustworthy Sgt. Mario Cariño Passionate, sympathetic, funny, caring, loyal,

strong, reckless Lt. Flavier Smart and intelligent, brave, understanding

but firm Lt. dela Cruz Abusive, courageous Lt. Duterte Nervous wreck, strict, cautious Daniel Aquino Loyal and trustworthy

Mistah

“Buddy” (Joko) Young and bold Amy Kind, helpful Friends and prisoners Matiisin, self-sacrificing, mixed optimism &

pessimism Fixer Selfish, dishonest Other maids Friendly, open to other kababayans

regardless of regional differences Cherry Picache Bitter, hopeless

Sarah Balabagan

Mommy Rose, the prisoner

Very supportive, provides encouragement and shows her motherly instinct


16

Film Title Name of Character Characteristics Lt. Ricarte Fair, objective, strong leadership, dutiful,

honorable, disciplined, courageous Jason Concerned, caring, helpful, affected by what

is going on, perceptive, involved, kind, helpful, friendly, funny, neutral

Francis Tendency to complain and not understand what is going on, just wants to be back home, detached to the Muslims, friendly, rash, principled

Bagong Buwan

Dolor Meek, passive Lt. Gomez Helpful, caring, sensitive, firm in his

decisions, a man with pride, brave, kind, patriotic

Andrew Brave, obedient soldier, strong-willed and bossy, firm, strong, bold

Darren Brave, and Strong-willed Tyler Fearless, confident, compliant, strong Gen. Thurmond Bossy, authoritative, firm

Operation Balikatan

Gen. Espino Strict and protective, indecisive, lousy


17

Appendix 9

Beliefs, Feelings and Emotions, and Mindsets of the Muslim Characters


Their Beliefs Feelings/ Emotions

Mindset/ Attitudes

Danao Believes in customs and traditions of the tribe (such as getting back his betrothed)

Intense Keeps his word

Minda Mora Observant of tradition; Resisted Hadji Rasul to keep her honor

Sweet to her lover; Angry at her abductor;

Fighter

Zamboanga

Hadji Rasul Observant of tradition, but used a ceremony to plan an abduction

Obsessive Doesn’t’ take well to losing

Bala-Amai Love should overcome cultural boundaries

Love, passion, support

A wife should be supportive of her husband.

Datu Tahil Taosugs are superior than Badjaos

Pride, betrayal, greed, admiration

Kindness and privilege given should be repaid by obedience and loyalty.

Jikiri Badjaos are inferior people and, therefore, should serve Taosugs Badjao are lowly

Pride, arrogance, hatred, greed

Taosugs own everything that they can control. Violence is a key to getting what you want, racist

Badjao

Ismail Everything is about business

Greed Money is of utmost importance.

Amid Fairness Loving Protective Dayang Mahalina Obedience Expectation Acceptance

Perlas ng Silangan

Datu Kiram Status Disappointment Attainment


18

Film Title Name of

Character Their Beliefs Feelings/

Emotions Mindset/ Attitudes

Muslim Magnum .357

Lt. Jamal Rasul Eradicate evil at all costs Nationalism Patriotism Faithfulness to God

Anger and vengeance Very courteous and dedicated to fulfill his assignment His anger is mostly superseded by calmness, though it seems prevalent during encounter with the syndicate. He had been very careful in the use of his Magnum.

Never give up on a fight Protection of the Law and Human rights

Kumander Malik Right to land and govern

Anger Armed struggle

Kumander Ratari

Equality Hatred towards Christians

Armed struggle

Mistah

Alih Mindanao for Muslims

Hatred towards Christians

Armed struggle

Sarah Respect for Dignity Helping the family No Muslim woman should suffer poverty

She is not afraid to face the consequence of her misdeeds. She has to work to help her family Sympathy, admiration for her courage and selflessness, indomitable spirit

Self- defense The truth will set her free. As OFW she could be in a better position to help her family Pride in being a woman who has rights and capabilities

Ama If there’s no work, let the family suffer

Immaturity, irresponsible parenthood

Let the wife and children fend for themselves

Apo Religious Head of the family should take care of the family needs

Patience to teach and help his children and grandchildren Sympathy, discipline, pride in being the male head

Teach his children / grandchildren to live the life of a true Muslim Males are the head/providers, females are the homemakers; family problems should stay in the family, not aired before neighbors A Muslim woman should act appropriately at all times Pride in being a Muslim

Sarah Balabagan

Amurao Need to work Not guilty of doing wrong

Would only like to help and earn a living


19

Film Title Name of



Dr. Ahmad Ismael

Education is Important; Freedom is through working to be your best in what you have been gifted with Things can be resolved with reason, backed by proper education. There’s no need for war

Caring and loving person Mixed emotion between taking a stand with his brother, or go back to Manila with family for safety

Not for war and violence; Peace doesn’t have to be achieved through winning the war but winning the war within our own selves and the boundaries of our hearts and minds To keep his family safe, and to cure wounded civilians

Fatima Love for family is paramount Family and community survival

Deeply emotional, caring, loving She feels she was not able to help her son who died, and feels she and Ahmad has a role to play in their community as a nurse & doctor to the injured people, especially the children

Family is the center of one’s life Stay in Mindanao; help cure the injured civilians

Musa Autonomy and freedom must be fought to regain the Bangsa Moro republic Self-determination

Angry with the government for not being able to properly address the needs of the Muslims, violent, uncompromising

Philippine government is the enemy. War must happen for peace to find its way; the effects of war must be endured at all costs

Farida Family and community survival

Muslims should stay in Mindanao, among their kin, where they believe they are safe. She does not want to go to Manila, nor to government base camps which she does not trust

Stay in Mindanao, be among one’s fellowmen

Datu Ali Preservation of culture

Angry yet helpless when his ancestral house got burned

Protection of his property and people

Bagong Buwan

Rashid Follow in the footsteps of his father Musa towards Self determination and autonomy; family and community survival

He is still a boy forced to step in a man’s shoes. He is jealous of Francis, and longs for parents who would take care of him.

Follow in the footsteps of his father Musa; Philippine government is the enemy


20



Mindset/ Attitudes

Ahmed Patriotism and Nationalism Peace and order

Justice, Vengeance and willingness to succeed

Allegiance to service/duty and one’s own countryUnity of Muslim and non-Muslims

Dima Materialistic – “just for the money,” he said.

Deception, vengeance and willingness to succeed

Maybe due to insufficient income, thus, he willingly betrayed his comrades.

Ibrahim Being deprived by the government, low income

Anger, Violence

Injustice, bias to draw attention

Operation Balikatan

Salek Jihad, freedom and revenge Being deprived by the government, low income

Anger, Violence and Pride

Injustice, bias to draw attention Discrimination/ prejudgment


21

Appendix 10

Beliefs, Feelings and Emotions, and Mindsets Shown by Non-Muslim Characters



Mindset/ Attitudes

Zamboanga American boat skipper

No strong belief Just want to enjoy himself with a corrupt life full of women

Pleasure-seeking

Hassan All men should be equal. Love should overcome cultural boundaries.

He thinks Muslims are just and respect other people Love, passion, hope, anger, frustration,

A man should love his wife and should do everything to make her happy even at the expense of his own happiness. Because of the marriage Hassan will be asked to change of way of life that he has to abandon his people to embrace Islam, that the later will force. The Taosugs can have his obedience but he cannot betray his people by revealing to them his people’s treasured secrets (when he refused to show where the rare pearls were found).

Badjao

Ama Man is not measured by his physical strength but by the strength of his character.

A leader should use compassion and diplomacy to lead his people. Misunderstandings can be resolved thru dialogues rather than the use of violence.

Perlas ng Silangan Captain Blanco Religion Blind faith Fixed


22



Mindset/ Attitudes

Mang Gimo Help anyone who is in need

Fatherly, Compassionate

Des Doesn’t easily judge people based on their religion or what other people say Respect for others

Patient and caring Simple happiness, Loneliness Sympathetic

To ready oneself in helping others, not to judge them

Col. Castro Nationalism Patriotism Vested interest

Subtle, calm, very just in holding his authority over his men, muddled coercive, hostile

Allegiance to public service, Protection of the law and the public Does not care for the welfare of the people for the sake of (instant) money.

Capt. Rios Self-vested interest

Treacherous Deceitful Arrogance Anger

Abuse of authority, Disruption of the law

Muslim Magnum .357

Frankie Self-vested interest

Anger Furious Hostile Muddled

Never mind the welfare of the people for the sake of (instant) money.

Sgt. Mario Cariño

Brotherhood Extreme anger and sadness over the loss of lives

Friendly but ready to resort to violence

Lt. Flavier Nationalism and Patriotism

Has high respect for his Muslim counterpart

Peace a better option than fighting

Lt. dela Cruz Heroism Reckless regard even for his own safety

Eager for action

Lt. Duterte Respect for authority

Superiority complex but really has a soft for his men

Prefer to avoid direct confrontation with rebels

Daniel Aquino Friendship Fiercely loyal Ready to sacrifice self for friends

Mistah

“Buddy” (Joko) Brotherhood Scared for self and for friends

Fight just to survive


23

Film Title Name of



Sarah’s friends and fellow prisoners

“Pag mahirap ka, talo ka”

Empathy, hopelessness, helplessness and yet there is some degree of optimism

Sacrifice for family

Amy Work to earn a living Muslims are weird

Scared to tell the truth about her illicit affair with her employer Changes this view about Muslims after knowing Sarah and her travails Salutes Sarah for being strong in her resolve to protect her dignity

Would do anything in exchange of money Filipinos must not allow themselves to be enslaved by other people


Mommy Inez Motherly love Sarah needs moral and emotional support after her death sentence was announced.

Parents would not condemn their children; they will be the first to understand, love and even be proud of what you did.

Lt. Ricarte Nationalism and Patriotism

Swore to an oath of protecting the country and people, regardless of religion and race Does his duty, even if it meant killing fellow Filipinos

Stick to his duty, implement orders given from Imperial Manila

Francis Friendship Alone and afraid, thus looked for people that could protect him

Survival and security

Jason Peace can happen only when the war stops Friendship

Very much in touch with his emotional side; affected by what happened to his parish priest friend; not angry but more saddened Felt sad for the killing of the priest he worked with, and vowed to work closely with Muslims and advocate peace

The war will come to an end when the people fighting learn to reach out to each other Neutral between Muslims and Christians

Bagong Buwan

Dolor Family How to survive the war; she hopes to deliver her baby to a more peaceful world

Survival and security for herself and her baby


24

Film Title Name of



Lt. Gomez Sort of vengeance for the death of his loved ones; can also be perceived as diversion of attention from the demise which eventually become dedication to service Achieve peace and order

Anger for the loss, patriotism, “palabra de honor” Vengeance Rage

To defend the country from the insurgents; justice to prevail

Gen. Espino To get rid of the insurgents and save the victims and soldiers

Indecisive, insecure, resistive

To serve and protect

Lt. Andrew To get rid of the insurgents and save the victims

Very firm and decisive, anger

To serve and protect To succeed

Gen. Thurmond To get rid of the insurgents and save the victims and soldiers

Very firm and decisive To serve and protect

Balikatan

Tyler To get rid of the insurgents and save the victims

Obedient/compliant, fear and vengeance

To serve and protect


25

Appendix 11

Positive or Negative Emotional Appeal of Muslim Characters


Positive Emotions Evoked

Negative Emotions Evoked

Danao Trust – he keeps his word and knows how to get back what he has lost

Cynicism - Could be seen as passive

Minda Mora Pity – she could have been raped

Dislike – she acted like a loose woman, kissing his inamorata quite liberally, even in the presence of friends

Zamboanga

Hadji Rasul Grudging admiration for working to get his inamorata against all odds

Anger and hatred for forcing his way on Minda Mora

Bala-Amai Admiration for standing up for her man Doting niece, obedient, strong willed, kind, dutiful wife,

Irritation for being impulsive and not thinking of the consequences of her actions (She went to the Badjaos to warn Hassan of her tribesmen’s plan to harm him. Though the chief offered to bring her back to her tribe, she refused and stayed with Hassan till morning thus giving her tribesmen more reasons to hate the Badjaos.)

Datu Tahil Hope that he would not lose his sense of good judgment Just and sympathetic ruler

Fear because he was quite powerful and knew how to use his power to his advantage. Anger for his evil scheme of using his niece and her husband to acquire more wealth Emotional outburst, pride

Jikiri Nationalist Anger because he was arrogant and always resorted to violence to get his way. Overzealous, brutal, racist, arrogant, trouble maker

Badjao

Ismail None None Amid His compassion to the slaves is

worthy of emulation, worthy of a leader.

He is too good to be true.

Dayang Mahalina She is a caring niece to her uncle, the dying sultan, so she inspires devotion to family.

She is a “prize” that is won by men.

Perlas ng Silangan

Datu Kiram His wounded pride leads to his end, and confirms the adage that pride precedes every downfall.


26

Film Title Name of

Character Positive Emotions

Evoked Negative Emotions Evoked

Muslim Magnum .357

Lt. Jamal Rasul Fear of God Almighty, allegiance to public service, trustworthiness, and kindness are some of the positive emotions drawn from the character of Lt. Jamal.

He became overly sentimental over the death of the boys who saved his life. On the aspect of vengeance for the death of the two boys, indeed, man would avenge when badly hurt (though not supposed to). Lt. Jamal infused negativity through his vengeance in his task of eliminating the syndicate.

Kumander Malik He was just and fair and punish anyone who commits crimes to humanity even to his Muslim brothers

Resort too much on violence to settle score

Kumander Ratari

None Him kidnapping a soldier and raping his wife is just plain criminal and cowardly act

Mistah

Alih None He was clearly portrayed just as a bad guy

Sarah Her strong will to protect her dignity (virginity) as a person. Her resolve not to succumb to pain if she deserves the punishments inflicted on her. Her concern about the economic status of her family and the plight of her younger siblings Courage, empathy, admiration

Her defiance to some norms (refusal to wear her head dress, wearing of make-up) Lack of discernment for what is right or wrong or its consequences

Ama (Sarah’s grandfather)

Doting grandfather to Sarah, taught her the values of a true Muslim according to the Koran Concerned father to Sarah’s parents having advised both of the bad things they do with their family.

As indicated, his approval of the arranged marriage between Sarah’s mother and father. Both blamed the failure of their marriage to such arrangement. Anger at being irresponsible

Babo Ima The discipline imposed on Sarah after she was caught stealing money in her store.

Exploitation of Sarah as shown by the non-payment of work rendered

Sarah’s Mother Insisted that Sarah must return the money she got from Babo Ima, telling her that it is a sin to steal

Her constant fights with his husband in front of the children, which are witnessed by their neighbors. Her consent for Sarah to work as OFW even if she knew that Sarah lied about her age Anger for her inability to hold the family together in spite of the husband’s immaturity

Muraon His being truthful to Sarah’s parents about her making her age appear older so she could qualify as OFW; None

He shows no concern about the consequence of falsification of documents. His selfishness to earn money at the expense of a young lady

Sarah Balabagan

Karim His neglect and abuses to his own family; Anger for their insensitivity to the truth of attempts on Sarah’s life and their indifference to address the problem


27

Film Title Name of



Dr. Ahmad Ismael

Sympathy and Admiration He was peace-loving man but when push came to a shove, he also stood up to fight. This is common human nature, whether Muslim or Christian

None

Bae Farida Sympathy and care; Love for family and community, and Muslim land

Distrust

Fatima Sympathy especially when her son died; Love for family and community

None

Musa Pride and love for country (but he manifests it differently and violently to some extent) None

Anger when he was just bent to fight the battle Felt his anger as he justified to Ahmad the injustices and corruption made to Muslims for many centuries

Datu Ali Ancestral pride Felt his anger and helplessness as he stood watching his ancestral house burn to the ground

Bagong Buwan

Rashid Love for family and community Felt his irritation to Francis, whom he thinks is so ignorant about Muslim ways and beliefs Felt his jealousy towards Francis who got better education, family, and way of life than he.

Balikatan Ahmed He was very loyal and dedicated to his work. Admiration and respect, because he doesn’t care killing fellow Muslim brothers as long as they do something wrong.

None

Dima Admiration and awe for showing his good gentle side. In the middle of the battle, he went back and saved the child and whose mother was shot dead.

He committed treason, has been deceitful to his countrymen for the sake of the reward money.

Ibrahim None

They might have deeper reason for doing such crime – for one, maybe extreme poverty or being deprived of equal opportunity. Thus, they resort to this activity for their clamors to be heard.

Salek None Hatred because he is so selfish, he even kills his own tribe, he is insensitive and inconsiderate


28

Appendix 12

Positive or Negative Emotional Appeal of Non-Muslim Characters


Positive Emotions Evoked

Negative Emotions Evoked

Zamboanga

American boat skipper

Friendliness Can’t trust him – he is morally corrupt

Chieftain Brave, assertive, loyal to tradition

Disgust because he turned his back from his own people even though his people needed him. Anger for going too far as harvesting his people’s source of livelihood just to prove his loyalty and obedience to the Taosugs

Hassan Brave, determined; admiration because of his diplomatic approach on solving problems, courage to prove himself as someone deserving of a Taosug woman

None

Ama Respect because he is a wise ruler, has a good sense of judgment, and understanding and considerate to his son.

Frustration for his passive (almost submissive) behavior toward the Taosugs

Badjao

Asid Admiration because he welcomed Hassan back to their tribe even though he knew that the other turned his back on them Admiration for accepting that Hassan was a better diver than him

Perlas ng Silangan Captain Blanco None His blind allegiance to cross and crown leads to the desire for conquests, or colonization.


29

Film Title Name of


Evoked Negative Emotions

Evoked Capt. Rios None You hate him for being a traitor

and deceitful He took advantage of his position in doing illegal activity. Leading and misleading many lives is such a heartless act

Mang Gimo He evokes the image of an ideal father. He becomes endearing when he mourned the death of the two boys he took care of like his own sons.

None

Muslim Magnum .357

Des So trustworthy, helpful, and supportive as she heed the request of Lt. Jamal to keep his identity in cooperation to his mission.

None

Sgt. Mario Cariño Shows love for family and friends

Lies to his wife and treats women as objects. Reacts without thinking when emotional

Lt. Flavier Shows genuine concern for his men

None

Lt. dela Cruz Despite his faults he made up for it in the end with his self-sacrifice

Treats women as objects

Lt. Duterte He is actually soft-hearted and cares for his men despite his menacing attitude

Too strict and can be abusive

Daniel Aquino Shows real care for family and loyalty to friends

Lies for the sake of friendship

Mistah

“Buddy” (Joko) Shows real fear of conflict None Amy Her readiness to help a

needy OFW, sharing her food and even money when necessary depicts the Filipino value of concern.

Her yielding on her employer’s sexual cravings for pay lowers the dignity of Filipino OFWs.

Fixer None Anger, hatred Government officials

Hope Government officials are known for the media hype they create for their benefit but miserably fail in their promises to help. This characteristic evoked negative emotions when they were slow in negotiating for Sarah’s release.


Fellow prisoners Very supportive, hopeful Bitterness is a natural emotion given the condition the characters are in. The same emotion is conveyed to the viewer who sees their plight as government’s negligence or indifference toward their plight


30

Film Title Name of



Jason Sympathy and understanding None Francis de los Santos

Caring and understanding showed towards the plight of the boy Dedicated government volunteer-worker, kind towards Muslims, who sees through color, race and religion. Funny and easy to get along with The boy eventually learned he had more things in common with the Muslim children/people, than differences, as he spent time interacting with the Muslim community

None because he was a small boy, who knows what is only told of him. But like Rashid, I felt irritation towards Francis’ parents who are still ignorant of Muslims and Islam religion, like most people are

Lt. Ricarte Patriot soldier, dutiful and dedicated

None

Bagong Buwan

Dolor Love of family and community. Did not change her religion even if the one who got her pregnant is a Muslim

None

Lt. Gomez Respect and compassion for his love for his family and concern for his troops is admirable. He was so brave as to take sole responsibility in fighting against the rebels to save the kidnap victims and his comrades at the end of the movie, very patriotic. He kept his words to Lt. Andrew, that he maybe only one man but he can make a difference.

Andrew Admiration because of his leadership. Allegiance to service and call of duty

Anger because he is sometimes selfish and unconcern. Have shown a little of arrogance over the Filipino soldiers’ skills.

Darren Adoration because even he is just a medic he was able to manage to be a real fighting soldier.

Tyler Appreciation and high-regards, for doing his duties even he was injured.

Gen. Espino He was very indecisive as not to be able to make order when asked by one of the pilots. This was the time when the victims were run after by the rebels and the soldiers run out of firearm with bullets. This manifests the crippled bureaucracy in our country.

Gen Thurmond Allegiance to service and call of duty

Operation Balikatan

Tyler Allegiance to service and call of duty


31

Appendix 13

Crime Delinquency Violence Performed by Muslims


Crime Delinquency Violence Performed

Zamboanga

Hadji Rasul He abducted Minda Mora and caused the death of her tribesmen.

Jikiri Spying on Hassan and Bala-Amai’s relationship Attempting to murder Asid and then Hassan after following the latter in one of his diving sessions with Asid Deprived Hassan of his economic gain [fish] Threatened to kill him Committed arson by burning Hassan’s boat Assaulted Hassan to kill him but died instead

Badjao

Datu Tahil Using his niece as bait to acquire more pearls from Hassan Threatening Hassan and Bala-Amai when Hassan would not get more pearls for him Burning Hassan’s house to take his revenge when Hassan refused to dive for more pearls.

Perlas ng Silangan Datu Kiram Murder, through a ritual that’s called “juramentado” Muslim Magnum .357

1. Lt. Rasul Jamal (FPJ)

All the shooting incidents that took place and where he was involved were all in line with his assignment to uncover the leader of the syndicate and eliminate the group. However, there is one incident where he had solely held authority in his hands –when he lost trust upon knowing that a high-ranking official was a supporter/protector of the group. The killing spree that he performs, though targeted on criminals, is without the blessing of the law.

Kumander Malik Sadism, numerous killings Kumander Ratari Rape, torture and killing

Mistah

Alih Kidnapping, torture and brutal killing Sarah Killed her employer; Petty theft (getting money from her

aunt’s store) Muraon Illegal recruitment, Violation of law on cheating age of

domestic helper Karim Negligence and hostility to family, alcoholism,

womanizing Father of Arab employer

Rape


Other Arab employers as retold by the maids

Rape, physical abuse such as burning the maid’s back, and other forms of torture


32

Film Title Name of

Character Crime Delinquency Violence Performed

Musa Led the MILF in the struggle to win against the Philippine military

Dr. Ahmad Ismael

Led the community and family later on when they were evacuating and caught in the crossfire of the military and the MILF. Forced to kill in defense of self and family safety

Musa Forced to kill in defense of his beliefs Datu Ali Forced to kill in defense of property

Bagong Buwan

Rashid Forced to kill in defense of his beliefs Ibrahim and Salek

Kidnapping activity of these rebels is a crime, killing their victims is a crime. Killed soldiers, innocent people, and even his co-troops

Ahmed Shot and bombed terrorists.

Operation Balikatan

Dima Shot and bombed terrorists.


33

Appendix 14

Crime, Delinquency or Violence Performed by Non-Muslim Characters


Crime Delinquency Violence Performed

Zamboanga

American boat skipper

Complicity in the abduction of Minda Mora

Badjao

Hassan Killed Jikiri due to self-defense when Jikiri tried to murder him

Using his niece as bait to acquire more pearls from Hassan Threatening Hassan and Bala-Amai when Hassan would not get more pearls for him Burning Hassan’s house to take his revenge when Hassan refused to dive for more pearls

Perlas ng Silangan None “Col. Castro” Gave orders to the members of the syndicate to steal,

sell drugs, kill, etc. Eddie Garcia He was present in running after Lt. Jamal after the order

to arrest him. The shooting took place in some kind of an abandoned building/unfinished building. He was the one who killed Jimmy Fabregas, leader of the syndicate.

Paquito Diaz He is present in almost all the shooting incidents in the movie.

Romy Diaz The worst scene he was involved at was shooting the two kids to death.

Muslim Magnum .357

Jimmy Fabregas His character in the movie is tantamount to crime/delinquency/violence. (He gives order to the members of the syndicate.)

Sgt. Mario Cariño Carnage from crossfire, cheating, disturbance of peace and order, destruction of private property, insubordination

Lt. Flavier Mercy killing Lt. dela Cruz Abuse of authority Lt. Duterte Abuse of authority Daniel Aquino Participated in the carnage

Mistah

“Buddy” (Joko) Participated in the carnage Sarah Balabagan Story

Fellow prisoners Killed employer because of rape; theft; framed up by employer because they tried to escape the employer’s brutality

Vigilantes (First part of the film)

Killing innocent Muslims (including children)

Philippine Military Killing innocent Muslims

Bagong Buwan

Lt. Ricarte Forced to kill because of his duty to serve the government

Lt. Gomez Shot and bombed terrorists Andrew Shot and bombed terrorists Darren Shot and bombed terrorists

Operation Balikatan

Tyler Shot and bombed terrorists


34

Appendix 15

Types of Relationships Among Muslim Characters

Film Characters Nature of Relationship Danao and Minda Mora Romantically involved with each other Hadji Rasul and Minda Mora

Minda Mora just ignored and later resisted him. Zamboanga

Minda Mora and Datu Tambuong

Father-daughter relationship

Badjao Datu Tahil and Bal-Amai

Uncle and niece: The uncle was protective of his niece and the niece was obedient to her uncle.

Amid Husband-wife with Dayang Mahalina Dayang Mahalina Husband-wife with Amid

Zamboanga

Datu Kiram Leader, fighter Muslim Magnum .357

Lt. Jamal Rasul and friends

A friend to many, a subordinate

Lt. Jamal and Des Pure platonic relationship that somewhat frustrates the expectations of the viewers for a romantic relationship between the protagonist and the character closest to the image of the leading lady.

Mistah Kumander Malik Father and son Sarah’s mother and father

Husband and wife. A marriage that did not work out due to selfishness

Sarah and Ahmad Friends/classmates


Sarah and Mona Cousins Ahmad and Fatima Husband and wife Farida with Ahmad and Musa

Mother and Children

Musa with Rashid Father and Son Ahmad with Ibrahim / (Rashid)

Father and Son

Ahmad with Musa Brother to brother

Bagong Buwan

Ahmad/Datu Ali with Muslim civilians

Leader to constituents

Ahmed and the rebels They were adversaries. Dima and Ahmed Comrades

Operation Balikatan

Ibrahim and Salek Rebels – Leader and follower respectively


35

Appendix 16

Types of Relationships Among Non-Muslim Characters

Film Characters Nature of Relationship Zamboanga None

Bola Amai & Hassan Father and son: The father who is the tribe chief expected his son to succeed him and continue the traditions of the tribe. The son who knows his duties turned his back from his tribe and family to marry a Muslim woman. Later on, the son asked for forgiveness and the father accepted him back into the tribe with his wife and their baby. Love, loyalty and faithfulness to one another

Badjao

Datu Tahil & Hassan Mutual admiration for courage and bravery, word of honor, determination, among tribes folks

Perlas Ng Silangan Captain Blanco Ship captain, leader Col. Castro Established good superior-subordinate relationship Eddie Garcia Both superior in his legal and illegal engagement Paquito Diaz A syndicate member Romy Diaz A syndicate member Jimmy Fabregas A syndicate leader

Muslim Magnum .357

Des A friend Sgt. Mario Cariño Husband-wife, son-father, son-mother, suitor,

bestfriend, buddy, “kumpare” Lt. Flavier Superior officer Lt. dela Cruz Superior officer Lt. Duterte Superior officer Daniel Aquino Bestfriend, husband-wife, buddy

Mistah

“Buddy” (Joko) Buddy Amy Friend Sarah Balabagan

Story Mommy Inez Friend Bagong Buwan Francis and Jason Like a big brother to a small brother; Friends Lt. Ricarte and his

command battalion Leader to followers

Lt. Gomez and Teresa Husband-Wife Balikatan Operation Among the soldiers Supervisor-subordinate, comrades


36

Appendix 17

Relationships Between Muslim and Non-Muslim Characters

Film Characters Nature of Relationship Zamboanga Hadji Rasul and

American boat skipper Loose and casual friendship that is mostly morally corrupt

Datu Tahil & Hassan Mutual admiration for courage and bravery, word of honor, determination

Badjao

Hassan and Bala-Amai Husband and wife: They were happy as a married couple. The wife depended on her husband and at the same time supported her husband’s decisions to stop diving for pearls (as he was already converted) and to live with the Badjaos (after their house was burned down). The husband loved his wife and lived in the lifestyle of his wife’s people. He worked hard as a farmer to be able to live in peace and provide for his family.

Amid Leader, “negotiator” Perlas ng Silangan Captain Blanco Leader, “negotiator” Lt. Jamal Rasul and Col. Castro

They had a good superior-subordinate relationship; with high respect to one’s own duty.

Lt. Jamal and the syndicate members

They were adversaries.

Muslim Magnum .357

Lt. Jamal and Des They had special platonic friendship. Pure platonic relationship that somewhat frustrates the expectations of the viewers wishing for a romantic relationship between the protagonist and the character closest to the image of the leading lady.

Kumander Malik Friendship with a Christian soldier owing to owing to a debt of gratitude for saving his son from drowning

Mistah

Sgt. Mario Cariño Casual friendship Sarah Balabagan Story

Employer and Amy Unlawful sexual relationship (sex for pay); illicit relationship

Rashid and Francis Became friends later on; not friends in the onset of the story

Bagong Buwan

Ahmad and Lt. Ricarte Casual friends Among the soldiers (with Ahmed or Dima as a Muslim)

Comrades, Supervisor-Subordinate

The soldiers and the rebels

They were adversaries.

Balikatan

Lt. Gomez, Andrew, Dima, Ahmed, Darren, and Tyler.

Soldiers in the same squad and became friends.


37

Appendix 18

Involvement in Weapon bearing Situation by Muslim characters

Film Characters Weapon-Bearing Situation Zamboanga Hadji Rasul and his

men Used their weapons to snatch Minda Mora and kill her tribesmen

Jikiri or Hikiri Kris, Kiping, gulok. Was always carrying a sword since he was considered as the right-hand man of the chief (sort of a bodyguard and spy)

Badjao

Datu Tahil Carried with him a short sword (like a “bolo” of some sort) when he and Ismail paid a visit to Hassan and Bala-Amai to persuade Hassan to dive for more pearls.

Amid Sword, in his fight with three slaves; sword, in the attack by Datu Kiram; and sword, in the attack by Spaniards

Perlas ng Silangan

Datu Kiram Sword, in his fight with three slaves; sword, in his attack on the village; and sword, in his fight with Amid

Muslim Magnum .357

Lt. Jamal Rasul As a military man, he always had with him his gun – the Magnum .357, which he uses in his undercover mission. He carries his weapons all the time. Uses it all the time.

Kumander Malik During raids, clashes, execution Kumander Ratari During clashes, torture

Mistah

Alih During raids, ambushes, clashes Sarah In defense of herself after experiencing various

sexual advances from her employer Sarah Balabagan Story Father of the Arab

employer who tried to rape Sarah

Knife

Musa Long firearms Led the MILF in the struggle to win against the Phil. military

Ahmad Long firearms; led the community and family later on when they were evacuating and caught in the crossfire of the military and the MILF

Rashid Long firearms

Bagong Buwan

Datu Ali Kris Operation Balikatan Ahmed, Dima, Ibrahim,

Salek As soldiers and rebels against each other, they all held gun, grenade, and other kinds of weapon all throughout the movie.


38

Appendix 19

Involvement in Weapon-Bearing Situation by Non-Muslim characters

Film Characters Weapon-Bearing Situation Zamboanga American boat skipper Used weapons to keep back the Muslims who

wanted to take back Minda Mora Badjao

Hassan Spear wrestled against Jikiri, kris Hassan carried with him a sword when he decided to ask for Bal-Amai’s hand in marriage, knowing that he would be on hostile ground. He used his sword as self-defense when the Taosug warriors attacked him before he could get near Datu Tahil’s house where Bala-Amai was also staying.

Perlas ng Silangan None

All the members of the syndicate, including Eddie Garcia

Had their guns with them all throughout the movie as their illegal business demands for it.

Col. Castro He carries gun being an officer.

Muslim Magnum .357

Capt. Rios Being a police officer and a syndicate lord, he carries his weapon all the time.

Sgt. Mario Cariño During raids, surveillance, reinforcement, defense of camp, impress a girl, attack on his superior

Lt. Flavier Defense of camp, reconnaissance mission Lt. dela Cruz During ambush, reinforcement Lt. Duterte Defense of camp Daniel Aquino During raids, surveillance, reinforcement, defense of

camp

Mistah

“Buddy” (Joko) During raids, surveillance, reinforcement, defense of camp


None

Bagong Buwan Lt. Ricarte As part of the Philippine Military that attacked the MILF; long firearms

Lt. Gomez As soldiers, they all carry guns and other weapons all throughout the movie. Encounter with the terrorists in the mountain, forests caves and lakes.

Gen. Espino Encounter with the terrorists in the mountain, forests and lakes.

Lt. Andrew Encounter with the terrorists in the mountain, forests and lakes.

Gen. Thurmond Encounter with the terrorists in the mountain, forests and lakes.

Tyler Encounter with the terrorists in the mountain, forests and lakes.

Operation Balikatan

Darren Encounter with the terrorists in the mountain, forests and lakes.


39

Appendix 20

Economic Status of Muslim Characters

Film Characters Economic Status Danao Not very rich, had to work hard to earn enough to marry

Minda Mora Minda Mora Muslim princess and seemed very privileged

Zamboanga

Hadji Rasul His title says it – has some economic means Datu Tahil Trading, Wealthy Bala- Amai Rich also as being a niece of the chief Hikiri Living comfortably as he was the right-hand man of the

chief

Badjao

Ismail Rich because he was a trader/businessman Pearl trading Amid Poor, but born of a Datu Dayang Mahalina Rich, royal

Perlas ng Silangan

Datu Kiram Rich, royal Muslim Magnum .357

Lt. Jamal Rasul (FPJ) He had an average lifestyle. The film did not tackle his background family or anything about his personal status. He was probably middleclass

Kumander Malik Although not clear, he is depicted as coming from a well to do family through his bearing, stature and clothing

Kumander Ratari Not indicated but stature suggest he is considered from affluent or well-known family

Mistah

Alih Not indicated clearly but stature and position suggest he is from a well-off family

Sarah Poor, living with different relatives All Filipino main characters

Poor Sarah Balabagan Story

All Arab characters Rich Dr. Ahmad Ismael He is depicted as a successful doctor-practitioner in

Manila, so audience can assume he is not poor and must have some money set-aside

Fatima She is a nurse. The audience assumes they are in the province because of their family, but could go to Manila to work if she really wanted.

Ahmad and Fatima Not poor, just living comfortably but not shown to be rich Datu Ali His name, proud bearing and display of ancestral

artifacts makes one assume he belongs to the upper class among Muslims, with lands and precious possessions

Bae Farida Poor but comfortable Musa Audience can assume he belongs between middle to

lower middle class, because he was able to study in Manila, but later on went back to the province to fight for his beliefs

Bae Farida Audience can assume she must belong between middle to lower middle class, as she was able to send her children to Manila to have a better education

Bagong Buwan

Rashid Same economic status with Musa


40

Film Characters Economic Status Operation Balikatan Ahmed Might be living an average lifestyle Can’t tell, lives in the

camp Dima Might be living below average or just average. Can’t tell,

lives in the camp. Ibrahim Might be living below average or just average. Salek There was nothing about ransom in the movie, and even

if there is, that won’t speak of the lifestyle of the rebels. Living in a province, member of the terrorists


41

Appendix 21

Economic Status of Non-Muslims

Film Characters Economic Status Zamboanga American boat skipper Leisurely living, so he may have some means

Hassan Pearl diving, fishing Middle class Asid Pearl diving Middle class

Badjao

Ama Middle class Perlas ng Silangan Captain Blanco Apparently rich, considering his bearing

Col. Castro As expected of a high-ranking official, he must have a luxurious lifestyle.

Capt. Rios The head/protector of the syndicate is undoubtedly living in luxury, while the men either have average or poor lifestyle. Rich

Des She is living within her means. She has a little roadside canteen where she sells some food as source of income.

Frankie Middle class Punggoy and Kikoy Poor

Muslim Magnum .357

Mang Gimo Poor Sgt. Mario Cariño He is depicted coming from a middle-class family Lt. Flavier With his stature and education he is likely coming

from a well-off family Lt. dela Cruz Not clear Lt. Duterte Not clear Daniel Aquino From the looks of his house, he is from a poor family

living near a lake

Mistah

“Buddy” (Joko) Not clear Amy Poor, must work to support her family of 2 children Fixer Middle class


Other maids Poor Jason He is depicted coming from a middle to lower

middle-class family Low income but not very poor Francis de los Santos Rich He sang the alma matter of Ateneo de Manila,

thus making one assume his parents could afford to have him study there

Lt. Ricarte He is depicted coming from a middle-class family

Bagong Buwan

Dolor He is depicted coming from a middle to lower middle-class family

Lt. Gomez An average lifestyle Gen. Espino Might be rich as a top or high-ranking official Lt. Andrew Members of the US Military forces are taken care of

very well. Gen. Thurmond Might have a lucrative life

Operation Balikatan

Tyler Might have a lucrative life


42

Appendix 22

Deportment, Language, Manner, Tone of Voice, Type of Dialogue of Muslim Characters

Film Characters Deportment

Danao Courteous, polite, not aggressive even to Minda Mora

Minda Mora Sweet, even tempered

Zamboanga

Hadji Rasul Assertive, even aggressive as shown by planning an abduction

Datu Tahil Too forceful voice, stern character, Badjao Jikiri One with deceptive voice, abrasive Datu Tahil Talks in a low, authoritative and commanding

voice, reverberating when talking in anger Bala-Amai Soft but authoritative voice, showing strength of

character in a woman Hikiri Almost always speaking in anger, has a loud

voice except when talking with Datu Tahil

Perlas ng Silangan

Ismail Speaks with excitement, possesses a little high-pitched voice for a man

Muslim Magnum .357

Lt. Jamal Rasul (FPJ) Soft spoken but emphatic, with sense of dignity, very cordial Talks and acts like any other hero portrayed by FPJ. Very few words, very few actions, and gestures. Serious most of the time and seldom smiles

Kumander Malik Firm and with a sense of pride, the dialogue during his confrontation with Rustom was corny and delivered in trying hard, emotive fashion

Kumander Ratari Strong and forceful with bad intentions

Mistah

Alih Firm Sarah Balabagan Quiet and observant, mild-mannered, a bit

defiant and strong-willed Sarah and her school friends

Language is respectful

Ina Tone is angry, Nagger Ama Tone is bitter Apo Talks with wisdom and authority


Arabs Language and tone: noisy, heavy


43

Film Characters Deportment Dr. Ahmad Ismael Soft spoken as perhaps influenced by a refined

upbringing or by his education Firm, mild-mannered and with a sense of pride

Fatima Gentle, mild-mannered, soft voice Soft spoken, sweet intonation when speaking

Bae Farida Gentle, mild-mannered, soft voice Soft spoken but with more strength

Musa Deep-set voice, more angry, more forceful and warlike Loud, bossy, but firm and with a sense of pride

Datu Ali Firm, talks with pride, mild-mannered

Bagong Buwan

Rashid Ragged, rash, aggressive Ahmed Very alert Big strong voice, speaks in English,

Filipino, and his dialect. Dima Spoke in English; Light Voice, sarcastic, uneasy Ibrahim Violent/harsh/furious

Operation Balikatan

Salek He rarely speaks in the movie. Not too talkative, speaks in Filipino.


44

Appendix 23

Deportment, Language, Manner, Tone of Voice, Type of Dialogue of Non-Muslim Characters

Film Characters Deportment Zamboanga American boat skipper Couldn’t care less about what happens, but in the

end, showed some assertion when he defended Minda Mora and allowed her to escape

Hassan Talks with courage and well-chosen words that do not invite antagonism

Ama Talks with wisdom and authority, fatherly most of the time

Badjao

Asid Perlas ng Silangan Captain Blanco Speaks in Spanish, credible, determined

Col. Castro Emphatic, mellow but firm Capt. Rios Sarcastic Talks fluently and is suave; speaks both in

English and Filipino Demanding, Callous Paquito Diaz Hoarse, harsh, insensitive Romy Diaz Hoarse, harsh, insensitive Des Soft-spoken, so pleasant Frankie Colloquial

Muslim Magnum .357

Mang Gimo Timid Amy Soft-spoken, helpful, secretive Sarah Balabagan

Story Mommy Inez Soft spoken Jason Just regular speaking manner, not tough, just

ordinary sometimes soft spoken and mild-mannered Bagong Buwan

Francis “Makulit” sometimes, kind of restless, voice is that of a regular child

Lt. Gomez Spoke in Tagalog and English; very calm Slow voice, Speaks in English with a different kind intonation

Gen. Espino Spoke in English too; apprehensive Lt. Andrew Spoke in English; forceful, aggressive Chest out,

Strong Husky voice, Speaks in English in an American accent

Gen. Thurmond Spoke in English; authoritative, aggressive Tyler Spoke in English; very alert, though he had been

arm wounded big strong voice, speaks English in an American accent

Operation Balikatan

Darren Small voice with an American accent, his body drooping.


45

Appendix 24

Industry and Commerce among Muslim Characters

YES NO Industry and Commerce among Muslim Characters 1 2 3 4 5 6 7 8 T 1 2 3 4 5 6 7 8 T

1. Muslim characters are looking for business opportunities in the story

3 5

2. Muslim characters are making a loan to start a business or keep it going

1 7

3. Muslim characters are investing in business, hoping for a profit

2 6

4. Muslim characters own business

4 4

5. Muslim characters actively involved in running their business

3 5

6. Muslim characters hiring qualified workers for their business

2 6

7. Muslim characters are using networks of friends and relatives to keep the business going

3 5

8. Muslim characters are proud of their business and talking about it with pride

2 6

9. Muslim characters are talking about their business goals or planning for the future of their business

2 6


46

Appendix 25

Industry and Commerce among non-Muslim Characters

YES NO Industry and Commerce among Muslim Characters 1 2 3 4 5 6 7 8 T 1 2 3 4 5 6 7 8 T

1. Muslim characters are looking for business opportunities in the story

8

2. Muslim characters are making a loan to start a business or keep it going

8

3. Muslim characters are investing in business, hoping for a profit

8

4. Muslim characters own business

2 6

5. Muslim characters actively involved in running their business

1 7

6. Muslim characters hiring qualified workers for their business

8

7. Muslim characters are using networks of friends and relatives to keep the business going

1 7

8. Muslim characters are proud of their business and talking about it with pride

1 7

9. Muslim characters are talking about their business goals or planning for the future of their business

1 7

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