The hype is real: a different Vic Sotto stars in The Kingdom.
In fact, fans who are expecting to see Enteng Kabisote as a wise-cracking monarch delivering one punchline after another will be sorely disappointed.
The Kingdom is not a comedy. That in itself should already warn fans of the seasoned comedian. It depicts a fictional world but not a fantastical one—there are no elves, monsters, or anything of the sort here.
It’s important to manage one’s expectations accordingly before flocking to the cinemas to see the film hailed as Second Best Picture of the 50th Metro Manila Film Festival (MMFF).
THE KINGDOM’S INTRIGUING PREMISE
Directed and co-written by Michael Tuviera, who tied for Best Director at the MMFF Gabi ng Parangal, The Kingdom reimagines the Philippines as a country that has never been colonized.
Rather than the Philippines—a name given to our country by Spanish colonizers—the three main islands of the archipelago are united under Kaharian ng Kalayaan, and the ruling family comes from the bloodline of Bathala.
Language reinforces the premise, as the monarch is referred to as Lakan Makisig Nandula (Vic Sotto)—rather than king or hari—and his children are Magat Bagwis (Sid Lucero), Dayang Matimyas (Cristine Reyes), and Dayang Lualhati (Sue Ramirez).
Thanks to visual effects, the film does a good job in blending familiar landscapes with the imagined kingdom. There are sweeping drone shots that show the Guadalupe Bridge with billboards showing support for the monarchy, as well as a hospital building that looks suspiciously like a popular mall.
The film’s production design also pays attention to small details, such as interior shots that look like one’s ancestral home, a design on the floor tile that becomes the focal point of a pivotal scene, and a reimagined flag. All of these details seem plausible and not gimmicky, so it’s no wonder the film took home awards for Best Visual Effects and Best Production Design.
The Kingdom also makes it a point to showcase certain aspects of our culture as part of modern society.
For instance, Lakan Makisig consults the head babaylan (Ruby Ruiz) and takes her premonition seriously. The ancestral law of “an eye for an eye, a tooth for a tooth” is also strictly enforced, and calling upon such laws sets the stage for an intense scene between Vic and Piolo Pascual, who plays the mysterious Sulo.
Seeing such rituals and practices have a place in contemporary times makes the viewer think of what parts of our culture may have been lost because of centuries of colonization, and how would our daily lives be different if those lived on today. The film’s Gatpuno Antonio J. Villegas Cultural Award is, therefore, well deserved.
MISSED OPPORTUNITIES
While The Kingdom succeeds in drawing the audience into a world where uniquely Filipino culture is at the forefront, there are quite a few missed opportunities that could have strengthened the film’s premise and overall storyline.
One big misstep was the fashion.
In fact, seeing Cristine’s pristine white power suit and Sue’s intricate wedding gown makes one question the Western influence in a country that was supposedly not colonized. It would have made a bigger impact to use native fabrics and patterns for such important scenes and occasions. While there are Filipino pieces, particularly in Vic’s wardrobe, the film could have been more consistent in its fashion choices to send the message that Filipino fabrics are not costume-y and can very well be tailored for everyday wear.
Another is the casting of Eula Valdez, who plays the wife of Vic, but only appears in a painting.
Having the actress appear in flashback scenes with Vic could have explained why their children grew up the way they did. The lack of backstory for the main characters makes it difficult to understand the motivations that led to their choices.
STANDOUT PERFORMANCES
Because of the underdeveloped characterization, the viewer can only appreciate each actor’s performance in specific scenes, instead of really embracing the character as a whole.
Vic’s stoic performance is borderline stiff. The comedian very rarely smiles and never laughs throughout the film, yet the performance is saved by close-up shots that show the pain and sorrow in his eyes.
Cristine’s dramatic prowess is on full display, particularly in a scene with Vic where his stoicism is in sharp contrast to her emotional outburst. She is able to pull off her complex character, even if there are so many questions surrounding her role.
Sue is effective in her portrayal of the naive, idealistic youngest daughter whose eyes are later opened to the harsh and cruel realities of the world. Her charm makes it believable that she is truly the apple of her father’s eye.
The one who suffers most from the underdeveloped characterization is Sid, as it is unclear why his family finds him so lacking. Still, the actor makes the most out of what he is given, and is able to deliver in a particularly heartbreaking scene.
Piolo gives a commendable performance, as audiences have come to expect from him, but he lacks chemistry with Sue. It is unclear if there was ever meant to be any chemistry in the first place, with the way their respective storylines play out.
The special participation of Iza Calzado and Cedrick Juan are truly special, as both actors truly shine and captivate the audience in the very limited time they have on screen.
SOCIAL COMMENTARY
The Kingdom leaves viewers with a lot of questions upon leaving the cinema, mainly because it shows that a non-colonized Philippines does not necessarily mean a peaceful and idyllic world.
The country is still highly corrupt, plagued by poverty and injustice, and filled with people who are displeased with the government and longing for peace. How do two opposing sides achieve peace without bloodshed and sacrifice?
That the kingdom is called Kalayaan and its people Malaya, yet the corruption and betrayal come from amongst one’s own people, also begs the question if the people are truly free. What is freedom, and how far must one go to achieve it?
Such questions are always good to think about and act upon, long after the film’s end credits have rolled.
