Just like Mel Gibson had bravely saved the Scottish in the critically acclaimed movie, “Braveheart”, John Wayne became a beacon of hope for the Philippines in time of war and strife. Well, not really. In the 1945 film, “Back To Bataan”, Director Edward Dmytryk presents his audience with a somewhat fictionalized war movie that follows both John Wayne and the events in the Philippines during and after World War II.
After America is forced to leave the Japanese occupied Philippines, Colonel Joseph Madden (played by John Wayne – who funnily enough has an airport named after him right down the street), chooses to stay behind to help organize a guerrilla resistance against Japanese forces. The film opens with a depiction of the successful execution of the Raid at Cabanatuan, a 1945 mission that sought to liberate POW’s from a Japanese camp (a side note: the men seen being freed were the actual POWs that were freed during the war). The film accurately depicts the involvement of both Filipino and American forces in the raid, and continues by going back in time to follow the organization of guerilla forces after America’s departure.
Although at times the movie seems just a cheesy, 1940’s war film, it still provides us with valuable knowledge about American-Philippine relations during and after World War II. The film can be seen as the first time Filipinos were allowed a spot in Hollywood, presenting a story that depicts them as brave fighters for their country and for the US. Actual Filipino actors were used, a great feat for a somewhat colorless Hollywood of the time.
The pro-American sentiment does get a bit out of hand, though, as we see John Wayne’s character continually portrayed as a sort of father figure that takes care of his Filipino companions. As Emmanuel Levy puts it on rottentomatoes.com, this “paternal attitude” has been seen as a “testament to his--and by extension the U.S.--imperialistic and patronizing approach to smaller, weaker nations”. The placement of camera angles throughout the movie testify to this end, as Wayne’s vantage point is always higher than that of the Filipino, giving him a majestic and powerful edge over his so-called counterparts. America, similarly, seems to have enjoyed such a point of authority over its Filipino allies throughout their long-standing relationship.
All the same, it is still nice to see Filipino history and its people in an American film (although I was ecstatic to see Rufio in “The Debut”), especially during the 1945 era. The movie, although at times a means for extreme propaganda, allows for a historical Filipino voice in American pop culture.
-Robert Noble
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