DEKADA ’70

BY: Lualhati Bautista

Submitted by:
Shaina T. Novicio
BSED-3B

SUMMARY
A middle-class Manila neighborhood is home to the Bartolome family. Couple Amanda
Bartolome (Vilma Santos) and Julián Bartolome Sr. (Christopher de Leon) are parents to sons
Julian "Jules" Bartolome Jr. (Piolo Pascual), Isagani "Gani" Bartolome (Carlos Agassi),
Emmanuel "Em" Bartolome (Marvin Agustin), Jason Bartolome (Danilo Barrios) and Benjamin
"Bingo" Bartolome (John Wayne Sace).
In 1965, as a young boy, Gani fights with his friend while playing a game in the street, their
mothers come to stop the fighting and make them stay away from each other. In the streets of
Manila, protests take place when the Philippines enters the Vietnam War. Five years later,
Philippine president Ferdinand Marcos wins his re-election bid as president. Julián stops
Amanda from looking for a job with Amanda intent on pursuing it. At dinner time, Jules and
Gani speak about the upcoming Junior-Senior Prom. At the prom, Gani tries gropes his partner
and gets kicked . The Bartolomes get stuck in traffic in the streets on the way home from the
event due to a protest with effigy burning taking place near the Legislative Building.
A protest takes place in the University of the Philippines where Jules with his best friend Willy
(Jhong Hilario) become activists and join a resistance movement. At the same time, Emmanuel
begins writing illegal exposés and other kinds of banned literature. During protests, attendees
sing the Philippine National Anthem, "Lupang Hinirang", with raised fists. The protesters
outnumber the authorities but their efforts to make them leave become futile and they retreat.
Julián becomes furious when he discovers their activities, and he angrily explains to Jules and
Willy the consequences of their actions, the suspension of the writ of habeas corpus and the
disappearance of the student leader Charlie del Rosario.
Gani reveals his plans to apply for a job in the United States Navy to Julian but is overheard by
Jules, who admonishes his actions as a lack of patriotism. Gani furiously explains to him that
working for the US government entitles one to a high salary with numerous benefits. Julián
accepts the plan, thus making Gani the family's newest breadwinner. Sometime later, another
protest depicts President Ferdinand Marcos acting as a lackey to Uncle Sam, and crucifying a
Filipino. Bingo pulls down a flying kite and Amanda discovers that the kite is made out of copies
of the Communist newspaper Ang Bayan. Julián discovers that Jules is an activist and he sneaks
up to his room to check his rebellious pamphlets.
Marcos declares martial law on nationwide television, as well as imposing nighttime curfews in
order to round up anyone suspected of being a terrorist or communist to be imprisoned. The
change of events results in interrogations, tortures, and deaths. Gani accidentally impregnates his
girlfriend Evelyn (Dimples Romana). Two police cars escort the Bartolomes to Evelyn's house
where her father blackmails them into marrying her.
Jules comes home late and confesses to his family that Willy was tortured to death for staying
past curfew. He later reveals his plan to travel to Bicol and join the Communist Party's NPA
group despite his mother's opposition.
Evelyn gives birth to a baby girl. Sometime later, Gani leaves for the United States via Subic
Bay and Evelyn returns to her family. Emmanuel plans to go to Bataan to research an article on
the Bataan Nuclear Power Plant. Julián furiously opposes as the topic is a possible target for
roundup under Martial Law.
Jules brings a wounded friend home for care, as a hospital would arouse too much suspicion, but
leaves two days later. After two months of not returning, Jules is revealed to have been married
to fellow NPA member Mara (Ana Capri) and they now have a baby boy. One night, the family
burns Jules' anti-government pamphlets out of fear of the presence of authorities who instead
turn out to be Christmas carolers.
Amanda receives a phone call informing her that Jules has been imprisoned.
Amanda and Julian visit Jules in prison where he recounts his experience with torture and
solitary confinement.
At Christmas Jules' family, including his parents and siblings along with his wife and son, visit
him in prison, and his fellow inmates are singing Christmas songs.
Amanda is involved with a non-government organization (similar to Amnesty International or
any other human rights groups) reaching out to families of victims of human rights abuse.

Amanda and Julian search for Jason whose whereabouts are unknown after a night of being out.
Emmanuel joins in the search and discovers in a morgue that his brother's body was found inside
Manila Zoo with multiple stab wounds.
Amanda, drunk, not knowing what Emmanuel has found, berates him for coming home late.
Emmanuel tells his father Julian of his discovery and Julian attempts suicide in grief. Jules
attends the wake in handcuffs and in tears.
Amanda and Julian blame each other on their son's death and on the verge of separation, are
interrupted by news that Jules is finally released from prison.
The family reunites at dinner, with Jules' wife and son, and Evelyn and her daughter. Jules
announces to the family that he will be returning to the revolution, which Julian accepts and
wishes him good luck. Eventually, Amanda and Julian get emotional and reconcile.
In the end, Amanda and her son Emmanuel participate in singing the Philippine National
Anthem at a play about the revolution written by Emmanuel himself.
In 1983, the Bartolome family attend the wake of Ninoy Aquino at the Santo Domingo Church in
Quezon City after his assassination. Amanda joins a large group of activists at the Post Office
Building to overthrow the Marcos regime once and for all. The Marcos regime is peacefully
overthrown during the 1986 People Power Revolution when Corazon Aquino is sworn into office
as president.
COUNTRY’S DISTINCTION IN LITERARY PIECE
Dekada '70 (lit. 'The ’70s') is a 2002 Filipino historical drama film directed by Chito S. Roño and
based on the 1983 novel of the same name by Lualhati Bautista. Set in the Philippines during the
period of martial law under Ferdinand Marcos, the film follows the struggles of the middle-class
Bartolome family.

CULTURE OF THE COUNTRY

Showing the problems of an ordinary Filipino family struggling to endure the dictator Ferdinand
Marcos' Martial Law rule, which dominated the Philippines for the majority of the 1970s and is
the inspiration for the book's title. The five-child, middle-class Bartolome family, which is based
in Manila and is headed by the conservative breadwinner Julian, is the focus of the book.
Amanda, the character narrator, must strike a balance between her responsibility for disciplining
her five sons and the feminist urge she feels inside to work, both to help the family and for her
own sense of fulfillment.

GENRE
Dekada '70, often known as "The '70s," is a 2002 Filipino historical drama film directed by Chito
S. Roño and based on Lualhati Bautista's 1983 book of the same name.

UNIVERSALITY
The movie Dekada '70 is about a Filipino family's life during Marcos' Martial Law, but it is also
about the empowerment of women. The entire family's status is seriously upended because one
of the family members was actively involved in a group that promoted democracy. The matriarch
of the household who kept the family afloat is the heroine.

AUTHOR’S BACKGROUND

Lualhati Torres Bautista (born December 2, 1945) is a Filipina writer,

novelist, liberal activist and political critic. Her most popular novels
include Dekada '70; Bata, Bata, Pa'no Ka Ginawa?; and ‘GAPÔ.
Bautista was born in Tondo, Manila, Philippines on December 2, 1945
to Esteban Bautista and Gloria Torres. She graduated from Emilio
Jacinto Elementary School in 1958, and from Torres High School in
1962. She was a journalism student at the Lyceum of the Philippines,
but dropped out because she had always wanted to be a writer and
schoolwork was taking too much time. Her first short story, "Katugon ng Damdamin, was
published in Liwayway Magazine and thus started her writing career.

Despite a lack of formal training, Bautista as a writer became known for her honest realism,
courageous exploration of Philippine women's issues, and compelling female protagonists who
confront difficult situations at home and in the workplace with uncommon grit and strength.

SYMBOLISM
 Amanda acts as a supposed symbolism of detachment.
First of all, she was a mother, a housewife; such were not considered integral parts of
society during those times. She was not the breadwinner; she did not experience the
foremost effects of the decline of the Philippines economy back then. She was a member
of the middle class; her family did not take money, like the rich, nor did her family suffer
the worst of the financial crises, like the poor.

FIGURE OF SPEECH
Simile
 Kawangis mo ang hina ng isang ibong wala pang bagwis.
 Ga-santol ang laki ng bukol sa ulo mo.
 Paris na masel mo’y matigas na metal.
 dTila sampaguita sa bango ang nilabhang damit ni Bebang.
 Animo makopa sa pula ang pisngi ng dalaga.
 Sintamis ng tsiko ang ngiti ng dalaga.
 Animo’y mga ibong bago pa lamang nagkakabagwis sina Richard at Rap-rap.
 Sintigas ng bato ang puso ng galit na ama.
 Paris ng sundalo ay isang leon sa tapang na makipaglaban.
 Tila yelo sa lamig ang kamay ng nenerbyos na mang-aawit.
Metaphor
 Siya’y langit na di kayang abutin nino man.

 Ang kanyang anak ay isang anghel sa kabaitan

 Isang kalabaw sa lakas ang binatang iyon.

 Mga galit na tigreng lumaban ang mga sundalo.

  Walis tingting ang tigas ng kamay ni Neneng.

 Si Chris ay isang pagong sa kabagalan.

 Isang kampana sa lakas ang boses ng sumisigaw na matanda.

 Si Leandrea ay isang rosas sa ganda.

 Ang boses ng lalaki at ang kulog ay parehong malakas.

 Mabibilis tumakbo ang mga manlalaro at ang usa.

CONFLICTS
 Man vs. Man
 Man vs. Self
 Man vs Society

SETTINGS
 Set in the Philippines during the period of martial law under Ferdinand Marcos

POINT OF VIEW
 The story was told in the point of view of Amanda Bartolome
 First- person point of view

THEMES

Martial law and Marcos regime

 Reciprocal relationship between society and family

 Gender inequality

CHARACTERS

 Vilma Santos as Amanda Bartolome A mother of the Bartolomes with five young sons.
After discovering copies of communist pamphlets lying around the house, she accepts
Jules' inclination to become a rebel fighter.
 Christopher de Leon as Julián Bartolome, Sr. - the head of the Bartolome family who
wants all his children to become successful in life. Being suspicious of Jules' inclination
to become an anti-government activist, he also became convinced when they find copies
of rebellious pamphlets lying around the house and supports Jules to rally against
corruption in the government.
 Piolo Pascual as Julian "Jules" Bartolome, Jr. - the first son of the Bartolomes. After
Amanda and Julian discover his inclination to the Communist movement, they confronted
their son about them, and he had to admit his decision. At first, conflict ensues in the
family. Eventually, the parents learned to accept their son's decision, and eventually
became proud of him. Since then, their home became a constant place of recreation for
Jules who often brought his friend along with him. Jules was subsequently sent to prison
after the said friend betrayed the family by revealing himself to be an undercover
government operative. Jericho Rosales was the first choice to play Jules but had to drop
out of the role in order to focus on Pangako Sa 'Yo.
 Carlos Agassi as Isagani "Gani" Bartolome - the second child of the Bartolomes. After
planning to work for the United States Navy despite Jules' objections due to the latter's
lack of patriotism, Gani becomes the family's second breadwinner and their hope to raise
their social status. He, however, quickly became the Bartolomes' goat (figure of shame)
after the accidental pregnancy of his girlfriend Evelyn, whom he is forced to marry. He
later fathers the family's first grandchild, Annaliza while working with the U.S. Navy.
 Marvin Agustin as Emmanuel "Em" Bartolome - the third child of the Bartolomes who
writes banned literature whilst maintaining a mischievous, carefree outward personality.
He also heard the news of Jason's death in 1977.
 Danilo Barrios as Jason Bartolome - the fourth child of the Bartolomes who was dating
his girlfriend Bernadette. He was killed and stabbed multiple times by corrupt policemen
in 1977, his death was finally heard by his elder brother Emmanuel.
 John Wayne Sace as Benjamin "Bingo" Bartolome - the youngest of the children. He
remains calm during the 70s.
 Kris Aquino – Student leader
 Ana Capri as Mara - the wife of Jules Bartolome
 Dimples Romana as Evelyn - the girlfriend and later wife of Isagani Bartolome
 Jhong Hilario as Willy - Jules' best friend and activist. He was killed by torturers in
1972.
 Carlo Muñoz as René
 Tirso Cruz III as Evelyn's Father - an unnamed character who is shown to be strict and
only appears in two scenes; the Evelyn's household scene and the wedding scene. After
Evelyn is returned to her family's household by the Bartolome couple with Isagani late
one night, he pressures Isagani into a shotgun wedding after hearing of his daughter's stay
with the latter.
 Orestes Ojeda as Dr. Rodrigo
 Asley Fontanoza – Carlos Bartolome, Jr./Caloy/Cocoy
 Marianne de la Riva as Evelyn's Mother -an unnamed character who is shown sobbing
after Evelyn's return to the household and is a witness to the shotgun wedding by the
unnamed father of Evelyn.
 Manjo del Mundo as a policeman
  Cacai Bautista as rallyist

CRITICISM
 Biographical criticism
 Feminist criticism
 Historical criticism
 Ethical criticism

REALIZATION
In the film, it is clear that men and women have different gender roles and the division of labor,
and that it is strongly discouraged for either gender to attempt to cross this line and assume roles
that belong to the other.
The political climate of the era also contributed to the development of gender roles. Martial Law
was declared at this time, and American military installations were also present. Women actively
participated in the uprising against the Marcos dictatorship as a result of martial law. Women's
roles, especially those of young women, were slowly evolving. No longer were women restricted
to the home. Some protestors marched in the streets, while some even went as far as to join the
battles taking place in the mountains.

REFERENCES
https://web.facebook.com/dkd70/photos/a.138017576893658/550449995650412
https://flaire88.wordpress.com/2010/06/06/dekada-70-and-women/
https://www.voy.com/139163/2/2061.html
https://reversedelay.net/2017/09/21/dekada-70-by-lualhati-bautista/
https://prezi.com/yfgasa9s8orj/dekada-70/#:~:text=Dekada%20'70%20tells%20of
%20how,a%20supposed%20symbolism%20of%20detachment.