Wazzup Pilipinas!?
When the trailer for The Kingdom dropped, it instantly caught my attention. A film set in a parallel universe where the Philippines was never colonized? The premise alone carried immense potential. It promised a bold exploration of what our nation's identity and culture might have looked like—untainted by centuries of foreign influence. Such a concept is a rare gem in mainstream Philippine cinema, and it deserved every bit of anticipation it generated.
However, as the credits rolled, I found myself torn between admiration for its ambition and disappointment over its execution.
The Good: A Groundbreaking Concept Worth Celebrating
Let’s start with the positives. The Kingdom dared to ask, “What if the Philippines remained sovereign throughout history?”—a question many of us have pondered but rarely see visualized on screen. Its alternate-history narrative is both thought-provoking and refreshing. At its core, the film attempts to depict a rich tapestry of indigenous culture, showcasing a society that evolved independently without colonial intervention.
The story’s ambition deserves praise, and for that alone, it’s worth a watch. It’s a bold step towards reclaiming and reimagining our cultural roots.
The Missed Opportunities: Casting, Language, and Design Choices
But ambition alone can’t carry a film. One of the glaring missteps was the casting. Vic Sotto, though an iconic figure in Philippine entertainment, felt out of place in such a serious role. His performance came off more like Stephen Chow attempting to be stoic than a royal figure commanding authority.
Then there’s the dialogue. For a film set in an uncolonized Philippines, the script still heavily leaned on Spanish loanwords. Terms like "gumaganansya," "marka," "dikta," "Diyos," "trono," "tinta," and "pinta" slipped through, disrupting the immersion. A more meticulous approach to language would have strengthened the world-building immensely.
The architecture, too, felt inconsistent. While the animated structures aimed for grandeur, they failed to align with authentic pre-colonial Filipino designs. Why not draw inspiration from balay torogan, sultanate palaces, or even elements from Indonesian architecture, which share historical ties with our own? Instead, some designs bordered on caricature-like and pulled audiences out of the experience.
The Silver Lining: A Post-Enteng Kabisote Era
But perhaps the greatest victory here isn’t just the film itself, but what it represents: an end to the Enteng Kabisote era. No more awkward product placements, no more forced comedic gags, and no more reliance on celebrity names to sell tickets. The Kingdom shows an effort to prioritize storytelling and vision over gimmicks.
It’s a sign of growth, and while the execution may have faltered, the intent shines through.
Why You Should Still Watch It
Despite its flaws, The Kingdom is an important film. It offers a glimpse of a Philippines untouched by colonialism—a narrative we rarely see visualized on screen. For history enthusiasts and those curious about alternate realities, this movie will resonate deeply.
And let’s face it, films like this don’t come often. When local cinema takes a risk on ambitious storytelling, it deserves our support—not just to celebrate the effort, but to encourage better attempts in the future.
Final Thoughts: A Step in the Right Direction
To Vic Sotto, Director Mike, and the entire production team—thank you for daring to dream big. While The Kingdom might not have been flawless, it sets a precedent for what Philippine cinema can strive to become.
Let this be a starting point, not an endpoint. Refine the details, tighten the storytelling, and remain true to the vision.
Ross is known as the Pambansang Blogger ng Pilipinas - An Information and Communication Technology (ICT) Professional by profession and a Social Media Evangelist by heart.
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