'Himala' REVIEW: The Evils of Blind Faith and Fanaticism
'Himala' REVIEW: The Evils of Blind Faith and Fanaticism
Nora Aunor in Himala (1982).
This review contains spoilers for Himala (1982).
The second Golden Age of Philippine Cinema (1970s to early 1980s) is undeniably rich with classic Filipino masterpieces that still stand the test of time. Despite the intense political tension and media censorship brought upon by the Marcos regime during this particular period, Filipino filmmakers still managed to deliver their message across by creating subtle but powerful allegorical dramas that very much highlight the socio-political issues that have always plagued our country. Himala—which translates to Miracle in English—is one of those films.
Directed by the late Ishmael Bernal and written by Sir Ricky Lee, the film tells the story of a barrio lass named Elsa (Nora Aunor) who claims to experience visions of the Blessed Virgin Mary after she went on a hill during a solar eclipse. Her story was met with skepticism at first by the townsfolk, but she later convinces them after she engages in treating the sick people through the power of faith healing. Is she the new savior or Messiah? They seem to believe so.
Eventually, blind faith and fanaticism plagued the poor town of Cupang, which represents a microcosm of a society that is so desperate to cling on to something that will give them hope in this world full of hopelessness. It's important to note that we never actually see anyone cured by Elsa's “miracle”; only hearsays, which is far from the truth. Even the lead character herself was portrayed in a mysterious way. Is she making all these up? We don't really know. Lee rejects the seeing-is-believing mantra to perfectly accentuate the ambiguous nature of the story. We never get to know or see the actual truth because it's being withheld from us in the first place, which further compliments one of the film's major themes.
Nora Aunor as Elsa doing her iconic pose.
In their fourth collaboration, Bernal and Lee effectively exposed the ills of humanity and the evils of political and religious institutions. Himala was released in theaters during a time when Marcos' controversial regime and his enforcement of Martial Law were still present in the Philippines, making its themes even more cutting. In a 2019 interview with Rappler, Lee confessed that he initially wrote the film’s screenplay because of his frustrations with the administration during that time. He added that what he wrote back in 1982 still resonates today, where people continue to look and blindly idolize a false leader that promises to save them from all their problems or troubles in life. However, the film wants us to know that these poor characters are not to blame on why they desperately resort to blind faith, nor is Elsa who just wants to give hope to the hopeless.
Mahirap lang tayo. Kung ‘di tayo maniniwala, anong matitira sa atin?
[We are poor. There's nothing left for us but faith.],
Said by one character, reminding us that they are just, in fact, the victims who are only holding onto any form of higher power to make sense of the harsh realities and socio-political inequities they've encountered in the real world.
A scene from Himala (1982).
Himala was also set and produced in the Philippines—a predominantly Christian country. However, the film doesn't really condemn religion in general; more like criticizing the institutions behind it and what they have become: brainwashing people with shallow-based teachings and also the commercialization that comes with it. This is most evident when the inhabitants of Cupang tried to boost their economy by exploiting Elsa and their small town’s new-found popularity. Countless religious items—bottles of mineral water that have been blessed by Elsa herself for example—were shamelessly produced and sold to the locals and tourists just for some extra income. There is also Orly (Spanky Manikan), a skeptical Manila-based filmmaker, who arrives in the small town to exploit the story of Elsa by making a documentary about her, even if it means harming some people along the way just for the sake of scoop.
The arrival of Nimia (Gigi Dueñas), a former prostitute and Elsa's childhood best friend who has returned from the big city, also takes advantage of the whole Elsa situation by establishing a cabaret bar together with her father as a means to profit from the tourists and guests that constantly visit their town. This is immediately frowned upon by Elsa and her apostles, which they later closed down, much to Nimia’s dismay. In a scene where she begs Elsa to not close down her only business, Elsa slipped off the tongue by mentioning that her cabaret is producing whores, which offends Nimia. “Bakit? ‘Yung ginagawa nyo ba ni Mrs. Alba, hindi pagpuputa sa mga tao dito? Pinagbibilhan ninyo sila ng himala! (What you and Mrs. Alba are doing—is that not prostitution? You're selling miracles like nothing!),” she quickly retorts. “Tinutulungan namin sila. (We’re helping people.),” Elsa calmly replied in which Nimia clapped back at her by saying that they're both whores and they're not so different from each other. A piece of dialogue like this is what makes Himala so brutal in its commentary.
In the film’s finale, Elsa assembles her devotees on the hill.
With the help of its brilliant cinematography, the film captures the despairing attitude and surreal atmosphere of its milieu by constantly showing shots of wasted landscapes, which creates a haunting mood throughout that almost feels like a quiet horror film. Plus, the marvelous shot compositions are as close to perfect as you can get, like a beautiful piece of art that frames its subjects in a well thought-out manner. The placement of a church choir-like musical score also heightens the eeriness of the story.
But of course, one cannot talk about this film without mentioning Nora Aunor's performance, which is perhaps the greatest in her career. She plays Elsa with alluring and quiet grace, perfectly capturing the mysterious ambiguity of her character. She is joined by other supporting players that also get to shine on their own. Plus, who can forget the brutal climax near the end that basically speaks with the absurdity of the whole thing? With great confidence, Elsa finally addresses her devotees on the hill, delivering a powerful monologue that eventually became an iconic piece of quote in Philippine cinema:
“Walang himala! Ang himala ay nasa puso ng tao, nasa puso nating lahat! Tayo ang gumagawa ng mga himala! Tayo ang gumagawa ng mga sumpa at ng mga diyos! [There are no miracles! Miracles are in people's hearts, in all our hearts! We make the miracles ourselves! We pronounce the curse, we create our gods!]
What happens next is a shocking moment that will definitely keep viewers on the edge of their seat. By using 3,000 extras, Bernal masterfully executed one of the most horrifying scenes ever to exist in Philippine cinema history: An intense violent stampede, complete with deafening screams and never-ending cries of the people that are enough to make your skin crawl because of how it highlights the downfall and ugliness of humanity. Unfortunately, the film ends on a tragic note that basically represents how our society will choose to remain ignorant and in denial of the truth just to make sense of things.
In conclusion, Himala is undoubtedly breathtaking—an experience unlike no other. It's been nearly 40 years since the film was released, but its themes regarding blind faith and fanaticism are still relevant up to this day. If this doesn't leave you trembling or in an uncomfortable state by the end, then you're not paying attention.
