The Spanish-American War was fought over Cuba, but led to conflict halfway across the world in the Philippines. The Americans won. And as the opening titles of “Amigo” inform us, “They decided to stay.” The Philippine-American War hasn’t been explored on screen nearly as much as other conflicts. “Amigo” is an involved, almost epic look at how one small town, and one small-town mayor, fared after the U.S. became an occupying power. But it’s by no means the last word on this fracas. It’s too politically unsophisticated for that.
The Filipinos first welcomed the Americans as liberators who helped them throw off centuries of Spanish rule. But independence did not follow the end of fighting. So some who turned to guerilla warfare in an attempt to defeat the old occupiers kept it up to defeat the new.
| On screen |
| ‘Amigo’ |
| 2 out of 4 stars |
| Stars: Joel Torre, Chris Cooper, Garret Dillahunt |
| Director: John Sayles |
| Rated: R for some violence and language |
| Running time: 128 minutes |
Simon (Ronnie Lazaro) is one of them. It’s around 1900 and his group has captured a couple Spanish fighters, as well as their priest (Yul Vazquez). Simon’s sister-in-law visits the father, giving her confession from outside the house in which he’s held. But Simon’s brother Rafael (Joel Torre) has even more mixed feelings. He’s the mayor of the town, and believes peace is the best way to survive. But that belief will be tested — along with his loyalties — when American troops enter the town and demand help with capturing the insurgents.
Torre is one of the Philippine’s best actors, and he holds the film together, just as he tries to hold his family and town together. His brother calls him a collaborator. But war often forces good men to make tough decisions. Here, Rafael makes his in the presence of Col. Hardacre (Chris Cooper), who actually wants to do some good for those who might be his enemies.
“Get these people out of the dirt,” he instructs his unit. “We’re supposed to be winning hearts and minds!” That’s an anachronistic statement, and it has a purpose: “Amigo” is meant to remind us not just of the Filipino war, but of others more recent: those in Vietnam, Afghanistan and Iraq.
And that’s why “Amigo,” despite some good performances and excellent attention to detail, ultimately fails. Writer-director John Sayles isn’t trying to tell the story of one war, or, more importantly, one man. He’s using that one man to make a political point, thereby losing the humanity of his story in the process. Even the soldiers, except for Cooper’s colonel, are well-worn stereotypes. Countries fight wars; but what they destroy are towns, families and souls.
