Quezon's Game

Quezon's Game brings to light a remarkable but often forgotten act of heroism, portraying President Manuel L. Quezon's efforts to save Jewish refugees from Nazi persecution. Raymond Bagatsing delivers a compelling performance, capturing Quezon's charisma, determination, and internal struggles with nuance. His chemistry with Rachel Alejandro's Aurora Quezon adds warmth to the story, reminding us that behind great political decisions are deeply personal sacrifices. The film balances historical drama with emotional depth, making it not just an inspiring tale but a deeply human one.

Visually, *Quezon's Game* embraces a polished, almost noir-like aesthetic that enhances the gravity of its story. The cinematography leans into dramatic lighting and rich period details, immersing viewers in the 1930s Philippines. The score swells at the right moments, reinforcing the film's emotional beats without overwhelming the narrative. Every artistic choice, from the carefully composed shots to the historically accurate costumes, reflects the film's dedication to honoring this overlooked history. It's a beautifully crafted, thought-provoking film that proves true heroism often happens behind closed doors, long before history books take notice.

The visuals were really well done. You can really see that the film was visually driven from props to other set pieces but as a biopic compared to other recent historical biopics, it lacks the oomph that sets Heneral Luna or Jose Rizal movies apart.

Greetings again from the darkness. I've stated it many times before, and it's proven true again here ... WWII continues to be a source for stories big and small. Stories of heroes, and stories of victims. Some of these stories are very personal, and some have historical significance - even if we may only know fragments of the full events. The first feature film from Matthew Rosen combines these elements as he brings to the screen the fascinating role of Philippines President Manuel Quezon in providing asylum to Jewish refugees.

The film is bookended with an ailing President Quezon (played by Raymond Bagatsing) watching a Holocaust newsreel with his wife Aurora (Rachel Alejandro) as he convalesces at Saranac Cove Cottage in 1944. He turns to her and asks, "Could I have done more?" We then flashback six years to 1938. The screen explodes with vibrant colors as we land in Manila, the Capital city of The Philippines.

Jewish-American Ambassador Alex Frieder (Billy Ray Gallion) receives a telegram warning from Germany, and what follows is a glimpse at the behind-the-scenes political maneuverings, rather than a direct focus on the atrocities of concentration camps. President Quezon (and his wife) are presented as compassionate and empathetic towards the plight of the Jews in Germany. They are committed to helping even if it's not a prudent political approach and it goes against their advisors. Someone does mention that Germany is "technically not our enemy" ... "no matter how much we hate the S*Bs."

It's especially interesting (and probably unknown to the majority of Americans) that U.S. High Commissioner to the Philippines, Paul McNutt (James Paoeli), played a key role in what basically amounted to going against the orders of the U.S. Government in arranging safe passage for the Jewish refugees. McNutt had seen himself as a successor to FDR as President of the United States - a dream that ended when FDR ran for a third and fourth term. Also playing a key role was Dwight Eisenhower (David Bianco), who was a military adviser, and even offered the position of Philippines Chief of Police by Quezon. Of course, after the war, Eisenhower went on to serve two terms as President of the United States.

Co-writers Janice Y Perez and Dean Rosen, along with director Rosen, have uncovered a terrific piece of history, and with the steady stream of white suits, fat cigars, and clinking cocktail glasses, the film has the right look for a historical drama. It's really the dialogue and execution that come up short. We never quite believe these situations are anything but staged, which results in a negative impact on the drama and tension. The Philippines were under U.S. control from 1898-1946, and Quezon was fighting for his country's independence at the same time he faced other challenges internal to the country, his own health issues (tuberculosis), and possible ramifications for defying the U.S. The obvious comparison here is to SCHINDLER'S LIST, and while not at that level, Quezon's actions provided asylum for 1200 Jews and make for a story that deserves to be told. The closing credits are filled with clips of survivors telling their stories ... the perfect ending.

Greetings again from the darkness. I've stated it many times before, and it's proven true again here ... WWII continues to be a source for stories big and small. Stories of heroes, and stories of victims. Some of these stories are very personal, and some have historical significance - even if we may only know fragments of the full events. The first feature film from Matthew Rosen combines these elements as he brings to the screen the fascinating role of Philippines President Manuel Quezon in providing asylum to Jewish refugees.

The film is bookended with an ailing President Quezon (played by Raymond Bagatsing) watching a Holocaust newsreel with his wife Aurora (Rachel Alejandro) as he convalesces at Saranac Cove Cottage in 1944. He turns to her and asks, "Could I have done more?" We then flashback six years to 1938. The screen explodes with vibrant colors as we land in Manila, the Capital city of The Philippines.

Jewish-American Ambassador Alex Frieder (Billy Ray Gallion) receives a telegram warning from Germany, and what follows is a glimpse at the behind-the-scenes political maneuverings, rather than a direct focus on the atrocities of concentration camps. President Quezon (and his wife) are presented as compassionate and empathetic towards the plight of the Jews in Germany. They are committed to helping even if it's not a prudent political approach and it goes against their advisors. Someone does mention that Germany is "technically not our enemy" ... "no matter how much we hate the SOBs."

It's especially interesting (and probably unknown to the majority of Americans) that U.S. High Commissioner to the Philippines, Paul McNutt (James Paoeli), played a key role in what basically amounted to going against the orders of the U.S. Government in arranging safe passage for the Jewish refugees. McNutt had seen himself as a successor to FDR as President of the United States - a dream that ended when FDR ran for a third and fourth term. Also playing a key role was Dwight Eisenhower (David Bianco), who was a military adviser, and even offered the position of Philippines Chief of Police by Quezon. Of course, after the war, Eisenhower went on to serve two terms as President of the United States.

Co-writers Janice Y Perez and Dean Rosen, along with director Rosen, have uncovered a terrific piece of history, and with the steady stream of white suits, fat cigars, and clinking cocktail glasses, the film has the right look for a historical drama. It's really the dialogue and execution that come up short. We never quite believe these situations are anything but staged, which results in a negative impact on the drama and tension. The Philippines were under U.S. control from 1898-1946, and Quezon was fighting for his country's independence at the same time he faced other challenges internal to the country, his own health issues (tuberculosis), and possible ramifications for defying the U.S. The obvious comparison here is to SCHINDLER'S LIST, and while not at that level, Quezon's actions provided asylum for 1200 Jews and make for a story that deserves to be told. The closing credits are filled with clips of survivors telling their stories ... the perfect ending.

The various events and occurrences leading up to and during World War 2 have left us all with countless stories of heroism, human kindness and sacrifice and unbelievable feats that all deserve to be remembered. with the cinematic landscape in particular featuring an array of worthy stories that have been showcased for audiences through the medium of film.

The newest addition to the World War 2 cinematic library is Quezon's Game, a low-budget affair that tells that non-mainstream true story of Philippine President Manuel L. Quezon, who through the goodness of his heart worked with his trusted team of servants and countrymen to shelter 1000's of refugee Jews that were escaping persecution in the Nazi occupied lands of Europe before the heat of WW2 properly began.

It's a fascinating story, one that deserves some limelight in a space often littered with higher profile stories of a similar ilk, but despite having its heart in the right place and some emotionally charged moments, Matthew Rosen's film is too soapy and melodramatic too really do this story full justice.

No doubt hampered by its low funding, Game is littered with many a dialogue heavy scene, filled with little flair or presentation throughout and while it has a few picturesque Philippines set locations showcased during its two hour runtime, the film is often a victim of it's behind the scenes circumstances as it struggles to bring energy or gripping elements to its examination of a an extremely interesting man and subject matter.

Portrayed by Raymond Bagatsing, Manuel L. Quezon is given very little time to shine in Rosen's film and while we are intrigued and even inspired by what the president did during his time (whilst also battling tuberculosis), Rosen and Bagatsing fail to dig deep into what made the president tick and often act in ways that wasn't always the popular decision or in ways that didn't endear him to his own party members.

The failure to fully explore this intriguing real life character is in many ways a metaphor for the films inability to make the most of the opportunities available to it, elements like Quezon's friendship with then military adviser Dwight Eisenhower and the heartbreaking decision to pick and choose which Jewish refugees would be chosen to bring into the country all feel half-cooked, a shame for the film as it has moments that are genuinely moving and unique in the WW2 cinematic cannon.

Final Say -

Well-intentioned, this shining of a light on a little known component of the WW2 story falls victim to the circumstances that have seen it make it to the big screen, as Rosen and his cast can't shake the more amateurish natures of its delivery that hold this true story back from being a must-watch feature.

2 ½ office coughing fits out of 5