History Literature / Dekada70

& GreyRainOfDepression: It starts more as a Grey Rain of Suspense, pouring torrentially during [[spoiler:the search for [[MissingChild Jason]], and unsurprisingly keeps going when he's finally found as a murder victim]].

* ADateWithRosiePalms: In the movie, Gani was about to do this while on the phone with his girlfriend—in full public view in the living room—when Amanda comes in and smacks him upside the head. The next time she catches him on the phone, he vehemently says: "''Di ako nakahawak!''" ("I'm not touching it!")

* TraumaticHaircut: [[spoiler:Jules gets one in the film when the Metrocom interrogate and torture him. He's shaven the next time he gets to see his family—which is at Jason's funeral.]]

Adapted by director Chito S. Roño into a 2001 film starring Vilma Santos and Christopher de Leon as the Bartolome parents, Amanda and Julian (respectively). Piolo Pascual and Marvin Agustin play the two eldest children. The full film can be found online for free [[https://www.youtube.com/watch?v=jLxwM-bYpEI here]].

** VillainousBSOD: He's not quite exactly a ''villain'', except insofar as he's a supporter of the Marcos regime, but Julian's outraged scream in reaction to the same news definitely counts.

* PoliceAreUseless: At the same time that they're a repressive force, they can also come off as incredibly unhelpful, as in the search for Jason when he disappears. [[spoiler:And, even if it wasn't state forces responsible for killing him, obviously they weren't able or willing to prevent that.]]

* AdultFear: Imagine raising five children in the middle of a dictatorship. Any or all of them could one day disappear in the night without prior warning and for no apparent reason, and you're faced with the sadistic roulette wheel of seeing them jailed, tortured, and/or killed, or simply never seeing them again, among other options. Plus, they're mostly minors—and boisterous, outspoken boys at that—so they don't act or think very maturely, and thus are always at risk of doing or saying things that could easily make them a target by the regime (doubly so if they're out of your sight, and teenagers will do ''anything'' to get away from their parents!). Whether it was intentional or accidental doesn't matter, and even if your kids have no obvious political activities or leanings whatsoever, even if they're actual children, they're all still fair game. Not to mention all this was a full generation before cellphones or email or instant messaging, which means if they have no access to a telephone (as is most likely the case for Jules when he goes out into the provinces), they're as good as gone.

* PhoneaholicTeenager: Gani is an interesting male example because he spends a lot of time on the phone with his girlfriend (to the point of nearly engaging in phone sex … until Amanda catches him). Evelyn, said girlfriend, logically also counts.

* PhoneaholicTeenager: Gani is an interesting male example because he spends a lot of time on the phone with his girlfriend (to the point of nearly engaging in phone sex … until Amanda catches him).

* HeroicBSOD: Amanda faints at the news of [[spoiler:Jason's death]].

* BeachEpisode: The Bartolomes are shown in one scene vacationing at a secluded beach. One good thing about the titular decade is that—compared to ThePresentDay—Philippine beaches are at least relatively pristine and unmolested by vast hordes of tourists, and so they feel intimate and private.

Adapted by director Chito S. Roño into a 2001 film starring Vilma Santos and Christopher de Leon as the Bartolome parents, Amanda and Julian (respectively). Piolo Pascual and Marvin Agustin play the two eldest children. The full film can be found online for free [[here https://www.youtube.com/watch?v=jLxwM-bYpEI]].

Adapted by director Chito S. Roño into a 2001 film starring Vilma Santos and Christopher de Leon as the Bartolome parents, Amanda and Julian (respectively). Piolo Pascual and Marvin Agustin play the two eldest children.

* FascistsBedTime: The notorious Martial Law-era curfew gives the Bartolomes no end of trouble when their boys stay out late at night. When Jason disappears, part of what makes the search for him so harrowing is knowing that if he's caught out of doors after midnight, the police will instantly arrest him—if not worse. [[spoiler:(Eventually, of course, it comes to the worst possible conclusion—he's found brutally murdered.)]]

* StandardFiftiesFather: Julian. Despite the setting being the 1970s Philippines rather than 1950s America[[note]]although in many ways, 1950s America ''was'' the template for contemporary Philippine middle-class culture, thanks to decades of colonialism[[/note]], he fits most of the personality markers: he's uptight, conservative, dresses snappily in a shirt and tie for work, wears glasses, often reads the newspapers at home, gives platitudes and moral advice to his sons and discusses politics with his male friends, and gets genuinely offended when his wife attempts to look for a job—he feels insulted by this because he interprets it as her thinking he isn't doing enough for the family as it is. He puts on a calm, stable facade as society expects of him (since women are "more emotional") [[spoiler:but Jason's murder or [[DeadlyEuphemism "salvaging"]] by the authorities finally makes him [[HeroicBSOD break down into a tearful, despairing rage]], [[VillainousBSOD screaming that "they killed my son!" ("''Pinatay nila ang anak ko!''")]]]].

* StandardFiftiesFather: Julian. Despite the setting being the 1970s Philippines rather than 1950s America[[note]]although in many ways, 1950s America ''was'' the template for contemporary Philippine middle-class culture, thanks to decades of colonialism[[/note]], he fits most of the personality markers: he's uptight, conservative, dresses snappily in a shirt and tie for work, wears glasses, often reads the newspapers at home, gives platitudes and moral advice to his sons and discusses politics with his male friends, and gets genuinely offended when his wife attempts to look for a job—he feels insulted by this because he interprets it as her thinking he isn't doing enough for the family as it is. He puts on a calm, stable facade as society expects of him (since women are "more emotional") [[spoiler:but Jason's murder or [[DeadlyEuphemism "salvaging"]] by the authorities finally makes him break down into a tearful, despairing rage, screaming that "they killed my son!" ("Pinatay nila ang anak ko!")]].

* TrailersAlwaysSpoil: The trailer for the movie spoils [[spoiler:Julian's breakdown and thus that one of the boys die.]]

Pronounced ''Dekada Sitenta'', this [[UsefulNotes/{{Philippines}} Filipino]] novel was written in TheEighties by author Lualhati Bautista, depicting the struggles of a typical Filipino family trying to survive the Martial Law regime under the dictator UsefulNotes/FerdinandMarcos, which defined most of TheSeventies in the Philippines, for which the novel is named. The novel revolves around the five-child, solidly middle-class, UsefulNotes/{{Manila}}-based Bartolome family, headed by the conservative breadwinner Julian, and TheNarrator Amanda, who has to balance her role as disciplinarian to her five sons with an inner feminist spirit encouraging her to find work—to support the family, yes, but also for her own sense of fulfilment.

* StandardFiftiesFather: Julian. Despite the setting being the 1970s Philippines rather than 1950s America[[note]]although in many ways, 1950s America ''was'' the template for contemporary Philippine middle-class culture, thanks to decades of colonialism[[/note]], he fits most of the personality markers: he's uptight, conservative, dresses snappily in a shirt and tie for work, wears glasses, often reads the newspapers at home, gives platitudes and moral advice to his sons and discusses politics with his male friends, and gets genuinely offended when his wife attempts to look for a job—he feels insulted by this because he interprets it as her thinking he isn't doing enough for the family as it is.