Oro, Plata, Mata

Oro, Plata, Mata is a critically acclaimed Filipino film from 1982 that commands attention not only for its cinematic mastery but also for its vividly nuanced portrayal of the Philippines during the horrors of World War II. Directed by the renowned filmmaker Peque Gallaga, the film brings together an impressive ensemble cast that includes Sandy Andolong, Cherie Gil, and Liza Lorena, among others. The title of the film — "Oro, Plata, Mata" translates to "Gold, Silver, Death" in English, echoing a Filipino superstition that shapes the narrative structure of the film and symbolically pinpoints the trajectory of fortunes of the characters featured therein.

As the film begins, we are introduced to two affluent families, the Ojedas and the Lorenzos, who lead a life of privilege and comfort. From grand ballrooms to sumptuous feasts, Gallaga meticulously depicts the decadence of the pre-war Filipino elite, presenting a stark contrast to the tumultuous times that are about to unfurl. Sandy Andolong and Cherie Gil, as members of these families, brilliantly portray the sheltered naïveté and sense of invincibility that accompanies such privilege.

However, as World War II knocks at their doors, their lives are uprooted, and they are thrown headfirst into the flames of conflict. Forced out of their posh mansions, they retreat into the mountains, seeking refuge in an isolated sugar cane plantation. Here, the movie transitions from a period drama to a harrowing survival tale. The lush green plantations juxtaposed against the war-torn sky echoes the innate disparity that the characters have now been plunged into.

Liza Lorena's character, a friend of the families, serves as a reality check and a significant catalyst in this seismic shift. Her character boldly showcases an evolution from the sophisticated gatherings to the harsh, spare, and often brutal realities of a life in hiding, from the mirth and laughter of pre-war festivities to the deafening silence and terror of the war.

The rest of the film captures the gradual degradation of their sophisticated selves as they grapple with lawlessness, treachery, and despair that accompanies war, showing the grim, dark underbelly of human nature when under duress.

Orchestrating a magnificent visual symphony, Gallaga uses a rich palette of colors, patterns, and compositions to great effect. The lavish interiors of the mansions illuminate the increasingly murky atmosphere, as lush golds and silvers gradually give way to ominous shadows. The film is painstakingly shot, with careful consideration given to the lush and sometimes claustrophobic surroundings, painting a vivid tapestry of images that stick and stay with you long after the end credits roll.

Gallaga takes his time unraveling the narrative, employing long master shots and indulgent close-ups that lend the film an unhurried rhythm consistent with the uncertainty and monotony of their life in hiding. The pacing, although slow, keeps spectators engrossed as each character's layers are peeled back, revealing their extreme transformations prompted by such dire circumstances.

The film is additionally bolstered by Jose Javier Reyes's well-knit screenplay. Also, the film's haunting score, courtesy of Jose Gentica V, complements the visuals beautifully, infusing the scenes with an undercurrent of tension, unease, and sometimes, despair.

Oro, Plata, Mata is a cinematic masterpiece, serving not only as an eye-opening exposé of the effect of war on humanity, but also a grim reflection on the socio-cultural landscape of the time. This film goes beyond conventional depictions of war, delving deep into its psychological ramifications, showcasing how the grotesque realities of the battlefield affect even those removed from direct conflict.

In conclusion, Oro, Plata, Mata offers a hypnotic, deeply disturbing portrait of a society on the brink of collapse, conditioning us to believe and question the worst extremes of human nature when freed from the norms of society and subjected to the worst conditions. It remains engraved as a landmark entry in the realm of not just Filipino cinema, but global cinema as well.