Oro, Plata, Mata

Oro, Plata, Mata (Gold, Silver, Death) is a 1982 Philippine historical war drama film co-written and directed by Peque Gallaga. The screenplay written and adapted by José Javier Reyes was based on the story developed by Gallaga, along with Mario Taguiwalo and Conchita Castillo. The film is considered to be Gallaga's most significant contribution to the Philippine cinema. Set in the Philippine island of Negros during World War II, it tells the story of how two hacendero families cope with the changes brought about by the war. In translation, the movie is also known either as "Gold, Silver, Bad Luck" or "Gold, Silver, Death."

The title refers to the traditional Spanish Filipino architectural superstition saying that design elements in a house (particularly staircases) should not end in a multiple of three, in keeping with a pattern of oro (gold), plata (silver), and mata (bad luck). The film is structured in three parts that depict this pattern played out in the lives of the main characters, from a life of luxury and comfort in the city ("oro/gold"), to a still-luxurious time of refuge in a provincial hacienda ("plata/silver"), and finally to a retreat deeper into the mountains, where they are victimized by guerilla bandits ("mata/bad luck").

Produced and released by Experimental Cinema of the Philippines, it was filmed on location in the whole province of Negros Occidental, primarily in Bacolod and the Mt. Kanlaon National Park. The staff and crew received extensive assistance and support from the Ministry of National Defense, Ministry of Tourism, and the Armed Forces of the Philippines. The film's musical score was provided by Jose Gentica V; the film's photography was handled by Rody Lacap, and the editing was handled by Jesus Navarro. The film's development was financially supported and acknowledged by the Philippine National Bank.

In 2013, ABS-CBN Film Archives in partnership with Central Digital Lab digitally restored and remastered the film and was subsequently released in select theaters for a limited period. The digitally restored version was also released on DVD and iTunes.

Opening quote
"“The lights went out all over Europe and the young sought sweetness and light in the pictures of Deanna Durbin, a bright symbol of the era, and the young Susan Magalona, whose beauty had become a national topic. At the Crystal Arcade, the mezzanines still rang with the cries of 'Gold! Gold! Gold!'. The holocaust had been kindled, but the victims were unaware, and the nation swung confidently into the 1940s. The decade of disaster fell into three unequal parts: the two years before the war; the period of the Japanese occupation; and the liberation era. No decade in our history was more eventual than this one... So vast now seems the difference between what we have become and what we were before disaster struck that, in the Philippine vernacular term 'peacetime' means exclusively all the years before December 8, 1941. There has been no 'peacetime' since then.”"

According to the audio commentary by Peque Gallaga, he told the film's screenwriter, Jose Javier Reyes, to create a frame reference for the film and the latter answered to cite a quote from Nick Joaquin. Peque agreed with the decision and he revealed that he enjoyed reading his works.

Plot
In World War II-era Negros, the Ojeda family celebrates Maggie's debut. In the garden, Trining receives her first kiss from Miguel Lorenzo, her childhood sweetheart. The Ojeda patriarch, Don Claudio, and his fellow landowners talk about the impending war as some of the young able-bodied men enlist. The celebration is cut short by news of the sinking of SS Corregidor by a mine. As the Japanese approach, the Ojedas accept the invitation extended by the Lorenzos, their old family friends, to stay with them in their provincial hacienda. Nena Ojeda and Inday Lorenzo try to deny the realities of war by preserving their pre-war lifestyle. Pining for her fiancé, Maggie goes through bouts of melancholy. Miguel and Trining turn from naughty children into impetuous adults.

Two more family friends, Jo Russell and Viring join them in the refuge. As they witness the burning of the town and the Japanese nearing, the families evacuate to the Lorenzo family's forest lodge. A group of weary guerrillas arrive and Jo tends to their injuries. The guerrillas leave Hermes Mercurio behind. Miguel endures more comments of the same kind when he fails to take action against a Japanese soldier who comes upon the girls bathing in the river and is killed by Mercurio instead. Maggie comforts Miguel, who decides to learn how to shoot from Mercurio. Later, Viring's jewelry is stolen by Melchor, the trusted foreman. He justifies his action as a reward for his services. He tries to break the other servants' loyalty by telling them to join him, but does not force Melchor to leave. Later, Melchor and his band of thieves return and take revenge on them. They raid the food supplies, rape Inday, and chop off Viring's fingers when she does not take off her ring. Trining unexpectedly goes with the bandits despite the atrocities. These experiences bring Maggie and Miguel closer together. Miguel urges the survivors to resume their mahjong games to help them cope with their trauma. Miguel is determined to hunt the bandits down and bring Trining back. He catches them in an abandoned hospital, but his courage is replaced with bloodlust, driving him to a killing spree. Miguel and Mercurio finally kill Melchor and his men.

After Liberation in 1945, a party is held in the Ojeda home to announce Maggie and Miguel's betrothal. The survivors attempt to reclaim their previous lifestyle, but the war has changed the world, just as it has forever changed each of them.

Release
Oro, Plata, Mata is the first film produced by the Experimental Cinema of the Philippines under Executive Order No. 770 by President Ferdinand E. Marcos. The film was first released on January 27, 1982, and it was approved to be shown by the Board of Censors for Motion Pictures. It was also shown in the United States on October 1, 1983, as part of the Chicago International Film Festival and in Japan on July 25, 1991, as part of the Filipino Movies Festival, which was sponsored and presented by the ASEAN Cultural Center.

Digital restoration
In the late 1990s, ABS-CBN originally planned to restore Oro, Plata, Mata but the analog restoration costs exceeded up to 20 million pesos. According to Leo P. Katigbak, the head of ABS-CBN Film Archives, they did not proceed with the analog restoration of the film by fixing the film prints without addressing the defects in every frame. Eventually, the film was digitally restored and remastered in 2012 by the ABS-CBN Film Restoration and Central Digital Lab (supervised by Manet T. Dayrit and Rick Hawthorne). Peque Gallaga (the film's director) and Rody Lacap (the film's cinematographer) were involved in the restoration process. It is the second film to be restored by the ABS-CBN Film Restoration and Central Digital Lab.

Before the restoration commenced, the film print of the ABS-CBN Film Archives and two reserve prints were considered as the source of elements for the restoration but the ABS-CBN archive print was chosen instead because the film's picture quality was better. Peque Gallaga was consulted in preserving the original colours of the film since the film print was already fading. Central Digital Lab took 1,871 manual hours to complete the film restoration and 80 hours for color grading. The film's audio was restored by Post Haste Sound Inc. in Los Angeles, California, United States. It was lifted from the Betacam tape and upgraded from mono audio to Dolby Digital 5.1 audio mix.

Critical reception
Film critic Noel Vera praised the whole film's narrative of the Second World War as "beautifully structured" with a reference of the architectural superstition to the film; the bright conception and development of the characters; and the whole screenplay being similar to the 1939 epic historical drama film Gone with the Wind, starring Clark Gable and Vivien Leigh. However, Peque Gallaga did not even reach the highs of Luchino Visconti's 1963 film The Leopard because there are no found references and symbolisms developed from the Italian film. As a result, the film is considered a "masterpiece", also praising its cinematography, screenplay, and production designs.

Accolades
The movie won the 1982 Gawad Urian awards for Best Picture, Direction, Cinematography, Production Design, Musical Score, and Sound. In the same year, it won the Luna Awards for Production Design and Best Supporting Actress (Liza Lorena). It is marketed as one of the top ten best films of the 1980s.