Bakit Bughaw, Tatlong Taong, and Oro Plata

From Pinoyexchange:

Loonzhaus: I agree.....amidst the kaguluhan of the war, hindi nawawala 'yung feeling of attachment ng manunuod sa characters nila masugi at rosario.....dito nagkulang si Peque Gallaga sa Oro, Plata, Mata.....sa tingin ko kasi, mas naging abala siya sa pag-create ng mga highlight scenes na tunay na pag-uusapan and in the process, nawala ang emotion ng mga characters ng pelikula.....dinala na lang ang manunuod sa visuals na tunay namang napakaganda.....sa Tatlong Taon, while naipadama ni Mario sa atin ang takot sa nangyayaring giyera, hindi siya humulagpos sa karakterisasyon ng mga pangunahing tauhan. Oo nga, now i realized kung paanong 'yung setting ng apartment complex ay naging korteng maglilitis sa "pagmamahalan" ni babette at bobby. Mario was quite vocal sa pagiging "emotional" ni Brocka na sabi mo nga na almost always ay caught up with his characters. Bilib lang talaga siya dito sa tapang as a film maker. Pinupuri din niya sa Bernal dahil pareho daw French ang kanilang influences. Sayang nga lang at 'di binibigyan ng pansin ang kagalingan ng isang Mario O'Hara.

(I agree.....amidst the chaos of war, the viewer never loses the feeling of attachment to Masugi (Christopher de Leon) and Rosario (Nora Aunor)...this is where Peque Gallaga failed in Oro, Plata, Mata (Gold, Silver, Death, 1982)...in my view, he was more concerned with creating highlight scenes worth talking about, and in the porcess, lost the emotion of the characters...he just swept the viewer along with his visuals which are truly beautiful...in Tatlong Taong, while Mario was able to show us the terrors of war, he didn't stint on characterization of the primary players. Oh yes, now I realize how the apartment complex setting (in Bakit Bughaw ang Langit (Why is the Sky Blue? 1981)) resembles a court judging Babette and Bobby's love. Mario was quite vocal at (Lino) Brocka's being "emotional," the way he always seems to be, as you say, caught up with his characters. He really believes in his (Brocka's) courage as a filmmaker, though. He praises Bernal because he (Bernal) is like the French in his influences. Too bad not enough attention has been given to Mario O'Hara's greatness)