A sophisticated Sinhala film in recent times
by K.S. Sivakumaran
Despite dissatisfaction expressed that the Sinhala film industry in recent times does
not produce any more 'good' films, some outstanding filmmakers have emerged during
the past decade. And some of the masters had also produced some exceptional films
now and then.
Without mentioning the names of some of the contemporary filmmakers, some extreme
patriots of the mono-nationalists have dubbed these creators as 'third rate' film
directors.
I do not know by what yardsticks they measure to find out the quality of a film, although
individual taste matters. I think the antagonistic attitude among the nationalists is due
to the fact that some of the 'enlightened' new filmmakers go beyond parochial
depiction and seek to see the 'other' side of the picture and reveal the 'truth', if not the
whole truth, residing in contemporary political, social and cultural milieu. This has
apparently disturbed such 'intellectuals' as their narrow propaganda line had been
visibly exposed.
Content-wise as well as in cinematic art, some film directors like Asoka Handagama,
Dharmasiri Bandaranaike, Prasanna Vithanage, Balasuriya, Jayantha Chadrasiri,
Vimukthi, Anoma Rajakaruna and even earlier Gamini Fonseka, Vasantha
Obeysekara - all these people and a few others whose names I cannot recollect at
present have entered the forbidden area to bring before the majority of the people the
social actualities prevalent in the Thamil - speaking areas.
Their mode of filmmaking had been either feature film or short film or documentary.
Even some Thamil-speaking newcomers have made such films - one among them is
Dr. Sumathy Sivamohan and Gnanarathan.
While there was political and social angles in the films of the people mentioned above,
there was also virtuosity in film making acquired by their knowledge of filmmaking in
contemporary international standards. These standards are not exclusive only to the
'Western-Christian' artistes, but all embracing as to include Iranian, Indian, South
Koreans, Chinese and other artistes.
Some of our filmmakers like Dharmasena Pathirajah, Dharmasena Gamage, Buddhi,
just to mention a few, and international film jurists like Wimal Dissanaike and Ashley
Ratnavibushana make it a point to visit international film festivals and acquire
knowledge and experience.
I had seen them at the international film festivals held in India between 1991 and 1997,
courtesy the Indian High commission in Colombo and the International Film Festivals of
India (IFFI) Directorate.
One of the eager, enthusiastic and energetic filmmakers in this country is Bennet
Rathnayake. For more than a decade he had been viewing films of quality at the local
centres where quality international films were shown. One of his earlier films was
"Aswesuma', I think, that I reviewed in the press. On invitation I saw his new film
"Sulang" (The Wind). It is definitely a highly sophisticated film in terms of content and
form.
This kind of division is easy to classify the film. The film has a simple story. The
formula could be reduced to a 'triangle of love'. But it is more than that. The film is
psychological, familial, philosophical, and legal based. It is also a portrayal of the
ostensible side of the lowliest of the low. The film neatly divides itself into two halves.
The first part is an exposure of two middle class individuals entangled in the web of
love, lust, family and legal entanglements. It has a romantic, glamorous, picturesque
and an exposition of polemics. The film is beautifully photographed in a locale of
natural beauty and architectural vistas. The sophistication in the film comes out well in
these aspects.
The cinematographer is Biju Vishwanath. The sophistication is also largely due to the
style of acting, particularly by admirable Sanath Gunathilake who outbeats his
performance in 'Viragaya". But my admiration for the performance of ever charming
Dilhani Ekanayake is even more.
The sophistication also lies in the meticulous composition of every frame and shot in
the film to give relevance to the need of the director. As in good films, there is less
words spoken. It is more the expressions, the silence, the moving images and the
presentation of conflicting views on life and actualities. The dialogues and the
monologues were short, pithy and earthy.
The backdrop and the musical scores were in tune with the statement that the director
wanted to convey. It was no wonder that the audience that sat with me, not necessarily
of the elite kind, at the preview last week at the Regal (Colombo) viewed the film in pin
drop silence, absorbed in the film that unfolds the textures of life and lifestyle slowly
and in an understandable way.
The film simply flows without any hindrance to the understanding the story or film even
when flashbacks and visibly un-uttered monologue or narration. That way the film had
achieved in satisfying the elites and the 'commoners' used to doses of cheap
entertainment together. The second half has its own storyline and depiction and
blends beautifully with the first to reach the finale.
The brilliance found in versatile and tele-films (I don't like the word tele-drama) actress
(I am sorry, I cannot recall her name, having been out of the country for some years)
as a tortured, exploited mother of the scum in the underworld is simply astonishing.
She seldom speaks any words but maintains the deep unhappiness within her in a
remarkably convincing manner.
An expose' of the social behaviours of the underprivileged made me understand the
seamy side of life better. The appearance of some leading figures in the film and
stage world like Namel Weeramuni, Sriyani Aamarasena, Alwis and others was also a
determining factor in holding a balance in an otherwise cerebral argumentation.
The questions of justice, the interpretations of life, the romantic love, the physical
needs, the exploitation, falling in love for two different reasons with two women with
wide disparity in ages, the teenage love, the rape, the seeking of truth are all left to
the viewer to judge in an un- interfering way. I like psychological themes and "The
Wind" (Sulangi) is pictorially a very satisfying and entertaining film of a high order.