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| Sunday, 8 June 2003 |
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Kudos for Sri Lanka at Cannes
by Jayanthi Liyanage The nature of transcontinental acclaim which greeted the virtuoso, returning to the helm after an absence of almost 20 years, was in itself a revelation for the struggling local cinema industry.
For as Dr. Lester James Peries himself remarks, appraising the UNESCO Fellini Gold Award conferred on him at the 56th Cannes International Film Festival, which featured his newest cinematic work "Wekande Walawwe" (Mansion by the Lake) in the Invitee category, "I cannot do better than the reviews which have never been as good as this before." "A tranquil, undemonstrative slice of humanistic cinema that's virtually timeless," is how Variety, the American film maker's bible critiques this film. "Everything filters through human and family relationships rather than laid on with a trowel... Though by an older director who is untroubled by the demands of the marketplace, he has none of the dryness that too often afflicts great directors past their prime - notably Satyajit Ray.." Le Monde, decries in covert phraseology the evolution of modern cinema into a numerical age and observes in comparison that "this film is inexplicably presented out of competition within the framework of the Official Selection: we like to think that Cannes selectors thus imply that Mansion by the Lake cannot be categorised, that it is too remarkable, too beautiful, too pure, too luminous, for it to be subjected to a jury." We cannot do better than to use the same words to illustrate Dr. Peries, the artiste himself, in his role as Sri Lanka's most outstanding cinematic creator. For in his 53 years of film-making, traversing five generations having commenced with the local pioneer generation among the likes of B.A.W. Jayamanne and Sarath Wimalaweera, his style has not deviated from his original purpose. "If humanity is missing in your work, then your work loses its credence," reasons Dr. Peries. "Wekande Walawwe is an example that the sense of humanity is not finished. One lesson I have learnt is that the human cinema is not over."
As reviews go, his is a cinema which is simple, hauntingly traditional, yet has a distinctly classic undercurrent flowing through it. "It is classical cinema like this, which is still able to be effective despite so many new technological gimmicks and explosive and controversial thematic concepts," he concludes. "Family drama still preoccupies me, as for me, the family is the microcosm of the world outside. The critics say that I have been impervious to the passing fashions. But I don't think the cinema can change like dress fashions - ultimately, what prevails in the spirit of a film is the sense of humanity and the old-fashioned family drama could still carry a punch. For me, the vindication of my whole career is this film." "We should analyze our relationship with Cannes more closely this year, as this undoubtedly the greatest film festival in the world, had an unusual Sri Lankan phenomenon in 2003," points out Dr. Peries. "By a lucky configuration of stars," the country figured prominently in four festival events while the entire festival did not have any other Asian entry. While "Wekande Walawwa", produced by Chandran Ratnam and Asoka Perera, made its entry to the Invitee category, Cannes 2003 created a Students' Section to which Vimukthi Jayasundera, a Sri Lankan student studying film in France entered his 30 minute film Vide L'Amour" (Without Love). "Though he represented France, the event is unique to us," says Dr. Peries, adding, "As this is the first time in the 56 years since the birth of Cannes, that it has opened its doors to the whole world to probe the talent of tomorrow." The third entry was the 56 minute documentary on Dr. Peries's work, made by Lucian Plantereaux and the fourth, of course, was the Fellini Gold Medal which Cannes joined hands with UNESCO to bring in. "This year's Cannes had both Sri Lanka's oldest director - me at 84 - and the youngest - Vimukthi at 25. This young factor is particularly significant," says Dr. Peries. Although Fellini awards are usually given at the UNESCO Headquarters in Paris, the fusion with Cannes this year was to commemorate Frederico Fellini's tenth death anniversary. "Fellini, one of the world's greatest Italian Film directors, was a winner of the Golden Palm award and had been a juror at Cannes. When he died, the award was created to honour those contributing to cinema." Prior to Dr. Peries, the award has gone to Vannessa Redgrave, Clint Eastwood, Gerard Depardier and Iranian Film Director Abbas Kiriyostani. Dr. Peries insists that the new generation of film makers aspire to the major film festivals in the world, even if it is only to be rejected, rather than satisfy themselves with contending at the many mediocre festivals scattered around the world. "And the awards we receive should be evaluated in relation to the big festivals. All the 1000-odd festivals in the world should be properly evaluated by NFC for their real worth as some are so small in scope that it's not worth sending an entry to." A French newspaper wrote that Dr. Peries has enough Cannes experience to be the historian of Cannes. His association with the festival began in 1957 with "Rekhawa". Since then both have had a cinematic voyage, running on parallel tracks. From 1946 to 1968, the Festival had only two categories of long and short films. But the student revolt in France in 1968, resulted in the festival broadening its base to the outer world, creating a Director's Fortnight category. Dr. Peries's Beddegama and Kaliyugaya made entry to Cannes through this category. To the next new category, titled "Certain Regard", the only Sri Lankan film to be invited was Sumithra Peries's "Loku Duwa" which failed to make the journey due to financial constraints. Dr. Peries sees state intervention in all areas of film-making as an absolute necessecity to develop the local film industry. "I don't see the local cinema today as an industry or an art or as a business," he says. "It is not a stable, ongoing thing. We really don't know when our next film is coming. We have no modern studios. Our equipment is outmoded and there is no capital investment. There has been no replacement for the 100 cinemas and two studios burnt in 1983." "The average film maker makes one film and then goes. In the 53 years I have been in the industry, I have made only 20 films. We are not even in the main stream of cinema but only in the ordinary commercial circuit, competing with the Hindi dinosaur," he assesses. "From 1957, I have been saying that we should have a National Archive of films. From the 1,000 local films made, only 200 remain now. One day we will wake up to realise that the first 50 years of our film world has vanished." Why should we support our film industry, he asks, turning to the famous saying by the French premier Mitterand. "Any country that can't control its images is an enslaved country." This need for national identity holds true for us too, he says With Wekande Walawwe opening in Paris to the commercial circuit later in the year, Dr. Peries's productive dalliance with Cannes has come full circle, he rejoices. "At 84, I don't know what the future will be." The creative springs of this cinematic virtuoso whom the French government bestowed with a "Legion d'Honeur" for his close involvement with Cannes, seem to be welling up for their next adventure. |
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| Editorial | Security Produced by Lake House |
The oldest film director at the Cannes International Film Festival was
aged 84, the youngest 25. Both were Sri Lankans. The Sunday Observer talks
to the former, Lester James Peries about his experience on this, his
fourth visit to the Mecca of film.
