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| Sunday, 9 October 2005 |
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Asoka
Handagama :
Propagating classical arts in cinema
Asoka Handagama, an internationally acclaimed Sri Lankan filmmaker, in an exclusive interview with the Sunday Observer revealed that he has created a complex narrative form based on the temple painting tradition which existed for a long period of time. In this unique form, the filmmaker deliberately breaks the static continuality between time and space, which plays a vital role in this novel application of the medium of cinema. This state of discontinuity, which is being used as a form, is carried on throughout the creation by the use of sound and music that continues the rhythmic flow of the narrative. by Ranga Chandrarathne As a young cinema enthusiast from his school days, Handagama produced several dramas and contributed articles on arts to his school magazine. The idea of becoming a filmmaker was always with him when he watched films. It was towards the tail end of the 80's that he entered the University of Kelaniya, where the students' politics was banned and the political activities went underground. The unfolding scenarios of the 82's communal riots had formed the political aspect of the filmmaker that is manifested in diverse ways in his creations and left a lasting impression on Handagama's application in the media. However, Handagama alienates himself from any representative politics but associates with a certain school of political thinking. His application and the themes are politically oriented and are interwoven with his own personal experiences. To turn the materials into a creation, Handagama invested new and complex cinematic diction and narrative style with limited resources at his disposal. Starting out The principle obstacle the young filmmaker faced was that he could not find a producer for his creations, as he does not belong to mainstream Sri Lankan filmmakers. These limitations resulted in the creation of a unique narrative form, which was amply manifested in Me Mage Sandai. The creation was interpreted by maestro Lester James Peiris as the "third rebellion in the Sinhala cinema". So far Handagama has faced successfully the challenge of re-creating his themes and established his narrative form within the constrains. In Me Mage Sandai, Handagama did not use-sophisticated equipment and tools and the camera also moved in a static frame. The political orientation in Sinhala cinema was brought about in 1970's by filmmaker Dharmasena Pathiraja with Ahas Gauwa in 1973. Pathiraja and Eastern European filmmakers have influenced Handagama's ideology that formed his unique style of narration, which is specific and integrated into the plots of his creations. He says that he has also launched a rebellion in the International Cinema by changing the existing perception on Sri Lankan cinema. For the first time, from his latest creation Handagama draws a profile of the urban upper class lifestyle in Sri Lanka which is yet unknown to Western audience. What the Westerners expect from Asian cinema is a story from the poverty stricken uneducated rural society. When the film was screened at the St. Sebestian Film Festival the Western audience received it with a shock. They began to speak about the film after a week and the images that are very relevant to Sri Lankan context. The film was a micro-narrative to read the contemporary Sri Lankan society. Asoka believes that a talented filmmaker should understand the complex applications of cinema, which goes beyond the visual effect of the picture frame. Reaching maturity He emphasised that his applications achieved maturity with the experience he gained by actively involving in the political discourse over two decades time. He said that he appreciated all of his creations but had some reservations on his writings when he was in the University. The media discussions centred on his file "Flying with one wing" was outside the scope of the creation and more or less about the psyche of the Sri Lankan society. Most viewers were shocked at the nakedness portrayed in the film. However, the themes and the issues highlighted in the films goes beyond mere nakedness but become a problem when viewers tried to compromise with their conscience. Some viewers could not simply bear the stark nakedness. However, he refused the allegations by some NGOs who are in the forefront of the anti-smoking campaign that he idolised smoking (cigarette) and drinking (alcohol) as characteristics of manliness. In actual sense, what was portrayed in the film was a negative message for smokers. He said that people-oriented cinema was a mirage that served for politicians to cheat the people. However, a country's development in arts and cinema is measured by the classical arts of that country. For instance, fine arts in Europe is well developed so is their classical drama which has been there for centuries. But Sri Lanka has folk culture. This folk culture is based on agriculture and is still the same compared to European classical arts. Handagama says that Sri Lanka should also go for an urban culture, a culture centred on cities and metropolis. Ancient arts During ancient times art which existed in the country was classical; Samadhi Buddha statue, rock fortresses of Sigiriya were classics that serve as symbol of Sri Lankan identity. Classical arts will some day become the public taste and the classical art will in turn improve the public taste thereby improving the society. Therefore, Handagama believes in the propagation of classical arts. He derives inspiration from the magical realism, classical literature by local and foreign authors like Italo Kalvino and Saiman Nawagattegama. |
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