"Lester by Lester"

Chronicling the creativity of a lifetime

'Lester by Lester.... as told to Kumar de Silva', a celebration of half a century of locally and internationally acclaimed excellence, chronicling the creativity of a lifetime of the Doyen of Sri Lankan Cinema, Dr. Lester James Peries, was launched at the SLFI in Colombo recently.

The book is published by Vijitha Yapa Publications as a limited edition. Each book, which is a collector's item, is numbered and autographed by Lester James Peries. As part of its endeavour to supporting the arts in this country, Sri Lanka Telecom has contributed generosity towards the printing cost with a grant "to make the book more available to greater reading public", as Dr. Peries so desired.

The book's twenty chapters are devoted to each of his twenty films, from Rekawa' (The Line of Destiny, 1956)

 his first, to 'Ammawarune' (Elegy for a Mother, 2006) his last, showcasing and chronicling half a century of film making.

Media personality Kumar de Silva who closely collaborated with Dr. Peries on this project said that since 'Rekawa' premiered in 1956, volumes have been written about him over the years, both locally and internationally. 'But apart from the essays and articles he authored, never has Dr. Peries ever written about himself... something on the lines of an autobiography chronicling his film making career.

"This is the very first time he has chosen to write about himself and his half a century film making career, in a single volume. The book takes its readers through the trials and tribulations to a variety of anecdotes and memorable moments in the making of his twenty films.

It takes on an even greater significance and importance given the fact that Lester James Peries has now officially 'retired' from film making and will direct no more films", de Silva added.

Says Dr. Peries, "A journey in time is always fraught with multiple dangers; nostalgia and an obfuscation of the truth. I have tried to avoid both pitfalls - it hasn't been easy.

When you have worked with artistes who enjoy iconi status today, but were unknown when you started their careers, how much can you reveal? When you have ghost directed a considerable number of scenes, would you now reveal what has been an artistic triumph today? Historical veracity may try to force you to, but the ethical thing to do is to keep your trap shut".

"Excavating the past, when film-making has been past of your life, has triggered off many pleasant and creatively important memories. Remembering them has been painful sometimes, but often deeply satisfying", Dr. Peries added.

Now revered as one of the Asian greats, Lester James Peries has won continuous international acclaim in several parts of the world.

Half a century later, with 88 years on earth, 50 productive years, 20 films, tele-serials, countless retrospective around the world, bouquets and brickbats, national and international honours... Lester James Peries takes it all in his stride...they all rest on his slight frame... with ease.

Excerpts from the book

Introduction

My fascination with LJP goes back to 1976, when, as a 14 year old teen-ager, I saw 'Madol Duwa' with Upali Giniwella and his band of bandits. They fired my imagination. Soon after was my encounter with 'Rekawa' and 'Nidhanaya' and thus began a lifelong fascination with LJP and his films.

Ten years later in 1986 when I took over "Bonsoir' (the fledging weekly television programme sponsored by the Embassy of France in Sri Lanka and telecast over ITN), I was to find in LJP and Sumitra, never exhausting subject matter for future programmes.

... At that time, Bonsoir's mission was "to bring France and Franco-Sri Lankan ties to Sri Lankan television audiences". It was a bonus that both LJP's and Sumitra's personal and professional lives are inextricably linked with France. And so began my friendship with the Perieses. The Bonsoir crew and cameras were frequent visitors to 24. Dickman's Road and the result - several programmes on the couple.

It was somewhere during the period that President Kumaratunga sent the Francophone 'Madaaame Pay-Ris' (as the French refer to her) as Sri Lanka's envoy to Paree. LJP accompanied her in the capacity of "Spouse of Her Excellency" and still regales in this title. Bonsoir had more subject matter with the Perieses now based in the French capital.

It was somewhere during this time that I happened to read "Alfred Hitchcock by Francois Truffaut".

I realised that since 'Rekawa' premiered in 1956, many had written about LJP. But apart from the essays and articles he authored, and which have appeared in newspapers and magazines, never had LJP ever written about himself.. something on the lines of autobiography chronicling his half a century of film making.

The Hitchcock-Truffaut book inspired me. LJP agreed instantly. And that's how this book happened.

From 23 April 2002 to mid January 2007, I have spent endless joyous afternoons with LJP all to myself, locked up in the front room at the house at Dickman's Road, with only a Sony Dictaphone between us. And thus we ventured forth on memorable journeys into the realm of film making, from 'Rekawa' down to 'Ammawarune'.

The only unwelcome interruption was Sheeba barging in, looking for her master, and nearly knocking him down. The only welcome interruption was Hinnihami softly coming into the room with her fabulous cup of steaming tea.

LJP has an incredible e-l-e-p-h-a-n-t-i-n-e memory. At exactly half this age, I wish I had even half of it. Every single detail recorded in this book - every name, every place, every incident in his film making career from 1956 downwards - came so easily.

Needless to say I have been richer by the experience, by every single minute of it. I wish to place on record my deep gratitude to my dear wife Tharindra for the long and patient hours she spent transcribing more than 20

 hours of tapes. Without her unqualified support and sheer dedication, my job would never have been completed.

My thanks also to Vijitha Yapa who readily agreed to join as printer/publisher. And special thanks to Sri Lanka Telecom for generously subsidising the printing of this book and thus making it available to a greater reading public, as LJP so desired.

This book is strictly a one-of-a-kind work.

LJP officially declared that he's retired from film making. So there'll be no more chapters to add.

I've had my experience journeying through the world of LJP. It's your turn to savour yours....

Kumar de Silva

"Remembrance of Films Past" with apologies to Marcel Proust

Over the past 50 years I have made 20 films from "REKAWA" in 1956 to "AMMAWARUNE" in 2006.

Kumar de Silva, inspired probably by the world wide success of the Faber & Faber books in which well known directors looked back on their careers, thought it a good idea to have a Sri Lankan director take a similar journey to the past. It took him five long years, with his little Sony recorder and an inexhaustible fund of optimism to complete this book - Lester by Lester.

A journey in time is always fraught with multiple dangers; nostalgia and an obfuscation of the truth. I have tried to avoid both pitfalls - it hasn't been easy.

When you have worked with artistes who enjoy iconic status today, but were unknown when you started their careers, how much can you reveal? When you have ghost directed a considerable number of scenes, would you now reveal what has been an artistic triumph today? Historical veracity may try to force you to, but the ethical thing to do is to keep your trap shut.

In all these crises, Kumar's wise counsel prevailed. Excavating the past, when film-making has been past of your life and that of Sumitra's (editor of some of my best known films), has triggered off many pleasant and creatively important memories. Remembering them has been painful sometimes, but often deeply satisfying.

A final word-if not for Kumar de Silva's persistence over five long years this book would never have been published.

Lester James Peries.

Quotation from Lester

"I had a lot of good fortune in getting the right assistant directors, the right actors, and the right actresses who first acted with me. It is not that you have a pride in that, but you have the luck.

After all I always tell them that I'm using their talent... the taker is myself and so they give. They don't have to be thankful to me... I should be thankful to them. I'm the exploiter of their talent. At times they don't understand what I'm saying and say that I get the best out of them... but I do it without much effort.