Exploring the infinite nature of mankind:

Genuine art stands test of time

Being a terrific filmmaker, Sumithra Peries, though she is always in the shadow of her legendary filmmaker husband Dr. Lester James Peries, has cast her larger than life shadow on the Sri Lankan filmdom as a pioneer female filmmaker.

Rather than taking characters out of the book, Sumithra opted to take strong and complex female characters who dominated her films, out of life and out of the milieu. They are full of flesh and blood as in the `Yahalu Yeheli', `Sagara Jalaya' and `Yahaluwo'. Though well grounded on the native soil, they stand tall as characters embodying universal human qualities, at times transcending cultural, linguistic and geographical boundaries. It is because of this universal quality and the depiction of complex characters that films by Sumithra Peries are of lasting value and are part of the collective legacy of the nation.

In her latest film 'Yahaluwo' which won diverse accolades at international film festivals including the SAARC Film Festival, Sumithra explores the complex web of ethnicity-based relationships of persons of different social strata. Though the action takes place in a household, the film epitomises complex micro-macro relationships of a population in a multi-ethnic and multi-lingual polity. The minute conflict enunciated in the film is universally applicable to not only traditionally multi-ethnic and multi-lingual countries, but also to societies increasingly becoming multi-ethnic and multi-lingual in nature.

by Ranga CHANDRARATHNE

Q: You are credited with being one of the pioneering woman filmmakers who had discussed gender issues, perhaps, for the first time in Sri Lankan Cinema. In retrospective of a trails blazing career in cinema, how do you revisit the days when you stepped into the then male-dominated cinema and what were the initial stumbling blocks that you had to encounter in your journey?

Yahaluwo which won international acclaim, has not been recognised by some of Sri Lankan critics for reasons best known to them.

‘Nidhanaya’ is a classic example of Sri Lanka’s inability to preserve its artistic legacy. The original print of `Nidhanaya’ was destroyed as a result of Vinegar syndrome. Had Sri Lanka possessed a film archive, it could have well been preserved.

A scene from ‘Beddegama’

A: Firstly, I never considered my films to be issue related. They were essentially woman centric.

The central character being a woman or girl of the films naturally depicted her in difficult, social or emotional situations and how she overcame or did not overcome them*.

Q: Can you discuss some of the prominent gender issues that you have focused on, in your films within the context of Sri Lankan society?

A: When I look back I feel that more than the male-dominated cinema it was the commercial formula film that was a stumbling block, to me as a filmmaker then as it is now, not being issue related. My films depicted my central female character within the framework of the narrative with honesty and sincerity - whatever criticism of the social forces at play were implicit and not explicit.

Q: It has been established over the years that cinema is a closer medium to public than literature. Since Dr. Lester James Peries pioneered in taking Gamperaliya, as a work of art, beyond our shores and English translation of the novel "Gamperaliya" has already been published, how do you consider cinema as a repository of collective experiences of a nation against literature?

A: Cinema being primarily a visual medium it is certainly more accessible to the public than literature. Even as a repository of the collective experiences of a nation the audio visual image locks within its frames, the sight and sounds of a given place at a given time to be read and deciphered without ambiguity by later generations.

Q: The salient feature of a masterpiece is its universal feel across geographical and cultural boundaries. Even with their cultural baggages, these masterpieces translate profound human experience into collective legacy of the mankind. Before the original masterpiece in Sinhala is translated into English or any other language, you have rendered them into cinema. Both Dr. Lester James Peries' and your works are subsequently sub-titled in other languages such as English, French, and German etc. How important, do you think, in preserving them?

A: Films that embody profound human experiences cross cultural boundaries, to be read and understood by other cultures with minimum help of subtitles. Film being a perishable medium it is imperative that they be preserved, firstly, in its original form and if not in digital or any other medium that may be available.

Q: Television channels like Lak Roo have taken steps to preserve the cinematic legacy of Sri Lanka. What are your views on such attempts in general and rendering cinema into another media such as television, VCD or DVD in particular?

A: Benevolent channels like Lak Roo coming forward to render films made on a perishable medium like celluloid to another medium is a felicitous sign.

Q: Compared with your era, cinema has developed in terms of technology and language of cinema. However, it seems that a handful of filmmakers have made use of technology and highly evolved language of cinema.

A: Unfortunately, cinematic diction has not been satisfactorily evolved in Sri Lankan cinema.

Q: Except certain instances; it has not developed beyond story telling. What do you think are the root causes for this situation?

A: I believe that from the silent, era the language of cinema as introduced by D. W. Griffith has not changed. The syntax and grammar of cinema has remained the same - what technology has added is a superficial gloss in terms of picture and sound which I believe has not enhanced the artistic quality of film. The storytelling and pacing of our films are reflective of the social milieu in which they are set.

Q: In the "Yahaluwo", you have deviated from your practice of exploring gender issues, and venture into a different area. Although the country has suffered from a protracted conflict, a small number of filmmakers have explored the theme of ethnic harmony and racial reconciliation. Why do you think Sri Lankan filmmakers in general have shunned themselves from this harsh reality and enjoyed the comfort in their cocoons? What is the role of a filmmaker particularly in the context of a conflict-ridden society?

A: I don't expect a filmmaker to be a didactic preacher or social reformer.

As an honest artiste he would take the sum total of his experience and translate it into a work of art that would communicate a meaningful experience to his audience.

His attitudes and feelings would be reflected in his world. The real experience of the artiste would be told to us in the future by those who actually experienced it but not as a second hand emissary.

Q: Sri Lankan cinema lacks both women filmmakers and artistic filmmakers. Although the socio-economic conditions have improved over the years, Sri Lankan woman has not yet been liberated from her conventional role ascribed to her. After you, there are only a few women filmmakers who have entered the cinema. What are the contributory factors, you think, for this situation?

A: Even world cinema took a long time to give some space to women filmmakers - Sri Lanka is no better. Now when the Sri Lankan film industry is gasping for survival, naturally the first casualty would be the women filmmakers.

Q: Looking back on the 50 years of Sri Lankan cinema, it is increasingly clear that contemporary Sri Lankan cinema has failed, by and large, to reflect the milieu and to discuss the complex socio-economic issues. While some filmmakers are attempting to paint a hell-like picture of Sri Lanka purportedly aimed at securing awards at international film festivals, some others are engaged in re-creation of the country's fractured history in search of an ethno-linguistic supremacy. In this context, how do you analyse this situation?

A: The mainstream Sri Lankan cinema, like any other cinema in the world is entertainment oriented.

The space left for a committed filmmaker to explore genuine experiences is very small in this context. Filmmakers find small niche markets abroad to sustain their films and film festivals give a window to showcase their films.

A genuine artiste should feel free to express his concerns about his country if his concerns are genuine and is not working to the agenda of other destabling forces.

Q: Though we have celebrated 60 years of Sri Lankan cinema, we still don't have a fully - fledged film archive or have not introduced cinema as a subject in a broader perspective and also we have not been able to set up an institution dedicated to teaching and researching on cinema. What are your suggestions for creating a vibrant cinema culture in Sri Lanka?

A: An archive is a prerequisite for any film culture. Without preservation the future generation will have no access to the history of cinema.

The media, whether written, audio visual, can stimulate and educate the younger generation by showing films in any format of artistic and historical value and shape young minds to read films with greater insight and understanding to enrich themselves.

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Sumithra on Lak Roo TV

According to Sumithra Peries, Lak Roo Television channel run by the Government Film Unit (GFU) has taken up the task of preserving the artistic films for posterity through the electronic media. It has tremendously improved the accessibility of artistic films such as `Nidhanaya' to a wider audience. The Government Information Department, together with Sri Lanka Telecom Affiliate Visioncom, proudly launched "Lak Roo" a new television channel on the 90th birthday of Sri Lanka cinematic legend Dr. Lester James Peries. Lak Roo is available exclusively on PEO TV, a revolutionary new medium of television entertainment that will feature news, documentaries and special events in relation to Sri Lankan culture, politics and society derived from the archives of the GFU.

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