Gamini Fonseka - Icon

Gamini Fonseka

When alive, Gamini Fonseka, set the mass-soul pulsating.

Dead, Gamini Fonseka, still stirs spasms in the mass-heart.

At the recent unveiling of the statue of Gamini Fonseka, mass enthusiasm was dramatically present. The people displayed a marked keenness, to be part of the proceedings, and were obviously moved by the intimate memories of their erstwhile idol.

But, the most riveting piece of drama at the unveiling ceremony, was contributed by the First Citizen of the Land, himself. President Mahinda Rajapaksa, made a thrilling entrance, at the most crucial moment in the proceedings and unveiled the statue. He greeted those who were gathered at that venue and left after a brief stay.

The President's presence, imparted a high prestige to the event.

In the statue that was unveiled, Gamini Fonseka, stands in front of Elphinstone Theatre. His gaze is stern. He contemplates one of the busiest stretches of road, in the whole city of Colombo. One could very well think, that, the vague trace of a scowl, that could be discerned on the face of the statue has been caused by the almost perpetual traffic-snarl in that section of the metropolis.

To do adequate justice to the colossal personality of Gamini Fonseka, many epithets and a multiplicity of honorific have, invariably, to be deployed. He was actor par excellence, innovative directorial genius, entrepreneur gifted with unusual acumen, politician who matured into statesman, administrator and pre-eminent Sri Lankan citizen. His elegance, ready wit, cosmopolitan sophistication, capacity to take charge of situation with alacrity, were assets that distinctly qualified him for the status of world citizen as well. His built-in greatness, made him an ideal person to represent his motherland, at any global or regional assembly.

The seeming aloofness, that, some people tended to detect in his personality, was dictated, to my mind, by his reluctance to impose his personality on others and to cause them unnecessary embarrassment.

His presence was very much public, but his life was intensely private. Whenever people write about Gamini Fonseka or speak about him, it is customary to dwell at length, on his role in the field of cinema. But in the real and stark sense, cinema was just one of the many roles in his full life. But, we cannot help but grant, that, it was in cinema, that his image was quite comprehensively projected. And, in consequence, it is as the cinema-giant, that his personality is etched deeply in the recesses of the mass-mind.

His teachers have quite often asserted, that even as a child at school, he demonstrated a streak of leadership. His deference to this teachers, was undoubtedly above the average. His nearly in-born empathy, made him consider men and women with a humane sense of understanding.

The cumulative effect of all these early personality traits, would have naturally inclined him towards a career associated with the theatre.

His early youth coincided with the emergence of Sinhala cinema.

In his early youth, Gamini Fonseka, may have seen this new socio-cultural force, represented by Sinhala cinema, as his field of opportunity.

From his adolescence on, Gamini Fonseka must have 'felt' or 'sensed', the possibilities of the new medium 'cinema'.

When the masterly film-maker David Lean, located his epic work of cinema, 'Bridge on the River Kwai' (1957) here in Sri Lanka young Gamini was at the film-site, Kitulgala. His presence would have been peripheral, impersonal and anonymous.

But, the young fellow was totally caught up, in the spirit of the epic film that was in the making. He gave vent to his feelings with a whistled tune. As the story goes, the tune won the attention of the genius, and was integrated to the film as a form of signature call.

Statue of Gamini Fonseka

This reminds me of an incident in the early youth of India's Satyajit Ray. When the French Director Renoir, was making his film "River", on location in India. The starry-eyed adolescent Satyajit Ray was continuously at the site, taking in the detail of director Renoir's professionalism. Impressed, Renoir told him, "Young man, one say you will be making films yourself in India".

But, at Kitulgala, Gamini may or may not have received such a pronouncement. But, the experience, transformed him, without any doubt.

The early roles assigned to young Gamini Fonseka, required only 'Card-board' appearances. But, eventually his genius added depth and plausibility to even stereotypes he was asked to act.

He crafted those run-of-the-will roles with such care, that he soon became a personality, that the film goer was keen to watch avidly. In other words, he became a popular star with a massive fan-following.

He added telling details to the film-portrayals he turned-in.

He did not merely emulate a character. But, he possessed the assigned character with propound empathy, giving it a life of its own. He infused believability even to a surface character, touching it with his special brand of acting genius. To my mind, the classic instance, that vividly illustrates, the enriching and enlivening empathy, Gamini would bring to portrayal of a character, with fully articulated realism, is the role he played as Nadaraja, in Director Sunil Ariyaratne's 'Sarungale' (Kite). Such external items as costumes are routine. When Nadaraja is in a contemplative mood, the hums a tamil devotional song to himself. This imparts an authenticating touch to the character.

The meticulous care, he introduced to a cinematic production, is, at least to some extent, reminiscent, of the perfectionism of David Lean, the cinema sage.

'Nomiyena Minisun', (The Immortals) is distinguished by a near-faultless production. Performances, costumes, situations, dialogue, transitions, bit-part etc, are all just right. It is as if a super sophisticated computer had been in charge of the total process of production. In retrospect, we can see the stages through which, he evolved as a complete man of cinema.

In Lester James Peries' 'Yugantaya' (The End of an Era), portraying the role of a hardened plutocrat, with an unyielding streak of totalitarianism, Gamini demonstrates what in-depth acting is. The humming and whirring machinery of his factory, is now hushed. Strikers have seen to it. He goes to a machine and touches it. The machine does not obey or reponed. He experiences a loss of power.

Returning home, he calls his ever-faithful family retainer. He responds and obeys with alacrity. the capitalist, is satisfied that his authority is still intact. The point is driven home emphatically. Answering the master's call, the servant asks "There is anything to do". The Master says "No".

Beyond cinema, Gamini Fonseka, stepped into the practical worth of political theatre.

There too mass adoration ensured his overwhelming success. He adorned the prestigious office of Deputy Speaker of the House.

Eventually he attained the status of Provincial Governor.

His personality enrichment was adequate for him to cope with all the demands of those exalted administrative responsibilities.

Towards the later days, he may have attained a spiritual and philosophic height, that persuaded him to stay above the hum and buzz of the toiling world. I am not too sure, whether with his vast experience of men and women at various state of life, he acquired a form of disdain or a kind of disillusionment.

His remarkable story has not been adequately set down in authoritative book form, by anyone todate. This is as far as I know. With such a plethora of pictorial and textual material available about him, such a work should be produced by someone. Now, is the best hour for it, as many individuals who had close links with him are still around. As for the statue, that was unveils recently, it is a work of high craftsmanship.

Gamini Fonseka's personality, which is the product of several stands human understanding, aggressiveness - self-assurance etc., is adequately portrayal sculpturally by the artist.

But, given the attitude and the state of mind, Gamini Fonseka possessed, would he have been totally happy about his public statue. I wonder. Great men are honoured by their ardent followers by setting up statues. But, what happens in reality?

The itinerant crows perch in transit, on those prestigious heads. Some feathered kinds, utilise the status as comfort rooms, draping them in a way the sculptors never imagined.

But, one can never say whether they would take such liberties with this statues. Even they would not fare, I feel.