Revisiting landmarks of cinematic diction:

Rich legacy of artistic expression in motion picture

by Ranga CHANDRARATHNE

Dr.Lester James Peries

This week, we carry an interview and a brief evaluation of Dr. Lester James Peries' work to mark his 90th birthday. In an exclusive interview with Montage, Dr. Peries, Sri Lanka's most celebrated filmmaker, reflects on his life and times in Sri Lankan cinema and provides his personal insights into the evolution from formula films to present day films that explore complex social and other issues.

According to some critics, 'Rekawa' was produced ignoring the Buddhist background in an average Sri Lankan village. The absence of a Buddhist temple in 'Rekawa' has been highlighted as a deficiency by some critics. Perhaps, such criticisms apparently sprang from their narrow-mindedness or their inability to understand the key message in the film! 'Gamperaliya' (Change in the Village -1964) which has recently been restored is still appreciated worldwide by diverse audiences. It is one of the instances where a cinematic masterpiece was made based on a classic Sri Lankan novel by Martin Wickramasinghe.

'Nidhanaya', (The Treasure), is not only a superb cinematic analysis of human psyche but also a masterpiece of Sinhala cinema, marked for its mature cinematic diction which is peerless in the annals of Sri Lankan cinema. A significant facet of Dr. Peries, career in cinema is the sheer diversity of his creations; 'Gamperaliya' is recognised for its non-dramatic and realistic depiction of the village, 'Madol Duwa' (The Enchanted Island -1976) may be evaluated for capturing the lives of youthful escapade in a Southern coastal village.

Q : As you celebrate your 90th birthday, how do you reflect on your journey into making feature films after a successful career in journalism in the UK and producing documentaries for the Government Film Unit in Sri Lanka?

A : Cinema has been my life for the last 60 years, during which period I've made 19 feature films. To reflect back on this period is a major exercise in remembering the problems, the complex procedures involved in getting them off the ground etc. All films were my personal choice from 'Rekawa' to 'Ammawarune'. Some of the films are naturally more satisfying than the others. 'Nidhanaya' is my own favourite and may be the Martin Wickramasinghe trilogy 'Gamperaliya', 'Kaliyugaya', 'Yuganthaya' and of course 'Rekawa' from story concept to final print was my obsession.

Q : You have been described as "the Godfather of Sri Lankan cinema", and also as a film director comparable with Satyajit Ray and Akira Kurosawa. How would you describe yourself?

A : The Godfather reference is highly complimentary but my singular influence may I be pardoned for saying, will naturally be challenged by some, although I did more than change the whole concept of Sri Lankan cinema from its appalling dependency on the influences of Indian cinema.

Q : How did you venture into making 'Rekava', which set up a pathway to a Sri Lankan film tradition?

A : It was very difficult, I had to resign from the Government Film Unit which I happily did and accepted an offer from a new company 'Chitra - Lanka Ltd' to make a film which would be an improvement on the dreadful copies of Indian commercial films mainly South Indian.

Of course, switching from the government to private sector, I was unemployed most of the time particularly first 10 to 15 years, but I never gave up.

Q : On reflection, what have you achieved by producing 'Rekava'?

A : I doubt whether 'Rekawa' changed the course of Sri Lankan Cinema but in my view, 'Gamperaliya' did".

Q : When you produced 'Rekava' there was a heavy influence of Indian cinema; both Hindi and Tamil films. What made you to defy the tradition prevailing then?

A : Because the influence was deplorable both in terms of language of cinema and the subject matter boy singing to girl and dancing in herbaceous borders.

Q : Although the Sinhala cinema has grown over the years, do you think that we have been able to escape from Indian cinematic tradition fully?

A : Far from escaping from the influences we are embracing the conventions more passionately.

Q : What are the challenges you had to face in converting Martin Wickramasinghe's novel 'Gamperlaiya' into a feature film which many consider as a landmark of Sri Lankan cinema?

A : The challenges were initially really faced by the late Regie Siriwardena in writing the screen play. Based on that, it was easy for me to create a work of art. The script is a masterpiece and should be published as a text book.

Q : In your view, does the Sri Lankan cinema industry has fully established its own form and diction which is capable of expressing contemporary socio-economic realities of the country?

A : We have gone someway in doing this. Dr. Dharmasena Pathiraja, Wasantha Obeysekara and others have succeeded in expressing what is referred to as socio-economic reality.

Q : We have a new generation of filmmakers such as Ashoka Handagama, Prasanna Vithanage, Vimukthi Jayasundara and Enokaa Satyangani who have ventured into hitherto unexplored themes such as social taboos, incest, and civil war etc. and some critics argue that they function outside the mainstream cinema. It is only the classical cinema which stands the test of time. Would you please comment?

A : Thank god for the new generation. The national cinema needs the artistic films and hitherto unexplored themes to help the national cinema to move forward satisfying the changing taste of the audience. The industry also needs directors who are able to make successful commercial films or what are referred to as formula films, to help the theatres to function and above all the industry to prosper to be a commercially viable operation.

Q : The complete restoration of "Gamperaliya" and its release in France shows that Artistic films have become a part of the cultural legacy of mankind. However, Contemporary Sinhala classical cinema has also suffered. Some argue that Sinhala cinema has lost its depth and failed to reflect the reality or able to explore the complex web of human relationships and/or socio-economic changes as portrayed in "Gamperaliya". In your view what are the causes for this drastic decline in quality of Sinhala cinema?

A : Most of the younger generation of directors is enamoured of the form more than the content. It is instant success they crave for and to be 'avant-garde'. Classical cinema is considered to be old fashioned. With time and maturity they will discover other forms.

Q : After all these years, Sri Lanka still does not have a Film Archive which is essential for posterity. How important is a film archive in the long run to establish a vibrant film industry in Sri Lanka?

A : A national film archive is vital for any national cinema. Will any government believe this? I have espoused the cause since 1956. There has been no action result. The films are perishing, they have been burnt, for example, 'Nidanaya' has been destroyed.

Q : Whilst working on, I listened to Sujatha Athathanayake's cultured voice which nearly distracted me. Then it struck me that you have rarely used cultured voices for your films. Is there a specific reason for using uncultured or non-tutored voices for your films?

A : By 'Cultured' you obviously mean trained in classical music. To begin with the selection of singers is religiously guarded by the music director. I have worked with Sunil Santha for 'Rekawa', with Amaradewa for 'Gamperaliya', and Premasiri Kemadasa in 'Nidhanaya'. For me, all three musicions were the right choice for the story and theme of these films.

Scenes from his cinematic trail: Nidhanaya and Rekawa

The problem with some composers is that they find it very difficult to score to the movement of the film (Kemadasa often succeeded in this regard) but most music directors compose melodies for film sequences which often create a discord. Except for the film 'Rekawa' and 'Sandeshaya' I have rarely used songs.

Q : What do you think of the future of Sri Lankan cinema, if it is to be on par with world cinema?

A : The question is ambiguous, the future of Sinhala cinema lies primarily with the directors and very few have achieved international standards.

Q : How would you see the future of Sri Lankan cinema?

A : I am pessimistic. I hope I am wrong! But the local cinema like any national cinema depends entirely on its directors to meet the challenges of an evolving medium.

Q : What advice would you give the new generation of Sri Lankan film- makers in terms of essential qualities they should have to get into the category of great film-makers of the world?

A : Study the work of the great masters, but be sure to create your own style based on our own cultural traditions.

Q : A certain segment accuses that 'Rekhawa' of not depicting the temple (Buddhist Vihara) although it was set against a traditional Buddhist village. What are your comments? (The interviewer didn't miss the temple)

A : I know it was raised by a few film critics who were not sympathetic to the film. As the film was meant to be allegorical I did not consciously set it in a typical Buddhist village.