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Rare tome on cinema

For several decades now, Bertram Nihal has been travelling Third Class, while possessing a Super Grade Ticket. His oeuvre of work particularly in the medium of teledrama, has established a norm, that is clearly difficult to be reached or surpassed.

Some of his creative efforts in this field are landmarks in the tradition of Sri Lankan teledrama. His serialized teledrama "Gamperaliya", (scripted by Tissa Abeysekera) set up a record for the reconstruction of a historical period, through assiduous and painstaking research. Quite astonishingly, the youthful creative zest, keenness and the commitment he displayed then, has remained undiminished throughout the years.

Several teledramas later, Bertram Nihal presented his serialized teleplay "Bhavana" (Meditation) to the world. It won mass approval and critical acclaim.

With many others, who thought like me, I promptly concluded at that time, that this must be the last word in Sri Lankan teledrama.

But, not any more.

I have seen his latest teledrama "Amarapuraya" (The Immortal city). If you view it, you will undoubtedly aver in unison with me, that there could hardly be any other future Sinhala teledrama, that could scale a peak higher than what 'Amarapuraya' has achieved.

There is, of course, a hitch. Amarapuraya has not been publicly screened yet. It is a vast pity, that, the viewer-masses have been deprived of the opportunity to see what could probably be the greatest teledrama made in Sinhala in Sri Lanka, so far.

At this point, you may very well wonder, whether I am digressing. How about the book-review? All what I said above, is an approach to this central issue of looking at Bertram Nihal's latest tome.

Almost all his teledrama successes are the inevitable outcome of his obsessive preoccupation with perfectionism. As author, he transfers this trait to his writings.

He could be given the middle-name 'Perfectionist', to reflect this impressive personality asset.

The latest literary work by Bertram 'Perfectionist' Nihal, is a thorough study, the avowed purpose of which, is to conjugate the grammar of cinema, comprehensively. His title for this seminal work is 'Cinemalankaraya' (The Glory of Cinema).

Some of those persons, who feel unhappy if they cannot classify, categorize or label a given work, will experience a marked frustration, when they deal with Bertram Nihal's 'Cinemalankaraya.' It is not a history of the film. Nor is it an attempt to delve deep into the aesthetics of cinema.

Its style is not directly didactic either. On the other hand, it is a synthesis of all those elements - and much more.

Defining what he sets out to do in his book, the author says, that it is an analysis of the Renaissance of world cinema tracing the path it has trodden up to now.

His purpose is so widely scooped, that no run of the mill author, will have anything to do with such an ambitious book-project. But, Bertram Nihal not only plunges into it head-long, but emerges from the escapade triumphant and unscathed.

The detail, that fills page after page of his book, inspires awe and admiration. The pleasantly bewildered use of this book may question in astonished disbelief. "How on earth did this man gather and manage all this world of material?"

The total work is an imposing monument to his impressive capacity for sustained concentration and fully focussed writing.

Anyone going through his work will readily grant that this man is a working and living embodiment of patience.

To judge from the finished product, he must have spent hours and days on end, refining a phrase or constructing a paragraph.

His chapters one and two are dedicated to the analysis of cinema and art. He presents to his readers an analysis of what art is, in a simple but in-depth discourse.

The sources he quotes, have such a wide range in time and clime, that the work assumes the guise of a mini-encylopedia.

The formal history of world cinema extends over a period of about 115 years. Bertram Nihal uses many outstanding cinematic creations, throughout history, to make his point.

To cull illustrations for his theoretical statements, Bertram Nihal resorts, not only to a vast swath of film but also to views expressed by critics, men of cinema and others who are eminent in various fields.

One could very well state, that Bertram Nihal's work is a Sinhala compendium of the love associated with the medium of cinema.

Indigenous cinema - the tradition of Sinhala film - making, to be specific has a history of 63 years. This period has seen the creation of a vast variety of films, of different calibre. But at no time, during this history has there been any authoritative discussion, dialogue or discourse on the aesthetics and the techniques of cinema of an elevated level.

I am fully aware, as a pioneer in the introduction of cinema teaching at higher education level in Sri Lanka, 47 years ago, that in-depth instructions in issues relating to cinema, have been few and far between.

If a dialogue was attempted on the theory of techniques and technologies it would lack a concentration on the aesthetics of cinema.

This is applicable vice versa as well. This hiatus gives a significant edge to the stature of Bertram Nihal's book. The scope and the perspective of his work are in a manner of speaking - all embracing. The directorial talent, film-aesthetics, thespian elements and the ordinary filmgoer will all have something worthwhile to derive from this book.

This work could immediately serve as an indispensable vade mecum for those who are required to possess an in-depth awareness of the film medium. This is an ideal text-book material for all students at higher levels and for all those whose interest in cinema is profound. A practical problem Bertram Nihal has had quite obviously to grapple with is the vocabulary. In Sri Lanka we do not have the Sinhala terminology, that would enable people to indulge in a worthwhile discussion on cinema. In his comprehensive and substantial work, Bertram Nihal has evolved his own solution. Some of the Sinhala expressions occurring in his work are the technical terms Bertram Nihal himself created.

When you peruse Bertram Nihal's tome, you cannot help but feel that there is hardly any aspect of cinema, he has left untouched.

The author, wholesomely nourishes the reader even in the two appendices he tags on to the main menu. In one he provides a useful bibliography. The other is a partial listing of some of the most significant films in the global history of cinema.

Betram Nihal's valued tome is so thoroughly exalted, that even the most objective writer assessing it, invariably runs a risk. Some may turn round, and say "hyperbole." But, the response to such a charge is quite simple "Read it for yourself".

If those who are in the right positions, assigned to promote art and culture, do not recognize Bertram Nihal's unprecedented contribution here, to the on-going discourse on art and culture in Sri Lanka it can be thought of only as a vast pity.

"Cinemalankaraya" is, in effect a scintillating glory to Simhala literature on this culture - transforming discipline - cinema.


Fascinating presentation on reality

What is reality? This is a highly philosophical question. The book answers this most important question irrespective of creed, faith or deeply imbedded beliefs and prejudices in us.

The book has two parts. In part one, the reader is taken through a highly fascinating world of scientific discoveries related to our world and the universe at large. After a brief but comprehensive description of the main components of the universe, the authors introduce the reader to the most advanced and modern scientific theories, observations and findings related to the topic of reality.

In the process, the authors unravel the mysteries of not only the universe, but also the hidden microscopic world of the basic blocks of matter that everything in us and outside us is built on. The authors exploit advanced and sophisticated theories that need complex mathematics. However, no mathematical or scientific background is needed since everything in the presentation is explained in such a way that any ordinary person can understand the text easily.

We have a reasonable idea of matter in the form of the trees, the mountains. and the earth with all its contents including our bodies. But, then, what is Dark Matter? What is Dark Energy? And, what are Black Holes with enormous densities residing in colossal form out there in the universe that display the most bizarre and unbelievably mysterious characteristics?

Why do scientists find that these three unknown features totally control the destiny of our universe? Through the pages of part one, the reader will come to know about them all without involving too much of intellectual fervour.

In the early part of the last century Albert Einstein discovered that the universe is expanding, demolishing the commonly held view that it is totally static lying there for ever in the present form. This discovery created the greatest upheaval in the scientific and the religious community of the day. Then, a series of questions arise. If the universe is expanding then where is it expanding into? From where did the universe begin its expansion? Then came to light the most daunting aspect of the expanding universe. If the universe is expanding, then what is the beginning of the universe? That is to ask: What is the origin of the universe? Then comes the Big Bang: the theory of the origin of the universe.

The authors take the reader through a highly gainful and fascinating journey, finding answers to those questions, through the discoveries the scientists have made unravelling the mysteries of universe. In the process the scientists have discovered to their utmost surprise that the reality is not what everybody including them thought it to be. The common sense based view of reality we all share has to be discarded, although grudgingly. In other words, our view of the world is not really, real!

Scientists looked at the microscopic world, which is inside the tiny atom with which all matter is made of, in minutest possible detail too. The discoveries made here were absolutely shocking even to scientists. What lies inside the atom are called subatomic particles that can be regarded as the most fundamental building blocks of matter.

The behaviour of these subatomic particles was a shocking revelation to scientists that the world is not what we assume it to be. The scientists' world of reality was turned upside down by their own discoveries. What then, is the ultimate reality the scientists discovered? The reader can discover this reality, by reading the book.

In part two, the readers are taken through the most interesting discoveries of the Buddha. Here again, the journey one makes through the pages of part two is full of revelations never known to mankind before the Buddha. The Buddha made his discoveries over 2500 years ago, yet they are equally shocking as the scientific ones to us, even today. The reality the Buddha discovered so long ago glaringly displays a "world view" that totally contradicts the one we are used to. The authors elucidate on the deepest aspects of Buddha, Dhamma quite lucidly, so that the reader may gain substantial knowledge without undue effort. The authors show through step by step presentation, how the Buddha took the 'being' apart into its minutest possible components and examined them microscopically revealing the innermost secrets in them. The reality the Buddha discovered is opened in the pages of this book for the keen reader.

As the authors claim, this is not a book on science nor one on Buddhism. This is a fascinating presentation on reality. The reality discovered through the most advanced scientific investigation and that discovered by the Buddha's research are presented side by side in this book.

This is not a book that advocates any religious faith and hence it may appeal to everybody whatever the faith, whatever the present view of reality they have embraced. The presentation is lucid, easy to read and creates a curiosity running across the chapters in such way that you may hasten to move over to the next chapter when one is completed.

The book available at leading bookshops most certainly ignites the flame of enquiry into the topic of reality in a remarkable way.


Urban agriculture for reducing poverty and malnutrition

"Manual of Low/No-Space Agriculture -cum- Family Business Gardens" written and recently launched by Dr. Thilak T. Ranasinghe was significant in two ways. It is timely and relevant in the context of the efforts that are being made by developing countries to achieve the Millennium Development Goals adopted by the United Nations in 2000.

Sri Lanka is one of the 147 member countries signed to achieve the Millennium Development Goals by the year 2025. As it is well known, 50% of these goals have to be achieved by the year 2015. Of these 8 Millennium Development Goals identified the first one is the Eradication of Poverty and Hunger.In our country close to about 50% of the population suffers from poverty today. Those who earn less than US$2.00 a day fall into this category. Poverty prevails both in rural as well as in urban areas.

The number of poor people in the urban areas is increasing due to migration of people from rural areas on account of the overall socio-economic development process. New areas are also becoming urbanized due to implementation of development program.

Two other priority areas are the food security and the protection of environment for the benefit of the posterity. In the year 2008, basic food items to the value of about Rs. 100 billion have been imported. That means food security level is not satisfactory at present. Further, it is evident that malnutrition is on the increase in our country.

Dr. Thilak T. Ranasinghe with his theoretical knowledge coupled with enormous practical experience as an Agricultural Extension Officer has in an innovative manner, presented the concept of Family Business Gardens, details pertaining to making of suitable structures for raising crops, ornamental fish and poultry and their maintenance, dissemination of technology and popularization of the concept to make the reader easily understand the facts and figures without any confusion.

Information on new technology, suitable crop varieties, modern irrigation methods, simple methods of organic manure application, recycling of waste water, making compost and bio fertilizer and processing of primary produce are provided in a very simple manner.

In urban and semi urban areas the availability of resources such as land, space for air and sunlight and water is very very limited.

These limited resources can be utilized to the optimum level by adopting the guidelines and recommendations given in this book. This leads to increase in productivity to a great extent.

Some of the vital benefits that can be derived by resorting to urban agricultural practices or Family Business Gardening are the positive contribution towards family's food security as well as food security at the national level, improvement in the level of nutrition leading to healthy lives, mental satisfaction, recycling of waste materials for the protection of the environment.

There is enormous potential for establishing businesses and creation of employment opportunities. This will either, increase the level of income or reduce household expenses. This contributes positively towards eradication of poverty and hunger. This situation improves political stability ensuring economic stability.

In addition, those who don't look for any additional income by resorting to urban agricultural practices they still can spend their leisure in a more productive manner and derive mental satisfaction.

They could also contribute towards the protection of the environment by recycling waste materials for the benefit of the future generation. Their premises can also be beautified by utilizing the available limited resources in an optimum manner.

The book is a wealth of information for the agriculturist. It is worth reading by every student and those who are interested in increasing their income or those who are concerned about the protection of the environment for the benefit of the posterity.

(The writer is Vice President - OPA - The Organisation of Professional Associations of Sri Lanka).


He practised, what he preached

The recent publication, the Sapumal Foundation Collection: A Select Catalogue, compiled and edited by Neville Weeraratne is a valuable contribution to the literature on art in Sri Lanka. There are only a few writers in this country who possess the aesthetic perspective, knowledge of arts and the practical experience of a painter as Neville Weeraratne who can do justice to a publication of this nature.

The catalogue gives a factual description of the origin, objectives, and the contents of the foundation by the present chairman L.S.D. Pieris.

The Sapumal Foundation was established by the painter Harry in 1974, with the following objectives: the advancement of educational, scientific and cultural activities; the establishment of a permanent gallery and library for the fine arts and the relief of poverty. In his lifetime the founder practised what he preached by realising the objectives of his mission to the best of his ability.

I still remember Harry Pieris with great affection and veneration as a teacher of aft and a painter who brought new life and energy to the art scene of his times in Sri Lanka. Art for him was a way of life. He always taught that art enable people to appreciate the simple beauties of life. His approach to life was based on simplicity and he lived in great beauty surrounded by paintings, books and numerous other aesthetically satisfying objects. He was a cultured intellectual with a prophetic vision. In a letter written to Dr. Malalasekera in 1944 Harry Pieris said, I quite agree that Sinhalese and Tamil should be made official languages and all those wishing to enter public service should be compelled to know, Sinhalese and Tamil in addition to English.

Neville Weeraratne as a member of the 43 Group of Artists has been a participant of the activities of the Sapumal Foundation from its inception. In the chapter 'A Portrait of Harry Pieris' Neville metaphorically encapsulates the spiritual essence of the master thus: Harry Pieris was a man in white at concerts exhibitions, in his fragrant garden or when playing host at 32/4 Barnes Place, his home, a place of repose. At any time, anywhere, he would be seen in his pristine white shirt and trousers or in the more intimate setting of is home, in a white sarong.

It was a plain and simple statement'. Neville's narration of the life and times of Harry Pieris deals comprehensively with the man and his vision. The text also deals with many other artists who are represented in the Sapumal Foundations Collection.

The idea of having as many reproductions as possible under 'Harry Pieris: a portrait gallery' does not seem to have produced satisfactory results. His paintings of portraits characterised by the subtle gradations of subdued tones of colour are not easily reproducible.

One way of surmounting the constraint would have been to reproduce them as full page illustrations. Larger reproductions even in other instances would have enriched the appearance of the book.

This publication containing 216 reproductions, 174 in colour and 42 monochromes will prove to be a valuable addition to any library or a personal collection.

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