The hidden genius

By Chandran RUTNAM

This is the story of an unsung hero.

A Kingswood College, Kandy boy, who gave up an opportunity to study at the Katubedde Campus, because of as he says, his, "craze for films".

Instead of entering the university, he chose to join the National Film Corporation as an apprentice. He worked as a trainee and then as an editor for 18 years. Here he learned the art of filmmaking. To be a proficient filmmaker, editing is a wonderful way to start with, as it provides an excellent grounding where the basics are learned.

During his time at the National Film Corporation, he has edited more than 15 Sinhala films. Among them are : K A Wijayaratne's "Madu Samaya", Dharmasiri Bandaranayake's "Bawa Duka" and "Bawa Karma", Gamini Fonseka's "Nomiyana Minissu", Yasapalitha Nanayakkara's "Jaya Siri We Kumariya".

This young man, who now understood the rudiments of filmmaking, naturally aspires to become a filmmaker himself.

I was fortunate to realize Senaka Navaratne's passion for the cinema. He came to work for my company, Film Location Services (Pvt) Ltd., where his talent was soon discovered as an artist and a Production Designer. He had the ability to translate the vision of the director to a design concept.

I took him to Malaysia, where I line-produced, John Boorman's "Beyond Rangoon", Cannon Pictures, "Fifty Fifty", the Academy Award winner "Indochine" and New Line Cinemas "Sleeping dictionary" starring Jessica Alba, where he was an invaluable asset to the foreign Production Designer with his own design ideas that were immediately accepted and implemented.

Back home in Sri Lanka, he was solely responsible for designing the sets of "Jungle Book 2", "Mother Teresa" and Deepa Mehta's Academy Award nominee, "Water".

On numerous occasions, Senaka has been set aside, when dealing with the foreign producers/directors, when the concept is being discussed. After which, Senaka is summoned stealthily to do the designs. The problem with this arrangement was that in transmitting the thoughts/vision of the director through a third party, it created misunderstandings or gave an incomplete or incorrect brief of what was required. Quite often this created a redesign which resulted in unnecessary expenditure to the production company. An example to this point, as he recollects : On the film "Jungle Book 2", what the director had in mind was a cartoonish look, but when the requirement was described to Senaka, it was lost in translation and he created a realistic look which was not what the director intended, but liked Senaka's new design concept, and fortunately it was accepted by the director. Senaka was always kept away from the foreign producers and directors.

This quiet unassuming man had to endure this treatment on numerous occasions, where his "work", his "god given talent" was usurped by others who took the credit and bowed to the accolades.

It was solely Senaka, who designed all the sets for "Water" on the banks of the Bolgoda Lake. The drawings had other names superimposed on them. Senaka was the perenial "Cobbler in the attic" of Charles Dickens, A Tale of Two Cities. Hidden away, not allowed to bask in the glory of his creations.

I took Senaka to the Philippines to do a Hollywood film titled, "Robo Warrior", where he designed the "Warrior" and all the futuristic sets - but never received the design credit on screen that he deserved and was entitled to.

The credited Production Designer was hiding with sudden fictitious ailments because he could not deliver, but fortunately for me, Senaka came to the rescue and designed the Robot, which was the main character in the film, to the complete enthusiastic satisfaction of the producers and the director.

On the film my company co-produced with John and Bo Derek, titled "Ghosts Can't Do It", with Anthony Quinn, the assigned Production Designer was literally chased off the set by the director, John Derek to my embarrassment, but the situation was soon remedied when I brought Senaka in, to do the job.

So, here is an unheralded " Hidden Genius " who must be brought out of the "attic" and given the recognition he deserves. Sri Lanka must be proud and honour this world class talented Production Designer in our country, who actually designed, 'The Mahinda Rajapakse Tele-Cinema Park'. Senaka's experience as he relates : "I dedicated my whole life to learn the art of movies. But couldn't learn how to sell it myself. I know how to sell all other things, but not my art. I think I would learn this in my next life".

Senaka quietly takes the injustices done to him with the hope that someday, he would direct a film of his own. We must help him achieve his dream and wish him good luck.