SAARC cinema sermons

by Kalakeerthi Edwin Ariyadasa

''Harvie Conn has described film as a 'cultural mirror', a valuable reflection of contemporary attitudes philosophies, values, lifestyles. Others such as Michael Medved, have placed more emphasis on the idea of film as a former of culture. As I see it, both emphases are true. The relation between film and culture is a chicken-and-egg relationship. Film is of course a product of culture, for, the makers of films are people of their own time.

- John M. Frame

The SAARC Cultural Centre in Colombo, has initiated a praiseworthy move, to user in a propulsive dialogue among the members of the SAARC Community.

The 27 year-existence of SAARC, has been distinguished by almost daily discussions between officials, on momentous issues.

These near ritualistic talks among those in the hhgher echelons of SAARC official hierarchy are deeply impactful in ensuring SAARC's strength and well-being.

Over and above that, it has always been felt, that sustained meetings of the mass minds of the SAARC region are dynamically essential to see that the SAARC spirit of mutual understanding seeps down into the recesses of the SAARC soul.

Cinematic way

In such a context, the SAARC Film Day, established by the SAARC Cultural Centre in Colombo, paves a cinematic way, to enable the SAARC masses to enter into an intimate discourse among themselves.

SAARC Cinema, can very well be characterised by SAARC people (collectively nearly 2 billion of them) talking to each other, bereft of inhibitions, in the universal language of cinema. These films reveal the inner being of the member countries of SAARC and the cultural forces that determine the attitudes dominating their lifestyles.

These monthly film days began (according to the alphabetical order) with a cinematic work from Afghanistan.

Titled 'The Kite Runner' this film drama from Afghanistan surprises you, in the first instance, by its cinematic idiom which initially seems strange and unfamiliar, in terms of the staple film fare we are generally used to. But, as the film progresses, it deftly sweeps you along in its unrelenting rhythm.

Marc Forster's 'The Kite Runner', focusses, in its preliminary stages, upon two young friends - Amir and Hassan. Amir is socially superior to Hassan who lives in Amir's house. Hassan and his father are traditional domestics, in Amir's residence. But, this social distance does not prove a bar to the intimate friendship between them.

In this film 'the Kite' assumes an unusual significance. Kite flying itself becomes an aggressive pastime. The central intention is to run down rival kites, leading, at times, to violent encounters. In one such encounter Hassan is brutally assaulted by a gang of young thugs. Unwillingly witnessing this heart-rending episode Amir suffers a deep sense of shame. He resorts to a stratagem, that result in Hassan leaving Amir's residence.

Impressive

Exhibiting an impressive discipline, the film avoids meeting Afghanistan's military turmoils, head on.

Amir migrates to the US, and the shame that marred his childhood, leaves his memory without a trace, to be revived in quite an unexpected series of developments.

The childhood friendship, between Amir and Hassan is dexterously recorded, dwelling with restraint upon the implicit emotion, without in any way deteriorating to sensationalism.

The film is fictionally efficient - leading to a denouncement that overwhelms the viewer with a series of surprises.

As the cinematic work moves along, various aspects of the culture in which the events take place, receive emphasis, enriching the viewers understanding of the social area, that comes within the focus of the film.

"The Kite Runner", does not, at any time, consider it necessary to thus, make partisan comments, thus, adding substantially to its stark impact.

"The Kite Runner" of Afghanistan is followed by "The Clay Bird" (Mafir Moina) of Bangladesh.

"The Clay Bird" symbolises the yearning of the people, to soar into Independence, leaving the ground, that shakes violently in the struggle for Independence.

Director Tareque Masud daringly confronts, the helplessness of the underprivileged villagers, who cling to views, unable to achieve freedom from their grip.

The moment, we hear about Bangladeshi cinema, classic Director Satyajit Ray invariably begins to dominate our mind. Director Tareque Masud's cinematic subconscious would have undoubtedly felt the echoes of Satyajit Ray's "Pather Panchali" when he was contemplating "The Clay Bird".

But, in his "Clay Bird", director Masud is preoccupied with several layers of cultural influences. There is, of course, the inescapable imperative - poverty.

In "The Clay Bird" there are other layers - orthodox loyalty and liberal rebellion. Father Kazi, sends his son Anu to a Madrasa for an austere religious discipline. But Anu, comes upon a form of life, that he finds extremely difficult to handle - especially when he witnesses fate of his intimate friend Rokon.

The film is admirable for its functional utilisation of various aspects of rural culture.

The rhythmic recitals, accompanied by rudimentary theatrical gestures communicate to the largely illiterate and underprivileged masses, the basics of life's grammar. When everything is said and done - by initiating the SAARC Film Day, the SAARC Cultural Centre has set in motion a series of "SAARC CINEMA SERMONS', the end product of which, will be a deeper appreciation of diverse cultural streams, that nourish the SAARC lives. I would urge a seminar to follow each presentation to take the profit of this series further afield.