Sri Lankan ethos of cinema and media

Title: Sinamave Saha Madhyaye Apekama
Advisory Editor: Fr. Earnest Poruthota
Chief Editor: Susantha Tissera
Publishers: S. Godage and Bros.
Price: Rs. 850 pp 600
 

Review by E. M. G. Edirisinghe

Sinamave saha Madhyaye Apekama (Sri Lankan Ethos of Cinema and Media), a collection of worthy, informative and scholastic material compiled by Fr. Earnest Poruthota reminds us of the contribution made by the OCIC (Organization Catholique Internationale Cinema) towards the growth of cinema as an art, and to develop a cinema culture that could be called ours and our own, an identity that cineasts could certainly be proud of. The book itself illuminates the first phase of the early history of Sri Lankan cinema, which is presently almost blurred in somewhat academic negligence.

Since its inception (1972) the OCIC had been creating an intellectual awareness that fostered and promoted an environment for good cinema, and drew a large number of youth into its fold to learn about the numerous branches of cinema; some of them today are the leading personalities in the cinema, specially in the field of film directors, critics and film journalism. This valuable volume in a substantial stretch deals extensively with multifarious facets of cinema to which the OCIC was a tower of strength and a light focused on thefuture. Primarily, the book is intended to be a tribute to Fr. Earnest Poruthota for the pioneering and untiring efforts he exerted since the early 1960's to promote our local films abroad and to elevate the taste for cinema among the Sri Lankan filmgoers, artistes and writers who would together create an atmosphere within which Sri Lankan cinema will hold on its own nationally as well as internationally. In fact, he made our cinema his priority next only to pastorship.

Fr. Poruthota was instrumental in conducting workshops, film festivals, discussions and seminars on cinema, leading to a goal of aesthetic appreciation the realization of which was his sole desire. The initiative the OCIC took in recognizing films, artistes and technicians for prestigious salutations, sparked a new wave of filmmakers a good harvest of which we are reaping today though at a subdued note, both at national and international level.

The essays written by Dr. Lester James Peris, Edwin Ariyadasa Gamini Weragama, and Prof. Chandrasiri Palliyaguru, which appear prominently in this volume remind the reader of the past decades of Sinhala cinema while inhibiting a sense of the cinema in general in him at a higher intellectual level to reach which the OCIC strived hard and dedicated itself with Fr. Poruthota being the inspiration right along.

The volume traces how the film enthusiasts once clamoured to make cinema a subject in the school curriculum, a day dream yet to come true. However, in the meantime drama and theatre were made subjects of study at University level. Even though OCIC was basically a Catholic Organization with its roots in France, more Buddhists have participated in its activities concerning cinema and media with no religious bias being given any undue weight at any time both at academic and organizational level. There was a time danno budunge was played at the commencement of OCIC meetings and functions.

A contribution in length and depth by Geevantha Arthasad titled The Art of Cartoon Cinema in Search of a National Identity is so well compiled that it traces the history of cartoon films both here and abroad in detail, with his own production Dutugemunu being the first ever Sinhala cartoon film (1975). However, it was banned from public exhibition after just one day of screening.

OCIC film salutations presented in its history running into over three decades have not only recognized the talents and creativity of Sri Lankan film artists and technicians, but they have almost acted as the model for other juries who either co-existed or followed them for consideration of films for national awards.

Reading out citations and the delivery of a keynote address at all such festivals at which salutations were conferred, became a popular feature to be emulated by other similar organizations which came into the scene. It is interesting to note that at the very first OCIC film festival held in 1972, Pieter Keunamann, the Communist Party chief, then a Cabinet Minister was the chief guest.

The art of cinema in view of the OCIC entertained no racist religious or political bias.

Jayavilal Wilegoda the foremost film critic in the sixties and seventies whose contribution to Sinhala cinema as a forceful critic to make cinema truly national by moving away from South Indian influence has recognised this commemorative volume with several salutary and grateful comments on him in several articles written by some recognised men in the movie industry.

The objective of the State Film Corporation established in the early 70s was the promotion of local cinema both as an art and an industry carrying the identity of our culture and nationhood. It found a willing and amiable partner in the OCIC in its endeavour to pursue its goals which proved to be identical with those of the OCIC.

This volume holding dozens of articles subscribed by our own well-known film personalities brings the history of Sinhala cinema in all in its aspects to life, refreshing the memory of everyone linked to our cinema distantly and closely.

It adds a new chapter to whatever published material available today on Sinhala cinema. From the perspective of a movie-goer it is essentially a comprehensive study on Sri Lankan cinema appreciative of our national ethos and sensibilities.