Lester at 90

Sinhala cinema has come a long way since Kadavuna Poronduva (The Broken Promise) screened in 1948. The early Sinhala films were carbon copies of South Indian films, filmed and dubbed in Indian studios. Apart from the Lankan actors and perhaps the director, most of the technical crew comprised Indians. The films were song and dance love flicks with hardly any substance.

Yet, one man was bold enough to challenge this formula. He wanted to create a truly Sri Lankan cinema that reflected a distinct identity, local ethos and real life stories. Not many believed in his capability and mission then, but more than 50 years later, the entire world has recognised him as one of the greatest movie directors ever. He is our very own Dr. Lester James Peries, who turns 90 today.

Journalist turned film maker Dr. Peries is a colossus of world cinema today thanks to his sheer desire to steer the Sinhala cinema in a totally new direction. Journalism’s loss was cinema’s gain as he introduced fresh insights to a moribund industry that had no real depth or purpose back in the 1950s.

Thus his first film Rekhava (Line of Destiny broke new ground in the Sinhala cinema, with a totally indigenous storyline, local outdoor settings, believable dialogues and all-new, melodious Sinhala songs - not copies of Hindi or Tamil songs.

Predictably, it was not a huge box-office success as the audiences of 1956 were simply not prepared for such a radical departure from the usual fare. Critics here and abroad had high praise for the film, which is now being regarded as a ‘must-see’ movie for every movie buff.

The audiences were ready to give a warmer reception to his next venture ‘Sandeshaya’ (The Message) four years later. The film was a critical and box office success, cementing Lester’s fame far and wide.

Lester never looked back and thus blossomed a career that has given the world dozens of cinematic treasures including Gamperaliya (Changing Village), Nidhanaya (Treasure), Delowak Athara (Between Two Worlds), Golu Hadawatha (Silent Heart), Akkara Paha (Five Acres of Land), Desa Nisa (The Eyes), Madol Duwa (Enchanted Island), Ahasin Polowata (White Flowers for the Dead), Baddegama (Village in the Jungle), The God King (a UK-Sri Lanka co-production), Kaliyugaya, Yuganthaya (End of an Era), Awaragira (Sunset), Wekande Walawwa (Mansion by the Lake) and Ammawarune (Elegy for a Mother).

Many of these films local and international awards and Lester himself has won some of the film world’s highest honours.

Lester extracted subtle nuances of body language, facial expressions and emotions from his leading players, including Gamini Fonseka, Vijaya Kumaratunga, Malini Fonseka, Joe Abeywickrama, Ravindra Randeniya, Sanath Gunatilaka, Sriyani Amarasena, Iranganie Serasinghe, Henry Jayasena, Tony Ranasinghe, Wickrema Bogoda, Punya Heendeniya, Anula Karunatilaka, Swarna Mallawarachchi and Vasanthi Chathurani. The fact that many of them won awards for these films is ample testimony for Lester’s directorial skills as much as for their acting prowess.

He also had the innate ability to get the best out of his technical team, especially cinematographers and editors. He used some of the best lyricists and musicians in the country to add totally indigenous and spellbinding soundtracks to his movies. Songs and music from his movies still get a lot of airplay and are popular even among teenagers who had never even seen the films.

That brings us to the importance of preserving Lester’s films (and for that matter all outstanding local Sinhala and Tamil films) for posterity. There is a generation that has not seen these mesmerizing films even on television. In a recent interview, Lester lamented that the original copies some of his films were no longer available.

This is indeed a pathetic state of affairs. The authorities should take steps to build a world-class film archive and digitize the country’s outstanding films in high-definition video formats.

Special screenings of Lester’s films should be arranged for the benefit of the younger generation, both on the silver screen and the small screen.

The National Film Corporation should also explore opportunities for showcasing some of the country’s best movies in foreign theatres and on global subscription TV channels.

Lester was also a beacon to a new generation of directors who followed in his footsteps and created equally acclaimed movies. Lester’s wife Sumithra is among them. Lester, Sumithra and others like Tissa Abeysekara, Wasantha Obeysekara, Dharmasena Pathiraja and D. B. Nihalsinghe carved a new niche in Sinhala cinema, winning accolades worldwide.

Unfortunately, the present emphasis on overtly commercial films with little or no substance is not a healthy trend. Only a few art house or quality films are being made. It is a myth that only commercial films can be a success at the box office. Today’s audiences are discerning and appreciate quality when they see it. The NFC and other relevant authorities must thus encourage the production of more quality movies.

Lester is a maestro who believed in making such quality films that struck a chord with the masses. Lester’s films had totally local settings, but appeal to universal audiences as they probe the intricacies of human emotions which are the same everywhere. He is a living legend, a national treasure. We wish him long life and good health and may he provide insight and inspiration for generations of film makers to come.