Ira, Handa and Bennet

"Peace is not mere absence of war, but is a virtue that springs from force of character."

-Benedictus De Spinoza

Director Bennet Rathnayake has deftly wrenched a sizzling human episode, off the ravaging swirl of the hideous conflict, that had gripped the nation for over three decades.

Some classic war-films in the world cinema, made their appearance, when the conflict was still raging. The simultaneity of war and films made about it, served a specific and inescapable purpose. That is, morale-building. They fortified the spirit of the combatants to fight on. Again, they strengthened the resolve of the victimized masses to endure the suffering and the privations of war.

In Sri Lanka, impactful war-films are making their entry, in the slip-stream of the peace, achieved through Presidential initiatives. As I see it, the end-aim of such films, is the reinforcing of the peace, that is hard won, through the force of character.

Director Bennet Rathnayaka, limns his war-saga on a wide and complex cinematic canvas, enabling the viewing masses to obtain a comprehensive perspective on the conflict that plagued the nation for a generation.

"Ira, Handa Yata" (Under the Sun and the Moon) overwhelms the film-goer, from the moment it begins to unfold on screen. When the viewer finds himself fully immersed in the riveting detail of the war, recreated so meticulously by the director and his men, his critical faculties tend to be in abeyance - at least for the time being. The readily available phrases gush into the mind - 'breath taking,' 'spell-binding' etc. These expressions of felicitation, fit neatly to the initial phase of the film, with an impressive aptness.

A scene from the film

The introductory portrayals of war, with its tensions, confusion, anxiety and disarray, are recorded almost realistically. The initial cinematic statement is so authentically communicated, that it exudes the "feel" of an emotionally moving documentary.

As the unmistakable upshot of all this, cinematographer Kalinga Deshapriya, is immediately catapulted to the status of a "hero", behind the camera. Once again, kudos goes to director Bennet Rathnayaka for his daring choice of this fresh talent, for his epic production.

Cinematographer Kalinga Deshapriya, sustains the compelling effect of his camera, upto the last frame of the film. What he has been able to win, through the dextrous wielding of his versatile camera, distinctly earns him a star-rating in "Ira Handa Yata."

Let us focus on the central personality of this whole affair - Director Bennet Rathnayaka. What did he have to work with? The throbbing urgency of the war-theme, has, by now, worn off to a great extent. The relentless and gruesome terrorism has been comprehensively eradicated in a legendary victory. The masses have begun, slowly but steadily, to settle down to a tenor of life, full of hope about a promising future. The shock and the alarm of the sudden explosion of bombs, have abated.

In such a context, where can a director discover the drama of war?

Given such a scenario, director Bennet Rathnayaka, would certainly have confronted an excruciating creative frustration. What enticing shape could he impart to his war-film? He had to discover a plot-line, that the viewer could cling on to. Overcoming all these hesitations and perplexities, director Bennet Rathnayake opted to tread a cinematic path through this morass of war. The fact, that he has negotiated his chosen cinematic trail, with impressive efficiency, has been amply proved by the diverse international encomia he has so far been able to win.

His film concentrates on the pulsating human warmth and the moving human sensations that emerge through the blood-soaked, heart-rending violence of war's torments.

The prime location of the film "Ira, Handa Yata", is terrorist territory. There, tortures and violence are routine. The camera, detaching itself from those harrowing scenes, focuses upon an intimate human drama. Major Mahasen, near fatally wounded in combat, is fast losing his grip on life. But, his companion Corporal Rakhita, shields him, with no thought whatsoever about his own existence. While out scouting a safe haven for the wounded major, the selfless Corporal Rakhita (Udara Rathnayaka) is nabbed by the terrorists.

The Corporal reveals the whereabouts of the wounded Major to his captors entirely in the hope that his captors will take him as a POW, and would bring him back to health.

But, what actually takes place is disastrously unexpected. The fully recovered Major Mahasen (Saumya Liyanage) confronts a terrorist boss. When the Major flatly refuses to toe the line dictated by the terrorist leader, he is shot dead, point blank.

Major Mahasen's tragic end, engenders a vast sense of guilt, within Corporal Rakhita.

Director Bennet Rathnayake, structures his plot-line, utilising Rakhita's deep sense of guilt, as the dynamic force, that propels the story forward.

To make amends, Corporal Rakhita embarks upon a harrowing effort to console the grieving widow of the Major and his sorrow devastated family. The ensuing series of flashbacks, provides the elucidatory link the viewer urgently to tie the various strands of the story together.

It is here that some of the major characters emerge into articulated profile. The viewers experience afresh the love affair between Major Mahasen and the Tamil maiden Kiruba Devi in the refugee camp. Tasha Darshani in her portrayal of Kiruba Devi, turns in a multi-layered performance. As a vivacious young woman, she becomes the wife of the young "enemy" Major. In the absence of her husband who is out there at war, she has to endure a constant dose of tongue-lashings from her mother-in-law, to whom Kirula is the source of all evil, that befell her household. Once again, the debut actress Tasha Darshani is a felicitous discovery of director Bennet Rathnayaka.

The soothing lyrics of the film, may have, perhaps, been introduced by the director, as a counter-point to the pervading, heart-searing violence, that his cinematic work has to dwell on most of the time.

Although a keen critic or a discerning film-goer may detect some stray glitches or minor hiccups in some instances, over-all director Bennet Rathnayaka's "Ira Handa Yata" is a triumphant cinematic achievement. Director Bennet Rathnayaka was inspired by a deep seated cinematic philosophy. After one of the bloodiest chapters in our Dharma Dvipa (The Isle of Righteousness) the director set out to prove cinematically, that love, humanity, natural understanding and compassion have no limit or end. In a tear-soaked plea, the major's mother (veteran actress Suwineetha Weerasinghe) lets out a cry, emanating from the deep recesses of her being: "This child is ours." In a land, with a war-torn past, that is the voice, that should guide future.

"Ira, Handa Yata" conveys an unforgettable film-metaphor, that will remain deeply etched in the souls of cinema-goers. A group of young children, rides along in unabashed glee, under the arches of a bridge. The glory of liberty is emphatically symbolized in this cinematic moment. Director Bennet Rathnayaka has made his philosophic statement, in this eloquent cinematic expression.