Sri Siddhartha Gautama, a cinematic epic

by Kalakeerthi Edwin Ariyadasa

“Buddhism wields only one sword, the sword of wisdom and recognises only one enemy – ignorance. This is the testimony of history and is not to be gainsaid.”
- Prof. Bapat - 2500 Years of Buddhism

The appearance of Sri Siddhartha Gautama, the epic film, is epochal. In mere material terms, this cinematic work has shattered, all cinema attendance records for a Sinhala film, over the past 66 years.

The cinematic creation has succeeded in bringing about an immediate transformation of the feelings of film-going masses.

Dr. Sanjay Garg, Deputy Director, SAARC Cultural Centre had a little story to tell me when I met him recently. A friend of his had witnessed the disquiet, restlessness and at times the unruliness, among those attempting to gain a place in those long queues for the Siddhartha film. The friend had noted that contrary to the entry-queue disarray, when crowds came out of the cinema, they were surprisingly calm and subdued.

A scene from the film

The epic Siddhartha film without even the shadow of a doubt has cast a wholesome spell on the film-going masses of the land. From all parts of the island, we receive reports of enthusiastic viewing of the momentous cinematic presentation. Repeat audiences swell the queues. Many viewers are persuaded by an unmistakeable sense of devotion.

Great news

The sensational upshot of all this is, that Sri Siddhartha has begun to bring back hordes of dedicated film-viewers to the cinemas, to view a Sinhala film. For those, who earnestly wish the progress of Sri Lanka's film culture, without any trace of bias. This is great news. People have started coming to cinemas to see a Sinhala film, in milling crowds. The Siddhartha film has provided a firm and sacred platform, on which a viable Sri Lankan film culture could be built. The unprecedented patronage of the film epic Sri Siddhartha Gautama, is the mass tribute offered by a grateful film-going community, to the team who built this unique film edifice, dauntlessly facing all the odds, they had to overcome.

The team was led and effectively inspired by Naveen Gunaratna, a visionary, who has his feet firmly planted on the terra firma of stark reality. His capacity to remain serene and unperturbed by all challenges, is to say the least, legendary. As stated in the Buddha-word in Maha Mangala Sutta (the sermon of the auspicious) his mind remains unruffled and unshaken. (Pali: Cittam yassa nakampathi).

For solid seven years, he nursed his dream of creating an epic film on the life of Siddhartha Gautama, to mark the 2600th year of Supreme Enlightenment of ascetic Siddhartha. He was determined that, in 2011, which represented the 2600th year of Enlightenment, the Buddha's compassionate message should be presented to the conflict-riven modern world, that awaited and yearned for the Buddha's healing Dhamma.

And, he decided, that the Buddha's eternal teachings should be taken to the global community, couched in the universal language of cinema.

Incarnations

The film project passed through several incarnations. His exploratory travels, which made him trek Hollywood and Bollywood territories, impressed upon him the austerities he has to go through, before he could actualise his holy vision. A team of unswerving associates thronged around him. Saman Weeraman, Chandran Ratnam, Prof. Nimal de Silva, Kalakeerthi Edwin Ariyadasa, being some among them.

The Ven. Maha Sangha rallied around him, blessing his spiritual fervour at each and every turn. His close collaborator, Roshan Chandraratna, was so deeply immersed in the project, that he visualised in a dream, the lay-out, the structure and even the physical appearance of the ancient palace at Kapilavastupura. When he made a sketch of the scene he had dreamt, the team experienced what could be a miracle. Dr. Basanta Bidari, the archaeologist in charge of the Lumbini and Kapilavastu sites, averred that Roshan's sketches closely resembled the exact sites, as he visualised then for restoring.

The script, went through endless revisions, as Naveen Gunaratne was an incorrigible perfectionist.

The filming started. Never in the history of Sri Lankan cinema, was such responsible ingenuity exhibited as in the planning of the epic Sri Siddhartha. Literally, even such a minor detail, as a nail, was created to reflect the period. Structures were built at Manelwatta (courtesy: Ven. Bodagama Chandima Nayaka Maha Thera) and at Battaramulla, to locate the film. The meticulous efforts too are epic in proportion. These have to be chronicled for the benefit of generations to come.

What is highly impressive about this production is the sustained effort lavished on even the least detail.

Every aspect of the production, from the proper pleat on Prince Siddhartha's cloak to the minute decoration of the royal throne has been thought out with astonishing care. It is as if, the total production, has been transformed into a monument to the philosophy, ‘God is in the detail'.

The central role of the film, Siddhartha Gautama is portrayed by Gagan Malik, in a characterisation bathed in sanctity and serenity. Anchal Singh's Yasodhara, moves even very sober film-goers into tears. Anshu Malik from India is Queen Mahamaya. In the role of wicked Devadatta, the viewers will discover an able actor they would “Love to hate.” The actor is Gautam Gulati.

Regal presence

Veteran actor Ranjan Ramanayaka, displays a majestic regal presence in his role of King Suddhodana – though this is a significant departure from the roles, he is usually cast in.

In a cameo role, outstanding thespian Jeevan Kumaratunga, portrays King Bimbisara. Anjani Perera is Prajapati in the production. Among others in the cast are Wilson Gunaratna, Saranga Dissasekera and Buddhadasa Witanachchi. Cumulative all these portrayals add upto epic proportions.

To my mind, the ultimate ‘Hero’ of this epic work is “Naveen Gunaratne,” who made sacrifices, to ensure this timeless tribute to the supremely Enlightenment Buddha. K.D. Dayananda, the cinematographer, visualised the dreams and directions of those who were responsible for the production. The all pervading aura of spirituality of the whole film, was magnificently ensured by Pradeep Ratnayake, the Director of Music, whose scoring is ethereal, to say the least.

The members of the Ven. Mahasangha, have expressed their serene praises, of the production in lavish and sacred terms.

Effective

The film is so effective that it brought a tear to the eyes of some members of the Maha Sangha.

A word must invariably be said about the level of criticism. This epic cinematic work has earned the encomiums of Maha Nayaka Theras who viewed it with an eye to historical veracity. They were full of praise in one voice.

The story is based on the transcendental life of Sri Siddhartha, the Supreme Buddha only perfect person we know.

But, even he was subject to endless assault from the Devatta tribes.

The film is the work of totally worldly earthlings. Therefore, no one, I am sure, will be so rash as to claim perfection for it.

But, it has won heights, that can be objectively praised by any kind or breed of critic:

One: It brought back film-goers massively to cinemas, to view a Sinhala Film.

Two: It engendered a compassion in people, bringing them to the verge of tears, or directly to tears.

Three: It has brought hope for a great cinema culture.

But, some Devadatta tribes may follow a path of pursuing a composition and decomposing it.

The masses will be aware of that kind of negative force.

This is the only Sinhala film, the memorabilia of which are housed in a museum.