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Udayakantha the filmmaker blown to full maturity

by Shyamon Jayasinghe from Melbourne

A scene from the film Randiya Dahara.

Donning a kapati suit (what the white national shirt over trouser is called in derogatory colloquial parlance), a diary in hand with papers crying out, Kulatunge (played superbly by Mahendra Perera) hovers at scenes of trouble, chain smoking, and furtively looking and waiting for prey. First, he positions himself near the army hospital when covered dead bodies of soldiers are huddled in out of trucks and helicopters. Next, he is seen at the department of immigration, where hundreds are queuing to get their passports, and later at a foreign employment agency where he meets his next victim, the desperate Amali (Geetha Kumarasinghe). Udayakantha Warnasuriya has focused his latest movie, Randiya Dahara (Golden Showers) around this character, Amali.

A defining quality about Udayakantha the filmmaker is that he has the versatility to deal with a variety of script material: He began with Gini Avi, a superb first attempt based on the novel by Anura Horatius around the theme of political mafia. He also produced a serious adult's only movie, Bahu Bharya, without crossing over to the porno border. Rajya Sevaya Pinisayi created in a socio-political milieu, Bahubhoothayo, a fantasy, and Rosa Wasanthaya, a typical Hindi masala-type, followed this. Udayakantha has already bagged many awards in these films.

In Randiya Dahara, the war is shown as a backdrop, because in Amali's search for money to reach the Middle East for employment, Kulatunge leads her on a bizarre journey that ends with an army soldier, Sampath (Kamal Addaraarachchi). The opening scenes with dead bodies flowing in, is handled with an impressive camera touch and speed, which helps us to relive the sensations of the terror and the devastation of the war.

Throughout the film, adept editing succeeds in keeping the pace snappy. In fact, as we saw in Gini Avi, Udayakantha has prowess in handling a dynamic storyline. Many Sinhala movies are flat; move monotonously and in chronological sequence. The camera in Randiya Dahara, as it did in Gini Avi, creates a rapid, sharp change of frames. Applied to an intriguing storyline that has almost zero predictability, such a technique succeeds in grabbing wrapt audience attention from beginning to end. I noticed a dead silence in the auditorium interrupted only by occasional whispering discussions about the twists and turns of the plot. The strong storyline is the key to the success of this film. Good scripts are not common in Sinhala movies these days; Randiya Dahara is an exception. The fact that it is based on a true story would have been an advantage to the director- scriptwriter. We saw this in Wasantha Obeysekera's Dorakoda Marawa and Dadayama, too.

It was refreshing to see authentic-looking crowd scenes and authentic-looking places like hospitals, foreign agency offices, passport offices, roadside kiosks, housing units etc. Many of our movies look contrived when they focus on places with people. The early scene when Lionel (Jackson Anthony) is involved in a vehicle seizure is another example of a slice from the real world of human life. Jackson Anthony as an actor never fails to deliver. In this movie, he lives with Amali, using, abusing, and bullying her at will with a powerful show of chauvinistic masculinity, and raucousness that eventually provokes Amali to leave him. Lionel's harshness is, however, tempered with the softness of parental love. Kamal Addaraarachi enters the scenario after the interval and gives a gem of a performance. I wouldn't say more of Kamal's role for fear of violating a self-imposed rule in reviewing a film of this nature, namely not to unveil the story.

I thought Geetha Kumarasinghe, although still in good shape, was a bit miscast. Her transformation at the home of Sampath needed to be a little more convincing. Henry Jayasena (Sampath's father) has established himself as the prototypical 'father' in the Sinhala cinema. Along with Anula Karunatilleka (Sampath's mother), the two handled very subtle and nuanced situations that could have been spoiled in lesser hands. While Tony Ranasinghe made a charismatic appearance as the 'army contact', Sanath Gunatilleka, Jeevan Kumaratunge, Buddhika Jayaratne, and others competently portray the army establishment.

Khemadasa Master's musical score in Randiya Dahara was enhancing and non-invasive. I like the song Muthu Warusa lyricised by Lucien Bulathsinghala.

Randiya Dahara shows Udayakantha Warnasuriya as a filmmaker who has blown to full maturity. He has constructed a script out of a true story and animated it on the screen. There are many points in such a construction that could have taken the plot in a wayward direction, but discipline and self-control on the director's part prevented that. As an example, the scenes with sexual innuendo could have been spoilt by an attempt to attract 'adults-only' audiences. Udayakantha has been very clear about his target audience. He wanted to make a film around a tale from the adult world that would, at the same time, be relished by even younger audiences thereby getting adequate market coverage.

A comparison with the Suriya Arana approach of Somaratne Dissanayake would be interesting. Both have tried to attract large audiences in different ways: I have no doubt that Somaratne had been inspired by the great success story of the Harry Potter series.

Somaratne tries to generalise appeal to the adult audience from the epicentre of the child's world, whereas Udayakantha attempts to generalise appeal towards non-adults from an adult tale. These are different strategies to draw a large base of filmgoers that can make cinema production economically feasible and give the answer to those who have been whingeing about the TV having ruined the movie industry in Sri Lanka.

The target primary users of Suriya Arana are children. Along with them, parents are inevitably drawn in as secondary users and in this way Suriya Arana became a tremendous family film. Suriya Arana had great success in Australia, too, where we observed that even those who were not normally filmgoers flocked to see the movie with their kids. This film's Aesopian unrealism is evident. Looking at the ingredients of the story, an Aesopian fable indeed it was: A hunter in the forest; a solitary monk inhabiting this forest with his little assistant; villagers getting scary about the holy man believing him to be a demon; the monk using a magical physio technique to tame the hunter; the hunter receiving 'retribution' for killing animals; and a message or moral at the end.

These elements make Suriya Arana the first Buddhist celluloid fable of all time. Even the Buddhist message about Akusala Karma (the hunter blowing his legs on a mine, which he had set for animals) does not stand ethical scrutiny by an adult mind because of its unfairness: The hunter did not represent Evil as such.

Deprived of an alternative livelihood, what else could he have done other than to eke out a living by the only trade he knew? His compulsion to seek refuge in the temple appears contrived and casts him in the role of a victimised man that draws our sympathy. Nevertheless, built around the child's world Suriya Arana offers a lot of fascinating charm and illusion set against a glamorous digital photographic display that serves to keep the adult attention alive.

Likewise, Randiya Dahara, though constructed around a happening in the adult world, is bound to attract also the younger filmgoers with a gripping story cinematically rendered with pulsating life and punch- a true story made truer by someone who understands the grammar of cinema.

All Island Schools Drama Festival: 

Milagiriya girls bag 8 awards

A scene from Padmawathie

At the recently concluded all island inter-schools drama festival organised by the Department of Education, St. Pauls Girls School, Milagiriya won the 2nd place while bagging 7 other special awards as well.

The drama 'Padmawathie' written by the late John de Silva was chosen by St. Pauls, Milagiriya for the competition.

The script for the play was written and directed by Sunila Lokumanne, the school's oriental dance instructress.

The cast consisted of a total of 42 students all aged between 14 and 18 years and was produced within a short period of 3 months.

The special awards won by the school were:

* Best Actor - Dulangalee Samkalya

* Best Supporting Actress- Inoka de Silva

* Best Actress - M. Abeysinghe

* Best Music Direction - Praboda Yahampath

* Best Costume Design - Sunila Lakumanne

* Best make-up - Sunila Lokumanne

* Best Background Sets - Sunila Lokumanne

Overall - Position - 1st runner-up.

A special presentation of the drama was held at the Tower Hall Theatre in the presence of a distinguished audience.

- Tilak Fernando

Tharaswin's two cartoons publish in German Magazine

The German Magazine Entwicklungs Politic in two of its latest issues published two cartoons by Ruwan Tharaswin, the Sri Lankan cartoonist internationally renowned for his innovative creations. 'Entwicklungs Politic' published in German language is one of the largest in circulation in Germany mainly speaking about world politics and social problems.

Ruwan Tharaswin, attached to the 'Dinamina' daily of the Lake House has won several first place awards at international cartoon competitions with a horde of accolades to his credit for cartoons published in various publications the world over.

Expeditions, Boutique and Gallery from 'The Eco Explorers'

The Eco Explorers' is Sri Lanka's newest company to offer local and foreign eco enthusiasts and nature lovers an enriching experience through the diversity of the country's flora and fauna.

Watercolour creation of a tusker.

Partnered by two enterprising naturalists - Darshika Weeraperuma and Tharindra de Silva, 'The Eco Explorers' offers travellers five tailor-made expeditions through locations such as Uda Walawe, Kaudulla, Horton Plains, Yala and Sinharaja. The expeditions range from one to three days and offer clients 'an educational ecological experience'.

Darshika and Tharindra who bring their abiding love for nature to 'The Eco explorers', say that each expedition has been 'meticulously crafted' to give clients the maximum possible options, through the best possible experience, and, within the chosen time frame.

Situated at Lilian Avenue, off Hotel Road in Mt. Lavinia, 'The Eco Explorers' has also just launched its eco-boutique and theme gallery. The gallery is an exciting permanent exhibition of the work of diverse nature and wildlife artists and photographers who express themselves through oils, watercolours, charcoal drawings, and dot art. In keeping with the overall theme, this is essentially a dedicated art gallery which focuses solely on flora and fauna.

Tharindra de Silva and Dharshika Weeraperuma, partners of ‘The Eco Explorers’.

The boutique further complements the theme and offers a wide and interesting range of ornamental, utility and gift items made from clay, cloth, read, recycled paper (From elephant dung, straw, banana fibre etc.) and other eco-friendly material. Says Tharindra (who is also a Director with husband Kumar de Silva at "Adahas PR and Media Consultant'), "Ours is neither eco-tourism, nor eco-adventure.

Ours is a totally holistic approach to the overall eco-experience. Man and Nature are co-dependent in the their eternal quest for existence. Hence, the need for greater understanding".

His Highness 'The Designer'

On November 14th Sunday, The Colombo Plaza will be the venue where a presentation of clothes designed by His Highness, Sri Srikanta Datta Narasimharaja Wadiyar, the scion of the Royal family of Mysore in India.

The show which is scheduled to a run for a duration of one and a half hours will feature a range of exquisite designs based on traditional motifs and hand embroidery of Indian origin.

A classic collection of saris reflecting the rich design sense of the royal estate will be brought forth to surprise audiences here. There will also be a range of salwars, fusion and western wear designed by His Highness.

The event will also feature a stunning collection of jewellery specially designed for the occasion by Vogue Jewellers. Taking inspiration from the past of Mysore's great heritage, the jewellery collection will be worn by a bevy of 14 Indian models that are due to be flown into Colombo for this exclusive show.

A leading dance troupe from Mysore will present a range of dance items mixing traditional Indian styles with a 'bollywood' background to it to keep local viewers entertained through the evening. The main fashion presentation will be followed by an exhibition of the Royal Collection and an after show party with one of India's top DJs.

The show is coordinated by Studio Line Event Services of India and Time Out Equine India's only Derby Magazine in association with Michael Vasanth who is serving as the event director.

Hair and Make-up for the models will be handled by Ramani Fernando Salons and the proceeds from the show are in aid of the Sri Lanka Alzheimer's Foundation.

- Prasad Abu Bakr

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