Film review

One Shot - what a shot!
 

by E.M.G. Edirisinghe

Average movie-goer’s sense for cinema is not determined by whether a particular film is cinematic or non-cinematic. Its scintillating absorbing content is the key to his joy and entertainment. A filmmaker who recognizes the reality in this simple popular expectation, can speak to them in a language they admire and love to follow with an abundance of cheer.

Ranjan Ramanayake knows exactly what he was doing and to whom he was addressing. And the audience response to his creation is instant, terrific and astounding. In this context, what is important is to find why the average film-goer is so enamoured by the moral and the psychological impact of One Shot One than to evaluate how cinematic and artistic it is.

One Shot one is an unusual film that uses the medium of cinema to give the audience an opportunity to peep into the conduct of our politicians and their cohorts, and get an opening to relieve themselves of the pressure under which the politicians and politics have kept them. This film for the first time introduces the concept of superman culture to our audience.

Here they see him in action. People always believe in superhumans with super-human qualities and actions to seek redress and relief for their mundane problems. For them, deities and gods are super-human and the basic requirement of them is purely obtaining relief.

For instance, while man himself is fighting wars for years and years, they themselves pray to gods to bring peace to them with none trying to achieve through their own effort. One Shot in One Shot One is elevated to ‘divine’ status in which they drown their personal and social worries which have been burdened on them by the politicians of all hue and cry.

Gods

Deity-worship earns honour and recognition because the gods are supposed to help the helpless and punish the wrong-doers at no cost to the devotees. Similarly, a superman like One Shot who saves people from disaster and tyranny of corrupt politicians at no cost to them, and at no gain to the superman himself. So the audience flock to see their dream or wish come true on screen which is reality for them at least for the duration of the movie.

They love to watch, admire and cheer his selfless achievements realized for the good of the underprivileged. So watching One Shot One for many is a twisted version of deity-worship, and for some others it is an opportunity to laugh at the politicians whom they dread to lampoon in real life.

People generally love miracles. The more a person or a god performs miracles the greater the respect and recognition he gets. A higher spiritual goal attained through dedication and meditation gains acceptance only if it is matched by performance of miracles. The way One Shot saved school children from death was almost a miracle which the audience hailed as great.

The people on their own, never rise against corruption, thuggery, robbery or tyranny. They watch somebody else fighting it single-handed or with a few others. So they flock to see One Shot doing it on their behalf putting the thugs and the politicians on the run at whom they laugh and hoot.

The film One Shot One thus confirms what Amitha Bachchan says that escapism is one significant aim of cinema. This escapism could be escape from economic, moral or intellectual poverty.

Depleted ego

Deities do not talk. They only act and react. Similarly, One Shot hardly speaks, but acts, reacts and tracks. In this way he feeds into the depleted or incensed ego of the audience to whom he speaks. Ranjan makes no mistake of it and applies himself directly and forcefully in a straight line action leaving nothing for imagination or to take anything home. His cherished mission ends with the end of the film.

In the very significant last scene when One Shot was caught by the police, instead of bringing him before the law, he was released to carry on with the good work he had been doing and to see to that the people elect honest people to parliament. The police-action though very unethical, illegal and improper, the viewers are relieved to see that he continues to live with them feeding into their unaccomplished noble imaginations.

The people hate to see the politicians becoming rich. They think they owe their riches to the people and therefore, it is not hard-earned money. One Shot even after doing so much to fight corruption and help the poor, remained poor sticking to his old profession of being just a member of a musical group. He never wanted to replace the existing spoilt politicians.

Audience satisfaction

Ranjan Ramanayake does not want to give the audience what he wants to give, but to give what they want to see and enjoy. Generally, what they want to see is what they have been socially and personally induced to see and feel.

For instance, all the politicians promise peace, clean government, fair-play and democracy, but none give it or practise it. Ranjan in his film satisfies the audience giving all that in one shot, which the politicians promise but fail to give.

While One Shot One is a single track movie obsession, it brings cinema, closer to the people who had begun to move away from movies.

Ranjan takes Sinhala cinema to a temporary remission and to a respectable popular height rarely realized by the movie-goers of the recent past.

From a purely commercial point of view, exhibition of movies fall into two categories. One is where the filmmaker totally dismisses and disregards the filmgoer, but once the film is released does a hectic run to show the film at least to cover the cost.

In the other category the filmmaker has the filmgoer in mind and does everything to satisfy his taste and awaits to enjoy the crowds responding to his film. One thing common to both is that they are not disturbed by what others write or say about their films and One Shot One belongs to the second category. Ranjan’s vision on today’s politics, the audience accept it with open arms.

Influence

On the other hand, Ranjan destroys all those who hold position and influence on the destiny of the people. For instance, ministers, doctors, school principals, underworld thugs, police and the Christian and Buddhist clergy are subjected to ridicule and insignificance. One Shot is ruthless on misuse of power and the very sight of him makes them to flee instantly which pushes the audience to waves of laughter.

Ranjan speaks to an audience who do not remember the past and live with the existing atrocities and corruption in society which are considered usual by many. He punishes them to the delight of the audience who tend to forget everything good or bad in society.

His final message is that everyone is self-seeking and no fair-minded person could ever exist within the competitive world where craving and greed see no limit.

So the audience whom he gripped in glee will have to flee back to square one even after viewing One Shot One. It is a rare gift that the average local filmgoer did receive from Ranjan whose vision is to use the medium of cinema to enlighten the people on social injustice and give a brief respite.

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