Film Review

Sudu Kalu Saha Alu and its mordant wit
 

by E.M.G. Edirisinghe

Ash is a transitionary shade of black into white or white into black. The film Sudu Kalu Saha Alu (Shades of Ash) of Sudath Mahadiwulveva too could be a reflection of progression either way.

However, when it is in transition, it is stuck with greater possibility of moving forth to a bleak future opening an atmosphere of more chaotic unpredictable situations. That seems to be what Sudath carries in the sub-text in his cinematic debut. Figuratively, white here is peace while black is war.

However, painting another shade of ash when black is mixed with white with no indication of transition either way, there could arise unavoidable persistent existence of mayhem within the social, religious, cultural and political environment in the country. Instability and lawlessness rule the day at a time when neither the ruler nor the ruled have respect for rule of law. Each person is a law unto himself.

Thirteen characters representative of varying aspects of life and activity in the rural society is highlighted to portray the uncertainties with their destructive effect of polluting the moral and spiritual content in life.

The narrative relates how bleak it is with rampant confusion in society affecting all severally and individually with no norms and dreams to be realised to nourish the essence of life.

Innovative

"Shades of Ash" is structurally innovative and imaginative to the extent that its format is new to local cinema. Editing becoming the real force that knit the presentation together in tight neat compositions, moves the audience briskly and effectively with cuts and abrupt endings that the situations demand to retain the impact and tempo.

For instance, each scene portraying the caricature of a monk ends sharply and steeply before it teetered on the edge of blasphemy or led to wild imaginations. Everything has deteriorated, worse there is no trace of mental or physical discipline. Peace is an illusion unable to gain permanence as symbolised by the empty white bag being flown by the wind all over like an elusive wish failing to materialise.

Thus the set-up in the post-war period peace is rendered an evasive, vague situation. Finally, the bag was stuck on a barbed-wire fence. While the youth who joined the army ended up with a deranged mentality, the remaining youth were seeking entry into the army for the glory and pleasure that it was believed to offer. With peace out of reach this system moves in a wild circle.

The film opens with weight carried on head and shoulders silhouetted against the dying rays of the evening sun. That throws light on what is to come with doom and dismay to those in pursuit to satisfy and ease the burden of life thrown upon them by the circumstances created by others.

The incidents however, disjointed they look, are linked in an underlying string to each other in one single pack of uncertainty and immorality that war had brought into their life. Greed has taken a grip of all areas in society enslaving them to make whatever gain by whatever means.

Moreover, the general picture sketched in the film by different characters portrays events and situations where values are marginalised in a milieu of neither war nor peace is visible.

The teacher on transfer is symbolic of and expressive of all sins and evils possible within status of social instability. It is a punishment transfer, and he cared for none; school has no children, but he was paid a monthly salary; he engaged himself in business as well as abused children; turned a thug when it suited him and robbed an NGO too.

Fertile ground

This transitional period is fertile ground for NGOs to exploit the social, cultural and spiritual vaccum of the people to further their personal and institutional goals. The filmmaker boldly throws light on different characters haunting the village, all of whom are with ulterior motives.

Soldiers sleep while on duty; teachers misbehave; prostitution is rampant: Romeos roam preying upon women; state officers steal; children are abused and the pathetic structure is capped by a monk who is a rogue. The only alternative left for the youth is to join the army and continue their atrocities with a licence.

However, two elements that apeak of their inner feelings with spiritual and social relevance mark the continuity of conventional life in the village. First, the people used to bring alms even to the rogue monk who is an outsider. It pleases their humility and devotion settled deep down in their hearts.

Then, the whole village turns up to celebrate the occasion of a girl attaining puberty where they drink, dance and sing. They are not sure of a wedding. Those are the dual features, moral and social, that persist on bringing a semblance of life into the village otherwise drained and deranged.

The actors with their individualistic traits subdue their identity to emerge as characters they portray each of which composes and completes diversification of the social strata. The film is in an unusual narrative style with a horizontal movement which is normally not the usual craze of the filmgoer. Religious discipline is alien to these characters packed into the environment as it was no more in the mainstream of life.

Spiritual life

It is interesting to note that at significant events, the voice-over with reverberating sound of chanting of Pirith loud and clear made to indicate that their spiritual life had run away from them and resides in them only in the form of an echo.

What still remains thus intact is the religious sentiments that pervade the air which shows that though perceptually and spiritually religion has distanced itself from their ravaged countryside, it remains a force subdued awaiting a healthier background to surface at the right opportunity, if ever.

How to end a film projected horizontally is a challenge. Sudath finds an opening in the aberration of the displaced soldier and makes him to laugh at the youth who gleefully leaps into the theatre of war, and questions the audience as to why they do not laugh.

He tells us that to join the army is a mad act and it should be laughed at. Through him the filmmaker laughs at all those who are pleased only to watch the war and its fallout on society. One thing that betrays the composure of the audience is the over-exposure of the man in the nude running across the entire village.

Sudath has launched a new thinking process into the medium which I hope would be a stepping stone for his future endeavour to create an impact on the discerning viewer.

Finally, he should be commended for having discovered the true potential of Shriyantha Mendis as a characters actor. Recently I have noticed that Sanath Gunathilake is coming out brilliantly in supportive roles, and Sudu Kalu Saha Alu is one, and Ran Diya Dahara is another.

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