Tribute to H. D. Premaratne

Film-maker who occupied the middle ground by Geesha Munasinghe

Swarnawahini Program Director Hapuarachchige Don (H.D.) Premaratne who died last week was a well-known veteran Sinhala film director who carved a niche for himself by breaking away from the traditional film mould and pursuing a style of his own. Dubbed a film maker of the middle ground he bestrode the film world like a colossus for well over three decades.

His debut film Sikuruliya produced in 1975 was based on the Ummagga Jathakaya one of the famous Buddhist Jathaka stories. Ever since he has directed some landmark films including Apeksha (1978), Sasaraka Pethum (1980), Parithyagaya (1980), Devani Gamana (1984) and Palama Yata (1990) which added a new lease of life and a sense of creativity to the local cinema.

Obstacles

Premaratne ventured into the film world at a time when new and creative film-makers had to face many an obstacle placed on their path by traditionalists.

Premaratne who was undeterred by such fetters showed his creativity by trying to introduce an indigenous style of film acting by his very first film Sikuruliya.

Sikuruliya was a landmark film which offered a new beginning to the contemporary cinema in this country.

In spite of using certain features of the formula film including song, dance and stunts it offered a meaningful story by shelving popular cinema cults of the contemporary period.

He overlooked popular stars and selected Bandula Galagedara, a relatively short personality for the lead role in his film.

This itself was a daunting challenge he undertook in the field of the contemporary cinema. The film contract itself was an extraordinary one at that because the agreement was for 10 percent of the proceeds to accrue to the director if the film was a success and the entire cost of the film to be paid back to the producer by the director if it flopped.

Vicissitudes

Sikuruliya which was based on a woman brought into focus the vicissitudes in life she faced within the family corporation. Therefore he continued to produce films based on the woman as a subject to present a critical assessment of social issues such as dowry, virginity and divorce.

This theme came into sharp focus in his subsequent films such as Parithyagaya, Devani Gamana, Adara Hasuna, Saptha Kanya, Seilama, Visi Dela and Kinihiriya Mal.

Another significant feature of his films was that they always provided opportunities for novice actors and actresses to enter the filmdom. This added a colourful new angle to his films.

Sikuruliya opened avenues for the late Clarence Wijewardena to enter the local cinema as a music director while Apeksha introduced several novice actors and actresses such as Ranjan Mendis, Kusum Perera and Hasthi Viyaruwa enabled Anoja Weerasinghe to have her debut in Cinema.

Premaratne's film Mangala Tegga brought Sanoja Bibile, Sriyantha Mendis and Jayalath Manoratne to enter the silver screen and later to become veterans in the field.

Many Premaratne films since his second creation Apeksha have represented Sri Lanka at various international film festivals.

Film Festivals

Apeksha represented Sri Lanka at the 1977 Festicone Film Festival in the Netherlands, while Parithyagaya was an entry at the 6th Tashkent International Festival in 1980. His film Deveni Gamana represented Sri Lanka at the Film Festivals held in Manila, Cairo and Tashkent.

Deveni Gamana which was adjudged as one of the best 12 films at the Manila Festival earned honourable mention at its final round. His film Seilama had its 'World Premiere' at the Hawaii International Film Festival in 1993.

After Parithyagaya (1980) and Deveni Gamana (1984) Premaratne made a cinematic creation based on Kulasena Fonseka's State award winning novel Palama Yata.

This film of even name which featured the travails of a community living under the Victoria Bridge in Colombo was described by critics as a creation depicting a wider knowledge and concept. Prof. Ediriweera Sarachchandra writing a review to the Sunday Observer described Palama Yata as a film which offered him extensive satisfaction.

On a personal note I wish to state that his film Mangala Tegga was a creation based on a fresh theme more inclined towards the Western style which should engage the attention of any student of Premaratne cinema.

Although it too is centred round a woman its significant feature is that it is a story revolving round four youth.

Source of blessings

Inventors became discouraged when justice was not done to their new creations. Premaratne was never discouraged in such situations. Difficulties and obstructions were a source of blessing for him.

He rendered his duties and responsibilities towards the local cinema quite unconcerned about bouquets and brickbats.

Although all his films were not quality films they were all box office hits which captured the hearts of fans.

He was a film maker who captured the stage, cinema and the small (television) screen. He produced teledramas Sandun Gira Gini Gani (1993), Sihina Danawwa (1996) and Dulari (1997) and also the stage drama Yakage Kammala.

Subsequently he was attached to Swarnavahini as Consultant to the Board of Directors and Director (Programs).

He also functioned as president, Sri Lanka Cinema Bala Mandalaya.

He earned these positions through sheer hard work and dedication for which this article is a small tribute.

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