Film Review
Aba - a dramatic film of magic realism
Dr Senarath Tennakoon
The magic of Jackon Anthoney's new cinematic creation, Aba seems real
for the short hours spent in the theatre. It is a dramatic film that is
thrilling with a message disclosed in a technical artistry on a big
screen and very powerful audio visual effect that creates hyponotic
effect on the audience.
Some great films like Ten Commandments, Ben Hur and Asoka produce
hyponotic effects, apart from producing a vicarious thrill. The
vicarious experience generated by Aba is the cumulative and culminate
effect of magic realism and post modernic cinematic influence in
cinematography.
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A scene from Aba |
The creator of this great film has imbibed the historical information
in our ancient chronicles like the Mahavanse, Deepavansa, Rajawaliya and
Pujawaliya. But Jackson has recreated the origin of the Sinhala nation
quite convincingly deviating from Vijaya to Pandukabhaya. The chapters
of Mahavanse (chapter six) are shrouded in mystery.
The life and times of prince Pandukabaya too are shrouded in mystery.
Mahavansa observes that the union of Panduvasdev (a Sinhala) and
Baddakacchayana (an Indian) resulted in 11 children; of them the only
female was Unmada Chitra. So Unmada Chitra appears to be the first
Sinhala female.
Although she was brought up in seclusion she was impregnated by
Gamini who happened to be a son of one brother, Digau of Baddacahayana
(Queen Panduvasdev).
The Mahavansa says that according to the fortune tellers Unmada
Chitra's son would kill all her uncles and rule over Lanka for seventy
years.
Further, the Mahavansa declares that prince Pandukabahaya (Aba) has
been under the strict and careful protection since the time of his
conception by two Rakssas - namely Chitra and Kalavela.
It is they who misguided the infant Aba's ferocious uncles by drawing
their attention to a huge pig that was created by them when the uncle
were trying to find out what was in the casket carried by the young
female servant of Unmada Chitra.
Actually she was carrying the infant Aba for safety to Doramadala.
About the valour of prince Aba, Mahavansa has created a pretty smart
white mare with red limbs.
She was the demoness Chetiya. Prince Aba chases after her and brings
her under his control.
In Jakson's Aba the mysticism of Mahavansa is retained but with a
difference in content and context.
In Aba the father of prince Pandukhabaya has been identified as the
Yaksa clan general Chittaraja. The film shows he being brutally
assassinated. Subsequently his apparition appears on several momentous
occasions.
The unusual martial competence of the growing prince at Doramadala,
Aba seeing her mother as a mirror image in the pond water and the
mystical texture of Pandula hermitage are scene sequences that are
magical and extraordinary in outlook. The entire film highlights the
concept of a cultural product instead of distinguishing between high and
low cultures.
Further, there is a cultural mix - that of the royal heads,
aristocrats, the Pundit and his followers and the raksassa clan
followers.
There are opportunities for mixing of different cultures as
exemplified by the cultural pageant to celebrate the 10th anniversary of
king Abahaya's ascent to the throne.
Aba provides and promotes the generation of an impetus for a
meaningful discourse on the origin of the Sinhala nation.
The non linear progression of events, intertextuality,
decentralisation, openness, counterstructualism, ludic, emphasis on
signifiers instead of the signified and the emphasis on social
emancipation instead of individuals satisfaction place Aba in the
category of post modernic films.
There are several key performers in Aba. Ravindra Randeniya (Panduloa
Brahmana), Malani Fonseka (Baddra Kachayana), Sabeetha Perera (Unmada
Chitra), Saumaya Liyanagew (Habara) Kanchana Kodituvakku (Diga Gamini),
Sriyantha Mendis (Paramukaya), and Bimal Jayakodi (Chitta Raga).
But the other roles played by Vasantha Moragaha (Kalawela) Vasantha
Dukgannarala (Wasala Panniki), Lucien Bulathsinhala (Abahaya), Kinsgley
Loos (Tissa) an Madumadava Aravinda (Girikanda Siva) too are crucial.
While Sajith Annuthara shows his blossoming potentials as a promising
actor, special mention must be made of Dulani Anurada (Gumbakabuta) for
her promising performances.
All in all Saumaya Liyanage's role is quite appreciable and crucial
in the entire film, although there are scenes for melodrama. Apart from
the numerous performers, the technical crew including the camera
operators, film editors, electricians, costumers, makeup artistes, set
designers, and animal handlers have contributed to the success of this
film.
The traditional war and dance music in appropriate blend impart a
grand lusture to the film.
Aba is really a grand production. There is an incredibly skilful
blend of carefully planned and edited camera shots.
The king's warriors on horseback leaving the imperial gate in two
files is quite a remarkable scene. |
