ABA a commendable presentation
Author, Colin de Silva in his foreword to the book ‘Winds of Sinhala’
(1982) wrote, “I have woven my novel from the bare threads of facts,
introducing the fictitious characters, incidents customs and ceremonial
to complete the tapestry. As for the life and government of early times,
I have combined imagination and an assumption of strong Aryan influences
stemming from the Indian emperor Chandra Gupta Moriya, with the sparse
records available.
What of the story is history then? I do not know, any more that I
know what of it is fiction, for it could have all happened just as I
have written.” Despite its references to Mahavamsa and rock
inscriptions, the book created controversy for Colin hinted in his
account of the history of Sri Lanka that Velu Sumana, the trusted
General of King Kawantissa and Vihara Maha Devi, who later played a key
role the war against King Elara, would have been the father of Prince
Dutu Gemunu and not king Kawanthissa.
Almost after a quarter century Jackson Anthony’s film ‘Aba’ has
aroused a similar controversy by questioning the paternity of the young
prince Aba, who eventually ruled the island as King Pandukabhaya. The
film claims that the Prince had ‘Yakkha blood-seeds’ disputing what’s
said in Mahawansa that Deega Gamini was his father. The point Jackson
makes here is that it is the very reason for a prince believed to be of
Sinha Clan to be protected by Yakkha Clan. This and several other
critiques and allegations have led to an ongoing debate on the
production.
It is further alleged that Jackson has deliberately distorted the
facts to undermine the origin of the Sinhala race. This I doubt
considering his efforts and dedication to research and produce the
highly acclaimed TV series Sinhalaye Maha Wansaya’, and his consistent
comments hailing ‘Hela culture’.
Despite all this controversy Aba has been able to draw many a crowd
to the theatres in Sri Lanka, breaking all previous box office records.
Similarly its Sydney premiere held on 13th Sunday was probably an all
time success running full house in both shows.
Internationally known Sri Lankan architect late Geoffrey Bawa once
told the students of architecture that what he admired most in the
history of architecture in Sri Lanka was the ability of the ancient
kings to think ‘big’ in designing and construction.
If it hadn’t been for their larger than life thinking, what is left
as our great heritage would have been buried a long time ago without any
trace. This is how I choose to look at the making of Aba. It certainly
is a mammoth effort in Sri Lankan standards, for which the director as
well as the producers should be congratulated for their great efforts in
thinking and acting ‘Big”. This achievement I am sure is a shot in the
arm to the ailing cinema industry in Sri Lanka.
In recreating the chronicle in to cinematic form following epical
traditions Jackson obviously had encountered many obstacles ‘in
completing the tapestry’ as Colin de Silva stated.
In the absence of any previous works of similar scale and nature
covering this era to relate to, the director probably had sought
influence from such works in the west. This is particularly evident in
some male hairstyles and costumes (Chittaraja’s reappearance) and
certain scenes (parading Chittaraja for execution), raising concerns on
the films resemblance to a western or Christian setting. Maybe this is
the artist’s intuitive response given his Christian background.
However, it’s unlikely a conscious attempt by him to force such
features in as widely claimed. One other question would be if the
language spoken at the time was so close to what we speak now as
depicted. Does it matter?, somehow, the dialogues need to be understood
or otherwise accompany subtitles.
The movie covers the period from the birth of Prince Aba up to his
coming of age, to pledge for the protection of mother Lanka. There are
outstanding contributions from music direction (Nadeeka Guruge),
cinematography (Suminda Weerasinghe) and editing (Ravindra Guruge)
especially considering a work of this magnitude within the Sri Lankan
context. Art direction and make up are noteworthy. The performances of
the great cast of Aba, both veterans as well as newcomers are of very
high standard with an exceptional performance from Saumya Liyanage.
The film ends hinting a sequel which probably would portray Aba’s
harsh journey up to the throne of Anuradhapura Kingdom and his reign as
the great king Pandukabhaya.
The cinematic experience presented by Jackson of this chapter of our
history was indeed commendable.
- Lalith Mallawarachchi
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