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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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