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Shelton Payagala:
Gifted filmmaker bids adieu
Sachitra MAHENDRA and Ruwini JAYAWARDANA
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Shelton
Payagala |
Many know him as the creator of the controversial films Malata Noena
Bambaru (1982) and Golu Muhude Kunatuwa (1991) but there is more to
Shelton Payagala than that meets the eye. A Marxist at heart, he was
also a skilled poet and art critic whose contributions nurtured the
growth of Sri Lankan cinema.
Born in Hatton in 1944 and studied at Sri Pada Vidyalaya, Hatton, and
Prince of Wales, Moratuwa. He had been an active member in the
literature, cinema and stage circles. Following the examples set by
literary giants like Martin Wickramasinghe and G B Senanayake, Payagala
had started his stint with the art scene by scripting several theatre
plays and poems.
He entered cinema as the assistant director of Densil Abeywardena's
Visihathara Paya. Never one to idle, he began reading books on
filmmaking and studying the works of international directors to curb his
growing interest towards the medium. He even admits that studying the
works of David Lean, Akira Kurosawa and William Wyler brushed up his
knowledge towards the subject though by no means did their techniques
influence his productions. He even says that he took the habit of
watching the works of Dr. Lester James Peries after witnessing some of
the outstanding movies in the global arena.
"I was fortunate because I got many opportunities to watch some
outstanding creations made by foreign filmmakers when I was young. I was
able to study their techniques and find my own roots on the local reel.
In the early 1960s they followed a very different genre in making films.
These creations did not appeal to me and my interest shifted from the
Sinhala, Hindi and Tamil productions to English creations," he said.
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Malata Noena Bambaru |
Golu
Muhude Kunatuwa |
He had taken up the Kala Pela cinema training course in 1970 and soon
after turned to directing stage drama. All these experiences helped him
in constructing his maiden movie Malata Noena Bambaruwhich he
co-directed with Chandraratne Mapitigama, he said.
Malata Noena Bambaru struck a cord in Sinhala cinema especially
because it referred to homosexuality. However, though many critics
focused on this aspect, the director stressed the focal point of the
film is the study of the activities of the social strata.
"The feudal class and their activities are put in the spotlight.
Their sexual needs are not displayed in the open as that of the lower
classes but nevertheless they too have their needs and emotions.
"The movie traces their actions and the gradual decline of their
system. My second creation, Golu Muhude Kunatuwa is about the ethnic
conflict, its roots and results. I have looked at the situation in a
Marxist angle," he noted while adding that many critics have taken to
the habit of looking at creations through rose coloured glasses and have
to recognize the core of the creation.
The talented filmmaker passed away recently at the age of 65 after
being admitted to the ICU of Sri Jayawardene Hospital. He had been on
the verge making three more creations at the time of his death. He had
stated in an interview with Lak Janatha in 2006 that he had already read
two scripts: one based on the political backdrop of the early 1970s and
the other on King Sri Wickramarajasinghe's era for his next project. He
had also said that he hopes to make a creation on the Indian Tamil
population which are employed in tea plantations in the country. Sadly
none of these projects ever took shape. |
