An ode to versatility

Sachitra MAHENDRA and Ruwini JAYAWARDANA

Sesha Palihakkara, the protean talented artiste of the bygone golden era of Sinhala cinema passed away at the age of 81 on July 12. His remains lie at Jayaratne Funeral parlour, Borella and will be kept in National Arts Gallery tomorrow from 9 a.m. to 3 p.m. The funeral will be held at Electric Crematorium, Borella at 5 p.m. the day itself. National Film Corporation's Consultant T M Sanghadasa requests all artistes to take part in the event to pay tribute to the versatile personality.

Sesha Palihakkara

Versatility was the stepping stone and conquest which promoted him as a key figure in scene of art. For more than six decades he had excelled in the field in diverse streams as a dancer, film actor, director, make up artist, light effects artist and producer. Starting off his stint in the arts scene with dancing, the multifaceted individual soon carved a niche for himself as a lad of many talents.

Palihakkara is not much known to the modern audience despite his immense contributions to the arts scene of a bygone era. His career is a story imbued with revolutionary spirits for today's artistes.

Born and bred in Colombo on June 5, 1928, Sesha was a product of St. Benedict's College, Kotahena, and St. Joseph's College, Colombo. He nursed a passion for dancing from childhood which grew and took form inspired by doyen of the local dance scene, Chitrasena. Naturally due to the social backdrop of the era, his family did not encourage this aspect but he was not one to give up his cravings easily.

He was engulfed by the rhythm of dancing and it was as if the music and he were one. Nothing could hold him back from his destiny. He was encouraged by Chitrasena who became an iconic figure to him and many others in the scene. As the disciple of Chitrasena, Palihakkara was able to envelop into international horizons. He visited Culcutta, where he pursued further studies at Shanthi Nikethan, alias Tagore University. Later he entered the Bharatha school of dancing.

His talents first came to light with his debut movie appearance in Matalanwhere he took on the role of an acrobatic hero, taking up the character of both the father and son. Significantly his performance marked the first time that a Sinhala actor took on double roles in a local production.

His performance in Dr. Lester James Peries' Rekhava was another hallmark in his life. Here he took on the character of a stilt-walker as a result of an encounter with the director who had been employed as a journalist at Times of Ceylon. It is believed that his skills in ballet contributed greatly to his performance as most of the roles he took up required flexible movements.

Sesha Palihakkara and Clarice de Silva in Matalan

The year 1948 provided a chance for him to break into the limelight. He displayed his skills in dancing in an event to celebrate Independence. He even got a chance to be a part of the Rama Gopal Dancing Group and flew to England in 1949 subsequently. He could visit Scotland and Ireland during his two-year stay in England. There he upgraded his knowledge in the field by taking part in workshops based on stage performing.

He began teaching at teacher training college, Maharagama, before establishing his dancing academy called Sardhapani in Cotta road, Borella, in 1952. Reputed figures like Ayesha Weerakoon (now Gwen Herat), Seetha Nanayakkara, Ananda Weerakoon, Sunila Jayanetti, Miranda Hemalatha, Swarna Samarakkodi, Symaen Vanderkoon (Ravi Jayewardene's wife), Titus Totawatta, W. D. Amaradeva and Lionel Edirisinghe frequented the place.

In 1953 he was invited to take part in a Ahankara Striee produced by SM Nayagam. The invitation was extended to his first movie role in Matalan.

With his contribution to Rekhava he reached the peak of popularity. He was flooded with letters expressing love and adoration. When David Lean's 'Bridge on the River Kwai' took shape, Palihakkara wished to join the team. At first it seemed that he might be deprived of the chance but luck turned his way. He got opportunity to play his part as the make-up artist.

Once again he took wings to England with the Rama Gopal team. This time he could travel in eight countries within three years before returning to his native land in 1960.

He met renowned science fiction author, inventor and futurist Arthur C Clarke with Ravi Jayewardene during this era and life took a different turn. Clarke had been watching a movie with Mike Wilson, when they visited him. He had been flirting with the idea of initiating a production company called 'Serendib' with Mike. The idea took form and the company was able to produce Sri Lanka's first colour film Ranmuthu Doova in 1961. They later produced creations like Getavarayo in 1962 and Saravita in 1963. It is believed that Mike's craze for boating inspired the team to produce Getavarayo.

Interestingly Sesha Palihakkara was one of the individuals behind Joe Abeywickrama's shift from the traditional comic roles to more serious character projections.

He also distinguished the difference between a beautician and a make-up artiste by instilling the notion that make-up artiste should take in the persona of the character he is supposed to be applying cosmetics.

Aravinda in Viragaya

This was especially a challenging task as even the slightest speck of a mistake is visible on the screen. At times characters such as Sanath Gunathilaka's role in Viragaya and Gamini Fonseka's role in Seethadevi added meaning to the make-up artist's chore.

In 1965 he produced and directed Lakseta Kodiya while he produced Satyagrahanaya in 1987.

The most significant award he had clinched is probably the lifetime achievement award, Rana Thisara, in 2007.

Palihakkara never craved popularity which he could have summarily achieved with his widely admired performance in Matalan and Rekhava. He was always concerned about the artistic features in a film. His contributions possess a weight and deserve a serious research. Even at 80s, he was seeking a good script to film, Nuvan Nayanajith, author of Sri Lankeya Cinema Vansaya, recollects.

Always a wide reader, Palihakkara would read any kind of books he comes across. At leisure, he always went for gardening. He had a special liking for Orchids, which grew especially during his stay in England, his sister Sheeliya and nephew Lalith recall. This frenzy for gardening resulted in a ballet called 'Romance of an Orchid'.

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