Alexander Fernando :

Sports star turned action hero

Text and pictures by Channa Bandara Wijekoon

A few decades back, there was a Golden Era in the Sinhala film industry. Action stars of the Silver screen in this period, contributed tremendously towards making the ‘Hero’ a glorified character. Alexander Fernando was an action star, who kept filmgoers at the edge of their seats with his daredevil fighting performances.

The magic in him was not confined to fighting. People liked his good looks too. Thus, film directors were compelled to convert him to a hero. Very few knew that he was a wrestler who represented International tournaments and brought fame to his motherland. Here are experts of an interview with the evergreen artiste.

Tell us about your early days as a sportsman. How did it happen?

I studied at St. Anthony’s College, Colombo 13. As a school boy, I was involved in sports like boxing, swimming, football, athletics etc. When I was 15, there was a wrestling exhibition at school. I was inspired by the game and my enthusiasms lead me to become a member of the ‘Armstrong Wrestling Club’, Kotahena. I became the runner up in Western Province Schools Championship. After sitting for my Senior Level examination in 1959, I joined the Harbour as a tele-clerk.

Since I had to work the night shift, I lost interest in the job and resorted to my daily routine of wrestling practices. In 1961 I represented the National Championships in wrestling and became the National Champion.

One significant event in my life is getting selected for ‘Empire and Commonwealth Games’ in 1962, which was held in Perth, Western Australia. While I was selected for the wrestling event, Malcam Bulnor was selected for boxing. Newspapers gave wide publicly for this event. We were even featured in a photograph with an Australian Beauty Queen.

After returning, I resorted to practices. Sports Minister V.A. Sugathadasa, as a goodwill gesture, gave me the opportunity to coach wrestling at Colombo Municipality Grounds. In 1964, I was selected for Tokyo Olympics, in the bantam weight category. Ernest Fernando was selected in the fly weight category.

I was unfortunate to miss this opportunity, due to a knee injury.

However I represented my country again at the Asian Games at Bangkok in 1966. I am the one and only film actor cum Colours Man in Sri Lanka who brought honour to my country!

How did you enter the celluloid scene?

Lenin Moraeus and Ronald Fernando use to meet me at Armstrong Club. Lenin offered me a fight scene in the film Wena Swargayak Kumatada but when the film was screened, my scene was not there.

Later I met Robin Fernando through Moraeus. He had done Chandiya with Gamini Fonseka. He gave me the opportunity to stage a fight scene with him in Ruhunu Kumari in 1966. W.M.S. Thampo (Robin Thampo’s father) was the director. After the film was screened, I got many offers to do stunts and also to direct fighting in an array of Sinhala films.

You portrayed a somewhat different character, alongside Mervin Jayatunge in Pasamithuro.

Yes, Pasamithuro was directed by the late Ananda Hewage. This was the Sinhala version of the Hollywood film ‘The Defiant Ones’ which featured Sydney Poitier and Tony Curtis.

The plot was very touching one. I played the character originally played by Sydney Poitier. The plot centres on communal differences and harmony.

Poitier won an Oscar for his performance. I clinched the Presidential Award for my character called ‘Welu’ in the Sinhala version. (Mervin’s character was “Gemunu”. He and I shared the award.)

Who inspired you from the local and international arena?

Sivaji Ganeshan, Charles Bronson, Tony Curtis, Michael Caine, John Wayne and of course Sydney Poitier greatly influenced my acting. Their performances were unique. The late Pujitha Mendis was a loner but a good person at heart. We used to call him the local ‘Yul Brynner.’ Baptist Fernando had arms of steel. Both Malani Fonseka and Sriyani Amarasena have also helped me.

What advise can you give modern day film-makers?

A film director should know his onions first. Directing a film is not merely saying ‘action’ and ‘cut’. Another aspect is film costumes. Unique costumes should be designed and presented in commercial projects. It was done in the 70’s.

At present, an assistant director would give a phone call and tell the actor to bring his own costumes. This is not done. When we were doing films the make up artist was always at arms length in the set. Furthermore, Light boy should strictly stick to his job and also the Assistant director. The stage settings should be attractive. Hindi films have all these attributes.

Camera angels are another crucial factor. Every dashing actor has an ugly side view.

The cameraman should notice these limitations of an actor and take corrective actions. Also, loans should be given for producing films, after carefully ,conducting feasibility studies.