On films, malice and the poverty of criticism
Two
news stories caught my eye a short while ago, both related to the arts
and more specifically to films and the film industry. The first was
about the ‘family film’ Bindu smashing all-time records. I’ve already
written about Bindu (Daily News, October 6, 2009: ‘Children’s films
disturb me’). So I shall just say well done, congratulations, keep it up
and all that kind of thing to the producer, director and others
associated with the film.
The other and more interesting story was about Prasanna Vithanage’s
film ‘Akasa Kusum’. Actually it was two stories, side by side. First,
the film has been chosen as the official Sri Lankan representation at
the 2010 Oscar Film Festival. It was also pointed out that the film had
completed 50 days in the CEL circuit.
The ‘news’ was that it was removed from about 10 cinema halls on the
49th day in what seems like a deliberate and ill-willed exercise to deny
the film the 50th day milestone. I don’t know how important these things
are to Prasanna Vithanage and the producers but ‘49’ remains an odd
number.
This is not a film-reviewing column but I’d like to say something
about ‘Akasa Kusum’, which I saw a few weeks ago. Prasanna has given us
a lot of great films and the common thread, to my mind, is that he tells
a good story tastefully.
His films are political of course in that they speak to important
social issues that sometimes reference specific and troubling political
realities.
What separates him as a superior exponent of his craft compared to
others who play with political themes is that Prasanna doesn’t try to
tutor the viewer on the political content that is salient to the story.
He seems to prefer concentrating on the story. The politics comes out
naturally, without being flagged, without footnotes and without
insulting the viewer’s intelligence. One of the most appealing things
about ‘Akasa Kusum’ to me was this signature trait in Prasanna’s films
(quite apart from the cinematography and some great performances by
Malini Fonseka and Nimmi Harasgama).
I am aware that the film industry in this country is a cut-throat,
dog-eat-dog kind of affair and therefore I would not be surprised if
there was some of that behind stopping ‘Akasa Kusum’ at ‘49’. A few
years ago, Inoka Sathyangani, in a media conference held prior to the
release of her film ‘Sulang Kirilli’, appealed to journalists to protect
her from the envy, mud-slinging and what not of the film industry and
the lackeys of what she believed was her competition. While being aware
of such happenings, I found it disturbing that a film-maker wanted
insurance of that kind.
This was, as I said, prior to the release and it seemed to me an
attempt to mitigate any possible criticism of the film. I made the point
that malice is not a phenomenon that is found only in the film industry.
If the artist worries about the machinations of the malicious his/her
art would necessarily suffer.
Prasanna doesn’t seem to lose any sleep over such things. Neither
does Ashoka Handagama, a good film-maker whose politics and politicking
I don’t necessarily admire. They belong to a small set of film-makers
who are confident and are not small-minded about criticism.
This is rare for artistes in other fields as well, let me add. Too
often, in Sri Lanka, if someone takes issue with you, it is immediately
concluded that the person must be envious and that critique is but an
expression of jealousy. From here to conspiracy-theory is a very short
distance and few can resist the temptation to walk that meaningless and
self-defeating road.
What this means is that we lack a decent review-culture in Sri Lanka.
Part of the problem is that there is a dearth of people competent enough
to offer serious critique, be in of literature, art, film, theatre or
anything else. The most qualified to comment often happen to be
exponents of the art form in their own right, a situation that lends
criticism to the jealousy-driven charge.
Critics should perhaps take a cue from people like Prasanna Vithanage,
Ashoka Handagama and that other and exciting new presence in the
film-scene, Prasanna Jayakody. They carry on regardless. One may not
agree with their politics, but one learns that they are deserving of
respect at some level for the work they do, their commitment, their art
and their unflinching resolve to do what they find meaningful to do.
The malicious comment and commentator is easily identified and sooner
or later such people trip over their own words.
Those who dare walk the path lined with detractors armed with
vilifying-stones may come out bloody, but will nevertheless be unbowed.
We can always count on people to come out with the most outrageous forms
of criticism. I remember an email doing the rounds just before ‘Akasa
Kusum’ was released. It showed Nimmi Harasgama with some person
associated with the LTTE.
The message was, ‘If you watch this film, you are supporting the LTTE,
Eelam, terrorism etc etc’. That’s a load of nonsense, but that’s the
kind of thing that film-makers have had to contend with. It is silly to
argue that one must watch only those films where everyone associated
with its production (producer, director, editor, cameraman, actors,
actresses etc) agrees with one’s political position for fear of
compromising one’s political project. One would end up staying at home
and doing a lot of navel-gazing.
It is a bit dampening, true, but then again good art finds a way to
pierce through that kind of plasticity. Prasanna will shrug and move on,
I am sure. On the other hand, if ‘49’ is rooted in malice as it probably
is, it indicates a disturbing state of affairs which in the end will
only impoverish the film-going public.
The only way out is for decent, balanced, educated and perceptive
review. I believe all films, whether they are excellent or putrid or in
between, need to be reviewed because criticism is a good thing. It
challenges the artiste. I just think we are a lazy people and perhaps a
tad too good-hearted. When we are not malicious, that is.
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