Conflict as theme in cinema

Turning our glance towards cinema this week, I recall a recent film that had quite an impact on me -Alimankada by Chandran Rutnam. Basing the story on ‘The Road From Elephant Pass’ by Nihal de Silva, the film is indeed a bold attempt of discussing the war and two seemingly opposing view points, that also reveal through the continuous dialogues of the two main protagonists, the confusion that warring parties get in to, as they attempt to define the situation according to their individual beliefs!

As the two main characters of the film are forced to proceed along their perilous journey, undercover, we see hostility and distrust emanating from them. However, with each incident that they have to collectively face, the element of trust continuously develops in their relationship. It is noteworthy how Rutnam maintains a perfect balance in developing the relationship especially during the journey through the forest, without an overly sentimental approach, although countless opportunities are present, to move towards such engagement.

In that, he is a step ahead of the book. Even much later in the film, as they accept each other as partners, it is largely depicted through the bathing scene the following morning, when their reaction to each other portrays the new status in their relationship. However, as they move away from the rustic environment, and enter the confines of the Colombo based friend’s refuge where they have to part company, it is felt that the authenticity of the sequence is somewhat impaired, leading to the ‘happy-family’ ending at a cosy flat, as the film states, in Canada.

Given the dearth in quality local films with an engaging and intellectually captivating storyline, I must say, Alimankada definitely has created a niche for itself, with its cinematic depiction of ‘The Road From Elephant Pass’.

When discussing conflict as a theme, or at least a backdrop, two other recently watched films come to my mind. Both the films were released in 2008 and won international acclaim and were voted among the best ten films of that year, by several prestigious establishments. The film, ‘The Reader’ by Stephen Daldry is based on a German novel of the same name by Bernhard Schlink and was adapted to screen by well known dramatist and script writer David Hare. It stars Kate Winslet and Ralph Fiennes with young actor David Kross depicting his early years. It is the story of a German lawyer who as a teenager had an affair with a woman twice his age, who suddenly disappears and resurfaces years later as a defendant in a war crimes trail, for her involvement as a guard at a Nazi concentration camp in World War II. In a wonderfully placed sequence, the film discusses a range of areas including, emotions, truth, reconciliation, justice, literacy and literature, appreciation, and responsibility.

Superbly captured on camera, it shows a master hand that is able to keep his distance rather than get exceedingly emotional about the content. Although the ending has a well made element worked in, the film in its entity is a subtle exploration of many nuances, definitely worth watching.

‘Hunger’, by Steve McQueen is another film released in 2008 that discusses conflict in quite a different setting. It reveals the last six weeks in the life of the Irish Rupublican Army (IRA) hunger striker Bobby Sands, who led the 1981 Irish hunger strike, participating in the ‘no wash’ protest.

It has received much acclaim internationally as a significant film and it definitely is a very mature film indeed by a first time film director. Michael Fassbender as Boddy Sands engages the viewer with an almost too real, depiction of the political prisoner who fasts unto death.

Interestingly, ‘Hunger’ contains a 16 and a half minute single shot in which a priest tries to talk Bobby Sands out of his protest campaign. It is believed to be the longest shot in a mainstream film, and, with its placement at a crucial point in the film, captivates the audience, as we try to decipher the dialogue ensuing between the priest and the prisoner.

With captivating cinematography all along, Sands moment of death is depicted in vivid meditating detail, after the violence, cruelty, and inhuman treatment as the protest continues within the confines of the prison. Finally, the death of Sands with nine others, forces the British government to agree to the demands of prisoner rights despite never officially granting political status to the prisoners.

‘Hunger’ is a raw and powerful film where the body is offered as the last resource for protest.

The strong visual aspect of the film medium should be a powerful player in cinematic creations. If this infinite power of cinema is not understood sufficiently, dialogue based, mere teledrama-like sequences that populate the television screen, will form a poor substitute to the film-viewing public.

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