A new era for Sinhala cinema

There is no denying that the Sinhala cinema is a dying industry and hardly being able to match its golden era of the 60s.The rapid close down of cinema halls which were once landmarks, the dwindling attendance is reflective of the decline.

There is no denying that the advent of television had dealt a body blow to the industry. Most cinema halls today are virtually empty save for the first few days of a new film. Some no longer have late night shows unlike in the past when this was a popular slot with the public. Others often cancel their shows due to meagre attendance.

Many factors have contributed to the decline. Prime time television that feature infantile soap operas is one of the main reasons. These have a ready appeal with the gullible public. They would rather sit in the comfort of their homes and enjoy these insipid fare rather than opt for a local movie in a sweaty cinema hall.

Exhibitors have also had to contend with cricket matches featuring the Sri Lankan team which are a ready draw particularly among the young. Add to this the flood of video films in the market, a plethora of amusements, entertainment and other diversions of the present day have all cumulatively contributed to the dwindling attendance at cinemas.

Contrast to this with the 60s considered the gold era of the Sinhala cinema where long queues opposite theatres were the norm and when the Police had to be summoned to control unruly crowds at cinemas showing a blockbuster movie.

Old timers still remember with nostalgia of how going to the cinema was an integral part of the family entertainment. Picture this with today’s deserted cinemas their forlorn premises and one could draw one’s own conclusions as to the fate of the Sinhala cinema.

True at the time the cinema was the primary source of entertainment in the country and the people had little choice. But there can be no doubt about the appeal the Sinhala films commanded in that golden era. There is little doubt that the genre of films shown at the time would have still been a major draw in this day and age television notwithstanding. Was it then the quality of the films or the iconic state of the performing artistes who made this possible? It is worthy of study by those attempting to resurrect the Sinhala film industry.

Veteran filmmaker Sumithra Peries said that the Lankan cinema is today looking up after decades of war. Attending the South Asian festival in Goa Peries said, “earlier cinema halls were closed and people were scared to go to the movies”. She said cinema had suffered a lot due to the lack of opportunities during the rebellion period adding things are changing for the better now.

While agreeing with her that the war had a negative impact on the local film industry it has also to be pointed out that many outstanding creations too came out during this period which won much honour and acclaim for the country. The problem lay in the poor quality films that started to mushroom with every Dick, Tom and Harry trying their hand as film producers.

The balderdash that was dished out were rejected by the people who turned their attention away from the cinema. There were also quality filmmakers who were stifled in their efforts to uplift the local cinema. For one thing Banks hesitated to provide loans for film making reserving their lending for big business that sprang up with the open economy. This led to low budget films swamping our cinemas driving away the patrons.

The problems affecting the local film industry should be approached in a holistic manner. A Task Force of competent persons should be appointed to go deep into what ails the local cinema.

Today cinema halls are being pulled down and converted into commercial ventures reflecting the predicament faced by the local cinema. The State Film Corporation should step forward to play a more proactive role to uplift the Sinhala cinema. The tastes of the present generation should be identified and films produced to cater to these demands. It should be borne in mind that the local cinema is essentially an industry and its development should be planned taking this factor into consideration.

The Sinhala cinema has overcome many vicissitudes in its 62-year-old journey. It managed to shed itself of the South Indian influence and evolve as a purely indigenous industry carving for itself its own identity. Hopefully it would surmount the present challenges and emerge as a more robust and enduring industry in this new post war era.