Braving the odds

Amalshan Gunerathne

This is a time when artistes have to put up their souls for sale. As if poised to a guillotine, they have to wait for the highest bidder. Satischandra Edirisinghe, a valiant artiste he is, remains a cut above the rest. Edirisinghe was instrumental in nurturing the country’s art scene: first stage, second cinema and then the small screen

He touched tender hearts of millions of Sri Lankan fans through his performances in memorable teledramas such as Thara Devi, Palingu Menike, Rathu Rosa, Siv Mansala, Tikiri Nilame and Diyavadana Malauva. Strolling down memory lane Satischandra recalled:

Satischandra Edirisinghe. Picture by Malan Karunaratne

“I had only eight words to say in my first stage drama, Vessanthara by J D E Perera, where I played the role of a common civilian. Even though it was just a minor role, I didn’t miss a single training session.

My breakthrough was when the actor who played the role of Joojaka Bamuna had to leave the set after a very unpleasant dispute he had with producer. They didn’t have anyone else to play the role, so they decided to take me since I was familiar with every single dialogue of the drama. So I got the chance to play the role of Joojaka Bamuna.”

Thus one of the greatest artistic souls in Sri Lanka set out to sail on a grand voyage in entertainment industry. His first major performance in a drama was in Gunadasa Galapaththi’s Liyathamabara where he portrayed the lead role of Hugo. From there he even went on to direct his own stage dramas such as Bakathapas, Attikka mal Pipila, Hota Bari Yuddaya, Thahanchi, Sokkano Rajano and Apayata Avurudu.

From the stage drama he stepped into cinema industry with the film Sadol Kadulu in 1967, where he played the role of a Buddhist monk.

“I didn’t really get the chance to play leading roles in many films. But I always had a burning urge to play one. Frankly it is the main reason why I started Maathara Achchi, my first ever film direction.”

Satischandra has directed six movies such as Rajagedara Paraviyo (1975), Sri Madara (1977), Adhishtanaya (1982), Vadula (1984) and Sathara Diganathaya. His face brimmed with youthful exuberance as he recalled a few memorable moments from his cinema life.

“There was this one dramatic moment where I appeared in Gamini Fonseka’s movie Koti Valigaya. The scene lasted only ninety seconds. I had to play the role of a monk who saves an innocent Tamil child from getting beaten by some Sinhala thugs. However one Sinhala thug comes and asks the monk, Swamini did a Tamil run through this way? The monk says no. Then the mugger inquires Swamini, then whose blood is this, pointing towards the bloodstains created by the injured Tamil child.

Then the monk placidly says how on earth do you know whether this is the blood of a Sinhalese or a Tamil? One of these days these stupid people will understand that all those differences are just mind-forged illusions and blood that flows through our veins are all same. The scene, though lasted only ninety seconds, was very effectively portrayed. I even went on to win a special Jury award at the Sarasavi Film Festival for that particular scene.”

From the cinema industry he stepped in to the television screen. He produced eleven teledramas of which eight were directed by him.

These included Tikiri Nilame, Namal Golla, Kokila Ginna, Girikula Andaraya, Savsiri Uyana, Bopath Saakiya, Sath mahala, Suwanda Padma, Monara Vila and Nisala Vilathera. Tikiri Nilame became popular and Diyavadana Maluva went on to win Special Jury Award for Direction from Raigam Awards Ceremony.

Even amid all his achievements, Satischandra was in total dismay and expressed his utter resentment and the disgust towards the abysmal state the current teledrama industry has fallen in to. His pleasant countenance transformed into a one of anguish when queried on his views about the modern trend towards mega television series.

“It is very rarely that a good television drama comes to the people’s living room these days. I perceive those mega series as a plague. It is a drug that kills people’s soul.

Even if those mega series producers come to my doorstep with guns blazing, I will not stop raising my voice against this television mafia. It has turned Sri Lankan television drama culture into a spiritually blunt one. There are still people who love art, who long and yearn for good creations. But we all are hurt.

Satischandra’s awards

And we can’t keep a blind eye and stay dumb. They know they take Sri Lankan art to an abysmal abyss. I don’t say I am against people making long dramas. Even those days we had dramas like Nedeyo and Doo Daruwo. They were good.

They had lot to offer to the viewer. But what do they show these days? What do they have to offer to the viewer? A work of art is supposed to address the spiritual development of a person. Today’s cheap teledrama does exactly the opposite.”

Satischandra was gasping for his breath as he put an end to his passionate speech. He has also been a great social worker.

“As an artiste I feel it is my duty to serve society. These days I am conducting an exhibition called ‘Water and Life’ under the sponsorship of Chevron Lubricants Lanka PlC. We conducted the exhibition on eleven provinces and we are thinking of taking it to the North Eastern Provinces as well.” Satischandra expressed his noble motives.

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