At locations with Professor Sunil Ariyaratne’s latest
cinematic venture :
Kusa Paba reigns in Dambulla
Ruwini JAYAWARDANA in Dambulla
Kusa Paba main
cast
* Prince Kusa - Jackson
Anthony
* Princess Pabhavathi - Pooja Umashankar
* King Okkaka - Ravindra Randeniya
* Queen Seelavathi - Veena Jayakody
* King Madhu - Palitha Silva
* Queen Madhu - Kusum Renu
* Kudhi - Chandani Seneviratne
* Prince Jayampathi - Roshan Ranawana
* Soldiers - Mahendra Perera and Mahinda Pathirage
Jackson and Pooja as Kusa and Pabhavathi. Picture by Vishwa
Balasooriya |
Palitha and Kusum as King and
Queen Madhu |
Just when one is starting to expect too much of him after
masterpieces like Sudu Sevaneli and Uppalavanna, ace director Senior
Professor Sunil Ariyaratne seems to raise the bar with his magnum-opus,
Kusa Paba.
Based on the 523rd story (Kusa Jathaka) in the Jathaka story series,
the film portrays beautifully the defiance of Pabhavathi towards Kusa
once she discovers that he is not the handsome husband she imagines him
to be and how he wins her back through wisdom and prowess.
Kusa Paba contains just about everything you could ask for in a
historical spectacle. You get glamour and gold aplenty, battles, love,
devotion, betrayal and comeuppance, all handled in a smart, efficient
manner that allows them to spread out across a vast canvas that will
solicit admiration.
A grand production encompassing larger than life sets, star caste and
glittering costumes, Kusa Paba is in league with well known epics like
the Trojan War and Anthony and Cleopatra from the western literature.
For the past few months, Prof Ariyaratne remained busy handling the
shooting of the film in Ranmihithenna, Sigiriya, Sithul Pavvwa and Magul
Maha Viharaya. A majority of the scenes were shot in Ranmihithanna Tele
Cinema village in Tissamaharama. Kusa Paba is the first Sri Lankan movie
to be shot in Ranmihithenna.
The team recently moved to Dambulla to shoot the scenes in which
Pabhavathi is supposed to be slayed at the scaffold and handed over to
her seven suitors. Silence descends on the sets as the figure, dressed
in white silk, a garland of red flowers around her neck and mounted on a
white horse emerges from the distance followed by a procession of humble
villagers.
By her side is her loyal servant, Kudhi, ever watchful of her safety
yet powerless to prevent the impending doom. King Madhu and his queen
wait ahead, stricken with grief by their daughter’s fate. Still ahead
stand seven men, each bearing an axe menacingly.
A shiver runs through the crowd as they witness these episodes and
their heart goes out to the maiden who has to pay the price for her
beauty and recklessness of leaving behind a worthy husband.
Around 120 cast and crew members work on the Kusa Paba film sets each
day. Heenatigala Premadasa handles the art direction of the movie and is
backed by 25 others. Make up artists Prathap M Bogoda, Sameera Madhu
Kindelpitiya, Chandrasiri Roopananda and Gunatileke Premalal are in
charge of the make up department.
Triple effort: Director Prof Ariyaratne with
Dissanayake and Warnasuriya |
Axe bearers |
The ever-selective Jackson Anthony stars as the benevolent Kusa, the
prince of the Malla kingdom, who falls in love with fair Pabhavathi, the
princess of the Sagala kingdom, played effortlessly by Pooja Umashankar.
“Kusa is said to have a face which resembles an oil cake (Kavum).
Several of our local make up artists tried to create this look for
Jackson but failed. Therefore we had to hand over the task to Indian
make up artists. The project fell on Anil Vishnu’s hands. He was the
make up artist for Dashavatar, the movie about the 10 avatars of Lord
Vishnu,” Professor Ariyaratne explained.
Anil and Prathap took a copy of Jackson’s face with them to India and
constructed a nose out of the latest technological devices.
Interestingly only one nose could be used for a session. Around 50 noses
were imported to Sri Lanka for shooting to take off.
Another noteworthy aspect is the gorgeous costumes which are adorned
by the caste in the film. All the costumes and jewellery had to be
imported from India to fit the setting.
Award winning cinematographer Channa Deshapriya handles the camera.
The hairstyles are by Lalith Dharmawardena. Around 200 dancers take to
the stage in the final scene under the guidance of choreographer
Chandana Wickramasinghe.
The entrance of the seven kings. Pictures by Saman Sri Wedage |
Five songs, penned by Prof Ariyaratne, had been included in the film.
Edward Jayakody, Harshana Nanayakkara, Uresha Ravihari, Nirosha Virajini
and Kasun Kalhara have rendered their voices for the songs.
Around Rs 100 million funds will go into making the movie. A host of
seasoned film-makers and producers will shoulder the budget. The
production panel comprises H D Premasiri, Somaratne Dissanayake, Renuka
Balasooriya, Dhammika Siriwardena, Udayakantha Warasuriya, Sunil T
Fernando, Janith Marasinghe, Rasika Jinasena, Tissa Nagodavithana,
Justin Belagamage, Ariyadasa Peiries and Prof Sunil Ariyaratne.
As the crew ready themselves to go for another take on the scene of
seven kings on seven elephants, Prof Ariyaratne shared these views with
Daily News ‘Projector’. Excerpts:
Q: Why did you choose the Kusa
Jathaka for your film?
A: I used to teach the Kaw
Silumina when I was a lecturer at the Jaffna, Kelaniya and
Jayewardenepura universities. These poems are based on the Kusa Jathaka.
I used to visualize the scenes like a film. That was when the dream of
making a film out of the story was born.
I revealed this to Dr Tissa Abeysekara four years ago and he penned
the script of the film. This is his last film script. Though he is no
longer with us today we have been discussing this production for a long
time.
Though Jathaka tales had been related by the Buddha there are some
stories similar to those in Greek, Arabian and European folktales. The
theme of an ugly person turning into a handsome prince after winning the
heart of a fair maiden is even found in fairytales. This story connects
with the audience. I wanted to weave this romantic essence into the
film. There are some interesting turns of events as the tale flows. I
immediately reacted to these incidents. I saw a story there that needed
to be told.
Q: Kusa Paba comes more than three
years after Uppalavanna.
A: I take time to make a
film. Sudu Sevaneli came eight years after Ahas Maliga. Likewise there
is a gap between Uppalavanna and Kusa Paba. Though my first 10 films
were made back to back I changed my approach with Sudu Sevaneli. I took
more time to engage in research.
Pabavathi led to her death in a procession |
There is much that needs to be done and since I am actively involved
in the project it is bound to take some time. I prefer to get into the
minute detailing to make the product look as good as possible. Therefore
my next film too will take at least another two or three years to be
made.
Q: What are the challenges you met in
making the film?
A: The biggest challenge
was to bring the image of India into the Sri Lanka landscapes. The
background, buildings, costumes and music all had to be Indian to make
this film work. Outdoor shooting was the worst because we had to make
sure that nothing is out of place. We had to seek means of avoiding
obstacles and features which do not go along with the story. It’s been a
grueling but enriching experience.
Q: You have made a number of films
based on religious aspects. Is that your comfort zone?
A: Not really. I did not
have the idea that I should necessarily engage in films relating to
Buddhism. A film based on the Kusa Jathaka has been in my thoughts for
some time. It is coincidental that it comes after Uppalavanna which also
happens to be related to Buddhism. I chose the Kusa Jathaka for its
dramatic scenes and because it caught my fancy.
Q: Where do you place Kusa Paba in
your cinema career?
A: This is probably one of
the most challenging tasks that I have taken on in my career. I expect
the audience’s warm response. I have gone to great measures to give them
quality entertainment. Kusa Paba embodies some of the best features of
commercial cinema.
Q: You have commented several times
before that Dr Abeysekara is the best script writer that we have.
A: I stick by my word. He
is the best we have had in the 60 years of Sri Lankan cinema history. I
will have to contemplate a great deal on whom to choose to write the
script of my next film because I do not see anyone who can match his
brilliance. There is a huge vacuum in the script writing scene without
Dr Abeysekara.
Shooting scheduled to be wrapped up on September 6. The team had
zeroed-in on next year for the release date.
Aarakshan:
India's reservation policy comes centre stage
Credits
* Director: Prakash
Jha
* Producors: Prakash Jha and Firoz A. Nadiadwala
* Starring: Amitabh Bachchan, Saif Ali Khan, Manoj Bajpayee, Deepika
Padukone and Prateik Babbar
Since making her debut in Om Shanti Om, Deepika Padukone has gone on
to play a myriad of characters in films ranging from comedy, to drama,
to hot item numbers, to even suspense and of course romance.
The actress is now considered one of the hottest stars in Bollywood.
Her upcoming release is the socio-political drama Aarakshan, directed by
Prakash Jha. The film takes a look at the policy of reservation in the
Indian education system, but more at a personal level and how it impacts
the lives of families and friends.
Talking about how she chooses her projects, the actress revealed, “I
think I completely go by my gut instinct when I go for a narration. I
instantly know whether I connect with the subject or not and that’s it.”
For Aarakshan, it was the subject matter that drew her to saying yes to
the role.
Deepika and Saif in a scene from Aarakshan |
“I think the fact that reservation today in our country is such an
important issue and such a relevant issue, I think that’s why I felt the
need to be a part of a film like this.” Of course, the chance to work
with the director and the amazing cast was another big draw. In the
film, Deepika plays Poorbi Anand, who is Amitabh Bachchan’s daughter and
also Saif Ali Khan’s love interest.
“She’s a girl who is confident; she has a mind of her own. But at the
same time she’s a girl that because of reservation and the complexities
of society she’s torn between her family and her relationship.
She understands both sides, the advantages and the disadvantages
reservation has on people, but unfortunately she’s caught in the middle
of that. She’s in a situation where she doesn’t know whose side to take.
It’s difficult because you know both sides and especially, like in
the film, when you have such close ties with your boyfriend and your
family and you’re torn between the two, then it is a tough decision,”
Deepika said.
This is the first time the actress has worked with director Prakash
Jha and she says it was a learning experience, “He’s definitely one of
the senior most technicians I’ve worked with. One can learn a lot
working with him especially on an issue and a subject like this. He’s a
tough task master, but at the same time there is a paternal caring side
to him as well.”
Though the film does tackle a very controversial subject there are
also lighter moments in the film including a romance with Saif Ali Khan.
This is her second film starring opposite the actor and she says it was
a pleasure to work with him again. “He’s a wonderful co-star.
I’m glad that we’ve done two-three films now and that people like us
together as an on-screen couple,” she said adding that with such an
intense film as Aarakshan, it was really helpful to have that comfort
level and familiarity of having worked with him on a film before.
The film will begin screening at Colombo Regal from September 8 to
14. Bollywood Spice |