The most suspenseful war film
DR SENARATH TENNAKOON
Wisvanath Buddhika Keerthisena has created some visually remarkable
films like Sihina Desayan, Milla Soya and Nimnayaka Hudakalawa in the
recent past which have been acclaimed and enjoyed by the Sri Lankan
audience. His new cinematic creation is Matha which is quite different
in genre, structure and style from the previous films.
The script has been formulated by Professor Ariyaratne Atugala and he
has been supported by Ruvan Jayasinghe, Sanath Lanka Jayawera and Wijaya
Ratnayake in the production. Unlike the other films like Beyond Elephant
Pass, Selvum and Gamini which have been based on some specific themes of
the war, Matha has covered the entire war scene documenting the failures
and successes in the long protracted military operational procedure line
in the terminal years of the war in Sri Lanka.
Technical warfare
The external conflict between the two sides engaged in the war has
been depicted better than the internal conflict broiling in the minds of
those engaged in this struggle. Right from the start the audience is
drawn in to a military environment involving the land, sea and air.
Audio and visual impacts are overwhelmingly strong and focused. A
situation of strategic modern technical warfare is presented. But the
creators have not made the screen saturated with cross fire scenes
alone.
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A scene
from Matha |
The pathetic story of Parvathi and her parents evolve side by side
within the war situation. Parvathi was forced to join the rebels very
soon after her marriage in order to save the parents and her younger
brother from the rebel domination. Her lover too was among the rebels.
The parents have to leave their home and become refugees and undergo
immense hardships. The worst hit is the aged sick father and Parvathi's
small sister.
Magnificently portrayed
The film shows the military operations at strategic points which are
documented in the history. Finally the Sri Lanka victory over the rebels
in Jaffna is shown where the rescue operations of the armed forces too
are magnificently portrayed, against the rebels who were using the
innocent people as human shields. Parvathi already pregnant too joins
the Sri Lankan armed forces together with her lover. The final scene of
the film is symbolic. Parvathi's mother searches for her husband and
tiny daughter among the scattered dead bodies in the battlefield and
collects dolls.
The dark clouds that covered the sky get dispersed and white clouds
gather to cover the entire sky.
The main theme of the film is the war situation that havocked the
country's northern part for over three decades.
Brutal attack
The terrible acts of racially motivated vandalism and terrorism of
the rebel group are demonstrated as inhuman acts. In particular, the
unexpected brutal attack on the Muslim worshippers by the terrorist;
snatching of youth and children by force to join their terrorist
organization and numerous bomb explosions reveal the racist motives of
the terrorist group.
Their atrocious handling of the captured ones is a chilling
experience for the audience. On the other hand the humanistic attitude
of the armed forces is expressed even in the strategic military
operations. Because the rebels have been using innocent unarmed people
as protective shields, the armed forces were at a disadvantage in
advancing their military operations.
One reason for the protracted war was this shrewd approach of adopted
by the terrorists as they were aware that the Sri Lankan armed forces
would never attack the innocent people. The film demonstrates this fact
in several strategic military operations. The other theme is related to
the individual choices of the people entangled in the war environment.
Some try to leave the dangerous environment at the risk of their lives.
Some who were misled by the promises of the rebels have joined the
terrorist group.
They were also risking their lives. The child soldiers who were
brainwashed were the most brutal segment of the terrorist organization.
A large majority of the people was against an ethnic war, but they have
lost their freedom of voicing against terrorism.
However Parvathi's father even in his weakened physical state was
brave enough to speak against the inhuman aspects of the protracted war.
But her mother had no salvation except appealing to God. Because of the
war the disrupted social conditions, the displaced populations and the
de-schooled children constitute a very pathetic segment of the deprived
population.
These situations are highlighted throughout the film, amidst bomb
explosions, cross fires and shooting incidents.
Racism and political extremism is yet another issue raised in the
film. While showing racism in full flight, the film offers dissenting
voices.
The film takes a humane stance. The rescue operations by the army to
save the wounded and the fleeing unarmed innocent human segments are
quite impressive demonstrations. Love and compassion shown in the film
make it a film of hope. A young pregnant mother is saved by a Sri Lankan
army officer from an armed conflict area and she delivers her baby
safely.
Parvathi who is pregnant too joins the Sri Lankan army with her lover
in the end. Numerous innocent children, women and aged people are saved
from the terrorist grip and saved by the Sri Lankan armed forces. These
are documented incidents in the history. Although the genre and the
structure of the film override the characterization there are two
characters that deserve in depth study.
Yasodha Ramakrishnan as Parvathi has contributed an excellent
performance to her role.
She gives up her married life and becomes a rebel against her
wishes-pretty delicate figure changing to a robust ruthless terrorist is
quite unbelievable. Her lover is Yoga.
This role is played by Dharsan Dharmaraja who has to undergo severe
punishments from the terrorist leadership because he disobeyed and did
not carry out the leadership orders.
But, finally he changes his mind and together with Parvathi escapes
and joins the Sri Lankan army.
The need for this scene could be arguable and conjectural. Likewise
the scene of sexual intercourse between Parvati and Yoga in the
battlefield could be questioned. Was it because of this scene that
Parvathi became pregnant towards the end of the film?
A notable feature and style is the shooting of the film in outdoor
war havocked locations in the North, namely at Pudukudierruppu,
Mullaitivu, Niyaru and Pudumatalan etc. Some areas have been dangerously
at risk as there have been bombs hidden under the ground.
Matha is resource intensive. The perspective is wide but the focus is
distinct and clear. It is the most suspenseful war film on the Sinhala
screen.
It also illustrates the frightening consequences of racial prejudice.
The creators could have faced the difficulty of making it
impressively symmetrical in content and form.
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