Camera by stealth

Channa Bandara Wijekoon

He initiated his career in 1957 as an apprentice in B A W Jayamanne's crew. And this was when South India was influencing the local cinema. His task was to get along with Indian technicians to work on technical specifications.

Vamadevan. Picture by Wasitha Patabendige

Yes, learning the finer points in the cine camera was a far cry back then, especially when the Indians worked strictly on a 'need-to-know' basis. He had to explore the depths of film shooting by himself. This process of 'learning the hard way' eventually made him an extraordinary cinematographer.

And that is how V Vamadevan, very much active despite being 76 in age, gets in touch with the 'Encounter of the Week'.

Q: You entered the celluloid world way back in 1957 when local cinema was relying on South Indian expertise.

A. I started my career in 1957 at the beginning of Ceylon Studios. The pioneer B A W Jayamanne was my mentor.

I was the assistant cameraman of 'Oba Dutu Daa', 'Wanaliya', 'Hadisi Vivahaya' and 'Kawata Andarae'. M D Sumanasekera was the only local cameraman in Ceylon studios who had learned in R K Studio, Bombay. He shared his knowledge with me like a father.

During that time Cinemas Limited used to make films in the famous Modern Studios in South India owned by T R Sundaram. Married to a Swiss lady, Sundaram was well respected by both local and Indian film makers. Sundaram was an authoritarian and a very punctual man. When he entered the sets (studio) saying "Start...", the shooting had to start.

I joined Cinemas Limited in 1960 hoping to travel to South India and sharpening my skills.

Cinemas Limited acquired cameras after doing 'Sandeshaya'. Its owner K Gunaratnam on commissioning Vijeya studios got down M Mastan from South India as his technical director. Asokamala was filmed by Mastan.

Q: How was your progress from there onwards?

A: When the Bandaranaike government came into power in 1970, they prohibited going to India to make films and provided facilities to do it locally.

Thus we started emerging as promising cameraman. Vijeya Studios did 'Adata Wediya Heta Hondai' with the cast of Ananda Jayaratne, Gamini Fonseka, Jeewarani and Sandya Kumari and I was the cameraman.

It was smooth sailing for me since then.

Q: Unforgettable memories with the cine camera?

A: One such incident was K Guneratnam calling me to finish the incomplete work in the camera department, when the hired cameraman buckled shooting of 'Aathma Pooja'.

I took the challenge and did it. Gamini Fonseka's double acting scenes in the film (you may recall the sword fighting scene which involved two Gamini Fonsekas) was done by me with the guidance of Mastan.

Sri Lankan born Tamilnadu star MGR was spellbound to see how we have filmed the fight scene in 'Soorayangeth Sooraya' between Gamini and Alexander Fernando. We were experimenting to surpass South Indian films at the time.

Remember, we did all that at a time when the word 'special effects' was not even heard of. Lenin Moraeus was introduced to Sinhala cinema by me.

Q: How do you define and distinguish your way of filming with the others?

A: I have highlighted the 'mood' aspect in my works. I was mindful of low-key and high-key lighting in photography. Alfred Hitchcock films were made using low-key lighting. Jerry Lewis films (comedy) were mostly high-key.

Certain cameramen light-up a 'night scene' to give a 'Deepavali' mood which is not appropriate. I tried to use lighting and camera according to the scene and mood elaborated in the script and the director's wishes. It helps the actor also to grasp the right mood to perform.

Some filmmakers harp on 'zooming aspect'. Zoom is not there to use often. The audience should not feel when the zoom happens. It has to be in perfect harmony with the storyline and the scene.

The cameraman, the music director or any other person in the project for that matter must comply with the film director's thinking. Though it is team work, the film is the director's brainchild.

Years of experience were also a vital factor in my career.

Q: You had a close association with Gamini Fonseka.

A: Yes. I met Gamini first when 'Sri 296' was made in Ceylon Studios. Gamini used to visit the sets to see his girl friend Sumithra's (who later became his beloved wife) acting. Since then I had worked with him in most of his films. He used to call me 'Vama' and positioned me as a perfectionist.

There was a time when actors used to 'sir' the producers. Gamini made producers come behind him.

Food, accommodation and other facilities provided to the production units were upgraded due to Gamini's interference.

He got into the habit of smoking for the sake of others. He used to call for a packet of cigarettes while in the sets, offer it to the production guys and smoke one with them.

Gamini was like a child at times. Once when I went to meet him at his estate in Kadugannawa with Keheliya Rambukwella, he pretended like he doesn't know me.

That was because I had not kept company to him for some time due to a hectic work schedule.

I live in this residence in Colpetty now with my Muslim wife, because of Gamini.

Q: You have contributed towards international projects too.

A: 'Tennessee Buck', 'Blood Sport 3', 'Hostages' and 'Mother Theresa' were those films. I did prove my mettle in those projects which added a feather in my cap.

Q: Rampage was a foreign collaborated local production in which you handled the camera. We can still recall scenes in the film.

A: The film talked about a rampaging tusker. Manik Sandrasagra was the director. In most of the scenes Gamini had to perform with foreign actors.

The film was well received by the local audiences as well as internationally. The foreigners involved in the project seemed to be not fancying my style. They were even suspicious of the credibility of my shooting. Thus they insisted taking 'safety shots' with different exposures which I refused to do.

Finally when the film was taken to Gemini lab in India for printing; experts there had highly commended my work. Back in Sri Lanka the foreigners came to me and apologized.

Gamini told their chief, "Look here man, you have here is a professional cameraman and a perfectionist who jolly well knows his onions. You should not have talked crap with him at the first place."

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