Rambling impressions on seeing a film
 This week’s column is not a review but some flippant thoughts in
going for a movie. The movie concerned was more than an assemblage of
moving images as it upgrades itself as a docu-feature film in the hands
of a noted filmmaker Asoka Handagama. Mind you, it is not a Sinhala
language film, but a Tamil film with Sinhala subtitles. The name of the
film is ‘Ini Avan’ (Hereafter He), an irritable usage of beautiful Tamil
(at least to me).
However, the film had its grip on the physically undisturbed audience
that night (April 03, 2012-National Film Corporation Cinema Hall). The
audience was mainly Sinhala-speaking people who were invitees (thanks to
Anoma Rajakaruna, who cared to invite me too, even if no literature on
the credits of the film was supplied to me). There were a handful of
Tamil-speaking people as well.
-- Grave failing
I noticed that an important film enthusiast that documents everything
on Lankan Cinema (both Tamil and Sinhala) in his own language, Thamby
Aiyah Thevathaas, was not to be seen at the gala session.
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Scenes from
Ini Avan |
This was a grave failing on the part of the organizers. This shows
that the Sinhala and English media people do not care to know anything
about the Tamil artistes in Lanka. My grudge is that they are
indifferent. But as Lankans the Tamil writers and artistes should be
accommodated in English and Sinhala media. If they don’t, then it is
tantamount to discrimination, even if they hide behind the normal
apology that they don’t know Tamil.
It’s strange they know other languages, but not the language of their
brethren. It’s funny.
Why it was a gala session was because the respected and admired
Lester James Pieris was the Guest of Honour on the occasion. It was also
grand because the people that attended the screening were treated
gloriously with a sumptuous dinner.
The audience was dumb-struck watching the film primarily because they
were curious to see the latest film by the so-called controversial
Sinhala filmmaker Asoka Handagama.
Since the film is about a rehabilitated ex-Tiger terrorist (or a
militant, if you would prefer), the audience was also curious to see the
film. Maybe the audience was also eager to see how a non-Tamil speaking
director handles directing a local Tamil film.
It was Dhrmasena Pathirajah who first directed a Tamil-speaking film
in the 1970s. It was called ‘Ponmani’ based on a story by a Lankan Tamil
writer, Kavaloor Rasathurai.
Although there were other Sinhala film directors had the North as
location for their Sinhala language films, it is only now that after a
long period a purely Tamil language film had been made by a
Sinhala-speaking cinema person.
-- Tamil artistes
Handagama’s film has many appreciable points to relish. Controlled
and cinematic acting by local Tamil artistes was one point. I can’t
remember their names just watching their names on the scrolling on the
screen.
However, I liked very much the playing of the actor as the hero in
the film. He has also acted in many Sinhala films. One other actor is
Rajah Ganeshan, who did a splendid job in presenting a role of a ‘smooth
operator’.
The one female who played the role of a young mother of three
children and who desperately falls as a victim of circumstances.
All around the acting was realistic and each one of the characters
understood their respective roles and played in a restrained manner.
Thanks to the experienced director of the film.
Another favourable point in the film is its portrayal of social
realism reminiscent of some Indian regional films.
 The post-Tiger period in rural Yaalpaanam and the poverty and the
sordid life experienced by the lowliest of low is characteristically
captured in a judicial manner by the cinematographer.
I also enjoyed the subtlety in human relationship and the delicate
moments experienced by the characters in the film. Even the tape music
and maybe the dance to the singing seemed all right for me.
As far as possible the dialogue is kept to the minimal and visuals
take primary importance.
The language used is simple and direct and short dialogues. Most
important of all the actors enunciated the lines naturally and slowly
unlike the previous Lankan Tamil films where most people couldn’t
understand because they uttered in great speed as they do in normal
circumstances.
Finally, you might ask what about the story which is the main thing
in a film. Yes, the story is left to be interpreted by the audience
itself. Briefly, a rehabilitated Tiger returns home to lead an honest
life, but his future is in jeopardy because of the changing values and
the universal corruption that has engulfed in the North as well despite
the fall of the Tiger leader.
It is left to you to decipher the story as it is clear through the
visuals, and intelligent viewers could see that. Please note that the
director himself has written the story and the dialogue first in Sinhala
and the rendered in Tamil.
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