Film review:

Vijaya-Kuveni: conflicts and controversies

Dr Senarath Tennakoon

There are several literary resources woven around the Vijaya-Kuveni story. These include the Mahavansa, Pujavaliya, Rajaratbakaraya and Rajawaliya which are historic accounts while Kuveni Asna, Sihaba Asna, Vijayaraja Katava, and Siyabasmaldama, are literary works.

A scene from Vijaya-Kuveni

It is said that Prince Sinhabahu went to Lata, the place of his birth with his sister Sinhaseevali and built the city called Sinhapura, Sinhaseevali delivered thirty two twins by him (Sinhabahu her brother) on sixteen occasions. The eldest son was named Vijaya who was made the sub king. But Vijaya's bad conduct enraged the people and the king had to admonish him thrice.

Half shaven

But it was in vain and finally Vijaya had to be banished with his seven hundred followers, with their heads half shaven and sent to sea in a ship. Vijaya and his retinue finally landed in Thambapanni or the Land of Lanka on the day that the Buddha attained Parinirvana (544 BC).

A member of Vijaya's retinue followed a she demon who came in the form of a bitch, met Kuveni who was at that time engaged in spinning cotton. He stepped into the pond that was there and became her prisoner. By deceitful means Kuveni put all the followers of Vijaya imprisoned in a tunnel.

No harm befell them as they were wearing the Pirith Threads tied by God Upulvan as instructed by God Sakra as The Buddha on his death bed had appealed to protect Vijaya and his followers.

Sakra entrusted this task to God Upulvan who came in the form of a wondering ascetic and tied the Pirith threads around the hands of Vijaya and his followers while sprinkling Pirith water. Finally Vijaya came there to find, his followers and suspecting that Kuveni had hidden his men tried to kill her.

She was powerless as Vijaya was wearing the Pirith Thread. She released his men. Not only that, she promised to help him to become the king of the country.

It is said that Kuveni, the she demon assumed a beautiful female form, enticed Vijaya and lived with him. With the help of Kuveni, Vijaya stormed a night festival of marriage of demons killed them and built the city Thamarapanni.

Established villages

He lived with her and they had two children a boy and a girl. The ministers of Vijaya established villages in various parts of the island. Upatissa built Upatissagama on the banks of the river Gambhira, Anuradha built Anuradhagama on the banks of river Kolon.

Three others built Udeni, Uruwela and Vijitha. These ministers persuaded Vijaya to marry a royal princess and become king. Accordingly, King Pandu's daughter from Madura together with maidens and people belonging to eighteen guilds of craftsmen arrived at Mahatota in the island of Sri Lanka.

A scene from Vijaya-Kuveni

Vijaya expelled Kuveni together with her two children. Subsequently Kuveni was killed by the demons as she had betrayed them. Vijaya reigned for thirty eight years in the city of Thambapanni. (Wijesooriya, 2006).

Sugath Samarakoon and Gyan Ranaweera could have faced challenges in respect of the setting, characterization, and dialogue (Language or dialect) in the planning, plot construction, style and viewpoint in the whole edifice of this cinematic creation.

The socio-economic and cultural environment and the inhabitants during the time remain hidden in the fog of history and are largely unclear.

The central characters like Vijaya and Kuveni are legendary. Further Kuveni has been identified as a sorceresses/Goddess/the last Queen of the Yaksha clan.

Magical creations

She was believed to have magical powers and she had three breasts and a crystal tongue. Kuveni appears to come to the forefront in the history only after her dramatic encounter with Vijaya (Vissya) a prince from Lata.

The physical and emotional features of Kuveni and Vijaya are largely unknown.

The bitch/dog that brings Vijaya to Kuveni is believed to be her mate ShisPathica. Some believe the dog to be one of her magical creations. It is said that her third breast disappears whenever she meets her husband and reappears when she is revengeful. She too can change into a Tiger from Kuveni comes out victoriously after destroying her own clan on a horse back with a shining Crystal Sword. This is how she destroyed her clan for the sake of her beloved. Is she not a traitor?

The revenge comes in the form of a Tiger (The Spirit of Kuveni) the action of the Sword then becomes the Crystal Tongue (Vasantha Kumara, 1983). Many of these features are omitted in the film.

The film shows that in the beginning, the love between Vijaya and Kuveni was deep and understanding and their married life was moving smoothly with two children. But the film shows the conspiracy devised by Upatissa against Kuveni. Kuveni was shown to be consuming human flesh and she has enticed Vijaya by her magical powers.

Upatissa and other ministers were worried about the kingship that would shift away from the Aryans to Kuveni's children who were Yakkas. Further they wanted to marry Aryan princesses and get settled in Sri Lanka.

The other conflict is between the Yakkas and the Nagas. The Yakkas were dead against Kuveni for betraying their clan because she became the consort of a foreigner (Vijaya).

These conflicts are brought out in the film. Sugath Samarakoon has given a human face to Kuveni devoid of mystical powers. Vijaya too until towards the end of the film acts in a balanced mental disposition. Even after chasing away Kuveni he repents and could not enjoy a happy married life with the Madura princess.

Personal lament

Finally he passes away without a child from his second wife. Sugath Samarakoon has attempted to highlight that Kuveni has been subject to unpardonable injustice by Vijaya whereas she should have been fortified with empowerment.

The film appears to be a personal lament for the innocent Kuveni, as exemplified by the variety of styles in presenting her character and life ways. Kuveni is the central character who sacrificed her clan for love.

She was faithful to Vijaya. She was the key to his happiness. There was no conflict between them until Vijaya was misled by his ministers.

The unfolding of events pertaining to her pathetic destiny appears to be inevitable in a male dominated social milieu. The scene of Vijaya closing the palace door after chasing Kuveni and her children is the most memorable scene in this film.

Dulani Anurada though new to the silver screen she presents a remarkable performance as Kuveni. In particular the audience would feel sorry at the final stage prior to her death by her own clan. Roger Seneviratna as Vijaya has a difficult role to play as he has to take the side of his beloved queen as well as that of his team of ministers while listening to the voice of the two clans (Nagas and Yakkas).

In the beginning he employs Buddhist attitudes and precepts in meeting problems and justice. Cletus Mendis as Upatissa acts as a villain and he does justice to his role supported by Buddadasa Vitanarrachchi and Rinsly Weeraratna.

In fact a large cast of over thirty or so is included in the film. Apart from the performances the camera by Ayasmantha Hettiarachchi, the music by Nadika Guruge together with vocal performances by Nanda Malini, Amarasiri Peiris, Dimitra Ratnayaka and Sugath Samarakoon add artistic flavour to the film. There were some scenes with expressionistic and non-naturalistic lightening and music.

Wasantha Vittachchi's stage effects and costumes could have been more thoughtfully designed as these areas are very grey and challenging areas. Similarly editing by Ajit Ramanayake could have been a challenging job as we are unaware of the dialects of the Nagas, Yakkas and the foreigners (Vijaya and his followers).

It is conjectural whether the characters like Vijaya, Kuveni and Upatissa could become clearly defined symbols of power, sympathy and strategic planning respectively. Financial commitment for this massive, technically superfine production could have been monumental and Sugath Samarakoon has faced a great challenge and a risk in producing a film with conflicts and controversies.

The audience would leave the cinema hall after enjoying this film with an impression of overwhelming powerful, emotional and imaginative cinematic technology.