Sumitra treads unknown territory in new film
Sumitra: Navigated it all, from celluloid to digital medium on the silver screen. Pic by Amila Gamage
Osanda (played by Dumindu Dodanthenna), orphaned at childhood is brought up by his grandmother (Iranganie Serasinghe) and extended family. They are traditional puppet-makers from the South. A female puppet possessed by the tree spirit from the tree it is carved (played by Yashodha Wimaladharma), comes alive, bringing him physical and metaphysical experiences.
Set in the south, the heartland of traditional puppetry, Vaishnawee or Divine Messenger is the latest cinematic creation by celebrated movie-maker Sumitra Peries and will be premiered at the Kolkata Film Festival on November 16.
Watching Brigitte Bardot on the streets of St. Tropez where ‘God created woman’ was being shot in the mid-50s was an unforgettable moment for 21-year-old Sumitra Gunawardene, before her marriage to the doyen of Sinhala cinema, Dr. Lester James Peries. For Sumitra, her French connection runs deep, so much so, her greatest inspiration as a film-maker is derived from the French, she says. Sumitra, the first Sri Lankan film-maker to qualify at Conservatoire Libre de Cinema Francais was conferred the Ordre des Arts et des Lettres by the French Government a few years back in recognition of her contribution to the arts. “In terms of love, the French discuss it as part of genetic orientation and social factors which propel individuals to behave the way they do,” says the pioneering woman film-maker in Asia who highlights the multi-dimensional aspects of love, impermanence of life, folklore and myth in Vaishnawee.Yet, none of these elements is ad hoc, Sumitra is quick to add. “There is a poetic attribute to it and a kind of magical realism which weaves through the plot based in 1930s and 40s southern Sri Lanka.”
Vaishnawee or Divine Messenger: Star studded cast including Irangani Serasinghe (above) and Yashodha Wimaladharma (below)
The script based on a ‘synopsis’ done by Lester long years ago was developed by the late artiste Tony Ranasinghe and is fuelled by extensive research done by Sumitra. The effort is ‘chartering unknown territory,’ she says. “Little did I know of the complexities of puppet-making as I embarked on this project and to give life to a puppet of stage or simply of tourist attraction, was no easy task. Lester and I together with Tony, toyed with several versions of the script.” The research into ancient puppet-making of the island had even revealed that life-size puppets had not been uncommon says the film-maker. The Dehiwala Puppet Museum and puppet makers of the South have rendered their able assistance to the movie.
Interestingly a puppet replica of the actress Yashodha Wimaladharma was made by such an artisan. When this puppet is being carved by Osanda in the movie, it is possessed by the spirit of the tree which gives it life and it comes into his life as a woman, portrayed by Yashodha. Produced by Mano Nanayakkara, the musical score for the film was by the late Nimal Mendis. Donald Karunaratne is the talent behind the camera.The cast as Sumitra asserts, is ‘huge’ including Iranganie Serasinghe, Jayalath Manoratne, Vasanthi Chaturani and Mahendra Perera.
For the celebrated film-maker of Ganga Addara, Gehenu lamai, Yahalu-yeheli and Loku Duwa fame, her latest is ‘foraying into a territory unknown’ in her own words. Sumitra has navigated it all, from celluloid to digital medium- the latter which she calls “little more electronic in visual imagery than the former”. While the digital technology which she exploited for the first time with Vaishnawee, has enabled change and flexibility, at the same time it makes one ‘a little bit complacent’, she says.
A cinematic voice for the trials and tribulations faced by women and famed for her attention to detail, Sumitra bemoans the lack of precision in many contemporary Lankan films. She is also critical of ‘spoon-feeding’ the audience without leaving space for individual interpretation. “Every piece of lace on a frock, an earring or a chair matters in visual imagery, as image is formed not in isolation but as an entity, which would later speak of an era,” adds the veteran.