Sudath
reflects the hour after war
By Susitha R. Fernando
"What is terrifying is not war, but the hour that dawns when
it ends" this is the theme of ‘Sudu Kalu Saha Alu’
(Shades of Ash) the maiden film of experienced teledrama director
Sudath Mahaadivulwewa.
The film which had its world premiere at Goteborg Film Festival
2004-Sweden is to be released soon.
‘Sudu
Kalu Saha Alu’ is a feature film which attempts to unearth
the tragedy of Sri Lankan society, of which colour and beauty has
been stripped off after two decades of war and brutal violence.
It discusses about Sri Lankans who have been deprived of their basic
human rights, freedom to life, feelings of belonging to the world
and their socio-cultural identities.
The
storyline of the film which was developed after extensive research
on the border villages revolves around a community of survivors
who return to their border village, which they abandoned many months
ago following a ruthless massacre of their kith and kin and the
destruction of the total infrastructure of their village by a ruthless
terrorist attack. Sudu Kalu Saha Alu narrates how they adapt to
rebuilding their lives and homes while compromising with the newly
emerged socio-economic culture that had been nurtured within the
'business' of war and peace.
The
director Sudath Mahaadivulwewa shared some of his ideas, experiences
and difficulties with TV Times, that he came across in completing
the film.
What were your experiences and what kind of support did you get
from your crew while directing the film?
There
are always difficulties for directors due the lack of professionalism
in our cinema. In a third world country like ours where there is
no place to study cinema and art it is always hard for a director
to reach his targets. Appreciation of art is not in our education
curriculum and therefore creating and maintaining a serious cinema
is not an easy task.
Just
as any other director, I too had to face this difficulty in directing
Sudu Kalu Saha Alu. What happens due to this pathetic situation
is that the director wastes a lot of time and energy attending into
other areas other than direction. This is wastage of the time that
could to be used creatively.
But there were some technicians whom I hired from the commercial
field and who were really professional. For example, I was really
satisfied with Ruwan Costa my cameraman who had studied classical
music and had an understanding about the cinema. We had a mutual
understanding about our work and this type of relationship is essential
for a good work of art, specially a film.
Having
being a successful teledrama director, what made you to change your
track into the cinema?
I
started my career in television which is regarded as light entertainment.
But I and the others in my generation could bring serious issues
into this medium of art and we did create some dramas which discuss
Sri Lanka's political and social issues. But there was a limit for
this and the TV channels which generally targetted the money factor
did not want to use the TV medium to promote this type of art. Even
though millions of viewers are watching TV daily, it has not become
a medium for serious art.
Do
you think that you have in the cinema a better platform for your
artistic vision?
There
are always problems for those who strive to do something better.
There are many restrictions and limitations that directors have
to face today. Once Akira Kurasowa speaking about film making said
that when a script is completed, 80% of the film is completed. But
in today's context this is no longer true. Though we complete our
films with some difficulties, the greatest problem starts when we
try to release them. There are only two major circuits with a limited
number of theatres. But these too, are privately-owned circuits
and they have their own agendas. Thus screening in these circuits
too, there are certain regulations that we have to adhere to and
thus, we are being to some extent controlled by them.
Whom
do you think should be responsible for film distribution?
The main body which is responsible for films made in Sri Lanka is
the National Film Corporation, but it has no proper system to release
films. On the other hand, Film Corporation gets a levy of 5% while
40% is taken by the theatre owners from our films. But what has
the Corporation done with regard to releasing our films?
To
get out of this situation, there are two alternatives. One is to
do some trashy films to suit the popular demand or target the international
cinema. But I believe that the films made in Sri Lanka should be
seen principally by Sri Lankans.
And
I think it's a great achievement by our filmmakers who make films
which discuss certain social issues without giving into commercial
pressure.
What made you create a film such as ‘Kalu Sudu Saha Alu’?
We
have been living with a destructive war for the last 23 years. We
have been suffering from it and at the same time with or without
our knowledge we have nourished it, too.
At
the same time situations of war have given rise to opportunities
for everyone to play an additional role if they desire so. The war
has continued undeterred for well over two decades due to the effectiveness
and the ability of such people who have played such alternate roles.
In the name of peace, the destiny of war is being decided by such
people.
But
what I have discussed is not the war but the hour that dawns when
it ends which is more terrifying. If I could open a social discourse
though 'Sudu Kalu Saha Alu' and if it is going to contribute for
a permanent peace tomorrow I think my effort is successful.
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