That ‘Ralex touch’ from behind the scenes

By Dee Cee

The recent death of Ralex Ranasinghe has removed a colourful personality from the world of arts. Outstanding photographer, layout artist par excellence, art director and journalist, he was a man full of ideas and creativity.

The last time I met Ralex was a few months ago when he was putting the final touches to his brother Tony's book on Dilip Kumar. He was guiding the layout artiste at Sarasavi Publishers and as usual, was particular about how each page looked – where the sentences broke and how the photographs were placed. It took a little time for him to recognise me, but the moment he did, it was a big shout 'D C' and profound apologies for not making me out.

We had a chat about "the old days" including Ape Kattiya and how we worked together at Selacine where he acquired the experience to become a master in the art of television.

A man with a big heart, Ralex revelled in doing something different. The posters he created to advertise the Ape Kattiya plays were different from the conventional ones. Along with IPB's Edwin Hewakapuge and his brother Somapala, he revolutionised the art of posters. That was the time of restricted foreign exchange and it was difficult to get any material. Innovation was the only solution and Ralex did just that. His creations soon became the talk of the town. The Hewakapuge brothers - lovers of art themselves - gave him all the support. They produced four-colour posters under Ralex's guidance. In no time every dramatist rushed to IPB to get their posters printed.

Ralex shunned publicity. He preferred to work behind the scenes. Unlike today, that was the era when a by-line in a newspaper was virtually taboo unless it was a big news story or an outstanding photograph. Ralex served all the newspaper groups as a photographer. There was the "Ralex touch" in them although his name was not used. He is best remembered for his creations in the newspapers of the Dawasa group.
Ralex's first break in journalism was as a sub-editor in 'Gnanartha Pradeepaya', the Catholic weekly. Father Ernest Porutota claims the newspaper had "three births". First was its birth in 1866, the second a new look by Father Marcelline Jayakody and third a complete overhaul by Ralex. He changed its page layouts, introduced eye-catching illustrations and contributions by non-Catholic writers.

It was only about five decades later that Ralex allowed the use of his name for a column. That was in the last month or two of the recently started Sunday paper 'Mawbima'. The column titled 'Relage Kolama', retold old stories bringing back sweet memories to some of us.

Ralex will also be remembered for his efforts to add a new dimension to TV commercials. He wanted to make them works of creativity.

When Ralex turned up at the BMICH recently for the felicitation of Father Porutota, he had a total "white look" about him. His head of hair was white.

He sported a well-grown white beard and was dressed in white too.

He walked slowly to his seat in the front row, sat and waited until Father Porutota came up to him and handed over a memento to remember their long association and to recognise Ralex's contribution towards the OCIC's 'Uttamachara' - the film awards he was involved in from its inception in the early 1970s.

He did not appear to be in the best of health but we never expected him to depart so soon. However, after 72 years, he could leave being happy that he had done a lot for the arts. Ralex, we will continue to remember you for your great effort.