Set on breaking barriers

Utpal Borpujari

Prasanna Vithanage’s looks are very, very deceptive. You will have to strain your ears to catch what he is saying, so soft is his voice. In a crowd, he prefers to become anonymous, standing in a corner and observing the proceedings.

You will never be faulted for looking through him, as he prefers to keep away from the limelight unless be made to step into it. Vithanage prefers to do the talking through his cinema. And that is how he speaks his best — in a layered, sensitive, powerful manner, but certainly not overbearing.

Vithanage occupies a special position in the history of Sri Lankan cinema. His themes are pithy comments on the society, and more often than not create a debate. Indeed, he had to seek the help of the country’s Supreme Court to get a ban lifted on his 1997 film Purahanda Kaluwara (Death on a Full Moon Day), imposed by the government who feared that its theme tackling the brutal realities of the Sri Lankan government’s war against the Tamil separatists could create a strong debate in society.

The film — which tells the story of Vannihamy (played brilliantly by Joe Abeywickrama) who refuses to sign compensation papers after the Army presents him with the remains of his son as he believes that his son is still alive — is definitely Vithanage’s most powerful film till date.

Vithanage’s films, in their use of brilliant actors, neo-realistic presentation and societal pathos, show that he belongs to the Satyajit Ray school of filmmaking, and he has more than once acknowledged the influence the master had on him. His vision has been applauded at numerous film festivals, and the story hasn’t been different with his latest film Akasa Kusum (Flowers of the Sky) too. Set against the backdrop of the film industry itself, the film has Vithanage leave the political subtext, instead concentrating on intense human relationships, with the focus on womanhood.

The film has an Indian connection too. Vithanage, going beyond his earlier association with India in the form of post-production work, has partenered with National Award winning editor A Sreekar Prasad to produce the film. Which is why he is eager that the film gets released in India.

“It has always been one-way traffic, with Indian films regularly getting released in Sri Lanka, but with films like Akasa Kusum we are trying to break that barrier. It is said this is the age of globalization, but it is actually the globalization of money and capital, not of cultures. Thus, American films dominate 95 per cent of the world, and likewise India dominates the neighbourhood market. Though I don’t accept it, that’s the reality,” says the veteran director who started off on the stage, an association which he still continues.

““I would love to release this film in India as it has a lot of Indian influences. Even in the narrative, you have Sandhya Rani working in a soap opera. The Sri Lankan film industry has been fed by the images and sounds of Indian films. Soap operas of India have influenced our industry. I would love for it to release at least in Chennai,” he adds.

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