Dharmasiri Bandaranayake’s service for the Sinhala cinema-by ISURU THAMBAWITA
Source:Sundayobserver
No wonder that Dharmasiri Bandaranayake is a national treasure. To understand renowned film director Dharmasiri Bandaranayake’s cinema, one should read his childhood.
Born on October 6, 1949 Dharmasiri Bandaranayake had his education at schools in Kelaniya. They had to move to Wadduwa after his father’s businesses collapsed. Dharmasiri’s two brothers attended Wadduwa Central College and Wadduwa Boys’ School. Later, he had his education at Horana Vidyarathana College.
At that time, Dharmasiri felt that there had been a politically active theatre culture throughout the country. Significantly, he felt the political atmosphere through his drama teacher Hemasiri Liyanage. It was a gloomy era which he had to experience.
During 1971 most universities in the country had been occupied for rehabilitation centres. Inspired by this political heat, Dharmasiri embarked on his cinema journey. Moreover, he started his dramatic career in the 1970’s with the production of Ekadhipathi. Speaking of Makarakshaya, we cannot forget Henry Jayasena’s Makara because Dharmasiri transformed Henry Jayasena’s Makara into Makarakshaya, articulating his own political view.
Being interested in Eastern European Cinema, young Dharmasiri bought a projector and fixed it at his home in order to watch movies. Some critics are of the view that Dharmasiri Bandaranayake was interested in camera work and the editing. Later, he was exposed to more veterans in cinema such as Dr. Lester James Peries.
According to the critics, Dharmasiri Bandaranayake was influenced by veterans such as Dr. Lester James Peries , Dr. Pathiraja and Wasantha Obeysekara. As a result of the internal and external political issues, youths had to relinquish their hopes for pursuing university education. That is why Bandaranayake wanted to find a job despite all the issues.
Hopefully, his efforts to find a job began to bear fruit in 1971. Having received a clerk’s post in the Department of Rubber Control, he was determined to balance both his job and dramatic career which started with the play” Ekadhipathi.”
However, Bandaranayake had to resign from the job because those at the helm of the department had refused to give him a holiday leave to participate in the Manheim International Film Festival in which his movie Hansa Vilak was screened.
It was Rev. Fr. Ernest Poruthota who had chosen Hansa Vilak for the festival. As the time passed, Bandaranayake got another job thanks to the late Minister Gamini Dissanayake and worked at the Low Land Development Board in his ministry for several years. When he started his second film “Thun Weni Yamaya” (The Third Phase of the Night) he had to leave the job.
Encounter with the cinema
Dharmasiri Bandaranayake’s growing interest in theatre had paved the way for him to meet the veteran artiste Dayananda Gunawardana who was making his debut Bak Maha Deege (An adaptation of a French Drama titled Marriage of Figaro.)
After having discerned Bandaranayake’s inner actor, he had chosen him for the role of Premadasa (an innocent and silly manservant). He was only 17 years old when played the role in Bak Maha Deege. Ten years later, Vasantha Obeysekara invited Bandaranayake to play the role of Sarath Gunawardana in his film Palagetiyo (1979). Sarath who worked as a manager for an affluent merchant fell in love with the merchant’s daughter (played by Dammi Fonseka) and eloped with her.
Apart from Palagetiyo, Bandaranayake has played roles such as Punchi Rala in Weera Puran Appu (1978), Victor in Sewaneli Eda Minissu (1980), Nissanka in Hansa Vilak (1980) Sugath in Baba Ketu Heti (1981), Sudath Sadhu in Sathara Pera Nimithi ( 1981) and Desmond in Bora Diya Pokuna (2015).
Cinematic creations
In the Sri Lankan cinema world Bandaranayake’s cinematic creations are regarded as the landmark films. Hansa Vilak stands out as a colossus in our Sinhala Cinema. Once he has said, “Hansa Vilak is a slice of my own life.”
Most probably you might not know this. If drawing a comparison between Hansa Vilak and Palagetiyo, that Dharmasiri had played the role of a condemned protagonist in both stories is crystal-clear. Nissanka (played by Dharmasiri in Hansa Vilak) starts an illicit love affair with Miranda (Swarna Mallawaarachchi) and faces a sea of problems after their secret love affair was revealed by the police.
Hansa Vilak unlike Palagetiyo which was tempered by the class rift, revolves around personal feelings, familial obligations and social constraint. The well known reason why both Hansa Vilak and Thun Weni Yamaya stand out from other cinematic creations is Premasiri Khemadasa’s music.
Significantly, Swarna Mallawaarachchi’s acting in Hansa Vilak proved her versatility. Speaking of the plots of both creations, it is clear that Dharmasiri does not either absolve any character or criticise any situation through his cinema.
Back in 1979 the film makers had to present the script of the film to the National Film Corporation Committee in order to obtain Government loans.
Unexpectedly, Dharmasiri received only a C grade which does not grant a loan. Even though Bandaranayake made another request, it was refused by the committee. Then, as if by chance, Bandaranayake met Albert Jayasinghe who was the chairman of the Bake House Bakery.
He asked for the budget and agreed to sponsor the film Hansa Vilak. Hopefully, the film was screened in 1980. Sometime later, Albert Jayasinghe’s wife had said.” My husband (Albert ) was an ardent lover of arts and music. He was a singer too. He knew many singers and artistes.” What comes next to our minds is the film Thun Weni Yamaya (The Third Phase of the Night) which was screened in 1983.
It is evident that Thun Weni Yamaya revolving around a story of a lost childhood innocence depicts the psychological subjectivity. Speaking of Dharmasiri’s Bawa Duka and Bawa Karma (screened in 1997) , Bawa Duka had been based on a novel penned by his father’s younger brother K.S Perera.
The significant fact is that one of the characters in this novel is Dharmasiri’s father. In addition, another cinematic creation is Suddilage Kathawa which was based on a novel written by Simon Nawagattegama. The main roles were played by Swarna Mallawaarachchi, Somi Rathnayake and Cyril Wickremege.
Current situation
Veteran journalist and writer Gunasiri Silva said, “Renowned film maker Dharmasiri Bandaranayake dedicated his life to uplift Sri Lankan cinema and nourish people’s mindsets. His service for the sustainability of Sinhala Cinema and stage plays is remarkable. Being a sensitive-hearted film maker, he has given his best for the country. But, regrettably, although Dharmasiri wants to make another movie, there are no sponsors.” To be honest, we are ashamed to say that authorities are still passing the buck without taking steps to uplift our cinema.
