courtesy: www.wikipedia.org |
There are actors and filmmakers, scriptwriters
and editors. There are also assistant directors, sound editors, art directors,
and of course tea-boys. Filmmaking is a collaborative art. In Sri Lanka, this
is as true a statement as it’s ever going to get. But sometimes, there can be
exceptions. Collaboration presupposes a relationship, a common link between two
minds. When the link becomes stronger, individuality creeps in, and both
collaborators develop a style of their own. Few filmmakers have become auteurs
in Sri Lanka, and fewer cameramen. Andrew Jayamanne was of that select few.
There are those in Sri Lanka who came close to
being called “men of cinema.” Invariably, they were either directors or film
critics. But then there were those who got involved in nearly every aspect to a
film. Moviemaking is a process as cerebral as it is physical. Anyone who
believes it to be an intellectual pursuit reserved for the privileged few has
no idea of it. But Andrew Jayamanne knew it. He lived and breathed cinema. He
was among those who could be rightly called “men of cinema.” And there is a
reason for that. Yes, he was a cameraman. A great one at that. Nonetheless, he
was also an editor, scriptwriter, production manager, and director. He was closest
to a renaissance man our cinema ever got.
Jayamanne never aspired for the film industry.
He was born to a Catholic family in Negombo. Educated at a school in Dalupotha,
he left for Colombo to become a priest. At school, he had developed a liking
towards photography. After being forced to leave the seminary at Colombo he was
studying at, he joined Vijaya Film Studios to develop it further. Back then,
experience alone could vindicate those who joined the film industry. So
Jayamanne waged on, beginning his career as an assistant director. Under
filmmakers and cinematographers, he sweated, learnt, and absorbed. Time would
bear fruit.
Cameramen have their “tailor-made” filmmakers.
Jayamanne would eventually meet his. Titus Thotawatte had decided to make a
film about a famous real-life robbery at the Colombo Race Course. He was
looking for someone to shoot it. That someone was to be Jayamanne. Haralakshaya
(1971) was his baptism of fire, the first real ordeal to get through as
director of cinematography. The film was a hit, both commercially and
critically. Thotawatte had sealed the fate of his cameraman. The road would
never be the same for him.
Andrew Jayamanne was among the country’s most
individualistic cameraman. There are those in his trade who develop a close
working relationship with directors. This relationship comes at the cost of the
one sacrificing his individuality for the other. All too often, it’s the cameraman
who commits this sacrifice. Not so Jayamanne. From Wasantha Obeysekera,
Dharmasiri Bandaranayake, Parakrama Niriella, H. D. Premaratne, to Jackson
Anthony, he collaborated, and lost no identity. That was his hallmark.
He had no pretentious notions of camerawork. It
is true that he went for a realistic, naturalistic style which accorded with
what all his directors wanted of him. But that was it. In both Obeysekera’s Palagetiyo
(1979) and Bandaranayake’s Hansa Vilak (1980), he developed a camera-style
that delved and dug into the layers that made up their plots. There was a sort
of harsh, ruthless naturalism which permeated these films. This still was an
era of clarity, of keeping the beginning at the beginning and the end at the end,
and of leaving no stone unturned in the plot. Jayamanne refused to subscribe to
it. That was the closest thing to a motif which bound up his career.
But this wasn’t all. When the O.C.I.C. was first
established, he was there. New and aspiring filmmakers found an ideal guru in
him. When television came here, the guru proved his worth again, organizing
classes and trying to ensure that the fruits of this new medium could be
reaped. Perhaps he would have looked sorrowfully at what this new medium became
later, and how it destroyed, in part at least, the medium he had originally
worked in. But back then, combining a flair for teaching with his never-to-be-buckled
zest for the cinema, he waged on, lecturing at Sri Jayawardenapura University.
There is one thread that binds those years with
today. That thread is Kopi Kade. He was its first director. More than
1000 episodes have been aired since, with six other directors overseeing it.
Regardless of its quality today, there could be no denying its original charm.
Thevis Guruge, who created it, might have seen in Jayamanne the ideal man for
the job. That the man lived up-to the job, none can deny. Whether his legacy
was continued and kept alive, however, is open to debate.
The ecology of film changes. That’s inevitable.
The classical age of cinema had gone away for good. A new generation had sprung
up. More daring in their approach to films, and less scrupulous of what they
absorbed and imitated in making them, they were in a world as far removed from Jayamanne’s
as they could ever get. But this didn’t worry him. He knew the ecology of
films, inside-out. He knew it was prone to change. And he went along with it.
It is a tragedy to think that the world, or even Sri Lanka for that matter, can
never repay a debt it owes to someone. But that’s the case with Andrew
Jayamanne. We can never thank him enough.
Satyajit Ray once wrote that “ideally, the director
should be his own cameraman.” Perhaps this most individualistic of filmmakers
was thinking of himself. But in that sentence lies an essential, harsh truth:
the director gives both substance and form to a film. He is indistinguishable
from it. The less he relies on other intermediaries to transform his vision,
the better. In other words, between filmmaker and film, there should be no gap.
No barrier. The director is and should be king.
But we beg to differ. Identity and ego are
crucial to film, as they are to pretty much every other art. The cinema is,
admittedly, the most collaborative of all art forms. Men like Andrew Jayamanne
showed us the beauties of collaboration. For that, I know we all are grateful,
both as film-lovers and as human beings. That, in the final analysis, is the
biggest compliment we can pay him. I know we can never repay him enough. May
his tribe increase.
Written for: Ceylon Today LATITUDE, September 7 2014
Thank you Uditha. A wonderful fragment about a wonderful man, teacher and a father. Your sentiment alone is proof that his tribe has increased.
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