There aren't many directors who
can compare with Sumitra Peries. She has not directed a great many films. She doesn’t
have a huge resume to her name. But in her work, and especially in the best of
her work, there is something which has eluded most directors here. It is this
and not merely what critics usually attribute to her which has helped her
overcome the limitations of a patriarchal society, especially in an industry
where men are said to make the moves and women hardly move in at all. That certainly is achievement.
Peries has made barely 10 films. Hardly a
notable filmography. Every director has his or her defining mark and for
Sumitra Peries this has been the conflict between the landed gentry and the
lower class. It is this more than anything else which defines the drama in most
of her films. All too often, she has a tendency to infuse melodrama into this
central conflict: in Gehenu Lamai and, more significantly, Yahalu
Yeheli. The only notable exception to this is to be seen in Sagara
Jalaya, where the conflict is more inward, more insular: situated in a
village milieu, the clash there is between members of the village peasantry.
I will come to Sagara Jalaya later.
For now, it is important to note that in addition to the central conflict
(based on class differentials) which makes up most of the drama of her films,
Peries infuses or rather supplements this with a conflict of another sort:
one rooted in gender differentials. Arguably, this is what differentiates her
films from those of any other director in Sri Lanka (and, with a few exceptions, in
South Asia).
It is the combination of these two factors
which accounts for the level of quality (or the unevenness of it) in her work.
In Gehenu Lamayi, for instance, the central drama of the conflict –
between the landed gentry represented by Ajith Jinadasa and the peasantry
represented by Vasanthi Chathurani – is rarely if at all subsumed by the
tension generated by the romance between the two. In Ganga Addara, on
the other hand, the central conflict, which is represented by the class-gap
between Chathurani and Sanath Gunathilake, is effectively made an instrument of
melodrama. The evenness of
the former and the unevenness of the latter film can be judged on this basis.
Ganga Addara
was a commercial success. So was Gehenu Lamayi. So were all her other
films. What accounts for this? The Sinhala cinema after all has never
maintained a positive relationship between critical and commercial appeal. In
Peries’ case one may argue that her choice of subject-matter has kept this
relationship. Some of her films have been based on popular Sinhala literature,
after all: both Gehenu Lamayi and Yahalu Yeheli were adaptations
of novels written by Karunasena Jayalath.
There is another reason, however. This is
probably Peries’ ability to infuse or rather amalgamate popular elements of the
Sinhala cinema with serious plot-lines. This in turn is based on how well the
two conflicts she bases her stories on – class differentials and the tension of
romance – are balanced throughout the film. Ganga Addara, which was her
most popular film, tilts this balance in favour of a tragic love story. Sagara
Jalaya, which wasn’t a hit at the box-office, does away with any romance or
melodrama whatsoever to present what I would say her most austere, pure story.
The film deserves more than a footnote.
Until Sagara Jalaya, Peries limited the conflicts of her plot-lines to
the families engaged in it. In other words, the conflict always presents
problems for one individual, and it is in the deeply rooted poignancy of his or
her suffering that we are moved to empathy. In Sagara Jalaya, on the
other hand, the drama of the story is not limited to “Heen Kelle” (Swarna
Mallawarachchi), but rather to her child, whose father, the envy of the village
(played by H. A. Perera), dies early on in the story.
The central conflict in the story, unlike
her other work, is rooted in how the child sees it. More significantly, the
tension generated in the plot – between the stubborn resolve of Heen Kelle and
the animosity of her family (with the exception her brother-in-law, played by
Ravindra Randeniya in a way that makes us doubt his motives) – is intensified
by how it spills over to the boy. His friendship with Randeniya’s daughter
sours when Heen Kelle lashes at her: when he bemoans his loneliness, his mother
affirms her resolve, almost irrationally. We feel sympathy for her, but not to
the extent where we empathise with her every step of the way.
Peries’ greatest strength always was her
way of depicting women in conflict. In Heen Kelle she creates the archetypal
woman towards which every heroine in Sinhala cinema soars. This is not an
exaggeration. This is an arguable fact. This is also owing in no small part to
how Swarna Mallawarachchi plays her: resolved, but still irrationally averse to
outside help. She spots out and calls a spade a spade, and whether imagined or
not she accuses everyone of harbouring animosities against her.
This merely worsens her situation,
predictably, and at the end, the boy, grown up and matured in a way that makes
it easier for him to empathise with her, writes a letter to his uncle in town,
asking for a job. That is all he can do, and it is when we realise this that
the story’s harsh, gritty poignancy strikes at us. The absence of a proper
musical score adds to this: like in Dadayama, here too, spare music adds
to the harshness of the drama in the story. It is pertinent here to note that
Swarna Mallawarachchi played the “heroine” and Premasiri Khemadasa composed the
music in both films.
Directors change. Sumitra Peries has and
hasn’t. Her later films display a willingness to explore other themes, but not
at the cost of foregoing her main preoccupation: the plight of women in a
patriarchal society. In Maya and Yahaluwo, separated by decades and
themes, she explores a society that can almost be seen to be at odds with the
themes she usually delves into.
In the latter film she thematises the impact of
the civil war on interracial marriage and how children are affected by notions
of race and racism. One can argue that her story is simplistic but then again
it was meant to be, given the scope and canvas of the film. In the former film, she weaves her usual concern for
maternity and feminity in a supernatural plot. The result is an unevenly paced
film which teeters between melodrama and implausibility, fast-paced in one
sequence and slowed down in the very next.
Sakman Maluwa is a different kettle of fish. In that film, praised by critics and
audiences alike, Peries explores the theme of forbidden love. I remember
mentioning to an eminent critic that the story in that film was allegorical, in
that it contained certain elements – a woman, a man, a snake, and a garden –
which lend to the story an almost mystical, unsettling atmosphere. This critic
argued that such allegories were too explicitly revealed and exposed to remain
as allegories, and in fact the entire purpose of the story was lost by the way
these elements were revealed.
Correct, but this does not de-validate the
film itself. True, the way the themes are laid out makes it impossible to
identity it as an allegory, but on the level of serious cinema it works. It
works not just because of the casting choices (with Kanchana Mendis giving one
of her best performances onscreen), but also in how the theme of the story –
that of tabooed love – is played out.
And in her upcoming film Vaishnavee,
Peries promises us the next level to which she has taken her career: that of
magic realism (as she puts it). It represents a turning point of sorts because
while Maya delved into the supernatural it did so with a hint of mysticism. In Vaishnavee
there is no mysticism. Only the fantastic and the magical. I shouldn’t reveal
spoilers and probably shouldn’t reveal the plot at all, but the story involves
a sculptor who, via a Pygmalionesque plot-device, wishes the sculpture of a
woman he has made to come alive (which predictably is what happens).
Sumitra Peries’ greatest strength has been
in the way she balances the two conflicts which feature in her stories - based
on class and the tension of romance (in turn based on gender differentials).
Perhaps it is on this count that the success of Vaishnavee can and will
be judged. For now, however, we reserve judgment. And for now, this will do.
Written for: The Nation INSIGHT, June 20 2015
Written for: The Nation INSIGHT, June 20 2015
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