Saluting ‘The Formidable Genius’

The ‘In Focus’ column

By D.C. Ranatunga

“A few nights ago we sat through a short experimental film made by a Ceylonese lad in London 20 years ago. It was a maiden attempt by two film-crazy youngsters. The film, made during their off hours, was shot purely ‘“to please ourselves”’. Though the two men didn’t think much of the film, it was ultimately chosen as one of the 10 best films of the year made in Britain by amateurs. It also won the London Film Production Challenge Cup presented by Roger Manvell.”

With these words I started my column ‘In Focus’ in the Observer Magazine Edition (as the weekend edition was called then), 62 years ago – in May 1968. One of the two ‘crazy youngsters’ was Lester James Peries, who was a journalist at the time. The other was Hereward Jansz, who handled the camera. 

I had met LJP for the first time a few days before that to discuss the weeklong festival of his films organised by the Federation of Film Societies at the Empire Theatre. Since then we have met regularly until 2014. I last met him at the Department of National Archives in April 2014 at the Nation Film, Television and Sound Archive which was opened to mark LJP’s 95th birthday. A few days later I left Sri Lanka. But I didn’t forget to telephone him and greet him on his birthday. 

The ‘experimental film’ referred to, was ‘Soliloquy’ (1949), which he described as an attempt “to film the interior monologue of a particular individual”. The 15-minute film was about the thoughts of a young man. Three professional theatre artistes acted in the film.

‘Soliloquy’ was followed by ‘Farewell to Childhood’ (1950) relating the story of a young girl who bids goodbye to her childhood. The film was the winner of Amateur Cine World Silver Plaque’ and was among the ten best films of the year in Britain. They made a third film ‘A Sinhalese Dance’ (1950), which was highly commended at the Amateur Cine World Festival in Britain that year.

Though the short films were well received, LJP was not keen on a career in film-making even though he followed a few courses in cinematography. Ralph Keene, the well-known British documentary film producer who had seen the films and liked them, persuaded him to get into film-making. 

When Keene came to head the Government Film Unit (GFU) he invited LJP to join the GFU. LJP didn’t show much of an interest. Keene then wrote to him: “How silly is it for a Ceylonese to suffer in cold London and make films when there is a paradise to work in.” Giving it careful thought, LJP decided to come back and join the GFU.

Among the documentary films he made at the GFU were ‘Conquest in the Dry Zone’ (on malaria) and ‘Be Safe or Be Sorry’ (on road safety). There were many more after he left the GFU including ‘Too Many Too Soon’ (on family planning), ‘Forward into the Future’ (industrial planning), ‘Steel’ (Oruwela steel project), ‘Forty Leagues from Paradise’ (promoting tourism), ‘Kandy Perahera’ and ‘Pinhamy’.

He worked with Keene at the GFU until he could not resist the temptation “to uproot myself”.  Along with him cameraman Willie Blake and film editor Titus de Silva (later Totawatta) also left. They took up the challenge in making an unconventional Sinhala feature film.

‘Rekava’ (released in 1956), made outside a film studio, away from sets and studio lights, was an attempt to depart completely from the pervasive influence of the South India cinema which had a great influence on the early Sinhala films. Four years later he made ‘Sandeshaya’.

In selecting the subject matter for his films, LJP told me he has always been interested in probing what goes on in people’s mind. “That’s where the real drama lies,” he said.  

Between 1956 and 2006 he directed 19 films from ‘Rekava’ to ‘Ammawarune’. Some were based on novels and short stories by renowned writers. He picked novels by Martin Wickramasinghe: the trilogy’ ‘Gamperaliya’ (1963), ‘Kali Yugaua’ (1983) and ‘Yuganthaya’ (1985) – with talented stage actor Wickrema Bogoda acting in all three films, and ‘Madol Duwa’ (1976). The other novels picked by him were ‘Golu Hadawatha’ (1968 – Karunasena Jayalath), ‘Akkara Paha’ (1970 – Madawela S. Ratnayake), ‘Beddegama’ (1981 – Leonard Woolf’s ‘Village in the Jungle’) and ‘Avaragira (1995 – G.B. Senanayake).

‘Nidhanaya’ (1972) adapted from a short story by G.B. Senanayake, was adjudged the Best Film among the local films produced in the first 50 years of Sri Lankan cinema. It won the Silver Lion of St. Mark (Critics Choice) at the Venice International Film Festival 1977 and was rewarded with six local awards at the Critics’ Awards.

‘Desa Nisa’ (1975) was based on Gunasena Galappatti’s stage drama adapted from a short story by G.B. Senanayake.

The top actors of the day – both male and female – were fortunate in being picked by LJP who carefully selected those whom he was sure would be the best for the key characters. Irangani Serasinghe, Punya Heendeniya, Malini Fonseka, Anula Karunatilleka, Trilicia Gunawardena, Sriyani Amarasena and Vasanthi Chaturani head the list of actresses. D.R. Nanayakkara, Gamini Fonseka,  Henry Jayasena, Tony Ranasinghe, Joe Abeywickrema, Wickrema Bogoda, Vijaya Kumaratunga, Ravindra Randeniya, Richard de Zoysa) and Roshan Pilapitiya were among the male players. 

Premasiri Khemadasa was LJP’s most preferred music director. He directed music in eight films – ‘Golu Hadwatha’, ‘Nidhanaya’, ‘Desa Nisa’, ‘Vira Puran Appu’, ‘Kali Yugaya’, ‘Yuganthhaya’, ‘Awaragira’ and ‘Ammawarune’. Pandit Amaradeva directed music in four – ‘Gamperaliya’, ‘Delovak Atara,’ ‘Ran Salu’ and ‘Akkara Paha’.

LJP’s contribution to the local film industry is immense. It was just last month that I discussed what the other filmmakers and notable writers have written about his contribution to cinema over the years and what some of them felt of him as a human being. The article also covered the honours he has been showered with including the Lifetime Achievement Award from the Government of India to ‘The Formidable Genius’. 

Just as much as Sumitra will miss him, we too will feel his absence. But we will not forget what he has given us.