TV Times

TV Times

Sudath reflects the hour after war
By Susitha R. Fernando
"What is terrifying is not war, but the hour that dawns when it ends" this is the theme of ‘Sudu Kalu Saha Alu’ (Shades of Ash) the maiden film of experienced teledrama director Sudath Mahaadivulwewa.
The film which had its world premiere at Goteborg Film Festival 2004-Sweden is to be released soon.

‘Sudu Kalu Saha Alu’ is a feature film which attempts to unearth the tragedy of Sri Lankan society, of which colour and beauty has been stripped off after two decades of war and brutal violence. It discusses about Sri Lankans who have been deprived of their basic human rights, freedom to life, feelings of belonging to the world and their socio-cultural identities.

The storyline of the film which was developed after extensive research on the border villages revolves around a community of survivors who return to their border village, which they abandoned many months ago following a ruthless massacre of their kith and kin and the destruction of the total infrastructure of their village by a ruthless terrorist attack. Sudu Kalu Saha Alu narrates how they adapt to rebuilding their lives and homes while compromising with the newly emerged socio-economic culture that had been nurtured within the 'business' of war and peace.

The director Sudath Mahaadivulwewa shared some of his ideas, experiences and difficulties with TV Times, that he came across in completing the film.
What were your experiences and what kind of support did you get from your crew while directing the film?

There are always difficulties for directors due the lack of professionalism in our cinema. In a third world country like ours where there is no place to study cinema and art it is always hard for a director to reach his targets. Appreciation of art is not in our education curriculum and therefore creating and maintaining a serious cinema is not an easy task.

Just as any other director, I too had to face this difficulty in directing Sudu Kalu Saha Alu. What happens due to this pathetic situation is that the director wastes a lot of time and energy attending into other areas other than direction. This is wastage of the time that could to be used creatively.
But there were some technicians whom I hired from the commercial field and who were really professional. For example, I was really satisfied with Ruwan Costa my cameraman who had studied classical music and had an understanding about the cinema. We had a mutual understanding about our work and this type of relationship is essential for a good work of art, specially a film.

Having being a successful teledrama director, what made you to change your track into the cinema?

I started my career in television which is regarded as light entertainment. But I and the others in my generation could bring serious issues into this medium of art and we did create some dramas which discuss Sri Lanka's political and social issues. But there was a limit for this and the TV channels which generally targetted the money factor did not want to use the TV medium to promote this type of art. Even though millions of viewers are watching TV daily, it has not become a medium for serious art.

Do you think that you have in the cinema a better platform for your artistic vision?

There are always problems for those who strive to do something better. There are many restrictions and limitations that directors have to face today. Once Akira Kurasowa speaking about film making said that when a script is completed, 80% of the film is completed. But in today's context this is no longer true. Though we complete our films with some difficulties, the greatest problem starts when we try to release them. There are only two major circuits with a limited number of theatres. But these too, are privately-owned circuits and they have their own agendas. Thus screening in these circuits too, there are certain regulations that we have to adhere to and thus, we are being to some extent controlled by them.

Whom do you think should be responsible for film distribution?
The main body which is responsible for films made in Sri Lanka is the National Film Corporation, but it has no proper system to release films. On the other hand, Film Corporation gets a levy of 5% while 40% is taken by the theatre owners from our films. But what has the Corporation done with regard to releasing our films?

To get out of this situation, there are two alternatives. One is to do some trashy films to suit the popular demand or target the international cinema. But I believe that the films made in Sri Lanka should be seen principally by Sri Lankans.

And I think it's a great achievement by our filmmakers who make films which discuss certain social issues without giving into commercial pressure.
What made you create a film such as ‘Kalu Sudu Saha Alu’?

We have been living with a destructive war for the last 23 years. We have been suffering from it and at the same time with or without our knowledge we have nourished it, too.

At the same time situations of war have given rise to opportunities for everyone to play an additional role if they desire so. The war has continued undeterred for well over two decades due to the effectiveness and the ability of such people who have played such alternate roles. In the name of peace, the destiny of war is being decided by such people.

But what I have discussed is not the war but the hour that dawns when it ends which is more terrifying. If I could open a social discourse though 'Sudu Kalu Saha Alu' and if it is going to contribute for a permanent peace tomorrow I think my effort is successful.

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