A cherished possession not only for cinema's enthusiasts

Sri Lanka's internationally celebrated film maker Dr. Lester James Peries turned 89 on Saturday, April 5. Dr. Lakshmi de Silva reviews the book "Lester by Lester – as told to Kumar de Silva" which chronicles his half a century of film making from 'Rekawa' (The Line of Destiny 1956) his first, to 'Ammawarune' (Elegy for a Mother 2006). This was the very first time Lester has chosen to write about himself, and his half a century film making career, in a single volume.

Pleasure in Sunil Ariyaratne's meticulous 'Lester – Sri Lankave Agra Ganya Cinema Vediya' in no way subtracted from my enjoyment of 'Lester by Lester' as told to Kumar de Silva. Lucid, lively and free flowing, it is not merely an entertaining read; for the younger reader who wants some acquaintance with the cultural ambience in which she/he lives, and the older, concerned with an understanding of his own past, it is likely to prove a treasure.

The doyen: Lester James at the launch of the book "Lester by Lester – as told to Kumar de Silva"

The irrepressible flashes of humour, economic and social factors certainly contribute to the attractiveness of the narrative, but do not obscure the more serious conclusions that emerge from it. Cinema draws on so many forms of art, that the names of those involved in the productions, figure who contributed so much to the artistic and intellectual life of the island in its first ferment of creativity, constitute a kind of historic roll call of brilliance – Martin Wickremasinghe, Sarachchandra, Sesha Palihakkara, Somabandu Vidyapathi, Reggie Siriwardene, Tissa Abeysekera, Henry Jayasena, Sunil Shantha, Winston and Iranganie Serasinghe, A.J. Goonewardene and Trilicia, Philip Cooray, to give just a sample of the august names.

It was a richly satisfying period for discriminating audiences, full of exciting discoveries on the stage and screen. No one who has not seen 'Grisly Guardian' in its newness can imagine the stiff literary language of the dialogue, the artificiality of the movement and expression current in the early films.

Yasmine Gooneratne's delicious portrayal of 'Daiva Yogaya' as witnessed by Latha in 'The Sweet and Simple Kind' is hilarious – and just. 'Rekava' came like a thunder clap – and liberating rain, as did 'Maname' which created Sinhala theatre both in 1956, a fact which Reggie Siriwardene, our artistic conscience for so long, highlighted and analysed.

The narrative is absorbing. Kumar de Silva deftly presents the material to satisfy our curiosities regarding the protagonist's experiences and activities. Nothing brings home so sharply the sheer physical difficulties faced by a good director as the quest for lighting on location as recorded on Page 38. The making of 'Gamperaliya' which won the grand prize, the Golden Peacock at Delhi in 1965 and the International Critics Award as well, was beset with practical difficulties.

"We went to every studio owner and they refused to give us a single lamp. They obviously knew that we were going to turn an ordinary house into a studio and shoot a film. One man said he will quietly bring a studio lamp home, provided I pay the money to him in advance for 30 days. He could only bring a 2KW lamp. Willie Blake being innovative and resourceful….. had banks of flood lamps – ordinary 100 watt bulbs fitted onto boards so that you can flood the interior spaces…" One wonders whether the Sri Lankan film director today, cushioned sometimes by foreign funding, as well as the technical resources, could have coped as Lester did. The circumstances, under which his best films were made, increase our respect for the man and the artiste.

The exciting story of making 'Sandeshaya', the lost masterpiece is given, including the tense episode of the 'drowning' of Iranganie Serasinghe. This makes good reading even for those who have not seen it. The luckier ones who saw it will recall the finesse and effectiveness with which it captured the fervour and daring and their futility in the face of apathy and waste.

The wind, the drifting gunpower smoke and the hollow echo of the vigorous bravado of the song that rang out in the Fort (voiced with infectious gusto by Jothipala) before it becomes a shattered empty shell, linger in the ear and the mind's eye, recallingthe power of the director's vision.

Accounts of the real hardships of shooting films in an era where not so much as a rest house was in reach, are hair-raising, heroic and hilarious by turns. The audience saw only the achievement of an artiste's aim; they did not know the stubborn courage, the resilience behind the scenes.

Rich in detailed information regarding the genesis and background history of each production, this volume is likely to prove a cherished possession not only for cinema enthusiasts but also for those who relish being in touch with the cultural history of their country or simply their own immediate past.