....the lights close in, the scene begins... but within seconds gun shots are heard...
It is a two minute slot in a teledrama. The Director is seen getting his crew ready for the scene. The young actor after many rehearsals patiently listens to the Director's last minute advice. Playing the role of a security guard, a rifle in one hand and bullets in the other, he has to demonstrate to his colleague how rifle is loaded! With the camera and lights closing on him the scene begins. But within seconds, gun shots are heard and a bewildered Director looks around to see crew members lying on the ground. Shocked, he realises that such a scene is not in his script....
This tragedy which occurred during the filming of Parakrama Niriella's teledrama 'Vil Bendi Danavwa' in Anuradhapura last week, abruptly ended the young life of Anoma Nilmini, 28, when the actor, according to reports, accidentally touched the trigger causing the gun to go off. Two crew members, Bathiya Gurusinghe and Kumarasiri Dahanayake were also injured by the bullets.
The teledrama crew had arrived in Anuradhapura on May 3 intending to stay two days to complete a few episode in the drama. The filming was to be done at the home of Mr. K.L.G. Kularatne, a well known businessman in the area. Having been closely associated with the film world, Mr. Kularatne had readily acceded to Parakrama Niriella's request to use his house and play a role in the teledrama since his niece had also been interested in films. Kularatne had decided to get her involved too. Having found she had the right looks and talent, Nirielle made her one of his characters.
The teledrama which is on the theme of forest destruction, involved a large set of actors and actresses. Mr. Kularatne's home was used as a minister's house and Anoma's role had been to play the minister's wife. Her first scene which showed her being hostess to a dinner given by her husband, was shot on May 5. Though it was not a major role she had been satisfied. Anoma who had lived in her uncle's home for the last ten years, had managed his furniture shops in the town. The next day, before shooting commenced she along with her uncle had left for the showroom.
Just as they were settling down to work, her uncle received a call from the director, requesting Anoma to be present on location for another scene. Hurrying home they found the sets ready for the scene which involved conversation near the entrance of the house, between two security guards. Kularatne, a witness to this tragedy, explained in detail the events that led to the shooting.
When we reached home, Anoma immediately got off the vehicle and joined my wife and daughter who were near the gate watching the scene. I went into the house to leave my things, and spoke to Director Parakrama. He went back to the location and I was just walking towards the gate when I heard a loud bang. At first I thought some equipment had burst, but when I looked around I saw Parakrama holding his head and shouting at someone. When I ran to him I saw two crewmen lying on the ground. I remember running towards my family. I saw my niece on the ground. I picked her up and tried to wipe away the blood which was oozing out from beneath her eye. Within moments everything turned black. I was told that I had fainted holding my niece in my arms", said Kularatne.
The family members had rushed Anoma to the Anuradhapura General Hospital. By this time, despite the on going strike, the hospital staff had been alerted. "There were about 18 doctors there and the entire hospital staff helped my sister. The doctors immediately took her into surgery but after about two hours we lost her. It is such a consolation knowing how much the doctors tried to save my sister. Even people in the town had rushed to the hospital to donate blood", said Anoma's grieving brother.
The two crew members who were injured were also treated at the hospital. Art Director Kumarasiri Dhanayake was discharged on Wednesday but Bathiya Gurusinghe who received injuries in his stomach is still warded at the hospital.
Anoma's family have accepted that her death was an accident. Her brother who was also a eye witness in his statement to the police had said that it was an accident. However the Anuradhapura Police arrested the young actor Sarath Chandrasiri who handled the weapon. He was later bailed out. Although there was criticism over the use of live cartridges instead of rubber bullets which are generally used for such scenes Chairman of The Video Team (TVT) who handled the crew Dr. Jayantha Nawaratne maintained that this particular scene had nothing to do with shooting. The actor had to show how a rifle is loaded. "We would not have been able to use rubber bullets for this. We have decided to pay compensation to the family, he said. As for the fate of the teledrama Navaratne said several episodes had been completed within about thirty days more of shooting left. "We haven't decided what we will do next," he said.
Twenty eight year old Anoma, the fourth in her family had to moved to Anuradhapura to live with her uncle's family ten years ago. "She got involved in our business, liked the work and decided to help us out at first. But she proved to be more than just a helping hand. She managed our accounts, and was in charge of the administration of the business. The business prospered under her. She did everything, looked into all the problems got on well with the workers and was quite capable of running the business", said her uncle.
When the tragedy occurred Anoma's mother and sister were on their way to Anuradhapura, from their home in Biyagama. "Anoma's sister was to be married on May 22. They were coming here to give me the first wedding invitation but it turned out to be such a sad occasion." said Kularatne.
Had the young actress any premonition of her death? According to her uncle, Anoma had said strange things, shortly before the incident". Just after the first shoot, still dressed in her costume she came to the kitchen and told my daughter and wife, that something was bothering her, but she could not grasp what it was. She said that she felt like crying just to let the feeling go. She had also said that she would die very tragically and that no one would be able to change her fate. The moment she said this I scolded her and she then changed the subject. The next night around 10.00 p.m. I found her working on the accounts. She was updating our accounts. When I told her that there was no rush to complete it, and for her to go to bed, she said that if she died that night, I would say that after all this training she had messed up the work. She insisted that she completes it," he said.
Actor Sarath Chandrasiri, according to reports is badly affected by the tragedy. According to an eye witness he had been screaming in shock after the incident and been calmed down with great difficulty. "At times he is normal but the moment he remembers the incident he gets out of control. He had wanted to come and see the body but he is not fit to do so. He is receiving medical assistance. He is a very innocent boy, and it is very unfortunate that this had to happen," said Mr. Kularatne.
Ramani Sumanawardena was the woman behind the woman, and the woman behind the scenes. Since 1981, she has been involved in film production with Sumithra Peiris's films. Starting off in the conventional women's jobs as Continuity Girl, she then became the little-known Editor of Ms. Peiris's films including Maya and Assistant Director to her films Sagara Jalaya and Maya. She has also helped Lester James Peiris as Assistant Editor in films such as Yuganthaya, Salalihini Gammanaya, Sagara Jalaya, Avaragira and Loku Duwa and has worked as Assistant Director on several tele-dramas. But now, she is the woman at the fore, directing her own production of a film on primary school education, and more productions up her sleeve.
Working in a male-dominated world has not been easy for Ramani. But the disapproving judgements only made her even more determined to make it work in the film industry, inspite of all the drawbacks. She has never received a monthly salary. What she has gained from the industry, she says, is knowledge, not wealth. In an interview with me, she talked about her experiences as an Editor, and as an Assistant Director, and told me what she felt about the contemporary industry. Importantly, she spoke of the role of women, including actresses, in making the lot of women better in the industry.
What did you feel about being a woman in a male-dominated industry?
Because I was a woman, they were always telling me to learn something else and get married. This feeling is still there among some. Recently, when I went into a certain production site, one man asked me why I was hanging around there. But there were also so many who encouraged me.
So were you discouraged?
No. I got even more determined that I had to do it.
Did it make any difference that you worked under a woman rather than under a man?
Yes. Because of Ms. Peiris, I was enthusiastic about my work. I don't think I would have gone if it was a lot of men. Even from home, I had a lot of trust. I could come in any time I wanted.
Did the film world change you?
I learnt about society from No. 24 ,Dickman's Road. Before that, my life was home-school-home. I was committed because of my attachment to the Peirises.
Sumithra Peiris has made plenty of films on women, and you have worked as editor on almost all of them. What did you feel about her portrayal of women?
I think her portrayal of them was very sensitive. She didn't denigrate women. She treated them like human beings. Because what is important is how women's subjection is portrayed.
Does the fact that most of the Directors are male have an effect on the way life is portrayed in the cinema?
Yes, certain male Directors like to show a lot of blood and women's bodies. They do very physical portrayals with women baring themselves. Nobody criticizes when this happens.
Do you think actresses should play a role in objecting to sexist poses/portrayals on the screen?
Actresses have to act. But they can also speak out. There are so many intelligent actresses who seem to be keeping quiet about sexist portrayals. They could refuse certain portrayals and poses. They can help change cinema.
As an Editor, would you have been able to make objections to this kind of thing?
No, we have every little influence.
Do you feel there will be more women coming into the field in the future?
I have noticed that there are a lot of women at cinema training courses here, but the way I see it, they don't' make it a career. I don't think they are able to give the commitment because of family responsibilities. You have to give up what most women are used to wanting for a career like this. I sacrificed a family life for my career.
What do you feel you have gained from your career in film?
Thirteen years of knowledge, but very little money. I never worked for a monthly wage. I never think of the money, but how I can get involved in it. I still don't talk money. Of course, nowadays, payment matters are settled before anything else.
Do you feel low remuneration in the industry means low quality work?
No. Because it is a job you do for satisfaction. Not for anything else.
Now you have got into film directing. What do you feel the future is for independent producers like you?
There are very few people willing to spend money on films. With the way things are going in the country, I feel they prefer to invest money on business, rather than risk it on a film. The overall support for film makers is very negative. I once got to do a film on elephants with the Government Film Unit, but it fell through for various reasons.
Do you feel that more women in the cinema industry can change the industry for the better?
Yes. But the problem is, there are very little facilities for women to come up in the cinema world. If there were facilities, then more women would be coming in.
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