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Kala Korner - by Dee Cee

Rare study on an actor
Gamini Fonseka dominated the Sinhala cinema for several decades. Starting his career as an assistant to cameraman Willie Blake in 'Rekawa', he faced the camera for the first time as a patient seeking treatment from young Sena in the film. That was in 1956.

His maiden lead came four years later in T. Somasekeran's 'Pirimeyek Nisa'. Since then he has been a leading actor and director winning many coveted awards along the way.

A comprehensive study of Gamini Fonseka's acting abilities and contribution to cinema has now been released by young Nuwan Nayanajith Kumara who is following the footsteps of his father, veteran journalist Ranjith Kumara (one time editor of Sarasaviya). Having developed an interest in cinema from his early days, Nuwan, a graduate of the Sri Jayawardenapura University, chose the subject for his post-graduate diploma in writership and communication. The thesis titled 'Gamini: The pioneer in Asia on Realistic Characterisation' came out in the form of a vividly illustrated book recently.

"It's not merely a narrative of Gamini's career. It is also a study of the history of Sri Lankan cinema," says the author who introduces the book as "a critical study in the form of a biography".

Nuwan takes several paths to relate Gamini's story. He starts by getting Gamini to reflect on the past, discussing the early days of his career. Then he moves on to give an overview of the man as seen by some of his close associates - both in the film world and outside. An analytical study on the development of film technique and acting at the global level follows, projecting Gamini as a character actor, personality actor, physical actor and a natural actor separately.

Finest portrayals
Having studied Gamini's varied roles and the critics views on them, Nuwan considers his performances in what he categorises as artistic films -Gamperaliya (1963), Parasathu Mal (1966), Welikatara (1971), Nidhanaya (1972) and Sarungale (1979) as some of his finest. Among popular films with an artistic touch, his best performances were in Sandesaya (1960), Ranmuthu Duwa (1962), Getawarayo (1964), Dheewarayo (1964), Chandiya (1965), Senasuma Kothanada (1966), Sorungeth Soru (1967), Soora Chauraya (1967) and Aathma Pooja (1970). The characters he portrayed in these were either a hero or lover. He goes on to evaluate these portrayals in detail. Nuwan considers Gamini as an actor who totally rejected the Western theory that 'you must not be conscious of the camera'. He identifies Gamini as the only actor who told the Western world that "you have to be extra conscious of the camera". He also believed that for an actor to be a good one, he should act under good directors. An instance when Gamini scared director Lester James Peries with his realistic acting was in the final scene in 'Nidhanaya' where Willie gets into a trance. The scene has even baffled Hollywood actors, he writes.

In D.B. Nihalsingha's 'Weli Katara' (the first Sinhala cinemascope film - 1971) two of the country's finest actors meet in two challenging and contrasting roles - Gamini Fonseka as Wickrema Randeniya, the Police officer and Joe Abeywickrema as tough Goring Mudalali.

Their powerful performances coupled with Nihalsingha's camera work and direction made this a compelling production for filmgoers. Nuwan also deals with Gamini's efforts at direction. He directed ten films, the first being the highly acclaimed 'Parasathu Mal' (1966). The last was 'Anthima Reya' (1998). The political satire, 'Sagarayak Meda' (1981) directed by him grabbed eight Sarasaviya awards including Best Direction.

Nuwan has taken much trouble in preparing a compete list of Gamini's films and the awards he has won. Many may not know that he acted in at least four stage plays - Mayuri (he portrayed a female character while in school), Sudo Sudu, Julius Caesar and My Fair Lady. He has acted in just one teledrama - Nihalsingha's 'Sudu Saha Kalu'. He wrote lyrics for three films - 'Sarungale' (1979), 'Mayurige Kathwa' (1980) & 'Nomiyena Minisun' (1994), the last two being directed by him.

Nuwan's work is invaluable to any student of cinema as it virtually covers the entire history of Sinhala cinema. Each page of text (286 pages in all) carries a black and white picture. In some, the reproduction is weak possibly because they are quite old stills from films. I only wish he had included some colour pictures too - it would certainly have enhanced the quality of the publication.

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