Rejecting
the view that all things are of intrinsic nature (svabhava) completely
independent of other factors as held by other Indian thinkers of the time, the
esteemed Buddhist Phylosopher Nagarjuna argued that all things are what they are
only dependently.
His
conclusion was that things are 'empty' (sunya) of intrinsic natures and it is
impossible for there to be fully real entities and impossible to ascribe any
fully real properties to them.
Nagarjuna
went on to explain that a doer does not exist independent of the
actions. For example, one is only a teacher while he or she is engaged in the
act of teaching and thus doesn't become one otherwise.
Therefore,
can we say that there aren't actors independent of their role or
acting?
Unlike in
the past where we had designated actors, and often idols, known for
different roles they are famous for, the answer to the above question
is becoming more and more evident recently in Cinema and Theatre, created by
the new wave of artists.
One such
creation that I saw few days ago in Sydney was ’Rahas Kiyana Kandu'
(Whispering Mountains), a film by actor turned director Jagath Manuwarna.
Keeping to
what believed to be the central theme, the oppressed vs the oppressor,
Manuwarna decides to build up the story from the angle of the oppressor, unlike
in most conventional creations we have seen earlier, examining their cruelty,
dominance and hostility on the oppressed, whom he calls the 'numb'; often
patronised by both the state and the media. The ploy used by the
authorities to misinform the public regarding cause for the sudden deaths of
the youth under their watch isn't strange to those who lived in the country
during the last few decades.
This is a
classic example for a film where acting stood out, as raised at the beginning,
throughout the film with no particular relevance to who
played what role.
For
instance, in his role as the senior law enforcement officer, Priyantha
Sirikumara assimilates well into the role in such a way that the cruel
& ruthlessness of the character conceals his identity
he was known for as an actor. His character, which one may call
a 'wolf in sheep's clothing' as well as the role brilliantly played by his 2nd
in charge Sarath Kotalawala represents the typical high-ranking officers in
the law enforcement agencies that we see and hear about today in in Sri Lanka. Also
noteworthy are the characters of the subordinate officers, one, who is
prepared to obey the commands unquestionably and the other who does not
hesitate to argue and stand against commands & views expressed by his
superiors.
A role
that stood out most among many unfamiliar faces was the role of Bass
Unnahe (the Builder). His outstanding performance marking his power and
control within his domain i.e. the construction site, to disregard his employer, podi
hamuduruwo (junior monk) and his unsolicited remarks is remarkable.
The young monks struggle (played by a renowned teledrama director
turned actor Lakmal Darmapriya) in dealing with worldly matters while in
robe for e.g. his naive attempt to salvage the concrete formwork (for resale) that
end in crisis, is seen regaining his senses awakened by the chanting of Buddhist
stanzas by the Loku Hamuduruwo (the Chief Monk) .
The two
key female roles, particularly the mother, and the prostitute are played impressively
by faces which also are new to the screen. What 's not clear to me
however, is why it had to be a prostitute? Perhaps to suggest that care
for each other is only found among the oppressed as a fact. It's noteworthy
that Jagath Manuwarna who is a reputed actor while being the Director himself,
not choosing to play a lead role to over glorify him, but a fitting role as one
among the oppressed. Cinematography by Vishwa needs special mention for having
produced some beautiful and mesmerising shots to enhance our experience.
Whilst the
movie in essence raises our awareness of the plight of the oppressed youth
seeking justice being dragged into endless oppression and misery, 'Rahas Kiyana Kandu'
whispers to us to become more aware of the emptiness in our worldly 'roles'
held onto as substantial and real, which had been taught centuries ago.
Let us congratulate
the young director for his maiden feature film and particularly for this brave
and radical approach taken in presenting us an exciting cinema experience promising
a bright & promising future in the Sri Lankan film industry.
