Rahas Kiyana Kandu | Whispering Mountains

 

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.