The Sinhala film industry, often perceived as having gone through a lean period, appears to have found renewed vigour through two significant releases: Raani and Devi Kusumasana. Both films, interestingly, centre around powerful female figures, metaphorically referred to as "queens" (Raani in Tamil, and Devi in many local languages, both meaning queen).
Raani: A Mother's Fight for Justice
Raani, directed by Asoka Handagama and starring
Swarna Mallawarachchi, delves into the real-life struggle of Manorani
Saravanamuttu, the mother of the renowned journalist Richard de Zoysa. De
Zoysa's tragic death in 1990, widely believed to be a politically motivated
killing during the dark period in Sri Lankan history, sparked considerable
public anticipation and debate surrounding the film.
The film aims to portray Manorani's heroic, almost
solitary, fight for justice, as she rallied public sentiment and gained
international attention. However, a key point of contention needs to be highlighted:
the audience's preconceived notions about the murder and their expectation for
the film to explicitly condemn the political regime. Handagama, it seems, chose
to focus on the mother's unwavering courage rather than providing a direct
political expose, a decision that left some viewers disappointed.
Another critique raised is the director's perceived
failure to fully grasp the specific social strata to which Manorani belonged,
which arguably distinguished her "queen-like heroism" from that of a
typical middle-class professional. As admitted by the lead actress, Swarna
Mallawarachchi herself, her long-held dream of portraying Raani, raises the
question of whether her interpretation aligned with the director's vision or
her own predetermined idea of the character. As a biopic, Raani is
inherently Handagama's dramatisation of actual events, and therefore, reflects
his artistic view point on the tragedy.
Devi Kusumasana: A Rebel's Ascent
The more recent release, Devi Kusumasana, directed by
Jayantha Chandrasiri, is a historical drama set during the early colonial
invasion of Sri Lanka. It focuses on the princess, more commonly known as Dona
Catarina, who came under the care of the Portuguese rulers following the death
of her Father, the exiled king of Kandy, and Mother who sought refuge in a
Portuguese fort. She consequently became a pawn in the power struggles
between the invading Portuguese and local rebels.
The film, despite its title, Devi
Kusumasana (meaning Queen Kusumasana), primarily centres on the rise of
the rebellious Konappu Bandara. He was baptised as Don John of Austria by the
Portuguese for his military prowess exhibited while he fought for the
Portuguese in Goa, India. He eventually rebelled against the Portuguese and
became King Wimaladharmasuriya I, one of the Kandyan Kingdom's most celebrated
rulers, and married Devi Kusumasana. Rather than centring Devi Kusumasana as
the title might suggest, the director, Chandrasiri, chose to depict the bravery
and heroism of this rebel.
The film is praised for its apt glorification of Konappu
Bandara's role in shattering Portuguese ambitions to conquer the Kandyan
Kingdom, culminating in their decisive defeat at the Battle of Danture. This
historical event, which reportedly deeply disappointed the Portuguese Commander-in-Chief,
is effectively resonated in the film, underscoring Sri Lanka's unique
resistance to colonial subjugation. While acknowledging some minor flaws in art
direction and music choices, the overall sentiment is that the film largely
succeeds in its chosen narrative focus.
Broader Impact and Industry Context
Both Raani and Devi Kusumasana contribute
to a perceived revitalisation of the Sinhala film industry. This comes after a
period where the industry was seen as struggling with declining popularity,
often attributed to a lack of originality in commercial cinema and a disconnect
with modern audiences. While art cinema continued to receive critical acclaim,
the broader industry faced commercial sustainability challenges. The success of
these two films, particularly their engagement with significant historical and
contemporary events, suggests a potential shift towards compelling storytelling
that resonates with local audiences, breathing new life into Sri Lankan cinema.
These films, by tapping into powerful narratives, are helping to re-engage
audiences and demonstrate the potential for thought-provoking and commercially
viable local productions.
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