Aadaraneeya Wassaanaya : Steps ahead of the usual commercial film


* Chandana Silva. Daily News, Saturday, 10 July 2004
The Sinhala film is transcending gradually in different directions. Themes and visual presentations have changed. New directors, players and technicians have emerged.

Dubbing and editing on video systems are new technical features Senesh Dissanaike Bandara has used in his film Aadaraneeya Wassaanaya, where he is accompanied by young talent.

This tender romance has more agony and humiliation than charm and delight. Kasun, in the threshold of adolescence, probably from the village still has to complete his studies.

Chapa, a pretty school girl, has fallen for Kasun; yet they do not have the freedom to share cherished human feelings. The narrative opens at this point with images of the past, present and future juxtaposed.

Kasun is in a desperate state as Rohan (Chapa's cousin) declares she belongs to him. He is rich and vicious. Physically Kasun is no match for Rohan. The film maker does not give him a chance to rise against the odds he has to face in his attempts to rescue his beloved.

After two years has passed Kasun is a teacher. Rohan who forcibly married Chapa has returned to Sri Lanka. She is leading a miserable life, beaten and harassed by Rohan. Kasun tries to commit suicide and Madhu, the sweetest girl in his class, offers to console him. Kasun as a teacher refuses and Madhu becomes miserable. This situation is slightly complex which disturbs the audience for a while.

In Aadaraneeya Wassaanaya the director is motivated to portray the fragrance of teenage love in the present day social context. He uses unusual and expressive visuals in his narrative. This film is steps ahead of the usual commercial film and has a style of its own. But the songs and dances are not enchanting. This narrative construction would have sustained well without decorative elements.

As the film draws to an end, we see Kasun, Chapa and their friends at the Fort Railway Station. This scene drags on without much purpose. We are lost to justify why Rohan makes the ultimate sacrifice. A final solution to all problems of Chapa and Kasun. Rohan has no real love for Chapa.

Senesh has built his sequences precisely, maintaining a balance in his scenes.

Cinema is always a director's personal expression examining humanity in the backdrop of social and economic conditions. His sympathetic view enlightens the viewers who may look at life in a different way.

Some of the recent Sinhala films being recognised at foreign film festivals reflects a new approach. Awareness of the best of world cinema will certainly lead them towards making better films. In Aadaraneeya Wassaanaya, the common elements found in a love story are well presented using cinematic terms in expressive close ups and a rhythmic flow of images.

At a time when Sinhala film is falling into degrading levels, which their makers would justify as entertainment, Aadaraneeya Wassaanaya is a clean and dignified film. Although the film-maker does not discuss at length, the pathetic condition of the schoolgirl living with a sadist is understood by the audience. It draws their concern over certain social conditions.

Most parents leave their adolescent children alone and seek foreign employment. Today we find more males abusing young females. The point raised in this film is very valid and should receive the concern of parents.

The drama genre is a broad category that features stories portraying human experiences, emotions, conflicts, and relationships in a realistic and emotionally impactful way. Dramas delve into the complexities of human life, often exploring themes of love, loss, morality, societal issues, personal growth, with the aim to evoke an emotional response from the audience by presenting relatable and thought-provoking stories.

Mahershala Ali and Alex R. Hibbert in Moonlight (2016)

The musical genre features stories that combine music, singing, dancing, acting, and often spoken dialogue to tell a story or convey a narrative. Musicals incorporate various elements of drama, music, and choreography to create a cohesive theatrical experience that engages audiences on multiple levels.

Julie Andrews in The Sound of Music (1965)

The romance genre features the theme of romantic relationships and emotional connections between characters. These stories focus on the development of love, desire, and intimacy between protagonists, often exploring the challenges, conflicts, and triumphs that arise in their relationships.

Ingrid Bergman and Humphrey Bogart in Casablanca (1942)

A middle class boy from the highlands who falls in love with an upper class girl in Colombo.They are both high school students.The girl's arranged marriage and her illness make life difficult for the young couple.They challenge cultural conventions to succeed.

Sachini Ayendra, Chathurika Pieris, and Sahan Ranwala in Aadaraneeya Wassanaya (2004)

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