In the world of international aesthetic cinema we had one Lankan film maker who has withstood for several decades as an established world class Asian cinema innovator. He was, as we all know, Dr. Lester James Peries.
Along with Satyajit Ray of Bangla in India and Akira Kurusowa of Tokyo, Japan and also of the same place Ozu, Peries has been a pioneer in the Asian Continent, of vintage fame, to compete with the New Wave Directors of France, such as, Francois Truffaut or the Italian Michael Angelo Antonioni or Swedish Ingamar Bergman – to name a few – and emerge as someone to look up to in producing different kinds of films that had humanism as a base. They were different from those clever craftsmen across the Atlantic.
Lester James Peries therefore, was an international celebrity that needs to be completely understood, particularly, by the rest of the western world. To do this who need to write a complete biography, at least in the English language.
There are a few books in Sinhala and English and one or two articles in Tamil. There are various interpretations on Lester as film maker by our own film critics, et al, in the calibre of Reggie Siriwardene, A. J. Gunawardene, Philip Cooray, Donald Abeysinghe, Tissa Abeysekera, Ajith Samaranayake, Gamini Haththotuwegama, Vernon Abeysekera and a few others who have written in English of the illustrious figure in his ’90s and his films. There are many more writing on him and his films in Sinhala and English.
But, we must get the exact information from the horse’s mouth – Lester’s own estimation of his films. That is why ‘Lester by Lester – as told to Kumar de Silva’ gains a significant place in the library of Lester James Peries Studies. This illuminating book was first published as early as April 2007 by Vijitha Yapa Publications.
The 212-page book, which has a few photographs of some of Lester’s major films and other words, partly speak about the growth of Lankan Sinhala cinema.
Besides the Introduction, Foreword, Publisher’s Note and Acknowledgement, information and critiques of Peries’ own films beginning with Rekhava (1956), Sandeshaya, Gamperaliya, Delovak Athara, Ran Salu, Golu Hadawatha, Akkara Paha, Nidhanaya, Daesa Nisa, The God King, Madol Doova, Ahasin Polowata, Veera Puran Appu, Pinhamy, Beddegama, Kaliyugaya, Awaragira, Wekande Walauwwa, and Ammawaruney (2001) are succinctly analysed. There is also a filmography of Lester’s short films from 1949 to 1971.
The credits of all the films have been listed and this too would help the student of cinema identify past veterans in the Sinhala cinema of yore.
Listen also to what the Maestro says in his Foreword to the book about Kumar de Silva - “…Kumar’s wise counsel prevailed. Excavating the past, when film making has been part of your life and that of Sumitra’s (editor of some of my best known films), has triggered off many pleasant and creatively important memories. Remembering them has been painful sometimes, but often deeply satisfying. A final word - if not for Kumar de Silva’s persistence over five long years this book would never have been published.”
The publisher Vijitha Yapa speaks about Lester thus: “He was famous but he was very humble. Popularity had not led to a swelling of his head. He was easily approachable, friendly and in no hurry to chase you out because he was busy. Since then, each film he made exposed the talent of an amazing film maker.”
Lester and Sumitra too brought fame and laurels to Lanka’
Lester has gone now, but mastery of cinema remains to be critically analysed by our future band of filmmakers and critics.