• Kamal Addararachchi wins ‘Best Actor’ for his portrayal of Marxist revolutionary Rohana Wijeweera 

The Presidential Film Awards 2023 marked its grand return last month (14) after a three-year hiatus. Notably, a total of 44 awards were conferred upon actors and technicians, culled from a selection of 42 films screened during the years 2019 and 2020.

These awards were bestowed by a discerning jury, comprising expert film critics and seven honorary doctors and professors, who meticulously selected the recipients. To enhance the grandeur of the occasion, an additional nine awards were presented during the ceremony, contributing to the overall prestige of the event.

The President himself conferred these prestigious accolades upon notable individuals within the cinematic realm. Among the recipients, Kamal Addararachchi was distinguished as the ‘Best Actor of 2019’ for his outstanding performances. 

Kamal’s victory is most significant considering the role for which he was honoured – a portrayal of the Sri Lankan Marxist revolutionary Rohana Wijeweera in the 2019 Sinhala biographical film ‘Ginnen Upan Seethala’. Directed by Anuruddha Jayasinghe and produced by Chamathka Peiris for Cinepro Lanka International, the film stands as a testament to Kamal’s exceptional talent and dedication.

Following this momentous win, The Sunday Morning Brunch reached out to Kamal to delve deeper into his thoughts and reflections on receiving such prestigious recognition. His portrayal of an iconic figure in Sri Lanka’s political history adds a layer of depth to the cinematic landscape and Kamal’s insights promise to shed light on the artistic and cultural implications of his now-acclaimed performance.

Embodying the character: The Kamal Addararachchi method

Reflecting on his portrayal of the titular character, Wijeweera, Kamal expressed his conviction that he had invested significant effort to render justice to the role by depicting it with utmost realism. He acknowledged the exceptional nature of the character, stating: “It was a great opportunity to create this iconic leader, a character who was incredibly significant in our political history.” Kamal recognised the challenge inherent in portraying a public figure like Wijeweera, who left behind a wealth of speeches and video evidence showcasing his mannerisms.

Addressing the complexities of portraying a public figure with limited insight into their personal life, Kamal emphasised on the necessity of employing one’s own judgement and presuming aspects of the character’s inner thoughts. Drawing from his background in performance art education, he highlighted the importance of engaging in a deep character study. “I looked at his speeches, analysed how sincere he was in his dialogue, considered numerous recordings and information available, and gathered insights from his associates about his personal life,” Kamal remarked, noting the multifaceted approach he adopted.

Kamal delved into the intricacies of his process, explaining: “You must have a certain level of intuition to understand human nature and the inner workings, the core of certain actions.” He expressed confidence in his ability to capture these nuances, enabling him to breathe life into the character of Wijeweera. Kamal’s meticulous examination of speeches, recordings, and personal anecdotes, combined with his intuitive understanding of human nature, allowed him to portray the emotions of the iconic figure accurately.

Opining that he went beyond mere imitation, Kamal asserted: “I believe I did the role justice, as it was not a mere imitation of that character.” He emphasised his dedication to grounding the character in reality, showcasing his commitment to a profound and authentic portrayal of Wijeweera.

How important is education? Kamal remarked: “I started my career in college, where I had the opportunity to learn acting from an academic lens. It was not just about acting in short spells but in a very systematic and technical manner. I learned how to characterise any role analytically, engaging in a character study. I believe I learned how to embody another’s truth and place myself in their shoes.”

Acknowledging the pivotal role of appearance, makeup, and costuming in the transformation into a character, Kamal emphasised: “I resisted going to the set until I was absolutely satisfied with the way I looked and confident that I resembled him. I didn’t go to the set on the first day of shooting until I believed my physicality was as close to his look as possible.”

Addressing the transformation process, Kamal clarified that, while not relying on prosthetics, his physical change had been achieved through simple yet impactful tweaks, with dentures playing a major role. Highlighting the importance of capturing Wijeweera’s distinct teeth, he explained: “I had the frame for it, his face structure. We were able to achieve that with the dentures and hair; the dentures really did the magic.”

Kamal detailed the meticulous efforts put into his physical transformation, spending nearly three-and-a-half to four hours in the makeup chair before shooting each day – a routine he maintained for the next two to three months of filming. He acknowledged the challenge of having an artificial element in his mouth constantly, but believed this transformation brought the necessary synergy to make the character truly believable.

A much-awaited accolade

Reflecting on the recognition received for his role and the film’s achievement in winning the ‘Best Film of the Year’ award, Kamal expressed deep honour, underlining that it wasn’t the first time ‘Ginnen Upan Seethala’ had been nominated. The film had previously been nominated at the SIGNIS Telecine Awards in 2019 for ‘Best Film’ and Kamal for ‘Best Actor’. However, he revealed that despite the nominations, he had felt a lack of due acknowledgement for his role and the film at that particular award show.

Recalling an unfortunate incident during the SIGNIS Telecine Awards, Kamal shared a disheartening anecdote. When the nominees were announced, ‘Ginnen Upan Seethala’ was the only film that did not receive a brief clip demonstrating its content; the announcement was rushed through. This incident left Kamal with a sense of disillusionment, causing him to lose faith in the reception of Sri Lankan cinema. 

“They killed Rohana Wijeweera for the second time,” he remarked, expressing his disappointment with the perceived lack of recognition for both his portrayal and the film itself. However, with the Presidential Award, he said that he highly appreciated what had been done in awarding such a polarising character in political history as Wijeweera, especially given the current political context and its relative instability.

Expressing his satisfaction with the recognition received at the Government-sponsored awards, Kamal remarked: “I am happy to see that despite being a Government-sponsored award, they were able to put political differences and prejudice aside to recognise art.” He emphasised that the acknowledgement of performance and dedication to the craft was a commendable aspect, attributing all credit to the Sri Lanka Film Corporation for fostering such an environment.

The Presidential Awards: Empowering the film industry

At the Presidential Awards ceremony, the President himself outlined plans to establish a Public Entertainment Diversification Board, replacing the Public Performance Board. In doing so, he highlighted the significance of removing the term ‘censorship’ from artistic creation, signalling a commitment to fostering an environment that encourages artistic expression without undue constraints.

Addressing the challenges faced by artists under various criminal laws, the President proposed a programme where films and television productions would undergo Classification Board scrutiny before enforcement, with the intention of implementing these measures starting next year.

Reflecting on this, Kamal stated: “To be honest, there is a lot more to be done to resurrect this industry. If we are looking at advancing Sri Lanka, censorship and establishing boards are secondary.” 

Emphasising on the need for a more comprehensive approach, Kamal highlighted the importance of prioritising proper infrastructure to support filmmakers, performers, and technicians, sharing that addressing censorship matters should not overshadow fundamental needs. He spoke on the necessity of establishing a robust foundation, including a system of education within the industry. Noting the absence of a school of arts providing an educational beginning to filmmaking, he remarked: “To this day we don’t have a system that provides an educational beginning to film.” Prioritising these foundational elements, according to Kamal, is crucial for the advancement and revival of the Sri Lankan film industry.

Expressing pride in his educational background and technical qualifications, Kamal stated: “I can say this with confidence because I am proud to have had that educational background and technical qualification. It is unfortunate that the majority of the industry are unable to say this and we do not readily have the opportunity to acquire that technical and qualified background.”

Emphasising on the paramount importance of the script in the film industry, Kamal quoted legendary British filmmaker David Lean, stating: “In this industry, the most important thing is your script. David Lean has said that the screenplay is 75% of your film and that is absolutely true.” He shared his experience during the five-year gap following ‘Ginnen Upan Seethala,’ revealing his pursuit of projects but lamenting the challenge of finding a script that met the criteria of being truly worthy and impactful.

Future of cinema; then and now

Inquiring about the evolution of cinema from the ’80s, when Kamal initiated his illustrious career, to the present day, we sought to understand if a comparison between the two eras was feasible. Kamal acknowledged the dramatic changes in cinema, particularly in the technical aspects, with the shift from film to digital filming. This transformation extends beyond cinema, encompassing television as well, providing the industry with greater flexibility to generate more content.

However, he pointed out the flip side of this technological advancement – the proliferation of cheaper and more frequent productions that may lack meticulous care. Kamal reflected: “I think the audience has also come to have certain expectations because they are exposed to multiple media from around the world and they are unable to realise that Sri Lanka is a small industry and there’s a limit to the nature of productions that we are able to produce.” The global exposure has shaped audience expectations, sometimes challenging the industry’s capacity to meet those expectations within its constraints.

Reflecting on the evolution of the film industry, Kamal noted a stark contrast in the treatment of actors and technicians between the past and present. In the past, there was better remuneration for actors and the technicians were well looked after. However, the current trend of mass production has led to a shift where many are paid a day rate and individuals are sometimes treated akin to cattle. The pace of production has accelerated, with 20 scenes completed in a day, resulting in outrageous working hours for the cast and crew.

Considering the future of cinema, Kamal expressed a nuanced perspective. He abstained from blind optimism but avoided undue pessimism. He believes that addressing industry issues with proper solutions could lead to improvement. Yet, he acknowledged the economic challenges the country faced, making it difficult for the industry to flourish when people lacked disposable income.

Kamal also addressed the cultural aspect, expressing the importance of a society that appreciated literature and the beauty of art, particularly in constructing a well-narrated cinematic experience. However, he lamented the current turmoil in Sri Lanka, stating: “Sri Lankans are in turmoil; they do not have the opportunity to better themselves spiritually.” He asserted that stabilising the situation lay in the hands of the Government, providing the people with the chance to immerse themselves once again in the wonders of art and cinema.

PHOTO SAMAN ABESIRIWARDANA