- Saving Sri Lanka’s forgotten films
In the realm of Sri Lankan television and cinema, the watermark ‘Ti.Na’ often denotes films rented from the film archives of the late Tissa Nagodavithana – a pivotal figure in the country’s film preservation landscape. Without his dedicated efforts, many of Sri Lanka’s cinematic treasures would have succumbed to decay and neglect.
Nagodavithana’s private estate stands as a testament to his passion for safeguarding the nation’s film heritage, preserving films that might otherwise have been lost forever due to the country’s historical lack of investment and interest in preservation.
Recently, the concept of film preservation has gained renewed attention, particularly in light of the irreversible loss of some of Sri Lanka’s earliest films due to neglect and disinterest in preservation efforts.
Despite these challenges, there is a growing movement among various entities, including private initiatives, to step forward and take proactive measures to preserve Sri Lanka’s rich cinematic history. This resurgence in interest underscores the importance of preserving cultural artefacts and highlights ongoing efforts to ensure that future generations can access and appreciate the legacy of Sri Lankan cinema.
Continuing the legacy
Given that Nagodavithana was the foremost figure in film preservation in Sri Lanka, The Sunday Morning Brunch reached out to his son, Haren Nagodavithana, to discuss ongoing efforts to preserve Sri Lankan cinema following his father’s passing.
Speaking about their continued efforts and their family’s commitment to Sri Lankan cinema, Nagodavithana stated: “My father initially began preserving Sri Lankan films as a hobby and for the past two decades, there has been limited interest in this endeavour, particularly from the State. He was a filmmaker himself and had a deep passion for cinema, which led him to acquire the rights to these movies from their producers. As children, witnessing this process was special and instilled in us a sense of responsibility to continue his legacy.”
He continued: “Despite sometimes having only the reels, our motto remains steadfast: to preserve these films for future generations. Fortunately, in recent years, the State has recognised the significance of film preservation. Some films from our archives, particularly those in the 35 mm format, which constitute only 10% of our collection, have been entrusted to the National Film Corporation (NFC) archives for restoration and preservation.
“These films are prone to erosion and decay, requiring meticulous restoration and digitisation efforts. Handling 35 mm film is a delicate task due to its nitrate content, which can combust with slight temperature changes, necessitating controlled environments with humidity control and regular rewinding.”
Nagodavithana further emphasised: “It’s a significant responsibility and we are pleased that the State has stepped forward to undertake this task through the NFC archives.”
National Film Corporation perspective
NFC Chairman Deepal Chandrarathna also shared his insights into the corporation’s efforts in film preservation with Brunch.
“The NFC has reached an agreement with the National Archives to digitise some of these 35 mm films and undertake preservation efforts for others,” he explained. Chandrarathna highlighted the challenges involved in locating original tapes, noting that some had been irretrievably lost, while securing rights from producers for others had proven difficult. Despite these obstacles, he expressed satisfaction with their progress since these initiatives began.
“This renewed interest in film preservation has been particularly noticeable since 2016, when the film ‘Rekava’ celebrated its 60th anniversary. This milestone sparked a renewed commitment and dedication to film conservation. Efforts have also been made to restore films that have suffered degradation over time.”
Chandrarathna also acknowledged the impact of historical events on film archives. “During events like Black July, certain archives were destroyed, complicating efforts to identify rightful owners and original sources,” he stated. “Unfortunately, many films have been lost to us. Despite these setbacks, there is now a growing interest in and commitment to preservation, and I am optimistic that with continued efforts, we can develop a comprehensive plan for conservation.”
The French restoration project
NFC Marketing/Production and Research Division Department Head Deeptha Bandara shared details about an ongoing collaboration with the French Embassy on a film conservation project.
“There is currently an ongoing French film conservation project,” he explained. “This initiative arose due to the historical lack of State interest until recent times. We took the initiative to propose this project to the French Embassy. It was made possible through the efforts of Vilasnee Tampoe-Hautin who has studied in France and who was instrumental in building the relationship between us and the embassy for the digitisation and conservation of Sri Lankan films.”
This collaboration highlights the proactive steps being taken to preserve Sri Lanka’s cinematic heritage through international partnerships, emphasising the importance of external support in bolstering local conservation efforts.
Bandara further disclosed that in collaboration with Tampoe-Hautin (who herself was born into a family of Sri Lankan filmmakers, with her father Robin Tampoe and grandfather W.M.S. Tampoe each having played pioneering roles in building Lankan cinema), they had successfully piqued the interest of the embassy regarding the restoration and preservation of selected films.
“We were able to ignite some interest at the French Embassy,” he stated. Regarding the restoration process, he highlighted the existence of software capable of mitigating decay on some of these reels, although he noted that it was a costly endeavour. The embassy has demonstrated a keen interest in undertaking this effort.
Bandara added: “So far, a total of 10 films have undergone digitisation through this method, with three being State-sponsored projects and the remainder being independent initiatives.” This partnership also highlights the significance of international cooperation in advancing film preservation technologies and practices, contributing to the conservation of Sri Lanka’s cinematic heritage.
Bandara emphasised that with the support of the French Embassy, they had identified four films from the 1970s and 1980s considered at high risk of decay or destruction. He outlined the operational framework of the project, stating: “The French will be funding this initiative, while India’s Film Heritage Foundation (FHF) will handle the actual service provision. The FHF is an organisation dedicated to film restoration and preservation.”
FHF Director Shivendra Singh Dungarpur visited Sri Lanka on 21 March to assess the feasibility of conserving the proposed films. The films identified for preservation include H.D. Premaratne’s ‘Sikuruliya’ (1975), Vasantha Obeysekera’s ‘Dadayama’ (1983), Titus Thotawatte’s ‘Handaya’ (1979), Sumitra Peries’ ‘Gehenu Lamai’ (1978), and Yasapalitha Nanayakkara’s ‘Thushara’ (1973).
Further preservation efforts
Bandara highlighted that the films selected for restoration were already available in the NFC archives. He emphasised the challenges in identifying films suitable for restoration, noting that many films had been entirely lost over time. The main criterion considered was the availability of original copies.
Following Dungarpur’s visit to assess the feasibility of restoring these films, he had also inspected the Sarasavi Studio in Dalugama, Kelaniya, where some negatives and positives were archived.
Bandara said: “Unfortunately, for many of these films, we couldn’t locate the negatives, but we managed to find the positives.” These positives have been sent to India for further evaluation, and Bandara anticipates receiving feedback within two to three months regarding the feasibility of proceeding with the restoration process.
He also identified the films that had already undergone digitisation, such as ‘Bambaru Avith’ from 1978, which was recently fully digitised and screened at PVR Cinemas. Additionally, the digitisation process of ‘Ahas Gauwa’ from 1974, managed by the Asian Film Archive in Singapore, is currently 90% complete.
Bandara highlighted additional preservation efforts, including a collaboration with the International Federation of Film Archives (FIAF) from Belgium. He explained: “In collaboration with the FIAF and the FHF, a workshop was conducted in 2018, aimed at what we would call a rescue mission. It was a weeklong effort to rescue certain reels that were at high risk or already suffering from decay, conducted in Dalugama.”
He also expressed his sentiments on international involvement in film preservation, stating: “You may not hear much of the efforts by other countries to preserve films. I think it’s unfortunate that it took Sri Lanka so long to realise the importance of preserving our film heritage. Preserving this heritage is a significant indicator of a civilised society. Regardless, I am pleased that progress is being made, albeit belatedly.”
These efforts underscore the collaborative international efforts and the growing recognition of the cultural and historical value of Sri Lanka’s film legacy.