- A breakthrough in the Sri Lankan teledrama field
Jagath Manuwarna’s debut teledrama direction Kodi Gaha Yata concluded last Sunday (19). The drama was a powerful production, telecast on a local TV channel but also drawing a significant audience on YouTube and social media. Its content was daring, addressing both mature and young adult audiences simultaneously. It sparked extensive discussions in society, touching upon contemporary social, political, sexual, and psychological issues. The humane approach of the creators allowed audiences to engage without judgement, empathising with the characters’ experiences.
Kalu, Shani, and the issues of the LGBTQI+ community
Nalin Lusena’s portrayal of Kalu was particularly impressive, adding vibrancy to the drama. The drama deviated from the typical representation of LGBTQIA+ individuals in local productions, where they are often limited to comedic roles that ridicule their sexuality. Kalu represented a pivotal figure in the LGBTQIA+ community as a non-binary person, addressing the challenges faced throughout their life journey.
Misunderstood by their mother, unable to connect with siblings, and facing rejection in childhood friendships, Kalu’s character shed light on the struggles encountered by many non-binary individuals in Sri Lanka. A poignant moment occurred during a visit to their mother, afflicted with dementia, where Kalu expressed the pain of being misunderstood by one’s own parent – a significant struggle in a society where awareness of gender identities remains limited, and non-binary identities are not widely accepted.
Under Manuwarna’s direction, Kalu’s character attempted to challenge this perception. In an episode where Kalu’s co-worker, Shani – a transgender individual – faced harassment from a man seeking sexual favours, Kalu intervened. A powerful dialogue ensued, striking a chord with the audience. When the offender insulted Kalu using a typical Sinhala slur aimed at non-binary individuals, Kalu confidently affirmed. “Yes, I am such.” Then, they posed a moving question, “But do you call yourselves men? Try to embody humanity before claiming manhood.” This dialogue highlights several critical aspects – the need for respect towards the LGBTQIA+ community as deserving of equal dignity, highlighting societal constructs that unjustly look down upon non-binary individuals without valid grounds, and the broader confusion within society about what defines genuine human qualities.
The portrayal of Shani by transgender actress Reena de Silva ignited conversations about transgender experiences. Her exceptional acting, especially in non-verbal communication, resonated deeply within the drama. Manuwarna deserves acknowledgement for fostering a non-judgmental dialogue on the sensitive aspects of the LGBTQIA+ community.
Transgender actress Reena de Silva sparked widespread discussions through her portrayal of Shani in the drama, making her journey as a transgender individual more accessible to the general audience. Her performance not only captivated audiences but also allowed them to explore the genuine experiences of a transgender person. This exposure extended beyond the drama, resonating across mainstream and social media platforms that explored her personal journey. De Silva’s commendable acting skills, particularly in her use of non-verbal communication throughout the series, added depth to her character.
Asela, the good apple turned bad
Examining the character of Asela, portrayed by Xavier Kanishka, reveals another cross-section of the country; the lost youth arriving in Colombo from rural areas, dreaming of better lives but trapped by the cruelties of the urban world. His character evolves from a helpful, innocent mechanic in the apparel sector to becoming “Juki Asela,” portrayed by the media as an underworld thug. The drama meticulously portrays the transformation of his character and highlights how the society he encounters is culpable for this change.
Initially an innocent mechanic, he eventually falls victim to circumstances and is falsely implicated in a robbery after pointing out a mistake in the factory machinery to his manager (played by M. Safeer). Subsequently jailed following this incident, Asela encounters various personalities labelled as criminals in remand prison. He unwittingly becomes entangled in actual criminal activities, representing aimless youth without proper guidance, forced into unfortunate circumstances for mere survival.
The drama sheds light on the creation of underworld criminals through Asela’s character, emphasising that a thug is not always inherently born as one. Similar to the parrot that fell among thugs in the Sattigumba Jatakaya, Asela’s prison experience fundamentally alters his life, seemingly granting him licence to resort to unlawful means of solving personal problems. This portrayal meticulously explores the unseen narrative behind the making of a criminal and raises the question: Are thugs not born but made?
Mahesh’s complex nature
Mahesh, portrayed by Jagath Manuwarna himself, may be the most complex character in the drama. He embodies childhood trauma, having been abandoned by a mother seeking a better life, while being left with a father who hopelessly awaited Mahesh’s success, hoping it would bring his mother back to improved circumstances. Mahesh’s aggressive job as an undertaker for a vehicle leasing company, tasked with repossessing vehicles, juxtaposes his aggressive nature with a compassionate and understanding demeanour, particularly in family matters. Additionally, subtle hints of mental health issues surface as he grapples with hallucinations of his deceased father, making his character enigmatic and difficult to comprehend. Towards the show’s conclusion, it evolves into a battle within his own conscience, revealing that engaging in criminal activities doesn’t mean he’s willing to descend into every degrading task presented to him.
His imprisonment following a murder, initially forced upon him, calls into question his inherent criminal nature. It’s uncertain whether he possesses a predisposition for such actions or if his environment nurtured these tendencies, despite his mother’s strong desire to remove him from that environment. Undoubtedly, he emerges as the most intricate and challenging character to understand throughout the drama, yet undeniably crucial to its essence.
Is Jeevani wrong?
Nadeesha Hemamali’s portrayal of Jeevani sheds light on an issue rarely openly discussed in society. Jeevani left behind a more comfortable life to marry Mahesh and adapt to a different lifestyle. Her youthfulness and beauty sometimes become problematic, especially when she’s alone with her child while Mahesh is incarcerated. In Mahesh’s absence, his friend Piyal, a young tuk-tuk driver portrayed by Randika Goonathilaka, is entrusted with caring for Jeevani and the child. However, this arrangement leads to an intimate relationship between Piyal and Jeevani. While society heavily criticises a married woman succumbing to adultery, the drama adeptly explores the dire needs for security and fulfilment of young women left behind by their husbands due to various circumstances.
Piyal and his family
Piyal’s mother’s strong reaction to the relationship between Piyal and Jeevani vividly portrays the disappointments and concerns of a single mother, played by Dilhani Ekanayaka, who dedicated her life to her children’s survival without seeking solace from another man, despite her husband’s inability to commit to a faithful relationship. Both Dilhani Ekanayaka and Randika Goonathilka delivered brilliant performances, significantly enhancing the drama’s quality. Piyal’s sister, portrayed by Tharindi Fernando, and Piyal himself contribute to discussions about the struggles faced by Sri Lankan youth; gaps in education, relationship choices, lack of guidance, financial difficulties, job insecurity, and social recognition issues prevalent among the lower and lower-middle economic classes. This portrayal sensitively depicts family dynamics and the hardships encountered by this demographic.
Politics and religious extremism
The central plot of the story delves into a significant political and societal issue; the involvement of religious leaders in the country’s political decisions, sometimes unnecessarily, altering the interpretation of reported issues. This discussion is imperative as the country has a history of crucial incidents being misinterpreted or diverted due to the involvement of various parties. It sheds light on the ongoing challenges faced when religious influence impacts political matters, a pertinent issue requiring attention and discourse within society.
In conclusion, Jagath Manuwarna’s Kodi Gaha Yata emerged as a successful narrative that seamlessly blended entertainment with substance. The drama not only captivated audiences but also introduced songs that resonated with the storyline, aside from the theme songs. Particularly, Salli by Sarith and Surith, and Kanaththa Para by Arjumaan quickly gained popularity, becoming instant hits. This phenomenon underscores the Sri Lankan drama audience’s eagerness to embrace quality content.
One major point overlooked in the drama’s portrayal of societal issues was how it hinted at the possibility of Kalu being infected with HIV. Upon this realisation, Kalu becomes emotionally withdrawn, and the drama unintentionally conveys the idea that HIV is inherently fatal. Historically, before effective treatments were available, HIV/AIDS was often considered fatal.
However, despite being incurable, the world has progressed to a stage where medication plays a crucial role in controlling HIV. Given the drama’s success in delivering impactful messages, it could have explored this aspect as well. The depiction of Kalu’s potential HIV infection could have been an opportunity to shed light on the advancements in HIV treatment and management.
Overall, the year 2023 proved to be a significant period for Sri Lankan dramas, showcasing several genuinely compelling and promising shows. This surge of commendable productions demonstrates the evolving landscape and growing potential within the Sri Lankan drama industry.
(The writer is a mental health professional and has, over the past 10 years, contributed to several Sri Lankan media publications in both English and Sinhala languages, focusing on topics related to psychology and counselling)