By Randima Attygalle
Silindu, Anton, Goring Mudalali, Wannihamy, Saraiya exist not on silver screen but in hamlets, thoroughfares and seashores. The temperaments of all such men in one man’s journey is hard to fathom. Yet, standing above all men he had brought to life on the screen colossal, Joe Abeywickrama reveals to The Nation, many a ‘scene’ away from the camera…

“Customs, rituals and lifestyles of villagers comprised a university where I received my fundamental education in life. They unconsciously mixed with my blood, which in turn enriched the actor in me. During the harvest season, there was so much of festivity in the village and at the same time unity. Men used to join in the chorus of the goyam kavi sung by women. Whenever there was a family grievance, neighbours used to rush there. Thovil, gam madu, bali yaga all contributed to my informal education on life. Adaptability and patience are two vital ingredients in acting and these were naturally cultivated in me by my childhood surroundings.”

Q: What ‘role’ does your childhood-surroundings in Ratnapura play in becoming the legend you are?
A: The view of Siripada, streams nourished by its fountains, dust and soil of Ratnapura, its common folk and their rich values enriched my life as a man and then 85my cinematic journey. Dialects, human expressions were no new experience for me on the screen as they were part of my everyday existence. This is a universal truth. Wherever in the world, every successful artiste’s foundation is built up with the materials from his or her childhood. From my ancestral home in Lellopitiya to my alma mater, Sivali Central College, in Ratnapura, I used to walk seven miles daily. Today’s children will find it a real vishwakarma but for us it was part of daily routine.
Customs, rituals and lifestyles of villagers comprised a university where I received my fundamental education in life. They unconsciously mixed with my blood, which in turn enriched the actor in me. During the harvest season, there was so much of festivity in the village and at the same time unity. Men used to join in the chorus of the goyam kavi sung by women. Whenever there was a family grievance, neighbours used to rush there. Thovil, gam madu, bali yaga all contributed to my informal education on life. Adaptability and patience are two vital ingredients in acting and these were naturally cultivated in me by my childhood surroundings.
Joe Abeywickrama had never seen a single cover of a book on acting nor can he still name such authority! His only authority is common man in society, his temperaments and surroundings. I have mingled with people from all walks of life and they have all taught me a lesson in acting. But critics of the caliber of Karanjiya once commented, “I am advising some of our actors to go to Ceylon and watch Joe Abeywickrama.”
Q: What events led you to explore cinema?
A: I knew the actor was always living in me although I did not have any notable experience even on stage as a youngster. Since our school closed at three in the evening, there was hardly any time for us to get involved in extra-curricular activities. Only those who lived closer to Ratnapura town were privileged to patronise nurthi and other theatre work which came to city. But even as a child of seven or eight years, I used to imitate people to the amusement of my school teachers. I was a keen observer of facial expressions and gestures. Other than that, I had no systematic training in acting. However I always had strong will power that I’d succeed in the field.
In late ‘40s, I came to Colombo and joined Sirisena Wimalaweera’s studio Nawajeewana, where I carried out basically office chores. However, employees and other acquaintances of Nawajeewana used to observe me and predict that one day I’d make a name for myself in the film industry. During this period, Nawajeewana used to screen films in make-shift tents and I was heavily involved in them when they came to Ratnapura town. After leaving Nawajeewana I came back home. By this time I had made sound contacts in film industry and was quite accustomed to the city life of Colombo as well. There was hardly any film at Regal, which escaped my eyes! During this time, through a contact of mine, I got a small role in the film ‘Devasundari’ which was not much of a success. At auditions, I was to read a script in which an army commander was giving instructions and naturally I screamed till the roof came down! (chuckles)
Meeting T. Somasekaran of Sujatha and Seda Sulang fame was a turning point in my life. Mr. Somasekeran was working on his movie Saradama and was looking for a person for the role of an eccentric police officer whose hobby was collecting ants! On recommendations of Florida Jayalath who was part of the cast, I was selected for the role. I was given all the freedom to portray it my way and I did justice to the character. Gestures came naturally to me. This is the juncture where I picked up the key to acting.
Q: You have made history as an actor who had a sudden yet an extremely successful transformation from a comedian to ‘character roles’. How did this transformation take place?
A: (Smiling) Even Lester James Pieris once questioned me, “Joe are you to create history?” because it is a very rare occurrence to adapt to these two extremes equally well, especially to win the admiration of the cinema lover. From a comedian to serious roles, I adapted myself like a duck taking to water. I never craved to be a comedian. What happened was when I did justice to one such role, the next director too expected the same, so that it became sort of a trade mark.
It was in Shesha Palihakkara’s Saravita, I made this deviation. But the radical transformation took place in D.B. Nihalsinghe’s Welikathara, in which I played the role of Goring Mudalali. This marked a milestone in my life as an actor. I am grateful to Nihal for standing by me and placing utmost confidence in me when so many had doubts and fear that I would distort the individuality of the character. Although it was a challenging endeavour, I felt very comfortable in the portrayal and did justice to it. The true test of a successful director is his ability to direct with subtle gestures and hand movements as opposed to harsh words and temper tantrums. D.B. Nihalsinghe is a living example for this. He stands behind the camera and directs only with hands. His ability to remain calm under pressure is amazing and I was one man who was blessed to have been inspired by him.
Q: What do you consider to be the milestones in your acting career?
A: Welikathara no doubt marked a milestone in my career. People identified Joe Abeywickrama in a different angle through this. Apart from that, Thunman Handiya and Siribo aiya are very close to my heart. Siribo aiya was an adaptation of Piyadasa Palansooriya’s (Sagara Palansooriya’s brother) novel and it was his wish that I play the role of Siribo aiya, if it was ever to be made into a film because he believed that I could do justice to the dialect and the context of the character, which no doubt I did. In Thunman Handiya I had to play a role similar to that of my father’s and it is undoubtedly one of my favourite roles.
Q: The presence of Joe Abeywickrama is a yardstick to assess a film. Your interpretation of a character and subtle facial expressions largely contribute to this. How did you master this?
A: What makes a veteran is his ability of adding ‘individual flavour or magic’ to whatever field he is in. If Ravi Shankar and someone else play the same tune on the same instrument, the impact is different because former is a master whose presentation is unique. It is the same with Latha Mangeshkar’s voice for instance. They are symbols or trade marks. It is the same with actors. If one wants to leave a mark as an actor, he should be capable of going beyond the framework of director, script and dialogue. He should be able to project individuality. The same word can be articulated in numerous ways. The meaning would be the same but the impact is different. Only your facial expressions and other gestures can make this difference. Dialogue and expression should always be in unison.
I have always had a knack for my own dialogues and interpretations. In Saradama for instance, I made changes to the original dialogues to give a more indigenous flavour so that the audience can relate to it immediately. Beddegama, Desa Nisa, Kolamba Sanniya and Pooja are some other instances where I introduced my own dialogues and interpretations. In Dharmasiri Gamage’s Pooja, I refused to utter a single word in the scene where the father, the hangman was supposed to hang his own son (played by Amarasiri Kalansooriya). I was given dialogues of two pages but I firmly believed that mere silence complemented by the father’s facial expressions charged by strong paternal love could make a stronger impact on the viewer and I succeeded.
A few gestures, few forceful words can do wonders, the same way an expert artist could give a facelift to a painting with one stoke of a brush. In Dharmasiri Pathiraja’s Bamaru Evith, in one scene where there is a heated argument between Anton, played by me and other Colombo lads (played by Vijaya, Vimal Kumara de Costa) I say, “thopi denaganing mama Lazarusge puthek” (you better remember that I am one of Lazarus’ sons) This was yet another dialogue of mine where reading in between lines suggests that, “if I am so fierce you could imagine what my father was capable of.” Then again in Sikuru liya where I played the role of a personal driver, I am seen digging the ground with a stick which is a common expression among people of that social standing. I gave a fresh twist to the comedy Kolamba Sanniya in which the toddy-filled radiator makes the car go zig-zag and digging of the well resulted in the bursting of under ground water lines! (chuckles)
I made a mark at a time when certain standard features like a head of curly hair, thin moustache and a strikingly handsome face were generally expected of an actor. My trademark is my expression and realism. A lot of world class actors are acclaimed not only for their physical attraction but attraction in portrayal. For instance people say, ‘Anthony Quinn is so beautiful in that picture’, because of his caliber of acting.
Q: What are your memories of your ‘contemporary legends’ of the silver screen?
A: I have so many treasured memories of many great men. D.R. Nanayakkara, Henry Jayasena, Gamini Fonseka and Tony Ranasinghe to name a few. Henry Jayasena is one actor who occupies a very special place in my heart. I was quite a fresher to the cinematic world at the time ‘Sri 296’ was produced and Henry Jaysena was quite an experienced actor. I still remember his words, “yako oya heti atha paya visi nokara katin kiyanna berida?” (Without throwing your arms and legs all over, can’t you express it in words) He is one man who inspired me with his sensitivity and subtle expression.
Q: Your adaptability to several eras is notable. How compatible are you with the present generation of actors?
A: I am not a moody man in the first place. I can laugh and cry at the same time if the moment demands it! Only actors or actresses who like variety can adapt to each era. If you are restricted only to one forte, the audience will get tired of watching you. I have portrayed a diverse range of roles and I feel quite comfortable with the new generation.
[The Nation extends its sincere thanks to Mr. Ariyaratne Ethugala for providing photographs from his compilation on Joe Abeywickrama. Pix copied by Nissanka Wijeratne]