By Gaya Nagahawatta –
Prasanna Vithanage returns to hilly terrain, its misty mountains and cold climes in this ‘Sri Lankan-Indian co-produced drama film’, Paradise, 2024. We remember Oba nathuwa oba ekka (With You, Without You), 2012, where the backdrop was also in an Up Country setting, as we sit down to experience his latest feature film. Reminiscent of Oba nethuwa, we also see Vithanage returning to Indian actors–this time the key protagonists are both from India and they form the visiting tourist couple (Kesav and Amritha), in the film. Interestingly, Sri Lankan actor and key protagonist from Oba nethuwa oba ekka, Sharm Fernando, is the tourist guide-cum-driver in Paradise too, forming the threesome that push forward the story, apart from how the film starts with. Starting off as fellow travellers on a journey, Sharm Fernando as Mr Andrew the chauffeur, also remains at the end of the film, alongside Amritha, the surviving member of the Indian couple.
Within the confines of the film, the Indian couple is visiting Sri Lanka as tourists, during the time, in reality, of the economic and political crisis within the country, with many hardships amidst fuel shortages and other situations of constraints in travel, access to food and daily necessities for almost all Sri Lankans. With the unprecedented fuel crisis, finding a working vehicle running on fuel, for round trip travel involving the ‘Ramayana Tour’ with its 50-plus destinations situated on a rather extended radius would have been quite a task, not to mention the exorbitant prices and extended time frames it would have involved, given the addition of fuel queues to any itinerary.
‘Paradise’ is a term used for Sri Lanka, in promoting the island as a tourist destination, in ancient lore and also in modern marketing and propaganda. However, this cliched term does not evoke a sense of irony nor does it align with its touristic underpinnings, in relation to the cinematic experience of this film and the violence generated out of the characters’ actions.
As the driver correctly states in translating for the tourists, they are ‘adding fuel to the fire’, through their many actions in the film. Firstly the tourist couple happily go on a ‘hunting experience’, as it is a rare ‘opportunity’, as Kesav states. However at the last minute, this highly illegal act of killing a sambar deer named a vulnerable species, as also very openly stated by Mr Andrew, is thwarted by Amritha, seemingly, suddenly coming to her senses about the violence involved. Later we see a remote police station where the sergeant is happy to take the word of a visiting brown-skinned tourist (who is himself hesitant), as proof of theft and batters three young men from the surroundings, leading to the death of one later on in hospital. We also see the Indian couple sitting next to the room where the battery takes place, seemingly ignoring the proceedings that are within earshot. The possibility that they may be divided in opinion has no bearing, as they continue to sit, motionless, silently endorsing the atrocities committed by the authorities.
The main language of the film can be stated as English, with whatever that transpires in Sinhala being translated into English for the benefit of the Indian couple, and other languages as Malayalam or Tamil also being available through subtitles. It is interesting to see this mix of languages, although we do not feel that a lot of the utterances are particularly informative, nor are they articulated in a manner that captures human speech in its varied and nuanced forms.
With the focus on an Indian couple as the main protagonists, another exotic inhabitant, a male sambar deer (goona in the vernacular) forms an interesting addition to the line up of characters, as Sri Lanka in crisis is explored with a vacation gone terribly wrong. However, the potential this animal could have offered within the visual landscape is only explored sporadically and unconvincingly, within the story that unfolds.
Kesav who is happy that his wife has been ‘married to him for five years’ ‘escapes’ to Sri Lanka, while awaiting the verdict of his pitch to a U.S. company. He would rather receive his news of victory from afar, rather than having to face rejection, yet another time. He is also fine to withhold the information of having won the bid from his larger team in India, while promising the U.S. partners that the team is ‘ready to start work tomorrow’ once the details are sorted. Kesav has constantly been this way, it is clear to us. Vithanage establishes the selfishness of this breed of men, early on, with the delusive hunting expedition. Entering a remote hotel after traveling for an extended time, it seems one can ask for meat and then go kill animals illegally to get your meat dish to accompany that immediate meal. Not to mention that the comically named Shree (Sumith Ilango), at these pre-booked lodgings was under the impression that the couple were not meat-eaters.
Built around the tourism industry surrounding the Ramayana tour, the Indian couple take a four-wheel Range Rover to arrive Up Country, after escaping the riot-ridden main city. For a husband pursuing ‘money, money, money’, the nuanced tale of the Ramayana seems nothing more than a scenic distraction. Not exactly compatible with their luxury SUV, they stay in a very isolated ‘hotel’ with just one waiter-cum-caretaker-cum-aide, fulfilling all roles including and as depicted, possibly also the hunting to lay food on the table. Only just another cook makes up everyone who is ever at these lodgings. Then again, his prowess as a cook seem rather limiting, given the dishes that adorn the table, continuously.
The isolation of a tourist couple in the hilly terrain is so complete that the thieves too feel the need to threaten the sleeping pair before robbing them of various electronic gadgets, instead of taking advantage of the ‘open window’ and thieving away with the stolen bounty.
From the mannerisms of the couple we see from the start, theirs is a relationship that has no spark or driving force. The spirituality of a Ramayana Tour is hardly the thing to revive any such affections, that may not have been there in the first place. The present moment in their relation is further clarified with the isolation of the champagne bottle episode, and the candle-lit romanticism that cannot seem to evoke such feelings, in its visual portrayal.
As the plot develops we see the entry of veteran actor Mahendra Perera as Sergeant Bandara. However, given the narrative and the overall portrayal of the Sri Lankan police force as unable to decipher much and conduct an unbiased investigation into a fairly straightforward theft, his act becomes quite restricted.
While the police force seems unable to provide solutions to the locals and to visitors, the Indian tourists also seem to have no knowledge of finding safe lodgings, safeguarding their valuables, projecting a complaint and its investigation in a plausible manner, and finally, ensuring that things go right so that they can get back to their lives, unscathed, one would hope, after a happily-spent holiday.
At the end of the film, the presentation of the statements by the different parties from the scene of the crime, seems oddly arranged, cinematically, with a doorway displaying each person in profile. After this rather unattractive visual sequence, we see the departure of the Indian national in a private vehicle, just chatting up with the driver, while so much is lost in her life. It should be noted that if the character of Amritha, with her last-minute saving of the sambar deer and all other shows of affection mean anything at all, this moment should place her in a dire state, as a human being. However, it is more than that, as she will need to return back to her home-country, in a widowed state. On the other hand, whether voluntary or involuntary manslaughter, it is hard to imagine a person who had fired a gun being allowed to leave as they please, given the result of that gunshot. Not to mention an Indian national not siding with their own, on a spiritual tourist visit of perceived celebration.
It is wonderful to have collaborations with India and movie-making that brings together Sri Lankan talent, alongside that of neighboring India. Vithanage has achieved much in garnering such support. Film-goers would also benefit from such partnerships, with enlightening and immersive cinematic experiences.
