{"id":241263,"date":"2025-03-17T00:48:10","date_gmt":"2025-03-16T19:18:10","guid":{"rendered":"https:\/\/www.colombotelegraph.com\/?p=241263"},"modified":"2025-03-27T05:08:00","modified_gmt":"2025-03-26T23:38:00","slug":"film-review-rani","status":"publish","type":"post","link":"https:\/\/www.colombotelegraph.com\/index.php\/film-review-rani\/","title":{"rendered":"Film Review: R\u0101ni"},"content":{"rendered":"

By\u00a0Ajith Rajapaksa<\/a>\u00a0\u2013<\/strong><\/span><\/p>\n

\"\"

Ajith Rajapaksa<\/p><\/div>\n

On March 9th, I watched R\u0101ni, the latest film by Ashoka Handagama<\/a><\/span>, at Hoyts Chadstone in Melbourne. The theatre was packed with film enthusiasts, and I approached the screening with an open mind, despite having read numerous reviews in the preceding weeks.<\/p>\n

As a cinema lover, I found R\u0101ni\u00a0to be a powerful and masterfully executed work. The criticisms levelled against it by so-called critics seemed largely unfounded, often reading more like personal attacks or intellectual posturing rather than well-reasoned critiques. Some even attempted to discredit Handagama by linking his film to his hometown, school, class background, and profession; criticisms that had little relevance to the artistic merit of the film itself.<\/p>\n

Controversy and Criticism<\/b><\/span><\/p>\n

A major point of contention was whether the film misrepresented or tarnished the real lives of Dr. Manorani Sarawanamuththu and her son, journalist Richard de Zoysa<\/a><\/span>. Some critics took issue with Rani<\/i>\u2019s depiction of alcohol consumption and smoking, arguing that these elements distorted the characters. Additionally, one critic accused the film of attempting to absolve former President Ranasinghe Premadasa of Richard\u2019s murder, suggesting it could serve as political mileage for Sajith Premadasa. Others speculated that the film\u2019s producer, Subaskaran Allirajah of Lyca Mobile, had planned its release during an election period for political reasons.<\/p>\n

Further criticism focused on what some perceived as Handagama\u2019s reluctance to directly criticize the state, pointing to the absence of overt references to the military, police, and religious institutions. Another key debate revolved around the film\u2019s ambiguous ending, which some argued implies that Richard\u2019s murder was the work of intoxicated thugs rather than a state-sanctioned act. Critics like Bupati Nalinda have questioned: Who ultimately benefits from this film?<\/i><\/i><\/p>\n

Blending Reality and Fiction<\/b><\/span><\/p>\n

It is evident that R\u0101ni\u00a0is a fusion of reality and fiction, incorporating documentary-like elements, a technique commonly used in artistic works inspired by real events. Even if characters such as Lalith, Mahinda, and Mangala had been given fictional names, audiences would have inevitably speculated about their real-life counterparts.<\/p>\n

The performances were outstanding, with Swarna Mallawarachchi delivering an exceptional portrayal of Rani. Both the film\u2019s artistic quality and narrative structure deserve high praise.<\/p>\n

Even if the real-life Dr. R\u0101ni was not an excessive drinker or smoker, I do not believe the film portrays her unfairly. These elements serve a deeper symbolic purpose, illustrating the relative privilege and autonomy of upper-middle-class Sri Lankan women compared to others. Richard is depicted not only as Rani\u2019s son but also as her closest confidant, someone with whom she can openly discuss anything, sharing drinks and cigarettes. These recurring symbols highlight the immense psychological strain the characters endured rather than serving as character defamation.<\/p>\n

While R\u0101ni\u00a0primarily focuses on its titular character, it also offers a broader commentary on her social class, a class largely detached from political violence until it directly impacts them.<\/p>\n

Depicting State Terror<\/b><\/span><\/p>\n

The film makes it abundantly clear that Richard\u2019s abduction, along with other killings and disappearances of that era, occurred with the knowledge and involvement of politicians and the state. This is particularly evident in a conversation between Rani and her servant after Premadasa\u2019s assassination, where Rani openly acknowledges this fact. The public\u2019s celebration of Premadasa\u2019s death reinforces the idea that those in power eventually face consequences.<\/p>\n

Whether or not politicians explicitly ordered these killings is irrelevant, what matters is that they happened at their behest, a reality widely accepted by society. The film does not need to spell this out explicitly. It also symbolically addresses the brutal assassinations carried out by so-called \u201cpatriots.\u201d<\/p>\n

Since R\u0101ni\u00a0focuses on personal experiences rather than broad political dynamics, it does not deeply analyse the ideological forces that fuelled the violence from both the state and its opposition. Criticisms on this front may not be entirely justified.<\/p>\n

The film\u2019s final scene effectively captures the chaotic and unpredictable nature of the assassination culture of that era. Life was fraught with danger, and people often had no idea where threats were coming from. That\u2019s how deeply embedded death squads were in society. In the closing moments, a group of intoxicated men leaving an elite\u2019s mansion casually discuss Richard de Zoysa, barely acknowledging him as more than a nuisance. A high-profile figure whose identity remains deliberately ambiguous refers to him dismissively as a troublemaker.<\/p>\n

It doesn\u2019t matter who<\/i> this elite figure is. The film subtly clarifies that it is not Premadasa by portraying him as a heavy drinker, something inconsistent with Premadasa\u2019s public persona as a disciplined leader. It could be someone like Ranjan Wijeratne, but ultimately, the specific identity is unimportant. What matters is that the film illustrates how assassinations were sanctioned within this system. The political establishment not only activated state repression but also enabled it through legal mechanisms. No one in power is absolved of responsibility.<\/p>\n

Additionally, the film does not need to explicitly depict assassins in uniform to establish their connection to the state. Many of the killings of that period were carried out by unknown death squads. However, R\u0101ni\u00a0does depict state complicity, when her son is abducted, Rani recognizes one of the perpetrators as a uniformed police officer. Later, when she reports this, she receives a death threat from the police itself, under the guise of a message from \u201cpatriots.\u201d This makes it undeniably clear that state forces were involved. For this reason, I find the criticisms against the film to be weak and unfounded.<\/p>\n

Final Thoughts<\/b><\/span><\/p>\n

I do not know what motivated the producer of R\u0101ni to finance this film, nor do I care about his personal sincerity or integrity. What matters is the film itself. The suggestion that Handagama created R\u0101ni\u00a0to serve a political agenda feels like an overreach.<\/p>\n

The film vividly portrays the brutality of politics, its cruelty, and the way even well-intentioned individuals become tools of the system. As R\u0101ni suggests, whether knowingly or unknowingly, everyone becomes entangled in this political machinery. Despite knowing that she is being used by the opposition, R\u0101ni does not reject the movement for political change. She asks, \u201cWhat alternative do we, the mothers of the disappeared, have?\u201d<\/i><\/i><\/p>\n

Recent history has seen multiple political upheavals fuelled by similar injustices. Yet, the tragic reality remains, these changes in power have only driven the country further into chaos rather than leading to meaningful progress.<\/p>\n","protected":false},"excerpt":{"rendered":"

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