Introduction
Chitral Somapala (born 13 March 1939 – 5 July 2019) was a Sri Lankan film director, screenwriter, and cinematographer known for his pioneering contributions to the country's cinema. His work spanned five decades, during which he directed over twenty feature films, several documentaries, and numerous television dramas. Somapala's oeuvre is celebrated for its realistic portrayal of rural life, social critique, and a distinctive visual style that blended neorealism with poetic imagery.
Early Life and Education
Family Background
Somapala was born in the coastal town of Negombo, located in the western province of Sri Lanka. His parents, K. N. Somapala, a schoolteacher, and M. L. De Silva, a homemaker, belonged to a modest yet literate family. From an early age, Chitral displayed a keen interest in storytelling, often narrating elaborate tales to his siblings using local folklore and myths.
Primary and Secondary Education
He attended St. John’s College in Negombo, where he excelled academically and developed a passion for literature. The college’s drama club served as his first exposure to stagecraft, and he participated in several school productions. In 1957, he secured admission to the Royal College, Colombo, a leading secondary institution, where he studied English, literature, and history. It was during this period that he began to experiment with short films using a 16‑mm camera borrowed from a friend.
University Years
In 1961, Somapala entered the University of Ceylon, where he studied the Faculty of Arts with a major in Sinhala literature. While pursuing his degree, he became involved in the university’s film society, organizing screenings of foreign films and facilitating discussions on cinematic techniques. His thesis, “Narrative Structures in South Asian Cinema,” was published in a student journal and garnered attention from academics and filmmakers alike.
Early Career
Assistantship with Pioneering Directors
After graduating in 1965, Somapala began his professional journey as an assistant cinematographer to R. S. Manamperi, a prominent figure in Sri Lankan film. During this apprenticeship, he worked on several commercial projects, honing his technical skills in lighting, camera operation, and set design. His work on the 1967 film “Sahasa Kanda” earned him recognition for his adept handling of natural light in outdoor scenes.
First Independent Projects
In 1970, Somapala directed his first short documentary, “The Weaving Women of Puttalam.” The film documented the lives of textile artisans in a remote village, earning praise at the Colombo Film Festival for its empathetic portrayal of marginalized communities. The success of this project provided him with the credibility and funding to pursue a feature-length film.
Film Career
Breakthrough Feature: “Rasa” (1974)
Somapala’s debut feature, “Rasa” (meaning “Flavor”), was released in 1974. The narrative followed a young farmer’s struggle against oppressive landlords, employing a realist aesthetic and non-professional actors. The film was a critical success, winning the Best Feature Film award at the 1974 Sarasaviya Awards. Its thematic focus on class disparity and agrarian economics resonated with audiences during a period of social upheaval in Sri Lanka.
Thematic Evolution
Throughout the 1980s, Somapala explored themes of identity, migration, and cultural conflict. His 1982 film “Maru Tharu” (The Lost Boat) examined the psychological effects of displacement on a coastal community, while the 1986 drama “Aneema” (Mother) highlighted the plight of single mothers. These works were noted for their nuanced character development and use of local dialects, enhancing the authenticity of the storytelling.
International Recognition
In 1992, Somapala’s film “Pipinaya” (The River) was entered into the Rotterdam International Film Festival, where it received the Jury Prize for Best Director. The film’s cinematography, particularly the use of handheld cameras to capture the fluidity of riverine life, was lauded by critics worldwide. Subsequent screenings at the Berlin and Toronto festivals cemented his reputation as an auteur capable of bridging local narratives with universal themes.
Television and Documentary Work
Beyond feature films, Somapala made significant contributions to television and documentary media. He directed the critically acclaimed series “Vidya Vihara” (School of Knowledge) in 1998, which chronicled the history of education in Sri Lanka over a span of 200 years. His documentary “Jeevana Kala” (Life's Art) (2003) received the National Film Board Award for Excellence in Documentary Cinema.
Style and Influences
Cinematographic Techniques
Somapala’s visual style is characterized by an emphasis on natural lighting, long takes, and minimal camera movement. He favored 35‑mm film stock and later transitioned to digital formats in the 2000s, retaining his commitment to high-resolution imagery. Critics often note his ability to juxtapose stark realism with lyrical framing, creating an immersive viewing experience that engages both intellect and emotion.
Literary and Artistic Influences
In interviews, Somapala cited the works of Sri Lankan playwright K. R. de Silva and Indian director Satyajit Ray as formative influences. He was also deeply inspired by the poetry of D. B. Wijetunga and the visual aesthetic of traditional Kandyan dance, which often informed his mise-en-scène choices. His films frequently interweave cultural motifs such as the Kandyan umbrella and the ancient “galle face” architecture.
Major Works
Feature Films
- Rasa (1974)
- Mera Sanda (1978)
- Pipinaya (1992)
- Aneema (1986)
- Maru Tharu (1982)
- Vidura (1995)
- Vela (2001)
- Amaravathi (2007)
- Sath Samahara (2010)
Documentaries
- The Weaving Women of Puttalam (1970)
- Jeevana Kala (2003)
- Vidya Vihara (1998)
Television Series
- Vidya Vihara (1998)
- Hela Piyasa (2005)
- Gini Kula (2012)
Critical Reception
Domestic Acclaim
Within Sri Lanka, Somapala is regarded as a seminal figure who helped elevate the national film industry to a more artistically rigorous standard. His peers frequently praise his dedication to realistic storytelling and his commitment to showcasing underrepresented communities. The Sri Lankan National Film Awards honored him with a Lifetime Achievement Award in 2014.
International Critique
Internationally, critics highlight Somapala’s mastery of form and content. In a review of “Pipinaya” in the Rotterdam Journal, the critic described his direction as “intimate yet expansive, drawing the viewer into the river’s heartbeat.” Another scholar noted that his films “exemplify the potential of regional cinema to convey universal human experiences.”
Legacy and Impact
Influence on Filmmakers
Somapala mentored several emerging filmmakers, including A. R. Kumar, who credited him with teaching the importance of narrative authenticity. Many directors cite Somapala’s techniques in their own work, particularly his use of long, uninterrupted shots and his emphasis on sound design as a narrative tool.
Educational Contributions
In addition to his creative output, Somapala served as a professor of Film Studies at the University of Colombo from 1990 to 2005. He developed the institution’s first undergraduate film curriculum, which remains a benchmark for film education in the region. His textbooks, such as “Cinema in the Sri Lankan Context,” are widely used in universities across South Asia.
Archival Preservation
Recognizing the fragility of early film reels, Somapala collaborated with the National Film Archive to digitize his works and those of his contemporaries. The “Somapala Collection” now serves as a resource for scholars and filmmakers seeking to study mid-20th-century Sri Lankan cinema.
Personal Life
Somapala was married to L. K. de Silva, a journalist and author, in 1967. Together, they had three children, two of whom pursued careers in the arts. Known for his humble demeanor, he was often seen engaging in community theater projects and local educational initiatives. In 2008, he established the Chitral Somapala Foundation, dedicated to providing scholarships for aspiring filmmakers from rural areas.
Later Years and Death
In his later years, Somapala continued to be active in the film community, participating in film festivals and offering critiques on emerging projects. He retired from active filmmaking in 2015, although he remained a sought-after guest lecturer. On 5 July 2019, he passed away at his home in Colombo after a brief illness. His funeral was attended by hundreds of film professionals, cultural figures, and students, reflecting his enduring influence on Sri Lankan arts.
Honors and Awards
- Sarasaviya Award for Best Director – 1974
- National Film Award – Lifetime Achievement – 2014
- Jury Prize for Best Director – Rotterdam International Film Festival – 1992
- Best Cinematography – Asian Film Awards – 1996
- International Film Critics' Circle Award – 2000
Bibliography
- Somapala, Chitral. Cinema in the Sri Lankan Context. Colombo: National Film Institute, 1988.
- Somapala, Chitral. Visual Poetry: The Art of Light and Shadow. Galle: Sunbeam Press, 1995.
- Somapala, Chitral. From Reel to Reality. Kandy: Cultural Arts Publishing, 2002.
External Links
None available.
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