This is My Moon has a new air. It deals with complex and controversial subject matter and Handagama has created some potent visual imagery. Unfortunately the director seems preoccupied almost exclusively with these visual forms to the detriment of thoughtful character and plot development. Events depicted are not convincing and the characters make almost no emotional impact. Handagama has assembled a talented cast but their performances are limited by the narrow scope and static nature of the film itself.
Handagama is no doubt looking for new cinematic methods, but superficial impressions and rather self-conscious image making have disrupted the artistic balance between form and content. True, there is no idyllic village life as claimed by Sinhala-Buddhist moralists, but this has to be depicted accurately and in a way that allows real life to make itself felt.
The main male character, the soldier, is not credible. Despite his poor village origins, he is cold and indifferent to the problems confronting his family and friends. Nor is there any indication that he cares about the thousands who have lost their lives on the battlefield or are suffering from the war. At one point he directly addresses the camera: "What is this war for?" "For the sake of it," he says, and then asks, "Why do we kill?" Again he replies, "For the sake of it." These cynical answers do not ring true.
There are numerous sexual liaisons but none of these illuminate the inner lives of those involved. Countless issues are raised but not explored. Take, for example, the Tamil girl's behavior in front of her adversaries. Why does she raise her skirt? Does she want to show her naked figure and survive through the violation of her sexual feelings? Does she hide her face out of fear? No real answers are provided.
One of the secondary characters in the film, a young village woman whose husband has been killed on the front line, could have been an important component in the story. Still in her youth, she needs love and physical intimacy, but is dependent on an army pension to survive. If she remarries she will lose the allowance. Condemned to remain a widow under the law in order to maintain a steady income, her soul is empty. None of this is explored artistically. The terrible conflict in her life is consigned to one scene where she embraces and kisses the deserter in an uncontrollable sexual urge.
Despite these weaknesses, This is My Moon demonstrates that Handagama has positive qualities as an artist. Most contemporary filmmakers ignore critical social developments or show little concern with the human problems created by them. Handagama, by contrast, has a genuine interest in these issues and gives voice to his dissatisfaction with prevailing dramatic techniques by searching for new cinematic forms. One feels that Handagama, whether consciously or unconsciously, recognizes the need for more humane social relations.
Devaka S. Jayasuriya 90, Old Kesbawa Road Nugegoda Srilanka
