Mahendra Perera: Filmmakers should help people understand the situation in Sri Lanka
Among the many notable films that graced theatres this year, prolific Sri Lankan filmmaker Prasanna Vithanage's multilingual film Paradise—backed by Indian production companies Newton Cinema and Mani Ratnam's Madras Talkies—stands out as a unique reimagining of the Ramayana. In a refreshing departure from the norm, Sri Lanka and its people are depicted without the usual stereotypical lens in this ironically titled narrative about an urban Malayali couple's (played by Roshan Mathew and Darshana Rajendran) ill-fated getaway amidst the 2022 Sri Lankan political crisis. While the film features impressive performances from its lead cast, veteran Sri Lankan actor Mahendra Perera particularly excels in his portrayal of Sergeant Bandara, a complex police officer who defies easy categorisation as simply good or bad.
With Paradise now streaming on Prime Video, we sit down for a freewheeling conversation with Mahendra in Kochi, where he playfully acknowledges his reputation back home as Sri Lanka's Dustin Hoffman, quipping, "It's true, but my friends call me 'Dustbin' Hoffman."
Excerpts:
How did your journey as an actor begin?
I started my career in 1978 by attending workshops led by foreign acting coaches who came to Sri Lanka. Even as a child, I felt it was important to learn this craft. Along with other actors and directors, including Prasanna Vithanage, I worked on improving my skills.
Was Paradise your first collaboration with an Indian production?
Yes, it was my first Indian production and also my first international project. Even though Prasanna directed it, I consider it a Malayalam film, unlike Roshan, who sees it as a Sri Lankan film (chuckles).
How was it collaborating with Roshan and Darshana, two highly promising talents?
They are both exceptional actors and genuinely good people. Their down-to-earth attitude made me confident that there were no barriers between us. Moreover, they bring such honesty to their performances that they can truly light up the screen. They both are like family and I'm here for a break to meet them all. Paradise's cinematographer Rajeev Ravi is also a dear friend now. I'm amused by how smoothly he operates to create magical frames without hardly ever raising his voice. I enjoyed working with him as he keeps appreciating and encouraging.
Your character Sergeant Bandara is an interesting mix of ego, bias, arrogance, and also a hapless victim of the system. Have you done something of this sort before?
I had played a police constable in Kosthapal Punyasoma (2014), a comedy, which was a huge theatrical success in Sri Lanka. While working on Paradise, Prasanna advised me to be careful not to repeat that performance, as I had become fondly associated with that character. Bandara, though, is completely different from Kosthapal Punyasoma, and it was really interesting as I enjoy being versatile. To convince Prasanna, I even did an audition before deciding to take on the role. I’ve played a few other police roles as well, but nothing quite like this one, and I’ve decided that this will be my last cop role; it was enough for me. Maybe, I’d consider doing it if Prasanna asked me because I know he wouldn't offer me another Bandara.
Did you find it difficult or conflicting to portray Bandara, given that you have personally lived through the crisis depicted in the film?
Not really. I enjoyed working with Prasanna and didn’t dwell on the implications of portraying such a police officer. Beyond the objections to his character, Bandara is still a human. He simply wants to resolve the issue as quickly as possible, but as he becomes more involved in the case, he begins to see himself as a troubleshooter. Given that Prasanna is one of the best directors in the country, I relied entirely on him. His scripts don’t specify how a character should behave in a particular scene; he improvises that on set, as he enjoys exploring the depths of human nature and emotions. Under his guidance, I believe I did my best.
You're fun, flamboyant and hardly have any semblance to Bandara...
It's true (laughs). Even Roshan says the same. He calls me a firecracker as I'll be moody and serious while playing Bandara, and suddenly burst into jokes after the shot is done. I believe an actor should be able to adapt himself according to the character he plays. Maybe it's not possible to change completely, but you should try your best and I've always strived to master my acting techniques. Paradise has opened bigger doors for me and it's now up to me to dedicate myself completely to the craft. I'm eager to do more Indian films, but before that, I want to be familiar with the language. Some might say knowing the language is not important for an actor, which is true to some extent, but it's certainly an added advantage. It will help you improvise rather than just memorising the lines and delivering them like a parrot.
Did Paradise release theatrically in Sri Lanka?
Yes, it did, and it continues to run to packed houses in main cities like Colombo even after 35 days. The film has been embraced by most people in Sri Lanka, including critics, except for a few. Above all, the compliments I’ve received from people like Anurag Kashyap and Mani Ratnam have been incredibly encouraging.
Do you think the criticisms were majorly because it's an anti-establishment film backed by a foreign production?
Not quite. The critics are pleased that Prasanna has opened the door to bridge the gap between Sri Lankan cinema and Indian cinema, particularly Malayalam cinema, given the large fan base in Sri Lanka. I believe our country needs this connection now more than ever. Prasanna's next is also an Indian production and I hope to be a part of it as well (laughs).
What is the current state of the film industry in Sri Lanka, particularly in the aftermath of the economic crisis?
It's not very favourable, but things are slowly improving. We used to have about 600 theatres in the country, but now only about 50 are operating. Politicians are more interested in blaming each other rather than addressing and improving the conditions. Here, a film like Paradise is getting 250 copies, which means you can earn good money with a 2-3 week run. But in Sri Lanka, since we are able to release only around 35 copies, the film has to run for 50-75 days to be profitable. Thankfully, streaming platforms have now become a new source of revenue generation.
As an artist, how important do you think it is to depict the realities of current life in Sri Lanka?
I don’t need to point this out because the world already knows what’s happening. Arthouse films have the right to criticise the government and discuss politics, like how Prasanna does subtly with political undercurrents. We should do more such work to let the audience know where we stand, so that they can open their minds and think deeply, which is not easy.
Indian cinema has lately seen a surge in propaganda films made to appease those in power. Is there a similar situation in Sri Lanka as well?
Not much, but there still are some filmmakers who take up that route. Unlike before, makers are not brave enough to talk about the poor governance and political foul play that's ruining the nation. Currently, we are more into commercial films, which can't be blamed either because money is important for us now.
Having been around in the industry for over four decades, do you now have the liberty to choose projects?
Yes I can, but there's only a certain extent to which I can be picky. I still refuse some projects, but sometimes I have to be flexible because it's also my bread and butter.
The portrayal of Sri Lanka in Indian films has mostly been against the backdrop of the civil war and LTTE resistance. What's your take on this?
I haven't watched many of these films, but there are several stories about the LTTE—both supporting and criticising them. Anyways, it's gone now. I was recently shooting in a village when several Muslims turned up to show their love. It was extremely moving to see the respect they have for us. We, Sinhalas, Tamils and Muslims, are all brothers today. It's the politicians who still try to discriminate and divide us for their benefits.
