Our “Red Comrades” Need To Listen To The Rain Falling Outside Their Window

By Theodore Warnakulasuriya –

The lead actor in my film “My Red Comrade” suffered violent years in a concentration camp, lived very much with tormented memories, and yet dedicated his life to a worthy cause, taking pride in his limited bookish knowledge. He needs to work starting with himself, with others, with nature, with society at large, to be re-educated in human rights and gender equality, love the environment around him, and become broad-minded.”. “He must learn to listen to the “rain” of new knowledge falling outside… ”What he has missed so far is explained patiently yet lovingly by the female character in the film,” says Sudath Mahaadivulwewa talking to us about his new film just released.

A comrade is a fellow member of an organization or a colleague. someone who is a companion, associate, friend, or shares one’s activities, occupation, etc. It means “sohodaraya” in Sinhala, which is frequently used to refer to active members of a leftist political organization, and it indicates a fellow member of a fraternal group or political party in American English. The movie “RED COMRADE” is about a person who belongs to a left-wing political group leading a hidden life.

He unclothes before our eyes, Tharindhi Fernando, a young girl, and Asiri Ellage, an elderly character, are the only two primary characters, revealing to us who they are talking to our eyes and ears pleading our sympathy.They seem to be travelling two various roads. However, they have the same ambition and end objective.

The title of Sudath Mahaadivulwewa‘s latest film, “My Red Comrade,” connotes so-called bookish lefties who have knowledge but limited to books.

The movie conveys a message to so-called leftists. In Sudath’s words, The majority of them have not experienced “rain.” falling outside. Not the kind of rain that falls on a typical day.” However, there are other ways that new knowledge “rain” can bring.”

His previous movie, “Sudu Saha Kalu,” which was released 19 years ago, shocked us with the truth about the consequences and the effects of the ethnic war.

The film shows us the mise-en-scène before introducing the members of the production staff dramatically. A view of a slum’s interior at night grabs our attention. A glass pane is visible, and it is pouring rain outside. There’s also a lot of thunder in the sky. Everything that happens within the slum.

Sudath acknowledges that the film “Red Comrade” was made in four days, on a shoestring budget, with only two main characters, some would attempt to trash this avant-garde work by calling it meaningless and worthless.

If people think that, they are talking about the film without having a basic concept of semiology or the minimalist film approach, which means they have missed the mark.

To properly analyse the film, one must have a fundamental understanding of semiology or the spare style of filmmaking that great directors like Yasujirō Ozu and Robert Bresson have perfected minimalist approach. Although not entirely new, the minimalist filmmaking approach is quickly becoming well-known in the film business as well as in the hectic fields of marketing and communication strategies.

This is a trend that speaks volumes, especially in this day and age where businesses are fighting for the attention of the cinema-going public.

In today’s movies, modern directors use eye-catching colour schemes, sets, costumes, and other components. These few items of clothing, locations, or other items usually have deeper meanings that suggest or signify something different. Competent filmmakers combine semiotics with a range of powerful symbols (clothing, accessories, and setting) to deepen the symbolic meaning of their works and/or modify them to fit into the film. The study of semiotics may be a superb way to entice the audience into a serious subject and reveal much more about it via the use of well-chosen symbols.

In order to leave a lasting impression, a minimalist film basically consists of cutting out anything unnecessary and focusing on the key plot points. This technique signifies a fundamental change in the way we think about storytelling, video production, and audience interaction. It’s more than just taste in design.

Using this approach forces filmmakers and advertisers to scrutinise every aspect, from the screenplay to the shot arrangement, to ensure that it all adds to the overarching concept and plot. The power of minimalism lies in its ability to highlight the importance of what is left on the screen, lending greater weight to each word, image, and calm moment.

Traditional filmmaking often tends to ‘fill the space’, especially in commercial situations, with elaborate storylines, rich sets, and an overabundance of special effects. Another term for earlier Indian movies is “formula films.”

While this could produce visually arresting results, it can also lead to sensory overload, where the spectacle becomes more important than the message. But minimalist cinema adopts the ‘less is more’ philosophy. The primary focus areas are thoughtful composition, relatable characters, and compelling storytelling, which allow audiences to engage more deeply with the content.

The digital revolution has brought about a change in the way individuals consume content. Consumers are selecting their topics of interest with increasing caution due to the constant deluge of information. This presents a unique challenge for those in the digital industries: how to grab and retain consumers’ attention in a crowded digital space.

A compelling solution that provides a way to distinguish messages from noise is minimalist filmmaking. In addition to products and services, modern consumers are looking for connections and experiences. The minimalist film follows this approach, emphasising emotional resonance and storytelling above everything else. Focusing on the essentials, this approach allows viewers to relate to the content on a personal level, leading to increased engagement and enduring impressions.

Modern consumers are searching also for experiences and connections in addition to goods and services. This trend is reflected in minimalist cinema, which places a strong emphasis on emotional connection and narrative. This strategy, which emphasises the important things, gives viewers room to connect with the material on a personal level, which increases engagement and leaves a lasting impression.

Effective creative production approaches and strategies will advance along with the digital world. With its focus on emotional depth, realism, and clarity, minimalist filmmaking is well-positioned to confront these developments. For both companies and creators, this is an exciting time to be alive because of the possibilities it presents to push the boundaries of audience interaction and narrative.

With fresh perspectives, minimalist filmmaking is here to stay and represents a fundamental change in the way we approach videos and film production for marketing and advertising, not just a fad. It’s evidence of the value of simplicity and a reminder that, on occasion, the art of doing more with less may communicate ideas more effectively than complication.

One of The Guru of semiotics, Roland Barthes, talks about the representation of signs and symbols in ideological and cultural contexts. There were two methods in which these were expressed: the sign’s explicit meaning, or denotative meaning, and its implicit or inferred meaning, or connotative meaning. Anything with a symbolic value can serve as a sign; this includes the colours and actual components of the products. Any physical or verbal thing can be used as a symbol. Filmmakers have enhanced their storytelling by using semiotics by focusing on minute elements that add to the character(s)’ or story’s development context.

These selected examples found in “My Red Comrade” affirm that Sudath’s new film belongs to a minimalist filmmaking genre.

Emphasis on Storytelling: The story is at the heart of minimalist film. Filmmakers who choose a minimalist approach concentrate on delivering a compelling, understandable story.

The words and various long and close shots in the dialogue of the film “Red Comrade” are carefully picked. The director admits that a lot of study, several edits, and extensive rehearsal went into the writing. Check out this scene from the film below.

Prioritise quality over quantity

Instead of depending on costly effects or intricate production, make an investment in superior audio and images that further the narrative. Take a look at these movie stills: (A person sprinting in the rain sounds) Thunder and lightning in close-up. Using the right music and sound effects, persuaders give the order to stop running. We catch a peek at the persuaders and the runner due to the lighting. A bride wearing a red dress and holding a bundle of flowers was lit by a high-angle fantasy camera shot. This particular image reminds me of the utopian fantasy that communist ideologists harbour.

Use of romantic music

Accepting Negative Space

Negative space can be effective in storytelling and visual design. By letting the audience’s imagination interact with the material, it fills in the blanks and produces a more unique experience. For instance, the director provides additional insight into the two major characters through the conversation that occurs outside the little library and the dramatic demonstration of reading of Gorky’s Makar Chudra. A secret phone call received by the man…. This scene is followed by a girl narrating her history, and why she is like this.

The primary message is communicated by the filmmaker through the choice of a restrained colour scheme, plain backgrounds, or a few objects. Sincerity in Communications There’s nowhere for inauthenticity to hide in a basic environment. Reclining in front of the main character is one example.” She claims that her body has nothing left to conceal. (“monawa Kiyala wahagannde mata meake?”).

Without a doubt, the dialogue is well-chosen. appropriate colourful wording keeps the audience interested throughout the entire film Emotionally: One of the best ways to evoke strong feelings is through minimalism. Make use of it to establish a powerful emotional bond with the audience. (oya hadanawa kiyana samajaye idak nadda api wage ganunta? )Are women like us useless? in what way are you promoting and advocating for equality? Are we creatures of nature? (according to Sudath the script has gone through several editions and the acting was rehearsed several times.)

For one and a half hours, the film glues  our eyes and years on the digital screen, satisfying our diverse tastes as primarily mentioned by Baratha Muni, who defines great art in his timeless “Natya sastraya.”

Rasa sutra is defined as “Vibhav-Anubhav-Vyabhichari-Samyogat-Rasa nishpatti” by Bharata Muni, a renowned expert in “True Art.” He pays attention to the following eight Rasas: karuna, bhibhatsa, bhayanak, hasya, veer, adbhut, roudra, and shringar. Bhava expresses the poet’s inner concept. The viewer’s psyche is then invaded by it.

Take a look at the following scenes from the movie.

In front of the elderly man, the girl takes off her damp dress and walks straight, bearing her naked body. Take a look at this passage: She takes off all of her clothing and enters a room, saying, “There’s nothing left on my body to hide.” Lightning is seen in closeup, revealing her nude figure. There’s the sensual background music. Symbols of  The sound of the passing train and lighting flashes awoke our curiosity further.

Through the discourse that follows, the filmmaker deftly illustrates the ongoing abuses that current law enforcement officials in Sri Lanka commit regularly. She continues, “I don’t have anything to hide. I have no qualms with telling. Police invaded the place where I worked, which was either a spa or a brothel. They threatened to introduce two packages of narcotics if I didn’t comply, and I would not be allowed to leave for six months. I no longer have anything to lose. I do, however, possess my self-worth. My family back home believes that I am working in Colombo City in a respectable capacity. I can’t die, even if I wanted to.

Look at the following powerful symbols in the film: Two cups of coffee getting cold, rain falling outside with thunder and lighting, two candles nearing their end, lighting flashing through the window glass, the darkness after the candles have finished their light, rainwater falling off from an aluminium large vessel.

Look at the following theme song in the film… “song of the Red candle”

Viduli kota kota akunu gahuva

Ekamath eke rataka

Katta kaluwara – wetta pittala

Gendagam ahasa yata hitha

Rathu pata eke iti pandamak thibuna

Unda purawapu – viduli pandam

Kaki pannapu reka

Adum theth wuna – asid wessake

Gahanu kama thaniwuna dake

Rathu pata eke iti pandamak thibuna

Dora wahapu nathi geka

Wahala hilvunu – lali kotuwake

Papuwa theth wuna daka

Dora ariya eke pirimi minihek

Ganukama disvuna reka………..

Does this theme song summarize the whole film? Maybe after watching you can decide!

“My Red Comrade” is not only a film that talks, that venerates, glorifies leftist ideology but a film that challenges all the so-called “leftists” to re-examine, and re-learn their inherited, bookish one sided ideology.

*Professor Theodore Warnakulasuriya was formerly attached to the Open University of Sri Lanka and has taught Asian Films and media-related subjects in many state universities in Sri Lanka

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