MACHAN

A group of impoverished friends concoct a scheme to obtain visas to Europe by posing as a phony Sri Lankan National Handball Team. They do this as a means to escape their destitute lives in Sri Lanka and pursue financial happiness in the West. This is the true story of the 23 men who went to Bavaria but never came back.   

MACHAN is directed by Uberto Pasolini. The film is co-written by Pasolini and Ruwanthie De Chickera and co-produced by Pasolini and Prasanna Vithanage. The cast is comprised of Dharmapriya Dias (Stanley), Gihan De Chickera (Manoj), Dharshan Dharmaraj (Suresh), Namal Jayasinghe (Vijith), Sujeewa Priyalal (Piyal) and Mahendra Perera as Ruan.

MACHAN is the second Sinhala language film that deals with the subject of illegal/ fraudulent immigration, the first being Boodie Keerthisena's MILLE SOYA. The plot is near perfect in its simplicity. Stanley and his friends are destined for a bleak future if they remain in Sri Lanka. Dead-end jobs coupled with the rising cost of living is reason enough to try for greener pastures in the West. Unfortunately for these guys, the German Embassy isn't gifting out visas. Stanley comes across a printed advertisement for a handball tournament to be held in Bavaria, Germany. The advertisement is more like an invitation. The friends are not only clueless to the rules of the game, they have absolutely no idea what handball is. But that doesn't deter the group from declaring themselves the "Sri Lankan National Handball Team" in order to acquire the visas. And so begins a 'True (pun intended) Sri Lankan Underdog' story. Although MACHAN was mostly filmed in Sri Lanka, co-written/co-produced by Sri Lankans and boasts an all Sri Lankan cast, this film truly belongs to its director. It is apparent that Pasolini has the ability to determine an interesting story. The hook of the film is based on the true incident of a handball team disappearing during a tournament. This mere premise in the hands of an astute storyteller is what spawned this extremely interesting and enjoyable film. The story focuses on the harsh realities faced by the poverty-stricken population. The lack of financial stability drives these characters to drastic measures. This is poignantly presented in the film. Scenes of desperation bring out the fragility in the characters, such as the scene where Stanley contemplates on selling a kidney. The realism of Sri Lankan poverty is varied with the subtle humour of everyday life, giving the story sincerity.

The dialogue is concise and to the point. It is refreshing to hear characters on screen speak like everyday people. The use of Sri Lanka slang and colloquialisms is appropriate and gives authenticity to the film.

Stefano Falivene's cinematography captures the beauty of the slums and its inhabitants. The claustrophobic environment of the slums is shot meticulously, undoubtedly adding to the realism of the subject matter. It is refreshing to see backgrounds like this on screen, instead of the usual bombardment of botanical gardens and hill country scenery.

The original score by Lakshman Joseph De Saram and Stephen Warbeck deserves mentioning because it simply enhances the bitter sweet lives of the characters.

If I were to describe the acting in one word, it would have to be 'impeccable.' The film has been cast brilliantly. These actors indeed deliver an ensemble performance in their respective roles. The only notable face is that of veteran actor Mahendra Perera, but even his capable performance is equally matched by his cast members. Dharmapriya Dias' portrayal of Stanley is outstanding. MACHAN is proof that when you provide good material to great actors, cinema magic is inevitable.

MACHAN is the directorial debut of Italian-born Pasolini. He is better known as the producer of the 1997 sleeper hit THE FULL MONTY. Pasolini like many of his European peers has a knack for capturing the essence of humanity. The film is touching and heartfelt because the director has highlighted the joy and pain within each character. There are many such moments where Pasolini reveals the vulnerability in his characters. The use of humour during adverse situations can backfire if done inappropriately, but Pasolini seems to have a genuine aptitude for subtle humour. What really stands out is that although MACHAN is basically a Sri Lankan film, it doesn't feel like one. The same material in the hands of a typical Sri Lankan filmmaker would have produced a considerably different film. In fact, I'm willing to bet that it would be a dreadfully boring flop of a movie. Generally speaking the typical Sri Lankan director has a habit of letting the film die by the third act. Sometimes these directors are more concerned about conveying the controversial message of the movie and fail to explore their characters. The biggest mistake made by many local film directors is that the stories they tell are confined to a "Sri Lankan Context." Simply put, you have to live in Sri Lanka in order to get the meaning of the film. This narrow-minded approach can be blamed for the insignificant impact made by Sri Lankan films in the sphere of World Cinema. Pasolini does not make these mistakes, the three acts are structured precisely, the ending is spot-on, character exploration is just right and the subject of illegal immigration is tackled with compassion and acumen. I truly cannot find any dramatic flaws in MACHAN and this is why with the Sri Lankan Context in mind, I whole heartedly recommend this film to every Sri Lankan (Living at home or abroad).

Rating: 5/5
S. V. Fernando