දඩබිම | 02 වන කතාංගය | DADABIMA | EPISODE -02 | BERTRAM NIHAL | SINHALA TELE DRAMA | BERT DAVP

'දඩබිම' - ස්වකිය මනෝභාවයන් පාලනය කරගත නොහැකිවූ මිනිසාගේ අධ්‍යාත්මික ශෝකාලාපයෙන් අංශු මාත්‍රයක්..

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DADABIMA TELE DRAMA - (1992)

PRODUCER - DIRECTOR - SCREENWRITER – Bertram Nihal

CAST
Richard Weerakkody
Hysinth Wijerathne
Grace Ariyawimal
Gamini Hettiarachchi
Ranjith Wickramasinghe
Mangala Karunarathne
Frilicia Kanthi
Wijerathne Warakagoda
Deepani Silva
Susil Gonerathne
Mallika Premachandra
Vihanga wijesekara
Elan Silvestor

DIRECTOR OF PHOTOGRAPHY– Channa Deshapriya
VIDEO RECORDIST – Palitha Perera
PRODUCTION MANAGER – Senadheera Rathnayake
ART DIRECTOR – Sena Mambulage
ASSISTANT DIRECTOR– Saman Kumara Liyanage
2ND ASSISTANT DIRECTOR– Suminda Gamage
EDITOR – Dammika Fonseka
MAKE UP – Samarasiri Kandanage

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Dadabima
'In content, Dadabima is a crime story; but its essence, both in spirit and execution is the operation of the law of righteousness. It communicates with immense impact and success the eternal truth of life that evil produces evil result while good actions yield good results.

Sylvester (Richard Weerakkody) a rural aristocrat holding economic and moral sway in the village was without a rival to unravel his colossal role as an unrepentant criminal. He had assumed rights over life and death of the simple lesser folks of the village.

He carried the burden of living a life split between two dominant passions that characterized his personality. With love and compassion reposed in his mistress Anohamy (Grace Ariyawimal) and, power and prestige vested in his wife Isabella (Hysinth Wijeratne) he posed a tyrannical disposition at both homes and away. For him matter preceded emotions. Everyone around him existed for his pleasure, pride and service. His craving for wealth and pleasure formed the core of his vision of life.

However, he suffered from a double tragedy which gradually moulded his character towards a sad end that brought tragedy to all. While he had a pretty, intelligent daughter (Mangala Karunaratne) by his mistress, he had an ugly moron son (Gamini Hettiarachchi) by his wife. His dream of a complete life was thus found in the imaginary union of the two interests in two differing and opposing places and personalities. Despite his fervent hope, he failed to reconcile this gift of fate in a single unit of satisfaction. He was sad but helpless at this split and shift of his creation, and faulted in his search for emotional fusion of sentiments.

The agony caused by the very sight of his moronic son Micheal aroused unbearable frustration for forcing an ineffectual non-event in his traditional home. Incidental Michael himself became his target of attack through which he sought, mental release too because he knew that he did not suffer from any biological defect. Torn between a desire to be a legitimate farther of a ‘complete’ legitimate son or daughter, Sylvester was rendered despondent on ascendance of physical immobility and changes in the society around.

Sylvester was too engrossed in his own world of lust and greed that he lost insight into the changing environment in which there was growing physical and moral resistance to his criminal and immoral moves seeking pleasure in sensuous pursuits and land-grabbing manoeuvres. Shelved victim within his own self, he became increasingly isolated from home and society that his past criminality about which he was never repentant earlier, began to consume him mentally and physically. Once, murder did not dither him; nor the exploitation of the poor materially and emotionally.

Finally, he lost everything including his own self. His immortal and sinful past was following him like a shadow denying him both worldly pleasure and mental peace. Isabella was finally forced to commit suicide not only because she found herself painfully alone in the midst of a totally lost world, but also because she realized that she had to put up with a dad moron son as opposed to an agile elegant ‘daughter’ living outside her ‘home’ Moreover, she lost interest in life when she found that she had to give Sylvester and his vast castle a moronic son a product ‘entirely’ due to a genetically fault in her. ‘When Michael screamed “Amma” from within a massive house into an empty dark space and picturised from outside, it symbolized the vanity to which man’s all worldly possessions and pleasures finally lead us.'
Review by E.M.G. Edirisinghe
Sunday Island – 24th May, 1992

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