A scene of the “ Bora Diya Pokuna” By: Satyajith Maitipe
(October, 14, Colombo, Sri Lanka Guardian) The sexual acts and "taboo language" in the film are essential to the depiction of the lives of the protagonists of "Bora Diya Pokuna", and are not extraneous factors.
Both aspects are central to the film's,
1. Theme/Philosophy;
2. Cinematic/Literary Structure;
3. Plot development and,
4. Characterization.
These claims are borne out by the following evidence:
(1) Theme/Philosophy
"Bora Diya Pokuna" is overwhelmingly influenced by Buddhist philosophical themes. The film is based on basic Buddhist principles of the "transience of things"( anithya) and ensuing "sorrow"(dukha).
The film explores the futility of the blind pursuit of pleasure and its inability to fulfill the deepest needs of the human soul in a harmonious manner.
In examining troubled lives, the film offers a "symbolic moment of pleasure", chronologically prior to, and resulting in tragedy.
The main protagonist of the film, Gothami, seeks pleasure and fulfillment through pursuing and seducing the male protagonist, Vipula.
The film's depiction of sexual intercourse between them represents the 'moment of pleasure' referred to above.
The act of sex is brief, but the tragedy that ensues from it haunts the two individuals forever.
The sexual act between Gothami and Vipula symbolizes the moment in which the two protagonists "drink poison", and seal their own fates.
It would be ineffective to portray "the tragedy" which follows without first cinematically signaling that definitive 'moment' in their lives.
(2) Cinematic /Literary Structure
The Film is structured as a Buddhist Parable (Jaataka Story) in 3 segments as follows:
1. Story of the Past ( Atheetha Kathawa)
2. Story of the Present ( Warthamana Kathawa)
3. The Realization ( Poorva-Apara Sandhi Gelapima )
The first segment of the Jaataka Story structure most often focuses on a grave act of nobility or a sin of great consequence committed by a protagonist/s.
The second segment usually depicts the ensuing results or repercussions of that particular act.
In BDP that pivotal act is the "sexual intercourse" between Gothami and Vipula.
For the logical realization of this literary structure, it is necessary to present a logical 'cause and effect' thematic.
This thematic cannot be edited in its manifestations.
(3) Development of the plot:
Ex.1- the final and definitive rejection of Gothami by Vipula occurs as a result of the sexual act between them and the ensuing pregnancy.
Ex.2- Gothami's obsessive fears of loneliness and insecurity, and her desire to 'belong' climax in this sexual act, yet also give her the impetus to pursue Vipula to a tragic end.
(4) Characterization:
Exploration of the theme "Whore – Nun".
Like the dramatic character of 'Ambapaali'*, the chief courtesan of Vaishaali, who later attains arahatship after following Buddhist teachings, Gothami's character also undergoes transformation from frustration and confusion to maturity.
In order to elicit a complex process of character transformation in a human being, an honest and authentic depiction of a persona is necessary. A deeper understanding of life as discussed through the character of Gothami in BDP cannot be achieved by creating vague impressions about her sexual behavior.
1.The scene depicting sexual intercourse between Vipula and Gothami
The scene representing sexual intercourse is essentially an act of 'collision' of two beings, not a 'merging of two souls in an act of love'.
The film vividly depicts Gothami's and Vipula's vulnerability, frustrations, and desire through the sex act.
The scene representing sexual intercourse is vital in bringing out the feelings of the two individual characters, as well as their relationship, as suggested below:
i. Vipula deliberately avoids looking at Gothami during the act, while Gothami pleads with him to look at her.
ii. Gothami places Vipula's hand on her breast, but he removes it and,
iii. At orgasm, Vipula shouts out the name 'Mangala', the woman whom he truly loves.
2. The scene depicting oral sex between Vipula and Gothami
An act of oral sex takes places between Vipula and Gothami.
This scene is meant to express the emotional distance between the two individuals. The scene also brings out Gothami's lack of choices in this situation, as her conduct is controlled by Vipula who does not allow her to pass beyond this limit. This scene also sets the stage for Vipula to ultimately brand her as a whore.
Taboo language
The use of taboo language in the film is in effect an expression of deeper emotions of violence, as well as illustrative of their socio-cultural and class background. These facts are evident in the final confrontation between Vipula and Gothami.
The two protagonists also use such language at a climactic moment when the use of conventional words or expressions would not have effectively conveyed emotion.
Societal and Legal consequences
All scenes of a sexual nature in the film,
(1) Take place between consenting adults .
(2) They do not represent any criminal conduct as recognized in the Penal Code of Sri Lanka.
Moreover, all titillating displays of skin are essentially kept at a bare minimum.
It is difficult to conceive that any of these scenes in the film would encourage, or even less force, any average adult in this country to commit a crime.
Annexure 1
'Ambapaali'*
"... Even looking just superficially, we can see from the venerable Ambapaali's life how a person can start out in one of the worst possible positions and end up in the highest attainable state for man or woman.
But then all things are ever changing, all alterable both for the better and for the worse.
That is why attachment to them as someone or something unavoidably leads to surprise and disappointments even to fear, desperation and bitterness.
However, changes are unavoidable, and must be faced, and better still, experienced. If one is ever mindful of the mental phenomena and physical phenomena, of naama and rupa one will gradually become enlightened about unhappiness and its elimination. That is the only way to attain the supreme wisdom, when all ignorance and sorrows can be forever ended."
1) Lakshmi R. Goonesekere, "Ambapali," Encyclopedia of Buddhism, Vol. I, edited by G.P. Malalasekera, (Ceylon: The Government Press, 1971), pp. 418-419.
The writer is a young prominent filmmaker in Sri Lanka he also director of the “Bora Diya Pokuna the film prohibited within the Country by the Government of Sri Lanka without reliable reason.
(October, 14, Colombo, Sri Lanka Guardian) The sexual acts and "taboo language" in the film are essential to the depiction of the lives of the protagonists of "Bora Diya Pokuna", and are not extraneous factors.
Both aspects are central to the film's,
1. Theme/Philosophy;
2. Cinematic/Literary Structure;
3. Plot development and,
4. Characterization.
These claims are borne out by the following evidence:
(1) Theme/Philosophy
"Bora Diya Pokuna" is overwhelmingly influenced by Buddhist philosophical themes. The film is based on basic Buddhist principles of the "transience of things"( anithya) and ensuing "sorrow"(dukha).
The film explores the futility of the blind pursuit of pleasure and its inability to fulfill the deepest needs of the human soul in a harmonious manner.
In examining troubled lives, the film offers a "symbolic moment of pleasure", chronologically prior to, and resulting in tragedy.
The main protagonist of the film, Gothami, seeks pleasure and fulfillment through pursuing and seducing the male protagonist, Vipula.
The film's depiction of sexual intercourse between them represents the 'moment of pleasure' referred to above.
The act of sex is brief, but the tragedy that ensues from it haunts the two individuals forever.
The sexual act between Gothami and Vipula symbolizes the moment in which the two protagonists "drink poison", and seal their own fates.
It would be ineffective to portray "the tragedy" which follows without first cinematically signaling that definitive 'moment' in their lives.
(2) Cinematic /Literary Structure
The Film is structured as a Buddhist Parable (Jaataka Story) in 3 segments as follows:
1. Story of the Past ( Atheetha Kathawa)
2. Story of the Present ( Warthamana Kathawa)
3. The Realization ( Poorva-Apara Sandhi Gelapima )
The first segment of the Jaataka Story structure most often focuses on a grave act of nobility or a sin of great consequence committed by a protagonist/s.
The second segment usually depicts the ensuing results or repercussions of that particular act.
In BDP that pivotal act is the "sexual intercourse" between Gothami and Vipula.
For the logical realization of this literary structure, it is necessary to present a logical 'cause and effect' thematic.
This thematic cannot be edited in its manifestations.
(3) Development of the plot:
Ex.1- the final and definitive rejection of Gothami by Vipula occurs as a result of the sexual act between them and the ensuing pregnancy.
Ex.2- Gothami's obsessive fears of loneliness and insecurity, and her desire to 'belong' climax in this sexual act, yet also give her the impetus to pursue Vipula to a tragic end.
(4) Characterization:
Exploration of the theme "Whore – Nun".
Like the dramatic character of 'Ambapaali'*, the chief courtesan of Vaishaali, who later attains arahatship after following Buddhist teachings, Gothami's character also undergoes transformation from frustration and confusion to maturity.
In order to elicit a complex process of character transformation in a human being, an honest and authentic depiction of a persona is necessary. A deeper understanding of life as discussed through the character of Gothami in BDP cannot be achieved by creating vague impressions about her sexual behavior.
1.The scene depicting sexual intercourse between Vipula and Gothami
The scene representing sexual intercourse is essentially an act of 'collision' of two beings, not a 'merging of two souls in an act of love'.
The film vividly depicts Gothami's and Vipula's vulnerability, frustrations, and desire through the sex act.
The scene representing sexual intercourse is vital in bringing out the feelings of the two individual characters, as well as their relationship, as suggested below:
i. Vipula deliberately avoids looking at Gothami during the act, while Gothami pleads with him to look at her.
ii. Gothami places Vipula's hand on her breast, but he removes it and,
iii. At orgasm, Vipula shouts out the name 'Mangala', the woman whom he truly loves.
2. The scene depicting oral sex between Vipula and Gothami
An act of oral sex takes places between Vipula and Gothami.
This scene is meant to express the emotional distance between the two individuals. The scene also brings out Gothami's lack of choices in this situation, as her conduct is controlled by Vipula who does not allow her to pass beyond this limit. This scene also sets the stage for Vipula to ultimately brand her as a whore.
Taboo language
The use of taboo language in the film is in effect an expression of deeper emotions of violence, as well as illustrative of their socio-cultural and class background. These facts are evident in the final confrontation between Vipula and Gothami.
The two protagonists also use such language at a climactic moment when the use of conventional words or expressions would not have effectively conveyed emotion.
Societal and Legal consequences
All scenes of a sexual nature in the film,
(1) Take place between consenting adults .
(2) They do not represent any criminal conduct as recognized in the Penal Code of Sri Lanka.
Moreover, all titillating displays of skin are essentially kept at a bare minimum.
It is difficult to conceive that any of these scenes in the film would encourage, or even less force, any average adult in this country to commit a crime.
Annexure 1
'Ambapaali'*
"... Even looking just superficially, we can see from the venerable Ambapaali's life how a person can start out in one of the worst possible positions and end up in the highest attainable state for man or woman.
But then all things are ever changing, all alterable both for the better and for the worse.
That is why attachment to them as someone or something unavoidably leads to surprise and disappointments even to fear, desperation and bitterness.
However, changes are unavoidable, and must be faced, and better still, experienced. If one is ever mindful of the mental phenomena and physical phenomena, of naama and rupa one will gradually become enlightened about unhappiness and its elimination. That is the only way to attain the supreme wisdom, when all ignorance and sorrows can be forever ended."
1) Lakshmi R. Goonesekere, "Ambapali," Encyclopedia of Buddhism, Vol. I, edited by G.P. Malalasekera, (Ceylon: The Government Press, 1971), pp. 418-419.
The writer is a young prominent filmmaker in Sri Lanka he also director of the “Bora Diya Pokuna the film prohibited within the Country by the Government of Sri Lanka without reliable reason.
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