Fortress Ceylon serves a number of overlapping purposes. First, it introduces us to the country and people of Ceylon. Secondly, having introduced us to the people it informs us of their contribution to the war effort. Thirdly, the island’s strategic importance is stressed. The film argues that the Ceylonese gave wholehearted support to the war effort ‘just like people everywhere else in British territories’.

At the beginning of the film we are shown the geographical, cultural and economic diversity of Ceylon. We first see mountainous jungle and then a local man praying before a statue of Buddha. This religious image is contrasted with three images of Ceylonese women. Two of the women are situated culturally by the fact that they are shown eating local produce, a banana and a coconut. The third provides a further contrast. The previous images have been shot in the countryside, but she is standing on a city street. Her sophistication is illustrated by the fact that she wears sunglasses. Meanwhile, the commentary emphasises harmony. It informs us that ‘Ceylon is an island of many peoples. People with different histories, traditions, religions and politics and yet in all her towns and villages these people live side by side in peace’.

After being told about the diversity of the island we are then paradoxically shown a ‘typical’ Ceylonese family, the Mutis. This westernised family is far from average; they belong to the ‘elite’, a group that in Chandra Richard de Silva’s opinion ‘was small enough for virtually every member in it to know most of the others’ (de Silva, Chandra Richard, 1987, 216).  We witness the Mutis in positions of power at work, we see them receive the benefits of higher education, and we encounter the privileged indulgence of their leisure time. Thus the island’s resources and natural beauty are shown to best advantage. The Mutis provide a example of compliant Ceylonese during the War. The commentary had previously stated that prior to hostilities ‘life went on as usual’, indicating both the pre-modernity of pre-War Ceylon and the fact that conflict will bring changes. However, what we witness here is a continuation of the status quo. The family’s position of power is reflected in their wartime activity. A sequence in which one of Mr Muti’s sons had provided guidance to tea clippers is now mirrored by one in which Mr Muti ushers the local population into air raid shelters. By focussing on this family the film avoids the complications that a sustained survey of the island’s diversity would bring. We hear nothing of the political opposition and opportunities that the war helped to incubate.

The latter half of the film moves away from individuals and returns to the documentary aesthetic, giving a fairly dry account of Ceylon at war. First, we are shown the defence of the island. Here the film depicts the islanders assuming a greater degree of responsibility. We begin with the British forces in action, defending the island from attack; the Ceylonese meanwhile perform back-up duties. However, later on we see Ceylonese in positions that the Allied troops had originally filled – they now assume the responsibility for the anti-aircraft guns.

Following the bombardment of the island in April 1942, the Japanese military threat did not re-materialise. In line with Ceylon’s wartime role the emphasis of this film changes. We move from preparations for defence towards preparations for attack. The film concludes where it started, but somewhat anticlimactically, with jungle terrain. We are informed of the island’s similarity to Burma and its suitability as a practice ground for the battles taking place there. By the War’s end Fortress Ceylonhas been transformed into a training camp. Nevertheless, the film continues to press home its message. The harmony within the indigenous population is now extended to the Allied troops: we are shown representatives from diverse nations, promenading arm-in-arm.

Richard Osborne (May 2009)