Connect with us

Life style

Hansa Vilak Stylish and profound cinematic experience

Published

on

Veteran dramatist and film-maker Dharmasiri Bandaranayake’s landmark creation, Hansa Vilak is back on the screen after its restoration in digital format. The film remains ‘timeless’ and ‘forever young’ even after 40 years since it was first released in 1980.

by Randima Attygalle

Dharmasiri Banadaranayake’s Hansa Vilak is a ‘dazzling debut’ which ‘displays a remarkable feel for the medium. Imaginative, experimental and very exciting,’ commented Dr. Lester James Peries when the film was first released. An attempt to explore the social hypothesis of a marriage from an atypical perspective drove Bandaranayake to write his first screen play for Hansa Vilak in 1978. By then he was experienced both as a stage and a film actor.

Along with greats like Lester James Peries, Satyajit Ray, Andrzej Munk and several other contemporary film-makers, Bandaranayake won the admiration of film-goers who preferred to watch good, artistic cinema, he reflects looking back.

The forbidden love between Nissanka (played by Bandaranayake himself) and Miranda (Swarna Mallawarachchi) – both married, is the theme of Hansa Vilak or Swan Lake. This projects a universal appeal in any society where matrimony has been made into a legal or social institution. The deep and abiding emotions in a traditional Asian society are poignantly projected in the film.

Critic H.A Seneviratne once remarked that, ‘Hansa Vilak, combining both fantasy and reality, utilizes the diverse techniques of photography, editing, and sound mixing in all their complexities so much so that there appears to be much outwards novelty in it. Not only the form, but also the subject matter of the film appears to be new and complex to the Sinhala filmgoer. It deals with the emotional problems of two married couples whose matrimonial bond had been suddenly disrupted.’

The extra marital sexual relationship between Miranda, wife of Douglas (Henry Jayasena) and Nissanka, husband of Samanthi (Vasanthi Chaturani) is suddenly revealed with the police raiding the hotel in which the couple had found temporary lodging. This results in Nissanka deserting his wife and two children and Miranda too leaving her husband and only daughter. Nissanka and Miranda are united in marriage but their past emotional attachments continue to taunt them.

Some aspects of these characters are based on reality and some on illusion and fantasy. The characters were developed “transcending the traditional beginning, middle and the end construct known to films at that time,” Bandaranayake says. The film was based on a structure that was yet unseen in Sri Lankan cinema – the element which he attributes to Hansa Vilak’s lasting appeal even after 40 years since release.

The response to the newly restored Hansa Vilak in digital format has been “overwhelming,” says Bandaranayake. “Today it has come among another generation including students of cinema whose response to it has been heart-warming,” he says; he humbly adds that his creation has not aged, but remains modern and relevant.

Bandaranayake’s Hansa Vilak and Thunweni Yamaya were sent to India for restoration by the Sri Lanka Film Corporation about three years ago. The six-month restoration process in the Prasad Film Lab in Chennai reputed for its digital post production services has paid dividends.

“The visual impact of the new copy is just astounding. Although the images remain in their original black and white, their sharpness and clarity in the new version appeals to the modern audience,” says the filmmaker.

The film, distributed by Sri Lanka Film Corporation, is now being screened in several cinemas in Colombo. It will soon show at several more cinemas in other major towns.

As an artiste who is very vocal about conserving Sinhala cinema’s landmarks for posterity, Bandaranayake laments that several Sri Lankan cinematic landmarks will perish unless urgent interventions are made. Following the successful restoration of his own films, (Thunveni Yamaya will be screened soon), Bandaranayake stresses the need to salvage 

the masterpieces of celebrated film makers such as Lester James Peries, Dharmasena Pathiraja and Vasantha Obe

yesekera before they are forever lost to the country.

Commenting on Hansa Vilak (released in 1980), scholar and critic Regi Siriwardena remarked that, ‘Dharmasiri Bandaranayake has created in this film a form and style that go further than any Sinhala film before in taking us into the world of inner psychological experience. Throughout the film the camera is the means of projecting the sensations and feelings of Nissanka torn between love, suspicion, jealousy, duty and obligation. Many of the images on the screen belong not to the world of external, public reality but to the inner world of psychological reality.’

Psychology of character in the language of film-making becomes prominent in the creation of Hansa Vilak. The subject matter of the film is a fusion of fantasy and hallucinations of an emotional wreck. This fusion, Bandaranayake explains, enabled every viewer of the film a dialogue on what was real and what was illusion.

The camera in the hands of the cinematographer, Andrew Jayamanne is shifted towards the characters making it appear that the characters themselves walk towards it. The melodies of Maestro Premasiri Khemadasa – Hemin Sere Piya Vida (theme song sung by Sunila Abeysekera and T. M. Jayarathna) Senehasa Pupura sihinaya miya yayi and Sandun sihina mandapaye emerge strong motifs in the film.

Bandaranayake’s own portrayal of Nissanaka was not by choice. The non-availability of most actors he approached pushed him into taking the role himself. Inspiration to play the dual roles of actor and director came from the celebrated Gamini Fonseka, says Bandaranayake, adding that Gamini’s shoes were however too big for him.

A special pre-premiere of Hansa Vilak in 1979 won it an opportunity to be featured at the Mannheim International Film Festival in West Germany. “Rev. Fr. Ernest Portuthota who happened to be in the audience at the special show was so impressed by the film and took it upon himself to send it to Germany,” recollects Bandaranayake. This enabled him to join a group of novice film makers from different parts of the world.

Hansa Vilak

was awarded a Diploma Certificate at the festival. After its release locally, the film won the Sarasaviya award for the best script. For Bandaranayake the best jury however, is the people of this country. “Whenever the film is featured at any film festival or show on TV, the response I receive from numerous people is immense. This is my greatest award,” he reflects.

“To have found the means of reflecting through the form and techniques of the film, the pressures of society and the family in the mind of a bewildered and tormented individual is Dharmasiri Bandaranayake’s great achievement in the film,” wrote Regi Siriwardena who went on to note that this ‘achievement is sufficient to make Hansa Vilak a permanent landmark in the Sinhala Cinema, just as Rekawa or Ahas Gauwa were in their own time’.

 

Photo credit: Dharmasiri Bandaranayake



Continue Reading
Advertisement
Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

Life style

The Thinnai heartbeat of Northern tourism

Published

on

Sorrounded by lush greenary and tranquil open spaces

As Northern Sri Lanka continues to emerge as one of the island’s most competing destinations , The Thinnai hotel stands as a shining ambassador of the region, a place where timeless traditions meet contemporary luxury, where every stay tells a story.This is a place where visitors leave not only with cherished memories but also with a deeper appreciation of the culture, warmth and enduring spirit of Jaffna.

The Thinnai Hotel is for more than a luxury retreat, it is a celebration of Jaffna’s heritage, hospitality and residence. From its 39 all suite accommodation, inspired by tourism revival, welcoming travellers from around the world while creating opportunities for local communities and preserving cultural tradition, at this place every stay creates lasting memories.

Tucked away just a few kilometers from the heart of Jaffna. The Thinnai hotel is more than a luxury boutique hotel, it is a destination that celebrates the heritage, hospitality and timeless traditions of Northern Sri Lanka. Inspired by the traditional Tamil Thinnai, the raised verandah where families and neighbours once gathered to welcome guests and share stories, the hotel transforms the cultural symbol into a contemporary travel experience.

Designed around authentic Jaffna architecture, The Thinnai hotel blends elegant all suite accommodation with peace and relaxation.

Every suite reflects a harmonious balance between traditions and modern comfort, making it an ideal place for couples, families, tourists and business travellers. Beyond its luxurious setting, The Thinnai serves as a gateway to the cultural treasures of Jaffna. Guests can easily visit economic landmarks, such as the Nallur Temple, explore colonial era architecture, discover local markets, savour Jaffna cuisine and experience the warmth of Tamil hospitality. As tourism continues to grow in the Northern Province, The Thinnai hotel stands as one of Jaffna’s most distinctive hospitality landmark, the region’s rich cultural heritage with contemporary luxury.

This hotel is a cultural ambassador that connects visitors from all over the world with traditions, history and hospitality of Jaffna.

The affable and General Manager, Selvarajah Roshanth, is focussed on delivering exceptional guest experiences, maintaining high hospitality standards and promoting Jaffna as a premier tourist destination in Northern Sri Lanka. He leads with warmth,vision and an unwavering commitment to authentic northern hospitality. He showcases the best of Sri Lanka’s north. He brings a wealth of experience and the guest first philosphy to The Thinnai hotel.

Roshanth is recognised for his warm approachable and guest centric leadership style, and when asked why this hotel is different in this region, he said ‘The Thinnai is not just a hotel, it is an authentic expression of Jaffna’s identity. What makes us different is that we don’t simply offer accommodation. We offer an immerseive cultural experience”

Feast on authentic flavours

Thinnai farm: Beauty of sustainable agricuture

Refreshing oasis where guests can unwind

Dedicated team

Selvarajah Roshanth,whose vision and leadership continue to elevate property’s elevation

Looking ahead, he explained The Thinnai aims to further strengthen its position as Northern Sri Lanka’s leading boutique hospitality destination by enhancing its great experiences, curating more authentic, cultural and culinary activities and expanding its sustainability initiatives.

‘We make plans to deepen its engagement with local communities through environmental conservation, hospitality training programmes and educational CSR projects ensuring that tourism growth directly benefits the people of the North.

The Thinnai hotel offers 39 spacious all suite accommodations, thoughtfully designed to blend traditional Jaffna architecture with modern luxury. The accommodation includes deluxe, suites, superior suites, luxury suites, and Presidential suites, and each suite is equipment with modern amenities such as an air-conditioner, wifi, led, TVs, mini bar refrigerator and comfortable living spaces.

The Thinnai offers a memorable culinary journey that celebrates the rich flavours of Jaffna while also catering to international tastes. Guests can enjoy specialities like Jaffna crab curry, Jaffna Cool, Dosai, Idiyappam, other sea food dishes and themed buffet nights followed by cultural shows.

A visit to the Thinnai farm is one of the highlights of staying at this hotel because it offers guests an authentic connection to Jaffna’s agricultural heritage and sustainable way of life. This farm supplies many of the fresh ingredients used in the hotel kitchens ensuring a genuine farm to table experience. It is an opportunity to appreciate the region’s rich agricultural traditions, breathe in the tranquil countryside and understand how sustainability and local culture are woven into everyday life. Guests can stroll through thriving vegetable gardens, gaining a first hand appreciation of farm to table experience. One of the unique cultural experiences offered through the Thinnai is the opportunity to discover the art of Jaffna pottery. We saw the traditional pottery making experience highlighting the rich artistic heritage of Northern Sri Lanka while supporting local artisans and presenting centuries old traditions. We saw the skilled artisans demonstrating techniques that have been passed down though generations.

The visit is more than a sightseeing excursion, it is an immersion into one of Jaffna’s oldest living crafts. This activity is part of the Thinnai commitment connecting travellers with authentic Northern Sri Lankan culture. A visit to the pottery village perfectly complements a stay at ‘The Thinnai leaving all of us with a deeper appreciation of the North’s reach cultural identity and timeless craftsmanship.”

Continue Reading

Life style

Dr. Hina Shah’s vision for inclusive growth

Published

on

Empowering women, inspiring change, building a stronger tomorrow - Dr Hina Shah with Counsellor Development and Head of Cooperation, Canadian High Commission in Sri Lanka Kiril Lordanov, Secretary General and Executive Director Canadian Chamber of Commerce , Sri Lanka, M/s Nilupul De Silva

Empowering women, transforming economies

The Canadian Chamber of Commerce in Sri Lanka (CanCham SL) recently hosted an insightful dialogue on Women’s Development, Economic Empowerment, and the Sustainability of Small and Medium Enterprises, bringing together business leaders, policymakers, and entrepreneur, to explore practical pathways towards inclusive economic growth.

The event highlighted the critical role women play in driving economic progress and innovation.

Discussion focussed on creating opportunities for women entrepreneurs, improving access to finance, strengthening leadership capabilities and addressing barriers that continue to limit women’s full participation in the economy.

A key feature of the dialogue was the emphasis on SME sustainability participants and examined how small and medium sized enterprises can remain resistent in a rapidly evolving business environment though innovation, digital transformation, sustainable business practises and stronger public, private partnerships. SMEs which form the backbone of Sri Lanka’s economy, were recognised as a vital contribution to employment generation and community development.

Where ideas inspiration and opportunities came together

Among the distinguished speakers was Dr. Hina Shah, Founder International Centre for Entrepreneurship Development and Career Development (Ahmedabad, Gujarat, India) who shared valuable insights on leadership innovation and the importance of creating eco systems that enable women to thrive in business. Hosted by the Canadian Chamber of Commerce in Sri Lanka (CanCham) her address underscored the need for mentorship, access to networks and supportive policies that help women led business scale to succeed.

The keynote speaker, Dr. Hina Shah, shared insights from decades of work empowering women entrepreneurs. She highlighted how women-led enterprises drive economic progress and social transformation, drawing on India’s experience in building resilient ecosystems. Dr Shah’s experience bring a rare combination of visionary leadership, proven institutional models, global development experience, scalable implementation systems and many high impact initiatives.

She said ‘ “Established with support from Global Affairs Canada and under the patronage of the Canadian High Commissioner to Sri Lanka, CanCham SL is committed to strengthening trade, investment, innovation, and people-to-people ties between Sri Lanka and Canada. Advancing women’s economic participation is a central priority, aligned with Canada’s commitment to gender equality and inclusive growth.

Powerful conversation on leadership, innovation and economic empowerment

The dialogue focussed on practical strategies to improve market access, strengthen business eco systems, enhance financial inclusion, and support the long-term sustainability of women-led SMEs.

Looking Ahead

CanCham SL announced plans to form a core stakeholder group with representatives from Sri Lanka, Canada, and the wider Indo-Pacific region to develop a long-term strategic framework for women’s entrepreneurship and SME development.

The Chamber will also host an Economic Summit for Women to scale these discussions, showcase successful women-led enterprises, and forge partnerships for investment and innovation across the region.

CanCham SL remains committed to working with governments, development partners, and business leaders to create an enabling environment where women can thrive as leaders and drivers of economic transformation.

The Secretary General and Executive Director, Canadian Chamber of Commerce in Sri Lanka M/s Nilupul De Silva said: “At the Canadian Chamber of Commerce in Sri Lanka, we believe that empowering women is not only a matter of quality but also a key driver of economic growth and sustainable development. Today’s discussion reflects our commitment to building a bridge between Sri Lanka and Canada while encouraging collaboration across the public and private sectors. Together, we can create opportunities that enable women-led businesses to thrive and contribute meaningfully to national development.’’ She extended her sincere gratitude to partners, sponsors and all participates for being part of this important conversation and to continue working together to inspire change, strengthen SMEs, and build a future where every woman has the opportunity to lead, innovate and succeed.

This event aligns with CanCham Sri Lanka’s broader vision of promoting inclusive growth, entrepreneurship, innovation and sustainable development while strengthening economic ties between Sri Lanka and Canada. Through initiatives, such as this, the chamber aims to create meaningful opportunities that enable women entrepreneurs to thrive, contribute to job creation and play a greater role in shaping Sri Lanka’s economic future.

The event was held CanCham SL office Horton Place.

By Zanita Careem

Continue Reading

Life style

Echoes of the Past: A Conversation with Priyalal Sirisena

Published

on

Priyalal Sirisena

When Attorney and former The Island journalist Priyalal Sirisena turned his attention to fiction, the result was Deyyange Atha (The God’s Elephant)—a striking debut that was shortlisted for the 2025 Swarna Pusthaka Awards. Drawing deeply from his background in human rights and the rule of law, Sirisena’s novel cuts through the glamour of 19th-century history to expose elite corruption and the endless cycle of political power plays. In this interview, the author discusses how the plight of the common man inspired his unique narrative structure.

Q: Your recent novel, Deyyange Atha, takes place during a highly turbulent chapter of Sri Lankan history. What drew you to the twilight of the Kandyan Kingdom as the backdrop for this story?

A: The era of the Nayakkara dynasty is fascinating because it was defined by a massive crisis of legitimacy. You had a foreign-lineage monarchy ruling over a deeply resentful Sinhalese nobility. Figures like Ehelepola Adigar weren’t just fighting the King; they were actively scheming with external colonial powers to upend the throne.

What struck me most was the rhetoric. Both the King and the aristocracy claimed they were acting purely to “save the motherland,” when in reality, it was a raw, unadulterated scramble for control. I wanted to strip away the grand political and look at how this endless friction ground down the ordinary citizens who had no stake in their power games.

Q: You have expressed some skepticism about how history is portrayed in modern Sri Lankan media. How does your book counter that?

A: what I see is that, much of our contemporary art, television, and cinema treats history like a glossy escapist fantasy. We are fed a steady diet of romanticised national pride. I think it completely erases the realities of the commoners.

Lately, history has also been weaponised. It’s used as a beautiful distraction to hide modern political failures or to fuel ethnic division and chauvinism. When you wrap corruption in the flag of “national interest,” people get mesmerised. They get so caught up in the emotional high of nationalism that they forget their own empty stomachs. I think it is a challenge for any artist to counter this treand.

Q: In your novel, a single elephant serves as the catalyst for the entire plot, instead of focusing purely on human political figures. Why did you choose an animal to anchor a historical political critique?

A: The elephant is the lens through which we see the entire social hierarchy fracture. The story actually sparks into motion with a violent act—the killing of this magnificent creature by a British covert operative, Major Hardy.

Once this elephant enters the picture in rural Sabaragamuwa, it completely upends the status quo. It stops being just an animal and becomes a flashpoint. The King demands it as a symbol of his absolute right to rule, while the Adigar is pushed to his limits trying to secure it. By tracking the ripples of this one elephant’s fate, we see a mirror reflection of how every layer of society—from the poorest peasant to the highest noble—is ultimately broken by the regime’s ambitions.

Q: Some readers might find the narrative structure unconventional, as certain pivotal events are retold multiple times. What was the philosophy behind this stylistic choice?

A: The repetition isn’t accidental; it is the literal thesis of the book. History is a broken record. The exact systemic failures, abuses of power, and political manipulations we saw in the 1800s are playing out on our news feeds today.

By forcing the reader to witness the death of the elephant through several conflicting viewpoints, I am issuing a challenge. The reader may find it frustrating to read the same event repeated across a few chapters, but at the same time, so incredibly tolerant of history repeating its worst tragedies in our actual lives. The novel intends to question this tolerance.

Q: The book concludes with a fascinating, rather dark leap forward in time. What guided that final twist?

A: The final chapter jumps 50 years into the future, viewed through the eyes of an English traveller during the height of the colonial coffee plantation era. He witnesses locals performing gruelling acts of penance to appease the spirit of a deceased local chieftain—the man who had terrorised and exploited that very same village half a century prior.

The tragic paradox is that the oppressor had been elevated to a deity. Decades later, the descendants of his victims are praying for his spirit’s return, seemingly willing to trade their freedom for familiar tyranny. It speaks to a very painful human truth that we still see in modern politics: our habit of deifying and worshiping the very leaders who exploit us.

Q: Following the critical success of being shortlisted for the Swarna Pusthaka Awards, what can you share about your next literary venture?

A: Yes, I am actually putting the finishing touches on my second novel, which I hope to publish later this year. Chronologically, it revisits a similar historical era, allowing me to dig even deeper into the socio-political undercurrents of that time period through an entirely new lens.

Continue Reading

Trending