Features

Gamperaliya: The Greatest Masterpiece of Sinhala Cinema

Published

3 years ago

2023/12/3

PLACES, PEOPLE & PASSIONS (3Ps)

Dr. Chandana (Chandi) Jayawardena DPhil
President – Chandi J. Associates Inc. Consulting, Canada
chandij@sympatico.ca

Early Movies

When I was very young, my parents started taking me to see popular, animated movies produced by Walt Disney. They took me to see my first Sinhala movie when I was three. I don’t remember too much about that movie – ‘Sooraya’ except that one of the main actors was Alfred Edirimanne, a good friend of my father. A couple of years later I remember watching another Sinhala movie – ‘Daivayogaya’ which was memorable mainly because of beautiful singing by Rukmani Devi, and the first-ever movie appearance by a handsome young supporting actor – Gamini Fonseka. When one of my uncles took my elder sister and me to see ‘Kavata Andare’ at the Ritz Cinema near our house at Borella in 1960, I thought that Eddie Jayamanne was hilarious acting as the famous court jester of a Sinhala king.

‘Ranmuthu Duwa’ and ‘Dr. No’

When I was a kid my favourite Sinhala movie was ‘Ranmuthu Duwa’ (Island of Treasures). In 1962, my parents took my two sisters and myself to the Sapphire Cinema in Colombo to see this first colour full-length Sinhala movie. With a budget of Rs. 400,000, it was the most expensive movie made in Ceylon, up to that point. It broke all box office records in Ceylon and its initial run in over 20 cinemas went beyond 100 days. It also made three young actors – Gamini Fonseka, Joe Abeywickrama and Jeevarani Kurukulasuriya, mega stars. Like all my eight-year-old friends, I became an ardent fan of Gamini Fonseka, who was only 26 then.

It was co-produced by Ceylonese Shesha Palihakkara and British-American Dr. Arthur C. Clarke and directed by Canadian Mike Wilson. It showed, for the first time, the underwater wonders of the seas around Ceylon, which had barely begun to be explored. In an era when Sinhala cinema was dominated by formulaic movies influenced by popular, melodrama Indian movies and music, ‘Ranmuthu Duwa’ was a breath of fresh air and set a trend. It had only three songs (compared to an average of eight songs per Sinhala movie made since 1947), all originals that made a new generation of musicians led by Amaradeva very popular over the next few decades.

Maha Kappina Walauwa in Balapitiya

Two months after that, my father told me one evening, “Chandana, let’s go for a walk by the beach.” Our walk ended at the Savoy Cinema and he surprised me by taking me to watch ‘Dr. No,’ the first 007 movie with Sean Connery as James Bond. My father had read a few books of Ian Flemming, and explained to me that the character of James Bond was loosely based on the author’s life. From then on, I became a ‘Picture Pissa’ or a movie buff. I commenced keeping a record of all movies I watched and rated them with my own star system, rating movies between one star and five stars.

Chosen to Act in ‘Gamperaliya’

One day at Bambalapitiya Flats I was playing cricket in the backyard of the house of one of my friends, Rohitha Wickremeratne. One of his elder brothers, who was much older than us, around his mid-twenties, was involved in stage plays and movie making. Dharmasiri Wickremeratne was watching me closely and Rohitha told me that his brother would like to have a quick chat with me. “Chandana, would you like to act in a movie?” was his question.

Two days later, we had three unexpected visitors arriving at our house in the evening. Film Director Lester James Peries, Film Editor Sumithra Gunawardena and Cinematographer Willie Blake, who was a neighbour of ours, came to see me and my parents. That evening I was chosen for the role of Tissa, in the movie ‘Gamperaliya.’ I was over the moon with excitement!

Shooting on Location

Lester decided that none of the scenes of ‘Gamperaliya’ would be shot in studios. One of my scenes was filmed in the Balapiitya railway station, where my screen mother dropped me off to take the train to school. Another scene was when I was transported in the family horse cart, but due to a problem with the old horse used for that scene, Lester decided to drop that scene.

Most of the other scenes were shot at a colonial manor house of a former village headman. This house – Maha Kappina Walauwa in Balapitiya was a beautiful, large and a historic building. The whole cast stayed there for weeks. This was a novel experience for me. My father travelled with me and stayed with me during shooting periods.

Lester and Sumithra in 1962.

Directed by the Greatest Movie Director of Ceylon

Lester was a very nice gentleman and had a smooth way of directing his actors and crew. In one scene my fellow actors were engaged in a family discussion. As I was not expected to appear in that scene, I was watching the process while leaning against a pillar in the meda midula (middle garden) of the house. The master movie director looked at me and softly said: “Baba, just remain in that pose and look at your screen mother and sisters, the same way you would look at your own mother and sisters.” He then gently signalled Willie Blake to move the camera from Punya Heendeniya, Trilicia Gunawardena, and Shanthi Lekha to do a close-up of me. I did not even feel that I was acting, but that scene was memorable and very natural.

I watched Lester directing the main actor – Henry Jayasena, and then newcomers – Tony Ranasinghe and Anula Karunatilake who debuted their long and successful movie careers with ‘Gamperaliya.’ I also noticed that the director took a dozen takes of a scene when he was not satisfied. He was a perfectionist.

Lester was a bachelor at that time, but I felt that he had a special connection with his movie editor – Sumithra Gunawardena. They both were graduates of the London School of Film Technique. In 1963, a filmmaking company called Cinelanka was established with the producer of ‘Gamperaliya’ – Anton Wickramasinghe, Lester, and Sumitra as major shareholders. Lester and Sumithra married in 1964 and were together for 54 years until the demise of Lester in 2018.

Hanging out with the Greatest Novelist of Ceylon

During my second visit to Maha Kappina Walauwa, to shoot a traditional New Year scene, I was pleased to meet then 72-year-old Martin Wickramasinghe who was often acclaimed as the father of modern Sinhala literature. His novels had been translated to languages such as English, Tamil, Mandarin, Russian, Japanese, French, Dutch, Bulgarian and Romanian. Martin Wickramasinghe was a legend, and I was fortunate to meet him.

Martin Wickremasinghe’s most famous work include a trilogy of great novels commencing with ‘Gamperaliya’ (). It was written and first published in 1944. The novel depict the breakup of traditional village life in colonial Ceylon due to the impact of modernisation between the early and mid-20th century. The gradual subversion of the traditional economic and social structure of the village by the commercial culture of the city is portrayed through the story of an aristocratic family in a southern village. The novel has been widely praised for its realism in depicting Sinhala rural life and is considered one of the most important work of Sinhala literature.

Martin Wickramasinghe gave me some tips when we were playing a traditional New Year indoor game played in villages – ‘Panchi’, for a scene. He knew my father well and was impressed that at age nine, I had read some of his books. Why he took special interest in my role, my father told me, was because the character I was playing – Tissa, was loosely based on the author’s childhood. Wickrama Bogoda acted as Tissa when the character became older.

My father had heard that Martin Wickramasinghe was not pleased with Lester James Peries’s choice of cinema idol, Gamini Fonseka, for the role of Jinadasa, who marries the main character of the story, Nanda (my screen sister). The character of Jinadasa was somewhat that of a weaker person and the author felt that Gamini Fonseka appeared to be too strong for the role. Perhaps that was the reason for his arrival on location the day Gamini Fonseka was expected on the sets.

Meeting the Greatest Movie Actor of Ceylon

I was looking forward to meeting Gamini Fonseka. I remember a few special things when I met my idol for the first time. He drove a sylish sports car; he spoke perfect English and smoked a lot. Well, at that time most men smoked. Then he did three things which were memorable to me. He chatted with me and became friendly, then he jokingly lifted me, perhaps to show off his strong muscles, and then he signed my autograph album which I still treasure.

Gamini was an amazing actor. I was watching him crying in a scene when Nanda and Jinadasa’s son died at birth. Without any help, he had tears pouring from his eyes. “Gamini uses a technique known as ‘method acting’ used by actors such as Marlon Brando” my father whispered into my ear, while comparing Gamini to the best Hollywood actor at that time.

In shooting that scene, Lester did something uncharacteristic of him. He was satisfied with only two takes. Lester said, “Cut!” with a big smile. He then turned to his friend and said, “Well done, Gamini. That was simply perfect!” There was a pin-drop silence among all of us who witnessed a piece of brilliant acting by the greatest actor Ceylon/Sri Lanka was blessed to have. Martin Wickramasinghe’s grin and nodding his head, confirmed in my mind that he finally agreed with Lester’s choice for the role of Jinadasa.

‘Gamperaliya’ becoming the Greatest Sinhala Movie

In 1963, when ‘Gamperaliya’ was released, it was the turning point in Sinhala cinema, as it did away with all the formulaic elements (songs, dance, comic relief and fights) present in popular cinema at that time. It proved the viability of artistic cinema in the country and gave Sinhala cinema a previously absent sense of prestige.

Prior to its public release on December 20, 1963, ‘Gamperaliya’ competed at the third Moscow International Film Festival and won a Merit Certificate. As an actor of one of the five movies nominated for the best film of the year award at the first-ever Sarasaviya Film Awards, I was invited with my parents to the awards ceremony held at the brand-new Asoka Cinema in Colombo 14, in 1964. ‘Gamperaliya’ was judged the Best Film of the year and won seven out of 11 categories of awards.

Then came the history-making big surprise, not only for the producers of ‘Gamperaliya’ and Sinhala Cinema, but for all citizens of Ceylon. In 1965, ‘Gamperaliya’ was awarded the Golden Peacock award for the Best Film at the prestigious Third International Film Festival held in India. The festival was graded ‘A’ category by the Paris-based Federation International de Producers de Films (on par with Cannes, Berlin, Venice, Karlovy Vary and Moscow International film festivals). The festival was chaired by the greatest Indian film-maker Satyajit Ray, who famously had said that “Lester is my closest cinema relative in Asia!”

‘Gamperaliya’ also won and the Golden Head of Palanque at the Eighth World Review of Film Festivals held in Mexico and won silver at the 1967 Cork Film festival in Ireland. No other Sinhala film before that had won any international awards.

The unprecedented achievements of a Sinhala movie recorded by ‘Gamperaliya’ were celebrated in a few major events held in Ceylon, including an official event organized by the Cultural Affairs Department and the Arts Council of Ceylon. I was proud to be invited to such events.

At that event, when Anton Wickremasinghe told my father, “Ask Chandana to meet Lester at his house to collect his acting fees”, my family was surprised. We never discussed payments as it was simply an honour to appear in such a great movie and work with such an amazing crew. Several months later I walked from Bambalapitiya Flats to nearby Dickman’s Road to Lester and Sumithra’s house and collected my fee. It was Rs. 500. While handing me the envelope, Lester joked: “You know Chandana, for ‘Gamperaliya’ you were paid more than the highest paid actor in Ceylon – Gamini Fonseka!” I was surprised, but then realised that Gamini had acted free in ‘Gamperaliya’!

… To be continued next Sunday in a follow up article titled:

‘My 60-year long Movie Madness”

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Features

US’ anti-migrant stance set to intensify tensions in Western camp

Published

2 hours ago

2026/06/11

Sahan Weerasooriya

Migrant boats land on Western beaches. Credit: PA

The announcement by the US authorities of an anti-migrant stance during a recent commemoration in France of the epochal D-Day Landings of June 6, 1944, ought to strike impartial observers as a supreme irony. Whereas what should have been expected was a vibrant celebration of the beginning of the process of Western Europe freeing itself decisively from Nazi or fascist control during the crucial stages of World War Two, this was not to be.

What the world heard instead was a call to contemporary Western Europe to arm itself against a seemingly rising and threatening migrant presence in the region. In other words, the migrant must be despised and ‘shown the door’.

Instead of a commemoration that rejoiced in the flourishing of liberal democracy and its values what one got was a strong affirmation of fascism and racial chauvinism. US Defense Secretary Pete Hegseth vented his spleen against the migrant or foreigner presence in Europe reportedly thus: ‘Sadly today different European beaches are stormed by different dangerous ideologies.’ To ‘beaches in Spain and Italy and Greece and Bulgaria, boats and men arrive. When will European capitals do something about that invasion?’

While at the outbreak of World War Two it was Nazi Germany that was doing the invading and bringing some principal European countries under its suzerainty, this time around we are being given to understand that it’s migrants to the West who are seeking to colonize the latter. It goes without saying that such inflammatory rhetoric would have the deleterious effect of keeping racial tensions alive in the West and jeopardize all possibilities of the countries concerned cementing and maintaining social stability.

The Trump administration gives the impression of taking a leaf from the politically underdeveloped regions of the South to keep the US polity stable and united. In South Asia, for instance, we are not short of ambitious demagogues who use what is referred to as the ‘race card’ to gather unto themselves a following and thereby further their political fortunes. By seeking to stir and sustain anti-migrant hysteria, the Trump administration is also essentially replicating Nazi Germany’s policy of anti-Semitism. That is, fascism is very much alive in the US under President Trump.

Such efforts at churning racial hysteria at this juncture in the US should not come as a surprise. For all intents and purposes, the Trump administration is nowhere near achieving its aims in West Asia, for instance, in the short term. It has failed to bring Iran down to its knees, as it hoped to do, but is adopting the expedient of keeping the world guessing and confused on what it is doing in the region, since it cannot withdraw from the theatre in a hurry without losing face.

While perhaps working out an escape strategy the Trump administration it seems, is hoping to maintain its following at home intact and silent by playing on their racial biases and insecurities. Hence, the anti-foreigner campaign.

Simultaneously, the Trump administration will need to keep a close eye on how economic pressures on the domestic front are panning out. Anti-administration sentiments first break to the surface at meal tables. On this score, the news cannot be good because the average US family’s spending power ought to be shrinking on account of rising energy and oil prices. Consequently, it would not be a bad idea to keep the attention of the US consumer diverted by adeptly playing ‘the race card’; once again, lessons from intellectually bankrupt Southern politicians are coming in handy.

To be sure such comparisons many politicians in vibrantly democratic countries would find quite unflattering. But the stark truth is that racism cannot be tolerated in civilized societies and those politicians who resort to it risk being branded as racists of the first degree. In fact they could be seen as being on par with the likes of German dictator Adolph Hitler and his close collaborators.

However, on the question of migrant policy the Trump administration would likely be at polar opposites with the most vibrant of liberal democracies of the West. This will be the case with the UK, France and Italy for instance. The latter continue to keep their doors open to legal migrants and they are likely to view a virtual blanket ban on migrants as reprehensible.

Moreover, in the foremost democracies of the West debates are vibrantly ongoing on the need to keep racism or any hint of it completely outlawed in the public plane. There is the case of the UK, for instance, where the authorities continue to emphatically pinpoint their adherence to the principle of anti-racism in the conduct of public affairs.

One proof of the above was the parliamentary debate relating to the killing of 18-year-old Henry Nowak in Southampton. Police handling of the victim came in for sharp scrutiny by particularly the opposition in the House of Commons but there seemed to be a consensus over the main political divide that the matter should not be politicized.

Moreover, the UK authorities stressed in the House the government’s strict adherence to the policy of non-racism. It was also pointed out that British institutions set up to manage racism at the national, county and neighbourhood levels, for example, were very much intact. In fact, Sri Lanka could gain considerably by studying and implementing locally, legislation modeled on the relevant UK laws if it is in earnest when it speaks of ‘reconciliation’.

Accordingly, it is highly unlikely that Western Europe would ‘cave in’, so to speak, to US pressure on issues related to migration. The liberal democracies of Western Europe in particular would remain for the foreseeable future migrant-welcoming, multi-ethnic and plural democracies.

Nor is it likely that Western Europe would be passively receptive to US demands that it drastically increases its defense spending to meet the latter’s demands. Within the Western fold the EU is remaining committed to backing Ukraine, for instance, in its ongoing armed resistance to the Russian invasion and it is not giving any indication of being deferent to US pressure.

However, although tensions would continue to bristle within US-Western Europe relations on the above and numerous other matters of contention it would be far too premature to announce a parting of company between the two sections of the West. In that sense, the post-World War Two order remains essentially intact. There are still many things in common between the two, particular on the economic plane, that will ensure the continuance of the partnership.

Features

A decade among Yala’s ghosts of gold

Published

2 hours ago

2026/06/11

Sahan Weerasooriya

YM75 "James" surveys his territory from a tree-top vantage point, demonstrating the leopard's commanding presence in the landscape.

The first rays of dawn creep over the ancient rocks of Yala. The Indian Ocean glimmers in the distance, and the wilderness slowly awakens. Somewhere amid the scrub jungle, a pair of amber eyes scans the landscape.

For wildlife conservationist and leopard researcher Milinda Wattegedara, moments such as these have defined more than a decade of dedication to one of Sri Lanka’s most iconic creatures—the Sri Lankan leopard.

What began as fascination evolved into a remarkable conservation journey that has transformed the understanding of Yala’s leopard population and placed Sri Lanka firmly on the global wildlife research map.

“Long before I ever lifted a camera, leopards had already captured my imagination,” says Wattegedara. “What fascinated me was not merely their beauty but the complexity of their lives—their hunting strategies, movements, reproductive behaviour and their remarkable ability to adapt to changing environments.”

That fascination led to the birth of the Yala Leopard Diary in 2013, an ambitious long-term project dedicated to documenting individual leopards and unraveling the mysteries surrounding their lives.

For many visitors, a leopard sighting is a fleeting thrill. For Wattegedara and his team, every encounter is a chapter in an ongoing scientific story.

“Each photograph was never the end of an encounter,” he explains. “It was the beginning of deeper questions. How did a particular leopard use the landscape? How did its behaviour change with the seasons? What environmental pressures shaped its decisions?”

These questions drove years of meticulous fieldwork. Every sighting was carefully recorded with details including location, habitat, behaviour, date and time. Photographs were analysed to identify individual animals through unique spot patterns, allowing researchers to distinguish one leopard from another with remarkable accuracy.

What followed was groundbreaking.

YF77 “Shelly” pauses in quiet observation, embodying the alertness
and grace that define Yala’s leopard population.

From 2013 to 2026, the Yala Leopard Diary identified an astonishing 189 individual leopards within the Yala Block 1. The research revealed a leopard density of approximately 0.524 leopards per square kilometre, making Yala one of the highest leopard-density landscapes ever recorded anywhere in the world.

Such findings have elevated Yala’s status among global wildlife researchers.

Nestled between the Indian Ocean and a mosaic of habitats, ranging from rocky outcrops to dense scrub forests, Yala offers an ecological stage unlike any other.

Here, leopards are photographed silhouetted against ocean horizons, perched atop ancient granite formations, resting on tree branches and stalking prey across sunlit grasslands.

The images tell stories of extraordinary lives.

There is Haminee, a devoted mother navigating the challenges of raising cubs in a competitive landscape. There is Lucas, one of Yala’s most frequently documented males, striding confidently across the Gonalabba Plains with the vast ocean forming an unforgettable backdrop.

There is Ruki demonstrating the species’ incredible strength by hoisting prey onto branches, and Shelly, quietly surveying her surroundings in a moment of feline vigilance.

Together, these individuals have become familiar characters in a living wilderness drama.

YM31 “Ruki” secures prey on a branch, illustrating the remarkable strength and coordination of the Sri Lankan leopard.

Recognising the immense value of long-term documentation, Wattegedara joined forces with fellow researchers Dushyantha Silva, Raveendra Siriwardana and Mevan Piyasena to establish the Yala Leopard Centre in 2020.

Located at the Palatupana entrance to the Yala National Park, the centre is believed to be the world’s first information facility dedicated exclusively to leopards.

“The centre serves as a repository of knowledge, accumulated through years of observation and research,” Wattegedara says. “Our goal is to connect visitors with the science behind conservation and foster a deeper appreciation of these magnificent animals.”

The project’s impact extends far beyond Sri Lanka’s borders.

Research arising from the Yala Leopard Diary has been published in internationally recognised scientific journals. One study introduced an innovative framework for identifying individual leopards, while another documented an extraordinary and previously unrecorded case of a leopard cub being consecutively adopted by two different adult females—first a relative and later an unrelated leopardess.

The discovery attracted international scientific attention and highlighted the complexity of leopard social behaviour.

Yet for Wattegedara, the most important lesson remains one of humility.

“One conclusion has become increasingly clear,” he reflects. “Our understanding of these leopards remains far from complete. We are only beginning to understand how they live, adapt and persist in one of Sri Lanka’s most dynamic protected landscapes.”

YF15 “Hope” descends Rukvila Rock at dawn, showcasing the agility and adaptability of Yala’s leopards.

His words underscore an essential conservation truth: the more we learn about nature, the more mysteries emerge.

As Sri Lanka navigates growing environmental challenges, the Yala Leopard Diary stands as a shining example of what sustained observation, scientific curiosity and public engagement can achieve.

Beyond the stunning photographs and remarkable sightings lies something even more valuable—a growing body of knowledge capable of informing future conservation decisions and ensuring that future generations inherit a wilderness where leopards continue to roam free.

For more than a decade, Wattegedara and his colleagues have followed the tracks of Yala’s elusive predators through dust, rain and scorching heat.

Their work has revealed that every leopard has a story, every sighting has significance and every photograph can contribute to conservation.

And perhaps, most importantly, it has reminded us that the golden ghosts of Yala still have many secrets left to share.

By Ifham Nizam

Features

Glamour, music and community spirit …

Published

2 hours ago

2026/06/11

Sahan Weerasooriya

Sri Lankans are quite active, all around the globe.

News has just come my way, from Glasgow, in Scotland, where the glamour of masks, music, dancing, and community spirit, came together, in spectacular fashion, at Masquerade Night, bringing together members of the Sri Lankan community for an evening filled with music, fashion, food and entertainment.

Organised by Mahesh Balaaratchi (DJ Mowgli) together with Sulochana Asmone, Hiroshini, Prasad, Ashi, and Shawn, the evening provided guests with an opportunity to socialise, enjoy live entertainment, and celebrate in a unique and elegant setting.

Guests arrived from 6:00 pm, dressed in formal attire and decorative masks, creating a colourful and vibrant atmosphere throughout the venue.

DJ Mowgli: The main
organiser of
Masquerade Night

There was a delicious selection of Sri Lankan cuisine and street food, which proved popular throughout the evening.

The buffet offered a variety of traditional favourites, giving attendees a taste of home while adding to the festive atmosphere.

Entertainment was provided by DJ Mowgli, whose performance kept the audience engaged throughout the night. His playlist featured a mixture of popular favourites, dance classics, and cultural music, remixed for a younger generation.

One of the highlights of the evening was the Baila session, which brought a distinctly Sri Lankan flavour to the event.

The Baila segment highlighted the importance of preserving and celebrating cultural traditions, while bringing people together through music and dance.

As familiar rhythms filled the room, guests enthusiastically took to the dance floor, creating one of the most memorable moments of the night.

The crowd was described as lively, energetic, and welcoming, with attendees embracing the spirit of the masquerade theme while enjoying the opportunity to reconnect with friends and meet new people. The family-friendly atmosphere ensured that guests of all ages could take part in the celebrations.