Features

Lester and Ceylon Theatres : The Peak of a career

Published

3 years ago

2022/10/7

By Uditha Devapriya

The three films that Lester James Peries directed for Ceylon Theatres – Golu Hadawatha (1968), Akkara Paha (1969), and Nidhanaya (1970) – stand out among the finest ever made in this country. They are an affirmation of life, sweeping epic-like fables that seem to tell us about ourselves, who we are and how we live. When Ceylon Theatres commissioned Peries to take on these projects, it was allegedly on the verge of bankruptcy. As he recalled for A. J. Gunawardena many, many years later, the company had reached a point where it preferred serious, low budget productions to expensive box-office flops.

The trilogy marked Peries’s second foray into a production financed by a mainstream studio. The first was, of course, Sandeshaya, produced by K. Gunaratnam. But Sandeshaya was of a totally different calibre, mainstream and conventional in the best sense of those terms. From an artistic point of view, his reimagining of a Sinhalese uprising against Portuguese rule left much to be desired, though it broke box-office records and found a ready audience in the Soviet Union. It introduced Gamini Fonseka to the screen, topping even the real hero of the story, played by Ananda Jayaratne. It also established Peries’s reputation as someone who could be trusted with a large, lavish production.

His work for Ceylon Theatres did not involve such a production. The situation was such that by that time, the mainstream studio system in the country was falling apart. The State was playing a more interventionist role in the film industry, promoting local productions over the imported variety. This had a profound effect on the studios, forcing them to revise their strategies. At the beginning of the decade, it would have been difficult to imagine a major production company hiring someone like Lester to do not one, not two, but three films in a row: Lester himself has recounted, many times, that while making Gamperaliya the studios effectively blacklisted his crew, refusing to lend them lighting equipment.

By 1968 Lester had earned an unenviable epithet for himself: he had become, in the words of his detractors, a “prestige failure.” On this point he is often compared to Satyajit Ray. But Ray worked within a different frame and a different culture: notwithstanding his refusal to make concessions to the box-office, Ray enjoyed a wider, more diverse market, in which it was possible to sustain an art-house and a commercial film industry at the same time. In Sri Lanka the issue was that even popular films, made by the big studios, were losing money. One of Peries’s friends, the producer P. E. Anthonypillai, had persuaded the Ceylon Theatres Board that “it was better policy to attempt some serious productions.”

The Sinhala film industry has always encountered, or suffered from, a tenuous relationship between cinema and literature, and often the theatre. Most of the early films – including the first, Kadawunu Poronduwa (1947) – were based on novels and plays, if not historical epics which themselves had been adapted as novels and plays. Ornate, decorative, and not a little tawdry, the tenor and mood of these works rang false, and adapted to the screen, they seemed twice or thrice removed from the realities of life. That most of these productions had been shot in the Madras studios reinforced these qualities, particularly with the use of audio-visual elements that were, if not Indian, then evocative of Indian life. Mervyn de Silva no doubt had this in mind when he called Rekava the first Sinhalese film.

By the time Lester James Peries entered the stage in 1956, things had begun to change. Literature and theatre, once laden with high-flown dialogues and ornate landscapes, had become more naturalised. Even Ediriweera Sarachchandra’s attempts at stylised theatre seemed, at least with Maname and Sinhabahu, the twin peaks of his career, truer to life than the John de Silva plays. If Martin Wickramasinghe had spearheaded a revolution in literature in 1947, with Gamperaliya, he completed it in 1956 with Viragaya, and in 1957 with Kaliyugaya, the latter being in my opinion his finest novel. Elsewhere writers like G. B. Senanayake and dramatists like Gunasena Galappatti were experimenting with different styles. The result was an efflorescence of the arts.

In other words, the cultural revolution which led from 1956, and in a way also preceded it, provided a rich storehouse of material for Peries’s films. Meeting Martin Wickramasinghe for the first time, Peries reportedly told him that with the resources of the cinema even a directory could be turned into a film. Wickramasinghe had come from a generation that saw cinema purely as escapist entertainment: his film reviews, including a particularly acerbic one of Asokamala which he charges as having corrupted history, show that he didn’t think of the medium highly. Yet by pioneering a revolution in the arts, he unleashed a paradigm shift in the cinema. It was this which Lester took up, starting with Gamperaliya, the first authentic film – “full of Chekhovian grace” as Lindsay Anderson called it – made here.

These adaptations – and there were many of them in Lester’s career – worked best when the director approached the material from a cinematic rather than an originalist standpoint. What do I mean by “originalist”? I mean that attitude which encourages scriptwriters and filmmakers to literally transpose a novel or a play. Neither Lester nor Regi Siriwardena, his screenwriter and in my opinion the finest screenwriter this country ever produced, went for such an approach with Gamperaliya. Aided in no small part by Tissa Abeysekara, Peries and Siriwardena cut away everything but the barest essentials of the story, which centre on the romance between Piyal and Nanda. Everything else, including Nanda’s brother Tissa’s forays in the city and a side-plot involving Laisa, were removed from the script.

Lester’s next two films – Delovak Athara (1966) and Ran Salu (1967) – are in many ways interconnected. Both were based on original screenplays, though the latter was based on a story P. K. D. Seneviratne wrote for Punya Heedeniya. Both feature Tony Ranasinghe, J. B. L. Gunasekera, and Irangani Serasinghe and both are set in Colombo. They almost seem like an interregnum in Lester’s first few years, though both are, without exception, very finely done and directed. These confirmed his reputation as a prestige failure, even though Ran Salu, no doubt because of its Buddhist and traditionalist theme, became a box-office success. They also established him as a man who could be trusted, and encouraged the justifiably cautious Board at Ceylon Theatres to take him in at P. E. Anthonypillai’s bidding.

Ceylon Theatres had more or less granted Lester his benediction. Though he had to put up with various constraints – he couldn’t hire his own crew, and even the work he and his wife, Sumitra Gunawardena, supervised, had to be shared, at least in the opening credits, with the studio technicians – he was given “full control over story, script music, editing.” This was a dream come true: the opportunity and carte blanche to do what he wanted. Yet mindful of his responsibilities, he sought to insure himself against box-office failure, something which would obviously have gone against him. With this in view, he opted for a literary “property” which “seemed to go against the grain of his previous work.”

For his first film he went for a middle-brow romance, written by someone who a critic – I think Regi Siriwardena – once fittingly described as having bridged the gap between Martin Wickramasinghe and Sinhala pulp fiction. Karunasena Jayalath’s novels read so smoothly that you can almost quote them from memory. Unlike the later generation of pulp writers, his words rang true to life, because many of these stories were based on his own life. Golu Hadawatha was certainly inspired by his adolescent encounters. It was a clean break from Gamperaliya, and it marked a turning point in Lester’s career. In this he was aided by two of his most frequent collaborators: Siriwardena, who took the dialogues from the novel and turned out the script almost overnight, and Sumitra, who did wonders with the editing and cut the film twice: “first to the narration, then to the musical score.”

The result was one of the finest films ever made in the country. I have written elsewhere about the merits of Golu Hadawatha, and I think from all those qualities I saw in the story, the most striking would have to be the director’s perception of a social class he had never really depicted until then: the rural petty bourgeoisie. Golu Hadawatha is essentially about an interlude between two rural Sinhala Buddhist middle-class lovers, who are tied to their cultural-traditionalist roots but yearn to break away from those ties. How Peries manages to capture this, through the skilful yet highly underrated performances of Wickrema Bogoda and Anula Karunatilake, cannot really be described in words.

The film remains, then as now, an abiding promise of what love means, and more importantly of what a director reputed for high artistic standards could achieve if he were given the money and the resources. It is as much an affirmation of love and life, then, as it is of a visionary’s career.The writer is an international relations analyst, researcher, and columnist who can be reached at udakdev1@gmail.com

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Features

Misinterpreting President Dissanayake on National Reconciliation

Published

15 hours ago

2026/02/10

Sahan Weerasooriya

President Dissanayake

President Anura Kumara Dissanayake has been investing his political capital in going to the public to explain some of the most politically sensitive and controversial issues. At a time when easier political choices are available, the president is choosing the harder path of confronting ethnic suspicion and communal fears. There are three issues in particular on which the president’s words have generated strong reactions. These are first with regard to Buddhist pilgrims going to the north of the country with nationalist motivations. Second is the controversy relating to the expansion of the Tissa Raja Maha Viharaya, a recently constructed Buddhist temple in Kankesanturai which has become a flashpoint between local Tamil residents and Sinhala nationalist groups. Third is the decision not to give the war victory a central place in the Independence Day celebrations.

Even in the opposition, when his party held only three seats in parliament, Anura Kumara Dissanayake took his role as a public educator seriously. He used to deliver lengthy, well researched and easily digestible speeches in parliament. He continues this practice as president. It can be seen that his statements are primarily meant to elevate the thinking of the people and not to win votes the easy way. The easy way to win votes whether in Sri Lanka or elsewhere in the world is to rouse nationalist and racist sentiments and ride that wave. Sri Lanka’s post independence political history shows that narrow ethnic mobilisation has often produced short term electoral gains but long term national damage.

Sections of the opposition and segments of the general public have been critical of the president for taking these positions. They have claimed that the president is taking these positions in order to obtain more Tamil votes or to appease minority communities. The same may be said in reverse of those others who take contrary positions that they seek the Sinhala votes. These political actors who thrive on nationalist mobilisation have attempted to portray the president’s statements as an abandonment of the majority community. The president’s actions need to be understood within the larger framework of national reconciliation and long term national stability.

Reconciler’s Duty

When the president referred to Buddhist pilgrims from the south going to the north, he was not speaking about pilgrims visiting long established Buddhist heritage sites such as Nagadeepa or Kandarodai. His remarks were directed at a specific and highly contentious development, the recently built Buddhist temple in Kankesanturai and those built elsewhere in the recent past in the north and east. The temple in Kankesanturai did not emerge from the religious needs of a local Buddhist community as there is none in that area. It has been constructed on land that was formerly owned and used by Tamil civilians and which came under military occupation as a high security zone. What has made the issue of the temple particularly controversial is that it was established with the support of the security forces.

The controversy has deepened because the temple authorities have sought to expand the site from approximately one acre to nearly fourteen acres on the basis that there was a historic Buddhist temple in that area up to the colonial period. However, the Tamil residents of the area fear that expansion would further displace surrounding residents and consolidate a permanent Buddhist religious presence in the present period in an area where the local population is overwhelmingly Hindu. For many Tamils in Kankesanturai, the issue is not Buddhism as a religion but the use of religion as a vehicle for territorial assertion and demographic changes in a region that bore the brunt of the war. Likewise, there are other parts of the north and east where other temples or places of worship have been established by the military personnel in their camps during their war-time occupation and questions arise regarding the future when these camps are finally closed.

There are those who have actively organised large scale pilgrimages from the south to make the Tissa temple another important religious site. These pilgrimages are framed publicly as acts of devotion but are widely perceived locally as demonstrations of dominance. Each such visit heightens tension, provokes protest by Tamil residents, and risks confrontation. For communities that experienced mass displacement, military occupation and land loss, the symbolism of a state backed religious structure on contested land with the backing of the security forces is impossible to separate from memories of war and destruction. A president committed to reconciliation cannot remain silent in the face of such provocations, however uncomfortable it may be to challenge sections of the majority community.

High-minded leadership

The controversy regarding the president’s Independence Day speech has also generated strong debate. In that speech the president did not refer to the military victory over the LTTE and also did not use the term “war heroes” to describe soldiers. For many Sinhala nationalist groups, the absence of these references was seen as an attempt to diminish the sacrifices of the armed forces. The reality is that Independence Day means very different things to different communities. In the north and east the same day is marked by protest events and mourning and as a “Black Day”, symbolising the consolidation of a state they continue to experience as excluding them and not empathizing with the full extent of their losses.

By way of contrast, the president’s objective was to ensure that Independence Day could be observed as a day that belonged to all communities in the country. It is not correct to assume that the president takes these positions in order to appease minorities or secure electoral advantage. The president is only one year into his term and does not need to take politically risky positions for short term electoral gains. Indeed, the positions he has taken involve confronting powerful nationalist political forces that can mobilise significant opposition. He risks losing majority support for his statements. This itself indicates that the motivation is not electoral calculation.

President Dissanayake has recognized that Sri Lanka’s long term political stability and economic recovery depend on building trust among communities that once peacefully coexisted and then lived through decades of war. Political leadership is ultimately tested by the willingness to say what is necessary rather than what is politically expedient. The president’s recent interventions demonstrate rare national leadership and constitute an attempt to shift public discourse away from ethnic triumphalism and toward a more inclusive conception of nationhood. Reconciliation cannot take root if national ceremonies reinforce the perception of victory for one community and defeat for another especially in an internal conflict.

BY Jehan Perera

Features

Recovery of LTTE weapons

Published

15 hours ago

2026/02/10

Sahan Weerasooriya

Sri Lanka Navy in action

I have read a newspaper report that the Special Task Force of Sri Lanka Police, with help of Military Intelligence, recovered three buried yet well-preserved 84mm Carl Gustaf recoilless rocket launchers used by the LTTE, in the Kudumbimalai area, Batticaloa.

These deadly weapons were used by the LTTE SEA TIGER WING to attack the Sri Lanka Navy ships and craft in 1990s. The first incident was in February 1997, off Iranativu island, in the Gulf of Mannar.

Admiral Cecil Tissera took over as Commander of the Navy on 27 January, 1997, from Admiral Mohan Samarasekara.

The fight against the LTTE was intensified from 1996 and the SLN was using her Vanguard of the Navy, Fast Attack Craft Squadron, to destroy the LTTE’s littoral fighting capabilities. Frequent confrontations against the LTTE Sea Tiger boats were reported off Mullaitivu, Point Pedro and Velvetiturai areas, where SLN units became victorious in most of these sea battles, except in a few incidents where the SLN lost Fast Attack Craft.

Carl Gustaf recoilless rocket launchers

The intelligence reports confirmed that the LTTE Sea Tigers was using new recoilless rocket launchers against aluminium-hull FACs, and they were deadly at close quarter sea battles, but the exact type of this weapon was not disclosed.

The following incident, which occurred in February 1997, helped confirm the weapon was Carl Gustaf 84 mm Recoilless gun!

DATE: 09TH FEBRUARY, 1997, morning 0600 hrs.

LOCATION: OFF IRANATHIVE.

FACs: P 460 ISRAEL BUILT, COMMANDED BY CDR MANOJ JAYESOORIYA

P 452 CDL BUILT, COMMANDED BY LCDR PM WICKRAMASINGHE (ON TEMPORARY COMMAND. PROPER OIC LCDR N HEENATIGALA)

OPERATED FROM KKS.

CONFRONTED WITH LTTE ATTACK CRAFT POWERED WITH FOUR 250 HP OUT BOARD MOTORS.

TARGET WAS DESTROYED AND ONE LTTE MEMBER WAS CAPTURED.

LEADING MARINE ENGINEERING MECHANIC OF THE FAC CAME UP TO THE BRIDGE CARRYING A PROJECTILE WHICH WAS FIRED BY THE LTTE BOAT, DURING CONFRONTATION, WHICH PENETRATED THROUGH THE FAC’s HULL, AND ENTERED THE OICs CABIN (BETWEEN THE TWO BUNKS) AND HIT THE AUXILIARY ENGINE ROOM DOOR AND HAD FALLEN DOWN WITHOUT EXPLODING. THE ENGINE ROOM DOOR WAS HEAVILY DAMAGED LOOSING THE WATER TIGHT INTEGRITY OF THE FAC.

THE PROJECTILE WAS LATER HANDED OVER TO THE NAVAL WEAPONS EXPERTS WHEN THE FACs RETURNED TO KKS. INVESTIGATIONS REVEALED THE WEAPON USED BY THE ENEMY WAS 84 mm CARL GUSTAF SHOULDER-FIRED RECOILLESS GUN AND THIS PROJECTILE WAS AN ILLUMINATER BOMB OF ONE MILLION CANDLE POWER. BUT THE ATTACKERS HAS FAILED TO REMOVE THE SAFETY PIN, THEREFORE THE BOMB WAS NOT ACTIVATED.

Sea Tigers

Carl Gustaf 84 mm recoilless gun was named after Carl Gustaf Stads Gevärsfaktori, which, initially, produced it. Sweden later developed the 84mm shoulder-fired recoilless gun by the Royal Swedish Army Materiel Administration during the second half of 1940s as a crew served man- portable infantry support gun for close range multi-role anti-armour, anti-personnel, battle field illumination, smoke screening and marking fire.

It is confirmed in Wikipedia that Carl Gustaf Recoilless shoulder-fired guns were used by the only non-state actor in the world – the LTTE – during the final Eelam War.

It is extremely important to check the batch numbers of the recently recovered three launchers to find out where they were produced and other details like how they ended up in Batticaloa, Sri Lanka?

By Admiral Ravindra C. Wijegunaratne
WV, RWP and Bar, RSP, VSV, USP, NI (M) (Pakistan), ndc, psn, Bsc (Hons) (War Studies) (Karachi) MPhil (Madras)
Former Navy Commander and Former Chief of Defence Staff
Former Chairman, Trincomalee Petroleum Terminals Ltd
Former Managing Director Ceylon Petroleum Corporation
Former High Commissioner to Pakistan

Features

Yellow Beatz … a style similar to K-pop!

Published

15 hours ago

2026/02/10

Sahan Weerasooriya

Yes, get ready to vibe with Yellow Beatz, Sri Lanka’s awesome girl group, keen to take Sri Lankan music to the world with a style similar to K-pop!

With high-energy beats and infectious hooks, these talented ladies are here to shake up the music scene.

Think bold moves, catchy hooks, and, of course, spicy versions of old Sinhala hits, and Yellow Beatz is the package you won’t want to miss!

According to a spokesman for the group, Yellow Beatz became a reality during the Covid period … when everyone was stuck at home, in lockdown.

“First we interviewed girls, online, and selected a team that blended well, as four voices, and then started rehearsals. One of the cover songs we recorded, during those early rehearsals, unexpectedly went viral on Facebook. From that moment onward, we continued doing cover songs, and we received a huge response. Through that, we were able to bring back some beautiful Sri Lankan musical creations that were being forgotten, and introduce them to the new generation.”

The team members, I am told, have strong musical skills and with proper training their goal is to become a vocal group recognised around the world.

Believe me, their goal, they say, is not only to take Sri Lanka’s name forward, in the music scene, but to bring home a Grammy Award, as well.

“We truly believe we can achieve this with the love and support of everyone in Sri Lanka.”

The year 2026 is very special for Yellow Beatz as they have received an exceptional opportunity to represent Sri Lanka at the World Championships of Performing Arts in the USA.

Under the guidance of Chris Raththara, the Director for Sri Lanka, and with the blessings of all Sri Lankans, the girls have a great hope that they can win this milestone.

“We believe this will be a moment of great value for us as Yellow Beatz, and also for all Sri Lankans, and it will be an important inspiration for the future of our country.”

Along with all the preparation for the event in the USA, they went on to say they also need to manage their performances, original song recordings, and everything related.

The year 2026 is very special for Yellow Beatz

“We have strong confidence in ourselves and in our sincere intentions, because we are a team that studies music deeply, researches within the field, and works to take the uniqueness of Sri Lankan identity to the world.”

At present, they gather at the Voices Lab Academy, twice a week, for new creations and concert rehearsals.

This project was created by Buddhika Dayarathne who is currently working as a Pop Vocal lecturer at SLTC Campus. Voice Lab Academy is also his own private music academy and Yellow Beatz was formed through that platform.

Buddhika is keen to take Sri Lankan music to the world with a style similar to K-Pop and Yellow Beatz began as a result of that vision. With that same aim, we all work together as one team.

“Although it was a little challenging for the four of us girls to work together at first, we have united for our goal and continue to work very flexibly and with dedication. Our parents and families also give their continuous blessings and support for this project,” Rameesha, Dinushi, Newansa and Risuri said.

Last year, Yellow Beatz released their first original song, ‘Ihirila’ , and with everything happening this year, they are also preparing for their first album.