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Ran Muthu Duwa

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(First Colour Feature Film in Sinhala)

By Rohan Abeygunawardena
(abeyrohan@gmail.com) and
Ananda Wickramarachchi

This article is dedicated to all the crew members of the first Sinhala colour film Ran Muthu Duwa that was screened 60 years ago on 10 August 1962.)

Sir Arthur Charles Clarke CBE FRAS was very well known world over as a renowned English science-fiction writer, science writer, futurist, inventor, undersea explorer, and television series host. But very few knew him as a producer of Sinhala feature films. He embarked on that for the benefit of the people in his host country Sri Lanka.

His first film co-produced with Mike Wilson and Shesha Palihakkara was Ran Muthu Duwa or Island of Treasures Ran Muthu Duwa was the first full-length Sinhala feature film in colour. The film was released on 10th August 1962, 60 years ago.

The film was directed by Mike Wilson, a photographer who immigrated to newly independent British colony of Ceylon in 1956 along with Arthur. Mike was originally from New Zealand and then lived in Britain and USA. Two friends Arthur and Mike were the early adopters of aqua-lung, invented in the mid-1940s which enabled divers to spend extended periods of time underwater. Both were “Scuba Divers” and lovers of exploring undersea and spent two adventurous years exploring the Great Barrier Reef in Australia before arriving to Ceylon (now Sri Lanka). They have produced many rare underwater photographs taken during underwater expeditions. These were illustrated in Arthur’s book “The Coast of Coral.”

There was a very fascinating story behind making Ran Muthu Duwa. Arthur and Mike embarked on an underwater exploration expedition off the southern coast; in proximity to Yala off Kirinda beach. These were vast coral reefs found in Sri Lanka. Their friend Rodney Jonklaas, a Sri Lankan marine biologist and a diver also joined them.

This area exposed to the force of both monsoons, and the sea was very rough throughout the year and many a ships sank during the period of European colonisation. British realised the necessity to build offshore light houses for the safety of seafarers. They completed the project building two lighthouses known as the Great Basses and Little Basses using modern lenses called hyper radiant Fresnel lenses. The lighthouses were named Maha Ravana Kotuwa” and Kuda Ravana Kotuwa in Sinhala.

While exploring underwater terrain close to Great Basses and Little Basses Arthur, Mike and Rodney discovered bags of silver coins, cannons, and other artefacts on 22nd March 1961. Further research conducted by them examining historical records at Colombo Museum and other libraries established that the silver coins were from an early 18th century sunken ship belonged to Mughal Emperor Aurangzeb. Their discovery was named the “Great Basses Wreck.”

Mike in his late twenties was an energetic young man was very keen to make a colour feature film based on their discovery. He has already produced a short film based on the underwater experiences around Great Barrier Reef in Australia when exploring it with Arthur. Mike, together with Arthur and Rodney, also wrote, photographed and directed the 25 minute documentary “Beneath the Seas of Ceylon” in 1958. This was the first film that displayed the beauty under the Sri Lankan oceans. Rodney once mentioned that he had learnt photography in general and underwater photography in particular from Mike.

Mike and Rodney approached Shesha Palihakkara who agreed to co-produce the film. Arthur, Mike and Sesha setup a company by the name Serendib Productions to make the film. The storyline was developed by Mike who had the knack for writing stories during his schooldays.

Storyline

Bandu, a young man had a dream on a Wesak night. His father who was a pearl oyster diver, passed away several years ago, appeared and advised him to remove the pendant that hangs from a chain worn round his neck as it could bring bad luck to his life. Bandu broke the chain in his sleep and woke up frightened and sweating. Bandu remembered that the pendant was a silver coin his father picked up while pearl diving close to their Ran Muthu Duwa (a fictitious island). The day after it was picked up his father had a mysterious death. The next morning, together with his two friends Sena and Raju, Bandu visited a jewellery shop. Shop owner, Danapala examining the coin realised the value of it and pretending as a coin collector offered Rs.350 to buy off. Three friends now very much inquisitive did not accept the offer and left the shop. Danapala sent a man to follow the young men.

Bandu and his friends now keen to find out more about the coin, visited Colombo Museum. According to the records, this coin was from a treasure of an ancient shipwreck. They decided to go to the village and meet Bandu’s uncle. Uncle helped them to meet a Swami living in the island. Swami told the young men that there had been a temple situated in this island. Portuguese ransacked and all the wealth possessed by the temple was taken away in a ship. But they couldn’t sail very far and the ship was wrecked by a sudden storm. This was now a treasure that had run aground as a result of the curse of the God. He further said whoever tried to recover it would meet his death.

In the meantime, Danapala too came to the island and met his old friends Muthusami and Kalidasan. A business rival of Bandu’s late father, Muthusami had become very rich now. Muthusami’s daughter was known to Bandu during their school days in the village. Muthusami’s intention was to give her daughter Kumari, in marriage to Kalidasan’s son Renga. In the meantime Bandu met Kumari and a love affair developed between the two. Kalidasan and Renga hated them.

Danapala, a cunning man he was, approached the young men and tried to persuade them to join his team to recover the treasurer. Bandu flatly refused. His intention was to recover the treasure and build a temple to enable the people to worship with Swami’s blessings.

Bandu and the friends hired a boat from Muthusami with the help of his uncle to explore underwater to locate the treasure. Bandu and Renga met each other under water and the latter tried to attack the former. The ensuing fight resulted Renga losing and drifting away unconscious. Bandu brought part of the treasure to the boat in a cane bucket. He went underwater again to bring the remaining part of the treasure against the advice of his friends. Accompanied by Muthusami, Danapala got into Bandu’s boat wielding a gun and over powered Bandu’s friends and the uncle. When Bandu came on board with the balance part of the treasure, Danapala tried to shoot and kill him. But Muthusami was against it and pushed Danapala off the boat.

In the meantime Kalidasan got hold of Kumari who was coming to the beach to meet Bandu. Kalidasan took her to the rock where the ancient kings beheaded the offenders. She was chained to the rock. She was submerged in the seawater when Bandu found her. Rajo ran into a hardware shop close by and forcefully grabbed a hand saw blade from the shop owner. He and the friends managed to cut the chain and rescued Kumari at the last moment.Bandu got the treasure, but he used part of that to rebuild the temple and handed over the balance to the government.

Cast

Mike and Sesha invited in 25-year-old Gamini Fonseka for the leading role, “Bandu.” Gamini was an extra in Rekawa and had acted in few films such as Daiva Yogaya (1959-minor role), Sandeshaya (1960-leading but not the main role). He initially wanted to be a cameraman but got the opportunity to work as a second assistant director of David Lean’s award winning “Bridge on the River Kwai” and Lester James Peries’ Rekawa.

Gamini never wanted a stuntman to perform his underwater scenes. Confident and arrogant, Gamini insisted that he should be given training in diving. He proved to be a good diver after few days of training. Gamini, the handsome and smart young man went on to dominate the Sinhala film scene for at least five decades.

Looking around, the producers found a 21 year old girl from Panadura Arts Association to play the role of the heroine. She was Jeevarani Kurukulasuriya. She has acted in a popular stage drama Maha Hene Riri Yaka a story written by late Prime Minister SWRD Bandaranayke and directed by Dick Dias. Jeevarani too became a popular actress in Sinhala Cinema, later on.

A friend of Arthur and Mike, Hector Eknayake was persuaded to play the villain’s role as Renga. Hector, a former Boxer also helped training the cast in fighting scenes in this action packed Sinhala production. Hector also trained Gamini in diving.

Others selected were Joe Abeywickrama as Sena, Shane Gunaratne as Rajo, Anthony C. Perera as Bandu’s uncle, Austin Abeysekera as Danapala, Vincent Vass as Kumari’s father Muttusamy, Thilakasiri Fernando as Swami, Eddie Amarasinghe as Sena’s friend, LakShmi Bai as Bandu’s mother, Sam P. Liyanage as the Moor hardware shop owner.

Others who contributed to the success of Ran Muthu Duwa:

Tissa Liyanasuriya was assigned with the task of writing the script and the dialogues in Sinhala, based on Mike’s storyline. He was also employed as the assistant director.

The film editing and other technical matters were assigned to Titus Thotawatte who had already carried out editing of Lester’s “Rekawa.”

Rodney Jonklaas assisted in the production and also as a diver of Danapala’s team.

Maestro W.D. Amaradeva got his very first opportunity to direct the music of a film. Together with Sri Chandrarathne Manawasinghe who did the lyrics they composed three songs. The theme song “Paramitha Bala” sung by Amaradeva and Nanda Malini. A love song for hero and heroine, Bandu and Kumari was “Galana Gangaki Jeevithe” and the playback singers were Narada Disasekera and Nanda Malani. “Pipi Pipi Renu Natana,” a group song was sung by Narada. For Nanda Malani and Narada this was the first break in the film industry to perform as playback singers. These songs were very popular even today after 60 years.

However Amaradeva composed only part of the background music. He was unable to travel to London with his musicians due to financial constraints to provide music at the time of processing of underwater scenes. Titus found a solution. He bought few instrumental music records (EP’s) and incorporated as background music. As a result part of the background music of the first Sinhala colour film was western, not the Maestro’s type.

Filming and Location

The film was shot in and around Trincomalee, Eastern Sri Lanka and close to Swami Rock (Kôṇâmalai) also called ‘lovers leap,’ where the ancient Koneswaram Hindu Temple perch atop it. Director of photography was assigned to W.A. Ratnayake. There were three cameramen. Outdoor filming was by Mike himself, underwater by Rodney and Sumiththa Amarasinghe filmed song sequence of “Galana Gangaki Jeevithe.”

Studio cameraman for the film was M. S. Anandan of Ceylon Studios.

Development and Critical reception

It was a genuine sunken treasure discovered by Arthur and Mike off Kirinda beach in the south of Sri Lanka that inspired energetic Mike Wilson to make Ran Muthu Duwa. Mike had written, shot and directed a short (25 mins.) underwater documentary film naming “Beneath the Seas of Ceylon” for Ceylon Tea Propaganda Board. Arthur was little hesitant initially but later agreed to provide part of the finance and also to help in production. The company Arthur, Mike and Sesha formed, Serendib Productions worked on a budget of Rs.450,000. Arthur provided start-up capital of Rs.50,000.

Ran Muthu Duwa

(Island of Treasures) was the first full-length colour film to be produced in Sinhala in Sri Lanka. While underwater filming was shot on using a 16mm Arri flex camera with double side perforation negative, for the other scenes a 35mm Arri flex IIc camera was used. The entire film was shot on Eastman Colour 32 ASA (American Standard Association). But the technology was such in the sixties there was no final colour negative. Instead 35mm four number of black and white matrices had to be technically processed for optical sound track and one each for three basic colours of Blue, Green, and Red (BGR) for printing the positives using BGR filters. Mike and Titus took the exposed negatives and dialogue tracks to Technicolor Laboratories in London for processing.

While Titus and Mike were processing the films with technicians at the Technicolor Laboratories in London, the famous film director Terence Young and his men were processing “Dr. No,” the first James Bond film in an adjoining studio. Terence hearing that an underwater feature film from the island of Ceylon was being processed, had barged into the studio and discussed the technical features of underwater filming with Mike and Titus.

A lover of films Dinesh Priyasad was an early viewer of “Thunderball,” the fourth Bond Film directed by Terence that was released in 1965. Dinesh was generally familiar with the technical aspects of filmmaking and directed several Sinhala films later on, including award winning Demodara Palama He also provided technical details for this article. Dinesh noticed that many underwater scenes were similar to Ran Muthu Duwa and informed his good friend Mike of his findings. Mike too watched this film several times and realised the plot. He knew for certain that some underwater sequences were being developed from his film. According to Titus, Mike became a worried man for Terence didn’t have the common courtesy to even acknowledge that in the end credits of the film “Thunderball” or written a letter thanking him. Mike’s frustration led him tomake a film naming Sorungeth Soru literally meaning “thieves are always thieves.” This was probably the wackiest feature film directed by Mike, yet it won Best Film and Best Actor awards at the 5th Sarasaviya Awards held in 1968.

Ran Muthu Duwa, with beautiful underwater scenes including fighting sequences was released on 10 August 1962, and it received overwhelmingly positive reviews. It also became the talking point throughout Sri Lanka, not only among Sinhala film fans but also those who loved Tamil and English films. Some of my Tamil friends said it was better than MGR (M.G. Ramachandran) films. Some others said it was like an “English Mystery Thriller.” Nearly one million people or ten percent of the population had seen it, and at the end of the day Ran Muthu Duwa was a tremendous commercial success. The film received “Famous film,” “Best Male Singer,” “Best Female Singer,” “Best Lyricist,” awards at the first Sarasaviya Awards held in 1964 and the “Favourite Producer” award at third Deepasika Award Ceremony in 1972.

Arthur C. Clerk who was hesitant to finance the project when proposal was made by his friend Mike, yet he exclaimed later, “I have never grown tired of watching the scenes of dawn over the great temples, the sea-washed cliffs of Trincomalee, the lines of pilgrims descending Adam’s Peak, and the mysterious underwater sequences even today, thirty-six years after it was made.” He wanted to arrange a re-release. But that never took place as he passed away on the 19th March 2008.Many of the film crew members are no more except Jeevarani Kurukulasuriya, Nanda Malini, Tissa Liyanasuriya and Hector Ekanayake.



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Challenges faced by the media in South Asia in fostering regionalism

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Main speaker Roman Gautam (R) and Executive Director, RCSS, Ambassador (Retd) Ravinatha Aryasinha.

SAARC or the South Asian Association for Regional Cooperation has been declared ‘dead’ by some sections in South Asia and the idea seems to be catching on. Over the years the evidence seems to have been building that this is so, but a matter that requires thorough probing is whether the media in South Asia, given the vital part it could play in fostering regional amity, has had a role too in bringing about SAARC’s apparent demise.

That South Asian governments have had a hand in the ‘SAARC debacle’ is plain to see. For example, it is beyond doubt that the India-Pakistan rivalry has invariably got in the way, particularly over the past 15 years or thereabouts, of the Indian and Pakistani governments sitting at the negotiating table and in a spirit of reconciliation resolving the vexatious issues growing out of the SAARC exercise. The inaction had a paralyzing effect on the organization.

Unfortunately the rest of South Asian governments too have not seen it to be in the collective interest of the region to explore ways of jump-starting the SAARC process and sustaining it. That is, a lack of statesmanship on the part of the SAARC Eight is clearly in evidence. Narrow national interests have been allowed to hijack and derail the cooperative process that ought to be at the heart of the SAARC initiative.

However, a dimension that has hitherto gone comparatively unaddressed is the largely negative role sections of the media in the SAARC region could play in debilitating regional cooperation and amity. We had some thought-provoking ‘takes’ on this question recently from Roman Gautam, the editor of ‘Himal Southasian’.

Gautam was delivering the third of talks on February 2nd in the RCSS Strategic Dialogue Series under the aegis of the Regional Centre for Strategic Studies, Colombo, at the latter’s conference hall. The forum was ably presided over by RCSS Executive Director and Ambassador (Retd.) Ravinatha Aryasinha who, among other things, ensured lively participation on the part of the attendees at the Q&A which followed the main presentation. The talk was titled, ‘Where does the media stand in connecting (or dividing) Southasia?’.

Gautam singled out those sections of the Indian media that are tamely subservient to Indian governments, including those that are professedly independent, for the glaring lack of, among other things, regionalism or collective amity within South Asia. These sections of the media, it was pointed out, pander easily to the narratives framed by the Indian centre on developments in the region and fall easy prey, as it were, to the nationalist forces that are supportive of the latter. Consequently, divisive forces within the region receive a boost which is hugely detrimental to regional cooperation.

Two cases in point, Gautam pointed out, were the recent political upheavals in Nepal and Bangladesh. In each of these cases stray opinions favorable to India voiced by a few participants in the relevant protests were clung on to by sections of the Indian media covering these trouble spots. In the case of Nepal, to consider one example, a young protester’s single comment to the effect that Nepal too needed a firm leader like Indian Prime Minister Narendra Modi was seized upon by the Indian media and fed to audiences at home in a sensational, exaggerated fashion. No effort was made by the Indian media to canvass more opinions on this matter or to extensively research the issue.

In the case of Bangladesh, widely held rumours that the Hindus in the country were being hunted and killed, pogrom fashion, and that the crisis was all about this was propagated by the relevant sections of the Indian media. This was a clear pandering to religious extremist sentiment in India. Once again, essentially hearsay stories were given prominence with hardly any effort at understanding what the crisis was really all about. There is no doubt that anti-Muslim sentiment in India would have been further fueled.

Gautam was of the view that, in the main, it is fear of victimization of the relevant sections of the media by the Indian centre and anxiety over financial reprisals and like punitive measures by the latter that prompted the media to frame their narratives in these terms. It is important to keep in mind these ‘structures’ within which the Indian media works, we were told. The issue in other words, is a question of the media completely subjugating themselves to the ruling powers.

Basically, the need for financial survival on the part of the Indian media, it was pointed out, prompted it to subscribe to the prejudices and partialities of the Indian centre. A failure to abide by the official line could spell financial ruin for the media.

A principal question that occurred to this columnist was whether the ‘Indian media’ referred to by Gautam referred to the totality of the Indian media or whether he had in mind some divisive, chauvinistic and narrow-based elements within it. If the latter is the case it would not be fair to generalize one’s comments to cover the entirety of the Indian media. Nevertheless, it is a matter for further research.

However, an overall point made by the speaker that as a result of the above referred to negative media practices South Asian regionalism has suffered badly needs to be taken. Certainly, as matters stand currently, there is a very real information gap about South Asian realities among South Asian publics and harmful media practices account considerably for such ignorance which gets in the way of South Asian cooperation and amity.

Moreover, divisive, chauvinistic media are widespread and active in South Asia. Sri Lanka has a fair share of this species of media and the latter are not doing the country any good, leave alone the region. All in all, the democratic spirit has gone well into decline all over the region.

The above is a huge problem that needs to be managed reflectively by democratic rulers and their allied publics in South Asia and the region’s more enlightened media could play a constructive role in taking up this challenge. The latter need to take the initiative to come together and deliberate on the questions at hand. To succeed in such efforts they do not need the backing of governments. What is of paramount importance is the vision and grit to go the extra mile.

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When the Wetland spoke after dusk

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Environmental groups and representatives

By Ifham Nizam

As the sun softened over Colombo and the city’s familiar noise began to loosen its grip, the Beddagana Wetland Park prepared for its quieter hour — the hour when wetlands speak in their own language.

World Wetlands Day was marked a little early this year, but time felt irrelevant at Beddagana. Nature lovers, students, scientists and seekers gathered not for a ceremony, but for listening. Partnering with Park authorities, Dilmah Conservation opened the wetland as a living classroom, inviting more than a 100 participants to step gently into an ecosystem that survives — and protects — a capital city.

Wetlands, it became clear, are not places of stillness. They are places of conversation.

Beyond the surface

In daylight, Beddagana appears serene — open water stitched with reeds, dragonflies hovering above green mirrors.

Yet beneath the surface lies an intricate architecture of life. Wetlands are not defined by water alone, but by relationships: fungi breaking down matter, insects pollinating and feeding, amphibians calling across seasons, birds nesting and mammals moving quietly between shadows.

Participants learned this not through lectures alone, but through touch, sound and careful observation. Simple water testing kits revealed the chemistry of urban survival. Camera traps hinted at lives lived mostly unseen.

Demonstrations of mist netting and cage trapping unfolded with care, revealing how science approaches nature not as an intruder, but as a listener.

Again and again, the lesson returned: nothing here exists in isolation.

Learning to listen

Perhaps the most profound discovery of the day was sound.

Wetlands speak constantly, but human ears are rarely tuned to their frequency. Researchers guided participants through the wetland’s soundscape — teaching them to recognise the rhythms of frogs, the punctuation of insects, the layered calls of birds settling for night.

Then came the inaudible made audible. Bat detectors translated ultrasonic echolocation into sound, turning invisible flight into pulses and clicks. Faces lit up with surprise. The air, once assumed empty, was suddenly full.

It was a moment of humility — proof that much of nature’s story unfolds beyond human perception.

Sethil on camera trapping

The city’s quiet protectors

Environmental researcher Narmadha Dangampola offered an image that lingered long after her words ended. Wetlands, she said, are like kidneys.

“They filter, cleanse and regulate,” she explained. “They protect the body of the city.”

Her analogy felt especially fitting at Beddagana, where concrete edges meet wild water.

She shared a rare confirmation: the Collared Scops Owl, unseen here for eight years, has returned — a fragile signal that when habitats are protected, life remembers the way back.

Small lives, large meanings

Professor Shaminda Fernando turned attention to creatures rarely celebrated. Small mammals — shy, fast, easily overlooked — are among the wetland’s most honest messengers.

Using Sherman traps, he demonstrated how scientists read these animals for clues: changes in numbers, movements, health.

In fragmented urban landscapes, small mammals speak early, he said. They warn before silence arrives.

Their presence, he reminded participants, is not incidental. It is evidence of balance.

Narmadha on water testing pH level

Wings in the dark

As twilight thickened, Dr. Tharaka Kusuminda introduced mist netting — fine, almost invisible nets used in bat research.

He spoke firmly about ethics and care, reminding all present that knowledge must never come at the cost of harm.

Bats, he said, are guardians of the night: pollinators, seed dispersers, controllers of insects. Misunderstood, often feared, yet indispensable.

“Handle them wrongly,” he cautioned, “and we lose more than data. We lose trust — between science and life.”

The missing voice

One of the evening’s quiet revelations came from Sanoj Wijayasekara, who spoke not of what is known, but of what is absent.

In other parts of the region — in India and beyond — researchers have recorded female frogs calling during reproduction. In Sri Lanka, no such call has yet been documented.

The silence, he suggested, may not be biological. It may be human.

“Perhaps we have not listened long enough,” he reflected.

The wetland, suddenly, felt like an unfinished manuscript — its pages alive with sound, waiting for patience rather than haste.

The overlooked brilliance of moths

Night drew moths into the light, and with them, a lesson from Nuwan Chathuranga. Moths, he said, are underestimated archivists of environmental change. Their diversity reveals air quality, plant health, climate shifts.

As wings brushed the darkness, it became clear that beauty often arrives quietly, without invitation.

Sanoj on female frogs

Coexisting with the wild

Ashan Thudugala spoke of coexistence — a word often used, rarely practiced. Living alongside wildlife, he said, begins with understanding, not fear.

From there, Sethil Muhandiram widened the lens, speaking of Sri Lanka’s apex predator. Leopards, identified by their unique rosette patterns, are studied not to dominate, but to understand.

Science, he showed, is an act of respect.

Even in a wetland without leopards, the message held: knowledge is how coexistence survives.

When night takes over

Then came the walk: As the city dimmed, Beddagana brightened. Fireflies stitched light into darkness. Frogs called across water. Fish moved beneath reflections. Insects swarmed gently, insistently. Camera traps blinked. Acoustic monitors listened patiently.

Those walking felt it — the sense that the wetland was no longer being observed, but revealed.

For many, it was the first time nature did not feel distant.

Faunal diversity at the Beddagana Wetland Park

A global distinction, a local duty

Beddagana stands at the heart of a larger truth. Because of this wetland and the wider network around it, Colombo is the first capital city in the world recognised as a Ramsar Wetland City.

It is an honour that carries obligation. Urban wetlands are fragile. They disappear quietly. Their loss is often noticed only when floods arrive, water turns toxic, or silence settles where sound once lived.

Commitment in action

For Dilmah Conservation, this night was not symbolic.

Speaking on behalf of the organisation, Rishan Sampath said conservation must move beyond intention into experience.

“People protect what they understand,” he said. “And they understand what they experience.”

The Beddagana initiative, he noted, is part of a larger effort to place science, education and community at the centre of conservation.

Listening forward

As participants left — students from Colombo, Moratuwa and Sabaragamuwa universities, school environmental groups, citizens newly attentive — the wetland remained.

It filtered water. It cooled air. It held life.

World Wetlands Day passed quietly. But at Beddagana, something remained louder than celebration — a reminder that in the heart of the city, nature is still speaking.

The question is no longer whether wetlands matter.

It is whether we are finally listening.

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Cuteefly … for your Valentine

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Indunil with one of her creations

Valentine’s Day is all about spreading love and appreciation, and it is a mega scene on 14th February.

People usually shower their loved ones with gifts, flowers (especially roses), and sweet treats.

Couples often plan romantic dinners or getaways, while singles might treat themselves to self-care or hang out with friends.

It’s a day to express feelings, share love, and make memories, and that’s exactly what Indunil Kaushalya Dissanayaka, of Cuteefly fame, is working on.

She has come up with a novel way of making that special someone extra special on Valentine’s Day.

Indunil is known for her scented and beautifully turned out candles, under the brand name Cuteefly, and we highlighted her creativeness in The Island of 27th November, 2025.

She is now working enthusiastically on her Valentine’s Day candles and has already come up with various designs.

“What I’ve turned out I’m certain will give lots of happiness to the receiver,” said Indunil, with confidence.

In addition to her own designs, she says she can make beautiful candles, the way the customer wants it done and according to their budget, as well.

Customers can also add anything they want to the existing candles, created by Indunil, and make them into gift packs.

Another special feature of Cuteefly is that you can get them to deliver the gifts … and surprise that special someone on Valentine’s Day.

Indunil was originally doing the usual 9 to 5 job but found it kind of boring, and then decided to venture into a scene that caught her interest, and brought out her hidden talent … candle making

And her scented candles, under the brand ‘Cuteefly,’ are already scorching hot, not only locally, but abroad, as well, in countries like Canada, Dubai, Sweden and Japan.

“I give top priority to customer satisfaction and so I do my creative work with great care, without any shortcomings, to ensure that my customers have nothing to complain about.”

Indunil creates candles for any occasion – weddings, get-togethers, for mental concentration, to calm the mind, home decorations, as gifts, for various religious ceremonies, etc.

In addition to her candle business, Indunil is also a singer, teacher, fashion designer, and councellor but due to the heavy workload, connected with her candle business, she says she can hardly find any time to devote to her other talents.

Indunil could be contacted on 077 8506066, Facebook page – Cuteefly, Tiktok– Cuteefly_tik, and Instagram – Cuteeflyofficial.

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