Connect with us

Features

Ran Muthu Duwa

Published

on

(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.



Continue Reading
Advertisement
Click to comment

Leave a Reply

Your email address will not be published.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

Features

Export diversification: Missing the wood for the trees – Part I

Published

on

Export of Jackfruit

by Gomi Senadhira

A few recent news items prompted me to write this article. The first was in the Sinhala newspaper Divaina on jackfruits, which said that out of the 280 million jackfruits produced in Sri Lanka, only 80 million were consumed. Does this mean the rest, 200 million fruits, are just wasted every year? However, other available reports estimate that about 70% of the production is consumed and only 30 percent is wasted. Whatever the exact number, we know a substantially large number of jackfruits go to waste. The second was a more recent article in an English paper on cinnamon exports: it states that Sri Lanka is targeting US$ 300 million in cinnamon export earnings this year and aiming for annual export earnings of US$ 500 million by 2030!

Good sense

These news items reminded me of another article I read in The Island a few years ago. It was by Dr. Upatissa Pethiyagoda, a well-known Sri Lankan scientist, diplomat, and writer, about a chance encounter he had with former Prime Minister Wijayananda Dahanayake (WD) in the early 1970s at a Perera & Sons outlet in Kollupitiya, where both had stopped for iced coffee, In those days, politicians, even former prime ministers, walked around without bodyguards and could be spotted at coffee shops, like P&S, in CTB buses or on trains. After learning that Dr. Pethiyagoda was a senior researcher at the Tea Research Institute, Dahanayake quipped that Sri Lanka should focus on five key crops: paddy, sugarcane, pasture grass, coconut, and jack (kos). Dr Pethiyagoda further adds “The unsophisticated wisdom of WD still haunts. Being self-reliant in basic foodstuffs is very respectable and a base for true national pride. A Canadian slogan in support of their (salmon) fishery was “We eat what we can and can what we can’t” or the Thai advertisement line, accompanying a tantalising picture of a fruit basket was “We have got it, come and get it”. Capturing tourism and horticulture simultaneously!”

I do not know why WD advocated promoting jack instead of tea. Yet, 50 years later, while we are trying to expand cinnamon exports into an already saturated market, the global market for jackfruit has become larger than the market for Ceylon cinnamon. Hence, the slogans quoted by Dr Pethiyagada are more than appropriate to promote jackfruit exports.

“We eat what we can and can what we can’t”

Globally, the demand for jackfruit has rapidly increased in recent years due to its appeal to vegan, vegetarian, and health-conscious consumers. However, it is difficult to grasp the size of the global market for jackfruit through import/export statistics, as jackfruit doesn’t have a specific standalone customs code. Customs data, even at the HS eight-digit level, groups jackfruit along with several other tropical fruits. Hence, the numbers given in this article are from various reports available on the Internet. Although the numbers presented in those reports vary, trade dynamics point to a multi-billion-dollar global market for jackfruit which has already reached USD 2.8 billion in 2025 and is likely to reach USD 5.2 billion by 2034. This market is largely dominated by jackfruit processed products (including canned, frozen, and dried items). The market for fresh jackfruit hovers around USD 500 million a year.

“We have got it, come and get it”

With around 300,000 tons of exports annually, Thailand is the leading exporter of jackfruits, closely followed by Vietnam. Interestingly, the value of jackfruit exports from Vietnam has increased remarkably from “… just $3 million in 2015 to an impressive $236.8 million in 2023. ” The South Asian countries are also emerging as leading jackfruit exporters. India exported over 26 million kg (26,000 tons) of jackfruit valued at approximately US$40 million during the 2023-2024 fiscal year. The annual exports from Bangladesh fluctuated between 1000 to 2000 metric tons during the recent years. In contrast, jackfruit exports from Sri Lanka are estimated to be around 20 to 30 metric tons per month, which are mainly in processed form.

Main markets for jackfruits are in North America, Europe, Gulf countries, China, and Australia. Key markets for fresh jackfruits are Gulf countries and China. The governments of the main exporting countries intervene proactively to develop these markets for their exporters. For example, during the visit of the Bangladesh Prime Minister Tarique Rehaman to China in June 2026, one of the MoUs signed was on jackfruit. Based on this MoU, Bangladesh is targeting 500 to 1,000 tons of exports to China during the next year.

Gulf market for fresh jackfruits

As the global demand for jackfruit increases, the demand for fresh jackfruit has also risen in the Gulf countries. The Indian and Bangladeshi exporters have already successfully exploited this market. However, due to perishability and the limited shelf life of fresh jackfruits, exporters from India and Bangladesh rely on air shipments for quicker delivery. Yet, as whole jackfruits are heavy with a high waste-to-edible ratio (thick rind and core), air freighting whole fruit is economically inefficient. Hence, exports are mainly in semi-processed form.

A game changer – export of fresh jackfruits by sea

This brings me to another article published early this month in Bangladesh; it says a Dhaka-based export company shipped 3.5 tons of fresh jackfruits to Dubai by sea in May this year. Though the shipment took over 26 days to reach its destination, the quality of the jackfruit remained intact. If that is so, then it is a game changer. Sea freight from Colombo to Dubai, I believe, takes only 4 to 8 days for a direct port-to-port journey, compared to 26 days from Bangladesh. Hence, exporting jackfruits and other fruits and vegetables by sea to GCC markets from Sri Lanka would be much more efficient and cost-effective.

With its plentiful supply and a lucrative market in close proximity in the Gulf countries, it is difficult to understand how Sri Lanka has not managed to capture a significant share of the market in the GCC, given that Sri Lanka began to export fruits and vegetables into that market long before Bangladesh, Thailand, or Vietnam.

(The writer can be reached at senadhiragomi@gmail.com)

Continue Reading

Features

Insights from Chieftains of Uva: Genealogy of two Kandyan Families – Part II

Published

on

Reflections on Kandyan Genealogical Studies:

by Sena Thoradeniya

(Part I of this article appeared in The Island of 19 August 2026)

In the Kandyan territories, genealogical studies have been largely caste based on only those who belong to the so-called upper stratum – the highest echelon of the Govigama caste. Even within this group, attention is reserved for ancient office holders, illustrious figures, and socially prominent members, while non-office holders, side branches, and ordinary kin are omitted. Sub divisions of the Govigama caste, as well as families belonging to the so-called depressed castes, are almost entirely omitted. One reason for this stigmatisation lies in the absence of competition for caste supremacy within the Kandyan regions, unlike in the “low country” areas. This silences the presence of non-elite Kandyans. However, oral genealogies, folk traditions, palm-leaf manuscripts, and colonial records preserve the names of less prominent members.

On the other hand, the descendants of clan leaders, such as the Vidana Maha Durayas, Maha Balitiyannas, Maha Hulawaliyas, Mulacharis, and chiefs of Halu Apullana Henayas, do not seek to record their genealogies as all their ancestral roots have been uprooted and obliterated. In such a context, they have acquired new names, new identities, and fashion a new genealogy as their point of departure. The erasure of older identities forces these families to reconstruct a new lineage.

The only exception within my private collection is “Great Royal Artificer of the Kandyan Kingdom: Devendra Mulachari” by D. D. M. Waidyasekera (2017), which records the architectural works of the master craftsman, chiefly responsible for the design of the Paththirippuwa, Walakulu Bemma, and Mangul Maduwa.

The names of hundreds of master craftsmen and other artificers have been carefully recorded, yet their works remain largely obscure, without their corresponding works save the creations of a few celebrated Sittaras. This creates an inconsistency in cultural memory as in pre-Kandyan days.

In theory, elders are often the custodians of memory, transmitting genealogies across generations, providing names, relationships, anecdotes, and related details that written records are not available, although the memory may be selective and biased influenced by various factors. Today such elders are rare, even within our traditional villages. With the passing of elders, the cultural and historical memory tied to ancient villages was obliterated. I can illustrate this with numerous examples taken from my village.

More often genealogical records, especially those produced by descendants of noble families, are not impartial records. They conceal historical truths such as collaboration with colonial expeditions, capture of the last King, betrayal during 1818 and 1848 uprisings as some Kandyan chiefs sided with the British during the 1818 and 1848 uprisings, and their servility to British colonial rulers as junior partners in the administration. Their descendants too later held high office under colonial rule, but genealogical records often present only illustrious service. But modern historians, colonial records, and oral traditions unravel these tainted facts. Some descendants of freedom fighters who were executed or transported to the Isle of France, sometimes rose to prominence under the British.

Although genealogical writers are not historians, they can and do omit vital information if they tarnish family prestige. They can consult archival records, oral traditions, and colonial documents to augment their studies. This writer suggests a combination of all sources as explained at the beginning of this essay.

It is true that the line between genealogical study and historical research is less rigid or open. Both genealogists and researchers may use the same sources, but the distinction lies in the purpose and the method. The primary aim of genealogy is to trace lineage, kinship ties and family continuity. It is basically descriptive and compilatory, but it needs critical assessments. Genealogy becomes research when the genealogist moves beyond compiling sources, and analyzing and interpreting them, situating family history in a wider historical process.

In Kandyan genealogical studies, clashes and serious discrepancies between family records, oral traditions, colonial writings, and modern historical scholarship are common. The problem is how to weigh them against one another looking for convergences. Discrepancies arise when genealogical writers adhere to their own records for family pride or myth making, without consulting other sources, without following a more balanced approach, and allowing the reader to formulate independent perspectives. Failure to engage multiple sources perpetuates partial inquiry rather than historical inquiry.

Wanniachy faithfully traces the ancestry of the Taldena family from the era of King Devanam Piyatissa, drawing upon family history, oral tradition, and two folk poems. Yet his account remains narrowly confined, for he pays little attention to other archival sources, colonial writings, and modern historical scholarship. Works such as Paul E. Pieris’s “Sinhale and the Patriots, 1815–1818” (1950/1995), Tennakone Wimalananda’s “The Great Rebellion of 1818” (1963), are conspicuously absent from his study. Although colonial records remain largely inaccessible to the general public, the writings of modern historians reach a wider audience.

Wimalananda records that Taldena Mohottala, a chieftain of Viyaluwa, saw his house ransacked and destroyed by the British troops during the uprising of 1818. In ancient times, a Mohottala, was a scribe, a secretary, whose main function was collecting and sending the King’s and Dissave’s revenue. Mohottalas of Uva also assumed far greater powers by reason of the distance from the capital, Kandy.

The English dismembered the ancient Uva Maha Disawa, under the almost independent authority of a Maha Disava and created six Disavas, of which one was Oya Palatha.

Paul E. Pieris says that Taldena in recognition of his good work for the British, demanded the post of Disava of Oya Palatha. Owing to his collaboration with the colonial administration, he was appointed Acting Dissava of Oya Palatha. Taldena however, again fell under suspicion, was kept under detention at the Barrier Guard and the British administration thought advisable to remove him from Badulla. As he was ill under detention he could not be removed to Colombo as ordered. He was removed from his position of Oya Palata Disava and was called upon to deposit his valuables at the Badulla Kachcheri, as security for his good behaviuor. On depositing his valuables with the Agent, he was released from detention.

Wimalananda further notes that the Taldena family established marital ties with families in the Batticaloa District. A native of Pottuvil, Mutu Banda’s relative, Sama Kumarihamy alias Ramath, married G. B. Taldena; her second husband was Mutukumaru Murugesu Pillai, and their daughter was Madduma Kumarihamy.

The ancient Maha Disava of Uva was further divided. In my series of articles on the Kandyan chieftains under British rule, I have noted that in 1908 Charles Taldena was appointed Gravets Muhandiram of Kandy by J. P. Lewis, Government Agent of the Central Province. In his report, Lewis observed that this office, as had always been the case, was once again entrusted to a Kandyan, whereas previously it had been conferred upon a “lowcountry” official.

In Chapter Four of his booklet, Wanniachy turns to the history and genealogy of the Mullegama family. Though Mullegama does not belong to Uva, the family is linked to the Taldenas through intermarriage, as he explains. Mullegama itself is a village in Harispattuwa, situated about two kilometers off from the Ambatenna junction along the Kandy–Matale road. In tracing the lineage of the Mullegamas, Wanniachy relies closely on A. C. Lawrie’s Gazetteer of the Central Province of Ceylon (1898).

Mullegama, once Dissava of Wellassa and Dissava of Navayodun Korale supported the British expedition. Yet in 1818, British troops plundered his residence at Wellassa, seizing his most treasured possessions, among them gifts from Sri Vickrema, an elephant, and two horses, which were later sold in Badulla, says Paul E. Peiris. During the Uva uprising, he provided the British with valuable intelligence, and in recognition of his services he was subsequently appointed as Siyapattuwe Adhikaram, a post created by Sri Vickrema, an ironic reward for loyalty despite the plundering.

Lawrie records that the estate of the Mullegama Maha Nilame was divided, and that one grandson sold his share to Moormen of Akurana. He further notes that all the walawwa lands were eventually sold, with a Moorman of Akurana purchasing part of the walawwa, repairing it, and residing there. The pathetic decline of the Mullegama estates is poignantly reflected in Asoka M. Herath’s Sinhala novel Nindagama (2002), a symbolic resonance of the literary echo of dispossession.

I am acutely aware that independent researchers and genealogists of Kandyan families often incur the displeasure of presentday descendants, for the facts they uncover are seldom palatable. Their inquiries reveal that certain ancestors occupied the lower rungs of the royal administration yet later attained high office under the British through collaboration with the colonial regime. Such revelations, though historically significant, provoke resentment among descendants who prefer to sustain more exalted narratives of lineage. This genealogical selectivity perpetuates sanitised family histories and conceals the complexities of colonial collaboration.

In Kandyan genealogical studies compiled by kinsmen, attention is almost exclusively bestowed upon the illustrious figures who once served the king. Their descendants, even those living today, are relegated to mere entries in family trees, noted with their matrimonial alliances. Wanniachy’s book is no exception.

Why does this occur? By highlighting only those ancestors who held office or enjoyed distinction, families reinforced their claims to nobility and social standing. Descendants, unless they themselves attained prominence, were recorded routinely since their presence served only continuity but not prestige.

I thought it necessary to highlight certain technical shortcomings of the book. In the present publishing climate, design has become a matter of considerable importance. Proper book design requires attention to margins, chapter titles, and other elements of presentation. Moreover, the volume carries no ISBN, indicating that it has not been registered with the National Library. This omission prevents the work from being catalogued in the Sri Lanka National Archives, the Museum Library, the National Library, and the University of Peradeniya Library and diminishes its archival value. Another notable deficiency is the absence of the author’s address and contact information. (Concluded)

Continue Reading

Features

22nd Amendment: Proof of the pudding will be in the eating

Published

on

Superior Courts Complex

by Jehan Perera

It appears that the die has been cast on the 22nd Amendment. The government appears unshaken in its determination to ensure its passage into law. From the government’s perspective, the 22nd Amendment and associated legislation, by increasing the tenure of all judges by two years, will give them the extra time to complete their existing cases. This will do away with the need to change judges midstream and have complex legal cases go back to the beginning, which has too often been the case. The completion of these cases will be to the benefit of the victims who have waited for decades for justice in some cases. It will also be to the government’s benefit as many of the wrongdoers are those in the political opposition. In the past, human rights and democracy activists, not to mention lawyers in the field, have bemoaned the manner in which court cases have got delayed for a variety of reasons, including judges being promoted or transferred midstream or reaching the age of retirement.

Principled opposition to 22nd Amendment is articulated in terms of the ad hoc and sudden emergence of the amendment. Those who advance this argument have expressed concern that extending judges’ tenure could create a sense of indebtedness to the government and weaken judicial independence. They would prefer the extension of judges’ tenure to be part of a comprehensive package of constitutional reforms that would apply across the board to other sectors of the public service and, ideally, find its place in the new constitution that the NPP promised in its election manifesto. The question is one of timing. Public opinion surveys carried out regularly have shown that the vast majority of people consider that corruption and criminality at high levels need to be brought to an end as soon as possible. They want accountability to become real rather than remain an unfulfilled promise. The public mood today is that the era of impunity must finally end.

Investigations by law enforcement agencies into the misdeeds of politicians in the past have too often come to naught due to the lack of political will on the part of successive governments. But on this occasion there is a manifest expression of such political will, as witnessed in the seemingly endless series of corruption and criminality cases being uncovered and exposed week by week and month by month. It is equally predictable that those under investigation will seek to challenge the legitimacy of this process. Some will perceive the prosecutions as essentially being in the nature of political revenge rather than lawful accountability and argue along those lines. Others will seek to rally public opinion by questioning the independence of the institutions involved. These reactions should surprise no one. But they make it all the more important that the credibility of the institutions through which accountability is pursued be safeguarded.

Safeguard Change

There is an old saying that society is a mule, not a horse. A horse may respond to repeated use of the spurs, but a mule, if driven too hard, may throw its rider off altogether. The proverb captures an important truth about governing societies. History offers many examples of societies that succeeded in exposing wrongdoing but failed to build reconciliation afterwards. The greatest danger is not merely that the guilty will protest their innocence. That is to be expected. The greater danger is that punishment itself becomes the principal language of politics. When that happens, each change of government carries with it the expectation that today’s judgments will tomorrow be revisited, reversed or avenged.

The electoral verdicts of 2024 that swept the NPP into power brought an entirely new group of political leaders to the fore. This transition needs to take place with care to ensure that polarisation and civil conflict are contained rather than intensified. The post-22nd Amendment period will therefore require something more than legal correctness. It will require political sagacity. Accountability needs to be seen in the light of strengthening the legitimacy of institutions rather than becoming sidetracked into another arena of political contestation. If justice comes to be seen as merely the continuation of politics by legal means, even deserving convictions of wrongdoers may lose public confidence on which long lasting justice depends.

Troubling in this context has been the conduct of some opponents of the amendment. They have not only attacked the government leadership for taking forward the 22nd Amendment. They have also launched personal attacks on judges and cast sweeping aspersions on the judiciary itself. Ironically, in seeking to discredit the courts before they deliver their judgments, they risk undermining the very institution they claim to defend. The lawyers who have united against the 22nd Amendment have every right and duty to raise constitutional concerns. Opposition politicians have every right to criticise legislation. But both also carry a responsibility not to erode public confidence in the judiciary through speculative accusations that prejudge the integrity of judges before they have acted. Such argumentation weakens an institution that belongs to the entire country, not to any government or opposition.

Real Test

Sri Lanka is emerging from decades of violent conflict and deep political polarization. Too often in our history, one government’s triumph has become the next government’s point of demonization as in the once widely used phrase of the “17 year curse” by the successor government. Institutions rebuilt today must therefore survive tomorrow’s transfer of power. They must earn the confidence not only of those who celebrate today’s victories, but also of those who will one day sit in opposition. Institutions that command confidence across political divides need to become stronger and not weaker than the governments that created them.

The national challenge is no longer simply whether accountability will be pursued. It is whether accountability will restore faith in the law by ending a culture of impunity that for too long protected the powerful while denying justice to victims. The country has waited too long for that moment. It must not now be compromised by unnecessary political confrontation or irresponsible attacks on the courts. Ultimately, the strongest answer to the critics of the 22nd Amendment will not come from government ministers or parliamentary speeches. It will need to come from the judges themselves.

The extension of the tenure of members of the judiciary will place an even greater obligation upon them to demonstrate, through every judgment they deliver, that they are truly independent, impartial and beholden to no political authority. If they uphold the law without fear or favour, they will expose the predictions of the doomsayers as unfounded. Those in the legal profession, media, civil society and politics should likewise recognise that criticism of judicial decisions must not become an assault on the institution of the judiciary itself. The greatest service that all sides can render Sri Lanka at this moment is to strengthen the people’s faith that justice belongs equally to every citizen and that no one, however powerful, stands above the law.

Continue Reading

Trending