Features
The Broken Promise of the Lankan Cinema:
Asoka and Swarna’s Thrilling Melodrama – Part II
“‘Dr. Ranee Sridharan,’ you say. ‘
Nice to see you again.’
The woman in the white sari places a thumb in her ledger book, adjusts her spectacles and smiles up at you. ‘You may call me Ranee. Helping you is what I am assigned to do,’ she says. ‘You have seven moons. And you have already waisted one.’”
The Seven Moons of Maali Almeida
by Shehan Karunatilaka (London: Sort of Books, 2022. p84)
(Continued from yesterday)
The Promise of a Multi-Ethnic National Cinema
The Colombo premiere of Broken Promise (1947) was a national event, attended by D. S. Senanayake and business leaders as it promised much – the possibility of a popular national cinema that addressed a multi-ethnic polity and a profitable business. People were bused into Kandy, where the film was screened in a large tent, and screened in several cinemas in Colombo and the suburbs. Certainly, from its inception the Lankan cinema was multi-ethnic in the composition of its creative artists (musicians, singers, actors, directors), technicians and producers, theatre and studio owners who provided the capital.
Sumathy Sivamohan’s 2018 film Sons and Fathers explored this multiethnic creative hybrid ecosystem of the industry during the 1983 pogrom against the Tamil citizens of Lanka. She modelled the musician in the film on the creative spirit of Rocksamy’s life and work so integral to the success of Lankan cinema. Sumathy researched the film by speaking to Mrs Rocksamy and incorporated a scene with her in the film. She spoke to impoverished old Tamil editors and the children of a musician to understand in some detail its multi-ethnic ecosystem and ethos of its lower-middle class creatives. She then crafted these ethnographic musical insights into an intricate poetic film.
Between Fact & Fiction: A Membrane/Skin
Sons and Fathers is a film that straddles the permeable boundaries between Documentary and Fiction films with a certain ease and confidence derived from its solid ethnographic research on the national film industry, its multi-ethnic artists and their lives. Sumathy does not proceed, as Asoka Handagama does, on the assumption that Documentary cinema is an entirely separate genre from Fictional genres. She is aware of the over one hundred-year history of Documentary cinema itself, its diversity, cross-cultural richness and its play between categories. For example, take the case of Basil Wright’s award winning ‘Poetic-Documentary’ The Song of Ceylon (1933). Lionel Wendt provided the research for this film and his tender voice-over poetic commentary, and took Kandyan drummer Suramba to London to record his sounds for the film’s ‘Devil dancing’ spirit possession ritual sequences which make the film catch fire. The film still has the power to haunt and vibrate us with its poetic cinematic intensity, the fictionalising power of its montage of sounds and images unchained from dogged documentary facts and realism.
Asoka Handagama surely must know this Lankan film history too, but tactically insists on the absolute separation between the genres of Documentary (reality), and Fiction (prabandaya), in defending Rani against strong criticism that it distorts the real lived experience of Manorani and Richard. Swarna laughingly dismissed this valid criticism as ‘Nephew and Niece criticism’, in an interview she gave in Australia, when the film was screened here in private screenings at multiplexes. But scorn and ignorance are not what we expect of senior artists of the calibre of Asoka and Swarna. They set a very bad example for the young, but perhaps young Lankans are cooler in their appraisal of such irresponsible behaviour and know it for what it is, ‘Neo-liberal ‘market-speak’.
The film Rani by Asoka Handagama presents the 1990 political assassination of the popular journalist-actor-poet Richard de Zoysa, (the ‘bi-racial’ child of a ‘mixed marriage’ between a Sinhala father and a Tamil mother), and ‘theatricalises’ or ‘dramatises’ its impact on his mother Dr Manorani Saravanamuttu, during an era of extreme political terror in the South of the country, between the UNP Government and the JVP. In naming the film Rani, Handagama appears to signal something because the ad tells us Sinhala folk that it means ‘Queen’. This metonymic displacement (a rhetorical strategy of taking a part for the whole), of the actual person’s proper name, ‘Manorani,’ into the dramatis-persona ‘Rani’, is further amplified and complicated by what Swarna Mallawarachchi has said about the character she played.
Swarna’s 28-year-old Promise
Swarna has said that she had met Manorani four times after her son’s assassination, beginning in 1996 and that she had promised her that she would tell her story and that of her son to the world. In this way she creates a certain gravitas, an ethic for her work on Rani, a sign of authenticity of a ‘true story’, testifying to a historical crime at the time of state terror and counter terror. True to her promise, she has said in recent interviews that she sustained her desire to play the role of Manorani for 28 years, at last realised in 2025 through the Indian production company LYCA’s capital.
Tamil Entrepreneurship and Sinhala Cinema
Subaskaran Allirajah, the CEO of LYCA films based in Chennai, is a Sri Lankan Tamil born in Jaffna and now a British citizen. LYCA film production is a subsidiary of a Telecommunication company for sim cards he runs from Britain. His film list includes Mani Ratnam and many major directors working across popular Tamil, Hindi and Telugu films in India, with an immediate global reach with the large Indian diaspora.
So, what sweet irony (after the violence levelled against Tamils who powered the Lankan film industry, burning the director Venkat in his car during July ‘83, but also later, with the assassination of Gunarathnam in his car, burning down of Tamil studios with Sinhala films stored therein and the proletarian movie theatres) that a Tamil business man from Jaffna has once again come to the rescue of the Sinhala cinema! As with Kadawunu Poronduwa in 1947, an Indian company, headed by a Lankan Tamil CEO has come to the rescue of a Sinhala film, with a Neo Liberal business model, kindling hope yet again for a national film industry, but this time with global dreams of access to streaming services such as NETFLIX and the like. It would appear that Lanka’s Sinhala language cinema cannot do without Tamil enterprise.
But it’s worth noting what S. Janaka Biyanwila says in his Polity essay:
‘Lyca has also been a major donor to the Conservative Party in the UK. In 2023, a French criminal court fined the company for tax fraud and money laundering. In 2024, the UK tax authorities demanded the company declare bankruptcy in order to pay overdue taxes. In 2018, LYCA acquired the EAP group in Sri Lanka with interests in media and entertainment, including television and radio channels and movie theatres. Last year (2024), the Sri Lankan government blocked LYCA from bidding for ownership shares in Sri Lanka Telecom and Lanka Hospitals.’
These monopolising moves of LYCA seeking ‘vertical integration’ of the film industry, should be front and centre even as some fans swoon over Rani and dream of a ‘quality’ Sinhala film industry revived by LYCA.
The Unconscious of the Sinhala Cinema Genealogy
(Vanshakathawe).
It is the Sinhala cinema’s unconscious, its ‘Other’ if you like, as expressed in Rani that I wish to render conscious in this piece. Let Rukmani Devi’s amaraneeya (undying) Shoka Gee (melancholy songs), and also that of Mohidin Baig’s Bhudu Gee once again cut through our sedimented Sinhala prejudices as we look back, both at our film history and its future at this critical moment.
Asoka’s Sovereign Right to ‘Self-Expression’
However, in contrast with Swarna’s promise to Manorani, Asoka Handgama says that as an artist (not a maker of documentary), he has exercised his ‘right to self-expression’ and has presented his own version of both Richard and his bereaved mother Manorani; in short, it is not a documentary, it’s fiction. It’s obvious that these two views, (on one hand, that of the actor keeping to a solemn promise to be true to what happened (through a ‘bio-pic,’ as the Head of Production, Janaki Wijerathna maintained in an interview), and on the other, that of the director expressing his own creative artistic-self), contradict each other. The film anticipates the criticism that it falsifies the biographical true story by providing a pre-emptive defence through a sentence, before the opening of the film, that it’s a work of fiction based on fact. This defensive move is part of its publicity, it anticipates controversy, provides the terms for it. I wish to side step this dynamic and shift the critical terrain, which is the professional task I set myself as a film theorist and scholar.
The actress and the director seem to have two different understandings of their intentions and what it is that they have done. Swarna then obfuscates matters further by saying, ‘film is a director’s medium and as an actor my work is to follow his wishes’. But Asoka has said that Swarna brought this project to him when LYCA came up with the money and he wrote it within 3 months with her in mind. It was not a film he had wanted to make, he said. He appears to have written a skeletal generic structure for Swarna to embody as she wishes, in her familiar high intensity, award winning mode of performance.
To Eat the Cake and Have It
To put it differently, they want to both ‘eat their cake and have it,’ which is of course very good PR for the box office success of the film. ‘Eating the cake’ implies maximising and gratifying their own pleasure as artists, and ‘having it’ as in keeping the cake intact, means that the names of the historical mother and son are used as a strong historical referent both within the film and in its PR, but get distorted when it gets in the way of the artists’ own ‘self-expression’ and self-gratification. That there is an ethical dilemma here, as many have pointed out, is a point I wish to explore further by theorising the aesthetics of the film. The invective one hears goes nowhere intellectually, but just feeds the publicity machine. Controversy is very good for promoting a film, creates a buzz, people want to see what all the fuss and excitement is about.
The exceptional box office success of the film is no doubt also linked to Swarna Mallawarachchi’s stature as a serious actress with a proven track record of award- winning work with some of Lanka’s main auteurs. And in being identified with Rani as Queen, at least one critic announced that Swarna is now a ‘golden super-star’. The logic of such hyperbolic marketing is of interest to me as a film scholar studying the public reception of films within the robust subfield of ‘Reception Studies’ and the kind of ‘public-spheres’ that competing discourses on a film generates, now especially, within a digitally powered virtual mediascape which is our democratic ‘commons’.
As well, importantly Asoka Handagama is one of Lanka’s major playwrights and an unusual modern filmmaker in that he has developed an idiom of his own, with a distinguished body of work which in turn has created an educated cine-literate audience who followed it keenly over a significant period of time. Therefore, Lankans are eager to see Swarna and Asoka present Dr. Manorani Saravanamuttu and Richard de Zoysa, a mother who was a Tamil professional woman and single parent and her very well-known and loved son, a journalist, actor and poet from the Lankan Anglophile upper-middle class, caught up in the extraordinary violence in the South, of the 1987-1990 era of extra-parliamentary politics of our island nation.
Political Theatre
The other draw card is the explicitly political representation of key political figures of the era represented by actors resembling the politician more or less. A thrilling novelty, it makes it structurally possible for Asoka to sketch the drama of the mother and son within the real-politic of the Premadasa era and even dramatize the bomb blast by the LTTE suicide bomber on a bicycle, which annihilated the president and others. LYCA’s Indian currency would have helped in staging the blast, as such destruction requires lots of money to execute with even a little credibility. This effort by Asoka is, in my opinion, a ‘third-world’ example because stage destruction, which cinema has perfected for profit in the genre of ‘Disaster movies’, requires much more than was available. He was pandering I feel to our desire to see President Premadasa being blown up, along with the senior cop who Manorani unequivocally identified as the one who arrived with lumpen thugs to her house, to abduct Richard, to torture and kill him according to, as widely believed, the President’s command.
This kind of violence, staged to excite and thrill, is the very stuff melodrama feeds on. The sonic ‘reverberation’ technically added to the sound of the abductors crashing into Richard’s house amplifies the melodramatic tension and suspense. In contrast, the three firm taps on the infamous heavy-wood teak Jaffna door, in Sumathy’s A Single Tumbler, chills the sensorium of the viewer, where fear and thought commingle as one quiet voice ‘signifying the boys’ announce their intent to take the son away for questioning. In contrast, Melodrama disarms our thought processes as it works with orchestrating (with loud sound and manic editing), suspense and thrilling action, its raison d’etre. This is the source of its global attraction and popularity as a genre.
(To be continued)
Features
Trump’s Interregnum
Trump is full of surprises; he is both leader and entertainer. Nearly nine hours into a long flight, a journey that had to U-turn over technical issues and embark on a new flight, Trump came straight to the Davos stage and spoke for nearly two hours without a sip of water. What he spoke about in Davos is another issue, but the way he stands and talks is unique in this 79-year-old man who is defining the world for the worse. Now Trump comes up with the Board of Peace, a ticket to membership that demands a one-billion-dollar entrance fee for permanent participation. It works, for how long nobody knows, but as long as Trump is there it might. Look at how many Muslim-majority and wealthy countries accepted: Saudi Arabia, Turkey, Egypt, Jordan, Qatar, Pakistan, Indonesia, and the United Arab Emirates are ready to be on board. Around 25–30 countries reportedly have already expressed the willingness to join.
The most interesting question, and one rarely asked by those who speak about Donald J. Trump, is how much he has earned during the first year of his second term. Liberal Democrats, authoritarian socialists, non-aligned misled-path walkers hail and hate him, but few look at the financial outcome of his politics. His wealth has increased by about three billion dollars, largely due to the crypto economy, which is why he pardoned the founder of Binance, the China-born Changpeng Zhao. “To be rich like hell,” is what Trump wanted. To fault line liberal democracy, Trump is the perfect example. What Trump is doing — dismantling the old façade of liberal democracy at the very moment it can no longer survive — is, in a way, a greater contribution to the West. But I still respect the West, because the West still has a handful of genuine scholars who do not dare to look in the mirror and accept the havoc their leaders created in the name of humanity.
Democracy in the Arab world was dismantled by the West. You may be surprised, but that is the fact. Elizabeth Thompson of American University, in her book How the West Stole Democracy from the Arabs, meticulously details how democracy was stolen from the Arabs. “No ruler, no matter how exalted, stood above the will of the nation,” she quotes Arab constitutional writing, adding that “the people are the source of all authority.” These are not the words of European revolutionaries, nor of post-war liberal philosophers; they were spoken, written and enacted in Syria in 1919–1920 by Arab parliamentarians, Islamic reformers and constitutionalists who believed democracy to be a universal right, not a Western possession. Members of the Syrian Arab Congress in Damascus, the elected assembly that drafted a democratic constitution declaring popular sovereignty — were dissolved by French colonial forces. That was the past; now, with the Board of Peace, the old remnants return in a new form.
Trump got one thing very clear among many others: Western liberal ideology is nothing but sophisticated doublespeak dressed in various forms. They go to West Asia, which they named the Middle East, and bomb Arabs; then they go to Myanmar and other places to protect Muslims from Buddhists. They go to Africa to “contribute” to livelihoods, while generations of people were ripped from their homeland, taken as slaves and sold.
How can Gramsci, whose 135th birth anniversary fell this week on 22 January, help us escape the present social-political quagmire? Gramsci was writing in prison under Mussolini’s fascist regime. He produced a body of work that is neither a manifesto nor a programme, but a theory of power that understands domination not only as coercion but as culture, civil society and the way people perceive their world. In the Prison Notebooks he wrote, “The crisis consists precisely in the fact that the old world is dying and the new cannot be born; in this interregnum a great variety of morbid phenomena appear.” This is not a metaphor. Gramsci was identifying the structural limbo that occurs when foundational certainties collapse but no viable alternative has yet emerged.
The relevance of this insight today cannot be overstated. We are living through overlapping crises: environmental collapse, fragmentation of political consensus, erosion of trust in institutions, the acceleration of automation and algorithmic governance that replaces judgment with calculation, and the rise of leaders who treat geopolitics as purely transactional. Slavoj Žižek, in his column last year, reminded us that the crisis is not temporary. The assumption that history’s forward momentum will automatically yield a better future is a dangerous delusion. Instead, the present is a battlefield where what we thought would be the new may itself contain the seeds of degeneration. Trump’s Board of Peace, with its one-billion-dollar gatekeeping model, embodies this condition: it claims to address global violence yet operates on transactional logic, prioritizing wealth over justice and promising reconstruction without clear mechanisms of accountability or inclusion beyond those with money.
Gramsci’s critique helps us see this for what it is: not a corrective to global disorder, but a reenactment of elite domination under a new mechanism. Gramsci did not believe domination could be maintained by force alone; he argued that in advanced societies power rests on gaining “the consent and the active participation of the great masses,” and that domination is sustained by “the intellectual and moral leadership” that turns the ruling class’s values into common sense. It is not coercion alone that sustains capitalism, but ideological consensus embedded in everyday institutions — family, education, media — that make the existing order appear normal and inevitable. Trump’s Board of Peace plays directly into this mode: styled as a peace-building institution, it gains legitimacy through performance and symbolic endorsement by diverse member states, while the deeper structures of inequality and global power imbalance remain untouched.
Worse, the Board’s structure, with contributions determining permanence, mimics the logic of a marketplace for geopolitical influence. It turns peace into a commodity, something to be purchased rather than fought for through sustained collective action addressing the root causes of conflict. But this is exactly what today’s democracies are doing behind the scenes while preaching rules-based order on the stage. In Gramsci’s terms, this is transformismo — the absorption of dissent into frameworks that neutralize radical content and preserve the status quo under new branding.
If we are to extract a path out of this impasse, we must recognize that the current quagmire is more than political theatre or the result of a flawed leader. It arises from a deeper collapse of hegemonic frameworks that once allowed societies to function with coherence. The old liberal order, with its faith in institutions and incremental reform, has lost its capacity to command loyalty. The new order struggling to be born has not yet articulated a compelling vision that unifies disparate struggles — ecological, economic, racial, cultural — into a coherent project of emancipation rather than fragmentation.
To confront Trump’s phenomenon as a portal — as Žižek suggests, a threshold through which history may either proceed to annihilation or re-emerge in a radically different form — is to grasp Gramsci’s insistence that politics is a struggle for meaning and direction, not merely for offices or policies. A Gramscian approach would not waste energy on denunciation alone; it would engage in building counter-hegemony — alternative institutions, discourses, and practices that lay the groundwork for new popular consent. It would link ecological justice to economic democracy, it would affirm the agency of ordinary people rather than treating them as passive subjects, and it would reject the commodification of peace.
Gramsci’s maxim “pessimism of the intellect, optimism of the will” captures this attitude precisely: clear-eyed recognition of how deep and persistent the crisis is, coupled with an unflinching commitment to action. In an age where AI and algorithmic governance threaten to redefine humanity’s relation to decision-making, where legitimacy is increasingly measured by currency flows rather than human welfare, Gramsci offers not a simple answer but a framework to understand why the old certainties have crumbled and how the new might still be forged through collective effort. The problem is not the lack of theory or insight; it is the absence of a political subject capable of turning analysis into a sustained force for transformation. Without a new form of organized will, the interregnum will continue, and the world will remain trapped between the decay of the old and the absence of the new.
by Nilantha Ilangamuwa ✍️
Features
India, middle powers and the emerging global order
Designed by the victors and led by the US, its institutions — from the United Nations system to Bretton Woods — were shaped to preserve western strategic and economic primacy. Yet despite their self-serving elements, these arrangements helped maintain a degree of global stability, predictability and prosperity for nearly eight decades. That order is now under strain.
This was evident even at Davos, where US President Donald Trump — despite deep differences with most western allies — framed western power and prosperity as the product of a shared and “very special” culture, which he argued must be defended and strengthened. The emphasis on cultural inheritance, rather than shared rules or institutions, underscored how far the language of the old order has shifted.
As China’s rise accelerates and Russia grows more assertive, the US appears increasingly sceptical of the very system it once championed. Convinced that multilateral institutions constrain American freedom of action, and that allies have grown complacent under the security umbrella, Washington has begun to prioritise disruption over adaptation — seeking to reassert supremacy before its relative advantage diminishes further.
What remains unclear is what vision, if any, the US has for a successor order. Beyond a narrowly transactional pursuit of advantage, there is little articulation of a coherent alternative framework capable of delivering stability in a multipolar world.
The emerging great powers have not yet filled this void. India and China, despite their growing global weight and civilisational depth, have largely responded tactically to the erosion of the old order rather than advancing a compelling new one. Much of their diplomacy has focused on navigating uncertainty, rather than shaping the terms of a future settlement. Traditional middle powers — Japan, Germany, Australia, Canada and others — have also tended to react rather than lead. Even legacy great powers such as the United Kingdom and France, though still relevant, appear constrained by alliance dependencies and domestic pressures.
st Asia, countries such as Saudi Arabia and the UAE have begun to pursue more autonomous foreign policies, redefining their regional and global roles. The broader pattern is unmistakable. The international system is drifting toward fragmentation and narrow transactionalism, with diminishing regard for shared norms or institutional restraint.
Recent precedents in global diplomacy suggest a future in which arrangements are episodic and power-driven. Long before Thucydides articulated this logic in western political thought, the Mahabharata warned that in an era of rupture, “the strong devour the weak like fish in water” unless a higher order is maintained. Absent such an order, the result is a world closer to Mad Max than to any sustainable model of global governance.
It is precisely this danger that Canadian Prime Minister Mark Carney alluded to in his speech at Davos on Wednesday. Warning that “if great powers abandon even the pretense of rules and values for the unhindered pursuit of their power and interests, the gains from transactionalism will become harder to replicate,” Carney articulated a concern shared by many middle powers. His remarks underscored a simple truth: Unrestrained power politics ultimately undermine even those who believe they benefit from them.
Carney’s intervention also highlights a larger opportunity. The next phase of the global order is unlikely to be shaped by a single hegemon. Instead, it will require a coalition — particularly of middle powers — that have a shared interest in stability, openness and predictability, and the credibility to engage across ideological and geopolitical divides. For many middle powers, the question now is not whether the old order is fraying, but who has the credibility and reach to help shape what comes next.
This is where India’s role becomes pivotal. India today is no longer merely a balancing power. It is increasingly recognised as a great power in its own right, with strong relations across Europe, the Indo-Pacific, West Asia, Africa and Latin America, and a demonstrated ability to mobilise the Global South. While India’s relationship with Canada has experienced periodic strains, there is now space for recalibration within a broader convergence among middle powers concerned about the direction of the international system.
One available platform is India’s current chairmanship of BRICS — if approached with care. While often viewed through the prism of great-power rivalry, BRICS also brings together diverse emerging and middle powers with a shared interest in reforming, rather than dismantling, global governance. Used judiciously, it could complement existing institutions by helping articulate principles for a more inclusive and functional order.
More broadly, India is uniquely placed to convene an initial core group of like-minded States — middle powers, and possibly some open-minded great powers — to begin a serious conversation about what a new global order should look like. This would not be an exercise in bloc-building or institutional replacement, but an effort to restore legitimacy, balance and purpose to international cooperation. Such an endeavour will require political confidence and the willingness to step into uncharted territory. History suggests that moments of transition reward those prepared to invest early in ideas and institutions, rather than merely adapt to outcomes shaped by others.
The challenge today is not to replicate Bretton Woods or San Francisco, but to reimagine their spirit for a multipolar age — one in which power is diffused, interdependence unavoidable, and legitimacy indispensable. In a world drifting toward fragmentation, India has the credibility, relationships and confidence to help anchor that effort — if it chooses to lead.
(The Hindustan Times)
(Milinda Moragoda is a former Cabinet Minister and diplomat from Sri Lanka and founder of the Pathfinder Foundation, a strategic affairs think tank. this article can read on
https://shorturl.at/HV2Kr and please contact via email@milinda.org)
by Milinda Moragoda ✍️
For many middle powers, the question now is not whether the old order is fraying,
but who has the credibility and reach to help shape what comes next
Features
The Wilwatte (Mirigama) train crash of 1964 as I recall
Back in 1964, I was working as DMO at Mirigama Government Hospital when a major derailment of the Talaimannar/Colombo train occurred at the railway crossing in Wilwatte, near the DMO’s quarters. The first major derailment, according to records, took place in Katukurunda on March 12, 1928, when there was a head-on collision between two fast-moving trains near Katukurunda, resulting in the deaths of 28 people.
Please permit me to provide details concerning the regrettable single train derailment involving the Talaimannar Colombo train, which occurred in October 1964 at the Wilwatte railway crossing in Mirigama.
This is the first time I’m openly sharing what happened on that heartbreaking morning, as I share the story of the doctor who cared for all the victims. The Health Minister, the Health Department, and our community truly valued my efforts.
By that time, I had qualified with the Primary FRCS and gained valuable surgical experience as a registrar at the General Hospital in Colombo. I was hopeful to move to the UK to pursue the final FRCS degree and further training. Sadly, all scholarships were halted by Hon. Felix Dias Bandaranaike, the finance minister in the Bandaranaike government in 1961.
Consequently, I was transferred to Mirigama as the District Medical Officer in 1964. While training as an emerging surgeon without completing the final fellowship in the United Kingdom, I established an operating theatre in one of the hospital’s large rooms. A colleague at the Central Medical Stores in Maradana assisted me in acquiring all necessary equipment for the operating theatre, unofficially. Subsequently, I commenced performing minor surgeries under spinal anaesthesia and local anaesthesia. Fortunately, I was privileged to have a theatre-trained nursing sister and an attendant trainee at the General Hospital in Colombo.
Therefore, I was prepared to respond to any accidental injuries. I possessed a substantial stock of plaster of Paris rolls for treating fractures, and all suture material for cuts.
I was thoroughly prepared for any surgical mishaps, enabling me to manage even the most significant accidental incidents.
On Saturday, October 17, 1964, the day of the train derailment at the railway crossing at Wilwatte, Mirigama, along the Main railway line near Mirigama, my house officer, Janzse, called me at my quarters and said, “Sir, please come promptly; numerous casualties have been admitted to the hospital following the derailment.”
I asked him whether it was an April Fool’s stunt. He said, ” No, Sir, quite seriously.
I promptly proceeded to the hospital and directly accessed the operating theatre, preparing to attend to the casualties.
Meanwhile, I received a call from the site informing me that a girl was trapped on a railway wagon wheel and may require amputation of her limb to mobilise her at the location along the railway line where she was entrapped.
My theatre staff transported the surgical equipment to the site. The girl was still breathing and was in shock. A saline infusion was administered, and under local anaesthesia, I successfully performed the limb amputation and transported her to the hospital with my staff.
On inquiring, she was an apothecary student going to Colombo for the final examination to qualify as an apothecary.
Although records indicate that over forty passengers perished immediately, I recollect that the number was 26.
Over a hundred casualties, and potentially a greater number, necessitate suturing of deep lacerations, stabilisation of fractures, application of plaster, and other associated medical interventions.
No patient was transferred to Colombo for treatment. All casualties received care at this base hospital.
All the daily newspapers and other mass media commended the staff team for their commendable work and the attentive care provided to all casualties, satisfying their needs.
The following morning, the Honourable Minister of Health, Mr M. D. H. Jayawardena, and the Director of Health Services, accompanied by his staff, arrived at the hospital.
I did the rounds with the official team, bed by bed, explaining their injuries to the minister and director.
Casualties expressed their commendation to the hospital staff for the care they received.
The Honourable Minister engaged me privately at the conclusion of the rounds. He stated, “Doctor, you have been instrumental in our success, and the public is exceedingly appreciative, with no criticism. As a token of gratitude, may I inquire how I may assist you in return?”
I got the chance to tell him that I am waiting for a scholarship to proceed to the UK for my Fellowship and further training.
Within one month, the government granted me a scholarship to undertake my fellowship in the United Kingdom, and I subsequently travelled to the UK in 1965.
On the third day following the incident, Mr Don Rampala, the General Manager of Railways, accompanied by his deputy, Mr Raja Gopal, visited the hospital. A conference was held at which Mr Gopal explained and demonstrated the circumstances of the derailment using empty matchboxes.
He explained that an empty wagon was situated amid the passenger compartments. At the curve along the railway line at Wilwatte, the engine driver applied the brakes to decelerate, as Mirigama Railway Station was only a quarter of a mile distant.
The vacant wagon was lifted and transported through the air. All passenger compartments behind the wagon derailed, whereas the engine and the frontcompartments proceeded towards the station without the engine driver noticing the mishap.
After this major accident, I was privileged to be invited by the General Manager of the railways for official functions until I left Mirigama.
The press revealed my identity as the “Wilwatte Hero”.
This document presents my account of the Wilwatte historic train derailment, as I distinctly recall it.
Recalled by Dr Harold Gunatillake to serve the global Sri Lankan community with dedication. ✍️
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