Midweek Review

The Broken Promise of the Lankan Cinema:

Published

12 months ago

2025/04/30

Asoka & Swarna’s Thrilling-Melodrama – Part III

“‘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)

Rukmani’s Stardom & Acting Opportunity

Rukmani Devi is still remembered for her incomparable singing voice and her studio photograph by Ralex Ranasinghe with its hint of Film Noir mystery and seduction, and for the role of Blanch Dubois she played in Dhamma Jagoda’s Vesmuhunu, an adaptation of Tennessee Williams’ A Streetcar Named Desire. This is a role she shared on alternate nights with Irangani Serasinghe in the late 60s or early 70s. (See my Island Essays, 2024, p114) She was immensely happy to be able to act in a modern western classic directed by a visionary theatre director like Dhamma Jagoda and it was to his credit that he chose to give her that role when all acting roles had dried up for her. I observed those rehearsals held at Harrold Peiris’ open garage.

I, too, am happy that Swarna has had a chance to perform again in her 70s. The question is, how exactly has she used that very rare opportunity to act in a film that has doubled its production cost within two months, and now showing in private screenings in multiplexes in Australia with English subtitles, with ambitions to be shown on Netflix and Amazon Prime. These outlets also now fund films and make challenging mini-series. Rani has clearly been produced and marketed with this global distribution in mind. How does this important fact affect Swarna’s style of acting and the aesthetics of Asoka’s script, are the questions I wish to explore in the final section of this piece.

A Sensational-Thrilling Political & Family Melodrama

‘Melodrama’ is a popular genre with a history that goes back to 19th century theatre in the west and with the advent of film, Hollywood took it up as it offered a key set of thrilling devices known as ‘Attractions’, for structuring and developing a popular genre cinema. The word ‘Melodrama’ is a compound of the Greek word for music ‘melos’ and drama as an action, with the connotation of a highly orchestrated set of actions. The orchestration (not only with sound but also the speed and rhythm of editing, dramatic expressive lighting, ‘histrionic’ acting, etc.,) always reaches toward thrilling climaxes and at times exaggerated display of emotions. The plots are sensational, propelled by coincidences and written to reach climaxes and dramatic reversals of fortune, and sudden revelations. Hollywood was famous for its happy endings with resolution of the dramatised conflicts, while Hindi melodramas and Lankan copies often ended sadly.

In the history of cinema there are highly sophisticated melodramas within Hollywood, classical Hindi cinema and also in European art cinema. Rainer Werner Fassbinder was one of the German directors who developed a modern ‘Brechtian-Melodrama’ of extraordinary political and aesthetic power in the 70s. And of course, there are very poorly conceived melodramas too like many of the Sinhala films which were copies of Indian prototypes. Melodramatic devices inflect the different genres of Hollywood, for example the Gangster Film, the Western and created durable genre types in character, e.g. the Gangster, the Lonesome Cowboy and Indians; all national stereotypes, one embodying the underbelly of American capitalism, an anti-hero and the other the American hero actualising The American Dream. ‘The Indian,’ merely the collateral damage of this phantasy!

When the stories were centred on women the genre classification was ‘Women’s Melodrama’ as it dealt with interpersonal relations, conflicts, and sadness centred on the home primarily. Feminist film theory has developed a vast archive of scholarship on the melodramatic genre, cross-culturally, with a special focus on Hollywood and Hindi cinema decades prior to the formation we now call Bollywood, made with transnational capital and global reach. It was assumed that the audience for the family melodramas was female and that as women, we enjoy crying at the cinema, hence the condescending name ‘The Weepies’. I cut my scholarly/critical teeth studying these much-maligned melodramatic films for my doctorate, which I had enjoyed while growing up in a long-ago Ceylon.

Asoka’s Melodramatic Turn

Asoka in Alborada, but more so in Rani has made melodramatic films with his own ‘self-expressive’ variations on the structure, with an ‘Art Cinema’ gloss. He has said that Rani is more like Alborada and unlike his previous films made during the civil war. This is quite obvious. Though the advertising tag line for Alborada claimed it as a ‘Poetic film that Neruda never made’ it was a straightforward narrative film. I have argued in a long essay (‘Psycho-Sexual Violence in the Sinhala Cinema: Parasathumal & Alborada’, in Lamentation of the Dawn, ed. S. Chandrajeewa, 2022, also tr. into Sinhala, 2023), that the staging of the rape of the nameless, silent, Dalit woman is conceived in a melodramatic manner playing it for both critique and exciting thrills. This is a case of both having his cake and eating it.

Swarna’s Melodramatic Turn

The film appears to be constructed, plotted melodramatically, to demonstrate Swarna’s ability to perform dramatic scenes of high excitement in areas of taboo, the opportunity for which is unavailable to a Sinhala actress, in a Sinhala film, playing the role of a Sinhala Buddhist mother, who has lost her son to an act of terror unleashed by the Sinhala-Buddhist State terror and Sinhala-Buddhist JVP.

In short, Swarna has been given the opportunity to demonstrate how well she can perform a range of Melodramatic emotions that go from say A to, say D. She has been given the chance to move smoothly from English to Sinhala as the middle classes do; use the two most common American expletives which are part of the American vernacular; drink for pleasure but also to the point of getting drunk; offer alcohol to her baffled domestic worker; coax her son and friends to drink; dance with them in an inebriated state; pour alcohol, whisky, not arrack, like one would pour water from a bottle; chain smoke furiously; dash a full mug of tea on the floor in a rage; crumple on the floor sobbing uncontrollably; shout at her loyal aid Karu; speak with sarcasm to a police officer insisting that she is ‘Dr Manorani …’ not ‘Miss or Mrs’, like feminists did back in the day; chat intimately with a minister of the government; look angrily and scowl at President Premadasa when he comes to the funeral house to condole with her; stage Richard’s funeral in a Catholic church with a stain glass window of the Pieta; to quote a well-known Psalm of David from the Bible, ‘Oh Absalom my son, Oh my son!’; etc.

Rani is Swarna’s chance to show that she can perform in ways that no Sinhala script has allowed a Sinhala actor to do up to now, that is, behave like the Sinhala cinema’s fantasy of how the upper-class Anglophone Lankan women behave. In short not unlike, but much worse, than the ‘bad girls’ in the Sinhala melodramatic genre cinema who always ended up in a Night Club, the locus of licentiousness that tempt them. I am thinking of Pitisara Kella from the 50s and a host of other films. Sinhala cinema simply cannot convincingly present the upper-class English-speaking milieu, with any nuance and conviction, it just feels very stilted, poorly acted therefore. Saying this is not class snobbery on my part. Even Lester James Peries from this very upper class and a Roman Catholic, in Delowak Atara couldn’t do it with Irangani Serasinghe and others. The dialogue meant to be serious or just plain normal sounded stilted and even funny. But when Lester did the Walauwa as in Nidhahanaya, it was brilliant, one of our classics. Brecht it was who said (on the eve of WW2, creating a Modern Epic mode of theatre in exile, that it’s not easy to make drama about current events. It’s much easier to look back with nostalgia at a genteel aristocratic Sinhala past for sure.

In taking the opportunity to explore kinetic and emotional behaviour considered to be taboo for a Sinhala woman, a fantasy Tamil woman has been fabricated. The plot of Rani is constructed by Asoka to provide Swarna the opportunity to indulge in these very taboos. In short, the fictional Tamil Rani offers Swarna an acting opportunity to improve her career prospects in the future. In so doing she has weakened her ability, I fear, to evolve as an actress.

A Domestic Melodrama: The House Suspended in a Void

If Swarna so desired, if the script ‘allowed her’ to, she could have tried to develop a quieter, more restrained and therefore a more powerful Rani. A friend of the family, when asked, said that, “The most striking feature of Manorani was her quiet, confident dignity, before and after Richard.” To testify to such a person, Asoka and Swarna could have asked the obvious question, did she have any close friendships formed as undergraduates, who supported her during this tragedy, as there certainly were cherished friends who shared her grief. After all, she was among the elite first generations of Ceylonese women to enter University in the 1940, to medical school at that!

Asoka and Swarna have entrapped their Rani in a vacuum of a house, friendless, with a little cross on Richard’s wall to signify religion. A lot of effort has gone into the set decoration and art direction of the house, as in Alborada, to stage a fantasy/phantasy melodramatic scenario. There is no real sensory, empathetic feel and understanding of the ethos (character), of this urbane Anglophone Ceylonese-Lankan mother and son, hence the fictionalised scenarios feel synthetic, cosmetic in the best traditions of the Sinhala genre cinema’s representation of the ‘excessive and even grotesque upper-class’. Except, here the Realism of the mise-en-scene (the old-world airy house and furniture and composition of the visual components) makes claims to a realist authenticity. A little modest research would have shown that Manorani and Richard moved from one rented apartment to another in the last few years of his life and when he was abducted, lived on the upper-floor of a house, in a housing estate in Rajagiriya. Asoka said in an interview that it wasn’t possible to find in Colombo the kind of old house they required for Rani. So, they went out of town to find the ideal house suited to stage their phantasy.

I suspect that it was Swarna who called shots this time, not Asoka who was recovering from a serious illness. He said that she brought the project to him and the producer and that he had no idea of making a film on Manorani, but added that he wrote the script within 3 months. I suspect that this Rani, (this out of control, angry, scowling, bad tempered, lamenting, hysterical Rani, reaching for the alcohol and cigarettes to assuage her grief, performing one sensational, thrilling melodramatic turn after another), was Swarna’s conception, her version of Manorani that she has nursed for 28 long years. Had she resisted this temptation to display her high-intensity acting-out skills yet again, she might just have been able to tap unsuspected resources within herself which she may still have as a serious actress. Its these latent affective depths that Rukmani Devi undoubtedly tapped when she was invited to play the drunken and lost Blanche Dubois, in A Streetcar Named Desire in Sinhala, as a desperate, drunken, aristocratic lady, in Dhamma Jagoda’s Vesmuhunu (1971?).

Jagoda / Irangani

It is reported that before going on stage, Rukmani Devi went on her hands and knees to pay her respects to Dhamma, not as feudal act of deference but to acknowledge his Shilpiya Nuwana, craft knowledge/intelligence’, as one very perceptive Sinhala critic put it. That gesture of Vandeema was foreign to the Tamil Christian Rukmani Devi, but nevertheless it shows her sense of immense gratitude to Dhamma for having taken her into a zone of expression (a dangerous territory emotionally for dedicated vulnerable actors), that she had never experienced before, so late in her life. But ‘late’ is relative to gender, then she was only in her 50s!

Challenge is what serious actors yearn for, strange beings who may suggest to us intensities that sustain and amplify life, all life. Swarna might usefully think about Rukmani Devi, her life and her star persona as a Tamil star in countless sarala Sinhala films, in whose shadow and echo every single Sinhala actress has entered the limelight, Swarna more so now than any other!

As for Asoka, he needs to rest and take care of himself before he commits himself to this recent track of films which are yielding less and less with each of the two films done back to back. His body of work is too important to trash it with this kind of half thought out ‘Tales of Sound and Fury’, which is a precise definition of Melodrama at its best. This film, alas, is not one of those.

That young Tamil women, often silent and traumatised, appeared following Sinhala soldiers in Lankan ‘civil-war cinema’ of the modernists, all male, is a troubling phenomenon. A ‘Sinhala Orientalism’, an exoticising of Tamil and Dalith young women as Other, is at work in some of the civil war films, as in Alborada and Rani. And then this very elevation always leads to unleashing psycho/sexual and/or other forms of violence, because the elevation (Mother Goddess in Alborada) only feeds violent male psychosexual phantasies, which in the Sinhala cinema often leads to the violence of rape and other forms of violence towards women, both Tamil and Sinhala. (To be continued)

by Laleen Jayamanne

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Midweek Review

Squeaky clean image of JVP in tatters

Published

2 days ago

2026/04/22

Sahan Weerasooriya

During the recent debate on the No-Confidence Motion (NCM) against Energy Minister Kumara Jayakody, Illankai Thamil Arasu Kadchi (ITAK) Batticaloa District lawmaker, Shanakiyan Rajaputhiran Rasamanickam, warned that the next NCM would be moved against Fisheries Minister Ramalingham Chandrasekaran. Rasamanickam accused the National List member of corruption, a charge vehemently denied by the NPPer. The NPP/JVP needs to initiate an internal inquiry before corruption allegations overwhelm the party that received the full advantage of Aragalaya to transform the outfit from just a three-member parliamentary group, in 2024, to a staggering 159, a year later. The UNP and SLFP led alliances were dealt harshly by the electorates for want of action to curb corruption. Today, the UNP and SLFP are not represented in Parliament, while the SLPP, that secured 145 seats at the 2020 general election, was reduced to just three with its parliamentary group leader Namal Rajapaksa entering Parliament through the National List. Rajapaksa junior obviously feared to face the Hambantota electorate at the last general election. That is the undeniable truth.

By Shamindra Ferdinando

The ongoing controversy over Agriculture, Lands, Irrigation and Livestock Minister K.D. Lal Kantha’s three-storeyed luxury house has intensified pressure on the Janatha Vimukthi Peramuna (JVP)-led National People’s Power (NPP) government struggling to cope-up with the devastating coal scam, blamed on Energy Minister Kumara Jayakody forcing him to resign.

Jayakody, one of those who financed the NPP/JVP campaign in the run-up to the 2024 national polls ,resigned on 17 April, along with Prof. Udayanga Hemapala, Secretary to the Energy Ministry. Their resignations happened eight months after the Frontline Socialist Party (FSP), a breakaway faction of the JVP, revealed the alleged coal scam. The Lal Kantha affair received significant public attention though the primary issue at hand is the massive coal scam that ripped through the government.

Jayakody will continue as a National List member of the ruling party. The NPP/JVP won an unprecedented 159 seats, including 18 National List slots at the November 2024 parliamentary elections.

The Opposition dismissed government claims that the resignations were meant to facilitate the Presidential Commission of Inquiry into the procurement of coal, since the commissioning of the country’s only coal-fired power plant during the onset of Mahinda Rajapaksa’s second term. In the wake of the much delayed resignations, NPP/JVP heavyweight Foreign Minister Vijitha Herath, addressing the media at the Information Department, pathetically vouched for Jayakody’s integrity.

Let us discuss the accusations directed at Lal Kantha who had served the SLFP-led Cabinet for a short period, years ago, in terms of an agreement between the SLFP and the JVP. Lal Kantha had never been accused of corruption and was, in fact, one of those lawmakers who raised the issue both in and outside Parliament. Political parties may have forgotten that the UNP got rid of Lacille de Silva, Director General of Administration, Parliament, during Ranil Wickremesinghe’s premiership, in the 2001-2003 period, alleging he passed on information to Lal Kantha to attack the government.

The NPP Executive Committee member, as well as JVP politburo and Central Committee heavyweight, has publicly defended his right to own a luxury house amidst a section of the social media pushing for police investigation into the lawmaker’s wealth.

Unlike the owner/owners of the mysterious Malwana mansion, built on a 16-acre land overlooking the Kelani river, Lal Kantha didn’t try to disclaim the house ownership at Jusse Road, Welivita, in the Kaduwela area. The Malwana house was built towards the end of Mahinda Rajapaksa’s second term as the President. The hullabaloo over the ownership of the Malwana mansion, and construction costs, dominated the 2015 presidential election campaign. On the basis of the Malwana mansion, the UNP and the JVP built a strong case against the Rajapaksas, accusing the family of corruption.

It would be of pivotal importance that the JVP backed Maithripala Sirisena’s 2015 presidential polls candidature. The campaign was built on an anti-corruption platform that earned the appreciation of the public who disregarded the unprecedented development work successfully carried out by the Rajapaksas, while also fighting a war to defeat the most ruthless terrorist organisation that was out to break up the country.

During a US-India backed violent protest campaign, in March-July 2022, an organised gang set the stately Malwana mansion ablaze. The general consensus was that the Malwana mansion belonged to Basil Rajapakasa, though he vehemently denied having anything to do with it.

Yahapalana Justice Minister Dr. Wijeyadasa Rajapakshe, PC, is on record as having declared that the Malwana mansion would be renovated and used to accommodate a state institution. Lal Kantha’s newly acquired wealth has to be examined and discussed, taking into consideration his long standing claim that as a fulltime member of the JVP he entirely depended on his wife’s monthly salary and help provided by friends and associates. If that was the case, Lal Kantha couldn’t have ended up among the richest group of politicians, within less than two years after the last presidential election, held in September 2024.

Lal Kantha couldn’t have been unaware of the possibility of the Opposition, particularly the Sri Lanka Podujana Peramuna (SLPP), attacking him and the NPP/JVP over his Kaduwela house. Responding to critics, the Anuradhapura District lawmaker has claimed, on YouTube, that he sold a property he owned in Anuradhapura and used that money to acquire the Jusse Road land.

The outspoken Minister is also on record as having said that the existence of his new house, to which he moved in late 2024, was disclosed by him. However, incisive Youtuber Dharma Sri Kariyawasam has claimed that he made the revelation on 01 October, 2025, while another You-Tuber, Abeetha Edirisinghe, rammed up pressure on the NPP by lodging a complaint with the police, via the special number 1818. Edirisinghe’s SL Leaders YouTube posted a video of him lodging the complaint.

What made the complaint really interesting was Edirisinghe’s declaration based on ‘Dark Room’ YouTube allegations that wealthy businessman Nissanka Senadhipathi, who had been one of the closest associates of the Rajapaksas, provided the wherewithal required to acquire land, build and then furnish the Jusse Road mansion. Defending his position, Lal Kantha claimed that he acquired a piano for his daughter, about 15 years ago, while declaring he enjoyed the capacity to raise large sums of funds if necessary. A smiling Lal Kantha explained how he could effortlessly collect Rs 500,000 each from 100 associates/friends. Programmes posted by Dharma Sri Kariyawasam and Abeetha Edirisinghe are must-watch for those genuinely interested in knowing the explosive story, from different angles.

Close on the heels of debates on Lal Kantha’s mansion, the media reported the Minister’s last available asset declaration, sent to the Commission to Investigate Allegations of Bribery or Corruption (CIABOC), dealt with over Rs 80 mn worth of property, vehicles and gold, etc. The JVP heavyweight’s annual income has stunned even the staunchest supporters of the ruling party. Lal Kantha, through his lawyer, demanded Rs 10 bn in damages from ‘Hiru’ for wrongly estimating his properties, etc., at Rs 460 mn.

Both Dharma Sri Kariyawasam and Abeetha Edirisinghe propagated that police wanted the public to complain to special the number 1818, created to accept such complaints in case they felt suspicious about newly acquired property, regardless of who owned them.

Unexpected disclosure of Lal Kantha’s unprecedented wealth obviously stunned the public who genuinely believed in the unshakable NPP/JVP stand on corruption. Lal Kantha, who had joined the JVP in 1982, before becoming a full time member, in 1987, had no qualms in defending his new lifestyle, having repeatedly and bitterly complained about the difficulties experienced by him and his family.

In his defence, Lal Kantha emphasised that he hadn’t been accused of robbing the taxpayer or public sector corruption. However, the NPP/JVP all-out attack on all previous governments, over waste, corruption, irregularities and mismanagement, and branding all their MPs corrupt, cannot adopt such a stance. The Kaduwela mansion has sent shockwaves through the electorate. Dharma Sri Kariyawasam, in his response to Lal Kantha, repeatedly stressed that his wealth was being questioned by those who exercised their franchise in support of the NPP/JVP at the national elections and Local Government polls, in 2025.

Growing public resentment over what various interested parties, including the NPP/JVP called ill-gotten wealth of members and henchmen of previous governments fuelled Aragalaya (31 March-14 July 2022). Those who set houses and other property, belonging to various then government politicians and their associates ablaze, operated on the presumption that they were beneficiaries of ill-gotten wealth. The NPP/JVP powered the campaign, alongside the breakaway JVP faction, styled as Peratugami Pakshaya (Frontline Socialist Party) as well as the UNP.

Ranwala and others

Against the backdrop of Auditor General Samudrika Jayarathne’s devastating report on coal procurement for the 2025/2026 period and Lal Kantha’s declaration that he owned a three-storeyed house, the resignation of Asoka Ranwala, as the Speaker of Parliament, over his failure to prove his declared academic qualifications seemed uncalled for. Jayarathne signed that report on behalf of the National Audit Office (NAO).

The Gampaha District MP resigned on 13 December, 2024, just 22 days after being appointed the Speaker. The main Opposition Samagi Jana Balawegaya (SJB) relentlessly attacked Ranwala over his fabricated or unverified educational qualifications, specifically a Ph.D. from a Japanese university and a degree from the University of Moratuwa.

The NPP/JVP tried to defend Ranwala but quickly succumbed to SJB pressure. We never managed to establish whether Ranwala resigned on his own accord or the NPP/JVP asked him to resign to save the party. Similarly, the resignations of Energy Minister Jayakody and Prof. Hemapala, who cut a sorry figure before the Committee on Public Enterprises (COPE) recently, must have been demanded by the ruling party. Had the NPP bosses acted prudently, much earlier, after he was indicted before the Colombo High Court on a previous corruption case, they could have easily asked Jayakody to resign his ministerial portfolio before the Parliament debated the no-confidence motion against him.

Another case that really embarrassed the ruling party was accusations directed at Dr. Jagath Wickremeratne, who succeeded Ranwala as House Speaker. The Polonnaruwa District MP was the next to face fire, following a dispute with the Deputy Secretary General of Parliament Chaminda Kularatne who is also the Chief of Staff of the House. Kularatne hit back hard after Parliament sacked him over alleged irregularities. In a petition, dated 2 February, 2026, sent to CIABOC, Kularatne disclosed the circumstances the Speaker reacted angrily after he brought to the NPPer’s notice illegal actions and corruption, as well as his (Kularatne) recommendation in his capacity as the Right to Information (RTI) officer, to release certain information sought by civil society activists. Kularatne further claimed that the situation deteriorated further over an incident that happened on 18 June, 2025, or a date closer to that date, in the room where Speaker Wickremeratne had his lunch. Kularatne refrained from revealing the incident.

There hadn’t been a previous instance of a senior parliamentary official moving the CIABOC against the Speaker. The allegations directed at the Speaker, in respect of abuse of vehicles, taking two fuel allowances, misuse of equipment belonging to the Media Unit of Parliament, inadequate payment for lunch obtained for Chameera Gallage, Speaker’s private secretary, who had lunch with him, illegal payments made to retired Ministry Additional Secretary S.K. Liyanage, who was appointed to inquire into Kularatne’s conduct, suppression of release of information in terms of RTI, and uncalled for interventions in administration.

Kularatne’s complaint to the CIABOC failed to result in an expeditious inquiry, though a complaint lodged against a sacked parliamentary official appeared to have received much more attention. The NPP has responded cautiously to Kularatne vs Wickremeratne battle as pressure mounted on the ruling party over the coal scam that threatened to cause further increase in already unbearable electricity tariffs. The Auditor General’s report, in no uncertain terms, has implicated the Energy Ministry and Lanka Coal Company in the sordid operation that resulted in low-grade coal ending up at the Lakvijaya coal-fired power plant that earlier met about 30 to 40% percent of the country’s power requirements at essentially low cost, barring hydroelectricity.

The report declared that the term tender for the supply of coal was awarded to Trident Champhar, an Indian company that hadn’t been registered at the time it bid for Sri Lanka’s largest tender and procedures in respect of loading and unloading the cargo. To make matters worse, Minister Jayakody, who had been implicated in the coal scam, was recently indicted on corruption charges in the High Court of Colombo. There hadn’t been a previous instance of a sitting member of the Cabinet being indicted for corruption. Therefore, the NPP government cannot be happy over its steamroller majority in Parliament having defeated the no-confidence motion moved against Jayakody who remained confident in the parliamentary group’s support at the behest of the top party leadership.

The NPP/JVP finds itself in an extremely embarrassing and pitiful situation over the coal scam. The damning report issued by the Auditor General pertaining to the coal scam has to be examined taking into consideration the failure on the part of the government and the Constitutional Council to reach a consensus on filling the vacant Auditor General’s post in 2025. The post of Auditor General remained vacant from early April 2025 to early February 2026.

Role of NAO

The NAO functions as an independent body answerable to Parliament. The recent NAO report that dealt with coal procurement exposed the utterly corrupt system in place, regardless of assurances given by the government. The report proved that irregularities can be perpetrated and corrupt practices continued, regardless of assurances given by the current dispensation.

Over the past several years, tangible measures were taken to strengthen the NAO. Parliament certified the National Audit (Amendment) Act, No. 19 of 2025 on 22 September, 2025. That act introduced reforms meant to enhance public sector accountability, enforce audit findings, and streamline the surcharge process. The no nonsense report proved that in spite of interference and undue influence exerted on the NAO, those responsible did their job without fear or favour.

SJB lawmaker Mujibur Rahman, during the debate on the no-confidence motion against Minister Jayakody, alleged in Parliament that COPE (Committee on Public Enterprises) Chairman Dr. Nishantha Samaraweera directly intervened when the NAO was in the process of finalising the report. The former UNPer called for an investigation to establish whether the Galle District NPP MP visited the NAO on several days to meet those handling the investigation.

We are not aware whether the COPE Chief, who called for the NAO to inquire into allegations in respect of coal procurement, visited the NAO.

However, the NAO report on the coal scam, now available online for all to study, underscores the pivotal importance of the anti-corruption fight.

In September 2025, the SJB asked the CIABOC to probe how some NPP/JVP Ministers amassed so much property. The SJB raised the issue with the focus on Trade, Commerce, Food Security and Cooperative Development Minister Wasantha Samarasinghe (like Lal Kantha, he, too, represents the Anuradhapura District) amassed Rs 275 mn. The SJB’s complaint to CIABOC sought investigations on Ministers Sunil Handunetti, Bimal Rathnayake, Dr. Nalinda Jayathissa and Kumara Jayakody, and Deputy Minister Sunil Watagala.

Lal Kantha, who has now acknowledged having as much as Rs 80 mn worth property, was not among the lawmakers targeted by the SJB. Having falsely propagated an anti-corruption campaign to deceive the public, the NPP/JVP stand literally exposed before the public. The coal scam and Lal Kantha fiasco have caused irreparable damage to such an extent, their anti-corruption campaigns may not carry any weight with the public at future elections.

Midweek Review

Some languages confine you; some languages free you

Published

2 days ago

2026/04/22

Sahan Weerasooriya

‘… where the world has not been broken up into fragments by narrow domestic walls; ….

Where the clear stream of reason has not lost its way into the dreary desert sand of dead habit;

Where the mind is led forward….into ever-widening thought and action…’

With wide apologies, I am going to put snatches of that poem into more dreary uses, though not quite desert sand.

What are those narrow domestic walls which break up the world into fragments? Languages.

Amiya reads the Gitanjali but does not read the Tirukkural. Hong Li reads Kong Fut Ze’s Analects but not Plato’s Republic. Paul reads Miton’s Paradise Lost but not Njal Saga. Sarath Kumara reads Wickremasinghe’s satva santatitya but not Darwin’s Origin of the Species. Ngidi does not read Thomas Picketty’s Capital in the 20th Century or Anthony Atkinson’s Inequality at all. Hirono uses Large Language Models to do homework but Rasolomanana has not seen a computer. And so on and so forth. The world is broken into fragments by languages, but not by languages alone. The daughter of a rich black man living in Howard County in Maryland goes to Stanford but a brown dweller in Dharavi cannot enter Jawaharlal Nehru University. The lesson is that it is not only languages or orthodoxies that break up the world into ‘fragments’ but also many other barriers, about one of which Tagore sang.

Language is a marvellous ‘invention’ of nature well cultivated by humans. No other species has the faculty to use language to know. Ludwig Wittgenstein expressed it epigrammatically, ‘whereof one cannot speak, thereof one must be silent.’ It is language that carries forth knowledge. It is not only language that carries forth knowledge: mathematics, in its own right, is a powerful carrier of knowledge. One can write something simple like if x-y=0, then x=y, as well as whole pages of complex and complicated arguments using mathematical notations. Mathematics may and often does write nature and about nature; it also writes about things that exist only in the mind. That is not different from languages: heaven and Vishnu exist in some minds but not in others or elsewhere. Galileo Galilei learnt ‘Nature is an open book but it is written in mathematics’. Much of nature is a closed book to those to whom mathematics is alien territory. But today, I am interested in how some languages ‘break the world into fragments by domestic walls’, while a few others fly about regardless. When a team from India played cricket with a team from Pakistan a few weeks back, the commentary was broadcast in India in 14 languages and in Nigeria national news is read in several languages. That same game of cricket also was broadcast to the rest of the world in one language: English.

When and how do some languages come to ‘lead the mind forward into ever widening thought and action’? The transformation occurs when users of one language become conquerors and rulers of peoples using other languages and when the users of a language become generators of new knowledge which are eagerly sought after by users of other languages. Greek, Latin and Arabic contributed mightily to the vocabulary of modern Western European languages. When new ideas in law, government, philosophy, medicine and science had to be expressed, they went to Greek, Latin or Arabic. Consequently, you will bump into Greek terms the moment you begin thinking about those disciplines. The serious study of Greek was introduced to England by Erasmus (of Rotterdam) about 1500 AC. The use of Latin began with the Roman Empire but took on new functions when Latin became the vehicle carrying Christianity east and north (of Europe) and elsewhere later. Until about the 18th century AC Latin was the language of learning in most of Europe. At its inception, Manchester Grammar School was a Latin school and the Boston Latin School which started in 1635 still thrives in that name. The two medieval universities in England were mostly seminaries teaching in Latin well into the 19th century. A wide swathe of languages is written with the Latin alphabet: European languages from the Black Sea to the Atlantic and from the North Sea to the Mediterranean, America from Canada to Chile, sub-Saharan Africa including Togo, and Indonesian, Malaysian and several others. The exodus of Jewish, Arabic and other scholars, after the fall of Constantinople (1453) to the Ottomans, brought Greek and Arabic to Western Europe including England. From about the 14 to the 18th century, European indigenous vernaculars grew to be carriers of new knowledge, especially in sciences. Luther’s reformation and the development of German had much in common. Gutenberg’s new printing press (1450 AC) helped the growth of European vernaculars and the spread of reformed Christianity.

Four western European languages stood out as both conquerors and carriers of new knowledge: Portuguese, Spanish, French and English. Arabic performed the same function from about 800 AC to the 13 AC when that language carried a new religion and new knowledge in mathematics, astronomy and medicine. Arabic replaced the indigenous languages in the entire Maghreb. The language of governance and learning from Mexico south to Chile is Spanish with Brazil using Portuguese and are collectively called Latin America, because Portuguese, Spanish, French, Italian and Romanian are Romance or Latin Languages. French is the language of governance and learning in several parts of West Africa. English was a phenomenon in itself. It destroyed the use of hundreds of languages in North America. It conquered almost half the world and English is the language of governance and higher education in a good part of the land it once ruled. As a language carrying new knowledge, English excels all others. As the collapse of four European empires, including the Ottoman, went on from about 1915 to about 1960, English, which produced new knowledge faster than any other, began to break ‘domestic walls’, the world over. China, which had little love for the English-speaking world, had millions of its citizens schooled in the US, the UK, Canada and Australia during the last 30 years and continues to do so, to date. In contrast, during that time how many rushed to Niger to learn Fulfulde or to Lanka to study Sinhala? The prominence of English was promoted by two other processes: one was translation into English of major works in other languages and the other the growth of a class of indigenous writers and readers in the conqueror’s language. One reads Oblomov, Gilgamesh and, indeed, Gitanjali translated into English. India now probably has more readers in English than any other single country. Persons in Western African countries have crafted in French and English, masterpieces in fiction, poetry and drama. Modern European languages have been both conquerors’ languages and carriers of new knowledge.

Several people recently have written in The Island and in Lankadeepa about the importance of using the ‘mother tongue’. They have stressed the importance of the ‘mother tongue’ in creative writing. As with observations regarding empirical phenomena, it is necessary to test those generalisations against reality. Samskrt is a language not entirely unfamiliar to many in this land. Samskrt was nobody’s mother tongue. (After all, it is deva bhaashitam.) There is not a shred of evidence that Kalidasa’s mother talked to him in Samskrt. But Kalidasa wrote rtusmahara and shakuntalam.. The vedas and upanishads were first spoken and later written in samskrt. Pali is nobody’s mother tongue but Theravada writings are almost entirely in that language. Isaac Newton wrote Principia Mathematica in Latin; we have no evidence that baby Isaac babbled in Latin. Paul Dirac wrote about particle physics in mathematics rather than in his father’s beloved French. Leopold Senghor’s mother tongue was not French nor Chinua Achebe’s English. More casually, check your own libraries. I had a collection of about 2,300 books until last year. There weren’t even 200 written in Sinhala and that 200 included editions of works from the 13th century. Check how many books written in Sinhala and English you bought in the last two years. There were far too many writers and scientists who brought forth highly acclaimed work in languages other than their mother tongue, contradicting the argument that the mother tongue was essential or even desirable for original work, in science or in literature.

Most languages ‘break the world into narrow fragments’. A few coagulate them into large masses: 900 million people speak Mandarin and 325 million, Bengali. A half dozen bind themselves together speaking a conqueror’s language. Four languages stand out as having ‘led the ‘mind forward into ever-widening thought and action’: Greek, Latin, Arabic and English. English, so far, is unrivalled.

by Usvatte-aratchi